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ft
lEUSBSTANTORBJVNIOR-WIVHKirY
\
BAKER'S
*-
I BIOQRAPHICAL
DICTIONARY OF
MUSICIANS
THIRD EDITION
Revised and Enlarged
by
ALFRED REMY, M. A.
■ • •
• • ••
■ • • •
• • • • •
• • • •
• • •
• ♦
• ••
• . • •
• ■
• • •
• • •
Price, $5.00, net
New York • G. SCHIRMER • Boston
1919
'yV
JZ
Copyright, 1900, by
G. SCHIRMER
Copyright, 1905, by
G. SCHIRMER
Copyright, 1919, by
G. SCHIRMER
28579
281032.
• • •
ll
BAKER'S
BIOGRAPHICAL
DICTIONARY OF
MUSICIANS
PREFACE
In the preparation of the present edition it was the editor's constant care
to maintain the high standard of impartiality, completeness and accuracy
that characterized the two earlier editions, and have established Dr. Baker's
Dictionary as an authoritative work of reference. The long period (13 years)
that has elapsed between this and the last edition accounts for the considerable
increase in the size of the book. Besides necessary additions to the older
articles room had to be found for some 2000 new biographies. In order to
keep the contents within the limits of a single volume a number of the less
important earlier musicians have been eliminated. The general reader is not
likely to notice their omission; the musicologist will naturally turn to Eitner's
Quellenlexikon.
Regarding the alphabetical arrangement, the following method has been
adopted: ae, oe, ue are treated as distinct letters; no distinction is drawn be-
tween original vowels (a, o, u) and modified vowels (a, 6, ii). Thus Schaefer
comes before Schafer. However, in such cases as Forster and F6rster,
when both forms are represented by several individuals, the names have been
divided into two groups, the one with the original vowel preceding. In the
case of two or more Christian names the order is determined by the name
generally known. Thus Wagner, (Wilhelm) Richard before Wagner,
Siegfried.
The system of transliteration of Russian names adopted for this Dictionary
requires some explanation. (1) X is rendered by ch because the velar aspirate
which it represents is familiar from the Scotch {loch) and numerous German
words (Bach, Bruch, Koch). Furthermore, it was preferred to kh, because in
all languages the symbol k uniformly represents the one familiar sound, which
is also retained in the combination kh in words of foreign origin (khaki, khan,
khedive) ; whereas no such uniformity can be claimed for ch, even in English
(child, chemist, choir, machine, yacht). (2) M is transliterated as tch. In the
first place, the initial sound is actually t (followed by sh). Then, a practical
consideration added great weight: Such forms as Tchaikovsky, Tcherepnin,
etc., which have gained general currency in English-speaking countries (in recent
years also adopted in several French publications), differ but slightly from
Tschaikowsky, Tscherepnin, etc., the form used in all other European
countries. The alphabetical arrangement under T, then, is universal. (3)
bl, which represents a sound quite peculiar to Russian (halfway between
e and ii), is transliterated as y. The usual transliterations as i or y are both
inaccurate. (4) For JK zh suggested itself as the natural transliteration,
being the voiced sibilant corresponding to its voiceless mate sh (the identical
relation as between z and s). (5) The 'soft' vowels li, £0, A are transliterated
as ye, yu, ya when initial, and in the feminine adjective ending (aya) ; as ie, iu,
ia when medial. (6) b, technically silent, is by many omitted in translitera-
tion. But it invariably 'softens' the preceding sound, and is actually heard
as a very faint fricative. Therefore it is consistently represented by j (zhiznj,
vidietj). — Two or three concessions have been made to custom. The famous
publisher Yurgenson appears as Jurgenson, because in this form the name
is familiar from the title-pages of his publications. Kyi seemed a little too
startling (as yet) ; therefore the French form Cui was retained. In this con-
PREFACE
nection it may be remarked that such forms as Borodine, Scriabine, Lia-
pounov, etc., are French transliterations. Those interested are referred to
the articles by M. Montagu-Nathan and S. W. Pring on Russian-English
Transliteration in the London 'Musical Times' (Nov. and Dec., 1917); the
system of the British War Office was published in the same journal (Feb., 1918).
All Russian dates are made to correspond to the Western Calendar.
Special care has been exercised on this important point. Promiscuous use of
both styles has caused much confusion, especially in books giving only the year
of an event. Thus it is stated by one writer that Balakirev was born in 1836,
and by another, in 1837. The fact is, that according to the Russian Calendar
he was born Dec. 21, 1836, and according to the Western Calendar on Jan.
2, 1837.
The orthography of foreign languages has been made to conform to the
latest recommendations of the respective academies (where such exist) or other
recognized authorities.
The large space devoted to bibliography is only proportionate to the
importance of the subject. Reference to sources, where fuller treatment can
be found, constitutes a natural and essential supplement to the necessarily
condensed statements of a Dictionary. Much time and thought have been
given to the selection of titles, and only such have been included as are of real
value. The care expended on this part of the task has resulted not only in the
correction of errors (wrong titles, dates or places of publication, confusion of
different editions, etc.) in the bibliography of predecessors, but many im-
portant items in the articles themselves have thus been verified or corrected.
Among the outstanding merits of the original edition of this Dictionary
was trustworthiness. Hundreds of errors contained in the standard works
of reference had been discovered by Dr. Baker, and eliminated in his own
work. Nothing had been accepted without critical examination. The same
policy has been followed in the preparation of the present edition, and for this
purpose the following recent authorities have been critically examined and
collated: Robert Eitner, Biographisch-bibliographisches Quellen-Lexikon (10
vols.; Leipzig, 1900-4), with its quarterly supplements 'Miscellanea Musicae
bio-bibliographica' ; Ernesto Vieira, Diccionario biographico de Musicos Portu-
gueses (2 vols.; Lisbon, 1900); Felix Ctement and Pierre Larousse, Diction-
des Operas, new ed. rev. by A. Pougin (Paris, 1904); Grove's Dictionary
of Music and Musicians, 2d ed. by J. A. Fuller-Maitland (5 vols.; London,
1904-10); Giuseppe Albinati, Dizionario di Opere tealrali (Milan, 1913); Al-
bert Lavignac, EncyclopSdie de la Musique et Dictionnaire du Conservatoire
(Paris; 3 vols, since 1913); Hugo Riemann, Musiklexikon (8th ed.; Leipzig,
1916), as well as the earlier Russian and French translations containing ampli-
fications not utilized in the last German edition; Tobias Norlind, Allmant
Musiklexikon (2 vols.; Stockholm, 1916). Every point of divergence found in
these works has been carefully investigated, and the result embodied in the
present edition of the Dictionary.
In the vast majority of cases the pronunciation of foreign names has been
indicated in brackets. Of course, nothing can take the place of the living
sound ; all phonetic systems are only a matter of more or less close approxima-
tion. That of the 'Association Internationale Phon6tique (the best yet de-
vised) is far too complicated for the layman to master without special study.
PREFACE
The editor, therefore, adopted, with slight modifications, a simple and very
practical system devised by Dr. Theodore Baker for his Pocket Manual of
Musical Terms (New York, 1905).
From living musicians information has been obtained, wherever possible,
through personal correspondence. Comparatively few letters have remained
unanswered. In such cases the editor was obliged to gather what information
he could from various sources more or less reliable, a process in which much
valuable time was consumed — rather, wasted.
Despite all vigilance, the present edition undoubtedly contains mistakes.
Any corrections or suggestions tending to the improvement of the next edition
will be gratefully received, and should be addressed to the editor, in care of the
publishers.
To the many artists who have cheerfully contributed the required material
the editor extends his sincere thanks. He takes pleasure in acknowledging
his obligations to Messrs. Richard Aldrich, William H. Humiston and R. F.
Loehr of New York, Felix Borowski of Chicago, Joseph E. Schuecker of Pitts-
burgh and John Curtis of Philadelphia for valued favors of various kinds
(furnishing materials for other than personal biographies, loan of rare books,
etc.). To Dr. Otto Kinkeldey, chief of the music-division of the New York
Public Library, the editor is indebted for the privilege of unrestricted access
to parts of the library closed to the public, as well as for personal assistance
in obtaining information; after his enlistment in the army his assistant, Mr.
Julius Mattfeld, cheerfully rendered similar service. Special thanks are due
to Dr. Theodore Baker, not only for his scrupulous care in reading the proofs,
but even more for valuable advice and a deep personal interest throughout
the progress of the work.
In conclusion the editor feels impelled to express his appreciation of the
unlimited freedom granted him in carrying out his plans. For this he owes
thanks to Mr. Rudolph E. Schirmer.
The Editor.
New York, August 1, 1918,
KEY TO PRONUNCIATION
Sh " ah
II
II
II
II
a
a
a
ii
ii
it
as e
«i
ah as a in father.
the college cheer 'rah! rah!
rah!' Such words as 'blot, plot/
do not represent the pure short
sound corresponding to long
ah; they have an admixture
of 6.
bat.
hare.
fate.
£h is the short sound of long a (closer than
e in bet).
pet.
meet.
sit.
side.
old.
obey.
law.
Goethe (or Fr. eu in 'feu'). In
closed syllables it represents
the open eu, as in 'peur.'
oil (approximately); the Ger-
man au and eu are more closed
(ah-ii), while the Engl, oi is
open (6-e).
a
a
a
e
1
i
oh
6h
6
8
oi
ii
ii
ii
ii
it
ii
ce
l
•
l
o
o
aw
oe
11 oi
in
ii
ii
H
ii
ii
ii
ii
ii
oo as oo in food.
66 " oo " foot.
ow " ow " owl.
u M u " but.
ii " u " French 'rue' (street).
y represents the Russian yerui (a sound
midway between e and ii).
g always as in 'go.'
h as ch in Ger. 'ach' or Scotch 'loch.'
n represents the French nasal vowels, an
(main, fin), ahn (enfant), 6hn
(mon), on (Verdun).
ft represents a sound equivalent to the Span-
ish n (n+consonantal y), as in
'canon.'
8 as in 'see.'
sh as in 'shall.'
th as in 'thin.'
y .as in 'yes.'
yh as ch in Ger. 'ich.'
z as in 'gaze.'
zh as z in 'azure.'
N. B. Accent-marks over vowels in Bohemian, Polish and Hungarian names never indi-
cate stress of voice, but always a modification of the vowel -sound.
• »
• «
• •
••• • •
ABBREVIATIONS AND FOREIGN WORDS
abbot [often a merely honorary
y title].
A., alto.
Abate
Abbate
Abbe
Acad., Academy.
a capp., a cappella.
ace, according (ly).
accessit (Lat.), honorable mention [term
used in French competitions].
accomp., accompaniment.
acct., account.
A. C. M., American College of Musicians.
adj., adjunct.
A. G. O., American Guild of Organists.
Allg., Allgem. (Ger., allgemein), universal;
general.
Antiq., Antiquarian.
app., appointed; appointment.
A. R. A. M., Associate Royal Academy of
Music.
arr., arranged; arrangement.
art., article.
Aspirant (Ger.), an unsalaried orchestra-
player awaiting advancement.
Assoc., association.
asst., assistant.
augm., augmented.
b., born.
B., bass.
bar., baritone.
b. cont., basso continuo.
Ber. Mus., Beriihrnte Musiker (a series of
biographies; Berlin).
Bilrgerregiment (Ger.), militia regiment.
c. (Lat., circa), about.
Gamerlingo (It.), Chamberlain.
Cantab. (Lat., Cantabrigiensis), of Cam-
bridge.
Gath., cathedral.
Gav. (It., Cavaliere), Chevalier; Knight.
* cello, violoncello.
cent., century.
Cf. (Lat., confer), compare.
Ch., church.
ch.f chorus, choir; unless specially modified,
it means 4-part mixed chorus.
Ghantre (Fr.), singer.
Ghapelle (Fr.)f chapel; choir.
chef de musique (Fr.), bandmaster; con-
ductor.
chef d'orchestre (Fr.), conductor.
chef du chant (Fr.), chorusmaster.
Ghev., Chevalier.
choirm., choirmaster.
Choragus (Lat.), precentor.
Chormeister (Ger.), conductor (of a choral
society).
clar., clarinet.
clave, (It., clavicembalo), the precursor of
the pianoforte.
coll., collected; collection.
Coll., college.
comm., committee.
comp., composed; composer; composition.
Comte (Fr.), Count.
Concertgebouw (Dutch), concert-hall.
concours (Fr.), competitive examination.
cond., conducted; conductor; conducting.
Congr., Congregational.
Cons., Conservatory (Conservatorium; Con-
servatoire; Conservatory) .
cont., continuo.
Gonte (It.), Count.
Gontraltista (It.), male contralto.
Gorrepetitor (Lat.), assistant conductor,
rehearsing the solo artists of an opera at
the piano.
Gov. G., Covent Garden, London.
cpt., counterpoint.
d., died.
darst(ellende) Kunst (Ger.), dramatic art.
d.-bass, double-bass.
Deutsch (Ger.), German.
dlr., director.
Dkm., (Ger., Denkmaler), monuments.
Dom (Ger.), cathedral.
Domchor (Ger.), cathedral-choir.
Dozent (Ger.), instructor at a German uni-
versity.
dram., dramatic.
Dr. jur. (Lat., doctor juris), doctor of law(s).
• •
. . .-ABBREVIATIONS AND FOREIGN WORDS
m •
Dr. phil. (Lat* doctor philosophise), Doctor
of Phflisopny; equivalent to the Ph. D.
of Amor, 'universities.
Due (Fr.VEJuke.
ed., edited; editor; edition.
Edtar (Ger.), an Austrian title of the lower
'♦nobility.
e.g. (Lat., exempli gratia), for example.
eng., engaged.
Engl., England; English.
ent., entered.
Episc., Episcopal.
establ., established.
et al. (Lat., et alii, aliae, alia), and others.
et seq. (Lat., et sequentes, sequentia), and
the following.
Evang., Evangelical.
Ezheg. Imp. Teat. (Russ.), Ezhegodnik Im-
peratorskich Teatrov (Petrograd).
F., Fellow.
f.t for
fern., female.
Feet., Festival.
fl. flute.
Fr., French.
fragm., fragment; fragmentary.
Frau (Ger.), Mrs.; Madam.
Frauleln (Ger.), Miss.
F. (R.) C. O., Fellow of the (Royal) College
of Organists.
Freiherr (Ger.), Baron.
Geheim (Ger.), Privy; Gehdmrat, Privy
Councilor.
Generalmusikdirektor (Ger.), director-
general of music.
Ger., German.
Gesellschaft (Ger.), Society; Association.
Govt., Government.
Grossherzoglich (Ger.), Grand-ducal.
G. S. M., Guildhall School of Music (Lon-
don).
Handelshochschule (Ger.), High School of
Commerce.
harm., harmony.
harps., harpsichord.
Hauptkirche (Ger.), principal church.
Herr (Ger.), Mr.
Herzoglich (Ger.), Ducal.
H. M.'a Th., Her Majesty's Theatre (Lon-
don).
Hochschule (Ger.), 'High School'; college;
university.
Hof (Ger.), court; a frequent prefix, as in
Hofkapelle, court chapel, or court or-
chestra; Hofkapellmeister, court con-
ductor; Hofmusikintendant, Superin-
tendent of the court music; etc.
Hof rat (Ger.), court councilor [often only
an honorary title].
Hon., honorary.
hon. c. (Lat., honoris causa), because of
respect [affixed to honorary titles].
ib., ibid. (Lat., ibidem), in the same place.
id. (Lat., idem), the same.
i.e. (Lat., id est), that is.
Imp., Imperial.
I. M. S., International Musical Society.
Incid., incidental.
Inst., institution; institute.
instr., instrument; instructor; instrl., in-
strumental; instrs., instruments.
Introd., introduction.
It., Ital., Italian.
Jahrb. Peters, Tahrbuch der Musikbiblio-
thek Peters (Leipzig).
Justlzrat (Ger.), Councilor of Justice [often
honorary title].
Kammersanger (Ger.), chamber-singer [hon-
orary title].
Kapelle (Ger.), chapel; choir; orchestra.
Kapellm. (Ger., Kapellmeister; Swed.,
Kapellmastare; Kapelmester (Dan. and
Norw.), conductor.
Rchm. J., Kirchenmusikalisches Jahrbuch
(Ratisbon).
Kerk (Dutch), church.
Kgl. (Ger., kdniglich), royal.
Kirche (Ger.), church (often compounded
with Saints' names; as Thomaskirche,
Church of St. Thomas; Nikolaikirche,
Ch. of St. Nicholas; Petrikirche, Ch.
of St. Peter; etc.).
Kirke (Dan., Norw.), church (often in com-
pounds, as Fraekirke, Church of Our
Lady).
k. k. (Ger., kaiserlich-kdniglich), imperial,
royal [prefixed to Austrian titles].
Kommerzienrat (Ger.), Councilor of Com-
merce [honorary title].
Konsistorialrat (Ger.), Councilor of the
Consistory.
Konzertmeister (Ger.), leader.
Kreuzkirche (Ger.), Church of the Holy
Cross; that in Dresden, with the Gymna-
sium (Kreuzechule) attached, is most
frequently mentioned.
ABBREVIATIONS AND FOREIGN WORDS
Kiinstler (Ger.)> artist.
Kunstlied (Ger.), art-song (as opposed to
folk-song).
Ryrka (Swed.), church.
Lehrergesangverein (Ger.), Teachers' Sing-
ing-society.
libr., library; librarian.
Lie, licentiate.
Liceo (It.), Lyceum; College.
Liederkranz, Liedertafel (Ger.), male
choral society with social tendency.
Lustspiel (Ger.), comedy.
Lutherle (Fr.), the art of making bow-instru-
ments.
lyr., lyric.
Maatschappi J (Dutch) , association.
maestro (It.), teacher; conductor; m. al
cembalo, (formerly) the orchestral con-
ductor, who sat at the harpsichord; m.
del putt!, Master of the Boys.
Maftre de chant (Fr.), conductor of a
chorus; singing-master.
Manh. O. H.v Manhattan Opera House (New
York, 1906-10).
Mannerchor (Ger.), male chorus; Men's
Choral Society (Mannergesangverein).
Marchenspiel (Ger.), fairy-play; fairy-opera.
Marchese (It.), Marquis.
m. de chap. (Fr., mattre de chapelle), con-
ductor.
m. di capp. (It., maestro di cappella), con-
ductor.
M. E., Methodist Episcopal.
melodr., melodrama.
mem., member.
mod., moderately.
M. O. H., Metropolitan Opera House (New
York).
m.-sopr., mezzo-soprano.
M. T.t Musical Times (London).
M. T. A., Music Teachers' Association.
mimic, municipal.
Mus., music; musical; musician.
Mus. Ant., The Musical Antiquary (Lon-
don).
Mus. Antiq. Soc., Musical Antiquarian
Society.
Mus. Bac. (Lat., Musicae Baccalaureus),
Bachelor of Music.
Mus. Doc. (Lat., Musicae Doctor), Doctor of
Music.
musico (It.), male soprano.
muslcol., musicology.
Muslk (Ger.), music; often compounded, as
Muaikdirektor, musical director; Mu-
aiklehrer, music-teacher; Muslkver-
ein, Musical Society.
Musikfdrening (Swed.), musical association.
Mus. Quar., The Musical Quarterly (New
York).
Muziekgeschiedenia (Dutch), history of
music.
n., near.
n. d., no date.
N. E., New England.
N. M. T. A., National Music Teachers' Asso-
ciation.
N. T. S. MM National Training School for
Music (London).
N. Ztschr. f. M.v Neue Zcitschrift far Mu-
sik (Leipzig).
op., opus; opera.
Oper (Ger.), opera.
Orch., orchestra; orchestration.
orchl., orchestral.
or^.9 organ; organist.
orlg., original.
orkaat (Dutch), orchestra.
Oxon. (Lat., Oxoniae), of Oxford.
p., part.
pea., pieces.
P. E., Protestant Episcopal.
perf., performed; performance.
pf., pianoforte.
Phllh., Philharm., Philharmonic.
Pros., President.
Preeb., Presbyterian.
Principe (It.), president; chairman.
Privatdozent (Ger.), instructor at a uni-
versity.
Proc., Proceedings.
Prof., Professor.
publ., published.
Publ. Gea. Mfschg., Publikation der Gesell-
schaft fiir Musikforschung (Leipzig).
Q.-Lex., Eitner's Quellen-Lexikon der Mu-
siker und Musikgelehrten (Leipzig).
R., Royal.
R. A. M., Royal Academy of Music.
R. C., Roman Catholic.
R. G. M., Royal College of Music.
R. G. O., Royal College of Organists.
recte (Lat.), correctly; properly.
rectiu8 (Lat.), more correctly; more properly.
Regena chorl (Lat.), choirmaster; precentor.
ABBREVIATIONS AND FOREIGN WORDS
Regierungsrat (Ger.), Privy Councilor.
Regius mu8lcu8 (Lat.), Royal musician.
Reichsfreiherr (Ger.), Baron of the Empire.
Repetiteur (Fr.), Repetitor (Ger.), coach
or drillmaster for soloists or chorus.
rev., revised.
Rev., Reverend.
Ritter (Ger.), Knight; Baronet.
Riv. M. I., Rivista Musicale Italiana (Turin).
rom., romantic.
Rus8k. Muz. Gaz., Russkaya Muzykalnaya
Gazeta (Petrograd).
Russk. Star., Russkaya Starina (Petrograd).
S., soprano; S. A. T. B., soprano, alto, tenor,
bass.
Sachyerstandigenkammer (Ger.) .commis-
sion of experts.
Sangervereinigung (Ger.), Singers' Asso-
ciation.
Sbd. Int. M.-G., Sammelbande dcr Inter-
nationalen Musik-Gesellschaft (Leipzig).
Sch., school.
Schule (Ger.), school.
Schulrat (Ger.), Inspector of Schools.
Sem., seminary.
Siebenbiirgen (Ger.), Transylvania.
S. I. M., Bulletin de la Societe Internationale
de Musique (Paris).
Singakademle (Ger.), Singing-Society.
Singsplel (Ger.), a form of light opera in
vogue c. 1750-1830, with spoken dia-
logue, and music in the style of folk-songs.
S. O., Symphony Orchestra.
Soc., Society.
Solorepetitor (Ger.), coach and accompan-
ist for solo artists.
sopr., soprano.
80pranista (It.), male soprano.
8t., studied.
Staatsbibllothek (Ger.), State (National)
Library.
Staatspreia (Ger.), State (National) Prize.
St. M.-W., Studicn zur Musikwissenschaft
(Vienna).
str., string.
8ucc, success; successful; successor; suc-
ceeded.
symph., symphony; symphonic.
T., tenor.
Th., theatre.
Thaler (Ger.), silver coin; value about 75
cents.
Thomaskirche (Ger.), Church of St.
Thomas.
Thoma88chule (Ger.), the celebrated Gym-
nasium connected with the Thomaskirche
at Leipzig.
Tonkiinstler (Ger.), 'tone-artist'; musician.
Toonkunst (Dutch), art of tone (music).
tpt., trumpet.
tran8cr., transcribed; transcription.
tr., transl., translated; translation.
u. (Ger., und), and,
Unit., Unitarian.
Univ., University.
U. S., United States.
v., very; (Lat. vide), see; (Ger. von), of.
▼ar., variation.
vcl., violoncello.
▼cs., voices.
Vereeniging (Dutch), association.
Verein (Ger.), Society; Association; Union.
vl., violin.
via., viola.
vln., violin.
Volksoper (Ger.), folk-opera (opera in popu-
lar style on a popular or national subject).
Vschr. f. M.-W., Vierteljahrsschrift fur Mu-
sikwissenschaft (Leipzig, 1885-94).
w., with.
Ztg. (Ger., Zeitung), Gazette.
Ztschr. I. M.-G., Zeitschrift der Inter-
nationalen Musikgesellschaft (Leipzig).
ERRATA
N. B. For the sake of convenience lines are counted sometimes from the beginning,
sometimes from the end of each article. In the latter case the numeral is marked with an
asterisk.
Article
Page
Col.
Line
Instead of
read
Brune, Adolf
124
1
10
E
Eb.
Chopin, Fr&teric
155
2
2*
Kryzanowska
Krzyzanowska.
Cohen, Karl
168
2
5
Kirchen musikschule
Kirchenmusikschule.
Davidov, Karl
194
1
1
Da'vidov
Davi'dov.
Day, Charles
195
1
2
Norfolk
Norwich.
Dnuaeke, Felix
218
1
7
Cb
c#.
faminzln, Alexander
249
2
1
Faminzin...Sergievitch
Famintspn . . . Sergeievitch.
Findelsen, Nikolai
262
1
8
Siloti
Ziloti.
fcabriell, Andrea
285
2
8
Pieter
Pieters.
Gandihl, Alessandro
292
1
1*
Tardini
Valdrighi.
Cariel, Edoardo
295
1
1
Edoardo
Eduardo
;Gliier, Salvador
310
2
4
cuarto
cuairo.
Gregoir, £douard
334
2
3*
Des
Les.
Gregory, I.
335
1
11
EinjUhung
Einfiihrung.
Grisar, Albert
339
2
8*
Carilloneur
CariUonneur.
Gusikov, Joseph
348
2
1
Gusikov
Guzikov.
ib.
ib.
ib.
3
Mohilev
Mogilev.
Hauk, Minnie
371
2
2*
Somnambula
Sonnambula.
Hermann, Robert
390
2
2
D
Dm.
/ Hinckley, Allen
402
2
6*
Boito
Berlioz.
Huhn, Bruno
420
1
9
S. P. Mills
S. B. Mills.
Hutter, Hermann
425
1
1
Kaufbeuern
Kaufbeuren.
Irgang, Friedrich
429
1
2
Schleswig
Silesia.
Kahn, Robert
448
1
2
Mannhein
Mannheim.
Kazatchenko, Nikolai 455
2
1
Nikolai Ivanovitch
Grigory Alexeievitch.
ib.
ib.
ib.
7
Sotkin
Sotnik.
Kopylow, Alexander
477
2
1
Kopylow
Kopylov.
Korganov, Genarl
478
1
1
Genari
Gennari.
Kraus, Felix von
482
2
4*
Marie
Auguste.
Krause, Martin
483
1
2*
Siloti
Ziloti.
Krolop, Franz
489
1
4
Levy
Lewy.
Kiister, Hermann
497
1
6*
BUding
Bildung.
Labarre, Theodore
498
1
3
Boscha
Bochsa.
Lambert, Alexander
505
1
12
Siloti
Ziloti.
Laparra, Raoul
511
2
4
ib.
Op.-Com.
Lazzari, Silvio
517
1
1
lah-tsah'r€
lahd'zah-re.
Lecocq, Charles
519
1
3
Clifton, Guernsey.
Paris, Oct. 25, 1918.
»
Feb. 15, 1911.
Lecocq, Charles
519
1
7*
du
de.
I Japunov, Serge
533
1
1
Serge
Sergei.
ERRATA
i
i
Lind, Jenny
537
2
3*
July
i
i
October. 1
Lyra, Justus
559
2
1*
Hauptgottesdiensi
Hauptgottesdienstes. i
Mercadante, Saverio
603
2
4
Collegia
Collegio.
Meusel, Johan
607
2
1
Johan
Johann.
Missa, Edmond
615
2
9
Babette, Muguette
Babette, Muguette.
Mosonyi
626
1
1
Moson'yi
Mo'sonyi.
Napravnik, Eduard
641
1
3*
Wei mam
Weymarn.
Niemann, Albert
652
2
16
season
seasons.
Offenbach, Jacques
664
1
14*
1 DerBogen
Die Heimkehr.
Padilla y Ramos
674
1
1
Pad'illa
Padi'Ha.
Paloschl, Giovanni
678
2
1*
Gazetta
Gazzetta.
Pergolesl, Giovanni
695
1
10
G. P. B.
G. B. P.
Petrelll, Eleonora
699
2
2
Salomon
Saloman.
Prints, Wolfgang
724
1
2
Monatschrift
Monatsschrift.
Rachmanlnov, Sergei
734
2
4
Damyansky
Demyansky. v
Rellatab, Ludwig
755
2
11*
Spohr's
Spontini's.
Rey, Jean-Baptlste (I) 758
2
2
Tarnet-Garonne
Tarn-et-Garonn d
ROsel, Rudolf
783
2
5
Thompson
Thomson. \
Col. Henry M., }
Roze, Marie
790
2
7*
Col. J. H. Mapleson
Saenger, Oscar
801
1
6
Heinrichs
Hinrichs. «
Saint-Sagos, Gamille
803
1
2
Halvey
Halevy.
Sass, Marie
814
2
1*
Castlemary
Casteimary.
SchrOder, Karl
841
1
14
Erdmannsdtirfer
Erdmannsdorffei
Schubert, Franz
843
2
8*
Sonnleitner
Sonnleithner.
Schuecker, Edmund
847
1
14
op. 11, Nocturne
op. 7, Nocturne.
Schulz-Beuthen
849
1
4
F. S. Richter
E. Fr. Richter.
Sokalsky, Vladimir
887
1
5
Riepa
Riepka.
Sonnleltner, Joseph
889
2
1
Sonnleitner
Sonnleithner.
Spitta, Friedrich
895
2
5
Monatschrift
Monatsschrift.
Straus, Oskar
918
1
2
Prosnit2
Prosniz.
Strauss, Richard
921
1
1*
in artistic
inartistic. »
Streatfeild, Richard
923
1
4*
Handel
Handel.
Tchaikovsky, Piotr
939
1
14
Kradosti
K radosti.
Tebaldini, Giovanni
939
2
9*
Peri and Caccini's
Peri's.
Tiedebohl, Otto von
951
2
6
Hollander
Hollaender.
Tollefsen, Carl
956
1
2*
than
then.
Valdrighi, Luigi
969
2
4*
Candini's
Gandini's.
Vecchi, Orazio
975
2
4*
XXV
xxii. ,
Vierne, Louis
982
2
3,7«
' bourgignonne
bourguignonne.
Wagner, Gosima
995
2
13
auto-biography
autobiography.
Wagner, Richard
1001
2
19*
ib., Jan. 26, 1877
Phila. Acad. Mus.t Nov. 8,
1876.
ib.
1001
2
18*
Stadth.
Stadtth.
ib.
1002
2
7*
Oper
Opfer.
ib.
1004
2
5
W. and Nietzsche
W. and Nietzsche.
Wallaschek, Richard
1009
1
4*
Schrften
Schriften.
Walter, Friedrich
1010
1
5*
National-theaters
Nationaltheaters.
Wood, Charles
1053
1
3
Morely
Morley.
Zur Mtihlen, R. von
1072
2
9
d. London, 1918
still living.
BIOGRAPHICAL DICTIONARY
OF
MUSICIANS
Aaron,
-, abbot oC the monasteries of
St. Martin and St. Pantaleon at Cologne,
where he died in 1052. Wrote De utilttaU
cantus vocalis et de modo cantandi atque psal-
lendi (in library of St. Martin), and De regulis
tonorum et symphoniarum. He introduced the
Gregorian nocturnes into Germany.
Aaron (or Aron), Pietro, b. Florence,
1480 or '90; d. Venice, 1545. Noted theorist;
in turn cantor of boy-choir at Imola, canon
and choir-master at Rimini, monk (order of
Hospitalers) at Bergamo, Padua and Venice.
Wrote // ToscaneUo in musica (1523, '25, '29,
'39, '62); Tratlato delta natura e cognitions di
tutti gli tuoni di canto figuraio (1525); Luci-
dario in musica di alcune opinioni antiche e
moderne (1545); Compendiolo di molti dubbj,
segreti, et sentenze intarno al canto fermo et
figurato . . . (Milan, no date) ; this last also
in Latin as Libri tres de institutione har-
monica (Bologna, 1316). — See Q.-Lex.
A'baco, Evarlsto Felice dalT, b. Verona,
July 12, 1675; d. Munich, July 12, 1742, as
leader of orch. to the Grand Duke of Ba-
varia. Comp.: Op. 1, 12 violin-sonatas w.
continue; Op. 2, 10 4- part cancer ti da chiesa;
Op. 3, 6 church- and 6 chamber-sonatas a 3;
Op. 4, 12 vln.-son. w. cant. (arr. by Chede-
ville f. musette, flute and oboe w. cont.);
Op. 5, 6 7-p. concerti (4 vlns., via., bassoon
or 'cello, b. cont.); Op. 6, concerti f. vln.
A. Sandberger publ. a biogr. sketch and a
selection from op. 1-4 in vol. i of 'Denk-
maler d. Tonk. in Bayern,' and a second
selection in vol. ix, 1; Riemann has edited
3 Trio-Sonatas. — See Q.-Lex.
Abba-Corna'&lia, Pietro, b. Alessandria,
Piedmont, Mar. 20, 1851; d. there May 2,
1894. Pupil of Milan Cons., 1868-71. Tal-
ented opera-comp. (Isabella Spinola, 1877;
Maria di Warden, 1884; Una partita di scac-
chit Pa via. 1892); also wrote good chamber-
and sacred music (Requiem Mass).
Abbadl'a, Luiftla, daughter of Nat ale A.;
b. Genoa, 1821. Celebrated mezzo-soprano
stage-singer; debut Sassari, 1836. Roles:
Maria Padilla (written for her by Donizetti),
Saffo, Vestaie, Elvira (in Ernani). In 1870
she established a singing-school at Milan.
Abbadl'a,. Natale, b. Genoa, Mar. 11,
1792; d. Milan, circa 1875. Chorus- master
1831-37 at Carlo Felice Th., Milan. Comp.
the opera, Giannina di Pontieu, ow. La viila-
neUa d'onore (Genoa, 1812), and the farce
L'imbroglione ed il castigamatti (do.); also
masses, motets, etc.
Abbatl'nl, Antonio Maria, Roman com-
poser; b. Tiferno (Citta di Castello), 1595
(1605?); d. there 1677. Maestro di cappeila
at the Lateran, 1626-8, and thereafter suc-
cessively at 4 other Roman churches. Comp.
much church-music, most still in MS.; publ.
3 books of Masses, 4 of Psalms, various 24-
part Antiphons (1630, '38, '77), 5 books of
Motets (1635), and a dram, cantata, II
Pianto di Rodomonte (Orvieto, 1633). Co-
worker with Kirchcr on the 'Musurgia.'
Prod. 3 operas: Del male in bene (Rome,
1654; one of the earliest comic operas, and
historically important as introd. the final
ensemble; comp. Goldschmidt, Studien zur
Geschichte d. Oper, vol. i), lone (Vienna,
1666), and La comica del cielof or La Balta-
sara (Rome, 1668). — See Q.-Lex.
Abbey, John, noted English organ-builder;
b. Whilton, Northamptonshire, Deo 22, 1785;
d. Versailles, Feb. 19, 1859. On Seb. Erard's
invitation he went to Paris in 1826, settled
there, and built many organs for churches,
cathedrals, chapels, etc., throughout France.
His sons, E. and J. Abbey, carried on the
business at Versailles.
Abbott, Emma, dramatic soprano, b. Chi-
cago, Dec. 9, 1850; d. Salt Lake City, Jan.
5, 1891.^ After years of hard work as a
natural singer ana guitar-player, she came to
New York abt. 18/0, took lessons of Erani,
ABD EL KADIR— ABERT
sang in Dr. Chapin's church, and in 1872,
aided by the congregation, went to Europe,
studying with Sangiovanni at Milan and
Delie Sedie at Paris. She sang with great
success abroad and at home. Married, 1878,
Mr. E. Wetherell of N. Y. (d. 1888).
Abd el Kadir (or Abdolkadir), Ben Isa,
Arabian writer in the 14th century, author of
3 mus. treatises noticed by Kiesewetter
('Musik der Araber,' 1842, p. 33): The Col-
lector of Melodies; The Aim of Melodies in the
Composition of Tones and Measures; and The
Treasure of Melodies in the Science of Musical
Cycles.,
Abellle, (Johann Christian) Ludwig, b.
Bayrcuth, Feb. 20, 1761; d. Stuttgart, Mar.
2, 1838. Leader of the Duke of WUrttem-
berg's private orch. ; later court org. and mus.
director. Fine pianist and organist; comp.
the Singspiele Amor und Psyche (Stuttgart,
1801), and Peter und Annchen (Stuttg., 1809);
harpsichord- and chamber-music (concertos,
trios, duets, etc.); and songs still sung in
schools. — See Q.-Lex.
Abel, (Leopold) August, b. 1717 at
Kothen (where his father, Christian Ferdi-
nand A., was a viola-da-gamba player); d.
Ludwigslust, Aug. 25, 1794; fine violinist;
played in court orchestras at Brunswick, Son-
dershausen, Berlin, and Schwerin; publ. some
easy etudes.
AT>el, Clamor fHeinrlch), b. Westphalia
near middle of 17th century; d. (?). Publ. 3
sets of pieces for strings (fanzsuilen, 1674,
76, f77). He was chamber-musician at the
Hanoverian Court.
A'bel, Karl Friedrlch, renowned player
on the viola da gamba; b. Kothen, 1725; d.
London, June 20, 1787. He received thor-
ough training from his father, and from J. S.
Bach at the Thomasschule, Leipzig; member
of the Royal Polish Band at Dresden, 1748-
58; visited Leipzig and other German towns,
and went to London in 1759, where the Duke
of York assisted him. In 1765, chamber-
musician to Queen Charlotte. He was inti-
mate with Joh, Chr. Bach. He comp. 2
operas: Love in a Village (London, 1760), and
Berenice (1764); also popular symphonies,
overtures, quartets, sonatas for harpsichord,
concertos "for harpsichord and strings, etc.
(Eitner mentions some 60 different sets and
single pieces still extant.) He revisited Ger-
many 1783-5, returning to London via Paris.
He was the last great virtuoso on the gamba.
A'bel, Ludwig, b. Eckartsberga, Thurin-
gia, Jan. 14, 1834; d. Neu-Pasing, n. Munich,
Aug. 13, 1895. Pupil of Ferd. David; mem-
ber of Gcwandhaus orch. at Leipzig, the Wei-
mar court orch. (1853), leader of court orch.
at Munich (1867), teacher in and (1878) In-
spector of the Royal Music-School then man-
aged by v. Biilow; 1880, royal Professor; re-
tired on pension, 1894. Violin-virtuoso of
high rank, and an excellent orch. conductor;
wrote a good Violin Method; also studies,
variations, etc.
A 'bell, John, a celebrated alto singer (m«-
sico)t and lutenist; b. London, c. 1660; d.
Cambridge (?), c. 1724. In 1679, member of
the Chapel Royal; fled to the Continent dur-
ing the Revolution of 1688, and won fame
and wealth by his singing. In Kassel he was
made Intendant. of Music (1698-9). About
1700 he returned to England. He was also a
song-writer and collector (collections publ. in
1701, and 1740).
A'bendroth, Hermann, b. Frankfort,
Tan. 19, 1883. Pupil of L. Thuilie and A.
Langenhan-Hirzel in Munich; 1903-04 con-
ductor of the 'Ch-chestd-verem' in Munich;
1905-11 in Liibeck as first cond. at the
'Stadt theater' and cond. of the 'Verein der
Musikfreunde.' In 1911 he was called as
municipal music director to Essen, and in
1914 he succeeded Fritz Steinbach in the
direction of the 'Giirzenich' concerts in
Cologne.
A'bendroth, Irene, coloratura soprano; b.
Lemberg, July 14, 1872. Pupil of Frau
Wilczek; member of Vienna court opera
1889, sang in Riga and Munich, and again
in Vienna (1894-99); eng. 1899-1908 at the
Royal Opera in Dresden.
A'benheim, Joseph, violinist; b. Worms,
1804; d. Stuttgart, Jan. 19, 1891. Member
and (1854) musical director of the Stuttgart
Cons. orch. Composed overtures, entr'acte
music, etc.; some minor pf. -pieces and songs
have been published.
A'bert, Hermann, b. Stuttgart, Mar. 25,
1871; pupil of the Cons, and his father,
Joh. Jos. A. Dr. phil., Tubingen, 1897;
Dozent for mus. science at Halle Univ., 1902;
prof., 1909. Works: Die Lehre vom Ethos in
der griechischen Musik (1902) ; biogr. of Schu-
mann (1903, in Reimann's 'Ber. M\is.')\Die
Musikanschauung des Mittelalters und ihre
Grundlagen (Halle, 1905); Die dram. Musik
am Hofe Herzog Karls von Wurttemberg
(1905) ; JV. JommeUi als Opernkomponist(HaA\e,
1908) ; Geschichte d. Rob. Franz Singakademie
zu Halle (Halle, 1908); historical essays
(IMS.); etc. He edited several older operas.
Since 1914 he is editor of the 'Gluck
Jahrbuch.'
A'bert, Johann Joseph, b. Kochowitz,
Bohemia, Sept. 21, 1832; d: Stuttgart, Apr.
1, 1915. Choir-boy at Gastdorf and, from 8
to 15, at Leipa monastery, whence he fled to
an uncle in Prague, who sent him (1848) to
the Prague Cons. (Kittl, Tomacek). He first
st. the double-bass; his etudes, concertos, etc.,
for this instr. arc classics. He also wrote
ABOS-ACKTfi
overtures, and graduated in 1852 with a
symphony in C minor. Engaged as double-
bass player in the court orch. at Stuttgart, he
comp. 2 symphonies (G min. and A maj.),
and an opera, Anna von Landskron (Stutt-
gart, 1859).; in 1860 a second opera, Die
Almohoden, was prod. Studied further in
Paris and London; wrote opera KonigEntio
(1862) after returning to Germany, and^ a
symphonic poem, Columbus, which made him
famous. A 3-act romantic opera, Astorga
(Stuttgart, 1866), followed; A. was then app.
Musikdirektor and (1867) Kapellm. at the
Stuttgart Court Th., succeeding Eckcrt; he
retired in 1888. Other works are the 5-act
opera Ekkehard (Berlin, 1878), probably his
magnum opus; a 5th symphony in C min.,
and a 6th 'lyric' symphony in D min.; a
mass f. mixed ch. w. org.-accomp. ; over-
tures, string-quartets, pf.-pes. and songs.
Abos (or Avos, d'Avoua), Girolamo,
comp. for stage and church; b. Malta, c.
1708; d. Naples, 1786(?). Pupil of Leo and
Durante at Naples; in 1756, maestro al cem-
balo at the Italian Th., London; in 1758,
teacher in the Cons, della Pieta de' Turchini,
Naples (Paisiello was his pupil). Wrote 14
operas for Naples, Rome ana London, and,
after 1758, much sacred music (7 masses,
several litanies, etc.). — See Q.-Lex.
Abraham, John. See Braham.
Abraham, Dr. Max, b. Danzig, 1831;
d. Leipzig, Dec. 8, 1900. He became
a partner in C. F. Peters' 'Bureau de Mu-
sique* in 1863, and sole proprietor in 1888.
On Jan. 1, 1894, his nephew, Heinrlch Hin-
richsen, of Hamburg, entered the firm, and
is now its head. The famous 'Edition Peters'
was inaugurated by Dr. A.
Abranyi, Emil, b. Budapest, Sept. 22,
1882. Has comp. the Hungarian operas A
kodkirdly (King of the Mist; Budapest,
1903); MonnaVanna (ibid., 1907); Paolo
and Francesca (ibid., 1912). In 1907, Ka-
pellm. at the Royal Th., Hanover; since
1911 Kapellm. in Budapest.
Abranyi, Kornel, b. Oct. 15, 1822, at
Szent GyOrgz Abranyi, Hungary, of the noble
Hungarian family Eordogh; d. at Budapest,
Dec. 20, 1903. He founded the first Hun-
farian musical journal (1860), the Singers'
Inion (1867), and was one of the chief pro-
moters of the National Mus. Acad, at Pest,
of which he was a professor and the secre-
tary (1875). His publ. comps. (songs,
choruses, etc.) are in the national vein.
Abt, Franz, song-writer and conductor;
b. Eilenburg, Dec. 22, 1819; d. Wiesbaden,
Mar. 31, 1885. He was sent to the Leipzig
Thomasschule to study theology, his father
being a clergyman, and later obtained an
excellent musical education both there and
at the Univ. On his father's death he gave
up theology, having already made several
successful attempts at composition, and hav-
ing conducted a students' philharmonic so-
ciety. In 1841 he went to Bernburg as
Kapellm. of the Court Th., but in the same
year relinquished this post for a similar one
at the Zurich Th. Here he remained till
1852, conducting several singing-societies and
composing many vocal works, particularly
for men's voices. He was then app. 2nd Ka-
pellm. at Brunswick, 3 years later becoming
1st Kapellm., a position held up to 1882,
when he retired on pension to Wiesbaden. —
Abt wrote over 500 works, comprising more
than 3,000 numbers; the largest are the 7
secular cantatas. His popularity as a song-
writer is due chiefly to the flowing, easy and
elegant style of his vocal melodies, many of
which (Wenn die Schwalben heimwdris zieh'n,
Cute Nacht, du mein herniges Kind, So viele
tausend B lumen, etc.) have become true folk-
songs; numerous part-songs are likewise de-
servedly prime favorites; in these and his
choruses for men's and for women's voices,
he rivals Mendelssohn in the hearts of his
countrymen. On. his vocal works rests his
lasting fame; his pf. -com positions, of a light
and popular character, are already forgotten.
Achsharumov [ah-shah-roo'm6hv], De-
metrius Vladimirovitch, b. Odessa, Sept.
20, 1864. Began the study of violin with
Krassnokutski; went to Petrograd to L. Auer,
and later to Vienna, where he studied comp.
with R. Fuchs; at the same time continued
his violin studies with J. Dont. From 1890-
98 he made a number of successful concert
tours; he then settled in Pultava as cond. of
the Symphony concerts, and in the following
year was appointed director of the newly es-
tablished local branch of the Imp. Russ.
Mus. Soc.
Ack'ennann, A. J., b. Rotterdam, Apr.
2, 1836. Studied at The Hague in the R.
Music-School, under Liibeck, Nicolas and
Wietz; app. teacher of pf. there in 1865; of
org. and theory, 1867.— Works: Pf.-pieces for
2 and 4 hands; songs.
Acktg, Aino (Mme. AcktS-Renvall),
dramatic soprano; b. Helsingfors, Finland,
Apr. 23, 1876. Entered the Paris Cons, in
1894; made her debut in 1897 at the Grand
Opera as Marguerite (Faust). The success
of her tour of Germany in 1902 led to her
engagement at the M. O. H. in 1904-05.
Her impersonation of Salome, in Strauss*
opera, at Cov. G. Th. in 1913 was followed
by an invitation from the composer to sing
the part also at Dresden and Paris. Rdles:
Marguerite, Juliette, Ophelie, Gilda, Nedda,
Elisabeth, Elsa, Sieglinde, etc
ACTON— ADAMOWSKI
Acton, John, English singing-teacher and
composer; b. Manchester (?), 1863. Pupil of
Francesco Lam pert i at Milan. Prof, of sing-
ing at the Manchester R. C. M. since its
opening in 1893; since 1894, cond. of the St.
Cecilia Choral Soc. — Works: 2 cantatas f.
women's voices, Forest Bells, and The Rose
and the Nightingale; a male chorus, For Home
and Liberty, w. pf.-accomp. (prize from S.
London Mus. Club, 1888); also duets, songs
and pf. -pieces.
Adalid y Gurre'a, Marcel del, Spanish
composer; b. La Coruna, Aug. 26, 1826: d.
Longara, Oct. 16, 1881. Studied with
Moscheles in London and Chopin in Paris.
Published 3 collections of Galician Folk-
songs; wrote an opera, Inese e Bianca (on an
Italian text), and pf. -pieces.
Adam [ah-dahn'J, Adolphe (-Charles) t
celebrated opera-composer, was b. Paris, July
24, 1803; d. there May 3, 1856.# He entered
the Cons, in 1817; but made^ little progress
until taken in hand by Boieldieu in his class
for composition. After publishing various
pf.-pieces, he brought out the 1-act opera
Pierre et Catherine (1829), the success of
which encouraged him to produce 13 more
similar works in quick succession, the Pos-
tilion deLongjumeau (1836) gaining European
celebrity for its author, and still keeping his
name in grateful memory. In all, he wrote
53 theatrical works, the most popular operas
after the Postilion being Le Chdlet (1834), he
fidele Berger, Le Brasseur de Preston (1838),
Le Roi d' Yvetot (1842), La Poupee de Nurem-
berg, Cagliostro, and Richard en Palestine
(1844); also the ballets Giselle, Le Corsaire,
Faust, etc. In 1847, on account of difficulties
with the director of the Opera-Comique, A.
founded the Theatre National, but was
ruined financially by the revolution of 1848,
and entered the Paris Cons, as prof, of
comp. — A. does not rank with the foremost
dramatic composers of France, his style being
distinguished by taking rhythms and light
elegance and grace, rather than forceful
originality. His forte was comedy-opera, in
which he was a worthy successor of Boiel-
dieu.— His autobiographical Souvenirs d'un
Musicien and Verniers Souvenirs d'un Musi-
cien were publ. at Paris in 1857-59 [1871],
Life by A. Pougin (1876).
A 'dam, Karl Ferdinand, b. Constappel,
n. Meissen, Dec. 22, 1806; d. Leisnig, Dec. 23,
1868, as cantor and musical director there. — •
Works: Popular choruses and quartets for
men's voices; songs; pf.-pieces.
Adam, Louis, b. Muttersholz, Alsatia,
Dec. 3, 1758; d. Paris, Apr. 8, 1848. He
went to Paris in 1775, and from 1797-1842
was prof, of pf. at the Paris Cons; He was
a close student of the German classic masters,
an admirable pianist, a comp. of numerous
pf.-pieces much in vogue at the time (espe-
cially the variations on 'Le roi Dagobert'),
and an eminent pedagogue^ the teacher of
Kalkbrenner, Herold, Henri le Moine and
F. Chaulieu, and author of two standard
instruction-books for piano: Mdhode ou Prin-
cipe generate du doigte-pour le Forte-piano
(Paris, Sieber, 1798), and Melhode nouveUe
pour le Piano (5 editions, 1802-32), written
expressly for pupils of the Cons.
Adam de la Hale (or Halle), called le
Bossu d' Arras (Hunchback of Arras); b.
Arras, circa 1240; d. Naples, 1287. A gifted
Trouvere. many of whose works have been
preserved (publ. 1872 by Coussemaker as
CEuvres completes du Trouvere Adam de la
Hale); the most interesting is a dramatic
pastoral entitled Lejeu de Robin et de Marion
(1285), written for the Aragonese court at
Naples, resembling an opera comique in its
plan. He was a master of the chanson, in
the dual capacity of poet and composer; his
works are of the utmost value as illustrating
the music of the period. — Cf. E. Langlois,
Le jeu de Robin et de Marion (Paris, 1896) ;
H. Guy, Essai sur lavieetles auvres litter aires
d'Adam de la Hale (Paris, 1898).
*A'dam von Fulda, noteworthy German
theorist and composer; b. circa 1440; d. (?).
His treatise on mus. theory is to be found in
vol. iii of Gerbert's 'Scriptores ecclesiastici' ;
his compositions were highly prized in then-
day. Cf. H. Riemann in 4Kchm. J.' (1879)
and W. Niemann, ibid. (1902). — See Q.-Lex.
A'damberger, Valentin (not Joseph), b.
Munich, July 6, 1743; d. Vienna, Aug. 24,
1804. Dramatic tenor, pupil of Valesi
1755-61; eng. at Venice, 1762, as 1st tenor;
sang with growing success in other Italian
cities, and assumed the name of 'Adamonti.'
He sang in London in 1777, and in 1780
was eng. at the Vienna Court Opera, in 1 789
also as 'Hofkapellsanger.' Mozart wrote for
him the part of Belmonte, and some concert-
arias.
Ada'mi da Bolse'na (or da Vol terra),
Andrea, b. Venice, Oct., 1663; d. Rome,
July 22, 1742. Famed as the author of
Osservuzioni per ben regolare it coro dei can-
tori delta cappella Pontificia (Rome, 1711), a
work of historical value. Cantor of the
Pontifical Chapel, and music-teacher.
Adamon'ti. See Adam berger.
Adamowski l-mohv'skel, Joseph, b.
Warsaw, July 4, 1862. Pupil at Warsaw
Cons. (1873-77) of Kontski and Goebelt
('cello); at Imp. Cons., Moscow (1877-83) of
Fitzenhagen ('cello), Tchaikovsky (comp.),
Pabst (pf.); studied at the University, re-
ceiving the degree of B. A. Began conceit
ADAMOWSKI— ADLER
tour9 in Warsaw in 1883; played also in Ger-
many; 1885-7 prof, of 'cello and ensemble
classes in Cons, at Cracow; 1889 member of
Bost. Symph. Orch.; member of Adamowski
Quartet and Trio. Since 1903 he has been
prof, of 'cello at New Engl. Cons, at Boston;
is one of the founders and directors of the
B. S. O. Pension Fund; married in 1896 the
pianist Antoinette Szumowska (q. v.).
Adamow'ski, Tlmothee, born at War-
saw, Mar. 24, 1858. Viol in- virtuoso; at first a
pupil of A. Kontchi at Warsaw Cons.; 1876-9
of Massart in Paris Cons. In 1879 he went to
America, and travelled as soloist with M.
Strakosch, Clara Louise Kellogg, and finally
with a company of his own, with which he
played in Boston, New York, Philadelphia,
Washington, Chicago, etc. From 1885-6 he
taught in the New Engl. Cons., Boston; in
1888 he organized the Adamowski String-
quartet (A., E. Fiedler, D. Kuntz, and G.
Campanari; reorganized 1890 with A., A.
Moldauer, Max Zach and Josef Adamoswki,
the last a brother of T. A., and an excellent
'cellist). In 1887 A. appeared at London
and Warsaw; in 1895, again in London and
Paris, since which time he has spent the
summer season regularly in these two cities.
In 1898 he played at Warsaw with the Phil-
harm. Orch. and the Mus. Society. His quar-
tet gives about 30 concerts annually in the
chief towns of the U. S. From 1890-4 he
also cond. the six weeks' popular summer
concerts of the Boston Symphony Orch. —
He has publ. several songs, and has a Novel-
lette f. vln. and pf. in MS.
Ad'ams, Charles R., fine dramatic tenor;
b. Charlestown, Mass., circa 1848; d. West
Harwich, Mass., July 3, 1900. Pupil in
Vienna of Barbieri; was then eng. for 3
years at the Royal Opera, Berlin, and there-
after for 9 years at the Imp. Opera, Vienna;
also sang at La Scala, Covent Garden,
Madrid, various German towns, in the U. S.,
etc. a Settled in Boston, 1879. He had a
predilection for Wagner roles, and was an
excellent actor and teacher.
Ad'ams, Stephen. See Maybrick, M.
Ad'ams, Thomas, eminent organist and
comp. for org.; b. London, Sept. 5, 1785; d.
there Sept. 15, 1858. He was a pupil of Dr.
Busby, and organist at several prominent
London churches. His publ. organ- works in-
clude many fugues, voluntaries, 90 interludes,
and several variations on popular airs; he
also wrote variations for piano, and many
anthems, hymns, and sacred songs. His
skill in improvising was remarkable; for
years he had charge of the performances on
Flight and Robson's 'Apollonicon.'
Ad'cock, James, b. Eton, England, Tune
29, 1778; d. Cambridge, Apr. 30, 1860. Chor-
ister, 1786, of St. George s chapel, Windsor,
and lay-clerk in 1797 ; later a member of
various church-choirs in Cambridge; and,
finally, choir-master- at King's College. —
Works: Several 3- and 4-part glees; an even-
ing service in Bb; anthems; and a book, The
Rudiments of Singing.
Ad'dison, John, composer and double-
bass player; b. London, circa 1765; d. there
Jan. 30, 1844. — Works: 6 operettas, very
popular at the period; a 'sacred drama/
Elijah; songs, glees, etc.; also Singing Prac-
tically Treated in a Series of Instructions
(London, n. d. [1836]).
A'delburg, August, Ritter von; b. Con-
stantinople, Nov. 1, 1830; d. insane at
Vienna, Oct. 20, 1873. Fine violinist, pupil
(1850-4) of Mayseder. His tone is said to
have been well-nigh unmatchablc in fullness;
his numerous comps. were chiefly for violin
(concertos, sonatas for pf. and vln., string-
quartets), and some sacred pieces; also 3
operas: Zrinyi (Pest, 1£68); Wallenstein;
and Martinuzsi.
A'delung. See Adlung.
Adler [and'-], Guido, mus. theorist and
writer; b. EibenschQtz, Moravia, Nov. 1,
1855. Studied at the Academic Gymnasium
in Vienna, where he conducted the pupils'
chorus, and at the Vienna Cons, under
Bruckner and Dessoff; entered the Univ. in
1874, and founded, in cooperation with Felix
Mottl and K. Wolf, the academical Wagner
Society; took the degree of Dr. fur. in 1878,
and in 1880 that of Dr. phil. (dissertation on
Die hislorischen Grundklassen der christlich-
abendlandischen Musik bis 1600), and in 1881
qualified as private lecturer on mus. science
(thesis, Studie zur Geschichte der Harmonie).
With Chrysander and Spitta he founded, in
1884, the 'Vierteljahrsscnrift fur Musikwis-
senschaft'; in 1885 he was app. prof, of mus.
science in the German Univ. at Prague,
writing a monograph on the Faux bourdon
and the treatise by Gulielmus Monachus. In
1892, he was elected president of the central
committee of the 'Internat. Ausstellunz fur
Musik und Theater'; in 1895, he succ. Hans-
lick as prof, of mus. history, Univ. of Vienna,
becoming 'prof, in ordinary' in 1898. Since
1913 he has been editor of 'Studien zur Mu-
sikwissenschaft,' which serve as critical sup-
plements to the 'Denkmaler der Tonkunst
in Osterreich.' — Other publ. essays are Die
Wiederhdlung u. Nachahmung in der Mehr-
stimmigkeit; Ein Sat* eines unbek. Beethoven-
schen Klavierkonserts ; Die mus. Autographen
u. reuidierlen Abschriften Beethooens im Be-
situ von A. Artaria; Richard Wagner (lec-
tures); Vber Textlegung in den Trienter
ADLER— AGAZZARI
Codices. An important book is Der Stil in
der Musik (1912).
Adler, Vincent, pianist and composer;
b. Raab, Hungary, Apr. 3, 1826; d. Geneva,
Jan. 4, 1871. Pupil of his father, and
of Erkcl at Pest; studied in Vienna and
Paris; 1865, prof, at Geneva Cons. — Works:
Op. 11, Valse rococo; op. 13, Feuilles d% Al-
bum; op. 15, Allegro de concert; op. 16,
Etudes ae style; op. 24, Grande Marche; op.
26, Barcarolle; etc.
A'dlgasser, Anton Gajetan, b. Innzell,
Bavaria, Apr. 3, 1728; d. Dec. 21, 1777, at
Salzburg, where he had studied under Ebcr-
lin, and, since 1751, was first organist at the
cathedral. — Works: Church-comps. of merit.
— See Q.-Lex.
Adlung fahd-] (or A'delung), Jakob, b.
Binderslebcn, near Erfurt, Jan. 14, 1699; d.
Erfurt, July 5, 1762. Pupil of Chr. Rcichardt
at Erfurt; became town organist (1728) and
prof, in the gymnasium (1741), also giving
private music-lessons. He was not only an
indefatigable teachtr of the clavichord, but
also built 16 clavichords with his own hands.
Three of his works, Anleitung zur mus. Ge-
lahrtheU (1758; 2nd ed., 1783, revised by
J. A. Hiller), Musica mechanica organoeai
(1768), and Musikalisches Siebengestirn (1768),
have historical value.
Adolfa'tl, Andrea, b. Venice, circa 1711;
d. Genoa (?), circa 1760. Pupil of Galuppi;
m. di capp. at church of the Madonna aclla
Salute, Venice, and (1750) at the church del-
l'Annunciazione, Genoa. He wrote 5 operas
and much church-music.
Adras'tos, pupil of Aristotle; peripatetic
philosopher of Pnilippopolis circa 330 B. c;
wrote Three Books of Harmony (a Latin
translation was found in 1788 in the library of
the King of Sicily).
A'drlaensen, Emmanuel (called Hadri-
anus), b. Antwerp. Eminent lutcnist of the
16th century; publ., 1584, Pratum musicum,
arr. of songs and dances for 2-4 lutes; and,
1592, a coll. of canzonets, dance-tunes, fan-
tasias, madrigals, motets and preludes (by
C. di Rore, O. di Lasso, J. van Berchem,
H. Waelrant, etc.), freely transcribed for lute
in tablature.
Adriano dl Bologna. See Banchikri.
Adrien (Andrien), Mar tin- Joseph [also
called La Neuville, or Adrien raine], b.
Liege, May 26, 1767; d. Paris, Nov. 19, 1822.
From 1785-1804, bass singer, then chorus-
master, at Paris Grand Opera; 1795-9, and
again in 1822, prof, of lyric declamation at
the 'fecole royale de musique.' — Works:
Opera, Le Fou ou la Revelation (Amsterdam,
1829); Hymne a la Liberie (1792, celebrating
the Prussians' departure); Hymne a la Vic-
toire (1795); and the Hymne aux martyrs de
la liberie.
Aerts [ahrts], figide, flutist; b. Boom, near
Antwerp, Mar. 1, 1822; d. Brussels, June 9,
1853. Entered Brussels Cons, at 12; at 15,
gave brilliant concerts in Paris; app., 1847,
teacher of flute in Brussels Cons. — Works (in
MS.) : Symphonies, flute-concertos, etc.
Afana&slev [-nah's'yeV], Nikolai Jakovle-
vitch, violinist and com p.; b. Tobolsk, 1821;
d. Pctrograd, June 3, 1898. Pupil of his
father. Wrote some excellent chamber-mus.,
an octet, several quintets and quartets; a
prize cantata, The Feast of Peter the Great; an
opera, Amalat Bek; pes. for pf. and vl.;
pf.-pes.; songs; also symphs. and oratorios
(MS.).
Affer'ni, Ugo, b. Jan. 1, 1871, at Florence,
where he attended the Cons.; from 1886-90 he
studied at the Raff Cons., Frankfort (Bulow,
Schwarz, Urspruch), and Leipzig Cons. (Rei-
necke, Jadassohn, Piutti) ; 1893-7, director of
three societies in Annaberg; in 1895, married
the English violinist May Brommer [b.
Great Grimsby, May 2, 1872; taught by
Herrmann, Schradieck, and Brodsky. at
Leipzig Cons.]. Became dir. in 1897 of the
new 'Verein der Musikfreunde1 at Lttbeck,
and in 1905 succeeded Lustner as cond. of
the Kurkapelle at Wiesbaden. — Prod, a
lyrical comedy-opera, Potemkin an der Donau
(Annaberg, 1897). Publ. pf .-pieces and songs.
Afra'nlo, canon at Ferrara, the reputed
inventor of the bassoon; b. Pavia, end of the
15th century. He is mentioned, and an in-
strument resembling the bassoon depicted, in
Alboncsio's work Introductio in chaldaicam
linguam (Pavia, 1539).
Afzelius, Arvid August, Swedish writer,
pastor at Enkoping; b. May 6, 1785; d.
Sept. 25, 1871. Publ. 2 collections of Svenska
Folksvisor [Swedish Folk-songs] (1814-16, 3
vols.); and Afsked af Svenska Folksharpan
[Farewell of the Swedish Folk's- harp] (1848,
1 vol.).
Agazzari [-gaht-sah'-], Agostino, b. Siena,
Dec. 2, 1578; d. there Apr. 10, 1640. En-
tered the service of the Emperor Matthias as
a professional musician; proceeding to Rome,
he was in turn m. di capp. at the German
College (circa 1609), the church of St. Apol-
linaris, and the 'Scminario romano' ; intimacy
with Viadana led to his adoption of the
latter's innovations in sacred vocal music
(writing church concerti for 1 or 2 voices
with instrumental harmonic support). From
1630, m. di capp. at Siena cathedral. His
works, variously reprinted in Germany
and Holland, were in great favor, and
very numerous (madrigals, psalms, motets,
AGELAOS— AGRICOLA
magnificats, and other church-music) . His little
pamphlet on La musica ecclesiastica (Siena,
1638) is a theoretical endeavor to bring the
practice of church-music into accord with the
Resolution of the Council of Trent; he was
also among the first to give written instruc-
tions for performing the basso continuo
(Preface to Book iii of the Motets [Zanetti,
Rome, 1606]); his pastoral drama, Eumelio
(1606), is one of the very earliest operas.
— See Q.-Lex.
Agela'os of Tegea, reputed the first virtu-
oso on thecithara played alone, took first
prize given in the Pythian games of 559 B. c.
for playing on stringed instruments.
Agnelli [ahn-yelle], Salvatore, b. Palermo,
1817; d. 1874. Pupil of the Naples Cons,
under Fur no, Zingarelli and Donizetti; began
his professional career as a writer of Italian
operas for Naples: II Lazxarone napolitano
(1839), and La Locanderia di spirito (1839);
going to Marseilles in 1846, he brought out
the operas La Jacquerie (1849), Leonore de
MSdicis (1855), and Les deux Avares (1860),
besides several ballets; 3 operas, Cromwell,
Stefania, and Sfor*a, remain in MS. He also
wrote a cantata (Apothrose de^ Napolion /,
performed by three orchestras in the Jardin
des Tuileries, 1856), a Miserere t and a
Stabat Mater.
Agnesi (ahn-ya'ze], Luigl (recte Louis-
Ferdinand -Leopold Agniez), bass opera-
and concert-singer; b. Erpent, Namur, July
17, 1833; d. London, Feb. 2, 1875. Pupil of
Brussels Cons.; cond. of several sinking-
societies, and choirmaster at St. Catharine s
ch.; comp. the unsucc. opera Harold le
Normand (1858); st. 1861 with Duprez;
filled numerous engagements in Germany,
Holland, Belgium, Paris, and especially in
London, where his reputation was high.
d'Agne'si, Maria Theresia, pianist and
dramatic comp.; b. Milan, 1724; d. 1780 (?).
— Works: 5 operas (all given in 1771), Sofo-
nisba (Naples), Ciro in Armenia (Milan),
Nitocri (Venice), Insubria consolata (Milan),
// re pastor e; also sonatas for pf., and ditto
for harp.' — See Q.-Lex.
Agniez, L.-F.-L. See Agnbsi, L.
Agosti'ni, Lodovico, b. Ferrara, 1534; d.
there Sept. 20, 1590, as chaplain to Alphonso
II of Este. He was both poet and composer;
his madrigals, motets, masses, vespers, etc.,
were published in Venice (Gardano); also in
Milan, Ferrara, etc. — See Q.-Lex.
Agosti'ni, Mezio, b. Fano, Aug. 21, 1875.
He received his mus. education at the Liceo
Rossini, # where he studied, from 1885-93,
under his father, Vitali, Pedrotti and Sam-
bianchi. Having held the post of conductor
in various theatres, he was appointed by
Mascagni prof, of harmony at the Liceo in
Pesaro. In 1909 he succeeded Wolf-Ferrari
as director of the Liceo Benedetto Marcello
in Venice. He wrote several operas, of which
II Cavaliere del Sogno won a prize and was
produced at Fano in 1897; wrote also a
symph., 4 suites for orch.; 2 pf. -trios; a
string-quartet; a cantata, A Rossini; pf.-
pieces and songs.
Agosti'ni, Paolo, b. Vallerano, circa 1575;
d. Rome, 1629. Pupil of B. Nanini; was suc-
cessively organist of S. Maria in Trastevere,
m. di capp. at S. Lorenzo at Damaso, and the
successor of Ugolini in the similar office at
the Vatican (1627). His publ. works, 7 books
of psalms (1619), 2 books of Magnificats and
Antiphons (1620), and 5 books of Masses
(1624-28), form but a small portion of his
compositions, which are marvels of contra-
puntal ingenuity, some of them in 48 parts.
Numerous MSS. in Roman libraries. — See
Q.-Lex.
Agosti'ni, Pietro Simone, b. Rome,
1650; maestro to the Duke of Parma. Wrote
the operas Tolemeo (Venice, 1668?), Ippolita
(Milan, 1670), La costanza di Rosmonda
(Genoa, 1670), LAdalinda (Aricia, 1673), II
Ratio delle Sabine (Venice, 1680), Floridea
(Venice, 1687). Some of these were written
in collaboration with Busca, Ziani and de
Rossi. He also wrote oratorios, motets and
secular cantatas. — See Q.-Lex.
AgrelT, Johann Joachim, b. .Ldth,
Sweden, Feb. 1, 1701; d. Nuremberg, Jan.
19, 1765. From 1723-46, he was court vio-
linist at Kassel, and also noted as a harpsi-
chord-player; 1746, after visiting Italy, Ka-
pellm. at Nuremberg. — Works: Symphonies
for orch.; 7 concertos for harpsichord and
quartet; 7 trios; several duos; 6 sonatas for
harpsichord solo. — See Q.-Lex.
Agrl'cola (Ackermann), Alexander, emi-
nent composer, probably of German nation-
ality and b. in Holland circa 1446; d. circa
1506 near Valladolid, Spain. He was chor-
ister at Milan (till 1474) and Mantua (till
1491), then entering the service of Philip I
(the Fair) of Burgundy, whom he followed
from Brussels in 1505 to Spain. 31 of his
songs and motets were printed by Petrucci
(Venice, 1502-3), who also published (Venice,
1503) a vol. of 5 masses (Le Serviteur, Je ne
demande, Malheur me bat, Primi tonit Se-
cundi toni). — See Q.-Lex.
Agri'cola, Johann Frledrich, b. Dobitz-
schen, n. Altcnburg, Jan. 4, 1720; d. Berlin,
Nov. 12 (Forkel), Dec. 1 (Schneider), Dec. 6
(Voss..Ztg.), 1774. He entered the Univ. of
Leipzig in 1738 as a law-student, but also
studied music for three years with J. S.
Bach, and later (1741) with Quantz in Berlin;
AGRICOLA— AHLE
was made court -com poser (1751) and di-
rector of the Royal Chapel (1759), succeeding
Graun. His compositions, which had no en-
during success, were 8 operas (brought out
1750-72 at Berlin and Potsdam), and a va-
riety of sacred music and arrangements of
the King's compositions; except a psalm and
some chorals, none was published. He was a
good singing- teacher (transl. Tosi's Method
of Singing), and was said to be the finest
organist in Berlin. Under the pseudonym
'Olibrio1 he printed some polemical pam-
phlets directed against Marpur^; was also a
collaborator on Adlung's Mustca mechanica
organoedi. — See Q.-Lex.
Agri'cola, Martin, a very important mus.
theorist and writer; b. Schwicbus (Branden-
burg), Jan. 6, 1486; d. Magdeburg, June 10,
1556. His real name was Sore, but he
adopted the Latin name because of his
descent from peasants. He is an authority
on the instruments of his time, and a valuable
source for the history of notation. Matthe-
son says that he was the first to abandon the
old tablature for modern notation. From
1510 he was a private music-teacher in
Magdeburg; 1527, app. cantor at the first
Lutheran church there. His ^ friend and
patron, Rhaw, of Wittenberg, printed several
of his works, chief among which are Mustca
figuralis deudsch, Von den Proporcionibus
(both without date or author's name, but
reprinted together in 1532); Mustca instru-
tnentalis deudsch (chief work; 1528, '29, '32);
Rudimenta musices (1539, '43; this 2nd ed.
entitled Quaestioms vulgariores in musicam);
Duo libri musices (1561, being the Rudimenta
and De Proporcionibus in one vol.); Scholia
in musicam planam Wenceslai Philomatis
(1540); Virdung's Musica getutschl in verse,
with the original illustrations; also a few col-
lections of pieces: Kin kurtz deudsch musica
(1528); Musica choralis deudsch (1533);
Deudsche Musica und Gesangbiichlein (1540);
Ein Sangbiichlein alter Sonntags-Evangclien
(1541).— See Q.-Lex.
Agthe [ahg'tel, (Wilhelm Johann) Al-
brecht, son of following; b. Ballenstedt, Apr.
14, 1790; d. Berlin, Oct. 8, 1873. Pupil of
Fischer in Erfurt; in 1810, music-teacher in
Leipzig, and member of the Gewandhaus
Orchestra; 1823, teacher of Logier's method,
in Dresden; 1826 in Posen (Theodor Kullak
being one of his pupils); 1830 in Breslau,
and 1832 in Berlin, where for 13 years he
was director of a music-school. Some of his
piano-pieces are of interest.
Ag'the, Karl Christian, b. Hettstadt, June
16, 1762; d. Nov. 27, 1797, at Ballenstedt,
as court-org. to the Prince v. Bernburg. —
Works: 6 Singspiele, 1 ballet, sonatas for
pf., songs, etc.
Agua'do y Garcia, Dlonislo, famous
guitar-player; b. Madrid, Apr. 8, 1784; d.
there Dec. 20, 1849. Wrote various pieces
and etudes for guitar, also a Method (publ.
1825; in French, 1827).
Agula'rl, Lucrezia. See Agujari.
Aguilar [ah-ghe-lahr'], Emanuel Abra-
ham, English pianist and com p. of Spanish
descent; b. Clapham (London), Aug. 23
1824; d. London, Feb. 18, 1904. His operas,
Wave King (1855) and The Bridal Wreath
(1863) have remained MS.; wrote 3 symphs.
(C, E m.f D m.); 2 overtures; allegro for pf.
and orch.; septet for pf., wind and strings;
sextet, pf. ana wind; quartet, pf. and strings;
2 quartets for strings (A, D ra); 3 trios, pf.
and strings (G m., E, A m.).
Aguile'ra de Here'dia, Sebastiano, a
monk, composer and 'maestro de musica' at
the cathedral in Saragossa early in the
seventeenth century; publ. (1618) a coll. of
Magnificats still sung there, and elsewhere
in Spain.
Agujari [-yah'-j, Lucrezia (known as La
Bastard ina, or Bastardella, being the natural
daughter of a nobleman), a brilliant singer
with phenomenal compass (c1-^) ; b. Ferrara,
1743; d. Parma, May 18, 1783. Her father
entrusted her instruction to P. Lambert ini;
in 1764 she made a triumphant debut, at
Florence, followed by a succession of brilliant
appearances in Milan and other Italian cities,
also in London. Mozart wrote of her, that
she had "a lovely voice, a flexible throat, and
an incredibly high range." She sang by
preference the music of Colla, a maestro di c,
whom she married in 1780, then retiring from
the stage.
Ahle, Johann Georg, son of Joh. Rud.
A.; b. Miihlhausen, June (?). 1651; d. there
Dec. 2, 1706; succeeded his lather as organ-
ist, composed numerous works popular at the
time, and was made poet-laureate by Em-
peror Leopold I. He wrote a method of
composition, Musikalische Fruhlin*s-, Som-
mer-f Herbst-u. Winter gesprdche (1695-1701);
also Instrumentalische Fruhlingsmusik, and
Anmuthige zehn vierstimmige Viol-di-gamba
Spiele (1681); also publ. a long series of
volumes of dances, sacred and secular songs,
many no longer extant.
Ahle, Johann Rudolf, b. Miihlhausen,
Thuringia, Dec. 24, 1625; d. there July 9,
1673. A diligent composer of church-music
and writer of theoretical works; his Compen-
dium pro tonellis (1648) ran through 4 edi-
tions [2nd (1673) asBrevis et perstncua intro-
ductio in artem musicam; 3d ana 4th (1690
and 1704) as Kurzt und deutliche Anleitung
]. Principal compositions: Geist-
liche Dialoge, songs in several parts (1648);
8
AhlstrOm — alard
TkUriwischerLustgarten (1657) ; Gcistliche Fest-
u. Communionandachten (posthumous). Many
of his chorales are still popular inThuringia. —
From 1646 he was cantor in Gottingen; in
1654, organist of St. Blasius, Miihlhausen;
in 1661, elected burgomaster of the town. A
selection from his works was publ. by J. Wolf
in 4Dkm. deutscher Tonkunst' (vol. v).— Cf.
J. Wolf, Jok. Rud. Ahle% in *Sbd. Int. M.-G/
(1902, II, 3).— See Q.-Lex.
Ahlstrom [awl-], Jakob Niklas, b. Wisby,
Sweden, June 5, 1805; d. Stockholm, May
14, 1857; comp. operas {Alfred the Great, Abu
Hassan), incid. music, songs; publ. w. Boman
a coll. of Swedish folk-songs.
Ahbtrttm, Olof, b. Stockholm, Aug. 14,
1756, d. there Aug. 11, 1835, as organist at
the ch. of St. Jacob. — Works: Piano-sonatas;
violin-sonatas; the collections Musikalisk
Tidsfordrift and Skaldestykken, both contain-
ing songs by himself; etc.
Ah'na. See Db Ahna.
Albl [I'bl], Joseph, firm of music-publs.
estab. at Munich in 1824; the subsequent
heads were Eduard Spitzweg (from 1836),
and his sons, Eugen and Otto. Since 1904
in Leipzig under the firm-name 'Universal-
Edition.'
Afblinger [I-], Johann Kaspar, b. Was-
serburg, Bavaria, Feb. 23, 1779; d. Munich,
May 6, 1867. Studied music in Munich, then
at Bergamo under Simon Mayr (1802); lived
at Vicenza 1803-11; then became 2d m. di
c. to the viceroy at Milan; founded the
'Odeon' (society for the cultivation of clas-
sical vocal music) at Venice, in cooperation
with Abb6 Trentino; was engaged (1819) for
the Italian opera in Munich as maestro al
cembalo, in 1826 as Kapellm.; returned in
1833 to Bergamo, and made the fine collec-
tion of ancient classical music now in the
Staatsbibliothek at Munich. He was the
foremost promoter of classical vocal per-
formances in All Saints' church, Munich, and
wrote many celebrated sacred compositions
(masses, requiems, liturgies, psalms, etc.).
His one opera, Rodrigo e Ximent (Munich,
1821), and 3 ballets, were less successful.
Ai'chinger [I-], Gregor, b. Ratisbon,
1564; d. Augsburg, Jan. 21, 1628, as canon
and vicar-choral of the cathedral. Comp.
much sacred vocal music; 3 books of Sacrae
cantiones (Augsburg and Venice, 1590; Ven-
ice, 1595; Nuremberg, 1597); Tricinia, Di-
vinae laudes (1602), etc., etc.; his Cantiones
ecclesiasticae (DilHn^en, 1607) are noteworthy
as one of the earliest works in which the
term 'basso continuo' appears. — See Q.-Lex.
Aig'ner [fg-], Engelbert, dramatic comp.;
b. Vienna, Feb. 23, 1798; d. 1851. Pupil of
Stadler; 1835-7, director of ballet in court
theatre. — Works: Opera, Die Wunderlilie
(1827); 2 comic operas, Das geheime Fenster
(1826) and Der Angriffsplan (1829); cantata,
Lob der Tonkunst; a mass; a quintet in G;
6 choruses for men's voices; some unpubl.
masses; and a requiem.
A'imo. See Haym, N. F.
Ajolla. See Layollb.
Ak'eroyde, Samuel, Engl, song-writer, b.
Yorkshire after 1650. Many of his popular
comps. were printed in collections of the
period; e. g., in D'Urfey's 3rd coll. of Songs
(1685), 'Theater of Musick' (1685-6-71,
'Banquet of Mustek' (1688), 'Comes Amoris'
(1685-7), 'Thesaurus musicus' (1693-6), etc.
AkimenTco, Theodore, composer; b.
Kharkov, Russia, Feb. 8, 1876; pupil of
Rimskv-Korsakov (1886-90) at the Petro-
grad Cons., and of Balakirev (1886-95) as
chorister in the Court Choir, in which he
also taught for some years; spent 3 years
(1903-6) in France; now living in Moscow. —
Works: Lyric poem and overture for orch.;
string-trio in C (op. 7); 'cello-sonata; violin-
sonata; pieces for pf. (Sonate fantastiquet
op. 44); songs and choruses; an opera, The
Queen of the Alps (MS.).
Alaleo'na, Domenlco, comp. and musicol-
ogist; b. Montegiorgio (Piceno), Nov. 16,
1881. Pupil, in the 'Liceo musicale' con-
nected with the St. Cecilia Academy in Rome,
of Bustini (pf.), De Sanctis (comp.), Renzi
(theory). At graduation, in 1906, he directed
his choral work for soli, ch. and orch., AUoU
lite Portas, which attracted considerable
attention. 1903-10 cond. the 'Societa Guido
Monaco' at Leghorn; since 1910 cond. the
'Augusteo,' and prof, at Cons, in Rome. —
Works: A requiem, Pro defuncto Rege; a
2 -act opera, Mirra; Sinfonia Italica; songs
with pf. and orch.; wrote SuEmilio de Cava-
lieri (1905, in 'Nuova Musica'), and Studii
sulla storia deW Oratorio (Turin, 1908); also
critical and hist, essays in various journals.
Alard [ah-iar'], Jean-Delphia, a distin-
guished violinist of the modern French
school; b. Bayonne, Mar. 8, 1815; d. Paris,
Feb. 22, 1888. A pupil of Habeneck at
Paris Cons. (1827), his celebrity dates from
1831; he succeeded Baillot as prof, in 1843,
and as leader of the royal orchestra, teaching
in the Cons, till 1875. A fine instructor
(Sarasate was his pupil), he publ. a Violin
School of high merit, a selection from 18th-
century classics (Les mattres classiques du
violon), and numerous brilliant and popular
comps. for violin (concertos, Etudes, fanta-
sias, duets for pf. and vln., etc.). His play-
ing was full of fire and spirit, and his inter-
pretation of classic German chamber-music
was exceptionally fine.
ALAYRAC— ALBERT
Alayrac. See Dalayrac.
Albanese [-na'zfc], , b. Albano, near
Rome, 1729; d. Paris, 1800; from 1752-62,
Erincipal singer at the Parisian 'Concerts
pirituels.' Comp. songs {romances) very
popular in their day.
Albane'sl, Lulgl, b. Rome, Mar. 3, 1821;
d. Naples, Dec. 4, 1897. Pupil of Polidori
and Lavigna; was a highly esteemed pianist
and teacher; wrote pf.-pieces, many motets,
masses, and the oratorio, Le sette parole di
Cesa Cristo.
Albani [-bah'-] is the stage-name of
Marie Louise Cecilia Emma Lajeimesse,
a gifted dramatic soprano, b. Chambly, near
Montreal (Canada), Nov. 1, 1852; trained in
the Convent of the Sacred Heart at Mon-
treal; removed to Albany, N. Y., in 1864.
where her singing in the cathedral attracted
such general attention, that her father was
persuaded to take her to Europe for study;
pupil of Duprez at Paris for 8 months, and
of Lamperti at Milan for a longer period
(the latter' s treatise on the Trill is dedicated
to her); made her debut at Messina in 1870
(Sonnambtda), under the name of Albani.
After singing in Florence, London (1872),
and Paris, she again studied with Lamperti
for several months; sang at Covent Garden
in 1873, and also at Petrograd; returning to
America, she revisited Albany, and sang in
the cathedral; in 1874 sang again at Covent
Garden, where she was permanently engaged
until 1896, the year of her grand triumph as
Isolde (in German), Jean de Reszk6 singing
the part of Tristan; retired from active work
in 1906. Married the lessee of the theatre,
Mr. Ernest Gye, in 1878. Her principal
rdles are Amina (Sonnambtda), Marguerite
(Faust), Mignon, Ophelia, Elsa, Senta, Elisa-
beth, Lucia, Desdemona (Otello) ; she is also
an oratorio-singer of the first rank, and a fine
pianist. She has sung in opera on the conti-
nent (Berlin, 1887) with great success. She
publ. her memoirs under the title Emma
Albani, Forty Years of Song (London, 1911).
Alba'nl, Mathias (father and son), vio-
lin-makers of Bozen (Tyrol). A. the elder,
b. Bozen, 1621; d. there, 1673, was one of
Stainer's aptest pupils; A. the younger
learned the trade of his father, and worked
with the Amatis at Cremona, settling finally
in Rome. His instruments, from 1702-9, are
considered almost equal to the genuine
Amatis; whereas his father's violins, though
powerful in tone, are less remarkable in
quality.
Albeniz, Isaac, brilliant pianist and
composer; b. Camprodon (Spain), May
29, 1861; d. Cambo au Bains (Pyrenees),
May 19, 1909. As a child his progress on
the piano was so astonishing, that at the uge
of six Marmontel accepted him as a pupil.
After extensive concert tours through Europe
and America {as a child-prodigy) he entered
the Brussels Cons, for further serious study
under Brassin (pf.), and Dupont and Gevaert
(comp.); subsequently studied also with
Jadassohn, Reinecke and Liszt. The greater
part of his life was spent on tours as a con-
cert pianist. He was court pianist to the
Queen of Spain. In his later works he shows
himself strongly influenced by French im-
pressionism, especially in his suites Iberia
and Catalonia. — Works: The operas The
Magic Opal (London, 1893); Enrico Clifford
(Barcelona, 1895); San Antonio de la Florida
(Madrid, 1895); Pepita Jimenez (Barcelona,
1896); the trilogy King Arthur {Merlin,
Lancelot, Ginevra] (1897-1906); V&emitage
fieurie (1905): an oratorio, Crista; Concerto
fantdstico; and over 200 comps. for pf.
Albeniz f-neth'], Pedro, b. Loerofio (Old
Castile, Spain), April 14, 1795; d. Madrid,
Apr. 12, 1855. In early youth, organist in
various Spanish towns; later, a pupil of
Kalkbrenner and Henri Herz in Paris; app.
(1830) pf.-prof. at Madrid Cons., and (1834)
court organist. An early and powerful pro-
moter of modern methods of piano-playing
in Spain, a composer of some 70 piano-pieces
(rondos, variations, fantasias, Etudes, etc.).
also songs; author of a pf. Method adopted
by the Madrid Cons. (1840).
Alberga'ti, Plrro CapacelH, Conte d',
comp.; b. Carrati, Sept. 20, 1663; d. Bologna,
June 22, 1735. Comp. oratorios (// Convito
di Baldassaro, VInnocenza di S. Eufemia,
S. Catterina, S. Eustachio) ; Cantate spiritual*
a 2-3 v., with instrs.; Cantate tnorali a
voce sola; Mottetti ed Antifone delta B. V. a
voce sola; Messa e Salmi concertati; Messa
Litanie d. B. V. a voce sola; Hfnno ed Anti-
fone d. B. V.; Corona di pregi di Maria (can-
tate a v. sola), etc. Instrumental pieces:
Pletro armonico C10 sonate da cam.); BaUetti,
Correnti, Sarabande e Gighe for vln., 2nd vln.
ad lib., and violone; etc. — See Q.-Lex.
Albert, Prince of Saxe-Coburg-Gotha,
Prince Consort of Queen Victoria; b. Schloss
Rosenau, Aug. 26, 1819; married Feb. 10,
1840; d. Dec. 14, 1861. A zealous promoter
and patron of art, he himself comp. an opera.
Hedwig von Linden (London, 1840), and
numerous vocal works, of which were publ.
Vinvocauone alV Armonia, f. solos and
chorus; morning service in C and A; anthem
Out of the deep; 29 Lieder und Romanzen, in
5 collections; 3 canzonets; etc.
Albert, Heinrich, b. Lobenstein (Saxony),
July 8, 1604; d. Konigsberg, Oct. 6, 1651.
In 1622 he went to Dresden to study music
under his uncle, Heinrich Schiitz, but his
10
D'ALBERT— ALBERTI
parents soon decided that he should study
law, and sent him to Leipzig. Going to
Ktinigsberg (1626), he was attached to an
embassy to Warsaw and taken prisoner by
the Swedes; returning to K., lie became
organist of the Cathedral (1630), and re-
sumed musk study under Stobaus. He was
a gifted composer, and a fine poet (of the
'Konigsberg school')* writing the words for
the majority of the songs he set to music.
He published 8 famous books of arias [Arien]
(1638-50), and the KurbshiiUc, a cantata
consisting of 12 terzets (1645); collections of
chorales, arias and lieder, for one or several
voices; many of his hymn-tunes ar*-«till sung
in Prussia. A selection of his songs, with
the music, has been issued in the 'Neudrucke
deutscher Littcraturwerke' (Eitncr: Halle,
1883-4); the arias in vols, xii and xiii in
'Dkm. deutscher Tonkunst.' — See Q.-Lex.
d'Albert [da hi -bar'], Eugene (Francis
Charles), [writes his name in German style,
Eugen,] pianist; b. Glasgow, Apr. 10, 1864.
His father, Charles L. N. d'A. (b. Nien-
stetten, near Hamburg, Feb. 25, 1809; d.
London, May 26, 1866), was a musician and
dancing-master, and composed many popular
dances; he was his son's first teacher. —
Eugene was elected Newcastle scholar in the
National Training School, London, in 1876,
and was taught by Pauer (pf.), and Stainer,
Prout and Sullivan (harm, and comp.); in
1881, he was elected Mendelssohn scholar,
and studied under Richter (Vienna) and
Liszt (Weimar); the latter dubbed him 'the
young Tausig' on account of his remarkable
technique. On Feb. 5, 1881, he played the
Schumann concerto at the Crystal Palace,
London, and, on Oct. 24, a concerto in A,
of his own, at a Richter Concert. Since that
time he has arrived at full pianist ic maturity,
one of his feats being the performance of 5
Beethoven sonatas (op. 31, 53, 90, 109, 110)
at a Gewandhaus recital on Nov. 20, 1893,
thus vying with Bulow's famous programs.
Ever since his first appearance he nas occu-
pied a conspicuous place among the greatest
of contemporary pianists. As a composer he
has publ. 2 pf. -concertos, in B m. and E; 2
overtures (Hyperion and Esther) ; a symphony
in F; a pf. -suite in 5 movements; a pf. -sonata
in F# m.; 2 string-quartets (A m., Eb); minor
pf. -pieces, and several songs; op. 14, Der
Mensch u. das Leben (by O. Ludwig), for
6-p. ch. and orch.; op. 16, 4 pf. -pieces {Waltz,
Scherzo, Intermezzo, Ballade). He wrote
the operas Der Rubin [The Ruby] (Karls-
ruhe, Oct. 12, 1893), which had a favorable
reception; text and music of the 3-act opera
Ghismonda (Dresden, 1895, mod. success);
opera Gemot (Mannheim, 1897; succ); 1-act
mus. comedy Die Abreise (Frankfort, 1898;
succ.) ; Kain (Berlin, 1900) ; Der Improvisator
(Berlin, 1900); Tiefland (Prague, 1903; v.
succ); Flauto solo (Prague, 1905); TragaU
dabas (Der geborgte Ehemann; comedy-opera
in 4 acts; Hamburg, 1907; succ); Izeyl
(Hamburg, 1909); Die verschenkte Frau
(Vienna, 1912); Liebesketten (Vienna, 1912);
Tote Augen (Dresden, 1916). He has also
made piano transcriptions of several of
Bach's organ works, edited the Well-Tem-
pered Clavichord, and is one of the editors of
the monumental Liszt edition brought out by
Brettkopf & Hartel.— D'Albert married the
celebrated pianist Teresa Carreno in 1892
(divorced 1895). From 1895-1910 he was
married to the singer H ermine Finck; from
1910-12 to Ida Theumann. His winter resi-
dence is Vienna, his summer home is in
Meina, Italy. 1895, app. 1st Kapellra. at
Weimar, as Dr. Lassen's successor; but re-
signed speedily, being himself succeeded by
Bernhardt Stavenhagen.
Albertazzi [-taht'sg], Emma, nie Howson,
stage-contralto; b. London, May 1, 1814; d.
there Sept. 25, 1847. Pupil of Sir M. Costa;
debut 1829, Argyle Rooms, London. En-
gaged at King's Th., 1830$ at Piacenza,
Italy, in 1831, where she married Sgr. Al-
bertazzi. Sang in La Scala (1831), Madrid
(1833), and Paris (Ital. Op., 1835), her most
brilliant period. Reappeared in London,
1837. She had a fine voice, but no passion or
animation in singing or acting.
Alber'ti, Domenico, b. Venice, circa 1717;
d. Formio (or Rome), circa 1740, is still
known to fame as the firs* to develop and
extensively employ the style of broken-chord
bass-accomp., in similar figures, named
'Alberti' or 'Albertinian' bass after him.
He first attracted notice » an amateur
singer, developing into a pianist and com-
poser of easy popular piano-music, also 3
operas, Endimione, Galatea, Olimpiade. In
1737 he was attached to the suite of the
Venetian ambassador at Rome, and was a
much-admired singer and player.
Alber'ti, Giuseppe Matteo, b. Bologna,
1685; d. after 1746. Violinist and comp. of
great merit; pupil of Manzolini and Minelli
(vln.) and F. Arresti (cpt.); 'principe' of the
B. Philh. Academy. — Publ. works: 10 Con-
certs (sextets); 12 vln. -sonatas with b. cont.;
12 Sinfonie for 2 vlns., via., 'cello and org.
Alber'ti, Johann Friedrich, b. Tdnning,
Schleswig, Jan. 11, 1642; d. Merseburg, June
14, 1710. Pupil of Werner Fabricius, Leip-
zig, and Albrici, Dresden; org. at Merseburg
cathedral till 1698. A learned contrapuntist,
whose chorales, fugues, etc., were held in
estimation.
11
ALBERTINI— ALCARROTTI
Alberti'ni, Gioacchino, b. 1751; d. War-
saw, in April, 1812. About 1784, Royal
Polish Kapellm. His Italian operas, Circe ed
Ulisse (Hamburg, 1785) and Virginia (Rome,
1786), were extremely popular.
Alberti'nl, Michael (called Momoletto),
famous soprano singer (musico) at Kassel early
in the 18th century. His sister Giovanna,
(called Romanina) was prima donna there.
Albino'ni, Tommaso, opera-composer
and violinist; b. Venice, 1674; d. there 1745;
wrote some 46 operas, chiefly for Venice; in
Germany he was best known as a violinist
and instrumental composer (symphonies,
sonatas, concertos, etc., among them some
valuable works). He was also an admired
singer. --See Q.-Lex.
Albo'ni, Marietta, celebrated contralto,
b. Ceseria (Romagna), Mar. 10, 1823; d.
Ville d'Avray, France, June 23, 1894. Studied
under Mme. Bertolotti at Bologna (where she
began her stage career in 1839), and later
with Rossini, whose sole pupil she is said to
have been. Her debut as Orsini in Doni-
zetti's Lucrezia Borgia, at La Scala (Milan,
1843), was a brilliant success; with her im-
presario, Merelli, she made an Italian tour,
then proceeding to Vienna. She^ visited
Petrograd, returned to Germany in 1845.
sang at the Roman carnival in 1847, ana
appeared at Covent Garden in London the
same spring, entering into not unsuccessful
rivalry with Jenny Lind, then at the zenith
of her fame. Engaged the following October
in the Italian Opera at Paris, she was received
with unbounded enthusiasm, and sang for
several years alternately in these capitals.
In 1853 she made a triumphal progress
through the two Americas; married Count
Pepoh in 1854, and at his death (1866)
retired from the stage. In 1877 she married
a French officer, Ziegcr. Her voice was rich,
sweet and powerful, with a compass of 2
octaves (g — g*) and perfectly equalized. Cf.
A. Pougin, M. A. (2nd ed. Paris, 1912).
ATbrecht, Eugen Maria, a fine violinist
and musician; b. Petrograd, June 16, 1842;
d. there Feb. 9f 1894. 1857-60, a pupil of
David at Leipzig Cons.; 1860-77, leader of
the orchestra at the Italian opera, Petrograd,
and (1867-72) musical director of military
schools; 1872, app. inspector of the Imperial
orchestras; 1892, librarian of the Imperial
Theatres. Also the founder (1872) of the
Chamber-music Society, and violin-master
to several of the Imp. princes. — His father,
Karl A., b, Posen, Aug. 27, 1807; d. Gat-
china, Feb. 24, 1863, was Kapellm. for 12
years of the Imp. Russian Opera, where, in
1842, he conducted the world's premiere of
Glinka's Russian and Ludmilla.
ATbrecht, Johann Lorenz, b. Gormar
near Miihlhausen (Thuringia), Jan. 8, 1732;
d. Miihlhausen, 1773. He studied at Leip-
zig, and in 1758 became cantor, music-
director and teacher in the Gymnasium at
M. Edited Adlung's Musica mechanica and
Siebengestirn (Berlin, 1768), wrote an Ab-
handlung uber die Frage: oh die Musih beim
GoUesdienst zu dulden set oder nicht (1764);
Grundliche Einleitung in die Anfangslehren
der Tonkunst (1761); and a treatise Vom
Hasse der Musih (1765); contributed articles
to Marpurg's 'Kritische Beitrage,1 etc. Com-
posed a Passion, some cantatas and harpsi-
chord-lessons.
ATbrechtsberger, Johann Georg, famous
theoretical writer, composer, and teacher; b.
Klosterneuburg, near Vienna, Feb. 3, 1736;
d. Vienna, Mar. 7, 1809. After holding posi-
tions as organist and music-mister in smaller
towns (especially 12 years in Molk, where his
finep playing attracted the Emperor Joseph's
notice), in 1772 he was engaged in Vienna as
'Regens chori* to the Carmelites; app. court
organist in the same year, and, in 1792,
Kapellm. at St. Stephen's cathedral. His
important theoretical writings (complete ed.
publ. by I. v. Seyfried) are: Griindliche An-
weisung zur Composition (1790 and 1818;
French ed., 1814).; Kurzgefasste Methode, den
Generalbass zu erlernen (1792; also in French);
Clavier schule fiir A nf anger (1808); and some
lesser essays. Of his 244 compositions, only
27 have been printed (pf. -fugues; pf.-quartet;
a Concerto leger for pf., 2 vlns., and bass;
organ-preludes; and quartets, quintets, sex-
tets and octets for strings); tha MS. scores
(in the possession of Prince Esterhazy-
Galantha) comprise 26 masses, 43 gradual*,
34 offertories, 6 oratorios; 28 trios, 42 quar-
tets, and 38 quintets, for strings; besides a
great variety of church music. A selection
from his instrumental works was publ. in
'Dkm. der Tonkunst in Osterreich,' vol. xvi.
2. He was Beethoven's teacher in cpt., and
expressed but a poor opinion of his pupil's
talents. — See Q.-Lex.
Albrici [-bre-tche), Vincenzo, b. Rome,
June 26, 1631; d. Prague, Aug. 8, 1696.
About 1650, Kapellm. to Queen Christina,
at Stralsund, Sweden; 1654, do. to the
Elector, at Dresden; 1680, organist of the
Thomasl-irche, Leipzig; afterwards, church-
music director at Prague. His works (MS.)
were destroyed in the Dresden library during
the bombardment of 1760; only a few were
saved, but never publ.
Alcarrot'ti, Giovanni Francesco, Italian
comp.; b. Novarra, c. 1536; organist at Como.
— Publ. works: 2 books of 5- and 6-part
Madrigals (1567, 1569); 1 book 5-part La-
mentations (1570).
12
ALCOCK— ALESSANDRI
ATcock, John, b. London, Apr. 11, 1715;
d. Lichfield, Feb. 23, 1806. At 14, a pupil of
Stanley, the blind organist; in 1735, organist
of two London churches; in 1737, at Ply-
mouth, and 1740, at Reading. In 1748 he
was app. organist, master of the choristers,
and lay-vicar of Lichfield cathedral; in 1761,
he took the degree of Mus. Doc. (Oxford).
His publ. comps. comprise harpsichord-
lessons, concertos, collections of psalms,
hymns, and anthems; church-services; glees
and catches. — His son, John (1740-91), was
also an organist, and publ. several anthems
(1773-6).
Alda, Frances (stage-name of Frances
Davis), lyric soprano; b. Christchurch, New
Zealand, May 31, 1883. Pupil of Marchesi
at Paris; debut at Opera-Comique, 1904, as
Manon; subsequently sang at Brussels, Lon-
don, Milan, Warsaw, Buenos Aires; since
1908 member M. O. H.; has made four
recital tours through U. S. Created chief
sop. roles in Princesse Rayon de Soldi (Gil-
son), Madame Chrysanthemc (Messager),
Louise (Charpentier), Le Villi (Puccini),
Cyrano de Bergerac (Damrosch), Madeleine
(V. Herbert), and Prince Igor (Borodin).
Principal r61cs: Mimi, Manon, Desdemona,
Marguerite (Faust), Juliette, Gilda, Travi-
ata, Aida, Manon Lescaut (Puccini), Mar-
gherita (Mefistofele). Apr. 3, 1910, married
Giulio Gatti-Casazza, director M. O. H.
Alden, John Carver, b. Boston, Mass.,
Sept. 11, 1852; pupil, in Boston, of Carl
Faelten; in Leipzig,, of Paul, Plaidy, and
Papperitz. For some years associate-teacher
(with Faelten) at the N. E. Cons.; after that,
nead of the piano dept. at the Quincy Man-
sion School, a Wollaston, Mass. — Works: A
pf. -concerto in G m., and other pf. -music;
songs (Du bist wie eine Blutne); anthems,
etc. — A. is known as a very successful pf.-
teacher.
Aldrich, Henry, b. Westminster, 1647; d.
Oxford, Dec. 14, 1710; a man of versatile at-
tainments, being, besides a good musician, a
theologian, historian, and architect. He was
educated in Christ Church (Oxford), of which
he became the Dean in 1689; thus he had
great influence on musical instruction and
practice in the college. He wrote learned
works: On the Commencement of Greek Music,
Theory of Organ-building, Theory of Modern
Instrs., etc.; composed many services and
anthems, some of which are still sung; also
wrote catches, and the like. The collections
of Boyce, Arnold and Page contain numerous
compositions of his. —See Q.-Lex.
Aldrich, Mariska, dramatic soprano; b.
Boston, Feb. 7, 1881. Pupil of Alfred
Giraudet (1906-9) and Georg Henschel.
Debut Manhattan Op. H., N. Y.f 1908, as
Page in Les Huguenots; 1909-13, sang in
M. O. H. Voice changedfrom contralto to
dramatic soprano while in Europe. Sang
part of Brunnhilde in Bayreuth, 1914.
Married Hon. J. Frank Aldrich, Apr. 18, 1901.
Aldrich, Perley Dunn, b. Blackstone;
Mass., Nov. 6, 1863. Studied at New Engl.
Cons., and from 1883-6 with S. A. Emery,
L. Maas and G. Whiting; studied singing
with W. Shakespeare in London, 1892-5; then
with Trabadello in Paris; sp. course on voice-
culture with Sbriglia in Paris, 1903-4, acting
at the same time as his asst.; prof, of mus.,
Univ. of Kansas, 1885-7; at Utica Cons.,
1889-91; in Rochester, 1891-1903; then in
Philadelphia until 1911; since 1911 in New
York as vocal teacher. He has written La
Belle Dame, for men's voices; a cantata, The
Sleeping Wood- Nymph; Book of Songs, and
other songs; several anthems. Author of
Vocal Economy (1895).
Aldrich, Richard, b. Providence, July 31,
1863. Graduate Harvard Univ., 1885; pupil
of J. K. Paine. Critic 'Providence Journal'
(\ 885-9); priv. sec. of U. S. Senator Dixon
(1889-91) and at the same time critic Wash-
ington 'Evening Star'; from 1891-1902 with
the N. Y. 'Tribune' in various editorial posi-
tions and as assistant to H. E. Krehbiel;
mus. editor of N. Y. 'Times' since 1902.
Member of Nat. Inst, of Arts and Letters.
Translated Lilli Lehmann's 'How to Sing'
(1902, 2nd ed., 1914); wrote Guide to Parsifal
(1904); Guide to the Ring of the Nibelung
(1905) ; numerous articles in various journals.
Aldrovandi'ni, Giuseppe (Antonio Vin-
cenzo), b. Bologna, circa 1673; d. Feb. 8,
1707. Cpt. pupil of J. A. Perti; 1695, a
member, and 1702, 'principe,' of Bologna
Philh. Academy. ^ Wrote 15 operas; also
much church-music (6 oratorios; concertos,
motets, sinfonie, etc.), some of which was
publ. — See Q.-Lex.
d'Alerabert [d&h-lahn-bar'], Jean le
Rond, mathematician and writer; b. Paris,
Nov. 16, 1717; d. there Oct. 29, 1783. His
works on musical science were Elements de mu-
sique theorique et pratique, suivant les principes
de M. Rameau, a treatise giving R.'s theories
in luminous detail (1752); Recherches sur la
courbe, que forme une corde Undue mise en
vibration, R.'s sur les cordes sonores, R.'s sur
la vitesse du son; Histoire de la musique fran-
chise; most, of which were also publ. in
German. He contributed many articles on
musical subjects to the great Dictionnaire
encyclopedique,' edited by himself and
Diderot (Paris, 1751-72, in 28 vols.).
Alessan'dri, Felice, dramatic composer
and conductor, b. Rome, Nov. 24, 1747; d.
Casalbino, Aug. 15, 1798. Studied music at
13
ALEXANDRE— ALKAN
Naples; m. di cap p. at Turin; then lived 4
years in Paris, and after revisiting Italy
went to London (1768), producing the comic
operas La mogHe fedele and // Re alia caccia,
and appearing as a pianist. Later in Italy,
Russia, and (1789) Berlin, where he was 2d
Kapellm. of the R. Opera (1790-2), and
brought out 2 operas, // Ritorno d' Ulysse
(1790) and Dario (1791), and in 1792 the
comic opera VOuverture du grand opera italien
d Nankin, at Potsdam; after which nothing
more is known of him. — Works: 32 operas
(prod. 1764-94); a ballet, an oratorio, 6
sinfonie a 8 (op. 6), 6 Trio-Sonatas for 2
vlns. with b. cont.; none of lasting value.
(See Valdrighi, F. Alessandri, 1896. — Also
Q.-Lex.)
Alexandre, Jacob, b. 1804; d. Paris, June
11, 1876; founder (1829) of the celebrated
firm of harmonium- makers, by whom the
'Alexandre' organ (an improvement of the
so-called 'American organ) was introduced
in 1874.
Alfa'no, Franco, b. Naples, 1876. Pupil
of Jadassohn at the Leipzig Cons.; composer
of the operas Die Quelle von Enschir [La
Fonte oVEnscir\ (Breslau, 1898), Risurrewione
(Turin, 1904), II Principe Zilah (Genoa,
1909); a symph. in E m.; Suite Romantica;
wrote also meritorious pieces for pf.
Alfara'bl, or Alphara'bius, properly £1
Farabi (abbr. Farabi), so named from his
birthplace Farab (now transoxine Othrax).
Famous Arabian mus. theorist; b. 900 (?); d.
Damascus, 950. His works contain descrip-
tions of the different Arabian mus. instrs., of
the mus. scales, and of the different systems
of music. He vainly attempted to introduce
the Greek system into his own country.
Alferalty, Achilles Nikolalevltch, b.
Kharkov, June 21, 1846, has written merito-
rious piano works and songs. Especially fine
is the Serenade Levantine from op. 25. His
songs, which number over 100, frequently
show the influence of Ukrainean folk-melodies.
Alfie'ri, Abbate Pietro, Camadulian monk,
prof, of singing at the English College, Rome;
b. Rome, June 29, 1801; d. there June 12,
1863. His fine collection of 16th-century
church-music, Raccolta di Musica Sacra
(1841-6), in 7 vols., is very valuable, being
the first edition of the collected works of
Palestrina, and is supplemented by later and
less extensive ones: Excerpta ex celebrioribus
de musica viris [Praenestino, Vittoria, Allcgri]
(Rome, 1840); Raccolta di MotteUi [Pale-
strina, Vittoria, Avia, AnerioJ (Rome, 1841),
etc.; his essays on plain song: Accontpagna-
mento coW Organo (1840); Ristabilmento del
Canto e d. Mus. eccl. (1843); Saggio storico
, . . d. Canto Gregoriano (1855); Prodromo
14
sulla restaur, de' libri di Canto detto Greg.
(1857); and many other articles in mus.
periodicals on eccl. music, are of noteworthy
historical interest; as also his biogr. sketches
of N. Jommelli (1845), B. Bittoni, and others.
AlfVen, Hugo, b. Stockholm, May 1,
1872. Pupil at the Cons, there of Lindegren
in theory, and member of the court orch.
Aided by the government stipend for young
composers he studied the violin with Cesar
. Thomson at Brussels (1896-9), lived for a
time in Paris, and travelled in Germany. In
1900 he won the Jenny Lind stipend, which
he held for three years. Since 1910 he has
been musical director at the University of
Upsala, where he conducts an excellent
students' chorus, *Orpheidrangar.' — Works:
3 symphs. (F m., D, E); 2 symph. poems, En
skdrgdrdssdgen and Drapa; a Swedish rhap-
sody, Midsotnmarvaka; 2 choral works with
orch., Sten Sture and The Lord's Prayer;
lyric scene with orch., The Bells; a cantata
for the Linne bi-centennial (1907); Triumphal
March; a vl. sonata; a romance for vl.;
pf. -pieces; songs.
Algarot/ti, Francesco, b. Venice, Dec.
11, 1712; d. Pisa, March 3, 1764; a man of
versatile ability and wide knowledge, a
favorite of Frederick the Great, who induced
him to come to Berlin in 1746, and gave him
the title of Count. His musical monument
is the Saggio sopra V opera in musica, publ.
1755, and in many later editions, and transl.
into German and French.
Aliabiev [ahl-yahVyevl, Alexander, well-
known Russian song-composer; b. Moscow,
Aug. 16, 1787; d. there. Mar. 6, 1851. Publ.
Ill songs and romances, the Nightingale
(Salavei) being a special favorite. In col-
laboration (more or less) with Verstovsky,
Wielhorski and Maurer he set to music the
ballad-operas of Chmelnitsky {The Village
Philosopher, and others); and several operas
{The Moonlight Night, or The Brownies; The
Prisoner of the Caucasus [very popular at
the time]).
Aliprandi, Bernardo, b. early in the 18th
century at Milan; d. after 1 780. Violoncellist
in the court orch. at Munich (1732); concert-
master in 1750; pensioned 1780. He wrote
the operas Apollo tra le Muse in Parnasso
(1737); MUridate (1738); Ifigenia (1739);
Semiramide (1740); also a Stabat Mater for
soprano, alto and orchestra (1749).
Alkan [-kahn'],("£fe Morhange), Charles-
Henri- Valentin (Alkan Vatne), b. Paris
Nov. 30, 1813; d. there March 29, 1888; a
pupil of Zimmerman in the Paris Cons., to
which he was admitted when but 6 years of
age; took the first piano-prize at 10, and
after 1831 occupied himself with composition
.«»
ALKAN— D'ALQUEN
and teaching, with occasional appearances in
public as pianist. His publ. works reach
op. 74. His romantic comps. for pf. are
highly original, diversified, and often very
difficult, embracing numerous Preludes, char-
acteristic pieces, marches, a concerto, several
pieces of familiar modern types, and a va-
riety of excellent Etudes. His chief pf.-pieces
are Etudes-Caprices, op. 12, 13, 16; concert -
study Le Preux, op. 17; 3 Grandes Etudes
(op. 15), Aime-moi, Le vent, Morte; Nocturne,
op. 22; Saltarelle, op. 23; Marche fun&bre, op.
26; Marche triomphale, op. 27 ;Bourree d'Au-
vergne, op. 29; pt.-trio, op. 30; 25 Preludes,
op. 31; Receutt d' Impromptus, op. 32; Grande
Sonate, op. 33; Douze Etudes, op. 35; 12
Grandes Etudes, op. 39; Mihuetto alia tedesca,
op. 46; the works for the pedal-piano ('P6da-
Uer grand'), op. 64, 66, 69 and 72, are valu-
able. His brother,
Alkali, Napoleon -Morhange (le jeune),
b. Paris, Feb. 2, 1826, was also an excellent
and popular pianist, and published several
brilliant salon-pieces.
Allac'd [-aht'che], Leone (or Leo Alla-
tius), b. Chios, 1586; d. Rome, Jan. 19,
1669; was made custodian of the Vatican
Library in 1661; compiled and publ. (Rome,
1666) a Dramaturgia, or catalogue of all
dramas and operas till then brought out in
Italy — an important historical work (2nd
augm. ed. by Pasauali, Venice, 1755); wrote
a treatise, De Melodiis Graecorum.
Alle'gri, Domenico, Roman composer,
and from 1610-29 m. di c. at S. Maria Mag-
giore, is noteworthy as being among the first
to provide vocal music with an independent
instrumental accomp. A few of his Mottetti
are still extant (a sop. solo with vlns., a tenor
duet, and a bass solo, each accompanied by
2 vlns.).
Alle'gri, Gregorio, b. Rome, 1584; d.
there Feb. 18, 1652. A pupil of Nanini; en-
tered the Papal Chapel in 1629, after acting
for some years as chorister and composer for
the cathedral at Fermo. Chiefly known to
fame as the com p. of the celebrated Miserere
in 9 parts [i. e., for two choirs singing 4 and
5 parts respectively], regularly sung during
Holy Week at the Sistine Chapel, and sur-
reptitiously written out by Mozart after
twice hearing it, though its publication was
'orbidden on pain of excommunication; since
then it has been frequently published.
Many other comps. by A. are preserved in
MS.; 2 books of Concertini and 2 of Mottetti
have been printed, also a 4-part sonata for
strings. — See Q.-Lex.
Allen, George Benjamin, composer and
singer; b. London, Apr. 21, 1822; d. Brisbane,
Queensland, Nov. 30, 1897. Successively
15
chorister, conductor, and organist, in Eng-
land, Ireland, and Australia; also manager of
a comedy-opera company, producing several
of Sullivan s operas. — Works: 2 -act opera,
Castle Grim (London, 1865); 5-act opera, The
Viking (not perf.); opera, The Wicklow Rose
(Manchester, 1882); two others in MS.; 3
cantatas; 2 Te Deums; anthems; much
concerted vocal music, many songs, etc.
Allen, Nathan H., b. Marion, Mass.,
1848. Pupil (1867-70) of Haupt in Berlin
(organ); then settled in Hartford, Conn., as
org. of the Centre Ch. and teacher. — Works:
Church-music (hymns, anthems, quartets);
concert-pcs. for org., and for pf. and org.,
vln. and pf., etc.; pf.-pieces (Fantaisie- Im-
promptu; Nocturne; 3 Winter Sketches);
exercises and arrangements for org.; songs
and part-songs. Also 'Hymns of M. Luther,'
with the original melodies, and German and
English text (New York); and a cantata,
The Apotheosis of St. Dorothy.
Allihn, Heinrich (Max), b. Halle-on-
Saale, Aug. 31, 1841; d. there Nov. 15, 1910;
from 1885 pastor and school-inspector at
Athenstedt, near Halberstadt (Harz); edited
the 2nd edition (1888) of Topfe^s Lehrbuch
der Orgelbaukunst (Theorie und Praxis des
Orgelbaues); publ. Die Hausinstrumente Kla*
vieru. Harmonium (1892), and Die Pflege des
mus. Teils des Gottesdienstes (1906); con-
tributed many essays to De Wit's 'Zeitschrift
fur Instrumentenbau.'
d" Almeida, Fernando, b. Lisbon, circa
1618; d. Thomar, Mar. 21, 1660. Distin-
guished pupil of Duarte Lobo; in 1638,
entered the Order of Christ at Thomar. — Of
his many church-compositions, only one folio
vol. in MS. is extant: Lamentacbes, Respon-
sorias e Misereres das tres officits da Quarta,
Quinta e Sexta-feria da Semana Santa.
Al'menr&der, Karl, bassoon -virtuoso; b.
Ronsdorf, near Diisseldorf, Oct, 3, 1786; d.
Biebrich, Sept. 14, 1843. Was in turn prof.
of bassoon at Cologne Music- school (1810),
member of Frankfort theatre-orch. (1812),
and regimental bandmaster; started a manu-
factory for wind instruments (1820) at
Cologne, but gave it up in 2 years, entering
the Nassau Court Orch. at Biebrich. He
materially improved the bassoon, wrote a
treatise on it (Mainz, 1824), and a method
for it. Publ. a bassoon-concerto; potpourri
for b. and orch.; variations for b. with vln.,
via., and 'cello; introd. and variations for
bassoon and quartet; Duettinos for 2 bas-
soons, etc.; also the popular ballad, Des
Hauses letzte Stunde.
Alphara'bius. See Alfarabi.
d* Alquen [-ken], Friedrich, younger
brother of the following; b. Arnsberg, 1810;
D* ALQUEN— ALVAREZ
d. London, June 18, 1887; a law-student, but
took piano lessons of Ferd. Ries (with whom
he travelled), and adopted the career of a
professional pianist and teacher. In 1827,
teacher in Brussels; 1830, went to London.
Publ. concertos, sonatas, and other pf .-pieces.
d* Alquen, (Peter Cornelius) Johann,
popular song-writer, b. Arnsberg, Westphalia,
1795; d. Mulheim-on-Rhine, Nov. 27, 1863.
A medical student in Berlin, he was a music-
pupil of Klein and Zelter, and gave up
medical practice to devote himself to
composition.
Alslebeit, Julius, b. Berlin, Mar. 24,
1832; d. there Dec. 8, 1894. Dr. phil., Kiel
Univ. Pf. -pupil of Leuchtenberjj and Zech;
studied theory with S. Dehn. Hrst a con-
cert-pianist and teacher; 1865, president of
Berlin Tonkunstlerverein'; 1872, 'Professor';
1879, pres. of the 'Musiklehrerverein,' being
one of its founders. Editor (from 1874) of
'Harmonic ' Publ. 12 Vorlesungen iiber Mu-
sikgesckichte (1862) ; Ober d. Entwkkelung d.
Klavierspiels (1870), and Licht- und Wende-
fmnkte in der Entwickelung der Musik (1880);
contributor to several musical papers. —
Comps. : Requiem for 6- and 8-part choruses
a cappella; a liturgy; overtures and march
for orch.; songs; pf. -pieces.
Al'sted(t), Johann Heinrich, b. Bellers-
bach, near Herborn, Nassau, in 1588; d.
Weissenburg, Transylvania, Nov. 8, 1638.
Prof, of phil. and theol. at both those towns.
Articles on music are found in his 'Encyclo-
padie der gesammten Wissenschaften' (1610);
wrote Elemenlale musicum (in his 'Elementale
mathematicum,' publ. 1611), transl. into
English by Birchensha (1644).
ATtenburg, Johann Ernst, b. Weissen-
fels, 1736; d. Bitterfeld, May 14, 1801.
Trumpet -virtuoso; field-trumpeter in the 7
Years' War, then organist at Bitterfeld.
Wrote a valuable treatise: Versuch einer An-
leitung xur heroisch-musikalischen Trompeter-
und Paukerbunst (Halle, 1795); also pieces
for 2, 4, 6 and 8 trumpets, and a concerto for
7 trumpets and kettle-drums.
ATtenburg, Michael, b. Alach, n. Erfurt,
May 27, 1584; d. Erfurt, Feb. 12, 1640. St.
theology at Halle; in 1611, pastor at Trochtel-
born; 1621, in Gross-Sommerda; 1637, asst.-
pastor (Diakonus) at Erfurt. — Composed
much excellent church-music; 7-part Wedding
motet; 5-, 6-, and 8-part Church and Home-
Songs; Festival Songs in 5-14 parts; 6-part
Intraden for instruments or voices; etc.
Altes [-a'ssl, Ernest-Eugene, brother of
following; b. Paris, March 28, 1830; d. St.-
Dye, n. Blois, July 8, 1899. Violinist and
conductor; pupil of Habeneck, in Paris Cons.;
took first vln. prize in 1848, and the second
16
for harmony (under Bazin) in 1849; in 1871,
app. deputy-conductor of the Opera, 1879-87
conductor, then retired. — Principal comps.:
A symphony, string-quartet, trio for pf. and
strings, sonata for pf. and vln., etc.
Altes, Joseph-Henri, b. Rouen, Jan. 18,
1826; d. Paris, July 2*, 1895. Pupil of the
Paris Cons., and a fine flute-player (Grand
Opera); successor of Dorus as Cons, pro-
fessor (1868-94); publ. flute-pieces, many
with accomp. of pf. or orch.
Althouse, Paul, dram, tenor; b. Reading,
Pa., Dec. 2, 1889.# Began his vocal studies
with Miss Essick in Reading; cont. in New
York with P.#R. Stephens and O. Saenger;
debut as Dimitri in Boris Godunov at M. O.
H., Mar. 19, 1913 (creating the role at the
American premiere); he also created Duke
d'Esterre in Herbert's Madeleine (1911) and
Conte dc Neipperg in Giordano's Madame
Sans-Gcne (1915); has been especially success-
ful as a concert-singer, having appeared at
many of the most important mus. festivals
in the U. S. (Worcester, Springfield, Rich-
mond, Savannah, Norfolk, etc.); while his
operatic repertory is, as yet, rather limited
(15 roles), he has all the standard oratorios
in his concert repertory.
Altmann, Wilhelm [Dr. phil.; R. Prof.];
b. Adelnau, Apr. 4, 1862. Since 1900, chief
librarian at the Berlin R. Library; since 1906
also director of the 'Deutsche Musiksamm-
lung,1 to which he, with Breitkopf & Hartel,
gave the initial impulse: since 1904, also head
music reviewer for the 'National-Zeitung/ —
Works: Chronik des Berliner Philh. Orchesters
[1882-1901] (1902); Heinrich v. Herzogenberg
(1903); Offenlliche Musikbibliotheken; ein
frommer Wunsch (1903); Richard Wagners
Briefe (1905; a list of 3143 letters with brief
synopses); Brahms Briefivechsel (1908); Wag-
ners Briefivechsel mil seinen Verlegern (2 vols.,
1911); Kammermusik-Litteratur- Verzeichniss
(list of chamber-music publ. since 1841]
(1910). Publ. also several arrangements of
works of Bach, Beethoven, Stamitz; edited
first ed. of Michael Haydn's Violin Sonatas
with b. cont.
Alt'nikol, Johann Ghristoph (J. S.
Bach's pupil and son-in-law); b. (?); d.
Naumburg, July, 1759, as organist there.
Publ. works: Several cantatas with $r. orch.;
Magnificat; some others in MS. in Berlin
Royal Library.
Alvarez [-ra'l [nom de the Aire of Albert-
Raymond Gourron], celebrated stage-tenor;
b. Bordeaux, France, 1861 At 18 he volun-
teered for military service as a bandmaster;
in 1883, studied singing in Paris with A. de
Martini, and soon made his debut at Ghent,
ALVAREZ— AMATO
Belgium. He then sang at the 'Grands The-
atres' of Lyons and Marseilles, winning a
reputation which caused his engagement at
the Paris Grand Opera in 1892 (debut as
Romeo). Since then he has sung the chief
tenor rdles on that stage, creating leading
parts in Thais, La Montague noire, FrSdi-
gonde, HellS, Messidor, Lcs Mattres-Chanteurs,
Burgonde, and Gautier VAquitaine (Vidal).
His repertory comprises about 60 rdles. He
has appeared several seasons at the Metr.
and Manh. Opera Houses, New York, and at
Covent Garden.
Alvarez [-vah'-re'th], Fermfh Maria, song-
writer; b. Saragossa, Spain; d. Barcelona,
1898. — Publ. some 100 vocal works, accomp.
in part by'pf., in part by other instruments;
also a few piano-pieces.
Alva'ry, Max, dram, tenor, b. Diisseldorf,
May 3, 1858; d. at his country-seat Daten-
berg, near Gross-Tabarz, Thunngia, Nov. 8,
1898. His real name was Achenbach, his
father being the celebrated painter. Pupil of
Stockhausen; debut at Weimar; he became
famous in New York, 1884-9, as a Wagner
singer (Siegfried was his finest rfile); then
returned to Hamburg, but visited N. Y.
during two subsequent seasons; later sang at
Mannheim.
Alvs'leben, Melitta. See Otto-Alvs-
LEBEN.
Aly'pios, Grecian musical theorist circa
360 A. D., whose Introd. to Music, containing
all the Greek transposing scalesboth in vocal
and instr. notation, is the chief source for
our knowledge of ancient Greek notation. It
has been publ. by Meursius (1616) and Mei-
bom ('Antiquae musicae auctores septem,'
Amsterdam, 1652); the notation has been
reprinted more recently by Bellermann, Paul,
Riemann, etc.; a new critical ed. in Jan's
'Scriptores' (1895).
Amad6, Ladislaw, Baron von, b. Kaschau,
Hungary, Mar. 12, 1703; d. Fclbar, Dec. 22,
1764. National poet, and composer of folk-
songs, which were collected and published
(Pest, 1836) by
Amad6, Thaddaiu, Baron von, b. Pres-
burg, Jan., 1783; d.Vienna, May 17, 1845;
a successful pianist and composer, who dis-
covered Liszt's musical genius and provided
means for developing it.
Amade'i, Roberto, b. Loreto, Italy, Nov.
29, 1840. Organist and m. di c. at Loreto,
succeeding his father! — Works: The operas
Luchino Visconti (Lugo, i869); Bianca de*
Rossi (Ban); IlBaccheUone (comic); the 1-act
Amore allegro (Loreto, '96; succ); also much
church -music, and pf. and vocal music.
Amalla, the name of three artists, prin-
cesses by birth. (1) Anna A., Princess of
17
Prussia, sister of Frederick the Great, b.
Nov. 9, 1723; d. Mar. 30, 1787; composed a
scries of excellent chorales, and also wrote
music to Ramlcr's Tod Jesu, later composed
by Graun. — (2) Anna A., Duchess of Wei-
mar, mother of the Grand-duke Ernst
August, b. Oct. 24, 1739; d. Apr. 10, 1807;
composed the operetta Erwin und Eltnire
(text by Goethe). — (3) Marie A. Frlederike,
Princess of Saxony, sister of King John of
Saxony, b. Aug. 10, 1794, Dresden; d. there
Sept. 18, 1870. As a writer of comedies she
was known under the name JAmalie Heiter';
composed also church-music and^ several
operas ( Una donna, Le tre cinture, Die Sieges-
fahne, Der Kanonenschuss, etc.). [Riemann.]
Ama'ni, Nicholas, b. 1875; d. 1904.
Russian composer. — Op. 1, string-trio; op. 3,
Variations for pf.; op. 4, pf. -suite; op. 5, two
pf.-valses; op. 6, 4? songs; op. 7, 4 characteris-
tic pieces for pf.; op. 8, 3 Preludes for pf.
Ama'ti, a renowned family of violin-
makers at Cremona, Italy. (1) Andrea, b.
1530 (?), d. 1611 (?), was the first violin-
maker of the family; his violins were usually
of small pattern, but show a marked advance
over the Brescia instrs. — His 2 sons, (2)
Antonio, b. 1550, d. 1638, and (3) Gero-
nimo, b, 1556; d. Nov. 2, 1630, worked for
a time together, producing violins of nearly
the same style as their father. — (4) Niccold,
b. Dec. 3. 1596; d. Apr. 12, 1684. the most
celebrated of the Amatis, improved the model
in several respects, and, though generally
working with a small pattern, built some
so-called 'grand Amatis' — large violins of
more powerful tone, and in great request.
The tone of his instrs. is clearer,, purer, and
more sonorous than in those of his prede-
cessors. His label is 'Nicolaus Amati Cre-
monens. Hieronimi filius Antonii nepos.
Fecit anno 16 — .' In his workshop were
trained both Andrea Guarneri and Antonio
Stradivari. — (5) Niccold's son, Geronimo,
b. Feb. 26, 1649; d. Feb. 21, 1740, the last of
the family, was far inferior to his father as
a workman.
Ama'ti, Vincenzo (called Amatus), Dr.
of theol., and m. di capp. at Palermo cathe-
dral from' circa 1665; b. Cimmina, Sicily,
Jan. 6, 1629; d. there July 29, 1670. Publ.
sacred comps., and the opera Vlsaura
(Aquila, 1664.)
Ama'to, Pasquale, operatic baritone, b.
Naples, 1878. St. at Cons, of Naples (1896-
99); debut as Germont in La Traviata at
Teatro Bellini, Naples, in 1900. Subse-
quently sang at Buenos Aires, Milan, and in
Russia, England, Egypt and Germany; since
1909 member of the M. O. H. Created the
rdles of King Hadraot (Armida), Carlo
Worms (Ger mania), Jack Ranee (Girl of the
AMBROS— AMMERBACH
Golden West), Golaud (Pellcas el MHisande).
Principal r61es: Count Luna (Trovatore), Lord
Ashton (Lucia), Mephistopheles (Faust), des
Grieux (Manon), Escamillo (Carmen). Amato
is regarded as one of the finest operatic
baritones.
Am'bros, August Wilhelm, distinguished
musical historiograph and critic; b. Mauth, n.
Prague, Nov. 1/, 1816; d. Vienna, June 28,
1876; divided his student-years at Prague
Univ. between law and music; was app.
Public Prosecutor at Prague in 1850, but con-
tinued his musical work and study, and in
1856 attracted general notice by his essay on
Die Grenzen der Musik und Poesie (2nd ed.
Leipzig, 1885; Engl, transl. N. Y., 1893), a
study in musical aesthetics put forth in reply
to Hanslick's Vom Musikalisch-Schonen,
and a treatise of high and lasting value as
a corrective to Hanslick's extreme views.
This was followed by Culturhistorische Bilder
aus dent Musikleben der Gegenwart (1860; 2nd
ed. Leipzig, 1865), a collection of admirable
essays; he was then (1860) engaged by Leu-
ckart of Breslau (now in Leipzig) to write a
History of Music, his principal work, and a
life-task destined to render him famous. In
1869 he was app. prof, of music, Prague
Univ., and prof, of mus. history^ at Prague
Cons.; 1872, app. to a position in the Min-
istry of Justice, Vienna, and also prof, in the
Cons, at Vienna. In gathering the materials
necessary for the history, he spent years of
labor in the libraries of Munich, Vienna, and
several Italian cities, having leave of absence
for this purpose, and likewise a grant of
money from the Vienna Academy. Vol. iii.
down to Palestrina, appeared 1868; A. died
before completing the fourth, which was
edited from his notes and materials by C. F.
Becker and G. Nottebohm; a fifth vol. was
published (1882) by O. Kade from further
collected materials, and W. Langhans has
written a sequel, in a more popular style
(under the title, Gcschichte der Musik des
17., 18. und 19. Jahrhunderts), bringing the
work up to date (2 vols., 1882-6). A list of
names and general index were also published
by W. Baumker in 1882. A 2nd ed. (Leu-
ckart, Leipzig, 1880) of the original 4 vols, has
been printed; contents: Vol. i, The Begin-
nings of Music, Mus. of the Antique World,
of the Greeks, etc.; vol. ii, from the Christian
era down to the First Flemish School; vol.
iii, from the Netherlander to Palestrina;
vol. iv, Palestrina, his contemporaries and
immediate successors. Vol. i nas been re-
written, not wholly to its advantage, by B.
Sokolovsky. Vols, ii and iii are of peculiar
value. Vol. ii was republ. (1892) in a new
revision by H. Reimann; likewise vol. iv
(1909), by H. Leichtcntritt; vol. v was
revised and enlarged (1911) by O. Kade. —
Two series of entertaining essays, Bunte
Blatter (1872-74; 2nd ed. by E. Vogel, 1896)r
are interesting to either amateurs or profes-
sionals. Ambros was also an excellent prac-
tical musician, being a fine pianist, ana the
composer of an opera, Breiislaw a Jitka,
overtures to Othello and the Magico prodi-
gioso, several piano-pes., numerous songs, and
2 masses, a Stabat Mater, etc.
Ambrose (Ambroeius), b. Trier (Treves).
a.d. 333; d. Milan, Apr. 4, 397; elected
Bishop of Milan in 374; canonized after
death. Celebrated for his regulation (384)
and development of singing in the Western
Churches, by the introduction and cultiva-
tion of ritual (antiphonal and congregational)
song, as practised at the time in the Eastern
Church, and by the consequent adoption of
the 4 authentic church-modes; his indisput-
able authorship of many sacred songs has
earned him the title of Father of Christian
Hymnology.' It does not appear that St.
Ambrose was acquainted with the use of the
letters A-G as signs of notation; his reputed
authorship of the 'Ambr. Chant,1 Te Deum
laudamus, is mythical. — Bibliography: Bi-
raghi, Inni sinceri e carmi di S. Ambrogio
(Milan, 1862); G. M. Dreves, Aurelius Am-
brosius, der Voter des Kirchengesanges (Frei-
burg, 1893); A. Mocquereau, Notes sur
V influence de V accent et du cursus tonique latins
dans le chant ambrosien (Paris, 1897); A.
Steier, Vntersuchungen uber die Echtheit der
Hymnen des Ambrosius (Leipzig, 1903); P.
Wagner, Ursprung und Entwicklung der litur-
gischen Gesangsformen bis zum Ausgange des
MittelaUers (Leipzig, 1910); E. Garbagnati,
Riviste sull antica salmodia ambrosiana
(Rome, 1912).
Ambrose, Paul, b. Hamilton. Ont., Oct.
11, 1868. Pupil of his father and A. R. Par-
sons (pf.), B. O. Klein (cpt.), and D. Buck
(orch.); 1886-90, organist in N. Y. City;
since 1890 supervisor of mus. instruction in
the state schools of New Jersey. Composer
of songs, part-songs and pf.-pieces,
d'Ambrosio, Alfredo, b. Naples, Tune 13,
1871; d. Nice, Jan. 2, 1915. Pupil at the
Cons, of Naples of E. Bossi (comp.); st. vl.
1889-90 in Madrid with Sarasate; then two
vears with Wilhelmj in London; lived in
Nice as teacher and leader of a string quar-
tet. Wrote an opera, Pia de Tolomei; a
ballet, Ersilia; a str.-quartet; a str.-quintet;
2 concertos f. vl. and orch.; about 40 comps.
for vl. (Romania in D, Canzonetta, etc.).
Am'(m)erbach, Ellas Nlkolaus, contra-
puntist and organist; b. Naumburg, circa
1530; d. Leipzig, Jan. 27, 1597. From 1560.
organist of the Thomaskirche, Leipzig; publ.
(Leipzig, 1751) an Orgcl- oder Instrument-
Tabulatur, a work important as bearing his-
18
AMIOT— ANDERSEN
torical witness to the progress in the practice
of tuning, the fingering of keyboard-instrs.,
and the execution of graces, etc. (described
by Becker, 'Die Hausmusik in Deutschland,
Leipzig, 1840); and Ein neu kunstlich Tabula-
turbuch (1575; 2nd ed.f 1583). Also printed
many comps. for organ and clavichord.
Amlot [ah-m'ydh'], Joseph Maria, b. Tou-
lon, 1718; d. Pekin, 1794; Jesuit missionary
to China; transl. Li Koang Ti's work on
Chinese music: Commentaire sur le livre
classique touchanl la musique des anciens; also
wrote Memoire sur to musique des Chinois,
tant anciens que modernes (vol. vi of 'Me-
moires concernant 1'histoire, les sciences, lea
arts, etc., des Chinois'; Paris, 1780, 15 vols.,
edited by Abb6 Rouffier).
Am'(m)on, Blasius, d. Vienna, June,
1590; a Tyrolese by birth, educated as a
sopranist in the service of Archduke Ferdi-
nand of Austria; an able contrapuntist, many
of whose works were printed (book of 5-part
Introits, Vienna. 1582; ditto 4-part Masses,
Vienna, 1588; 2 books of 4- to 6-part Motets,
Munich, 1590-91; five 4-part Masses, Mu-
nich, 1591; and a book of 4-part Introits,
Munich, 1601); numerous works in MS. are
in the Munich Library. He died as a Fran-
ciscan friar. — See Q.-Lex.
Am'ner, John, b. late in the 16th cent.;
d. 1641. Organist and choirmaster at Ely
cathedral, England, 1610-41; Mus. Bac.
Oxon., 1613. — Works: Hymns in 3 to 6 parts,
for voyces and vyols (1615); anthems; etc. —
Ralph, his son, was bass singer at the Royal
Chapel, Windsor, from 1623-63.
A'mon, Johann (Andreas), b. Bamberg,
1763; d. Wallerstein, Bavaria, March 29,
1825; a virtuoso on. the horn, and pupil of
Punto, with whom he made long professional
tours to the chief cities of France and Ger-
many. App. music-director at Heilbronn in
1789, he lived there till 1817, then accepting
the post of Kapellm. to the Prince of Ottin-
gen- Wallerstein. — His printed comps. include
symphonies, a pf.-concerto, a concerto for
flute and viola, various sonatas, trios, quar-
tets, quintets, etc., etc. — See Q.-Lex.
Amyot. See Amiot, Joseph Maria.
A'nacker, August Ferdinand, b. Frei-
berg, Saxony, Oct. 17, 1790; d. there Aug.
21, 1854; a pupil of Schicht and Schneider at
Leipzig; in 1822 cantor and music-director in
Freiberg, and a teacher of music in the Sem-
inary (R. Volkmann and Fr. Brendel were
his pupils); in 1827, conductor of the miners'
band. A sound musician and composer
(wrote the cantatas Bergmannsgruss and
Lebens Blume und Lebens Unbestand, 7 vocal
numbers to Daring's Bergmannstreuef various
piano-pes., songs, etc.).
19
Ancona, Mario, dramatic baritone; b.
Florence, Nov., 1870. He studied Social
Science and Law, and began life as a diplo-
mat; but his interest in music was so strong
that he soon abandoned the diplomatic
career, and made his debut at Trieste as
Scindia in Massenet's Le Roi de Lahore,
scoring an emphatic success; then sang at
the principal opera houses of Italy; 9 seasons
at Covent Garden, 5 at M. O. H., 2 at Man-
hattan O. H.; has sung in Spain, Portugal,
Russia and Buenos Aires; recipient of several
Portuguese orders; Commendatore della Co-
rona d' Italia. He has appeared in more than
60 roles (all Wagner parts in German); his
repertoire includes the chief baritone parts in
I'Africaine, Les Huguenots, Faust, Carmen,
Ptcheurs de Perles, La Boheme, Tosca, Ma-
dama Butterfly, Don Giovanni, Notze di Fi-
garo, Andrea Chenier, II Barbiere di Siviglia,
La Gioconda. all the Verdi operas still in the
repertoire of to-day, etc.
Ancot [ahn-k6h']f a family of musicians at
Bruges.— Jean (f>ere)f b. Oct 22, 1779; d.
July 12, 1848; violin-virtuoso, pianist, and
composer; St. (1799-1804) in Paris under
Baillot, Kreutzer, and Catel, then settled in
Bruges as teacher. Publ. 4 violin-concertos;
overtures, marches, sacred music, etc.; most
of his works are still in MS. Taught his 2
sons— (1) Jean (fils), b. July 6, 1799; d.
Boulogne, June 5, 1829; finished his mus.
education at the Paris Cons, under Pradhcr
and Berton; an accomplished pianist, in
London 1823-25, and settled in Boulogne
after making concert- tours through Belgium;
an astonishingly prolific composer (225 works,
chiefly pf.-sonatas, a concerto, variations,
etudes, fugues. 4-hand fantasias, also violin-
concertos, etc.); — and (2) Louis, b. Bruges,
June 3, 1803; d. there, 1836; for a time
pianist to the Duke of Sussex, London; made
extended continental tours, taught at Bou-
logne and Tours, and finally returned to
Bruges. Compositions of little value.
An'ders, Gottfried Engelbert, b. Bonn.
1795; d. Paris, Sept. 22, 1866. Archivist and
superintendent of Paris Library. Wrote
monographs on Paganini (1831), and Beet-
hoven (1839).
An'dersen, (Carl) Joachim, b. Copen-
hagen, April 29 1847; d. there May 7, 1909;
son and pupil ot the flutist Christian Joachim
A., and himself a remarkable flute-player and
conductor; 1869-77, member of the Royal
Orch., Copenhagen; 1881 in Berlin, where he
was a co-founder, and for ten years 1st flute
and asst. -conductor, of the Philharm. Orch.;
since 1893, cond. of the Palace Orch. at Co-
penhagen. Chamber-musician to the Rus-
sian, Prussian, and Danish courts. Compo-
sitions for flute many and fine: Concert-pieces
ANDERSON— ANDREA
with orch.; Hungarian fantasia; Ballade;
Dance of the Sylphs; 24 easy and 24 difficult
Etudes, etc. — His brother, Vi£o, eminent
flute-player, soloist in the Thomas orchestra
at Chicago; b. Copenhagen, April 21, 1852;
d. by suicide at Chicago, Jan. 29, 1895.
Anderson, Lucy, nSe Philpot, b. Bath,
in Dec., 1790; d. London, Dec. 24, 1878.
Fine pianist, pupil of Windsor at Bath, and
the teacher of Queen Victoria and her
children.
An'derson, Thomas, b. Birmingham,
Engl., April 15, 1836; d. there Sept. 18, 1903.
Was teacher there, and organist of the Par-
ish church, Solihull; mus. critic of the Bir-
mingham 'Daily News.' — Works: The can-
tatas The Song of Deborah and Barak, The
Wise and Foolish Virgins, The Wreck of
the Hesperus, John Gilpin, The Three Jovial
Huntsmen, The Norman Baron (1884), and
Yuletide (Birm. Fest., 1885); an English
Requiem; prize glee, Mat o' the Mill; many
songs; a symphony, overtures, marches and
an AUemande, for orchestra; string-quartet;
pf .-pieces.
d'Andrade [dahn-drah'de], Francesco,
dramatic baritone; b. Lisbon, Jan. 11# 1859;
pupil of Miraglia and Ronconi; debut San
Remo, 1882, in Aida. Sings all leading bari-
tone stage-roles; is also a fine concert-singer,
and has been heard all over Europe. In 1906
he was singing at Kroll's Th., Berlin.
Andre*, Johann, father of a musical
family; b. Offenbach, Mar. 28, 1741; d. there
June 18, 1799. Founder of the well-known
music-publ. house at Offenbach, est. Aug. 1,
1774. He was an accomplished pianist, a
composer of some 30 operas and 'Singspiclc'
(Der Tdpfer, Erwin und Elmire, Belmonte e
Constants [Berlin, 1781, a year before Mo-
zart's], etc.), of many instrl. works and songs
{Rheinweinlied, Bekrdnzt mit Laub), and was
the creator of the durchkomponierte Ballade,
the first being Die Weiber von Weinsberg
(1783). For 7 years (1777-84) he was Ka-
pellm. at Dobbelin's Theatre in Berlin. Up
to his death his establishment had issued
about 1,200 numbers. — See Q.-Lex.
Andre", (Johann) Anton, third son of
Joh. A.; b. Offenbach, Oct. 6, 1775; d. there
April 6, 1842. A precocious mus. talent,
pupil of Vollweilcr in Mannheim 1793-96;
was a fine pianist, violinist and composer
before entering the Univ. of Jena; after com-
pleting his studies he made extensive travels,
and on his father's death took charge of the
business, adding peculiar lustre to its good
name by the purchase (1800) of Mozart's
entire mus. remains. He publ. M.'s auto-
graph thematic catalogue, and supplemented
it by a list of the works so acquired. By
accepting the application of the lithographic
{>rocess to music-printing (1779), another
ong stride was taken towards placing this
firm in the front rank. He was* an excellent
composer (2 operas, symphonies, songs,
etc.), a successful teacher, and a note-
worthy theorist (Lehrbuch d. Tonsetzkunst
[unfinished!, 2 vols, on Harmony, Cpt.,
Canon, and Fug^e, 1832-43, new revised ed.
1875; and Anleitung sum Violins piele). — See
Q.-Lex.— His sons were: (1) Carl August, b.
Tune 15, 1806; d. Frankfort, Feb. 15, 1887;
head (from 1835) of the Frankfort branch,
opened in 1828, and founder of the piano-
factory (lMozartflugel'); author of Der
Klavierbau und seine Geschichle (1855). —
(2) Julius, b. Offenbach, June 4, 1808; d.
Frankfort, Apr. 17, 1880; a fine organist and
pianist, pupil of Aloys Schmitt (his grand-
father's pupil), author of a Praktische Orgel-
schule, composer of several interesting organ-
pieces, and arranger of Mozart's works for
pf. 4 hands. — (3) Joh. August, b. Mar. 2,
1817; d. Oct. 29, 1887; his father's successor
(1839) in the Offenbach publishing establish-
ment. His 2 sons, Karl (b. Aug. 24, 1853)
and Adolf (b. Apr. 10, 1855; d. Sept. 10,
1910), succeeded to the business. — (4) Jean
Baptiste (de St.-Gilles), b. Mar. 7, 1823;
d. Frankfort, Dec. 9, 1882; pianist, and
composer of various pes. for piano and voice,
was a pupil of A. Schmitt, Taubcrt (pf.), and
Kessler and Dehn (harmony) ; lived tor vears
in Berlin with the (honorary) title of Her-
soglich bernburgischer H of kapellmeister.'
Andre'a, Volkmar, b. Bern, Switzerland,
July 5, 1879. While pursuing his course at
the 'Gymnasium,' he studied music at the
same time with Karl Munzinger; 1897-1900
§upil of the Cologne Cons. (Wullner, Kleffel,
taub); spent 1 year (1900-1) at the Univ. of
Bern; 1901-2 'solorepetitor' at the R. Court
Op. in Munich; 1902-4 cond. 'Stadtbiirgcr-
vercin* in Winterthur; at present cond. of a
mixed ch. (since 1902), a male ch. (since
1904), and the symph. concerts (since 1906)
at Zurich; 1913 mus. dir. at the Univ.; 1914
Ph.D. (hon. c); in same year app. dir. of the
Zurich Cons. Has travelled extensively as
guest -cond. (many German cities, Paris, Bar-
celona, Milan); conducted in Milan (1911)
the first performance ever given in Italy of
Bach's St. Matthew Passion.— Works: Op. 1,
pf.-trio in F m.; op. 14, do. in E>; op. 2, Das
Gottlichc, cantata for s., ch. and orch.; op. 3,
Charons Nachen, do.; op. 4, sonata for vl. in
D; op. 5, 10, 12, 15, 16, 18, 23, songs; op. 6,
8, 11, 13, 17, 21, 22, 24, male chs. a capp.;
op. 7, Symphonische Fantasie for orch.; op.
9, str.-quartet in Bl>; op. 19, Vaterunser for
s., ch. and orch.; op. 20, Seeks Klavierstiicke;
op. 25, an opera, Ratcliff (Duisburg, 1914).
20
AN DRfeE— ANGELET
Andree, Elfrida, b. Wisby, Sweden, Feb.
19, 1841. Pupil of Sohrling, Norman and
Gade; 1861-66, org. in Stockholm; app. org.
at Cathedral in Gothenburg, 1867. Wrote
the choral work, Snofrid; a. symph. for orch.;
2 symphs. for org.; a str.-quartet; a pf.-
quintet; a pf.-tfio; 2 romanzas for vl.; pf.-
pieces; songs.
Andre'oli, Carlo, pianist and organist, b.
Mirandola, Jan. 8, 1840. Pupil, and from
1875 pf.-tcacher, in Milan Cons. Gave suc-
cessful concerts in London, 1858. Composed
nocturnes, romances, etc. — His father, Eyan-
gelista A., organist and teacher at Miran-
dola, was b. 1810; d. June 16, 1875.— His
brother,
Andre'oli, Guglielmo, b. Mirandola,
Apr. 22, 1835; d. Nice, Mar. 13, 1860. Pupil
of Milan Cons.; excellent pianist; made ex-
tended and successful concert tours through
Europe; wrote a piano-quartet, Preludio e
minuetto, and an excellent Manuole d'armonia.
Andreoz'zl [-dht'se], Gaetano, b. Naples,
1763; d. Paris, Dec. 21, 1826; a pupil of
Jommclli ; composed 45 operas, the first, at the
age of 16, being La Morte di Cesare for the
Teatro Argentina at Rome. Went to Rus-
sia in 1784; printed 6 string-quartets in Flor-
ence, 1786, and in 1790 became m. di c.
there, and the following year at Madrid;
finally settled in Naples, whence poverty
drove him in 1825 to Paris. He also wrote 3
oratorios.
Andre'vi, Francesco, was a prominent
Spanish composer and theorist, of Italian
parentage; b. Sanayuba, near Lerida, Nov.
16, 1786; d. Barcelona, Nov. 23, 1853. He
took holy orders; was music-director at the
cathedrals of Valencia, Sevilla, and other
Spanish cities, also at Bordeaux from 1832-
42, during the Carlist wars. From 1845-9 he
lived in Paris, and was then called to Barce-
lona as maestro of the church of Our Lady
of Mercy. The best of his numerous and
excellent compositions are an oratorio, The
Last Judgment, a Requiem, and a Stabat
Mater; only a Nunc dimittis and a Salve
regina have been printed. A treatise on
Harmony and Cpt. has been translated into
French (Paris, 1848).
Andrien. - See Adrien.
Andrles [-dres'l, Jean, b. Ghent, Apr. 25,
1798; d. there Jan. 21, 1872; from 1851
Director, and after 1856 Hon. Dir., of the
Ghent Cons., where he had been prof, of
vln.- and ensemble-classes since 1835; also
(till 1855) solo violinist at the theatre. —
Wrote: Apercu historique de tons les instrs. de
musique actuellement en usage; Precis de Vhis-
toire de la musique depuis les temps les plus
recuUs (1862); Instrs. a vent. La Flute (1866);
Remarques sur les cloches et les carillons (1868).
Ane'rio, Felice, b. Rome, 1560; d. there
Sept. 28, 1614; st. under G. M. Nanini; was
then app. maestro of the English College,
and later (Apr. 3, 1594) Palestrina's suc-
cessor as composer to the Papal Chapel. His
eminence is best attested by the fact that
several of his comps. were for a long time
supposed to be Palestrina's own. Besides
numerous MSS. in Roman libraries, many
of A.'s works are extant in printed collections,
between 1585-1622; several books of mad-
rigals a 5 and 6, canzonets and madrigals a
3-4, concerti spirituals a 4, litanies a 4-8, and
2 books of hymns, cantica and motets; also
separate motets, etc. — See Q.-Lex.
Ane'rio, Giovanni Francesco, younger
brother of Felice, b. Rome, circa 1567; d.
there 1620 (?); 1575-79, chorister at St.
Peter's; circa 1609, m. di c. to King Sigis-
mund III of Poland; 1610, m. di c. at Verona
cathedral; 1611, Prefect of the Seminario
romano; and 1613-20, m. di c. of the Jesuit
church of S. Maria dei Monti at Rome,
taking holy orders in 1616. A very prolific
composer in all the forms of sacred music
then in vogue, many of his works being
printed by the leading Italian publishers;
celebrated as the arranger of Palestrina's
6-part Missa Papte Marcelli, for 4 parts
(Rome, 1600). — See Q.-Lex.
Anet, Bapti8te. See Baptists.
Anfos'si, Pasquale, prolific composer of
operas (76 in all); b. Taggia, near Naples,
Apr. 25, 1727; d. Rome, Feb., 1797. Origin-
ally a violinist, he studied composition under
Piccinni, and brought out 2 unsuccessful
operas, but with his third venture, L} incognita
perseguitata (Rome, 1773), won popular ap-
proval, being supported by a powerful clique
hostile to riccinni. In ungenerous rivalry
with his old teacher and friend, he brought
out a great number of operas; his works soon
palled on the Roman palate, and he sought
new fields,— in Paris (1779). London (1781-
3, as director of the Italian Opera), and after
that in Prague, _ Dresden, and Berlin. Re-
turning to Italy in 1784, he was in 1791 made
m. di c. at the Lateran, and turned his atten-
tion to sacred composition (12 oratorios,
masses, psalms, etc.). His once lauded
works are now forgotten.
Angelet [ahnzh-la'l, Charles-Francois,
excellent pianist, b. Ghent, Nov. 18, 1797;
d. Brussels, Dec. 20, 1832; a pupil of Zim-
merman at the Paris Cons.; established
himself ^ as a teacher at Brussels, studied
composition there under Fetis, and publ.
various piano- pes., a trio, a symphony, etc.
Appointed court-pianist to King William I
of the Netherlands in 1829.
21
D'ANGELI— ANSCH OTZ
d'An'gell, Andrea, b. Padua, Nov. 9,
1868. While pursuing his academic studies
at the Univ. of Padua (Ph.D. with the diss.
La Musica nel Dramma Greco), he studied
comp. at the Istituto Cesare Pollini; prof,
of Italian literature at the Collegio in Cale-
gari; now (1916) prof, of Ital. lit. at the Liceo
Mamiani and prof, of aesthetics and history of
music at the Liceo Rossini in Pesaro; also
ed. 'La Cronaca Musicale'; was the first to
introduce into Italy the (until then unknown)
'lecture-recital' a9 'Concerti della University
popolari.' An opera, L'Innoccnte (text by
himself), was successfully prod, at Novi
Ligure (1896; Bologna, 1897); two other
operas, II Negrotnante and A I Ridotto di
yenezia, have not yet been prod.; author of
several libretti (Carbonicri's Edith, Gibel-
lini's Ebles di Provenza, Alberti's Myrtilla,
etc.); has written a Stabat Mater, some
masses, chamber-music and romances {Serate
d'inverno); contributed some valuable hist,
essays to var. journals (// teatro alia moda di
Benedetto Marcello; II Petrarca musicista;
Gluck, Algarotti e Wagner, in 'Cronaca'; etc.).
^ Angeli'nl, Bontempi Giovanni Andrea,
singer, composer, theorist; b. Perugia, circa
1624; d. near there, July 1, 1705. Maestro
in Rome and Venice, later in the service of
the Margrave of Brandenburg and the Elec-
tor of Saxony. His opera Paride, given in
Dresden, Nov. 3, 1662, was the first Italian
opera ever produced there. He returned to
Italy in 1694. Wrote several works, among
them an Historia musica (Perugia, 1695),
interesting for the discussion about the
ancients' ideas of harmony.
Angelo'nl, Lulgi, b. Frosinone, Papal
States, 1758; d. London, 1842. Wrote a
valuable monograph, Sopra la vita, le opere
ed it sapere di Gui:lo d'Arrzzo, restauratore
delta sciensa dell* arte musica (Paris, 1811).
Angerer, Gottfried, b. Waldsce, Wttrtt.,
Feb. 3, 1851; d. Zurich, Aug. 19, 1909.
Studied in the Cons, at Stuttgart and Frank-
fort; Director of the Mus. Acad, at Zurich. —
Works: Ballads for male chorus, Der letzte
Skalde, Sigurds Brautfahrt, K d nigs f el den, Des
Geigers Hcimkehr, Germanenzug, Der Gottes-
dienst des Waldesf GoUntreue, Der Konigs-
bote, etc.
d*Anglebert, Jean - Baptiste - Henri,
a distinguished pupil of Champion, and
court clavicembalist to Louis XIV; b.
1628 (?), d. Paris. Apr. 23, 1691. Publ. in
1689 Pieces de clavecin avec la maniere de les
jouer, among which are 22 variations on
Folies d'Espagne (varied before him by
Corelli and after him by Scarlatti). This
work shows d'A. to have been a master of
the quaint clavier-style then prevailing ; it is
also valuable for its explanation of several
old-fashioned graces.
Animuccia [-moo'tchah], Giovanni, the
distinguished predecessor of Palestrina at the
Vatican; b. Florence, circa 1500; d. Rome,
March, 1571. From the circumstance that
. he wrote the first Lauli spirituali for the
lectures held by Neri in the oratory of S.
Filippo, he has been styled the 'Father of
Oratorio.' These Laudt were contrapuntal
songs in several parts, interspersed with
occasional strophes or lines sung by a solo
voice for variety's sake; thefirst Dook of the
Laudi was printed by Dorict (1563), the sec-
ond by Blado (Rome, 1570). Other publ.
works are a book of masses (1567), 2 of
magnificats, a 4-part Credo, 4 books of mad-
rigals. Modern reprints of a mass (2 movem.)
and a 5-part madrigal are in Torchi's 'L'Arte
mus. in Italia/ vol. i. His compositions show
a gradual emancipation from the involved
formalism of the Flemish school, and prove
him to have been a worthy forerunner of
Palestrina. He was app. maestro at St.
Peter's in 1555. — See Q.-Lex.
Animuc'cia, Paolo, brother of Giovanni;
noteworthy contrapuntist; was m. di c. at
the Lateran, 1550-52, and died in 1563 in
Rome. Only a few of his comps., found in
collections of the time, are still extant.
d'Ankerts. See Dankbrs, Ghiselin.
Annlbale, called II Padova'no (or Pata-
vi'nus) from his birthplace, Padua; b. 1527;
d. March, 1575; contrapuntist; from 1552-
66, organist of 2nd organ at San Marco,
Venice. — Publ. 1 book of Ricercari a 4
(1556), 1 book of madrigals a 5 (1564), 1
book of motet9 a 5-6 (1567), 1 book of
masses a 5 (1573), 1 book of Toccate e Ricercari
for org. (1604). Two Ricercari for organ are
reprinted in vol. iii of Torchi's 'L'Arte mus.
in Italia.' — See Q.-Lex.
An'schiitz, Johann Andreas, b. Kob-
lenz, Mar. 19, 1772; d. there Dec. 26, 1856.
Founder, in 1808, of a mus. society, also a
school for vocal and instr. music, at Koblenz.
He was a lawyer by profession, but also a
good pianist and conductor, and composed
pf.-variations and numerous well-received
vocal works (songs; 2 arias for alto; some
sacred music, etc.).— His son,
An'schiitz, Karl, b. Koblenz, Feb., 1815;
d. New York, Dec. 30, 1870. Pupil of Friedr.
Schneider; in 1844 he assumed the director-
ship of the music-school founded by his
father, but went in 1848 to London (where
he conducted the Wednesday Concerts for a
time), and in 1857 to N. Y. as conductor of
Strakosch & Ullmann's opera-troupe. In
September, 1862, he opened a season of
German opera on his own account, which
22
ANSORGE— APTHORP
deserved the success it failed to obtain.
From 1860-2 he conducted the Arion singing-
society. He was a gifted conductor and
cultivated musician; his publ. comps. consist
of a few piano-pieces.
An'sorge, Konrad (Eduard Reinhold),
pianist; b. Buchwald, near Liebau. Silesia,
Oct. 15, 1862; 1880-2, pupil of Leipzig Cons.;
1885, of Liszt; after long concert ^tours in
Germany, Russia, Austria, and America, he
settled in Berlin as a successful concert-
player; 1898-1903, teacher in the Klind-
worth-Scharwenka Cons. — Works: 3 sonatas,
Ballade, Traumbilder, Polish Dances, for pf.;
songs; orchl. and chamber-music; string-
sextet; 2 string-quartets; Requiem for m. ch.
and orch.
Antegnati [-tan-yah'te], Costanzo, cele-
brated organ-builder; b. Brescia, circa 1557;
d. there circa 1620. Organist at Br. cathe-
dral. Wrote sacred comps. (masses, motets,
psalms, and canzoni), publ. Venice, 1619-21,
and pieces in organ-tablature; also an inter-
esting and rare treatise, VArte organica
(Brescia, 1608).- — 3 Ricercari for organ are
reprinted in vol. iii of Torchi's 'L'Arte mus.
in Italia.'
Anti'co, Andrea. See Antiquus, Andreas.
Antipov', Constantin, b. Russia, Jan. 18,
1859. — Compositions for piano: Op. 1, 3
fitudes; op. 2, 3 Valses; op. 3, Vars. on an
original Russian theme; op. 5, 5 pieces
(the Romance is fine); op. 6, 4 pieces (Noc-
turne); op. 8, 2 Preludes; op. 9, 3 Minia-
tures (Valse); op. 10, Prelude; op. 11, Valse
and fetude; op. 12, Nocturne; op. 13, Im-
promptu and Valse; — op. 7, Allegro sympho-
nique for orchestra.
Anti'quis, Johannes [Giovanni] de,
maestro di c. in the ch. of San Niccolo at
Bari (Naples). Publ. VUlaneUe alia Napoli-
tana (1574), which contains a few pieces by
him; a coll. of Canzonettea 2 (1584); and the
first book of his 4-p. madrigals (Venice, 1585).
Anti'quus, Andreas (also A. de Anti-
ques Vene'tus, or Andrea Anti'co), b.
Montana (Istria), latter half of the 15th
century. Music-printer in Rome and (1520)
Venice, probably the first of* his trade after
Petrucci, who publ. many of A.'s Frottole
(Venice, 1504r-8).
Antoine, Paul. Pen-name of Ernest
Closson.
Anto'ny, Franz Joseph, b. Miinster,
Westphalia, Feb. 1, 1790; d. there Jan. 7,
1837. 1819, music-director at the cathedral;
1832, organist, succeeding his father (Jo-
seph A., b. Jan. 12, 1758; d. 1836). Publ.
Archdologischliturgisches Gesangbuch des Gre-
gorianischen Kirchengesangs (1829), and Ge-
sckichUiche Darstellung der Entstehung und
Vervollkommnung der Or gel (1832). Com-
posed church-music.
A'pel, Johann August, b. Leipzig, Sept.
17, 1771; d. there Aug. 9, 1816. Dr. juris;
author of a series of articles on rhythm
(#Allg. musikal. Zeitung,' 1807-8), and a
large work, Metrik (1814-16, 2 vols.). His
Gespensierbuch (1810-14) suggested to Weber
the subject of Der Freischiitz.
Apell', (Johann) David von, b. Kassel,
Feb. 23, 1754; d. there 1833. Theatre-
Intendant, and Dir. of Kassel Singing-Soci-
ety; member of several foreign mus. socie-
ties. Prolific composer: 4 operas, several
ballets and cantatas, 3 symphonies, 3
quartets, etc.
Ap'pel, Karl, violinist, b. Dessau, Mar.
14, 1812; d. there Dec. 9, 1895. Pupil of
Linden and Schneider; leader of the ducal
orchestra; composed an opera, Die Rduber-
braut (Dessau, 1840), and very popular
humorous male quartets.
Appunn, Georg (August Ignaz), b.
Hanau (Kassel), Sept. 1, 1816; d. there
Jan. J 4, 1885; a musician of versatile talent,
a player on almost all mus. instrs., and up
to 1860 a teacher of theory, instrl. playing,
and singing in Hanau and Frankfort; then
occupied himself exclusively with acoustical
experiments and the construction of acous-
tical apparatus, notably an harmonium of 53
degrees within an octave. — His son Anton
(b. June 20, 1839; d. Jan. 13, 190')), student
in Leipzig Cons., continued his father's
researches.
Apri'le, Giuseppe, one of the finest con-
tralti of his time; b. Bisceglia (Apulia), Oct.
29, 1738; d. Martina, 1814; a pupil of Avos,
and the teacher of Cimarosa. From 1763 he
sang in the principal theatres of Italy and
Germany, then settling in Naples as a sing-
ing-master, as which Tie was famous!, His
vocal method, The Italian Method of Singing,
with 36 Solfeggi, first publ. by Broderip
(London). haslseen reprinted in many edi-
tions and several languages; he also wrote
vocal music, solfeggi, etc. — See Q.-Lex.
Ap'thorp, William Foster, b. Boston,
Mass., Oct. 24, 1848; d. Vevey (Switzer-
land), Feb. 19, 1913. Writer and critic. A
student at Harvard, where he graduated in
1869, he st. pf., harm., and cpt. Under J. K.
Paine from 1863-7; then pf. under B. J.
Lang. While in Harvard, he was asst.-
pianist and cymbalist in the Pierian Sodal-
ity, and cond. that society 1868-9. Taught
pf. at Boston 'National Coll. of Music'
(1872-3); then, until 1886, taught succes-
sively pf., harm., cpt., fugue, and general
theory at the N. £. Cons.; also, for some
23
APTOMMAS— ARCADELT
years, aesthetics and mus. hist, in the Coll.
of Mus. o'f Boston Univ. He began his career
as music critic on the 'Atlantic Monthly'
(from 1872-7); was eng.as mus. critic on the
'Evening Transcript* from 1881, also dram,
critic after 1882; contributed many articles
on music and drama to leading periodicals;
edited the 'Program-books' of the Boston
Symph. Orch. from 1892-1901; and publ. the
following works: Hector Berlioz. Selections
from his Letters and . . . Writings (N. Y.,
1879); Musicians and Music-lovers, and Other
Essays (N. Y., 1894); Jacques Damour, and
Other Stories, Englished from Zola (Boston,
1895); and By the Way—About Music and
Musicians (Boston, 1899). Critical editor of
Scribner's 'Cyclopedia of Music and Musi-
cians' (N. Y., 1888).
Aptom'mas, John and Thomas, two
brothers, b. at Bridgend, England, in 1826
and 1829 respectively; remarkable harp-
players; both lived in London as teachers;
the younger was from 1851-6 in New York.
Compositions elegant, though hardly equal
to Parish- Alvars'; they also wrote a History
of the Harp (London, 1859).
Ara, Ugo, b. Venice, July 19, 1876.
Pupil of P. A. Tirindelli (vl.) at the Cons.
Benedetto Marcel lo in Venice; 1889, at age
of 13, member of orch. at Th. 'La Fcnice.'
In 1894 he continued his vl. studies with
Cesar Thomson at the cons, of Liege. After
a few months, however, owing to violinist's
cramp, he was obliged to give up playing
altogether. The next seven years (1894-
1901) he spent in Vienna, studying comp.
with R. Fuchs at the Cons. In 1902 he was
able to resume his playing, and at the sug-
festion of Pochon, a fellow-student under
Tiomson, he devoted himself to the viola in
order to join the Flonzalcy Quartet, which
was established in 1903, and has since won
worldwide recognition.
Ara'ja, Francesco, opera-composer; b.
Naples, circa 1700; d. Bologna, circa 1770.
His first opera, Lo matremmonejo pe mennetta
(Naples, 1729), made his name; in 1735 he
went to Petrograd with an Italian opera-
troupe, and wrote many successful operas in
Italian and Russian, his La Clemenza di Tito
(1751) being the first opera written in the
Russian language. Returned to Italy in
1759. He wrote 22 operas; also church-
music, and a Christmas oratorio, La Nativitd
di Gesu.
Ara'uxo (or Araujo) [ah-rah'66-hoh],
Francisco Correa de, Dominican monk and
eminent Spanish musician, b. circa 1581 ; Bish-
op of Segovia, where he died Jan. 13, 1663.
Wrote the important treatise Libro de tientos y
discursos de musica . . . intitulado: Fa-
cultad orgdnica . . . (1626); two others,
24
•Casos morales de la musica , and De Versos ,
are in MS.
Arban [-bahn'], Joseph-Jean-Baptlste-
Laurent, b. Lyons, Feb. 28, 1825; d. Paris,
Apr. 9, 1889. Virtuoso on the cornet;
teacher at Paris Cons., cond. of the music of
the Opera balls, inventor of several wind-
instrs. Publ. a Method for Cornet and Sax-
horn; also many transcrs. for orchestra.
Arbeau [ar-boh'], Toinot, pen-name of
Jean Tabourot; b. Dijon, 1519; d. Langres,
1595 (?). In his curious Orchesographie
(1589, 1596), dancing, and playing on the
drum and fife, are taught catechetically,
aided by a kind of tablature; the work is
historically valuable.
Arbo8, (Enrique) Fernandez, b. Madrid,
Dec. 25, 1863. VI. -pupil of Monasterio in
Madrid, of Vieuxtemps in Brussels, and of
Joachim in Berlin; while in Brussels st. also
comp. with Gevaert. Began his career as
concert- master of the Berlin Philh. Orch.,
and made a successful tour of the continent;
taught vl. for a short time at the Hamburg
Cons.; returned to Madrid at the invitation
of the Queen of Spain, and was head of the
vl. dept. of the cons, there; came to England
in 1889 as concert- master of the Glasgow
Symph. Orch. A series of successful con-
certs given in London in 1890 led to his ap-
pointment as vl. prof, at the R. C. M., a
position which he still holds; has appeared
also with considerable success as conductor
in London, Liverpool, Petrograd and Mos-
cow. Since 1902, he has spent three months
every year in Spain, touring that country
at the head of the Madrid Symph. Orch.—
Works: A comic opera, El Centro de la Tierra
(Madrid, 1895); 3 pf.-trios; numerous pieces
for violin.
Ar'buckle, Matthew, famous American
cornet-player and bandmaster; b. 1828;
d. New York, May 23, 1883. Wrote Com-
plete Cornet Method (Boston, no date).
Ar'buthnot, John, British physician; b.
Arbuthnot, Scotland, 1667; d. London, Feb.
27, 1735; app. physician in ordinary to Queen
Anne in 1709. He was one of the founders of
the Scnblerus Club (1714), and was friendly
to Handel during the composer's wrangles
with his opera-company; his 'Miscellaneous
Works throw sharp side-lights on various
persons of interest; also wrote anthems.
Ar'cadelt, Jacob (or Jachet Arkadelt,
Archadet, Arcadet, Harcadelt), distin-
guished Flemish composer and teacher- b
circa 1514; d. Paris, after 1557. 'Maestro
dci putti' to the Papal Chapel (1539), 1540
singer in the same, in 1544 holding the
office of 'Camerlihgo'; went in 1555 with the
Due de Guise to Paris, where he is men-
D'ARCHAMBEAU— ARENSKY
tioned in 1557 as 'Regis musicus.' His Ro-
man period was devoted to secular , his Paris
period to sacred composition. Of his numer-
ous extant works,. 6 books of 5-part madri-
gals (Venice, 1538-56, his finest and most
characteristic comps.), and 3 books of
masses in 3-7 parts (Paris, 1557), are
chief among those preserved in print. Modern
reprints include tne 4-part 'Madrigale par-
lando' // ciel che rado (Riemann; 'Hdbch. d.
M.-G., Part II), the 4-part madrigal II
bianco e dolce cigno (Moskwa coll.) ; others in
Eitner, vol. xxiii, and Maldeghem's 'Tresor.'
— See Q.-Lex.
d'Archambeau [dar-shahn-bohl, Ivan, b.
near Liege, Sept. 28, 1879. He received his
earliest mus. instruction from his father, an
excellent musician. In 1895 he began the
study of the violoncello with A. Massau.
As soon as the boy was able to take part in
quartet -playing his father, solely for the
purpose of artistic recreation, formed &
family quartet, consisting of himself and his
three sons, Ivan being the 'cellist. In 1899
d'A. won the gold medal at the Cons, of Ver-
viers, and then went to fidouard Jacobs at
Brussels. Having completed his studies
under Hugo Becker at Frankfort, he made,
in 1903, a successful tour of Germany, Bel-
gium and Scotland. Pochon then persuaded
him to abandon the virtuoso career to be-
come a member of the Flonzaley Quartet.
d'Archambeau, Jean-Michel, composer;
b. Herve, Belgium, Mar. 3, 1823; d. Ver-
viers, August, 1899. In 1838, teacher
of music at Herve College; 1848, organist at
Petit- Rechain. — Works: 1 operetta, 2 masses
for 3 men's voices, 12 litanies, 7 motets; also
several Romances sans paroles for pf.
Archangel'sky, Alexander, b. in the
Russian province of Pensa, Oct. 23, 1846.
Cond. church-choirs from his 16th year, and
in 1880 organized a chorus of his own with
which he toured Europe. He was the first
to substitute women for boys in the vocal
music of the Russian Church — an experiment
widely copied. He has publ. 2 masses, a
Mass for the Dead, and numerous a cappella
choruses.
Archer, Frederick, organist; b. Oxford,
England, June 16, 1838; d. Pittsburgh, Oct.
22, 1901. Taught by his father; also studied
in London and Leipzig. Organist, conductor,
and opera-director in London; went to New
York in 1881, and became org. of Plymouth
church, Brooklyn, later of the Ch. of the
Incarnation, N. Y. In 1885, founded the
mus. weekly, 'The Key-Note,' of which he
was the editor; 1887, conductor of Boston
Oratorio Society. From 1895-98, conductor
of the Pittsburgh (Pa.) Orchestra; succeeded
by Victor Herbert. — Works: Publ. a cantata,
25
King Witlafs Drinking-horn; pieces for organ
and pf.; songs, part-songs, etc. Wrote The
Organ, theoretical text-book; and The College
Organist.
Ardl'ti, Luigi, b. Crescentino, Piedmont,
July 16 [ace. to his autobiography], 1822;
d. Hove, near Brighton, England, May 1,
1903. Pupil of Milan Cons, till 1842, his
opera, / Briganti, being a student-production.
Began his career as a violinist; became di-
rector of opera, and honorary member of the
Accademia Filarmonica at Vercelli in 1843,
going thence to Milan, Turin, and Havana
as an opera-conductor. In 1847, '48, '50,
etc., he visited New York with the Havana
opera-company; conducted the performance
at the opening of the N. Y. Acad, of Music
in 1854. Finally left America in 1856, going
to Constantinople, and thence to London,
where he settled in 1858, as conductor of
Her M.'s Theatre, and resided there as a
well-liked teacher and composer. He also led
a campaign of Italian opera in Germany, at
Petrograd (1871 and 73), and (for some
years) annually at Vienna, from 1870. He
acted as conductor in various London the-
atres up to 1895. His operas, I Briganti, II
Corsarof La Spia (first prod. New York,
1856), had fair success; but his best and
most popular comps. are his numerous songs,
especially the vocal waltzes (// Bacio, L'Ar-
diti, Le Tortorelle, etc.). Wrote My Remi-
niscences (London, 1896). He was a virtuoso
on the piano.
Ardi'ti, Michele, Marchesc; b. Presicca,
Naples, Sept. 29, 1745; d. Naples, Apr. 23,
1838. Archaeologist and amateur composer,
pupil of Jommelli; wrote 1 opera, Olimpiade;
also sacred and secular cantatas, motets, sym-
phonies, overtures, arias w. orch., pf .-sonatas,
etc.
Arena, Franz Xavier, b. Neef (Rhenish
Prussia), Oct. 28, 1856. ^ Came to America in
early youth; pupil of his father and Singen-
berger of Milwaukee; also st. in Germany
w. Rhcinbergcr, Wiillner, Abel, Janssen, and
Kirchner; conductor of Cleveland 'Gesang-
verein' and Philh. Orch. (1885-8); 1890-92 in
Europe, giving American composers concerts.
In 1900 he establ. the People's Symph. Con-
certs in N. Y. to furnish good music at a
nominal price \o the poorer classes. The
success of these orch. concerts, conducted by
A. personally, gradually led to the inclusion
of chamber-music concerts by the Kneisel
Quartet, etc., and the movement has been
extended to several of the larger Eastern
cities.
Aren'sky, Anton Stepanovitch, Russian
comp. and pianist; b. Novgorod, July 31,
1861; d. in a sanatorium at Tarioki, Fin-
land, Feb. 26, 1906, after a long illness.
ARIA— ARISTOTELES
From 1879-82, pupil of Johansson and Rim-
sky- Korsakov at Petrograd Cons.; in 1882
he was app. prof, of harm, and comp. at the
Imp. Cons., Moscow, and in 1895 succeeded
Bafakirev as conductor of the Imp. Court
Choir at Petrograd, resigning 1901. Aren-
sky's muse was lyrical rather than dramatic;
some smaller pf. -pieces are peculiarly delight-
ful. 'In his tendency as a comp. he more
nearly approaches Tchaikovsky than the
radical young Russian school/ [Riemann]. —
Works: 3 operas: A Dream on the Volga (op.
16; Moscow, 1892), Raphael (op. 37; Moscow,
*94), Nal and Damajanti (op. 47; Petrograd,
'99); music to Pushkin's poem The Fountain
of Bakhtchissarai, for solo, ch. and orch. (op.
46); ballet Nuit d*£gypte (op. 50; Petrograd,
1900); The Diver, ballade for solo, ch. and
orch. (op. 61); ballade The Wolves, for bass
voice with orch. (op. 59) ; festival Coronation
Cantata (op. 25); 2 symphonies (op. 4, in
B min.; op. 22, in A); Marche solennelle for
orch. (op. 18) ; Intermezzo for string-orch. (op.
13); vln.-concerto in A min. (op. 54); pf.-
concerto (op. 2); Fantaisie on epic Russian
songs, for pf. with orch. (op. 49) ; 4 Suites for
2 pfs. 4 hands (op. 15, 23, 33, 62; also orches-
trated by the comp.); pf. -quintet in D (op.
51); 2 string-quartets (op. 11, in G; op. 35,
in A min., the latter for vln., via. and 2 'colli);
a pf.-trio in D min. (op. 32); pieces for 'cello
and pf. (op. 12, 56), and for vln. and pf. (op.
30) ; many pieces for solo pf. (op. 1, 6 canons;
op. 5, 6 pieces; op. 19, 3 pieces; op. 20, Bigar-
rures; op. 24, 3 Esquisscs; op. 25, 4 Morceaux;
op. 28, Essais sur des rythmes oubliis; op. 34,
Pieces enfantines [orig. for pf. 4 hands]; op.
36, 24 Morceaux; op. 41, 4 Etudes; op. 42, 3
pieces; op. 43, 6 Caprices; op. 52, o pieces,
Pres de la met; op. 63, 12 Preludes for pf. 4
hands; op. 65, Children's Suite; op. 66, 12
pieces); pieces for vocal ensemble; numerous
songs. — Also publ. a Manual of Harmony
(transl. into German), and a Handbook of
Musical Forms.
A'ria, Cesare, b. Bologna, Sept. 21, 1820;
d. there Jan. 30, 1894. St. piano and theory
with Gius. Pilot ti; later in Bol. Cons, under
P. Mattei. A favorite of Rossini. Lived
for some years in France and England as
teacher of singing, pf., and comp.; 1840,
music-director of tne Tea-tro Comunalc,
Bologna; 1850, President of the Accademia
Filarmonica. Composed fine church-music (a
Dies irae is particularly noteworthy).
AriTx) Scholas'tlcu8, probably a native
of the Low Countries; d. circa 1078. Wrote
a valuable treatise. Musica^ [printed in Ger-
bert's 'Scriptores, vol. ii], containing a
commentary on Guido d'Arezzo's writings.
d'Arien'zo, Nicola, dramatic comp.; D#
Naples, Dec. 23, 1842; pupil of Labriola
26
(pf.), Fiora vanti and Moretti (cpt.), and
Mercadante (comp.); 1879, director of the
R. Cons., Naples, in which he was prof, of
cpt. and comp. from 1877 _ (pupils, van
Westerhout, LeoncavalloJ. — First operas (in
Neapol. dialect), MonzU Gnazio o La Fidan-
tata del Parrucchiere (Naples, 1860), and /
due Mariti (Naples, 1866), were succ; others
are he Rose (1868), II Cacciatore delle Alpi
(1870), II Cuoco (1873), / Viaggt (Milan,
1875), La Fitfia del Diavolo (Naples, 1879;
severely criticised for a straining after realistic
and original effect), / tre CoscriUi (Naples,
1880), La Fiera (1887), Pita di Lister (MS.),
etc. Also wrote an oratorio, II Cristo sulla
croce, a Pensiero sinfonico, overtures, some
vocal music (4 Nocturnes), and pf. -pieces;
and a manual, Vinvenzione del sistema tetra-
cordo e la moderna musica (1879), favoring
pure intonation instead of equal tempera-
ment,- and discriminating a 3rd mode (of the
Minor Second) besides the usually accepted
Major and Minor modes; also, Scuola di
composizione musicale (1899), and several
important histor. treatises: Un predecessore
di Aless. Scarlatti (1891; on Gesualdo [di
Venosa]); DtlV opera comica dalle origini a
G. B. Pergolesi (1887: Ger. transl. by F.
Lugscheider, 1902) ; II melodrammadaUe origini
al secolo X VIII (1900); La musica in Napoli
(1900); Die moderne Oper (1902, in 'Deutsche
Thalia').
Arioa'ti, Attilio, b. Bologna, Nov. 5,
1666; d. circa 1740; composer of 25 operas,
the first of which, Dafne, was given at
Venice (1686); 1697-1703 court Kapellm.
at Berlin, and for a short time the teacher
of Handel; 1715-16 in London, and again
1720-27, as a rival of Bononcini, both being
for a while competitors with Handel for
public favor, and both defeated by his
genius; in 1720 these three composed the
opera Muzio Scevola in company, each taking
one act. In 1727 Ariosti returned to Italy,
and died in obscurity. He also wrote an
oratorio, a volume of cantatas, and some
'lessons' for the viola d'amore, on which he
was an accomplished performer. — See Q.-Lex.
Aristi'des Quintilia'nus, a Greek writer
on music circa a.d. 160; a teacher of music at
Smyrna, and celebrated from his work De
Musica libri VII [printed in Mcibom's 'An-
tique Musicae Auctores Septem' (1652)]; re-
pnnted by Jahn (1882).
Aristo'teles (Aristotle), (1) b. Stagyra
(Macedonia), 384 B.C.; d. 322 n.c.; a Greek
philosopher, pupil of Plato. The 19th sec-
tion of his Problems affords valuable informa-
tion concerning the Greek system of music;
further remarks arc found in Book viii of the
Politica and in the Poetica. — (2) Pseudonym
ARISTGXENOS— ARNE
of a writer on mensurable music of the 12th—
13th centuries.
Aristox'enos, b. Tarentum, circa 354 B.C.;
one of the earliest Greek writers on music.
His Harmonic Elements (complete) and
Rhythmical Elements (fragmentary) are the
most important treatises on Greek music
that are left us, excepting certain essays by
Plato and Aristotle. Publ. (1868) by P.
Marquand, text German and Greek, with
commentaries. Also cf . Oscar Paul, Boethius
u. die griechische Harmonik, and Absol.
Harm, der Griechen; C. F. A. Williams, The
Aristoxenian Theory of Musical RhyPtm
(Cambridge, 1911).
Arkwright, Godfrey Edward Pellew,
musicologist; b. Apr. 10, 1864. Editor of
•The Old English Edition* (25 vols., 1889-
1902; containing masques, ballets, motets,
madrigals, etc., by Engl, composers of the
17th and 18th centuries); also edited some
of Purcell's works in the ed. publ. by the
Purcell Society (1889-1902); editor of 'The
Musical Antiquary* from 1909-13.
Arm'brust, Karl F., fine organist; b.
Hamburg, March 30, 1849; d. Hanover, July
7, 1896. St. Stuttgart Cons. (Faiszt) ; 1869,
org. of St. Peter's ch.r Hamburg. Teacher
of org. and pf. at H. Cons. Musical critic
(H. 'Fremdenblatt').
Arm'bruster, Karl, b. Andernach-on-
Rhine, July 13, 1846; pupil of Hompesch at
Cologne. Precocious pianist; settled in
London, 1863. An influential admirer of
Wagner, he has done much to spread the
Wagner cult in England by means of nu-
merous lectures; was Hans Richter's asst.-
cond. at the Wagner Concerts of 1882-4;
then cond. at the Royal Court Th., later at
the Haymarket and Drury Lane; cond.
Tristan und Isolde in 1892 at Covent Garden;
1884-94, one of the conds. at Bayreuth.
1901-13, musical adviser to the London
County Council.
Armes, Philip, b. Norwich, Engl., Aug.
15, 1836; d. Durham, Feb. 10, 1908. Chor-
ister at Norwich and Rochester cathedrals;
articled at the latter to Dr. Hopkins in 1850,
and asst .-organist till 1856; org. of Chichester
cath. in 1861; in 1862, of Durham cath.; in
1897, Queen Victoria Lecturer at Trinity
Coll., London,' and prof, of music at Durham
Univ. He was Mus. Doc. of Oxford and
Durham; F. R. C. O. (1892); etc.— Works:
Oratorios Hetekiah (Newcastle-on-TM 1877);
St. John the Evangelist (Leeds, 1881); St.
Barnabas (Durham, 1891); communion serv-
ices, anthems, etc. His 5-part madrigal
Victoria won the first (Molineux) prize of the
Madr. Soc., 1897.
Armlngaud [-man-goh'], Jules, b. Bay-
onne, May 3, 1820; d. Paris, Feb. 27, 1900; one
of the best violinists of Paris, who was refused
admission to the Cons, when 19 because he
was 'too far advanced'; orchestra-player at
the Grand' Opera, and leader of a famous
string-quartet later enlarged by adding some
wind-instrs., and called the SocicU classique.
He was the reputed introducer of Beet-
hoven's quartets into Parisian mus. circles;
publ. some violin-pcs.
Armshelmer, Ivan Ivanovitch, b. Petro-
grad, Mar. 19, 1860; pupil of Czerny, Johann-
sen, and Rimsky-Korsakov at the Petrograd
Cons. — Works: The operas Sous la feuilUe
(1 act, French); J&gerliv (3 acts, Danish);
Der Oberforster (2 acts, German); the ballets
The Poor Bride, In the New World, and Halt
of the Cavalry; 2 cantatas, numerous pieces
f. ch. and orch.; a Suite f. flute w. pf.; pieces
f. vln., and f. 'cello; over 150 songs; wrote
also an elaborate treatise on Instrumentation.
Armstrong, William Dawson, organist
and composer; b. Alton, III., Feb. 11, 1868.
Pupil of E. R. Kroeger (comp.) and Clarence
Eddy (org.). Organist at St. Paul's P. E.
Ch., Alton, 1890-96; Ch. of the Redeemer,
St. Louis, 1896-1900; Ch. of the Unity,
St. Louis, 1900-8. Instructor Forest Park
Univ., St. Louis, 1888-90; Western Military
Academy, 1898-1908; since 1908 dir.-of his
own mus. school at Alton. Was solo organist
St. Louis World's Fair, 1903; Pres. '111. State
Music Teachers' Assn.,' 1899-1901; V.-Pres.
'Nat. Music Teachers' Assn.,' 1904-5; Pres.
Mus. Section '111. State Teachers' Assn.,'
1902-3; Assoc., 'Amer. Guild of Org.'; Mem.
of 'Societe des Auteurs et Compositeurs de
Musique,' Paris. — Works: An opera, The
Spectre Bridegroom (St. Louis, 1899); Suite
de Ballet, for orch. (1897); Overture From
the Old World; over 100 smaller works for
org., pf., vl., and songs. — Cf. W. F. Norton,
W. D. A. (N. Y., 1916).
Arnaud [-noh'], Abbe Francois, theo-
retical writer; b. Aubignon, near Carpentras,
July 27, 1721; d. Paris, Dec. 2, 1784; wrote
many essays on miscellaneous mus. subjects
(Collected Writings, Paris, 1808, 3 vols.).
In the Memoir es pour servir d I'histoire de la
revolution operee dans la musique par M. le
Chevalier Gluck, he warmly espouses the
great reformer's principles. Cf. E. de
Bricqueville, Fr. A. (Paris, 1833).
Arne, Michael, natural son of Dr. Arne,
b. London, 1741; d. there Jan. 14, 1786 [not
1806]; a clever dramatic composer (9 operas,
the best being Cymont 1767); writer of a
number of songs, and a skilful player on the
harpsichord. In 1779, music^director at
Dublin Theatre; from 1784 onward he con-
ducted some of the Lenten oratorios at
27
ARNE— ARNOLD
London theatres. A curious episode in his
career was his search for the philosopher's
stone (c. 1768), during which he neglected
his profession and ruined himself pecuniarily.
Arne, Thomas Augustine, one of the
foremost of English composers; b. London,
March 12, 1710; d. there March 5, 1778.
By dint of stolen nightly practice he became
a fine player on the spinet and. violin, in
despite of his father's wishes that he should
study law; the latter finally yielded to the
inevitable, and Arne, free to pursue his mus.
work, set to music various texts — Addison's
Rosamottd and Field's Tragedy of Tragedies
(1733); a masque, Dido and Mneas (1734);
and Zara (1736). In 1736 he married
Cecilia Young, a fine singer and a prime
favorite of Handel's. In 1738, as composer
to the Drury Lane Th., he set Dal ton's
adaptation of Comus to music, a composition
which firmly established his reputation. The
music to the masque of Alfred (1740) con-
tains, among other fine songs, the celebrated
Rule, Britannia. While residing in Dublin
(1742-4) he brought out 2 new operas,
Britannia and Eliza, and the musical farce
Thomas and Sally. He became comp. to
Vauxhall Gardens, London, in 1745. Further
dramatic works were Congreve's masque,
The Judgment of Paris (1740), Colin and
Phoebe (1745), Artaxerxes (1762), Olympiad
(1765), and the music to Mason's Caractacus
(1776); also settings for songs in As You
Like it and 'Where the Bee Sucks' in The
Tempest; etc. His 2 oratorios are Abel (1755)
and Judith (1761). Dr. A. was the first to
introduce female voices into oratorio-choruses
(Judith). Besides the above, he composed
numerous minor texts, and wrote orch. over-
tures, vln.-sonatas, organ-music, harpsich.-
sonatas, many songs, glees, catches, canons,
and the like. With the exception of 2 years
in. Dublin, A. lived continuously in London
as a composer and concert-giver; he was
created Mus. Doc. (Oxon.) in 1759. The
London 'Musical Times' for Nov. and Dec,
1901, contains a sketch of his life and a
fairly complete list of his compositions. — Sec
Q.-Lex.
d'Arne'iro, (Jose* Augusto) Ferreira
Veiga, Viscount, distinguished Portuguese
composer, b. Macao, China, Nov. 22, 1838;
d. San Remo, July, 1903; pupil (1859) of
Botelho (harm.), Schira (cpt. and fugue), and
Soares (pf.), at Lisbon. Wrote the ballet
Ginn (1866); 2 operas, VElisire di giovinezza
(Lisbon, 1876) and La Derelitta (ib., 1885);
and a Te Deum (his chief work), performed
Lisbon, 1871, and later in Paris under the
modern and much-affected title of Sym-
phonie-Cantate.
Arnold, Johann Gottfried, violon-
cellist and composer; b. Niedernhall, n.
Ohringen, Feb. 15, 1773; d. Frankfort, July
26, 1806. Pupil of Romberg and Willmann;
after concert-tours in Germany and Switz-
erland, he was app. 1st 'cellist at Frankfort
Th. — Works: Symphonia concertante f. 2
flutes w. orch.; 5 'cello-concertos; 6 sets of
vars. f. 'cello (op. 9); pieces f. guitar; etc.
Arnold, Karl, b. Neukirchen, n. Mergent-
heim, Wtirttemberg, March 6, 1794; d. Chris-
tiania, Nov. 11, 1873. Pupil of A. Schmitt,
J. A. Andre, and Karl Vollweiler, at Frank-
fort; fine pianist; lived successively at Petro-
grad (1819), Berlin (1824), Minister (1835),
and Christiania (1849), where he conducted
the Philh. Soc.. and was org. of the principal
church. — Works: an opera, Irene (Berlin,
1832); pf. -sextet, and sonatas, variations,
fantasias, etc., for pf.
Arnold(-Strothotte), Maurice, b. St.
Louis, Jan. 19, 1865. He received his first
instruction from his mother, and then at-
tended the Cincinnati Coll. of Mus. (1880-3);
st. in Berlin with Vicrling and Urban, at
Cologne Cons, with Wullner, Neitzel and
G. Jensen, and finally in Breslau with Max
Bruch; returned to St. Louis, where he
estab. himself as teacher, vlst. and cond. of
light opera. In 1894 a perf. of his American
Plantation Dances f. orch. in New York
aroused the interest of Dvorak (at that time
dir. of the Nat. Cons.) in the possibilities of
negro-melodies, and he offered A. a position
as instr. of comp. at the Cons.; since then
A. has been living in New York, with the
exception of one season, when he was cond.
at the Princess Th., London, and of another
season, touring Germany; since 1905 dir. of
'Progressive Stage Soc.,' N. Y. — Works: The
Wild Chase, cantata; a symphony in F min.;
Dramatic Overture; Danse de la Midway
Plaisance and Turkish March, for orch.; so-
nata for vl. and pf. in E min.; Minstrel Sere-
nade for vl. and pf.; a fugue for pf. (8 hands);
numerous pes. for pf. (Caprice espagnol, Ban-
joenne, etc.); songs. A comic opera, The
Merry Benedicts, was prod, in Brooklyn
(1896); has in MS. another comic opera and
a grand opera, Cleopatra.
Arnold, Richard, excellent violinist; b.
Eilenberg, Prussia, Jan. 10, 1845. Went to
the United States in 1853; returned to
Europe in 1864 to study under Ferd. David
at Leipzig; from 1869-76, first violin in Theo-
dore Thomas's orch.; 1878-91, leader and
solo violin in the N. Y. Philharm. Club;
elected member of the Philharm. Soc. in
1877; concert-master, 1880-1909; vice-presi-
dent in 1896. Organized the R. Arnold
String Sextet in 1897. Living in New York
as a concert-violinist and teacher.
28
ARNOLD— ARRIGONI
Arnold, Samuel, b. London, Aug. 10,
1740; d. there Oct. 22, 1802; educated by
Gates and Nares as a chorister of the Chapel
Royal, he early showed a gift for composi-
tion, and in 1763 was commissioned to write
an opera for Covent Garden — The Maid of
the ^ MUl — successfully produced in 1765.
This was followed, up to 1802, by* 49 stage-
pieces (operas, mus. after-pieces, and panto-
mimes). His first oratorio, The Cure of Saul,
came out in 1767; Abimelech, The Resurrec-
tion, The Prodigal Son, and Elijah, followed
in the order given. He took the degree of
Mus. Doc. (Oxon.) in 1773, and in 1783
succeeded Dr. Nares as organist and com-
poser to the Chapel Royal, for which he
composed several services and anthems. In
1789 he was app. conductor of the Acad, of
Ancient Music; in 1793, organist of West-
minster Abbey. His edition of Handel's
works, begun in 1786, embraces 36 vols., but
is incomplete and not free from errors. His
principal work, "Cathedral Music' (1790, 4
vols.), is a collection in score of the finest
cathedral services by English masters of 2
centuries, forming a sequel to Boyce's work
of like name; republ. by Rimbault (1847). —
See Q.-Lcx.
Arnold, Yourij von, b. Petrograd, Nov.
13, 1811; d. Karakash, n. Simferopol, Crimea,
July 20, 1898; a student and soldier, who in
1838 devoted himself wholly to music; Fuchs
(harm.) and Gunke (cpt.)were his teachers.
He comp. a grand opera, The Last Days of
Pompeii; an operetta; a prize cantata Swat-
lana; and 2 overtures. After 1840 he wrote
for various newspapers; lived in Leipzig
1863-70 on the staff of the 'Neue Zeitschrift
f. Musik,' also publ. (1867-8) a 'Neue allg.
Zeitschrift f. Theater u. Musik.1 Resided
1870-94' in Moscow, where he opened a
music-school, and lectured on mus. history
at the Univ. in 1888; from 1894 in Petrograd,
as singing- teacher. — Chief writings: Die alien
Kirchenmodi, historisch u. akustisch entwickelt
(Leipzig, 1878); Theory of the Old-Russian
Church- and Folk-Song (Russian, in Moscow);
Harmonization of Old-Russian Church-Song
(Russian; Moscow, 1886); various treatises
on the Neumes; etc. — Publ. 3 vols, of
Memoirs (Moscow, 1892).
Ar'noldaon, Sigrld, dramatic soprano, b.
Stockholm, Sweden, Mar. 20, 1861; daughter
of Oscar A., the celebrated tenor (b. 1843
[?1, d. Stockholm, 1881). Pupil of Maurice
Strakosch and Desiree Artot. Debut 1886,
at Moscow, as Rosina in Rossini's II Bar-
biere di Siviglia; then sang as prima donna
in Petrograd and in London (Drury Lane)
with brilliant success; 1887, in Amsterdam
and The Hague, then in Paris (Opera-
Comique), Nice, and Rome; 1888, eng. at
29
Covent Garden, London, as successor of the
Patti. In 1889 she excited indescribable
enthusiasm in Moscow and Zurich. In 1894
she was heard at the M. O. H.; in May,
1898, she was at the Royal Opera in Pest;
in Oct. she sang in Amsterdam at the Dutch
Opera with marked success. She married
Alfrecl Fischhof (nephew of the pianist,
Robert F.), and resides in Paris. In 1910
she was elected member of the Stockholm
Academy. — Chief roles: Rosina, Dinorah,
Sonnambula, Mignon, Cherubin, Zerlina,
Traviata.
Arnould [ar-noold'J, (Madeleine-) Sophie,
b. Paris, Feb. 14, 1744; d. there Oct. 18,
1802. Famous soprano stage-singer, pupil
of Mme. Fel and (for acting) Mile. Clairon.
Debut Dec. 15, 1757, at the Opera, where
she remained a prime favorite till 1778. She
created the title-r6le in Gluck's IphigSnie en
Aulide (Apr.. 19, 1774).— Cf. R. B. Douglas,
Sophie Arnould, Actress and Wit (Paris,
1898); also the Arnouldiana.
Aron. See Aaron.
Arquier [ahr-kya'J, Joseph, b. Toulon,
1763; d. Bordeaux, October, 1816. St. in Mar-
seilles; 1784, 'cellist in Lyons Th. orch.; '89,
in Marseilles, '90 in Paris. About 1800, he
went to New Orleans as director of an opera-
troupe, but failed and returned to France in
1804, holding various positions in Paris,
Toulouse, Marseilles, and Perpignan; he died
in poverty. — Works: 16 operas, mostly comic.
Arria'ga y Balzola, Juan Crisostomo
Jacobo Antonio de, b. Bilbao, Jan. 27,
1806; d. Feb., 1825. Brilliant violinist; pupil
of Guerin and Fetis at Paris Cons. (1821);
in 1824, repetiteur there for harmony and
cpt. — Publ. works: 3 string-quartets.
Arrie'ta y Corera, Pascual Juan Emi-
Uo, b. Puente la Reina (Spain), Oct. 21,
1823; d. Madrid, Feb. 12, 1894. St. under
Vaccai at Milan Cons. (1842-5); returned to
Spain, 1848; in 1857, app. prof, of comp. at
•Madrid Cons.; 1868, Director; 1875, Coun-
cillor in Ministry of Instruction. — Dramatic
composer: Opera Ildegonda (Milan Cons. Th.,
1845), followed by about 50 zarzuclas and
operas, the most ambitious being Isabel la
Catolica o sea la conquista de Granada (Madrid,
1850). Chief success as writer of zarzuelas,
the Spanish comedy-operas.
Arri'go Tedeaco (Henry the German),
pseudonym of Heinrich Isaac, in Italy.
Arrigo'ni, Carlo, b. Florence, circa 1705;
d. there (?), c. 1743. Renowned lutenist, and
maestro di c. to the Prince of Perpignan. He
was invited to London, in 1732, to strengthen
the clique opposed to Handel, but made no
impression. Is said to have brought out an
L'ARRONGE— ASCHENBRENNER
unsuccessful opera, Fernando (1732); pro-
duced an oratorio, Esther (Vienna, 1738);
publ. 10 Cantate di camera (London, 1732).
rArronge, Adolf. See L'Arronge.
Artaria, music-publishing house in Vienna,
established by Carlo and Francesco A. in 1770.
Artea'ga, Stefano, Spanish Jesuit, b.
Madrid (?), 1730 (?); d. Paris, Oct. 30, 1799.
Intimate with the celebrated Padre Martini
at Bologna; author of the valuable treatise
Le rivoluzioni del teatro musicale italiano daUa
sua origin* fino al presente (Bologna, 1783, 2
vols.; thoroughly revised ed.t Venice, 1785, 3
vols.; German, 2 vols., by Forkel, 1789).
Arthur, Alfred, b. Pittsburgh, Pa., Oct. 8,
1844. Pupil, in the Music School, Boston, of
B. F. Baker, G. Howard, Arbuckle, and
Bowen; at the Boston Cons., of Eichberg
(harm, and comp.). From 1869-71, tenor in
Ch. of the Advent, Boston; then settled in
Cleveland, Ohio, where since 1878 he has
been choirmaster of the Woodland Av.
Presb. Ch. ('Bach Choir'), and cond. since
1873 of the Vocal Society; is also Dir. of the
Cleveland School of Music. — Works: 3
operas, The Water-carrier (MS., 1876); The
Roundheads and Cavaliers (MS., 1878); and
Adaline (MS., 1879); church-music, pf.-pcs.,
gongs, etc.; Progressive Vocal Studies (1887);
Album of Vocal Studies (1888); etc.
Artdt [ar-toh'l, Alexandre-Joseph Mon-
tagney, son of Maurice A.; b. Brussels, Jan.
25, 1815; d. Ville-d'Avray, July 20, 1845.
Pupil of his father, and Snel of Brussels;
1824-31, of R. and A. Kreutzer at Paris
Cons. Eminent violinist; extended concert-
tours through England, the Continent, and
the United States (1843).— Works: Violin-
concerto in A min.; fantaisies for vln. and pf.
(op. 4, 5, 8, 11, 16, 19); airs varies f. vln. and
orch. (or pf.) (op. 1, 2, 17); Rondeaus f.
do. do. (op. 9, 15); serenades, romances, etc.;
also (MS.) a pf .-quintet, string-quartets, etc.
Artdt, (Jean-)Desire Montagney, son of
Maurice; b. Paris, Sept. 23, 1803; d. St.
Tosse ten Noode, Mar. 25, 1887; taught by
his father, whom he succeeded in the theatre;
1843, prof, of horn in the Brussels Cons.;
1849, 1st horn in the private orch. of King
Leopold I. — Publ. fantasias and etudes f.
horn, and quartets f. 4 valve-horns or
cornets & pistons.
Artdt, (Marguerite-Jo*ephlne-)De«iree
Montagney, daughter of Jean- Desire, b.
Paris, July 21, 1835; d. Berlin, Apr. 3, 1907.
Renowned dramatic soprano, pupil of Mme.
Viardot-Garcia (1855-7); debut at Brussels,
1857,' in concerts; eng. at Grand Opera,
Paris, in 1858, but soon left this position for
starring-tours in France, Belgium, and Hol-
land; studied for a time in Italy; was in
Petrograd, 1866, then in London, Copen-
hagen, etc., and sang for several years in
Germany (Berlin, 1884-9), where her fame
reached its height; lived from 1889 in Paris.
In 1868 she was engaged to Tchaikovsky,
but married, in 1869, the Spanish baritone
Padilla y Ramos (1842-1906).— Their daugh-
ter is Lola Art6t de Padilla. (Cf . Padilla).
Artdt, Maurice Montagney, ancestor of
a celebrated line of musicians, Montagney
being the true family-name. He was born
at Gray (Haute-Sa6ne), Feb. 3, 1772; died
Brussels, Jan. 8, 1829. Bandmaster in a
French re^t.; then 1st horn-player in Th. dc
la Monnaie, Brussels, and conductor at the
Convent of the Beguines. Also taught sing-
ing, and played the guitar and violin well.
Artschibuschew. See Artsy bushev.
Artsybushev [ar-tse], Nicholas Vassille-
vitch, b. Tsarskoe-Selo, Russia, Mar. 7,
1858. Law-student (till 1879); advocate;
pianist. St. harmony, etc., with Soloviev
and.Rimsky-Korsakov. Has made many tran-
scriptions f. pf.; has also written a polka f.
orch., 2 pf. -mazurkas, and several vocal
romances.
Artu 'si, Giovanni Maria, contrapuntist,
b. circa 1550; d. Aug. 18, 1613. Was canon
in ordinary at the ch. of San Salvatore in
Bologna. A musician of the old school, his
writings and compositions are very con-
servative. He wrote UArt* del contrappunto
ridotto in tavole (Part I, 1586; P. II, 1589; a
2nd ed. at Venice. 1598, in 1 vol.); also
L'Artusi, owero delle imperfeUioni della
moderna musica (Venice, 1586; 2nd ed.,
1600); Considerations musicali (Venice, 1607);
and Impresa del R. P. Gioseffo Zarlino
(Bologna, 1604).— Publ. a set of 4-p. Can-
zonette (1598).— See Q.-Lex.
Asantchev'sky (Asantschewskl), Mich-
ael Pavlovitch, b. Moscow, 1838; d. there
Jan. 24, 1881. Pupil of Hauptmann and
Richter at Leipzig Cons, in 1861-2, then of
Liszt at Rome; lived in Paris, 1866-70, where
he bought the library of Anders, and, adding
to it his own, presented them to the Petro
grad Cons., which thus possesses one of the
Snest mus. libraries in the world. From
1870-6, Director of the Cons., succeeding
Zarcmba; later he devoted himself to comp —
Works: Sonata f. pf. and 'cello, op. 2, in
B m.; pf.-trio in F#m., op. 10; Fest- Polonaise
f. 2 pfs., op. 12; minor pf.-pcs.; a concert-
overture for orch.; Psalm XII lor ch. and
orch.; 2 quartets; etc.
Asch'enbrenner, Christian Heinrich, b.
Altstettin, Dec. 29, 1654; d. Jena, Dec. 13,
1732. An able violinist; leader at Zeitz
(1677-81) and Merseburg (1683-90); Music-
Director to the Duke of S.-Zeitz (1695-1713);
30
ASCHER— ASSMAYER
and Kapellm. to the Duke of S.-Merseburg
(1715-19); then retired on pension to Jena.
Only extant works: Gast- u. Hochteitsfreude,
bestehend in Sonaten, Prdludien, Allemanden,
Couranten, Balletten, Arien, Sarabanden mil
3f 4 u. 5 Stitnmen, nebst dan Basso continuo
(1673).
Asch'er, Joseph, b. Groningen, Holland,
June 4, 1829; d. London, June 20, 1869.
Pianist and composer, pupil of Moscheles in
London and Leipzig (1846). Went to Paris
in 1849, and subsequently became court
pianist to the Empress Eugenie. Composed
much popular salon-music (over 100 noc-
turnes, mazurkas, galops, etudes, transcrip-
tions).
Ashdown, Edwin, London music-pub-
lisher, succes or (1884) of Ashdown & Parry,
who were the successors (1860) of Wessel &
Co. (founded 1825).
Ash ton, Algernon (Bennet Langton),
talented pianist and composer; b. Durham,
Engl., Dec. 9, 1859. Pupil of Leipzig Cons.
(Coccius, Papperitz, Jadassohn, Remecke)
1875-9; and of Raff at Frankfort, 1880-1,
for comp. ; since then in London. Pf .-teacher
at R. C. M., 188571910; similar pos. at
London Coll. Mus. since 1913. Made num-
erous tours of England, Germany, Austria
and Hungary. — His numerous publ. works
have reached ^ the opus No. 150, and in-
clude 2 pf. -quintets (C, E m.); 2 pf. -quartets
(F m.t C m.); 3 pf .-trios (E, A, B m.); Suite
for 2 pfs. (op. 50); about 200 pieces for pf.
solo (op. 36, 4 Idyls; op. 47, 3 Gavots; op. 67,
Roses and Thorns; op. 69, 3 Fantasias; op.
101, Sonata in Eb m.); English, Scotch and
Irish Dances for pf. 4 hands; 4 Sonatas for
violin with pf., in D, E, C m.f A; 4 Sonatas f.
'cello with pf., in F, G, A m., Bb; Sonata for
viola w. pf ., in A m. ; also choral music, many
part-songs, over 200 songs, organ-pieces. — In
MS. he has 5 symphonies and 3 overtures f. .
orch.; a quintet f.wind; 2 string-quartets; a
pf. -concerto; a violin-concerto; a cantata,
Johanna Sebus; etc. — Author of Truth, Wit
and Wisdom (London, 1904); More Truth,
Wit and Wisdom (ib., 1905; a collection of
over 1,000 letters to the press).
Ashton, Hugh. See Aston.
Asioli, Bonifazio, b. Correggio, Aug. 30,
1769; d. there May 18, 1832. A prolific com-
poser of wonderful precocity, and a pupil of
L. Crotti, at the age of 8 he had written 3
masses and 20 other sacred works, a harpsi-
chord-concerto and a vln.-concerto, both w.
orch., and 2 harp-sonatas f. 4 hands. St. at
Parma 1780-2, under Morigi; then visited
Bologna and Venice, where he was much
applauded at private concerts as a cembalist,
improviser, and composer. Returning to
31
Correggio, his first opera buffa, La Volubile
(1785), was successfully produced; 1786, m.
di c. at C; 1787, attached to the Marquis
Gherardini as maestro, going with him (1796)
to Turin and (1799) to Milan, where his
opera Cinna had been favorably received in
1793. From 1808-14 he was 1st prof, of
cpt., and Inspector, at the newly founded
Milan Cons., and then retired from public
activity. — Works: 7 operas, an oratorio
(Giacobbo), very many cantatas, masses,
motets, duets, songs, etc.; a symphony, an
overture, concertos, serenades, sonatas, cham-
ber-music, organ -pes., etc., etc. He was the
author of several clearly- written textbooks:
Principt elementari di musica (1800; French
ed., 1819); IS Allievo at cembalo; Primi de-
menti per tl canto; Elementi per il contrabasso
(1823); TraUato oVarmonia e d{ 'accompagna-
mento (1813), with a posth. sequel, // maestro
di composizione (1836); Dialoghi sul trattato
oVarmonia (1814); Osservasione proprio at
temperamento degli istrumenti stabtli, with a
supplement Disinganno suite osservationi ecc.
Biography by A. Coli (Milan, 1834); alsocf.
Ancarani, Sopra alcune parole di Carlo Botta
intorno al metodo musicale di B. A. (1836),
and A. Amadei, Intorno alio stile delta mo-
derna musica di chiesa (1841).— See Q.-Lex.
Aaola (Lat. Asula), Giovanni Matteo,
one of the first to use a basso continuo for
the org.-accomp. of sacred vocal music; b.
Verona, circa 1560; d. Venice, Oct. 1, 1609.
Composed much church-music (masses, anti-
phones, psalms, etc.); 2 books of madrigals
(Venice, 1587 and 1596; also later editions).
Cf. Delia vita e delle opere di Giammateo
Asolaf by Caffi (Padua, 1862).— See Q.-Lex.
Aapa, Mario, opera-composer; b. Messina,
1799; d. there Dec. 14, 1868. Pupil of Zin-
garelli in Naples. Wrote some 42 operas; the
best are // muratore di Napoli (1850); / due
Fortati (circa 1834); Piero di Calais (1872);
Un travestimento (1846).
Asplmayr, Franz, b. circa 1721 ; d. Vienna,
May 29, 1786. Important as one of the first
Viennese composers who adopted the style
and forms of the Mannheim symphonists.
(See Stamitz.) He wrote 6 Serenate, op. 1;
6 Quatuors concertants, op. 2; 6 Trios, op. 5;
6 Quatuors, op. 6. A trio (op. 5, No. 1) and
a quartet (op. 6, No. 2) were publ. by Rie-
mann in 'Collegium Musicum.' As court
musician and ballet composer at the Italian
Opera in Vienna, he prod, there the Sing-
spiele Die Kinder der Natur (1780) and Der
Sturm (1782), and several ballet-divertisse-
ments.
Ass'mayer, Ignaz, b. Salzburg, Feb. 11,
1790; d. Vienna, Aug. 31, 1862. Pupil of
Michael Haydn and Brunmayr? 1808, org.
at Salzburg; 1815, st. with Eybler, Vienna;
ASTARITTA— ATTWOOD
1824, Kapellm. at the 'Schottenstift'; 1825,
Imperial organist; 1838, vice-, 1846 second
Kapellm. to the court, succeeding Weigh —
Pubh 2 oratorios, Saul und David, and Sauls
Tod; a 3rd, Das Gelubde, is in MS.; also
a mass (he wrote 15), and a few of his other
sacred works (requiems, a Te Deum, grad-
uals, offertories, hymns, etc.); most of his
secular works (symphonies, overtures, pas-
torales, etc.), some 60 in all, have been
printed.
Astarit'ta, Gennaro, opera-composer; b.
Naples, circa 1749; d. 1803. Wrote some 36
operas, given in Naples, Rome, Venice, Dres-
den, Berlin, etc. ; VOrfana insidiata (Naples,
1765) was the first; Circe ed Ulisse (Presburg,
1787), the besf.
Aston (Ash ton, Aystoun, Austen),
Hugh, d. Dec., 1522; composer of the oldest
preserved virginal pieces (Hornpipe and I^ady
Carey's Dompe, printed in S. Smith's 'Mu-
sica Antiqua'); wrote also a mass a 6 ( Videte
manus meas) and a mass a 5 (Te Deum);
also several motets.
d'Astorga, Emanuele (Gioachino Ce-
sare Rinc6n), b. Augusta, Sicily, Mar. 20,
1680; d. circa 1750 in Spain. He came of a
noble Spanish family, who, at the beginning
of the 17th century, had settled in Augusta.
A. was a baron in his own right from his
estate Ogliastro, near Augusta. He received
an excellent education, at first in Augusta,
and later in Palermo, where hid father had
been a resident for some years when he died
"jere in 1712. During the revolution of 1708
HiPatermo A. was an officer in the municipal
guard. In 1712 he was in Vienna; in 1713 in
Znaim; 1714-15 in London; 1717-18 senator
in Palermo. After that he lived in Spain in
the service of the king ; 1 744 he sold his Sicilian
estate. He had practised music from child-
hood, but never took it up as a profession.
To his contemporaries he was known as a
man versed in the sciences, a fine singer,
cembalist and composer. His reputation was
won through his only opera Dafni (Genoa,
1709; other known productions at Barce-
lona, 1709, and Breslau, 1726), and numerous
chamber-cantatas, of which he himself pubh
a volume (containing 12) in 1726 at Lisbon.
The earliest known performance of his most
famous work, a Stabat Mater for 4 voices,
took place in London in 1752. In 1878
R. Franz pubh a new ed. The current
romantic account of A.'s life, first pubh by
Fr. Rochlitz in vol. ii of 'Fur Freunde der
Tonkunst* (1825),has been proved to be pure
invention. — In his book Emanuel d'Astorga
(Leipzig, 1911) Hans Volkmann gives an
authentic account based upon the evidence
of original documents. A second vol.. deal-
ing with the works of A., is to follow shortly.
Atherton, Percy Lee, b. Roxbury, Mass.,
Sept. 25, 1871. Grad. 'with honors' from the
mus. course in Harvard Univ., 1893; from
1893-5 pupil of Rheinberger at the Kgl.
Hochschule in Munich; 1896 with O. B.
Boise (comp.) in Berlin; 1900 with Sgambati
in Rome, and later with Widor in Paris.
Has written 2 comic operas, The Heir Ap-
parent (1890) and Maharajah (1900); f. vh
and pf., 2 sonatas, a suite, and smaller pes.;
suite f. fh and pf.; choruses, part-songs, and
songs for 1 voice; his orch. works (in MS.)
include Noon in the Forest, symph. poem;
Symph. Scherzo; Symph. Andante; Schertino
f. string-orch., etc.
Attaignant [-tan-yahn'], Pierre (also At-
taingnant, Attelgnant), music-printer in
the first half of the 16th cent., and the
first, in Paris, to employ movable types.
The 20 books of motets printed by him
(1527-50), 65 books of chansons, and other
compositions, chiefly by French musicians,
are very rare. — See Q.-Lex.
At'tenhofer, Karl, b. Wettingen, Switzer-
land, May 5, 1837; d. Munich, May 22, 1914.
Pupil of D. Elster (Wettingen), Kurz (Neu-
enberg), and Richter, Papperitz, Drcyschock,
Rontgen, and Schleinitz (Leipzig Cons.,
1857-8). 1859, teacher of music at Muri
(Aareau); 1863, conductor of Rapperswyl
Men s Choral Union, and in 1866 took
charge of 3 Unions at Zurich, where he
settled in 1867. He has also held various
positions as organist, teacher, etc. A well-
known and eminent composer of choral-songs
for men's voices (e. g., the cantatas Hege-
lingenfahrt, 1890, and Fruhlingsfeier, op. 51);
Der deutsche Michel f. men's voices, bar. solo
and org.; Liederbuch f. Mannerges. (1882);
also for women's ch., soli and pf. (Beim
Rattenfdnger im Zauberberg, Das Kind der
Wiisle, Prinzessin Wunderhold, Rutlifahrt);
children's songs, songs w. pf., masses, pf.-
pieces, easy etudes f. vln. — Biogr. sketch by
A. Gliick.
At' trap, Karl, b. Copenhagen, Mar. 4,
1848; d. there Oct. 5, 1892. Pupil (1867) of
Gade, whom he succeeded, in 1869, as organ-
teacher at the Copenhagen Cons.; organist
at several churches. His studies for organ,
and songs, arc of value.
Attwood, Thomas, b. London, Nov. 23,
1765; d. Chelsea, Mar. 24, 1838. Chorister
in the Chapel Royal, and a pupil of Nares
and Ayrton, from 1774-9; sent by the Prince
of Wales (afterwards George IV) to Naples,
where he studied, 1783-5, with Filippo
Cinque and Gaetano Latilla; then with
Mozart in Vienna until 1787. He was, suc-
cessively, organist of St. George the Martyr,
London, and a member of the Prince's pri-
vate band; teacher of the Duchess of York
32
AUBER— AUBRY
(1791), and of the Princess of Wales (1795);
org;, of St. Paul's (1796); composer to the
King's Chapel Royal, succeeding Dupuis
(1796); org. of the King's private chapel at
Brighton (1821), and org. of the Chapel
Royal (1836). — Works: 21 operas; anthems,
services, glees, songs, pf. -sonatas, etc. He
occupied a high place among English com-
posers, and was a warm friend of Mendels-
sohn.— See Q.-Lex.
Auber [oh-bar'], Danjel-Francois-Esprit,
a prolific composer of French operas, was born
at Caen in Normandy, Jan. 29, 1782; d. Paris,
May 14, 1871. His father, an art-dealer and
print-seller in Paris, wished his son to devote
himself to business, and sent him to London
to acquire a knowledge of the trade. Auber 's
irresistible inclination for music, however,
manifested itself, and in 1804 he returned to
Paris, following thenceforward his natural
bent. His first opera, Julie, a resetting of an
old libretto, was produced by amateurs at
Paris in 1811, with an orchestra of six stringed
instruments. Cherubim* happened to be
among the auditors; he, recognizing Auber 's
talent, supervised his further instruction, and
while with him, A.^ wrote a mass for 4 voices.
Auber's first public productions, Le SSjour
mUitaire (1813), and Le Testament et les
Billets-doux (1819), were indifferently re-
ceived ; but his next opera, La Bergere ch&te-
laine (1820), was a success. From ttfat date
until 1869, scarcely a year passed without
the production of one or several operas, in
all over forty. One of these, Masaniello, ou
la Muette de Portici, produced in 1828, was
considered a masterpiece by Wagner, and
with Meyerbeer's Robert le Viable and Ros-
sini's Guillaume Tell, laid the foundations of
French grand opera. Its portrayal of pop-
ular fury is so graphic, that the Brussels riots
followed its performance in that city on
August 25, 1830. It seems to have been
inspired by the revolutionary spirit prevalent
at that time in Paris; it diners wholly from
Auber's other operas, which are comedy-
operas, the best of them composed to libretti
by Scribe. In this genre Auber is foremost
among French pom posers; and although it
has been written of him that "in his early
essays, he displayed an original style, but
afterwards became an imitator of Rossini,
and disfigured his melodies with false decora-
tions and strivings for effect," his music is
sparkling and has the true Parisian 'chic' and
polish. La Muette de Portici, Le Macon, Fra
Diavolo.Les Diamants de la couronne, and a
few of his other operas, are still stock-pieces
in France and Germany. In 1835, A. suc-
ceeded to Gossec's chair in the Academy; in
1842, he was appointed Director of the
Conservatory of Music in Paris, as Cheru-
33
bini's successor; in 1857, Napoleon III made
him imperial 'maftre de chapelle.' The viril-
ity of his personality was evinced by his last
opera, Reves d1 amour, a title suggestive of
youthful feeling, produced when he was
87 years of age. Auber was a thorough
Parisian, and during the latter years of his
life was said not to have set foot outside
the city boundaries. He remained there even
during its siege by the Germans. — Cf. A.
Pougin, Auber (Paris, X873); A. Kohut, Auber
(Leipzig, 1895); Ch. Malherbe, Auber (Paris,
1911).
Operas: Julie (1811), Jean de Couvin (1812). Le
Sijour militaire (1813). Le Testament et les Billets-doux
(1819), La Bergere ehdtelaine (1820), Emma, ou la
Promesse imprudente (1821), Leicester (1822), La
Neige. ou le nouvel Eginhard (1823), VendOme en
Espagne (1823, with HGrold), Les Trois Genres (1824,
with Boieldieu), Le Concert a la Cour (1824), Llocadie
(1824), Le Macon (1825). Le Timide (1826). Fiorella
(1826). La Muette de Portici (1828). La Fiancie (1829).
Pra Diavolo (1830). Le Dieu et la Bayadere (1830),
La Marquise de BrinvilUers (1831, together with eight
other composers), Le Philtre (1831), Le Serment, ou
les Paux-Monnayeurs (1832), Gustave III {Le Bal
masqut, 1833), Lestocq (1834), Le Ckeval de bronwe
(1835: extended into a grand ballet In 1857), Action,
Les Chaperons blancs, V Ambassadrice (1836). I*
Domino noir (1837), Le Lac des Pies (1839). Zanetta
(1840), Les Diamants de la couronne (1841). Carlo
Broschi (1842), Le Due d'Olonne (1842), La Part du
Diable (1843), La Sirene (1844). La Barcarolle (1845).
Haydie (1847), V Enfant prodigue (1850), Zerline, ou
la CorbeiUe d* oranges (1851), Marco Spado (1852.
extended to a grand ballet in 1857). Jenny Bell (1855),
Manon Lescaut (1856), Magenta (1859). La Circas-
sienne (1861), La Fiancie du Roi de Garbe (1864),
Le premier Jour de bonheur (1868). RHes a" amour (1869).
Aubert [oh-bar'], Jacques (called 'le
vieux'), eminent French violinist; b. 1678; d.
Belleville, May 19, 1753. Violinist in the royal
band (1727); leader in orch. of the Grand
Opera and the Concerts Spirituels (1728);
also leader in the band, and Director of
music, of the Due de Bourbon. — Works: An
opera; several ballets; and much chamber-
music, etc., for violin, distinguished for
elegance.
Aubery du Boulley [boo-lal, Prudent-
Louis, b. Verneuil, Eure, Dec. 9, 1796; d.
there Feb., 1870. Prolific comp. of chamber-
music in which the guitar, flute and pf. are
much employed; author of a Method for
guitar (op. 42), and a text-book, Grammaire
musicale (Paris, 1-830). He studied in the
Paris Cons, till 1815 under Momigny, Me-
hul and Cherubini; was at first an amateur
musician, but later a teacher who did much
to cultivate a taste for music in his province.
— Biographical sketch by J. de l'Avre (Ver-
neuil, 1896).
Aubry, Pierre, b. Paris, Feb. 14, 1874; d.
Dieppe, Aug. 31, 1910. Prof, of oriental lan-
guages; lecturer on mus. history at the ficole
des Hautes Etudes Sociales. — He publ. Huits
Chants htroiques de Vancienne France (1896);
Melanges de Musicologie critique, in 4 vols.:
AUDRAN— AURELIANUS
I. La Musicologie mtdiewde (1899); II. Les
Proses d'Adam de Saint-Victor (1900, w. Abbe
Misset); III. Lais et D escorts francais du
XIII* siecle (1901, w. Jeanroy and Brandin);
IV. Les plus anciens monuments de la musique
franc. (1903, with 24 phototypes); Essais de
Musicologie comparie, 2 vols.: I. Le Rythme
tonique dans la poesie liturgique et dans le
chant des iglises chretiennes au moyen-dgc
(1903); II. Esquisse d'une Bibliographic de la
Chanson populaire en Europe (1905); Les
Caracteres de danse. Ristoire d'un divertisse-
ment pendant la premiere moitiS du XVIII*
siecle (1905); Au Turkestan. Notes sur
quelques habitudes musicales chez les Tadjites
et chez les Sartes (1905); La Musique et les
musiciens diglise en Normandie au XIII*
siecle . . . (1906); Estampies et Danses royales.
Les plus anciens textes de musique instru-
mentale au moyen-dge (1907); Recherche s sur
les Tenors francais dans les motets du XIII*
siecle (1907); Recherches sur les Tenors latins
dans les motets du XIII* siecle (1907, w.
Gastoue); Le Roman de Fauvel (1907; fac-
simile ed. of the Parisian MS., w. index and
editorial explanations) ; Cent Motets du XIII*
siecle (1908, 3 vols.; photogr. facsimile, w.
translation, of Bamberg Codex E. d. IV. 6,
w. additional Studes et commentaires; a most
important work); Refrains et Rondeaux du
XIII* siecle (1909, in the Riemann 'Fest-
schrift'); Trouveres et Troubadours (1909;
Engl. ed. N. Y., 1914); and a number of
essays on kindred topics, publ. in the 'Mer-
cure musical' (1903-8), also separately.
Audran [oh-drahn'j, Edmond, son of
Marius;b. Lyons, April 11, 1842;d.Tierceville,
n. Gesors, France, Aug. 17, 1901. Pupil of the
Ecole Niedcrmeyer, Paris; 1861, mattre de
ch. at church of St.-Joseph at Marseilles.
His debut as a composer was at Marseilles,
1862, with the opera VOurs et le Pacha; he
successfully produced about 40 other operas,
operettas, etc., chiefly of a light character,
in minor Parisian theatres; also wrote a
mass, a funeral march f. Meyerbeer's death,
etc. From 1877 he lived in Paris. — He pro-
duced the operetta La Fiancee des Verts-
Poteaux (Paris, 1887; v. succ); operetta
Olivette (given Berlin, 1895, as Capitain Ca-
ricciolo; succ); opera Sainte-Freya (Paris,
1892; succ); operetta La Mascotte (1880;
given 1700 times up to Aug. 29, '97); oper-
etta Miss Helyett (Paris, 1890; succ); oper-
etta Madame Suzette (Paris, 1893; succ);
operetta Mon Prince/ (Paris, 1893; succ);
3-act lyric comedy Photis (Geneva, 1896;
succ) ; 3-act com. opera La Duchesse de Fer-
rare (Paris, 1895; mod. succ); 4-act comic
opera La Poupee (Paris, '96; mod. succ);
comic operetta Monsieur Lohengrin (Paris,
1896; v. succ); Les petites femmes (1897);
and others.
Audran, Marina-Pierre, operatic tenor
and song-composer; b. Aix, Provence, Sept.
26, 1816; d. Marseilles, Jan. 9, 1887. Pupil
of E. Arnaud. After successful appearances
at Marseilles, Brussels, Bordeaux, and Lyons,
he became first tenor at the Opera-Comique.
Paris, soloist at the Cons. Concerts, and
member of the Cons. Jury. After travelling
(1852-61), he .settled in Marseilles, becoming
(1863) Director of the Cons, there, and prof,
of singing.
Au'er, Carl. See Frotzler.
Au'er, Leopold, distinguished violinist; b.
Veszprem, Hungary, June 7, 1845. Pupil of
the Conservatories at Pest (Ridley Kohne-
tol) and Vienna (Dont, 1857-8); finally, of
Joachim. From 1863-5, leader in Dflssel-
dorf, and 1866 in Hamburg; since 1868, solo-
ist to the Tsar and of the Imp. orch. at
Petrograd, and violin-prof, at the Cons.
1887-92, cond. of the concerts of the Imp.
Russ. Mus. Soc; 1895, elevated to the rank
of the hereditary Russian nobility; 1903,
State Councillor. He is equally famous as a
virtuoso and a teacher. Among his pupils
are Elman, Zimbalist, Parlow, Heifetz, etc.
Au'gener & Co., London firm of music-
sellers and publishers, founded 1853 by
George A. They began the publication of the
famous 'Augener's Edition in 1867; pub-
lishers, since 1871, of 'The Monthly Musical
RecoroY
Au gustine ( Auftus tt nus) , Aurelius,
better known as St. Augustine; b. Tagaste,
Numidia, 354; d. as bishop at Hippo, Algeria,
430. Renowned father of the Latin Church,
educated at Madaura and Carthage. His
writings contain valuable information con-
cerning Ambrosian song; that entitled 'De
Musica' treats only of metre. — Cf. De musicis
scriptoribus Romanis by K. Schmidt (1899).
Aulin, Tor, violinist and composer; b.
Stockholm, Sept. 10, 1866; d. there March 1,
1914. St. in Berlin with E. Sauret (vln.)
and Ph. Scharwenka (comp.). In 1887 he
established the A. Quartet, which soon be-
came famous also in Russia and Germany;
from 1889-1902 concert- master at the royal
Opera in Stockholm, with frequent leave for
extended concert tours, which established his
reputation as the greatest Scandinavian violin
virtuoso since Ole Bull; after 1902, cond. of
the Stockholm Philh. Soc — Works: An orch.
suite, Meister Oluf, op. 22; 3 concertos for
vln.; several vln. solos.
Aurelia'nus Reomen'ste, monk at Reo-
me in the 9th century; wrote a treatise,
Musica disciplinaf published by Gerbert in
'Scriptores/ vol. i. It contains the earliest
information regarding the character of the
church-modes. Cf. H. Riemann, Handbuch
der Musikgeschichte, I, 2, p. 56.
34
AUS DER OHE— AYERS
Aus der Ohe, Adele, pianist; b. circa
1865 in Germany. From the age of 7,
taught by Kullak in Berlin; three years later
made her d6but there with orch. When 12
years old she went to Liszt, with whom she
remained seven years. Her tours of Europe
and the U. S. were successful, more because
of the dazzling brilliancy of her technic than
because of depth of feeling. Her publ. works
are 2 pf. -suites, op. 2, 8; Concert-etude,
op. 3; 3 pes. for pf., op. 4; songs, op. 5, 6, 7.
Austin, Florence, concert- violinist; b.
Galesburg, Mich., March 11, 1884. Pupil of
H. Schradieck in New York, 1895-8; then,
until 1901, of O. Musin at Liege Cons., win-
ning first prize (first time carried off by an
American); made a succ. debut in New York
with the Paganini concerto (Dec., 1901), and
has since appeared with several of the larger
symph. orchs. in the U. S.. and Canada, as
well as in recital; soloist at the Maine Fest.,
1914; since 1912, head of violin department,
Musin Virtuoso School, Newark, N. J.
Austin, Frederick, baritone and comp.;
b. London, Mar. 30, 1872. Pupil of his uncle,
Dr. Hunt (pf., comp.) and H. Grimshaw
(or$.) at Birkenhead. He occupied several
positions as org. in Liverpool, and, until
1906, taught theory at the Coll. of Mus.
there. At the same time he studied singing
with Ch. Lunn; made his debut as concert
singer in 1902 in London, meeting with more
than ordinary success, so that he is in great
demand for the various Engl, festivals; made
his operatic debut as Gunther in London
(1908); has since sung the baritone parts in
Wagner at Covent Garden, His Majesty's
Th., with Beecham's company, and with
Denhof (in Engl.). Also noteworthy as com-
poser.— Works: Overture, Richard III; rhaps.
for orch., Spring; symph. poem, Isabella;
Festival Prelude For string-orch. and org.; a
pf.-trio; ore.-pieces; pf. -pieces; church-music.
— His brother, Ernest, b. London, Dec. 31,
1874, abandoned a mercantile career, and
appeared in 1907 as a composer of extreme
tendencies.
Aute'ri-Manzocchi [-tsdh'ke], Salvatore,
composer of operas and songs; b. Palermo,
Dec. 25, 1846; pupil of Platania at Palermo,
1867-9, and Mabellini at Florence, 1870-3.
His countrymen hold his works in high
esteem. — Operas: Dolores (Florence, 1875;
very succ.); II Negriero (Milan, 1878); Stella
(Piacenza, 1880; v. succ.) ; // Conte di Gleichen
(Milan, 1887); the 3-act opera seria Graziella
(Milan, '90; mod. succ); and Severo Torelli
(Bologna, 1903). His first opera, Marcellina,
was never performed.
d'Auvergne [doh-varn'], Antoine, b. Mou-
lins (Clermont-Ferrand), Oct. 4, 1713; d.
Lyons, Feb. 11, 1797. Violinist, pupil of his
35
father. He went to Paris in 1739, played
next year in the 'Concerts Spirituels,' joined
the King's band in 1741, and the Opera orch.
in 1 7 42 . He cond ucted the latter 1751-5; was
Director until 1790, and retired at the out-
break of the Revolution to Lyons. His first
stage- work was a ballet, Les Amours de
Tempe (1752); in 1753 he made a sensation
with Les Troqueurs, the first genuine 'opera
comique'; it resembled the Italian 'inter-
mezzi with spoken dialogue instead of recita-
tive, and soon superseded the 'corned ie a
ariette' (vaudeville with incidental music).
He produced 9 other stage-pieces, and left
3 more in MS. Cf. Du Roure de Paulin, La
vie et les ceuvres d'A. d'A. (Paris, 1911).
Aventi'nus, Johannes (real name Tur-
mair), b. Abensberg (whence Aventinus),
July 4, 1477; d. Jan. 9, 1534. Author of
Annales Boiorum (1554), containing consider-
able information, not wholly trustworthy,
about musical matters; editor of Nicolaus
Faber's Musica rudimenta admodum brevia, etc,
(1516).
Averkamp, Anton, b. Willige Langerak,
Holland, Feb. 18, 1861. Pupil of De Lange
in Amsterdam, Kiel in Berlin, and Rhein-
berger in Munich (comp.); also of Schimon,*
Hasselbeck and Messchaert (voice). Founded
in 1890 the 'Amsterdamsch A Cappella
Coor,' which soon became famous for its
splendid interpretation of early music; won
golden opinions on frequent tours of Holland
and Belgium; also visited Berlin (1906) and
Paris (1909). A. has contributed numerous
articles to Dutch papers; is knight of the
order of Orange- Nassau; a dir. of the 'Vereen-
iging voor nederlandsche muziekgeschiedenis'
and 'Maatschappii tot bevordering van toon-
kunst.' — Works: Elaine und Lancelot, symph.
poem; 2 ch. works w. orch., Decora Lux and
Die versunkene Burg; 2 a capp. choruses,
Adstant angelorum chart and Te Deum; a
sonata for pf. and vln. in D; songs. An
opera, De Heidebloem, has not yet been
produced.
Av'ison, Charles, English composer, or-
ganist and writer; b. Newcastle-on-Tyne,
1710; d. there May 9, 1770. St. in Italy;
then under Gemtniani in London. Organist
in Newcastle. — Publ. works: 26 concertos a 7
(4 violins, via., 'cello, bass), 12 pf. -concertos
w. string-quartet, 18 quatuors f. pf. w. 2
vlns. and 'cello, and 3 vols, of sonatas f.
harpsich. w. 2 vlns.; also An Essay on Mus.
Expression (London, 1752, '53, 75); also
publ., with J. Garth, Marcello's Psalm-Para-
phrases (1757), with Engl, words, and biogr.
of Marcello.
Ayers, Frederic, composer, b. Bingham-
ton, N. Y., Mar. 17, 1876. Pupil of Edgar
Stillman Kelley (1897-1901) and Arthur
AYRTON— BACH
Foote (1899).— Works: Overture, From the
Plains; a sonata for pf. and vln.; a string-
quartet; a pf.-trio; several fugues; songs.
Ayr ton, Edmund, English composer and
org.; b. Ripon, Yorkshire, 1734; d. West-
minster, May 22, 1808. Pupil of Nares.
From 1780-1805, Master of Children of the
Chapel Royal. Wrote 2 full services; also
anthems.
Ayrton, William, son of preceding; b.
London, Feb. 24, 1777; d. there Mar. 8, 1858.
Received a thorough liberal and musical edu-
cation; one of the founders and a director of
the London Philh. Soc. As conductor of the
King's Theatre he introduced several of
Mozart's operas to English audiences. 1813—
26, critic of 'Morning Chronicle'; 1837-51, of
'Examiner'; 1823-33, editor of the 'Har-
monicon.' Also edited Knight1 s Musical
Library (1834-7), and Sacred Minstrelsy
(1835).
Azvedo [ahth-va-'], Alexis-Jacob, French
writer and critic; b. Bordeaux, March 18,
1813; d. Paris, Dec. 21, 1875. Author of
several valuable monographs, particularly
G. Rossini, sa vie et ses centres (Paris, 1865) ;
also of Felicien David (1868); contributor to
'La France musicale,' 'Le Siecle,' 'La Presse,'
'Le Menestrel,* and (1859-70) correspondent
to 'L 'Opinion nationale.' He was a zealous
partisan of the Italian school, and many of
his criticisms are biased.
B
Bab'bi, Christoph (Cristoforo), violinist;
b. Cesena, 1748; d. Dresden, 1814. From
1781, leader in the Electoral orch. — Works:
Symphonies, vln.-concertos, and quartets and
duets for flute.
Babbi'ni, Matteo, celebrated tenor; b.
Bologna, Feb. 19, 1754; d. there Sept. 22,
1816. Pupil of Cortoni; debut 1780. His
great success brought him engagements in
London, Petrograd, Vienna (1785), and
Berlin. Settled in Paris, a court favorite, till
the Revolution drove him back to Italy; in
1792 he was again in Berlin; 1796, in Trieste.
He died wealthy. — Brighenti published an
'Elogio' of B. (Bologna, 1822).
Bac'chius (Senior), Greek theorist (circa
350 a.d.), two treatises by whom are still
extant, published in Greek, Latin and French
by Mersenne, Meibom, Morel, and Bellermann.
Bacfart (or Bacfarc, Bacfarre, Bek-
wark) , Valentin, a celebrated lutenist whose
real name was Graew or Grell, b. Krcm-
stadt, 1507; d. Padua, Aug. 13, 1576. Sup-
posedly a pupil of Antonio Rotta; lived
1549-67 at the court of Sigismund Augustus
of Poland, from 1566-68 at the Imperial
court in Vienna, afterwards in Italy. Publ.
various works in tablature: Intablatura
(Lyons, Part I, 1552), Tablature de Luth
(Paris, 1564), and Harmonics musica, (two
parts, Cracow, 1565-8). — Cf. monograph (in
Polish) by H. v. Opienski, 'Bekwark, the
Master-Lutenist' (1906).— See Q.-Lex.
Bach is the name of the illustrious family
which, during two centuries, supplied the
world with a number of musicians and com-
posers of distinction. History possesses few
records of such remarkable examples pf
hereditary art, which culminated in Johann
Sebastian.
The genealogy of the family is traced to
Hans Bach, born circa 1561 at Wechmar,
a little town near Gotha. Veit Bach, d.
Mar. 8, 1619, the presumed son of this Hans,
and Caspar Bach, are the first of the family
concerning whose musical tendencies we have
any information. Veit was by trade a baker,
and emigrated to Hungary; returning to
Wechmar, he settled there as a miller and
baker. His chief relaxation consisted in
playing on the zither. His son, Hans, b.
c. 1580, d. Dec. 26, 1626, was known as
'der Spiel mann/ (i. e., 'the player'), although
he followed the supplementary occupation of
carpet-weaver. He received instruction from
the town-musician of Gotha, the above-
mentioned Caspar, thought to have been his
uncle. As a travelling violinist, to be found
at all the principal festivals, he was popular
throughout Thuringia, and his three sons,
Tohann, Christoph, and Heinrich, inherited
his ability. The Bach genealogy mentions a
second son of Veit, presumably Lips Bach
(d. Oct. 10, 1620), who also had three sons,
who were sent to Italy, to study music, by
the Count of Schwarzburg-Arnstadt. From
Hans and Lips, the two sons of Veit, sprang
the main branches of the Bach family, whose
male members filled so many positions as
organists, cantors and Kapellmeister through-
out Thuringia, that, in some instances, even
after there nad ceased to be any member of
the family among them, the town- musicians
were known as 'the Bachs.' When the fam-
ilies became numerous and widely dispersed,
they agreed to assemble on a fixed date each
year. Erfurt, Arnstadt, Steinach, dnd Mei-
ningen were the places chosen for these meet-
ings, which continued until the middle of
the 18th century, as many as 120 persons
of the name of Bach then assembling. The
hours, interspersed with music, were devoted
to the narration of their experiences, mutual
criticism, encouragement and advice, and the
examination of the compositions of each
member, which eventually formed a collec-
tion known as the Bach Archives. A part of
36
BACH— BACH
this interesting collection was in the posses-
sion of Karl Ph. E. Bach at the end of the
18th century.
The principal members of the Bach family
are enumerated below, in alphabetical order,
with their chronological list-numbers.
2. Christoph 18. Johann Christoph Friedrich
5. Georg Christoph 4. " Egidius
3. Heinrich 13. " Ernst
1. Johann 12. " Ludwig
8. " Ambmaius 7. " Michael
10. " Bernhard 11. " Nikolaus
19. " Christian 15. " Sebastian
6. " Christoph 17. Karl Philipp Emanuel
9. " " 16. Wilhelm Friedemann
U. " " 20. Wilhelm Friedrich Ernst
•
1. Bach, Johann (eldest son of Hans),
b. Nov. 26, 1604; d. 1673. Org. at Schweinfurt,
then at Sum". In 1635, dir. of the 'Raths-Mu-
sikanten'; 1647, org. of the church at Er-
furt. Left MS. comps. of considerable merit.
2. Bach, Christoph (2nd son of Hans,
acnd grandfather of johann Sebastian), b.
Apr. 19, 1613; d. Sept. 14, 1661. Court and
town-musician of Eisenach. Distinguished
organist; left several organ-pieces (in the
B. Archives).
3. Bach, Heinrich (3rd son of Hans),
b. Wechmar, Sept. 16, 1615; d. Arnstadt,
July 10, 1692. From 1641, organist of Arn-
stadt church for 51 years. Left MS. organ-
pieces and hymn-tunes.
4. Bach, Johann Egidius (2nd son of
Johann [1]), b. 1645; d. 1717. Succeeded his
father as municipal mus.-dir. and organist of
the church at Erfurt. Left church-comps.,
among others the motet a 9 for double choir,
Unser Leben ist ein Schatten (1696).
5. Bach, Georg Christoph (eldest son
of Christoph [2]), b. Eisenach, Sept. 6, 1641;
d. April 24, 1697. Cantor and composer at
Sichweinfurt. His motet, Siche, wie fein und
lieblich, for two tenors and bass with ace. of
vln., 3 'celli, and bass, is in the B. Archives.
6. Bach, Johann Christoph (eldest son
of Heinrich [3]), organist and composer (in-
strumental and vocal) of the highest rank
among the earlier Bachs; b. Arnstadt, Dec.
6, 1642; d. Eisenach, Mar. 31, 1703. From
1665 to 1703, court and town-organist of
Eisenach. Works in the B. archives: Wed-
ding hymn f. 12 voices, Es erhub sich ein
Streit, a comp. of great beauty; motet f. 22
voices, for the festival of St. Michael; alto
solo, w. accomp. of vln., 'cello, and bass; and
2 motets a 4. In MS. in the Berlin Royal
Library: Motet a 8 f. double choir, Lieber
Herr Gott, wecke uns auf (1672); motet a 4,
Ich lasse dich nicht; motet a 8, Unseres
Hergens Freude hat ein Ende; motet a 8,
Herr, nun lassest Du deinen Diener; Sara-
bande for clavecin w. 12 variations; etc. —
See Q.-Lex.
37
7. Bach, Johann Michael, brother of
preceding, and as org. and composer almost
nis equalin merit; b. Arnstadt, Aug. 9, 1648;
d. Gehren, May, 1694. Org. and town-clerk
of Gehren from 1673; also maker of harpsi-
chords, vlns., etc. Composed motets, pre-
ludes, and fugues.
8. Bach, Johann Amhrosius (2nd son
of Christoph [2]), distinguished org.; b. Er-
furt, Feb. 22, 1645; d. Eisenach, 1695. He
was the father of J. Sebastian. His twin-
brother:
9. Bach, Johann Christoph, d. Arn-
stadt, Aug. 25, 1694, was court violinist and
'Stadtpfeiier' at Arnstadt from 1671. There
was such a remarkable resemblance between
the brothers, in every particular, voice, ges-
tures, moods, and style of music, that even
their respective wives could distinguish them
only by the color of their clothes. — Church-
comp. a 4, Nun ist alles uberwunden.
10. Bach, Johann Bernhard (son of
Johann Egidius [4]), org. and comp. f. organ,
one of the best of his generation ; b. Erfurt,
Nov. 23, 1676; d. Eisenach, June 11, 1749.
Organist at Erfurt, Magdeburg, and the suc-
cessor of Johann Christoph [6], at Eisenach
in 1703. Also cembalist in the Duke of Saxe-
Eisenach's orch. — Works: Harpsi^h.-pieces,
several chorale-arrangements f. org., and 4
orchestral suites, these latter now in the
Berlin Royal Library.
11. Bach, Johann Nikolaus (eldest son
of Johann Christoph [6]), b. Eisenach, Oct.
10, 1669; d. there 1753. In 1695, app. org.
at Jena, where he estab. a harpsichord-fac-
tory, made many improvements in the instrs.,
and directed his efforts to establishing equal
temperament in pf. and org.-tuning.— -Works:
Suites f. org. and harpsich.; motets, and other
sacred comps.; also a comic operetta, Der
Jenaische Wein- und Bier-Rufer, a scene from
Jena college-life.
12. Bach, * Johann Ludwig (son of
Johann Michael [7]), b. St ein bach, 1677; d.
1741. Court Kapellm. at Saxe-Meiningen.
MS.: Requiem f. 2 choirs, w. instrl. accomp.,
in Berlin Royal Library.
13. Bach, Johann Ernst (only son of
Johann Bernhard (10J), b. Eisenach, Sept. 1,
1722; d. there Jan. 28, 1777 (1781?). St.
law at Leipzig for 6 years, returning to Eisen-
ach and practising as advocate. In 1748 was
app. asst. to his father, org. of St. George's
en.; 1756, app. hon. Kapellm. at Weimar, w.
pension. Publ. comps., Sonatas f. clavecin
w. vln., etc.; many others in MS.
14. Bach, Johann Christoph (brother
of Johann Sebastian, and eldest son of
Johann Ambrosius [8]), b. Erfurt, June 16,
BACH— BACH
1671; d. Ohrdruf, Feb. 22, 1721. He was
organist at Ohrdruf, and his distinguished
brother's teacher on the clavichord.
15. Bach, Johann Sebastian, the most
famous of the family, and one of the great
masters of music; b. Eisenach, Mar. 21 (bapt.
Mar. 23), 1685; d. Leipzig, July 28, 1750.
He first learned the violin from his. father
(J oh. Ambrosius [8]). His mother, Elizabeth,
nee Lammcrhirt, was a native of Erfurt.
Both his parents dying in his tenth year, he
went to live with his brother, Johann Chris-
toph [14], at Ohrdruf, who taught him the
clavichord; but the boy's genius soon out-
stripped his brother's skill, and led to some-
what harsh treatment by the latter. Unable
to obtain the loan of a MS. vol. of works by
composers of the day, Sebastian secretly ob-
tained possession of the work, and, by the
light of the moon, painfully and laboriously
copied the whole, within six months, only to
have it taken from him, when his brother
accidentally found him practising from it.
He recovered it when his brother's death oc-
curred shortly after. Left to his own re-
sources, J. S. went to Ltineburg with a fellow-
student named Erdmann, and both were ad-
mitted as choristers at St. Michaels ch., also
receiving aratituous scholastic education. The
fame of the family had preceded Sebastian,
for in the choice collection of printed and'
MS. music of the ch. were to be found the
comps. of Heinrich and J. Christ oph B. [6].
A fellow-Thuringian, George Bohm, was the
org. of St. John s ch., ana Bach attentively
studied his compositions. He also often went
on foot to Hamburg, to hear the famous old
Dutch organist Reinken, and to Cellc, where
French music was exclusively used in the
services of the -Royal Chapel. With inde-
fatigable industry he developed his technical
skill on the violin, clavichord, and organ, and
perfected himself in the art of composition;
often working and studying the whole night
through. In 1703 he became violinist in the
Weimar court orch., but the following year
quitted this post for the more congenial one
of org. of the new church at Arnstadt. Some
of his comps. of this early period, for clavi-
chord and organ, are of importance. In 1705
he obtained leave of absence, and walked to
Ltibeck, to make the acquaintance of the
famous organist Dietrich Buxtehude. He
was so impressed with this master's style,
that he trebled his leave of absence, and re-
turned only after a peremptory summons
from the church-consistory of Arnstadt. He
received favorable offers from different places,
and June 29, 1707, accented the app. as
org. at Miihlhausen. On Oct. 17 he married
his cousin, Maria Barbara Bach, daughter of
Johann Michael [7]. The following year he
38
went to Weimar, played before the reigning
duke, and was at once offered the post of
court organist. In 1714 he was made 'Con-
certmeister.' All this time he was writing
much church- and organ-music. In his
autumn vacations he made professional
clavichord- and organ-tours. In 1713 he
visited Kassel and Halle, Leipzig in 1714
(where he furnished all the organ-music for a
service cond. in the Thomaskirche, and prod,
a cantata), Halle again in 1716, and Dresden
in 1717. In this town his challenge to Mar-
chand, a French organist of high reputation,
was evaded by the latter's failure to appear.
In 1717 B. was app. Kapellm. and director of
chamber-music to Prince Leopold of Anhalt,
at Kothen, and this period is especially rich
in the production of orchestral and chamber-
music. In 1719 he revisited Halle, hoping to
meet Handel; but the latter had just left for
England. In 1720, during his absence at
Carlsbad, his wife died suddenly. In the
autumn of the same year he applied, though
(owin£ to bribery) without success, for the
orgamstship of the Jacobikirche, Hamburg.
Here he again met the aged Reinken, whose
admiration he excited by his brilliant play-
ing. In 1721 he married his second wife,
Anna Magdalene Wulken, a daughter of the
court-trumpeter at Wcissenfels. Thirteen
children were born to them. Of highly-
cultured musical taste, she participated in his
labors, and wrote out the parts of many of
his cantatas. B. prepared 2 books of music
especially for her. In May, 1723, he succ.
Johann Kuhnau as cantor at the Thomas-
schule, Leipzig, becoming also org. and dir.
of music at the two principal churches, the
Thomaskirche and tne Nicolaikirche, and
continuing in the service of Prince Leopold
of Anhalt as 'Kapellm. von Haus aus.' He
further received the app. of hon. Kapellm.
to the Duke of Weissenlels, and, in 1736, that
of court composer to the King of Poland,
Elector of Saxony. He remained in his post
at Leipzig for 27 years, and there composed
most of his religious music. He often visited
Dresden, where his eldest son, Wilhelm
Friedemann, was app. in 1733 organist of the
Sophienkirche. On these occasions he fre-
quently attended the Italian opera, then
cond. by Hasse. His second son, Karl Philipp
Emanuel, was app. in 1740 chamber-musician
to Frederick II of Prussia. He communicated
to his father the king's oft-expressed wish to
see and hear him; and on May 7, 1747, with
his son Wilhelm Friedemann, B. arrived at
Potsdam.. Here, at the king's request, he
tried, and improvised upon, the various Sil-
bermann pianos in the different rooms of the
palace, to the admiration of his royal host,
and of the musicians who followed them from
room to room. The next day B. tried, in a
BACH— BACH
similar manner, the principal organs in Pots-
dam, finally improvising a 6-part fu^ue on a
theme proposed by the king. On his return
to Leipzig* he wrote a 3-part fugue on this
theme, a Kicercare in 6 parts, several canons
inscribed Thetnalis regit elaboraliones canoni-
cal, and a Trio for flute, violin and bass;
dedicating the whole to Frederick as a Mu-
sikalisches Opfer. — Bach was nearsighted
from childhood, and later his eyes showed
symptoms of weakness, probably due to the
strain of his youthful night-labors; in 1749
an unsuccessful a operation resulted in total
blindness, and his hitherto robust health also
declined. His sight was suddenly restored
on July 10, 1750; but ten days later, stricken
by apoplexy, he died. He worked to the
end, dictating the chorale Vor deinen Thron
tret* ich hiermil, his last composition, a few
days before his death.
Clearness and acutenessof intellect, strength
of will, irresistible persistency, a love of order,
and a high sense of duty, were his leading
characteristics. His home-life was of the
happiest description. Among the long list of
his distinguished pupils were Johann Ludwig
Krebs, Gottfried August Homilhis, Johann
Friedrich Asricola, Philipp Kirnberger, Jo-
hann Theopnilus Goldberg, Marpurg, Joh.
Kaspar Vogler; also his own sons Wilhelm
Friedemann, Karl Philipp Emanuel, and Jo-
hann Christoph Friedrich, for whose instruc-
tion he wrote the Clavierbuchlein and the
Kunst der Fuge. He engraved several of his
own works on copper; invented the 'viola
pomposa' (an instrument between viola and
cello), and t a 'Lauten-Clavicembalum' (a
clavichord with catgut strings) ; he promoted
the adoption of the tempered system of tun-
ing keyboard stringed instrs.; and introduced
the style of fingering which, with compara-
tively few modifications, is still in use.
Bach's compositions mark an epoch. They
are a fusion of two eras — the polyphonic
contrapuntal (thematic development by strict
and free imitation) and the harmonic tonal
(chord-combinations founded on the modern
system of major and minor keys). His origin-
ality and fecundity of thematic invention
are astounding; moulded with his consum-
mate contrapuntal art, and the freedom born
of full mastery, polyphonic structures were
reared which will be the admiration of ages.
His style is elevated, and of sustained indi-
viduality in melody, rhythm, and harmony;
the momentum of his grand fugues is inex-
orable as the march of Fate. As an inex-
haustible mine for study, the complete critical
edition published 1851-1900 in 60 volumes by
the 'Bach-Gesellschaft,' a society founded in
}j*50 by Schumann, Otto Jahn, Hauptmann,
K. F. Becker, and the publisher Hartel, de-
mands special recognition. The Schirmer
Complete Edition of Bach's Organ Works, in
8 volumes, ably edited by Charles-Marie
Widor and Dr. Albert Schweitzer (5 vols,
publ. up to 1916; the others delayed by the
European war), with voluminous Notes and
directions for playing, is unique. The Peters'
edition of B.'s works is also valuable. Few of
them were publ. during his lifetime; Mizler's
'Musikaliscne Bibliothek' (1754) contains an
almost complete catalogue. Bach's import-
ance was but meagerly appreciated by his
contemporaries, and for half a century after
his death he was practically ignored. Some
few works were then occasionally performed,
or even published; but Mendelssohn, by a
performance of the St. Matthew Passion at
Berlin, in 1829, first drew general attention
to the great value of Bach's comps. The cen-
tenary of his death (1850) was marked by the
formation, at Leipzig, of the# 'Bach-Gesell-
schaft.' 'Bach-Vereine,' societies for the cul-
tivation and production of B.'s music, exist at
Leipzig, Berlin, London, and in many other .
European cities.
Works: Vocal: The 5 sets of sacred Can-
tatas for every Sunday and feast-day, already
mentioned, besides several special ones, e. g.,
Golies Zeit ist die beste Zeit, and the Trauerode
on the death of the Electress of Saxony; 5
Passions, including the gigantic St. Matthew,
the St. John, and the doubtful St. Luke; a.
Christmas Oratorio, in 5 parts; Grand Mass in
B m., and 4 smaller do.; motets; 2 Magnifi-
cats; 5 Sanctus; many secular cantatas, in-
cluding two comic ones. — Instrumental: Very
numerous pieces f. pf. (i. e., clavichord): —
Inventions in 2 and 3 parts; 6 'small' French
suites; 6 'large' English suites; Preludes and
Fugues, including the Wohltemperirtes Clavier
in 2 parts with its 48 Preludes and Fugues in
all keys (cf. art. Busoni); pf. -sonatas w. one
or more instrs., among them the famous 6
sonatas for pf. and vln.; solo sonatas f. violin
and 'cello; solos, trios, eta, etc., for different
instrs. in various combinations; concertos for
1 to 4 pfs.; violin and other instrl. concertos
with orchl. overtures and suites; and many
organ comps. (fantasias, toccatas, preludes,
fugues, ana chorale-arrangements).
Bibliography. — A. Biographical: B.'s
earliest biographers were his son, K. Ph.
E. Bach and J. F. Agricola in Mizler's 4Mu-
sikalische BibliothekT (Leipzig, 1754; IV, 1.
pp. 158-76); J. N. Forkel, Vber J. 5. B.'s
Leben, Kunst u. Kunstwerke (Leipzig, 1802;
Engl, transl. by Wesley, London, 1820; Fr.
transl. by Grenier, w. notes, Paris, 1876);
C. L. Hilgenfeldt, B.'s Leben, Wirken, u.
Werke (1850); C. H. Bitter, J. S. B. (2 vols.,
Berlin, 1865; 2d ed., 4 vols., 1880); Ph.
Spitta, /. S. B. (2 vols., Leipzig, 1873-80;
Engl, transl. by C. Bell and J. A. Fuller-
Maitland, 3 vols., with many additions,
39
BACH— BACH
London 1884-5; 2d ed., 1899); R. L. Poole,
foB,: (London, 1882); H. Barth, /. S. B.
^ u,ini5r o02); A. Pirro, £. (Paris. 1906);
?6(S< ^P1JPfc * S' ?' (N' Y- and London
1909 ^ ^°if.rum' ^ 5- B- (2 vols., Leipl
Zl% i91W> J- Tiersot, B. (Paris, 1912).
b. Critical, Analytical: M. Haupt-
mznn, Erlduterung zu J. S. B.'s Kunst der
Fuge (Leipzig, 1841); R. Franz, Vber Bear-
oettungen dlterer Tonwerke, namentlich Bach-
scher u. Hdndelscher Vokalmusik (Leipzig.
1871; new ed. as Ges. Schriften uber die
%t'n' !91,°); ft Tudor' Das R'roentum in
der Deutsche Musik (1891; a study of the
music of Bach, Beethoven and Wagner);
H. Kiemann, Katechismus der Fuge (3 vols.
Leipzig 1890-1; 3rd ed., 1914; I compete
analysis of Das wohltemperirte Klavier and
Kunst der Fuge; Enel. transl. by J. S. Shed-
lock London, 1893); A. Pirro, VOrgue de
£ SJ r: <£"%" 1894; En?L transl- by W.
Goodrich, N. Y., 1902); W. His, J. S. B.
torschungen uber dessen Grabstdtte, Gebeine u.
AntlUz J (Leipzig 1895); B. Todt, Vademecum
durch die Bachschen Cantaten (Leipzig, 1895):
\sS^n{^USm B"HmoUMesse (Frankfort
/•I 5)i;ooc^nSnn; J' S' B- MaUhauspassion
Relation to hts Work as a Church Musician
and Composer (Cambridge, 1897); F. Iliffe,
don 1897); W. Carte, Aude sur J. S. B.
l2"d *uJm- «d«. Paris 1898); P. I. Mayr-
hofer, B.-Studten Asthetische u. technische
Ftngerzetge sum Studium der Bachschen Orgel-
?™f?B7€f?*,£* (voK »• Orgelwerke, Leipzig,
192i;tvJ-A fuUer.Maitland. The Age SfB.
and Handel (Vo\. iv of the Oxford Hist, of
Mus., Oxford, 1902); A. Schweitzer, /. S. £.,
ed 1908; Engl, transl. by E. Newman 2
J. S. B. (Pans, 1907); A. Heuss, J S B *s
MaUhduspassion (Leipzig, 1909); A. Blass,
Wegwetser zu J. S. B. (Berlin, 1909); F HasI
hagen, /. S. B. als Sanger u. Musiker des
Evangeliums u. der luiherischen Reformation
£Vl,?mar' 1909> •' G- Robert, Le descriptif chez
£' ffiSF» 1909); J- Schreyer, Beitr&ee zur B.-
KrUtk (2 vols., Dresden, 1910-12) ;W. Voigt, Die
Kirchenkantaten J. S. B.'s (Stuttgart, 1911)
Under the auspices of the 'Neue Bachge-
sellschaft' (founded at Leipzig, 1903), A.
^henng began in 1904 the publication of a
Bach-Jahrbuch'; the various vols, contain
much valuable material. The same assoc
also publ. /. S. B.'s Handschrift in ztitlichfe-
ordneten Nachbildungen (Leipzig, 19U) *
J&' „?ach» Wilhelm Frledemann (Bach
of Halle), eldest son of J. Sebastian; b. Wei-
mar, Nov. 22, 1710; d. Berlin, July 1, 1784.
40
Pupil of his father (pf.), and, at 15 years of
age, of Graun at Merseburg (vln.). Also st
at the Thomasschule, and at the Univ of
Leipzig, where he distinguished himself in
mathematics Org. pf the Sophienkirche,
P?1^?' ^^^of the Marienkirche, Halle
1747-64. Of superior gifts, grand organist,
dexterous fugue-player, and, after his father,
the most clever musician in Germany he
unfortunately gave way to dissipation, 'was
removed from his offices, and died in misery.
MS. works in the Berlin Royal Library; many
have been printed. Cf. M. Falck, W F
Bach. Sein Leben u. seine Werke, m\ themat.
Yj^Jl^chni5S seiner Kompositionen (Leipzig
1913).— See also Q.-Lex. P *'
D 1J; Bach» Karl Philipp Emanuel {the
Berlin or Hamburg Bach), 3rd [and 2nd sur-
viving] son of J. Sebastian; b. Weimar, Mar.
' l:1?5 ?:, Hamburg, Dec. 14, 1788. He
studied philosophy and law at Leipzig and
Frankfort-on-the-Oder; but the inherited
passion for music, and completeness of mu-
sical study under his father, decided his pro-
fession. He conducted a singing-society at
Frankfort, for which he also composed. In
1738 he went to Berlin, and was app. cham-
ber-musician and clavecinist to Frederick the
Great. In 1767 he went to Hamburg, succ.
Telemann as 'Musikdirector' of the principal
church there, a position he held until death.
He was one of the most brilliant performers
of his time, and his compositional style was
light, pleasing, and elegant, rather than of
great profundity. He may be looked upon as
the father of the modern school of pf. -play-
ing, originator of the sonata- and symphony-
forms, later perfected by Haydn, Mozart
and Beethoven, and a promoter of orchestra
development. His important theoretical
work, Versuch Uber die wahre Art, das Clavier
zu spielen (2 parts, 1753-62), clumsily reSdited
by Schelling in 1857; new ed. by W. Nie-
mann, 1906), contains detailed explanations
concerning the embellishments in clavichord-
playing. His compositions are also volumi-
nous (thematic list by A. Wotquenne, 1905);
tor clavier they number 210 solo pieces; 52
concertos w. orch.; quartets, trios, duets,
f°.nata? (v. Bulow edited 6 for the Peters'
fcd.; L. F. Baumgart edited the entire So-
natensammlung fiir Kenner und Liebhaber, in
6 books, for Leuckart), sonatinas, minuets,
polonaises, solfeggi, fugues, marches, etc.
Also 18 orchl. symphs.; 34 miscellaneous pes.,
f. wind-instrs.; trios f. fl.» vln., and bass; do.
f. vln. and bass; flute-, 'cello-, and oboe-
concertos; soli f. fl., viola di gamba, oboe,
'cello, and harp; duets f. fl. and vln.; f. 2
vlns.; f. 2 clarinets. — Vocal: 2 oratorios, Die
Israelite* in der Waste, and Die Auferstehune
und Himmelfahrt Jesu; 22 Passions; cantatas-
BACH— BACHE
etc.— Cf. K. H. Bitter, K. Ph. E. Bach und
W. Friedemann Bach und deren Bruder (2
vols., Berlin, 1868); M. Flueler, Die nord-
deutsche Symphonic sur Zeit Friedrichs des
Grossen, und besonders die Werke Ph. E.
Backs (Berlin, 1909).— See Q.-Lex.
1 8. Bach, Johann Christoph Friedrich
(the Buckeburg Bach)f 9th son of J. Sebastian;
b. Leipzig, June 21, 1732; d. Buckeburg,
Jan. 26, 1795. Also st. law at Leipzig, but
adopted the profession of music, and was
app. Kapellm. at Buckeburg, with a salary
of 1,000 thalers. MS. works in Berlin Royal
Library: Sacred cantatas w. instrl. accomp.;
oratorio, the Resurrection of Lazarus, for 4
voices and orch.; instrl. symphs.; concertos,
quartets, trios, vln. -quartets, sonatas, and
miscellaneous pieces. Theatrical cantata,
Pygmalion. Opera, Die Amerikanerin. — See
Q.-Lex.
19. Bach, Johann Christian (the Milan
or English Bach), 11th and youngest surviv-
ing son of J. Sebastian; b. Leipzig [bapt.
Sept. 7], 1735; d. London, Jan. 1, 1782. In
his 14th year, on the death of his father, he
went to Berlin, to study with his brother
K. Ph. Emanuel. In 1754 he became org.
of Milan cath. His technical talents, and
vocal comps. in popular style, won him great
favor. In 1759 tie accepted an app. as con-
cert-director in London, and was also app.
mus.-master to the Queen and Royal Family.
In 1763 he prod, his opera Orione, ossia Diana
vendicata; followed by several others, with
brilliant temporary success. Cf. M. Schwarz,
J. Chr. B., in 'Sbd. Int. M.-G./ II, 3.— See
Q.-Lex.
20. Bach, Wilhelm' Friedrich Ernst
(son of Johann Christoph Friedrich [18], and
grandson and last male descendant of J.
Sebastian), b. Buckeburg, May 27, 1759; d.
Berlin, Dec. 25, 1845. St. with his father,
and with his uncle Johann Christian, in
London, and there became esteemed as a
teacher, pianist and organist. On his uncle's
death, he went to Pans and gave concerts.
In 1789, produced a cantata at Minden be-
fore Friedrich Wilhelm II, who app. him
Kapellm.; he was afterwards app. pianist to
Queen Louise, and music-master to the royal
princes. On the Queen's death, he was pen-
sioned.— Comps.: Cantatas, songs, pf. -music
and instfl. works; a few have been publ.
Bach, Albert Bernhard [real family-name
Bak], was born in B. Gyula, Hungary, Mar.
24, 1844; d. Edinburgh, Nov. 19, 1912. St.
under Marchesi at the Vienna Cons. 1869-
70; also with Cunio, Weiss and Gansbacher.
In 1871 he gave his first concerts, as a bass-
baritone singer, at Vienna ^ from 1876-7 he
studied at Milan for Italian opera under
Lamperti, Ronconi, and Varesi; was eng. at
La Scala 1877-8, and in 1879 at the Court
Opera, Pest (reengaged in 1885); after 1886
sang in oratorio and concert (Great Britain,
also Germany). As a concert-singer his spe-
cialty was Loewe (he was a mem bee of the
Berlin Loewe- Verein). Publ. lectures on
Raphael, Mozart and the Renaissance (1883);
Sound, Light and Color (1899). Edited 3
vols, of Loewe Ballades w. Engl, transl.,
Preface, etc.
Bach, August Wilhelm, b. Berlin, Oct.
4, 1796; d. there Apr. 15, 1869. Organ-virtu-
oso; 1822, teacher at the R. Inst, for Church-
music; 1832, followed Zelter as Director; in
1858, 'Professor.' Member of the Berlin
Acad. Composed the oratorio Bonifacius,
and the 'sacred drama' Iphigenia in Delphi.
Mendelssohn was his pupil in organ-playing.
Bach, Leonhard Emil, pianist and com-
poser; b. Posen, March 11, 1849; d. London,
Feb. 15, 1902. Pupil of Th. Kullak (pf.) and
of Wuerst and Kiel (theory). 1869, teacher
in Kullak's Academy, Berlin; 1874, court
pianist to Prince George of Prussia. From
1882, teacher in the Guildhall Sch. of Music
in London. — Works: A 1-act opera, Irmen-
gard (London, 1892; v. succ); 1-act opera,
The Lady of Longford (London, 1894; succ);
2-act comic opera, Des Konigs Garde (Co-
logne. 1895; succ); a comic opera, Das
Tabakskollegium (MS.); and many salon
pieces for pf.
Bach, (Dr.) Otto, b. Vienna, Feb. 9, 1833;
d. Unter-Waltersdorf, July 3, 1893. Pupil of
Sechter, then of Marx (Berlin) and Haupt-
mann (Leipzig). Kapellm. at several German
theatres; 1868, artistic director of the Mo-
zarteum, Salzburg, and Kapellm. at the
cathedral; since April 1, 1880, Kapellm. at
the new Votivkircne at Vienna. — Works: 5
operas, Sardanapal (1860[?J); Die Liebesprobe
[Der Lowe von Salamanka] (Augsburg, 1867);
DieArgonauten (1870) \Lcnore (Gotha", 1874);
Medea (?); Der Blumen Roche, ballad f. ch.
and orch.; 4 symphonies; overture Elektra;
Requiem, masses, choruses, and chamber- mus.
Bachaus, Wilhelm. See Backhaus.
Bache [batch], Constance, b. Edgbaston,
March 11, 1846; d. Montreux, June 28, 1903.
The sister of F. E. and Walter Bache, she
studied at the Munich Cons., and subse-
quently under Klindworth and Frits Hart-
vigson; an accident to her hand cut short her
Eianistic career, and in 1883 she settled in
ondon as a teacher and musico-literary
worker. Her interesting volume, Brother
Musicians, portrays her brothers' lives; she
translated the books of Liszt's St. Eliza-
beth, Schumann's The Rose's Pilgrimage and
Faust Scenes, Mozart's Bastien et Bastienne,
and Humperdinck's Hansel und Gretel; also
41
BACHE— BACKHAUS
Liszt's Letters (2 vols., 1894), Hans von
Billow's Letters and Literary Remains
(1896), Heintz's analyses of Tristan und
Isolde, Die Meister singer, and Parsifal, and
other works; also composed the songs To my
love and The rain is falling.
Bache, Francis Edward, b. Birmingham,
Sept. 14, 1833; d. there of consumption,
Aug. 24, 1858. Pupil of Mellon (vln.), and
Bennett (theory); 1853-5 at Leipzig Cons.
(Plaidy and Hauptmann). A gifted composer.
—Works: 2 operas, Which is which? (1851),
and Rubezahl (1853); concerto for pf. and
orch., in E; a pf.-trio; solo pieces for pf.;
songs, etc.
Bache, Walter, excellent pianist, brother
of preceding; b. Birmingham, June 19, 1842;
d. London, March 26, 1888. Pupil of J.
Stimpson (org. of Birm. Town Hall), and
(1858-61) of Plaidy, Moschelcs, Hauptmann
and Richtcr at Leipzig. 1862-5, studied with
Liszt at Rome; also began his career as a
concert-giver and teacher. 1865? returned to
London. He was an ardent disciple of Liszt,
and did much to introduce his works to the
British public. It was mainly through his
efforts that the Liszt scholarship was founded
at the R. A. M., where he was prof, of pf. for
several years.
Bachmann, Alberto Abraham, b. Gene-
va, Switzerland, March 20, 1875. Studied vln.
at the Cons, of Lille, winning first prize in
1884; then pupil of Ysaye (1885-8), Thomson
(1888-9), Hubay (1890-1), Brodsky (1891),
Petri (1891-4); has made extended tours of
Europe; in U. S., 1916; recipient of many
orders of France, Spain, Portugal, Denmark,
Turkey and Persia. Has publ. a vln.-sonata
in D m.; 2 vln. -concertos (G m., A m.);
about 250 pieccsfor vln. and an equal num-
ber of transcriptions for vln. Author of Les
grands violinistes du passe (Paris, 1913; an
authoritative work) ; he Violon (1906) ; Gym-
nastique & V usage des violinistes (1914). At
present (1916) he is engaged on a large
Encyclopedic du Violon.
Bachmann, Anton, court- musician and
instrument-maker at Berlin, inventor of the
machine-head method of tuning 'celli and
double-basses; b. 1716; d. Mar. 8, 1800. —
Karl Ludwig B., his son and successor, b.
1743, d. 1809, was a good viola-player, be-
longing to the royal orch.; his wife, Char-
lotte Raroline Wilhelmine B., nee Stdwe,
b. Berlin, Nov. 2, 1757; d. Aug. 19, 1817,
was a pianist and excellent singer, being a
member of the Berlin 'Singakademie' under
Fasch.
Bach'mann, Georg Christian, clarinet-
tist; b. Paderborn, Jan. 7, 1804; d. Brussels,
Aug. 28, 1842, as soloist in the royal orch.,
and Cons, teacher. Also celebrated as a
clarinet-maker.
Bach'mann,Gottlob, organist and comp.;
b. Bornitz, Saxony, March 28, 1763; d. Zeitz,
April 10, 1840. Pupil of Freeh at Zeitz; also
st. (1785) in Leipzig, and (1790) in Dresden
with Naumann. 1791, organist at Zeitz. —
Works: 3 Singspiele, a cantata, many ballads
and songs, 3 symphonies, much chamber-
music, numerous pt.-pieces. — See Q.-Lex.
Bach'mann, Pater Sixtus, b. Ketters-
hausen, Bavaria, July 18, 1754; d. March-
thai, n. Vienna, 1818. Brilliant organist and
ftianist, of remarkable precocity and wonder-
ully retentive memory. At 9 he is said to
have played by heart over 200 pieces; in 1766
he held his own in an organ competition with
Mozart, then 10 years old, at Biberach. He
became a Premonstrant monk at March thai.
— Works: Numerous masses, highly esteemed;
cantatas, symphonies, sonatas, vln.-quartets,
orpan-fugues. Publ. works: 4 pf. -sonatas;
Diver si Pezzetti; organ-fugue alia toppa.
Bach'ofen, Johann Kaspar, b. Zurich,
1697 ; d. there June 24, 1755. Singing-master,
organist, director, and composer of sacred
compositions once very popular in Switzer-
land.— See Q.-Lex.
Bach 'rich, Sigismund, violinist and dra-
matic composer; b. Zsambokreth, Hungary,
Jan. 23, 1841; d. Vienna, July 16, 1913. St.
m Vienna Cons., 1851-7, under B6hm (vln.);
was for a short time conductor of a small
Viennese theatre; went to Paris in 1861, but
returned after a few years to Vienna; was for
12 years a member of the Hellmesbcrger
Quartet, and (till 1899) teacher at the Cons.;
also solo viola in the Philh. and Opera orchs.
and the Rose Quartet. — Works: Comic opera
Muzsedin (Vienna, 1883) ; do. Heini von Steier
(1884); operetta Der Fuchs-Major (Prague,
1889; succ); ballet Sakuniala; and 2 oper-
ettas (Vienna, 1866).
Back'er-Grdn'dahl, Agathe, pianist; b.
Holmestrand, Norway, Dec. 1, 1847; d.
Orm6en, n. Christiania, June 4, 1907.' Pupil
(1860) of Kjerulf and Lindemann; 1863, of
Kullak's Acad., Berlin; 1871, of Biilow in
Florence; later of Liszt at Weimar. Married
1875, in Christiania, to the singing-teacher
Grondahl. She was unquestionably the fore-
most woman-composer of Scandinavia ; among
her finest pieces were the six brilliant £tudes
de concert (op. 11) f. pf., the Romantische
Stiicke, the pf.-suite (op. 20), Trots morceaux
(op. 15), Four Sketches (op. 19), and the
song-cycle Des Kindes FrUhltngstag.
Back'era, Americus. See Broadwood.
Backhau* (Bachaua), Wilhefm, concert-
pianist; b. Leipzig, March 26, 1884; private
42
B ACKOFEN— B A I LLOT
pupil of A. Reckendorf 1891-4, continuing
with him from 1894-8 in the Coils.; in 1899
one year under d' Albert at Frankfort. Con-
cert-tours since 1900; in 1905, teacher in the
R. C. M., Manchester, and in the same year
won the Rubinstein prize for pf. -playing
(5000 francs.) Taught in summer vacation
courses at Sondershausen in 1907-8; other-
wise engaged solely with concert- work; 1912-
14 he toured the.U. S. with phenomenal succ.
His tremendous technic he employs solely for
the attainment of the highest artistic ideals.
Back'ofen, Johann G. He! n rich, b.
Durlach, Baden, 1768; d. Darmstadt, 1839.
Virtuoso on the harp, clarinet, flute, and
English horn; made long tours through
Southern Europe and Germany; 1806, cham-
ber-musician at Got ha; in 1815, founded a
wind-instr. factory at Darmstadt. Wrote
methods for harp (1803), clarinet, and
English horn ; published pieces for the above
in various combinations; many compositions
in MS.
Bacon, Richard Mackenzie, teacher,
writer, and critic; b. Norwich, Engl., May 1,
1776; d. Cossey, Nov. 27, 1844. Author of
Science and Practice of Vocal Ornament; Ele-
ments of Vocal Science (London, 1824); Art of
Improving the Voice and Ear (London, 1825);
founder of the 'Quarterly Mus. Mag. and Re-
view,' of which he was editor and the chief
contributor from 18.18-28; also founded the
triennial Mus. Festivals at Norwich.
Badarczew'ska [-tchev'skah], Thekla, pf .-
composer; b. Warsaw, 1838; d. there 1862.
Her best piece is La priere (Tune vierge; the
others are practically unknown.
Ba'der, Karl Adam, opera-tenor; b.
Bamberg, Jan. 10, 1789; d. Berlin, April 14,
1870. Succeeded his father as cathedral-org.
at Bamberg (1807); began stage-career 1811;
1820-45, first tenor at Berlin Court Opera,
then stage- manager till 1849; afterwards
music-director at the Catholic Hcdwigs-
kirche. The heroic tenor rdles in Spontini's
operas were his forte; he was also a fine actor.
Badi'a, Carlo Agostino, b. Venice, 1672;
d. Vienna, Sept. 23, 1738, ascourt composer.
Wrote 16 operas; 15 oratorios; 12 cantatas
for solo voice and harpsich. (publ. as Tribuli
armonici); and 33 cantatas a 1-3 (MS.). —
See Q.-Lex.
Badi'a, Luigi, b. Teramo, Naples, 1822;
d. Milan, Oct. 30, 1899; wrote 4 operas and
numerous successful songs.
Baer'mann, Karl. See Barmann.
Bafc'ge, Selmar, b. Koburg, June 30,
1823; d. Basel, July 17, 1896. .St. at Prague
Cons, with Dionys Weber, and in Vienna with
Sechter; 1851-55, comp.-teacher at V. Cons.
Journalist and critic; editor (in Leipzig,
(1863-6) of 'Alleem. Musikzeitung1; 1868,
app. Director of the Basel Music-School;
edited, for some years, the 'Schweizerische
Sangerzcitung.' — Works: A symphony, cham-
ber-music, sonata for pf. and 'cello, pf. -pieces,
and songs; also a Lehrbuch der Tonkunst
(1873); Die geschichtliche Entwicklung der
Sonate (1880), Die Symphonie in ihrer histo-
rischen Entwicklung (1884), etc. — Biogr. by
Eglinger (Basel, 1897).
Bahn, Martin. See Trautwbin.
Ba'i [bah'e] (or Baj), Tommaso, b.
Crevalcuore, n. Bologna, c. 1660; d. Rome,
Dec. 22, 1714. Tenor singer at the Vatican;
m. di c. in 1713. A disciple of Palestrina, his
posthumous fame rests on his 5-part Miserere,
sung during Holy Week, alternately with
those by AUegri and Baini, in the Papal
Chapel. This work is publ. (Choron, Bur-
ncy, Peters) in various collections of music
of the Papal Chapel.
Baif, Jean-Antoine de, b. Venice, 1532;
d. Paris, Sept. 19, 1589. Gave concerts at
Paris; publ. 2 works in lute-tablature, 12
sacred songs, and 2 books of 4-part secular
chansons (all lost). Of greater importance
were his attempts to imitate antique poetic
metres in French poems of his own, many of
which were set to music (by Jacques Maudit,
26 Chansonettes mesurees a 4 [1586], and by
Claude Le Jeune, Le Printemps [1603, 39
numbers]). Both of these collections, edited
by Henri Expert, have been reprinted in
'Maitres Musiciens' as Books x and xii-xiv,
respectively (1899-1901).
Bailey, Marie Louise, concert-pianist, b.
Nashville, Oct. 24, 1876; st. from 1889 in
Leipzig Cons, with C. Reinecke, winning a
'scholarship, and later with Leschetizky,
Vienna. Debut Feb. 28, 1893, at Gewand-
haus, Leipzig, after which she played by
request before King Albert of Saxony, and
received the title of 'Kgl. Sachs. Kammcr-
virtuosin.' Returning to America, she first
appeared in Carnegie Hall, N. Y., with the
Damrosch Orchestra; then made a long and
successful tour of the U. S. and Canada.
Miss B. has publ. a Menuet de concert for pf.,
and a Fantaisie on American national airs.
Baillot [bah-yoh'], Pierre- Marie- Fran-
cois de Sales, one of the most celebrated of
French violinists; b. Passy, Oct. 1, 1771; d.
Paris, Sept. 15, 1842. His first teachers were
Polidori of Florence, at Passy, and (1780)
Sainte- Marie, at Paris. From 1783-91 he st.
under Pollani, at Rome; then returned to
Paris, where Viotti procured him the posi-
tion of leader in the Th. Feydeau. Still
doubtful, apparently, as to earning a living
as a musician, he obtained a minor appoint-
ment in the Ministry of Finance, and held it
43
BAILLOT— BALART
until 1795, when, on the strength of his con-
tinually growing reputation as a concert-
violinist, ne was app. prof, of vln. at the
Cons. He made up for lost time by diligent
study under Cherubini, Reicha, and Catel.
His first foreign tour, to Russia, was under-
taken 1805-8, and followed by others through
Belgium, Holland and England (1815-16),
Switzerland and Italy (1833), etc. In 1821
he was made leader at the Grand Opera, and
in 1825 solo violinist in the royal orch. — His
chief work is the admirable text-book, VArt
du Violon (1834). With Rode and Kreutzer
he wrote a Mcthode du Violon, adopted by
Paris Cons., and republished in countless edi-
tions and many languages; he also edited the
Methode de Violoncelle by Levasseur, Catel
and Baudiot, and wrote essays: Notice sur
Cretry (1814); Notice sur Viotti (1825); and
others. — His principal compositions are 10
vln. -concertos; 3 string-quartets; 15 trios for
2 vlns. and bass, 6 duos for 2 vlns. ; 30 sets of
airs varits; 24 preludes in all keys; a sym-
phonic concertante for 2 vlns. with orch.; a
sonata for pf. and vln., etc.; mostly difficult,
and not much played nowadays. He had
several distinguished pupils — Habeneck atni,
Mazas, the two Danclas, etc.
Baillot, Ren6-Paul, son of preceding; b.
Paris, Oct. 23, 1813; d. there Mar. 28, 1889;
prof, of ensemble-playing at Paris Cons.
Bai'ni, Abbate Giuseppe, a composer,
writer, and critic of ultra-conservative ten-
dency; b. Rome, Oct. 21, 1775; d. there May
21, 1844. Pupil of his uncle, Lorenzo B.;
later of Jannaconi, the maestro of St. Peter's,
who had him app. singer in the Pontifical
choir, and whom he succeeded in 1817. B.'s
life-work was the monograph Memorie slo-
rico-critiche delta vita e delle opere di Giovanni
Pierluigi da Palestrina (Rome, 1828; German
transl. by Kandler, w. notes by Kiese wetter,
1834). He likewise wrote a Saggio sopra
Vidcntita de* rilmi musicali e poetici (1820).
His most celebrated comp. is a 10-part
Miserere (1821), given alternately, during his
lifetime, with those of Allcgri and Bai at the
Sistine Chapel, during Holy Week. Others
are Psalms and Hymns a 4; Hymns a 8;
masses, motets, church-concertos, a Te
Deum, etc. — Haberl publ. an essay on B. in
the 'Kchm. J.' (1894).— See Q.-Lex.
Baj, Tommaso. See Bai.
Bajet'ti, Giovanni, stage-composer; b.
Brescia, Italy, circa 1815; d. Milan, April 28,
1876. For many years leader of orch. in La
Scala, Milan, where he produced Gonzalvo
(opera, 1841), L'Assedio di Brescia (1844),
Caterina o la figlia del bandito (1847), Faust
(ballet, 1848), Uberto da Brescia (1866), and
// genio d* Italia (Piacenza, 1843); all with
success.
Baker, Benjamin Franklin, b. Wenhara,
Mass., Jury 10, 1811; sang in churches in
Salem, Boston, and Portland; in 1837, took
charge of the music in Dr. Channing's church
at Boston, and in 1841 succeeded Lowell
Mason as teacher of music in the public
schools; wa9 also vice-pres. of the Handel
and Haydn Society for 6 years, frequently
singing solos at their concerts. Est. the
Boston Music School (1851.-68). Editor of
the Boston 'Musical Journal/ Retired in
1868.— Works: 3 cantatas, The Storm-King,
The Burning Ship, and Camillus, the Roman
Conqueror; various vocal quartets, songs, etc.
Author of a text-book, Thorough-bass and
Harmony; compiled several volumes of glees
and anthems.
Baker, George, b. Exeter, Engl., in 1773;
d. Rugeley, Feb. 19, 1847. Organ-pupil of
Hugh Bond and William Jackson (Exeter);
st. the violin with Ward, and pf. with Dussek
and Cramer at London. Org. at Stafford
(1795), Derby (1810), Rugeley (1824); Mus.
Bac. Oxon., 1797.— Works: The Caffres,
'musical entertainment1 (London, 1802; un-
succ.); 4-, 5-, and 6-part anthems; glees
for 3 and 4 voices; songs; organ-voluntaries;
pf. -sonatas.
Bala'kirev, Mily Alexeievitch, b. Nishni
Novgorod, Russia, Jan. 2, 1837; d. Petro-
grad, May 28, 1910. St. at Kazan Univ.;
self-taught, as a musician. Pianistic debut
at Petrograd, 1855, was very successful.
With Lomakin, in 1862, he founded the 'Free
Music School.' the concerts of which (except-
ing the period 1874-81) he directed until his
death; 1866, app. opera-conductor at Prague;
1867-70, conducted concerts of thi Imp.
Music Society at Petrograd and introduced
compositions of Berlioz and Liszt to the
Russian public. From 1883-95 hj was cond.
of the Court-chapel. A passionate admirer
of Glinka and Dargomyzhsky, he gathered
about him a number of younger musicians,
chief among whom wore Cui, Mussorgsky,
Rimsky-Korsakov and Borodin, inspired
them with his own enthusiasm, and thus
became the founder and head of a new na-
tional Russian school. His own works are
2 symphonic poems, Russia and Tamara; 2
symphonies (C, 1897; D m., 1909); music to
King Lear; overtures with Russian, Czechish
and Spanish themes; an Oriental Fantasia,
Islamei, for pf.; pieces and arrangements for
pf.; etc. He published (1866) a fine collec-
tion of Russian folk-songs.
Balart', Gabriel, comp. of 'zarzuelas'
(Spanish operettas); b. Barcelona, June 8,
1824; d. there July 5, 1893. He finished his
mus. studies in Paris, returned to Spain in
1852, wasopera-cond. in various Spanish the-
atres, and, finally, Dir. of the Barcelona Cons.
44
BALATKA— BALTZELL
Balatlca, Hans, b. Hoffnungsthal, Mora-
via, March 5, 1827; d. Chicago, April 17,
1899. Choirboy in Oimutz cathedral; 1846-
1848, pupil of Proch, Sechter, and Gentil-
uomo at Vienna, and conducted the Aca-
demical Singing Societies there. Went to
America, 1849; founded the Milwaukee Mu-
sikvcrein in 1851, and was its conductor till
I860, when he became cond. of the Chicago
Philh. $oc.a and, in 1862, of the Mus. Union.
In 1867, he gave independent svmphony-con-
certs; was cond. of the Germama Mannerchor
(1867), made concert-tours w. Mme. Pappen-
heim (1870), was again cond. at Milwaukee,
and from 1873 lived in Chicago, where he
organized the Liederkranz ana the Mozart
Club, and for several years cond. the Sym-
phony Society. — Works: The Power of Song,
double ch. for men's voices (1856); Festival
Cantata for soprano and full orch. (1869);
choruses and quartets for men's or mixed
voices; about 30 songs with accomp. of orch.
or pf . ; over 20 fantasias and transcrs. f . orch.
Bal'bi [Lat. Balbus], Ludovico, 1585-91
m. di capp. at S. Antonio, Padua; d. Venice,
1604, as m. di capp. at the Franciscan mon-
astery. Publ. masses, motets, canzoni, mad-
rigals, sacred songs, etc.; edited (with J.
Gabricli and Vecchi) a coll. of graduals and
antiphones, by celebrated Italian masters,
published by Gardano (Venice, 1591).
Bal'bi, Melchiore (Cav.), theorist and
composer; b. Venice, June 4, 1796; d. Padua,
June 21, 1879. Pupil, at Padua, of Nini,
Valeri, and Calegari; from 1818-53, leader at
both the Paduan theatres; 1854, m. di capp.
in the basilica S. Antonio. — Works: The
operas La Notte perigliosa (1820), UAbitator
del bosco (1821), UAUoggio militare (1825),
all produced in Padua; masses, psalms, a
Miserere, a Requiem (for Rossini, 1868); also
edited Calegari s Trattato del sistema armo-
nico (Padua, 1829), and wrote a Grammalica
ragionata delta tnusica considerata sotto Va-
spetlo di lingua (Milan, 1825), and Nuova
scuola basata sul sistema semitonato equabile
(1872).— See Q.-Lex.
Baldwin, Samuel Atkinson.
See Appendix.
Balfe [half], Michael William, very popu-
lar British composer; b. Dublin. May 15,
1808; d. Rowney Abbey, Hertfordshire, Oct.
20, 1870. Taught in Ireland by O'Rourke,
and in London by C. F. Horn; in 1824 he
was a violinist in the Drury Lane orch., and
also sang in London and the provinces. His
patron, Count Mazzara, took nim to Italy in
1825; he studied comp. with Federici at
Rome, and singing with F. Galli at Milan,
where his first dramatic piece, the ballet La
Perouse, was produced (1826). After brief
instruction by Bordogni, he sang as first
45
baritone at the Italian Opera, Paris (1828)
and in Italian theatres until 1835, also pro-
ducing several Italian operas; and married
Lina Koser, an Hungarian vocalist [d. Lon-
don, June 8, 1888, aged 80). Returning to
England in 1835, his brilliant career as a
composer of English operas began with The
Siege of Rochelle (Drury Lane). Failing as
manager of an opera- troupe, B. went to
Paris for a few years, but returned in 1843
with The Bohemian Girl, his* most popular
opera, which made the round of the chief
continental stages, and was produced, ex-
tended to 5 acts, as La Bohemienne at Paris
in 1856, with overwhelming applause. Ex-
cepting visits to Vienna (1846), Berlin (1848),
and Petrograd and Trieste (1852-6) , he stayed
in England; and retired to his country-seat,
Rowney Abbey, in 1864. In 1857, his daugh-
ter, Victoire, made her debut at the Lyceum
theatre in Italian opera. — Operas: J Rivali di
sestessi (Palermo, 1829); Un Awertimento ai
gelosi (Pavia, 1830); Enrico IV al Passo del'
Mama (Milan, 1831); The Siege of Rochelle
London, 1835); The Maid of Artois fib.,
1836); Catherine Grey, Joan of Arc (ib.,
1837); Diadeste (ib., 1838); Falstaff (H. M.
Th., 1838); Keolanthe (Lyceum, 1840); Le
Puits d' amour (Paris, Op.-Com., 1843); Les
quatre fits d'Aymon (ib., 1844); The Bohe-
mian Girl (London, Drury Lane, 1843);
Daughter of St. Mark (ib., 1844); The En-
chantress (ib., 1845); V&oile de Seville (Paris,
1845); The Bondman (London, Drury Lane,
1846); The Maid of Honour (ib., 1847); The
Sicilian Bride (ib., 1852); The Devil's in it
(Surrey Th., 1852); Pittore e Duca (Trieste,
1856; revived as The Painter of Antwerp,
London, 1881); The Rose of Castile (Lyceum,
1857); La Zingara [The Bohemian Girl in
Italian) (H. M. Th., 1858); Satanella (Ly-
ceum, 1858); Bianca (1860); The Puritan's
Daughter (1861); The Armourer of Nantes;
Blanche de Nevers (1863); The Sleeping Queen
[operetta] (London, 1863); The Knight of the
Leopard, given in Italian- as II Talismano
(Drury Lane, June 11, 1874).— Also, Ma-
*eppa, a cantata, and two other cantatas;
ballads, glees, part-songs, etc. — Bibliographi-
cal: A Memoir of M. W. B.t by Charles Lamb
Kenney (London, 1875); Balfe: His Life and
Works, by W. A. Barrett (London, 1882).
Ballard [bah-lahr'], a family of French
music-printers using movable types; founded
by Robert B., whose patent of 1552, from
Henri II, made him 'Seul imprimeur de la
musique de la chambre, chapel le, et menus
plaisirs du roy.' This patent was renewed to
various members of tne family until 1776,
when it expired. — See Q.-Lex.
Baltzell, Win ton James, editor, b.
Shiremanstown, Pa., Dec. 18, 1864. Edu-
BANCHIERI— BANTOCK
cated at Lebanon College (A. B., 1884);
Univ. of Pa. (Mus. Bac, 1896); N. E. Cons.
(1888-9). Pupil in London (1890) of Sir
Frederick J. Bridge (comp.) and Wm.
Shakespeare (singing). Private teacher in
Reading, Pa. In 1887, asst. editor of 'The
Etude,' Philadelphia ; reader for Theo. Presser,
music-publisher (1899-1900); prof, of history
of music and theory, Wesleyan Univ. (1900-
1907); since 1907 ed. of •The Musician,'
Boston. — Works: A Complete History of
Music for Schools (1905) ; Dictionary of Must-
cians (1912); many songs, and anthems.
Banchie'ri [-kya-], Don Adrlano, born
Bologna, 1567 (?); d. there 1634. Poet,
theorist, church-composer; organist at Imola
and Bologna. Wrote masses, psalms, mo-
tets, madrigals, church-concertt, etc.; and
(among others) the treatises Car Leila musicale
del canto figurato, fermo e contrappunto
(Venice, 1614); Direttorio monastico di canto
'fermo (Bologna, 1615); Lettere armoniche
(Bologna, 1628); and Lorgano suonarino
(Venice, 1605). He named the 7th scale-
degree bat being an opponent of the hexa-
chordal system. As a composer he is his-
torically important for his dramatic pieces in
madrigal style, which are among the earliest
operas: La Pazzia senile (1598); IlZabajone
(1604); La bar cadi Venezia per Padova (1605);
La Prudenza giovanile (1607); Tirsi, Filli e
Clori (1614); TraUenimenti in villa (1630).—
See Q.-Lex.
Bandi'ni, Primo, b. Parma, Nov. 29,
1857; 1869-75, pupil of the R. School of
Music there; has written the operas Eufemio
di Messina (Parma, 1878), and Fausta (Milan,
1886), both fairly successful, and the 4-act
opera Janko (Turin, 1897, succ).
Banister, Henry Charles (son of H. J.
B.), b. London, June 13, 1831; d. Streatham,
near London, Nov. 20, 1897; pupil of his
father and of C. Potter in the R. A. M.,
at which he twice gained the King's scholar-
ship (1846-48); 1851, asst.-prof., 1853, full
prof, of harm, and comp. at R. A. M.; was
also (since 1880) prof, of harm, at Guildhall
School, and (since 1881), at the R. Normal
College for the Blind. A fine concert -pianist;
composed 4 symphonies and 5 overtures for
orch., besides chamber-music, cantatas, pf.-
music, chants, songs, etc. Printed a Text-book
of Music (London, 1872, and 15 editions
since); Some Musical Ethics and Analogies
(1884); Lectures on Musical Analysis (1887);
Musical Art and Study (1888); a life of
George Alexander Macfarren (1891); Helpful
Papers for Harmony Students (1895); The
Harmonising of Melodies (1897); The Art of
Modulating (1901). Macpherson edited a
collection of his lectures, Interludes (1898).
Ban'ister, Henry Joshua, b. London,
1803; d. there 1847. Excellent 'cellist, son
of Chaa. Wm. B. [1768-1831; a composer
who publ. a Coll, of Vocal Music; London,
1803); author of several good instruction-
books for 'cello.
Banister, John, b. % London, 1630; d.
there Oct. 3, 1679. Violinist, sent for study
to France by Charles II. and later a member
of the latter's band, from which an out-
spoken preference for ^ English over the
French musicians belonging to it, caused his
expulsion. Director of a music-school, and
concert -giver. He wrote music for Dave-
nant's Circe and Shakespeare's Tempest (both
1676); New Ayres and Dialogues for voices
and viols of 2, 3 and 4 parts (London, 1678);
songs.
Ban'ister, John (Jr.), d. London, 1735;
violinist, son of preceding; member of the
private band under Charles II, James II,
and Anne; leader at Italian Opera, London.
Banneller [ -l'va'). Charles, b. Paris, Mar.
15, 1840; d. there Oct. 5, 1899. Pupil of tht
Conservatoire; contributor to and later (till
1880) editor of the 'Revue et Gazette Mu-
sicale.' Translator, into French, of Hans-
lick's Vom Musikalisch-Schonen (1877), and
the text of Bach's MaUhdus-Passion; arranged
Berlioz's Symphonie fantastique as a pf .-duet.
Ban'ti-Gior'&i, Brigida, b. Crema, Lom-
bardy, in 1759; d. Bologna, Feb. 18, 1806; a
celebrated dramatic soprano, 'discovered' as
a chanteuse in a Paris cafe by de Vismes,
Director of the Academie; she was engaged
at the Grand Opera, and her career in Paris,
London (1779-1802) and various Italian,
German and Austrian cities, was a series of
triumphs due solely to her beautiful voice
(whicn was of extraordinary range and per-
fectly even throughout) and wonderful nat-
ural talents; for she was the despair of suc-
cessive teachers, and never learned even to
read music well at sight, but trusted wholly
to memory and inspiration. — Her husband
was the dancer Zaccaria Banti.
Ban took, Granville, b. London, Aug. 7,
1868;. pupil of F. Corder at the R. A. M.,
1889-92; first holder of the Macfarren
Scholarship. At the Academy concerts were
given an overture, The Fire-Worshippers;
an Egyptian Suite de ballet from Rameses II;
WuJstan; and the 1-act opera Ctxdmar (in
concert -form; prod, same year at the Crystal
Palace). From 1893-6 he edited The New
Quarterly Mus. Review,' also cond. mus.
comedies, etc., and made the tour of the
world with one of the Edwardes companies
in 1894-5, also a provincial tour as cond. of
Shamus O'Brien in 1895. From 1897-1901,
mus. director of the Tower, New Brighton;
46
BAPTIE— BARBIER
in 1898 he founded the N. B. Choral Soc.
and was app. cond. of the Runcorn Philh.
Soc.; in 1900, Princ. of the Birm. and Midland
School of Music; in 1902, succ. Wood as
cond. of the Wolverhampton Fest. Choral
Soc., and Birm. Amateur Orch. Soc.; in 1908
app. prof, of music at Univ. of Birmingham.
At all times he has done much to encourage
rising British musical talent, and has cond. 2
concerts of British music at Antwerp (1900-
1901). B. himself occupies a foremost position
among modern British composers. Absolute
music seems to have little attraction for him,
for all his works are inspired by some poetic
idea and belong to the category of program
music. His orchestration is always brilliant
and effective, but his form is vague and his
thematic invention scarcely compelling. —
Works: 2 1-act operas, Cadmar (London,
1892) and The Pearl of Iran (ib., 1896); the
tone- poems Thalaba the Destroyer (1900),
Dante, Hudibras, The Witch of Atlas (all
1902), Lalla Rookh, The Great Cod Pan
(1903), The Pierrot of the Minute (1908),
Dante and Beatrice (1911), Fifine at the Fair
(1912), Hebridean Symphony (1916); the
choral symphonies Atalanta in Calydon
(1912), The Vanity of Vanities (1914); a
festival symphony, Christ us, in 10 parts
(only the first part, The Wilderness, produced
1903); The Fire-Worshippers, dram, cantata
(1892); Wulstan, scena for bar. and orch.
(1892); The Time-Spirit, rhapsody for ch.
and orch. (1904); Thorvenda's Dream, recita-
tion w. orch. (1903); Omar Khayyam (2
parts, 1906-7); Sea-Wanderers (1907); the
overtures Saul, Cain, Belshazzar, Eugene
Aram (to an unfin. opera, 1895); Overture to
a Greek Tragedy (1911); 2 suites for orch.,
Russian Scenes (1899) and English Scenes
(1900); 2 oriental scenes, Processional (1894)
and Jaga Naut (1897); orch. variations,
Helena (1900); 2 ballets, Egypt (1892) and
The Enchanted Garden (1916); Elegiac Poem
for vcl. and orch.; string-quartet in C m.;
Serenade in F iorji horns; Mass in Bf> for
male ch. a capp. ; incidental music to Rame-
ses II (5-act drama by B.); 6 song albums
w. orch., Ghazels of Hafiz, Songs of the East,
Ferishta's Fancies, Sappho, Jester Songs,
Songs of the Seraglio; pf .-pieces and choruses.
— Cf. H. O. Anderton, G. B. (London, 1915).
Baptie, David, b. Edinburgh, Nov. 30,
1822; d. Glasgow, March 26, 1906. He com-
posed^many anthems, glees, part-songs, etc.;
compiled a number of song-books (among
them 'Moody & Sankey's Hymn-Book,' 1881),
and publ. A Hand-Book of Mus. Biography
(1883; 2d ed., 1887, pp. 2d0), and Musicians
of All Times (London. 1889), containing
12,000 'skeleton' biographical sketches. From
1846-98 he compiled a Descriptive Catalogue
47
of upwards of 23,000 part-songs, glees, madri-
gals, trios, quartets, etc.; the manuscript was
acquired by the British Museum, and is
there available for reference.
Baptiste [bah-test'] (properly Baptiste
Anet), violinist, a pupH of Corelli; came c.
1700 to Paris, where he made a profound and
lasting impression by introducing his master's
works ana style of playing; d. at LuneVille,
1755, as m. de ch. to Stanislas Leczinski, the
exiled king of Poland. He publ. 3 sets of
vln. -sonatas; 2 suites d$ pieces f. 2 musettes
(op. 2); and 6 duos for 2 musettes (op. 3).
Baralla, Raffaello, b. Camigliano, near
Lucca, June 25, 1862. Pupil of the seminary
at Lucca; devotes himself to the investigation
of the Gregorian Chant; 1893, instr. Gre-
gorian Chant at the 'Istituto musicale' at
Lucca; since 1910, teacher of Greg. Palaeo-
graphy at the school for church music in
Rome. Wrote Due parole sui melismi
gregoriani (Lucca, 1901); Di un nuovo
itelum imbelle sine ictu* conlro il canto gre-
goriano (Pisa, 1902); Ab initio non fuit sic
(Lucca, 1902); La tuppa net paniere (Lucca,
1903); since 1905, several essays in 'Rassegna
Gregoriana.'
Barbacola (or Barbarieu, Barberau).
See Barbireau.
Barbedette, Hlppolyte La Rochelle,
b. Poitiers, 1827; d. Paris, Feb. 1, 1901.
Author of works on Beethoven, Chopin,
Weber, Schubert, Mendelssohn, and Stephen
Heller (this last is publ. in English also).
Contributor of biogr. articles to the Paris
'MGnestrel*; publ. pf -pieces and ensemble
works.
Barbella, Emmanuele, b. Naples, 1704;
d. there 1773. Pupil of L. Leo and Padre
Martini. Wrote duets for 2 vis.; do. for vl.
and vcl.; trio sonatas. An opera, in collab.
with Logroscino, Elmira generosa, was pro-
duced in Naples (1753).
Barbi, Alice, a celebrated concert-soprano;
b. Modena, 1862. ^ Studied vl. at first with
her father; then singing with Zamponi, Busi
and Vannucini; debut at Milan, 1882; her
tours of Germany and Austria established
her reputation as one of the foremost Heeler
singers. Since her marriage to Baron Wolff-
Stomersen, in 1897, she nas appeared but
rarely.
Barbier [bar-b'ya'], Fr&teric-fetienne, b.
Metz, Nov. 15, 1829; d. Paris, Feb. 12, 1889.
Teacher, and leader at the Th. International,
Paris. Composer of operas; debut at Bourges
with Le mariage de Colombine (1852), after
which he brought out over 30 operas, mostly
in one act, and light.
Barbier, Jules- (Paul), a man of letters
and dramatist; b. Paris, March 8, 1825; d.
BARBIERI— BARDI
there Jan. 16, 1901. Joint author (with
Carre) of numerous celebrated opera-libretti:
Galathie, music by V. Masse; Les Noces de
JeannetU (V. Masse); Les Papillotes de M.
Benoist (Reber); Les Sabots de la Marquise
(Boulangcr); Le Roman de la Rose (Pascal);
Miss Fauvelte (V. Mass£); VAnneau d' argent
(Deffes); Deucalion et Pyrrha (Montfort);
Le Pardon de Ploermel (Meyerbeer); Faust
(Gounod); Philemon et Baucis (Gounod);
Romio et Juliette (Gounod); Hamlet (Ambr.
Thomas); Polyeucte (Gounod); Francoise de
Rimini (Ambr. Thomas). — Hi9 son, Pierre
B.v b. Paris, 1854, is likewise a dramatist
and librettist [Le Barbier de Suzon (Bem-
berg) ; Jehan de SaintrS (Erlanger)].
Barbie'ri, Carlo Emmanuele di, b.
Genoa, Oct. 22, 1822; d. Pest, Sept. 28,
1867. Pupil of Mercadante and Crescent ini;
orch. -conductor in numerous Italian theatres,
later in Vienna (1845), Berlin (1847), Ham-
burg (1851), Rio de Janeiro (1853), 1856-62
in Vienna again, then settling in Pest as
director of the National Theatre. — Works:
the operas Cristoforo Colombo (Berlin, 1848),
Arabella (Pest, 1862), Nisida, la Perla di
Procida (1851), Carlo und Carlin (1859),
PerdUa, tin Wintermdrchen (Leipzig, 1865,
and in many other German theatres); also
church-music, pf. -pieces, and German and
Italian songs.
Barbie'ri, Francisco Asenjo, b. Madrid,
Aug. 3, 1823; d. there Feb. 17, 1894. Fa-
mous zarsuelero (composer of Spanish oper-
ettas), a pupil of the Madrid Cons.; 1847,
secretary of the 'Zarzuela Society'; his first
zarzuela, Gloria y peluca (1850), and espe-
cially the second, Jugar con fuego (1851; 3
acts), gave him a popularity which increased
for the next 30 years, during which he pro-
duced 77 operettas. In 1868 he was app.
prof, of harm, and history at the Cons., and
in 1873 was elected a member of the Acad-
emy of Arts. Also composed many orchestral
works, motets, hymns, songs, etc.; published
the mus. essays tfltimos A mores de Lope de
Vega Carpio (1876); Sobre el Canto de Ultreja
(1883); and La Musica religiosa (1889);
edited the very valuable coll. Cancionero
musical de los sighs XV y XVI (1890; 4to,
pp. 636), and a MS. by Eximeneo on Don
Lazaro Viscardi (1872).
Barbireau (or Barbiriau, Barbarieu,
Barbyrianus, Barberau, Barbingaut, Bar-
bacola), from 1448 choirmaster of Notre-
Dame, Antwerp, until his death on Aug. 8,
1491. Corresponded with Rud. Agricola, is
quoted by Tinctoris, and was considered a
high authority. — Works: A 5-part Mass,
Virgo parens Christi; a 4-part^Mass, Faulx
Perverse; a 4-part Kyrie, etc. (in MS., Imp.
Library, Vienna),
Barblan [-blahn'], Otto, b. Scanfs (Haute
Engadine), Switzerland, March 22, 1860.
Pupil at Stuttgart Cons. (1878-84) of Alwens
(pf.), Attinger (org.) and^ Faiszt (org. and
comp.); debut as organ virtuoso in 1885 at
Augsburg, performing Handel's concerto for
organ in D m. on the occasion of the second
centenary of Handel's birth. 1885-7 teacher
at the 'fecole Cantonale' at Chur and cond.
of a choral soc.; since 1887 org. of the cathe-
dral at Geneva, prof, of org. and comp. at
the Cons., and cond. of the 'Society de Chant
SacreV— Works: Op. 2, 3, 4: Pieces pour
piano; op. 1, 5: Pieces pour argue; op. 6:
Passacaglia for org.; op. 7, Ode Patriotique,
cantata for the nat. expos, at Geneva (1896);
Festspiel, for the Calvin celebration (1899);
op. 10, Chaconne sur Bach, for organ; op.
9, 11, 14, male chs.; op. 12, Psalm CXVII
for s., ch. and orch.; op. 15, Psalm XXIII;
op. 17, chs. for mixed voices; op. 20, Post
Tenebras Lux, cantata (1909); op. 21, 22,
pieces for organ.
Barbot [-boh'], Joseph- Theodore- DeaW,
tenor singer; b. Toulouse, April 12, 1824; d.
Paris, Jan. 1, 1897. Pupil of Paris Cons.,
(Elwart, Garcia); engaged 1848 at the Grand
Opera, but soon left it for Italy, where he
sang with great success for many years.
Created role of 'Faust' at the Th.-Lyrio^ue,
March 19, 1859. In 1875, prof, of singing
in the Cons., succeeding Mme. Viardot
Barbour, Florence Newell, composer
and concert-pianist; b. Providence, R. I.,
Aug. 4, 1867. American taught. Appeared
with Women's Philharmonic, N. Y. y., and
frequently with chamber-music organizations.
Works: Pf. -suites, Holland, Venice, Forest
Sketches, A Day in A ready; pf. -duets; choruses
for women's voices; anthems; children's songs;
organ- and chamber-music.
Barcewicz [bar'tsa-vitch], Stanislaus, vio-
lin-virtuoso and composer for violin; b. War-
saw, April 16, 1858; pupil of Tchaikovsky,
Hfimaly and Laub in Moscow Cons.; app.
1885 prof, of violin-playing at Warsaw Cons.;
1893, second opera-cond. at Warsaw; in 1911
became dir. of the Imp. Mus. Inst, there.
Bar'di, Giovanni, conte del Vernio, a
wealthy and cultivated Florentine nobleman
at the end of the 16th century. At his house
the leading men of letters and musicians as-
sembled, and to his influence was due, in
great measure, the quasi revival of the an-
cient lyric drama (see Peri, Jacoooj, bearing
the germs of modern opera. His Discorso
sopra la musica antica ed U cantar bene was
publ. 1773 in the complete ed. of Doni's
mus. essays; 2 madrigals a 5, still extant,
show that he was himself a musician of
merit. — Cf. G. Gasperini, Intorno alle origini
del melodramma (Rome, 1902).
48
BARGE— BARNBY
Barge [-gel (Johann Heinrich) Wil-
helm, b. Wulfsahl, Hanover, Nov. 23, 1836.
A self-taught flute-player; 1853-60 in a
Hanoverian regimental band, then 1st flute
of Detmold court orch., and from 1867-95
1st flute of the Leipzig Gewandhaus Orch.,
retiring on pension (successor, 2nd flute
Schwedler, who was succeeded as 2nd flute
by Fischer, Barge's pupil). — Works: Method
for Flute, 4 sets of orchestral flute-studies
based on passages in orchestral works, ar-
rangements for flute of classic and modern
compositions (Sammlung beliebter Stiicke fur
F. u. Pf.) ; etc.
Bargheer [bar-har'], Adolf, brother of
Karl L.; Spohr's last pupil (1857-8), and
finished by Joachim; b. Biickeburg, Oct. 21,
1840; d. Basel, Mar. 14, 1901. Court musi-
cian at Detmold; from 1866, leader and
first violin-prof, at the Basel School of Music.
Bargheer, Karl (Louis), violinist; b.
Biickeburg, Dec. 31, 1831; d. Hamburg,
May 19, 1902. Pupil of Spohr (1848-50),
when he became leader in the Detmold
court orch.; st. later with David and Joa-
chim. 1863, court Kapellm. at Detmold,
making numerous brilliant concert-tours;
1876-89, leader of the Hamburg Philh. Soc.,
and teacher in the Cons. ; then leader in the
Bulow orch.
Bargiel [bar'ge-el], Woldemar, b. Berlin,
Oct. 3, 1828; d. there Feb. 23, 1897. Pupil
(1846) of Hauptmann, Moscheles, Gade and
Rietz at Leipzig Cons.; for some years a
private teacher at Berlin, then prof, in
Cologne Cons.; 1865, Director of the Music
School of the 'Maatschappij tot bevordering"
van toonkunst' at Rotterdam, and conductor
of their concerts; from 1874, prof, at the R.
Hochschule at Berlin; 1875, member of the
senate of the Acad, of Arts; 1882, President
of the 'Mcistcrschule f. musikalische Kom-
position.' He occupied a high place among
modern German instrumental composers,
with a leaning toward Schumann, who was
his stepbrother. — Works: 3 overtures (Zu ei-
netn Trauer spiel [Romeo and Juliet], op. 18;
Prometheus, op. 16; Medea, op. 22); symphony
in C, op. 30; 3 Danses brillantes for orch., op.
24; Intermezzo for orch., op. 46; Psalm 96,
for double ch. a cappella, op. 33; 2 Psalms,
for ch. and orch., op. 25, 26; octet for 4 vlns.,
2 vlas., 2 'cclli, op. 15a; 4 string-quartets (op.
47 is No. 4); 3 pf. -trios, op. 6, 20, 37; Suite
for pf. and vln., op. 37; Adagio for 'cello and
pf., op. 38; Sonata for pf. and vln., op. 10;
pf. -suites for 2 and 4 hands; many pf. -pieces,
part-songs.
Barker, Chas. Spackmann, noted Engl,
organ-builder; b. Bath, Oct. 10, 1806; d.
Maidstone, Nov. 26, 1879. Est. himself at
Bath, and invented the pneumatic lever, an
invention offered unsuccessfully to several
English builders, but adopted in 1837 by
Cavaille-Col of Paris. Here B. took charge
of Daublaine & Callinet's factory until 1860,
when he founded the firm of Barker & Ver-
schneider, which built several celebrated
organs. He returned to London in 1870.
B. also invented the electric action.
Bar/mann, Heinrich Joseph, famed
clarinettist; b. Potsdam, Feb. 17, 1784; d.
Munich, June 11, 1847. He made brilliant
professional tours, and settled in Munich
as court musician — 1st clar. in court orch.
He was an intimate friend of Weber and
Mendelssohn, who both wrote various clari-
net-pieces for him. — He composed about 90
works, 38 of which are publ. (concertos, fan-
tasias, quintets, nuartcts, variations, sonatas,
duets, etc.), and are still special favorites
with clarinet-players. His brother Karl
(1782-1842) was a famous bassoon-player.
Bar'mann, Karl (Sen.), son of Heinr. Jos.
B.; b. Munich, Oct. 24, 1811; d. there May
24, 1885; pupil of his father, whom he ac-
companied on his tours, and whose fame he
shared; he succeeded him in the Munich
court orch. Wrote an admirable Method for
Clarinet, with a supplement, Materialien zur
weiteren lechnischen Ausbildung (Andre, Of-
fenbach). His compositions are well liked.
Bar'mann (Baermann), Karl (Jr.), son
of the preceding; b. Munich, July 9, 1839;
d. Boston, Jan. 17, 1913. Pf.-pupil of Wan-
ner and Wohlmuth, later of Liszt; studied
comp. with Fr. Lachner. He was appointed
teacher in the Munich Cons., but went in
1881 to Boston, Mass., where he enjoyed a
high reputation as pianist and pedagogue.
Wrote pf.-pes. (publ. by Andre, at Offenbach).
Barnard, Mrs. Charles (ne'e Alington),
an Engl, song-writer (pen-name 'Claribel');
b. Dec. 23, 1830; d. Dover, Jan. 30, 1869.
Her numerous songs are in the popular vein,
and are not unpleasing. She also publ. vocal
quartets, trios, and duets, and pf. -pieces.
Barnby, Sir Joseph, conductor of marked
ability, fine org. and comp.; b. York, Engl.,
Aug. 12, 1838; d. London, Jan. 28, 1896. Of
musical family; entered York minster choir
at 7, at 10 taught other boys, at 12 was app.
organist, at 15 music-master at a school.
In 1854 he entered the R. A. M., London;
studied under Ch. Lucas and Cipriani Potter;
held in succession post of organist at St.
Michael's, St. James the Less, to the Sacred
Harmonic Soc., and (1863-71) of organist and
choirmaster at St. Andrew's. Organized
(1864) Barnby 's Choir (choral society), with
five annual series of oratorio-concerts. Org.
of St. Anne's, 1871; then succeeded Gounod
as conductor of R. Albert Hall Choral Soc.,
49
BARNETT— BARRETT
raising its standard of performance to a very
high level. Conductor of the Cardiff Festival,
1892 and 1895; also of S. Wales Festival. In
1874 he inaugurated a series of daily con-
certs in Albert Hall, which were not a suc-
cess. Cond. the London Mus. Soc., 187&-
86. In 1875 he was app. precentor and dir.
of music at Eton, a highly important and in-
fluential position. Elected, .March 31, 1892,
Principal of Guildhall School of Music.
Knighted Aug. 5, 1892.— Works: Rebekah,
a sacred idyl [oratorio) (1870); Psalm 97
(1883); Service (morn., noon, eve.) in E;
Magnificat and Nunc dimittis in Kb, for ch.,
org. and orch. (1881); Services, Pieces, Offer-
tory Sentence; Motet King all-glorioust for
soli, 6-part ch., org. and orch.; 45 Anthems;
246 Hymn-tunes (complete coll., 1897); 5
Trios for female voices; 32 4-part songs; 13
carols; 19 songs; organ-pieces; pf. -pieces.
Bar'nett, John, b. Bedford, England,
July 1, 1802; d. Cheltenham, April 17, 1890.
Pupil of C. E. Horn, Price, Perez, and Ferd.
Ries. Brought out his first operetta, Before
Breakfast, at the Lyceum, in 1825, followed
by many small pieces, and (1834) by his
chief work, the highly successful opera The
Mountain Sylph ('the first English opera con-
structed in the acknowledged form of its age
since Arne's time-honoured Artaxerxes,' as
Prof. Macfarren wrote). After studying in
Paris and Frankfort, he brought out Fair
Rosamond (London, 1837), and Farinelli
(London, 1839); he settled in Cheltenham in
1841 as a singing-teacher; publ. a Schopl for
the Voice in 1844; 3 of his operas have never
been jxTformed. Besides 2 unfinished ora-
torios and a symphony, he composed 2
string-nuartets, and many part-songs and
duets; he publ. nearly 4,000 detached songs.
Bar'nett, John Francis, nephew of the
preceding; b. London, Oct. 16, 1837. Pf.-
pupil of Dr. Wyldc (1849); won Queen's
Scholarship at R. A. M. in 1850, and again
in 1852; made his pianistic debut at the New
Philh. Concerts in 1853. St. 1856-9 at Leip-
zig Cons. (Moscheles, Plaidy, Hauptmann),
and played in the Gewandhaus in 1860.
Lived at home as teacher, concert -giver, and
conductor; 18X3, app. Prof, at R. Coll. of
Music. -Principal works: An oratorio, The
Raising of Lazarus (Hereford Fest., 1876);
several cantatas -The Ancient Mariner, and
Paradise and the Peri (Binningham Fest.,
1K67 and '70); The Good Shepherd (Brighton,
1X76;; The Building of the Ship (Leeds, 1880);
The Harvest Festival (Norwich, 1881); The
Triumph of Labour (Crystal Palace, 1888);
The Wishing-bell (Norwich, 1893); etc. — an
orchestral piece, The Uiy of the ImsI Min-
strel (Liverpool, 1874); a symphony in A m.
(1864); Ouverture symphonique (1868); over-
ture to Winter's Tale (1873); 6 orch. Sketches;
pf. -concerto in D m.; string-quintet, -quar-
tet,-trio; pf. -pieces, part-songs, songs, etc. —
Wrote Musical Reminiscences and Impres-
sions (London, 1906).
Baron' f-rohn), Ernst Gottlieb, b. Breslau,
Feb. 27, 1696; d. Berlin, April 12, 1760
[FfcTis]. Famous lutenist; court-player at
Gotha, in 1727, and theorbist to the Prussian
Crown Prince (later Friedrich II) in 1734.
Wrote Historisch-theoretisehe u. praktische
Untersuchung des Instruments der Laute, etc.
(1727); an Appendix (on the lute) to Mar-
purg's Historisch-kritische Beitrdge, vol. ii; an
Abhandlung von dem Notensystem der Laute
und der Theorbe, and some minor pamphlets.
His compositions (concertos, trios, duets,
sonatas, etc.), are unpublished. — See Q.-bex.
Barrere [bah-rar'], Georges, flute-virtuoso,
b. Bordeaux, France, Oct. 31, 1876. Studied
Paris Cons. National de Mus. (1889-95);
first prize (1895); teachers, P. Taffanel and
H. Altes (fl.), and R. Pugno (harm.); also
E. Schwarz and L. Grand j any. Solo flutist at
Colonne Concerts and at Grand Opera (1897-
1905). Founder in Paris of 'La Societe
Moderne d' Instruments a vent,' 1895. Solo
flutist with the N. Y. Symphony Orch. and
teacher at the Inst, of Mus. Art since 1905.
Founder in N. Y. C. of the 'Barrere En-
semble' (1910); of the Trio d*? Lutece (1913) ;
and the 'Little Symphony' (1914). Officer
of the French Academy. Has written a
Nocturne for flute and pf.
Barret [bah-ra'], Apollon (-Marie-Rose),
French oboist; b. Paris, 1808; d. London,
'March 8, 1879; pupil of Vogt in Paris Cons.
His Complete Method for the Oboe, with sup-
plementary studies and sonatas, is a stand-
ard work.
Barrett, John, b. 1674; d. London, circa
1735; a pupil of Dr. Blow; 1710, organist at
St. Mary-at-Hill, and teacher at Christ's
Hospital, London. Wrote scenic music,
entr'actes, overtures, popular songs, etc.
Barrett, Reginald, b. London, Jan. 12,
1861. Pupil of Guildhall Sch. of Music and
Darmstadt Cons.; came to IT. S. in 1888;
org. at Kansas Citv, 1889-98; since then in
N. Y.; now (1916) "org. at St. James' Ch.—
Wrote Communion Service in E>; Evening
Service in I); Romanza and Scherzo for vl.
and pf.; over 100 preludes and interludes for
org., and other org. -works {Offertory, Marche
fantastique, Berceuse, etc.); Birthstone Suite
for pf., and other pieces; sacred songs;
jxirt-songs for female voices; anthems; etc.
Barrett, William Alexander, English
writer and lecturer on music; b. Hackney,
Middlesex, Oct. 15, 1834; d. London, Oct.
17, 1891. Mus. Bac.,Oxon., 1870. Mus. ed.
50
BARRINGTON— BARTHE
of the 'Morning Post* (1869 until his death);
of the 'Globe' (1874-5); editor of 'Monthly
Mus. Record' (1877 and 1885), and of the
'Orchestra and the Choir' (1881); also of the
'MusicaJ Times.' Co-editor, with Sir John
Stainer, of a Diet, of Mus. Terms (1875; 3d
ed., 1888). Wrote monographs on English
Glee and Madrigal Writers (1877), Balfe: His
Life and Work (1882); etc.— Composed an
oratorio, Christ before Pilate (MS.), madri-
gals, and anthems.
Barring ton, Daines, English lawyer; b.
London, 1727; d. there Mar. 14, 1800. Wrote
numerous minor essays on music and musi-
cians— Crotch, Mornington, the Wcsleys
(father and son), Mozart;— Experiments and
Observations on the Singing of Birds (London,
1773); and a description of the ancient
Welsh Crwth and Pib-corn.
Barry, Charles Ainslie, org., comp., and
a writer of radical tendency; b. London,
June 10, 1830; d. there Mar. 21, 1915. Pupil
of YValmisley; of the Cologne Cons.; and
(1856-7) of Leipzig Cons. (Moscheles, Plaidy,
Richter). Editor of 'Monthly Mus. Record'
(1875-9); contributor to the 'Guardian,'
'Athenaeum.' 'Mus. World,' etc.; 1886, Sec.
of Liszt Scholarship. He comjx)sed numer-
ous pf. -pieces, hymns, songs, etc.; also (in
MS.) a symphony, 2 overtures, and a march,
for orch.; a string-quartet; and cantatas.
Barsan'ti, Francesco, b. Lucca, c. 1690;
d. c. 1760. Flutist, later oboist, at Italian
Opera, London; lived in Scotland for a time,
and was eng. (1750) as viola-player in Lon-
don. Publ. A Coll. of old Scots Tunes , w. the
Bass for Violoncello or Harpsichord (Edin-
burgh, 1742); 6 overtures a 4; 12 vln. -con-
certos; 6 flute-solos w. bass; 6 sonatas f. 2
vlns. w. bass; 6 antiphones in Palest rina
style, etc.
Barsot'ti, Tommaso Gasparo For tu-
na to, b. Florence, Sept. 4, 1786; d. April,
1868, at Marseilles, where he founded, in
1821, the Free School of Music, of which he
was the Director down to 1852. — Publ. a
Domine salvum fac regent; a Methode de Mu-
sique (1828); pf.- variations; and nocturnes
for 2 voices.
Bars tow, Vera, b. Celina, Ohio, June 3,
1893. Pupil of Luigi von Kunits (vl.) at
Pittsburgh in 1902; next year won scholar-
ship at the Cons., and continued her studies
there (also under v. Kunits); at the same
time studied pf.; in 1910 she followed her
teacher to Vienna, where shir made her debut
in January, 1912, perf. the Beethoven con-
certo with the Tonkunstler' Orch.; in Nov.
of the same year made her Anier. debut with
che Volpe Symph. Orch. in N. Y. (Tchai-
kovsky concerto); was heard in Saint-Saens'
• B m. concerto with Boston Symph. Orch.
in 1913; since then has appeared with several
of the larger orchestras and also successfully
in recitals.
Bar'tay [-ti], Andreas, Hungarian com-
poser; b. Szeplak, 1798; d. Mayence, Oct. 4,
1856. In 1838, Director of the National Th.
at Pest; gave concerts in Paris (1848);
afterwards settled in Hamburg. — Wrote the
Hungarian operas Aurelia. Csel, and The
Hungarians in Naples; the oratorio The
Storming of Of en; also masses, ballets, etc.
Bar'tay, Ede, son of Andreas B.; b. Oct.
6, 1825; d. Pest, Aug. 31, 1901. Director of
the National Music Acad., Pest, and founder
of the Hungarian pension-fund for musicians.
He wrote an overture, Pericles, and other works.
Barth [bahrt], Christian Samuel, famous
player on and composer for the oboe; b.
Glauehau, Saxony, 1735; d. Copenhagen, July
8, 1809. He was a pupil of I. S. Bach in the
Leipzig Thomasschule, and oboist succes-
sively in orchestras at Rudolstadt, Weimar,
Hanover, KasscI, and Copenhagen. — Works:
Brilliant concertos and other pieces for oboe.
Barth, F. Philipp Karl Anton, son of
preceding; b. Kassel, c. 1773; succeeded his
father at Copenhagen; publ. collections of
Danish and German songs, and a flute-
concerto; other works in MS.
Barth, Karl Heinrich, b. Pillau, Prussia,
July 12, 1847; taught (1856-62) by L. Stein-
ma nn in Potsdam, and by v. Btilow (1862—4)
at Berlin; also by Bronsart and Tausig.
1868, app. teacher at Stern Cons., Berlin;
1871, at R. Hochschule f. Musik; since 1910
director of the pf. -department. Is an able
pianist, especially fine as ensemble player,
whose concerts in Germany and England
have met with great success. The trio B.,
de Ahna, and Hausmann, have won golden
opinions wherever they appeared. B. suc-
ceeded v. Bulow as cond. of the Philh. con-
certs at Hamburg.
Barth, Richard, violin-virtuoso (left-
handed); b. Grosswanzleben, Prov. of Sax-
ony, June 5, 1850; pupil of Beck in Magde-
burg, and (1863-7) of Joachim in Hanover.
Leader of orchestra in Minister, later in
Krefeld; then mus. director at Marburg
Univ. till 1895; conductor of Hamburg Philh.
Concerts, 1895-1904; 1908 director of the
Cons, at Hamburg. Editor of /. Brahms
im Briefivechsel mit J. O. Grimm (19US).
Barthe [bahrt], Grat-Norbert, dramatic
composer; born Bayonne, France, June 7,.
1828; d. (?); pupil of Leborne at Paris Cons.;
won the Grand Prix de Rome (1854) with the
cantata Francesca da Rimini. — Works: The
operas Don Carlos and La Fiancee d'Abydos
(1865); an oratorio, Judith; etc.
51
barth£lemon— basili
Barthelemon [-t3l-m6hn'] (A nglice Bartle-
man), Francois-Hippolyte, talented vio-
linist and dramatic comp.; b. Bordeaux, July
27, 1741; d. Dublin, July 23, 1808. In 1765,
leader in the opera-orch. at London; in 1770,
do. at Vauxhall Gardens; eng. in Dublin,
1784.— Operas: Pelopidas (London, 1766); Le
Fleuue Scamandre (Paris, 1768); Le Juge-
tnent de Pdris (London, 1768); La Ceinture
enchanter (ib. ?); The Maid of the Oaks (ib.,
1774); Belphegor (ib., 1778).— Also wrote
concertos f. vln.; 2 sets of duos f. 2 vlns.;
6 string-quartets; studies for pf. and for org.;
etc. — See Q.-Lex.
Bartholomew, William, Engl, violinist,
writer and painter; b. London, 1793; d. there
August 18, 1867. Intimate friend of Men-
delssohn, and the translator into English of
the libretti to Antigone, Athalie, CEpidus,
Christus, Elijah, Lauda Sion, Loreley, Wal-
purgisnackt; also of Spohr's Jessonda, and
Costa's Eli and Naaman, etc.
Bartlett, Homer Newton, b. Olive, N. Y.f
Dec. 28, 1845. Pianist, organist, and com-
poser, precociously developed; pupil (1861)
of S. B. Mills, Max Braun, Jacobsen, and
others. Organist in various New York
churches; for 33 years at Madison Ave.
Baptist Ch. One of the founders of 'Am.
Guild of Organists.' His publ. works in-
clude a sextet for strings and flute; a cantata,
The Last Chieftain; quartets, anthems, carols,
and glees, for men's and women's voices; and
about 80 songs, and as many pf. -pieces. In
MS. he has the 3-act opera La Valliere; an
oratorio, Samuel; a symph. poem, Apollo;
a concerto for vl. and orch. in G; Khamsin,
dram, aria for tenor and orch.; a caprice,
Ignis fatuus, and 2 marches for orch.; a
quartet for harp, org., vln., and 'cello; etc.
Bart 'mu 88, Richard, organist and comp.;
b. Bitterfeld, Dec. 23, 1859; d. Dessau,
Dec. 25, 1910. Pupil of Grell, Haupt and
Loschhorn in Berlin; court org. at Dessau;
R. Prussian Prof, in 1892, R. M us. -Director
in 1896. Publ. numerous well-received org.-
comps.: Kirchliche Festmusiken; 2 organ-
concertos; 4 organ-sonatas; 2 chorale- fanta-
sias; an oratorio, Der Tag der Pfingsten (op.
14); cantatas (Die Apostel in Philippi, op.
50), motets, choruses for men's and women's
voices, melodramas, songs; his Liturgische
Vespern are a partial formulation of the
striving to remodel the Lutheran musical
service. He held high rank among German
. organists.
Ba'ry, Alfred Erwin von, b. La Valet ta,
Malta, Jan. 18, 1873. Medical student and
Dr. mid. (Munich Univ., 1898), developed his»
dramatic tenor voice, and was eng. 1902-12
at the Dresden court opera; since then at
* court opera in Munich. Has sung the r61es
of Parsifal, Siegmund and Tristan most
acceptably at Bayreuth.
Ba'selt, Fritz (Friedrich Gustav Otto),
Prolific comp.; b. Ocls, Silesia, May 26, 1863.
'upil of Concertm. Emil Kohler, Breslau,
and L. Bussler, Berlin. Has lived in turn as
musician, music-dealer, composer, teacher,
and cond. in Breslau, Essen, and Nuremberg;
since 1894, in Frankfort-on-M. as director of
the Philh. Verein (professional concerts with
full orch.), and the Frankfort San^erverei-
nigung (about 1 ,200 voices.) — Drama tic works:
3-act operetta Der Fiirst von Sevilla (Nurem-
berg, 1888); 3-act operetta Don Alvaro, oder
der Hauptmann von Zalamea (Ansbach, 1892) ;
1-act opera Albrecht Diirer (Nuremberg,
1892); 3-act operetta RenS und Gaston (Lii-
beck, 1893) ; 1-act operetta Der Sohn des Peli-
den (Kassel, 1893); 3-act 'Spieloper' Die
Annaliese (Kassel, 1896); operetta Die Mus-
ketiere im Damenstift (Kassel, 1896); 1-act
operetta Die Circusfee (Berlin, 1897); comic
opera, Leopold von Dessau; and 2 ballets, Die
Altweibermuhle (Frankfort, 1906), and Ro-
koko (Frankfort, 1907).— Besides these, he
has written nearly 100 male choruses, mostly
a cappella, many of which are popular; nu-
merous terzets, duets, songs; several original
pieces for orch., strings, vln. and pf., etc.;
also a number of arrangements, transcrip-
tions, and the like.
Base'vi, Abramo, writer and composer;
b. Leghorn, Dec. 29, 1818; d. Florence, Nov.,
1885. His 2 operas, Romilda ed Eszelino
(1840), and Enrico Howard (1847), being
coolly received, he founded (1848?) the mus.
journal 'Armonia* (discontinued in 1859);
became a contributor to the 'Boccherini';
also founded (1.859) the 'Beethoven Matin6es'
(now 'Societa del Quartetto'). He published
a Studio sulle'opere di Giuseppe Verdi (1859);
Introduzione ad un nuovo sistema d' armonia
(1862); Studi sul armonia (1865); Compendia
delta storia delta musica (1865-6).
Basil (Saint) the Great, b. 329 at Cae-
sarea, Cappadocia, where he died as bishop
in 379. Reputed to have introduced congre-
gational (antiphonal) singing into the East-
ern Church, thus being the forerunner of
St. Ambrose in the Western.
Basili, Francesco, dramatic and sacred
comp.; b. Loreto, Feb., 1766; d. Rome, Mar.
25, 1850. Pupil of his father [Andrea B.,
1720-75], later of Jannaconi at Rome. M. di
capp. at Foligno, Macerata, and Loreto, and
up to 1824 brought out 14 operas and several
'dramatic oratorios' in Rome, Naples, Flor-
ence, Milan, and Venice. App. 1827 censor
of Milan Cons.; in 1837, m. di capp. at St.
52
BASSANI— BATH
Peter's, Rome. — Wrote psalms, motets, lit-
anies, a Miserere, a Magnificat, a Requiem
(for Jannaconi, 1816); symphonies, pf .-sona-
tas, songs, etc. — See Q.-Lex.
Bassa'ni, Geronlmo, b. Padua, late in
the 17th century. Pupil of Lotti; a fine con-
trapuntist, singer, singing-teacher, produced
2 operas at Venice, Bertoldo (1718), and
Amor per forza (1721); also wrote masses,
motets, and vespers.
Bassa'ni, Giovanni, m. di capp. at St.
Mark's, Venice, circa 1600. Two vols, of
Concerti ecclesiastici (1598, *99), and 1 of
4-part Canzonette (1587), are extant*.
Bassa'ni (or Bassiani), Giovanni Bat-
tista, excellent violinist and comp.; b. Padua,
c. 1657 ; d. Bergamo, Oct. 1. 1716. M. dicapp.
at Bologna and Ferrara, where he was elected
m. di c. in 1703, of the 'Accademia della
Morte.' — Works: 6 operas; 9 oratorios;
masses, motets, psalms, etc.; sonatas f. vln.
Cf. F. Pasini, Notes sur laviedeG.B. B., in
'Sbd. Int. M.-G.,' vii (1906).— See Q.-Lex.
Basse'vi, Giacomo. See Cervetto.
Bassford, William Kipp, pianist and
organist; b. New York, April 23, 1839; d.
there Dec. 22, 1902. Pupil of Sam. Jackson.
After concert-tours as a pianist through the
U. S., he settled in N. Y.; was organist in
several churches (finally of Calvary Church,
East Orange, N. J.), also taught pf. and com-
position.— Works: Cassilda, 2-act opera;
mass in Eb; pf. -pieces; songs.
Bassi, Amadeo (Vittorio), operatic tenor;
b. Florence, July 25, 1876. Having received
his entire musical instruction from the mar-
chese Pavese Negri at Florence, he made his
debut there, in Nov. 1889, as the Duke in
Rigoletto. After successful appearances in
various Italian cities he spent the seasons
1902-7 in the principal cities of S. America,
where he at once became a great favorite.
In 1907 he sang at Cov. Garden; 1906-8 at
the Manhattan Op. H., New York; the next
two years again in Italy; 1910-12 with the
Chicago Opera Co. His repertoire includes
over 50 operas (chiefly Italian); has created
the roles of Angel Clare (d'Erlanger's Tess),
Federico (Franchetti's Germania), Giorgio
(Mascagni's L Arnica), Lionello (Cilea's Glo-
ria), etc.
Baa 'si, Luigi, dramatic baritone; b. Pe-
saro, 1766; d. Dresden, 1825. Sang in several
Italian theatres; from 1784-1806 in Prague;
lived m Vienna, again (1814) in Prague, and
became director of the Dresden Opera. Mo-
zart wrote the part of Don Giovanni for B.
Bastardel'la. SeeAcujARi.
Bastiaans [bahs-te-ahnsl, J. G., Dutch
comp. and org.; b. Wilp, 1812; d. Haarlem,
53
Feb. 16, 1875. Pupil of Schneider at Dessau
and Mendelssohn at Leipzig; organist at the
Zuiderkerk, Amsterdam, and teacher at the
Blind Inst. App. in 1868 org. of the great
organ at St. Bavo's, Haarlem (succ. by his
son, Johann; b. 1854; d. 1885). Eminent
teacher. Publ. a bk. of chorals, some songs, etc.
Baston [bah-t6hn/], Josquin, Netherland
contrapuntist; 1552-3, court comp. to Sigis*
mund Augustus at Cracow. Motets and
chansons by him are found in many colls.
Cublished at Antwerp, Louvain, and Augs-
urg from 1542-61. — See Q.-Lex.
Batch 'elder, John C, pianist and org.;
b. Topsham, Vt., 1852. Pupil for 4 years of
Haupt, Ehrlich, and Lose h horn, at Berlin.
Teacher of organ and piano in Detroit Cons. ;
org. of St. Paul's Episc. Ch. Has given many
public organ-recitals.
Bates, Joah, British conductor; b. Hali-
fax, Mar. 19, 1741; d. London, June 8, 1799.
Promoter and conductor of the famous
Handel Commemoration festivals at London
(1784, -5, -6, -7, '91); founder, with 'other
amateurs,' of the Concerts of Ancient Music
which flourished till 1848 [not Pepusch's,
which came to an end in 1792]. — No compo-
sitions of his appear to be extant.
Bates, William, English comp. of the
18th cent. (1720-90?), connected with the
Marylebone and Vauxhall Gardens, London.
Works: Comic opera The Jovial Crew (1760),
altered to The Ladies' Frolic (1770); opera
Pharnaces (1765); a 'Mus. prelude,' The The-
alrical Candidates (1775); and Flora, or Hob
in the Well (1768); also canons, glees, catches;
vln.-sonatas; etc.
Bateson, Thomas, b. England c. 1575;
d. (?). 1599-1611, org. of Chester cathedral,
later of Christ Ch. cathedral, Dublin.—
Mus. Bac. (Dublin). Wrote A Set of Madri-
gals in praise of Queen Elisabeth (1601); First
Set of Madrigals (1604; reprinted 1846);
Second Set (1618).
Bath, Hubert, b. Barnstaple, England,
Nov. 6, 1883. Pupil of Dr. H. J. Edwards;
entered R. A. M. in 1900, and studied there
with O. Beringer (pf.), F. Corder (comp.),
R. Steggall (org.), and Ph. Cathie (vl.);
elected A. R. A. M., 1905; cond. of Thomas
Quinlan's opera-troupe on its world-tour,
1912-13; cond. opera season at Shaftesbury
Th., London, 1915; prof, op.-class at G. S.
M.; member R. Philh. Soc.; member Incorp.
Soc. of Mus.; mus. adviser to the London.
County Council.— Works: Variations f. orch. "
(1905); Hannele, symph. poem (1908); Two
Sea-Sketches, f. orch. (1909); African Suite,
f. orch. (1915); the cantatas Legend of Ner-
budda (1809), The Wedding of Shon Maclean
(1910), The Jackdaw of Rheims (1911), Look at
BATH E— B ATTISTI N I
the Clock (191 1), The Wake of O'Connor (1914) ;
numerous pieces for pf., vl.t vcl., and fl.;
about 150 songs (among them 30 by Fiona
Macleod).
Bathe, William, b. Ireland, Apr. 2, 1564;
d. Madrid, June 17, 1614; entered the Jesuit
Order in 1599, and after that lived in Lisbon,
Salamanca and Madrid. Wrote one of the
first— if not the first — theoretical works on
music in English, Brief Introduction to the
true art of Musicke (1584); also A Brief Intro-
duction to the Skill of Song (1600).
Batiste, Antoine-fedouard, organist; b.
Paris, Mar. 28, 1820; d. there Nov. 9, 1876.
Pupil (1828) and prof. (1836) at Paris Cons,
(harmony, accomp., and choral classes).
Organist of St.-Nicolas-des-Champs (1842-
54), then of St.-Eustache. He composed
much excellent organ-music, also pf. -pieces
and songs. Edited the official Solfjtges du
Conservatoire (12 vols.), and published a
Petit Solfhge harmonique.
Batistin. See Stuck, Joh. Bapt.
Batka, Richard, b. Prague, Dec. 14,
1868. Ph.D. of Prague University; 1896-8,
editor, with Teibler, of the 'Neue musika-
lische Rundschau* and mus. critic of the
4Neue Revue* and the 'Prager Tageblatt';
founded in 1903, and conducted till 1908, the
Durerbund (giving hist, and modern con-
certs). In 1908 he settled in Vienna, where
he still lives as mus. ed. of the 'Wiener
Fremdenblatt' and lecturer on the hist, of
music at the 'Akademie der Tonkunst'; is
also editor (since 1897) of the 4Kunstwart'
and (since 1909), with R. Spccht, of 'Der
Mcrkcr.' — Works: Biographies of Bach and
Schumann (in Reclam's ed., Leipzig, 1892);
Aus der Musik- und Theaterwelt (Prague,
1894); Martin Pluddemann: Kine kritische
Studie (Prague, 1896); Musikalische Streif-
ziige (Leipzig, 1898); Die Musik der Griechen
(1900); Die mehrstimmige Kunstmusik des
Mittelalters (1901); with P. Rungc, Die Lieder
Millie hs von Prag (in 'Dkm. dcutschcr Ton-
kunst aus Bohmen,' 1905); Die Musik in
Bohmen (Berlin, 1906); Geschichte der Musik
in Bohmen (Vol. i: Bohmen unter deutschem
Einfluss [900-1333], Prague, 1906); Aus der
Opernwelt (1907); Allgemeine Geschichte der
Musik (2 vols., Stuttgart, 1909-11); Richard
Wagner (Berlin, 1912). He is the author of the
librettos of many modern German operas
(almost all of Blech's), and has translated the
texts of numerous foreign operas; edited also
the collections 4Bunte Buhne' (1902 et seq.),
'Mozart's gesammelte Poesien' (1906), 4Haus-
musik' (1907); contributed several analytical
essays to Schlesinger's 'Musikfiihrer' ^Berlin).
Baton |>t6hn'], Henri, b. Paris, 1710; mu-
sette-player; his brother Charles ('BAton le
jeune'), d. Paris, 1758, a performer on the
vielle, wrote pieces for vielle and musette,
and a Mcmoire sur la vielle en D la re (in
'Mercure de France,' 1757).
Bat'ta, Alexandre, b. Maastricht, July 9,
1816; d. Versailles, Oct. 8, 1902. Brilliant
'cellist, pupil of Platel in Brussels Cons.;
settled 1835 in Paris. Made very successful
concert- tours on the Continent. — Works:
Many melodious pieces and transcriptions for
'cello with pf.-acc.
Battaille [-tah'y'], Charles-Aimable, dra-
matic bass; b. Nantes, Sept. 30, 1822; d.
Paris, May 2, 1872. At first a medical stu-
dent ; sang at the Opera-Comique, Paris, from
1848-57, when a throat -disorder closed his
public career. 1851, prof, of singing at the
Cons. Published an extensive Method of
Singing in 2 vols.: I. Nouvelles recherches sur
la phonation (1861), II. De la physiologic ap-
pliquee au mecanisme du chant (1863).
Battanchon [-tahn-sh6hn'], Feiix.eminent
'cellist and composer; b. Paris, April 9, 1814; d.
there July, 1893. Pupil of Vaslin and Nor-
blin at the Paris Cons.; from 1840, member
of Grand Opera orch. Invented (1846), and
vainly tried to popularize, a small style of
'cellor called 'Baryton.'
Batten, Adrian, English comp. and org.;
b. circa 1585; d. 1637. Vicar-choral of West-
minster Abbey in 1614, and of St. Paul's in
1624, where he was also organist. Wrote
church-services, excellent anthems, and other
sacred music of rather mediocre quality;
some pieces are published in 'Boyce's Cathe-
dral Music,' also by Novello.
Batti8hill, Jonathan, b. London, May,
1738; d. Islington, Dec. 10, 1801. A chorister
(1747) in St. Paul's, and later articled to W.
Savage, he became deputy-org. (under Boyce)
at the Chapel Royal, and afterwards cond.
(cembalist) at Covent Garden, at the sams
time holding the post of organist in several
London parishes. With Arue he wrote an
opera, Almena, for Drury Lane (1764); he
also composed a pantomime, Tlte Rites of
Hecate, in that year. His many anthems,
glees, catches and songs were deservedly
popular.
Battis'ta, Vincenzo, dramatic composer;
b. Naples, Oct. 5, 1823; d. there Nov. 14,
1873. Pupil of the Naples Cons. He wrote
13 operas, 11 of which were produced at
Naples, between 1844-69, with temporary
success, but now forgotten.
Battisti'ni, Mattia, b. Rome (?), Nov.
27,1857. Renowned dram, baritone. Debut
in Donizetti's La Favorita at Rome, Teatro
Argentina, 1878; immediately engaged for
the Italian opera in Buenos Ay res. Has sung
54
BATTMANN— BAUMBACH
since then in Italian on all principal stages in
Italy, Spain, Portugal, London, also (1893)
in Berlin, Petrograd, etc.
Battmann, Jacques-Louis, b. Maas-
munster, Alsatia, Aug. 25, 1818; d. Dijon,
July 7, 1886. Organist at Belfort (1840),
later at Vesoul. Wrote pieces and eludes for
pf. and for organ; Masses, Motets, choral
works; an Harmonium Method, and many
pieces for harmonium; a Piano Method; and
a treatise on harmony, teaching the accomp.
of Plain Song.
Batton [-tdhn'], Desire* - Alexandre, b.
Paris, Jan. 2, 1797;d. Versailles, Oct. 15, 1855.
Pupil of the Cons. (Cherubini); Grand prix
de Rome, 1816, for his cantata. La mart
d' Adonis. His operas, La fenitre secrete
(1818), Etkelvina (1827), Le prisonnier d'etat
(1828), Le champ du drap &or (1828), had
poor success; but La Marquise de BrinviUiers
(1832, written jointly with Auber, Herold,
and others) was better received. In 1842 he
was app. Inspector of the branch-schools of
the Cons., and teacher of a vocal class in 1849.
Battu f-tu'], Pantaleon, b. Paris, 1799;
d. there Jan. 17, 1870. Violinist, pupil of
the Cons. (R. Kreutzer); belonged to the
orchestra of the Opera and the court until
1830; in 1846, 2nd 'chef d'orchestre' at the
Opera; retired 1859. — Works: 2 vln.-con-
certos; 3 duos concertants for 2 vlns.; theme
vara f. vln. w. orch.; romances f. vln. w. pf.
B&tz, Karl, b. Sommerda, Thuringia, Mar.
17, 1851; d. Berlin, 1902. Lived 1871-86 in
America, then in Berlin, where he founded
the 'Musikinstrumenteri-Zeitung' in 1890. He
publ. pamphlets on instrument-making, and
on Die Musikinstrumente der Indianer (1876).
Baudiot [boh-d'yoh'], Charles-Nicolas, b.
Nancy, Mar. 29, 1773; d. Paris, Sept. 26,
1849. 'Cellist, pupil of the elder Janson,
whom he succeeded, in 1802, a9 'cello-prof,
at the Cons. In 1816, 1st 'cellist in the royal
orch.; pensioned in 1832. Publ. a great
variety of chamber-music for 'cello, and 2
concertos, 2 concertinos, etc., for ditto; like-
wise many arrangements. Wrote MHhode
compute de ViolonceUe (op. 25), and Instruc-
tion pour les compositeurs, a guide to writers
for 'cello. With Levasseur and Baillot he
wrote the 'cello method used at the Cons.
Baudoin(or Baudouyn) . See Bauldewijn.
Bau'er, Chrysostojnus, organ-builder in
Wilrttemberg early in the 18th century. In-
vented the single large bellows, replacing the
set of small ones formerly in use.
Bau'er, Harold, distinguished pianist, b.
London, of an English mother and German
father, April 28, 1873. Studied violin with
his father and Adolf Pollitzer; first appeared
as a violinist in 1883 at London; successful
tours of England for 9 years. Went to Paris
in 1892, studied piano for a year with Pade-
rewski (the only pf .-instruction he ever had),
and made first pianistic tour in Russia 1893-4.
Returning to Paris, he gave piano-recitals,
followed immediately by engagements in
France, Germany and Spain. Has played
since in Holland, Belgium, Switzerland, Eng-
land, Scandinavia, and the United States,
with great success. ^ He is also a remarkable
ensemble player (with Thibaut and Casals).
He resides in Paris.
Bauerle, Hermann, musical editor, and
comp. of numerous sacred a cappella choruses;
b. Ebersberg, Wurttemberg, Oct. 24, 1869.
Studied theol. at Tubingen, also studying
music with E. Kauffmann; took holy orders
in 1895, and was court chaplain (Thurn and
Taxis) from 1899-1908. From 1898 he at-
tended the Ratisbon Music School, be-
coming teacher there for harm, and cpt. in
1901. In 1906 he was raised to the dignity
of Papal Privy Chamberlain, with the title
'Monsignore.' Took degree of Dr. phil,
(Leipzig) in 1906 with thesis Eine musik-
philologische Studie uber die 7 Busspsalmen
Lassos. Has also publ. Palestrina muss
populdrer werden (1903), Der Vatikaniscfie
Choral in Reformnotation (1907), and Liturgie
(1908; a theory of the R. C. cult). His spe-
cialty, however, is the editing of early
church-music in a modern and practicable
form; in his 'Bibliothek altklassischer Kir-
chenmusik in moderner Notation,' a series
publ. since 1903, bars are introduced, the
C -clefs eliminated, and the note-values much
abbreviated. The following numbers have ap-
peared: Palestrina; Vol. i, 10 masses a 4
(1903); vol. ii, 52 motets (1904); vol. iii,
masses a 4 (1905); vol. iv, 10 masses a 5
51906). Lasso: Septem P salmi poenitentiales
1906). Vittoria: Motets a 4, and 6 masses
a 4 (1904-7) . J. J. Fux: Missa canonica and
Missa quadragesimalis.
Bauldewijn (or Baulduin, Baldewln,
Balduin,Baudoin, Baudouyn [boh-dwan']),
Noel (Na talis), from 1513-18 'maitre de
chapelle' at Notre-Dame, Antwerp, where he
diea in 1529. Two of his motets are in
Petrucci's 'Mottetti della Corona' (Venice,
1519); others in other collections; also masses
in MS. at Rome and Munich.
Bau'mann, Konrad. See Paumann.
Baum'bach, Fiiedrich August, comp.
and writer; b. 1753; d. Leipzig, Nov. 30, 1813.
From 1778-89, Kapellm. at Hamburg opera;
then settled in Leipzig as a composer. —
Works: Songs, instr.-pieces (for harpsichord,
piano, 'cello, violin, guitar, etc.); also wrote
the musical articles for the Kurz gefasstes
Handwbrterbuch uber die schonen Kiinste
(Leipzig, 1794).
55
BAUMFELDER— BAYER
Baum'felder, Friedrich, b. Dresden, May
28, 1836; pianist, and comp. of brilliant salon-
music; pupil of Julius Otto, later of the Leip-
zig Cons. (Moscheles, Wenzel, Hauptmann).
Cond. of the Schumann Singakademie at
Dresden (R. Musikdirektor). Has also publ.
etudes (Tirocinium musicae, op. 300); a pf.-
suite (op. 101); a pf. -sonata (op. 60); a sym-
phony; a choral work w. orch., Der Geiger zu
Gmund.
Baum'gart, Expedlt (Friedrich), b.
Grossglogau, Jan. 13, 1817; d. Warmbrunn,
Sept. IS, 1871. University Music- Director
at Breslau, and teacher in the R. Inst, for
Church-music. Edited K. Ph. E. Bach's
Clavier-Sonaten. — Monograph by H. Palm
(1872).
Baum'garten, Gotthilf von, b. Berlin,
Jan. 12, 1741; d. Gross-Strehlitz, Silesia,
Oct. 1, 1813. — Operas: Zentire und Azor (Bres-
lau, 1775); Andromeda [a melodrama] (ib.,
1776); Das Grab des Mufti (ib., 1778).
Baum'garten, Karl Friedrich, b. La-
beck, 1740 (?); d. London, 1824; from 1780-
94 he was leader of the Covent Garden
opera-orch. — Works: Operas and panto-
mimes, the best-known being Robin Hood
(London, 1786) and Blue Beard (1792).
Baum'gartner, August, b. Munich, Nov.
9, 1814; d. there Sept. 29, 1862. Choirmaster
at Ch. of St. Anna, Munich. He publ. papers
on 'mus. shorthand1 in the 'Stenograpnische
Zeitschrift' (1852); a Kurz gefasste Anleilung
%ur musikalischen Stenographic oder Tonzei-
chenkunst (1853); and a Kurz gefasste Ge-
schichte der musikal. Notation (1856). Comp.
an instr. Mass; a Requiem; Psalms; also
pf.-pieces, choruses, etc.
Baum'gartner, Wilhelm [Guillaume],
b. Rorschach, May 15, 1820; d. Zurich,
Mar. 17, 1867. Vocal composer; Music-
director at the Univ. of Zurich. Wrote quar-
tets for male voices, pf.-pieces, and songs.
Baumker, Wilhelm, b. Elberfeld, Oct.
25, 1842; d. Rurich, Mar. 3, 1905, as pastor
(since 1892). 1869, chaplain and, 1880,
school-inspector at Niederkruchten; a con-
tributor to the 'Allgem. deutsche Biographic/
the 'Monatshefte fur Musikgeschichte,' etc.;
author of Paldstrina, ein Beitrag, etc. (1877);
Orlandus di Lassust ein historisckes Bildniss
(1878) ; Zur Geschichte d. Tonkunst in Deutsch-
land (1881); Der TodUntanz (1881); Nieder-
landische geistlicke Lieder. nebst ihren Sing-
weisen aus Handschriften des IS. Jahrh.
(1888), and Ein deutsches geistliches Lieder-
buck (melodies from the 15th century;
Leipzig, 1896). His great work is Das katho-
lische deutsche Kirchenlied in seinen Sing-
weisen von denfruhesten Zeiten bis gegen Ende
des 17. Jahrhunderts (4 vols., Freiburg,
1883-1911). Vol. ii (1883) and vo|. iii (1891)
appeared originally as continuation of the
work begun by K. S. Meister, who publ.
vol.. i in 1862; B. revised this vol. in 1886;
vol. iv (1911) was edited by J. Gotzen from
B.'s notes, and also contains supplements to
the preceding vols.
Baur, Charles (Alexis ?), celebrated
harpist; b. Tours, France, 1789; d. (?).
Studied pf. with his father, and harp with
his mother, who were teachers of those
instruments; went to Paris in 1805, and st.
with Nadermann; settled in London, 1820,
as teacher; was still living there, 1834.
Bausch, Ludwig Christian August, b.
Naumberg, Jan. 15, 1805; d. Leipzig, May
26, 1871. Celebrated maker andrepairer of
violins and bows; est. first (1826) in Dresden,
then Dessau (1828), Leipzig (1839), Wies-
baden (1862), Leipzig (1863). His son
Ludwig (b. 1829, d. Leipzig, Apr. 7, 1871)
lived long in New York, afterwards setting
up for himself at Leipzig. Otto, a younger
son (1841-74), inherited the business, which
then passed to A. Paulus at Markneukirchen.
Bausznern, Waldemar von, b. Berlin,
Nov. 29, 1866; pupil of Kiel and Bargiel at
the R. Hochschule, Berlin, 1882-8; 1891,
cond. of the 'Musikverein* and 'Lchrergesang-
verein* at Mannheim; 1895, of the Dresden
'LiedertafeV; 1896, also of the Dresden 'Bach-
verein'; 1903-8, teacher in the Cologne Cons.,
and cond. of the 'Tonktlnstlerverein'; since
1908, dir. of the Grand -Ducal Cons, at Wei-
mar.— Works: The operas Dichter und Welt
(Weimar, 1897); Durtr in Venedig (Weimar,
1901); Herbort und Hilde (Mannheim, 1902);
Der Bundschuh (3-act music-drama, Frank-
fort, 1904); 3 symphonies (the 3rd, Lebent
with choral finale); Ballade for full orch.;
overture, Champagner; string-quartet; quin-
tet for pf. and strings; quintet for pf., vln.,
clar., horn and 'cello; other chamber-music;
ballad-cycle, Das klagende Lied; songs f. solo
voice with orch.; mixed choruses; etc.
Bax, Arnold E. Trevor, b. London, Nov.
8, 1883. Pupil at R. A. M. (1900-5) of T.
Matthay (pf.) and F. Corder (comp.).—
Works: A Celtic Song Cycle (1905); the
symph. poems Into the Twilight (1908), In
the Fairy Hills (1909), Christmas Eve on the
Mountains (1911); Three Pieces for orchestra
(1912) ; choruses with orch. Fatherland (1907)
and Enchanted Summer (1909); King Kojata,
2-act ballet (1911); Festival Overture (1909);
2 string-quartets; a string-quintet; a pf.-trio;
a sonata for pf. and vl.; pf.-pieces and songs.
Bay'er, Josef, composer and conductor;
b. Vienna, March 6, 1852; d. there Mar. 12,
1913. Intended for a mercantile career, he
also studied at the Vienna Cons., 1859-70,
56
BAZIN— BEALE
under Georg and Josef Hellmesberger, Hew-
ler (vln.), Dachs, Ramesch and Schenner
(pf.), Bruckner and Dessoff (harm.). 1870,
violinist in the Court Opera; from 1885 till his
death, director of the ballet-music, with the
title 'k. k. Hof opern theater- Kapellm.' He
was a knight of* the Franz-Josef Order, of
the Belgian Leopold Order, etc. Fruitful
comp. in the domain of light opera and ballet,
many of his works being standard repertory
pieces in Vienna and elsewhere, and distin-
guished by flowing melody and piquant
rhythms.— ^Operettas: Der Chevalier van San
Marco (first prod. Thalia Th., New York,
Feb. 4, 1881, cond. by the composer); Mene-
laus (Vienna, 1892); Frdulein Hexe (ib.,
1898); Der Polizeichef (ib., 1904; very succ.);
and Arabella (not perf.). — Ballets prod, at
the Vienna Court Opera: Wiener Walter
(1886); Die Puppenfee (1888); Sonne und
Erde (1889); Ein Tanzmarchen (1890); Rouge
et Noir (1892); Die Donaunixe (1892); Eine
Hochzeit in Bosnien (1893, w. Bosnian folk-
melodies); Burschenliebe (1894); Rund urn
Wien (1894); Die Brant von Korea (1896);
Die kleine Welt (1904).— Prod, at Berlin:
Deutsche M&rsche (1887); Die Welt in Bild
und Tans (1892, for the opening of the
Lindentheater) ; Die Engelsjdger (1896); and
Columbia (1893); also Olga (Vienna. 1895);
and Der Kinder Weihnachtstraum (Dresden,
1891/. — Besides the above, B. has written
the music for numerous aristocratic festival
productions (Aschenbrbdel, Paris in Wien,
Jeunesse, etc., and the ballot Nippes at the
Schonbrunner Schlossth. in April, 1911).
Works in MS. are Alien Fata (a Bosnian
opera), Die Muhle von Sanssouci (comedy-
opera), and Der Goldasoka (a Hindu opera).
Bazin [bah-zan'], Francois-fimanuel-Jo-
seph, b. Marseilles, Sept. 4, 1816; d. Paris,
July 2, 1878. Studied at Paris Cons.; prix de
Rome, 1840; prof, of singing, 1844, later of
harmony; prof, of comp., 1871, succeeding
Ambr. Thomas; member of the Acad6mie,
1872, succeeding Carafa. — Works: 9 operas,
no longer performed; also a Cours d } harmonic
theorique et pratique, adopted at the Cons.
Bazzinl [-tse'ne], Antonio, b. Brescia,
March 11, 1818; d. Milan, Feb. 10, 1897.
Violin-pupil of Faustino Camisani; at 17,
m. di capp. of the Ch. of S. Filippo, for which
he wrote masses and vespers, besides bringing
out 6 oratorios with full orch. Played 1836
before Paganini, and, following his advice to
travel, went in 1837 to Milan, and gave
successful concerts. 1840-6 his tours ex-
tended to Venice, Trieste, Dresden, Berlin,
Copenhagen, Warsaw, and finally Leipzig,
where he stayed some time, an enthusiastic
student of Bach and Beethoven. Travelled
through Italy, then (1848) Spain and (1852)
France, giving some 20 concerts in Paris; he
also went to England, but in 1864 returned
to Brescia, and devoted himself to composi-
tion. 1873, app. prof, of comp. in, and in
1882 Director of, Milan Cons. In his nu-
merous comps. the exuberance of Italian mel-
ody is wedded to a harmony of German
depth and richness, giving him a uniaue
place in the annals of Italian music. — Works:
Opera Turanda (Milan, 1867, unsucc.); sym-
phonic poem Francesca da Rimini (1890);
overtures to Al fieri 's Saul and Shakespeare's
Lear; symphonic cantata Senacheribbo; cantata
La Risurrezione di Cristo; Psalms LI and LVI ;
concertos for vln. with orch.; 5 string-quar-
tets and 1 string-quintet (considered his finest
work); many arrangements and original
pieces for vln. and pf.; songs; etc.
Be, Guillaume le. See Le Be.
Beach, Mrs. H. H. A. (maiden-name
Amy Marcy Cheney), b. Henniker, N. H.t
Sept. 5, 1867. Gifted composer, residing in
Boston, Mass. Studied with £. Perabo and
K. Baermann (pf.), and Junius W. Hill
(harmony); wholly self-taught in cpt., comp.,
and orchestration. After her pianistic debut
in Boston (1883) she appeared frequently in
recitals and with orch. (Boston Symphony,
Chicago Symphony, etc.), until her marriage
to Dr. B. in 1885. Since then her public
appearances have been less frequent, as she
devotes her time chiefly to composition. —
Works: Mass in Eb, op. 5 ; The Minstrel and
the King, op. 16, for s., m. ch., and orch.;
Bethlehem, Christmas anthem, op. 24; The
Rose of Avontown, op. 30, ballad for sop. and
female ch.; Gaelic Symphony in E m., op.
32; sonata for pf. and vl. in A m., op. 34;
concerto for pf. and orch., C# m., op. 45; do.
in F# m., op. 67; The Chambered Nautilus,
op. 66, for s., ch., and orch. ; Panama Hymn
for ch. and orch. (for the Exposition of
1915); many choruses, songs, ana pf. -pieces.
Cf. P. Goetschius, Mrs. H. H. A. B. (Boston,
1906).
Beale, Frederic Fleming, b. Troy, Kans.,
July 13, 1876. Studied w. Jessie L. Gaynor
and Adolf Weidig, at Chicago (harmony,
comp., orch.), Wilhelm Middelschulte (organ).
Accompanist for Glenn Hall, A. G. Janpolski,
and George Hamlin, on tours; org. old Unity
Ch., St. Joseph, Mo.; org. in Seattle, and
Caldwell, Idaho; dir. pf.-dept. Univ. Wash-
ington, Seattle, 1908-11; asst.-dir. of music,
same place, 1910-11; dir. Schubert Club,
Seattle, 1909-11; now dir. of music at College
of Idaho. — Works: Dance-Caprice for orch.
(1910); Psalm XXIV for chorus, organ, pf.,
trumpets and cymbals; The Magic Wheel,
an operetta; several anthems; songs.
Beale, William, b. Landrake, Cornwall,
Jan. 1, 1784; d. London, May 3, 1854.
57
BEATON— BECK
Famous glee- and madrigal-composer; pupil
of Dr. Arnold and R. Cooke; from 1813-54,
music-teacher in London. — Collection of 3-,
4-, and 5-part Madrigals (1815); of Glees and
Madrigals (1820); prize madrigal Awake,
sweet Muse (1813); and many other detached
numbers.
Beaton, Isabelle, concert pianist, comp.;
b. Grinnell, Iowa, May 20, 1870. Studied at
Iowa Cons. (1890); pf. in Berlin with Frl.
Emma Koch (1893-4); with Moritz Mosz-
kowski (1894-99); comp. with O. B. Boise
(1894-7); history of music at the Univ. of
Berlin with Prof. Bellermann and Dr. Max
Fricdlandcr (1897); received teacher's certi-
ficate from 'Ziska School of Opera and
Oratorio,' Paris, 1898; studied vln. with
Prof. Berthelier, Paris, 1899; graduated from
Coll. for Women, Western Reserve Univ.
(1902); graduate student (1902-7), special
work in sound. Instr. of pf. in Iowa Coll.
(1892-3); taught pf. in Berlin (1893-7);
taught pf., history, and comp. at Cleveland
Sch. of Music (1899-1910); established the
Beaton School of Music. Debut as pianist,
1882. Played before Spanish, English and
Austrian Royal families; since 1910 has given
every year 20 recitals in Cleveland. — Works:
String-quartet in A m.; Scherzo for orch.; 10
Fugues f . pf . ; sonata in G f . pf . ; Romanza for
vln . , pf . and org. ; Norwegian Dances; songs ; etc.
Beauchamps [boh-shahn'J, Pierre-Fran-
cois-Godard de, b. Paris, 1689; d. there
1761. Wrote Recherches sur les thedtres de
France , depuis 1161 jusqu'd present (3 vols.,
Paris, 1735); and Bibliotheque des thedtres
(1746),^ describing the operas and other
stage-pieces which had been produced, with
notes on the authors, musicians, and actors.
Beaulieu [boh-l'yo'], (properly Martin
[-tan']), Marie-Desire, French composer and
author; b. Paris, April 11, 1791; d. Niort,
Dec., 1863. Promoter of the grand 'Asso-
ciation musicale de l'Ouest,' to which he be-
queathed 100,000 francs; founder of the
Paris society for classical music. Voluminous
comp.: Operas Anacreon, Philadelphie; lyric
scenes Jeanne d'Arc, Psyclie el V Amour; ora-
torios VHymne du matin, VHymne de la nuit,
V Immortalite de I'dme; masses, hymns, songs,
pieces for orch., vln. -fantasias, etc. He also
wrote: Du Rhythme, des effets qu'il produit et
de leurs causes (1852); Memoire sur ce qui
reste de la musique de Vancienne Grlce dans
les premiers chants de I'Uglise; Memoire sur le
carac&re que doit avoir la musique de VJ&glise
. . . (1858); Memoire sur quelques airs
nationaux qui sont dans la tonalite gregorienne
(1858); Memoire sur Vorigine de la musique
(1859).
Beauquier [boh-k'ya'], Charles, French
writer, b. c. 1830.' Wrote: Philosophic de la
58
musique (1865), La musique et le drame
(1884), Les Musiciens Franc-Comtois (1887),
Chansons populaires recueUlies en Franche-
Comte (1894), and the libretto of Lalo's
Fiesque. Long a contributor to the 'Revue
et Gazette Musicale.'
Beazley, James Charles, b. 1850 at
Ryde, Isle of Wight, where he is living as a
teacher and composer. Pupil at the R. A.
M. of H. C. Banister, Steggall, Bennett, and
Jewson.— Works: Cantatas Drusildat Josiah,
The Red Dwarf, The Golden Flitch; songs and
part-songs; pieces for vln. and pf. (Elegy, 3
Sonatas, 6 Sketches, 6 Bagatelles, 6 Minia-
tures, etc.); pf. -pieces, and 35 suites for pf.;
other mstrl. music; also Aids to the Violinist:
A Short Treatise in Reference to Bow-marks,
Bech'er, Alfred Julius, b. Manchester,
England, April 27, 1803; d. Vienna, Nov. 23,
1848. Studied at Heidelberg, Berlin, etc.;
1840, teacher of harmony at R. A. M., Lon-
don, but removed to Vienna, where he edited
the revolutionary paper, 'Dcr Radikale,' and
where he was shot, after trial by court-
martial, for sedition. — Works: A symphony;
string-quartets; pf.-pieces; and songs (many
printed); miscellaneous writings; and 2 pam-
phlets: Das niederrheinische Musikfest, as-
thetisch u. historisch belrachtet (1836), and
Jenny Lind: eine Skizze ihres Lebens (Vienna,
1846; 2nd augm. ed. 1847).
Bech'er, Joseph, b. Neukirchen, Bavaria,
Aug. 1, 1821; d. Mintraching, Sept. 23, 1888.
as pastor. Composer of over 60 masses, and
much other sacred music.
Bech'gaard, Julius, composer, b. Copen-
hagen, Dec. 19, 1843; pupil of Leipzig Cons.,
and of Gade at Copenhagen; has lived in
Germany, Italy, and Paris, and is now
settled at Copenhagen. — Works: 3-act opera
Frode (Prague, '94), 3-act opera Frau Inge
(Prague, '94); concert -overture for orch.; 2
'cycles' for baritone solo with pf.; pf.-pieces,
4- part songs, songs, etc.
Bech'stein, (Friedrich Wilhelm) Karl,
pianoforte- maker; b. Gotha, June 1, 1826; d.
Berlin, March 6, 1900. Worked in German
factories, also with Pape and Krii^elstein, in
London; set up for himself in Berlin in 1856.
This factory is now one of the largest and
best-known on the Continent, employing over
800 workmen, and turning out more than
4,000 pianos yearly (in 1910).
Beck, David, organ-builder at Halber-
stadt, Germany, c. 1590. The organs at
Griiningen (1592-6), and in St. Martin's Ch.,
Halberstadt, are his work.
Beck, Franz, b. Mannheim, 1730; d. Bor-
deaux, Dec. 31, 1809. Violinist, and a
favorite of the Prince Palatine; a fatal duel
caused his flight to Paris, whence he went to
BECK— BECKER
Bordeaux in 1777, and became concert-
director in 1780. — Works: 24 symphonies;
vln.-quartets; pf. -sonatas; church-music; and
the operas La belle jardiniere (Bordeaux,
1767); Pandora (Paris, 1789); VlU deserte.
Beck, Gottfried Joseph, b. Podiebrad,
Bohemia, Nov. 15, 1723; d. Prague, April 8,
1787; organist, Dominican friar (later Pro-
vincial), and prof, of philosophy at Prague.
Wrote church-music and instr. compositions.
Beck, Johann Baptist, b. Gebweiler,
Alsatia, Aug. 14, 1881; organist (pupil of
Brumpt), student of romance tongues, Dr.
fhU. (Strassburg, 1907), his thesis being the
introduction to a more extended work Die
Melodien der Troubadours (Strassburg, 1908),
a complete edition compiled from all extant
MSS.t with an investigation of the develop-
ment of notation, etc., and the melodies of
the Troubadours and Trouveres given in
modern notation. This was followed by a
more popular book on La musique des Trou-
badours; etude critique, UlustrSe de douze re-
productions hors texte (Paris, 1910). Other
volumes in preparation promise a complete
facsimile edition of the Troubadour melodies
and a complete edition of the melodies of the
Trouveres. An essay, Der Takt in den Musik-
aufzeichnungen des XII. u. XIII. Jahrh., ap-
peared in the 'Riemann Festschrift' (1909).
Beck, Johann Heinrich, b. Cleveland,
Ohio, Sept. 12, 1856. Pupil at Leipzig Cons.
(1879-82) of Reinecke, Jadassohn, A. Richtcr
(theory), O. Paul (hist, of mus.), Hermann,
Schradieck (vl.) ; returned to Cleveland and
founded 'Schubert String Quartet'; since 1895
cond. of 'Detroit Symph. Orch.', and since
1899 also of Cleveland Symph. Orch. ; also dir.
Pilgrim Orch. Club (1904-10) and Elyria
Orch. (1905-7); examiner for vl., Am. Coll.
of Musicians. — Works: String-quartet in
C m.; string-sextet in D m.; Deuialion, can-
tata for s., ch. and orch.; overture to Byron's
Lara; 2 pieces for orch., Fret's Sehnsucht and
Der Freude Kuss; Symphonic Scherzo in A;
Scherzo in F; Maurisches Stdndchen f. orch.;
Meeresabend for sop. with orch.; Wie schon
bist du for tenor with orch.; Aus meinem
Lebent tone-poem for orch.
Beck, Johann Nepomuk, b. Pest, May
5, 1828; d. Presburg, April 9, 1904. Dram-
atic baritone, and fine actor of great versa-
tility; voice 'discovered* at Pest, where he
first sang; d6but at Vienna procured eng. at
Frankfort; he also sang in Hamburg, Bremen,
Cologne, Dusseldorf, Mayence, Wurzburg;
revisited Vienna, 1853, and sang in Court
Opera till retirement on pension (1885). He
died insane.— Roles: Tell, Don Giovanni,
Alfonso, Hans Sachs, Alberich, etc.
Beck, Karl, the 'creator' of the rdle of
Lohengrin at Weimar, August 28, 1850;
b. 1814; d. Vienna, March 3, 1879.
Beck'er, Albert (Ernst Anton), highly
gifted composer; b. Quedlinburg, June 13,
1834; d. Berlin, Jan. 10, 1899. Studied at
Quedlinburg under Bonicke, and at Berlin
under Dehn (1853-6); 1881, teacher of comp.
at Scharwenka's Cons.; also cond. of Berlin
cathedral choir. His symphony in G min., a
grand mass in B!> m. (1878), and the oratorio
Selig aus Gnade (op. 61), have attracted gen-
eral notice; other works of importance are
Op. 4, songs; op. 13, 5 songs from Wolff's
Rattenf anger; op. 14, 5 songs from Wolff's
Wilder J tiger; op. 15, songs; op. 32, No. 1,
147th Psalm for double ch. a cappella; op. 47,
Ballade, A min., and Scherzo, B min., for
pf.; op. 48, 5 songs; op. 49, pf. -quintet; op.
50, Cantata for soli, ch. and orch.; op. 51,
Sacred songs, with pf.-accomp.; op. 52,
Fantasy and fugue for organ; op. 66, Con-
ccrtstiick for vln. and orch.; op. 70, Adagio
in E, for vln. and orch.; op. 73, Cantata
Herr, wie lanqe, for soli, ch., orch. and org.;
op. 81, Adagio for 'cello and org.; op. 85,
Psalm 104, for mixed ch. and orch.; op. 86,
Adagio (No. 6) in A min., for vln. and orch.;
opera Loreley (1898).
Beck'er, Georg, b. Frankenthal, Palatin-
ate, June 24, 1834; pianist, composer and
writer; a pupil of Kuhn and Prudent. He
resides at Geneva, and has published La
Musique en Suisse (1874); Aperqu sur la chan-
son franqaise [from the llth-17th century];
Pygmalion de J.-J. Rousseau; Les projets de
notation musicale du XIXC siede; La Mu-
sique a Genbve depuis 50 arts; Eustorg de
Beaulieu; Guillaume de Gueroult; Notice sur
Claude Goudimel; Jean Caulery el ses chansons
spirituelles; H. Waelrant et ses psaumes (1881) ;
De V instrumentation du XV" au X VII* Steele
(1884). Edited the 'Questionnaire de 1' As-
sociation internationale des Musiciens-ficri-
vains'; contributor to the 'Monatshefte fur
Musikgeschichte,' etc. Has published pf.-
pieces and songs.
Beck'er, Hugo, famous 'cellist; b. Strass-
burg, Feb. 13, 1864. Pupil of his father,
Jean B. (q. v.), of K. Kiindiger, and later
(at Dresden) of GrCitzmacher and Hess; also
of Piatti and Jules de Swert. On his father's
death he became 'cellist in the opera orch.
at Frankfurt (1884-6); 1890-1906 member of
the Heermann Quartet ; teacher at the Hoch
Cons. Succeeded Piatti (1901) as 'cellist of
the London Monday Concerts; since 1910
principal instr. of 'cello at the Kgl. Hoch-
schule in Berlin. In 1902 he was elected
member of the Stockholm Academy. He is
not only one of the greatest solo performers,
but equally remarkable as an ensemble-
player. In recent years he has frequently
59
BECKER— BECQUlfi
appeared with Ysaye and Busoni in trio
performances. — Works: Op. 10, 'cello-con-
certo in A; variations and pieces for 'cello.
Beck'er, Jean, distinguished violinist; b.
Mannheim, May 11, 1833; d. there Oct. 10,
1884. Pupil of Kettenus, and Vincenz Lach-
ncr; leader in Mannheim orch., but resigned
in 1858, and, after brilliant concert-tours,
settled (1866) in Florence, and established the
renowned 'Florentine Quartet' (2nd vln.,
Masi; viola, Chiostri; 'cello, Hilpert, replaced
1875 by Spitzer-Hegyesi), dissolved in 1880.
After tnis he made successful tours with his
children: (1) his daughter Jeanne (b. Mann-
heim, June 9, 1859; d. there April 6, 1893)
was a gifted pianist, pupil of Reinecke and
Bargiel; (2) Hans (b. Strassburg, May 12,
I860), fine viola-player, pupil of Singer;
violin-teacher in Leipzig Cons.; (3) Hugo
(q. v.).
Beck'er, Karl, b. Kirrweiler, near Trier,
June 5, 1853; 1881, music-teacher at Ott-
wciler Seminary; 1885 ditto at Neuwied;
since 1896 Kgl. Musikdirektor at Kdpenick.
Has published the 'Rheinischer Volkslieder-
born' (1892); also school song-books.
Beck'er, Karl Ferdinand, b. Leipzig,
July 17, 1804; d. there Oct. 26, 1877. Org.
at St. Peter's, Leipzig (1825), of St. Nicholas'
(1837); organ-teacher at Cons. (1843); re-
tired 1856. He revised Forkel's Systematisch-
chronologische Darsiellung d. MusiklitUratur
(1836; Suppl., 1839); and wrote Die Haus-
musik in Deutschland im 16., 17. u. 18. Jahrh.
(1840), Die Tonwerke des 16. u. 17. Jahrh.,
etc. Publ. pieces for pf. and organ; also a
chorale book. He gave his library, contain-
ing valuable theoretical works, to the city
of Leipzig ('Beckers Stiftung').
Beck'er, Konstantln Julius, b. Freiberg,
Saxony, Feb. 3, 1811; d. Oberldssnitz, Feb.
26, 1859. Pupil of Anacker (singing) and of
Karl Ferd. Becker (comp.). 1837-46, editor
of the 'Neue Zeitschrift I. Musik'; 1843-6,
teacher in Dresden; also a writer of novels
treating contemporary musical topics. —
Works: Opera Die Erstiirmung von Belgrad
(Leipzig, 1848); 1 symphony; a rhapsody,
Das Zigeunerleben; duets, songs, etc.; a
Manner gesangschule (1845), a Harmonielehre
fur Dilettanten (1842), and a Kleine Harmonie-
lehre (1844); also transl. Berlioz's Voyage
musical (1843).
Becker, Reinhold, b. Adorf, Aug. 11,
1842; originally a violinist, but on account of
a muscular affection was compelled in 1870
to give up his instrument; since then living
in Dresden as a composer; 1884-94 conductor
of the Dresdner 'Liedertafel,' for which he
wrote numerous choruses which have won
wide popularity. — Works: The successful
operas Frauenlob (Dresden, 1892; 3 acts)
and Ratbold (Mayence, 1896; 1 act); the
symphonic poem Der Prinz von Homburg;
symphony in C (op. 140); works for male
en. {Waldmorgen, with orch.; Abendglocken,
Mahnruf, etc.); 2 violin-concertos; songs.
Beck'er, Rene Louis, organist and com-
goser, b. Bischheim, Alsatia, Nov. 7, 1882.
tudied at Municipal Cons, in Strassburg
(1896); pf. with Prof. Ernest Muench (1896-
97), Fritz Blumcr (1899-1904); harm, with
Carl Somborn (1897-1904); organ w. Adolf
Gessner (1899-1904). Teacher of pf. at St.
Louis Univ. (1905-10); of Gregorian Chant
at Kenrick Seminary (1906-8 and 1910-11);
organist Ital. R. C. Ch., St. Louis (1908-11);
St. Peter's Cath., Belleville, 111. (1912-15).
At present org. at St. Peter and St. Paul's
Cath., Alton. — Works: 4 sonatas for organ;
a Mass in Honor of St. Barbara; pieces for
pf.; do. for org.; 3 Offertories for mixed
voices; etc.
Beck'er, Valentin Eduard, b. WUrzburg,
Nov. 20, 1814; d. Vienna, Jan. 25, 1890.
Composer of popular male choruses; 2
operas, Die Bergknappen and Der Deserteur;
masses; a quintet for clar. and strings; and
other instrumental music.
Beck'mann, Johann Friedrich Gottlieb,
b. 1737; d. April 25, 1792, at Celle, where he
was organist and pianist (harpsichordist).
One of the finest players and improvisers of
the time. — Works: 12 pf. -sonatas, 6 con-
certos, and solo pieces; also an opera, Lukas
und Hannchen (Hamburg, 1782).
Beck with, John Christmas, distinguished
organist, b. Norwich, Engl., Dec. 25, 1750;
d. there June 3, 1809. A pupil of Philip
Hayes, he became org. of Norwich cathedral
(succeeding Garland), and of St. Peter's,
Mancroft. In 1803, Mus. Bac. and Mus.
Doc., Oxon. — Works: The First Verse of
Every Psalm of David, with an Ancient or
Modern Chant in Score, adapted as much as
possible to the Sentiment of each Psalm (Lon-
don, 1808, with a valuable preface, A short
history of chanting). Also publ. anthems;
glees; songs; pf. -pieces; and concertos, etc.,
tor organ.
Becquie [beck-ya'J, A., b. Toulouse, circa
1800; d. Paris, *Nov. 10, 1825,, as 1st flute at
the Opera-Comique. Pupil of Tulou and
Guillou at Paris Cons. A valued comp. —
Works: Grande fantaisie et variations, for
flute with orch.; Les Regrets, for flute and
pf.; fantasias, rondos, airs, etc., for flute.
Becquig ('de Peyreville'), Jean-Marie,
brother of above, b. Toulouse, 1797; d. Paris,
Jan., 1876. Eminent violinist, pupil of R.
and A. Kreutzer at Paris Cons., and long a
60
BECVAROVSKY— BEER
member of the Theatre Italien orch. — Works:
Faniaisie for vln. and pf.; Air variS for vln.f
via. and bass; ditto, with quartet; etc.
Becvarov'sky [betch-var-shdnv'sks], Anton
Felix, b. Jungbunzlau, Bohemia, April 9,
1754; d. Berlin, May 15, 1823. Organist at
Prague and (1779—96) Brunswick; lived in
Bamberg till 1800, thereafter at Berlin.—
Works: 3 pf. -concertos, 3 pf. -sonatas, and
many songs for solo voice with pf. — See
Q.-Lex.
B&dard [ba-dahr'l, Jean -Bap tiste, a harp
and violin virtuoso; b. Rennes, Bretagne, c.
1765; d. Paris, c. 1815; lived in Paris from
1796. Wrote 2 symphs., 5 sonatas for harp
(with yl. ad lib.), trios, duos for harp with
other instrs., solos for harp; also studies for
harp, vl. and guitar.
Bedford, Herbert, b. London, 1867.
Although a painter, his # mus. comps. are
worthy of serious attention; had excellent
training at the Guildhall School of Music; in
1894 he married Liza Lehmann. — Works:
The Optimist, a symph.; Love-scene from
Romeo and Juliet; Nocturne for alto w. orch.;
Sowing the Wind, symph. poem; Over the Hills
and far away, symph. interlude; Queen Mat,
suite for orch.; Ode to Music (Shelley), and
other songs. An opera, Kit Marlowe, is MS.
Bedford, Mrs. Herbert. See Lehmann,
Liza.
Bedos de Celles [bu-doh' du sel], Dom
Francois, Benedictine monk at Toulouse,
b. Caux, near Bezieres, 1706; d. St.-Maur,
Nov. 25, 1779. Wrote Vart du facteur
d'orgues (3 vols., Paris, 1766-78), a valuable
work on which many later treatises are
based; a fourth part, containing historical
notes on the organ, has appeared in German
(1793). Also an account of the new organ
at St. -Martin de Tours ('Mercure de France'
for Jan., 1762; German transl. in Adelung's
'Musica mechanica organoedi').
Beecham, Sir Thomas, b. n. Liverpool,
April 29, 1879. While a student at Rossali
School he had some lessons in comp. from
Dr. Sweeting, and later, at Oxford Univ.,
from Dr. V. Roberts. In 1899 he founded,
chiefly for his own pleasure, an amateur
orch. at Huyton; in 1902 he was cond. of K.
Truman's travelling opera company, gaining
valuable practical experience; at the conclu-
sion of the tour he devoted an entire year to
further serious study. In 1905 he gave his
first symph. concert in London with the
Queen's Hall Orch.; the next year he estab.
the New Symph. Orch., which he conducted
till 1908, when he resigned and formed the
Beecham Symph. Orch. By this time his
reputation as a forceful and magnetic cond.
61
was securely established. In 1910 he ap-
peared in a new rdle, that of operatic impre-
sario. With a company of splendid artists,
his own well- trained orch., and himself as
conductor, he gave a season of grand opera
during Feb. and March (22 perfs.) that
created a sensation, not so much because of
the excellence of the ensemble, but because
of the variety of the repertoire; not less than
three novelties were produced: R. Strauss'
Elektra, Delius' Romeo and Juliet in the
Village, E. Smythe's The Wreckers — besides
a revival of Sullivan's Ivanhoe. The success
of this new venture was so pronounced, that
in May and June of the same year B. gave a
season of 'ope'ra comique' in English, when
Strauss' Feuersnot and Stanford's Shamus
O'Brien had their first performance in Engl.
Before the year was out a . third season, be-
ginning in October, was given, in which the
novelties were d' Albert's Tiefland, Leroux's
Le Chemineau, and Strauss' Salome. In 1913
he gave a season devoted chiefly to Wagner;
the important novelties were Strauss' Der
Rosenkavalier and Ariadne auf Naxos; the
season of 1914 brought forth Strauss' Josef-
legende, Rimsky-Korsakov's Le Coq d'Or and
Holbrooke's Dylan; the season of 1915 was
devoted entirely to opera in English, and in
deference to popular demand had to be ex-
tended by six weeks, lasting into 1916;
novelties, Liza Lehmann's Everyman and
Stanford's The Critic.— \n 1915 B. was
elected conductor of the London Philh. Soc.;
on Jan. 1, 1916, he was knighted. — Cf. *M.
T.\ Oct., 1910.
Bee'cke, Ignaz von, b. Wimpfen, Oct. 28,
1733; d. Wallerstein, Jan. 2, 1S03. Captain
of dragoons, ^ later 'Musikintendant' to the
Prince of Otting- Wallerstein. Highly accom-
plished harpsichordist, a friend of Jommelli,
Gluck and Mozart. Wrote 7 operas; an ora-
torio, Die Auferstehung Jesu; a cantata,
symphonies, quartets, 4 harpsichord-trios, 6
harpsichord-sonatas, many songs, etc. — Cf.
L. Schiedermair in 'Sbd. Int. M.-G.', ix, p. 107.
Beellaerts, Jean. See Bell&re.
Beer [bar], Jacob Liebmann. Original
name of Giacomo Meyerbeer.
Beer, Josef, b. Griinwald, Bohemia, May
18, 1744; d. Potsdam, 1811, as Royal Prussian
chamber-musician. Skilful clarinettist, who
invented the improvement of a fifth key, and
wrote concertos, duets, variations, etc., f. clar.
Beer, Jules, Meyerbeer's nephew (son of
Michael Beer, 1800-33), b. c. 1833, lived in
Paris as an amateur dramatic composer (5
comic operas, and other works).
Beer, Max Josef, b. Vienna, Aug. 25,
1851; d. there Nov. 25, 1908. Pupil of
Dessoff; pianist and composer.— Works: The
BEER— BEETHOVEN
operas Otto der Schuit and Der Pfeiferkonig
(both not perf.), Friedel mit der leeren Tasche
(Prague, 1892), Der Streik der Schmiede (1
act, Augsburg, 1897; succ); operetta Das
Stelldichein auf der Pfahlbriicke; cantata Der
wilde Jdger, for soli, ch. and orch.; several
lyrical pf! -pieces (Abendfeier, Eichendor.ffianat
Haidebtlder, Spielmannsweisen, Was sich der
Wold ertdhlt, etc.); a pf. -suite; various books
of songs, etc.
Beer-Walbrunn, Anton, b. Kohlberg,
Bavaria, June 29, 1864. Pupil of Rhein-
berger, Bussmeyer and Abel at the Akademie
der Tonkunst in Munich; since 1901 in-
structor there of pf. and comp.; made Prof,
in 1908. — Works: The operas Siihne (Lu-
beck, 1894), Don Quixote (Munich, 1908),
Das Ungeheuer (fin. 1916, not yet prod.);
op. 1, choruses for mixed voices; op. 3, a
fantasy for vl.; op. 8, pf.-quartet; op. 12, 13,
songs; op. 14, string-quartet; op. 15, sonata
for cello and pf.; op. 20, Ode tor 'cello and
pf.; op. 21, Reisebilder for pf.; op. 22j Deutsche
Suite for orch. (also arr. for pf. 4 hands); op.
27, songs; op. 30, sonata for pf. and vl.; op.
31, Der Polenfliichtling for bar. with orch.;
op. 32, sonata for organ; op. 35, 48, choruses
for male and mixed voices; op. 36, symphony
in E; op. 40, Burlesken for orch.; op. 43,
incidental music to Hamlet; also a choral
work with orch., Mahomet s Gesang; 10 son-
nets of Shakespeare for 1 voice and pf.; etc.
—Interesting monograph by O. G. Sonncck
in his "Suurn cuique: Essays in Music"
(Schirmer; N. Y., 1916).
Beeth [bat], Lola, b. Cracow, 1864;
dramatic soprano, pupil of Frau Dust man n,
and later of Mme. Viardot-Garcia and De-
siree Art6t. Debut 1882 at Berlin Court
Opera as Elsa (Lohengrin); eng. there 1882—
88; then eng. at Vienna Court Th. 1888-95.
Then sanp 3 months at Grand Opera, Paris
(Elsa, Elisabeth, etc.); later at New York,
Monte Carlo and Pest; again at Vienna
1897-1902; since then only as star. Living
now as 'Kgl. Kammersangerin, at Berlin.
Beet'hoven [bat'hoh-ven], Ludwig van,
the composer who represents the fullest ma-
turity (in emotional scope, in formal con-
struction, and in instrumental treatment) of
the allied classic forms of the pf. -sonata, pf.-
concerto, string-quartet, and orchestral sym-
phony, was born at Bonn-on- Rhine, Dec. 16
(baptized Dec. 17), 1770 [Beethoven himself
sakl Dec. 16, 1772); he died in Vienna, March
26, 1827. His grandfather, Ludwig van B., a
native of Maestricht, was bass singer, opera-
composer, and KapeUm. at Bonn to the
Elector Clemens August. B.'s father, Johann
van B., was a tenor singer in the Electoral
choir, and married Maria Magdalena Laym
{nee Keverich), the widow of the chief cook
62
at Ehrenbreitstein; Ludwig was the second
child born to them. — B. attended the public
schools at Bonn till his 14th year. His
musical education was taken in hand in his
fourth year by his father, a strict and stern
master, who taught him till 1779. At eight
he played the violin well; at eleven he could
play Bach's 'Wohltemperirtes Clavbr' flu-
ently and skilfully. His next instructors wer »
Pfeiffcr, a music-director and oboist; Van den
Ecden, the court organist; and the latter's
successor, Neefe. He was already a notable
improviser on the piano; and in 1781 ('82?)
appeared his first published composition, 3
pf. -sonatas. In 1782, during Neefe's absence,
B. was formally installed as his deputy at the
organ; in 1783, he was app. cembalist for the
rehearsals of the opera-orch. — for the present,
to be sure, without emolument. In 1784 the
new Elector, Max Franz, app. B. asst. -organ-
ist at a salary of 150 florins (about $63); this
place he held till 1792; from 1788 he also
played 2nd viola in the orch. of the theatre
and church, Reicha being the conductor. On
a visit of a few months to Vienna, in 1787,
B. awakened great interest by his extraor-
dinary ability as an extempore pianist ; elicit-
ing from Mozart the exclamation: 'He will
give the world something worth listening to.'
In July his mother died; his father gave way
to intemperance, gradually losing his voice;
and B.'s home-life became wretched. He
found consolation in the family of Frau von
Breuning, the widow of a court councillor, to
whose daughter and youngest son B. gave
music-lessons. In their refined society his
taste for German and English literature was
quickened. About this time he made the
acquaintance of the young Count Waldstein,
his life-long friend, admirer, and benefactor.
In his leisure hours he gave other lessons,
took lone walks, and occupied himself with
composition. Despite his remarkable faculty
for improvisation, the display of known
works for the first ten years (1782-92) is
comparatively meagre: half a dozen songs;
a rondo, a minuet, and 3 preludes f. pf.; 3
pf.-quartets; a pf.-trio; a string-trio, op. 3;
4 sets of pf. -variations; a rondino f. wind; th?
Rttter-Ballet with orch. [publ. 1872|; the
Bagatelles, op. S3; 2 violin-rondos, op. 51;
the Serenade Trio, op. 8;— to which add the
lost cantata praised by Haydn, a lost trio for
pf., flute and bassoon, and an Allegro and
Minuet for 2 flutes (all unpubl.). (Recent
investigations, however, have established al-
most with certainty the fact that when B.
arrived in Vienna in 1792 he brought with
him a considerable number of compositions
in MS. Some of these he revised and publ.
later (e. g., the viol in -rondos, op. 51; which
accounts for the high opus-number) ; others
were lost. In 1910 Fritz Stein found in Jena
BEETHOVEN
the score and parts of a symphony in C,
which unquestionably antedates the one
known as the 'First Symphony.' It was publ.
by Breitkopf & Hartel in 1911.] In point of
fact, B. never possessed the fatal facility of
invention which rejoices in rapidity rather
than solidity of production. His way of
working is exhibited in the 'sketch-books' of
this early period, which contain rough
draughts, as it were, of motives, themes,
ideas; fragments jotted down in moods of
inspiration, frequently reappearing in modi-
fied forms, and in many cases recognizable
as the germs of later compositions. This
method of tentative notation and careful and
oft-repeated working-over, was his through life.
The year 1792 marks a turning-point.
Haydn, passing through Bonn, warmly praised
a cantata of B.'s composition; the Elector,
probably influenced by the master's opinion
and the representations of the friendly Wald-
stein, made up his mind to S2nd B. to Vienna,
then the centre of musical Europe. Here, a
member of the highest circles of artists and
art-lovers, to which his native genius and
letters from the Elector procured speedy ad-
mission, B. found himself in a most congenial
atmosphere. Besides his salary from the
Elector (discontinued in 1794), and an an-
nual stipend of 600 florins from Prince Lich-
nowsky, one of his truest friends and warmest
admirers, his income was derived from the
increasing sale of his works. He applied to
Haydn for further instruction; but, dissatis-
fied with his loose methods of teaching, and
angered at his lack of appreciation of compo-
sitions submitted to him for approval, B.
surreptitiously took lessons of Schenk, carry-
ing his exercises, after correction by Schenk,
to Haydn. This peculiar arrangement con-
tinued for a little more than a year, terminat-
ing at Haydn's departure (Jan., 1794) for
England. During 1794 he had quite regular
lessons in counterpoint with Albrechtsberger,
whose verdict : 4He has learned nothing, and
will never do anything properly,' can hardly
be called prophetic; Salieri gave him many
valuable hints on vocal style; and Aloys
Forster contributed good counsel on the art
of quartet -writing. B.'s contrapuntal exer-
cises under Albrechtsberger (publ. Paris,
1832; revised ed. by Nottebohm, in vol. i
of his 'Beethoven-Studien', 1873) curiously
exhibit the- irrepressible conflict between
B.'s imagination and the dry course of
study prescribed.
Welcome at ajl soirSes and private musicales
of the aristocracy, B. did not play in public
in Vienna until Mar. 29, 1795, when he per-
formed his C major pf .-concerto at a concert
in the Burgthcater. In 1796 he visited
Nuremberg, Prague and Berlin, and played
before King Friedrich Wilhelm II. The
publication of the Eb pf. -sonata (op. 7) in
1797, a work of strongly individual type, is
noteworthy. Two public concerts given at
Prague in 1798 are chronicled as making a
profound impression. In the same year he
met two famed piano-virtuosi: Steibelt,
whose challenge to B. as an extemporizer and
composer resulted in his own overwhelming
discomfiture; and Wolffl, a worthier oppo-
nent, with whom B. associated and made
music on a friendly footing (W. inscribed 3
sonatas to him). To 1799 belong the 3
sonatas for pf. and violin (op. 12), the Grande
sonate palheUque (op. 13), the second pf.-
concerto (in Bb), and several lesser publica-
tions. With 1800 closes what is called (after
the generally-accepted classification by W.
von Lenz in his Beethoven et ses trots styles
[Petrograd, 18521) Beethoven's 'first period'
of composition; the 'second period' extends
to 1815; the 'third', to the master's decease
in 1827 . The works of this first period include
op. 1-18 (6 pf. -trios, 4 string-trios, the first
3 string-quartets, 9 pf. -sonatas and various
sets of variations, the grand aria Ah perfido,
etc.). [For a detailed discussion of this
point, see v. Lenz, Grove, Thayer, et al.\ At
this time, too (1800-1801), a malady, which
later resulted in total deafness, began to
make alarming progress, and caused B. acute
mental suffering. From his entrance into
Viennese society he was known as an 'orig-
inal'; even his genuine, sturdy independence
and self-sufficiency, due at /bottom to a
native love of freedom and honesty, a detesta-
tion of shams, and just self -appreciation, ap-
peared highly eccentric when Contrasted with
the courtier-like subservience tf great musi-
cians like Haydn and Mozart; and there is no
doubt that he purposely exaggerated this
eccentricity (he himself remarked that 'it is
good to mingle with aristocrats, but one must
know how to impress them*). His genius and
geniality as an artist, and his noble generosity,
won the hearts of music-lovers, and caused
them to condone his freaks. With increasing
deafness, however, his character altered; he
gradually grew taciturn, moros*, and suspi-
cious (traits aggravated by the sordid mean-
ness of his brothers Karl and johann, who
had also settled in Vienna), anq treated his
best friends outrageously. From about 1820,
deafness was total, or nearly so; as early as
1816 he had to use an ear-trumpet. Besides
this, when his brother Karl died, in 1815,
leaving a son to B.'s guardianship, the latter
undertook the boy's bringing up as a sacred
trust ; the ingratitude of this graceless scamp
of a nephew forms one of the saddest chap-
ters in the great man's life, and still further
darkened his declining years.
B.'s freest and most joyous creative period
was his second. It was the period of the
%
63
BEETHOVEN
fullest flow of ideas (see 'sketch-books'), not
as yet overcast by the gloom of his keenest
anguish. — It should be noted, that von Lenz's
classification is not chronological, either in
dates of composition, final completion, or
publication; but is, in part, a somewhat
arbitrary arrangement according to the
'style' of the several works. E. g., he classes
the second symphony (written 1802, per-
formed 1803, published 1804, as op. 36)
among works ofthe 'first period.' — The chief
works comprised in the 'second period' are
the six symphonies from III to VIII inclusive;
his one opera, Fidelio; the music to Egmont;
the ballet Prometheus; the mass in C, op. 86;
the oratorio Christus am Oelberg (1803); the
Coriolanus overture; the pf. -concertos in G
and Et>; his violin-concerto; the quartets in
F min., Eb, and those inscribed to Razumov-
sky; 4 pf. -trios (op. 38; op. 70, Nos. 1 and 2;
op. 97) ; and 14 pf. -sonatas (among them the
two quasi fantasia, op. 27 ; the pastorale, op.
28; op. 31, No. 2, in D min.; the Waldstein,
op. 53; the appassionata, op. 57; and Les
Adieux, V absence, et le retour, op. 81); also
the Liederkreis, etc.
The 'third period' includes the five pf.-
sonatas op. 101, 106, 109, 110, 111; also
(ace. to date publ.) op. 102, Nos. 1 and 2;
the Missa solemnis in D, op. 123; the Ninth
Symphony, op. 125; the Ruins of Athens
overture, op. 113, and march with chorus,
op. 114; the orchestral overtures op. 115 and
124; the grant} fugue for string-quartet, op.
133; and the great string-quartets op. 127
(Eb), op. 130 RBb), op. 131 (C# min.), op.
132 (A min.), and op. 135 (F).
Fidelio probably cost B. more pains and
exasperation than any other one work. As
early as 1803 he arranged with Schikaneder,
manager of the Theater an der Wicn, to
write an opera; it was produced Nov. 20,
1805, amid the commotion and gloom inci-
dent to the entrance, just a week before, of
the French army into Vienna. Originally in
three acts, it was withdrawn after three con-
secutive performances; pruned, rearranged,
and revised time and again, and brought out
March 29, 1806, with better success, but
withdrawn by the author after only two
performances. Once more sweepingly re-
vised, it was revived in 1814, and was this
time very successful. The opera was at first
named Leonore, after the heroine; and its
overture, twice rewritten, forms an interest-
ing study in evolution; the present Fidelio
overture is quite different. B.'s sketch-book
for this opera contains 300 large pages of 16
staves each, crammed with heterogeneous
notes. — The Eroica symphony (No. 3) also
has a history. At first entitled the Sinfonia
grande Napoleon Bonaparte, in honor of the
supposed champion of 'liberty, equality and
fraternity,' B. tore up the dedication in a
transport of rage on hearing of Napoleon's
proclamation as emperor (May 18, 1804);
the title was altered to Sinfonia eroica com-
posta per festeggiare il sowenire d'un grand'
uomo [Heroic symphony, composed to cele-
brate the memory of a great man]. — With
the Ninth Symphony B. touches the limit of
expression in symphonic form; the choral
finale, where orchestral and vocal music blend
in an outburst of ecstasy (the words are from
Schiller's 'Hymn to Joy*), is the apotheosis of
musical art. Yet what said Fetis, the French
critic and historiographer, to this finale?
'Nevertheless, this melody [the theme of the
Hymn] which caused him [B.] these trans-
ports of joy, is quite vulgar; but he regarded
it less from a musical point of view than
from that of the sentiment which he wished
to express [!!]. In his preoccupation in this
respect there was more of German dream-
iness than of aesthetic conception.' Such
a criticism reminds one of what von Lenz
said concerning the Parisian conception of
Liszt: 'They called him "Litz" — that was
as far as they ever got with Liszt in Paris!'
Up to 1815, B.'s material welfare had in-
creased, though hardly in proportion to his
social and artistic triumphs. An honored and
frequent guest at the houses of art-lovers like
the princes Lichnowsky, Lobkowitz and Kin-
sky, the counts Moritz Lichnowsky, Razu-
movsky and Franz von Brunswick, and
Baron von Gleichenstein, his bearing towards
his hosts was that of an equal to equals; at
the time of the Vienna Congress, as a guest
of Archduke Rudolf, he met the various
reigning monarchs as their peer, and even
(as he said himself) let them pay court to
him. A curious incident is the invitation
extended to B. in 1809, by the de facto 'King
of Westphalia,' Ier6me Bonaparte, to assume
the post of maitre de chapelle at Kassel at
a salary of 600 ducats (about $1,500). There
is no proof that B. seriously entertained the
Proposition; he really wanted to become
mperial Kapellmeister at Vienna; but the
bare possibility of losing the great composer
so dismayed his Viennese admirers, that
Archduke Rudolf, and Princes Lobkowitz
and Kinsky, settled on B. an annuity of
4,000 florins (nominally $2,000, but in depre-
ciated paper of fluctuating value). After
1815, his growing deafness, and the sore
trials incidental to the care of his' nephew,
caused him so much mental distress that he
often thought himself on the verge of ruin,
though he never really suffered want. — In
December, 1826, he caught a violent cold,
which resulted in an attack of pneumonia;
dropsy then supervened, and after several
unsuccessful operations he succumbed to the
disease on March 26, 1827. His funeral was
64
BEETHOVEN
attended by 20,000 persons, and titled per-
sonages vied with each other in the expression
of homage and regret.
While Beethoven, in choosing a recognized
(conventional) form—the sonata-form — as a
vehicle for the expression of his thought
(in 81 works, i. e., about one-third of all),
still belongs to the school called 'classic/ his
methods of moulding this form were emi-
nently unconventional; so much so, indeed,
that even at the beginning of his 'second
period* the progressive 'Allgemeine musika-
lische Zeitung' of Leipzig, though not be-
littling his importance, reprehends his 'dar-
ing harmonies and venturesome rhythms.'
As for his last period, no general appreciation
of the latest string-quartets and pf. -sonatas
was found, even among musicians, until half
a century after his death. His innovations
on the formal key-scheme of his predecessors;
his original elaboration of connecting-links
both in thematic development and between
separate movements; his fertility in inci-
dental modulation, and the inexhaustible
freshness of his rhythms, render the structure
of his compositions thoroughly character-
istic— typical. But his loftiest originality,
and that whence the differences in formal
construction naturally flowed, is the intensity
and fervor of subjective emotion which per-
vades his^ works. It is this mood of profound
subjectivity, of individual, powerful soul-
expression, which most of all differentiates
B. s music from that of Bach, or Haydn, or
Mozart, and. which opens the era of 'roman-
tic' composition. Technically, his art of
orchestration reaches a perfection in detail,
and a grandeur of effect, before unknown;
and his diversified development of the motive
(melodic, harmonic, rhythmic) surpasses any-
thing previous to Wagner. As specimens of
what can be done in thematic treatment, his
pf.-variations on given themes are a ne plus
ultra of musical ingenuity. It is noteworthy
that, according to contemporary accounts,
his 'free improvisations' at the piano, which
held his auditors spellbound, were develop-
ments of a kindred nature; not mere rhap-
sodies, but the spontaneous elaborations of a
teeming invention. He is still reverenced as
the greatest instrumental composer of all
times; and even in vocal music, YusFidelio
and the Missa solemnis are creations of
unioue power.
Monuments have been erected to B. in
1845 at Bonn (by Hahnel), and in 1880 at
Vienna (by Zurabusch).
B.'s works comprise 138 opus-numbers,
and about 70 unnumbered compositions. His
published works are noted below.
Instrumental Works.
Nine Symphonies: No. 1, op. 21, in C; 2,
op. 36, in D; 3, op. 55, in Eb (the 'Eroica');
4, op. 60, in Bb; 5, op. 67, in C min.; 6, op.
68, in F (Pastoral); 7, op. 92, in A; 8, op. 93,
in F; 9, op. 125, in D min. (Choral).
The Battle of Vittoria (op. 91); music to
the ballet Prometheus (op. 43), and to
Goethe's Egmont (op. 84), both with overtures.
Nine further overtures: Coriolanus; Leonore
(Nos. 1, 2 and 3); Fidelio; King Stephen;
Ruins of Athens; Namensfeier, op. 115;
Weihe des Hauses (op. 124).
Other comps. for orch.: Allegretto in Eb;
March from Tarpeia, in C; Military March,
in D; Ritter- Ballet; 12 Minuets; 12 deutsche
Tdnze; 12 Contret&nze.
Violin-concerto, op. 61, in D.
Five pf. -concertos: No. 1, op. 15, in C; 2,
op. 19, in Bb; 3, op. 37, in C min.; 4, op. 58,
in G; 5, op. 73, in Eb (Emperor); also a pf.-
concerto arranged from the violin-concerto.
A triple-concerto, op. 56, for pf.# vln., 'cello
and orch.; a Choral Fantasia for pf.f chorus
and orch.; a rondo in Bb, for pf. and orch. —
Cadences to the pf.-concertos.
Two Octets for wind, both in Eb.
One Septet f. strings and wind, Op. 20, in Eb.
One Sextet for strings and 2 horns, op. 81
bis, in Eb.
One Sextet for wind, op. 71, in Eb.
Two Quintets for strings: Op. 4, in E min.,
and op. 29, in C; Fugue for string-quartet,
op. 137 ; also Quintet arr. from pf .-trio in C m.
Sixteen String-quartets: Op. 18, Nos. 1-6,
in F, G, D, C min., A and Ab (first period). —
Op. 59, Nos. 1-3, in F, E min., and C; op. 74,
in Eb (the Harfenquartett) ; $p. 95, in F min.
(second period). — Op. 127, in Eb; op. 130, in
Bb; op. 131, in C# min.; op.s132, in F min.;
op. 135, in F; also a Grand Fugue for string-
quartet, op. 133, in Bb (third period).— One
pf. -quartet (arr. of the pf .-quintet) ; 3 juve-
nile pf.-quartets, in Eb, D and C.
Five String-trios: In Eb, G, D, C min., and
D (Serenade). — Eight Pf. -trios: Op. 1, Nos.
1-3, in Eb, G, and C min.; op. 70, Nos. 1 and
2, in D and Eb; op. 97, in Bt>; in Bb (1
movem.); in Eb (juvenile); also an arr. of the
Eroica symphony.— Grand trio in Bb, for pf.,
clar. and 'cello, op. 11; ditto for ditto, in Eb,
op. 38 (arr. from septet, op. 20); trio for 2
oboes and 'cor anglais,' in C, ap. 87.
Ten Sonatas for pf. and violin: In D, A,
Eb; in A min.; in F; in A, C min., G; in A,
op. 47 (Kreutzer) ; in G. — Rondo for pf . and
vln., in G; 12 Variations, in F, for do.
Five Sonatas for pf. and 'cello: In F, G
min.; in A; in C, D. — 12 Variations for do.
in C; 12 ditto in F; 7 ditto in Eb.
Sonata for pf. and horn, in F, op. 17.
Sonata for pf. 4 hands, in D, op. 6.
Thirty-eight Sonatas for pf. solo: Op. 2,
Nos. 1-3, F min., A and C (ded. to Haydn) j
op. 7, in Eb; op. 10, Nos. 1-3, in C min., F
65
BEETHOVEN
and D; op. 12, Nos. 1-3, in D, A and Eb (ded.
to Salieri); op. 13 (pathetic), in C min. (ded.
to Prince Lichnowsky); op. 14, Nos. 1, 2, in
E and G; op. 22, in Bi>; op. 26, in A min. (to
Prince Lichnowsky); op. 27, Nos. I, 2 (quasi
fantasia), in Eb and C# min. (to Princess
Lichtenstem) ; op. 28 (pastorale), in D; op.
31, Nos. 1-3, in G, D min. and Eb; op. 49, 2
easy sonatas in G min. and D; op. 53, in C
(to Count Waldstein); op. 54, in F; op. 57
(appassionata), in F min. (to Count Bruns-
wick); op. 78, in F; op. 79, little sonata in
G; op. 81 (caractSristique), in Eb (Les Adieux,
I 'absence, le retour, to Archduke Rudolf); op.
90, in Eb (to Count Lichnowsky); op. 101,
102, 106, 109, 110, 111 (see above). Also 3
easy sonatas comp. at age of 10, in Eb, F min.
and D; 3 more, in C (easy), G and F (easy).
Variations for pf., twenty-one sets: 6 in F;
15 in Eb (Eroica); 6 in D (Turkish March);
32 in C min.; 33 in C; 15 in G (easy); the re-
maining sets comprise 144 variations. — Also
8 Var. in C, and 6 in D, for pf. 4 hands.
Other pf. -music: Three sets of Bagatelles;
4 Rondos, in C, G, A and G ('a capriccio') ;
Fantasia in G min.; 3 Preludes; Polonaise;
Andante in F ('favori') ; Menuet in Eb, and 6
others; 13 Landler. — Also, for pf. 4 hands: 3
Marches; 8 Variations in C; 6 ditto in D.
Vocal Music.
Opera Fidelio, in 2 acts, op. 72.
Two Masses, in C, op. 86, and D (solemnis),
op. 123.
Oratorio Chrktus am Oelberg, op. 85.
Cantata Der -glorreiche Augenbtick, op. 136
(1814); also arr. as Preis der Tonkunst.
Meeresstille und glUckliche Fahrt, op. 112
(poem by Goethe).
Scena and aria for soprano, A h perfido, with
orch., op. 65.
Trio tor soprano, tenor and bass, Tremate,
empi, tremate, op. 116.
Opferlied for soprano solo, chorus, and
orch., op. 121 bis.
Bundeslied for 2 solo voices, 3-part chorus,
and wind, op. 122.
Elegischer Gesang for 4 voice-parts and
strings.
Sixty-six songs with pf ,-accomp. ; one duet.
Gesang der Monche; 3 voice-parts a cappella.
Eighteen vocal Canons.
Seven books of English, Scotch, Irish,
Welsh and Italian songs, for voice, pf., vln.,
and 'cello.
Breitkopf & Hartel were the first to publ.
a 'complete edition' in 24 series comprising
40 volumes (1864-67, edited by Rietz, Not-
tebohm, David, Hauptmann, Reinecke, and
others). An additional volume, containing
48 works subsequently found, appeared in
1887.
BIBLIOGRAPHY.
A. Biographical: F. G. Wegeler and Ferd.
Ries, Biographische Notiten u%er L. van B.
(Koblenz, 1838; new ed. by A. Kalischcr,
Leipzig, 1906); A. Schindler, Biographie von
L, van B. (Mtinster," 1840; new ed. by A.
Kalischer, Berlin, 1909; Engl, transl. by
Moscheles, London, 1841); W. von Lenz,
B.: Eine Kunststudie (2 vols., Cassel, 1855;
I. Das Leben des Meisters [new ed. by A.
Kalischer, Berlin, 1908]; II. Der Styl in B.;
Die Mit- u. NachweU B.'s: Der B. Status
quo in Russland); A. B. Marx, L. van B.'s
Leben u. Schaffen (2 vols., Berlin, 1859;
6th ed. Leipzig, 1906); L. Nohl, B.'s Leben
(3 vols., Vienna, 1864-77; new ed. Berlin,
1906); and B. nach den Schilderungen seiner
Zeitgenossen (Stuttgart, 1877); J. W. von
Wasielewsky, L. van B. (2 vols., Berlin,
1888); Th. von Frimmel, B. (Berlin, 1901);
F. Kerst, B. im eignen Wort (Berlin, 1904;
Engl, transl. by ft. E. Krehbiel, N. Y.,
1905); A. Kalischer, B. u. seine Zeitgenossen
(4 vols., Leipzig, 1910); P. Bekker, B. (Ber-
lin, 1911); V. alndy, B.: Biographie critique
(Paris, 1911; Engl, transl. by Th. Baker,
Boston, 1913); M. E. Belpaire, B.: Een
kunst- en levensbeeld (Antwerp, 1911); W. A.
Thomas-San Galli, L. van B. (Berlin, 1913).
Also G. von Breuning, A us dem Schwarz-
spanierhause (Vienna, 1874; new ed. Berlin,
1907) ; Th. von Frimmel, Neue Beethoveniana
(Vienna, 1888); id., B.-Studien (2 vols.,
Munich, 1905-6). — The standard and most
complete bioer. is the monumental work of
Alex. W. Thayer, Ludwig van Beethovens
Leben (5 vols., 1866-1908). 'The English
original was never published. The first three
vols, appeared in a German translation by
H. Deitere (Berlin, 1866, 72, 77, resp.).
After the author's death Deiters completed
vols, iv and v from Thayer's material, but
died also before their publication. He had
also revised and enlarged vol. i (Leipzig,
1901). D.'s MS. was revised and edited by
H. Riemann (vol. iv, Leipzig, 1907; vol. v,
ib., 1908). Vols ii and iii were then revised
and enlarged by R. along the lines followed
by D. in the revision of vol. i (Leipzig, 1910
and '11, resp.). For some years H. E. Kreh-
biel has been at work preparing an Engl. ed.
B. Correspondence: The several partial
collections of letters ed. by Nohl, Kochel,
etc., have been superseded by the following
complete editions: A. C. Kalischer, B.'s
sammtliche Briefe (5 vols., 1906-8; English
transl. by J. S. Shedlock, London, 1909);
F. Prelinger, L. van B.'s sammtliche Briefe u.
Aufzeichnungen (5 vols., Vienna, 1907-10);
E. Kastner, L. van B.'s sammtliche Briefe (1
vol., Leipzig, 1910).
C. Sketch-books: I. von Seyfried, L. van
B.'s Studien im Generalbass, Kontrapunkt,
66
BEETHOVEN — BEH N KE
ft. in der Kompositionslehre (Vienna, 1832;
new ed. by Nottebohm, Leipzig, 1873; also
by L. Kdhler, ib., 1880); G. Nottebohm, Ein
Skizzenbuch von B. aus dem Jahre 1803
(Leipzig, 1865; 2d ed. ib., 1880); id., Beet-
hovcniana (Leipzig, 1872); id., Neue Beet-
hoveniana (orig. publ. in 'Musikal. Wochen-
blatt,' 1878; rev. and enlargedby E. Man-
dyczewski as Zweite B. (Leipzig, 1887);
Eigenhdndiges Skizzenbuch zur 9. Symphonic
(Leipzig, 1913; facsim. ed.).
D. Criticism, Analysis, btc.: W. von
Lenz, B. et ses trois styles (Petrograd, 1852;
new ed. by M. Calvocoressi, Paris, 1909);
id., B.: Eine Kunststudie (2 vols., Kassel,
1855; enlarged to 6 vols, [iii-vi being Kri-
tischer Kalalog samtlicher Werke L. van B.'s
mit Analyse derselben], ib., 1860); E. von
Elterlein, B.'s Klaviersonaten (Leipzig, 1856;
5th cd., 1895; Engl, transl. by E. Hill, Lon-
don, 1898); A. Oulibicheff, B., ses critiques et
ses glossateurs (Paris, 1857; Ger. transl. by
L. Bischoff, Leipzig 1859); H. Berlioz,
A travers chants (Pans, 1862; Ger. transl. by
R. Pohl, Leipzig, 1864); R. Wagner, B.
(Leipzig, 1870; reprinted in vol. ix of 'Ges.
Schriften u. Dichtungen'); G. Grove', B. and
his Nine Symphonies (London, 1896); G. Er-
langer et af., B.'s Symphonien erldulert
(Frankfort, 1896); C. Reinecke, Die Beetho-
venschen Klaviersonalen (Leipzig, 1897 ; Engl,
transl. London, 1898); Th. de Wyzewa, B. et
Wagper (Paris, 1898); H. Riemann, B.'s
Streichquartette (in 'Musikfuhrer/ Leipzig,
1901-7); W. Nagel, B. u. seine Klaviersonalen
(2 vols., Lan^ensalza, 1904); D. G. Mason,
B. and His Forerunners (London, 1905); J. de
Prod'homme, Les Symphonies de B. (Paris,
1906); R. Nesieht, Das goldene Zeitalter der
Klaviersonate (Cologne, 1910); H. Schenker,
B.'s Neunte Symphonic (Vienna, 1912).
E. Catalogues, Year-books, etc.: The
first catalogue, rev. by B. personally, and
completed by A. Graffer (Vienna, 1828), as
well as several publ. subsequently, leaves
much to be desired. The first valuable the-
matic cat. was issued by Breitkopf & Hartel
(Leipzig, 1851). It was thoroughly revised
and enlarged by G. Nottebohm, and publ. as
Thematisches Verzeichniss der im Druck er-
schienenen Werke von L. van B. (Leipzig,
1868). New ed., together with Bibliotheca
Beethoveniana, by E. Kastner, giving a com-
plete list of all books (and important articles
written in periodicals) about B. from 1829-
1913 (Leipzig, 1913). As a precursor to his
great biography A. W. Thayer published a
Chronologisches Verzeichniss der Werke L. van
B.'s (Berlin, 1865), which includes also un-
published works.— In 1908 Th. von Frimmcl
began the publication of a 'B.-Jahrbuch,'
which since 1911 is publ. as 'B.-Forschung'
(Vienna).— Of value and interest also are
G. Adler, Verzeichnis der musikalischen Auto-
graphe von L. van B. (Vienna, 1890), and
A. C. Kalischer, Die B.-Autographc der Kgl.
BiUiothek zu Berlin, in 'Monatsheftc fur
Musikgeschichte/ Oct., 1895.
Beffara, Louis-Francois, b. Nonancourt,
Eure, Aug. 23, 1751; d. Paris, Feb. 2, 1838.
'Commissaire de Police' 1792-1816, at Paris.
Antiquary and writer. — Works: Did. de
V Academic royale de Musique (7 vols.), and 7
vols, of rules and regulations of the * Academie'
(Grand Opera) ; Did. alphab. des acteurs, etc.
(3 vols. ) ; Tableau chronologique des representa-
tions journalises, etc. (from 1671); Diet,
alphab. des tragedies lyrtques . . . non
represents & V Academic, etc. (5 vols.); Dra-
maturgic lyrique itrangtre (17 vols.). He left
his rare collection of books and MSS. to the
city of Paris; all were burned (Jfciring the
Commune, in 1871. ,
Beffroy de Reigny [bef-frwah'-du ra-nel,
('Cousin Jacques'), Louis- Abej, b. Laon,
Nov. 6, 1757; d. Paris, Dec. 18, 1811. The
author of several whimsical stago>pieces, for
which he wrote both text and music, and all
of which are forgotten. Fetis says that h^
had neither literary nor musical talent; but
Nicodeme dans la lune (1790, given 191 times
in 13 mos.) and Nicodeme aux enfers (1791,
prohibited after 7 representations, on acct.
of exciting the democrats), were certainly
successful in their way. — See Q.-Lex.
Behaim, Michel, a Meistersinger; b.
1416; d. 1474. ^ Interesting as an early rep-
resentative of his school; closoly allied to the
Minnesanger. Monograph by Ktihn, Rhyth-
mik u. Melodik Michel BehaimS (Bonn, 1907).
Behm [bam], Eduard, b. Stettin, April 8,
1862. Studied in Leipzig (Cons.) and Berlin
(Kiel, Raif, Hartel), was for a time teacher in
the Erfurt Academy of Music, and then
Director of the Schwantzer Cons, at Berlin
until 1901. He won the Mendelssohn prize
with a symphony, and the Bosendorf prize
with a pf. -concerto; has also written the
operas Der Schelm von Bergen (Dresden,
1890), Marienkind (1902), Das Gelobnis
(1914); a string-sextet (with the Stelzner
violotta); a pf.-trio; 2 vln. -sonatas; a yln.-
concerto; Friihlingstdylle, a suits for violin
• and orchestra; male chs., etc.
BehnTte [ban'kSh], Etriil, b. Stettin, 1836;
d. Ostende, Sept. 17, 1892. Lived chiefly in
London as an authority on voice-training,
and teacher of voice-production for singers
and speakers. Lecturer on physiology of
voice. Wrote The Mechanism of the Human
Voice (London, 1880); Voice, Song and
Speech [in coop, with Lennox Browne] (1883);
Voice-training Exercises (1884), and The
Child's Voice (1885), the last two in coop,
with Dr. C. W. Pearce.
67
BEHR— BELL
Behr, Franz, comp. for pf.; b. Lttbtheen,
Mecklenburg, July 22, 1837; d. Dresden,
Feb. 15, 1898. Publ. a great number of light
and popular salon-pieces and instructive
pieces, some under the pseudonyms of 'Wil-
liam Cooper,' 'Charles Morley,' and 'Fran-
cesco d'Orso.'
Behrend, William, b. Copenhagen, May
16, 1861. Having completed his regular
academic education and passed the state
examination in 1885, he followed the profes-
sion of law, accepting a government position;
now (1916) chief of the rBureau for the Wel-
fare of the Young* in Copenhagen. His love
for music showed itself early, and he received
thorough instruction on the violin from Am-
berg and Axel Gade, while G. Matthisson-
Hansen was his teacher in theory. For
many years he was mus. critic of 'Politiken'
and 'Illustrirte Zeitung'; now on the staff of
Tilskueron'; contributor to 'Die Musik' and
'Signale' (Berlin) and 'Musikalisches Wochen-
blatt' (Leipzig); one of the founders of the
Danish Richard Wagner- Verein (at present
its vice-ptes.). Years of intimate association
with Niels Gade stimulated him to write
about music; married in 1900 Gudda Home-
man, a writer of some reputation; created
'Knight of Danebrog' in 1914. Wrote a
biography of J. P. E. Hartmann (1895), vol.
ii of Illustreret MusikhistorU (1905; from
Gluck to modern times; 2d ed. in prep.), the
biographies of musicians for Salmon sen's
'Konversationslexikon' (18 vols.); numerous
articles in German and Danish journals; is
engaged on an exhaustive biogr. of Gade — a
brief essay appeared in 1887 in 'Tilskueren' —
to be pubL in the year of G.'s centenary
(1917).
Behrens, Cecile Matullath, concert -
?ianist; b. Pittsburgh, Pa., June 25, 1879.
'upil in San Francisco of Ernest Hart-
mann; debut there in 1886; then st. in N. Y.
with Wm. Mason, whose asst. she became
later; subsequently also with V. Safonov.
Resides in N. Y. as teacher; specially valued
as an ensemble player (w. Kneisel Quar., etc.).
Beier, (Dr.) Franz, b. Berlin, Apr. 18,
1857; d. Kassel, July 25, 1914. In 1894,
Kapellm. in the Royal Theatre at Kassel. —
Opera-parody Der Posaunist von Speikingew
(Kassel, 1889: succ); comic operetta Der
Gaunerkonig (Kassel, 1890; succ). Prod, a
revision of Spohr's Die Kreuzjahrer (Kassel,
1899).
Bekker, Paul, b. Berlin, Sept. 11, 1882.
Pupil of F. Rehfeld (vl.), A. Sormann (pf.),
and B. Horwitz (theory) ; began his career as
violinist in the Philh. Orch. in Berlin; for a
short time cond. at Aschaffenburg and Gor-
litz; returned to Berlin in 1906 as mus. critic
of the 'Neueste Nachrichten,' writing also the
program-books for the concerts of the Philh.
Soc.; 1909, critic for the 'Berliner Allgem.
Zeitung'; removed to Frankfort in 1911, and
has since then been critic for the 'Frankfur-
ter Zeitung.' Publ. biographies of Oskar Fried
(1907) and Jacques Offenbach (1909); also
Das Musikdrama der Gegenwart (1909) and
Beethoven (1911).
Bel'cke, Christian Gottlieb, b. Lucka,
July 17, 1796; d. there July 8, 1875; a brilliant
flutist, 1819-32 in Gewandhaus Orch., Leip-
zig; 1834-41 at Altenburg. Wrote concertos,
fantasias, etc., for flute. — His brother,
Bel'cke, Friedrich August, b. Lucka,
Altenburg, May 27, 1795; d. there Dec. 10,
1874. Celebrated trombone-player; 1815, in
Gewandhaus Orch., Leipzig; chamber-musi-
cian at Berlin, 1816-58. He was the first
concert -virtuoso on the trombone, for which
he wrote concertos and etudes.
Belia'iev [Beljajew], Mitrofan Petro-
vitch, the noted music-publisher; b. Petro-
grad, Feb. 22, 1836; d. there Jan. 10, 1901.
On finishing his regular schooling, he entered
the business of his father, a lumber-dealer,
but still maintained, as a musical amateur,
his intimacy with leaders of the neo-Russian
school of music. On his father's death (1888)
the income from the business was employed
to found a music-publishing establishment
solely for works by young Russian composers;
some 3,000 numbers have been issued (chiefly
opera-scores, piano-arrangements, concert -
pieces, symphonies, and chamber-music). He
also instituted symphony and chamber-con-
certs for the aid and encouragement of strug-
gling talent; his will (by which the music-
publ. establishment is constituted a founda-
tion, conducted by a committee of Russian
composers — ^ Rimsky-Korsakov, Glazunov,
Liadov) provides for at least 10 symphony
concerts and 4 'Quartet Evenings' each sea-
son, besides continuing other chamber-music
performances, offering prizes for the best
compositions, and establishing a pension fund
for needy comps., musicians, and their families.
Be'liczay [lit-si], Julius von, b. Komorn,
Hungary, Aug. 10, 1835; d. Pest, May 1,
1893. Pupil of Joachim, Hoffmann and
Franz Krenn; 1888, prof, of theory at the
Nat. Acad, of Mus., Pest. — Works: Mass in
F, often perf.; symphony in D m. (1888);
Ave Maria-, f. soprano solo, ch. and orch. (op.
9); serenade for strings (op. 36); Andante for
string-orch. (op. 25); trio in E> (op. 30);
string-quartet in G m. (op. 21); pf. -pieces,
etudes, songs, etc. In 1891 he publ. Part I
of a 'Method of Comp.' (in Hungarian).
Bell, William Henry, b. St. Albans, Engl.,
Aug. 20, 1873. Chorister at St. A. Cath. until
1889, when he won the Goss scholarship at
68
BELLA— BELLI
the R. A. M. ; studied there 4 years with Steg-
gall (org.), Burnett (vl.), Izard (pf.), and F.
Corder (comp.); 1903-12, prof, of harmony
there; since 1912, dir. of South African Coll.
of Music in Cape Town. — Works: Prologue to
Chaucer's Canterbury Tales; Canterbury Tales,
three symph. poems; Walt Whitman, symph.
in C m.; The Open Road, symph. in F; the
symph. preludes A Song in the Morning, The
Passing of Wenonah, Agamemnon (iEschylus) ;
other works for orch., Mother Carey, Love
among the Ruins, The Shepherd, Two Mood-
Pictures, Epithalamion, Arcadian Suite; Eng-
lish Dance Suite for small orch. ; choral works
with orch., Hawke, The Call of the Sea, Ballad
of the Bride, The Baron of Brackley; 2 string-
quartets; sonata for via. and pf.; songs.
Bella, Johann Leopold, b. Lipto-Szent
Miklos, Upper Hungary, Sept. 4, 1843; priest
and canon at Neusohl; now cantor and mus.
dir. at Hermannstadt; comp.of much church-
music in severe style; also orch. works, na-
tional choruses for men's voices and mixed
chorus, pf.-pieces, etc. n
Bellaigue [-a*'], Camille, b. Paris, May 24,
1858. Law-student, taking a course in music
under Paladilhe and Marmontel; 1884, music
critic for the 'Correspondant'; since 1885, on
'La Revue des deux Mondes'; also writing for
'Le Temps.1 His best-known essays and
studies are pub!, under the following titles:
Vannee musicale (5 vols., 1886-91); La Mu-
sique francaise au XIX€ Steele (2 vols., 1890);
Lannee musicale et dramatique (1893); Psy-
chologic musicale (1894); Portraits et silhou-
ettes de musiciens (1896; English, '97 ; German,
1903) ; £tudes musicales et nouvelles silhouettes
de musiciens (1898; Engl., 1899); Impressions
musicales et litteraires (1900) ; Uttudes musicales
(2 vols., 1903, '07); Mozart: biographic cri-
tique (1906); Mendelssohn (1907, in 'Maltres
de musique'); Les £poques de la musique
(2 vols., 1909); Gounod (1910).
Bella'sio, Paolo, comp. of the Venetian
school in the 16th century; published a vol.
of Madrigals (1579), one of Villanelle alia
Romana (1595), and various other madrigals
in the collection 'Dolci affetti' (1568).
BeTlasis, Edward, English writer; b. Jan.
28, 1852. Publ. Cherubini: Memorials Illus-
trative of His Life (London, 1874); also
pf.-music, several songs, etc.
Bell' Ave re (or Bell' Haver), Vincenzo,
b. Venice, 1530 (?); d. there 1588 (?); pupil
of A. Gabrieli, whom he succeeded as 2nd org.
of San Marco (1586). Publ. several books of
madrigals (1567-75; only Book II, a 5, is
extant) i and single ones in various collections.
Bellaz'zl [-laht'se], Francesco, Venetian
comp., pupil of Giovanni Gabrieli; publ.
69
(1618-28) a mass, psalms, motets, litanies,
canzoni, etc.
Bellere [-lar'] (or Bellerus, properly Beel-
laerts), Jean, bookseller and music-publ. at
Antwerp, where he died in 1595. A partner
of Pierre Phalese {fits). His son, Balthaaar,
transferred thej>ustness to Douai, and printed
much music up to c. 1625. His printed cata-
logue of compositions publ. by him (1603-5),
was found by Coussemaker in the Douai
library.
Bellermann, (Johann) Friedrich, b.
Erfurt, Mar. 8, 1795; d. Berlin, Feb. 4, 1874.
From 1847-68, Director of the gymnasium
'Zumgrauen Kloster' at Berlin. Distinguished
writer on Greek music. His chief woric is Die
Tonleitern u. Musiknoten der Griechen (Ber-
lin, 1847; explanatory of the Greek eystem of
notation) ; Die Hymnen des Dionysijp u. Meso-
medes (Berlin, 1840), and Anonymuscriptio de
musica, Bacchii senioris introduetio,ftc. (1841),
are smaller treatises on Greek mus. as practised.
Bellermann, (Johann Gottfried) Hein-
rich, son of preceding; b. Berlin, Mar. 10,
1832; d. Potsdam, April 10, 1903. Pupil of
the R. Inst, for Ch.-music, also of E. A. Grell.
1853, teacher of singing at the 'Graues Klo-
ster'; 1861, R. Musikdirektor; 1866, prof, of
music at Berlin Univ., succeeding Marx. He
composed many vocal works. His book, Die
Mensuralnoten und Taktzeichen int 15. u. 16.
Jahrh. (Berlin, 1858; 2d ed. 1906), gives an
excellent exposition of the theory of mensural
music; his treatise Der Kontrapunkt (1862; 2d
ed. 1877) revives the theories of J. J. Fux's
•'Gradus ad Parnassum,' his adherence to
which B. attempted to justify in a pamphlet
Die Grosse d. mus. Intervalle als Grundlage d.
Harmonic (1873). He also contributed inter-
esting articles to the 'Allgem. musikal. Zei-
tung (1868-74) and publ. a biography of
E. A. Grell (1899).
Belleville-Oury, Caroline de, brilliant
pianist, b. Landshut, Bavaria, Jan. 24, 1808;
d. Munich, luly 22, 1880. .Pupil of Karl
•Czerny; made lone concert-tours, and lived
for many years in London, where she married
the violinist Oury. Her popular pf.-comps.
are, properly speaking, arrangements.
Betl'Haver, Vincenzo. See Bell 'Ave re.
Bel'li, Domenico, from 1610-13 Gaglia-
no's successor as teacher of singing at S.
Lorenzo, Florence; early comp. for aceomp.
solo voice; publ. Arte a J e 2 voci per sonare
con il chitarrone (1616), and Orfeo dolente
(5 Intermezzi to Tasso's Aminta; 1616).
Belli, Girolamo, composer of the Vene-
tian school; b. in Argenta (Ferrara), 1552;
a pupil of L. Luzzaschi; chapel-singer to the
BELLI— BELLINI
Duke of Mantua. — Publ. 3 books of madri-
gals a 6 (1583, '84, '93), 9 books of madrigals
a 5 (1584, '86; the 9th, 1617); 2 books of
canzonets a 4 (1584, '93) ; Sacrae cantiones a 6
(1585), a 8 (1589), and a 10 (1594); 2 magni-
ficats (1610); and Salmi a 5; some 5-p. madri-
gals in the coll. 'De' florid i virtuosi d* Italia'
(1586).
Belli, GiuHo, b. Longiano, c. 1560; in
1582, music-director at the cathedral in I mo-
la; 1590, Franciscan friar at Carpi, and m. di
capp. there; after living in Ferrara, Venice,
and other cities he returned to Imola in 1607
as m. di capp. at S. Antonio. — Biogr. by
A. Brigidi : Cenni sulla vita e suite obere at G. B.
(Modena, 1865; pp. 19). — He publ. canzonets
a 4 (1584, '86, '93, '95); also madrigals (1589,
'92); but was chiefly important as a church
composer, publishing from 1586 to 1621 a
great num|>er of masses, motets, jpsalms, ves-
pers, sacrae cantiones, etc. — See Q.-Lex.
Bellinclt'nl [-choh'ne], Gemma, Italian
dramatic soprano; b. Como, Italy, Aug. 19.
1866. Taught bv her father, Cesare B., and
Corel (1880); debut at the Fiorentini Th.,
Naples, in 1881, in Pcdrotti's TuUi en ma-
schera. The same year she married the tenor
Stagno (q. v.). She then travelled for sev-
eral years in Spain with Tamberlik; has sung
on all principal stages of Italy, including La
Scala; has toured South America and (1899)
the United States in opera; has also toured
Germany, Russia, Austria, Rumania, Portu-
gal, Switzerland, and England. Her crea-
tions include the prima-donna roles in Caval-
leria Rusticana (1890), Fedora, A Santa Lucia,
Lorenza, La Martire, Saffo (Massenet; in ,
Itah), Nozze istriane, Moina (at Monte Car-
lo; in French), Labilia (Spinelli), Rudello
(Ferroni). Favorite r61es are Carmen, Sapho,
Manon, Violet ta, Totca, Santuzza, Fedora;
besides which she has about thirty more
actually sung on the stage. Violetta (Travi-
ata) is considered her most striking imper-
sonation. Her voice is brilliant in the high
register, though apt to be dull in the me-
dium; but always of strong emotional power
and intensity. In 1911 she settled in Berlin
as a teacher. — Her daughter Bianca made
her debut at Graz in 1913.
BelU'ni, Vincenzo, famous opera-comp.;
b. Catania, Sicily, Nov. 3, 1801 ; d. Puteaux,
near Paris, Sept. 23, 1835. Taught at first
by his father, an organist, he was sent in
1819, at the expense oT a nobleman impressed
by the boy's talent, to the Conservatorio di
San Sebastiano at Naples. Here his instruc-
tion from the masters Furno, Tritto and Zin-
garelli was carried on until 1827 with the
slovenly lack of method then prevailing in
the institution; B. probably profited far more
by his private ana zealous study of Haydn
and Mozart, Jommelli and Paisiello, and,
above all, Pcrgolesi. His student-composi-
tions were a romance, an aria, a symphony
for full orch., two masses, several psalms, and
a cantata, Ismene; finally his first opera,
Adelson e Salvini, was perf. by Cons, pupils
on Jan. 12, 1825, and its success encouraged
him to further dramatic effort. Barbaja, man-
ager of the San Carlo Th., Naples, and La
Scala, Milan, commissioned B. to write an
opera, and Bianca e Fernando was enthusias-
tically received at the former theatre in
1826; followed in 1827 by 7/ Pirata, and in
1829 by La Straniera, both in Milan. It is
interesting to note that the librettist of II
Pirata, Felice Romani, wrote the books of all
the succeeding operas except / Puritani.
B. met his first reverse at rarma, for the
inauguration of the Teatro Nuovo in which
town he wrote to order the opera Zaira
(1829), which was a flat failure. Undis-
mayed, he accepted a fresh order from La
Fenice Theatre at Venice, for which he com-
posed in forty days the opera I Capuleti e
Montecchi (1830), which was hailed as a
masterwork. After a severe illness, he
brought out La Sonnambula at the Teatro
Carcano, Milan (1831); with this work, and
Norma, which was given at La Scala on
Dec. 26, 1831, B. rose to the height of his
powers and the zenith of his fame — yet
Norma, which B. himself considered his
greatest work, and in which Giuditta Pasta
created the title-role, was coldly received
that first evening! But in brief space its
beauties were recognized, and the warmth of
its reception in other cities, notably in Paris
(1835), amply justified its author's verdict.
His Beatrice di Tenda (Venice, 1833) shows a
distinct falling-off , and failed of popular appre-
ciation. In .1834 he was invited to write an
opera for the Theatre Italien at Paris; this
was / Puritani, libretto by Count Pepoli; its
triumphant production was the composer's
last great success, for, although commissioned
immediately to write two more operas for the
San Carlo Th., he died at the village of Pu-
teaux, whither he had retired to work on the
new scores. Forty years later, his remains
were removed to Catania, where a monument
was erected to his memory; another monu-
ment, due to the exertions of his bosom
friend, Francesco Florimo, was dedicated at
Naples in 1886.
Bellini's genius is exhibited in the grace,
tenderness, pathos and fervor of his melodies,
fashioned with a consummate knowledge of
vocal resource and effect. On the other
hand, his scores show the worst defects of the
old Italian school — monotony in harmony,
and amateurish instrumentation; for these
his imperfect training is doubtless largely
responsible. In his best moments he sur-
70
BELLMAN— BENDA
passes his brilliant contemporary, Rossini, in
the grace and sensuous warmth and charm of
his melodies; in other respects he is the lat-
ter's inferior. — Bibliography: F. Cicconetti,
Vita di V. B. (Prato, 1859); A. Pougin, B.,
sa vie, ses ctuvres (Paris, 1868); A. Amore,
V. B., Vita, studi e ricerche (Catania, 1894);
P. Voss, V. B. (Leipzig, 1901); W. A. Lloyd,
V. B.: A Memoir (London, 1908); L. Parodi,
V. B. (Sanpierdarena, 1913); M. Scherillo,
Belliniana (Milan, 1885); L. Salvioli, B.,
Lettere inediU (ib., 1885).
Bellman, Carl Mikael, b. Stockholm,
Feb. 4, 1740; d. there Feb. 11, 1795. This
famous Swedish poet set to music his lyric or
burlesque popular scenes, Bacchanaliska or-
denskapitlets handlingar (1783), and Fredmans
epistlar (1790), Fredmans Sanger (1791), etc.
BelTmann, Karl Gottfried, b. Schellen-
berg, Saxony, Aug. 11, 1760; d. Dresden, 1816.
Celebrated pf. -maker; also bassoon-player.
BelTmann, Karl Gottlieb, b. Muskau,
Sept. 6, 1772; d. Dec. 26, 1861, in Schleswig,
where he had been organist since 1813.
Comp. the German national song Schleswig-
Holsiein meerumschlungen; also a motet, and
a Christmas cantata.
Belloc, Teresa [Georgi - Trombetta -
Belloc], famous* dramatic mezzo-soprano; b.
S. Begnino, Canavese, Aug. 13, 1784; d. S.
Giorgio, May 13, 1855. From 1804-24 she
sang at La Scala, Milan, and made triumphal
tours throughout Italy, also to Paris, and
(1817) London. She left the stage in 1827,
after a season in Trieste. She sang leading
roles in over 80 operas, Rossini's being the
favorites. — Biogr. sketch, La cantante Teresa
Belloc, by C. Boggio (Milan, 1895).
Belloli, Agostino, b. Bologna; 1819-29
first horn at La Scala, Milan, for which he
wrote 6 ballets (1821-23), and several operas.
Published pieces and studies for horn.
Belloli, Luigl, b. Castelfranco, Bologna,
Feb. 2, 1770; d. Milan, Nov. 17, 1817. For
years he was horn-player at La Scala, and
from 1812 prof, of horn at M. Cons. Wrote
several operas and ballets (La Scala, 1803-6) ;
also concertos and a Method for horn.
Bern berg [bahn-bar'], Henri, b. Paris, Mar.
29, 1861; pupil of Bizet, then of Paris Cons.
(Dubois, Franck and Massenet); won Ros-
sini prize in 1885. Dramatic composer. —
Works: 1-act opera Le baiser de Suion (Paris,
Op.-Com., 1888; mod. succ); 4-act opera-
legende Elaine (London, Covent Garden.
1892; New York, 1894). Has also published
numerous songs.
Be'metzrieder, Anton, b. Alsatia, 1743;
d. London, 1817. A mus. theorist, at first
Benedictine monk; on leaving the order he
became Diderot's pupil and protege at Paris,
and lived 1782-1817 in London. He wrote
Lcqons de clavecin et principes d' harmonic
(Paris, 1771; London [Engl.], 1778), and a
score of other text-books, etc., of doubtful
value. — See Q.-Lex.
Ben'da, Franz, b. Alt-Benatek, Bohemia,
Nov. 25, 1709; d. Potsdam, March 7, 1786.
Famous violinist, pupil of Lobel, Konicek,
and (1732) of J. S. oraun at Ruppin. Leader
of the orch. of the Crown Prince (afterwards
Frederick II), whom he accomp. in some
50,000 concertos during 40 years' service.
Excellent teacher. — Publ. works: Op. 1, 6
Trio-Sonatas (2 vlns. w. b. c); op. 2, 2 vln.-
concertos; op. 3 and 5, each 3 sonatas for
vln. w. b. c; and violin-etudes. Symphonies,
concertos, etc., in MS. — Autobiogr. in the
'Neue Berliner Musikzeitung/ 10th yearly
vol., p. 32. — See Q.-Lex.
Ben'da, Friedrich Ludwig, son of Georg;
b. Gotha, 1746; d. K6nigsbcrg, March 27,
1793. 1780, opera- Kapellm. at Hamburg,
1782 chamber- virtuoso at Schwerin, 1789
concert-director in Kdnigsberg. — Works: 1
opera and 3 operettas; also cantatas, 3 violin-
concertos, etc. — See Q.-Lex.
Ben'da, Friedrich (Wilhelm Heinrich),
violinist; b. Potsdam, July 15, 1745; d. there
June 19, 1814. Eldest son, and pupil, of
Franz B.; 1765-1810, royal chamber- mus.;
excellent pianist and composer. — Works: 2
operas, Alceste (1786) and Ortoheus (1789)";
an operetta, Das Blumenmadcnen; 2 orato-
rios, and a cantata, Pygmalion; concertos for
violin; ditto for flute; much chamber-music.
— See Q.-Lex.
Ben'da, Georg, brother of Franz; b.
Jungbunzlau, Bohemia, June 30, 1722; d.
Kostritz, Nov. 6, 1795. Third son, and
pupil, of Hans Georg B. Chamber- musician
(1742-8) at Berlin, then at Gotha, where he
became court Kapellm. in 1748, and in 1764
went to Italy, returning in 1766. He re-
mained in Gotha until 1788, prod. 14 Sing-
spiele and melodramas (his best works: Ari-
adne auf Naxos, Medea, Almansor, Nadine);
then resigned, lived in Hamburg, Vienna, and
other towns, finally settling in Kostritz.
Most of his other works (church-music, sym-
phonies, concertos, sonatas, etc.) are in MS.
in the Berlin library. — He conceived the
original idea of the music-drama with spoken
words, the music being carried out by the
orchestra only — i. e., pure melodrama. [But
see Rousseau, J. -J.]. — Biogr. by Hodcrmann
(1895); F. Bruckner (Rostock, 1904); and
E. Istel, in Die Enlstehung des deutschen
Melodrams (Berlin, 1906).— See Q.-Lex.
Ben'da, Johann, brother of Franz; b.
Alt-Benatek, 1713; d. Potsdam, 1752, as
chamber-musician. Violinist; left 3 MS.
violin-concertos.
71
BENDA— BENEDICT
Ben 'da, Joseph, violinist, pupil and
youngest brother of Franz; b. May 7, 1724;
d. Berlin, Feb. 22, 1804. His brother's
successor as leader; pensioned 1797.
Ben 'da, Karl Hermann Heinrlch, young-
est son of Georg; b. Potsdam, May 2, 1748;
d. March IS, 1836.* Fine violinist, leader of
the royal opera-orch., teacher of King Fried-
rich Wilhelm III and Rungenhagen. Comp.
chamber-music.
Ben'del, Franz, b. Schdnlinde, northern
Bohemia, March 23, 1833; d. Berlin, July 3,
1874. Accomplished pianist, pupil of Proksch
(Prague) and Liszt (Weimar;; from 1862 in
Berlin as teacher in Kullak's Academy. —
Works: Salon-pieces for pf., of real merit; pf.-
concerto, pf.-trio, sonata for pf. and violin,
eludes (Am Genfer Sec, op. 109; Study in
Sixths, Bl> m.\ nocturnes, romances, etc.;
also symphonies, 4 masses and several books
of songs, many of which are charming.
Ben'deler, Johann Philipp, b. Rieth-
nordhausen, n. Erfurt, 1660; d. 1708 as can-
tor in Quedlinburg (Harz). Clavecinist, org.
and writer (his Organopoeia, publ. 1690, was
republ. 1739 as Orgelbaukunst).
Ben'der, Jakob, brother of Valentin; b.
Bechtheim, 1798; d. Antwerp, Aug. 9, 1844,
as director of the Antwerp wind-band, having
succeeded his brother in this position. Also
clarinettist; composed military music.
Ben'der, (Jean) Valentin, b. Bechtheim,
n. Worms, Sept. 19, 1801; d. Brussels, Apr.
14, 1873. Clarinet-virtuoso and bandmaster;
music-director to the (Belgian) Royal House.
Composed military music and clarinet-pes.
Ben'dlx, Max, conductor; b. Detroit,
Mich., March 28, 1866. Educated in N. Y.,
Cincinnati, and Berlin. Concert-master M.
O. H. (1886); Theo. Thomas Orch., N. Y.
and Chicago (1886-96); toured as soloist
(1896-1900); private teaching and concerts
to 1905; concert-master M. O. H. (1905);
cond. for Manhattan Op. H. (1907); toured
(1908), giving 100 recitals, 25 joint recitals
with Rudolph Ganz; asst.-cond. M. O. H.,
(1909); cond. many operettas (1910-14) in
N. Y. and London; cond. Nat. Symph. Orch.,
Chicago (1914-15); cond. at World's Fair
(1893); St. Louis (1904); at present with
H. W. Savage. — Works: 36 songs; Tema con
Variasioni for 'cello and orch.; The Sisters,
ballad for sop. w. orch.; music to the play
Experience; vln.-conccrto in E m.; Pavlowa,
valse-capricc for orchestra.
Ben'dix, Otto, b. Copenhagen, July 26,
1845; d. San Francisco, March 1, 1904. Pupil
of A. Ree and Cade; also of Kullak (Berlin) and
Liszt (Weimar). Pf. -teacher in Copenhagen
Cons., and oboist in thcatrc-orch. Settled in
Boston, Mass., 1880, as teacher of pf. in the
72
N. E. Cons.; removed to San Francisco in
1895, and establ. there his own Cons.; gave
very successful concerts in Europe and
America, and published some pieces for pf.,
etc.
Ben'dix, Victor (Emanuel), b. Copen-
hagen, May 17, 1851; violin-virtuoso, pianist,
composer; pupil and protege of Gade. Living
in Copenhagen as a pf .-teacher and conductor
of a choral society. Besides pf. -compositions
of great merit, he has written 4 symphonies:
— Symphony Zur Hohe, in C [also named
Felsensteigung]; in D, Sommerkl&ngc aus
SUdrussland; in A m.; in D m.; an overtures
a pf. -concerto; a pf.-trio; choral works w.
orch.: etc.
Ben'dl, Karl, b. Prague, April 16, 1838;
d. there Sept. 16, 1897. Pupil of Blazok and
Pietsch at the Organists' Scnool, Prague, till
1858. For a time Tie was chorusmaster of the
German Opera, Amsterdam (1864). Returned
1865 to Prague; after 1866, conductor of the
male choral society 'Hlahol.' — Works: Czech
national operas Lejla (1868), Bretislav and
Jitka (1869), Cemahorci (1881), Karel Skreta
(comic, 1883), Dite Tdbora [Child of the
Camp) (1892, 3 acts), Mother Mil* (1895),
The Bagpiper (1907); all at the National Th.,
Prague, and on its standing repertory. Also
a ballet, Bohemian Wedding; S masses, sev-
eral cantatas for soli, ch. and orch.; an over-
ture, a Dithyramb, a Concert Polonaise, a
Slavonic Rhapsody, etc. for orch.; a string-
quartet; 200 Czech soi.gs and choruses; pf-
music. — Bendl, jointly with Smetana and
Dvorak, earned the distinction of winning
general recognition for Czech musical art.
Benedict, Sir Julius, b. Stuttgart, Nov.
27, 1804; d. London, June 5, 1885. He was
the son of a Jewish banker; pupil of Abeille,
Hummel (1819, Weimar), and Weber (1820,
Dresden). In 1823, Kapellm. at the Karnth-
nerthor Th., Vienna, and 1825 at the San
Carlo Th., Naples, where his first opera,
Giacinta ed Ernesto (1829), was performed,
which, like / Portoghesi in Goa (Stuttgart,
1830) was not a marked success. After 2
visits to Paris (1830 and '35), he settled in
London, where he became a fashionable pf.-
teacher and concert -giver, and also thor-
oughly anglicized. 1836, conductor of opera
buffa at the Lyceum, 1837 at Drury
Lane, where his first English opera,
The Gypsy's Warning, was produced (1838).
In 1850 and '51 he was conductor to
Jenny Lind on her American tours; then
became Col. Mapleson's conductor at Her
Majesty '8 Th. ana Drury Lane, and in 1859 at
Covent Garden; also of the Monday Popular
Concerts. Healso conducted the Norwich Fes-
tivals from 1845-78, and (1876-80) the Liver-
pool Philharmonic. He was knighted in 1871.
r~.m
BENEDICT— BENNETT
— Works: The operas above mentioned, and
also The Brides of Venice (April 2, 1844), The
Crusaders (1846), The Lake of Glenaston
(1862), The Lily of Killarney (1862; on the
Continent as The Rose of Erin), The Bride
of Sone (1864); 4 cantatas, Undine (1860),
Richard Cwur-de-Lion (1863), 1 on the Prince
of Wales' return from India (1876), and Gra-
sieUa (1882; given London, 1883, as an
opera); 2 oratorios, St. Cecilia (1866), and
St. Peter (1870); 2 symphonies (1873, 74), 2
pf.-concertos, a variety of pf.-music, etc. He
also wrote biogr. sketches of Mendelssohn
and Weber (in Hueffer's 'Great Musicians').
Benedict, Milo Ellsworth, b. Cornwall,
Vt., June 9, 1866. Pf.-pupil of C. Petersilea,
in theory of J. K. Paine; in Europe 1883-4,
spending 3 mos. at Weimar w. Liszt. Living
as pf .-teacher in Boston. Has publ. 6 Corn-
wall Dances, op. 1; other pf. -works in MS.
Benedic'tus Ap'penzeldera (B. of Ap-
penzell), b. Appenzell, Switzerland; successor
of Jean Gossins as master of the boys1 choir
in the 'chapelle royale' at Brussels, 1539-55. —
Works: 1 book of 4-part motets, Liber primus
eccl. cantionum, etc. (Antwerp, 1553). Not
the same as 'Benedict us Ducts' [see Ducis],
whose comps. are frequently confounded with
the Appenzeller's.
Benelll, Alemanno. Pen-name of Er-
COLB BOTTRIGARI.
Benelll, Antonio Peregrino, b. Forli,
Romagna, Sept. 5, 1771; d. Bornichau, Sax-
ony, Aug. 46, 1830. In 1790, first tenor
at San Carlo Th., Naples; in London, 1798;
at Dresden, 1801-22, when his voice failed;
then teacher of sinking at the R. Theatre
School, Berlin; dismissed 1829 on account of
a bitter and unjust attack on his bene-
factor Spontini. Publ. a Vocal Method
(Dresden, 1819); considerable vocal music,
and Solfeggi; and a few pf. -pieces. — See
Q.-Lex.
Bene'voli, Orazlo, b. Rome, 1602, as the
natural son of Duke Albert of Lorraine; d.
there June 17, 1672. Pupil of V. Ugolini;
m. di capp. of several Roman churches, and
finally at the Vatican (1646). Of the highest
personal character, and a contrapuntist of
lofty genius, he lived and died in poverty.
His polyphonic vocal works (masses in 12,
16, 24 and even 48 parts — the mass per-
formed at Sta. Maria sopra Minerva, Rome,
in 1650, is for 12 choirs, i. e., 48 real parts-
motets, psalms and offertories up to 30 parts)
are the culminating point of the polychoric
a cappella style; he was likewise a pioneer
in choral comp. with obbligato instrumental
accomp. (his mass for the consecration of
Salzburg cathedral, 1628, is written on 54
staves). Few of his works were publ.; most
are in MS. in the Vatican libr.— See Q.-Lex.
73
Beninco'ri, Angelo Maria, b. Brescia,
March 28, 1779; d. Paris, Dec. 30, 1821,
Lived in Spain, Italy and Vienna till 1803,
when he went to Paris, and brought out three
unsuccessful operas; the only successful one,
Aladin (Paris, 1822; left unfinished by Isou-
ard, for which B. wrote the last three acts,
and a march for the first act), was prod. 6
weeks after his death. An excellent violinist,
he publ. string-quartets (op. 2, 3, 4, 5, 8) and
3 pf.- trios (op. 6).
Bennet, Theodore. See Theodore
Hitter.
Bennett, George John, b. Andover,
Hampshire, May 5, 1863. Won the Balfe
scholarship, and studied at the R. A. M.
under G. A. Macfarren and C. Steggall
(1878-84); then at the R. Hochschule in Ber-
lin with H. Barth (pf.) and F. Kiel (comp.),
and from 1885-7 at Munich with H. Buss-
meyer (pf.) and J. Rheinberger (comp.);
elected F. R. A. M. and app. prof, of -harm,
and comp. there in 1888; Mus. Doc.,Cantab.f
in 1893; filled several positions as org. from
1890-5; since 1895 org. of Lincoln Cath. and
cond. of the festivals; also cond. of Lincoln
Mus. Soc. and Orch. Soc.; F. R. C. O.—
Works : 2 overtures for orch., Jugendtraume and
Cymbeline; Festival Evening Service in A with
orch. (for dedication of St. Paul's Cath.,
1890); Mass in Bb m. for soli, ch. and orch.;
Festival Te Deum for do.; Easter Hymn for
do.; Suite in D m. for orch.; a pf.-trio in E;
pieces for pf.; do. for org.; songs; part-songs;
anthems; etc.
Bennett, Joseph, prominent Engl. mus.
critic and writer; b. Berkeley, Gloucestershire,
Nov. 29, 1831; d. Purton, n. Berkeley, June
12, 1911. He learned to play several instru-
ments; was precentor at the Weigh House
Chapel, and organist of Westminster Chapel;
then mus. critic for the 'Sunday Times,' Tall
Mall Gazette,' and 'Graphic,' also contribut-
ing to several other mus. journals. His most
important work was done as a writer on the
staff of the 'Musical Times' and 'Daily Tele-
graph.' He edited the 'Concordia' 1875H5,
and 'The Lute* 1883-6. From 1885-1903 he
annotated the programs of the Philh. Soc.;
he also succeeded J. W. Davison as writer of
the analytical programs for the Saturday and
Monday Popular Concerts. B. has furnished
several English composers with some of their
best libretti. — Publ. Letters from Bayreuth
(1877); The Musical Year (1883); History of
the Leeds Musical Festivals, 1859-89 (1892;
with F. R. Spark); and Primers of mus!
biography. His Story of Ten Hundred Con-
certs (1887) is an account of the rise of the
Sat. Pop. Concerts, 1857-87. His last work
was Forty Years of Music (1908).
BEN N ETT— BENOlT
Ben'nett, Sir William Sterndale, distin-
guished English comp.; b. Sheffield, April 13,
1816; d. London, Feb. 1, 1875. His father,
an organist, died when B. was but 3 years
old, and he was educated by his grandfather,
John B., a lay-clerk at Cambridge. At 8 he
entered the choir of King's College Chapel,
and at 10 the R. A. M. (pupil of Ch. Lucas,
Dr. Crotch, C. Potter and W. H. Holmes),
where he played, in 1833, an original pf.-
concerto in D m., publ. later by the Academy.
In 1837 the Broad woods sent him to Leipzig
for one year, a visit repeated in 1841-2; he
was intimate with Schumann and Mendels-
sohn, and the influence of both, particularly
the latter, is reflected in some of his comps.
From 1843-56, he gave a series of chamber-
concerts in England; married Mary Anne
Wood in 1844; founded the Bach Society in
1849; conducted the concerts of the Philh.
Society 1856-66, and the Leeds M us. Festival
in 1858. In 1856, too, he received the title of
Mus. Doc.- from Cambridge, after his election
to the chair of Musical Professor there. In
1866 he was chosen Principal of the R. A. M.f
then resigning the conductorship of the Philh.
The additional degree of M . A. was conferred
on him by Cambridge in 1867; that of D. C.
L., by Oxford, in 1870; and in 1871 he was
knighted. The subscription-fund of the Ben-
nett testimonial presented him at St. James1
Flail, 1872, was converted by the recipient
into a scholarship at the R. A. M. He is
buried in Westminster Abbey. — Sterndale
Bennett ranks high among English composers
of genuine originality. Himself a pianist of
rare ability, he favors the piano above all,
and his finest productions are, so to speak, in-
spired by its peculiarities. The tale of nis works
is scanty, but in polish, refinement and careful
elaboration they vie with the best in musical
art. — Works: Op. 1, 1st pf. -concerto, in D m.
(1832); op. 2, Capriccio for pf., in D; op. 3,
overture Partsina, for orch, (1834) ; op. 4, 2nd
pf. -concerto, Eb; op. 8, sextet for pf. and
strings; op. 9, 3rd pf.-concerto, in C m. (1834) ;
op. 10, 3 Mus. Sketches for pf . ; op. 1 1, 6 Studies
for pf.; op. 12, 3 Impromptus for pf.; op. 13,
Sonata f . pf . ; op. 14, 3 Romances f . pf . ; op. 15,
overture The Naiads, for orch.; op. 16, Fan-
tasia for pf. (1842); op. 17, 3 Diversions f. pf.
4 hands; op. 18, Allegro grazioso for pf.; op.
19, 4th pf.-concerto, m F m. (1836); op. 20,
overture The Wood-nymphs, for orch,; op. 22,
Caprice in E, for pf . and orch. ; op. 23, 6 songs
with pf.; op. 24, Suite de pieces for pf. (1843);
op. 25, Rondo piacevole for pf . ; op. 26, pf .-trio
(1844) ; op. 27, Scherzo for pf . ; op. 28, Rondino
f . pf . ; op. 29, 2 Studies f . pf . ; op. 30, 4 sacred
duets; op. 31, Tema e variazioni for pf.; op.
32, Sonata- Duo for pf. and 'cello (1852); op.
33, 60 Preludes and Lessons for pf.; op. 34,
Rondo for pf.; op. 35, 6 songs w. pf.; op. 36,
Flowers of the Months; op. 37, Rondo d la
polonaise, for pf.; op. 38, Toccata for pf.; op.
39, The May Queen, a Pastoral (cantata by
Charley), for soli, ch. and orch. (Leeds, 1858) ;
op. 40, Ode (by Tennyson) ; op. 41, Cambridge
Installation Ode (1862) ; op. 42, Fantasie-Over-
ture, Paradise and the Peri, for orch. (1863) ;
op. 43, symphony in G m.; op. 44, oratorio
The Woman of Samaria (Birmingham, 1867);
op. 45, music to Sophocles' Ajax; op. 46, pf.-
sonata The Maid of Orleans. Also, overtures
The Merry Wives of Windsor and Marie du
Bois; a pf. -quintet, with wind; pf. -music,
part-songs, anthems, songs, and collections of
chants.—Cf. J. R. S. Bennett, The Life of
W. St. B. (Cambridge, 1907); The Musical
Times' from May to August, 1903, contains
an interesting series of articles on B.; also
see F. Corder, W. S. B. and His Music (in
'Mus. Times,' May, 1916).
Ben'newitz, Anton, b. Privret, Bohemia,
March 26, 1833. Violinist; from 1882-1901
Director of Prague Cons.
Benoist [bu-nwah'], Francois, b. Nantes,
Sept. 10, 1794; d. Paris, April, 1878. Pupil
of Paris Cons., 1811-15, and Grand Prix de
Rome; returning from Italy in 1819, he
became organist of the Chapel Royal, and
organ-prof, at the Cons.; in 1840, 'chef du
chant' at the Opera; pensioned in 1872. —
Works: 2 operas, LSonore et Filix (1821) and
V Apparition (1848); 4 ballets, La Gipsy
(1839), Le Viable amoureux (1840), Nistda,
ou les Amazons des Acores (1848), and Pd-
querette (1851); a Requiem mass for 3 men's
voices and a child's voice, with organ ad lib. ;
and 12 books of organ-works, 'Bibliotheque
de 1' organ iste.'
Benott [bu-nwah'J, Pierre-Le<mard-Leo-
pold, eminent Flemish composer and man of
letters; b. Harlebeke, Belgium, Aug. 17,
1834; d. Antwerp, March 8, 1901. While
studying in the Brussels Cons., 1851-55, he
prod, a small opera in the Parktheater, and
wrote the music to a number of Flemish
melodramas; he became cond. of the above
theatre in 1856, and won the Prix de Rome
in 1857 with his cantata Le Meurtre d'Abd.
He now studied in Leipzig, Dresden, Munich
and Berlin, and sent an essay to the Brussels
Academy on L'ecole de musique flamande et
son avenir. In 1861 the Theatre-Lyrique of
Paris accepted his opera Le Rot des aulnes;
while awaiting its performance, B. acted as
cond. at the Bou fifes- Parisiens; but the opera
was not given. In 1867 he founded the
Flemish Music-School at Antwerp, which in
1899 was instituted the Royal Flemish Cons.,
B. remaining as its director. The goal of his
life-work was to create a national Flemish
school of musical composition; but the^ ten-
dency of his compositions is strongly influ-
74
BENSON— BERCHEM
enced by modern French and German music.
— Works: Messe solenneUe (1862); Te Deum
(1863); Requiem (1863); the Flemish oratorio
Lucifer (1866) ; the 3 Flemish operas Het dorp
in'tgebergte and Isa (1867), Pompeja (1896);
oratorio, De Schelde (1869); Drama Christi, a
sacred drama for soli, ch., org., 'celli, double-
basses, trumpets and trombones (1871); De
Oorlog (War; a cantata for double ch., soli,
and enlarged orch., 1873); a 'Children's Ora-
torio'; a choral symphony, De Maaiers [The
Mowers]; music to Charlotte Corday, and to
van Goethem's drama WiUem de Zvrijger
(1876); the 'Rubens cantata* Flanderens
kunstroem, for mixed ch., children's ch., and
orch. (1877); Anhuerpen, for triple male ch.
(1877) ; Joncfrou Kathelijne, scena for alto solo
and orch. (1879); Muse der Geschiedenis, for
ch. and orch. (1880); Hucbald, for double ch.,
baritone solo, and orch. with harp (1880);
Triomfmarsch (1880); oratorio De Khijn, for
soli, ch. and orch. (1889); a mass; motets
with organ; Liefde in't leven and Liefdedrama,
songs; Sagen en Balladen, for pf-; a pf. -con-
certo; a flute-concerto, etc. — Writings: De
vlaamsche Muziekschool van Antwerpen (1873) ;
Considerations d propos d'un projet pour Vin-
stitution de Festivals en Belgique (1874); Ver-
handeling over de nationale Toonkunde (2
vols., 1877-9); De muzikale Opooeding en
Opleiding in Belgie (no date) ; Het droombeeld
eener muzikale Wereldkunst (no date); De
Oorsprong van het Cosmopolitisme in die Mu-
ziek (1876); Overschijn en blijk in onze mu-
zikale vlaamsche beweging (no date); Onze
muzikale beweging op dramatisch gebted (no
date); Onze nederlandsche muzikale eenheid
(no date); Brieven over Noord-Nederland (no
date) ; Een koninklijk vlaamsch Conservatorium
te Anhuerpen^ (no aate); and many contribu-
tions to musical and other journals. In 1880
B. became corresponding member, and "in
1882 full member, of the Royal Academy,
Brussels. — Cf. M. E. Belpaire, Een vlaamsche
meester: P. B. (Belfort, 1901); C. Stoffels,
P. B. et le mouvement musical flamand (Ant-
werp, 1901); J. Sabbe, P. B. : Zijn leven,
zijne werken, zijne beteekenis (Ghent, 1902);
L. Mortelmans, P. B. (Antwerp, 1911).
Benson, Harry, b. Birmingham, England,
Dec. 14, 1848; pupil of A. Deakin there, of
Geo. A. Browning in Bath, and of G. A.
Whiting and St. A. Emery at N. E. Cons.,
Boston, Mass. For some years instructor in
N. E. Cons.; since 1891, head of vocal dept.
in Boston Training School of Music. B. is
teacher and examiner for the' Tonic Sol-fa
Colleges of London and America, and an
active promoter of Tonic Sol-fa in the U. S.
Has also been organist, etc., at various Bos-
ton churches. He is widely and favorably
known as a conductor and founder of choral
societies and conventions.
75
Benvenu'ti, Tommaso, dramatic com p.;
b. Cavarzese (Venice), Feb. 4, 1838; d. Rome,
in March, 1906. Operas: Valenzia Candiano
(Mantua, 1856), Adriana Lecouvreur (Milan,
1857), Guglielmo Shakespeare (Parma, 1861),
La Stella di Toledo (Milan, 1864), // Folconi-
ere (Venice, 1878), Beatrice di Suevia (Ven-
ice, 1890), and the opera buff a Le baruffe
Chiozzotle (Florence, 1895; moderate succj.
Berar/di, Angelo, b. Sant'Agata, Bologna;
1681, prof, of comp. and m. di capp. at Spo-
leto; 1687, canon at Viterbo; 1693, m. di
capp. at the Basilica of S. Maria in Traste-
vere. An eminent theorist; works published
1681-1706 at Bologna. He composed a Re-
?uiem Mass (1663), 2- and 4-part motets
1665), psalms (1675), offertories (1680); etc.
Berat [ba-rahl, Frederic, b. Rouen, 1800;
d. Paris, Dec. 2, 1855. Vocal comp., intimate
with Beraneer, many of whose poems he set
to music. His romances and cnansonnettcs
are still popular: A lafrontiere, Bibi, LaLiseUe
de Beranger, Le Depart, Ma Normandie, etc.
Berber [bar'-J, Felix, notable violin-virtu-
oso, b. Jena, March 11, 1871, received his
first regular instruction at the Dresden Cons.;
studied 1884-9 with Adolf Brodsky at Leip-
zig; lived then 2 years in London; Concertm.
at Magdeburg 1891-6. From 1897 to April
1, 1903, he was Concertm. of the Leipzig Ge-
wandhaus Orch. and leader of the Gewandh.
Quartet. With Klengel he won a final tri-
umph for the Brahms double-concerto in
Vienna, Leipzig, etc.; in Berlin he played 9
different concertos in 3 consecutive concerts.
In Feb., 1904, he was eng. by the R. Acad, of
Music as principal instructor for violin
and quartet-playing. In 1907 he succeeded
Heermann at the Hoch Cons., Frankfort;
in 1908, teacher in the Geneva Cons,
(following Marteau), and leader of a string-
quartet; since 1912 living in Munich aspriv.
teacher. In 1910 he made a tour of the U. S.
His technique is described as 'astounding/
'amazing,' 'dazzling'; his instr. is a Strad.
Berbiguier [-be-g'ya'L Benott-Tranquille,
b. Caderousse, Vaucluse, Dec. 21, 1782; d.
Pont-Levoy, near Blois, Jan. 20, 1838. Flute-
virtuoso; pupil of Wunderlich at Paris Cons.
His works for flute, many of which are clas-
sics, include 15 books of duos f. 2 flutes; 2
do. do. f. flute and vln.; 6 gr. solos or etudes;
10 concertos; 7 books of sonatas, with ace. of
'cello or via.; 8 variations, with pf. or orch.;
6 airs and vars.; 6 books of trios f. 3 flutes;
1 do. f. 2 flutes and via.; 1 do. f. flute., vln.
and via.; several suites of easy duos; grand
duo concertant f. flute and pf.; fantasias,
romances, arrangements, etc.
Berchem [bar'-yhem] (or Berfthem), Ja-
chet de (also Jaquet. Jacquet), b. Berchem
BERENS— BERGER
(?), near Antwerp, circa 1500; famous contra-
puntist, organist to the Duke of Ferrara in
1555. Publ. many masses, motets, madri-
gals, etc. He has frequently been confused
with his contemporary Jachet de Mantua
(q. v.). — See Q.-Lex.
Be Vena, Hermann, b. Hamburg, Apr. 7,
1826; d. Stockholm, May 9, 1880. Excellent
ftianist, pupil of his father Karl B.
1801-57], of Reissiger (Dresden) and
Czerny. Went to Stockholm in 1847, and
founded celebrated Quartet Soirees; 1849,
Royal mus. director at Orebro; 1860, cond.
at the 'Mindre' Th., Stockholm; later court-
conductor, teacher of comp. at the Academy,
and prof, and member of ditto. — Works: The
Greek drama Kodros; 1 opera, Violctta, and 3
successful operettas, Ein Sommernachtstraum,
Lully und Quinault, Riccardo; overtures for
orch., quartets, trios, pf. -pieces, songs and
part-songs, and a valuable Neueste SchuU
der Geldufigkeit for pf.
Beret'ta, Giovanni Battlsta, b. Verona,
Feb. 24, 1819; d. Milan, April 28, 1876. For
several years director of Bologna Cons. ; then
devoted himself to completing the great 'Di-
zionario artistico-scientinco-storico-technolo-
gico-musicale' begun by A. Barbicri (publ.
Milan, 1869-72), but reached only the letter
G. He also wrote a treatise on harmony, and
another on instrumentation and orchestra-
tion; he comp. instrumental and sacred music.
Berg, Adam, music-printer at Munich,
1567-97; publ. the Patrocinium musicum in
10 vols., 5 being devoted to Or land us Lassus.
Berg, Johann von, music-printer of
Ghent; settled in Nuremberg, and became
Ulrich Neuber's partner. He died in 1563.
Berg, Konrad Mathiaa, b. Kolmar, Alsa-
tia, April 27, 1785; d. Strassburg, Dec. 13.
1852. Violinist and pianist; pupil of Pans
Cons. 1806-7; settled as pf .-teacher in Strass-
burg, 1808. — Works: 4 string-quartets; 10
pf. -trios; 3 concertos; sonatas, variations and
effective 4-hand pieces f. pf. His essay Ideen
mu einer rationetlen Lehrmethode der Musik
mil Anwendung auf das Klavier spiel ('Cacilia,'
vol. xvii, 1835), created a sensation; also an
Aperqu historique sur Vttal de la musique &
Strasbourg pendant Us 50 dernieres annees
(1840).
Ber'ger, Francesco, b. London, June 10,
1834; pupil of Luigi Ricci (Trieste) for har-
mony, and of Karl Lickl (Vienna) for pf.;
later private pupil of Hauptmann and Plaidy
(Leipzig). Prof, of pf. at R. A. M. and Guild-
hall School of Music; freauent concert-tours
through Great Britain and Ireland ; for some
years director, and from 1884-1911 hon.
secretary, of the Philharmonic. — Works: An
opera, 11 Lazsarone, and a mass (prod, in
Italy); overtures and incidental music to
Wilkie Collins; The Frozen Deep and The
Lighthouse; songs; many part-songs and pf.-
pieces. Wrote First Steps at the Pianoforte;
also publ. a volume of Reminiscences (1913).
Ber'ger [bar'-], Ludwlg, b. Berlin, Apr. 18,
1777; d. there Feb. 16, 1839. Studied harm,
and cpt. under J. A. Gttrrlich (Berlin, 1799)
and pf. under Clementi (Petrograd, 1804),
being also strongly influenced by Field's
playing. Went to Stockholm in 1812, and
thence to London, rejoining Clementi and
meeting Cramer. From 1815, settled in Ber-
lin as a pf. -teacher; among his pupils were
Mendelssohn, Henselt, Taubert and Fanny
Hensel. With Klein, Reichardt and Rellstab
he founded the junior 'Liedertafel' (1819).
His pf. -works, especially the Studies, a Toc-
cata, and a Rondo, are highly esteemed; he
also composed the opera Oreste (not per-
formed), cantatas, male quartets, songs, etc
A full and sympathetic account of his career
wa9 publ. by L. Rellstab in the 'Berlinisch*
Zeitung' of Feb. 12, 1839 (reprint 1846).—
See Q.-Lex.
Ber'ger, Rudolf, a dram, tenor; b. Brtinn,
Moravia, April 17, 1874; d. N. Y., Feb. 27,
1915. Began his vocal studies at the Cons,
in Brunn, in 1891, and made debut there (as
baritone) in 1896; sane bar. rSles successfully
at various German theatres; 1904-7 at R.
Op., Berlin. He then retired for a year,
studying with O. Saenger in N. Y., changing
to tenor; reappeared in 1909 in Berlin as
Lohengrin, and sanz tenor r61es (chiefly
Wagner) thereafter; 1914-5, member M. O.
H. In 1913 he married the dram, soprano,
Marie Rappold. B.'s stage presence was un-
usually impressive (he stood 6 ft., 4 in., and
was well proportioned), but his acting did
not rise above the conventional. He had an
enormous repertoire, consisting of 96 baritone
and 18 tenor roles; he had sung Jokanaan, in
Salome, 79 times.
Ber'ger, Siegfried. Pseudonym for Che-
Li us, Freiherr von.
Ber'ger, Wilhelm, composer; b. Boston,
Mass., Aug. 9, 1861; d. Jena, Jan. 15, 1911.
Taken by parents in 1862 to Bremen. Studied
in the Konigl. Hochschule fur Musik at Ber-
lin, 1878-81 (Fr. Kiel). Teacher in the Klind-
worth-Scharwenka Cons, at Berlin till 1903;
then succeeded Steinbach as court Kapellm.
at Meiningen, also becoming R. Prussian
Prof., and member of the R. Acad, of Arts.
— Works: 2 symphonies (op. 71 in Bb,
and op. 80 in B m.); Euphorion, for soli, ch.
and orch.; Variations and Fugue for orch.;
3 Ballades for baritone with orch.; Gesang der
Geister iiber den Wassern, for 4-part mixed
ch. and full orch. (op. 55); a Dram. Fantasy
in overture-form; var. and fugue f. orch.'
76
BERGGREEN— BERINGER
also part-songs, about 80 songs, and pf.-
music: Op. 2, 5 pieces; op. 4 and 7, 2 pieces
for vln. and of,; op. 6, Impromptus; op. 9,
2 KlavierstUcie; op. 14, 3 Klavierstucke; op.
17, 5 KlavierstUcke in Tanzform; op. 18, 4
Intermezzi; op. 20, Fantasies tuck; op. 21, pf.-
quartet, in A; op. 23, 12 Aquarellen; op. 53,
o Klavierstucke; etc. In 1898 he won a prize
of 2,000 marks; offered by Dr. Simon of
Konigsberg, with his setting of Goethe's
Meine Gottin (op. 72). — Biography by Adolf
Kohut was publ. in the 'Neue Musikzeitung'
(Stuttgart, 1902, Nos. 21-3). Cf. also E.
Krause, W. B., in vol. ii of 'Monographien
moderner Musiker' (Leipzig, 1907).
Berg'green [-gran], Andreas Peter, b.
Copenhagen, March 2, 1801; d. there Nov. 9,
1880. Originally a law-student, he turned to
music; 1838, organist of Trinity Church;
1843, prof, of vocal music at the Metropolitan
School; and 1859, inspector of singing in all
public schools. — Works: Comic opera Billedet
og bustan (Portrait and Bust] (1832); inci-
dental music to several of Ohlenschlagcr's
dramas; songs and pf. -pieces. He edited a
coll. of folk-songs of various nations (Folke-
visor, Folkesange og Melodier, 1 1 vols. ; 2d cd.
1864).— Biogr. by Skou (1896).— He was one
of Gade's teachers.
Berfth, Arthur, b. St. Paul, Minn., Mar.
24, 1882. Educated in America; violinist
with N. Y. Syraph. Orch. and M. O. H.
orch. (1903-8); cond. Municipal Concerts,
N. Y. City (1911-14); lecturer on American
music; Seer. Amer. Mus. Soc. — Works: The
Raven, melodrama with orch. (1909); The
Pied Piper of Hamelin, do. ; The Unnamed
City, symphonic choral; Niorada, romantic
opera; Festival March for orch.; some pieces
for pf.; and about 30 songs (The Night-Rider
with orchestral accompaniment).
Berghem, Jachet de. See Berchkm.
Berg'mann, Karl, b. Ebersbach, Sax-
ony, 1821; d. New York, Aug. 16, 1876;
studied under Zimmermann in Zittau, and
Hesse in Breslau. Went to America 1850
with the travelling 'Germania' Orch., and was
later its cond. until its dissolution (1854);
also of the Handel and Haydn Soc., 1852-4.
In 1855, entered Philh. Orch., N. Y., cond.
the concerts alternately with Th. Eisfeld till
1862, then sole cond. until his death. Also
conducted the Germ, male chorus 'Arion' for
several years. B. was an eminent conductor,
a good pianist and 'cellist; an ardent admirer
of Wagner, Liszt, etc., he rendered important
services to the cause of music in America by
introducing their works.
Ber&'ner, Wilhelm, b. Riga, Nov. 4,
1837; d. there June 9, 1907. 1861, organist
of the English church at Riga; 1868-1906, of
77
Riga cathedral. He founded a Bach Society,
and a cathedral -choir, and was a zealous
promoter of music in Riga; he brought about
the first production of Rubinstein's sacred
opera Moses (Feb. 20, 1894), and procured
the building of the great organ in the cathe-
dral by Walcker (1882-3).
Bergon'zl, Carlo, from circa 1716-47
violin-maker at Cremona; Stradivari's best
pupil. His son, Michelangelo, and his 2
nephews, Niccolo and Carlo Bergonzi, were
of minor importance.
•
Berg'son, Michael, b. Warsaw, May,
1820; d. London, March 9, 1898. Pianist
and comp.; pupil of Schneider (Dessau), and
Rungenhagen and Taubert (Berlin)*. Went
to Paris (1840), and to Italy in 1846, where
his opera Luisa di Montfort was successfully
prod. (Florence, 1847). After living in Vienna
(1850-3), Berlin and Leipzig, he revisited
Paris, and brought out a 1-act operetta
Qui va a, la chasse, perd sa place (1859). In
1863, 1st pf. -teacher in, and in a short time
director ot, Geneva Cons.; went to London
in a few years, and lived there as a private
teacher.-— Works: For pf., 12 Grandes Etudes,
op. 62; Ecole du mecanisme, op. 65; Concerto
symphonique in E m.; Trio, op. 5; Polonaise
heroique, op. 72; Sonata with flute; Duo
dramatique for pf. and flute; duos for pf. and
vln.; Mazurkas, Fantasias, etc.
Bergt, Christian Gottlob August, cele-
brated teacher, composer and organist; b.
Oderan, Saxony, Tune 17, 1772; d. Bautzen,
Feb. 10, 1837, where he was organist from
1802, also music-teacher at the Seminary and
conductor of the singing society. — His sacred
music (a Passion-Oratorio, op. 10; the hymns
So weit der Sonne Strahlen. op. 17, and
Christus ist erstanden, op. 18, tor 4 voices and
orch. ; a Te Deum; the canticle Herr Gott, dich
loben wir, reset; etc.), is well known through-
out Germany; he also wrote 6 operas, several
symphonies, sonatas for pf. ana violin, etc.;
a set of Lieder, Conge, also became very
popular. His book Brief wechsel tines alien
und jungen Schulmeisters (1838) contains a
biographical- sketch. — See Q.-Lex.
Be'ringer, Oscar, b. Furtwangcn, Baden,
July 14, 1844; brought up in London. Pupil
of Leipzig Cons. (Plaidy, Moscheles, Reine-
cke) 1864-6; later, at Berlin, of Tausig, Ehr-
lich, and Weitzmann. He became prof, in the
'Schulc des hoheren Klavierspiels' at Berlin in
1869; returned to London in 1871, and in
1873 established a similar institution there: —
'Acad, for the Higher Development of Pf.-
playing' (closed in 1897). Since 1885, pf.-
prof. in R. A. M. He is a pianist of great
perfection of method, and his book of Tech-
nical Exercises is valuable; he has published 2
BERINGER— BERLIOZ
sonatinas and other pf. -pieces; some songs;
also Fifty Years* Experience of Pianoforte
Teaching and Playing (1907).
Be'ringer, Robert, brother of preceding,
b.Furtwangen, June 14, 1841. Has pven many
concerts in London and the provinces; from
1861, pianist at the Crystal Palace; cond. of
choral societies, and lecturer on music. Has
written pf. -music, orchestral pes., songs, etc.
Blrior. [ba-re-oh'], Charles (-Auguste) de,
famous violinist ; b. Louvain, Feb. 20, 1802 ; d.
there April 8, 1870. Though sometimes called
the pupil of Viotti and Baillot, he owed his
technical foundation to the careful instruction
of his guardian, Tiby , a provincial teacher. At
9 he played a concerto by Viotti in public;
and his later wonderful development was due
to his native musical talent and individuality.
He went to Paris in 1821; made a triumphant
debut there; became chamber-violinist to the
King of France; played successfully in many
concerts in England; was app. solo violinist
to the King of the Netherlands (1826-30) ; lost
position and salary through the Revolution,
and from 1830-5 made concert-tours through
Europe, many with Mme. Garcia-Mali-
bran, whom he married in 1836. After her
death in Sept., de B. did not appear in public
until 1840, on a tour in Germany. From
1843-52 he was prof, of vln. at Brussels
Cons. ;• failure of eyesight, and paralysis of
left arm, necessitated his retirement. — He
publ. 7 vln. -concertos; 4 pf. -trios; several
duos brillants for pf. and vln.; 11 sets of
variations for vln.; also Premier Guide des
violonisUs; MSthode de VioUm (3 parts; Paris,
1858; his best work); many studies for vln.;
etc. — Cf. No. VI of 'De hdiculis opuscula'
(1894) by Edward Heron-Allen: A Contribu-
tion towards an Accurate Biography of De
Beriot and Malibran.
Beriot, Charles- Wilf ride de, son of pre-
ceding; b. Paris, Feb. 12, 1833; d.
Sceaux du Gatinais, Oct. 22, 1914. Pianist,
pupil of Thalbcrg (1855). Prof, of pf. at
Paris Cons. — Works: Symphonic poem Fer-
nand Cortez; overtures; 3 pf. -concertos;
Operas sans paroles for pf. and vln.; a Fan-
taisie-Ballet for vln.; a septet; 2 pf. -quartets;
a pf.-trio; sonata for pf. and flute; about 60
comps. for pf . ; songs, etc. With his father he
wrote a Methode d'accompagnement.
Berlljn [-lln'] (or Berlyn), Anton (or
Aron Wolf [?]), b. Amsterdam, May 2, 1817;
d. there Jan. 16, 1870. Pupil of L. Erk and
B. Koch; also of G. W. Fink at Leipzig. For
years he was conductor of the Royal Th.,
Amsterdam. He wrote 9 operas; 7 ballets;
an oratorio, Moses auf Nebo; a symph. can-
tata; a mass; symphonies, overtures, cham-
ber-music, etc.
Berlioz [bar-le-ohz], Hector(-Louis), a
composer of such marked and powerful indi-
viduality and wide-spread influence that he
has been called the 'father of [ultra-] modern
orchestration,' was born at Cdte-Saint- Andre,
near Grenoble, France, Dec. 11, 1803; d.
Paris, March 8, 1869. His father, a physi-
cian, sent him to Paris to study ^ medicine
under Amussat; carried away by his passion
for music, however (although the flageolet
and guitar were the only instrs. he could play),
he forsook his medical studies in defiance of
parental authority and a cutting-off of his
allowance. Entering the Conservatory, he
managed to subsist by joining the chorus of
the 'Gymnase dramatique'; impatient of
Reicha's formal system of instruction, he
soon left the Cons., determined to follow his
own bent. Fired by the revolt of the new
'romantic' school against the sway of the
'classics,' B. devoted himself heart and soul
to the former cause. His first essay in compo-
sition, an orchestral Mass given at St.-Roch
in 1825, was unintelligible both to executants
and hearers, and made him an object of ridi-
cule; still, nothing daunted, he persevered in
his chosen path, which led straight to the
realm of the most outspoken and elaborate
program-music. His next works (1828) were
two overtures, Waverly and Les Francs-
Juges, and a 'symphonie phantastique,'
ftpisode de la vie d'un artiste. To these, and
other less-known pieces, he added, at a con-
cert in 1829, a composition entitled Concerts
des Sylf>hesf with the following printed pro-
gram: Mephistopheles, to excite in Faust's
soul the love of pleasure, convokes the spirits
of the air, and bids them sing; after preluding
on their magic instrs., they describe an en-
chanted land, whose happy inhabitants arc
intoxicated with ever-renewed voluptuous de-
lights; little by little the charm takes effect,
the voices of the sylphs die away, and Faust
falls asleep to dream delicious dreams.' It
shows how far B. had already travelled, at
the age of 25, in this direction. In 1826, to
obtain 'protection' in his efforts to compete
for the great prizes., he had reentered the
Cons., taking a course in free composition
with Lesueur. Cherubini long opposed his
admission to the annual competitions; at
length, in 1830, he bore off the Grand prix
de Rome with a cantata, Sardanapale. From
his sojourn of 18 months in Rome and Naples,
he brought back the overture to King Lear,
and a sequel to the 'symphonic fantastique' —
Lelio, ou le retour & la vie. By brilliant jour-
nalistic work in the 'Journal des Debats,' the
'Gazette musicalc,' etc., he increased his
prominence, and became a power in musical
Paris. And now his symphony Harold en
Italic (1834), the Messe des morts (1837), the
dramatic symphony RonUo et Juliette, with
78
BERLIOZ
vocal soli and chorus (1839), and the
Carnaval romain were received with paeans
of praise in the press; though the attitude
of the public was more reserved. But
his first dramatic attempt, the 2-act
opera semi-seria Benvenuto Cellini (Grand
Opera, Sept. 3, 1838), was rejected in toto by
the general public at Paris, and also a fort-
night later at London; though the chosen
few at Weimar lauded it to the skies. For
Liszt was in active sympathy with . B.v
adopting and transmuting the latter's ideas
in his own irresistibly genial and original
fashion. In 1839 B. was made Conservator
of the Conservatory, and, in 1852, librarian,
an appointment held until death; the coveted
professorship was, nevertheless, jealously
denied him. In 1843 his first concert-giving
tour in Germany, etc., met with great success,
which he recorded in his Voyage musical en
Allemagne et en Italic (1844; 2 vols.). Similar
excursions through Austria, Hungary, Bohe-
mia and Silesia (1845), and Russia (1847),
were equally fortunate. In London (1852)
he conducted the first series of the 'New
Philh. Concerts'; in 1853 his Benvenuto Cellini
was performed at Covent Garden under his
baton. BSatrice et Benedict, a 2-act comic
opera, was likewise brought out by himself
at Baden-Baden (1862). He was appointed
a member of the juries at the exhibitions in
London and Paris, 1855 and 1861; elected
member of the Academie in 1856; and
decorated with the cross of the Legion of
Honor. His last foreign trip was to Petro-
grad, by invitation of the Grand Duchess
Helenc, to bring out his Damnation de Faust.
In 1864 the fees from 21 representations of
Les Troyens at the Th.-Lyrique, with the sum
realized from the sale of the pf. -score, yielded
an income, placed at interest, equal to his
salary as critic for the 'Journal des Debats',
and he at once resigned his post with the fol-
lowing outburst: 'At last, after thirty years'
bondage, I am free! No more feuiUctons to
write, no more commonplaces to excuse, no
more mediocrities to praise, no more indig-
nation to suppress; no more lies, no more
comedies, no more mean compromises. I am
free! I need never again set foot in a lyric
theatre, nor speak of nor listen to nor even
laugh at the queer medley of music produced
there. Gloria in excelsis Deo, et in terra pax
hominibus bonce voluntatis!'. — The evening of
his life was overcast by the failure of his
opera, Les Troyens a Carthage (1863), and the
death of his son Louis (1867). During his
lifetime he met with little real appreciation
in his native country, though posthumous
honors are now showered upon him; but the
somewhat artificial 'Berlioz cult' in France
in no way rivals the German Wagner move-
ment. Indeed, Germany has most generously
honored B.'s memory by the first complete
production, under Mottl's direction, of the
opera Les Troyens (in two parts: La Prise de
Troie, 3 acts, and Les Troyens a Carthage
in 5 acts) at Karlsruhe in 1897. His bizarre
yet very popular 'oratorio,' La Damnation de
Faust (1846), perhaps marks the culmination
of B.'s striving after the purely fantastic; but
his passion for unprecedented orchestral
combinations and gigantic mass-effects was
unsated, and he certainly carried the science
of orchestration to wonderful opulence. His
TraitS dx instrumentation (Engl, transl., Lon-
don; latest German ed. 1905, by Richard
Strauss; also a 'Supplement' entitled 'Tech-
nique de Vorchestre moderne* by Widor [1905;
German transl. by Riemann]) long held first
place among works of its class (Gevaert's
great treatise is more modern and complete).
Besides the Voyage musical he publ. Les Soirees
de Vorchestre (1853), Grotesques de la musique
(1859), A trovers chants (1862), and his
MSmoires (1870; 2nd ed. 1876, 2 vols.; Engl,
transl. London, 1884), containing an auto-
biography from 1803-65; Les Musiciens et la
Musique is a series of articles coll. from the
'Journal des DSbats' (1903, with introd. by
Andre Hallays). His prose style is both
forceful and polished— ^garnished with caustic
wit and fanciful conceits; in verse he penned
the words to his VEnfance du Christ (see
below), also to the operas BSatrice et Benkdict
and Les Troyens. — Other large compositions,
besides works already mentioned, are the
sacred trilogy VEnfance du Christ (Part I,
Le Songe d'HSrode; II, La Fuite en £gypte;
III, VA rrivSe a Sais) ; a Te Deum for 3 choirs,
orch. and organ; a Grande symphonic funebre
et triomphale for full military band, with
strings and chorus ad lib.; overture to Le
Corsaire; Le cinq Mai, for bass solo, ch. and
orch. (for the anniversary of Napoleon's
death) ; also other instrumental ana choral
works, songs, transcriptions. A complete edi-
tion of Berlioz's works in about 24 vols., ed.
by Ch. Malherbe and F. Weingartner, is being
published by Breitkopf & Hartel. So far
(1916) 18 vols, have appeared. His literary
works were translated into German by R.
Pohl, and publ. in 4 vols. (1864). A new Ger-
man ed., translated by E. Elles and G. Savic,
in 10 vols, (including the entire correspond-
ence), was issued by Breitkopf & Hartel
(Leipzig, 1903-12). Volume x contains the
treatise on Instrumentation, tr. by D. Schultz
and W. Niemann, ed. by Weingartner.
BIBLIOGRAPHY.— A. Biography: E.
Hippeau, B., Vhomme et V artiste (3 vols.,
Paris, 1883-5); A. Jullien, //. B. (Paris,
1888; a most valuable work); L. Pohl, H. B.'s
Leben u. Werke (Leipzig, 1900); K. F. Boult,
B.'s Life as Written by Himself in His Letters
and Memoirs (London, 1903); R. Louis, H B.
79
BERLYN— BERNASCONI
(Leipzig, 1904); J. G. Prod'homme, H. B. >
(Paris, 1905); A. Coquard, B. (Paris, 1908);
B. Schrader, B. (Leipzig, 1908); A. Boschot,
La Jeunesse d'un romantique: II. B.t 1 803-31
(Paris, 1906) ; id., Un Romantique sous Louis-
Philippe: H. B.t 1831-12 (iB., 1908); id., Le
CrepuscuU d'un romantique: H. B.t 1842-69
(ib., 1913).
B. Correspondence: D. Bernard, Corre-
spondance inidite (Paris, 1878); Ch. Gounod,
Lettres iniimes (Paris, 1882); La Mara, Brief e
von H.B.an die Fiirstin Carolyne Wittgenstein
(Leipzig, 1903; in French); J. Tiersot, Les
Annies romantiques: Correspondence d'H. B.
(Paris, 1907). All the above-mentioned let-
ters are found in vols, iii-v of the B. & H. ed.
C. Criticism: F. Liszt, B. u. seine Harold-
symphonic (1855; repr. in vol. iv of Liszt's
'Gesatnmclte Schriften'); A. Ernst, L' autre
dramatique de H. B. (Paris, 1884) ; R. Pohl,
H. B. : Studien u. Erinnerungen (Leipzig,
1884); E. Hippeau, B. et son temps (Paris,
1892); J. Tiersot, H. B. et la societi de son
temps (Paris, 1904).
Berlyn, Anton. See Berlijn.
Bernabe'i, (Giuseppe) Ercole, b. Capra-
rola, Papal States, circa 1620; d. Munich,
1688. A pupil of Orazio Benevoli, whom he
succeeded in 1672 as m. di capp. at the Vati-
can; 1674, court Kapellm. at Munich. He
wrote 5 operas (prod, in Munich); published
a book oi madrigals a 3, Concerto madri-
galesco (1669), and one of motets a S (1691);
other works (masses, offertories, psalms) are
in MS. in various libraries.
Bernabe'?, Gloseffo Antonio, son of
preceding; b. Rome, 1659; d. Munich, March
9, 1732, where, in 1688, he succeeded his
father as court Kapellm.— Works: 15 operas;
masses, and other ch.-music. — See Q.-Lex.
Beraacchl [-nahk'ke], Antonio, celebrated
sopranist (musico); b. Bologna, June (bapt.
23d), 1685; d. there March, 1756. Pupil of
Pistocchi. Specially engaged by Handel for
the Italian Opera, London, in 1729, as the
finest living dramatic singer. In 1736 he
founded a singing-school at Bologna. He
revived the style of vocal embellishment
which the French term 'roulades.' Comp. of
Grave et Fuga a 4; Kyrie a 5; Justus ut palma
a 5.
Bernard [bar-nahr'], femile, b. Marseilles,
Nov. 28, 1843; d. Paris, Sept. 11, 1902.
Pupil, in Paris Cons., of Reber (comp.),
Benoist (org.), and Marmontel (pf.). Org. of
Notre-Dame-des-Champs, Paris, and a dis-
tinguished composer of the new school. —
Works: VI n. -concerto; Concertstiick for pf. w.
orch.; Fantaisie for do., op. 31; orchl. suites;
a Divertissement for wind-instrs.; 2 suites for
organ; Beatrice overture; a pf. -quartet; a pf.-
trio; sonata for pf. and 'cello; sonata for pf.
and vln.; much other chamber- and pf. -music;
2 cantatas, GuiUaume le conquirant, and La
Captvoite de Babylone,
Bernard, Moritz, b. Kurland, 1794; d.
Petrograd, May 9, 1871. Pupil of John Field
(Moscow, 1811), and Hassler. He at first
travelled, then (1816) was Kapellm. to Count
Potocki, and in 1822 teacher of music in
Petrograd, where he. opened a music-store in
1829. Wrote minor pt.-pieces, and an opera,
Olga (Petrograd, 1845).
Bernard, Paul, b. Poitiers, France, Oct.
4, 1827; d. Paris, Feb. 24, 1879. A pupil of
Halevy, Thalberg and others, in Paris Cons.;
successful concert-pianist and teacher, com-
posed many small pf. -pieces, and wrote criti-
cisms for the 'Menestrel,' and the 'Revue et
Gazette musicale.'
Bernar'di, Bartolomeo, b. Bologna; d.
Copenhagen, 1730. Lived in Copenhagen for
over 30 years as vlst. and Kapellm. Wrote
an opera, Libussa (Prague, 1703); op. 1, 12
trio sonatas; op. 2, 10 do.; op. 3, 12 sonatas
for violin with basso continuo.
Bernar'di, Enrico, b. Milan, Mar. 11,
1838; d. there July 17, 1900. A travelling
conductor and leader, the director and pro-
prietor of an orchestra at Milan. He wrote
several fairly succ. operas and nearly 60
ballets (1854-79), and: much very popular
dance-music; also marches, and the like. His
first ballet, Illusioni d'un pittoret was prod,
at the Carcano Th., Milan, in 1854.
Bernar'di, Francesco. See Sbnesino.
Bernar'di, Gian Giuseppe, b. Venice,
Sept. 15, 1865. Studied at first law, but then
entered Cons, at Venice; app. prof, cpt., hist,
of music and esthetics there; also founded
'Societa di musica e stromenti antichi.'
Wrote Armonia and Contrappunto for the
'Manuali Hoepli'; comp. of pf.-pieces, pieces
for vln., and songs.
Bernar'di, Steffano, b. Verona; d. 1638 (?).
M. di capp. at cathedral there from 1615-27;
then called to Salzburg as Kapellm. at the
cathedral. — Wrote 2 books of masses a 8; 1
a 4 and 5; 3 books of madrigals a 6; 3 do. a 5;
2 books of madrigaletti; psalms and motets;
also instrl. works (sonatas). — See Q.-Lex.
Bernardi'ni, Marcello ('Marcello di
Capua'), b. Capua, circa 1762. Wrote over
20 stage-works, both text and music, most
performed 1784-99 at Venetian theatres
with good success.
Bernasco'ni, Andrea, b. Marseilles, 1706;
d. Munich, Jan. 24, 1784, where he was court
Kapellm. from 1755. He wrote much sacred
music, and 18 operas, 14 of them for Mu-
nich.— See Q.-Lex.
80
BERNASCONI— BERTfi
Bernaaco'nl, Pletro, famous Italian or-
fm-builder; b. (?); d. Varese, May 27, 1895.
uilt the organs in Como cathedral, ancl in
the church o? San Lorenzo at Milan.
Ber'neker, Constanz, b. Darkehmen, E.
Prussia, Oct. 31, 1844; d. Konigsberg, June
9, 1906. Pupil of the Inst, fur Kirchenmusik
and the R. Acad, at Berlin; cathedral org.
at Kdnigsberg, teacher of comp. at the Cons.,
etc. — Works: The oratorios Judith, Christi
Himmelfahrt; a Reformations-Kantate; the
cantatas Gotl unsere Zuflucht and Christus ist
mein Leben; the choral works with orch.
Das Siegesfest, Hero und Leander, Das hohe
Lied, Mila, das Haidekind, etc. — Biogr. by
V. Laudien (Berlin, 1909).
Ber/ner, Friedrich Wilhelm, b. Breslau,
May 16, 1780; d. there May 9, 1827. Fine
organist, music-teacher at the Br. Seminary,
and later Director of the R. Academic Inst,
for Church-music. Wrote much ch. -music
(MS.), and published theoretical works. —
Biogr. by Hientsch (1829).
Bern 'hard der Deutsche, organist of S.
Marco, Venice, 1445-59, the year of his
death, a and known there as 'Bernardo di
Steffanino Murer'; was the reputed inventor
of organ-pedals, and at least introduced them
into Italy.
Bern'hard, Christoph, b. Danzig, 1627;
d. Nov. 14, 1692, Dresden, where he studied
under H. Schtitz. The Elector sent him to
study singing in Italy; he afterwards became
2nd, and then 1st Kapellm. at Dresden, suc-
ceeding Schiitz. He was a remarkable con-
trapuntist. Publ. Geistlichc Harmonica (1665),
and Prudentia prudentiana (1669; hymns). A
treatise on composition, and a second on
counterpoint, are in MS.; some of his can-
tatas were publ. by M. Seiffert in vol. vi of
'Dkm. deutscher Tonkunst.'
Berno 'Auglen'sis,' abbot of Reichenau
monastery 1008 to his death on June 7, 1048.
Wrote learned treatises on music, to be found
in Gerbert's 'Scriptores,' vol. ii. A monograph
on his system of music was published by
W. Brambach (1881).
Bernoulli [-nool'le], Eduard, b. Basel,
Nov. 6, 1867; in 1897 took the degree of Dr.
Phil., Leipzig; with the thesis Die Choral-
notenschrih bet Hymnen und Sequenzen im
spateren MiUelaUer (publ. 1898). He edited
Heinrich Albert's Arion (vols, xii-xiii in
'Dkm. deutscher Tonkunst') ; also (with Holz
and Saran) the new edition of the 'lenaer
Liederhandschrift' in modern notation (1901).
In 1909 he qualified as lecturer at Zurich
Univ. with the lecture Berlioz als Asthetiker
der Klangfarben (publ. 1909). He also wrote
Oratorientexte Handels (1905); Aus Lieder-
buchern der Humanisten (1910).
81
Bernoulli, Johann, b. Basel, July 27,
1667; d. there Jan. 2, 1747, as Prof, of
Sciences; succeeded by his son Daniel [b.
Groningen, Feb. 9, 1700; d. Basel, March 17,
1782]. Their writings on acoustics are valuable.
Berns'dorf, Eduard, b. Dessau, Mar. 25,
1825; d. Leipzig, June 27, 1901. Pupil of
Schneider and A. B. Marx (Berlin). Writer,
critic (for the Leipzig 'Signale'), and comp.
He completed Schladebach's ' Universal- Lexi-
kon der Tonkunst' (1855-6, 3 vols, and Ap-
pendix); also publ. pf. -pieces and songs.
Bernuth [bar'noot], Julius von, b. Rees,
Rhine Province, Aug. 8, 1830; d. Hamburg,
Dec. 24, 1902. Originally destined for the
law, he studied music at Berlin under
Taubert and Dehn; from 1852-4, barrister at
Wesel; then gave up law, and studied music
at Leipzig Cons, till 1857, when he founded
the chamber-music society 'Aufschwung,' and
in 1859 the 'Dilettanten-Orchester-Verein';
also conducted the 'Euterpe,' the 'Singaka-
demie,' and the Male Choral Soc. During
the summer of 1863 he studied singing with
Manuel Garcia at London; returning to Leip-
zig, he conducted one season of the 'Euterpe'
concerts, then becoming conductor of the
Hamburg Philh., in 1867 of the H. 'Singaka-
demie.' In 1873 he founded a conservatory
there. In 1878, 'Royal Prussian Professor.'
Berr, Friedrich, famous clarinettist and
bassoonist; b. Mannheim, April 17, 1794; d.
Paris, Sept. 24, 1838. Bandmaster in various
French regiments; 1823, 1st clarinet at the
Th. des Italiens; 1831, prof, of clarinet at
Paris Cons.; 1836, Director of the new School
of Military Music. — Works: Traite compUt de
la clarinette & 14 clefs (1836); prolific comp.
for clarinet, bassoon, etc. (500 pieces of
military music alone; suite, trios, duos, etc.).
Berre\ Ferdinand, b. Ganshoren, n. Brus-
sels, Feb. 5, 1843. Opera-composer; first
work, VOrage au moultn (1867); then Le
Couleau de Castille (1867); others in MS. Has
published over 50 songs (romances).
Bertali, Antonio, b. Verona, March,
1605; d. Vienna, April 1, 1669. Yiennese
court musician from 1637; 1649, till death,
court Kapellm., succeeding Valentini. Prod,
several cantatas (1641-46), and, from 1653-
67, 8 operas and 3 oratorios, all at Vienna. —
See Q.-Lex.
Berte, Heinrich, b. Galgocz, Hungary,
May 8, 1858; stage-composer, living in
Vienna. Has brought out the ballets Das
Marchenbuch (Prague, 1890), Amor auf Rei-
sen (Vienna, 1895), Der Karneval in Venedig
(Vienna, 1900), Automatenzauber (Vienna,
1901); and the operettas Die Schneeflocke
(Prague, 1896), Der neue Burgermeister
(Vienna, 1904), Die MUlionenbraut (Munich,
BERTELMANN— BERTON
1905), Der schone Gardist (Breslau, 1907),
Der kleine Chevalier (Dresden, 1907), Der
Gliicksnarr (Vienna, 1909), Kreolenblut (Ham-
burg, 1911), Der M&rchenprinz (Hanover,
1914).
Ber'telmann, Jan Georg, b. Amsterdam,
Jan. 21, 1782; d. there Jan. 25, 1854. Pupil
of D. Brachthuijzcr; prof, at the R. School of
Music, where he formed many eminent pupils
(Stumpff, Hoi, Van Bree, et al.). — Published
works: Mass, requiem, string-quartet, pieces
for vln. and pf.; many others in MS.
Bertelsmann, Karl August, b. GUters-
loh, Westphalia, 1811; d. Amsterdam, Nov.
20, 1861. Pupil of Rinck. Director (1839)
of the 'Eutonia' society, Amsterdam. —
Works: Choruses for men's voices; 12 4-part
songs for mixed choruses; songs with pf.;
pieces for organ; pf. -music.
Bertheaume [bar-tohm'], Isidore, b.
Paris, 1752; d. Petrograd, March 20, 1802.
First violin at Grand Opera, 1774; conductor
of the 'Concerts Spirituels,' 1783; finally, solo
violinist in the Imp. orchestra at Petrograd.
— Works: Sonatas, solos, duos, and a concerto
for vln.; 2 symphonies concertantes f. 2 vlns.;
3 sonatas for clavecin, with violin.
Bertliold, (Karl Friedrlch) Theodor,
b. Dresden, Dec. 18, 1815; d. there April 28,
1882. Pupil of Jul. Otto and Joh. Schneider;
in 1864 he succeeded the latter as court org.
at Dresden. He wrote an oratorio, Petrus,
a Missa solemnis, a symphony, overtures,,
church-music, etc.; also (with Fiirsteoau) a
pamphlet, Die Fabrikalion musikalischer In-
strumenie im Vogtlande (1876).
Bertin [bar-tanl, Louise-Angelique, b. at
the Roches, n. Paris, Feb. 15, 1805; d. Paris,
April 26, 1877. Pupil of Fetis; dram, comp.,
singer, pianist. — Operas: Guy Mannering (pri-
vate perf.), Le Loup-garou (Paris, 1827), Faust
(1831), Notre-Dame de Paris [Esmeralda]
(1836); many minor compositions, of which
Six Ballades were published.
Berti'ni, Benott-Auguste, b. Lyons, June
5, 1780; d. (?). Pupil of Clementi in London
points,
nouvelle art de noter la tnusique (Paris, 1812),
and Phonological System for acquiring extraor-
dinary facility on all musical instruments as
well as in singing (London, 1830).
Berti'ni, Domenico, b. Lucca, June 26,
1829; d. Florence, Sept. 7, 1890. Pupil of
Lucca Music-School, later of Mich. Puccini.
1857, Director of the mus. inst. at Massa
Carrara, also m. di capp.; went to Flor-
ence in 1862, as singing-teacher and critic,
and became director of the 'Cherubini So-
ciety.' Contributor to the 'Boccherini'
of Florence, 'La Scena* of Venice, and other
periodicals. He comp. 2 operas, masses, mag-
nificats, and chamber-music; also wrote
Compendio de* principt di musica, secondo un
nuovo sistema (1866).
Berti'ni, Abbate Giuseppe, b. Palermo,
1756; d. there 1849 (?). M. di capp. to the
Sicilian court; publ. a Dizionario storico-cri-
tico degli scrittori di musica (Palermo, 1814).
Berti'ni, Henri (-Jerome) ['Bertini le
jeune'j, pianist and composer; b. London,
Oct. 28, 1798; d. Meylau, n. Grenoble,
Oct. 1, 1876. When six months old he was
taken to Paris, where he was taught by his
father and his elder brother, Benott-Auguste;
played early in public, and at 1 2 made a con-
cert-tour through the Netherlands and Ger-
many. ^ He returned to Paris for study; spent
some time in Great Britain; and from 1821-
59 resided in Paris, whence he made many
brilliant artistic tours. In 1859 he retired to
his estate at Meylau. Both as pianist and
composer he was a musician of the highest
talent and lofty ideals, unalterably opposed
to the flashy virtuosity then so much in vogue.
His technical studies are still of value: an
excellent selection of 50 has been edited by
G. Buonamici; also op. 100, 29 and 32 by
Riemann, as a preparation for Czerny's op.
299; his am of Bach's '48 Preludes and
Fugues' for 4 hands, is useful. He also wrote
much chamber-music, and pieces for pf.-solo
— over 200 works in all.
Berton [bar-t6hn'], Francois, natural son
of Henri-Montan B.; b. Paris, May 3, 1784; d.
July 15, 1832. Pupil of Cons., 1796-1804;
prof, of singing there 1821-7. He composed
several operas, and some vocal music. —
Biogr. by Raoul-Rochette (1832).
Berton, Henri-Montan, son of Pierre-
Montan B.; b. Paris, Sept. 17, 1767; d. there
April 22, 1844. Opera-composer, pupil of Rey
and Sacchini. In 1782, violinist in Op6ra
orch.; 1795, prof, of harm, in Paris Cons.;
1807, cond. of the Opera buffa; 1809, chef du
chant at the Opera; 1815, member of the
Academy; 1816, prof, of comp. at Cons. Of
his 47 operas, the best are Montano et Ste-
phanie (1799), Le Dtlire (1799), and Aline,
reine de Golconde (1803); he also wrote bal-
lets, 5 oratorios, 5 cantatas, and many ro-
mances. His theoretical works are curious
rather than valuable. — Biogr. by Raoul-
Rochette: Notice hist, sur la vie et les ouvrages
de M. Berton (Paris, 1844), and by H. Blan-
chard, Henri-Montan Berton (Paris, 1839). —
See Q.-Lex.
Berton, Plerre-Montan, b. Maubert-
Fontaines (Ardennes), Jan. 7, 1727; d. Paris,
May 14, 1780, as conductor of the royal orch.
and of the Grand Opera. A contemporary of
82
BERTONI— BESLER
Gluck and Piccinni, his great talent for con-
ducting aided efficiently in the improvement
of French opera. _ He wrote several operas
and other stage-pieces, some in collaboration
with Trial, etc. — See Q.-Lex.
Berto'ni, Ferdinando (Gioseffo), b.
Island of Sal6, n. Venice, Aug. 15, 1725; d.
Desenzano, Dec. 1, 1813. Pupil of Padre
Martini; 1752, first organist at San Marco;
1784, Galuppi's successor as m. di capp.;
choirmaster at the Cons, de' Mendicanti from
1757-97. — Works: 5 oratorios, and much
other church-music; 34 operas; chamber-
music; 6 harpsich.-sonatas, etc.— See Q.-Lex.
Bertrand, Aline, one of the foremost
harpists of her time; b. Paris, 1798; d. there
March 13, 1835; stjdied at the Cons, under
Naderman, and in 1815 with Bochsa; scored
enormous success at her debut in 1820 (in
Pans I?]); then toured all Europe; upon her
appearance in Vienna, in 1828, she was ac-
corded a reception surpassed only by the one
Sven to Paganini; published a Fantaisie sur
*\\£<?nance ** JoseP*'— Mendel wrote of her:
With regard to force and boldness of execu-
/i^Snw remains unsurpassed to this day
Bertrand [-trahn'J, Jean-Gustave, b.Vau-
girard, n. Pans, Dec. 24, 1834; d. Paris, 1880.
Writer and critic— Works : Histoire ecclesias-
hque de I argue (1859); Essai sur la musique
7?£L\l *'£9?Ui:*Les or,igines * Ftormonie
(1800); De la reforme des etudes du chant au
Conserv. (1871); Les nationaliUs musicales
itudtees dans le drame lyrique (1872). Con-
tnbutor to Pougin's Supplement to Fetis.
u cfr'7?,f Franz' nePh™ of Joh. Fr. B.,
nXh°lm^,U,y 2\ 1l96; d' there APrii
JO, 1808, as Director of the Cons. — Works* 1
opera Estrella di Soria (Stockholm, 1862-
publ.); 3 symphonies; chamber-music.
hn?nT naWi Ji°^?nn1 Wedrich, b. Stock-
holm, Dec. 4, 1787; d. there Aug. 26, 1861.
Violinist pupil of Abt>e Vogler, and of
remarkable precocity, playing in public at 5,
?™ w"tl"& a symphony at 9; after concert-
tours, he became (1816) chamber- musician to
the King and from 1819 was conductor of the
royal orch His compositions (orch. works
and chamber-music) are mostly forgotten.
Ber'wald, William, b. Schwerin, Ger-
7£nfr. *?<*• 26, 1864. Studied comp. with
l^'t te^gerrv(.1883~7) *nd L F^zt, Stutt-
gart (1887-8) Director of the Philh. Soc. at
Libau, Russia (1890); head of dept. of theory,
bvracuse Univ., since 1892; director of several
choral societies. Received prize from Phila.
Mb. bociety for a quintet for pf . and strings;
also received 'Clemson Medal' in Anthem
contest.— Works: Seven Last Words of Christ,
cantata; Crucifixion and Resurrection, can-
83
tata for mixed voices; Dramatic Overture for
orch.; Walthari, overture f. orch.; sonata for
vl. and pf. in F; many songs, pf.-pcs., and
anthems.
BerVin, Adolf, b. Schwersenz, n. Posen,
March 30,. 1847; d. Rome, Aug. 29, 1900.
Pupil of Lechner (pf.) and Frohlich (vln.), also
of Rust at Berlin (cpt.) and Dessoff at Vien-
na (comp.). In 1882, Director of the Royal
Libraries at the Cecilia Academy in Rome.
Edited an Italian transl. of Lebert and Stark's
'Piano School.'
Beechnitf , Johannes, b. Bockau, Silesia,
April 30, 1825; d. Stettin, July 14, 1880.
From 1848, teacher and cantor at the Catholic
School, Stettin; he also cond. a male choral
soc., for which he wrote many easy choruses.
Besekirsky [ba-z£-kcr'ske]f Vasslll Vassi-
lievitch, celebrated violinist ; b. Moscow, Jan.
26, 1835. Having received his education from
private teachers, he entered the orch. of the
Imp. Th. at Moscow in 1850; was granted
leave of absence in 1858, and went to Brus-
sels, where he studied with Leonard (vln.)
and Damcke (comp.); returned to his post in
Moscow in 1860. Although he had appeared
as soloist in Brussels and Paris, he did not
begin regular concert-tours until 1868, when
he played with great success at the Gewand-
haus in Leipzig; then toured Germany,
France, Spam, England, Austria, Scandina-
via, the Netherlands; 1871, concert-master of
the Imp. Th. at Moscow; 1882-1902 prof, of
vln. at the Cons, of the Philh. Soc. (has per-
sonally taught over 500 pupils). The 50th
and 60th years of his uninterrupted activity
were made occasions of special celebrations in
Moscow and Petrograd.— Comps. for orch. :
Ouverture de concert, Suite (5 movems.), Scene
lyrtque. Tableau symphonique, Hpisode fanias-
ttque Ballade, Marche de Couronnement (ded.
to Alexander 1 1 1) ; a concerto for vln. and orch. ;
numerous pieces for vln.; also publ. cadenzas
to the concertos of Beethoven, Brahms and
Paganini (Eb); has edited the vln.-sonatas of
Bach, with a valuable preface, VArt musical
du vtolon du X VII' jusqu'au XX* siecle
(Kiev, 1913).
Besekir'sky, Vassili, fine violinist, son
of preceding; b. Moscow, 1879; taught en-
«™«y £y hls father; debut at Moscow in
1891; has toured Russia, Germany, Scandi-
Sy?5*!-10!13*^- of vln- at 0dessa Cons-;
1914-16 in the U. S., where he made successful
appearances as soloist with the larger orches-
tras and in recitals.
i«:Bf?71fr^S!?mYe,»Tb\BrieS' Si,esia. D<*.
15, 1574; d. Breslau, July 19, 1625, where he
was rector of the Gymnasium zum Heiligen
Geist from 1605. His church-compositions
are preserved in great part at the library
of bt. Bernardinus, Breslau.
BESOZZI— BEVAN
Besoz'zl, Alessandro, one of the best
oboists of his time, b. Parma, circa 1700; d.
Turin, 1775. In 1731, member of court orch.,
Turin, later advancing to chamber-musician
and director-general of the instrl. music. He
made frequent concert-tours with, his brother
Girolamo (d. Paris, 1786); Burney heard
him in 1772. He publ. numerous trio-sonatas
for flute with vln. and 'cello -(or harpsich.),
2 vlns. and 'cello, etc.; 6 vln. -sonatas w.
bass; etc.
Besoz'zi, Louis-Desire1, b. Versailles,
April 3, 1814; d. Paris, Nov. 11, 1879. Of a
musical family, he entered the Cons, in 1825,
and took the first Grand prix de Rome in
1837. He lived in Paris as a music-teacher,
and composed pf.-pieccs, etc.
Bessel, Vassill Vassilievltch, b. Petro-
grad, April 25, 1843; d. Zurich, April 25, 1907.
The founder (1869) of the music-publ. firm of
Bessel & Co. at Petrograd, which has publ.
works by many distinguished Russian comps.
(A. Rubinstein, Rimsky-Korsakov, Tchai-
kovsky, Mussorgsky), also two short-lived
periodicals. He wrote Reminiscences of
Tchaikovsky, who was his fellow-student at
the Petrograd Conservatory.
Beseems [bes-sahn'], Antoine, violinist; b.
Antwerp, April 6, 1809; d. there Oct. 19,
1868. Pupil of Baillot at Paris Cons. (1826);
member of the Italian Opera orch. ; then made
long concert- tours, and from 1847-52 cond.
the orch. of the 'Societe royale d 'harmonic'
Antwerp. — Works: Masses, motets, psalms,
graduate, etc.; a vln. -concerto; Fantasias for
vln.; 12 grandes Etudes for vln. with pf.; 12
grands Duos de concert for do. do. ; other vln.-
pieces; duos, trios and quartets for strings; etc.
Besson [bcs-sohn'], Gustave-Auguste, b.
Paris, 1820; d. there 1875. Is noted for his
improvements in the valves of wihd-instrs.
Best, William Thomas, distinguished
organ- virtuoso; b. Carlisle, Engl., Aug. 13,
1826; d. Liverpool, May 10, 1897. Taught by
Norman, deputy organist at the cathedral;
first appointment, organist of Pembroke Road
Chapel, Liverpool, 1840; 1847, at the Church
for the Blind; 1848, of the Philh. Society. In
1854, organist of the Panopticon, London,
and also at St. Martin's; 1855, of Lincoln's
Inn chapel; 1855-94, of St. George's Hall,
Liverpool, and also resumed (1872) the post
of organist of the Philh. Society. In 1880 he
was offered the option of knighthood or a
Civil-List pension of £100 per annum; he
accepted the latter, having a confirmed dis-
like to all titles. He retired in 1894. Best's
extraordinary virtuosity made him much in
request for very numerous public functions;
in 1890 he went to Sydney, Australia, to in-
augurate the organ in the new Town Hall.
84
His recitals were a feature in Liverpool mus.
life; he played concertos at many successive
Handel Festivals. His works, popular in type
though classical in form, include church-serv-
ices and anthems; sonatas, preludes and
fugues, concert-fantasias, studies, etc., for
organ ; also 2 overtures and a march for orch.,
and several pf. -pieces. His chief text-books
are The Art of Organ- Playing (London, 1870),
in 4 parts, and Modern School for the Organ
(London, 1853); he also publ. Handel Album
(20 vols.); Arrangements from the Scores of the
Great Masters (5 vols.) ; and a large variety of
transcriptions. B. likewise editedmany other
of Handel's works. An excellent sketch of B.
is to be found in the 'Musical Times,' June 1,
1897, pp. 382-3.
Beststadlg, Otto, b. Striegau, Silesia,
Feb. 21, 1835. Pupil of Mettner, Freuden-
bcrg and Mosevius in Breslau; settled in
Hamburg in 1858; founded a 4Konzertverein'
and his own Cons., directing both until his
retirement in 1910; was also cond. of the
'Musikgesellschaft' at Wandsbeck; made R.
mus. dir. in 1879. Wrote 2 oratorios, Der Tod
Baldurs and Victoria Cruris; Deutscher
Hymnus; a quartet for vln., 'cello, pf. and
harmonium; pieces for pf.; also Die unent-
behrlichen Htlfswissenschaften beim Klavier-
unterricht (1872, 3 parts).
Bettl, Adolf o, first violin of the Flonzaley
Quartet; b. Lucca, Tuscany, March 21, 1875.
Showed talent early, and after studying with
a country teacher began serious study of the
violin. His father was very musical and Puc-
cini, Catalani and Sgambati were frequent
visitors at his home. In 1892 the young vio-
linist went to Liege to study, and spent 4
years under Cesar Thomson; after complet-
ing his studies, spent 4 years in Vienna as
soloist ; called from Vienna to Brussels, re-
placing Cesar Thomson during his tours and
taking part in the Cons, concerts under
Gevaert; remained in Brussels from 1900-3;
in November, 1903, became leader of the
famous Flonzaley Quartet.
Betz, Franz, distinguished dramatic bari-
tone; b. Mayencc, March 19, 1835; d. Berlin,
Aug. 11, 1900. Sang from 1856-9 at Hanover,
Altenburg, Gera, Bernburg, Kothen, and
Rostock; after his debut as Don Carlos in
Ernani at Berlin (1859), he was permanently
eng. at the Royal Opera House until his re-
tirement in 1897, when the Emperor named
him 'hon. member' of the opera-company.
An eminent singer of Wagnerian rdles, he
created the Hans Sachs at Munich, 1868, and
the Wotan at Bayreuth in 1876. Other
favorite r61es were Don Juan, Hans Heiling,
and Tell.
Sevan, Frederick Charles, b. London,
July 3, 1856. Chorister and solo boy-sop. at
BEVIGNANI— BIANCHI
All Saints', Margaret St., London; organ-
pupil of Willing and Hoyte, and organist in
several churches; studied singing under
Schira, Deacon, and Walker; became Gentle-
man of the Chapel Royal, Whitehall, in 1877,
and at St. James's in 1888; since 1906 he has
been living in Australia. Well-known bass
concert-singer, and composer of very popular
songs: The Mighty River, The Flight of Ages,
My Angel, Watching and Waiting, etc.
Bevignani [-ve-fiah'-], (Cavaliere) En-
rico (Modesto), b. Naples, Sept. 29, 1841;
d. there Aug. 29, 1903. Studied composition
under Albanese, Lillo, and others; his first
opera, Caterina Bloom (Naples, 1863), was
very successful; but he, preferring the career
o( conductor, was engaged by Col. Mapleson
from 1864-70 at H. M.'s Th., London, then
in Covent Garden. Engagements in the
Italian operas at Petrograd and Moscow
alternated with the London seasons, until
B.'s engagement for the Metropolitan Opera,
New York, in 1894. By the Czar he was
.made Knight of the Order of St. Stanislas,
which carries with it nobility and a life-pension.
Bev'in, Elway, Welsh comp. and organist;
b. between 1560-70; d. 1640 (?). He was a
pupil of Tallis; (1589) organist of Bristol
cathedral, and (1605) Gentleman Extraordin-
ary of the Chapel Royal. — Works: A Brief e
and Short Introduction to the Art of Musicke
(1631); a Short Service in D m. (in Bar-
nard's and Boyce's Colls.) ; a song in 20 parts,
Hark, Jolly Shepherds; and anthems (MS.).
Bewerunge [ba'-], Rev. Henry, b. Letma-
the, Westphalia, Dec. 7, 1862. Pupil of Cons,
at Wiirzburg; ordained to priesthood at Eich-
statt in 1885; studied later at the Institute
for Church-music .at Ratisbon; from 1888-
1914, prof, of church-music at St. Patrick's
College, Maynooth (Ireland); since then prof,
of music at Dublin College of the Irish Nat.
Univ. — Wrote Die vatikanische Choralausgahe
(2 parts, Dusseldorf, 1906-7; also in English
and French); many valuable articles for
'Musica Sacra,' Haberi's 'Kchm. Jahrb.',
'The Irish Ecclesiastical Record,' 'The Catho-
lic Encyclopaedia'; also transl. into English
Riemann's Katech. der Musikdsthetik and
Vereinfachte Harmonielehre. From 1891-3 he
edited 'Lyra Ecclesiastical
Bexfield, William Richard, b. Norwich,
England, April 27, 1824; d. London, Oct. 29,
1853. Pupil of Dr. Z. Buck; org. of Boston
ch. Lincolnshire; from 1848, at St. Helen's,
London. Took degree of Mus. Bac. at Ox-
ford, 1846; Mus. Doc. at Cambridge, 1849.—
Works: An oratorio, Israel Restored (1852); a
cantata, Hector's Death; anthems, organ-
fugues, part-songs, songs, etc.
Bey'er [bi], Johann Samuel, b. Gotha,
1669; d Karlsbad, May 9, 1744. In 1697,
cantor at Freiberg, Saxony; 1722, at Weis-
senfels; 1728, Musikdirektor at Freiberg.
Publ. Primae lineae musicae vocalis (1703);
Musikal. Vorrath neu variirter Festchoralge-
sdnge (1716); and Geistlich-musikalische See-
lenfreude (1724; 72 concert-arias, etc.).
Bey'er, Rudolf, b. Wilthen, n. Bautzen,
Feb. 14, 1828; d. Dresden, Jan. 22, 1853.
Music- teacher and comp. of songs, chamber-
music, music to O. Luawig's Maccabder, etc.
Beyle, Marie- Henri. See Stendhal.
Bey'schlag, Adolf, b. March 22, 1845, at
Frankfort-on- the- Main. Pupil of V. Lach-
ner in Mannheim; 1868-80, Kapellm. of the
theatres at Treves and Cologne, and concert-
director at Mayence and Frankfort; then
conductor of the Philh. Soc. in Belfast,
deputy -conductor for Halle in Manchester,
and conductor of the Leeds Philh. Soc. and
subscription concerts; has lived since 1902
in Berlin ('Royal Prof.' in 1907). His valu-
able work on Die Ornamenlik der Musik was
published 1908 (l,eipzig); he has also publ.
4-hand Dances for pf., in canon-form; songs;
and arrangements.
Biag'gi [b'yah'j€], Girolamo Alenandro,
b. Milan, Feb. 2, 1819; d. Florence, March
21, 1897. Pupil of Milan Cons., 1829-39 (vln.;
comp.) ; after a visit to France, he returned to
Milan; was for a short time m. di capp.;
wrote an opera, Martina delta Scala; was for
some years (circa 1847) editor of the 'Italia
Musicale' (Milan; Lucca); wrote an essay,
Delia musica rdigiosa e delle questioni inerenti
(Milan: Ricordi, 1857); then settled in
Florence as prof, of mus. hist, and esthetics
at the newly established Reale Istituto
Musicale, writing articles for 'La Nazione,'
and the review 'La Nuova Antologia';
later for the 'Gazzetta d' Italia,' under the
pen-name I pool i to d'AIbano. He left an un-
finished Vita di Rossini. The tendency of his
writings is conservative. — Other works: Con-
ferenze su la riforma melodrammatica Fioren-
Una; Sugli istrumenti a pizzico; and La
Musica del Secolo XVII (1894).
Bial [be'-], Rudolf, b. Habelschwerdt,
Silesia, Aug. 26, 1834; d. New York, Nov.
13, 1881. Violinist in Breslau orch.; then
made a tour in Africa and Australia with his
brother Karl; settled in Berlin as conductor
of the Kroll Orch., and (1864) Kapellm. of
the Wallner Th., where his numerous farces,
operettas, etc., have been performed; later,
cond. of Italian opera in Berlin, and (1878)
concert-agent in New York.
Bian'chi [-ke], Bianca (rectius Bertha
Schwarz), high soprano opera-singer; b. in a
village on the Neckar, J une 27, 1 858. Pupil of
Wilczek (Heidelberg) and Mme. Viardot-
85
BIANCHI— BIEHLE
Garcia (Paris), Pollini paying her expenses
and then engaging her for 10 years. Debut
at Karlsruhe, 1873, as Barbenna in Figaro.
Sang at London for Pollini only till 1876; then
at Mannheim, Karlsruhe, and Vienna (1880).
Since 1902, teacher in the Munich A lead, der
Tonkunst. In 1897 she married Pollini.
Bian'chl, Eliodoro, opera-composer. —
Works: Gara d'amore (Ban, 1873); Sarah;
Almanzor.
Bian'chi, Francesco, b. Cremona, 1752;
d. by suicide at Hammersmith, Nov. 27,
1810. From 1775-8, m. al cembalo at Italian
Opera, Paris, where his first opera, La reduc-
tion de Paris, was prod. (1775) ; up to 1800 he
wrote 47 operas of pleasing but ephemeral
quality; went to Florence, 1780; to Venice,
1785, as org. at San Marco; and to London,
1793, ascond. at the King's Th.; 1797-1801,
opera -cond. in Dublin. — His treatise Del-
Vatlrazione afmonica w as never publ. He was
the teacher of H. R. Bishop. — See Q.-Lex.
Bian'chi, Valentine, soprano stage-singer;
b. Wilna, 1839; d. Candau, Kurland, Feb. 28,
1884. Studied at Paris Cons.; debut Frank-
fort, 1855; eng. at Schwcrin (1855-61), Stet-
tin, Pctrograd (1862-5), and Moscow (until
1867) ; retired 1870. She married chief forester
von Fabian in 1865. Her range was extra-
ordinary, including practically alto and so-
prano range (J-e*).
Bianchini [b'yahn-ke'ne], Pietro, b. Ven-
ice, Oct. 18, 1828. Began as violinist in the
Fenice Th. orch.; 1869 m. di capp. at Feltre;
1871, Conegliano; 1874, Parcnzo d'lstria;
1878-87 at Trieste as teacher of yln., cpt.
and comp.; then director of the Music School
of the 'Padri Armeni,' Venice. — Works:
Symphonies, string-quartets and trios, masses,
songs, and pf .-music.
Bl'ber[be-], Aloys, distinguished Bavarian
piano-maker; b. Ellingen, 1804; d. Munich,
Dec. 13, 1858.
Bi'ber, Heinrich Johann Franz von, b.
Wartenbcrg, Bohemia, Aug. 12, 1644; d. Salz-
burg, May 3, 1704. Noteworthy violinist and
composer, one of the founders of the German
school of violin-playing, and among the first
to employ the •scordatura.' Was successively
in the service of the Emperor l.copold I (who
ennobled him), the Bavarian court, and the
Archbishop of Salzburg. He publ. a number
of vln.-sonatas (one is in David's 'Hone
Schule'), and other pieces; 8 vln.-sonatas are
publ. in vol. v, 2, of 'Dkm. d. Tonk. in Oster-
reich,' and 16 more in vol. xii, 2. There are
also preserved in MS. the scores of 2 operas,
Chila dura la vince (Salzburg, 1681), and L'os-
sequio di Salisburgo (ib., 1699); 2 requiems;
offertories a 4; etc.— Biogr. by Luntz (1906).
Bibl, Rudolf, b. Vienna, Jan. 6, 1832;
d. there Aug. 2, 1902. Pupil of his father,
Andreas B. (org., d. 1878) and S. Sechter;
app. org. at St. Peter's, 1850; 1859 at St.
Stephens Cath.; 1863, 'Hof org/; 1897, 'Hof-
kapellm.' He was a famous virtuoso and a
composer of merit. — Works: 4 masses with
orch., op. 53, 58, 67, 88; 1 mass a capp., op.
82; a requiem in C m., op. 79; do. in D m.,
op. 84; concerto for organ w. orch., op. 68;
sonata for organ in D m., op. 74; sonata for
vln. and pf., on. 42; preludes and fugues for
organ; pieces for pf.; also wrote an Orgel-
schule, op. 81.
Bidez [be-daV], L. Aloys, b. near Brussels,
Aug. 19, 1847. Educated for the bar, he went
to the U. S. in 1876, and taught music there
for 25 years. Was one of the early lecturers
and vice- presidents of the M. T. N. A., and a
charter-member of the A. C. M. Publ. The
Art of Fingering (1877). Numerous composi-
tions for pf., other instrs., the voice, etc.;
3-act operetta The Stratagem; monody with .
orch., Out of Darkness into Light; pf.-con-
certo in Eb m.; etc. Since 1904 residing in
Belgium.
Bie [be], Dr. Oskar, b. Breslau, Feb. 9,
Art at the Technischc Hochschule in Berlin;
1901, prof.; ed. of 4Neue Rundschau' and
mus. critic of Berlin 'Borsen-Courier.' Be-
sides writing about painting and the plastic
arts, he has also written on music: Das Kla-
vier und seine Meister (1898; 2d ed. 1901);
Intime Musik (1904); Tansmusik (1905); Die
moderne Musik u. R. Strauss (1906; for S.);
Klavier, Orgel u. Harmonium (1910); Die
Oper (1913).
Bie'dermann [be-], Edward Julius, b.
Milwaukee, Wis., Nov. 8, 1849. Son and
pupil of A. Julius B.; also studied pf., org.
and theory in Germany, 1858-64. Organist
in turn at various New York churches; at
F resent (1916) at St. Francis dc Sales (R. C).
las lived for 50 years in N. Y. as a teacher.
— Works: 6 grand masses for soli, ch., org. and
orch.; a number of anthems; vocal ducts and
solos (sacred and sec.) ; choruses for male vcs.
Blehle, Johannes, b. Bautzen, June 18,
1870. Pupil at the Cons, at Dresden; later
studied also at the 'Technische Hochschule';
since 1898 cantor at the Cath. in Bautzen;
founded in 1905 the 'Lausitzer Musikfeste/
which have been very successful; app.
'Kirchenmusikdirektor' in 1908. He attracted
considerable attention with his two books
Theorie der pneumatischen Orgeltraktur u. die
SteUung des Spiellisches (Leipzig, 1911) and
86
BIEREY— BINCHOIS
Theorie des Kirchenbaues vom Standpunkie des
Kirchenmusikers u. des Redners .... mil
einer Glockenkunde (Wittenberg, 1913).
Bierey [be'ri], Gottlob Benedikt, b.
Dresden, July 25, 1772; d. Breslau, May 5,
1840. Pupil of C. E. Weinlig, Dresden; was
director of a travelling opera-troupe until the
success of his opera Wladimir (Vienna, 1807)
caused his app. as Kapellm. at Breslau, succ.
Weber (1808); he was theatre-director there
1824-8, when he retired. — Works: 26 operas
and operettas; 10 cantatas; masses, orchestral
and chamber-music, etc. — See Q.-Lex.
Blernackl [b'yar-naht'skej, Michael Ma-
rian, b. Lublin, Poland, Sept. 9, 1855; pupil of
Warsaw Cons. ; chorus-conauctor in Warsaw. —
Works: Prologue for orch.; cantata Traum
und Kabale; 2 masses, and an IdylU, for ch.
and orch.; a Romanze and a Suite for violin
with pf.; piano-pieces; songs.
Biese [be'ze], Wilhelm, b. Rathenow,
April 20, 1822. Piano-maker (chiefly up-
rights); est. 1853 in Berlin, where he died
Nov. 14, 1902.
Bignami [be-nah'm€], Carlo, called by
Paganini 'il primo violinista d 'Italia'; b. Cre-
mona, Dec. 6, 1808; d. Voghera, Aug. 2, 1848.
Was in turn opera-conductor at Cremona
(1827), Milan, and (1833) Verona; returning
to Cremona 1837, he became director and
first violin of the orchestra, and made it one
of the best in Lombardy. — Works: A violin-
concerto; Capricct o Studt per violino; Fan-
tasias; Grande Adagio; Polacca; Variations, etc.
Bignaml, Enrico, b. 1836; d. Genoa,
February, 1894. Violinist and composer. —
Operas: Anna Rosa (Genoa, '92, succ); Gian
Luigi Feschi (never produced).
Bigot [bi-g5h'], Marie {nee Klene), b. Kol-
mar, Upper Alsatia, March 3, 1786; d. Paris,
Sept. 16, 1820. A distinguished pianist, she
lived for years in Vienna, where she was
known and esteemed by Haydn and Beet-
hoven; went to Paris in 1808, and gave
piano-lessons from 1812 on (Mendelssohn was
ner pupil in 1516).
Billion (or Billon) [be-y6hn'], Jean de,
singer in the Papal Chapel, first half of 16th
century. Masses, magnificats, and motets by
him are in collections (1534-44).
Billeter, Agathon, b. Mannedorf, Lake
of Zurich, Nov. 21, 1834. Studied at Leipzig
Cons., and became organist and conductor at
Burgdorf, Switzerland. Very popular comp.
of part-songs for men's voices.
Billings, William, b. Boston, Mass., Oct.
7, 1744; d. there Sept. 29, 1800. Writer of
hymn-tunes, anthems, etc., of which he publ.
several collections: The New England Psalm-
Singer (1770), The Singing Master's Assistant
(1776), Music in.* Miniature (1779), The
Psalm Singer's Amusement (1781), The Suf-
folk Harmony: Containing Tunes , Fugues and
Anthems (1786), The Continental Harmony
(1794). Billings was, in his rough way, a
pioneer of good church-music in America; he
first used the pitch-pipe, introduced the 'cello
into church-choirs, and is said to have
originated concerts in New England.
Billington, Elizabeth (nee Welchsel),
b. London, circa 1768; d. near Venice, Aug.
25, 1818. Her father and first teacher was a
German clarinettist; Joh. Chr. Bach taught
her later. She was a soprano stage-singer of
great beauty, yet a poor actress; her voice is
said to have been marvellous, and of wide
range (3 full octaves, from a-a*). In 1784
she married James Billington, a double-bass
Slayer; they went to Dublin, where she made
er debut in opera in Orpheus and Eurydice; at
London she first appeared as Rosetta in Love
in a Village (Covent Garden, 1786), and her
success led to an engagement. She remained
in London till 1794; sang in Naples 1794 (in
which year her husband died), and at Venice
1796; married a M. Felissent, 1799, but soon
left him, returned to London, and sang at
Drury Lane, Covent Garden, and the Ancient
and Vocal Concerts 1801-11, then retiring.
In 1817 she was reconciled to M. Felissent,
and withdrew to her estate of St. Artien,
near Venice.
BilTroth [-roht],Theodor, an eminent sur-
geon, b. Bergen, on the island of Rugen, Apr.
26, 1829; d. Abazzia, Feb. 6, 1894. He
received a thorough musical education, and
was an excellent pianist. He was an inti-
mate friend of Hanslick and Brahms, and
during his residence at Vienna (1867 till his
death) the musical soirees at his house were
famous. It was at B.'s house that almost
all the chamber-music of Brahms was per-
formed before it had its first performance in
public. He wrote Wer ist musikalisch? (1896,
ed. by Hanslick; 4th ed. 1912). Georg
Fischer edited Brief e BUlroths (1895; 7th ed.
1906).
BiTse, Benjamin, b. Liegnitz, Aug. 17,
1816; d. there July 13, 1902. He was 'Stadt-
musikus' at Liegnitz (1843), and brought
his orchestra to a remarkable degree of per-
fection, so that his concerts and concert-
tours were social events. From 1868-84 he
was est. at the 'Concerthaus' in Berlin, and
gave very popular concerts. He retired 1894
with the title of 'Hofmusikus.' Comp. of
some good dances and marches. '
Binchols [ban-shwah'], (Gilles de Binche,
called Binchols), b. Binche (or Bins), in
Belgian Hainaut, circa 1400; d. Lille, 1460;
was one of the earliest composers of the
first Netherland School. Of his works, 7
87
BINDER— BIRNBACH
movements of masses, 52. secular chansons,
and 10 or 12 sacred songs, are preserved; in
modern notation have been publT 7 Chansons
(1892, Riemann); 7 ditto (1898, in Stainer's
'Dufay'); and 6 ditto, with 2 sacred works, in
the 'Dkm. d. Tonkunst in Osterreich', vols, vii
and xi, 1.
Bin der, Christlieb Siegmund, b. 1724;
d. Dresden, Tan. 1, 1789. In 1753 organist at
the Hofkirche in Dresden. A very prolific
composer, one of the first writing in the 'ele-
gant style' akin t6 that of Ph. E. Bach. He
publ. sonatas for clavicembalo solo, for clavic.
with vln., and for clavic. with vln. and 'cello;
in MS. have been preserved 76 organ-pre-
ludes, many concertos for clavic, quartets with
clavic, and trio-sonatas for 2 vlns. with basso
cont. Some of his comps. have been reprinted
by O. Schmid in 'Musik am sachsischcn Hofe.'
Binder, Fritz, b. Baltimore. Md., 1873;
taken to Germany at the age of 5, and from
7 to 1 1 played as a child-pianist in Germany,
Austria, Switzerland, and the Netherlands.
His first teachers were Reinthaler and
Bromberger; for 3 years he was taught by
Leschetizky, and on Rubinstein's recom-
mendation entered the Cologne Cons. (Wlill-
ner, Seiss, Franke, Jensen), graduating in
1896 to conduct a choral society at Solingen.
In 1901, app. director of the Singakademie
at Danzig. Also cond. of the subscription
concerts given by the theatre-orch., and dir.
of the Cons.
Binder, Karl, b. Vienna, Nov. 29, 1816;
d. there Nov. 5, 1860. Kapellm. at Josef-
stadter Th., 1839-47; went to Hamburg,
thence to Presburg, and then returned to
Vienna. — Works: Der Wiener Schuster hut
(melodr., 1840) ; Die 3 WUtfrauen (opera, 1841) ;
Pvnd (vaudev., 1843); overture and choruses
to Elmar, a drama; a parody on Tannhduser
(1857); psalms w. orch.; songs w. pf.
Binder, Karl Wilhelm Ferdinand,
celebrated harp-maker at Weimar c. 1797,
was b. Dresden, 1764; regarded as the in-
ventor of the *mecanique & jour' harp.
Bion'di, Giovanni Battista (da Cesena),
b. Cesena; a Minorite friar. — Publ. a numer-
ous series of motets a 4 and 5, masses a 3
and 5, litanies, vesper psalms, Compiete,
Concerti, etc., at Venice (1606-1630).— See Q.-
Lex.
Bio'ni, Antonio, dramatic composer; b.
Venice, 1698, d. (?). He wrote 26 operas,
a few for Italy, but most for Breslau, where
he was mus. director and manager of an
Italian opera-troupe 1726-33.
Blrch'all, Robert, London music-publ. ;
d. 1819. His circulating mus. library was
one of the first ever established. His suc-
cessors were Lonsdale & Mills.
88
Birckenstock [beVken-], Johann Adam,
violinist; b. Alsfeld, Hesse-Darmstadt, Feb.
19, 1687; d. Eisenach, Feb. 26, 1733; in 1721
leader, 1725 Kapellm., at Kassel; 1730-33,
Kapellm. at Eisenach. — Works: 12 vln.-
sonatas w. basso continuo (Amsterdam,
1722); 12 do. (1730); 12 concertos f. 4 vlns.
obbl., via., 'cello, and basso cont. (1730).
Bird, Arthur, b. Cambridge, Mass., July
23, 1856. St. in Berlin, 1875-7, under
Haupt, Loeschhorn, and Rohde. Returning
to America, he became organist at the Kirk,
Halifax, N. S.; also teaching at the Young
Ladies' Acad, and the St. Vincent Acad. He
founded the first male chorus in Nova
Scotia. In 1881, at Berlin, he studied com p.
and orchestration with H. Urban; the season
of 1885-6 was spent with Liszt at Weimar.
His first concert (1886), at Berlin, was
successful; the same year, B. paid his last
visit to America, and has since lived in Berlin
(Grunewald). — Works: A symphony in A,
Kamevalssene, and 3 suites f. orch.; 2 Deri-
mettes f. wind-instrs. (won Paderewski prize,
1901). For pf.: PupfetUanu (4 pes.), op. 10; 3
characteristic marches, op. 11; 3 waltzes,
op. 12; Zwei Poesien f. 4 hands; Introd.
and Fugue; Variations and Fugue; 3 Suites;
Sketches; Ballet-music; 2 pes. f. pf. and vln.,
etc.; Oriental Scenes for organ; the comic
opera Daphne (New York, 1897), and a
ballet, Rubexahl.
Bird, Henry Richard, distinguished org.;
b. Walthamstow, Nov. 14, 1842; d. London,
Nov. 21, 1915. Pupil of his father and J.
Turle; came to London in 1859, filled various
positions as org., and conducted the 'Chelsea
Choral and Orchestral Society'; app. org. at
St. Mary Abbott's, Kensington, a position he
occupied until his death; was also prof, of
pf. at R. C. M. and Trinity Coll. from 1896.
He was famous throughout England as an
unexcelled accompanist, and in constant
demand by the foremost artists; app. perm,
accompanist of the 'Popular Concerts' in
1891.
Bird, William. See ByrdT
Bir'kler, Georg Wilhelm, b. Buchau,
Wurttemberg, May 23, 1820; d. June 10,
1877, as prof, at Ehingen (Wilrtt.) gym-
nasium.— Comp. masses, vesper psalms, etc.,
for mixed ana men's voices; wrote about
old church-music in Catholic mus. papers.
Birnbach [bern'bah], (Joseph Benja-
min) Heinrich, son of Karl Joseph B.; b.
Breslau, Jan. 8, 1795; d. Berlin, Aug. 24,
1879. Pianist, pupil of his father; teacher in
Breslau, 1814-21, then in Berlin, where he
founded a musical institute; Nicolai, Kiicken
and Dehn were among his pupils. — Works:
2 symphonies, and 2 overtures, for orch.;
BIRNBACH— BISPHAM
concertos f. pf., and f . oboe, clar., and guitar;
quintet; duos; fantasias and sonatas f. pf.;
etc. ; and a treatise, Der vollkommene Kapell-
meister (1845).
Birn'bach, Karl Joseph, b. Kdpernick,
Silesia, 1751; d. Warsaw, May 29, 1805, as
Kapellm. of the German Theatre. — Works:
2 operas; oratorios, cantatas, masses; 10
orchestral symphonies, 16 pf.-concertos, 10
vln. -concertos; many quartets and quintets;
pf. -music; etc.
Bisaccia [-zaht'chah], Giovanni, b. 1815;
d. Naples, Dec. 20, 1897. Pupil, in Cons,
of S. Pietro a Majella, of Crescentini (singing)
and Raimondi and Donizetti (comp.). A
singer in the Nuovo and San Carlo theatres;
later singing-teacher, also m. di capp. in the
church of San Fernando, for which tie wrote
some musk. In 1838 he brought out 2 mus.
1-act farces, I tre scioperati and II figlio
adottvoo (Cons, theatre) ; and in 1858 an opera
buffa Dom Taddeo, owero la Solachianello di
Casoria (Teatro Nuovo).
Bisch'off, Georg Friedrich, the founder,
of the German mus. festivals; b. Ellrich,
Harz Mts., Sept 21, 1780; d. Hildesheim,
Sept. 7, 1841, where he had been musical
director since 1816. He arranged the first
Thuringian Festival at Frankennausen (July
20 and 21, 1810), at which Spohr acted both
as conductor and soloist.
Bisch'off, Hans, accomplished pianist and
teacher; b. Berlin, Feb. 17, 1852; d. Nieder-
schonhausen, near Berlin, June 12, 1889.
Pupil of Th. Kullak and R. Wuerst, and
also student at Berlin Univ. {Dr. phil., 1873);
1873, teacher of pf. at Kullak's Acad.; 1879,
also of pedagogics; also taught at Stern
Cons, for a short time and conducted (with
Hellmich) the Monday Concerts of the
Berlin 'Singakademie.' He edited the 2nd
and 3rd editions of Dr. Ad. Kullak's Asthctik
des Klavierspiels (Berlin, 1876 and 1889;
English translation New York, 1895); publ.
an Auswahl Handel' scher Klavierwerke ; a
Kritische Ausgpbe von J. 5. Bach's Klavier-
werken; etc.
Bisch'off, Hermann, b. Duisburg, Jan. 7,
1868. Pupil of Jadassohn at the Leipzig
Cons.; living in Munich. Has written 2 sym-
phonies (E and D m.); a symph. poem, Pan;
GewiUersegen; also Das deutsche Lied (1905).
Bisch'off, Kaspar Jakob, b. Ansbach,
Apr. 7, 1823; d. Munich, Oct. 26, 1893,
where he studied (1842) under Ett, Stuntz,
and Franz Lachner, and 1848-9 in Leipzig.
Founded (1850) an 'Evangelical Sacred Choral
Society' at Frankfort, where he lived as a
singing-teacher. — Works: An opera, Maske
una Mantilla (Frankfort, 1852); 3 sym-
89
phonies; overture to Hamlet; chamber- and
church-music, etc.; also a Manual of Harmony
(1890).
Bisch'off, Ludwig Friedrich Christian,
b. Dessau (where his father, 'Karl, was
court-musician), Nov. 27, 1794; d. Cologne,
Feb. 24, 1867. 1823-49, director of gym-
nasium at Wesel; founder (1850) and editor
of the 'Rheinische Musikzeitung' at Cologne,
superseded (1853) by the 'Niederrheinische
Musikzeitung'; he translated Oulibicheff's
Beethoven (1859) into German.
Bishop, Sir Henry Rowley, noted English
composer; b. London, Nov. 18, 1786; d.
there Apr. 30, 1855. Pupil of Francesco
Bianchi; attracted attention by his first
opera, The Circassian Bride (Drury Lane,
1809); 1810-11 comp. and cond. at Covent
Garden, 1813 alternate cond. of the Philhar-
monic, 1819 oratorio-cond. at Covent Garden,
1825 cond. at Drury Lane Th., 1830 Musical
Director at Vauxhall; took degree of Mus.
Bac. at Oxford, 1839; 1840-1, mus. dir. at
Covent Garden; 1841-3, Prof, of Mus. at
Edinburgh; knighted in 1842; cond. of Ancient
Concerts, 1840-8; in 1848 was app. Prof, of
Mus. at Oxford (succeeding Dr. Crotch),
where he received the degree of Mus. Doc.
in 1853. A remarkably prolific dramatic
composer, having produced about 130 operas,
farces, ballets, adaptations, etc. His operas
are generally in the style of English ballad-
opera; some of the best are Cortez, The Fall
of Algiers, The Knight of Snowdon, and
Obcron. He also wrote The Fallen Angel
(oratorio), The Seventh Day (cantata), etc.;
his glees and other lyric vocal productions
are deservedly esteemed. (An article on the
Glees, by G. A. Macfarren, is in the 'Musical
Times' of 1864, April et seq.) He publ. vol.
i of Melodies of Various Nations; also 3 vols,
of National Melodies, to which Moore wrote
the poems.
Blspham [bisp'h'm], David (Scull), ad-
mirable dramatic and concert baritone; b.
Philadelphia, Jan. 5, 1857. He sang at
first as an amateur in the principal choruses
of Philadelphia, and the choirs of Holy
Trinity and St. Mark's churches, also in
private theatricals. In 1886 he went to
Milan, studying there with Vannuccini, Hall,
and (1887-90) Francesco Lamperti; later in
London with Shakespeare and Randegger.
Professional operatic debut as Longueville
in Messager's Basoche at the R. Engl. Opera
House, London, Nov. 3, 1891, and 4won
immediate favour by his humorous acting
and artistic singing' [Grove]. First appear-
ance in serious opera at Drury Lane, June 25,
1892, as Kurwenal, one of his best parts;
the baritone roles in Wagner's operas are his
specialties, particularly Beckmcsser. After
BITTER— BLACK
the autumn of 1896 he divided his time
between Covent Garden and the New York
Metropolitan Opera (down to 1908-9). He
created the r6Ies of William the Conaueror
in Cowen's Harold, Chillingsworth in Dam-
rose h's The Scarlet Letter (Boston, Feb. 10,
1896), Benedick in Stanford's Much Ado
about Nothing, and Rudolph in Miss Smyth's
Der Wold. Some of his other rdles (favorites
in sm. caps.) are Pizzarro; Caspar and
Ottokar (Freischutz); Mephistopheles and
Valentin; Escamillo (Carmen); De Nevers;
Figaro (Nozze); Tonio and Silvio (Pagliacci);
Alfio (CavaUeria Rusticana); Vulcan (Phil, et
Baucis); Mefisto (Mefistofele, Boito); Phi-
lippo (Don Carlos); Iago; Falstaff; Manru;
Johannes (Evangelimann) ; Peter (Hansel und
Gretel); Fiorenzo (Rantzau). In 1895 he
sang the part of Christ in the St. Matthew
Passion at the Bach Festival, and has suns
chief parts in Perosi's oratorios. For several
seasons he gave series of recitals in London
and New York, being the first to sine Brahms's
'Four Serious Songs in Britain and America.
In recitation (Enoch Arden, with R. Strauss's
incid. music; A Midsummer Night* s Dream,
with Mendelssohn's music; etc.) he has
made a deep impression. In fact, his recitals
became so successful, that he abandoned
opera after 1909. He is also a strong advocate
of the use of the vernacular in all operatic
productions in the U. S., and was probably
the first artist to sing all songs at his recitals
in English translations.
Bitter, Karl Hermann, b. Schwedt-on-
Oder, Feb. 27, 1813; d. Berlin, Sept. 12,
1885. From 1879-82, Prussian Minister of
Finance. Wrote Joh. Seb. Bach (1st ed.
1865, 2 vols.; 2nd, 1881, 4 vols.; abridged
Engl. ed. by Shuttleworth, 1873); Mozart's
Don Juan and Gluck's Iphigenia in Tauris;
ein Versuch neuer Obersetzungen (1866); K.
Ph. E. und W. Friedemann Bach und deren
Briider (1868, 2 vols.); Ober Genrinus1 'Handel
u. Shakespeare* (1869); Beitrdge zur Gesch.
des Oratoriums (1872); Studie zum Stabat
Mater (1883); Die Reform der Oper durch
Gluck und Wagner (1884); editor of Karl
Loewe's Autobiography (1870).
Bittner, Julius, b. Vienna, Apr. 9, 1874.
Studied jurisprudence, and at the same time
music with J. Labor; won the Mahler prize
(founded 1912 for the encouragement of
composers) in 1915. Wrote the operas Die
rote Gret (Vienna, 1907), Der Musikant (ib.,
1910), Der Bergsee (ib., 1911), Der Abenteurer,
(ib., 1913); a ballet-opera, Der Markt der
Liebe (ib., 1909); choruses and songs. Two
other operas, Alarich and Das hollische Gold
(finished 1915), have not yet been performed.
B. is his own librettist.
Bitto'nl, Bernardo, organist, and comp.
of admirable sacred music (in MS.); b.
Fabriano, 1755; d. there May 18, 1829.
— Biogr. by Alfieri (1852).
Bizet [be-za'], Georges (baptismal names
Alexandre-Cesar-Leopold), b. Paris, Oct.
25, 1838; d. Bougival, June 3, 1875. He
entered the Paris Cons, at nine, his teachers
being Marmontel (pf.)f Bcnoist (org.), Zim-
merman (harm.), and Halevy, his future
father-in-law (comp.). In 1857 he took,
among 78 competitors, the prize offered for the
composition of an opera buffa, Le docteur Mi-
racle, and also won the Grand prix de Rome.
Instead of the prescribed mass, he sent from
Rome, during his first year, a 2-act Ital.
opera buffa, Don Procopio (Monte Carlo,
1906); later he sent 2 movements of a sym-
phony, an overture (La Chasse d'Ossian),
and a comic opera (La Guzla de VEmir).
Returning, he prod, a grand opera, Les
Pecheurs de perles (Th.-Lyrique, 1863); but
this work, like La jolie fiUe de Perth (1867),
failed of popular approval. A 1-act opera,
Djamileh (1872), tared no better;— but
Pasdeloup brought out his overture Patrie,
and the 2 symphonic movements, with
success. The incidental music to Daudet's
VArlesienne (1872), however, turned the tide
of popular favor; and the striking success of
Carmen (Opera-Corn., Mar. 3, 1875), showed
what B. might have done had he been spared;
he died just three months after his hardly-
won triumph. Besides the above-mentioned
works, B. comp. two operas, Numa (1871),
Ivan le Terrible (not pert.); about 150 pf. -pes.
of all kinds (he was a brilliant pianist), and
songs, etc. The music of VArlesienne, trans-
formed into a suite, had great success, and
was followed by three other suites : VA rlesienne
No. 2, Roma, and Jeux d'enfance, all well
received. — Biographical: E. Galabert, Georges
Bizet (Paris, 1877); Ch. Pigot, B. et son
auvre (1886); C. Bellaigue, Bizet (1891);
P. Voss, Bizet (Reclam, Leipzig, 1899);
A. Weissmann, Bizet (in R. Strauss's .coll.
•Musik', Berlin, 1907); O. Sere, G. B., in
Musiciens francais d'aujourd'hui (Paris,
1911); H. Gauthier-Villars, B. Biographic
critique (Paris, 1911); R. Brancour, La vie et
Vcsuvre de G. B. (Paris, 1913).
Black, Andrew, baritone singer, originally
an organist; b. Glasgow, Jan. 15, 1859.
Pupil of Randeg^er and J. B. Welch; then
of Dom. Scafati, at Milan. First great
success at a Crystal Palace concert on
July 30, 1887; first appearance at a provincial
festival at Leeds, 1892; in 1894 he sang
Elijah at the Birmingham Fest., and the
same at Gloucester, 1895, and Norwich,
1896. Professor of singing at the Manchester
R. C. M. since 1893. Has also appeared in
opera; and has sung in the United States.
90
BLAES— BLARAMBERG
Blaes f blahs], Arnold Joseph, b. Brussels,
Dec. 1, 1814; d. there Jan. 11, 1892. Clarinet-
tist, pupil of Bach ma nn, whom he succeeded
in 1842 as solo clarinet and teacher at the
Brussels Cons.
Blaes, Edward, b. Ghent, Nov. 19, 1846;
Supil of Cons, there and at Brussels, also of
lenott at Antwerp; in 1876 m. de chap, at
St.-Bavo's ch.f and municipal music-director
of Ghent and bassoon- teacher at the Cons.,
being solo bassoonist 1875-96 at the French
Th. in Ghent. A popular director of choral
societies, and comp. of choruses.
Blagrove, Henry Gamble, violinist; b.
Nottingham, Oct. 20, 1811; d. London, Dec.
15, 1872. Pupil of his father, R. M. Blagrove,
and played in public at 5; was the first
pupil of the R. A. M. (opened 1823), where
ne took the silver medal in 1824. studied
under Spohr at Kassel, 1833-4; after which
he played at the leading London concerts
and provincial festivals.
Blaliack, Josef, b. Raggendorf, Hun-
gary, 1779; d. Vienna, Dec. 15, 1846; from
1802-23, tenor at the Leopoldstadter Th.,
Vienna; 1824, Kapellm. of St. Peter's,
Vienna, succeeding Preindl. — Works: 14
masses; 25 graduals; 29 offertories; 10 Tan-
tum ergos; 2 Te Deums.
Blahefka (or Plahetka), Marie- Leo-
poldine, pianist and composer; b. Gun-
tramsdorf, n. Vienna, Nov. 15, 1811; d.
Boulogne, Jan. 12, 1887. St. pf.-playing
under Josef Czerny, Kalkbrenner, and Mo-
scheles; comp. under Sechter. A brilliant
pianist, she made successful tours, and
composed effective pf.-pes. (concertos, polo-
naises, rondos, sonatas, variations, pf.-trios,
etc.). and songs; also wrote a romantic
opera, Die Rduber und die Sanger (Vienna,
1830). She resided from 1840 in Boulogne.
BlalnviUe [blan-veT], Charles-Henri, b.
in a village n. Tours, 1711 ; d. Paris, 1769. He
wa3 a 'cellist, music-teacher and composer,
his most noted works being a symphony
(1751) in the 'mode helleniaue' [e-f-g-a-b-c-d-
c], which excited Rousseau s admiration and
c' »_ «. :*:~:~m ur-.v ;„,«,. r»i„.._
'Nachrichten'); and Histoire genirale, critique
et philologique de la musique (1767).
Blamont [-mdhn'], Francois Colin de,
b. Versailles, Nov. 22, 1690; d. there Feb. 14,
1760. A pupil of Lalande, he became super-
intendent, ot the King's music, and comp.
many court ballets, 'ffctcs,' operas, etc.;
also 3 books of cantatas, 2 of motets, and
numerous songs. Wrote Essai sur les go&ts
anciens et modernes de la musique jrancaise
(1754).
Blanc [blahn], Adolphe, b. Manosque,
Basses- Al pes, June 24, 1828; d. Paris, May,
1885. Pupil of Paris Cons. (1841), and
private pupil of Halevy. The Prix Chart ier
was awarded him in 1862 for chamber-
music. For a short time he was conductor
at the Theatre-Lyrique. — Works: A 1-act
comic opera, Une Aventure sous la Ligue
(1857); 2 operettas, Les deux billets (1868),
and Les Rives de Marguerite; a burlesque
symphony; an overture; trios, quartets,
quintets and septets f. strings, with and
without pf.; pf.-pes.
Blanchard [blahn-shahr'J, Henri-Louis,
b. Bordeaux, Feb. 7, 1778; d. Paris, Dec. 18,
1858. Violinist and composer; conductor
(1818-29) at the Theatre des Varietes, Paris;
1830-3 manager of the Theatre Moliere. Later
he became a distinguished mus. critic. He
produced several operettas and some chamber-
music.
Blanginl [-je'ne], (Giuseppe Marco
Maria) Felice, b. Turin, Nov. 18, 1781; d.
Paris, Dec. 18, 1841. In 1789, choir-boy at
Turin cathedral ; at 1 2 he played the cathedral
organ, composed sacred music, and was a
skilful 'cellist. In 1797 the family moved to
the south of France, and in 1799 to Paris;
B. gave concerts, wrote fashionable romances,
and came into vogue as an opera-composer
in 1802, when he completed Delia-Maria's
La fausse duigne; as a singing-teacher he was
also in request. After producing an opera
in Munich (1805), he was app. court Kapellm.
(1806), and Princess Borgnese made him her
Director of Music. King Jer&me app. him
General Music- Director at Kassel, 1809; he
returned to Paris in 1814, and was made
superintendent of the King's music and
composer to the Court, and also prof, of
singing at the Cons.; but in 1830 he lost all
his places at Court, and passed the remainder
of his days in comparative obscurity. He
wrote 30 operas, 4 masses w. orch., 170
notturnos f. 2 voices, and 174 romances f.
one voice. M. de Villemarest edited his
autobiography: Souvenirs de F. Blangini
(Paris, 1834).
Blanlcenburg, Quirin van, b. Gouda,
Holland, 1654; d. The Hague, 1749, as org.
of the Reformed Church. He wrote Elementa
musica (1739), and Clavicembel en Orgelboek
der gereformeerde Psalmen en Kerkgezangen
(1732; 3rd ed. 1772); a method for flute; etc.
Bla'ramberg, Paul Ivanovltch, b. Oren-
burg, Russia, Sept. 26, 1841. Pupil of
Balakirev. # Law-student, government statis-
tician, and journalist; since 1870 editor of the
Moscow 'News', and prof, of theory, instru-
mentation, and the science of form, at the
Moscow Philh. School since its foundation in
1878. His first large work was a cantata
91
BLASERNA— BLECH
(music to Ostrovsky's Voievode, 1865); fol-
lowed by the symph. poem Thi Demon
(1869, after Lermontov) ; the cantata f. female
ch.f soli and orch., The J*ocusts (1879) ; can-
tata f. male ch. and orch., On the Volga
(1880); symph. poem The Dying Gladiator
(1882); the operas Maria of Burgundy
(Petrograd, 1882), The First Russian Comedian
(ib.)t The Juggler, The Water sprite, and
TushintsJ (Moscow, 1885; v. succ, and held
to be his best work) ; also a symphony and a
scherzo f. orch.; choruses, songs, etc.
Blfl8er'na, Pletro, b. Fiumicello, near
Aquileja, Feb. 29, 1836. St. nat. sciences
in Vienna and Paris; prof, of physics at the
Univs. of Palermo (1863) and Rome (1872);
R. senator, 1890. His investigations in the
field of acoustics rank in importance with
those of Helmholtz, Tyndall and Stumpf, and
have thrown light on many dark problems;
he has been an earnest advocate of the
acoustic purity of intervals. His principal
work is La teoria del suono net suoi rapporti
coUa tnusica (1875; tr. into Ger.t 1876, Fr.t
1877).
Bla'sius, Mathieu-Fr6deric, b. Lauter-
burg, Alsatia, Apr. 23, 1758; d. Versailles,
1829. Violinist, clarinettist, flutist, and bas-
soonist; 1795-1802 prof, of wind-instrs. at
the Cons., Paris; 1802-16 conductor at the
Opera-Comique. — He wrote 3 operas; 3 melo-
dramas; string-quartets; 3 violin-concertos,
etc.; but his most popular comps. were for
the above wind-instrs. in various combi-
nations.— See Q.-Lex.
Blauvelt, Lillian Evans* concert and
dram, soprano; b. Brooklyn, N. Y., Mar. 16,
1874. Having studied the violin for some
years, she began to study singing in 1889,
with J. Bouhy at the Nat. Cons, in N. Y.;
cont. her studies with Bouhy in Paris; sang
in concerts in France, Belgium and Russia;
operatic debut at Th. Monnaie, Brussels, irt
Gounod's Mireille (1893); after her return to
the U. S. she was heard frequently in large
orchl. concerts (Seidl, Damrosch, Thomas,
van der Stucken, etc.); sang before Queen
Victoria in 1899, and next year was soloist
at the great Handel Fest. at Crystal Palace;
since then has appeared annually in London;
at the coronation festivities in 1902 she sang
the coronation ode, and received from King
Edward the 'Coronation* medal; sang several
seasons at Cov. Garden (Marguerite, Mi-
caela, Juliette, Zerlina, etc.); recipient of
various Engl., Ger., Fr. and Russian deco-
rations.
Blau'waert [-vahrt], Emiel, bass-baritone
concert -singer; b. St. Nicholas, Belgium,
June 13, 1845; d. Brussels, Feb. 2, 1891. Pupil
of Brussels Cons. (Goossens and Warnots);
debut 1865 in Benoit's Lucifer as the 'Spot-
geest' (mocking spirit); also sang the role of
Gurnemanz in Parsifal at Bayreuth. After
1877 he taught at Bruges, Antwerp and
Mons.
Blaze [blahz], (called Castil- Blaze), Fran-
cois-Henri-Joseph, the father of modern
French musical criticism; b. Cavaillon, Vau-
cluse, Dec. 1, 1784; d. Paris, Dec. 11, 1857.
Taught by his father, Henri-Sebastien Blaze
[1763-18331, in early youth; he # went to
Paris to study law, but kept up his musical
studies, and finally (1820) devoted himself
wholly to music. His work VOpha en
France (1820), a telling arraignment of con-
temporary French opera-production, won him
first of all the post of critic on the 'Journal
des D6bats'; nis articles, signed 'XXX,'
made him a power among musicians. _ During
40 years of uninterrupted literary activity, he
publ. many works on music: Dictionnaire de
musique moderne (1821, 2 vols; 2nd ed., 1825;
3rd ed., edited by J. H. Mees, with historical
preface and a supplement of Netherland
musicians, 1828, 1vol.); Chapelk-musique des
Rots de France (1832); La Danse et les Ballets
depuis Bacchus jusqud Mile. Taglioni (1832);
Memorial du grand Optra (from Cambert,
1669, down to and incl. the Restoration);
Le Piano; hist, de son invention, etc. ('Revue
de Paris,' 1839-40); Moliere musicien (1852);
Thedtres Lyriques de Paris (2 vols.; on the
Grand Opera [1855], and on the Italian
opera 1848-1856 [1856]); SurV Optra francais:
vtritts dures mats utiles (1856); Vart desjeux
lyriques (1858). — His translations of German
and Italian opera-libretti (Der Freischutz,
Don Giovanni, Figaro, II Barbiere, Fidelio,
La Gazza ladra, and many others) gave a
great and needed impetus to the production
of these operas in France. • He composed
3 operas, and several skilfully contrived
'pastiches'; a collection of Chants de la Pro-
vence; chamber-music, romances, etc.
Blaze, Henri, Baron de Bury, son of
Preceding; b. Avignon, May 17, 1813; d.
aris, March 15, 1888. His title was be-
stowed on him while the attache of an em-
bassy ; before and after which time he devoted
himself to literary work. He wrote many
essays, historical, esthetical, and biographical,
for the 'Revue des Deux Mondes/ ana other
periodicals; these essays were subsequently
collected as Music tens content porains (1856),
Meyerbeer et son temps (1865), Musiciens du
fosse, du present, etc. (1880), Goethe et Beet-
hoven (1882), etc. His mqst elaborate and
valuable work is La Vie de Rossini (1854).
Blech [bleyh], Leo, b. Aachen, April 22,
187 1 . After leaving school he tried a m _*rcan-
tile career for 4 years; then (1890) was for 1
year a pupil of the Hochschule fiir Musikat
Berlin (Rudorff , Bargiel) ; study here proving
92
BLEICHMANN— BLOCH
tedious, he returned to Aachen as Kapellm.
of the Municipal Theatre during the winters
of 1893-6, pursuing during the summers a
course of study under Humperdinck. Then
(1896) 1st Kapellm. at Aachen; in 1899 en-
gaged (on Angelo Neumann's recommenda-
tion) as 1st Kapellm. at the R. German
Landestheatcr in Prague; 1906, Kapellm. at
the Royal Opera in Berlin. His debut as
conductor was in 1893; as pianist in 1880. —
Works: The operas Aglaia (Aix-la-Chapellc,
1893) and Cherubina (ib., 1894; both imma-
ture); the 1-act 'opera-idyl' Das war ich
(Dresden, 1902; very succ); the 3-act opera
A I pen ko nig und Mcnschenfeind (Dresden, Oct.
1, 1903; succ. [it was reconstructed from Rai-
mund's operal); the 3-act opera Aschenbrodel
(Prague, 1905); and the 1-act opera Vcrsiegelt
(Hamburg, 1908; N. Y.t 1912); 3 symphonic
poems, Die Nonne, Waldwanderung, Trost in
der Natur; choruses with orch., Sommernacht,
Von den Englein; also songs, pf.-pieces (op.
1 1, 10 Kleinigkeiten for pf. 4 hands) ; etc.— -Cf.
E. Rychnowsky, L. B. (Prague, 1905); id.,
L. B., in vol. iii of 'Monographien moderner
Musiker' (Leipzig, 1909).
Bleich'mann, Julius Ivanovitch, b.
Pctrograd, Dec. 6, 1868. Pupil of Soloviev
and R.-Korsakov at the Pctrograd Cons.,
later of Jadassohn and Reinecke in Leipzig.
Founded in Pctrograd the Popular Symphony
Concerts in 1893; cond. the Philh. Concerts,
1894-5. He has composed 2 operas, a few
other orchl. works, some chamber-music,
choruses, pf .-music, and songs.
Bleu'er, Ludwig, violinist; b. Buda-
pest, Aug. 21, 1863; d. Berlin, Sept. 15, 1897.
Studied with Griin (Vienna) and in the Ber-
lin Hochschule; 1883-93, leader of Philh.
Orch., Berlin; 1894, of Detroit Philh. Club.
Blew'itt, Jonathan, b. London, 1782; d.
there Sept. 4, 1853. Pupil of his father, Jonas
B., and Battishill. Org. in several London
and provincial churches, finally at St. An-
drew s, Dublin (1811), and comp. and cond.
at the Theatre Royal there; also grand org.
to the Masonic Soc. of Ireland. Returning to
London in 1826, he became mus. director at
Sadler's Wells Theatre, and brought out sev-
eral operas, stage-pieces with incidental music,
I>antomimes, etc., at Drury Lane and else-
where. He wrote many popular ballads; also
a treatise on singing, The Vocal Assistant.
Bleyle, Karl, b. Feldlrirch, Vorarlberg,
May 7, 1880. Pupil of Wehrle (vin.) and S.
de Lange (comp.) in Stuttgart, 1894-7;
1897-9 of Singer and de Lange at the Cons.;
1904-7, studied comp. with Thuille at Mu-
nich, where he resides. He is one of the most
important of contemporary German compo-
sers.— Publ. works: Op. 2, An den Mistral
[Nietzsche], for m. ch.and orch.; op. 4 and 7,
male choruses [Nietzsche]; op. 6, symphony;
op. 8, Lernt lachen [after excerpts from Nietz-
sche's 'Alsosprach Zarathustra'], for alto, bar.,
mixed ch. and orch. ; op. 9, Flagellantenzug for
orch. ; op. 10, concerto for vln. and orch. in C;
op. 11, Mignons Beisetzung for mixed ch.,
boys' ch. and orch.; op. 12, Musikalische Bau-
steine (10 pf.-pieces); op. 13, Heilige Sendung
for tenor and bar. soli, ch. and orch.; op. 14,
Ein Blumenstrauss (10 songs) ; op. 16, Gnomen-
tanz for orch.; op. 17, Die Hotlenfahrt Christi
for bar. solo, men's ch. and orch.; op. 19,
Chorus mysticus (from 'Faust') for mixed ch.,
pf. and harm.; op. 20, 'Ein Harfenklang for
alto solo, mixed ch. and orch.; op. 21, Sieges-
ouvertiire for orch.; op. 22, 4 duets for m.-sop.
and bar. ; op. 23, Reineke Fuchs, overture for
orch. ; op. 24, Lustiges ABC (variations for
pf.); op. 25, Prometheus for male ch. and orch.
Bliss, P. Paul, organist, editor; b. Chi-
cago; Nov. 25, 1872. Graduate Princeton
Univ. (1894); studied theory with Clarke and
Zeckwcr in Phila. (1895-6); with Guilmant
(org.) and Massenet (comp.), Paris (1896-8);
org. and dir. at Oswego, N. Y. (1900-4); mus.
ed. with John Church Co. (1901-10); since
191 1 mus. ed. with Willis Music Co. — Works:
Three operettas, Feast of Little Lanterns, Feast
of Red Corn, In India; cantatas, Pan on a Sum-
mer Day, Three Springs, The Mound-Builders;
pia no-suite, In October; Graded Course for
piano (4 vols.); many songs and choruses.
Bloch, Ernest, b. Geneva, July 24, 1880.
Pupil of Jaques-Dalcroze and L. Rey; 1897-9
at Brussels Cons. (E. Ysa^e and F. Rasse);
1900 at Hoch Cons, in Frankfort (I. Knorr);
living in Geneva (app. prof, of comp. at the
Cons, there in 1915). Has written the opera
Macbeth (Paris, Op.-Com., 1910); the symph.
poems Vivre et Aimer and Pr intern ps-Hvoer;
Trois Pohnesjuifs for orch.; Psalm 22 for bar.
and orch.; Psalm 114 for sop. and orch.;
Psalm 137 for do.; Poemes d'Automne for
m.-sop. with orchestra. — See Appendix.
Bloch, Georg, b. Breslau, Nov. 2. 1847;
d. Berlin, Feb. 11, 1910. Pupil of Hanisch
and J. Schubert; later, at Berlin, of Taubert
and F. Geyer. Teacher in Breslaur's Cons.,
Berlin; founder (1879) and director of the
Opera Society (now Bloch'scher Verein). Has
written numerous choruses with orchestra.
Bloch, Josef, b. Pest, Jan. 5, 1862. Pupil
of Karl Hubay and Volkmann ; later, of Ch.
Dancla at the Paris Cons.; for 6 years a
member of the Hubay- Popper Quartet; vln.-
teacher 1890-1900 in the Hungarian Nat.
Cons. — Works: Hung, overture, Hung, rhap-
sody, and 2 suites for orch.; 2 grand suites for
strings; a violin-concerto; a string-quartet;
pieces and etudes for violin. He publ. a
Method for vln. in 5 parts (1904).
93
BLOCKX— BLUM ENTH AL
Blockx [bl6hx], Jan, b. Antwerp, Jan. 25,
1851 ;d. there May 26, 1912. Pianist and com-
poser; pupil in the Flemish Music School of Cal-
iaerts (pf.) and Benoit (comp.); also studied
with L. Brassin. In 1886, teacher of harm,
at the Antwerp Cons.; also mus. dir. of the
'Cercle artistique' and other societies. —
Works: The operas Jets vergeten (1-act,
Antwerp, 1877); MaUre Martin (Brussels,
1892); Herbergprinses [Princesse d'Auberge]
(Antwerp, 1896; N. Y., 1909); Thiel Uylen-
spiegcl (Brussels, 1900); De Bruid der Zee
(Antwerp, 1901); De Capel (ib., 1903);
Baldie (ib., 1908);— the great choral works
with orch. Vredezang; Het droom vanl para-
dies; De klokke Roelandt; Op den stroom;
Scheldezang; a ballet, Milenka (1887); Ru-
bens, overture for orch.; vl.-romanza with
orch., in D; and a few earlier works for orch.
Blo'dek, Wilhelm, b. Prague, Oct. 3,
1834; d. there May 1, 1874. Studied at Prague
Cons., where, after teaching 3 years at
Lubycz, Poland, he became prof. (1860). He
died insane.— Works: V Studni [In the Well],
1-act comic Czech opera (Prague, 1867; very
succ.) ; given in German as Im Brunnen (Leip-
zig, 1893); opera Zidek (unfinished); a mass,
an overture, quartets for men's voices, pf.-
music, and songs.
Blon, Franz von^b. Berlin, July 16, 1861.
Pupil of the Stern Cons, and the Hochschule
fur Musik. Leader in the Hamburg City Th.
orch.; 1898, cond. of the Berlin Philh. Blas-
Orchester; 1900, of the Berlin Tonkunstlcr-
Orch.— Operettas: Sub rosa (Ltibeck, 1887),
Die Amazone (Magdeburg, 1903); a ballet
In Afrika (Berlin, 1899); also light orchestral
pieces, piano-pieces, songs, etc.
Blondeau [bldhn-doh'], Pierre-Auguate-
Louia, b. Paris, Aug. 15, 1784; d. there
1856. Pupil of Baillot, Gossec, and Mehul
at Paris Cons.; Prix de Rome, 1808,
with cantata Maria Stuart; till 1842, viola-
player in Grand Opera orch. — Works: 1 opera,
Allafontana (1893); 1 ballet, 3 overtures, 1
mass, 2 Te Deums, chamber-music, pf .-pieces,
songs; also a number of theoretical works.
Bloomfield Zeisler, Fanny. SccZeisler,
Fannie Bloomfield.
Blow, (Dr.) John, b. N. Collingham,
Nottinghamshire, Feb. (baptized 23d), 1648;
d. Westminster (London), Oct. 1, 1708. In
1660, chorister at the Chapel Royal, under
Henry Cooke; on leaving the choir, he studied
under John H ingest on and Dr. Chr. Gibbons,
becoming a skilful organist. App. organist of
Westminster Abbey, 1669, but had to make
way for Purccll in 1680; on Purcell's death, he
was reappointed (1695-1708). Gentleman of
the Chapel Royal, March, 1674, and, in June,
succeeded Humphreys as Master of the
Children; later he became organist of, and
(1699) composer to, the Chapel Royal. Ox-
ford Univ. conferred on him the degree of
Mus. Doc. — Blow began to compose when a
boy in the Ch. R., and wrote a vast amount
of church-music (services, anthems, odes for
St. Cecilia's day and New Year's) ; many an-
thems are printed. Also organ-music, pieces
for harpsichord, and songs. — See Q.-Lex.
Blum [bloom], Karl Ludwig, b. Berlin,
1786; d. there July 2, 1844. A most versatile
musician: dramatic composer, organist, 'cel-
list, conductor, actor, singer, and poet. Pupil
of H. Grossi (Berlin), Fr. A. Hiller (Konigs-
berg), and Salieri (Vienna); in 1820, app.
chamber-musician to the Prussian court; in
1822, stage-manager of the Berlin Opera. He
produced over 50 operas, ballets, vaudevilles,
etc., and was the first to bring vaudeville on
the German stage. His vocal and instru-
mental music is forgotten.
Blu'menfeld, Felix Michallovltch, b.
Kovalevska, Govt, of Cherson, Russia, April
19, 1863; from 1881-5, pf.-pupil of Th. Stein
at Petrograd Cons.; took gold medal. From
1885, teacher, 1897, prof, at Cons.; 1898-
1912, cond. at Imp. Opera in Petrograd. —
Works for pf.: Allegro ae concert, with orch.,
op. 7; Variations caracUr., op. 8; 24 Prfludcs,
op. 17; mazurka for orch.; string-quartet in
r , op. 26; symphony in C m., op. 39; pieces
for 'cello; songs; etc.
Blu'menfeld, Slgismund, b. Odessa,
Dec. 27, 1852; brother of Felix. Vocal comp.;
has also written some pf.-music (op. 5, Six
Brimborions; op. 6, Two Mazurkas). Lives
in Petrograd.
Blu'menschein, William Leonard, b.
Brensbach, Germany, Dec. 16, 1849; d. Day-
ton, Ohio, March 27, 1916. Pupil from 1869-
72, in Leipzig Cons., of Wenzel, Paul, Rei-
necke, Richter, David, etc. (piano, organ, vln.,
theory). After 1897, organist and choir-
director of the Third St. Presb. Ch., Dayton,
Ohio; after 1881, director of the Dayton
Philh. Soc. From 1891-6, the energetic and
efficient chorus-master of the Cincinnati May
Festival Assoc.; cond. of various smaller
societies. — His published comps., which reach-
ed op. 110, include 50 sparkling piano-
pieces of the lighter genre, a score of secular
songs, some 60 effective anthems and sacred
songs, and several secular choruses.
Blu'menthal [-tahl], Jacob [Jacques],
pianist, b. Hamburg, Oct. 4, 1829; d. London,
May 17, 1908. Pupil of Grund (Hamburg),
of Bocklet and Sechtcr (Vienna), and of Herz
and Halcvy (Paris Cons., 1846). Settled in
London, 1848; pianist to the Queen, and
successful teacher. B. composed many
melodious and effective salon-pieces f . pf . ; also
music f. 'cello and vln., and numerous songs.
94
BLUM ENTH AL— BOCHSA
Blu'menthal, Joseph von, b. Brussels,
Nov. 1, 1782;d. Vienna, May 9, 1850. Violin-
ist and composer; pupil of Abbe Vogler in
Prague and (1803) Vienna, where he became
choirmaster in the Church of the Piarists. —
Works: An opera, Don Sylvio de Rosalba
(1805); music to several other stage-pieces; a
ballet; symphonies, string-quartets, duos and
other violin-music; also a Method for violin.
Blu'menthal, Paul, b. Steinau-on-Oder,
Silesia, Aug. 13, 1843; pupil of the R. Acad.,
Berlin; 1870, organist in Frankfort-on-Oder;
1876, created 'R. Music-director'; 1899, can-
tor at St. Mary's; 1905, created 'R. Professor'.
—Works: Masses, motets, orchestral music
(incid. music to Wildenbruch's Karolingef);
he has publ. motets and male choruses, songs,
and pieces for organ and for pf .
Blum'ner, (Dr.) Martin, b. Furstenberg,
Mecklenburg, Nov. 21, 1827; d. Berlin, Nov.
16, 1901. Pupil of S. W. Dehn in Berlin
(1847); 1853, vice-conductor, 1876, regular
conductor of the Berlin 'Singakademie.' He
was a vocal composer in the strict style. —
Works: 2 oratorios, Abraham (1860) and Der
Fall Jerusalem* (1874); 2 grand cantatas for
ch., soli and orch., In Zeit und Ewigkeit
(1885) and Festival Cantata (1891); Te Deum
in 8 parts; motets, psalms, Lieder, etc.
Bluth'ner [blot-], Julius (Ferdinand),
b. Falkenhain, n. Merseburg, March 11, 1824;
d. Leipzig, April 13, 1910. Celebrated piano-
maker. Founded his establishment at Leip-
zig, 1853, with 3 workmen; had in 1897 over
500, and turned out some 3,000 pianos yearly
(63,000 up to 1904). B. was awarded many
first medals. His specialty was the 'Aliquot-
fliigel,' a grand piano with a sympathetic
octave-string stretched over and parallel with
each unison struck by the hammers. — To-
gether with H. Gretschel he wrote Der Piano-
fortebau (1872; 3d ed. rev. by R. Hanne-
mann, Leipzig, 1909).
Bobin'ski, Henry Antonovitch, pianist;
b. Warsaw, Feb. 1, 1861, and studied: at the
Cons, there and the Philh. School in Moscow,
where he became a teacher in 1887; since
1893, teacher in the school of the R. Russ.
Mus. Soc. at Kiev. Debut as pianist, 1887,
at Cracow; has played in other Russian
towns, Vienna (1893), etc. — Publ. an orchl.
overture, a pf. -concerto (op. 8), variations for
string-quartet, minor pf .-pieces, etc.
Boccheri'ni, Luigi, b. Lucca, Italy, Feb.
19, 1743; d. Madrid, May 28, 1805.
Pupil of Abbate Vannucci, and studied later
in Rome. Being a fine 'cellist, he undertook
a long concert-tour with the violinist Man-
fredi; in 1768 they were in Paris, and B.
publ. his op. 1 (6 string-quartets), also 2 books
of trios for 2 vlns. and 'cello. These charming
works established his fame as a chamber-
composer. In 1769 he settled in Madrid as
chamber- virtuoso to the Infante Luis, and
later to the King. In 1787 he dedicated a
work to Friedrich Wilhelm II of Prussia, who
thereupon conferred on him the title of cham-
ber-composer, with a salary which ceased at
the King's death in 1797. After this, except-
ing a brief period under the munificent pa-
tronage of Lucien Bonaparte, * B.'s affairs
went from bad to worse, and he died in ex-
treme poverty. He was a prolific chamber-
composer (2 octets, 16 sextets, 12j> string-
quintets, 12 pf. -quintets, 18 quintets f. strings
and flute [or oboe], 91 string-quartets, 54
string-trios, 42 trios, sonatas and duets for
vln., etc. Also 20 symphonies, an opera, an
orchestral suite, a 'cello-concerto, sacred
music, etc. Monographs on B.'s life and
works by L. Picquot (Paris, 1851); D. M.
Ceru, Cenni intorno alia vita e le opere di L. B.
(Lucca, 1864); G. Malfatti, L. B.neW arte,
nella vita e netle opere (Lucca, 1905) ; H. M.
Schletterer, B. (Leipzig, 1882, Br. & H.).—
See Q.-Lex.
BochTcoltz-Falconl, Anna (rede Bock-
holtz), b. Frankfort, 1820; d. Paris, Dec. 24,
1879. Vocalist, pupil of Brussels Cons.
Settled in Paris, as a teacher, in 1856. She
published songs and vocal studies.
Boch'sa, Karl, b. Bohemia; d. Paris,
1821, asa music-seller. He was previously
oboist in Lyons and Bordeaux theatres.
— Works: 9 quartets for clarinet and strings;
9 quartets for oboe and strings; 6 duos con-
certants for 2 oboes; a clarinet -concerto; 2
quintets; a Method for Flute; do. f. Clarinet.
Boch'sa, Robert-Nicolas-Charles, son
of Karl B.; b. Montmedy, Meuse, Aug. 9,
1789; d. Sydney, Australia, Jan. 6, 1856. At
first his father's pupil, he played in public at
7, wrote a symphony at 9, and an opera at 16.
He studied under Fr. Beck (Bordeaux), and
Mehul and Catel at Paris Cons. (1806); Na-
derman and Marin were his harp- teachers,
but he devised novel methods; he became
harpist to Napoleon, and also to Louis
XVIII. Detected in forgeries, he fled to
London (1817); Parish- Alvars and Chatter-
ton were his pupils there. With Smart he
inaugurated the Lenten oratorios in 1822,
conducting them alone from 1823. He was
harp-prof, at the Acad, of Music from 1822-7,
when he was dismissed; from 1826-32 he
conducted Italian opera at the King's Th.; in
1839 he eloped with Sir Henry Bishop's wife,
made long concert-tours with her in Europe
and America, and finally went to Australia. —
Works: 9 French operas, one prod, in Lyons
(1804), the rest in Paris (1813-16); 4 ballets;
an oratorio; orchestral music, etc.; very many
compositions of all kinds for harp; and a
Method for Harp (a standard work). — Under
95
BOCKELER— boEllmann
the title Un musicien voleur, faussaire et
bigame Arthur Pougin published a series of
articles in 'Le M6nestrel (Jan. 13 to March 9,
1907) on the career of this erratic harpist.
Bdck'eler, Heinrich, b. Cologne, July 11,
1836; d. Aix-la-Chapelle, Feb. 20, 1899. In
1862 he was vicar-choral and conductor of
cathedral -choir at Aix-la-Chapelle; from 1876,
editor of the 'Gregorius-Blatt.' — Works:
Church-music; choruses for men's voices.
Booklet, Karl Maria von, brilliant
pianist; b. Prague, 1801; d. Vienna, July 15,
1881. Pupil of £awora (Prague) and Hummel
(Weimar) for pf.; of Dionys Weber (Prague)
for comp.; and of Pixis for violin. In 1820,
violinist at the Vienna 'Th. an der Wien';
later he embraced the career of a concert-
pianist and pf. -teacher; Louis Kohler and
Jacob Blumenthal were his pupils.
Bocquillon-Wilhem [bdh-ke-ydhn'], G.
L. See Wilheh.
Bodafizky, Artur, b. Vienna, Dec. 16,
1877. Having graduated from the Vienna
Cons., he began his career in 1897 as one of
the first violins at the Court Opera, continu-
ing his studies in comp. with A. von Zem-
linski; 1900, cond. of operettas at the Stadt-
th. in Budweis; 1901, at Karl-Th. in Vienna;
1903, corrcpetitor and assistant to Mahler at
the Court Opera; 1904, cond. at Th. an der
Wien; 1905, first cond. at Lortzing Th. in
Berlin; 1906-9, cond. at the Landestheater
in Prague, and also of the symph. concerts.
Here his excellent work attracted such at-
tention that in 1909 he was called to Mann-
heim as first cond. and operatic director at
the Grand-Ducal Th.; also cond. of symph.
and oratorio concerts. In 1912 he arranged a
3-day Mahler festival, when he cond. a body
of 1,500 vocalists and instrumentalists. The
overwhelming success of the first Parsifal
performances in England, which he cond. at
Covent Garden in 1914, was largely instru-
mental in determining his selection as Hertz'
successor for the German operas at the
M. O. H., where he chose tor his debut
GoUerdammerung on Nov. 17, 1915. He is a
conductor of the Mahler type, forceful,
authoritative, electrifying; a wonderful builder
of climaxes, a master in the distribution of
light and shade and in maintaining a just
balance between voices and orchestra. At
all times he secures a full, mellow tone; even
in the most tremendous fortissimos the
orchestra is always euphonious.
Bo'de, Johann Joachim Christoph,
b. Barum, Brunswick, Jan. 16, 1730; d. Wei-
mar, Dec. 13, 1793. Oboist in Cettc, 1755;
from 1762-3, music-teacher and editor at
Hamburg, and later became Lessing's partner
as printer and publisher. Settled in Weimar
1778. Published concertos for 'cello, bassoon
and vln.; symphonies, etc.
Bo'denschatz, Erhard, b. Lichtenberg,
Saxony, 1576; d. as pastor at Gross-Oster-
hausen, near Querf urt, in 1638. He published
valuable collections: FloriUgium Portense
(Leipzig, 1603 and 1618), containing 115
motets; ditto (2nd part, Leipzig, 1621), con-
taining 150 motets, all by contemporaries;
also Florilegium selectissimorum hymnorum
for schools (1606; last ed. 1721). His own
compositions arc less interesting. — See Q.-Lex.
Boe'decker [bo-], Louis, pianist, music-
teacher and critic; b. Hamburg, 1845; d.
there June 5, 1899. Pupil of £. Marxsen.
Publ. works: a PhantasieSonate for pf. and
violin; a Trio-Phantasie; about 30 pf. -pieces;
songs; in MS., orchestral, choral, and cham-
ber-music.
Boehe, Ernst, composer; b. Munich,
Dec. 27, 1880; studied theory with R. Louis
and Thuille, and pf .-playing with H. Schwartz.
In 1907 he cond., with Courvoisier, the
<Volkssymphontekonzerte, in Munich; since
1913, Hofkapellm. in Oldenburg. He has
brought out a number of important orchestral
works: 4 episodes from Odysseus1 Fakrten
(Odysseus* A usfahrt und Schiffbruch, Die Jnsel
der Kirke, Die Klage der Nausikaa, Odysseus'
Heimkehr). the first prod, in London, 1906;
the symph. poem Taormina; a Tragische
Ouvertiire; Symph. Epilog su einer Tragodie;
Eine Komodienouverture; also songs with
orchestra; etc;
Boehm; Boehme. See B&hm, Bohme.
Boelcelmann [boo-], Bernardus, pianist;
b. Utrecht, Holland. June 9, 1838. Pupil of
his father, musical director A. J. B.; studied
1857-60, under Moscheles, Richter and
Hauptmann, at Leipzig Cons.; 1862-4, pri-
vate pupil of BQlow, Kiel and Weitzmann at
Berlin, also teaching at Stern's Cons. Since
1866 in New York, where he founded and
directed (till 1888) the N. Y. Trio Club for
chamber-concerts. From 1883-97, Mus. Dir.
at the Ladies' School in Farmington, Conn.;
since then private instructor in New York.
B. is a well-known teacher and player. Has
composed for orch., and has publ. special
etudes for pf.; solo pieces for pf., 4 and 8
hands; pieces for vln. and pf.; and songs.
His analytical edition of Baclrs WeU-Umpered
Clavichord and 2-part Inventions, in colors,
is unique.
Boellmann, Leon, comp. and organist;
b. Ensisheim, Alsatia, Sept. 25, 1862;
d. Paris, Oct. 11, 1897. A pupil of the Nie-
dermeyer School, Paris, his teacher being the
celebrated organist Gigout, in whose Organ
School B. taught later. A successful comp.
in almost all styles, he left 68 published
works; among his noteworthy comps. are a
96
bo£ly— bOhme
symphony in F; Variations symphoniques for
'cello and orch.; a Fantaisie dtaloguie for orch.
with organ; Suite gothique for organ; a pf.-
quartet; a pf.-trio; a sonata for 'cello; Rhap-
sodic carnavalesque for pf. 4 hands; Heures
mystiques (a coll. of. 100 pieces for organ). —
Ct. P. Locard, L. B. (Strassburg, 1901).
Boeiy, Alexandre-Pierre-Francois, b.
Versailles, April 19, 1785; d. Paris, Dec. 27,
1858. Pianist; also vln. -pupil of Ladurner at
Paris Cons., and organist (for some years at
St. -Germain 1'Auxerrois). He wrote a mass
f . Christmas, 4 offertoires and many other pes.
f. org., much pf. -music, and 3 string-trios, etc.
Boers [boors], Joseph Karel, b. Nym-
wegen, Holland, 1812; d. Delft, Oct. 1, 1896.
Pupil of Ltibeck in R. Cons, at The Hague;
1831, cond. at R. Th. there. Held similar
posts at Paris and Mctz; 1841, app. prof, at
the Normal School, Nymwegen, and cond. of
Choral Society; 1853, music-director at Delft.
He wrote an interesting History of Musical
Instrs. in the Middle Ages; also a complete
bibliography of ancient and modern musical
works produced in the Netherlands. Comp.
a symphony, overtures, cantatas, songs, etc.
Boesset [bw£hs-sa'], Antoine, Sieur de
VUledieu, Intendant of Music to Louis
XIII; b. circa 1585; d. 1643. Celebrated as
the composer of many A irs de cour in 4 or 5
parts, and of numerous ballets.
Boetius [bo-a'ti-us] (or Boethius), Anl-
cius Manlius Torquatus Severinus, b.
Rome circa 475 A. D.t executed 524 (6?), on
suspicion of treason, by Theodoric, whose
counsellor he had been for years. Philosopher
and mathematician; author of De Musica, a
Latin treatise (in 5 books) on Greek music,
which was the chief source for the theorizing
monks of the middle ages. Besides MSS. in
many libraries, De Mustca has been published
at Venice (1491-2 and '99), Basel (1570), and
Leipzig (1867); and in a German transl. by
Oscar Paul, with interesting introduction, at
Leipzig (1872); a French transl. by Fetis.
remained. MS.
Bohl'mann, Georg Karl, b. Copenhagen,
April 8, 1838; organist and music-director
there. Has written numerous vocal and
orchl. works (e. g., the overture The Vikings*
Voyage).
Bohl'mann, Theodor Heinrich Fried-
rich, pianist; b. Osterwieck am Harz, Ger-
many, June 23, 1865; studied with Dr. Stade
(Leipzig), Barth, Klindworth, Tiersch, d'Al-
bert, and Moszkowski (Berlin). Debut Ber-
lin, March 3, 1890, marked success; concert-
tour in Germany. From Sept., 1890, prof,
of pf. at Cincinnati Cons. lias given many
successful concerts.
Bohm, Karl, b. Berlin, Sept. 11, 1844;
?upil of LSschhorn, Reissmann, and Geyer.
ianist and sofon-composer; lives in Berlin. —
Works: Trios, pf .-pieces, vln.-music, songs.
Bohm, Georg, organist and clavichord ist;
b. Hohenkirchen, Thuringia, Sept., 1661; d.
Liineburg, May 18, 1733. His organ preludes
and compositions for harpsichord, rank high
among works of the time. Monograph by
Buchmayer in the 'Programmbucn des 4.
Bachfestes' (1908).
Btthm, Josef, b. Ktihnitz, Moravia, Feb.
9, 1841; d. Vienna, Nov. 6, 1893. Pupil of
Booklet and Krenn, Vienna; 1865 organist,
1867 choirmaster, 1877 Kapellm., at the
Hofpfarrkirche, Vienna; also director of the
school of church-music of the Ambrosius-
Verein.
B5hm, Joseph, b. Pest, Mar. 4, 1795; d.
Vienna, Mar. 28, 1876. Violinist, pupil of
his father; at 8 years of age he made a
concert-tour to Poland and Petrograd, where
he studied for some years under P. Rode.
His first concert at Vienna (1815) was very
successful; after a trip to Italy, he was app.
(1819) vln.-prof. at Vienna Cons., and (1821)
entered the Imp. orch. He formed dis-
tinguished pupils — Joachim, Ernst, Auer,
Hellmesberger (Sr.), Singer, Ludwig, Strauss,
Rappoldi, Hauser, etc. Retired from Cons.
1848, from orch. 1868. — Wrote concert-pes.
and quartets; also duets, songs, etc.
B6hm, Theobald, inventor of the 'B6hm
flute'; b. Munich, Apr. 9, 1794; d. there Nov.
25, 1881. Flutist, comp. f. ft., 'Hofmusikus,'
and member of the royal orch. — His system
of construction marks a new departure in the
make of wood-wind instrs. To render the
flute acoustically perfect, he fixed the position
and size of the holes so as to obtain, not
convenience in fingering, but purity and
fullness of tone; all holes are covered by keys,
whereby prompt and accurate 'speaking' is
assured; and the bore is modified, rendering
the tone much fuller and mellower. — B. publ.
Vber den Flatenbau und die neuesten Verbesse-
rungen desselben (Mayence, 1847; Engl,
transl. by W. S. Broidwood, London, 1882).
— See Ch. Welch, History of the Boehm Flute
(London, 1896); and V. Mahillon, £tude sur
le doigti de la fl&te Boehm (1885).
Bdh'me, August Julius Ferdinand, b.
Gandersheim, Brunswick, Feb. 4, 1815; d.
there May 30, 1883. Pupil of Spohr ; Kapellm.
of theatres at^ Berne and Geneva; 1846-76
cond. of the 'Euterpe' at Dordrecht, Comp.
orchestral and chamber-music, songs, etc.
Bdh'me, Franz Magnus, b. Willcrstedt,
n. Weimar, Mar. 11, 1827; d. Dresden, Oct.
18, 1898. Pupil of J. G. Topfer (Weimar),
and Hauptmann and Rietz (Leipzig). For 11
97
BOHME— BOIELDIEU
years school-teacher, then for 20 years
music-teacher in Dresden; received the title '
of 'Prof.' from the Kins; 1878, teacher of cpt.
and hist, of music at Hoch Cons., Frankfort;
retired 1885 to Dresden. — Literary works:
Altdeutsches Liederbuch (Leipzig, 1877; a coll.
of German folk-songs — words and melodies —
of the 12th-17th centuries): Aufgabenbuch
zum Studium der Harmonic (1880); Kursus
der Harmonie (Mayence, 1882) ; Geschichte des
Tanzes in Deutschland (Leipzig, 1886); Volks-
tiimliche Lieder der Deutschen im 18. und 19.
Jahrh. (Leipzig, 1895, pp. 628) ; Deulsches Kin-
derlied und Kindersfid (1897).— He edited
Erk's Deulscher Liederhort (new ed., 3 vols.,
1893-94); and pubf. several books of sacred
part-songs and male choruses.
Boh'me, Willy, b. Dessau, Nov. 16, 1861;
pupil of Bartels, Rosier, Diedccke and Thicle,
then 1881-6 of the R. Hochschulc at Berlin,
where he has establ. a conservatory. — Works:
An opera, Der Cid (Dessau, 1887); a symph.;
an overture; the cantata Kaiser Wilhelms
Meerfahrt (1893); also 'Marinelieder' and
'Nationallieder' f. male chorus.
Btth'mer, Karl (Hermann Ehrfried),
violinist and composer; b. The Hague, Nov.
6, 1799; d. Berlin, July 20, 1884. Pupil of
Polledro; 1835, member of the royal orch.,
Berlin. — Works: Operas (Meerkonig und sein
Liebchen, etc.), orchestral music, much violin-
music, etc.
Bohn, Emil, b. Bielau, n. Neisse, Jan. 14,
1839; d. Breslau, July 5, 1909. Student of
philol. at Breslau; but later devoted himself
to music. 1868, ore. of the Kreuzkirche,
Breslau; also founded the Bohn Choral
Society, noted for its historical concerts.
1884, Ph. D. (hon. c, Breslau), director of
the University Choral Society, and lecturer
at the Univ.; also mus. critic of the 'Bres-
lauer Zeitung.' 1895, 'R. Prof.' of Music;
1908 full professor at the Univ.— - Works:
Bibliographie d. Musikdruckwerke bis 1700,
welche auf der Universitdtsbibliothek, etc., zu
Breslau aufbewahrt werden (1883); Die mus.
Handschriften des 16. und 17. Jahrh. in der
Stadtbibl. zu Breslau (1890); Die National-
hymnen der europdischen Volker (1908).— He
composed part-songs and songs; and edited
the pf.-works of Mendelssohn and Chopin.
Bdh'ner, (Johann) Ludwig, b. Tottel-
stedt, n. Gotha, Jan. 8, 1787; d. Gotha, Mar.
28, 1860. A composer of great talent but
weak character — the reputed original of E.
A. T. Hoffmann's 'Kreisler.' Excepting a
year (1810) as Kapellm. at Nuremberg, he
led a roving life, and finally became addicted
to drink. — Works: An opera, Der Dreiherrn-
slein; overtures, marches, dances, etc., f.
orch.; concertos and sonatas f. pf.; much left
in MS.
Boh'rer, Anton, b. Munich, 1783; d.
Hanover, 1852. Violinist, pupil of R. Kreut-
zer in Paris. Composed chamber-music, also
concertos and solo- pes. f. vln. With his
brother Max, the 'cellist, he was a member of
the Bavarian court orch-.; from 1810-14 the
two made tours through Austria, Poland,
Russia, Scandinavia and England; 1815 in
France, 1820 in Italy. In 1834, Anton
became leader of the orch. at Hanover.
Boh'rer, Max, 'cello-virtuoso; b. Mann-
heim, 1785; d. Stuttgart, Feb. 28, 1867.
After long concert-tours with Anton, he
settled (1832) in Stuttgart as first 'cellist in
the orch. Tour in the United States, 1842-43.
Compositions of minor importance.
Boieldleu [bwah-el-dVo'], Adrlen(-Louto-
Vlctor), son of F.-A. B.; b. Paris, Nov. 3,
1816; d. Quincy, July 9, 1883. Wrote
several attractive operas and operettas; also
masses, cantatas, etc.
Boieldleu, Francois- Adri en, French dra-
matic comp.jb. Rouen, Dec. 16, 1775;d. Jarcy,
n. Grosbois, Oct. 8, 1834. Son of Archbishop
Larochefoucauld's secretary; his mother was
a milliner. Through conjugal differences, the
pair were divorced, and the boy was appren-
ticed to Broche, the cathedral organist, a
pupil of Padre Martini. Broche, of intem-
perate habits, was brutal; the boy, at 12
years of age, ran away; he went on foot to
Paris, ana was with difficulty found and
brought back. Broche appears to have been
his only teacher in youth, natural talent
supplying the lack of serious study. At 18
years of age he prod, with success an opera to
his father's libretto, La Fille coupable (Rouen,
1793), followed, in 1795, by Rosalie et Myrza.
His local reputation encouraged him to extend
his sphere, and again he walked to Paris,
but his reception was chilling, and he was
glad to earn a living by teaching and piano-
tuning, firard employing him. He made
the acquaintance of Menul, Rode, Cheru-
bini, and Garat the tenor, who sang the
young man's songs in public, and thus pro-
cured him recognition and a publisher. Le
Menestrel, S'il est vrai que d'Ure deux, O toi
quej'aime, are still found on concert-programs.
Fievee the novelist wrote him a libretto, and
La Dot de Suzette, in one act, was prod, with
success (Opera-Corn., 1795), followed by Les
deux LeUres (1796), and in 1797 by La Famille
Suisse (Th.-Feydeau). 1798 saw the produc-
tion of pf. -sonatas, pf.- and harp-duets, and a
pf.-concertb; their success obtained for him,
2 years later, the appointment of professor of
piano at the Paris Conservatory. Zoraime et
Zulnare (1798), Beniowski, and Le Calif e de
Bagdad (1800), added to his reputation.
Cherubini good-naturedly twitted him on his
'undeserved success,' and B. took a strict
98
BOISDEFFRE— BOISSELOT
course of contrapuntal study, benefiting much
by the advice of Cherubini and Mehul.
Three years elapsed, and Ma tante Aurore
(Th.-Feydeau, 1803), showed marked im-
provement, and was greeted with great
applause. In 1802 he had married Clotilde-
Auguste Mafleuroy, a ballet-dancer, and the
conjugal misery that resulted led to his self-
expatriation in 1803. He went to Petrograd,
and was app. cond. of the Imperial Opera,
with a handsome salary. He stayed in Russia
8 years; his contract included 3 operas per
annum, and a number of military marches,
but of this period little was worthy of pre- .
servation. The war between Russia and
France caused his return to Paris, in 1811.
A revival of Ma tante Aurore, the production
of a revised version of Rien de trop (comp.
in Russia), followed in 1812 by Jean de
Paris, created the wildest enthusiasm, opera
having been at a low ebb for some time. In
1817 he succeeded Mehul as prof, of comp.
at the Cons., and was elected a member of
the 'Institute In 1818 Le petit chaperon rouge
was another triumph. In 1821 he was
created Chevalier of the Legion of Honor.
Precarious health caused a silence of 7 years,
but in 1825 La Dame blanche met with un-
paralled success, and remains his masterpiece.
He was well remunerated for his last opera,
Les deux nuits (1829), but it was a failure.
In delicate health, with pulmonary trouble
contracted in Russia, mortification and dis-
appointment aggravated the disorder. His
first wife had died in 1825, and in 1827 he
married Mile. Phillis, a singer, and the
mother of his only son Adrien. This union
was most happy, and in his last days of illness
and pecuniary difficulties he was much
consoled by her kindly care and unswerving
fidelity. He had retired from the Cons, in
1829, with a pension, but in 1830 the new
government revoked the pension. He applied
for reinstatement at the Cons., was reappoint-
ed, but did not teach again; for Thiers,
minister of Louis Philippe, recognized the
master's work, and relieved his anxieties by
an annual grant of 6000 francs. A journey
to Pisa in search of health was of no benefit;
he returned to Paris, but again had to -seek
the mild Southern climate, and died at his
country-house at Jarcy. — Among his pupils
were Zimmerman, Fetis, Adam, and Labarre.
— Boieldieu ranks as the foremost composer
of his generation, of French 'opera comique.'
Despite the carelessness of his early education,
his masterpieces exhibit evidences "of pains-
taking and conscientious labor, resulting in
a high degree of finish and perfection. Besides
the operas mentioned, he collaborated with
Cherubini in La Prisonniere (1799); with
Mehul, Kreutzer, et al., in Le Baiser et la
Quittance (1802) ; with Cherubini, Catel, and
99
Nicolo Isouard — his former rivals — in Bayard
a Mesieres; with Kreutzer in Henri IV en
voyage (1814); with Mme. Gail, pupil of Fetis,
in Ang&la, ou V Atelier de Jean Cousin (1814);
with Herold in Charles de France; with Cheru-
bini, Berton, et al., in La Courdes Fees (1821);
with Auber in Les trois Genres; with Cheru-
bini, Berton, et al., in Pharamond; with Ber-
ton, et al., in La Marquise de Brinvilliers. —
Biographical: G. Hequest, A. B.t sa vie et ses
ceuvres (Paris, 1846; pp. 115); A. Pougin, B.f
savie et ses auvres (Paris, 1875); Lucien Auge
de Lassus, B., in series 'Les Musiciens ce-
lebres' (Paris, 1908; pp. 125, with list of
minor publications concerning B.); P. L.
Robert, Correspondence de B. (Turin, 1912).
— See Q.-Lex.
Boiadeffre [bwah-def'fr], Charles-Henri-
Rene de, b. Vesoul (Haute-Savoie), April 3,
1838; d. at his estate Vczelise, Dec. (?), 1906.
Pupil of Ch. Wagner and Barbereau in Paris,
where he resided. Composer; in 1883 the
Prix Chart ier was awarded him for chamber-
music. — Works: A symphony in A m. (1883);
Scenes champitres f. orch.; pf. -sextet (op. 43);
2 pf. -quintets (op. 11 and 25); a pf. -quartet
(op. 13); 2 pf. -trios (op. 10 and 32); pf.-
sonatas, Romances sans paroles, Melodies;
Messe solennelle (1890); Cantique des cantiaues
for soli, ch. and orch. (op. 16) ; Moise sauve des
edux (op. 18); choruses Dans la forU (op.
41) and Les lendemains de la vie (op. 46);
etc. — Cf. H. Imbert's 'Nouveaux Profils de
Musiciens' (Paris, 1892).
Boise, Otis Bardwell, b. Oberlin, Ohio,
Aug. 13, 1845; d. Baltimore, Dec. 16, 1912.
Organist at 14. In 1861 studied under
Hauptmann, Richter, Moscheles, etc., at
Leipzig; 1864 under Kullak at Berlin. 1864-
70, organist and teacher in Cleveland;
1870-76, in New York; 1876-78, spent in
Europe. He taught in Berlin 1888-1901;
since then, prof, of theory and comp. at the
Peabody Inst., Baltimore. Among his pupils
are Ernest Hutcheson, Howard Brockway,
Percy Atherton, and Arthur Nevin. — Works:
Symphonies and overtures for orch.; pf.-
concertos, and minor pieces; also a text -book,
Harmony Made Practical (N. Y. 1900).
Boisselot [bwahs-I6h'], Jean-Louis, b.
Montpellier circa 1785; d. Marseilles, 1847.
A maker of stringed instrs. at Montpellier,
he removed to Marseilles and soon set up a
successful piano-factory, of which his eldest
son, Louis (1809-50), was the manager;
Francois, the present proprietor, is the
founder's grandson.
Boisselot, Xavier, second son of J.-L. B.;
dramatic composer; b. Montpellier, Dec. 3,
1811; d. Marseilles, Apr. 10, 1893.— Works:
The operas Ne touches pas a la reine (Paris,
BOITO— BONA
1847); Mosquita la sorcilrc (Paris, 1851);
VAnge dkchu (Marseilles, 1869); and a can-
tata, Veiled* (1836).
Boito [bd'e-tdh], Arrigo, poet and opera-
composer; b. Padua, Feb. 24, 1842. From
1856-62, pupil in Milan Cons, of Alberto
Mazzucato and Ronchetti-Monteviti. His
first important ventures were two cantatas,
II 4 giugno (1860) and Le SoreUe d' Italia
(1,862; w. Faccio); the latter being so succ.
that the Italian government granted the
authors not only the usual gold medal, but
a stipend for two years' foreign travel. B.
spent most of this time in Paris, the remainder
chiefly in Germany; strongly influenced by
hearing and studying a variety of French and
German music then practically unknown in
Milan, where nothing but Italian or French
operas interested the public, he wrote the
libretto and gradually finished the music for
the opera Mefistofele (Milan, La Scala, Mar.
5, 1868), the unusual style of which made
warm partisans, but also, aroused the bitter
opposition of the strong anti-Wagnerite
faction, so that the opera was withdrawn
after a second performance. Remodelled, it
has met with success at Bologna (1875),
Hamburg (1880), and Milan (1881); neverthe-
less, two others, Nerone and Orestiade, have
never been offered for production, and of an
earlier opera, Ero e Leandro, nothing remains
but a few musical themes and the book. B.
ranks high as a poet ('II Libro dei Versi,'
written 1861-7, publ. Turin, 1877, under the
anagrammatic pen-name of 'Tobia Gorrio'),
and is the author of all his own libretti; he
has made admirable translations of some
others {Tristan und Isolde, Rienzi), and
wrote the books for Amleto (Faccio), Gioconda
(Ponchielli), Alessandro Farnese (Palumbo),
Tram (Dominiceti), Otello and Falstaff
(Verdi; the last held to be his masterpiece),
and Un Tramonto (Corona to). Is also a
novelist of distinction. From the King he
has the titles of 'Cavaliere/ 'Ufficiale,' and
'Commendatore'; in 1892 he was app. In-
spector-General of Technical Instruction in
the Italian Conservatories and Lyceums; in
1895 he was made Chevalier of the Legion
of Honor. He lives in Milan. — Cf. C. Trevor,
B.'s Nero (in 'M. T.,' June, 1916).
Bolck, Oskar, b. Hohenstein, East Prus-
sia, Mar. 4, 1837; d. Bremen, May 2, 1888.
Pupil (1857) of Leipzig Cons. (Rietz and
Moscheles). After teaching in Leipzig, Wi-
borg (Finland), and Liverpool, he became
(1868) Kapcllm. at the Wiirzburg Th., and
1869 at Aachen. 1875, teacher at Riga,
where his opera Pierre und Robin (1876) was
produced. After this he was chorusmaster,
in turn, at Leipzig, Hamburg, and Bremen.
He wrote 2 other operas, Gudrun and Der
Schmied von Gretna Green (both not perf.),
pf.-music, songs, etc.
Bollinger, Samuel, pianist, composer;
b. Fort Smith, Ark., Sept. 22, 1871. # Studied
pf. with Emil Winkler and, at Leipzig Cons.,
with Reinecke, Schreck, and others; org.
Amer. Ch., Leipzig, 1893-5; founded Bollinger
Cons, at Ft. Smith in 1896; taught in San
Francisco (1897), and Chicago (1906); since
1907 in St. Louis; head of pf. dept. Strassber-
ger Cons. — Works: Op. 3, dramatic overture,
Pompilia e Caponsacchi, for orch.; op. 9,
Waltzes for orch.; op. 17, Romantic Fantasy
for organ; op. 18, The Sphinx, fantasy-suite,
five scenes for orch.; op. 19, Sonata for pf.
and vln.; numerous works for pf.
Bdl'sche, Franz, b. Wegenstedt, n. Magde-
burg, Aug. 20, 1869; 1889-94 pupil of the
Berlin ,Hochschule, (Bargiel, Spitta, Hey-
mann); 1896, teacher of theory in Cologne
Cons. Editor, for the 'Denkmaler deutscner
Tonkunst,' of the instrl. works of Melchior
Franck; has comp. an overture, Judith,
chamber-music, pf.-pieces, songs, etc.
Bol'te, Johannes, contemporary German
writer; author of Die Singspiele der englischen
Comodianten und ihrer Nachfolger in Deutsch-
land, Holland, und Scandinavian (Leipzig,
1893).
Bolzo'ni, Giovanni, b. Parma, May 14,
1841. Pupil of del Maino (vl.) and Rossi
(comp.) at the Cons, there; began as violinist
in the orch. at Savona; during the next six
years rose to leader and conductor; 3
years in Perugia as cond. and dir. of 'Istituto
Morlacchi*; lived a short time in Piacenza;
since 1887 dir. of the 'Istituto Musicale,'
leader at the 'Teatro Regio' and 'Concert!
Popolari* at Turin. — Works: The operas //
Matrimonio civile (Parma, 1870), La Stella
delle Alpi (Savona, 1876), Jella (Piacenza,
1881); Tema con variazioni for string-orch.;
Al.Castello medioevale for small orch.; a sym-
phony; quartets and quintets; pieces for vln.
Bomtem'po, Joao Domingo* , fine pian-
ist; b. Lisbon, Dec. 28, 1775; d. there Aug.
13, 1842. He went in 1802 to Paris for
study, and lived there and in London till
1818. In 1833, Director of Lisbon Cons. —
Works: 6 symphonies, 4 pf. -concertos, 14
pf.-sextets, a pf.-quintet, sonatas and vari-
ations f. pf., an opera (Alessandro in Efeso),
several masses, a requiem; and a Method for
pf. (London, 1816).
Bo'na, Giovanni, cardinal; b. Mondovi,
Oct. 12, 1609; d. Rome, Oct. 25, 1674. Wrote
especially De divina Psalmodia. . . . tractatus
historicus, symbolic**, asceticus (Rome, 1653),
containing valuable information on ancient
church-music. Compl. ed. of works publ.
Rome, 1747.
100
BONA— BONONCINI
Bo'na, Valerio, b. Brescia, c. 1560; still
living in 1619; Franciscan monk, in 1596 m.
di capp. at Milan. Voluminous composer
of sacred and secular vocal music; also
theorist; publ. Regale del Contrappunto e
Composizione fCasale, 1595), and Essempi
delli Passaggi delle Consonance, el Dissonanze
(Milan, 1596).— See Q.-Lex.
Bonaventu'ra, Arnoldo, b. Leghorn, July
28, 1862. St. jurisprudence and chemistry,
but devoted himself entirely to musicology.
Prof. hist, of music and librarian at the R.
Inst, of Mus. in Florence. — Works: Manuale
di storia delta musica (Leghorn, 1898; 4th ed.
1913);ElementidiEstelicamusicale (ib.f 1904);
Storia degli stromenti musicali (ib., 1908) ; La
vita mustcale in Toscana (Florence, 1910, in
'La Toscana al fine del granducato' ) ; Saggio
storico sul teatro musicale italiano (Leghorn,
1913) ; besides num. essays in various journals.
Bo'nawltz (or Bonewitz), Johann Hein-
ilch, b. Durkheim-on-Rhine, Dec. 4, 1839.
Pianist, pupil of the Liege Cons, till 1852,
when his parents took him to America.
Lived 1861-6 in Wiesbaden, Paris, and
London, giving concerts and teaching. From
1872-3 he conducted the Popular Symphony
Concerts in New York, an enterprise which
failed from lack of popular appreciation;
after a successful piamstic tour in the U. S.
(1873), he produced 2 operas in Philadelphia,
The Bride of Messina (1874), and Ostrolenka
(1875). Returned to Europe, 1876, and has
since lived in Vienna and London. He has
composed 2 other operas and a variety of
pf .-music.
Bon'cl [-tche], Alessandro, lyric stage-
tenor; b. Cesena (Romagna) in 1870; studied
5 years under Carlo redrotti and Felice
Coen at the Liceo Rossini, Pesaro, and in
1896 made his debut at the Teatro Regio
in Parma as Fenton in Falstaff; was then
eng. to give Faust at the T. dal Verme,
Leghorn ; next at La Scala, Milan, in / Puri-
tan*. Here his success was established; he
was immediately eng. at Petrograd, then at
Vienna, Berlin, Lisbon, Madrid, London
(1900), etc.; later in South America and
Australia. New York debut in Dec., 1906,
at the new Manhattan Opera House (Ham-
merstein), where he sang during three
seasons; 1908-9 at M. O. H., also appearing
at Coven t Garden in 1908. In the season
of 1910-11 he sang in concerts in the U. S.
His voice is a distinctly lyric tenor- of great
sweetness and charm. Favorite rdles are
Almaviva (Barbiere) and Rodolfo (La Bo-
heme). He is one of the few Italian singers
that have achieved distinction also as lieder
singers.
Bo'nicke, Hermann, b. Endorf , Nov. 26,
1821; d. Hermannstadt, Transylvania, Dec.
12, 1879, as conductor of^ne Musical Society
there. — Works: An oper#,'*Der Liebesring;
part-songs for men's vokie5;.*an excellent
Method of Choral Singing; -Wid •Kunst des
freien Orgelspiels (a valuable wpfkj..
Boniven'ti (or Boneventi),* 'Giuseppe,
dramatic comp. ; b. Venice, c. 1660; d?"(?)-.He
was m. di capp. to the Duke of MantVia/Eafer
to the court of Baden. Wrote 11 opera|f"&Mr.
Venice, and one for Turin. **.♦*
Bonnet [bdhn-na'], Jacques, b. Paris, 164*;, . • ••'
d. there 1724. Publ. Histoire de la musique '/ .•
el de ses effets, depuis son origine jusqu'a V;
pre* sent (1715), and Histoire de la danse sacrie
el profane (1723). — See Q.-Lex.
Bonnet, Jean-Baptiste, violinist and
composer; b. Montauban, Apr. 23, 1763;
organist there from 1802; d. (?) Wrote
violin-music (2 concertos, 2 symphonies con-
certantes f. 2 vlns., and many duos).
Bon 'no (or Bono), Joseph, b. Vienna,
1710; d. there Apr. 15, 1788. In 1739, im-
perial court comp.; 1/74, court Kapellm.;
from 1732-62 he wrote 20 operas and sere-
nades; also 3 oratorios, 4-part Psalms, and a
Magnificat (all in MS.).
Bononci'ni [-tche-] (he usually wrote his
name Buononcinl), Giovanni Battista,
celebrated dramatic composer, son of G. M.
B.; b. Modena, 1660; d. Venice (?), 1750 (or
later). He was taught at first by his father;
then by G. P.- Colonna and Don Giorgio
Buoni ('cello), at Bologna, where he brought
out some masses and instrumental music
(7 vols., publ. 1685-91), and 3 oratorios; in
1690 he was called to Vienna as court 'cellist;
went to Rome in 1694, there producing his
first opera, Tullo Ostilio, and a second, Serse
(both 1694). Returning to Vienna in 1699,
he brought out La Fede pubUica (1699) and
Gli Affetti piil grandi vtnti dal piil jtiusto
(1701); then, under the patronage of Queen
Sophie Charlotte, he spent two years (1703-
5) at Berlin as court composer, and wrote
Polifemo (1703); on the suppression of the
opera-company after the Queen's death (Feb.
1, 1705), B. again betook himself to Vienna,
where several new operas were performed
(Endimione, 1706; Turno Aricino, 1707; Mario
fuggitivo, 1708; // Sacrificio di Romolo, 1708;
Abdolonimo, 1709; Muzio Scevola, 1710;
etc.). He also resided and wrote, at intervals,
in various Italian cities; while at Rome, in
1716, he was invited to London as conductor
and dramatic composer for the new King's
Theatre, and more particularly, under the
Duke of Marlborough's protection, as the
rival of Handel. This operatic (almost
political) warfare was waged with varying
success; B. prod. A star to (1720); 3 more,
Cirot Crispo, and Griselda, in 1722; Farnace
101
BONONCINI— BOOSEY
(1723); Erminia^mS); Calpurnia (1724);
and AstianattfJA^tianax] (1727). In 1731,
however, it yas* asserted that "he had given
out, some.*ye*aVtf previously, a madrigal by
A . Lot t i a£f>f iftis own composition. Disgraced
by this supposed act of plagiarism, and
crushea**f)y Handel's dramatic supremacy,
B.-Jtet {wsition and friends; in 1733 he fell
jrtto'tne hands of an alchemist, who swindled
hint but of the remains of the fortune amassed
. . s itt Tiis days' of triumph. He now wandered
m.m \.*from place to place; turned up in Paris, a
. •*./. "• few years later, when he comp. a motet
\ *. " for the 'Chapelle royale,' playing himself
the 'cello-accomp. before the King; in 1737
his opera Alessandro in Sidone, and an
oratorio, Esechia, were given in Vienna; and
after the peace of Aix-la-Chapelle the Em-
peror summoned him to Vienna to compose
the festival music celebrating the event
(1748). Soon after this he went to Venice,
where he was employed as theatre-composer,
and was still in that position at the age of
90; after which all traces of him are lost. —
In London B. publ. Suites f. harpsichord
(n. d.); Cantate e Duetti, dedicated to George
I (H2i);Divertimenti for harpsichord (1722);
and 12 sonatas or chamber airs for 2 violins
and a bass (1732). — See Q.-Lex.
Bononci'ni, Giovanni Maria, b. Modena,
1640; d. there Nov. 19, 1678. Entered very
young into the service of Duke Francesco II;
became later m. di capp. in the churches of
S. Giovanni in Monte, and of S. Petronio,
at Bologna.— Publ. 12 vols. (1666-78) con-
taining Sinfonie, Gighe, and Sonale da camera
in 1-3 or more parts, w. instrs. ; 6-p. Madrigals;
Allemandes f. 3-4 instrs.; etc.; also a work,
Musico-pratico .... on song-composition
and the art of counterpoint. — See Q.-Lex.
Bononcl'ni, Marco Antonio, brother of
G. B. B.; b. Modena, 1675 (?); d. there
July 8, 1726. A dramatic comp. of distinction;
from 1721 he was maestro to the Duke of
Modena. Before this, he travelled in Italy
and Germany, bringing out a number of
operas, praised by Padre Martini for their
'lofty style,' and thought by him superior to
those of most contemporaries. — Works: 19
operas, among them Camilla, regina de'
Volsci (Vienna, 1692); Griselda (1700?); An-
dromeda; Arminio; Sesostri; II Turno Aricino
(Florence, 1704); Etearco (Vienna, 1707);
La Regina creduta re (Venice, 1707); Tigrane,
re d Armenia; Cajo Gracco (Venice, 1710);
AstiniaUe (Venice, 1718); and an oratorio,
La Decollazione di S. Giovanni Battista
(Vienna, 1709).— See Q.-Lex.
Bontem'pi (rede An&ell'nl), Giovanni
Andrea, b. Perugia, circa 1624; d. Bruso, near
Perugia, June 1, 1705. Maestro at Rome and
Venice, later in Berlin and Dresden; returned
to Italy in 1694, and was in Paris in 1697. —
Works: 3 operas, Paride (1662), Apollo e
Dafne (1671), Jupiter ed Io (1673); the ora-
torio Martirio di S. Emiliano; and the treatises
Nova quatuor vocibus componendi methodus
. . . (1660), Tract, in quo demonstrantur oc-
culta* convenientiae sonorum systematis partici-
pate (1690), and an Istoria musica, nella quale
si ha piena cognizione della teoria e delta
pralica antica della musica armonica (1695).
see ^^.-L#ex.
Bonvin [bflhn-van'], Ludwig, b. Siders,
Switzerland, Feb. 17, 1850. His musical training
in early youth was irregular; as a musician
he is chiefly self-taught. After a course of
medical study in Vienna, and a journey to
Italy, he entered in 1874 the Jesuit novitiate
in Holland, becoming organist and choir-
master, and studying harmony and counter-
point; further study of early church-music
and of Warner scores gave him insight into
the mysteries of composition, and awakened
his talent for composing. From 1887-1907
Father B. was director of chorus and orch. at
Canisius College, Buffalo, N. Y. Since then
he has been devoting all his spare moments
to composing and to historico musical studies;
has written numerous articles with the object
of restoring the Gregorian chant to its original
rhythm. — -His publ. works include 6 masses
(op. 6, 26, 49, 63, 83, 84), and much other
sacred music (Litanies, Vespers, Ave Maria,
Ecce sacerdos, Omne die die Mariaet anti-
phones, chants, sacred songs, hymns, etc.);
Wittekind (op. 28), for soli, male ch. and orch.
(Gcr. text); Du sonnige, wonnigt Welt (op.
20), for sop. and bar. soli, mixed ch. and
orch.; In the summer night (op. 39), for bar.
solo, ch. and orch.; Morn on the northern
coast (op. 50); Bretagne (op. 60), for mixed
ch., bar. and orch.; Drei Toflbilder (op. 12),
a Ballade (op. 25), a Festzug (op. 27), Remi-
niscences [symphony in G m.] (op. 67), Two
Symphonic Movements (op. 71) for full orch.;
Christmas Night's Dream (op. 10), for string-
orch.; organ-pieces, songs, etc. His works
have reached the opus-number 108 (1916).
Boom [bohm], Jan E. G. van (Senior), b.
Rotterdam, April 17, 1783. Flutist and com-
poser for flute; lived in Utrecht.
Boom, Jan (Johannes) van, son of pre-
ceding; b. Utrecht, Oct. 15, 1807; d. Stock-
holm, March 19, 1872. Accomplished pianist;
on a concert-tour through Scandinavia in
1825 he was induced to settle in Stockholm,
where he was prof, at the Royal Academy
1849-65. — Works: Operas, symphonies, over-
tures, string-quartets, trios, a pf.-concerto,
and much pf. -music (studies, duets, etc.).
Boosey, Thomas, founder (1825) of the
London music-publishing house of Boosey &
102
BOOTT— BORDIER
Co.; until 1854 copyright publishers of Italian
operas; now of cheap editions of standard
works and popular English music. In 1868
they bought the factory for musical instrs. of
Henry Distin. In 1874 both the publishing
business and the factory were combined
under the firm name of Boosey & Co.
Boott, Francis (pen-name 'Telford'), b.
Boston, Mass., June 24, 1813; d. there in
March, 1904. A Harvard graduate in 1831,
and a devoted amateur of music, he lived for
many years in Florence, Italy, where he
studied under L. Picchianti; for the last 30
years he resided in Cambridge. He was quite
a fruitful composer in the lesser forms: Secu-
lar and sacred songs, anthems, and chorales;
many pieces are in the service-book of King's
Chapel, Boston. An Ave Maria and a Maria
Mater, with the songs Here's a health to King
Charles, When Sylvia sings, and Lethe, are
widely known. Larger works are Grand
Mass; Te Deum; Song of Zechariah, for soli,
ch. and orch; Miserere (a capp.); and string-
quartets. — Mr. B. bequeathed to Harvard
Univ. the sum of $10,000, the interest to
form an annual prize for the best 4-part
vocal composition written by a Harvard man.
Bopp, Wilhelm, b. Mannheim, Nov. 4,
1863; pupil of Jean Becker and F. Langer,
later of Leipzig Cons. (Jadassohn, Schra-
dieck, Herrmann), and of Emil Paur at
Mannheim. After a 5-years' career as cond.,
he became a teacher at the Mannheim Cons.;
in 1900 founded a 'Hochschule fur Musik'
there; in 1907 succeeded von Per^er as dir.
of the Vienna 'Cons, der Musikfreunde,'
transformed on Jan. 1, 1909, into a State inst.
Borch, Gaston Louis Christopher, b.
Guines, France, March 8, 1871. Pupil in
comp. of Massenet; 'cello-pupil of Delsart
(1891-3). Cond. Philh. Soc., Christiania,
Norway (1896-8); cond. Central Th. there
(1897); cond. 'Musikfdrening,' Bergen, Nor-
way (1898-9); 'cellist, Thomas Orch. (1899-
1900), Pittsburgh Orch. (1903-6); cond. Lau-
sanne Symphony Orch., Switzerland (1906).
Tours in France, Belgium, Holland, Germany
as visiting cond. (1894-6). — Works: Concerto
for pf. and orch. in A m.; three symph. poems,
Genoveva, Quo Vadis, Frithjof; a symphony;
Romania and Elegy for vln. and pf . ; about 50
pieces for pf.; songs; much sacred music; has
made numerous arrangements for orch., and
arranged some 50 standard works as pf .-trios.
A 1-act opera, Silvio, was produced m Chris-
tiania (1898).
Bor'chers, Gustav, born at Woltwiesche
(Brunswick), Aug. 18, 1865; d. Leipzig, Jan.
19, 1913. Pupil of Leipzig Cons. 1887-9, and
till 1895 cond. of various choral societies;
1896, singing- teacher at the Nikolai-Gymna-
sium; 1901, also cantor at the Peterskirche;
founded, in 1898, a seminary for singing-
teachers, employing the methods of Jaques-
Dalcroze ('rhythmical gymnastics') and Eitz
('Tonwort') ; on this latter and its author he
published a monograph in 1908.
Borde, de la. See Labordis.
Bordes [bdhrd], Charles, b. Roche-Corbon,
n. Vouvray-sur-Loire, May 12, 1863; d. Tou-
lon, Nov. 8, 1909. Pupil of Marmontel (pf.)
and Cesar Franck (org., comp.) 1887-
90; from 1890-1905, m. de chap, at St.-Ger-
vais, Paris. The performances of a cappella
music which he gave with this choir imme-
diately became famous, so that in 1892 the
singers were organized as 'Les Chanteurs de
St.-Gervais'; the next year B. founded and
edited the 'Anthologie des Maitres religieux
primitifs' and 'Repertoire moderne de musique
vocale et d'orgue.' Having interested Guil-
mant and d'Indy for his ideals, he founded,
with them, the 'Schola Cantorum* in 1894,
originally for the purpose of training singers
in the Palest rina style; at the same time he
founded the 'Tribune de St.-Gervais' as the
official organ of the Schola (first number ap-
peared January, 1895). The S. C. was for-
mally opened in 1896; before long its scope
was enlarged, and to-day it ranks among the
foremost conservatories of the world. A
nervous breakdown, the result of overwork,
compelled B. in 1905 to leave Paris for the
south. But even then he would not rest, for
in the same year he founded the 'Schola de
Montpellier'; he died suddenly from a stroke
of apoplexy. In 1889-90, by commission of.
the government, he studied Basque folk-
songs, of which he collected 100 (published in
'Archives de la tradition Basque'); contrib.
numerous articles to 'La Grande Encyclo-
pedic,' 'Musica,' 'Le Figaro,' etc.— Composi-
tions: Suite basque for flute with string-quar-
tet; Errege Juan, overture to a Basque drama;
Danses biarnaises for orch. ; Rhapsodic basque
for pf. and orch.; Divertissement for trpt. with
orch.; several choruses a capp. (2-7 voices);
pieces for pf . ; songs. A 3-act opera, Les trois
Values, he left almost completed. — Cf. O.
Sere, C. B.t in Musiciens francais d'aujour-
aVhui (2nd ed. Paris, 1911).
Bordese [-da'ze], Luigl, b. Naples, 1815;
d. Paris, Feb. 17, 1886. Pupil of Naples
Cons.; after the unsuccessful production
(Turin, 1834) of his opera Zelimo e Zoraide,
he went to Paris, where, finding no success
as a dramatic composer, he settled as a
singing- teacher and composer. Besides 8
operas, he wrote 3 masses, a requiem, motets,
and hundreds of sacred and secular songs;
also two Vocal Methods, and many vocalises,
etc., which are famous.
Bordier [bdhr-d'ya'], Jules, b. Angers, Aug.
23, 1846; d. Paris, Jan. 29, 1896. Distin-
103
BORDOGNI— BOROWSKI
guished comp.; founded concerts of the 'Asso-
ciation Artistiquc d' Anger.*' in 1875; went to
Paris (1893) as partner in a music-publishing
house. Early champion of Wagner's music in
French provinces. — Works: Several symph.
poems; Meditation on Bach's 7th prelude;
Hungarian Dance, and other instr. pieces, in-
cluding a Danse macabre for violin; music to
A. de Vigny's Chatter ton; 2 operas, Nadia
(Paris), and Le Fiance de la Mer. (Rouen);
4-part male chorus Patrie (1893).
Bordo'gni [-ddhn'ye], (Giulio) Marco,
distinguished tenor and singing-teacher; b.
Gazzaniga, n. Bergamo, 1788; d. Paris, July
31, 1856. A pupil of S. Mayr, his debut (La
Scala, Milan, 1813) asTancredi was brilliant.
From 1819-33 he was engaged at the Th. dcs
Italiens, Paris; after this he devoted himself
to teaching. From 1820 (with occasional in-
terruptions) he was prof, at the Paris Cons.;
Sontag was one of nis pupils. His 36 Vo-
calises, in 2 suites, have run through many
editions; he also published several other sets.
Bordo'ni, Faustina. See Hasse, Faus-
tina.
Bor'ghl, Luigi, skilful violinist and com-
Coscr, was a puoil of Pugnani, and settled in
ondon circa 1774. He was 1 eider of the 2d
violins at the Handel Commemoration in
1784. Published a great variety of excellent
instrl. music, chiefly for violin. — See Q.-Lex.
Bor'ghl-Mamo, Adelaide, celebrated dra-
matic mezzo-soprano; b. Bologna, Aug. 9,
1829; d. there Sept. 28, 1901. Acting on tha
Pasta's advice, she trained herself for ths
stage; debut, in 1846, in II Giuramento, by
Mercadantc, at Urbino, where she was eng.
She next sang in Malta and various Italian
cities, in Vienna and Paris (1854-6), and
1856-9 was eng. at the Grand Opera. In 1860
she appeared with great success in London;
then returned to Italy, and retired to Flor-
ence.— Her daughter Erminia, endowed
with a grand soprano voice, made her debut
at Bologna (1875) as Helen of Troy and Mar-
garet in Boito's Mefistojelc; has sung on
important Italian stages; also at the Italian
Opera, Paris, and in Madrid and Lisbon.
Bo'ri, Lucrezia, lyric soprano; b. Valen-
cia, Dec. 24, 1888. Studied for 6 years with
Melchior Vidal, and later in Milan and Rome.
Debut as Carmen, Rome, Oct. 31, 1908; sang
in Paris, Milan, Naples, Buenos Aires; since
1913 at M. O. H.— Principal roles: Chief
soprano parts in Amore dei tre Re, Manon
Lescaut (Puccini), VOracolo, V Amore medico,
Konigskinder, Der Rosen kavalier.
Born'schein, Franz Carl, solo violinist
and composer; b. Baltimore, Feb. 10, 1879.
Received early education from father; studied
at Peabody Cons, from 1895-1902 (vln. with
Joan C. Van Hulsteijn, harm, with Phillip
Kahmer and Otis Bard well Boise). Teacher
of vln. and dir. junior orch., Peabody Cons.;
dir. of orch. of Baltimore Music School Settle-
ment since 1913; mus. critic, 'Evening Sun/
Baltimore (1910-13); on the staff of several
mus. publications; has written many educa-
tional articles. Works: Ths Djinns, symph.
ballad for bar. and orch. (1913) ;A Wet Sheet
and a Flowing Sea, prize madrigal; Onowa,
prize cantata Tor sop., ch. and orch. (1916);
The Phantom Canos, orch. suite (1916). Li
MS. the symoh. poems The Sea-god1 s Daugh-
ter and A Hero's Espousal; a string-quartet;
a string-quintet; a pf. -quintet; a sextet for
strings and flute.
Bo'rodin [-den], Alexander Porfirie-
vitch, b. Petrograd, Nov. 12, 1834; d. there
Feb. 27, 1887. Student of medicine and
chemistry; army -surgeon; prof, at the Petro-
grad medico-surg. Institute; Counselor of
State; Knight; president of the mus. Soc. of
Amateurs. Intimate with Liszt (in Weimar),
and Balakircv, at whose suggestion he studied
music, of which he was passionately fond.
He became a foremost exponent of the neo-
Russian musical cult. — Works: A 4-act ooera,
Prince Igor (posthumously finished by Rimjky-
Korsakov and Glazunovl (Kiev, 1891, very
successful; N. Y., J915); 3 symphonies (Eb,
D, A m. [unfinished]); symphonic pom
Dans les steppes de VAsie Centrale, scherzo for
orch. (A); 2 string-ouartets; suite forpf.jpf.-
pieces; son^s; etc. A string-trio (dated 1860)
and a pf. -quintet wore recently discovered
and prod, at Moscow in 1915. — Cf. V. Stas-
sov, A, B. (Petrograd, 1889 [in Russian];
French transl. by A. Habits [with corre-
spondence between B. and Liszt], Paris,
1893; Engl, transl. by R. Newmirch, Lon-
don, 1895, as B. and Liszt [biogr. and letters]).
Boro'ni (or Huron!), Antonio, b. Rime,
1738; d. there 1792. A pupil of Padre Martini
and Girolamo Abos, he prod, many operas
at Trcviso (1), Venice (10, 1762-72), Verona
(1, 1770), Prague (2, 1765, '67), Stuttgart (6,
1773-8), and Rome (1, 1778); was court
Kapellm. at Stuitgart, and finally m. di
capp. at St. Peter's, Rome. — See. Q.-Lex.
Borow'skl, Felix, editor, composer; b.
Burton, England, March 10, 1872. Studied
with his father; vln. with Jacques Rosenthal
and Adolf Pollitzer (London), and theory w.
Chas. W. Pearce; entered Cone, of Cologne,
1888, studying comp. wit* Gustay Jensen,
pf. with Ernst Hauser and vln. with Georg
Japha. Taught pf. in Aberdeen, Scotland
(1892); devoted himself to comp. in London
(1894); Grieg advised him to study the racial
style. Since 1897, prof, of theory and comp.
at Chicago Mus. College; also taught violin
there; Chicago correspond jnt for 'Musical
104
BORTKI EWICZ— BOSSI
Courier* (1905); critic, 'Chicago Even. Post/
1906-9; mus. critic, 'Chicago Herald/ since
1909; author of program-books of Chicago
Symph. Orch. since 1908. — Works: Eugene
Onegin, symph. poem; Concerto in D m. for
pf. and orch.; Marche triomphale for orch.;
Allegro de concert in D for org. and orch.;
Valse pathetique for orch.; Petite Suite in G
for small orch.; Crepuscule and Serenade, 2
pieces for string-orch. j a suite for org. (E m.) ;
2 sonatas for org. (Am., C); Sonate russe for
pf.; a string-quartet in Am.; also pf.-pieces,
and pieces for vln. and pf.
BortTtiewicz [-k'ya-vitch], Sergei Eduar-
dovitch, b. Kharkov, Feb. 28, 1877. Pupil of
van Ark and Liadov at the Petrograd Cons.,
1896-9; in 1900 at Leipzig of Reisenauer
(pf.) and Jadassohn and Piutti (comp.);
debut as pianist in Munich, February, 1902;
concert-tours of Germany, Austria, Hungary,
France and Russia; since 1904 prof, at Klind-
worth-Scharwenka Cons, in Berlin; a very
successful teacher. Has written a number of
works for pf.: Esquisses de Crimee, op. 8;
sonata in B, op. 9; Pensies lyriques (6 pieces),
op. 11; Souvenirs oVenfance, op. 14; concerto
in B\> for pf. and orch., op. 16; also a symph.
poem, Othello,
Bortnian'sky, Dimitri Stepanovitch, b.
Gluchov, Ukraine, 1752; d. Petrograd, Oct.
7, 1825. Pupil of Galuppi at Petrograd, and
later (1768), at Venice; also studied in Bo-
logna, Rome, and Naples. After producing
the operas Creonte at Venice (1776), and
Quinto Fabio at Modena (1778), he returned
(1779) to Petrograd, and was app. director of
the Empress's Church-Choir, later (1796)
called the Imperial Chapel Choir, which he
brought to a high state of efficiency by radical
reforms, and for which he wrote a 3 -part
Greek mass; 35 4-part sacred concertos and
10 8-part psalms; 10 concertos for double
choir, etc. (works edited by Tchaikovsky
and published in 10 vols.).
Borwick, Leonard, b. Walthamstow, Es-
sex, England, Feb. 26, 1868. Eminent con-
cert-pianist, pupil of H. R. Bird, then (1884-
90) of Frankfort Cons. (Clara Schumann, B.
Scholtz, Ivan Knorr). Debut at concert of
London Philh. Soc., May 8, 1890; has played
with marked success at the Popular Concerts
and Crystal Palace; successful tours in Ger-
many (1895-6) and U. S. (1914).
Boa, Coenraad van, pianist and remark-
able accompanist; b. Leyden, Dec. 7, 1875.
Pupil of J. R6ntgen at the Cons, in Amster-
dam; always showed a decided preference for
ensemble playing. With two countrymen,
J. van Veen (vln.) and J. van Lier ('cello), he
formed a trio in Berlin in 1901 which soon
enjoyed an enviable reputation. His masterly
accompaniment on a tour with Ludwig
Wiillner attracted more than ordinary atten-
tion, and made him one of the most sought
accompanists both in Europe and the U. S.,
where he has been heard frequently.
Boschot [boh-shoh'], Adolphe, b. Fonte-
nay-sous-Bois, near Paris, May 4, 1871. Since
1910, musical critic of 'Echo de Paris'; con-
tributor to many important journals. His
greatest work is the exhaustive biography of
Berlioz in 3 vols.^ (See Bibliography under
Berlioz.) For this work B. received a prize
from the Academy. Wrote also Le Faust de
Berlioz (1910), Carnet d'art (1911), etc.
Bo'se, Fritz von, b. Konigstein, Oct. 16,
1865. Pupil of Jadassohn (comp.) and Rei-
necke (pf.) at the Leipzig Cons, from 1883-7;
spent winter of 1887-8 with Bulow in Ham-
burg, studying interpretation and repertoire;
debut as pianist in 1888 at Leipzig; taught
pf. at Cons, in Karlsruhe, 1893-8; since then
at Leipzig Cons.; made prof., 1912; for many
years regular accompanist for Alice Barbi.
B. is famous as a performer in chamber-
music. Has written some choruses for m?n's
and mixed voices, and pf. -music of merit (a
suite, sonatinas, e'tudes, etc.).
Bo'sendorfer. Firm of pf. -makers at
Vienna, established by Ignaz Bosendorfcr (b.
Vienna, July 28, 1796; d. there April 14,
1859) in 1828, later managed by his son
Ludwig (b. Vienna, April 10, 1835). Ls
specialty is concert-grands.
Bos'ai, (Marco) Enrico, b. Sal 6, Brescia,
Italy, April 25, 1861; son and pupil of thi
organist Pietro B., of Morbegno [b. 1834; d.
Dec. 30, 1896]. He studied (1871-3) in the
Liceo Rossini, Bologna, and 1873-81 at Milan
under Sangalli (pfj, Fumagalli (org.), Cam-
panari (vln.), Boniforti (cpt.), and ronchielli
and Dominlceti (comp.). From 1881-91, m.
di capp. and org. at Como cath.; then, until
1895, prof, of org. and harm, in the R. Cons.
San Pietro a Majella at Naples; from Jan. 1,
1896, to 1902, Director of, and prof, of ad-
vanced comp. and org. in, the Liceo Benedetto
Marcello, Venice; 1902-12, Director of the
Liceo Musicale at Bologna; retired in 1912,
and now living in Como. He was also cond.
of the 'Benedetto Marcello' Soc. of Concerts
in Venice; member of the permanent govt,
commission for mus. art; Chevalier of the
Italian Crown, and Chevalier of the order of
Isabella la Cat61ica (Span.). —Works: Pa-
quita, 1-act opera, op. 10 (R. Cons., Milan,
1881); II Veggente, 1-act opera seria, op. 69
(Dal Verme Th., Milan, 1890); VAngelo
delta notte, 4-act melodrama, op. 52 (Como);
Mossa d'Averno, cantata for 4 voices, pf. and
harmonium, op. 87; Tola pulchra, for mixed
ch. and org., op. 96; Marinaresca, for soli, ch.
and orch., op. 108; symph. poem // Cieco
(1897), for tenor solo, ch. and orch., op. 112;
105
BOTE— BOTTESINI
Messa (a S. Marco) for 3 equal voices and
organ, op. 61; Westminster Abbey, Inno di
Gloria, for ch; and org., op. 76 (perf. twice
by Riedelverein, Leipzig); Requiem Masses,
op. 83, 90; a great quantity of other church-
music (e. g., op. 12-48, written for Como
cathedral, all MS.); overture for orch., op. 1;
Impromptu for orch., op. 55; organ-concerto,
op. 100; much fine organ-music (op. 3, over-
ture; op. 49, 2 scherzi and an impromptu; op.
53, Inno Trionfale; op. 54, Suite Res severa
magnum gaudium; op. 59, 4 pieces; op. 60,
Sonata 1, in D m.; op. 62, rede a Bach, a
fugue; op. 64, Fantasia; op. 68, Processional
March; op. 70, 6 pieces; op. 71, Sonata No. 2;
op. 72, Marche hkroique; op. 74, 3 pieces; op.
78, £tude symphonique; op. 92, 3 pieces; op.
94, 2 pieces; op. 100, concerto in A m. for
organ with orch.; op. 104, 5 pieces; op. 113,
5 pieces); a string-trio in D m., op. 107, and
other chamber- music (f. vln. and pf., 'cello
and pf., etc.); pf. -music (15 opus-numbers);
vocal romanze, etc.; op. 120, Canticum canti-
corum; op. 123, pf.-trio in D; op. 125, // Para-
diso Perduto; op. 126, orchl. suite; op. 127,
Intermezzi Goldoniani, for string-orch.; Con-
certstiick in C m. for org. and orch.; Giovanna
d'Arco for soli, ch. and orch. His great
Metodo di Studio per VOrgano moderno, written
in collaboration with G. Tebaldini (Milan,
1893), is op. 105.
Bo'te & Bock. Berlin firm of music-
publishers, established 1838 by Eduard Bote
and Gustav Bock (successors of Frohlich &
Westphal). Present head is Hugo Bock (b.
Berlin, July 25, 1848).
Bd'tel, Heinrich, tenor; b. Hamburg, May
6, 1858; 'discpverccT by Pollini (he was a
cab-driver), debut 1883 as Lyonel in Martha;
since then lyric ten. in Hamburg City Theatre.
Botgor'schek, Franz, b. Vienna, May 23,
1812; d. The Hague, May, 1882, as teacher
in the Cons. Flutist, pupil of Vienna Cons.
Published flute-music.
Bot'stiber, Hugo, b. Vienna, April 21,
1875; pupil of R. Fuchs in the Cons., later
(private) of v. Zemlinsky, and of H. Rietsch
and G. Adler at the Univ., where he took the
degrees of Dr. jur. et phil. with a dissertation
on Johann Pachelbel; 1896, asst. at library of
Cons.; 1900, secretary of the 'Konzertverein';
1905, sec. of the 'K. K. Akademie der Ton-
kunst'; now (1916) general sec. of the 'Kon-
zerthaus-Gcsellschaft' ; Knight of the order
of Franz Josef— Edited 1904-11 the 'Musik-
buch aus Osterreich,' also organ-comps. by
Pachelbel and pf.-works of the Vienna mas-
ters for the 'Den km. d. Tonkunst in Oster-
reich'; wrote Jos. Haydn uni das Haus Ar-
taria (1908); Geschichte der Ouverture (1913);
and is now completing Pohl's biography of
Haydn.
Bott, Jean Joseph, eminent violinist; b.
Kassel, March 9, 1826; d. New York, April
30, 1895. His father, the court musician A.
Bott, was his first teacher; M. Hauptmann
and L. Spohr completed his training. Winner
of the Mozart scholarship (1841), solo violin-
ist in Electoral orch. (1846), 2d Kapellm.
(1852), court Kapellm. at Meiningen (1857)
and Hanover (1865), pensioned 1878. Taught
in Magdeburg and Hamburg, and came to
New York in 1885. — Works: 2 operas, Der
Unbekannte (Kassel, 1854), and Aktda, das
Mddchen von Korinlh (Berlin, 1862); sym-
phonies, overtures, vln.-concertos, solos for
vln. with pf., pf. -music, songs.
Bot'ta, Luca, dramatic tenor; b. Amain,
Italy, April 16, 1882. Pupil of G. Vergine;
d6but in 1911 at Naples as Turiddu in
Cavalleria Rusticana; has sung in Malta,
Turin, Mantua, Verona, Barcelona, Buenos
Aires, Milan; 1915 at M. O. H. — Principal
roles: Chief tenor parts in La Gioconda, Rigo-
letto, La Traviata, Pagliacci, • Tosca, La Bo-
htme, Madama Butterfly, L'Amore dei tre R%
L'Oracolo, Ero e Leandro (Mancinelli), Fe-
dora, Iris, Loreley ( Ca talani ), , Andrea Chenier,
Isabeau (Mascagni), Adriana Lecouvreur
(Cilea), Oberon, etc.
Bottle de Toulmon, Auguste, b. Paris,
May 15, 1797; d. there March 22, 1850.
A lawyer by profession, he turned his
attention to music, becoming a good amateur
'cellist; he was librarian (gratis) of the Con*.
1831-48, and wrote: De la Chanson en France
au moyen dge (1836); Notice biographique sur
Us travaux de Guido d'Arezzo (1837); Des
instrs. de musique en usage au moyen dge
(1838; 2ded. 1844); Instructions sur la mu-
sique des Francais au moyen dge (1839);
Notice des tnanuscrits autographes de Cheru-
bini (1843); all publ. in the 'Annuaire His-
torique,' and separately. — Cf. Vincent, Notice
sur la vie et Us travaux de B. de T. (1851).
Bottesi'nl, Giovanni, double-bass virtu-
oso and composer; b. Crema, Lombardy, Dec.
24, 1821; d. Parma, July 7, 1889. Studied at
Milan Cons. 1835-9 under Rossi (double-
bass), and Basili, Vaccai, Piantanida, and
Ray. His first concert at Crema, 1840, was
eminently successful; until 1846, he made
tours in Italy, then went to Havana, visited
. the United States (New York, 1848), England
(London, 1849), etc., and was from 1855^-7
conductor at the Th. des Italiens, Paris.
Thence made concert-tours throughout Eu-
rope, became m. di capp. at Palermo (Bellini
Th.) in 1861, at Barcelona in 1863; founded
the 'Society del Quartetto' at Florence, cond.
the opera at Cairo, Egypt, and at the Ly-
ceum, London (1871), and became dir. of
Parma Cons. — Operas: Crist jforo Colombo
(Havana, 1847), VAssedio di Firenze (Paris,
106
BOTTRIGARI— BOVY
1856), II Diavolo delta notte (Milan, 1859),
Marion Delorme (Palermo, 1862), Vinciguerra
(Paris, 1870), Ali Baba (London, 1871), Ero
t Leandro (Turin, 1879), La Reginadel Nepal
(ib., 1880); the oratorio The Garden of Olwet
(Norwich Festival, 1887); symphonies, over-
tures, quartets; unpublished pieces for
double-bass; songs.
Bottriga'ri, Ercole, b. Bologna, August,
1531; d. S. Alberto, Sept. 30, 1612. A man
of profound learning, he wrote // Patrino,
ovvero de* tetracordi armonici di Aristosseno
(Bologna, 1593); // Desiderio, ovvero de* con-
certi di vart stromenti musicali, dialogo di
musica (1594, under the assumed name
'Alemanno Benelli') ; II M clone, discorso ormo-
nico (Ferrara, 1602). [Patrizio, Desiderio and
Melone were names of friends.] He left a
translation of Boetius, and other works in
MS.— See Q.-Lex.
Boucher [boo-shal, Alexandre-Jean, b.
Paris, Apr. 11, 1778; d. there Dec. 29, 1861.
Remarkable and original violin-virtuoso,
self-styled T Alexandre des violons.' Played
at the Concerts Spirit uels when but six;
1787-1805, soloist to Charles IV of Spain.
Travelled in Holland, Germany, England,
etc. Wrote 2 vln.-concertos. — Cf. Boucher,
son temps, in 'fitudes d'histoire, etc.', by
G. Vallat (1890).
Bouhy [boo-e'J, Jacques-Joseph-Andre1,
celebrated baritone and singing-master; b.
Pepinster, Belgium, June 18, 1848. St. at
the Cons, in Liege, and later at the Cons,
in Paris; debut as Mefjhistopheles in Faust
at Grand Opera, Paris, in 1871 with unusual
success, so that Massenet chose him to
create the title-r61c in his Don Cesar de
Baton (Nov. 30, 1872); also created Escamillo
in Carmen (Mar. 3, 1875); sang at Cov.
Garden in 1882; from 1885-9 in N. Y. as
dir. of the N. Y. Cons.; then returned to
Paris, sang again at the Grand Opera, and
created the role of the High Priest in Samson
et Dalila (Nov. 23, 1892). After another
stay in the U. S. (1904-7) he settled "in
Paris as a teacher. Many of his pupils
(Clara Butt, Witherspoon, Rains, etc.) have
become famous.
Bouichere [bw6-shar'l, femile, b. 1860(?).
d. Paris, Sept. 4, 1895. Brilliant pupil of
Gust. Lefevre's Acad.; early known by
important sacred comps. (masses, motets);
also chamber- music. In 1892 he est. a
successful vocal academy. He was musical
director of La Trinitc.
Bourgault-Ducoudray, Lou is- Albert, b.
Nantes, Feb. 2, 1840; d. Paris, July 4, 1910.
Pupil of Ambroise Thomas at Paris Cons.,
taking Grand prix de Rome in 1865 with a
cantata, Louise de Mtzieres. He founded an
amateur choral society in Paris (1868); spent
some time in researches in Greece, after
which he wrote Souvenirs aVune mission
musicale en Grece, 30 Melodies populaires de
Grlce et d' Orient, and £tude$ sur la musique
ecclesiasttque grecque. App. professor of mus.
hist, at Paris Cons. (1878). He composed
4 operas: Thamam (Paris, 1891), Michel Co-
lomb and Bretagne (not perf.), Myrdhin
(posth., Nantes, 1912); for orch., a fantaisie
in C m., a Gavotte, a Marche athenienne,
VEnterrement d'Ophelte, and a Rhapsodie cam-
bodgienne; a symphonie for female chorus and
soli. La conjuration desfteurs; numerous songs
with pf. — Also publ. 30 Melodies popu-
lates de la Basse-Bretagne, with French
translations (1885). — Cf. M. Emmanuel,
Sloge funebre de L.-A. B.-D. (Paris, 1911;
with complete catalogue of works).
Bourgeois [boor-zhwahl, Loys [Louis], b.
Paris, circa 1510; d. (?); a follower of Calvin,
with whom he lived 1545-57 at Geneva. He
is renowned as one of the first to harmonize
the melodies to Marot's French version of
the Psalms, collections in 4-6 parts having
been publ. by him at Lyons (1547); some of
these melodies are his own. His treatise,
Le droict chemin de musique, etc. (Geneva,
1550), proposed a reform in the nomen-
clature of the tones ace. to the solmisation-
syllables, which was generally adopted in
France.— Cf. Douen, Clement Marot et le
Psautier Huguenot (2 vols.; Paris, 1878-79).
Bourses [boorzh'], Jean - Maurice, b.
Bordeaux, Dec. 2, 1812; d. Paris, March,
1881. Composer (pupil of Barbcreau) and
mus. critic, co-editor of the 'Revue et Gazette
musicale/ — Works: An opera, Sultana (Paris,
Op.-Com., 1846); a Stabat Mater; 2 pf.-trios,
2 pf. -sonatas, many solo pf.-pes., vocal
romances, etc.
Bouaquet [boos-ka'J, Georges, b. Per-
pignan, March 12, 1818; d. St.-Cloud, June
15, 1854. St. in Paris Cons., taking Grand
prix de Rome in 1838; was chef d'orch. at
the Opera (1847), and (1849-51) at the Th.
Italien, and critic for 'Le Commerce,' TIllus-
t ration,' and the 'Gazette musicale.' — Works:
3 operas, VHdtesse de Lyon (Cons., 1844),
Le Mousauetaire (Op.-Com., 1844), and
Tabarin (Th.-Lyrique, 1852); 2 masses, a
cantata, a Miserere, chamber- music, etc.
Bovery [bdh-vre'], Jules (recte Bovy,
Antoine-Nicolas- Joseph), b. Liege, Oct.
21, 1808; d. Paris, July 17, 1868. Self-taught
violinist and composer; conducted theatre-
orchestras at Lille, Douai, Lyons, Amster-
dam, Antwerp, Rouen, Ghent (1845), and
Paris (Th. Cluny). Wrote about a dozen
operas, operettas, ballads, etc.
Bovy, Charles-Samuel (known under the
nom de plume of Lysberg), pianist and salon-
composer; b. Lysberg, near Geneva, March 1,
107
I
BOWEN— BOYLE
1821; d. Geneva, Feb. 25, 1873. Educated
in Geneva and Paris (Chopin, pf., and
Delaire, harm.); teacher of pf. at Geneva
Cons. — Works: The. 1-act comic opera La
Fille du carillonneur (Geneva, 1854); and,
f. piano, a romantic sonata, V Absence, much
brilliant salon- music {La Napolitaine, op. 26;
Deux nocturnes, op. 29; Mcnuet, op. 60; Le
Chant durouet, Idylle, op. 64; Sur londe, op.
94; etc.), paraphrases of opera-themes, etc.
Bowen, York, b. Crouch Hill, London,
Feb. 22, 1884. St. pf. for two years with
A. Izard at the Blackheath Cons.; then won
successively the firard and Sterndale Bennett
scholarships at the R. A. M., where he st.
1900-5, chiefly with T. Matthay (pf.) and
F. Corder (comp.); since 1905 teacher of pf.
there. Has written 3 concertos for pf. and
orch.; a concerto for via. and orch. ; Miniature
Suite for orch.; Second Suite; a sonata for
via. and pf.; several smaller pes. for via.
and pf.
Bowman, Edward Morris [F. C. M.,
A. C. O., London], b. Barnard, Vermont,
July 18, 1848; d. N. Y., Aug. 27, 1913.
Pupil of William Mason (pf.) and J. P.
Morgan (org. and theory) at New York,
1866-7; from 1867-70 was organist in St.
Louis, Mo., of the Union Meth. Ch., then
for 2 years of the Second Presb. Ch. ; studied
in Berlin, 1872-74, with Fr. Bendel (pf.), Ed.
Rohde and Aug. Haupt (org.), and Weitz-
mann (theory, comp. and orchestration);
spent summers of 1873-4 at Paris as Ed.
Batiste's pupil in organ-playing, and another
year in Berlin. In 1874 he resumed his last
position in St. Louis; 1877-87, music-director
and organist of the Second Baptist Ch. in that
city, with an interval of European study
under Bridge, Macfarren, Turpin, and
Guilmant in 1881, during which B. passed
the examination of the London Royal Coll.
of Organists, being the first American to do
so. In 1883, president of the Music Teachers'
Nat. Assoc, (reelected 1884, '93, '94 and 1905) ;
in 1884, with 15 others, he founded the
Amer. Coll. of Musicians; was its first
president, and served 8 terms; 1887-94,
organist and dir. of the Peddie Memorial
Baptist Ch., Newark, N. J.; 1891-95, Ritter's
successor as prof, and director of the dept.
of music at Vassar College. In 1895 he
organized the fine 'Temple Choir,' Brooklyn
(200 voices, with orch. of 40), 'which he con-
ducted till 1906. He was then called to
organize and conduct a similar choir for
Calvary Baptist Ch., New York (Manhattan).
One of the foremost organists, pianists and
theorists in the United States, he was a very
successful teacher. Publ. Bowman's-Weitz-
mann's Manual of Musical Theory (1877;
an Engl, compilation, from oral communi-
108
cations, of W.'s principles and rules of har-
mony; approved by W., and later translated
into German); and other works.
Boyce, William, organist and composer;
b. London, Feb. 7, 1710; d. Kensington, Feb.
7, 1779. Chorister in St. Paul's under Ch.
King; articled pupil to Maurice Greene, org.
there, and studied later with Pepusch. Be-
came (1734) org. at Oxford Chapel, and in
1736 at St. Michael's, Cornhill; also composer
to the Chapel Royal and the King; conductor
of the festivals of the Three Choirs (Glouces-
ter, Worcester, Hereford) in 1737; org. of
Church of Allhallows in 1749; Master of the
Royal Band, 1775; and associate organist to
the Chapel Royal, 1758, then resigning his
position at St. Michael's and Allhallows to
devote himself to issuing Greene's collection
of Cathedral Music (1760-78) in 3 vols.,
comprising morning and evening services, the
anthems, and settings of the Sanctus, by
Aldrich, Batten, Bevin, Blow, Bull. Byrd,
Child, Jer. Clarke, Creyehton, Croft, Far-
rant, Gibbons, Goldwin, Henry VIII, Hum-
phrey, Lawes, Locke, Morley, Purccll, Rog-
ers, Tallis, Turner, Tye, Weldon, and Wise. —
Compositions: Lyra Brilannica (several books
of songs, cantatas, and duets); 15 Anthems,
Te Deum and Jubilate (1780); 12 Anthems
and a Service (1790); an oratorio, Noah;
masque, Peleus and Thetis; a masque for
The Tempest; dirges for Cymbeline and Romeo
and Juliet; several odes, symphonies, a vln.-
concerto, 12 vln. -sonatas, etc. — See Q.-Lex.
Boyer, (Louis-Joseph-Victor-) Georges,
b. Paris, July 21, 1850; won the Prix
Rossini, over 169 competitors, with the li-
bretto of Herode (set to music by Oiaum?t;
Bordeaux, 1892). Also wrote libretti for Le
Portrait de Manon (Massenet), Mirka, I'en-
chanteresse, Dolores, and several other lyric
pieces. Writer for the 'Figaro/ Tfivene-
ment,' and the 'Petit Journal.'
Boyle, George F., pianist and composer;
b. Sydney, N. S. W., June 29, 1886. Pupil
of his father and mother, both well-trained
musicians; debut at Sydney at the age of 7;
studied further with his mother till 14, when
he made a concert-tour of the chief Austra-
lian towns. In 1901 a course of study with
Sydney Moss, Australia's foremost piano-
pedagogue, was cut short after 9 months by
the teacher's decease. At 16 B. toured Aus-
tralia and New Zealand with Mark and
Boris Hambourg; at 19 he became a pupil of
Busoni in Berlin. Toured Holland with
Emma Nevada; lived two years in London,
where (April 23, 1908) he married Elise van
den Heuvel, a noted Dutch Lieder-singer. He
has given recitals in the principal cities of
England, Germany, and Holland. Came to
America in 1910 to take post of prof, of pf.
BRADBURY— BRAHMS
at the Peabody Conservatory, Baltimore. —
His comps. include 2 cantatas for soli, chorus
and orch., The Pied Piper of Hamelin (Brown-
ing), and Don Ramiro (Heine); Symphonic
Fantasie, Slumber Song and Aubade f. orch.;
a concerto in D m. for pf. w. orchestra;
a sonata for pf. in B; 2 trios for pf., vln., and
'cello; a sonata for pf. and 'cello; several
pieces for 'cello with pf., and violin with pf.;
about 100 pf. -pieces; about 50 songs.
Bradbury, William Batchelder, b. York,
Me., Oct. 6, 1816; d. Montclair, N. J.. Tan. 7,
1868. Studied under Sumner Hill and Lowell
Mason; 1847-9 at Leipzig under Hauptmann,
Moscheles, and Boh me. Till 1854 he taught,
wrote, and conducted mus. conventions; 1854—
67, was in business as a piano-maker. Edited
more than 50 collections of music, some of
which had an immense sale (e. g., Fresh
Laurels, 1867, 1,200,000 copies). — Composed
2 cantatas, Daniel (with G. F. Root, 1853),
and Esther (1856).
Brad'sk?, (Wenzel) Theodor, b. Rakov-
nik, Bohemia, Jan. 17, 1833; d. there Aug.
10, 1881. Taught by Caboun and Pischek
at Prague; joined the cathedral-choir at Ber-
lin, where he gave singing-lessons and com-
?osed. Prince George of Prussia, whose opera
olanlhe 'he set to music in 1872, app. him
his court composer in 1874. — Operas: Der
Heiratszwang (MS., 1859); Roswitha (Dessau,
1860); Die Braut des Waffenschmieds (MS.,
1861); Das Krokodil (MS., 1862); Jarmila
(Prague, 1879) ; Der Rattenfanger von Hameln
(Berlin, 1881); many popular part-songs and
songs.
Bra'ga, Gaetano, b. Giulianova, Abruzzi,
June 9, 1829; d. Milan, Nov. 21, 1907.
Eminent 'cellist, pupil of C. Gaetano at
Naples Cons. (1841-52). A great traveller,
he lived at Florence, Vienna, Paris, and Lon-
don (between which last two cities he lat-
terly divided his time), besides making con-
cert-tours of Europe. — Works: Several operas,
of which La Reginella (Lecco, 1871) was the
most successful; vocal chamber-music; pieces
for 'cello; and a Metodo di Violoncello,
Brah-Muller (real name Miiller), Karl
Friedrich Gustav, b. Kritschen, Silesia,
Oct. 7, 1839; d. Berlin, Nov. 1, 1878. Teacher
at Pleschen, then at Berlin, where he studied
under Geyer and Wiierst; from 1867, teacher
at Wandelt's Inst., Berlin. — Works: 'Sing-
spiel' Ein Matrose von der Nymphe (Berlin,
1864); operetta Deutschland im Urwald; Te
Deum for ch. and orch.; vln.-quartets; organ-
and pf.-music, songs, etc.
Braham (recie Abraham), John, re-
nowned tenor; b. London, 1774; d. there Feb.
17, 1856. Pupil of Leoni (London), Rauzzini
(Bath), and I sola (Genoa). Debut at Covent
Garden April 21, 1787; appeared as tenor at
Drury Lane in 1796 (opera Mahmoud), and
was engaged for the Italian Opera. After
study in Italy, and singing in several cities
there, he reappeared at Covent Garden in
1801; endowed with a powerful voice of
nearly 3-octave compass, his career was now
an unbroken series of triumphs. He created
the role of Huon in Weber's Oberon (London,
1826). As a ballad-writer ke was very popu-
lar; also wrote much of the music for the oper-
atic rdles which he assumed, and the incidental
music to 12 or more dramas. — See Q.-Lex.
Brahms, Johannes, one of the greatest
masters, was born in Hamburg, May 7,
1833; he died in Vienna, Apr. 3, 1897. His
father, a double-bass player in the Hamburg
City Theatre, was his first teacher; but his
chief instructor was Marxsen of Altona.
At 14 he made his pianistic debut at Ham-
burg, playing variations of his own on a
folk-song. In 1853 he made a concert-tour
with Remenyi. At Gdttingen he was heard
by Joachim, who sent him to Schumann.
On him B.'s talent made so profound an
impression that he published an enthusiastic
article, 'Neue Bahnen' [New Paths], in the
'Neue Zeitschrift fur Musik,' hailing B. as
the coming hero among composers. How-
ever, a number of compositions, among them
the three pf. -sonatas and three books of
songs, published at Schumann's instigation,
failed of popular appreciation. B. now
served for a time as conductor of the Prince
of Lippe-Det mold's orchestra; the years
1858-62 he spent in diligent study at Ham-
burg.— Although B., from the outset, con-
fronted the public (to employ Schumann's
dictum) 'fully equipped, as Minerva sprang
from the brain of Jupiter,' his earlier com-
positions show a preponderance of technical
learning. But in the Serenades for orchestra
(1860-1) he already relegates theoretical
science to its proper position as a means to
an end. In 1862 he went to Vienna, and
acted as conductor of the 'Singakademie' in
1865-4; from 1864-9 he lived in various
towns (Hamburg, Zurich, Baden-Baden, etc.),
and also made concert-tours, rewarded by
ever-growing artistic and pecuniary success,
with his friend Stockhausen; in 1869 he
returned to Vienna. From 1871—4 he con-
ducted the grand orchestral concerts of the
'Gesellschaft der Musikfreunde'; when Her-
beck assumed this function, B. ajpin left
Vienna, and lived for a time near Heidelberg,
but came back in 1878, and thenceforward
made Vienna his home. In 1877 Cambridge
University tendered him the degree of Mus.
Doc.; but he ignored the offer, accepting
however, the degree of Dr. phil. from Breslau
in 1881, expressing his acknowledgment of
the honor in the Akademische Festouverture.
In 1886 he was created a knight of the
109
BRAHMS
Prussian 'Ordre pour le nitrite, ' with voting
privilege, and elected a member of the
Berlin Acad, of Arts. In 1889 he was pre-
sented with the freedom of his native city.
. His compositions during the first few years
in Vienna were chiefly in the genre of chamber-
music, which no other latter-day composer
has so enriched; the string-sextet, piano-
quintet, and the first three piano-quartets,
were written at this time. He also com-
posed several sacred works, among them
Ein deutsches Requiem, op. 45, the first 3
choruses of which were given in Vienna in
1867, and the entire work produced in the
Bremen cathedral in April, 1868. He left
his mark on every branch of composition
except opera; he frankly admitted that he
'knew nothing about the theatre.' Never-
theless, the idea of writing an opera was not
wholly strange to his mind (cf. Widmann,
'J. B. in Erinnerungen'). R. was put forward
by Hanslick, and other critics and musicians
opposed to Wagnerian tendencies, as the
modern champion of what they term 'absolute
music' B. himself, however, was not hostile
to Wagner; he was a close student of Wagner's
scores, and highly valued several Wagner auto-
graphs in his possession; he even (on Hans-
lick's authority) defended Wagner against
hostile criticism. Though a conservator of
established forms, B. was a thoroughly mod-
ern musician — a master, not a slave, of form,
who did not hesitate to deviate from conven-
tional lines when it suited his artistic purpose.
Since Robert Schumann penned his fervent
greeting to the twenty-year-old Brahms, the
musical world had naturally watched the
growth of the composer with the liveliest
interest and, likewise, with the keenest
scrutiny. The very manner of his introduc-
tion to the public was like a challenge calcu-
lated to arouse latent opposition and to
whet active criticism. And hardly any mod-
ern musician, save Wagner, has been the ob-
ject of so much hostility and animadversion as
Brahms. Did he, in fact, fulfil the confident,
and impassioned predictions of his earliest
champion? Yes: — and no! His life-work
proved a disappointment to many once ardent
admirers. Liszt, hearing B. play his scherzo
in E!> minor, mistakenly welcomed him as an
apostle of extreme romanticism. And the
young Brahms — Brahms the pianist, the
youth full of 'fire and flame,' might well have
been expected boldly to explore unt ravelled
paths leading to a new Olympus. Instead of
this he chose, unmoved by praise or blame, to
be a standard-bearer of the traditions of a
glorious past. The new paths which he trod
were hardly those which Schumann so fondly
anticipated. Austerely resisting the blandish-
ments of the Muse of Programs, he stepped
aside the throng to worship at the shrine of
'Classic' M usic. His works prove conclusively
that the classic forms were not exhausted even
by the titanic Beethoven ; he shows that in the
hands of a master these forms are inexhaust-
ible, that details can be rearranged without
disturbing the fundamental lines. With B.,
as with Beethoven, the form is eminently
plastic; it always adapts itself to the artistic
content; it never fetters the imagination. B.
is an idealist of the highest and purest type.
The fine fibre of his musicianly feeling vibrates
in his humblest song as in his proudest sym-
phonic movement. In the case of his larger
tone-pictures, a first hearing will not give
unalloyed pleasure. The ear is sometimes
wearied while seeking to follow the clue
to hjs meaning through mazes of Jaby-
rinthine intricacy; and the difficulty is in-
creased, it must be confessed, by the pecu-
liarities of an instrumentation to which the
undignified epithet 'muddy' has been applied,
and which, contrasted with the glowing, scin-
tillating, flashing, kaleidoscopic orchestral
color of many of his contemporaries, shows
dull and monotonous. But this is the worst
that can be urged against B. the composer:
and, given a conductor wholly in sympathy
with the work and of an analytic turn of
mind, passages which under other hands
seemed like interminable, dreary wastes, are
made to 'blossom like the rose.' Apprecia-
tion comes only after familiarity, ana when
an impression has been made, the effect is
generally deep and lasting. In his treatment
of thematic rhythms, B. is a lineal successor
of Beethoven; in many of his songs one
would say that Schubert lives again, but a
Schubert whose intense spontaneity is con-
trolled by a subtler feeling for formal finish.
Schubert, Schumann, Franz, Brahms and
Hugo Wolf are the five great figures in the
history of the Lied. Brahms' powerful indi-
viduality reaches the very heart of the poem,
the mood in which the poet conceived it, and
reflects it in the vocal melody; this vocal
melody is so closely interknit with the piano-
accompaniment, that both flow on together
in one broad, deep current of song. His songs,
part-songs, and chamber-music, much of the
piano-music, and several of the choral works
(notably the Deutsches Requiem, the Triumph-
lied, and the Schicksalslied), enjoy real and
undisputed popularity; his four symphonies,
the concerto for violin, and the two piano-
concertos, are only now coming into their
own. He was a model of patient, unremitting
industry; he labored, for example, over ten
years, off and on, upon his first symphony,
which created a profound sensation when
produced in 1877; his fame had already been
established, however, by his Requiem (1868).
Brahms the pianist was, in his youth, a
brilliant and versatile player, of peculiar note
110
BRAHMS
in Bach and other classics. At the age of- 20,
having to play the Kreutzer Sonata at a con-
cert with Remenyi, the piano was discovered
to be a semitone below concert-pitch; there
being no time to retune it, B., playing without
notes, transposed his part a semitone higher
thmughout^A to Bb) [as Beethoven tiara- .
posed his own concerto in C to C#, at a re-
hearsal]. But early in the 70* s, owing to lack
of regular practice, his playing had lost its
former charm; though still masterly in feeling
and intent, it was too insecure in technique
and weak in climax to afford full pleasure. It
is by his compositions that posterity will
judge him; and even the present generation
no longer regards Btilow's phrase about 'the
three great B.'s as a witty saying, but as a
profound truth. In the fields of choral and
absolute music the works of Bach, Beethoven
and Brahms mark the highest achievement.
In 1906 there was founded in Berlin the
'Deutsche Brahmsgesellschaft,' the chief ob-
ject of which is the publication of books
about the master.
Compositions (exclusive of songs for one
voice with pf.): — Op. 1, sonata for pf. in C;
2, sonata for pf. in F# m.; 4, scherzo for pf.
in Eb m.; 5, sonata for pf. in F m.; 8, trio
in B, for pf., vln.f and 'cello; 9, variations for
pf. on a tneme by Schumann; 10, 4 ballads for
pf.; 11, serenade for full orch., in D; 12,
Ave Maria for female ch. and orch. (or org.);
13, funeral hymn for chorus and wind; 15,
pf. -concerto in D m.; 16, serenade for small
orch., in A; 17, 4 songs for female ch., 2 horns
and harp; 18, sextet No. 1, in Bb, for strings;
20, 3 ducts for S. and A., with pf.; 21, varia-
tions for pf. in D: (1) on original theme; (2)
on a Hungarian melody; 22, 7 Marienlieder,
for mixed ch., in 2 parts; 23, variations for
pf., 4 hands, on theme by Schumann; 24,
variations and fugue for pf., on theme by
Handel; 25, pf. -quartet No. 1, in G min.; 26,
pf.-quartet No. 2, in A; 27, Psalm xxiii for
women's voices, with org. (or pf.); 28, 4 duets
for alto and bar., with pf.; 29, 2 motets for 5
voices; 30, Sacred Song (Paul Flemming), for
4 voices, mixed ch., and org.; 31, 3 quartets
for S., A., T. and B., with pf.; 34, pf. -quintet
in F m.; 34a, sonata for pf. 4 hands (arr.
from op. 34); 35, 28 variations (Studien) for
pf.; 36, sextet No. 2, in G, for strings; 37, 3
sacred choruses for female voices; 38, sonata
in E m., for pf. and 'cello; 39, 16 waltzes for
pf. 4 hands; 40, trio in Eb, for pf., vln., and
horn (or 'cello); 41, 5 part-songs for 4 men's
voices; 42, 3 songs for 6-part ch. a cappella;
44, 12 songs and romances for female ch. a
cappella; 45, Ein deutsches Requiem f. soli, ch.
and orch.; 50, Rinaldo, cantata (Goethe), for
T. solo, male ch., and orch.; 51,2 string-quar-
tets (C m. and A m.); .52, Liebeslteder,
waltzes for pf. and 4 voices; 53, Rhapsodie
(from Goethe's 'Harzreise'), for alto solo, male
ch., and orch. ; 5 1, Schicksalslied [Song of Des-
tiny] (F. Holderlin), for ch. and orch.; 55,
Triumphlied (Revelations, chap, xix), for 8-
part ch. and orch.; 56, variations for orch. on
a theme by Haydn; 60, pf .-auartet No. 3, in
C m.; 61, 4r duets for S. and A.; 62, 7 songs
for.mlmd ch.; 64, 3 vocal quartets with pf.;
65, Neue Liebeslieder, walt^s for 4 voices and
Sf.; 66, 5 duets, S. and A.; 6? 'r string-quartet
To. 3, in Bb; 68, symphony No. 1, C m.;
73, symphony No. 2, in D; 74, 2 motets for
mixed en.; 75, 4 ballads and romances for 2
voices with pf.; 76, 8 piano-pieces; 77, violin-
concerto in D; 78, sonata for pf. and vln., in
G; 79, 2 rhapsodies for pf. (B m. and G
m.); 80, Akademische Festouvertiiret f. orch.;
81, Tragische Ouvertiire, for orch.; 82, Ndnie
(Schiller), for ch. and orch.; 83, pf .-concerto
No. 2, in Bb; 84, 5 romances and songs, for 1
or 2 voices; 87, pf.-trio in C; 88, string-quin-
tet in F; 89, Gesang der Parzen (Goethe), for
6-part ch. and orch.; 90, symphony No. 3, in
F; 91, 2 songs for alto, with viola and pf.; 92,
4 vocal quartets with pf.; 93a, songs and ro-
mances, for 4-part mixed ch. ; 93b, TafeUied,
for 4-part mixed ch.; 98, symphony No. 4, in
E m.; 99, sonata No. 2, in F, for 'cello and
pf.; 100, sonata No. 2, in A, for vln. and pf.;
101, pf.-trio in C m.; 102, concerto in C,
for vln. and 'cello; 103, 8 Zigeunerlieder, for 4
voices, with pf.; 104, 5 songs for mixed ch.;
108, sonata No. 3, in D m., for vln. and pf:;
109, Deutsche FesU und Gedenkspruche, for
double ch.; 110, 3 motets for 4 and 8 voices;
HI, string-quintet No. 2, in G; 112, Zigeuner-
lieder, for 4 voices, with pf.-accomp.; 113, 13
canons for female voices, with pf.-accomp.;
114, trio in A m., for pf., clarinet and 'cello;
115, quintet in D m., for clar. and strings;
116, 7 Fantasien for pf.; 117, J Intermezzi for
pf.; 118, 6 Clavier stiicke (Intermezzi in A m.,
A, F m., and Eb m.; Ballade, Romanze);
119, 4 ClaviersiUcke (Intermezzi in B m., E
m., and C; Rhapsodie); 120, '2 sonatas for
clarinet (or via.) and pf.; 121, 4 ernste Ge-
sange, for bass with pf.; 122, 11 Choralvor-
spiele for organ (posth.).
Brahms' songs for one voice, with piano-
accompaniment, are published in sets, vary-
ing in number, as op. 3, 6, 7, 14, 19, 32, 33
(from Tieck's 'Magelone'), 43, 46, 47, 48, 49,
57, 58, 59, 63, 69, 70, 71, 72, 84, 85, 86, 91,
94, 95, 96, 97, 105, 106, 107, 121.
Works without Opus-number: Hungarian
Dances for pf . 4 hands (4 books) ; Studten for
pf. [1. Chopin's F m. £tude, arr. in sixths;
2. Weber's Moto perpetuo in C; 3 and 4,
Presto by Bach (2 arrs.); 5. Bach's Chaconne
(for left hand alone)]; German Folk-songs, 51
Exercises for pf. (7 books); Joachim's over-
turs to Henry IV, arr. for 2 pfs.; Gluck's Ga-
votte in A, arr. for pf.; a song, Mondnacht;
111
BRAMBACH
15 VMskinderlieder. For organ, Prelude and
Fugue in A m., and a Fugue in Ab m. —
Further (posth. publ.) a sonata-movement for
pf. and vln.; 2 cadenzas to Beethoven's G
major pf. -concerto; and a trajiscr. of Schu-
bert's Ellens zweiter Gesang, for soprano solo,
female ch., and wind-instruments*
A Thematic Catalogue of B.'s compositions
was publ. by N, Simrock (Berlin, 1897; 2d
edition 1902).
BIBLIOGRAPHY— A. Biography: M.
Kalbeck, Johannes Brahms (8 vols., Berlin,
1904-14; the standard work); H. Deiters,
7. B. Eine Charakteristik (Leipzig, I [1880],
II [1898]; both in Waldersec's 'Sam ml. mus.
Vortrage'); H. Reimann, /. B. (Berlin, 1897;
4th ed. 1911); A. Dietrich, Erinnerungen an
J. B. in Briefen, be senders aus seiner Jugend-
zeit (Leipzig, 1898); J. Widmann, J. B. in
Erinnerungen (Berlin, 1898; 3d ed. 1910).
This and the preceding in Engl, t ran si. by
Hecht as Recollections of J. B. (London, 1899);
F. May, The Life of J. B. (2 vols., London,
1905); J. Erb, B. (ib., 1905); H. Antcliff, B.
(ib., 1905); H. Imbert, /. B.: sa vie el son
ceuvre (Paris, 1906); G. Henschel, Personal
Recollections of J. B. (Boston, 1907) ; W. Pauli,
J. B. (Berlin, 1907); R. von Perger, B. (Leip-
zig, 1908); H. C. Colles, B. (London, 1908);
J. Fuller-Maitland, B. (ib., 1911); W. Thomas-
San Galli, /. B. (Munich, 1912); E. M. Lee,
Brahms, The Man and His Music (London,
1915); also R. v. d. Leyen, /. B. als Mensch
u. Freund (Dtlsseldorf, 1905).
B. Correspondence: The complete corre-
spondence has been publ. by the 'Deutsche
Brahmsgesellschaft' in 7 vols. (Berlin, 1906-
12) as follows: I, II. Ed. by M. Kalbeck,
/. B. im Briefwechsel mit Heinrich u. Elisabeth
v. Herzotenberg (1906); III. Ed. by W. Alt-
mann, /. B. \m Briefwechsel mit Reinthaler,
Bruch, Deiters, Heimsoetht Reinecke, Rudorff,
Bernh. u. Luise Scholz (1907); IV. Ed. by
R. Barth, J. B. im Briefwechsel mit J. O.
Grimm (1907); V, VI. Ed. by A. Moser,
/. B. im Briefwechsel mit Joseph Joachim
(1908); VII. Ed. by L. Schmidt, /. B. im
Briefwechsel mit Levi, Gernsheim u. den Fa-
milien Hecht u. Fellinger (1912). Of these,
vols, i and ii appeared in Engl, transl. by
A. Bryant (London, 1909). Interesting letters
of B. are found in G. Fischer, Briefe Billroths
(Hanover, 1895; 7th ed. 1906).
C. Criticism, Appreciation: L. Kohler,
J. B. u. seine Stellung in der Musikgeschichte
(Hanover, 1880); E. Krause, /. B. in seinen
Werken (Hamburg, 1892); D. G. Mason, From
Grieg to Brahms (New York, 1902); R. Barth,
J. B. u. seine Musik (Hamburg, 1904); G.
Jenner, /. B. als Mensch, Lehrer u. Kiinstler
(Marburg, 1905); W. A. Thomas, /. B. Eine
musikpsychologische Studie (Strassburg, 1905);
J. Knorr and H. Riemann, /. B.t Symphonien
u. andere Orchesterwerke erl&utert (Berlin,
1908); M. Burckhardt, /. B.; ein Fuhrer
durch seine Werke (ib., 1912); W. Hammer-
mann, /. B. als Liederkomponist (Leipzig,
1912); E. Evans, Historical, Descriptive and
A nalytical Account of the Entire Works of J.B.
(London, 1912; so far only vol. r^'TJia Vocal
Works,' has app.). See also W. M Ciller zu
Aichholz, Ein B.-Bilderbuch (Vienna, 1905);
M. Fellinger, B.-Bildnisse (Leipzig, 1911).
Bram'bach, (Kaspar) Joseph, b. Bonn,
July 14, 1833; d. there June 19, 1902. His
first teacher in comp. was A. zur Niedcn; he
then studied 1851-4 in Cologne Cons.; won
Mozart scholarship, and studied at Frankfort
under Ferd. Hiller. Teacher in Cologne Cons.,
1858-61; 1861-9, musical director at Bonn,
where he lived as a teacher and comp. His
secular cantatas are especially noteworthy;
the larger works are Trost in Tonen, Das eleu-
sische test, Friihlingshymnus, Die Macht des
Gesanges, Vclleda, Alcestis, Prometheus, and
Columbus (1886); lesser works are Germa-
nischer Siegegesang (1874), Das Lied vom
Rhein, Lenzerwachen, Lor Hey (for alto solo,
male ch., and orch.), and Rheinfahrt. — Other
works: An opera, Ariadne; concert -overture
Tasso; pf. -concerto, a pf. -sextet, a string-
sextet, 2 pf.-quartets, vocal music.
Bram'bach, Wilhelm, b. Bonn, Dec. 17,
1841; philologist; in 1866 prof, extraordinary,
1868 ordinary prof., at Freiburg; 1872-1904,
head -librarian at Karlsruhe. — Works: Das
Tonsystem und die Tonarten des christlichen
Abendlands im Mittelalter (1881); Die Musik-
litteratur des Mittelalters bis zur Blilthe der
Reichenauer Sdngerschule (1883); Hermanni
Contracts musica (1884); Die Reichenauer
Sdngerschule (1888); Gregorianisch. Biblio-
graphische Losung d. Streitfrage fiber d. Ur~
sprung d. Gregor. Gesangs (1895; 2d ed. 1901).
B ram b ilia, Marietta, daughter of P. B.,
b. Cassano d'Adda, 1807; d. Milan, Nov. 6,
1875. Famous dramatic contralto and sing-
ing-teacher, pupil of Milan Cons.; debut
London, 1827, as Arsace in Rossini's Semi-
ramide, and sang for years in the principal
theatres of Italy, London, Vienna, and Paris.
— Publ. songs, vocalises, etc.
Brambilla, Paolo, b. Milan, 1786; d.
there 1838. Comp. 4 operas for Milan and
Turin (1816-19), and 6 ballets for La Scala,
Milan (1819-33).
BrambiTla, Teresa (sister of Marietta),
b. Cassano d'Adda, 1813; d. Milan, July (?),
1895. Studied singing at Milan Cons. Began
dramatic career 1831 in small theatres; 1833,
sang with great success in Milan, then in
Odessa (Norma); recalled 1837 to Milan, sang
1840, at La Scala, in Due illustri rivali by
Mercadante, and / Cor sari by Mazzucato,
112
BRANCA— BRANDUKOV
and became famous. After passing two years
in Spain, she sang (1846) in Paris in Nabucco
with great success; then eng. at La Fenice
Th., Venice, where on March 11, 1851, she
created the role of Gilda in Rigoletto.
Bran'ca, Guglielmo, b. Bologna, April
13, 1849. Pupil of A. Bus! in Bologna Cons.;
has written the operas La Catalan* (Florence,
1876), Hermosa (Florence, 1883), and La
Figlia di Jorio (Cremona, 1897).
Brancac'cio [-kaht'ch&h], Antonio, b.
Naples, 1813; d. there Feb. 12, 1846. Pupil of
Naples Cons.; wrote the operas Rosmunda
(Venice, 1830) ; / duje Vastest di Porto (Naples,
1830?); IPanduri (Naples, 1843); 7/ Motto ed
U Vivo (ib., 1843); LAssedio di CostarUina
(Venice, 1844); Francesca da Rimini (Venice,
1844) ; V Incognita, ossia Dopo 15 anni (Ven-
ice, 1846); II Puntiglio (Naples, 1845); Le
Sarte calabresi (Naples, 1847); Lilla (Venice,
1848).
Brancour, Rene, b. Paris, May 17, 1862.
Since 1904 curator of the museum of musical
instruments at the Paris Cons., and since
1906 also lecturer on esthetics at the Sorbonne
and Alliance Francaise. Besides valuable
•essays in various journals, he has written
biographies of FHicien David (1911) and
MShul (1912) in 'Musiciens Celebres'; also
Lavieet Vaeuvre de Georges Bizet (Paris, 1913).
Composer of a sonata for vln. and pf., songs,
and some instrumental pieces.
Bran'deia, Frederic [Frledrich], b. Vien-
na, July 5, 1835; d. New York, May 14, 1899.
Pupil cf J. Fischhof and Karl Czerny (pf.)
ana Rufinatscha (comp.), also of Wilhelm
Meyerhofer in New York. Went to the
United States in 1849; debut as pianist in
N. Y., 1851. He toured the country with
various troupes, notably Vincent Wallace's
concert-company, as solo pianist and cond.
Organist of several N. Y. churches. — Works:
For orch.: Introd. and Capriccio; Grand
March; prelude to Schiller's Maria Stuart;
Danse htroique; a Suite for string-orch. ; Ro-
mania for oboe and orch. For military band:
Funeral March of Humpty Dumpty, and
Polish Dance; a ballade, The Bards, duet for
tenor and bar., with orch.; ballade. The Ring,
for soli, ch. and orch.; ballade, The Sunken
Cloister, for ch. and orch.; pf.-trio in G; sev-
eral sextets for flute and strings. The above
are unpubl., though performed. — Published
works include a great variety of pf.-pieces,
songs, vocal music (sacred and secular), etc.
Bran'des [-dess], Emma, pianist; b. near
Schwerin, Jan. 20, 1854. rupil of Aloys
Schmitt and court pianist Goltermann; had
made several very successful tours of Eng-
land, Germany and Austria when she retired
from public life after her marriage to Prof.
Engelmann, of Utrecht.
Bran'des, Frledrich, b. Aschersleben,
Nov. 18, 1864; pupil of Spitta, Bellermann
and Kretzschmar; 1895, Gleich's successor as
mus. critic of the 'Dresdner Anzeiger'; 1898
succeeded Krantz as cond. of the Dresdner
Lehrer^esan^verein ; in 1909 he followed Reger
as musical director at Leipzig Univ., with the
title of 'R. Saxon Prof.'; since 1911, editor of
'NeueZeitschriftfiir Musik/ — Has composed
male choruses, songs, and piano-pieces.
Bran'dl, Johann, b. Kloster Rohr, near
Ratisbon, Nov. 14, 1760; d. Karlsruhe, May
26, 1837, as musical director to the Archduke
of Baden. — Works: 2 operas, Germania (1810)
and Hermann (1814); melodrama Hero; ora-
torios, masses, a symphony, much chamber-
music, and minor pieces.
Bran'dl, Johann, b. Kirchenbirk, Boh.,
Oct. 30, 1835; d. Vienna, June 10, 1913.
Operetta-composer in Vienna; produced 9
operettas since 1869, all of short-lived popu-
larity {Die Kosakin; Ischl, 1892); incidental
music to some 100 stage-pieces; etc.
Brand'stetter. See Garbreght.
Brandt, Marianne (rede Marie Bischof),
b. Vienna, Sept. 12, 1842. Brilliant contralto
stage-singer, pupil of Frau Marschner at
Vienna Cons., and 1869-70 of Viardot-
Garcia, Paris; eng. 1867 in Graz, 1868-86 at
Berlin Court Opera. Sang the r61e of Kundry
in Parsifal at Bayreuth, 1882, alternating
with Frau Materna, who created it. In 1886
she sang in German opera at New York.
Since 1890, singing-teacher in Vienna. — Cf.
La Mara, 'Musikalische Studienkdpfe,' vol.
v (Leipzig, 1902; 3d ed.).
Brandts-Buys [boiss], Henry, b. Deven-
ter, April 20, 1851; d. Amsterdam, Oct. 15,
1905. A Dutch choral conductor; composer
of male choruses, and the opera Albrecht
Beyling (Amsterdam, 1891).
Brandts-Buys, Jan, b. Zutphen, Sept.
12, 1868; nephew of preceding, rupil of M.
Schwarz and A. Urspruch at the Raff Cons,
in Frankfort; lived many years in Vienna,
declining to accept any position; since 1910
living as a solitary eccentric near Bozen. A
concerto for pf. and orch. in F, winning the
Bosendorfer prize in 1897, attracted atten-
tion; since then the Fitzner Quartet has
Eroduced some of his chamber-music, and
illi Lehmann has sung a number of his
songs. His first attempt at opera, Das Veil-
chenfest (Berlin, 1909), met with opposition;
a second opera, Das Glockenspiel [Le Carillon]
(Dresden, 1913), was received more kindly,
while a third, Die drei Schneider von Schonau
(ib., 1916), met with real success.
Bran'dukov [Brandukow], Anatole An-
dreievitch, violoncellist; b. Moscow, Jan. 6,
1859; pupil of Cossmann and Fitzenhagen at
113
BRANDUS— BREIDENSTEIN
Moscow Cons. Going to France, he made his
public debut under Saint-Saens at Angers in
1881; he played in the principal Parisian and
London concerts; founded a quartet with
Marsick in 1886; lived in Paris till 1889, and
settled in Moscow, 1890. — Works: Solo pieces
for 'cello, with orch. or pf.
Brandus, Dufonr et Gie. Paris firm of
music-publishers, founded by M. Schlesinger
(1334), and taken over in 1846 by the brothers
Louis Brandus (d. 1887) and Gemmy B.
(d. 1873).
Brant, Jotot (or Jodocus) vom (Junior),
captain at Waldsachsen, and governor of
Liebenstein, in the 16th century. 54 German
part-songs, and a 6-part motet, show that he
was a musicianly contrapuntist. — See Q.-Lex.
Brassin [brahs-san'], Gerhard, violinist,
brother of Louis; b. Aix-la-Chapelle, June 10,
1844; teacher at the Bern Music-School in
1863 ; leader at Gothenburg, Sweden ; teacher
at Stern Cons., Berlin, in 1874; conductor of
Tonkttnstlerverein' in Breslau, 1875-80; later
in Petrograd; now in Constantinople. Publ.
valuable solo pieces for violin.
Brassin, Leopold, brother and pupil of
Louis; b. Strassburg, May 28, 1843; d. Con-
stantinople, May, 1890. Court pianist at
Koburg; teacher at the Bern Music-School,
later at Petrograd and Constantinople. He
com p. concertos for 1 and 2 pfs. ; also many
solo pieces for pf.
Brassin, Louis, pianist; b. Aix-la-Cha-
pelle, June 24, 1840; d. Petrograd, May 17,
1884. Pupil of Moschelcs at Leipzig Cons.,
and made concert-tours with his brothers
Leopold and Gerhard; became teacher in the
Stern Cons., Berlin; 1869-79, at Brussels
Cons.; then at Petrograd Cons. — Works: 2
operettas, Der Thronfolger (Brussels, 1865),
Der Missionar (MS.); the valuable Ecole
moderne du piano; 12 Hudes de concert;
salon-pcs. f. pf.; songs. His splendid tran-
scription of the Magic Fire music from Die
Walkure is in the repertoire of every concert-
pianist.
Brau'er, Max, b. Mannheim, May 9,
1855. From 1875-6, pupil of Vincenz
Lachner, Karlsruhe; then, until 1880, of
Hiller, Jensen and de Lange at Cologne Cons.
From 1880-8, 'Musikdirektor' at Kaisers-
lautern; since 1888, musical director at the
court church, Karlsruhe, and of the 'Bach-
verein', which he founded in 1905. — Publ.
works: Pf .-pes. f . 2 and 4 hds. ; Sonata f . pf.
and vln.; pieces f. vln., 'cello, organ (Funerale;
2 Fugues); Suite f. string-orch.; Serenade f.
10 wind-instrs. and bass. Also Der Lotse,
1-act opera, prod. succ. at Karlsruhe, 1895;
rewritten, Lucerne, 1913; and the 3-act
opera Morgiane (Karlsruhe, 1899).
Braunfels, Walter, b. Frankfort, Dec.
19, 1882. Pupil of J. Kwast there, then
in Vienna of Leschetizky (pf.) and Nawrattl
(comp.), and in^ Munich of^ L. Thuille
(comp.); living in Munich since 1903. —
Works: Two operas, Prinzessin Brambilla
(Stuttgart, 1909), Ulcnspiegel (ib., 1913);
op. la, -variations f. orch.; op. 18, Artels
Gesang f. small orch.; Serenade f. do; op. 17,
Offenbarung Johahnis, chap, vi, f.. ten., ch.
and orch.; songs and pf.-pes. (very modern).
Brecher, Gustav, b. Eichwald, near
Teplitz (Bohemia), Feb. 5, 1879. His father,
a physician, removed in 1889 to Leipzig,
where B. attended the Nikolaigymnasium
1889-98, and pursued his musical studies
under Jadassohn, Richard Hofmann, and
Gustav Schlemuller; his first important
work, the symph. poem Rosmersholm, was
brought out in 1896 by Richard Strauss at
a Liszt-Verein concert in Leipzig, and B.'s
debut as conductor was made next year at a
similar concert. In 1898 he became 'Cor-
repetitor' at the Municipal Th., also con-
ducting operatic performances; 1901, cond.
at the Vienna Court Opera; 1902, first
Kapellm. at Olmiits City Th.; in 1903 first
Kapellm. at the Hamburg City Th.; since
1911 first Kapellm. of the Cologne Opera. —
His orchl. works are Rosmersholm and a
symph. fantasia, Aus unserer Zeit (op. 2);
has publ. several sets of songs (op. 3-7), a
favorite number being Der Arbeitsmann (op.
7, No. 1); and several essays: Ober die
veristische Oper, Analysen zu Werken von
Berlioz und Strauss, Richard Strauss, a
monograph [1900J (these 3 publ. by the
Harmonie-Verlag, Berlin), and Ober Opern-
texte und Opernubersetzungen: eine Studie
(Jungdeutscher Verlag, Berlin). He also
brought out a revised ed. of Auber's La
Muette de Portici in the 'Peters Ed.'
Bree [bra], [Johannes Bernardus] Jean
Bernard van, b. Amsterdam, Jan. 29, 1801;
d. there Feb. 14, 1857. Violinist and composer;
pupil of Bertelmann; 1819, orch .-player in
the Th. Francais, Amsterdam; 1829, director
of the Felix Meritis Society; founded the
'Cecilia* in 1840; director of the Music-
School of the Soc. for the Promotion of
Music. — Works: Dutch opera Sapho (1834);
German opera Nimm dich in Acht (1845?);
opera Le Bandit (The Hague, 1840); 2 melo-
dramas; several masses, cantatas, overtures,
chamber-music, etc.— Cf. H. Beijermann,
/. B. van B. (1857).
Brei'denatein, Heinrich Karl, b. Stein-
au, Hesse, Feb. 28, 1796; d. Bonn, July 13,
1876. From 1823, Music- Director at Bonn
Univ. He was the originator of the move-
ment for the Beethoven monument in Bonn,
and at its unveiling delivered the festival
114
BREITHAUPT— BRENET
address (1845). — Works: A cantata; chorals,
etc.; and a Method of Singing.
Breltliaupt, Rudolf (Maria), b. Bruns-
wick, Au$. 11, 1873; student at Jena, Leipzig
and Berlin; pupil of Teichmann, Paul ana
Jadassohn at Leipzig Cona* (1897); contri-
butor to the 'Redende Kiinste! .and .'Neue
Zeitschrift fur Musik'; lives in Berlin as
writer and piano-teacher. — Works: Die natur-
liche Klaviertechnik, 1907, in 2 Parts (P. 1. 1904;
3d ed. 1912; P. II, Grundlagen der Klavier-
technik, 1907, transl. into French [1908] and
Engl. [1909]); and coll. essays as Musikalische
Zeit- und Streitfragen (1906) ; also a few songs.
Breit'kopf & Hartel. Firm of music-
publishers at Leipzig, founded (as a printing-
office) in 1719 by Bernhard Christoph Breit-
kopf (b. Klausthal, Harz, Mar. 2, 1695; d.
Mar. 26, 1777). His son and successor, J. G.
Immanuel Breitkopf (b. Nov. 23, 1719; d. Jan.
29, 1794), entered the business in 1745; in
1754, his invention (or revival of Petrucci's.
invention) of movable types rendered it
possible for him to add music-printing to
the firm's resources, thus laying the foun-
dation for future expansion. His son, Chr.
Got t lob B., relinquished the business in
1795 in favor of his friend Chr. Hartel (b.
Schneeberc, Jan. 27, 1763; d. July 25, 1827),
in whose hands its prosperity was assured;
he added a piano-manufactory, founded the
'Allgem. musikalische Zeitung' (1798), intro-
duced pewter plates, and also lithographed
titles. Successive heads of the business were
Florcnz Hartel (1827-35); Dr. Hermann
Hartel (d. 1875), and his brother Raimund
Hartel (retired 1880; d. 1888); and finally
the sons of two sisters of Hermann and
Raimund — Wilhclm Volkmann (b. 1837, d.
1896), and Dr. Oskar von Hase (b. 1846).
With Dr. von Hase is now associated Dr.
Ludwig Volkmann, the son of Wilhelm V. —
Dr. v. Hase is the author of several valuable
works on the history of the book-trade; Dr.
Volkmann is an authoritative writer on art.
^-A son of Dr. v. Hase, Hermann (b. 1880),
entered the firm in 1904, and is devoting
himself to a study of the firm's valuable
archives. He has publ. /. Haydn u. B. & H.
(1909) and K. Ph. Bach u. B. fr H. (1911).
Among representative enterprises must be
mentioned the monumental editions of Bach,
Beethoven, Berlioz, Chopin, Froberger, Gluck,
Gretry, Handel, Hayan, di Lasso, Liszt,
Mendelssohn, Mozart, Palestrina, Schein,
Schubert, Schumann, Schtttz, Victoria, Wag-
ner.
Brema, Marie (stage-name of Mlnny
Fehrmann), dram, mez.-sop.; b. Liverpool,
Feb. 28, 1856 (father German, mother from
Richmond, Va.). Began serious study (after
her marriage to Mr. Arthur Braun of Liver-
pool in 1874) under Henschel in 1890; debut
at the Popular Concert of Feb. 21, 1891, in
Schubert's Ganymed, under the name of
'Bremer' (her father being a native of
Bremen); after further, teaching by Mme.
Bessie Cox and Mr. Blume, she made her
stage-debut at Oxford in 1891 as Adrienne
Lecouvreur, and on Oct. 19 created the
rdle of Lola (Cavalleria Rusticana) in London;
sang Orfeo on Nov. 27. After continued
concert-work, she was eng. by Cosima
Wagner to sing the Ortrud at Bayreuth in
1894, also appearing several times as Kundry.
In the season of 1895 she sang the roles of
Ortrud, Brangane and Brunnhilde (Walkure)
with the Damrosch company in New York
and elsewhere; sang in Brussels (Orphee,
Dalila, Amneris) with great success; in the
season of 1895-6 she sang all the great Wagner
rdles at the M. O. H.; and was again at
Bayreuth 1896-7 as Fricka and Kundry.
Was well received as Orphee in Paris (1898),
and has been a special favorite of the Pari-
sians since her singing of Brangane at the
Lamoureux concerts of 1900, ana Brunnhilde
(GoUerd&mmerung) in German at the Chateau
d'Eau performances under Richter in 1902.
Her Marcelline, at the revival of Bruneau's
Attaque du Moulin in London (1897), was a
telling impersonation. She created • the
Beatrice in Stanford's Much Ado about
Nothing (May 30, 1901), and the Angel in
Elgar's Dream of Gcrontius (1900, Birming-
ham Fest.). Now ranks among the leading
singers of Britain in festivals, concerts, and
opera; prof, of singing at the R. C. M. at
Manchester.
Bren'del, Karl Franz, b. Stolberg, Nov.
26, 1811; d. Leipzig, Nov. 25, 1868. Writer
and critic of neo-German tendency; pf. -pupil
of Fr. Wieck; editor from 1844 of Schumann's
'Neue Zeitschrift fur Musik/ and 1850-60
of the monthly 'Anregunren fttr Kunst,
Leben und Wissenschaft. He was later app.
prof, of mus. hist, at Leipzig Cons.; was also
one of the founders (1861), and for years
the president, of the Allgemeiner deutscher
Musikverein. — Works: Grundzuge der Ge-
schichte d. Musik (1848; 5th ed. 1861);
Gesch. d. Musik in Italien, Deutschland u.
Frankreich von den ersten christlichen Zeiten
an, etc. (1852; 7th ed., edited by Kienzl,
1888; new auem. ed., edited by R. Hdvker,
1902, and reissued 1906); Die Musik der
Gegenwart u. die Gesammtkunst der Zukunft
(1854); Franz Liszt als Symphoniker (1859);
Die Organisation des Musikwesens durch den
Stoat (1865); Geist u. Technik im Klavier-
unterricht (1867); also many newspaper
articles, publ. 1888 as Gesammelte Aufsdtze
zur Geschichte u. Kritik d. neueren Musik.
Brenet, Michel [brii-na'], reete BobiUler,
French musicograph; b. Luneville, April 12,
115
BRENNER— BREUER
1858. After living in Strassburg and Metz
she has resided in Paris since 1871. — Works:
Histoire de la symphonic & orchestre depuis
ses origines jusqu'd Beethoven (1882); Gretry,
sa vie et ses eeuvres (1884); Deux pages de la
vie de Berlioz (1889); Jean d'Okeghem (1893);
La musique dans les processions (1896; lec-
tures); SSbastien de Bros sard (1896); La
musique dans les convents de femmes (1898;
lectures); Claude Goudimel (1898); Notes sur
V histoire du luth en France (1899); Les con-
certs en France sous Vancien regime (1900);
Additions inedites de Dom Jumilhac d son
traitS (1902); La jeunesse de Rameau (1903);
Palestrina (1906); La plus ancienne mSthode
francaise de musique (1907); Haydn (1909; in
'Les Mattres de la musique'); Les Musiciens
de la Sainte-ChapeUe: documents intdits, etc.
(1910); Musique et musiciens de la vieille
France (1911); Hcendel (1913, *in 'Musiciens
Celebres'); valuable essays and articles in
the 'Grande Encyclopedic/ the 'Correspon-
dant,' 'Guide musical/ 'Journal musical/
'Revue musicale/ 'Tribune de St.-Gervais/
'Ri vista Musicale Italiana/ and the publi-
cations of the I. M. S.
Bren'ner, Ludwig (Ritter) von,b. Leipzig,
Sept. 19, 1833, and pupil of the Cons.; d.
Berlin, Feb. 9, 1902. After tours on the
Continent, he settled in Petrograd for IS
years as a member of the Imp. orch.; 1872-6,
cond. of the Berlin Symphony Orch.; in
1876, est. an orch. of his own ('Neue Berliner
Symphoniekapelle'). Removed to Breslau,
where from 1897 he cond. Meyder's Concert
Orch., succeeding, Meyder. — Works: 4 grand
masses; 2 Te Deums; symphonic poems,
overtures, and other orchestral music.
Brea'laur, Emil (Prof.), b. Kottbus, May
29, 1836; d. Berlin, July 27, 1899. Studied
1863-7 at the Stern Cons., Berlin; from
1868-79, teacher at Kullak's Acad.; from
1883, choirmaster at the Reformed Syna-
gogue. A Music-Teachers' Society founded
by him in 1879 developed in 1886 into the
'Deutscher Musiklehrer-Verband.' He was
also the founder and director of a Piano-
Teachers' Seminary, editor of the 'Klavier-
lehrer', and the author of several important
works on piano-playing: Die technische
Grundlage des Klavierspiels (1874, earned him
the title of 'Prof.'); Fiihrer durch die Klavier-
unUrrichts-LiUeratur; Zur methodischen Obung
des Klavierspiels; Der enhvickelnde Unterricht
in der Ilarmonielehre; Vber die schddlichen
Folgen des unrichtigen Dbens; also a Klavier-
schule; a compilation, Methodik des Klavier-
unterrichts in Einzelaufsdtzcn (1887); and a
Melodiebildungslehre auf Grundlage des har-
mon. u. rhythm. Elements (1896).
Bressler-Gianoll, Clotilde, dramatic
contralto; b. Geneva, of Italian parents,
June 3, 1875; d. there May 12, 1912 (after
an operation for appendicitis). A precocious
piamstic talent, she played in public at 7
in Geneva; studied at the Cons, there under
Krause (pf.)i Hugo de Sanger (harm.), and
Barblan (pf. and harm.); later vocal training
at Milan Cons, with Sangiovanni, G. Giacosa
and Ronctmi, making ^ operatic debut when
only 19 at Geneva in Samson et Dalila.
After two years in Geneva followed a season
at La Scala, Milan, an engagement at the
Monnaie, Brussels, a season at Bordeaux;
she then sang at Lyons, and at the Opera-
Comique, Paris, where her Carmen made a
sensation. As a member of the San Carlos
company at New Orleans and New York
she won great favor, which increased during
her subsequent engagement by Hammerstein
at the Manhattan Opera House (N. Y.;
1906-8); after the season 1909-10 at the
M. O. H., she was a member of the Phila-
Chicago Opera Co. until her death. She was
an enthusiastic student of Wagner, and sang
Fricka (Walkure), Ortrud, and Brangane;
created several rdles in modern French operas
(OrphSet Louise, Jael, La Vendtenne, Les
Barbarest Janie [Jaques-Dalcroze], Deidamie) ;
favorites were Orphee, Carmen, Princesse
Rayon de Soleil, Rosina (Barbiere), Magda-
lene (Meistersinger). Her repertory embraced
some forty standard operas, from Rigoletto
and Traviata to Madama Butterfly and PelUas
et MSlisande. Her voice was a sweet and
powerful contralto of 2XA octaves' compass.
Bret6n y Hernandez [ar-nahn'dathl, To-
mas, b. Salamanca, Dec. 29, 1850. Studied
at the Cons, in Madrid; one of the most
fertile and most important dram, composers
of Spain. The more important operas (all
prod, at Madrid) are Los A mantes de Teruel
(1889), Juan Garin (1892), Dolores (1895),
El Domingo de Ramos (1896), La Verbena de la
Paloma (1897), Raquel (1900), El CabaUo del
senorito (1901), FarineUi (1903), TaborS
(1913); an oratorio, Apocalipsia, was prod, in
Madrid in 1882; wrote also for orch. (Escenas
Andaluzas, Polonaise, Scherzo, Funeral March
for Alfonso XII); chamber-music.
Breu'er [broi-], Hans, dramatic tenor; b.
Cologne, April 27, 1870 (not 1869); pupil
1890-2 of Iffert and Stolzenberg at Cologne
Cons.; then studied (on invitation of Frau
Cosima Wagner) at the Bayreuth 'Stilbil-
dungsschule' till 1896 under Kniese. Debut
at Bayreuth in 1896 as Mime (first pro-
duction of the Ring cycle since 1876); then
called to Breslau for the festival performances
in honor of the Czar, and sang there one
year; season of 1897-8 in the United States
with Damrosch (David, Erik, Jaquino, Ring
rdles); summer of 1898 at Covent Garden,
London, and the following winter season
116
rBREUNING— BREWER
starred in Holland, Germany, Switzerland,
England, etc.; 1892-1900 in America with
Grau, and in the summer at London, next
winter at the Vienna Court Opera; has sung
at all the Bayreuth Festivals from 1896 to
1914 (Mime, David), and in 1907-8 at the
Munich Festivals; also 1906 at the Mozart-
fest in Salzburg (Basilio in Figaro). His
specialties are Wagner and Mozart, but he
sings the entire repertory of German rdles
for 'Spieltenor.'
Breunlng [broi'-], (Moritz) Gerhard von,
b. Vienna, Aug. 28, 1813; d. there May 6,
1892. A son of Beethoven's friend Stephan
von B.; wrote A us dem Schwarzspanierhause
(Vienna, 1874; new ed., with additions by
Kalischer, Berlin, 1907), valuable because of
the author's personal association with the
master.
Breval, Jean- Bap tiste, b. Dept. of V Aisne,
France, 1765; d. Chamomile, 1825. 'Cellist,
pupil of Cupis; 1st 'cellist at Grand Opera
(1781-1806), and 'cello-prof, at Cons. (1796-
1802). — Works: 2 operas, 8 symphonies, 7
'cello-concertos, much chamber-music, and a
Method for 'cello. — See Q.-Lex.
Breval, Lucienne (stage-name of Bertha
Brennwald), b. Mannedorf, Switzerland,
Nov. 4, 1870. Educated at first as a pianist
in Lausanne and Geneva; ent. Paris Cons, in
1885; pupil there of Warot, d'Obin and
Giraudet; took 1st prize for opera in 1890.
Debut at Grand Opera as Sehka in VAfri-
caine, Jan. 20, 1892; since then principal
dram, soprano at the Opera; has not sung
outside of France, except two seasons in
America (1900-1 and '01-2) and some
appearances at Cov. Garden. At the first
performances of the Wagner dramas at the
Opera she invariably created the chief sop.
rdles; created also chief rdles in Holmes'
La Montagne noire (1895), Guiraud's FrtdS-
gonde (1895), Vidal's Burgonde (1898),
Massenet's GrisSlidis (1901), Erlanger's
Fils de Vetoile (1904), Dukas' Ariane et
Barbe-Bleue (1907), Massenet's Bacchus
(1909), Bloch's Macbeth (1910). She has
actually sung about 50 rdles; in Boston
(Apr. 9, 1901) she sang Briinnhilde in
German.
Brevllle, Pierre (-Onfroy) de, b. Bar-le-
Duc, Feb. 21, 1861. Intended for a diplo-
matic career, he took up music instead,
studying at first at the Cons, with Th.
Dubois (1880-2), later with Cesar Franck,
whose devoted admirer he became; he com-
pleted (with d'Indy and others) Franck's
unfinished opera GhiseUe. Since 1889 he has
been prof, of cpt. at the Schola Cantorum;
also member of the examination committee
for chamber-music and comp. at the Cons.;
1897-9 critic for 4La France', 'La Revue
Internationale de Musique' and 'Mercure de
France*. A serious composer of modern
French tendencies. — Works: Eros Vainqueur
(3-act lyric opera, Brussels, 1910); Sainte-
Rose de Lima, 'Scene mystique' for chorus,
soli and orch.; 3-part mass (w. org., str.-orch.
and harp); motets, liturgical choral comps.;
also overture to Maeterlinck's La Princesse
Maleine, and incidental music to M.'s Sept
Princesses and Kalidasa's SakunkUa; the orch.
suites Nuit de Dicembre and Stamboul; Une
ouverture pour un drame, for orch.; M6deia,
for soli, female voices and orch.; La Ute de
Kenware'h, for baritone, ch. and orch.; VOn-
dine et le p%cheur, for mixed ch. and orch.;
Bernadette, ditto; an organ-suite, pf. -pieces,
etc.; .and published Sur les chansons popu-
lates franchises (1901).
Brewer, Alfred Herbert, organist, comp. ;
b. Gloucester, England, June 21, 1865. Won
the first musical scholarship and studied at
the R. C. M. under Sir Walter Parratt, Sir
Chas. Stanford, and Sir Fred. Bridge. Org.
of St. Catherine's Ch., Gloucester (April,
1881); of Bristol Cathedral (1885); organist
and music- master Trowbridge School (1892);
since 1896 organist and choirm. Gloucester
Cath.; also conductor Gloucester Triennial
Musical Festival, of the Gloucestershire Or-
chestral Society, Choral Society and Orpheus
Soc.;Mus. Bac, Dublin (1897); Mus. Doc.,
Cantab. (1905); Examiner Assoc. Board of
the R. A. M. and R. C. M.— Works: The
sacred cantatas Dedication Ode, The Holy
Innocents, A Song of Eden, Emmaus; Eng-
land, my England, for baritone with orch.;
Summer Sports, suite for chorus and orch.; 2
pieces for orch., Age and Youth; Idyl, for
orch.; several services; anthems; organ-pieces;
pieces for pf. and vln.; songs.
Brewer, John Hyatt, org. and composer;
b. Brooklyn, N. Y., Jan. 18, 1856. For 7
years he was boy-soprano in various churches;
was a vocal pupil of Walter, Cutler, and
Wilder, learned pf. and harm, of R. Navarro,
and organ-playing of Diller, Caulfield,
Whitely, and Dudley Buck (pupil of the
latter for 10 years, in org., cpt., and com-
position). In 1871, B. began his career as
org. at the City Park Chapel, passing to the
Ch. of the Messiah (4 yrs.), Clinton Ave.
Congr. Ch. (4 yrs.), and finally (1881) to
the Lafayette Ave. Presby. Ch. as organist
and director, which he holds at this date
(1916). Active member of the N. Y. MS.
Soc., the N. Y. State M. T. A., the Brook-
lyn Institute of Arts and Sciences (Sec.
of mus. dept.; elected Fellow in 1906),
Brooklyn Apollo Club (charter member,
and accompanist during the conductorship
of Dudley Buck, whom he succeeded as
cond. in 1903); co-founder of the A. G.
117
BRIARD— BRINSMEAD
O., and its warden for 3 years. Has cond.
the Brooklyn Hill, Orpheus, Damrosch,
and Boylston Glee Clubs, the Caecilia
Ladies' Vocal Soc., and the Hoadley Ama-
teur Orch.; prof, of music at Adelphi College,
1899-1906; Mus. Doc. (hon. c.) N. Y. Univ.,
1916; and is a busy instructor in voice, pf.,
organ, and theory. — Works: Over 150, inch
some 30 songs (sacred and secular), duets,
quartets, anthems, glees, choruses and can-
tatas (for women's voices, Hesperus, The Sea
and the Moon, Herald of Spring, Twilight
Pictures, etc.; for men's voices, Autumn, Cal-
vary Song, Birth of Love, 'Sing, sing, music
was given,* 'Break, break, break, The Dunder-
berg, etc.); also pieces for organ, pf. and
strings; duos for organ and pf.; a Suite
(MS.) for orch.; a string-quartet in D m.
Briard [br§-ahr']f fttienne, type-founder at
Avignon, 1st half of 16th century. His
types had round note-heads instead of the
ordinary angular ones, and separate notes
instead of ligatures. Carpentras works were
printed (Avignon, 1532) with them.
. Bricclal'dl [bret-chahl'de], Giulio, re-
nowned flutist, b. Terni, Papal States, Mar. 2,
1818;d. Florence, Dec. 17, 1881. At 15 he was
elected a member of the St. Cecilia Acad, at
Rome; 1834, maestro to the Prince of Syra-
cuse. Made concert-tours in England,
America, etc. After 1842, lived chiefly in
London. — Works: Opera Leonora de' Medici
(Milan, 1855); excellent works f. flute, also
a Flute Method.
Bridge, Sir John Frederick, b. Oldbury,
Worcestershire, England, Dec. 5, 1844. He
became a chorister in Rochester cathedral in
1850, and was then articled to J. Hopkins,
and studied later under Sir John Goss.
Organist (1865) of Trinity Ch., Windsor,
1869 of Manchester cathedral; 1875 deputy,
and 1882 principal, organist at Westminster
Abbey. In 1868 he took the degree of Mus.
Doc. (Oxford) with the oratorio Mount
Moriah. Now professor of harmony and
counterpoint at the R. A. M., prof, at the
University of London, also at Gresham Coll.,
and conductor of the Madrigal Society.
Knighted in 1897.— Works: Cantatas Boadicea
(1880), Rock of Ages (1885), and Callirrhoe
(Birmingham, 1888); The Repentance of
Nineveh, dramatic oratorio (Worcester,
1890); The Lord's Prayer [after Dante]
(1892); The Cradle of Christ ('Stabat Mater
speciosa,' 1894); 5 choral ballades, The
Festival, The Inchcape Bell, The Flag of
England, The Ballad of the Camperdown,
The Forging of the Anchor; concert -overture,
Morte d A rthur; Magnificat and Nunc Dimittis,
in D ; anthems, part-songs, and songs. Has
written primers on Counterpoint, Double-
Counterpoint, Canon, and on the Organ-
accompaniment of the Choral Service; A
Course of Harmony (1899); and Samuel
Pepys, Lover of Musique (1903). Editor
of selected motets of Gibbons (1907).
Bridge, Joseph Cox, brother of preceding;
b. Rochester, England, Aug. 16, 1853. Pupil
of his brother and Hopkins; since 1877, org.
of Chester cathedral. In 1879 he revived
the Chester Triennial Musical Festival (which
had not been held for 50 years) and was the
cond. until 1900; since then Hon. Sec. of
same; founded and cond. the Chester Mus.
Soc. (1883); cond. Bradford Fest. Chor. Soc,
1887-90; since 1908 prof, of music at Univ.
of Durham. Is also vice-pres. of the Chester
Archaeological Society and Fellow of the
'Society of Antiquaries'; examiner in music
to the Univs. of Durham, Oxford and London.
Mus. Bac., Oxon., 1876; Mus. Doc., 1884.
— Works: Oratorio Daniel (1885); cantatas
Rudel (1891) and Resurgam (1897); Evening
Service in C, w. orch. (1879); Requiem Mass
(1900); operetta, The Belle of the Area; a
symphony in F (1894); a string-quartet; a
sonata f. 'cello and pf.; anthems, part-songs,
songs, organ-music, pf.-pieces, etc.
Brie'gel, Wolfgang Karl, b. Germany,
May 21, 1626; d. Darmstadt, Nov. 19, 1712.
Org. in Stettin; 1650, court cantor in Gotha;
1670, court Kapellm. at Darmstadt. His
numerous church-comps. and instrumental
pes. (publ. 1652-1709) were highly esteemed.
— See Q.-Lex.
Brie'semeister, Otto, operatic tenor; b.
Arnswalde, May 18, 1866; student of medicine
and M. D., but took up vocal study under
Wiedemann at Potsdam; debut Detmold,
1893; eng. later at Aachen and Breslau; now
unattached. As Loge, and particularly as
Herodes in Strauss' Salome, his imperson-
ations are highly characteristic.
Bright, Dora Estella, pianist; b. Sheffield,
Aug. 16, 1863; pupil 1881-8 of the R. A. M.
at London, where she is well known for her
yearly recitals (c. g., in 1892, the historical
concerts 'from Byrd to Cowen'). Has also
made successful tours of Germany. Married
in 1892 toCapt. Knatchbull.— Works: 2 pf.-
concertos, 1 pf.-quartet, a suite f. pf. and
vln., a Duo f. 2 pfs., Variations f. pf. with
orch., songs, etc.
Brink, Jules ten, b. Amsterdam, Nov. 4,
1838; d. Paris, Feb. 9, 1889. Pupil of Heinze
(Amsterdam), Dupont (Brussels), and E.
Fr. Richter (Leipzig); 1860-8, music-director
at Lyons; then settled in Paris. — Works: 2
operas, Calonice (1870, 1-act, comic), and a
grand opera (?) (MS.); suite f. orch.; sym-
phony, symphonic poem, violin-concerto, etc.
Brlnsmead, John, b. Wear Gifford, North
Devon, Oct. 13, 1814. Founded hi9 cele-
118
BRISSLER— BRODSKY
brated piano-factory in London, 1835. In
1863 his sons, Thomas and Edgar, were ad-
mitted to partnership ('John B. & Sons'). His
'Perfect Check Repeater Action' (pat. 1868)
is well spoken of. The firm was incorporated
in 1900.— Edgar B. wrote a History of the
Pianoforte (1868; revised and republ. 1879).
Brissler, Friedrich Ferdinand, b. In-
sterburg, June 13, 1818; d. Berlin, July 30,
1893. Pupil (1836) of the Berlin Academy;
gave piano-recitals and concerts 1838-45;
and became teacher at the Stern Cons. —
His 2- and 4- hand arrangements of classical
works are noteworthy. He comp. an opera,
symphony, and other music.
Bristow, George Frederick, b. Brooklyn,
N. Y.f Dec. 19, 1825; d. New York, Dec. 13,
1898. Violinist (1836) in Olympic Th.f N. Y.;
from 1842, in the N. Y. Philh. Soc.; also from
1851-62 cond. of the Harmonic Soc., after-
wards of the Mendelssohn Union, and organist
at several churches. — Works: Opera, Rip
Von Winkle (N. Y., 1855); opera Columbus
(unfin.); 2 oratorios, Praise to God (1860)
and Daniel (1867); 2 cantatas, The Great
Republic, w. orch. (1880) and Niagara; 5
symphonies; 2 overtures; 2 string-quartets;
anthems, songs, pes. f. org., pf., and vln. —
His father, W. K. Bristow (b. England,
1803; d. 1867), was well known as a con-
ductor in New York.
Bri'xi, Franz Xaver, church -composer; b.
Prague, 1732; d. there Oct. 14, 1771. Taught
by Sogert at Prague; organist of St. Callus;
1756, Kapellm. at Prague cathedral. — Works:
52 grand masses, 24 minor ones, several
oratorios, a Requiem, etc. — See Q.-Lex.
Broadwood & Sons, London firm of pf.-
makers; est. 1730 by the Swiss Burkhard
Tschudi (Shudi), a renowned harpsichord-
maker. ^ John Broadwood (1732-1812), a
Scotch joiner, was Shudi's son-in-law and
successor, and was in turn succeeded by his
sons James Shudi and Thomas. Henry
Fowler Broadwood was the head of the firm
at the time of his death (London, July 8,
1893). Up to 1885 the firm had turned out
nearly 180,000 instruments. They use the
'English action,' based on the Cristofori-
Silbermann model, successively improved by
Americus Backers and the Broadwoods.
Brockway, Howard A., b. Brooklyn,
N. Y., Nov. 22, 1870. St. pf. 18 mos. with
H. O. C. Kortheuer, and went to Berlin in
1890, studying there for 5 years under
Barth (pf.) and O. B. Boise (composition).
Returning in 1895 he settled in N. Y. as a
teacher and concert-pianist; 1903-9. member
of faculty of Peabody Inst., Baltimore; since
1910 again in N. Y., teaching pf. and comp.,
and concertizing. — Publ. works: Variations
on an original theme, f. pf.; 6 Claviers ttlcke;
Sonata f. pf. and vln. (G min.); Ballade f.
pf.; a Cavatina and a Romanze f. vln. and
orch. (both publ. w. pf.-accomp.); Nocturne
f. pf.; Character stiicke 'Pagan in i,' i. pi. \ Mo-
ment musical f. vln. and pf.; Phantasie-
stucke f. pf. (publ. in Berlin); Dance of
25, 26); 2 ditto (op. 39); Serenade f. pf.;
the Sylphs f. pf. (arr. from Sylvan Suite
orch.); sets of 4, 2 and 6 pf.-pes. (op. 21,
6 pf.-pes., Moods (op. 36); 3 pes. f. vln. and
pf.; suite f. 'cello w. orch., E min. (publ. w.
pf.-acc.); Des Sanger s Fluch f. 8-part ch. a
capp.; 2 8-p. mixed choruses a capp., op. 24;
cantata Herr Oluf, f. mixed ch. w. orch.;
numerous songs. — In MS., Sylvan Suite I.
orch. (Boston, 1903, Gerickc); Symphony in
D (Boston, 1907, K. Muck); Scherzo f.
orch.; Ballad in G m. for orch.; — B. was
appointed by Earl Grey as sole musical
judge in the 'Earl Grey Musical and Dra-
matic Trophy Competition* held in Toronto,
Canada, in April, 1910.
Brod'sky, Adolf, distinguished violinist;
b. Taganrog, Russia, Mar. 21, 1851. Pupil
of J. Hellmesberger and the Vienna Cons.
(1860-6). Member of the Hellmesberger
Quartet; 1868-70, of the Imp.-orch.; studied
with Laub at Moscow (1873-5), and followed
him as prof, at the Cons. Leaving Moscow
in^ 1879, he cond. the symphony concerts at
Kiev, and made long and successful concert-
tours in 1881 (Paris, Vienna, London). At a
concert of the Philharm. Soc. at Vienna in
1882 he gave the first public performance of
Tchaikovsky's concerto for vl., and won a
sensational success, which was repeated in
many other German centres where he per-
formed this concerto by request. From
1883-91 he was prof, at the Leipzig Cons.,
succeeding H. Schradieck. Here he estab-
lished the Brodsky Quartet (with H. Becker,
O. Novacek, J. Klengel); which soon enjoyed
international reputation, appearing on fre-
quent tours ot Germany, Russia, Italy,
Holland and Belgium. The years 1891-4 he
spent in New York as concert -master of the
N. Y. Symphony Orch., and touring the
U. S. and Canada; then returned to Germany
for further tours of that country and Russia.
In 1895 he settled in Manchester as leader
of the Halle Orchestra and principal prof,
of vl. at the R. C. M. Three weeks after his
arrival Sir Charles Halle died, and B. suc-
ceeded him as dir. of the R. C. M., a position
which he has held ever since. There he also
established another quartet (with Briggs,
Speelman, Fuchs), whose reputation is
scarcely less than that formerly enjoyed by
the Leipzig organization. In 1892 he was
honored with the Norwegian Order of St.
Olaf; in 1902 Victoria Univ. conferred upon
him the degree of Mus- Doc. (hon. c). He
119
BROEKHOVEN— BROUILLON
was on intimate terms with Grieg, Tchaikov-
sky and Brahms; the last two met each other
for the first time at B.'s house in Leipzig. —
B. draws a beautiful, large tone, and im-
presses by grandeur of conception.
Broek'hoven, John A., b. Beek, Holland,
1852. Prof, of harm, and comp., Cincinnati
Coll. of Mus. — Works: Suite crSole f. orch.;
grand overture Columbia f. orch.
Bron'sart von Schellendorf , Hans [Hans
von Bronsart], b. Berlin, Feb. 11, 1830; d.
Munich, Nov. 3, 1913. Student at Berlin
Univ., 1849-52. also taking lessons in theory
from Dehn, ana on the piano from Kullak; st.
with Liszt at Weimar for some years; gave
pf.-concert9 in German capitals, Paris, and
Petrograd; conducted the 'Euterpe' in Leip-
zig (1860-2), and the 'Gesellschaft d. Musik-
freunde' in Berlin (1865-6, succeeding von
Biilow); in 1867 was app. intendant of the
R. Th. at Hanover, and 1887 'Hofmusikin-
tendant* at Weimar. He retired in 1895 with
the title 'Wirklicher Geheimrat,' and after
that devoted himself entirely to composition.
— Works: Opera, Der Corsar (MS.); Cantata
Christnacht; symphony with chorus, In den
Alpen; symphony No. 2, also with chorus,
Schick sals gcwalten; Manfred, dramatic tone-
poem in 5 tableaux (1901); Fruhlingsfantasie
for orch.; a string-sextet ; a pf. -concerto in F#
m.; a pf.-trio in G m.; a Fantasia, and
other solo pieces for pf.
Bron'sart, Ingeborg von (nSe Starck),
wife (since 1862) of preceding; b. (of Swedish
parents) Petrograd, Aug. 24, 1840; d. Mu-
nich, June 17. 1913. Pianist, pupil of Liszt,
and a talented composer; 4 operas, Die Gottin
zu Sais; Konig Hjarne (Berlin, 1891); Jery
und Bdteli (Weimar, 1873); Die Suhne (Des-
sau, 1909); also interesting pf. -music (con-
certos, sonatas, fugues, etudes, salon-pieces,
etc.), vln.-music, pieces for 'cello, songs, etc.
Brooks, Walter William, b. Ed gb as ton,
England, March 19, 1861. Chorister in St.
Martin's Ch.; pupil of King Edward's School,
and won first place in all England for theory
of music in the Oxford local exams.; 1877-81,
pupil of Prout at the R. A. M., then settling
in London. Since 1889, teacher of pf. and
voice at the Wm. Ellis Endowed School. Has
written for the 'Monthly Musical Record,'
which he edited for a time, 'Mus. Opinion,'
and the London 'Figaro.' — Works: Allegro
for orch. (prize at Belfast, 1891); pieces for
vln. and pf. (op. 14, 48, 50); pf. -pieces (Pre-
lude and Fugue; The Family Circle, 12 char-
acteristic pieces; 6 Progr. Studies); songs
and part-songs.
Broome, William Edward, b. Man-
chester, England, 1868. Pupil for piano and
organ of Dr. Roland Rogers at Bangor Cathe-
dral, Wales, 1876-90; chieBy self-taught in
theory and composition. Asst .-organist of
Bangor Cath., and organist of St. Mary's at
Bangor, 1883-90; cond. of B. Choral Society,
also (1893) of Penrhyn Male Chorus (60 men)
at their visit to the Chicago World's Fair.
From 1894-1905, organist in Montreal; since
then, organist of the Baptist church in To-
ronto. As a composer B. has won 8 medals
and money-prizes at Welsh National Festi-
vals, the last being £50 for the dramatic can-
tata The Siege of Cardiff Castle (1908). Has
publ. much church-music, a recent and not-
able work beine A Hymn of Trust for ch. and
orch. — B. is Mus. Doc. by examination of
Trinity Univ., Toronto. He is a senior on the
staff of the Toronto Cons, of Music; special-
ist in voice-training (pupil of Claude Trevor
in Florence) and choral conducting.
Bros'chi [-ke], Carlo. See Farinelli.
Broslg, Moritz, prolific church-composer;
b. Fuchswinkel, Upper Silesia, Oct. 15, 1815;
d. Breslau, Jan. 24, 1887. Pupil of Franz
Wolf, the musical director and cath. organist
at Breslau, and succeeded him in 1842; in
1853, cathedral Kapellm., and received the
honorary degree of Ph. D.; became asst.-
director of the R. Inst, for Catholic Ch.-
Music, and University lecturer. — Works: 4
grand and 3 short instrumental masses; 7
books of graduals and offertories; 20 books
of organ-pieces; an Orgelbucht a Choralbuch, a
Modulationstheorie, and a Harmonielehre
(1874; 4th ed. 1899 as Handbuch d. Har-
monielehre u. Modulation, ed. by Thiel); also
Vber die alien Kirchenkompositionen u. ihre
Wiedereinfuhrung (1880).
Broaaard l-sahr'], NoBl-Matthleu, b.
Chalons-sur-Sa6ne, Dec. 25, 1789; d. there
(after 1853) as magistrate. Wrote Thiorie des
sons musicaux (Paris, 1847), a treatise on the
variability of tones according to modulation
(he reckons 48 distinct tone-degrees within
the octave) ; also minor works.
Brossard, Sebastien de, b. 1654; d.
Meaux, France, Aug. 10, 1730. In 1689,
Kapellm. at Strassburg cathedral; 1700-30,
'grand chapelain' and 'mattre de musique' at
Meaux cathedral. Famous as the author of
the earliest dictionary of musical terms (ex-
cept Tinctor's Definitorium [circa 1475], and
Janowka's Clavis ad thesaurum magnae artis
musicae, etc. [1703], to neither of which he
had access, however). Its title reads Diet, de
musiqus, contenant une explication des tertnes
grecs, latins, ilaliens et francais les plus usites
dans la musique, etc. (Paris, 1703; 2d ed.
1705; 3d and last, no date). He also publ.
a considerable variety of church-music. — Cf.
Michel Brenet, S. de B., d'apres des papier s
inedits (Paris, 1896).— See Q.-Lex.
Brouillon-Lacombe [broo-y&hn'lah-
kdhnb']. See Lacombe,
120
BROUNOFF— BRUCH
Brou'noff , Platon G., composer and
pianist; b. Elizabethgrad, Russia, May 10,
1869. Graduate of Warsaw Mus. Inst, and
Petrograd Imp. Cons.; pupil of Anton Rubin-
stein and Rimsky-Korsakov. Lecturer for B.
of Education, N. Y., since 1900; lectures on
Russian music throughout United States;
conductor of 'The Modern Symph. Orch.\
'Russian Choral Soc.,' and 'Peoples' Male
Chorus.' — Works: Ramona, opera in 3 acts
(not perf.); Angel, cantata for 2 solo voices,
ch. and orch.; The Glory of God, oratorio;
'Titanic' Symphony; Russia, symphonic poem
for orch.; Russian Village, suite for orch.;
pf. -pieces; songs.
Broustet [broo-sta'], ltdouard, pianist; b.
Toulouse, April 29, 1836; pupil of Stamaty,
Litolff and Ravina. After tours to Petrograd,
and to Spain and Portugal, he settled in
Toulouse. — Works: Symphonie concertante for
pf. and orch.; pf. -concerto; 3 pf. -trios; 1 pf.-
quintet; solo pieces for pf.; etc.
Brown, James Duff, b. Edinburgh, Nov.
6, 1862; from 1888, librarian of the Clerken-
well Library at London. Author (w. Stephen
S. Stratton) of British Musical Biography: A
Dictionary of Musical Artists, Authors and
Composers born in Great Britain and its Colo-
nies (1897; pp. 462), a very valuable work of
reference, for facts without critical comment.
Also publ. Biogr. Diet, of Musicians (1886);
Guide to the Formation of a Music Library
(1893); Characteristic Songs and Dances of All
Nations, with historical notes and a biblio-
graphy (19QX),andSubject Classification (1908).
Brown, (Dr.) John, b. Rothbury, North-
umberland, 1715; d. by his own hand (insane),
Sept. 23, 1766. He studied at Cambridge, ana
became vicar of Great Horkesley, Essex, in
1754, and of St. Nicholas', Newcastle, in 1758.
Author of an interesting and original Dis-
sertation on the Rise, Union, and Power, the
Progressions, Separations and Corruptions of
Poetry and Music, to which is prefixed The
Cure of Saul, A Sacred Ode (London, 1763;
German transl., Leipzig, 1769; Italian transl.,
1772). It was followed by Remarks on some
observations on Dr. Brown's 'Dissertation,'
etc' (London, 1764).
Browne, John Lewis, organist, composer;
b. London, May 18, 1864. Until 1883, pupil
of his father, Wm. Browne, noted org.; then
of S. P. Warren (1884) and F. Archer (1887).
Organist Holy Name Cathedral in Chicago
(1888); org. and cond. of symph. concerts in
San Francisco (1892-98); organist Sacred
Heart Ch., Atlanta (1899-1907); also cond.
of symphony orch. there; mus. director at
John Wanamaker's, Phila. (1908-10); since
1912, org. and ohm., St. Patrick's and Our
Lady of Sorrows Ch., Chicago; appeared at
Royal Academy of St. Cecilia, Rome (1901).
Gave over 500 concerts in Phila.; toured
U. S.; designed organ for Medinah Temple,
Chicago, and inaugurated it with the first
perf. of Borowski's Allegro de Concert for
organ and orch., written especially for the
occasion. Elected member of R- Philh.
Academy at Rome in 1914. — Works: Opera
La Corsicana (N. Y., 1903; received 'non.
mention' in Sonzogno competition of 1902);
Ode, The Granite Walts Rise Fair (1911);
Ecce Sacerdos Magnus (Vatican, Rome,
1912); Missa Solemnis (1913); many songs;
organ-pieces; pf. -pieces; etc.
Bruch, Max, dramatic, choral and instru-
mental composer, and pianist; b. at Cologne,
Jan. 6, 1838. His mother (ne'e Almenraaer),
a singer, was his first instructor. He after-
wards studied with Breidenstein at Bonn. In
1853 he won the four-year scholarship of the
Mozart Foundation, at Frankfort, and be-
came a pupil of Ferdinand Hiller. Reinecke
and Breuning. At 14 years of age he brought
out a symphony at Cologne, and in 1858, in
the same city, produced his first dramatic
work, Goethe's 'SingspieT Schert, List und
Roche (op. 1). In 1861 he visited Berlin.
Leipzig, Vienna, Dresden, Munich, and
Mannheim, where he remained until 1864,
producing an opera, Loreley (1863; op. 16),
composed to the libretto Geibel had written
for Mendelssohn. Here he also composed his
choral work for men's voices, Frithjof, which,
on a tour in 1864-5, was given with genuine
artistic and popular success at Aix, Leipzig
and Vienna. At Koblenz (1865-7) he wrote
his first violin-concerto (G min.), a favorite
with all violinists. In Berlin, where he resided
1871-3, he produced in 1872, with but scanty
success, his opera Hermione, based on Shake-
speare's Winter's Tale. From 1873-S, with
the exception of two artistic journeys to Eng-
land, he remained at Bonn, devoting himself
to composition and producing the two choral
works Arminius (1875) and Das Lied von der
Glocke (1878), and the second violin-concerto
in D min. In 1883 Bruch visited the United
States, and brought out his Arminius at
Boston. ^ Bruch 's chief claim to distinction
lies in his development of the epic cantata
(frequently called 'weltliches Oratorium' [secu-
lar oratorio]), a branch of composition to
which comparatively little attention had been
paid. Among his works in this line for soli,
mixed ch. and orch., are Odysseus, Arminius,
Lied von der Glocke, Achilleus; and, for male
chorus, Frithjof, Salamis, Normannentug and
Leonidas. ^ Beautiful sound-effects and clear
melodious invention are prominent character-
istics of his style. Among his smaller works,
Kol Nidrei, a Hebrew melody for violoncello,
has become popular.
Bruch practised as a music-teacher at Co-
logne 1858-61, was musical director at Ko-
121
BRUCH— BRUCH
blenz 1865-7, and court Kapellm. at Sonders-
hausen 1867-70. In 1878 he succeeded Stock-
hausen as conductor of the Stern Choral
Union; from 188CK3 he was conductor of the
Philh. Society, Liverpool; in 1883 he succ.
Bernhard Scholz in the direction of the Or-
chestral Soc. at Breslau. He remained in Bres-
lau until 1890, and in 1892 he succeeded von
Herzogenberg as director in the branch of
composition at the Royal Hochschule in
Berlin, with the title of R. Prof. In 1910
he retired, and has since been living in Frie-
denau, near Berlin. In 1881 he married the
singer Klara Tuczek. The Univ. of Cam-
bridge conferred upon him in 1893 the degree
of Mus. Doc. (hon. c); in 1898, the French
Academy elected him corresp. member; in
1908 he received the Prussian 'Ordre pour le
mGrite,' for Arts and Sciences.
Works with Opus Number
1. Scherz. List und Roche, 1-act comedy-opera.
Text after Goethe.
2. Caprice io for pf. 4 hands.
3. Jubilate. Amen, for S. solo, mixed ch. and
orch. Poem by Moore.
4. 3 duets for S. and A., with pf.
5. Trio for pf.. vln. and 'celio (C m.).
6. 7 little 2- and 3-part songs for women's voices,
with pf.
7. 6 songs with pf.
8. Die Birken una die Erie*, for S. solo. ch. and
orch. Poem by Pfarrius.
9. Quartet for 2 vlns.. via. and 'cello (C m.).
10. Quartet for ditto vE).
11. Phantasie for 2 pfs. (D m.).
12. 6 piano-pieces.
13. Hymnus: Dem, der von N&chten, f. S. solo. w. pf.
14. 2 piano-pieces (Romanze, PhantasiestfUk).
15. 4 songs with of.
16. Die Lareley. Grand romantic opera in 4 acts.
Text by Geibel.
17. 10 songs with pf.
18. 4 9ongs for Bar. with pf.
19. 4 male choruses with orch.
20. Die Flucht der heiligen Familie, for mixed ch.
with orch.
21. Gesang der heiligen drei Konige, for 3 men's
voices with orch.
22. (Unpublished.)
23. Frithjof, for Bar. and S. soli, male ch. and
orch. Text by Tegner.
24. Schbn Ellen, Ballade for S. solo, mixed ch. and
orch. Text by Geibel.
25. Salamis, for soli (T. I, II; B. I. II). male ch.
and orch. Text by Lingg.
26. First concerto for vln. with orch. (C» m.).
27. Frithjof auf seines Vaters Grabhugel. Concert-
scene for Bar. solo, female ch. and orch.
28. First symphony for orch. (Eb).
29. Rvrate c<tli, for mixed ch.. orch. and organ.
30. Die Priesterin der Jsis in Rom, for A. solo
with orch. , ,
31. Die Flucht naeh Egypten, for S. solo, female
ch. and orch. Text by R. Reinick.
32. Normannenzug, for Bar. solo, unison male ch.
and orch. Text by Scheffel.
33. 4 songs with pf.. for Bar.
34. Rdmische Leichenfeier, for mixed ch. with orch.
35. Kyrie, Sanctus and Agnus Dei, for double ch.,
2 S. soli, orch. and organ.
36. Second symphony for orch. (F m.).
37. Dtis Lied vom deutschen Kaiser, for mixed ch.
with orch. •
38. 5 songs for mixed ch. a cappella.
39. Diihvrambe, for T. solo. 6-part ch. and orch.
Text by Schiller.
40. Hermione. Grand opera in 4 acts. Text by
E. Hopffner. after Shakespeare's Winter's Tale.
41. Odysseus, for soli, ch. and orch. Text by
W. Paul Graff.
42. Romanze for violin with orch.
43. Arminius, oratorio for soli, ch. and orch.
Poem by J. Cuppers.
44. Second concerto for violin with orch. (D m.).
45. Das Lied von der Glocke, for soli, ch., orch. and
organ. Poem by Schiller.
46. Fantasie for violin with orch. and harp.
47. Kol Nidrei. Adagio for 'cello with orch. and
harp, on Hebrew melodies.
48. 4 male choruses a cappella.
49. 7 Lleder und Gesange with pf.
50. Achilleus, for soli. ch. and orch. Poem by
Bulthaupt.
51. Third symphony for orch. (E).
52. Das Feuerkreuz. dramatic cantata for soli, ch.
and orch. (organ ad lib.). Poem by Bulthaupt.
53. 2 male choruses.
54. 6 Lieder und Gesdnge with pf . and vln. (Heyse).
55. Canzone for 'cello with orch. (or pf.).
56. Adagio (on Celtic themes) for 'cello with orch.
57. Adagio appassionato for 'cello with orch.
58. Third concerto for violin with orch. (D m.).
59. 5 songs for Bar. with pf.
60. 9 songs for mixed ch.
61. Ave Maria. KonzertstQck for 'cello with orch.
62. Gruss an die heilige Nacht, for A. solo. ch..
orch. and organ.
63. Swedish Dances for vln. and pf.
64. Hymn, for soli, mixed ch., orch. and organ.
65. In Memoriam. Adagio for vln. with orch.
66. Leonidas, for Bar. solo, male ch. and orch.
Poem by Bulthaupt.
67. Moses. Oratorio for soli, ch., orch. and organ.
Text by Ludwig Spitta.
68. 3 'new' male choruses w. orch. (Seerduber-
lied; Psalm 23; Kriegsgesang) .
69. Sei getreu bis in den Tod, for 5-part ch. w. org.
70. 4 pieces for 'cello with pf.
71. 7 songs for mixed chorus.
72. In der Nacht. Choral song for A., T. I & II. B.
73. Gustav Adolf, for soli, ch., orch. and organ.
74. . Her tog Moritz, warsongs for male chorus.
75. Serenade for violin with orch.
76. Der Utile Absehied des Volkes (1888), for male
ch., orch. and organ.
77. (Unpublished.)
78. Damajanti, from the Hindu poem Nala und
Damajanti, for S. solo. ch. and orch.
79. Songs and Dances for violin with pf. (on
Russian and Swedish folk-tunes).
80. Szene der Marfa, for M.-S. solo with orch.
(from Schiller's Demetrius).
81. Osterkantale for S. solo, mixed ch., orch. and
organ.
82. Das Wessohrunner Gebet, for mixed ch. with
orch. and organ (arranged from male ch. in op. 19).
83. 8 trios for pf.. vln. and 'cello (or 3 clarinets).
84. Konzrrtsttick for violin and orch.
85. Romanze (in F) for violin and orch.
86. Seths Lieder for mixed chorus.
87. Die Macht des Gesanges (Schiller), for Bar.
solo, ch., orch. and organ.
88. Konzert fur 2 Klaviere und Or Chester.
89. Heldenfeier, for chorus and orch.
Without Opus-Number
Dem Kaiser, for male ch. with orch. Poem by Lflders.
Denkmale des Volksgesanges. Folk-songs of all na-
tions, set for 4 parts.
Hebr&isrhe Gesange. for ch.. orch. and org. (ad lib.).
Folk-songs of Wales and Scotland, for male chorus.
Vom Rhein. for 4-part male ch. Poem by Bodenstedt.
12 Scotch folk-songs for solo voice, pf .-accomp. added.
Bruch, Wilhelm, b. Mayence, June 14,
1864; a distant relative of the preceding.
While preparing for the legal profession he
studied at the same time at the Leipzig Cons. ;
122
BRUCK— BRUM EL
was theatre-conductor at Strassburg; cond.
of the Scottish Orchestra at Edinburgh; now
(1916) conductor of the Philharmonic Orch.
in Nuremberg. Has composed two operas,
Hirlanda (Mayence, 1886), and Das Winzer-
fest am Khein (Nuremberg, 1903).
Brack (or Brouck), Arnold von, con-
jecturally a German Swiss; d. 1545. In 1534,
Kapellra. to Kaiser Ferdinand I. Eminent
composer, many of whose motets, hymns,'
German part-songs, etc., are preserved in
collections of the 16th century.
Briick'ler, Hugo, b. Dresden, Feb. 18,
1845; d. there Oct. 4, 1871. Gifted song-
composer. — Works: Op. 1 and 2, songs from
Scheffel's Trompeier von Sdkkingen (1,5 songs
of Young Werner by the Rhine; 2, Margaret's
Songs) ; also Sieben Ges&nge and a ballad, Der
Vogt von Tenneberg. — Posth.: Nordmdnner-
sang, and Marsch der Biirgergarde. (See
Musiol's monograph, H. B.)
Bruck'ner, Anton, b. Ansfelden, Upper
Austria, Sept. 4, 1824; d. Vienna, Oct. 11,
1896. Organist, composer, and teacher. Son
of a village schoolmaster, early orphaned,
and chiefly self-taught, he became by diligent
study and practice so remarkably able an
organist ana contrapuntist as to obtain, in
1855, the appointment as cathedral organist
at Linz-on-Danube, in competition with
many rivals. As opportunity offered, he st.
comp. with O. Kitzler, and cpt. with Sechter;
in 1867 he succeeded Sechter as court-organist
at Vienna, also as prof, of organ, harm, and
cpt. at Vienna Cons.; in 18/5 he was also
app. 'Lektor' of music at Vienna Univ.; in
1891 the Univ. gave him the title of Ph. D.
(hon. c). Journeys to France (1869) and
England (1871) established his fame as one
of the greatest of contemporary org.- virtuosi.
His compositions, in which Wagner's influ-
ence is strongly felt, include 9 symphonies:
1st, C m.; 2nd, C m.; 3rd, D m.; 4th (Ro-
mantic), Eb; 5th, Bb; 6th, A; 7th (with lovely
adagio), E; 8th, C m.; 9th (unfinished); a fine
Te Deum (1886, Vienna); Grand Masses in
D m., E m., and F m.; a Requiem, Graduate,
Offertories, Psalms; Germanenzug, for male
chorus; several other works for ditto; cham-
ber-music; string-quintet in F; etc. His
music seems, in general, lacking in inspiration
and individuality. A list of nis works was
gublished by Doblinger. — Biography: F.
runner, B. (Linz, 1895); R. Louis, A. B.
(Munich, 1905); Leo Funtek, Bruckneriana
(Leipzig, 1910); F. Graeflinger, A. B. Bau-
steine zu seiner Lebensgeschichte (Munich,
1911); M. Morold, A. B. (Leipzig, 1912);
A. Hahn, Die Symphonic A. B.'s (1914).
Letters of B. are contained in F. Graeflinger's
Karl Waldech (Linz, 1905).
Bruck'ner, Oscar, excellent 'cellist; b.
Erfurt, Jan. 2, 1857. Pupil, at Dresden, of
Fr. Griitzmacher, Sr., and Draeseke (theory).
After tours in Germany, Russia, Poland and
Holland, he was app. ducal chamber- virtuoso
at Strelitz; since 1889, 1st 'cello at the R. Th.,
Wiesbaden, and teacher in the Cons. In
1896 he received the title of 'R. Concert-
meister'; in 1908, of 'R. Professor.'— Works:
Soli for 'cello; pf. -music, songs, etc.
Bruhng, Nikolaua, b. Schwabstadt, Schles-
wig, 1665; d. Husum, 1697. Organist, pupil
of Buxtehude at Lubeck, on whose recom-
mendation he was app. organist at Copen-
hagen. He was also a violinist, and composed
for organ and pf. (Three fine organ-pieces
are in vol. i. of Commer's 'Musica Sacra.')
Brull, Ignaz, b. Prossnitz, Moravia, Nov.
7, 1846; d. Vienna, Sept. 17, 1907. Pupil, at
Vienna, of Epstein (pf.), Rufinatscha (comp.),
and Dessoff (instrumentation). After giving
pf. -recitals and concerts of his own composi-
tions he made extended pianistic tournees,
and then settled in Vienna, where from 1872-8
he was pf.-prof. at the Horak Institute. In
1878 he played in 20 concerts at London.
His first opera, Die BetUer von Samarkand
(1864), was not specially successful; but the
second, Das golaene Kreuz (Berlin, 1875),
speedily attained great popularity both in
Germany and abroad; it was followed by
Der Landfriede (Vienna, 1877), Bianca (Dres-
den, 1879), Konigin Mariette (Munich, 1883),
Gloria (Hamburg, 1886), Das steinerne Herz
(Vienna, 1888), Gringoire (1-act, Munich,
1892), Schach dem Konig (Munich, 1893),
and a 2-act comic opera Der Husar (Vienna,
March 2, 1898; very succ). — Other works:
The ballet Ein Mdrchen aus der Champagne
(1896); Ouverture pathetique, for orch.; Tm
Walde (Jagdouverture) for orch.; 3 serenades
for do.; overture to Macbeth; Tanz-Suite for
orch.; 2 pf-concertos; Konzertstuck for pf.
and orch., op. 88; Rhapsodie for ditto; 1 vln.-
concerto; suite for pf. and vln.; Trio; sonata
for 'cello and pf.; do. for 2 pfs. 4 hands; ditto
for vln. and pf.; 4 suites for piano, 2 hands;
pf .-pieces; part-songs, songs, etc. Among his
literary remains were found a Dramatische
Ouverture, and fragments of an opera, RubezahL
Brumel, Anton, Flemish contrapuntist;
b. circa 1480; d. circa 1520. Lived at the
court of Sigismund Cantelmus, Duke of Sora;
in 1505 he took service with Alfonso I, Duke
of Ferrara. Many of his masses are found in
old collections; others are in MS. at Munich,
etc. Henri Expert publ. the mass De beata
Virgine in vol. ix of 'Maitres Musiciens'; in
Maldeghem's 'Tresor' are some other pieces.
— Cf. vol. vi of 'La Musique aux Pays-Bas,'
by Van der Straeten. — See Q.-Lex.
123
BRUNE— BUCHHALTER
Bru'ne, Adolf Gerhard, b. Bakkum,
n. Hanover, June 21, 1870. Received his first
instruction from his father (pf.); then studied
organ at the Teacher's Seminary in Osna-
briick with E. Brennecke; came to the U." S.
in 1889, and was 5 years organist in Peoria,
111.; settled in Chicago in 1894, studying with
E. Liebling (pf.) and B. Ziehn (comp.); since
1898, teacher of pf. and comp. at Chicago
Mus. Coll. — Works: 3 symphonies (E, E m.,
D); 2 symph. poems, Liea des Singschwans
and Evangeline; Symphonic Fantasy in C;
Variations on a theme by Beethoven; 4 over-
tures; Suite for string-orch.; Jerusalem, can-
tata for mixed voices and orch.; Sangers
Fluch, for male voices and orch.; Saxons*
War Song, ditto; 2 concertos for pf. and
orch. (C m., F m.); ditto, for org. and orch.
(Eb m.); 6-part mass in E m.f a capp.; Psalm
84, for 10 voices; 6 choruses (canons) for
female voices; 5 string-quartets; 2 string-
quintets; 1 pf. -quartet; 1 pf.-trio; organ-
works (Fantasie, PassacagKa, Fugue, Suite,
etc.); pf. -pieces (2 suites, 2 ballads, varia-
tions on a theme by Bach, etc.) ; about 50 songs.
Bruneau [brtt-noh'], (Loui8-Charles-Bk>-
naventure-) Alfred, b. Paris, March 3, 1857;
entered Cons., 1873, pupil of Franchomme;
1st 'cello prize, 1876; also studied harmony
(1876-9) with Savard, and comp. with Mas-
senet; prize, 1881, with cantata Sainte-Gene-
vieve. Mus. critic for 'Gil Bias,' 1892-5; then
for 'Le Figaro'; now (1916) for 'Le Matin';
1903-4, first cond. at Opera-Comique; app.
member of the 'Conseil Superieur' at the
Cons, in 1900; successor of Reyer in 1909 as
Inspector of mus. instruction. He has made
extensive tours of Russia, England, # Spain,
and the Netherlands, conducting his own
works. Made 'chevalier' of the 'Legion
d'Honneur' in 1895; 'officier' in 1904; 'Com-
mandeur de St.-Charles' in 1907.— Works:
The operas Ktrim (Opera- Populaire, 1887);
Le Rhe (Op.-Comique, 1891); VAttaque du
Moulin (Op.-C, 1893; N. Y., 1910); Messi-
dor (Grand Opera, 1897); VOuragan (Op.-C,
1901); V Enfant Roi (Op.-C, 1905); Nats
Micoulin (Monte Carlo, 1907); La Faute de
VAbbe Mouret (Odeon, 1907); the ballets
VAmoureuse lecon (Th. des Arts, 1913); Les
Bacchants ([after Euripides], Gr. Op., 1913);
and an 'episode lyrique,' Le Tambour (Op.-C,
1916). Other works: Ouverture heroique;
Ledat lyric scene; La Belle au Bois dormant,
symph. poem; Penthesilee, symph. poem, with
ch.; a requiem; Lieds de France (poems by
C Mendes); Chansons & danser (do.); Les
Chants de la Vie (poems by Saint-Georges
de Bonnelier, H. Bataille, F. Gregh); pieces
for various combinations of string and wind-
instrs. — Also noteworthy as a writer: Musique
d'kier et de demain (1900); La Musique fran-
chise (1901; transl. into German by M. Graf
in 'Die Musik,' Berlin, 1904); Musique de
Russie et musiciens de France (1903). —
Cf. A. Hervey, A. B. (in 'Living Masters of
Music,' London, 1907) and O. Sere in Musi-
ciens d'aujourd'hui (Paris, 1911).
Brunei 11, Antonio, m. di capp. to the
Duke of Florence, publ. (1605-21) motets,
canzonette, madrigals, etc.; also a treatise,
Regole e dichiarazioni di alcuni conirappunti
dotopt, .... con diversi canoni sopra un
sol canto fermo (Florence, 1610), a curious
work. — See Q.-Lex.
Brunet'tl, Gaetano, b. Pisa, 1753; d.
Madrid, 1808. PupiLof Nardini, and protege
of Boccherini, whom he rewarded with in-
gratitude. Court' musician to Charles IV of
Spain. — Works: 32 symphonies, 5 concerted
symphonies for various instruments, 6 sex-
tets, 32 quintets, etc., mostly in MS.
Bru'ni, Antonio Bartolommeo, violinist
and dramatic composer; b. Coni, Piedmont,
Feb. 2, 1759; d. there 1823. Pupil of Pugnani
(vln.), and Spezzani (comp.); 1781, 1st violin
at the Comedie Italienne; 1789, conductor at
the Th. de Monsieur, later at the Opera-
Comique. He wrote 18 operas, a quantity of
violin-music, and Methods for violin and
viola. — See Q.-Lex.
Brun'ner, Christian Traugott, b. Briin-
los (Erzgebirg), Dec. 12, 1792; d. Chemnitz,
April 14, 1874, as organist and conductor of
choral societies. Wrote instructive pf.-pieces,
also potpourris, etc.
Bruyck [broik], Karl Debrola van, com-
poser and author; b. BrOnn, March 14, 1828;
d. Aug. 5, 1902, at Waidhofen on the Ybbs.
•A law-student at Vienna, he turned to music
in 1850, studied theory with Rufinatscha,
and wrote for musical papers. His comps. are
mostly in MS.; his chief literary productions
are a Technische und dsthetische Analyse des
Wohltemp. Claviers (1867; 1889); Robert Schu-
mann (1868, in Kolatschek's 'Stimmen der"
Zeit') ; and Die Entwickelung der Klaviermusik
von J. S. Bach bis R. Schumann (1880).
Bryen'nius, Manuel, the last Greek
writer on music (circa 1320). He is not an
original theorist, however, his Harmonica be-
ing a compilation and summary from earlier
Greek authorities. Publ. in Tohann Wallis's
'Opera mathematica1 (vol. iif, 1699)
Buch'halter, Simon, b. Kiev, Russia,
•April 20, 1881. Pianist, pupil of Paolo Gallico
and Leopold Kramer in N. Y. (1898-1901);
of Julius Epstein and Stefan Stocker in
Vienna (1902-1905). Tours of U. S.
(1905-6 and 1909-10); in charge of pf.-
department, Lindberg School of Music, Wi-
chita, Kansas (1907); tour (1912-13); located
permanently in Chicago in 1913. — Works: An
oratorio, Drama of Exile; Psalm CXLH;
124
BUCHHOLZ— BUCK
Symphonic Overture (on themes from A
Drama of Exile) for orch.; several works for
pf. {Sonata Heroic in F m., op. 24; Prelude
and Fugue in Dm.; Htude de Concert in G m.;
Scherzo in A; nocturnes, etc.); sones. —
An opera, A Lovers1 Knot, was produced
Jan. 15, 1916, in Chicago by the Chicago
"Opera Company (published by Schirmer).
Buchliolz, Johann Simeon, b. Schloss-
wippach, n. Erfurt, Sept. 27, 1758; d. Berlin,
Feb. 24, 1825 ; founder of the celebrated firm of
organ-builders. He was succeeded by his son
Karl August (1796-1884), whose son, Karl
Friedrich, last of the name, d. Feb. 17, 1885.
Buch'mayer, Richard, b. Zittau, April
19, 1857. Entered Dresden Cons, in 1875,
and devoted himself especially to pf.; after
a 4-years' residence in Russia he returned to
Dresden as teaqher of pf. at the Cons.; re-
signed in 1890; taught then a few years at
the Musikschule, but has given up all con-
nections with institutions, and is dividing his
time between private teaching, concertizing
and research work. He always showed a
preference for the older piano-music, and his
Historical recitals have won him an enviable
reputation. During a visit to the municipal
library of LQneburg, in 1903, he discovered
some valuable manuscripts of organ- and
piano-works of the' early part of the 17th
century, throwing new light on the subject
of organ-tablatures. The results of his studies
he has publ. in 'Sbd. Int. M.-G.,' 'Bach-
Jahrb.' (1908), 'Signale,' etc. Has edited
Ch. Ritter's cantata O sanctissime sponse
Jesu, and G. Bohm's cantata Mein Freund
ist mein (B. & H.).
Buch'ner, Emil, b. Osterfeld, n. Naum-
burg, Dec. 7, 1826; d. Erfurt, June 9, 1908.
Pupil (1843-6) of Leipzig Cons.; 1865, court*
Kapellm. at Meiningen. — Works: 2 operas,
Dame Kobold (1860?) and Launcelot; cantata,
Konig Harold' s Brautfahrt; WaUenstein over-
ture; Wittekind, for ch. and orch.; other over-
tures, symphonies, chamber-music, etc.
Buck, Dudley, noted organist, composer,
and teacher; b. Hartford, Conn., March 10,
1839; d. Orange, N. T., Oct. 6, 1909. Pupil
of W. T. Babcock (pf.); later, at Leipzig
Cons. (1858-9), of Plaidy and Moscheles
(pf.), Hauptmann (comp.), and J. Rietz (in-
strumentation) ; also studied under Rietz and
Johann Schneider (organ) at Dresden, and
thereafter spent a year (1861-2) for study in
Paris. Returning to America, he became
(1862) organist of the Park Ch., Hartford;
later of St. James', Chicago; in 1872 of St.
Paul's, Boston, where he was also organist
to the Music Hall Association. In 1875 he
was the organist of the Cincinnati May
Festival; then, at New York, asst.-conductor
of Th. Thomas's Central Park Garden Con-
certs, and organist of St. Anne's, Brooklyn;
in 1877 he became the organist of Holy Trin-
ity Ch., Brooklyn, and director of the Apollo
Club. In 1902 he accepted the position of
organist at Plymouth Ch., where, however,
he remained only one year, for in 1903 he
resigned all positions. He was one of the
first American composers to achieve general
recognition; his church-music and numerous
cantatas, sacred and secular, are deservedly
popular. — Works: The comic opera Deseret
(1880); a grand opera Serapis (not perf.);
symphonic overture Marmion (1880); a Can-
zonetta and Bolero for vln. and orch. "Or-
gan-music: Grand Sonata in Eb, op. 22;
Sonata No. 2, in G ra., op. 77; Triumphal
March, op. 26; Impromptu and Pastorale,
op. 27; Rondo-Caprice, op. 35; Idylle At
Evening, op. 52; Four Tone-pictures; various
transcriptions and sets of variations; also 18
Pedal-phrasing Studies, op. 28 (2 books); and
Illustrations in Choir-accompaniment, with
Hints on Registration, a valuable handbook
for organists and students; — Pf.-music: Mid-
summer Fancies, Winter Pictures, Rondo-
Caprice, Scherzo-Caprice; — Cantatas (a) for
male chorus: Chorus of Spirits and Hours,
from Prometheus Unbound; King Olafs
Christmas; The Nun of Nidaros; Voyage of
Columbus; Paul Reveres Ride; (b) for mixed
chorus: Centennial Meditation of Columbia;
Hymn to Music; Legend of Don Munio; The
Golden Legend; The Light of Asia; Easter
Morning; The 46th Psalm; The Christian
Year, a series of 5 cantatas (1, The Triumph
of David; 2. The Coming of the King; 3. The
Song of the Night; 4. The Story of the Cross;
5. Christ, the Victor); etc. Furthermore, a
great variety of excellent church-music
(hymns, anthems, 3 Latin offertories, Glo-
rias, Jubilates, Te Deums, 3 Benedic anima,
4 Benediclus, 3 Bonum est, 3 Cantate Domino,
etc.). — B. also publ. The Organist's Repertoire
(with A. P. Warren); The Influence of the
Organ in History (1882); and a Dictionary of
Musical Terms. — A complete list of his com-
positions was published by G. Schirmer.
Buck, Dudley (Jr.), son of the preceding;
b. Hartford, Conn., April 5, 1869. Pupil of
Vannucini in Florence, Stockhausen in
Frankfort, J. de Reszke in Paris, Shakespeare
and Randegger in London; debut in CavaX-
leria Ruslicana, Sheffield (England), Sept. 8,
1895; until 1899 he sang in various cities of
Great Britain in opera, oratorio and concert;
then returned to the U. S., and was heard in
concerts (Worcester Fest., etc.); since 1902
has been living in N. Y. as a singing-teacher.
Buck, Percy Carter, b. London, Mar. 25,
1871. Pupil of C. J. Frost and F. Davenport
at G. S. M.; winning a scholarship, he cont.
his studies at the R. C. M. under C. H. H.
125
bOhler— bOlow
Parry, C. H. Lloyd, W. Parratt; Mus. Doc.,
1897; 1896, organist at Wells Cath.; at
Bristol Cath., 1899-1901; since 1901, music
director at Harrow School; succ. Prout as
prof, of music at Trinity College, Dublin,
1910. — Works: Op. 17, pf. -quintet; op. 19,
string-quartet; op. 21, sonata for pf. and
violin; op. 22, pf. -quartet; Coeur ae Lion,
overture for orch.; an organ sonata; trios for
female voices; anthems; pf. -pieces; also publ.
Ten Years of University Music inOxford (1894;
with Mee and Woods); Unfigured Harmony
(1911); Organ Playing (1912); First Year at
the Organ (1912); The Organ. A Complete
Method for the Study of Technique and Style
(N. Y., Schirmer).
Btlhler, Franz [Pater Gregorius], born
in Schncidhcim, near Nordlingen, April 12,
1760; d. Augsburg, Feb. 4, 1824. A Bene-
dictine monk at Donauworth; Kapellm. at
Botzen, 1794; at Augsburg cathedral, 1801. —
Works: Opera, Die falschen Verdachte; ora-
torio, Jesus, der gottliche Erloser (1816);
masses, psalms, hymns, and the like; several
colls, of German songs with pf.; sonatas and
preludes for org.; theoretical pamphlets; etc.
Bull, John, famous org. and contrapuntal
comp. ; b. Somersetshire, England, 1563; d.
Antwerp, March 12, 1628. Pupil of William
Blitheman in the Chapel Royal; organist of
Hereford cathedral, 1582; later also Master
of the Children. 1586, Mus. Bac, 1592, Mus.
Doc., Oxon. In 1596 he was appointed, on
Queen Elizabeth's recommendation, prof, of
music at Gresham College; a post resigned on
his marriage, 1607. In 1611 he was in the
service of rrince Henry, and left the country
two years later, becoming one of the organists
to the Archduke at Brussels. In 1617 he
became organist of the cathedral of Notre
Dame at Antwerp. 200 compositions are at-
tributed to him; list in Ward's 'Lives of the
Gresham Professors'; several were printed in
contemporary collections (exercises and vari-
ations tor the virginals, some canons, and an
anthem), and a few are reprinted in Pauer's
'Old English Composers'.
Bull, Ole Bornemann, famous violinist;
b. Bergen, Norway, Feb. 5, 1810; d. at his
country-seat, Lysoen, near Bergen. Aug. 17,
1880. At first a pupil of Paulsen, he rapidly
outgrew that teacher's method, and formed
a style peculiarly his own, preferring an
almost level bridge and flat fingerboard. A
student of theology, he failed to pass the
examinations; directed the Philh. and Dram.
Societies at Bergen (1828); went to Spohr
at Kasscl in 1829, found him uncongenial,
and proceeded to Paris (1831), where he was
strongly influenced by Paganini, and made
his debut in 1832. Now, technically con-
sidered, a finished virtuoso, he began his long
travels throughout Europe, ' and 5 times to
North America (1843-79). A leading trait of
B.'s character was his passionate love for his
native land; he founded a national theatre at
Bergen, but became involved in troublesome
disputes, left the town, and in 1852 bought
a tract of 125,000 acres in Pennsylvania to
establish a Norwegian colony; but the
scheme failed, and he was swindled out of
an immense sum. His loss was soon made
good, however, by renewed artistic tours.
Die B. did not rank high as a cultivated musi-
cian, but he was a past-master of all re-
sources and tricks of technique, and played
his own pieces (he rarely attempted others)
with wonderful skill and expression. He
wrote 2 concertos (A and E m.), and a variety
of characteristic solo pieces; of all his works
only 3 have been published (La Preghiera
d'una madre, Variazioni di bravura, and a
Notlurno.) — Biogr.: Ole Bull: A Memoir (Bos-
ton, 1883), by Sara C. Bull, his second wife
(German ed. Stuttgart, 1886); O. Vik is his
Norwegian biographer (Bergen, 1890).
Bullard, Frederick Field, b. Boston,
Mass., Sept. 21, 1864; died there June 24,
1904. He renounced the study of chemistry
for music, taking a four-years' course of
composition under Rheinberger at Munich
(1888-92). He then settled in Boston as a
teacher of composition and composer; was
mus. critic for 'Time and the Hour,' 1897-8.
He publ. about 40 songs {The Sword of Ferrara,
Beam from yonder star, The Water-lily, A
June Lullaby, The Singer, The Hermit, De
profundus, etc.); also church-songs, hymn-
anthems, duets, and a score of 4-p. songs
for male voices, several of which are popular.
Billow [bQ'loh], Hans Guido von, a pian-
ist, conductor and critic of wonderful ver-
satility and the highest attainments; born
Dresden, Jan. 8, 1830; died Feb. 12, 1894, at
Cairo, Egypt, whither he had gone in the
vain hope of restoring his undermined health.
At the age of 9 his teachers were Friedrich
Wieck (pi.) and Eberwein (harmony); when,
in 1848, he matriculated at Leipzig Univ. as
a law-student, he continued contrapuntal
study under Hauptmann. Next year, how-
ever, found him at Berlin, where ne adopted
Wagner's radical tendencies (see W.'s Die
Kunst und die Revolution, then just publ.);
was confirmed in his views by hearing
Lohengrin given at Weimar under Liszt's
direction, and joined Wagner in his exile at
Zurich. During 1850-1 the master initiated
him into the art of conducting; B. then
acted as conductor in the theatres at Zurich
and_ St. Gallen, and finally became Liszt's
pupil at Weimar His first pianistic tour
(1853), through Germany and Austria, met
with fair success; his second, in 1855, secured
126
BULSS— BUNGERT
him the succession to Kullak as first pf.-
teacher in the Stern Cons., Berlin, a post
held until 1864. He married Cosima Liszt
in 1857; in 1858 he was app. court pianist;
in 1863 the Univ. of Jena made him Ph. D.
(hon. c). Wagner, having been recalled from
banishment by Ludwig II of Bavaria,
influenced his royal patron to invite B. to
Munich in 1864, as court pianist; from
1867-9 he was also court Kapellm., and
Director of the School of Music. From
1869, after separation from his wife, B. lived
in Florence as a teacher, pianist, and concert-
giver till 1872; here he was also a power in
musical circles, and did much to introduce
German music. After an interval filled
chiefly by concert-tours, he succeeded Fischer,
in 18/8, as court Kapellm. at Hanover; but
frequent embroilments with the theatre
Intendant led to B.'s resignation in 1880,
and from Oct. 1, of that year, until 1885 he
acted as 'Hofmusik-Intendant' at Saxe-
Meiningen. In 1882 he took his second wife,
Marie Schanzer, an actress at Meiningen.
From 1885-8 B. devoted much time to
teaching at the Raff Cons., Frankfort, and
Klindworth's Cons., Berlin; he likewise
directed the Philharm. Concerts at Petro-
grad and Berlin. In 1888 he founded, at
Hamburg, the Subscription Concerts, which
were a great success from the start.
Billow's characteristics, both as a player
and conductor, were complete identification
with the spirit of the interpreted compositions;
careful attention to the minutest details of
phrasing, shading, and technique, resulting
in reproductions of flawless accuracy; tireless
energy; and an almost unexampled memory,
enabling him not only to play his entire
and unmatchable repertory by heart, but
also to conduct the most intricate orchestral
works without score — a modern fashion in
which he was the pioneer. His training of
the Meiningen orchestra, with which he
made world-renowned concert- tours, will, in
particular, ever be quoted as an astounding
example of the subordination of the instru-
mental factors to lofty artistic intelligence
and will-power. No pianist except d' Albert
has successfully followed his lead in giving
programs filled solely with the most difficult
of Beethoven's sonatas; he was, indeed, a
classical player par excellence, though having
at his fingers' ends all the best productions
of modern piano-literature. His pianistic
tours in Europe and America (where he gave
139 concerts in 1875-6) were the triumphal
progresses of a genuine apostle of high art. —
His published comps. include the music to
Shakespeare's Julius Casar (op. 10), a
Ballade f. orch., Des Sangers Finch (op. 16),
a symphonic 'Stimmungsbild' Nirwana (op.
20), 4 Char adder stucke for orch. (op. 23), and
a few pf.-pieecs and songs;' also masterly
transcriptions of the prelude to Wagner's
Meister singer and the whole of Tristan und
Isolde, also of Berlioz's overtures to Le
Corsaire and Benvenuto Cellini. His critical
editions of Beethoven's^ sonatas, and of
Cramer's etudes, attest his eminent editorial
ability. — Bibliography: E. Zabel, H. v. B.
(Hamburg, 1894); Th. Pfeiffer, Studien bei
H. v. B. (Berlin, 1894; 6th ed. 1908); R.
Sternfeld, H. v. B. (Leipzig, 1894); J. V. da
Motta, Nachtrag zu den Pfeiffer' schen 'Studien
bei H. vdn B.' (Leipzig, 1895); W. Altmann,
Chronik des Berliner philhartnonischen Orche-
sterst 1882-1901. Zugleich tin Beitrag zur
Beurteilung H. t>. B.'s (Berlin, 1902); G.
Fischer, H. v. B. in Hannover (Hanover,
1902) ; H. Reimann, H. v. B. Sein Leben und
sein W ir ken (Berlin, 1909).— His writings
were publ. by B.'s widow, Marie v. Bulow,
under the title Brief e und Schriften Hans von
Bulows (8 vols., Leipzig, 1895-1908; vol. iii
contains selected essays, the other m vols.
letters); La Mara, Briefwechsel zmschen
Franz Liszt und Hans von Bulow (Leipzig,
1898); E. Forster-Nietzsche and P. Gast,
Friedrich Nietzsches gesammelte Brief e (Berlin,
1905; vol. iii contains the correspondence
between N. and B.); selected letters in
English translation were publ. by C. Bache,
The Early Correspondence of H. v. B.
(London, 1896). See also F. Rosen, Musik-
dstheUsche Streitfragen. Streiflichter zu den
ausgewahlten Schriften von H. v. B. (Leipzig,
1897).
Bulss, Paul, baritone stage-singer; born
Birkholz Manor, Priegnitz, Dec. 16, 1847;
d. Temesvar, March 20, 1902. Pupil of G.
Engel; eng. in theatres at Ltibeck, Cologne,
Kassel, Dresden (1876-89); thereafter at the
Berlin Court Opera.
Bulr/haupt, Heinrich, poet and drama-
tist; b. Bremen, Oct. 26, 1849; d. there Aug.
21, 1905. He studied jurisprudence at
Gottingen, Leipzig and Berlin, spent some
time in Kiev as private teacher, and then
made an extensive trip in the Orient. In 1879
he was appointed librarian of the Municipal
Library at Bremen; 1892 he received the title
'Professor.' Besides his purely literary work
he wrote texts to several operas of Reinthaler,
Rubinstein, d'Albert, etc., and to choral
compositions of Vierline and Bruch. His
most important work dealing with music
is his Dramaturgie der Oper (2 vols., Leipzig,
1887; 2d ed. 1902). He also wrote a biogra-
phy of Karl L5we in 'Beruhmte Musiker'
(1898), and Richard Wagner als Klassiker
(1899).
Bung'ert, August, b. Mulheim-on-Ruhr,
March 14, 1846; d. Leutesdorf, Oct. 26, 1915.
Taught by H. F. Kufferath (pf.); then at
127
BUNNETT— BURBURE
Cologne Cons.; thereafter, for 4 years, at
Paris Cons.; he also studied with Mathias,
Kapellm. at Kreuznach (1869), and after-
wards at Karlsruhe; he lived (1873—81) in
Berlin, pursuing contrapuntal studies under
Kiel, and from 1882 at Pegli, near Genoa.
The last years of his life he lived alternately
at Berlin and Leutesdorf on the Rhine. In
1911 he was made *R. Prof.' — Compositions:
Beginning in 1871, B. composed 2 great
opera-cycles: I. Die Mas, comprising (1)
Achilles; (2) Klytemnestra^—W. Die Oayssee,
comprising (1) Kirke (Dresden, 1898), (2)
Nausikaa (ib., 1901), (3) Odysseus' Heim-
kehr (ib., 1896; mod. succ.); (4) Odysseus*
Tod (ib. 1903).— Each of these 4 'Abende' is
also provided with a 'Vorspiel'; the entire
work (2 cycles) is entitled Homerische Welt.
The^ entire tetralogy was given also in
Berlin, Cologne and Hamburg, but every-
where met with an indifferent reception. Die
Mas was not completed. — Comic opera Die
Studenten von Salamanca (Leipzig, 1884);
symph. poem Auf der Wartburg; Hohes Lied
der Liebe, with orch.; Tasso, overture; pf.-
p^uartet, op. 18 (won prize offered by Floren-
tine Quartet, 1878); Symphonia victrix; var.
and fugue for orch., op. 13 ; a symph., Zeppelin*
erste grosse Fakrt; Ein deutsches Requiem
for bar., chorus and orch. (1907)'; a mystery,
Warum? woher? wohin? (1908); incidental
music to Goethe's Faust; a few pieces f. pf.;
quartets for men's voices; songs (many to Car-
men Sylva's Lieder einer Konigin). — Cf. M.
Chop, A. B., ein deutscher Dickterkomponist
(Leipzig, 1902).
Bunnett, Edward, b. Shipdham, Norfolk,
Engl., June 26, 1834. Chorister at Norwich
Cath., 1842; articled to Dr. Buck, 1849, and
his assistant 1855-77; then org. of St. Peter's,
Mancroft; Borough Organist in 1880. Mus.
Bac, Cantab., 1857; Mus. Doc., 1869; F. C.
O., 1870. From 1871-92, conductor of the
Norwich Mus. Union; organist of the Nor-
wich Mus. Festivals since 1872. — Works: De
Profundis (Norwich, 1880); services, anthems,
etc.; cantata Rhineland, f. sopr. solo., ch.
and orch. (Norw. Fest., 1872); cantata Lora
(1876); comedietta Incognita (1892); Victoria,
f. sopr. solo and ch. (1887); part-song The
Rhine Maiden (1884);— Andante and Rondo
for pf. and orch.; pf.-trio; duo for pf. and
clar.; pf. -pieces; 8 Organ-pieces; 6 original
comps. for organ; 12 Short and Easy Pieces
for organ ; Largo, and A ve Maria, for organ ; etc.
Bunning, Herbert, b. London, May 2,
1863. St. comp. at Milan from 1886 to 1891
under V. Ferroni, then returning to London;
app. conductor at Lyric Th., 1892; cond. at
Pnnce of Wales Th.f 1894-6.— Works: An
Ital. scena, Ludooicoil Moro (1892); Shepherd's
Call, intermezzo for horn and strings (1893) ;
2 overtures, Mistral and Spring and Youth
(both 1897;) Village-Suite for orch. (1896);
Sir Launcelot and Queen Guinevere, scena for
tenor and orch. (1905); incid. music to Robin
Hood (1906); songs and part-songs. An
opera, Princess Osra, was prod, at Covent
Garden in 1902 (July 14).
Bun tug, Edward, historiographer of Irish
music; b. Armagh, Feb., 17/3; d. Belfast,
Dec. 21, 1843. His collections fill 3 volumes
(London, 1796; London, 1809; Dublin, 1840)
and are based on diligent research, and oral
communications from contemporary harpers
of note.
Buonamen'te, Giovanni Battista, one
of the earliest composers of sonatas for violin,
whose works exerted a considerable influence
upon the development of violin technic; c.
1626 'Kaiserl. Hofmusikus'; c. 1636 Kapellm.
at the Franciscan monastery of Assisi. He
published 7 books of sonatas, symphonies
and dances at Venice; the last 4 (1626, '29,
'36, '3 7) are preserved in the Municipal
Library of Breslau.
Buonamlci [-me'tchej, Giuseppe, distin-
guished pianist; b. Florence, Feb. 12, 1846;
d. there March 17, 1914. His uncle, Giuseppe
Ceccherini, was his first teacher; from
1868^-70, pupil of Bulow and Rheinberger at
Munich Cons.; then, for 3 years, teacher
there of advanced pf.-classes. 1873, cond. of
the Florentine Choral Society 'Cherubim';
later founded the Flor. 'Trio Society' and
became prof, at the 'Real Istituto Musicale'.
He has publ. a compilation of the technical
figures found in Beethoven's pf .-music, in the
form of Daily Studies; also 50 fitudes from
Bertini (preparatory to Billow's 'Cramer');
has edited Bach's lesser Preludes and Fugues,
the 'Biblioteca del Pianista,' publ. by Ricordi,
and a complete edition of Beethoven's So-
natas. Also published pf.-pieces, a concert-
overture, a string-quartet, and songs.
Buonglorno [-jdhr'ndh], Grescenzo, b.
Bonito, Prov. of Avellino, in 1864; d. Dresden,
Nov. 7, 1903. A pupil of Serrao at the
Naples Cons., he later settled in Dresden.
His first opera, Etelka (Naples, 1887; Prague,
1894), was followed by 12 operettas, among
them Abukadabar (Naples, 1889), Circe e
Calipso (Turin, 1892), and La nuova SaltareUa
(Trieste, 1894); he then brought out 3
operas in Germany: Das Erntefest (Leipzig,
1896); Das Mddchenherz \Il cuore deUe
fanciulle] (Kassel, 1901); and Michel Angelo
und Rolla (Kassel, 1903).
Buononci'ni. See Bononcini..
Buranello. See Galuppi.
Burbure [bur-bar'] de Wesembeek, Leon-
Philippe-Marie, Chevalier de, b. Ter-
monde, E. Flanders, Aug. 16, 1812; d. Ant-
128
BURCI— BURLEIGH
werp, Dec. 8, 1889. Nobleman and musical
connoisseur; wrote valuable monographs on
the ancient Antwerp music-guilds of St.
Jacob and Sta. Maria Magdalena; on clavi-
chord- and lute-makers in Antwerp (from
the 16th cent.); on the Belgian Cecilian
Society; and on Hanssens, Bosselet, and
Okeghem. His principal work is Les ceuvres
des anciens musicians beiges. — Publ. comps.
for orch., chamber-music, church-music, etc.
Bur'ci. See Burtius.
Burck. See Burgk.
Bur'de-Ney, Jenny, dramatic soprano;
b. Graz, Dec. 21, 1826; d. Dresden, May 17,
1886. Debut at Olmutz, 1847; sang at
Prague, Lemberg, Vienna (1850), Dresden
(1853), London (1855-6), Berlin, Hanover,
etc. Married (1855) the actor E. Btirde;
retired 1867.
Burette tbii-ret'], Pierre-Jean, b. Paris,
Nov. 21, 1665; d. there May 19, 1747, as
prof, of medicine at Paris Univ., member of
the Acad., etc. His scholarly notes on
Greek music, in which he combats the idea
that the Greeks cultivated polyphony, are
printed in vols, i-xvii of the memoirs of the
'Acad, des Inscriptions.'
Bur'gel, Konstantln, b. Licbau, Silesia,
June 24, 1837; d. Breslau, July 1, 1909.
Pupil of Brosig (Breslau) and Kiel (Berlin);
from 1869-70 was piano-teacher in Kullak's
Academy; after that private teacher. Wrote
overtures, chamber-music, etc.
Burgk (properly Joachim Moller [or
Mailer]), called Joachim a Burgk (or
Burg, or Burck), b. Burg, near Magdeburg,
circa 1541; d. May 24, 1610, Miihlhausen,
Thuringia, where he had been org. since
1566 (?). Very eminent (Protestant^ church-
composer, whose works were publ. 1550-1626.
— Cf. Jordan, Aus der Geschichte der Musik
in Miihlhausen (Miihlhausen, 1905).— See
Q.-Lex.
Burg'mein, J., is the pen-name of Giulio
Ricordi, the Milan music-publisher.
Burg'muller, Johann Friedrich Franz,
b. Ratisbon, 1806; d. Beaulieu, France, Feb.
13, 1874. Wrote light salon-music; some of
his studies (op. 100, 105) are useful.
Burg'muller, Norbert, brother of preced-
ing; b. Dttsseldorf, Feb. 8, 1810; d. Aix-la-
Chapelle, May 7, 1836. Highly gifted pianist
and composer; pupil of Spohr and Haupt-
mann at Kassel. — Publ. a pf .-concerto in F# m.
(op. 1); a sonata in F m. (op. 8); Rhapsodie
(op. 13); a Polonaise (op. 16); other sonatas,
etc. ; also quartets, and 2 symphonies.
Burg'ataller, Alois, dramatic tenor; b.
Holzkirchen, Sept. 27, 1871; pupil of Julius
Kniese. At Bayreuth he began with minor
rdles in 1894; sang Siegfried (1897), Sieg-
mund (1899), Erik (1901); engaged at the
M. O. H. New York, 1902-9; sang Parsifal
at the first Amer. perf. in 1903. Since his
return to Germany he has sung only occasion-
ally as star; 1916 (after more than a year's
retirement for study) appeared again at
Frankfort with sensational success.
Burkliard, Johann Andreas Christian,
pastor and school-inspector at Leipheim,
Swabia; publ. a small Diet, of Music (Ulm,
1832), and a Generalbasslehre (1827).
Burkliardt, Max, b. Ldbau, West Prus-
sia, Sept. 28, 1871. St. at Leipzig (with
priv. teachers and at the Cons.) and Greifs-
wald; Ph. D., Leipzig, 1897 (diss.: Beitr&ge
turn Studium des deutschen Liedes); 1899,
conductor of *Liederkranz* at Cologne; since
1906 in Berlin as lecturer on music at the
Lessing Hochschule, and critic. — Works: The
operas Konig Drosselbart (Cologne, 1904), Das
Moselgretchen (Schwerin, 1912); a symphony,
Aus &n Bergen der Heimat; choral work, Die
Mittagsgottin; choruses; songs (attempts to
revive the use of lute with Laulenlieder). He
has also written several excellent guides:
Fuhrer dutch R. Wagners Musikdramen (Ber-
lin, 1909; 3d cd. 1913); Fuhrer durch die
Konzertmusik (Berlin, 1911; analyzes 1,500
works); J oh. Brahms: Ein FUhrer durch seine
Werke (Berlin, 1912).
Burleigh, Cecil, b. Wyoming, N. Y.,
April 17, 1866. Began study of violin with
L. E. Hersey in Bloomington, III., in 1890;
pupil from 1903-5 in Berlin of A. Witek
(vl.) and H. Leichtentritt (comp.); cont. his
studies in Chicago with E. Sauret and H.
Heermann (vl.).and F. Borowski (comp.) at
the Chicago Mus. Coll. from 1905-7. After
two years' concertizing he accepted the
position of teacher of vl. in the Western
Inst, of Mus. and Dram. Art in Denver,
Col. (1909-11); from 1911-14 had charge
of the depts. of vl. and theory at Morningside
Coll., Sioux City, Iowa; holds a similar
position since 1914 at the Univ. of Montana,
Missoula; since 1915 has appeared frequently
in the Eastern States as interpreter of his
own works, which, consist chiefly of pieces for
vln. and pf. — Works: Op. 6, Eight Character-
istic Pieces; op. 11, Four Rocky Mountain
Sketches; op. 12, Scherzando Fantastique; op.
13, Four Prairie Sketches; op. 14, Five Remi-
niscences; op. 15, Snow-Bound (after Whit-
tier); op. 16, Six Winter Evening Tales; op.
17, Five Tone-Poems; op. 18, Twelve Short
Poems; op. 20, Skeleton Dance; op. 21, Four
Small Concert Pieces; op. 22, The Ascension,
a sonata in A; op. 23, Nature Studies (12
pieces) ; op. 24, Five Characteristic Pieces; op.
25, Concerto in E m. (won prize in Chicago,
1916); op. 27, Sonnets of Autumn for pf. (7
129
BURMEISTER— BURROWES
pieces); op. 30, Six Pictures; op. 39, The
North Wind (concert-6tude) ; op. 40, Five
Indian Sketches; etc.
Bur'meister, Richard, composer and
concert- pianist ; b. Hamburg, Germany, Dec.
7, 1860. St. w. Liszt at Weimar, Rome and
Pest (1880-3), accompanying him on his
1 ravels. Teacher in Hamburg Cons.; then
for 12 years director of pf.-dept. in Peabody
Inst., Baltimore; 1898 director of the Schar-
wenka Cons, in N. Y.; taught the advanced
classes at the Dresden Cons., 1903-6; since
1907 prof, at the Klindworth-Scharwenka
Cons, in Berlin. Has made extensive pianistic
tours through Europe and America. — Works:
Op. 1, pf. -concerto in D m.; op. 2, The Chase
after Fortune (Die Jagd nach dem Gliick),
symphonic Fantasy in 3 movements; op. 3,
Cadenza to Chopin's F m. concerto; op. 4,
3 songs; op. 5, Capriccio f. pf.; op. 6, wan-
derer's Night Song; The Sisters (Tennyson), for
alto with orch.; a vln. romanza with orch.;
pf.-transcriptions of songs. He has rescored
Chopin's F minor concerto, and air. an
orchestral ace. for Liszt's 'Pathetic' concerto.
Bur'mester, Willy, brilliant violinist; b.
Hamburg, Mar. 16, 1869; was taupht by his
father till 1882, often playing in public;
pupil of Joachim at the Royal Hochscnule in
Berlin till 1885; artistic tours since 1886;
for a short time in 1890, leader at Sonders-
hausen, afterwards living in Weimar; now in
Berlin. Scandinavian tour in autumn of
1903; has also toured England and America.
When he first appeared, his aim seemed to
be to dazzle by his brilliant technic, but
later he matured into a consummate artist.
Burney, Charles, b. Shrewsbury, Engl.,
Apr. 7, 1726; d. Chelsea, Apr. 12, 1814.
Pupil of Baker (org. of Chester cath.), and
of Arne in London (1744-7). In 1749 he
became org. of St. Dionis Back-church, and
harpsichord-player at the subscription -con-
certs in the King's Arms, Cornhill. He was
org. at Lynn-Regis, Norfolk, 1751; Mus.
Bac. and Mus. Doc., Oxon., in 1769; travelled
in France and Italy (1770), and in Germany,
the Netherlands, etc. (1772); was elected
F. R. S. on his return in 1773. During these
journeys, and while living at Lynn-Regis, he
collected notes for his historical works: The
Present State of Music in France and Italy,
etc. (1771, in diary-form); The Present State
of Music in Germany, the Netherlands , etc.
(1773); and his General History of Music (4
vols., 1776-89). Other writings: A Plan for
a Music-School (1774); La musica che si canta
annualmente nelle funzioni delta settimana
santa nella Cappella Pontificia, composta da
Palestrinat Allegri e Bai (1784); the articles
on music for Ree's Encyclopaedia; and minor
works. He composed, for Drury Lane, music
to the dramas Alfred, Robin Hood, and Queen
Mob (1750), and The Cunning Man (1760,
text and music adapted from Le Devin du
village by Rousseau) ; also sonatas for pf . and
for vln.; vln.-concertos, cantatas, flute-duets,
etc. — See Q.-Lex. His daughter, Miss Fran-
ces Burney (Mme. d'Arblay), wrote the
novel Evelina, and Memoirs of Dr. B. (publ.
in 3 vols., 1882).— Cf. C. Hill, The House in
St. Martin Street, being chronicles of the B.
family (London, 1906).
Burnham, Thuel, concert-pianist; b.
Vinton, Iowa, Dec. 28, 1884. At the age of
six he was exhibited as a child prodigy on
tours of the U. S.; studied seriously from
1894-99 in N. Y. with Dr. W. Mason (pf.)
and E. M. Bowman (theory); after a success-
ful tour of England (1900) he spent the years
1901-4 studying with Leschetizky in Vienna;
since then concertizinp throughout Europe,
with special success in Paris; returned to
U. S. in 1915.
Buroni. See Boroni.
Burr, Willard, b. Ravenna, Ohio, Jan. 17,
1852. Graduate of Oberlin Cons., 1877;
pupil of August Haupt at Berlin, 1879-80.
Composer and writer in Boston, Mass. —
Works: String-quartets, pf. -trios, Grand
Sonata f. pf. and vln.; sonatas, nocturnes,
fantasias, fugues, etudes, etc., for pf. (From
Shore to Shore, op. 19, contains a series of 7
pieces); anthems and other ch.-music; songs.
Burrian, Karl, celebrated heroic tenor; b.
Prague, Jan. 12, 1870. Pupil of F. Piwoda
there; debut at Reval, Russia, as Faust in
1892 ; then at Berlin, Cologne, Hanover, Ham-
burg (1898); in .that year he sang Parsifal at
Bayreuth with great success, and thereafter
was a favorite in the Wagner parts. As
member of the Dresden Court Op. he created
the r61e of Herod in Strauss' Salome (Dec. 9,
1905), a part in which he has not been
excelled and which he also sang at the M. O.
H. (Jan. 22, 1907); at M. O. H. from 1907-12;
since 1911 at the Vienna Court Op.; has also
sung frequently at Cov. Garden. Besides all
the Wagner heroes, his repertory includes the
chief tenor r61es in Aida, Otello, Carmen, Fra
Diavolo, Werther, La Boheme, etc
Burrowes, John Freckle ton, composer
and writer; b. London, April 23, 1787; d.
there Mar. 31, 1852. Pupil of W. Horsley;
member of the Philh. Soc., and org. of St.
James', Piccadilly. He was a good pianist
and successful teacher; his Thorough-bass
Primer (London, 1818) has passed through
many editions. — Comps.: Overture f. full
orch.; sonatas f. pf. and flute, pf. and 'cello,
and pf. and vln.; 6 Divertissements f. pf.;
6 Engl. Ballads; many arrangements, etc.;
he also wrote The Pianoforte Primer.
130
BURTIUS— BUSONI
Bur'tius (or Bur'ci, Bur'zio), Nlcolaus,
b. Parma, 1450; d. there Feb., 1518. Author
of Musices opusculum (Bologna, 1487),
specially noteworthy as the earliest specimen
of printed mensural music (cut on wooden
blocks).
Burton, Frederick Russel, b. Jonesville,
Mich., Feb. 23, 1861; d. Lake Hopatcong,
N. J., Sept. 30, 1909. Grad. of Harvard,
1882, where he received his entire mus. ed. ;
1896 cond. Yonkers Choral Soc.; writer on
music for N. Y. 'Sun.' He made a special
study of Indian music; publ. Songs of the
Ojibway Indians (1903), which he later ex-
panded into American Primitive Music (publ.
[shortly after his death] 1909). Composer
of the dramatic cantatas Hiawatha (1898)
and The Legend of Sleepy Hollow (1900);
Inauguration Ode (1901, on the second in-
auguration of President McKinley).
Busby, Thomas, b. Westminster, Engl.,
Dec., 1755; d. London, May 28, 1838. An
articled pupil of Battishill (1769-74), he be-
came org. of St. Mary's, Newington, Surrey,
and (1798) of St. Mary, Woolnoth, Lombard
St.; he took the degree of Mus. Doc. at Cam-
bridge, 1800. His writings include a Com-
. plete Dictionary of Music (1786); a General
History of Music (London, 1819; 2 vols., much
material being taken from Burney and Haw-
kins); Grammar of Music (London, 1818);
Concert-Room and Orchestra Anecdotes, etc.
(1825; 3 vols.); Musical Manual, or Technical
Directory (1828). A valuable work is The
Divine Harmonist, a coll. of sacred music by
early English masters (London, 1792). His
music comprises an oratorio, The Prophecy
(1799), several odes, much incidental music
to plays; also songs, etc.; and is not of marked
originality. — See Q.-Lex.
Busch, Carl, b. Bjerre, Denmark, Mar. 29,
1862. Pupil at R. Cons, of Music in Copen-
hagen of Tofte (vl.)i Hartmann and Gade
(cpt. and comp.). After a year spent in
Paris, playing viola in the orch. under
Godard, he settled in Kansas City in 1887,
where he has been active ever since as cond.,
comp. and teacher; has conducted his own
works with several orchestras in the U. S.,
Denmark and Germany; since 1912 conductor
of Kansas City Symph. Orch. — Works: The
Passing of Arthur, symph. prologue after
Tennyson; Minnehaha* s Vision, symphonic
poem; Elegy, for string-orch. ; the cantatas
The Four Winds, The American Flag, King
Olaf, The League of the Alps, Quvoera, May,
Paul Revere' s Ride, America; considerable
music for vln.; and songs (favoring Indian
themes).
Bu'ai, Alessandro, son of G. B., b. Bo-
logna, Sept. 28, 1833; d. there July 8, 1895;
violoncellist, composer, contrapuntist; player
in orch., then conductor, of Comunale Th.;
1865, teacher of harmony in Bologna Liceo;
1871, succeeded his father as prof, of coun-
terpoint; 1884, also app. Dir. of School of
Singing. Biogr. sketch by L. Torchi: Com-
memorazionc ai A. Bust (Bologna, 1896). —
Best works: Requiem mass for tenors, basses,
and grand orch.; Mass for ditto; symphony
Excelsior, for ch. and orch.; Elegia funebre
((or Rossini); capriccio In alto mare, for ch.
and orch.; many Romanze for voice and pf.;
several pf.-pieces.
Bu'sl, Giuseppe, b. Bologna, 1808; d.
there Mar. 14, 1871. His teachers were
Palmerini (harm.) and T. Marchesi (cpt.);
from 1830 he was prof, of cpt. at the Bologna
Liceo. His church-music is valuable.
Busnois [bu-nwah'], Antoine (properly de
Busne), contrapuntist of the First Nether-
land School; 1467, chapel-singer to Charles
the Bold of Burgundy; d. Bruges, Nov. 6,
1492. Only 7 chansons in Petrucci's 'Canti
centocinquanta' (1503), and a few MS. masses,
magnificats, motets, and chansons, are still
extant.
Buso'ni, Ferrucclo (Benvenuto), b.
Empoli, near Florence, April 1, 1866. His
father (Ferdinando), a fine clarinettist, and
mother (nee Weiss), an excellent pianist, were
his first teachers. At 8 he made his debut
as a pianist, at Vienna; then st. in Graz,
under W. A. Remy (Dr. W. Mayer). In
1881, after a successful concert-tour in Italy,
elected a member of the Reale Accademia
Filarmonica, Bologna. In 1886 he came to
Leipzig; comp. a phantastic opera, string-
quartet (Dm.), symphonic suite, etc. 1888-9,
teacher of pf. -playing in Helsingfors Cons.;
1890, took Rubinstein prizes for compositions
and pf. -playing (for Concertstuck f. pf. and
orch., op. 31a; Sonata f. pf. and vln.; pf.-arr.
of J. S. Bach's Eb Prelude and Fugue for
Organ; and various pf.-pes., among them 2
cadenzas to Beethoven s Concerto in G).
1890, prof, in the Imp. Cons, at Moscow;
1891, prof, of pf. -playing in the New Engl.
Cons, at Boston, Mass.; 1893, returned to
Europe; made a very succ. concert-tour in
1895 (Belgium, Denmark, and Italy). He
then settled in Berlin as a teacher; from
1905-7 he conducted a series of orch. concerts,
of early music little known or seldom heard.
After a year in Vienna (succeeding Sauer as
teacher of the 'Meisterklassa' at the Cons.),
he returned to Berlin; 1909-11 he made
triumphant tours of the U. S. In 1913 he
went to Bologna as dir. of the Liceo, cond.
of the symph. concerts and supervisor of
chamber- music; resigned in 1915, and is now
living in Zurich. In 1913 he was decorated
with the chevalier's cross of the 'L.d'Honneur, '
an honor previously bestowed on only two
131
BOSSER— BUTLER
Italians, Rossini and Verdi. After his fame
as one of the greatest of piano-virtuosos was
securely established, his compositions began to
attract considerable attention. — Works: An
opera, Die Brautwahl (Hamburg, 1912); f.
orch.: 2 suites (No. 1, Symphonische, op. 25;
No. 2, Geharnischte, op. 34a), Symphonisches
Tongedicht, LustspielouveHure (op. 38), Sym-
phonische Nocturne; a concerto f. pf. and
orch. (op. 39, 5 movemts. w. final ch.) ; New
World, pf. -concerto w. orch. (introd. negro
themes); Indian Fantasy f. pf. and orch.;
2 concertos f. vl. and orch.; incid. music to
Gozzi's Turandot; 2 str. -quartets; 2 sonatas
f. vl. and pf.; a Suite f. vcl.; many works f.
pf. (Sonata, op. 8; 3 Petzi nello stilo antico.
op. 10; Danse antiche, op. 11; Var. ana
Fugue, op. 22; etc.). Wrote Entwurf einer
neuen Asthetik der Tonkunst (Trieste, 1907;
Engl. tr. by Th. Baker, N. Y., 1911) and
Versuch einer organischen Klaviernotenschrift
(Leipzig, 1910); has made pf. -transcriptions
of many of Bach's organ- works, and ed.
Liszt's works f. pf. in Breitkopf & HartePs
monumental Liszt ed.; a most original and
valuable work is his ed. of Bach's 'Well-
tempered Clavichord* w. critical notes and
special technical studies (Schirmer).
BUsser, Paul-Henri, excellent organist;
b. Toulouse, Jan. 16, 1872. Studied in the
mattrise of Toulouse cath., then in Paris at
the Niedermeyer School, later at the Cons.
(Guiraud) and privately with Widor, Gounod
and Cesar Franck. Took first prize for fugue in
1891. First Grand prix de Rome in 189 J with
his cantata Antigone. — Works: 1-act pasto-
rale Daphnis et ChloS (Paris, Op.-Com., 1897;
mod. succ); cantata Amadis de Gaule (1892,
2nd Grand prix de Rome) ; op. 3, Ije Sommeil
de V Enfant Jesus f . vl. and orch. ; op. 4, A
la Villa M edicts, symph. suite f. orch.; op. 7,
Minerva4 concert -overture f. orch.; op. 18,
Hercule au Jar din des Hesperides, symph.
poem; Suite funambulesque f. small orch.;
op. 24, A la Lutniere (Poime lyrique) ; op. 26,
Suite breve f. small orch.; op. 27, Messe de
Noel for 4 voices w. org. or orch.; op. 32,
Piece de Concert f. harp w. orch.; op. 34,
Appassionato f. alto w. orch.; op. 36, Marche
de FUe f. orch.; op. 57, Hymne d la France f.
tenor w. orch. (1915); op. 58, Impromptu f.
harp w. orch. (1915); several preludes and
fugues f. org. on themes by Gounod, Massenet,
A. Thomas, etc. Two operas, Colomba (op.
40) and Les Noces corinthiennes (op. 50),
are completed, but have not yet (1916) been
produced.
Busshop [btt-shdhp'J, Julea-Auguate-
Guillaume, b. Paris, Sept. 10, 1810; d.
Bruges, Belgium, Feb. 10, 1896. A self-taught,
successful composer of motets, cantatas, etc.,
with and without orch. accomp.; prize-
cantata, Le Drapeau beige, 1834; Te Deum
(Brussels, 1860); several overtures; Symph.
in F; opera La Toison d'or in MS.; Solemn
Mass; considerable military music.
Bussler, Ludwig, distinguished musical
theorist; b. Berlin, Nov. 26, 1838; d. there
Jan. 18, 1900. His father was the painter,
author, and privy councillor Robert Bussler;
his maternal grandfather was the famous
tenor singer. Karl Bader. He studied at
first as a choir-boy under von Hertzberg;
in theory he was taught later by Dehn and
Grell, and learned instrumentation with
Wieprecht. In 1865 he became teacher of
theory in the Ganz School of Music, Berlin;
from 1879, at the Stern Cons.; also acted as
cond. at the Memel Theatre in 1869, etc. In
1883 he became the musical critic for the ' Na-
tional-Zeitung.' His eminently practical writ-
ings are a Musikalische Elementarlehre (1867,
3d ed. 1882; English transl, N. Y., 1895);
Praktische Harmonielehre in Aufgaben (1875;
1885; English transl. N. Y., 1895); Der
strenge Sat* (1877); Harmon, tfbungen am
Klavier (no date; Engl, transl. N. Y., 1890);
Kontrapunkt und Fuge im freien Tonsatt
(1878); Mus. Formenlehre (1878; Engl. ed.
N. Y., 1883; 1896); Praktische mus. Kom-
positionslehre: Part I, Lehre vom Tonsatt
(1878); Part II, Freie Komposition (1879);
Instrumentation und Orchestersat* (1879);
Elementar-Melodik (1879); Geschichte der Mu
sik (1882, six lectures); Partiturstudium
[Modulationslehre] (1882); Lexikon der must-
halischen Uarmonien (1889).
Bu8s'meyert Hans, b. Brunswick, March
29, 1853; pupil of the Royal School of Music
at Munich, where he has been teacher from
1874-1904, when he became dir. He studied
with Liszt, and made pianistic tours in S.
America (1872-4); founder (1879) and cond.
(till 1884) of the Munich Choral Society.
Among his works op. 2, Germanentug, f.
male ch. w. orch., ana op. 10, a pf.-concerto,
have attracted attention.
Buths [boots], Julius, brilliant pianist; b.
Wiesbaden, May 7, 1851; pupil of his father
(an oboist) and Gernsheim; later of Hiller
(Cologne) and Kiel (Berlin). 1871-2, cond.
the 'Cecilia* at Wiesbaden; won the Meyer-
beer Scholarship in 1873, and lived in Milan
and Paris 1873-4; cond. in Breslau, 1875-9;
from 1879-90 cond. of the Mus. Soc. at
Elberfeld; 1890-1908 music-dir. at Diissel-
dorf, and cond. of several Rhenish mus.
festivals; since 1902 dir. of Diisseldorf
Cons. — Works: a concerto for pf. and orch.;
a pf. -quintet; a string-quartet; a suite for
piano; etc.
Butler, O'Brien {rede Whitwell), b.
Cahersiveen, Ireland, circa 1870; d. May
7, 1915 (lost on the Lusitania). Spent his
132
BUTT— CABEZON
boyhood days at Iveragh, a place abounding
in old Gaelic traditions; began his musical
studies in Italy, finishing with C. V. Stan-
ford and W. Parratt at the R. C. M. in
London; then travelled extensively, and
spent some time in India, where he wrote
an Irish opera, Muireheis, in which con-
siderable use is made of the pentatonic scale.
The work was produced in Dublin, in 1903,
and was heard in concert-form in New York
(1915), during the composer's visit to the
U. S. B. also wrote a sonata for vln. and pf.
(on Irish themes). — One of his songs, Ctn-
coradh, was selected as the test composition
for soprano solo singing at the 'Feis Ceoil'
at Dublin in 1915.
Butt, Clara, b. Southwick. Sussex, Feb.
1, 1873. Pupil of D. W. Rootham in Bristol
till 1889, when she won a scholarship at the
R. C. M., where she continued her studies
with J. H. Blower; debut at Albert Hall as
Ursula in Sullivan's Golden Legend, Dec. 7,
1892; studied subsequently for a short time
with Bouhy in Paris and Etelka Gerster in
Berlin (1895). Her success at the festivals
at Hanlcy and Bristol in 1893 was so em-
phatic, that thereafter she not only was
constantly sought for those occasions, but
prominent composers wrote works specially
for her (F. Cliff, Triumph of Alcestis; H. Bed-
ford, Romeo and Juliet; E. El^ar, Sea-
Pictures; etc.); has been heard twice in the
U. S. (1899 and 1913); 1913-14 she made
a tour around the world with her husband,
R. Kennerley Rumford, a distinguished bari-
tone, whom she married in 1900. Her voice
is a rich contralto of extraordinary beauty.
Biltt'ner, Paul, b. Dresden, Dec. 10,
1870. Pupil of Draeseke at the Cons.; from
1896-1907, teacher there. — Wrote 3 symphs.
(F, G, Db); 2 symph. fantasies, Der Krieg
and Vber ein deutsches Volkslied; overture to
Grabbe's Napoleon; Saturnalia for wind-
instruments and kettle-drums; several sona-
tas for pf. and vln.; male choruses a capp.
and witn orch.; also a 1-act opera, Anka.
Buus [Paus], Jachet [Jacques] de, Flem-
ish contrapuntist; probably b. at Bruges (?);
d. (?). In 1541 he was elected asst. -organist
at San Marco, Venice; 1553-64, organist of
the court-chapel, Vienna. 2 books of Riccr-
carit 2 of Canzoni francesi, and 1 of Mottetti
were published (1547-50). — See Q.-Lex.
Buxtehu'de, Dietrich, b. Helsingborg,
Sweden, 1637; d. Lubeck, May 9, 1707, as
organist at the Marienkirche, a post he had
held since 1668. He was famed far and wide
as an organist; in 1673 he established the
'Abendmusiken,' celebrated musical services
made up of organ-music and concerted pieces
for chorus and orchestra, held on Sunday
afternoons from 4 to 5; to hear them, J. S.
Bach walked 50 miles, from Arnstadt. As a
composer he was greatest in the instrumental
fugue and suite. A complete edition of his
organ-works has been publ. by Philip Spitta.
Other instrl. and vocal .works are extant in
MS. or in rare printed editions. — Cf. H. Jim-
merthal, D. B. (Lubeck, 1877), and A. Pirro,
D. B. (Paris, 1913)-— See Q.-Lex.
Buzzola [b66t's6h-lah], Antonio, dra-
matic composer; b. Adria, March 4, 1815; d.
Venice, March 20, 1871. Pupil of his father,
a musical director, and of Donizetti at Naples.
After bringing out at Venice the operas Ferra-
mondo (1836), Mastino I della Scala (1841),
and Gli Awenturieri (1842), he travelled, for
the purpose pf study, in Germany and
France, returning (1847) to Venice, where he
produced Amleto (1848) and Elisabetta di
Valois (1850). In 1855 he was app. m. di capp.
at San Marco, and wrote much good church-
music, etc. An opera in Venetian dialect, La
Puta onorata, remains unfinished.
Byrd (or Byrde, Bird, Byred), William,
b. London, 1538; d. there July 4, 1623. Pupil
of Tallis, and (1554) senior chorister at St.
Paul's; 1563, organist of Lincoln cath.; 1569,
Gentleman of the Chapel Royal. In 1575 a
lucrative patent for the exclusive privilege of
printing music and selling music-paper was
granted to Byrd and Tallis, passing wholly
into Byrd's possession on Tallis* death (1585).
B. was an excellent organist and skilful con-
trapuntist—one of the foremost composers of
the period. — Publ. Works: Cantiones . . .
sacra ... a 5-6; Psalms , Sonets and Songs of
Sadnfis and Pietie ... a 5 ; Songs of Sundrte
Natures ... a 3-6; Liber Primus Sacrarum
Cantionum a 5 ; Liber Secundus (do.) ; Gradu-
alia ac cantiones sacra ... a 5-6; Psalms ,
Songs and Sonets . . . a 3-6; separate numbers
in various colls. ('MusicaTransalpina' [1588];
Watson's 'Italian Madrigales' [1590]; 'Par-
thenia' [1600J; Leightonrs Teares or La-
mentaciones' [1614; part-songs]; Barnard's
'Selected Church Music' [1641; services and
anthems]; Boyce's 'Cathedral Music' [do.]);
music for virginals and organ in 'Virginal
Book of Queen Elizabeth' and 'Lady NeviU's
Virginal Book.' — Newly republ.: A Mass in
D m.; Book I of the Cantiones sacra; and
several pieces in Pauer's 'Old English Com-
posers.'— See Q.-Lex.
Caballero. See Fbrnandbz-Caballero.
Cabezon [kah-be-th6V], Don (Felix) Anto-
nio de, styled by Pedrell 'the Spanish Bach';
b. Castrojeriz, March 30, 1510; d. Madrid,
May 26, 1566, as cembalist and organist to
King Philip II. His son and successor, Her-
nando, published his instrumental works, as
'Obras de musica para tecla, arpa y vihuela'
133
CABO-CAFFARELLI
[Works of music for keyed instrs., harp, and
lute] (Madrid, 1578); the sole extant copy is
in Berlin, and contains, progressively an*.,
2- and 3-part exercises, arrangements of
hymn-tunes, 4-part Tientos (Ricercari), and
arr. of motets by Josquin and other Nether-
landers up to 6 parts. Pedrell has brought
out a new edition in 'Hispania; schola musica
sacra' (4 volumes).
Ca'bo, Francisco Javier, b. Naguera, n.
Valencia, 1768; d. Valencia, Nov. 21, 1832.
In 1810 singer, 1816 organist, 1830 maestro at
the Cathedral; one of the foremost Spanish
church-composers who preserved the tradi-
tions of the Palestrina style. Wrote masses,
vespers, motets, etc.; also some organ- music.
Caccini [kaht-chS'ne], Giulio, called Ro-
mano, because born at Rome, circa 1546; d.
Florence, Dec. 10, 1618, where he had re-
sided since 1565 as singer to the Tuscan
court. A pupil of Scipione della Palla in
singing and lute-playing. His first essays in
composition were madrigals in the ancient
polyphonic style; but the example of Vin-
cenzo Galilei, and his own surpassing skill as
a singer (aided, no doubt, by the discussions
of the artists and literati frequenting the
houses of Bardi and Corsi at Florence), in-
spired him to write vocal soli in recitative-
form (then termed musica in istile rappresen-
tativo), which he sang with great applause to
his own accomp. on the theorbo. Tnese first
essays in dramatic music were followed by
his settings of detached scenes written by
Bardi, and finally by the opera II combattu
mento oVApoUine col serpente, poem by Bardi;
then appeared La Dafne (159/), in collabora-
tion with Peri, poem by Rinuccini; Eurydice
(1600), poem by Rinuccini; and // rdpimento
di Cefato (Oct. 9, 1600, the first opera ever
prod, in a public theatre), poem by Chiabrera.
Eurydice, upon which C. based his claim
as the originator of the new style, was
written after Peri's comp. of the same text,
although both works were produced in the
same year. Another epoch-making work was
Le nuove musiche, a series of madrigals for
solo voice, with bass (1601; 1607; 1615). He
also published Nove Arte (Venice, 1608), and
Fug&lotio musicale (Venice, 1614; madrigals,
sonnets, arias, etc.). Caccini was called, by
abbate Angelo Grillo, the 'father of a new
style of music' ; Bardi said of him that he had
'attained the goal of perfect music' — Cf. A.
Ehrich, G. C. (Leipzig, 1908). — See Q.-Lex.
Cadaux [kah-doh'], Justin-, b. Albi (Tarn),
France, April 13, 1813; d. Paris, Nov. 8, 1874.
Pupil of Zimmerman (pf.), and Dourlen
(harm.), at Paris Cons. ; comp. 6 comic operas.
Cadman, Charles Wakefield, composer;
b. Johnstown, Pa., Dec. 24, 1881. Studied
with Pittsburgh teachers, including Emil
Paur (1899-1909); musical critic on 'Pitts-
burgh Despatch'; organist of East Liberty
Presb. Ch.; conductor of 'Pittsburgh Male
Ch.[; student of Indian Songs; lectures on
Indian lore with Princess Tsianina Red-
feather, Indian mezzo-soprano; has appeared
in America, London and Paris since 1909.
Member Advisory Council for Promotion of
Opera in English, Amer. Mus. Soc., A. G. O.,
MS. Soc. — works: Triofor vln., 'cello and
pf. in D; piano-sonata in A; The Vision of
Sir Launfal, cantata for male voices (prize
comp., Pittsburgh, November, 1909); many
Indian songs, and part-songs; many pf.-
pieces; 2 operas, The Land of Misty Water
(3-act), and The Garden of Death (1-act),
have not yet been produced.
Cady, Calvin Brainard, b. Barry, III.,
June 21, 1851. Pupil of Oberlin Cons.; from
1872-4 at Leipzig Cons., where his teachers
were E. Fr. Richter (harm., cpt.), Papperitz
(org.), and O. Paul (pf., comp.); taught
harm, and pf. at Oberlin Cons., 1874-9; act.
prof, of music at Univ. of Mich., 1880-8;
until 1894, prof, at Coll. of Music and editor
'Music Review* (1892-4) in Chicago; then
lived in Boston as lecturer; since 190/ lecturer
on music at Columbia Univ. ; since 1908 also
at Inst, of Musical Art as lecturer on musical
pedagogy; advocates the appreciation of
music as essential in all courses leading to a
liberal education. Has written Musical
Education (3 vols., 1902-7).
Csecilia. See Cecilia.
Cafa'ro, Pasquale (called Caffarelli),
noted composer; b. San Pietro in Galatina,
province of Lecce, Italy, Feb. 8, 1706; d.
Naples, Oct. 23, 1787. Pupil of L. Leo in
Naples Cons, della Pieta, and Leo's successor
in 1745. — Wrote operas, oratorios, cantatas,
etc. ; a Stabat Mater in 2 parts, with organ, is
specially noteworthy. — See Q.-Lex.
Caffarelli (real name Gaetano Majora-
no), brilliant soprano (musico); b. Bari, April
16, 1703; d. on his estate Santo- Dorato, near
Naples, Nov. 30, 1783. A poor peasant-boy,
endowed with a beautiful voice, he was dis-
covered by a musician named Caffaro (not
Pasquale Cafaro), who taught him, and sent
him to Porpora at Naples. In gratitude to
his patron he assumed the name of Caffarelli.
After 5 years' hard study Porpora dismissed
him with the words: 'Go, my son, I have .
nothing more to teach you; you are the
greatest^ singer in Italy and in the world.'
He was indeed a master of pathetic song, and
excelled^ in coloratura as well; he read the
most difficult music at sight, and was an
accomplished harpsichord-player. His debut
at the Teatro Valle (Rome, 1724) in a female
rdle (such was the custom for artifical so-
prani) was attended by a perfect ovation; his
134
CAFFI— CALEGARI
renown increased from year to year. In 1738
he sang in London, and apparently made
little impression; but in Italy, Spain, Paris
and Vienna, he was triumphantly successful.
He amassed a fortune, bought the dukedom
of Santo- Dora to, and assumed the title of duke.
Caf'fi, Francesco, b. Venice, 1786; d.
Padua, February, 1874. Wrote a Storia delta
musica sacra nella gi& Cappella Ducale di S.
Marco in Venetia dal 1318 at 1797 (2 vols.;
Venice, 1854, '55), an important and trust-
worthy work; also monographs on Bona Ven-
tura Furlanetto (1820); Zarhno (1836); Lotti,
and Benedetto Marcello (in Cicognia's 'Vene-
tiani Iscritioni') ; and Giammateo A sola
(Padua, 1862).
Caffiaux [kah-f'yoh'], Dom Philippe-Jo-
seph, b. Valenciennes, 1712; d. abbey of
St.-Germain des Pres, Paris, Dec. 26, 1777.
Benedictine monk; his MS. Histoire de la
musique (in Paris Library) is praised by
Fetis.
Cagnlard [kahn-yahr'] de la Tour,
Charles, Baron de; b. Paris, May 31,
1777; d. there July 5, 1859. Improver of
the 'Syren* used to record the vibration-
numbers of tones.
Cagno'ni [kahn-yoh'ne], Antonio, b. Go-
diasco, near Voghera, Feb. 8, 1828; d. Ber-
gamo, April 30, 1896. Studied at Milan Cons.
(1842-7) under Ray and Frasi; as a student
3 of his operas were produced in the Cons.
Th. : Rosalia di S. Miniato (semi-seria, 1845) ;
I due Savojardi (do., 1846); and Don Bucefalo
Ihis masterwork] (buffa, 1847). From 1852-73
he was m. di capp. in the cathedral of Vige-
vano; 1873, succeeded Cossia as m. di capp.
in the cathedral of Novara; 1887, m. di capp.
in S. Maria Maggiore, Bergamo. From 1848-
74 he brought out some 15 more operas at
Rome, Genoa, Turin, Milan, etc. He left 3
operas: Gli amori di Cleopatra (buffa, comp.
circa 1870), Re Lear (finished 1893, 5 acts),
and II Carabiniere (in rough sketch).
Cahen fkahn], Albert, composer; b. Paris,
Jan. 8, 1846; d. Cap d'Ail, March, 1903.
Pupil of Mme. Szarvady (pf.) and Cesar
Franck (comp.). — Works: Jean le PrScurseur,
biblical poem (1874); Le Bois, comic opera
(1880, Opera-Com.); Endymion, mythological
poem (1883); La Belle au bois dormant, fairy
opera (Geneva, 1886); Le Vcnitien, 4-act
opera (Rouen, 1890); Fleur des neiges, ballet
(Brussels, 1B91); La Femme de Claude, 3-act
lyric drama (Paris, 1896, Opera-Com.; un-
successful).
Cahen, Ernest, b. Paris, Aug. 18, 1828;
d. there Nov. 8, 1893. Pupil of the Cons.,
taking first prize for harm, and accomp. in
1847, and the second Grand Prix for comp.
in 1849. Pianist and teacher; also 'professeur
135
adjoint* at the Cons. — Works: 2 operettas,
Le Calf at (1853), and Le Souper de Mezzetin
(1859), both produced at the Folies-Nouvelles.
Cahn-Speyer, Rudolf, b. Vienna, Sept.
1, 1881. A student of chemistry, but at the
same time studied music with H. Gradener at
Vienna; while taking courses in science at
the Univ. of Leipzig, he continued his musical
studies with Jadassohn, Krehl and Riemann;
took courses in musicology under Sandmann
at Univ. of Munich in 1906; graduated, 1908,
with dissertation Franz Seyaelmann als dra-
matischer Komponist (Leipzig, 1909); then
studied with L. Thuille and A. Beer-Wal-
brunn; conducted at Kiel (1908) and Ham-
burg (1909-11); since 1911, prof, at Klind-
worth Cons, in Berlin. Has written Zur
Opernfrage. Das Wesen der Oper und ihre
Entwtcklung in der Gegenwart (Leipzig, 1913).
Calda'ra, Antonio, b. Venice, 1678; d.
Vienna, Dec. 28, 1736. Prolific composer of
operas and sacred dramas (70), oratorios,
masses, and other church-music, chamber-
music, etc. He lived in Bologna and Mantua;
in 1714 was app. Imp. chamber-composer at
Vienna, and from Jan. 1, 1716, was assistant
Kapellm. to J. J. Fux. — See Q.-Lex.
pddicott, Alfred James, b. Worcester,
England, Nov. 26, 1842; d. near Gloucester,
Oct. 24, 1897. Chorister in Worcester cath.,
1851, and articled to the organist, Done, in
1856. He studied at Leipzig Cons, under
Moscheles, Hauptmann, etc.; and in 1864 be-
came org. of St. Stephen's church, Worcester,
and Corporation organist. Took degree of
Mus. Bac, Cantab., 1878; was app. prof, at
R. C. M., London, in 1883; from 1885-9
was cond. at the Albert Palace, Battersea;
1890-1, cond. of Huntingdon's travelling
opera-company in America; 1892, dir. of R.
£ M.; 1893, cond. at Comedy Th., London.
— Works: Several cantatas, The Widow of
Nain (1881), A Rhine Legend (for women's
voices, 1883), Queen of the May (do.); 13
operettas, numerous successful glees, a score
of songs, etc. His humorous part-song
Humpiy Dumpty (special prize at Man-
chester, 1878) was exceedingly popular.
Calega'ri, Antonio, b. Padua, Feb. 17,
1757; d. there July 22, 1828. Dramatic
composer, who brought out 3 operas in
Venice: Le Sorelle rivali (1784), UAmor soldato
(1786), and // Matrimonii) scoperto (1789);
living in Padua, 1800; publ. (Venice, 1801)
a curious treatise on composition: Gioco
fittagorieo tnusicalet republ. in Paris, where
he lived for several years, as L'art de composer
la musique sans en connattre les Slements
(1802). Returning to Padua, he was organist
at the Ch. of San Antonio till his decease.
Subsequently, 2 more works were publ.:
C ALEG ARI— C ALVISI US
Sistema armonico (1829), and a vocal method,
Modi generali del canto (1836). — See Q.-Lex.
Calega'ri (or Callegari), Francesco An-
tonio, b. Padua, before 1700; d. there 1742.
He was a Franciscan monk, 1702-24 m. di
capp. in the Minorite monastery at Venice,
and then in Padua, at the Ch. of San Antonio,
until 1728. He wrote a theoretical treatise
Ampia dimostrazione degli armoniali musical*
tuoni (MS. at Bergamo); also sacred music
and chamber-music. — See Q.-Lex.
Calet'ti-Bru'ni. See Cavalu.
Calkin, John Baptfete, b. London, Mar.
16, 1827; d. there May 15, 1905. Pianist,
organist, and composer; pupil of his father,
James Calkin; was organist, precentor, and
choirmaster at several churches; app. 1899
prof, at Guildhall School of Music. Besides
several services, and many anthems, glees,
part-songs, and^ songs, he publ. a string-
quartet, a pf.-trio, a sonata t. pf. and 'cello,
various pes. for pf., and organ-music.
Callaerts [-lahrts], Joseph, b. Antwerp,
Aug. 22, 1838; d. there Mar. 3, 1901. Pupil
of Lemmens in Brussels Cons. Org. (1851—6)
of the Jesuit college, later of the cathedral
at Antwerp, and organ- teacher at the Music-
School from 1876. — Works: Comic opera Le
Retour imprhu (Antwerp, 1889); a prize-
symphony (1879) and a prize pf.-trio (1882);
organ- and pf. -music; cantatas, masses,
litanies, etc.
Callcott, John Wall, b. Kensington,
Nov. 20, 1766; d. Bristol, May 15, 1821.
He received some instruction from Henry
Whitney, organist of Kensington Parish
Church, but was chiefly self-taught in early
youth; he attracted the attention of Dr.
Arnold, Dr. Cooke, and John Sale, who
aided him. From 1783-5 he was deputy
organist to Reinhold, at St. George the
Martyr; in the latter year he won 3 prize-
medals for a catch, O beauteous fair; a canon,
Blessed is Ar; and a glee, Dull repining sons
of care; he joined the orchestra of the Acad,
of Antient Music, and also took the degree
of Mus. Bac. (Oxon.). He was a co-founder
of the Glee Club (1787); joint-org. of St.
Paul's, Covcnt Garden (1788); in 1789 he
won all the prizes offered by the 'Catch
Club,' and became organist of the Asylum
for Female Orphans (1792-1802). He studied
instrumental comp. w. Haydn in 1790; in
1800 he was made Mus. Doc. (Oxon.). App.
lecturer on music at the Royal Institute,
succeeding Dr. Crotch (1806), his mind gave
way under the strain incident to this position
and overwork on his pet scheme, a dictionary
of music, which was never completed. His
Grammar of Music (1805) was a standard
elementary text-book. Many of his numerous
glees, catches, and canons are real works of
art. A memoir of C. was prefixed to a
'Collection of Glees, Canons, and Catches/
by W. Horsley (London, 1824; 2 vols.).— See
Q.-Lex.
Callcott, William Hutchlns, son of pre-
ceding; b. Kensington, 1807 y d. London,
Aug. 4, 1882. Organist, pianist, and com-
poser; he wrote a good deal of popular vocal
music (songs, anthems), and pf. -music
(chiefly instructive pes. and arrangements).
Calllnet. See Daublainb et Cie.
Calve1, Emma [real name Emma Roquer],
dramatic soprano; b. Decazeville, near Avey-
ron, southern France, in 1863 [or 1866?].
Educated from 10-15 in the Convent of the
Sacred Heart, Montpellier; studied 1880-2 in
Paris with Puget, the former stage-tenor.
Debut as Marguerite at the Monnaie in
Brussels, Sept. 29, 1882; sang there for one
year, studied for another year under Mme.
Marchcst, and created |.he role of Bianca in
Aben llamel at the Th.-Italicn, Paris, Dec
16, 1884; soon after, she entered the Opera-
Comique, and remained there till 1887. Her
successes received a temporary check at La
Scala, Milan, in Jan., 1887, when she was
hissed as Ophelia, but she scored a triumph
there, after 18 months' study with Laborde,
in the same rdle. She created Santuzza in
Cavalleria Rusticana (1890); was eng. at the
Opera-Comique for two years (1891-3); sang
1892 at Covent Garden with great applause;
eng. by Abbey and Gran for M. O. H. in
1893; New York debut Nov. 29, 1893, as
Santuzza; played Carmen on Dec. 20, and
made an indescribable sensation. Sang at
the Opera-Comique, season of 1894-5; then
toured Europe (Madrid, Monte Carlo, Petro-
grad); created La Navanraise in Oct., 1895;
began second American tour on Nov. 20,
1895; created Sapho, Nov. 29, 1897, at
Paris. Since then, her career has been
an uninterrupted succession of triumphs.
In 1903-4, eng. in Paris at the Opera Muni-
cipal du Theatre de la Gaite; in 1908 at the
Manh. Op. House, N. Y., where her Carmen
aroused the same enthusiasm as before; after
1910 she practically retired from the stage,
confining herself to concert-appearances.
The sensational success of her Carmen is
undoubtedly responsible for the fact that she
has been heard in only a limited repertoire.
Besides the roles mentioned, she has also
sung the chief soprano r61es in Mefistofele,
Messaline, l'Herodiade9 Les Plcheurs de
Pcrles—Ci. A. Wisner, £. C; Her Artistic
Life, etc. (N. Y., 1902).
Calvi'sius, Sethus (real name Seth
KalTwitz), son of a poor peasant at Gorsch-
leben, Thuringia; b. Feb. 21, 1556; d. Leipzig,
Nov. 24, 1615. By his own efforts (at first
as a street-singer tor alms, afterwards as a
136
CALVOCORESSI— CAMPAGNOLI
teacher) he supported himself while studying
in the Gymnasia of Frankenhausen and
Magdeburg, and the Universities at Helm-
stadt and Leipzig. In Leipzig he became
(1581) mus. director at the Paulinerkirche;
from 1582-92 he was cantor at Schulpforta,.
then cantor of the Thomasschule at Leipzig,
and (1594) musical dir. at the Thomaskirche
and Nicolaikirche there. C. was not only a
musician, but a scholar of high and varied
attainments. His writings are valuable
sources; Melopoeia sen melodiae condendae
ratio (1582); Compendium musicae practicae
pro incipienHbus (1594; 3d ed. as Musicae
artis praccepta nova et facillima, 1612); Exer-
citationes musicae duae (1600); Exercitatio
musicae tertia (1611). — Publ. compositions:
Auserlesene teuische Lieder (1603) ; Biciniorum
libri duo (1612); the 150th Psalm (12 parts);
a coll., Harmoniae eantionum ecclesiasticarum
a M. Luthero et aliis viris pits Germaniae
compositarum 4 voc. (1596); and a 4-p. arr.
of C. Becker's psalm-tunes (1602, '16, '18,
'21). MS. motets, hymns, etc., in the
Thomasschule Library, Leipzig.— Cf. K.
Benndorf, S. C. als Musittheoretiker, in
'Vschr. f. M.-W.', 1894.— See Q.-Lex.
Calvocores'si, Michel D., b. (of Greek
parents) Marseilles, Oct. 2, 1877. Having
received an excellent classical ed. at the
'Lycee Janson-de-Sailly* at Paris, he took up
the study of music with X. Leroux; since
1905 prof, at the 'fecole des Hautes Etudes
Sociales' and correspondent for numerous Fr.
and foreign journals ('Mercure de France.'
'Guide Musical,' 'Musical Times' [London],
•New Mus. Rev.' [N. Y.], 'Die Musik'
[Berlin], 'Muzika' [Moscow], etc.); an ex-
cellent lecturer, he has been indefatigable
in his propaganda of Russian music in
France and England, for which he was
made officer of the order of St. Anna in
1908; together with L. Vallas, ed. of 'Revue
francaise de Musique'; a capable translator
of songs and operas (into Fr., Engl, and
Ger.). Has published La Musique russe
(1907>,bioeraphiesof Listt (1907), Moussorgsky
(1908), Glinka (1913), Schumann (1913); tr.
Rimsky-Korsakov's Treatise on Orchestration
into French (1914).
Gambert [kahn-barl, Robert, (the first
French opera-composer, preceding Lully), b.
Paris c. 1628; d. London, 1677. Pupil of
Chambonnieres; org. at St.-Honore; intendant
of music (1666) to the queen-dowager Anne of
Austria. His first venture on the lyric stage
was La Pastorale, written by Perrin and suc-
cessfully produced at the Chateau d'Issy in
1659); it was followed by Ariane, ou It Ma-
riage de Bacchus (rehearsed in 1661), and
Adonis (1662; not perf.; MS. lost).' Perrin
having received, in 1669, letters patent for
establishing the 'Academie royale de musique'
(the national operatic theatre, now the Grand
Opera), brought out, in collaboration with
C., the first real opera, Pomone (1671); a
second, Les Peines et les plaisirs de I'amour,
was written, but never produced, Lully
having meantime (1672) had the patent
transferred to himself. [These last 2 operas
have been publ. in 'Chefs-d'oeuvre classiques
de l'opera francais' (Leipzig, Breitkopt &
Hart el).] C.'s disappointment drove him
to London; he became a bandmaster, and
died as Master of the Musk to Charles II.
— Cf. A. Pougin, Les vrais createurs de V opera
francais, Perrin et C. (Paris, 1881).
Cambl'ni, Giovanni Giuseppe, b. Leg-
horn, Feb. 13, 1746; d. BicStre, Dec. 29,
1825. A pupil of Padre Martini{ and a most
prolific composer of mediocre instrumental
works, writing over 60 symphonies within a
few years. He lived chiefly in Paris as a
ballet-composer and conductor; he died in
the almshouse.— Other comps.: 144 string-
quartets; ballets, operas, oratorios, etc.
Camet'ti, Alberto, b. Rome, May 5,
1871. Pupil of the Cons, della Accademia
di S. Cecilia; m. de ch. at St. Louis' in Rome;
member of the commission app. by Pope
Pius X to investigate the condition of church
music. Has publ. many sacred and secular
comps., but is more important as a writer.
Princ. works: Cenni storici di G. P. da Pale-
strina (Milan, 1895); // testamento di JacobeUo
Pierluigi (1903); Cristina di Suezia, Varte
musicale e gli spettacoli in Roma (1911);
Document* ineditt su Luigi Rossi (Leipzig,
1912); Chi era VIppolita del cardinale di
Montalto? (1913); several valuable essays in
'Riyista Musicale' {Bellini a Roma [1900],
Donizetti a Roma [1904*7], Mozart a Roma
[1907], Frescobaldi a Roma [1908], etc.).
Camidge, John, b. circa* 1735; d. York,
Engl., Apr. 25, 1803. He was organist at
York cath. for 47 years.— Publ. Six Easy
Lessons for the Harpsichord; other music f .
harpsich.; church-music, glees, songs.
Camidge, John (son of Matthew), b.
York, 1790"; d. there Sept. 29, 1859. Org. of
York cath. 1844-59; Mus. Doc. (Lambeth),
1855. Publ. a Service, anthems, 5 double-
chants; 6 glees f. 3 and 4 voices; etc.
Cartridge, Matthew, b. York, 1758; d.
there Oct. 23, 1844; son of John, Sr., whom
he succeeded at York cath. (1803-44). Publ.
Cathedral Music; 24 Original Psalm- and
Hymn-tunes; sonatas and marches f. pf.; a
Method of Instruction in Music by Questions
and Answers, etc.
Campagnoli [-pah-noh'le], Bartolommeo,
b. Cento, Sept. 10, 1751; d. Neustrelitz, Nov.
6, 1827. Renowned violinist, pupil of Dal-
137
CAMPANA— CAMPBELL-TIPTON
rOcha and Guastarobba at Modena, later
of Nardini at Florence. After several years
of concert-giving in Italy, he became leader
(1776) of the Abbot of Freising's orch.; was
later mus. dir. to the Duke of Kurland in
Dresden (whence he made successful concert-
tours); 1797-1818, he was leader at Leipzig;
finally he became court Kapellm. at Neu-
strelitz. — Works: Chamber-music; concerti f.
flute; 1 violin-concerto; 7 celebrated Diver-
tissements (studies f. vln.); 41 Caprices pour
Valla-viola (op. 22) ; a MUhode de la mScanique
progressive du jeu du violon (Leipzig, 1824);
etc. — See Q.-Lex.
Campa'na, Fabio, b. Leghorn, Jan. 14,
1819; d. London, Feb. 2, 1882. From the
beginning of his career he lived in London,
S3pular as a singing- teacher and composer,
esides hundreds of songs w. pf.-acc., he
wrote the operas Caterina di Guisa (Leghorn,
1838), Giullo d'Este (Venice, 1841), Vannina
d'Ornano (Florence, 1842), Luisa di Francia
(Rome, 1844), Almina (London, H. M.'s Th.,
1860), and Esmeralda, o Nostra Donna di
Parigi (Petrograd, 1869).
Campana'ri, Giuseppe, eminent dramatic
baritone; b. Venice, 1859. While playing in
the orch. at La Scala in Milan he began to
study singing; came to the U. S. in 1884,
and was a cellist in the Boston Syraph.
Orch. until 1893; debut as leading bar. of
G. Hinrichs* Op. Co. in New York, 1893;
in his first season he sang Tonio in Pagliacei
in the first Amer. perf., and was recognized
at once as an artist of unusual ability; from
1895-8 member of M. O. H.; since then he
has devoted himself chiefly to concert-work
and teaching; now (1916) living in New
York.
Campana'ri, Leandro, violinist; b. Ro-
vigo, Italy, Oct. 20, 1857; st. Milan Cons.,
graduating 1877. European tours, 2 years;
in America 1881, debut at Boston (Symph.
Orch.) very successful. Settled in Boston,
and organized Campanari String-quartet;
1883, mus. dir. of choir, Jesuit Ch., and 1st
prof, of violin in N. E. Cons.; 1887-90 in
Europe; 1890 first prof, of vln. and head of
orchl. dept. in Cincinnati Cons.; 1897-1905,
director and conductor of the grand orchestral
concerts in La Scala Th., Milan, and on
tours; 1906 for a short time cond. at Manh.
Op. House, and (during Scheel's illness)
of the Phila. Symph. Orch.; since 1907 living
in San Francisco as a successful teacher ot
of vl. and singing.— Works: Text-books for
violin; numerous songs.
Campani'ni, Cleofonte, eminent cond.
and op. manager; b. Parma, Italy, Sept. 1,
1860. Pupil at Cons, of Parma (1870-8) of
Ferrarini (vl.); later of Bazzini at Milan;
debut as cond. with Carmen at Parma, in
1883; the same year he became asst.-cond.
to Vianesi during the first season of opera
at the new M. O. H.; was brought over
specially in 1887 to conduct the first Amer.
perf. of OteUo at the M. O. H.; then was
first cond. at various Italian theatres, La
Scala (Milan, 1903-6), San Carlo (Naples,
1 year); made extensive tours of Spain,
Portugal and South America; cond. Cov.
Garden Th. from 1900-12. A larger field
opened to him in 1906, when Hammerstein
engaged him for the new Manhattan Opera
House in New York. C; was not only the
Erincipal cond., but also the artistic director.
[is success was such that at the end of
the first season the new company had become
a dangerous rival of the older M. O. H.
Differences with Hammerstein led C. to
resign in 1909. In the following year he was
engaged as princ. cond. of the newly formed
Chicago Opera Co., where he had practically
autocratic power; in 1913 he was app. general
director, which post he still holds. Among
operatic conductors he occupies a place in the
first rank; in all styles of music he seems to
be equally at home. Since 1906 he has intro-
duced the following novelties into the U. S.:
Massenet's Thais, Jongleur de Notre-Dame,
Grisilidis, Sapho, Herodiade, CendriUon, Cleo-
pdtre9 Marie Madeleine; Debussy's Pelleas et
\jfLli*n«A*. rharrv»ntif»r's I^ouise: Wolf-Fer-
mark's The Cricket on the Hearth; Erlanger's
Noel, Aphrodite; Kienzl's Ranz des Vaches;
Franchetti's Cristoforo Colombo; Gnecchi's
Cassandra; Nouges' Quo Vadis?; Herbert's
Natoma; Blockx's Princesse d'Auberge; Samt-
Saens' Dljanire; Buchhalter's A Lover's Knot;
Gunsbourg's Le vieil Aigle.
Campani'ni, Italo, brilliant operatic
tenor; b. Parma, June 29, 1846; d. Bigatto,
n. Parma, Nov. 22, 1896. St. 3 years in
G. Griffini's School of Music. Debut 1869, at
Odessa, in Trovatore; sang for some years
without marked success, then studied with
Lamperti, and reappeared at Florence, 1871,
in Lohengrin, with great applause. London
debut 1872, as Gennaro in Lucrezia Borgia.
Tours in U. S. A., 1873 and 1879-80 (with
Nilsson), 1892 (w. Patti), and 1894. Since
1883, lived principally in New York. Sang
leading r61es in Lohengrin, Mefistofele, Faust,
Carmen, Don Juan, Lucia di Lammermoor,
Huguenots, Ruy Bias, etc.
Campbell-Tipton, Louis, composer; b.
Chicago, Nov. 21, 1877. Studied with
various teachers in Chicago and Boston;
pupil of Royal Cons, at Leipzig (1896-9),
studying theory and pf. with Carl Reinecke,
Gustav Schreck, and Weidenbach; returned
to Chicago and was instr. of theory at the
138
CAMPENHOUT— CANDEILLE
Chicago Mus. Coll. from 1900-5; since then
living as private teacher in Paris. His work
is highly colored, vigorous, with a strong
leaning towards the dramatic. Has written
so far chiefly for pf. (Sonata? Heroic, Sea
Lyrics, The Four Seasons, suite, serenade,
etc.), Suite pastorale f. pf. and vln.; also a
number of very effective songs. Has several
larger works in MS.
Cam'penhout, Francois van, b. Brussels,
Feb. 5, 1779; d. there Apr. 24, 1848. Begin-
ning as violinist in the Th. de la Monnaie, he
studied singing under Plantade, and became
a fine stage-tenor, appearing in Belgium,
Holland, and France. Retired 1827, and
wrote 6 operas, several other stage-pieces,
9 cantatas w. orch., choruses, masses, Te
Deums, songs, etc. He is, however, chiefly
remembered as the composer of La Braban-
conne, which was written during the revolution
of 1830, and has since become the national
air of Belgium.
Campion [kahn-p'yohn'], Francois, the-
orl ist (1703-19) at Grand Opera, Paris.— Publ.
NouveUes decouvertes sur la Guitare, etc.
( 1 705) ; TraitS d'accotnpagnement pour le thSorbe
(1770); Traite de composition, etc. (1716);
and a supplement (Additions) to the last
two (1739).— See Q.-Lex.
Campion, Thomas, English physician;
also poet, composer, and dramatist; d.
London, Feb., 1619.— Publ. Two Books of
Ayres, etc. (1610), followed by 2 more (1612);
Ayres for the Masque of Flowers (1613);
Songs of Mourning [for Prince Henry] (1613);
A New Way of Making Foure Parts %n
Counterpoint (1618; also in Playford's 'Introd.
to the Skill of Musick,' 1655). — See Q.-Lex.
Campio'ni, Carlo Antonio, b. Leghorn,
c. 1720; d. Florence, 1793, as m. di capp. to
the Tuscan court. Comp. church-music (a
fine Te Deum); also publ. 7 vols, of violin-
duets, with basso cont. — See Q.-Lex.
Campore'se, Violante, soprano stage-
singer; b. Rome, 1785; d. there 1839. Before
1814, engaged for Napoleon's private music;
stage-debut in London, 1817 (Haymarket).
Engaged until 1818, and again from 1821-3;
sang at the Antient and Philh. Concerts,
1824-5. Retired 1829.
Campos, Joao Ribelro de Almeida de,
b. Vizen, Portugal, c. 1770; d. (?); m. di
capp., also professor and examiner for
church-singing, at Lamego in 1800. Publ.
Eiementos de musica (1786) and Elem. de
cantochSo [Plain-Song] (1800, and many
later editions).
Campra [kahn'-J, Andrt, French opera-
comp.; b. Aix (Provence), Dec. 4, 1660; d.
Versailles, July 29, 1744. A pupil of Guil-
laume Poitevin, he was app. maitre de mus.
at Toulon cathedral at the age of 20; in
1681, m. de chap, at Aries, and from 1683-94
at Toulouse cath. Going thence to Paris, he
was at first m. de chap, at the Jesuit collegiate
ch., and shortly after at Notre- Dame, an
appointment held until the successful pro-
duction of two operas (under his brother
Joseph's name) induced him to embrace a
secular career. In 1722 he was made cond.
of the Royal Orch. His operas were performed
after Lully until eclipsed by the genius of
Rameau.— Operas, V Europe galante (1697);
Le Carnavalde Venise (1699); HSsione (1700);
ArSthuse, ou la vengeance de I' amour (1701);
Tancrede (1702); Les Muses (1703); Iphigenie
en Tauride (1704); Telhnaque (1704); Alcine
(1705); Le Triomphe de V amour (1705).; Hip-
podamie (1708); Les Fetes venitiennes (1710);
Idomtnee (1712); Les Amours de Mars et
Venus (1712); Telephe (1713); CamiUe (1717);
Les Ages, ballet-opera (1718); Achille et
DHdamie (1735); and several divertissements,
etc., for the Versailles court. Also 3 books
of cantatas (1708, et seq.), and 5 books of
motets (1706, 1710, 1713, etc.).— Cf. A.
Pougin, A. C. (Paris, 1861), and L. de la
Laurencie, Notes sur la jeunesse d'A. C. (in
'Sbd. Int. M.-G.\ X, 2, 1909); id., A. C.t
musicista profano (in 'L'Annee Musicale,'
1913).— See Q.-Lex.
Camps y Soler, Oscar, Spanish pianist,
comp. and writer; b. Alexandria, Egypt, Nov.
21, 1837. Pupil of Dobler at Florence, and
Slaved in public as early as 1850; st. w.
u lercadante, at Naples; made concert-tours
in Europe, and settled in Madrid. — Works:
Grand cantata; songs; pf.-pcs. — Also a Teoria
musical ilustrada, a Metodo de Solfeo,
Estudios filosdficos sobre la musica, and a
Span, transl. of Berlioz's Instrumentation.
Candeille [kahn-da'e], [Simons-Can-
deille,] Amelie-Julie, daughter of Pierre-
Joseph C; b. Paris, July 31, 1767; d. there
Feb. 4, 1834; dramatic soprano, actress, and
composer. Debut 1 782 as Iphigenie in Gluck's
Iphigenie en Aulide; from 1783-96, actress in
the Th.-Francais. In 1798 she married
Simons, a Brussels carriage-builder, was
separated from him in 1802, lived in Paris
as a music-teacher till 1821, when she married
the painter Pierie [d. 1833]. She wrote the
libretto and music of the very succ. operetta
La belle fermiere (1792), in which she played
the leading part, singing to her own accomp.
on piano and harp; and produced an unsuc-
cessful opera, Ida, Vorphiline de Berlin (1807).
Publ. also 3 pf.-trios, 4 pf. -sonatas, a sonata
f. 2 pfs., pf. -fantasias, some romances, and
the songs from the Belle fermiere.
Candeille, Pierre-Joseph, opera -comp.;
b. Estaires (dept. du Nord), Dec. 8, 1744;
d. Chantilly, Apr. 24, 1827. He wrote
139
CANGE--CARAFA
some 20 operas, divertissements, etc., the
best being Castor et Pollux (1791); most of
them were never produced.
Cange [kahn'zh], Charlee-Dufresne,
sieur du, b. Amiens, Dec. 18, 1610; d. Paris,
Oct. 23, 1688. A learned lawyer, interested
in musical research. Publ. Glossarium ad
scriptores media et infinws latinitatis (1678,
3 vols.; 1733-36, in 6 vols.; 1840-50, in 7
vols.), explaining the musical instrs. and
terminology of the middle ages.
Can'nablch, Christian, b. Mannheim,
1731; d. Frankfort, Feb. 22, 1798. An
accomplished violinist (pupil of Jommelli)
and composer, he excelled particularly as
conductor of the Electoral orch. at Mann-
heim, a post to which he was app. in 1775,
having been leader since 1765. C. rendered
this orch. famous by the (then unique)
perfection to which he carried the dynamic
nuances, more especially the crescendo and
decrescendo. His compositions (operas, bal-
lets, about 100 symphonies, 3 violin-concertos,
much chamber-music)# were popular. Rie-
mann publ. a symph. in Bb and an overture
in C in 'Dkm. der Tonkunst in Bayern', viii,
2; also a str.-quartet, op. 5, no. 2, in 'Mann-
heimer Kammermusik.' His father, Matthias
C., was a flutist in the Electoral orch. — See
Q.-Lex.
Can'nabich, Karl, violinist and comp.,
son of Christian; b. Mannheim, 1769; d.
Munich, May 1, 1806 (whither the orchestra
had followed the Elector's court in 1778);
Kapellm., from 1800, of the orch.— See Q.-
Lex.
Capellen, Georg, b. Salzuflen, Lippe,
Apr. 1, 1869. St. philosophy and law at
Tubingen, Gdttingen and Berlin; notable
writer on theory of music. Has publ. Die
musikalische Akustik als Grundlage der
Hartnonik u. Melodik (Leipzig, 1903); Die
Freiheit oder Unfreiheit der Tone u. Intervalle
als Kriterium der Stimmfuhrung (ib., 1904;
with appendix containing analyses of Grief's
works in proof of his theory); Die Abhdngig-
keitsverhdHnisse in der Musik (ib., 1904;
presenting a solution of the problems of
figuration, sequence and inversion); Die
Zukunft der Musiktheorie (ib., 1905; against
dualism); Ein neuer exotischer MustksM
(Stuttgart, 1906); Fortschrittliche Harmonic-
M. Melodielehre (Leipzig, 1908); Die Unmog-
lichkeit u. Oberflussigkeit der dualtsttschen
Molltheorie Riemanns (in 'Neue Ztschr. f.
Musik,' 1901, Nos. 44-50).
Capel'li. Pen-name of Johann David
von Apell.
Capoc'ci t-p6ht'che], Filippo, b. Rome,
May 11, 1840; d. there July 25, 1911. Re-
puted to have been the finest Italian organist
of his time. From 1875, organist of San Gio-
vanni in Laterano. — Wrote an oratorio, 5.
Atanasio (1863); six sonatas, and other works
f. organ.
Capoc'ci, Gaetano, b. Rome, Oct. 16,
1811; d. there Jan. 11, 1898. Or^an-pupil
of Sante Pascoh; st. later under Fioravanti
and Cianciarelli (comp.), and in 1833 brought
out his first oratorio, BaUista. He became
org. at the Ch. of S. Maria di Vallicella, and
(1839) at S. M. Maggiore; elected, in 1855,
maestro direttore of the 'Cappella Pia' at the
Latcran, succeeding Meluzzi. He wrote and
publ. a vast amount of sacred music (another
oratorio, Assalonne; masses, motets, litanies,
offertories, psalms, introits, etc.), and formed
numerous distinguished pupils.
Capoul [-pool'], Joseph-Am&tee-Victor,
brilliant stage-tenor; b. Toulouse, Feb. 27,
1839; pupil (1859) of Revial and Mocker at
Paris Cons. Debut at Opera-Corn., Aug. 26,
1861, as Daniel in Adam's Le Chalet; eng.
at the Opera-Corn. 1861-72, and has since
then sung in London (with Nilsson), New
York, and other cities; 1892, prof, of operatic
singing in National Conservatory, New York;
since 1897 stage-manager at the Grand-Opera.
Has created the chief tenor parts in Les
Absents (Poise), La Colombe (Gounod), La
Grand* tante (Massenet), Le Premier Jour
de bonheur (Auber), Vert- Vert (Offenbach),
Paul et Virginie (Masse), Les Amants de
Verone (d'lvry), etc.
Caraccioll [-rah-tchoh'le], Luigi, comp. and
excellent singing-teacher; b. Adria (Bari), Aujj.
10, 1849; d. London, July 22, 1887. Pupd
of Cesi, Conti and Mercadante in Naples
(1863-9). Called to Dublin (1878) as Dir.
of the School of Singing in the R. Irish
Academy of Music; removed, in 1881, to
London. Wrote a successful opera, Maso il
Montanaro (Bari, 1874), and innumerable
songs, many being very popular (Danta dette
memorie, Un sogno fulf Rime popolare, etc.).
Cara'fa de Colobra'no, Mich el e Enrico,
b. Naples, Nov. 17, 1787; d. Paris, July 26.
1872. A son of Prince Colobrano, Duke of
Alvito, he began mus. study early and while
very young wrote an opera, 2 cantatas, etc.
Though he became an officer in the army of
Naples, and fought in Napoleon's Russian
campaign, he devoted his leisure to music,
and after Waterloo adopted it as a profession.
Up to 1819 he produced 9 operas on Italian
stages; from 1821-33, about 20 in Paris,
most successful among which were Le Solitaire
(1822), MasanieUo (1827, his best), and
La Violette (1828); also a few others in Italy
and Vienna. Settled in Paris, 1827; member
of the Academy (Lesucur's successor), 1837;
in 1840, prof, of comp. at Cons. Besides
operas, he wrote ballets, cantatas, and
considerable good church-music.
140
CARDON— CARON
Canton, Louis, eminent harpist; b. Paris,
1747; d. Russia, 1805, whither he had fled at
the outbreak of the Revolution. His Art de
jouer de la harpe (Paris, 1785) is one of the
earliest methods for that instrument; wrote
2 symphonies concertantes for harp and
string-orch., op. 18; several sonatas, trios
and duos for harp; numerous arrangements.
Careeti'ni, Giovanni (stage-name Cusa-
nino, from the family of Cusani in Milan,
his protectors); b. Monte Filatrano (Ancona),
circa 1705; d. there 1760. Soprano singer
(musico) at Rome, Prague, Mantua, London
(1733-5, under Handel, in rivalry with
Farinelli), then at Venice, Berlin and Petro-
grad (1755-8).
Carey, Henry, b. 1685 (?); d. London,
Oct. 4, 1743. A reputed natural son of George
Savile, Marquis of Halifax. His teachers were
Linnert, Roseingrave, and Geminiani, but he
was chiefly self-taught. He lived as a music-
teacher, and writer for the t heatres. His claim
to authorship of God Save the King is dis-
puted, despite the attempts of his son,
Gerome Savile Carey (1745-1807), to sub-
stantiate it (v. articles by Cummings, 'Mus.
Times,' 1878). His song Sally in Our Alley
still enjoys popularity. His musical dramas
(ballad-operas), 9 in number, had consider-
able success; in 1737 he publ. 100 ballads,
The Musical Century. — See Q.-Lex.
CarU'simi, Giacomo, b. Marino, near
Rome, about 1604; d. Rome, Jan. 12, 1674.
From 1624-7 he was organist at the Cath.
of Tivoli; from 1628 to his death m. di capp.
in the Ch. of S. Apollinare, Rome. A proline
and original church-composer, he broke with
the Palestrina tradition, devoting himself to
Cerfecting the monodic style, as is evidenced
y his highly developed recitative and. more
pleasing and varied instrumental accom-
paniments. His music MSS. were dispersed
at the sale of the library of the German
College, and many are lost; but few printed
works are still extant. There were publ. the 5
oratorios Jephte (his masterpiece), Judicium
Salomonis, Jonas, Jonah, Balthazar; 2 colls,
of motets a 2, 3 and 4 (Rome, 1664, '67);
masses a 5 and 9 (Cologne, 1663, '67); Arte da
camera (1667); and detached pieces in several
collections. The finest coll. of his works is
that made by Dr. Aldrich at Christ-Church
College, Oxford. He also wrote a treatise,
publ. only in German: Ars cantandi, etc.
(Augsburg; 2d ed. 1692; 3d, 1696). F.Chrysan-
der publ. 4 oratorios (Jephte , Judicium Salo-
monis, Balthazar, Jonas) in vol. ii of 'Dkm.
der Tonkunst.' — Cf. M. Brenet, Les Oratorios
de C. ('Riv. Mus. Ital.', 1897); A. Schering,
Geschichte des Oratoriums (Leipzig, 1911).
Carl, William Crane, concert-organist;
b. Bloomfield, N. J., March 2, 1865. Pupil
for several years in New York of S. P.
Warren (org. and theory) and Mme. Mad.
Schiller (pf.); also, for nearly 2 years, of
Alex. Guilmant, Paris (or^. and theory).
From 1882-90, oreanist of First Presbyterian
Ch., Newark, N. J.; since 1892, organist and
choirmaster of the Old First Presby. Church,
New York; 1893-1900, conductor of N. Y.
'Baton Club' (mixed ch. of 75 voices; merged
after 1898 in the 'Gamut Club'); founder and
dir. of 'Guilmant Organ Sch.\ N. Y.; Mus.
Doc., N. Y. Univ., 1911; also 'Omcier de
l'instruction publique' since 1909. As a con-
cert-organist with an enormous repertory, C.
has played in most large cities between New
York and San Francisco, both with the large
orchestras and in recital, and has inaugurated
many organs, etc. Founder, and member of
Council, of Amer. Guild of Organists. Has
publ. Masterpieces for the Organ; 30. Preludes
for the Organ; Novelties for the Organ (2
books) ; Master Studies for the Organ.
Carmichael, Mary Grant, contemporary
British pianist and composer; b. Birkenhead.
Pupil of O. Beringer, W. Bache, and F.
Hartvigson (pf.), and £. Prout (comp.). She
is an accomplished accompanist. — Works:
Operetta, The Snow Queen; a Suite for pf . 4
hands, and minor pf. -pieces; many songs,
including The Stream, a song-cycle. — Transl.
H. Ehrhch's Celebrated Pianists of the Past
and Present (London, 1894).
Carnicer [-ne-thar'], Ram6n, b. Tarrega,
Catalonia, Oct. 24, 1789; d. Madrid, March
17, 1855. From 1818-20, conductor of the
Italian Opera, Barcelona; 182&-30, of the
Royal Opera, Madrid; 1830-54, professor of
comp. at Madrid Cons. One of the creators
of Spanish national opera (the zarzuela), he
composed 9 operas, wrote much church-
music, many symphonies, Spanish songs, etc.;
also Duke Patriat the national hymn of Chile.
Ca'ro fkah-], Paul, b. Breslau, Oct. 25,
1859. Pupil of J. Schaffer and B. Scholz;
1880-85, at Vienna Cons., of Door and
Bruckner; lives in Breslau. — Works: Op. 2,
sonata in F; op. 6, string-quartet in Bb m.;
op. 8, pf.-trio in E; op. 19, string-quartet in
D m.; op. 20, ditto, in F# m.; numerous pf.*
pieces and songs. In MS. he has 5 symphs.;
a sinfonietta; several symph. poems; 2 sere-
nades for string-orch.; 2 sacred cantatas; a
Requiem; a pf. -quintet; about 30 string-
quartets; an overture to Faust. An opera.
Hero und Leander, was produced at Breslau
(1912); another opera, Die Hochzeit von UU
fosti, has not yet been produced.
Caron [kah-r&hn'], Philippe, famous
(Netherland?) contrapuntist of the 15th
century, a pupil of Binchois and Dufay;
his only extant works are a few masses in
141
CARON— CARRODUS
the Papal Chapel, and a MS. of 3-part
chansons in the Paris Library.
Garon, Mme. Rose (nSe Meuniez),
dramatic soprano; b. Monerville, France,
Nov. 17, 1857; entered the Paris Cons,
(already married) in 1880, leaving in 1882
to take lessons with Marie Sasse in Brussels,
where her debut was made as Alice in Robert
(1884). Here she created Brunehilde in
Sigurd (1884), and Eva in Les Matlres-
Chanteurs (1885); then sang 2 years at the
Opera, Paris, and a^ain in Brussels 1888-90,
creating Laurence (in Jocelyn), Richilde, and
Salammbd (1890); in 1890 she returned to
the Paris Grand Opera, where she created
Sieglinde (1893) and Desdemona (1894) in
the first performances of Walkiire and Otetto
in France; in 1898 she created Fidelio at the
Op.-Comique (first perf. in France!). Other
principal Ales are Rachel, Norma, Margue-
rite, Valentine (Huguenots), Elsa, Elisabeth.
Since 1900 she has appeared almost exclusively
on the concert-stage; in 1902 app. prof, of
singing at the Cons. — Cf. H. de Curzon,
Croquis d' artistes (Paris, 1898).
Carpa'nl, Giuseppe Antonio, writer and
poet; b. Villalbese (Como), Jan. 28, 1752; d.
Vienna, Jan. 22, 1825, as court poet; for a
short time censor and theatre-dir. at Venice,
but lived the greater part of his life in Vienna.
Chief works: Le Haydine, owero leUere
suUa vita e le opere del eelebre maestro Giuseppe
Haydn (Milan, 1812); and Le Rossiniane,
ossia leUere musico-teatrali (Padua, 1824).
He was the author of several opera-libretti;
transl. others from the French and German.
Carpenter, John Alden, composer; b.
Park Ridge, 111., Feb. 28, 1876. Studied at
Univ. Sch., Chicago; at Harvard Univ. he
pursued besides the regular acad. course
(A. B. 1897) the full course in music under
Prof. John K. Paine; pupil of Edward Elgar
(Roma, 1906) and of Bernhard Ziehn
(Chicago, 1908-12). In his compositions he
follows the modern impressionistic tendencies.
Has written Adventures in a Perambulator,
orch. suite (1914); Gitanjali, song-cycle (1913);
concertino f. pf. and orch. (1915); sonata f.
vln. and pf. (1912); numerous songs.
Carpentras [-pahn-trah'], (II Carpen-
trasso in Italian; his real name was Eliazar
Genet); b. Carpentras (Vaucluse), c. 1475;
d. Avignon (?), c. 1532. In 1515, leading
singer in, ana soon after m. di capp. of, the
Pontifical chapel; in 1521 he was sent to
Avignon on negotiations connected with the
Holy See. 4 volumes of his works (Masses,
1532; Lamentations, 1532; Hymns, 1533;
Magnificats) were printed at Avignon, by
Jean de Chaunay, in round notes and without
ligatures. A few motets are printed in Pe-
trucci's 'Motetti della Corona' (vol. i, 1514,
and vol. iii, 1519).
Carr, Frank Osmond, English composer;
b. Yorkshire, Apr. 23, 1858. Mus. Bac,
Oxon., 1882; Mus. Doc., 1891.— Works:
several farces, burlesques, and comic operas:
Joan of Arc (1891), Blue-eyed Susan (London,
1892), In Town ('92). Morocco Bound ('93),
Go Bang ('94), His Excellency ('94, book by
Gilbert), Biarritz ('96), Lord Tom Noddy
('96), The Clergyman's Daughter (Birming-
ham, '96; London, Gaiety Th., later, as My
Girl), The Rose of the Riviera ('99), Roger de
Coverley (1907), etc.
Carre1, Albert, nephew of the librettist
Michel Carre; b. June 22, 1852, at Strassburg,
where he st. in the Lycee. At first an actor
in the Vaudeville Th., Paris, he assumed the
direction of the theatre at Nancy in 1884;
in 1885, that of the Vaudeville (with Des-
ksides till 1890); and 1894-98, of the V. and
the Gymnase together (with Porel). Also,
1885-90, director of the Cercle at Aix-les-
Bains. From 1898-1912 he was director of
the Opera-Comiq^ue, succeeding Leon Car-
valho. During his incumbency the perform-
ances rose to high a degree of excellence,
and as C. produced several works which,
according to French standards, belong to
grand opera, the Op.-Com. for a time became
a serious rival of the Grand Opera. Carre
has written a number of light stage-pieces,
set to music by various composers.
Carre'fio, Teresa, b. Caracas, Venezuela,
Dec. 22, 1853. A pupil of L. M. Gottschalk,
afterwards of Georges Mathias in Paris, she
has become one of the foremost pianists.
She played in public 1865-6; her reputation
was well established in 1875, when she made
a tour of the United States. For several
years she resided in London, and then
travelled 1889-90 throughout Germany,
everywhere winning applause and greatly
enhancing an already brilliant reputation.
In 1893 she received the title of Court
Pianist to the King of Saxony. She has
played in all the chiefEuropean and American
towns. In 1872 she married the violinist
£mile Sauret; was divorced after a few years
and married the baritone Giov. Tagliapietra;
again div., and married to Eugen d' Albert
(1892-5); after being div. from him, she
married a younger brother of Tagliapietra.
A daughter, Teresita, has appeared as a
pianist. Mme. C.'s playing is characterized
by brilliancy, dash and masculine vigor;
she has publ. a str. -quartet in B, and a
number of brilliant concert-pes. for pf.
Carro'dus, John Tiplady, eminent vio-
linist; b. Keiehley (Yorks.), Jan. 20, 1836; d.
Hampstead, London, July 13 (not 12), 1895.
A pupil of Molique at London and Stuttgart,
142
CARSE— CARUSO
he returned to England in 1853; had played
since then in the best English orchestras,
succeeding Sainton (1869) as leader of the
Covent Garden Orch.; later he was also leader
at the Philharmonic, and at the chief provin-
cial festivals; made his debut as soloist in
1863. He was an excellent teacher, and publ.
several pieces for solo violin. — Cf . A. Carrodus,
J. T. C, Violinist: a Life-Story (London, 1897).
Cane, A. von Ahn, b. Newcastle-on-
Tyne, May 10, 1878. Pupil of F. Corder at
R. A. M., London;* teacher of comp. there
since 1902. Wrote 2 symphs. (C m., G m.);
prelude to Manfred; a concert -overture (D):
2 symph. poems, The Death of Tintagiles and
In a Balcony; a cantata, The Lay of the Brown
Rosary; chamber-music; pf. -pieces; songs.
Garter, Ernest, organist, composer; b.
Orange, N. J., Sept. 3f 1866. Studied pf. and
harm, with Mrs. Mary F. Bradshaw (1874-
81); pf. with William Mason (1883-4); comp.
and cond. with Prof. Wilhelm Freudenberg,
Berlin (1894-8); comp. with O. B. Boise,
Berlin (1895-7); organ with Arthur Egidi,
Berlin (1897-3), and Homer N. Bartlett
(1898-9). Mus. dir. of Thatcher School,
Nordhoff, Cal. (1892-4); org. and choirm.
American Ch., Berlin (1897-8); lecturer on
music, and organist and choirm., at Princeton
Univ. (1899-1901); now in N. Y. City as
arranger, cond. and comp. Received A. B.,
Princeton (1888); A. M., Columbia Univ.
(1899); admitted to the Bar in 1891. —
Works: The Blonde Donna, or The Fiesta of
Santa Barbara , opera comique; a string-
Jiuartet in G; Symphonic Suite in D m.
or orch.; many sorigs; anthems (The Lord's
Prayer, Out of the Depths, etc.) ; male quartets.
Garter, Thomas, b. Ireland, 1734; d.
London, Oct. 12, 1804. Organist of St. Wer-
burgh's Ch., Dublin, 1751-69; studied in Italy
(1770-1); from 1771-2, cond. of theatre in
Bengal; settled in London, 1773, as composer
to theatres. He composed incidental music
to several plays; also a concerto for bassoon
and pff; 6 pf. -sonatas; songs; Lessons for the
Guitar. — See Q.-Lex.
Cartier [kahr-t'ya'], Jean-Baptiste, b.
Avignon, May 28, 1765; d. Paris, 1841. Pupil
of Viotti; violinist at Grand Opera (1791—
1821); 1804, member of the Imperial Orch.;
1815, of the Royal Orch. ; pensioned 1830.—
Works: 2 operas; sonatas, variations, duets,
and etudes for vln.; and Vart du violon
(Paris, 1798, 1801), containing selections from
eminent French, Italian and German masters
of the 17th and 18th centuries.
Garulli, Ferdinando, b. Naples, Feb. 10,
1770; d. Paris, February, 1841. Brilliant self-
taught guitar-player, whose original method is
the basis of modern guitar-playing. He lived
in Paris, from 1808, as an eminently success-
ful and popular concert-giver and teacher.
His compositions are nearly 400 in number
(concertos, quartets, trios, and duos; fanta-
sias, variations, and solos of all descriptions).
He wrote a Method, and a treatise, L'har-
monie appliquee d la guitare (Paris, 1825).
Garulli, Gustavo, son of preceding; b.
Leghorn, June 20, 1800; d. Boulogne, April,
1877. Vocal composer, and excellent singing-
teacher; wrote a Methode de Chant, many
vocal exercises, songs with pf., trios (his best
works), etc.; also an opera, / tre tnariti
(Milan, 1825).
Caru'so, Enrico, the greatest dramatic
tenor of the present time, and probably of
this generation, was born at Naples, Feb. 25,
1873. Reared amid humble surroundings as
a member of a large family, he began serious
vocal training in 1891 under Guglielmo Ver-
gine (voice-placement), studying for 3 years
and finishing under Vincenzo Lombardi. His
debut was made in April, 1895, at Caserta
(near Naples), in the rdle of Faust; but he
was hardly known till his appearance in 1896
at the Fondo Th., Naples, in La Traviata,
successfully seconded by La Favorita and Gio-
conda. His position became assured with his
engagement at the Teatro Lirico in Milan,
where he was chosen to create the r61e of
Loris in Giordano's Fedora (1898); he also
sang at the Carlo Felice in Genoa, for two
winter seasons at Petrograd, and during five
summer seasons (1899-1903) at Buenos Aires.
For the Carnival of 1901 he appeared at La
Scala, Milan, in La Bohlme, Mefistofele, and
VEiisir oVamore, and created the Florindo in
Mascagni's Le Maschere. In the autumn of
1901 he sang at Treviso and Bologna in La
Tosca; for the Carnival of 1902 again at Milan
(T. Lirico), creating the leading tenor roles
in Cilea's Adriana Lecouvreur and (at La
Scala) Franchetti's Germania. In 1902 he
likewise sang with Melba at Monte Carlo
(where he was engaged for four seasons), and
made his London debut on May 14 at Covent
Garden as the Duke in Rigoletto with unmis-
takable success so far as the discriminating
public was concerned, though the critics
reserved their enthusiasm. During the winter
season of 1903-4 he sang at Rome and Lis-
bon; later (Nov. 23, 1903) making his Ameri-
can debut at the Metr. Opera House, New
York, in Rigoletto; here he has appeared regu-
larly ever since. At Monte Carlo (March,
1904) he took the part of Pinkerton in the
creation of Puccini's Madama Butterfly.
From his summer season of 1903 at Covent
Garden dates his immense popularity in
London, where he has not appeared in opera
since 1907, the management being unwilling
to accede to his terms; he has, however, sung
at private entertainments and in concert,
143
CARUSO— CASELLA
where his wonderful gifts are displayed to
great advantage. In 1907 he included Leip-
zig, Hamburg and Berlin in a German tournee
which became an ovation; in the autumn of
1907 he was enthusiastically greeted at the
Court Opera in Vienna. When he sang there
again in 1913 he received 15,000 crowns
(93,000) for each performance. Since then he
has received similar fees everywhere, and
when he appears now in Germany or Austria
the seats are practically sold at auction. It
is said that the royalties paid to him for his
records are some $75,000 a year. It would be
idle, even if it were possible, to attempt a
complete list of the theatres in which he has
sung. His tone has the ring of the true dra-
matic tenor, combined with a sweetness and
power unrivalled to-day on the stage. In
perfection of breath-control and equalization
throughout its compass his voice is an
admirable exemplar of the so-called Old
Italian Method of bel canto; in ranee of
expression, from the rude passion of the
Italian veristic opera to the tranquil beauty
of lyric episodes, he stands alone on the
stage. He himself says that he has no
'favorite roles' — that all should have equal
importance for the conscientious singer. His
repertory of over 50 parts sung on the
stage includes the chief rdles of modern
French and Italian opera. — Cf. J. H.Wagen-
mann, E. C. und das Problem der Stimm-
bildung (Altenburg, 1911).
Caruso, Luifti, b. Naples, Sept. 25, 1754;
d. Perugia, 1822. M. di capp. at Perugia
cathedral, and a remarkably prolific dramatic
comp. (69 operas); he also wrote 5 oratorios
and much other church-music. — See Q.-Lex.
Carvalho [-vahl'yu], (really Carvaille),
Leon, distinguished opera-manager; b. 1825
in a French colony; d. Paris, Dec. 29, 1897.
Himself a good singer, he met Mile. Miolan,
the celebrated soprano, at the Opera-Co-
mique, and married her in 1853. From 1872-4,
manager of the Theatre du Vaudeville; for 1
year, stage- manager at the Grand Opera;
from 1875, Director of the Opera-Comique,
succeeding du Loclc. After the terrible fire
of 1887, in which 131 persons perished, he
was arrested and sentenced to 6 months' im-
prisonment, and a fine of 200 fr.; but was
acquitted on appeal, and finally reinstated in
1891. He not only produced acknowledged
masterworks, but encouraged many young
artists by bringing out new operas.
Carvalho- Miolan [kahr-vahl'yu-ni'yoh-
lahn'], Caroline-Marie-Felix, b. Marseilles,
Dec. 31, 1837; d. near Dieppe, July 10, 1895.
Famous dramatic soprano. Entered Paris
Cons, at 12; st. under Duprez; took first
prize after 4 years. Trial debut 1849, in
Lucia (Act I), at the Opera-Comique, where
she was engaged 1849-56. In 1853 mar-
ried Leon C. — Favorite par excellence in
Op.-Comique, Th.-Lyr., and (1868) Grand
Opera. Leading rdles: Juliette, Marguerite,
Mireille, Dinoran, Ophelie, Valentine, Pamina,
Cherubino, Zerlina. — Cf. H. de Curzon,
Croquis df artistes (Paris, 1898).
Cary, Annie Louise, distinguished con-
tralto singer in opera and concert; b. Wayne
(Kennebec County, Me.), Oct. 22, 1842.
Studied in Boston and Milan; debut at
Copenhagen; studied under Mme. Viardot-
Garcia at Baden-Baden; engaged at Ham-
burg (1868), later at Stockholm. Has sung
since then in theatres at Brussels, London,
New York (1870), Petrograd(1875). Married
C. M. Raymond in 1882 at Cincinnati, and
retired at the height of her powers. She
appeared in concert or oratorio in all leading
cities of America.
Casals [kah-sahls'], Pablo, famous violon-
cellist; b. Vendrell, Catalonia, Spain, Dec.
30, 1876; until 11, pupil of his father; from
12-15, at Barcelona, of Jose Garcia ('cello)
and J. Rodereda (comp.). From 1894-6 he
studied in Madrid under the queen's patron-
age with Tomas Breton (comp.) and assisted
in the chamber- music class of Jesus de Mo-
nasteries whom he succeeded in 1895. His
first public appearance was in 1889; his pro-
fessional debut at the Concerts Lamoureux,
Paris, 1898. Prof, of 'cello at Barcelona
Cons., 1897; solo'cellist at Paris Grand
Opera, 1895-8. On concert-tours, in 1895-9,
throughout western Europe; to the United
States, 1901-2 and 1903-4; again, with almost
sensational success, in 1914-16 (as soloist and
in ensemble); to South America, 1903, 1904.
It is safe to say that at present he has no
superior, and but few equals. In 1914 he
"married the American singer, Susan Metcalf.
— Comps. : La Vision de Fray Martin, symph.
poem lor orch., org., soli and ch.; another
symph. poem for orch. (1902); a Miserere;
orchl. pieces; pieces for pf. and 'cello, and
for pf. and vln.; etc*
Casamora'ta, Luigi Fernando, b. Wurz-
burg, May 15, 1807; d. Florence, Sept. 24,
1881. Student of law and music at Florence;
co-editor of the Florentine 'Gazz. Mus.' from
the start (1842). Failing as a comp. of ballet
and opera, he devoted himself to vocal ch.-
music and instrumental composition. He
wrote Origine, storia e ordinamento del R.
Istituto musicale fiorentino, of which Inst, he
was a promoter and co-founder; also many
critical and historical essays. His comps.
embrace numerous vocal and instrl. worts;
he published (1876) a Manuale d'armonia.
Gasella, Alfredo, b. Turin, July 25, 1883.
Began to play the pf. at the age of four, and
received nis entire instruction from his
144
CASELLA— CASTRUCCI
mother until 1896, when he entered the Paris
Cons.; studied there pf. with L. .Diemer (first
prize, 1899) and comp. with G. Faure. Has
made successful concert-tours (as soloist and
in chamber-music) of France, Spain, Portu-
gal, Italy, Germany, the Netherlands, Russia,
etc.; has also appeared as visiting cond. with
several of the larger European orchestras
(Colonne, Lamoureux, Concert-Gebouw, etc.) ;
in 1912 cond. of the 'Concerts Populaires' at
the Trocadero in Paris; prof, of advanced pf.-
classes at the Paris Cons, from 1912-15; in
1915 he succeeded Sgambati as prof, of pf. at
the Liceo musicale di S. Cecilia in Rome.
Gen. sec. of 'Societe musicale independent a';
chevalier of the Crown of Roumania. — Has
written for orch. Italia, a rhapsody; Prologue
pour une trag¨ 2 symphs. ; Notte di maggio,
with ch.; considerable chamber-music (string-
quartet, sonata for vcl. and pf., etc.); I1 Adieu
a la vie, a cycle of 4 Hindu lyrics from the
Gitanjali of S. Tagore, and other songs; pieces
for pf. i? Pieces, sonatina, Pupazetti, etc.).
Has orchestrated Balakirev's Isfamey. — Le
Convent sur Veau, a choreographic comedy,
is MS.
Casella, Pietro, the oldest composer of
madrigals, a personal friend of Dante, died
before 1300.— Cf. C. Perinello, C. Appunti
suUa vila% etc, (Trieste, 1904).
Casella, Pietro, b. Pieve (Umbria), 1769;
d. Naples, Dec. 12, 1843. Wrote numerous
operas for Naples and Rome; was maestro at
several Naples churches and (1817-43) prof,
at the R. Cons., Naples. His numerous
masses, vespers, psalms, motets, etc., are said
to lack originality^
Casio Va, Marie, concert violinist; b.
Ozark Mts., Mo., March 29, 1895. Studied
with Geo. Heerich, St. Louis; then with Otto-
kar Sevcik (Prague), and Carl Flesch and
Arrigo Serato (Berlin); debut with Bliithner
Orch., Berlin (Oct. 1, 1913); American debut
with N. Y. Symph. Orch. (Nov. 14, 1913);
toured with Gadski; has appeared since with
several of the larger symphony orchs. and in
many recitals in the U. S. and Canada.
Cassiodo'rus, Magnus Aurelius, b. circa
470 at Syllaceum (Lucania). Of his work,
De artibus ac disciplines liberalium litte-
rarum, the section treating of music, ' Institu-
tiones musicae, is printed in Gerbert's 'Scrip-
tores,' vol. i.
Gastel', Louis-Bertrand, Jesuit; b. Mont-
pellier, Nov. 11, 1688; d. Paris, Jan. 11, 1757.
Struck by Newton's observation on the corre-
spondence, in proportionate breadth, of the 7
prismatic rays with the string-lengths required
for the scale re, mi, fa, sol, la, si, do, he at-
tempted the construction of a 'Clavecin ocu-
laire,' to produce color-harmonies for the eye
as the ordinary harpsichord produces tone-
harmonies for the ear. These expensive ex-
periments led to no practical result. His
Clavecin* is explained in an essay, Nouvelles
experiences d' oblique et d'acoustique (1735;
Engl, transl., London, 1757; Germ, transl..
Hamburg, 1739). His other treatises are of
no special interest.
Ca6telli, I&naz Franz, b. Vienna, March
6, 1781 ; d. there Feb. 5, 1862. He was 'Court
Theatre-Poet' at the Kar ntnerthort heater;
founder, and (1829-40) editor, of the 'Allgcm.
musikal. Anzeiger.' He wrote the libretto of
Weigl's Schweiterfamilie, and other popular
opera-books, and translated many foreign
operas for the German stage. His Memoirs
were publ. in 1861 in 4 vols.
Castelmary [-mah'rel, (stage- name of
[comte] Armand de Castan), dramatic
baritone; b. Toulouse, Aug. 16, 1834; d. New
York, Feb. 8, 1897, on the stage of the Met-
ropolitan Opera House, just after the 1st act
of Martha. Debut at Gr. Opera, Paris, in
1864; he remained there till 1870; then went
over to Italian opera, in which he had much
success, particularly at Drury Lane, London,
1873, as Mephistopheles in Faust, Covent
Garden, London, and New York. His reper-
tory of bass and baritone rdles was immense.
Castil-Blaze. See Blaze, F.-H.-J.
Castillon [kah-ste-yfthn'], Alexis de (vi-
comte de Saint-Victor), b. Chartres, Dec.
13, 1838; d. Paris, March 5, 1873. St. with
V. Masse, but, becoming dissatisfied, went to
Cesar Franck, under whose guidance he wrote
a pf .-quintet. This he designated as op. 1 , and
' destroyed all previous compositions. He is
one of the first French composers of the last
century to cultivate absolute music; one of
the original founders of the 'Societe nationale
de musique' (1871).— Works: Psalm 84 for
soli, ch. and orch.; overt., Torquato Tasso; 2
suites for orch.; Esquisses symphoniques; a
concerto for pf. and orch.; a str.-quartet; a
pf. -quartet; 2 pf. -trios; a sonata for pf . and vl. ;
pf.-pes.; songs.
Castrucci [-str66'tche], Pietro, violinist; b.
Rome, 1689; d. Dublin, Feb. 29, 1752. A
{>upil of Corelli, he came to London (1715) as
eader of Handel's opera-orch. He was a fine
player on the 'violetta marina,' a stringed
instrument invented by himself, and resem-
bling the 'viol d'amore* in tone. In Orlando,
Handel wrote an air accomp. on 2 'violette
marine' 'per gli^Signori Castrucci' — Pietro,
and Prospero, his brother. — Publ. vln.-con-
certos, and 2 books of vln. -sonatas. — Pro-
spero C. , who died in London, 1 760, and was a
violinist in the Italian Opera-orch., publ. 6
soli for vln. and bass.
145
CATALANI— CAVAILLfi-COL
Catalan! [-lah'ng], Alfredo, gifted dram,
comp.; b. Lucca, July 19, 1854; d. Milan, Aug.
7, 1893. Taught by his father, a fine musician,
and by F. Magi; wrote (1868) a Mass for 4-
parts and orch., by which he gained admission
without examination to the Paris Cons. Re-
turned to Italy 1873; studied in Milan Cons.
2 years; then devoted himself to dramatic
composition; he was the successor of Pon-
chielli as prof, of comp. in Milan Cons. (1886).
— Works: Operas: La Fake (1 act, Milan.
1875); L'Elda (Turin, *80); Dejanice (Milan,
'83); Ero e Leandro (Milan, 1885); Bdmea
(Milan, '86) ; Loreley [a new version of L'Elda]
(Turin, '90); La Wally (La Scala, Milan, '92;
N. Y. 1909); of his operas Dejanice, Loreley,
and La Wally, met with brilliant success. —
Also various orch. -pieces (e. g., Silenzio e con-
templasione) ; symph. poem Ero e Leandro;
chamber-music (also vocal), and pf.-pes.
Catala'ni, Angelica, b. Sinigaglia, May 10,
1780; d. Paris, June 12. 1849. Renowned so-
prano stage-singer of fine, commanding pres-
ence; endowed with a voice of wide range (to
|*) and wonderful flexibility, she excelled in
bravura singing. Taught at the convent of
S. Lucia di Gubbio (Rome), she made her
debut in 1795 at the Fenice Th., Venice,
passing to La Pergola, Florence (1799), and
La Scala, Milan (1801). Engaged in 1801 at
the Ital. Op., Lisbon, she married M. Vala-
bregue, an attache of the French embassy;
proceeded to Paris, where she gave only
concert-performances, and (1806) to London
(d6but King's Th., Dec. 15), where brilliant
engagements brought in£l6,70O within a year.
After a sojourn in Great Britain of 7 years, she
returned to Paris (1814), and undertook the
management of the Theatre Italien, without
much success; so that she gave it up in 1817,
travelled for 10 years, singing for the last
time at Berlin in 1827, and at the York
Festival in 1828. She retired to her country-
seat near Florence.
Catel', Charles- Simon, b. TAigle, Orne,
June 10, 1773; d. Paris, Nov. 29, 1830. Pupil
of Gossec and Gobcrt at the Paris ficole R. du
Chant (later merged in the Cons.), whtre he
was app. (1787) accompanist and 'professeur
adjoint ; in 1790, accomp. at the Opera, and
asst.-cond. (to Gossec) of the band of the
Garde Nationale. 1795, on the establishment
of the Conservatoire, he was app. prof, of
harmony, and commissioned to write a Traite
d* Harmonic (publ. 1802, and the standard at
the Cons, for 20 years). With Gossec, Mehul,
and Cherubini, ne was made inspector of the
Cons., resigning 1814. Member of the Acad.,
1815.— Works: 11 operas (Semiramis, 1802;
Les Bayaderes, 1810; Les Aubergistes de
qualite, 1812; etc.) ; national festival cantatas,
chamber-music; none of special originality.
Cf. J. Carlez, C. £tude biographiaue et critique
(Caen, 1895); F. Hellouin and T. Picard,
Un Musicienoublie: C. (Paris, 1910).— See
Q.-Lex.
Catela'nl, Angelo, b. Guastalla, March
30, 1811; d. S. Martino di Mugnano, Sept. 5,
1866. Pupil of Asioli (pf.) and M. Fusco
(harm.); entered Naples Cons, in 1831 (Zin-
garelli), also private pupil of Donizetti and
Crescentini. 1834, cond. of Messina opera;
1837, town maestro 'at Correggio; 1838, m. di
capo, at cathedral and court of Modena;
1859, asst. -librarian of the Este Library.
Having composed 3 operas (2 not produced;
1 succ.), he now devoted himself to musical
history; wrote Notitie su padre Aaron e su
Nicola VicenHno ('Gazz. Mus. di Milano,'
1851); Epistolario di autori celebri in musica
(1852-4); Bibliografia di due stampe ignote di
OUaviano Petrucci da Fossombrone [discovered
by Gaspari at Bologna] (1858); Delia vita e
deUe opere di Oramo Vecchi {1858); ditto
di Claudio Merulo da Correggio (1860); and
DeUe opere di Aless. StradeUa, etc. (1866).
Catoir [Uh-twahr/I, Georg Lvovitch, b.
Moscow, April 27, 1861. While pursuing
courses in mathematics at < the Univ. of
Berlin, he studied music with Klindworth
(pianoforte) and RQfer (comp.); then
pupil of Liadov in Petrograd; now (1916)
living in Moscow. — Works: Op. 5, Russalka,
cantata; op. 7, symphony in C m.; op. 13,
Mtsjri, symph. poem; op. 14, string-trio; op.
16, string-quintet; op. 17, 4 preludes for pi.;
op. 18, 3 poems of Tiutshev tor female voices
with pf.; op. 19, 3 songs for one voice; op. 20,
Poetne, a sonata for vln. and of.; op. 21, con-
certo for pf. and orch.; op. 22, songs; op. 23,
string-quartet.
Catru'fo, Giuseppe, dramatic comp.; b.
Naples, April 19, 1771; d. London, Aug. 19,
1851. Pupil of the Cons, della Pieta de' Tur-
chini. Officer in the French army till 1804;
then settled in Geneva, where he wrote and
produced 4 operas; went to Paris (1810), pro-
duced 10 more operas, and to London (1835).
He publ. a Mcthode de Vocalisation, solfeggi,
church-music; cantatas; pf. -pieces; songs.
Caurroy [kdh-rwahl, Francois-Eustache
du, sieurde St. -Fremiti; b. Gerberoy, near
Beauvais, February, 1549; d. Paris, Aug. 7,
1609. Singer, cond., and from 1599 superin-
tendent 'de la muaique du roi.' His works,
mostly for church, were much valued by
contemporaries.
Cavaill6-Col [kah-vah-yS'-], Aristide,
celebrated organ-builder; b. Montpellier, Feb.
2, 1811; d. Paris, Oct. 13, 1899. His father,
Dom. Hyacinthe C.-C. (1771-1862), was also
an organ-builder. Aristide went to Paris in
1833; built the organ at St.-Denis, and there-
after many famous organs in Paris (St.-Sul-
146
CAVALIERI— CAYLUS
pice, Madeleine, etc.), the French provinces,
Belgium, Holland, and elsewhere. He in-
vented the system of separate wind-chests
with different pressures for the low, medium,
and hi$h tones; also the 'flutes octaviantes.'
— Writings: Etudes expSrimentales sur les
tuyaux d'orgue (Report tor the Academie des
Sciences, 1849); De Vorgue et de son vrchi-
tecture ('Revue generate de Parchitecture des
Travaux Publics,' 1856), and Projet d'Orgue
monumental pour la BasUique de Saint-Pierre
de Rome (1875).— Cf. A. Peschard, Notice
biogr. sur A. C.-C. et les argues Slectriques
(Paris, 1899).
Cavalier! [-vah-1'ya're], Emilio del, a
Roman nobleman; b. circa 1550; d. Rome,
March 11, 1602. He was 'Inspector-General
of Art and Artists' to the Tuscan court at
Florence, where he was one of the 'inventors'
and most zealous promoters of the (then) new
'stilo rappresentativo' — i. e., the homophonic
style, melody with accompanying harmonies.
His chief work, La Rappresentazione dianima
e di corpo (Rome, 1600), is regarded as the first
oratorio; in his H Satiro (1590), Disperazione
di Filene (1590), and Giuoco delta cieca (1595),
are the germs of modern opera, despite the
crudities of their harmonies and melodic
monotony. In the Rappresentasione, too,
occurs a 'basso continuato' with thorough-
bass figuring; and the melody shows attempts
at figuration; the work was published by
Aless. Guidotti in 1600, with an explanatory
preface. A facsimile edition of the libretto
was publ. by D. Alaleona (Rome, 1912), and
ditto of the orchl. score in Mantice's 'Colle-
zione di prime fioriture del melodramma ita-
liano' (ib., 1912).— Cf. D. Alaleona, Su E. C,
etc. (in 'Nuova Musica,' Florence, 1905);
L. Guidiccioni-Nicastro, La rappresentasione
di anima e di corpo . . . notizie storiche (Lee-
horn, 1911).
Cavalie'H, Katherina, b. Wahring, Vien-
na, 1761; d. Vienna, June 30, 1801. Although
she scarcely ever sang outside of Vienna, she
has become known to fame from a passage in
a letter of Mozart's, calling her 'a singer of
whom Germany might well be proud.' For
her he wrote the r6ie of Constance (Entfuh-
rung)t and the aria 'Mi trad!' in Don Giovanni
at its Vienna production.
Cavalle'ri, Lina, dram, soprano; b. Rome,
Dec. 25, 1874. Pupil of Mme. Mariani-Masi
at Paris; debut at Lisbon, Dec., 1900; then
sang several seasons in Naples, Rome, Flor-
ence, Palermo, Warsaw, and Petrograd; 1906-
7 at M. O. H.; 1908-9 at Manhattan Op. H.,
N. Y.; 1915-16 with Chicago Op. Co. On
July 10, 1913, she was married to the tenor
Lucien Murafore. Her voice is of magnificent
quality, but the registers are not perfectly
equalized; neither is her acting impressive ;
147
her success is due chiefly to her personal
beauty and a fiery temperament.
Caval'H, Francesco, b. Crema, Feb. 14,
1602; d. Venice, Jan. 14, 1676. His real
name was Pier Francesco Caletti-Bruni,
his father, Giambatt. Caletti, called Bruni,
being maestro at Crema; his protector was a
Venetian nobleman, Federigo Cavalli, and, ac-
cording to the prevailing fashion, he took the
latter's name. Trained in Venice, he was a
singer at S. Marco as 'Bruni' in 1617, as
'Caletti' in 1628, and in 1640 second organist,
as 'Caletti detto Cavalli.' App. first organist
in 1665, he became m. di capp. at S. Marco
in 1668. A pupil of Monteverde, his chief
works were dramatic (41 operas), which
show a marked advance, both in breadth
of form and power of expression, rhythmic
and melodic, over his master. His Giasone
(Venice, 1649) was applauded on all the
chief stages of Italy; his Serse (Venice, 1654)
was the opera chosen for the marriage
festivities of Louis XIV in 1660, and his
Ercole amante was written for the inaugura-
tion of the hall of the Tuileries (1662). C.
was also a fine organist, and composed a
noble Requiem, and much good church*
music. — Cf. L. Galvani, / teatri musicali di
Venezia net secolo X VII (1878) ; H. Kretzsch-
mar, Die venezianische Oper und die Werke
CavaUis u. Cestis (in 'Vschr. f. M.-W.', 1892);
E. Wellecz, C. und der Stil der venezianischen
Oper von 1640-60 (in Adler's 'Studien zur
M.-W.,' 1913).— See Q.-Lex.
Cavan, Marie (stage-name of Mary Edith
Cawein), soprano opera-singer; b. New
York, Feb. 6, 1889; studied m N. Y. with
Rose Marie Heilig, and coached with Miss
Harriet Ware; concert-debut May 1, 1909
at Hotel Plaza, N. Y.; sang in choir of Trin-
ity Methodist Ch.; in summer of 1910
coached by the baritone Charles Clark, at
Paris, in sinking German Lieder. An acci-
dental meeting with Andreas Dippel (to
whom she sang by request in Munich, and
again in Carlsbad) led to an engagement for
the Chicago-Phila. Opera Co., 1910-12. Op-
eratic debut as Irma in Louise at Chicago,
Nov. 9, 1910. Other rdles are Frasquita
{Carmen), Myrtale {Thais), Iras {Quo Vadis).
Cavoa, Gatterino, b. Venice, 1776; d.
Petropad, April 28, 1840. A pupil of Fr.
Bianchi, he first produced two patriotic can-
tatas in Venice, and in 1798 went to Petro-
erad, where the success of his Russian opera
Ivan Sussanm (1799) procured his appVas
court conductor. He wrote in all 13 Russian
operas; 1 in French, and 1 in Italian; besides
6 ballets, and vaudevilles, choruses, etc.
* 9HlHl fr5"108'!. Anne-Claude-Philippe
^J".51^68' Somte de» b- Par«. Oct. 31,
1692; d. there Sept. 5, 1765. He treated ol
CECILIA— CERVETTO
ancient music in his Recueil d'Antiquitis
Sgyptiennes, Hrusques, grecques, romaines et
gauloises (Paris, 1752 et seq.), also in his
dissertation printed in the 'Memoires de
l'Academie d'inscr.', vol. xxi, p. 174.
Cecilia (Saint), a Christian martyr, who
died for the faith at Rome, A. d. 230. On the
Christian calendar, her feast-day is Nov. 22.
She is the patron saint of music, more
especially of church-music, and legend ascribes
to her the invention of the organ.
Gelega [cha-la'gah], Nicold, b. Polesella,
Apr. IS, 1844; d. Milan, July, 1906. Pupil of
Mazzucato at the Milan Cons.; comp. an
opera, Marino, il cantore di Venezia (not
f>rod.) ; a symph. poem performed at the Co-
umbus festivals in 1892; a second symph.
poem, // Cuore di Fin gal; songs; instrumental
pieces; numerous pf.- transcriptions and fan-
tasias on opera-themes, etc. His works were
highly esteemed in Italy.
Geller [seh-la'], Ludovic (pen-name of
Louis Leclerq), b. Paris, Feb. 8, 1828.
Publ. La semaine sainte au Vatican (1867),
Moliere-Lully: Le mariage ford (Le ballet du
rot) (1867), Les origins de V Optra et le 'Ballet
de la reine9 (1868).
Cellier [sel-yal, Alfred, born of French
parents, Hackney, London, Dec. 1, 1844; d.
there Dec. 28, 1891. Chorister at St. James*
Chapel Royal; pupil of Thos. Helmore; 1866,
cond. at Belfast of the Ulster Hall concerts
and the Philharmonic. From 1871-5, cond.
at the Prince's Th., Manchester; 1877-9 at
the London Opera Comique, and (with Sulli-
van) of the Promenade Concerts in Covent
Garden. He then spent some years in Amer-
ica and Australia, and returned to London in
1887.— Works: The Masque of Pandora (Bos-
ton, U. S. A., 1881); the operettas Charity
begins at home (1870); The Stdtan of Mocha
(1876); The Tower of London; Nell Gwynne;
Bella Donna; The Foster-Brothers; Dora's
Dream; The Spectre Knight (1878); After all
(1878); In the sulks (1880); Dorothy (1886);
The Carp ( 1 886) ; Mrs. Jarramie's Genie (1 887) ;
and The Mountebanks (London, 1892); also
a setting of Gray's Elegy (Leeds Fest., 1883),
a symphonic suite, and some popular songs
and part-songs.
Cero'ne [cheh-], Domenlco Pietro, b.
Bergamo, 1566; d. after 1613. In 1592 he
went to Spain, and became a singer in the
court choir; in 1608 he joined the royal choir
at Naples. Publ. Regole per il canto fermo
(Naples, 1609), and El Melopeo y Maestro,
tractado de musica teorica y prdctica (Naples,
1613, pp. 1200; a compendium of early mus.
theory).
Gerreto [char-ra'to], Sciplone, composer,
lutist, and theorist; b. Naples, 1551; d. there
c. 1-632. Publ. 2 valuable works: Delia praUica
musica vocale e strumentale, etc. (Naples, 1601),
and Arbore musicale (Naples, 1601); a
third, in MS., is Dialogo harmonico (two
copies, 1628, 1631).
Gerton [sar-tdhn'], Pierre, a leading con-
trapuntist of the 16th century, was choir-
master of the Sainte-Chapelle at Paris. His
works (masses, motets, psalms, magnificats,
and chansons) were printed in the collections
of Ballard, Attaignant, Susato, Phalese, etc.,
between 1527-60. Cf. M. Brenet, Les Musi-
ciens de la S.-Chapcllc (Paris, 1910).— See Q.-
Lex.
Gerik [cheh-roo'], Domenico Agostino, b.
Lucca, Aug. 28, 1817; d. (?); an engineer and
musical dilettant, he publ. a biography of L.
Boccherini (1864); a letter to his friend
Andrea Bernadini, contrasting German with
Italian music (1870); and the interesting
Cenni storici deWinsegnamento delta musica
in Lucca, etc. (Lucca, 1871).
Getrenf [char'-], V. F. [Wenzel Franz],
celebrated inventor and improver of brass
wind-instrs. ; b. Dubec*, Bohemia, 1819; d. Jan.
19, 1896, at Kdntggratz. In his 12th year he
was a rood performer on most brass instrs.
Learned his trade with Bauer, a mus.-instr.
maker in Prague. Worked, later, in Briinn.
Presburg, Vienna, and Pest. Est. himself
(1842) at Kdniggratz. Invented the following
instrs.: Cornon (*44), Contrabass ('45), Pho-
nikon ('48), Baroxiton ('53), Contrafagotto in
metal ('56), Althorn obbligato ('59), Turner-
horn, Jagerhorn, army Trombones ('67).
Primhorn (73), and after this last proved
successful, the complete Waldhorn quartet
(Primhorn, Eb Alto, Waldhorn in F, Tenor in
Bb, Basso 1° in F, Basso 11° in Db), which he
considered his highest achievement. Then
followed the Subcontrabass and the Sub-
contrafagotto. He also made an entire
family of improved Cornets ('Kaiserkor-
nette'), also the 'Triumph' Cornet. His
'roller' cylinder-mechanism is an invention
of the highest importance. He improved the
Euphonion, the Russian Signal-horns, the
Screw-drum, and the church kettledrums.
His instrs. have taken first prizes in all
exhibitions in Europe and America. His
factory employs over 100 workmen. Since
1876 the firm has been 'V. F. C. & Sonne.'
Cervet'ti. See Gelinek, Hermann.
Cervet'to [char-], Giacomo (real name
Baasevi), distinguished 'cellist; b. Italy, circa
1682; d. London, Jan. 14, 1783, where he
had lived since 1728, at first as a player,
then manager at Drury Lane. — His son,
Giacomo (James), who d. Feb. 5, 1837, was
a fine 'cellist and concert-player; publ. soli
for vln., and duets and trios f. vln. and 'cello.
148
CESI— CHAM BERLAIN
Ceai [cha'zel, Beniamlno, distinguished
fiianist; b. Naples, Nov. 6, 1845; d. there
an. 30, 1907. Pupil of Naples Cons.,
studying comp. under Mercadante and Pappa-
lardo, and taking private pf.-lessons of Thai-
berg. App., 1866, pf.-prof. at Naples Cons;
1885-91 at Petroerad Cons.; paralysis of the
left hand forced him to give up his pianistic
career, and he returned to Italy; for 2 years
he was ed. of 'L'Archivio Musicale' (Naples).
He gave very successful concerts in Italy,
also at Paris, Cairo, Alexandria, etc. Publ.
some sixty pf.-pcs. and songs; also a
Method f. pf. (Milan, 1895-6-7). An opera,
Vittor Pisani, has not been produced; wrote
Storia del Pianoforte (1903).
Cesti [chSh'ste], Marc* Antonio, a Fran-
ciscan monk and renowned dramatic comp»;
b. Arezzo, Oct. [bapt. 15th J, 1618; d. Venice,
1669. Pupil of Carissimi at Rome; in 1646
in. di capp. to Ferd. II de' Medici, at Flor-
ence; 1660, tenor singer in the Papal choir;
1666-9, asst.-Kapellm. to the Emperor Leo-
B>ld I, at Vienna; then returned to Venice,
is first opera, Orontea (Venice, 1649), was
much applauded; other dramatic ventures
were also successful: Cesare amanle (Venice,
1651), La Dori (Venice, 1663) (selections
publ. in vol. xii of 'Publ. d. Gesellschaft f.
Musikforschung'], // Principe generoso (Vien-
na, 1665), // Porno d'oro (Vienna, 1666; the
score is in the Imp. Library at Vienna)
[publ. complete in 'Denkm. d. Tonkunst
in Osterreich,' III, 2 and IV, 2]; Tito (Venice,
1666), Nettuno e Flora festeggianti (Venice,
1666), Semiramide (Vienna, 1667), Le di-
sgfazie d'Amore (Vienna, 1667), A r gene (Ven-
ice, 1668), Genserico, and Argia (Venice,
1669). Many of his cantatas are preserved in
various European libraries; he transferred to
the stage the cantata, which had been per-
fected for the church by his master, Carissimi.
He also wrote madrigals, songs, etc. — Cf.
H. Kretzschmar, Die venezianische Ober u. die
Werke CavaUis und Cestis (in 'Vschr. f. M.-
W.\ 1892).— See Q.-Lex.
Chabrier [shah-br'yS'J, ( Alexia-) Emma-
nuel, b.Ambert, Puyde Ddme, Jan. 18, 1841;
d. Paris, Sept. 13, 1894. Studied law in Paris;
later harmony, etc., under Semet and Hi-
gnard, and pf. under Edouard Wolff. First
operette, I'Etoile (Paris, 1877) ; then I'Aduca-
Hon manquSe (Paris, 1879); 1881, chorus-
master under Lamoureux. In 1885 was pro-
duced La Sulamite (scene for soprano, female
ch., and orch.); 1886, Gwendoline, grand opera
in 3 acts (Brussels); 1887, the opera Le Roi
malgrS lui (Paris, Opera-Corn.). He left an
unfinished opera, BrtsSis. He published pf.-
music (e.g., the coll. Pieces /Moresques); a
chorus, A la Musique; and for orchestra a
Marche de file; a rhapsody, EspaHa; Suite
149
pastorale; Joyeuse Marche: Marche francaise.
— Cf. O. Sere, E. Ch., in M us. francais d'au-
jourd'hui (Paris, 1911); G. Servieres, £. Ch.
(Paris, 1912).
Chadwick, George Whitfield, b. Lowell,
Mass., Nov. 13, 1854. After some years'
study of organ, etc., under Eugene Thayer
at Boston, in 1876 he took charge of the
musical department of Olivet College, Mich.
During 1877-8 he studied in the Leipzig Cons.
(Reinecke, Jadassohn), and his graduation-
piece (overture to Rip van Winkle) was re-
peated at a Handel and Haydn concert in
Boston in 1880. In 1879 he studied composi-
tion and organ-playing at Munich under
Rheinberger; in 1880 he settled in Boston,
becoming organist of the South Congreg. Ch.,
and teacher of harmony, com p., and instrum.
at the N. E. Cons, of Music, of which he was
app. Director in 1897, succeeding Faelten.
He has received the hon. degree of A. M. from
Yale; and for several seasons was conductor
of the Worcester Mus. Festival. — C. is one
of the leading American composers; a list of
his chief works follows: Comic operas The
Quiet Lodging (Boston, 1892) and Tabasco
(lb., 1894); the lyric opera Judith (Worcester,
1900); music to the morality play Every
Woman (1911); 3 symphonies: I, in C (MS.);
II, in Bt>; III, in F; a sinfonietta in D;
6 overtures: Rip van Winkle, Thalia, Melpo-
mene, The Miller's Daughter, Adonais, Eu-
terpe; 3 symphonic sketches for orch., Jubilee,
Noel, and A Vagrom Ballad; Serenade in F;
Suite in A; Cleopatra, symph. poem; Aphro-
dite, symph. fantasy; Suite symphonique;
Variations for organ and orch. Also much
church-music, music for pf. and organ, and
some 50 songs (among these a set of 12 from
Arlo Bates' Told in the Gate)-, Chamber-music:
Pf. -quintet in El?; 5 string-quartets, in G m.,
C,D,Em.andDm.;string-trioinCm.;Choral
works: The Viking's Last Voyage (for baritone
solo, male ch. and orch., 1886); The Lovely
Rosabelle (for soli, mixed ch. and orch., 1890);
Phoenix expirans (1892); The Lily Nymph
(1895); The Pilgrim's Hymn (ode), and The
Columbian Ode (Chicago, 1893); Lochinvar.
ballad for baritone and orch.; Aghadoe, ballad
for soprano and orch. — Also a text-book on
Harmony (Boston, 1898).
Chaliapine, Feodor. See Shaliapin.
Ghallier [sh&hl-ya'], Ernst, b. Berlin, July
9, 1843, music-publisher there. His mono-
graphic catalogues of songs, duets, and trios,
etc., are of interest.
Chamberlain, Houston Stewart, b.
Portsmouth, Sept. 9, 1855. He received his
earliest education at Versailles, and then
studied at Cheltenham Coll., Gloucester.
Because of ill health he was obliged to
abandon his intention of following the
CHAMBONNlfiRES— CHANTAVOINE
military career (his father was a British
admiral), and in 1870 he went to Stettin.
His association with Prof. Kuntze there
filled him with enthusiasm for Germanic
culture and civilization, to the study of
which he devoted many years. The results
of these studies he published in a remarkable
work, Die Grundlagen des 19. Jahrhunderts
(Munich, 1899-1901; 10th ed. 1914; End.
tr. by Lord Redesdale, London, 1910). The
years 1879-81 he spent in Geneva, studying
science at the Univ. (taking his degree with
the diss. Recherches sur la she ascendante)
and music with A. Ruthardt. During his
residence at Dresden (1885-9) he began his
activities as contrib. to various German,
French and English journals, writing with
equal facility the three languages. From
1889-1908 he lived in Vienna. In the latter
.year he married R. Wagner's daughter, Eva,
and has since lived in Bayreuth. Ch. was
one of the most ardent and influential apos-
tles of Wagner's art, a man of deep pene-
tration and keen analytical power. His
great Wagner biography is, in fact, rather a
profound psychological study than a mere
record of events. Besides books dealing
with literature and philosophy, Ch. has publ.
the following: Das Drama Richard Wagners
(Leipzig, 1892; 5th ed. 1913; Fr. transl.
1894; Engl, transl. 1915;— still the best
work on that subject); Richard Wagner.
Echte Brief e an F. Praeger (Bayreuth, 1894;
2d ed. 1908); Richard Wagner (Munich,
1896; 2d ed. 1911; Engl. tr. 1897; Fr, tr.
1899); Die ersien 20 Jahre der Bayreuther
Buhnenfesisfnele (Bayreuth, 1896); Parsifal-
mdrchen (Munich, 1900; 2d ed. 1913).
Chambonnleres [shahn-b6hn-yar'], Jac-
ques Champion (called "Champion de
Chamb."), a cembalist of the 17th century
(d. circa 1670), first chamber-cembalist to
Louis XIV, and the teacher of the elder
Coupcrins, d'Anglebert, Le Begue, Hardelle,
and others. Two books of his clavecin-pes.
were printed (1670). H. Quittard publ. his
cplt. works (1911). — Cf. H. Quittard, Ch. (in
'Rev. Int. de Musique' 1898, no. 12).
Chaminade[shah-me-nahd'],Cecile- (Lou-
ise-Stephanie), composer and pf. -virtuoso;
b. Paris, Aug. 8, 1861, where she resides.
A pupil of Lecouppey, Savard, and Marsick;
finally (in comp.) of Benj. Godard. — Works:
The ballet -symphonie Callirhoe (Marseilles,
1888, v. succ); the symphonie lyrique Les
Amazones (Antwerp, 1888) ; 2 Suites for orch. ;
Concertstuck f. pf. w. orch.; she has publ.
over 60 pf.-pes., chiefly romantic in ' style
(six Concert-studies, op. 35; tXude sym-
hhonique; Vol se- Caprice; La Lisonjera; Ara-
besque, op. 61; impromptu; Six Airs de
ballet), and a great number of songs. Her
piano-pes. and songs enjoyed great popularity
tor a time.
Ghampein [shahn-pan'], Stanislas, b.
Marseilles, Nov. 19, 1753; d. Paris, Sept.
19, 1830. He studied under Peccico and
Chavet in Paris; at 13 he became m. de
musique at the Collegiate Ch. at Pignon, for
which he wrote a magnificat, a mass, and
psalms; in 1770 he went to Paris, where some
sacred works, and 2 operettas, made his name
known. Up to 1792 he produced 22 operas,
the best of which were La Mttomanie (1781),
Les Dettes (1787), and Le nouveau Don
QuichoUe (1789). From 1793-1804 he filled
a government position; yet also wrote 15
operas, none of which was prod. After this
he gradually lapsed into neglect and deep
poverty, from which he was rescued by friends
not two years before his death. Though one
of the best-known stage-composers of his
time, Champein's works are wholly forgotten.
— See Q.-Lex.
Champion, Jacques. See Chambon-
NI&RES.
Ghanot [shah-nohl, Francois, b. Mire-
court, 1787; d. Brest, 1823; son of an instru-
ment-maker; became a naval engineer, was
retired on half-pay, and during his forced
inactivity invented a violin, made on the
principle that the vibratory power would be
increased by preserving the longitudinal
wood-fibres intact as far as possible. Thus
his violin had no bouts, but slight incurva-
tions like a guitar; the sound-holes were
almost straight, and the belly nearly flat;
the strings were attached to the edge of the
belly, instead of to a tail-piece. The violin
was submitted to the Academy, whose report
after testing it put it on an equality with
those of Stradivari and Guarneri (!!). His
brother, a ItUhier at Paris, manufactured a
number of violins after this model; but gave
it up when a few years had demonstrated its
unpractical character.
Chantavoine [shahn-tah-vwahnl, Jean,
b. Paris, May 17, 1877. St. hist, of music
with Fried lander in Berlin in 1898, and again
from 1901-2; since 1903 mus. crit. of 'Revue
Hebdomadaire'; while retaining this post, he
fills a similar position on 'Excelsior' (since
1911); also (since 1911) one of the editors of
'L'Annee Musicale'; editor of the series 'Les
Mattres de la Musique' (a collection of
biogrs.), to which he himself has contrib.
Beethoven (1906) and Liszt (1910; 3d ed.
1913). Has also written Musiciens et Poetes
(Paris, 1912; contains an account of Liszt's
early lost opera, Don Sanche, the score of which
was found byCh.); publ. first time score and
pf.-arr. of Beethoven's 12 minuets for orch.
(written 1799, discovered by R. von Perger
in 1872).
150
CHAPI— CHARPENTIER
Chap! y Lorente [chah'pe], Ruperto,
b. Villena, Alicante, March 27, 1851; d.
Madrid, March 23, 1909. Pupil of the Cons,
of Madrid ; then on a stipend from the Spanish
Academy for further study in Rome (1874);
wrote some operas (La hita de Jefte, La hija
de Garcilaso, etc.), but discovered that his
talent found more suitable expression in the
lighter zarzuela; his work is noted for elegance,
grace and exquisite orchestration; of one of
his last zarzuelas (La Rtvoltosa) Saint-
Sa£ns remarked, that Bizet would have been
proud to sign his name to the score. Ch.
wrote 155 zarzuelas and 6 operas.
Chapman, William Rogers, b. Hanover,
Mass., Aug. 4, 1855. Chorus-leader and con-
ductor, residing in New York. Founder and
cond. of the Apollo (male vcs.) and Rubinstein
(female vcs.) Clubs, and since 1903 cond. of
the annual Maine Feat, at Bangor and Port-
land. Has written church-music, choral
works, pf.-pcs., songs, etc.
Chappell & Co., London music-publishers,
founded in 1812 by Samuel Chappelh J. B.
Cramer (the pianist), and F. T. Latour.
Cramer retired in 1819, Latour in 1826, and
S. Chappell died in 1834, when his son
William (1809-1888) became the head of
the firm. In 1840 he established the 'An-
tiquarian Society'; he published A Coll. of
National Engl. Airs (2 vols., 1838-9), Dow-
land's songs, and Popular Music of the Olden
Time (2 vols., 1845-9); he left an unfinished
History of Music (vol. i, London, 1874).
His brothers, Thomas (1819-1902), and
Arthur (1834-1904), were respectively the
founder and conductor of the Monday and
Saturday Popular Concerts.
Chappie, Samuel, b. Crediton (Devon),
England, in 1775; d. Ashburton, Oct. 3, 1833;
organist and pianist, blind from infancy.
Org. at Ashburton 1795-1833.— Pub!. 3 pf.-
sonatas w. vln.-accomp. ; 3 sets of six anthems
in score; 12 psalm-tunes; 5 songs and a glee;
6 songs w. pt . ; etc.
Chapufc [shah-paeH, Auguste-Paul-Jean-
Baptiste, b. Dampierre-sur-Salon (Haute-
Sadne), France, April 20, 1862. Pupil of
Dubois (harm.), Massenet (cpt. and fugue),
and Cesar Franck (org., improv., and comp.)
at Paris Cons., taking 1st prize in harmony
(1877), 1st prize for org., etc. (1880), and the
Rossini prize in 1885. From 1882-7, org. at
Notre-Dame-des-Champs; since then at
Saint- Roch. Since 1894, prof, of harm, at
the Cons.; since 1895, Inspector-General of
musical instruction in the Paris Schools. —
Works: The 4-act lyric drama Enguerrande
(Op.-Com., 1892; fiasco); Les AncHres, dram,
legend for soli, chorus and orch.; Les jardins
dArmide, dramatic cantata; incid. music to
Elen (1894) ; Tancred, 3-act lyric drama (Op.-
Com., 1898?) ; an oratorio, Les Sept Paroles du
Christ; Solemn Mass, for soli, ch. and orch.;
several short masses w. org.; motets; Fantaisie
for orch.; Sonata for vln. and orch.; a string-
quartet; a pf.-trio; Pukhinelli, pf. -suite; a
pf. -suite on the oriental scale; pes. for 'cello
and pf., vln. and pf., and pf. solo; 2 fan-
taistes for horn w. pf.; organ-music; numerous
songs; choruses for children's, women's, men's
and mixed voices. — Has also published a
TrailS d* Harmonic UUoriquc el pratique.
Char [kahr], Friedrich Ernst [Fritz], b.
Cleve-on- Rhine, May 3, 1865. Pupil of C.
Kistler at Sondershausen Cons., and of
WUUner and Neitzel at Cologne (1883-6).
Held various posts as operatic cond. (Ulm.
Stettin, etc.). He wrote text and music of
the very successful 3-act romantic opera
Der Scnelm von Bergen (Zwickau, 1895).
Other works: Cantata Spielmann, for soli,
ch. and orch.; Hymne for 8-part ch. with
orch.; a pf. -concerto; pf.-pcs. (sonata, op. 5,
in F m. ; TanzidyUe; Gavotte; Elegie; scherzo,
Waldeslust); for vln. and pf., Lted der Sehn-
suchl; Albumblatt; Fantaisie for organ; Lie-
der; etc.
Charpentier [shar-pahn-t'yal, Gustave,
b. Dieuze, Lorraine, June 25, 1860; st. Paris
Cons. 1881-7, pupil of Massart (vln.),
Pessard (harm.), Massenet (comp.), and
took Gr. prix de Rome in 1887 with the
cantata Didon. Succeeded Massenet in 1912
as member of the Academy. Always inter-
ested in the welfare of the working classes,
he founded, in 1900, the society 'L^euvre de
Mimi Pinson,' which he organized during
the great war as an auxiliary Red Cross
Society. — First work, orch. suite, Impressions
d' Italic; then the songs Lesfleurs du mal and
Quinae poemes (some of the latter with
ch. and orch.); Fausses Impressions, (or ch.
and orch.; Chant d'Apoth&ose, do.; Se'rinade a
Watteau, do.; and the operas Louise (Paris.
1900; N. Y., 1908) and Julicn (Opera-Com.,
1913; N. Y., 1914); symphonic drama (or
concert-opera) La Vic du Poete (Grand
Opera, 1892) ; symphonic poem Napoli (1891).
—Cf. O. Ser6, G. Ch., in Mus.francais d'au-
jourd'hui (2d ed. Paris, 1911).
Gharpentier, Marc-Antoine, b. Paris,
1634; d. there Feb. 24, 1704. A student of
painting, he went to Italy, where Carissimi's
music won him over to the subtler art. He
studied with Carissimi, returned to Paris, and
was app. m. de chap, to the Dauphin, but lost
the post through Lully's influence, which so
embittered him against the latter that he
totally eschewed his style, although to his
own prejudice. He became m. de chap, and
music-teacher to Mademoiselle de Guise; then
intendant to the Duke of Orleans, then m.
de chap, of the Jesuit collegia! church and
151
CHATTERTON— CHELLERI
monastery; and finally m. de chap., till his
decease, of the Sainte-Chapelle. He com-
posed 16 operas and kindred scenic works for
the public stage, besides several 'tragedies
spirit uelles' for the Jesuits; also masses and
motets, pastorales, drinking-songs, etc. Fetis
considers that C. was Lully's superior in
learning, though of inferior inventive power.
His oratorio Le reniement de St.- Pierre was
recently revived in Paris with considerable
success. — See Q.-Lex.
Chatterton, John Balsir, renowned harp-
ist; b. Norwich, 1805; d. London, Apr. 9,
1871. He was prof, of harp at the R. A. M.,
and court-harpist to Queen Victoria; publ.
original solos for his instr. and transcriptions
of popular airs.
Chaumet [shoh-ma'J, William, b. Bor-
deaux, Apr. 26, 1842; d. Gajac, Gironde,
Oct., 1903. Took the 'prix Cressent,' and the
'prix Rossini' for composition. — Works: The
comic opera Le feche de M. Geronte (1873),
dram, poem Idea (Bordeaux, 1873), com.
opera Bathyle (1877), dram, poem Rhode
(Paris Cons., 1885), Mamzelle Pioupiou
(1889); lyric drama Mauprat (MS.); La petite
maison (1903); orch. -pes., pf.-mus., songs, etc.
Chausaon [shoh-sohn'], Ernest, b. Paris,
Jan. 21, 1855; d. Limay, near Mantes, June
10, 1899. Pupil at the Paris Cons, of Massenet
and Cesar Franck; Secretary of the Society
Nationale de Musiaue. Composer of dis-
tinguished individuality. — Works: Book and
music of the 3-act lyric drama Le rot Arthus
(Karlsruhe, 1900); 2-act opera Httene; sym-
phonic entr'acte-music to Les Caprices de
Marianne; symphony in Bb ; symphonic poem
Viviane; orchl. pieces Un soir de ftte, Solitude
dans les bois; music to The Tempest (Shake-
speare) and the LSgende de SU.-CS.cile (Bou-
cnor); a string-quartet; a pf. -concerto; a
violin-concerto w. pf. and string-quartet;
string-trio in G m.; Poeme f. vln. with orch.;
Hymne v&dique f. ch. and orch.; Le poeme de
Vamour et de la merf and the tragic Chanson
perpituelle, both f. vocal *olo w. orch.; etc.
— In his dramatic music he belonged to the
neo-French group of d'Indy and others
with more or less pronounced Wagnerian
affiliations. Cf. O. Sere, E. Ch., in Musiciens
frangais d'aujourd'hui (2d ed. Paris, 1911).
Chauvet [shoh-val, Charles-Alexis, b.
Marines, June 7, 1837; d. Argentan, Jan. 28,
1871. Pupil (1850-60) at Paris Cons, of
Benoist (org.) and Ambr. Thomas (comp.);
took first prize in organ-class in 1860. He
was organist in some minor churches, and
then (1869) at the new figlise de la Ste.-
Trinite. He was a wonderful improviser,
and a highly gifted composer; his publ.
works are chiefly organ-music.
Ghavanne [shah-vahn']t Irene von, dra-
matic alto; b. Graz, Apr. 18, 1868. St. at
Vienna Cons. 1882-5 under Joh. Resz; eng.
uninterruptedly since 1885 at the Dresden
Court Opera; made 'Kammersangerin' in
1894. Her voice is equally remarkable for
its beauty, volume and compass.
Chelard [shu-lahr'J, Hippolyte-Andre'-
Jean-Baptiste, b. Paris, Feb. lf 1789; d.
Weimar, Feb. 12, 1861; son of a clarinettist
at the Grand Opera. Pupil of Fetis, then
(1803) of Gossec and Dourlcn at the Cons.,
taking the Grand prix de Rome in 1811.
He prosecuted his further studies under
Baini, Zingarelli, and Paisiello; in 1815 his
first opera, La casa a vendere, was brought
out at Naples. Returning to Paris, he en-
tered the Opera-orch. as a violinist, and gave
music-lessons; after long waiting (1827), his
opera Macbeth (text by Kouget de Lisle) was
prod., but was a fiat failure. Discouraged,
he withdrew to Munich, where Macbeth, re-
written in great part, was so successful as to
earn him the app. as court Kapellm. (1828).
He went back to Paris in 1829; made a
second failure with La table et le logement;
opened a music-shop, which was ruined in
tne revolution of the next year. He now
produced 2 more succ. operas, Der Student
and Mitternacht, in Munich; conducted the
German Opera in London (1832-3), which
also failed; and again revisited Munich,
where his best opera, Die Hermannsschlacht,
appeared in 1835. From 1836-50 he was
court Kapellm. at Weimar, bringing out 2
comic operas, Der Scheibentoni (1842) and
Der SeekadeU (1844). He lived in Paris
1852-4. A posthumous opera, VAquUa ro-
tnana, was given at Milan in 1864.
Ghellus [ka'-], Oskar von, b. Mannheim,
July 28, 1859. Pupil of F. Steinbach there,
of ( Reiss in Kassel, and of Jadassohn in
Leipzig; chose the military career; rose to
the rank of major-general in 1911; in 1914
(at the outbreak of the war) military attach^
of the German Embassy at Petrograd.
Wrote the successful operas Haschisch (Dres-
den, 1897) and Die vernarrte Prinzess (Wies-
baden, 1905); Psalm 121; a requiem f. orch;
a sonata f. vl. and pf.; pf.-pes.; songs; etc.
Chelleri [kenS-re], For tuna to (real fam-
ily name Keller), b. Parma, 1686; d. Kassel,
1/57. His teacher was his uncle, F. M.
Bassani (m. di capp. at Piacenza cath.).
His first opera, Griselda (Piacenza, 1707),
was followed by 15 more, written for various
Italian stages. He settled in Kassel in 1725,
and was app. court Kapellm.. remaining
there till his death, excepting a short sojourn
in Stockholm. He wrote no more operas,
but composed oratorios, masses, psalms, and
chamber-music; he publ. a vol. of cantatas
152
CHfeRI— CHERUBINI
and arias (London. 1726), and another of
sonatas and fugues f. pf. and f. org. (Kassel,
1829).— See Q.-Lex.
Cheri Isha-re'], Victor (real name Cizos),
b. Auxerre, Mar. 14, 1830; coram, suicide
Paris, Nov. 11, 1882. PupU of Paris Cons.
(Massart, A. Adam); excellent conductor, in
turn at the Varietes, the Ch&telet, and the
Gymnase. — Works: Comic opera Une Aven-
ture sous la Ligue (Bordeaux, 1857); the
music to several ballets and fairy-spectacles;
a violin-concerto (MS.); etc.
Cherniavsky [char-nahv'skS], the name
of three brothers, members of a famous trio,
all born at Odessa. — Leo, violinist, b. Aug.
30, 1890, was exhibited as a prodigy while
still studying with L. Auer; later he studied
at Vienna, and in 1906 finished with Wil-
helmj in London. — Jan, pianist, b. June 25,
1892, was taught by his father; began to
concertize at the age of seven, and was
heard by Mme. Easipov, who then became
his teacher; finished with Leschetizky in
Vienna.— MichaU, 'cellist, b. Nov. 2, 1893,
at first studied violin, but at the age of five
took up the 'cello with Versbilovitch, finishing
under D. Popper. — In 1900 they formed a
trio, and for the first three years toured
Russia with phenomenal success; 1904 tour
of Germany, Holland and France; 1906
Vienna, London and the English provinces;
1908-9 and 'U South Africa; 1912 again
London, and then, until 1914, India, New
Zealand and Australia; 1916 Canada and the
Western States of the U. S., appearing for
the first time in New York on Jan. 16, 1917.
So far they have toured 28 different countries.
Cherubi'ni [ka], (Maria) Luigi (Carlo
Zenobio Sal va tore), b. Florence, Sept. 14,
1760; d. Paris, Mar. 15, 1842. To the age
of 9 his father, cembalist at the Pergola Th.,
instructed him in music; his subsequent
teachers were Bart, and Aless. Felici, then
Bizarrt and Castrucci, and finally he was
sent by Duke Leopold II of Tuscany (the
future Emperor L. Ill) to Milan^ in 1779,
to perfect himself in counterpoint under
Sarti. At 13 he had already written a mass,
and a stage-intermezzo for a society theatre;
at 15 he composed another intermezzo, //
Giuocatore; during his 2 (4?) years with
Sarti he confined himself to contrapuntal
work and church-music; in 1780, Quinto
Fobio (perf. at Alessandria della Paglia)
opened the series of his dramatic works; its
cool reception spurred him to renewed study,
and Artntda (Florence, 1782), Adriano in
Syta (Leghorn, 1782), Messenzio (Florence,
1782), Quinto Fabio (revised; Rome, 1783),
f?o£?°X ,fre e mar^o di nessuna (Venice,
1783), Idalxde (Florence, 1784). and Alessan-
dro nelle Indie (Mantua, 1784) received
public approbation. Invited to London in
the autumn of 1784, he brought out 2 operas,
La finta principessa (1785), an opera buff a
which had fair success, and Giulio Sabino
(1786), which was less fortunate; C. held the
position of Composer to the King for one
year, and in July, 1786, went to Paris, where
he spent a year most agreeably; in 1788 he
prod. Ifigenia in Aulide at Turin; and then
settled in Paris. His first French opera,
Demophon (Grand Opera, 1788), was a
failure, C. finding it impossible to adapt his
style of flowing melody to the ill-turned
verses of Marmontel, the librettist. Next
year Leonard, the Queen's hairdresser, ob-
tained a license to establish Italian opera in
a little play-house called the Th. de fa foire
de St. -Germain; and here C. conducted, until
1792, the best works of Anfossi, Paisiello,
and Cimarosa. During this period he devel-
oped, inspired by the text of his opera Lodoiska
(Th. de Monsieur, 1791), a new dramatic
style destined to work a revolution on the
French stage; the increased breadth and
force of the ensemble-numbers, the novel
and rich orchestral combinations, and the
generally heightened dramatic effect were
imitated or expanded by a host of composers
of the Frencn school — Menu!, Berton, Le-
sueur, Gretry. C.'s next dramas, Eliza, ou le
voyage au mont St.-Bernard (1794), and
Medie (1797), were weighted by poor libretti.
In 1795 C. was app. one of the Inspectors
of the new Conservatoire. Composing
steadily, he brought out VHoteUerie portu-
gaise (1798), La Punition (1799), La Prison-
nitre (1799; pasticcio, w. Boieldieu), and in-
1800, at the Th. Feydeau, Les deux journies
(prod, in London, 1801, as The Water-carrier;
in Germany as Der Wasserlrdger) , his master-
work in opera. Cherubini had fallen into
disfavor with Napoleon, whose opinion in
matters musical he had slighted; but after
the success of Les deux journtes, he was able
to produce at the Grand Opera AnacrSon, ou
V amour fugitif (1803), and the ballet AchUle
d Scyros (1804), neither of which, however,
had good fortune. At this juncture C. was
invited to write an opera for Vienna — a most
welcome diversion, as his financial condition
was the reverse of flourishing. Faniska,
brought out in 1806 at the Karnthnerthor
Theatre, was an overwhelming success; a
Vienna critic who ventured the prophecy
that Beethoven's Fidelio would one day be
equally (!) esteemed, was laughed at. Re-
turning to Paris after the French occupation
of Vienna, he wrote Pimmaglione for the
Italian opera at the Tuilcries (1808), but
did not win the Emperor's favor, and now
retired for a time to the chateau of the
Prince of Chimay, where he occupied his
leisure with botanizing. The request to
153
CHEVfi— CHICKERING
write a mass for the church of Chimay
turned the current of his thoughts; he com-
posed the celebrated 3-part mass in F, the
success of which was so marked, that C.
thenceforward devoted more time to sacred
than dramatic composition; though he still
prod. Lt Crescendo (1810), Les Abenctrages
(Opera, 1813), Bayard d MStieres (1814),
Blanche de Provence, and some minor pieces
for the stage. On a visit to London, in
1815, he wrote for the Philharm. Soc. a
symphony, an overture, and a Hymn to
Spring. In this year he lost his place in the
Cons, during the troublous times of the
Restoration, but was recompensed by his
appointment as superintendent of the Royal
Chapel, as Martini's successor. In 1816 he
was made prof, of composition at the Cons.,
and its Director in 1821, retiring in 1841 on
account of advanced age. — Chcrubini was
one of the great modern masters of counter-
point, and his scores, particularly in his ad-
mirable sacred music, bear witness on every
page to his skill and erudition. As an opera-
composer, his main failing was the undue
musical prolongation of scenes in which a
swifter dramatic action is reauired. His
own catalogue of his works (publ. 1843)
includes 15 Italian and 14 French operas
(and many vocal numbers occasionally in-
troduced); 1 ballet; 17 cantatas and 'oc-
casional* vocal works w. orch.; many detached
airs, romances, nocturnes, duets, etc.; 14
choruses; 4 sets of solfeggi (over 160 num-
bers); 11 solemn masses, 2 requiems, many
detached Kyries, Glorias, Credos, etc.; 1
Credo a 8 w. org.; 1 oratorio (op. 17; Florence,
1777); motets, hymns, graduate, etc., w.
orch.; 1 Magnificat, 1 Miserere, 1 Te Deum
(each w. orch.); 4 litanies, 2 Lamentations,
20 antiphones; etc.; — 1 symphony, 1 overture,
11 marches, 11 dances, etc., f. orch.; 6 string-
quartets, 1 string-quintet; 1 sonata f. 2
organs; 6 pf. -sonatas, 1 grand fantasia, 1
minuet, 1 chaconne, and other music f. pf. —
Ch.'s Cours de Contrepoint et de Fugue (n. d.)
was prepared for publication by his pupil
Halcvy. It appeared in a Ger. tr. by Stdpel
(1830), in Engl. tr. by J. Hamilton (1837)
and C. Clarke (1854). Two new Ger. eds.
were recently prepared by G. Jensen (1896)
and R. Hcuberger (1911).
Bibliography: E. Bellasis, Ch. Memorials
illustrative of his life (London, 1874; 2d, augm.
ed., Birmingham, 1905); F. J. Crowest, Ch.
(London and N. Y., 1890); M. E. Wittmann,
Ch. (Leipzig, 1895); R. Hohenemser, L. Ch.
Sein Leben u. seine Werke (Leipzig, 1913;
the most exhaustive biogr.) ; H. Kretzschmar,
Vber die Bedeutung von Ch.'s Ouverturen u.
Hauptopern fur die Gegenwart (in Peters'
'Jahrbuch,' 1906).— See Q.-Lex.
Cher6 [shfi-va'], femile-Joseph-Maurlce,
b. Douarnenez, Finistere, in 1804; d. Paris,
Aug. 26, 1864. A physician of great merit,
he became a zealous advocate of Galin's
method of mus. instruction; married Nanine
Paris (d. 1868), and publ. with her a Mithode
Slementaire de musique vocale . (Paris, 1844),
in the preface to which he 'exposes' and
attacks the 'defective' methods of the
Conservatoire. They also publ. a Mtthode
Stem, d'harmonie (Paris, 1846); and Mme.
Cheve wrote a Nouvelle thSorie des accords,
servant de base d Vharmonie (Paris, 1844).
He is the author of a long series of essays
and articles by which he vainly sought to
draw out the Cons, professors.
Chevillard [shti-ve-yahrl, Camilla, b.
Paris, Oct. 14, 1859. Pf.-pupil of Georges
Mathias; took 2d prize at Cons, in 1880.
Chiefly self-taught as a composer. From
1886-97, asst.-cond. of the Lamoureux Con-
certs, when he succeeded L. as conductor-in-
chief; since 1907 professor of instr. ensemble
classes at the Cons., and since 1913 chef
d'orch. at the Grand Opera. In 1903 he won
the 'Prix Chartier' for chamber-music; now
(1916) pres. of 'Society francaise de musique
de chambre'; Officier de 1' instruct ion pub-
lique; Chev. Legion d'Honneur. — Comps.: A
symph. ballade; Le chene et le roseau, symph.
poem; and a symph. fantaisie, for orch.;
theme and variations, and an txude chroma'
tique, for pf.; a pf. -quintet, quartet, trio;
sonata for pf. and vln.; a sonata for vcl. and
pf.; incidental music to Schure's La Rous-
salka; songs with orch., L'Attenie and Chemins
d! Amour. -— Cf. O. Ser6, C. Ch., in Musieiens
francais tfaujourd'hui (2d ed. Paris, 1911).
Chiaromon'te [k'yah-], Francesco, b.
Castrogiovanni, Sicily, July 20, 1809; d.
Brussels, Oct. 15, 1886. Pupil of Ragusa, of
Raimondi at Palermo, and of Donizetti at
Naples. At first a tenor stage-singer, he
made his composer's debut with the opera
Fenicia (Naples, 1844); became prof, of
singing at the R. Cons.; was imprisoned
1848-50 as a revolutionist, and banished in
1850 during the successful production of a
new opera, Caterina di Cleves. He was less
succ. at Genoa and Milan, and proceeded
(1858) to Paris, where he was app. chorus-
master at the Th. Italien. Later he had a
similar place in London (Ital. Opera); then
(1862) settled in Brussels, and became prof,
in the Cons. (1871). He wrote 5 other
operas; an oratorio, Hiob (1884); and a good
Methode de Chant.
Chlckering & Sons, a celebrated Ameri-
can firm of pf.-makers, cstabl. at Boston,
Mass., in 1823, by Jonas Chickering (b. New
Ipswich, N. H., April 5, 1798; d. Boston, Dec.
8, 1853), who served his apprenticeship under
John Osborne, at Boston, from 1818. His
154
CHIGNELL— CHOPIN
•on and successor, Col. Thomas E. Chickering
(b. Boston, Oct. 22, 1824; d. there Feb. 14
1871), was named Chevalier of the Legion of
Honor in addition to taking the first prize
for pianofortes at the Paris Exposition of
1867. His sons still carry on the manufactory,
which is famous both for quality and quantity
of its output.
Chignell, Robert, composer and baritone;
b. Romsey, Hants, May 8, 1882. Won a
scholarship at the R. C. M.f where his
teachers were G. Garcia (voice) and Sir C.
V. Stanford (comp.); later continued vocal
studies with C. W. Clark, whose assistant he
was for a time; soloist with the Sheffield
Choir on its tour of the world. Has written
2 symph. poems; Serenade humoresque for
orch. ; Romanza for vl. and orch.; concerto for
vl. and orch.; 2 scenas from Heine's Nordsee
for bar. solo w. orch.; an opera, Romeo and
Juliet (prelude perf. 1912).
Child, William, b. Bristol, 1606; d.
Windsor, March 23, 1697; org. and (1660)
chanter of the Chapel Royal, and a member
of the King's private band; Mus. Bac. (1631)
and Mus. Doc. (1633), Oxon. — Publ. psalms
(1639; 2d ed. 1650); services, anthems, Court
Ayres (secular vocal music), canons, catches,
etc. (see colls, of Arnold, Boyce, Hilton,
Playford, and others). — See Q.-Lex.
Chilesot'ti [ke-1, Oscare, distinguished
musician and mus. historiographer; b. Bas-
sano, Italy, July 12, 1848. Graduate in law
of Padua Univ. He is also a good flutist
and 'cellist; self-taught in harmony. He lives
at Milan, where he writes regularly for the
'Gazzetta Musicale,' and contributes to other
periodicals; is especially interested in tab-
latureS and the art of the 15th and 16th
centuries, on which subjects he has lectured
extensively in Italy. — Works: Biblioteca di
Rarita musicali (1883, etc., 9 vols.), con-
taining transcriptions from little known
works of the early 17th century, and (vol. iv)
Arianna by Benedetto Marcello; I nostri
maestri del passato (Milan, 1882), biogr. notes
on the greatest Italian musicians, from Pa-
lest rina to Bellini; Di G. B. Besardo e del suo
Thesaurus harmonious (Milan, 1886); Sulla
lettera critica di B. Marcello contro A. LoUi. . .
(Bassano, 1885); Sulla melodia popolare nel
secolo X VI (Milan) ; Levoluzione neUa musica
(appunti sulla teoria di H. Spencer) (Turin,
1911). For Lavignac's 'Encyclopedic de la
musique he wrote an elaborate essay on
toblatures. He publ. in modern notation
Roncalli s Capricci artnonici on the Spanish
guitar (Milan, 1881); and transl. Schopen-
hauer s Aphorismen and Die Welt als WiUe
k. Vorstellung into Italian.
Chipp, Edmund Thomas, leading Eng-
lish organist; b. London, Dec. 25, 1823; d.
Nice, Dec. 17, 1886; Mus. Bac. (1859) and
Mus. Doc. (1860), Cantab. After holding
many positions as organist, he obtained the
organ at St. Paul's, Edinburgh, in May,
1866, and that at Ely cathedral in Nov.,
1866. — Works: Job, an oratorio; Naomi, a
sacred idyll; and numerous church-comps. for
voice and for organ.
Chlad'ni [klahd J, Ernst Florens Fried-
rich, b. Wittenberg, Nov. 30, 1756; d.
Breslau, Apr. 3, 1827. At Erst a student and
prof, of law at Wittenberg and Leipzig, he
turned to physics, and made highly important
researches in the domain of acoustics. He
discovered the Tonfiguren' (tone-figures; i.e.,
the regular patterns assumed by dry sand on a
glass plate set in vibration by a bow); and
inv.the Euphonium (glass-rod harmonica) and
Clavicylinder (steel-rod keyboard harmonica.)
To introduce his ideas and inventions, he
made long journeys and delivered many
scientific lectures. His earlier publications,
Entdeckungen uber die Theorie des Klanges
(1787), Ober die Longitudinalschwingungen
der Saiten und Stdbe, and a series of minor
articles in various periodicals, were followed
by the important works Die Akustik (1802;
French, 1809): Neue Beitrage zur Akustik
(1817); Kurze Obersicht derSchall- undKlang-
lehre (1827).
Chop, Max [pen-name 'Monsieur Charles'],
b. Greuszen, Thuringia, May 17, 1862. A
law-student turned -musician, he has publ.
several books of songs and ballades, 2 piano-
concertos, a pf.-trio, 2 suites for orch.; lived
1885-8 in Berlin as a writer of musical
feuilletons; then, until 1902, in Neu-Ruppin
as music critic and editor of the 'Markische
Zeitung'; since 1902 again in Berlin. Al-
ways an admirer of Bungert, he has written
a sketch of his life, analyses of his music-
dramas, and is (since 1911) the editor of
'Der Bund/ the official organ of the Bungert
Assoc. Publ. Zeitgenossische Tondichter (2
vols., 1888, 1890, each containing 12 sketches);
analyses of Liszt's symphonic poems and
Wagner's music-dramas (in Reclam's ed.);
a sketch of August Bungert in vol iii of
'Monographien Moderner Musiker' (1903);
Vademecumfur den Konzertsaal (1904, et seq.) ;
Fuhrer durch d. Musikgeschichte (Berlin, 1912).
Chopin [shdh-pan'], (Francois-) Frederic,
pianist of distinction and an incomparable
composer for piano; was born at Zelazowa
Wola [Pol. Jeliasovaya-Volia], a village near
Warsaw, on Feb. 22, 1810 Ithis date is from
authoritative documentary evidence], and
died at Paris, Oct. 17, 1849. His father,
Nicolas C, teacher in the Warsaw gymna-
sium, was a native of Nancy, France; his
mother, Justine (nee Kryzanowska), was a
Pole. Frederic was brought up in his
155
CHOPIN
father's private school, among sons of the
Polish nobility. His musical education was
entrusted to the Bohemian pianist Albert
Zwyny (pf.), and to the Director of the War-
saw School of Music, Joseph Eisner (harm.,
etc.). When but 9, he played in public a pf.-
concerto by Gyrowetz, and improvisations.
His first attempts in composition were dances
(Polonaises, Mazurkas, . and Waltzes) ; but
he publ. (1825) as op. 1 a Rondo, and as op. 2
a Fantasie w. orch. While a youth, he
appeared at irregular intervals as a pianist in
several German towns — Berlin, Danzig, Dres-
den, Leipzig, and Prague. In 1829, already
a composer of eminent individuality (his
2 pf.-concertos, several Mazurkas, Nocturnes,
Rondos, etc., were then written), and a finish-
ed player, he set out for London, via Vienna,
Munich, and Paris. His concert at Vienna,
on Sept. 1 1 , elicited the following criticism in
the Leipzig 'Allg. Musikzeitung': "From the
outset, Chopin took a place in the front rank
of masters. The perfect delicacy of his touch,
his indescribable mechanical dexterity, the
melancholy tints in his style of shading, and
the rare clearness of his delivery, are, in him,
qualities which bear the stamp of genius. He
must be regarded as one of the most remark-
able meteors blazing on the musical horizon."
His first concert in Paris was given at Pleyel's
house, before an invited audience of musicians,
in 1831. His reception was so cordial that
he gave up the idea of going to London, and
made Paris his home for life. Despite Kalk-
brenner's finding fault with his fingering, and
despite the dictum of Field (of all men!) that
C.'s talent was 'of a sick-chamber order/
Chopin made a deep and lasting impression,
not merely on gay Parisian society, of which
he soon became the declared favorite, but on
men like Liszt, Berlioz, Meyerbeer, Bellini,
Adolphe Nourrit, Balzac, and Heine, to whose
intimacy he was admitted as a cherished and
equal companion. From the beginning he
taught the piano; his instruction was eagerly
sought, chiefly by members of the French and
Polish aristocracy; von Lenz (see below) gives
a charming glimpse of Chopin the teacher.
He also gave yearly concerts to the musical
elite, and played frequently in certain salons;
but had an unconquerable aversion to mis-
cellaneous concert-giving. His compositions
took precedence of all others in the pianist ic
world. Schumann, in 1831, greeted nis op. 2
(the Variations on 'La ci darem la mano,' from
Don Giovanni) with 'Hats off, gentlemen! A
genius!' and wrote 8 years later, reviewing
some of C.'s Preludes (op. 28), Mazurkas (op.
33), and Waltzes (op. 34): 'Er ist und bleibt
der kiihnste und stolzeste Dichtergeist der
Zeit' [He is indeed the boldest and proudest
poetic spirit of the time]. ('Neue Zeitschrift
fur Musik,' 1839; Schumann's 'Collected
Works/ 3d ed., 1875; vol. ii, p. 95.) His
position, both in society and the world of art,
was assured; the devotion of his pupils and
admirers bordered on fanaticism.
In 1836 Liszt introduced C. to George Sand
(Mme. Dudevant); their mutual attachment
formed an episode eventually most painful for
the refined and sensitive nature of. the artist,
dominated by the coarse-fibred woman of the
world. A severe attack of bronchitis in the
autumn of 1838 overturned his usually normal
health, and led C. to spend the ensuing winter
in Majorca with Mme. Dudevant, who
appears to have nursed him quite tenderly;
but the Chopin thinly disguised as 'Prince
Karol' in her unamiable novel, 'Lucrezia
FlorianP (published shortly afterward), was
not at all an engaging personality, and after
C.'s malady had developed into consumption,
they parted (about 1844). Disregarding his
failing health, C. visited Great Britain in 1848,
and again in 1849, giving concerts and accept-
ing invitations which exhausted his remaining
energies; and. finally returned to Paris to die.
He was buried at Pere la Chaise, between
Cherubini and Bellini.
Chopin represents the full liberation of the
pianoforte from traditionary orchestral and
choral influences — its authoritative assump-
tion of a place as a solo instrument per se. By
this is intended no depreciation of Beethoven
or Weber, or even of tne lesser Field; it means
simply that C.'s music, as none before,
breathes the piano-spirit, incarnates the
piano-soul, revels in the pure piano-tone, and
illustrates the intrinsic piano-style, without
seeking or being swervea by what are called
(since Liszt) 'orchestral' effects, tonal or
technical. Not requiring of the piano the
sonority of an orchestra, he may have'seemed
'effeminate* beside the Titan, Liszt; yet his
works, more especially the scherzos, ballades,
preludes, nocturnes, even the concertos (pian-
lstically considered), mark a boundary in
fiano-effect which has never been overpassed,
n the small forms he chose, there lies a world
of originality in constructive ingenuity, in
melody and melodic ornament, in harmonic
sequence and figuration, of national melan-
choly or proud reminiscence, of tender or
voluptuous sentiment and poetic reverie.
His playing was notable for flawless ac-
curacy and remarkable brilliancy of technique,
sensuous charm in touch and tone, and a
peculiar yield ingness in the tempo (rubaio)
which was at times almost exaggerated. He
was a most exquisite interpreter of his own
works, but did not much care to play other
piano music; all in all, a remarkably self-
centred 'composer-pianist.' A complete edi-
tion of Chopin's works in 14 volumes, edited
by Liszt, Brahms, Bargiel, Franc'homme,
Reinecke and Rudorff , was publ. by Breitkopf
156
CHORLEY— CHORON
& HSrtel. Other excellent editions are those
of Chopin's personal pupil, C. Mikuli, of
IgnazFriedmann, and especially of R. Joseffy
(with introductions by J. G. Huneker).
Works (74 with, and 12 without, opus-num-
ber]: (a) For pf. w. orch.: 2 concertos (E
min., op. 11; F min., op. 21); Don Giovan-
ni Fantasia, op. 2; Krakoviak, rondo, op.
14; Eb Polonaise, op. 22; and a Fantasia on
Polish airs; — (b) for pf. w. other instrs.: Duo
concertant on themes from Robert le D table, for
pf. and 'cello; Introd. et Polonaise, op. 3, for pf.
and 'cello; Sonata for pf. and 'cello, op. 65; a
pf.-trio in G min., op. 8; and a Rondo for 2
pfs., in C, op. 73; — (c) for pf. solo: Allegro de
concert, op. 46; 4 Ballades, op. 23, 38, 47, 52;
Barcarolle, op. 60; Berceuse, op. 57; Bolero,
op. 19; 3 Ecossaises, op. 72; 12 Grandes
Eludes, op. 10; 12 £tudes, op. 25.; 3 lttudes;
4 Fantaisies, op. 13, 49, 61, 66; 3 Impromptus,
op. 29, 36, 51; Marche funibre, op. 72; 52
Mazurkas, op. 6, 7, 17, 24, 30, 33, 41, 50, 56,
59, 63, 67, 68; Morceau de concert sur la
Marche des Puritains de Bellini; 19 Nocturnes,
op. 9, 15, 27, 32, 37, 48, 55, 62, 72; 11 Polo-
naises, op. 3, 26, 40, 44, 53, 61, 71 ; 24 Preludes,
op. 28; Prelude, op. 45; 3 Rondos, dp. 1, 5, 16;
4 Scherzos, op. 20, 31, 39, 54; 3 Sonatas, op. 4,
35, 58; TarenteUe, op. 43; 13 Valses, op. 18,
34, 42, 64, 69, 70, and in B min.; Variations on
Je vends des scapulaires, op. 12; Variation
dans I'Hexameron; — (d) vocal: 16 Polish
Songs, for vocal solo w. pf., op. 74 (ed. with
Engl, text, New York).
BIBLIOGRAPHY.— A. Biography: M.
Karasowski, F. Ch. Sein Leben, seine Werke u.
Briefe (2 vols., Dresden, 1877 [4th ed. 1914);
Engl. tr. by E. Hill, London, 1879 [2d cd.
1906);) J. Schucht, F. Ch. u. seine Werke
(Leipzig, 1879); A. Niggli, F. Ch.'s Leben u.
Werke (ib., 1879); A. Audley, Ch., sa vie et ses
csuvres (Paris, 1880; largely drawn from Ka-
rasowski); F. Niecks, F. Ch. as a Man and
Musician (2 vols., London, 1888; German tr.
by W. Langhans, Leipzig, 1889; a standard
work); Ch. Willeby, F. F. Ch. (London, 1892);
J. G. Huneker, Ch. The Man and his Music
(New York, 1900; very sympathetic, excellent
analyses of the works); J. C. Hadden, Ch.
(London, 1903); F. Hoesick, Ch. [in Polish],
2 vols., Warsaw, 1903; 2d ed., augm. to 3
vols., as Ch. Life and Works [also Polish], ib.,
1912; the most exhaustive and bestbiogr.);
H. Leichtentritt, F. Ch. (Berlin, 1905); E.
Poiree. Ch. (Paris, 1906); E. Redenbacher,
Ch. (Leipzig, 1911); A. Weissmann, Ch.
(Berlin, 1912); E. Granche, F. Ch. Sa vie et
ses ceuvres (Paris, 1913).
B. Correspondence: The earliest ed. of
selected letters is contained in Karasowski's
biogr.; M. Kariowicz, Souvenirs inedits de
F. Ch. (Paris, 1904; letters); G. Petrucci,
Eptstolario di F. Ch. (Rocca San Casciano,
1907); B. Scharlitt, F. Ch.'s gesammeUe
Briefe (Leipzig, 1911; contains all known
letters, in German tr.); F. Hoesick, Chopin-
iana (vol. i, Correspondence [in Polish],
Warsaw, 1912).
C. Criticism, Appreciation: F. Liszt,
F. Ch. (Paris, 1845; English tr. by W.
Cooke, London, 1877, also by J. Broadhouse,
ib., 1901 ; German tr. by La Mara, Leipzig,
1880 [repr. in vol. i of F. Liszt's 'Gesammelte
Schriften,' Leipzig, 1910]; J. Kleczinski, F.
Ch. De V interpretation de ses ceuvres (Paris,
1880 [new ed. ib., 1906]; English tr., augm.
by N. Janotha, as Ch.'s Greater Works,
London, 1896; German tr. as Ch.'s grossere
Werke, Leipzig, 1898) ; E. Gariel, F. Ch. La
tradicion de su musica (Mexico, 1895) ; G. C.
Johnson, A Handbook to Ch.'s Works (New
York, 1905); H. von Opienski, Ch. as Creator
[in Polish], Warsaw, 1912); E. Stillman
Kelley, Ch. the Composer (New York, 1913;
a scholarly analysis); W. von Lenz, in Die
grossen Pianoforte-Virtuosen (Berlin, 1872;
English tr. New York, 1899).
Breitkopf & Hartel publ. a ^ Thematisches
Verxeichnts der im Druck erschienenen Kom-
positionen von F. Ch. (Leipzig, 1870); a
second, augm. ed. (1888) contains also a
complete list of books written about Ch. up
to 1888.
Chorley, Henry Fotherglll, a versatile
writer (dramatist, translator, art-critic, poet,
novelist, and journalist); b. Blackley Hurst,
Lancashire, Dec. 15, 1808; d. London, Feb. 16,
1872. Being from 1833-71 mus. critic of the
London 'Athenaeum,' and a great traveller, he
heard all the best music of the day, and knew
many mus. celebrities; but his literary and
critical work shows that, although fair-minded,
he was of mediocre musical ability. — Works:
Musical Manners in France and Northern
Germany (London, 1841, 3 vols.); Modern
German Music (1854, 2 vols.); Thirty Years'
Mus. Recoils. (1862, 2 vols.); an interesting
Autobiography, Memoir, and Letters (1873,
2 vols., w. photograph; edited by H.G. Hew-
lett); Nad. Music of the World (1880, ed. by
Hewlett; 3d ed. 1912). We may also men-
tion Handel Studies (1859), and the mus.
novel Prodigy: a Tale of Music (1866, 3 vols.) ;
the libretti to the Amber Witch and the May
Queen; and his translations of Gounod's Faust,
Herold's Zampa, and Mendelssohn's Son and
Stranger.
Ghoron [koh-r&hn'], Alexandre-fitiefflie,
b. Caen, Oct. 21, 1772: d. Paris, June 29,.
1834. A student of languages, and passion-
ately fond of music, he became interested
in mus. theory (Rameau) and through it in
mathematics, which he studied with ardor
till the age of 25; then devoting himself
wholly to the theory and practice of music.
By several years' serious application to the
157
CHOUDENS— CHRYSANDER
Italian and German theorists, he accumulated
'more information relative to the theory and
practice of music than any French musician
Had till then possessed' [Fetis], Becoming
(1805) a partner in a music-publishing firm,
he devoted his entire fortune to editing and
publishing classic and theoretical works and
compositions, diligently contributing new
works of his own all the while. In 1811 he
became com member. of the Acad.; he was
entrusted with the reorganization of the
'maitrises' (training-schools for church-choirs),
and was app. cond. of religious festivals. In
1816, Director of the Grand Opera, and re-
opened the Conservatoire (closed in 1815) as
the *£cole royale de chant et de declamation.'
Losing his Directorship (1817) through in-
trigue, and on account of his favoring new
works by unknown authors, he established, at
first with a very moderate subsidy, the fa-
mous 'Institution de musique classic* ue et
religieuse,' for forwarding which, ana pro-
moting mus. instruction among the masses,
he labored indefatigably until the July
Revolution (1830), when his subsidy was so
reduced that he could no longer hope to carry
out his plans; this was his death-blow. — His
chief pubis, are: Principes d'accompagnement
des Scoles df Italic (1804); Principes de com-
position des holes d' Italic (1808); Diet,
hist, des musiciens (1810-11, 2 vols., with
Fayolle) [in which he sank the remainder of his
patrimony]; Methode Slementaire de musique
et de plain-chant (1811); Francceur's TraiU
general des voix et des instrs. d'orchestre
(1813); transls. of Albrechtsberger's Grund-
liche Anweisung zur Composition and Ge-
ns r albas schule (1814, 1815; new ed. 1830),
and of Azopardi's Musico prattico (1816);
Methode concertante de musique a plusieurs
parties (1818, written for his Conservatoire);
Methode de plain-chant (1818); Manuel
complet de musique vocale et instrumental ou
Encyclopedic musicale (1836-8; 6 vols, letter-
press and 2 vols, plates; with La Fage). — Cf.
H. Rety, Notice historique sur Ch. et son
hole (Paris, 1873); J.Carlez, Ch.fsa vie et ses
travcaux (ib., 1882); G. Vauthier, Ch. sous
V empire (Poitiers, 1909).— See Q.-Lex.
Choudens [shoo-dahn'], Antony (son of
the mus.-publr.), b. Paris, 1849; d. there 1902.
— Compositions: 2 operas, Graziella (Paris,
1877) and La Jeunesse de Don Juan; a coll.,
Dix melodies (1870), increased in 1873 to
Vingl melodies (Un dernier baiser; A une
Stoilc) ; also Essais symphoniqucs, pf .-pes., etc.
Chouquet [shoo-kal, Adolphe-Gustave,
b. Havre, Apr. 16, 1819; d. Paris, Jan. 30,
1886. He lived in America as a music-teacher
1840-60; since then in Paris. He twice won
the 'Prix Bordin'; in 1864 for a Hist, of
Music, 14th to 18th cent., and in 1868 for
Histoire de la musique dramatique en France
depuis ses origines jusqu'a nos jours (publ.
1873). From 1871, custodian of the coll. of
instrs. in the Cons.; in 1875 he publ. a
catalogue of them. He wrote the words of
several cantatas (e. g., Hymne de la paixt
prize cantata for the Exposition of 1867).
Chrlstia'niy Adolf Friedrich, pianist; b.
Kassel, Mar. 8, 1836; d. Elizabeth, N. J.,
Feb. 10, 1885. Went to London in 1855;
then to America, teaching in Poughkeepsie,
Pittsburgh, Cincinnati, and (1877) New York.
From 1880, director of a music-school at
Elizabeth. Wrote The Principles of Mus.
Expression in Pf.-playing (N. Y., 1886; Ger.
ed. Leipzig, Das Verstdndiss im Klavier spiel),
Christia'ni, Elise, b. Paris, Dec. 24, 1827;
d. Tobolsk, 1853. 'Cello-player (sensational
debut at Paris, 1845), for whom Mendelssohn
wrote the Lied ohm Worte for 'cello.
Christ'mann, Johann Friedrich, b.
Ludwigsburg, WUrttemberg, Sept. 10, 1752;
d. Heutingsheim, May 21, 181/. Lutheran
pastor, and amateur player on harpsichord
and flute. Publ. considerable good music for
voice, pf., vln., ancf flute; a 'Vollstandige
Sammlung' of hymns (with Knecht) con-
taining many by himself; and an Elemen-
tarbuch der Tonhunst (Speyer, 1782; 2d part
1790).
Chrysan'der, Friedrich, musical historian,
critic, and editor; b. Liibtheen, Mecklen-
burg, July 8, 1826; d. Bergedorf, Sept. 3, 1901.
Dr. phil. (Rostock). From 1868-71, and
1875-82, editor of the 'Allg. musikal. Zeitung,'
contributing many articles (Sketch of Hist,
of Music-printing, 1879; papers on the Ham-
burg opera under Keiser, Kusser, et al., 1878-
9); from 1885 he edited (with Spitta and
Adler) a 'Vierteljahrsschrift fur Musikwis-
senschaft.' He also edited two 'Jahrbucher
f. musikalische Wissenschaft' (1863, 1867),
with important papers by various writers.
In 1853 he publ. two pamphlets, uber die
MoUtonart in Volksgesangen and Obcr das
Oratorium; he also edited 'Bach's Klavier-
werke' (1856), and 'Denkmaler der Tonkunst'
(Carissimi's oratorios; the sonatas by Corelli
were ed. by Joachim; and Couperin's Pieces
de clavecin, by Brahms). Together with G.
Gervinus he founded, in 1856, the 'Deutsche
Handelgesellschaft' for the purpose of publ. .
a complete edition of the master s works from
the original MSS., but before long the other
members lost interest, and Ch. and G. really
constituted the society. At their own ex-
pense they set up a little printing-shop at
bergedorf, near Hamburg; in 1859 King
George of Hanover granted Ch. an annual
subvention of 1000 thaler, which, after the
annexation of Hanover by Prussia, in 1866,
was continued by the Prussian government.
158
CHRYSANTHOS— CIMAROSA
After the death of Gervinus, in 1871, Ch., with
the assistance of one printer and one engraver,
went on undismayed, until vol. 100 (the last)
was completed in 1894. During the prepara-
tion of this monumental edition he made
several protracted visits to London to study
Handel's autograph scores and others, in the
possession of V. SchGlcher, containing cor-
rections and remarks in H.'s own hand. Of
•the latter he subsequently acquired 80 volumes
for the music libr. at Hamburg. The enor-
mous amount of biographical material Ch.
had collected led him to begin -a life of H.,
of which, unfortunately, only the first two
vols, and half of the third, bringing the life
down to 1740, appeared (Leipzig, 1 858-67).
Max Seiffert has recently undertaken the
responsible task of completing Ch.'s work.
Some of the characteristics of the great H.
edition are: 'A new German translation of
the original Engl, text, emphasizing the rela-
tion between word and tone; the restoration
of the original ornamentation of the arias;
and, most important of all, the restoration
of the original Handelian orchestration.' — Cf.
H. Kretzschmar, Fr. Chr. (in Peters' 'Jahr-
buch,' 1902).
Chrysan'thos of Madyton, Archbishop of
Durazzo in Albania, previously a teacher of
church-singing in Constantinople. In his
works Introd. to the Theory anit Practice of
Church-Music (1821) and Great Theory of
Music (1832), he much simplified the
liturgical notation of the Byzantine Church.
Chwatal [shwah'tahl], Franz Xaver, b.
Rumburg, Bohemia, June 19, 1808; d. Elmen
(Soolbad), June 24, 1879. In 1832, music-
teacher in Merseburg, 1835 in Magdeburg.
Wrote 2 Methods for pf. (op. 93, op. 135);
male quartets; and over 200 pf. -pieces.
Chwatal, Joseph, brother of the preced-
ing; b. Rumburg, Jan. 12, 1811. Or^an-
builder in Merseburg; invented several minor
improvements in the organ-action.
Cifra [che'-l, Antonio, b. Rome, c. 1575;
d. Loreto, circa 1636. A prolific composer,
and one of the best of the Roman school; a
pupil of Palestrina and B. Nanini. At first
m. di capp. at the German College, 1610-20
at Loreto, for 2 years at the Lateran; and
in 1822 in the service of Archduke Carl of
Austria, returning to Loreto in 1827. — Publ. 5
books of motets; 3 of psalms; 5 of masses; 10
sets of concerti ecclesiastici (over 200 num-
bers); many more motets and psalms (in 2-12
parts); an ti phones, litanies; madrigals; ricer-
cari; Scherzi ed arte a 1, 2, 3, e 4 voci, per
cantar net clavicembalo, etc.; and other works,
from 1600 to 1638.— See Q.-Lex.
Cilea [che-la'ah], Francesco, b. Palmi,
Calabria, July 23, 1866. Pupil at Cons, of
Naples (1879-89) of B. Cesi (pf.) and P.
Serrao (comp.); prof, of pf. there, 1890-1;
prof. harm, at Istituto Musicale at Florence
1897-1905; dir. Cons, at Palermo, 1913-16;
since 1916 dir. Cons, at Naples. Member *R.
Accademia Musicale* at Florence (1898);
Chevalier of Order of Crown of Italy (1893);
Officer of same (1908).— Works: Pf.-trio
(1886); Suite for orch. (1887); sonata for
vcl. and pf . (1894) ; the operas Gina (Naples,
1889); Tilda (Florence, 1892); Arlesiana ([4
acts] Milan, 1897; rewritten in 3 acts, ib.,
1898); Adriana Lecouvreur (Milan, 1902 [very
succ.]; New Orleans, 1907); Gloria (Milan,
1907). His latest work is Poetna Sinfonico
for solo, ch. and orch. (Genoa, 1913).
Clmaro'sa [che-], Domenico, eminent
dramatic composer; b. Aversa, near Naples,
Dec. 17, 1749; d. Venice, Jan. 11, 1801. The
son of a poor mason and early orphaned, he
attended the charity-school of the Minorites,
his first music-teacher being Polcano, or-
ganist of the monastery. His talent was
so marked that in 1761 he obtained a free
scholarship in the Conservatorio di S. Maria
di Loreto, where he was taught singing
by Manna and Sacchini, counterpoint by
Fenaroli, and composition by Piccinni. In
1770 his oratorio Giuditta was performed in
Rome; in 1772 he celebrated his exit from
the Cons, by producing his first opera, Le
Stravaganze del Conte, at Naples, with me-
diocre results. But with La finta parigina,
given next season with brilliant success at the
Teatro Nuovo, Naples, he was fairly launched
on a dramatic career singularly free from
artistic reverses. His ease and rapidity of
composition were phenomenal; in 29 years he
wrote nearly 80 operas. His fame grew
steadily; and even Paisiello had to look to
his laurels. In 1774 C. brought out U Italian*
in Londra in Rome, and lived, until 1781,
alternately in Rome and Naples, writing in
each, following the custom of the period, one
opera after another for the city in which it
was to be performed. In 1781, as a tour de
force, he brought out two operas in Naples,
one in Rome, and two in Turin. His works
became known far beyond the bounds of
Italy, being performed not only by Italian
opera-troupes in all European capitals, but
also as translated into various foreign tongues.
After Paisiello's return from Petrograd, where
he had sojourned from 1776-85 as court com-
poser, offers were made to C.,'who finally
accepted them, setting out for Petrograd in
July, 1789. His journey thither was like
a triumphal progress; at the courts of
Florence, Vienna, and Warsaw he was
overwhelmed with attentions; and arrived
at his destination Dec. 1, wayworn and
suffering from the wintry weather, but con-
fident of success. Here he produced 3
operas, and during the three years of his stay
159
CIPOLLINI—CISNEROS
wrote 500 several pieces of music for the court
and nobility. Although every effort was
made to induce him to remain, the rigorous
climate obliged him to leave Russia in 1792;
towards the end of the year he arrived in
Vienna, where Emperor Leopold engaged
him at a salary of 12,000 florins as Kapell-
meister. At Vienna, at the age of 43,
he brought out his masterpiece, II Matri-
monii) segreto, the success of which eclipsed
not only that of his former works but those
of all rivals, not excepting Mozart. It is
probably the sole survivor, on the present-
day stage, of all C.'s dramatic works; though
several of his operas might well replace certain
modish puerilities of the hour. C. remained
long enough in Vienna to write two more
operas; 1793 found him once more at home
in Naples, where his Matrimonio segreto
aroused unexampled enthusiasm, having 67
consecutive performances, the illustrious com-
poser himself presiding at the cembalo for
the first seven representations. In 1794 he
visited Venice to bring out Gli Oram e Curiati;
in 1796 and '98 he was in Rome, then return-
ing to Naples, and all the time actively
engaged in operatic composition. In 1798,
too, he was seriously ill at Naples; and the
year after, having openly taken part in the
Neapolitan revolutionary demonstration on
the entrance of the French army into the
city, he was imprisoned and condemned to
death by King Ferdinand, a sentence com-
muted to banishment. Going to Venice, he
was at work on a new opera, Artemisia, when
death suddenly overtook him. It was bruited
abroad that he had been poisoned by order
of Queen Caroline of Naples, as a dangerous
revolutionist; the rumor was so persistent,
and popular embitterment so great, that the
Pope's body-physician, Piccioli, was sent to
make an examination; according to his sworn
statement, C. died of a gangrenous abdominal
tumor. [The date of this statement, -Apr. 5,
1801, was erroneously taken by Champlin as
that of C.'s death.)
Corned y-opera was C . 's forte; in his happiest
moments he rivals Mozart; even in opera
seria' many of his efforts are worthy of a place
on the repertory. The fluidity and fecundity
of his melodic vein, his supreme command of
form, and his masterly control of orchestral
resources, excite astonishment and admira-
tion. He was the peer of his great Italian
contemporary, Paisiello. Of the 76 operas
known as his, some of the finest are mentioned
below: La .finta parigina (Naples, 1773),
L Italiana in Londra (Rome, 1774), // Fanatico
per gli antichi Romani (Naples, 1777; a work
noted for introducing, for the first time,
vocal concerted music — trios and quartets —
into the dramatic action), // Matrimonio per
raggiro (Rome, 1779), Cajo Mario (Rome,
160
1780), Artaserse (Turin, 1781), It Convito di
pietra (Venice, 1782), La Ballerina amante
(Naples, 1782), Le Trame deluse (Naples,
1786), V Impresario in angustie (Naples,
1786), Gianntna e Bernadone (Naples, 1788),
La Verqine del sole (Petrograd, 1791),
U Matrimonio segreto (Vienna, 1792), Le
Astuzie femminile (Naples, 1794). He also
produced 2 oratorios; several cantatas; masses
a 4, w. instrs.; psalms, motets, requiems,
arias, cavatinas, solfeggi, and a great variety
of other vocal works; 7 symphonies; etc. — Cf.
P. Cambiasi, 'Notizie sulla vita e sulle opere di
D. C. (Milan, 1901); F. Polidoro, Lavitaele
opere di D. C. (in 'Atti dell' Accademia
Pontiniana', vol. xxxii, 1902). — See Q.-Lex.
Cipolli'ni [ch§-], Gaetano, dramatic com-
poser; b. Tropea (Catanzaro), Italy, Feb. 8,-
1857. Pupil of Francesco Coppa. Besides
a great quantity of vocal Romanze, and pf.-
pcs., he has written Gennerello, 3-act melodr.
(T. Manzoni, Milan, 1891) \ Ai bagni di mare,
operetta (Naples, 1892); // piccolo Haydn, U
act lyric comedy (T. Sociale, Como, (1893);
Ninon de Lenclos, 3-act lyr. com. (T. Lirico
Internationale, Milan, 1895); and (in MS.)
Simeta, 5-act opera.
Cisneros [this-na'rohs], Eleonora de (nSe
Broadfoot), dramatic mezzo-soprano; b.
New York, Nov. 1, 1880, and trained there
by Mme. Murio-Celli; studied later with
Jean de Reszke and Angelo TrabadeHo in
Paris; eng. (by Grau) for the Metr. Op. H.,
she first appeared in Jan., 1900, at a Sunday
concert; operatic debut same season at the
Phila. Acad, of Music as Amneris in Aida.
In 1901 she married Count Francesco de
Cisneros of Havana, and went abroad for
wider experience; eng. at the Regio Th.f
Turin, made debut as Amneris in Dec., 1902,
and later sang for a season at Milan in II
Trovatore (Azucena), with such success that
she continued in that r61e in various Italian
cities for more than six months. Next year,
in Trieste, she sang the contralto rdles in
Falstaff and Die Meister singer; next season
(summer of 1903) at Rio Janeiro in Aida„ La
Gioconda (Laura), and Carmen; followed by
ten appearances at Lisbon in revivals of
Semiramide (Arsace), Nabucco, Mercandante's
II Giuramento, etc. Sang at Covent Garden,
London, autumn of 1903, also the following
spring season, and has sung there for five
seasons; in 1905, sang at the Vienna Opera,
in German, the r61cs of Amneris, Azucena
and Ortrud, and refused offer of a 5-year
contract; debut at La Scala, Milan, that
winter, and created there the Countess in
Tchaikovsky's Pique-Dame, and Candia in
the d'Annunzio-Franchetti opera La Figlia
di JoHo. Sang at New York during first
two seasons of the Manhattan Opera House
CLAASSEN— CLARK
(Hammerstein) ; concert-tour of Belgium and
Germany, summer and early fall of 1908,
and in the winter created in Italian the rdle
of Clytemnestra in Strauss's EUktra at La
Scala. Winter of 1909-10 at the San Carlo
Th., Naples, singing Eboli in the revival of
Don Carlos; etc. Season of 1910-11 with
the Chicago- Phila. Opera Company; debut
Chicago as Amneris, Nov. 3, 1910. Accom-
panied Melba on operatic tour of Australia,
summer and autumn of 1911; since 1910,
member Chicago Op. Co.; in 1914 she sang
at the newly estab. Champs- Elysees Op. in
Paris; 1915-16 with the Havana Op. Co. Her
repertory embraces about 50 roles, others
being Kundry, La Cieca (La Gtoconda),
Herodias (Salome), Nancy (Martha), Anne
Boleyn (Henry VI II), Poppsea (Quo Vadis);
favorites are Azucena, Amneris, Laura,
Briinnhilde (Walkiire), and Eboli. Her voice
is a rich mezzo-soprano with a compass from
*toc*#.
daas'sen, Arthur, b. Stargard, Prussia,
Feb. 19, 1859. After graduating from the
Danzig Gymnasium, he entered the Music
School at Weimar in 1875, studying under
Miiller-Hartung, A. W. Gottschalk, and B.
Sulze. As early as 1878 his compositions
excited Liszt's interest. From 1880-84, con-
ductor at theatre in Gottingen, of the Feich-
tinger Opera Co., and at Nowak's Victoria
Th., Magdeburg. In 1884 C. was chosen, on
Dr. Damrosch's recommendation, conductor
of the Brooklyn (N. Y.) 'Arion,' which he
conducted for 25 years, establishing his
reputation as one of the foremost choral
conductors; for several seasons also cond. of
the N. Y. 'Liederkranz'; first cond. of numer-
ous large festivals. In 1910 he settled in
San Antonio, Texas, and became a powerful
factor in stimulating the appreciation of music
in the South through the founding of the San
Antonio Symph. Soc. and the Mozart and
Beethoven societies (choral); conductor of
31st Texas State Mus. Fest. — Publ. works:
Festival Hymn for soli, ch. and orch.; Waltz-
Idyll for full strine-orch.; many songs and
choruses, among which latter Der Kamerad
•took 1st 'composition prize' at the N. Y.
Singing Festival. — In MS., many orchestral
scores, incl. the symph. poem Hohenfried-
berg; a Suite for orch.; The Battle, for soli,
ch. and orch. (perf. at Seidl's Madison Sq.
Garden Concerts) ; etc.
Clagget, Charles, b. London, 1755; d.
there 1820. Violinist, leader in a Dublin thea-
tre; inventor of instruments (an organ without
pipes, a chromatic trumpet, and a chromatic
French horn), described in his Musical
Phenomena (London, 1793, 4to), and exhib-
ited in London, 1791.
Glapisson [kJah-pe-sdhn']f Antoine-Louls,
born Naples, Sept. 15, 1808; died Paris, March
19, 1866. A violinist and composer, he be-
came a member of the Inst, of France (1854),
prof, of harm, at the Cons. (1861), and custo-
dian of the Cons. coll. of mus. instrs., most of
which he had collected and sold to the state.
— Works: 21 operas; over 200 songs; etc.
Clari [klah're], Giovanni Carlo Maria,
b. Pisa, 1669; d. Pistoia, 1754, as m. di capp. of
the cathedral. He studied under Colonna at
Bologna, where (1695) his opera // Savio de-
lirante was prod. His best-known work is a
coll. of madrigals for 2 and 3 voices (publ.
1720; reprinted by Carli, Paris, in 1825); he
also wrote masses, psalms, and a requiem; etc.
— See Q.-Lex.
Qaribel. Pen-name of Mrs. Charles
Barnard.
Clark, Rev. Frederick Scotson, b. Lon-
don, Nov. 16, 1840; d. there July 5, 1*883.
Pupil of Sergent (in Paris) for harm, and pf.;
of E. J. Hopkins (org.); also, at the R. A. M.,
of Bennett, Goss, Engel, Pettit, and Pinsuti.
Studied for the ministry at Cambridge and
Oxford; org. of Exeter Coll., Oxford; studied
music in Leipzig and Stuttgart, and returned
(1873) to London, where he founded the
London Organ School. Was the representa-
tative English organist at the Paris Expos, of
1878. His organ-pieces (15 marches, 48
voluntaries, 6 communions, and offertories,
improvisations, impromptus, etc.) are his best
works; he wrote much for harmonium (on
which he was a talented performer) ; over 100
pf .-pes. ; and sacred vocal music, songs, etc.
Clark (e), Jeremiah, b. London, c. 1670;
d. there on December 1, 1707. Chorister in
the Chapel Royal; 1693, Almoner and Master
of the Children at St. Paul's, succeeding his
master, Dr. Blow; 1704, joint-org. with Croft
of the Chapel Royal. A hopeless love-affair
caused . him to take his own life. He was
joint-composer of the operas The World in Die
Moon (1697) and The Island Princess (1699);
wrote incidental music to several plays; was
the first who set to music Dryden's Alexander's
Feast (for St. Cecilia's Day, Nov. 22, 1697);
also wrote a cantata, an ode, anthems, songs,
etc. — See Q.-Lex.
Clark, Richard, b. Datchet (Bucks), April
5, 1780; d. London, Oct. 5, 1856. Chorister
and lay-clerk (1802-11) at St. George's and
Eton College; later lay- vicar of Westminister
Abbey, Vicar-choral at St. Paul's, and (1820)
Gent, of the Chapel Royal. Composed glees,
anthems, etc.; publ. essays on Handel's
Messiah and Harmonious Blacksmith, on God
Save the King, on mus. pitch, on the etymology
of the word 'Madrigafe'; also a coll. of the
wor.ls of favorite madrigals, glees, rounds,
catches, etc., perf. by the Glee Club (of which
161
CLARKE— CLARUS
he was secretary) and other societies (1814:
1824; 1833). V
Clarke, Hugh Archibald, b. near To-
ronto, Canada, Aug. IS, 1839. Pupil of his
father, James Peyton Clarke. Was org. in
several churches, then (1875-97) of the
Presby. Ch., Phila. He conducted a male
chorus, The Abt,' for several years, till 1876.
In 1875 he was elected Prof, of the Science of
Music in the Univ. of Pennsylvania, a po-
sition he still holds (1916), teaching harmony,
cpt., form, and orchestration. Mus. Doc.
(1886) of Univ. of Penna., when his music to
Aristophanes' Acharnians (overture and chor-
uses) was produced. C. has also composed
music to Euripides' Iphigenia in Tauris, an
oratorio, Jerusalem (Phila., 1891), of. -music,
and songs. Has publ. a treatise on Harmony
and one on Counterpoint, also text-books
for organ and pf.; a bit of fiction called
The Scratch Club (1888); Music and the
Comrade Arts (1900); Highways and Byways
of Music (1901).
Clarke, James Hamilton Smee, b.
Birmingham, Engl., Jan. 25, 1840; d. Banstead,
July 9, 1912. An organist at 12, he was
apprenticed to a land-surveyor 1855-61; then
went over to music, and in 1866 became
organist of Queen's College, Oxford (Mus.
Baa, 1867); also cond. the Queen's Coll. Mus.
Soc. In 1872 he succeeded Sullivan as
organist of St. Peter's, South Kensington; was
cond. in succession at the Opera-Corn ique,
Comedy, Toole's, Gaiety, etc.; of the D'Oyly
Carte company on tour (1878) ; and also from
1878 mus. dir. at the Lyceum Th.f writing
music for dramas given by Irving. In 1893,
first cond. of the Carl Rosa company. He
publ. about 400 works, including incid. music
to Hamlet, Merchant of Venice, King Lear.
The Corsican Brothers, etc.; operettas and
comediettas for the German Reed Company's
Entertainments ; school-cantatasand operettas ;
the sacred cantata Praise; 8-part anthem, The
Lord is my light (won prize of Coll. of Organists,
1864); much other church-music; songs and
part-songs; — 2 symphonies; 6 overtures; a
pf. -concerto (op. 78); a pf. -quartet; string-
quartets; organ-music (6 sonatas; 3 Andantes;
3 Offertories; 3 Pieces, op. 348); etc.
Clarke, James Peyton, b. Scotland, 1808;
d. Toronto, Canada, 1877. In 1829, leader of
psalmody in St. George's Ch., Edinburgh;
1834, organist of St. Mary's Episcopal chapel,
succeeding Thos. Macfarlane; emigrated to
Canada, 1835, settling as a farmer in Ellora,
but went to Toronto about 1841; about 1845
was elected prof, of music in Upper Canada
University, and in 1848 took degree of Mus.
Bac. at King's College with the 8-part an-
them Arise, O Lord God, forget not the poor;
Mus. Doc., 1856. For many years organist
of St. James' Cathedral, Toronto, and con-
ducted several choral societies.
Clarke, John [Clarke- Whitfield], born
Gloucester, Engl., Dec. 13, 1770; died Holmer,
n. Hereford, Feb. 22, 1836. Org.-pupil of Dr.
Hayes at Oxford; organist at Ludlow, Armagh,
Dublin; 1798-1820. org. and choirmaster of
Trinity and St. John's Colleges, Cambridge;
1820-33, ditto at Hereford. In 1799, Mus.
Doc., Cantab.; 1810, Mus. Doc., Oxon.; 1821,
prof, of music at Cambridge. Published an
oratorio, The Crucifixion and the Resurrection
(Hereford, 1822) ; 4 vols, of cathedral services
and anthems (1805); 12 Glees (1805); 12
Songs; a Selection of Single and Double
Chants; etc.; he edited the 'Vocal Works of
Handel' (1809, 17 vols.), w. pf.-accomp. — See
Q.-Lex.
Clarke, William Horatio, gifted organist;
b. Newton, Mass., March 8, 1840; d. Reading,
Mass., Dec. 11, 1913. In 1856, organist at
Dedham, Mass.; in 1859, of the Berkeley
St. Ch., Boston, also teaching for a time in
the Perkins Inst, for the Blind. Removed
(1871) to Dayton, Ohio, as supt. of public
schools; later to Indianapolis, as org. of a
leading church. From 1878-87, org. at
Tremont Temple, Boston, then retiring to his
estate at Reading, Mass., where he had built
a chapel of music, Clarigold Hall, containing
a large 4-manual organ with 100 stops. He
had success as a concert-org., teacher and
author. Besides 15 instructive works for org.,
reed-org., pf., voice, etc., publ. 1865-86, he
wrote Outline of the Structure of the Pipe-
organ (1877); The Face of Jesus (London,
1883); The Interwordian (1884); The Organ-
isfs Retrospect (1896); Cheerful Philosophy
for Thoughtful Invalids (1896); Standard
Organ Building (1913).
Clams [klah'rdos], Max, b. Mtthlberg-on-
Elbe, March 31, 1852; pupil of his father,
Municipal Mus. Director there, and (from
1870) of Haupt, Schneider and Loschhorn at
the R. Acad, for Church-music, Berlin. Up
to 1882 he acted as Kapellm. in various Ger-
man, Austrian and Hungarian theatres, the
last being Kroll's and the Victoria, Berlin.
In 1882 he was eng. at the Brunswick Court
Th., becoming Court Mus. Dir. in 1890.
From 1884 he cond. the 'Orpheus,* and also
from 1890 the 'Chorgesaneverein,' and com-
posed many choruses. — Works: The operas
Desgrossen Konigs Rekrut (Brunswick, 1889);
Use (ib., 1895; succ); the fairy operas Der
Wunschpeter (ib., 1910), Hans Ddumling (ib.,
1911), Der Zwerg Nase (ib., 1912); also several
ballets (Opium-Traume, etc.). Further, FUr-
stengruss, for soli, male ch. and full orch.;
Vie Wacht vor Samoa, grand 'Tongemiitde' for
bar. solo, male ch. and orch.; Festgesang;
numerous choruses.
162
CLASING— CLEMENS
Cla'slng, Johann HeJmich, b. Hamburg,
1779; d. there Feb. 8, 1829. A teacher at H.,
he wrote the operas Mlchdi und sein Sohn
(H., 1806), and Welcher ist der Rechte? (comic,
H., 1811); 2 oratorios, Belsasar and Die
Tochier Jephtas; chamber-music, pf.-pcs., etc.
Claudln le Jeune. See Le Jeune.
Claudius [klow'-], Otto, b. Kamenz, Sax-
ony, Dec. 6, 1795;d. Naumburg, Aug. 3, 1877,
as cantor of the cathedral. — Works: Operas
(Der Gang nach dem Eisenhammer); church-
music, songs, etc.
Clauuen [klow'-], Julia, dramatic mezzo-
soprano; b. Stockholm, Sweden, June 11,
18/9. Studied at Royal Acad. Mus., Stock-
holm (1897-1902); with Prof. Friedrich, Royal
Acad. Mus., Berlin (1906-8). Debut Jan.
19, 1903, at Royal Opera in Stockholm as
Leonora (La Favorita); engaged there from
1903-12; subsequently sang in Covent Gar-
den (1914); member of Chicago Opera Co.
since 1913; sang as star at Th. des Champs-
filysees; Paris (1914), Royal Th., Stuttgart
(1913); transcontinental tour with the Chica-
go Opera (1914); has made 3 concert -tours of
U. S. since 1914, singing in 120 concerts dur-
ing 1916. Principal roles are Brttnnhilde,
Kundry, Ortrud, Dalila, Fides, Orfeo, Car-
men, Herodiade, Gertrude (Hamlet) , Marina
(Boris Godunov). and others, 30 in all. Life-
member Royal Acad. Mus., Stockholm (1912).
Her voice is a full mezzo-sop., remarkably
even throughout its entire range (ab-c*).
Oau'ssen, Wilhelm, b. Schwerin, 1843;
d. there Dec. 22, 1#69. Gifted composer,
Eupil of Stern Cons., Berlin, and Ary Schaffer;
e was the first to win the Meyerbeer Scholar-
ship (with an overture). Posthumous pf.-
pcs. and songs were publ.
Clausz-Szarva'dy [shar-], Wllhelmlne,
fine pianist; b. Prague, Dec. 13, 1834; d. Paris,
Sept. 2, 1907. She studied in the Proksch
Inst.; debut 1849; settled (1852) in Paris/
where her refusal to play the brilliant bra-
vura pieces then in vogue at first retarded
appreciation of her worth. But when, two
years later, Berlioz and Mme. Ungher-
Sabatier became interested in her, her
splendid interpretation of the classic masters
(especially Bach and Beethoven) won general
recognition; made frequent tours of France,
Germany and England. She was one of those
great artists who completely merge their
personality into that of the composer. Mar-
ried F. Szarvady [d. Paris, March 1, 1882] in
lo57.
ClavG (Man-van, Jos6 Anselmo, b. Bar-
celona, Apr. 21, 1824; d. there Feb., 1874.
The founder of the male singing-societies in
Spain, after the model of the French 'or-
pneons.' At the first singing fest. in Bar-
celona (1860) he directed a chorus of 200
voices; four -years later 2000 singers, re-
presenting 57 organizations, formed the fest.
chorus. Some of his songs and choruses
enjoyed immense popularity; also wrote a
few zarzuelas.
Clay, Frederic, composer; b. (of English
parents) Paris, Aug. 3, 1840; d. Great Marlow,
n. London, Nov. 24, 1889. Pupil of Molique
at Paris, and of Hauptmann at Leipzig. His
first operettas, The Pirate's Isle (1859) and
Out of Sight (1860), were given privately at
London; after them he brought out, at
Covent Garden and other London theatres,
Court and Cottage (1862), Constance (1865),
Ages ago (1869), The Gentleman in Black
(1870), Happy Arcadia (1872), Babil and
Bijou (1872), The Black Crook (1873),
Cattarina (1874), Princess Toto (1875), Don
Quixote (1875), Oriana, The Golden Ring
(1883), The Merry Duchess (1883); incid. mus.
to Twelfth Night' and other plays; 2 can-
tatas, The Knights of the Cross (1866) and
Lalla Rookh (18/7); part-songs, songs, etc.
Clegg, Edith, b. London; a fine contralto;
studied at Guildhall Sch. of Mus., and with
H. Klein in London; later with J. Bouhy in
Paris; estab. her reputation as a concert
singer at several of the great Engl, festivals;
also repeated engagements with the Philh.
Soc.; debut in opera, London, 1906, creating
the part of Sophia in Liza Lehmann's The
Vicar of Wakefield; has also sung at Covent
Garden; toured Germany with success as a
lieder-singer.
Clemens, Charles Edwin, b. Plymouth.
England, March 12, 1858. Organist; pupil of
Drs. Weeks and Martin, and E. Pauer, at the
R. C. M. At 11, org. at Christ Ch., Daven-
port; at Berlin, 1889-96, org. of the English
church and also to Empress Friedrich; he
taught in the Scharwenka Cons., and publ.
his well-known text-book on Pedal Technique
(2 vols., 1894).. Settled 1896 in Cleveland,
Ohio; org. and choirm. at St. Paul's Ch.,
1896-1911; since 1911 org. at Euclid Ave.
Presby. Ch.jcond. of the Singers' Club; since
1902, prof, at the Women's Coll., Western
Reserve Univ. Successful recitals at Cleve-
land and elsewhere; engaged at the Temple
of Music at the Pan-American Exposition,
Buffalo. In 1903 he publ. (New York) his
Modern School for the Organ, which rivals
the Pedal Technique in pedagogical favor.
Cle'mens, Jacob, called 'Clemens non
Papa,' to distinguish him from Pope Clement
VII (who was a good player on several
instrs., and died 1534); eminent Netherland
contrapuntist of the 16th cent., in the time
between Josquin and Palestrina. He was
first Kapellm. to the Emperor Charles V, at
Vienna. — Works: 11 masses, many motets,
chansons, etc., publ. by P. Phalese (Lou vain,
163
CLfiMENT— CLEMENTI
1555-80); 4 books of Sooter Liedekens, i. e.,
psalms set to popular Nctherland tunes,
publ. by T. Susato (Antwerp, 1556-7); and
numerous miscellaneous pieces in collections
of the period. — He probably died circa 1557.
See Q.-Lex.
Clement [kl£-mahn'], Charles-Francois,
b. in Provence, 1720; settled in Paris as pf-
teacher. Publ. Essai sur Vaccomp. du cla-
vecin (1758), and a supplement, Essai sur la
basse fondamentale, etc. (1762); they appeared
in a 2d ed. united under the former title. He
also prod. 2 operettas, a book of harpsic.-pcs.
w. vln., and issued a monthly 'Journal de
clavecin* (1762-65).
Cllment, Edmond, b. Paris, March 28,
1867. Pupil of Warot at the Cons, in 1887;
first prize, 1889; debut at Op.-Comique, Nov.
29, 1889, as Vincent in Gounod's MireUle.
His success was instantaneous, and he was
eng. at once as first tenor; remained there
uninterruptedly for 21 years (until 1910),
with frequent leave for extended tours; has
sung in the principal theatres of France,
Belgium, Spain, Portugal, England and Den-
mark; 1909-10. at M.O.H.; 1911-13 with
Boston Op. company; in the spring of 1913 he
made an extended and very successful concert-
tour of U. S. and Canada; Officier de 1' In-
struction Publiaue and Knight of the Order
of Danebrog. His voice is a light tenor of
very agreeable quality, with a range of two
octaves; both as actor and singer he secures
remarkable results with a minimum of effort;
his art is characterized by a subtle and
peculiar refinement and distinction. He has
created the chief tenor parts in the following
operas (all at the Op.-Comique): Bruneau's
VAUaque du Moulin (1893), Saint-Saens'
Phryni (1893), Cui's Le Flibustier (1894),
Godard's La Vivandiere (1895), Dubois1
Xaviere (1895), Hahn's Vile du Rhe (1898),
Erlanger's Le Juif polonais (1900), Saint-
Szensr Helene (1904), Dupont's La Cabrera
(1905), Puccini's Madama Butterfly (1906),
VidaPs La Reine Fiammette (1908); his fa-
vorite r61es are Don Jose (Carmen), Werther,
Des Grieux (Manon), Rodolphe {La Bohbne),
Gerald (Lakme). — During his convalescence
from a wound received in the great war (1915)
he gave a series of concerts, the proceeds of
which (amounting to 125,000 francs) he
donated to various war-charities.
Clement, Felix, b. Paris, Jan. 13, 1822;
d. there Jan. 23, 1885. He studied music
secretly, and at the age of 21 adopted it as his
profession. He devoted himself especially
to historical studies; filled several positions as
organist and teacher, and finally became org.
and choirmaster at the Ch. of the Sorbonne.
In 1849 the government chose him to direct
the musical solemnities at the Sainte-Chapelle;
and the comps. then executed (music of the
13th cent.) were publ. in score as 'Chants de
la Sainte-Chapelle,' in the same year (3d ed.
1875). He was active in establishing the 'Inst,
for Church-music.' — Writings; Methode com-
pute du plain-chant (1854; 1872); Methode de
musique vocale et concertante; Histoire gS-
nhale de la musique religieuse (1861); Les
Musiciens cilebres depuis le XVI' Steele (1868;
1879); Diet, lyrique, ou histoire des operas
(1869, 4 supplements up to 1881 ; new, augm.
ed. by A. Pougin, 1897 and 1904); MSthode
d'orgue, d'harmonie et dtaccompagnement (1874;
2d ed. 1894); etc.
Cle'ment, Franz, b. Vienna, Nov. 17,
1780; d. there Nov. 3, 1842. At the age of
12, his father accomp. him on a 4-years' con-
cert-tour through Germany and England;
1802—1 lf> he was Kapellm. at the Th. an der
Wien, Vienna, later leader at Prague, under
CM. v. Weber; 1813-18, again at the Th. a.
d. Wien, and then travelled for several years
with M me. Catalani . — Works: 6 concertos and
25 concertinos for vln.; also overtures, quar-
tets, pf. -concertos, the opera Le Trompeur
trompe, etc.
Clement y Gavedo, b. Gandia, Spain, Jan.
1, 1810; d. (?). Org. at Algamesi and Valencia;
1840-52, teacher of music at Gueret, France;
settled in Madrid, and publ. an elem. mus.
text-book, Gramdtica musical. In 1855, by
order of Espartero, he submitted a plan for
reorganizing the School of Music. — Comps.;
A magic opera, a zarzuela, ballads, songs, etc.
Clemen'ti, Muzio, celebrated pianist and
composer; was b. at Rome, Jan. 24, 1752,
ace. to obituary notice; but Reichardt's 'Mus.
Almanach' for 1796 gives April 12, 1746; d.
at his country-seat at Evesham, England,
March 10, 1832. His father, a goldsmith
('orefice'), was a devoted amateur of music,
and had his son taught carefully, from tender
years, by Antonio Buroni, m. di capp. in a
Roman church. From 1759 the org. Condicelli
gave him lessons in organ-playing and har-
mony. So rapid was their pupil's progress,
that when but 9 he obtained a position as
organist, in competition with other and ma-
turer players. Until 14 years of age he
pursued his studies in Italy, G. Carpani
(comp.) and Sartarclli (voice) being his next
instructors. At a piano-concert which C.
fave in 1766, an English gentleman named
teckford was so delighted with his talent that
he obtained the father's permission to educate
the boy in England. C. lived and studied
till 1770 in his patron's house in Dorsetshire;
then, a thoroughly equipped pianist and
musician, he took London by storm. In 1773
his op. 2 (3 pf.-sonatas dedicated to Haydn,
and warmly praised by K. Ph. E. Bach) was
published; they may be considered as finally
164
CLEMM— CLIFFE
establishing the form of the pf .-sonata. From
1777-80 he conducted, as cembalist, the
Italian Opera. In 1781 he bepan a pianist ic
tour, giving: concerts at Pans, Strassburg,
Munich, and Vienna; here, on Dec. 24, 1781,
he met Mozart in 'friendly' rivalry (N.B.
Mozart's letters make no pretence of con-
cealing his dislike of the 'Italian' composer
and player) ; though the palm of final victory
was awarded to neither, yet C. tacitly ad-
mitted, by changing from a mechanically
brilliant to a more suave and melodious
Siano-style, the musicianly superiority of
lozart. In Vienna his op. 7, 9 and 10 were
publ. by Artaria. Excepting a concert -season
at Paris, in 1785, C. now remained in London
for 20 years (1782-1802). He not only made
his mark, and incidentally amassed quite a
fortune, as a teacher, pianist, and composer,
but also (after losses through the failure of
Longman & Broderip, the instrument-makers
and music-sellers) established a highly
successful piano-factory and publishing-house
of his own (now Collard & Collard). With
his pupil Field, C. set out for Petrograd in
1802, passing through Paris and Vienna; their
tour was attended by brilliant success, and
Field was so well received in Petrograd that he
accompanied his master no further. The
latter resided for several years alternately in
Berlin, Dresden, and Petrograd; then, after
visiting Vienna, Milan, Rome, and Naples, he
again settled in London. The business-man
in C. now gained the upper hand; he no longer
played in public, but devoted himself to
composition and the management of his pros-
perous mercantile ventures. He never again
went far from London, except during the
winter of 1820-21, which he spent in Leipzig.
— As a teacher C. trained many distinguished
musicians; Field, Cramer, Moschelcs, Kalk-
brenner, Alex. Klengel, Ludwig Berger,
Zeuner, even Meyerbeer, all owea much to
his instructions. His compositions include
symphonies (which failed in competition with
Haydn's), and overtures for orchestra; 106 pf.-
sbnatas (46 w. vln., 'cello, or flute) ; 2 duos for
2 pfs.; 6 4-hand duets; fugues, preludes and
exercises in canon-form, toccatas, waltzes,
variations, caprices, Points d'orgue . . . (op.
19) ; an Introduction h Vart de toucher le piano,
avec 50 lecons, etc.; by far the greater part
of which are wholly forgotten. But his
great book of fitudes, the Gradus ad Parnas-
sum (publ. 1817), is a living reminder that
he was one of the greatest of piano-teachers.
Billow's excellent selection of 50 of these
etudes has been outdone by Vogrich's unique
'Complete Edition,' arranged progressively
(New York, 1898).
Biographies of C. have been written by
Giov. Frojo: M. C, la sua vita, le sue opere e
sua influenza sul progresso deW arte (Milan,
1878) ; by O. Chilesotti in J nostri maestri del
passato (Milan, 1882); F. Clement has a
sketch in his Les Musidens celkbres depuis le
XVI' Steele (Paris, 1878); M. Unger, M. C's
Leben (Langensalza, 1914); also J. S. Shed-
lock in The Pianoforte Sonata (London,
1895).— See Q.-Lex.
Clemm, John [Johann Gottlieb Klemm],
b. Dresden, 1690; learned organ-building
under A. SUbermann, and settled in Phila-
delphia, Pa., in 1736; lived for a time in New
York, where he built the first organ for
Trinity Church (finished Aug., 1741) ; removed
to Bethlehem, Pa., where he {lied in 1762. He
is said to have been the first trained and com-
Setent organ-builder in America. — His son,
ohn Clemm, Jr., was the first organist at
Trinity Ch., New York City. [From A. H.
Messiter: History of the Choir and Music of
Trinity Church (New York, 1907).
Oeo'nldes, a Greek writer on music, lived
in the first half of the 2d century, A. D. His
treatise Eisagoge harmonikS (Introductio har-
monica), based upon the theories of Aris-
toxenus, was for a long time ascribed to the
mathematician Euclid, because it had been
publ. under the latter 's name by Pena
(Paris, 1557) and Meibom (Amsterdam,
1652), although it had been printed with the
real author's name by Valla (Venice, 1497).
A newcrit. ed. was publ. by K. von Jan in
'Musici scriptores graeci.'
Glerice [Ma-res'], Justin, b. Buenos
Aires, Oct. 16, 1863; d. Toulouse, Sept., 1908.
Pupil of Paris Cons. (1882, Delibes and
Pessard). Spent greater part of his life in
Paris. — tomps.: Le Meunter dAlcala, comic
opera (1887); Figarella, do.; M. Huchot, vau-
deville (1889); grand ballet Au Pays noir
(Antwerp, 1891); 3-act comic opera Le 39
Hussards (Paris, Gait6, 1894); PhryneUe,
operetta (1895); LSda, pantomime (1896); Au
temps jadis, ballet-opera (Monte Carlo, 1905).
Cleve [kla'vS], Halfdan, b. Kongsberg,
Norway, Oct. 5, 1879. Pupil of his father
and Winter- Hj elms in Christiania; cont. his
studies in Berlin (1898-1903) with O. Raif,
X. and Ph. Scharwenka. Has written 4 con-
certos for pf. and orch. (op. 3, in Bb; op. 6, in
Bb m.; op. 9, in Eb; op. 12, in A m.); pieces
for pf., and some songs with orchestra.
Clicquot [kle-koh'], Francois-Henri, b.
Paris, 1728; d. there 1791; 'the most skilful
French organ-builder of the 18th century'
[Fetis]; from 1765 in partnership with Pierre
Dallery.
Cliffe, Frederick, b. Lowmoor, Yorkshire,
May 2, 1857. Received first instruction from
his father. On both pf. and org. his progress
was so rapid, that at the age of 11 he was
app. regular organist at Wyke Parish Ch.;
165
CLIFFORD— COATES
1873-6 org. of the Bradford Fest. Chora!
Soc.; in 1876 won scholarship at the Nat.
Training Sen. of Mus., where he st. under
Sullivan, Prout, Stainer and Franklin Taylor;
app. prof, of pf. at R. C. M. in 1883; nlled
several positions as org. till 1889, when he
fave up church work; 1888-94 org. of the
Each Choir, and at the same time accom-
panist at Cov. G., Drury Lane and Her
Majesty's Th.; 1901 prof, of pf. at R. A. M.,
and member of the joint exam. bd. of R. A.
M. and R. C. M.; tour of Australia in 1898;
tours of South Africa in 1900 and 1903.—
Works: Symph. in C m. (1889); do. in E m.
(1892); Cloud and Sunshine, symph. poem
(1890); concerto for vln. ana orch. in D m.
(1896); The Triumph of Alcestis, scena for
alto and orch. (1902); Ode to the North-East
Wind (1905); also some songs and church-
music.
Clifford, Rev. James, English divine; b.
Oxford, 1622; d. London, Sept., 1698, as
Senior Cardinal of St. Paul's. Publ. 'A Coll.
of Divine Services and Anthems, usually
sung in H. M.'s Chapel, etc' (1664).
Clifton, Chalmers, b. Jackson, Miss..
Apr. 30, 1889. Pupil at Cincinnati Coll. ot
Music of D. Boxall, P. A. Tirindelli and M.
Boyce; then at Harvard Univ. of E. B. Hill,
W. R. Spalding and W. C. Heilman; further
in Paris of V. d'Indv and A. Gedalge; at-
tracted attention by his excellent conducting
of the Peterborough Pageant (1910) and the
Lexington Pageant (1915); app. cond. of
Harvard Alumni Chorus and the Cecilia
Soc. of Boston, 1915. Has written a violin-
sonata in D m.; Suite for trumpet and orch.;
The Poppy, for tenor and orch.
Clifton, John Charles, b. London, 1781;
d. Hammersmith, Nov. 18, 1841. A pupil of
Beltamy and Chas. Wesley, he lived in Bath
as a teacher and conductor, then in Dublin
(1802-15), and settled in London (1816) as
an exponent of Logier's system. Inv. the
Eidomusicon (a species of melograph). His
opera Edwin was given in Dublin (1815); he
publ. glees, many songs, and a Theory^ of
Harmony Simplified (1816); also a 'Selection
of British Melodies' (no date).
Oough-Leighter [kluf-H'ter], Henry, b.
Washington, D. C, May 13, 1874. Began
study of pf. at age of 4, under his mother's
instruction; from 188^-6, solo chorister at St.
John's, Washington; began study of org. in
1887 with Dr. G. Walter; comp. with Dr. E.
Kimball. Even while pursuing his studies
he held several positions as organist of various
churches in Washington; 1900-1 org. and
chm. of Christ Ch., Providence, R. L,
supervisor of the mus. courses in the schools
at Westerly, R. I., and instr. of theory in
the Howe Sch. of Mus., Boston; 1901-8
assoc. ed. with O. Ditson & Co.; since 1908
editor-in-chief. Works: Five cantatas; lyric
suite The Day of Beauty for solo voice, pf.t
and str.-quartet; symph. ballad Lasca for
solo voice, pf., and orch.; many songs and
song-cycles; Victorian Ode (Recessional) for
ch. and orch.; several choral works; editor of
many mus. pedagogical and technical works.
Closson [klohs-sohn'], Ernest, b. St.
Josse ten Noode, n. Brussels, Dec. 12, 1870.
Asst.-curator of the museum of mus. instrms.
at the Cons, in Brussels; since 1913 also prof,
of hist, of mus. there; makes a specialty of the
study of folk-music, signing all writings on
that subject with the pen-name Paul Antoine.
Has publ. Chansons populaires des provinces'
beiges (1905; anthology w. introd. and notes)
and 20 Noels francais anciens (1911); his
writings are Siegfried de Wagner (1891), E.
Grieg (1892), La Musique et les Arts plastiques
(1897), Le Manuscrit dit 'des Basses Dances* de
la bibliotheque de Bourgogne (1912), Notes sur la
chanson populaire en Belgique (1913). Of his
essays in different journals V instrument de
musique comme document ithnographique (in
'Guide musical,' 1902) deserves special men-
tion.
Clotz. See Klotz.
Quer, John, English publisher and en-
graver of music, believed to be the inventor of
engraving on tin plates; d. London, 1729. He
engraved and published Handel's Suites de
pieces de clavecin (1720), and (1723-9) nine
of his Italian operas; also an 8vo collection of
opera-songs. — Cf. F. Kidson, British Music
Publishers (London, 1900).
Coates, Albert, b. Petrograd, April 23,
1882 (of an Engl, father and a Russian mo-
ther). St. pf. with an older brother, without
intention of becoming a musician. At the
age of 20 he gave up his scientific studies, and
entered the Leipzig Cons, in 1902. Here he
studied with Teichmuller (pf.), Klengel (vcl.)
and Nikisch (cond.). Debut as cond. with
Offenbach's Les Conies d* Hoffmann at Leipzig;
app. first cond. (on Nikisch's recommenda-
tion) at the Elberfeld opera in 1906; in 1910
for a short time one of the conds. at the
Dresden op. ; same year coordinate first cond.
with Bodanzky at Mannheim; since 1911
first cond. of the Imp. Opera at Petrograd;
appeared with signal success in 1914 at Cov.
G. as cond. of Warner's works (alternating
with Bodanzky in tne dir. of Parsifal). Has
written an opera, Sardanapalus (Petrograd,
1916).
Coates, John, famous dramatic and concert
tenor; b. Girlington, Yorkshire, June. 29, 1865.
Pupil of his uncle, J. G. Walton (choirm. at
Bradford), and J. C. Bridge in Chester; sang
as a chorister from his sixth to twelfth year;
in 1893 pupil of W. Shakespeare in London;
166
COBB— COENEN
debut at Savoy Th. in Utopia, Limited
(1894). For the next six years he sang in
light op., with ever increasing success, through-
out England, and also twice in the U. S.;
following the sensational succ. of his creation
of the part of Perkin Warbeck, in The Gay
Pretenders (Old Globe Th.f 1900), numerous
engs. were offered to him, but he declined
all, went to Paris, and st. for a year with J.
Bouhy. Then made his ddbut in grand op.
as Faust at Cov. G., in 1901; same season
created Claudio in Stanford's Much Ado about
Nothing; in the fall he appeared with enormous
succ. as Lohengrin in Cologne; since then a
frequent star at many of the chief German
opera-houses (Berlin, Dresden, Leipzig, Ham-
burg, Mannheim, Bremen, Mayence, etc.);
has sung repeatedly at Cov. G., His Majesty's
Th., Lyric Th., and is prominently identified
with the prod, of opera in English, having
sung all the Wagner parts (and many others)
with the Engl, companies of Moody-Manners
(1902, '07, '08), Carl Rosa (1909), Beecham
(1910), Denhof (the entire Ring of the
Nibelung, 1911); was princ. ten. of Quintan's
company on its tour of the United Kingdom,
Australia and South Africa (1911-13), singing
in the first prod, of Tristan in Australia and
S. Africa. CT is to-day not only the foremost
dram, tenor of England, but also the fore-
most oratorio and lieder-singer, and esteemed
as such also in Germany. His first concert
engag. was at the Leeds Fest. of 1901; the
next year he sang in Elgar's The Dream of
Gerontius at its first pcrf. (Worcester Fest.),
and has since sung the tenor parts at all first
perfs. of Elgar's works; also created tenor
parts in the 3 divisions of Bantock's Omar
Khayyam (Birmingham, 1906-9); was eng.
specially in 1906 for the performances of The
Dream of Gerontius, under the composer's
direction, at Cincinnati and Paris.
Cobb, Gerard Francis, b. Nettlestead,
Kent, Engl., Oct. 15, 1838; d. Cambridge,
March 31, 1904. Fellow of Trinity Coll.,
Cambridge, 1863; studied music at Dresden;
Pres. of Cambridge Univ. Mus. Soc., 1874-
84;. Chairman of the Univ. Board of Mus.
Studies, 1877-92— Works: Psalm 62, for
soli, ch. and orch. (Ripon Cath., 1892); 7
church-services, incl. a full Morning, Evening
and Communion Service for men's voices,
comp. by request for the choir of St. George's
Chapel, Windsor; motet Surge iUuminare
(1887); prize madrigal, Sleeping Beauty, a 6;
prize glee, A Message to Phyllis, a 4; numerous
songs and ballads (e. g., Kipling's Barrack-
Room Ballads; a pf. -quintet, op. 22; suite for
vln. and pf.; pf. -suite, Voices of the Sea; etc.
Cocchi [k6hk'ke], Gioacchino, dramatic
composer; b. Padua, circa 1715; d. Venice,
1804. He was teacher at the 'Cons, degli
Incurabili,' Venice; lived 1757-63 in London,
writing operas; returned to Venice in 1773.
His first opera was Adelaide (Rome, 1743);
others were Elisa (1744), Baiazette (1746),
Arminio (1749), La Gismonda (1750), Sim
(1750), Semiramide riconosciuta (1753), De-
mofoonte (1754), La Maestra (1754), Zenobia
(London, 1758), La clemensa di Tito (Lon-
don, 1760), and Tito Manlio (London, 1761).
He excelled in opera buffa. — See Q.-Lex.
Coccia [koh'tchah], Carlo, b. Naples,
April 14, 1782; d. Novara, April 13, 1873, as
maestro at the cathedral. Pupil of Valente,
Fenaroli, and Paisiello at the Cons, at Naples,
he became a prolific opera-composer, travel-
ling through Italy, and to Lisbon and Lon-
don, to superintend the production of his
works, which number nearly 40. Also wrote
several masses, other sacred music, duets,
arias, etc. Maria Stuarda was given in
London, 1823. — Cf. G. Carotti, Biografia di
C. Coccia (Turin, 1873).
Coccon', Ntcold, pianist, organist, and
composer; b. Venice, Aug. 10, 1826; d. there
Aug. 4, 1903. Pupil of E. Fabio. App. prof,
of cpt. at Liceo Benedetto Marcello in Venice
(1882); among his pupils was A. Franchetti.
His first published comps. were motets (1841) ;
in 1856 he was first org., and 1873 maestro,
at San Marco. His music (over 450 numbers)
is held in high estimation; principal works
are an oratorio, Saul, 8 requiem masses, 30
'messe da gloria,' and much other ch. -music;
2 operas, Zaira (1884) and Uggero il Danese
(not prod.); the sacred melodrama Manasse
in Babilonia-(l&77); the operetta I due oran-
gotani (1879); etc.
Cocks (Robert) & Co., London firm of
music-publishers, founded 1823 by Robert C;
his sons, Arthur Lincoln C. and Stroud Lin-
coln C, became partners in 1868. Upon the
death of the original founder (1887) Robert
Macfarlane Cocks became the proprietor, and
carried on the business until 1898, when he
retired, and transferred the house to Augener
& Co. The catalogue of publications com-
prised 16,000 numbers.
Coenen [koo'-], Cornelius, b. The Hague,
1838. Violinist and concert-giver; has made
extended tours; in 1859, conductor of the
orch. at Amsterdam, and 1860 bandmaster of
the Garde Nationale at Utrecht. — Overtures,
pieces for chorus and orchestra, etc.
Coenen, Franz, b. Rotterdam, Dec. 26,
1826; d. Leyden, Jan. 24, 1904. A pupil of
his father, an organist; then of Vieuxtemps
and Molique. After tours as concert- violinist
with Henri Hera, and in S. America with E.
Lilbeck, he settled in Amsterdam; up to 1895
he was director in the Cons., and prof, of vln.
and comp.; solo violinist to the Queen; the
167
COENEN— COLBURN
leader of a celebrated quartet; and a distin-
guished composer (cantatas, a symphony,
the 32nd Psalm, quartets, etc.).
Coe'nen, Johannes Meinardus, b. The
Hague, Jan. 28, 1824; d. Amsterdam, Jan. 9,
1899. Pupil, at the Cons, there, of LUbeck.
Bassoonist; 1864, conductor at the grand
Dutch Th., Amsterdam; then at the Palais
d' Industrie; and municipal music-director.
The Palais Orch., which he founded, became
world-famous. He retired in 1896. — Works:
Cantatas (one for the 600th anniv. of the
founding of Amsterdam), ballet-music, incid.
music to Dutch plays; 2 symphonies; a cla-
rinet-concerto; a flute-concerto; a quintet for
pf. and wind; a sonata for bassoon (or 'cello),
clarinet, and pf.; fantasias for orch.; also an
opera, Bertha en Siegfried.
Coe'nen, Willem, brother of Franz; b.
Rotterdam, Nov. 17, 1837. Pianist; travelled
in S. America and the West Indies; from
1862-1909 teacher, concert-giver, and comp.
in London; retired then, and is now (1916)
living near Lugano, Italy. He will be remem-
bered as being the first musician who intro-
duced the chamber-music of Brahms into
England. — Works: Oratorio, Lazarus (1878);
has published pf. -music and songs; has can-
tatas, masses, etc., in MS.
Coerne, Louis Adolphe, b. Newark, N. J.,
Feb. 27, 1870. Pupil of F. Kneisel (vln.);
while pursuing the regular academic course
at Harvard, he studied comp. with J. K.
Paine from 1888-90; from 1890-3 at the
Akad. der Tonk. in Munich with Rheinberger
(org. and comp.); later he returned to Har-
vard for post-grad, work, taking degree of
Ph. D. in 1905 with the thesis The Evolution
of Modern Orchestration (publ. N. Y., 1908);
from 1894-7 he lived in Buffalo as organist
at the Ch. of the Messiah and cond. of the
Buffalo 'Liedertafel'; 1897-9 as organist and
conductor in Columbus, Ohio; after a sojourn
of 3 years in Germany he had charge of the
musical courses in the summer session at
Harvard (1903), and was prof, of music at
Smith Coll. (1903-4); 1905-7, again in Ger-
many; 1907-9, mus. dir. at Troy; 1910-15
prof, of musicology at Univ. of Wisconsin;
since 1915 prof, of music at Connecticut
Coll., New London. — Works: The operas A
Woman of Marblehead (not prod.), and
Zenobia (Bremen, 1905); op. 18, Hiawatha,
symph. poem; op. 20, Jubilee March; op. 41,
Beloved America, patriotic hymn for male ch.
and orch.; op. 53, Mass in D m.; op. 60,
Swedish Sonata for vln. and pf.; op. 67,
Sakuntala, melodrama; op. 82, Dedication
Ode for orch.; Evadne, ballet.
Cohen, Jules -femile -David, b. Mar-
seilles, Nov. 2, 1835; d. Paris, Jan. 13, 1901.
Studied in Paris Cons, under Zimmerman,
Marmontel, Benoist, and Halevy, taking
first prize for pf., org., and cpt. and fugue,
but not competing for the Grand prix de
Rome, his parents being well-to-do. Asst.-
teacher and (1870) reg. teacher of ensemble
singing at the Cons.; chef du chant and
chorusmaster at the Gr. Opera, 1877. Pro-
duced 4 not very successful operas; also com-
posed choruses for Athalte, Esther, and
Psyche* (given at the Comedie-Francaise) ;
3 cantatas, several masses, symphonies,
and oratorios; 2 aubades; 200 songs; 200
piano-pieces.
Cohen, Karl Hubert, b. Laurenzberg, n.
Aix-la-Chapelle, Oct. 18, 1851. St. at the
schools f. church-music at Aix-la-Chapelle
and Ratisbon; ordained priest in 1875; from
1876-9 teacher at the Kirchen musikschule
in Ratisbon; 1879-87 Kapellm. at the Cath.
in Bamberg; 1887-1910 Kapellm. at the
Cologne Cath.; app. Papal Priv. Chamberlain
in 1903, and Canon in 1909. Has comp.
several masses, motets and a Te Deum; publ.
Manuale chori sive Modi cantandi in missa et
officio divino (Ratisbon, 1901).
Colaase Pcfth-lahss'], Pascal, b. Rheims,
Tan. 22, 1649; d. Versailles, July 17, 1709.
He was a pupil of Lully, who entrusted him
with writing out the choral and orchestral
parts of his operas from the figured bass and
melody. Later C. was accused of appro-
priating scores thrown aside by his master as
incomplete. In 1683 he was app. Master
of the Music; in 1696, royal chamber-musi-
cian. He was a favorite of Louis XIV, and
obtained the privilege of producing operas at
Lille; but the theatre was burned, his opera
Polyxene et Pyrrhus (1706) failed, and his
mind became disordered. Of 10 operas, Les
noces de Thitys et PSUe (1689) was his best.
He also composed songs, sacred and secular.
— See Q.-Lex.
Golburn, George, composer, conductor;
b. Colton, N. Y., June 25, 1878. Pupil at
Amer. Cons, of Music (Chicago) of Adolf
Weidi* (vln., comp.), of Karleton Hackett
(voice), and of Howard Wells (pf.). Taught
vln. and theory, Amer. Cons. (1903-15); in
charge of mus. dept. Northwestern Mil. Acad.
(1902-15); cond. Logansport Ch. Soc. (1914-
15); asst.-cond. Ravinia Park, 111. (1913);
since 1915 dir. Municipal Music, Winona,
Minn. — Works: Incid. music to Stephen
Phillips' Herod (1906); pf. -trio in C m. (1909);
Rondo L orch. (1910); Masque of Montezuma
(1913); Masque of Demeter and Persephone
(1913); Casar's Gods, a Byzantine Masque
(1913); Purim Pageant (1913); Spring's Con-
quest, symph. poem (1913); symph. setting
to Antony and Cleopatra (1915); pf. -quartet
in D (1915).
168
COLE— COLONNE
Cole, Rottetter Gleason, b. Clyde, Mich.,
Feb. 5. 1866. While st. at the Univ. of
Mich, he took the courses in music under
Prof. C. B. Cady, as part of the requirements
for his degree; grad. 1888, and taught Lat.
and Ger. in the High Sch. for two years;
1890-2 pupil of Max Bruch (comp.) at the
'Meisterschule' in Berlin; also of H. van
Eycken (comp.), G. Kogel (cond.) and W.
Middleschulte (org.); in charge of mus. dept.
at Ripon Coll., Wis., 1892-4; prof, music at
Grinnell Coll., Iowa, 1894-1901; from 1903-7
as private teacher and ed. of 'Good Music' in
Chicago; 1907-9 prof, of music at Univ. of
Wisconsin; since 1908 in charge of music at
the summer sessions in Columbia Univ., N.Y.
City; org. First Church of Christ, Scientist, in
Evanstown, 111.; member A. G. O., Pres. of
M. T. N. A. (1903, '09, '10) and twice dean of
the 111. Chapter A. G. O. (1913-14).— Works:
The cantata The Passing of Summer (1902);
for recitation w. orch., Hiawatha's Wooing
(1904), King Robert of Sicily (1906); Sym-
phonic Prelude f. orch.; Ballade f. vcl. and
orch.; a sonata In D f. vl. and pf.; org.-pes.
(Andante religioso, Allegro quasi marcia, Fan-
taisie symphonique, Rhapsody, etc.); pf.-pes.
(2 novelettes, From a Lover s Notebook, In
Springtime, Sunset in ike Hills, etc.); and a
number of Ger. and Engl, songs. — His wife
(Fannie Louise Gwinner, whom he married
in 1896) is an accomplished pianist, ed. of
'Music for the Child World/ and translator
of Marx' Introduction to the Interpretation of
Beethoven's Piano Works.
Coleridge-Taylor, Samuel, a British
comp. of African descent (his father was a
native of Sierra Leone; his mother English);
b. London, Aug. 15, 1875; d. Thornton
Heath, Sept. 1, 1912. Pupil (f. vln.) of the
R. A. M., 1890; won composition-scholarship
in 1893, and studied under V. Stanford until*
1896. In 1903 he founded at Croydon an ama-
teur string-orch. which was very successful;
later he added professional wood-wind and
brass; app. vln. -teacher at R.A. M. in 1898.
Made two concert-tours of the U. S. in 1904
and '06, conducting his own works. From
the very beginning his compositions showed
an individuality that rapidly won them
recognition, and his short career was watched
with interest. — Works: For soli, ch. and orch.:
Hiawatha's Wedding Feast, Death of Minne-
haha, Hiawatha's Departure, The Blind Girl
of Castel-CuilU, Meg Blane, A Tale of Old
Japan; an oratorio, The Atonement (Hereford,
1903); an operetta, Dream-Lovers; for orch.:
a symphony in A m., 4 waltzes, Rhapsodic
Dance on a West-Indian air; a Ballad in D m.
f. vl. w. orch.; a quintet f. clar. and strings;
a nonet; a str. -quartet; Danse nigre f. vln. and
?f.; pf.-pes.; songs (the cycles In Memoriam,
'he Soul's Expression); inc. mus. to Stephen
Phillips' Herod (1900); etc.— Cf. M. Byron,
A Day with S. Coleridge-Taylor (London,
1912) ; Anon., Golden Hours with S. Coleridge-
Taylor (ib., 1913); W. C. B. Sayers, S. C.-T.
His Life and Letters (London, 1915).
Co Hard, a family of pf. -makers in London.
M. Clementi, in partnership with Frederick
W. Collard (1772-1860), bought out Long-
man & Brodcrip in 1798, afterwards surren-
dering his share to Collard, whose patented
inventions have given the instruments their
distinctive character. The firm-name is at
present (1916) Collard & Collard; the head
of the firm is John C. Collard.
Collet [kdh-la'], Henri, b. Paris, Nov. 5,
1885. St. with J. Thibaut and Bares in
Paris; then Spanish literature w. Menendez
Pidal in Madrid, continuing his mus. studies
under Olmeda. Comp. of El Escorial, symph.
K>em; a str.-quartct; a pf. -quintet; songs,
as written Le Mysticisme musical espagnol
au XVI* Steele (Paris, 1913) and a biogr. of
Victoria (in 'Maitres de la Musique,' Paris,
1914); also hist, essays in 'Bulletin Hispa-
nique' and TAnnee Musicale.'
Colon'na, Giovanni Paolo, b. Bologna,
June 16, 1637; d. there Nov. 28, 1695.
A pupil, in Bologna, of Filipuzzi (organ),
and, in Rome, of Carissimi, Benevoli and
Abbatini (comp.). Became m. di capp. of
San Petronio, Bologna, and was several
times president of the Accad. Filarmonica.
He was an eminent church-composer, and
also prod. 1 opera, Amilcare (Bologna, 1693).
— Publ. the oratorio La profezia d'Eliseo
(1688); 3 books of short psalms a 8 (1681,
'86, '94), with organ; Mottetti sacri a voce sola
con due viokni e bassetto di viola (1691);
Mottetti a 2 e 3 voci (1698); Litanies and
Responses to the Virgin, a 8; Mass a 8, w.
org. ( 1684) ; Mass, psalms and responses for the
dead, a 8 (1685); Complines and Sequences
a 8 (1687); Lamentations for Holy Week, f.
solo voice (1689); Messe e salmi concertati,
w. instrs., a 3-5 (1691); Vesper Psalms a
4r-5 (1694); very many are also extant in
MS. — See Q.-Lex.
Golonne, fidouard (recte Judas), a very
distinguished conductor; b. Bordeaux, July
23, 1838; d. Paris, Mar. 28, 1910. St. at
Paris Cons, under Girard and Sauzay (vln.),
Elwart and Ambr. Thomas (comp.). In
1873 he founded the 'Concert National,'
(which later became famous as 'Concerts
du Chatelet'), at which he brought out the
grandest works of Berlioz, and many by new
German and French composers. In 1878 he
conducted the official Exposition concerts;
was cond. at the Grand Opera in 1892;
appeared frequently as visiting cond. in Lon-
don, and also with the Philh. Soc. in New
York (1905).
169
COMBARIEU— CONRADI
Combarieu [k6hn-bah-r'y^'],Jules(-L6on-
Jean), b. Cahors, Lot, France, Feb. 4, 1859;
docteur Is lettrts; prof, of history of music at
the College de France. — Works: Les rapports
de la foisie et de la musique considerees au
point de vue de V expression (1893 ; dissertation) ;
L' influence de la musique allemande sur la
musique franchise (1895; Jahrbuch of the C.
F. Peters Library); Etudes de philologie
musicale: [1. Theorie du rythme dans la com-
position moderne oVapres la doctrine antique
(1896; critique and simplification of West-
phal); 2. Essai sur I'arcneologie musicale au
XIX* Steele et le problhne de Vorigine des
neumes (1896; these two latter were awarded
Frizes by the Academic); 3. Fragments de
EnSide en musique d'apres un manuscrit
intdit (1898)]; ltl&ments de grammaire musicale
historique (1906); La musique, ses lois, son
evolution (1907; 10th ed. 1913); Histoire de
la Musique (3 vols., Paris, 1912-15; an ad-
mirable and ^ authoritative work ) ; many
articles in periodicals.
Combs, Gilbert Raynolds, b. Philadel-
phia, Jan. 5, 1863. His father, a distinguished
pianist, organist and composer, was his first
teacher; and C, though originally intended
for the medical profession, made such rapid
progress, both at home and in Europe, that
he decided to adopt music as his life-work.
He was for years organist and choirmaster in
some of the leading Philadelphia churches;
became a capable orchestral conductor, and
an excellent performer on stringed instrs.
In 1885 he founded the Broad St. Cons, of
Music, Phila., which has been successful
from the outset, and of which C. is still
(1916) the Director.
Comettant [-tahn'], (Jean-Pierre-) Os-
car, b. Bordeaux, Gironde, April 18, 1819;
d. Montvilliers, n. Havre, Jan. 24, 1898.
Pupil, 1839-44, at Paris Cons., of Elwart and
Carafa. Lived in the United States 1852-5;
then returned to Paris, and became an
active and well-known writer, especially on
mus. subjects. He was the musical feuit-
letoniste for 'Le Siecle,' and a contributor
to various mus. journals. He also publ.
Histoire d'un inventeur au 19* siecle. Adolphe
Sax, ses outrages et ses luttes (Paris, 1860);
Portefeuille d'un musicien; Musique et musi-
ciens (1862); La musique, les musiciens et les
instruments de mus. chez les differents peuples
du monde (1869); Les musiciens, les philo-
sophes et les gattes de la musique en chiffres
(1870); Francois Plante (1874); La Musique
de la Garde Republicaine en Amirique. His-
toire compete (1895); extended notices on
Ambroise Thomas, Gounod, etc. He also
composed Fantasias, Caprices, and Etudes
f. pf.; 3 Duos caracUristtques f. pf. and vln.;
vocal choruses, songs, etc. For 20 years he
directed a private musical institute.
Com'mer, Franz, b. Cologne, Jan. 23
1813; d. Berlin, Aug. 17, 1887. Pupil of
Leibl and Josef Klein at Cologne; in 1828,
org. of the Carmelite Ch.f and chorister at
the cathedral. He went to Berlin in 1832,
to study with A. W. Bach (org.) and A. B.
Marx and Rungenhagen (comp.). Com-
missioned to arrange the library of the R.
Inst. f. Church-music, he pursued historical
researches, and edited the following colls,
of old music: CoUectio operum musicorum
Batavorum saeculi XVI. (12 vols.); Musica
sacra XVI., XVII. saeculorum (26 vols.);
Coll. de compositions pour Vorgue des XVI*,
XVII*, XVIII* siecles (in 6 parts); and
Cantica sacra of the 16th-l 8th cent. (2 vols.).
He was, besides, 'regens chori'at the Catholic
Hedwigskirche; singing-teacher at the Elisa-
beth School, at the Theatre School, at the
French Gymnasium, etc.; the founder (1844,
w. Kiister and Kullak) of the Berlin 'Ton-
ka nstlerverein'; Royal Musikdirektor, Prof.,
Member of the Berlin Acad., Senator of the
Acad., and Pres. of the 'Gesellschaft fur
Musikforschung.' — His compositions are mu-
sic to the Frogs (Aristophanes) and Elektra
(Sophocles); masses, cantatas, and choruses.
Compere [k&hn-parl, Louis (diminutive
Loyset), b. Flanders, circa middle of the
15th cent.; d. St.-Quentin, Aug. 16, 1518;
was in turn chorister, canon and chancellor of
St.-Quentin church. He was probably a
pupil of Okeghem together with Josquin
Depres. But few of nis motets (21) are
extant in collections (Petrucci, Venice, 1501,
1503; idem, Fossombrone, 1519; Petreius,
Nuremberg, 1541). He was famed, however,
as a contrapuntist. — See Q.-Lex.
Conco'ne, Giuseppe, b. Turin, 1810; d.
there June, 1861, as org. of the Court Choir.
Previously he lived, 1832-1848, in Paris as a
'singing-teacher. — Works: 2 operas, Un episo-
dic del San Michele (Turin, 1836); Graziella
(not prod.); vocal scenes, duets, songs, etc.;
and a collection of famous solfeggi in 5 vols.
(50 Lezioni, 30 Esercizi, 25 Lezioni, 15 Voca~
lizzi, and 40 Lezioni per Basso).
Goninck, Jacques-Felix de, b. Antwerp,
May 18, 1791; d. Schaerbeck-les-Bruxelles,
Apr. 25, 1866. Pianist; pupil, in Antwerp, of
de Trazegnies and Hoefnagels, and in Paris
Cons, of Perne (harm.). After 1818 he went
with Malibran to the United States, lived
for a time in Paris, returned to Antwerp, and
founded the 'Societe d'Harmonie,* which he
also conducted. — Publ. (in Paris) concertos,
sonatas, airs varies, etc., for pf.
Conra'dl, August, opera-composer; b.
Berlin, Tune 27, 1821; d. there May 26, 1873.
Pupil of Rungenhagen (comp.). Organist of
the 'Invalidenhaus' in 1843; went in 1846 to
Vienna, and brought out a symphony with
170
CONRADI— CONVERSE
marked success; was for years an intimate of
Liszt at Weimar; occupied the post of Kapellm.
in the following theatres: Stettin 1849-51,
Berlin ('K5nigstadtisches'), DUsseidorf, Co-
logne, and from 1856 again in Berlin, at
Kroll's, the new Konigstadtisches, Wallner's,
and Victoria. — Operas (all in Berlin): Rube-
zahl (1847); Musa, der letzte Maurenfurst
(1855); Die Braut des FlussgoUes (1859); Die
Sixtiniscke Madonna (1864); Knecht Ruprecht
(1865) ; So sind die Frauen; Im Weinberg* des
Herrn (1867); Das schonste Mddchen im
Stddtchen (1868); also vaudevilles, farces, 5
symphonies, overtures, string-quartets, etc.
He arranged many popular potpourris.
Conra'dt, Johann Georg, Kapellm. at
Oettingen, end of 17th cent.; one of the
earliest German opera-corn ps. ; wrote for the
Hamburg Theatre. — Operas: Ariadne (1691);
Diogenes (1691); Numa Pompilius (1691);
Jerusalem (1692); Carolus Magnus (1692);
Sigismund (1693); Pygmalion (1693); Gen-
serious (1693).
Conried, Heinrich, b. Bielitz, Austria,
Sept. 13, 1855; d. Munich, Apr. 27, 1909. He
began life as an actor in Vienna; in 1877 dir.
of the Bremen Stadt-Th.; came to the U. S.
in 1878 as dir." of the Germania Th. in N. Y.;
from then until 1892 manager of various
enterprises (also comic op.) in different cities;
succeeded Amberg in 1892 as dir. of the Irving
Place Th. in N. Y., which he brought to a
high degree of excellence; dir. M. O. H. from
1903-8. His first season was notable for the
first Amer. prod, of Parsifal; after that the
artistic standard declined.
Con'solo, Federigo, violin- virtuoso; b.
Ancona, 1841; d. Florence, Dec. 14, 1906.
Pupil of Giorgetti in Florence and Vieuxtemps
in Brussels; st. comp. with Fetis and Liszt.
In 1884 a nervous affliction forced him to
abandon playing, and thereafter he devoted
. himself to composition and historical studies.
He wrote Oriental Suites, Hebraic Melodies, a
violin-concerto, a pf. -concerto, etc.; also
publ. a work on neumes and their translitera-
tion into modern notation.
Constantin [k6hn-stahn-t&n'], Titus-
Charles, b. Marseilles, Tan. 7, 1835; d. Pau,
Oct., 1891. Pupil of Ambroise Thomas at
Paris Cons.; cond. of the 'Fantaisies Pari-
siennes' (1866), Concerts du Casino (1871),
Athenee and Renaissance Th. (1872), Opera-
Corn ique (1875). — Works: A comic opera,
Dans la forU (1872); a ballet, Bek (Lyons,
1867); 2 cantatas, David Rizsio and he Salut;
overtures, etc.
Con'ti, Carlo, opera-composer; b. Arpino,
Naples, Oct. 14, 1797; d. Naples, July 10,
1868. Pupil of Tritto, Fenaroli, and Zinga-
relli at the R. Coll. of S. Sebastiano, Naples,
and later of Simon Mayr. Prof, of counter-
point at Naples Cons. (1846-58), and Vice-
Director from 1862, succeeding Mercadante;
he taught Bellini, Buonamici, Lillo, Florimo,
Marchetti, Andreatini, and others. Also life-
secretary of the Accademia, and corresponding
member of the Inst, of France. — Wrote 11
operas, VOlimpia (Naples, 1829) being the
most successful; also much church-music,
songs w. pf., etc.
Con'ti, Francesco Bartolommeo, b.
Florence, Jan. 20, 1681; d. July 20, 1732, at
Vienna, where he became court theorbist in
1701, and court comp. in 1713. He pro-
duced 16 grand operas; the first was Clotilda
(Vienna, 1706; London, 1710); his best was
Don Chisciotte in Sierra Morena (Vienna,
1719; Hamburg, 1722). Other works: 13 Feste
teatrali, or serenades; 9 oratorios, and over 50
cantatas. — See Q.-Lex.
Con'ti, Gioacchino, a celebrated soprano
(musico), surnamed Gizziello after his
teacher, Domenico Gizzi; b. Arpino, Naples,
Feb. 28, 1714; d. Rome, Oct. 25, 1761. His
debut at Rome (1729) after 7 years 'study was
a brilliant success, and his fame spread over
all Italy; he was no less fortunate on the stage
at Naples, and (1736) in London, where, in
league with Handel, he made head against
the opposition to the German master. He
also sang in Madrid, Lisbon, etc.; retired to
Arpino in 1753.
Con'ti [Conti'ni], Ignazlo, a son of
Francesco; b. Florence, 1699; d. Vienna, Mar.
28, 1759. The successor of his father; wrote
oratorios, cantatas, masses, serenades, etc.,
but was a mediocre talent. — See Q.-Lex.
Conus, Georg. See Konius.
Con'verae, Charles Crozat (pen-name
Karl Redan), b. Warren, Mass., Oct. 7, 1832.
Pupil from 1855-9 of Leipzig Cons. (Richter,
Hauptmann, Plaidy). Settled in Erie, Pa.,
as a lawyer; now (1916) living in Highwood,
N. J. — Publ. works: American Concert Over-
ture on 'Hail, Columbia/ fororch. (1869), and
Fest-Ouverture (1870); 6 German songs (Leip-
zig, 1856); vocal quartets; American National
Hymn, God for us (1887); Cantata (on the
126th Psalm) for soli, ch. and orch. (1888).—
In MS., 2 symphonies, 2 oratorios, several
overtures, quartets and quintets for strings,
chorales, etc.
Converse, Frederick Shepherd, com-
poser; b. Newton, Mass., Jan. 5, 1871. Grad-
uate of Harvard, 1893; studied music in
Boston with Carl Bacrmann and Chadwick,
1894-6; in Munich at the R. Acad, of Music
under Rheinberger, graduating 1898. Taught
harmony in the N. E. Cons., Boston, 1899-
1901; then, until 1904, teacher of comp. at
Harvard Univ.; 1904-7, asst.-prof. there. In
1907 he resigned to devote his entire time to
comp.; now (1916) living in Boston. — Works:
171
COOKE— COPPET
Op. 1, sonata for vln. with pf.; op. 2, suite
for pf.; op. 3, string-quartet (MS.); op. 4,
Waltzes for pf. 4 hands; op. 5, Valzer Poetici
for pf. 4 hands; op. 6, concert -overture, Youth
(MS.); op. 7, symphony in D m. (MS.); op.
8, Festival March tor orch. (MS.); op. 9, Ro-
mance for orch., Festival of Pan; op. 10, Ro-
mance for orch., Endymion's Narrative; op.
.11, Two Poems for pf. and orch., Night and
Day; op. 12, Ballade for baritone with orch.,
La belle dame sans merci; op. 13, Concerto for
vln." with pf. (MS.); op. 14, 3 Love-Songs;
op. IS, concert-overture, Euphrosyne; op. 17,
2 songs for soprano; op. 18, string-quartet
(MS.); op. 19, orchl. fantasy, The Mystic
Trumpeter; incid. music to Mackay's Jeanne
d'Arc and Sanctuary; op. 26, Hagar in the
Desert, scena for baritone and orch.; Ormasd,
symph. poem (1912); Pageant and Masque
of St. Louis (1914) ; The Peace Pipe, a cantata
(1916); an oratorio, Job (1908); the operas
The Pipe of Desire (Boston, 1906; M. O. H.f
1910); The Sacrifice (Boston, 1911); The
Immigrants (not prod.).
Cooke, Benjamin, b. London, 1734; d.
there Sept. 14, 1793. Composer and ex-
cellent org., pupil of Pepusch, whom he
succeeded in 1752 as cond. at the Acad, of
Ancient Music; in 1757 he became choir-
master (after Gates), in 1758 lay- vicar, and
in 1762 organist, of Westminster Abbey.
Mus. Doc., Cantab., 1775; ditto Oxon.,
1782; organist of St. Martin-in-the-Fields,
1782. In 1789 he resigned the Academy con-
ductorship in favor of Arnold. His forte as
composer was glees, canons and catches, for
which he took* several Catch Club prizes
(Coll. of 20 Glees, Catches, and Canons for
3-6 voices, in score, London, 1775; 9 Glees and
Z Duets, 1795). He also wrote odes, instru-
mental concertos, church-music, pes. for org.
and harpsichord, etc. — See Q.-Lex.
Cooke, James Francis, b. Bay City,
Mich., Nov. 14, 1875" Educated in Brook-
lyn and st. music with R. H. Woodman and
W. H. Hall; went to Wurzburg in 1900, and
cont. his studies with Meyer-Olbersleben and
H. Ritter; also spent several months studying
methods in various conservatories; contrib.
to 'Musikalisches Wochenblatt' and 'Neue
Zeitschr. fur Musik'; held several positions as
organist in Brooklyn, taught singing and pf.f
and was asst. to Prof. F. W. Hooper, director
of the Brooklyn Inst, of Arts and Sciences;
since 1907, editor of The Etude'; President
Phila. Music Teachers' Assn., 1912-16. Has
publ. pf. -pieces and songs; author of A Stand-
ard History of Music (Phila., 1910), Great
Pianists on Piano Playing (4th ed. 1914).
Cooke, Thomas Simpson, b. Dublin,
1782; d. London, Feb. 26, 1848. A pupil of
his father and Giordani. Cond. the theatre-
orch., Dublin; was then for years an opera-
singer (tenor) at Drury Lane and asst. -cond.
there, asst. cond. of the Philharm., and
(1846) leader of the Concerts of Antient
Music. Also prof, at the R.A.M., an esteem-
ed singing-teacher (Sims Reeves was his
pupil), and the author of two vocal treatises,
Singing exemplified in a series of Solfeggi, etc.,
and Singing in Parts, etc. (London, abt.
1842). Composed nearly 20 operas for Drury
Lane.
Coombs, Charles Whitney, organist and
composer; b. Bucksport, Maine, Dec. 25,
1859. Studied for 5 years in Stuttgart (pf.
with Speidel, theory and comp. with Max
Seifriz), .and 6 years in Dresden (comp. w.
Draeseke, orchestration w. Hermann John,
org. w. P. Janssen, and voice w. Lamperti);
also a year in England studying music and
methods of the English Church. Organist
of Amer. Ch. in Dresden, 1887-91, when he
returned to America, and took charge of the
music in the Church of the Holy Communion,
New York, holding the position till 1908;
since then at St. Luke's. — Publ. works: The
cantatas The Vision of St. John, Hymn of
Peace, The First Christmas, The Ancient of Days,
The Sorrows of Death; Song of Judith, motet
for sopr. and bar. soli and ch.; a number of
sacred songs, anthems, etc.; and about 60
songs, many of which are great favorites.
Coons, Minnie, concert-pianist; b. New
York, 1882 (?); studied in Berlin with W.
Berger (1898-1900) and X. Scharwenka
(1900-4); debut 1904 with Leipzig Philh.
Orch. at Leipzig; after successful appearances
in Berlin she made her Amer. debut with the
N. Y. Symph. Soc.f Nov. 2, 1905.
Cooper, George, b. Lambeth, London,
July 7, 1820; d. London, Oct. 2, 1876. Or-
ganist of several churches, finally (1856) of
the Chapel Royal. An able performer, he
did much to elevate the public taste, especially
by his playing of Bach's works for organ. Publ.
The Organist's Assistant, selections from
classical authors; The Organist's Manual; Or-
gan Arrangements (3 vols.); Classical Extracts
for the Organ; Introd. to the Organ; also songs
and part-songs.
Copera'rlo [John Cooper, an Englishman
who Italianized his patronymic after study in
Italy], famous lutenist and viol-da-gamba
player in the latter half of the 16th cent.;
teacher of the children of James I, and of
Henry and William Lawes. — Works: Music to
2 Masques; a set of Fancies for org.; several
ditto for viol; songs (Funeral Teares, etc.,
Songs of Mourning, etc.).
Coppet, Edward J. de, a notable patron
of art and founder of the Flonzaley Quartet; b.
New York, May 28, 1855; d. there Apr. 30,
172
COPPOLA— CORDER
1916. A man of wealth and refined artistic
tastes, he engaged various artists for private
quartet performances at his residence. When
he realized that for the attainment of a per-
fect ensemble constant practice was* indis-
pensable, he commissioned A. Pochon, in
1902, to find four men of the highest artistic
standing who were willing to devote their
entire time to quartet-playing. In the
sunimer of the following year Adolfo Betti,
Alfred Pochon, Ugo Ara and Ivan d'Ar-
chambeau (1st vln., 2d vln., via. and vcl.,
resp.) began to practise at Flonzaley, Mr.
de C.'s summer residence near Lausanne,
Switzerland; in the spring of 1904 they made
their first European tour, arousing admiration
for the absolute perfection of their ensemble;
in the fall of the same year they came to
the U. S., but played only privately at the
house of their patron, and a few times for
charities in which Mr. de C. was interested;
on Dec. 5, 1905, they gave their first public
concert in America (Carnegie Chamb.-Music
Hall, N. Y.) with overwhelming success.
Since then they have regularly appeared in
America and Europe, recognized as an unsur-
passed, perhaps even unrivaled, ensemble.
Throughout these years they have continued
the private concerts at Flonzaley and the N.
Y. home of Mr. de C. None of the members
accepts separate engagements; nor does any
one teach, or do anything foreign to the
purpose for which the quartet was organized.
Since Mr. de C.'s death his son Andre has
continued the original policy. — Cf. D. G.
Mason,£./.de C.f in 'Mus. Quart.', Oct., 1916.
Cop'pola, Pietro Antonio [Pierantonio],
dramatic composer; b. Castrogiovanni, Sicily,
Dec. 11, 1793; d. Catania, Nov. 13, 1877. A
pupil of the Naples Cons, for a short time, but
chiefly self-taught, he was a contemporary and
a not wholly fortunate rival of Rossini. He
produced some IS operas from 1816-1850,
without real success until the fifth, Nina pazza
per amort (Rome, 1835; thence to many
chief cities of Europe; and at Paris as Eva);
from 1839-43 he was cond. of the Lisbon
Royal Opera. Other successful operas were
Gli IUinesi (Turin, 1835); EnricheUa di
Baienfeld (Vienna, 1836); La Bella Celeste
degli Spadari (Milan, 1837); Giavanna /«■
(Lisbon, 1841); Ines de Castro (ib., 1842);
// FoUeUo (Rome, 1843). He also wrote
masses, litanies, and other church-music.
Coquard [kdh-kahr'], Arthur, b. Paris,
May 26, 1846; d. Noirmoutier, Vendee, Aug.
20, 1910. Priv. pupil of Cesar Franck, 1862-6;
prof, of music at the Nat. Inst, of the 'Jeunes
Ayeugles1; music critic for 'Le Monde', and
'Echo de Paris/ — Comps.: 2-act opera, V&pee
du rot (Angers, 1884); 3-act com. op., Le
Mart d'un jour (Paris, 1886); 2-act (spec-
tacular) lyric drama VOiseau bleu (Paris, 1894) ;
4-act lyr. dr. La Jacquerie (Monte Carlo and
Paris, 1895); 4-act opera Jahei (Lyons, 1900);
3-act opera La troupe Jolicasur (Opera-Corn.,
1902); an oratorio, Jeanne d'Arc; several
secular cantatas. — He publ. (Paris, 1892) De
la musique en France depuis Rameau, which
received a prize from the Academie des
Beaux-Arts.
Corbett, William, English violinist; b.
1669 (?); d. London (?), 1748. A member of
the Queen's band, he lived in Rome from
1711-40; he gave occasional concerts, and
was a collector of musical books and instrs.,
bequeathing the latter to Gresham College.
Publ. many sonatas, and concertos For
various instrs. ; wrote incid. music to Henry IV
and Love Betrayed; also songs.
Cordans, Bartolommeo, composer; b.
Venice, 1700; d. Udine, May 14, 1757; entered
the order of the Franciscans at an early age,
but obtained Papal dispensation later to leave
it. From 1729-31 he brought out 3 fairly
succ. operas at Venice; in 1735 he became
maestro at Udine cathedral, and composed an
immense amount of church-music, much of
which was purposely destroyed, yet in the
cathedral archives 60 masses, over 100 psalms,
many motets, etc., are preserved in MS.
Cordelia, Giacomo, b. Naples, July 25,
1783; d. there May 2, 1847. Pupil of Fena-
roli and Paisiello, and a very prolific dramatic
composer, # 19 of his operas having been pro-
duced, chiefly in Naples. He was prof, of
solfeggio at Naples Cons., m. di capp. at
several convents in Naples, and long director
of music at the San Carlo Th. Also wrote
masses, cantatas, etc.
Corder, Frederick, b. Hackney, London,
Jan. 26, 1852. Pupil of R. A. M., and in
1875 won the Mendelssohn Scholarship; from
1875-8 studied with Ferd. Hiller at Cologne;
became cond. of Brighton Aquarium Con-
certs in 1880, and greatly improved their
quality; since 1886 prof, of comp. at R. A. M.
and also (since 1889) curator there. In 1905
he founded the 'Society of British Composers.1
As a teacher he has been remarkably suc-
cessful, most of the prominent British com-
posers of to-day having been his pupils; one
of the most zealous apostles of Wagner, he
made (together with his wife) the first Engl,
translations of the Ring dramas, MeisUr sinter
and Parsifal for the original scores publ. by
Schott ; also contributor to Grove's Dictionary.
— Works: The operas Morte d' Arthur (1877,
not prod.), Nordisa (Liverpool, 1887; prod,
by C. Rosa Op. Co. also in London and the
provinces w. great succ), Ossian (1905, not
prod.) ; the operettas Philomel (an op. satire,
1880), A Storm in a Tea-cup (1880), The
Nabob's Pickle (1883), The Noble Savage
173
CORDER— CORNELIUS
(1885); the cantatas The Cyclops (1881), The
Bridal of Triermain (Wolverhampton Fest.,
1886), The Blind Girl of Castel-CuiUS (1888),
The Sword of Argantyr (Leeds Fest., 1889);
for orch., Evening on the Sea-Shore (idyll,
1876), Im Schwarzwald (suite, 1876), Ossian
(overt., 1882), Nocturne (1882), Prospero
(overt., 1885), Roumanian Suite (1887),
Pippa Passes (orchi. poem, 1897), A Fairy
Tale (1913); incid. music to The Tempest
(1886), The Termagant (1898), The Black Tulip
(1899); Dreamland, ode for ch. and orch.
(1883); Roumanian Dances for vln. and pf.
(1883); The Minstrel's Curse, ballad for
declamation w. orch. (1888); True Thomas,
mus. rec. (1895); The Witch's Song, do. (1904);
Elegy for 24 vlns. (1908); Empire Pageant
Masque (1910); The Angels, bibl. scene for
6 choirs (1911); Sing unto God, 50- part motet
(1912); — also Exercises in Harmony and Mus.
Camp. (London, 1891); The Orchestra, and
how to write for it (ib., 1895; 2d cd. 1902);
Modern Mus. Composition (ib., 1909); Musical
Encyclopedia (ib.f 1915).— Cf. 'M. T.,' Nov.,
1913 (p. 713).
Corder, Paul, son of Frederick C; b.
London, Dec. 14, 1879. Entered R. A. M.
in 1895, studied pf. with Oscar Beringer and
Tobias Matthay, comp. with his father;
studied vln., viola, horn, clarinet, etc. Af>p.
prof, of harm, and comp. at R. A. M. 1907;
elected assoc. R. A. M. in 1905. — Works:
op. 2, Grettir the Strong, 1-act opera (not
prod.); op. 3, The Moon Slave, terpsichorean
fantasy; op. 4, Cyrano de Bergerac, overt.;
op. 7, Dross, mus. -drama without words; op.
8, Morar, orch. fantasia; op. 9, The Dryad,
ballet; op. 14, Prelude and Fugue: op. 18,
Sea-Songs; op. 19, 2 Choral Songs. A 3-act
opera, Rapunzel, is now nearly finished (1916).
Corelli, Arcangelo, admirable violinist
and composer; born Fusignano, n. Imola,
Italy, Feb. 12, 1653; d. Rome, Jan. 13, 1713.
His violin teacher was G. Benvenuti in
Bologna; counterpoint he learned with Mat-
teo Simonelli. Little is known of his life
until 1681, when, after travelling in Germany
and holding a position in Munich, he settled
in Rome under the patronage of Cardinal
Pietro Ottoboni, in whose house he lived.
His talents, combined with a winning per-
sonality, made him a favorite in the highest
social circles of Rome; his concerts in the
cardinal's palace were considered the chief
musical events of the day. In 1683 his op.
1 was published. As a teacher his fame grew
apace; pupils flocked to him from all sides,
among them Battista Anet, Geminiani,
Locatelli, and G. and L. Somis. The King
of Naples made repeated overtures to C. to
enter his service: at length, yielding to his
solicitations, C. went to Naples, and gave a
very successful concert before the court; but
his second attempt failed to please the king,
he himself made some awkward slips, and
soon thereafter returned to Rome covered
with mortification. Here a mediocre violinist,
Valentini, had been well received by the
public meantime; and Corelli, imagining him-
self supplanted and neglected, went into a
decline and died 'aged 59 years, 10 months,
and 20 days/ He was buried in the Church
of Santa Maria della Rotonda; his statue is
in the Vatican. — C.'s merit was twofold;
understanding the character of his instru-
ment, he laid the foundation of good violin-
technique: to him are attributed the system-
atizatidn of the science of bowing and the
regulation of the shifts and the introduction
of chord-playing. His compositions are still
regarded as classics. His greatest effort was
the Concerti grossi, which appeared only six
weeks before his death. Of the works publ.
under Corelli's name, all but the following six,
which are given under their original titles, are
{>robably spurious: 12 Suonate a tre, due vio-
ini e violoncello, col basso per Vorgano. Op. 1,
Roma, 1683; 12 Suonate da camera a tre,
due vtolini, violoncello, e violone o cembalo.
Op. 2, Roma, 1685; 12 Suonate a tre, due
vtolini e arciliuto, col basso per Vorgano. Op.
3, Bologna, 1690; 12 Suonate da camera
a tre, due vtolini e violone o cembalo. Op. 4,
Bologna, 1694 (in Amsterdam as Balletti da
camera); 12 Suonate a violino e violone o cem-
balo. Op. 5, Roma, 1700 (later arr. by Gemi-
niani as Concerti grossi); Concerti grossi con
due vtolini e violoncello di concertino obbligato,
e due altri violini, viola e basso di concerto
grosso ad arbitrio, che si possono raddoppiare.
Op. 6, Roma, 1712. AH these were variously
reprinted at the time; more recent editions
are by Pepusch (Walsh: London; op. 1—4, and
op. 6); by Joachim (in Chrysander's 'Denk-
maler'; op. 1 and 2), and by Alard and David
(some numbers from op. 5). — See Q.-Lex.
Corey, Newton J., b. Hillsdale, Mich.,
1861. Be^an to play pf. early, but had
irregular instruction until 1874, when he
took up the organ seriously; org. at Hillsdale
Coll. until 1880; then went to Boston, and
studied with J. C. Parker, B. J. Lang, W. F.
Apthorp and G. W. Chad wick; filled various
S>sitions as org. until 1891, when he settled in
etroit as org. of the Fort St. Presb. Ch.,
which pos. he still holds to-day (1916); also
mus. ed. of 'Saturday Night;' since 1898 reg.
monthly contrib. to 'The fetude'; Sec. of
Detroit Orch. Assoc. He has given numerous
recitals, and is a very successful lecture-
recital ist.
Cornelius [-na'-J, Peter, composer and
writer; b. Mayence, Dec. 24, 1824; d. there
Oct. 26, 1874. A nephew of the painter
174
CORNELL— CORSI
Peter von Cornelius, he at first embraced the
profession of an actor; but after an unsucc.
d&but he changed his mind, studied cpt. with
Dehn at Berlin (1845-52), and then joined
Liszt's following in Weimar, as a champion
of Wagner, contributing frequent articles to
the 'Neue Zeitschrift fur Musi It.' The failure
of C.'s opera, Der Barbier von Bagdad (Wei-
mar, 1858), through factious opposition, so
disgusted Liszt that he left Weimar; the opera
later (1886-7) met with deserved success in
Dresden, Coburg, Hamburg, and other cities.
C. now (1859) went to Wagner at Vienna,
and followed him to Munich (1865), where he
was app. reader to King Ludwig II, and prof,
of harm, and rhetoric at the R. Music School.
A second opera, Der Cid, was prod, at Weimar
in 1865; a third, Gunlod (from the Edda)
remained unfinished [completed by Lassen,
and prod, at Strassburg in' 1892]. He publ.
Lieder-Cydus (op. 3), Duets for sopr. and
bar. (op. 6), Weihnachtslieder (op. 8), Trau-
er chore for male ch. (op. 9). Many of these
enjoy considerable vogue. A vol. of 'Lyrische
Poesien' was issued in 1861 ; C. also wrote the
libretti of his operas, and was a fine trans-
lator. A complete ed. of his works was
issued by Breitkopf & Hartel (1905-$): I,
Songs. II, Choruses. Ill, Der Barbier von
Bagdad. IV, Der Cid. V, Gunlod (completed
and orchestrated by W. von Baussnern). His
literary works were publ. by the same firm
.(1904-5): I, II, Letters and pages from his
diary, ed. by his son Carl. Ill, Essays on
music and art, ed. by E. Istel. IV, Complete
poems, coll. and edited by A. Stern.— Cf. A.
Sandberger, Leben u. Werke des Dichter-
Musikers P. C. (Leipzig, 1887); E. Istel, P. C.
(Leipzig, 1904); E. Sulger-Gebing, P. C. als
Mensch u. Dichter (Munich, 1908).
Cornell', John Henry, b. New Yofk, May
8, 1828; d. there March 1, 1894. Organist,
composer, writer; st. in New York, Germany
and England. Organist in several N. Y.
churches (1848, St. John's Chapel; 1868-77,
St. Paul's Church; 1877-82, Old Brick Ch.).
His sacred compositions are highly esteemed;
of his writings the more important are:
Primer of Modern Musical Tonality, Prac-
tice of Sight-Singing, Theory and Practice of
Musical Form (after L. B ussier), Easy Method
of Modulation, Manual of Roman Chant, and
Congregational Tune Book. The Introit Psalms
as prescribed by the First Prayer-book of
Edward VI, set to Original Chants (N. Y.,
1871); a Te Deum; part-sonp; songs w. pf.;
etc. Also numerous translations.
Cornet, Julius, b. 1793 at S. Candido in
the Tyrol; d. Berlin, Oct. 2, 1860. He was a .host, was himself a skilful player on the
pupil of Salieri; became a famous stage-tenor, gravicembalo, and not only aided in the per-
then director of the Hamburg Th.; from formance of the new music, but also com-
1854-8, of Court Opera in Vienna, and finally posed two numbers of Rinuccini's Dafne.
175
of the Victoria Th., Berlin. Author of Die
Oper in Deutschland. — His wife, Franziska
(1806-1870), was a brilliant singer.
Corona'ro, Antonio, brother of Gaetano
and Gellio; b. Vicenza, 1860; has prod, the
operas SeUa (Vicenza, 1880) and Falco di
Calabria (ib., 1903).
Corona'ro, Gaetano, violinist and comp. ;
b. Vicenza, Italy, Dec. 18, 1852; d. Milan,
Apr. 5, 1908. Pupil of Faccio at the Milan
Cons, till 1873; studied for some months in
Germany, and on returning, successfully
prod, a choral work w. orch., Un Tramonto
(Milan, Cons.Th., 1873); was for several years
prof, of harmony in the Milan Cons., and,
after A. Catalani's death in 1894, prof, of
comp. there. He wrote the operas La Creola
(Bologna, 1878), Malacarne (Brescia, 1894),
Un curioso accidente (Turin, 1903); also
some instrumental music.
Corona'ro, Gellio Benvenuto, b. Vi-
cenza, Nov. 30, 1863; pianist and comp.
(protegS of Sonzogno) ; debut as pianist at the
age of 8; and at 9, org. in Vicenza; at 13,
theatre-cond. at Marosteca; at 15, chorus-
master; in 1882 he entered the Liceo Rossini
at Bologna, where his teachers were Busi,
Parisini and Mancinelli; graduated 1883,
carrying off the first prize with a 1-act opera,
Jolanda, which was prod, at the Cons. —
Works: Opera Jolanda (Milan, 1889); 1-act
dramatic sketch Festa a Marina [took 1st
prize in 1892, offered by Sonzogno] (Venice,
1893; mod. succ); operetta Minestrone Napo-
letano (Messina, 1893; succ.); 2 -act op. seria
Claudia (Milan, 1895; unsucc); Bertoldo
(Milan, 1910). Also wrote 2 masses, a madri-
gal a 5, a string-quartet, songs, pf.-pieces,
and an album for organ.
Cor'ri, Domenico, b. Rome, Oct. 4, 1744;
d. London, May 22, 1825. He was a pupil of
Porpora (1763-7); settled in London in 1774,
brought out 2 operas, Alessandro neUe Indie
(1774) and The Travellers (1806), and
founded, with his son-in-law Dussek, a music-
business (1797), which failed. He publ. The
Singer' s Preceptor (1798), Musical Dictionary
(1798), The Art of Fingering (1799), and a
Mus. Grammar; also arias, duets, sonatas,
and rondos. — See Q.-Lex.
Cor'si, Jacopo, b. circa 1560; a Florentine
nobleman and patron of art, in whose house,
as in that of his friend Bardi, were held the
memorable meetings of Peri, Caccini, Emilio
del Cavaliere, Galilei, the poet Rinuccini, and
others, whose efforts inaugurated the era of
modern operatic composition. Corsi, the
CORTECCIA— COSTA
Corteccia [-tSh'chah], Francesco Bernar-
do di, b. Arezzo. early in the 16th century;
d. Florence, June 7, 1571. Org., in 1531, of the
Church of S. Lorenzo; 1541-71, m. di capp.
to Duke Cosimo the Great. — Publ. wedding-
music (for the Duke), 9 pieces, a 4, 6, and 8
(Venice, 1539); 3 books of Madrigals (1545,
'47, '47); Responses and Lessons (1570); 32
Hymns a 4; Canticorutn liber primus (1571);
many others have been destroyed. — See Q.-
Lex.
Gorte'si, Francesco, b. Florence, Sept.
11, 1826; d. there Jan. 3, 1904. Studied at
Bologna under Rossini and others; became a
conductor of note, and a composer of many
light stage-works. Settled in Florence about
1880 as a singing-master, and was appointed
head of the vocal department in the govern-
ment music-school. Many celebrated dra-
matic singers were his pupils. — Operas: II
Trovatore (Trieste, 1852; then at Florence,
same year, as La Schiava); Almina (Rome,
1859); La Dama a servire (Ancona, 1859);
La Colpa del cuore (Florence, 1870); Mariu-
lisza (Florence, 1874); VAmico di casa (Flor-
ence, 1881); all fairly successful.
Cortolezls, Fritz, b. Passau, Feb. 21,
1878. Studied in Munich with H. Buss-
meyer (pf.) and L. Thuille (comp.) from
189^-1902; repetitor at the opera in Schwerin,
1903; chor.-master at the Nationalth. in Ber-
lin, 1904; first cond. in Ratisbon, 1905, and
in Nuremberg, 1906; upon Mottl's recom-
mendation appointed Hofkapellm. of court
opera in Munich, at the same time cond. of
the 'Lehrer-Gesangyerein' and the 'Akade-
mischer Gesangverein,' 1907-11; engaged by
Beecham in 1911 for the Wagner and Strauss
perfs. in London; in 1912 first cond. at the
Kurfiirstenoper in Berlin; since 1913 first
Hofkapellm. in Karlsruhe.
Cortot (k6hr-toh']f Alfred-Denis, b. (of a
Fr. father and a Swiss mother) Nyon, Switzer-
land, Sept. 26, 1877. Pupil at the Paris
Cons, of Decambes, Rouquou and Diemer,
winning the 1st prize for pf. in 1896; the same
year he made his debut in Paris, with Beetho-
ven's C m. concerto, at one of the Colonne
concerts, and won signal success; in 1898 he
went to Bayreuth, studied Wagner's works
with J. Kniese, and acted as repetitor at the
festivals from 1898-1901. Returning to
Paris, he began a most active propaganda
for the works of Wagner, who at that time
was practically unknown to the general
public; on May 17, 1902, he cond. the French
premiere of GoUerddmmerung at the Th. du
Chateau d'Eau, and in the same year estab.
the 'Assoc, de Concerts A. Cortot,* which
he dir. for two years, educating the public-
to an appreciation of Wagner; in 1904 he
cond. the second perf. of Tristan und Isolde,
shortly after Lamoureux had directed the
Fr. premiere (Nouveau Th., Dec. 14). After
he nad thus contributed his share to the
French Wagner movement, he returned to
the pf., making numerous tours of France,
Germany, Austria, the Netherlands, Spain,
Switzerland, Russia, Italy and England,
meeting everywhere with emphatic success.
Together with J. Thibaud and P. Casals he
formed a trio, which soon enjoyed a European
reputation; since 1907 he has been prof, at
the Paris Cons., in charge of the adv. pf.-
classes; is Chev. de la Leg. d'Honneur, and of
the Order of 'Isabella la Cat61ica.'
Coss'maiui, Bernhard, famous 'cellist;
b. Dessau, May 17, 1822; d. Frankfort, May
17, 1910. Pupil of Espenhahn and Drechsler;
also of Theodor M tiller and Kummer (in
Dresden). Member of the Grand Ope"ra Orch.,
Paris, in 1840; London (1841); Op.-Com.,
Paris, till 1846; Ge wand ha us, Leipzig, 1847-8,
as solo 'cellist, also studying comp. under
Hauptmann; at Weimar (with Liszt) in 1850;
in 1866, prof, at Moscow Cons.; lived from
1870-8 at Baden-Baden; thereafter, prof, of
'cello at Frankfort Cons. — Works: Concert-
stuck; Pieces de salon; fantasias on operatic
motives.
Cos'soul, Guilherme Antonio, b. Lis-
bon, April 22, 1828; d. there May 26, 1880.
An excellent 'cellist; app. prof, at the Cons,
in Lisbon, 1861; from 1863, director. Wrote
the 1-act comedies A cisterna de Diabo-
(Lisbon, 1850), O Arieiro (ib., 1852), O
Visionaro do Alamtejo (ib., 1852); 2 masses,
2 Te Deums, and other ch. -music; 6 overtures
for orch.; a pf.-trio; pieces for vcl.; do. for
harp.
Cos'ta, Sir Michael (properly Michele),
dram. comp. and celebrated conductor; b. Na-
ples, Feb. 4, 1808; d. Brighton, April 29,
1884. His father, Pasquale G. [a composer
of church-music, and pupil of L. Leo], was his
first teacher; he then studied in the Cons,
under Tritto, Zingarelli (comp.), and Cre-
scentini (singing). After bringing out 4
successful operas at Naples, he was sent to
Birmingham, Engl., by Zingarelli, to conduct
the latter's psalm Super flumina Babilonis,
but through some misunderstanding was
required to sing the tenor part, instead of
conducting. But he remained permanently
in England; was eng. (1830) as m. al cembalo
at the King's Th., London, in 1832 as musical
director, and in 1833 as director and con-
ductor. During this time he produced the
three ballets Kenilworth (1831), Une heure &
Naples (1832), and Sir Huon (1833, for
Ta^lioni). In 1846 he became cond. of the
Philh. and of the new Ital. Opera; in 1848, of
the Sacred Harmonic Society. From 1849 he
was the regular cond. of the Birmingham
176
COSTA— COUPERIN
Festivals; from 1857, of the Handel Festivals.
He was knighted in 1869; in 1871 he was app.
'director of the music, composer, and con-
ductor' at H. M.'s Opera. Besides the
oratorios La Passion* (Naples, 1825), Eli
(Birmingham, 1855), and Naaman (ib., 1864),
he produced the operas II Sospetto funesto
(Naples, 1826); 7/ Delitto punito (1827); II
Carcere (Tlldegonda (Naples, 1828); Malvina
(Naples, 1829; revived as Malek A del in
Paris, 1838); and Don Carlos (London, 1844);
also 2 cantatas, a mass, 3 symphonies, etc.
Costa, P. Mario, b. Taranto, July 26,
1858; nephew of Michele C; has written much
chamber-music, and many popular songs,
mostly in Neapolitan dialect {Luna Nova,
Oje Caruli, Serenata Medioevale, A Napulitana
etc.); also 2 pantomimes, Le Moaele revS,
and VHistoire a'un Pierrot (Paris, 1893; succ).
Cot'ta, Johann, b. Ruhla, Thuringia,
May 24, 1794; d. as pastor at Willerstedt, n.
Weimar, March 18, 1868. Composed the
folk-song, Was ist des Deutschen Vaterland?
Cottlow, Augusta, concert-pianist; b.
Shelbyville, 111., April 2, 1878. She received
her first instruction from her mother; at six
she began to play in public, and at seven
played an entire recital in Chicago; then st.
in Chicago with C. Wolfsohn (pf.) and F. G.
Gleason (harm.); debut w. orch. there in
1888; within the next six years she was
heard in the principal cities of the U. S. in
recital and w. orch.; went to Berlin in 1896,
and studied for a year with Busoni (pf.) and
O. B. Boise (theory); then made very suc-
cessful tours of Germany, Holland, England
and Russia; returned to the U. S., making
her American debut as a mature artist at
the Worcester Fest. of 1900; soloist with
Boston Symph. Orch., 1902; after several
tours of the U. S., meeting with flattering
receptions, she returned to Berlin, where
she settled permanently. In 1912 she
married Edgar A. Gerst of Berlin.
Cot'to [Cotto'nius], Johannes, an early
writer (11th to 12th cent.); his treatise
Epistola ad Fulgentium contains valuable in-
formation of the beginnings of notation and
solmisation (printed by Gerbert in 'Scrip-
tores,' vol. ii).
Couperin [koo-pranl, a family, of French
musicians, renowned for two centuries.
Those first known to fame were 3 brothers,
Louis, Charles, and Francois, of Chaume, in
the department of Brie.
Couperin, Armand -Louis, son of Nicolas;
b. Paris, Feb. 25, 1725; d. there Feb., 1789.
His virtuosity on the organ was extraordinary;
he was org. in turn to the king, of St.-Gervais,
St.-Barthelemy, of Ste.-Marguerite, and one
of* the 4 organists of Notre-Dame. His
comps. (sonatas, a trio, motets, and other
church-music) are correctly written, but not
inspired, music. — His wife, felisabeth -An-
toinette (nee Blanchet), was also a remark-
able organist and clavecin ist, playing in
public at the age of 81 (in 1810).
Couperin, Charles, b. 1638; d. 1669; suc-
ceeded his brother Louis, in 1665, as org. at
St.-Gervais.
Couperin, Francois (Sieur de Crouilly), b.
1631, d. 1698; a pupil of Chambonnieres in
harm, and clavecin-playing; was org. at
St.-Gervais, 1679-98.— Works in MS.: Pieces
d'orgue consistantes en deux messes, etc.
Couperin, Francois (surnamed le Grand,
on account of his superiority in organ-play-
ing), son of Charles C; b. Paris, Nov. 10,
1668; d. there Sept. 12, 1733. He was
taught by the organist Louis- Jacques Thome-
lin; succeeded his uncle Francois as org. at
S.-G. in 1698; in 1701, was appointed 'clave-'
ciniste de la chambre du roi, et organiste
de sa chapelle.' Chrysander, in the Preface
to the complete edition of C.'s comps. for
clavecin (London; prepared by Chrysander),
writes, "C. is the first great composer for
the harpsichord known in the History of
music. The eminent masters who preceded
him — Merulo, Frescobaldi, and many others
— applied their art quite as much to the organ
as to the harpsichord; whereas Couperin,
though he played both instruments, wrote for
the latter only. He stands, therefore, at the
commencement of the modern period, and
must be regarded as clearing the way for a
new art. Among his younger contemporaries,
and, in part, his pupils, were Scarlatti, Handel
and Bach. Couperin's method of writing
music was very peculiar. It was his con-
stant aim to set down the music with the
greatest possible fullness, exactly as he
played it on his instrument. Even the
manifold embellishments are most accurately
indicated. All this gives to his music a more
technical appearance than has that of any
other master of the period." — Works: 4
Livres de pieces de clavecin, publ. Paris, 1713,
1716, 1722, and 1730, respectively (reprinted
in vol. iv of 'Dkm. der Tonkunst'); the 3d
also contains 4 concerts a V usage de toutes
sortes d' instruments, Les Go&ts reunis, ou
Nouveaux Concerts . . . (1724); L'ApothSose
de /' incomparable L. [Lulli] (no date);
Trios; Lecons des tenebres d une et deux voix
(no date); L'art de toucher du clavecin (1717).
— Cf. H. Quittard, Les Couperins (Paris,
1913).— See Q.-Lex.
Couperin, Gervais-Francois, son of Ar-
mand-Louis, and the last of this illustrious
family, succeeded his father as org. of St.-
Gervais, and in other posts. His ability
was mediocre, both as a comp. and player.
He was still living in 1823.
177
COU PERI N— COWEN
Couperin, Louis, b. 1630, d. 1665 as ore.
of St.-Gervais, Paris; he was also 'dessus ae
viole' (violinist) to Louis XIII. He left, in
MS., 3 suites of pes. for clavecin.
Couperin, Nicolas, son of Francois the
elder; b. Paris, Dec. 20, 1680; d. 1748 as org.
of St.-Gervais.
Couperin, Pierre-Louis, son of Armand-
Louis, was his father's assistant-organist; d.
1789.
Couppey. See Le Couppey.
Courtois [koor-twah'], Jean, French con-
trapuntist in the first half of the 16th century,
was m. de chap, at Cambrai cath. in 1540,
when a 4-part motet of his, Venite populi
terra, was perf. before Charles V of Spain.
A mass, Domine quis habiiabit, is in the
Munich Library (MS. 51); motets and
psalms have been published. — See Q.-Lex.
Courvoisier [koor-vwah-z'yS], Karl, violin-
ist; b. Basel, Nov. 12, 1846; pupil of David
and Rontgen at Leipzig Cons. (1867-9), and
of Joachim in Berlin (1869-70). In 1871 he
was for a short time a member of the Thalia
Th. orch., Frankfort; he remained in that
city till 1875, conducting, and studying sing-
ing with Gustav Barth; then became con-
ductor of the Dilsseldorf Theatre orch.,
resigning in 1876 to devote himself to teach-
ing and to conducting choral societies. Since
1885 he has resided in Liverpool as a singing-
teacher. — Comps.: A symphony, 2 concert-
overtures, and a vln.-concerto (MS.); minor
pieces have been publ. — He has written an
admirable essay, Die Violintcchnik (1878;
English transl., The Technics of Violin-
playing, by H. E. Krehbiel; 2d ed. New York,
1896); an Hcole de la velocite for vln., and a
Methode de Violon (London, 1892).
Coussemaker [kooss-mah-kar'], Charles*
Edmond -Henri de, eminent musicograph;
b. Bailleul, Nord, April 19, 1805; d. Bour-
bourg, Jan. 10, 1876. 'His musical aptitude
was such that at 10 he could play any piece
upon the piano at sight.' While studying
law at Paris, he took private lessons with
Pellegrini in singing, and with Payer and
Reicha in harm., continuing studies in cpt.
with V. Lefebvre, at Douai, after becoming a
lawyer. At this time (1831-5) he found
leisure to compose music of the most varied
description, all of which, excepting a score
of romances, and 2 sets of songs, is unpubl.
But perusal of the 'Revue musicale' (then
edited by F6tis) excited his interest in his-
torical musical research, which thenceforward
formed the chief aim of his literary labors,
pursued with equal ardor during successive
terms as judge in Hazebrouck, Dunkerque,
and Lille. He publ. Memoire sur Hucbald
(Paris, 1841); Notices sur les collections^mus.
178
de la bibliothlque de Cambrai . . . (1843);
Essai sur Us instrs. de musique au tnoyen dge
(in Dindron's 'Annates ard^ologiques,' illus-
trated); Histoire de Vharmonie au tnoyen dge
(1852); Trois chants historiques (1&S4:) ; Chants
populaires des Flamands de France (1856);
Drames liturgiques du moyen dge (1861); Les
harmonistes des XII* et XIII* stecles (1864);
a grand work, intended for a supplement to
Gerbert, entitled 'Scriptores de musica me-
diiaevi, nova series' (1864-76, 4 vols.; new
ed. by U. Moser, Graz, 1908); Vart harmo-
nique aux XII* et XIII* sitcles (1865);
CEuvres completes d'Adam de la Halle (1872).
. — Cf. A. Desplanques, Htude sur les traveaux
oVhistoire et oVarchiologie de M. E. de C.
(Paris, 1870).
Cousser. See Kusser.
Cov'erly, Robert, composer; b. Oporto,
Portugal, Sept. 6, 1863. He studied couitfer-
S>int, orchestration, and violin, under Weist
ill, Ludwig, and Jaccjuinot, in London;
has lived in New York since 1884; composer
of numerous songs and pf. -pieces. A march,
The Passing Regiment, achieved immense
popularity.
Coward, Henry, b. Liverpool, Nov. 26,
1849. Graduate of the Tonic Sol-fa College;
Mus. Bac, Oxon., 1889; Mus, Doc., 1894.
Lecturer on music, Firth College; singing-
teacher at the Girls' High School, Sheffield;
cond. of the Amateur Instr. Soc., and of the
Mus. Union, at Sheffield, which he took on a
most succ. tour around the world; chorus-
master of the Sheffield Festival since 1896;
also cond. of the Barnsley 'Cecilia' (1897),
and of choral societies at Huddersneld (1901)
and Chester (1902) ; since 1904, instructor of
music at Sheffield Univ. — Works: Cantatas
Magna Charta (1882), Queen Victoria (1885),
The Story of Bethany (1891), The King's
Error (1894), Heroes of Faith (1895); also The
Fairy Mirror, for female voices, with tableaux
vivants; and Tubalca'in for ch. and orch.;
anthems, songs, Sunday-school songs, hymns,
etc. Edited a coll. of Methodist Hymns
(1901).— Cf. 'M. T.\ Jan., 1902.
Coward, James, excellent organist; b.
London, Jan. 25, 1824; d. there Jan. 22, 1880.
Chorister in Westminster Abbey; org. at the
Crystal Palace 1857-80; cond. of the Western
Madrigal Society 1864-72, and of the Abbey
and the City Qee Clubs; also org. of the
Sacred Harmonic Society, and of the Grand
Lodge of Freemasons. — Works: Anthems;
part-songs; 10 Glees a 4 and 5 (1857); 10
Glees (1871); songs, etc.
Cowen, Sir Frederic Hymen, b. Kingston,
Jamaica, Jan. 29, 1852. His evident talent
lor music caused his parents to bring him to
England to study, at the age of 4. He was a
pupil of Benedict and Goss in London; st.
COWLES— CRAMER
1865-7 at Leipzig under Hauptmann, Mo-
scheles, Reinecke, Richter, Plaidy; 1867-8
in Berlin under Kiel; cond. of the London
Philh. from 1887-92 (succeeding Sullivan);
again from 1900-7; mus. director of the Mel-
bourne Centennial Exhibition (1888-9); cond.
of the Liverpool Philharm. from 1896-1914;
Sir Charles Hallo's successor as cond. of the
Manchester Concerts (1896-9); cond. Handel
Triennial Fest. (Crystal Palace) from 1903-12;
of Cardiff Fest. (1902-10). Received the
degree Mus. Doc. (hon. c.) from Cambridge
(1900) and Edinburgh (1910); knighted 1911.
— Works: Two operettas, Garibaldi, and
One too many (1874); four operas, Pauline
(1876), Thorgrim (1890), Signa (Milan, Dal
Verme Th., 1893; London, 1893), and Harold,
or the Norman Conquest (4 acts; London, 1895);
three oratorios, The Deluge (1878), Ruth
(1887), and The Veil (1910); eight cantatas,
The Rose Maiden (1870), The Corsair (1876),
St. Ursula (1881), The Sleeping Beauty (1885),
St. John's Eve (1889), The Water-LUy (1893),
The Transfiguration (1895), John Gilpin
(1904); also a Song of Thanksgiving (Mel-
bourne, 1888), All hail the glorious reign
(1897), Collins* Ode to the Passions (Leeds,
1898), Coronation Ode (1902); six symphonies,
1. in C min. (1869), 2. in F (1872), 3. Scandina-
vian, in C min. (1880), 4. Welsh, in Bb min.,
5. in F, 6. Idyllic, in E; three orchl. suites, The
Language of Flowers, In the Olden Time, and
In Fairyland; Sinfonietta in A for orch.;
pf. -concerto in A min.; 2 overtures for orch.;
pf.-trio in A min.; pf. -quartet in C min.;
pf. -pieces; over 250 songs. Has publ. his
memoirs as My Art and My Friends (London,
1913), and an amusing glossary of musical
terms, Music as she is wrote (London, 1915).
— A 6-page sketch of C. is in the London
Musical Times for November, 1898.
Cowles, Walter Ruel, instructor, comp.;
b. New Haven, Conn., Sept. 4, 1881. Grad.
Yale Univ., A.B. 1906; Mus. Bac. 1907; st.
with Horatio Parker, Sam. S. Sanford and H.
Stanley Knight. Instr. at St. George's Sch.,
Newport, R. I. (1907-10); then studied at
the 'Schola Cantorum,' Paris (orchestration
with Widor); instr. of pf. at Yale Mus. Sch.
since 1911. — Works: Concerto in C m. for
pf. and orch.; 2 pieces for orch.; sonata for
pf. and vln.; a pf.-trio; songs and pf.-pes.
Grabbed Armand, dramatic baritone; b.
Brussels, April 23, 1884. Pupil of Desire
Demest at the Brussels Cons. 1902-4, taking
second prize with such distinguished success
that he was immediately eng. at the Th. de
la Monnaie, where his debut was made as
the Watchman in the Meister singer, and
where, in the first season, he created the
role of the Friar in Massenet's Jongleur de
Notre-Danie (also sung by him for the first
time at Covent Garden, M. O. H., Phila-
delphia, Boston, etc.). His professional
debut, however, had previously been made
in concert, at the Kursaal, Ostende. He was
eng. at the Monnaie from 1904 to 1908,
then throwing up his contract to join Ham-
merstein's Manhattan Opera, New York,
sinking there until the sale of the under-
taking, when he signed with the Chicago
Grand Opera company (manager Dippel) for
the season of 1910-11, and created the r61e
of Pico in Victor Herbert's opera Natoma at
Philadelphia (1911). He has sung at Covent
Garden since 1905; also sang Escamillo at
Berlin in 1909, but was obliged to decline
a second invitation to sing the Jokanaan in
Salome. His favorite r61es are Beckmesser,
Scarpia (Tosca), Amonasro (Aida), Athanael
(Thais) ; other chief roles are Silvio {Pagliacci),
Alfio (Cavalleria), Marcus {Princesse d*au-
berge), and Valentin (Faust). His voice,
originally a basso cantante, is now a pro-
nounced baritone of resonant timbre and
with a range of two octaves (A to a1).
Cramer [krah'-], Johann Baptist, the
famous pianist and pedagogue, eldest son of
Wilhelm C, was b. Mannheim, Feb. 24, 1771;
d. London (where he was brought when but a
year old), April 16, 1858. His first teaching
on the violin and pf., and in harmony, was
by his father; he also studied with Benser
and Schroeter, with Clementi (1779-81), and
C. F. Abel (thorough-bass, 1785), though in
comp. he was chiefly self -taught. As a con-
cert-pianist, he began his travels in 1788,
playing in the European capitals, and return-
ing to London, which he considered his home,
at intervals. In 1828 he established a music-
publishing house (now Cramer & Co.), in
partnership with Addison; he conducted it
until 1842, and it still flourishes. From 1832-
45 he spent much time in Paris. — Cramer
?ubl. a great Method for pf. (Grosse Praktische
fte.-ScnuU) in 5 parts, the last of which, the
celebrated 84 Studies (op. 50), is now the
best known of all his works (Bulow has publ.
a fine selection of fifty, revised and annotated ;
Ad. Henselt issued a different selection, w.
ace. of 2d pf.), and is deservedly a standard
work in pianistic pedagogics. Part II of the
same 'Method' (Die Schule der Fingerfcrlig-
keit), 100 Daily Studies (op. 100), is also val-
uable, through in a less degree. Other works: 7
pf.-concertos (op. 10, 16, 26, 37, 48, 51, 56);
105 pf. -sonatas; pf.-auartet (op. 28), pf.-
quintet (op. 61), and numerous other pf.-
compositions, hardly any of which are known
to the present generation. — Cf. J. Pembaur,
Anleitung zu grundlichem Studium u. Analy-
sieren der 84 Clavier-Etuden von J. B. C.
(Leipzig, 1901).
Cra'mer, Karl Friedrich, b. Quedlin-
burg,. March 7, 1752; d. Paris, Dec. 8, 1807.
179
CRAMER— CRISTOFORI
He lost his position as prof, at Kiel, in 1794,
because of open sympathy with the French
Revolution. — Publ. Flora (pf. -pieces and
songs) ; Polhymnia (operas in pf . score) ; and
the 'Magazin fur Musik' (1783-9), all with
critical prefaces; also a Kurze Obersicht der
Geschichte der franzbsischen Musik (1786), and
German translations of Rousseau's writings.
Cra'mer, Wilhelm, violinist; b. Mann-
heim, 1745; d. London, Oct. 5, 1799. Pupil
of the elder Stamitz, and Cannabich; was
a member of the Mannheim orch. from 1761-
72, and became cond. of the King's Band in
London, and leader at the Opera, Pantheon,
Antient Concerts and Professional Concerts.
He conducted the Handel Festivals (1784 and
1787), and the Gloucester Festival (1799.)—
Works: 8 vln. -concertos; 12 string-quartets;
trios; solo-pieces for vln.
Cranz, August, music-publishing firm in
Hamburg, founded 1813 by August Heinrich
Cranz (1789-1870). His son, Alwin (b. 1834),
is the present head. In 1876 he bought the
firm of C. A. Spina of Vienna, and in 1886
the firm of C. A. Bohme of Hamburg. His
son Oskar entered as partner in 1896. In
1897 the firm removed to Leipzig. Branches
were established in Vienna (18/6), Brussels
(1883), and London (1892).
CrayVinckel [kri-], Ferdinand Manuel
Martin Louis Barth'eiemy de, b. Madrid,
Aug. 24, 1820; pupil of Bellon at Bordeaux;
m. de chap, of St.-Bruno, Bordeaux, where
he lived after 1825. His numerous masses,
and other church- works, are of a high order.
Crecquillon (Crequillon) [kra-ke-y&hn'l,
Thomas, b. near Ghent (?); d. Bethune,
1557. Distinguished contrapuntist; maestro
to Charles V of Spain abt. 1544-^7; later
canon at Namur, Termonde, and Bethune.
His works, which rank with the best of that
period, consist of masses, motets, cantiones,
and French chansons a 4, 5, and 6. — See
Q.-Lex.
Crescentini [kra-shghn-te'ne], Girolamo,
one of the last and finest of the Italian artificial
mezzo-sopranos; b. L^rbania, n. Urbino, Feb.
2, 1766; d. Naples, April 24, 1846. He studied
singing with Gibelli at Bologna, and made
a highly successful debut at Rome in 1783;
subsequent successes in the other European
capitals earned him the surname of 'Orfeo
Italiano' (Italian Orpheus). He sang at Leg-
horn, Padua, Venice, Turin, London (1786),
Milan, and Naples (1788-9). Napoleon,
having heard him in 1805, decorated him
with the Iron Crown, and engaged him from
1806-12; Cr. then retired from the stage and
left Paris, on account of vocal disorders in-
duced by the climate; in 1816 he became prof,
of singing in the R. Cons., Naples. "Nothing
could exceed the suavity of his tones, the
force of his expression, the taste of his or-
naments, or the large style of his phrasing"
[Fetis]. He also publ. several colls, of
ArietU (Vienna, 1797), and a Treatise on
Vocalization in Fr. and Ital., with vocal ex-
ercises (Paris, 1811).— See Q.-Lex.
Creser, William, b. York, Sept. 9, 1844.
Pupil of his father, in whose cnoir at St.
Johns Ch. he sang; studied later with G. A.
Macfarren (org. and comp.); as early as 1856
he occasionally acted as Sir J. Barnby's sub-
stitute at Holgate Rd. Ch.; app. org. at
Holy Trinity, Micklegate, in 1859, and later
succeeded Barnby; then filled various other
g>sitions; 1891-1902 org. at the Chapel
oyal, St. James'; since 1902 examiner of
Trinity Coll. of Music, in which capacity he
has made frequent visits to mus. institutions
throughout the British colonies; Mus. Bac,
Oxon., 1869; Mus. Doc., Oxon., 1880. His
wife (n&e Amelia Clarke) was a well-known
mezzo-sop. — Works: An oratorio, Micaiah;
the cantatas Eudora (Leeds, 1882), The Sacri-
fice of Freia (ib., 1889), The Golden Legend,
Tegner's Drapa; a mass; 2 Psalms; Old
English Suite for orch.; chamber-music (str.-
quartet in A m., pf.-trio in A; sonata for
vln. and pf ., etc.) ; organ-music.
Gressent [kr£h-sahn']t Anatole, b. Argen-
teuil, April 24, 1824; d. Paris, May 28, 1870.
A lawyer, and an educated amateur of music,
he left 100,000 fr. (to which his heirs added
20,000), the interest to be awarded trien-
nially ('Prix Cressent'), one-half to the author
of the best libretto and one-half to the com-
poser of the best opera. William Chaumet
was the first to win the prize, in 1875, with
the comic opera Balhyle,
Gristo'fori, Bartolommeo (wrongly called
Cristofali and Cristofani), famous as the in-
ventor of the first practical hammer-action
for keyboard-instruments; was b. Padua,
May 4, 1655; d. Florence, Jan. 17, 1731. He
was at first a leading maker of clavicembali
in Padua; he removed to Florence abt. 1690.
According to an article by Maffei, publ. 1711
in the 'Giornale dei Letterati d 'Italia,' C.
had up to that year made 3 'gravecembali col
piano e forte,' these having, instead of the
usual jacks plucking the strings with quills, a
row of little hammers striking the strings from be-
low. The principle of this hammer-action was
adopted, in the main, by Gottfried Silber-
mann, the Streichers, and Broadwood (hence
called the 'English action'). Following the
designation by its inventor, the new instru-
ment was named Pianoforte. — In 1716, Cr.
was app. instr. -maker to Prince Ferdinando
de' Medici; on the latter's death, he was
made custodian of the court collection of
instrs., by Cosimo III. — Cf. F. Casaglia, Per
le onoranze a B, C. (Florence, 1876).
180
CRIVELLI— CROTCH
CrhreHi, Arcangelo, b. Bergamo, April
21, 1546; d. May 4t 1617; 1583, tenor singer
in the Papal Chapel. — Works: Masses,
psalms, ana motets; only a few of the last
were published.
CriveTH, Domenico, son of Gaetano; b.
Brescia, June 7, 1793; d. London, Feb. 11,
1857; pupil of Zingarelli. Called to London
by his father, he wrote the opera buffa La
Fiera di Salerno, ossia la Finta capricciosa;
taught for a time at the R. Coll. di Musica at
Naples, then settled in London as a singing-
teacher. Publ. The Art of Singing, and New
Solfeggios for the cultivation of the Bass Voice.
Crivelli, Gaetano, celebrated tenor; b.
Bergamo, 1774; d. Brescia, July 10, 1836.
Sang in Brescia 1793, in Naples 1795, in
Milan (La Scala) 1805, and thereafter on all
frincipal stages of Italy; 1811-17, at the Th.
talien, Paris (as Garcia's successor); 1817—
18, in the zenith of his fame, at London. At
La Scala (1819-20) his voice deteriorated; he
sang for the last time (?) at Florence in 1829.
Crivelli, Giovanni Battista, comp. of
the Lombard y school; b. Scandiano, Modena;
d. Modena, 1682. Org. at Reggio cath.; then
m. di capp. to the court of Ferrara; held a
similar post, in 1651, at the court of Francesco
I at Modena, and (1654) at the Ch. of S.
Maria Maggiore, Bergamo. — Publ. Mottetti
concertati (1626) and Madrigali concertati
(1633).
Croce [kroh'che], Giovanni dalla, b.
Chioggia (hence surnamed 'il Chiozzotto')
abt. 1560; d. Venice, May 15, 1609. A pupil
of Zarlino; chorister at S. Marco, where he
succeeded Donato as m. di capp. in 1603.
He was one of the most eminent Venetian
composers. — Publ. works: Sonatas a 5
(1580); 2 vols, of motets a 8 (1589, 1590;
vol. ii reprinted 1605 w. organ bass; both
vols. do. in 1607); 2 vols, madrigals a 5 (1585,
1588) ; Triacca musicalc (caprices, or humorous
songs in Venetian dialect, a 4—7; went thro'
4 editions— 1597, 1601, 1607, 1609, and
was his most popular and famous work; it
includes the contest between the cuckoo and
the nightingale, umpired by the parrot) ;
madrigals a 5-6 (1590-1607); Cantiones
sacrae a 8, w. basso cont. for org. (1622; a 2d
vol. was publ. in 1623); Canzonettea4 (1595);
masses a 8 (1596); Lamentations a 4 (1603)
and 6 (1610); Magnificats a 6 (1605), Vesper
psalms a 8 (1589), etc. A selection of his
church-music was publ. in London, 1608, as
Musica sacra, Penetentials for 6 voyces, with
English words. Several of his works have
been repr. in Proske's 'Musica Divina' and
Haberrs 'Repertorium.'— Cf. F. X. Haberl,
G. C, in 4Kchm. Jahrb.,' 1888.— See Q.-Lex.
Croes [kroos], Henri-Jacques de, b. Ant-
werp, Sept. 19, 1705; d. Brussels, Aug. 16,
1786. Violinist and asst.-cond. at St.-
Jacques, Antwerp; in 1729, musical director
to the Prince of Thurn and Taxis, at Ratisbon.
Went to Brussels in 1749, conducted the
choir of the Royal Chapel till 1755, and was
then app. m. de chap, to Charles of Lorraine.
— Works: Masses, motets, anthems, and other
church-music; also symphonies, sonatas, etc.
Croft (or Crofts), William, b. Nether-
Eatington, Warwickshire, Engl., Dec. 30,
1678; d. Bath, Aug. 14, 1727 (buried in
Westm. Abbey). A chorister in the Chapel
Royal, under Dr. Blow; Gentleman of Ch.
R., 1700, and (with J. Clarke) joint-org. of
same in 1704, and sole org. in 1707. Suc-
ceeded Blow as org. of Westm. Abbey, Mas-
ter of the Children, and Comp. to the Chap.
R., in 1708. — Works: Divine Harmony [an-
thems] (1712);' Musica sacra [30 anthems a
2-8, and a burial service in score] (1724; in 2
vols.; the first English work of church-music
engraved in score on plates) ; Musicus appara-
tus academicus (2 odes written for his degree
of Mus. Doc., Oxon., 1713); overtures and
act-tunes for several plays; vln. -sonatas; flute-
sonatas, etc. — See Q.-Lex.
Cross, Michael Hurley, b. Philadelphia,
April 13, 1833; d. there Sept. 26, 1897. Pupil
of Dr. Meignen (harm, and comp.), B. Cross
(pf. and org.), C. Honimann (vln.), and L.
Engelke ('cello). Org. of St. Patrick's in
1848; then at several other churches; at the
cathedral for 18 years, and for 17 years (until
his death) at Holy Trinity Episcopal Ch. He
was director of several local societies, and of
others in New York and Brooklyn. For 20
years his name was connected with musical
progress in Philadelphia.
Crossley, Ada (Jessica), distinguished
concert -singer (mezzo-sop.); b. Tarraville,
Gippsland, Australia, March 3, 1874. Pupil
of Fanny Simonson (voice) in Melbourne,
for two years, and of Zelmann (pf. and harm.)
in 1892-93; having sung in several churches,
she made her concert-debut with the Mel-
bourne Philharm. Soc. in 1892; came to
London in 1894, studied four months with
Santley, and later with Mme. Marchesi in
Paris; London debut at Queen's Hall, May
18, 1895; her success was so emphatic, that
she sang by command five times before
Queen Victoria within the next two years;
has appeared as soloist at all important
Engl, festivals; her tour of Australia in 1904
was a succession of triumphs; has also made
successful tours of the U. S. and South
Africa. In 1905 she married Dr. Francis F.
Muecke, but continues her professional
career.
Crotch, William, b. Norwich, Engl., July
5, 1775; d. Taunton, Dec. 29, 1847. His
extraordinary precocity may be measured by
181
CROUCH— CUI
the well-authenticated statement (Burney,
'Philosophical Transactions' of 1779), that
when two and a-half years old he played on a
small organ built by his father, a master-
carpenter. . In Oct., 1779, he was brought
to London, and played in public. At the age
of 1 1 he became assistant to Dr. Randall, org.
of Trinity and King's Colleges at Cambridge;
at 14, comp. an oratorio, The Captivity of
Judah (perf. 1789); from 1788-90 he studied
for the ministry, but then returned to music,
becoming org. of Christ Ch., Oxford; grad-
uated as Mus. Bac, Oxon., in 1794 (Mus.
Doc., 1799), and in 1797 succeeded Hayes as
erof. of music in the University, and org. of
t. John's Coll. He lectured in the Music
School 1800-4, and in the Royal Institution,
London, in 1804, '5, 7, and a£ain from 1820;
in 1822, was appointed Principal of the new
R. A. M. — Works: 2 oratorios, Palestine
(1812), and The Captivity of Judah (1834; a
wholly different work from the first-mentioned
juvenile production); 10 anthems; glees,
fugues, 3 organ-concertos; pf. -sonatas; an
ode, Mona on Snowdon calls; a glee, Nymph,
with thee; a motet, Methinks I hear the full
celestial choir (these last 3 very popular);
other odes (or 'cantatas'); also wrote Ele-
ments of Mus. Comp., etc. (1812; 1833; 1356):
Practical Thorough-bass; Questions on his
'Elements'; etc. — See Q.-Lex.
Grouch, Frederick Nicholls, b. London,
July 31, 1808; d. Portland, Me., Aug. 18,
1896. Studied with Bochsa ('cello), and en-
tered R. A. M. circa 1822 (teachers: Crotch,
Attwood, Howes, Lindley, and Crivelli). At
9 he was 'cellist in the Royal Cobury Th.;
played in Queen Adelaide's private band till
1832; was a teacher and singer in Plymouth,
and 'cellist in various theatres. Went to New
York in 1849; in Philadelphia (1856) as con-
ductor of Mrs. Rush's Saturday Concerts;
served in the Confederate Army, and settled
in Baltimore, Md., as a singing- teacher. —
Works: 2 operas; many collections of songs,
some being original (among these latter the
.well-known ballad Kathleen Mavourneen).
•
Crowest, Frederick J., b. London, Nov.
30, 1850. Joined editorial staff of Cassell,
Petter & Galpin in 1886; has held various
editorial positions; since 1901 general man-
ager and editor of Walter Scott Publishing
Co., Ltd.— Writings: The Great Tone-Poets
(1874); Book of Musical Anecdote (1878; 2
vols.; rev. ed. 1902, as Musicians9 Wit,
Humour and Anecdote); Phases of Musical
England (1881); Musical History and Bio-
graphy in the Form of Question and Answer
(1883); Advice to Singers; Musical Ground-
work; Cherubini (in 'Great Musicians' Series);
Dictionary of British Musicians (1895); The
Story of British Music (vol. i, 1895) ; Cate-
chism of Musical History (10th thousand
1904); Story of Music (1902; in America
Story of the Art of Music); Verdi: Man and
Musician (1897).
Crii'ger, Johannes, a noted and still pop-
ular composer of church-chorals; b. Gross-
Breesen, near Guben, April 9, 1598; d. Berlin,
Feb. 23, 1662. A student of divinity at
Wittenberg in 1620, he had received thorough
musical grounding at Ratisbon under Paulus
Homburger, and from 1622 until his death
was organist of the St. Nicolaus Ch., Berlin.
Besides writing fine chorals (Jesu, meine
Freude, Jesus, meine Zuversicht, Nun dankel
alle Gott, etc.; see Langhecker's monograph
on C.'s chorals (18351), he publ. the following
collections: Neues vollkommliches Gesangbuch
Augspurgischer Confession . . . (1640); Praxis
pietatis melica . . . (1647); Geistliche Kirchen-
melodeyen . . . (1649); Dr. M. Luther s wie
auch andrer gottseliger christlicher Leute Geist-
liche Lieder und Psalmen (1657); Psalmodia
sacra . . . (1558); the valuable theoretical
works Synopsis musica (1630; enlarged 1634);
Praeceptamusicaefiguralis (1625); and Quaes-
tiones musicae practicae (1650).
Cruvelli (properly Cru'well), two sisters,
celebrated contralto stage-singers: (1) Frie-
derike Marie, b. Bielefeld, Westphalia, Aug.
29, 1824; d. there July 26, 1868; a 'natural'
singer, who created a furore in London (185 1),
but failed eventually, from a lack of proper
training, and died heart-broken; (2) Johanne •
Sophie Charlotte, b. Bielefeld, March 12,
1826; d. Monaco, Nov. 6, 1907. Though not
well trained, she had a voice of extraordinary
beauty, and her debut (Venice, 1847) was a
triumph; she sang in London in 1848, and
went to Paris in 1851, winning great success
in Italian opera (Verdi's Ernani), which aided
her to obtain full recognition in London. In
1854 she was engaged for the Paris Grand
Opera at a yearly salary of 100,000 francs;
but her vocal defects became exaggerated.
In 1856 she married Comte Vigier, and
retired from the stage.
Gucuel [ku-kuell, Georges, b. Dijon, Dec.
14, 1884; pupil at the Sorbonne of R. Rol-
land; docteur es lettres, 1913; went to Italy
(1914) on a government stipend for musical
research. Has publ.: La vie parisienne des
princes de Wurtemberg-Beliard (1912), Etudes
sur un orchestre (1913), La Pouplinikre et la
musiquede chambre au XVIII* Steele (1913),
Les createurs de l' opera franqais (1914).
Cui [kwe], Cesar Antonovitch, b. Vilna,
Russia, Jan. 6, 1835. Dramatic composer,
pupil of Moniuszko and Balakirev. (His
profession is military engineering; he is prof,
of fortification at the Petrograd Engineering
Acad., with the rank of lieutenant-general.)
From 1864-8 he w.as musical critic of the
182
CULBERTSON— CUM M I NGS
'Gazette/ and a strong advocate of the neo-
German school; in 1878-9 he publ. a series of
articles in the Paris 'Revue et Gazette musi-
cale,' on La musique en Russie. With Rimsky-
Korsakov, Mussorgsky, et al., he represents
the Russian school of so-called 'Innovators'
(Novatoren). — Works: The operas The Man-
darin's Son (Petrograd, 1859), The Prisoner of
the Caucasus (ib., 1859; rewritten 1881), Wil-
liam Raicliffe (ib., 1869), Angela (ib., 1876),
Le Flibustier (Paris, Op.-Com., 1894), The
Saracen (Petrograd, 1899), Mile. Fifi (ib.,
1903), Matteo Falcone, (Moscow, 1908), The
Captain9 s Daughter (Petrograd, 1911); A
Feast in Time of Plague, written originally as
a dramatic cantata, was produced as a 1-act
opera (Moscow, 1901); for orchestra C. wrote
Op. 1, Scherzo; op. 2, ditto; op. 12, Tarantella;
op. 18, Marche solenneUe; op. 20, Suite
miniature; op. 38, Suite No. 2; op. 40, Suite
No. 3, A Argenteau; op. 43, Suite No. 4, 'In
modo populate1 ; op. 2d, Suite concertantef for
vln. and orch.; op. 36, 2 pieces for vcl. and
orch.; 25 choruses for male, female and mixed
voices, with instr. accomp., and a capp.; over
200 songs (Russian, German and French);
numerous pieces for pf. (Valses, Polonaises,
Impromptus, Miniatures, etc.; some also are
arranged for orch.); op. 45, string-quartet, in
C m. — Cf. Comtesse Mercy-Argenteau, C. C.
Esquisse critique (Paris, 1888); P. Weimarn,
C. C. as Song-writer (Petrograd, 1897; in
Russian).
Culbertson, Sasha, remarkable violinist;
b. U. S. (?), Dec. 29, 1893. He received his
first instruction on the violin from Suchoru-
kov, and at the age of 9 entered the Rostov
Cons.; 1905-8, pupil of Sevfcik in Prague;
sensational debut at Vienna, 1908; made tours
of Germany and England, meeting everywhere
with extraordinary success. In spite of his
youth many critics have compared him to
Paganini, inasmuch as he accomplishes tech-
nical feats regarded ordinarily as impossible.
Gulp [k£lp], Julia, b. Groningen, Oct. 6,
1881. She received her first musical instruc-
tion on the violin, and made such progress
that before her fourteenth year she appeared
in public in her native town. When she dis-
covered that she had an unusual voice (con-
tralto), she lost interest in her instrument, and
became a pupil of Cornelia van Zanten at the
Cons, in Amsterdam (1897); two years later
she went to Berlin, and, although meeting
with success in her first recital there, deter-
mined on further study with Etelka Gerster.
She then made her real debut in Magdeburg,
in 1901, at a concert with Busoni; at Tier next
recital in Berlin, in 1902, she received an
ovation, and her subsequent tours of Ger*
many, Austria, the Netherlands, France,
Spain and Russia were a series of uninter-
rupted triumphs, establishing her fame as
one of the greatest of lieder-singers. Her
American debut took place at New York,
Jan. 10, 1913, and before the end of the
season she had been heard with all the large
symphony orchestras and in numerous re-
citals; her reception everywhere was but a
repetition of her European triumphs; since
then she has visited the United States every
season. Her tastes and sympathies are uni-
versal, for she interprets with equal mas-
tery works of widely different periods and
styles. She was among the very first to
champion the cause of Hugo Wolf, and
has done much toward winning due recogni-
tion for his songs. In the interpretation of his
works she had for several seasons as her ac-
companist— or, rather, assisting artist — Dr.
Heinrich Potpeschnigg, the intimate friend
of Wolf. For some time Erich Wolff was her
pianist; since his death (1913) she has ap-
peared with Coenraad Bos. — In private life
Mme. C. is Mrs. Erich Merten, and lives in,
Berlin.
Gulwick, James C, b. W. Bromwich,
Staffordshire, 1845; d. Dublin, Oct. 5, 1907.
Pupil of T. Bedsmore; asst.-org. at Lichfield
Cath., and organist at various churches until
1881, when he was app. to the Chapel Royal
at Dublin, where he remained till his death;
also prof, of pf. and theory at Alexandra
College, and cond. of the Harmonic Soc. and
Orpheus; Mus. Doc. (hon. c.) from Dublin
Univ., 1893. He wrote a dramatic cantata,
The Legend of Stauffenberg (1890); Psalm 104,
for soli, chorus and orch.; a pf. -quartet in
Eb; sonata in D, for organ; a concert-over-
ture for orch.: pf. -pieces (suite, ballade,
sonatina, etc.); several anthems and church-
services; author of Rudiments of Music (1880;
2d ed. 1882), The Study of Music and Its
Place in General Education (1882), The Works
of Sir R. Stewart (1902).
Cummings, William Hayman, b. Sid-
bury, Devon, Engl., Aug. 22, 1831; d. Lon-
don, June 10, 1915. Chorister in London at
St. Paul's (under Hawes), and at the
Temple Ch. (under Hopkins); organist of
Waluiam Abbey; tenor singer in the Temple,
Westminster Abbey, and Cnapel Royal ; prof,
of singing at the R. College for the Blind,
Norwood, London; in 1882, conductor of the
Sacred Harmonic Society; in 1896, elected
principal of Guildhall School of Music; de-
gree Mus. Doc. (hon. c.) conferred by Univ.
of Dublin, 1900. He was a cultivated singer,
and a profound antiquarian; was the founder
of the Purcell Society, edited its first publica-
tions, and was the author of a biography of
Purcell (London, 1882); also published a
Primer of the Rudiments of Music (1877), and
a Biogr. Dictionary of Musicians (1892);
contrib. to Grove's Dictionary. His library
183
CUNNINGHAM— CURWEN
of 4,500 volumes contained many rare auto-
graphs. His compositions include a cantata,
The Fairy King, sacred music, glees, part-
songs, songs, etc.
Cunningham, Claude, concert-baritone
and lieder-singer; b. Manchester, Va., March
26, 1880. While pursuing his studies at the
Ohio State Univ., he also had his voice cul-
tivated; he abandoned medicine, continued
his vocal studies in New York with T. J.
Tocdt, then in Paris with Sbriglia and
Granier; debut in New York, Nov. 1, 1903,
at the first concert of Mme. Patti's last tour
of America; he appeared with the diva
throughout her five-months' tour, and he
claims that this close association was equiv-
alent to years of experience; since then he has
been a favorite concert-singer, having been
heard With all the important orchestras and
at the great festivals; has made succ. tours
of England (1904) and Germany (1908); in
1908 and 1914 he won much applause in his
joint recitals (duets) with Mme. Rider-
•Kelsey; at the Amer. premiere of Elgar's
Kingdom (1907) he created the part of Peter;
his repertory includes the standard oratorios,
Elijah and Samson and Delilah being his
favorites. He has refused various offers for
operatic engagements, because he believes
that the concert-field offers music of a higher
type. His voice has a rich, sympathetic
quality and ranges from G-blb. Interesting
observations explaining C.'s attitude toward
art are found in his book The World-Spirit,
and Other Essays (1916).
Curd [koor'che], Giuseppe, b. Barletta,
June 15, 1808; d. there Aue. 5, 1877. Pupil
of Furno, Zingarelli, and Crescentini at
Naples Cons, from 1823; here he wrote 2
masses a 4 w. orch., and several operas. At
Turin he prod, the opera // Proscrttto (1837);
at Venice Don Desiderio (1837), and L'Uraga-
no; lived in Vienna for some years as a famous
singing-teacher; travelled in Germany and
Belgium; taught in Paris 1848-56, where //
Baccelliere was produced; and then returned
to Barletta. Also publ. considerable sacred
music, solfeggi, and a text-book, // bel canto.
Gurry, Arthur Mansfield, b. Chelsea,
Mass., Jan. 27, 1866. Studied with Franz
Kneisel (vln.) and Ed. MacDowell (comp.).
At present (1916) teacher of harm, at New
England Cons.; taught in Berlin (1914). —
Works: Blomidon, overt, for orch.; A tola,
fantasie after Chateaubriand (1912); The
Winning of Amarac, for reader w. ch. of
women's vcs. and orch.; Elegit, overture for
orch.; also songs, pf. -pieces, and part-songs.
Curach-Buhren, (Franz) Theodor, b.
Troppau, Jan. 10, 1859; d. Leipzig, March 11,
1908. Pupil of Succo in Berlin and Oscar
Paul in Leipzig. After two years as con-
ductor at Worms, Trier, etc., he settled in
Leipzig (1898) as editor of the 'Chorgesang'
and critic for the 'Tageblatt.'— Works: The
Singspiele Das Rosel vom Schwarzwald, Ein
Tag im Pensionnat, Die Wilddiebe, Die
Schmiede im Walde, Ein Studentenstreich,
Emol As (a parody on Strauss' Salome); male
choruses; orchl. and pf. -pieces.
Curschmann [kddrsh'], Karl Friedrich,
b. Berlin, June 21, 1804; d. Langfuhr, n.
Danzig, Aug. 24, 1841. Originally a law-
student, he devoted himself from 1824 to
music, studying under Hauptmann and Spohr
at Kassel, where his 1-act opera Abdul und
Erinnieh was prod, in 1828. Subsequently
he settled in Berlin as a singer (also making
tours in Germany, France, and Italy) and
extremely popular song- writer; his 'Gesam-
melte Lieder' (Berlin, 1871) comprise 83 songs
for single voice, and 9 duets and trios. Other
works: Romeo, scena and aria (op. 6); 2
Canons a 3 (op. 7).— Cf . G. Meissner, K. F. C.
(Bautzen, 1899).
Curti [koftr'tS], Franz [Francesco], b.
Kassel, Nov. 16, 1854; d. Dresden, Feb. 6,
1898. At first a medical student at Berlin
and Geneva (he was a dentist by profession),
he took up the study of music in Dresden,
under Kretschmer and Schulz-Beuthen. —
Operas: Hertha (Altenburg, 1887); Reinhard
von Ufenau (ib., 1888); Erlost (Mannheim,
1894, 1 act); melodrama Schneefried (ib.,
1895); 1-act Japanese fairy -opera Lili-Tsee
(ib., 1896; New York, 1898); Das Rosli vom
Sdntis (Zurich, 1898). Also Die Gletscherjung-
frau for soli, ch. and orch.; and music to
Die leUsten Menschen, by W. E. Kirchbach.
Curtis, Natalie, writer and lecturer on
folk-music; b. New York City. Studied in
New York under Arthur Friedheim; also at
Nat. Cons., New York City; then with Busoni
in Berlin, Alfred Giraudet in Paris, Kapellm.
Wolf in Bonn, and Julius Kniese at the
•Wagner-Schule* in Bayreuth. Student and
recorder of songs, legends and customs of
the N.Amer. Indians; author and lecturer. —
Works: The Indian's Book (1907; a collection
of 200 songs of 18 different tribes); Songs of
Ancient America; songs from A Child's
Garden of Verse; etc.
Curwen, Rev. John, b. Heckmondwike,
Yorkshire, Engl., Nov. 14, 1816; d. Heaton
Mersey House, near Manchester, May 26,
1880. In 1844 he was pastor at Plaistow,
Essex. Becoming interested in Miss S.^ A.
Glover's 'Tonic Sol-fa' system of teaching,
he labored to improve it, founded associations
in 1853, and the Tonic Sol-fa College in 1862,
resigning his pastorate in 1867 to devote
himself entirely to propagating the system.
He later established the 'Tonic Sol-fa Re-
porter/ and a publishing-house, in London. —
184
CURWEN— CZERNY
His numerous publications relate chiefly
to Tonic Sol-fa (issued by Novello). — Cf. f.
S. Curwen, Memorials of J. C. (London, 1882).
Curwen, John Spencer, son of the Rev.
John C; b. Plaistow, Sept. 30, 1847; d. Lon-
don, Aug. 6, 1916. Pupil of his father and
G. Oakey; later of G. A. Macfarren, Sullivan
and Prout at the R. A. M. Active promoter
of the Tonic Sol-fa system, and of vocal
teaching in the schools; Pres. of the Tonic
Sol-fa College in 1880; frequent contributor
to the 'Tonic Sol-fa Reporter' ('Musical
Herald'). Published Studies in Worship- Music
(1880), and a 2d series in 1885; Memorials of
John Curwen (1882); Musical Notes in Parts
(1882); etc.
Gurzon [kur-zohnl, £manuel-Henri-Pa-
rent de, b. Havre, July 6, 1861. Ph.D.;
keeper of the govt, archives at Paris; since
1889 mus. critic on the 'Gazette de France';
ed.-in-chief of the 'Guide musical' and 'Bulle-
tin de la Society de l'histoire du theatre.' —
Writings: Les dernieres annees de Piccini a
Paris (1890); La legend* de Sigurd dans I1 Ed-
da; U Optra d'E. Reyer (1890); Musiciens du
temps passS (1893); Croquis d* artistes (1898;
sketches of Faure, Lassafle, Maurel, Viardot-
Garcia, Carvalho, Nilsson, Krauss) ; Les lieder
de Schubert (1899); Biographie critique de Fr.
Schubert (in 'Revue des etudes historiques,'
1899); £tat sommaire des pieces et documents
concernant la musique (1899); Guide de Va-
mateur d'ouvrages sur la musique (1901);
Felipe Pedrell el 'Les Pyrenees1 (1902); Les
lieder de Beethoven (1905); Essai de biblio-
graphic Mozartine (1906); Gretry, biographie
critique (1907); V evolution lyrique au theatre
(1908); Meyerbeer, biographie critique (1910);
Documents inedits sur le ' Faust1 de Gounod
(1912) ; La vie artistique aux X VIP et XVIII*
siecles : La Musique (in 'Biblioth&que fran-
chise,' 1914); Mozart, biographie critique
(1914). Translations: Lettres completes de
Motart (1888, '98); Hcrils de Schumann sur
la musique el les musiciens (1894, '98); Hoff-
mann : Fantaisies dans la maniere de Callot
(1891); also several Ger., Ital. and Span,
opera-libretti.
Cusani'no. See Carestint.
Cusins [kuz'-], Sir William George, b.
London, Oct. 14, 1833; d. Remonchamps,
(Ardennes), Aug. 31, 1893. Choir-boy of
the Chapel Royal, 1843; pupil of Fetis, in
Brussels Cons., 1844, and of Bennett, Potter,
Lucas, and Sainton, at the R. A. M., in
1847. Took the King's Scholarship in 1847
and 1849; in the latter year he was app. org.
of the Queen's private chapel, and became
violinist in the Italian opera orch. In 1851
he was asst.-prof. of pf. at R. A. M., and full
prof, later: succeeded Bennett in 1867-83 as
cond. of the Philharm., and became also cond.
of the Royal Band in 1870; in 1875, succeeded
Bennett as examining prof, at Queen's Coll. ;
joint examiner for N. T. S. M. in 1876; prof, at
Trinity Coll., and prof, of pf. at Guildhall S.
of M., in 1885; knighted in 1892.— Works:
Royal Wedding Serenala (1863); 2 concert-
overtures, The Toilers of the Sea (1865) and
Love's Labour's Lost (1875); an oratorio, Gi-
deon (Gloucester Festival, 1871); pf. -concerto
in A min.; pf. -trio; septet for wind and double-
bass; pf. -pieces; songs.
Cuzzo'ni [koots-], Franceses, renowned
dram, contralto; b. Parma, 1700; d. Bologna,
1770. She was a pupil of Lanzi; sang with
great success in Italy (Venice, 1719), and
1722^6 in London under Handel's direction
in his operas, when she was supplanted by
Faustina Bordoni, and went over to the op-
position, singing until 1827 in bitter rivalry
with the Bordoni. She then married the
pianist and composer Sandoni; was eng. at
Vienna, in Italy, and Holland (where she
was imprisoned for debt), and again appeared
in London (1748), but wholly without success.
It is said that she then returned to Italy,
earned her living in her old age by covering
silk buttons, and died in abject poverty.
Czartoryska [tchar-t5h-ru'skah], Marcel-
line (nee Princess Radziwill), b. Vienna, May
18, 1817; d. at her castle, n. Cracow, June
8, 1894. Lived from 1848 in Paris; a dis-
tinguished pianist (pupil of Czerny).
Czernohor'aky [char-], Bohuslav, born
Nimburg, Bohemia, Feb. 26, 1684; d. Graz,
July 2, 1740. A Minorite monk, he was
choirmaster at S. Antonio, Padua, and circa
1715 organist at Assisi (Tartini was one of
his pupils). Returning to Bohemia, he was
Kapellm. at the Teinkirche, Prague, and
(1735) at St. James'. His comps. are sung in
all Bohemian churches. Many MSS. were
lost at the burning of the Minorite monas-
tery (1754). An offertory a 4, and several
organ-fugues and preludes, were published by
O. Schmid in Orgelwerke aitbdhmischer
Meister.'
Czerny (Cernf) Jchar'ne], Karl, an em-
inent pianist and pedagogue; b. Vienna, Feb.
21, 1791; d. there July 15, 1857. His father,
Wenzel C, was his first teacher; later he
had lessons of Beethoven, of whom he was
an especial favorite; he also learned much
from association with Clementi and Hummel.
As a pianist and teacher he became celebrated
at an early age; but a European tour arranged
for 1804 had to be given up on account of
the troublous times, and C. soon renounced
playing in public, devoting himself to teaching
and composing. Except pleasure-trips to
Leipzig (1836), Paris and London (1837),
ana Lombardy (1846), he remained all his
life in Vienna. As a teacher his success was
185
CZERSKY— DALL'OLIO
remarkable from his 16th year; Ninette von
Belleville (Mme. B.-Oury), Liszt, Dohler,
Thalberg, Jae"ll, and many other pupils,
testify to his proficient training. As a com-
poser, he publ. over 1,000 works, of which
nis pf. -studies were of lasting value: Die
Schule der Geloufigkeit (op. 299), Die Schule
des Legato und Staccato (op. 335), Tagliche
Studien (op. 337), Schule der Verzierungen
(op. 355), Die Schule des Virtuosen (op. 365),
Die Schule der linken Hand (op. 399), Die
Schule des Fugenspiels (op. 400), Die Schule
der Fingerfertigkeit (op. 740), etc., etc. —
Other compositions, many in MS., were of a
varied description: Church-music, such as
masses, requiems, graduate, offertories; sym-
phonies, overtures, concertos, string-quartets
and trios, songs, etc.; besides innumerable
arrangements. He wrote an Untriss der
ganzen Musikgeschichte (Mayence, 1851), and
an autobiography.
Czer'aky. See Tschirch.
Czerveny. See Cerveny.
Cziak. See Schack.
Czibul'ka [tche-], Alphons, b. Szepes-
Varallya, Hungary, May 14, 1842; d. Vienna,
Oct. 27, 1894. Originally a pianist, he
became Kapellm. at the Karltheater, Vienna,
in 1865; bandmaster of the 17th regt., ana
later of the 25th regt. at Prague. Settled
finally in Vienna as a prolific comp. of pf.-
music; he also brought out the operettas
Pfingsten in Fhrenz (Vienna, 1884); Der
Glucksritter (1887); Gil Bias (Hamburg, 1889;
succ); 3 -act operetta Der Bajazzo (Vienna,
1892; succ); opera Signor Annibale (1893).
D
Dacha [dahks], Joseph, pianist; b. Ratis-
bon, Sept. 30, 1825; d. Vienna, June 6, 1896.
Pupil (1844) in Vienna of Halm, Czerny, and
Sechter. From 1861, teacher of pt. and
comp. at Cons, of the 'Musikfreunde.' Hans
Schmitt, Vladimir de Pachmann, and Laura
Rappoldi, are among his pupils. As a concert-
pianist he was well received in Vienna and
other towns.
.Daffner, Hugo, b. Munich, June 2, 1882.
Pupil at Kgl. Akademie of Thuille (comp.)
and SandberKer and Kroyer (musicol.),
receiving the degree of Ph. D. in 1904; then
st. priv. with Reger; 1904-6 asst.-cond. at
Munich Court Op.; 1907-9 mus. crit. 'Allee-
meine Zeitung' in Konigsberg; 1909-10 do.
'Dresdner Nachrichten' ; living since then as
teacher in Berlin. — Works: 2 symphs. (F m.,
op. 7; Bb, op. 20); 2 str.-quartets (D m., op.
3; B m., op. 6); 2 pf. -trios (F, op. 10; E m.,
op. 21); 2 pf.-quintets (E m., op. 16; C, op.
17); a sonata f. org., op. 1; 2 sonatas f. vl.
and pf. (E m., op. 4; Eb, op. 22); a sonata
f. vcl. and pf., op. 18; Fantasie and Fugue,
186
op. S3; pes. f. pf.; over 300 songs. 3 operas,
Macbeth, Truffaldino, Der eingebudete Kranke,
are finished, but have not yet been prod.
(1916). He has also written Die Entwickelung
des Klavierkonzerts bis Mozart (Leipzig, 1908);
Salome, ihre Gestalt in Geschichte und Kunst
(1912); has ed. Fr. Nietzsche's Randglossen
zu Bizet's Carmen (1912) and Ph. E. Bach's
Versuch uber die wahre Art, das Klavier zu
spielen (1914).
Dahms, Walter, b. Berlin, June 9, 1887.
Pupil of Adolf Schultze in Berlin (1907-10);
music critic 'Kleines Journal/ 1912; has
written some choruses and songs, and publ.
an excellent biogr. of Schubert (Berlin, 1912).
Dalayrac (or d'Alayrac), Nicolas, b. Mu-
ret, Haute-Garonne, June 13, 1753; d. Paris,
Nov. 27, 1809. Destined for the law, he
followed his natural bent, became (1772)
a harmony-pupil of Langle in Paris, and
publ. under an assumed name a few quartets
and operettas, the success of which decided
his career. He produced about 60 operas
from 1781-1809, many of which had con-
siderable ephemeral, but merely local, success.
Dalberg, Johann Friedrich Hugo,
Reichsfreiherr von, b. Aschaffcnburg, May
17, 1752; d. there July 26, 1812. Counsellor
to the Elector of Trier at Coblenz; canon
at Worms. A pianist and comp., but better
known by his writings: Blick tines Ton-
kunstlers in die Musik der Geister (1777),
Vom Erkennen und Erfinden (1791), Unter-
suchungen uber den Ursprung der Harmonic
(1801), Die Aolsharfc, ein allegorischer Traum
(1801), Ober griechische Instrumentalmusik
und thre Wirkung; translated Jones's The
Musical Modes of the Hindus (1802). He
comp. 4 cantatas: Evas Klage; Der sterbende
Christ an seine Seele; Das Saitenspiel; Beatrice;
pf.-quartets and trios, sonatas, songs, etc. —
See Q.-Lex.
Dalcroze. See Jaques-Dalcroze.
Dale, Benjamin James, b. Crouch Hill,
July 17, 1885. Pupil at R. A. M. of F.
Corder, H. Jones, H. Lake and H. W. Rich-
ards; org. and choirm. at St. Stephen's,
Ealing, and prof, of comp. at R. A. M. Has
written an overture, The Tempest (1902);
a pf. -sonata in D m. (1905); suite f. pf. and
via. (1906); Romance and Finale f. via. and
orch. (1911); Before the Paling of the Stars,
cantata (1913).
D' Albert, Eugen. See Albert,, (d').
Dall, Roderick, the last Scotch 'wander-
ing harpist'; still living at Athol in 1740.
Dall'Olio, Cesare, b. Bologna, 1849; d.
there June, 1906. Pupil of A. Busi; prof,
of cpt. at the Liceo Musicale; comp. of the
operas Ettore Fieramosca (Bologna, 1875),
Don Riego (Rome, 1879), Atal-Kar (Turin,
DALMORfeS— DAM ROSCH
1900) ; also wrote Lo Studio della Composition*
Musicale secondo i principi natural* dd-
VEstetica (1887), and a method of Solfeggio
adopted by several Italian conservatories.
Dalmorto [-ras'J, Charles, dramatic tenor;
b. Nancy, France, Dec. 31, 1871. After
taking first prizes at the local Cons, for
solfeggio and French horn, at 17 the City
of Nancy awarded him a stipend for study
at the Paris Cons., where he took first jprize
for horn at 19; played in the Cplonne Orch.
(2 years) and the Lamoureux Orch. (2 years) ;
at 23, prof, of horn-playing in Lyons Con9.
His vocal teacher was Dauphin, the bass
singer; his debut as tenor took place on Oct.
6, 1899, at the Th. des Arts, Rouen, where
he was eng. for 1 year; later engagements
have been 6 years at the Monnaie, Brussels,
7 seasons at Covent Garden, 4 seasons at
the • Manhattan Op. H., New York; since
1910 with the Phila. -Chicago Opera Co.
Meantime he has 'starred* at Paris, Berlin,
Vienna, Wiesbaden, Frankfort, Mannheim,
Strassburg, Hamburg, Cologne, Bremen, etc.;
also sang the role of Lohengrin at Bayreuth
in 1908. He sings in French, Italian, and
German; created Siegfried (in French) at
Rouen, and Siegfried (Gotterddmmerung) at
Brussels; Julien in Louise at Brussels, Feb. 9,
1901; A r thus (Chausson) at Brussels, Nov.
30, 1903; etc.
Dalvima're (or d'Alvimare), Martin-
Pierre, harpist and composer for harp; b.
Dreux, Eure-et- Loire, Sept. 18, 1772; d.
Paris, June 13, 1839. In 1800 he was harpist
at the Opera; harpist to Napoleon, 1806;
harp-teacher to the Empress Josephine, 1807;
retired to his estate at Dreux in 1812. —
Works: Sonatas f. harp and vln.; duets f.
2 harps, f. harp and pf., and f. h. and horn;
fantaisics, variations, etc.
Damcke, Berthold, b. Hanover, Feb. 6,
1812; d. Paris, Feb. 15, 1875. Pupil of Al.
Schmitt and F. Ries at Frankfort-on-M.;
1837, cond. of Potsdam Philharm. Society,
and of the Choral Union for operatic music
(grand concerts, 1839-40); 1845, in Petrograd,
1855, Brussels; 1859, Paris; in all a successful
and highly esteemed teacher. Friend and
devoted admirer of Berlioz. Revised and
edited, with F. Pelletan (q. v.), Gluck's 2
Iphigenies. Composed oratorios, part-songs,
pf.-pcs. Cf. B. D., £tude biographique et
musicale (Paris, 1895; anon.).
Damm, G. See Steingraber.
Damoreau [dah-moh-rohl, Laure-CIn-
thie (nte Montalant; first known as •'Mile.
Cinti'), noted operatic soprano; b. Paris, Feb.
6, 1801 ; d. Chantilly, Feb. 25, 1863. Studied
at the Paris Cons.; stage-d6but, 1819, at the
Theatre Italien (Cherubino in Figaro); sang
in Italian opera at London (1822), then again
at the Th. Italien, and was eng. 1826-35 at
the Grand Opera; Rossini wrote leading roles
for her in Le siege de Corinthe and Moist, and
Auber did the same during her later engage-
ment (1835-43) at the Opera-Comique
(Domino noir, V Ambassadrice, etc.). Re-
tiring from the stage, she made concert-tours
to London, The Hague, Petrograd, Brussels,
and (with Artdt, the violinist) to the U. S.
and Havana (1843). She was prof, of sing-
ing at the Paris Cons, from 1834-56, when
she retired to Chantilly. Her husband was
an actor at Brussels. — She publ. an Album
de romances, and a MSthode de chant.
Da Motta, Joa£ Vianna, noted pianist; b.
on Isle St. Thomas, Portuguese Africa, in
1868; one year later his parents returned to
their native city, Lisbon. In his seventh
year began his study of the piano and har-
mony under local teachers; first concert at
Lisbon, 1881; from 1882-5, at the Scharwenka
Cons., Berlin, he studied piano with Xaver
S.f and comp. with Philipp. In 1885 he went
to Liszt in Weimar; studied 1887 with von
Bulow at Frankfort. Winter 1887-8, concert-
tour through Germany, followed by tours
in Denmark, Russia, France, England, the
United States (1892-3, 1899), South America
(1902), etc. He is a specially fine Bach-
player. ^Now (1916) living as 'court pianist*
in Berlfn. — Works: Symphony An das
Vaterland; Die Lusiaden, for orch. and ch.;
a string-quartet; many charact. pf. -pieces, in
some of which (e. g., the 5 Portuguese Rhapso-
dies and the Port, dance Vito) he employs
Port, folk-themes with striking effect. Has
also publ. Studien bet Bulow (1898); Betrach-
tungen uber Franz Liszt (1898); Geschichte des
Klavierkonzerts (as a program-book to Busoni's
concerts); essays on Alkan; critical articles in
the 'Kunstwart,' 'Klavierlehrer,' 'Bayreuther
Blatter/ etc.
Dam'rosch, Frank, son of Leopold D. ; b.
Breslau, June 22, 1859. Pupil of Pruckner,
Jean Vogt, and von In ten (pf.) and of his
father and Moszkowski (comp.). 1882-5, cond.
of Denver (Col.) Chorus Club, and (1884-5)
Supervisor of Music in public schools,
also org. at different churches. 1885-91,
Chorusmaster at Metr. Opera House, New
York, and till 1887 cond. the Newark Har-
monic Society; in 1892 he organized the
People's Singing-Classes (an enterprise, for
the popularization of choral singing, which
has borne good fruits), for which he publ. in
1894 a Popular Method of Sight-Singing (G.
Schirmer, N. Y.); from 1897-1904 he was
Supervisor of Music in the N. Y. City Public
Schools; cond. 'Musurgia' (1891-1900), 'Or-
pheus' and 'Eurydice' clubs of Phila. (1897-
1905), 'Oratorio Society' (1898-1912), 'Men-
187
DAMROSCH— DANCKERTS
delssohn Glee Club' (1904-9). In 1893 he
founded the \Musical Art Society,' a chorus of
00 trained voices for the performance of a
cappelia music; in 1898 the 'Symph. -Concerts
rin. i n* PeoP,e' (these last two he still
[1916] conducts). In 1905 he organized a
splendidly equipped cons.f the 'Institute of
Musical Art/ of which he is still the director;
has also conducted various other associations.
-—D. has publ. a few vocal numbers (songs,
choruses). He received the degree of Mus.
Doc. (hon. c.) from Yale Univ. in 1904.
^E^?~ro8ch» Dr- Leopold, b. Posen, Oct.
22, 1832; d. New York, Feb. 15, 1885. Con-
ductor and violinist, a pupil of Ries, Dehn,
and Bohmer; took the degree of Dr. med. (M.
D.) at Berlin University in 1854, but then,
against his parents' wishes, embraced the
career of a musician; he appeared at first
as a solo violinist in several German cities,
later as a conductor at minor theatres, and
in 1855 procured, through Liszt, the position
of solo violinist in the Grand Ducal orch. at
Weimar. While here he was intimate with
Liszt and many of his most distinguished
pupils, and also won Wagner's life-lone
friendship Here, too, he married thf
TsT'd N V Vm HerHU^ (b- Oldenburg!
1835, d. N. Y. Nov. 21, 1904). In 1859-60
D. was cond. of the Breslau Philh. Concerts^
gave up the post to make tours with v MU?w
and Tausy; organized the Breslau Orchestol
auartet «mV/»c *'a csiacs . thls. he founded
quartet sotrtcs, and a choral societv rt\nA„r+
A«~~ c • . * iork to conduct the
^on Soaety, and made his debut, on May
New &' C°mF1?< and violinist
in i>ew York his remarkabe capacitv as an
tion in Breslau by his strong leanine towards
the new German school) found free ffi
sides bringing the 'Arion' to the hfehSt^'iteh
Soc. in 1878, the latwi'^ the Aphony
those of the 'nSaS ftd,"??'- succe«Kng
In 1880 ColumwTcoH^„?i^,nwaJ HalL
degree of Mus [^ •?„ iSf?"*1 °P h,ni the
nrHeatl &. F& "held inVv "Sfth ^
S°l 2h^1nd a aoS^fuSbk iffi he
Ss o^ahht'yi^?ShUl "•?" tour »**
n«™». M 1,J»4~5 he cond. a season of
House wa, a-aLrrsasgs, <$«
*«rc, etc.), which will *J!l_ •■-•"■•wfMi, Jvo/-
in the ml^S^SrjiS^TS^^
ginning of the final triumph of Wafftw be"
ln the new world.— Works: 7 "ant!! art
symphony in A; music to Schiller's J^^}
188
D^S^kS* f°r °rchJ-; 3 ™>Kn-concertos fin
D mm. F# mm., and G); several Dteces f«r
chorus^ SS^ fo^ ■* £*£dZ&:
SSTS^^J? ~ and «fc voices;'
Dam'rosch. Walter Johannis son „f
Leopold D.; b. Breslau. Jan30 18M <^
^raeselte (Dresden); pf. with von Inten
the N V fe,a"d r". ^a,ow- C"*- of
the N v -?**0!?0 *>£• (1885-98) and of
tne N. Y. Symphony Soc.' since 1885 (re-
organized as a perm, orch., 1903); 1902-3
cond. of the N. Y. Phimarm. Soc. In 1894
whi^""2?1 th^ 'Damrosch Opera Co1
which he directed for five seasonsrivuur
SaTckK ChWfry Wagne^faVp^
Jte KUfsky Gadfld and Te^a.8" fX
M^ H e„SndVthe Wagner «*• «X
Doc fh«„ rf °«U8 ">anagement; Mus.
hT^'i l~?" c-)> Columbia Univ.. 1914 —
k*1o Tih^?era8/^ *"*f ^ ^L.
n u £ u« lEd Cyrano ** A*f»«e (M.
O. H.. Feb. 27, 1913); Manilla Te Deum-i
%?UTl<*. »>». and pf.; incid. music to Euripi*
d«. ^Ai;«M m ^«/», and Medea, and
Sophocles' £kdr<j; songs.
,.D,'I1«) Chariee Henshaw, b. W. Newton
UtU-ttJ,'-19?'' d- Worcesto, F^ ?;
ina^ParU,dmKn.B08t0n' .^ Stuttgart,'
and Pans. D|but as pianist at Stuttgart; in
America at Worcester, 1875. OrganUt at
St. Paul ^Worcester, and Church oT the Im-
maculate Conception, Boston. He composed
music for church-choirs, and some songsT^
Inn^'iT.S^T l*^' b- Wan«n. Ohio,
Kullak s Cons., Berlin; also of the R. A. M
M,?l°Vn I881; 6 f<?under of the America,
nf "nanT^MerS' N«ionaI Association; dir.
of Dana s Musical Institute,' Warren, O.—
Writings: Practical Thorough-bass (1873)
Orchestratum (1875), Instrumentation for MmI
uZ ***** ^%Practical Harmony (1884).
f„d „r^P°Sed.a ^ ^^"^ for «£ chorus
and orch.; motets, songs, pf. -pieces, etc.
aSSi- Ldif?1-ta\. JuIes' v1011^ a"d
5 T^T \r ' C^n' France, Nov. 16, 1840;
r«; ^ N^- 10; 19°S. Pupil of the Paris
SjM-i^.JnV"- °f the Conservatoire Con-
certs till 1892 when he resigned; 1877-48.
conductor at Opera-Comique; 1899 till his
death, conductor at the Th. Lyrique, where
he successfully rovived Qluck's Iphigenie en
Taunde after a long period of neglect.—
Works: Pieces and transcriptions for violin,
and a Violin-school.
°«ickert». See Dankers.
DANCLA— DANNELEY
Dancla, Arnaud, b. Bagneres-de-Bigorre,
Jan. 1, 1820; d. there Feb., 1862; brother of
J.-B.-C. D.; fine 'cellist; author of a Method
if or 'cello; comp. 6tudes, duos and melodies
for his instr.
Dancla, ( Jean-Bap tiste-) Charles, b. Ba-
gneres-de-Bigorre, Dec. 19, 1818; d. Tunis,
Nov. 9, 1907. Entered Paris Cons, in 1828,
his teachers being Baillot (vln.), Halevy,
and Bert on. In 1834, 2d solo violin in the
Opera-Cora, orch.; became renowed by his
playing in the 'Societe des Concerts, ' and
was app. prof, of vln. -playing at the Cons, in
1857. His quartet soiries were famous. Be-
sides four symphonies, he comp. over 130
works for vln.: 1st and 2d symphonic con-
certante (op. 6 and 10); 6 concertos, 8 string-
quartets; 4 pf. -trios; many duets for 2 vlns.,
and 30 duos for vln. and pf.; etudes, etc.;
Melhode progressive pour violon (op. 52);
£cole du nUcanisme (op. 74); £cole de la
melodic (op. 129); icole de V expression (op.
82) ; and (with Panseron) Vart de moduler sur
le violon. Publ. Les compositeurs chefs d'or-
chestre (1873), and Miscellanies musicales
(1877).-—Cf. Ch. D. Notes el souvenirs (anon.,
Paris, 1893; 2d edition 1898; contains cata-
logue of works).
Dancla, Leopold, brother of the preceding: ;
b. Bagneres-de-Bigorre, June 1, 1823; d. Pans,
Apr. 10, 1895. Pupil of Baillot at Paris
Cons., taking 2d prize in 1840, and 1st in
1842. — Works: 3 string-quartets; airs varies,
fantaisies and etudes for vln.
Danel [dan-net'], Louis-Albert-Joseph,
b. Lille, March 2, 1787; d. there April 12, 1875.
A printer by trade, he invented a method of
notation for teaching the rudiments, which
he called 'La Langue des Sons,' explained at
length in his Methode simplifies pour Venseigne-
merit populaire de la musique vocale (4th ed.
1859); he also, at great expense, established
free courses of instruction in his method,
which, however, has never been extensively
adopted.
D'Angeli. See Angeli.
Danhauser, Adolphe- Leopold, b. Paris,
Feb. 26, 1835; d. there June 9, 1896. Pupil of
Bazin, Halevy and Keber in Paris Cons.;
1857, 1st prize in harm.; 1859, 1st prize in
fugue; 1862, second prix de Rome. Chief
Inspector of Instruction in Singing, in the
Communal Schools, Paris; then prof, of
solfeggio at Cons. ; wrote Thiorie de la musique;
publ. Soirees orpheoniques, a coll. of 3-part
choruses for equal voices. Comp. Le Pros-
crit, musical drama w. choruses, prod. 1866
in a relig. inst. at Auteuil; and a 3-act opera,
Maures et Castillans (not perf.).
Danlcan. See Philidor.
Daniel, Salvador, b. Bourges, circa 1830;
director of Paris Cons, for a few days under
the Commune in 1871; was killed in battle
on May 23 of that year. He was for some
years a teacher of music in an Arab school at
Algiers; publ. a monograph on La musique
arabe, with a supplement on the orgin of mus.
instrs. (1863; Engl. tr. New York, 1915);
also a book of Arabian, Moorish, and cabalistic
songs, and a treatise on the French chanson.
Daniels, Mabel Wheeler, b. Swampscott,
Mass., Nov. 27, 1878. Graduate of Radcliff
Coll. (A. B., 1900); pupil of G. W. Chadwick
in Boston, and L. Thuille in Munich; dir.
music at Simmons Coll., Boston; member
advisory comm. of music, Boston Public
Schools. Has written The Desolate City,
for bar. and orch.; 2 3-part fem. choruses w.
pf. and 2 vlns., Eastern Love and The Voice
of My Beloved (won prize of Nat. Federation
of Mus. Clubs, 191 1) ; a sonata for pf. and vln.;
part-songs; orchl. pieces.
Danjou [dahn-zhoo'], Jean-Louis-Felix,
b. Paris, June21,1812;d. Montpellier, March
4, 1866. Organist of Notre-Dame in 1840.
With his essay De Vital de I'avenir du chant
eccUsiastique (1844) he became the pioneer
in the movement for reforming plain-song;
and his * Revue de la musique religieuse,
populaire et classique' (1845-9) exhibits
profound erudition gained by long historical
research. He was the discoverer of the cele-
brated 'Antiphonary of Montpellier' (1847).
For the advancement of organ-building in
France, he studied the art in Germany and
the Netherlands; entered into partnership
with Daublaine and Callinet of Paris, and
lost his fortune; gave up music in 1849 and
became a political journalist in Marseilles
and Montpellier.
Danltere (or Danckerts), Ghiselin, b.
Tholen, in Zeeland; chorister in the Papal
Chapel 1538-65, when he was pensioned. A
skilful contrapuntist; 2 books of motets a
4-6 (1559) are extant, as well as single
numbers in Augsburg collections of 1540 and
'45. His autograph treatise on the ancient
modes, pronouncing judgment in the con-
troversy between vicentino and Lusitano, is
in the Vallicellana library at Rome.
Danks, Hart Pease, b. New Haven, Conn.,
Apr. 6, 1834; d. Philadelphia, Nov. 20, 1903.
Pupil of Dr. L. E. Whiting, Saratoga; lived
1854-64 in Chicago, and since then in New
York as a bass singer and musical director in
numerous churches. Popular song-composer
and hymn-tune writer, his works embracing
over 1,200 r.umbers. — Operetta Pauline(\872).
Several colls, of anthems and services.
Danne'ley [danly], John Feltham, b.
Oakingham, Berkshire, Enpl., in 1786; d.
London,. 1836. Org., pianist, teacher and
composer; publ., besides duets, glees, songs,
189
DANNREUTHER— DARGOMYZHSKY
and pf.-pcs., an Introd. to the Elem. Principles
of Thorough-bass. . . (Ipswich, 1820); an
Encyclopedia, or Dictionary of Music (London,
(1825); and A Musical Grammar (1826).
Dann'reuther [-roi-ter], Edward, b. Strass-
burg, Nov. 4, 1844; d. London, Feb. 12f
1905. Went with his parents in 1849 to
Cincinnati, where he was taught by F. L.
Ritter. From 1859-63 in Leipzig Cons.
(Richter, Moscheles, Hauptmann). At his
first concert in London, in 1863, he played
Chopin's concerto in F m. (which had not
been heard before in England), and his
success was such that he decided to settle
there permanently; he rapidly won for him-
self an eminent position as a performer,
teacher, lecturer and writer. He introduced
into England the pf. -concertos of Liszt (in
A), Grieg (A m.) and Tchaikovsky (Bb m.).
In 1872 he founded the London Wagner
Society, conducting its concerts 1873-4; was
an active promoter of the Wagner Festival
in 1877; app. prof, at the R. A. M. in 1895.
While he was an indefatigable champion of
the new composers, he was equally active on
behalf of the older masters; the chamber-
music concerts, which he gave at his home
from 1874-93, were famous. — Writings: Rich-
ard Wagner and the Reform of the Opera (1872
in 'Monthly Mus. Rec.'; sep., London, 1904);
Richard Wagner, His Tendencies and Theories
(London, 1873); Musical Ornamentation (2
vols., London, 1893-5); The Romantic Period
(vol. vi of the 'Oxford Hist, of Mus.', London,
1905); contributions to Grove's Dictionary;
transl. into English Wagner* s Brief e an einen
franzdsischen Freund (M. F. Villot; The Music
of the Future] (1873), Beethoven (1880), Vber
das Dirigiren (1885) ; and wrote many articles
for mus. papers, and gave lectures on Beetho-
ven, Mozart and Chopin; comp. pf.-pcs.,
and songs. D. visited the United States
several times.
Dann'reuther, Gustav, violinist, brother
of Edward; b. Cincinnati, July 21, 1853;
studied 1871-4 at the Hochschule fur Musik,
Berlin, under de Ahna and Joachim (vln.), and
Heitcl (theory) ; lived in London till 1877, and
then joined the Boston (Mass.) Mendelssohn
Quintette Club, travelling through the U. S.,
Canada and Newfoundland until 1880, when
he settled in Boston as a member of the newly
formed Symphony Orch. From 1882-4 he
was director of the Buffalo (N. Y.) Philh.
Society (a chamber-music organization), and
during this period gave 60 chamber-concerts.
In 1884 he founded the 'Beethoven String-
Quartette' ot N. Y. (renamed 'Dannr. Q.' in
1894). Was for 3 years leader of the N. Y.
Symphony and Oratorio Societies under Wal-
ter Damrosch. Since 1899 he has devoted
himself exclusively to chamber-music (in
which his quartet is one of the best in New
York) and private- teaching; since 1907 also
instructor in music at Vassar College. — He
has published a set of Chord- and Scale-
Studies for young players.
Dan'zi, Franz, b. Mannheim, May 15,
1763; d. Karlsruhe, April 13, 1826. Son and
pupil of Innocenz D. ['cellist in the Elector's
orch.]; studied comp. with Abbe Vogler. He
joined the orch. on its removal to Munich in
1778; in 1779 he prod, a melodrama, Cleo-
patra, at Mannheim; in 1780 an operetta,
Azakta, at Munich. He became asst.-Ka-
pellm. in 1798; was from 1807-8 Kapellm. at
Stuttgart, then at Karlsruhe. — Dram, works;
Cleopatra; Anakia; Der Triumph der Treue
(Munich, 1781); Die Sylphe (1782); Der Kuss
(1799); Die Mitternacht-Stunde (1801); Der
Quasimann; Elbondokani; Iphigenia in Aulis
(1807); Malvina; Turandot (Karlsruhe, circa
1815). — 1 oratorio, 2 cantatas; masses; the
128th Psalm for 4 parts and orch.; sympho-
nies, quintets, quartets, concertos, sonatas.
He was an excellent singing-teacher, and
wrote vocal exercises, choruses, songs, etc. —
Cf. E. Reipschlager, Schubaur, Danti und
Poissl als Opemkomponisten (Rostock, 1911).
— See also Q.-Lex.
Dan'zi, Franziska. See Lebrun.
Da Ponte, Lorenzo, b. Ceneda, n. Venice,
March 10, 1749; d. New York, Aug. 17, 1838.
Prof, of rhetoric at Treviso; court poet at
Vienna until 1792, where he wrote the libretti
of Mozart's Don Giovanni and Cosl fan tulle;
lived in London as a teacher of Italian, and
poet to the Italian opera; went to New York
in 1805. After disastrous business ventures,
with intervals of teaching, he became inter-
ested in various operatic enterprises. In his
last years he was teacher of Italian at Co-
lumbia College. Publ. Memorie (4 vols., N.
Y.f 1823-7).— Cf. A. Marchesan, Delia vita e
delle opere di L. da P. (Treviso, 1900).
Daquln [dah-kan']; Louis-Claude, b.
Paris, July 4, 1694; d. there June 15, 1772.
Pupil of Marchand, and at 6 played on the
clavecin before Louis XIV; at 12 became org.
at St.-Antoine, where his playing attracted
crowds. From 1727 till death he was organist
at St.-Paul, winning the position in competi-
tion with Rameau. — Publ. a book of Pieces
de clavecin, another of Noels (reprinted by
Guilmant in 'Archives des maitresde l'orgue'),
and a cantata, La Rose; left in MS. organ-
pieces and other compositions.
Darcours, Charles. See R£ty.
Dargomyzhsky [-mttzh'-l, Alexander Ser-
gievitch, composer and pianist; b. in the
government of Toula, Russia, February 14,
1813; d. Petrograd, Jan. 17, 1869. From 1817
he lived in Petrograd; his teacher was Scho-
190
DASER— DAURIAC
berlechner. At 20 he was a brilliant pianist;
from 1831—5 he held a government position,
but then devoted himself exclusively to
music, studying assiduously for 8 years;
visited Germany, Brussels, and Paris in 1845,
and at Moscow (1847) prod, an opera, Es-
meralda (written 1839), with great success.
From 1845-55 he publ. over 100 minor works
(vocal romances, ballads, airs, and duos;
waltzes, fantasias, etc.); in 1856 he brought
out his best opera, Russalka, at Petrograd; in
1867, at Moscow, an opera-ballet, The Tri-
umph of Bacchus (written in 1847); a post-
humous opera, Kamenot GosV ('The Stone
Guest,' after Pushkin's poem Don Juan), was
scored by Rimsky-Korsakov, and produced
at Petrograd in 1872; of Rogdana, a fantasy-
opera, only a few scenes were sketched. At
first a follower of Rossini and Auber, D.'s
studies of more modern works rendered him
an enthusiastic disciple of neo-German ideas;
in The Stone Guest, vocal declamation (recita-
tive) supplants the aria, and musical form
generally is abandoned. — D. was elected
President of the Russian Mus. Soc. in 1867.
His orchestral works (Finnish Fantasia, Cos-
sack Dance, Baba-Jaga, etc.) enjoy wide
popularity .-—Cf. N. Findeisen, A. S.D. His
Life and Work (Moscow, 1904 [in Russian]) ;
S. B. Fried, A. S. D. (Petrograd, 1913 [in
Russian]).
Da'ser (Das'ser, Das'serus), Ludwig, b.
Munich, circa 1525; d. Stuttgart, March 27,
1589. Predecessor of Orlandus Lassus as
Kapellm. at Munich to Duke Albert V of
Bavaria; held that post until 1559. — Publ.
works: A Passion a 4 (1578), and a few
motetsinlhe Orgeltabulaturbuch of J. Paix. —
MSS., in Royal Library at Munich, of 11
masses, 4 motets, 3 Nunc dimittis, hymns, etc.
Daube [dow1>g], Johann Friedrlch, b.
Kassel (Augsburg?), 1730; d. Vienna, Sep-
tember 19, 1797. Chamber-musician to the
Duke of Wurttemberg, later secretary to the
Augsburg Acad, of Sciences. Publ. Gene-
ralbass in drei Accorden . . . (Leipzig, 1756;
the '3 chords' are the tonic triad, the sub-
dom. with added sixth, and the dom. seventh-
chord; Marpurg attacked this work in the
'Hist.-krit. Beitrage,' vol. ii); Anleitung turn
Selbstunterricht in der Composition . . .
(Vienna, 1798, in 2 parts).
Daublaine et Callinet [doh-blan' a
kahl-le-na']. Firm of Paris organ-builders,
founded 1838 as 'Daublaine et Cie.' Dau-
blaine was the business partner, Callinet the
practical mechanician, Danjou (q. v.) an in-
telligent and progressive theorist. After a
quarrel in 1843, Callinet demolished the new
work partly finished for the organ of St.-
Sulpice, dissolved the partnership, and
entered Cavaille's workshops. The firm-
name became 'Ducroquet et Cie/ in 1845,
and 'Merklin, Schutze et Cie.' in 1855. The
principal factory is at Lyons, with a Paris
branch.
Daudet [dob-dal, Alphonse, the distin-
guished novelist and dramatist; b. Nfmes,
May 13, 1840; d. Paris, Dec. 16, 1897. He
wrote the libretti for Bizet's VArUsienne,
Poise's Les Absents, and Pessard's Le Char;
his Sapho, dramatized (but clumsily), was set
to music by Massenet. — His Arlesienne has
been Italianized, as an opera-libretto, by
L. Marenco; and this VArlesiana, set to
music by Francesco Cilea, was brought out
successfully at Milan, 1897.
Dauney, William, b. Aberdeen, Oct. 27,
1800; d. Georgetown, Demerara, July 28,
1843. In the Advocates' Libr. at Edinburgh he
discovered what is now known as the 'Skene
MS.', a collection of 114 Engl, and Scotch
dances, ballads and songs (written intablature
between 1614-20), containing the oldest
known (and probably orig.) versions of John
Anderson my Jo, The Flowers of the Forest, etc.
D. transcribed these into modern notation,
and publ. them, in 1838, as Ancient Scottish
Melodies from a MS. of the reign of James VI,
together with a Dissertation illustrative of the
history of music of Scotland.
Dauprat [doh-prahl, Louis-Francois, a
celebrated horn-player, teacher, and comp.
for horn; b. Paris, May 24, 1781; d. there
July 16, 1868. At first a choir-boy in the
maitrise of Notre-Dame, his teacher in the
Cons, was Kenn; in 6 months he joined the
band of the 'Garde Nationale', end in 1799
the band of the 'Garde des Consuls', with
which he passed through the Egyptian cam-
paign. From 1801-5 he studied theory at the
Cons, under Catel and Gossec, and studied
again with Reicha from 1811-14; 1806-8, first
horn at the Bordeaux Th.; succeeded Kenn
in the Opera-orch., and Duvernoy (as car solo),
retiring in 1831. He was chamber-mus. to
Napoleon (1811), and Louis XVIII (1816);
in 1816 he was app. prof, of horn in the Cons.,
resigning the post in 1842. — Publ. Methode
pour cor alto et cor basse; horn-concertos, and
chamber-music with horn-parts. In MS. he
left symphonies, a Method of Harmony, a
Theorie analytique de la musique, etc.
Dauriac [doh-r'yahk'], Lionel-Alexandre,
b. Brest, Finisterre, Nov. 19, 1847. Grad.
from the Ecole Normale Superieure of Brest,
1867; DocteuresLettres,Paris, 1878 (with the
dissertations Des Notions de M attire et de
Force dans Us Sciences de la Nature and De
Heraclito Ephesio) ; in 1871 instr. of Philosophy
at the lycee of Pontivy; do. at Brest, 1872-9;
at Lyons, 1879-81; adj. -prof. Philosophy
Univ. of Toulouse, 1881-2; prof, at Univ. of
Montpellier, 1882-99; honorary prof, since
191
DAUSSOIGNE— DAVID
1900; cond. at the Sorbonne, 1896-1903, a
course on Mus. Esthetics and Psychology;
Chevalier of Legion of Honor; Officier de
T Instruction Publique; Laureate of the Acad,
of Moral and Political Sciences (awarded
Prix Gegner, 1916) ; 1st Pres. of Paris section
of I. M.S.; since 1907, Hon. Pres. Besides
many works dealing with philosophy, he
has publ. the following concerning music:
Introduction a la Psychologie du Musicien
(Paris, 1891), La Psychologie dans Vopira
francais (ib., 1897), Essai sur I' esprit musical
(ib., 1904), Rossini, biographic critique (ib.,
1906), Le Musicien-poete Richard Wagner (ib.,
1908), Meyerbeer (ib., 1913).
Daussoigne-Mehul [doh-sw&hfl'mA-ul'],
Louis- Joseph, b. Givet, Ardennes, June 10.
1790; d. Liege, March 10, 1875. Pupil of
Catel and Menul at the Cons.; took the Grand
prix de Rome in 1809; after writing 4 operas,
which were rejected, he at length produced
his 1-act Aspasie at the Grand Opera (1820)
with moderate success. He did still better
with Valentine de Milan, a 3-act opera left
unfinished by Mehul, which he completed;
but his former ill-success had discouraged
him. In 1827 he accepted the directorship of
Liege Cons., which he retained, with great
benefit to the school, until 1862. B. was an
associate of the Royal Acad., Brussels, and
Eubl. mus. essays on its reports of meetings.
le brought out a cantata w. full orch. in 1828,
and a choral symphony (Une journee de la
Revolution) in 1834.
Dauvergne [doh-varfi'J, Antoine, b. Cler-
mont-Ferrand, Oct. 4, 1713; d. Lyons, Feb.
12, 1797. He received his first instruction
from his father, went for further study to
Paris, in 1739, and was app. vlnst. in the R.
orch. (1741); 1755 app. comp. to the R.
orch.; 1762 cond. of 'Concerts Spirituals';
after 1769 as cond. and manager of various
enterprises, until his retirement to Lyons in
1790. He introduced into France the forms
of the Italian intermezzo, substituting spoken
dialogue for the recitative, and thus was the
originator of a style that soon became typical
of French dram, composition. He wrote 15
operas, the first of which was prod, at Paris
in 1753 (Les Troqueurs), and is regarded as
the first 'opera comique'; wrote also 2 books
of symphs.; 12 sonatas for vln. w. basso cont.;
trios for 2 vlns. w. b. c; 15 anthems, and
several Airs. — See Q.-Lex.
Davenport, Francis William, b. Wilders-
lowe, n. Derby, Engl., 1847; st. law at Oxford,
but preferred music, and became the pupil
(later son-in-law) of Sir G. A. Macfarrcn. In
1879, prof, at the R. A. M., and at the Guild-
hall School of Mus. in 1882.— Works: 2
symphonies (1. in D minor, won 1st prize at
Alex. Palace, 1876; 2. in C major) ; overture for
orch., Twelfth Night; Prelude and Fugue for
orch.; 6 pieces for pf. and 'cello; Pictures on a
Journey, a series of pf. -pieces; part-songs and
songs; also wrote Elements of Music (1884),
and Elements of Harm, and Cpt. (1886).
Davey, Henry, b. Brighton, Nov. 29, 1853.
Entered Leipzig Cons, in 1874, devoting
himself chiefly to theoretical studies: lived
for several years in Brighton as teacher.
Publ. The Student's Musical History (London,
1891; 2d ed. 1899), a preparation for the
larger History of English Music (London,
1895), a valuable work, the result of original
research covering the modern period begin-
ning with Purcell. D. is contnb. to several
mus. journals, and to the Diet, of Nat. Biogr.
David [dah-ved'], Adolphe-Isaac, born
Nantes, 1842; d. Paris, June 24, 1897.
Composer. — Works: 3 pantomimes, La statue
du Commandeur and Pierrot surpris (both
succ. in 1891 at the 'Nouveautes'), and Le
fiance" de cire (Paris, 1894); also a comic
opera, Diana de Sparre (Nantes); many pf.-
pieces {La Pluie, etc.).
David, Ernest, b. Nancy, July 4, 1844; d.
Paris, June 3, 1886. From 1862 he studied
music under Fetis; was a contributor to
several musical journals; publ. an essay in
1873, La Musique chez les Juifs, and wrote
with Lussy an Histoire de la notation musicale
depuis ses origines (1882). Also publ. La vie
et les auvres de J. S. Bach (1882).
David [dah-vedl, Fellclen(- Cesar), distin-
fuished composer; b. Cadenet, Vaucluse, Apr.
3, 1810; d. St.-Germain-en-Laye, Aug. 29,
1876. Of remarkably precocious talent, he was
taught in the mattnse of Saint-Sauveur at
Aix from 1817-25. He had a beautiful voice,
and composed hymns, motets, and _ other
music. He then studied in the Jesuit col-
lege for 3 years; became asst.-cond. in the
th. at Aix, and in 1829 m. de chap, at St.-
Sauvcur; but an unconquerable longing to
widen his musical horizdn drew him to Paris
(1830), where he submitted specimens of
composition to Cherubini, and was admitted
to the Cons., studying harm, with Reber and
Millot, and cpt. and fugue with Fetis. In
1831, when the meagre allowance given him
by a rich and avaricious uncle had been
withdrawn, he joined the socialistic move-
ment of the Saint-Simonists at Menilmontant;
here he composed a series of 4-part hymnes
for men's voices (later publ. with the words,
as the Ruche harmonieuse) . On the disper-
sion of the society in 1833, D. went to Mar-
seilles with a group of the brotherhood,
giving concerts on the way; they proceeded
to Constantinople, Smyrna, and Egypt, where
they finally dispersed; and, with an imagina-
tion powerfully stimulated by his long sojourn
in the East, D. returned alone to Paris in
192
DAVID— DAVID
1835. He now publ. a collection of MSlodies
orientates; they met with small success, and
he retired to the house of a friend in the
country, giving himself up to study and com-
position (2 symphonies, 24 small string-
?uintets, 2 nonets for wind, romances, etc.).
n 1838 his 1st symphony (in F) was prod.;
and at last (1844) he reaped the fruit of so
many years' toil and study, his symphonic
ode Le Desert being received, at its first
performance in the hall of the Cons., with
delirious' applause, and a series of repetitions
given at the Salle Ventadour for a month,
to crowded houses. The oratorio Moise au
Sinai followed in 1846, but, like a second
symphonic ode Christophe Colomb, and V&den
(a 'mystery* in 2 parts, Grand Opera, 1848),
met with a cool reception. However, his
opera La Perle du Brestl (Th.-Lyrique, 1851)
was brilliantly successful; a second. La fin du
monde, was rejected by the Grand Op., and
later (though after long rehearsals) by the
Th.-Lyrique; the Grand Op. took it up in
1859 as Herculan&um, and for this opera the
great state prize of 20,000 frs. was awarded
to D. in 1867. Lalla Rookh (1862) and Le
Saphir (1865) were given at the Opera-
Comique (the former with great success, the
latter with scarcely a 'succes d'estime'). D.
now abandoned dram, comp., withdrawing
his last opera, La Captive. In 1869 he was
elected Academicien, taking Berlioz's chair,
and succeeding him also as librarian of the
Cons. — Besides the above works, he wrote 12
melodies for 'cello; Les Brises d Orient, pf.-
pieces; Les Minarets, 3 pf. -pieces; Les Perles
d 'Orient, 6 melodies for voice and pf.; etc. —
Biography by A. Azevedo: F. D., sa vie et
son ceuvre (Paris, 1863); R. Brancour, F. D.
(Paris, 1911); J. G. Prod'homme, F. D.
d'aprte sa correspondence inSdite (in 'Mercure
Musical,' nos. 2, 3; 1907) ; C. Bellaigue, F. D.,
in Etudes tnusicales et nouveUes silhouettes
(Paris, 1898).
Da'vid, Ferdinand, eminent violinist and
pedagogue; b. Hamburg, Ian. 19, 1810; d.
on a mountain-trip near Klosters. Switzer-
land, July 18, 1873. From 1823-4 he studied
with Spohr and Hauptmann at Kassel;
played in the Gewandhaus, Leipzig, in 1825;
and in 1827 became a member of the Konig-
stadt Theatre orch. in Berlin. In 1829 he
was first violin in the private quartet of a
wealthy and influential amateur (Baron von
Liphardt) at Dorpat, whose daughter he
married; he remained in Russia till 1835,
winning fame by frequent concerts in Petro-
grad, Moscow, Riga. etc. At Mendelssohn's
instance he was app. leader of the Gewandhaus
orch., 1836. In this position and in the wider
field of activity opened by the establishment of
the Cons, in 1843, D. found ample oppor-
tunity for the development of his remarkable
gifts. While he lived, the Leipzig Cons, was
looked upon as the finishing-school of violin-
ists; over the playing of the Gewandhaus orch.
he presided with the rigor of a martinet, and
the tradition of his teachings is still a living
force in that chosen band. Obeyed with
fear and trembling as a drill-master, and
admired as a virtuoso 'combining the ster-
ling qualities of Spohr's style with the greater
facility and pia nancy of the modern school,'
he was revered as the teacher of the most
distinguished violinists of the time, among
them being Wilhelmj and Joachim. As a
quartet -player he was nearly unrivalled; as
an ore hi. leader he had a wonderful faculty
of inspiring the players with his own enthu-
siasm. His student editions of classical
works embrace nearly all compositions of
standard violin-literature; noteworthy is the
Hohe Schule des Violins piels, containing chiefly
French and Italian masterpieces of the 17th
and 18th centuries. Mendelssohn was his
warm friend, frequently asking his advice
and deferring to his judgment; a remarkable
instance of this being M.'s violin-concerto,
during the writing of which D. was con-
tinually consulted. — Works: 1 opera, Hans
Wacht (Leipzig, 1852); 2 symphonies; 5
vln. -concertos; a sextet, a quartet, and other
chamber-music; variations, capriccios, rondos,
and other vlrf. -pieces; Bunte Reihe, pieces for
pf. and vln. (transcribed for pf. by Liszt);
his Violinschule is still unexcelled. — Cf. J.
Eckard, F. D. u. die Familie Mendelssohn
(Leipzig, 1889).
Da'vid, Peter Paul, son of Ferd. D.; b.
Leipzig, Aug. 1, 1840; was leader of the Karls-
ruhe orch. 1862-5, and for many years teacher
of violin at Uppingham, Engl.; now (1916)
living in Oxford.
David, Samuel, b. Paris, Nov. 12, 1836;
d. there Oct. 3, 1895. Pupil, in Cons., of
Bazin and Halevy; Grand prix de Rome,
1858, for cantata Jephtha: 1859, prize for
work for male ch. and orch., Le Genie de la
terre, perf. by chorus of 6,000 singers. 1861,
prof, at College de Sainte-Barbe; 1872,
music-director in Jewish Synagogues of
Paris. — Operas (all given in Paris): 1-act
operetta La Peau de Vours (1858); Mademoi-
selle Sylvia, 1 act (1868); TuVas v*ulu, 1 act
(1869); Le bien d'autrui (1869); Un Caprice
de Ninon (1871); La FSe des Bruyeres, 3 acts
(1878). Not performed: Les Chevaliers du
poignard, Une Dragonnade, La Gageure,
F Education d%un Prince, Les Changeurs, Absa-
lon, and / Maccabei (in Italian). Also, an
'ode-symphonie,' Le Triombhe de la Paix
(1878, his best-known work); 4 symphonies,
several choruses, many songs, and a theo-
retico-practical work, L'Art de jouer en
mesure (Paris, 1862).
193
DAVIDOV— DAVIS
Da'vidov, Karl, 'cellist; b. Goldingen,
Kurland, March 17, 1838; d. Moscow, Feb.
27, 1889. Pupil of H. Schmidt in Moscow
('cello), and C. Schubert at Petrograd, later
studying comp. with Hauptmann at Leipzig.
His debut at the Gewandnaus (1859) was so
successful that he was eng. as first 'cello, and
also succeeded Fr. Grutzmacher as teacher
in the Cons. In 1862 he was app. solo 'cellist
to the Russian Emperor, and in the orch. of
the Russian Music Soc.; and also in the
Petrograd Cons., becoming Director in 1876
(resigned 1887). — Works: Concertos, a bal-
lade, and a song without words, for 'cello;
pf. -pieces; chamber-music (pf. -quintet; str.-
quartet); a symph. poem, The Gifts of Terek;
songs, etc.— tf. V. Hutor, K. u. und seine
Art% das Violoncell zu behandeln (Moscow,
1899).
Davies, Benjamin Grey (generally known
as Ben), b. Pontardawe, near Swansea, S.
Wales, Jan. 6, 1858. Pupil 1880-3 of Ran-
degger at R. A. M., winning the bronze,
silver and gold medals, and the Evill prize
for best declamatory Engl, singing; debut
at Birmingham, Oct. 11, 1881, in The Bo-
hemian Girl; the next three years, with the
Carl Rosa Opera Co.; then with several
other troupes, mostly in light operas. His
success in oratorio at the Norwich Fest. of
1890 caused him to abandon the stage (he
appeared only one more season in Sullivan's
Ivanhoe and Messagcr's Basoche), and to
devote himself to concert-work, in which he
has been very successful; his repertory in-
cludes most of the oratorios, cantatas, and
concert-work performed in Britain. First visit
to America in summer of 1893, and several
tours since.
Davies, David Ffrangcon, baritone; b.
Bethesda, Carnarvonshire, Dec. 11, 1860.
Took degree of M.A. at Oxford and received
orders in the^ Church of England; then
studied at Guildhall School, London, and
under Wm. Shakespeare. Debut in concert
Manchester, Jan. 6, 1890; was for some time
with the Carl Rosa Company in English opera
and created the rdle of Cedric in Sullivan's
Ivanhoe (1891 ). But he has become famous as
concert ana oratorio singer, having appeared
frequently at the principal English festivals.
In 1896 be made his first visit to the U. S.,
and has since then made eleven tours; 1898-
1901 he lived in Berlin, meeting with un-
qualified success on the part of trie German
public; since 1903 prof, of singing at the
R. A. M. He is the author of Singing of
the Future (London, 1906).
Davie*, Fanny, pianist; b. Guernsey,
June 27, 1861; pupil of Reinecke and Paul
(pf .) and Jadassohn (theory) in Leipzig Cons.
(1882-3), and of Frau Schumann 1883-5 at
the Hoch Cons., Frankfort; also of Dr. Scholz
in fugue and composition. London debut at
the Crystal Palace, Oct. 17, 1885; since then
she has made succ. tours in England, Germany
France and Italy; hon. member of the Acad.
of St. Cecilia in Rome. Her repertoire
includes over 30 concertos and almost 500
other compositions.
Davies, (Henry) Walford, b. Oswestry,
Sept. 6, 1869. At 12 he became chorister in
St. George's chapel, Windsor; 1885-90,
pupil and asst. of Sir Walter Parratt, and
likewise org. of the Park chapel, Windsor.
From 189{M he held a scholarship in comp.
at the R. C. M.; 1890-1, org. and choirmaster
at St. Anne's, Soho; 1891-8, org. of Christ
Church, Ha mpstead; in 1898 succeeded E. J.
Hopkins as org. of the Temple Church ; 1903-7,
cond. Bach Choir; 1901-13, cond. London
Church Choir Assoc.; 1910-13, examiner for
mus. degrees at Oxford and Cambridge; since
1899 contrib. to 'Mus. Record'; and lias also
appeared frequently as lecturer since 1907.
He is a Mus. Bac. (1892); Mus. Doc., Cantab.
(1894);LL.D.(hon.c.),Lceds, 1904; inl894he
qualified as Associate of the R. C. M. for
composition; and in 1895 succeeded Rockstro
as prof, of cpt. there; also I. R. C. O. —
Works: An oratorio, The Temple (1902); 3
symphs., in D (1895), Lift up your hearts,
sacred symph. (1906), in G (1912); the can-
tatas HervS Riel (1896), Three Jovial Hunts-
men (1900), Everyman (1904), Ode on Time
(1908), Five Sayings of Jesus (1911), Song of
St. Francis (1912); Noble Numbers, a choral
suite (1909); 2 overts., Dedication (1893) and
Festal (1910); 2 suites for orch., Parthenia
(1911), Wordsworth (1913); Holiday Tunes
for orch. (1907); Conversations, suites for
pf. and orch. (1914); Prospice, for bar. and
str. -quartet (1898); Songs of a Day, suite
for voices and instrs. (1908); Short Requiem a
capp. (1915); considerable chamber-music (3
pf.-quartcts, 2 str. -quartets, 3 sonatas for
vln. and pf., 1 sonata for horn and pf.);
church-music; songs and part-songs; etc.
Davis, John David, b. Edgbaston, Oct.
22, 1869. In spite of musical precocity
he was destined for a commercial career,
and sent to Frankfort, in 1885, to perfect
his German, but studied at the Raff Cons.;
the next year, for the purpose of mastering
French, he was sent to Brussels, but again
entered the Cons., studying with Wallner, de
Greef and Kufferath; settled in 1889 as a
teacher in Birmingham; 1893-1904, instr. at
the Midland Inst.; since 1905 prof. comp. at
G. S. M. — Works: For orch., Coronation March
(1902); Variations and Finale (1905); The
Cenci, symph. ballad; The Maid of Astolat,
symph. poem (1910); Miniatures, a suite;
overt., Get mania; Prelude to Maeterlinck's
194
DAVISON— DEBILLEMONT
V Intrust; str. -quartet in G m.; 2 sonatas for
vln. and pf.; a sonata and other works for
pf. ; songs and part-songs.
Davison, Arabella. See Goddard.
Davison, James. William,., b. London,
Oct. 5, 1813; d, Margate, March 24, 1885.
Pupil of W. H. Holmes (pf.) and Sir G. A.
Macfarren (theory). Musical critic; editor
of the 'Mus. Examiner' 1842-4, and the 'Mus.
World' 1844-85; contributor to the 'Saturday
Review,' 'Pall Mall Gazette,' and 'Graphic';
from 1846-79, the influential critic of 'The
Times.' In 1860 he married his pupil, Ara-
bella Goddard. He wrote the analytical 'Pro-
gramme-books' for the Popular Concerts and
the Halle recitals, and contributed 2 articles
to Grove's Dictionary. He composed a few
songs, several pf. -pieces, and a dram, over-
ture (for pf.-duet) to Fortunatus, a fairy tale.
His memoirs were publ. by H. Davison under
the title From Mendelssohn to Wagner (Lon-
don, 1912).
Davy, John, b. Upton -H el ion, Exeter,
Dec. 23, 1763; d. London, Feb. 22, 1824.
Pupil of Jackson. Violinist at Covent Gar-
den; teacher and comp. in London. Wrote
the music to nearly a score of plays; also vocal
quartets, madrigals, and many songs, of
which 'The Bay of Biscay, O!' is still popular.
Day, Dr. Alfred, b. London, Jan., 1810;
d. there Feb. 11, 1849. A practising physi-
cian (homceopathist) in London; best known
as the author of an original Treatise on Har-
mony (London, 1845), in which he advocated
reforms in terminology and teaching, for-
mulated a new sort ot bass-figuring to sup-
plant the ordinary thorough-bass, and made
many interesting and practical suggestions.
Day, Major Charles Russell, b. Horstead,
Norfolk, England, in 1860. Pupil of J.
Barnby. Entered the British army in
1880, and served in India, later in South
Africa, where he was killed in the battle of
Paardeberg, Feb. 18, 1900. Writer on music.
His chief work is Music and Musical Instru-
ments in Southern India and the Deccan (Lon-
don, 1891); also publ. A Descriptive Catalogue
of the Mus. Instrs. Recently Exhibited at the
R. Military Exhibit., London, 1900 (London,
1901), and papers and pamphlets on national
and military music.
Da yas [das], William Humphries, b. New
York, Sept. 12, 1864; d. Manchester, England,
May 3, 1903. Studied in New York under
S. Jackson (pf. and harm.), Warren (org. and
cpt.), and S. B. Mills and Joseffy (pf.). Org.
of the Fifth Av. Presbyterian church; then of
St. Andrew's; studied in Germany with Th.
Kullak, C. A. Haupt, H. Ehrlich, and H.
Urban; also with Liszt at Weimar (one of his
last pupils). Made a concert-tour with Arma
Senkrah in 1888; succeeded Busoni as pf.-
teacher in Helsingfors Cons. (1890); taught
in Dusseldorf (1894), Wiesbaden Cons., and
Cologne Cons; returned for a while to New
York, and then settled in Manchester, where
he was app. at the Mus. Coll. as Halle's suc-
cessor (1896). — Works: Suite for string-orch. ;
string-auartet; sonata for pf. and vln.; do. for
pf. ana vcl.; organ-sonatas; pf. -sonatas; 6
psalms for mixed voices; waltzes for pf. duet;
rolonaise for pf . ; 3 sets of songs.
De Ah'na, Eleonore, sister of Heinrich
K. H.; b. Vienna, Jan. 8, 1838; d. Berlin,
May 10, 1865. Pupil of E. Mantius. Fine
dramatic mezzo-sopr.; sang at the Royal
Opera, Berlin.
De Ah'na, Heinrich Karl Hermann,
eminent solo violinist and quartet-player ; b. Vi-
enna, June 22, 1835; d. Berlin, Nov. 1, 1892.
A pupil of Mayseder in Vienna, and Mildner
at rrague Cons. ; debut as violinist, when but
12 years old, at Vienna, London, etc. App.
(1849) chamber- virtuoso to the Duke of
Saxe-Coburg-Gotha. Served in the army
1851-59; then resumed concert-tours in Hol-
land and Germany; settled (1864/ in Berlin
as a member of the Royal Orch., becoming its
leader in 1868. In 1869 he was app. teacher
in the Royal Hochschule.
Deakin, Andrew, b. Birmingham, April
13, 1822; d. there Dec. 21, 1903. While
serving his apprenticeship as a printer, he
taught himself music; established a publishing
house in Birmingham, and held several po-
sitions as organist; 1876-94 mus. criu of The
Daily Gazette;' composed several masses and
a Stabat Mater. His chief work fa Outlines of
Musical Bibliography (Birmingham, 1900; a
catalogue of hist, and theorejpeal works on
music printed in England from the 15th to
the 18th century).
De-An'gelis, Girolamo, b. Civitavecchia,
Jan. 1, 1858. Fine violinist; pupil of Bazzini;
studied in Milan Cons. 1869 -SO; 1881, app.
prof, of vln. and via. in same, succeeding
Cavallini. Solo violinist at L<a Scala Th.,
1879-97 ; member of the Societa dej Quartet to;
abt. 1894, successful tour in §. America.
1897, called to the Royal Irish Academy of
Music at Dublin, as head- teacher tof violin.
Debain [dti-ban'J, Alexandre-Francois,
the inventor of the harmonium; b. Paris, 1809;
d. there Dec. 3, 1877. He established a fac-
tory of pianos and organs in Paris (1834),
and after lone experimentation with free
reeds patented his 'harmonium' in 1840. He
also invented the 'antiphoncl' and the 'har-
monichorde'; and greatly improved the ac-
cordion.
Debillemont [du-be-y'm&hn'], Jean-
Jacques, b. Dijon, Dec. 12, 1824; d. Paris,
195
DEBOIS— DEBUSSY
Feb. 14, 1879. A pupil of Alard at the Cons.,
and member of the Op. -Com. orch., he studied
later with Leborne and Carafa; brought out
4 operas in Diion; settled (1859) in Paris,
where he conducted the concerts of the
'Societe des Beaux- Arts,' and later the orch.
of the Porte St.-Martin theatre. He pro-
duced abt. a dozen operas, operettas, ballets,
and the like (7 still in MS.) ; also cantatas, etc.
Debols [du-bwah'J, Ferdinand, b. Brunn,
Nov. 24, 1834; d. there May 10, 1893. He
was the director of a bank; founded and con-
ducted a male choral society.' Of his nu-
merous vocal comps., his male choruses have
become most popular. He wrote Wernher
and Eliland for soli, ch. and orch. (1889);
also pf.-pieces.
Debroia van Bruyck. See Bruyck.
Debussy [du-biis-se], Claude (-Achllle), b.
St. Germam-en-Layc, Aug. 22, 1862. Mme.
de Sivry, a pupil of Chopin, prepared the boy
for the Cons, at Paris, where he was admitted
at the early age of 11. Here he continued
his study .of piano with Marmontel, and won
the second prize in 1877, while in the solfeggio
class of Lavignac he won the medal three
years in succession (1874, '5, '6). In the com-
position class of E. Guiraud he won a prize
for cpt. and fugue in 1882; the next year he
was the winner of the second Prix de Rome,
and finally, in 1884, he won the much-coveted
Grand Prix with his cantata V Enfant pro-
digue (prod, as an opera in Boston, 1910).
From tie Villa Medicis he sent as the fruit of
the first year a fragment of a lyric drama,
AlmansoP (after Heine), which he later de-
stroyed; the second year he wrote Printemps,
a symphonic suite for orch. and chorus (in 2
parts), whichfound no favor with the jury at
the Acad. This did not prevent D. from fol-
lowing the pati) on which he had struck out,
and another cantata, La Demoiselle elue,
even more advanced, was the work of the
third year. The work of the last year (1888)
was a Fantaisie for pf. and orch. (still MS.).
The customary performance of these 'envois
de Rome' never took place, because the com-
mittee refused to put Printemtos on the pro-
gram, and' D. insisted that either all or none
be produced. Unaffected by criticism he
went his way. His next inspiration he found
in poem* of Verlaine (Ariettes oubliees, 1888)
ana Baudelaire (Cinq poernes, 1890), while for
pf. he wrote Petite Suite (4 hands, 1889; arr.
for orch. by H. Biisser) and Suite bergamasque.
The year 1892 is of special interest, because
in that year was written the work which
made D. famous, L'Apres-Midi d'un Faune
(first perf. 1894; publ., 1902), and because he
began the composition of Pellcas et Mclisande
(the duet in act IV), which is his most im-
portant work, and which occupied him for
the next ten years. But in the meantime
he also composed smaller works: A string-
quartet (produced by Ysajte, 1893); the song-
volumes Proses lyriques (1894) and Chansons
de Bilitis (1898). The number of admirers
which L'Aprts-Midi had won for D. in 1894,
was increased by the production of Trois
Nocturnes for orch. and ch. (by Chevillard,
1900), entitled Nuages, Files, Sirenes. After
the production of PeUias et MHisande (Op.-
Comique, April 30, 1902) D. was unreservedly
acknowledged the head and most important
master of the impressionists. Yet it was
five years before the opera was heard outside
of France (1907 in Germany and Belgium,
1908 in Italy and the U. S. [New York, Feb.
191, 1909 in England). Wherever it was
given, it caused animated discussion; but
after the first excitement had subsided, the
number of performances decreased. At va-
rious times it was reported that D. had com-
Sleted other dramatic works; in fact, the
f.O.H. has even announced its acquisition
of the rights for the production of Le DiabU
au Beffroi, La Chute de la maison Usher and
La Legende de Tristan,
In all his works D. strikes a thoroughly in-
dividual note. Intentionally he avoids ac-
cepted harmonies; and by means of constant
employment of the higher primary overtones
he has succeeded in creating a new style,
which has come to be designated by the term
Impressionism. The forms and principles of
the classicists and romanticists are disre-
garded; music is to be the momentary reflec-
tion of fleeting moods. Hitherto the foun-
dation of all music was consonance, with
dissonance freely admitted; the new system
is founded on dissonance, with consonance as
a rare and not very welcome guest. Further
new and strange effects are obtained by the
employment of the whole-tone scale and the
old cnurch-modes. A study of the sum
total of D.'s works must convince the
impartial observer, that this style is the
composer's natural and unaffected language.
The very nature of D.'s talent is such, that
he cannot think in the manner of his prede-
cessors. The sources of inspiration for his
purely instrumental works, the choice of the
texts for his songs and for his opera, prove
this. It is the vague, the undennable, the
half -suggested that attracts D., and, in con-
sequence, his music, the faithful reflection
of his own impressions, is vague and elusive
— no cadence, no fixed tonality, no definite
melodic outline, and frequently only the
merest suggestion of something that might
be considered a theme. That this new
method has widened our conception of har-
mony, has even enriched our harmonic scheme,
no one can deny; but its constant employ-
ment soon palls. Modulation, by means of
196
DECHERT— DECREUS
which the great masters have obtained
tremendous effects, is entirely excluded from
the new system, for there is continuous modu-
lation leaving no room for anything unexpect-
ed. The general effect is that of monotony.
D.'s own. w»rkflL- prove this. After PtUeas
et Milisande there is no advance, not one
feature which is not familiar from the earlier
works; rather a decline, for the music seems
to become even more intangible. The truth
seems to be that the possibilities of impres-
sionism are so limited, . that the originator
himself exhausted them in the short space
of a decade. To some extent the monotony
of D.'s orchestral works is relieved by an
exquisitely refined instrumentation. In fact.
D. 8 whole art might properly be characterized
as sublimated refinement. And for this very
reason it never strikes deep, nor does it ever
grip the soul of the listener with that elemental
power emanating from the highest genius.
Vet, in spite of limitations and restrictions,
D. has exerted a far-reaching influence;
certain it is, that Pelleas et Milisande will
remain a landmark in the history of dramatic
music. The fact that impressionism has been
carried to extremes by most of his imitators
must not be charged against D., any more
than the excesses of the Wagner imitators
can be laid at the door of the master. Excess
is always the result of creative impotence;
and any new style, imperfectly understood,
seems to offer itself to composers of a certain
type as a formula for unrestrained license.
Works: — Besides the compositions already
mentioned, D. has written: For orchestra, 2
Danses, with harp (1904; 1. Danse profane, 2.
Danse sacree); La Mer, 3 symph. sketches
(1905; 1. De Vaube a midi sur la mer, 2. Jeux
at vagues, 3. Dialogue du vent et de la mer);
Images (1909; 3d series [the two earlier series
being for pf.] 1. Gigue, 2. Iberia, 3. Rondes de
Printemps); Rhapsodic for clarinet and orch.
(1911 ; orig. for clar. and pf., 1910); Printemps
(1913; a revision and amplification of the
earlier suite). A mystery, Le Martyr e de
St.-SSbastien (Th. du Chatelet, May 22, 1911);
the ballets Jeux (1913) and Crimen Amoris
(1914). For piano: 2 Arabesques; Ballade;
Danse; Mazurka; Nocturne; Reverie; Suite
bergamasque (1. PrSlude, 2. Menuet, 3. Clair
de lune, 4. Passepied); Valse romantique;
Pour le Piano (1. PrSlude, 2. Sarabande, 3.
Toccata); D9un cahier oVesquisses; Estampes
(1. Patodes, 2. Soiree dans Grenade, 3. Jarains
sous la pluie); Vlsie joyeuse; Masques;
Images (1st series, 1. Reflets dans Veau, 2.
Hommagea Rameau, 3. Mouvement. 2d series,
1. Cloches a trovers Us feuilles, 2. Et la lune
descend sur le temple que fut, 3. Poissons d'or) ;
Children's Comer (6 pes.) ; Hommage a Haydn;
La plus que lente (valse); Douze Priludes;
Berceuse heraique (1915, dedicated to the
King of Belgium); Douse Atudes (1916); a
sonata for vcl. and pf* in D m. (1916). D.
has written about 50 songs on texts by Ver-
laine, Bourget, Villon, Baudelaire, Louys,
Girod and Gravollet. — He has also contrib.
numerous criticisms and essays to the 'Revue
Blanche,* 'Gil Bias,' 'Musica' and 'Mercure
de France.'
Bibliography: — F. Liebig, C.-A. D. (Lon-
don, 1908); L. Laloy, C. D. (Paris, 1909); F.
Santoliquido, // Dopo-Wagner. C. P, e R.
Strauss (Rome, 1909); C. Caillard and J. de
Berys, Le cos D. (Paris, 1910); G. Setaccioli,
D. e un innovatore? (Rome, 1910); M. Riviere,
£tudes (Paris, 1911); O. Sere, Musiciens
francais d'aujourd'hui (2d ed. Paris, 1911);
R. Rolland, Musiciens d'aujourd'hui (Paris,
1912); D. Chenneviere, C. D. et son tenure
(Paris, 1913); C. Paglia, Strauss, Debussy, t
compagnia bella (Bologna, 1913); G. Jean-
Aubry, La Musique francaise d'aujourd'hui
(Paris, 1916). — See Appendix.
Dechert, Hugo, excellent 'cellist ;$. Dres-
den, Sept. 16, I860. Pupil of his father, and
of R. Hausmann at the R. Hodnschule in
Berlin; toured Germany, Italy ana Russia a*
soloist; since 1884 solo 'cellist of the Berlin
R. Orch.; also a successful teacher; especially
famous as an ensemble player; member of
Halir Quartet until 1909; since 1910, of Hess
Quartet.
Dechevrens [dtt-shu-vrahn'], Antoine, b.
Chdne, n. Geneva, Nov. 3, 1840; d. Geneva,
Jan. 17, 1912. Ent. Jesuit Order in 1861;
prof, of theol. and philos. at Univ. of Angers;
devoted himself to the study of the Greg.
Chant and notation of Neumes/* Publ. Du
rythme dans I'hymnographie mtine (1895);
Etudes de science musicale (f vols., Paris,
1898); Composition musicale jet composition
litterale (ib., 1911); also piJflished a study
on Chinese music in the '9bd. Int. M.-G. ,
vol. ii.
Deck'er, Konstantin, b. Fiirstenau, Bran-
denburg, Dec. 29, 1810; d. Stolp, Pomerania,
Jan. 28, 1878. Teacher, pianist- and comp.;
Eupil of Dehn (harm, and cpt J in Berlin,
ived in Halle, Leipzig, Breslau, fCdnigsberg,
Petrograd (for several years), and Potsdam;
from 1859 in Stolp. — Works: 3 Operas, Die
Geusen in Breda (1837), Giaffir, (Ur Weiber-
feind (1838), Isolde, Grafin von Toulouse
(Konigsberg, 1852); a string-quartet; 2 pf.-
sonatas; fantasias for pf.; duets, songs, etc.
Decreus [du-kro'], Camille, b. Paris, Sept.
23, 1876. Ent. Paris Cons, in 1885, and st.
pf. with Decombes and de Beriot, harm, with
R. Pugno; winner of several medals; 1st
* prize for pf., 1895; app. accomp. to the op.-
classat the Cons., 1896; 1898-1900 repetiteur
and chorus-master at the Opera; debut as
pianist in Paris, 1006 (in recital); 1907
197
DECSEY— DEITERS
soloist with Colonne orch.; appeared with
Queen's Hall orch. in 1908, and made tour
of England, France and Germany; first tour
of U. S. with Calve (1906); again, in 1908,
with Calve and the violinist Renie Chcmet
(whom he married in 1909); 1912-14 with
Ysaye; 1915-16 with A. Tourret; since 1912
living in Washington as private teacher in the
family of Senator W. Clark. He is regarded
as one of the foremost ensemble players.
Decsey [deh'tchi], Ernst, b. Hamburg,
April 13, 1870. Pupil at Vienna Cons, of
Bruckner, Schenner, J. and R. Fuchs; 1899-
1908 mus. crit. of 'Tagespost' in Graz; since
1908 ed.-in-chief. Author of Hugo Wolf (4
vols., Berlin, 1903-6; the standard biogr.).
De'dler, Rochus, b. Oberammergau, Jan.
15, 1779; d. Vienna, Oct. 15, 1822. Composer
of the Passion-play music still in use at
Oberammergau.
Deering (or Bering), Richard, b. in
Kent towards end of 16th-century; d. Lon-
don (?) %in 1630. Educated in Italv; publ.
the oldes\ known compositions with 'basso
continuo' \(Cantiones sacra quinque vocum
cum basso* continuo ad organum, Antwerp,
1597; 2d book, 1617; 3d, 1619). Mus. Baa,
Oxon., in 1610. Organist at the convent of
English fiuns at Brussels in 1617; court -org.
to Queen Henrietta Maria in 1625. — Also
publ. Cantica sacra ad melodiam madrigalium
elaborate senis vocibus (Antwerp, 1618); Can-
tica sacra ad duos et tres voces, composiia cum
basso continuo ad organum (London, 1662).
Several of his MSS. are in the library of the
R. C. M.-^See Q.-Lex.
DeferrarL See Ferrari.
De Fetch, JWillem. See Fesch.
Defies [du-toss'], Louis-Pierre, composer;
b. Toulouse, July 25, 1819; d. there June 10,
1900. Pupil of flalevy and Barbereau in the
Paris Cons., taxing Grand prix de Rome in
1847 for the cantata VAngc et Tobie. His
first dramatic work was the 1-act com. opera
VAnneau d'trgent (Paris, 1855); 14 others have
since been ftiven, the last being Jessica (Tou-
louse, 189 J; very succ). He also wrote
masses, mtatets, overtures, male choruses,
songs, military music, etc.
Degner? Erich Wolf, b. Hohenstein-
Ernstthal, April 8, 1858; d. Berka, near Wei-
mar, Nov. 18, 1908. Studied at the Grand-
ducal school of music at Weimar, and later
at Wurzburg; taught at Ratisbon and Gotha;
1885, dir. of the music school at Pettau,
Styria; 1888, instructor at the Grand -ducal
music school at Weimar; 1891, director of
E m.; Serenade for small orch.; Maria und
die Mutter, for soli, ch. and orch.; Theme and
vars. for organ; pieces for pf.; songs; part-
songs; publ. Anleitung una Beisptele zum
Bilden von Kadmzen (1902). The greater
part of his works have regained in MS.
De Haan, Willem, b. Rotterdam, Sept.
24, 1849. Pupil of Nicolai, de Lange, and
Bargicl; later in Leipzig Cons. (1870-1).
Visited Berlin and Vienna; was mus. dir. at
Bingcn (1873), conductor of the 'Mozart-
vcrein' at Darmstadt (1876), and Hofka-
pellm. there in 1895. — Works: Operas Die
Kaiserstochter (Darmstadt, 1885); Die Inka-
sokne fib., 1895; succ.); 2 cantatas for male
ch. and orch., Der Kbnigssokn, and Das Grab
im Busento; cantatas for mixed ch.: Harpa
(1881), Das Lied vom Werden und Vergehen
(1904), Das Marchen und das Leben (1911);
vocal duets, songs, and pf.-picces.
Dehn, Siegfried Wilhelm, b. Altona,
Feb. 25, 1796; d. Berlin, April 12, 1858. Law-
student at Leipzig, 1819-25; also studied
harmony and 'cello-playing. Adopted music
as his profession in 1829, after losing his
fortune; studied theory assiduously with
Bernhard Klein in Berlin; and at Meyerbeer's
instance (1842) was app. librarian of the
musical department of the Royal Library,
for his labors in which he was made Royal
Professor in 1849. From 1842-8 he was also
editor of the 'Caecilia' (Gottfried Weber's
paper), to which he contributed valuable ar-
ticles. Dehn was a profound theorist, and
very successful as a teacher of theory, num-
bering among his pupils Anton Rubinstein,
Th. Kullak, Glinka, Kiel, Heinrich Hofmann,
etc. He publ. a Theoretisch-praktische Har-
monieUhre (Berlin, 1840; 2d ed. Leipzig,
1858; his most important work); an Analyse
dreier Fugen aus /. S. Bach's WohUemperirtem
Clavier und einer Vokaldoppelfuge G. M.
Buononcinis (Leipzig, 1858); Eine Sammlung
alter tr Musik aus dem 16. und 17. Jahrhun-
dert (Berlin; 12 books of vocal comps. a
4-10); a transl. of Delmotte's work on Or-
landus Lassus, Biogr. Notiz uber Roland
de Lattre (Vienna, 1837). A posthumous
Lehre vom Kontrapunkt, dem Kanon und der
Fuge (Berlin, 1859; 2d ed. 1883) was edited
by B. Scholz.
Dei'ters [dl-], Hermann, b. Bonn, June 27,
1833; d. Koblenz, May 11, 1907. Studied
jurisprudence in Bonn, where he took the
degrees of Dr. jur. and Dr. phil. in 1858.
Teacher in the gymnasia at Bonn (1858) and
Diiren (1869); director of gymnasia at
Konitz (1874), Posen (78), and Bonn ('83);
the music school of the Styrian Music So-" 'Provincial-Sen ulrath' at Koblenz ('85); as-
ciety at Graz; in 1902 again in Weimar as sistant in the Ministry of Public Worship, at
dir. of the music school. — Works: Symphony Berlin (1890). D. has written many musical
in E m., for organ and orch.; Overture in articles for the 'Deutsche Musikzeitung,' for
198
DE KOVEN— DELDEVEZ
the *AHg. musikal. Zeitung,' and other jour-
nals. He contributed several musical biogra-
phies to Meyer's Konversations-Lexikon (3d
ed.) ; wrote an excellent biography and char-
acteristic of Brahms in Waldersee's 'Samml.
Mus. Vorttage' (1882, *98). H» greatest
achievement was his masterly translation (into
German) of A. W. Thayer's 'Life of Beet-
hoven* (5 vols., 1866-1908; see Beethoven,
Bibliography).
De Ko'ven, (Henry Louis) Reginald, b.
Middletown, Conn., April 3, 1859. Edu-
cated in Europe from 1870, taking his degree
at St. John's Coll., Oxford, Engl., in 1879.
Before this he studied pf. -playing under W.
Speidel at Stuttgart, and after graduation
studied there another year under Lebcrt (pf.)
and Pruckner (harm.). After a six-months'
course in Frankfort, under Dr. Hauff (comp.),
he studied singing with Vannucini at Florence,
Italy, and operatic composition under Genee
in Vienna and Delibes in Paris. In 1902 he
organized the Philharm. Orch. at Washing-
ton, D. C., which he cond. for three seasons;
1905-12 mus. critic of the New York 'World'.
As a composer of operettas he has had great
success. — Works: The operettas The Begum
(Phila., 1887): Don Quixote (Boston, 1889);
Robin Hood (Chicago, June 9, 1890; London,
Jan. 5, 1891); The Fencing Master (Boston,
1892); The Knickerbockers (Boston, 1893);
The Algerian (Philadelphia, 1893); Rob Roy
(Detroit, 1894); The Tzigane (N. Y., 1895);
The Mandarin (Cleveland, O., 1896); The
Paris Doll (Hartford, Conn., 1897); The
Highwayman (New Haven, 1897); the follow-
ing all had their premieres in N. Y.: The
Three Dragoons (1899); Red Feather (1903);
Happy Land (1905); Student King (1906);
The Golden Butterfly (1907); The Beauty Spot
(1909); The Wedding Trip (1911); Her Little
Highness (1913). A grand opera, The
Canterbury Pilgrims, was prod, at the M. O.
H. (1917). Besides these, about 135 songs and
incidental pieces, including an orchestral suite
(MS.), and a pf. -sonata (the Andante publ. in
'Half-hours with the Best Composers ).
Delaborde, felle-Miriam, b. Chaillot,
France, Feb. 8, 1839. Pupil of Ch.-V.
Alkan, Liszt, and Moscheles; prof, of pf. at
Paris Cons. Publ. a few pf.-pieces, pf.-
fantasias, etc. ; in MS. an opera, La Reine dart.
Delacour, Vincent-Conrad -Felix, born
Paris, March 25, 1808; d. there March 28,
1840. Pupil of Paris Cons. 1822-7; 1830-3,
harpist in the Royal Th., Berlin. From
1833-5, he studied at the Cons, with Berton,
was joint-editor of 'Le Pianiste,' and gave
concerts. — Publ. an Ave verum a 4, with org.,
an 0 salutaris a 3, and a few vocal romances.
De Lara, Isldoro, b. London, Aug. 9.
1858. Began to study the pf. at the age of
10 with H. Aguilar; from 1873-6 pupil of
Lamport i (singing) and Mazzucato (comp.)
at Milan Cons.; since his return from Italy
he has been living in London, excepting the
period from 1896-1900, which he spent in
Monte Carlo. During the great war he
developed an extraordinary activity in
arranging benefit concerts for the various
war funds, having arranged not less than
500 during the winter of 1915-16. Composer
of the operas The Light of Asia. (London,
1892; originally written as a cantata); Amy
Robsart (ib., 1893); Moina ((Monte Carlo,
1897); Messalina (ib., 1899; New York, 1902);
Le Revert de Bouddha (Ghent, 1904); Sanga
(Nice, 1906); SoUa (Cologne, 1907); Naila
(Paris, 1912); Les Trois Masques (Marseilles,
1912).
Delamarter, Eric, b. Lansing, Mich.,
Feb. 18, 1880. Pupil of G. H. Fairclough
in St. Paul, W. Middelschulte in Chicago,
and A. Guilmant in Paris (1901-2); org. and
choirmaster of New Engl. Congregational
Ch., Chicago, 1900-12; since then at First
church of Christ Sc.; taught at Chicago Mus.
Coll., 1909-10. Cond. Music Art. Soc. since
1911; mus. critic Chicago 'Record-Herald,'
1908-9; Tribune,' 1909710; 'Inter-Ocean/
since 1910; has written pieces for orch., org.,
pf., chamber-music and songs.
De l'Aulnaye [du loh-na'], Francois-
Henri- Stanislas, b. Madrid, July 7, 1739;
d. Chaillot, 1830. Secretary of the Paris Mu-
seum, but lost his place in the Revolution,
squandered his patrimony, and died in the
almshouse. — Wrote De la saltatien DUdtrale
(1790), and other essays on musical history
and theory.
De Lattre, Roland. <>ee Lasso, Or-
lando DI.
Deldevez [del -du-val, l&douard -Marie-
Ernest, b. Paris, May 3J, 1817; d. there
Nov. 6, 1897. Pupil, in Paris Cons., of
Habeneck (vln.), Halevy and Berton. Was
appointed assistant-conductor at the Grand
Opera and of the Conservatoire concerts in
1859; was chief conductor of the latter from
1872-83, and of the former 1873-77 (suc-
ceeding Hainl). Professor in Cons, of the
orchestral class from 1874; retired from all
duties in 1885. He comp. the ballets Lady
Henriette (1844, with Flotowand Rurgm Ciller),
Eucharis (1844), Paquita (1846), Vert-Vert
(1851, with Tolbecque); the grand operas
Mazarina and Yanko le bandit (not perf.),
the 2-act opera Samson, and the 1-act opera
Le Violon enchanU; 3 symphs. ; and chamber-
music, church-music, songs, etc.; and is the
author of 2 monographs, CuriositSs musicales
(1873, on difficult and doubtful passages in
classical compositions), and La Notation de
la musique classique comparU d la notation de
199
DELEVA— DELLE SEDIE
la musique modern*, et de V execution des petites
notes en geniral; also publ. Vart du chef
d'orchestre (1878); La SocietS des Concerts
de 1860 a 1885 (1887); De I' execution d' en-
semble (1888); and Le passe & propos du
frSsent (1893). He published personal recol-
lections as Mes Memoir es (1890).
De Leva, Enrico, b. Naples, Jan. 19, 1867;
studied pf. under Pannain and Rossomandi,
harmony under Puzzoni and d'Arienzo.
Pianist; song-composer in great vogue; op.
1, Canzone for pf.; his 'canzonetta napoletana'
E spingole frangese made him famous; wrote
also a serenata 'A Capemonte; an opera, La
Camargo, was produced in Turin (1898).
Delezenne [du-lti-zen'], Charles -£douard-
Joseph, b. Lille, Oct. 4, 1776; d. there Aug.
20, 1866. Published numerous important
essays concerning experimental physics and
mathematics as applied to musical acoustics
in the 'Memoires die la Society des Sciences/
etc., of Lille (1827-57). [Compare F£tis.]
Delibe* [du-lebl, (Clemen t- Phil ibert)-
Leo, famous dramatic composer; b. St.-
Germain-du-Val, Sarthe, Feb. 21, 1836; d.
Paris, Jan. 16, 1891. Entered the Paris
Cons, in 184$, Le Couppey, Bazin, Adam and
Benoist being his chief teachers. In 1853
he became accompanist at the ThSatre-
Lyrique, and organist at the Church of St.-
Jean et St.-Francois. His first stage-work
was the 1-act operetta, Deux sous de charbon
(1855), followed by 12 more of the same class
up to 1865, when he was app. 2d chorus-
master at the Grand Opera. He now tried
his hand at ballet-writing, and brought out
the ballet La Source (prod, later in Vienna as
Naila, die Quellenfee) at the Opera in 1866;
the next ballet, ,Coppeliat ou la fille aux yeux
d'email (Grand, Opera, 1870), was trium-
phantly successful, and has held the boards
ever since. Sylvia, ou la nymphe de Diane
(1876), was also successful. After resigning
his post as chorus-master, he succeeded
Reber (1881) as prof, of comp. at the Cons.;
and, in 1884, was elected as Masse's successor
in the Academic Delibes' dramatic music
is distinguished by melodiousness, vivacity,
and elegance of instrumentation. His stage-
works also include the comedy-operas Le Roi
l'a dit (1873), Jean de NiveUe (1880), Lakme
(1883), Kassya (1893; posth., completed by
Massenet); he left some sketches for a 3-act
opera comique, Le Roi des Montagues. Be-
sides these, a cantata Alger (1865); choruses
for men's and women's voices; and a collec-
tion of 15 Melodies with pf., in German
Lied-style. — Cf. E. Gulraud, Notice sur la vie
et Us auvres de L. D. (Paris, 1892); A. La-
vignac, La Musique et les Musicians (Paris,
1896); O. Sere, Musiciens francais d'aujour-
d'hui (2d ed. Paris, 1911).
200
DeUoux(deSavi^nac)[du-ryool Charles,
b. Lonent, Morbihan, April, 1830. A self-
taught pianist, he studied harmony with
Barbereau, and (at the Cons. 1845-9) comp.
with Haievy. Took the 'Grand prix pour le
contrepoint' in 1846. He brought out the
1-act comedy-opera Yvonne et Lois at the
Gymnase in 1854; has publ. a great many
effective characteristic pieces for pf., and a
Cours complet de nUcanisme pour le piano
(adopted in the Cons.).
Deltas, Frederick, b., of German parent-
age, Bradford, England, Tan. 29, 1863. In
1883 he went to Florida, where for three years
he managed an orange plantation, and in
?ioieoUre hours tau8ht himself composition;
1886-8 pupil of Reinecke and Jadassohn at
Leipzig Cons.; since 1890 he has been living
in France (Paris and Grez-sur-Loing).—
Works: The operas Koanga (Elberfeld, 1904),
Romeo und Julia auf dem Dorfe (Berlin, 1907 ;
London, 1910), Margot la Rouge (not prod.) ,
Fennimore und Gerda (in prep, at Cologne,
1914; production prevented by outbreak of
war); for orchestra: Over the hills and far
away; Lebenstanz; Paris, a nocturne; Ap-
palachia, orchl. vars. w. final ch. ; In a Summer
Garden; Brigg Fair; On hearing the first
Cuckoo in Spring; Summer Night on the
Rwer; Legend for vln. and orch.; Norwegian
Suite, as entr'acte music to Heiberg's FoU
keraadet; Sea Drift (Walt Whitman) for bar.,
ch. and orch.; A Mass of Life (after Nietzsche)
for soli, ch. and orch.; Songs of SuHset, do.;
The Song of the High Hills, for orch. w. final
chorus; about 30 songs. — Ct. M. Chop, F. D.,
in vol. ii of 'Monographien moderner Mu-
siker' (Leipzig, 1907); *M. T.\ March, 1915.
Delia Mari'a, Dominique, born Mar-
seilles, June 14, 1769; d. Paris, March V, 1800;
son of an Italian mandolinist. He was re-
markably precocious; played the mandolin
and 'cello at an early a£e, and when 18 prod,
a grand opera at Marseilles. He now studied
composition in Italy (for a time with Paisiello)
and prod, in Naples, 1792, a successful opera,
// Maestro di cappella. He went to Paris in
1796 j obtaining a libretto (Le Prisonnier)
from Duval, he set it to music in 8 days,
brought it out -at the Opera- Comique (1798)
in a few weeks, and was at once famous.
Before his death he finished 6 more operas, 4
of which were produced during his lifetime;
but the success of none of these equalled that
of Le Prisonnier. A posth. opera, Lafausse
duegne (compl. by Blangini) was produced in
Paris in 1802; several church-compositions are
MS.
Delle Se'die [sa'de^h], Enrico, baritone
vocalist and singing-teacher; b. Leghorn, June
17, 1826; d. Paris, Nov. 28, 1907. His teach-
ers were Galeffi, Persanola, and Domeniconi.
DELLINGER— DEL VALLE DE PAZ
After imprisonment as a revolutionist (1848),
he resumed the study of singing, and made
his debut at Florence (1851) in Verdi's
Nabucco. Until 1861 he sang in the principal
Italian cities; was then engaged at the Th.
Italien, Paris, and app. prof, of singing in
the Cons. He lived .in Paris thenceforward as
one of the best singing-teachers of the capital.
His great works, Arte e fisiologia del canto
(Milan, 1876), and L'estetica del canto e deU
Tarte melodrammatica (Milan, 1886), werepubl.
in New York in English as Vocal Art (3 Parts),
and Esthetics of the Art of Singing, and of the
Melodrama (4 vols.). An admirable fusion
and condensation (by the author) of both
the above was also publ. in one volume as A
Complete Method of Singing (New York).
Dellinger [del'ing-er], Rudolf, b. Gras-
litz, Bohemia, July 8, 1857;- d. Dresden,
Sept. 24, 1910. Pupil of the Prague Cons.;
played clar. in the city orch. at Briinn, 2d
cond. there in 1880; 1883 at the Carl Schulze
Th. in Hamburg; from 1893 till his death (he
became insane a few months before) cond. at
the Residenz-Th. in Dresden. He prod,
the operettas Don Caesar (Hamburg, 1885);
Lorraine (ib., 1886); Cafntdn Fracassa (ib.,
1889, succ.); Saint-Cyr (ib., 1891, v. succ.);
Die Chansonnette (Dresden, 1894; v. succ.; in
Prague, 1895, as Die Sdngerin); Jadwiga
(Dresden, 1901); Der letzte Jonas (1910).
Dell'Orefi'ce [-fe'tchel Giuseppe, b.
Fara, Abruzzio Chietino, Italy, Aug. 22, 1848;
d. Naples, Jan. 5, 1889. Pupil of Fenaroli
and Miceli in Naples Cons.; since 1878, cond.
in the San Carlo Th., Naples. — Wrote 1
ballet, / Fantasmi notturni (Naples, 1872),
and the operas Romilda de* Bardi (Naples,
1874), Egmont (Naples, 78), II Segreto delta
Duchessa (Naples, 79), and Voasi (Vicenza,
'86); also songs and pf. -pieces.
Delmas [-man'], Jean-Francois, famous
dram, bass; b. Lyons, France, April 14, 1861.
Pupil of the Paris Cons., where he won the
1st prize for singing in 1886; debut at the
Grand Opera, 1886, asSt.-Bris in Les Hugue-
nots; since then a regular member of the
Opera, idolized by the public, and unex-
celled as an interpreter of Wagner, in whose
works he created the princ. bass parts at
all the French premieres; he created also the
chief roles in Salvayrc's La Dame de Mon-
soreau (1888), Massenet's Le Mage (1891),
Reyer's SalammbS (1892), Thais (1894),
Duvernoy's HeUe (1896), Vidal's La Burgonde
(1898), Leroux's Astarte (1901), Saint-Safins'
Us Barbares (1901), Erlanger's Le FUs de
VEtoile (1904), etc.; besides, an enormous
French repertoire, he has also sung the operas
of Gluck, Mozart and Weber.— Cf. H. Cur-
zon, Croquis oV artistes (Paris, 1898).
Del Mela, Don Domenico, an Italian
priest; the inventor, in 1730, of the first 'up-
right' piano. — See Cesare Portskchi's pam-
phlet, II primo pianoforte verticale (Florence,
1898).
Delmotte, Henri-Florent, b. Mons, Bel-
gium, 1799; d. there March 9, 1836. A
notary by vocation, he was also librarian at
Mons, and president of the Society of 'Biblio-
philes de Mons.' He publ. Notice bio-
graphique sur Roland de LaUre, connu sous le
nam d' Or land de Lassus (Valenciennes, 1836;
German transl. by Dehn, Berlin, 1837, with
notes).
Delna, Marie (real name Ledan), dram,
contralto; b. Meudon, n. Paris, 1875. Pupil
of Mme. Laborde; debut at Op.-Comique,
June 9. 1892. as Didon in Berlioz's Les Troyens;
sang there for 6 years with great success in
such works as Werther, La Vivandierc,
VAttaque du Moulin, Paul et Virginie,
Falstajf, Orfeo, Don Giovanni, Carmen, etc.;
from 1898-1901 at the Opera; then again at
the Op.-Comique; in 1903 married a Belgian,
A. H. de Saone, and retired temporarily
from the stage; her reappearance at the Op.-
Comique, in 1908, was made the occasion of
a frantic demonstration, and since then she
has been a prime favorite; in 1910 she sang
Orfeo (in Gluck's opera) and Francoise in
Bruneau's VAttaque du Moulin, at the M.
O. H., making a deep impression.
Delprat [del-prah'], Charles, born 1803;
d. Pau, Pyrenees, in February, 1888; pupil
of Ponchard pere, at Paris, and singing-teacher
there. Publ. L'art du chant, et VecoU actuelle
(Paris, 2d ed. 1870), and Le Cons, de Mus. de
Paris et la commission du Ministere diS Beaux-
Arts (1872; 3d ed. as La question vocale, 1885).
Deisarte [del-sahrtl, Francois-Alexan-
dre-Nicolas-Cheri, b. Solesmes, Nord, Nov.
19, 1811; d. Paris, July 20, 1871. Tenor
singer, pupil of Garaude and Ponchard.
Failing of success as an opera-singer, he
devoted himself to the concert-stage, and
to teaching; his 'method' ('quelque peu
excentrique,' says Fetis) has zealous partisans.
He invented (1855) the 'Guide-accord,' or
'Sonotype,' an apparatus to facilitate the
tuning of pianos.-—Cf. A. Arnaud, D,, ses
cours et sa mithode (Paris, 1859).
Delune [du-UW], Louis, b. Charleroi,
Belgium, March 15, 1876. Pupil of Tinel at
Brussels Cons.; winner of Prix de Rome with
the cantata La Mort du roi Reynaud; cond.
of an orchestral society at Brussels. — Has
written a concerto for pf. and orch.; a sonata
for vln. and pf.; a sonata for vcL and pf.;
pf. -pieces, songs (Les Cygnes, w. vcl. obbl.,etc).
Del Valle de Pas [vahTye de" pahth],
Edgardo, b. Alexandria, Egypt, Oct. 28,
201
DEMANTIUS— DENN6E
1861. Studied at Naples Cons, under B.
Cesi (pf.), and P. Serrao (comp.); made
Eianistic tours in Italy and Egypt when
ut 16, and now resides at Florence. In
1893 he established the 'Circolo Del Valle* at
Florence, and from 1896-1914 was the direct-
or of the journal 'La Nuova Musica.' Also
prof, in the Florence Cons, since 1890. Has
published a Scuola pratica del pianoforte,
adopted by several Italian music-schools. —
Works: Orchestral suites, chamber-music,
vocal pieces, and pf.-comps. (prize sonata;
Suite 'dans le style ancien'; pieces with
orchestra; and many elegant soli). An
opera, Oriana, was prod: at Florence (1907).
Deman'tius, Christoph, b. Reichenberg,
Dec. 15, 1567; d. Freiberg, Saxony, April 20,
1643. Cantor at Zittau, about 1596; at
Freiberg, 1607-43. Prolific composer of sacred
and secular music (Deutsche Passion nach
Johannes [1631], Triades precum vespertinarum
[1602], etc.). — Publ. an instruction-book,
Isagoge artis musicae (Nuremberg, 1605;
10th ed. 1671).— See Q.-Lex.
Demarest, Clifford, b. Tenafly, N. J.,
Aug. 12, 1874. Pupil of R. H. Woodman at
Metropolitan Coll. of Mus., New York; org.
at Ch. of the Messiah, N. Y. City; F. A. G. O.
Comp. of 2 cantatas, The Shepherds of Bethlehem
and The Cross Victorious; a. Pastoral Suite in
F f. org.; Fantasie in C m. f. org. and pf.;
about 30 anthems; pes. f. vl. and pf.; minor
org. -pes.; songs; has also publ. Hints on Organ
A ccompaniment.
Gemellus [-ma'-], Christian, b. Schlettau,
Saxony, Apr. 1, 1643; d. Nordhausen, Nov.
1, 1711. Cantor at Nordhausen from 1669.
— Publ- a Gesangbuch (1688) for the churches
at N.; 6 motets and arias a 4 (1700); and an
elementary treatise, Tirocinium musicum, etc,
(Nordhausen, n. d.).
Demenyi, Desiderius, born Budapest,
1871. Pupil of V. Herzfeld and S. von Bach6;
ordained priest at Gran, 1893; app. 1897
court chaplain and prof, at the gymnasium;
on 3 different occasions he won the Geza
Zichy Prize with Ungarische Tanzsuite, Fest-
ouvertiire and Rhapsodie; since 1913 choirm.
of St. Stephen's, Vienna. In 1902 he founded
'Zenekozlony,' which to-day is the most
important Hungarian mus. journal. — Works:
2 a cap pel la masses, Herzog Emerich (E m.)
and Elisabeth (E) ; 2 Bilder aus Algier; Serenata
sinfonica; an operetta, Der sieghafte Tod;
several melodramas; about 100 songs (mostly
on Ger. texts). 2 other a capp. masses are MS.
Demeur [du-mor'], Anne-Arsene (nee
Charton), b. Saujon, Charente, May 5,
1827; d. Paris, Nov. 30, 1892. A soprano
singer in opera and concert ; debut at Boraeaux,
1842, after which she sang in Toulouse,
Brussels (1846), London (French comic opera
202
and Ital. opera), Petrograd (1853), Vienna,
Paris (in Berlioz's Beatrice et BSntdict, and as
Didon in Les Troyens d Carthage) , and America.
Her farewell performance was Cassandre in
Berlioz's Prise de Troye (1879). She married
J. A. Demeur, a flutist and composer.
De Mol [Demol], Francois-Marie, ne-
8 hew of Pierre; b. Brussels, Mar. 3, 1844; d.
tetende, Nov. 3, 1883. Won first prize at the
Brussels Cons, for cpt. and fugue, and for
organ-playing; org. at the convent of. the
Beguines; then org. of the St. Charles Ch.,
Marseilles, cond. of the Popular Concerts
(1872-5), and prof, of harm, in the Cons.
(1875). App. cond. of the Theatre National,
Brussels, in 1876. — He brought out an opera,
Le Chanteur de MSdine; wrote minor works.
De Mol [Demol], Pierre, b. Brussels, Nov.
7, 1825; d. Alost, July 2, 1899. Pupil of
Brussels Cons.; took Grand prix de Rome f.
comp. in 1855; was first 'cello at Besancon
Th., and teacher at the B. Cons.; later, m. de
chap, at St. Martin's and dir. of the Cons,
at Alost, Belgium. Prod. 3 cantatas, Les
premiers martyrs (won prize, lSS5),Le dernier
jour d'Herculanhim, Belshaszar's Feast; the
oratorio St. Cecilia; a mass; a Te Deum;
12 str.-quartets; and an opera, Quentin
Metsys.
De Munck [Demunck], Ernest, brilliant
'cellist, son of Francois; b. Brussels, Dec. 21,
1840; d. London, Feb. 6, 1915. Pupil of his
father and Servais; travelled in Great Britain,
lived in London, and (1868) in Paris as a
member of the Mauri n Quartet; in 1870, first
'cello in the Weimar court orch. He married
Carlotta Patti in 1879, and resided in Paris
till 1893, when he was app. prof, of 'cello-
playing in the R. A. M., London.
De Munck [Demunck], Francois, 'cello-
virtuoso; b. Brussels, Oct. 7, 1815; d. there
Feb. 28, 1854. Pupil of Platel in Brussels
Cons., and his successor, in 1835, as first prof,
of 'cello-playing. In 1845 he made long tours
in Germany; in 1848 was app. 'cellist at H.
M s. Th., London; but his health, undermined
by dissipation, gave way, and in 1853 he
returned to Brussels to die.— Publ. Fantaisieet
variations sur un theme russe.
Dengremont [dahn-gru-nrinnl, Maurice,
b. Rio de Janeiro, Brazil, Mar. 19, 1866, of
French parents; violinist (juvenile prodigy);
attracted general notice in Europe in 1877
and some years thereafter; d. Buenos Aires,
Sept. (?), 1893.
Dennee, Charles (Frederick), b. Oswego,
N. Y., Sept. 1, 1863. When 16, he entered the
N. E. Cons, at Boston, studying pf. under
A. D. Turner, and later for a time with Mme.
Schiller, and harm, and comp. with S. A.
Emery; also st. Beethoven repertoire with
DENNER— DEPRfeS
v. Btilow during the latter's last visit to the
U. S. (1889-90); since 1883 he has taught
pf.-playtng at the Cons. A successful pianist,
an accident to his right wrist caused his
retirement in 1897, after he had played almost
1100 recitals; subsequent devotion to teaching
has borne good fruit, for many of his pupils
hold prominent positions on the faculties of
various conservatories and mus. colleges. He
was among the first to give illustrated lecture-
recitals in the U. S. — -Works: The comedy-
operas and musical pieces The Defender, The
Belle of Newport, Little Red Riding-Hood,
The Merry-go-round, The Royal Barber, The
Chorus Girl, The Electric Spark; suite for vln.,
'cello, pf., etc. (MS.); Festival Overture for
orch. (MS.); a sonata (MS.) and other pieces
for vln. and pf.; sonatas for pf.; ingenious pf.-
duets, The Children's Festival; about 50 ele-
?;ant salon-comps. and characteristic pieces
or pf.; children s pieces, studies, etc.; several
songs. Further, Progressive Technique, an
elaborate treatise on pf.-technics, and several
other technical works; editor of the new,
enlarged ed. of 'Century Library of Music,'
and of special vols, of 'Modern Music and
Musicians.'
Den'ner, Johann Chrfetoph, b. Leipzig,
Aug. 13, 1655; d. Nuremberg, Apr. 20, 1707.
A maker of wind-instrs. at Nuremberg, and
the inventor (1690 or 1700) of the clarinet,
an improved shawm. To him is likewise
attributed the invention of the 'Stockfagott'
and the 'Racket tenfagott.'
Dent, Edward James, b. Ribston, York-
shire, July 16, 1876. Pupil at Eton Coll. of
C. H. Lloyd, and at Cambridge of Ch. Wood
and C. V. Stanford; Mus. Bac, 1899; Fellow
Kings Coll., 1902; A. M., 1905. Contributor
to Encyclopaedia Brit, and Grove's Diet.
Has publ. Alessandro Scarlatti, His Life and
Works (London, 1905); A Jesuit at the Opera
1680 (in •Riemann-Festschrift/ 1909); The
Baroque Opera (in 'Mus. Antiquary,' Jan.,
1910); Italian Chamber Cantatas (ib., July,
1911); Mozart's Operas, a Critical Study
(London, 1913).
Dente, Josef, b. Stockholm, Jan. 23,
1838; d.there May 24, 1905. Pupil of d'Aubert
(vln.), Winge and F. Berwald (comp.); cont.
his vln. studies with Leonard in Brussels; app.
vlst. in the Stockholm court -orch; in 1861
repetitor at the Opera; 1868 cone-master;
1879-85 1st cond.; 1890-1 cond. of the symph.
concerts; from 1882-1903 he taught comp.
and instrumentation at the Cons. He wrote
a symphony in D m.; a concert -overture; a
concerto for vln. and orch.; a romanza for
vln. and pf.; an operetta, In Marocco (1866);
and songs.
Den'za, Lulgl, b. Castellammare di
Stabbia. Feb. 24, 1846. Pupil of Serrao and
Mercadante in Naples Cons. Besides the opera
Wallenstein (Naples, 1876), which was not
specially successful, he has written about
600 songs (some in Neapolitan dialect),
many of which have won deserved popularity.
In 1879 he settled in London; 1898 app. prof,
of singing at R. A. M.; chev. of the order of
the Crown of Italy.
Dep'pe, Ludwig, born Alverdissen, Lippe,
Nov. 7, 1828; d. Pyrmont, Sept. 5, 1890.
A pupil of Marxsen at Hamburg in 1849,
later of Lobe at Leipzig. Settled in Ham-
burg (1860) as a music-teacher, and founded
a singing-society, of which he was the cond.
till 1868. Went to Berlin in 1874, and from
1886-8 was court Kapellm., but resigned in
order to devote himself to conducting the
concerts of the court orch. He also con-
ducted the Silesian Musical Festivals estab.
by Count Hochberg in 1876. He wrote a
symph. in F; 2 overtures, Zriwy and Don
Carlos; some songs. Publ. Armleiden der
Klavier spieler (1885) and Zwei Jahre Kapell-
meister (1890). Sketch: 'Deppe as Teacher,'
by Amy Fay in Music-Study in Germany
(1897). His method of playing is explained
by his pupil, Elisabeth Caland, in Die
Deppe* sche Lehre des Klavierspiels (Stuttgart,
1897 ; in Engl, as A rtistic Piano-Playing, 1903) .
Depres [du-pral, [Despres] Joaquin, the
greatest of the early Netnerland contrapun-
tists; born abt. 1450 in Hainault (Burgundy),
and possibly in the town of Conde, where he
died as provost of the Cathedral Chapter
August 27, 1521. His name was very
variously spelled: Despres, Despres, Depres,
Depret, Deprez, Desprets, DuprS, and by the
Italians Del Prato (Latinized as a Prato, a
Pratis, Pralensis), etc.; while Josquin (con-
tracted from the Flemish Jossekin, 'little
Joseph [), appears as JossS, Jossien, Jusquin,
Giosquin, Josquinus, Jacobo, Jodocus, Jodocu-
lus, etc. 'Josse Despres,' his epitaph reads.
Few details concerning his life are known.
It seems probable that he was a chorister, and
afterwards chorusmaster, at St. Quentin;
perhaps he was m. de chap, for a time at the
Cath. of Cambrai (one of the towns claiming
to be his birthplace). He was doubtless a
pupil of Okeghem (premier chantre to Louis
XI, circa 1476); and he was a singer in the
Sistine Chapel at the time of Pope Sixtus IV
(1471-84), and was in Ferrara, about 1488,
with Isaack. As a composer he was con-
sidered by contemporaries to be the greatest
of his period (so says Zarlino), and Adrien
Petit Coclius terms him 'princeps musicorum';
his works were sung everywhere, and univer-
sally admired — he was, "indeed, the first to
weave the mazes of Netherlandish counter-
point into expressive and beautiful art-forms.
— Publ.j¥orks:__M asses (in Petrucci'sJ-ib. I,
203
DEPROSSE— DESMARETS
Venice, 1502): L'omme armS; La sol fa re mi;
Gaudeamus; Fortunata desperata; L'omme
armi, sexii toni; — (idem, II, 1503): Ave Maris
Stella; Hercules, dux Ferraree; Malheur me
bat; Lami Baudichon; Una musque de Bus-
cava; Dung aultre amor; — (idem, III, 1516):
Mater patris; Faysans regrets; Ad fugam; Di
dadi; De Beata Virgine; Sine nomine (these
3 books republ. by Junta [Rome, 1526]); — (in
Graphaus' 'Missae III'): Pange lingua; Da
pacem; Sub tuum presidium; some of these
are scattered in other collections, . and frag-
ments are found in still others; and several
more masses are in MS. at Rome, Munich, and
Cambrai. — Motets were publ. by Petrucci
('Odhecaton,' 1501-5, and his books of mo-
tets Nob. 1, 3, 4, and 5); by Peutinger (Liber
selectarum cantionumf 1520), and others of
the period. — French chansons were publ.
by T. Susato (1545), P. Attaignant (1549),
and Du Chemin (1553). — In modern nota-
tion, fragments of his works are to be found
in the German 'Bibliothek fUr Kirchenmu-
eik' (1844) ; in Commer's 'Collectio operorum
musicorum Batavorum,' 'Rochlitz's 'Samm-
lung vorzilglicher Gesangsstiicke' (1838), and
Choron's 'Collection' (a Stabat Mater); also
in the histories by Ambros, Forkel, Kiese-
wetter, Burney, Busby, and Hawkins.
Deproese [dti-pr6hss'], Anton, b. Munich,
May 18, 1838 ; d. Berlin, June 23, 1878. Pupil
of the Royal School of Music at Munich 1853-
5; then a private pupil of Stuntz and Herzog.
Teacher of pf. (1861-4) at the R. Sch. of
Music; taught later in Frankfort and Gotha,
in Munich (1871), and went to Berlin in
1875. — Works: Operas (in MS.); an oratorio,
Die Salbung Davids; songs; fine pf. -music (e.g.,
the Romantische Etiidenf op. 17).
De Reszke*, £douard, dram, bass, brother
of Jean; b. Warsaw, Dec. 23, 1855. Pupil of
his brother, Ciaffei, Stellcr and Coletti.
Debut Paris, April 22, 1876, as the King in
Aida, at the Th. des Italicns; sang here for
two seasons, then at Turin and Milan; from
1880-4 at the Italian Opera, London. After
this he sang chiefly in Paris and London; at
the same time as his brother Jean he added
the Wagner rdles to his own repertory, and
shared with him the triumphs at the Metro-
politan Opera House, N. Y. He retired in
1906, and since then has been living on his
estate near Warsaw. — See Appendix.
De Reszke1, Jean, dramatic tenor; b. War-
saw, Jan. 14, 1850. Pupil of Ciaffei, Cotogni
and Sbriglia. Successful debut as baritone at
Venice in Jan., 1874, in the role of Alfonso
(Favorita)f under the name of 'De Rcschi.'
After singing in Italy and Paris, he made his
tenor debut, as Robert (R. le Diable), at
Madrid in 1879. In 1884 he was eng. at
the Th. des Nations, and in 1885 at the
Grand Opera, Paris, where he created Mas-
senet's Cid. — In 1888 he appeared with sen-
sational success at Coven t Garden, and sang
there almost every season until 1900. From
1891-1901 (excepting the season of 1899-1900)
he was the chief tenor and idol of the operatic
public of the M. O. H. The height of his
fame was reached in 1895. when he added the
Wagner parts to his repertoire, appearing
for the hrst time as Tnstan on Nov. 27.
Although his voice had then lost its first
bloom, his faultless method, wonderfully
clear enunciation, and the general refinement
and subtlety of his art, proved ample compen-
sation. He retired from the stage in 1902,
and has* since been living in Paris as a highly
esteemed teacher.
Dering. See Dbering.
De Sanc'tis, Cesare, born Albano, Rome,
1830. M . di capp. in various Roman churches
and theatres; 1876, professor of harmony in
the newly founded Liceo (Conservatory) at
Rome. — Works: Overture for orch.; Requiem
mass a 4, with orch. ; 100 Fugues a cappella in
strict style, a 4. He has publ. a treatise on
Armonia and another on Contrappunta e Fuga.
Deaaugiers [da-zoh-zh'yal, Marc-An-
tolne, born Frejus. 1742; d. Paris, Sept. 10,
1793. A self-taught musician, he went to
Paris in 1774, and attracted notice by trans-
lating Mancini's Canto hgurato (1776). He
produced a multitude of short operas, which
pleased by their sprightly melodies; and a
festival cantata, Htirodrame, on the storming
of the Bastille (D. was an ardent revolutionist).
A friend of Gluck and Sacchini, he dedicated
a requiem to the latter.
Deshayes [da-zal, Prosper-Didier, b.
(?), d. (?), made himself known by his
oratorio, Les Machabies (1780); was from
1782 comp. of divertissements and ballets
to the Comedie-Francaise, and prod. (1786-
99) several operettas and ballets, a second
oratorio, Le Sacrifice de Jefte (1786), a sym-
phony, minor instrumental pieces, and 3
cantatas (Achille dans sa tente, Diane, La
Chute de Phaeton).
Dealandres [da-lahn'dr], Adolphe-fedou-
ard- Marie, born Batignolles, Monceaux,
Jan. 22, 1840; d. Paris, July 30, 1911. Pupil
of Lcborne and Benoist at the Paris Cons.;
about 1862 app. org. at Ste. -Marie. Wrote
the operas Dimanche et Lundi (1872), Le
Chevalier Bijou (1875), Fridolin (1876); Ode
d Vharmonie; La Banaue brisee; a patriotic
dirge Les sept paroles for bar. solo, ch., org.,
vl., vcl. and harp; some masses and cantatas.
Deemarets [da-mah-ra'], Henri, b. Paris,
1662; d. Luneville, Sept. 7, 1741. One oi
the most skilful musicians during the reign
of Louis XIV, he prod. 1693-1722 a number
204
DESPRfeS— DESWERT
of operas famous in their day; was maestro
to Philip V of Spain, and afterwards inten-
dant of music to the Duke of Lorraine at
Luneville.
Despres. See Deprj&s.
Dessau, Bernhardt b. Hamburg, Mar. 1,
1861. Pupil of Schradieck at Hamburg and
Leipzig; also st. with Joachim and Wieni-
' awski; held various positions as cone-
master (Gdrlitz, K&nigsberg, Brtinn, Prague,
Rotterdam, etc.); since 1898 cone. -master at
the R. Opera in Berlin; taught for some time
at Sterns Cons.; made R. Prof, in 1906.
Among his numerous comps. f. violin is a
• concerto "im alten Stil," op. 55.
Des'sauer, Joseph, b. Prague, May 28,
1798; d. Modling, iu Vienna, July 8, 1876.
Pupil of Tomaczek (pf.) and Dionys Weber
(comp.). The melodious beauty of his songs
won htm international fame. He set to
music the operas IAdwinna (Prague, 1836),
Ein Besuch in Saint-Cyr (Dresden, 1838),
Paquita (Vienna, 1851), Domingo, (1860), and
Obiron (not perf.); also wrote overtures,
string-quartets, pf.-pes., etc.
Des'soff, Felix Otto, b. Leipzig, Jan. 14,
1835; d. Frankfort-on-Main, Oct. 28, 1892.
Pupil of Moscheles, Hauptmann and Rietz
in Leipzig Cons.; 1854-60, Kapellmeister at
theatres in Chemnitz, Altenburg, Dusseldorf,
Aix and Magdeburg; 1860-75, court Kapellm.
at Vienna, teacher in the Cons., and cond. of
the Philharmonic. Court Kapellm. at Karls-
ruhe, 1875; theatre Kapellm. at Frankfort,
1881. — Publ. a pf. -quintet, pf. -quartet, and
sonatas f. pf.
Destinn, Emmy (real name Kittl),
dramatic soprano; b. Prague, Feb. 26, 1878.
She received her first mus. education on the
violin, but when her voice was discovered she
went to Mme. Loewe-Destinn, whose name
she chose as her stage-name to show her
appreciation. At her d6but as Santuzza at
the R. Opera in Berlin, 1898, she was so
successful, that she was engaged as a regular
member; rapidly she became a star of the
first magnitude, both because of her superb
vocal art and her unusual histrionic powers;
for the first performance at Bayreuth of Der
fliegende Hollander, in. 1901, she was chosen
by Mme. Wagner as the Senta; R. Strauss
selected her for the Berlin and Paris premieres
of his Salome; in 1905 her first appearances
in London (Cio-Cio-San, Donna Anna, Aida)
aroused storms of applause; since 1908 she
has been a regular member of the M. O. H.,
one of the most highly esteemed artists; in
1910 she created the rdle of Minnie in Puc-
cini's La Fanciulla del West. Her voice is a
pure soprano of wonderful, power and even-
ness, capable of infinite modulations; her
repertoire includes 80 rdles, among them
Elisabeth, Elsa, Eva, Armide, Nedda, Tatiana
(Eugen Origin), Maddalena (Andrea Chhtiet),
Tosca, Mimi, Valentine, Ines, etc. In her
spare time she writes, having produced a
drama, Rahel, poems and novels. — Cf. L.
Brieger-Wasservogel, E. D. und Maria Labia
(1908).
Destouches [da-tooshl, Andrew-Cardinal,
opera-composer; b. Paris, Apr., 1672; d. there
Feb. 3, 1749. In 1697, though untaught as
to theory, he brought out the opera Isst,
which, was very successful. Assiduous study
of cpt. seems to have marred the originality
of his talent, for his later operas found less
favor. From 1713 he was superintendent of
the king's music, and inspector-general at
the opera. — Cf. Kurt Dulle, A.-C D. (Leipzig,
1909).— See Q.-Lex.
Destouches, Franz (Seraph) von, b. Mu-
nich, Jan. 21, 1772; d. there Dec. 10, 1844.
From 1787-91 a pupil of Haydn in Vienna;
in 1797, mus. director at Erlangen; in 1799,
leader of the Weimar orch.; in 1810, prof, of
theory at Landshut Univ.; in 1826, Kapellm.
at Horn burg; retired to Munich in 1842. —
Works: An opera, Die Thomasnacht (Munich,
1792); an -operetta, Das Missverstdndniss
(Weimar, 1806); a comic opera, Der Teufel
und der Schneider (Munich, 1843); incidental
music to Schiller's Tell, Jungfrau von Orleans,
WaUensteins Lager, Braid von Messina;
Werner's Wanda; Kotzebue's Die Hussiten
vor Naumburg; etc. Also publ. a pf. -concerto;
sonatas, fantasias, variations f. pf.; a pf.-trio,
etc.— -Cf. Ernst v. Destouches, F. t;. D. (1904).
Deevi&nes [da-vin'], Victor-Francois, b.
Trier, June 5, 1805; d. Metz, Dec 30. 1853.
A violinist; conductor of theatre orchestras
in the French provinces; after serious study
in Paris, he founded a conservatory at Metz
(1835), which prospered so vigorously that,
in 1841, it was made a branch of the Paris
Cons. — Publ. chamber-music, sacred and
secular choruses, romances and melodies; left
in MS. 2 operas, a symphony, 9 overtures f.
full orch., a Stabat Mater (perf. .1833), etc.
Deswert (or de Swert), Jules, b. Lou vain,
Aug. 15, 1843; d. Ostende, Feb. 24, 1891.
A brilliant 'cellist; played in public at 9,
and was a pupil of Servais at Brussels Cons,
in 1856-8. After extended tours in eastern
Europe, he became Konzertmeister at Dilssel-
dorf in 1865; first 'cello at Weimar in 1868;
royal Konzertmeister, solo 'cellist, and prof,
at the Hochschule, Berlin, in 1869, resigning
in 1873. After travelling again, he settled in
Wiesbaden; was in Leipzig in 1881, and in
1888 was app. director of the Ostende Music-
School, and prof, at the Ghent and Bruges
Cons. — Works: Two operas, Die Albigenser
< Wiesbaden, 1878; succ.), Graf Hammer stein
(Mayence, 1884); a symphony, Nordseefahrt;
205
DfcTHIER— DIAZ
3 'cello-concertos; romances, fantasias, duos,
and solo pes. for 'cello w. pf. or orch.
Dethier [da-t'ya"'], £douard, concert-vio-
linist; b. Liege, Apr. 25, 1885. Pupil of
Liege Cons., 1895-1901; then of Brussels
Cons., 1901-2; taught there, 1902-4; debut at
the 'Concerts Populaires' with Lalo's con-
certo in F, Brussels, May, 1903; settled in
the U. S. in 1906, and has since then made
extended tours of the States and Canada,
appearing with the principal orchestras and
in recitals; since 1906 prof, at the Inst, of
Musical Art, New York.
Dethier, Gaston-Marie, brother of the
preceding; b. Liege, Apr. 18, 1875. St. at
the Liege Cons, and later with Guilmant in
Paris; came to the U. S. in 1894 as successor
to B. O. Klein (on Guilmant's special re-
commendation) in the important position as
organist at St. Francis Xavier'st New York;
his recitals soon established his reputation
as an organist of the first rank; resigned in
1907 to devote himself entirely to concert-
work; has opened many new organs; since
1907 prof, ot org. at the Institute of Mus.
Art, N. Y.; in 1915 he gave a series of very
successful sonata-recitals with his brother,
proving himself a pianist of splendid attain-
ments; has written several org.-works.
Dett'mer, Wilhelm, bass opera-singer; b.
Breinum, n. Hildesheim, June 29, 1808; d.
Frankfort, May 28, 1876. The son of a pea-
sant, he studied in a teachero' seminary,
but left it to join a wandering troupe of
players; sang minor rdles at Hanover, Bruns-
wick, Breslau, and Kassel; was eng. for
leading roles at Dresden in 1842, and later
at Frankfort; retired 1874. He was equally
at home in comedy and tragedy.
Deutz. See Magnus.
Devienne, Francois, b. Toinville, Haute-
Marne, Jan 31, 1759; d. in the insane asylum
at Charenton, Sept. 5, 1803. A flutist and
bassoonist, member of the band of the Gardes
Suisses, bassoonist at the Th. de Monsieur
(1788), and prof, at the Paris Cons., he was
an extraordinarily prolific comp.,of peculiar
importance from the impulse which he gave
to perfecting the technique of wind-instrs. —
Works: Ten operas; many concerted pieces
for various wind-instrs. w. orch.; overtures
for wind; concertos, quartets, trios, sonatas,
etc., for flute, pf. and other instrs.; Douse
suites d' harmonies a 8 et 12 parties; very
numerous romances, chansons, etc.; also a
valuable MSthode deflate (Paris, 1795), which
went through several editions. — See Q.-Lex.
Devrient [dii-vre-yahn'], Eduard, b. Ber-
lin, Aug. 11, 1801; d. Karlsruhe, Oct. 4,
1877. Pupil of Zelter; began his career as a
baritone at the R. Opera in 1819, but after
the loss of his voice went over to the spoken
drama, without losing his interest in music;
he was the author of the text to Marschner's
Hans Heiling, and also created the titlc-rdle
(1833). His chief work is Geschichte der
deutschen' Schauspielkunst (5 vols., 1848-74);
his works concerning music are Briefe aus
Paris (1840; about Cherubini) and Meine
Erinnerungen an Felix Mendelssohn- Bar tholdy
und seine Briefe an mich (1869; 3d ed. 1891).
Deyo, Ruth Lynda, concert pianist; b.
Poughkeepsie, N. Y., Apr. 20, 1884. Pupil
of Dr. Wm. Mason (pi.), Jos. Mosenthal,
theory (1894), Edward MacDowell (1900-1),
Stepanoff (1902-4), Carrefto (1905). Although
she was exceedingly precocious (beginning
to play when only 3 years old), Dr. Mason's
advice not to exploit her as a prodigy was
strictly followed. Debut, in recital at Berlin,
Mar. 23, 1904; toured Europe in 1905-6,
and 1910-11; has toured the U. S. success-
fully since 1913, appearing with the principal
orchestras and in recitals; 1915-16 in joint
recitals with Casals.
Dezfede (or Dezaides) [dfi-zadl, b. Lyons
(?), c. 1740; d. Paris, 1792. Prolific composer
of operas and operettas; 15, of from 1-3
acts in length, were given 1772-96 at the
Italiens and the Opera. Blaise et Babet
(1783) held the stage for 2 years. He wrote
with unusual correctness, and his melodies
were pleasing. — Cf. A. Pougin, D. (Paris,
1862).— See Q.-Lex.
DiabelH, Antonio, b. Mattsee, n. Salz-
burg, Sept. 6, 1781; d. Vienna, April 8, 1858.
He was a choir-boy in the monastery at
Michaclbeurn, and in Salzburg cath.; studied
for the priesthood at the Munich Latin
School, but continued his musical work, sub-
mitting his compositions to Michael Haydn,
who encouraged him. On the secularization
of the Bavarian monasteries, D., who had
already entered that at Raichenhaslach, em-
braced the career of a musician, went to
Vienna (where Joseph Haydn received him
kindly), taught pf. and guitar for a living,
and in 1818 became a partner of Cappi, the
music-publr., assuming control of the firm
(Diabelli & Co.) in 1824. He publ. much of
Schubert's music, but underpaid the com-
poser, and complained that he wrote too
much. In 1854 he sold out to C. A. Spina.
A facile composer, he prod, an opera, Adam
in der Klemme (Vienna, 1809; one perfor-
mance), masses, cantatas, chamber-music, etc.,
which 'are consigned to oblivion; his sonatinas,
easy pieces and duets for pf., are still favorites
for beginners.
Diaz [de'ahz] (de la Peffa), Eugene-
(Emile), son of the celebrated painter; b.
Paris, Feb. 27, 1837; d. Coleville, Sept. 12,
1901. Dramatic composer; pupil of Paris
206
DIBBERN— DIEM
Cons. (Halevy, Reber) 1852-8. Produced
the comic opera Le roi Candaule at the Th.-
Lyrique, 1865; won the government prize,
1867, for the 3-act opera La Coupe du roi de
Thule (Grand Opera); and brought out the
4-act lyric drama Benvenuto Cellini at the Op.-
Com. (1890). Publ. numerous songs.
Dibbern, Karl, b. Altona, June 17, 1855.
After having held positions as op. cond. at
Liibeck and Dresden, he went to Amsterdam,
where he became stage-manager at the Dutch
Opera. He has written the operas Der
LtebesdMomat (Karlsruhe, 1888) ; Der Bulgare
(Magdeburg, 1886); Mosio Vbermut (Stral-
sund, 1S91); Kapitdn Sander (Dresden, 1892);
Am Magdalenenstein (Liibeck, 1893); Erik
Jensen (Amsterdam, 1899); Odja (ib., 1900).
Dibdin, Charles, b. Dibden, n. South-
ampton (bapt. March 4), 1745; d. London,
July 25, 1814. He was sent to Winchester
College to study for the Church, but his
passion for music carried the day; he sane
with the choristers, took lessons of Kent and
Fussel, and at 15 went to London, was eng.
at Covent Garden as a singing actor, and
soon began to write for the stage. His first
piece, The Shepherd's Artifice, was prod, in
1763. He was eng. at Birmingham, 1763-5,
and at Covent Garden again till 1768, when he
went over to Drury Lane. Falling out with
Garrick, he spent some months of 1776 in
France; was tnen app. comp. to Covent Gar-
den, having up to that time brought out 8
operas, etc. After the failure of certain
theatrical enterprises, and a projected journey
to Egypt, he commenced a series of mono-
dramatic table-entertainments, of which song
was a principal feature, and which were
extremely popular from 1789 to 1805; in
these Dibdin appeared as author, composer,
narrator, singer, and accompanist. He re-
tired in 1805 on a pension, which was with-
drawn for a time, but subsequently restored.
A complete list of some 70 stage-pieces, with
or without music, and 30 'table-entertain-
ments,' may be found in Grove. He is best
known as the composer of most of the fine
old sea-songs so popular 100 years ago. He
publ. a History of the English Stage (1795, 5
vols.), and his Professional Life (1803, 4 vols.).
— 3cc y.-i_#ex.
Dick, Charles George Cotaford, b. Lon-
don, Sept. 1, 1846; d. 1895. Studied at
Worcester College, Oxford; was intended for
the bar, but gave up the law for music. He
produced several successful operettas: Our
DoWs House (1876), Our New Doll's House
(1877), Back from India (1879), the comic
opera Doctor D. (1885), and The Baroness
(1892); also a 'children's opera'; published a
number of songs, and many sprightly pf .-pieces.
Dickinson, Clarence, b. Lafayette, Ind.,
May 7, 1873. Pupil of Wild and Weidig in
Chicago; of Singer and Riemann in Berlin;
of Moszkowski (pf.), Guilmant (org.) and
Pierne (comp.) in Paris; org. of Brick Presb.
Church ana Temple Beth El, New York;
' since 1909 also cond* Bach Choir, Montclair,
N. J. Has written a comic opera, The
Medicine Man (Chicago, 1895); numerous
pieces for organ, and songs.
Dickinson, Edward, b. W. Springfield,
Mass., Oct. 10, 1853. Graduate Amherst
Coll. (1876); studied at New England Cons.
(1871-2); org. with Eugene Thayer (1878-9);
att. lecture courses of Ph. Spitta and W.
Langhansin Berlin (1885-6; 1888-9; 1892-3).
Org. Northampton, Mass., Springfield, Mass.,
and Elmira, N. Y.; dir. of music, Elmira Coll.
(1883-92); prof, of history and criticism of
music, Oberlin Coll., since 1893; made Litt.D.
by Oberlin (1911). — Works: Music in the
History of the Western Church (1902); The
Study of the History of Music (1905; 2d augm.
ed. 1908); The Education of a Music Lover
(1911); Music and the Higher Education
(1913) ; many magazine articles and lectures.
Diderot [de-droh'], Denis, b. Langres,
Oct. 5, 1713; d. Paris, July 30, 1784. Pro-
jector and editor-in-chief of the 'Encyclo-
pedic' In his work, Mtmoires sur differents
sujets de mathhnatique (The Hague, 1748),
are the essays Des principes d'acoustique, and
Pro jet d'un nouvet orgue, the latter being
an impracticable idea for a new kind of
barrel-organ.
Did'ymii8, a grammarian of Alexandria;
b. 63 B. c, a prolific author, the number of
whose works was estimated by Seneca at
4,000; wrote a (lost) treatise on harmony,
now known only by an epitome made by
Porphyry, and some quotations by Ptolemy.
In nis system, the octave of the diatonic
genus was formed by two precisely similar
tetrachords; and in all 3 species of tetrachord
(diat., chrom.. and enharm.) the interval of
a major third is adhered to. He likewise
recognized the difference between the major
and the minor whole tone; this difference
(| : V- 81 : 80) is, therefore, rightly termed the
'comma of Didymus.' Salinas and Doni have
written on D.'s musical system.
Diem [dem], Joseph, remarkable 'cello-
virtuoso; b. in 1836 at Kellmunz, near Mem-
mingen; d. Constance, Jan. 1, 1894. A
peasant's son, from his poor pittance for
tending cattle he saved enough to buy a
flute, and later a violin, which he practised
at night and Sundays. After travelling with
a troupe of wandering musicians, he took
up the 'cello at the age of 25, studying in the
Munich Conserv., and at Weimar under
Cossmann. In 1866, app. prof, at Moscow
207
DlfiMER— DIETSCH
Conserv.; made annual concert-tours through
Europe, and in 1872 to America.
Diemer [d'y5-ma'], Louis, distinguished
Sianist; born Paris, Feb. 14, 1843. Pupil of
farmontel at the Cons., taking 1st pf.-
prize in 1856; also of Ambr. Thomas and
Bazin for comp., taking 1st harm, prize, 2d
org. prize, and 1st prize for cpt. and fugue.
Played with great success at the Alard.
Pasdeloup, and Cons, concerts; succeeded
Marmontel (1887) as pf.-prof. at Cons. The
immense success of his series of historical
recitals, in 1889, determined him to make a
specialty of early music, and led to the estab-
lishing of the 'Societe des anciens instruments.'
Chev. of Legion of Honor in 1889. Widor,
Saint-Saens, Lalo, and others have written
pieces for him which he has played at the Co-
ionne and Lamoureux Concerts. — Works: Pf.-
concerto; a Konzertstflck for pf.; a vln.-
concerto; septuor for pf. and wind; character-
istic pieces tor pf . ; and a variety of chamber-
music and pf.-compositions. Also publ. a
Collection of ancient pieces, 'Clavecinistes
francais' (2 vols.).
Dle'nel, Otto, b. Tiefenfurth, Silesia,
Jan. 11. 1839; d. Berlin, March 7, 1905;
pupil of the Gdrlitz Gymnasium, and the
Bunzlau Seminary; studied music in Berlin
at the R. Inst, for Church-music, and R.
Academy. Teacher of music; org. at the
Marienkirche, Berlin. In 1881 he received
the title of Royal Musikdirektor. Wrote
comps. for org., and choruses; author of Die
modern* Orgel (1889, 2d ed. 1891).
Die'ner, Franz, dramatic tenor; b. Dessau,
Feb. 19, 1849; d. there May 15, 1879. Violin-
ist in the court orch., Dessau, then at the
Luisenstadt Th., Berlin, where he made his
d6but as a singer. Leading tenor at Cologne
(1872-3), Berlin, Nuremberg, at Cologne
again (1876), Hamburg, and Dresden (1878).
Diepenbrock, Alfons, b. Amsterdam,
Sept. 2, 1862. Entirely self-taught in music;
1888-95 teacher at the Gymnasium at Her-
togenbusch; since then as private teacher in
Amsterdam; a composer of solid attainments
and great earnestness of purpose. Has writ-
ten a mass for male ch. and org.; Te Deum
for double ch. ; Stabat Mater Speciosa; Stabat
Mater Dolorosa; Les Elfes for female voices;
Hymne for vln. and pf.; etc.
Di'ea, Albert Karl, b. Hanover, 1755; d.
Vienna, Dec. 28, 1832.— Publ. Biographische
Nachrichten von Joseph Haydn (Vienna, 1810).
D. was a good landscape-painter.
Diet [dTya],Edmond -Marie, b. Paris, Sept.
25, 1854. Pupil of Cesar Franck and
Guiraud. Dram, comp.; officer of the Acad.
— Has produced the operas Stratoniee (1887),
he cousin Placid* (1887), Flew de Vertu
(1894), La Revanche d'Isis (1906); also ballets
and pantomimes (Scientia, 1889; La Greve;
Masque rose; M. Ruy-Blas, 1894; La Belle et
la Bite, 1895; CAraignie d'or, 1896; Reve de
Noel, 1896), and the 3-act operetta Gentil
Crampon (Paris, 1897); besides songs, and
church-music.
Dieter (or Dietter) [dS'ter], Christian
Ludwtg, b. Ludwigsburg, June 13, 1757; d.
Stuttgart, 1822. A court musician (Kammer-
musiker) at Stuttgart, he prod, there a grand
opera, Laura Rosetti, 2 comic operas, Bel-
monte und Constant* and Des Teufels Lust-
schloss, and 8 vaudevilles (Liederspiele). He
left in MS. concertos for vln., horn, flute, oboe
and bassoon; also solos for vln., concerted
pieces for flutes, and for oboes, etc. — Cf.
H. Abert, Die dramatische Musik am Hofe
Herzog Karl Eugens (Esslingen, 1905).
Die'trich, Albert Hermann, b. Forsthaus
Golk, n. Meissen, Aug. 28, 1829; d. Berlin,
Nov. 20, 1908. Pupil of J. Otto in Dresden
and Moscheles and Rietz at Leipzig (1847-51) ;
studied with R. Schumann at Dttsseldorf,
1851-4. From 1855-61, concert-conductor,
and from 1859 municipal mus. director, at
Bonn; from 1861, court Kapellm. at Olden-
burg, succeeding Pott; retired in 1890 and
lived after that in Berlin; made R. prof, in
1899. He was one of Schumann s best
pupils, and his comps. rank high among con-
temporary productions. — Works: Incidental
music to Imogen (Shakespeare's 'Cymbeline'),
Dresden, 1891; the operas, Robin Hood
(Frankfort, 1879) and Das Sonntagskind
(Bremen, 1886); a fine symphony in D min.;
overture for orch., Normannenfahrt; cantatas
with orch. Morgenhymne, Rheinmorgen, AU-
christlicher Bittgesang; a 'cello-concerto, a
vln. -concerto, romance for horn with orch.,
chamber-music (pf.-trios), pf.-pieces-.choruses,
duets, songs; wrote also Erinnerungen an Joh,
Brahms in Brief en, besonders aus seiner
Jugendzeil (Leipzig, 1898).
Die'trich (orDieterich), Sixrus,b. Augs-
bur* (?), 1490-1495; d. St. Gallen, Switzer-
land, Oct. 21, 1548. A schoolmaster at Con-
stance in 1518, he was without musical train-
ing, though naturally talented; in 1540, being
in easier circumstances, he -studied in Witten-
berg. A book of magnificats (1535), and 2
collections of antiphones a 4 (1541 and 1545),
were published separately; motets, songs,
etc., are scattered through various German
collections printed 1538-45.
Dietach [detsh], Pierre-Louis-Philippe,
b. Dijon, March 17, 1808; d. Paris, Feb. 20,
1865. Pupil of Choron and the Paris Cons.;
1830 m. de chap, at St.-Eustache, and later
at Ste.-Madeleine; 1860-3, cond. at the Opera;
comp. of 25 masses and other sacred music.
He would have been forgotten long ago, were
208
DIETTER— DITSON
his name not connected with that of Wagner.
In 1842 he brought out at the Opera Le Vais-
seau Fant&me, written on Wagner's original
sketch of Der fliegende Hollander, and in 1861
he cond. (most incompetently) the notorious
three Paris performances of Tannhauser.—Ql,
Wagner's Mein Leben (vols, i and iii).
Dietter. See Dieter.
Dietz, Johann Christian, b. Darmstadt,
1788; d. in Holland, circa 1845. Instrument-
maker at Emmerich-on- Rhine; inventor of
the 'Melodion' (1805), the'Claviharpe' (1814),
and the Trochleon' (1812). He lived for
many years in Paris. — His son Christian
aided him in his work, and himself invented
the 4 Polyplectron' . He was estab. in Paris as a
piano-maker, and his instrs. were celebrated.
Dietz, Max, b, Vienna, Apr. 9, 1857.
Having obtained his degree (Ph.D.) from the
Univ. of Vienna, he spent some time in
France in research work, the result of which
he publ. in his Geschickte des musikalischen
Dramas in Frankreich ivdhrend der Revolution
bis zuvn Direktorium (1885), a most valuable
contribution to the hist, of opera; in 1886 he
estab. himself as Dozent for musicology at
the Univ. of Vienna, became Prof. Extraord.
in 1908, k. k. Regierungsrat in 1913. He has
been very successful as a lecture-recitalist,
and has contributed many critical articles to
various journals; has edited several masses, a
Stabat Mater and Requiem by Emperor Leo-
pold I (1891), and Recitativo e Duetto fra
Vanima e Gesi Cristo by A. de Liguori (1895).
Dleupart [d'yo-pahr'], Charles, skilful
French violinist and harpsichordist, went to
London in 1707, was maestro al cembalo, for
several years, of Handel's operas, and d. in
London circa 1740, almost destitute. Publ. 6
Suites de clavecin . . . composes et mises en
concert pour un violon et uneflHte. avec basse de
viole et archiluth (London) ; and Six Ouvertures
pour clavecin, avec violon et basse continue
(Amsterdam).
Dinger, Johann, b. Eisfeld, Nov. 30,
1593; cantor and deacon at Koburg, where he
d. Aug. 28, 1647. Published numerous works
(sacred and secular) between 1612-42. — See
Q.-Lex.
Ding'elatedt, Jenny (nee Lutzer [wife of
the poet Franz D.]), b. Prague, Mar. 4, 1816;
d. Vienna, Oct. 3, 1877. A very brilliant
coloratura singer, eng. (1832) at Prague, then
(1835-45) at the Karnthnerthor Th.t Vienna.
She married in 1843.
Dippel, Andreas, dramatic tenor and im-
Presario; b. Kassel, Germany, Nov. 30, 1866.
rom 1882-87 he was employed in a banking-
house at Kassel, meanwhile beginning vocal
study with Frau Zottmayr, a well-known
singer at the Court Theatre. In 1887 he
continued his studies under Hey (Berlin),
Leoni (Milan), and Johann Ress (Vienna),
and in that year was eng. at the Bremen
Stadttheater, making his debut in Sept. as
Steuermann in Der fliegende Hollander. Re-
mained hece till 1892, with leave of absence
in season of 1890*4- to sing in the Metr. Op.
H., New York (debut Nov. 26, 1890, in
Franchetti's Asrael; Seidl cond.). First Amer-
ican concert-tour in 1892; eng. at Stadtth.
in Breslau 1892-3, and at the Court Opera,
Vienna, 1893-^8. From 1898-1908 he was
connected with the Metr. Opera Co.
(Grau, Conned), touring the United States;
also sang at Coven t Garden, London, the
Royal Opera, Munich, and the Bayreuth
Festivals (debut 1889, as Voice of Sailor in
Tristan), winning international fame. His re-
markable repertory comprises nearly 150
operatic roles (German from Mozart to Wag-
ner, Italian from Donizetti to Puccini, and
the leading French operas), besides chief
parts in over 60 oratorios. Perhaps his most
distinctive impersonations are those of Wag-
ner's heroes. I n 1 908 he became ad ministrati ve
manager at the Metropolitan Opera House,
New York; a post relinquished in the spring
of 1910, when he assumed control of the
Phila.-Chicago Grand Opera Company, of
which he was general manager till 1913;
since then director of his own company,
producing the better class of light opera.
Diru'ta, Agoetino, Augustine monk; b.
Perueia. Was in 1622 m. di capp. at Asola,
and later at the monastery of his order in
Rome. — Publ. masses, litanies, vespers, etc.
(1622-47).— See Q.-Lex.
Diru'ta, Girolamo, b. Perugia, c. 1560;
d. (?). Organist; pupil of Claudio Merulo in
Venice, who mentions the fact with pride
in the preface to his Canzoni a la francese in
tavolatura (1598). In 1580, D. was in the
Minorite monastery at Correggio; 1593 till
after 1609, organist in the cathedral at Gub-
bio (Papal States); then at Chioggia. — Publ.
// TransUvano, o dialogo sopra il veto modo di
sonar organi e strontenti da penna. Part I
(Venice, 1593, 2d ed. 1612); Part II (Venice,
1609 and 1622).— See Q.-Lex.
Ditson, Oliver, founder of the music-pub-
lishing firm of O. Ditson & Co., at Boston,
Mass.; b. Oct. 30, 1811; d. Dec. 21, 1888. In
1832 he became a partner of G. H. Parker,
his employer, under the firm-name of Parker
& Ditson; carried on business in his own
name 1845-57, when J. C. Haynes joined the
firm, then changed to O. Ditson & Co. His
eldest son, Charles, took charge of the N. Y.
branch (Ch. H. Ditson & Co.) in 1867. Since
1875 J. Edward Ditson has conducted the
Philadelphia branch (J. E. D. & Co.). A
branch for the importation and sale of in-
209
DITTERS— DOBR2YNSKI
struments, etc., was established at Boston in
1860 as John C. Haynes & Co.; and since
1864 a Chicago branch, Lyon & Healy, has
been in business. The catalogue of the house
embraces about 52,000 titles. Publrs. of 'The
Musician* (a monthly periodical) since 1896.
Dit'tere (yon Di t'tersdorf), Karl, emi-
nent both as a violinist and composer; b.
Vienna, Nov. 2, 1739; d. at Castle Rothl-
hotta, near Neuhaus, Bohemia, Oct. 24, 1799.
At first taught by Konig and Ziegler, he
became a favorite of Prince Joseph of Hild-
burghausen, who had him thoroughly trained
by Trani (vln.) and Bono (comp.). He played
in the prince's orch. till its dissolution in
1759, and then in the court theatre at Vienna;
accomp. Gluck on his Italian journey (1761),
winning great fame as a violinist, and, on his
return to Vienna, defeating the renowned
Lolli. As Kapellm. (1764-9) to the Bishop of
Gross- Wardem, Hungary (succeeding Micnael
Haydn), he composed industriously (his first
opera, Amort in musica, 1767; various ora-
torios, and much orchestral and chamber-
music). After travelling for a short time, he
was app. Kapellm. to the Prince-Bishop of
Breslau, Count von Schaffgotsch, at Johan-
nesburg in Silesia, where he had a small
theatre built, for which he wrote several
pieces; though his best operas {Doctor und
Apotheker, Seirug durch Aberglauben, Liebe
im Narrenhaus, Hieronymus Knicker, and
Rotkdppchen) were composed during visits to
Vienna. In 1770 the Pope bestowed on D.
the Order of the Golden Spur; in 1773. he
was ennobled by the Emperor (Von Ditters-
dorf ). On the decease of the Prince-Bishop
(1795), D., who had been very prodigal of
his means while at the zenith of his popu-
larity, lived on a small pension, in strait-
ened circumstances, until a friend, Baron von
Stillfried, took him into his castle, Rothl-
hotta. Of his 28 operas only one. Doctor und
Apotheker (Vienna, 1786), still survives; de-
spite the vein of jovial humor, bright and
fluent melody, and easy and correct style,
they were eclipsed by Mozart's genius. Yet
D. may well be regarded as a worthy pre-
cursor of Mozart in national dramatic com-
position. Besides, this prolific author wrote
several oratorios and cantatas; 12 symphonies
for orch. on Ovid's 'Metamorphoses' (Vienna,
1785) — [of these 12, only 6 are now extant,
and have been republ. (1899) by Reinecke
Bros., Leipzig; they are remarkable speci-
mens of early program-music. The same firm
also republished 2 other symphonies; the
overture to Esther (oratorio); a short ballet;
and the Divertimento // combattimento del-
Vumane passioni];— 41 MS. symphonies, a
Concerto grosso, for 11 concerted instrs., with
orch.; 12 vln.-concertos; numerous string-
quartets (the best were edited by the M tiller
210
brothers, and publ.); 12 divertissements for 2
vlns. and 'cello; 12 4-hand sonatas for pf.; 72
preludes, for pf.; etc. — Also an essay: Brief e
uber Behandlung italienischer Tjsxtc bet der
Composition (Leipzig, 'Alleem. musikal. Zei-
tung,' 1799), and his Autobiography (Leipzig,
1801; edited by Spazier; reprinted by E.
Istel, Leipzig, 1909; English translation by
A. D. Coleridge, London, 1897).— Cf. K.
Krebs, Dittersdorfiana (Berlin, 1900; with
thematic cat.); K. M. Klob, Drei musikalische
Biedermdnner (Ulm, 1911).— See Q.-Lex.
Di'vitis, Antonlu8 (real name, Antolne
le Riche), celebrated French contrapuntist
early in the 16th century, chapel-singer to
Louis XII; d. circa 1515. — Motets and chan-
sons are scattered in collections, e. g., Mot-
tetti de la corona (1514), and others printed
by Rhaw, Attaienant, etc. At Cambrai is a
MS. mass; at Munich, a Credo and a Salve
Regina a 5.
D'lvry. See Ivry.
Dizi [de-z€']f Francois -Joseph, famous
self-taught harpist; b. Namur, France, Jan.
14, 1780; d. Paris, Nov., 1847. He set out
for London when only 16; lost his harp on
the way, but went on without it, and intro-
duced himself to £rard, who gave him a
harp, and obtained pupils for him. Besides
winning fame as a concert-player, and as a
harpist at the principal theatres, he invented
the 'perpendicular harp' (which was unsuc-
cessful), and composed sonatas, romances,
variations, studies, etc., for harp; also publ.
an £cole de Horpc, being a Complete Treatise
on the Harp (London, 1827). In 1830 he
went to Paris, and established a harp-
factory with Pleyel, which did not do well.
Here he was app. harp-teacher to the Royal
princesses.
Dlabacz [dlahT>ahtsh], Gottfried Jo-
hann, b. Bdhmisch-Brod, Bohemia, July 17,
1758; d. Prague, Feb. 4, 1820, where he was
librarian and choirmaster of the Premon-
stratensian monastery. — Publ. Allgemeines
historisches Kiinstlerlexikon fur Bbhmen (3
vols., 1815-18), and contributed several ar-
ticles for Riegger's 'Statistik von Bohmen.'
Ddbber, Johannes. See Doebber.
Dobrzynski [-zhin'-J, Ignacy Felix, pian-
ist; born Romanov, Volhynia, Feb. 25,
1807; d. Warsaw, Oct. 18, 1867. Son of the
violinist J. Dobriynski [1777-1841]; taught
by his father, then by Eisner, being a fellow-
pupil and fast friend of Chopin; on subse-
Suent pianistic tours (1845-6) to Leipzig,
Dresden, and Berlin, he had great success.
For a time he conducted the opera in War-
saw, where he finally settled. — Works: 2
operas, Die Flibustier (Warsaw, 1861), and
Monbar (not perf.); symphony in C minor;
DOEBBER— DOLMETSCH
Symphonic caracterislique; 1 string-sextet, 2
string-quintets, 2 string-quartets; 1 pf.-trio;
a sonata for pf. and vln.; a nocturne for
pf. and vln., Les Larmes; mazurkas and
nocturnes for pf.; songs.
Doebber (dob'-], Johannes, born Berlin,
March 28, 1866. Pupil* in Stern Cons, of R.
Radecke (comp.), L. B ussier (cpt. and comp.),
and C. Agghazy (pf.). He taught the first
pf. -class in Kullak s Cons. ; then became Ka-
pellm. at Kroll's Th. under Dir. Engel, Jr.;
at Darmstadt Court Th.; in 1895, Kapellm.
at the Court Th. in Coburg-Gotha, and tutor
in music to Princess Beatrice; then in Han-
over; since 1908, as teacher and mus. critic
of the 'Volkszeitung' in Berlin. — Dramatic
works: A 1-act comic opera, Die Strassen-
sangerin (Gotha, 1890; succ.); 3-act opera
Der Schmied von Gretna-Green (Berlin, 1893;
mod. succ.); 1-act burlesque opera DoUetta
(Brandenburg, 1894); 1-act opera Die Rose
von Genzano (Gotha, 1895; succ.); 3-act
opera Die Grille (Leipzig, 1897; succ.); Die
drei Rosen (Coburg, 1902); Der Zauberlehr-
ling (Brunswick, 1907); Die Millionen-
braut (operetta, Magdeburg, 1913); Die
Franzosenzeit (after Fritz Reuter; not yet
perf. [1916]); also a symphony, op. 34; pf.-
pieces; over 60 songs; and quartets, duets,
arrangements, etc.
Doenhoff, Albert von, concert-pianist; b.
Louisville, Ky., March 16, 1880. Studied at
Cincinnati Coll. of Music; at N. Y. College of
Music (1891-5) with Alexander Lambert;
with Xaver Scharwenka (1895-8); with Ra-
fael Joseffy (1899-1905). D6but in March,
1905, in N. Y. City. Soloist at over 100
orch. concerts given in N. Y. City from
1910-15. Instructor, Natl. Cons. (1899-1907);
recitals in many cities. Has comp. minor
pieces for pf. (valse, arabesque, etudes, etc.),
and compiled a Piano Teacher's Manual,
Ddh'ler, Theodor, pianist and comp; b.
Naples, April 20, 1814; d. Florence, Feb. 21,
1856. A pupil of Julius Benedict at Naples,
and of Czerny (pf.) and Sechter (comp.) at
Vienna. In 1831 he became pianist to the
Duke of Lucca, lived for a time in Naples,
made brilliant pianistic tours from 1836-46
to Germany, Italy, Paris ('38), London and
Holland ('39), and again to Italy, Holland,
Belgium; after 2 years' sojourn in Lucca he
went to Copenhagen in 1843, thence to
Russia, and in 1846 to Paris; settling in
Florence in 1848. In 1846 the Duke, his
patron, ennobled him, and he married a Rus-
sian countess. — Works: A posthumous opera
Tancreda (Florence, 1880; quite successful);
many pf .-pieces (concertos, op. 7; nocturnes;
tarantellas; 12 Htjides ds concert, op. 30; 50
Htudes de salon, op. 42 ; variations, fantasias,
transcriptions, etc.). His salon-music is ele-
gant and showy.
Dohnanyi [ddh'nahn-ye], Ernest von,
noted pianist and composer; b. Presburg,
Hungary, July 27, 1877. Pupil of his father.
Friedrich von D., prof, of mathematics and
amateur 'cellist, and Karl Forstncr (till 1894);
then, at the Landesmusikakademte in Pest,
of Stefan Thoman (pf.) and Hans Koessler
(comp.). After graduation in 1897, he studied
during the summer with d 'Albert. His first
independent piano-recital was at Berlin in
October, 1897, followed by a concert-tour to
Cologne, Dresden, Frankfort, Vienna, Pest,
etc.; tour to London and through Great
Britain in spring of 1898; same autumn, first
tour of the Umted States (second, 1900-1);
further travels in Russia, Austria-Hungary,
etc.; instructor of pf. at Kgl. Hochachule in
Berlin; since 1908, professor. In recent years
he has devoted more and more time to comp.,
app* rather infrequently as pianist; his earliest
works elicited nigh praise from Brahms,
which his subsequent comps. have fully jus-
tified.— Works: Symphony No. 1, in F (not
numbered; won 'Millenniumsltfnigspreis' at
Pest in 1896); op. 1, pf. -quintet, in C m.;
op. 2, Overture Zrinyi (shared the prize with
the symph. in 1896); op. 3, 5 Klavierstucke;
op. 4, Variations for pf., in G; op. 5, Con-
certo for pf. and orch., in E m. (won Bosen-
dorfer prize in Vienna, 1899); op. 6, Passa-
cagfia, for pf.; op. 7, String-auartet, in A m.;
op. 8, Sonata for vci. and pf., in Bb m.; op.
9, Symphony No. 2, in D m.; op. 10, Sere-
nade, in C, for vln., via. and vcl.; op. 11,
4 Rhapsodien for pf.; op. 12, Konzertstuek for
vcl. and orch.; op. 13, Winlerreigen (10 baga-
telles for pf.); op. 14, 6 songs; op. 15, String-
quartet, in Db; op. 16, Jm Lebenslenz (6
songs); op. 17, Humoresken in Form einer
Suite, (or pf. ; op. 18, Der Schleier der Pierrette
(pantomime; Dresden, 1910); op. 19, Suite,
in F m., for orch.; op. 20, Tante Simona (1-
act opera; Dresden, 1912); op. 21, Sonata, in
C# m., for vln. and pf.; op. 22, Concerto for
Sf. and orch., in Db; op. 23, 3 Stucke f&r
llavier; op. 24, Suite for pf.; op. 25, Varia-
tions for pf . and orchestra.
Doles, Johann Friedrich, born Stein-
bach, Saxe-Meiningen, April 23, 1715; d.
Leipzig, Feb. 8, 1797. Church-composer; a
pupil, not a disciple, of J. S. Bach. He was
app. cantor at Freiberg, Saxony, in 1744; in
1756 he succeeded G. Harrer as cantor and
musical director of the Thomasschule, Leip-
zig, resigning in 1789. — Works: A treatise,
Anfangsgrunae turn Singent and very numer-
ous church-compositions, mostly written in
an easy and popular style. — See Q.-Lex.
Dolmetsch, Arnold, b. Le Mans, Maine,
France, Feb. 24, 1858. While apprenticed in
211
DOMANIEWSKI— DONATI
his father's piano-factory he learned to play
both piano and violin, making such marked
progress on the latter instrument that his
father sent him to Brussels, where he became
a pupil of Vieuxtemps; after completing his
studies he went to Dulwich, was app. in-
structor of vln. at the College, and soon won
a reputation as teacher. From his earliest
years he had shown a decided predilection
for the music of Bach and the old masters;
when by chance he became the possessor of a
well-preserved viola d'amore, he did not rest
until he had mastered the instrument; grad-
ually he acquired the same skill on all the
members of the viol family. He then gave
up his large class of vln.-pupils, and devoted
his entire time to lecturing and giving recitals
on the old instruments. In his quest for old
music he found in the British Museum MSS.
of almost forgotten English composers (Simon
Ives, Matthew Locke, Thomas Tomkins,
Henry VIII, etc.). To become an authori-
tative interpreter of all this music he found
it necessary to extend his investigations to
the virginal, spinet, harpsichord and clavi-
chord. He began by collecting old books, in
which those instruments were described by
contemporary authorities; the mechanical
skill he had acquired in his father's shop he
turned to account in repairing the instru-
ments which he collected, and before long he
was acknowledged as an authority on old
music and instruments; he was not only a
connoisseur and skilled workman, but also a
masterly performer on every instrument in
his large collection; with his wife and a pupil,
Kathleen Salmon, he established the Dol-
metsch Trio, devoted exclusively to the per-
formance of old music on the original instru-
ments. A tour of the U. S. in 1902 attracted
so much attention that Chickering & Sons, of
Boston, placed their factory and a force of
their best workmen at D.'s disposal. The be-
ginning was made with the restoration of a
virginal by Hans Ruckers (1620); then a
number of stringed and keyed instruments
were built after the best models extant. The
interest excited by the revival of these in-
struments has induced several other artists
(Wanda Landowska, Fuller Maitland, the
brothers Casadesus, etc.) to give recitals on
them. From 1902-9 D. lived in Boston,
supervising the construction of his instru-
ments and concertizinz; since then he has
resided in London. He has published The
Interpretation of the Music of the 17th and
Mh Centuries (London, 1915).
Domaniewski [-yev'ske], Boleslaus, dis-
tinguished piano pedagogue; b. Gronowck,
Russian Poland, 1857. Pupil of R. Lorer and
J. Wieniawski in Warsaw, 1871-4; after ex-
tended tours he studied again at the Petro-
grad Cons, with Soloviev, Liadov, Bernhard
and Sacchetti; 1890-1900, prof, at Cracow
Cons.; app. director of the Cons, of the Mu-
sikverein at Warsaw in 1902 ; since 1906 also
director of the Mus. Soc. His pedagogical
works for pf. are valuable, especially his
Vademecum pour le pianiste; he has written
some pieces for pf.
Dom Be'dos. See Bedos de Celles.
Dominlceti {-tcha'-], Cesare, b. Desen-
zano, Lago di Garda, July 12, 1821; d. Sesto
di Monza, June 20, 1888. Opera-composer;
studied in Milan, where all his operas were
brought out ; lived for a long time in Bolivia,
made a fortune there, and, some years after
his return to Italy, was app. prof, of comp. at
Milan Cons^-^Operas: / belli usi di citta (41),
Due-mogli in una ('53), La maschera ('54),
Morovico (73), II lago deUe fate (78), and
L'erediiiera (1881).
Dom'mer, Arrey von, writer and critic;
b. Danzig, Feb. 9, 1828; d. Treysa, Thurin-
gia, Feb. 18, 1905. A theological student,
he turned to music, and in 1851 became the
pupil of Richter and Lobe (comp.), and
Schallenberg (org.) at Leipzig. He taught
music at Leipzig, and went to Hamburg in
1863, where he resided as a lecturer,
music critic to the 'Correspondent,' and
(1873-89) secretary in the Hamburg town
library. In 1892 Marburg Univ. conferred
upon him the degree of Ph. D. (hon. c);
chief contributor to 'Allgem. Deutsche Bio-
graphic' — Writings: Elemente der Musik
(1862); Musikalisches Lexikon (1865; a re-
vised ed. of Koch's); Handbuch der Musik-
geschichte (1867; 2d ed. 1878; 3d ed. (en-
tirely rewritten and brought up to date by
A. Schering] 1914).. Also published an 8-
part psalm a cappella, and a 4-part arrange-
ment of melodies by J. W. Franck.
Donalda, Pauline (real name Light-
stone, translated by her father from Lichten-
stein when he became a British subject),
dramatic soprano; b. Montreal, March 5,
1884. She received her first musical training
at Royal Victoria College, Montreal, and
then was a private pupil for 2 years of E.
Duvernoy in Paris; debut as Manon (in
Massenet's opera) at Nice, Dec. 30, 1904; the
next year she appeared at La Monnaie,
Brussels, and Covent Garden; 1906-7, at
Hammcrstein's Opera House, N. Y.; since
then chiefly at"Op6ra-Comique. Her stage-
name was taken in honor of Sir Donald
Smith (later Lord Strathcona), who en-
dowed R. Victoria Coll. and presented it to
McGill Univ.; in 1906 she married the
French tenor, M. Seveilhac; her voice is a
light soprano of very pleasing quality; favor-
ite rdles, Marguerite and Mimi.
Dona'ti, Baldassaro, famous comp. of
motets and madrigals; b. Venice (date ?);
212
DONATI— DONIZETTI
d. there 1603. He was choirmaster of the
so-called 'small choir' at San Marco, Venice,
1562-5, when it was disbanded, and he be-
came a simple chorister; in 1590 he succeeded
Zarlino as maestro. — Extant works: Canzo-
nette viUancsche alia napoletana (1551 and
1555); several books of madrigals a 4-6
(1559-68); and one volume of motets a 5-8
(1569).— See Q.-Lex.
Dona'ti, Ignazlo, composer of the Lom-
bard school; b. Casalmaggiore, n. Cremona,
towards end of 16th cent. In 1619 he was
m. di capp. in the Accademia di S. Spirito,
Ferrara; from 1633, maestro in Milan cath. —
Publ. 1 vol. of motets a 1-5 (1612); 2 vols, of
Concerti ecclesiastici a 2-5 (1617, 1619); 2
vols, of masses a 4-6 (1618); Le Fanfalughe
(madrigals a 3-5) ; etc. — See Q.-Lex.
Donaudy [doh-noh-de'J, Stefano, b. (of Fr.
father and Italian mother) Palermo, Feb. 21,
1879. Pupil at Cons, of Palermo of G.
Zuelli, 1896-1900; comp. of the operas
FolcheUo (Palermo, 1892; priv. perf.); Scam-
pagnata (ib., 1898; priv. perf.) Theodor Kbrncr
(Hamburg, 1902); Sperduti nel buio (Palermo,
1907); Ramuntcho (not yet perf. [1916]); is
at work on La Flatnande; has also written a
symph. poem, Le Rhe de Polysende; and Douze
airs de style ancien lor voice and pf .
Done, William, English organist, cond.,
and chorus-trainer; b. Worcester, 1815; d.
there Aug. 17, 1895. Choir-boy of W.
cathedral, 1825, under organist Clarke; 1839
asst.-org.; 1844 1st org., succeeding Clarke,
and conductor of Wore. Mus. Festivals. 1894
Mus. Doc., Cantab, (hon. c). — A fine organ-
ist, he instituted needed reforms in the
cathedral service.
Do'nl, Antonio Francesco, writer; born
Florence, 1519; d. Monselice, n. Padua, in
Sept., 1574. For several years he was a
member of the Servite fraternity in Florence;
after leaving it in 1539, he led a wandering
life as a lay-priest. — Publ. a Dialogue on
Music (in Lat., 1534; in Italian, 1541, etc.),
and a Libreria (Venice, 1550,- '51, '60), con-
taining a description of all published or MS.
musical books in Italian, known at the time.
Donl, Giovanni Battista, a Florentine
nobleman; born 1594; d. Dec. 1, 1647. He
studied literature and philosophy at Bologna
and Rome; from 1613-18 he was a law-student
at Bourges, France, and took his degree at
Pisa. In 1621 he accomp. Cardinal Corsini
to Paris, where he zealously prosecuted his
literary and antiquarian studies; went to
Rome in 1622, at the invitation of Cardinal
Barberini, who was passionately fond of
music, and with whom he travelled. In the
intervals of his profound study of ancient
music, he found time to construct the 'Lyra
Barderina' or 'Amphicord,' a species of
double lyre, which he dedicated to Pope
Urban VIII. Recalled to Florence in 1640
by deaths in his family, he settled there,
married next year, and accepted a professor-
ship of elocution offered him by the Grand
Duke. His criticism and discussions of the
earliest operas are very valuable, and were
publ. for the first time by A. Solerti in
Origini del melodratnnta. Testimonianze dei
contemporanei (Turin, 1903). — Writings: Com-
pendio del traUato dei generi e modi delta
musica (Rome, 1635); Annotazioni on the
above (Rome, 1640); De prctstantia musica
veteris libri tres . . . (Florence, 1647); and
several essays in MS.
Donizetti [-tset'te], Alfredo, real name
Ciummei, b. Smyrna, Sept. 2, 1867. Studied
(1883-9) at Milan Cons, under Ponchielli
and Dominiccti, grad. w. a fine Stabat Mater
for soli, chorus, org. and orch. (publ.). Now
(1916) living in Milan as composer and
teacher of counterpoint. — Works: 1-act opera
Nama (Milan, 1889); 1-act opera Dopo
VAve Maria (Milan, 1897), very successful
(publ.). Dramatic works not perf.: La Lo-
candiera (comedy in 3 acts), ./ Sonnambuli
(com. in 1 act), La MadrileHa (operetta in 3
acts), II canto del mare ('idillio' in 1 act).
Publ. works: Several dances and character-
istic pieces for pf., and numerous songs; 5
pf.?arrangements of his own orchestral pieces
(Symphony in C, Nattaglia, Danza di Satiri,
Mesta Canzone, and Cipria e Parrucche).
Donlzet'ti, Gaetano, one of the brilliant
triumvirate (D., Rossini, and Bellini) of
Italian opera-composers in the first half of
the 19th century, was b. at Bergamo, Nov.
29, 1797; d. there April 8, 1848. His father,
a weaver by trade, later obtained a position
in the local monte di pieta, and desired that
his son should become a lawyer. But D.'s
inclinations were towards art; besides being
strongly attracted to music, he studied
architecture, drawing, and literature. His
father finally allowed him to "enter the
Bergamo school of music; his teachers were
Salari (voice), Gonzales (pf. and accomp.)
and J. S. Mayr (harm.).- In 1815 he changed
to the Bologna Liceo Filarmonico, here com-
pleting his contrapuntal studies under Pilotti
and Padre Mattei, to whom Mayr had recom-
mended him. His father now insisted on his
becoming a teacher, while D. himself felt
an irresistible bent for dramatic composition.
To end this conflict, he joined the army; his
regiment was ordered to Venice; and here, in
leisure moments, he composed his first opera,
Enrico di Borgogna (Venice, 1818), whose
success encouraged further production. His
next opera, II Falegname di Livonia (Venice,
1819; given at first as Pietro il Grande. Czar
delle Russie)t was likewise well received; but
213
DONIZETTI
Le None in villa (Mantua, 1820) was a failure.
After the success of Zoratde di Granata (1822)
he was exempted from further military service.
From 1822 to 1829 inclusive, 23 operas flowed
from his too facile pen; during this period D.
was mostly a rather poor imitator of Rossini.
But now, piqued by Bellini's successes, he
wrote his Anna Bolena (Milan, 1830), which
begins his second and more original period.
Written for Pasta and Rubim — after the
good (?) old Italian fashion of adapting rdles
to singers — its vogue was more than local; in
it, as Henry VIII, Lablache scored his first
London triumph at the old 'King's Theatre.'
In its wake followed L'Elisir d'amore (Milan,
1832), the tragic Lucrezia Borgia (La Scala,
Milan, 1833), and the immensely popular
Lucia di Lammermoor. (Naples, Teatro San
Carlo, 1835). Like that of so many other
Italian opera-composers, D.'s life was spent
in travelling from place to place, bringing out
opera after opera. Now, enjoying European
celebrity, he visited Paris in 1835, and pro-
duced Marino Faliero at the Theatre des lta-
liens. In May, 1837, he succeeded Zingarelli
as Director pro tern, of the Naples Cons.; in
July of that year he lost his wife, Virginia
(nee Vasselli), after 14 years of happy wedded
life. The censor's veto on the production of
Poliuto (written for Ad. Nourrit after Cor-
neille's Polyeucte) so angered him, that he in-
continently forsook Milan for Paris. Here
La Fille du rtgiment (Opera-Corn., Feb. 11,
1840), Les Martyrs (an amplification of the
forbidden Poliuto; Opera, April 10, 1849), and
La Favorite (OpeVa, Dec. 2, 1840), made a
veritable sensation. Returning to Italy, Ade-
lasia (Rome, 1841) and Maria Padilla (Milan,
1841) had good fortune. In Vienna (1842)
Linda di Chamounix evoked such enthusiasm
that the Emperor conferred on him the titles
of Court Composer and Master of the Imperial
Chapel (he had also written a Miserere and
an Ave Maria for the 'Hofkapelle,' in a severe
purity of style warmly commended by the
local critics). Don Pasquale (revived at Stutt-
gart Court Th., 1898, with great applause)
was produced in Paris, 1843. D. had reached
the height of his fame and prosperity; though
still maintaining the unbroken flow of crea-
tive activity, terrible headaches and mental
depression warned him to desist; Caterina
Cornaro (Naples, 1844) was his last work;
one morning in 1845 he was found insensible
on the floor of his bedroom, stricken with
paralysis. He never recovered his mental
powers, and died in 1848 at Bergamo, where
a monument by Vincenzo Vela was erected
to his memory in 185*5. — Lucia di Lammer-
moor is generally held to be his finest work;
in it the vein of melody — now sparkling, now
sentimental, now tragic — which embodies
Donizetti's best claim on originality and im-
mortality, finds, perhaps, freest and broadest
development. Besides operas, a full list of
which follows, he wrote many songs, ariettas,
duets, and canzonets; 7 Masses, one being a
Requiem; cantatas; vespers, psalms, motets;
12 string-quartets; and piano-music.
Bibliography: Filippo Cicconctti, Vita di
G. D. (Rome, 1864); Alborghetti and Galli,
G. D. e S. Mayr (Bergamo, 1875); A. Gabri-
elli, G. D. (Turin, 1904); A. Cametti, D. a
Roma. Con lettere e documenti inediti (Milan,
1907); also essays published at the D. centen-
nial celebration in Bergamo: E. C. Verzino,
Contribute alia storia delle opere di G. D.
(Milan, 1897); Ippolito Valetti, D. (Rome,
1897); Adolfo Calzado, D. e V opera italiana
in Spagna (Paris, 1897, pp. 23).
OPERAS BY GAETANO DONIZETTI.
Enrico di Borgogna. Venice, 1818.
II Falegname di Livonia. Venice,
1819.
Le Nozze in villa, Mantua, 1820.
Zoraide di Granata, Rome, 1822.
La Zingara, Naples, 1822.
La Lettera anonima, Naples, 1822.
Chiara e Seranna, o I Pirati. Milan,
1822.
II Fortunato inganno, Naples, 1823.
Aristea, Naples, 1823.
Una Follia, Venice, 1823.
Alfredo il Grande. Naples, 1823.
L'Aio neirimbarazzo, Rome, 1824.
Emilia, o L'Eremitaggio di Liver-
pool. Naples. 1824.
Alahor in Granata, Palermo. 1826.
11 Castello degli Invalid!, Palermo,
1826.
Elvida. Naples, 1826.
Olivo e Pasquale, Rome. 1827.
II Borgomastro di Saardam, Na-
ples. 1827. [1827.
Le Convenienze teatrali. Naples,
Otto Mesi in due ore. o Gli Esiliati
in Siberia, Naples. 1827.
L'Esule di Roma. Naples, 1828.
La Regina di Golconda, Genoa,
1828.
Gianni di Calais, Naples. 1828.
Giovedl grasso, Naples, 1828.
II Paria. Naples. 1829. (1829.
11 Castello di Kenilworth. Naples.
11 Diluvio universale, Naples. 1830.
I Pazzi per progetto, Naples,
1830.
Francesca di Foix. Naples, 1830.
Isnelda de' Lambertazzi, Naples,
1830.
La Romanziera e l'uomo nero,
Naples, 1830.
Anna Bolena. Milan. 1830.
Fausta. Naples, 1832.
Ugocontedi Parigi. Milan, 1832.
L'Elisir d'amore. Milan. 1832.
Sancia di Castiglia, Naples. 1832.
II Furioso ali'isola di San Do-
mingo, Rome, 1833.
Parisina, Florence, 1833.
Torquato Tasso, Rome, 1833.
Lucrezia Borgia, Milan, 1833.
Rosamunda d'lnghilterra, Florence,
1834; later at Naples as Eleonora
di Guienna.
Maria Stuarda, o BuondeJmonte,
Naples, 1834.
Gemma di Vergy, Milan. 1834.
Marino Faliero, Paris, 1835.
214
Lammermoor, Naples,
Lucia di
1835.
Belisario. Venice. 1836. [1836.
II Campanello di notte, Naples,
Betly. Naples, 1836.
L'Assedio di Calais, Naples. 1836.
.Pia de' Tolomei. Venice, 1837.
Roberto Devereux, Naples, 1837.
Maria dl Rudenz, Venice. 1838.
Gianni di Parigi, Milan. 1839.
La Fille du regiment. Paris, 1840.
Les Martyrs (Poliuto), Paris, 1840.
La Favorite. Paris, 1840.
Adelasia. ossia La Figlia dell'ar-
ciero, Rome, 1841.
Maria Padilla. Milan. 1841.
Linda di Chamounix, Vienna, 1842.
Don Pasquale. Parts, 1843.
Maria di Rohan. Vienna. 1843.
Don Sebastiano (Dom Slbastien)
Paris. 1843.
Caterina Cornaro Naples, 1844.
( Posthumously performed.)
Poliuto. Naples. 1848.
Rita, ou Le Mari battu. Paris, 1860.
Gabriella di Vergy. Naples. 1869.
II Duca d'Alba. Rome. 1882.
DONT— DORFFEL
Dont, Jakob, violinist, teacher, and com-
poser; b. Vienna, March 2, 1815; d. there Nov.
18, 1888. His father was the 'cellist Joseph
Valentine D. [b. Georgenthal, Bohemia, April
15, 1776; d. Vienna, Dec. 14, 1833). Pupil of
Bohm and Hellmesberger (Sr.) at Vienna
Cons. ; joined the orch. ofthe 'Hofburgtheater'
in 1831, and the court orch. in 1834. He
taught in the 'Akad. der Tonlcunst,' and the
Seminary at St. Anna; from 1873 he was
vln.-prot. at the Cons. His fitudes for vln.,
Gradus ad Parnassum, are excellent; he publ.
altogether some 50 works.
Door [dohr], Anton, b. Vienna, June 20,
1833. Pupil of Czerny (pf.) and Sechter
(comp.). A notable pianist, giving highly
successful concerts at Baden-Baden and
Wiesbaden in 1850, and with Ludwig Straus
in Italy. Made a Scandinavian tour in
1856-7, and was app. court pianist at Stock-
holm and a member of the Royal Academy.
In 1859 he succeeded N. Rubinstein as
teacher at the Imp. Inst., Moscow, and be-
came professor at the Cons, in 1864. He
was, from 1869-1901, prof, of the highest
pf. -class in the Vienna Cons. In 1877 he
travelled with Sarasate through Eastern
Hungary, and also played in Leipzig, Berlin,
Amsterdam, and other cities. He is a very
successful teacher (R. Fischoff, F. Mottl,
Sichel, Steinbach, B. Schdnberger, Schwicke-
rath, etc., are his pupils), and a progressive
musician, bringing out new works by Raff.
Brahms, Saint-Saens, etc.; has done good
service in ed. classical and instructive works.
Dop'pler, Adolf, b. Graz, May 1, 1850; d.
there Nov. 30, 1906. Pupil of F. Thieriot,
J. Buwa, and W. A. Remy; established a
successful music school in Graz in 1878,
which he directed till his death. Composer
of a successful opera, Viel Ldrtn urn Niehts
(Leipzig, 1896), several pf. -sonatas, male
choruses and songs.
Dop'pler, Albert Franz, flutist and
dramatic composer; b. Lemberg, Oct. 16,
1821; d. Baden, near Vienna, July 27, 1883.
He was taught by his father, an oboist in
Warsaw and Vienna. After his debut at
Vienna, he made several tours with his
brother Karl, and was app. first flute at the
Pest theatre, for which ne wrote his first
opera, Benjowski (1847). In 1858 he became
first flute and. asst.-conductor (later first
conductor) of ballet at the Vienna court
opera; in 1865, prof, of flute in the Cons. —
Operas: Benjowski; Ilka ('49); Afanasia;
Wanda ('51); Salvator Rosa; Die beiden //«-
saren (1853; comic); Erzebeth (with his
brother and Erkel); Judith (Vienna, '70); the
comic ballet Mar got (Berlin, 1891), and 10
ballets for Vienna; also ballet-music, over-
tures, concertos for flute, etc.
Dop'pler, Arpad, son of Karl; b. Pest,
June 5, 1857. Pupil, in Stuttgart Cons., of
Lebert and Pruckner (pf.), Seyerlen and
Faiszt (theory), Seifritz and Goetschius
(comp.), and later of his father (instrumenta-
tion). After teaching pf. in the Cons, for
some time, he went to New York, teaching
for 3 years (1880-3) in the Grand Cons.;
then returned to his old position at Stutt-
gart, and, since 1889, has also been chorus-
master at the Court Th.; made R. Prof, in
1907.— Works: For full orch., Suite, in Bb,
Festouverture, Thema and variations, Scherzo,
and a Suite im alten Styl; also a Wiegenlied, for
string-orch., several female choruses, with
orch., several songs, pf. -music, etc.
Dop'pler, Karl, brother of Albert; b.
Lemberg, Sept. 12, 1825; d. Stuttgart, March
10, 1900. Flutist, pupil of his brother and
father. After long concert-tours, he became
conductor and mus. director at the National
Th., Pest; from 1862-5, conductor of the
Hofoper in Vienna; after 1865, Hofkapellm.
in Stuttgart, resigning in 1898, when he was
succeeded by Reichenberger of Bremen. —
Operas: The Grenadiers' Camp (Pest, 1852);
The Son of the Desert (ib., 1854); etc.—
Ballets, flute-music.
Doret [doh-ra'], Gustave, b. Aigle, Switz-
erland, Sept. 20, 1866. He received his first
instruction at Lausanne; studied vln. with
Joachim at the Kgl. Hochschule in Berlin;
then pupil at Paris Cons, of Marsick (vln.)
and Dubois and Massenet (comp.); 1893-5,
conductor of the 'Concerts d'Harcourt' and
of the 'Societe Nationale de Musique' at
Paris; 1896, conductor of the concerts at the
Nat. Exposition at Geneva; 1913, conductor
of the Saint-Sagns Festival at Vevey; 1907-9,
cond. at the Opera-Comique; has also app.
as visiting-conductor in Rome, London, and
Amsterdam; Chev. of the Legion d'Honneur.
— Works: The operas Les Armaillis (Opera-
Corn., 1906); Le Nain du Hasli (Geneva,
1908); Lo$s (Vevey, 1913); La Tisseuse
d'Orties (not yet prod., 1916); Voix de la
Patriet cantata for male ch. and orch. (1891);
an oratorio, Les Sept Paroles du Christ (1895) ;
La FUe des Vignerons (1905); incid. music to
Shakespeare's 'Junus Caesar' (Odeon, Paris);
ditto to Rene Morax's Henriette, Alxknor, La,
Nuit des Quatre-Temps, Tell (all produced at
Mezieres); several pieces for orchestra; about
150 songs.
Dorf'fel, Alfred, b. Waldenburg, Saxony,
Jan. 24, 1821; d. Leipzig, Jan. 22, 1905.
Taught by Fink, M Ciller, Mendelssohn, and
others, at Leipzig. Was Becker's successor
as librarian (mus. dept.) of the Leipzig City
Library; and collected a valuable circulating
library of his own, which later was acquired
by C. F. Peters and became the nucleus of
215
DORIA— DORUS-GRAS
the present 'Musikbtbliothek Peters' at Leip-
zig. The fame of the 'Edition Peters' is in
large measure due to D.'s careful editorship.
As a musical critic and editor he was highly
esteemed in Leipzig; in 1885 he received the
degree of Ph. D. (bon. c.) from the Univ. He
publ. a catalogue of his library (1861; with
suppl., 1890); a German translation of Ber-
lioz^ Traite d' Instrumentation' (1863 [au-
thorized by the composer]; 4th ed. 1888);
Fiihrer dutch die musikalische Welt (1868);
Gesckichtc dtr Gewandhauskonzerte 1771-1881
(1884; very valuable); a thematic catalogue
of Bach's instrumental works; ditto of Schu-
mann's complete works (1871).
Do'ria, Clara. Stage-name of Clara
Kathleen [Baraett] Rogers.
Dd'ring, Gottfried, b. Pomerendorf, n.
Elbing, May 9, 1801; d. there June 20, 1869.
Pupil of Zeltner at the Institute for Church-
music, Berlin; 1828, cantor of the Marien-
kirche, Elbing. — Publ. an essay, Zur Ge-
schichte dtr Musik in Preussen (1852); a
Choralkunde (1865) ; and two Chorale-books.
Db'rinft, (Carl) Heinrich, pf. -teacher; b.
Dresden, July 4, 1834. Pupil Leipzig Cons.
1852-5 (Hauptmann, Lobe, Plaidy, Rjchter).
Taught in Leipzig; 1858, teacher in Dresden
Cons.; 1875, Professor. Excellent pedagogue;
gifted comp.; still active in Dresden (1916).
— Works: Instruct, pf.-comps.: Op. 38, Die
Grundpfeiler des Klavierspiels (3 parts); op.
66, Prakt. Studien und Obungsstucke fur das
poly phone Klavier spiel; op. 109, Technische
Hiilfs- und Bildungsmittel; numerous sonatas,
sonatinas and studies. Besides these he has
written many male choruses; some suites for
string-orch.; a mass; and motets a 4, 6, and 8;
also publ. Riickblicke auf die Geschichte der
Erfindung des Hammerklaviers im 18. Jahrh.
(Dresden, 1898).
Dora, Alexander (Julius Paul), son of
Heinrich D.; b. Riga, June 8, 1833; d. Berlin,
Nov. 27, 1901. Pianist, taught by his father;
at first private teacher in Poland; lived 1855-
65 at Cairo and Alexandria, Egypt, as a
teacher, conductor, and player; from 1865-8
conducted the Crefeld 'Liedertafel,' and then
settled in Berlin as pf .-teacher at the R. Hoch-
schule, with the title of R. Prof. — Works (over
400 in all): 3 masses for male ch. and orch.;
cantata, Der Blumen Roche, for soli, ch. and
orch.; operettas for female voices; many
brilliant pf. -pieces; songs, etc.
Dora, Edward. Pen-name of Joseph
Leopold Rockel.
Dora, Heinrich (Ludwig Egmont), b.
Kdnigsberg, Nov. 14, 1804; d. Berlin, Jan.
10, 1892. Law-student at Konigsberg in
1823, but studied music diligently, continu-
ing in Berlin under L. Berger (pf.), Zelter,
216
and B. Klein. After teaching in Frankfort,
he became Kapellm. of the Kdntgsberg Th.
in 1828; in 1829, music director (and Schu-
mann's teacher) at Leipzig; 1831-42, music
director at the Cath. of St. Peter's in Riga;
1843, theatre- Kapellm. and city music dir. at
Cologne. Here (1845) he founded the
'Rheinische Musikschule' (which became the
Cologne Cons, in 1850), and from 1844-7
conducted the Lower Rhenish Mus. Festivals.
From 1849-69 he was court Kapellm. at the
Royal Opera, Berlin; was pensioned, with the
title of 'Royal Prof./ and busied himself with
teaching and musical criticism. — Works: The
operas Die Rolandsknappen (Berlin, 1826);
Der Zauberer (Berlin, 1827; a melodrama);
Die BeUlerin (Kdnigsberg, 1828); Abu Kara
(Leipzig, 1831) ; Das Schwdrmermddchen (Leip-
zig, 1832); Der Schoffe von Paris (Riga, 1838) ;
Das Banner von England (Riga, 1841); Die
Musiker von Aix-la-ChapelU (1848); Aria-
xerxes (Berlin, 1850); Die Nibelungen (Berlin,
March 27, 1854; also in Weimar, Breslau,
etc.; considered his best opera); Ein Tag in
Russland (Berlin, 1857; comic); Der Boten-
laufer von Pirna (Berlin, 1865); an operetta,
GeinUer bet Sonnenschein (Dresden, 1865);
and the ballet Amor's Macht (Leipzig, 1830).
Other works: Missa pro defunct is (Berlin,
1851); church-music, cantatas, symphonies,
orchestral pieces (Siegesfesthlange, 1866); pf.*
music; songs (many popular favorites). He
was musical editor of the 'Berliner Post,' and
a contributor to the 'Neue Berliner Musik-
zeitung.' Publ. an autobiography, Aus
meinem Leben, with a collection of various
essays (6 parts, 1870-9).
Dora, Otto, son of Heinrich D.; born Co-
logne, Sept. 7, 1848; taught by his father, and
then at the Stern Cons., Berlin, taking the
Meyerbeer scholarship (1st prize) in 1873.
Living in Wiesbaden since 1884 as teacher
and music critic of the 'Tageblatt'; app. mus.
dir., 1899; Prof., 1905.— Works: The operas
Afraja (Gotha, 1891), Ndrodal (Kassel, 1901),
Die schone Miillerin (ib.f 1906); a Prometheus
symphony; overtures Hermanns schlachl and
Sappho; pf.-pieccs, songs.
Ddr'ner, Armin W., pianist and teacher:
b. Marietta, Ohio, June 22, 1852. Studied
under Kullak, Bendel and Weitzmann at
Berlin; later in Stuttgart and Paris. Now pf.-
prof. in Cincinnati Coll. of Music. Fine en-
semble-player. Has publ. Technical Exercises.
Dorus-Graa (doh-riis-grah'], Julie- Almee-
Josephe (her family-name was van Steen-
kiste; Dorus, her stage- name, was that of
her mother's family) ; b. Valenciennes, Sept.
7; 1805; d. Paris, Feb. 6, 1896. A pupil of
Blangini, Paer and Bordogni at the Paris
Cons. (1821-5), she sang at first in concerts,
then (after six months' study with Cassel)
DOSS— DRAESEKE
on the stage at Brussels; sang at the Grand
Opera (1830-45), thereafter in provincial
theatres, and (1847, 1848) in London. Mar-
ried M. Gras in 1843, and left the stage in
1850. As leading soprano, she created the
roles of Alice (Robert), Marguerite (Hugue-
nots), Theresina (Le Philtre), and Eudoxie
(La Juive). Her career was marked by
steady and brilliant sucjcess.
Dow [dohss], Adolf von, b. Pfarrkirchen,
Lower Bavaria, Sept. 10, 1825; d. Rome,
Aug. 13, 1886. A Jesuit priest, he was a
prolific composer, writing some 350 works:
6 operas, 2 operettas, 11 oratorios and can-
tatas, a grand mass, 3 symphonies; and
much church-music (3 publ. colls.: 'Melodiae
sacrae' [1862], 'Melodies religieuses,' and
'Collection de musique d'eglise').
Dotz'auer, (Justus Johann) Friedrlch,
famous 'cellist; b. Hasselriethr n. Hildburg-
hausen, June 20, 1783; <j- Dresden, March
6, 1860. Pupil of Heuschkel (pf.), Gleich-
mann (vln.), and Ruttinger (comp.)> at
Hildburghausen, and of Hessner for 'cello;
he took further lessons of Kriegck at Meinin-
fen, where he played in the court orch.
801-5, then in the Leipzig orch. 1806-11,
during which time he studied under Romberg
at Berlin. He joined the Dresden orch. in
1811; became first 'cello in 1821, and was
pensioned in .1852. Among his pupils were
Karl Schubert, Drechsler, Rummer, and his
own son, K. L. Dotzauer. — Works: An opera,
Graziosa (Dresden, 1841); symphonies, over-
tures, masses, and, more especially, 'cello-
concertos; sonatas, variations, exercises, etc.,
for 'cello; chamber-music; a Method for 'cello.
Dotz'auer, Karl Ludwi* ['Louis'], b.
Dresden, Dec. 7, 1811; d. Kassel, July 1,
1897. Fine 'cellist, pupil of his father;
from 1830-97 first 'cello of the court orch.
in Kassel.
Douay [dwa], Georges, b. Paris, Jan. 7.
1840. Pupil of Duprato; mus. amateur, and
comp. of many operettas, etc., played in
the minor Parisian theatres.
Dourlen [door-lahnl, Victor-Charles-
Paul, b. Dunkirk, Nov. 3, 1780; d. Bati-
gnolles, n. Paris, Jan. 8, 1864. Pupil of Mozel,
Catel, and Gossec, at Paris Cons., winning
Grand prix de Rome in 1805. He was* app.
asst.-prof. of harm, in 1812. and was lull
prof, from 1816-42. He produced 9 (mostly
comic) operas from 1806-22 in Paris; publ.
sonatas f. pf., for flute, and for vln.; a pf.-
concerto, and a pf.-trio; also a Table synop-
tique des Accords, a Trails d' harmonic (1834),
and a TrailS d'accompi°nemcnt (1840), all
founded on Catei's system of harmony.
Dowland, John, b. Westminster, London,
1562; d. London, in Apr., 1626. A famous
lute-player, he travelled in France, Germany
and Italy in 1584; took the degree of Mus.
Bac, Oxon., in 1588; was lutenist to Christian
IV of Denmark 1598-1605, then returning
temporarily, and in 1609 finally, to England.
In 1612 he was 'lutenist to Lord Walden';
in 1625, one of 6 lutenists in the king's service.
— Works: The First Booke of Songes or Ayres
of Joure parts, with Tableture for (he Lute
(1595k Second ditto (1600); Third ditto
(1602); Lachrymae, or, Seven Teares, figured
tn seaven passionate Pavans . . . set forth for
the Lute, Viols, or Violins, in five parts (1605);
A PUgrimes Solace . . . Musicall Harmonie
of 3. 4. and 5. parts . . . with Lute and Viols
(1612); and a translation of Ornithoparcus'
Micrologus (1609). The 3 books of songs were
republ. by Prof. Arbcr in his series of classical
reprints; the First Booke is also republ. by
the Mus. Antiquarian Soc. — Cf. O. Becker,
Die englischen Madrigalisten W. Bird, Th.
Morley and J. D. (Bonn, 1901).— See Q.-Lex.
Drae'seke, Felix (August Berahard), b.
Koburg, Oct. 7, 1835; d. Dresden, Feb. 26,
1913. A gifted composer, pupil of Rietz in
Leipzig Cons., and a friend and disciple of
Liszt at Weimar, he went to Dresden, then
to Lausanne as teacher in the Cons. (1864-
74), excepting one year (1868-9) as teacher
in the Royal Music-School at Munich,
under Bulow. In 1875 he went to Geneva;
for many years he lived at Dresden as a
teacher, writer, and composer, succeeding
Wullner in 1884 'as prof, of comp. in the
Dresden Cons.; made R. Prof., 1892; 'Hofrat/
1898; 'Geh. Hofrat,* 1906; Ph.D. (hon. c.)
from Berlin Univ., 1912. His earlier works
are more or less extravagant, and never
became popular; but for some 30 years his
maturer style has compelled recognition
of his undeniably commanding abilities. —
Compositions: 6 operas; Sigurd (fragment
fiven at Meiningen, 1867), Gudrun (Hanover.
884), Bertrand de Born (MS., both book and
music by D.), Herrat (3-act grand opera,
Dresden, 1892; very successful); Fischer und
Kalif (1-act, Prague, 1905); Merlin (Gotha,
1913); a great oratorio-trilogy, Christus, con-
sisting of a prelude, Die Geburt des Herrn,
I. Christi Weihe, II . Christus der Prophet,
III. Toi und Sie$ des Herrn (prod, in its
entirety in Berlin and Dresden, 1912);
4 symphonies (op. 12, in G; op. 25, in F;
on. 40, Tra^ica, in C; Comica, in E m.); Grand
Mass in F# m., for soli, ch. and orch., op.
60; Missa a cappella, op. 85; Adventlied for
soli, ch. and orch., op. 30; Requiem in B m.,
op. 22; Osterscene from Faust, for bar. solo,
mixed ch., and orch., op. 39; Akademische
Festouverture for orch.; JubelouvertUre for
orch.; pf. -concerto, op. 36; violin-concerto;
Concertstuck for 'cello with orch.; symphonic
preludes to Calderon's Life a Dream, Kleist's
217
DRAGHI— DRECHSLER
Penthesilea (both in MS.); Serenata in D, for
small orch., op. 49 (played by N. Y. Symph.
Soc., Nov. 23, 1889); Der Thuner See (MS.),
for orch.; Trauermarsch, op. 79; quintet for
pf., vln., via., 'cello and horn, op. 48; string-
quintet in C# m.; 3 string-auartets, op. 27
(C m.), op. 35 (E m.), and No. 3 (O m.);
a sonata for clar. and pf., op. 38; do. for 'cello
and pf.,'op. 51; 18 pf. -canons, a 6-8, op. 37;
Canonic Riddles a 6, for pf. 4 hands, op. 42;
6 fugues for pf., op. 15; Ghaselen, pf. -pieces,
op. 13; pf. -sonata, op. 6; songs, etc.— On the-
ory: Anweisung zum kunstgerechien Moduliren
(1876); Die Beseiligung des Tritonus (1876);
a versified Harmonielehre (1884), Der ge-
bundene Stil. Lehrbuch fur Kontrafmnkt und
Fuge (2 vols., 1902); Die Konfuswn in der
Musik (1907).— Cf. H. Platzbecker, F. D., in
vol. iii of 'Monographien moderner Mu-
siker' (Leipzig, 1909).
Draghi [drah'ge], Antonio, composer of
operas and oratorios; b. Ferrara, 1635; d.
Vienna, Jan. 16, 1700. About 1660 he
settled in Vienna, and was app. 'Hoftheater-
Intendant' to Leopold I in 1674, also Kapellm.
to the empress. From 1661-99 he produced
67 operas, 116 festival plays ('feste teatrali)
and serenades, 32 oratorios. 11 cantatas, 2
masses, etc. — Cf. M. Neuhaus, A. D., in
Adler's 'Studien zur Musikgeschichte', vol. i
(1913).— See Q.-Lex.
Dra'ghi, Giovanni Battista, a fine harpsi-
chordist, living in London from 1667-1706,
was organist to the queen in 1677; also music-
teacher to Queens Anne and Mary. He wrote
the music to Dryden's ode From Harmony.
and (with Locke) to Shadwell's Psyche and
D'Urfey's The Wonders of the Sun, or The
Kingdom of Birds (1706); also many melodi-
ous songs, and instructive harpsichord-lessons.
Dragonet'ti, Domenico, noted double-
bass player; b. Venice, April 7, 1763; d.
London, April 16, 1846. This 'Paganini of
the contrabbasso' was self-taught, excepting
a few lessons from Berini, player at San
Marco, whom he succeeded in 1782; he had
already played in the orchestras of the Opera
buffa and Opera seria for 5 years, and com-
posed concertos, etc., with double-bass parts
impracticable for any one but himself. He
appeared at London in 1794, and was im-
mediately eng. for the opera and concert-
orch. of the King's Th. With Lindley, his
fast friend for 52 years, he also played at the
Antient Concerts and the Pnilharm. As
late as 1845, his virtuosity still unimpaired,
he led the double-basses, at the unveiling of
the Beethoven monument in Bonn, in the
C minor symphony. To the British Museum
he left a remarkable collection of scores, en-
gravings, and old instrs. ; to San Marco, his
Favorite 'cello (a Gasparo da Said). His biogr.
was written by F. Caffi: Vita di D. Dra-
fonetti (Venice, 1846). No detailed record of
his works appears to be extant.
Drake, Earl R.f composer, teacher; b.
Aurora, 111., Nov. 26, 1865; d. Chicago, May
6, 1916. Studied violin with Rosenbecker
(1880-3) in Chicago; w. Schradieck (1884-5)
in Cincinnati; Carl Hild (1886-8); pf. and
comp. with K5llin£ (1889-91); later vln. with
Joachim, in Berlin (1892). Head of vln.
dept. in Gottschalk Lyric School, Chicago
(1893-7); dir. Drake Quartet; concert-tours
from 1895-1910; organized his own school
of music in Chicago in 1900. — Works: The
Blind Girl of Castel-CuilU, 3-act opera and
ballet (Chicago, 1914); The Mite and the
Mighty, 3-act Tight opera (ib., 1915); concerto
in B m. for vln. and orch.; Dramatic Prologue
for orch.; Ballet for orch.; Gypsy Scenes for
vln. and orch. ; pieces for vln. and pf . (Polish
Dance, Mazurka, An Alpine Farewell, etc.).
Draseke, F. A. ft. See Draeseke.
Draud [Draudius] [drowt], Georg, b.
Davernheim, Hesse, Jan. 9, 1573; d. Butz-
bach, circa 1635. A clergyman at Gross-
Carben, Ortenberg, and Davernheim; his
works are one of the chief sources for the mus.
literature of the 15th, 16th and 17th cen-
turies.— Publ. 'Bibliotheca classica' (1611;
2d ed. 1625; on pp. 1609-54 is a list of mus.
authors and works); 'Bibliotheca exotica'
(1625; a list of all mus. works printed in for-
eign [non-German] languages); 'Bibliotheca
librorum germanicorum classica' (1625; list of
mus. works in German, from the earliest
times). In these lists, the original titles are
rendered into Latin.
Drechsler [drek'-]t .Joseph, b. Wallisch-
Birken (Vlachovo Brezf), Bohemia, May 26,
1782; d. Vienna, Feb. 27, 1852. A pupil of
the organist Grotius at Florenbach; chorus-
master and asst. -Kapellm. (1812) at the
Vienna court opera, then conductor in the
theatres at Baden (n. Vienna) and Pres-
burg; returning to Vienna, he became organist
of the Servite church, in 1816 precentor at
St. Ann's, in 1823 Kapellm. at the University
church and the Hofpfarrkirche; from 1822-30
he was also Kapellm. at the Leopoldstadt Th.,
and from 1844 Kapellm. at St. Stephan, suc-
ceeding Gansbacher. — Works: 6 operas, and
about 30 operettas, vaudevilles and panto-
mines; a Requiem, 10 other masses, 3 canta-
tas, offertories, etc.; string-quartets, organ-
fugues, pf.-sonatas, other pt.-music, songs,
etc.; a Method for Organ, and a treatise on
Harmony. He also reedited Pleyel's Pf.-
School, and publ. a theoretico-practical
guide to Preluding. — Cf. C. Preiss, /. D.
(Graz, 1910).
Drech'sler, Karl, born Kamenz, May 27,
1800; d. Dresden, Dec. 1, 1873. 'Cellist;
218
DREGERT— DRIEBERG
member of the Dessau court orch. in 1820;
studied, 1824-26, under Dotzauer at Dresden,
and was then app. first 'cello at Dessau. He
was pensioned in 1871. Among his many dis-
tinguished pupils were Grutzmacher, Coss-
mann, Aug. Lindner and Karl Schroder.
Dregert [dra'gert], Alfred, b. Frankfort-
on-Oder, Sept. 26, 1836; d. Elberfeld, Mar.
14, 1893. Pupil, at the Stern Cons., Berlin, of
Marx (theory), Wiierst (instrumentation),
and v. Biilow (pf.). Opera-conductor at
Stettin, Rostock, Bamberg, and Trier; then
cond. of the Male Choral Societies in Stral-
sund, Cologne, and Elberfeld. Royal 'Mu-
sikdirektor. — Works: Symphonies, overtures,
string-quartets, pf. -pieces, fine male-choruses,
and songs.
Dre'ael [dra'zel], Otto, b. Andernach,
1826; d. Beverly, Mass., July 26, 1890. A
pupil of Hillcr at Cologne, and Mendelssohn
at Leipzig, he went to New York as concert-
pianist and teacher in 1848; revisited Ger-
many, but settled in Boston in 1852, where
for some 15 years he was the foremost
pianist. A musician of exceptional culti-
vation, he was very influential in introducing
German music of the highest class, and more
especially the songs of R. Franz, to the Ameri-
can public. He publ. only a few songs and
pf. -pieces; several other works, though still
in MS., have been produced (e. g., In me-
moriam, ballad for sopr. and orch., on Long-
fellow's poem on Agassiz' 50th birthday;
Army Hymn for soli, ch. and orch., Jan. 1,
1863; a pf. -quartet, and a pf.-trio).
Dreszer [dreh'sher], AnastasiusWilhelm,
b. Kalisch, Poland, April 28, 1845; d. Halle,
June 2, 1907. A brilliant pianist, playing
in public when but 12, he studied in the
Dresden Cons. 1859-61, then took private
lessons from H. Ddring, C. Krebs, and A.
Frilh, lived for several years as a comp. in
Leipzig, visited Paris, and settled in Halle in
1868, where he founded a music-school of
which he was the director till his death. —
Publ. 2 symphonies, 2 sonatas and other pf.-
pieces, songs, etc. In MS. an opera Valmoda
(libretto by Peter Lohmann), a string-
quartet, etc.
Dreves [dra'ves], Guido Maria, b. Ham-
burg, Oct. 27, 1854; d. Mitwitz, n. Kronach,
June 1, 1909. He entered the Jesuit Order,
and lived alternately in Vienna and Exaeten,
Holland; since 1906 in Wurzburg. For
distinguished service to the cause of hym-
nology and mediaeval music, the University
of Munich made him Ph.D. (hon. c). His
greatest work is A nalecta hymnica medii aevi
(53 vols., 1886-1911); other works: Cantionts
Bohemicae (1886); Die Hymnen des Johannes
von Jenstein (1886); AureUus Ambrosius, der
Voter des Kirchengesanges (1893); Psalter ia
rhythmica (1901); Die Kir the der Lateiner in
ikren Liedern (1908).
Drey'schock [dri'shdhk], Alexander, bril-
liant pianist; b. Zack, Bohemia, Oct. 15,
1818; d. Venice, April 1, 1869. One of the
most noted pupils of the Prague master,
Tomaczek, he rivalled Liszt in technical
dexterity. At 8 he was able to play in public;
studied in Prague (while supposed to be
devoting himself to medical work) under
Tomaczek, and in Dec., 1838, began his
first pianistic tour through North Germany.
1840-42 he spent in Russia; visited Brussels,
Paris, and London; then (1846) Holland and
Austria. In 1862 he was called to Petrograd
to act as prof, in the newly-founded Cons.,
and Director of the music-school of the Opera,
being also app. court pianist. Failing health
necessitated, in 1868, a journey to .Italy,
where he died. His astounding facility in
playing octaves, sixths, and thirds, and per-
forming soli with the left hand — a feat then
unheard of — cast a glamour about his per-
formance which increasing familiarity with
the coldness of his interpretation served to
dispel; he reached the zenith of his fame
about 1850. — Works: An opera, Florelle, oder
die erste Liebe Heinrichs des IV.; an overture
for orch.; a rondo for orch.; a string-quartet,
and 140 pf. -pieces, mostly salon-music of
little value.
Drey'schock, Felix, pianist, son of Rai-
mund D.; b. Leipzig, Dec. 27, 1860; d. Berlin,
Aug. 1, 1906. Studied under Grabau, Ehrlich,
Taubert, and Kiel, in the Berlin Royal
'Hochschule.' From 1883 he gave successful
concerts, and was prof, at the Stern Cons.,
Berlin. His pf.-pieces are well-written and
effective (e. g., op. 17); also published a
violin-sonata (op. 16) and songs.
Drey'schock. Raimund, excellent vio-
linist, brother of Alexander; b. Zack, Bohemia,
Aug. 20, 1824; d. Leipzig, Feb. 6, 1869.
Pupil of Pixis, Prague; 1850-69, leader in
the Gewandhaus, and vln. -teacher in the
Cons, at Leipzig. — His wife Elisabeth (nfo
Nose), b. Cologne, 1832; d. there July, 1911;
a fine contralto concert-singer, was the
founder and manager of a vocal academy
in Berlin (formerly in Leipzig).
Drie'berg [dre-j, Friedrich Johann von,
b. Charlottenburg, Dec. 10, 1780; d. there
May 21, 1856, as Royal Chamberlain. He
was Spontini's pupil in Paris, and produced
2 operas, Don Cocagno (Berlin, 1812), and
Der Sanger und der Schneider (Berlin, 1814);
others left in MS. He was best known as a
writer on Greek music whose theories and
conclusions, however, have long been entirely
discredited. — Writings: Die mathematische
IntervaUenlehre der Griechen (1818); Auf-
schlusse uber die Musik der Griechen (1819);
219
DROBISCH— DUBOIS
Die praktische Musik der Griechen (1821);
Die pneumatischen Erfindungen der Griechen
(1822) \Worterbuch der griech. Musik (1835);
Die griechische Musik, auf ihre Grundsdtze
zuriickgefuhrt (1841); Die Kunst der mus.
Composition . . . nach griechischen Grund-
satze n bearbeitet (1858).
Dro'bisch, Karl Ludwig, b. Leipzig,
Dec. 24, 1803; d. Augsburg, Aug. 20, 1854.
A pupil of Dr6bs and Weinlig, in Leipzig,
from 1821; after the unsuccessful production
of his oratorio Bonifacius at the Gewand-
haus, in 1826, he withdrew to Munich, where
he studied hard, also teaching. In 1837 he
became Kapellm. of the Church of St. Anna,
at Augsburg. — Works: 3 oratorios, Boni-
facius, Des Heilands letzte Stunden, and Moses
auf Sinai; 18 masses; 3 requiems; offertories,
graduals, motets, and other church-music.
Dro'bisch, Moritz Wilhelm, brother of
the preceding; b. Leipzig, Aug. 16, 1802; d.
there Sept. 30, 1896. From 1826 prof, of
mathematics, and from 1842, of philosophy,
at Leipzig Univ. He publ. several valuable
treatises on musical tones: Vber die mathem.
Bestimmung der musikal. IntervaUe (1846);
Vber musikal. Tonbestimmung u. Temtoeratur
(1852); Nachtrage zur Theorie der musik. Ton-
verhdltnisse (1855); Vber ein zwischen A Item
und Neuem vet mitt elndes Tonsystem (1871);
Vber reine Stimmung und Temberatur der
Tone (1877); in this last, Drooisch, who
formerly championed the 12 -semitone system,
concurs in principle with Helmholtz's views.
Drouet [droo-a'], Louis-Francois-Phllip-
pe, b. Amsterdam, 1792; d. Bern, Sept. 30,
1873. A distinguished flutist, who, as a pupil
of the Paris Cons., played there and at tne
Opera when but 7 years old. From 1807-10,
teacher to King Louis of Holland; 1811, solo
flutist to Napoleon, afterwards to Louis
XVIII. In 1815 he went to London, played
in the Philharmonic in 1816, and thereafter
made long concert- tours throughout Europe.
In 1836 he was app. Kapellm. at Koburg;
visited America for a few months in 1854. —
His works for flute, over 150 in number, com-
prise 10 concertos, 2 fantasias for pf. and
flute (op. 36, 37), 3 trios for 3 flutes (op. 33), 3
waltz-duets (op. 24); ensemble sonatas, duets,
variations, etc. He is said to have written
the French popular air Partant pour la Syrie
from Queen Hortense's dictation.
Dryden, John, the famous English poet;
b. Aid winkle, Northamptonshire, Aug. 9 (?),
1631; d. London, May 1, 1700. He wrote the
libretto of King Arthur for Purcell; also the
'Ode for St. Cecilia's Day,' which Purcell,
Handel and others have set to music. Inci-
dental music has also been written, by eminent
English composers, to many of his stage-works.
Drysdale, Learmont, b. Edinburgh, 1866;
d. there June 18, 1909. Pupil of R. A. M.,
and winner of the Lucas prize for com p.,
1890.— Wrote for orch.: The Spirit of the
Glen, a ballad (1889); Thomas the Rhymer,
prelude (1890); Tarn O'Shanter, overture
(1891; awarded prize by Glasgow Society of
Musicians); Herondean, overture (1894); The
Kelpie, a cantata (1894); an opera, The Red
Spider, was produced at Dundee (1898).
Dubois [da-bwahl, (Clement-Francois-)
Theodore, b. Rosnay, Marne, Aug. a 24,
1837. After preliminary teaching at Rhei™.
he entered the Paris Cons, in 1853, studying
under Marmontel (pf.), Benoist (organ),
Bazin (harm.) and Ambroise Thomas (fugue
and comp.), graduating (1861) as Grand prix
de Rome with the cantata Atala, after having
taken first prizes in all departments. From
Rome he sent a solemn mass (perf. at the
Madeleine in 1870), a dramatic work, La
prova di un opera seria (not perf.), and 2
overtures; returning to Paris, he settled there
as a teacher, became m. de chap, at Sainte-
Clothilde, and then succeeded Saint-Safins,
in 1877, as organist at the Madeleine. In
1871 he was made harmony-prof, at the
Cons., succeeding El wart; in 1891 he became
Leo Delibes' successor as prof, of comp.; in
1894 he was elected to the chair in the Acad,
left vacant by Gounod's death; in 1896 he
succeeded Ambroise Thomas as Director of
the Cons., and was made an officer of the
Legion of Honor; retired, 1905. Dubois'
comps. are very numerous; among them the
1-act comic opera La Guzla de Vemir (1873,
Athenee Th.), and Le pain bis, ou la Lilloise
(1879, Op.-Com.); a 4-act grand opera Aben
Hamet (1884; Italiens); a 3-act 'idylle drama-
tique,' Xavihe (1895, Op.-Com.); the 3-act
opera CircS (not perf.) ; the ballet La Faran*
dole (1882, Op6ra); 2 oratorios: Les Sept Pa-
roles du Christ (1867), Le Paradis perdu
(1878; won the City of Paris prize); several
cantatas (/' Enlevement de Proserpine, Hylas,
Bergerette, Les Vivants et les morts, DUivrance) ;
several masses, and other church-music; many
orchestral works: Concert-overture in D; 3
airs de ballet; 3 orchestral suites; 4 petites
pieces; 3 petites pieces; Marche hSroique de
Jeanne d'Arc; Fantaisie triomphale, for organ
and orch.; Hymne nuptiale; MSditation-Prtere
for strings, oboe, harp and organ; Concerto-
Capriccio, for pf., and a 2d pf. -concerto
(1895); a violin-concerto; sympnonic over-
ture in C; overture to Frithioff; 2 symphonic
poems, Notre Dame de la Mer and Adonis;
pf. -pieces (Chaur et danse des lutins; 6 poemes
sylvestres); pieces for organ and for harmo-
nium; a cappella choruses; etc.
Dubois (Du Bois), Leon, born Brussels,
Jan. 9, 1859. Won the Grand prix de Rome
220
DUCANGE— DUGGAN
at the Brussels Cons, in 1885; second cond.
at the Th. de la Monnaie, Brussels, since
1890; successor, in 1912, of Tinel as director
of Brussels Cons. — Works: 4 operas, Son Ex-
cellence ma femme (1884), La Revanche de
SganareUe (1886), Edinie (Antwerp, 1912),
and Mazeppa (not perf.); also the 1-act
ballet Smytis (Brussels, 1891), the mi mo-
drama Le Mort (Brussels, 1894), a symphonic
poem A tola, etc.
Ducange. See Cange, du.
Ducasse, Jean. See Roger-Ducasse.
s Duels, Benoft [Benedictus Duds], dis-
tinguished composer of the 16th century,
Srobably b. near Constance circa 1480; d.
chalkstetten, n. Ulm, 1544. Org. at Notre-
Dame, Antwerp, 1514-16, and 'Prince de la
gilde' in the brotherhood of St. Luke; org.
and chm. at the Chapel Royal in London,
1516-18. After that he seems to have lived
in Vienna, and to have joined the Reforma-
tion; in 1535 he was app. pastor in Schalk-
stetten, after an application for a similar
position in Ulm (made in 1732 under the
name 'Benedict Duch*) had been refused.
Fetis' long list of D.'s works is unreliable
since Barclay Squire (in *Smbd. Int. M. G.'
XIII, 2 [Jan., 191 2J) has brought conclusive
evidence that a considerable number of these
works must be attributed to Benedictus
Appenzeldere (q. v.). — Cf. Friedrich Spitta's
study in 'Monatschrift fUr Gottesdienst und
Kirchliche Kunsf (Jan.-March, 1913).
Ducroquet. See Daublaine.
Dufau (da-foh'l, Jenny, lyr. and coloratura
soprano; b. Rothau, Alsace. Pupil of Etelka
Gerster in Berlin from 1901-5; studied sub-
sequently for short periods with Mme.
Marchesi, P. Vidal, A. Selva and G. Ben-
venuti; debut at Weimar, 1906, as La Reine
in Les Huguenots; member of Grand Ducal
Th. there until 1908; then, until 1910, star
appearances in Ancona, Genoa, Milan, Bolo-
gna, Bucharest and Athens; 1910-11 at R.
Opera, Berlin; since 1911 member of Chicago
Opera Co., of which she is one of the most
distinguished artists; created the rdle of the
Fairy in the Amer. premiere of Massenet's
Cendrillon (1911); among her favorite rdles
are Rosina, Violetta, Lucia, Gilda, Philine,
Marguerite, Manon, Lakme, etc. Her voice
is light, of pleasing quality, and especially
well adapted to coloratura parts; it has a
range of 2\£ octaves.
Dufay, Guillaume, famous French con-
trapuntist; b. circa 1400; d. Cambrai, Nov.
27, 1474, being the most recent in the dis-
tinguished triad Dunstable-Binchois-Dufay.
In 1428 he became a chorister in the Papal
Chapel, and in 1437 entered the service of
Philippe le Bon, Duke of Burgundy; he
took holy orders in Paris, lived seven years
in Savoy, and finally became a canon at
Cambrai. According to Adam of Fulda, D.
made many changes in notation; he is the
reputed inventor of white (open) notes. Fr.
X. Haberl (in the 4th book of the 'Vschr. f.
M. W.' 1885) gives a list of 150 comps.
found in the libraries of Rome, Bologna, and
Trieste, incl. masses (finished and fragmen-
tary), motets, a magnificat, other church-
music, French chansons, etc. Other MSS. are
in the libraries at Paris, Brussels, Cambrai,
and Munich. — Cf. F. X. Haberl, Wilhelm
Du Fay, in 'Bausteine fiir Musikgeschichte'
(1885); Ch. van den Borren, G. D. Son impor-
tance historique (Liege, 1909).
Dufranne [du-frahn'], Hector, dramatic
baritone; b. Belgium. Debut as Valentine
in Faust, at La Monnaie, Brussels, Sept. 9,
1896; next season at Co v. Garden; from 1899
member of Op.-Comique; 1908 at Hammer-
stein's Manhattan Op. House, N. Y.; 1910-
13 member Chicago Op. Co.; has created
principal baritone rdles in Pelleas et MSlisande,
. La Carmelita (Hahn), Monna Vanna (Fe-
vrier), GrisHidis, Messidor (Bruneau), etc.;
has sung in Carmen, Samson et Dalila,
Lakme , Romeo et Juliette, Manon, VAUaque
du Moulin, Tannhduser, Lohengrin, Rhein-
gold, Aida, HSrodiade, Iphigenie en Tauride
(Gluck), Figaro, etc.
Dugazon [dfi-gah-zohnl, Louise-Rosalie
(nSe Lefevre), b. Berlin, 1753; went to Paris
in 1761, and d. there Sept. 22, 1821. Although
not a trained vocalist, the grace and charm
of her singing and acting in 'comedies a ariet-
tes' (comedy-operas, operettas, etc.) aroused
the utmost enthusiasm at her very debut as
Pauline in Gretry's Sylvain (July 30, 1774,
Comedie-Italienne). Among her principal
rdles were those of Babet (in Blaise et Babet),
Justine (Alexis et Justine) ; her impersona-
tions were so animated and original, even
when advancing years obliged her to sing
'older' parts, that rdles of this description
have ever since been distinguished as 'Jeunes
Dugazon,' and 'Meres Dugazon.' She re-
tired finally in 1806.
Dug'gan, Joseph Francis, pianist and
comp.; b. Dublin, July 10, 1817; d. (?). He
was accompt. of the recitatives in Italian
Opera, New York, and cond. of John Wilson's
English opera-troupe, and of German opera;
taught in Phila., Baltimore, and Washington;
was principal of and prof, in the Phila. Mus.
Inst., 1841. From 1844-5 he taught in Paris;
lived in Edinburgh and London, and became
prof, of singing in the Guildhall School of
Music. — He wrote 2 successful operas, Pierre
(London, 1853) and Leonie (London, 1854),
and 3 others (MS.); 2 symphonies, 6 string-
quartets, numerous pf. -pieces; also publ. The
221
DUiFFOPRUGGAR— DULOV
Singing' Master* s Asst.t and transls. of Al-
brechtsber^cr's Science of Music (Phila., 1842)
and of Fetis' Counterpoint and Fugue.
Du'lffoprug'gar (properly Tieffenbruck-
er), Caspar, b.. Tieffenbrugg, Bavaria, 1514
[date established by Dr. Coutaigne of Lyons,
in his work Gaspar Duiffoproucart et Us
luthiers lyonnais du XVII0 Steele (Paris,
1893)]; d. Lyons, Dec. 16, 1571. Long reputed
to be the first maker of violins; but Vidal, in
his Les Instruments d archett states that all
the so-called D. violins are spurious, having
been made by Vuillaume, who in 1827 con-
ceived the idea of making violins after the
pattern of a 'viola da gamba' by D. Ap-
parently, the latter learned his trade in Italy,
the usual spellings of his name showing it to
be Italianized rather than Gallicized; he
settled in Lyons in 1553, and was naturalized
in 1559.
Dukas [du-kah']f Paul, b. Paris, Oct. 1,
1865. From 1882-8 pupil at the Cons, of G.
Mathias (pf.), Th. Dubois (harm.) and E.
Guiraud (comp.); won 1st prize for cpt. and
fugue in 1886, and second Prix de Rome with
a cantata Velleda (1888); mus. critic of the
'Revue Hebdomadaire1 and 'Gazette des
Beaux- Arts'; 1906, Chev. Legion d'Honneur;
since 1909 prof, of orch. class and member of
'Conseil de l'enseignement superieur' at the
Cons. He is a composer of solid attainments,
whose talent shows to greatest advantage in
the larger instrumental forms, which he
handles with mastery. — Works: 3 overtures,
King Lear (1883), Gotz von Berlichingen
(1884), Polyeucte (1891); a symph. in C
(1896); an orchl. scherzo, /' A bprenti-Sorcier
(1897; his most famous work); an opera,
Ariane et Barbe-Bleu (Op.-Com., 1907; New
York, 1911); a ballet, La Peri (1910); 7*7-
lanelle for horn and pf. (1906); for pf.: Sonata
in Eb m.; Variations, interlude et finale on a
theme of Rameau; Prelude elegiaque. To-
gether with Saint-Saens he completed Gui-
raud's opera Fredegonde (Gr.-Op., 1895.) — Cf.
O. Sere, Music tens francais d'aujourd'hui (2d
ed. Paris, 1911); G. Samazeuilh, P. D. (Paris,
1913).
Dul'cken, Ferdinand Quentin, pianist;
b. London, June 1, 1837; d. New York, 1902;
was a pupil, in Leipzig Cons., of Mendelssohn,
Moscheles, Gade, Hauptmann, and (for
organ) Becker; also later of F. Hiller at Co-
logne. He became prof, at the Warsaw Cons. ;
lived in Paris 4 years; made many concert-
tours in Europe (with Wieniawski, Vieux-
temps, de Kontski, etc.); went to America
in 1876, and travelled with Remenyi, Joseffy,
Essipov, and Marie Rdze; lived for several
years in New York, where he taught harm,
at the National Cons. — Works: An opera,
Wieslav; a solemn mass; cantatas; pf. -pieces,
songs, etc.
Dul'cken, Luise, pianist (nee David [a
sister of Ferd. David]); b. Hamburg, March
20, 1811; d. London, April 12, 1850. She was
taught by C. F. G. Schwencke and Wilh.
Grund; played in public, in Germany, when
but 11 years of age; she married in 1828,
and went to London, where she met with
brilliant success as a pianist and teacher.
Queen Victoria was one of her very numerous
pupils.
Dulichius (Dullch, Deillch, Deullch),
Philippus, b. Chemnitz, Dec. (bapt. 19th),
1562; d. Stettin, March 25, 1631; probably
a pupil of A. Gabrieli in Venice; from 1587
until his death cantor in Stettin. Of his
numerous works (exclusively vocal) the most
important are Novum opus musicum duarum
partium continens dicta insigniora ex evan-
geliis (Stettin, 1598-9); Centuriae octon. et
septen. vocum harmonias sacras laudibus
Sanctis simae Triados consacratas continentes
(4 parts, Stettin, 1607,,8,'10,'12). R.Schwartz
publ. 7 choruses from the Centuriae (1896);
the complete Centuriae are publ. in 'Dkm.
deutscher Tonkunst' (xxxi, xli ). — Cf. R.
Schwartz, P. D.t in 'Monatsschr. fur Gottes-
dienst und Kirchliche Kunst' (1896).—
See Q.-Lex.
Du Lode, Camllle (Du Commun), born
Orange, Vaucluse, in 1832; d. Nice, Oct. (?),
1903. He was secretary of the Opera under
Pcrrin's direction; later, director of the
Opera-Comique. The libretti of Verdi's Don
Carlos (French), and Reyer's Sigurd and
Salammbd, were from his pen; also, in col-
laboration with Nuitter, of Verdi's Aida
(in French), Duvernoy's Halle, and La Force
du des tin.
Dttlon, Friedrich Ludwig, a blind
flutist; b. Oranienburg, n. Potsdam, Oct. 14,
1769; d. WUrzburg, July 7, 1826. He was
taught by his father (flute) and Angerstein of
Stendal (theory); in 1783 his concert-travels
began, and extended all over Europe. From
1796-1800 he was chamber-musician at the
Petrograd court; then lived in Stendal, and
settled (1823) in Wurzburg. He wrote an
autobiography: Diilons des blinden Floten-
spielers Leben und Meinungen, von ihm selbst
bearbeitet (Zurich, 2 vols., 1807-8, edited by
Wieland). — Works: A flute-concerto; 9 duets
and variations for flute and violin; flute-
duets; caprices for flute.
Dulov, Prince Georg, b. Moscow, June 4,
1875. He received his first instruction from
his mother, an excellent pianist; then pupil
of Klammroth and of Hrimaly (vln.) at the
Imp. Cons, of Moscow; 1897-1901 vlnst. in
the quartet of Duke Georg of Mecklenburg;
since 1901 professor at the Moscow Cons.
222
DUMESNIL— DUNKLEV
Has published a number of concert-pieces
for vln.and orch. or pf. ; technical studies and
a school for vln.; has also ed. comps. of
earlier masters with added accompaniment.
Dumesnil [da-ma-neT], Suzanne (Zafde),
stage-soprano, especially fetching in boy-
parts; b. Havre, France, Nov. 6, 1884. At
17 she already had won a reputation in Paris
as a singer of quaint 18th-century songs;
prosecuting her studies under Louis Dela-
querriere for 18 months, she made her debut
in 1903 at the Opera- Comique, and was eng.
there for four years (1903-7). In Nov., 1909,
she first appeared in New York (Manhattan
Opera House) as Georgette in Les Dragons de
Vtllars. She created the rfiles of Angioletta
in La Reine Fiammette, Coriuna in Aphrodite,
and Theobald in La Fille de Roland; Angio-
letta, and Yniold (in Pelleas et Melisande),
are her favorite roles; others are Gavroche
(Louise), Chahte (Amour d Or phee), Frasquita
(Carmen), Poussette (Manon), Jean (Le
Portrait de Manon), Brigitte (Domino noir),
Fredenc (Mignon), Ellen (Lakmi).
Dumont [dii-monl, Henri, b. Villers
l'Eveque, n. Liege, 1610; d. Paris, May 8,
1684; was chorister at Maestricht, ordained
priest at Liege, and org. at St. Paul's, Paris,
from 1639-84. Works: 5 Messes Royales en
ilain-chant (Paris, 1699 [?]; 4th ed. 1701); 3
books of Meslangesa2,3, 4, 5 (Paris, 1649, '57,
'61); 5 books of motets a 2-4; etc. — Cf. H.
Quittard, Un musicien en France au XVII9
siecle. H. D. (in 'Mercure de France/ 1907);
A. Gastoue, Les Messes Royales de H. D.
(Paris, 1912).— See Q.-Lex.
Duncan, Edmonstoune, writer, comp.;
b. Sale, Cheshire, Engl., 1866. Educated at
R. C. M. (scholarship 1883-6), pupil of Sir
Hubert Parry, Sir Geo. Martin, Ernst Pauer
and Sir F. Bridge. Correspondent of the
'Musical Standard,' 'Musical Times,' 'Musical
Opinion,' 'Choir and Organist/ 'Musical
Record/ 'The Musician1 (Boston), 'New
Music Review* (N. Y.). — Works Perseus,
opera (1892); Ye Mariners of England, ode
for ch. and orch. (1889); Mass in F m. (1892);
Ode to Music, for solo, ch. and orch. (1893);
To a Nightingale (Milton) for sop. and small
orch. (1895); quintet for flute, clar., horn,
bassoon and pi. (1895); sonata, D m., for
pf.; trio in E m.; about 100 pieces for pf.;
do. for organ ; many songs. He also has written
several books, the more important of which
are Life of Schubert (1905); Story of English
Minstrelsy (1907); History of Music (1908);
Encyclopedia of Musical Terms (1913); El-
ementary Musical Composition (1913); Ultra-
modernism in Music; Art of Pianoforte Playing
(2 vols., 1913).
.■„ Dunham, Henry Morton, b. Brockton,
Mass., July 29, 1853. Graduate of the N. E.
Cons. (1873), and later of the Boston Univ.
Coll. of Music at Boston (1875); among his
teachers were G. E. Whiting (org.), J. C. D.
Parker (pf.) and I. K. Paine (comp.); org.
of Porter Cong. Church, Brockton, 1875-83;
of Ruggles St. Baptist Church, Boston,
1883-96; Shawmut Cong. Church, Boston,
1896-1906, and Harvard Church, Brookline,
1906-12, when he retired. Prof, in New Eng.
Cons, since 1880; director of music at Lassell
Seminary, Auburndale, since 1910. — Publ.
works: 'Organ School* (in 4 books); 3 organ-
sonatas (in G m., F m., and D m.); marches,
preludes, fugues, passacaglias, and other
organ-music; has also made numerous organ-
arrangements. — A System of Technique for
Pf; Capriccio brillante for pf; The Choir-
Manual; Te Deum in t>; Hymn Music (3
books) ; etc.
Dunhlll, Thomas Frederick, b. Hamp-
stead, London, Feb. 1, 1877. Ent. R. C. M.
in 1893, and studied with F. Taylor and
C. V. Stanford; won scholarship for comp. in
1897; 1899-1908, asst.-prof. of pf. at Eton
Coll.; since 1905, prof, of harm, and cpt. at
R. C. M.; in 1907 he founded the 'Concerts
of British Chamber Music/ which occupy a
prominent place in the London musical sea-
son.— Works: Valse- Fantasia, for flute and
orch.; Capricious Variations, for vcl. and
orch.; a pf. -quintet in Cm.; quintet for vln.,
vcl., clar., horn and pf.. in El?; a pf.-quartet,
in B m.; a quintet for horn and string-
quartet, in F m.; Rhapsody in A m., for orch.;
Comrades, for bar. and orch.; The Wind
among the Reeds, song-cycle for ten. and orch.
Du'ni, Egldio Romualdo, b. Matera, n.
Otranto (Naples), Feb. 9, 1709; d. Paris,
June 11, 1775. He first studied in the Cons,
della Madonna di Loreto/ under Durante;
then in the Cons, 'della Pieta de' Turchini.'
His first opera, Nerone (Rome, 1735), was a
great popular success, completely eclipsing
Pergolesi s Olimpiade. Composing indus-
triously, he visited Vienna; was made m. di
capp. at S. Nicol6 di Ban, in Naples; went
to Holland, Paris, and London (1744); be-
came tutor at the Court of Parma, where,
encouraged by the Duke, he began compos-
ing French operettas, the first of which,
Ninette a la cour (Paris, 1755), was so well
received that D. settled in Paris, where he
brought out a swarm of light and frivolous
stage-pieces which just suited the prevailing
taste. He is looked upon as one of the
founders of French opera bouffe. He wrote
about 13 Italian operas, and 20 in French. —
See Q.-Lex.
Dunkley, Ferdinand (Luis), b. London,
England, July 16, 1869. Pupil, 1886-90, at
R. A. M. (Scholarship), of Parry, Bridge,
Martin, Gladstone, Sharpe, and Barnet.
223
DUNN— DUPONT
Awarded diploma, F. R. C. 0.f 1886. Or-
ganist and choirmaster of St. J tide's, Lon-
don, E. C, 1885-7; of St. Aubyn's, London,
S. E., 1888-93; and Director of Music at
Battersea Grammar School, London, S. W.,
1892-3; was engaged in 1893, by Bishop
Doane, as Director of Music at St. Agnes'
School, Albany, N. Y.; was also organist and
choirmaster at State St. Presby. Church,
Albany, 1894-6, and since 1897, at Trinity
M. E. Church, Albany. — Publ. works: The
Wreck of the Hesperus, ballade for soli, ch.
and orch.; River Scenes, for p(.;.£l6gie, for
pf.; many songs* A MS. orchestral suite
took prize of 50 guineas (1889).
Dunn, John, fine concert-violinist; b.
Hull, Feb. 16, 1866. He received his first
instruction from his brother, who was cond.
of the Hull Th. Orch.; from 1878-81, pupil
at Leipzig Cons, of Schradieck (vln.), E. Fr.
Richter (harm.), and S. Jadassohn (cpt.);
debut at Prom. Cone, London, Oct., 1882;
has toured England and Germany with
success. He has written several pieces .for
vln., a cadenza to Beethoven's concerto, and
a concerto for vln. and orch. (MS.).
Dunoyer. See Gaucquier.
Dunstable [Dunstaple], John, b. Dun-
stable, Bedfordshire, England, circa 1370; d.
Walbrook, Dec. 24, 1453. Eminent contra-
puntist, rivalling his contemporaries Bin-
chois and Dufay, and noted by Tinctor as
one of the 'fathers' of counterpoint. Until
the discovery of six volumes of MSS. in the
library of the cathedral of Trent (known as
the Trent Codices') by F. X. Haberl, in
1884, practically nothing was known of D.'s
works; Adler and Roller, in 1900, publ.
six sacred and a number of secular pieces of
D. from these Codices in vol. vii of 'Dkm.
der Tonkunst in Osterreich.' The only
works previously publ. were a 3-part chan-
son, O Kosa bella (by Morelot, in De la mu-
sique au XV* silcle; also by Ambros in his
Geschichte d, Musik, vol. ii, appdx.) and four
pieces (Gloria and 3 hymns) by E. Wood-
ridge in 'Early English Harmony.' So far
45 works of D. have been discovered in libra-
ries in Modena, Bologna, Oxford. The Brit-
ish Museum possesses 31 pieces copied by
W. B. Squire from a MS. in the Estensian
library of Modena. — An examination of
these works of D. revealed not only the ex-
istence of a highly developed art in England
early in the 15th century, slightly antedating
the oldest known French school (Busnois,
Binchois, Dufay), but also showed that D.
had transferred the early style pi the Flor-
entine secular chanson, with^ instrumental
accomp., to sacred compositions. Of his
work Riemann says: 'Because of a surprising
simplicity and grandeur of the melodic line
224
D. actually stands forth as an epoch-making
personality.' — Cf. H. Riemann, Handbuch der
MusikgeschichU (Leipzig, 1907, ii, 1, pp. 106,
109 et seq.).
Dunstede. See Tunstede.
Duparc [Fouquea Duparc], (Marie-
Eugene-) Henri, b. Paris, Jan. 21, 1848.
Pupil of Cesar Franck from 1872-5; one of
the founders of the 'Society Nationale de
Musique.' A nervous affection compelled him
to renounce all artistic activity in 1885, since
when he has been living in retirement in
Switzerland. Franck considered him the most
gifted of all his pupils; 16 songs, written before
1878, are of extraordinary beauty and origin-
ality, being placed by several critics above
similar works by any other French composer.
Among several works destroyed by D. him-
self were a sonata for vcl. and of., Pohne
nocturne, and a suite for orch. His extant
works are a symphonic poem, Unore (1875),
Aux Etoiles, for orch. (early work, publ.
1910); Feuilles volantes, 6 pieces for pf.; La
Fuite, duet for sop. and ten. (1872); and the
songs Serenade, Romance de Mignon, Galop,
Chanson triste, Soupir, Invitation au Voyage,
La Vague et la Cloche, Extase, Serenade floren-
tine, Le Manoir de Rosamonde, Testament,
Phydili, Lamento, £Ugie, La Vie anUrieure,
Au Pays oil se fait la guerre. — Cf. O. Ser6,
Musiciens francais d'aujourd'hui (2d ed.,
Paris, 1911).
Dupont [du-pShnl, Augusta, excellent
pianist; b. Ensival, near Liege, Feb. 9, 1827;
d. Brussels, Dec. 17, 1890. His teacher was
Jalheau at the Liege Cons.; he travelled in
England and Germany, and in 1852 was app.
prof, of pf. at Brussels Cons. He was not
only a player of remarkable brilliancy, but
also highly successful as a teacher and com-
poser.— Works: Grand concerto-symphonie
for pf. and orch.; concerto in F m.; many
characteristic pieces (generally salon-music)
for pf.; pf.-6tudes; also an £cole de Piano,
written tor the Brussels Cons., containing
masterpieces from the 16th-19th centuries in
chronological order.
Dupont, Gabriel, b. Caen, 1878. Pupil
of his father, the organist at the Cathedral;
then of Widor at the Paris Cons.; won Prix
de Rome in 1901. At the Sonzogno competi-
tion of 1903 his opera La Cabrera was
awarded the prize of 50,000 francs over 238
rivals, and was prod, with enormous success
at Milan (1904); other works: La Glu ♦
(Cannes, 1910), La Farce du Cuvier (Brus-
sels, 1912).
• Dupont, Jean-Francois, b. Rotterdam,
1822; d. Nuremberg, March 21, 1875. Pupil,
at Leipzig Cons., of Mendelssohn (comp.)
and David (via.); went to Hamburg in 1854;
DUPONT— DURAND
was Kapeflra. at Linz (1856), and Nurem-
berg (1858-74). — He wrote large choral and
orchestral works, and produced the 3-act
grand opera Bianco, Siffredi (Linz, 1855).
Dupont, Joseph (atnf). violinist; b. Liege,
Aug. 21, 1821; d. there Feb. 13, 1861. He
studied at the Liege Cons, under Wanson
and Prume, and was app. prof, there when
but 17. — Works: 2 operas, Riberio Pinto
(comic), and Vile d'or; church-music; a
string-quartet, and a string-quintet; solo
pieces and etudes for violin, etc
Dupont, Joseph (le jeune), brother of
Auguste; b. Ensival, near Liege, Jan. 3, 1838;
d. Brussels, Dec. 21, 1899. Studied in the
Conservatories at Liege and Brussels, taking
the Grand prix de Rome. In 1867, cond. at
Warsaw; in 1871, cond. at the Imp. Th. in
Moscow; in 1872, app. prof, of harm, at
Brussels Cons.; he also became conductor at
the Theatre de la Monnaie, of the Society of
Musicians, and of the Popular Concerts
(succeeding Vieuxtemps).
Dupont, Pierre, b. Rochetaillee, n. Lyons,
April 23, 1821; d. St.-Etienne, July 25, 1870.
The son of a laborer, and himself unedu-
cated, he made a name by his political and
rustic ditties, of which he wrote the words,
and then sang the airs to Reyer, who put
them into shape. His political songs (Le Pain,
Le Chant des ouvriers, etc.) created such
disturbances that he was banished in 1851,
but pardoned in 1852, after the 'coup d'etat.*
Duport [du-pohrl, Jean-Louis, the bro-
ther of Jean-Pierre, and a still more famous
•cellist; b. Paris, Oct. 4, 1749; d. there Sept. 7,
1819. He first played in public at the Con-
certs Spirituels in 1768. He joined his
brother in Berlin at the outbreak of the
Revolution; returning in 1806, he became
musician to Charles IV, the ex-king of Spain,
at Marseilles; returned to Paris in 1812, where
he was soon regarded as the foremost French
'cellist, joined the imperial orch. (remaining
a member when it became the royal orch.),
and was app. prof, in the Cons, (suppressed
1815). — Works: 6 'cello-concertos; sonatas,
duos, airs variees, 9 nocturnes (for harp and
'cello), etc. His Essai sur le doigter du vialon-
celle et la conduite de Varchet, avec une suite
d'exerciees, is still a standard text-book, and
practically laid the foundations of modern
cello virtuosity.
Duport, Jean-Pierre, famous 'cellist; b.
Paris, Nov. 27, 1741; d. Berlin, Dec. 31, 1818.
In Berlin he was first 'cello in the court orch.
from 1773, and superintendent of the court
concerts from 1787-1806; pensioned 1811. —
Works: 3 duos for 2 'cetli; 6 sonatas for
'cello and bass.
Duprato, Jules-Laurent, b. Ntmes, Aug.
20, 1827; d. Paris, May 20, 1892. Pupil of
Leborne at the Paris Cons., where his cantata
Damocles won the Grand prix de Rome in
1848. After study in Italy and Germany, he
settled in Paris as a composer; in 1866 he
was app. asst. -teacher, and in 1872 prof, of
harm., at the Cons. He produced 12 operas
comiques and wrote 3 others which were not
performed; 4 cantatas; choruses for equal
voices; songs, 'etc.
Duprez [du-pr5']t Louis-Gilbert, dram,
tenor; b. Paris, Dec. 6, 1806; d. there Sept.
23, 1896. His fine boy-voice gained him ad-
mission to Choron's Institute; after diligent
vocal and theoretical study, he made his
debut as Count Almaviva at the Odeon,
in 1825. Dissatisfied with the results, he
subjected himself to a long course of training
in Italy, and in 1836 succeeded Nourrit at
the Opera. He was app. prof, of lyrical
declamation at the Cons, in 1842, but re-
signed in 1850 to establish a vocal school of
his own, which flourished. After his retire-
ment (1855) from the stage, he prod, several
operas, an oratorio, a mass, etc., without
great success. But his vocal methods, L'art
du chant (1845) and La Melodie, itudes com-
plimentaires vocales et dramatiques de VArt
du chant (1846), are justly celebrated.
Dupuls [du-psfcl, Albert, b. Verviers,
March 1, 1877. Pupil of d'Indy at the Schola
Cantorum in Paris; winner of Belgian Prix de
Rome with Chanson d'Halewyn (1904; prod,
as 3-act opera at Brussels, 1913); now (1916)
dir. of the Cons, at Verviers. — Works: The
operas Vldylle (Verviers, 1896); Bilitis
(Verviers, 1899); Jean Michel (Brussels,
1903); MartyUe (ib., 1905); Fidelaine (Liege,
1910); Le Chdteau de BreUche (Nice, 1913);
La Passion (Monte Carlo, 1916); La Cafi-
tiviU de Babylone (bibl. dram, not yet prod.);
the choral works with orch. Les Cloches nup-
Hales. CEdipe a Colone and Cortye lyrique.
Another erand opera is La VicUnre, almost
completed 1916.
Dupuls, Sylvaln, b. Liege, Nov. 9, 1856.
Pupil of the Liege Cons., winning the Prix de
Rome in 1881; teacher of cpt. there; conduc-
tor of the singing-society La Legia; estab. in
1888 the 'Nouveaux Concerts Symphoniques' ;
app. 1st cond. at Th. La Monnaie in Brussels,
1900, and cond. of the 'Concerts Populaires';
since 1911 dir. of the Cons, at Liege; member
of the Belgian Academy. — Works: 2 operas,
Cour oVOgnon; Moina; 3 cantatas, La Cloche
de Roland, Camoens, and Chant de la Creation;
a symphonic poem, Macbeth; a concertino for
oboe and orch.; 2 suites for orch.; pieces
for violin; ditto for vcl.; male choruses; etc.
Durand [du-rahn'], ftmtte, b. St.-Brieuc,
Cotes du Nord, Feb. 16, 1830; d. Neuilly,
225
DURAND— DUSSEK
May 6, 1903. While still a student at the
Pans Cons., he was app. (1850) teacher of an
elementary singing-class, and in 1871 prof, of
harmony. — Works: Operettas V Elixir de
CornSlius (1868), VAstronome du Pont Neuf
(1869), and others; male choruses, and songs;
also a TraiU d' Harmonic and TraiU de Com-
position musicale.
Durand, Marie- Auguste, b/ Paris, July
l8, 1830; d. there May 31, 1909. Organ-pupil
of Benoist; in 1849, organist at St.-Ambroise,
then at Ste.-Genevieve, St.-Roch, and (1862-
74) St.-Vincent de Paul. In 1870 he entered
into partnership with Sch6newerk (acquiring
Flaxland's music-publishing business), at first
as 'Durand & Schdnewerk,' later as 'Durand
& Fils,' now Durand & Cie., and making a
specialty of publishing modern works (by
{oncieres, Lalo, Massenet, Saint-Saens, Widor.
)ebussy, etc.}. He also occupied himself
with mus. criticism and composition (masses,
songs, dance-pieces, and especially music for
harmonium).
Duran'te, Francesco, celebrated church-
comp. and gifted teacher; b. Fratta Maggiore,
Naples, March 15, 1684; d. Naples, Aug. 13,
1755. He studied in Naples at the Cons,
'dei Poveri di Gesu Cristo/ under Gaetano
Greco; later under Aless. Scarlatti in the
Cons. San Onofrio, of which he was made
Director in 1718. He afterwards became
maestro at the Cons, of Santa Maria di
Loreto, his salary here being; not quite $100
Sa* annum. After Scarlatti, and with Leo,
urante ranks as one of the founders and a
chief representative of the 'Neapolitan school*
of composition. He devoted himself almost
exclusively to sacred music, in which the
breadth, vigor, and resourcefulness of his
style are more in evidence than marked
originality. He was one of thc^ greatest
teachers that ever lived; his illustrious
pupils Duni, Traetta, Vinci, Jommelli, Pic-
cinni, Guglielmi, Pcrgolesi, Paisiello, and
others, took almost complete possession of
the European lyric stage during the latter
half of the 18th century. — The library of the
Paris Cons, contains a rich collection of his
works, in MS.: 13 masses, and fragments of
masses; 16 psalms, 16 motets, several an-
tiphons and hymns; besides 12 madrigals,
6 harpsichord-sonatas, etc. His Lamentations
of Jeremiah and a Pastoral Mass are in the
Vienna Library (in MS.). His few published
works are found in the collections of Schle-
singer, Rochlitz, Commer, and the Fitz-
william Music; Karmrodt of Halle printed a
grand Magnificat (with additional accom-
paniments by Robert Franz); Br. & H. pub-
lished 12 duetti da camera. — See Q.-Lex.
DUrr'ner, Ruprecht Johannes Julius,
b. Ansbach, Bavaria, July 15, 1810; d. Edin-
burgh, June 10, 1859. Pupil of Friedrich
Schneider at Dessau; from 1831-42, cantor at
Ansbach, then studied under Mendelssohn
and Hauptmann at Leipzig, and settled in
Edinburgh as a conductor and vocal teacher.
His choruses and quartets for male voices
won great favor.
Durutte [du-riit'], Francois-Camille- An-
toine (comte), b. Ypres, East Flanders, Oct.
15, 1803; d. Paris, Sept. 24, 1881. Settled in
Metz. — Wrote Esthitique musicale. Technie
ou lois generates du systeme harmonique (1855),
supplemented by a Resume* elementaire de la
technie harmonique, etc. (1876), in which he
presents a new system of harmony, which
aroused considerable discussion, and was
found impracticable. He composed operas,
chamber-music, and church-music.
Dussek [Dusek, Duschek] [doTS'shek],
Franz, b. Choteborky, Bohemia, Dec. 8,
1736; d. Prague, Feb. 12, 1799. Pianist,
pupil of Wagenseil at Vienna; settled in
Prague, 1763, winning fame as a teacher and
performer. — Published several sonatas (1773,
1774, 1799), and a pf.-concerto (op. 1); left
in MS. symphonies, concertos, quartets, trios,
and sonatas.
Dussek [Dusek], Johann Ladlslaus, b.
Caslav (Tschaslau), Bohemia, Feb. 9, 1761;
d. St.-Germain-en-Laye, March 20, 1812. At
first a boy-soprano at the Minorite church,
Iglau, he was taught music by Father Spe-
nar, while attending the Jesuit college; was
organist at the Jesuit church in Kuttenberg
for 2 years, and while studying theology at
Prague Univ. found time to get a thorough
musical training, so that after graduation he
obtained, through Count Manner, his pa-
tron, the post of organist at the church of
St.-Rimbaut, Mechlin. Thence he went to
Bcrgen-op-Zoom, and (1782) to Amsterdam;
then spent a year at The Hague, and in 1783
studied under C. Ph. E. Bach at Hamburg;
won renown as a pianist and as a performer
on Hessel's 'harmonica' in Berlin (1784), and
Petrograd, then accepting an appointment
from Prince Radziwill, with whom he lived
in Lithuania for over a year. He played
before Marie Antoinette in 1786, at Paris;
soon went to Italy, and returned to Paris in
1788, whence the Revolution drove him to
London. Here he married Sofia Corri, a.
singer, in 1 792, and undertook a music-busi-
ness with his father-in-law; but his careless
habits, and love of luxury and ease, ill fitted
him for commercial pursuits; the enterprise
failed, and he fled to Hamburg in 1800 to
escape his creditors. Here he appears to
have stayed about 2 years, giving concerts
and teaching. In 1802 he gave a concert at
Prague, and paid a long visit to his father
at Caslav; was successively in the service of
226
DUSTMANN— DVORAK
Prince Louis Ferdinand of Prussia (d. 1806)
— to whom his UlSgic harmonique, op. 61, is
dedicated — the Prince of Isenberg, and fin-
ally (1808) Prince Talleyrand in Paris.— D.
was the pioneer of the group of Bohemian
and Polish musicians; the originality of his
pf.-comps. has a 'national' flavor, and still
keeps them alive. An an executant he was
sui generis, disputing with Clementi the
honor of inventing the 'singing-touch.' Be-
sides 2 English operas, given in London with-
out much success, a solemn mass (composed
at the age of 13), several early oratorios, and
considerable church-music, he published
nearly 100 works for pf. (many without opus-
number); among them being 12 concertos, a
symphonic concertante for 2 pfs., a quintet, a
quartet, 10 trios, 80 sonatas with vln.9 9
4-hand sonatas, 3 4-hand fugues, 53 sonatas
for pf. solo, and many rondos, fantasias,
variations and waltzes. He also published a
Method for pf. at London, which appeared
later in French and German.
Dustmann [d6dst'-], Marie Luise (nie
Meyer), dramatic soprano; b. Aix-la-Cha-
pelle, Aug. 22, 1831; d. Charlottenburg (Ber-
lin), March 2, 1899. Debut Breslau (1849);
after this she was engaged at Kassel (under
Spohr), at Dresden (5 J), Prague ('54), and
Vienna ('57). She sang as a 'star* in the
larger German cities, Stockholm, and Lon-
don. Married D. (a bookseller) in 1858;
made 'Kammersangerin' at Vienna in 1860;
taught for some time at Vienna Cons.
Duval [du-vahll, Edmond, b. Enghien,
Hainault, Aug. 22, 1809. He entered the
Paris Cons, in 1828, but was dismissed in
1832 because of irregular attendance. Re-
turning to Mechlin, he became deeply inter-
ested in Abbe Janssen's 'Vrais Principes du
chant gr£gorien\ and was entrusted by the
bishop with the revision of the church-ritual
of the diocese. In furtherance of this plan
he visited Rome; after his return, the follow-
ing 'revised versions' of ecclesiastical song
were issued: Graduate romanum, etc. (1848),
Vesperale, Manuale chori (1850), Processio-
nale (1851), Pastorale Mechliniense (1852),
and Rituale (1854), based, on Italian publica-
tions of the 16th, 17th, and 18th centuries.
He also publ. a series of 'studies' on the
above, and a TraitS d'accompagnetnent du
filain-thant par I'orgue, etc. F6tis considers
both plan and execution of these works to
be totally wrong.
Duvernoy [du-var-nwah'], Charles, bro-
ther of Frederic; b. Montbeliard, 1766; d.
Paris, Feb. 28, 1845; a clarinettist; came to
Paris in 1810, and was first clarinet at the
Th. de Monsieur and the Feydeau, retiring
in 1824. Till 1802 he was also prof, at the
Cons. — Works: 2 sonatas for clarinet; varia-
tions as duets for 2 clarinets.
Duvernoy, Charles-Francois, b. Paris,
April 16, 1796; d. there Nov., 1872. Opera-
singer in the Opera-Corn., Paris, and (1851)
teacher of operatic singing in the Cons.;
1856, superintendent of the 'Pensionnat des
eleves du chant.'
Duvernoy for Duvernois), Fr&leric, b.
Montbeliard, Oct. 16, 1765; d. Paris, July
19, 1838. A self-taught horn-player, he be-
came first horn at the Grand Opera, and
until 1815 prof, at the Cons. He published
a great number of pieces for horn, which are
now forgotten; ana a MHhode de cor mixte,
explaining his peculiar style of playing.
Duvernoy, Henri-Louis-Charles, son of
Charles; b. Paris, Nov. 16, 1820; d. there
Jan., 1906. Pupil of Halevy and Zimmer-
man at Paris Cons., where (1839) he was
asst.-prof., and in 1848 full prof., of solfeggio;
he trained many distinguished pupils. Publ.
(with Kuhn) Nouveaux choix de psaumes et de
cantiques (1848); Solfege des chanteurs (1855);
Solfege a changentenls de clefs (1857); and
Solfege artistique (1860); also some; 100 light
pianoforte-pieces.
Duvernoy, Jean-Baptiste, composer and
pf. -teacher at Paris; dates of birth and death
unknown. Beginning about 1825, he publ.
several hundred piano-pieces and variations,
generally of a light and easy character, ana
a number of interesting and valuable studies
for pianoforte.
Duvernoy, Vlctor-Alphonse, b. Paris,
Aug. 31, 1842; d.. there March 7, 1907. He
was a pupil of Bazin and Marmontel at the
Paris Cons., taking the first prize for pf.-
playing in the latter's class (1855). In 1869
he founded, together with Leonard (1st vln.),
Stiehle, Trombetta and Jacquard, a series of
chamber-music concerts; he devoted his time
otherwise to composing and teaching, and
held a professorship in the Cons. For some
11 years, musical critic of the 'Republique
francaise'; chevalier of the Legion of Honor,
and an officer of public instruction. As a
dramatic composer he produced the 3-act
opera Sardanapale (Liege, 1892; successful),
the 'scene lyrique* Cleopdtre (at the Concerts
Colonne), and the 4-act opera HellS (Grand
Opera, 1896). His symphonic poem La
temp&tc, produced at the Concerts Colonne,
won the City of Paris prize in 1880; he also
wrote a ballet, Bacchus (1902); an overture,
Hernani; several other orchestral pieces, and
much music for piano.
DvoMk [dvfthr'zhahk], Antonin, b. Miihl-
hausen [Nelahozeves], Bohemia, Sept. 8,
1841; d. Prague, May 1, 1904. His father,
an innkeeper, wished him. to learn the
227
DVORAK
butcher's trade; but he, having learned to
play the violin from the village schoolmaster,
left home at the age of 16, and entered the
Prague Organ-School, studying under Pitzsch,
and earning a precarious livelihood as violin-
ist in a small orchestra. After graduation
from the School in 1862, he joined the orch.
of the National Th. as a viola-player. It
was not until 1873 that a composition of im-
portance gained a hearing; but then the pro-
duction of a hymn for male chorus and orch.
attracted such wide notice that he received
(1875) a government stipend, and devoted
himself to composition with increasing suc-
cess, becoming the most famous of Bohemian
national composers. Liszt, Brahms and Bil-
low, by securing the performance of his
works, and encouraging him in every way,
did much to obtain for his compositions the
vogue which they deservedly enjoy, despite
an overlavish employment of Bohemian man-
nerisms in melody and rhythm. In 1873 he
gave up playing in orchestras, when he was
appointed organist at St. Adalbert's in
Prague; and when his fame as composer
spread, numerous pupils flocked to him, and
a professorship for comp. at the Cons, was
offered him. In 1884 he was invited to
conduct his Stabat Mater in London. It was
received with such enthusiasm that in the
fall of the same year D. conducted it at the
Worcester Festival, and was commissioned
to write a new work for the Birmingham
Festival of 1885 {The Spectre's Bride). The
following year (1886) -he visited England
again to direct his oratorio St. Ludmua at
the Leeds Festival; in 1891 Cambridge con-
ferred upon him the degree of Mus. Doc.
(hon. a). Fom 1892-5 he was the artistic
director of the National Cons., New York;
then returned to Prague as prof, at the Cons.,
of which he was made artistic director in
1901 (with Knittl as admin, director). He
was the first musician to be made a life-
member of the Austrian House of Lords. —
A composer of singular versatility and fecund-
ity, the most prominent characteristics of his
music are an inexhaustible, spontaneous me-
lodic invention, a well-nigh unexampled
rhythmic variety, an exhaustive employ-
ment of national folk-tunes and their melodic
peculiarities, and an intensity of harmonic
vigor which, in his finest works (probably the
chamber-music), has an electrifying effect,
though sometimes bordering on the crude
and rough. It is music straight from heart
and soul, rather than carefully weighed com-
position. Since his death, regret has been
freely expressed that D. gave so much time
to opera. It is true that his stage- works
have not met with the same warm welcome
in Germany as in their native land ^ and
tongue; furthermore, the libretti are said to
be weak. But aside from that it seems D.v
like some other composers, was constantly
hampered by the word. His genius un-
doubtedly finds fullest and really natural ex-
pression in 'absolute* music; even a general
program, as in his symphonic poems, seems
to nave acted as a check upon his sponta-
neity.— Biographical essay (in German) by
T. Zubatsky (1886); in English by W. H.
Hadow in 'Studies in Modern Music,' 2nd
Series (London, 1895; 2nd ed. 1904); D. G.
Mason, From Grieg to Brahms (New York,
1902).
DVORAK'S COMPOSITIONS.
Op.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
(Unpublished.)
4 songs.
4 songs.
Die Erben des wets sen Btrges,
for mixed ch. and orch.
(republ. by Novello as op.
30. with dedication: "To
the English People".)
Das Waisenkind, ballade for
voice and pf .
4 songs (Serbian.)
4 songs (Bohemian.)
Silhouetten for pf .
4 songs.
(Unpublished.)
Romanze, for violin and orch.
Furiante und Dumka for pf.
(Unpublished.)
(Unpublished.)
Ballade for violin and pf.
String-quartet in A m.
6 songs.
String-quintet in G.
3 Latin hymns, with organ.
4 duets for voice and pf.
Pf.-trio in Bb.
Serenade in E, for str.-orch.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
Pf. -quartet in D.
Symphony No. 1. in F (1875);
republ., 1888, as No. 3,
numbered op. 76.
Overture to Wanda.
Pf.-trio in G m.
4 part-songs.
Hymne der bdhmischen Land-
leute, for mixed ch. and pf.
4 hands.
6 choruses for mixed voices.
See op. 4.
5 songs.
KUtnge aus Mdhren, duets
for soprano and alto.
Concerto for pf . and orch.
String-quartet in D m.
Dumka for pf.
Variations in A I? for pf.
Overture to Selm a sedl&k
(Der Bauer ein Schelm).
4 duets for voice and pf .
Polka. Minuet and Romanic
for pf .
Notturno for string-orch.
Schottische Tame for pf. 4
hands.
2 Fur tan ten for pf .
228
43. 3 part-songs with pf. 4 hands.
44. Serenade, for wood-wind,
violoncello and d.-bass.
45. 3 Slavische Rhapsodien for
orchestra.
46. Slavische Tante for pf. 4
hands; also arr. for orch.
47. 4 Bagatelle*, for harmonium
(or pf.). 2 violins and 'cello.
48. String-sextet in A.
49. Maturek for violin and orch.
50. 3 Neugriechische GedichU, for
voice and pf.
51. String-quartet in Eb.
52. Impromptu. Interment), GigU€
and Scherzo for pf.
53. Concerto for violin and orch.
54. Walzer for pf.
55. Ziegeunerlieder for tenor and
pf.
56. Mazurkas for pf.
57. Sonata in F. for violin and pf.
58. Stabat Mater for soli, ch. and
orch.
59. Legenden for pf.; (also arr.
for orch.).
60. Symphony No. 1. in D.
61. String-quartet in C.
DVORAK— EAMES
62.
63.
64.
65.
66.
67.
68.
69.
7a
71.
72.
7.1.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
Overture, Mein Heim.
In der Natur (5 choruses).
Dimitrije, opera.
Pf .-trio in F m.
Scherto Capriccioso, for orch.
Overture. Husitska.
Aus dem Bdhmer Walde, for
pf. 4-hands.
The Spectre's Bride, cantata
for soli. ch. and orch.
Symphony No. 2. in D m.
St. Ludmila, oratorio.
Neue Slavische T&nae, f. orch.
Im V oiks ton (4 songs).
Trio for 2 violins and viola.
Rjomantische St&cke for violin
and pf .
See op. 24.
String-quintet in G.
Symphonische Variation en
Uber tin OriginaUhema. for
orch.
Psalm 149 for ch. and orch.
String-quartet in E.
Pf. -quintet in A.
4 songs.
8 songs.
(Unpublished.)
Poetische Stimmungsbilder
(13 pieces for pf.).
Mass in D.
Pf.-quartet in Eb.
88.
89.
90.
91.
92.
93.
94.
95.
96.
97.
98.
99.
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
Symphony No. 4, in G.
Requiem.
Dumkyjor vln., 'cello and pf.
Overture. Vpfirodl (In der
Natur).
Overture, Carneval.
Overture, Othello.
Rondo, for 'cello and orch.
Symphony No. 5, in Em.,
Znoviho svita (From the
New World).
String-quartet in F.
String-quintet in Eb.
Suite for pf.
5 songs (biblical).
Sonatina for violin and pf.
in A.
Humor esken for pf.
America's Flag, cantata.
Te Deum, for soli, ch. and
orch.
Concerto for 'cello and orch.
String-quartet in A\>.
String-quartet in G.
Vodnik (The Water-Sprite),
symphonic poem.
, Polednice (The Noon-Witch),
symphonic poem.
Zlaty kolovrat (The Golden
Spinning-Wherl), symph.
poem.
110. Die Wildtaube (The Wild
Dote), symphonic poem.
111. Heldenlied (Heroic Song)
symphonic poem.
112. (Unpublished).
113. Festgesang, for chorus with
pi. 4 hands.
OPERAS (all preraierea at Prague) .
Krai a uhlif (King and Char-
coal-burner). 1874.
Wanda, 1876.
Selm a sedldk (The Peasant a
Rogue), 1878; in Dresden. 1882.
as Der Bauer ein Schelm.
Tvrde police (The Blockhead),
1881.
Dimitrije, 1882; in Vienna. 1892.
Jacobin, 1889.
Der Teufel und die wilde Kdthe
(The Devil and Wild Kate), 1899.
Rusalka (The Water-witch). 1901.
Armida, 1904.
Without Opus-Number.
Waldcsruhe, for 'cello and orch.
Posthumous.
Symphony in El».
Symphony in D m.
Tragische OuvertUre.
Rhapsodie in A m.
Zwei Klavicrst&cke
Capriccio).
(Berceuse,
Dwight, John Sullivan, a well-known
musical critic, and editor of *D wight's Jour-
nal of Music'; b. Boston, Mass., May 13,
1813; d. there Sept. 5, 1893. He graduated
at Harvard in 1832, and was one of the
founders and most active members of the
Harvard Musical Assoc. After studying for
the ministry, he in 1840 took charge of the
Unitarian Ch. at Northampton, Mass. His
literary and socialistic proclivities, however,
gained the mastery; he gave up his pastorate,
and entered the ill-starred Brook Farm Com-
munity as a teacher of German music and
the classics. Returning to Boston in 1848,
after the failure of the socialistic experiment,
he devoted himself to literature, founded the
'Journal' in 1852, and remained its editor-in-
chief until its discontinuance in 1881. A
prominent feature in this paper were the
valuable historical essays of A. W. Thayer.
D. also published excellent Translations of
Select Minor Poems from the German of Goethe
and Schiller, with Notes. — Biography by
George Willis Cooke: J. S. D., Brooh- Farmer,
Editor, and Critic of Music (Boston, 1899);
Cooke also edited U.'s correspondence with
George William Curtis (Boston, 1898).
Dykes, Rev. John Bacchus, b. Kingston-
upon-Hull, Engl., March 10, 1823; d. St.
Leonard's, Jan. 22, 1876. An English divine
and composer, educated at Cambridge; minor
canon and precentor at Durham cath., 1849,
where he also cond. the Music Soc. He took
the degree of Mus. Doc. in 1861, and was
vicar of St. Oswald, Durham, from 1862.
Some of his hymns are peculiarly fine; he
likewise composed a service in F; the 23d
Psalm (The Lord is my shepherd); anthems;
and part-songs.
E.
Eames [amz], Emma, distinguished dram,
soprano ; b. of American parentage at Shanghai,
China, Aug. 13, 1867. At the age of 5 she
went with her mother, a talented musician
and her first teacher, to the latter's native
town of Bath, Maine; from 1883 she studied
under Miss Munger, at Boston, and from
1886-n8 at Paris, under Mme. Marchesi (voice)
and M. Pluque (stage-deportment, etc.). She
was eng. for the Opera-Corn, in 1888, expect-
ing to appear in La Traviata; but, by reason
of vexatious delays, cancelled this engage-
ment, and made her debut at the Grand
Opera, Mar. 13, 1889, as Juliette in Gounod's
Romio et J., succeeding with great applause to
a role previously sung by the Patti. She sang
in the Opera for 2 years, creating the rdles
of Colombe in A scanio by Saint-Sagns, and of
Zaire in De la Nux's like-named opera.
Engaged for Covent Garden, London (debut
April 7, 1891, as Marguerite in Faust); in
this year she married the painter Julian
Story, from whom she was divorced in 1907;
in December appeared in New York with
the de Reszkes, as Juliette; after this she
sang regularly in New York and London
in their respective seasons (excepting the
winters of 1892-3, at Madrid, and 1895-o,
during temporary ill-health). She bade
farewell to the stage in a grand performance
of La Tosca at the Metropolitan Opera
House, New York, February IS, 1909. In
1911 she married the baritone, Emilio de Go-
229
EASTCOTT— EBERLIN
gorza, and has since then been living alter-
nately in Paris and Bath, Me. She received
from Queen Victoria the Jubilee Medal, and
was decorated by the French Academy with
the order of 'Les Palmes Academiques.'
Mme. E. sang in English, French, Italian
and German; her repertory included the
following roles: Juliette, Marguerite, Co-
lombe, Zaire, Desdemona, Santuzza, La
Tosca, Traviata, Amelia (Ballo in Maschera),
Micaela (Carmen), Countess (Figaro), Yaso-
dhara (Light of Asia), Elsa, Elisabeth, Eva,
Sieglinde (WalkUre), Aida (a classic imper-
sonation), Mrs. Ford (Falstaff), Donna Elvira,
Ghiselle, Lady of Longford, Mireille, Char-
lotte (Werther), and Valentine (Huguenots).
Eaetcott, Richard, b. Exeter, England,
1740; d. as chaplain at Livery Dale, Devon-
shire, 1828. Publ. Sketches of the Origin,
Progress and Effects of Mustek, with an
account of the Ancient Bards and Minstrels,
illustrated with various Historical Facts, Anec-
dotes, etc. (Bath, 1793); The Harmony of the
Muses (songs) ; 6 pf .-sonatas.
Eaton, Louis, b. Waltham, Mass., Feb.
24, 1872. Studied vln. with d. Listemann,
1884-92, and with C. M. Loeffler, 1896-1902;
comp. with B. Cutter and pf. with Jessie
Downer; taught at N. E. Cons., 1897-8; then
toured U. S. and Canada for 6 years with
Bostonia Sextet Club; concert-master of Jor-
dan Hall Orch. and Aborn Opera Co.; first
violinist with Boston Opera Co., 1909-11;
music director Park Theatre, Boston, 1911-
14; since 1915 in Hartford, Conn., as music
director at Strand Th. In 1899 he married
the pianist Jessie Downer (b. Middlebury,
Vt., Nov. 17, 1872), and with her and the
'cellist Arthur Hadley formed the Downer-
Eaton Trio, which enjoyed an enviable repu-
tation in the N. E. States and gave first
American performances of many new cham-
ber-music comps. (trios by Rachmaninov,
Rasse, Chevillard, Bronsart, etc.). E. has
published some vln.-studies, compiled some
albums of pf. -trios, and made orchestral
arrangements.
Eaton, Louis H., b. Taunton, Mass.,
May 9, 1861. Organist successively at Taun-
ton and Milwaukee (1885-98); he studied
with Guilmant at Paris 1900-1, when he was
eng. as organist and mus. director at Trinity
Episcopal Ch., San Francisco. He is a skilful
organizer, trainer and conductor of choirs.
E'bellng, Christoph Daniel, b. Gar-
missen, n. Hildesheim, 1741; d. Hamburg,
June 30, 1817, as. prof, of history in the Gym-
nasium and custodian of the City Library.
Publ. Versuch einer auserlesenen musikalischen
Bibliothek (Hamburg, 1770); Ueber die Oper
('Hannoversches Magazin' for 1768); also
translations of Burney's Musical Tour, of
230
Chastelaux' Essai sur V union de la musiaue et
de la poSsie, and of the English text of Han-
del's Messiah (w. Klopstock).
E'beling, Johann Georg, b. Lttnebure,
July (bapt. 11th), 1627; d. Stettin, 1676. In
1662, musical director and teacher at St.
Nicolai, Berlin; from 1668, prof, of music at
the Gymnasium Carolinum, Stettin. Publ.
Pauli Gerhardi geistliche Andachten, 120
sacred songs w. 2 vlns. and continuo (Berlin,
1666-7, 1669; Nuremberg, 1682); Archaeo-
logiae orphicae sive antiquitates musicae (1676) ;
and a 'concert* for clavichord and other in-
struments.— See Q.-Lex.
E'bell, Heinrlch Karl, b. Neuruppin,' Dec.
30, 1775; d. Oppeln, March 12, 1824. A
lawyer by profession, he was a pupil of Turk
and Reichardt in music, and from 1801-4
Kapellm. at Breslau. He comp. 10 operas
and vaudevilles, an oratorio, six cantatas, 5
symphonies, 4 string-quartets, songs, etc.
ET>erhard, Johann August, b. Halber-
stadt, Aug. 31, 1739; d. Halle, Jan. 6, 1809,
as prof, of philos. He wrote a Theorie der
schonen Kiinste und Wissenschaften (Berlin,
1783; 3d ed. 1790), a Handbuch der Aesthetik
(Halle, 1803-5, 4 vols.), and several short
essays on musical subjects in his Gemischte
Schriflen (Halle, 1784, 1788), and in the
'Musikalisches Wochcnblatt' (Berlin, 1805).
E'berl, Anton, one of the most famous
pianists of a century ago, and a gifted comp. ;
b. Vienna, June 13, 1766; d. there March 11,
1807. In 1782 he produced the opera Die
Zigeuner, followed (1783) by La Marchande
de modes, these attracting the attention and
winning the friendship of Mozart and Gluck.
He made a concert -tour with Mozart's widow;
lived 1796-1800 in Petrograd as Kapellm.;
revisited Russia in 1803, and travelled
through Germany in 1806. Besides 3 more
operas, he wrote a cantata, symphonies, pf.-
conccrtos, much chamber-music, many pf.-
pieccs (especially sonatas), songs, etc. — See
Q.-Lex.
E'berlin, Daniel, b. Nuremberg, c. 1630;
d. Kassel, 1691. A music-student in Rome,
he became captain in the Papal army; was
Kapellm. in Kassel in 1678; Kapellm., tutor
to the princes, private secretary and director
of the mint, at Eisenach; a banker in Ham-
burg and Altona; and finally militia-captain
at Kassel. He was a good contrapuntist and
violinist; also a celebrated composer at his
time; but only 3 vln.-trios (Nuremberg,
1675) are extant.
E'berlin [Eberle], Johann Ernst, b. Jet-
tenbach, Swabia, March 27, 1702; d. Salz-
burg, June 21, 1762, as Kapellm. and Truch-
sess (carver) to the archbishop. — Published
works: XI Toccate e Fughe per lorgano (Aug*.
EBERS— ECKERT
burg, 1747; several reprints); fugues and toc-
catas in Commer's 'Musica sacra'; 2 motets
(publ. by Schott); 2 sonatas (publ. by Haff-
ner); 5 pieces in L. Mozart's 'Der Morgen
und der Abend' (Augsbure, 1759).— In MS.:
13 oratorios in Ratisbon (Proske's Library);
an offertory and Miserere (Berlin Library);
a volume of organ-pieces (R. Inst, for
Church-music, Berlin). — See Q.-Lex.
E'bere, Karl Fried rich, b. Kassel, March
25, 1770; d. Berlin, Sept. 9, 1836. Intended
for the army, he preferred music; became
Kapellm. at the theatres in Schwerin and
Pest, and conducted a singing-society at
Magdeburg. He brought out 4 operas in
Pest (1796-7); also wrote symphonies» over-
tures, sonatas and other pieces for pf., son^s,
etc., none of special vitality. His transcrip-
tions for pf. were popular. — See Q.-Lex.
E'berwein, Karl, b. Weimar, Nov. 10,
1786; d. there March 2, 1868. A violinist and
composer; in 1803, court musician, and later
conductor of the court orch. He was a friend
of Goethe, who often mentions him, and for
whom he composed some songs. He wrote 2
operas, the music to Holtei's Leonore and to
Preciosa; an overture to Goethe's Proserpine;
also cantatas, a string-quartet, a flute-con-
certo, songs, etc. — His brother,
E'berwein, Traugott Maximilian, born
Weimar, Oct. 27, 1775; d. Rudolstadt, Dec.
2, 1831. Pupil of Kunze in Frankfort, and
Schick in Mayence; 1797 Hofmusikus, 1817
Kapellm., to the Prince of Rudolstadt. —
Works: 11 operas; symphonies, overtures;
much church-music; songs. — See Q.-Lex.
Ec'card, Johannes, b. Miihlhausen, Thu-
ringia, 1553; d. Kdnigsberg, 1611. Pupil of
Joachim von Burgk, and (1571-4) of Or-
landus Lassus; 1578, director of J. Fugger's
private orch. at Augsburg; in 1583 vice-
Kapellm., and in 1599 full Kapellm., at
Konigsberg. In 1608 he was called to Berlin
as Kapellm. to the Elector. An eminent com-
poser of sacred music. With von Burgk he
published 20 Odae sacrae (1594); Crepundia
sacra, christliche Liedlein mil 4 Stimmen (in
2 Parts, 1577, 1596; 2d ed. 1608); his own
published works are 24 Neue deutsche Lieder
mit 4 und 5 Stimmen (1578); 14 Neue deutsche
Lieder (1589); 5-stimmige geistliche Lieder
(1597); Preussische FesUieder (1598); some of
the above have been reprinted in modern
form. — Also a motet, 0 Lamm Gottes; a
chorus, O Freude; and occasional songs. —
See Q.-Lex.
Eccarius-Sieber, Artur, b. Gotha, May
23, 1864. Pupil of Patzig at the Cons, there;
established himself as teacher in Zurich,
where he founded the 'Schweizerische Aka-
demie der Tonkunst' (1891); since 1900 in
DUsseldorf as teacher and critic. He has pub-
lished a number of excellent pedagogical
works for pf. and vln., and Fuhrer durch die
ViolinliUeratur.
Ec'cles, John, b. London, 1668 (?); d.
Kingston, Surrey, Jan. 12, 1735. Son and pu-
pil of the violinist Solomon E. He became
a member of the Queen's Band in 1700, and
Master of the same in 1704. He composed 46
masques and other stage-pieces, ana publ. a
collection of songs for 1, 2, and 3 voices
(London, 1701); some of his songs are in
Tills to purge Melancholy.' — His brother
Henry, violinist, and a member of the
French king's private orch. in Paris, publ.
12 Excellent Solos for Violin (1720) in Co-
relli's style. — See Q.-Lex.
Eck, Franz, brother and pupil of Joh. Fr.,
b. Mannheim, 1774; d. Strassburg, 1804, in
an insane asylum. A fine violinist, and for
some years a member of the Munich orch.;
later director of, and soloist in, the court
concerts at Petrograd. From 1802-3 he was
Spohr's teacher.
Eck, Johann Priedrich, b. Mannheim,
1766; d. Bamberg, 1809 (1810?). A remark-
able violinist, court musician at Munich in
1780, later dramatic director of the Court and
National Th. He resigned this position in
1801, and went to Nancy, France. — Publ.
6 vln. -concertos; a Symphonie-concertante
for 2 violins.
Eck'elt, Johann Valentin, b. Wernings-
hausen, near Erfurt, May (bapt. 8th), 1673; d.
Sondcrshausen, Dec. 18, 1732. From 1696
he was organist at Wernigerode; from
1703, at Sondcrshausen. — rubl. Experi-
menta musicae geometrica (1715); Unterricht,
eine Fuge zu formiren (1722); Unterrieht, was
ein Organist wissen soil (n. d.). His MS.
Passion, cantatas, and organ-works are of
interest. His valuable library was acquired
by E. L. Gerber, and utilized by the latter in
the compilation of his Dictionary.
Eck'er, Karl, b. Freiburg, Baden, March
13, 1813; d. there Aug. 31, 1879. A law-
student at Freiburg and Vienna, he also
studied under Sechter, and devoted himself
to composition on returning to Freiburg in
1846. His orchestral works were produced in
Freiburg; his male quartets, and many songs,
enjoyed great popularity.
Eck'er, Wenzel. Pen-name of Wilhklm
Gericke.
Eck'ert, Karl Anton Florian, b. Pots-
dam, Dec. 7, 1820; d. Berlin, Oct. 14, 1879.
At the age of 6 he was considered a prodigy;
the poet F. Fdrster became interested in him,
and had him trained by the best teachers:
Rechenberg and Greulich (pf.), Bfttticher and
H. Ries (vln.), and Rungenhagen (comp.).
At 10 he wrote an opera, Das Fischerm&dchen;
231
ECKHOLD— EDWARDS
at 13, an oratorio, Ruth. After years of travel
and study (for a time at Leipzig; under Men-
delssohn) he became accompanist at the Th.
Italien, Paris, in 1851. He went to the U. S.
with Henriette Son tag; was app. conductor
at the Th. Italien in 1852; and, in 1853,
Kapellm. (later technical director) at the
Court Opera, Vienna; succeeded Kttcken as
Kapellm! at Stuttgart in 1860, retired to
Baden-Baden in 1867, and in 1869 was called
to Berlin as first court Kapellm., Taubert
and Dorn having been pensioned to clear the
way. — Four operas, 2 oratorios, several
psalms, and a 'cello-concerto, had only medi-
ocre success; whereas his songs were highly
esteemed.
Eck'hold, Hermann Richard, b. Schan-
dau, Saxony, 1855. Studied at Dresden
Cons, from 1867-71; violinist and then con-
cert master at the Mayence Op. House; mem-
ber Festspielhaus Orch. at Bayreuth; went to
England in 1894 as principal conductor of the
Carl Rosa Op. Co.; 1900, conductor Savage
Opera Co.; 1902-12, conductor of Moody-
Manners Opera Co.; as cond. of the Quinlan
Opera Co. on its world-tour (1912-14) he
directed the first performances of Warner's
Nibelungen in South Africa and Australia.
ficorcheville, Jules, b. Paris, March 18,
1872 ; d. Feb. 19, 1915 (fell in battle at Perthes-
les-Hurlus). Pupil of Cesar Franck, 1887-
90; student of literature and art-history in
Paris and (1904-5) Leipzig; docteur es
lettres (Paris, 1906); editor of the publica-
tions of the Paris section of the I. M. S.;
writer on the history and esthetics of music.
—Works: De Lully & Rameau: 1690-1730;
VEsthetique musicale (1906); CorneUle et la
musique (1906); Actes d'etat civil des musi-
ciens insinues au Chdtelet de Paris de 1539 a
1650 (1907); Catalogue du fonds de musique
ancienne de la Bibliotheque Nationale (hand-
some thematic list of 10,000 themes, to be
completed in 10 vols.; up to the outbreak of
the war, 1914, 8 vols, had been publ.); also
edited Vingt Suites oVorchestre du X VII* Steele
franc.ais (1906; facsimile and transcr.). — Cf.
Le Tombeau de J. £.: suivi de lettres inedites
(Paris, 1916).
Eddy, Clarence, distinguished organist;
b. Greenfield, Mass., June 23, 1851. A pupil
of J. G. Wilson, Greenfield, and of Dudley
Buck, Hartford, Conn.; in 1871 he went to
Berlin to study under Haupt (org., etc.), and
Loeschhorn (pf.). After a grand tour in Ger-
many, Austria, Switzerland, and Holland, he
settled in 1874 in Chicago as organist of the
First Congregational Ch.; in 1876 he became
director of the Hershey School of Mus. Art.
He makes frequent tours in America and
Europe; at a series of 100 organ-recitals,
given in Chicago in 1879, not one program-
number was repeated; since the Vienna Expo-
sition of 1873 he has given recitals at nearly
all the great expositions (Phila., 1876; Paris,
'89; Chicago, '93; Buffalo, 1901; St. Louis,
'04; Jamestown, '07; San Francisco, '15 [40
recitals]). He is hon. mem. of the Accademia
S. Cecilia of Rome.— Works: Fugues, canons,
preludes, variations, etc., for organ; church-
music; songs; has publ. The Church and
Concert Organist (2 vols., 1882, '85); The
Organ in Church (1887); and translated
Haupfs Theory of Cpt. and Fugue (1876).
E'delmann, Johann Friedrich, b. Strass-
burg, May 6, 1749; d. Paris, July 17, 1794
(guillotined). An extremely popular comp.,
whose works were publ. in Mannheim, Offen-
bach, Mayence, London and Paris. He
wrote for pf., and vln. and pf. (concertos,
sonatas, etc.); also an opera, Ariadne (1782).
A selection of his works was published by
Riemann in 'Manhheimer Kammermusik'
('Dkm. d. Tonkunst in Bayern/ XV).— Cf.
M. Vogeleis, Bausteine und Quellen zu einer
Geschichte der Musik im Elsass 500-1800
(Strassburg, 1911).
Edgcumbe. See Mount-Edgcumbb.
Edaon, Lewis, b. Bridgewater, Mass., Jan.
22, 1748; d. Woodstock, N. Y., 1820. Lived
in New York, 1801-17, and compiled (with
Thomas Seymour) The N. Y. CoU. of Sacred
Music. Composed the hymn-tunes Bridge-
water, Lenox, Greenfield, and others. Re-
moved to Woodstock in 1817.
Edvi'na, Marie Louise Lucienne (nSe
Martin) , born in Quebec. Dramatic soprano.
Pupil of Jean de Reszke in Paris, 1904-8;
debut as Marguerite in Faust, Covent Gar-
den, July 15, 1908; has sung since then regu-
larly during the London seasons; 1911-13,
member of the Boston Op. Co.; since 1915,
with the Chicago Op. Co. In 1901 she was
married to the Hon. Cecil Edwardes. Her
repertoire comprises chiefly modern French
and Italian rdles (Melisande, Maliella, Fiora,
Louise, Mi mi, etc.).
Edwards, Henry John, b. Barnstaple,
Devon, Feb. 24, 1854. He received his first
instruction from his father (org. Barnstaple
Parish Ch.), and from 1874-6 studied with
H. C. Banister (harm.), G. Macfarren
(comp.), and S. Bennett (pf. and orch.); at
Oxford he took degree of Mus. Bac. (1876),
and Mus. Doc. (1885); succeeded his father
in 1886, a position which he still holds (1916);
also conducted Barnstaple Mus. Fest. Soc.,
and since 1896, Exeter Orat. Soc. He has
written 2 oratorios, The Ascension (Exeter
Fest., 1888) and The Risen Lord (Exeter
Fest., 1906); a cantata, The Epiphany (1891);
motets, etc.
Edwards, Henry Sutherland, b. Hendon
(London), Sept. 5, 1829; d. London, Jan. 21,
232
EDWARDS-EHRLICH
1906. For many yean critic of the 'St.
James Gazette'; among his numerous books
the following are the most important: The
Russians at Home (1861); . History of the
Opera . . . from Monteverde to Verdi (2 vols.,
1862); Life of Rossini (1869; in condensed
form in 'Great Musicians' series, 1881); The
Lyric Drama (2 vols., 1881); Famous First
Representations (1886); The Prima Donna
. . . from the 17th to the 19th Century (2 vols.,
1888).
Edwards, Julian, b. Manchester, Dec. 11,
1855; d. Yonkers, N. Y., Sent. 5, 1910.
Pupil in Edinburgh of Sir H. Oakeley, and
in London of Sir G. Macfarren; 1877, cond.
R. Engl» Op. Co.; 1883, cond. Engl. Op. at
Cov. Garden; came to U. S. in 1888, settling
in Yonkers and devoting himself entirely
to comp. ; some of his lighter operas achieved
more tnan average success. He wrote the
operas Corinna (Sheffield, 1880), Victorian
(ft)., 1883), King Rene's Daughter (N. Y.,
1893; tragic), Madeleine, or The Magic Kiss
(Boston, 1902), Brian Boru (N. Y., 1896),
DoUy Varden (ib., 1902), The Patriot (Boston,
190/; tragic); the sacred cantatas The Re-
deemer, Lazarus, Mary Magdalen, The Lord
of Light and Love; a secular cantata, The
Mermaid; etc.
Eeden [a'den], Jean-Baptiste van den,
b. Ghent, Dec. 26, 1842. Pupil of the Con-
servatories at Ghent and Brussels, winning
at the latter the 1st prize for comp. (1869)
with the cantata Faust's laatste nacht. In
1878, app. director of Mons Cons., succeeding
Huberti. — Works: The operas Numance
(Antwerp, 1897) and Rhena (Brussels, 1912);
oratorios Brutus, Jacqueline de Baviere, Jacob
van Artevelde, Le Jugement dernier t and the
triology Judith; 2 cantatas for soli, ch. and
orch., Het Woud and De Wind: a symphonic
poem, La lutte au XVI' stick; suites, a
scherzo, a Marche des esclaves, etc., for orch.;
also part-songs and songs.
E'genolff (or Egenolph), Christian, an
early German music-printer; b. July 26, 1502;
d. Frankfort-on-Main, Feb. 9, 1555; unen-
viably notorious for poor press-work and for
piracy. He publ. 2 collections of 2-part
songs, Gassenhawerlin and Reuterliedlin (1535),
which are of decided value.
Eg'geling, Eduard, b. Brunswick, July
30, 1813; d. Harzburg, April 8, 1885. A pupil
of Griepenkerl, and a piano-teacher in Bruns-
wick, ne published a series of valuable
studies, and some instruction-books; also
pf.-music (2 fantasias, Der FruhUng and
Erhebung).
Egg'hard, Julius (pen-name of Count
Hardegen), b. Vienna, April 24, 1834; d.
there March 23, 1867. Pupil of Czerny (pf.)
and Sechter (comp.). He was a concert-
pianist, and comp. numerous characteristic
pieces for pf., which were very popular.
E'ftU, Johann Heinrich, b. Seegraben,
canton Zurich, March 4, 1742; d. there Dec.
19, 1810. A pupil of Pastor Schmiedli at
Wetzikon. Lived in Zurich as a teacher, com-
posing vocal music (chiefly sacred), which
has won great popularity in Switzerland. —
Works: Schweiserlieder, and Scnweizercan-
taten by Lavater; Schweiter Volhslieder;
GeUert's geistliche Oden und Lieder; Cramer's
Oden; many sacred songs; etc. — See Q.-Lex.
Ehlert, Louis, composer and writer; b.
K6nigsberg, Jan. 13, 1825; d. Wiesbaden,
Jan. 4, 1884. A pupil of Schumann and Men-
delssohn in Leipzig Cons. ; studied subse-
quently at Vienna, and then at Berlin, where
he lived 1850-63 as a teacher and critic.
Frequently visited Italy, and was conductor
of the Florentine 'Societa Cherubim'; he
taught in Tausig's 'Schule des hoheren
Klavierspiels,' Berlin (1869-71), then be-
came tutor to the Meiningen princes, receiv-
ing from the duke the title of professor, and
finally settled in Wiesbaden. — Compositions:
A Fruhlings-Symphonie; an overture, Winter-
mdrchen; a Requiem for a child, etc., are in
MS.; he published tne overture Hafis; and,
for pf., a Sonate romantique (op. 5), sonata in
A m., Capriccio (op. 3), 6 Lyrische Skizzen
(op. 12); Rhapsodies; also songs. — Writings:
Briefe uber Musih an eine Freundin (Berlin,
1859, '67, '79), in English as Letters on Music
to a Lady (London and Boston, 1877); Briefe
aus der Tonwelt (Berlin, 1877), in English as
Letters from the Tone-World (N. Y., 1885).
Ehrlich, A. (pseudonym; real name not
known); wrote Beruhmte Geiger der Vet-
gangenheit und Gegenwart (1893), BerUhmte
Sdngerinnen (1895), BerUhmte Pianisten der
Vet gangenheit und Gegenwart (1897), Das
StreichquarteU in Wort und Bild (1898), Die
Geige in Wahrheit und Fabel (1899).
Ehrfich, Christian Friedrlch, b. Magde-
burg, May 7, 1810; d. there May 31, 1887.
A pupil of Hummel at Weimar (pf.), he be-
came conductor of the Singakademie in
Magdeburg, president of the Tonkiinstler-
verein, and a teacher of singing. — Operas:
Konig Georg (Magdeburg, 1861); Die Rosen-
mddchen (Freiburg, Baden, 1870); also organ-
music, pf. -pieces, and songs (sacred and
secular).
eminent
5, 1822;
Henselt,
Sechter
at Han-
George
London,
Ehrlich, (Alfred) Heinrich,
pianist and author; b. Vienna, Oct.
d. Berlin, Dec. 29, 1899. Pupil of
Booklet, and Thalberg (pf.), and of
(comp.). For several years he lived
over as court pianist to King
V; then at Wiesbaden (1855-7),
233
eibenschOtz— eichner
Frankfort, and (1862) Berlin. He was pf.-
teacher at the Stern Cons, from 1864-72, and
again 1886-98. Felix Dreyschock and Franz
Mannstadt are among his pupils. He was
also on the staff of the 'Berliner Tageblatt,'
'Die Gegenwart/ and the 'Neue Berliner
Musikzeitung' as music critic. — Works for
pf . : Concertstiick in ungarischer Weise; Lebens-
oilder; Variations on an original theme; 12
Studies. ' He edited Tausig's Technical
Studies. — Writings: Schlaglichter und Schlag-
schaUen aus der Musikwelt (1872), Fur den
Ring des Nibelungen gegen Bayreuth (1876),
Wie ubt man am Klavier? (1879; 2nd ed.
1884; English trans!., N. Y., no date, as How
to Practise on the Piano) ; Die Musikdsthetik
in ihrer Entwickelung von Kant bis auf die
Gegenwart (1881); Lebenskunst und Kunst-
leben (1884); Wagner' sche Kunst und wahres
Christentutn (1888); Aus alien Tonarten
(\SSS)\ Musikstudium und Klavierspiel (1891);
Preissi$ Jahre Kiinstlerleben (1893); Die Or-
namenttk in Beethoven's Sonaten (1896); Die
Ornamentik in Seb. Bachs Klavierwerken
(1896) ; also the novels A benteuer eines Empor-
kommlings (1858), Kunst und Handwerk
(1862), Vier Noveletten aus dem Musikanten-
leben (1881), Modtrnes Musikleben (1895).
Eibenschutz [i-], Albert, pianist; b. Ber-
lin, April 15, 1857; pupil of Reinecke (pf.)
and Paul (pf. and theory) at Leipzig Cons.,
where he won the Diploma of Honor. 1876-
77, prof, at the Music School in Charkov
(southern Russia); 1878-80, at Leipzig Cons.,
then at Cologne Cons, from 1880-93; 1893,
chosen, director of the Cologne Liederkranz;
1896, 1st pf.-prof. in the Stern Cons., Berlin.
« — Works for pf.: Sonatas, 4-hand pieces
(op. 6-13), Staccato Study, paraphrases, etc.
Ei'benschiltz, Ilona, cousin of preceding;
b. Pest, May 8, 1873. Pianist; played in a
concert with Liszt in her fifth year; studied
(1878-85) in Vienna Cons, under Hans
Schmitt. After a tour in Russia, Scandinavia,
Germany, and France, she studied with Frau
Schumann at Frankfort (1885-9); since then
she has played with great applause in Lon-
don and elsewhere; especially fine as an
interpreter of Brahms. Since her marriage to
Karl Derenberg, in 1902, she has not ap-
peared in public.
Eichberg [lyh'-], Julius, violinist and
composer; b. Dusseldorf, June 13, 1824; d.
Boston, Mass., Jan. 18, 1893. His first
teachers were J. Frohlich (at Wiirzburg) and
J. Rietz (at Dusseldorf); he then (1843-5)
attended the Brussels Cons. (Fetis, Meerts,
and de Beriot); in 1846 was app. professor of
vln. and comp. at the Geneva Cons.; in 1856
came to New York, and settled in Boston in
1859 as director of the Museum Concerts
(till 1866). He also became director of the
Boston Cons., superintendent of music in the
public schools, and founded Eich berg's
School for Violin-playing. — Works: Operet-
tas The Doctor of Alcantara (Boston, 1862;
comic); The Rose of Tyrol (1865); The Two
Cadis (1870); A Night in Rome.— Also
studies, duets, and characteristic pieces for
vln.; trios and quartets for strings; songs, etc.
Eich'berg, Oskar, b. Berlin, Jan. 21, 1845;
d. there Jan. 13, 1898. A pupil of Kiel and
L6schhorn, he settled in Berlin as a singing-
teacher. For a year and a half he directed
the 'Neue Berliner Musikzeitung,1 and from
1888 was president of the Berlin Music-
Teachers' Union. He also conducted a sing-
ing society, and was music critic of the
'B6rsen-Courier' for several years. He edited
an annual 'Musik-Kalender' from 1879-89.
Published pf.-pieces, songs, and part-songs.
Eich'born, Hermann Ludwig, b. Bres:
lau, Oct. 30, 1847. Composer, writer, in-
ventor. In early youth studied pf., flute,
trumpet, horn, etc.; at 14, pupil of the re-
nowned trumpeter Ad. Scholz. Law-student
at, and graduate of, Breslau Univ. Also st.
theory of music with Dr. E. Bohn, and de-
cided to devote himself wholly to music.
Composed many songs, several Singspiele
and operettas, music to Liederspiele, and
numerous pieces for orch., of which few have
been published. Studied the Waldhorn and
became a noted virtuoso; invented (1882)
the Oktav- (or soprano) Waldhorn in F, now
used in many Silcsian bands. Has written
many musical essays, critical articles, and
reviews (e. g., for the Leipzig 'Zeitschrift fUr
Instrumentenbau'). In 1883 he founded, and
conducted for several years, the health-
journal 'Das 20ste Jahrhundert.' Since 1891
he has lived at Gries, near Bozen, where he
privately maintains and conducts the ex-
cellent 'Kurkapelle.' — Writings: Die Trom-
pete in alter und neuer Zeit: Ein Beiirag zur
Mttsikgesch. und Instrumentationslehre (1881);
Zur Gesch. der Instrumentalmusik: Eine pro-
duktive Kritik (1886); Das alte Clarinblasen
auf Trontpeten (1895); Die Ddmpfung beim
Horn (1897) ; Militarisms und Musik (1909).
— Compositions for Waldhorn.
Eich'ner, Ernst, b. Mannheim, Feb. 9,
1740; d. Potsdam, 1777; a famous virtuoso
on the bassoon; concert-master at the court
of Pfalz-Zweibrucken; went to Paris in 1770,
and after a very successful season in London
(1773) was appointed member of the orch.
of Prince Frederick William of Prussia. He
is one of the important composers of the re-
cently discovered Mannheim School. — Works:
31 symphonies (thematic cat. in vol. vii, 2, of
'Dkm. der Tonk. in Bayern'); pf. -concertos;
pf. -trios; pf. -sonatas; vln.-sonatas; duets for
vln. and via. ; quartets for flute, vln., via. and
234
EILENBERG— ELGAR
vcl. ; quintets for flute and string-quartet. A
symphony in D was published by Riemann
in vol. viii, 1, of 'Dkm. der Tonkunst in
Bayern'; some chamber-music in vol. xv.
Eilenberg, Richard, b. Merseburg, Jan.
13, 1848; was for some time music director
at Stettin; now (1916) living in Berlin;
composer of very popular marches and
dances; has also written a number of success-
ful operettas (Comiesse Cliquot, Konig Midas ,
Der tolle Print, etc.), and a ballet, Die Rose
von Schiras.
Ellen, Albert, b. Cathen, Dec. 21, 1830;
d. Darmstadt, Sept. 4, 1896; pupil of Milan
Cons.; debut Dresden, 1854, as Orovisto in
Norma. 1858-65, engaged at German Th.,
Prague; later at Coburg. In 1876 Wagner
selected him to sing the part of the giant
Fasolt at Bayreuth. From 1882, basso can-
tante at Darmstadt City Th. — Operetta
Spielmanns-Lied (Prague, 1865); comic opera
Die Johannisnacht (Koblenz, 1889; succ); a
Mass,, a Requiem; etc.
Eis'feld, Theodor, b. Wolfenbuttel, April
11, 1816; d. Wiesbaden, September 2, 1882.
Kapellm. at Wiesbaden court theatre, 1839-
43; then of the ^Concerts Viviennes,' Paris.
He occasionally visited Italy, taking singing-
lessons of Rossini at Bologna, and becoming
an honorary member of the Academy of St.
Cecilia. From 1848-66, E. lived in New
York, and filled an important place in the
musical life of the city; he conducted the
Philharmonic for several years, and the Har-
monic Society from its foundation; also es-
tablished quartet soirees in 1851, Noll, Reyer,
and Eichhorn being the other members of the
quartet, and Otto Dresel the pianist. In
1858 he was one of the few saved from the
burned steamer 'Austria.' Till 1865 he al-
ternated with Bergmann in conducting the
Philharmonic Concerts at New York; retired
to Wiesbaden in 1866.
Eialer. See Eysler.
Eit/ner, Robert, musical historiograph
and teacher; b. Breslau, Oct. 22, 1832; d.
Templin, Feb. 2, 1905. A pupil of M. Brosig;
settled (1853) in Berlin as a teacher, and
gave a series of concerts (1857-9) of his own
compositions. He established a pianoforte-
school in 1863, and published a Hilfsbuch
beim Klavierunterricht (1871). He devoted
himself chiefly to musical literature, and es-
pecially to researches concerning the works of
the 16th and 17th centuries. The Amster-
dam Soc. for the Promotion of Music awarded
him a prize for a Dictionary of Dutch Com-
posers (1871, MS.); he also prepared an edi-
tion of Sweeli nek's organ-works for the Soc.
One of the founders of the Berlin 'Gesellsch.
ftir Musikforschung,' he edited their 'Mo-
natshefte fttr Musikgeschichte' from 1869 till
his death; also the 'Publication alterer prak-
tischer und theoretischer Musikwerke, etc.* —
Other writings: Verzeichniss neuer Ausgaben
alter Musikwerke aus der friihesten ZeU bis
zum Jahr 1800 ('Monatshefte,' 1871); Biblio-
graphie der Musiksammelwerke des 16. und
17. Jahrhunderts (with Haberl, Lagerberg,
and Pohl); Verzeichniss der gedruckten Werke
von Hans Leo Hassler und Orlandus de Lassus
('Monatshefte,' 1873-4); S. G. Staden's
'Seelewig' (ib., 1881) ; Die Oper von ihren ersten
A nf an gen bis 1750 (3 vols., 1881-5); Quellen
und Hilfswerke beim Studium der Musikge-
schichte (1891); Buck- und Musikaliendrucker
nebst Notenstechern (1904; as suppl. to 'Mo-
natshefte').— Compositions: A biblical opera,
Judith; a Pfingstkantate; Stabat Mater a 4
a cappella; overture to Der Cid; pf. -pieces;
songs. His principal work is the great Quel-
lenlexikon der Musiker und MusikgeUnrten
der Christlichen Zeitrechnung bis zur Mitte des
19. Jahrhunderts (10 vols., Leipzig, 1899-
1904; additions and corrections published
since 1912 in a quarterly, 'Miscellanea Mu-
sicae Bio-Bibliographica,' edited by H.
Springer, M. Schneider and W. Wolffheim).
Elewiick [vik], Xavier Victor (Chevalier)
van, b. fxelles lez Bruxelles, Belgium, April
24, 1825; d. in the insane asylum at Zicke-
mont, April 28, 1888. He wrote several
monographs: Discours sur la musique reli-
gieuse en Belgique (1861); Mathias van den
Gheyn (1862); and De Vital actuel de la
musique en Italic (1875).
El Farabi. See Alfarabi.
Elgar, Sir Edward William, b. Broad-
heath, n. Worcester, England, June 2, 1857.
He received his musical education chiefly
from his father, who was organist at St.
George's R. C. Church for 37 years. At an
early age he assisted his father at the organ,
and took part in the rehearsals and concerts
of the Worcester Glee Club; in 1877 he took
a few violin-lessons in London from Pollitzer.
For a time he played in Stockley's orch. in
Birmingham, was appointed conductor of the
Worcester Amateur Instrumental Society,
and in 1885 succeeded his father as organist
at St. George's. After his marriage to a
daughter of Sir Henry Roberts, in 1889, he
tried his fortune in London; but, unable to
obtain a hearing, withdrew two years later
to Malverne, where he devoted himself to
teaching and composition. In 1890 his over-
ture Froissart, op. 19, was played at the
Worcester Fest.; in 1893 his cantata The
Black Knight was produced, and 3 years later
the same association brought out a choral
work, Scenes from the Bavarian Highlands,
and a short oratorio, The Light of Life. The
performance, in the same year, of the cantata
King Olaf, at the North Staffordshire Fest.
235
ELIAS— ELLERTON
at Hanley, brought the composer's name into
prominence; and after the splendid inter-
Sretation of his Enigma Variations by Hans
Lichter and his cycle Sea Pictures, by Clara
Butt at the Norwich Fest. of 1899, E. was
recognized as among the foremost living
English composers. The Dream of Gerontius,
which still remains his masterpiece, was pro-
duced at the Birmingham Fest. of 1900 with
moderate success. Its almost sensational
success at the Nether-Rhenish Fest. of 1902,
and the high tribute paid to it by R. Strauss
on that occasion, led to a revision of judgment
at home, with the result that the perform-
ances at Worcester, Sheffield and London, in
1903, drew such vast and enthusiastic crowds,
that the following year a 3-day Elgar Fest.
was held at Coven t Garden. Since then he
has been regarded as the greatest of living
English masters. Honor after honor was
showered upon him. He is Hon. A. R. A. M.;
Hon. Freeman of the city of Worcester;
Mus. Doc., Cantab. (1900), Dunelm (1904),
Oxford (1905}, Yale (1905); LL. D., Leeds
(1904), Aberdeen (1906), Univ. of Pa., U. S.
A. (1907); member of many foreign Acade-
mies; was knighted in 1904, and received the
Order of Merit in 1911. From 1905-8 he was
Peyton prof, of music at Birmingham; in
1906 he visited the U. S. and conducted his
Apostles at the Cincinnati May Festival. —
Works: The oratorios op. 29, The Light of
Life (Worcester, 1890); op. 38, The Dream of
Gerontius (Birmingham, 1900); op. 49, The
Apostles (ib., 1903) and op. 51, The Kingdom
(ib., 1906), are Parts I and II of a trilogy, of
which Part III is not yet completed. Can-
tatas: Op. 25, The Black Knight (1893); op.
30, King Olaf (1896); op. 33, The Banner of
St. George (1897); op. 35, Caractacus (1898);
op. 44, Coronation Ode (1902); op. 69, The
Music Makers (1912). Choral works with
orch.: Op. 23, Spanish Serenade (1892); op.
27, Scenes from the Bavarian Highlands
(1896); op. 80, The Spirit of England (1916).
For orch.: Op. la and lb, The Wand of Youth,
2 suites; op. 7, Sevillana; op. 10, Three Pieces
(Mazurka, Serenade mauresque, Contrasts) ;
op. 15, Two Pieces (Chanson de Nuit, Chanson
de Matin); op. 19, Froissart, concert-overture;
op. 20, Serenade (string-orch.) ; op. 32, Im-
ferial March (for Queen Victoria's Diamond
ubilee, 1897); op. 36, Enigma, variations for
orch. (1899); op. 39, Pomp and Circumstance,
2 military marches (1901); op. 40, Cockaigne,
conc.-ovcrt. (1902); op. 43, Dream Children
(2 pieces for small orch.); op. 50, In the
South, conc.-overt. (1904); op. 55, Symphony
No. 1, Ab (1908); op. 61, Concerto for vln.,
B m. (1910); op. 63, Symphony No. 2, Eb
(1911); op. 68, Falstaff, symph. study (1913);
op. 70, Sospiri, Adagio for string-orch., harp
and organ; op. 76, The Carillon (1914); op.
78, Polonia, symph. poem (1915). Besides, E.
has written incidental music to Grania and
Diarmid (op. 42); a masque, The Crown of
India (op. 67 [19121); incid. music to The
Starlight Express (op. 79 [1915]); chamber-
music (op. 6, quintet for wind-instrs. ; op. 8,
string-ouartet; op. 9, vln.-sonata) ; organ-
works (op. 14, voluntaries; op. 28, sonata in
G); choruses for mixed, male and female
voices (op. 18, 26, 45, 71, 72, 73); songs (op.
16, and many without opus- number). — Cf.
R. J. Buckley, Sir E. E. (London, 1904);
E. Newman, £. (London, 1906) ; R. A. Streat-
feild, Un Musicista inglese, E. E. (Rome,
1912).
Ellas Salomonis, monk at Sainte-Astere,
Perigord, wrote in 1274 a treatise Scientia
artis musicae (printed by Gerbert, 'Scriptores,'
vol. iii), of peculiar value as the oldest work
giving rules for improvised counterpoint.
Ella, John, b. Thirsk, Yorkshire, Dec. 19,
1802; d. London, Oct. 2, 1888. Intended for
the law, he took violin-lessons from. Ferny,
and joined the orch. of the King's Th., Lon-
don, 1822, later playing also in the concerts
of Antient Mus. and the Philh. Meanwhile
he studied harmony under Attwood; in 1845
he was a pupil of Feiis in Brussels for cpt.
and comp.; in this year he founded the
'Musical Winter Evenings' (1845-59). The
'analytical programmes' written by Ella for
these concerts were an improvement on those
already introduced by John Thompson in
1837 for the Edinburgh Professional Society.
E. was appointed lecturer on music at the
London Institution in 1855. He gave up
active work in 1880. — Writings: Lectures on
Dram. Music abroad and at home (1872);
Mus. Sketches abroad and at home (3 editions:
1861, '69, 78); Records of the Mus. Union
(1845-78); Personal Memoir of Meyerbeer 9
with an analysis of lLes Huguenots' (1868) ; etc.
EU'berg, Ernst Henrik, b. Sdderhamm,
Sweden, Dec. 11, 1868. Pupil of the
Cons, at Stockholm; vlnst. in the court-orch.;
since 1903 prof, of comp. at the Cons. Has
written a symph. in D; 2 concert-overtures;
Introd. and Fueue for string-orch.; a ballet-
pantomime, Askungen (Stockholm; 1907); a
string-quartet in Eb; a string-quintet; male
choruses.
EUer, Louis, violin virtuoso; b. Graz, June
9, 1820; d. Pau, July 12, 1862. A pupil of
Hysel, from 1836 he made tours in Austria,
Hungary, Switzerland, and southern Europe
(with Gottschalk to Spain and Portugal).
For violin he wrote a Valse diabolique, a
Rhapsodie hongroise, a Menuet sentimentale.,
fantasias, etudes, etc.
EUerton, John Lodge, poet and extraor-
dinarily prolific amateur composer; b. Ches-
ter, Jan. 11, 1801; d. London, Jan. 3, 1873.
236
ELLICOTT— ELSENHEIMER
An Oxford graduate, he studied counterpoint
for 2 years under Pietro Terziani at Rome,
where ne composed 7 Italian operas; and lived
for some time in Germany. — Works: 7 Ital-
ian operas, 3 English, 1 German; an oratorio,
Paradise Lost; 5 symphonies, 4 concert-over-
tures, 3 quintets, 44 string-quartets, 3 string-
trios, 8 trios for various instruments, 13
sonatas, 61 glees, 83 vocal duets, songs.
ElHcott, Rosalind Frances, b. Cam-
bridge, England, Nov. 14, 1857. Studied at
R. A. M. for 1 year (1875-6), and later with
Thomas Wingham from 1885-92; elected
A. R. A. M. in 1896; from 1885-95 she re-
ceived several commissions to write works for
the Gloucester and Cheltenham Festivals; re-
tired from active musical work in 1900. —
Works: The cantatas Radiant Sister of the
Day (Cheltenham, 1887), Elysium (Glouces-
ter, 1889), The Birth of Song (ib., 1892),
Henry of Navarre (Oxford, 1894); Fantasie
for pf. and orch. in A m. (Gloucester, 1895) ;
a Dramatic overture; a Concert overture; 2
pf. -trios (D m., G); a vln.-sonata in F; a pf.-
quartet in B m.; a string-quartet in Bb;
part-songs and songs.
Elling, Catherinus, b. Christiania, Sept.
13, 1858. Studied music with native teachers;
then in Leipzig (1877-8) and Berlin (1886-
96); organist at Oslo; instr. at the Cons, at
Christiania; in 1908 a subvention was granted
him by the state for the pursuit of his studies
of Norwegian folk-melodies, on which he has
published various essays; has also written
biographies of Ole Bull, Grieg, Svendsen and
Kjerulf. He is the comp. of an opera, Kosak-
kerne (Christiania, 1897); an oratoria, The
Prodigal Son; a symphony in A; incid. music
to A Midsummer Night's Dream; chamber-
music, and many songs.
Ellis, Alexander John, b. Hoxton (Lon-
don), June 14, 1814; d. Kensington, Oct. 28,
1890. Cambridge graduate (1837), F. R. S.
(1864), President of the Philological Society;
etc. A distinguished writer on musical science,
he published valuable papers, in the Proceed-
ings of the Royal Society, On the Conditions
...ofa Perfect 'Musical Scale on Instruments
with Fixed fonts (1864), On the Physical Con-
stitutions and Relations of Musical Chords
(1864), On the Temperament of Instruments
with Fixed Tones (1864), and On Musical Duo-
denes; or, The Theory of Constructing Instru-
ments with Fixed Tones in Just or Practically
Just Intonation (1874). Papers containing
new theories, etc., for the Musical Associa-
tion are as follows: The Basis of Music (1877),
Pronunciation for Singers (1877), and Speech
in Song (1878). He was awarded a silver
medal for his valuable writings on Musical
Pitch for the 'Proceedings' of the Society of
Arts (1877, 1880, and 1881; publ. separately,
1880-1; and in summary form in the Appen-
dix to the second edition of his translation of
Helmholtz's Lehre von den Tonempfindungen
[1st ed. 1875; 2d ed. 1885]); also the Tono-
metrical Observations, or Some Existing Non-
harmonic Scales (Royal Society, 1884), and
On the Musical Scales of Various Nations
(Society of Arts, 1885). He likewise trans-
lated Ohm's Geist der mathematischen Analyse
(1868), and Preyer's Cber die Grdnten der
Tonwahrnehmung(l&76r-7, Proceedings of the
Musical Association).
El'man, Mfecha, remarkable violinist; b.
Talnoie, Russia, Jan. 20. 1892. At the age of
6 he was taken by his father to Odessa and
g laced under Fidelmann, a pupil of Brodsky.
roth technically and mentally his progress
was so extraordinary that Leopold Auer,
hearing him in 1902, prevailed upon the Tsar
to suspend the regulation preventing Jews
from entering the Imperial Cons, at Petro-
grad; accordingly the boy was Auer's pupil
at the Cons, from 1902-4, when he made his
debut at Petrograd with sensational success;
his tour of Germany was a succession of tri-
umphs, and, in spite of his youth, he was
ranked among the foremost violinists of the
day; in England he was received with equal
warmth, and his annual tours of the U. S.
(since 1908) were but duplications of his Eu-
ropean triumphs; in the first three seasons he
had appeared with every important symph.
orch. (with the Boston Symph. Orch. alone
in 31' concerts). His tone is large, his technic
stupendous, his intonation unerring; his con-
ception and interpretation leave no room for
doubt as to his artistic maturity and serious-
ness of purpose.
Elm'blad, Johannes, dramatic bass; b.
Stockholm, Aug. 22, 1853. Pupil of Stock-
hausen and Garcia; chosen by Wagner to
create the rdle of Donner in 1876, but re-
fused in deference to the objections of his
father, a professor of theology. From 1880,
opera-singer, touring Europe and America.
Sang the rdle of Fafner at Bayreuth in 1896.
Since 1897 engaged at the Stockholm Munici-
pal Th.
Ermenreich, Albert, actor in the court
theatre at Schwerin; b. Karlsruhe, Feb. 10,
1816; d. Lubeck, May 30, 1905. Composer of
the operas Gundel or Die beiden Kaiser
(Schwerin, 1849); Der Schmied von Gretna
Green (ib., 1856); Der Auferstandene (ib..
1858).
El'senhelmer, Nicholas J., b. Wies-
baden, June 17, 1866. Taught music by his
father; took degree of LL. D., at Heidelberg;
studied cpt., etc., under G. Jakobsthal,
Strassburg. Went to America, 1890; prof, of
pf., theory and musical literature at College
of Music, Cincinnati, from 1890-1906; org. of
237
ELSNER— ELWART
various churches there; soloist with Cincin-
nati and Chicago Symphony Orchs.; also
pianist with the Marion Quartet, and has
given, with R. Gorno, recitals on 2 pianos;
since 1907 in New York as prof, at the Gran-
berry Piano School and choirmaster of St.
Ignatius' Ch. — Works: Valerian, cantata for
male ch., bar. solo and orch.; Die Weihe der
Kunste, cantata for mixed ch., soli and orch.
(won prize of N. A. S&ngerbund, 1899);
Kunstlers Erdenwallen, symphonic poem; The
Angels' Lullaby, for bass solo, vocal quartet,
string-quartet and org.; Mass in Eb; Belshaz-
zar, aramatic ballade for tenor (or soprano) ;
Humoresque for string-orch.; Eventide, chorus
for female voices with string-accompaniment.
Els'ner, Joseph Xaver, b. Grottkau, Sile-
sia, June 29, 1769; d. Warsaw, April 18, 1854.
Violinist in the theatre orch. at Brttnn, then
Kapellm. at Lemberg and (1799) Warsaw
theatres. He was Chopin's teacher at War-
saw, and founded there a school for organists,
out of which grew the Cons., of which latter
he was the director till 1830.— Works: 19
operas, several ballets, duo-dramas, incid.
music, symphonies, concertos, cantatas, sacred
music, all of slight general interest. He publ.
2 essays on the treatment of the Polish lan-
guage in vocal music. — See Q.-Lex.
Elson, Arthur, author; son of Louis C;
b. Boston, Nov. 18, 1873. Studied harmony
with J. K. Paine at Harvard; at N. E. Cons.;
and with Louis C. Elson. Grad. of Harvard
(A. B.) and Mass. Inst, of Tech. (S. B.).—
Works: A Critical History of the Opera (1901) ;
Orchestral Instruments and Their Use (1902);
Woman1 s Work in Music (1903); Modern
Composers of Europe; Music Club Programs
from All Nations (1906); The Musician's
Guide (1913); The Book of Musical Knowledge
(1915). He is now (1916) preparing a Pioneer
School Music Course.
Elson, Louis Charles, b. Boston, Mass.,
April 17, 1848. Pupil of Aug. Kreissmann at
Boston in singing, and of Karl Gloggner-
Castelli at Leipzig in theory. Returning to
Boston, he assumed the editorship of the
'Vox Humana'; then joined the staff of the
'Mus. Herald'; was for several years musical
editor of the 'Boston Courier, and is now
(1916) of the 'Advertiser.' Since 1881, prof,
of musical theory and lecturer on the orch.
and on musical history at the N. E. Cons, of
Music. He has had remarkable success, East,
South, and West, as a popular lecturer on
musical subjects. Was for 7 years 'City
Lecturer on Music' at Boston (240 lectures),
and twice lecturer at Lowell Inst. (18 lec-
tures); correspondent of musical journals in
Berlin, Paris and Buenos Aires; ed. -in-chief
of 'University Encyclopaedia of Music' (10
vols., 1912). — Writings: Curiosities of Music,
The History of German Song, The Theory of
Music, The Realm of Music, German Songs
and Song-writers, European Reminiscences,
Syllabus of Musical History, Great Composers
and Their Works (Boston, 1899); Our Na-
tional Music and its Sources (1900); Shake-
speare in Music (1903); History of American
Music (1905; 2d ed. 1915); Music Dictionary
(1909); Folk-songs of Many Nations (1910);
Mistakes and Disputed Points in Music
(1913). E. has also composed various oper-
ettas, songs, and instrumental works; besides
translations and arrangements of over 2,000
songs, operas, etc.
El'terlein, Ernst von (pen-name of Ernst
Gottschald), b. Elterlein, Saxony, Oct. 19,
1826. By profession a jurist, he has written
a popular aesthetic analysis of Beethoven's
pf. -sonatas (1857; 5th ed. 1895) and sympho-
nies (1858).
Elvey, Sir George (Job), b. Canterbury,
March 27, 1816; d. Windlesham, Surrey,
Dec. 9, 1893; chorister at Canterbury cath.,
and pupil of Skeats, then of C. Potter and
Dr. Crotch at* R. A. M. From 1835-82 he
was organist and master of the boys at St.
Georges chapel, Windsor, succeeding H.
Skeats, Jr.; Mus. Bac., Oxon., 1838; Mus.
Doc., 1840; knighted in 1871.-— Works: 2 ora-
torios, several odes, anthems, services, chants,
flees, part-songs, a Festal March for orch.;
ntrod. and Gavot for vln. and pf.; Christ-
mas Bells, impromptu for organ, etc. — His
widow published The Life and Reminiscences
of Sir George Elvey (London, 1894).
Elvey, Stephen, b. Canterbury, Tune 27,
1805; d. Oxford, Oct. 6, 1860. Pupil of
Skeats at Canterbury cath.; organist ot New
College, Oxford, in 1830; Mus. Bac, Oxon.,
1831; Mus. Doc., 1838. Choragus at Oxford,
1848-60. — Works: Services, anthems, hymns,
and songs; The Psalter, or Canticles and
Psalms, Pointed for Chanting, upon a New
Principle (London; 6 editions up to 1866).
Elwart [-vahrl, Antoine-Aimable-ftlie,
b. Paris, Nov. 18, 1808; d. there Oct. 14,
1877. A chorister at St.-Eustache when 10
years old, he was apprenticed at 13 to a
mechanic, but ran away, and joined a small
theatrc-orch. as violinist. From 1825-34 he
studied in the Cons. (Fetis, Le Sueur), taking
the Grand prix de Rome; from 1832-4, and,
after his sojourn in Italy, from 1836-40, he
was asst.-prof. in Reicha's composition-class;
he then took a class of his own till his resigna-
tion in 1871. Among his pupils were Gouvy,
Grisar, and Weckerlin. — Works: An opera,
Les Catalans (Rouen, 1840); others in MS.;
an 'oratorio-symphonie' Noe, ou le d&lugc uni-
versale (Paris, 1845); La naissance d'fcve
(Cons., 1846); Les noces de Cana, a mystery;
Ruth et Boos, a vocal symphony; masses, can-
238
ELWES— EM M ANUEL
tatas, a Te Deum, a Miserere, and other
church-music j also ^ symphonies, overtures,
chamber-music etc., in MS. He is still better
known, however, by his musico-literary
achievements. He wrote Duprez, sa vie artis-
tique, avec une biographic authentique de son
maUre A. Choron (1838), Theorie tnusicale
(Solftge progressif, etc., 1840), Feuille harmo-
nique (Theory of Chords, 1841), Le chanleur
accompagnateur (Thorough-bass, graces, or-
gan-point, etc., 1844), Traitf du contrepoint
et de la fugue, Essai sur la Transposition,
Eludes elementaires de musique (1845), Vart
de chanter en chceur, Vart de jouer impromptu
de r alto-viola, Solftge de jeune dge, Le contre-
point et la fugue appliques au style ideal, Lu-
trin et Orpheon (theoretical and practical vocal
studies), Histoire dela Societe des Concerts du
Conservatoire (1860; 2d ed. 1863), Manuel des
aspirants aux grades de chef et de souschef de
musique dans Varmee francaise (1862), Petit
manuel df instrumentation (1864), Histoire des
concerts populaires (1864). His projected
complete edition of his own compositions
(1867-70) reached only vol. iii.
Elwes, Gervase, celebrated concert tenor;
b. Billing, Northans, Nov. 15, 1866. He be-
gan life as a diplomat, and while serving at
Vienna (1891-5) studied comp. with Man-
dyczewski, without intention of abandoning
his chosen profession. In Paris he continued
his theoretical studies, and had his voice cul-
tivated by Bouhy; then studied at Brussels
with Demest, and in London with H. Russel
and V. Beigel; debut, May, 1903, at West-
moreland Fest., Kendal; has since appeared
at all the important English festivals; made
a very successful tour of Germany in 1907,
and of the U. S. in 1909; in 1914 he sang in
Amsterdam. His specialty is oratorio; has
sung Elgar's Dream of Gerontius almost 100
times; also an excellent interpreter of Brahms.
Emerson, Luther Orlando, b. Parsons-
field, Mass., Aug. 3, 1820; still living (1916)
in Hyde Park, Mass. A composer of minor
pieces of Church-music, a very popular con-
ductor of the early musical conventions, the
precursors of the present-day 'festival,' and a
compiler of numerous successful collections
of songs and hymn-tunes: The Romberg Col-
lection (1853), The Golden Wreath (1857, Sun-
day-school music), The Golden Harp (1860),
The Sabbath Harmony (1860), The Harp of
Judah (1863), Merry Chimes (1865), Jubilate
(1866), and The Chorus Wreath.
Emery, Stephen Albert, b. Paris, Maine,
Oct. 4, 1841; d. Boston, April 15, 1891. His
first teacher was H. S. Edwards, of Portland;
in 1862 he studied under Plaidy, Papperitz,
Richter, and Hauptmann, at Leipzig, and af-
terwards at Dresden under Fritz Spindler
(pf.). Returned to Portland, 1864; went to
Boston in 1866, taught in the N. E. Cons.
there from 1867; on the foundation of the
College of Music of Boston Univ., he was
appointed prof, of harm, and cpt. He was
also asst.-editor of the 'Musical Herald.' —
Works: Sonatinas and other pieces for pf.;
string-quartets; part-songs; songs; also 2 text-
books, Foundation Studies in Pf. -Playing, and
Elements of Harmony (1880; 2d ed. 1907).
Emmanuel [-niiel'], Maurice, b. Bar-sur-
Aube, May 2, 1862. Studied at Paris Cons.
(1880-7) under Savard, Dubois, Delibes and
Bourgault-Ducoudray; then specialized in the
musical history of antiquity under Gevaert in
Brussels; Docteur te Lettres (Sorbonne, 1895)
with the theses Essai sur Vorchestique grecque
(La danse grecque antique) and Education du
danseur grec (both publ. 1896); prof, of Hist,
of Art at Lycee Racine and Lycee Lamartine,
1898-1905; as m. de chap, at Ste.-Clothilde
(1904-7) he gave model performances of mas-
terpieces in the a cap pel la style; since 1910
prof, of the hist, of music at the Paris Cons,
(successor to Bourgault-Ducoudray); after
the death of Malherbe (1911) he took the
latter's place as editor (jointly with Saint-
Saens and Teneo) of the monumental edition
of Rameaurs works published by Durand;
has edited 6 vols, of Bach's works (Suites,
Partitas, Fant. chrom., Concerto ital.) in Du-
rand's new edition of the classic masters
(1915-16). E. won the Kastner-Bourgault
prize, awarded by the Academie, with his
scholarly Histoire de la langue tnusicale (2
vols., Paris, 1911); also wrote TraiU de Vac-
compagnement modal des Psaumes (Lyons,
1913). To Lavignac's 'Encyclopedic de la
Musique' he contributed an authoritative
TraiU de la Musique grecque antique (vol. i,
Paris, 1911). Of great value are nis reports
on musical instruction in Germany, Les Con-
servatoires de VAllemagne el de VAutriche (in
'Revue de Paris/ 1898) and La musique dans
les univer sites allemandes (ib., 1900). In a
series of articles, Le Chant d Vecole ('Grande
Revue,' 1910-11) he has laid the foundations
of a new system of vocal instruction in the
common schools; further articles: La vie rk-
elle en musique ('Revue de Paris/ 1900),
Prose et musique (ib., 1901), Ulloge funebre
de Bourgault-Ducoudray ('Monde Musical/
1911). Besides occupying a distinguished po-
sition as musicologist, he is also noteworthy
as a composer: Pierrot Peintre (1-act panto-
mime, 1886); Ouverture pour un conte for
orch. (1887); Terre de Bretagne, symph. poem
for soli, ch. and orch. (1890) ; Airs rythmis, for
harp and wood- wind (1895); Suite sur des
airs populaires grecs, for vln. and pf. (1907);
3 Odelettes AnacrSontiques, for voice, flute solo
and orch. (1911); 8 Chansons Bourguignonnes,
for soli, ch. and orch. (1912); 2 string-quartets
(1889, 1903); sonata for organ; ditto for pf.;
239
EMMERICH— ENGEL
songs (In Memoriam [words by R. Vallery-
Rador], with vcl. and vln., 30 Chansons Bour-
guignonnes, etc.). A 3-act opera, PronUthee
encnatnS (after iEschylus), was completed
in 1915.
Em'merich, Robert, b. Hanau, July 23,
1836; d. Baden-Baden, July 11, 1891. While
a law-student at Bonn, he took music-lessons
of Alb. Dietrich and Th. Stauffer; served in
the army 1859-73, and then devoted himself
to music. Lived 1873-8 at Darmstadt, and
produced the operas Der Schwedensee (Wei-
mar, 1874), Van Dyck (Stettin, 1875), and
Ascanio; 2 symphonies, a cantata, etc. From
1878-9, theatre Kapellm. at Magdeburg;
then settled in Stuttgart, where he conducted
the Male Choral Union from 1889.
Encina [-the'-], Juan del, b. La Encina,
near Salamanca, circa 1469; d. there
1529(?). In 1498 he went to Rome, where,
under Leo X, he was m. di capp.; later he
took orders, travelled in the Orient, and,
after his return, was canon at Leon and Ma-
laga. He is not only the father of the Spanish
drama, but also important as a musician who
exerted considerable influence on the early
oratorio. If he did not personally collect, he
was at least instrumental in having collected,
the 459 bailadas and villancicos for 2-A voices
(among them 68 of his own composition),
forming the 'Cancionera Musical de los Siglos
XV y X VI.' This collection, of the greatest
value for the history of music for that period,
was published by order of the Spanish Acad-
emy by F. A. Barbieri (Madrid, 1894).— Cf.
R. Mitjana, Sobre J. del E.t musico y pocia
(Madrid and Barcelona, 1895).
Enck'hausen, Heinrich Friedrich, b.
Celle, Aug. 28, 1799; d. Hanover, Jan. 15,
1885. Pupil of Aloys Schmitt, in Berlin and
Hanover, succeeding him as court organist
and director of the Singakademie; he was also
court pianist. — Works: Der Savoyard, opera
(Hanover, 1832) ; orchestral and sacred music;
pf. -pieces and etudes; and a standard book
of chorals.
En'de, Heinrich vom, music-publisher; b.
Essen-on-Ruhr, Aug. 12, 1858; died Cologne,
Jan. 20, 1904. He composed a considerable
number of male choruses {Das Katzchen, Es
ist tin Brunnlein geflossen), songs, and pf.-
pieces; also published E. T. A. Hoffmanns
musikalische Schriften, Dynamik des Klavier-
spiels (1899), and SchatzkdsUein (practical
explanation of musical forms).
Enes'co, Georges, b. Cordaremi, Ruma-
nia, Aug. 7, 1881 . He began to play the violin
when only 4 years old; from 1888-93 he was a
pupil at the Vienna Cons, of HcIImesberger
(vln.) and R. Fuchs (theory), winning first
prize in vln.-playing and harmony (1892);
1894-9 he studied at the Paris Cons, with
Marsick (vln.), Faure and Massenet (comp.);
won second accessit for cpt. and fugue (1897)
and first prize for violin-playing (1899); at
the same time he studied vcl., organ and pf.,
attaining more than ordinary proficiency on
all these instruments. His talent for comp.
manifested itself very early, his first efforts
(not publ.) dating from his student days in
Vienna; in 1897 ne gave in Paris the first
concert of his own works (a string-quintet,
pf. -suite, vln.-sonata, and songs), which at-
tracted the attention of Colonne, who prod,
the following year the youthful composer's
op. 1, Poeme Roumain. 1899-1900 he toured
as a violin-virtuoso, and was appointed court-
violinist to the Queen of Rumania; since then
he has been living in Paris, devoting his time
chiefly to comp., appearing as a performer
only at rare intervals.— Works: 2 symphonies,
2 suites, 3 rhapsodies, a pastoral fantasy (all
for orch.); a dixtuor for strings and wind-
instrs.; an octet in C for 4 vlns., 2 vlas. and 2
vcls.; 2 vln. -sonatas; a pf. -quintet; a suite for
pf. and vln.; a suite for pf.; variations for 2
pfs.; pieces for vcl.; songs.
Eng'el, David Hermann, b. Neuruppin,
Jan. 22, 1816; d. Mersebure, May 3, 1877.
Organist and composer, pupil of Schneider in
Dessau, and Hesse in BresLau; 1848, organist
in cathedral, and teacher in the Gymnasium,
at Merseberg. — Works: A comic opera Prinz
Carneval (Berlin, 1862); oratorio Winfried;
psalms and organ-pieces; also published a
Choralbuch, and Beitrag zur Geschichte des
Orgelbauwesens (1855).
En&'el, Gustav Eduard, writer, critic, and
singing-teacher; b. Kflnigsberg, Oct. 29, 1823;
d. Berlin, July 19, 1895. A philosophical stu-
dent at Berlin, he also attended Marx's lec-
tures on musical science, and took singing-
lessons of H. Kotzold; sang in the Singakade-
mie and the Domchor; taught 1 year in the
'Graues Kloster,' and then devoted himself
to music-teaching and writing. In 1853 he
became critic for the 'Spener sche Zeitung/
and in 1861 for the Vossische* Zeitung.'
1862, singing-teacher in Kullak's academy;
1874, in the Hochschule, with the title of
Professor. . Among his vocal pupils are
Bulss, Krolop, Therese Malten, Lola Beeth,
and Jetta Finkenstein. — Works: Sangerbre-
vier [daily vocal exercises] (1860); Oberset-
zungen und Vortragsbezeichnungen; Die Vokal-
theorie von Hclmholtz, und die Kopfstimme
( 1 867) ; Das mathematische Harmonium ( 1 88 1 ) ;
Aestketik der Tonkunst (1884), and a Mathe-
matisch-harmonische Analyse des lDon Juan*
[Mozart's Don Giovanni].
Eng'el, Johann Jakob, b. Parchim, Meck-
lenburg, Sept. 11, 1741; d. there June 28,
1802; tutor to the Crown Prince (Friedr.
Wilhelm III) at Berlin, and theatre-director.
240
ENGEL— fiRARD
His essay Ober die musikalische Mahler ey, an
den koniglichen Kapellm. Herrn Reichardt
(1780) is of decided value.
Eng'el, Karl, important musical historio-
grapher; b. Thiedenwiese, near Hanover, July
6, 1818; d. by suicide at Kensington, London,
Nov. 17, 1882. Pupil of Enckhausen at Han-
over (organ), and of Hummel (pf.) and Lobe
at Weimar. After residing in Hamburg, War-
saw, and Berlin, he went to Manchester,
England, in 1846, and in 1850 to London.
Here he became an influential writer, and an
authority of the highest rank on musical
history and musical instruments. Published
The Pianist's Handbook (1853), Pf .-School for
Young Beginners (1855), and Reflections on
Church-Music (1856) ; his life-work began with
The Music of the most Ancient Nations, par-
ticularly of the A ssyrians, Egyptians, and He-
brews (1864), followed by An Introd. to the
Study of National Music . . . (1866); Musical
Instruments of all Countries (1869); Cat. of the
Special Exhibition of Ancient Musical Instrs.
(2d ed. 1873); Descr. Catalogue of the Musical
Instruments in the South Kensington Museum
(1874); Musical Myths and Facts (1876); The
Literature of National Music (1879, reprinted
from articles in the 'Times'); Researches into
the Early History of the Violin Family (1883).
Among his unpublished MSS. is a large hist,
of the musical instrs. of the world (4 quarto
vols, with over 800 illustrations).
En&'efoberg, E. S. (pen-name of Dr. Edu-
ard Schdn), b. Engclsberg, Silesia, Jan. 23,
1825; d. Deutsch-Jasnik, May 27, 1879. A
jurist, and ministerial councillor, he comp.
widely popular humoristic quartets for men's
voices; also pf. -sonatas, string-quartets and
works for orch., the publication of which he
expressly forbade in his will.
En'na, August, b. Nakskov, Denmark,
May 13, 1860. His father was a poor shoe-
maker; his grandfather, an Italian soldier in
Napoleon's army, married a German girl, and
settled in Denmark. In 1870 the family
moved to Copenhagen. August attended the
free schools, learned to play the pf. by him-
self, at 17 had a little mediocre instruction in
violin-playing and theory; otherwise wholly
self-taught, he studied diligently (theory and
instrumentation). Being but a middling vio-
linist, he could not enter the Copenhagen
orch., and therefore joined a small 'interna-
tional' orch. on a trip to Finland (1880).
Played on several instrs., even the big drum
before a circus tent. Returned in 6 months
to Copenhagen; composed the operetta A
Village-Tale, which was produced (1880) in
provincial theatres; played for dancing les-
sons, and taught piano, tor about 12 cents an
hour. His dance-music was often improvised.
1883, conductor for a prov. troupe, tor which
he often wrote the act-tunes, and even comp.
10 overtures and 2 operas, Areta (1882) and
Aglaja (1884). After these practical experi-
ences he began to study seriously, in 1884,
with Schjorring (vln.), Matthesson-Hansen
(organ), and Rasmussen (comp.) at Copen-
hagen. He was now able to publish songs,
pf. -pieces, an orchestral suite, and a symph.,
which, by attracting Gade's attention, gained
for Enna the great Ancker scholarship for
composers, enabling him to study in Ger-
many (1888-9). The fruit of this period was
an opera. The Witch, produced Jan. 24, 1892,
at the R. Opera House in Copenhagen with
brilliant and, for a Danish comp., unheard-of
success. In Germany, as Die Hexe, the work
was equally successful. E.'s other operas are:
Die Feen (Berlin, 1893); KUopatra (Copen-
hagen, 1893); Aucassin und NicoUtte (ib.,
1895); Das Streichholsmddel (ib., 1897);
Lamia (ib., 1897); Ung Elskov (ib., 1902);
Nattergalen (ib., 1912); Gloria Arsena (ib.,
1913). He further wrote the ballets The
Shepherdess and the Chimney-sweep (Copen-
hagen, 1901) and St. Cecilia's Golden Shoe
(ib., 1904); MuUerliebe for ch. and orch.;
a vln. -concerto in D; 2 symphonies (D m.,
C m.); Marchen, symphonic tone-pictures;
a Festival Overture, pf. -pieces and songs. —
An opera, Komodianten (finished 1916), has
not yet been produced.
Enoch & Co., London music-publishers,
established 1869.
Ep'stein, Julius, b. Agram, Aug. 14, 1832.
Pupil there of Lichtenegger, and at Vienna of
Halm (pf.) and Rufinatscha (comp.). Distin-
guished pianist and teacher; 1867-1901, prof,
of pf. at the Vienna Cons.; one of the editors
of Br. & H.'s monumental edition of Schu-
bert's works; Ignaz Briill and Marcella Sem-
brich were his pupils. — His two daughters,
Rudolfine ('cellist) and Eugenie (violinist),
made a successful concert-tour through Aus-
tria and Germany in the season of 1876-7.
Ep'stein, Richard, b. Vienna, Jan. 26,
1869. Pupil at the Cons, of his father, Julius
E., and R. Fuchs (comp.); spent 2 years in
Berlin and Dresden in further study; prof, of
pf. at Vienna Cons.; lived in London (1904-
14) as teacher and ensemble-player; since
then in New York. Although he has ap-
peared as soloist, he excels as an accompanist,
in which capacity he has frequently been
heard with such artists as Semorich, Frem-
stad, Culp, Gerhardt, Destinn, Elman, Kreis-
ler, and as assisting artist with famous cham-
ber-music organizations (Joachim, Rose, and
Bohemian quartets, etc.).
firard [a-rahr7], Stbastien, the famous
maker of pianos and harps; b. Strassburg,
April 5, 1752; d. in his chateau La Muette,
near Paris, Aug. 5, 1831. His family-name
241
ERATOSTHENES-ERDMANNSDORFFER
was originally Erhard; his father was a
cabinet-maker by trade, and in his shop Seb.
worked till 16, when his father died. He was
now engaged by a Paris harpsichord-maker
who dismissed him "for wanting to know
everything"; under a second employer his in-
genuity made a stir in the musical world, and
the invention of a 'clavecin mecanique' (de-
scribed by Abbe Roussier, 1776) made him
famous. The Duchess of Villeroy became his
patroness, and fitted up in her home a work-
shop for Erard, in which (1777) he finished
the first pianoforte made in France. In the
meantime, his brother, Jean-Baptiste, joined
u '» they founded an instr.-factory in
the Rue Bourbon. Their growing success
aroused the jealousy of the Luthiers a
tfanf h °J the Fan-makers' Guild (to which
the brothers did not belong), which sought
to prevent them from working; but the inter-
position of Louis XVI, who conferred on
Sebastien a special brevet for the manufac-
ture of 'fortfc-pianos,' ended the difficulty.
Erard soon invented the 'piano organise,'
with two keyboards, one for piano and the
other for a small organ; he also became inter-
ested in the harp, and invented the ingenious
double-action mechanism, perfected in 1811
From 1786-96 he was in London; returning
to Fans, he made his first grand piano, and
employed the English action until his inven-
tion, in 1809, of the repetition action since
widely adopted, which is regarded as his
supreme achievement. An Wue expressif,'
built for the Tuileries, was his last great
Wo°rrk— Hmj n,ePhcw» Pierre ftrard (1796-
1855), succeeded him; he published The Harp
in its present improved state compared with the
original Pedal Harp (1821), ancf Perfectionne-
rnents apporks dans le mecanisme du piano
par les Erards depuis Vorigine de cet instru-
ment jusqua Vexposition de 1834 (1834)
Pierres successor was his wife's nephew,'
Pierre Schaffcr (d. 1878); the present head of
the nrm is the Comtc dc Franqueville.
Eratos'thenes, b Cyrene, 276 b. c; died
Alexandria, Egypt, 195 B. c. A writer on
mathematics, and custodian of the Alexan-
dria library. His Katasterismoi contain
scattered notes on Greek music and instrs.,
especially thc/yra (Germ, transl. by Schau-
bach, 1796; Bernhardy edited an edition of
mIZ1*1"?1^' iPubL 1822>* His w<>rk on
R^: JDLa^rfnc,e» onanist, author; b.
A w. Wciser at Pottstown, Pa. (1892-4)-
n8eKlltav-C<?J,e^ °f Music' N' Y- City
(1894-99); Virgil Clavier School (1894-5)-
Dudley Buck, -ft. R. Shelley, R. H. Wood-
man, H. W. Greene, H. R. Palmer, and
others. Organist of several churches in Potts-
town, N. Y. City, and Chicago; director
Cons, of Music, Wooster, Ohio (1905-13);
director School of Music, Univ. of 111. (1914);
Univ. organist (1915); Sec., and later Pres.,
Music Teachers' Nat. Assn.; lectures and re-
citals since 1905 in West and Middle West.—
Works: Johannes Brahms, a biography (1895):
Hymns and Church Music (1911); Elementi
of Harmony (1911); many magazine articles.
Has also composed songs, pf. -pieces, organ-
music, and anthems.
r. Elt?, ^/P'' Mar*a Joseph, b. Strassburg,
Oct. 23 i860. Studied at first in Strassburg
then (1875-80) in Paris, under Saint-Saenl
Oigout, and Loret, at the '£cole de musique
classique Living since 1880 in Strassburg as
Johanniskirche (R. C.) and the Synagogue-
l£ u£:°»- ' J" 1908iTWorks: Th" ^
JfcL r f- <Str*?bur*. 1895); Der iluck-
(\h > il™?™?!15 (iN 1897>' Aoendglocken
™J? wfa f^ssbur^' 1901): D« Za»**"
TSSf'n0^1.901^ Die Vogesentanne (ib.,
1VU4); Der Heimweg (ballet-opera, ib., 1907);
Fnnzesstn Flunkerli (fairy-opera, ib., 1912);
a symphony in G; suite for orch. in D m.;
a symphonic suite; 3 vln.-sonatas; a vcl.-
sonata; a string-quartet; a string-trio; an
Octet-Suite for wind and strings; 3-part Mass
with organ; 6-part Mass a capp.; organ-pieces
(sonatas, etc.) ; pieces for pf . (2 and 4 hands) ;
songs; also 2 vols, of Alsatian folk-songs.
Er'bach, Christian, b. Algesheim, Palati-
nate, 1573; d. Augsburg, (?), as cathedral
organist (from 1602) and city councillor. His
valuable cantica sacra (motets a 4-8), publ.
1600-11, are in the Augsburg library; several
of them are also in Bodenschatz's 'Florile-
gium Portense'; others, in MS., in the Ber-
lin Library. — See Q.-Lex.
Er'ben, Robert, dramatic composer; b.
Troppau, March 9, 1862; 1894, Kapellm. at
Frankfort-on-Main; 1896, Kapellm. at Mann-
heim; now living in Berlin (1916).— Has pro-
duced the 1-act opera Enoch Arden (Frank-
fort-on-M., 1895; succ.) and a 'fairy comedy,'
Die Heinzelmdnnchen (Maycnce, 1896).
Erd'mannsdorffer, Max von, b. Nurem-
berg, June 14, 1848; d. Munich, Feb. 14,
1905. Studied in Leipzig Cons. (1863-7), and
- Dresden (1868-9) under Rietz. From
in
242
1871-80 court Kapellm. at Sondershausen,
producing the best modern compositions at
the 'Loh concerts. He lived in turn at Vi-
enna, Leipzig, and Nuremberg; in 1882 he
was app. director of the Imp. Musical Society
at Moscow, and prof, at the Cons., where, in
1885, he founded a students' orchestral so-
ciety. Returning to Germany, he conducted
the Bremen Philharmonic Concerts till 1895-
ERK— ERLANGER
then, for one season, the Symphony Concerts
at Petrograd, and in 1897 was app. Kapellm.
at the court theatre and prof, at the Akade-
mie der Tonkunst in Munich, but resigned
both positions in 1898; ennobled in 1903 by
bestowal of the Bavarian Order of the Crown.
— Works: Prinzessin Use, forest legend for
soli, chorus and orch.; Schneewittchen (ditto);
Traumkbnig and sein Lieb (ditto); Seelinde
(do.); Des Kaiserheeres Romfahrt, for male
ch. and orch.; overture to Brachvogel's Nar-
ciss; pf.-trio; sonata for pf. and vln.; Album-
blatter for pf. and vln.; Nordseebilder and
ReisebUder for pf.; male choruses, songs, etc.
—His wife, Pauline Fich trier, nke Oprawik,
distinguished pianist, pupil of Eduard Pirk-
hert and from 1870-1 ot Liszt at Weimar, was
born at Vienna, June 28, 1851, and is court
pianist to the Grand Dukes of Saxc- Weimar
and Hesse- Darmstadt. She married E. in 1874.
Erk, Adam Wilhelm, b. Herpf, Saxe-
Meiningen, March 10, 1779; d. Darmstadt,
Jan. 31, 1820. Organist at Wetzlar (1802),
Worms (1803), Frankfort (1812).— Published
organ-pieces, and school-songs in Ludwig
Erk's collections.
Erk, Friedrich Albrecht, son of preced-
ing; b. Wetzlar, Tune 8, 1809; d. Dttsseldorf ,
Nov. 7, 1879, where he was a teacher in the
Realschule (scientific school). — Published the
celebrated Lahrer Commersbuch (w. Silcher);
the A litem, deutsches Turnliederbuch (with
Schauenburg) ; a Freimaurer-Liederbuch; and
aided his brother in ed. the school song-books.
Erk, Ludwig (Christian), brother of Fr.
A.; b. Wetzlar, Jan. 6, 1807; d. Berlin, Nov.
25, 1883. Trained chiefly by A. Andre at
Offenbach; 1826-35, music-teacher at the
seminary in Meurs (Mors); 1836-40, he was
conductor of liturgical singing in the Dom-
chor, Berlin; in 1837, teacher in the Berlin
R. Seminary; 1843, founded the 'Erk Man-
ne^gesangye^ein,; 1852, the 'Erk Gesangver-
ein for mixed voices; 1857, royal music direc-
tor, later Professor. His song-books for
schools have won great popularity: Lieder-
kranz, Singvogelein, Deutscher Liedergarlen,
Musikalischer Jugendfreund, Sdngerhain, Si-
ona, Turnerliederbuch, Frische Lieder, etc.,
many of which were written jointly with his
brother Friedrich and his brother-in-law,
Greef . He also published Die deutschen Volks-
lieder mil ihren Singweisen (1838-45), Volks-
lieder, alte und neue, fur M tinner stimmen
(1845-6), Deutscher Liederhort (folk-songs;
vol. i publ. 1856; MS. of the remainder was
bought — with the rest of his valuable libra-
ry—for the Royal Hochschule fur Musik,
Berlin; continued and edited by Magnus
Bohme, and published in 4 vols. [1894]);
Mehrstimmige Ges&nge fur Mannerstimmen
(1835-5), Volkskldnge for male chorus (1851-
60), Deutscher LiederschatM for male chorus
(1859-72), Vierstimmige Choralgesdnge der
vornehmsten Meister des 16. una 17. Jahr-
hunderts (1845), /. S. Backs mehrstimmige
Choralgesdnge und geistliche Arien (1850-65),
Vierstimmiges Choralbuch fur evangelische
Kirchen (1863), Chorale fur Mdnnerstimmen
(1866); exercises for pf.; and a Methodischer
Leilfaden fur den Gesangunterricht in Volks-
schulen (1834, Part I).
Er'kel, Alexander [Alexius], son of Franz
E.; b. Pest, Jan. 2, 1846; d. Bekes Czabra,
Oct. 14, 1900. Director of the Philharmonic
Concerts in Pest, 1875-1893; 1896, 'Gen-
eral-Musikdirektor' of the Royal Opera at
Pest. Composed an operetta, Tempefoi (Pest,
1883), followed by 3 more.
Erfcel, Franz [Ferencz], the creator of
Hungarian national opera; b. Gyula, Hun-
gary, Nov. 7, 1810; d. Pest, June 15, 1893.
He was taught by his father; at 24 became
director of the Kaschau opera-troupe, and
went with it to Pest, where he was appointed
conductor at the National Th. on its opening
in 1837. Here he produced 9 operas: Bdthory
Mdria (1840), Hunyddy Ldszlo (1844, his
most popular work), ErzsSbet (1857) Kunok
(1858), Bank Bdn (1861, considered his best),
Sarolta (1862), Dosta Gyorgy (1867), Branko-
vics Gyorgy (1874), and King Stefan (1874).
He brought the opera -orch. to a high state of
efficiency. He was the founder and director
of the Philharmonic Concerts, and first prof,
of pf. and instrumentation at the National
Musical Academy. His numerous songs, in
the national vein, are very popular.
Erlanger, Gamille, b. Paris, May 25,
1863. Composer; pupil of Paris Cons. (Leo
Delibes, Durand, Matthias); 1888, took the
Grand prix de Rome for his cantata Velleaa.
Other works : La Chasse fantastique, symphonic
piece; Mattre el Serviteur, symphonic poem
after Tolstoi; Serenade carnavalesque; a re-
quiem for double ch. and orch.; the operas
Kermaria (Paris, 1897), Le Juif polonais (ib.,
1900), Le Fils deVitoile (ib., 1904), Aphrodite
(ib., 1906), Bacchus triomphant (Bordeaux,
1909); VAube rouge (Rouen, 1911), La Sor-
ciere (Paris, 1912). A dramatic legend,
Saint-JiUien VHospxtalier, was produced in
concert-form at Paris, 1894, and as an
opera (ib., 1896).
d'Erlanger, Baron Frederic (pen-name
Frederic Regnal), member of the family of
bankers; b. Paris, May 29, 1868. Composer
of the operas Jehan de SaintrS (Aix-les-
Bains, 1893); Inez Mendo (London, 1897);
Tess (Naples, 1906); Noel (Paris, 1912;
Chicago, 1913); has also written a Suite sym-
phonique; a pf. -quintet; a string-quartet; a
vln. -concerto, op. 17; a vln. -sonata; Andante
for vcl. and orch. ; etc.
243
ERLER— ESLAVA
Erler, Hermann, b. Radeberg, n. Dres-
den, June 3, 1844; manager for Bote & Bock,
Berlin, till 1873, when he established a music-
publishing business (now Ries & Erler). For
years he edited the 'Neue Berliner Musik-
Zeitung,' and was critic for the 'Fremden-
blatt'; has written R. Schumanns Leben und
Werke, nach seinen Brief en geschildert (1887).
Ernst II, duke of Saxe-Koburg-Gotha, b.
Koburg, June 21, 1818; d. Reinhardsbrunn,
Aug. 22, 1893. A distinguished amateur
composer, he produced the operas Zaire
(Gotha, 1846), Toni der WUdschiUz (Koburg,
1848), Santa Chiara (Koburg, 1853), Casilda
(Brussels, 1855), Diana von Solange (Koburg,
1858; N. Y.t 1891; his best); 2 operettas, Der
Schuster von Strassburg (Vienna, 1871 ; pseudo-
nym 'Otto Wernhard'), and Alpenrosen
(Hamburg, 1873; pseudonym 'N. v. K.');
several cantatas (Lenz und Friedet 1889),
hymns, songs, etc. He published his memoirs
as A us metnem Leben und aus meiner Zeit
(3 vols., 1887-9).
Ernst, Alfred, French writer and critic;
b. Perigueux, April 9, 1860; d. Paris, May 15,
1898. A pupil of the 'fecole polytechnique,'
he abandoned science for art; was a passion-
ate admirer and defender of Wagner. Besides
many contributions to musical journals, he
published Votuvre dranuUique de H. Berlioz
(1884), Richard Wagner et le drame contempo-
rain (1887), Varl de Richard Wagner, Vceuvre
poilique (1893) [a projected 2d vol. on Vceuvre
musicaie remains unfinished]; Atude sur
'Tannhduser,* analysis and thematic guide
(1895); a translation of Die Meister singer and
the Ring des Nibelungen; he was a contribu-
tor to the 'Ri vista Italiana' and the 'Revue
Encyclopedique. '
Ernst, Franz Anton, b. Georgenthal, Bo-
hemia, 1745; d. Gotha, 1805, where he had
been leader of the orch. since 1778. He made
a name as a violinist and composer; his vln.-
concerto in Eb is especially noteworthy. He
also published an essay Vber den Bau der
Geige in the Leipzig 'Allgemeine musikalischc
Zeitung' (1805).
Ernst, (Heinrich) Wilhelm, b. Brunn,
May 6, 1814; d. Nice, Oct. 8, 1865. Famous
violinist, pupil of Mayseder and Bohm, fin-
ishing under de Benot in Paris. 1834-50, he
was almost continually on concert- tours; then
settled in London. His works for violin are
brilliant and effective; the Ulegie, the concer-
to in F# m. (new ed. by Marteau, 1913), and
the Carnaval de Venise, are a few of the most
celebrated.— Cf. A. Heller, H. . W. E. im Ur-
teile seiner Zeitgenossen (Brunn, 1904).
Ertel, (Jean) Paul, b. Posen, Jan. 22,
1865. Pupil of E. Tauwitz (comp.), L. Bras-
sin (pf.), and later of Liszt; self-taught in
244
orchestration; studied jurisprudence in Ber-
lin ;Z?r. Jur., 1898; living in Berlin as teacher
at Bom's Padagogium and music critic of the
'Berliner Lokalanzeiger' ; 1897-1905, editor of
'Deutsche Musikerzeitung.' — Works: The
symphonic poems Maria Stuart, Der Mensch
(with organ), Belsasar, Pompeji, Die ndcht-
liche Heerschau, Hero und Leander; a symph.,
Harold; the ballads Die WaUfahrt nach Kev-
laar and Des Sanger s Finch for bar., organ
and string-quartet; a double fugue for orch.
and organ; a concerto for vln. solo; a string-
quartet (on Hebrew melodies); 2 pieces for
vln. and pf.; organ-works (Passacaglie [D m.,
C m.], prelude and double fugue on Wachet
auf, etc.); pf. -pieces; songs; an opera, Gudrun,
has not yet been produced (1916).
Each'mann, Johann Karl, b. Winter-
thur, Switzerland, April 12, 1826; d. Zurich,
Oct. 27, 1882. Pianist, pupil of Moscheles
and Mendelssohn at Leipzig. PL-teacher in
Kassel and (1852) Zurich. Besides pf.-music,
pieces for vln., and pf., songs, etc., he publ.
a Pf. Method, studies for pf.; wrote a valu-
able Wegweiser durch die KlavierliUeratur
(Zurich, 1879; 8th ed. 1914), and 100 Apho-
rismen aus dem Klavierunlerricht (2d ed., 1899).
Escudier [es-ku-d 'yS'] (two brothers, natives
of Castelnaudary, Aude), Marie (b. June 29,
1819; d. Paris, April 17, 1880) and Leon (b.
Sept. 17, 1821; d. Paris, June 22, 1881),
wnters and journalists, for 2 or 3 years in
Toulouse, thenceforward in Paris. In 1838
they began publishing 'La France musicaie/
and soon after set up a music-shop. Indus-
trious writers, they issued jointly the follow-
ing works: Andes biographiques sur les chan-
teurs contemporains (1840), Dictionnaire de
musique d'apres les theoricienst historiens et
critiques les plus cSlebres (1844, 2 vols.; re-
printed in 1854 as Diet, de mus. thiorique el
historique) ; Rossini, savieet ses auvres (1854);
Vie et aventures des cantatrices cellbres, prS-
cedees des musiciens de V Empire, et suivies de
la vie anecdotique de Paganini (1856). They
separated in 1862, Leon retaining the music-
business and publishing a new paper, 'L'art
musical' (ceased to appear after Sept. 27,
1894); Marie continued the 'France musicaie
until 1870.
Esla'va, Don Miguel Hilarion, b. Bur-
lada, Navarra, Oct. 21, 1807; d. Madrid, July
23, 1878. Eminent composer and theorist;
choir-boy and (1824) violinist in Pampeluna
cathedral; 1828, maestro in Ossuna cath.,
where he took orders; in 1832, maestro at
Seville; 1844, court maestro to Queen Isa-
bella.— Wrorks: 3 Italian operas, II Solitario
del Monte Selvaggio (Cadiz, 1841), La tregua
di Ptolemaide (1842). and Pietro it crudele
(1843); original organ-pieces in his collections
'Museo organico espafiol,' and church-music
ESPAGNE— EULER
in the great collection 'Lira sacro-hispafia'
(1869); his masses, motets, psalms, etc., num-
ber about 150. Also published a Mitodo de
Soifeo (1846; an elementary vocal treatise),
and an Escuela de Armenia y ComposiMn
(1861). He edited the 'Gaceta musical de
Madrid' for the 2 years (1855-56) of its life.
Espagne [es-pahnl, Franz, b. Munster,
Westphalia, April 21, 1828; d. Berlin, May
24, 1878. A pupil of Dehn; he became mus.
director at Bielefeld in 1858, and, soon after
Dehn's death, head of the musical depart-
ment of the R. Library at Berlin; also choir-
master at the Hedwigkirche. Editor of new
classical editions (Beethoven, Palestrina, etc.).
Espo'sito, Michele, b. Castellamare, near
Naples, Sept. 29, 1855. In 1866 he entered
the Cons. San Pietro a Maiella at Naples,
where he studied with B. Cesi (pf.) and P.
Serrao (comp.); gave pf .-recitals in Italy;
1878-82 in Paris; since 1882 prof, of pf. at
R. Irish Acad, of Music, Dublin; founded
(1899) the Dublin Orch. Soc., of which he is
still conductor; is also an excellent ensemble-
E layer; Mus. Doc. (hon. c), Trinity College,
Dublin. Works: Op. 52, The Post-Bag (1-act
Irish opera, London, 1902); op. 53, The
Tinker and the Fairy (1-act opera, Dublin,
1910); op. 26, Berceuse for orch.; op. 55,
Suite of Irish Dances for orch.; for vln. and
Sf., Z Irish Rhapsodies (op. 51, 54), Five Irish
(elodies (op. 56), Two Irish Melodies (op.
57), First sonata in G m. (op. 32); numerous
pieces for pf. The following works won first
prizes: Op. 38, Deirdre, cantata for soli, ch.
and orch. (Irish Fest., Dublin, 1897); op. 33,
string-quartet in D, and op. 44, Poem for
orch. (Irish Fest., ib., 1899); op. 50, Irish
Symphony (Irish Fest., ib., 1902); op. 43,
Sonata for vcl. and pf. in D (Incorp. Soc. of
Musicians, London, 1898); op. 46, Second
Sonata for vln. and pf. in E m. (Societe
Nouvelle, Paris, 1907); op. 60, string-quartet
in C m. (Ace. Filarmonica, Bologna, 1908).
Es'ser, Heinrich, b. Mannheim, July 15,
1818; d. Salzburg, June 3, 1872. A pupil of
Fr. Lachner and Sechter in Vienna. From
1847, Kapellm. at the Karnthnerthor Th.,
Vienna, and from 1857 Kapellm. of the court
opera, also conducting the Philharmonic for
some years. Retired (1869) to Salzburg on a
Sension. — Works: 3 operas, Silas (Mann-
eim, 1839), Thomas Riauiqui (Aix-la-Chap-
pelle, 1843), and Die beiden Printen (Munich,
1844); various orchestral and chamb.-comps.;
very popular male quartets, and songs.— -Cf.
E. Hanslick, Suite (Vienna, 1884). Letters of
E. are found in E. Istel's Wagner im Lichte
eines seitgenossischen Briefwechsels (Berlin,
1902).
Es'sipov [Essipova], Annette, b. Petro-
grad, Feb. 1, 1851; d. there Dec., 1914.
Brilliant pianist, pupil of Wielhorskt and
Leschetizlcy (at r. Cons.), marrying the
latter in 1880 (divorced 1892). Debut 1874,
at Petrograd, since when she had made long
concert-tours throughout Europe, and to
America (1876). In 1885 she was made
'Pianist to the Prussian Court'; 1893-1908
prof, of pf. at the P. Cons., succeeding Th.
Stein.
Este (or Est, East, Easte), Thomas,
noted London music-printer (circa 1550-
1625). The first issue of his press was Byrd's
Psalms, Sonets, and Songs of sadnes and
gletie (1588); of special interest is The whole
ooke of Psalms; with their wonted tunes as
they are sung in Churches, composed in foure
parts (1592). Grove gives a full list of
Este's publications.
E'sterhazy [-hah-ze], Count Nicolas, b.
1839; d. Castle Totis, Hungary, May 7, 1897.
A zealous promoter of musical art, he had a
'trial-stage (a complete theatre, connected
with a music-school) erected, and paid com-
posers, authors, and artists for their artistic
productions, to view which leaders in the
world of art were invited.
Ett, Kaspar, b. Erringen, Bavaria, Jan. 5,
1788; d. Munich, May 16, 1847, where, from
1816, he was court organist at St. Michael's
church. He was active in reviving the church-
music of the 16th-17th centuries; his own
sacred compositions (of which but a few
graduate and cantica sacra were printed)
follow these early works in style.
Euclid, the famous Greek geometer, lived
at Alexandria about 300 b. c. He is the author
of a treatise on music, Katatomk kanonos (sec-
Ho canonis), following the theories of Pytha-
goras (new crit. ed. by K. von Jan in 'Musici
scriptores graeci'). For another treatise long
ascribed to E., see Cleonides.
Eulenburg [oi'-]f Ernst, b. Berlin, Nov.
30, 1847. Studied at the Leipzig Cons.; es-
tablished, in 1874, in Leipzig the publishing
house bearing his name; since his acquisition
of Payne's 'Kleine Partitur-Ausgabe' (1892)
he has enormously increased the scope of
that publication (see Paynb, Albert), so
that now the largest orchl. scores are included.
Eulenburg, Phlllpp, Graf (count) zu, b.
Konigsberg, Feb. 12, 1847; Royal Prussian
ambassador at Stuttgart; 1894-1904 German
ambassador at Vienna; has written the words
and music of several sets of songs: Skalden-
gesdnge, Nordslandslieder, Seemdrchen, Rosen-
lieder, etc
Euler, Leonhardt, b. Basel, April 15,
1707; d. Petrograd, Sept. 3, 1783. Prof, of
mathematics at P. (1730) and Berlin (1740).
Published several important works on mus.
mathematics and acoustics, chief among them
245
EUTERPE— EYKEN
being the Tentamen novae theoriae musicac
(1729). E. was the first to employ logarithms
for the better explanation of the differences
in pitch. — Cf. S. Schulz-Euler, L. E. (Frank-
fort-on-Main, 1907).
Euter'pe, one of the nine Muses, presid-
ing over joy and pleasure, and the patroness
of flute-players: the Muse of Music.
Eutlng [oi'-l, Ernst, b. London, Feb. 7,
1874. From 1892-6 he attended the Kgl.
Hochschule fiir Musik in Berlin, then devoted
himself to musicology at the Univ. there, and
became. Ph. D. with the thesis Zur Geschichte
der Bldsinstrumente im 16. und 17. Jahr-
hundert (1899); in the same year he founded
the 'Deutsche Instrumentenbau-Zeitung,' of
which he is still editor (1916).
Evans, David Emlyn, b. near Newcastle
Emlyn, Wales, Sept. 21, 1843; d. London,
April, 1913. With the exception of some
lessons on the pf. and organ, he was self-
taught; for over 20 years he was established
in business at Cheltenham, but devoted his
leisure hours to music; between 1865 and
1876 he took part in many Eisteddfodau, his
works invariably winning the prizes; after the
Eisteddfod at Wexham in 1876, where he
carried off all four prizes, he voluntarily with-
drew from further competitions, but fre-
quently acted as judge; at the National
Eisteddfod in London, 1887, he was awarded
a prize for his Biography of Welsh Musicians;
for many years he was editor of 'Y Cerddor'
(The Musician). His chief work is Alawon
Fy Ngwlad (2 vols., 1896), a collection of 500
Welsh airs (unpubl. until then) in pf.-arr.;
his publ. comps. include 2 cantatas, The
Christian's Prayer and The Fairy-tribe , many
glees, anthems, and part-songs; several larger
works remain in MS.
Evers [a'-|, Karl, pianist; b. Hamburg,
April 8, 1819; d. Vienna, Dec. 31, 1875.
Pupil of Jacques Schmitt (pf.) and Karl
Krebs (comp.) at Hamburg, and (1839) of
Mendelssohn at Leipzig. Led the life of a
travelling concert-giver till 1858, when he
settled in Graz, Styria, as a music-dealer.
He finally went to Vienna in 1872. An execu-
tant of fine technical ability, he also wrote
for pf. (Chansons d' amour, 12 songs without
words characterizing various nationalities);
and songs.
Evesham [evz'm], Monk of. See Oding-
ton.
Ewer & Co., London music-publishers.
Founder (1820) John J. Ewer, who was suc-
ceeded by E. Buxton; Wm. Witt purchased
the business in 1860, and in 1867 it was united
with Novello & Co. as Novello, Ewer & Co.
Exlme'no y Pujader, Antonio, born
Valencia, Sept. 26, 1729; d. Rome, June 9,
246
1808. A Jesuit priest, who wrote DelTorigine
della mustca eolla storia del suo pr ogres so, deea-
denza, e rinovazione (1774) ; this being attacked
by P. Martini, E. wrote Dubbio soprail saggio
di Conirappunto del P. Martini . . . (1775),
and later Risposte al giudizio delle efemeridi di
Roma.
Expert [-pari, Henri, b. Bordeaux, May
12, 1863; pupil (1881) of the Niedermeyer
School at Paris, later of C. Franck and E.
Gigout; now teacher at the £cole Nat. de
Mus. Classique, and lecturer at the £cole des
Hautes fetudes Social es; since 1909, deputy-
librarian (1st libr. J. Tiersot) of the Paris
Cons.; founder (1903, with Manry) of the
'Societe d etudes mustcales et concerts his-
toriques.' His lifework is the editing and
publication of the French-Flemish music of
the 15th and 16th centuries, in six Parts
(1894-): I. Les MaUres-Musiciens de la
Renaissance francaise (works by Orlando di
Lasso, Goudimel, Costeley, Jarniequin, Bru-
mel, Larue, Mouton, Fevin, Mauduit, Clau-
din le jeune, Regnart, Caurroy, duTertre,
Gervais, and Attaignant's Collection of Chan-
sons [1529], all in modern notation, with
facsimiles, etc.; 24 vols, already issued); II.
Bibliographic thSmalique (publ. in part); III.
Les Thforiciens de la musique an temps de la
Renaissance; IV. Sources du cortos de Vart
franco-flamand de musique des XV0 et XVI0
stecles (facsimile editions of entire works) ; V.
Commentaires; VI. Extraiis des Mattres- Mu-
sicians (selected single compositions, an*, for
modern use; a large number have been publ.).
E. has also edited a monumental edition of
the Huguenot Psalter (1902); Les mattres du
clavecin des XVII0 et XVIII0 stecles; Amuse-
ments des musiciens francais du XVIII0 Steele;
Repertoire de musique religieuse et spirituelle.
He contributed the chapter on the music of
France during the 16th century to Lavignac's
'Encyclopedic de la Musique et Dictionnaire
du Conservatoire.'
Eybler [!'-], Joseph, later Edler von Ey-
bler, b. Schwechat, near Vienna, Feb. 8,
1764; d. Schdnbrunn, July 24, 1846. He st.
at Vienna, his teacher from 1777-9 being Al-
brcchtsberger. He was intimate with Haydn
and Mozart; in 1792, choirmaster at the Car-
melite Ch., and in 1794 to the 'Schottenstift'
also; tutor to the princes in 1810, and first
court Kapellm. in 1824, on Salieri's retire-
ment. He himself gave up active work in
1833. His concert-works (symphonies, con-
certos, quartets, sonatas, etc.) are forgotten;
as a church-composer (2 oratorios, 32 masses,
a requiem, 7 Te Deums, 30 offertories, etc.)
he is still known. — S^e Q.-Lex.
Eyken (Eijken) fl'-l, Heinrlch van, son of
Jan A.; b. Elberfeld, July 19, 1861; d. Berlin,
Aug. 28, 1908. Pupil of Papperitz at the Leip-
EYKEN— FACCIO
zig Cons. ; then of Herzogenberg at the Akad.
in Berlin; from 1892 prof, of theory at the
Kgl.*Hochschule. As a composer he is favor-
ably known through his songs with orches-
tra {Judiths Siegesgesang, fkarus, Schmied
Schmert, Lied der Walkure, Stille Trostung,
etc.); he completed Liliencron's Chorordnung
fur die Sonn- und Festiage des evangelischen
Kirchenjahrs (4 vols.); a treatise on harmony
was published posthumously by H. Leichten-
tritt and O. Wappenschmidt (1911).
EyTcen [Eilken], Jan Albert van, born
Amersfoort, Holland, April 26, 1823; d. El-
berfeld, Sept. 24, 1868. An organist; studied
1845-6 at Leipzig Cons., and afterwards at
Dresden with Schneider. Successful concert-
E layer. 1848, organist of the Remonstranten-
erk, Amsterdam; 1853, of the Zuyderkerk,
and teacher at the music-school in Rotter-
dam. From 1854, organist at Elberfcld. His
organ-pieces (150 chorals with introductions,
25 preludes, a toccata and fugue on B-A-C-H,
3 sonatas, variations, transcriptions, etc.)
are well and favorably known; he also comp.
music to Vondel's Lucifer (a tragedy), a vln.-
sonata, quartets for mixed chorus, ballads,
songs, etc.
Eymleu [a-m'y3l, Henry, b. Saillans
Drdme, France, May 7, 1860; st. law, and em-
braced a legal career, but turned to music,
becoming a pupil of E. Gazier (theory), and
Widor (comp.). Now (1916) residing in Paris
as a composer, writer, and critic (for 'Le
Menestrel,' etc.). — Writings: Atudes et bio-
graphies musicales (1892); very numerous es-
says, reviews, etc., in the leading musical
papers of Paris. — Comps.: A great variety of
piano- pieces, sonps; duets for pf. and vln.,
cello or harmonium; a Marche francaise, a
Marche funebre, Hymne royale, etc., for orch.
(58 published opus-numbers); also a stage-
piece, Un Mariage sous Neron (Paris, 1898);
and an oratorio, Marthe et Marie (Asnieres,
1898).
Eysler [!'-], Edmund S., b. Vienna, March
12, 1874; composer of numerous operettas,
some of which achieved marked success in
Germany and Austria; in 1915 he wrote no
less than four such works, LeutnarU Gustl,
Der grosse Gabriel, Ein Tag im Parodies, Die
oder Keine, the last produced with success in
Vienna in 1916. Some of the more successful
operettas (all premieres at Vienna) are:
Bruder Straubinger (1902), Die SchiUzenliesel
(1905), Kunstlerblut (1906), Das Glucks-
schweinchen (1908), Der unsterbliche Lump
(1910), Das Zirkuskind (1911).
Faber[fah'-], Benedlkt, b. Hilpertshausen;
1602-31, chorister at Koburg, in the duke's
service; composed psalms a 8, CarUiones
sacrae a 4-8, an Ostercantate, a Gratulations-
Cantate, etc., all published at Koburg, and in
the library there. — See Q.-Lex.
Fa'ber, Heinrich, 'Magister'; b. Lichten-
fels; d. Oelsnitz, Saxony, Feb. 26, 1552.
Rector in Brunswick. Published Compen-
diolum musicae pro incipientibus (1548, often
republ.; also in German by Rid, 1572, and by
Gothart, 1605; in German and Latin by Vul-
pius, 1610, and six further editions); also Ad
musicam practicam introduclio (1550, etc.), of
which* the former work is an abstract. The
Heinrich Faber who died at Quedlinburg,
1598, has often been erroneously taken for
the author of the above works. — See Q.-Lex.
Fa'ber, Nikolaus [Nicol], priest in Hal-
berstadt; built there (1359-61) what is be-
lieved to be the first organ made in Ger-
many. It has 20 bellows, and the keys are
3 inches broad and Yi inch apart.
FaT>rl, Stefano (il maggiore), b. Rome,
circa 1550; from 1599-1601 m. di capp. at
the Vatican; from 1603-7, at the Lateran;
published 2 books of Tricinia (Nuremberg.
1602, 1607).
Falni, Stefano (U minor e), b. Rome,
1606; d. there Aug. 27, 1658. Pupil of B.
Nanini; circa 1648, m. di capp. at the Ch. of
S. Luigi de' Francesi, and from 1657 at S.
Maria Maggiore. Published a book of
motets a 2-5 (Rome, 1650), and Salmi con-
certati a 5 (1660).— See Q.-Lex.
Fabricius [-bre'tsl-66s], Johann Albert,
son of Werner F.; b. Leipzig, Nov. 11, 1668; d.
Hamburg, April 30, 1736, as prof, of elocu-
tion. An eminent bibliographer, he published
a Thesaurus antiquitaium hebraicarum (1713,
7 vols.), and a Bibliotheca graeca sive notitia
scriptorum veterum graecorum ( 1 705—28, 14
vols.), both valuable works of reference. —
See Q.-Lex.
Fabri'cius, Werner, b. Itzehoe, April 10,
1633; d. Leipzig, Jan. 9, 1679. A music-pupil
of Scllino and Scheidemann at Hamburg, and
a law-student and jurist at Leipzig, where he
was also organist of the Nicolaikirche, and
music director at the Paulinerkirche. Publ.
Deliciaeharmonicae, a collection of 65 pavanes,
allemandes, etc., a 5, for viols and other in-
struments (Leipzig, 1656); Geistliche Lieder
(Jena, 1659); Geistliche Arien, Dialoge, Con-
eerie, etc. (Leipzig, 1662); motets, etc. —
»^ee ^^.-L^ex.
Faccio [fah'tchoh], Franco, b. Verona,
March 8, 1840; d. in the sanatorium Biffi,
near Monza, July 23, 1891. His first teacher
was G. Bernasconi; from 1855-64 he studied
in Milan Cons, under Ronchetti-Monteviti
and Mazzucato. Arrigo Boito was his fellow-
pupil and friend; for the final examination
they wrote together the mystery Le Sorelle
247
FAELTEN— FAIRLAMB
d' Italia, received government prizes, studied
together in Paris and Germany, and served
together under Garibaldi in 1866. In 1863,
F. produced the opera I profughi fiamminghi
(La Scala, Milan), a work of marked origin-
ality; in 1865, Amleto (Genoa; book by Boito),
which was bitterly assailed as 'Wagnerite.'
A string-quartet and a Vocal Album soon
followed. From 1866-8 he made a tour in
Scandinavia as concert-conductor; in 1868 he
succeeded Croff as prof, of harmony (later of
cpt. and comp.) at Milan Cons., and in 1872
succeeded Terziani as conductor at La Scala.
After Mariani's death, F. was considered the
best conductor in Italy. — Other works: A
hymn; the act-tunes for Giacometti's Maria
Antonietta; and a symphony in F.
Fael'ten, Carl, pianist and teacher; b. II-
menau, Thuringia, Dec. 21, 1846. Chiefly
self-taught; studied with Montag (pupil of
Hummel) at Weimar as a school-boy; for 6
years, orchestra-player (vln.); from 1867, st.
with J. Schoch at Frankfort, and profited by
10 years' intimacy with Raff. Taught at
Frankfort 1868-82 (from 1878 in the Hoch
Cons.); engaged at the Peabody Inst., Balti-
more, 1882-5; at the N. E. Cons., Boston,
1885-97, being music director of that insti-
tution from 1890-7. In Sept., 1897, Faelten
founded the F. Pianoforte-School (Teachers'
Seminary) at Boston, which in 1898 had 350
pupils enrolled. Gradually the scope of the
school was extended so as to include all
grades of instruction from the very beginning
to virtuosity; average enrollment is now
(1916) 600. He also toured the U. S. and
Germany, as a concert-pianist, in former
years.— Publ. works: The Conservatory Course
for Pianists (an original and widely-known
series of text-books [written jointly with his
brother, Reinhold F.], 1898); also Technische
Ubungen for pf.; 30 Characteristic Studies
(transcribed from the vln. -sonatas of Bach)-
JO Instructive Pieces by G. F. Handel; Tran-
scriptions of 6 songs by Schubert; etc.
Fael'ten, Reinhold, pianist and teacher;
b. Ilmenau, Thuringia, Jan. 17, 1856. Pupii
of Klu^hard and Gottschalg at Weimar;
taught in Frankfort, Baltimore and Boston;
founded, in 1897, with his brother Carl F.,
the Faelten Pianoforte-School in Boston*
wrote 100 Ear-training Exercises, and (jointly
with his brother) the books of the F. method.
Fage. See Lafage.
Fa'go, Nicola, called II Tarenti'no be-
cause born at Tarento, 1674; d. Naples, 1740.
Pupil of A. Scarlatti at the Naples Cons, 'dei
Poveri,' later of Provenzale at the 'Turchini/
becoming Provenzale's assistant and eventu-
ally succeeding him. He was the teacher of
Leonardo Leo and Nicola Sala. Among his
very numerous sacred compositions may be
248
mentioned the oratorio Faraone sommerso;
masses, motets, psalms, cantatas, a Stabat
Mater, a Te Deum, etc.; he also prod, several
operas, of which Eustachio and Astarte were
very successful.— See Q.-Lex.
Fahr/bach, Joseph, virtuoso on the flute
and guitar; b. Vienna, Aug. 25, 1804; d.
there June 7, 1883. A self-taught player and
composer; 1st flute in the court-opera orch.,
and later conductor of an orch. of his own
for dance-music— Works: Dance-music for
orch.; much miscellaneous music; a Method
for flute; ditto for oboe.
oeF?£^c\Phl£pp [Sr }' b- V""*. Oct.
25, 1815; d. there March 31, 1885. Pupil of
Lanner; conducted his own orch. for years
??n ? a mintarv band. His dances (over
150 works) are very popular; his operas Der
Uebe Offer (1844) and Das Schwert des
Kontgs (1845) had local success.
Fahr'bach, Philipp (Jr.), son of the pre-
ceding; b. Vienna, 1843; d. there Feb. 15,
1894. A popular composer of dances and
marches (over 300 works); in .1870, band-
master at Pest, where his concerts were highly
successful; in 1885 he succeeded his father as
conductor of the orchestra in Vienna.
Fahr'bach, Wilhelm, b. Vienna, 1838; d.
there 1866. Orch. -conductor and dance-comp.
Falgnient [fa-nahnl, Noe\ Flemish con-
trapuntist, living at Antwerp circa 1570. He
wrote arias, motets, madrigals, and chansons,
in from 3 to 8 parts, after the style of Or-
landus Lassus. — See Q.-Lex.
Fairclou&h, George Herbert, b. Hamil-
ton, Ont., Canada, Jan. 30, 1869. Pupil of
Toronto Cons., 1887-90; then, from 1892-5,
at R. High School of Music, Berlin, of H.
Barth and E. Schelling (pf.), Clemens (org.),
and Succo and Bargiel (comp.); since the age
of 12 (excepting the 3 years spent in Berlin)
he has continuously held positions as org.;
since 1900, organist and choirmaster at the
church of St. John the Evangelist, St. Paul;
since 1904, also at Temple Zion; head of pf.-
dept., Macalester Coll.; has given numerous
recitals (St. Louis and Jamestown Exposi-
tions, etc.); Pres. of Minn. Mus. Teachers'
Assn., 1907-8; Dean Minn. Chapter A. G. O.,
1910-13; A. A. G. O. (1911). Has published
a Te Deum and Jubilate; songs and pf. -pieces;
several comps. for organ are in MS.
Falrlamb, James Remington, b. Phila-
delphia, Jan. 23, 1838; d. New York, March
26, 1908. From 1853-8 he was organist in
several Philadelphia churches; then studied
in Paris and Florence. After spending 4 years
in Zurich, and 3 in Washington, D. C.
(where an amateur opera-company, organized
by him, brought out his 4-act grand opera
Valerie), he held positions as organist in
FAISZT— FANCIULLI
Phila., Elizabeth, N. J., Jersey City, and New
York; from 1898, instructor in music, De
Witt Clinton High School.— Works: Over 100
songs; over 50 choral works; several pf.-
?ieces; and the operas Love's Stratagem, The
nterrupted Marriage and Treasured Tokens
(not produced).
Faiszt [fist], Immanuel Gottlob Fried-
rich, b. Esslingen, Wurttemberg, Oct. 13,
1823; d. Stuttgart, Tune 5, 1894. A self-
taught organist at the age of 9; he studied
theology at Tubingen, but turned to music.
Mendelssohn, to whom he submitted some
compositions in 1844, advised him to study
with a teacher. In 1846 he gave organ-con-
certs in several German towns, and settled in
Stuttgart; here he founded a society for clas-
sical church-music (1847), the 'Schwabischer
Sangcrbund' (1849), and, with Lebert, Stark,
Brachmann, and others, the Conservatory
(1857), in which he was first teacher of organ-
playing and comp., becoming the Director in
1859. He was also organist in the Stifts-
kirche. He was made Dr. phil. by Tubingen
Univ. for his essay Beitrdge zur Geschichte der
Klaviersonate ('Cacilia,' 1846), and received
the title of 'Professor' from the King of
Wurttemberg. With Lebert he edited the
famous Cotta edition of classical pf.-works,
and published with Stark an Elementar- und
Chorgesangschule. He composed cantatas,
motets, choruses for male voices (Die Macht
dss Gssanges, Im Grunen) and mixed chorus,
and songs; also organ-music, a double fugue
for pf., pf.-pieces, etc.
Falcke, Henri, born Paris, Feb. 27, 1866;
died there April 13, 1901 ; distinguished pian-
ist, pupil of Saint-Saens, Massenet, Dubois
and Mathias in Paris Cons., where he won 1st
prizes in pf. -playing and harmony; also
studied in Germany. Very successful in France,
Germany, England, etc.; he had an immense
classic and modern repertory, and his style
was described as a happy blending of the
French and German schools. Taught in
English, German, and Spanish, as well as in
French. Published a valuable text-book, Acole
des Arp&ges, for pf.; in English as The School
of Arpeggios (New York, 1895).
Falcon [-kohnl, Marie-Cornelle, remark-
able dramatic soprano; b. Paris, Jan. 28,
1812; d. there Feb. 25, 1897. Pupil, 1827-31,
of Henri, Pellegrini, Bordogni, and A. Nour-
rit, at the Cons.; debut at the Grand Opera,
1832, as Alice in Robert. She sang there with
brilliant success until 1837, when she lost
he voice. Her singing in such rdles as Alice,
Rachel (La Juive) and Valentine (Huguenots),
left so deep and lasting an impression that
her name, Falcon, has since been applied to
sopranos taking the rdles in which she ex-
celled, or similar ones. (Cf. Dugazon.)
Fall, Leo, very successful composer of
light operas; b. Olmtttz, Feb. 2, 1873. Pupil
of his father, a military bandmaster, and of
Robert and Johann Fuchs at the Vienna
Cons.; for some years he was theatre-cond.
at Berlin, Hamburg and Cologne; now living
in Vienna; in 1904 he married a daughter of
S. Jadassohn. — Works: The operas Frau
Denise (Berlin, 1902); Irrlicht (Mannheim,
1905); the operettas Der Rebell (Vienna,
1905); Der fidele Bauer (Mannheim, 1907);
Die Dollar prinscssin (Vienna, 1907); Die ge-
schiedene Frau (ib., 1908); Bruderlein fein
(ib., 1909); Das Puppenmddel (ib., 1910);
Die schone RiseUe (ib., 1910); Die Sirene (ib.,
1911); The Eternal WaUz (London, 1912);
Die Studentengrdfin (Berlin, 1913); Der Nacht-
schnellzug (Vienna, 1913); Jung England
(Berlin, 1914); Der kiinsUiche Mensch (Ber-
lin, 1915); Die Kaiserin (finished 1916; not
yet produced). Der Rebell :, which was a
complete fiasco, was rewritten, and scored
a considerable success as Der liebe Augustin
(Vienna, 1911).
Fal'tin, Richard Friedrich, b. Danzig,
Jan. 5, 1835. Studied there under Markull,
at Dessau under Schneider, and at the Leip-
zig Cons.; has lived since 1869 at Helsingfors,
Finland, as conductor of the Symphony Con-
certs, the Oratorio Society (1871-84), and
(1873-83) of the Finnish Opera; made Prof,
in 1897. — Published Finnish Folk-songs and
a Finnish Song-book.
Fa'minzin [-tsin], Alexander Sergie-
vitch, b. Kaluga, Russia, Nov. 5, 1841; d.
Ligovo, near Petrograd, July 6, 1896. Pupil
of Jean Vogt (Petrograd), Hauptmann,
Richter, and Riedel (Leipzig), ana Seifriz
(Lowenberg); 1865-72, prof, of the history of
music at Petrograd Cons.; in 1870, secretary
of the Russian Musical Soc. Also wrote for
various newspapers, and was critic for the
(Russian) 'Petrograd Gazette1; 1869-71, he
edited the 'Musical Season.' He translated
Marx's AUegemeine Musiklchre and Richter's
Harmonielehre into Russian. — Works: The
operas Sardanapal (1875) and Uriel Acosta
(1883); a symph. poem, The Triumph of
Dionysos; a Russian Rhapsody, for vln. and
orchestra; pf. -quintet; string-quartet; pf.-
pieces; songs.
FanciulH [-chool'lel, Francesco, b. Porto
San Stefano, Tuscany, 1853; d. New York,
July 17, 1915. He received his musical educa-
tion in Florence, and after some years as
operatic conductor in Italy, came to the U. S.
in 1876, where he filled several positions as
organist; in 1893 he succeeded Sousa as con-
ductor of the Marine Band at Washington;
1898-1904, bandmaster of the 71st Regt.,
N. Y.; after 1904, conductor of his own band;
composer of the grand operas Gabriele de
249
FANELLI— FARINELLI
Montgomery (Italian text), Priscilla and Ma-
linche (English texts) ; also of 2 comic operas,
of which A Maid of Paradise was produced
with success.
Fanelli, Ernest, b. Paris, June 29, 1860.
At the age of 13 he played the kettledrums
in a small orchestra; entered the Paris Cons,
in 1876 and studied comp. with Delibes.
From 1883-7 he worked on a series of symph.
pictures, Thebes (still unfinished), inspired by
Gautier's Roman de la Momie; from this he
turned his attention to an orchestral suite,
Impressions pastorales; next followed 4 Hu-
moresques for orch.; VEffroi du Soleil, lyric
scene; Suite Rabelaisienne; a pf. -quintet. Un-
able to secure a hearing, he lost courage, and
ceased writing in 1893. At the same time he
disappeared, and for the next 20 years lived
in poverty and obscurity. Early in 1912 he
applied to Piern6 for work as a copyist, sub-
mitting his score of Thebes as a specimen of
his handwriting. P. was struck by the music,
and produced the fragment at the Colonne
concert of March 17, 1912; the following
winter it was played by the N. Y. Symphony
Orch. The musical value of this work (as
well as that of all of Fanclli's comps.) is small;
but what created almost a sensation was the
fact, that in a work written in 1883, when De-
bussy was still a student at the Cons., F.
actually anticipated modern impressionism.
Even after F. had thus been brought into
prominence, he has not resumed composition;
the character of the works mentioned is best
described by the term 'grotesque.'— Cf. M.-D.
Calvocoressi, An Unknown Composer of I*0"
day, in 'M. T./ April, 1912.
Faning, Eaton, English conductor a"d
composer; b. Helston, Cornwall, Mav ^0,
1850. Pupil 1870-6 of the R. A. M- (Bennett,
Steggall), winning the Mendelssohn scholar-
ship in 1873 and the Lucas medal in 1876.
Mus. Bac, Cantab., 1894; Mus. Doc., 1899;
appointed prof, of pf. at R. A. M. m 18/8;
also taught at the Natl. Training School of
Music and R. C. M.; gave up these posts in
1885 when he became director of music at
Harrow School, where he remained till 1901;
then member of Assoc. Bd. of R. A. M. and
R. C. M.; examiner for musical degrees at
Cambridge Univ., 1904-9; now (1916) mem-
ber of Board of Studies, London Univ. —
Works- 3 operettas, The Two Majors (1877),
Mock Turtle (1881), and The Head of the Poll
(1882); a dramatic cantata, Liberty (1882);
cantata for female voices, Buttercups and
Daisies; church-music; symphony in C m.;
overture, The Holiday; quartets, choruses,
songs, etc. Cf. -M. T.,f Aug., 1901 (p. 513).
Farabi. Sec Alfarabi.
Fa no, (Guido) Alberto, b. Padua, May
18, 1875. Pupil of Cesare Pollini in Padua;
while continuing his musical studies with G.
Martucci in Bologna, he studied law at the
Univ., taking the degree of Dr. juris in 1898;
in 1900, app. teacher of pf. at the Liceo Musi-
cale in Bologna; 1905, director of the Cons, in
Parma; since 1911, artistic director of the
Cons, in Naples. — Works: Juturna (opera;
not yet prod.); a concert -overture; a symph.
prelude; La Tentazione di Gesil, symph. poem;
Astreat for soli, ch. and- orch.; a vln. -sonata
(awarded prize by the 'Milan Soc. del Quar-
tetto,' 1898); a vcl.-sonata; pf. -pieces; songs.
Fargas y Soler, Antonio, Spanish writer,
published Biografias de los Musicos, etc.
(issued since 1866, in parts, as a supplement
to the Madrid paper 'La Espana musical');
also a Diccionario de Musica.
Farinel'li (a stage-name; his real name
was Carlo Broschi) [brohs'ke], celebrated
artificial soprano; b. Naples, June 24, 1705;
d. Bologna, July 15, 1782. Taught by Por-
pora, he first sang in Naples with great suc-
cess, being playfully called 'il Ragazzo' (the
Boy) on account of his youth. At his debut
at Rome, 1722, in Porpora's opera Eumene,
he was the object of enthusiastic ovations;
his fame spread, and the Italian cities vied
with each other to obtain an opportunity of
hearing him. Only once— :at Bologna, 1727,
in a contest with Bcrnacchi — was he outdone
by any rival; and he profited by this defeat,
taking lessons of Bernacchi, and thus becom-
ing unrivalled in bravura and coloratura. He
visited Vienna in 1724, '28, and '31; at the
instance of the emperor, Charles VI, during
his last visit he acquired lyric breadth and
expression, and became in every way the first
of European singers. Going to London in
1734, when the contest between Handel and
his enemies was at its height, he Joined the
latter (headed by Porpora), with the result
that Handel's operatic forces suffered over-
whelming defeat, and the great composer
thenceforward bent his energies to oratorio-
writing. In London Farinelli remained for 2
years, amassing a fortune; he then (1736)
proceeded to Madrid, where his wonderful
art cured King Philip V of his melancholy,
and the grateful monarch insisted on retain-
ing F.'s services. The latter lived in Madrid,
with a salary of 50,000 francs, as the King's
friend and confidential adviser; his influence
even extended through the reign of Philip's
successor, Ferdinand VI; at the accession of
Charles III, in 1759, he was sent away. He
erected a palatial villa near Bologna, in 1761,
where he lived and died in seclusion. — Cf. G.
Sacchi, Vita del Cav. Don Carlo Broschi,
detto Farinelli (Venice, 1784).
Farinel'li, Giuseppe, prolific dramatic
composer; b. Este, May 7, 1769; d. Trieste,
Dec. 12, 1836. Pupil, from 1785, of the Cons.
250
FARJEON— FARRAR
della Pieta de' Turchini at Naples, his teach-
ers being Barbiello, Fago, Sala, and Tritto;
his first opera, // Dottorato di PulchineUa,
Croduced in 1792, at Naples (?), was followed
y 50 or 60 others, not original, but in very
happy imitation of Cimarosa's style, and
chiefly comic. From 1810-17 he lived at
Turin; then went to Venice, and finally (1819)
settled in Trieste as maestro and organist at
the Cath. of S. Giusto. He also wrote several
oratorios, cantatas, 5 grand masses, 2 Te
Deums, and other ch.-music. — See Q.-Lex.
Farjeon, Harry, son of the English novel-
ist B. L. F.f and grandson of the famous actor
Joseph Jefferson; b. (as a British subject)
Hohokus, N. J., May 6, 1878. From 1895-
1901, pupil at R. A. M. of S. Webbe (pf.),
and B. Haynes and F. Corder (comp.); won
the Goring Thomas scholarship in 1897,_ the
Lucas Medal, the medal of the Worshipful
Company of Musicians, the Burns Prize and
the R. A. M. Club prize; A. R. A. M., 1901;
app. prof, at Blackheath Cons., 1902; since
1903, prof, of comp. at R. A. M. — Works:
The opera Floretta (London, 1899); 2 oper-
ettas, The Registry Office (ib., 1900) and A
Gentleman of the Road (ib., 1902); Ballet of
the Trees (ib., 1915); concerto for pf. and
orch. in D; Hans Andersen Suite for orch.;
Mowgli, symphonic poem; Air for vln. on a
ground bass; 2 recitations, with pf. accomp.,
La Belle Dame sans Merci and Christ's Eve;
numerous pf.-comps. (Minature Sonata, in Bb,
Pictures from Greece, A Summer Suite, etc.).
The score of a symphonic poem, Summer
Vision (regarded by the comp. as his best
work), was sent to Germany for performance
and lost.
Far'kaa, Edmund [Hungarian Odttn], b.
Puszta-Monostor (Heves), Hungary, in 1852.
Of a noble Hungarian family, he was intended
for a civil engineer; but, preferring music,
took the 4-year course at the R. Mus. Acad.,
in Pest, in 3 years (teachers Volkmann,
Abranyi, Erkel); a year after graduation, he
was app. director of the Cons, at Klausen-
burg, Transylvania. Here he also acted for a
time as opera-cond., and contributed mus.
articles to various periodicals. F. is a diligent
and successful comp.; in 1876, while still a
student of engineering, he produced the 1-act
opera Bayadcr (Pest, Aug. 23); with a Mass
in E he won the Haynald Prize of 300 florins;
this was quickly followed by 12 Lieder (Da-
lok), the ballads Klara Zdch and Szondy, sev-
eral mixed choruses, and the orchestral works
Tagesanbruch (Virradat), Abendlied (Estidal),
Abendddmmerung (Alkony), and Dies irae; a
symphony and 5 string-quartets are favorite
program-pieces; a Festouverture also won -a
prize. — Operas: Feenquelle [Tunderhorrds], in
1 act (Klaiiaenburg, 1892); Die Busser [Veze-
klok], in 3 acts (Pest, 1893); Balassa Bdlint,
comic, in 3 acts (Pest, 1896); and Das Blut-
gericht [Tetemre hivds] (ib., 1900). F. aims
especially at the development of the national
(Hungarian) element in his music.
Farmer, Henry, b. Nottingham, England,
May 13, 1819; d. there June 25, 1891. A self-
taught violinist and organist, he also had a
music-shop in Nottingham; and composed a
Mass in Bb, violin-concertos and other music
for violin, orchestral overture Calypso, glees,
pf. -pieces, songs, etc. Also published New
Violin School; The Violin Student; New Violin
Tutor; Tutor for American Organ and Har-
monium.
Farmer, John, b. Nottingham, Aug. 16,
1836; d. Oxford, July 17, 1901. Pupil of Leip-
zig Cons., and of Aug. Spath at Koburg.
Taught in a Zurich music-school for some
years; 1862-85, he was music-master at Har-
row School, then organist of Baliol College,
Oxford, where he founded a musical society,
giving regular concerts.-^- Works: An oratorio,
Christ and His Soldiers (1878); a fairy opera,
Cinderella (1882); comic cantata, Froggy
would a-wooing go (1887); a Requiem; Nur-
sery-rhymes for ch. and orch.; 2 septets (C
and D) for flute, pf., and strings; a pf.-
quintet; etc. Has edited numerous class
song-books.
Farnsworth, Charles Hubert, b. Cesa-
rea, Turkey, Nov. 29, 1859. Pupil of B. D.
Allen (organ) at Worcester, Mass.; having
held various positions as organist, he was
head of music dept. at Colorado Univ., 1888-
1900; since 1900 at Teachers' Coll., Columbia
Univ., N. Y., as adj. and assoc. prof.; has
published several educational works on music
(Education through Music, etc.); contributor
to Macmillan's 'Encyclopaedia of Education*
and Scribner's 'High School Education.'
Farrar [far-rahr'], Geraldine, lyric so-
prano (coloratura); b. Melrose, Mass., Feb.
28, 1882. Began study under Mrs. J. H. Long
of Boston, where she made her professional
debut as a concert-singer at the age of 14;
continued with Trabadello in Paris and Lilli
Lehmann at Berlin, where her successful de-
but at the Royal Opera on Oct. 15, 1901, as
Marguerite in Faust, led to immediate en-
gagement for 3 years; contract renewed re-
peatedly, so that she has been a regular mem-
ber uninterruptedly since. Her American
debut at the Metr. O. H., New York, on Nov.
26, 1906, as Juliette in Romeo et Juliette,
was equally successful; she has sung there
ever since, and has also starred in most lead-
ing Continental opera houses. Her repertory
embraces standard rdles of modern French,
Germ, and Italian opera: Marguerite (Faust;
Mefistofele; Damnation de Faust), Juliette,
Micaela and Carmen (Carmen), Mignon, An-
251
FARRENC— FASCH
gela (Le Domino noir), Manon (Massenet),
Charlotte (Werther), Zerlina and Elvira (Don
Giovanni), Susanna and Chembino (Figaro),
Mimi (La Boheme), La Tosca, Madama But-
terfly, Desdemona (OteUo), Gilda, Violetta,
Elsa, Elisabeth, Eva; she created the prin-
cipal soprano rdles in Mascagni's Arnica
(1905), Camondo's The Clown (1905), Saint-
Saens VAncHre (1906), Humperdinck's K6-
nigskinder (1910); also in the Berlin premiere
of Massenet's Manon (1903) and the Ameri-
can premieres of Dukas* Ariane et Barbe-
Bleue (1911) and Charpentier's Julien (1914).
The real dramatic timbre of her voice, cap-
able of every shade of expression, combined
with the subtlety and consummate charm of
her acting, won for her instantly the hearts
of both European and American audiences.
No more striking proof of her convincing
histrionic powers can be adduced than the
sensational success of the film-production of
her Carmen (1915); in this field she has since
added The Temptation and Maria Rosa
(1916). On Feb. 8, 1916, she married the
actor Lou Tellegen (real name, van Dom-
melen).— Cf. H. T. Finck, Success in Music
(New York, 1909), and her autobiography,
G. F. (Boston, 1916).
Farrenc [fah-rahn'], Jacques-Hippolyte-
Aristide, b. Marseilles, April 9, 1794; d.
Paris, Jan. 31, 1865. In 1815 he became
second flute at the Th. Italien, Paris; studied
at the Cons, from 1806; established a music-
shop, taught, and composed (a concerto, so-
natas, variations, etc., for flute). The historic
concerts given by, and the writings of, Fetis,
aroused his interest in the history of music;
for several years he diligently collected ma-
terial for the rectification of existing biogra-
phies, but generously turned it over to Fetis
for use in the 2d edition of his great work, on
which Farrenc also read proofs. Jointly with
E. Fetis he published Tresor des pianistes (20
vols., 1861-72), a collection of pf. -music from
the 16th century to Mendelssohn, with his-
torical notes. From 1854 he contrib. papers
to 'La France musicale* and other journals.
Farrenc, Jeanne-Louise (nee Dumont),
wife of preceding; b. Paris, May 31, 1804; d.
there Sept. 15, 1875. She was a pupil of
Reicha; Moscheles and Hummel also influ-
enced her studies. She married in 1821. In
1842 she was app. prof, of pf. -playing at the
Cons., retiring on a pension in 1873. She
was a fine pianist ana remarkable composer
(symphonies, overtures, a nonet, a sextet,
quintets, quartets, and trios; sonatas for pf.
and vln., a variety of pf. -pieces, etc.); most
of her works were published, and many were
often played in public; the 'Prix Chartier*
was twice awarded to her. After her hus-
band's death she continued his part of the
work on the TrSsor des pianistes; she is the
authoress of TraitS des abreviations employees
par les davecinistes des XVII0 et XVIII*
siecles (1897).
Farwell, Arthur, b. St. Paul, Minn.,
April 23, 1872. After graduation from the
Mass. Inst, of Technology, in 1893, he spent
the next six years studying music with
Homer Norris in Boston, Humperdinck in
Berlin and Guilmant in Paris; 1899-190/,
lecturer on music at Cornell Univ.; in 1900
he joined the editorial staff of Mus. America;
1910-13, director of municipal concerts in
N. Y. City; 1915, succeeded D. Mannes as
director of Mus. School Settlement in N. Y.
In Dec., 1901, he established at Newton
Center, Mass., the Wa-Wan Press, which "is
an enterprize organized and directly con-
ducted by composers, in the interest of the
- best American composition. It aims to pro-
mote, by publication and public hearings, the
most progressive, characteristic and serious
works of American composers, known or un-
known, and to present compositions based on
the melodies and folk-lore of the American
Indians." F.'s compositions comprise Amer.
Indian Melodies; Folk-songs of the South and
West; Navajo War Dance; Symbolistic
Studies; 3 pf. -pieces on Indian themes, Dawn
(also arranged for orch.), Ichibusti, The Do-
main of Hurakan; Hymn to Liberty; incidental
music to Joseph and His Brethren and The
Garden of Paradise; music for the pageants
at Meriden, N. H. (1913), and Darien, Conn.
(1913), and Percy Mackay's Caliban by the
Yellow Sands (N. Y., May, 1916; masque
written for the Shakespeare tercentenary).
Fasch, Johann Friedrich, b. Buttelstadt,
near Weimar, April 15, 1688; d. Zerbst, Dec.
5, 1758, where he was court Kapellm. Pupil
of Kuhnau at Leipzig, and later (1713) of
Graupner and Grunewald at Darmstadt; in
1721 he went to LucaveS, Bohemia, as Ka-
pellm. to Count Morzin; after 1722, Kapellm.
at Zerbst. A catalogue of his works, compiled
in 1743, enumerates 7 complete series of
church-cantatas, 12 masses, 69 overtures, 2 L
concertos (for vln., fl., oboe, etc.), of which
nothing has been printed. However, many
scores are preserved in MS. in the libraries
of Darmstadt, Dresden, Leipzig and Brus-
sels; in the archives of the Thomasschule at
Leipzig are the parts of five orchestral suites
of F. m the handwriting of J. S. Bach, who
entertained a very high opinion of the works
of his contemporary. H. Riemann has publ.
5 trio-sonatas and a quatuor in 'Collegium
Musicum,* and 2 orchestral suites in B. & H.'s
'Orchesterbibliothek.' — His autobiography
appeared in vol. iii of F. W. Marpurg's
Historisch-kritische beytrdge zur aufnahme der
musik (Berlin, 1754-78). Cf. also J. A. Hiller,
252
FASCH— FAWCETT
Lebensbeschreibungen beruhmter musikgelehrten
und tonkunstler neuerer sett (Leipzig, 1784);
B. Engelke, 7. Fr. F., sein Leben und seine
Tdtigkeit als Vokalkomponist (Leipzig, 1908);
id., /. Fr. F., Versuch einer Btographie in
'Sbd. Int. M.-GV x, 2 (1909).— See Q.-Lex.
Faach, Karl Friedrich Christian, son of
Toh. Friedr.; b. Zerbst, Nov. 18, 1736; d.
Berlin, Aug. 3, 1800. Weakly as a child, his
musical talent developed rapidly; in 1756, at
Benda's recommendation, he was app. cem-
balist to Frederick the Great at Berlin, as
C. Ph. E. Bach's assistant. During the
Seven Years' War he eked out his meagre
salary, paid in depreciated paper money, Dy
teaching; from 1/74-6 he was Kapelim. at
the opera. He retained his salaried post
after Frederick gave up flute-practice, and
had leisure for composing church-music
(publ., in 6 vols., in 1839), and developed
great contrapuntal skill. Choral reunions
begun in 1790 led, in 1792, to the foundation
of the famous 'Singakademie,' which flour-
ished, under Fasch's conductorship, from the
start and is still among the foremost choral
societies of Germany (present cond., G.
Schumann [since 1900]). — Cf. F. Zelter,
Btographie vonK.Fr. Chr. F. (1801); M. Blum-
ner, Geschichte der Berliner Singakademie
(1891).— See Q.-Lex.
Fauchey [foh-shal, Paul, b. 1858. Former
chef du chant at the Opera-Comique; brought
out a 3-act 'opera-comique populaire,' La
Carmagnole (Paris, Folies-Dram., 1897).
Faure [fohr], Jean-Baptlste, dram, bari-
tone; b. Moulins, Allier, Jan. 15, 1830; d.
Paris, Nov. 9, 1914. Entered the Paris Cons,
in 1851; was also choir-boy at St.-Nicholas-
des-Champs, and at the Madeleine, where
Trevaux was his teacher. He finished his
Cons. Course under Ponchard and Moreau-
Sainti, taking first prize in the class for
comic opera; debut at the Op.-Com., Oct. 20,
1852, in Masse's Galathie. From 1852-60 he
was engaged at the Opera-Comique, singing
principal rdles after the retirement of Ba-
taille and Bussine, his successes equalling
those of Duprez in his best days. From
1861-76 he was first bar. at the Opera. His
farewell appearance occurred in Hamlet, May
13, 1876, after which he appeared jonly one
season in London (1877) and one in Vienna
(1878); for some years after that he still
appeared with enormous success in concerts.
In 1857 he was app. prof, at the Cons, but
resigned after a short period. Among the
numerous r6les which he created the more
important are Duke of Greenwich in Aubcr's
Jenny Bell (1855); Marquis d'Herigny in
Auber's Manon Lescaut (1856); Crevecueur in
.Gevaert's Quentin Durward (1858); Hoel in
Meyerbeer's Pardon dc Ploermel (1859); Ne-
lusko in Meyerbeer's VAfrieaine (1865);
Marquis de Posa in Verdi's Don Carlos
(1867); Hamlet in Thomas' Hamlet (1868).
He was unsurpassed in Les Huguenots, he
Propkcte, Guillaume Tell, La Muette de Por-
tia, Faust, Don Giovanni. F. wrote a number
of songs and VArt du Chant.— In 1859
he married Constance-Caroline Lefebvre
(1828-1905), who sang the 'Dugazon' (q. v.)
r61es at the Op.-Com. (1858-67).
Faurt [foh-ra'], Gabriel-Urbain, com-
poser; b. Pamiers, Ariege, May 13, 1845.
Pupil of Niedermeyer, Dietsch, and Saint-
Saens; 1866, organist at Rennes, then at St.-
Sulpice and St.-Honore; m. de chap. (1877)
and (1896) organist at the Madeleine; also,
in 1896, prof, of comp., cpt.t and fugue, etc.,
at the Cons., succeeding Massenet; in 1905
he succeeded Dubois as director of the Cons.;
1909, elected member of the Academie (suc-
cessor to Reyer); 1910, Commander of the
Legion d'Honneur. — Works: Three operas,
VOrganiste (Paris, 1887); PromUkte (Beziers,
1900); Penelope (Paris, 1913); incid. music to
Dumas' Caligula, Haraucourt's Shylock, Mae-
terlinck's Pelleas et Melisande, and Clemen-
ceau's Le Voile du Bonheur; La Naissance de
Venus, for soli, ch. and orch.; a Chasur des
Djinns; Requiem; symphony in D m.; vln.-
concerto; orchestral suite in F; 2 pf. -quartets
(C m., G m.); £tegie for 'cello; Berceuse and
Romance for vln. and orch.; a well-known
vln. -sonata (1878); a pf. -quintet in D m.;
songs, duets, etc. He took the 'Prix Char-
tier, for chamber-music in 1885 and 1893.
— Cf. O. Sere, Musiciens francais d'aujour-
d'hui (2d ed. Paris, 1911); L. Vuillemin,
G. F. et son ceuvre (Paris, 1914).
Faust, Karl, bandmaster; b. Neisse, Sile-
sia, Feb. 18, 1825; d. Bad Cudowa, Sept. 12,
1892, where he was conductor of the Bade-
kapelle. From 1853-65, bandmaster at Lux-
emburg, Frankfort -on-Oder, and Breslau;
then conductor of the Silesian Concert -Orch.;
1869-SO, music director at Waldenburg. —
His works consist of favorite dance-music
and marches.
Faustl'na. Sec Hasse, Faustina.
Favarger [fah-vahr-zha'], Ren6, b. Paris,
1815; d. fetretat, near Havre, Aug. 3, 1868.
He lived in London, as a teacher, for years;
his graceful pf. -pieces (many so-called Fan-
tasias, also a Bolero, a Reverie, a Nocturne,
etc.) were exceedingly popular in England,
France, and Germany.
Favre, Jules. Pen-name of W. M. Wat-
son.
Fawcett, John, b. Wennington, Lanca-
shire, Dec. 8, 1789; d. Bolton, Lancashire,
Oct. 26, 1867. A shoemaker by trade, he be-
came a music-teacher in Bolton, ana comp.
253
FAWCETT— FERNANDEZ
much sacred music: An oratorio, Paradise
(1865); a Christmas piece, The Seraphic
Choir (1840); and many minor pieces in
various collections.
Fawcett, John, son of the above; b. Bol-
ton, 1824; d. Manchester, July 1, 1857. Organ-
ist, pupil of Bennett in R. A. M.; Mus. Bac,
Oxon., 1852. — Wrote a cantata, Supplication
and Thanksgiving; also anthems, glees, songs,
and pf.-pieces.
Fay, Amy, b. Bayou Goula, Miss., May
21, 1844. Pianist, pupil in Berlin of Tausig
and Kullak, in Weimar of Liszt. Published
(Chicago, 1881; 20th ed. 1912) Music-Study
in Germany, a book which has been widely
read, and translated into French and Germ.
Resides in New York as a music- teacher and
lecturer.
Fay, Guillaume du. See Dufay.
Fayolle [-y6hl'], Francois-Joseph-Marie,
writer on music; b. Paris, Aug. 15, 1774;
d. there Dec. 2, 1852. Publ. (with Choron)
Dictionnaire historique des musiciens . . .
(1810-11, 2 vols.; transl. for the most part
from Gerber's old work, with numerous
errors); Notices sur Corelli, Tartini, Gavinics,
Pugnani et Viotti (1810); Sur les dr antes
lyriques et leur execution (1813); Paganini et
Beriot (1830).
Fechner [feyh'-], Gustav Theodor, b.
Gross- Sarchen, Niederlausitz, April 19, 1801;
d. Leipzig, Nov. 18, 1887. Prof, of physics at
Leipzig from 1834. Published Repertorium
der Experimental phy si k, in which musical
phenomena are treated; also Elemente der
Psychophysik (I860, 2 vols.), and Vorschule
der Aesthetik (1870, 2 vols.), valuable as es-
tablishing a basis of musical esthetics.
Fede'le. See Treu.
Fedeli [-da'le], Vito, b. Foligno, June 19,
1866. Pupil of A. Leonardi and E. Terziani
in Rome; director of the Cons, at Novara. —
Works : The operas La Vergine delta Montagna
(Reggio-Calabria, 1897) and Varsovia (Rome,
1900); several masses a capp.; do. w. orch.
or organ; pieces for orch; choruses; songs. He
has contributed some valuable historical
articles to the 'Rivista Mus. It.' and the
4Sbd.' and 'Ztschr. Int. M.-G.'
Federici [-re'che], Vincenzo, dramatic
comp.; b. Pesaro, 1764; d. Milan, Sept. 20,
1827 (Sept. 26, 1826?). Orphaned at 16, he
made his way to London, where he supported
himself by teaching, became cembalist at the
Italian opera, and in- 1790 prod, his first opera,
VOlimpiadc, which was followed by several
others. Recalled to Italy in 1803, he wrote
various successful operas for Milan and
Turin; was app. in 1809 prof, of cpt. at Milan
Cons., and (1825) Censore (Director) of the
same, succeeding A. Minoja. He comp., in all,
254
14 serious operas, and 1 comic opera, La Lo-
candiera scaltra (Paris, 1812). — See Q.-Lex.
Federlein [fa'der-lin], Gottfried H., son
of Gottlieb F.; b. New York, Dec. 31, 1883
Pupil of his father, W. B. Keeler (pf.), E. j!
Biedermann (theory), H. E. Parkhurst and
W. R. Hedden (org.); from 1905-7 studied
comp. at Inst, of Mus. Art, New York, with
P. Goetschius and L. V, Saar; since 1910 org.
for the Soc. for Ethical Culture, and, since
1915, also org. at Temple Emanu-El; has
given org.-recitals in New York and the
Eastern States; 1907, F. A. G. O.; winner of
Clemson Prize and Medal for best anthem
for mixed voices and org. (1915).— Has publ.
services, anthems, org.-pieces and songs.
Federlein, Gottlieb (Heinrich), b. Neu-
stadt-an-dcr-Aisch, near Nuremberg, Nov. 5,
1835. Pupil, in Munich Cons., of Rhein-
bergcr (comp.), Wanner (pf.), Jos. Walter
(vln.), and Julius Hey (voice). He has had
several positions as org.; now (1916) retired
and living in New York. — Besides numerous
songs, F. has publ. an excellent School of
Voice-culture and Essays on Wagner's Ring
of the Nibelung.
Felix, Dr. Hugo, operetta-composer; b.
Vienna, Nov. 19, 1866. Works: Husarenblut
(Vienna, 1894); Das Kdtzchcn (Lcmberg
[Polish], 1890, and Vienna, 1892); Rhodope
(Berlin, 1900); Madame Sherry (Berlin, 1902);
Die MerveUleusen (?) and Sein Bebe (?).
Fenaro'li, Fedele, distinguished teacher;
b. Lanciano, Abruzzi, Apr. 25, 1730; d. Na-
ples, Jan. 1, 1818. Entered the Cons, of S. M.
di Loreto, Naples, in 1744, studying under
Leo, and later Durante; in 1755 he was app.
Prof, of cpt. and comp. at the Cons, della
'ieta, Naples, a post which he held till
death. He trained many eminent musicians
(Cimarosa, Zingarelli, Mercadante, Conti,
etc.). He publ. Partimenti e regole musicali
and Regole musicali per i principianti di
cembalo (Naples, 1795). His compositions
(the oratorio Abigaile, 1760; masses w. orch.;
a requiem, motets, cantatas, etc.) arc sound
specimens of harmonization and part-leading,
but quite wanting in originality. — See Q.-Lex.
Fe'o, Francesco, celebrated composer and
singing- teacher; b. Naples, c. 1685; d. (?).
He was a pupil of Ghizzi, whom he succeeded,
in 1740, as teacher at the Naples Cons, della
Pieta. His first opera, VAmor tirannico,
ossia Zenobia, was given at Naples in 1713,
and was followed by 5 others up to 1731.
Feo also wrote 3 intermezzi, an oratorio,
masses, and other church-music. — See Q.-Lex.
Fernandez- Caballe'ro (far - nahn ' dath
kah-bah-l'ya'rdh), Manuel, b. Murcia, Mar.
14, 1835; d. Madrid, Feb. 20, 1906. Pupil at
Madrid Cons, of Fuertes (harm.) and Eslava
FERRABOSCO— FERRARI
(comp.); then devoted himself wholly to
composition, and became very popular as a
writer of 'zarzuelas,' of which he wrote about
220; elected mem. of the Acad, in 1902. A few
of his most successful works are Los Dineros
del Sacristan and Los Africanistas (Barcelona,
1894); El cabo primero (Barcelona, 1895); La
Rueda de la Fortuna (Madrid, '96); Los
EstudianUs (Madrid, 1900). He has also
written sacred music.
Ferrabos'co (or Ferabosco), Alfonso, b.
Bologna, Jan. (bapt. 18th),1543;d. there Aug.
12, 1588; was at one time musician to the
Duke of Savoy; 1562-78 in London, in the
service of Queen Elizabeth. Publ. madrigals
a 4 (1542), a 5 (1587), and others a 5-8 in
Pevemage's 'Harmonia celeste,' printed by
Phalese (1583).— See Q.-Lex.
Ferrabos'co, Alfonso, natural son of pre-
ceding; b. Greenwich, England, c. 1575; d.
there March (buried 11th), 1628. About 1605
he became tutor to Prince Henry, to whom
he dedicated a volume of Ayres (1609). Some
of his pieces were printed in Leighton's
'Teares'; he also publ. Lessons for 1, 2, and 3
Viols, and Fancies for viols. — Cf. G. E.
Arkwright, Notes on the F. Family (in 'Mus.
Antiquary', July, 1912); G. Livi, The F.
Family (ib., April, 1913). — See Q.-Lex.
Ferrabos'co, Costantino, for several
years in the emperor's service at Vienna, publ.
a volume of Canzonette in 1591.
Ferrabos'co, Domenico Maria, b. Bo-
logna, Feb. 14, 1513; d. there Feb., 1574; in
1546 m. di capp. at Basilica Vaticana, Rome;
member of the Papal choir from 1550-55;
motets and madrigals by him were publ. by
Gardano in 1554 and 1557. MS. comps. are
in the Vatican library. — See Q.-Lex.
Ferran'tl. See Zani di Ferranti.
Ferra'ri, Benedetto (called Delia Tiorba
from his proficiency on the theorbo), b. Reggio
d'Emilia, 1597; d. Modena, Oct. 22, 1681.
Studied music at Rome; proceeded thence to
Venice, where he wrote libretti and composed
operas; his Andromeda (music by Manelli da
Tivoli) was the first (1637) ever publicly
played, and was produced at F.'s private
expense. From 1645-51 he was court m.
di capp. at Modena; then held like appoint-
ments in Vienna and Ratisbon; was again in
Modena 1653-62, and finally from 1674 till
his death. Six opera-libretti (1644-51), the
MS. orchestral introd. to his ballet Dafne, and
an oratorio, Sans one, are all that is left of his
works. He also publ. Musiche varie a voce
sola (1638).
Ferra'ri, Carlo, brother of 'Domenico; b.
Piacenza, 1730; d. Parma, 1789. A fine
'cellist; played at Paris (1758) in a Concert
Spirituel; was in the service of the Duke of
Parma from 1765 until his death. Reputed in
Italy to be the first 'cellist to use his thumb
as a 'capotasto.'
Ferra'ri, Garlotta, famous dramatic com-
poser; b. Lodi, Italy, Jan. 27, 1837; d. Bologna,
Nov. 23, 1907. Pupil of Strepponi and Pan-
zini, and (1844-50) of Mazzucato at Milan
Cons. She herself wrote the libretti and
music of the following successful operas: Ugo
(Milan, 1857), Sofia (Lodi, 1866), Eleonora
oVArborea (Cagliari, 1871); she also composed
several masses (a Requiem for Turin, 1868),
and songs (for which she wrote the words).
Ferra'ri, Domenico, b. Piacenza, early in
the 18th century; d. Paris, 1780. Excellent
violinist, pupil of Tartini ; he lived for a time
at Cremona, gave concerts in Paris > in
1754, was leader of the Stuttgart orch. during
some years, and settled in Paris. He is said
to have been the first artist to employ
harmonics. Of his works 36. violin-sonatas,
6 trio-sonatas and a vl. -concerto are extant.
Ferra'ri, Emilio, b. 1851; composer of the
operas // Bandito (Casale Monferrato, 1880),
Notte d'Aprile (Milan, 1887), // Cantico de%
Cantici (ib., 1898), Primavera (ib., 1907),
L'Avaro (ib., 1913).
Ferra'ri, Franciaca, celebrated harp-play-
er; b. Christiania, circa 1800; d. Gross-
Salzbrunn, Silesia, Oct. 5, 1828. She played
with brilliant success in Leipzig (1826) and
Magdeburg (1827).
Ferra'ri, Gabriella, Italian pianist and
composer; b. Italy, 1851. Pupil of the Milan
Cons, and, later, in Paris of Ketten (pf.),
Dubois and Gounod (comp.); at the age of
12 she was exhibited as a pianistic prodigy,
but after the completion of her studies she
settled in Paris as composer; she became
favorably known through pf.-pieces {Rhap-
sodic cspagnole, Le Ruisscau, Hirondclle, etc.)
and songs (Larmes en Songe, Chant d'Exil,
Chant d' Amour, etc.) ; she then wrote for orch.
(suites, etc.), and finally ventured upon
dramatic comp. with the operas Le dernier
amour (Paris, 1895), Le Tartare (ib., 1906),
Le Cobzar (Monte Carlo, 1909).
Ferra'ri, Giacomo Gotifredo, b. Rovere-
do, Tyrol, 1759; d. London, Dec, 1842. St.
in Verona under Marcola, Borsaro, and Ab-
bate Cubri; for 2 years with Father Marianus
Stecher in the monastery of Mariaberg, near
Chur; and under Latilla at Naples. Through
Campan, maitre d'h6tcl to Marie Antoinette,
he became accompanist to the queen, and
later cembalist at the Theatre Feydeau
(1791-3). His opera, Les £vSnements imprevus
(1794?), having been done to death by the
critics, he left Paris, made a concert-tour
in the Netherlands, and then settled in Lon-
don as a singing-teacher and composer. —
255
FERRARI— FERRI
Works: 3 Italian operas given in London, La
Villanella rapita (1787), I due Svitzeri (1798),
VEroina di Raab (1799); 2 ballets; many pes.
for pf., harp, flute, and voice; Concise Treat-
ment of Italian Singing (1815?); Instructions
. . . in the Art of Singing (1827); Studio di
musica teorica e pratica; and autobiographical
Aneddoti (1830, 2 vols.).
Ferra'rl, Serafino Amadeo de\ b. Genoa,
1824; d. there Mar. 31, 1885, as Director of
the Cons. A pianist, organist, and dramatic
comp. — Operas: Catalina (not given), Don
Carlo (Genoa, 1853; prod, later as Filippo II),
Pipele (1856), // Matrimonio per concorso
(1858), // Menestrello (1861), II Codetta di
Guascogna (1864); the ballet Delia; masses,
songs, etc.
Ferra'ri-Fonta'na, Edoardo, dramatic
tenor; b. Rome, Italy, July 8, 1878. The son
of a distinguished physician, he at first
intended to follow his father's profession; but
having completed his medical studies, he
entered the diplomatic service in 1902 as
secretary to the Italian Consul at Montevideo.
Here he became interested in music, which he
studied diligently without a teacher, and
besan to sing in amateur performances of
lighter operas. He returned to Italy in 1906,
and, without further study, sang in various
theatres with ever increasing success. His
opportunity came at Turin, when the prin-
cipal tenor of the Teatro Regio was suddenly
taken ill, and F.-F. unexpectedly made his
debut in grand opera on March 2, 1910, as
Tristan (!). His success was instantaneous
and overwhelming, so that within the follow-
ing two years he sang at Rome, Naples,
Bologna, Milan and Buenos Aires, and was
recoenized as one of the foremost interpreters
of Wagner in Italy. In Buenos Aires he sang
with Margarete Matzenauer, whom he
married June 26, 1912; in 1913 he created the
rdle of Avito in Montemezzi's A more dei tre
Re; 1913-14 he was eng. for the Boston Op.
Co., and was received with enthusiasm also
at the M. O. H. He possesses a voice of great
sensuous beauty and much power, admirably
suited to heroic parts; besides, he is favored
with a splendid stage-presence and fine his-
trionic ability. His repertoire comprises the
principal tenor parts in Tannhduser, Lohengrin,
Tristan und Isolde, Siegfried (all in German
and Italian) ,Pagliacci, Carmen, Norma, A more
dei tre Re, Girl of the Golden West, Radcliff,
Aida, Otello, Samson el Dalila, CavaHeria
Rusticana, I Giojelli della Madonna, etc.
Ferra'ta, Giuseppe, born Gradoli, Ro-
magna, Jan. 1, 1865. At the age of 14 he won
a scholarship at the Liceo of the R. Academy
of St. Cecilia, Rome, where he studied with
G. Sgambati, E. Terziani and A. Leonardi;
256
graduated in 1885, winning the prize of the
Ministry of Publ. Instruction; then had the
good fortune of benefiting from the last
lessons that Liszt gave; from 1885-90 he
toured Italy as a pianist; for some time he was
director of Beaver Coll. of Mus. in Pittsburgh;
now (1916) head of pf.-dept. and prof, of
comp. at Newcomb Coll., Tulane Univ., New
Orleans; knighted by the King of Portugal
in 1887; Commendatore della Corona d' Italia,
1914; member R. Philharm. Soc. of Rome-
Works: Op. 5, Concerto for pf. and orch.
in D m.; op. 15, Messe solennelle in E, for
soli, chorus and orch.; op. 28, String-quartet
in G (1st prize of Art Soc. of Pittsburgh,
1908); op. 31, Suite for pf. and vl. (1st prize,
do.); op. 35, Dies trae for 8-part ch. (1st
prize, do.); op.40, Symphony in Di>, with
chorus; organ-pieces and songs.
Ferret'ti (or Feretti), Giovanni, born
Venice, c. 1540. Publ. 5 books of Canzoni
alia napoletana a 5 (1567-91), 2 books of the'
same a 6 (1576, 1579), and a vol. of Madrigali
a 5 (1588).— See Q.-Lex.
u Ferret'ti, Don Paolo, eminent musicolo-
gist; b. Subiaco. Studied theology at the
Benedictine Coll. of San Anselmo in Rome;
taught in the monastery pf Tomechiara, n.
Parma; now (1916) abbot of the Benedictine
monastery San Giovanni at Parma; chairman
of the mus. commission of the diocese of
Parma and member of the executive com-
mittee of the Italian St. Cecilia Soc. His
investigations regarding the rhythmic treat-
ment of Gregorian Chant have placed him
among the foremost musical scholars of to-
day. He has publ. Principi teorici e pratici
de Canto Gregoriano (1906) and II Cursus
metrico e il Ritmo delle melodie del Canto
Gregoriano (1913).
Fer'ri, Batdassare, celebrated artificial
soprano; b. Perugia, Dec. 9, 1610; d. there
Sept. 8, 1680. At 11 he was choir-boy to
Cardinal Crescenzio, in Orvieto, in whose
service he remained till 1655, when the
Swedish invasion broke up the court, and F.
entered the service of Ferdinand III, at
Vienna. At the age of 65 he retired to his
native city. From all accounts, F. appears
to have been the most extraordinary singer
who ever lived. His vocal technique was
perfect, his breath inexhaustible, and his
style, whether in pathetic singing or colora-
tura, faultless; all this with a voice of in-
comparable beauty. — Cf. G. Conestabile,
Notizie biografiche di B. F. (1846).
Fer'ri, Nicola, composer and singing-
teacher; b. Mola di Bari, Italy, Nov. 4,
1831; d. London, Mar. 26, 1886. Of pre-
cocious development, he wrote an opera,
Luigi Rolla, at the age of 16; then entered
the Naples Cons., studying under Merca-
FERRIER— TESTING
dante. After a lengthy sojourn in Paris, he
established himself in London, and became
prof, of singing at the Guildhall S. of Musk. —
Works: The operas Luigi Rolla, Lara, and
others; and many beautiful songs.
Ferrier [feh-r'yT], Paul-Raoul- Michel-
Marie, dramatist and librettist; b. Mont-
pellier, Mar. 28, 1843. He is the author of a
vast number of light comedies, and has
written many libretti for operas and operettas
of temporary vogue in Paris; e.g., La Maro-
caine, Les Mousquetaires au convent, Fan/an-
la Tulipe, La Nuit aux soufflets, Tabarin, La
Vie mondaine, Les petits Mousquetaires,
JosSpkine vendue par ses saurs, Le Valet de*
cceur, La Vtnus d' Aries, CendrilloneUe, Le
Fetiche, Sansonnel, Le Coq, Mile, Asmodee,
Me-na-ka, Miss Robinson, Calendal, ChilpSric,
La Dot de Brittle, Le Carnet du Diabfe, Le
Capitole, Le Carillon, etc.
Ferron, Adolphe, b. Vienna, May 21,
1855; in 1892, Kapellm. at the Th. Unter den
Linden, Berlin; 1897, Kapellm. at Carl-
Theater, Vienna. Has prod, the 'Gesangs-
posse' Adam und Eva (Berlin, 1891); the
3-act operetta Sataniel (Dresden, 1886); the
1-act operetta Daphne (Berlin. 1892); the
3-act vaudev.-operetta Das Krokodil (Berlin,
1897); and a number of farces.
Ferro'nl, Vincenzo Emidio Carmine,
b. Tramutola, southern Italy, Feb. 17, 1858.
St. at Paris Cons. (1876-83) under Savard
(harm.; 1st prize in 1880) and . Massenet
(comp.; 1st prize in 1883). From 1881, asst.-
prof. ('suppleant') of harm, at Paris Cons.;
since 1888, prof, of comp. at Milan Cons.,
succeeding Ponchielli. Also mus. director of
the Milan 'Famiglia Artistica'; Chevalier of
Ital. Crown (1897).— Works: The opera Ru-
deUo (Milan, 1892); the 3-act opera-seria
Ettore Fieramosca (Como, 1896); II Carbonaro
(Milan, 1900); overture to Ariosto, f. orch.;
Rhapsodic espagnole f. orch.; Hymne d'un
P&tre lydien (Fiearo 1st prize, 1885, among
614 .competitors) ; numerous songs; salon-pcs.
f. pf.; Idylle f. vln. and harp (or pf.); Les
Cigales, scherzo f. vln. and pf.; organ-music;
etc.
Ferte". See Papillon de la Ferte.
Fes'ca, Alexander Ernst, pianist, son of
Friedr. E.; b. Karlsruhe, May 22, 1820; d.
Brunswick, Feb. 22, 1849. He was taught by
Runpenhagen, Schneider, and Taubert, in
Berlin; made sensational concert-tours from
1839-40, was appointed chamber-virtuoso to
Prince Furstenberg in 1841, and settled in
Brunswick 1842. He brought out 2 operas,
Marietta (1839) and Die Frantosen in Spanien
(1841), in Karlsruhe; and 2 more, Der Trou-
badour (1847) and Ulrich von Hutten (1849),
at Brunswick; though light in style, they
gave promise of a distinguished career. He
wrote, besides, a pf. -sextet, 2 pf. -trios, a
grand sonata f. pf. and vln., and many ex-
ceedingly popular songs (the 'Fesca Album'
contains 48).
Fea'ca, Friedrich Ernat, b. Magdeburg,
Feb. 15, 1789; d. Karlsruhe, May 24, 1826.
A violinist, he was taught in Magdeburg,
where he played in concerts, and in 1805 by
A. E. Muller at Leipzig, also playing in the
Gewandhaus Orch. In 1806 the Duke of
Oldenburg gave him a place in his orch.; in
1808 he joined the orch. of King Jerfime of
Westphalia, at Kassel. On the dissolution of
the pseudo-kingdom in 1813, he went to
Vienna for a short time; in 1815 he became a
member, and soon after leader, of the Karls-
ruhe orch. He died of consumption. — Among
his works, his chamber-music (20 quartets
and 5 quintets) ranks highest; but ne also
wrote 2 operas, Cantemira (1819) and Omar
und Leila (Karlsruhe, 1823); 3 symphonies,
4 overtures, etc.
Fesch, Willem de, b. Amsterdam (?),
c. 1700; d. London (?), c. 1760. He was org.
at Notre Dame in Antwerp about 1725, and
was dismissed in Oct., 1731; went to London,
where he prod, with great succ. his oratorios
Judith (1733) and Joseph (1745). Several
books of canzonets and songs, as well as
numerous chamber-music works, were publ.
at Amsterdam. — See Q.-Lex.
Fes'ta, Costanzo, b. Rome, circa 1490;
d. there Apr. 10, 1545. He was a singer in
the Pontifical Chapel from abt. 1517, and a
contrapuntist of importance, being regarded
as a forerunner of Palestrina. Among his
numerous works, which bear considerable
resemblance to those of Palestrina, may be
noted motets a 3 (1543), madrigals a 3 (1556),
litanies (1583); many motets and madrigals
in contemp. colls. ('Motetti della corona/
Petrucci, 1549); and a Te Deum a 4 (publ. in
Rome, 1596), still sung in the Vatican on
solemn festivals; a Credo and other works
are in MS. in the Vatican. — See Q.-Lex.
Fes'ta, Francesca, a stage-singer of note;
b. Naples, 1778; d. Petrograd 1836; sang in
Italy, in Paris at the Odeon (1809-11), and
again in Italy as Signora Festa-Maffei; in
1821 at Munich, and 1829 at Petrograd.
Fes'ta, Giuseppe Maria, b. Trani, 1771;
d. Naples, Apr. 7, 1839. An eminent violinist
and cond., pupil of F. Mercieri; concert-giver
in Italian cities and (1802) Paris, where he
was app. cond. of the Opera orch. Settled
in Naples 1805, as violinist in the San Carlo
Th., later as cond. of the theatre-orch. He
publ. a few violin-quartets.
Fest'ing, Michael Christian, b. Lon-
don (?), c. 1680; d. there July 24, 1752. Vio-
257
y
f£tis— f£tis
linist, pupil of Richard Jones and Gcminiani.
First violin in the Philharmonic; in 1742,
cond. at Ranelagh Gardens. In 1738 he
established, with Dr. Greene and others, the
'Society of Musicians,' for the maintenance
of impoverished musicians and their families.
— Works: Numerous solos and concertos f.
violin; 18 sonatos f. 2 vlns. and bass; 4
symphonies concertantes f. 2 flutes, and 4 do.
f. 2 vlns.; odes, cantatas, songs, etc. — See
Q.-Lex.
F6tis, fidouard-Louls-FrancoU, son of
Fr.-Jos.; b. Bouvignes, n. Dinant, May 16,
1812; d. Brussels, Jan. 31, 1909. Edited his
father's 'Revue musicale' 1833-35; edited the
musical (later art-) feuilleton of the 'Indepen-
dance beige'; and was for years librarian of
the Brussels Library. Publ. Les Musiciens
beiges (1848; 2 vols.) and Les Artistes beiges &
V elf anger (1857-65; 2 vols.). — His brother,
Adolphe-Louis-Eug&ne, b. Paris, Aug. 20,
1820; d. there Mar. 20, 1873. Pupil of his
father, and of H. Herz (pf.); lived in Brussels
and Antwerp, and from 1856 in Paris as a
music-teacher. Prod, an opera, and comp.
music f. pf. and harmonium.
F6ti8 [fa-tesl, Francois-Joseph, erudite
musical theorist, historian, and critic; b.
Mons, Belgium, Mar. 25, 1784; d. Brussels,
Mar. 26, 1871. His father, maltre de chapelle
and organist at the cathedral, was his first
teacher; his first instr. was the violin, and
at 7 he wrote violin-duets. In his ninth
year he composed a concerto for violin with
orch.; and at 9 was organist to the Noble
Chapter of Sainte-Waudru. From 1800-3,
in the Paris Cons., he studied harmony under
Rey, and piano-playing under Boieldieu and
Pradher. In 1803 he visited Vienna, there
studying counterpoint, fugue, and master-
works of German music. Hence his pronoun-
ced predilection for harmonic modulation, so
marked in his compositions, several of which
(a symphony, an overture, wind-octets, and
sonatas and caprices for pf.) were publ. at
this time. From this period, too, dates his
first important theoretico-literary work (never
completed), an investigation of Guido d'Arez-
zo's system and of the history of notation.
He even started a mus. periodical in 1804,
but it soon died. To his fruitful study of
musical history and science he was prompted
by the perusal of Catel's new method of
harmony antagonizing Rameau's system (in
which latter Rey blindly believed). In 1806 F.
commenced the revision of the plain-song
and entire ritual of the Roman Church, a
vast undertaking completed, with number-
less interruptions, after 30 years' patient
research, and not yet publ. A wealthy
marriage in the same year enabled him to
pursue his studies at ease for a time; but the*
258
fortune was lost in 1811, and he retired to the
Ardennes, where he occupied himself with
composition and philosophical researches into
the theory of harmony, leading to a formu-
lation of the modern theory of tonality. In
1£13 he was app. organist of the collegiate
church of St.-Pierre at Douai, and teacher of
harmony and sinking in the municipal music-
school. From this period date La Science de
I organxste and the Method* ilemenlaire d'har-
monie el d'accompagnemenl (sent to the
Institut in 1816; publ. 1824). He went to
Pans in 1818; publ. some pf.-music, and
b">ught out several successful operas. In
1821 he was app. prof, of composition at the
Cons.; in 1824 his TraiU du conlrepoint el de
tote™ was publ. as a Cons, text-book. In
1 j h? became librarian of the Cons., and
founded his unique journal 'La Revue musi-
cale, which he edited alone until 1832 (its
publication ceased in 1835). He also wrote
for 'Le National* and *Le Temps.' His in-
dustry was untiring; he worked from 16 to
18 hours a day. In 1828 he competed for the
prize of the Netherlands Royal Inst, with a
memoir, Quels onl itS les mSrites des NSer-
landais dans la musique, principalement aux
XIV*-XVI' siecles . . . ; Kiesewetter's essay
won the prize, but F.'s was also printed by the
Inst. In 1832 he began his famous historical
lectures and concerts (the idea originated with
Choron). In 1833 he was called to Brussels as
m. de chap, to King Leopold I, and Director
of the Cons.; during his 39 years' tenure of
the latter 'position, the Cons, flourished as
never before. He also cond. the concerts of
the Academy, which elected him a member
in 1845. On the jubilee of his wedding, in
1859, F.'s mass for 5 solo parts with chorus
was sung in the church of Notre-Dame du
Sablon; and his bust by Geefs was unveiled
in the courtyard of the Cons. — Fetis was a
sound harmonist and contrapuntist; his
thorough training enabled him to pursue his
theoretico-historical researches with musician-
ly intelligence and correspondingly important
results. As an historian, he is apt to be
prolix, opinionated, and is not invariably im-
partial or reliable. As early as 1806 he com-
menced collecting materials for his great
Biographic universale des musiciens et biblio-
graphic gSnerale de la musique in 8 volumes
(1837-1844; 2nd ed. 1860-65; Suppl. of 2
vols. 1878-1880, edited by A. Pougin). It is
a veritable mine of information, and still a
most valuable work of reference, despite the
faults noted above; mediaeval music, and the
modern music of France, Italy, and the
Netherlands, have received especial attention.
Other writings not mentioned are Traite de
Vaccompagnement de la partition (1829); Sol-
feges progressifs (1827); La musique mise & la
portie de tout le monde (1830, often repubL;
FEURICH— FIEDLER
Ger. transl. by Blum, 1833; Engl. eds.
London, 1831, and Boston, Mass., 1842);
Manuel des principes de tnusique (1837);
Manuel des jeunes compositeurs, des chefs de
tnusique milttaire, et des directeurs d'orchcstre
(1837); Method* des miihodes de piano (1837);
Method* des mSthodes de chant (1840); Me-
thod* SUmentaire du plain-chant (1843); TraitS
complet de la thiorie et de la pratique de Vhar-
monie (1844) ; Notice biogr. de Nicold Paganini
(1851; w. short history of the violin); Antoine
Stradivari (1856; w. researches on bowed
instrs.); 2 reports on mus. instrs. at the
Exposition univ. de Paris en 1855 (1856),
and the Exp. univ. de Paris en 1867 (1867);.
Histoire generate de la tnusique (5 vols.; only
down to the 15th century. — Compositions:
6 operas (1820-32); symphonies, a fantasia,
and an overture f . orch. ; a sextet, 3 quintets,
a quartet, etc.; sonatas, variations, fantasias,
etc., f. piano; his sacred works comprise
masses, a requiem, motets, Lamentations,
Te Deum, Miserere, etc. His very valuable
library of 7,325 vols, was acquired by the
Bibliotheque Royale of Brussels; a catalogue
was publ. in 1877. — Autobiographical sketch
in his great Dictionary. L. Alvin publ. a
Notice sur F.-J. Fetis (Brussels, 1874);
Gollmick wrote on Herr Fetis (Leipzig, 1852).
Feurich [foi'riyh], Julius, pianoforte-
maker; born Leipzig, Mar. 19, 1821; d. there
July 16, 1900. He established his factory
in 1851, and made a specialty of uprights;
his son and successor, Hermann (b. Leipzig,
1854), turned his attention more to concert-
grands.
Fevin [fu-van'], Antoine [Antonius] de,
a contrapuntist contemporary with Josquin,
but of whose life no details are known. —
Works: 3 masses (printed by Petrucci, 1515);
3 masses (printed by Antiquis, 1516); masses
a 4 (Vienna Library, MS.); motets in Pe-
trucci's 'Motetti della corona' " (1514), and
other colls.; and French chansons in colls, of
1540 and 1545.— See Q.-Lex.
Fevin, Robert [Robertus], a native of
Cambrai, probably a contemporary of A.
Fevin. He was m. di capp. to the Duke of
Savoy. One mass, Le vtlain jaloux, is in
Pctrucci's 'Missae Ant. de Fevin'; another,
on La sol fa re mi, is in MS. in the Munich
library.
Fevre, le. See Lef£vrb.
FeVrier [fa-vr'ya'], Henri, b. Paris, Oct. 2,
1875. Pupil at the Cons, of Faure, Leroux,
Pugno and Massenet ; composer of the operas
Leroiaveugle (Op.-Com., 1906); Monna Vanna
(Opera, 1909; Boston, 1913); and the oper-
ettas Agnes dame galante (1912), La Princesse
et le Porcher (1912), Carmosine (1913).
Another grand opera, Ghismonda, was finished
in 1915, but has not yet been prod. (1916).
Fi'bich, Zdenko, b. SeborSitz, Bohemia,
Dec. 21, 1850; d. Prague, Oct. 15, 1900. He
was taught at Prague, the Leipzig Cons.
(1865), and by Vincenz Lachner at Mannheim
(1869). In 1876 he was app. asst.-Kapellm.
at the National Th., Prague; in 1878, director
of the Russian Church choir; in 1899 app.
dramaturgist of the Boh. Nat. Th. at Prague.
As a composer, he was one of the foremost in
the young Czech group. — Works: The
operas (produced in Prague) Bukowin (1874),
Blanik (1881), The Bride of Messina (1884),
The Storm (1895, 3 acts), Hedy (1896, after
Byron's 'Don Juan,' in 4 acts), Sdrka, 3 acts
(1898; very succ.); and his masterpiece, The
Fall of Arcona (1900); music to the dram,
trilogy Hippodamia, by Vrchliky (Prague,
1891); 3 symphonies (F, Et>, E m.); the
symphonic poems Othello, Zaboj and Slavoj,
Toman and the Nymph, Vesna, Vigiliae, and
At evening; several orchestral overtures (Lust-
spiel-Ouverture, A Night on Karlstein, Come-
nius, - Udalrich and BoSena) ; a choral ballad,
Die Windsbraut; the melodramas The Water-
sprite, The Flowers* Revenge, Christmas Day,
Eternity, Queen Emma, Hakon; a Spring
Romania for ch. and orch.; 2 string-quartets,
a pf. -quartet in E m., piano-pieces, songs,
choruses. Also a Method for pf. — Cf. C. L.
Richter, Z. F. (Prague, 1899).
Fi'by, Heinrich, b. Vienna, May 15,
1834; pupil of the Cons.; cond. and solo
violin at Laibach theatre; from 1857, city
musical director at Znaim, where he founded
a^ music-school and a singing society; the
directorship of the school he resigned in 1902,
while he still (1916) is cond. of the chor. soc.;
in 1884 he founded the 'Deutscher Sanger-
fauverband im siidlichen Mahren.' — Works:
operettas; part-songs for male chorus
(widely known, especially Oestreicfr, mein
Vaterland).
Ficht'ner, Pauline. See ErdmannsdSrf-
FKR.
Fiebach [fe'bah], Otto, b. Ohlau, Silesia,
Feb. 9, 1851; living in Konigsberg as org.,
dir. of a Cons, and mus.-dir. at the Univ. He
is the composer of a secular oratorio, Die
neun Musen, and of the operas Prim Domi-
nik (Danzig, 1885), Loreley (ib., 1886), Bei
frommen Hirten (Dresden, 1891), Der Offizier
der Konigin (ib., 1900), Robert u. Bertram
(Danzig, 1903), Die Herzogin von Marl-
borough (accepted for Berlin, 1916); also
wrote Die Physiologic der Tonkunst (1891).
Fiedler, (August) Max, b. Zittau, Dec.
31, 1859. Piano-pupil of his father, and
studied the organ and theory with G. Albrecht;
attended the Leipzig Cons., 1877-80, and
won the Holstein scholarship. In 1882 app.
teacher at the Hamburg Cons.; in 1903 dir.;
' 1904 succeeded Barth as cond. of the Ham-
259
FIELD— FILIPPI
burg Philharm. Soc. Although he had won
an enviable reputation as a concert-pianist,
he practically abandoned that career (appear-
ing only occasionally in ensemble), and
rapidly won distinction as a conductor. From
1908-12 he was cond. of the Boston Symph.
Orch.; he then returned to Germany, taking
up his residence in Berlin; since 1916 cond.
of the Symph. Orch. at Essen. He has
written a symph. (D m.)f a pf.-quintet and
a string-quartet, a Lustspiel-Ouvertiire, pf.-
pieces and songs.
Field> John, a pianist and composer of
marked originality; b. Dublin, July 26, 1782;
d. Moscow, Jan. 11. 1837. His father was a
violinist; his grandfather, an organist, gave
him his first instruction in theory and piano-
playing. Though an apt pupil, he was
treated with undue severity at home, and sub-
sequently apprenticed to Clementi, then in the
full tide of his success; from him he had regu-
lar lessons till 1804, being employed in nis
master's salesrooms to show off the pianos to
customers. He went with Clementi to Paris
in 1802, and created a genuine sensation by
his interpretation of Bach's and Handel's
fugues; yet he was kept at his mechanical
duties until Clementi took him in 1804 to
Petrograd, where they parted company, Field
settling there as a teacher and virtuoso of
extraordinary popularity. On a tour to
Moscow in 1823, he met with even more
brilliant success. After a Russian tournie, he
appeared in London (1832), playing a con-
certo of his own at the Philharmonic; pro-
ceeded thence to Paris, and (1833) through
Belgium and Switzerland to Italy, where,
however, his pianist ic peculiarities were not
appreciated. Prostrated by a combination of
physical disorders, he lay for nine months in
a^ Naples hospital ; he was rescued by a Rus-
sian family named Raemanov, and taken
back to Moscow, playing in Vienna, on the.
way, with accustomed success. But his
powers were fast waning, and he died a few
years later.— F. won lasting fame less as an
exceptionally gifted virtuoso than as an
original composer, forming the link in the
history of pf.-playing between Clementi (in
his later period) and Chopin. Though all the
rest of his piano-works should be forgotten,
as most of them are already, his memory is
fragrantly and lastingly embalmed in his
Nocturnes. Not only the name, but also the
whole style and matter of these pieces, were
strikingly new and original. Up to his time
a composition had, as a matter of course, to
be written in the form of a sonata, a rondo,
or something of the sort. F. was the first to
introduce a style in no way derived from the
established categories, and in which feeling
and melody, freed from the trammels of set
form, reign supreme. He opened the way for
260
all productions which have since appeared
under the various titles of Songs without
Words, Impromptus, Ballades, etc.; to him
we may trace the origin of fanciful pieces
designed to portray subjective and profound
emotion; to these 'night-pieces,' so aptly
named by their author, Chopin and the pian-
ists following him owe, more or less directly,
much of their inspiration.— Works for pf.:
7 Concertos (No. 1, in Eb; 2, Ab; 3, Eb; 4.
Eb [the most popular]; 5, C; 6, C; 7, C m.);
4 Sonatas (in A, E, C m., and B); 2 Airs en
Rondeau; Atr russe; Air russe varti (4 hands);
Chanson russe varii, in D m.; Polonaise, in
Eb; /Cjotjiw, reviens, Romanza and Cavatina
in E;4 Romances; Rondeau, in A; 2 Rondeaux
favorts, in E and A; Rondeau with 2 vlns.,
via. and bass; Since then Tm doomed, varia-
tion in C; Speed the Plough, Rondeau in Bb;
2 Dwerttssements with 2 vlns., via. and bass,
m E and A; 2 Fantasias, in A and G; 18
Nocturnes; Exercice moduli dans tons Us tons
majeurs et mineurs.—Cl. H. Dessauer, /. F.,
!JK,*/,e?wl und **** Werke (Langensalza.
1912) ; also F. Liszt, 7. F. und seine Nocturnes
(in vol. iv of 'Gesammelte Schriften,' Leip-
zig, 1882). ^
Fle'litz, Alexander von, b. Leipzig, Dec.
28, 1860; pupil of J. Schulhoff (pf.) and
Kretschmer (comp.) m Dresden, where sev-
eral sacred compositions for chorus, and an
orchestral work, were publicly performed. He
embraced the career of an opera-conductor,
filling positions in Zurich, Lttbeck, and Leip-
zig (City Th.); a nervous disorder forced
him to give up this work, and from 1887-97
he lived in Italy (chiefly Capri); after his
return he lived in Berlin, and taught some
time in Stern's Cons.; from 1905-8 he was in
Chicago, teaching in Ziegf eld's Cons.; also
organized and conducted Tor one season the
Chicago Symph. Orch. (not the same orch. as
the present famous organization of that name,
which was then the 'Theo. Thomas Orch/); in
1908 he returned to Berlin, resuming his former
position at Stern's Cons., succeeding G. Hol-
lander as director (1916). — Works: Op. 6, 6
Songs on Tuscan folk-poems; op. 7, Kinder
des Siidens, 3 pf. -pieces; op. 8, Ich kann*s
nichl fassen (scene from Grillparzer's Ahn-
frau); op. 9-13, songs; op. 15, Schon Cretleint
7 songs; op. 17, 4 pf. -pieces; op. 24, 3 songs
(Geibel); op. 25, Romanze for pf. and vln.;
op. 27, Fantaisie for pf.; op. 28, 4 Lyric
pf.-pieces; op. 29, 4 Songs; op. 37, 4 Stim-
munesbildcr for pf.; op. 40, 8 Afadchenlicder
(P. Heyse); op. 47, 3 Narrenlieder (O. J.
Bierbaum); also 2 operas, Vendetta (Liibeck,
1891), and Das slille Dorf (Hamburg, 1900).
Filip'pi, Filippo, composer and critic; b.
Vicenza, Jan. 13, 1830; d. Milan, June 25,
1887. Studied law at Padua, taking his
FILIPPI— FINCK
degree in 1853. But in 1852 he had begun his
career as a critic with a warm defense of
Verdi's Rigoleiio; he renounced the law,
studied music at Venice and Vienna, became,
in 1859, editor of the Milanese 'Gazzetta
Musicale,' and in 1859 music-critic of the
newly-founded 'Perseveranza.' He publ. a
collection of essays on great musicians, Mu-
sica e Musicisti, in 1879; as a zealous Wag-
nerite he also wrote a pamphlet, Riccardo
Wagner (in German, 1876, as Richard W.:
tine mus. Reise in das Reich der Zukunft); he
also wrote Delia vita e delle opere di Adolfo
Fumagalli (Milan).— Comps.: 1 str.-quintet,
9 str.-quartets, 1 pf.-trio; pf. -pieces, songs.
Filippi, Giuseppe de\ b. Milan, May
12, 1825; d. Neuilly, near Paris, June 23,
1887. Lived in Paris as a writer from 1846;
contributed articles to Pouein's supplement
to F6tis' Biogr. univ.; published a Guide dans
Us theatres (with Chaudet, 1857), and a iW-
lele des thedtres modernes de I Europe (I860).
Fil'ke, Max, b. Steubendorf-Leobschutz,
Silesia, Oct. 5, 1855; d. Breslau, Oct. 8, 1911.
Pupil of Brosig in Breslau, of Haberl at the
Kirchenmusikschule of Ratisbon (1877), and
of Piutti at the Leipzig Cons. (1880); 1881,
choirmaster at Straubing; 1890, conductor of
the *Sangerkreis' at Cologne; from 1891,
music-director at the Cathedral In Breslau
and prof, at the R. Inst, for Church-music.
His numerous comps. for the church assign
him a distinguished position among modern
composers of sacred music. — Works: Masses,
with orch., op. 47; op. 55, E m.; op. 58, Eb;
op. 80, G; op. 87, F; op. 90, D; op. 101, Te
Deum; op. Ill, Requiem; Litanies, Hymns,
etc.; also a number of secular choruses for
male and mixed voices.
Fillmore, John Comfort, b. Franklin,
New London Co., Conn., Feb. 4, 1843; d.
there Aug. 15, 1898. Pupil of Geo. W. Steele
at Oberlin Coll., Ohio, 1862 (organ); then of
Leipzig Cons., 1865-7. Director of the
musical dept. in Oberlin Coll., 1867; in
Ripon College, Wis., 1868-78; in Milwaukee
College for Women, 1878-84. Founded, in
1884, the 'Milwaukee School of Music' in
Milwaukee, Wis., of which he was the di-
rector until 1895, when he took charge of the
School of Music of Pomona Coll., Claremont,
Cal.— Publ. Pianoforte Music: its History, with
Greatest Masters (Chicago, 1883); New Lessons
in Harmony (1887); Lessons in Mus. History
(1888); On the Value of Certain Modern Theo-
ries [i. e., von Oettingcn's and Riemann's]; A
Study of Omaha Indian Music (with Miss
Alice C. Fletcher and F. La Flesche; Peabody
Museum, 1893); magazine articles on abori-
ginal folk-music; musical essays; lectures in
various cities, and papers read at important
gatherings. Also transl. into Engl. Riemann's
Klavierschule and Natur der Harmonik.
Filtsch, Karl, b. Hermannstadt, Transyl-
vania, July 8, 1830; d. Vienna, March 11, 1845.
An infant prodigy, piano-pupil of Chopin and
Liszt in Paris (1842), and gave concerts there
and at London in 1843.
Filtz (Fils, Filz), Anton, b. probably in
Bohemia, circa 1730; d. Mannheim, March
(buried 14th), 1760; pupil of J. Stamitz; from
1754 first 'cellist in the Mannheim Orch. He
belongs to the school of the Mannheim
Sympnonists, the originators of the classic
instrumental style; that his works must have
enjoyed great popularity seems to be proved
by the numerous reprints issued at London
and Amsterdam, pirated from the original
Paris editions; these works show a very
fertile invention, while the technical work-
manship cannot rival the masterly treatment
of similar works by Stamitz. Schubart calls
him 'the best symphonic writer that ever
lived' (1790). There have been preserved 41
symphonies, numerous trio-sonatas, string-
trios, sonatas for vL, vcl., flute, etc., and con-
certos for various instrs. Riemann has publ.
4 symphs. in 4Dkm. der Tonkunst in Bayern'
(vols, ui, 1, and vii, 2); 2 trios in A and C, ib.
(vol. xv); and one, in Et>, in 'Collegium
Musicum.'
Finck, Heinrtch, born 1445; d. Vienna,
June 9, 1527. Eminent German contrapuntist,
was taught at Cracow, where he was Kapellm.
to the court of John Albert I (1482), Alex-
ander (1501), and Sigismund I (1506); from
1510-13 he lived in Stuttgart, and then, till
1524, in Salzburg; it seems probable that
after 1524 he was 'regens chori' at the
Schottenkloster in Vienna, where he died.
Extant works: Scheme auserlesene Lieder des
hochberuhmten Heinrici Finckens (Nuremberg,
1536); other songs publ. by Salblinger (1545),
and by Rhaw (1542). Vol. iii of the 'Gesells.
fur Musikforschune' contains songs, hymns,
and motets. — See Q.-Lex.
Finck, Henry Theophilus, mus. writer
and critic, born Bethel, Missouri, Sept. 22,
1854. Brought up in Oregon. Graduate,
1876, of Harvard, (studied theory and hist, of
music with Prof. J. K. Paine). Attended the
first Bayreuth Festival, 1876, and studied a
year at Munich; intimacy with Wagner's
music-dramas bore fruit in Wagner and His
Works (N. Y., 1893, 2 vols.; Germ, transl.,
Breslau, 1897). Spent a year in Munich;
from 1877-8, studied anthropology at Har-
vard; then, as recipient of a fellowship, spent
3 more years in Berlin, Heidelberg, ana Vienna
studying comparative psychology, and writing
mus. letters for N. Y. 'Nation.' Now living
in New York as mus. editor of the N. Y.
'Evening Post' and 'Nation'; since 1888, lec-
261
FINCK— FIORAVANTI
turer on history of music at the Natl. Cons.
— F. has always been an energetic and con-
sistent champion of musical progress. Other
musical writings: Chopin, and Other Musical
Essays (1889); Paderewski and His Art (in
'Looker-On,' Oct., 1895); Pictorial Wagner
(1899); Anton Seidl (1899); Songs and Song
Writers (1900); Grieg and His Music (1909);
Success in Music and how it is won (1909);
Massenet and His Operas (1910). Books not
connected with music: Romantic Love and
Personal Beauty (1887); Pacific Coast Scenic
Tour (1890); Spain and Morocco (1891);
Lotus Time in Japan (1898); Primitive Love
and Love-Stories (1899); Food and Flavor
(1913). He also edited Fifty Master-Songs
(1902); Fifty Schubert Songs (1903); Fifty
Grieg Songs (1909).
Finck, Hermann, grand-nephew of Hein-
rich; b. Pima, Saxony, March 21, 1527; d.
Wittenberg, Dec. 28, 1558. Studied at Wit-
tenberg (1545), and became organist there.
Publ. Practica musica (1556), a valuable
theoretical work; composed chorals.
Finck'e, Fritz, b. Wismar, May 1, 1846.
Pupil of Leipzig Cons.; violinist in theatre-
orch., Frankfort, then org. at Wismar; in
1879 teacher of singing at the Peabody Inst.,
Baltimore. — Publ. Anschlagselemente (1871),
and pf.-pes.
Find'eisen, Nikolai Fedorovitch, b.
Petrograd, July 24, 1868; pupil of Philip and
Nikolai Sokolov; founder (1893) and editor
of the 'Russische Musikzeitung,' one of the
most influential and ably edited of Russian
journals; also contributor to many other
journals in Russia and other countries;
founded in 1909, with A. Siloti, the 'Gesell-
schaft der Musikfreunde'; since 1902 has
travelled extensively through Russia as
lecturer on musical topics.— -Works: A. N.
Verstovsky (1890); Musical Sketches and
Silhouettes (1891); Glinka in Spain (1896);
The Mastersingers of the Middle Ages (1897);
M. J. Glinka (1898); Catalogue of the Manu-
scripts, Letters and Portraits of M. J. Glinka
(1898); Glinka und seine Oper Russian und
Ludmilla (Munich, 1899, in German); A. N.
Serov (1900) ; A . Dargomyzhsky (1902) ; History
of the Russian Lied (1903); Musical An-
tiquity (1903-1910), a collection of musico-
historical essays; A. Rubinstein (1905); Col-
lected Letters of Glinka (1907-8); Rimsky-
Korsakov (1908); V. V. Bessel (1909) ; History
of the Petrograd Section of the Imp. Russ.
Mus. Soc.t 1859-1909 (1909); S. V. Smolensky
(1910); From Unedited Letters of V. V. Stassov
(1912). F. was one of the principal con-
tributors to the Russian editions of Riemann's
Musiklexikon (1901 and 1916).
Findeisen, Otto, b. Brilnn, Dec. 23, 1862;
in 1890, Kapellm. of the Wilhelm-Th., at
Magdeburg; now (1916) in Leipzig; has pro-
duced the 3-act operetta Der alte Dessauer
(Magdeburg, Wilhelm-Th., 1890; very succ.)
and the 3-act 'Volksoper' Hennigs von Tref-
fenfeld (ib., 1891; succ); the 'Marchenspiel*
Frau HoUe (Berlin, 1904); and the operettas
Kleopatra (Hamburg, 1897); Der Spottvogel
(Bremen, 1898); Der Suhneprinz (Leipzig,
1904); 's Poussierschlossl (ib., 1907); Sonnen-
guckerl (Vienna, 1908); Meister Pinkebank
(ib., 1909); Die goldene Gans (Leipzig, 1910);
Jung Habenichts und das Silberprinzesschen
(Dresden, 1913).
Fink, Christian, b. Dettingen, WQrttem-
berg, Aug. 9, 1831; d. Esslingen, Sept. 5,
1911. Pupil of the Esslingen Seminary, the
Leipzig Cons. (1853-5), and Johann Schneider
in Dresden; lived as organist and teacher at
Leipzig till 1860; then at Esslingen as first
teacher of music in the Seminary, and organist
and mus. dir. at the principal church. Re-
ceived title of Prof, in 1862.— Publ. sonatas,
fugues, trios, preludes, exercises, etc., for org.;
also psalms, motets, pf.-pieces (4 sonatas),
songs, etc.
Fink, Gottfried Wilhelm, writer and
teacher; b. Suiza, Thuringia, Mar. 7, 1783;
d. Halle, Auk. 27, 1846. Theological student
at Leipzig (1804), and preached for a time,
but turned to music. He publ. Vber Takt,
Taktarten, etc., in 1818, in the 'Allgem. mus.
Zeitung,' of which he was the editor 1827-41.
He was app. mus. director at Leipzig Univ. in
1842, ana received the honorary title of Dr.
phil. He was an indefatigable writer, but
his numerous books were soon forgotten
because of lack of originality. He contributed
to Ersch and Gruber s 'Encyclopedic,' to the
8th ed. of Brockhaus' 'Konversationslexikon,'
and Schilling's 'Universallexikon der Ton-
kunst.'— Comps. : Pieces forpf . and vln. ; terzets
and quartets for male voices (Hdusliche
Andacnten); ballads and songs; he also publ.
(1843) Musikal. Hausschatz der Deutsehen, a
collection of 1000 songs.
Fi'no, Giocondo, b. Turin, May 3, 1867.
Submitting to the wishes of his parents,
he studied Oriental languages and theology
(receiving the minor orders), but finally
devoted himself to the study of music under
Bolzoni in Turin, where he now (1916) lives
as teacher and composer. — Works: A mass;
a string-quartet; a suite for orch., Nubi di
Vita; biblical opera II Battista (Turin, 1906);
an oratorio, Noemi e Ruth (Bergamo, 1908);
the opera La Festa del Grano (Turin, 1910);
an opera, Visioni di Dante, is to be produced
at Rome (1916); and La Bisbetica Domain is
also ready for production; now engaged on
another opera, Campane a Gloria.
Flora van 'ti, Valentino, b. Rome, Sept.
11, 1764; d. Capua, June 16, 1837. His
262
FIORAVANTI— FISCHER
teachers were Jannaconi at Rome, and Sala,
Fenaroli, Monopoli and Tritta at Naples.
Returning to Rome in 1781 (1782?), he began
his career as an opera-conductor; his first
opera, Le Avoenture di Berloldino, was prod,
at Rome in 1784. In 1786 he went to Naples
and brought out Gli Inganni fortunati the
same year, followed up to 1799 by 7 others,
the last, Le Cantatrid villane (Naples, 1799),
being considered his best work, as it was the
most successful. He visited Paris in 1807, and
prod, there J Virtuosi ambulanti; spent 5
years in Lisbon, as opera-composer and cond.,
writing 10 operas (among them Camilla,
given Later at Naples as Nefte). In 1816 he
succeeded Jannaconi as maestro at St.
Peter's and now devoted himself wholly to
church-music, a Stabat Mater and a Miserere
being his best sacred comps.; but his church-
music was not as good of its kind as his comic
operas, of which he produced 77 between
1/84 and 1824. — His autobiogr. was publ. by
G. Roberti in 4La Gazzetta musicale' (1895).
— See Q.-Lex.
Fioravan'tl, Vincenzo, son of Valentino;
b. Rome, April 5, 1799; d. Naples, March 28,
1877. He studied secretly under Jannaconi,
but finished his musical education with his
father. His debut as a composer was made
with the opera La PulcineUa molinara (Naples,
1819); this was followed by about 40 others,
all in buffa style. In 1839 he was maestro in
the Cathedral of Lanciano; from 1867-72,
director of the Albergo dei Poveri, Naples.
Fiorillo, Federigo, violinist and comp.;
b. Brunswick, 1753; d. some time after 1823.
He was taught by his father, Ignazio F.; went
to Poland in 1780, became Kapellm. at Riga
in 1783, lived in Paris 1785-8, then going to
London, where he played the viola in Salo-
mon's quartet. He was heard of later in Am-
sterdam; and (1823) in Paris.— Works: The
famous Etudes de Violon, 36 Caprices, is the
best-known; he also wrote concertos, quin-
tets, quartets, violin-duos, etc. — [Fetis gives a
list.] — See Q.-Lex.
Fiorillo, Ignazio, b. Naples, May 11,
1715; d. Fritzlar, near Kassel, June, 1787. A
pupil of Leo and Durante, he became an
opera-composer, his first venture being the
opera seria Mandane . (Venice, 1736). He
produced Artamene (Milan, 1738), and //
V inciter di se stesso (Venice, 1741); after long
travels, he was app. Kapellm. to the court of
Brunswick (1754), and from 1762-80 held a
like post in Kassel, retiring to Fritzlar on a
pension. In Kassel he brought out 4 operas.
An oratorio, Isacco, a Requiem and other
masses, and 3 Te Deums, are also noteworthy.
Pique1, Karl, pianist; b. St. Magnus, near
Bremen, April 17, 1867; pupil at Leipzig
Cons, of C. Reinecke (pi.) and S. Jadassohn
(comp.); since 1887, organist of Zion Luth.
Ch. in Brooklyn, and (since 1904) conductor
of 'United Singers of Brooklyn'; from 1897-
1915, lecturer at the Brooklyn Institute of.
Arts and Sciences; he is a very successful
lecture-recitalist, and has also appeared as
solo pianist; married (1896) the soprano
Katherine Noack. He has written 2 comic
operas, Papa Priesewilz (Brooklyn, 1898)
and Derfalsche Mufti (N. Y., 1901); a string-
quartet in £ m.; several choral works and
numerous pf.-pcs.
Fisch'er, Adolf, organist; b. Uckermunde,
Pomerania, June 23, 1827; d. Breslau, Dec. 7,
1893. Pupil of A. W. Bach, Rungenhagen,
and Grell (1845-51). In 1853, organist at
Frankfort, and director of the Singakademie,
with (1865) title of Royal Mus. Dir.; in 1870,
first organist of the Elisabethkirche in Bres-
lau, where he founded the Silesian Cons, in
1880, and became its Director. — Works:
Symphonies, organ-music, motets, songs, etc.
Fisch'er, Adolf, fine 'cellist; b. Brussels,
Nov. 22, 1847; d. in an insane asylum near
Brussels, March 18, 1891. A pupil of Servais
in Brussels Cons. In 1868 he made Paris his
home, and undertook many artistic tours.
Flsch'er, Anton, b. Ried, Swabia, in 1777;
■d. Vienna, Dec. 1, 1808, where he had been
Kapellm. at the Josefstadter Th. and (1800)
at the Th. an der Wien. — Works: A number
of light operas and operettas of slight origin-
ality. He also revised Gretry's Raoid, Barbe-
Bleue, and Les deux avares, for production in
Vienna.
Flsch'er, Christian Wilhelm, basso buffo;
b. Konradsdorf, near, Freiberg, Sept. 17, 1789;
d. Dresden, Nov. 4, 1859. Debut in Dresden,
1810; from 1817-28, basso buffo and chorus-
master at Leipzig; 1828-9, at Magdeburg;
183,9-31, stage-manager and chorusmaster at
Leipzig, later in Dresden. For him Marsch-
ner wrote the rdles of Blunt (Vampyr) and
Friar Tuck (Tempter und JUdin).
Flsch'er, Emil, famous dramatic bass; b.
Brunswick, June 13, 1838; d. Hamburg, Aug.
11, 1914. He received his entire training from
his parents, who were operatic singers, and
made his debut in Graz, in 1857, as Jean de
Paris in Boieldieu's opera. After having sung
in Presburg, Stettin and Brunswick, he ac-
cepted the directorship of the opera at Dan-
zig in 1863, where he remained / years; from
1875-80 he was a member of the R. Opera at
Rotterdam, and in 1880 joined the Dresden
Court Opera. The tempting offer, made by
Stanton in 1885, to head the list of bass-
singers at the M. O. H., led F. to break his
contract in Dresden; from then until 1891,
the end of Mr. Stanton's directorship, he re-
mained at the Mf O, H„ creating the bass
263
FISCHER— FISCHHOF
rdles in the American premieres of Waener s
music-dramas under the direction of Anton
Seidl. When German opera was banished
(for a time) F., unable to adjust his differ-
ences with the Dresden institution, settled in
New York as a singing-teacher; sang again in
W. Damrosch's seasons of German opera in
1895 and 1897; in what high esteem ne was
held was shown in 1904, at the benefit ten-
dered him by his numerous admirers on his
last appearance on the stage (in Die Meister-
singer), when a purse of $10,000 was pre-
sented him. As an interpreter of Wagner he
has never been surpassed, and was equalled
by very few; while a tradition has sprung
up even now, that his Hans Sachs is an
ideal not yet approached by any artist.
Fisch'er, Ernst Gottfried, b. Hoheneiche,
near Saalfeld, July 17, 1754; d. Berlin, Jan.
21, 1831, as prof, of natural philosophy at
the 'Graues Kloster.'— Published Uber die
Einrichtung des vierst. Choralgesangs in dem
evangelischen Gottesdienst; Versuche uber die
Schwingungen gespannter Saiten (1825); Uber
das akust. Verhdltniss der Accorde (1835).
Fisch'er, Franz von, 'cellist; b. Munich,
July 29, 1849; pupil of Hippolyt Mailer. He
was soloist at the National Th., Pest, in
1870, under Hans Richter; later at Munich
and Bayreuth under Wagner; 1877-9, court
Kapellm. at Mannheim, then at Munich; re-
tired, 1912, w. the title ,Generalmusikdi^ekto^.,
Fisch'er, Dr. Georg, b. Hanover, Feb. 6,
1836; Privy Councillor and chief -of-staff at
the hospital in Hanover; has contributed
valuable writings on musical topics to various
journals (Vierzehn Operntakte von J oh, Brahms
f'N. Mus.-Ztz.,' 1897]); Ein Brief des 15jdhri-
gen F. Menaelssohn-Bartholdy ['Hann. Cou-
rier,' 1901], etc.); has published Opern und
Konzerte im Hoftheater zu Hannover bis 1866
(1899; 2d ed. as Musikgeschkhte in H„ 1903),
Hans von Bulow in Hannover (1902), Kleine
Blatter (1908); has edited Brief e von Theodor
Billroth (1895; 8th edition 1910; containing
correspondence with Brahms).
Fisch'er, Gottfried Emit, son of Ernst
Gottfried; b. Berlin, Nov. 28, 1791; d. there
Feb. 14, 1841; from 1818, singing-teacher at
the 'Graues Kloster. ' — Works: Motets,
chorals, songs, school-songs; melodies to von
den Hagen's 'Minnesanger'; wrote Vber Ge-
sang una Gesangunterricht (1831), and articles
for the 'Allgem. musikalische Zcitung.'
Fisch'er, Johann Christian, oboist; b.
Freiburg i. Breisgau, 1733; d. London, April
19, 1800. Member Dresden court orch. 1760;
travelled in Italy, and gave concerts; from
1780, court musician at London. — Works: 10
oboe-concertos, quartets for flute and strings,
flute-duets, flute-solos, etc.
Fisch'er, Josef, comp. of the song Hock
Deutschland, herrliehe Siegesbraut; b. 1828; d.
Stuttgart, Sept. 27, 1885, as court musician.
Fisch'er, Karl August, famous organist;
b. Ebersdorf, near Cnemnitz, Saxony, July
25, 1829; d. Dresden, Dec. 25, 1892. Pupil
of Anacker in Freiberg Seminary; after years
of private study he made long and successful
tours (1852-5) ; thereafter settled in Dresden,
being in turn organist of the English Church,
the Annenkirche, and the Dreikftnigskirche.
— Works: Opera, Loreley (not prod.); a high
mass; 2 symphonies for organ and orch.; 3
organ-concertos (Christmas, Easter \ Whitsun-
tide); 2 orchestral suites; pieces for 'cello with
organ, and for violin with organ.
Fisch'er, Karl Ludwig, violinist; b. Kai-
serslautern, Bav., Feb. 9, 1816; d. Hanover,
Aug. 15, 1877. Music director of the theatres
at Trier, Cologne, Aix-la-Chapelle, Nurem-
berg, WUrzburg; Kapellm. at Mayence,
1847-52; asst.-Kapellm. to Marschner at
Hanover (1852); 1859, Erst court Kapellm.
His male choruses made him famous; he
also comp. large choral works, and songs.
Fisch'er, Ludwig, bass singer; b. May-
ence, Aug. 18, 1745; d. Berlin, July 10, 1825.
Sang in Mayence, Mannheim, and Vienna,
and with great success in Paris (1783) and
Italy; from 1788-1815 in Berlin. Mozart
wrote the part of Osmin, in the Entfuhrungf
for Fischer, whose voice had a range of 2
octaves and a fifth (D-a').
Fisch'er, Michael Gotthard, b. Alach,
near Erfurt, June 3, 1773; d. Erfurt, Jan. 12,
1829. Celebrated organist, pupil of Kittel;
also concert-conductor, and teacher in the
seminary at Erfurt. — Works: About 50 or-
gan-pieces (many still played); symphonies,
concertos, chamber-music, pf.-pes., motets,
chorals, concertos, etc.; pub!, an Eoangelisches
Choral- Melodienbuch. — See Q.-Lex.
Fisch'er, Paul, b. Zwickau, Dec. 7, 1834;
d. Zittau, March 12, 1894; from 1862, cantor
at the Johanneskirche in Zittau. In 1864 he
founded the Zittau 'Concertverein'; he was a
contributor to the 4Neue Zeitschrift fur
Musik'; also edited the Zittauer Liederbuch:
eine Liedersammlung fur hohere Lehranstalten
(1864), and the Zittauer Choralbuch (1868).
Flach'hof, Joseph, pianist; b. Butscho-
witz, Moravia, April 4, 1804; d. Vienna, Tune
28, 1857. Pupil in Vienna of Anton Halm
(pf.) and I. von Seyfried (comp.). Taught
music privately, with growing success, and in
1833 was app. prof, in the Vienna Cons. —
Publ. a string-quartet, many pf.-pieces (ron-
dos, variations, fantasias, dances, marches,
etc.); variations for flute; songs; also a Ver-
such einer Geschichte des Klavierbaus (1853).
Materials for a Beethoven biography, col-
264
FISHER— FLEISCHER
lee ted by Hotschewar (the guardian of B.'s
nephew), came into FYs possession, who
made additions; the MS. (used by Thayer)
is now in the R. Library at Berlin.
Fisher, William Arms, b. San Francisco,
April 27, 1861. J. P. Morgan was his teacher
in harmony, pf. and organ; H. W. Parker in
counterpoint and fugue; Wm. Shakespeare
(London, 1892) in singing; and Dvorak, at the
Nat. Cons., New York, in composition. He
taught at the Cons, till 1895; since 1897 liv-
ing in Boston as editor and publication-mgr.
for 0. Ditson & Co. Has publ. some four score
very attractive sacred and secular songs, and
20 anthems; also part-songs, carols, etc.
Fissot [fes-soh'], Alexis-Henri, b. Airaines
(Somme), Oct. 24, 1843; d. Paris, Jan. 29,
1896. Entered Paris Cons. 1852 (!), where he
studied under Marmontel (pf.), Benoist
(org.), Bazin (harm.), and Ambr. Thomas
(cpt. and fugue) till 1860, taking successively
all first prizes. Prof, of piano at P. Cons,
from 1887; organist at St.-Vincent-de-Paul.
Fine organist and pianist; comp. many pf.-
pieces: Op. 3, 12 Preludes; op. 7, 2 Ballades;
op. 10, Arabesques; 3 Feuillets oV Album; 12
Pieces de genre; 3 Morceaux, op. 4; J Scherzi;
2 Ballades; 6 Arabesques; Caprice htroique, op.
18; Allegro symphonique, op. 20; etc.
Fitelberg [fe'-], Georft, b. Dfinaburg, Li-
vonia, Oct. 18, 1879. Pupil at the Warsaw
Cons, of Barcewicz and Noszkowski; entered
the Warsaw Philh. Orch. as violinist; ad-
vanced to the post of concert-master, and,
1908, conductor; in 1912 he conducted a
short time at the Vienna court opera, but
resumed his post with the Warsaw Orch. in
1913. He has published a Symphony No. 1
(E m.), op. 16; a symphonic poem, Das Lied
vom Falken, op. 18; a pf.-trio, op. 10 (won the
Zamoyski Prize, 1901); a vln.-sonata, op. 12;
songs, op. 19, 21, 22, 23; in MS. are 2 over-
tures, op. 14, 17; Symphony No. 2, op. 20;
symphonic poem, Protesilas und Laoaamia,
op. 24; a vln.-sonata, op. 2 (won the Pade-
rewski Prize, 1896); a vln.-concerto, op. 13.
Fl'tzenhagen, Wilhelm (Karl Friedrich) ,
'cellist; b. Seesen, Brunswick, Sept. 15, 1848;
d. Moscow, Feb. 13, 1890. First 'cello in the
Imp. Russian Society of Music at Moscow,
ana prof, in the Cons. He made many and
brilliant concert-tours.
Fitzwilliam Collection. A collection of
paintings, engravings, books, and musical
MSS., bequeathed to the Univ. of Cambridge
by Viscount Richard Fitzwilliam (b. 1745;
d. Feb. 5, 1816). The musical MSS. include
especially valuable works: the Vir&natt-
Booke of Queen Elisabeth; anthems in Purcell's
hand, sketches by Handel, and many early
Italian compositions. Vincent Novello edited
and published 5 vols, of the Italian sacred
music as The Fitswilliam Music, etc,; J. A.
Fuller Maitland and Dr. A. H. Mann have
made a complete catalogue (1893).
Flagler, Isaac Van Vleck, organist; born
Albany, N. Y„ May 15, 1844; d. Auburn,
N. Y., March 16, 1909. First teacher, H.
W. A. Beale, at Albany; also studied under
Edouard Batiste, in Paris, and others. Was
organist and music director of the 2d Dutch
Reformed Ch., Poughkeepsie; 1st Presby.
Church, Albany; Plymoutn Ch., Chicago (8
years); and 1st Presby. Ch., Auburn, N. Y.;
at Chatauqua he was organist and musical
lecturer for 20 years. F. was also organ-
teacher and music-teacher at Syracuse and
Cornell Universities, and at Utica Cons. ; co-
founder of the American Guild of Organists.
— Publ. works: Variations and other pieces
for organ; music for pf . and choir; The Organ-
ist's Treasury; Flagler's New Collection of Or-
gan Music, and F.'s New Collection for Choirs
and Soloists.
Flaxland, Gustave- Alexandre, b. Strass-
bure, 1821; d. Paris, Nov. 11, 1895. Pupil
of Paris Cons., and music-teacher; founded a
music-publishing business in 1847, and, by
acquiring copyrights of compositions of
Schumann and Wagner, made it prominent.
He sold out (to Durand et Schonewerk) in
1870, and commenced making pianos.
Fleck, Henry T., b. Buffalo, N. Y., April
28, 1863. Studied pf. with C. Fradel, S. B.
Mills and R. Goldbeck; comp. with G< Carl-
berg, C. C. Mtiller and (in Cologne) F.
Wuilner; founded in New York the Euterpe
Choral Soc. (1889) and the Harlem Philh.
Soc. (1890), which he conducted till 1901;
since 1901 prof, of music at Hunter Coll.,
New York. He attempted several times to
establish free orchl. concerts of high char-
acter, but did not meet with success until
1910, when the Bd. of Education of New
York City granted funds for the maintenance
of a regular orch., which, under F.'s direction,
eave such concerts at Hunter Coll. and various
High Schools.
Flagler [fta-zh'ya'], Ange, b. Marseilles,
Feb. 25, 1846. Pupil of Marseilles Cons., and
from 1866-9 of Paris Cons. (Ambr. Thomas;
Bazin); returned to Marseilles in 1870. —
Works: Fatima, 1-act comic opera (Mars..
1875); Ossian, lyric poem for soli, chorus and
orch.; Francoise de Rimini, cantata f. do.;
Fantaisie-ballet; an orchestral suite, Scenes
antiques; a Marche de gala; an overture,
DalUa; Ronde nocturne for orch.; Valse du
Rive, Badinage, Habanera, Menuet, Berceuse,
Mignardise for string-orch. ; La Nuit and Le
Tirage au sort for ch. and orch.; many songs;
and a volume of piano-pieces.
Flei'scher, Oskar, eminent musicologist;
b. Zorbig, Saxony, Nov. 2, 1856. Studied
265
FLEISCHER— FLOOD
philology at Halle (1878-83); then musicology
in Berlin under Spitta (till 1885); after 3
years spent in research work in various libra-
ries, he returned to Berlin and was app. in 1888
custodian of the royal coll. of mus. instrs. at
Berlin; since 1896, prof, extraordinary at the
Univ., succeeding Spitta; was also teacher of
music-history at the Royal Hochschule fur
Musik. On the forming of the 'Internationale
Musikgesellschaft' (in 1899) he was chosen
Pres., and, together with Joh. Wolf, edited
its publications, the 'Zeitschrift' and 'Sam-
melbande,' until 1904; in 1892 he represented
the Prussian government at the Vienna
Exhibition, of which he publ. an exhaustive
report, Die Bedeutung der Intematianalen
Ausstellung fur Musik u. Theater in Wien
(1893).— Works: Fuhrer durck die Kgl.
Sammlung alter Musikinstrumente (1892);
Musikinstrutnente aus deutscher Urzeit (1893);
W. A. Mozart (1899); FUkrer durck die Back-
ausstellung (Berlin, 1901); Neumen-Studien
(3 vols., 1895, '97, 1904); numerous valuable
articles in 'Zeitschr.' and 'Smb. I. M.-G.'
Fleischer, Reinhold, b. Dahsau, Silesia,
April 12, 1842; d. Gorlitz, Feb. 1, 1904.
Pupil of the R. Inst, for Church-music, and
of the R. Akademie, at Berlin; 1870, organist
at Gorlitz, and director of the Singakademie;
1885, royal music director. — Works: A can-
tata, Holda; motets, songs, organ-pieces, etc.
Flei'acher-E'del, Katharina, dramatic
soprano; b. Miilheim, Sept. 25, 1875. Pupil
of A. IfFert at the Cons, of Cologne, and,
under the same master, at the Dresden Cons.;
1894-7, member of the Dresden court opera;
since 1898 at the Stadtth. in Hamburg; she
sang the Wagner rdles at M. O. H., 1906-7.
Flesch, Karl, b. Moson, Hungary, Oct. 9,
1873. Violin-pupil of Grttn at Vienna Cons.
(1886-9), then of Souzay and Marsick at the
Paris Cons. (1890-4); debut in Vienna, 1895;
1897-1902, prof, at the Cons, in Bucharest,
chamber-virtuoso to the Queen and leader of
the Queen's string-quartet; 1903-8, prof, at
the Cons, in Amsterdam. The success of a
series of five historical recitals in Berlin, in
1909, induced him to settle there; as a teacher
he is scarcely less successful than as a virtuoso,
especially since the publication of his famous
Urstudien for violin (1910) ; he has toured all
European countries, and the U. S. in 1913-14,
meeting everywhere with enthusiastic recep-
tions. Has published new editions of Kreut-
zer's Etudes, the vln. -works of Beethoven and
Mendelssohn; 20 fitudes of Paganini; Mo-
zart's vln.-sonatas (w. Schnabel).
Fletcher, Alice C, ethnologist; b. Boston,
1845; since 1882 asst. in ethnology at the
Peabody Museum of Amer. Archaeology and
Ethnology; has devoted her life to the "study
of North American Indians; author of A
266
Study of Omaha Indian Music (1893), Indian
Story and Song from Nortk America (1°00).
«rF,od!?,.KarI' born (°f German parents)
Wasa, Finland, July 10, 1858. Pupil of R.
haltm in Helsingfors; then of the Leipzig
Cons.; lived several years as mus. critic in
Helsingfors; 1902-5 ed. of 'Helsingfors Post'-
since 1907 living in Buenos Aires. His
compositions have exerted considerable in-
fluence on the development of the modern
f inmsn school, culminating in Sibelius.—
Works: Cortege for wind-instrs. ; incid. music
to Hauptmann's Hannele; Helena, scene from
Goethe s Faust' for sop. and orch.; many ex-
cellent male and fern, choruses; author of
Ftnmsk Music (1900, in Swedish), J. Sibelius
(in Finnische Rundschau,' 1901), Die Enl-
vncUung der Musik in Finnland (in 'Die
Musik,' 1903), 'Die Erweckung des nationalen
Tones %n der finniscken MusiV (ib., 1904). A
biogr. of Wegelius is about to be publ. (1916).
Flem'mlng, Frledrich Ferdinand, b.
Neuhausen Saxony, Feb. 28, 1778; d. Berlin,
May 27, 1813, as a medical practitioner.
Member of Zelter's Liedertafel, for which he
comp. many fine male choruses, among
which Integer vitae is a popular favorite.
Floeraheim [fldrsTiimJ, Otto, b. Aix-la-
Chapelle, March 2, 1853; pupil of Ferd.
Hiller at Cologne; went to New York in
1875, became editor of The Musical Courier'
in 1880, and from 1894-1904 was manager
of its Berlin branch. For orch. he has written
a Prelude and Fugue, Alia marcia, Consolation,
Scherzo; for organ and orch., Elevation; pf.-
pieces, songs, and some chamber- music.
Flonzaley Quartet. See dk Coppet,
Edward.
Flood, (William Henry) Grattan, b. Lis-
more, Ireland, Nov. 1, 1859. As a musician
chiefly self-taught; he intended to become a
priest, but decided on a mus. career, and
in 1877 was app. organist at a church in
Dublin; took a few lessons from Dr. Ker-
busch and Sir R. Stewart, and became org.
at the pro-Cath. at Belfast (1878); 1882, org.
at Thurles Cath. and prof, of music at the
Jesuit Coll. in-Tullabeg; 1890-4, prof, of
music and classical languages at St. Wilfrid's
Coll., Staffordshire; since 1895, org. and chm.
at the Cath. of Enniscorthy, Ireland; Music
Doc., Dublin Univ., 1907 (hon. c). F. is a
thorough mus. archaeologist and historian; he
is also a diligent collector of Irish folk-
melodies.— Works: History of Irish Music
(1895; 3d ed. 1913); Story of the Harp
(1905) ; Story of the Bagpipe (1911); Memoir of
W. V. Wallace (1912); contrib. to 'Grove's
Dictionary,' 'The Catholic Encyclopaedia,'
'Diet, of Nat. Biography,' 'Sbd. Int. M.-G.';
editor of 'Songs and Airs of O'Carolan,'
FL0RID1A— FLOTOW
'Moore's Irish Melodies/ 'Armagh Hymnal*
and 'The Spirit of the Nation/
Flori'dia, Pietro, barone Napolino, b.
Modica, Sicily, May 5, I860. St. at R. Cons,
of S. Pietro a Majella, Naples, 1873-9, under
B. Cesi (pf.), P. Serrao and Lauro Rossi (cpt.
and comp.). While in the Cons., F. publ.
several pl.-pieces, which were very successful.
In 1882 he brought out at Naples a 3-act
'opera comica' Carlotta Clepier, the success of
which encouraged serious and assiduous study
in retirement for 3 years, when, instead of
improving this dramatic firstling, he burned
it! Made pianistic tours in 1885-6; set-
tled in Palermo, 1888, where he was prof,
in the Cons, until 1892, when he resigned.
In 1889, won 1st prize of the Soc. del Quar-
tetto, Milan, for a jrrand_ symphony in 4
movements. Travelled in Germany in
1892, visiting Bayreuth; then settled in
Milan, giving his entire time to comp.; came
to the ll . S. in 1904, was a mem. of the faculty
of the Cincinnati Coll. of Mus. (1906-8), and
settled in New York in 1908; since 1913 cond.
of the Ital. Symph. Orch. in N. Y. — Works:
The operas Maruzza (Venice, 1894); La
Colonia libera (Rome, 1899); Paoletta (Cin-
cinnati, 1910); The Scarlet Letter (not prod.);
Fest~Ouverture for orch.; pf. -pieces; songs. At
present (1916) writing a grand opera in
English on an original American subject.
Flo'rimo, Francesco, highly distinguished
musician and music-historian; b. S. Giorgio
Morgeto, Calabria, Oct. 12, 1800; d. Naples,
Dec. 18, 1888. In 1817 he entered the Col-
legio di Musica at Naples; Furno, Elia, Zin-
garelli and Tritto were his teachers; and
from 1826-51 he was librarian there. He was
Bellini's dearest friend; in 1876 he escorted the
latter's remains from Pere-la-Chaise, Paris, to
Catania, and publ. the pamphlet Trasporto
delle ceneri di Bellini a Catania; he also
founded the 'Bellini Prize,' a compe.tition
open only to Ital. composers not over 30. —
Writings: Cenno storico sulla scuola musicale
di Napoli (Naples, 1869-71, 2 vols.; republ.
1880-84, in 4 vols, as La scuola musicale di
Napoli e i suoi Conservatori), a complete mus.
hist, of Naples, and of its conservatories, their
teachers and pupils, etc. ; also Bellini, memorie
e lettere (Florence, 1882); Riccardo Wagner ed
i Wagneristi (Naples, 1876); an 4 1 bum Bellini
(Naples, 1886), containing opinions by many
eminent musicians on Bellini's works; and a
Metodo di canto, adopted by the Cons. (F. was
also an excellent singing-teacher). — Comps.:
Cantatas, church-music, orchestral works;
several books of songs in Neapolitan dialect,
with Italian text added; etc.
Flo'rio, Caryl (pen-name of William
James Robjohn), b. Tavistock, Devon,
Nov.* 3, 1843. A self-taught musician. Went
to New York, 1857, and 1858-60 was the
first solo boy-soprano to sing at Trinity
Church. Since then he has sung on the stage,
and been org. and choirmaster in various
churches (Trinity, Newport; Zion, N. Y.;
Mount Calvary, Baltimore, etc.; now [1916]
at All Souls', Biltmore, N. C); has been
opera-cond. in Havana and New York (Acad,
of Mus.); Mus. Dir. Baptist Female Inst.,
Indianapolis, and Wells Coll., Aurora, N. Y.;
cond. of the old Vocal Soc., the Amicitia
Orch., and the Palestrina Choir, of N. Y.; at
e resent of the Choral Society, Asheville, N. C.
[as also been successful as an actor, critic,
player and accompanist. — Works: 3 ope-
rettas, Inferno (1871), Les Tours de Mercure
(1872), and Suzanne (1876); 2 operas, Gulda
(1879), and Uncle Tom (Phila., 1882); (he
also wrote the libretti of the operettas, and of
Gulda); 3 cantatas, Songs of the Elements
(1872), Bridal of Triermain (1886), The Night
at Bethlehem; 2 symphonies (G, and Cm.),
2 overtures, 1 quintet for pf. and saxophones
(a combination original with F.), 2 string-
quartets, 2 quartets for saxophones; a pf.-
concerto in F m.; 4 sonatas for vln. and pf.;
2 pf. -sonatas; Fairy Pictures (4 pf. -duets);
madrigals, part-songs, and songs; church-
services, anthems, etc.
Flotow [ffoh'toh], Friedrich, Freiherr von,
opera-composer; b. Teutendorf," Mecklen-
burg, April 27, 1812; d. Darmstadt, January
24, 1883. After studying composition at
Paris, from 1827, under Reicha, the July
Revolution (1830) caused him to retreat
to Mecklenburg, where he wrote two small
works, Pierre et Catherine (privately perf.,
1831) and Die Bergknappen (1835). Return-
ing to Paris, he brought out Seraphim
(Chateau Royaumont, 1836), Rob Roy, and
he Naufrage de la MSduse (Paris, Renaissance
Th., 1839, his first incontestable success; also
given Homburg, 1845, as Die Matrosen). A
series of less fortunate ventures followed: La
Duchesse de Guise (Paris, 1840); Le Forestier
(1840; at Vienna, 1847, as Der Forster;
at London, 1848, as Leoline); VEsclave de
Camoens (1843, at the Opera-Comique) ;
and the ballet Lady Harriet (Opera, 1843;
afterwards rewritten as Martha). With
Alessandro Stradella (Hamburg, 1844; re-
written from a 1-act 'piece lyrique', Stradella,
given in Paris, 1837), his name became fa-
miliar in Germany; after VAme en peine
(Paris, Opera, 1846; in Ital. as // Boscajuolo,
ossia L'Anima delta Tradita) came his most
genuinely and widely popular work, Martha
(Vienna, 1847). The March Revolution
(1848) drove him from Paris; Die Grossfurstin
(Berlin Opera, 1850) was fairly succ., and
Indra (Berlin, 1853) decidedly so; but
Rubezahl (Frankfort, 1854), Hilda (1855), and
Albin [Der MiUUr von Meran] (1856) failed.
267
flOgel— foggia
From 1856-63, F. acted as intendant of court
music at Schwerin; from 1863-8, he was again
in Paris. The operettas La Veuve Grapin
(Paris, 1859) and Pianella (Paris, 1860), the
operas Wintermdrchen (Vienna, 1862), Zilda
(Paris, 1866). and Am Runenstein (Prague,
1868), and the ballets Die Libelle (Vienna,
1866), and Tannkonig (Darmstadt, 1867),
belong to this period; for Schwerin he wrote
music to a 'Fackeltanz,' but no operas. He
settled on one of his estates near Vienna in
1868, but made frequent visits to Vienna,
Paris, and Italy; his last years were spent in
Darmstadt. In 1870 his earlier triumphs
were renewed with VOmbre (Paris, Op.-Com.,
1870; in London, 1878, as The Phantom).
Naida (Milan, 1873) and // fior aVHarlem
(Turin, 1876) were revised from early works
never produced ; he rewrote Indra as VEnchan-
ieresse (Paris and London, 1878; in Ital. as
Alma Vincancatrice; in Ger. as Die Hexe);
after his death, 3 more operas were performed:
RoseUana; Der Graf Saint-MSgrin (Cologne,
1884) ; and Die Mustkanten (Mannheim, 1887).
Besides his operas he wrote some chamber-
music and songs, which have added nothing
to his reputation. — Flotow had a fund of
fresh ana pleasing melody and rhythmic
variety, and a good knowledge of stage-
effect; the failure of many of his operas is
due to amateurish scoring and shallowness
of sentiment. Yet StradeUa and Martha still
hold the boards, despite Fetis' dismal pro-
phecy: "Mais tout cela sera bientdt oublieV
FlO'gel, Ernst Paul, son of Gustav, born
Stettin, Aug. 31, 1844; d. Breslau, Oct. 20,
1912. Taught by his father, and (1862-3) at
the R. Inst, for Church-music, Berlin; also
at the Akademie. Biilow, Loschhorn, Kiel
and Geyer gave him private lessons. He
taught in Treptow and Greifswald; in 1867
became organist and teacher at the Gymna-
sium in rrenzlau; in 1879, cantor at the
Bernhardinkirche, Breslau. Here he founded
the 'Flugel-Verein,' a singing-society, and
wrote for the 'Schlesische Zeitung.' Made
Prof, in 1901.— Publ. the 121st Psalm (op.
22); Mahomets Gesang (op. 24); a pf.-tno
(op. 25); pf.-pieces (e.g., op. 16, 31, 32);
organ-music; songs, and many excellent
a capp. choruses.
FlO'gel, Gustav, b. Nienburg-on-Saale,
July 2, 1812; d. Stettin, Aug. 15, 1900. From
1827-29 he took private lessons of Fr.
Schneider in Dessau, and attended his
music-school till 1830. After teaching at
Kothen, Magdeburg, Stettin (1840-50), etc.,
he became teacher of music at Neuwied
Seminary, with (1856) the title of Royal Mus.
Dir. From 1859 he was cantor and org. of
the Schlosskirche, Stettin. — Works: 112 Cho-
ralvorspiele f. org.; many other organ-pieces;.
a concert -overture for orch.; a string-quartet;
much pf. -music; sacred and secular part-
songs for mixed and male chorus; songs, etc.
Was also a contributor to several mus.
papers.
Fodor, Joseph, b. 1752 at Venloo; d.
Petrograd, Oct. 3, 1828; vln.-pupil of Franz
Benda in Berlin; made many successful
tours, settled 1787 in .Paris; after 1794 he
lived in Petrograd; wrote 9 concertos for
vln., many duets, quartets and solos. — See
Q.-Lex.
Foer'ster, Adolph Martin, b. Pittsburgh,
Pa., Feb. 2, 1854. Owes his first mus. train-
ing to his mother; studied (1872-5) in Leipzig
Cons. (Richter, Wenzel, Papperitz, Coccius,
Schimon, Grill); taught 1875-6 at Ft. Wayne
(Ind.) Cons., then settled in Pittsburgh, Pa.,
where he still (1916) resides as a teacher of
singing and pf., being also a well-known com-
poser.— Works: For orch.: Op. 8, March-
Phantasy; op. 9, Festival Music; op. 10, Thus-
nelda, character-piece; op. 31, Suite No. 1
(The Falconer); op. 32, Festival March; op. 35,
Symphonic Ode to Byron; op. 43, Dedication
March (for the dedication o( Carnegie Hall,
Pittsburgh, 1895); op. 47, Suite No. 2; op. 48,
Prelude to Goethe's Faust (won prize of Pitts-
burgh Art Soc., 1898); op. 59, At Twilight.
Chamber-music: 2 piano-quartets (op. 21,
40); a pf.-trio, op. 29; a suite for vln. and pf.,
op. 36; a Serenade-Trio, op. 61; 2 string-
quartets; 3 ballads for sop. w. orch. (op.
23, Love-Song; op. 44, Hero and Leander
[Tennyson]; op. 51, Verzwe iflung) ; op. 53,
Concerto for vln. and orch.; Ave Maria for
voice, vln., piano and organ; org.-pieces (In
Memoriamf Exultation, 2 Preludes in Ai> and
Dt>, Postlude in D m. [op. 62], Nocturne-
Epigram [op. 77]); piano-pieces (op. 11,
Valse brillante; op. 13, Sonnet; op. 37,
Lamentation-Exultation, 2 concert-studies; op.
38, 12 Phantasy-pieces; op. 46, Suite); about
100 songs (including a cycle, Greek Love-
Songs, op. 63).
Fogel, Clyde Van Nuys, b. McConnells-
ville, Ohio, Oct. 25, 1876. After home in-
struction he studied with local teachers, and
1895-7 was organist and choirmaster of the
First M. E. Church at Eugene, Ore. Voice-
pupil of Mrs. R. C Brooks 1897-8; grad.
Univ. of Oregon 1898; post-grad, student at
Johns Hopkins, 1898-9. Organ-pupil of
Minchester at Pro-Cathedral, Washington,
D. C, 1900-1; pupil of Max Spicker, New
York, in theory, comp. and orchestration,
1907-11. Living in New York. Has publ.
several songs; has in MS. music for Chansons
de la Mere VOie (Carr), also an opera and
a .piano-suite.
Foggia [f6h'jah], Francesco, b. Rome,
1605; d. there Jan. 8, 1688. Pupil of A.
268
FOGLIANI— FORBERG
Cifra, probably also of B. Nanino and P.
Agostini; Kapellm. at several German courts
(Bonn, Munich, Vienna); m. di capp. at the
Lateran, 1643; at San Lorenzo in Damaso,
1661; and, finally (1678), at S. Maria Mag-
giore; a very prolific and masterly composer,
continuing the traditions of the Roman
School. He wrote an oratorio, David fugiens
a facie Saul; numerous masses a capp. a
3-9 (also a few w. org.); litanies, motets,
offertories. — See Q.-Lex.
Fogliani [ffih-l'yah'ng], Ludovico, theorist ;
b. Modena, 2d half of 15th cent.; d. there
circa 1540. Famous for his book Musica
theorica . . . (Venice, 1529), in which he
preceded Zarlino in declaring the correct
proportion of the major third to be 4 : 5, and
in distinguishing between the major and
minor (greater and lesser) semitones. In
Petrucci s *Frottole' (1540-8) are some speci-
mens of his compositions.
Foley [Stgnor Foil], Allan James, bass
singer; b. Cahir, Tippcrary, Ireland, Aug. 7,
1835; d. Southport, Engl., Oct. 20, 1899.
Pupil of Bisaccia, Naples; from 1862-4 he
san^ in opera at Catania, Turin, Milan, and
Pans. Sang .at H. M. Th., London, in 1865;
then for several years there, and in Covent
Garden and Drury Lane; also in America,
Austria, Russia, Australia (1892), South
Africa (1893), and again in London in 1896.
His voice was powerful, and of wide compass.
He was likewise a favorite singer in oratorio
and concert.
Folville, [Eugenie- £milie-] Juliette, b.
Liege, Belgium, Jan. 5, 1870. Her father, a
distinguished lawyer and excellent musician,
taught her from 1874 (pf., solfeggio), and was
her sole teacher for pf.; her first lessons on the
violin were from Malherbes in Liege, and
later she studied further with O. Musin and
Cesar Thomson. In 1879 Mile. F. made her
debut at Liege as a concert-violinist, and in
the following year began composing. She
has had a very successful and brilliant career
as concert-pianist and violinist, composer,
teacher, and conductor, having given many
concerts in towns in the North of France and
in Belgium, etc., and frequently directing her
own orchestral works; she passed the summer
season of 1888 in London. Every year she
conducts, at Liege Cons., a concert of ancient
music, and has also given interesting clavecin-
recitals; in January, 1898, she was app. prof,
of pf. at Liege Cons. — Works (in chronological
order): 2 Sonatas for pf.; 2 books of songs
(Rappelle-toi .and Berceuse); pf. -quartet; 3
orchestral suites (Scenes champbtres, Scenes
de la met, Scenes d'hwer); a scene, Noce au
village, for soli, chorus and orch.; Chant
de Noel, for chorus and orch. (Liege Cath.,
* 1887); vln. -concerto; Berceuse for vln.; Suite
poetique for vln.; Esquisse symphonique for
orch.; Eva, dram, scene for sopr. and chorus
w. pf.; a 2-act opera A tola (Lille, 1892;
Rouen, 1893; very succ); Concertstiick f. vl.
and orch.; Oceano Nox, symph. poem; con-
certo f. pf. and orch.; numerous pieces f. org.;
pf. -music; several a capp. motets.
Fontaine, Hendrik, bass concert-singer;
b. Antwerp, April 5, 1857; pupil of the Cons.,
and singing-teacher there since 1883; prom-
inent in Lucifer, and other of Benoit's
oratorios.
Fontaine, Mortier de. See Mortier.
Fonta'na, Giovanni Battista, very early
comp. for vln.; d. Brescia, 1630. Sonatas for
vln. w. bass, sonatas for 2 vlns. w. bassoon,
and one sonata for 3 vlns., were publ. by
Rcghino in 1641.
Fonta'na, Jules, b. Warsaw, 1810; d.
Paris, Dec. 31, 1869. Pupil of Eisner at the
same time with Chopin, with whom he was
on intimate terms throughout life. For his
participation in the Revolution of 1830 he
was obliged to flee, settled as pf.-teacher in
London, made extended tours (1841-50 in
America with Sivori), and finally settled in
Paris. In 1855 he publ. Chopin's posth.
works (op. 66-74); he wrote some works
for piano.
Foote, Arthur, b. Salem, Mass., March 5,
1853; pupil of B. J. Lang (pf.), S. A. Emery,
and J. K. Paine (comp.); took degree of A.M.
at Harvard (for music) in 1875. From 1878-
1910 organist of the First Unitarian Church,
Boston; Pres. A. G. O., 1909-12; mem. Nat.
Inst, of Arts and Letters; fellow Am. Acad, of
Arts and Sciences. — Publ. works: (1) For
orch.: In the Mountains, overture (op. 14);
Francesco da Rimini, symphonic prologue (op.
24); Suite in D m. (op. 36); 4 char.-pieces
after Omar Khayyam (op. 48) ; Serenade in E
(op. 25) for string-orch.; Suite in E (op. 63)
for do.; Concerto for 'cello; — (2) For chorus
and orch.: Farewell of Hiawatha (male ch.);
The Wreck of the Hesperus (mixed ch.);
The Skeleton in Armor. — (3) Chamber-music:
Piano-quintet in A min. (op. 38); piano-
quartet in C (op. 23); piano-trio in C min.;
do. in Bb (op. 65); sonata for pf. and vln. in
G min.; 3 string-quartets (G min., E, and D);
detached pieces tor vln. and 'cello w. pf. —
(4) About 30 piano-pieces, the principal ones
being 2 suites (D m. and C m.). — About 100
songs. — Various miscellaneous comps., as
vocal duets, quartets for male voices, do. for
female voices; organ-pieces; church-music;
etc. — Joint author with W. R. Spalding of
Modern Harmony (1905).
Forberg, Robert, music-publisher; born
Ltitzen, May 18, 1833; d. Leipzig, Oct. 10,
1*880, where he was estab. since 1862.
269
FORCHHAMMER— FORNIA-LABEY
Forch'hammer, Theophll, b. Schiers,
Gray Cantons, July 29, 1847. Pupil of
Stuttgart Cons.; 1885, or£. at Magdeburg
cath., succeeding G. A. Ritter; 1888, Royal
Mus. Dir.; 1905, Prof.— Publ. (w. Brosig) a
Fuhrer dutch die Orgellitteratur (1890); wrote
an organ-concerto, 2 org. -sonatas and other
organ-pieces, piano-music, etc.
Ford, Ernest A. C, b. London, Feb. 17,
1858. Pupil of Sullivan in R. A. M., and of
Lalo in Paris; for some years cond. at the R.
Engl. Op. House (where he cond. the premiere
of Sullivan's Ivanhoe in 1891), then at the
Empire Th.; 1897-1908, cond. R. Amateur
Orch. Soc.; now (1916) prof, of singing at G.
S. M.; F. R. A. M. since 1899.— Works: Daniel
O'Rourke, opera (1884), Nydia, duologue
(1889), Joan, opera (1890), Mr. Jericho,
operetta (1893), Jane Annie, or The Good-
Conduct Prise, comic opera (London, Savoy
Th., 1893; mod. succ); a cantata for female
voices, The Eve of the Festa; motet, Domine
Deus (for 250th anniv. of Harvard Univ.);
music for several ballets; Scene bacchanale
for orch.; a string-quartet in F m.; a piano-
trio in A; Elegy f. vln. and orch.; songs,
duets, etc.; author of a Short History of
Music in England (London, 1912).
Ford, Thomas, composer; born England,
c. 1580; d. Nov. 17, 1648. Musician to Prince
Henry (son of James I), and Charles I at his
accession. Wrote Musicke of sundrie kindes
. . . (1607); songs in Leighton's Teares;
canons, etc., in Hilton's Catch that catch can;
and the famous madrigal, Since first I saw
your face. — See Q.-Lex.
Forlcel, Johann Nikolaus, b. Meeder, n.
Koburg, Feb. 22, 1749; d. Gottingen, March
20, 1818. Chorister at Luneburg; 1766, 'Chor-
prafect' at Schwerin. He also became a skil-
ful org. and harpist. In 1769 he began the
study of law in Gottingen, supporting nimself
by teaching music. To musical history, how-
ever, he soon devoted his chief attention;
he was app. Univ. organist, and (1778) Univ.
Musical Director; in 1780 he was made Dr.
phtl. (hon. c). — Works: Ueber die Theorie der
Musik, sofern sic Liebhabern und Kennern
derselben nothwendig und nutxlick ist (1774);
Musikalisch-kritische Bibliothek (1778-9, 3
vols.); Ueber die beste Einrichiung offentlicher
Concerte (1779); Genauere Bestimmung einizer
musikalischer Begriffe (1780); Musikalischer
Almanack fur Deutschland (1782, 1783, 1784,
and 1789); AUgemeine Geschichte der Musik
(1788 to 1801, 2 vols.-— only to about the
year 1550; his materials for later times went
to the publisher Schwickert); AUgemeine
Litteratur der Musik, oder Anleitung zur
Kenntniss musikalischer Biicher (1792; im-
portant as the pioneer work of its class);
Ueber Joh. Seb, Packs Leben, Kunst und
Kunstwerke (1803; in English, 1820). F.'s
unique transcriptions, in modern notation,
of Graphaus' 'Missae XIII ' (1539), and of the
'Liber XV. missarum' of Petrejus (1538;
masses by Okeghem, Obrecht, Josquin, and
others), were engraved, and a proof pulled;
but the French invaders melted down the
plates for cannon-balls. The proof-sheets,
corrected by F.f are in the Berlin Library. —
Publ. comps.: Pf. -sonatas and variations;
songs (Gleim). — In MS. : The oratorio Hiskias;
2 cantatas, Die Macht des Gesangs and Die
Hirten an der Krippe %u Bethlehem; sym-
phonies, trios, choruses, etc. [Rjemann.1—
See Q.-Lex.
For'mes, Karl Johann, bass opera-singer ;
b. Mulheim-on-Rhine, Aug. 7, 1816; d. San
Francisco, Dec. 15, 1889. Debut at Cologne,
1841, as Sarastro (Magic Flute); from 1843-8
he was eng. at Mannheim; 1852-7 at the
Royal Ital. Opera, London; in 1857 he made
his first American tournSe, afterwards vi-
brating between Europe and America. W.
Koch publ. his memoirs under the title
Aus meinem Kunst- u. BUhnenleben (1888).
For'mes, Theodor, tenor stage-singer,
brother of foregoing; born Mulheim, June
24, 1826; d. Endemch, near Bonn, Oct. 15,
1874. Debut at Ofen, 1846; eng. at Vienna,
Mannheim (1848), and Berlin court opera
(1851-66). Made a tour in America with
his brother. Lost his voice temporarily;
after a brilliant reappearance, he became
insane, and died in an asylum.
Form'schneider. See Graphaus.
Forna'ri, Vlncenzo, conductor and dram,
comp.; b. Naples, May 11, 1848; d. there
Aug., 1900. Pupil of Luigi Sira (pf.) and
Battista (comp.). — Operas: Maria di Torre
(Naples, 1872); Salammbd e Zuma (Naples,
1881); and the successful 1-act opera seria Un
Dramma in vendemmia (Florence, 1896).
Ftir'ner, Christian, b. Wettin, 1610; died
there 1678. Organ-builder; his organs at
Halle (Ulrichskirche) and Weissenfels ( Augus-
tusburg) are still in use. About 1675 he
invented the 'windgauge.'
For'nla-Labey, Rita (nie Newman),
dram, soprano; b. San Francisco, July 17,
1878. Studied with local teachers there,
then at Paris with Jean de Reszke and Berlin
with Frau Nicklass-Kempner; debut at Stadt-
theater, Hamburg, as coloratura sop., sing-
ing Eudoxia in La Juive; after engagements
in various German cities she came to the
U. S. in 1906 with H. W. Savage's company
(in Engl.) ; since 1908 member of the M. O. H.;
has also sung at Cov. G. In 1910 she married
Mr. J. P. Labey. Her repertoire includes
Elisabeth, Venus, Ortrud, Sieglinde, Gutrune,
Amneris, Carmen, Rosina, Nedda, Leonora,
270
FORONI— FORSYTH
Woglinde (Rheingoid and Gdtterd&mmerung),
1st Flower-Maiden {Parsifal), etc.
Foro'nl, Jacopo, b. Verona, July 25,
1825 ; d. Stockholm, Sept. 8, 1858 (of cholera) ;
was court cond. of the Ital. Opera at Stock-
holm from 1849; comp. of the operas Mar-
gherita (Milan, 1847), Christina di Suezia (?),
UAwoeato Pathelin (Stockholm, 1850), /
Gladiatari (Milan, 1851); he also wrote
overtures and studies for piano.
For'ster, Georg (I), b. Amberg, circa
1514; d. Nuremberg, Nov. 12, 1568. Matri-
culated at Wittenberg in 1534; was medical
practioner in Amberg, Wurzburg, Heidelberg,
and Nuremberg (15ft). Edited several valu-
able collections of folk-songs (Nuremberg,
1539-56), which he harmonized in 5 parts. —
See Q.-Lex.
For'ster, Georg (II), b. Annaberg, Sax-
ony, (?); d. Dresden, Oct. 16, 1587. Cantor
in Zwickau, 1556; in Annaberg, 1564; double-
bass player in Dresden, 1568; asst. -Kapellm.,
1581; first Kapellm., 1585, succeeding Pinelli.
For'ster, Josef, b. Trofaiach, Styria,
Aug. 10, 1845; a civil engineer living in
Vienna; comp. of the operas Die WaUjahrt
der Konigin (Vienna, 1878), Die Rose von
Ponievedra (Gotha, 1893), Der tod Man (Vien-
na, 1902); and the ballets Der Spielmann
(Vienna, 1881), Die Assassinen (ib.t 1883).
For'ster, William (Sr.), violin-maker; b.
Brampton, Cumberland, May 4, 1739; d.
London, 1808. He went to London in 1759,
and estab. himself there as a publr. and
violin-maker in 1781. He copied Stainer and
Amati; his 'cellos and double-basses are very
rare and valuable.
For'ster, William (Jr.), son and successor
of foregoing; b. London, Jan. 7, 1764; d. there
July 24, 1824. Some of his violins are very fine.
For'ster, Adolph M. See Foerstbr.
Fdr'ster, Alban, violinist; b. Reichen-
bach, Saxony, Oct. 23, 1849; a pupil there of
R. Blume, later of Dresden Cons. Leader of
orchs. at Karlsbad, Breslau, Stettin; in 1871,
court musician at Neustrelitz, also conduct-
ing the Singakademie; 1881, teacher in
Dresden Cons., and cond. of the Liedertafel;
1882-1908, court Kapellm. at Neustrelitz;
made Prof, in 1903. — Works: Operetta Das
Flustern (Neustrelitz, 1875); 3-act comic
opera Die Mddchen von Schilda (ib., 1887);
opera 's Lorle (Dresden, 1891); romantic-
comic ballet-pantomime Tr&umerei in der
Waldmuhle (Zwickau, 1896); besides a symph.,
orchestral and chamber-music (string-trios
and quartets), violin-music, instructive piano-
pieces, and songs.
FoVster, Anton, b. Osojnitz, Bohemia,
Dec. 20, 1837. Studied at the Prague School
of Organists; organist in Zengg, Croatia; then
org. and Kapellm. at the Cath. in Laibach
from 1868-1909, when he retired; composer
of the opera Goremjski slavik (1901) and sev-
eral masses; also wrote some successful text-
books (harmony, counterpoint, etc.).
For'ster, Anton, son of preceding; bom
Zengg, Croatia, May 23, 1867; d. Trieste,
Jan. 13, 1915. Pupil of the Leipzig Cons.;
1898, teacher of pf. at Stern's Cons, in Ber-
lin; 1904, at the Scharwenka Cons.; 1908, at
Ziegfeld's Conservatory in Chicago.
Fttr'ster, Chrlstoph, organist; b. Bebra
in Thuringia, Nov. 30, 1693; d. Rudolstadt,
Dec. 6, 1745. Ducal Kapellm. at Merseburg;
in 1745 Kapellm. at Rudolstadt. — Works
over 300 in number (cantatas, symphonies,
overtures, organ-music, pf. -pieces).— -Cf. A.
Hartung. Ch. F. (Leipzig, 1914).— See Q.-Lex.
Fftr'ster, Emanuel Aloys, b. Niederstein,
n. Glatz, Austrian Silesia, Jan. 26, 1748; d.
Vienna, Nov. 12, 1823. A self-taught com-
poser and excellent teacher of theory, from
1776, in Vienna; his instrumental works are
strongly influenced by Beethoven. — Works:
HuldigungscantaU, a Notturno concertante
for strings and wind, 48 quintets and quartets
for strings, pf. -quartets, a pf. -sextet, variations
and sonatas for pf.; wrote Anleitung turn
Generalbass (1802, '05, '24).— See Q.-Lex.
Fftr'ster, Josef B., son of Joseph F.; b.
Prague, Dec. 30, 1859. Pupil of the Cons, at
Prague; 1892, music critic of 'Hamburger
Nachrichten; 1901, teacher at the Cons. He
married the opera-singer Bertha Lauterer,
who was eng. at the Hamburg Stadtth.;
when she went to the Vienna court opera in
1903, F. also moved to Vienna; since 1903
teacher at Ondricek's Neues Konservatorium.
—Works: The operas. Deborah (Prague, 1893),
Eva (ib., 1899; prize-op.), Jessica (ib., 1905);
4 symphs. (op. 3, Das Leben; op. 54, C m.);
symph. poem, op. 44, Meine Jugend; a dra-
matic overture in C m.; the orchl. suites
Cyrano de Bergerac, In den Bergen, Shake-
speare; a Slawische Phantasie; Legende vom
Gluck; the choral works w. orch. Hymnus der
Engelscharen, Weihe der Naeht; StabcU Mater;
op. 88, vln.-concerto in C m.; op. 40, vcl.-
sonata in F m.; op. 10, vln.-sonata in B m.;
2 piano-trios; piano-pieces; songs.
Fftr'ster, Joseph, b. Osojnitz, Bohemia,
Feb. 22, 1833; d. Prague, Jan. 3, 1907. Pupil
(1850^2) of the Prague School of Organists;
organist in several churches, since 188/ at the
cathedral, Prague. Also prof, of theory in
Prague Cons. The promotion of a cappella
polyphonic music was his specialty. — Works:
Masses and requiems, organ-pieces, and a
treatise on harmony.
Forsyth' Brothers, music-publishers at
271
FORTLAGE— FOUQUE
London and Manchester. The firm was estab.
at Manchester in 1857, as dealers in pianos,
by Henry and James Forsyth, who had been
connected with John Broadwood and Sons.
The music-publishing business was added in
1872. In 1901 the firm was made a limited
company with James F. as- president. Henry
F. died in July, 1885.
Fortlage, Karl, b. Osnabrttck, June 12,
1806; d. Jena, Nov. 8, 1881. From 1846, prof,
of philos. at Jena. — Publ. Das musikalische
System der Griechen in seiner UrgestaU
(Leipzig, 1847), a work on ancient theory
superseded by later investigations.
Fortsch, Johann Philipp, b. Wertheim,
Franconia, May 14, 1652; a. Eutin, Dec. 14,
1 732. A physician by profession, he adopted
music, sang in Hamburg, and (1680) succeeded
Theile at Gottorp as Kapellm. to the Duke
of Schleswig; afterwards returning to the
practice of medicine. — Works: 12 operas,
several clavichord-concertos, etc. — Fr. Zelle,
in the 3d supplement to Zur Geschichte der
deutschen Oper, has written a sketch of F.'s
life and works.
Foster, Fay, b. Leavenworth, Kans. Pupil
at Chicago Cons, of W. H. Sherwood (pf.)
and Mme. Boitte (singing); at Munich Cons,
of H. Schwartz (pf.), and at Leipzig Cons, of
A. Reisenauer (pf .) and S. Jadassohn (comp.) ;
studied pf. further with M. Rosenthal and
Sophie Menter; won prize of 2000 marks at
Internat. Waltz Competition (Berlin, 1910);
1st prize in American Composers' Contest
(New York, 1913); lives in- New York as
teacher and recitalist; comp. of numerous
successful songs.
Foster, Muriel, alto concert- and oratorio-
singer; b. Sunderland, Engl., Nov. 22, 1877.
In 1896 she entered the R. C. M., her teacher
being Miss Anna Williams; that same year
she won a Council Exhibition, and sang at
Bradford in Parry's King Saul; won an Open
Scholarship in 1897; in 1898 obtained the
London Musical Society's prize; and in 1900
the Musicians' Company s medal for the
best student in the College. She sang before
Queen Victoria in 1900; in 1901 toured
Canada with Mme. Albani's concert-party,
having much success; sane (in German)
the part of the Angel in Elgar's Dream of
Gerontius in Dusselaorf at the Lower Rhine
Mus. Fest., 1902; toured Holland that year,
and has also sung in Berlin, Frankfort, etc.;
in Russia, spring of 1903. Tour of Canada
and the United States, spring of 1904; on her
return awarded the Beethoven Medal of the
London Philh. Soc. Since her marriage to
Lud wig Goetz, in 1906, she has practically
retired. Her voice had a wonderful, rich qual-
ity and ranged from g-6*b. She was equally
great in oratorio and lieder; her dinging of
272
Brahms duets with her sister Hilda (Mrs.
Bramwell) will not soon be forgotten.
Foster, Myles Birket, organist and com-
poser; b. London, Nov. 29, 1851. From 1871,
?upil of Hamilton Clarke; later of Sullivan,
rout and West lake at R. A. M. Org. at
Haweis' church, 1873-1874; at the Foundling
Hospital, 1880-92; until 1900 editor for
Messrs. Boosey; since 1888 Examiner of
Trinity College, London, in which capacity
he spent many years in Australia and South
Africa; F. R. C. O.; F. R. A. M.— Works:
Evening Services in C (male ch.) and A;
Communion Service in Bb; Anthems, etc.
Children's cantatas {Cinderella, Lampblack,
Beauty and the Beast, The Angels of the Bells,
Bonnie Fishwife, Snow Fairies, Coming of the
King); numerous songs. Also, in MS., a
symphony in F# minor, Isle of Arran; over-
tures; a string-quartet; apf .-trio, etc. ; author
of Anthems and Anthem Composers (1901).
Foster, Stephen Collins, b. Lawrence-
ville (Pittsburgh), Pa., July 4, 1826; d. New
York, Jan. 13, 1864. In music he was chiefly
self-taught, and studied assiduously; at 7 he
learned to play the flageolet; in 1840 his first
comp., a waltz for 4 flutes, was performed,
and in 1842 his first (publ.) song, 'Open thy
lattice, love,' was written. From 1845-6 he
wrote The Louisiana Belle,' 'Old Uncle Ned,'
and 'O Susanna'; these were followed by 'My
old Kentucky home,' 'Old dog Tray/ 'Massa's
in the cold, cold ground/ Gentle Annie,'
'Willie, we have missed you,' 'I would not
die in spring-time,' 'Come where my love lies
dreaming,' 'Old Black Joe,' 'Ellen Boyne,*
(to the melody of which the word* of 'John
Brown's body were afterwards set), 'The old
folks at home' (or 'Down on the Suwanee
River'), 'Nellie was a lady,' 'O, boys, carry
me 'long,' 'Nelly Blv/ 'Nancy Till,' 'Laura
Lee,' 'Maggie by my side,' 'Beautiful dreamer'
(1864, his last); etc. Foster generally wrote
both words and music of his songs, of which
over 160 were published. Scores of these are
known in every American household, and have
become genuine folk-songs. Foster's simple,
but not trivial, melody touched the popu-
lar heart; he occupies a unique position
among American composers. In 1915 W. R.
Whittlesey and O. G. Sonneck publ. a Cata-
logue of First Editions of 5. C. F.— A short
biogr. sketch, by T. Carl Whitmer, appeared
in 'The Musician' (Boston, Dec., 1913); do.
in Elson's 'History of American Music' (1915).
Fouque [fook], Pierre-Octave, b. Pau,
Basses- Pyrenees, Nov. 12, 1844; d. there April
24 (not Sept. 23), 1883. Pupil at Paris of
Reinhold Becker (harm.) and Chauvet (cpt.);
from 1869, of Ambr. Thomas at the Cons;
app. librarian of the Cons, in 1876; critic for
'Republique Francaise' and contrib. to va-
\.
FOURDRAIN— FRANCK
rious journals. — Works: Operettas, pf. -pieces,
songs and part-songs. Wrote On Music in
England before Handel; J. F. Lesueur, the
Predecessor of Berlioz; a biogr. of M. /.
Glinka, and Histoire du Tht&tre Ventadour.
Fourdrain [foor-dranl, Felix, b. 1880;
wrote the operas £cho (Paris, 1906), La
Ugende du point (TArgentan (ib., 1907), La
Glaneuse (Lyons, 1909), VercingStorix (Nice,
1912), Madame Roland (Rouen, 1913), Les
conies de Perrault (Paris, 1913).
Founder [foor-n'ya'], fimile - Eugene -
AUx, b. Paris, Oct. 11, 1864; d. Joinville-le-
Pont, Sept. 12, 1897. Pupil of Delibes and
Dubois at P. Cons. ; took 2d Gr. prix de Rome
in 1891, and the Prix Cressent in 1892 for
the 1-act opera Stratonice (Gr. Opera, Paris,
1892). Later publ. a number of songs, and
finished a 3-act opera Carloman (not prod.).
Fournier, Pierre-Simon, cutter and
founder of music-type; b. Paris, Sept. 15,
1712; d. there Oct. 8, 1768. Instead of the
lozenge-shaped types in the style of Hautin's
(1525), F. introduced round-headed notes,
described in his Essai (Tun nouveau carac&re
de fonte . . . (1756); he also publ. a TraiU
historique sur Vorigine el les progrhs des
caracieres de fonte pour Vimpression de la
musique . . . (Paris, 1765).
Fox, Charlotte (nSe Milliftan), b. Omagh,
Ireland, 1860; d. London, Mar. 26, 1916.
She was an enthusiastic musical amateur,
specially interested in Irish music; in 1904
sne founded the 'Irish Folk-Song Soc.'; in
her will she left the Bunting MSS. to Belfast
Univ. — Publ. Annals of the Irish Harpers
(London, 1911).
Fox, Felix, b. Breslau, May 25, 1876. His
family moved to Boston in 1881; he entered
Leipzig Cons, in 1892 and studied piano with
Reinecke and comp. with Jadassohn; won the
Helbig Prize with his performance of the
Widor concerto in F m. ; then studied 2 years
with I. Philipp in Paris, where he gave several
recitals introducing works by MacDowell;
returned to the U.S. in 1897, and after a
successful concert-tour settled in Boston as
teacher and pianist; in 1898 he established
with C. Buonamici a piano-school which
enjoys an enviable reputation.
Fox, George, English composer and dram,
baritone; b. 1854 (?); has sung with various
opera-troupes in London and the provinces,
and composed several popular operettas
(Robert Macaire, 1887; The Corsican Brothers,
1888; and Nydia, 1892— all at the Crystal
Palace), and cantatas (The Jackdaw of Rheims,
The Babes in the Wood, The Fair Imogene,
Lord Lovel, Winifred Price, Gabriel Grub, John
Gilpin, Hamilton Tighe, The Messenger-dove),
and songs.
Fraem'cke, August, b. Hamburg, March
23, 1870. Pupil at the Hamburg Cons, of A.
Krug, J. von Bernuth (pf.) and H. Riemann
(comp.); then at Vienna Cons, of A. Door
(pf.), R. and N. Fuchs (comp.); won Beet-
hoven Prize, and, at graduation, the medal
of the Ges. der Musikfreunde; debut at
Hamburg, Nov., 1886; after extended tours
through Europe he came to the U. S.,
where, since 1906, he is joint director with
C. Hein of the New York College of Music.
Francesco Cieco [cha'kdh), or degli Or-
gan!. See Landino, Francesco.
Franchettl I-ket'tg], Alberto (Baron), b.
Turin, Sept. 18, 1860; studied w. Nicold
Coccon and Fortunato Magi ; then in Dresden
under F. Draeseke, and at the Munich Cons.
— Works: 4-act opera ('dram, legend') Asrael
(Reggio d'Emilia, 1888; also in La Scala,
Milan; New York, 1890); opera Cristoforo
Colombo (Genoa, Oct., 1892; Phila., 1913);
3-act opera seria Fior d'Alpe (Milan, La
Scala, 1894; mod. succ.); 3-act opera II
Signor di Pourceaugnac (ib., 1897; mod.
succ); Germania (ib., 1902; New York, 1910);
La Figlia diJorio (ib., 1906) ; Notte di Leggenda
(Florence, 1914); also a symphony in £ minor.
Franchi'nus. See Gafori.
Franchi-Vemey [frahn'ke-var-nal, Giu-
seppe Ippolito, Conte della Valetta; b. Tu-
rin, Feb. 17, 1848; d. Rome, May 15, 1911.
In 1874 he gave up his career as a lawyer for
music. In 1875 he founded, with others, a
Quartet Society (Societa della Quartetta);
in 1876 he estab. the 'Accademia di Canto
corale.' From 1875-7, under the pen-name
of Ippolito Valetta, he wrote for the 'Gaz-
zetta del Popolo'; later for 'II Risorgimento*
and other papers. Among his comps. are a
Myric sketch,' 2/ Valdese (Turin, 1885), which
was well received, and a ballet, II Mulatto
(Naples, 1&96; furore). Wrote a sympathetic
sketch on Donizetti (Rome, 1897, pp. 15). He
was a disciple of Wagner. In 1889 he married
Teresina Tua (q.v.).
Franchomme [fr&hn-laShml, Auguste,
eminent 'cellist; b. Lille, April 10, 1808; d.
Paris, Jan. 21, 1884. A pupil of Levasseur
and Norblin in Paris Cons, from 1825, taking
first prize for 'cello-playing in 1826. Played
in the Opera orch. (1827), and in the Theatre
Italien from 1828. He Was intimate with
Chopin; established soirees for chamber- music
with Halle and D. Alard; and in 1846 became
'cello-teacher in the Cons. — Works: A con-
certo, variations, caprices, fantasias, noc-
turnes, romances, adagios, studies, etc., for
'cello.
Franck [frahnk], Cesar (-Auguste), b.
Liege, Dec. 10, 1822; d. Paris, Nov. 8, 1890.
Pupil of Ltege Cons, till 1837; then (to 1842)
at the Paris Cooserv. of Zimmerman (pf.),
273
FRANCK— FRANCK
Leborne (cpt.)i and Bcnoist (org.)- In the
Cons, he took 1st prize for pf. (1838), 2d
prize for com p. (1839), 1st prize for cpt. and
fugue (1840) and 2d prize for organ (1841).
For some reason not known r.'s father
forbade the young man to compete for the
Grand prix de Rome, and F. left the Cons,
in the spring of 1842, returning to Liege.
In 1844 he settled definitely in Paris as a
teacher; in 1853 he was app. m. de chap, and
in 1858 org. at Ste.-Clotilde, which position
he held till his death. In 1872 he succeeded
his former teacher Benoist as prof, of org. at
the Cons. The influence he exerted here was
enormous; in fact, F.'s prgan-classes, rather
then the regular composition-classes, became
the training school of composers, whom the
master grounded upon the solid foundations
of Bach and Beethoven. Among his pupils
were d'Indy, Chausson, de Castillon, Breville,
Bordes, Lekeu, Ropartz, Pieme, Vidal,
Chapuis, Marty, and a host of others, who
have contributed toward the establishment of
a school of modern French instrumental music
worthy of consideration. Until the appearance
of Franck, the opera dominated, not only
the entire musical life of the nation, but even
the course of instruction at "the Cons. Dis-
satisfaction with this state of affairs led to
revolt on the part of the more serious mu-
sicians, who followed the path pointed out by
F. In 1894 Guilmant, d'Indy and Bordes
founded the now famous 4Schola Cantorum'
for the express purpose of perpetuating the
master's influence and methods. If the history
of French music of the last century is practi-
cally the history of French opera, the tables
have now been turned, so that for the last
quarter of a century the history of modern
French instrumental music has been the his-
tory of musical progress in France; and it is no
exaggeration to say with d'Indy: "In France
symphonic music originated with the school
of Cesar Franck." — Works: (1) Oratorios:
Ruth (1843); La Tour de Babel (1865, not
publ)-; Redemption (1871; 2d version 1874);
Les Beatitudes (1879); Rebecca (1881).— (2)
Operas: Le Valet de Ferme (1852; not publ.);
Hidda (finished 1885; prod. Monte Carlo,
1894); GhisUe (music of the entire work and
orchestration of act i completed 1890; orches-
tration of acts ii, iii, iv by d'Indy, Chausson,
Breville, Rousseau and Coquard: prod.
Monte Carlo, 1896). — (3) For orch.: Les
Holides, symph. poem (1876); Le Chasseur
maudit, do. (1882); Les Djinns, do. for pf.
and orch. (1884); Variations symphoniques
for pf. and orch. (1885); Psyche, symph. poem
for ch. and orch. (1888); Symphonie in D
(1889). — (4) Chamber-music:4pf.-trios (F#m.,
Bb, B, B m.) ; A ndante quietoso tor pf . and vln. ;
Solo de Piano w. string-quartet (not publ.);
Duo pour pf, and vln. concertants (on themes
274
from Dalayrac's Gulistan); Quintet in A m.
for pf. and strings (1879); Sonata for piano
and vln. (1886); String-quartet in D (1889).
— (5) Organ- works: 6 pieces (Fantaisie in C;
Grande piece sympkonique; PrSlude, Fugue
et Variation; Pastorale; Priere; Finale); 3
pieces (Fantaisie in A; Cantabile; Piece
hSrounie); Andantino; Trois Chorals (E, B m.,
A m.); a vol. of 44 Petites Pieces; and 3 vols,
of Priludes et Prieres by Ch. Alkan.— (6)
Sacred music: A Messe solenneUe (1858);
Messe d trots voix w. organ, harp, vcl. and
contrab. (1872); Psaume CL, for chorus, organ
and orch.' (1888); 4 offertories; 3 motets;
several solos and duets. — 14 songs (La
Procession arr. for orch.); pf. -pieces (4
fantaisies, Prelude, Choral and Fugue, Bal-
lade, etc.); 4 choruses. F. also revised and
edited Phjlidor's Ernelinde, Tom Jones and
Le BUcheron.
Bibliography: A. Coquard, C. K (Paris,
1890; new ed. 1904); E. Destranges, Uceuvre
Ivrique de C. F. (ib., 1896); G. Servieres, La
Musique francaise moderne (ib., 1897); G.
Derepas, C. F. Etude sur sa vie, son enseigne-
mentf son muvre (ib., 1897); A. Meyer, Us
Critiques de C. F. (Orleans, 1898); P. Locard,
Les Mattres modernes de I'orgue (Paris, 1900);
P. L. Gamier, UHeroisme de C. F.Psychologie
musicale (ib., 1900); F. Baldensperger, C. F.
L'homme, V artiste, Vceuvre musical (ib., 1901);
D. G. Mason, From Grieg to Brahms (N. Y.,
1904) ; R. Canudo, C. F. e la giovane scuola
musicale francesa (Rome, 1905); C. van
den Borren, Lctuvre dramatique de C. F.
(Brussels, 1906); V. d'Indy, C. F. (Paris,
1906; Engl, translation by R. Newmarch,
London, 1910); R. Rolland, Le Renouveau,
in Musiciens d'aujourd'hui (Paris, 1908; 6th
edition 1914); O. Sere, Musiciens francais
d'aujourd'hui (2d edition Paris, 1911)? J.
Riviere, ttudes (ib., 1911).
Franck, Eduard, b. Breslau, Dec. 5, 1817;
d. Berlin, Dec. 1, 1893. Was taught at
Breslau ; became teacher of pf . at the Cologne
Cons.; 1859, at the Bern School of Music,
where he was also Musical Director (the
degree of Dr. phil. was conferred on him by
the Bern Univ.); 1867-78, at the Stern
Cons., Berlin; from 1886 at Breslauer's Sem-
inary for Piano- teachers, Berlin. — Works: A
symphony (op. 47); pf. -quintet (op. 45);
2 sextets (op. 41, 50); a pf. -concerto (op. 13);
2 pf.-trios; a 'cello-sonata w. pf. (op. 42); 2
vln. -sonatas (op. 19, 23); Duo for 2 pfs. (op.
46); nine pf. -sonatas; etc.
Franck, Johann Wolfgang, b. Hamburg,
c. 1641; d. London (?) after 1695. He was a
physican and opera-conductor at Hamburg,
and produced 14 operas there (1679-86). He
publ. sonatas for 2 vlns. and bass; also Geist-
liche Melodien (1681, 1685, 1700; republ.
FRANCK— FRANKENBERGER
1857 by D. H. Engel, with new words by
Osterwatd).— Cf. F. Zelle, /. W. F., in Prog,
of Humboldt-Gym. (Berlin, 1889); 'Music
Art/ July, 1912.— See Q.-Lex.
Franck, Joseph, brother of Cesar-Au-
guste; b. Liejje, 1820; d. Paris, 1891. Organist
and teacher in Paris; publ. cantatas, masses,
motets, an Ode to St. Cecilia (w. orch.), piano-
concertos, studies for piano, songs, etc.; also
a Manuel de la transposition et de Vaccompagne-
ment du plain-chant; TraiU d'harmonie; Vart
d'accompagner Xe plain-chant; and a Nouvelle
methode de piano facile.
Franck, Melchlor, b. Zittau, c. 1573; d.
Koburg, June 1, 1639, as court Kapellm.
(since 1603). Prolific composer of sacred and
secular vocal music, who exerted considerable
influence on his contemporaries. Although an
excellent contrapuntist, he seems to favor
the soprano unduly as compared with the
other voices, and thus, indirectly, helped
toward the supremacy of the solo melody as
cultivated by the Italian composers. A selec-
tion from his instrl. works was publ. by F.
Bolsche in vol. xvi of 'Dkm. deutscher Ton-
kunst.' Vol. xvii of the 'Monatshefte fur
Musikgeschichte' contains a careful descrip-
tion of his printed works, also of MSS. pre-
served in public libraries. Aloys Obrist publ.
Mclchior Franck (Berlin, 1892).— See Q.-Lex.
Franck'en8tein, Clemens, Freiherr von,
b. Wiesentheid, Lower Franconia, July 14,
1875. While pursuing his academic course he
studied music with L. Thuille in Munich, and
later with J. Knorr at the Frankfort Cons.;
1902-7, as cond. in London; then cond. of
the court opera at Wiesbaden and the Royal
Opera at Berlin; 1912, mus. intendant at
court opera in Munich; since 1914, 'General-
intendant'; composer of the operas Griseldis
(Troppau, 1898), Fortunatus (Pest, 1909),
Rahab (Hamburg, 1911); has also written
orchestral works and songs.
Franco of Cologne, b. Dortmund, prior
of the Benedictine Abbey at Cologne in 1 190,
author of a treatise on music, Compendium
de discantu, printed in Gerbert, 'Script ores,'
(iii) and Coussemaker, 'Scriptores' (i). His
theory of intervals marks considerable pro-
gress as compared with the theories of his
namesake, Franco of Paris. — Cf. H. Riemann,
Geschichte der Musiktheorie, p. 114 et seq.
(Leipzig, 1898).
Franco of Paris. According to the testi-
mony of an anonymous writer quoted by
Coussemaker in 'Scriptores' (i) there must
have been two musicians of that name in
Paris during the 13th century, both m. de
chap, at Notre-Dame (one succeeding the
other). The elder of the two is the author of
Ars cantus mensurabilis, reprinted by Gerbert
in 'Scriptores' (iii) and Coussemaker. — Cf.
O. v. Roller, Versuch einer Rekonstruktion der
Notenbeispiele turn 11. Kafntel von Francos
*Ars cantus mensurabilis* in 'Vschr. f. M.-
W.' (vol. i, p. 242 et seq.).
Francoeur [frahn-kdr'], Francois, violin-
ist; b. Paris, Sept. 28, 1698; d. there Aug. 6,
1787. Entered the Opera orch. in 1710; he
became, successively, chamber-musician to
the King, one of the '24 yiolons du roi* (1730),
chamber-composer (1732), opera-inspector
(conjointly with Francois Rebel, his insepar-
able friend), director of the Opera (1751),
and superintendent of the lung's music
(1760). — Works: 2 books of violin-sonatas;
with Rebel, he prod. 10 operas. — See Q.-Lex.
Francceur, Louis-Joseph, violinist, ne-
phew of Francois; b. Paris, Oct. 8, 1738; d.
there March 10, 1804. Member of the Opera
orch.; 1764 assistant, 1767 first cond.; later
dir. of the Opera for a short time. — Works:
Ismene et Lindor, 1-act opera (Opera, 1766);
other operas in MS. Also publ. Diapason
gSnSral de tous les instrs. & vent . . . (1772);
the MS. of an Essai historique sur Vetablisse-
ment de Vop?ra en France is preserved in the
library of the Paris Opera.— See Q.-Lex.
Frank, Ernst, b. Munich, Feb. 7, 1847; d.
insane at Oberd&bling, n. Vienna, Aug. 17,
1889. Pupil of Mortier de Fontaine (pf.) and
Fr. Lachner (comp.) ; he became court organist
in Munich, and cond. of rehearsals at the
opera; in 1868, Kapellm. at Wiirzburg; 1869,
chorus-master at the court opera, Vienna,
where he also cond. the Sin^akademie and the
Akademischer Gesangverein. From 1872—7
he was court Kapellm. at Mannheim; here
he brought out (for the first time) Gotz's Der
Wider spenstigen Zdkmung (1874) and Fran-
cesca da Rimini (1877; completed by Frank
himself). In 1877, Otto Devrient, the new
intendant of the Frankfort Th., had F. app.
Kapellm. there; on D.'s dismissal in 1879 he
resigned, but that same year was called to
Hanover to succeed v. Biilow as opera-
Kapellm., as which he acted till 1887. —
Works: 3 operas, Adam de la Halle (Karlsruhe,
1880), Hero (Berlin, 1884), and Der Sturm
(Hanover, 1887; in 3 acts, after Shakespeare's
Tempest); also publ. many delightful songs.
Fran'kenberger, Heinrich, b. Wumbach,
Schwarzburg-Sondershausen, Aug. 20, 1824;
d. Sonderahausen, Nov. 22, 1885. Dramatic
comp., pupil of Plaidy, Becker, and Haupt-
mann in Leipzig Cons. In 1847, violinist in
the court orch., Sondershausen; later asst.-
Kapellm. — 3 operas, Die Hochteit zu Venedig
(1847), Vineta (1851), and Der GunsUing
(1863), all at Sondershausen; also piano-
pieces, songs, etc. — Wrote Anleiiung zur In-
strumentirung, a Harmonielehre, an Orgel-
schule, and a Choralbuch.
275
FRANKLIN— FRANZL
Franklin, Benjamin, b. Boston, Mass.,
Jan. 17, 1706; d. Philadelphia, April 17, 1790.
He invented the Harmonica ('musical glasses')
and wrote entertainingly on Scotch music, on
the defects of [then] modern music, and other
topics— Cf. O. G. Sonneck, *Suum cuique:
Essays in Music' (1916).
Franko. See Franco.
Franko, Sam, b. New Orleans, Jan. 20,
1857. He began to study the violin with
Blecha at Breslau; pupil of de Ahna in
Berlin in 1867 and again in 1870; of Joachim
at the Kgl. Hochschule, 1876-8; at the same
time he studied comp. with Prof. A. Hol-
lander; from 1878-30 he studied in Paris with
Vieuxtemps. Even while studying he appeared
frequently in concerts; at tnc age of 10 he
played the Mendelssohn concerto with orch.
in Berlin, and two years tater at Steinway
Hall in New York (1869); returned to the U.
S. in 1880, became a member of the Theo.
Thomas Orchestra, and was concert-master
from 1884-91; in 1883 he made a concert-
tour of the U. S. and Canada as soloist with
the Mendelssohn Quintette Club of Boston.
In order to prove that the then existing preju-
dice against native orchestral players was
unfounded, he organized in 1894 the Amer.
Symphony Orchestra of 65 performers; this
orchestra he later used for his 'Concerts of
Old Music' (1900-9), at which works of the
17th and 18th centuries were produced,
many for the first time in America; from
1893-1901 he gave chamber-music concerts
at the Aschenbrodel Club in New York, which
ranked among the important events of the
season. In 1910 he went to Berlin as teacher
of the advanced vln. -class and orchl. class at
Stern's Cons.; there he continued, with
marked success, his Concerts of Old Music;
in 1915 he returned to New York, where he
in now (1916) living as teacher. The Duke
of Schwarzburg-Sondershausen conferred upon
him the Gold Medal for Arts and Sciences.
He has publ. many arrangements and tran-
scriptions for vln. (including a considerable
number of old works).
Franz, Robert, song-composer; b. Halle,
Tune 28, 1815; d, there Oct. 24, 1892. (His
family-name, Knauth, was changed by
royal permission in 1847.) His parents,
after fruitless endeavors to make him aban-
don the study of music, permitted him to
finish his musical education at Dessau, 1835-
7, under Fr. Schneider. Returning to Halle,
and unable to find a suitable position, or
even a publisher for his compositions, he
devoted six years to diligent study of Bach,
Handel, Beethoven, Schubert, etc. At length,
in 1843, his first set of 12 songs appeared,
warmly praised by Schumann, Uszt, Mendels-
sohn, and others; he soon received the ap-
276
pointment of organist at the Ulrichskirche,
and later became cond. of the Singakademie
and musical director at Halle Univ., which
conferred on him the title of Mus. Doc. in
1861. In 1868, deafness, and a complication of
nervous disorders, forced him to give up all
his positions; the meagre income from his
compositions was supplemented by the gene-
rosity of his fellow-artists in Germany (Frau
Helene Magnus, Joachim, Liszt, et al.) and
America (Otto Dresel, S. B. Schlesinger, B. J.
Lang), who gave a series of concerts for his
benefit, in 1872, realizing some $25,000.—
Franz is known as a song-composer par
excellence, and published 350 songs remarkable
for the perfect fitness and exquisite finish of
the musical setting, and rivalling Schubert's
in beauty of melody, and Schumann's in
romantic expression. (His wife Marie, nee
Hinnchs [1828^91], also published several at-
tractive songs.) Other works: The 117th
Psalm for 8-part (double) ch. a cappella; a
Kyne for 4-part chorus a capp. and soli; a
Liturgy for Evang. service; 6 chorals, 6
part-songs for mixed ch., and 6 do. for male
£n---His revised arrangements of many works
by Bach and Handel (by Bach: St. Matthew
Possum, Funeral Ode, Magnificat, 10 can-
tatas, Christmas Oratorio, arias, duets, etc.; by
Handbl: The Messiah, Jubilate in D, V Alle-
gro, tl Penseroso, ed il Moderato, and many
anas, etc.) are classical. He wrote Mittet-
lungen uber J. S. Backs Magnificat (1863) and
Uber Bearbeitungen dlterer Tonwerke, nament-
lich Bachscher und Handelscher Vokalwerke
(1871). Both were republ. by R. Bethge as
Ges. SchHften uber die Wiederbelebung Bach-
scher und Hdndelscher Werke (Leipzig, 1910).
Bibliography: F. Liszt, R. F. (Leipzig,
1855; repr. in 'Gesammelte Schriften,' vol.
iv, ib., 1882); H. M. Schuster, R. F. (ib.,
1874); La Mara, R. F. in vol. iii of 'Musika-
lische Studienkopfe' (Leipzig, 1868-82; publ.
separately ib., 1911); W. Waldmann, R. F.
Gesprache aus tehn Jahren (ib., 1894); R.
Prochazka, R. F. (ib., 1894); W. Golther,
R. F. und Arnold Freiherr Senfft von Pilsack.
Ein Briefwechsel 1861-W (Berlin, 1907); R.
Bethge, R. F. Ein Lebensbild (Halle, 1908);
H. Kleemann, R. F., in 'Mus. Quart.,' vol. i
(1915); O. Lessmann, Pcrs&nliche Erinnerun-
gen an R. F., in 'Allg. Mus. Zeitung,' vol. xlii
(1915).
Franz, J. H., is the pen-name of Count
BOLKO VON HOCHBERG.
Franzl, Ferdinand, violinist, son and
pupil of Ignaz; b. Schwetzingen, Palatinate,
May 24, 1770; d. Mannheim, Nov. 19, 1833.
Entered the Mannheim court orch. in 1782;
from 1784 made long tours with his father,
and took further lessons of Pleyel and Richter
(Strassburg), and Padre Mattei (Bologna);
FRANZL— FRESCOBALDI
in 1806 he succeeded Cannabich as court
Kapellm. at Munich, retiring on a pension in
1827. — Works: 6 operas, none of which is
specially noteworthy; much excellent violin-
music (8 concertos, a double-concerto for 2
vlns., 4 concertinos); symphonies, overtures,
9 string-quartets, 6 string-trios; songs, etc. —
See Q.-Lex.
Frftnzl, Ignaz, violinist; b. Mannheim,
June 3, 1736; d. there 1811. In 1750 he ioined
the Mannheim court orch., of which he be-
came leader and, in due course, Kapell-
meister (1790-1803). From 1784 he made
several artistic tours with his son. — Publ.
symphonies, violin-concertos, quartets, trios,
etc. — See Q.-Lex.
Frederick II (the Great), of Prussia; b.
Berlin, Jan. 24, 1712; d. Potsdam (Sans
Souci), Aug. 17, 1786. He was a flute-player of
considerable skill, and an amateur composer
Ian opera, // re pastor t (Berlin, 1747) ; overture
to Acts and Galathea; soli for flute; arias, and
marches). Selected comps. are publ. by Br. &
H., and in vol. xx of *Musik am preussischen
Hofe.'— Cf. K. F. Muller, FHedrich der Grosse
als Kenner und Dilettant auf dem Gebieie
der Tonkunst (Potsdam, 1847); W. Kothe,
FHedrich der Grosse als Musiker (Leipzig,
1869); G. Thouret, Fr. des Grossen Verhall-
niss zur Musik (Berlin, 1895); id., Fr. der
Grosse als Musikfreund und Musiker (Leipzig,
1898). His corresp. with Algarotti was publ.
by F. F6rster (1847).— See Q.-Lex. (Also
see C. Ph. E. Bach, Quantz, and Graun.)
FrGderix, Gustave, b. Liege, 1834; died
Brussels, Aug. (?), 1894. Celebrated critical
writer, dramatic, musical, literary. Wrote for
the 'Independance beige' from 1859; elected
con*, member of R. Belg. Acad, in 1885; full
member, 1889. A selection from his writings
was publ. after his death by E. Deschanels
under the title: Trente ans de critique. I.
txudes litteraires. II. tjtudes dramatigues
(1900).
Frei1>erg, Otto, b. Naumburg, April
26, 1846; studied 1860-3 at Leipzig Cons.;
from 1865, violinist in the court orch. at
Karlsruhe. After further study with Vincenz
Lachner, he was app. musical director at
Marburg Univ. in 1880; in 1887, mus. director
and asst.-professor of music at Gottingen.
Fr ems tad, Olive, famous dram, soprano;
b. Stockholm, c. 1870. She received her first
instruction in Christiania, and her progress on
the piano was such that at the age of 10 she
appeared in public; when she was 12 her
parents settled in Minneapolis; she continued
her studies, and at the age of 16 began to
give piano-lessons and sing in church-choirs;
m 1890 she came to New York as a piano-
teacher; in exchange for playing accompani-
ments for his vocal pupils E. F. Bristol
cultivated her voice, and she held several
church positions; in 1892 she sang for the
first time with orch. under C. Zerrahn in
Boston. In 1893 she went to Berlin, and
after two years of study with Lilli Lehmann
made her operatic debut in Cologne as
Azucena in II Trovatore (1895); in the Ring
performances at Bayreuth during the summer
of 1896 she sang Flosshilde; 1897-1900 she
was a regular member of the Cologne opera,
but appeared as star in Vienna, Amster-
dam, Antwerp and London (Cov. G.) ; 1900-3
at the court opera in Munich, where she
scored extraordinary success as Carmen. Her
Amer. debut occurred at the M. O. H., Nov.
25, 1903, as Sieglindc. The tumultuous dem-
onstration with which she was greeted then
was but the beginning of her uninterrupted
triumphs through 1 1 consecutive seasons (till
1914) as one of the brightest stars of the
famous institution; her interpretations of all
the great Wagner rftles (including Kundry)
have never been surpassed. She also sang at
the Wagner Festivals at the Prinz-Regen-
ten-Theater, Munich. After 1914 she made
extended concert-tours, securely establishing
her reputation as one of the world's great
lieder-singers. At the New York and Paris
premieres of Salome she created the title-
role, and for the latter achievement was
decorated by the French Government. The
unusual compass of her voice (/-c*) enables
her to sing both soprano and alto roles; in
fact, she began her career as contralto. Her
favorite roles are Isolde and Brunnhilde. In
1906 she married Mr. Edson Sutphen of
New York; divorced 1911.
Freschl [freslce], Giovanni Domenlco,
b. Vicenza, 1640; d. there 1690, as m. di capp.
at the cathedral. He produced 13 operas
during a long sojourn in Venice (1677-85);
2 oratorios, GiudiUa and Miracolo del tnago
(1680); masses a 5-6, and psalms a 2-6. —
See Q.-Lex.
Frescobal'dl, Girolamo, famous organist
and comp.; b. Fcrrara, 1583 (baptized Sept.
9); buried at Rome, March 2, 1644. After
studying under' Luzzasco Luzzaschi at
Ferrara, he travelled to Flanders; was
probably organist at Mechlin in 1607, and
publ. his first work, a collection of 5-part
madrigals, at Antwerp, 1608 (printed by
Phalesc). In 1608, he was app. organist of
St. Peter's, at Rome, succeeding Ercole
Pasquini; his fame was already such that
30,000 people are said to have attended his
first performance. He held this post until
death, leaving Rome only once, from 1628-33,
during which period he was court org. at
Florence, and was represented in Rome by a
deputy. From 1637-41, Froberger, the Vien-
277
FREUDENBERG— FRIEDBERG
nese court-ore., sojourned in Rome as a pupil
of Frescobaldi, the greatest organist of the
first half of the 17th century. As a composer,
too, F. occupies a very prominent place;
unrivalled as a player, he introduced daring
innovations in harmony (foreshadowing our
modern key-system), new developments in
fugal form, and improvements in notation. —
Publ. works: Fantasie a 2, 3, e 4 (Milan, 1608,
Book 1); Ricercari e canzoni francesi (Rome,
1615); Toccate e partite dintavoUUura di
cembalo (Rome, 1615); // 2° libro di toccate,
canzoni, versi d'inni, magnificat, gagliarde, cor-
renti ed altre partite d/intav. di cembalo ed
organo (Rome, 1616); Capricci sopra diver si
soggetti (Rome, 1624); Arie musicali a piU
voci (Florence, 1630); etc., etc. — Haberl publ.
a selection of F.'s organ-pieces, prefaced by
a bioer. sketch; smaller colls, were publ. by
B. Litzau, E. Pauer (12 toccatas) and L.
Torchi in vol. iii of 'L'arte musicale' (20
pieces). — Cf. H. A. Cametti, F. in Roma
('Riv. M. I.,1 1908, p. 701); A. Berenzi, Per
G. F. net terzo cenlenario .... (Cremona,
1908); M. Bennati, Ferrara a G. F. . . . .
(Ferrara, 1908).T-See Q.-Lex.
Freudenberg [froi'-]. Wilhelm, opera-
composer; b. Raubacher Htitte, n. Neuwied,
Prussia, March 11, 1838. He st. in Leipzig
1858-61; held various positions as theatre
Kapellm., and went to Wiesbaden, 1865, as
cond. of the Cecilia Singing-Society and the
'Synagogenverein.' Here, in 1870, he founded
a Cons., and cond. the Singakademie till 1886,
when he established, with Karl Mengewein,
a school for music at Berlin; but soon after
went as opera-conductor to Augsburg and
(1889) Ratisbon; since 1905 choir-director
at Kaiser Wilh.-Gedachtniskirche, Berlin.—
Operas: Die Pfahlbauer (Mayence, 1877; bur-
lesque); Die Nebenbuhler (Wiesbaden, 1879;
romantic); Kleopatra (Magdeburg, 1882);
Die Muhle im Wtsperthale (Magdeburg, 1883;
comic); Der St. Katharinentag (Augsburg,
1889; rom.-comic, 3 acts); Marino Faliero
(Ratisbon, 1889); Die Johannisnacht (Vienna,
1896); Das Jahrmarktsfest zu Plundersweilern
(Bremen, 1908); in MS. are Die Klause von
Sulmenbach and Das Madchen von Treppi —
Also a symph. poem, Ein Tag in Sorrento;
incid. music to Romeo and Juliet; overture
^ihrP^nkd %um Licht> Motetten des K.
Wuh.-Gedachtniskirchenchors (his own com-
positions); pf. -pieces; songs; also wrote Lehre
von den Intervallen.
a *£?£ Adolf, b. Landau, Palatinate, April
4, 1865. Pupil of Mme. Schumann, Dr.
Jaiszt and Brahms; 1887-93, musician to
f0ri"ce Alexander Friedrich of Hesse; since
1893 prof, of music at Syracuse University.
Frezzoli'nl, Erminia, dramatic soprano;
b. Orvieto, 1818; d. Paris, Nov. 5, 1884.
278
rU{?J °tRo??oni (father) and Garcia; then
of N. Tacchinardi at Florence, where she
made her debut (1838) in Bellini's Beatrice di
Tenda. In that year she sang at Siena and
Ferrara; m 1839 at Pisa, Reggjo, Perugia and
Bo ogna; in 1840 at La Scala, Milan, she had
brilliant success in Lucrezia Borgia; thence to
Vienna, and back to Turin, where she married
Poggi, a tenor. At Milan, in 1843, she created
the principal rftle in / Lombardi, written for
her by Verdi; 1848-50, she was eng. at Pe-
trograd; her visits to London (1842, '50) and
Fans (1853) were not particularly successful*
but on her Amer. tour (1857-8) she was
liberally applauded; her voice, however, was
wrecked by striving after 'realistic' effects,
lnat practically closed her stage-career.
Friberth [fre'bSrt], Karl, b. Wullersdorf,
Lower Austria, June 7, 1736; d. Vienna, Aug.
?/. 816' ^ PuPl1 of Bono and Gassmann,
Vienna. Tenor singer 1759-76 in the choir of
Prince Esterhdzyat Eisenstadt; then Kapellm.
of the Jesuits' and Minorites* churches at
Vienna; in 1796 received Order of the Golden
Spur from the Pope.— Works: 9 masses, a
Reautem, a Stabat Mater, graduate, offer-
tones, and 5 motets.
Frick (or Frike), Philipp Joseph, born
n. Wurzburg, May 27, 1740; d. London, June
15, 1798. Organist to the Margrave of Baden;
a remarkable pianist and travelling performer
on Franklin's harmonica, he settled 1780 in
London, where his concerts were very success-
ful.— Published several mediocre theoretical
works; also piano-pieces.
Frkke, August Gottfried Ludwift, bass
opera-singer; b. Brunswick, March 24, 1829;
d. Berlin, June 27, 1894. Pupil of Meinhardt,
Brunswick, where his debut as Sarastro
(Magic Flute) took place in 1851; sang at
Bremen, Konigsberg, Stettin, and (1856-86)
first bass rftles at the Berlin court opera,
succeeding Zschiesche.
Frick'enhaus, Fanny (nee Evans), pian-
ist; b. Cheltenham, Engl., June 7, 1849. Pupil
of G. Mount; later of Aug. Dupont (Brussels
Cons.) and Wm. Bohrer. Since 1879, succ.
concert-player in London, etc.; in 1880 she
played Gdtz's pf.-concerto for the first time
in London. From 1884 she gave chamber-
concerts at Prince's Hall, with Jos. Ludwig.
Fried 'berg, Karl, excellent pianist; b.
Bingen, Sept. 18, 1872. Pupil of the Frank-
fort Cons., where his teachers were J. Kwast,
J. Knorr and Clara Schumann (pf.) and B.
Scholz and E. Humperdinck (comp.); debut
at Vienna, 1892; taught piano at the Frank-
fort Cons., 1893-1904; then prof, at the Co-
logne Cons., 1904-14; liberal leave of absence
enabled him to undertake concert-tours
throughout Europe, which established his
FRIED— FRIES
reputation as an artist of sterling merit; met
with great success on his first tour of the U.
S. in 1914; since 1916 prof, of pf. at the Inst,
of Mus. Art, New York; Chev. Legion of
Honor (Spain) and 'Kgl. Prof/
Fried [frfd], Oskar, b. Berlin, Aug. 10,
1871. Pupil of Humperdinck in Frankfort
and Ph. Scharwenka in Berlin; was for many
years a horn-player in various orchs. until
the performance of his choral work w. orch..
Das trunkene Lied, at Berlin in 1904 attracted
much attention; 1904-10 cond. of the'Stern-
scher Gesangverein'; since 1907 cond. of the
'Gesellschaft der, Musikfreunde' in Berlin;
in 1910 began a series of orchl. concerts,
offering nothing but novelties. In Germany
he is regarded as one of the foremost con-
ductors; his compositions, exhibiting de-
cidedly modern tendencies, have found
strong supporters and equally strong oppo-
nents.— Works: Choral w. orch., Das trunkene
Lied, op. 11; Erntelied, op. 15; Verklarte
Nacht, op. 9, for solo voices and Orch.;
Andante u. Scherzo, op. 2, for wind-instrs.,
2 harps and kettledrums; Prdludium u.
Doppeffuge, op. 10, for string-orch. ; choruses
for fern, voices, op. 12, 14; songs, op. 1, 3, 4,
5, 7, 8, 13.— Cf. P. Bekker, 0. F. (Berlin,
1907); P. Stefan, 0. F. (ib., 1911).
Friedenthal [frt'den-tahl], Albert, b.
Bromberg, Sept. 25, 1862. Pupil there of F.
Agath and W. Steinbrunn, and of Th. Kullak
in Berlin; has successfully toured all civilized
countries as a pianist; has publ. a valuable
book: Musik, Tanz und Dichtung bei den
Kreolen Amerikas (Berlin, 1911).
Fried'heim, Arthur, b. (of German par-
ents) Petroerad, Oct. 26, 1859. Pupil of
Rubinstein for one year, and of Liszt for 8
years. A virtuoso of the first rank, especially
as an interpreter of Liszt; and a gifted con-
ductor. He made his first American tour in
1891, meeting with pronounced success;
equally successful on several subsequent
tours; taught in Chicago Coll. of Music, 1897;
lived some years in N. Y.; then in London;
1908 in Munich; since 1915 again in N. Y.
Comp. concerto for piano and orch. (op. 1,
Bb maj.), several pieces for pf., and songs.
An opera, Die Tdnzerin, was produced at
Karlsruhe in 1897.
Fried lander, Max, eminent musicologist;
b. Brieg, Silesia, Oct. 12, 1852. Pupil of
Manuel Garcia (London) and Stockhausen
(Frankfort). Debut as concert-singer (bass)
1880, at the London Monday Pop. Concerts;
lived in Frankfort 1881-3, since then in
Berlin. There he became interested in his-
torical studies, and research; took a course at
the Univ. under Spitta, and obtained the
degree of Ph.D. at Rostock with the thesis
Beitrdge zur Biographic Fran* Schuberts
(1887); he abandoned the concert-stage,
established himself as 'Privatdozent' at Ber-
lin Univ. in 1894, became full professor and
academic mus.-director in 1903, 'Geheimer
Regierungsrat* in 1908; in 1911 he was
Exchange-Prof, at Harvard Univ., lectured
at many Amer. universities, and received the
degree of LL.p. from the Univ. of Wisconsin.
While collecting materials for an exhaustive
Schubert biogr. he discovered the MSS. of
more than 100 lost songs of that master,
which were publ. for the first time in F.'s
complete edition of Schubert's songs (Ed.
Peters, 7 vols.). Together with Joh. Bolte
and Joh. Meier he has for years been search-
ing every corner of the German Empire in
quest of folk-songs still to be found among
tne people; some of these he publ. in a volume
under the title 100 Deutsche Volkslieder
(1885). F. was a member of the commission
that publ. the monumental Vtdksliederbuch
fur Mdnnerchor (1906), and in 1912 succeeded
von Liliencron as chairman of the same com-
mission preparing a VMsliederbuch fUr ge-
tnischten Chor; has also edited new editions of
the songs of Schumann and Mendelssohn,
of Beethoven's Scotch Songs, and a critically
revised Kommersbuch; besides numerous valu-
able essays (in 'Goethe-Jahrbuch,' 'Vschr.
ftir M.-W.,' etc.), he has published the books
Goethes Gedichte in der Musik (1896), Ge-
diehte von Goethe in Kompositionen seiner
Zeitgenossen (1896), Das Deutsche Lied im
18. Jahrhundert (2 vols., 1902).
Fried'mann, Ignaz, b. Podgorze, near
Cracow, Feb. 14, 1882. Pupil of his father
(pf.), Riemann (comp.) in Leipzig, Adler
(hist.) and Leschetizky (pf.) in Vienna; very
succ. pianistic tours of Europe since 1905;
especially fine as an interpreter of Chopin,
of whose works he prepared a new ed. in 12
vols. (Breitkopf & Hartel); has written pf.-
pieces of merit (Passacaglia, op. 44; Theme
varti, op. 30; Prdludien, op. 48, etc.); also
pieces for vcl. and piano.
Fried 'rich II (der Grosse) . See Frederick.
Fries [fres], Wulf (Christian Julius), b.
Garbeck, Holstein, Ger., Jan. 10, 1825; d.
Roxbury, Mass., April 29, 1902. Self-taught
violoncellist; played in the Bergen th.-orch.
from 1842, and at Ole Bull's concerts. Went
to Boston, Mass., in 1847; in 1849 was
founded [A. Fries (1st vln.), Gerloff (2d vln.),
Ed. Lehmann (1st viola), Oscar Greiner (2d
viola), and W. Fries ('cello) j the Mendelssohn
Quintette Club, to which he belonged for 23
years; later a member of the Beethoven Q.
Club. F. also figured in the Mus. Fund
Society, and the Harvard Musical; played in
trios with Rubinstein, and until 1901 took
girt in frequent concerts all over the New
ngland States, and gave many lessons. As
279
FRIKE— FROBERGER
a thorough musician and fine concert-'cellist,
he exercised a highly beneficial influence.
Frike. See Frick, P. J.
Friml, Rudolf, b. Prague, Dec. 7, 1881.
Pupil of Prague Cons.; came to the U. S. in
1901 as accompanist to Kubelik, and again in
1906; at the conclusion of that tour ne ap-
peared with success as a concert-pianist in
recitals and w. orch.; played his pf. -concerto
Concerts in Hanover; also cond. of the Lehrer-
Gesangverein in Brunswick; R. Musikdir.—
Choral works w. orch.: A thenischer Fruhlings-
rniSn\>yV^al Lenten der Menschheii; for
orch. Rhetntsches Scherzo (op. 14), Herbstnacht
Cop. 12); a string-quartet; male choruses.
icEf18^ *??•?! b' G1^gow, March 3,
1886. Entered R. C. M. in 1900 and st. with
£•■ Pa?7IU5ut,,!?r andF- Hartvieson (pf.) and
with the N. Y. Symph. Orch.; now (1916) Sir C. V. Stanford (comp.j; has become favor-
living in New York as composer. His works . ably known through a Phantasy-Trio ; a strinir-
show a fertile, spontaneous invention, excel-
lent workmanship and careful avoidance of
any modern extravagances; the themes, while
frankly melodious and appealing to the re-
fined popular taste, possess a distinction that
raises them far above the level of the ordinary;
another quality largely contributing to the
unusual success of F.'s works is a fluent,
unaffected style. — Works: The comic operas
The Firefly (Syracuse, Oct. 14, 1912; very
succ.), High Jinks (ib., Nov. 3, 1913; very
succ), Katinka (Morristown, N. J., Dec. 2,
1915 ; succ.) ; mus. comedy You* rein Love (New
Haven, 1916); his numerous pf.-comps. include
op. 12, Concert-waltz; op. 29, Bohemian Dance;
op. 37, Staccato £tude; op. 44, fbtude in F;
op. 57, California Suite; op. 60, Bohemian
Suite; op. 66, Legende; op. 67, Drifting; op. 74,
Aquarellen; op. 79, 5 Mood- Pictures; op. 80,
Pastoral Scenes. For pf. and vln.: Op. 35,
Suite mignonne; op. 50, Berceuse; op. 63,
Dumka; op. 64, O Vermeland, paraphrase on
Swedish folk-songs; oj). 65, Bygone Days,
(paraphrase on Bohemian folk-songs); etc.;
also pieces for vcl. and piano, and songs.
Frim'mel, Theodor von, b. Amstetten,
Lower Austria, Dec. 15, 1853. Student of
medicine and M.D. (Vienna). 'Kustos-Ad-
juncf (asst.-custodian) of the Imperial
Museum, Vienna, from 1884-93; now (1916)
dir. of the art-gallery of Count Schonborn-
Wicsentheid and Dozent of hist, of art at the
Athenaum in Vienna; since 1908 editor of
the Beethoven-Jahrbuch,' which since 1911
appears as 'Beethoven-Forschung.' He has
written several important books on the plastic
arts. His writings about music are Beethoven
und Goethe (1883); Neue Beethoveniana (1887,
with 9 authentic likenesses of B. ; 2d enlarged
ed., 1889); Danhauser u. Beethoven (1892);
Beethovens Wohnuneen in Wien (1894)-
RitraUi e caricature di B, ('Riv. M. I.\ 1897);
Beethoven, in 'Bcruhmte Musiker' (1901; 4th
ed. 1912); Beethoven-Studien: I. B.'s aussere
Erscheinung (1905), II. Bausteine zu einer
Lebensgeschichte des Meisters (1906).
Frischen, Josef, b. Garzweiler, Palatinate,
July 6, 1863. Pupil at the Cologne Cons
(1884-8) of F. Wullner and G. Jensen; munic."
music-director in Lucerne, 1888-92; since
1892 cond. of the Musikakademie and Philh.
280
quartet; a string-quintet; a vcl.-sonata; an
orcnl. suite; and motets.
T*J!?tyi2KShfa£9 pianist; b' Bremen,
Feb 17 1842; d. Stuttgart, Oct. 7, 1881.
£upil of Sobplewski, in Bremen; of Leipzi*
Cons.; and of Biilow and Weitzmann, Berlin.
Alter piamstic tours in France and Italy, he
AV^ln7£,0gau aJrca/ (L1866)» then in Liegnitz
(1867-77) as cond. of the Singakademie; then
studied in Berlin under Kiel, and went to
Stuttgart in 1879.— Works: 2 oratorios. Fin-
gal and David; a symphony, Die Jahreszeiten;
music to Faust; a vln.-concerto; a pf.-concerto;
a banctus Benedictus, and Agnus Dei, for
soli, mixed ch., and orch.; pf. -sonatas and
other pieces; songs, part-songs, etc.
Fritzsch, Ernst Willi elm, b. LGtzen,
Aug. 24, 1840; d. Leipzig, Aug. 14, 1902.
Pupil (1857-62) of Leipzig Cons.; lived
several years in Bern, and in 1866 took over
the music-publg. firm of Bromnitz in Leipzig,
carried on under his own name urrtil 1903
then acquired by C. F. W. Siegel. A warm
advocate of progress in music, and of Wag-
ner's tendencies in particular, he publ. the
latter's GesammelU Schriften, edited the
radical 'Musikalisches Wochenblatt' from
1870, and in 1875 started the 'Musikalische
Hausblatter.' By publishing the works of ris-
ing composers (Rheinberger, Thieriot, Svend-
sen, Grieg, Cornelius, v. Herzogenberg, Rie-
menschneider, etc.), he very practically pro-
moted modern musical development. He was
an excellent musician, and for many years a
member of the Gcwandhaus Orch.
Fro'berger, Johann Jakob, the most
famous German organist of the 17th cent.;
b. Halle (?), 1605 (?); d. Hericourt, Haute-
Sa6ne, France, May 7, 1667. . It seems prob-
able that the Swedish ambassador, passing
through Halle (1620 ?), was struck by the
beauty of F.'s voice, and induced the latter to
?o with him to Vienna, where he entered the
mperial choir. It is uncertain who his teacher
was; but from Jan. 1 to Sept. 30, 1637, he
was court organist at Vienna, then receiving
the sum of 200 florins to enable him to study
in Rome (1637—41) under Frescobaldi. He
again held the same post at Vienna from
1641-45, and from 165^-7; after this he made
long concert-tours (to Paris and London),
FRflHLICH— FROTZLER
and spent his last years in the service of the
Duchesse Sybille of Wiirttemberg at her cha-
teau near Hericourt. Although two collections
of toccate, canzoni and partite were publ. long
after his death (1693 and '96, resp.;, there is
internal evidence that the majority of these
works were written before 1650. Thus F.
must be regarded as the real creator of the
pf. -suite, as well as the master who definitely
fixed the order of movements in the suite
(Allemande, Courante, Sarabande, Gigue). —
Organ- works: Toccatas, fantasias, canzoni,
fugues, etc., of which 3 MS. vols, are in the
Vienna Library; in Berlin are 2 printed vols.,
Diverse ingegnosissime, rarissime, et non maj
piu visit curiose partite di toccate, canton*,
ricercari, capricci, etc. (1693; reprinted at
Mayence in 1695), and Diverse curiose e rare
partite musicali, etc. (1696); also a vol. of
Suites de clavecin (n. d.). — A complete ed. of
F.'s works was publ. by'G. Adler in 'Dkm. d.
Tonk. in Osterreich' (vols, iv, 1; vi, 2; x, 2).
A monograph on F. was publ. by Fr. Beier in
Waldersee's 'Sammlung musikalischer Vor-
trage' (Nos. 59 and 60); and 2 letters from
Duchesse Sybille to Chr. Huygens concerning
him were publ. by E. Schebek (Prague, 1874).
A MS. preface to Fuchs' thematic catalogue
of Froberger's works (Berlin Library) also
throws some light on his career.
Fr5'(h)lich, Joseph, b. Wurzburg, May
28, 1780; d. there Jan. 5, 1862. He founded the
students'* 'Akademische Bande' for vocal and
instrl. music, which became the 'Akademi-
schcs Musikinstitut' in 1804, out of which
grew, later, the present Royal School of
Music. He was director of the Institute till
1858; and also Mus. Dir. of the University. —
Publ. a biography of Abbe Vogler; a Musik-
lehre mil Anwetsungenfurs Spiel oiler gebrduch-
lichen Instrumente (in 4 parts); separate
Methods for all instruments; a Vocal Method;
and numerous essays in various papers. —
Comp. an opera, Scipio; masses, a Requiem,
symphonies, part-songs, songs.
Fromm, Andreas, 1649-51 cantor and
prof, at the Padagogium in Stettin; wrote the
first German oratorio, Die Parabel von dent
reichen Mann und dent armen Lazarus (1649);
a Dialogus Pentecostalis is also preserved. —
Cf. R. Schwartz, Das erste deutsche Oratorium,
in 'Jahrb. der Musikbibl. Peters' (1899).
Fromm, Emil, b. Spremberg, Niederlau-
sitz, Jan. 29, 1835; pupil of Aug. Wilh. Bach,
Grell, and Schneider at the R. Inst, for
Church-music in Berlin. Cantor in Kottbus,
1859; Royal Mus. Dir. in 1866; organist at
Flensburg, 1869. Founder and cond. of the
Flensburg Singverein. — Works: 2 Passion
Cantatas; an oratorio, Die Kreuzigung des
Herrn; male choruses, organ-music, etc.
Fronti'ni, F. Paolo, b. Catania, Aug. 6,
1860; pupil of P. Platania at Palermo, and
I^auro Rossi at Naples. Dramatic comp.; at
present Dir. of the Catania Music Inst. —
Operas: Nella (Catania, 1881); 3-act opera-
seria Mal\a (Bologna, 1893; succ.); // Fal-
coniere (Catania, 1899); Aleramo (not perf.).
Also the oratorio Sansone (1882), and nu-
merous songs and pf. -pieces. Ricordi publ.
his collection of Canti popolari siciliani.
Frosch'auer, Johann, an Augsburg print-
er (end of 15th century), is believed to have
been the first to print music with movable
types in Michael Keinspeck's 'Lilium musicae
planae,' 1498.
Frost, Charles Joseph, b. Westbury-on-
Trym, Engl., June 20, 1848; pupil of his
father (org. at Tewkesbury), and of Geo.
Cooper, Sir John Goss, and Steggall. From
1865 he held various appointments as org.,
the last being at St. Peter's, Brockley (1884);
here he founded a choral society in 1885. In
1877, Mus. Bac; in 1882, Mus. Doc., Cantab.;
since 1880, also prof, of organ at the Guildhall
S. of Mus. Has given many concerts, recitals
and lectures. — Works: By the Waters of
Babylon, cantata (1876); Nathan's Parable,
oratorio (1878); Harvest Cantata (1880);
Psalms 92 and 137, for soli, ch. and organ;
Festival Te Deum; church-music; a symphony;
organ-music (55 hymn-tune voluntaries, 40
preludes, 27 original pieces, a sonata in A);
harmonium-music; songs, part-songs.
Frost, Henry Frederick, b. London,
Mar. 15, 1848; d. there May 3, 1901. In 1856
chorister at St. George's chapel, Windsor,
assisting at all the royal functions up to 1863.
In 1865> organ-pupil of Seb. Hart, London;
in the same year he became org. of the Chapel
Royal, Savoy (resigned 1891); was prof, of
Piano at the Guildhall S. of Music 1880-8.
rom 1874, he was critic for 'The Weekly De-
spatch'; from 1877 (with Prout) of 'The
Academy', later of The Athenaeum,' and The
Standard.' Wrote a biography of Schubert
for the 'Great Musicians' series; publ. the
Savoy Hymn-tunes and Chants.
Frotzler, Carl ['Auer'J, b. Stockerau,
Lower Austria, April 10, 1873. Of very
Erecocious development, he was taught by
is father till 1888, when he ent. the Vienna
Cons, (having already comp. a grand mass in
Bb, an offertory, and miscellaneous pieces up
to op. 21), studying until 1891 under Franz
Krenn. From 188/-93, F. was also org. at
the Pfarrkirche, Stockerau, and chamber-
virtuoso (pf.) to Prince Heinrich Reuss IV.
From 1893-7, Kapellm. to Count Nicolaus
Esterhazy at Totis, Hungary; since then,
Kapellm. at the City Th., Linz-on- Danube.
— Works: 3 operas, Arnelda (Totis, 1894;
won prize of the Ger.-Amer. Opera Society
281
FRUGATTA— FUCHS
in Phila.), Der Liebesring (Totis, [?)), Mathias
Corvinus (Pest, Royal Opera, 1896; publ.
1897); 3 masses, several offertories, 1 sym-
phony, a Scherzo f. orch., Suite f. orch. (all
MS.); minor pes. (Tanmueisen, Valse de
concert, f. pf.); a Festmarsch, etc.
Frugat'ta, Giuseppe, pianist; b. Ber-
gamo, May 26, 1860. Pupil of Ant. Bazzini
(comp.) and C. Andreoli (pf.) at Milan Cons.,
where he is now prof.; since 1892 also prof, at
the 'Collegio reale delle Fanciulle.' — Pf. -works
(a trio, sonata, fantasia, Schizsi di Valzer,
Polonaise de concert, 3 morceaux de cone.,
Moments poStiques,' etc.); a pf.-trio (prize of
the Acad, at Florence, 1893); a str.-quartet
(prize of St. Cecilia Acad, at Rome, 1898); a
pf. -quintet w. clarinet (prize, London, 1899);
also publ. Preparazione al 'Gradus ad Par-
nassunt' di Clementi (1913).
Friih, Armln Leberecht, b. Mtlhlhausen,
Thuringia, Sept. 15, 1820; d. Nordhausen,
Jan. 8, 1894. He invented, in 1857, the
'Semeiomelodicon' (an apparatus for facili-
tating elem. mus. instruction, consisting of
a series of note-heads, which, when pressed
by the finger, produce tones of corresponding
pitch) ; he travelled to introduce his invention
to prominent musicians, and established a
factory in 1858, at Dresden, but soon failed.
—Opera, Die Bergknappen (Berlin, 1848).
Fry, William Henry, b. Philadelphia,
Aug. 10, 1813; d. Santa Cruz, Sept. 21, 1864.
Pupil of L. Meignen in harm, and cpt. In
1845 he brought out the opera Leonora at
Philadelphia and New York; in 1863, Notre
Dame de Paris (Phila.). He also comp. the
symphonies Santa Claus, The Breaking Heart,
Chitde Harold, and A Day in the Country;
a Stabat Mater, several cantatas, many songs.
A journalist by profession; for many years
music critic of the N. Y. 'Tribune.1
Fryer, Herbert, b. Hampstead, London,
May 21, 1877. From 1893-5 he attended
the R. A. M., studying pf. with O. Beringer;
winning a scholarship at the R. C. M. in
1895, he cont. his studies there with F.
Taylor until 1898; during the summer of
that year pupil of Busoni at Weimar; debut
Nov. 17, 1898, in London in recital; has made
successful tours of the British Isles, Germany,
France, Switzerland, Russia, Scandinavia;
prof, of pf. at R. A. M. and mem. of Bd. of
Examiners of R. A. M. and R. C. M., 1905-
14; resigned in order to make tours of Canada
and the U. S., which proved very successful;
N. Y. debut, Dec. 9, 1914; since 1915 prof, of
?f. at Inst, of Mus. Art, N. Y. Dunng the
all of 1915 he gave 80 concerts in the various
military hospitals and camps in France.
Among his pf. -works (op. 2-12) a Suite, op.
11, is noteworthy; has also written songs.
e
Frysinger, J. Frank, b. Hanover, Pa.,
Apr. 7, 1878. He began to play the org. at
the age of 8; st. org. and harm, with F. W.
Wolff in Baltimore, 1890-8; then at N. Y.
Coll. of Mus. (1898-1900) pf. with S. C.
Engel and comp. with E. S. Kelley; 1900-3
pupil of R. Burmeister (pf. and comp.) in
N. Y.; 190*-7 of R. Kinder (org., comp.,
orch.) in Philadelphia, and in 1908 of W.
Wolstenholme (org.) in London. 1909-1 1 org.
and ch.m. at First Presb. Ch., York, Pa.,
and dir. of Hood Coll. Cons., Frederick, Md.;
since 1911 org. and ch.m. at First Presb. Ch.,
Lincoln, Neb., and head of org.-dept. at
University Sch. of Mus.; 1914 Fellow Inc.
Guild of Church Musicians, London. Has
publ. about 100 pes. f. pf. and meritorious
works for organ (Scherzo symphonique, Chant
sSraphique, Toccata in A, Nocturne in G, etc.).
Fuchs [f66ks], Albert, b. Basel, Aug. 6,
1858; d. Dresden, Feb. 15, 1910. Pupil of
Leipzig Cons. (1876-9); from 1880, mus.
director at Trier; from 1883-9 he lived at
Oberldssnitz, near Dresden; 1889-98 owner
and manager of the Wiesbaden Cons.,
succeeding Taubmann; from 1898 prof, at
the Dresden Cons, and (from 1901) cond. of
the Schumann Singakademie; made R. Prof,
in 1908. — Works: Hungarian Suite f. orch.;
vl.-concerto, op. 25; Seli^ sind, die im Herrn
sterben, f. soli, ch. and orch.; Das tausend-
jdhrige Reich, do.; str. -quartets; vl. -sonatas;
a vcl.-sonata; many choruses for male, fern,
and mixed voices; pf. -works (sonata in F m.,
etc.); songs; duets. Among his posth. papers
an opera, Nirwana, was found. — Cf. F. A.
Geissler, A. F., in vol. iii of 'Monographien
modcrner Musiker' (Leipzig, 1909).
Fuchs, Aloys, b. Raase, Austrian Silesia,
June 6, 1799; d. Vienna, Mar. 20, 1853. A
collector of mus. MSS. and portraits of musi-
cians, and a contributor to various periodicals
in Vienna and Berlin. His unique art-
treasures were dissipated after his death.
Fuchs, Georg Friedrich, b. Mayence,
Dec. 3, 1752; d. Paris, Oct. 9, 1821. Pupil
of Cannabich at Mannheim. A clarinettist
and band-master at Zweibrticken, he went to
Paris in 1784, and in 1795 was app. prof, of
clarinet in the Cons. — Compositions for
wind, and numerous chamber-works.
Fuchs, Johann Nepomuk, b. Frauen-
thal, Styria, May 5, 1842; d. Voslau, n.
Vienna, Oct. 5, 1899. St. w. Sechter at
Vienna; app. Kapellm. of the Presburg
opera in 1864; held like positions at Cologne,
Hamburg, Leipzig (Carola Th.), and (1880)
at the Vienna Opera. In 1893 he succeeded
Hcllmesberger provisionally as Dir. of Vienna
Cons.; in 1894 the appointment was con-
firmed.— He prod, the opera Zingara (Briinn,
1892), and arranged Handel's Almira for
282
FUCHS— FULLER-MAITLAND
Hamburg, also Schubert's Alfonso und Es-
tella and Gluck's Der betrogene Cadi for
Vienna.
Fuchs, Karl, b. Offenbach, Tune 3, 1865.
In 1874 he began the study of the 'cello with
Riedel; 1881—5 pupil of B. Cossmann at the
Hoch Cons, in Frankfort; after his year of
military service he reentered in 1886, was
heard by Davidov, whom he followed to
Petrograd; there he studied with him one
year at the Cons., and played in the Imp.
Orch. under A. Rubinstein; since 1887 first
'cellist of the Halle Orch. at Manchester;
on the foundation of the R. Manchester Coll.
of Mus. app. prof, there, a position he still
(1916) holds; formerly member of the Schie-
ber Quartet at Liverpool; since 1895 of the
Brodsky Quartet; has toured^ Germany, Hol-
land and Italy; holds appointment as solo
'cellist to the Duke of Hesse; is also a fine
pianist. He has publ. a Violoncello Method
(3 vols., 1906).
Fuchs, Karl Dorius Johann, distin-
guished pianist, writer, and critic; b. Pots-
dam, Oct. 22, 1838. A pupil of his father,
and of Hans v. Biilow; later of Weitzmann
and Kiel. He took the degree of Dr. pkil.
at Grcifswald, his dissertation being Prd-
liminarien zu einer Kritik der Tonkunst.
From 1871-5 he lived in Berlin as a concert-
pianist, teacher, and critic; 1875-9, in Hirsch-
berg; from 1879, in Danzig, where he has
been org. at the Petrikirche since 1886; R.
Prof, in 1904. — Publ. Betrachtungen mil und
gegen A. Schopenhauer ('Neue Berl. Musik-
zeitung'); Ungleiche VerwandU unler den
Neudeutschen, and Hellas (1868); Virluos und
DUeUant (1869); Die Zukunft des musikal.
Vortrags (1884, 2 parts); Die Freiheit des
mus. Vortrags (1885); Praktische Anleitung
zum Phrasieren (1886, with Huso Riemann;
Engl, transl. New York, 1892); KUnstler und
KrUiker (1898); Takl und Khythmus im
Choral (1911).
Fuchs, Robert, brother of Joh. Nep.; b.
Frauenthal, Feb. 15, 1847. Pupil of Vienna
Cons.; since 1875 prof, of theory there. —
Publ. 2 symphonies (op. 37, 45) ; 3 interesting
orchl. serenades; Andante and Capriccio f.
orch.; an overture, Des Metres und der Liebe
Wellen (op. 59); Elfen u. Zwerge, fern. ch. w.
orch.; Gesiillte Sehnsucht, do.; a pf. -concerto;
pf. -trios; pf. -sonatas; sonata w. 'cello; 2
sonatas w. vln.; 2 string-quartets, in E (op.
58) and A m. (op. 62); a pt.-quartet in G m.;
variations f. pf., etc. His serenades f. string-
orch. are peculiarly interesting. He has also
prod, the romantic comic opera Die Konigs-
braut (Vienna, 1889; successful), and the 3-act
'Spieloper' Die Teufelsglocke (Leipzig, 1893;
mod. 8ucc.).
Fuchs, Ferdinand Karl, b. Vienna, Feb.
11, 1811; d. there Jan. 7, 1848. A pupil of
Vienna Cons., and a popular song-composer.
— 3 operas: GuUenberg and Der Tag der
Verlobung (both Vienna, 1842), and Die
Studenlen von Salamanca (not perf.).
Fuenllana [ffio&n-l'yah'nah], Miguel de,
blind lute-virtuoso, chamber-mus. to the
Marchesa de Tarifo; dedicated (1554) to
Philip II Libro de musica para vihuela, inli-
tulado OrfSnica Lira. The work gives evi-
dence of a high state of musical art in Spain
during the 16th cent.; besides Fantasias
and other comps. f. lute by F., it contains
arrangements f. lute of works by Vasquez,
Morales, P. and F. Guerrero, Flecha, Rava-
nida, Bernal and several Flemish masters. —
Cf. H. Riemann, in 'Monatsh. f. M.-G.' (1895).
Fuen'tes, Don Paaquale, b. Albaida, Va-
lencia, early in the 18th century; d. there
Apr. 26, 1768, as maestro at the cathedral.
Eminent church-comp. (masses, Te Deums,
motets, villancicos, etc.).
Fuer'tea. M. See Soriano-Fuertes.
Fflh'rer, Robert, b. Prague, Tune 2, 1807;
d. Vienna, Nov. 28, 1861. Pupil of Vitasek;
org. at Strahow; in 1830, head-teacher in the
Prague School for Organists; 1839-45,
Kapellm. at the cathedral, succeeding Vita-
sek; then resided in Salzburg, Gmunden,
Ischl, and Vienna. Because of dishonest
acts (he publ. one of Schubert's masses
under his own name) he was dismissed
more than once, and died in great poverty.
— Works: Nearly 100 masses; other churcn-
music; organ-pcs. (preludes, fugues, etc.);
theoretical works on the organ.
Fuhrtnann, Martin Heinrich, b. Tem-
plin, Dec. (bapt. 29th), 1669; d. after 1740, as
Lutheran cantor in the Werder Gymnasium,
Berlin (from 1704); an admirer of Mattheson,
and an eminent theorist and critic. He
publ. a series of theoretical and polemical
treatises; his earliest pedagogical work is
'Musikalischer Trichter, dadurch ein ge-
schickter Informator seinen Informandis die
edle Singekunst nach heutiger Manier bald
und leicht einbringen kann' (Frankfort,
1706).— See Q.-Lex.
Fuller-Mai tland, John Alexander, b.
London, Apr. 7, 1856. Mus. critic of 'Pall
Mall Gazette,' 1882-4; of The Guardian,'
1884-9; then (as successor to F. Hueffer) of
The Times,' 1889-1911; has lectured ex-
tensively on the hist, of Engl, mus.; appeared
as pianist with the Bach Choir and as per-
former on the harpsichord in histor. concerts;
contrib. to the first ed. of Grove's 'Dictionary*
and ed. of the 'Appendix'; ed. -in-chief of
the 2d ed. (1904-10); ed. of 'Engl. Carols
of the 15th cent.' (1887); 'Engl. Country
283
FUMAGALLI— FCRSTENAU
Songs' (1893; with L. E. Broadwood); 'Fitz-
william Virginal Book' (1899; with W. B.
Squire, his brother-in-law); 12 trio-sonatas
and St. Cecilia Ode of Purcell in the monu-
mental ed. of the Purcell Soc. Together with
Clara Bell he transl. Spitta's Back (3 vols.,
1884; 2d ed. 1899); compiler of the catalogue
of the mus. division of the Fitzwilliam Mu-
seum (1893). He is the author of the follow-
ing books: Schumann (1884), Masters of
German Music (1894), The Musician's Pil-
grimage (1899), English Music in the 19th
Century (1902), The Age of Bach and Handel
(vol. iv of 'The Oxford Hist, of Mus.,' 1902),
Joseph Joachim (1908), Brahms (1911; transl.
into German by A. W. Sturm, 1912), The
Consort of Music (1915).
Fumagalli, four brothers, natives of In-
zago, Italy: Disma, b. Sept. 8, 1826; d.
Milan, March 9, 1893. Pupil of, and from
1857 prof, in, Milan Cons. Proline comp. of
pf. -music (over 250 numbers). — Adolf o, b.
Oct. 19, 1828; d. Florence, May 3, 1856.
Excellent pianist, pupil of Gaetano Medaglia,
and later of Angeleri and Ray at Milan Cons.
(1837-47); then undertook brilliant tours
throughout Italy, France, and Belgium, earn-
ing the sobriquet of the 'Paganini of the
pianoforte.' He publ. a great number of
elegant and effective pf.-pieces, which ob-
tained extraordinary vogue. Filippo Filippj
wrote a sketch, Delia vita e delle opere di
Adolfo Fumagalli (Milan, Ricordi). — Pollbio,
b. Oct. 26, 1830; d. Milan, June 21, 1891.
Pianist; composer for pf. and for organ (fine
organ-sonatas). — Luca, b. May 29, 1837; d.
Milan, June 5, 1908. Pupil of Milan Cons.;
fine concert-pianist; played with great suc-
cess in Paris (1860), and published much-
admired salon-music for pf.; also produced
an opera, Luigi XI, at Florence, 1875.
' Fu'ml, Vlncealao, b. Montepulciano, Tus-
cany, Oct. 20, 1823; d. Florence, Nov. 20,
1880. Pupil of Giorgetti in Florence for violin
and theory; then became an opera-conductor,
holding positions in various Italian cities; also
in Constantinople, Montevideo, and Buenos
Aires, finally at Florence, in the Pagliano Th.
As a conductor he was renowned throughout
Italy; his comps. were an opera, A tola (Buenos
Aires, 1862), a solemn march, a symphony,
and the orchl. works La siesta della SeHorita,
All9 ombra de* Palmizt, and II sogno di Gret-
then. A collection of folk-songs of all times
and nations remains unfinished.
Furlanet'to, Bonaventura (called Mu-
sin), b. Venice, May 27, 1738; d. there April
6, 1817. A pupil of Formenti and Rolla, he
early began composing and teaching; was
singing-teacher and conductor in the female
Cons. 'Ospedale della Pieta,' for which he
wrote several oratorios and cantatas; he was
also known as a good organist. He became
deputy maestro at S. Marco in 1794, and 2d
maestro in 1797, succeeding Bertoni in 1810
as first maestro. In 1811 he was also app.
prof, of cpt. and fugue at the Istituto Filar-
monico. His church-compositions (in MS.)
bear witness to his ability as a contrapuntist
and harmonist. — Fr. Cam publ. Delia vita e
del comporre di B. Furlanetto (Venice, 1820).
Fumjhelm [f&orn'yelm], Erik Gustav,
b. Helsingfors, July 6, 1883. Pupil of H. Sitt
(vln.) and J. Sibelius and M. Wegelius
(comp.) ; later, on subvention from the state,
of R. Fuchs in Vienna; since 1909, prof, of
comp. at the Cons, in Helsingfors. He has
attracted attention by a Symphony in D, a
Phantastic Overture, a Konsertstuck for vln.
and orch. in Eb m., aiid a pf. -quintet.
Fur'no, Giovanni, b. Capua, Jan. 1,
1748; d. Naples, June 20, 1837. Studied from
1755 in the Cons, di S. Onofrio, Naples, suc-
ceeding his teacher, Cotumacci, as prof, of
thorough-bass; also taught at the Cons, della
Pieta, S. Sebastiano, and (1808-35) at S.
Pietro a Majeila; among his pupils were Bel-
lini, Mercadante, Conti, Costa, Curci, Lillo,
Petrella, Lauro Rossi, L. and F. Ricci, etc. —
Operas: Vallegria disturbata (1778) and
Vimpegno (1783).
Funch-Ma'di, Emmy, dramatic soprano;
b. Bayonne, France, 1847; d. Warrenville,
Somerset Co., N. J., Sept. 20, 1894. Pupil of
Paris Cons.; her first opera-engagement was
in Paris, when she made a hit as Marguerite
in Gounod's Faust; in Brussels, soon after,
she created the role of Aida at Verdi's re-
Suest. Visited America in 1874 with the New
cleans French Opera Co.; sang at Covent
Garden, 1879-81 ; at N. Y. in the Academy of
Music and the Metropolitan O. H., where her
final appearance (Feb., 1894) was made as
Ortrud in Lohengrin. Both in London and
New York she was a prime favorite. Her
chief roles were Lucrezia Borgia, Donna
Anna, Aida, Leonora, Valentine, etc.
Furst'enau, Anton Bernhard, son and
pupil of Kaspar; b. Miinster, Oct. 20,
1792; d. Dresden, Nov. 18, 1852. Solo con-
cert-flutist from the age of 7; travelled with
his father from 1809; settled (1820) in Dres-
den as chamber-virtuoso. His published
works number about 150, and are valuable
contributions to flute-literature.
Furst'enau, Kaspar, b. Miinster, West-
phalia, Feb. 26, 1772; d. Oldenburg, May 11,
1819. Famous flute- virtuoso, first flute in the
Oldenburg court orch., 1784-1811.— About 60
publ. concertos, fantasias, rondos, etc., f. flute.
Furst'enau, Moritz, son of Anton; b.
Dresden, July 26, 1824; d. there March 25,
1889. Flutist; member of Dresden court orch.
from 1842; librarian of the musical section in
284
fOrstner— gabrieli
the Royal Library from 1852; from 1858,
flute-teacher in the Cons. A profound student
of history, he publ. Beitrdge zur Gesch. d.
koniglich s&chs. tnusikalischen Capelle (1849);
Zur Gesch. d. Musik u. des Theaters am Hof
zu Dresden (1861-2, 2 vols.) [a Supplement,
by Dr. Hans v. Brescius, entitled Die Konigl.
Sachs, musikalische KapeUe von Reisziger Sis
Schuch, 1826-98, was publ. at Dresden, 1898];
Die Fabrication tnusikalischer Instrument im
sdchsischen Vogtland (1876, with Th. Ber-
thold); also essays and articles in musical
journals, in 'Mittheilungen des kgl. sachs.
Alterthumsvereins,, in Mendel's 'Musikal.
Con versat ions- Lexikon,' etc.
Fttrst'ner, Adolf, b. Berlin, April 3, 1833;
d. Bad Nauheim, June 6, 1908. Founded
(1868) a music-publishing house in Berlin;
also purchased (1872) the business of C. F.
Meser in Dresden (publisher of Wagner's
Rienzi, Fl. Hollander, and Tannhduser) ; pub-
lisher of all the dramatic works of R. Strauss.
Fuz [fodks], Johann Joseph, composer
and learned theorist; b. Hirtenfeld, Upper
Styria, in 1660; d. Vienna, Feb. 14, 1741.
Nothing definite is known concerning his
teachers or course of study. In 1696 he was
app. organist at the Schottenkirche, Vienna;
in 1698 he was made court comp.; in 1704
Kapellm. at St. Stephen's, and asst.-Kapellm.
to the court in 1713, succeeding Ziani as first
Kapellm. (the highest position attainable for
a musician) in 1713. This office he held until
his death, under 3 successive emperors, and
received many marks of imperial favor. His
extant works number 405 ; very few have been
published. The one best known is his treatise
on counterpoint, Gradus ad Pamassum, publ.
originally in Latin (Vienna, 1725), since then
in German, Ital., Fr., and Engl. (1791). Mo-
zart and Haydn studied it; Cherubini and
Albrechtsberger adopted its method, which
was sanctioned by Piccinni, Martini, and
Vogler; yet it did not recognize the modern
system of tonality already established when
it was issued, but was grounded on the old
church-modes. — His compositions include 18
operas; 10 oratorios; 29 partitas (among them
the Concentus musico-instrumentalis, a 7);
overtures; much sacred music: 50 masses
(the Missa canonica is a contrapuntal master-
piece); 3 requiems, 2 Diesirae, 57 vespers and
psalms, ^tc, etc.; and 38 'sacred sonatas' a 3
(lost). A selection from his works is publ. in
'Dkm. d. Tonk. in Osterreich/ vol. if 1 (4
masses), vol. ii, 1 (27 motets), vol. ix, 2 (2
sacred sonatas, 2 overtures), vol. xvii (the
opera Costanza eforlezza). — Cf . L. von Kdchel,
/. /. F. (Vienna, 1872; full biog. and thematic
cat. of works); C. Schnabl, /. /. F., der
osterreichische Palestrirta, in 'Jahrb. der I^o
Geaellschaft' (Vienna, 1895).— See Q.-Lex.
Gabriel, Max, Kapellm. 1890 in Rcsidenz-
Th. at Hanover; has prod, the 3-act operetta
Steffen Longer (Magdeburg, 1889; succ.);
3-act operetta Der Freiwerber (Hanover, 1890;
succ); operetta Der Garde-Uhlan (Breslau,
'92; succ.; in Berlin, 1893, as Der Garde-
Husar).
Ga'briel, Mary Ann Virginia, composer;
b. Banstead, Surrey, Engl., Feb. 7, 1825; d.
London, Aug. 7, 1877. A pupil of Pixis,
Ddhler, Thalberg and Molique. Married Geo.
E. March, who wrote most of her libretti. —
Works: 3 cantatas, Evangeline, Dreamland,
and Graziella; 5 operettas, Widows Bewitched,
Grass Widows, Shepherd of CornouaiUes, Who's
the Heir? and A Rainy Day; pf.-pieces, part-
songs, and many songs.
Gabrieli, Andrea, b. Venice (Canareggio
quarter), c. 1510; d. there 1586. A pupil of
Adrian Willaert (the founder of the Venetian
school); chorister at S. Marco in 1536, and in
1566 succeeded Claudio Merulo as second org.
The most eminent org. of his time, he had
many distinguished pupils: his nephew Gio-
vanni, Hans Leo Hassler, and Jan Pieter
Sweelinck [?) (founder of the North German
school of organists). He was a prolific comp.,
many works being still extant: Sacrae can*
Hones a 5 (1565; 2d ed. 1584); Cantiones
ecdesiasticae a 4 (1576; 2d ed. 1589); Can-
tiones sacrae a 6-16 (1578) ; masses a 6 (1570) ;
P salmi poenitentiales 6 vocum (1583); Canzoni
alia francese per Vorgano (1571 and 1605);
sonatas a 5 (1586); and 7 books of madrigals
a 3-6 (publ. between 1572-88); Giovanni Ga-
brieli publ. many of his organ-pieces in the
'Intonazioni d'organo' (1593), 'Ricercari per
l'organo' (1595), three vols.; also vocal music
in the 'Canti concertati' a 6-16 (1587). De-
tached pieces are in P. Phalese's 'Harmonia
celeste' (1593), 'Symphonia angelica' (1594),
and 'Musica divina' (1595); a sonnet, in Zuc-
carini's 'Corona di dodeci sonetti' (1586). His
festival songs for double chorus, for the
reception of Henry III of France (1574), are
in Gardane's 'Gemme musicali' (1587). —
See Q.-Lex.
Gabriel!, Domenlco (called 'the Mene-
ghino del violoncello'), b. Bologna, c. 1640;
d. Modena, July 10, 1690. An excellent
'cellist; for several years maestro at the Ch.
of S. Petronio, and (1683) president {principe)
of the Philharm. Acad., Bologna. He prod. 9
operas; 2 at Bologna and 7 at Venice. Post-
humous publications: Cantate a voce sola
(1691), Vexillum pacis (motets for viola sola,
with instrl. accomp.; J 695); and Balletti,
gifhe, correnti e sarabande for 2 vlns. and 'cello,
with basso continuo (2d edition 1703). —
See Q.-Lex.
285
GABRIELI— GADE
Gabrie'li, Giovanni, nephew and pupil of
Andrea; b. Venice, 1557; d. there Auk. 12,
1612. Celebrated organist and teacher; Hein-
rich Schutz was his pupil. From 1575-9 he
lived in Munich; in 1586 he succeeded C.
Merulo as first org. at San Marco's in Venice,
where he remained till his death. As a com-
poser, he stands at the head of the Venetian
school. — Publ. works: Madrigali a 6 voct o
istromenti (1585); Madrigali e ricercari a 4
voci (1587); Ecclesiastical cantiones4-6 vocum
(1589); Sacrae symphoniae (a 6-16, for voices
or instruments, 1597) ; Symphoniae sacrae, lib.
it, 6-19 voe. (1615); Canzoni e sonaie a 3-22
voci (1615). He included ten pieces of his
own composition in the edition of the 'Canti
concertati* (by Andrea and Giovanni G.);
many are in the 'Intonazioni* and 'Ricercari
perl'organo' (subANDREAG.); detached pieces
in contemporary colls. Fine choruses for
two and three choira (cori spezzati). — K. von
Wintcrfeld wrote Johannes G. und sein
Zeitalter (1834; 2 vols., and a vol. of music-
supplements). — Sec Q.-Lex.
Gabriel!!, Catterina, coloratura stage-
singer; b. Rome, Nov. 12, 1730; d. there in
April, 1796. Pupil of Padre Garcia and Por-
pora; debut at Lucca, 1747,# in Galuppi's
opera La Sofonisba. She sang' with brilliant
success on the principal Ital. stages, at Vienna
(1751-65), and Petrograd (1769); and again
in Italy 1777-80, when she retired.
Gabrielli, France«ca (called La Gabrlel-
lina, or La Ferrarese, to distinguish her
from Catterina); b. Ferrara, 1755; d. Venice,
1795. Celebrated prima donna buffa, pupil
of Sacchini in Venice; debut at Venice in
1774; she sang at Florence, Naples,"and Lon-
don (1786), where she spent some years;
after which she sang in Turin.
Gabrielli, conte [Count] Nicold, born
Naples, Feb. 21, 1814; d. Paris, June 14,
1891. Pupil of Buonamici, Conti, Donizetti,
and Zingarelli, at Naples Cons.; from 1854 he
lived in Paris. — Works: 22 operas and 60
ballets, prod, at Naples, Paris, Lyons, Vienna,
etc., none of which merit special mention.
Gabriel'skl, Johann Wllhelm, flutist; b.
Berlin, May 27, 1791; d. there Sept. 18, 1846.
Pupil of A. Schrdck. In 1814 he joined the
Stettin theatre-orch., and in 1816 was app.
royal chamber-musician at Berlin. He made
extended concert-tours, and wrote concertos,
quartets, trios, duos and solo-pieces for flute;
also songs.
Gabrielski, Julius, brother and pupil of
preceding; b. Berlin, Dec. 4, 1806; d. there
May 26, 1878. Excellent flutist; from 1825,
member of the Berlin royal orch.
Gabrilo'vitch [Gabrilowitsch], Ossip
Salomonovitch, notable pianist; b. Petro-
grad, Feb. 7, 1878. From 1888-4)4 he was a.
pupil of the P. Cons., studying piano with A.
Rubinstein and comp. with Navratil, Liadov
and Glazunov; graduated as winner of the
Rubinstein Prize, and then spent the following
two years (1894-6) in Vienna under Lesche-
tizky; debut at Berlin, Oct., 1896; then fol-
lowed successful tours of Germany, Austria,
Russia, France and England; on his first
Amer. tour (1900) he won golden opinions,
and deepened the favorable impression on
subsequent visits (1901, '06, '09, '14, '15, '16).
During .the season of 1912-13 he won veri-
table triumphs in several European capitals
with his series of six historical concerts illus-
trating the development of the piano-concerto
from Bach to the present day (18 concertos
by Bach, Mozart, Beethoven, Weber, Men-
delssohn, Schumann, Chopin, Liszt, Rubin-
stein, Tchaikovsky, Brahms, Franck, Saint-
Saens, Grieg, Rachmaninov) ; on his Amcr.
tour 1914-15 he repeated the entire series in
several of the larger cities, meeting with the
same enthusiastic reception. From 1910-14
he lived in Munich as cond. of the 'Konzert-
verein.1 On Oct. 6, 1909, he married the con-
tralto Clara Clemens (daughter of Mark
Twain) ; since then he has frequently appeared
with her in joint recitals.
Gabus'sl, Vlncenzo, b. Bologna, 1800; d.
London, Sept. 12, 1846. Pupil of Padre
Mattei; he taught singing and pf. -playing,
and went to London in 1825. He publ. a
series of songs, which won him the sobriquet,
in Italy, of the 'nuovo Schubert/ He also
prod, several operas.
Ga'de [gah'del, Niels Wllhelm, b. Copen-
hagen, Feb. 22, 1817; d. there Dec. 21, 1890.
The founder of the Scandinavian school of
music was the only child of a joiner and instru-
ment-maker. His natural bent for music was
strengthened by early instruction on the
violin, and frecjuent attendance at the theatre;
so that when, in his fifteenth vear, he was set
to learn his father's trade, he bore it only
half a year, then declaring that he would be
nothing but a musician. He was now taught
by Wexschall, then leader of the court orch.,
of which G. became a member, and at the age
of 16 was able to appear as a concert-violinist;
he also received instruction in theory from
the organist Berggreen, and eagerly studied
the works of the classics and of the new
romantic school. From 1834-39, he felt him-
self drawn more and more to composition;
most products of this period, however, were
left in MS. In 1840 his overture Nachkldnge
vowOssian attracted general attention; it took
the 1st prize at the competition instituted by
the Copenhagen Music Soc. in 1841, and won
for the young composer a royal stipend for
the further prosecution of his studies. In 1842
286
GADSBY— GADSKI
the C m. symphony appeared; its perform-
ance by Mendelssohn (together with the
Nachkldnge) at a Gewandhaus concert insured
Gade a favorable reception in Leipzig, whither
he went in 1843, and where he remained, after
a brief sojourn in Italy, from 1844-8. An
intimate of Schumann and Mendelssohn, his
genius rapidly expanded in a congenial
atmosphere; he repeatedly conducted the
Gewandhaus concerts in Mendelssohn's ab-
sence, and succeeded him as regular cond. at
his death (Nov. 4, 1847); but on the outbreak
of the Schleswig-Holstein war, in the spring
of 1848, he returned to Copenhagen, where he
thenceforward remained, saving a short
visit to Birmingham, in 1876, to conduct his
cantatas Zion and The Crusaders. At Copen-
hagen he assumed the conductorship of the
Mus. Soc., and also a post as org.; in 1861 he
succeeded Glaser as court conductor. An in-
dustrious composer, the foremost among the
northern romanticists, and unsurpassed as a
conductor, he wielded a commanding and
highly beneficial influence over musical affairs
in and far beyond the Danish capital. The
title of Prof, was conferred on him by the
King, and that of Dr. phil. (hon. c.) by the
Univ. of C; in 1886 he was made a Com-
mander in the Order of Danebrog. In 1876
the Danish government voted him a life-
pension. Despite more or less individious
comparisons with. Mendelssohn and Schu-
mann, Gade's style has originality of poetic
conception, though it has been left to later
composers to bring out in stronger relief the
specific traits of Scandinavian folk-music; and
he was a master of the art of instrumentation.
Autobiographic Aufzeichnungen und Brief e,
edited by Dagmar Gade (German transl.
Basel, 1893); W. Behrend is preparing (1916)
the first adequate biography ot G. — Works:
Op. 1. Nachkldnge von Ossian, orchl. overture; op.
2. FrUhlingsbiumen, for piano; op. 3, Songe a/AgneU
og Havcmande (Andersen) ; op. 4, Nordiske Tonebilleder,
Siano 4 hands: op. 5, Symphony No. 1. in C m.;op. 6,
onata No. 1, for piano and vln., in A; op. 7, Jm Hoch-
land*, overture for orch., in D; op. 8. String-quintet
in E m.; op. 9. Nine Lieder im Vdkston, for 2 soprani
and piano; op. 10, Symph. No. 2, in E; op. 11, 6 songs
for 4-pt. male ch.; op. 12. Comala. cantata for soli, en.
and orch.; op. 13, 5 part-songs for S. A. T. B.;
op. 14, Overture No. 3, in C; op. IS. Symph. No.
ta.);op r . .
Sonata No. 2, for piano and vln.: op. 22. 3 Ton-
stack* for organ; op. 23, FrUhlingsphantasie, cantata;
a>. 24, 5 songs from Milder des Orients; op. 25. Symphony
o. 5. in D m.; op. 26, 5 songs 'for male ch.; op. 27.
Arabeske for piano; op. 28, Sonata for piano, in E ra.;
op. 29, Pf.-trio Novelletten. in A m.;op. 30. Erlkdnigs
Techier (Elver skud), cantata for sou, ch. and orch.;
op. 31, Volkst&nu, PhantasiestUcke for pf.; op. 32.
Symphony No. 6, in G m.; op. 33, 5 Lieder for male
chorus; op. 34, Idytlen for tf.;op.3S,FrUhlingsbolschaft,
cantata; op. 36. Der Kinder Chrislabend, for pf.; op.
37, Hamlet, concert-overture; op. 38, 5 songs for
male chorus; op. 39, Michelangelo, concert-overture;
op. 40, Die heilige Nacht, cantata; op. 41. 4
Faniasiestuche for pf.; op. 42, Pf.-trio in F; op. 43.
Fantasiest&cke for cl. or vln. w. piano; op. 44, String-
sextet in Eb; op. 45, Symphony No. 7. in F; op. 46,
Beim Sonnenuntergang, for ch. and* orch.; op. 47,
Symphony No. 8. in B ra.: op. 48. Kalanus, cantata;
op. 49, Z*oh, 'ConcertstQck for bar. solo, ch. and orch.;
3>. 50. Die Kreuzfahrer {Crusaders), cantata; op. 51.
Oder da Jahres. for fern. ch. w. piano; op. 52, not pub!.;
op. 53. Novelletten, 4 pes. for string-orch.; op. 54.
Gefion, for soli. ch. and orch.; op. 55. Sommertag ouj
dem Lande, 5 pes. for orch.: op. 56, violin-concerto; op.
57, AquareUen for pf . ; op. 58, NovelleUen for piano; op.
59, Sonata No. 3 tor vln. and pf.; op. 60, Psyche, can-
tata; op. 6 1, Holberg iana, suite tor orch.; op. 62, Sonata
for vln. and pf., in Bb; op. 63, string-quartet in D; op.
64, Der Strom, 'Concertstuck* for soli. ch. and orch. —
Without op.-numbers were publ. Psalm 130, Funeral
March for Frederick VII, Jubilaumsmarsch tor
Christian IX. Baldurs Traum (posth.. 1897). and some
minor pieces for pf . — His opera Mariotta was prod, at
Copenhagen in 185a
Gadsby, Henry Robert, b. Hackney,
London, Dec. 15, 1842; d. Putney, Nov. 11,
1907. Chorister at St. Paul's 1849-58; pupil
of Wm. Bay ley, but chiefly self-taught. Org.
at St. Peter's, Brockley; in 1884 he succeeded
Hullah as prof, of harm, at Queen's College,
London; was prof, at the Guildhall S. of M.
from its foundation (1880) till his death. A
leading English comp. — Works: Psalm exxx;
several cantatas (Alice Brand; The Lord of
the Isle; Columbus; The Golden Legend; The
Cyclops); music to Alcestis and Andromache,
and Aminta; Festival Service in D, a 8; 3
symphonies (in A, C, and D); overtures (An-
dromeda, The Witches' Frolic); orchestral
scene The Forest of Arden; a string-quartet;
Andante and Rondo for flute and piano; serv-
ices, anthems, part-songs, etc. — Publ. a Sup-
plemental Book of Exercises 'for sight-singers;
and Harmony (1884).
Gad'aki, Johanna (Emilia Agnes), dra-
matic soprano; b. Anciam, Pomerania, June
15, 1872; trained from her eighth year by
Frau Schroeder-Chaloupka at Stettin. Debut
at Kroll's Th., Berlin, in May, 1889, as
Undine in Lortzing's opera; sang during the
summers of 1889-93 at Kroirs, winter of 1890
in Mayence, of '91 in Stettin, of '92 in Bremen,
and of '93-'94 in Berlin; concert-tours in
Holland, 1894. On March 1, 1895, she made
her Amer. debut as Elsa with the Damrosch
Opera Co., winning instant favor; during the
next three seasons she continued there, sing-
ing Senta, Elisabeth, Eva, Sieglinde, and
creating the role of Hester Prynne in Dam-
rosch's The Scarlet Letter (1896); from 1898-
1904 she was a member of the M. O. H., and
became one of the prime favorites through her
superb interpretation of Briinnhilde and
Isolde; from 1904-6 she made two transcon-
tinental tours of the U. S., singing with orch.
and establishing her reputation as a great
lieder-singer; in 1907 sne returned to the
M. O. H., where she has sung every season
since then. While America has been the
principal field of her activity, she has also
been heard in Cov. G. (1899-1901); in 1899
287
GAFORIO— GAILHARD
•
she sang Eva at Bayreuth, and after the
Mozart and Wagner festivals in Munich
(1905, '06) the Prince-Regent Luitpold dec-
orated her with the Order of King Ludwig for
Art and Science. On Nov. 11, 1892, she was
married to Lieutenant Hans Tauscher.
With a voice of great volume and purity she
combines a stately presence and histrionic
ability of a high order. Although famous
chiefly as a Wagner singer, she has actually
sung about 40 rdles;*her favorites are Isolde,
Briinnhilde, Elisabeth, Aida and Santuzza.
Gafo'rio (or Gafori, Gafuri, Gaffurio),
Franchlno (Latinized 'Franchinus Gafurius';
often simply 'Franchinus') , celebrated theorist ;
b. Lodi, Jan. 14, 1451; d. Milan, June 24.
1522. Intended for the church, he studied
theology and music together; lived in Man-
tua, Verona, and (1477) Genoa; he formed an
intimacy with the fugitive Doge Prospero
Adorno, and fled with him to Naples. Here
he met various distinguished musicians, and
held public disputations with Filippo da
Caserta and G. Spataro. The plague and the
Turkish invasion drove him to Lodi; he was
choirmaster at Monticello for 3 years, made
a short visit to Bergamo, and in 1484 became
singer and master of the boys in Milan cath.f
and first singer in the choir of Duke Lodovico
Sforza. In 1485 he also founded a music-
school at Milan, which prospered. His
writings, valuable at the period, and still
important to musical history, were as fol-
lows: Theoricuni opus harmonicas disciplinae
(Naples, 1480; 2d ed. Milan, 1492, as Theoria
musicae) ; Practica musicae sive musicae actiones
in IV libris (Milan, 1496; his magnum opus,
with examples of mensural notation in block-
print; other eds. 1497, 1502, 1512); An gelt-
cum ac divinum opus musicae . . . materna
lingua scriptum (Milan, 1508); De harmonia
musicoruminstrumentorumopus (1518, Milan
with biography of G. by P. Meleguli);
Apologia Franchini Ga/urii adversus Joan-
nem Spatarium et complices musicos Bononien-
ses (Turin, 1520; a satirico-polemical effusion
dictated by the old musician's overweening
vanity; it added fuel to the heated contro-
versy between the Milanese and Bolognese
schools).— Cf. E. Pratorius, Die Mensural-
theorie des G. F. u. der folgenden Zeit bis zur
MiUed.l6.Jahrh. (Leipzig, 1905).— See Q.-Lex.
Gaglla'no, the name of a family of famous
violin-makers at Naples. Aleeaandro, who
worked from 1695-1725, was a pupil of
«aaiwn, and he, as well as his sons Nicol5
(1700-40) and Gennaro (1710-50), followed
largely the Stradivari model. The instru-
ments of Ferdinando (1736-81), a son of
Nicolo, exhibit less skilful workmanship than
those of the older members of the family.
Gaglla'no [gahl-yah'-], Marco di Zano'bi
288
ff«^yi7?)OT"col!S,owr5 b- Gagliano, circa
1575; d Florence, Feb. 24, 1642. He was a
pupil of L. Bati; in 1608 he became maestro
?aia \orenx° m Florence; 1609 canon, and
1614 Apostolic Prothonotary. In 1607 he
founded the 'Aceademia degP Elevati.'—
Publ. works: Dafne, 'opera in musica' (his
most important work; first played at Mantua,
i£h\iPubL JIorence.' 1608' and reprinted,
with the contmuo written out, by R. Eitner
in vol x of the 'Publikation alterer . . . Musik-
W!J k5i; Masf!e8 a 5 (v<™ce, 1579); Resbon-
sari delta sOttmana santa a 4 voci (Venice,
1580; considered his finest work); 6 vols, of
Madrigals a 5 (1602-17); Musiche a /, 2, e3
net (Venice, 1615, with continuo).— Cf. E.
Vogel, M. da G ZurGeschichU des floreniiner
nSSn*?* ^0-1650, in 'Vschr. f. M.-W.'
(1899).— See Q.-Lex.
Gah'rich, Wenzel, b. Zerchowitz, Bohe-
mia, Sept 16, 1794; d. Berlin, Sept. 15, 1864.
A law-student mUipzig, he turned musician,
joining the Leipzig theatre-orch. as a violinist,
and (1825) the royal orch. at Berlin. His
ballets Don Quichotte, Die Insel der Liebe, Die
Seerauber, Aladdin, etc., were very successful,
and he was app. ballet-master at the court
opera (1845-60).— Other works: 2 operas (not
pen.); 2 symphonies; a pf. -quartet; a con-
certino for via. and orch.; 5 colls, of dances;
songs, etc
Gail, Edmee-Sophle (nSe Garre), tah-
ented comp.; b. Paris, Aug. 28, 1775; d. there
July 24, 1819. Singing-pupil of Mengozzi;
made a concert-tour through southern France
and Spain; studied theory under Fetis, Perne,
and Neukomm. Sang in London, 1816; in
Germany and Vienna, 1818. Married the
Greek prof. Jean-Baptiste Gail.— Operas: Les
deux jaloux (1813); Modem, de Launay a
la Bastille (1813); Angela (1814, with Boiel-
dieu); La Meprise (1814); La Serenade (1818);
vocal romances and nocturnes.
Gailhard [gah-yahr'], Pierre, b. Toulouse,
Aug. 1, 1848. He began his vocal studies in
his native city, and entered the Paris Cons,
in 1866; after one year of study under Revial
he graduated in 1867, carrying off three first
prizes; debut at Op.-Comique, Dec. 4, 1867,
as Falstaff in Thomas' Songe d'une nuit d'tti;
he immediately became a favorite, and in the
four years of his engagement created the
chief bass rdles in Offenbach's Vert- Vert,
Semet's Petite Fadette and Auber's Rhe
d Amour. On Nov. 3, 1871, he made his debut
at the Opera as Mephistopheles (Faust); here
his success was no less pronounced than at the
Op.-Com., so that he was compared with
the idolized Faure. At the height of his
powers and success he gave up the stage
when, in 1884, he accepted, jointly with M.
Ritt, the management of the famous insti-
GAl^-GALLAY
tution; on the appointment of M. Bertrand
as successor to Ritt, in 1892, he retired, but
joined Bertrand the following year as co-
director; after the latter's death, in 1899, he
remained sole director till 1907. His admin-
istration was remarkably successful, consid-
ering both the novelties produced and the
engagement of new singers (Melba, Eames,
Breval, Caron, Ackt£, Alvarez, Saleza, Re-
naud, the two de Reszkes, etc.)- Against
violent opposition he introduced, and main-
tained in the repertory, Wagner's works:
Lohengrin (1895), Walkure (1893), Tann-
hduser (1895; the first perf. after the noto-
rious fiacso of 1861), Meister singer (1897),
Siegfried (1902). Together with Baron de
Reinach he wrote the scenario for P. Vidal's
ballet La Maladetta (1893), and with Gheusi
the text for the same composer's opera
Guernica (1895).
Gal, Hans, b. BrUnn, Austria, Aug. 5,
1890. Pupil of £. Mandyczewski; living as
teacher of theory and comp. in Vienna;
awarded the Austrian Staatspreis for comp.
in 1915; has in MS. a comedy-opera, Der
Fdcher; a symphony; a symph. fantasy; an
overture, Weh dent, der liigtl; a serenade for
orch.; Von ewiger Freude, for fern, voices;
Abendgesang for mixed ch. and orch.; some
chamber-music; has publ. choruses, pf. -pieces
and songs.
Galandla. See Garlandia.
Galeazzi [-lS-ah'tse], Francesco, b. Tu-
rin, 1758; d. Rome in Jan., 1819. A skilful
violinist, for 15 years leader of the concerts
in the Teatro Valle, Rome; then violin-
teacher at Aseoli. " Publ. one of the earliest
known Methods for violin: Elementi teorico-
pratici di musica, con un saggio sopra I' arte
di suonare U violino . . . (Rome, 1791-1796,
in 2 parts; Part I reprinted 1817).
Gales, Weston, b. Elizabeth, N. J., Nov.
5, 1877. Studied at Yale Univ. (1896-8) pf.
with S. S. Sanford and comp. with* H. W.
Parker; organ with G. M. Dethier in N. Y.
(1900-3), and later in Paris with Widor
(1908) and L. Vierne (1912); org. and dim.
of Christ Ch., New York, 1902-8; then of
Emanuel Ch., Boston, 1908-13; has had
charge of the training of boys' choirs for
special perfs. of the Oratorio Soc. (N. Y.) and
Cecilia Soc. (Boston); founder and cond.
(since 1914) of the Detroit Symphony Orch.
Galilei, Ylncenzo, celebrated musico-
graph, father of Galileo Galilei, the astrono-
mer; b. Florence, c. 1533; d. there June
(buried July 2), 1591. A skilful lutenist and
violinist, and well-versed in ancient Greek
theory, he was a prominent member of the
artistic circle meeting at Count Bardi's house;
his compositions for solo voice with lute-
accomp. may be regarded as the starting-
point of the monody successfully cultivated
by Peri, Caccini, etc., the founders of the
'opera in musica.' A zealous advocate of
(soi-disant) Grecian simplicity in contrast
with contrapuntal complexity, he publ. a
Discorso delta musica antica e delta moderna
(Florence, 1581; to the 2d ed. {1602] is
appended a polemical Discorso inlorno alle
opere di messer Gioseffo Zarlino di Chioggia,
which had appeared separately in 1589); and
II Fronimo, aialogo sopra I'arte del bene in-
tavolare e reltamenU suonare la musica di Uuto
(Venice, 1583; 2d ed. 1584); all of consider-
able historical interest. — See Q.-Lex.
Galin [gah-lan'], Pierre, b. Samatan,
Gers, France, 1786; d. Bordeaux, Aug. 31,
1821. He was teacher of mathematics at the
Lycee in Bordeaux, and conceived the idea of
simplifying musical instruction by a method
which he termed the *Meloplaste,' and ex-
plained in his work Exposition d'une nouvelle
mcthode pour V enseignemenl de la musique
(1818; 2d and 3d eds. in 1824 and 1831).
The method attracted attention, found warm
advocates, and attained considerable popu-
larity. [See Chev& and Paris.]
Gali'tzln, Georg (Prince Galitzin), son of
the following; b. Petrograd, 1823; d. there
in Sept., 18/2. He was Imperial Chamber-
lain. As a cultivated musician, he established
in Moscow, in 1842, a choir of 70 boys; later
he also maintained an orch., with which he
travelled in Germany, England, France, and
America, to introduce Russian music (more
especially Glinka's and his own). He wrote
masses, orchestral works, soli for various
instrs., choruses, songs, etc.
Galitzin [gah-le'tsen], Nicolas Borisao-
vitch, a Russian prince; b. 1794; d. Kursk,
1866. To him Beethoven dedicated an over-
ture (op. 124) and 3 quartets (op. 127, 130,
. 132); they also corresponded until B.'s death.
The prince was an amateur of fine attain-
ments, being a skilful 'cellist; in 1820 he
founded the Philh. Soc. at Petrograd.
Gall [gahl], Jan, b. Warsaw, Aug. 18,
1856; d. Lemberg, Oct. 30, 1912. Pupil of
Krenn in Vienna, Rheinberger in Munich and
Lamperti in Milan; 1880, cond. of the Galician
Mus. Soc. in Lemberg; 1886, prof, of singing
at the Cracow Cons.; after 1892 cond. of a
choral society, 'Echo/ in Lemberg; wrote
about 400 songs, choruses, quartets, etc.
Gallay, Jacques- Francois, b. Perpignan,
Dec. 8, 1795; d. Paris, Oct., 1864. Brilliant
horn-virtuoso. Pupil (1820-21) of Dauprat in
Paris Cons., where he took 1st prize. Player
in the Odeon and (1825) Th. Italien; member
of the royal 'chapelle,' and in 1832 chamber-
musician to Louis Philippe; in 1842 he suc-
ceeded Dauprat as horn-prof, in the Cons. —
289.
GALLAY— GALLIGNANI
Works: Horn-quartets, -trios, -duos; recrea-
tions, nocturnes, etudes and concertos for
horn; and a Mithode compute de cor.
Gallay, Jules, b. Saint-Quentin, 1822; d.
Paris, Nov. 2, 1897. A wealthy amateur, he
became a good 'cello-player and a zealous
student of lutherie in all its forms. To this
study we owe the following valuable pub-
lications: Les Instrs. & archet a V Exposition
universelle de 1867 (Paris, 1867); Les Luthiers
italiens aux XVII* et XVIII" sitcles, nour
veile Hilton du 'Parfait Luthier* (la Chttono-
mie) de Vabbi Sibire, suivie de notes sur les
matlres des diver ses holes (Paris, 1869); a re-
print of du Manoir's Le Manage de la musique
avec la dense, with hist, introd. and explan.
notes (Paris, 1870); Les Instruments des icoles
italiennes, catalogue prScedS d'une introduction
et suivi de notes sur les princifaux maitres
(Paris, 1872). As a member of the jury at
Vienna, 1873, he edited the Rapport sur les
Instruments de Musique [a archet] (Paris, 1875).
Gallenberg, Wensel Robert, Graf von,
b. Vienna, Dec. 28, 1783; d. Rome, March 13,
1839. An amateur composer in early youth,
studying under Albrechtsberger. In 1803 he
married Countess Giulietta Guicciardi (of
whom Beethoven was enamoured, and to
whom the Sonata Op. 27, No. 2, is dedicated).
In Naples, shortly after, he made the ac-
quaintance of Barbaja, a theatre-manager;
wrote for him numerous successful ballets,
and from 1821-3 was his partner when B. was
director of opera in Vienna. He attempted
the management of the Karntnerthor-Th. in
1829, but failed, and was obliged to return to
Italy, rejoining Barbaja. — Works: About 50
ballets; a sonata, marches, fantasias, etc., for
pf.— On one of his themes, Beethoven wrote
a set of variations.
Gallet'ti-Giano'lt, Isabella, dramatic so-
prano; b. Bologna, Nov. 11, 1835; d. Milan,
Aug. 31, 1901. Pupil of Gamberini; debut
Brescia, 1860. Her voice in later years
changed to contralto. She sang prima-
donna rdles in Don Bucefalo, Gemma di
Vergy, Anna Bolena, Norma, Lucrezia Borgia,
Semiramide, II Trovatore, I Africaine, Un
Ballo in Maschera, Don Carlos, La Favorita,
Le Proph&te, etc. After retirement, she es-
tablished a singing-school in Milan.
Galli, Amlntore, b. Talamello, near
Rimini, Oct. 12, 1845; pupil of Mazzucato at
Milan Cons., 1862-7; was music-director and
school-director, then settled in Milan, where
he was musical editor for Sonzogno, and
critic of 'II Secolo'; now (1916) ed. of 4I1
Teatro Illustrate*' and 'Musica Popolare.' —
Works: The operas // Corno d'oro (Turin,
1876), and David (Milan, 1904); oratorios
Espiazione (after Moore's 'Paradise and Peri'),
and Cristo al Golgata; Goethe's Totentanz for
bar. solo and orch.; string-quintet in E m.;
etc. Published Musica e Musicisti del secolo
X sino ai nostri giorni (1871; a superficial
work); Estetiea delta musica (1900; a riper
work, on. historical lines); Storia e teoria del
sistema musicals (1901); Piccolo lessico di
musica (1902).
Galli-Marie, Creatine (nU Marl* de
l'lsle), b. Paris, Nov., 1840; d. Vence, near
Nice, Sept. 22, 1905. Dramatic mezzo-so-
prano. Her father, an opera-singer, was her
only teacher. She made her debut at Strass-
burg, 1859; sane in Toulouse, 1860, and in
Lisbon, 1861 (Italian opera). Sang the
Bohemian Girl at Rouen, 1862, with such
success that she was immediately eng. for
the Paris Opjlra-Comique. Debut there
(1862) as Serpina in La Serva padrona. She
created the rdles of Mignon (1866) and Car-
men (1875), as well as the principal roles in
Lara, Le Capitaine Henriot, Fior d'Aliza,
Robinson Crusoe*, La Petite Fadette, Fantasio,
Don Cisar de Basan, Piccolino, La Surprise de
V Amour, She sang in upwards of 20 operas
from 1862-78, and again in 1883-5. She was
not a remarkable singer, but an actress of
extraordinary power.
GalHard, Johann Ernst, b. Celle, Han-
over, in 1687; d. London, 1749; pupil of A.
Steffani at Hanover. A skilful oboist, he
went to London, 1706, as chamber-mus. to
Prince George of Denmark; succeeded Draghi
as organist at Somerset House; and composed
industriously. Besides the music to numer-
ous plays, masques, and pantomimes, he
wrote cantatas, a Te Deum, a Jubilate, an-
thems, soli for flute and 'cello, etc.; and set to
music the Morning Hymn of Adam and Evef
from Milton's Paradise Lost, and Hughes'
opera Calypso and Telemachus (1712). He also
made some translations. — See Q.-Lex.
Galileo, Paolo, accomplished pianist; b.
Trieste, May 13, 1868. When 15, he gave a
recital at Trieste; then studied at Vienna*
Cons, under Julius Epstein, graduating at
18 with highest honors — first prize (gold
medal), also the 'Gesellschafts' medal. After
successful concerts in Italy, Austria, Russia,
Germany, etc., he settled in New York in
1892 as concert-pianist and teacher. — Has
publ. piano-pieces and songs; has also written
an operetta, Johannistraum, and an opera,
Harlekin.
Galllgnani [gahl-len-yah'ne], Giuseppe,
b. Faenza, Sept. 1, 1851. Pupil of the Milan
Cons.; m. di capp. at Milan Cath. and ed. of
'La Musica Sacra'; comp. of the operas II
Grillo del focolare (Genoa, 1873), A tola (Mi-
lan, 1876), Nestorio (ib., 1888), Quore ? (ib.,
1903); also wrote some excellent church-
music and organ-pieces.
290
GALLUS— GANASSI
Gallus, Jacobus, a native of Carniola,
whose real name was Jacob Handl (or
Handlf Hahnel); b. Reifnitz, July 31, 1550;
d. Prague, July 24, 1591. Kapellm. to the
Bishop of Olmtitz, later imperial Kapellm. at
Prague. As a comp. he was an eminent con-
temporary of Palestrina and Orl. Lassus.
Besides detached pieces in Bodenschatz's
'FJorilegium Portense,' Proske's 'Musica
divina,' and colls, of Schdberlein, Zahn,
Becker, Rochlitz, and others, many printed
works are extant; Handel borrowed G.'s
motet, Ecce quomodo moritur Justus, for his
Funeral Anthem. — See Q.-Lex. (Handl).
Gallus, Johannes (Jean le Cocq,
Maitre Jean, Mestre Jhan), a Dutch con-
trapuntist; d. c. 1543. He was m. di capp. to
Duke Ercole of Ferrara. Many pieces were
publ. in colls., and in a vol. of motets printed
by Scotto (1543). He was long confounded
with Jhan Gero. — See Q.-Lex.
Gallus. See Mederitsch, Johann.
Galpin, Rev. Francis William, b. Dor-
chester, Dorset, Dec. 25, 1858. Graduated
with classical honors from Trinity Coll., Cam-
bridge, A.B. (1882), A.M. (1885); received
his mus. education from Dr. Garrett and
Sterndale Bennett; vicar of Hatfield Regis,
1891-1915; since 1915 vicar of Witham, and
Rural Dean; member of Council of Essex
Archaeological Soc. (1898); Hon. Freeman
Worshipful Company of Musicians (1905);
specialist and lecturer on old instruments. —
Works: Descriptive Catalogue of the European
Instruments in the Metropolitan Museum of
Art, N. F. (1902); The Mus. Instrs. of the
American Indians of the N. W. Coast (1903);
Notes on the Roman Hydraulus (1904); The
Evolution of the Sackbut (1907); Old English
Instrs. of Music (1910); editor of revised and
enlarged edition of Stainer's Music of the
Bible (1913).
Galston, Gottfried, pianist; b. Vienna,
Aug. 31, 1879. From 1895-9 pupil of Le-
schetizky in Vienna, and (1899-1900) of
Jadassohn and Reinecke at Leipzig Cons.;
1903-7 taught at Stern's Cons, in Berlin;
since 1908 titular Prof, (without duties) of
the Petrograd Cons.; living since 1910 in
Planegg, n. Munich. On his extended tours
he has proved himself a player of keen
analytical powers and splendid intellectual
grasp; in 1902 he toured Australia; then
Germany, France and Russia; 1912-13, Amer-
ica. He has publ. a Studienbuch (1909; ana-
lytical notes to a series of 5 histor. recitals
[Bach-Brahms)).
Galup'pi, Baldassare, surnamed 11 Bu-
raneTlo from the island of Burano, near
Venice, on which he was b. Oct. 18, 1706; d.
Venice, Jan. 3, 1785. A pupil of his father, a
barber and violin-player; in 1722 he brought
out at Vicenza an opera, La fede neW incostanza
which, though a failure, attracted atten-
tion to his talent; he now studied hard
under Lotti, and in 1729 prod. Dorinda
(Venice, Teatro S. AngeJo) with brilliant
success. His forte was comedy-opera, which
he cultivated with such success as to earn
the title of 'padre dell* opera buff a.' He was
also a distinguished player on and composer
for the harpsichord. In 1741 he visited
England; from 1762-4 he was maestro at S.
Marco, director of the Cons, degli Incura-
bili, and organist at various churches. From
1765-8 he acted as maestro to the Russian
court (Catherine II); then resuming his
post as director of the Incurabili at Venice.
His 112 operas and 20 oratorios are now
obsolete. He also wrote a cantata and much
other sacred music (all in MS.); one fine
sonata for harpsichord is included in Pauer's
'Alte Klaviermusik.' — Cf. A. Wotquenne, B.
G. Htude biblicgraphique sur ses tenures
dramatiques (Brussels, 1902). — See Q.-Lex.
Gambale, Emmanuele, Milanese music-
teacher, wrote La riforma musicale . . .
(1840), advocating a basic scale of 12 semi-
tones (Ger. transl. by Haser, 1843); this
'reform' he practically exemplified in his La
prima parte delta riforma musicale ....
(1846), wherein are etudes written out in his
new notation. He transl. Fetis' work on
Harmony into Italian.
Gambi'nl, Carlo Andrea, pianist; b.
Genoa, Oct. 22, 1819; d. there Feb. 14, 1865.
— Over 150 works, among them 4 operas; an
oratorio; La Passione (by Manzoni) for 4-
part ch. and orch.; a symphonic ode, Crista-
foro Colombo; masses and other church-
music; many piano-pieces, a piano-trio, etc.
Gamuc'ci, Baldassare, b. Florence, Dec.
14, 1822; d. there Jan. 8, 1892. Pupil of C.
Fortini (pf.) and L. Picchianti (comp.). In
1849 he founded the 'Societa Corale del
Carmine/ which later became the 'Scuola
Corale' of the Mus. Inst, at Florence, G.
still remaining director. — Works: Masses, a
reauiem, psalms, etc., and pf. -pieces; also
publ. Intorno alia vita ed alle opere di Luigi
Cherubini . . . (Florence, 1869); Rudimenti
di lettura musicale . . . several times re-
frinted; many essays for the reports of the
nstitute, one of special interest being Perche
i greci non conoscevano la molteplicitd, dellc voci;
also contributions to various mus. journals.
Ganas'8l, Silvestro, b. Fontego, near
Venice, about 1500, and hence named 'del
Fontego'; wrote two rare and valuable
works: La Fontegara, la quale insegna di
suonare il fiauto . . . (Venice, 1535; is a
method for the 7-hole flute-a-bec, and ex-
plains the graces); and Regula Rubertina che
291
GAND— GANZ
insegna suonare de viola (Tareo tastada (1542-3,
in 2 parts; a Method for viola and bass-viol).
Both were printed by G. himself; only one
copy of each is extant (in the Liceo Filarmo-
nico at Bologna).
Gand [gahnj, Ch. -Nicolas- Eugene, born
about 1826; d. Boulogne-6ur-Seine, Feb. 6,
1892. Renowned violin-maker.
Gandi'ni, Alessandro (cav.), b. Modena,
1807; d. there Dec. 17, 1871. Taught by his
father, Antonio G., and in 1828 brought out
his first opera, Demetrio, which was followed
by 4 more. In 1842 he succeeded his father
as maestro to the Duke of Modena. He
wrote Cronistoria dei teatri di Modena da
1539 a 1871 (Modena, 1873; 3 vols.), augm.
by a fourth vol., 1875-83, compiled by
Ferrari-Moreni and Valdrighi (Modena, 1883).
Gandolfi, Riccardo (Cristoforo Daniele
Diomede), b. Voghera, Piedmont, Feb. 16,
1839. Pupil of Conti at the Naples Cons.,
then of Mabellini in Florence; app. inspector
of studies at the 'Real Istituto di Musica' in
Florence, 1869; chief librarian in 1889; pen-
sioned since 1912. He began as a dramatic
com p., then turned to the larger instrl. and
vocal forms, and finally abandoned comp.
altogether, devoting himself to historical
studies, which have won him distinction. —
Works: The operas Aldina (Milan, 1863),
// Paggio (Turin, 1865), // Conte di Monreale
(Genoa, 1872), Caterina di Guisa (Catania,
1872) ; Messa da Requiem; 2 masses; a cantata,
II Battesimo di S. Cecilia; a Psalm for soli, ch.
and orch.; a symphony; several overtures;
chamber-music. — Sulla relazione delta poesia
colla musica melodrammatica (1868); Una rt-
parazione a proposito di Francesco Landino
(1888); Commemorazioni di W. A. Mozart
(1891); Illustrazioni di alcuni cimeli concer-
nanti Varte musicale in Firenze (1892); Ap-
punti di storia musicale (1893); Onoranze
Fiorentine a G. Rossini (1902); in 'Rivista
Mus. It.' he has publ. La Cappella musicale
della corte di Toscana, 1539-1859 (xvi, 3); 5
Lettere inedite di G. Verdi (xxi); etc. '
Ganne, Louis-Gaston, b. Buxieres-les-
Mines, Allier, April 5, 1862. Pupil of Th. Du-
bois, Massenet and C. Franck at Paris
Cons. He is chef d'orchestre of the balls at
the Opera, and 1st chef d'orchestre at the
municipal Casino at Monte Carlo; very
popular and succ. comp. of lighter operas,
ballets and divertissements. — Works: Tout
Pans (Paris, 1891; vaudev.); Rabelais (ib.,
1892); Les Colles des femmes (ib., 1893); Les
Saltimbanaues (ib.f 1899); Miss Bouton d'Or
(ib.f 1902); Hans, le joueur de flute (Monte
Carlo, 1906; N. Y., 1910); Rhodope (ib.t 1910)-
Cocorico (ib., 1914); the ballets Phryne, Au
Japon, Les Ailesf etc.; about 150 minor
pieces for piano.
292
Gans'bacher, Johann, b. Sterzine. Tvrol
May 8, 1778; d. Vienna, 'july 13, llii.^
early youth he learned singing, the organ
piano, 'cello, and harm.; in 1801, at Vienna'
he studied under Abbe Voder and Albrechts^
berger, and then devoted himself to com-
position. He visited Prague, and (1809)
Dresden and Leipzig; in 1810 resumed
study under Vogler, at Darmstadt, Weber
and Meyerbeer being his fellow-pupils and
friends; with Weber lie went to Mannheim
and Heidelberg:, and rejoined him later in
Prague. In Vienna G. also met Beethoven.
He served in the war of 1813, led a rovine life
for several years, and finally (1823) settled in
Vienna as Kapellm. of the cathedral (Ste-
phansdom), as Preindl's successor. His
216 comps, show little originality, but solid
workmanship. Only 2 masses, 2 requiems,
and several small church-works, also 3
terzettos for 2 S. and T., Schiller's Erwartung,
and some pf.-sonatasand trios, have been publ.
Besides 15 other masses, and 2 other requiems,
2 Te Deums, offertories, etc., he wrote a
symphony, serenades, marches, concerted
pieces, pf. -pieces, a 'Liederspiel,' music to
Die Kreuzfakrer (by Kotzebue), songs, etc.
Gant'voort, Arnold Johann, b. Amster-
dam, Holland, Dec. 6, 1857. Went to America
in 1876; gave private lessons, and taught in
various colleges (Bowling Green, Ky.; Oxford,
O.; Piqua, O.); in 1894, head of dept. for prep,
public-school music-teachers, Coll. of Mus.,
Cincinnati; 1901, gen. mgr. of the Coll.; Pres!
Ohio M. T. A. 1891-4. Has publ. Familiar
Talks on the History of Music (N. Y., 1913),
and a series of public-school music-readers.
Ganz, Adolf, b. Mayence, Oct. 14, 1796;
d. London, Jan. 11, 1870. Violinist; 1819,
cond. at Mayence; 1825, Kapellm. to the
Grand Duke of Hesse-Darmstadt.
Ganz, Eduard, son of Adolf; b. Mayence,
April 29, 1827; d. Berlin, Nov. 26, 1869. He
came with his father to England in 1840, and
studied with Moscheles and Thalberg in
London; settled in 'Berlin, where he estab-
lished a music-school in 1862.
Ganz, Leopold, violinist, brother of Adolf;
b. Mayence, Nov. 28, 1810; d. Berlin, June
15, 1869. After concert-tours with Moritz, he
joined with him the Berlin court orch. in
1827, obtaining the title (1836) and position
(1840) of Concertmeister (leader). Publ. duos
for vln. and 'cello.
Ganz, Moritz, 'cellist, brother of Adolf;
b. Mayence, Sept. 13, 1806; d. Berlin, Jan. 22,
1868; joined the Berlin court orch. in 1827 as
first 'cello. Wrote good 'cello-music (con-
certos, fantasias, trios, duets, etc.).
Ganz, Rudolf, distinguished pianist; b.
Zurich, Switzerland, Feb. 24, 1877. Pupil of
GANZ— GARCIA
R. Freund (pf.) and F. Hegar (vcl.) in Zurich;
1893-6, of C. Eschmann-Dumur (pf.) and
Ch. Blanchet (comp.) in Lausanne; 1897-8,
of F. Blumer (pf.) in Strassburg; 1899 of F.
Busoni (pf.) and H. Urban (comp.) in Berlin.
Although he had played occasionally in public
— chiefly as 'cellist — since his twelfth year,
his debut as a mature artist took place with
the Berlin Philh. Orch., Dec., 1899 (Beetho-
ven's Eb and Chopin's E m. concertos); in
May of the following year the same orch.
pert, his first Symphony; from 1900-05 he
was head of the pf .-department at the Chicago
Mus. Coll., succeeding A. Friedheim; 1905-8
made succ. tours of the U. S. and Canada;
1908-11 tours of Europe, playing in Berlin
alone 16 different pf. -concertos; since 1912
he has divided his time concert iztng in Europe
and America. He has played for the first
time many important works by contem-
porary composers (Busoni, Ravel, Bartok,
Debussy, Dohnanyi, d'Indy, Loeffler, Korn-
gold, etc.), and revived older works that had
fallen into undeserved neglect. In July, 1900,
he married Mary Forrest, an Amer. con-
cert-singer.— Works: Symphony in E, op. 1;
Konsertstuck for pf. and orch., in B, op. 4;
Variations on a theme by Brahms, for pf.,
op. 21; pf. -pieces, op. 5, 10, 20, 24; several
choruses for male voices; about 150 songs.
Ganz, Wilhelm, son of Adolf; b. May-
ence, Nov. 6, 1833; d. London, Sept. 12, 1914.
Pupil of C. Eckert and C. Anschutz; in 1850
he settled definitely in London, where he soon
won a reputation as a fine pianist; in 1856
Jenny Lind engaged him to accompany her
on her tours. When Dr. H. Wylde organized
the New Philh. Soc. in 1852, G. joined the
orch. as violinist. From 1874-9 he alternated
with Wylde as cond., and after the latter 's
resignation continued the concerts as 'Ganz's
Orchestral Concerts' (1879-83); in that time
he produced, for the first time in England,
many of the larger works of Liszt and Berlioz,
and artists like Satnt-Saens, de Pachmann,
M enter, Essipov, etc., made their English
d6but at his concerts. For many years G.
was prof, of singing at the G. S. M. In 1913
he publ. Memories of a Musician,
Garat [gah-rahl, Pierre-Jean, famous
concert-singer and teacher; b. Ustaritz, Bas-
ses- Pyrenees, April 25, 1764; d. Paris, March
1, 1823. His remarkable talent discovered
itself early, and he had lessons in singing
from Franz Beck in Bordeaux, whither the
family had removed; but his father wished
him to become a lawyer, and sent him to the
Univ. of Paris in 1780. Music, however, had
far greater attractions than the law; G. neg-
lected his legal studies, and fell out with his
father, but was happily aided by the Count
d'Artois, who made him his private secretary
and introduced him to Marie Antoinette,
whose special favor he enjoyed up^ to the
Revolution. Now obliged to earn nis liveli-
hood as a concert-singer, he accomp. Rode to
Hamburg; after great successes, they re-
turned to Paris in 1794, and G. sang (1795) at
the Feydeau Concerts, where his triumphs
speedily procured him a professorship of
singing in th*e newly-opened Cons. For 20
years longer, his wonderful tenor-baritone
voice, trained to perfection in coloratura, and
of remarkable compass, rendered him the
foremost singer on the French concert-stage
in every department of vocal music. Nournt,
Levasseur and Ponchard were his pupils.
Garaude* [gah-roh-da'], Alexis de, b.
Nancy, March 21, 1779; d. Paris, March 23,
1852. He studied theory under Cambini and
Reicha, and singing under Crescentini and
Garat; was a singer in the imp. (later royal)
choir from 1808-30 and prof, of singing in
the Cons* from 1816—41. — Publ. 3 stnng-
auintets, many ensemble-pieces for violin,
flute, cl., and 'cello, sonatas and vars. for pf.,
a solemn mass, solfeggi vocalises, arias, duets
and songs; also a Method* de chant (1809, op.
25; 2d revised ed. as M. compute de chant,
op. 40); Solfege, ou mtthode de musique; MS-
thode complete de piano; and Uharmonie rendue
facile, ou theorie pratique de cette science (1835).
a 'dec v.-i <ex.
Garfwecht, Fr. F. W. (d. 1875), founded
at Leipzig (1862) an establishment for en-
graving and printing music, which has been
owned by Oskar Brandstetter since 1880.
Garcia, Eugenie (ne'e Mayer), wife and
pupil of Manuel; b. Paris, 1818; d. there Aug.
12, 1880* Soprano stage-singer; for several
years in Italian theatres, then (1840) at the
Opera-Corn., Paris; 1842 in London; finally,
separated from her husband, she lived as a
singing-teacher at Paris.
Garcia [gar-the'ah], Don Francisco Sa~
verio (Padre Garcia, called in Rome Mo Spagno-
letto'); b. Nalda, Spain, 1731; d. Saragossa,
Feb. 26, 1809. He lived for some years in
Rome as a student and singing-teacher; in
1756 he was app. maestro at Saragossa cath.
A prolific and influential church-comp., his
works show a marked contrast to the fugal
style .prevailing before, being more natural
and simple. Wrote an oratorio, Tobia
(1773); the operas La Finta Schiava (Rome,
1754), Pompeo Magno in Armenia (ib., 1755),
La Pupilla (ib., 1755), Lo Scultore deluso
(ib., 1/56); masses and motets, chiefly in
8 parts. His most noted pupil was Caterina
Gabrielli.
Garcia, Gustave, son of Manuel Patricio,
b. Milan, Feb. 1, 1837. In 1860 he began to
study singing with Bucine, a pupil of his
293
GARCIA— GARPEN
father; then, after a few months' study with
his father, he made his debut in Donizetti's
Don Sebastiano at La Scala (1862); he sang
alternately in Italy and England until about
1880, when he settled permanently in London
as a singing- teacher; lor some years he was
prof, at the R. A. M.; then, simultaneously,
at the R. C. M. and G-S. M.; retired in 1911.
— His son Albert is a concert-singer (bari-
tone), and prof, at the R. C. M.
Garcia, Manuel del Popolo Vicente,
famous tenor, singing-teacher, and dram,
comp.; b. Sevilla, Jan. 22, 1775; d. Paris,
June 2, 1832. A chorister in Sevilla cath. at
6, he was taught by Ripa and Almarcha, and
at 17 was already well known as a singer,
composer and conductor. After singing in
Cadiz, Madrid, and Malaga, he proceeded
(1806) to Paris, and sang to enthusiastic au-
diences at the Theatre Italien (Opera-Bouffe);
in; 1809, at his benefit, he sane his own mono-
drama El poeta cakulista with extraordinary
success. In Italy, from 1811-16, he profited
by Auzani's advice, and improved his style
of singing by adopting the old Italian
method. In 1812 Murat app. him cham-
ber-singer. On his return to Paris, his
disgust at the machinations of Catalani, the
manageress of the Th. Italien, caused him to
break his engagement and go to London
(1817), where his triumphs were repeated.
From 1819-24 he was again the idol of the
Parisians at. the Th. Italien; sang as first
tenor at the Royal Opera, in London, 1824-5,
and in this latter year embarked for New
York with his family (wife, son Manuel, and
daughter Maria [Malibran]), and the dis-
tinguished artists Crivelli fits, Angrisani, Bar-
bieri, and de Rosich; from Nov. 29, 1825, to
Sept. 30, 1826, they gave 79 performances at
the Park and Bowery Theatres, with evident
artistic and apparent pecuniary success. The
troupe then spent 18 months in Mexico, when
G. returned to Paris, and devoted himself
to teaching and composition. His operas
comprise 1/ in Spanish, 18 in Italian, and 8
in French, besides a number n?ver performed,
and numerous ballets — all forgotten. A pre-
eminently successful tracher, his 2 daughters,
Mmes. Malibran and Fauline Viardot-Garcia,
Ad. Nourrit, Rimbault, and Favclli, were a
few of his best pupils. — See 'Mus. Quart.',
July 1915 to Jan. 1916: Pauline F.-G. to
Julius Rietz (letters).
Garcia [gar'shah, in Engl, and Amer.;
gar'siah, in Germany; correct Spanish pron.t
gar-the'ah], Manuel Patricio Rodriguez,
distinguished vocal teacher, son of preceding;
b. Madrid, March 17, 1805; d. London, July
1, 1906 (aged 101). Intended for a stage-
singer (bass), he went to New York with his
father, but in 1829 adopted the vocation of a
singing-teacher (in Paris) with conspicuous
success. An exponent of his father's method,
he also carefully investigated the functions
of the vocal organs; invented the laryngo-
scope, for which the K6nigsberg Univ. made
him Dr. phil. (hon. c). In 1840 he sent to
the Academy a Memoire sur la voix humaine9
a statement of the conclusions arrived at by
various investigators, with his own com-
ments. He was app. prof, at the Cons, in
1847, but resigned in 1850 to accept a similar
position in the London R. A. M., where He
taught uninterruptedly till 1895. Among G.'s
Eupils were his wife, Eugenie, fenny Lind,
[enriette Nissen, and Jul. Stockhausen. His
Traiti complet de Vari du chant was publ. in
1847; a German ed., by Wirth, appeared soon
after. In 1904 he publ. Hints on Singing,
a compendious catechism of the vocal art, re-
markable for its denial of the value (for the
pupil) of anatomical and physiological study.
— Cf . S. Mackinlay, G. the Centenarian and His
Time (London, 1908); also *M. T.\ Apr., 1905.
Garcia, Mariano, b. Aoiz, Navarra, July
26, 1809. Director of the Pampluna School of
Music, and a noteworthy composer of church-
music.
Garcia, Marie-F611cite>. See Malibran.
Garcin Jgahr-san'J, Julea-Auguate-Salo-
mon, b. Bourges, July 11, 1830; d. Paris,
Oct. 10, 1896. Violinist; pupil, in Paris Cons.,
of Clavel and Alard, also of Bazin (harm.) and
A. Adam (comp.). In 1856 he joined the
Grand Opera orch., becoming first solo violin
and 3d cond. in 1871; in 1882, 2d cond. of
the Cons. Concerts (succeeding Altes) ;and was
first cond. (succeeding Deldevez) from 1885-
92. From 1890, also prof, of vln. at the Cons.,
as Massart's successor. — Works: A suite synt-
phonique for orch., op. 25; a concertino for
via. ; a concerto and other pieces for vln. ; etc.
Garda'no, Antonio (up to 1557 he wrote
his name Gardane), b. after (?) 1500; d.
Venice, 1571 (?). One of the earliest and most
celebrated Italian music-printers; from 1537
he reprinted many current publications, as
well as important novelties, and compositions
of his own; e.g., Mottetti del frutto (1539) and
Canzoni francesi (1564). After 1571 his soni
Alessandro and Angelo carried on the busi-
ness till 1575, when the former set up for
himself in Rome, while the latter remained in
Venice till his death (1610); his heirs con-
tinued publishing under his name till 1650.
— See Q.-Lex.
Garden, Mary, dramatic soprano; born
Aberdeen, Scotland, Feb. 20, 1877. Brought
as a mere child to the United States, and
lived in Chicago; when 6 she began to study
the vln., and at 12 she also took up the
piano. In 1893 she began the study of sing-
ing with Mrs. S. R. Duff of Bangor, Maine,
294
GARDINER— GARSO
who (1895) took her to Paris, where she was
coached by Trabadello and Lucien Fugere.
Debut in the title-role of Charpentier's
Louise at the Op6ra-Comique, April 12, 1900,
where she was immediately engaged. Her
success,^ especially as an actress, was so
emphatic that two years later Debussy
chose her to create the role of Melisande.
Has created the roles of Marie in La Mar-
seillaise (July 14, 1900), Diane in La Fille du
Tabarin (Feb. 20, 1901), Melisande in De-
bussy^ PellSas el Melisande (April 30, 1902),
and Fiammette in Leroux's La Reine Fiammette
(Dec. 23, 1903). Her Amer. debut occurred
Nov. 25, 1907, at the Manhattan Op. H.,
New York, in Thais, and she soon became a
8 rime favorite; she remained at the Manh.
>p. H. till 1910; since then she has been with
the Chicago Op. Co. Although her voice is
not extraordinary, nor her vocalism above
criticism, her phenomenal success is due to
her marvelous acting, prepossessing stage-
appearance and plasticity of pose. Her
repertoire, which is rather limited and prac-
tically confined to modern French works,
comprises Thais, Griselidis, Melisande, Mar-
guerite (Faust), Sappho, Louise > Jean (Jon-
gleur de Nolre-Dame), Carmen, Salome (R.
Strauss), etc.
Gardiner{ H. Balfour, b. London, Nov.
2, 1877. Pupil of I. Knorr in Frankfort; taught
singing for a short time in Winchester, but
then devoted his whole time to comp. He
has written a Phantasy for orch.; English
Dance; a symph. in D; a string-quintet in
C m.; a string-quartet in B; News from
Wydahf for soli, ch. and orch.
Garibol'di, Giuseppe, flutist and comp.;
b. Macerato, Italy, March 17, 1833. Lived
many years in Paris, as a concert-player, and
publ. numerous pieces for flute and piano, and
flute solo. He also brought out 3 operettas,
and wrote songs.
Gariel [gahVyell, Edoardo, b. Monterey,
Mexico, Aug. 5, 1860. Pupil of A. Daunic in
Monterey and Marmontel in Paris; app.
teacher of mus., French and Engl, in State
Normal School at Saltillo in 1887; made dir.
in 1899; 1900-8 supervisor of school -mus. in
Mexico City; 1908-15 prof, of methodology
for school-mus. at Normal School for Girls;
since 1915 prof, of harm, and music pedagogy
at the Cons. Nacional de Musica. In 1915 he
was sent by the government to the U. S. to
study methods of instruction; also lectured on
his new system of harmony at various in-
stitutions (Columbia Univ., N. Engl. Cons.,
etc.); in 1916 he was sent on a similar mission
to Spain, Italy, Switzerland and France. He
has published Chopin, Consideraciones sobre
algunas de sus obras y la mantra de inter-
pretarlas (1895); Solfeo Elemental (2 parte,
1905); Solfeo y Canto Coral en notaciSn modal
cifrada (1906); Eletnentos de Solfeo y Canto
Coral (1908); Nuevo Sistema de Armonia bo-
sado en cuatro acordes fundamentals (1916;
published simultaneously in English as A
New System of Harmony based on four funda-
mental chords). He has also written some
works for piano.
Garlandia, Johannes de, French writer,
author of a treatise on plain-song and mensural
music (abt. 1210-32), 2 versions of which were
printed by Coussemaker in his 'Scriptores,'
vol. i. — See Q.-Lex.
Gamier [g&hr-n'ya'], Francois- Joseph,
oboist; b. Lauris, Vaucluse, 1759; d. there
1825. Pupil of Sallantin at Paris; in 1778
second, in 1786 first oboe at the Grand
Opera. — Publ. 3 oboe-concertos; 2 symphonies
concertantes for 2 oboes; 1 do. for flute, ob.,
and bassoon; 6 duos for oboe and vln.; and a
Methode bour le hautbots (German edition
translated by P. Wieprecht).
Garrett, George Mursell, b. Winchester,
England, June 8, 1834; d. Cambridge, April
8, 1897. A pupil of Elvey and Wesley, he
was asst.-org. at Winchester cath., 1851-4;
org. of Madras cath., 1854-6; of St. John's
College, Cambridge, in 1857; org. to the
Univ., 1873, succeeding Hopkins. Took
degree of Mus. Bac. 1857, Mus. Doc. 1867;
also received the degree of M. A. propter
merita in 1878. From 1883, Univ. Lecturer on
harm, and cpt.; he was Examiner in Mus. for
Cambridge Univ., cond. of St. John's Coll.
Mus. Soc., and solo pianist at its concerts;
also F. R. C. O., ana member of Philharm.
— Works: Oratorio The Shunammite (1882);
5 cantatas, 4 services, and other church-
music; part-songs, songs, organ-pieces, etc.
Garrison, Mabel, coloratura soprano; b.
Baltimore, Md. Pupil of W. E. Heimendahl
and P. Minetti at Peabody Cons. (1909-11);
then of O. Saenger in New York (1912-14),
and of H. Witherspoon (1916); debut as
Filina (Mignon) in Boston, April 18, 1912;
member of Aborn Engl. Opera Co. during
spring of 1912 and '13; since 1914 at M. O. H.
— Roles: Gilda, Violetta, Micaela, Lucia,
Gretel, Olympia (Tales of Hoffmann), Oscar
(Ballo in Maschera), Norma (Don Pasquale),
etc.
Garso [gahr'shoh], Siga, distinguished sing-
ing-master; b. Tisza Vesceny, Hungary, Sept.
17, 1831; d. Vienna, March 8, 1915. Pupil of
Gentilhuomo in Pest; debut 1854 at Arad as
Lionel in Martha; having sung in various
theatres, he established himself as a teacher
in Bremen. He wrote Ein offenes Wort fiber
Gesang (1884); Wie lernt man singen ? (ISS9);
Schule der spenellen Stimmbildung auf der
Basis des losen Tones (1911).— Cf. H. Rasch,
5. G.% in 'Allgem. Musik-Ztg.' (1915, No. 13).
295
GARTNER— GASSIER
Gart'ner, Joseph, b. Tachau, Bohemia,
1796; d. Prague, May 30, 1863. Organ-
builder at Prague. Published Kurze Be-
lehrung uber die innere Einrichtung der Orgeln
. . . (1832; 2d edition 1841).
Gascue [gahs'kwa], Francisco, b. San
Sebastian, Spain, Oct. 4, 1848. Although
by profession a civil engineer, he has de-
voted much time to the study of Basque
folk-music, and his contributions to the
subject are valuable. He has publ. La musica
popular vascongada (1906); La Spera vascon-
gada (1906) ; Ensayos de crUica musical (1909-
10; on operas by Colin, Urandizaga, Guridi
and de Inchausta); Historia de la Sonata
(1910); Origen de la musica popular vascon-
gada (1913); also several essays in 4S. I. M.'
and 'Revista Musical de Bilbao' and 'Revue
de© Etudes basques.' .
Gaspa'ri, Gaetano, historiographer; b.
Bologna, March 14, 1807; d. there March 31,
1881. Entered the Liceo Musicale in 1820
(pupil of B. Donelli); took 1st prize in comp.
in 1827, and was made honorary maestro
of the institution in 1828. Until 1836 he was
m. di capp. at Cento, and then for a brief
space at Imola, leaving this position to aid
his old teacher Donelli; on the latter 's
death (1839), instead of succeeding him, G.
was app. merely prof, of solfeggio (1840); not
until 1855 did his sterling merit win him the
post of Librarian to the Liceo, and prof, of
esthetics. In 1857 (to 1866) he also became
m. di capp. at the Ch. of S. Petronio. His
growing influence as an authority on music
led to his appointment, in 1866, as a member
of the Royal Deputation for hist, research in
Romagna, and to him was assigned the report
on the musicians of Bologna. Thenceforward
he devoted himself to historical research. —
Writings: Ricerche, documenti e memorie r»-
sguardanti la storia dell1 arte musicale in Bo-
logna (1867) ; Ragguagli sulla cappella musicale
della Basilica di S. Petronio in Bologna
(1869); Memorie . . . deWarte mus. in B. al
X VI secolo (1875). Among hisexcellent comps.
may be mentioned masses, a Miserere in 2
parts w. small orch., a Miserere mei Deus a 5,
with organ, and an Ave Maria for children's
voices, w. pf. — Cf . F. Parisini, Elogio funebre
del .prof essore C. G. (1882).
Gaspari'ni (or Guasparini), Francesco,
b. Camaiore, n. Lucca, Mar. 5, 1668; d.
Rome, Mar. 22, 1727. Pupil of Corelli and
Pasquini in Rome, where he taught for a
time, and became (about 1700) director of
music at the Cons, della Pieta, Venice. In
1735 he was app. m. di capp. at the Lateran,
Rome. Between 1702-30 he prod, about 40
operas at Venice, Rome, Vienna, etc., with
great success; he also wrote masses, motets,
cantatas, psalms, an oratorio Moses, etc.
His chief work was a Method of thorough-
bass playing, L'Armonico pralico al cembalo. . .
(Venice, 1683; 7th ed. 1802), used in Italy
for nearly 200 years. His most famous pupil
was Benedetto Marcello.-— See Q.-Lex.
Gaspari'ni, Michelangelo, celebrated
contralto singer and dramatic comp.; b.
Lucca 1685; d. Venice, 1732. A pupil of
jtf,r devoted himself to vocal teaching,
and founded a famous singing-school at
Venice (Faustina Bordoni was his pupil).
He prod. 5 operas in Venice.— See Q.-Lex.
Gaspa'ro da Said, family-name Berto-
m'jn (Prov* of Brescia, Italy), about
1542; d. Brescia, Apr. (buried 14th), 1609. He
came to Brescia about 1563, and settled there
as a maker of viols, viole da gamba, and
contrabass viols, which gained much celebrity;
his viohns were not so good. He is credited
w.lt/? haying modernized the form of the
violin, giving the /-holes their present shape,
also its graceful curve to the scroll, and
prolonging and sharpening the 4 corners of
the bouts. His pupils were his first-born
son, Francesco; Giovan Paolo Maggini; and
Giacomo Lafranchini. Dragonetti^ favorite
double-bass was an altered 'viola contrab-
baasa' of Gasparo's.— Cf. P. Bettoni, G. da
S. e Vinvenuone del violino, in 'Commentari
del Ateneo di Brescia' (1901); M. Butturini,
G.daS Studio crUico (Sal6, 1901).
Gaspert'ni, Guido, b. Florence, June 7,
1865. Pupil of Tacchinardi (comp.) and
Sbolci (vcl.); since 1902, librarian at Parma
Cons.; in 1908 he founded the 'Associazione
dei Musicologi Italiani,' one of the chief pur-
poses of which is the examination and cata-
loguing of all books on music and musical
MSS. in the Italian libraries; in 1909 it was
affiliated with the 'Internationale Musik-Ge-
sellschaft' (as its Italian branch), and began
the issue of a quarterly 'Catalogo delle opere
musicali . . . esistenti . . . nelle bibliotecne e
negli archivi pubblici e privati d' Italia'; so far
(1916) complete catalogues of the libraries of
Parma, Bologna, Milan and Florence have
been published. G.'s writings are Storia della
musica (1899; a series of 10 lectures); Del-
Varte a" inter pretare la scrittura della musica
vocale del Cinquecento (1902); Storia della
Semiografia musicale (1905); J caratteri pecu-
liar* del Melodramma italiano (1913).
Gassier, L.-Edouard, dramatic baritone;
b. France, 1822; d. Havana, Dec. 18, 1871.
Debut at the Opera-Comique, Paris, 1845;
he sang in Italy; married (1848) the Spanish
singer losefa Fernandez [d. Madrid, Oct.
8, 1866], with whom he sane successfully at
Madrid, Barcelona, and Sevilla, then (1854)
at the-Th. Italien, Paris, and in London and
Moscow.
296
GASSMANN— GATAYES
Gau'mann, Florian Leopold, b. Briix,
Bohemia, May 3, 1723; d. Vienna, Jan. 20,
1774. He had an excellent mus. education,
but his father insisted on his adopting a
commercial career; G. therefore ran away
from home when 12 years old, and made his
way as a harper to Padre Martini in Bologna,
who taught nim for two years. After living
at Venice in the service of Count Leonardo
Veneri, he was called by Emperor Francis
I (1764) to Vienna as ballet -com p.; in 1771
he succeeded Reutter as court Kapellm., and
founded the 'Tonkunstler-Societat' (now the
'Haydn') for the relief of the widows and
orpnans of musicians. He wrote 23 operas,
a quantity of orchestral and chamber-music,
and much church-music. His most famous
pupil, Salieri, was the teacher of G.'s two
daughters, Maria Anna and Maria Theresia
(Rosenbaum), distinguished opera-singers in
Vienna. — Cf . R. Haas, F. G. als dramatischcr
Komponist, in 'Studien zur M.-W.', ii. — See
Q.-Lex.
Gass'ner, Ferdinand Simon, violinist;
b. Vienna, Jan. 6, 1798; d. ' Karlsruhe, Feb.
25, 1851. In 1816 violinist, later chorusmas-
ter, at the National Th., Mayence; 1818, mus.
director at Giessen Univ., which in 1819
made him Dr. pkil. and lecturer on music.
In 1826 he joined the court orch. at Darm-
stadt, and afterwards became teacher of
singing and chorusmaster at the Theatre.
From 1822-35 he publ. the 'Musikalischer
Hausfreund' at Mayence; and edited, 1841-5,
the 'Zeitschrift fiir Deutschlands Musikver-
eine u. Dilettanten.' — Wrote Partiturenkennt-
niss, ein Leitfaden zum Selbstunterricht. . .
(1838; French ed. 1871, Trailed* la partition) ;
and Dirigent u. Ripienist (1846). He con-
tributed to the Supplement of Schilling's
'Universallexikon der Tonkunst* (1842) and
compiled an 'Universallexikon der Tonkunst'
(1849). He composed 2 operas, several
ballets, a cantata, songs, etc.
Gast, Peter. See K&sblitz, Heinrich.
Gastal'don, Stanislas, b. Turin, April
7, 1861. At the age of 17 he began publishing
nocturnes, ballabui, and other pieces for pf.;
he has written about 300 songs, some of which
have had great vogue (La musica proibita; Ti
vorrei raptti; Frate Anselmo; Donna Clara);
he has been fairly successful with his operas
Mala Pasquai (Rome, 1890), // Pater (Milan,
1894), SteUina (Florence, 1905), // Reuccio di
Caprtlana (Turin, 1913). He has also written
marches for military band; a piano-fantasia,
La dansa deUe scimmie; etc.
Gastinel, Leon-Guatave-Cyprien, born
Villers, n. Auxonne (C6te d'Or), Aug. 15,
1823; d. Fresnes-les-Rungis, Nov., 1906.
Pupil of Halevy at Paris Cons., taking 1st Gr.
prix de Rome for his cantata Velasquez in
1846. A successful comp. of comic operas, he
produced Le Miroir (1853), V Optra aux
fenitres ((1857), Titus et Berenice (1860), Le
Buisson vert (1861), Le Barde (Nice, 1896), and
the well-receivea ballet Le Rfoe (Grand
Opera, 1890); besides 4 operas not prod.: La
Kermesse, EutaUs, Ourania and La Tulipe
bleue; also 4 oratorios and 3 solemn masses,
orch. comps., chamber-music, choruses, etc.
Gastoue* [g&h-stwa'], Ani&lee, b. Paris,
March 13, 1873. Studied piano and harm,
with A. Deslandres (1890), harmony with
Lavignac (1891), then organ with Guilmant
and cpt. and comp. with A. Magnard. From
1896-1905 he was editor of 'Revue du Chant
Gregorien'; in 1897 he began to contribute to
the Tribune de St.-Gervais,' became editor in
1904, and on the death of Ch. Borde (1909)
editor-in-chief and dir.; prof, of Greg. Chant
at the Schola Cantorum since its foundation
(1896); mus. critic of 'La Semaine Litteraire'
since 1905; app. advisory member of the
Pontifical Commission of the Editio Vaticana
in 1905; at the internat. congress of the Int.
M. G., in 1914, he was commissioned to
organize and direct at La Ste.-Chapelle a
series of 'Primitifs de la Musiaue Francaise'
(works of the 11th- 14th cents.). For many
years he was org. and m. de ch. at St.-Jean-
6aptiste-de- Belleville, where he also gave con-
certs of works in the Palestrina style; Lau-
reate of the 'Academie des Inscriptions et
Belles-Lettres* and commander of the 'Order
of St. Gregory the Great.' — Compositions:
Op. 9, Missa Paschalis, a capp. (also arr. a 3
w. org.) ; op. 15, Messe breve; op. 19, do. ; op. 24,
Petite Messe; op. 34, Messe solennelle; w. 2
orgs.; op. 14, Au Christ Redempteur, cantata
for soli, ch. and org.; op. 31, Jeanne a" Arc,
for recitation, soli, ch. and orch.; op. 36,
incid. mus. to G. Gourdon's Viviane; Motets
(op. 4, 18, 20, 26, 32, 37); ore.-works (op. 6,
Prilude; op. 25, * Fantaisie dramatique; op.
40, 4 Pieces; etc.). — Writings: Histoire du
chant liturgique a Paris (vol. i: Des origines a
• la fin des temps carolingiens, 1905) ; Les origines
du chant romain, V antiphonaire gregorien
(1907; won prize of the Acad.); Catalogue des
manuscrits de musique byzantine de la
Bibliotheque Nationale de Paris et des biblio-
thlques publiques de France (1907; with
facsimiles; very valuable); Nouvelle mithode
pratique de Chant Gregorien (1908); L'Art gr6-
gorien (1911); La musique de I'Sglise (1911);
Le Graduel et V Antiphonaire romains (1913);
at present (1916) G. is eng. on Le Cantique
franfois, ses origines et son histoire.
Gatayes [gah-ta'], Felix, son of Guillaume;
b. Paris, 1809. Orchestral comp. and good
pianist, chiefly self-taught; for 20 years on
concert-tours in Europe, America, and Aus-
tralia. Wrote fine symphonies and overtures;
297
GATAYES— GAUL
later devoted himself to composing military
music.
Gatayes, Guillaume-Pierre-Antoine, b.
Paris, Dec. 20, 1774; d. there Oct., 1846.
Guitar-player and song-composer; he pub!,
trios for guitar, flute and vln.; duets tor 2
guitars, for guitar and piano, for guitar and
vln. (or flute), for harp and horn, for harp
and guitar; also guitar soli, and harp-sonatas.
Wrote 3 Methods for guitar, and one for harp.
Gatayes, Joseph-Leon, son of the pre-
ceding; b. Paris, Dec. 25, 1805; d. there Feb.
1, 1877. Excellent harpist, and composer of
soli, duets and Etudes for harp. Musical
critic for several Paris papers.
Ga'thy [-te], August, b. Liege, May 14,
1800; d. Paris, April 8, 1858. Pupil of F.
Schneider in Dessau (1828-30); lived 1830-
41 in Hamburg, editing a 'Musikalisches Con-
versationsblatt'; also publ. (1835) a 4Mus.
Conversationslexikon' (2d ed. 1840; 3d ed.f
rev. by Reissmann, 1873; a valuable work);
transl. into Ger. Berlioz* Voyage musical en
Allemagne (1844). From 1841, music-teacher
in Paris. — Songs.
Gatti-Casazza t-zaht'tsah], Glulio, dis-
tinguished impresario; b. Udine, Italy, Feb.
3, 1869. He was educated at the universities
of Ferrara and Bologna, and grad. from the
Naval Engineering School at Genoa; when
his father, who had been chairman of the
Board of Directors of the Munic. T*h. at
Ferrara, accepted a position in Rome in 1893,
the young man abandoned his career as
engineer and became dir. of the theatre. His
extraordinary ability attracted the attention
of the Viscount di Modrone and A. Boito,
who, in 1898, offered him the directorship of
La Scala at Milan. During the ten years of
his administration the famous institution came
to occupy the first place among the opera-
houses of Italy; he introduced into Italy
Wagner's later works in the vernacular, and
not until then did a real appreciation of these
masterpieces on the part of Italian audiences
begin. Since 1908 he has been Gen. Dir. of
the M. O. H., and the period of his adminis-
tration has been, both artistically and finan-
cially, the most prosperous in the history of
the house; he vastly improved the orch.,
chorus and all mechanical departments, so
as to produce an almost perfect ensemble; no
school or nation is unduly favored; one of his
first suggestions to the Board of Directors was
to offer a- $10,000 prize for the encourage-
ment of native operatic composers (won by
H. Parker with Mona, 1912); the doors were
opened to Amer. composers (Converse, Her-
bert, Damrosch), and eminent foreign com-
posers gladly accepted invitations to have the
world-premiere of new works take place at
the M. O. H. (Humperdinck, Puccini, Gior-
dano, Granados); the list of novelties pro-
duced is a long one, an average of 3 having
been brought out every season; besides, there
have been noteworthy revivals of older
works. On April 3, 1910, G.-C. married the
dramatic soprano Frances Alda.
Gatty, Sir Alfred Scott, b. Ecclesfield,
Yorkshire, April 26, 1847. In 1880 he was
app. Rouge Dragon; Poursuivant of Arms,
Heralds' College, London, 1886-1904; since
then Knight of Justice of the Order of St.
John; knighted in 1904. — Works: 2 operettas.
Sandfordand Mertori 's Christmas Party (1880)
and Not at Home (1886); the mus. plays for
children RumpelstiUkin, The Goose Girl, The
Three Bears; 4 vols, of 'Plantation Songs' and
3 vols, of 'Little Songs for Little Voices'.
Gatty, Nicholas Comyn, b. Bradfield,
England, Sept. 13, 1874. He was educated at
Downing Coll., Cambridge (A.B., 1896; Mus.
B., 1898); then pupil of Sir C. V. Stanford at
R. C. M.; org. to the Duke of York's R.
Mil. School at Chelsea; mus. critic of 'Pall
Mall Gazette,' 1907-14; also has acted as
asst.-cond. at Cov. G. — Works: The 1-act
operas Grey steel (London, 1906), Duke or Devil
(ib., 1909), The Tempest (not yet prod.);
Milton's On Time, for soli, ch. and orch.;
Vars. for orch.; a piano-concerto; a string-
quartet; several choruses.
Gaudenzi, Giuseppe, dramatic tenor; b.
Bologna, 1880. Student at Bologna Univ.,
graduating in 1898; practised law for 3 years,
also studying vln. and singing; after numerous
appearances as an amateur, made professional
debut as Canio (Pagliacci) at Florence in
Nov., 1906; met with instant success, and
sang at Bologna and Rome; scored special
success at La Scala in Andrea Chinier; 1909-
13 member of the Boston Op. Co.; has sung
since then in the principal Italian cities and
in South America; created chief tenor rdles
in Cortopassi's Santa Poesia and the Ital.
premieres of Boris Godunov and Elektra.
Gaul, Alfred Robert, b. Norwich, Engl.,
April 30, 1837; d. Edgbaston, Birmingham,
Sept. 13, 1913. A chorister in the cathedral
at 9, he was articled to Dr. Buck; was org. at
Fakenham, Birmingham, and Edgbaston;
graduated (1863) as Mus. Bac., Cantab.;
became cond. of the Walsall Philharmonic in
1887, then teacher and cond. at The Birming-
ham and Midland Inst., and teacher at King
Edward's High School for Girls and at the
Blind Asylum. — Works: An oratorio, Heze-
kiah (1861); several cantatas, some of which
(Ruth and The Holy City) are popular in the
U. S.; Passion music; the 96th Psalm; an ode,
A Song of Life; glees, vocal trios and duets,
songs and part-songs, etc.
Gaul, Harvey Bartlett, b. New York,
April 11, 1881, Studied harmony, comp. and
298
GAULTIER— GAY
organ there with G. F. I^e Jeune and Dudley
Buck (1895). Later (1906), in England, he
studied comp. with A. R. Gaul and Dr. Armes.
In Paris he attended the Cons, and the
Schola Cantorum; studied comp. and orches-
tration with V. d'Indy, and organ with Widor,
Guilmant and Decaux (1910).— At 17 he was
asst. -organist at St. John's Chapel, New
York; later, organist at St. Luke's Chapel,
Paris, Emmanuel Ch., Cleveland, and Cal-
vary Ch.t Pittsburgh (his present position,
1916). — Works: Oratorios, cantatas, other
church choral music, songs, organ-pieces, etc. ;
he is also well known as a critic and contri-
butor to the music maga2ines.
Gaultier [goh-t'yal, Aloyslus-fidouard-
Camille (Abbe), b. Italy, circa 1755; d. Paris,
Sept. 19, 1818. Was an innovator with regard
to methods for teaching the young; and publ.
Elements de musique propre & faciliter aux
enfants la connaissance des notes . . . (1789).
Gaultier, Pierre, b. Cioutat, Provence,
1642; drowned at Cette, Sept., 1697; he pur-
chased the patent for an operatic enterprise
at Marseilles, from Lully, the first perfor-
mance being that of his own opera, Le
Triomphe de la paix (1687).
Gauntlett, Henry John, b. Wellington,
Shropshire, July 9, 1805; d. Kensington,
London, Feb. 21, 1876. A lawyer by profes-
sion, he was likewise an excellent musician,
org. in several churches,, and Mus. Doc.,
Lambeth, 1843. He was chiefly instrumental
(with the assistance of the organ-builder Wm.
Hill) in introducing the C organ, instead of
the earlier F and G organs, into England. He
composed many anthems, hymns, songs,
glees, and organ-pieces, and publ. several
valuable compilations of church-music.
Gauthier [goh-t'yal, Gabriel, b. in the
dept. of Sa6ne-et-Loire, France, in 1808; lost
his sight when 1 1 months old, and entered the
Paris Inst, for the Blind in 1818, where he
was later instructor (1827-40). He afterwards
became org. of St.-£tienne-du-Mont, Paris. —
Publ. Repertoire des mattres de chapeUe
(1842-5, 5 vols.); Considerations sur la ques-
tion de la reforme du plain-chant . . . (1843);
and Le mecanisme de la composition instru-
mental* (1845).
Gauthlers-Villars [goh-t'ya' vS-yahr*],
Henri (called Willy), b. Villiers-sur-Orge,
France, Aug. 10, 1859. Music critic for the
'Revue des Revues'; writer for the 'Revue
Internationale de musique/ the *£cho de
Paris' (over the signature 'L'ouvreuse du
Cirque') , and other Paris papers. Several
volumes of his numerous criticisms have been
published : Lettrcs de l'ouvreuse, Bains de sons,
Rythmes et rires, La mouche de croches, Entre
deux airs, Notes sans portees, La colle aux
quintes, etc.; also Bizet, in 'Musicienscelebres'
(1912).
Gautier, Jean-Francois-Eugene, b. Vau-
girard, n. Paris, Feb. 27, 1822; d. Paris, April
3, 1878. Pupil of Habeneck (vln.) and Halevy
(comp.) at the Cons.; 1848, 2d cond. at the
Th.-Lyrique, and in 1864 chef du chant at the
Th. Italien; also prof, of harm, at the Cons.,
and in 1872 prof, of history. For several
years he was m. de chap, at Saint-Eugene. He
also wrote for various papers. — Works: 14
comic operas; an oratorio, La mort de Jesus; a
cantata, Le 15 aotit, an Ave Maria, etc.
Gautier, Theophile, b. Tarbes, France,
Aug. 31, 1811; d. Paris, Oct. 23, 1872. He
edited for years the dramatic feuillelon of the
'Presse' and the 'Moniteur Universelle'; and
publ. Histoire de Vart dramatique en France
depuis 25 ans (1859, 6 small vols.). Interest-
ing observations on music and musicians are
to be found in his Histoire du romantisme
(1873), Portraits contemporains (1874) and
Souvenirs du Thi&tre (1883).
Gaveaux [gah-voh'J, Pierre, b. Beziers,
Herault, Aug., 1761; d. Paris, Feb. 5, 1825.
A pupil of Franz Beck at Bordeaux, and tenor
at the church of Saint-Severin; opera-singer
at Bordeaux, Montpellier, and (1789) Paris
(Opera-Comique). — Works: 33 operas, chiefly
for the Th. Feydeau. — See Q.-Lex.
Gaviniea [gah-vS-nal, Pierre, brilliant
violinist, styleaby Viotti 'the French Tartini';
b. Bordeaux, May 26, 1726; d. Paris, Sept. 9,
1800. Self-taught in great measure, his
expressive and elevated style, formed upon
that of the old Italian * masters, created a
profound impression at his debut in a Concert
Spirituel (1/41) — a concert-enterprise estab-
lished by himself and Gossec. He settled in
Paris as a concert-player and teacher; in
1795 he was app. prof, of vln. at the Cons. He
had numerous distinguished pupils, and is
considered, in France, the founder of the
French school of violin- playing. He brought
out a 3-act comic opera, Le Pretendu, in 1760;
and publ., for vln., 6 concertos; 6 sonatas;
Les 24 Matinfes, studies for vln. in all the keys;
3 more sonatas; his celebrated Romance de
Gavinies, etc.
Gavron'ski [Gawronski], Woitech, b.
Seimony, near Vilna, June 27, 1868; pupil of
StroblandSigmund Noskowski at the Warsaw
Mus. Inst.; then conductor of an orchestra in
Vilna; after studying in Berlin and Vienna, he
opened a music-school in Orel; now living in
Warsaw. — Works: The operas Marja and
Pojata, a symphony, 3 string-quartets (one
won the Leipzig Paderewski prize in 1898),
many piano-pieces, songs, etc.
Gay, John, the librettist of The Bexar's
Opera; b. Barnstaple, Devon, Sept., 1685; d.
299
GAY— GEBAUER
London, Dec. 4, 1732. The opera was brought
out in London, Jan. 29, 1728; it9 immense
popularity for a century was due both to
pungent satire and the popularity of the
English and Scotch folk-tunes employed.
The perf. of a sequel, Polly, was forbidden by
the government, but the score was printed
in 1729; on its first perf. in 1777 it made a
fiasco, because the conditions satirized were no
longer understood.
Gay, Maria, dramatic contralto; b. Barce-
lona, June 13, 1879. Until she was 16 her
great ambition was to become a sculptress; a
six months' imprisonment for having sung a
revolutionary song then awakened her musical,
instincts, and she began to study the violin,
on which her progress was very rapid. Pujrno,
on one of his tours of Spain, hearing her sing,
was so impressed by the natural beauty and
volume of her voice that he immediately
engaged her for some of his concerts; a few
months later, at a concert with Ysajte at
Brussels, the director of the Th. de la Monnaie
heard her and asked her to study the role of
Carmen. Although she had had no instruc-
tion in singing, she made her debut five days
later, creating a sensation (1902). Now she
began to feel the necessity of regular training,
and spent the next year in serious stuay
with Mme. Ada Adiny in Paris; when she
reappeared, she was a finished artist, and has
made triumphal tours of Belgium, Germany,
France, Russia, Spain and England; in 1908-9
she sang at the M. O. H.; 1910-12, with the
Boston Opera Co., and since 1913 has been a
member of the Chicago Op. Co. In 1913 she
married the tenor Giovanni Zenatello. Her
repertoire comprises the roles of Carmen,
Dalila, Amneris, Azucena, Brangane, Gene-
vieve (Pelleas et MUisande), Orfeo, Santuzza,
Maddalena (Rigoletto), Suzuki (Madama But-
terfly), Charlotte {Werther), La Mere (Louise),
Carmela (Giojelli delta Madonna), Pilar
(Habanera), Lia (l' Enfant prodigue), etc.
Gaynor, Mrs. Jessie Smith, b. St. Louis,
Feb. 17, 1863. Pupil of L. Maas (pf.), A.
J. Goodrich and A. Weidig (theory); has
taught in Chicago, St. Louis and St. Joseph,
Mo. ; known chiefly as a composer of charming
songs for children; has publ. Songs of the
ChSd World (2 books), Playtime Songs,
Lilts and Lyrics, Melody Pictures for Little
Players; a children's operetta, The House
that Jack Built.
Gaztambldefeath-tahm-be'dg], Joaquin,
b. Tudela, Navarra, Feb. 7, 1822; d. Madrid,
March 18, 1870. Pupil of Madrid Cons.;
cond. of the Concerts and one of the founders
of the 'Concert Society'; also honorary prof,
at the Cons. — Works, 44 zarzuelas (operettas)
which had immense success. — Xavler Gaz-
300
tambide, a younger relation, also wrote
zarzuelas.
Gazzani'ga, Giuseppe, b. Verona, Oct.,
1743; d. Crema, 1819. A pupil, at Naples, of
Porpora and Piccinni; on going to Venice in
1770, he met Sacchini, who helped him to
bring out his first opera, // finto duo, at
Vienna (1770). He wrote 32 more operas,
mostly for Italian theatres; his// Convitatodi
pietra (Bergamo, 1788; at Lucca, 1792, as
Von Giovanni Tenorio) is interesting as iden-
tical in subject with Mozart's Don Giovanni.
In 1791, G. was app. m. di capp. of Crema
cathedral, for which he wrote considerable
sacred music (masses, a Stabat Mater, a Te
Deum, etc.) and 4 oratorios. — See Q.-Lex.
Gear, George Frederick, b. London, May
21, 1857. Concert-pianist and comp.; pupil
of Dr. Wylde and J. F. Barnett; gained a
scholarship in 1872 at the London Acad, of
Mus., in which he is professor. From 1876-92
he was music dir. of the German Reed Com-
pany.— Works: String-quartet; 2 piano-sona-
tas; Scena for sopr. solo and orch.; 2 operettas,
A Water-cure and Hobbies; songs; etc.
Gebauer [zhu-boh-al, fitlenne-Francois,
b. Versailles, 1777; d. Paris, 1823. Flutist,
pupil of his brother Michel, and of Hugot.
Second flute in the Op.-Com. orch., 1801;
first flute, 1813-22.— Works: Over 100 flute
solos, etc.; flute duets, sonatas for flute and
bass, exercises f. flute, airs varies f . clarinet.
Gebauer, Francois-Rent, b. Versailles,
1773; d. Paris, July 6, 1844. Bassoonist, pupil
of his brother Michel, and of Devienne. Prof,
of bassoon at Cons., 1796-1802, and after
1825; member of Grand Opera orch., 1801-26.
— Works for wind-instrs. : Quintets, quartets,
trios, duets, sonatas, etudes, and symphonies
concertantes; also overtures, military marches,
and pot-pourris. Wrote a Method for bassoon.
Gebauer [ga'bowr], Franx^ Xaver, bom
Eckersdorf, n. Glatz, 1784; d. Vienna, Dec. 13,
1822. From 1816, choirmaster at the Augus-
tiner Hofpfarrkirche, Vienna; in 1819 he
founded the celebrated 'Concerts spirituels,'
being their first cond.; he was also a member
of the 'Gesell. d. Musikfreunde,' and a friend
of Beethoven. — Publ. songs and part-songs.
Gebauer, Michel -Joseph, b. La Fere,
Aisne, inl763;d. Dec., 181 2, during the retreat
from Moscow. At 14 he was an oboist in the
Royal Swiss Guard; and became an expert
violinist and viol-player. In 1791, oboist in
the Garde Nationale; from 1794-1802, prof,
at the Cons.; thereafter bandmaster ot the
Garde des Consuls, and later of the Imperial
Guard, having to accompany the army on
various campaigns, during which he studied
and profited by German military music. His
marches for band (over 200) were very popu-
GEBEL— GEISLER
lar; he publ. many duets for 2 vlns., for vln.
and via., for 2 flutes, for flute and horn, flute
and bassoon, etc.; also quartets for flute,
clar., horn and bassoon.
Ge'bel, Franz Xaver, b. Fflrstenau, near
Breslau, 1787; d. Moscow, 1843. Pupil of Al-
brechtsberger and Abbe Vojjler; Kapellra. at
Leopoldstadt Th., Vienna, in 1810; later at
theatres in Pest and Lemberg; from 1817,
piano-teacher in Moscow. — Works: Operas,
a mass, 4 symphonies, overtures, string-
quintets and -quartets, many piano-pieces, etc.
Ge'bel, Georft (Sr.), b. Breslau, 1685; d.
there 1750. A runaway tailor's apprentice, he
studied under Winkler and Krause, became
org. at Brieg (1709), and at Breslau (1713).
He invented a clavichord with auarter-tones,
and a clavicymbalum with a pedal-keyboard.
His numerous comps. (a Passion oratorio,
cantatas, masses, psalms, canons [up to 30
parts!], organ-pieces, clavichord-music, etc.)
are unpublished.
Ge'bel, Georft (Jr.), b. Brieg, Silesia, Oct.
25, 1709; d. Rudolstadt, Sept. 24, 1753.
Pupil of his father; in 1729, 2d org. at St.
Maria Magdalene, Breslau, and Kapellm. to
the Duke of Ols. In 1735 he joined Count
Brunt's orch. at Dresden, where he met Heben-
streit, the inventor of the Pantalon, and
learned to play that instr. In 1747 he was
app. Kapellm. to the Prince of Schwarzburg-
Rudolstadt. A very prolific composer; wrote,
while in Rudolstadt, 12 operas, 2 Passions, 2
Christmas cantatas, sets of cantatas for
several years, more than 100 orch. symphonies,
partitas, and concertos, etc.; and in Breslau
a great variety of instrl. and vocal music.
Geb'hard, Heinrich, born Sobernheim,
Rhine Prov., July 25, 1878. As a boy of 10 he
came with his parents to Boston; studied there
piano and comp. with Clayton Johns until
1895, when he went to Vienna; after four
years of study under Leschetizky he returned
to Boston; 'made his pianistic debut with
Boston Symph. Orch. in 1900; since then he
has been heard with the principal orchestras
and chamber-music organizations; also in
numerous recitals; he is an excellent inter-
preter of the classics and romanticists, but
shows also a decided liking for the moderns
(Loeffler, Strauss, d'Indy, etc.). He has
written a string-quartet, a sonata for piano
and vln., and many piano-pieces.
Gebhar'di, Ludwig Ernst, b. Nottleben,
Thuringia, Jan. 1, 1787; d. Erfurt, Sept. 4,
1862. Organist and music-teacher at Erfurt
Seminary. Publ. several collections of organ-
Dieces; also school-songs, a Choralbuch, a
Method for organ, and a Method of Thorough-
bass (1828-35, 4 vols., frequently republ.).
Gedalge [zha-dahlzh'], Andre, b. Paris,
Dec. 27, 1856. Pupil of Cons. (Guiraud) in
1884; 2d Grand prix de Rome in 1885; prof,
of comp. at the Cons. He took the Prix
Cressent in 1895 with the 2-act lyric drama
HtUne. Has also comp. the music to Carre's
pantomime Le petit Savoyard (Paris, 1891);
Vaux de Vire for solo, ch. and orch. (1895); a
1-act op. bouffe, Pris au piege (Paris, 1895;
mod. succ.); 2 symphonies, several orchl.
suites, a string-quartet, piano-pieces, etc.
Geh'ring, Franz, b. 1838; d. Penzing, n.
Vienna, Jan. 4, 1884; lecturer on mathematics
at Vienna Univ. Wrote the biogr. of Mozart
for Hueffer's 'Great Musicians'; contributed
several articles to Grove's 'Dictionary.'
Gei'bel, Adam, b. Neuenheim, Sept. 15,
1855. He was brought to the U. S. in 1862,
and educated at the Penna. Inst, for the
Blind [through carelessness of the physician
he lost his eyesight when 9 days old]; he st.
piano, organ, voice and comp. with Dr. D. D.
Wood in Philadelphia; since 1885 org. of the
J. B. Stetson Mission and cond. of the Stetson
Chorus in Phila. In 1897, establ. a m us. -publ.
firm, Geibel & Lehmann, which was dissolved
in 1906; since then, Pres. of Adam Geibel
Music Co.; in 1911 the Temple Univ. of
Phila. conferred upon him the degree of Mus.
Doc. He has written the cantatas BethueVs
Daughter, The Nativity, The Incarnation,
Light out of Darkness, The Light of Life; pieces
for piano, ditto for organ, and songs.
Geljer [gi'er], Erik Gustaf , b. Ransatter,
Wermeland, Jan. 12, 1783; d. Upsala, April
23, 1847. Prof, of history at Upsala Univ.
Publ. (with Lindblad) a coll. of modern
Swedish songs (1824); musical editor-in-chief
of the 'Svenska Folkvisor' (1814-16, 3 vols.;
2d ed. 1846), a coll. of Swedish folk-songs.
Publ. original songs in the Swedish vein.
Gelsler, Paul, dramatic composer; born
Stolp, Pomerania, Aug. 10, 1856; pupil of his
grandfather (mus. dir. at Mecklenburg) and
of Konstantin Decker. Chorusmaster at the
Leipzig City Th., 1881-2, then with Angelo
Neumann's Wagner troupe; 1885-5, Kapellm.
at Bremen (under Seidl) ; since then he has
lived in Leipzig and Berlin; now (1916)
living in Posen, where he is dir. of his own
Cons, and cond. of the 'Orchestervereinigung' ;
'Kgl. Musikdir.' since 1902.— Works: The
operas Ineeborg (Bremen, 1884 ;text by Peter
LohmannJ; Hertha, or Die RiUer von Marten-
burg (Hamburg, 1891) ; Palm (LQbeck, 1893);
Wirsiegen (1-act; Posen, 1899); Printessin
Ilse (ib., 1903); music to the dramas Schiff-
briichig and Unser taglich Brod gieb uns heute
(both Hamburg, 1890) ; the symphonic poems
Der Rattenfdnger von Hameln (1880; score
publ.), Till Eulenspiegel, Mira, Maria Mag-
dalena, Heinrich von Ofterdingen, Ekkehard,
Beowulf, Der Hidalgo, Walpurgisnacht, Am
301
GEISTINGER— GENERALI
Meere, Der vrilde J&ger, Der neue Tannhduser;
2 'cycles' for soli, chorus and orch., Sansara
and Golgotha; 4 Symfhonische Freshen for
orch.; orchestral episodes; songs; etc.
Geis'tinger, Maria ['Marie'] Charlotte
Cftcilia, b. Graz, Styria, July 26, 1836; d.
Rastenfeld, Sept. 29, 1903. Brilliant operetta-
singer (soprano), chiefly in Vienna, but also
in Prague, Leipzig, Berlin, etc. In 1897 she
sang with success in New York. Inimitable
in Strauss rdles.
Gelinek [ga'-}» Hermann Anton (called
Cervetti), b. Horzeniowecs, Bohemia, Aug.
8, 1709; d. Milan, Dec. 5, 1779. A priest in the
Premonstrant Abbey at Seelau, who, wearied
of monastic discipline, fled to Naples, where
he assumed the name of Cervetti, and became
noted as a violinist. — Publ. works: Violin-
concertos and sonatas; church-music and or-
gan-pieces in MS.
Gelinek, Joseph, Abbe, b. Selcz, Bohe-
mia, Dec. 3, 1758; d. Vienna, April 13, 1825.
On Mozart's recommendation he became
'Claviermeister' (pf.-tutor) in the family of
Count Kinsley, whom he followed to Vienna;
here he publ. a vast number of variations,
fantasias, etc., on popular themes (125 down
to' 1815), brilliant in sound, but of slight
artistic value. G.'s chamber-music (trios,
sonatas for vln., and for of., etc.) is on a par
with the above. — See Q.-Lex.
Gemlniani [jeli-me-nah'nS], Francesco,
violinist and writer; b. Lucca, circa 1674; d.
Dublin, Sept. 17, 1762. A pupil of Scarlatti,
Corelli, and Lunati (called il Gobbo'); in
1714 he settled in London, where he won
reputation as a teacher and concert-player;
indeed, he is credited with having introduced
into England an improved (simplified) system
of violin-playing. He also publ. the earliest
known violin-method, Art of Playing the Vio-
lin (1740; 2d ed. entitled The Entire New and
Complete Tutor for the Violin .... French
and German translations); further (but of
minor importance) Lessons for the Harpsi-
chord, Art of Playing the Guitar, Guida armo-
nica (1742, English; also French and Dutch),
Supplem. to the Guida armonica, Art of Ac-
companiment (1755), Rules for playing in a
true taste on violin, German flute, violoncello,
harpsichord Treatise on Good Taste
(1747), Treatise on Memory, The Harmonical
Miscellany (1755). — Violin compositions (val-
uable): 12 solos (op. 1, 1716), 6 concertos (op.
2, 1735), 12 solos (op. 4, 1739), 6 concertos (op.
6, 1741), 6 do. (op. 7), 12 sonatas (op. 11.
1758), 12 trios for 2 vlns. and 'cello; also 6
solos for 'cello (op. 5). — Sonatas Nos. 1, 2,
and 7 are reprinted (arr. by G. Jensen); also
some piano-pieces. — See Q.-Lex.
Gemun'der, August, celebrated violin-
maker; b. Ingelfingen, YVurttemberg, March
302
22, 1814; d. New York, Sept. 7, 1895. In
1846, he emigrated to Springfield, Mass., and
establ. a shop. Went to New York about 1860.
His reputation was second to that of no con-
temporary maker. Instrs. of his make were
used by Wilhelmj and Brodsky; his copy of
Sarasate's 'Amati' was pronounced by the
owner ecjual to the original. After his death
the business was continued by his four sons
(August M., Rudolf F. (d. Leonia, N. J., July
8, 1916], Charles H. and Oscar A.) as 'August
Gemiindcr & Sons.'
Genast', Eduard Franz, baritone stage-
singer; b. Weimar, July 15, 1797; d. Wiesba-
den, Aug. 4, 1866. Debut 1814 at Weimar as
Osmin in Mozart's Entfuhrung; 1828, director
of Magdeburg theatre; 1829, accepted a life-
engagement at the court theatre, Weimar.
His most successful role was Don Giovanni. —
Works: 2 operas, Die Sonnenmdnner (Leipzig,
1828), and Die Verrdther aufden Alton (Wei-
mar, 1833); songs; also publ. A us dent Tage-
buch eines alien Schauspielers (1862-6), 4 vols,
of memoirs (after losing his singing-voice, he
became an actor). — Of his two daughters the
older, Doris (b. 1826; d. Munich, Nov. 7,
1912), became a celebrated actress, and mar-
ried Joachim Raff (1859); the younger,
Emilie (b. 1833; d. Weimar, March 5, 1905),
achieved distinction as a concert-singer and
teacher, being highly esteemed by Liszt.
Genee [zhii-na'], Franz Friedrich Ri-
chard, opera-composer; b. Danzig, Feb. 7,
1823; d. Baden, n. Vienna, June 15, 1895. At
first a medical student, he took up music, and
studied under Ad. Stahlknecht at Berlin; was
theatre-Kapellm. (1848-67) at Rcval, Riga,
Cologne, Aix-la-Chapelle, Dusseldorf, Danzig,
Mayence, Schwerin, Amsterdam, and Prague;
from 1868-78, Kapellm. at the Th. an der
Wien, Vienna, then retiring to his villa at
Pressbaum, near Vienna. He wrote (some
with F. Zell) several of his own libretti; he
also wrote libretti for Strauss, Suppe, and
Millocker. — Operettas: Der Geiger aus Tirol
(1857), Der Musikfeind (1862), Die General-
probe (1862), Rosila (1864), Der schwane Prim
(1866), Am Runenstein (with Fr. von Flotow,
1868), DerSeekadeU (1876), Nanon (1877), Im
Wunderlande der Pyramiden (1877), Die
letzten Mohikaner (1878), Nisida (1880), Ro-
sina (1881), Zwillinge (1885), Die PiraXen
(1886), Die Dreizehn (1887).
General! [ja-na-rah'le], Pietro (real name
Mercandetti), b. Masscrano, Piedmont, Oct.
12, 1782; d. Novara, Nov. 3, 1832. He studied
under G. Massi at Rome, where he prod, his
first opera, Gli A manti ridicoli, in 1802. He
brought out 51 more in the chief Italian
cities, Lisbon, etc., the best being / baccanali
di Roma (Venice, 1815). From 1817-1820 he
was conductor in a Barcelona theatre, but
GENET— GERBERT
his star was waning before Rossini's brilliant
successes; he accepted the post of m. di capp.
at Novara cath.. thereafter devoting himself
chiefly to sacred music (an oratorio, // voto
di Jefte, 1827; also masses, psalms, etc.)- A
sketch of his life, by Piccioli, Elogio di P.
Generali, was publ. at Novara, 1833.
Genet, Eleazar (called 11 Carpentras'so,
or Carpentras, from his native place); see
Carpentras.
Genss, Hermann, b. Tilsit, Jan. 6, 1856. •
Pianist, pupil of Kohler and Alb. Hahn; later
of Kiel, Grell and Taubert at the Royal
Hochschule fur Musik at Berlin. 1877,
music-teacher at Ltibeck; 1880, at Hamburg;
1890, teacher of piano and theory at Sonders-
hausen Cons.; 1891, director of Schumacher
Cons., Maycnce; 1893, co-director of the
Scharwenka-KHndworth Cons., Berlin; 1899,
prof, of piano and comp. at the Irving In-
stitute at San Francisco, since 1905 dir. —
Works: An opera, Hunold, der Spielmann
(San Francisco, 1914) ; chamber-music, orches-
tral works, songs, etc.
Georges [zhdhrzh], Alexandre, b. Arras,
France, Feb. 25, 1850. Pupil of the Nieder-
meyer School, Paris, where ne is now prof, of
harmony. — Works: The operas Le Printemps
(Rouen, 1890), Pobnes d'amour (1892), Char-
lotte Carday (1901), Miarka (1905), Myrrha
(1909), Sangre y Sol (Nice, 1912; all others at
Paris); music to the dramas Le nouveau
Monde (1883), Axel (1894), and Alcesie (1891);
also songs.
Gerard [zha-rahr'j, Henri-Philippe, born
Liege, 1763; d. Versailles, 1848. Studied for
5 years at Rome under Gregorio Ballabane;
from about 1788 he taught singing in Paris,
and, from 1795, in the Cons, for over 30
years. — Publ. a Methode de chant, in 2 parts,
the second being Considerations sur la musique
en gSneral, et particulierement sur tout qui a
rapport & la vocale . . . (1819); and a simpli-
fied Traitf mithodique oVharmonie . . . (1833;
a resuscitation of Rameau's theories).
Gerardy [zha-rahr-del, Jean, b. Spa, Bel-
gium, Dec. 6, 1878. At the age of 5 he began
to study the 'cello with R. Bellmann; 1885-9
pupil at the Cons, at Liege of Massau; on
graduation he was awarded the gold medal
y unanimous vote of the jury. While still a
student of the Cons, he appeared in 1888 at
Anstrudel in a trio with Ysa^e and Paderew-
ski, but his official debut as soloist occurred
in London in Dec., 1890, with sensational
success; what caused general surprise was
the maturity of his conception; the next year
he created a similar sensation in Vienna, when
he played with the Philh. Soc. under Hans
Ricnter; he then spent some time in Dresden,
studying with F. Grutzmacher; since 1893
has toured Europe and America; visited the
U. S. for the first time in 1899; 1915-16 he
made the seventh visit. A famous ensemble
player, having been heard frequently with
Kreisler, Marteau, Hofmann and Godowsky;
Ysajte, Godowsky and G. in 1913-14 formed a
trio and toured the U. S. Among contempo-
rary 'cellists G. has no superior; his instrument
is a Stradivari, made in 1710.
Ger'ber, Ernst Ludwig, celebrated lexi-
cographer, son and pupil of Heinrich Niko-
laus; b. Sondershausen, Sept. 29, 1746; d.
there June 30, 1819. He likewise studied law
and music in Leipzig, becoming a skilful
'cellist and org., in which latter capacity he
became (1769) his father's assistant, and
succeeded him in 1775. He was also a cham-
ber-musician. He was able to visit Weimar,
Kassel, Leipzig, and other cities, and gradually
gathered together a large collection of musi-
cians' portraits; to these he appended brief
biographical notices, and finally conceived
the plan of writing a biographical dictionary
of musicians. ^ Though his resources, in a
small town without a public library, and
having to rely in great measure on material
sent him by his publisher, Breitkopf, were
hardly adequate to the task he undertook,
his Historisch-biographisches Lexikon der Ton-
kunstler (Leipzig, 2 vols., 1790-92) was so
well received, and brought in such a mass of
corrections and fresh material from all quar-
ters, that he prepared a supplementary edi-
tion, Neues hist.-biogr. Lexikon der Ton-
kunstler (4 vols., 1812-14). Though the for-
mer was intended only as a supplement to
Walther's dictionary, and both are, of course,
out of date, they contain much material still of
value, and have been extensively drawn upon
by more recent writers. He composed sonatas
for pf., choral-preludes for org., and music
for wind-band. The Viennese 'Gesellschaft
der Musikfreunde' purchased his large library.
— See Q.-Lex,
Ger'ber, Heinrich Nikolaus, b. Wenigen-
Ehrich, n. Sondershausen, Sept. 6, 1702; d.
Sondershausen, Aug. 6, 1775. A law-student
in Leipzig from 1724-7, but also took organ-
lessons of J. S. Bach; org. at Heringen in 1728,
and to the court at Sondershausen from 1731.
He comp. much organ-music and many pieces
for clavichord and pianoforte (all in MS.);
invented improvements in the organ, also a
xylophone with keyboard.
Ger'bert (von Hornau), Martin, born
Horb-on-Neckar, Aug. 12, 1720; d. St. -Blaise,
May 13, 1793. A student in the Benedictine
monastery at St.-B., he joined the order in
1736, became a priest in 1744, then prof, of
theology, and 1764 Prince- Abbot of the mon-
astery. His writings on music were De cantu et
musica sacra (St.-B. , 1774, 2 vols.), Vetus
303
GERHARDT— GERMAN
liturgia alemannica (1776, 2 vols.), Monumenta
veteris liturgiae alemannicae (1777, 2 vols.), and
Scriptores ecclesiastic* de musica sacra potis-
simum (1784, 3 vols.); the last is still one of
the most valued sources for the study of mus.
history, being a collection of treatises by most
strong work, the cantata Luther's Lob der
Musica 1884> in Italy; 1885, Kapellm. in
Sondershausen Th.; 1886, of German Opera
in Posen. His Epic Symphony caused his
app. as Hofkapellm. in Coburg, 1891. In 1894
Kapellm. at Kassel. After holding several
noteworthy authors of the middle ages, given other posts as Kapellm. (Dresden, 1905) he
verbatim et Utteratim — i.e., with all the mis-* settled in Karlsruhe; now (1916) dir. of the
takes of the several originals. — Cf. T. Bader, 'Musikbildungsanstalt' there. — Works: Op. 1
Furstabt M. G. (Freiburg, 1875); A. Lamy, Vars. (F) on orig. theme, f. 'cello and pf.; op!
G. (Rheims, 1898).
Gerhardt [gar'-], Elena, distinguished
lieder-singer (contralto), b. Leipzig, Nov. 11,
1883. Pupil of Marie Hedmont at the Leipzig
Cons., 1899-1903; debut at Leipzig in 1903 in
recital, with A. Nikisch at the piano; her suc-
cess was such that she was offered an eng. at
the Opera, where she appeared as Mignon and
Charlotte (Werther) in 16 performances. But
the stage had no allurements for her, and she
devoted herself entirely to concert and orato-
rio, in which fields she soon was recognized aa
an artist of the first rank; on her first tour of
America, in 1912, she was heard with all the
great orchestras and in numerous recitals;
since then she has been a regular visitor every
season.
Gericke fea'rf-kSh], WUhetrn, b. Graz,
Styria, April 18, 1845. He was a pupil of
Dessoff in the Vienna Cons. 1862-5, ana then
became Kapellm. of the theatre at Linz;
1874, 2d Kapellm. of the Vienna court opera
(w. Hans Richter) ; in 1880, succeeded Brahms
as cond. of the 'Gesellschaftsconcerte,' and
also conducted the Singverein. From 1884-9
he was cond. of the Boston (Mass.) Symphony
Orch. (his successor was Nikisch); returning
to Vienna, he resumed the direction of the
'Gesellschaftsconcerte' until . 1895, when he
was succeeded by R. v. Perger. From 1898-
1906 he again cond. the Boston Symph. Orch.,
succeeding Emil Paur; since then he has been
living in retirement in Vienna. G. is a remark-
ably fine conductor and an efficient drill-
master. — Publ. works, several Lieder, choruses
and piano-pieces. — In MS.: Operetta Schon
Hdnnchen (Linz, 1865); a Requiem; a con-
cert-overture for orch.; a septet j' piano-quin-
tet, string-quartet, piano-trio, 2 sonatas for
vln. and pf., 2 ditto for piano, over 100 songs
and choruses, etc.
Geriach, Dietrich, celebrated music-
printer of the 16th century at Nuremberg;
succeeded J oh. v. Berg as Ulrich Neubers
partner in 1566 till the latter's death (1571);
carried on the business alone until his decease
in 1574, when his widow continued it till 1592.
Catalogue of works from his press was publ.
Frankfort-on-Main, 1609, by N. Stein.
Geriach, Theodor, b. Dresden, June 25,
1861. Pupil of Fr. Wullner; student in Berlin
Univ. 1883; and attracted attention by a
304
3, Serenade for string-orch.; op. 7, Vaterlands-
lied for male ch.t ace. by wind-instrs. ; op. 9f
6 Lieder; op. 10, Bei frohlicher Laune, 4
part-songs; op. 1 l.Alle Zeit treu bereit, military
march; op. 12, Ein Blich ins Frauenherz, 3
Lieder; op. 13, 5 Patriotic Songs for male ch.;
op. 14, Aus seliger Zeit, 10 songs for tenor w.
pf.; also Eine Bismarckroset for tenor or
bass solo. A 3-act opera, Matteo Falcone, of
which G. wrote text and music, was prod, at
Hanover, 1898, with mat success. His
experiments with 'spoken opera/ Liebes-
wogen (Bremen, 1904) and Das Seegespenst
(Altenburg, 1914), have not met with success,
and are of doubtful value; he has tried the
same principle (ordinary speech over an
instrl. accomp.) in his Gesprochene Lieder.
Gerle, Hans, d. Nuremberg, 1570. He
was well known, as early as 1523, as a violinist
and maker of violins and lutes. His works
in tablature are historically valuable. — See
Q-Lex.
German, Edward, b. Whitchurch, Engl.,
Feb. 17, 1862. With great natural proclivities
for music, he began serious study in Jan.,
1880, under W. C. Hay at Shrewsbury; in
Sept. he entered the R. A. M., studying organ
(Steggall), violin (Weist Hilt and Burnett),
theory (Banister), and comp. and orchestr.
(Prout), graduating with a symphony in E
m.; he was elected Fellow of the R. A. M.
in 1895. In 1888-9 he cond. the orch. at the
Globe Th. for 7 months; here his incidental
music to Richard Mansfield's production of
King Richard III was so successful that Sir
Henry Irving commissioned him to write the
music to Henry VIII (1892). G. was now
enabled to give up teaching, and to devote
himself entirely to composition. His works
occupy a high place among contemporary
productions in Britain: 2 symphonies, in E m.
and A m.; Gyfsy Suite (1892); Suite in D m.
(1895); English Fantasia Commemoration
(1897); symphonic poem Hamlet (1897);
Symph. Suite, The Seasons (1899); Rhapsody
on March-themes (1902); Funeral March in D
m. for orch.; Welsh Rhapsody (1904); Coro-
nation March and Hymn (191 1) ; Serenade, for
voice, piano, oboe, clar., bassoon and horn;
Pizzicato, The Guitar; Bolero for violin and
orch.;— incidental music to Richard III
(Globe Th., 1889), Henry VIII (Lyceum Th.f
GERMER— GERVILLE-RfeACHE
1892), As You Like It (St. James's Th.f 1896),
Much Ado About Nothing (St. James's Th.,
(1898), Nell Gwyn (Pr. of Wales's Th., 1900),
The Conqueror (1905).— Operas, The Emerald
Isle (with Sullivan; 1901); Merrie England
(1902); A Princess of Kensington (1903); Tom
Jones (1907); Moon Fairies (1909; the last
libretto written by Sir W. S. Gilbert );— all at the
Savoy Th.; operetta The Rival Poets (1901);
— many pf. solos (incl. a suite) and duets;
violin solo and a Scotch Sketch for pf. and 2
violins; Three Sketches for 'cello and piano;
Suite for flute and pf.; several soli for flute;
Pastorale and Bourrle for oboe and pf . ; pieces
for clar. and pf.; 3 pieces for Amer. organ; —
Te Deum in F; Patriotic tlymn, Canada;
Intercessory Hymn, Father Omnipotent; Three
Albums of Lyrics (w. Harold Boulton); The
Just So Song Book (w. Rudyard Kipling),
and other songs; etc. — Cf. 'M. T.,' Jan., 1904.
Ger'mer, Heinrich, born Sommersdorf,
Province of Saxony, Dec. 30, 1837; d. Dres-
den, Ian. 4, 1913. In 1857, pupil of the Berlin
Akademie (composition) ; after teaching two
years in Posen, he settled in Dresden, where
he spent his entire life, highly esteemed as a
teacher of piano. — Writings: Die Technik des
Klavierspiels (1877); Die musikalische Orna-
mentik; Rhythmische ProUeme; Wie spielt
man Klavier?, and a Method for piano. His
selection of studies from Czerny is praised;
he also ably edited Mozart's and Beethoven's
piano-sonatas.
Gerna/heftm, Friedrich, b. Worms, July
17, 1839; d. Berlin, Sept. 17, 1916. In 1849,
pupil of Rosenhain and Hauff at Frankfort;
1852-5, of Leipzig Cons., then st. in Paris
till 1861. He now became mus. dir. at Saar-
brQcken, and in 1865 was called to Cologne
Cons, as teacher of comp. and pf. In 1872
he received the title of 'Professor'; in 1874 he
went to Rotterdam as Dir. of the Cons, and
conductor of the 'Winter Concerts'; 1890-7
teacher at the Stern Cons., Berlin, and cond.
of the Stern Choral Soc. until 1904; in 1897
he was elected member of the senate of the R.
Academy of Arts at Berlin; from 1901 dir.
of the 'Akadem. Meisterschule fur Komp.' in
Berlin. As an instrumental composer he
occupies a foremost position. — Works: 4
symphonies (No. 1 in G m., No. 2 in Eb, No.
3 in C m., No. 4 in Bb); 2 overtures (Wold-
meister's Brautfahrt, Zu einem Drama); a pf.-
concerto; a violin-concerto in D (Fantasie-
stuck); 2 pf. -quintets, 3 pf. -quartets, 2 pf.-
trios, 1 string-quintet, 4 string-quartets, 3
violin-sonatas w. pf., 2 sonatas for pf. and
'cello; and the great choral works with orch.
Salamisf Nordische Sommernacht, Hafts, Wdch-
terlied in der Neuiahrsnacht 1200, Odins
MeeresriU9 Das Grab im Busento, Preislied,
Der Nornen Wiegenlied, Phobus Apollo.
Gers'bach, Anton, brother and pupil of
Joseph; b. Sackingen, Feb. 21, 1801; d. Karls-
ruhe, Aug. 17, 1848, as his brother's successor
at the Seminary. — Publ. a Method for piano,
instructive pf.-pieces, quartets for male and
mixed ch., school-songs, a supplement to
Joseph's 'Singvoglein,' and a Tonlehre, oder
System der elementarischen Harmonielehre.
Gers'bach, Joseph, b. Sackingen, Baden,
Dec. 22, 1787; d. Karlsruhe, Dec. 3, 1830, as
music-teacher at the evang. Teachers' Semi-
nary.— Publ. school-songs: 'Singvoglein' (30
2-part songs), 'Wandervoglein (60 4-part
songs); ana, posthumously, 'Liedernachlass,'
and ReihenUhre, oder Begrundung des musika-
lischen Rhythmus aus der aUgemeinen Zahlen-
lehre (1832).
Ger'ster, Etelka (Mme. Gerster-Gar-
di'ni), accomplished stage-soprano; b. June
16, 1857, at Kaschau, Hungary; through
Hellmesberger's good offices she became
(1874-5) a pupil of Frau Marchesi at the
Vienna Cons., and made her debut at Venice,
Jan. 8, 1876, as Gilda in RigoleUo, with such
success that her impresario, Dr. Carlo Gardini,
closed a favorable contract, under which she
sane at Marseilles, Genoa, and (March, 1877)
at Rroll's Th., Berlin, where she was greeted
with tumultuous applause. She married
Gardini in Pest, April 16, 1877, and has since
then sung in the chief cities of Europe and
America (Amer. tours 1878, 1883, 1887). Her
wonderful voice (a high soprano) and great
skill in coloratura singing made her one of the
renowned singers of the century. In 1896 she
opened a school for singing in Berlin. She
wrote Stimmfuhrer (1906; 2d ed. 1908).— Her
husband died in Berlin, May 15, 1910.
Gervaso'ni [jar-], Carlo, writer on music;
born Milan, Nov. 4, 1762; d. there June 4,
1819. For many years he was m. di capp. at
the Chiesa Matrice, Borgo Faro; also a mem-
ber of theltal. Acad, of Arts and Sciences. —
Publ. Scuola delta musica (Parma, 1800; on
the theory of mus.); Carte fgio mustcale (1804;
his autobiography occupies 30 pages); and
Nuova teoria di musica ricavata daW odierna
pratica . . . (1812).
Gerville - Reache [zhar-veT r£-ahsh1,
Jeanne, dram, contralto; b. Orthez, France,
March 26, 1882; d. (of blood-poisoning) New
York, Jan. 5, 1915. She spent her childhood in
Guadaloupe, French West Indies, where her
father, from whom she received almost her
entire education, was governor. In 1898 she
was sent to Paris* to study singing with La-
borde; 1899-1900 she was a pupil of Mme.
Viardot-Garcia, and in 1901 of Jean Criticos;
debut as Orfeo at the Opera-Corn, in 1900
with emphatic success; eng. there for the
season; 1902, at Th. de la Monnaie, Brussels;
1903, again at Opera-Corn.; 1904-6, tour of
305
GERVINUS-GEYER
France; 1907-10, member of Manhattan Op.
H., New York; 1911-12, of Chicago Op. Co.;
1913-14, of Nat. Grand Op. Co. of Canada.
In 1908 she married Dr. G. Gibier-Rambeaud,
dir. of the Pasteur Inst, in New York. She
created the roles of Catherine (Le Juif polo-
nais, 1900) and Genevieve (Pelleas et MHir
sande, 1902); her repertoire included the
r&les of Fricka, Brangane, Erda, Fides, Da-
lila, Carmen, Azucena, Amneris, Anita (La
Navarraise), Herodias, La Cieca (Gioconda),
Charlotte (Wert)ier), Francoisc (Attaque du
Moulin), Eleonora (Favorita), etc.
Gervi'nus, Georft Gottfried, historian
and man of letters; b. Darmstadt, May 20,
1805; d. Heidelberg, March 18, 1871, as
University professor. An enthusiastic admirer
of Handel and the other great masters, he was
a founder of the I^eipzig Handel- Verein, and
wrote Handel und Sltakesfeare. Zur Asthelik
der Tonkunst (1868).— His widow, Victoria,
publ. a selection of songs from Handel's ora-
torios and operas, entitled Naturgemasse Aus-
bildung in Gesang und Klavier spiel (1892).
Geselschap [he-zShl'-], Marie, b. Batavia,
Java, 1874; fine pianist; St. w. Xavcr Schar-
wenka, Berlin; played (1894—5) with great
success in New York, Boston, etc.; in 1895,
also in London; since then chiefly in Ger-
many, with special success as an .ensemble
player; now (1916) living in Munich.
Gesual'do, Don Carlo, Prince of Vcnosa;
born toward the middle of the 16th century; d.
1614. Living at the epoch when the 'new
music' (the homophonic style) made its ap-
j>carance, he was one of the most enlightened
musicians of the time, and, indeedj far in
advance of his age. Like Rore, Banchieri, and
Viccntino, he was a so-called 'Chromatidst';
in his works the counterpoint is enriched by
ingenious expedients, the melody led with
greater skill, and the music better adapted to
the words. — Publ. 6 vols, of madrigals a 5
(Genoa, 1585, each part separately; an edition
in score was publ. in 1613). — See Q.-Lex.
Gevaert [gC-vahrt'l, Francois- Auguste,
eminent Belgian comp. and musical scientist;
b. Huyssc, n. Oudenarde, July 31, 1828; d.
Brussels, Dec. 24, 1908. Pupil of Sommcre
(pf.) and Mengal (comp.) at Ghent Cons.,
184 j 7, taking the Gr. prix de Rome for com-
position; from 1843 he was also org. at the
Jesuit church. He produced 2 operas in 1848,
with some success; lived in Paris for a year
(1849-50), and was commissioned to write an
opera .for the Th.-Lyrique; then a year
in Spain, his Fantasia sobre motivos espaffoles
winning him the order of Isabella la Catolica;
ne also wrote a Rapport sur la situation de la
««Wti« en Esparne (Brussels, 1851). After a
Jftort visit to Italy and Germany, he returned
to Ghent in 1852, and up to 1861 brought out
506
9 operas in quick succession. In 1857 his fes-
tival cantata De nationale verjaerdag won him
the Order of Leopold. In 1867 he was app.
chef du chant at the Grand Opera, Paris; in
1870, the German investment caused him to
return home, and from 1871 he was Director of
the Brussels Cons., succeeding Fetis. In this
position he gave evidence of remarkable talent
for organization. As cond. of the 'Concerts du
Cons, he exerted a far-reaching influence
through his historical concerts, producing the
works of all nations and periods. In 1873 he
was elected member of the Academy, suc-
ceeding Mcrcadante; in 1907 he was created
a baron. — Compositions: The operas Hugues
de Somerghem and La Comtdie a la ville (Ghent,
1848); Georgette', ou le Moulin de Fontenoy
(Paris, Th.-Lyr., 1852); Le billet de Marguerite
(Paris, 1854); Les Lavandieres de Santarem
(Paris, 1855); Quentin Durward (Paris, Op.-
Com., 1858); Le Diableau moulin (P., 1859);
Chdteau-Trompette (P., 1860); LaPotdarde de
Caux (P., 1861); Les deux amours (Baden-
Baden, 1861); Le Capitaine Henriot (Paris,
1864); Pertinax (1884); also the cantatas Re-
tour de I'armee, Jacques van Arfevelde, and Le
depart (for 3-part chorus) ; a Missa pro defunc-
tis and Super flumina Babylonis (both for
male ch. and orch.); overture Flandre au lion;
ballads (PhiUpp van Artcvelde, etc.); songs
(many in the collection 'Nederlandsche Zang-
stukken'). — Even more important than G. s
compositions are his scholarly books: Leer-
boek van den Gregoriaenschen Zang (1856);
Traite a" Instrumentation (1863; revised and
enlarged as Nouveau traite de V lustrum.,
1885; Ger. transl. by Riemann, 1887; Span.
by Neuparth, 1896; Russ. by Rebikov, 1899);
Histoire et TfUorie de la musique de Vantiquite
(2 vols., 1875, '81); Les origines du chant
liturgique de VSglise latine (1890; Ger. transl.
by Riemann; throws new light on the Grego-
rian tradition); Cours mithodique d' Orchestra-
tion (2 vols., 1890; complement of Nouveau
traite) ; La Melopce antique dans Veglise latine
(1895; a monumental work); Les Probllmes
musicaux d'A ristote (3 vols., 1899-1902 ; adopts
the theories of Westphal, many of which have
since been proved untenable); Traitf d'Har-
monie thSorique et pratique (2 vols., 1905, '07).
Edited 'Les gloires de l'ltalic (a collection
of vocal numbers from operas, oratorios,
cantatas, etc.. of the 17th and 18th centuries) ;
Recueil de chansons du XV0 siecle' (tran-
scribed in modern notation) ; 'Vadcmecum de
rorganiste* (classic transcriptions).— Cf. F.
Dulour, Le baron F.A.G. (Brussels, 1909).
Gey'er [gl-], Flodoard, b. Bedin, March 1,
1811; d. there April 30, 1872. A theological
student, he took lessons in comp. with Marx;
founder (1842) and cond. of the academic
Mannergesangverein; also a co-founder of the
Berlin Tonkunstlcrverein. Teacher of theory
GHEYN— GIARDINI
in the Kullak-Stern Cons. (1851-66); received
title of 'Professor* in 1856. He was mus. critic
for the 'Spener'sche Zeitung,' 'Neue Berliner
Musikzeitiing,' and 'Deutscher Reichsanzei-
ger.' — Works: Operas, symphonies, chamber-
music, songs, etc. (nearly all in MS.). Also a
Compositionslehre (1862, Part I); and Ueber
den Unterricht auf tonlosen TaskUuren (1847).
Gheyn [gan], Matthias van den, b. Tirle-
mont, Brabant, April 7, 1721; d. Louvain,
June 22, 1785. For many years org. at St.
Peter's, Louvain, and town 'carillonneur'; he
was celebrated in both capacities. — Publ. Fon~
dements de la basse continue (lessons and sona-
tinas for ore. and vln.) ; 6 Divertissements for
harpsichord (abt. 1 760) ; also pieces for organ
ana for carillon. — See Q.-Lex.
Ghlslanzo'ni, Antonio, writer and dram,
post; b. Lecco, Nov. 25, 1824; d. Caprino-
Bergamasco, July 16, 1893. Intended for the
church, his fine baritone voice led him to adopt
the career of a stage-singer (Lodi, 1846), which
he speedily abandoned, however, for literary
work. He became the manager of 'Italia Mu-
sicale,' and was for years the editor of the
Milan 'Gazzetta Musicale,' to which he re*
mained a faithful contributor till death. He
wrote over 60 opera-libretti, that of Aida
being the most famous; publ. Reminiscent*
arUstiche (which contains notes on the pianist
A. Fumagalli, an episode entitled La casa di
Verdi a Sant' A gala, etc.).
Ghys [ges], Joseph, violinist; b. Ghent,
1801; d. Petrograd, August 22, 1848. A
pupil of Lafont at Brussels Cons.; taught at
Amiens and Nantes, made tours in France
(1832, etc.), Belgium (1835), Germany and
Austria (1837), and northern Europe. —
Works: Variations for vln., with pf. or orch.;
he mouvement perpetuel, for vln. w. string-
quartet; violin-concerto in D; romances; the
etude VOrage, for solo vln. ; etc.
Giac'che; Glacchet'to. See Berchem
and Buus.
Giacomelli [jah-], Geminlano, b. Par-
ma, 1686; d. Naples, Ian. 19, 1743. Dramatic
composer, pupil of Capelli. After the suc-
cessful performance of nis opera Ipermnestra
at Parma in 1704, the Duke of Parma sent
him to study under Scarlatti at Naples. He
became a favorite opera-composer; entered
the service of the emperor Charles VI at
Vienna, and returned to Naples in 1731. Of
his 8 operas, Cesare in EgiUo (Turin, 1735)
was thought to be the best. . Other works:
Psalm viii for 2 tenors and bass; concert-
arias with continuo. — See Q.-Lex.
Gialdinl Qam-de'nel Gialdino, b. Peseta,
Nov. 10, 1843. Pupil of T. Mabellini at
Florence. His first opera, Rosmunda (prize
opera in a competition instituted by the
Pergola Th., Florence), given in 1868, was
unsuccessful; after prod. 2 'opere buffe,' La
Secchia rapita (Florence, 1872), ancl L'idolo
cinese (1874), in collaboration with other
musicians, he gave up opera-writing, and
devoted himself to conducting, a career in
which he has been eminently successful.
Later he again turned to dramatic composi-
tion, producing w. succ. the operas / due soci
(Bologna, 1892), La Pupilla (Trieste, 1896),
La Bufera (Pola, Spain, 1910). Has also
written a Preghiera di sera for full orch.; a
Menuetto for strings; and publ. 'Eco della
Lombardia/ a collection of 50 folk-songs.
Glanelli [jan-], Pietro (Abbate), writer;
b. Friuli, Italy, c. 1770; d. Venice, 1822 (?).
Publ. Dizionario della musica sacra e prof ana
(Venice, 1801, 3 vols.; 2d edition, 1820, 8
vols.; the oldest Italian dictionary of music
and biography, of slight value) ; also a Gram-
matical ragUmata delta musica . . . (Venice,
1801, 2d edition 1820), and a Biografia degli
uomini illustri della musica, with portraits
(only one fascicle appeared, in 1822).
Glanetti'ni [jah] (or Zanettini), Anto-
nio, b. Venice, 1649; d. Modena, end of Aug.,
1721. The reputation won by producing 3
operas in Venice, led to his appointment in
1686 as m. di capp. at the court of Modena,
where he remained for life; except in 1695,
when he brought out 3 operas in Hamburg. —
Works: 6' operas; 6 oratorios; several cantatas;
a Kyrie a 5; and Psalms a 4, with instrs.
(Venice, 1717).— See Q.-Lex.
Glanot/ti Hah-], Pietro, a native of Lucca,
was a double-bass player at the Grand
Opera, Paris, where he died June 19, 1765. —
Wrote duos, trios, and sonatas for vln.;
'cello-sonatas; duos for musettes or vielles;
also Le Guide du Compositeur (1759), a theory
of fundamental bass ace. to Rameau.
Giarda Jjahr'-], Lui&i Stefano, b. Cassol-
novo, Pavia, March 19, 1868; pupil of Milan
Cons.; fine 'cellist; 1893-7 teacher at the
Padua Music-school; since then at the R.
Cons., Naples. — Works: The operas Rejetto
(Naples, 1898), and Lord Byron (Santiago,
Chihg 1910) ; concert-pieces for 'cello and orch. ;
a string-quartet; Adagio for 4 'celli; 2 'cello
sonatas (one 'in the ancient style'); Prelude
and Scherzo for vln. and 'cello; Suite for pf.
and vln. (op. 39); Studies in the Thumb-
position for 'cello; etc.
Giardl'nl [jahr], Felice de\ b. Turin,
April 12, 1716; d. Moscow, Dec. 17, 1796.
Dramatic ^ composer and distinguished vio-
linist; choir-boy in Milan cath., and a pupil
of Paladini, later studying the violin under
Somio at Turin. After playing in various
theatre-orchestras in Rome and at the San
Carlo, Naples, and giving small concerts, he
appeared m London (1744) with great suc-
307
GIBBONS— GIGOUT
cess; from 1748-9 he lived in Paris, becoming
a favorite of the court and aristocracy. Re-
turning to London in 1750, he succeeded
Festing in 1752 as leader at the Ital. opera, of
which he became the manager in 1756, and
1763-5; financial losses induced him to return
to concert-giving. From 1 774-80 he was leader
at the Pantheon concerts, 1782-3 at the Ital.
opera; after a sojourn of 6 years in Italy, he
tried to establish an Ital. opera at London in
1790, but failed, took his opera-troupe to
Russia, and died there. — In London he
brought out 5 operas with indifferent success,
also an oratorio, Ruth (1752); he also wrote 5
sets of violin solos, 6 duets, 6 sonatas for
piano and vln., 12 violin-concertos, 6 piano-
quintets, 12 string-quartets, several string-
trios, songs, catches, etc. His violin-music is
excellent. He owned and played on a vln.
formerly Corelli's. — See Q.-Lex.
Gibbons, Christopher, son of Orlando;
b. London, 1615 (bapt. Aug. 22); d. there
Oct. 20, 1676. Pupil of Edward Gibbons, at
Exeter; 1638-61, org. of Winchester cath.,
but served some years in the royalist army.
Org. of the Chapel Royal 1660-76, also private
org. to Charles II. Org. of Westminster Ab-
bey 1660-5. Mus. Doc., Oxon., 1664. — Some
motets are in Dering and Playford's 'Cantica
sacra' (1674); other comps. in MS.
Gibbons, Rev. Edward, b. circa 1570; d.
c. 1650. Mus. Bac., Oxon., 1592. Org. of
Bristol cath., 1592-1611; of Exeter cath.,
1611-44. — Anthems, etc., in MS. at British
Museum and Oxford. — His brother, Ellis G.
(d. circa 1650), was org. at Salisbury cath.
Gibbons, Orlando, brother of the pre-
ceding; a noted org. and composer; b. Cam-
bridge, Engl., 1583; d. Canterburv, June 5,
1625. In 1596 he was a choristerat King's Coll.,
Cambr.; org. of the Chapel Royal, 1654; Mus.
Bac., Cantab., 1606; Mus. Bac. and Doc.,
Oxon., 1622; org. of Westminster Abbey,
1623. — Publ. Fantasies of III parts . . . com-
posed for viols (1610, the earliest engraved
compositions in England; edited by E. F.
Rimbault, and reprinted 1843); pieces for
the virginal, in Tarthenia' (also reprinted,
1834, Mus. Antiq. Soc.) ; a selection of church-
music (2 services, 2 sets of pieces, 6 hymn-
tunes, 17 anthems), edited by Ouseley, was
reprinted in 1873; a selection of harpsichord-
pieces has been republ. by Augener & Co.;
the tunes to 'Withcr's Hymns' were reprinted
by the Spenser Society in 1881; the 'First Set
of Madrigals and Motets,' a 5 (London, 1612),
has been edited by Smart, and republ. in
1841 by the Mus. Antiq. Soc. Many other
church-compositions remain in MS. — See
Q.-Lex.
Gibert [he-bartT (or Gisbert, Glspert),
Francisco Xavier,. priest; b. Granadella,
Spain; d. Madrid, Feb. 27, 1848. In 1800 he
was maestro at Tarazona; from 1804 (1808?)
at Madrid. His church-music is noteworthy.
Gibert [zh5-bar1, Paul-Cesar, born Ver-
sailles, 1717; d. Paris, 1787. St. in Naples,
and settled in Paris as a teacher. — Publ. Sol-
feges, ou legons de musiaue (1783), and a
Melange musical of vocal pieces. He produced
several operas at the Comedie Italienne.
Gibson, (George) Alfred, b. Nottingham,
Engl., Oct. 27, 1849. Violinist, pupil of
Henry Farmer. He played in various towns
from the age of 11; in 1867 he went to London,
and in 1870 was engaged as first violin at the
Drury Lane opera; in 1871 he joined the R.
Opera orch. at Covent Garden, and remained
there 12 years. He was principal viola in
Svendsen's Octet; and in 1893 he succeeded
Ludwig Strauss as leader of the Queen's
(King's) Private Band, which position he
still holds (1916). Prof, of violin, R.A.M.; of
the viola at the G.S.M.
Gibsone, Guillaume-Ignace, b. London,
about 1826. Pianist, pupil of Moscheles; con-
cert-giver in Brussels, 1845; German tour in
1846; settled in London as a teacher and com-
poser in 1850. — Works: 3 cantatas, an opera
and 2 symphonies (MS.); sonata for pf. and
vln.; numerous pf. -pieces (Polonaise; Medita-
tions, 24 numbers; Chanson <* boire; Chanson
# amour; 4 Sketches; etc.); songs (Sweet hour
of eventide; My lady sleeps; etc.).
Glde [zhSd], Casimir, b. Paris, July 4,
1804; d. there Feb. 18, 1868; pupil of Dourlen
at the Cons.; from 1847, partner in the busi-
ness of his father (a bookseller). — 6 operas,
prod, at Paris: — Les trois Marie (1828), Le
roi de Sicile (1830), Les trois Catherine (1830,
with Adam), Lesjumeaux de la RSole (1831),
VAngelus (1834), and Belphkgor (1858)— were
quite successful ; he also brought out 7 ballets.
Gigout [zhe-gool, Eugene, organ-virtuoso
and sacred comp. ; b. Nancy, France, March
23, 1844. Began mus. studies in the maltrise of
Nancy cath.; at 13 he entered the Nieder-
meyer School at Paris, in which he subse-
quently taught from 1863-85, and from
1900-5. Also, for a time, pupil of Saint-SaCns.
Since 1863, G. has been organist at the ch.
of St.-Augustin; he has won fame as a
concert-organist in France, England, Ger-
many, Switzerland, Spain, and Italy; especially
famous for his masterly improvisations. In
1885 he founded at Paris an organ-school
subsidized by the government, from which
many excellent pupils have graduated
(BogHmann, Faure, Messager, A. Georges,
A. Roussel, C. Terrasse, etc.); since 1911
prof, of org. and improvisation at the
Nat. Cons. Is also an esteemed mus. writer
and critic; Commander of the order of
308
GIL— GILLET
Isabella la Cat61ica; officer of public
instruction (since 1885); and Chev. of the
Legion of Honor (since 1895). As a composer
he is a devotee of the severe style. — Works:
For organ: Cent pieces breves (Gregorian),
Album GrSgorien (2 vols., each containing
115 pieces exclusively in the church-modes),
Rhapsodic sur des Noels, Toccata, Scherzo,
Prilude ei Fugue in Bb, Marche de Fite,
Rhapsodic sur des Airs Catalans, do. sur des
Airs Canadiens, Pohnes Mystiques (3 pes.),
etc.; a sonata in F for pf., and other pieces for
pf. (2 and 4 hands); sacred choruses and
songs. Eighty new pieces'for organ are to be
pub!, after the conclusion of the war.
Gil [Kill, Francisco Amis, b. Cadiz, 1829;
Supil of Fetis at Paris; prof, of harmony at
lad rid Cons. In 1850 he made a Span, transl.
of Fetis' Harmony; in 1856 he publ. a Tratado
elemental teorieo-prdtico de armonia. Also prod,
several operas at Madrid; and wrote for
Eslava's 'Gaceta musical* (1855-6).
Gil y Llagoete'ra, Caytan, b. Barcelona,
Jan. 6, 1807; first flute at Barcelona theatre
and cathedral. — Works: Symphonies, masses,
a Requiem, orchestral dances, and much
flute-music.
Gilbert, Henry Franklin Belknap, b.
Somerville, Mass., Sept. 26, 1868. Pupil of
N. E. Cons., 1888; pnv. pupil of MacDowell
(comp.) in Boston, 1889-92; one of the found-
ers of the Wa-Wan Press. — Works: For
orch., Two Episodes (1897); Summerday Fan-
tasy, Amer. Humoresque, Comedy Overture on
Negro Themes (1906); Americanesque (1907);
American Dances (1911); symph. poem, The
Dance in Place Congo (1912); Negro Rhapsody
(Norfolk Festival, 1913); symph. prologue,
Riders to the Sea (1914); Indian Sketches
(1914); To America, for ch. and orch.;
Salammbd's Invocation to Tanith, for sop. and
orch.; pes. for pf. and numerous songs. In
many of these he employs Indian and Negro
themes, as well as folk-tunes of other nations.
Has also ed. a coll. of 100 folk-songs (1909).
Gilbert*, Hallett, b. Winthrop, Maine.
March 14, 1875. Pupil of J. Orth and C.
Barmann (pf.) and E. Nevin (comp;) in
Boston; successful song-comp. (In Reverie,
Spanish Serenade, Mother's Cradle-Song, Two
Roses, Song of the Canoe, etc.).
Gilchrist, William Wallace, b. Jersey
City, N. J., Jan. 8, 1846. Organist, pupil of
H. A. Clarke at the Univ. of Pennsylvania.
He taught for a year in Cincinnati, returned
to Phila. in 1873, and for 4 years was choir-
master at St. Clement's ch.; 1877, org. and
choirmaster of Christ ch., Germantown, and
from 1882 teacher at the Phila. Mus. Acad.;
now (1916) org. of Swedenborgian ch., Phila.,
and cond. of Mendelssohn Club (which he
formed 1874) and several other choral so-
cieties. He was made Mus. Doc. by the Univ.
of Pennsylvania in 1896. — Works: Psalm
xlvi, for soli, ch., orch. and org. (Cincinnati
Festival Prize, 1882); Psalm xc for do.;
Easter Idyl; Christmas oratorio; Song of
Thanksgiving, for ch. and orch.; a cantata,
The Rose (1-887); Ode to the Sun; Autumn
Dreaming (prize, 1880, from N. Y. Mendels-
sohn Glee Club); 2 symphonies (in C and D);
nonet in G m. ; 2 quintets (in C m. and F) ; a
trio in G m.; a string-quartet; much church
music; songs.
Giles, Nathaniel, b. n. Worcester, Engl.,
c. 1550; d. Windsor, Jan. 24, 1633. Chorister
of Magdalen Coll., Oxford, in 1559; Mus.
Bac, 1585; org. and choir-master of St.
George's Chapel, Windsor, 1595; in 1597 he
succeeded Hunnis as Master of the Children
of the Chapel Royal; was made Mus. Doc.,
Oxon., in 1622. — He wrote some pieces in
Leighton's 'Teares or Lamentations of a
Sorrowfull Soule' (1614); a service and an
anthem are in Barnard's 'Church Music'
(1641); in Hawkins' 'History of Music' is a
quaint Lesson of Descant of thirtie eighte
Proportions of sundrie kindes; other anthems
are in MS.
Gilibert [zh5-le-bar/], Charles, dramatic
baritone; b. Paris, Nov., 1866; d. New York,
Oct. 11, 1910. He left the Paris Cons, as a
prize-graduate, sang one season at the Op.-
Comique, and then went to the Th. de la
Monnaie, Brussels, where he became a great
favorite; 1900-3 member of the M. O. H.; at
his debut on Dec 18, 1900, and throughout
the entire season, he failed to make a decided
impression, but on his appearance in the
second season took the public by storm;
1906*10, at the Manhattan Op. H„ N. Y.;
he was then reengaged for the M. O. H., and
was to have created the part of Jack Ranee
in the premiere of The Girl of the Golden
West, but died just before the opening of the
season. He was also a distinguished concert-
singer, and as an interpreter of Old French
songs he probably had no rival. His prin-
cipal roles were Masetto, Dr. Bartolo, Le
Pere (Louise), Sergeant Sulpice (Fillc du
Regiment), Bomiacejjongleur de Notre-Dame),
Schaunard (La Bohbme), etc.
Gille, Karl, b. Eldagsen, near Hanover,
Sept. 30, 1861. Pupil of Fischer, Bott and
Metzdorff; began his career as Kapellm. in
Elbing; having filled various positions, he
became Hofkapellm. in Schwerin in 1891;
succeeded Mahler as first cond. at the Stadth.,
Hamburg, 1897; 1906-10, first cond. of the
Volksoper in Vienna; since 1910, Kgl. Kapellm.
at the court theatre, Hanover.
Gillet [zhil-lal, Ernest, b. Paris, Sept. 13,
1856; pupil of the Niedermeyer School and of
309
GILLETTE— GIN6UEN£
the Cons.; solo 'cellist at the Grand Opera.
Now living in London, and known as a
writer of 5cu<m-music (Loin du bal, etc.).
Gillette, James Rokert,- b. Roeeboom,
N. Y., May 30, 1886. Studied music at Syra-
cuse Univ., org. with H. Vibbard and theory
with W. Berwald; since 1914 prof, of mus. at
Wesleyan Coll., Macon, Ga. ; has made 2
tours as org.-virtuoso, 1914—16. Comp. of
the cantata The Light Everlasting and several
organ-pieces {Toccatina, Pastorale, Grand
ChoBur, Chanson de Matin, etc.).
Gilman, Lawrence, critic and author; b.
Hushing, N. Y.,'july 5, 1878. Self-taught in
music (pf., org., comp., orchestration, theory
Natl. Inst, of Arts and Letters. He has
written Phases of Modern Music (1904);
Edward MacDoweU (1905, in 'Living Masters
of Music'; rev. and enlarged as E. M. A
Study, 1909); The Music of To-Morrow (1906);
Guide to Strauss* s 'Salome* (1907); Stories of
Symphonic Music (1907); Guide to Debussy's
'PeUeas et Melisande'- (1907); Aspects of Mod-
ern Opera (1908); Nature in Music (1914).
He has set to music 3 poems of W. B. Yeats
{The Heart of the Woman [sonp); A Dream of
Death and The Curlew [for recitation w. pf.]).
Gilmore, Patrick Sarsfleld, b. n. Dublin,
Dec. 25, 1829; d. St. Louis, Mo., Sept. 24,
1892. He went to Canada with an English
band, but soon settled in Salem, Mass., where
he cond. a military band. In 1859 he went to
Boston, and organized the famous 'Gilmore' s
Band.' As bandmaster in the Federal army at
New Orleans (1864), he gave a grand mus.
festival with several combined bands, intro-
ducing the novel reinforcement of strong
accents by cannon-shots. He won wide re-
nown by the 'National Peace Jubilee' (1869),
and the 'World's Peace Jubilee' (1872), two
monster musical festivals held at Boston; in
the former, G. led an orch. of 1000 and a
chorus of 10,000; in the latter, an orch. of
2000 and a chorus of 20,000; the orch. was
reinforced by a powerful organ, cannon fired
by electricity, anvils, and chimes of bells.
After the second Jubilee, G. went to New
York, and, as a popular bandmaster, travelled
with his men throughout the United States
and Canada, and also (1878) to Europe. He
also led bands or orchestras in various resorts
in and near New York. — Works: Military
music, dance-music, many arrangements for
band. Some of his songs were popular.
Gllse, Jan van, b. Rotterdam, May 11,
1881. Pupil of Wullner at the Cologne Cons.,
1897-1902 ; then for a year of Hurnperdinck in
Berlin; 1905-8, cond. of the Opera at Bremen;
1908-9, cond. of the Dutch Op. at Amster-
dam.— Works: 3 symphonies, of which the
1st won the Beethoven-Haus prize (1902),
and the 3d the Michael Beer prize of the
Berlin Acad. (1909-); an overture; 2 Inter-
mezzi for orch.; Vars. on a Dutch song for
orch.; Eine Lebensmesse (text by Dehmel)
for soli, ch. and orch.; songs (several w.
orch.). He has also -written text and music
of an opera, Frau Helga von Stavern.
Gilaon [zhil-sohnl, Paul, Belgian com-
poser; b. Brussels, June 15, 1865. Although
he had a few lessons from an organist, Cantil-
lon, he was practically self-taught until he
entered the Brussels Cons, in 1886; studied
there with Gevaert, and won the Prix de
Rome in 1889 with the cantata Sinai; since
1902, professor of harmony at the Brussels
Cons., and since 1904 also at the Antwerp
Cons.; since 1906, mus. critic of 'Le Soir.' The
public performance of his prize-cantata
attracted considerable attention; his subse-
quent works have won him a foremost place
among modern Flemish composers. — Works:
A symphony, La Mer; the symph. poems
Halia and La Dcstinee; a Norwegian Suite for
wind-instrs. ; an orchestral Fantasy on Cana-
dian folk-themes; a Scotch Rhapsody; Scotch
Dances; Suite pastorale; a Septet, 2 Humo-
resques, and minor pieces for wind-instrs.; a
cantata for the Brussels Exposition (1897);
the operas Alvar (Brussels, 1895),- Gens de
Mer (ib., 1902; as Zeevolk at Antwerp, 1904),
Prinses Zonnenschijn (Antwerp, 1903); a
ballet, La Captive (Brussels, 1902); incid.
music to Liefaebloem, Alva, Rooversliefde; a
dram, cantata, Francesca da Rimini; David
and Les Suppliantes, for soli, ch. and orch.
He is the author of a valuable treatise on
orchl. dynamics, Le Tutti orchestral (1913).
Glner [he-nar'], Salvador, b. Valencia,
Jan. 17, 1832; d. there Nov. 3, 1911. Pupil at
the Valencia Cons, of Pascal Gascons; comp.
of Las cuarto Estaciones, symphony; Feria de
Valencia, cantata; Judit, oratorio; etc. Of
ten operas Sagunto (Valencia, 1891) and El
SoHaaor (ib., 1901) achieved more than average
success.
Glnguen6 [zhan-g'na'], Pierre-Louis, b.
Rennes, April 25, 1748; d. Paris, Nov. 16,
1816. A writer on the history of literature,
member of the Academy, etc. Touching
music he publ. Lettres et articles sur la musique
(1783; his collected journalistic papers on the
Gluck- Piccinni controversy); the historical
articles in the 'Diet, de mus.' of the 'Encyclo-
pedic methodique' (1791-1818; only in vol. i);
Notice sur la vie et les ouvrages de Piccinni
(1800; partial to Piccinni); Rapport . . sur
une nouvelle exposition de la semeiographie, ou
notation musicale des Grecs (1815). Interesting
matter on Guido, the Troubadours, etc., is
310
GIORDANI— GIRALDONI
contained in his Histoire litUraire de V Italic,
continued by Salfi (1811-35, 14 vols.).
Giordan! [j6r-dah'ne], Giuseppe (called
Giordanello), brother of Tommaso; b. Na-
ples, 1744; d. Fermo, Jan. 4, 1798. Prolific
opera-comp. ; fellow-student of Cimarosa and
Zmgarelli at the Cons, of Loreto. From
1772-82 he was a popular teacher and comp.
in London; returning to Italy, he was eng. in
dramatic comp. till 1/91, when he was app. m.
di capp. of Fermo cath. — Works: About 30
operas (// Bacio, 1794, was quite in vogue at
London), 6 pf.-quintets, 3 pf.-quartets, 6
string-quartets, 30 trios, 6 vln. -concertos, pf.-
sonatas for 2 and 4 hands; preludes and
exercises for pf.; soprano duets; 5 books of
Canzonette for solo voices; other secular and
sacred music in MS. — See Q.-Lex.
Giordan!, Tommaso (real family-name
Carmine), b. Naples, in 1744; died Dublin,
after 1816. In 1762 he appeared in buffo
rdles at the Haymarket Th., London; taught
music for a while, and then undertook the
management of an Italian opera-troupe at
Dublin; failing, he remained in Dublin as a
teacher. — Works: An opera, Perseverance
(Dublin, 1789); an oratorio, Isaac; trios for
flutes and bass, and 5 books of flute-duos;
also duos for 'cello, pf.-pieces, songs, etc. —
dee y.-JLex.
Giorda'no [jor-dah'noh], Umberto, born
Foggia, Aug. 26, 1867; pupil there of Gaetano
Briganti, later of Paolo Serrao in the Naples
Cons. In 1889 he competed for the Sonzo^no
prize, handing in the 1-act opera Marina;
although Mascagni won with CavaUeria
Rusticana, Marina attracted favorable atten-
tion, and G. was commissioned to write an
opera in 3 acts; he chose Mala Vila, the book
by N. Daspuro after a work by Di Giacomo
and Cognetti. Prod, at the Argentina Th.,
Rome, Feb. 21, 1892, with a cast including
the Bellincioni and Stagno, it had ephemeral
success. (Remodelled as// Voto, it was brought
out at Milan in 1897.) Next came the 2 -act
opera seria Regina Diaz, book by Targioni-
Tozzetti and Menasci (Fondo Th., Rome,
Feb. 21, 1894; unsucc). His first triumph was
won with the 4-act opera seria Andrea CfUnier,
book by Luigi Illica (La Scala, Milan, March
28, 1896; N. Y., Nov. 13, 1896); followed by
the 3-act opera Fedora (T. Lirico, Milan, Nov.
17, 1898; N. Y., Dec. 5, 1906), book by
Colautti after Sardou's drama, and the 3-act
opera Siberia, book by Illica (La Scala, Mi-
lan, Dec. 19, 1903; Chicago, Jan. 31, 1906);
neither scored a decided success; still less
successful were Marcella (Milan, 1907) and
Mese Mariano (Palermo, 1910), whileeven the
glamour of a world-premiere at the M. O. H.
could not assure genuine success to Madame
Sans-Ghie, book by Renato Simoni (N. Y.f
Jan. 25, 1915; Turin, Feb. 28). G. is Chev. of
the Legion of Honor, and Commander of the
Crown of Italy.
Giornovi'chl. See Jarnovic.
Giorza [jar'tsah], Paolo, b. Milan, 1838;
d. Seattle, Wash., May 4, 1914. Pupil of his
father (an organist and dram, singer), and
La Croix (cpt.). Devoted himself exclusively
to writing dances, marches, and ballet-music,
in which latter genre he achieved great
renown. Among over 40 ballets, the most
successful were Un Folio (1853), / Bianchi ed
i Negri ('53), II Giuocaiore ('54), II Conte di
Monte-Cristo ('57), Rodolfo ('58), Cleopatra
('59), La ConUssa (TEgmont ('59), LeonUda
('65), and FiammeUa (T66), all at La Scala,
Milan; Un' Avoentura di Carnevale a Parigi
(Genoa, '63), Farfalletta (London, '63); also
La Capanna dello zio Tom, Folgore, La Silfide
a Pechtno, Un ballo nuovo,.Cherubini, o la rosa
di Posilippo, Pedrilla, etc. One opera, Cor-
rado, consule di Milano (Milan, 1860) was un-
successful. G. liyed for some years in New
York, then in London and San Francisco;
since 1906 in Seattle.
Giovacchlnl [joh-vah-ke'ne], Giovac-
chlno, excellent violinist and teacher; born
Florence, June 3, 1825; d. there Jan. 8, 1906.
Pupil of Giorghetti; for a time he was court
violinist to the Grand Duke of Tuscany,
first violin in the Florentine Quartet founded
by Dr. A. Basevi, and professor at the R.
Istituto Musicale. Among his pupils were
Consolo, Chiosti and Ragghianti.
GiovaneTli, Ruggiero, b. Velletri, circa
1560; d. Rome, Tan. 7, 1625. In 1587 he was
maestro in the en. of San Luigi de' Francesi at
Rome, later in the Collegium Germanicum;
in 1594 he succeeded Palestrina as maestro at
St. Peter's, and in 1599 joined the Pontifical
Chapel. One of the most famous masters of
the Roman School; of his works there have
been printed 3 books of madrigals (a 5
1586, r87, '89); 2 of Madrigali sdruccioli a 4
(1587); 2 books of motets a S-& (1592);
CantoneUe and VillaneUe a 3 (1592, 1593);
also scattered madrigals in the colls, of Scotto
and Phalese. In the Vatican Library are
many sacred works in MS. — To G. was en-
trusted, by Pope Paul V, the preparation of a
new edition of Graduate (1614, 1615, 2 vols.).
-~ "jee y.-i-»ex.
Giraldo'nl [jg-1, • Leone, distinguished
baritone stage-singer; b. Paris, 1824; d.
Moscow, Sept. 30 (?), 1897. Debut at Lodi,
1847; sang at La Scala from 1850, and ter-
minated his stage-career at Rome in 1885.
Taught for several years at the Moscow Cons.
Publ. Guida teorico-pratico ad uso degli artisti
cantanti (Bologna, 1864; 2d ed. 1884); and
311
GIRARD— GLASER
Compendium Metodo analiiico, ftlisofico e
fisiohgico per la cducasione deUa voce (Milan,
1889).
Girard [zhg-rahr'J, Narcisse* b. Mantes,
France, Jan. 27, 1797; d. Paris, Jan. 16, 1860.
A pupil of Baillot (vln.) at Paris Cons., he
was from 1830-2 m. de chap, at the Opera
It alien, and 1837-46 at the Opera-Comique,
then succeeding Habeneck as cond. at the
Grand Opera, also becoming (1847) prof, of
vln. at the Cons, and conductor of tne con-
certs; in 1856 he was app. general mus. dir. of
the Grand Opera. — His two 1-act operas,
Deux Voleurs (Opera-Corn., 1841), and Le
Conseil des Dix (1842), were short-lived.
Giraudet [zhg-roh-da'], Alfred-Auguste,
dram, basso and famous teacher; b. fitampes,
1845. ^ Pupil of Delsarte; he sanp some time
in minor theatres in the provinces before
making his debut in Paris at the Th.-Lyrique
(1868) as Mephistopheles; 1871-2 in Bor-
deaux as first bass; after a tour of Italy he
returned to Paris, where he sang at the Th.
Italien (1874), Op.-Com. (1875), and Opera
(1880); here he sang the principal bass rdles
in Les Huguenots, VAfricaine, Le Prophete,
La Juice, Aida, Hamlet, etc.; created Dante
in Thomas's Francesca da Rimini (1882); in
1883 he retired from the stage, and devoted
himself to teaching; from 1888-1900 he was
prof, at the Cons. He has publ. Mimique;
Physionomie et Gestes (1895).
Gizziello. See Conti, Gioacchino.
Gladstone, Francis Edward, noted Eng-
lish organist; b. Summertown, n. Oxford, Mar.
2, 1845. Pupil of S. Wesley, 1859-64; has
filled positions as org. at Weston-super-Mare,
LlandafF, Chichester, Brighton, London, and
Norwich. After embracing the Catholic
faith, he was choir-director at St. Mary of
the Angels, Bayswater, until 1894. In 1876
he took the degree of Mus. Bac, Cantab.; in
1879, Mus. Doc.; prof, of cpt., etc., at Trinity
Coll., London, in 1881; prof, of harm, and
cpt. at R. C. M., 1883-1910.— Works: An
oratorio, Philippi (1883), much church-music,
an overture, some chamber-music (all in
MS.); publ. organ-pieces, The Organ-Student's
Guide and A Treatise on Strict Counterpoint
(1906).
Glarea'nus, Henrlcus (real name Heln-
rich Lo'ris [Latinized Loritus]), b. Glarus
(whence his appellation), 1488, d. Freiburg,
Baden, March 28, 1563. After attending the
Latin School at Bern, he studied theology at
Cologne, also music (under Cochlaus) ; nere,
in 1512, he was crowned poet-laureate by
Emperor Maximilian I. After teaching and
lecturing in Basel and Paris, he settled in
Freiburg, lectured on history and literature,
and died isolated and embittered. — He wrote
312
Isagoge in mustcen (Basel, 1516); his principal
work is the Dodecachordon (1547); in it he
contends for 12 church-modes instead of the
usually-accepted 8; it is also valuable as a
source for the history of mensural music,
notation, and early music-printing. P. Bohn
publ. a German translation, with the musical
examples in modern notation, in the 12th
annual vol. of the 'Gesellsch. fttr Musikr
forschung.'— J. L. Wonegger publ. Musicae
epitome ex Glareani Dodekachordo (1557; 2d
ed. 1559; in German: Uss Glareani Musik ein
Usstug . . . 1557). Glareanus' revised ed.
of Boethius's writings, edited by M. Rota,
was published in 1570.— Biographies of G.
have been written by H. Schreiber (Freiburg,
1837) and O. F. Fritzsche (Frauenfeld, 1890).
Gla'senapp, Carl Frledrlch, born Riga,
Oct. 3, 1847; d. there April 1, 1915. He studied
philosophy at Dorpat; since 1875, head-
master at Riga. An ardent admirer of Wag-
ner's art, he devoted his entire life to the
study of the master's works, and was one of
the principal contributors to the 'Bayreuther
Blatter' since their foundation. His great
work is the monumental biography of Wag-
ner, Richard Wagners Leben und Wirken, of
which the first two vols, were publ. at Kassef
and Leipzig (1876, 77); after the 2d ed.
(1883) these were rewritten, and the entire
work was issued at Leipzig as Das Leben
Richard Wagners (vol. i, 1813-43 [1894J; vol.
ii, 1843-53 [1896]; vol. iii, 1853-62 [1899J;
vol. iv, 1862-72 [1904J; vol. v, 1872-77
[1907]; vol. vi, 1877-83 [1911]). Vols, i and
ii appeared in English translation (with
amplifications) by WT A. Ellis (London, 1900,
'03), but after that E. continued the biogr.
as an original work. G.'s other books are
Wagner-Lexikon, Hauptbegriffe der Kunst- u.
Weltanschauung R. W.'s (1$3; jointly w. H.
von Stein); Wagner-EncyUofAdie, Haupter-
scheinungen der Kunst- u. Kulturgeschichte im
Lichte der Anschauung R. W.*s (2 volumes,
1891); Siegfried Wagner (1906); 5. Wagner u.
seine Kunst (1911; 2d ed. 1913); he also ed.
Bayreuther Briefe (1907) and Familicnbriefe
an R. W. (1907).
Gla'ser, Franz, b. Obergeorgenthal, Bo-
hemia, April 19, 1798; d. Copenhagen, Aug.
29, 1861. Violin-pupil of Pixis at Prague
Cons., and, at Vienna, of Heydenreich (cpt.);
in 1817, Kapellm. at the Josephstadter
Th., Vienna, in 1830 at the Konigstadtisches
Th., Berlin; from 1842, royal conductor at
Copenhagen. Of 13 operas, Des Adlers Horst
(Berlin, 1833) was most successful; he also
wrote music for many dramas, farces, melo-
dramas, etc.; a Festival Overture, a Funeral
Cantata, etc.
Gla'ser, Karl Gotthelf, b. Weissenfels,
May 4, 1784; d. Barmen, April 16, 1829. St.
GLASS-GLEASON
at the Thomasschule, Leipzig; received his
mus. training from J. A. Hiller, A. E. Mailer
(pf. and harm.), and Campagnoli (vln.).
Studied law in Leipzig Univ., but became
(1814) a teacher, musical director, and later
music-dealer, in Barmen. — Publ. chorales,
school song-books, pf. -music; a Neue praktischc
Clavier sckule (1817), a Kurte Anweisung zum
Choralspid (1824). and Vereinfochter . . .
Unlerrichi in der Tneorie der Tonseizkunst mil-
ids eines musikalischen Compasses (1828).
Glass, Louis Christian August, b. Co-
penhagen, March 23, 1864. Pupil of his
father, Christian Hendrik (1821-93), then at
Brussels Cons, of J. de Zarembski and J.
Wieniawski (pf.) and J. Servais (vcl.); has
appeared both as pianist and 'cellist, but is
more important as composer. — Works: 4
symphonies; 2 overtures, Der Volksfeind and
Danemark; Sommerliv, suite for orch.; a
string-sextet; a pf.-trio; 4 string-quartets; a
concerto for oboe and orch.; 2 vln. -sonatas;
numerous works for piano (3 sonatas [Ef Eb,
Ab], etc.).
Glazunov [glah'zoo-nfthv], Alexander
Konstantinovitch, b. Petrograd, Aug. 10,
1865. He studied till 1883 at the Polytechnic
Inst, there, and then devoted himself wholly
to music, having made the acquaintance of
Balakirev and Rimsky-Korsakov in 1880, the
latter beine his principal teacher. In 1881 his
first symphony was produced, and again in
1884 at Weimar under Liszt's auspices. At
the Trocadero, in Paris, he conducted his
second symphony, and other comps., in 1889;
and at London, his fourth symphony (Phil-
harm, concert). 1896-7 hecond., with Rimsky-
Korsakov and Liadov, the Russian Symphony
Concerts at Petrograd; 1899-1909, prof, of
orchestration at the Cons.; 1909-12, dir.; he
then resumed his class in orchestr.; is also a
director of the Imp. Russ. Mus. Soc. — G. and
Rimsky-Korsakov are undoubtedly the two
greatest living Russian masters. G. himself
claims to be a follower of Brahms, but that is
true only in respect to his technical mastery
and regard for form; on the other hand he
carefully avoids all chauvinistic and futuristic
tendencies; as a master of instrumentation he
ranks with the best.— Cf. A. W. Ossowsky,
A.K.G. His Life and Work (Petrograd, 1907;
in Russian).
Works: Op. 1, 1st string-quartet CD ma?.); op. 2,
suite on S. A. C. H. A. (his nickname) tor piano; op. 3,
Overture 1 on Greek themes; op. 4 (not publ.)*, op. 5,
1st Symphony (E); op. 6, Overture 2 on Greek themes;
op. 7, Serenade for orch.: op. 8. Elegie for orch., A la
mimoire d'un hiros; op. 9. Suite caractiristique for orch.;
op. 10, 2d string-quartet (F): op. 11. Serenade for
small orch.; op. 12, Pohne lyrtque for orch.; op. 13,
Symph. poem Stenka Rasine; op. 14. 2 pieces for orch..
Idyl and Reverie orientate; op. 15, 5 Novellettes for
string-quartet; op. 16. 2d Symphony, in Ftf tn.; op. 17,
Une Pensie d Front Liszt (strings); op. 18. Maturka for
orch.; op. 19, The Forest, aymph. picture for orch.; op. 20,
2 pieces for 'cello w. orch. (Spanish Serenade); op. 21,
Wedding-march for orch.; op. 22. Barcarolle and Ncmel-
lette for pf.; op. 23. Waits on S-a-b-e-la for pf.: op. 24,
Reverie for horn and pf.; op. 25, Prelude and 2 Mamrkas
for pf.;. op. 26. Quatuor slave; op. 27, 2 Songs (by
Pushkin, w. French transl.); op, 28. The Sea, fant. for
orch.; op. 29, Rhapsodie orientate for orch.; op. 30. he
Kremlin, tableau for orch.; op. 31. 3 Etudes forpf.;op.
32, Meditation for vln. and pf.; op. 33, 3d Symphony, in
D; op. 34, he Printemps, for orch.; op. 35, Suite for
string-quartet; op. 36, Little Waltz tor pf.; op. 37,
Nocturne for pf.; op. 38, In modo reHgioso, quartet for
brass; op. 39, String-quintet; op. 40. Columbian March
for orch. (1893); op. 41, Concert- Wait* for pf.; op. 42. 3
Miniatures {Pastorale, Polka, Walts) for pf.; op. 43,
Valse de salon for pf.; op. 45, Overture Car naval, for
orch.; op. 46, Choptniana, orchestral suite; op. 47, 1st
Concert- Waltz f. orch.; op. 48. 4th Symphony (Eb) ; op.
49, 3 pieces for pf. (Prilude, Caprice-Impromptu, Gavotte);
op. 50. Cortege soUnnel, for orch.: op. 51, 2d Concert-
Waltz f. orch.; op. 52, Scenes de Ballet, suite for orch.;
op. 53, Fantasie for orch.; op. 54, 2 Impromptus for
piano; op. 55, 5th Symphony, in Bt>; op. 56, Coronation
Cantata, for soli. ch. and orch.; op. 57, Raymonda,
ballet; op. 57a. Suite from do.; op. 58. 6th Symphony,
in C m.; op. 59. 6 Songs; op. 60. 6 do.; op. 61, Ruses
d' Amour, ballet; op. 62, Prelude and Fugue for pf.; op.
63, Cantata for fern. ch. and soli w. 2 pfs. (8 hands) ;
op. 64, Str .-quartet in A; op. 65, Memorial Cantata, for
soli, ch. and orch.; op. 66, Hymn to Pushkin, for fern,
ch.; op. 67, The Seasons, ballet; op. 68, Pas de caractire,
for orch.; op. 69. Inter mewso Romantico, for orch.; op.
70, Str.-quartet in D; op. 71, Chant de Menestrel, for
vcl. and orch.; op. 72, Theme and vara, for pf.; op. 73,
Ouverture solenneUe; op. 74, Sonata for pf. in Bb; op. 75,
do. in E; op. 76, Marche sur un theme russe, for orch.;
op. 77, 7th Symphony, in F; op. 78, Ballade for orch.;
op. 79, Aus dem MiUelalter,Buit£ for orch. ; op. 80. Duet
for sop. and alto w. pf.; op. 81. Scene aansante, for
orch.; op. 82. Concerto for vln. and orch.. in A m.; op.
83. 8th Symphony, in Eb; op. 84. Le Chant du Destin,
dram, overture; op. 85. 2 Preludes: op. 86 (not publ.);
op. 87. Prologue symphonupu, a Gogol; op. 88. Fan-
taisie finnoise;op. 89, Esatusses finnoises; op. 90, Intro-
duction el la Dansede Salami; op. 91, Cortege solennel;
op. 92. Concerto for pf. and orch.. in F m.; op. 93,
Prelude and FugueTororg. — Without opus-number: In-
cid. mus. to Wilde's Salome and Grand Duke Konstan-
tin Alexander's King of Judea. He wrote down from
memory the overture to Borodin's Prince Igor, and
(together with Rimsky-Korsakov) completed and or-
chestrated the opera.
Gleason, Frederick Grant, b. Middle-
town, Conn., Dec. 17, 1848; d. Chicago, Dec.
6, 1903. Pupil of Dudley Buck at Hartford;
in 1869 of Moscheles, Richter, Plaidy,
Lobe, etc.. at Leipzig Cons.; from 1870, at
Berlin, of Loescnhorn, Weitzmann, and
Haupt; later took pf. -lessons with Beringer,
in London. In 1875, org. of the Asylum Hill
Cong. Ch., Hartford; in 1876, of First Cong.
Ch., New Britain. In 1877 he was appointed
teacher of pf., organ, comp. and orchestra-
tion at the Hersney School of Music, Chi-
cago; in 1884 he was elected examiner, direc-
tor and fellow of the American College of
Musicians; in 1896, president of the Chicago
MS. Soc.; in 1897, pres.-general of the Ameri-
can Patriotic Music League; from 1900 till
his death he was dir. of the Chicago Audito-
rium Cons. ; 1884-9, also critic of the 'Tribune.'
Works: Op. 1, Three songs; op. 2, Organ-sonata in
Cftm.; op. 3, Barcarole for pf.; op. 4, Episcopal church-
service; op. 5. Set of songs; op. 6, Episcopal church-
service; op. 7, Otho Visconti, grand rom. op. in 3 acts,
text and music by G. (MS,; overture perf. in Old
Gewandhaua, Leipzig, 1892); op. 8, Pf. -pieces; op. 9,
313
GLEICH— GLINKA
Pf.-trio In C m. ; op. 10, Quartet for female voice* :op. 1 1.
OMverturetriomphaUioroTvm.-.ov. 12. Cantata Go*. our
Deliverer, for soli, ch. and orch.top. 13. Pi. -trio No. 2.
in A; op. 14. Pf.-trio No. 3. in D m.: op. 15, Cantata
The Culprit Fay, for aoli. ch. and orch.; op. 16. Mom-
tewuma. grand rom. op. in 3 acta (text and music by
G.); op. 17, Praise-Song to Harmony, symph. cantata
for aoli, male ch. and orch. ; op. 18. Pf .-concerto in G m. ;
op. 19, Three Sketches for orch.; op. 20. Auditorium
Fes ' '
tiona for org.; op. 23r Psalm bcvii; op. 24, JdyiU for org.
Gleich, Ferdinand, b. Erfurt, Dec. 17,
1816; d. Lanrebriick, n. Dresden, May 22,
1898. He studied philosophy and music (un-
der Fink) at Leipzig; from 1866, manager of a
theatre-bureau in Dresden. His writings,
Wegweiser fUr Opemfreunde (1857), Hondbttck
der modernen Instrumentirung fUr Orchester
und Militdrmusikkorps (1860, several eds.),
Die Hauptformen der Musik, popular darge-
stellt (1862), CharakterbUder aus der neuern
Geschichte der Tonkunst (1863), and Aus der
BUhnenweU (1866), are of a light character;
he composed symphonies, pf.-pieces, songs,
etc. For 20 years he was critic for the
'Dresdner Anzeiger.'
Gleias'ner, Franz, b. Neustadt-on-the-
Waldnab, 1760; d. Munich, after 1815; famous
as the first to print music by lithographic
process, the first work so printed being a set
of songs by Gleissner. He was then a partner
of Falter, at Munich; in 1799 he est. a similar
printing-office at Offenbach for Andre; went
to Vienna to introduce the invention, and
thence to Munich. He also wrote numerous
instrl. works and some operas.
Gleltz, Karl, b. Hitzerode, near Kassel,
Sept. 13, 1862. Pupil of the Leipzig Cons,
and the Munich Akademie; comp. of the
symph. poems Fata Morgana, Alberich's
Drohung, Ahasver, Venus und Bellona, Joss
Fritz, Pietd,, Irrlichter; fantasy for pf. and
orch.; a vln. -sonata; has also publ. Kunstlers
Erdenwallen (2 vols., 1896, '97).
Glen, John, b. Edinburgh, June 13, 1833;
d. there Nov. 29, 1904. His father, Thomas
G. (1804-73), the inventor of the 'Serpent-
cleide,' had established himself as a manu-
facturer of musical instruments, and the son
succeeded to the business in 1866; he confined
himself to the manufacture of bagpipes, of
which he was soon recognized as the foremost
manufacturer of Great Britain. But he was
also a famous investigator of the sources of
Scottish music. He wrote The Glen Collection
of Scottish Dance Music, Strathspeys, Reels
and Jigs . . . containing an Introduction on
Scottish Dance Music (2 vols., 1891, '95); vol.
i contains 144, vol. ii 148, tunes. His chief
work is Early Scottish Melodies: including ex-
amples from MSS. and early printed works,
along with a number of comparative tunes,
notes on former annotators, English and other
claims, and Biographical Notices, etc. (1900).
'The works of John Glen form a complete
repertory of material on the subject of which
he was so great and reliable an authority.'
CM. T.\ Jan., 1905.)
Gliere, Reinhold Moritzovitch, b. Kiev,
Jan. 11, 1875. Pupil of Taneiev and Ippolitov-
lvanov at the Moscow Cons.. 1894-1900;
since 1913, dir. of the Cons, and cond. of the
Symph. Orch. at Kiev. As a comp. he has
attracted favorable attention with nis orch!.
and chamber-music works, which give evi-
dence of remarkable inventive power and
fine technical workmanship. — Works: 3 Sym-
phonies (op. 8, E(>; op. 25, C; Ilia Muromelm
[really a symph. poem]); op. 33, Die Sirenen,
symph. poem; op. 13, Suite; op. 5, String-
octet in D; 2 String-quartets (op. 2, A; op.
20, G); 3 String-sextets (op. 1, F m.; op. 7,
B m.; op. 11, C); pf.-pieces and songs. He
has just finished an opera, Awakened, in which
folk-themes are extensively employed (1916).
Glinlca, Mlchall Ivanovitch, the pioneer
Russian national composer; b. Novospaskofc,
near Smolensk, Russia, June 1, 1804; d. Ber-
lin, Feb. 15, 1857. A nobleman by birth, he
studied languages in Petrograd from 1817;
somewhat later he studied music under
Bdhm (vln.), and C. Mayer (theory and pf.).
In 1822 he also took pf. -lessons of Field at
Moscow, and became a brilliant pianist; his
op. 1 was a set of pf.-variations on an ItaL
theme. From 1830 he passed four years in
Venice, Milan, Rome and Naples for the
sake of his health, but improving the oppor-
tunity by studying Italian vocal composition.
In 1834 he studied in Berlin with S. W.
Dehn; hitherto an amateur composer, he
began to feel a 'mission' for dramatic work,
the first fruit of which was the first Russian
national opera, A Life for the Ctar (Zktsnj za
Zarya, or Ivan Sussanina), produced at Pe-
trograd. Dec. 9, 1836, with great success, and
still a favorite in Russia. A second opera,
Russian and Ludmilla (Petroerad, 1842), won
almost equal popularity; the book is based on
Pushkin's poem, and was partially arranged
by the author. In both of these works Russian
musical themes and motives are skilfully em-
ployed, the coloring being national through-
out. In 1844, partly on account of his health,
partly from a wish to obtain a wider hearing
for his music, Glinka travelled to Paris, ana
gave orchestral concerts, which aroused Ber-
lioz's enthusiasm, but were coolly criticized by
F6tis. G.'s success does not appear to have
been striking, for he soon left Paris, and spent
1845-7 in Madrid and Sevilla; his Jota ara-
gonesa (a 'capriccio brillante' for orch.), and
Souvenir oVune nuit d'ete & Madrid (for orch.),
belong to this period. After visiting Itaty, he
lived in Warsaw and Petrograd for a time,
314
glOggl— gluck
and in 1851 set out for Spain again, but did
not cross the Pyrenees, and returned to
Paris. From 1854-5 he lived near Petrograd,
busied with his autobiography and with
ideas for a third opera which was never
written. He revisited his old teacher, Dehn,
at Berlin, in 1856, and died there in 1857. —
Glinka's other coraps. include 2 unfinished
symphonies; 2 polonaises for orch. ; a tarantella
for orch. (with song and dance); a fantasia
for orch., La Kamarinskaja; a string-quartet;
a trio for pf., clar. and bassoon; a sextet for
piano and string-quintet; a minuet for string-
quartet; some rondos, waltzes, and sets
of vars. for piano; dramatic scenes; vocal
quartets; romances, songs. — A consider-
able number of G.'s early works- have
never been publ. The MSS. of these were
E resented to the public library at Petrograd
y W. P. Engelhardt; a thematic catalogue
was prepared by N. Findeisen (1898).
Bibliography. O. Comettant, Musique et
Musiciens (Paris, 1862; p. 414 et seq.); H.
Laroche, M. I. G. and his importance™ Russ.
Music (Moscow, 1868; in Russ.); O. Fouque,
£tude sur G. (Paris, 1880); C. Cut, La Mu-
sique en Russie (Paris, 1880); N. Findeisen,
M. I. G. His Life and Works (Petrograd,
1896; 2d ed. 1904; in Russ.); A. Pougin, Essai
kistorique sur la musique en Russie (Paris,
1904); M.-D. Calvocoressi, G. Biographic
critique (Paris, 1910). G.'s correspondence
(2 vols.) was publ. by N. Findeisen (Petro-
grad, 1907, '08). A thematic catalogue of
G.'s vocal works was publ. by K. Albrecht
(Moscow, 1891).
GUSg'gJ, Franz, son of the following; b.
Linz, 1797; d. Jan. 23, 1872, at Vienna, where
H. Corn as director of the cathedral choir
in 1860. Lecturer on Irish music; active
promoter of choral music. — Works: The
opera The Deserted Village (London, 1880;
book by E. Falconer, after Goldsmith);
cantata St. Patrick at Tara (1870); Erin's
Matin Song, Patria (1873); 100 Years Ago,
ode to Moore (1879); masses, hymns, songs,
etc.— Concerto f. vln.; orchl. fantasias; con-
certos, etc, for organ; pf. -pieces. Edited
Moore's 'Irish Melodies' (1859).
GloVer, Sarah Ann, b. Norwich, Engl.,
1785; d. Malvern, Oct. 20, 1867. To her is
due the invention of the Tonic Sol-fa system
of notation, afterwards modified and devel-
oped by the Rev. John Curwen. — Published
A Manual of the Norwich Sol-fa System . . .
(1845); and a Manual Containing a Develop-
ment of the Tetrachordal System (London, 1850).
Glov'er, Stephen, b. London, 1812; died
there Dec. 7, 1870. A music-teacher, and
composer of many popular songs and duets,
part-songs, trios, etc. ; also salon-music for pf .
From the financial viewpoint many of nis
1,300 compositions were enormously success-
ful; but all have been justly forgotten.
Glov'er, William Howard, b. London,
Tune 6, 1819; d. New York, Oct. 28, 1875.
Violinist, pupil of Wagstaff; later a member
of the Engl. Opera orch. After artistic tours
in Italy, Germany, and France, he founded
a school for music and drama in London;
also sang in opera. In 1868 he settled in
N. Y. — Works: Grand opera Ruy Bias (Lon-
don, Covent Garden, 1861); the operettas
The Coquette (1845?), Aminta (1855?), Once
too often (1862), Palomita; the cantata Tarn
O'Shanter (1855); orchestral overture Man-
he founded a music-business In 1843 (after- p^ n nmsuKes for pf ., and other pf.-pieces;
wards purchased by Bosendorfer) ; from 1850; vocal quartets, duets, and songs.--C. was for
62 he publ. the Neue Wiener Musikzeitung.' ^^ £ ^ for ^ 'Morning Post/
He was archivist to the Ges. d. Musikfreunde,
and musical dir. at the ch. of St. Paul"; founded
an 'Akadcmie d. Tonkunst' (1849^-53), and
later a vocal school, 'Polyhymnia.'
Glttg'gl, Franz Xaver, b. Linz-on- Danube,
February 21, 1764; d. there July 16, 1839.
Kapellm. at Linz theatre when 18 years old;
in 1 790, Kapellm. at the cathedral, and town
musical director. — Writings; Erkldrung des
musikalischen Hauptsirkels (1810; a short
treatise on harmony); AUgem. musikal.
Lexikon (1822; only 248 pages printed); Der
musikalische GoUesdienst (1822). In 1824, the
'Gesellschaft der Musikfreunde' acquired his
collection of mus. instrs.
Glover, John William, b. Dublin, June
19, 1815; d. there Jan. 15, 1900. Violinist
in the Dublin Orch., 1830; prof, of vocal mus.
in the Normal Training School of the Irish
Natl. Educ. Board in 1848; established the
Choral Institute of Dublin in 1851 ; succeeded
Gluck, Alma [stage-name of Reba Fier-
sohn], celebrated concert-soprano; b. Bucha-
rest, Rumania, May 11, 1884. As a child of
5 her parents brought her to New York,
where she was educated in the public schools
and the Normal College. From 1906-9 she
studied singing with Buzzi-Peccia in N. Y.,
who. had her sing for Mr. Gatti-Casazza; the
latter immediately offered her an engagement
at the M. O. H., where she made her debut,
with striking success, in Massenet's Werther
on Nov. 16, 1909; before the end of the sea-
son she had established herself in the favor
of the public, and numerous concert-engage-
ments followed; she continued as a member
of the M. O. H. until 1912, when her prefer-
ence for concert-work led her to abandon the
operatic stage. Then for a year she studied
interpretation and song literature with Mar-
cella Sembrich in Berlin, resuming concert-
work in 1913. On June 15, 1914, she married
315
GLUCK
the violinist Efrem Zimbalist. During the
three years of her operatic career she was
heard in more than 20 rdles, including Venus,
Freia, Marguerite, Leonora, Gilda, Nedda,
Mimi, Lucinda (Artnide), etc.
Gluck,Chri8toph Willibald (Rittervon),
renowned dramatic composer; b. Welden-
wang, near Neumarkt in the Upper Pala-
tinate, on July 2 (according to authenticated
certificate of baptism), 1714; d. Vienna, Nov.
25, 1787. His father was head-gamekeeper
to Prince Lobkowitz. G. received elementary
instruction in the village school of Eisenberg.
At twelve he was sent to the Jesuit college
at Komotau (1726-32), learning to play the
violin, harpsichord, and organ; he was also
a chorister in the church of St. Ignaz. At
eighteen he went to Prague to continue his
musical studies. To maintain himself, he
played at rural dances, gave concerts, and
sang and played in the various churches; in
the Polish convent of St. Agnes he was
noticed by Father Czernohorsky, an eminent
musician, who undertook his further instruc-
tion. Under his tuition G. became proficient
in singing, and playing the 'cello, which was
his favorite instrument. In 1736 he went to
Vienna, and found a patron in Prince Melzi,
who had previously heard him in the palace of
Prince Lobkowitz. Melzi took him to Milan,
and confided him to the teaching of Sam-
martini, who completed his instruction in
harmony and counterpoint. After four
years' study, Gluck began dramatic writing,
and produced Artaserse at La Scala in 1741
with such success, that he was commissioned
to compose for other theatres, and produced
Demofoonte (Milan, 1742), Demetrio and
Ipermnesira (Venice, 1742), Artamene (Cre-
mona, 1743), Sofonisba (Milan, 1744), Fedra
(Milan, 1744), and Poro, or Alessandro nel-
l' Indie (Turin, 1745). His reputation became
European; he was invited to London in 1745,
and wrote two operas for the Hay market,
then being run in opposition to Handel. La
Caduta dei Giganti, a tribute to the Duke of
Cumberland on the defeat of the Pretender,
was given on Jan. 7, 1746. A reproduction
of Artamene was followed by a pasticcio,
Piramo e Tisbe, but without success. Handel
privately declared that Gluck knew no more
counterpoint than his cook; indeed, up to
this time his operas were typically Italian.
The pasticcio was composed of his most
successful arias, with other words; and its
failure, though mortifying, had a salutary
effect. It led him to a serious study of the
cause, and to a change of style. He next
visited Paris to hear Rameau s operas, and
returned via Hamburg and Dresden to
Vienna, where he cultivated the acquaintance
of literary men, and applied himself to the
study of musical esthetics. La Semiramide
316
riconosciuta (Vienna, 1748), to a poem by
Mctastasio, was more dramatic and grandiose
than its predecessors, and foreshadowed the
coming reform. In 1749, G. was invited to
Copenhagen to write a festival cantata,
Filide (score in the Berlin Royal Library).
In 1750 he visited Italy, and there produced
Telemacco (Rome, 1750), La CUmenza di
Tito (Naples, 1751), // Trionfo di Camilla
and Antigone (Rome, 1755), La Danwa
(Laxenburg festival, 1755), and if Trionfo di
CUlia (Bologna, 1762). From 1754-64, G.
was director of the court opera, Vienna,
and during that period wrote L'Eroe cinese
(Vienna, 1755), Vlnnocenta giustificata and
II Re pastore (Vienna, 1756), Tetide, in 3 acts
(Vienna, 1760), a great number of new arias
for old operas revived for performance, and
several French vaudevilles for the amusement
of the court; of these the Le Cadi dupe (1761),
and La Rencontre imprevue (1764), were played
on German stages as Der betrogene Cadi
and Die Pilgrimme von Mekka. Orfeo ed
Euridice . (1762), Alceste (1767), Partde ed
Elena (1769), the libretti by Calzabigi, were
brilliant successes, notwithstanding the hos-
tile criticism they provoked. The other
works of this period, to words by Metastasio
(two of which, II Parnasso confuso and La
Corona, were performed by members of the
reigning family [1765]), were much inferior.
In Calzabigi, G. found a poet who shared
his strong dramatic mood; and the dedicatory
epistles (given in extenso by F&tis] to Alceste
and Partde ed Elena expressed G.'s views,
which may be summarized thus: The true
mission of music is to second the poetry, by
strengthening the expression of the sentiments
and increasing the interest of the situations,
without interrupting and weakening the
action by superfluous ornaments to tickle the
ear and to display the agility of fine voices.
— The harsh and carping criticism of his
countrymen, contrasted with the encourage-
ment of the bailli du Rollet of the French
Embassy at Vienna in 1772, who made an
adaptation of Racine's Iphigenie en Aulide for
Gluck, influenced him to set out for Paris,
after unsatisfactory rehearsals in Vienna in
1772. Here, with indomitable energy, he
paved the way for the triumph of his views
by introductions, public notices, compliments
to authors, etc. Du Rollet's letter to the
administration of the Opera, explaining in
detail G.'s new system, was the signal for
an outburst of heated opposition on the part
of the partisans of Italian opera. It required
all the influence of Marie Antoinette, the
dauphiness, whose teacher in singing and
harpsichord-playing G. had been, to bring
about the first representation of Iphigente
en Aulide, which took place April 19, 1774,
with great success. Orpheus (Aug., 1774),
GLUTH— GOCKEL
Alceste (1776), and Armide (1777), created
equal enthusiasm and equal opposition.
Piccinni was invited to Paris to contest G.'s
supremacy, and composed and produced his
Roland, during the time that G. was engaged
upon an adaptation of the same poem.
Furious at being forestalled, G. burned his
sketches and wrote an intemperate letter to
du Rollet, the publication of which reopened
the war with redoubled fury. Abbe Suard,
Arnaud, et al., for Gluck, — d'Alembert, La
Harpe, Marmontel, Ginguene, for Piccinni,
wrote pamphlets and newspaper articles (a
list may be found in the supplement to
F£tis). With the production of his master-
piece, Iphigtnie en Tauride (libretto by
Guillard), on May 18, 1779, the supremacy
of Gluck was established; though Piccinni
(who had been simultaneously commissioned
to compose this opera) still dared contest it,
thus inviting overwhelming defeat (cf.
Piccinni). G. s last opera, £cho et Narcisse
(Sept. 21, 1779), produced little impression.
In 1780 he retired to Vienna, but his strength
was failing; in 1784, he had a slight attack
of apoplexy, and a second attack three years
later terminated his life. — Besides operas, G.
wrote a De profundis for ch. and orch.; 7
odes for one voice, with pf.; 6 overtures; 7
trio-sonatas; 9 symphonies (really overtures).
An edition de luxe of G.'s masterpieces
(Orfeo, Alceste, IphigSnie en Aulide, Iph. en
Tauride, Armide, Echo et Narcisse) ed. by
Damcke, Saint-Sa£ns and Tiersot was publ.
by Breitkopf & Hartel (1873-96).— Bib-
liography. F. J. Riedel, Ober die Musik des
RiUers Chr. v. G. (Vienna, 1775); G. M.
Leblond, MSmoires pour servir a Ihistoire de
la revolution ophrte dans la musique par M. le
chev. G. (Pans, 1781; Ger. trans!. 1823 [2d
ed. 1837]); A. Schmid, Chr. W. RiUer p. G.
(Leipzig, 1854); A. B. Marx, G. u. die Oper
(Berlin, 1863); L. Noh!,G.u. Wagner (Munich,
1870); A. Jullien, La Cour et VOptra sous
Louis XVI (Paris, 1878); E. Thoinan,
Notes biUiographiques sur la guerre musicale
des Gluckistes et Piccinnistes (Paris, 1878); H.
Barbedette, G. (Paris, 1882); A. Reissmann,
Chr. W. ». G. (Berlin, 1882); K. H. Bitter,
Die Reform der Oper durch G. u. Wagner
(Brunswick, 1884); H. Welti, G. (Leipzig,
1888) ; E. Newman, G. and the Opera (London,
1895); J. d'Udine,. G. Biographie critique
(Paris, 1906); J. Tiersot, G. (Paris, 1910);
La Mara, G. (Leipzig, 1912; repr. from 'Mus.
Studienkdpfe'). — A thematic catalogue was
publ. by A. Wotquenne (Leipzig, 1904; Ger.
transl. w. suppl. by J. Liebeskind). — In 1914
H. Abert began to publ. a *G. Jahrbuch.'
Gluth [gloot], Viktor, b. Pilsen, May 6,
1852; prof, at the Kgl. Akademie der Ton-
kunst in Munich; comp. of the operas Der
Trentajdger [ZUUorog] (Munich, 1885; re-
written ib., 1911), HorandundHilde (ib.,1914),
Et Resurrexit (not yet produced).
Gnecchi [fieVkS], Vittorio, b. Milan,
Tuly 17, 1876. Pupil of the Cons. G. Verdi at
Milan; has written the operas Virtit d'Amore
(priv. perf. Verdcrio, 1896), Cassandra (Bo-
logna, 1905; Phila., 1914), Rosiera (not yet
prod.); an overture for 2 pfs. (8 hands) and
songs. At present (1916) he is writing another
opera, Judith (text by Illica). After the publi-
cation of the score of Strauss's Elektra
(1908) G. Tebaldini caused a sensation by
his article in 4Riv. Mus. Ital.' (May, 1908),
TeUpatia Musicale, in which he attempted to
explain the evident similarity, or rather
identity, of some 50 themes in Cassandra and
Elektra,
Gnec'co, Francesco, b. Genoa, 1769; d.
Milan, 1810; a prolific and quite successful
opera-composer of slight originality. His
best-known work is La Prova d'un' opera
stria (Milan, La Scala, 1805).
Gobat'ti, Stefano, b. Bergantino, July 5,
1852; d. (insane) Bologna, Dec. 20, 1913. He
abandoned the career of an engineer, and
studied harm, with G. Busi at Bologna and
cpt. with L. Rossi at Parma, completing his
studies at the Cons, of Naples, where Rossi
had become director. His first opera, / Goti
(Bologna, 1873) was received with enthu-
siasm, and soon made the rounds of the
principal Italian stages; Luce (ib., 1875) and
Cordelia (ib., 1881) won only moderate success.
Gobbaerta [gdhb'bahrtsl, Jean-Louis,
b. Antwerp, Sept. 28, 1835; d. Saint-Gilles,
n. Brussels, May 5, 1886. Fine pianist,
pupil of Brussels Cons. He publ. abt. 1,200
numbers of pf.-pieces, mostly light music,
and some quite popular. He used 3 pseudo-
nyms: 'Strcabbog' (Gobbaerts reversed), 'Lu-
dovic,' and *L6vi.'
Gob'bi, Aloys, brother of Henri; b. Pest,
Dec. 20, 1844; resides there as a player on and
teacher of the violin at the Natl. Cons.
Gob'bi, Henri, b. Pest, June 7, 1842;
pupil of Robt. Volkmann and Liszt; resides in
Pest as a music-teacher and critic. — Works;
Pf.-pcs. in the Hungarian vein; male choruses;
a festival cantata celebrating the 50th an-
niversary of Liszt's career in public; etc.
Go'bel, Karl (Heinrich Eduard), b. Ber-
lin, March 11, 1815; d. Bromberg, Oct. 26,
1879. Pianist; Kapellm. at Danzig Th.; from
1840, conductor ot the Bromberg Gesangver-
ein. — Works: The 'Singspiel' Die AlpenhiUte
(Berlin, 1835); 2 operas, Chrysalide (1840?),
and Frithjof (1860); chamber-music, choral
works, songs; also a Compendium fur den
Musikunterricht, insbesondere fur das Cla-
vierspiel (Bromberg, 1873).
Gock'd, August, noteworthy pianist; b.
317
GODARD— GODOWSKY
Willibadessen, Westphalia, 1831; d. there
1861. A pupil of Mendelssohn and Plaidy
at Leipzig Cons. (1&5); made a concert-tour
in the U. S. in 1853-5. — A pf.-concerto is his
best work; other publ. pf. -pieces are of minor
importance.
Godard [goh-dahr'], Benjamin (-Louit-
Paul), distinguished composer; b. Paris, Aug.
18, 1849; d. Cannes, Jan. 10, 1895. He was at
first a violin-pupil of Richard Hammer, and
played in public at the age of 9; then studied
at Paris Cons, under Reber (comp.) and
Vieuxtemps (vln.), and with the latter twice
visited C^rmany. In 1865 his first publ.
work (a violin-sonata) appeared,' and was
followed by a series of chamber-compositions
(violin-sonatas, a trio, string-quartets), re-
ceiving the 'Prix Chartier' from the Institut
de France 'for merit in the department of
chamber-music. ' His first dramatic venture
was the 1-act opera Les Bijoux de JeanneUe
(Paris, 1878); thereafter he produced Pedro
de Zalamea (Antwerp, 1884), 4 acts; Jocdyn
(Brussels, 1888), 4 acts; Le Dante (Paris, Op.-
Com., 1890), 4 acts, mod. successful ; Jeanne
d'Arc (Paris, 1891); and the very successful
3-act opera La Vivandiire (Paris, Op.-Com.,
April 1, 1895), given 11 weeks alter G.'s
death, the last 2 acts orchestrated by Paul
Vidal. Les Guelphes was prod, posthumously
(Rouen, 1902); while Ruy Bias has not been
perf . ; G. also wrote incid. music to Much Ado
About Nothing (Paris, 1887). Besides the
above, must be mentioned the following
symphonies: Symphonie-ballet (1882); 5.
gothtque ('83); S. orientate ('84); S. ISgendaire.
with soli and chorus (1886); 5. in B m.; and
Le Tasse [Tasso], dram, symph. w. soli and
ch., took the prize of the city of Paris in
1878; — the orch. suites Scenes poetiques and
Lanterne magique; the Ouverture dramatique
(1883); the lyric seen a Diane et Acteon; the
Concerto romantique for vln.; a pf.-concerto;
various pieces and etudes for pf.; and more
than 100 songs. — Cf. M. Clerjot, B. G. (Paris,
1902).
God'dard, Arabella, noted pianist; b. St.-
Servan, n. Saint-Malo, Brittany, Jan. 12,
1836. As a child of 4, she played in her native
place; at 6; she was taught by Kalkbrenner
at Paris; at 8 she played before Queen Victo-
ria, and publ. 6 pf. -waltzes, being then a
pupil of Mrs. Anderson and Thai berg. At 12
she played in the Grand National Concerts,
and studied for the next three years with T.
W. Davison, her future husband (I860).
Now, after several important concerts in
England, she made the tour of Germany,
flaying at Leipzig in the Gewandhaus (1855).
n 1856 the London Phil. Soc. awarded her
the Beethoven gold medal. From 1873-6,
she made a tour of the world, incl. India,
Australia, and America. Retired in 1880 to
Tunbridge Wells. — Some pf. -pieces, and a
ballad, were publ. in 1852-3.
Godebrye. See Jacotin.
Godefroid [gdhd-frwah'], (Dieudonne-
Joseph-Guillaume-) Felix, a celebrated
harpist; b. Namur, July 24, 1818; d. Villers-
•er, July 8, 1897.
(1830). Lived long in Paris, but of late
Pupil of Paris Cons.
years in Brussels. His harp-pieces are well
liked, and his salon-music for piano is good.
He prod. 3 operas, La Harpe d'or, La dernilre
Bataille, and La FiUe de Saul.— His brother,
Godefroid, Jules- Joseph, also a fine
harpist; b. Namur, Belgium, Feb. 23, 1811; d.
Paris, Feb. 27, 1840. Wrote for harp and pf.;
also 2 comic operas, Le DiadestS, and Chasse
royale.
Godfrey, Daniel, b. Westminster, Engl.,
Sept. 4, 1831; d. Beeston, n. Nottingham,
June 30, 1903. Pupil and Fellow of the R.A.
M., in which he was prof, of military music
Bandmaster of the Grenadier Guards, 1856;
travelled with his band in the U. S., 1872;
retired 1896. Comp. waltzes (Mabel, Guards,
Hilda, etc.), and made many arrangements
for military band.
Godfrey, Daniel, son of preceding; b.
London, June 20, 1868. Pupil of H. Lazarus
(clar.), H. Holmes (vln.) and A. Caldicott
(harm.) at R. C. M.; 1889-91, cond. oi the
London Military Band, with which he toured
the north of England; 1891-2, cond. of the
Standard Op. Co. on its South African tour;
since 1893 mus. dir. to the Corporation of
Bournemouth. He increased the original band
of 24 pieces, so that 2 years later he began to
give symphony concerts with an orch. of 35;
since 1896 the organization has been known
as the B. Municipal Orch. (now numbering
60 players); until 1914, when the orch. cele-
brated its 'coming of age/ 1,200 concerts had
been given; in 1911 G. also establ. the Muni-
cipal Choir (250 voices) . G. has made numerous
arrangements for mil. band, and also written
dances and marches. — Cf. 'M.TY, Feb., 1916.
Godowsky [g6h-d6hf skg), Leopold, born
Wilna (Vilna), Russ. Poland, Feb. 13, 1870.
Brilliant pianist; debut 1879, on tour through
Poland and Russia, after 2 years' study in
Wilna; studied 1881-4 in the R. Hochschule,
Berlin, under Rudorff, and toured America
1884r-5; went to Paris, 1886, and studied w.
Saint-Saens 1887-90; 2d Amor, tour 1890-1.
In 1894 director of piano-dept. in Broad St.
Cons., Phila.; 1895, head of pf. dept. in
Chicago Cons., also concert izing in various
cities; in 1900 he returned to Berlin, settling
there as teacher, and also undertaking ex-
tended European tours; in 1909 he went to
Vienna as dir. of the 'Klaviermeisterschule,'
318
GOEPF ART— GOETSCH I US
and was made 'R. Prof.' After a phenomenally
successful tour of the U. S. in 1912 he once
more took up his residence in the new world;
now (1916) living in New York. His publ.
works for piano include a Sonata in E m. (5
movents.), 60 Studies on Chopin's £tudes,
24 Walzermasken, 24 Renaissance Pieces, 3
Symphonic Metamorphoses on Strauss waltzes
(Kunstlerleben; Fledermaus; Wein, Weib u.
Gesang), 3 Concert Paraphrases on works
by Weber {Momento capriccioso, Perpetuum
mobile. Invitation to the Dance), 2 Concert
Studies (C and Eb), a Toccata in Gb, Ara-
besque in F, Kin Ddmmerungsbild in Eb,
Sarabande, C our ante, Scherzino, etc. He was
ed. -in-chief (with Sauer, Hofmann, E. S.
Kelley and E. Whithorne as asst. -editors) of
The Progressive Series of Lessons, Exercises,
Studies and Pieces (St. Louis, 1912-15).
Goepfart [gdp'fahrt], Christian Hein-
rich, b. Weimar, Nov. 27, 1835; d. Baltimore,
Md., June 6, 1890. Organist and composer;
pupil of J. G. Topfer at Weimar. From 1873
ne cond. choral societies, etc., in the U. S.
Goepfart, Karl Eduard, son and pupil of
preceding; b. Weimar, March 8, 1859. In
1891, cond. of the Mus. Union at Baden-
Baden; 1897 in Remscheid; now (1916) in
Potsdam. An opera, Der Midler von Sans
Souci, was prod, in Weimar (1907); other
operas (not prod.) are Wieland der Schmied,
Sarastro (sequel to Mozart's Magic Flute),
Beerenlies'chen, Camilla, Rhodopis; has also
written choral works (Der Fall Roms, etc.),
orchl. works and chamber-music.
Goepfart, Otto Ernst, brother of preced-
ing; b. Weimar, July 31, 1864; d. there Jan.
13, 1911. From 1888, town cantor there.
Composer of vocal music.
Goepp, Philip Henry, b. New York, June
23, 1864. Pupil in New York of P. B. Sparks
(pf., org., harm.), 1877-80; while taking the
classical course at Harvard, 1880-4, he also
studied comp. with J. K. Paine; received the
degree of A. B., with honors in music; then st.
law at the Univ. of Pa. (LL.B., 1888), was
admitted to the bar and practised till 1892.
He then devoted himself entirely to music,
studying again in Philadelphia with M. M.
Warner (pf), D. D. Wood (org.) and H. A.
Clarke (orchestration); has been living since
1892 in Phila. as org. and teacher; one of the
founders of the MS. Mus. Soc. of Phila.;
since 1900 author of the program-books of
the Phila. Symphony Orch. He has publ.
Annals of Music in Philadelphia (1896);
Symphonies and Their Meaning (3 vols.,
1898, 1902, '13); has comp. pieces for pf.,
org., vln.; songs, part-songs, madrigals, an-
thems; a Christmas Cantata, and a fairy opera,
The Lost Prince.
Goering [go'-], Theodor, born Frankfort,
Oct. 2, 1844; d. Munich, Aug. 8, 1907.
He was for some time mus. critic for the
Augsburg ' Abendzeitung' ; lived 1880-3 in
Paris, whence he wrote articles for Gold-
stein's 'Musikwelt'; later in Munich as mus.
correspondent of the Cologne 'Zeitung.' Publ.
Der Messias von Bayreuth (1881).
Goes [goh'ess], Damiao de, b. Alemquer,
Portugal, Feb., 1500; d. Lisbon, Jan. 30, 1572.
He was ambassador to France, Italy, Poland,
and Denmark; also lived in Rome and Lou-
vain. He wrote motets a 3-6 (MS., in Lisbon;
one or two were printed in collections). — Cf.
Vieira, Musicos Portugueses (1900).
Goe'the, Walther Wolfgang von, grand-
son of the poet; b. Weimar, April 9, 1818; d.
Leipzig, April 15, 1885. He studied music in
Leipzig under Mendelssohn and Weinlig; his
official position in Weimar was chamberlain
to the (irand Duke. He prod. 3 operettas in
Weimar: Anselmo Lancia, oder das Fischer-
madchen (1839), Der Gefangene von Bologna
(1846), and Elfriede (1853); also publ. 10
books of songs, and 4 books of pf.-music.
Goe'the [g&'tg], Wolfgang von, the illus-
trious poet; b. Frankfort-on-Main, Aug. 28,
1749; d. Weimar, March 22, 1832. Although
he could not comprehend Beethoven, - and
even snubbed him, he had ideas of his own on
music (see Briefwechsel zwischen G. und Zelter
.... Berlin, 1833); Ferd. Hiller also shows
this in his Goelhes musikalisches Leben (Co-
logne, 1883). In recent years G.'s attitude
toward music has been made the subject of
investigation of several scholars. — Cf. J. Chan-
tavoine, G. musicien (Paris, 1905) ; E. Segnitz,
G. u. die Oper in Weimar (Langensalza, 1908) ;
W. Bode, Die Tonkunst in G.'j Leben (2 vols.
Berlin, 1912); Eberwein and Lobe, G.'s
Schauspieler u. Musiker, Erinnerungen (Berlin,
1912). — Under the auspices of the 'Goethe
u. Schiller-Archiv' M. Hecker is preparing a
new ed. of the G.-Zelter correspondence from
the original MSS.; vol. i (1799-1818) was
publ. at Leipzig in 1913.
Goetschius, Percy, b. Paterson, N. J.,
Aug. 30, 1853. Pupil, 1873-8, in Stuttgart
Cons., of Lebert and Pruckner (pf.)t and
Faiszt and Doppler (harm., cpt., and in-
strumentation). He taught the English
classes there from 1876, also often acted as
Faiszt 's substitute; took charge of all the
female classes in 1885, then receiving the
title of 'Royal Prof.' from the King of Wurt-
temberg. He also became concert-critic for
the 'Schwabischer Merkur'; later, opera-
critic for the 'Neues Tageblatt'; and contrib-
uted to various* Ger. mus. papers. In 1890,
G. accepted a call to Syracuse (N. Y.) Univ.
as prof. o( harm., history, and advanced pf.-
playing; in 1892, on leaving Syracuse, the
319
GOETZ— GOHLER
Univ. bestowed on him the title of Mus.
Doc. (hon. c); he then took charge of the
composition dept. at the N. E. Cons., Boston,
also giving lectures on mus. hist., etc. From
1896-1905 private teacher of harm, and comp.
in Boston, also writing essays to Amer. mus.
journals; also, from Sept., 1897, org. of the
First Parish ch., Brooktine; since 1905, prof,
of theory and comp. in the N. Y. Inst, of
Mus. Art (founded that year). G. has formed
many pupils of note, incl. heads of music depts.
in several prominent educational institutions.
— Publ, works: The Material Used in Musical
Composition (Stuttgart, 1882; New York,
1889; 14th ed.v rev. and augm., 1913; a
most valuable contribution to the science of
harmony); The Theory and Practice of Tone-re"
lotions (Boston, 1892; 15th, revised ed. 1917);
Models of the Principal Mus, Forms (Boston,
1895); Syllabus of Mus. History (1895); The
Homophonic Forms of Mus, Composition (New
York, 1893; a masterly analysis of the Group-
forms and Song-forms, ana the best extant
work on the subject); Exercises in Melody-
Writing (New York, 1900); Applied Coun-
terpoint (New York, 1902); Lessons in Music
Form (Boston, 1904) ; Elementary Counterpoint
(New York, .1910; an original attempt to
blend the disciplines of harmony and counter-
point); Essentials in Music History (New
York, 1914; jointly with Th. Tapper); The
Larger Forms of Musical Composition (New
York, 1915). — rubl. compositions: 2 Con-
cert-Fugues (in C and E) for piano; Wedding-
march for piano (or organ); Minuet for piano;
7 Character-pieces in waltz-rhythm for piano;
Concise Finger-Exercises for piano; The Lord
is my Shepherd ', anthem f. mixed ch., accomp.;
op. 14, Revery for piano; op. 15, sonata for
piano; op. 16, 2 mazurkas for piano; 6 an-
thems. For the Cotta Ed. (Stuttgart, 1889)
he made a Critical Revision of 'Mendelssohn's
Complete Pf. Works'; also '30 Comps. of
Mendelssohn' and an analytic edition of the
'Songs Without Words'; sonatinas of Clementi,
Kuhlau and Kohler; etc.
Goetz, Hermann, gifted composer; born-
Konigsberg, Prussia, Dec. 17, 1840; d. Hot-
tingen, n. Zurich, Dec. 3, 1876. From his 18th
year, he took private lessons of Louis K6h-
ler at Konigsberg in pf .-playing and harmony,
and also conducted various amateur mus.
societies; from 1860-3 he studied in the Stern
Cons., Berlin, under Stern (conducting and
score-reading), von Btilow (pf.), and H.
Ulrich (cpt. and comp.). In 1863 he became
Th. Kircnner's successor as org. at Winter-
thur, Switzerland; he founded and cond. a
singing-society, conducted operas, composed,
and also gave private lessons, even as far
away as Zurich, where he settled in 1867,
retaining, however, the organ at W. Made
ill by overexertion, he withdrew to Hottingen
320
in 1870. — His most famous work, and one of
the finest among modern dramatic compo-
sitions, is the opera Der Widerspenstigen
Zdhmung (Taming of the Shrew] (Mannheim,
Oct. 11, 1874); of a second opera, Francesco
von Rimini (Mannheim, Sept. 30> 1877), the
unfinished 3d act was scored by Ernst Frank.
His other works are: Op. 1, Pf.-trio in G m.;
op. 2, 3 easy pieces for pf. and vln.; op. 3, 3
songs; op. 4, RispeUi, 6 Ital. folk-songs w.
Ger. transl. by P. Heyse; op. 5, 3 Schweizer
Kinderlieder (in Swiss dialect); op. 6,
string-quartet in F; op. 7, Lose Blatter (9
§ieces tor pf.); op. 8, 2 sonatinas for pf.; op.
, Symphony in F; op. 10, N&nie, for soli, ch.
and orch. (poem by Schiller); op. 11, Es liegt
so abendstiU der See, for male ch. and orch.
(poem by W. Miiller); op. 12, 6 songs; op. 13,
Genrebilder (6 pieces for pf.); op. 14, Psalm
exxxvii for sop. solo, ch. and orch.; op. 15,
Fruhlingsouverture; op. 16, Quintet for piano
and strs. (w. double-bass) in C m.; op. 17,
Sonata for pf. in G m. (4 hands); op. 18,
Pf. -concerto in Bb; op. 19, 6 songs; op. 20, 4
songs for male ch.; op. 21, 7 songs for mixed
ch.; op. 22, violin-concerto in G. — All works
after op. 13 were publ. posthumously.— Cf.
A. Steiner, H. G. (Zurich, 1907).
Goet'ze. See G£tze.
Goetzl, Anselm, b. Karolinenthal, Bohe-
mia, Aug. 20, 1878. Pupil of Winkler, Fibich
and Dvorak in Prague, and of SchaJk and
Adler in Vienna; Ph.D., 1899, with the thesis
Beitrag tur Instrumentation der Beethovenschen
Symphonien; came to the U. S. in 1913 as
cond. of Dinpel's Light Op. Co. (The Lilac
Domino). — Works: A pf. -quartet (op. 1), 2
string-quartets (op. 2, 4), a clar. -quintet
(op. 5), songs (op. 3, 8); and the operettas
Zterpuppen (Prague, 1907), Madame Flirt (ib.,
1909), Ritterspiek (N. Y., 1914).
Gogorza, Emilio Edoardo de, fine con-
cert-baritone; b. Brooklyn, N. Y., May 29,
1874. He spent his childhood in Spain, France
and England, in which latter country he sang
as a boy-soprano; on his return to America he
studied with C. Moderati and E. Agramonte
in New York; made his debut in 1897 in a con-
cert with Marcella Sembrich, and has since
then sung successfully in recitals and concerts
with the leading orchestras. On July 13, 191 1,
he married Emma Eames.
Gdhler, Dr. (Karl) Georg, b. Zwickau,
Saxony, June 29, 1874; pupil there of Voll-
hardt; studied 1893-6 at Leipzig in the
Univ. and Cons.; dissertation on the com-
poser Cornelius Freundt (15 35-1 591); 1898-
1907 conductor of the Riedelverein; 1907-9
Hofkapellm. in Karlsruhe; 1909-13 again
cond. of the Riedelverein; since 1913 cond. of
the newly establ. 'Neue Oper' in Hamburg,
and of the Lehrergesangverein there; comp. of
GOLDBECK— GOLDMARK
2 symphonies, a suite for orch. (G), songs and
choruses for men's voices. He has edited a
Weihnachtsbuch (28 choruses by C. Freundt),
GeUtlicke Musik aufgefiihrt vom *"£*£"•
fcSSSf (works of Haydn, Mozart, Schu-
bert?!Ind Spiel- u. Tan*lieder;*iso a frequent
contributor to various journals.
Gold'beck, Robert, pianist; b. Potsdam,
Aoril 19. 1839; d. St. Louis, May 16, 1908.
Stud ed at first with Kohler; then in Bruns-
wick under H. Litolff, later (1851) in Pans.
After brilliant concerts in London, hewn
publishing his compositions for pf., and prod.
Sn operetta, The Soldier's ™«™(^«d™>
1856) From 1857-67 he lived in New York,
teaching and composing; in 1867 he founded a
conservatory in 6oston, but went next year
to Chicago to establish a second Cons., of
which he was director till 1873 then going to
St Louis, where he cond. the Harmonic
Societv and was co-director of the Beethoven
Syundf 1878; lived agam^n New York,
1880-5; in Germany, 1886-91 , St. Louis,
1891-4; Chicago, 1894-9; London, 18W--1903
and after that again in ^±^s^^J
operas, Saratoga and Newport (1888) , cantata,
Throng of She Brave ^an; orchl. comps.
(Burger's Leonore, Eifgie, MyUe. etcj,
symphony Victoria; 2 pf -concertos On G m u
andt); string-sextet; pf.-quintet; about 140
pf. -works; choruses, songs, etc.; ThreeGraduat-
Ug Courses (for Pf., voic^and ceHo^n
vols); also publ. a text-book on Harmony
0890) and kncyclop<edia of Mas. Education
(3 vols., 1903).
Goldberg, Johann Gottlieb [Theo-
philusl, remarkable orgamst and clavichord-
player ; b. Konigsberg, c. 1730; d. Dresden (?),
1760 (?), as chamber-musician to Count
Briihl. He was a pupil of Fnedemann Bacn
and later of J. S. Bach, who praised him
highly. He was an extraordinary improviser
and sight-reader; though a fine comp., his
works (2 concertos, 24 Polonaises, and a
sonata with minuet and 12 variations, for
clav.; 6 trios for flute, vln., and bass; a
motet, a cantata, a Psalm) have never been
published. — See Q.-Lex.
Gold'berft, Joseph Pa*l™ff • ?in£ng"
teacher; b. Vienna, Jan. 1, 1825; d. there
Dec. 20, 1890. At first a vio hn-pupil ot
Mayseder and Seyfried, he made long artistic
tours while young; then studied singing under
Rubini, Bordogni, and Lamperti, and ap-
peared as a bass singer at Genoa, 184 J, , in
Donizetti's La Regina d% Golconda. After
singing some years in Italy, he settled in
Paris as a concert-singer and teacher; ne
went to London in 1861. His two sisters,
Fanny G.-Marini and Catherine O.-
Strossi, were also singers.— He puDlisnea
some songs; also La marcia trumfate tor
Victor Emmanuel's entry into Rome.
GoldWatt, Maurice Henry, b. Reval,
Russia, May 30, 1883. Beean to study vln.
at age of 10 with A. Gucntnert in St. Louia;
in 1899 pupil at Wisconsin Cons, of Music,
winning gold medal; ent. Chicago Mus. Coll.
in 1900 and studied with B. Listemann, S.
Jacobfiohn and Th. Spiering, graduating in
1903 as winner of the gold medal; continued
to study vln. with E. Sauret (1904-6) and
H. Heermann (1907-8); pupil in theory of A.
Brune (1901-3) , L. Falk (1904-5) and F.
Borowski (1906-fc). Leader of Chicago
Philh. Orch., 1909; since 1909 instr. of vln. at
Chicago Mus. Coll.; has publ. comps. for vln.
and of. (BourrSe in A m., Dance of the Sylphs,
Meditation, Forest Magic, etc.).
Gol'de, Adolf, b. Erfurt, Aug. 22, 1830;
d. there March 20, 1880. Pupil, 1851, of
Marx (comp.) and Haupt (org.) .at Berlin;
teacher of pf. at Stern's Cons.; in 1872 he
succeeded his father, Joseph Golde, as direc-
tor of the Soiler Singing Society at Erfurt.—
Works: Symphony in B m.; other orchl. pes.?
popular salon-music for piano.
Gold' mark, Karl, b. Keszthely, Hungary,
May 18, 1830; d. Vienna, Jan. 2, 1915. Vio-
linist, pianist, and opera-composer; pupil of
Jansa Xvln.) at Vienna in 1844; 1847-8 at
the Cons, under Bohm (theory); thencefor-
ward chiefly self-taught. He gave his first
public concert at Vienna in 1858, playing a pf.-
concerto of his own; this was soon followed
by a pf.-trio, a pf.-quartet, pf.-duet, and
string-quartets. The concert-overture Sa~
kuntala (op. 13), and a Scherzo, Andante, and
Finale for orch. (op. 19), attracted generar
attention, and his first opera (op. 27), Die
Konigin von Saba (Vienna, March 9, 1875;
N Y. 1885), made him famous. Then fol-
lowed X/ii (Vienna, Nov. ML 1886; N. Y.
1887) and Das Heimchen ant Herd (Dickens
•Cricket on the Hearth'] (Vienna, March 21,
1896; Chicago, 1912), the latter being es-
pecially successful; Die Krtegsgefangene i, in 2
acts (Vienna Court Opera, Jan. 17, 1899 .
Gotz von Berlichingen (Pest, bee. 16 1902)
Ein Wintermdrchen (Vienna, Jan. 2, 1908,
fiasco). Der FremMng (written 1897) has not
been prod.— Cf. Otto Keller, K. G. (1901).
Works.
Op. 1-3 (not publ.); op. * »••** * ** «h?:
Sturm und Drang, pieces for pf.; op. 6-7 (not PU™/»
op 8. String^uartet in Bb; op. 9 Stnng^umtet fn
X m • oo. 10, Regenhed for mixed ch.; op. 11. suite
^f*. 2nd vln. in E; op. 12. 3 piece* for pf. (4 hands);
13 Overture, tiakuntolo; op. 14. 2 choruses for
for
men's voices; op. 15, FruhUngsnetz, for male quartet.
? horns and pf.; op. 16. Meeresstille und gluckluhe
Fahrhfor mate ch. and horns; op. 17 2 choruses for
mate voices; op. 18, 12 songs; op. 19. Scherzo in E m..
fo? orch.; op. 20. BesckwOrung. song; op. 21, 4 songs
op 22. Dances for pf. (4 hands; also arr. for .orch )
op. 23. FrUhlingshymne, for alto solo. ch. and orch.,
op! 24, 1m Fuschcrthol, 6 songs for mixed voices; op.
321
GOLDM ARK— GOLLM ICK
25, Sonata in D for pf. and vln.: op. 26. Symphony,
LUndUche Hochuit; op. 27, Die Konigin von Saba; op.
28, Concerto for vln. in A m.; op. 29, 2 Novellettes,
Prelude and Fugue for pf.; op. 30, Pf. -quintet in Bb;
op. 31. Overture, Penthestlea; op. 32. 6 songs from
Wolff's Der wilde J&ger; op. 33, Pf.-trio in Em.; op.
34. 4 songs; op. «35, Symphony in Eb; op. 36, Overture,
Im Frufuing; op. 37, 8 songs: op. 38. Overture, Der
gefesseltc Prometheus; op. 39, Sonata for pf. and vol.;
op. 40, Psalm CXIII; op. 41, 2 choruses for male
voices; op. 42, 2 part-songs with pf.; op. 43, Suite in
E for pf. and vln.; op. 44, Overture, Sappho; op. 45,
Scherwo in A for orch.; op. 46, 6 songs; op. 47-48 (not
publ.); op. 49, Overture. In Italien; op. 50-51 (not
publ.); op. 52. Georginen, for pf.; op. 53, Aus Jugend-
tagen, for pf. — Without opus-number: Concerto No. 2
for vln.; Zriny, symphonic poem; and the above-
mentioned operas.
Gold'mark, Rubin, nephew of Karl G.;
b. New York, Aug. 15f 1872. Pupil at Vienna
Cons, of A. Door (pf.) and R. and J. N.
Fuchs (comp.), 1889-91; then at Nat. Cons.
in N. Y. of R. Joseffy (pf.) and Dvorak
(comp.), 1891-3; at the same time taught
there pf. and harm.; 1895-1901, dir. of Colo-
rado Coll. Cons.; since then he has lectured
throughout the U. S. and Canada; Pres.
of The Bohemians,' 1907-10. Has written a
pf.-trio in D m., a sonata in B m. for pf. and
vln., a pf. -quartet in A; Theme and Vars. for
orch. (1895); an overture, Hiawatha (1900);
a symphonic poem, Samson (1914); songs;
pf. -pieces (Twilight Fancies, In the Forest,
Prairie Idyls, etc.).
Gold'ner, Wilhelm, b. Hamburg, June
30, 1839; d. Paris, Feb. 9, 1907. Studied in the
Leipzig Cons. ; lived in Paris as a pianist and
composer of salon-music; his pf. -suites for
4 hands had considerable success.
Gold'schmldt, Adalbert von, b. Vienna,
May 5, 1848; d. there Dec. 21, 1906. Pupil of
Vienna Cons. He was not a professional
musician, but a studious amateur and ar-
dent Wagnerite; his cantata Die sieben Tod-
sunden (Berlin, 1875; poem by Hamerling)
gained him sudden and wide notoriety; an
opera, Helianthus (Leipzig, 1884), was also
well received; he brought out a dram, triology,
Gaea, in 1889, and Dte fromme HeUne (Ham-
burp, 1897); also publ. songs, pf. -pieces, etc.
— Cf. E. Friedegg, Briefe an einen Komponi-
sten. Mus. Korresp. an A. v. G. (Berlin, 1909).
Gold'schmldt, Hugo, b. Breslau, Sept.
19, 1859; took the degree of Dr. jur. in 1884;
studied singing under Stockhausen at Frank-
fort, 1887-90; was co-director of the Schar-
wenka-Klind worth Cons, at Berlin, 1893-1905;
since then living in Nice. — Writings: Die
italienische Gesangsmethode des 17. Jahrh.
(1890); Der Vokalisntus des neuhochdeutschen
Kunstgesangs und der Buhnensprache (1892);
Handbuch der deulschen Gesangspddagogtk
(1896); Studien zur Geschichte der italienischen
Oper im 17. Jahrh. (2 vols., 1901, '04); Die
Lehre von der vokalen Ornamentik (vol. i [the
17th and 18th centuries to the time of Gluck),
1907); also articles in mus. journals.
Gold'schmldt, Otto, fine pianist; born
Hamburg, Aug. 21, 1829; d. London, Feb. 24,
1907. At first a pupil of Jakob Schmitt and
F. W. Grund, then of, Mendelssohn at the
Leipzig Cons., and of Chopin at Paris (1848).
In 1849 he played in London at a concert
given by Jenny Lind; accompanied her on her
American tour (1851), and married her at
Boston, Feb. 5, 1852; from 1852-5 they lived
in Dresden, from 1858 until her death (1887)
in London. He was made an hon. member of
the London Philh. Soc. in 1861, became vice-
principal of the R. A. M. in 1863, and founded
the Bach Choir in 1875, which he cond. till
1885. He also cond. mus. festivals at Dussel-
dorf (1863) and Hambure (1866).— Works: An
oratorio, Ruth (Hereford, 1867); pf. -concerto
(op. 10); pf.-trio (op. 12); 12 studies for pf.
(op. 13); 12 songs with pf.-accomp. (op. 8 and
9); part-songs; also, with S. Bennett, the
Choral-Book for England (1862; suppl. 1864).
Gold'schmldt, Slgismund, born Prague,
Sept. 28, 1815; d. Vienna, Sept. 26, 1877.
Pupil of Tomaschek in Vienna, and of Drey-
schock in Paris, where he lived as a concert-
pianist from 1845-9, then returning to Prague
to manage his father's banking-business. —
Works: Overtures, piano-sonatas, songs.
Gdllerich, August, b. Linz, July 2, 1859.
Pupil of Liszt (pf.) and Bruckner (comp.);
acquired Ramann's music-school in Nurem-
berg in 1890, and established branches in Er-
langen, FCirth and Ansbach; since 1896 cond.
of the Musikverein and dir. of the Cons, in
Linz; his wife, Gisela Pasthory-Volfct
(also a pupil* of Liszt), supervises the other
schools. He has published A. Reissmann als
SchriftsteUer und Komponist (1884); Lis*
/iqqt. u~:-_ 4.1 *.: *.: e xt^li»_ i_:
* — — — - j/ i — \ — ~ — w —
Musik'; biogr. and complete catalogue of
works); Guides to Liszt's Graner Festmesse
(1897) and Wagner's Nibelungen (1897). At
present eng. on an exhaustive biogr. of Bruck-
ner (B. himself selected him for this task).
Goll'mlck, Adolf, pianist, son of Karl; b.
Frankfort-on-M., Feb. 5, 1825; d. London,
March 7, 1883. Pupil of his father, Riefstahl,
Wolff, and Kessler. Settled in London in
1844. — Works: 3 comic operas, DoHa Con-
stanza, The Oracle, and Balthasar; two 'operatic
cantatas,' The Blind Beggar's Daughter of
Bethnal Green, and The Heir of Lynne; a
symphony; overture and marches for orch.;
pf.-pieces, songs, etc.
GolTmick, Karl, b. Dessau, March 19,
1796; d. Frankfort-on-Main, Oct. 3, 1866;
son of the tenor Friedrich Karl G. [b. Ber-
322
GOLTERMANN— GOODRICH
lin, Sept. 27, 1774; d. Frankfort-on-M., July
2, 1852]. While a theological student at
Strassburg, he took lessons in music of
Spindler, and in 1817 settled in Frankfort as a
teacher of French. He was eng. by Spohr as
drummer in the City Th., for a time he was
also chorusmaster, and was pensioned in
1858. For pf. he composed rondos, variations,
potpourris, etc., for 2 and 4 hds.; and also
publ. a Prahtische Gesangschule; Leitfaden fur
junge Musiklehrer- Kritische Terminologie fUr
Musiker u. Musikfreunde (1833; 2d edition
1839); Musikal. NoveUen u. Silhouetten (1842);
Karl Guhr (1848); Fetis . . . als Mensch,
Critiker, Theoretiker u. Cotnponist (1852);
Handlexikon der Tonkunst (1858); Autobio-
graphic (1866) ; and fugitive articles.
Gol'termann, August, born 1826; died
Schwerin, Nov. 2, 1890, as court pianist.
Gol'termann, Georg (Eduard), b. Han-
over, Aug. 19, 1824; d. Frankfort-on-Main,
Dec. 29, 1898. 'Cello-pupil of Prell, and
(1847-9) of M enter at Munich, and of Lach-
ner (comp.). After long concert-tours (1850-
2), he became (1852) mus. dir. at Wtirzburg;
in 1853, second, and in 1874, first Kapellm. at
the City Th., Frankfort-on-Main. A cele-
brated cellist, and comp. for 'cello (6 con-
certos, sonatas w. pf., Morceaux caracteristiques
w. pf., Danses aUemandes w. pf., Adagio w.
oreh., UlSgie w. pf.); also a symphony in A m.
(op. 20), 2 Festspiel-Ouverturen (op. 24 and
94), songs, etc.
Gortermann, (Johann August) Julius,
b. Hamburg, July 15, 1825; d. Stuttgart,
April 4, 1876. Fine 'cellist; 1850-62, teacher
at Prague Cons.; 1862, first 'cello at Stuttgart;
retired 1870.
Golther Rgdhl'ter], Wolfgang, b. Stutt-
gart, May 25, 1863; since 1895 Prof, of
Germanic philology at Rostock. Besides his
purely literary works he has written several
important books bearing upon the subject of
music. — Die Sage von Tristan u. Isolde (1887),
Die sagengeschiehtiichen Grundlagen der Ring-
dichtung Richard Wagners (1902), Bayreuth
(1904), R. Wagner als Dichter (1904; Engl,
transl. by Haynes, 1907), Tristan u. Isolde in
den Dichtungen des Mittelalters u. der neueren
Zeii (1907), Zur deutschen Sage u. Dichtung
(1911), Parsifal u. der Gral in deutscher Sage
des Mittelalters u. der Neuzeit (1913); he has
also edited 'R. Wagner an Mathilde Wescn-
donk' (1904), 'Briefe R. Wagners an Otto
Wesendonk' (1905), 'Familienbriefe von R.
Wagner' (1907), 'Robert Franz u. Arnold
Freincrr Senfft von Pilsach' (1907; corre-
spondence).
Gom'bert, Nicolas, b. Bruges, circa 1495;
d. after 1570. Flemish contrapuntist, one of
Josquin Despres' most eminent pupils; in
1530, master of the boys at the Imperial
Chapel, Madrid; probably maestro there
later; the gift of a sinecure office in the
Netherlands, from his patron Charles V,
enabled him to retire in his old age. In church-
music Fetis styles him a forerunner of Pale-
8trina, but he was especially fond of secular
and pastoral music, with a decidedly senti-
mental leanine, and refreshing simplicity and
directness; while in his sacred works he
discarded rests, thus rendering his polyphony
more connected and fuller than that of his
predecessors. Of his numerous motets and
masses many are preserved. — See Q.-Lex,
Go'mes, Antonio Carlos, Brazilian opera-
composer; b. Campinas, Brazil, July 11, 1839;
d. Para, Sept. 16, 1896. Pupil of Lauro
Rossi in Milan Cons. First stages-work, in
Portuguese, A noite do casiello (Rio de Ja-
neiro, 1861), followed by Joanna de Flanares
(ib., 1863) ; then Se sa minga [Nobody knows!]
(Milan, Teatro Fossati, 1867; a 'rivista' in
Milanese dialect, the 'Song of the Needle-
gun' becoming immensely popular) ; a second
review/ Nclla Luna (1868); 4-act ballet-opera
// Guar any (Milan, La Scala, 1870; fairly
successful); Fosca (ibid., 1873; a failure);
Sahator Rosa (Venice, Carlo Felice, 1874;
successful); Maria Tudor (Milan, 1877; suc-
cessful); Lo Schiavo (Rio, 1889; very succ.);
Condor (ibid., 1891; unsucc.) — Also a hymn
to celebrate American independence, // saluto
del Bresile (Phila., 1876), and the cantata
Colombo for the Columbus Festival in 1892. In
1895 he was app. Dir. of Pari Cons.; sickness
detained him in Lisbon, and he died a few
months after reaching Para. — Biogr. sketch
(in Portuguese) by E. vieira (Rio de Janeiro,
1897).
Goodrich, Alfred John, theorist; born
Chilo, Ohio, May 8, 1848. With the exception
of a year's instruction in harm, and pf.-
playing, from his father, he is wholly self-
taught. After teaching theory for some years
in the Grand Cons., N. Y., G. succeeded John
Howard (voice) and A. K. Virgil (pf. and
theory) at the Fort Wayne Cons., Ind. (1876).
Later he was Director of the vocal depart-
ment in the Beethoven Cons., St. Louis, and
for 2 years of the mus. dept. at Martha
Washington College, Abingdon, Va.; lived
several years in Chicago as a writer and
teacher, and was a regular contributor to lead-
ing mus. periodicals, more especially the New
York 'Musical Courier,' in which he has publ.
many interesting essays; lived in Paris, 1909-
15; since then spends his time travelling. —
Publ. works: Music as a Language (1880);
The Art of Song (1888); Complete Musical
Analysis (1889); Analytical Harmony (1894);
Theory of Interpretation (1898; publ. by sub-
scription); Guiae to Memorizing Music (1904;
323
GOODRICH— GORITZ
revised ed. 1906). A treatise on Synthetic
Counterpoint is still MS. — He has written an
overture and several orchestral suites; piano-
pieces and songs.
Goodrich, (John) Wallace, b. Newton,
Mass., May 27, 1871. Pupil at N. E. Cons, of
H. M. Dunham (org.) and G. W. Chadwick
(comp.); then at Kgl. Akademie in Munich
of Rheinberger (1894-5), of Widor in Paris
(1895-6); 1896-7 Repetitor at the Leipzig
Th. On his return to the U. S. he became a
member of the faculty of the N. E. Cons, in
1897; since 1907 Dean of Faculty; org.
Trinity Ch., Boston, 1902-9; org. Boston
Symph. Orch. 1898-1909; founder and cond.
Boston Choral Art Soc., 1901-7; Choral cond.
of the Worcester Festivals, 1902-7; cond.
Cecilia Soc., 1907-10; cond. Boston Op. Co.,
1909-12.
Goodson, Katharine, distinguished pian-
ist; b. Watford, Hertfordshire, June 18, 1872.
From 1886-92 she was a pupil of O. Beringer
at the R. A. M., and from 1892-6 of Le-
schctizky in Vienna; debut in London at a
Saturday Pop. Concert, Jan. 16, 1897, with
signal success; then followed tours of England,
France, Austria and Germany, which estab-
lished her reputation; at her American debut
with the Boston Symph. Orch. in Boston,
Jan. 18, 1907, the impression created was so
favorable that she was engaged by all the
important orchestras; since then she has made
several tours of this country, also of Holland,
Belgium and Italy. In 1903 she married the
English composer Arthur Hinton.
Goodwin, Amlna Beatrice, b. Manches-
ter, Engl., Dec. 5, 1867. Pianist of precocious
talent, taught by her father, and played in
public at 6. Studied later at Leipzig (Rei-
necke, Jadassohn), and Paris (Delaborde);
finally with Liszt and Frau Schumann. Found-
ed a Pianoforte College for ladies in 1895, at
London, but continued her concert-career,
appearing with the best orchestras in England;
also made a successful tour of Germany and
Holland; with Pecskai (vln.) and Whitehouse
(vcl.) she formed the 'London Trio.' She ranks
high as a concert -player; has written some
pf.-pieces, also Practical Hints on the Tech-
nique and Touch of Pf. -playing (London, 1892).
Married an Amencan, Mr. W. Ingram-Adams.
Goovaerts [goh'vahrtsj, Alphonse-Jean-
Marie-Andre, b. Antwerp, May 25, 1847.
Jn 1866 he became asst. -librarian at Antwerp;
is a profound student of mus. history, and* a
reformer of the church-music in his native
city, having est. an amateur cathedral-choir
for performing works by Palest rina and the
Nctherland contrapuntists. In 1887 he was
app. royal archivist at Brussels. — Writings:
La Musique d'eglise . . . (1876; in Flemish as
De Kerkmusiek), in which he replies to attacks
on his attempted reforms; and Histoire et
bibliographic de la typographic musicale . . .
(1880; took the gold medal of the Belgian
Academie); a monograph on Pierre Phalese;
and minor works. He has also publ. consider-
able excellent church-music, as well as Flemish
songs, pieces for pf . and vln., etc.
Gdp'fert, Karl Andreas, b. Rimpar, n.
Wurzburg, Jan. 16, 1768; d. Meiningen, April
11, 1818. A pupil of Meissner in clarinet-play-
ing, he became, in 1788, first clar. at Meinin-
gen, and later director of the military music
there. — Works: An opera, Der Stern des Nor-
dens; 4 concertos for clar.; a symphonic con-
certante for clar. and bassoon; 5 quartets for
clar. and strings; much other chamber-music
for wind; songs, etc.
Gopfert, Karl Gottlieb, violinist; b.
Weesenstein, n. Dresden, 1733; d. Weimar,
Oct. 3, 1798. Played in Frankfort, Leipzig
and Berlin; settled in Weimar, 1770, where he
was chamber- virtuoso, conductor and leader.
J. F. Cranz was his pupil. — Works: 6 Polo-
naises for violin.
Gordigiani [gfir-de-jah'ne], Giovanni
Battista, b. Mantua, July, 1795; d. Prague,
March 2, 1871. Pupil of Milan Cons.; sang
in opera and concert, taught singing in
Ratisbon, and in 1822 went to Prague, where
he was vocal teacher in the Cons, until he
died. — Works: 3 operas, Pygmalion (Prague,
1845), Consuelo (1846); Lo Scrivano pubblico
(1850); church-music, canzonets, songs, and
12 cavalry marches. — His brother,
Gordigiani, Luigi, renowned comp. of
Tuscan* popular songs; b. Modena, June 21,
1806; d. Florence, May 1, 1860. He brought
out 7 operas, a ballet, an oratorio, and 3
cantatas; but his fame rests on his Canti
popolari toscani; in 1836 he happened upon a
volume of old Tuscan folk-poems, which he
set to music, and which became extraordi-
narily popular; 67 of these songs, in 2 vols.?
are publ. by Ricordi in the series 'Canti
popolari italiani.'
Go'ria, Alexandre- fedouard, pianist; b.
Paris, Jan. 21, 1823; d. there July 6, I860. A
pupil of Paris Cons., 1830-9 (Laurent, Zimmer-
man, Dourlen). Took 1st pf. -prize in 1835.
Became a teacher and composer; publ. many
pf.-pieces of a brilliant and popular style.
Goritz, Otto, celebrated dram, baritone;
b. Berlin, June 8, 1873. He received his
entire musical education from his mother,
Olga Nielitz: debut, Oct. 1, 1895, as Matteo
(Fra Diavolo) at the Hoftheatcr in Neustrclitz;
his success led to an immediate engagement
for 3 years; 1898-1900, at the Stadtth. in
Breslau; 1900-3, at Stadtth. in Hamburg. On
Dec. 24, 1903, he made his Amer. debut at
the M. O. H. as Klingsor in the first produc-
324
GORNO— GOSSEC
tion of Parsifal outside of Bayreuth. For
once, interest in the composer's work over-
shadowed all other considerations, so that
the performance of the individual artist
passed almost unnoticed. But as the season
progressed, and as G. appeared in one after
another of the great Wagner parts, the public
gradually realized that the newcomer was
one of the finest Wagnerian interpreters ever
heard at the M. O. H. The climax of his
triumphs came when he appeared as Beck-
messer; his representation of that charac-
ter has come to be regarded as an ideal, like
the Hans Sachs of the unforgettable Emil
Fischer. In all the performances "of Parsifal
at the M. O. H. (57) up to 1916 no other
artist has ever sung Klingsor, in which role
G. gives as finely wrought a presentation as
in Beckmesser. Nothing, in fact, affords
more conclusive proof of G.'s universality
than his masterly and complete identifi-
cation with these two diametrically opposite
characters. Since his first appearance at the
M. O. H. he has practically never been heard
elsewhere. His voice, of large volume and
sympathetic quality, ranges from F to a1,
while his histrionic powers rival those of the
foremost actors. He created in the Amcr.
Kremieres the rdles of Klingsor (Parsifal, 1903),
loriccio (Tiefland, 1908), Kezal (Bartered
Bride, 1909), Spielmann (Konigskinder, 1910),
Lampe ( Versiegell, 1912), Ochs von Lerchenau
(Rosenkavalier, 1913). He has no favorite
rdles. He . is 'Grossherzogl. Mecklenburgi-
scher Kammersanger,' and among numerous
decorations received the gold medal of Pres.
Taft of the U. S.
Gor'no, Albino, pianist and composer; b.
Casalmorano (Cremona), Italy; studied Milan
Cons., taking 3 gold medals at graduation.
Pianist and accomp. to Adelina Patti on her
Amcr. tour 1881-2. Then eng. as piano-prof,
at Cincinnati Coll. 6f Music; now (1916) fiead
of piano-dept. and dean of faculty. — Works:
2-act opera Cuore e Patria (Milan Cons.,
1881[?]); fantasia for pf., organ and orch.; La
festa dei Montanari, fant. for piano and orch. ;
Arabian Legend; cantata Garibaldi; Marina-
resca for pf. and orch.; scherzo for 2 pianos;
concert-studies for piano; nocturne for piano;
many songs.
Gtf'roldt, Johann Heinrich, b. Stem-
peda, n. Stolberg (Harz), Dec. 13, 1773; d.
after 1835 at Quedlinburg (?), where he was
mus. dir. from 1803. — Writings: Leilfaden
turn Unterricht im Generalbass und der Com-
position (1815-16, 2 vols.; 2d ed. 1828); Die
Kunst, nach Noten zu singen (2d ed. 1832);
Die Orgel . . . (1835); Ober Kirchenmusik
(1830); a Method for Horn (1830); he also
comp. pf .-music, chorales for men's voices w.
organ, and other church-music in MS.
Gorrio, Tobia. Pen-name of Arrigo Boito.
Gor'ter, Albert, b. Nuremberg, Nov. 23,
1862. Intended for a medical career, but em-
braced music as a profession; studied from
1878 at the R. Music School in Munich,
under Carl Barmann, Jr., and Bussmeyer (pf.),
and Rheinbergcr (org. and cpt.), taking 3
frizes for composition. Studied one year in
taly; took part in the Bayreuth Festivals as
asst.-cond.; was eng. as cond. in turn at
Ratisbon, Trier, Elberfeld, Breslau; then
for 3 mos. at Stuttgart as 2d Kapellm. to
Zumpe; from 1894-9 he was asst.- Kapellm. to
Mottl at the Karlsruhe Court Th., then suc-
ceeding Panzner as Kapellm. at the Leipzig
City Th. in 1899; in 1903 he went to Strass-
burg; since 1910 munic. cond. in Mayence. —
Works: Text and music of the opera Harold,
of the 3-act comic opera Der Schatz des Rhamp-
sinit (Mannheim, 1894), the 1-act comic
opera Das siisse Gift (Cologne, 1906), 1-act
opera Paria (Strassburg, 1908); 2 symphonic
poems, choral works, pf.-pieces, songs, bal-
lads, etc. (Der Schatz a. R., and '2 books of
songs, are published).
Gos8, Sir John, b. Fareham, Hants
Engl., Dec. 27, 1800; d. Brixton (London),
May 10, 1880. A son of Joseph Goss, the
org., he became a chorister of the Chapel
Royal, under J. S. Smith, in 1811; in 1821,
org. of Stockwell chapel; 1824, org. of St.
Luke's, Chelsea; 1838-72, org. at St. Paul's
Cath., succeeding Attwood. From 1856-72
he was comp. to the Chapel Royal as Kny-
vett's successor; was knighted in 1872; re-
ceived the degree of Mus. Doc., Cantab., in
1876. — Works: Church Service in A; Burial
Service in E m.; 4 Te Deums; many anthems,
and other church-music; 13 glees, and 2 mad-
rigals; 2 orch. overtures (in F and Eb); other
orch. music. — He also publ. Parochial Psalm-
ody (1827); Church Psalter and Hymn Book
(1862); The Organist's Companion (4 vols.;
collections of voluntaries) ; Coll. of Chants, An-
cient and Modern (1841, w. W. Mercer);
Introd. to Harm, and Thorough-bass (1833.
often reprinted). — Cf. 4M. T.', April and
June, 1901.
Gossec [Gou6], Francois-Joseph, b.
Verpiies, Belgium, Jan. 17, 1734; d. Passy, n.
Pans, Feb. 16, 1829. A chorister at Antwerp
cath. from 1741-49, he then studied the vln.
and comp. for 2 years, and went to Paris in
1751, with letters to Rameau, through whom
he became cond. of the private orch. of La
Popeliniere, then 'fermier-general.' In 1754
his first symphonies (the first of their kind in
France and 5 years before Haydn's) were
publ.; his first string-quartets followed in
1759. In 1762 G. became the cond. of Prince
Conti's orch. at Chantilly, a post which the
fame of his Requiem (1760) aided him to
325
GOTTHELF— GOTTSCHALK
obtain; he soon turned his attention to dra-
matic comp., beginning with a 1-act opera,
Le faux Lord (1765); his first real stage-
success was Les Picheurs, also in one act
(Comedic Italienne, 1766); at the same thea-
tre were produced Toinon et Toinette (1767),
and Le double deguisement (1767), and at
the Opera Sabinus (1773), Alexis et Daphne
(1775), Philemon et Baucis [ballet] (1775),
Hylas et Sylvie (1776), LafUe du village (1778),
Thesee (1782), Rosine (1786), Les visitandines
(with Trial), and La revise de Toulon (1796);
also Berthe (Brussels, 1775), Les sabots et le
cerisier (Th. des Jeunes Eleves, 1803), Le
Perigourdin and Nitocris (not perf.). These
works won him a high position among
French dramatic composers. In 1770 he
founded the Concerts des Amateurs; in 1773
he reorganized the Concerts Spirit uels, at first
directing them conjointly with Gavini£s and
Leduc ainc, then alone till 1777. From 1780-2
he was assistant-cond. at the Academie de
Musiquc (Gr. Opera). In 1784 he established
and became the manager of the fecole Royale
de Chant, the germ of the Conservatoire, at
the inauguration of which latter (1795) G. was
app. inspector (with Cherubini and Lesueur),
being likewise made a member of the new
Institut de France. From 1799-1804, and
1809-15, he was on the commission for ex-
amining the operas handed in at the Grand
Opera; in 1815 he retired to Passy. — <j.'s
chief claim to eminence lies in the dept. of
instrumental comp. ; his 26 orchestral sympho-
nies mark an epoch in French art and an
important enlargement of orchl. resources;
his string-quartets were received ^ with un-
bounded enthusiasm, and the Requiem above
mentioned contains new and striking effects.
Besides these must be noted a Symphonie con-
certante for 11 instrs.; overtures, serenades,
quartets for flute and strings, string-trios, and
violin-duets. He also wrote 3 oratorios (Saul,
La Nativitf, I'Arche d' Alliance), masses with
orch., 2 Te Deums, and motets; and the
choruses to Racine's Athalie and Rochefort's
Ulectre. — G., himself of humble origin, and an
enthusiastic republican, was one of the most
popular comps. of the revolutionary era, to
which his festival plays Offrande a la patrie
(1792) and Le camp de Grand-PrS, the
Chant du 14 JuUlet (on the storming of the
Bastille), and many hymns, marches, etc., be-
long.— Cf. Hedouin, G., sa vie et ses outrages
(Paris, 1852); fi. Gregoir, Notice sur G. (ib.,
1878) ; F. Hcllouin, G. et la musique francaise
a la fin du 18* stick (ib., 1903).— Sec Q.-Lex.
Gotthelf, Felix, b. Gladbach, n. Munich,
Oct. 3, 1857. While pursuing his medical
studies he seriously studied music, piano with
J. l^ange and J. Kwast, theory with G. Jensen
and O. Tiersch and singing with K. Scheidc-
mantel. After he had received the degree of
M. D. he took a course in comp. with F.
Draeseke from 1887-91; in 1892 he was for a
short time Repetitor at theStadtth. in Cologne
and cond. in Kolberg; in 1893 he settled in
Bonn, devoting his time to comp.; since 1898
he has been living in Vienna. — Works: Symph.
Fantasie, Friihlingsfest; a string-quartet in C;
Hymnus, for vln., vcl., harp and organ; Der
Zauber Spiegel, ballad for sop. and piano; a
mystery, Mahadeva (Stuttgart, 1909); also
has written Der Mythos in den Meistersingern
(in 'Bayreuther Bl.\ 1911).
Gotfschalg, Alexander Wllhelm, b.
Mechelrode, n. Weimar, Feb. 14, 1827; d.
Weimar, May 31, 1908. Pupil (1842) in
the Teachers' Seminary at Weimar, of Topfer
(org. and harm.) and Wettig (pf.); Liszt also
aided him. In 1847, teacher in Tiefurt; from
1870-81, he was Topfer' s successor in the
Seminary, also court org., and (1874) teacher
of music history in the 4Musik- und Orches-
terschule.' From 1865 he edited the 'Urania';
from 1885, the 'Chorgesang'; and from 1872
he was also critic for Dittes' 'Padagogischer
Jahresbcricht.' He publ. (with Liszt) a Re-
pertorium fur die Orgel (a coll. of the fiiu*st
modern organ- music); also a Kleines Hand-
lexikon der Tonkunst (1867).
Gottschalk, Louis Moreau, pianist; h.
New Orleans, La., May 8, 1829; d. Rio cb
Janeiro, Dec. 18, 1869. He studied in Paris
from 1841-6 under Hall6 and Stamaty (pf.)
and Maledcn (harm.), and began composing
at 16 (the Bananier was one of his first essays).
After his pianistic d6but in 1845, he made
brilliant tourneys through France, Switzer-
land, and (1852) Spain; his triumphs were
repeated in 1853 in the U. S. Beginning in
New Orleans, he traversed the length and
breadth of the land, playing his own pf-works,
and conducting his orchestral works at grand
festivals. Max Strakosch, later celebrated as
the impresario of Patti, now engaged him for
a comprehensive American tour, during which
he visited Cuba, California (1865), and nearly
every noteworthy town in Spanish America;
he died worn out by excessive exertion. — G.
was a great virtuoso of individual type, and
most admired in his performances of his own
works for pf.; no other player has so brought
out their peculiar charm and characteristic
'Spanish* warmth of color, and they have
lapsed into almost total neglect. — Works: 2
operas, Charles IX, and Isura de Salerno
(never performed); 2 symphonies, La Nuit des
tropiques, and Montevideo; Gran March a so-
lemne (to the Emp. of Brazil), Escenas cam-
pestres cubanas, and Gran Tarantella, all for
full orch.; some 90 piano-compositions; and
about 12 songs. — Compare Life and Letters of
L. M. G., by Octavia Hensel (Boston, 1870);
Gottschalk, by Fors (Havana, 1880); and Notes
326
GOTZ— GOUNOD
of a Pianist . . . , by R. E. Petersen (Phila-
delphia, 1881).
Gotz, Franz. See Goetz.
Gotz, Hermann. See Goetz.
Go* fze, Auguste, daughter of Franz; b.
Weimar, Feb. 24, 1840; d. Leipzig, April 29,
1908. Taught in the Dresden Cons, from
1870-75; then est. a singing-school in Dresden,
and in 1891 was eng. at the Leipzig Cons.
She was a much-sought vocal teacher (Frau
• Moran-Olden was one of her pupils) ; — publ.
Vber den Verfall der Gesangskunst (1884);
also some stage-poems under the pen-name
'Auguste Weimar/ — Cf. La Mara% Mus.
Studienkdpfe (vol. v, Leipzig, 1902).
Gtit'ze, Emil, brilliant dramatic tenor; b.
Leipzig, July 19, 1856; d. Charlottenbure,
Sept. 28, 1901. Pupil of Prof. Gustav Scharfe
at Dresden, where he was eng. 1878-81 at the
court theatre, then at the Cologne theatre,
afterwards singing as a star in the^ chief Ger-
man cities. Owing to an affection of the
throat he was obliged, in 1885, to retire for
some time; he then resumed his triumphant
career in Berlin, and was made 'Kgl. Kam-
mersanger' in 1894.
Gtit'ze, Franz, son of Karl; has brought
out a 3-act Volksoper, Utopia (Stettin, 1892),
and a 1-act opera, Die Rose von Thiessow
(Glogau, 1895).
Gtir/ze, Franz, b. Neustadt-on-Orla, May
10, 1814; d. Leipzig, April 2, 1888. A pupil of
Spohr (vln.) at Kassel, he joined the Weimar
court orch. in 1831; then studied singing, and
was leading opera-tenor at Weimar from
1836-52. From 1853-67, he taught singing
in the Leipzig Cons. ; he explained his resigna-
tion in a pamphlet, FUnfzehn Jahre meiner
Lehrthdtigkeit (1868). He remained in Leipzig
as a private singing-teacher.
Gdt'ze, Helnrich, teacher and composer;
b. Wartha, Silesia, April 7, 1836; d. Breslau,
Dec. 14, 1906. He was a vocal pupil of Franz
Gdtze at the Leipzig Cons.; losing his voice,
he taught music in Russia and Breslau; in
1871 became teacher in the Liebenthal Semi-
nary; in 1885 obtained a similar post at
Ziegenhals, Silesia, and in 1896 in Breslau;
he was made Royal Mus. Dir. in 1889. —
Works: 2 serenades and 6 sketches for string-
orch.; a 4-part mass w. orch.; pieces for organ
and piano; songs, choruses, etc. Wrote Popu-
tare Abhandlungen uber Klavierspiel (1879),
and Musikalische Schreibubungen (exercises in
musical dictation).
Gdt'ze, Johann Nikolaus Konrad, vio-
lin virtuoso; b. Weimar, Feb. 11, 1791; d.
there Feb. 5, 1861. He was taught the violin
by G. Spohr at Gotha, Aug. Mfiller at Wei-
mar, and (1813) Kreutzer at Paris. Settled in
Weimar; was mus. dir. to the Grand Duke
1826-48, and chorusmaster at the opera; also
gave concerts in Vienna, etc. He prod. 4
operas at Weimar, also vaudevilles and
melodramas; wrote much chamber-music, etc.
Gdt'ze, Karl, composer; b. Weimar, 1836;
d. Magdebure, Jan. 14, 1887. A pupil of T6p-
fer and Gebnardi, later of Liszt; in 1855,
chorusmaster at the Weimar opera; then
theatre-cond. at Magdeburg, Berlin (1869),
Breslau (1872), and Chemnitz (1875).—
Works: The operas Eine Abschiedsrolle; Die
Korsen (Weimar, 1866); Gustav Wasa, der
Held des Nor dens (W., 1868); Judith (Mag-
deburg, 1887); a symph. poem Eine Sommer-
nacht (pp. 20) ; other orchestral music; piano-
pieces, songs, etc.
Got/ze, Otto, in 1896 Kapellm. at Essen-
on-Ruhr; has prod, a successful opera,
Riscatto (Sondershausen, 1896).
Goudimel [goo-de-mel'], Claude, renown-
ed church-composer, b. Besancon, France, c.
1505; killed at Lyons, in the St. Bartholomew
massacre, Aug. 24, 1572. Said to have been a
pupil of J. Despres. In 1555 G. was in Paris
as a partner of the music-printer N. Duche-
min; their partnership was dissolved in 1556.
From 1557-67 (?) he lived in Metz; after 1568
he was a short time in Besancon, and then
in Lyons. Brenet conclusively proves that G.
was not the founder of the great Roman
school; it seems that he not even visited
Italy, and it is a fact that none of his numer-
ous works was publ. there. — Cf. M. Brenet,
C. £., Essai bio-bibliographique (Besancon,
1898). See also Q.-Lex.
Gould, Nathaniel Duren, b. Chelmsford,
Mass., March 26, 1781; d. Boston, May 28,
1864. Pupil of Reuben Emerson. Conductor
of sinking-schools in N. H. and Mass.; 6f
the Middlesex Mus. Society (18Q7); went to
Boston in 1819. Besides editing several
colls, of hymn-tunes, he publ. a History of
Church- Music in America (1853), a work of
but slight value.
Gounod, Charles-Francois, one of the
most eminent of French sacred and dramatic
composers; b. Paris, June 17, 1818; d. there
Oct. 17, 1893. His father, Jean-Francois
Gounod, painter and engraver of talent,
winner of the Paris Fine Arts Academy's 2d
Prix de Rome (1783), died when the boy was
in his fifth year. His mother, a most ac-
complished woman, first contributed to his
literary, artistic and musical education, and
early sent him, an already proficient pianist,
to the Lycee Saint-Louis. In 1836 he entered
the Paris Conservatory, studied harmony with
Reicha, cpt. and fugue with Halevy, and
comp. with Lesueur and Paer. He won the
2d Prix de Rome with his cantata Marie
Stuart and Rizzio in 1837, and in 1839, his
cantata Fernand won the Grand prix de Rome
327
GOUNOD— GOUVY
by 25 votes out of 27. In Rome he studied
ecclesiastical music, particularly the works of
Palestrina, and in 1841 a grand orchestral
Mass a 3 was performed at the ch. of San
Luigi dci Francesi. In 1842, during a visit to
Vienna, he conducted a Requiem of his own,
in the church of St. Charles, which produced
a profound impression. Returning to Paris,
he became precentor and organist of the
'Missions fitrangeres'; had serious intentions
of taking holy orders, and was even called
TAbbe' Gounod; a publisher, in 1846, bring-
ing out a series of religious choruses, entitled
Offices of the Holy Week, by 'Abb* Charles
Gounod.' For five years he remained in
seclusion, almost forgotten, when the per-
formance of parts of his Messe solennelU at
one of Hullah's London Concerts evoked
such high praise in the English and French
press that G. shortly after prod, a symphony
in Eb, and was commissioned to write a work
for the Grand Opera. Sapho, a 3-act opera,
was perf. April 16, 1851 ; but, despite excellent
musical numbers, was not a theatrical success.
Revised and reproduced in 1884, it was equal-
ly unsuccessful. Choruses to Ponsard's
tragedy Ulvsse (1852), La Nonne sanglante,
5-act grand opera (1854), Le Medecin malirh
luit comedy-opera (1858), also failed to realize
expectations. From 1852-60, he was con-
ductor of the 'Orpheon,' the united male
singing-societies and vocal schools of Paris,
and for them composed several choruses, and
2 masses a 4. G.'s success came with Faust in
1859, which procured him European fame,
and remains his masterpiece. Philemon et
Baucis (1860), La Reine de Saba (1862),
MireiUe (1864), La Colombe (1866), were of
ordinary interest. The success of Faust
was revived with Romko et Juliette (1867),
considered in France superior to Faust. In
1870, during the Franco-German war, G.
removed to London. He there founded
Gounod's Choir, a mixed choral society, and
gave large concerts at the Philharmonic and
Crystal Palace, where, in 1871, at the opening
of the exhibition, he produced Gallia, an
elegiac cantata to words from the Lamenta-
tions of Jeremiah. The entr'actes to Legouve's
Les deux Reines (1872), and to Barbier's
Jeanne d'Arc (1873), were well received. In
1875 he returned to Paris, and, in 1877,
Cinq Mars was produced at the Ope>a-Com.,
and in 1878, Polyeucte at the Opera; but these
and his last dramatic work, Le tribut de
Zamora (1881), were inferior to his previous
triumphs. The last years of his life were
mainly devoted to sacred composition. La
Redemption (Birmingham, 1882), a sacred tri-
logy of which he wrote the music and French
words, and Mors et Vita (Birmingham, 1885),
another sacred trilogy, the Latin text of
which he arranged from the Catholic liturgy,
have become standard works. G.'s comps.
are of a highly poetic order, more spiritualistic
than realistic; in his finest lyrico-dramatic
moments he is akin to Weber, and his modu-
lation even reminds of Wagner; his instru-
mentation and orchestration are frequently
original and masterly. To the works men-
tioned must be added: Messe solennelle a
Ste.-CScile, and the mass Angeli custodes
(1882), Messe & Jeanne d'Arc (1887), a fourth
Mass (1888), a Stabat Mater w. orch., the
oratorio Tobie, Les Sept Paroles de Jesus,
Jhus sur le lac de TtbSriade, a Te Deum,
Pater Noster, Ave Verum, and O Salutaris; the
cantatas A la Frontiere (1870, Gr. OpeVa), Le
vin des Gaulois et la danse de I'Spec, and much
instrumental and vocal music, French and
English songs, etc. Especially famous is his
MSditation {Ave Maria) on the first prelude
of Bach's 'Well-tempered Clavichord.' Among
his posthumous works should be mentioned
2 operas, Mattre Pierre (incomplete) and
George Dandin (said to be the first comedy-
opera set to a prose text); an Ave Maria for
his daughter's birthday; a solemn mass for
the inaug. of the new organs at St. Peter's,
Rome; a Requiem in D m. (MS. in St. Charles'
Ch., Vienna). He also wrote a MHhode de cor
a pistons, contributed 'feuilletons' of musical
philosophy and criticism to various Paris
journals; publ. Berlioz' Lettres intimes (1882),
and a book, Le Don Juan de Mozart (1890).
In 1866, on the death of Clapisson, G. was
elected member of the Institut de France.
He was also a commander of the Legion of
Honor.
Bibliography. Autobiographic de Charles
Gounod (Paris, 1875, goes only to 1859; Engl,
translation by G. Weldon, London, 1875); Afc-
moires <Tun artiste (Paris, 1896; publ. simul-
taneously in a Ger. transl. by F. Braner
[Breslau] and an Engl, transl. by W. H.
Hutchinson [London]); both the autobiogr.
and mem. publ. in one vol. by H. Imbert
(Brussels, 1897); M. A. Bovet, Ch. G. His
Life and His Works (London, 1890); L.
Pagnerre, Ch. G., sa vie et ses csuvres (ib.,
18%) ; P. Voss, Ch. G. Ein Lebensbild (Leipzig,
1895); Th. Dubois, Ch. G. (Paris, 1895); H.
Tolhurst, G. (London, 1903); P.-L. Hille-
macher, Ch. G. (Paris, 1905; new ed. 1914);
C. Bellaigue, Ch. G. (ib., 1910); J. G. Prod'-
homme and A. Dandelot, G.: Sa vie et ses
ceuvres (2 vols., Paris, 1911; the standard
biogr.); A. Soubics and H. de Curzon, Docu-
ments inedits sur le Faust de G. (Paris, 1912).
Gouvy [goo've], Louis-Theodore, b. Gof-
fontaine, n. Saarbriicken, Rhenish Prussia,
July 2, 1819; d. Leipzig, April 21, 1898. Pia-
nist and composer; 1840, law-student in Paris;
turned to music, studied 3 years with Elwart,
also in Berlin (1843) and Rome, returning
1846 to Paris, and giving his first and very
328
GOW— GRADENER
successful concert of his own works in 1847.
His works are often performed both in Ger-
many and in Paris, where he lived till 1895 as
a private teacher and composer; thereafter in
Oberhomburg. In Germany, especially, his
dramatic scenes for soli, chorus and orch. had
great vogue. He was made a member of the
Berlin Academy in 1895, and Chev. of the
Legion of Honor in 1896. — Works: Missa
brcvis for soli, ch. and orch., op. 72; Requiem
for do., op. 70; a sacred cantata, Golgotha; a
Stabat Mater; the dram, cantatas Oedipus
ouf Kolonus (op. 75), IphigSnie en Tauride
(op. 76), and Elektra (op. 85), for soli, ch. and
orch.; FrUhlings Erwachen for sopr. solo, male
ch. and orch. (op. 73), and Poiyxena for do.;
Asltga, lyrico-dram. scene; an opera, Der Cid
(not perf., though accepted 1863 at Dresden);
7 symphonies (the last is op. 87, in G m.);
2 concert-overtures (op. 14 and 15) ; an octet
for wind ; a nonet for do. ; a sextet for flute and
strings; a piano-quintet (op. 24); a string-
quintet; 5 string-quartets; 5 pf. -trios; a
serenade for 5 stringed instrs.; pieces for 'cello
and piano, and for vln. and piano; pf. -sonatas
for 2 and 4 hands; Phantasie for 2 pianos (op.
69); serenades, characteristic pieces, and
studies, for piano; vocal duets, odes, and
many songs. — His compositions are graceful
and melodious. — Cf. O. Klauwell, Th. G.
Sein Leben und seine Werke (Berlin, 1902).
Gow, George Coleman, b. Ayer Junction,
Mass., Nov. 27, 1860. Studied music under
B. C. Blodgett of Pittsfield, and E. B. Story
of Worcester; graduate (A.B.) of Brown
Univ., 1884, and of Newton Theol. Seminary,
1889, when he became instructor of harm, and
pf. at Smith College, Northampton, Mass.
During leave of absence (1892-3), G. spent a
year in Berlin studying mainly w. L. B ussier.
In 1895 he was app. Prof, of music at Vassar
College, Poughkeepsie, N. Y., which position
he still holds (1916).— Published 1st book of
songs, 1884; since then several sets of songs
and duets, and several part-songs, etc.; also
an excellent text-book on notation and har-
mony, The Structure of Music (New York,
1895); contributed the articles on Harmony
and Theory to the 'American History and
Encyclopaedia of Music* (1910).
Gow, Nlel, violinist and comp.; b. Inver,
Dunkeld, Scotland, March 22, 1727; d. there
March 1, 1807. His teacher, John Cameron,
was a retainer in the Grandtully family. A
favorite player at the balls, etc., in Scottish
towns, he excelled in the execution of native
music— Works: Six collections of Strathspey
Reels (1784, '88, '92, '99, 1808, '22).— His son
Nathaniel (1763-1831), also a violinist and
comp., was for a time (from 1791) leader of
the Edinburgh Concerts; he had a music-
business in Edinburgh. Best known as the
composer of the song Caller Herrin\ — Niel
G., Jr. (1795-1823), son of Nathaniel, was a
talented violinist and composer (Bonnie
Prince Charlie, Flora McDonalds Lament, etc.).
Graan, Jean de, gifted violinist, a pupil
of Joachim; b. Amsterdam, Sept. 9, 1852; d.
The Hague, Jan. 8, 1874. Monograph by
Kneppelhout: Een beroemde Knaap.
Gra'ben-Hoff'mann, Gustav (properly
Gustav Hoffmann), b. Buin, n. Posen,
March 7, 1820; d. Potsdam, May 21, 1900. By
profession a teacher, his love for music
caused him to embrace the latter profession;
studied for the opera (1843) in Berlin, but
had better ^ fortune with song-composing;
after teaching in Potsdam, studying in
Leipzig under Hauptmann, and living in
Dresden (1858) and Schwerin (1868), he
settled (1869) in Berlin as a singing-teacher.
—Works: Many songs (500,000 Teufel had
great vogue) ; part-songs, duets, solfeggi, pf .-
music; also Die Pflege der Singstimme (1865);
Das Studium des Gesangs (1872); Praktische
Methode als Grundlage fur den Kunstgesang
(1874).
Gra'dener, Hermann (Theodor Otto),
son of Karl G. P.; b. Kiel, May 8, 1844. Pupil
of his father, and of the Vienna Cons.; in
1862, org. at Gumpendorf n. Vienna; 1864,
violinist in Vienna court orch.; 1873, har-
mony-teacher in Horak's Pf. School; ditto
for some years in Vienna Cons.; and from'
1899 Bruckner's successor as 'lector' for har-
mony and counterpoint at the Vienna Univ.
He aho conducts the Vienna 'Singakademie'
and 'Orchesterverein fur Klassiscne Musik.'
— Works: Capriccietto for orch. (op. 4);
Sinfonietta for orch. (op. 14); LustspieL
Ouverture (op. 28); a vln.-conerto in D; a
'cello-concerto in E m. (op. 45); a piano-
concerto in D m.; vars. for organ, strings and
trumpet; string-octet (op. 12); string-quintet
(op. 23) ; piano-quintet (op. 6) ; piano-trio in
D m. (op. 1); string-quartets (op. 33t 39);
5 Impromptus for pf. and strings (op. 11);
5 Intermezzi for vln. and piano (op. 9);
Sonata for 2 pianos (op. 18); other piano-
music, songs, etc.
Gra'dener, Karl Georg Peter, b. Ros-
tock, Jan. 14, 1812; d. Hamburg, June 10,
1883. Gave up study in Gottingen for music
(his 'cello-teacher was Mattstadft); was for 3
years solo 'cellist and quartet-player in
Helsingfors; for 10 years mus. dir. at Kiel
Univ., and cond. of a choral society; during
this period he wrote numerous fine choral
works (oratorio Johannes der Tdufer). He
founded and directed (1851-61) a singing-
academy at Hamburg, and cond. numerous
concerts, at several of which his own works
filled the programs; taught singing and theory
at Vienna Cons. (1862-5), and thereafter at
329
GRAEW— GRAMMANN
the Hamburg Cons.; elected President of the
Hamburg Tonkunstler-Verein.' He was a fine
and original harmonist, and a master of form.
— Works: 2 symphonies; overture to Fiesco;
1 pf. -concerto; a Romanza for vln. and orch.;
1 string-octet; 5 piano-quintets; 3 string-
quartets; 1 string- trio; 2 piano-trios; 3 vln.-
sonatas; 1 'cello-sonata w. piano (op. 59;
one of his best works); a sonata for pi. and
vln. (D m.); and for piano, Phantastische
Studien, Fliegende Blatter, BldUchen, Tr&ume-
reien, etc. Also a Harmonielehre (1877), and
musical essays in periodicals, coll. as Gesam-
melte Aufsatze (Hamburg, 1872).— In MS. 2
operas: Konig Harold and Der MuUerin
Hochzeit.
Graew. See Bacfakt.
GrafH'gna, Achille, b. San Martino Dal-
I'Argine, Italy, May 5, 1816; d. Padua, July
19, 1896. Pupil of Milan Cons.; at 18, con-
ductor in theatre at Cagliari, and successively
in various other Italian theatres, also (1845)
opera-director in Odessa, and (1872) manager
and conductor of an opera-troupe in Paris.
Finally, singing-teacher in Padua. Of his
18 operas none achieved real success, but he
attracted considerable attention through his
presumption in setting to music the text-
books of // Barbiere di Siviglia (Padua, 1879)
and // Matrimonii* segreto (Florence, 1883),
after Rossini and Cimarosa.
Gra'finger. See Grefinger.
Grainger, Percy Aldridge, b. Brighton,
Melbourne, Australia, July 8, 1882. He
received his first instruction from his mother,
a fine musician, and at the aee of 10 appeared
in public as a pianist; also had lessons from
Louis Pabst and from 1894-1900 was a
Cupil of J. Kwast (pf.) in Frankfort; a little
iter he studied a short time with Busoni.
His career as a pianist began in London
(1900), where he created almost a sensation;
he then toured Great Britain, New Zealand,
Australia and South Africa, meeting every-
where with most enthusiastic receptions.
Returning to London in 1906 he met Grieg,
who was so impressed with the young artist s
playing that he invited him to his villa,
Troldhaugen. Here they spent the summer
of 1907 preparing for tne Leeds Festival in
the fall, when Grainger was to have played
Grieg's pf.-concerto with the master him-
self as conductor. Death, however, frustrated
the plan, for on Sept. 4 Grieg passed away.
Nevertheless, Grainger did play the concerto,
and gave such a masterly interpretation that
ever since he has been identified in a special
manner with that work. After having played
with phenomenal success throughout Europe,
he made his Amer. d6but in New York on
Feb. 11, 1915, in recital, electrifying his
audience; the performance of the Grieg con-
certo with the N. Y. Philh. Soc. (March 13)
brought him an ovation. As a pianist G. has
securely established himself among masters of
the first rank.' His development as a com-
poser is probably unique. He is self-taught;
but instead of studying the great masters,
he turned his attention to the folk-music of
the numerous countries he has visited. G.
himself says: 'I regard the study of native
music and close association with folk-singers
(peasants, sailors, etc.) as the most fruitful
influence in my creative career.' Examina-
tion of his publ. works proves that this self-
estimate is correct; it is the quality peculiar to
folk-music that assured the instant and
astonishing success of G.'s compositions.
His first appearance as a composer was at
one of Balfour Gardiner's concerts in London,
in 1912, when he conducted his Mock Morris
for string-orch.; statistics for 1915 show that
the works of G. were more frequently per-
formed than those of any other British
composer. G. is not only an earnest student of
folk-music, but also an ardent collector,
having taken more than 500 phonographic
records (European, African,. Australian and
American). In 1899 he began to experiment
with beatless music, which he defines as
'music in which no standard duration of
beat occurs, but in which all rhythms are
free, without beat-cohesion between the various
polyphonic parts.' He has not yet publ. any
of nis numerous works in this style. — Publ.
works: For orch.: Mock Morris, Molly on
the Shore, English Dance, Colonial Song,
Shepherd* s Hey, Green Bushes (Passacagtia);
In a Nutshell, suite for piano and orch.;
choruses w. orch. Father and Daughter, Sir
Eglamore, Irish Tune from County Derry,
Morning Song in the Jungle, Tiger-Tiger t,
The Innuit, We Have Fed our Seas, Fm Seventeen
come Sunday, Marching Tune, etc. All these
are also issued in various arrangements. Lar-
ger works are The Warriors, for piano and
orch. (music to an imaginary ballet), and
Marching Song of Democracy, for ch. and
orch. (Worcester ^est., 1916) .-—Cf. C. Scott,
P. G., the Music and the Man, in 'Mus.
Quart.' (July, 1916).
Gram'mann, Karl, dramatic corap.; b.
Liibeck, June 3, 1844; d. Dresden, Jan. 30,
1897. From 1867-71 pupil of Leipzig Cons.;
lived in Vienna as a comp. until 1885, and
after that at Dresden. 2 operas, Die Schatt-
grdber and Die Eisjungfrau, were written
while he was a youth studying in the gym-
nasium; his other works are the operas
Melusine, op. 24 (Wiesbaden, 1875); Thus-
nelda und der Triumphzug des Germanicus, op.
29 (Dresden, 1881); Das Andreasfest, op. 35
(Dresden, 1882); the 2-act opera Ingrid, op.
57, and the 1-act opera Das Irrlicht, op. 58
(both prod, on the same evening at Dresden,
330
GRANADOS-ORANT-SCHAEFER
1894); Auf neutralem Boden (posth., Ham-
burg, 1901); a TrauercanUUe for soli, ch. and
orch.; Die Hexe, op. 17, dram, scene for alto,
ch. and orch.; 2 symphonies; string-quartets
and trios, vln.-sonatas,pf. -music, songs, etc.
— Cf. F. PfohL K. G. Ein KUnsUerleben
(Berlin, 1910).
Grana'dos y Campi'na, Enrique, b.
Lerida, Catalonia, July 27, 1867; d. at sea,
March 24, 1916 (victim of the Sussex disaster
in the Engl. Channel). He studied pf. at the
Barcelona Cons, with B. Pujol, and comp. at
the Madrid Cons, with F. Pedrell (1884-7);
then he was for one year a pupil of Ch. de
Beriot (pf.) at the Paris Cons. He first
attracted attention with a zarzuela, Maria
del Carmen (Madrid, 1898), which soon made
the rounds of the principal theatres of Spain;
fragments of an opera, Folleto, were success-
fully prod, at Barcelona in 1903. In 1899 he
wrote an opera, Goytscas (inspired by scenes
from Goya's paintinp); being dissatisfied
with the work, he selected certain portions
and arranged these as a suite for pf.; later F.
Periquet wrote a new text, and G. used the
music of the suite in the new opera. The
premiere of Goytscas took place, in the
presence of the composer, at the M. O. H. on
Tan. 28, 1916; it was fairly successful, and
has the distinction of being the first Spanish
opera sung in Spanish in the U. S. — G.'s
other works are an early opera, Mid de la
Alcarria (1893); the symph. poems La Nil
del Mori and Dante; incidental music to
Mestres' fairy-play Liliano; a piano- trio; a
string-quartet; piano-pieces (Dansas espaHo-
las, Cantos de la Juventud, Valses poeticos,
Marche militaire, A la Cubana [the fast two
also arr. for orch.], etc.); songs (especially
those on texts by Apeles Mestres). G.'s
music is essentially impressionistic, with an
admixture of specific Spanish rhythms and
excess of rather meaningless ornamentation.
—2-page sketch in 'M. T.\ Dec., 1916.
Grandno [-che'-l, Paolo, a violin-maker,
who worked at Milan from 1665-90; the
instruments of his son Giovanni Battista
(1696-1715) are more highly esteemed,
especially the 'celli.
Gran'di, Aleuandro de9, b. Venice(?);
d. Bergamo, 1630. Church-comp. of the
Venetian school, pupil of G. Gabrieli. In
1597, m. di capp. at the Accad. della Morte in
Ferrara; in 1617, singer at San Marco, Venice;
in 1620 succeeded Negri as vice- maestro there
and in 1627 became m. di c. at Santa Maria
Maggiore, Bergamo, where he died of the
plague. — Works: Madrigali concertati; Lita-
nies, Vesper psalms, Masses, Motets, etc. —
See Q.-Lex.
Grandjean (grahn-zhahnl, Axel Karl
William, b. Copenhagen, Mar. 9, 1847.
Pupil of the Cons, there; began as an operatic
singer (1869), but gave up the stage at the
end of the first year, and devoted himself to
teaching and comp.; was for many years
chorusmaster at the R. Opera and cond. of
several choral societies. — Works: The operas
De to Armringe (Copenhagen, 1876), Colomba
(ib., 1882), / Mollen (ib., 1885), Oluf (ib.,
1894); .Traegfuglen, for soli, ch. and orch.;
piano-pieces; songs. On the occasion of the
Holberg bicentenary he edited a collection of
incid. music written to H.'s dramas (1884).
Grandval, Mme. Marie-Fellde-Cleinen-
ce de Reiset, Vicomtesse de, noted composer;
b. Saint- Remy-des-Monts (Sarthe), France,
Jan. 21, 1830; d. Paris, Jan. 15, 1907. At first
a pupil of Flotow, later of Saint-Saens, in
composition. Her debut as a composer was
with a Mass and a Stabat Mater (perf. in
various churches); under various pen-names
(Valgrand, Tesier, Blangy, Jesper, etc.) she
produced the operas Le Sou de Lise (Paris,
I860), Les FiancSs de Rosa (ib., 1863), La
comtesse Eva (ib., 1864), La PSnitente (ib.,
1868), Piccolino (ib., 1869), Atala (ib., 1888),
Mazeppa (Bordeaux, 1892); also wrote a
dramatic poem, La ForU (1875); an oratorio,
'drame sacre', St. Agnes (1876); a dram, scene
LafiUe de Jaire (won Prix Rossini, 1879); do.,
Jeanne d'Arc; Esquisses sympkoniques; songs.
Graner, Paul, b. Berlin, Jan. 11, 1873.
Having filled various positions as operatic
cond. in Bremerhaven, Konigsberg, Berlin,
and London (Hay market Th., 1896), he
taught at the R. A. M. from 1897-1902; then
at the 'Neues Konservatorium* in Vienna
until 1909; dir. of the 'Mozarteum' in Salz-
burg, 1910-13. — Works: The operas Das
Narrengericht (Vienna, 1913) and Don Juan's
letstes Abenteuer (Leipzig, 1914); a symphony
in D m.; a sinfonietta; piano-pieces; songs and
choruses. In his 'Kammermusikdichtungen'
he attempts to carry out a definite program in
the established forms of chamber-music (a
piano-trio after Raabe's Der Hunger pastor; a
piano-quintet, Sehnsucht an das Meer).
Granjon, Robert, celebrated music-
printer and typefounder at Paris (1523), Lyons
(1559), and Rome (1582), is particularly note-
worthy for having engraved round note-heads
(instead of the lozenge-shaped ones then in
vogue), and for discarding the ligatures, etc.
Grant-Schaefer, George Alfred, b. Wil-
liamstown, Ontario, July 4, 1872. Pupil
of D. Ducharme (pf.) and G. Couture (voice)
in Montreal, of V. Garwood (pf.) and A.
Weidig (theory) in Chicago, and of C. A.
Harriss (org.) in London; org. and ch.m. at
Centenary Ch., Chicago, 1896-1908; since
then head of vocal dept. at Northwestern
Univ. School of Mus., Evanstown, 111.; comp.
of meritorious songs and piano-pieces of mod-
331
GRAPHAUS-GRAUN
erate difficulty. His Thirty-six Songs for
Children are deservedly popular.
Graphaus, Hieronymus, celebrated mu-
sic-printer and typefounder in Nuremberg
(from 1533), where he died May 7, 1556. He
exchanged his patronymic Resch for Form-
Schneider (Type-cutter), later assuming the
Greek form of the latter appellation.
Grasse, Edwin, b. New York, Aug. 13,
1884. Although he became blind in infancy,
he began to study the violin with Carl
Hauser; went to Cesar Thomson in Brussels,
in 1898; ent. the Cons, the following year,
and won 1st prize in 1900; awarded 'Prix de
Capacite' in 1901; debut in Berlin, playing
the Sinding concerto with the Philh. Orch.;
Amer. debut, New York, Nov. 12, 1903, with
Brahms concerto; since then has made sev-
eral tours of Europe and America, meeting
with considerable success. — Works: Sym-
phony in G m.; Suite for orch. in C; Concerto
tor vln. and orch. in G; 2 string-trios; 4
sonatas for vln. and piano; 1 'cello-sonata;
numerous smaller pieces for vln. and piano.
Gratia'nl. See Graziani, Bonifacio.
Grau, Maurice, operatic impresario; b.
Briinn, Moravia, 1849; d. Paris, March 14,
1907. At the age of 5 he came to the U. S.,
where he was educated at the public schools
and Columbia Law Sch. In 1872 he associated
himself with C. A. Chizzola and managed
the Amer. tours of Rubinstein, Wieniawski
and Aimee; the next year he organized the
Kellogg Opera Co., and later brought over
Salvini, Ristori, Offenbach, Sarah Bernhardt,
etc.; in 1882 the partnership of Abbey,
Schoeffel & Grau was formed; the disastrous
.failure of the opening season (1883-4) of the
M. O. H. then led them to retire from the
operatic business for some years; in 1891
they again leased the M. O. H., and gave
regular seasons of opera with better success
until 1897, when G. became the sole director;
he retired in 1903, owing to ill health. TJie
secret of his success was an extraordinary
ability to feel the pulse of the public; with
him opera was frankly a business; he knew
the public wanted great stars, and he gave
them Nordica, Melba, Eames, Calve, the
de Reszkes, Plancpn and others; all other
factors received scant attention; the repertory
was determined and limited by the favorite
roles of the stars; although personally G. had
no sympathy for Wagner's art, he immedi-
ately included the master's works, as soon as
Mr. Damrosch had shown that there was a
decided demand for them; and it was the
immense popularity of Wagner that con-
tributed chiefly toward the financial success
of G.'s last seasons.
Grau'mann, Mathllde. See Marchesi.
Graun, Johann Gottlieb, violin-vir-
tuoso, brother of Karl H.; b. Wahrenbriick,
1698; d. Berlin, Oct. 27, 1771. Studied with
his brother in the Kreuzschule, Dresden, also
the violin under Ptsendel, and later under
Tartini at Padua. In 1728 he was leader in
Crown Prince Frederick's orch. at Rheins-
berg; from 1740, leader in the royal orch. at
Berlin. — Works: 40 symphonies, 20 violin-
concertos, 24 string-quartets, string-trios, etc.
Graun, Karl Heinrich, b. Wahrenbriick,
Prussian Saxony, May 7, 1701; d. Berlin,
Aug. 8, 1759. . Pupil at the Kreuzschule,
Dresden (1713-20), of Grundig (voice) and
Chr. Petzold (org. and pf.), and sang in the
'Rathskapelle' as a soprano; while his voice was
changing, he studied comp. under J. Chr.
Schmidt, and frequently attended opera-per-
formances (then directed by Lotti). In 1725
he was eng. as operatic tenor at Brunswick;
but within a year his first venture as a dra-
matic comp. (Pollidoro, 1726) won him suc-
cess; he was a pp. vice-Kapellm., and comp.
5 more operas for Brunswick. The Crown
Prince Frederick ('the Great') induced G. in
1735 to come to Rheinsberg, where he set
to music many cantatas written (in French
verse) by his gifted patron. On Frederick's
succession, Graun was commissioned to es-
tablish Ital. opera in Berlin, of which he was
made Kapellm. For this company he com-
posed 28 operas, among which Rodelinda
(1741), Artaserse (1743), Calone in Utica
(1744), Alessandro neW Indie (1745), Adriano
in Siria and DemofoorUe (1746), MUriiaie
(1751), Semiramide (1754), Ezio (1755),
and Merope (1756), were some of the most
successful; for years, Hasse was the only
rival comp. whose operas had a hearing in
Berlin. As a church-comp., Graun is still
better known to-day; his Passion Oratorio,
Der Tod Jesu (1755), is still, by virtue of a
bequest, perf. yearly at Berlin; a Te Deum
(1756), commemorating the battle of Prague,
is equally fine. Other works: 2 passion can-
tatas; about 25 other church-cantatas with
orch.; and 20 Latin motets a 4 voci a cappella;
funeral music for Duke Aug. Wilh. of Bruns-
wick (1738) and for King Fr. Wilh. I of
Prussia (1740); church-melodies for every
day in the year (2 sets). His instrumental
music (12 concertos for harpsichord with
strings; flute-concertos; a concerto for flute,
vln., gamba and 'cello; trios, organ-fugues,
etc.) is of less value, and unpublished. — Cf. A.
Meyer- Rcinach, K. II. G. als Opcrnkomponist,
in 'Smb. Int. M.-G.', i; K. Mcnnicke, Zur Bio-
graphie der Briider Graun, in 4N. Ztschr. fiir M.'
(1904, No. 8); id. Hasse u. die Briider Graun
als Symphoniker (Leipzig, 1906; with biogr.
and complete thematic catalogues). — See also
Q.-Lex.
332
GRAUPNER— GREENE
Graup'ner, Christoph, f>. Hartmanns-
dorf, n. Kirchberg, Saxony (bapt. Feb. 22),
1687; d. Darmstadt, May 10, 1760. Pupil of
Kuhnau at the Thomasschule, Leipzig; in
1706, accompanist, at Hamburg, to the opera
under Reiser; 1710, vice-Kapellm., and in
1711 KapeUm., at Darmstadt. A diligent
comp., even engraving some of his own music;
he was blind for 10 years before his death. —
Works: 6 operas prod, in Hamburg: Dido
(1707); Die lustige HochzeU (1708), with
Reiser; Hercules und Theseus (1708); Antio-
chus und Stratonice (1709), BeUerophon
(1709), Simson (1709); 3 for Darmstadt:
Berenice und Lucio (1710), Telemach (1711),
and Bestdndigkeit besiegt Betrug (1719). For
harpsichord: Acht Parthieen fur Clavier
(1718), MonaUiche Clavierfruchte (1722), Acht
Parthieen fur das Clavier (1726), Die vier
Jahreszeiten (1733); also a Hessen-Darmstdd-
tisches Choralbuch. An immense number of
MS. comps. are in the Library at Darmstadt.
— Cf. W. Nagel, Chr. G. als Symphoniker,
No. 49 of 'Musikalisches Magazin' (Langen-
salza, 1912).— See Q.-Lex.
Graziani (or Gratianl) [grah-ts'yah'ne],
Bonifacio, b. Marino, Papal States, c.
1606; d. Rome, June 15, 1664, where he was
maestro in the Seminario Romano and in the
Jesuit ch. — Publ. works (posth.): 7 vols, of
Motets a 2-6; 6 vols. do. a 1 ; 1 vol. of Psalms
a 5, w. organ; 1 vol. of Salmi concertati; 2
vols, of Masses a 4-6; Litanies a 3-8; Vespers;
Musiche sacre e morali con basso d'organo — all
works of real value.
Grazia'ni, Francesco, brother of Ludo-
vico; b. Fermo, April 16, 1829. Baritone
stage-singer, successful in Italy, Paris (1854,
and 1856-61 at the Theatre Italien), New
York (1855), London,and Petrograd (1861-4).
Grazia'ni, Ludovico, dramatic tenor, b.
Fermo, Italy, in Aug., 1823; d. there in May,
1885. He sang in the chief Ital. cities, also
in Paris (1858), London, Barcelona, and
Vienna (1860), meeting with great success.
For him Verdi wrote the part of Alfredo
(Traviata).
Grazzini [grah-tse'ne], Reginaldo, b.
Florence, Oct. 15, 1848; d. Venice, Oct., 1906.
Studied at the R. Cons, in Ftorence under T.
Mabel lini. After serving as an opera-cond. in
that city, he was app. Director of the Civic
School of Music at Reggio d' Emilia, and
thcatre-cond. in 1881; the following year he
became prof, of mus.. theory, and artistic
director, in the Liceo Benedetto Marcello,
Venice. Talented comp. — Works: A sacred
cantata (1875); a mass a 3, w. orch.; sympho-
nies; a Marcia solenne (1887); pf. -music; and
(in MS.) an opera.
Great'orex, Thomas, b. North Wingfield,
Derby, Engl., Oct. 5, 1758; d. Hampton, n.
London, July 18, 1831. Pupil of Dr. B. Cooke
(1772); chorister at Concert of Antient Music
(1778); or^. of Carlisle cath. (1780-4); after
travelling in Holland and Italy, he taught in
London (1789-93), when he became cond. of
the C. of A. M. He revived the Vocal Con-
certs (1801), and from 1819 was org. of
Westminister Abbey.— Works: 12 glees (1832);
Psalms; chants; A Selection of Tunes . . .
(London, 1829); Parochial Psalmody (n.d.).
Gre'co (or Grec'co), Gaetano, b. Naples,
c. 1680; d. (?). Pupil of Aless. Scarlatti, at
the Cons, de' Poveri di Gesu Cristo, and suc-
ceeded him as teacher there in 1717, passing
later to the Cons, of San Onofrio, where Per-
golesi, Vinci and Francesco Durante were
his pupils. — Works: Litanies a 4, w. 2 violins,
viola, bass and organ; harpsichord-music; toc-
catas and fugues for organ; etc.
Greef [graf], WUhelm, b. Kettwig-on-
Ruhr, Oct. 18, 1809; d. Mors, Sept. 12, 1875.
With L. Erk (his brother-in-law) he publ.
school song-books, and new editions of
Rinck's preludes, postludes, and Choralbuch.
Green, Samuel, b. London, 1730; d.
Isleworth, Sept. 15, 1796. Renowed organ-
builder, who adapted the 'Venetian* swell to
the organ. His instruments were exported to
Russia, the West Indies, etc.
Greene, Harry Plunket, bass singer; b.
Old Connaught House, County Wicklow,
Ireland, June 24, 1865. Destined for the bar,
he embraced music; studied in Stuttgart,
1883-6, under Hromada and Goetschius, and
6 months under Vannucini at Florence; later,
in London, under J. B. Welch and Alf.
Blume. Debut Jan. 21, 1888, in Handel's
Messiah; debut in opera at Covent Garden,
June 2, 1890, as the Commendatore in Mo-
zart's Don Giovanni. But in spite of his
emphatic success he gave up the stage, and
devoted himself to oratorio and liedcr singing,
in which field he has achieved signal dis-
tinction. Sir H. Parry wrote for him the
oratorio Job (Gloucester Fest., 1892); for
many years he had no less an artist than
Leonard Borwick as his pianist. He has under-
taken several artistic tours to the U. S., where
he made a most favorable impression. He is
now (1916) prof, of singing at R. C. M. and
R. A. M.; has publ. Interpretation in Song.
Greene, Maurice, b. London, 1696 (or
1695); d. there Sept. 1, 1755. Chorister in St.
Paul's Cath., under King; studied with R.
Brind, became (1716) org. of St. Dunstan's, of
St. Andrew's, Holborn (1717), and of St.
Paul's Cath. (1718). In 1727 he succeeded
Croft as org. and comp. to the Chapel Royal,
and in 1730 was Tudway's successor as prof,
of music at Cambridge, receiving the title of
Mus. Doc.; in 1735, master of the King's
Band. Later he made a great coll. of old
333
GREFF— GREGORY
English sacred music ('Cathedra! Music,' ed.
by Boyce). — Works: 2 oratorios, Jephlhah
(1737), and The Force of Truth (1744); a
dram, pastoral, Floritnel, or Love's Revenge
(1737); a masque, The Judgment of Hercules
(1740); an opera, Phabe (1748); 40 Select An-
thems in Score, a 2-8 (1743; 2 vols.); Spacer's
Amoretti for voice, harpsichord and violin;
several odes; catches, canons, songs, organ-
pieces, harpsich.-music; Church Service in C;
Te Deum in D; etc.— Cf. E. Walker, The
Bodleian MSS. of M. G.t in 4Mus. Ant./ April-
July, 1910.— See also Q.-Lex.
Greff . See Bacfart.
Gre'finger (or Graflnger), Johann Wolf-
gang, Viennese comp. of the 16th century,
pupil of Hofhaimer.— Works: Aurelii Pru-
dentii Cathemerinon. 4-Dart odes (1515); and
single motets in collections. He edited the
rare PsaUerium Pataviense . . . (1512).
Gregh [grag], Louis, music-publ. in Paris;
b. 1843; d. Dourdan, Feb., 1915. Having
attracted favorable attention with a number
of pleasing works for piano, he tried the stage
with Un Lycke de jeunes filles (Paris, 1881).
and scored a decided success; this was followed
by other operas, all of the light genre: Le
Presomtif (1884), Patard-Patard et Cie.
(1893), Le capitaine Roland (1895); and the
pantomime-ballets Arlette (Nice, 1892), and
Les Instontanis (Paris, 1894).
Gregoir [grfe-gwahr'], fidouard-Georges-
Jacquea, b. Turnhout, n. Antwerp, Nov.
7, 1822; d. Wyneghem, June 28, 1890. Studied
with his brother (J.-M.-Jos. Gr.), and under
Rummel at Biebrich; jjave piano-concerts, and
in 1842 travelled with Teresa and Maria
Milanollo; but settled about 1851 in Antwerp
as a composer and writer. He left his library
to the Antwerp Music School. — 8 operas: La
Vie (Antwerp, 1848); Marguerite a Autriche
(Antwerp, 1850); De Belgen en 1848 (Brus-
sels, 1851); La derniere nuit du comte d'Eg-
mont (Brussels, 1851); Leicester (Brussels,
1854); Willem Beukels, Flemish 'opera co-
mique' in 1 act (Brussels, 1856); Willem de
Zwypr (1856); La belle Bourbonnaise (I860?);
an historical symph., Les Croisades; a symph.
oratorio, Le DHuge; an overture, Hommage a
Henri Conscience; overture in C; music for
organ and for piano; over 100 male choruses;
harmonium-pieces; vln.-music; songs. — His
literary writings contain a vast amount of orig-
inal information regarding music and musicians
of the Netherlands, and are of great value
to the music-historian. These are: Essai
historique sur la musique et les musiciens dans
les Pays-Bos (1861); Histoire de I'orgue (1865,
with biogr. notes on Belgian and Dutch organ-
ists and organ-builders); Galerie bio^raphique
des artistes-musiciens beiges du XVIII* et du
XIX' siecles (1862; 2d ed. 1885); Notice sur
I'origine du ctXeore compositeur Louis van Beet-
hoven (1863) ; Les artistes-musiciens nierlandais
(1864); Du chant choral et des festivals en
Belgique (1865); Schetsen van nederlandsche
toonkunstenaars meest alien wenig of tot hiertoe
niet gekend; Notice historique sur les sociitSs
de musique (TAnvers (1869); Recherches histo-
riques concemant les joumaux de musique de-
pute les temps les plus reculis jusqu*d nos jours
(1872); Notice biografihique df f Adrian WiUaert;
Reflexions sur la regeneration de Vancienne
idle de musique ftamande et sur le thSdtre
flamand; Les artistes-musiciens beiges au XIX9
Steele : riponse a un critique de Paris (1874);
Documents historioues relatifs d Part musical et
aux artistes-musictens (1872-76; 4 vols.) ; Pan-
theon musical populatre (1877-79; 3 vols.);
Notice biographtque sur F.-J. Gosst dit Gossec
(1878); 1830-80 : Van musical en Belgique sous
les rernes de LSopold I et Leopold II (1879);
Les gfoires de VOpfra et la musique a Paris (4
vols., 1880-3; vol. i embraces the period 1392-
1750); Souvenirs artistiques (3 vols., 1888-9).
Gregoir, Jacquee-Matthleu-Joaeph, b.
Antwerp, Jan. 18, 1817; d. Brussels, Oct. 29,
1876, where he had settled in 1848 as a teacher
and comp. Fine pianist, pupil of Henri Herz
and Chr. Rummel. — Works: An opera, Le
Gondolier de Venise (Antwerp, 1847); Lauda
Sion and Faustt for ch. and orch.; a piano-
concerto (op. 100); many piano-pieces and
piano-etudes; duos and fantasias for vln. or
cello and piano (written in collaboration with
Leonard, Servais, and Vieuxtemps).
Gregoro'vitch, Charles, gifted violinist,
b. Petrograd, Oct. 25, 1867. Pupil of Wie-
niawski, also of Dont (Vienna), and Joachim
(Berlin). Has played in most European capi-
tals; in America 1896-7. After that nothing
was heard of him until 1909, when he appeared
again in Berlin with great success.
Gregory I, 'the Great,' b. Rome, 540;
Pope from 590-604; celebrated in mus. his-
tory as the reformer of the R. C. Church
Musical Ritual. By his order, and under his
supervision, a collection was made (599) of
the music employed in the different churches;
the various offertories, antiphons, responses,
etc., were revised, and regularly and suitably
distributed over the entire year, in an arrange-
ment which remains practically intact to this
day (Gregorian Chant). While for centuries
the sole credit for this reform had been
ascribed to G., recent investigations of such
scholars as Gevaert, Riemann, P. Wagner,
Frere, Houdard, Gastoue, Mocquereau, and
others prove that some of G.'s predecessors
had begun this reform, and even definitely
fixed the order of certain portions of the
liturgy; and that the work of reform was
definitely completed under some of his
immediate successors.
334
GREITH— GRETCHANINOV
Bibliography: J. Pothier, Les Mtlodies
Grigoriennts d'apres la tradition (Tournai,
1880; German transl. by Kienle, 1881); G.
Morin, Les vbitables origines du Chant GrSgo-
rirn (Maredsous, 1890; Ger. transl. by Elsas-
ser, 1892); F. A. Gevaert, Les origines du
chant liturgiquedefSgliselatine (Brussels, 1890;
German transl. by Riemann, 1891); id., La
mHopee antique dans it chant de I'Sglise latine
(Ghent, 1895); W. Brambach, Gregorianisch
(Leipzig, 1895); P. Wagner, EinfUhung in die
fregorianischen Melodien (Freiburg, 1895); id.,
Jrsprung und Entwieklung der liturgischen
Gesangsformen (ib., 1901); G. L. Houdard,
Vart dtt GrSgorien (Tapres la notation neumor
tique (Paris, 1897); A. Dechevrens, Les vraies
milodies GrSgoriennes (Paris, 1902); F. H.
Duddin, G. the Great: His Place in History
and Thought (2 vols., London, 1905); F.
Tarducci, Storia di S. G. e del sua tempo
(Rome, 1909).
Greith [grit], Karl, b. Aarau, Feb. 21,
1828; d. Munich, Nov. 17, 1887. Pupil of K.
Ett and J. G. Herzog in Munich and of K. L.
Drobisch in Augsburg; lived as singing-
teacher in St. Gall, 1849-51, then until 1856
in Frankfort; 1857-61, choral cond. and prof,
of Esthetics at the Coll. in Schwyz; 1861-71.
org. and Kapellm. at the Cath. and prof, of
organ at the Seminary in St. Gall; in 1871 he
settled in Munich, where he became Kapellm.
at the Cath. in 1877. — Works: 14 masses
(mostly in severe style), a Requiem (op. 1),
Weihnachtshantate (op. 60), an oratorio, St.
Gallus (1849); litanies, offertories and numer-
ous motets; 3 Singspiele, Jung Rubens (op.
14), Der Mutter Lied (op. 21), Der venauberte
Frosch (op. 23); a symphony; organ- works;
sacred and secular songs.
Grell, Eduard August, b. Berlin, Nov. 6,
1800; d. Steglitz, near Berlin, Aug. 10, 1886.
Pupil of his father (an orranist), and of J. C.
Kaufmann, Ritschl, and belter. Organist of
the Nikolaikirche, Berlin, in 1817; entered the
Singakademie in that year, and became vice-
director in 1832; court-cathedral organist in
1839, member of the Berlin Academy in 1841,
choirmaster at the cathedral, 1843-5; in 1851
he succeeded Rungenhagen as teacher of com-
position at the Akademie; he became a mem-
ber of the Academical Senate, also chief con-
ductor of the Singakademie, retiring from this
post in 1876. In 1838 he was created Royal
Music- Director; in 1858, Professor; and in
1864 received the Ordre pour le mhiU. In
1838 the Univ. of Berlin bestowed on him the
honorary title of Dr. phil. G. was highly re-
spected as a learned musician and an excellent
teacher and conductor. He considered vocal
music the only music worthy of the name;
consequently, excepting an overture and a
few organ-preludes, his comps. are vocal.*
Works: Missa Sclemnis (16 parts a capp.);
an oratorio, Die Israeliten in der Wuste; a
Te Deum; psalms a 8 and 11; cantatas, mo-
tets, hymns, Christmas songs, duets, songs;
also an arrangement, for 4-part male chorus,
of the Evangelical Gesangbuch (1883). G.'s
views on vocal and instrumental music are
laid down in his Aufsatte und Gutachten
(Berlin, 1887).— Cf. H. Bellermann, E. A. G.
(Berlin, 1899).
Grenie [griS-fial, Gabriel-Joseph, b. Bor-
deaux, 1757; d. Paris, Sept. 3, 1837. Inventor
of the 'orgue expressif (harmonium), from
which the 'orgue expressif of firard was
developed.
Grenville, Lillian, gifted dramatic vocal-
ist; b. New York, Nov. 20, 1888. After a
two years' course of training (1903-5) at
Paris under Algier and Aramis she made her
debut at Nice on Feb. 15, 1906, as Juliette
(in Romio et /.), and was engaged at the
Nice Opera for four seasons (1906-9). Mean-
time she was finishing her studies with Rossi
at Milan (1906), and Sebastiani at Naples
(1908); also filled engagements at the Teatro
Lirico in Milan (1906), the Monnaie in Brus-
sels (1907), the San Carlo in Naples (1908),
the San Carlos in Lisbon (1909), and the
Carlo Felice in Genoa (1909). For the season
of 1910-11 she was a member of the Chicago
Grand Opera Company under Dippel's man-
agement; American debut at Auditorium in
Chicago, Nov. 8, 1910, as Mimi in La Boheme.
She has created the title-roles in Pons's Laura
(1906), Messaeer's Fortunio (1907), and Gior-
dano's Marcella (1907), also the leading roles
in Jean Nogues* Quo Vadis (Eunice) and VAu-
berge rouge (Minna), and Victor Herbert's
Natoma (Barbara). Her favorite roles are
Thais, Manon, Tosca, and Melisande. Com-
pass of voice, from b-e9; quality, lyric soprano.
Gresnich [not -nick], Antoine-Fr&le'ric,
dramatic composer; b. Liege (bapt. March 2,
1755); d. Paris. Oct. 16, 1799. He studied at
the 'College Liegeois', Rome, and with Sala at
Naples, where he produced operas before
1780; visited London in 1784 and '85, his
success causing the Prince of Wales to app.
him director of music in 1786; he returned to
Paris in 1791, and in 1793 was chef d'or-
chestre of the Grand Th., Lyons, where the
success of his V Amour a Cythere (1793) opened
the way for him in Paris. Here, from 1795-9,
he brought out 16 operas, the last, LSonidas ou
les SpartiaUs, failing at the Grand Opera.
His works include over a score of operas and
considerable chamber-music, ariettas, duos,
songs, etc. — See Q.-Lex.
Gretchani'nov, Alexander Tichono-
vitch, b. Moscow, Oct. 25, 1864. St. pf.
with Safonov at the Moscow Cons, from
1881-91, and comp. with Rimsky-Korsakov
335
GRfiTRY
at the Petrograd Cons, from 1891-3; he has
never filled any positions, but devoted his
entire time to composition, occasionally ap-
pearing as conductor of his own works. He
is not specifically Russian in his instrumental
works, which show traces of German influ-
ence; but his church-music follows the best
national traditions. Altogether, he is one of
the most important of modern Russian com-
posers, a musician of real inventive power
and solid attainments. — Works: 2 operas,
Dobrinya NikiUtch (Moscow, 1903) and Saur
Beatrice [after Maeterlinck] (ib., 1912; censor
ordered it withdrawn after 4 performances
because the Virgin was represented on the
stage); 2 symphonies (op. 6, 27); 3 string-
quartets (op. 2 [won prize of Petrograd
Chamber- Music Soc.], 14, 70); an Elegy for
orch. (op. 18); At the Crossroads for bass and
orch. (op. 21); 2 complete Liturgies (op. 13,
29); songs (op. 1, 5, 7, 15, 20, 51); Laudate
Deum, cantata for chorus and orch. (op. 65);
numerous sacred choruses a capp.; also inci-
dental music to Ostrovsky's Snow- Maiden,
A. Tolstoi's Tsar Feodor and Ivan the Terrible.
Gr6try, Andrg-Ernest-Modeste, dram,
composer; b. Liege, Feb. 8, 1741; d. Mont-
morency, n. Paris, Sept. 24, 1813. His father
was violinist in the St.-Denis Collegiate Ch.,
where, at six years of age, the boy was placed
as chorister. The severity of the masters was
not conducive to his advancement; his father
withdrew him from the choir and placed him
with Leclerc (under whose tuition he became
a proficient reader) and Renekin. An Italian
company was then performing operas of Per-
golesi, Galuppi, etc., in Liege; these perfor-
mances contributed greatly to the develop-
ment of his musical instinct. He commenced
composing with such evidence of ability that
he was placed under Moreau, m. de chap, of
St. Paul's, for lessons in counterpoint. But,
unable to restrain his eagerness to write, he
could not apply himself to' a severe course of
study; though he produced 6 symphonies at
Liege in 1758, and in 1759 wrote a mass,
which so interested the Canon du Harlez
that he procured G. the means to study in
Rome. Arriving there in 1759, he entered the
College de Liege, where he studied cpt. and
comp. under Casali and Martini for 5 years.
But G. was an unsatisfactory pupil, being too
impatient of the abstractions of science; he
had an irresistible leaning towards dramatic
music and declamatory melody. His first
dramatic essay, the intermezzo Le Vendem-
miatrici, was well received at Rome, 1765;
and G. was praised by Piccinni. But a
perusal of the score of Monsigny's Rose el
Colas showed him that comedy-opera was his
real vocation. After 9 years in Rome, he
set out for Paris, via Geneva, where he re-
mained a year in hopes of inducing Voltaire
to write him a libretto. Failing in this, he
wrote new music to Favart's IsabeUe el Ger-
trude for the Geneva Theatre, which was
very successful. Following Voltaire's advice,
he went to Paris, where two years elapsed in
difficulties before Du Rozoy, an amateur,
gave him the libretto of Les manages Sam-
nites. This got no further than rehearsals, but
secured him the patronage of Count Creutz,
the Swedish minister, who obtained for him
Marmontel's comedy Le Huron; produced at
the Opera-Comique, 1768, it commenced a
series of successes seldom equalled : Lucile, and
his popular Le Tableau parlanl (1769); Les
deux avares, Sylvain, and VAmiiie a Vepreuve
(1770); ZSmire el Azor, VAmi de la maison
(1771); Le Magnifique (1773); La Rosiere de
Salency (1774); Cfphale et Procris and La
fausse magie (1775); Les mariages Samniles
[revised] (1776); Matroco and Les Atone-
ments imprevus (1777); Le jugement de Midas
and VAmant jaloux (1778); Aucassin et Nico-
lette (1779); the grand opera Andromaque
(1780); £milie, la belle esclave [as the fifth act
of a ballet, La file de Mirza] (Opera, 1781);
La double epreuve [ColinetU a la cour], and
VEmbarras des richesses (1782); Thiodore et
Pauline [VHpreuve villageoise], Richard Cctur
de Lion, the grand opera La caravane du
Caire (1784; libretto by Louis XVIII, then
Comte de Provence; perf. 506 times); Pa-
nurge dans VUe des lanternes (1785); Les
nUprises par ressemblance (1786); Le comte
d' Albert, La suite du comte d' Albert and Le
prisonnier anglais [Clarice et Belton] (1787);
Amphitryon (1788); Le rival confident, Raoul
Barbe-Bleue, and Aspasie (1789); Pierre le
Grand (1790); Guillaume Tell (1791); Basile
[A trompeur, trompeur et demi\ and Les deux
convents [Cecile et Dermance] (1792); La rosiere
tipublicaine (1793); Joseph Barra, Callias,
Denys le tyran, La fUe de la raison (1794;
during the Revolution) ; Lisbeth, Le barbier de
village, and AnacrSon chez Polycrate (1797);
Elisca (1799) ; La casque et les colombes (1801) ;
Delphis el Mopsa and Le minage (1803).
Gretry produced fifty operas; their merit
lies in their melodies and their dramatic ex-
pression. He was not deeply versed in har-
mony; still, despite meagre harmonization,
his orchestration is frequently clever and
very effective. His operas suffered temporary
eclipse when Mehul and Cherubini entered
the field; public interest was revived by the
magnificent tenor Elleviou in 1801; the
changes in operatic music during the next 30
years caused their subsequent neglect. Ri-
chard Cceur de Lion is still played in Paris.
Nevertheless, Gretry — 'the Molierc of music,'
as he was called — founded the school of French
comedy-opera, of which Boieldieu, Auber, and
Adam have been such distinguished alumni.
Further proof of his lack of technical knowl-
336
GREULICH— GRIEG
edge appears in his MSthode simple oVhar-
tnonie (1802). His MSmoires ou Essais sur la
musique (1789; 3 vols.) set forth his views on •
the paramount importance of the just de-
clamation of every syllable set to music.
During his lifetime G. was greatly honored.
In France and abroad he was elected a mem-
ber of most artistic and learned institutions
which admitted musicians. The Prince-
Bishop of Liege made him privy-councillor
in 1784. In 1785 a street in Paris was named
after him. In 1795 he was admitted to the
Institut, and was one of the three first chosen
to represent the department of musical compo-
sition. The same year he was appointed In-
spector of the Conservatoire, but resigned in
a few months, feeling incompetent tor the
post. His bust was placed in the foyer of the
Grand Opera, and a marble statue in the
entrance-nail of the Opera-Comique. In 1802
Napoleon made him chevalier of the Legion
of Honor, and granted him a pension of
4,000 francs in compensation for losses during
the Revolution. He bought TErmitage,
Rousseau's former residence at Montmorency,
and lived there in retirement. He occupied
his last years in writing Reflexions d'un
Solitaire, which his friends did not deem ex-
pedient to publish. [The MS. was considered
lost until Ch. Malherbe discovered it in 1908;
it has not yet been publ.] De la VSrite, a
high-pitched avowal of republican tenets,
with remarks on the feelings, and the best
means of exciting and expressing them by
music, appeared in 1803. Gretry was married
and had several children, but survived them
all. His daughter, Lucille, born in 1770,
produced two successful operas, the first at
thirteen years of age. She married unhappily,
and died in 1792. G. left six operas which have
never been performed: Alcindor et Zaide,
ZimSo, Zelmar, tXectre, Diogene et Alexandre
and Les Maures en Espatne. Two of his
operas, Zhnire et Azor and Richard Cceur de
Lion, were adapted for the English stage.
His Guillaume Tell created interest on its
revival in- Paris, when Rossini produced his
opera of the same name. Besides dramatic
works, G. wrote a De Profundis, ConfiUor, a
Requiem, motets, 6 symphonies, prologues,
epilogues, divertissements, 6 pf.-sonatas, 6
string-quartets and two quartets for pf ., flute,
violin, and bass. — Under the auspices of the
Belgian government a complete ed. of his
works (edited by Gevaert, Radoux, E. Fetis,
Wotquenne, Wouters and Closson) was be-
gun in 1883 (publishers, Breitkopf & Hartel);
up to 1916, 42 vols, have been published.
Bibliography: A.-J. Gretry [nephew of
G.], G. en famille (Paris, 1815); Gerlache,
Essai sur G. (Liege, 1821); F. van Hulst, G.
(ib., 1842); L. de Saegher, Notice biographique
sur A. G. (Brussels, 1869); E. Gregoir,4.-£.-
M. G. (1883); M. Brcnet, £., sa vie et ses
ontvres (Paris, 1884); Ch. Gheude, A.-M. G.
(Lieee, 1906); H. de Curzon, G. (Paris, 1907).
— Cf. also Livry, Recueil des lettres Sorites a
G. (Paris, 1809).— See also Q.-Lex.
Greulich feroi'liyh], Adolf, b. Schmie-
deberg, Silesia, 1836; d. July 20, 1890, at
Breslau, where, since 1884, he had been
Brosig's successor as cathedral Kapellm.
Pupil of Brosig, Mosewius, Baumgart, and
P. Lflstner; 1857, chorister and bass soloist
in the cath.; 1870, cath. organist. — Works:
Much sacred music.
Greulich, Karl WUhelm, b. Kunzendorf ,
n. Lowenberg, Silesia, Feb. 13, 1796; d. 1837
in Berlin, where he had lived since 1816 as
comp. and teacher (pupils: Prince Georg von
Cumberland [George V], C. Eckert, Henriette
Sontag). Besides pf.-comps., he publ. a
Method for piano.
Grey, Frank H.f b. Philadelphia, Nov. 15,
1883. While pursuing the regular academic
course at Harvard Univ. (1903-7) he studied
harmony and cpt. with Prof. W. Spaulding
and orchestration with Prof. J. K. Paine;
later he cont. his studies at the N. E. Cons,
under Ch. Dennee (pf.) and F. S. Converse
(comp.); since 190.9 cond. of light opera. He
has publ. an overture, Sunny Sicily; Rfae
oVttS, for violin and piano; about 40 pf. -pieces
(Ten Aquarelles, Winter Scenes, Suite, etc.);
songs. In MS. he has an overture, Balaklava;
a string-quartet in C# m.; a Canon in G m.
for strings; Fuga a 3 voci in D m.; etc.
Grieg, Edvard Hagerup, Norwegian com-
poser and pianist; b. Bergen, June 15, 1843; d.
there Sept. 4, 1907. His mother, a woman of
musical culture, and a gifted pianist, was his
first instructor. At the suggestion of Ole Bull,
Grieg entered the Leipzig Cons, in 1858;
for four years he studied harm, and cpt.
under Hauptmann and Richter, comp. un-
der Rietz and Reinecke, and pianoforte- play-
ing under Wenzel and Moscheles. The Works
of Mendelssohn and Schumann gave the pre-
vailing tone to musical Leipzig; but Grieg,
while profiting by them, was strong enough to
preserve his Scandinavian individuality. This
he demonstrated in 1863, when he studied in
Copenhagen under Gade, and came under E.
Hartmann's influence. Of great importance
in Grieg's career was his intimacy with the
young Norwegian composer Rikard Nord-
raak, whose premature death cut short their
crusade (as Grieg himself wrote) "against
the effeminate Mendelssohnian-Gade Scan-
dinavianism, turning with enthusiasm into
the new, well-defined path along which the
Northern school is now travelling." In 1867
Griefc founded a Musical Union in Christiania,
which he conducted until 1880. Previous to
this, in 1865, he had visited Italy, and did so
337
GRIEPENKERL— GRIESBACH
again in 1870; associating much with Liszt in
Rome. He also made artistic journeys to
Germany, especially Leipzig, where his visits
were protracted ; at a Gewandhaus concert in
1879 he perf. his own piano-concerto, op. 16.
After 1880, excepting time spent on profes-
sional tours, he lived chiefly in Bergen. In
1888 he visited London, and at a Philharm.
concert played his piano-concerto and con-
ducted his op. 34 (2 melodies for string-orch.).
He revisited England frequently, the last
time in 1906; in 1894 the honorary degree of
Mus. Doc., Cantab., was bestowed on him. In
1867 he married his cousin Nina Hagerup
(b. Bergen, 1845), who inspired many of his
most beautiful songs. She also did much by
her rare interpretation to popularize them,
although she sang but seldom in public
(the last time in London, 1898). Several
competent critics praised her dramatic
fervor, soulful delivery and unaffected manner,
although her vocalism was not above criticism.
Grieg's importance as a composer lies in the
fact that he did what Gadc apparently
shrank from; he imbued his music with a
strong strain of Scandinavian tonality, so
that, without innovations in form, his works
possess marked racial characteristics, to which
is due much of their charm. His shorter
piano-pieces are among the most charming
compositions of their kind (e.g., the delight-
ful Humoresken). Many of his songs, fun of
poetic feeling, are equally popular; the same
may be said of his 3 violin-sonatas. In an
age of sensationalism, when many of his
contemporaries were striving after the colossal
at the expense of form and euphony, G. clung
to his ideal of the beautiful ;he never attempted
anything but what he felt to be fully within
his powers. Thus he preserved his individuality,
ana proved — as Chopin and Schumann had
done before — that real masterpieces can be
cast in the smaller, even the smallest, forms. —
Bibliography: E. Closson, Edvard Grieg et la
musique scandinave (Pans, 1892); D. G.
Mason, From G. to Brahms (New York, 1902);
G. Schjelderup, E. G. og hans voerker (Copen-
hagen, 1903); H. T. Finck, E. G. (New York,
1905; considerably enlarged and publ. as
Grieg and His Music, 1909); E. M. Lee, E. G.
(London, 1908); G. Schjelderup and W.
Niemann, E. G. Biographie u. Wurdigung
seiner Werke (Leipzig, 1908); La Mara,
Musikalische Studienkopfe (vol. iii, Leipzig,
1909; publ. separately, 1911).— See also G.
Capellen, Die Freiheit oder Unfreiheit der
Tone u. Intervalle . . . ; Grieg-Analysen als
Bestatigungsnachweis . . . (Leipzig, 1904).
Works: Op. 1, 4 Clavierstflcke; op. 2, Lieder for
Alto; op. 3, 3 Poetische Tonbilder tor piano; op. 4, 6
Lieder; op. 5. 4 Lieder; op. 6, Humoresken for pf.; dp. 7,
Sonata for pf., in E m.; op. 8, do. in F. for pf. and violin;
op. 9, Romanten und Ballade* for pf.; op. 10, 4 Romanten
(vocal); op. 11, Concert-overture In Autumn; op. 12. 8
338
Lyrische Stilckchen for pf • ' op. 13, Sonata in G, for pf . and
violin; op. 14. 2 Symphonische SUkcke for pianoforte 4
hds.; op. 15. Romanten for pf.: op. 16. pf. -concerto in
A m.; op. 17. Norwegische Volkslieder und T&nte. for
pf.; op. 18. 8 Lieder; op. 19. Bilder aus dem Volksleben
[3 Neue Humoresken], for pf.; op. 20, Vor der Klo-
slerpforU, f. sop. solo, female voices and orch.; op. 21,
4 Lieder; op. 22. 2 Songs for male voices and orch.: op.
23. Peer Gynt. Suite No. 1 for pf. 4 hands; op. 24. Ballade
for pf.; op. 25. 5 Lieder; op. 26, 4 Lieder: op. 27, string-
?uartet in G m.; op. 28. Albumbl&tter for pf.: op. 29.
mpronisata, 2 pieces for piano; op. 30. Album fur
Mdnnerchor; op. 31, Landerkennung for male chorus
and orchestra; op. 32. Der Einsame [Bergentr*ckte\.
for baritone, stnng-orch., and 2 horns; op. 33t 12
Lieder; op. 34, 2 EXegische Melodien for string-orch.;
op. 35, Norwegische T&nte for orch.; op. 36, Sonata for
piano and 'cello : op. 37, Walaer-Capricen for pf.; op. 38,
SLyruPteces for pf; op. 39, 12 Lieder; op. 40. Aus
Hoibergs Zetl. suite for string-orch.; op. 41. pf. -tran-
scriptions of his own songs: op. 42, Bergliot. melodrama
w. orch.; op. 43, 8 Lyrische SUUhchen for pf.: op. 44,
Lieder (aus Pjdd und Fjord): op. 45. Sonata in C m.,
for pf. and vln.; op. 46, Peer Gynt. Suite 1 (for orchestra);
op. 47, 7 Lyrische SUUhe for pf.; op. 48. 6 Lieder; op.
49, 6 Lieder; op. 50. Olav Trygyason, for solo. ch. and
orch. ; op. 5 1. Romante w.vars.. for 2 pfs. 4 hands; op. 52.
6 songs, transcriptions for pf.; op. 53. Zwei Melodien for
string-orch. ; op. 54. 6 Lyrische SUUhe; op. 55. Peer Gynt,
Suite 2, for orch. ; op. 56. Sigurd Jorsalfar, for orch.; op.
57, Lyrische Stucke, for pf.; op. 58. 5 Lieder; op. 59, 6
Lieder; op. 60, 5 Lieder; op. 61. 7 Children's Songs; op.
62, Lyrische Stucke for pf.; op. 63. Zwei nordische Wei-
sen for string-orch.; op. 64. Symphonic Dances, for
pf. 4 hands; op. 65. 6 Lyrische Stucke for pf.. Book 8;
op. 66, Popular Norwegian Melodies for pf.; op. 67,
song-cycle (Garborg's Haugtussa); op. 68, 6 Lyrische
Stucke for pi.; op. 69, 5 Lieder; op. 70. 5 Lieder; op. 71,
7 Lyrische StUcke for pf.; op. 72, Norwegische Bauern-
t&nte for pf.; op. 73, Stimmungen (7 pieces for pf.); op.
74. Vier Psalmen, frei nach dlteren norwegischen
Kirchenmetodien (a capp.). — Without opus-number:
Arrangement of 2d piano-part to four sonatas by
Mozart; a Funeral March (in memory of his friend
Nordraak) ; a Funeral Hymn (in memory of his father) ;
and 3 vols, of posth. works (3 pieces for pf . ; 5 songs;
6 songs).
Grie'penkerl, Friedrich Konrad, b.
Peine, Brunswick, 1782; d. there April 6,
1849, as prof, at the Carolinum. Till 1816 he
taught in the Fellenberg Inst., Hofwyl,
Switz.— Works: Lehrbuch der Aesthetik (1827,
based on Herbart); and an edition of J. S.
Bach's instrl. comps. (jointly with Roitzsch).
Grie'penkerl, Wolfgang Robert, amateur
musician, son of Friedrich; b. Hofwyl, May 4,
1810; d. Brunswick, Oct. 17, 1868, in poverty.
1839, teacher of art-history at the Carolinum,
Brunswick; 1840-7, teacher of literature at
the Military School. — Publ. Das Musikfest,
oder die Beethovener (a novel, 1838) ; Riiter Ber-
lioz in Braunschweig (1843); Die Oper der
Gegenwart (1847); and papers in the 'Neue
Zeitschrift fur Musik.'
Grles'bach, John Henry, b. Windsor,
June 20, 1798; d. London, Jan. 9, 1875. Son
of the 'cellist J. C. Griesbach. Pianist (pupil
of Kalkbrenner) and composer; 'cellist (from
1810-18) in the Queen's Band. Dir. of the
London Philh. Soc. — Works: An oratorio,
Daniel (1854); overture and music to The
Tempest; an operetta, James /., or the Royal
Captive; operas The Goldsmith of West Cheap
and Eblis (unfinished); a mus. drama, Raby
GRIESBACHER— GRISAR
Ruins; overtures for orch.; cantatas, anthems,
songs. — Also An Analysis of Mus. Sounds (no
date); Elements of Mus. Notation (n. d.); Pf.
Student's Companion (1825); other works in
MS.
Grieebacher, Peter, b. Egglham, Mar. 25,
1864; ordained priest, 1886; 1894 prefect
of St. Emeran's Seminary, teacher at the
Kirchenmusikschule and choir-director at the
Franciscan Ch. at Ratisbon; after some years
of pastoral duties at Osterhofen he returned
to Ratisbon, where in 1911 he was app.
canon at St. John's and prof, of cpt. at the
Kirchenmusikschule. He has written a
Stabat Mater, about 40 masses, many motets,
litanies, etc.; also some secular cantatas and
songs; the number of his works has reached
op. 180 (1916). He began as a composer in
the severe style; his latest works, in which he
grafts modern impressionistic harmonies
upon Gregorian melodies, have aroused con-
siderable opposition. He has also publ.
Kontrapunkt (1910) and KirchenmusikaUsche
Stilistik und Formenlehre (2 parts, 1912).
Grie'sinfter, Georg August, Secretary to
the Saxon Embassy at Vienna; d. Leipzig,
April 27, 1828. A friend of Haydn, he wrote
"the earliest biography of H. (1810), on which
Framery founded his Notice sur Jos. Haydn
(1810).
Grill, Franz, d. Odenburg, Hungary, c
1795; publ. 12 sonatas for piano and violin (in
Haydn's style), 12 string-quartets, and a
caprice for piano.
Grill, Leo, b. Pest, Feb. 24, 1846; pupil of
Franz Lachner in Munich; from 1871-1907,
teacher of choral singing and theory at
Leipzig Cons.; composed an overture Htlaro-
dia (1892) and chamber-music.
Grillet [gr5-ya1, Laurent, b. Sancoins,
Cher, France, May 22, 1851; d. Paris. Nov.
5, 1901. Pupil of Auguste Martin ('cello).
E. Mangin (harm.), and E. Ratez (cpt. and
fugue) ; was chef d'orchestre of various minor
theatres and orchestras; after 1886, of the
Nouveau-Circjue, Paris. — Works: Several bal-
lets, pantomimes, and the 3-act comic opera
Graciosa (Paris, 1892); pieces for voice, piano,
and orch.; also Les AncUres du Vioton (2
vols., 1898), an historico-critical study on
primitive stringed instrs. — He was one of the
founders of the 'Association Artistique' and
of the 'Society des instrs. anciens.1
Grimm, Friedrich Melchior, Baron von,
b. Ratisbon, Dec. 26, 1723; d. Gotha, Dec. 18,
1807. From 1747 till 1793 he lived in Paris on
intimate terms with Diderot, Rousseau,
d'Alembert, etc., and was co-editor of the
great 'Encylopedie.' He espoused the cause of
the Buffonists (the supporters of the Ital.
opera buffa, pitted against those of the old
French opera seria), and his Lettre sur 'Om-
phale1 (1752) opened hostilities. As corre-
spondent of the Duchess of Gotha from 1753,
he wrote many letters containing interesting
details on contemp. French music and litera-
ture (publ. 1812-14, in 17 vols., as Corres-
pondence littSraire, pkilosophique et critique).
Grimm, Julius Otto, pianist and comp.;
b. Pernau, Livonia, March 6, 1827; d. Mttn-
ster, Westphalia, Dec. 7, 1903. Pupil of Leipzig
Cons.; founded a vocal society in Gdttingen;
went to Munster as conductor of the Ca-
cilienverein'; in 1878, Royal Mus. Dir. at
MQnster Academy; 1895 made 'R. Prof.1, and
1897 Ph.D. (hon. c). — Works: 1 symphony,
in D m., op. 19; 2 suites in canon-form, for
string-orch. (very fine) ; a third suite, op. 25 ;
An die Musik, for soli, ch. and orch.; a violin-
sonata in A, op. 14; piano-pieces; songs.
Grimm, Karl, 1st 'cello at court theatre,
Wiesbaden, for half a century; b. Hildburg-
hausen, April 28, 1819; d. Freiburg, Silesia,
Jan. 9, 1888. Wrote much good 'cello music.
Grimm, Karl Konatantin Ludwig, ex-
cellent harpist; b. Berlin, Feb. 17, 1820; d.
there May 23, 1882, as 1st harp of the court
orch. and royal 'Kammervirtuos.'
Grim'mer, Christian Friedrich, b. Mul-
da, Saxony, Feb. 6, 1798; d. Langenhen-
nersdorf, n. Pirna, June, 1850. Composer of
songs and ballads (new edition by Rob. Franz,
1878).
Griaar, Albert, dramatic composer; b.
Antwerp, Dec. 26, 1808; d. Asnieres, near
Paris, June 15, 1869. Intended for a
mercantile career, he ran away from his
Liverpool employer, and studied for a
short time (1830) with Reicha in Paris. Re-
turning to Antwerp, he brought out Le
Mariage impossible at Brussels in 1833, and
obtained a government subsidy for further
study in Pans. In 1836 he prod. Sarah at the
Opera-Comique; then VAn mille (ib., 1837),
La Suisse a Trianon (Variety 1838), Lady
Melvil (Renaissance, 1838), VEau mervciUeuse
(ib., 1839), U Naufrap de la Mkduse (ib.,
1839, w. Flotow and Pilati), Les Travestisse-
ments (Op. -Com., 1840), and VOpha d la
cour (ib., 1840, w. Boieldieu). In 1840 he
repaired to Naples for further serious study
under Mercadante; returning to Paris in
1848, he brought oat Gilles ravisseur (Op.-
Com., 1848), Les Porcherons (ib., 1850),
Bonsoir, M. Pantalon (ib., 1851), Le Caril-
loneur de Bruges (ib., 1852), Les Amours du
DiabU (Th.-Lyr., 1853), Le Chien dujardinier
(Op.-Com., 1855), Voyage autour de ma cham-
bre (ib., 1859); Le JoaiUier de St. James [re-
vision of Lady MelvU] (ib., 1862), La Chatte
merveilleuse (Th.-Lvr., 1862), BSgaiements
d' amour (ib., 1864), and Douse innocents
(Bouffes, 1865). He left, besides, 12 finished
339
GRISART— GROVE
and unfinished operas; also dramatic scenes,
over 50 romances, etc. His statue (by
Brackeleer) was placed in the vestibule of
the Antwerp Th. in 1870. — Cf. A. Pougin,
A. G. £tude artistique (Paris, 1870).
Grisart [gre-zahrl, Charles-Jean-Bap-
tiste, Parisian composer of light operas; b.
Paris, c. 1840; d. Compiegne, March, 1904.
Pupil of Delibes. He produced at various
minor theatres a considerable number of light
operas, some of which met with unusual
success; the best known are La QuenouiUe de
ver (1875), Les trots Margots (1877), Le Pont
d' Avignon (1878), Les Poupees de VEnfanU
(1881), Le Bossu (1888), Le petit Bois (1893),
Voild le roil (1894). He also wrote many pf.-
pieccs, masses, melodies, etc., and a quantity
of transcriptions.
Grl'si, Giuditta, great dramatic mezzo-
soprano; b. Milan, July 28, 1805; d. at her
husband's villa near Cremona, May 1, 1840.
Pupil of Minoja and Banderali at Milan Cons. ;
sang on principal Italian stages, and at Paris,
until her marriage with Count Barni, in 1834,
when she retired.
Gri'si, GiuUa, sister of Giuditta; b. Milan,
July 28, 1811; d. Berlin, Nov. 29, 1869. A
pupil (1824) of Giacomclli at Bologna (later
of Mme. Pasta, and Marliani), she developed
into a fine dramatic soprano; sang in Italy
till 1832, and from 1834-49 was prima donna
assoltUa in Paris and London. she married
Count Melcy in 1836; with her second hus-
band, Mario, she made a not especially suc-
cessful tour of the U. S. in 1854.
Griswold, Putnam, dramatic bass; b.
Minneapolis, Dec. 23, 1875 ;d. New York, Feb.
26, 1914. He abandoned a successful com-
mercial career when at the ajje of 22 he
discovered his voice. At the time he was
in Oakland, Cal., and began to study with
a local teacher; 1900-2 he studied with
A. Randcgger at the R. C. M., 1902-3
with J. Bouhy in Paris, 1903-4 with Stock-
hausen in Frankfort, and, for a short time
in 1905, with F. Emerich in Berlin; debut at
Cov. G. in 1901; during the summer of 1904
he sang at the R. Opera in Berlin, creating a
very favorable impression; after spending the
season of 1904-5 in the U. S. as a member of
Savage's company (giving Parsifal in Engl.),
he was definitely eng. at the R. Opera in
Berlin in 1906, where he soon became a
favorite. On Nov. 23, 1911, he began his
career at the M. O. H. as Hagen, and until
his death remained identified with the bass
parts in Wagner's works. His last appearance
was at the Sunday-night concert on Feb. 9,
1914; the next day ne was stricken with
appendicitis. German critics pronounced him
the greatest foreign interpreter of the Wag-
nerian bass rdles. He was twice decorated by
the Kaiser.
Grod'zki, Roleslas, Russian composer;
b. Petroerad, Oct. 25, 1865. Pupil of Sokolov.
His works consist of dainty pieces for piano,
songs, mixed choruses; also op. 21, Romance
for violin; op. 24, Album-leaf for 'cello; op.
25, Valse for do; op. 27, Barcarolle for do. ; op.
30, Serenade for do. ; op. 32, £glogue for violin;
op. 38, Fragment for 'cello; op. 39, Cansonetta
for violin; op. 47, Valse caprtcieuse for piano;
op. 48, Meditation for violin.
Grondahl. See Backer-Gr&toahl.
Gro'ningen, S. van, b. Deventer, Holland,
Tune 23, 1851. Pupil of Raif and Kiel at the
Berlin 'Hochschule.' Concert-pianist; lived
as teacher in Zwolle, The Hague, and is now
(1916) in Leyden. — Works: Pf.-quartet; Suite
for 2 pianos; etc.
Gros'heim, Geofft Christooh, b. July 1,
1764, at Kassel, where he lived in poverty,
dying 1847. — Publ. works: 2 operas, Titania
and Das heiliee KleeNatt (both perf . at Kassel
abt, 1800); Hector's Absented for 2 soio voices
and orch.; Die 10 Gebote, w. arch.; organ-
preludes; piano-fantasias and variations,
school-songs, and a coll. of popular melodies ,s
a Rfformtrtes hessisches Cnoralbuch, and a
pf. -score of Gluck's Iphigenia in Auhs, with
Ger. transl. He edited a mus. paper, 'Euterpe'
(1797-8); and publ. Das Leben der Kunstlerin
Mara (1823); Vber Pflege und Anwtndung
der Stimrne (1830); Chronol. Veneichniss
vorzUgl. Bef&rderer und Meister der Tonkunst
(1831); Pragmente aus der Geschichte der
Musik (1832); etc.— See Q.-Lex.
Grosjean feroh-zhahnl, Ernest, nephew
of Jean-R.; b. vagney, Dec. 18, 1844; organist
at Verdun. Has publ. many comps. for organ
and for pf., also a Thcorie et pratique de Vac-
compagnement du plain-chant.
Grosjean, Jean-Romary, organist; b.
Rochesson, Vosges, France, Jan. 12, 1815; d.
St.-Die, Feb. 13, 1888. In 1837, ore. at Re-
miremont; in 1839, at St.-Di6 cathedral. His
Album d'un organiste catkoliaue . . . , in 2
vols., is valuable, and contains some original
music. He also publ. a complete edition of
the 'Noels' of Lorraine, with the folk-melodies.
Gross, Johann Benjamin, b. Elbing,
West Prussia, Sept. 12, 1809; d. Petrograd, of
the cholera, Sept. 1, 1848. 'Cellist in Count
340
bass, and another with pf . ; and a concertino,
duets, and various solo-pieces for 'cello.
Groe'si, G. F. See Siface.
Grove, Sir George, eminent English musi-
cograph; b. Clapham, Surrey, Aug. 13, 1820;
GROVLEZ— GRONBERGER
d. London, May 28, 1900. By profession a
successful civil engineer, he became Secretary
of the Society of Arts in 1850; in 1852, Sec. to
the Crystal Palace Co. ; and in 1873, a member
of its Board of Directors. He wrote valuable
analytical programs for the Crystal Palace
concerts. For 15 years he edited 'Macmillan's
Magazine.' In 1882 the Prince of Wales app.
him Director of the Royal Coll. of Mus., at the
opening of which, in 1883, he was knighted by
the Queen. In 1875 the Univ. of Durham
created him D. C. L. ; in 1885 he was made
LL. D., Glasgow; in 1887 the Bach-Gesell-
schaft of Leipzig elected him as a committee-
member. He resigned the directorship of the
R. C. M. in 1894. His chief work is the
monumental 'Dictionary of Music and Musi-
cians' (Macmillan: London, 1879-89 [4 vols.];
2d edition, ed. by Fuller Maitland, 1904-10
[5 vols.]), of which he was editor-in-chief, and
to which he contributed liberally. His ex-
haustive articles on Beethoven, Mendelssohn
and Schubert are worthy of special notice. He
wrote an Appendix to v. Hcllborn's Life of
Schubert (English edition, 1869); also publ. A
Short History of Cheap Music (1887) and
Beethoven and His Nine Symphonies (1896);
He was a frequent contributor to the mus.
press on a variety of subjects. — Cf. C. L.
Graves, The Life and Letters of Sir G. G.
(London, 1903).
Grovlez [gr6h-vla'], Gabriel, born Lille,
1879. Studied at the Paris Cons, with L.
Diemer (pf.) and A. Lavignac and G. Faur6
(comp.); won 1st prize for pf.-playing; re-
turning from a tour with H. Martcau (extend-
ing over all Europe), he was app. prof, of pf.
at the Schola Cantorum; for a time he was
cond. at the Op.-Comiquc, and in Lisbon at
the Teatro San Carlos; now (1916) chef d'orch.
at the Theatre des Arts in Paris! — Works: 2
sympH. Doems; incidental music to Cosur de
Rubis, Chagrin au Palais d'Hans; about 50
songs; and impressionistic piano-pieces (Im-
provisations sur Londres, VAlmanach aux
Images , etc.).
Gru'a, Paul, son of court Kapellm. G. L.
P. Grua at Mannheim [b. 1700; d. 1773];
b. Mannheim, Feb. 2, 1754; d. Munich, July
5, 1833. Sent by the Elector to study under
Padre Martini at Bologna and Traetta at
Venice, he rejoined the Electoral Court, then
at Munich, in 1779, as Kapellm. and coun-
cillor.— Works: An opera, Telemaco (Munich,
1780); 31 orchestral masses; 29 offertories and
motets; 6 vespers; 6 Misereres; 3 Requiems; 3
Stabat Maters; 3 Te Deums; songs, responses,
etc. ; also concertos for pf., clarinet, flute, etc.
Gru'ber, Johann Sigismund, a lawyer;
b. Nuremberg, Dec. 4, 1759; d. there Dec. 3,
1805.— Works: Literatur der Musik (1783;
not equal to Forkel's); Beitrage zur Literatur
der Musik (1785); and Biographien einiger
Tonkunstler (1786).
Gruber, Josef, b. Wdsendorf, Lower Aus-
tria, Apr. 18, 1855. Pupil of A. Bruckner;
since 1878 org. at St. Florian's in Linz; a
very prolific and solid composer of church-
music. Has written about 40 masses, 12
requiems, numerous offertories, litanies, anti-
phones; also an operetta, Die Brautschau in
Pamphilien (op. 53); has publ. Praktisches
Handbuch fur Organisten (3 vols.) and a
Gesangschule (op. 258).
Gruen'berg, Eugene, violinist; b. Lcm-
berg, Galicia, Oct. 30, 1854. Pupil at Vienna
Cons, of Heissler (violin), Bruckner and
Dessoff (comp.), and Hellmesberger (chamber
and orchl. music). Was for nearly 10 years
a member of the Leipzig Gcwandhaus Orch.;
then, for 7 yrs. (till 1898), of the Boston
Symph. Orch.; also (for 3 yrs.) vln.-teacher
at the Boston Cons., succeeding Eichbcrg;
since 1899, teacher of vln., via., and ensem-
ble-playing at the N. Engl. Cons.— Works:
A ballet, Tanzbilder (pen. under composer
at Leipzig City Th.); symphony in A m.
(do. do., at Gewandhaus); Suite im antiken
Stil f. vln. and pf.; sonata f. do.; cadenza
to Brahms' vln.-concerto; 2 Scenes de ballet;
2 Vienna dances, and others; songs. — Also,
The Violinist's Manual (N. Y., 1897); Theory
of Violin-playing (1901); studies for violin;
fugitive essays in various journals.
Grtln, Friederike, dramatic soprano; b.
Mannheim, June 14, 1836; sang there in the
opera-chorus, undertook solo parts at Frank-
fort, and was later eng. at Kassel (1863) and
Berlin (1866-9). Married the Russian Baron
von Sadler in 1869; studied under Lamperti
at Milan, sang the rile of Elsa at Bologna, and
continued her successful career on other stages.
Grtln, Jakob, violinist and eminent
teacher; b. Pest, Mar. 13, 1837. Pupil of
J. Bohm in Vienna, and M. Hauptmann
(comp.) in Leipzig; 1858 member of the
court orch. in Weimar and from 1861-5 in
Hanover; then travelled for three years; in
1868 app". concert-master at the court opera
in Vienna; 1877-1909, prof, at the Cons.; re-
tired 1909, and living since then in Vienna.
Grunberg, Eugene. See Gruenberg.
Grttn'berg, Paul Emll Max, excellent
violinist; b. Berlin, Dec. 5, 1852; joined the
court orch. at Meiningen, was then leader
at Sondershausen, and later at the Landcs-
theater, Prague; in 1899 settled as a teacher
in Berlin; since 1905 prof, at Stern's Cons,
and cond. of 'Orchesterverein der Berliner
Musikfreundc.' Publ. Fuhrcr durch die Lille-
ratur der Streichinstrumente (1913)..
Grtin'berger, Ludwig, b. Prague, Apr.
24, 1839; d. there Dec. 12, 1896. Pupil of
341
GRUND-GROTZMACHER
Franz Skroup and Josef Kisch, later (1855)
of Reichel and Rietz, at Dresden. A fine
pianist, and the composer of the 1-act opera
Die Heimkekr (Prague, 1894; succ.); incidental
music to Theo. Lowe's drama Konigstraum;
Nordische Suite und Humoreske f. orch.; a
suite f. vln. and 'cello (op. 16a); 2 string-
quartets (op. 31, 37), several poetical 'char-
acteristic* pf.-pcs. f. 2 and 4 hands, and a
great number of songs.
Grand, Friedrich Wilhelm, composer
and teacher; b. Hamburg, Oct. 7, 1791;
d. there Nov. 24, 1874. He founded the
'Singakademie' at Hamburg in 1819, and
cond. the Philh. Concerts (1828-62).— Works:
2 operas (not perf.); cantata Die Auferstekung
una Himmelfahrt Christi; mass f. 8 voices a
cappella; symphonies; overtures; octet f.
pf. and wind; quintet f. ditto; pf. -quartet;
sonatas f. pf., vln., and 'cello; pf. -sonata 4
hands; pf. -sonatinas; pf. -studies (praised by
Schumann) ; songs, etc.
Grtln'feld, Alfred, b. Prague, July 4,
1852. Pianist, pupil of Hdger and KrejSt.
later of Kullak's Academy in Berlin. Settled
1873 in Vienna, where he is 'Kammervirtuos';
makes extended concert-tours; in 1883 to
Moscow and Petrograd; also to France, the
U. S., etc. — Works: The operetta Der
Lebemann (Vienna, 1903) and the comic opera
Die Sckonen von Fogaras (Dresden, 1907);
f. pf.: Op. 15, Octave-study; op. 31, Minuet;
op. 35, Humoresque; op. 37, Spanish Serenade;
op. 38, Barcarolle; op. 39, Impromptu; op. 55,
Ungariscke Phantaste; etc.
Grtln'feld, Heinrich, brother of Alfred;
fine 'cellist; b. Prague, Apr. 21, 1855. Pupil
of Prague Cons.; went to Berlin in 18/6,
taught in Kullak's Acad., for 8 years, gave
many concerts with X. Scharwenka and G.
Hollander, and was appointed 'cellist to the
Kaiser in 1886.
Grunicke, Anton Franz, distinguished
organ-virtuoso; b. Falkenhain, Jan. 23, 1841;
d. Berlin, Sept. 6, 1913. Pupil of his father,
who was cantor in Erfurt; 1862-5, of A. B.
Marx, E. Grell and W. Taubert in Berlin;
in 1871 he was app. teacher of pf. and harm,
at Kullak's Akademie; later prof, of org. at
Klindworth-Scharwenka Cons.; R. Prof, in
1908.
Grunn, (John) Homer, b. West Salem,
Wis., May 5, 1880. Pupil of E. Liebling
(pf.) in Chicago from 1896-1900 and of A.
Brune (theory); then st. pf. at Stern's Cons,
in Berlin with E. Jedlizka; taught pf. at
Chicago Mus. Coll., 1903-7; 1907 dir. of
pf.-dept. in Arizona Sch. of Mus., Phoenix;
in 1910 he settled in Los Angeles, where he
founded the Brahms Quintet. He has written
Marche ktroique (op. 15) for pf. and orch.;
Hopi Indian Dance (op. 16) f. orch.; Desert
Suite (op. 7) f. pf.; 4 Lyric Pieces (op. 25)
f. pf.; etc.
Grunsky, Karl, b. Schornbach, Mar. 5,
1871. Chiefly self-taught in music; after
receivinfl; the degree of Ph.D. in 1893 he
joined the staff of 'Neues Leben' in Stuttgart
as a writer on politics; 1895-1908 mus.
critic of 'Schwabtscher Merkur'; living in
Stuttgart as writer and contrib. to various
journals. — Works: Musikgeschichte des 19.
Jahrhunderts (1902; 2d augm. ed., 1908);
Musikgeschichte des 17. u. 18. Jahrh. (1905;
2d augm. ed. 1914); Die Technik des Klavier-
austuges (1911); Backs Bearbeitungen und
Umarbeitungen fremder Werke (in 'Bach-
Jahrb.,' 1912); also guides to several modern
symphonies,
Gruppe, Paulo Mesdag, fine 'cellist; b.
Rochester, N. Y., Sept. 1, 1891. In 1900
he ent. the Hague Cons., where he was a
Pupil of Ch. van Isterdael; then he st. at
aris with J. Salmon, at whose suggestion he
entered the competition for a scholarship at
the Cons., and won the prize over 28 con-
testants; there he st. with P. Casals until
his debut in 1907 ; he toured France, Holland,
Germany and England, and appeared for
the first time in the U. S. in 1909; since
then he has been heard frequently, and won
an enviable reputation.
Grutz'macher, Friedrich, son of Leo-
pold; b. Meiningen, July 20, 1866. Pupil
of his father and uncle. After serving as
first 'cello in the Sondershausen court orch.,
he joined the theatre-orch. in Pest (1890),
where from 1892-4 he was also 'cello- prof, at
the Cons. In 1894 he went to Cologne, as
solo 'cellist in the Gtirzenich Orch. and
teacher at the Cons., succeeding Hegyesi.
Grutz'macher, Friedrich (Wilhelm
Ludwig), admirable 'cellist, composer and
teacher; b. Dessau, Mar. 1, 1832; d. Dresden,
Feb. 23, 1903. From his father, chamber-
musician at Dessau, he had his first mus. train-
ing; his other teachers were K. Drechsler
('cello) and Fr. Schneider (theory). At the age
of 16 he joined a small orch. in Leipzig; here he
was 'discovered' by David, and in 1849 was
appointed first 'cello of the Gewandhausorch.,
succeeding Cossmann, and 'cello-teacher at
the Cons.; in 1880 he was appointed chamber-
virtuoso in Dresden, where he remained till
his death. He was a renowned concert-
player, and made long concert-tours. Amonfe
his pupils are his younger brother Leopold
G., O. Bruckner, W. Fitzenhagen, E. Hegar,
F. Hilpert, H. Becker, etc. — Works: Con-
certo f. 'cello and orch.; Variations f. ditto;
many pieces and studies for 'cello; orchestral
music; chamber-music; pf. -pieces; songs; also
wrote a valuable Hoke Schule des Violon-
cellspiels.
342
GROTZMACHER— GUERCIA
Grutz'macher, Leopold, brother of pre-
ceding; b. Dessau, Sept. 4, 1835; d. Weimar,
Feb. 26, 1900. Pupil of Drechsler ('cello)
and Schneider (theory), later of his brother;
played in the Gewandhaus and theatre-orch.
at Leipzig; then became 1st 'cello in the
Schwerin court orch., and afterwards at the
Prague 'Landestheater,' the Meiningen court
orch., and 1876 at Weimar with the title
of 'Kammervirtuos.' — Numerous comps. f.
'cello.
Guadagni [gwah-daVne], Gaetano, a
famous male contralto; b. Lodi (Vicenza,
ace. to Burney), c. 1725; d. Padua, c. 1797.
He began his career at Parma in 1747; the
next year he sang in London with enormous
success, and remained there till 1753; then
he went to Paris and Versailles, and in 1755
studied with Gizziello in Lisbon; after he had
there acquired the highest finish, he continued
his triumphant tours through Europe till
1777, amassing a considerable fortune; he
then settled in Padua, singing at the church
of San Antonio. The MS. of an aria, Pensa a
serbarmi, is in the library of Bologna; an
aria written for Gluck's Orfeo was publ. in
Bremner's 'The Favourite Songs in the opera
Orfeo' (London, n. d.).
Guarne'ri [gwahr-na're] (latinized Guar-
ne'rius), a famous family of violin-makers
at Cremona, Italy. — Pietro Andrea, head
of the family, b. c. 1630; d. Dec. 7, 1698; was
a pupil of Nicol6 Amati, and worked 1650-
95. His violins, labelled Andreas Guarnerius
Cremona sub tilolo Sancta Theresia 16 — , are
much inferior to those of his nephew, Gtus.
Antonio.— Giuseppe, son of the preceding, b.
Nov. 25, 1666; d. circa 1739; worked 1690-
1730; his best instruments are from 1690-
1710. He imitated Stradivari models; his
label was Joseph Guarnerius fUius Andrea fecit
Cremona sub titolo St. Theresia 16 — . Pietro,
Andrea's second son, b. circa 1670, worked
in Cremona 1690-1700, then at Mantua till
1725. — Pietro, son of Giuseppe, b. April 14,
1695; worked 1725-40, and made violins and
violoncelli after his father's models. — Giu-
seppe Antonio, known as Guarneri del
Gesu from the 'I H S' often appearing on
his labels; b. Oct. 16, 1687; d: circa 1745.
He was the most celebrated of the family;
his father, though a brother of Andrea, was
not an instrument-maker. He worked for
himself 1725-45; the violins of his medium
period vie with the best of Stradivari. His
instruments bear the label Joseph Guarnerius,
Andrea Nepos Cremona 17 — , J. H. 5. The
violins of nis later period are so poor as
to raise doubts of their origin — a tact ex*
plained (?) by various legends, such as his
having been driven to drink by an unfaithful
wife, or .having had, during a long term of
imprisonment, to work with inferior materials.
— Cf. H. Petherick, Joseph Guarnerius, His
Work and His Master (London, 1906); A.
Pougin, Unefamille de grands luthiers italiens;
LQtgendorff, Die Geigen- und Lautenmacher
vom MiUelauer bis zur Gegenwart (Frankfort,
1904; 2d augmented edition 1913).
Gu'dehus, Heinrich, distinguished dram,
tenor; b. Altenhagen, Hanover, March 30,
1845; d. Dresden, Oct. 9, 1909. His father was
a village schoolmaster, and G. also taught in
two seminaries for a time; but took singing-
lessons at Brunswick of Frau Schnorr v.
Karolsfeld, who sent him to the court Inten-
dant von Hiilsen, at Berlin, by whom he was
eng. for the court opera for 3 years, from
Sept. 1, 1870. His debut as Nadori (Jessonda),
in Jan., 1871, was successful; but in 1872 he
left Berlin to study with Louis Ress at Dres-
den; reappeared in public in 1875, singing at
Riga, Lubeck, Freiburg (Baden), 2nd Bremen
(1878); sang at Dresden court opera 1880-90
(creating the role of Parsifal at Bayreuth,
1882), in German opera in New York 1890-
91, and then rejoined the Berlin court opera.
Almost every summer he took part in the
Bayreuth festivals; he retired from the stage
in 1900.
Guenin [ga-nan'], Marie-Alexandre, vio-
linist and composer; b. Maubeuge (Nord),
France, Feb. 20, 1744; d. Paris, 1819. Pupil
of Capron (vln.) and Gossec (comp.) in Paris;
1777, mus. intendant to the Prince of Conde;
1778, member of the royal orch.; 1780-1800,
solo violin at the Grand Opera. A prolific
comp. of mediocre talent (14 symphonies, 6
string-quartets, 18 vln. -duets, 6 sonatas for
2 vlns., 1 concerto for viola, 3 duets for 'cello,
and 3 sonatas for clavecin and violin).
Gueranger [ga-rahn-zha'], Dom Prosper-
Louis-Pascal, b. Sable-sur-Sarthe, Apr. 4,
1805; d. Solesmes, Jan. 30, 1875, as abbot of
the Benedictine monastery there. His
writings gave the impetus to and laid the
foundations for the scholarly investigations
leading to the restoration of the Gregorian
melodies. In the accomplishing of this work
the Benedictines of Solesme9 have played a
role of prime importance. G.'s writings are:
Institutions liturgiques (3 vols., 1840-53; 2d
ed. 4 vols., 1878-85; Ger. transl. by Fluck,
1854); Lfannee liturgique [cont. by Fromage]
(15 parts, 1840-1901; Ger. transl. since 1874);
Ste.-Cecile et la SocieU Romaine(1873; 8th
ed. 1898).— Cf. Guepin, P. G. (Le Mans,
1876); Bibliographic des B&iedictins de la
Congregation de France (Solesmes, 1889);
Chamard, G. et Vabbe Bernier (Angers, 1901).
Guercia [gwar'chah], Alfonso, comp. and
singing-master; b. Naples, Nov. 13, 1831; d.
1890. Pupil, for comp., of Mercadante. Com-
posed many popular songs, and a fairly
343
GUfiRIN-GUIDO
succ. opera Rita (Naples, 1875); also sang
baritone parts in opera for a time. From 1859,
teacher of advanced vocal students in the
Collegio di San Pietro a Majella, Naples.
Guerin [ga-ran'], Emmanuel, called
Guerin atne; b. Versailles, 1779; d. (?).
In 1796, entered the Paris Cons.; 1799-1824,
'cellist at the Th. Feydeau; pensioned 1824. —
Publ. numerous duets, variations, and sonatas
for one or two 'celli.
Guerrero [ger-ra'r6h], Francisco, b. Se-
villa, Spain, May, 1527; d. there Nov. 8,
1599. Pupil of Morales; in 1546, maestro
at Jaen cathedral, and 1550 choir-singer at
Sevilla cath. Of his pilgrimage to Jerusalem
in 1588 he wrote in El viage de Jerusalem
que hizo Fr.G (1611). Publ. Psalmorum
4 voc. liber I, accedit missa defunctorum 4
voc. (1559; 2d ed., with Ital. title, 1584);
Canticum beatae Mariae. . . . (1563); Liber I,
missarum (1566; contains 9 masses and 3
motets); Libro di Motetti a 4, 5, 6 e 8 voci;
and 2 5-part Passiones in Eslava's 'Lira
Sacro-Hispana.' — See Q.-Lex.
Gueymard [ga-mahrl, Louis, fine dram,
tenor; b. Chapponay (Isere), France, Aug.
17, 1822; d. Corbeil, n. Paris, July, 1880.
Pupil of Paris Cons.; eng. 1848-48 at the
Grand Opera.
Gueymard, Pauline, nSe Lautres, wife
of Louis; mezzo-soprano stage-singer; b.
Brussels, Dec. 1, 1834, and trained in the
Cons, there; debut 1855 at the Th.-Lyrique,
Paris; sang, after 1855, at the Gr. Opera.
Guglielmi [gool-yel'me], Pietro, cele-
brated and proline dram, composer; b. Massa
di Carrara, Italy, in May, 1727; d. Rome,
Nov. 19, 1804. His first music-teacher was
his father [Pietro G., m. di capp. to the Duke
of Modcna]; he then studied at Naples under
Durante in the Cons, di S. Loreto; and
brought out his first opera at Turin in 1755.
This was followed by nearly 200 more dram,
works; after conquering the principal Italian
stages, he acted for some years as Kapcllm.
to the Elector at Dresden (1762), then went
to Brunswick, and from 1772-7 was in Lon-
don. Returning to Naples, he found the
operatic field occupied by two rivals, Paisi-
ello and Cimarosa, and his own works nearly
forgotten; but, by extraordinary efforts, he re-
gained the public favor. His most noteworthy
operas were J Viaggiatori ridicoli (1772), La
Frascatana (1773), La Serva innamorata
(1778), La beUa pescatrice (1779), / Jratelli
Pappa Mosca (1783), La Pastorella nobile
(1783), La Didone (1785), Enea e Lavinia
(1785), J due %emelli (1787). App. maestro at
the Vatican in 1793, he turned to church-
music, composing the oratorios La morie
d'Abelc, Beiulia liberata, La distrunone di
Gerusalemtne, Debora e Sisara (1794, con-
sidered by Zingarelli to be his masterpiece),
and Le lagrime di S. Pietro; also an orchestral
mass a 5, a Miserere a 5, a Psalm a 8, 6 di-
vertissements for clavichord, vln., and 'cello;
?ieces for clavichord; etc.--Cf. G. Bustico,
\ G. (Massa, 1899).— See also Q.-Lex.
Gugjiel'mi, Pietro Carlo, son of preceding
(called Guglielmi'ni to distinguish him
from his father), b. Naples, 1763; d. Massa
di Carrara, Feb. 28, 1827. A pupil of the
Cons. S. Maria di Loreto, he likewise became
a noted opera-composer, producing 25 operas
in Naples and Milan; lived several years as a
vocal teacher in London ; and circa 1810 became
m. di capp. to the Duchess of Massa di Carrara.
Guidet/ti [gwe-I, Giovanni* baptized
Bologna, Jan. 1, 1531; d. Rome, Nov. 30,
1592. After taking holy orders, he became
Palestrina's pupil, and in 1575 was appointed
'cappellano' (a clerical beneficiary) and chor-
ister in the Pabal choir. For several years he
worked with Palestrina on a revised edition
of the Gradual and Antiphonary; but this
work being forestalled by the publication of
Leichtenstein's edition (Venice, 1580), he
turned his attention to other fields, and publ.
Directorium chori ad usum sacro-sancki basi-
lica Vaticarue . . . (Rome, 1582, and other
editions); Cantus ted. passianis Domini Nos-
tri Jesu Chris ti, secundum Mattheeum, Mar-
cum, Lucam et Joannem (Rome, 1586); Can-
tus eccles. officii majoris hebdomadal . . . (Rome,
1587 ; new ed. 1619) ; and Prafationes in canlu
firmo . . . (Rome, 1588). — See Q.-Lex.
Gui'do d'Arez'zo [gwhe'dfth dah-ret'soM
(Guido Areti'nus), famous reformer of
musical notation and vocal instruction. It
was generally believed that he was bom at
Arezzo, Tuscany, circa 995. Dom G. Morin,
in 'Revue de Tart Chretien' (vol. iii, 1888),
brings evidence that G. was educated in the
monastery St. Maur des Fosses, near Paris,
and makes it seem probable that he was
born in that vicinity. [Some of his writings
are quoted under the name 'Guido de Sancto
Mauro'.) He died (probably) at Avellano, May
17, 1050. He became a monk in the Bene-
dictine monastery of Pomposa, near Ferrara;
here his superior musical ability, and espe-
cially his method of vocal teaching, aroused
the envy of his fellow-monks, and even of
the abbot; so that G. left the monastery
and (according to some authorities) wandered
from place to place, disseminating his new
ideas, or (according to others) repaired to
the Benedictine monastery of Arezzo. How-
ever this may be, his fame spread, and
reached the ears of Pope John XIX, who
called him to Rome, in order to learn his
novel system of teaching. After this G. be-
came (1029) Prior of the Camaldolite fra-
ternity at Avellano, where he died. — After
344
GUIGNON— GUILMANT
the ascription of all possible reforms, and
even the invention of music itself, to Guido,
by earlier historians, some later writers, with
an excess of caution, have gone to the oppo-
site extreme of denying him all originality.
But it is certain that he introduced the staff
of four lines, retaining the red /-line and the
yellow c-line of his predecessors, and drawing
between them a black a-line, above them a
black f-line, and writing the mensural notes
(which he did not invent) in regular order on
these lines and in the spaces:
New black line *
Old yellow line c
New black line a,
Old red line f.
He also added new lines above or below
these, as occasion required; thus, wherever
his invention was adopted, it finally did away
with all uncertainty of pitch. It is likewise
highly probable that he invented the system
of Solmisation, the syllables being derived
from the song to St. John:
Ut queant laxis Ifeaonare fibris
M in gestorom Famuli tuorum.
Solve polluti Labii reatum,
Sancte Joannes.
Whether he practically applied this invention
in the hexacnordal system of Mutation is dis-
puted. Fetis considers his chief merit to have
been his method of teaching vocal intervals
by the aid of a sliding graduated scale
adapted to the ancient monochord.
Guignon [ge-n6hn1, Jean-Pierre, b. Tu-
rin, Feb. 10, 1702; d. Versailles, Ian. 30,
1774; was- the last to bear the title of 'roi des
violons et maitre des menetriers* (relin-
quished by the younger Dumanoir in 1695).
G. came to Paris, studied the violin, entered
the King's service in 1733, and by ingratiat-
ing himself with the monarch, persuaded him
to issue letters patent reviving the absurd and
obnoxious office [the prerogative of which, as
claimed by the elder Dumanoir, was to re-
auire all musicians, even organists, to obtain
diplomas as dancing-masters — a fee to be paid
for the privilege, of course]. But the parlia-
ment was stormed with petitions and memo-
rials innumerable, and G. was forced to 'ab-
dicate* in 1773. — He composed several books
of concertos, sonatas, and duos for violin.
Gullmant [gel-mahnl, Alexandre- Felix,
eminent organist and composer; b. Bou-
logne, March 12, 1837; d. Meudon, near
Paris, March 30, 1911. Organ pupil of his
father [Jean-Baptiste G., b. Boulogne,
1793; d. there 18901; later of Lemmens;
studied harmony with G. Carulli. Eager
student of musical literature and organ, prac-
tising 8 to 10 hours at a time; at 12, often
substituted for his father at the church of
St.-Nicholas; at 16, organist at St.-Joseph;
at 18, his first composition, a solemn mass,
was produced; at 20, choirmaster ' at St.-
Nicholas, teacher in Boulogne Cons., and
conductor of a mus. society. His fine play-
ing at the inauguration of the organs at
St.-Sulpice and Notre- Dame, Paris, caused
his app. as organist of Ste.-Trinite in 1871,
succeeding Chauvet; he resigned this posi-
tion in 1901; in 1894, co-founder of, and
teacher at, the Schola Cantorum; 1896,
organ-prof, at Paris Cons.; in 1910 the Univ.
of Manchester conferred upon him the de-
gree of Mus. Doc. (hon. c). His concert-
tours in England, Italy, Russia, and (1893,
1897-8) the United States were extremely
successful. He was not only a virtuoso of
the first rank, but also a master in the art
of improvisation; his influence upon con-
temporary organists is enormous, and, thanks
to the achievements of his many distin-
Siished pupils, will long continue to be felt,
f the highest importance, because they shed
new light on the history of organ-music, are
his two monumental editions, 'Archives des
Malt res de l'Orgue,' and 'ficole classique
d'Orjjue.' The former, with biographical
studies by Andre Pirro, is a new edition of
works by early French masters (Titelouze,
Raison, Roberday, du Mage, Marchand,
Clerambault, Daquin, Gigoult) ; the latter, of
all important masters from Frescobaldi to
Wilh. Friedemann Bach (25 books). G.'s
importance as a composer rests upon his
organ-works, and these occupy a very high
rank. ^ The sum total of his compositions
comprises 94 opus-numbers. — Works (N. B.
Several works are publ. with the same opus-
number [e. g., 3 entirely different works are
publ. as op. 44]): For organ: 8 sonatas (op.
42, D m.; op. 50, D; op. 56, C m.; op. 61,
D m.; op. 80, C m.; op. 86, B m.; op. 89,
F; op. 91, A); 18 books of Pieces aVOrgue
(op. 15-20, 24, 25, 33, 40, 44, 45, 69-72, 74, 75) ;
12 books of VOrganiste pratique (op. 39, 41,
46, 47, 49, 50, 52, 55-59); The Practical Or-
ganist (also 12 books, partly identical with
preceding); op. 65, VOrganiste liturgiste (10
books);, op. 60, Noels, Offertoires, IShaHons,
etc. (4 books); op. 90, 18 Pieces nouvelles;
op. 93, Chorals et Noils; op. 94, 3 Oraisons. —
For organ and orch.: Op. 41, Marche funebre;
op. 42, Symphonic No. 1 (later rewritten as
1st organ-sonata); op. 44, Marche- Fantaisie;
op. 63, Meditation sur le Stabat Mater; op. 74,
Marche SUgiaque; op. 81, Allegro; op. 83,
Final alia Schumann; Adoration (no opus-
number). — For various instruments: Op. 22,
Priere for vcl. and pf.; op. 26, Pastorale lot
pf. and organ; op. 34, Marche triomphale for
pf . and organ (or orch.) ; op. 36, Scherzo ca-
priccioso; op. 40, Finale in.El>; op. 44, tXegie-
Fugue for pf. and organ; op. 46, MSlodie for
vln. and pf. (or organ); op. 78, Berceuse for
flute and pf.; op. 78, Romance sans paroles
345
GUIRAUD— GUM PERT
for flute and pf.; op. 88, Morceau sympho-
nique for trombone and pf.; 2 Romances sans
paroles for vcl. (or vln.) and pf. (no opus-
number). — The vocal works comprise 3 grand
masses for soli, ch. and org. (or orch.)t in F,
A m., Eb; Psalms 24 and 83; Belsazar, lyric
scene for soli, ch. and orch. ; litanies, vespers,
and numerous motets. Besides, he edited
'Repertoire des Concerts du Trocadero' (4
books; selected works of old masters perf.
at his historical concerts, 1902-6). He also
published a vast number of transcriptions
and arrangements of old and modern mas-
ters.— Cf. de La Tombelle, et al., A la mi-
moire de A. G. (Paris, 1911).
Guiraud [ge-rohl, Ernest, b. New Orleans,
June 23, 1837; d. Paris, May 6, 1892. A
precocious composer, pupil of his father
[Jean-Baptiste G., Prix de Rome at Paris
Cons., 1827], a music-teacher. He visited
Paris at 12; at 15, he produced the opera Le
rot David in New Orleans. Returning to
Paris, he studied in the Cons, under Marmon-
tel (pf.), Barbereau (harm.), and Halevy
(comp.), taking the Grand prix de Rome,
1859, for his cantata Bajazet et le joueur de
fl&te. Studied in Rome 1860-3; served in the
campaign of 1870-1; later played at the Con-
certs Populaires, and brought out an orch.
suite, in 1872, which secured him a high posi-
tion as a comp.; in 1876 he was app. prof, of
harm, and accomp. at the Cons.; in 1880 he
succ. Masse as prof, of comp.; succ. Delibes
in 1891 as member of the Academy. — Operas:
Sylvie (Paris, Op. -Com., 1846); En prison
(Th.-Lyrique, 1869); Le Kobold (Op.-Com.,
1870); Mme. Turlupin (Th. de TAthenee,
1872); Gretna Green [ballet] (Gr. Opera, 1873);
Piccolino (Op.-Com., 1876); La galante oven*
lure (ib., 1882); the posth. opera Brunhilde
(finished by Saint-Saens, and prod., as FrfdS-
gonde, at Paris, 1895); also a solemn mass, an
overture, etc. ; and a TraitS df Instrumentation.
Gulbins, Max, b. Kammetschen, East
Prussia, July 18, 1862. Pupil at Kgl. Hoch-
schule in Berlin of H&rtel, Kiel and Herzo-
fenberg, 1882-8; choral cond. at Insterburg,
896; 1900-8, cond. and org. at £lbing; since
1908, org. at St. Elisabeth's in Breslau. —
Works: Op. 13, Sturmlied for male ch. and
orch.; An aas Vaterland, do.; op. 30, Burggraf
Friedrick von Nurnberg, do. ; male choruses a
capp.; songs; organ-works (4 sonatas, op. 4,
18, 19, 28; Choral- Vorspiele, op. 16), etc.
Gulbranson, Ellen (ne'e Norgren), fa-
mous dramatic soprano; b. Stockholm, March
4, 1863. She ent. the Cons, there in 1880, and
in 1883 went to Paris to Mme. Marchesi;
debut in concert at Stockholm in 1886 with
great success; three years later she made her
operatic debut there as Amneris. Her power-
ful and sympathetic voice, dramatic intensity
and splendid stage-appearance rapidly made
her famous, so that in 1892 she was brought to
Frau Wagner's attention, who recognized in
her an ideal Briinnhilde; in 1896 she sang this
part at Bayreuth (in all the dramas) with over-
whelming success, and has since then been
heard repeatedly at the Festivals. For many
years she was a member of the R. Opera at
Berlin, and received the title 'Kammersan-
gerin.' In 1890 she married Hans G., an
officer in the Norwegian army; now (1916)
living in Christiania.
GulH, Luigi, concert-pianist; b. Scilla,
Calabria, June 17, 1859. He received his first
instruction from his father, a talented ama-
teur. From 1870-9 he was a pupil of B. Cesi
at the R. Collegio di Musica in Naples; then
settled in Rome as teacher; in 1896 he formed
the 'Societa del Quintetto,' which soon was
famous throughout Italy for its finished per-
formances of both classical and modern
chamber-music; France, Germany and Scan-
dinavia received the organization with
marked favor. G.'s playing is characterized
by poetic conception and great refinement.
Now (1916) living in Chicago; member of
the R. Acad, of St. Cecilia; Chev. of the
Crown of Italy. He has publ. some interesting
comps. for piano.
Gum'bert, Ferdinand, b. Berlin, April
21, 1818; d. there on April 6, 1896. Pupil of
E. Fischer and Clapius. Began his artistic
career as tenor singer at Sondershausen Th.;
1840-42, baritone singer at Cologne Th. St.
comp. under Constantin Kreutzcr, by whose
advice he left the stage, and settled in Berlin
as comp., vocal teacher, and, later, music
critic. — Works: About 500 songs, some emi-
nently popular; his operettas, prod, in Berlin
[Die scnone Schusterin (1844), Die Kunst, ge-
liebt zu werden (1850), Der tieine Ziegenhirt
(1854), Bis der Reehte hommt (1856), Karolina,
etc.,] were not so successful. Transl. libretti
of numerous modern French and Italian
operas; also songs. Wrote Musik, Gelesenes
und Gesammeltes (I860).
Gum'peltzhaimer, Adam, b. Trostberg,
Bavaria, 1559; d. Nov. 3, 1625, at Augsburg,
where he had been cantor from 1581. A pupil
of the monk Jodocus Enzmuller, he became a
famous church-composer and theorist. — See
Q.-Lex.
Gum'pert, Friedrich Adolf, horn-player;
b. Lichtenau, Thuringia, April 27, 1841; d.
Leipzig, Dec. 31, 1906. Pupil of Hammann in
Jena; from 1864, first horn in the Gewandhaus
Orch., Leipzig. — Works: Praktische Horn-
schule; a Solobuch for horn (difficult passages
from operas, symphonies, etc.); Hornquartette
(2 books); Hornstudien; and orchestral studies
for clar., oboe, bassoon, trumpet, and 'cello.
346
GUMPRECHT-GURA
Gumprecht, Armand J.v b. Boston,
Mass., June 26, 1866. Pupil of C. Eichler
(vl.)i 1880-2; of J. Singenberger (org. and
theory), 1882-4; of S. B. Whitney (org.),
1885-7. Since 1890 he has filled various po-
sitions as org. in Washington churches, being
at present (1916) org. at Sacred Heart (R. C);
in 1891 he was app. official organist at
Georgetown Univ., a position he has held
continuously; since 1912 also cond. of the
'Washington Sangerbund.' Has publ. 2 mass-
es with orch. (F and F m.), piano-pieces and
songs; in MS. he has another mass (D m.).
Gum'precht, Otto, b. Erfurt, Apr. 4,
1823; d. Meran, Feb. 6, 1900. Law-student in
Breslau, Halle, and Berlin; took degree of
Dr. juris; but in 1849 accepted the editorship
of the mus. 'feuilleton' in the 'Nationalzei-
tung,' and became an eminent critic and
writer; retired 1889, on account of a stroke of
paralysis. — Works: Musikalische Charakler-
bilder (1869); Neue Charakterbilder (1876);
Richard Wagner und der Ring des Nibelungen
(1873); Unsere klassischen Meister (2 vols.,
1883-85); and Neuere Meister (2 vols., 1883);
the last two are continuations of the Charak-
terbilder; he also edited 5 vols, of Erlesene
musikalische Meisterwerke (w. biographies).
Gungl (or Gung'l) fooong'el], Johann,
nephew of Joseph; b. Zsambek, March 5,
1828; d. Pecs (Fttnfkirchen), Hungary, Nov.
27, 1883. A favorite comp. of dance-music;
gave concerts in Berlin 1843-5; Petrograd
1845-54; retired in 1862 to FUnfkirchen.
Gungl, Joseph, b. Zsambek, Hungary,
Dec. 1, 1810; d. Weimar, Jan. 31, 1889. At
first oboist in, then band-master of, the 4th
Austrian Artillery; made long tours with his
band, playing chiefly his own dances and
marches. In 1843 he establ. an orch. of his
own in Berlin; made a moderately successful
trip to America in 1849; was created Royal
Mus. Director in 1850; in 1858 was app. band-
master to the 23d Austrian Infantry, at
Briinn; lived in Munich 1864-76, and then
settled in Frankfort. — Works: Over 300 num-
bers of marches and dances, the latter vying
in popularity with those by Strauss.
Gungl, Virginia, daughter of Joseph;
opera-singer; debut Court Opera, Berlin, 1871 ;
then engaged at Frankfort; taught at the
Musikscnule in Weimar.
Gunn, Glenn Dillard, b. Topeka, Kan-
sas, Oct. 2, 1874. Having received his first
instruction from local teachers, he entered the
Leipzig Cons, in 1893, studying 3 years with
B. Zwintscher, C. Reinecke and R. Teich-
muller (pf.) and G. Schreck (theory); from
1896-9 asst. there to Teichmuller, appearing
also as soloist in several smaller cities; re-
turned to the U. S. in 1900; taught in Chicago
Mus. Coll., 1901-5; establ. his own piano-
school in 1905; 1902-4, music critic 'Chicago
Journal'; 1905-9, do. 'Inter-Ocean'; 1909-15,
ditto 'Tribune' ; since 1903 lecturer on music,
Chicago Univ. (Extension faculty). Since
1906 he has made several successful appear-
ances as soloist with the larger orchestras
(Chicago Symph., N. Y. Symph., etc.).
In 1915 he founded 'The Amer. Symph.
Orch. of Chicago* (1st cone, May 23), the
object of which is the perf., exclusively, of
Amer. works, and the engagement of Amer.
soloists. He has publ. A Course of Lessons on
ike History and Esthetics of Music (1912).
Gunn, John, writer and 'cellist; b. Edin-
burgh, 1765 (?); d. there abt. 1824. From
1789, teacher of 'cello at Cambridge and
London; returned to Edinburgh 1795. —
Works: Pf.^method; 40 Favourite Scotch Airs,
adapted for vln.f Ger. flute, or 'cello . .* . ,
Theory and Practice of Fingering the V. cello
. . . (1793); Art of Playing the German Flute
on new principles; School for the Ger. Flute;
An Essay, theor. and bract., on the Application
of Harmony, Thorough-bass and Modulation to
the V. cello (Edinb., 1801); An Historical En-
quiry respecting the Performance of the Harp
tn the Highlands of Scotland, from the Earliest
Times until it was discontinued about the year
1734 . . . (Edinb., 1807).
Gttn'ther [-ter], Hermann. See Herther.
Gttn'ther, Otto, b. Leipzig, Nov. 4,
1822; d. there Sept. 12, 1897. A lawyer by
profession, from 1867-72 he was a salaried
member of the Leipzig Town Council, be-
came a member of the Executive Committee
of the Gewandhaus, and Director of the Cons.,
and succeeded Schleinitz in 1881 as president
of both. He resigned the presidency of the
Gewandhaus and devoted himself wholly to
the Cons.; during his administration the
new. Cons.-building was erected (1887), and
to his efforts are due the establishment of
the students' orchestra and the opera-school.
Gun'ther-Bach'mann, Karoline, actress
and stage-singer; b. Dusseldorf, Feb. 13,
1816; d. Leipzig, Jan. 17, 1874. Member of
the Leipzig Th. from 1834 till her decease;
at first as 'soubrette' and in comedy, from
1859 in comic elderly rdles.
Gunx, Gustav, b. Gaunersdorf, Lower
Austria, Jan. 26, 1831; d. Frankfort, Dec.
12, 1894. Sta'ge-tenor, and a distinguished
oratorio- and concert-singer; pupil of Hollub
in Vienna, also of Delsarte and jenny Lind;
long a member of the Hanover Opera; from
1864-70, of the Ital. opera, London, and, from
1880, teacher of singing at the Hoch. Cons.,
Frankfort. In 1894 he received the title of
'Professor.'
Gu'ra, Eugen, eminent dramatic baritone;
347
GURA— GYROWETZ
b. Prcssern, n. Saatz, Bohemia, Nov. 8, 1842;
d. Aufkirchcn, Bavaria, Aug. 26, 1906. He
first studied at the Polytechnic and the
Akademie, Vienna; then in the Munich Cons.,
making his debut in 1865 at Munich as Count
Liebenau (Waffenschmied), which led to an
immediate engagement there. Afterwards he
sang in Breslau (1867-70), Leipzig (187CMS),
where he became a popular idol, and received
a tremendous ovation at his farewell perform-
ance as Hans Sachs in Die Meister singer;
Hamburg (1876-83), and Munich (1883-95),
then retiring from the stage. He publ. Erin-
nerungen aus meinem Leben (Leipzig, 1905).
Gu'ra, Hermann, son of preceding, also
dramatic baritone; b. Breslau, April 5, 1870.
Pupil of the Kgl. Akademie in Munich; debut
in Weimar, 1890; has sung since then in va-
rious cities (Berlin, Aachen, Zurich, Basel,
Munich, etc.); 1897, stagc-mgr. in Schwerin.
During the summers of 1906-7 he gave two
very successful seasons of opera in Berlin
(chiefly Wagnerian works; J. Stransky was
one of the conds.)- In 1911 he was dir. of the
Komtschc Ojxt in Berlin; now (1916) living
in Berlin as singing-teacher.
Guriitt, Cornelius, b. Altona, n. Ham-
burg, Feb. 10, 1820; d. there June 17, 1901.
Dramatic comp., a pupil of Reinccke the
elder, and of Weyse at Copenhagen. Org. of
the Altona Hauptkirchc in 1864; army musical
director in the Schleswig-Holstein campaign;
prof, in Hamburg Cons., and Royal Mus.
Director in 1874. — Works: Scheik Hassan,
4-act opera (not j>erf.); Die romische Mauer
(Altona, 1860); Rafael Sanzio, operetta; an
overture, op. 22; a string-quartet; 3 vln.-
sonatas, 1 'cello-sonata, and 2 sonatinas for
'cello; pf. -sonatas, and many instructive
pieces for piano; ducts and songs.
Gurowitsch, Sara, precocious 'cellist; b.
New York, Feb. 17, 1892. At the age of 7
she began to study with Hans Kronold, and
later was a pupil of Leo Schulz in New York;
in 1905 she cnt. the class of R. Hausmann at
the Kgl. Hochschulc in Berlin, making such
progress that at the end of the first year she
won the Mendelssohn prize (judges, Bruch
and Joachim); debut in Berlin, 1908; then
played in several of the larger cities, and again
in Berlin the d 'Albert concerto under the
direction of the composer; Amer. debut, Dec.
11, 1910, with New York Symph. Orchestra.
GOrrllch, Joseph Augustin, b. MQn-
stcrberg, Silesia, 1/61; d. Berlin, June 27,
1817. He studied theology in the Jesuit
Latin School, Breslau; became org. of the
Catholic Hcdwigskirche, Berlin, in 1781; in
1790, double-bass player in the court orch.;
in 1811, asst.-cond. ; in 1816, court Kapellm. —
Works: 4 operas, 13 ballets, incidental music
to several plays, an oratorio, 4 cantatas, pf .-
music, songs, etc.
Gusikov [g66'zi-k6hv], (Michael) Joseph,
famous cembalo- virtuoso; b. Shklova, Govt.
Mogilev, 1809 (1806 [?]); d. Aix-ia-Chapelle,
Oct. 21, 1837. He began his career as a flutist,
but pulmonary trouble compelled him to
abandon that instrument. Having become a
virtuoso on the cembalo, he made successful
tours of Europe, playing almost exclusively
his own comps. and transcriptions. He died
suddenly at his instrument during a concert.
— Cf. S. Schlesinger, /. G. (Vienna, 1836).
Gutheil-Schoder [goot'hil], Marie, cele-
brated dramatic mezzo-soprano; b. Weimar,
Feb. 10, 1874. Pupil of Virginia Gungl at the
Grossherzogl. Musikschule in Weimar; her
successful debut there in 1891 led to an im-
mediate enagagement; member of the Weimar
court opera till 1900; since then one of the
stars of the Vienna court opera.
Gut'mann [goot/-], Adolf, b. Heidelberg,
Jdn. 12, 1819; d. Spczia, Oct. 27, 1882. Pupil
and friend of Chopin; von Lenz considered
his playing bad, but other critics praised him.
He was a prolific comp. of piano- music.
Gufewski [goo-zhe(T'ske], Adolf, b. Dyr-
wianz, Lithuania, 1876. Pupil of the Pctro-
grad Cons., then of Noskowski in Warsaw;
since 1910 prof, of pf. and theory at the War-
saw Cons. — Comp. of a Polish opera, Tlic
Ice- Maiden (Warsaw, 1907), a set of vars. for
orch., and a symph. in A; has also publ. A
Practical Treatise on Instrumentation (1909; in
Polish).
Gy'rowetz [ge'roh-vcts], Adalbert, b.
Budweis, Bohemia, Feb. 19, 1763; d. Vienna,
March 19, 1850. Originally a law-student, he
studied music with his father, a choirmaster;
became secretary to Count Funfkirchen,
with whom he went to Vienna, where his
symphonies won favor through Mozart's aid.
He studied for 2 years under Sala, at Naples;
went to Paris and London, where he prod, an
opera, Semiramide (1792), and returned to
Vienna in 1793. As a lawyer speaking six
languages, he acted as secretary of legation in
various German cities. From 1804-31,
Kapellm. of the Court Opera at Vienna, re-
tiring on a small pension. He was an extraor-
dinarily productive composer; one of his
operas, Der Au^enarzt (Vienna, 1811), en-
joyed long-continued popularity; but his
30 operas and operettas; 40 ballets; 60 sym-
phonies; 12 serenades; 3 quintets; 60 quartets;
24 trios; 36 pf. -sonatas; 12 nocturnes; 19
masses; also cantatas, part-songs, songs; over-
tures, marches, dances, etc., are forgotten. —
Autobiogr. as Biographie des A. G. (1848; new
edition by A. Einstein, 1915). — See Q.-Lex.
348
HAACK— HABERL
H
Haack, Friedrich, b. Potsdam, c. 1760.
Even as a boy he was a celebrated violinist;
was app. member of the orch. of the Prince
of Prussia; 1779 org. in Stargardt, Pom-
crania, and 1793 Musikdirektor in Stettin;
wrote symphonies and vocal works in the
larger forms. Rochlitz speaks of him as
among the foremost composers of his day.
Haack, Karl, b. Potsdam, Feb. 18, 1751;
d. there Sept. 28, 1819. Pupil of Franz Benda;
violinist, and later concert- master, in the
orch. of the Prince of Prussia; on the latter 's
accession to the throne (Friedrich Wilhelm
II) he became conc.-master of the R. Orch.;
pensioned in 1811. His concertos and sonatas
were esteemed by his contemporaries; among
his pupils were L. Maurer and K. Moser.
Haan. See De Haan.
Haan, Willem de. See De Haan.
Haarklou [hahr'kloo], Johannes, b. Sdnd-
fjord, n. Bergen, Norway, May 13, 1847.
From 1873-6 pupil of the Leipzig Cons.;
1877-8 in Berlin of Haupt (org.) and Kiel
and Bungert (com p.); since 1880 org. at the
old Akers Ch. in Cnristiania; 1885-8, cond. of
the symph. concerts there. His 5 operas have
not found their way beyond Norway, but
among the works more generally known are
an oratorio, Skapelsen {The Creation), 2
symphonies (Bb and D m.) and Olafs-Legende
for orch.; has also publ. a sonata for vln. and
pf.; organ- works (a sonata, preludes and
fugues, etc.); piano-pieces; songs.
Haas, Alma (nSe Hollaender, sister of
Alexis H.), b. Ratibor, Jan. 31, 1847. Pupil of
Wandelt in Breslau and of Kullak in Berlin,
1862-8; pianistic debut at Gewandhaus in
1868, followed by tours of Germany and Eng-
land. After her marriage in 1872 to Prof.
Ernest H., the Oriental scholar, she settled
in London and gave up her concert-career,
but taught; 1876, instr. at Bradford Coll.;
since 1886 at King's Coll. After her husband's
death in 1882 she returned fco the concert-
stage.
Haas, Joseph, b. Maihingen, Bavaria,
March 19, 1879. Pupil of M. Reger in Munich,
then of the Leipzig Cons.; since 1911 teacher
of comp. at the Stuttgart Cons. Has written
a Serenade for orch., op. 33; sonata for violin
and pf., op. 21; 2 sonatinas for do., op. 4;
Suite for do., op. 40; a sonata for horn and
pf., op. 29; Divertimento f. str.-quartct, op.
32; a string-trio, op. 22; trio f. 2 vlns. and pf.,
op. 38; org.-works (2 suites, sonata, fugues
and preludes); pf. -pieces; choruses and songs.
Haas, Robert Maria, b. Prague, Aug. 15,
1886. Studied musicol. in Prague, Berlin and
Vienna; Ph.D., Prague, 1908; was for some
time asst. to G. Adler at the Inst, for Mus.
Hist, in Vienna; then cond. in Mflnster, Erfurt,
Constance and Dresden; now (1916) Seer, of
the 'Corpus Scriptorum de Musica' and 'Dkm.
der Tonic, in Osterreich.' Has publ. valuable
essays in 'Sbd. d. Int. M.-G.' and Adler's
'Studien zur Musikwissenchaft,' and edited
works of Umlauf and Gassmann for the 'Dkm.
der T. in O.' (vols, xviii, 1 and xxi). Comps.:
String-quartets, pf.-quintets, 2 pf.-sonatas, a
'cello-sonata, a vln. -sonata, a trio-suite and
songs.
Hat>eneck, Francois- Antoine, b. Mezie-
res (Ardennes), France, June 1 (Jan. 23?),
1781; d. Paris, Feb. 8, 1849. His father, a
native of Mannheim, and member of a French
regimental band, taught him the violin, and
H. composed quite extensive works without
theoretical teaching. Entering Bail lot's class
in the Paris Cons, in 1801, he won the first
prize, in 1804, for violin-playing; then joined
the Opera-Comique orch., but soon entered
the Opera orch., and became leader under
Kreutzer. From 1806 until the (temporary)
suspension of the Cons., H. conducted most
of the concerts; in 1828 he became the per-
manent concert-director, and made the con-
certs famous. He was Director of the Grand
Opera 1821-4, and succeeded Kreutzer in
1826 as conductor, holding this position 20
years. He was also app. prof, of vln. at, and
Inspector-General of, the Cons.; among his
pupils were Alard and Leonard. By introduc-
ing Beethoven's symphonies to the French
public, he did inestimable service to the cause
of good music. — Publ. works: 2 vln-concertos;
3 duos concertants for 2 vlns.; one set of
orchl. variations; a set of variations for string-
quartet; a nocturne for 2 vlns. on motives
from La Gazza ladra; 3 caprices for vln. solo
with bass; polonaises for vln. and orch.; and
fantasias for vln. and piano.
Ha'berbier, Ernst, accomplished pianist;
b. Kdnigsberg, Oct. 5, 1813; d. Bergen,
Norway, March 12, 1869, while playing at a
concert. A pupil of his father, an organist, he
left home in 1832, a well-equipped pianist,
and went to Petrograd, where he had good
fortune as a concert-giver and teacher, be-
coming court pianist in 1847. Gave concerts
in London in 1850; then retired to Christiania,
and perfected what he considered a novel
system of piano-technique — the division of
difficult passages between the two hands
(Scarlatti and Bach had done the same thing).
After brilliant concerts in Copenhagen, Kiel,
and Hamburg, he appeared at Paris in 1852,
and created a sensation. Therealter he made
tours through Germany, Russia, and Denm.,
and in 1866 settled in Bergen as a teacher. —
Brilliant pf. -music (£tudes-Po6siest op. 53).
Ha'berl, Franz Xaver, eminent theorist,
mus. editor, and historiographer; b. Oberellen-
349
H ABERM AN N—H ADLE Y
bach, Lower Bavaria, April 12, 1840; d.
Ratisbon, Sept. 5, 1910. Studied in the
Bovs' Seminary at Passau, and took holy
orders in 1862; 1862-7, cathedral-Kapellm.
and mus. dir. at the Seminary; 1867-70, org.
at Sta. Maria dell' Anima, Rome; 1871-82,
cathedral-Kapellm. at Ratisbon, where he
founded, in 1875, a world-renowned school for
church-music. He is an authority on Catho-
lic church-music, past and present. In 1872
he assumed the editorship (vacated by
Schrems* death) of the collection 'Musica
divina'; and has edited the periodical 'Musica
sacra' since Witt's death in 1888. In 1876 he
began to publish the 'Cacilienka lender/ the
scope of which was gradually widened, until,
after 1885, it was issued under the more ap-
propriate name of 'Kirchenmusikalisches
Jahrbuch'; as such it has become one of the
most important publications for historical
studies concerning the church-music of the
15th, 16th and 17th centuries; H. continued
as editor until 1907, when he resigned and
was succ. by Karl Weinmann. He founded a
Palestrina Soc. in 1879, and (beginning with
vol. x) was editor-in-chief of Breitkopf &
Hartel's complete edition of Palestrina's
works (33 vols., finished on the tercentenary
of the master's death, 1894), which he aided
not only by his experience and learning, but
also by rare MSS. from his private collection.
In 1899 he was elected Pres. of the 'Allgem.
Cacilienverein,' and became editor of its
official organ, 'Fliegende Blatter fOr Kathol.
Kirchenmusik.' In 1889 he was made Dr.
theol. (hon. c.) by the University of Wiirz-
burg; in 1908 'Monsignore.' Under his general
supervision a new edition of the Editio
Medicea' (1614) of the Plain-Chant melodies
was issued, with Papal sanction, at Ratisbon
(1871-81). When modern scholarship had
proved beyond a doubt that the original edi-
tion had not been published with Papal sanc-
tion and had not been revised by Palestrina,
that, in fact, it contained the old melodies in
badly distorted and mutilated form, the Pa-
pal sanction was withdrawn, the edition sup-
pressed and replaced by a new 'Editio Vati-
cana' in 1904. The result of this was that
H.'s books dealing with Plain-Chant (which
had been held in the highest esteem, and had
passed through many editions) became prac-
tically worthless. The books thus affected
are: Praktische Anweisung sum harmonischen
Kirchengesang (1864), MagisterChoralis (1865;
12th ed. 1899; transl. into Engl., Fr., Ital.,
Span., Polish and Hung.), Officium hebdomadae
sanctae (1887, in Ger.), Psalterium vespertinum
(1888). His other writings, the value of which
remains unimpaired, are Bertalotti's Solfeg-
pen (1880), Wilhelm Dufay (1885), Die Rd-
mische 'Schola Cantorum' u. die pdpsUichen
KapeUsanger bis zur Mitte des 16. Jahrh.
350
(1887), Bibliographischer u. thematischer Mu-
sikkatalog des pdpstlichen Kapellarchivs im
Vatikan zu Rom (1888).
Ha'bermann, Franz Johann, b. Konigs-
warth, Bohemia, 1706; d. Eger, April 7, 1783.
He studied in Italy; became maitre de chap,
to the Prince of Conde in Paris, 1731; then
maestro di capp. to the Grand Duke at
Florence; going to Prague, he wrote an opera
for Maria Theresa's coronation, was Kapellm.
of two churches, and gave many lessons; in
1773 he became mus. dir. in the Dekanatlrirche
at Eger. He published 12 masses and 6 lita-
nies, and left in MS. 2 oratorios, besides
symphonies, sonatas, and church-music.
Ha1>ert, Johannes Evangelista, b. Ober-
glan, Bohemia, Oct. 18, 1833; d. Gmunden,
ept. 1, 1896. From 1861 he was org. at
Gmunden, and comp. masses, offertories,
organ-pieces, pf. -music, and songs; a com-
Slete ed. of his works was publ. by Breitkopf
: Hartel. But he is more important as a
writer. In 1868 he founded, and till 1883 edi-
ted, 'Zeitschrift ftir Kathol. Kirchenmusik/
Publ. Beitr&ge zur Lehre von der musikalischen
{Composition (4 vols., 1899).— Cf. A. Haiti,
J oh. Ev. H., Organist in Gmunden (Vienna.
1900).
Ha'ckel, Anton, b. Vienna, April 17t
1779; d. there July 1, 1846. Amateur com-
poser, government official in the dept. of
buildings. Comp. church- and military music,
and many songs (the ballad Die ndchtliche
Heerschau had great vogue).
Hackh, Otto (Chris toph), b. Stuttgart,
Sept. 30, 1852. Pupil 1871-5, at Stuttgart
Cons., of Pruckner and Speidel (pf-)» and
Seifriz (harm, and comp.); also 1887-8 of A.
de Kontski (pf.) at New York. From 1872-5
H. was Speidel's first asst. -teacher; 1877-8,
concert-tours in S. Germany, Tyrol, and
Switzerland; taught and concertized in
London during 1878; tours in 1879; went to
New York in 1880, where, until 1889, he was
head of pf.-dept. in the Grand Cons. Then,
after private teaching for 2 years, he spent 3
years in Europe to recover from nervous ex-
haustion. Since 1895, teacher in New York
and Brooklyn. — One of the. most fecund of
contemporary pf.-composers, H. had publ.
some 200 pieces for solo pf., pf. 4 hands, and
pf. with orch., incl. salon-works in modern
brilliant style, instructive comps., dance-
music, etc. ; many of these, and also many of
his numerous songs, are extremely popular.
Hadley, Henry (Kimball), b. Somcr-
ville, Mass., Dec. 20, 1871. He received his
first instruction on the piano and violin from
his father, and then studied theory and comp.
at the N. E. Cons, with S. Emery and G. W.
Chadwick; in 1894 he studied cpt. with E.
Mandyczewski in Vienna; 1895-1902, dir. of
HADOW— HAFFNER
music at St. Paul's School, Garden City;
1904-9, in Germany, where he app. in various
cities as cond. of his own works; 1908-9 cond.
at the Stadtth. in Mavence, where he brought
out his 1-act opera Safie (April 6, 1909). In
1909 he returned to the U. S., and was cond.
of the Seattle Symph. Orch. from 1909-11;
1911-15, cond. of the San Francisco Symph.
Orch.; has also appeared with several of the
larger orchs. and at Music Festivals as cond.
of his works. Among American composers H.
occupies a position of prominence. <He not
only has the gift of melody, but also the
courage to write it, without straining after
'original/ ultra-modern effects and intangible
'atmosphere.' His music is sane and fresh,
written with regard for the fundamental
principles of form and euphony; his orchestra-
tion is always natural, skilful and effective. —
Works: A comic opera, Nancy Brown; the
grand operas Safie (Mayence, 1909) and Azora
Daughter of Montezuma (Chicago, 1917);
a festival play The Atonement of Pan (Bohe-
mian drove Club, 1912); 4 symphonies: No.
1, Youth and Life (1897), No. 2, The Four
Seasons (1902; won the Paderewski Prize and
another offered by the N. E. Cons.), No. 3f
in B m. (1906), No. 4, North, East, South,
West (Norfolk Fest., 1911); 3 overtures:
Hector and Andromache, In Bohemia, Herod
(after S. Phillips' play); 2 tone-poems, Salome
(1905) and Lucifer (1913); * Symphonic Fan-
tasy; a rhapsody, The Culprit Fay (1909;
won a $1,000 prize of the Nat. Fed. of Mus.
Clubs); an Oriental Suite; 3 Ballet-Suites; a
Konzertstuck for 'cello and orch. (1907); a
string- trio; a string-quartet; the cantatas In
Music's Praise (1899; won O. Ditson Prize),
Lelewala, A Legend of Granada, Merlin and
Vivien, The Fate of Princess Kiyo; incid.
music to The Daughter of Hamilcar and
Audrey; 6 Ballads with orch.; over 100
songs (German and English).
Hadow, William Henry, b. Ebrington.
Gloucestershire, Dec. 27, 1859. He received
the regular classical education at Malvern
Coll. (1871-8) and Worcester Coll., Oxford
(1878-82); studied pf. at Darmstadt (1882)
and comp. with Dr. C. H. Lloyd in Oxford
(1884-5); A. M., 1888; Mus. Bac, 1890. In
1885 he was app. Fellow and Tutor in Wor-
cester Coll.; Dean, 1888-1909; Examiner in
Oxford Locals (1894-1909), in Litera Huma-
niores (1900-2), in Modern Languages (1905),
in Engl. Lang, and Lit. (1907-9). Since 1909
Principal of Armstrong Coll., Newcastle-
upon-Tyne; since 1916 Vice-Chancellor of
the Univ. of Durham. In 1890-2 he delivered
the lectures on Mus. Form in place of Sir. J
Stainer; has also given three courses of lectures
on music before the 'R. Institution' in Lon-
don. In 1909 he was made Hon. Fellow of
Worcester Coll. and Mus. Doc. (hon. c); the
next year Durham Univ. also conferred upon
him the same degree; Member of Council of
R. C. M. and Vice-Pres. of R. C. O.; Fellow
R. Soc. Lit. — He has written a cantata, The
Soul's Pilgrimage; incid. music to R. Bridges'
Demeter; anthems, songs and a considerable
quantity of chamber-music (a string-quartet,
2 sonatas for vln. and pf., a sonata for piano
and via., piano-trios, etc. [in MS.]). Of more
importance are his books: Studies in Modern
Music (1st series, 1892; 2d series, 1894);
Sonata- Form (1896); A Croatian Composer
(1897); The Viennese Period (vol. v of the
'Oxford Hist, of Music,' 1904). He has edited
'Songs of the British Islands' (1903) and was
editor-in-chief of the 'Oxford History of
Music' (1901-5); contrib. to 'Encycl. Brit.',
'Quarterly Rev.', 'Edinburgh Rev.*, 'Mus.
Quarterly' (Schirmer), etc.
Hadria'nus. See Adriaensen.
Hae'sche, William Edwin, b. New
Haven, Conn., April 11, 1867. Studied the
violin with Bernhard Listemann; piano with
Perabo; self-taught in theory, except a course
in fugue and general composition with Prof.
Parker at Yale; Mus. Bac, Yale, 1897. A
co-founder, director, and member (1st violin)
of the New Haven Symphony Orch.; conduc-
tor of the People's Choral Union (250 voices).
Since 1903 instructor of instrumentation at
Yale Univ. — Works: Tone-poem for orch.
Forest Idylle (1896); overture Fridtjof Saga
(1897; prize comp.); Young Level's Bride,
ballad for female ch. and orch. (1898); over-
ture Springtime (1899); symphony in Ab
(1901); The Haunted Oak of Nannau, dra-
matic cantata for chorus and orch. (1903); 2
symphonic ooems, Fridtjof and Ingeborg
(1904), and The South (1913) ; a Symphonietta
(1913); sonata f. pf. and vln. inEra.; Legend
f. vln., vcl. and pt; anthems, songs, etc.
Haff'ner, Johann Christian Friedrich,
b. Oberschonau, n. Suhl, March 2, 1759; d.
Upsala, Sweden, May 28, 1833. Oreanist,
pupil of Vierling at Schmalkalden; student at
Leipzig Univ. 1776, and proof-reader for
Breitkopf; then cond. of a travelling opera-
troupe, and (1780) org. at Stockholm in the
German church, also accompanist at the
opera, receiving 1787 the title, and 1793 the
office, of court Kapellm. (due to the success
of his operas Elektra, Alkides, and Rinaldo,
written in Gluck's style). From 1808-20,
cath. org. at Upsala, and from 1820 mus. dir.
of the Univ. He took great interest in
Swedish national music; publ. Swedish Folk-
songs with accomp., and revised the melodies
of the Geijer-Afzelius coll.; edited a Svenska
Choralbok (2 parts, 1819-21), in which he re-
stored the choral melodies of the 17th century,
and added preludes (1822); also arr. a coll.
351
HAGEL— HAHN
of old Swedish songs in 4 parts (1832-3; he
finished only two books).
Hagel [hah'gSl], Karl, born Voietstedt,
Thuringia, Dec. 12, 1847. Pupil of Kellner
in Sangerhausen and of Billie and Weissen-
born (comp.) in Erfurt; 1869, solo-vlnst. in
Hildesheim; 1872, cond. of the munic. orch.
and several choral societies in Nordhausen;
1874-7, military bandmaster; 1878-1905,
munic. Kapellm. and dir. of the Musikschule
at Bamberg. In 1905 he was pensioned, and
since then has been living in Munich. — He has
written 4 symphonies, several overtures, a
string-quintet, 5 string-quartets, pf.-trios, a
sextet for wood-wind, etc.
Hagel, Richard, son and pupil of Karl;
b. Erfurt, July 7, 1872. In 1889, concert-
master in Abo, Finland; then member of the
orchs. at Koburg (1890), Meiningen (1892)
and Sondershausen (1893); 1895, municipal
Kapellm. in Barmen, where he founded the
PhSh. Concerts; from 1898-1900 he studied
again (at Leipzig Cons.), and in 1900 was
app. 3d Kapellm. at the Leipzig Stadtth., be-
coming 1st Kapellm. in 1902. This position
he held till 1909, also conducting the 'Riedel-
verein' during Gohler's absence (1908-9);
1911-14, Hofkapellm. in Brunswick.
Ha'gemann, Francois Willem, b. Zut-
phen, Holland, Sept. 10, 1827; d. (?). In 1846,
royal org. at Appeldoorn; in 1848, cond. at
Nijkerk. St. for a while (1852) at the Brussels
Cons., lived at Wageningen as a teacher, be-
came org. at Leeuwarden in 1859, town mus.
dir. at Leyden in 1860, and then org. of the
Willemskerk at Batavia. — Pf.-music.
Ha'gemann, Mauri ts Leonard, brother
of preceding; b. Zutphen, Sept. 25, 1829;
d. (?). Violinist and pianist; pupil, at Brus-
sels Cons., of Fetis, Michelot, and de Beriot,
graduating in 1852. After playing first violin
in the Ital. opera orch. at Brussels, he became
mus. dir. at Groningen (1853-65), and from
1865-75 director of the Cons, and the Philh.
Soc. at Batavia; since 1875, mus. dir. at
Leeuwarden, where he founded a Cons., of
which he was the director. — Works: Oratorio
Daniel (MS.) ; a festival cantata for female ch. ;
several vocal works w. orch. (Comfort of
Night, Bird of Passage, Evensong) ; piano-pcs.
and songs.
Ha'gen, Adolf, son of Joh. Bapt.; b.
Bremen, Sept. 4, 1851; joined the royal
theatrc-orch. in Wiesbaden as violinist in
1866; was mus. dir. at Danzig and Bremen
(1871-6); Kapellm. at Freiburg, Baden
(1877-9); with Sucher at the Hamburg Th.
(1879-82); court Kapellm. in Dresden (1883);
succeeded Wullner as artistic manager of
the Cons, there in 1884; resigned 1890; retired
1913 as 'Geh. Hofrat.'— Works: The 2-act
comic opera Zwei Komponisten, oder ein
Schdferspiel in Versailles (Hamburg, 1882);
and a 1-act operetta Schwarzndschen.
Ha'gen, Friedrich Heinrich von der, b.
Schmiedeberg, Ukraine, Feb. 19, 1780; d.
Berlin, June 11, 1856, as prof, of German
literature at the Univ. — Publ. Minnesinger
(1838-56, in 5 vols.; in vol. iii. are 'Minnege-
sange' in notation according to the Jena
Codex and other sources, with a treatise on
the music of the Minnesinger); Melodien su
der Sammlung deutscher, vidmischer und fran-
zosischer Volkslieder (1807; with Busching).
Ha'gen, Johann Baptist, b. M aye nee,
1818; d. Wiesbaden, 1870; was successively
Kapellm. at the theatres in Detmold (1836),
Bremen (1841), Wiesbaden (1856), Riga
(1865), and again at Wiesbaden (1867).
Ha'gen, Theodor, b. Hamburg, Apr. 15,
1823; d. New York, Dec. 21, 1871. He lived
in New York from 1854 as a teacher and
critic; edited the 'New York Weekly Review.'
— Publ. Civilisation und Musik (1845, under
the pen-name 'Joachim Fels*); Musikalische
Novellen (1848) ; also pf.-music and songs.
Ha'ger, Johannes (pen-name of 'Hofrath'
Johannes, Freiherr von Hasslinger-Has-
singen), b. Vienna, Feb. 24, 1822; d. there
Jan. 9, 1898. Pupil of Mendelssohn and
Hauptmann. Besides several successful essays
in chamber-music, he prod. 2 operas, Iolanthe
(Vienna, 1849) and Marfa (ib., 1886); also
an oratorio, Johannes der Taujer.
Hagerup, Nina. See Grieg.
Hagg, Gustaf, eminent organist; born
Wisby, Sweden, Nov. 28, 1867. After gradua-
tion from the Stockholm Cons, he spent the
years 1897-8 studying in Germany and
France; app. org. at St. Clara's ch. in Stock-
holm; since 1908 prof, of organ at the Cons.
Has publ. pieces for organ, pf.; a symphony
in D and Miniatures for orch.; also chamber-
music (str.-sextet, str. -quartet, pf.-trio, etc.).
Hiftgg, Jacob Adolf, b. Ostergarn, Got-
land, June 29, 1850. Pupil of van Booms in
Stockholm and of Gade in Copenhagen; later
of Kiel in Berlin; has written a Northern
Symphony in Eb ; pieces for vcl. ; do. for organ ;
2 sonatas for piano and other pf.-pieces.—-Cf.
G. Hetsch, /. A, H.t ein schwedtscher Kom-
ponist und sein Verhdltnis zu N. W. Gade
(Leipzig, 1903).
Hahn, Albert, b. Thorn, West Prussia,
Sept. 29, 1828; d. Lindenau, n. Leipzig, July
14, 1880. Teacher in Berlin (1856), mus. dir.
in Bielefeld (1867-70), lived in Konigsberg,
and returned to Berlin (1875); in 1876 he
started a music paper, 'Die Tonkunst,' advo-
cating the 'chromatic' reform (scale of 12
equal semitones).
Hahn, Reynaldo, b. Caracas, Venezuela,
Aug. 9, 1874. At the age of 3 he was brought
352
hAhnel— hal£vy
to Paris, where he has lived ever since. Pupil
of Massenet, Dubois and Lavignac at Paris
Cons.; chev. of the Legion of Honor. — Works:
A 3-act 'idylle polynesienne,' Vile du Rive
(Paris, Op.-Comioue, March 23, 1898); La
CarmHite (4 acts, Op.-Com., 1902); incidental
music to Daudet's lf Obstacle (1890), Croisset's
Deux Courtisanes (1902), Mendes' Scarron
(1905), Racine's Esther (1905), Hugo's
Angelo (1905), Male's MSduse (1911),
Hugo's Lucrece Borgia (1911); the panto-
mimes Fin oV amour (1892), Le Bois sacrS
(1912); the ballets Beatrice d'Este (1909), La
Ftte chez TheWese (1910), Le Dieu bleu (1912); 2
symphonic poems, Nuit d' amour bergamasque
(1897), PronUthie triomphant (1911); a Christ-
mas mystery, La Pastorale de NoH (1908);
numerous songs; pf.-pcs. f. 2 and 4 hands.
Hah'nel. See Gallus, Jacobus.
Haile [hll*], Eugen, b. Ulm, Wurttem-
berg, Feb. 21, 1873. Pupil at Stuttgart Cons.
(1887-94) of G. Under (pf.), E. Singer (vln.)
and E. Faiszt (cpt.) ; settled in New York in
1903; has publ. about 100 songs, some of
striking beauty (Herbst, Der Todesengel singt,
Teufelslied, Soldaten komtnen, etc.). He has
written an opera, Viola d'Amore (text by H.
v. Wolzogen); his music to a spoken drama
(gesprochene Oper), The Happy Ending, was
prod, in New York (1916).
Hainl, Georges-Francois, noted 'cellist;
b. Issoire, Puy-de-Ddme, Nov. 19, 1807; d.
Paris, June 2, 1873. Pupil of Norblin in Paris
Cons. (1829); took 1st 'cello-prize in 1830.
He then travelled; in 1840 accepted the post of
1st 'chef d'orchestre' at the Grand Theatre,
Lyons, and in 1863 a similar position at the
Grand Opera, Paris (Gevaert being his
assistant). He also cond. the Cons, concerts
for some years, and the court concerts (with
the title of 'Mattre de chapelle imperiale'). —
Works: An essay De la musique a Lyon depuis
mZjusqu'a 1852 (1852); 'cello-music.
Hal'zinger, Anton, tenor opera-singer,
b. Wilfersdorf, Liechtenstein, March 14, 1796;
d. Vienna, Dec. 31, 1869. At first a singing-
master in Vienna, where he was taught by
Salieri, he was enjj. for the Th. an der Wien
by Count Palffy in 1821. Some years later,
after a succession of starring-tours to principal
German cities, he was eng. at Karlsruhe for
life, at the court theatre. His subsequent ex-
cursions to Paris and London were very suc-
cessful. He returned to Vienna in 1850.
Hale, Philip, b. Norwich, Vt., Mar. 5,
1854. Took music-lessons from early youth
and as a boy played the organ in the Unit, ch.,
Northampton, Mass. Graduate of Yale
Univ., 1876; admitted to the Albany bar,
1880. First studied music seriously with
D. Buck in 1876; studied in Europe 1882-7
(organ with Haupt, Faiszt, Rheinberger and
Guilmant, — comp. with Urban, Bargiel, Rhein-
berger and Guilmant, — pf. with Raif and
Scholz). Was organist 1879-82 at St. Peter's,
Albany; 1887-9 at St. John's, Troy; 1889-
1905 of First Religious Soc., Roxbury, Mass.
From 1887-9, also cond. of the Schubert Club,
male chorus, at Albany. Critic for the 'Boston
Home Journal,' 1889-91; 'Boston Post,'
1890-91; 'Boston Journal,' 1891-1903; since
then for 'Boston Herald'; 1897-1901 ed. of
the Boston 'Mus. Record,' and 1892-1898
Boston correspondent of the 'Mus. Courier,'
N. Y. Since 1901 he has edited the program-
books of the Boston Symph. Orch. Has
riven lectures on mus. subjects at Columbia
Univ. (N. Y.), and in various other cities. H.
is known as one of the most forceful and bril-
liant writers for the Amer. mus. press; his
articles are valuable contributions to mus.
literature, and often tinged with unique
humor. He has edited 2 vols, of Modern
French Songs in 'The Musician's Library'
(Ditson); joint author with L. C. Elson of
Great Composers and their Works (1900).
Hale (or Halle). See Adam de la Hale.
HaleVv, Jacques-Francois-Fromental-
Elie, gifted dramatic composer; b. Paris,
May 27, 1799; d. Nice, March 17, 1862. His
parents were Jews. At ten he entered the
Paris Cons, as an elementary pupil of Cazot.
In 1810 he studied piano with Lambert; in
1811, harmony with Berton; and counterpoint
for five years with Cherubini. At seventeen he
was allowed to compete for the Prix de Rome;
he won it in 1819 with his cantata Herminie.
He had previously composed an opera, Les
BohSmiennes (never perf.), published a piano-
sonata for 4 hands, and set to music the 130th
Psalm in Hebrew, the De Profundus. During
his three years' stay in Italy he made great
progress, writing another opera, etc. In 1822,
on his return to Paris, he made vain attempts
to produce his grand opera Pygmalion, and Les
deux pavilions (comedy-opera). It was not
until 1827 that he brought out a one-act
comedy-opera, l' Artisan, at the Th. Feydeau;
though with little success. The same year he
succeeded Daussoigne as prof, of harmony
and accomp. at the Cons.; following Fetis as
prof, of cpt. and fugue in 1833, and taking a
class of advanced composition in 1840. In
1827 he was engaged as cembalist at the
Italian Opera. In 1828, with Rifaut, he com-
posed Le Roi et le Bdtelier in honor of Charles
X. In 1829, Clari (with Malibran as prima
donna) was a success at the Th. Italien; Le
dilettante d' Avignon was produced the same
year, and in 1830 the grand ballet Manon Les-
caul. H. was now app. 'chef du chant' at
the Opera, a post retained during 16 years. In
1831 La Langue musicale was prod, at the Op.-
353
HALIR— HALL
Com.; La Tentation (1832; ballet-opera, with
Gide), at the Opera; Les Souvenirs de Lafleur
(1833); and the same year a completion of
Herold's unfinished Ludovic, which proved
very successful. In 1835 La Juive (grand
opera in 5 acts, H.'s masterpiece) was prod,
at the Opera on Feb. 23, and soon obtained
greflft vogue throughout Europe. Six months
later appeared VEclair, a sparkling comedy-
opera. To add to his growing reputation, H.
was created Chevalier of the Legion of Honor.
On the death of Reicha (1836) H. succeeded
him as one of the three musical members of
the Academie; and in 1854 was appointed sec-
retary for life. With La Juive H. attained not
only the zenith of his powers, but also of his
triumphs. In 1836 the blazing apparition of
Les Huguenots paled the milder fires of the
French composer, and Meyerbeer became the
idol of the nour. La Juive was followed by
Guide et Ginevra (1838); Les Treite (1839);
Le Drapier (1840); La Reine de Chypre, a
brilliant success, and.L* Guilarrero (1841);
Charles VI (1843); Le Laszarone (1844); Les
Mousquetaires de la reine (1846). He collabo-
rated with Adam, Auber and Carafa in Les
premiers pas for the inauguration of the
National Opera (1847). Le Vol oVAndorre was
given in 1848 (adapted for the English stage
in London, 1850); La Fee aux roses, in 1849;
La Dame de pique, 1850. In 1850 H. conducted
in London an Italian opera, La Tempesta. Le
Juif errant was produced in 1852; Le Nabob,
1853; Jaguarita, 1855; /' Inconsolable [under
the nom-de-plume 'Albert'], 1855; Valentine
d'Aubigny, 1856; La Magicienne, 1858.— H.
was more inclined to aim at a high ideal
than to please the popular taste. His music
possesses true emotional and dramatic
power, and is 'melodious, but combined with
so many details and refinements of harmony
and instrumentation' that it could not be
appreciated by the general public; though he
held a high rank among artists. — Besides his
operas, he wrote a pf. -sonata for 4 hands, ro-
mances, nocturnes, part-songs for male voices;
scenes from Prometheus Unbound (1849); the
cantatas Les plages du Nil and Italie (1859);
and left the almost finished scores of two
operas, Vanina d'Ornano (completed by
Bizet) and Le Deluge. In the Paris schools
his Lemons de lecture musicale was adopted
as the text-book for singing. Souvenirs et
portraits (1861) and Dernier s souvenirs et
portraits (1863) were collections of the
funeral orations that, as Secretary of the
Academie, he had delivered at the obsequies
of deceased members. — Short biographies of
H. were published by his brother Leon
(1862), E. Monnais (1863), A. Catelin
(1863) and A. Pougin (1865).
Hallr [hah'llr], Karl, distinguished vio-
linist; b. Hohenelbe, Bohemia, Feb. 1, 1859;
d. Berlin, Dec 21, 1909. A pupil of Benne-
witz at Prague Cons.; later of Joachim in
Berlin (1874-6). After playing as 1st
violinist in Bilse's orch., and short engage-
ments at Komgsberg and Mannheim, he
was app. in 1884-93 leader of the court orch.
at Weimar; in 1893 he succeeded de Ahna as
'Hofkonzertmeister' in Berlin; for a time he
was a member of the Joachim Quartet, but
later formed his own quartet (with Exner,
Mailer and Dechert), which became famous.
He resigned as concert- master in 1907. His
first tour in the United States (1896-7) was
very successful. — His wife Theresa (nSe
Zerbst), b. Berlin, Nov. 6, 1859. married in
1888, is a fine soprano (pupil of Otto Eich-
berg).
Hall, Charles King, b. London, 1845 (?);
d. there Sept. 1, 1895. English composer
and theoretical writer; org. successively at
St. Paul's (Camden Sq.), St. Luke's, and
Christ Ch. — Wrote School for the Harmonium;
Harmonium Primer (wovello). — Composi-
tions: Much church -music, many songs,
and pf.-pes.; also numerous operettas for
German Reed's entertainments at St. George's
Hall, among them being Foster-brothers,
Doubleday's will, and A Tremendous Mystery
(books by F. C. Burnand); The Artful
Automaton, and A Strange Host (books by
A. Law); Grimstone Grange and A Christmas
Stocking (books by G. a Becket) ; The Natu-
ralist (book by C. Carr). These were his
most popular works.
Hall, Marie [Mary Paulina], b. New-
castle-on-Tyne, England, April 8, 1884.
Talented violinist, pupil of her father and
Miss Hildegard Werner. As a small child,
she used to play to her father's harp-accom-
paniment in the streets of Bristol; at 10 she
had mastered Bach's sonatas. Her talent
finding recognition, she was aided to study
under Johann Kruse in London, and at 15
won the first Wessely Exhibition at the R.
A. M. On Kubelik's recommendation she
was sent in 1901 to Sevclk, at Prague, and
in one year was considered ready for public
playing; her appearances in Prague (debut
Nov., 1902), Vienna and London were
successful beyond expectation. Since then
she has toured Great Britain, Germany,
Canada, Australia, New Zealand and the U. S.
Hall, Walter Henry, b. London, Apr. 25,
1862. From 1877-81 he was a pupil at the
R. A. M.; came to America in 1883; 1884,
org. and choirm. at St. Luke's ch., German-
town, Pa.; 1890, at St. Peter's, Albany; at
St. James', New York, 1896-1913. In 1893
he founded the Brooklyn Oratorio Soc.,
which he has cond. since; cond. of Musurgia
Soc., 1889-1906; of the Mozart Soc. since
1913; app. lecturer on music and cond. of
354
HALLE— HALLWACHS
the University Chorus at Columbia Univ. in
1909; Prof, of choral music in 1913. He is
a specialist in the training of boys' choirs;
comp. of mus. services, anthems, etc.; has
publ. Essentials of Choir-Training (1907).
Halle. See Adam de la Hale.
Halle, Johann Samuel, b. Bartenstein,
Prussia, 1730; d. Jan. 9, 1810. Professor of
history at the Berlin military school. Author
of Theoretische und praklische Kunst des
Orgelbaus (1779; also in vol. vi of his Werk-
sldtte der Kunste; Brandenburg, 1799).
Halle1, (Sir) Charles (real name Karl
Halle), renowned pianist and conductor; b.
Hagen, Westphalia, Apr. 11, 1819; d. Man-
chester, Engl., Oct. 25, 1895. Son of the
town Kapellm. , he was an infant prodigy.
St. w. Rinck at Darmstadt, 1835. In 1836,
went to Paris, where he made a brilliant
reputation, and for twelve years was in
friendly association with Cherubini, Chopin,
Liszt, Kalkbrenner, etc. The Revolution of
1848 drove him to London, where he repeated
his Parisian success, and became a fashionable
teacher. In 1853,. was dir. of the 'Gentle-
men's Concerts,' Manchester; in 1857, est.
there the subscription-concerts, with the
famous 'Charles Halle's Orchestra.' His
chief activity lay in Manchester, but he was
closely connected with the London Popular
Concerts, gave Beethoven recitals as early
as 1861, performing all B.'s sonatas in eight
matinees, and in 1880 gave orch. concerts
in London, producing Berlioz's Faust. In
1876 he cond. the 2d grand triennial festival
at Bristol. In 1890 and 1891 he visited
Australia with his wife (nSe. Neruda),
whom he married in the year of his knight-
hood, 1888. In 1884 Edinburgh University
conferred on him the hon. degree of Mus.
Doc. — Works: Several comps., and a method,
f. pf.— Cf. L. Engel, From Handel to HallS
(London, 1890); C. E. and M. Halle, The
Life and Letters of Ch. H., being an auto-
biography (London, 1896).
Hall6n', Anders, notable Swedish comp.,
b. Gotenburg, Dec. 22, 1846. Pupil of
Reinecke (Leipzig, 1866-68), Rhemberger
(Munich, 1869), Rietz (Dresden, 1870-1).
Cond. of the Musical Union, Gotenburg,
1872-8, also 1883-4, in the interim living
at Berlin; 1884-92 in Stockholm as teacher,
and cond. of the Philh. Concerts; 1892-7
cond. of Royal Opera at Stockholm; 1901-7
cond. of the South-Swedish Philh. Soc. at
Malmo; since 1908 prof, of comp. at the
Stockholm Cons, and mus. critic of 'Nya
dagligt Allehanda.' He is Knight of the
Order of the North Star, of Wasa and of
Danebrog (Danish); member of the Stock-
holm Academy. — Works: The operas Harold
Viking (Leipzig, 1881), Haxfdllan (Stock-
355
holm, 1896), Valdemarsskatten [The Treasure
of Waldemar] (ib., 1897), Valborgsmdssan
[Walfmrgis Night] (ib., 1902); 2 other operas,
Gemmianus and Nydrsopera, have not been
prod. ; a Christmas Oratorio. For soli, ch. and
orch.: Om pagen och kungadottern [The Page
and the Ktng's Daughter); Dromkungen och
hans kdresta [Dream-king and His Love],
Trollslottet [Goblin's Fate), Styrbjorn Starke,
Julnatten [Christmas Eve], Sweden, Frid
[Peace], Dionysos. For orch. : The symphonic
poems En sommarsaga [A Summer Tale],
Toteninsel, Sphdrenkldnge; 4 Suites; 2 Rhap-
sodies; an overture, Frithjof och Ingeborg; a
romance f. violin and orch.; a pf. -quartet;
songs.
Haller, Michael, church-comp. ; b. Ncu-
saat (Upper Palatinate), Tan. 13, 1840; d.
Ratisbon, Jan. 4, 1915. Educated at Matten
monastery, and at the Ratisbon seminary
for priests. Took holy orders in 1864, st.
sacred music under Scnrems, and was app.
f refect of the Ratisbon Cathedral Choristers'
nstitution. Kapellm., in succession to
Wesselack, at the 'Realinstitut' in 1866,
and teacher of vocal comp. and cpt. at the
school of church-music. — Works: 14 masses,
motets a 3-8, psalms, litanies, a Te Deum;
melodramas, string-quartets, etc. Completed
the third-choir parts of six comps. a 12, of
Palestrina, which had been lost (vol. xxvi
of the complete edition). Pedagogic writings:
Vademecum fur den Gesangsunterrickt (1876;
12th ed. 1910); Kompositionslehre fur den
paiyphonen Kirchengesang (1891); Modulation
%n den Kirchentonarten; Exempla polyphoniae
ecclesiasticae (in modern notation, with ex-
planatory notes); also contributed historical
articles to Haberl's 'Kirchenmusik. Jahrb.'
Hall'8tr5m, Ivar, Swedish dram, comp.;
b. Stockholm, June 5, 1826; d. there Apr. 11,
1901. St. law; became private librarian to
the Crown Prince, the present King of
Sweden. In 1861, succeeded Lindblad as
dir. of the school of music. Works exhibit
strong national characteristics; Hertig Magnus
(Stockholm, 1867), his 1st opera, w. 20 nos.
in minor keys, was .coldly received, but suc-
cess was achieved ' with Mountain King
(1874), Bride of the Gnome (1875), Viking?
Voyage (1877), Nyaga (1855; book by Car-
men Sylva), Per Swinaherde (1887), the
romantic opera Granada's Daughter (Stock-
holm, 1892) and Liten Karin (1897); he also
wrote the operettas The Enchanted Cat
(1869), Mjolnarvargen (1871), Silverringen
(1880), Aristoteles (1886), Hin ondes snaren
(1900); The Flowers, idyl f. soli, ch. and
orch. (1860, prize of Stockholm Musical
Union) ; several ballets and cantatas.
Hallwachs [hahl'vahks], Karl, b. Darm-
stadt, Sept. 15, 1870. Pupil of L. Thuille and
HALM— HAM BOURG
T. Rheinberger at the Kgl. Musikschule in
Munich; 1895-7, cond. of the Gesangverein
and Instrumentalvereinat Darmstadt; 1897-9,
Repetitor at the Wiesbaden opera; 1899-
1900, Kapellm. at the Stadtth. in Aachen;
1900-2, music dir. in Saarbrucken; since
1902, cond. of the Oratorio Soc. and 'Lieder-
tafel' in Kassel. A noteworthy comp. of
songs (Lieder tines fahrenden Spielmanns, op.
12; JO Gedichte von Meyer, op. 19; Lied des
Zwergen, op. 27; 5 Alte Weihnachtslieder, op.
32; etc.); has also written choruses for men's
and mixed voices, piano-pieces, and an opera,
Ramaka.
Halm, Anton, pianist, teacher, and comp.;
b. Wies, Styria, June 4, 1789; d. Vienna,
April 6, 1872. Until 1811, lieutenant in the
Austrian army. Settled in Vienna as piano-
teacher and comp.; was one of Beethoven's
intimate friends. — Publ. works: Mass; a
quantity of chamber-music (a sextet, string-
quartets, piano-trios, 'cello-sonatas, etc.) ; pt.-
sonatas, rondos, and many fine etudes.
Halm, August, b. Gross-Altdorf, Wart- '
temberg, Oct. 26, 1869. He abandoned the
study of theology, and entered the Kgl.
Musikschule in Munich, where he studied
under Abel, de Lang, Bruckner and Rhein-
berger. In 1903 he was app. mus. teacher at
the 'Erziehungsheim' in Haubinda; in 1906 he
taught in Wickersdorf; 1910-11, cond. of the
'Liedertafel' in Ulm, and music-teacher at
the high school there; since 1913 in same
capacities in Stuttgart. He has written a
Symphony in D m. for full orch.j do. for
string-orch.; a piano-concerto; a string-auar-
tet; piano-pieces; has publ. a Harmonietehre,
Von zwei Kulturen der Musik (1913), Die
Symphonie A. Bruckner s (1914).
Halvorsen, Johan, b. Drammen, Norway,
March 15, 1864. From 1884-6 pupil of
Lindberg (vln.) and Nordquist (theory) at
the Stockholm Cons. Having served a short
time as cone- master of the Harmonie at
Bergen, he went in 1888 to Brodsky in Leip-
zig; then toured as violin-virtuoso, was cone-
master of the Philh. Soc. at Aberdeen, and
taught 3 years at the Helsingfors Cons.
After further study under A. Becker (comp.)
in Berlin and C. Thomson (vln.) in Liege, he
returned in 1893 to Bergen as cond. of the
Harmonie; since 1899 cond. at the National
Th. in Christiania. — Works: Cantata for the
coronation of King Haakon; a violin-concerto;
3 suites for vln. and piano; incid. music to
Bjftrnson's Vasantasena and The King, Drach-
mann's Gurre, Eldegard's Fossegrimen, etc.
Hambourg, Boris, famous 'cellist, bro-
ther of Mark and Jan; b. Voroncsh, Russia,
Dec. 27, 1884. In 1891 his parents settled in
London, and there he began to study the pf.
with his father, Michael, but soon took up
the 'cello with Prof. Walenn, and decided to
choose that instrument. From 1898-1903 he
was a pupil at the Hoch Cons, in Frankfort
of Hugo Becker ('cello) and I. Knorr (comp.);
he made his debut, with striking success, at
the Tchaikovsky Festival in Pyrmont in
June, 1903, playing the Vars. on a Rococo
theme; the following winter he made an
extended concert- tour of Australia and New
Zealand. On his return he spent the summer of
1904 at Godinne with Ysajte, playing quartets
and profiting from the master s advice re-
garding interpretation; his London debut in
Nov. was followed by a tour of the British
Isles; the next winter he appeared in Berlin
and other German cities. By this time his
reputation was firmly established ; he created
a sensation in London (May and June, 19Q6)
by his series of five historical recitals illus-
trating the development of 'cello-music from
the earliest beginnings to the present day.
The next two years he spent touring Ger-
many, Belgium, Holland and France; in 1908
he toured South Africa. He made his Amer.
debut at Pittsburgh, Oct. 28, 1910, and has
since been heard frequently with orchestras
and in recitals. In 1911 he settled in Toronto,
Canada, where with his father and brother
Tan he founded the H. Cons., which in 1914
had a staff of 50 instructors. After his father's
death, in 1916, he gave up the Cons, and
settled in New York. He has edited a coll. of
unknown 'cello-pieces by Italian composers of
the 18th cent., which he discovered in various
libraries (all performed in his historical series).
Hambourg, Jan, distinguished violinist;
brother of preceding; b. Voronesh, Russia.
Aug. 27, 1882. Pupil in London of Sauret and
Wilhelmj, then of H. Heermann (Frankfort),
O. Sevcik (Prague) and E. Ysa^e (Brussels);
debut in Berlin in 1905; has toured Germany,
France, the Netherlands, Great Britain and
America. With his brothers Boris and Mark
he made a most successful tour of England in
1909, appearing in 100 concerts as soloist and
ensemble player. Now living in New York
(1916). — See preceding article.
Hambourg, Mark, famous pianist, brother
of Boris and Jan; b. Voronesh, Russia, May
31, 1879. Pupil of his father, Michael;
debut in March, 1888, with the Moscow
Philh. Soc. Although he appeared frequently
as a child-prodigy, he continued his studies
with his father and then with Leschetizky in
Vienna. Here he began his regular career as
a virtuoso in 1895; tour of Australia, 1895-6;
Germany, 1897; first American tour, 1899-
1900; second, 1902-3; third, 1907-8; fourth,
1915-16; has also made 4 tours of Australia
and New Zealand, and 2 of South Africa. As
regards his touch and temperament he has
often been compared to Rubinstein; his
356
HAMBOURG— HAMILTON
memory is prodigious, since in his repertory
he has ready for performance almost 40
concertos and over 800 other pieces. On June
16, 1906, he made his one thousandth ap-
pearance. He is a naturalized British subject,
and resides in London. At various times he
has offered prizes for original piano- works in
certain forms, and performed the successful
works in his recitals. He has publ. a number
of piano-pieces (Vars. on a theme by Paga-
nini, Impromptu- Minuet, Romance, Espiegle-
rie, etc.). — See the articles on his brothers.
Hambourg, Michael, b. Yaroslav, Russia,
1856; d. Toronto, Canada, June 18, 1916.
Studied piano at the Cons, in Petrograd and
in Moscow; app. prof, of piano at Moscow
Cons, in 1880. The phenomenal success of
his son and pupil, Mark, in London in 1890
determined him to settle in the English
capital in 1891. There he lived as a successful
teacher until 1911, when he went to Toronto,
where, with his two sons Boris and Jan, he
founded the H. Conservatory.
Ha'mel, Eduard, violinist, pianist, and
comp.; b. Hamburg, 1811. Violinist for many
years in the orch. of the Grand Opera, Paris.
Returned to Hamburg in 1846 as teacher of
vln. and piano. — Works: Malvina, opera; pf.-
quartets, piano-pieces; ballads, songs, etc.
Ha'mel, Margarethe. See Schick.
Hamel [ah-mel'], Marie-Pierre, organ-
expert; b. Auneuil (Oise), France, Feb. 24,
1786; d. Beauvais, after 1870. Studied music
and vln. from an early age, but was self-
taught in the art of organ-building. In his
13th year, with schoolboy implements, he
manufactured a small organ of three octaves,
and at 14 years of age restored the 16th-cent.
organ of Clermont village ch. so satisfactorily
that he was specially complimented and
thanked by the churchwardens. Did not
follow the profession of organ-building, but
later rebuilt the grand organ of Beauvais cath.
(5 claviers, 84 stops). He was made 'Membre
de la Commission des Arts et des Monuments,'
and prepared reports on the states of nearly all
the principal organs in France for the Ministry
of Public Instruction and Worship. Founded
the Beauvais Philharmonic Society, one of
the first to introduce Beethoven's symphonies
in France. Author of a valuable work, Nou-
veau Manuel complet du facteur d'orgues, ou
traite thSorique et pratique de Vart de construire
les argues, contenant Vorgue de Dom BSdos et tous
les progres et perfectionnements de la facture
jusqu'd ce jour, precede d'une notice historique
sur Vorgue, et suivi d'une Biographic des prtn-
cipaux facteur s d' argues franqais ou Strangers
(3 vols., Paris, 1849; new ed. by J. Guedon,
1903; not merely a reprint, but completes the
history of the organ down to 1903).
Ha'merik (real name Hammerich), Aa-
ger, b. Copenhagen, Apr. 8, 1843. Son of a
prof, of divinity, who discouraged his musical
leanings, he instructed himself in the art, and
at 15 became the pupil of Gade, Matthison-
Hansen, and Haberbier. In 1862, piano-pupil
of Bulow at Berlin, and at Paris in 1864 met
Berlioz, who went with him to Vienna in
1866-7. H. was a member of the musical
jury of the Paris Exhibition, and received a
gold medal for his richly orchestrated Hymne
de la Paix. -He wrote two operas, Tovelille and
Hjalmar and Ingeborg, fragments of which
were performed in Paris and Copenhagen. H.
visited Italy in 1869, and at Milan (1870)
prod, an Italian opera, La Vendetta. In 1871
app. director of the Conservatory of the
Peabody Institute, and of the Pcabodv sym-
phony concerts, Baltimore, which positions he
held till 1898. In 1890 H. was knighted by
the King of Denmark; living in Copenhagen
since 1898. — Works (besides the operas men-
tioned): Der Wanderer (1872), a festival can-
tata to commemorate the new Swedish con-
stitution of 1866; an Oper ohne Worte (1883);
choral work, Christliche Trilogie (a pendant
to a Trilogie judaique brought out in Paris) ;
7 symphonies (op. 29, F, poetique; op. 32,
C m., tragique; op. 33, E, lyrique; op. 35, C,
majestueuse; op. 36, G m., sSrieuse; op. 38,
stoirituelle; op. 40, chorale [for m.-sop. solo and
ch.]); 5 Nordische Suiten for orch.; 'cello and
piano fantasia; concert romance for 'cello and
orch.; piano-quartet (op. 61); several can-
tatas, vocal pieces, etc.
Hamilton, Clarence Grant, b. Provi-
dence, R. I.> June 9, 1865. Studied piano with
A. Foote (Boston) and T. Matthay (London),
and theory with H. C. MacDougall and G.
W. Chadwick (Boston). Has filled various
positions as organist; since 1904 Assoc. Prof,
of music at Wellesley Coll.; also dir. of the
Commonwealth (summer) School of Music,
Boothbay Harbor; lecturer, and contrib. to
various journals; comp. of pf. -pieces, anthems
and songs. Has publ. Outlines of Music
History (1908; 2d revised ed. 1913), Piano
Teaching (1910), Sound and Its Relation to
Music (1911).
Hamilton, James Alexander, theorist
and prolific writer; b. London, 1785; d. there
Aug. 2, 1845. Son of a dealer in second-hand
books, his education was neglected; but
naturally intelligent, voluminous reading
from his father's stock supplied the lack of
instruction. Unfortunately of intemperate
habits, he was always in want, selling for a
few pounds the copyright of elementary
works which passed through numerous
editions. He died in utter misery. — Writings:
Modern Instruction for the Piano; Catechism of
Singing; Catechism of the Rudiments of Har-
357
HAMLIN— HAMMERSCHMIDT
tnony and Thoroughbass; Catechism of Counter-
point, Melody, and Composition; Catechism of
Double Counterpoint and Fugue; Catechism on
Art of Writing for an Orchestra and of Playing
from Score; Catechism of the Invention, Expo-
sition, Development, and Concatenation of Mus.
Ideas; A New Theoretical Musical Grammar;
Dictionary Comprising an Explication of
3J00 Italian, French, etc., Terms (3d edition
1848). Also translated Cherubim's Counter-
point and Fugue, Bail lot's MHhode de Violon,
Frdlich's Kontrabassschule, Joh. G. Vierling's
Anleitung sum Prdludieren, etc.
Hamlin, George, dramatic and concert-
tenor; b. Elgin, 111., Sept. 20, 1868. He re-
ceived his vocal training from various Ameri-
can and European teachers, but never had
more than a few lessons from any one. Having
made his debut in oratorid with the St. Louis
Choral Soc. (Mendelssohn's Hymn of Praise),
he devoted himself, with much success, to
concert-work, appearing in recital and with
the leading choral societies of the'U. S. He
was the first to introduce the songs of R.
Strauss to America; in fact, made propaganda
by giving recitals devoted exclusively to the
sones of that composer at a time when his
orchestral works were just beginning to
spread his fame. For some years H. lived in
Germany, where his success was not less
pronounced than it had been in his native
country. After his return to the U. S. he
made a successful d£but as a dramatic
singer in V. Herbert's Natoma in Philadelphia,
Dec. 15, 1911 (taking the place of John Mc-
Cormack, who had created Paul Merrill at
the premiere, Feb. 21); since then has been a
regular member of the company; is also trea-
surer and a director. In 1915 he offered a
prize of $200 for the best aria for tenor with
orch. by a resident composer of the U. S. ; the
prize was awarded to Carlo Minetti of Pitts-
burgh for his Mark Antony. So far H. has
been heard as Caravadossi (Tosca), Pinkerton
(Madama Butterfly), Gennaro (Jewels of the
Madonna), Florindo {Lovers' Quarrel), Edward
Plummer (Cricket on the Hearth) and Don
Jos6 (Carmen).
Ham'ma, Benjamin, comp., cond., and
teacher; b. Dreisslingen, Wurttemberg, Oct.
10, 1831. Studied comp. with Lindpaintner at
Stuttgart; went to Paris, thence to Rome.
Till 1872, cond. and teacher at Kdnigsberg,
then director of a new school of music at
Stuttgart.— Works: Opera, Zorrisko; piano-
piecesi part-songs, songs, etc.— His brother,
Ham'ma, Franz Xaver, pianist, comp.,
and org.; b. Wehingen, Wurttemberg, Dec.
3, 1835; was org. of the St. Anna Ch., Basel,
and dir. of the 'Cacilienverein' there, later
org. at Oberstadion, Wurttemberg; then
358
music-teacher at Metz.— Works: A vocal
method, org.-music, songs, etc.
Hammer, Heinrich Albert Eduard, b.
Erfurt, Thunngia, Oct. 27, 1862. From 1876-
80 he studied in Magdeburg with A. Pott
(vln.) and H Ritter (pf. and harm.); 1890-2
K Par!s ,w.lth Viardot-Garcia (singing) and
Marsick (vln.); 1890-4, leader of Amsterdam
Stnng-Quartet; 1894-6, cond. of 'Euterpe'
mixed chorus at The Hague; 1897-1901.
cond. of the Munic. Symph. Orch. in Bochum.
Westphalia; m 1901 he organized the Lau-
sanne Symph. Orch. and cond. its concerts till
1905; in 1903 he was cond. of the Berlioz
Centennial Fest. in Geneva, and during the
next two years conducted a series of Beetho-
ven/^J\hn? and Beri»oz Festivals in Berlin:
in 1905 he founded a Symph. Orch. in Gote-
borg, Sweden, and was the cond. for two
years. In 1908 he settled in Washington,
D. C, where he organized the W. Symph.
Urch. and the Friday Morning Music Club'
(women's vcs.), both having been under his
direction since then.— Works: An oratorio,
Der heilige Georg; a symphony in F m.; 3
Amer. Indian Rhapsodies for orch.; Sunset at
Sea for orch.; a national Ode, Columbia
Triumphant in Peace (1915), for soli, ch. and
orch.; a Te Deum and Magnificat; pieces for
vln. and pf., choruses, and songs.
xTHa,?/n!ei?ch' An$u,» b. Copenhagen,
Nov. 25, 1848, studied the 'cello under Ru-
dinger and Neruda, and after 6 years in the
RoEiX1"^11?; of Finance devoted himself
(1880) wholly to music, accepting the post oC
mus. critic for the 'Nationaltidende.' In 1892
lecturer, 1896 prof, of mus. science, at the
Copenhagen Univ.; 1898, founded the Col-
]^t\°.n ?l ^ncilent Mus- Instrs.— Writings:
Studies %n Old Icelandic Music (1890; Danish
and Germ.); The Cons, of Musical C. (1892;
m Danish ) ; Essay on the Music at the Court of
Christian IV ' (1892; in German, 1893); On the
Old Norse Lurs (1893; in German, 1894);
Descriptive Illustrated Catalogue of the Histor-
ical Musical Museum of Copenhagen (1909; in
Danish; Ger. tr. by E. Bobe, 1911); Medueval
Musical Relics of Denmark (1912; in Danish;
Engl. tr. by M. Williams Hamerik, 1912).— He
is the brother of Asger Hamerik, who changed
the spelling of his name.
Ham'merachmidt, Andreas, org. and
??mpoA <.?/*$ Bohemia, 1612; d. Zittau,
Oct. 29, 1675. Studied cpt. at Schandau with
cantor Stephen Otto. Org. of St. Peter's,
Freiberg, 1635, and from 1639 at Zittau,
where a statue was erected to his memory.
Ut marked originality, his numerous works are
of importance in the mus. history of the 17th
century. He was one of the earliest composers
to adopt the new Italian style of writing
elaborate instrumental accompaniments to
HAMMERSTEIN— HANCHETT
polyphonic vocal works. He wrote 2 vols, of
Dialogi oder Gespr&che zwischen Goit und einer
gl&ubtgen Seek (1645), Gcistliche Symphonien,
WeUliche Oden, Psalms, Motets, Madrigals,
etc., etc. H. Leichtentritt publ. a selection
in vol. xl of 'Dion, der Tonkunst' (1910).
Hammerstein, Oscar, b. Berlin, 1847.
In 1863 he came to the.U. S., and after a
checkered career as cigarmaker, inventor,
editor of a trade-journal, writer and composer
of operettas, became a theatrical manager. In
1888 he built the 'Harlem Opera House' in
New York, the first of a number of theatres
which he erected during the next twenty years
and managed with his own means and on his
own responsibility. For the avowed purpose
of giving opera in the vernacular at popular
prices he built the 'Manhattan Opera House/
but while it was in course of construction he
changed his mind. On Dec. 3, 1906, the house
was opened with Bellini's Puritani. Before
the season had progressed far it became clear
that the new undertaking would prove a
dangerous rival to the Metropolitan Opera
House, for H. had secured such artists as
Melba, Nordica, Tetrazzini, Bond, Dalmores,
Renaud, while Cleofonte Campanini, who was
both conductor and artistic director, secured
a perfection of ensemble that caused surprise
and admiration. For four years the bitterest
rivalry existed between the Manhattan and
Metropolitan companies, each straining every
nerve in order to reach the highest artistic
level. The sums paid to the stars soared to
fabulous heights, and the unlimited resources
of the older company forced H. to withdraw.
In April, 1910, he sold his interests to the M.
O. H. for $2,000,000, signing an agreement
to abstain for ten years from producing grand
opera in any territory in which the Tatter
might be operating. However, during those
four years of rivalry new standards were set;
the chorus, costumes and stage-setting were
vastly improved, and more new works were
brought out in that short time than had been
the case in the preceding fifteen years. The
novelties produced at the Manhattan were
Massenet's Thais, Jongleur de Notre-Dame,
Hhodiade, Sapho and GrisHidis, Debussy's
Pelleas ei MUisande, Charpentier's Loutse,
Blockx' Princesse d'Auberge and Strauss's
Elcktra, while the Metropolitan brought out
in the same period (1907-10) Strauss's Salome,
d'Albert's Tiefland, Puccini's Le Villi and
Girl of the Golden West, Catalani's La Watty,
Smetana's Bartered Bride, Franchetti's Germa-
nia, Bruneaui'sl'Atlaquedu Moulin, Tchaikov-
sky's Pique Dame, Converse's Pipe of De-
sire, Gluck's Armide and Humperdinck's
Konigskinder. — Even during his second sea-
son at the Manh. O. H. the enterprising im-
presario built the 'Philadelphia Opera House,'
which he opened on Nov. 17, 1908, bringing
his New York company there on certain
nights; but after two seasons he abandoned
the project and sold the house. Having sold
his interests to the M. O. H.f he transferred
the scene of his restless activity to London,
where he built the 'London Opera House,'
which was opened on Nov. 13, 1911, with a
gorgeous performance of Nouges' spectacular
Quo Vadis. Here he pursued the same policy
which had proved so successful in New York,
but London was not interested in French
opera, and the season ended in disaster. H.
sold the house, returned to New York, and,
forgetting his agreement with the M. O. H.f
promptly erected the American Opera House
in 1912. Contracts with the artists had "been
signed, and the opening date announced,
when the M. O. H. secured an injunction,
compelling H. to abide by his agreement.
The new house was opened in 1914 as the
'Lexington Theatre,' and has since been
devoted to the ordinary forms of theatrical
entertainment.
Ham'peJ, Hans, pianist and comp., born
Prague, Oct. 5, 1822; d. there March 30, 1884.
St. under Wenzel Tomaschek, and became
org. at Prague. Comps.: Requiem; pf.- works
(Das Entz&cken, op. 8; Lieb Aennchen, op.
10; three rhapsodies, op. 16; Clavierfuge,
op. 21; variations for left hand, op. 26; con-
cert-waltzes) ; etc.
Hanboys (or Hautboys), John, English
mus. theorist of the 15th century. Mus.
Doc., one of the first Englishmen on whom
the degree was conferred. Coussemaker
printed his Latin treatise, Summa super
musicam continuam ei discretam, in iris
'Scriptores,' vol. i, p. 416.
Hanchett, Dr. Henry Granger, b.
Syracuse, N. Y., Aug. 29, 1853. He studied at
the Syracuse Classical School and Univ. Med.
Coll., finishing his medical studies at the New
York Homoeopathic Med. Coll. (M. D., 1884);
began to study piano in 1859 with E. Held in
Syracuse, continuing with him for ten years;
studied theory with A. J. Goodrich, 1872-3;
continued his pianistic studies at various
times with W. H. Sherwood (1878-80), Th.
Kullak (1882-3), A. K. Virgil (1891-2) and
W. Mason (1894). Prof, of Mus. Hist., Anal-
ysis and Pedagogy at Metropolitan Coll. of
Mus., New York (1890-3); dir. of School of
Mus. Art, Adelphi Coll., Brooklyn (1900-3);
dir. of music, Nat. Park Seminary, Forest
Glen, Md. (1907-10); head of department of
theory and org., Brenan Coll. Cons., Gaines-
ville, Ga. (1913-5); lecturer on mus., Brooklyn
Inst. (1894-1903) and Board of Educ, New
York (1896-1909); has given numerous lec-
ture-recitals (300 in N. Y. alone) at insti-
tutes, clubs, colleges, etc.; org. at Ch. of the
Ascension, New York (1884-/) and Marble
359
HAND— HANDEL
Collegiate Ch. (1889-93); at Central Congr.
Ch., Brooklyn (1893-8); one of the founders
of the A. G. O. In 1873 he invented the
'Sostcnuto' or 'third' pedal now used on all
grand pianofortes. Has comp. an Easter
Anthem, Te Deum in G, Benedictus in Bb, etc.;
author of Teaching as a Science (1882), The
Art of the Musician (1905), An Introduction to
the Theory of Music (1916).
Hand, Ferdinand Gotthelf, b. Plauen,
Saxony, Feb. 15, 1786; d. Jena, March 14,
1851. Studied at Leipzig Univ. under the
celebrated Greek scholar G. Hermann. In
1817, app. prof, of Greek, etc., at Jena. —
Publ. Aesthetik der Tonkunst (Jena, 2 vols.,
1837^*1; 2d ed. Leipzig, 1846).
Han'del (or Handel, Handl). See Gall us.
Han'del (written Handel in Germany,
Hsendel in France; also spelt Hendel,
Hendeler, Handeler, or Hendtlcr, by various
branches of the family), Georg Friedrich
[at first spelt Hendel, in England; in his later
period, he himself adopted the quasi angli-
cized form of George Frideric Handel]; b.
Halle, Feb. 23, 1685; d. London, April 14,
1759. His father, a barber, afterwards sur-
geon and valet to the Prince of Saxe- Magde-
burg, at the age of 62 [Spitta] married a
second wife, Dorothea Taust, daughter of
the pastor at Giebichenstein, n. Halle. Their
second son was the composer. Handel was
intended for a lawyer; but, in spite of his
father's strenuous opposition, he secretly
taught himself to play the harpsichord. In
1692, at 7 years of age, his father took him
on a visit to an elder step-brother, valet at
the court of Saxe-Weissenfels; here the boy
gained access to the chapel-organ, and was
heard by the Duke, who insisted on his re-
ceiving a good musical education. Under
Zachau, org. of Halle cathedral, he studied
cpt., canon, and fugue, and practised the
oboe, spinet, harpischord and organ; he comp.
6 sonatas for 2 oboes and bass, became asst.-
organist to his teacher, and for three years
wrote a motet for every Sunday. In 1696 his
father took him to Berlin, where his remark-
able skill in playing and improvising on the
organ and harpsichord excited the admiration
of Ariosti and the jealousy of Bononcini. The
Elector Friedrich offered to defray the ex-
penses of his musical education in Italy; but
Handel's father declined, and returned with
the boy to Halle. The following year (1697)
the father died, and H., after completing his
studies at the gymnasium, entered Halle
Univ. (1702-3) as stud. jur. (in pious fulfil-
ment of his father's desire), occupying, at
the same time, the position of organist at
the Moritzburg Calvinistic cathedral, with a
salary of $50 a year. In 1703, however, he
went to Hamburg, where he was engaged as
violino di ripieno by Keiaer, the director of the
German opera. When Reiser was temporarily
obliged to hide from his creditors, H. took his
Elace at the harpsichord with such skill that
e was eng. permanently as clavecinist. His
friendship with Telemann, the composer, and
Mattheson, subsequently his biographer, was
begun here. He wrote a Passion to words by
Postel, and brought out two operas, Almira
and Nero (1705) ; he was also commissioned by
Keiser's successor, Saurbrey, to write Florindo
und Daphne (1708), an opera filling two
evenings. In 1706, with 200 ducats saved from
music teaching, H. went to Italy, visiting
Florence, Venice, Rome, and Naples. In
Florence (1707) he brought out his first
Italian opera, Rodrigo, with Tesi, the after-
wards famous singer, in the leading rdle. In
Venice (1708) Agrippina created a furore
and spread his fame throughout Italy. In
Rome he prod, two oratorios, La Risurrezione
and II Trionfo del Tempo e del Disinganno,
with the famous violin- virtuoso Corelli as
leader; and in Naples the serenata Act, Gala-
tea e Poliftmo% remarkable for its bass solo for
a voice of 2 octaves and a fifth in compass.
He made the acquaintance of Lotti, and Do-
menico Scarlatti, with whom he vied at the
harpsichord and organ, S. admitting his
supremacy at the latter. In Naples he met
Alessandro Scarlatti, whose works exercised
a strong influence on H. It was with regret
that, in 1709, he returned to Germany. He
accepted the post of Kapellm. to the Elector
of Hanover, replacing Steffani, who had
recommended him as his successor. In 1710
he visited England. His opera Rinaldo,
'composed' in 2 weeks by piecing together a
number of arias, etc., of earlier date, was
prod, at the Hay market Th. with such success
that he was pressed to remain in England, but
had to return to his duties. In 1712 he again
obtained leave of absence, with the proviso
'that he should engage to return in a reason-
able time,' and travelled to London. Two new
operas, // Pastor fido and Teseo, were not
specially successful; but an ode for the Queen's
birthday, and a Te Deum and Jubilate in
celebration of the Peace of Utrecht, won him
public and royal favor, with an annuity of
£200; and H. conveniently forgot his Hano-
verian position. On Queen Anne's sudden
death in 1714, however, the Elector of Hano-
ver became George I of England, and was
not inclined to regard his absentee Kapellm.
with favor. The intercession of Baron Kilman-
seck, and the production of the Water Mustek
by an orch. at a royal aquatic fete, procured
him regal grace, with a confirmation of his
annuity. In 1716 he went to Hanover in the
suite of the King, and remained till 1718. He
there comp. his one German oratorio, the
Passion, to the words of Heinrich Brockes'
360
HANDEL
•poem. In 1718 he returned to England, and
succeeded Pepusch as organist and composer
to the Duke of Chandos, for whom he
wrote his first great English oratorio,
Esther (1720), the secular oratorio Acis and
Galatea, and the Chandos Te Deums and
Anthems. He was also music-master to the
Prince of Wales' daughters, and wrote for
Princess Anne his 1st coll. of Suites de Pieces
for harpsichord [The Lessons], which include
the air with variations, The Harmonious
Blacksmith. He was app. dir. of the new
Royal Academy of Music, established chiefly
for the prod, of Italian opera, and in 1720
successfully brought out Radamisto, with
Senesino and the celebrated Margherita
Durantasti in the chief rdles (prod, in Ham-
burg, 1721, as Zenobia). His success excited
the envy of Bononcini and Ariosti, who had
also been invited to London, and who each had
a following among the supporters of the R.
Academy. Matters were not improved by
H.'s independent spirit, blunt manners, and
sharp tongue. Two factions arose, one sup-
porting Bononcini and the other H., the
rivalry extending to the singers on either
side. This went on for several years; although
H.'s work was the better, B. was more in
popular favor, and might have continued so,
but he was caught in an act of plagiarism
(v. Lotti) which compelled him to leave
England in humiliation (1731). During this
period, H. produced the operas Flortdante
(1721), OUonet Giulio Cesare, Flavio (1723),
Tamerlano (1724), Rodelinda (1725), Scipione,
Alessandro (1726), Admeto, Riccardo Primo
(1727), Siroe and Tolemeo (1728). In 1726 he
received letters of naturalization, and in
1727 comp. the 4 grand anthems for the
coronation of George II and Queen Caroline.
In 1729, after a visit to Germany and Italy,
H. associated himself with Heidegger, the
proprietor of the King's Theatre, and inaugu-
rated the season with Lotario, followed by
Partenope (1730), Poro and Etio (1731),
Sosarme and Orlando (1732), when the partner-
ship ended. In 1732 H. gave a special pro-
duction of his revised oratorio Esther, with
success, followed by Acts and Galatea. In
1733 he brought out, besides the above, the
oratorios Deborah and Athaliah, at Oxford,
where he publicly played the organ, and ex-
cited as much admiration by his performance
as by his works; he received the degree of
Mus. Doc. (hon. c). The same year, H.
undertook the sole management of opera, but
his manners and methods, a quarrel with his
principal singer, Senesino, and a raising of
prices, caused many of his chief subscribers
to suspend their support and start a rival
troupe, 'The Opera of the Nobility/ with
Porpora, and afterwards Hasse, as comp. and
cond. They took possession of the King's The-
atre, and Handel first went to Lincoln's Inn
Fields, and then to Covent Garden, but in
1737 failed, the rival house also having to
close for want of support. The operas of this
period were Terpsichore (1734), Ariodante and
Alcina (1735), Atalanta (1736), Arminio,
Giustino and Berenice (1737); the ode Alexan-
der's Feast [Dry den] was also prod, at Covent
Garden in 1736, and the revised Trionfo del
tempo e della verita in 1737. H.'s superhuman
efforts to hold his own, and his many dif-
ficulties during this period, caused a failing of
his strength; a stroke of paralysis incapacita-
ted one of his hands, - his brain was over-
taxed, and, by the urgent advice of his friends,
he went to Aix-la-Chapelle, whence he re-
turned to London in November, 1737, with
improved health. Heidegger had meantime
formed a new company from the ruins of the
two, and for this venture H. wrote several
operas: Faramondo, Serse (1738), Jupiter in
Argos (not perf.), Imeneo (1740), and Deida-
mia (1741). This last date marks a decisive
turning-point; he now abandoned stage-com-
position for the work to which he owes endur-
ing fame — oratorio. The oratorios Saul and
Israel in Egypt had been performed in 1739,
also another important work, the Ode for
St. Cecilia's Day, and, in 1740, the ode Voile-
gro, il penseroso, ed il moderate In 1741, at
the invitation of the viceroy of Ireland, H.
visited Dublin, and produced his immortal
Messiah on April the 13th, 1742. His cordial
reception in Ireland greatly compensated for
previous disasters. On his return to London,
he again became the popular favorite. The
Messiah was followed by Samson, the Det-
tingen Te Deum, Semele, Joseph (1743); Bel-
shaszar, and Heracles (1745). This year he was
again involved in monetary troubles, and a year
and a half elapsed before his Occasional Ora-
torio (1746) and Judas Maccabctus (1747)
were brought out; then appeared Joshua
(1748), Solomon (1749), Susannah (1749),
Theodora (1750), The Choice of Hercules
(1751), and Jephthah (1752; his last). In
1750, for the third time, H. had retrieved his
fortunes, and revisited his native country. In
1752, during the composition of Jephthah, he
was afflicted with failing eyesight, and under-
went three unsuccessful operations for cata-
ract, total blindness being the result. He con-
tinued his musical performances under the
direction of his pupil John Christopher Smith,
and accompanied his oratorios, on the organ,
up to 1759. On April 6, The Messiah was
Sven as the final performance of the season,
. presiding at the organ; on the 14th, the
Saturday between Good Friday and Easter,
he died. He was buried in Westminster
Abbey, where a monument by Roubillac
marks his grave.
H. had a commanding presence, and his
361
HANDEL
features were animated and dignified. His *
health was usually robust. Of fearless inde- *
pendence, he was of a choleric temperament,
and prone to forcible outbreaks, but he was
easily restored to good humor, and possessed a
fund of humor, and a ready wit. His liberality
and charitableness were renowned. He re-
mained unmarried, and was never known to
have fallen in love.
The grandeur and sustained power of H.'s
oratorio-style, the expressive simplicity of
his melody and the breadth and clarity of the
harmonic structure, form a wonderful and (at
his time) unexampled artistic whole. He is
unquestionably one* of the 'great masters.'
His Messiah took England, and after her the
rest of the musical world, by storm. At the
first London performance, .when the grand
'Hallelujah Chorus' rang out, the entire
audience rose like one man, carried away by
lofty enthusiasm: — thus originated the custom
of standing during this chorus. Many of the
treasures of Handel are locked to the genera!
public on account of the incomplete instru-
mentation of the original scores; Mozart,
Mendelssohn, Franz, Brahms, and others,
have provided additional accompaniments
to several of these works, thus rendering
possible their adequate performance. — Han-
del was peculiarly fortunate in coming to
England just as the ebb of English national
stage-music after the death of rurcell (from
whom H. learned much) was turning toward
the flood-tide of Italian opera. His own dra-
matic works, also strongly influenced by
Keiser in Hamburg and the two Scarlattis
in Italy, vie with the finest of the period,
and the best of them bear comparison with
his oratorios. Precisely contemporary with
J. S. Bach, he was quite outside the tatter's
sphere of influence, and no communication ex-
isted between them. Of purely instrumental
comps. H. wrote a considerable number; for
harpsichord: The Lessons, in 3 sets; 6 fugues;
4 minuets and a march; the Forest Mustek
(Dublin, 1742); short pieces; — for strings,
etc.: the Water Mustek (1715); the Fireworks
Mustek (1749); 4 sets of 6 organ-concertos
(1738, '40, '60, '61); three organ-concertos
(1797); numerous string-trios (sonatas); con-
certonein 9 parts, for 2 solo vlns., 'cello, oboe,
and string-orch. (1741); concerto for trumpets
and horns; do. for horns and side-drums
(MS.) ; sonata for 2 vlns. ; sonatas for vln., via.
and oboe; etc. — Many original MSS. of his
works he bequeathed to his amanuensis, John
Chr. Smith;, the latter's son, H.'s pupil,
presented them to George III. They are
stHl in Buckingham Palace library, and com-
prise 32 vols, of operas, 21 of oratorios, 7 of
odes and serenatas, 12 of sacred music, 11 of
cantatas and sketches, and 5 vols, of instru-
mental music. — In the Fitzwilliam Collection
at Cambridge are 7 vols, containing rough
drafts, notes and sketches for various works;
also a complete Chandos anthem, 0 praise
the Lord with one consent.
An edition of H.'s works in 36 vols., by-
Arnold, was publ. by command of George III
in 1786, but is incomplete and incorrect. A
monumental edition of his works, completed
in 100 vols., was issued (1856-94) by the
German Handel Society, under the editorship
of Dr. Chrysander (q. v.).
BIBLIOGRAPHY.— Biography: J. Mat-
theson, Grundiage einer Ehrenpforte, etc.
(Hamburg, 1740); J. Mainwaring, Memoirs of
the late G. F. Handel (London, 1760; Ger.
trans!., w. notes by Mattheson, 1761; French
transl. by Arnauld and Suard, 1778); W.
Coxe, Anecdotes of G. F. H. and J. Chr.
Smith (London, 1799); R. Clark, Reminis-
cences of H. (London, 1836); K. E. F6rste-
mann, G. F. H.'s Stammbaum (Leipzig, 1844);
H. Townsend, An Account of H.'s visit to
Dublin (Dublin, 1852); V. Schoelcher, The
Life of H. (London, 1857); A.E.Stothard, #.;
His Life, Personal and Professional (London,
1857); M. Delany, Autobiogr. of Mary Gran-
ville (London, 1862; it contains a detailed
account of H.'s death); F. J. van Kempen,
G. F. H Een Leven (Leyden, 1868); J. Mar-
shall, H. (London, 1881); W. S. Rockstro,
Life of Handel (London, 1883); J. O. Opel,
Mitteuungen %ur Geschichte der Familie des
TonkUnsUers H. (Leipzig, 1885); F. Volbach,
H (Berlin, 1897; augm. ed. 1906); F. C. A.
Williams, H. (London, 1901); W. H. Cum-
mings, H. (London, 1905); J. C. Hadden,
Life of H. (London, 1905) ; R. A. Streatfeild,
H. (London, 1909); R. Rolland, H. (Paris,
1910); H. Davey, H. (London, 1912); B.
Turovius, G. F. H. (Stuttgart, 1912); M.
Brenet, H. (Paris, 1913). The most elaborate
biogr. is that of Fr. Chrysander, G. F. H.
(Leipzig, 1858—67); 3 vols., bringing the life
down to 1740, had appeared, when the work
connected with the great H. edition so en-
grossed the author that he never found time
to complete the biogr. ; Max Seiffert has
undertaken to finish the book in accordance
with Ch.'s intentions. See also the art. H.t by
J. Fuller-Maitland and W. B. Squire, in the
Diet, of Natl. Biogr.' — Criticism, Appre-
ciation: J. M. Weissebeck, Der grosse
Musikus H. im Universalruhme (Nuremberg,
1809); H. Chorley, H.-Studies (2 vols., Lon-
don, 1859); G. Gervinus, H. und Shakespeare
(Leipzig, 1868); R. Franz, Vber Bearbeitungen
dlterer Tonwerke, namentlieh Bachscher und
Handelscher Vokalwerke (Leipzig, 1871; repr.
by R. Bethge as Ges. Schriften iiber die Wieder-
belebung Bachscher u. Handelscher Werke,
ib., 1910); E. Frommel, H. und Bach (Berlin,
1878); Fr. Chrysander, H.'s biblische Oratorien
in geschichtlicher Betrachtung (Hamburg,
362
HANDL— HANSLICK
1897); G. Vernier, VOratorio biblique de
H. (Cahors, 1901); J. A. Fuller-Maitland.
The Age of Bach and H.t vol. iv of The Oxford
History of Music' (Oxford, 1902); J. Garat,
La sonate de H. (Paris, 1905); S. Taylor, The
indebtedness of H. to works by other composers
(Cambridge, 1906); J. R. Carreras, EX oratorio
musical aesde su origen hasta nuestros dias
(Barcelona, 1906); P. Robinson, H. and his
orbit (London, 1908); A. Sobering, Geschichte
des Oratoriums (Leipzig, 1911); R. A. Streat-
feild, The Granville Coll. of Handel MSS. (in
'Mus. Antiqu.', July, 1911). See also F. J.
Crowest, H. ana Engl. Music (in vol. v of
Traill's 'Social England,' London, 1893-8).
Handl. See Gallus.
Hand 'rock, Julius, teacher and comp.; b.
Naumburg, June 22, 1830; d. Halle, Jan. 5,
1894. Wrote instructive piano- works.
Ha'nel von Cro'nenthal, Julia, note-
worthy composer; b. Graz, 1839. Wife of the
Marquis d'Hericourt de Valincourt. Studied
in Paris. — Works: 4 symphonies, 22 piano-
sonatas, string-quartet, nocturnes, songs
without words, dances, marches, etc. At
the Paris Exhibition of 1867, she was awarded
a medal for her orchestral arrangements of
Chinese melodies.
Hanf'stangel, Marie (nee Schrdder),
celebrated dramatic soprano; b. Breslau, April
30, 1848. Studied at Baden-Baden with Mme.
Viardot-Garcia. In 1866, eng. at the Th.-
Lyrique, Paris; debut as Agatne in Der Frei-
schutz, Feb. 27, 1867. On the declaration of
the Franco-German war, returned to Ger-
many, and was eng. at the court opera,
Stuttgart (1871). Married in 1873. Studied
again in 1878, at Florence, with Vannucihi. In
1882, eng. at the Stadttheater, Frankfort;
1884-6, at the M. O. H.; then returned to
Frankfort and retired 1897.
Ha'nisch, Joseph, organist, b. Ratisbon,
March 24, 1812; d. there Oct. 9, 1892. Studied
with his father, and Proske, with whom he
went to Italy as assistant (1834-6). From
1839, org. of Ratisbon cath., being also ore.
and choirmaster of the 'Niedermunstcrkirche ;
and app. teacher at the School of Sacred
Music in 1875. — Works: Missa auxilium
Christianorum; Quatuor hymni pro festo cor-
poris Christi; Funf lateinische Predigtgesdnge;
organ-accomp. to the Graduate and Vesperale
Romanum (with Haberl); organ-pieces, etc.
Hanlce, Karl, dram, comp.; b. Rosswalde,
Sc hies wig, 1754; d. Hamburg, 1835. Self-
taught, at 22 yrs. of age he was app. Kapellm.
to Count Haditz, at Rosswalde. Married
his pupil, the distinguished singer Stormkin.
In 1786, court Kapellm. at Schleswig. In
1789, his wife died; in 1791, he married
Berwald, another fine singer, and founded a
music-school at Flensburg, where he became
cantor and director. Finally, city music
director in Hamburg. — Comps.: Operas,
ballets, prologues, epilogues, incidental
mus. to plays; orchl. symphonies, concertos,
instrl. sextets, quartets, trios, duets (about
300 f. 2 horns), vln. and flute solos, church-
music, songs, etc.
Hanon [ah-ndhn'], Charles-Louis, b.
Rem-sur-1'Ajre, 1820; d. Boulognc-sur-Mcr,
1900. Org. and pianist; wrote some valuable
studies for pf., Methode Slementaire de piano,
Extraits des chefs-d'auvre des grands mattres,
and especially Le pianiste-virtuose (60 pro-
gressive studies). Among mus. curiosities
must be counted his Systetnc nouveau. . .
pour apprendre & accompagner tout plain-
chant. . . sans savoir la musique.
Hansel, Peter, b. Leipa, Silesia, Nov. 29,
1770; d. Vienna, Sept. 18, 1831. In 1787 he
was vlnst. in the orch. of Count Potemkin
in Petrograd; 1791, concert-master of Coun-
tess Lubomirski in Vienna; 1802-3, in Paris;
then again in Vienna. He was a prolific
composer of' chamber-music, which is well
written, but without originality or depth.
He. publ. 55 str.-quartets, 4 quintets, 6
trios, 3 quartets for ft., cl., horn and bassoon,
15 vln. -duets, solo- pes. f. vln. and pes. f. pf.
Hansen, (Emil) Robert, fine 'cellist; b.
Copenhagen, Feb. 25, 1860. He received
his first instruction from his father, then
st. with F. Neruda at the Copenhagen Cons,
and with Fr. Griitzmacher in Dresden; from
1877-89 member of the court orch. in Copen-
hagen. After a two years' stay in London
he settled in 1891 in Leipzig, where he
joined the Gewandhaus orch. and became
prof, at the Cons. Has comp. an opera,
Frauenlist (Sondershausen, 1911) ana an
operetta, Die wilde Komtesse (Eisenach,
1913); a symphony; a symph. suite f. strings
and 2 horns; a pf. -concerto; a ycl.-concerto;
an overture, Pnddra; a pf. -quintet; sonata
for vl. and pf.; etc.
Hans'lick, Eduard, influential writer and
mus. critic; b. Prague, Sept. 11, 1825; d.
Baden, n. Vienna, Aug. 6, 1904. Stud, law
at Prague and Vienna; took degree of Dr.
jur. in 1849, qualifying himself for an official
position. But he had already studied music
under Tomaschek at Prague; from 1848-9
was mus. critic for the 'Wiener Zeitungr,' and
soon adopted a literary career. His first
•work, Vom Musikalisch-Schonen: ein Beitrag
zur Revision der Aesthetik der Tonkunst
(Leiprig, 1854; 11th ed. 1910; Fr. trl., 1877;
Span. trl. 1879; Ital. trl., 1883; Engl, trl.,
1891; Russ. trl., 1895); has done more to
discredit silly sentimentalism in mus. criti-
cism than any other book. Its leading
idea is, that the the beauty of a mus. comp.
363
HANSMANN— D'HARCOURT
lies wholly and specifically in the music
itself; i. e., it is immanent to the relations
of the tones, without any reference whatever
to extraneous (non-musical) ideas: Briefly,
music expresses, in itself, musical ideas, and
can express no others. Such being his
view point through life, it follows logically
that he could not entertain sympathy for
Wagner's art; his violent opposition to the
music -drama was a matter of profound con-
viction, not personal spite. On the other
hand, he was one of the very first and most
influential champions of Brahms. From
1855-64 H. was musical editor of the 'Presse';
thereafter of the 'Neue freie Presse'; he
became lecturer on mus. hist, and esthetics
at Vienna Univ., prof, extraordinary in
1861, and, in 1870, full Drofessor, retiring
1895, and succeeded by G. Adler. At the
Paris Expositions of 1867 and 1878, and the
Vienna Exp. of 1873, H. was a juror in the
department of music. What gives his
writings permanent value is the sound
musicianship shown everywhere and their
brilliant, masterly style. — Works: Gesckickte
des Concertwesens in Wien (1869); Aus dent
Concertsaal (1870; 2d ed. 1896); Die moderne
Oper (1875), followed by 8 vols, giving a
fairly comprehensive view of the development
of opera from Gluck to 1900: ii. Musikalische
Siaiionen (1880); iii. Aus dent Opernleben der
Gegenwart (1884); iv. Musikalisckes Skizzen-
buck (1888); v. Musikalisckes u. LiUerarisckes
(1889); vi. Aus dent Tagebuck tines Musikers
(1892); vii. Funf Jakre Musik (1896); viii.
Am Ernie des Jakrkntderts (1899); ix. Aus
neuer und neuester Zeit (1900). Suite, Auf-
s&tze uber Musik u. Musiker (1885), Konzerte,
Komponisten u. Virtuosen der letzten fiinfzekn
Jakre [1870S5] (1886); Aus meinent Leben (2
vols., 1894). All these works have passed
through several editions. He also edited
Th. Billroth's posthumous essay, Wet ist
musikalisch? (1895; 4th ed. 1912); and
wrote the letterpress for the illustrated
Galerie deutscher Tondichter (1873), and
Galerie franz. u. Hal. Tondichter (1874).
Hansmann, Victor, b. Warasdin, Croatia,
Aug. 14, 1871; d. Berlin, Dec. 12, 1909.
—Operas Enoch Arden (Berlin, 1897), Die
Nazarener (Brunswick, 1906), Unter der
Reicksfahne (Hohentwiei, 1906) ; and songs.
Hanssens, Charles-Louis-Joseph (atne~),
dram, comp.; b. Ghent, May 4, 1777; d.
Brussels, May 6, 1852. St. w. Vauthier,-
Verheym, and Ferny (Ghent); in Paris w.
Berton. App. chef d'orchestrc of an amateur
theatre at uhent, afterwards of a company
fiving operatic performances in Amsterdam,
Rotterdam, and Utrecht. In 1804, went to
Antwerp and Ghent in the same capacity.
In 1825, invited to Brussels as orchl. dir.
of the Th. de la Monnaie; in 1827, dir. of
the Royal orch.; in 1828, app. Inspector of
the Cons. He lost both positions through
the political events of 1830, but in 1835-38
was again opera-conductor, and also in
1840, when he was ruined through the
failure of the enterprise. — Works: Operas,
masses, and sacred vocal music.
Hanssens, Charles-Louis (cadet), violon-
cellist, and distinguished Belgian comp.; b.
Ghent, luly 12, 1802; d. Brussels, Apr. 8,
1871. At ten, member of the orch. of the
National Th., Amsterdam, and at twenty
was app. vice-kapelmeester. In 1824, 'cellist,
later asst.-cond., of the orch. in the Brussels
Th. In 1827, app. prof, of harm, at the
Cons. The political events of 1830 also
caused his retreat to Holland. In 1834, solo
'cellist at the Th6atre Ventadour, Paris,
later becoming comp. and asst.-cond. In
1835, directed French opera at The Hague,
again in Paris, then at Ghent. From 1848^69,
cond. Th. de la Monnaie, Brussels, also
(1851-4) dir. of the Opera, and prof, at the
Conservatory. Prolific composer. — Works:
8 operas, ballets, symphonies, overtures,
orchl. fantasias, 'cello-, vln.-, clarinet- and
pf. -concertos, string-quartets, Syntpkonie con-
certante f. clar. and vln., masses, cantatas,
a capp. choruses, etc. — Cf. L. de Burbure,
Notice sur C.-L. H. (Antwerp, 1872); and
L. Bawolf, C.-L. H. (Brussels, 1895).
Harcadelt. See Arcadelt.
(THarcourt [dahr-koor'J, Eugene, b. Paris,
1855. Pupil at Paris Cons, of Savard, Durand
and Massenet (1882-6), then of A. Schulze
and W. Bargiel in Berlin (until 1890). In
1892 he built the 'Salle d'Harcourt' in Paris,
and inaugurated the 'Concerts eclectiques
populaires,' which, however, came to an
end after the third season; in 1900 he tried
to revive them as 'Grands Oratorios a l'feglise
St.-Eustache.' In 1906 he was sent by the
govt, to study musical conditions in Italy,
and the following year he spent on a similar
mission in Germany and Austria; at the
Panama Expos, of 1915 d'H. and Saint-
Saens represented the French govt., while
the former was also commissioned to report
on mus. conditions in the U. S. He wrote
an opera, Le Tasse (Monte Carlo, 1903), a
mass in E; 2 ballets (in collaboration with
del 1' Era and Germain); 3 symphonies; 2
str.-quartets; cantatas and motets. His
Syntpkonie neo-classique (1907) was written
as a protest against formlessness and to
prove that modern * impressionism can be
expressed in the classic forms. He transl.
into French Schumann's Genoveva and (with
Ch. Grandmougin) Weber's Freisckutz; has
publ. Quelques remarques sur V execution de
Tannkduser a VOphra (1895), Apercu analy-
364
D'HARDELOT— HARRIS
iique delal™ dla P"" symphonic de Beethoven
(1898), La musique actuelle en ltalie (1907),
La musique actuelle en AUemagne et en
Autriche-Hongrie (1908), La musique actuelle
aux Etats Scandinaves (1910).
d'Hardelot [dahr-d'loh'], Guy (Mrs. W. I.
Rhodes, nee Helen Guy), contemporary
composer of charming songs (chiefly French;
a few to Engl, texts, and all with English
transl.), was born at the Chateau d'Hardelot,
about 7 miles from Boulogne-sur-Mer,
France. At the age of 15 she went to Paris,
studying at the Cons, with R. Maury;
GounocT and Maurel became interested in
her songs, and advised her to publish them.
In 1896 she made a six months' tour of the
U. S. with Calve. Since her marriage she
has been living in London. With her first
publication, the melancholy and dramatic
Sans toi, her artistic reputation was estab-
lished. The long list of her lyrics, ranging
from gayest humor to pathetic sentiment,
includes Sous les branches , A voust Chanson
de la miet The Bee's Courtship, Avec toil
Valse des libellules, Tristesse, True-love Land,
Almond-blossoms, etc. Calve, Melba, Plan-
con, and others, have made striking concert-
success with these songs. Her sole attempt
in larger forms is the operetta Elle et Lui.
Harding, Henry Alfred, b. Salisbury.
July 25, 1856. Pupil of Abram, Keeton and
Corfe; Mus. Doc., Oxon., 1882; was org. at
Sidmouth; now (1916) org. and choirm. at
the principal ch. in Bedford; comp. of Psalm
CVI, a morning service and other ch.-mus.,
songs and pf.-pcs.; has publ. Analysis of
Form (1890) and Musical Ornaments (1898).
Haring, Camillo, b. Asch, n. Basel, June
4, 1870. Pupil of Bagge at the Allgem.
Musikschule in Basel, and at the Dresden
Cons, of Schulz-Beuthen, Th. Kirchner and
K. Fischer; since 1900 org. in Zurich. Has
written numerous choruses; pieces for organ,
for pf., and for pf. and vln. (op. 63, Adagio).
Harker, F. Flaxington, b. Aberdeen,
Scotland, Sent. 4, 1876. Pupil of G. C. Dawson
and A. W. Marchant; while acting as sub-
org. at York Minster he continued his studies
with T. Tertius Noble, at that time the org.
there. In 1901 he came to the U. S. as org.
and choirm. of All Souls' Ch., Biltmore, N.
C. ; resigned in 1904 and went to St. Martin's
le Grand in New York, but three years later
returned to his former post in Biltmore;
since 1914 org. and choirm. at St. Paul's,
Richmond, Va.; also cond. of the Male
Choral Soc. and the St. Cecilia Chorus
(women's vcs.). Has written 2 cantatas, The
Star of Bethlehem, op. 42, and The Cross, op. 50;
several services, anthems, sacred and secular
songs; choruses for men's and do. for women's
voices.
Hark'nes. Sec Senkrah.
Harm'ston, John William, b. London,
1823; d. Lttbeck, Aug. 26, 1881. Studied with
Sterndale . Bennett, and in 1848 settled as
. music-teacher in Ltibeck. — Much piano- music
(op. 193, Le jet d'eau; op. 211, Les Naiades;
etc.); pieces for violin and 'cello; songs, etc.
Harper, Thomas, trumpet- virtuoso; b.
Worcester, Engl., May 3, 1/87; d. London,
Jan. 20, 1853. St. w. Elvey; entered the
service of the East Indian Company for 18
yrs., and was app. their mus. inspector for
life. From 1821, principal soloist at Drury
Lane Th., the King's Th., Ital. Opera, Phil-
harmonic and Ancient Concerts, etc. — Left
3 sons: Thomas (1816-98) who succeeded
him; Charles, distinguished horn-player; and
Edward, pianist.
Har'raden, Samuel, b. Cambridge, Engl.,
1821 (?); d. Hampstead, July 17, 1897. Pupil
of Walmisley; 1841, org. of St. Luke's, Man-
chester; in 1846, at the^Old Mission Church/
Calcutta. His influence was great on the mus.
life of the town; he founded the first Glee
Club, became an enthusiastic student of
Hindoo music, prof, at the Hindoo Coll. of
Mus., and at the Free School. For his attain-
ments in Hindoo music he was made Mus.
Doc. by the Bengal R. Acad, of Musk.
Harriers- Wippern, Luise {nee Wippern),
operatic singer; b. Hildesheim, 1837; d. Gdr-
bersdorf, Silesia, Oct. 5, 1878. Debut 1857,
Royal Opera, Berlin, as Agathe in Der Frei-
schutz. Also sang in Vienna and London, but
permanently engaged for Berlin. Her superb
voice was heard to advantage both in dra-
matic and lyrical parts. In 1868, after long
illness, she retired with a pension.
Harris, (Sir) Augustus, b. Paris, 1852; d.
Folkestone, End., June 22, 1896. One of the
most celebrated and successful impresarii of
the 19th century. An actor by profession,
he was engaged, soon after his debut as
Macbeth, at Manchester, 1873, by Col.
Mapleson as stage-manager. In 1879 he
leased Drury Lane Th., where he won bril-
liant success with spectacular plays and panto-
mimes; in 1887, he took up Italian opera, and
secured control successively of H. M.'s Th.,
Cov. Garden, the Olympia, and various pro-
vincial stages. He also cultivated French,
German and English opera with almost uni-
form success. He introduced to the Engl,
public many of the most famous singers of
the day (Melba, Nordica, Hauk, Maurel,
the de Reskes, etc.), and all operas were
mounted with great care.
Harris, Clement Hugh Gilbert, b.
Wimbledon. July 8, 1871; d. (in battle) Pen-
tepigadia, April 23, 1897. Excellent pianist,
pupil at Hoch's Cons, in Frankfort of Clara
Schumann; wrote a symph. poem, Parodist
365
HARRIS— HARTEL
Lost; Festival March for orch.; Romanza for
vln.; do. for cl., vcl. and piano; concert -
Etudes and other works for piano; songs {Songs
of the Sea, etc.).
Harris, (William) Victor, song-composer;
b. New York, April 27, 1869. Pupil of Charles
Blum (pf.), 1879-86; of Wm. Courtney (voice),
1887-91; of Fred. K. Schilling (harm, and
comp.), 1890-92; and of Anton Seidl (conduct-
ing), 1895-96. From 1889-95, org. at various
churches in Tuxedo Park, Brooklyn, and New
York; 1893-4, cond. Utica Choral Union;
1892-5 repetiteur and coach at Metropolitan
Opera, N. Y.; 1895-6, asst.-cond. to Seidl at
the Brighton Beach Summer Concerts. Since
1902, cond. St. Cecilia Club, New York; now
(1917) living in New York as a vocal instruc-
tor, cond. and composer. He has publ. about
100 songs, many of which enjoy considerable
vogue; also a number of choruses for men's,
women's and mixed voices. In MS. lie has
several orchl. works.
Harrison, Annie Fortescue (wife of Lord
Arthur William Hill), English composer. —
Works: The Lost Husband, operetta (London,
1884); a cantata, The Ferry-girl (St. George's
Hall, 1883); many patriotic songs, and others;
piano-music.
Harrison, Beatrice, distinguished violon-
cellist; b. Roorkee, India, Dec. 9, 1892. Pupil
of Prof. W. E. Whitehousc at the R. C. M.,
where at the age of 10 she won the gold medal
of the Assoc. Bd. of the R. C. M. and R. A. M.
in open competition with 4,000 aspirants
(mostly adults). Although she made a most
successful appearance with the Queen's
Hall Orch. (H. J. Wood) on May 29, 1907,
she did not begin her career, but went to
Berlin, where she was for almost 3 years a
pupil of Hugo Becker at the 'Kgl. Hocnschule
fur Musik,' graduating as the winner of the
coveted Mendelssohn Prize (for the first
time awarded to a 'cellist). She then made
her debut in the fall of 1910 in Berlin with
pronounced success; since then she has been
touring Europe, mostly in company with her
sister May, the violinist; from 1913-15 she
made an extensive and very successful tour
of the U. S. In spite of her youth she has
succeeded in winning a place among contem-
porary masters of the 'cello. She plays a
fine Petrtis Guarnerius.
Harrison, May, fine violinist; b. Roorkee,
India, March, 1891. Pupil at the R. C. M.
of E. Arbos and A. Rivarde; like her sister
Beatrice, she won at the age of 10 the gold
medal of the Assoc. Bd. of the R. C. M. and
R. A. M. over 3,000 competitors; she then st.
for some time under L. Auer in Petrograd;
made her debut in 1904 in London with
• marked success, and has since toured Europe,
mostly in company with her sister. In 1906
366
she appeared with the Madrid Symph. Orch.,
of which her teacher, Arbos, was cond.; at
the Mendelssohn Centennial celebration in
Helsingfors (1909) she took the place of
Kreisler, who had suddenly become indisposed.
HarriM, Charles Albert Edwin, comp.
and organist; b. London, Dec. 15, 1862. At
eight he was chorister at St. Mark's, Wrex-
ham, where his father (Edwin H.) was or-
ganist. Ouseley scholar at St. Michael's
Coll., Tenbury, in 1875; asst.-org. at St.
Giles', Reading, in 1880; org. at Welshpool,
and private org. to the Earl of Powis, in
1881. Since 1883 he has lived with his
father at Montreal, Canada; at first as org.
and 'regens chori' at Christ Ch. Cathedral,
later at the Ch. of St. James the Apostle,
now famed for excellent music. Also founded
a glee and madrigal society. — Works: Opera
Torquil (Montreal, 1896); cantata Daniel
before the King (1890); many anthems; pf.-
and org.-music, songs, etc.
Hart, George, b. London, Mar. 28, 1839;
d. there Apr. 25, 1891. An excellent violinist,
pupil of Sainton and Macfarren at the R.
A. M.; on the death of his father, John
Thomas, he became head of the business;
wrote the valuable works The Violin, lis
Famous Makers and Their Imitators (London,
1875, and many other editions; French,
1886), and The Violin and Its Music (London;
Novello, 1881). — The present head of the
firm is his son George, b. Warwick, Jan.
4, 1860.
Hart, James, bass singer and comp.; d.
May 8, 1718. To 1670, singer at York
Minster, then Gentleman of the Chapel
Royal, and lay vicar of Westminster Abbey.
Comp. several songs publ. in 'Choice Ayres,
Songs, and Dialogues, 1676-84; 'The Theater
of Musick,' 1685-87; 'Banquet of Musick,'
1688-92.
Hart, John Thomas, English violin-
maker; b. Dec. 17, 1805; d. London, Jan. 1,
1.874. Pupil of Gilkes, he made a complete
study of Italian violins, became a famous
expert, and carried on an extensive com-
merce in old instrs. under the name of Hart
& Sons.
Hart, Philip, organist of various London
churches; d. abt. 1749; comp. anthems,
org.-fugues, mus. f. Hughes' Ode in Praise of
Musick (1703), and for The Morning Hymn
from Milton's 'Paradise Lost,' Book V (1729).
Har'tel. [Music-publisher.] See Breitkopf
& Hartel.
Har'tel, Benno, pianist and composer; b.
Jauer, Silesia, May 1, 1846; d. Berlin, Aug.
4, 1909. Pupil of Hoppe (pf.), Jappsen
(vln.), Kiel (comp.). 1870, app. teacher of
theory in the Berlin Royal High School for
HARTEL— HARTMANN
Music. — Publ. works: Pf.-pieces, songs. In
MS., an opera, over 300 canons, and other
vocal music, orchl. music, etc.
Har'tel, Gustav Adolf, violinist and com-
poser; b. Leipzig, Dec. 7, 1836; d. Homburg,
Aug. 28, 1876. In 1857, Kapellm. at Bremen,
in 1863 at Rostock; in 1873 at Homburg. —
Works: Opera, Die Carabiniers (Schwerin,
1866); 3 operettas; variations and fantasias
f. vln.; Trio burlesque f. 3 vlns. w. pf.; etc.
Har'tel, Luise (nee Hauffe), pianist; b.
Dtiben, Jan. 2, 1837; d. Leipzig, Mar. 20,
1882. Wife of Dr. Hermann Hartel of
Breitkopf & Hartel (q. v.).
Hart'mami, Arthur Martinus, b. Mate
Szalka, Hungary, July 23, 1881. As a child
he was brought to Philadelphia, where he
had his first instruction on the violin from
his father; then pupil of M. van Gelder,
and later of C. M. Loeffler (vl.) and Homer
N orris (com p.); began to play in 1887 in
Phila. as a child-prodigy, and by the time he
was 12 had played practically the entire
modern vl. -repertoire; has made 3 tours of
the U. S., from N. Y. to San Francisco,
from New Orleans to Vancouver; 4 tours of
Scandinavia; has played in Paris in recitals
with Debussy. He was decorated with the
order of Ben Merenti (Rumania) and St.
Sava (Servia). Has comp. works for orch.,
songs and yl.-pcs. (Hungarian rhapsodies,
Suite in ancient style, etc.) ; made numerous
transcriptions and arrangements; discovered
and ed. 6 sonatas of Felice de' Giardini.
Hart'mann, Eduard von, b. Berlin, Feb.
23, 1842; d. Grosslichterfelde, near Berlin,
June 5, 1906. In his philosophical works
he devotes considerable space to discussion
of problems connected with music; of chief
importance are Deutsche Asthethik sett Kant
(1886) and Philosophic des Schonen (1887),
which contains a chapter on IdeaUsmus und
Formalismus in der Musikasthethik. He was
a thorough mus. amateur and wrote songs,
quartets and an opera, Der Stern von Se-
villa (1862).
Hart'mann, Emfl, son of Johan Peder;
a talented composer, b. Copenhagen, Feb.
21, 1836; d. there July 18, 1898. Instructed
by his father, also by 6ade, his brother-in-law.
In 1861, org. at Copenhagen; in 1871, app.
court-org. His health compelled him to
retire in 1873. Resided at Sollerdd, n.
Copenhagen. In 1891 he succeeded Gade as
cond. of the Musical Society, in Copenhagen.
— Works: Several operas, Elver pigen (1867),
The Nixie, The Corsicans (1873; comic);
Bagahijol (Copenhagen, 1893?); Runenzauber,
1 act (Dresden, 1896; succ.); the choral work
Winter and Spring; a ballet, Fjeldstuen; over-
ture, orchestral suite, three symphonies, vln.-
concerto, a 'cello-concerto, pf.-trio, serenade
f. pf., 'cello, and clarinet, etc.
Hart'mann, Johan Peder Emillus, cele-
brated Danish dramatic comp. ;b. Copenhagen,
May 14, 1805; d. there Mar. 10, 1900. Of
German descent, his grandfather (d. 1793)
was royal chamber-musician at Copenhagen.
His father, org. at Copenhagen (1800-50),
Save him early instruction in music, although
e was destined for and studied law. He held
a public position, was also asst.-org. to his
father, and taught in the Copenhagen Cons.
Weyse noticed the young man's ability, and
encouraged him with his advice. In 1832
he prod, his 1st opera, Ravnen eller Broder-
proven; then followed The Golden Horns
(1834), The Corsairs (1835), Liden Kirsten
(1846), and Erlking's Daughter (1867). In
1836 he visited Germany, France, and
Switzerland. In 1840 he was app. dir. of the
Copenhagen Cons., and in 1849 was made
Royal Capejmester. To celebrate the fiftieth
anniversary of his musical career, in 1874, a
grand concert was given, a Hartmann scholar-
ship founded, and he received the 'Danebrog*
order. On the jubilee of the Copenhagen Univ.,
the honorary degree of Ph. D. was conferred on
him (1879). Gade was his son-in-law. One
of his latest works is op. 71, Weissagung der
Wala, f. male ch. and orch. (1894). He has
also comp. overtures, symphonies, cantatas,
incid. mus. to plays, a vln. -concerto, pf.-pes.,
song-cycles, etc.— -Cf. W. Behrend, J. P. & H.
(Copenhagen, 1895).
Hart'mann, Ludwig, pianist, composer
and music-critic; b. Neuss-on- Rhine, 1836;
d. Dresden, Feb. 12, 1910. Son and pupil of
Friedrich Hartmann (song-composer, b.
1805). Also st. at Leipzig Cons. (Moscheles
and Hauptmann), ana in Weimar, 1856-7
(Liszt). Settled in Dresden. Prominent
Wagnerian champion. — Works: Pf. -music
and songs. In MS. an opera, Konig Helge.
Hart'mann, Ludwig Lorenz Eduard, b.
Selb, Upper Franconia, May 10, 1860. St.
org. ana vl. at the 'Akademie der Tonkunst'
in Munich; since 1895 mus. -teacher at the
Teachers' Seminary and cond. of the
'Musikverein' at Bayreuth. Comp. of the
choral works w. orch. Richard Lowenherz,
Die Thermopylen, Mischka, Bayrisches Voter*
landslied; Der Postilion f. mixed ch. w. pf.;
a Fantasy f. orch.; 2 do. for org.; also nas
written Die Orgel (with a brief hist, of
Protestant hymnology).
Hart'mann, Pater (Paul von An der
Lan-Hochbrunn), b. Sal urn, near Bozen,
Dec. 21, 1863; d. Munich, Dec. 6, 1914.
Pupil of Pembaur in Innsbruck; ordained
Sriest in 1886; app. org. at the Ch. of the
Redeemer in Jerusalem (1893) and at the
Ch. of the Holy Sepulchre (1894); in 1895
367
HARTOG— HASER
he was transferred to Rome as org. of the
monastery 'Ara Coeli' and dir. of the 'Scuola
Musicale Coopcrativa.' From 1906 till his
death he lived in the Franciscan monastery
of St. Anna at Munich. During the season of
1906-7 he visited the U. S., conducting some
of his oratorios. In 1905 the Univ. of Wtlrz-
burg made him Dr. theol. (hon. c). As a
comp. for the church H. occupies a prominent
place. — Works: The oratorios Petrus (1900),
Franziskus (1902), Das letzte Abendmahl
(1904), Der Tod des Herrn (1905), Septem
ultima verba Christi in Cruce (1908) ; also a Te
Deum (1913); masses; organ- works; etc.
Har'tog, Edouard de, born Amsterdam,
Aug. 15, 1829; d. The Hague, Nov., 1909.
St. w. Hoch, Mme. Dulcken, D6hler, and
Bartelmann; then in Paris w. El wart and
Litolff, and from 1849-52 w. Heinze and
Damcke. Settled in Paris in 1852, as a
teacher of pf., comp., and harmony. The
same year, and also in 1857 and. 1859, made
himself known by his orchl. comps. Prod,
his first comic opera (in MS. since 1853), Le
Manage de Don Lope (Th.-Lyrique, 1865).
He was a member of the Netherlands Mus.
Soc., and was decorated with the orders of
Leopold and the Oaken Crown. A contrib-
utor to Poujjin's Supplement to Fetis*
'Biographie universelle.' — Works: The opera
V Amour et son H dte (Brussels, 1873); the 43d
psalm, f. soli, ch. and orch.; 2 string-quartets;
suite f. strings; Meditations f. vln., 'cello,
organ, harp and pf.; songs, pf.-pcs., etc.
In MS., the operas Lorenzo Aldini and
Portici; symphonic preludes, orchl. sketches,
etc.
Har'tog, Jacques, composer and writer;
b. Zalt-Bommel, Holland, Oct. 24, 1837. He
st. w. Carl Wilhelm at Crefeld, and Ferd.
Hiller at Cologne. Prof, of mus. history at
the Amsterdam School of Music, 1886-1913.
Contributed to the 4Centralblatt' (Leipzig),
the 'Musikwelt,' and the 'Neue Zeitschnft
fur Mustk' (Bonn). Transl. into Dutch
Lebert and Stark's Klavierschule, Langhans'
History of Music, Breslauer's Methodtk des
Klavierunterrichts, Richter's and Jadassohn's
treatises on Harmony, Plaidy's Technical
Studies, and Reinecke's Beethovens Klavier-
sonaten. Under the collective title Groot-
meesters der Toonkunst he wrote Beethoven
(1904; 2d ed. 1912), Mozart en ziine werken
(1904), Joseph Haydn en zijn broeder Michael
(1905), Mendelssohn (1909), Schumann (1910),
/. 5. Bach (1911), R. Warner (1913; in
Dutch and Ger.).— -Comps.; Operetta, mass,
concert-overture, vln.-concertino, etc., in MS.
Hart'vigson, Albert, born Copenhagen,
Mar. 6, 1851. Pupil of Rubner and Lambcke;
a chemist by profession, but a well trained
amateur musician; has comp. an opera,
Bryllup i Klosterei (1891); an operetta Syl-
vana; Erik Emuns ddd, f. soli, ch. and orch.;
some minor orchl. works and songs.
Hart'vigson, Frits, pianist; b. Grenaa,
Jutland, May 31, 1841. St. w. Gade, Ge-
bauer, and Ree; from 1859-61, w. Billow
at Berlin. Settled in London in 1864, where
he resided until 1911, with the exception of
two years passed in Petroerad (1873-5). In
1873, app. pianist to the Princess of Wales,
in 1875 mus.-prof. at the Norwood College
for the Blind. From 1879-88 he was in-
capacitated from public recitals by a slight
failure in the nerve-power of the left arm.
In 1887, became pf.-prof. at the Crystal
Palace; 1905 at R. C. M.; now (1916) retired.
Anton, his brother, b. Aarhus, Oct. 16,
1845; d. Copenhagen, Dec. 29, 1911, was
a pupil of Tausig and Edmund Neupert;
lived in London as pianist and teacher.
Harty, Hamilton, b. Hillsborough, Co.
Down, Ireland, Dec. 4, 1879. He received his
entire mus. education from his father, an
organist; when 12 years old he filled a position
as org. at Magheracoll, and has since unin-
terruptedly held similar positions in Belfast
and Dublin, where he further profited from
his association with M. Esposito; since 1900
living in London; also highly esteemed as
accomp. — Works: A Comedy Overture; an
Irish Symphony; the symphonic poems A
Tinker's Wedding and With the WUd Geese;
a vln. -concerto in D m.; a piano-quartet in
F; Ode to the Nightingale for sop. and orch.;
The Mystic Trumpeter (Leeds Fest., 1913).
Hase [han're"!, (Dr.) Hermann von. See
Breitkopf & Hartkl.
Ha'se, (Dr.) Oskar von. See Breitkopf
& Hartkl.
H&'ser, August Ferdinand, b. Leipzig,
Oct. 15, 1779; d. Weimar, Nov. 1, 1844. Edu-
cated at the Thomasschule, and student of di-
vinity at the Univ., Leipzig. In 1817, music
teacher to the Duke of Weimar's family, and
became church musical director, teacher of
music in the Weimar Training-School, chorus-
master of the Court Opera, and finally theatre-
Kapellm. — Works: Oratorio, Der Triumph des
Glaubens (Weimar, 1828; Birmingham, 1837;
words by Klopstock); masses, Te Deums,
Paternosters, requiems, misereres, etc.; also
orchl. music, overtures etc.; 3 operas, piano-
pieces, songs, etc. — Writings: Vet such einer
systematischen Vbersicht derGesanglehre (1820) ;
Chorgesangschule (1831). — His sister,
Ha'ser, Charlotte Henriette, celebrated
singer; b. Leipzig, Jan. 24, 1784; d. Rome,
May, 1871; made her debut at the Dresden
Opera, and afterwards sang at Vienna and in
Italy. In 1813, married a lawyer named Vera,
at Rome. Her youngest brother,
368
HASER— HASSE
Ha'ser, Heinrich, prof, of medicine at
Jena and Breslau; b. Rome, Oct. 15, 1811;
d. Breslau, Sept. 13, 1885; wrote Die mensch-
liche Stimme, ihre Organe, ihre Ausbildung,
Pflege und Erhaltung (1839).
Ha'sert, Rudolf, pianist and doctor of
theology; b. Greifswald, Feb. 4, 1826; d.
Gristow, n. Greifswald, Jan. 4, 1877. Intended
for a lawyer, he turned to music through Robt.
Franz's influence, and from 1848-50 studied
piano with Kullak, and comp. with Dehn, at
Berlin. He made successful artistic tours,
visiting Stockholm, Gothenburg, Christiania,
Copenhagen, Paris (1855), and Weimar, where
he met Liszt; settled in Berlin in 1861 as
teacher, virtuoso, and composer. In 1870, he
passed the govt. exam, in theology, and be-
came minister in the Strausberg penitentiary.
In 1873, he came into the family -living at
Gristow, n. his birth-place, and was pastor
there till his death.
Hasler (or Hassler), Hans Leo von, cele-
brated org. and comp.; b. Nuremberg, 1564;
d. Frankfort, June 8, 1612. The eldest of 3
sons of Isaac Hassler, town-musician of Nu-
remberg. Studied with his father, and was a
fellow-pupil of G. Gabrieli under Andrea
Gabrieli in Venice (1584). Was the first 'nota-
ble German comp. who went to Italy for
study. 1585-1600, org. to Count Octavianus
Fugger at Augsburg; in 1600 he was app.
mus. director at Augsburg, and from 1601-8
was org. at the Frauenkirche there; in 1606,
received an appointment at the court of the
Elector of Saxony. He died of phthisis while
travelling. [The statement found in earlier
dictionaries that H. was court-org. to Emperor
Rudolf II in Prague, is due to the fact that
in 1602 a certain Jakob Hasler was app. to
that position.] H. was on friendly terms with
the Emperor, and actually had tne title 'Ksl.
May. Hofdiener und Cammerorganist,' but
it was only honorary .—One of the most famous
composers of his epoch, with Gumpeltzhaimer,
Erbach, Melchior, and Franck, H. is con-
sidered one of the founders of German music;
the style of his work is strongly influenced by
the two Gabrielis. He wrote numerous
secular and sacred canzone tie t motets, psalms,
litanies and instrl. works (for organ, tier, and
Polish dances, etc.). A number of motets
are found in collections of the period. The
following have been reprinted: Lusigarten
newer teutscher Gesdng; BalleUi, Gailiarden
und Intraden mil 4-8 Stimmen, in Eitner's
'Publikationen,' vol. xv; in 'Dkm. deutscher
Tonkunst': Cantiones Sacrae . . . 4, 8 et
plur. voc. (vol. ii, H. Gehrmann); Sacri
Concentus 5-12 voc. (vols, xxiv and xxv, J.
Auer); in 'Dkm. der Tonk. in Bayern': Se-
lected organ-works (vol.'iv, 2, E. v. Werra);
Newe teutsche Gesdng nach Art der welschen
Madrigalien und Canzonetten a 4-8 (vol. v, 2,
R. Schwartz); Madrigali a 5-8 voci (vol. xl, I,
R. Schwartz). A chronological list of H.'s
printed works was publ. by R. Eitner (Mtshef-
te fOr M.-Gesch., 1874).— Cf. R. Schwartz,
H. L. H. unlet dim Einfluss der iialienischen
Madrigalisten (Vschr. far M.-W., lx); A. Sand-
berger, Bemerkungen tur Biographie H. L.
H.'s und seiner BrUder (Dkm. der Tonk. in
Bayern, v, 1). — See also Q.-Lex.— His brother
Ja&ob, b. Nuremberg, 1566; org. in Hechingen
1601, to Graf Eytel Friedrich von Hohenzol-
lern-Herbingen. A famous virtuoso, he also
comp. much sacred music. — The third brother,
Kaspar, b. Nuremberg, 1570; d. there 1618
as org., edited a collection of church-music,
Symphoniae sacrae (Nuremberg, 1598-1600).
Hasllnger, Tobias, Viennese music-publ.;
b. Zell, Upper Austria, March 1, 1787; d.
Vienna; June 18, 1842. Studied music with
Gldggl, Kapellm. at Linz; in 1810 went to
Vienna as bookkeeper in Steiner's music-
establishment, later became partner, and, on
Steiner's retirement in 1826, sole proprietor.
Cond. the business thenceforth under his own
name; was on intimate terms with the most
famous musicians of Vienna, especially Beetho-
ven, whose musically-addressed letters to H.
(such as 'O Tobias Dominus Haslinger,' in
canon-form) are still extant. — He was suc-
ceeded by his son Karl, b. Vienna, June 11,
1816; d. there Dec 26, 1868, a brilliant pianist
and industrious comp. — Works: Wanda,
opera, and over 100 comps. of various kinds.
Carried on the business as 'Karl H., late
Tobias'; the present proprietor is Schlesinger
(Lienau) of Berlin, who bought it from the
widow in 1875.
Hassard, John Rose Green, journalist
and musical critic; b. New York, Sept. 4,
1836; d. there April 18, 1888. Studied at St.
John's College, Fordham; 1865-6, a writer on
the Chicago 'Republican'; in 1866 joined the
staff of the New York Tribune as editorial
writer, and literary and music critic. In the
last-named capacity he was succeeded in 1884
by H. E. Krehbiel. His account of the Festival
Plays at Bayreuth in 1876 (later publ. as a
pamphlet) was the fullest sent to any Ameri-
can newspaper. H. was an ardent admirer of
Warner's later works before their general rec-
ognition, and a champion of modern music.
Has'se, Faustina (nee Bordoni), wife of
Joh. Ad., and a famous dram, mezzo-soprano
of noble birth; b. Venice, 1700; d. there Nov.
4, 1781. Studied with Gasparini and B. Mar-
cello; in 1716, achieved fame by her debut in
Pollarolo's Ariodante, and became widely
known as the 'Nuova Sirena'. In 1719 sang at
Venice with Cuzzoni and Bemacchi; in 1722
at Naples and Florence, where a medal was
struck in her honor. In 1724, while singing at
369
HASSE— HASSLER
Vienna, Handel eng. her for his London opera
(1726-8), where she out rivalled Cuzzoni. In
1729 she returned to Venice, and married
Hasse in 1730, her life thenceforward being
bound up in his. In 1751 she retired from the
stage, receiving her full salary of 3,000 thalers
as pension; but after the conclusion of the
Seven Years' War (1673) this pension was
stopped for reasons of economy. In her zenith,
she was unrivalled in the brilliance and finish
of her vocalization. — Cf. A. Niggli, F. jB.-jET.,
in Waldersee's 'Samml. Mus. Vortrage-'
(Leipzig, 1880); G. M. Urbani de Gheltof,
'La Nuova Sircna' ed il 'Caro Sassont' (Venice,
1890). An interesting novel rather than a
biogr. is Elise Polko's F. H. (2 vols., Leipzig,
1860; new ed. 1895).
Has'se, Gustav, popular song-composer;
b. Peitz, Brandenburg, Sept. 4, 1834; d.
Berlin, Dec. 31, 1889. Studied at Leipzig
Cons.; afterwards in Berlin with Kiel and F.
Kroll. Settled in Berlin as musk-teacher.
Has'ae, Johann Adolph, dram, comp.;
bapt. Bergedorf, near Hamburg, March 25,
1699; d. Venice, Dec. 16, 1783. His father, a
school-master and ore., first instructed him.
In 1717, at 18 yrs. of age, he went to Ham-
burg, where Ulrich Kdnig, the poet, recom-
mended him to Keiscr, dir. of the Hamburg
Opera, as tenor, a position he held for 4 years.
Kdnig's good offices again, in 1721, secured
him an appointment at the Brunswick theatre,
where H. successfully prod, his first opera,
Antigonus (1721). In 1722 he went to Italy
with Porpora, whom he soon left for A.
Scarlatti. He secured Italian fame with II
Sesostrate (Naples, 1726)", written after the
success (1725) of a serenade for two voices,
sung by Farinelli and Signora Tesi. He was
app. (1727) prof, at the Scuola degl* Incu-
rabili, Venice, for which he wrote a celebrated
Miserere. His talents, vocal and instrumental,
and his handsome appearance, made him a
society favorite, and he became known as 'il
caro Sassone' (the amiable Saxon). AUalo,
re di Bitinia (Naples, 1728), was also a suc-
cess. In 1730, at Venice, he married the
celebrated Faustina Bordoni, for whom he
comp. the operas Dalisa and Artaserse. In
1731, August II app. him Kapellm. and
opera-dir. at Dresden, his wife being eng. as
prima donna. Their rivalry with Porpora and
nis pupil Regina Mingotti ensued, and H.
did not altogether shine in his efforts to place
them at a disadvantage. He frequently
obtained leave of absence, and visited Venice,
Milan, and Naples, where he prod, several
operas, also going to London, where Handel
reigned supreme. Recognizing Handel's
superiority, he did not contest the position,
but returned to Dresden in 1739, when Por-
pora and the Mingotti had left, and remained
there with his wife, popular favorites, till
1763. By the siege of Dresden, in 1760, H.
suffered great losses; his MSS., prepared
for a complete ed. of his works by command
of the King of Poland, being destroyed.
At the conclusion of the war, from economy,
opera was suppressed, and H. and his wife
were dismissed without pension, retiring to
Vienna. Here he comp. several new operas
to Metastases libretti, in successful rivalry
with Gluck, and in his 7 2d year produced
at Milan (1771) his last opera, Ruggiero,
for the marriage of Archduke Ferdinand
A dramatic serenade, Ascanio in Alba, by
Mozart (then 15 years of age), being per-
formed at the same time, This boy will
throw us all into the shade,1 was the elder's
truthful prediction. The last ten years of
his life were spent in Venice. His facility
and fertility of composition were astounding,
and he possessed a ceaseless flow of delight-
ful melody. PaUido e il sole, and Per questo
dolce amjiesso, from his Artaserse, were the
two airs which Farinelli sang every evening
for 10 years, to soothe Philip of Spain's melan-
choly. Hasse wrote more than 100 operas, and
14 oratorios; 5 Te Deums w. orch.; a requiem,
masses, magnificats, misereres, litanies, motets,
psalm*, cantatas, clavier-sonatas, flute-con-
certos, clavier-concertos, etc. An important
collection of MSS. is in the Dresden Library.
A selection of his works was published by
A. Schering in vols, xx, xxix of 'Dkm. deut-
scher Tonkunst' and O. Schmid in vols. t.
ii, vii and via of 4Musik am sachsischen Hofe.
— Bibliography: W. H. Riehl, Musikalische
Charakterkdpfe, vol. i (6th ed., Stuttgart,
1879); K. Mennicke, /. A. H., in 'Sbd. Int.
M.-G.' (1904); id., H. und die Bruder Graun
als Symphoniker (Leipzig, 1906; with thematic
catalogues); W. Mil Her, /. A. H. als Kirchen-
komponist (ib., 1911); L. Kamiensky, Die
Oratorien van J, A. H. (Berlin, 1911); B.
Zeller, Das *Recitatwo accompagnalo* in den
Opern H.s (Halle, 1911).
Has'se, Nikolaus, circa 1650 organist of
the Marienkirchc, Rostock. Under the title
Deliciae Musicae (1656), publ. his own comps.,
consisting of Allemandes, Courantes, Sara-
bandes, for stringed instrs., clavecin or theorbo
(2d part, and Appendix, 1658).
Has'selbeck, Rosa. See Sucher.
Has'selt-Barth, Anna Maria Wilhel-
mine (nee van Hasselt), renowned soprano,
b. Amsterdam, July 15, 1813; d. Mannheim,
Jan. 6, 1881. Studied at Frankfort, at Carls-
ruhe w. J. Fischer, and in Florence (1829)
withRomani. Debut at Trieste (1831). Sang
on various Italian stages, and at Munich,
1833-38. In 1838, eng. at the Karnthnerthor
Th., Vienna, till pensioned.
Hauler. See Hasler.
370
HASSLER— HAUK
Hassler, Johann Wilhelm, notable pf.-
comp.; b. Erfurt, March 29, 1747; d. Moscow,
March 29, 1822. Son of a cap-maker, he fol-
lowed his father's trade, while studying the
piano and organ with his uncle, Kittel, and
became org. of the Barfusserkirche, Erfurt, at
the age of 14. During his apprenticeship
wanderings, he gave concerts in the leading
German towns. At Erfurt, in 1780, he founded
winter concerts, and established a music-
business. His wife Sophie, an esteemed singer,
took part in these concerts, and after his
departure to England, and to Russia, where,
in 1792, he was app. Imp. Kapellm. at Petro-
grad, dir. the concerts, and also the music
business, till 1797, when these enterprises
failed, and she started to rejoin her husband,
but returned, and remained in Erfurt the re-
mainder of her life. In 1794, H. went to
Moscow, and remained there much sought
after as a teacher. His works form an interest-
ing link in piano-comp. between Bach and
Beethoven, and consist of the well-known D
minor gigue, sonatas, concertos, fantasias,
variations, organ-pieces, songs, etc.
Hasslinger-Hass'lngen. See Hager.
Hastings, Thomas, b. Washington, Litch-
field Co., Conn., Oct. 15, 1787; d. New York,
May 2, 1872. A self-taught musician, teacher,
and writer; 1823-32, editor of the Utica, New
York, 'Recorder'; then settled in New York
as an organizer of church-choirs and teacher
of psalmody. His writings, The History of
Forty Choirs (1854), and Dissertation on
Musical Taste (1822; 2d enlarged ed. 1853),
throw light on musical development in the
United States. He composed simple hymn-
tunes and anthems.
Hast'reiter, Helene, fine dram, contralto;
b. Louisville, Ky., Nov. 14, 1858. At the aee
of 12 she was soloist in a Chicago church.
About 1880 she went to Italy and studied w.
the Lampertis (father and son) at Milan;
after her debut 1883 (?) she returned to
Chicago, where Col. Mapleson heard her, and
engaged her for his London season in 1885; in
1886 she was principal contralto of the Natl.
Op. Co. and created a profound impression.
After that she sang exclusively in Italy (a
few times in France), where she was a great
favorite; after her marriage to Dr. Burgunzio
she retired, and has since been living in Genoa.
Her voice was rich and powerful and had the
enormous compass of 3 full octaves (a-a1);
some of her leading r61es were Orfeo, Euridice,
Dalila, Senta, and Ortrud.
Hatto (stage-name of Marguerite-Jeanne
Frere), dramatic soprano; b. Lyons, Tan. 30,
1879. In 1899 she took first prize at the Paris
Cons, in singing and opera. Debut at the
Grand Opera, Dec. 29, 1899, as Brunehtlde
in Reyer's Sigurd; in 1900 she sang Salamm-
bd; in 1901, created Iole in Leroux's Astarte:
on Oct. 23, 1901, she created Fiona in Saint-
Saens's Les Bar bares, at the Opera.
Hatton, John Liptrot, cond. and comp.;
b. Liverpool, Oct. 12, 1809; d. Margate, Sept.
20, 1886. Excepting rudimentary instruction,
was self-taught. Went to London in 1832;
app. cond. at Drury Lane Theatre, 1842, and
prod. The Queen of the Thames , his first
operetta. The same year went to Vienna, and
in 1844 prod, there the opera Pascal Bruno.
Visited America in 1848. Mus. Dir. at the
Princess* Th., London, 1853-8. Comp. much
incid. music to stage-plays, publ. a number of
successful songs under the pen-name of
'Czapek,' a cantata, Robin Hood (1856),
another opera, Rose, or Love's Ransom (Lon-
don, 1864), and a sacred drama, Hezekiah
(1877).
Hatt'staedt, John James, b. Monroe,
Mich., Dec. 29, 1851. After studying with
several Amer. and Ger. teachers, he taught
pf. -playing at Detroit, St. Louis, and for 11
years at trie Chicago Coll. of Mus., where he
also lectured on mus. history. In 1886 he
founded the Amer. Cons, of Music at Chicago,
and has been its dir. ever since: still (1916)
teaching piano there, and # conducting a
Teachers' Normal Dept. He is an occasional
contributor to the press, and has publ. a
Manual of Musical History.
Hau'er, Karl Heinrich Ernst, b. Halber-
stadt, Oct. 28, 1828; d. Berlin, March 16,
1892. Son of the cantor and teacher, from
1844 he attended the Halberstadt Gymna-
sium. For two years he studied with Marx
(Berlin), and for three years (distinguishing
himself in comp.) at the Royal Akademie
(Bach, Rungenhagen, and Grell). In 1853,
won a silver medal with an orchestrated Psalm
a 8. App. music-teacher at the Andreas
Gymnasium, 1856; organist of the Markus-
kirche, 1866. — Comps.: Ave Maria a 6 a
cappella; Paternoster for soli and chorus;
Luther-Hymnus, motets, sacred songs; quar-
tets for male and mixed voices, secular
songs, etc.
Hauff, Johann Christian, theorist and
comp.; b. Frankfort, Sept. 8, 1811; d.
there April 30, 1891. One of the founders of
and first professors in the Frankfort School of
Music. Wrote a Theorie der Tonsetzkunst
(1863-9); 3 vols, in 5 parts. Orchestral and
chamber- music.
Hauf'fe, Lulse. See Hartel, Luise.
Hauk, Minnie, b. New York, Nov. 16,
1852; d. Munich, Nov. 16, 1912. Dramatic
soprano; pupil of A. Errani in New York;
debut in Brooklyn, Oct. 13, 1866, as Amina
(Somnambula) with emphatic success; sang
at Cov. G. in 1868, and in Vienna 1870-3;
371
HAUPT— HAUSEGGER
•
1873-5 at R. Opera in Berlin; after that she
appeared repeatedly in the capitals of Europe
and in America; recognized as one of the
greatest singers of her time. In the annals of
opera in America, her name is associated
with the American premieres of many im-
portant operas (Carmen, Romeo et Juliette,
Manon, etc.)- Her repertoire comprised about
100 roles (but none in Wagner's works). In
1881 she married Count Hesse- Wartegg; re-
tired in 1896, living then in her villa at
Lucerne.
Haupt, Karl August; organ-virtuoso; b.
Kuhnau, Silesia, Aug. 25, 1810; d. Berlin, July
4, 1891. Pupil of A. W. Bach, Klein, and
Dehn (Berlin), 1827-30. Org. in succession of
various Berlin churches; app. 1849 to the Pa-
rochialkirche, and became famous for his
fine improvisations in the style of J. S. Bach.
Was one of the experts consulted for the
specification of the Crystal Palace grand
organ. Teacher of theory and organ-playing
for some years at the 'Konigliches Kirchen-
musik-Institut,' Berlin, and on A. W. Bach's
death (1869) he was app. director of the
musical section of the senate of the Akademie,
at the same time receiving the title of Profes-
sor. Taught many distinguished pupils, in-
cluding over 35 American organists. — In MS.,
numerous org.-comps. Publ. part-songs, songs
and a valuable Choralbuck (1869).
Haupt'mann, Moritz, eminent theorist
and comp.; b. Dresden, Oct. 13, 1792; d.
Leipzig, Jan. 3, 1868. His father was State-
architect, and hoped to bring up his son to that
profession. But the results of his musical
studies, piano and harm. (Grosse), vln.
(Scholz), comp. (Morlacchi), betokened such
talent that no obstacle was allowed to
interfere with its development. In 1811 he
went to Gotha to study vln. and comp.
under Spohr, and became his life-long friend.
In 1812 he was violinist in the Dresden
court orch., became music-teacher to the
family of the Russian governor of Dresden,
Prince Repnin, and in 1815 went with them
to Russia, where he stayed five years. Re-
turning to Germany, he was admitted into
Spohr' s court orch. at Kassel, in 1822. He
exhibited remarkable ability as instructor in
cpt. and comp., and in 1842, on the recom-
mendation of Mendelssohn and Spohr, was
app. cantor and Musikdirektor at the Thomas-
schule, as Weinlig's successor, and prof, of cpt.
and comp. at Leipzig Cons., retaining these
posts until his death. A master of classic mus.
form, he followed a fundamental rule, that
'unity of idea and perfection of form' were in-
dispensable in all comps. and exemplified it
in his own music, which is remarkable for
architectonic symmetry of form and purity of
part-leading; his vocal music, especially the
372
motets, is particularly beautiful. Still,
although a finished composer, he is more fa-
mous as a theorist and teacher; among his
numerous distinguished pupils were Ferd.
David, Burgmuller, Kiel, the Baches, Jo-
achim, Sullivan, von Billow, Cowen, etc.
The scientific foundation of modern musical
theory, amplified by A. v. Oettingen (Har-
moniesystem in dualer Entwickelung, 1866),
Riemann (Handbuch der Harmonielehre, etc.),
and others, is laid by H. in Die Natur der
Harmonik und Metrik (1853, 2d ed. 1873;
Engl. 1888). His other writings are Erlau-
terurigen zu J. S. Bach's Kunst der Fuge
(Peters); Vber die Beantwortung des Fugen-
themas (printed in the 'Wiener Recensionen');
also short essays in various mus. periodicals,
many of which were collected and publ. by
H.'s son as 0£t<5Ctt/a (1874). In 1868 a posthu-
mous work, Die Lehre von der Harmonik, ap-
peared (edited by Oscar Paul). H.'s Briefe
an Franr. Hauser (ed. by A. Schone; 1871, 2
vols.) and Briefe an L. Spohr und andere (ed.
by F. Hiller, 1876) have also been publ. —
Comps.: Opera Mathilde (Kassel, 1826);
string-quartets, vln. -duets, vln.-sonatas; also
2 masses, motets, part-songs for mixed voices,
canons a 3 for sopr. voices, duets, and songs
for solo voice.
Haupt'ner, Thuiskon, b. Berlin, 1825; d.
there Feb. 9, 1889. Studied at the Berlin
Royal Academy, and in 1850 became Kapellm.
at the Vorstadtisches Th.; 1854-8, studied at
the Paris Cons. Was a teacher in Berlin
(1861), at the Basel school of music (1863),
and for some years directed the Singakademie
at Potsdam. Publ. a Deutsche Gesangschule
(1861).— Comps.: Operettas, farces, vaude-
villes.
Hausch'ka, Vincenz, gifted 'cellist and
barytone-player; b. Mies, Bohemia, Jan. 21,
1766; d. Vienna, Sept. 13, 1840. Pupil of his
father, a school-teacher; became chorister in
Prague cath. St. theory with Zoger, 'cello
with Christ. App. 'cellist to Count Joseph von
Thun in Prague (1782); made successful con-
cert-tours through Germany. — Works: In
MS., numerous comps. for 'cello, barytone,
etc. ; publ. 9 sonatas for 'cello and bass, and a
book of vocal canons a 3.
Hau'se, Wenzel, prof, of double-bass at
Prague Cons.; b. in Bohemia, abt. 1796.
Publ. an excellent Contrabasschule (Hilscher,
Dresden, 1818; in French and German, May-
ence, 1829); also 3 collections of noteworthy
studies for the instrument.
Haus'egger, Friedrich von, b. St. An-
dra, Carinthia, April 26, 1837; d. Graz, Feb.
23, 1899. Pupil of Salzmann and Otto Des-
soff, also st. law, and became a barrister at
Graz. In 1872, qualified as teacher of history
and theory of music at the Univ. of Graz. A
HAUSEGGER— HAUSMANN
contributor to mus. periodicals, his Musik als
Ausdruck (Vienna, 1885) is a valuable ad-
dition to musical esthetics. Other writings:
Richard Wagner und Schopenhauer (1890);
Vom JenseUs des KunsUers (1893); Die kunst-
lerische Personlichkeit (1897). Left in MS.
Die Anfange der Harmonie. Another posth.
work was publ. by R. Louis, Unsere deulschen
Meister [Bach, Mozart, Beethoven, Wagnerl
(1901), His son Siegmund publ. a collection of
essays as Gedanken tines Schauenden (1903).
Haus'egger, Siegmund von, born Graz,
Aug. 16, 18/2; son of Friedrich v. H. Parallel
with the gymnasial and univ. course he was
trained musically by his father and the Liszt
pupil Carl Pohlig (pf.); also, at the Styrian
Musikverein, on the violin, in conducting, and
in score-reading. 1895-6, 1st Kapellm. at
the Graz Th.; summer of 1897, Kapellm. for
the 'Musikalische Assistenz* at Bayreuth;
autumn 1899 to spring 1902, cond. of the
Kaim Orch. at Munich; autumn 1903-1906
cond. of the Museum Concerts at Frankfort-
on-Main; since 1910 cond. of the Hamburg
Philh. Concerts and of the Symph. Concerts
of the Bluthner Orch. in Berlin. He was mar-
ried to a daughter of Alexander Ritter,
Hertha (d. Hamburg, Jan. 15, 1913). As a
composer he brought out at 16 a prand mass
for ch., soli, orch. and organ, himself con-
ducting; in 1890 he brought out his first
opera Helfrid in Graz, and in 1898 his 3-act
humoristic opera Zinnober (publ.) was prod,
by Richard Strauss in the Munich Court Th.;
in 1899 he cond. his symphonic Dionysische
Fantasie (publ.) at a Kaim concert in Munich,
and in 1900 his symphonic poem Barbarossa
(publ.) at a Wa^ncrverein concert in the
Berlin Philharmonic His publ. works include,
further, 2 songs for tenor with orch., 3 sones
for baritone with orch., 7 Lieder der Liebe
(Lenau), Hymnen an die Nacht (Gottfr.
Keller); the symphonic poem Wieland der
Schmied; the male choruses with orch.
Schmied Schmerz, Neuweinlied, Schlachtgesang,
Totenmarsch; the mixed choruses w. orch.
Stimme des Abends, Sonnenaufgang, Schnit-
terlied, Weihe der Nacht, Natursymphonie in
E m. (3 movements, with choral finale). He
has also publ. Alexander Ritter, ein Bild
seines Charakters und Schaffens (1907).
Hau'ser, Franz, bass-baritone opera-
singer; b. Crasowitz, n. Prague, Jan. 12, 1794;
d. Freiburg, Baden, Aug. 14, 1870. Pupil of
Tomaczek. Sang with conspicuous success at
Prague (1817), Kassel, Dresden, Vienna
(1828), London (1832), Berlin (1835), Breslau
(1836), and retired from the stage the follow-
ing year. Travelled in Italy, was vocal teacher
at Vienna, and from 1846-64 dir. and singing-
teacher at Munich Cons., retiring at its reor-
ganization (1865) with a pension. From 1867,
lived at Freiburg. A man of culture and an
enthusiastic admirer of J. S. Bach, he formed
a remarkable collection of that master's
works, which included some valuable auto-
Saphs. His Gesanglehre fur Lehrende und
rnende (1866) is a recital of his personal ex-
periences as a singing-teacher. Correspondence
with Mendelssohn and Hauptmann has been
published.
Hau'ser, Mlska [Michael], vln.- virtuoso;
b. Presburg, Hungary, 1822; d. Vienna, Dec.
8, 1887. Pupil of Josef Matalay and Kreutzer;
also studied: at Vienna Cons., under Mayseder
and Sechter. From 1840-61, made concert-
tours through Germany, Denmark, Sweden,
Norway, Russia, France, England, North and
South America, Australia, India, Egypt, Tur-
key, etc., being well received everywhere.
Made his last public appearance in Cologne
(1874).— Works: Operetta, Der blinde Lexer-
mann (abt. 1860); fantasias, rondos, varia-
tions, and many other vln.-comps. His book
Aus dem Wanderbuch eines osterreichischen
Virtuosen (Leipzig, 1858-9, 2 vols.) was a re-
print of his letters to the 'Ostdeutsche Post*
(Vienna) on his great American journey.
Hau'ser, Johann Ernst, b. Dittchenroda,
n. Quedlinburg, 1803. Teacher at Quedlinburg
Gymnasium. — Works: Musikalisches Lexikon
(1828, 2 vols.; 2d ed. 1833; only Terminol-
ogy); Der musikalische Gesellschafter (1830,
Anecdotes) ; Elementarbuch fur die aUerersten
Anfange des Pianofortespiels (1832; 1836 as
Neue Pianoforteschule); Musikalisches Jahr-
buchiein (1833); Geschichte des christlichen,
insbesondere des evangelischen Kirchengesangs
(1834).
Haus'mann, Robert, 'cellist; b. Rottle-
berode, Harz Mts., Aug. 13, 1852; d. Vienna,
Jan. 18, 1909. To 1869, studied at the Bruns-
wick Gymnasium. 1869-71, pupil of Theodor
M tiller at the Berlin 'Hochschule,' and finished
studies with Piatti in London. 1872-6, at
Dresden, 'cellist of the 'Hochberg' quartet;
became teacher at the Berlin Royal 'Hoch-
schule.' 1879-1907 member of the Joachim
quartet.
Haus'mann, Valentin. Five musicians in
direct lineal descent bore this name: V. i, the
eldest; b. Nuremberg, 1484, comp. chorales,
and was a friend of Luther and of Kapellm.
J oh. Walter. His son, V. il, was org. and
councillor at Gerbstadt, and an industrious
comp. of motets, canzonets, and dances (in-
trade, paduane, etc.). A selection of secular
songs and instrl. works was publ. by F.
Bdlsche in 'Dkm. deutscher Tont.' (vol. xvi).
— See Q.-Lex. V. Hi, son of preceding, org.
at Lobejun, was an expert in org.-construc-
tion. His son, V. iv, occupied the posts, of
chapel-mus. to the Kdthen court; org. of
373
HAWES— HAYDN
Alsleben Ch., and wrote a treatise on solmisa-
tion. V. v, Bartholomaus, son of preceding;
b. Lobejiin, 1678, became cath.-org. at Merse-
burg and Halle, and d. as org. and burgo-
master at Lauchstadt after 1740. Left in MS.
several theoretical works.
Hawes, William, Engl. comp. and cond.;
b. London, June 21, 1785; d. there Feb. 18,
1846. 1793-1801, Chapel Royal chorister;
1802, violinist at Covent Garden; became
Gentleman of the Chapel Royal in 1805 ; vicar-
choral and Master of Choristers at St. Paul's
1814; Master of the Children of the Chapel
Royal, 1817; and lay-vicar of' Westminster
Abbey, 1817-20. From 1824-36, director of
English opera at the Lyceum. He adapted
and prod, many operas tor the English stage,
also comp. comic operas, glees, madrigals, etc.
Hawkins, Sir John, musical historian;
b. London, March 30, 1719; d. Westminster,
May 21, 1789. By profession an attorney, he
was also an ardent mus. dilettante; he became
a member of various societies, and wrote
cantatas set to music by John Stanley. A
wealthy marriage (1753) rendered him inde-
pendent, and he devoted his leisure to litera-
ture, more especially that of music. In 1770
he publ. anonymously An Account of the In-
stitution and Progress of the Acad, of Ancient
Musk. He was knighted in 1772. The result
of 16 years' labor was his General History of
the Science and Practice of Music (1776; 5
vols. 4to, containing 58 portraits of musi-
cians; republ. by Novello, 1875, 3 vols. 8vo).
The 1st vol. of Burney's General History of
Music appeared at the same time as H.'s
complete work, and was then considered
superior. For the other three vols, of his
work, Burney drew on H., who was indebted
to Cooke for the transcription of the old
notation, etc., and to Boyce for the selection
of the musical illustrations. Burney was bril-
liant, and the better musician, but frequently
careless and inaccurate; while H., more pains-
taking and conscientious, made his compila-
tion more reliable as a work of reference;
Burney's never reached a 2d edition.. H.
died of paralysis, and was buried in West-
minster Abbey. The monograph on Corelli
('Universal Magazine of Knowledge and Pleas-
ure,' April, 177/) was not new, but a reprint
from H.'s principal work.
Hawley, Charles Beach, b. Brookfield,
Mass., Feb. 14, 1858; d. Red Bank, N. J.,
Dec. 29, 1915. While a student at the
Cheshire Military Acad, he studied pf. and
organ, acting as org. at the Acad, and direct-
ing the mus. activities. After graduation he
went to New York in 1875, and studied sing-
ing with G. J. Webb and comp. with Dudley
Buck, J. Mosenthal and Rutenber; 1876,
bass soloist at Calvary Ch.; later asst.-org.
to G. W. Warren at St. Thomas's Ch.; from
1900 he was organist at St. James's Chapel
in Elberon, N. J. For many years he was
one of the most active members of the Men-
delssohn Glee Club and the Mendelssohn
Quartet Club. He publ. some songs and part-
songs, showing a facile melodic invention.
Hay'dn, (Franz) Josef, renowned comp. ;
b. Rohrau-on-the-Leitha, Lower Austria, Mar.
31 (bapt. April 1), 1732; d. Vienna, May 31,
1809. He was the second son of Matthias
Haydn, a wheelwright, the sexton and organ-
ist of the village church and a fine tenor
singer. His mother, Maria Koller, was a
daughter of the market-inspector, sang in the
village choir, and had been cook in the house-
hold of Count Harrach, the lord of the village.
Of their twelve children, three became mu-
sicians. On Sundays and holidays there was
music at home, the father accompanying the
voices on the harp, which he played by ear.
At 5 years of age, Josef's musical aptitude was
noticed by a paternal cousin, Jonann Mat-
thias Frankh, a good musician, 'Chorregent'
and 'Schulrector' at Hainbure. He took the
boy home with him and gave him elementary
instruction, taught him Latin, singing, and to
Slay the violin and other instrs. George
Leutter, 'Hof compositeur' and Kapellm. at
St. Stephen's, Vienna, had his attention
drawn to the boy's talent, and engaged him
as chorister for St. Stephen's, undertaking
his further education. H. was 8 years of age
when he went to Vienna. Besides the daily
service, and 2 hours' choir-practice, he studied
religion, Latin, writing, and arithmetic. He
also received instruction in singing, and on the
violin and harpsichord, from Finsterbusch and
Gegenbauer. Harmony and comp. were sup-
posed to be taught by Reutter, who did not
trouble himself about the matter. Still,
unaided, H. applied himself assiduously to
comp. and at 13 wrote a mass; though ridi-
culed, instead of encouraged, by Reutter, he
persisted, and spent a little money, begged
from his father for the renewal of his clothing,
in the purchase of Fux's Gradus ad Parnassum
and Mattheson's Vollkommener Kapellm., the
principles of which he labored to master. In
1748 nis voice began to break, and he was
supplanted by his brother Michael, who had
joined him in 1745. Reutter made a practical
joke which H. played on a fellow-student a
pretext for punishment and dismissal. Some
poor but kind hearted friends gave him shelter;
he also obtained a few pupils, and a sympa-
thetic Viennese tradesman lent him 150
florins; he was thus enabled to rent an attic-
room for himself, together with a rickety
harpsichord. Here he could practise un-
interruptedly, and Emanuel Bach's first 6
sonatas became his chief source of study. He
also assiduously practised the violin, but was
374
HAYDN
(in his own words) 'no conjuror on any instru-
ment, though able to play a concerto.' In
the same house lived Metastasio, the poet,
who taught him Italian, and recommended
him as musical instructor to a Spanish family,
the de Martinez, for their daughter Marianne.
Through playing her accompaniments at the
house of Porpora, her singing-teacher, he
became acquainted with that surly old master,
and in the performance of various menial
services gained his good-will sufficiently to
receive valuable instruction in composition
from him, and a recommendation to the
Venetian ambassador for a stipend, which was
granted, of 50 francs a month. H. went with
Porpora to the baths of Mannersdorf, and
made the acquaintance of Bonno, Wagenseil,
Dittersdorf , and Gluck. He was now 20 years
of age, and had composed 6 trios, sonatas,
and other instrl. music, his 1st Mass in F, and
a comic opera, Der ncue krutnme Teufel, prod,
at the Stadtt heater, 1752 (a satire on the lame
baron Affligio, official director of the court
opera, and suppressed after the 3d represen-
tation, but afterwards given in Prague, Berlin,
and other cities). He received 24 ducats for
this work, of which the libretto alone has
been preserved. One of his sonatas earned
the good graces of Countess Thun, who en-
gaged him as harpsichordist and singing-
master. He also met Baron Karl Josef Furn-
berg, for whom he composed his 1st quartet
(1755), which was followed by seventeen
others within a year. These two wealthy
friends introduced him to Count Ferdinand
Maximilian Morzin, who, in 1758, app. H.
'Musikdirector' and 'Kammercompositeur' at
Lukave£, n. Pilsen. In 1759 Prince Paul An-
ton Esterhazy heard his 1st symph. in D, and
asked the count to give him his composer; in
1760 H. entered his service as 2d Kapellm. at
Eisenstadt, after the death of Werner becom-
ing 1st Kapellm. The same year, H. married
Maria Anna, the eldest daughter of an early
benefactor, Keller, a wig-maker. He was
in love with the second daughter, but she
entered a convent, and H. was induced to
marry the sister. Of an extravagant, vixenish,
incompatible temperament, she made their
married life miserable. In 1762 the 'great'
Esterhazy, Prince Nikolaus, succeeded his
deceased brother, and under his rigime the
status of music and musicians was much
improved. For the Prince's new palace at
Esterhaz, besides the daily music, H. had
to provide two weekly operatic perform-
ances and two formal concerts; while in his
service, H. wrote some 30 symphonies, 40
quartets, divertimenti, 6 string-trios, a con-
certo for French horn, 12 orchl. minuets,
clavier-works of all descriptions, and nearly
all his operas, besides other vocal comps. His
music became known throughout Europe; the
official gazette alluded to him as 'our national
favorite.' In 1780 he was elected member of
the Modena Philharmonic Society; in 1784
Prince Henry of Prussia sent him a gold
medal and his portrait; in 1785 he was com-
missioned to write a mass, The Seven Words on
the Cross, for the Cathedral of Cadiz; in
1787 King Friedrich Wilhelm II gave him a
diamond ring; many other distinctions were
conferred upon him. During his stay at
Esterhaz, his friendship for Mozart developed.
In 1790 Prince Nikolaus died, and his son
Anton curtailed the chapel-music, retaining
H., however, as Kapellm., and increasing his
stipend of 1,000 florins by an additional 400.
He was virtually independent; his time was
his own, and he added to his income by' the
sale of his works. For some time he had receiv-
ed pressing invitations to visit London. He
had settled in Vienna, when Salomon appeared
with a tempting offer, and induced him to
accompany him, although his friends, especial-
ly Mozart, tried to dissuade him. In 1791
he arrived in England, and remained there
eighteen months, feted and petted by royalty
and the nobility, the artistic 'lion' of a
brilliant and successful season. In July,
Oxford conferred on him the inevitable hon.
degree of Mus. Doc.; and his best orches-
tral works, the 'Salomon symphonies,' were
written during this visit. During his absence,
Mozart had died (Dec. 5, 1791). In 1792
H. returned via Bonn to Frankfort, for the
coronation of Emperor Franz II, and went
thence to Vienna, also visiting his native
place to witness the unveiling of a monument
erected in his honor by Count Harrach, his
mother's former employer. In this year he
gave Beethoven the lessons with which the
latter was so dissatisfied. In 1794 he re-
visited London; his former triumphs were
repeated, and though pressed by the King
to make England his home, he returned to
his native land in affluence, at the invitation
of a new Prince, to reorganize the Esterhazy
chapel, as Kapellm. But his fame, though
great, was not yet in its zenith. In 1797 he
comp. the Austrian National Anthem, 'The
Emperor's Hymn.' In 1798, in his sixty-
fifth year, was prod, his immortal oratorio
Die Schopfung (The Creation), and in 1801,
Die Jahreszetten (The Seasons). But his
health began to fail, and thenceforward he
lived in retirement. Only once did he again
appear in public, in 1808, at a special per-
formance of The Creation; but he had to be
carried out before the finish, friends and
pupils, among whom was Beethoven, sur-
rounding him to take leave, B. bending to
kiss the old man's hands and forehead. He
lingered until 1809, when his end was has-
tened by the shock of the bombardment of
Vienna by the French. He was buried in
375
HAYDN
the Hundsthurm churchyard; eleven years
later he was reinterred at Eisenstadt. In
1887 a splendid monument was erected to
H. in Vienna.
Although of unprepossessing personal ap-
pearance, stern, dignified in aspect, and
laconic in speech, he was of a humorous,
agreeable, and amiable temperament, and
artistically liberal- minded. The religious
side of his character is shown in the inscrip-
tions of all his scores, with the motto 'In
Nomine Domini' or 'Soli Deo Gloria, ' and
all ending with 'Laus Deo.'
Haydn is the first great master of the new
instrumental style which reached its highest
development in the works of Beethoven.
After the recent discovery of the works of
Stamitz and his school (the 'Mannheim
symphonists') H. can no longer be regarded
as the 'Father of the symphony' or the
'Father of the modern orchestra.' Stamitz
and his school had definitely established the
sonata-form and differentiated the instru-
ments of the orchestra before H. wrote his
first quartet. But he availed himself of the
forms and achievements of his predecessor*,
and his greater genius soon caused the earlier
efforts to fall into undeserved oblivion. That
his music accomplished this is the most
eloquent tribute to its inherent power and
greatness; it is not the mere creation of a
new form that counts, but the artistic con-
tent. Beethoven did not create a single
new form, and yet he is Beethoven. And
thus, in spite of the recent discoveries,
Haydn's position as the first 'great master'
of the new instrumental style remains un-
shaken. His melodic vein is original and
inexhaustible; the frank gayety and extrava-
gant fun of 'Papa Haydn's' lighter music
went straight to the hearts of the impression-
able Viennese, and lent new vivacity to Eu-
ropean concert-halls; in his moods of ten-
derness or of passion he is a worthy fore-
runner of Beethoven. And to all this, which
in itself stamps him as one of the great
composers of all times, must be added the
marvellous fertility — prodigality — of his cre-
ative resources. The list of compositions is
enormous. It comprises 125 Symphonies
(incl. overtures; H. himself reckoned his
66 divertimenti, cassations, sextets, etc., as
symphonies), the meagre instrumentation of
the earliest (strings, 2 oboes, 2 horns) con-
trasting strongly with that of the 12 'English'
symphonies (strings, flute, 2 oboes, 2 clarinets,
2 bassoons, 2 horns, 2 trumpets, 2 kettle-
drums) and others of his maturity. Some
having distinctive titles are the Farewell
(Abschiedssymphonie, 1772), the Fire S.
(Feuersymph.,\774), the ToySymph. (Kinder-
symph.), La Chasse (1780), the Oxford
(1788; perf. at Oxford in 1791), the Surprise
376
(Symph. mil dem Paukenschlag, 1791), 5.
with the drum-roll (5. mil dim Pauken-
wirbel, 1795), The 7 Words on the Cross (Die
7 Worte am Kreus, 1785; written for Cadiz
Cathedral as a 'passione instrumentale' for
Good Friday; rearranged later as a quartet,
and again [by M. Haydn] as an oratorio).
Other instrl. works: 9 vln. -concertos, 6
'cello-concertos, 16 concertos for other
instrs. (lyre, barytone, double-bass, flute,
horn), 77 string-quartets, 32 trios for strings
and other instrl. combinations (excl. pf.),
175 numbers f. barytone, 4 vln. -sonatas, 6
duets f. vln. and via., 7 nocturnes f. lyre;
numerous minor pieces; — for harpsichord or
pf.: 20 concertos, 38 pf. -trios (35 w. vln.
and 'cello, 3 w. flute and 'cello), 53 sonatas
and divertimenti, 4 sonatas w. vln.; 9 minor
pes. — Vocal: 3 oratorios (Creation; Seasons;
II ritorno di Tobia), several cantatas, 14
masses, 2 Te Deums, a Stabat Mater, 13
offertories, motets, arias, etc.; Operas: Der
neue krumme Teufel [as above]; La vera co-
stanwa (written 1/76 for the Vienna Court
Th., but not perf. there; prod, as Laurette
in Paris, 1791); Lo Spenale, 1-act comic
opera (Esterhaz, 1768; Vienna, private perf.,
1/70; revived, as Der Apotheker, at Dresden
Court Th., 1895); 4 Italian comedies, 14
Ital. opere buffe (incl. Lo Spenale) t and 5
marionette-operas (all probably prod, at
Eisenstadt and Esterhaz); Orfeo (written in
London; unfinished); music to several plays;
22 detached arias; a cantata for solo voice
and pf., Ariana a Naxos; si cantata for
vocal solo and barytone, DeutsMands Klage
auf den Tod Fritdrichs des Grossen; The 10
Commandments in canon-form (later, with
different words, as Die 10 Gesetse der Kunst;
36 German songs; 12 canzonets; the Austrian
National Hymn; other songs; collections of
Scotch and Welsh folk-songs; vocal duets,
trios, etc.
A monumental edition of H.'s works in
about 80 volumes, prepared by G. Adler,
H. Kretzschmar, E. Mandyczewski, M.
Seiffert et al., was begun in 1907 by Breitkopf
& Hartel. So far (1916) 4 volumes of sym-
phonies have appeared.
Bibliography. — Biography: Simon Mayr,
Brevi notizie istoriche delta vita e deUe opere di
G. H. (Bergamo, 1809); G. A. Griesinger,
Biographische Notiten iiber J. H. (Leipzig,
1810); A. K. Dies, Biographische Nachrichten
von J. H. (Vienna, 1810); G. Carpani, Le
Haydine (Milan, 1812; 2d augm. ed. Padua,
1823); Th. v. Karajan, /. H. in London
(Vienna, 1861); F. v. Seeburg, /. H. (Ratis-
bon, 1882; 4th ed. 1911; Fr. tr. by J. de
Rochay, 1895); L. Schmidt, /. //. (Berlin,
1898; new ed. 1907); La Mara, /. H., in
vol. iv of Musikal. Charakterkopfe (Leipzig,
1900; sep. reprint, 1912); J. C. Hadden, H.
HAYDN— HAYES
(London, 1902); J. F. Runciman, H. (Lon-
don, 1908); M. Brenet, H. (Paris, 1909).
The only comprehensive biogr. is that of
K. F. Pohl, /. H. (2 vols., Leipzig, 1875, '82;
brings the life down to 1790). After the
author's death (1887) E. v. Mandyczewski
undertook to complete the work, but owing
to his numerous other duties, made little
progress; the publrs. have announced that
H. Botstibcr will finish it. — Criticism, Ap-
preciation: K. F. Pohl, Mozart und H. in
London (Vienna, 1867); K. von Wurzbach,
/. H. und sein Bruder Michael (Vienna,
1861); L. Wendschuh, Ober H.'s Opern
(Rostock, 1896); W. H. Hadow, A Croatian
Composer; Notes toward the Study of J. H.
(London, 1897); H. E. Krehbiel, Music and
Manners in the Classical Period (N. Y., 1898;
contains H.'s notes on his London- visit);
J. Hartog, /. H.t sijn broeder Michael
en hunne werke (Amsterdam, 1905); M.
Puttmann, /. H. als Vokalkomponist (Langen-
salza, 1909); A. Schnerich, Messe u. Requiem
seit H. u. Mozart (Vienna, 1909); H. v. Hase,
J. H. und Breitkopf & Hartel (Leipzig, 1909);
J. E. Engl, /. H.f Handschriftl. Tagebuch aus
der Zeit seines zweiten Aufenthalts in London
(Leipzig, 1909) ; F. Artaria and H. Botstiber,
J. H. und das Verlagshaus Artaria (Vienna,
1909).— Correspondence: No complete ed.
of H.'s letters has been publ. The largest
coll. is that t ran si. by Lady Wallace in her
book Letters of Distinguished Musicians (Lon-
don, 1867); J. C. Hadden, G. Thomson. His
Life and Correspondence (London, 1898; con-
tains letters from H.). Selections of letters
are also found in the above-mentioned books
of Karajan, Hadden, von Hase and Artaria.
- — occ y.~L»ex.
Hay'dn, (Johann) Michael, organist and
sacred composer, brother of preceding; born
Rohrau, Sept. 14, 1737; d. Salzburg, Aug. 10,
1806. Soprano chorister, with remarkable
voice three octaves in compass, at St. Ste-
phen's, Vienna, 1745-55, replacing his brother,
Josef. Studied vln. and organ, and became
asst. -organist; in 1757, Kapellm. at Gross-
wardein; in 1762, Concert meister and director
at Salzburg to Archbishop Sigismund, and,
in 1777, organist of the Cathedral and St.
Peter's church there. He married the daugh-
ter of Kapellm. Lipp, Maria Magdalena, an
excellent soprano singer, extolled by Mozart
for her virtues. By the French occupation of
Salzburg in 1800 he lost his property, but
his brother and friends liberally assisted him,
and the Empress Maria Theresa rewarded
him handsomely for a mass composed at her
command, in which she sang the soprano
solos. He opened a school of composition,
and educated many distinguished pupils, in-
cluding Reicha and Carl M. von Weber. In
1833 Martin JJischofsreiter, a Benedictine
monk, published Partitur-Fundamente, a coll.
of thorough-bass exercises written by M. H.
for his scholars. He composed a mass and
vespers for Prince Esterhazy, who twice of-
fered to make him vice- Kapellm. of his
chapel; but H. refused, hoping the Salzburg
chapel would be reorganized. He was elected
a member of the Stockholm Academy. A
prolific composer, his best works were his
sacred compositions, which his brother held
in high estimation, ranking them above his
own. He was chary of publication, and re-
jected Breitkopf & Hartel's frequent ad-
vances.— Works: Vocal: About 360 church-
comps., including oratorios, masses, cantatas,
2 requiems, graduate, etc.; also operas, oper-
ettas, 4-part songs, songs, and canons in 4
and 5 parts. Instrl.: 30 symphonies, a sex-
tet, 3 quintets, serenades, marches, 12 orchl.
minuets, a vln. -concerto, 50 short organ-
pieces, etc. A selection from his instrl. works
was publ. by L. H. Perger in 'Dkm. d. Tonk.
in Osterreich' (voL.xiv, 2). — Cf. Schinn and
Otter, Biographische Skizse von J. M. H.
(Salzburg, 1808); J. E. Engl, Zum Gedenken
J. M. H.'s (Salzburg, 1906); O. Schraid,
/. M. H.: Sein Leben und Wirken (Langen-
salza, 1906); K. M. Klob, Drei musikaltsche
Biedermdnner (Ulm, 1911). See also Wurz-
bach and Hartog under bibliography of pre-
ceding article. — -For works, see Q.-Lex.
Hayes, Philip, son of William; b. Oxford,
April, 1738; d. London, March 19, 1797.
Chorister at Magdalen College, 1749-51; be-
came Mus. Bac., Oxon., 1763; Gentleman of
the Chapel Royal, 1767; organist of New Col-
lege, Oxford, 1776; organist of Magdalen
Coll. and Univ. Prof, of Music in succession
to his father, 1777, the same year becoming
Mus. Doc.; organist of St. John's Coll., 1790.
— Comps.: Oratorio Prophecy (Oxford, 1781);
a masque, Telemachus; odes, anthems, ser-
vices, psalms, glees; 6 concertos for organ,
harpsichord, or pf. (1769); also wrote some
numbers in Dibdin's The Two Misers and
Dr. Arnold's Two to One; edited 'Harmonia
Wiccamica' (London, 1780). — See Q.-Lex.
Hayes, William, English org. and comp.;
b. Hanbury, Worcestershire, in Dec., 1706;
d. Oxford, July 27, 1777. Chorister at Glou-
cester cath.; org. of St. Mary's, Shrewsbury,
1729-31; then of Worcester cath., 1731—4.
Became org. of MagdaleYi Coll., Oxford, in
1734; Mus. Bac., 1735; Univ. prof, of music,
1742; Mus. Doc., 1749. In 1763, conducted
the Gloucester Music Festival. — Comps.:
Psalms, odes, glees, canons, catches, ballads
and cantatas; a masque, Circe; etc. Wrote
Remarks on Mr. Avison's Essay on Mus.
Expression (1758) ; Anecdotes of the Five Music
Meetings (1768); and was co-editor of
Boyce's 'Cathedral Music.'— See Q.-Lex.
377
HAYM— HECKMANN
Haym (Ital. Aimo), Niccold Francesco,
of German parentage; b. Rome, circa 1678;
d. London, Aug. 11, 1729. Received a
brilliant education; distinguished himself in
music and poetry, and became a fine 'cellist.
In 1704, settled in London, rearranged
operas, and wrote libretti for Clayton, Dieu-
part, Bononcini, Ariosti, and Handel. Two
operas written by him were prod, in London,
Camilla (1706) and Etearco (1711).— Publ.
2 books of sonatas for 2 violins and bass.
Haynee, Walter Battison, b. Kempsey,
near Worcester, Nov. 21, 1859; d. London,
Feb. 4, 1900. He received his first instruc-
tion from an uncle, who was the organist at
the Priory Ch. in Malvern; then studied with
F. Taylor (pf.) and E. Prout (comp.); in
1878 he entered the Leipzig Cons., where his
teachers were C. Reinecke (pf.) and S. Ja-
dassohn (comp.); winner of the Mozart
scholarship. In 1884 he was app. organist at
St. Philip^ Ch., Sydenham, and from 1891
till his death he was organist and choirmaster
at the Chapel Royal, Savoy; from 1890 also
prof, of harm, and comp. at the R. A. M. —
Works: Symphony in Bb; a concert-overture;
Idyl for vln. and orch.; a pf.-trio; Prelude
and Fugue for 2 pfs.; 12 sketches for vln.
and pf.; organ-pieces (sonata in D m., etc.);
2 cantatas tor female voices, Fairies1 Isle and
A Sea Dream.
Hays, William Shakespeare, American
song-composer; b. Louisville, Ky., July. 19,
1837; d. there July 22, 1907. Wrote his first
song at 16 years of age, and published nearly
300, which have had an enormous total sale
of several millions. The most widely-known
are: Evangeline, My Southern Sunny Home,
Write Me a Letter from Home, Driven from
Home, Mollie Darling, etc.
Heap, Charles Swinnerton, pianist and
conductor; b. Birmingham, Engl., April 10,
1847; d. there Tune 11, 1900. As winner of
the Mendelssohn scholarship, from 1865-7
pupil of Leipzig Cons, under Moscheles,
Hauptmann, Richter, and Reinecke; 1867
organ-pupil of Best, at Liverpool; Mus. Baa,
Cambridge, 1871; Mus. Doc., 1872. Cond.
of Birmingham Philh. (1870-86), Stafford,
and other Societies, and of Wolverhampton
Musical Festival. After 1888, cond. of the
N. Staffordshire Festivals; from 1895, also
conducted the Birnr. Fest. Choral Soc., and
from 1897, chorusmaster of Burn. Festival.
He was well known as an organist, concert-
fiver, and teacher; in 1884 was appointed
Examiner for Mus. Degrees at Cambridge. —
Comps.: Oratorio The Captivity; cantatas
The Voice of Spring (1882), The Maid of As-
tolat (1886), and Fair Rosamond (1890); 2
overtures; a quintet for pf. and wind; a pf.-
trio; sonatas tor pf., for pf. and vln., and for
pf. and clarinet; anthems, pf. -music, organ-
pieces, part-songs, songs, etc.
Hef>enatrelt, Pantaleon, violinist; born
Eisleben, 1669; d. Dresden, Nov. 15, 1750.
Was a dancing-master at Leipzig, but fled
from his creditors to Merseburg, where the
idea of improving the dulcimer was suggested
to him, and he invented the instrument with
which he made long and brilliant concert-
tours and which Louis XIV named the 'Pan-
talon/ after its originator's Christian name.
As a precursor of the pf., it has disappeared
in the process of evolution. In 1706 H. was
app. Kapellm. and dancing-master to the
court at Eisenach; in 1714, ^an talon' cham-
ber-musician at the Dresden court.
Hecht, Eduard, pianist and composer; b.
DQrkeim (Rhine Palatinate), Nov. 28, 1832; d.
Didsbury, near Manchester, March 7, 1887.
Pupil of his father, prof, of singing at Frank-
fort; also of J. Rosenhain. In 1851, went to
Paris, and published his first compositions.
Settled in England (1&54) as choral cond. at
Manchester. From 1875, prof, of harm, at
Owens College, Manchester.— ^Chamber-mu-
sic; salon-music, marches, caprices, etc., f. pf.
Hecht [heyht], Gustav, b. Quedlinburg,
May -23, 1851. Pupil of Siebers (voice) and
Kiel (comp.) and of the 'Kgl. Inst, ftir Kir-
chenmusik' in Berlin; 1874-1902 teacher at
the Seminary in Cammin; since then in
Koslin; 'Kg!. Musikdirektor' in 1889. Comp.
of choral works with orch. (Schon Elisabeth,
Tidian, Dithvrambus der Kybele-Priesterin),
vln.-pieces, choruses and songs; has written
Praktische Ergebnisse der Harmonielehre (2d
edition 1898).
Heck'el, Emit, b. Mannheim, May 22,
1831; d. there March 28, 1908. The first
president of the 'Allgem. Richard Wagner-
Verein.' His personal efforts contributed
very materially toward the realization of the
Bayreuth Festivals; later he was one of the
directors of Bayreuth. The colossal bust of
Wagner (by J. Hoffart) in his residence in
Mannheim is the earliest Wagner monument.
He was an equally zealous propagandist for
the works of Hugo Wolf. »His son Karl edited
Briefe Wagners an E. H. (1899).
Heck'el, Wolf, lutenist, living at Strasb-
ourg in the 16th century. Publ. a Lauten-
buck (Strassburg, 1562), a valuable and in-
teresting coll. of old German, French and
Italian songs, dances, fantasias, ricercari,
pavanes, and salterelles, arr. for 2 lutes. A
copy of this rare work is in the Hamburg
town-library.
Heck'mann, Georg Julius Robert, gifted
violinist; b. Mannheim, Nov. 3, 1848; d. Glas-
gow, Nov. 29, 1891, during a concert- tour. St.
at Leipzig Cons, under David, 1865-7. Cond.
378
HfeDOUIN— HEGAR
of the 'Euterpe/ Leipzig, 1867-70. Made
artistic tours, 1872-5; ana in 1881, leader of a
renowned string-quartet in Cologne. — His wife
Marie (neeHartwig) was an excellent pianist;
b. Greiz, 1843; d. Cologne, July 23, 1890.
Cons. Frequent leaves of absence enabled him
to make extended tours of Germany, Aus-
tria, France, Spain, Italy, Russia, England,
the United States, Australia, etc. He holds
the distinction of having been the first to in-
Hedouin [a-d'wan'], Pierre, lawyer and • ^fuce J1?* Brahms concerto in Paris, New
litterateur; b. Boulogne, July 28, 1789; d.
Paris, Dec., 1868. From 1809 studied law in
Paris became an advocate, and for 30 years
practised in Boulogne. In 1842, app. 'chef
du bureau* at the Ministry of Public Works,
and settled in Paris. A predilection for music
and the arts was fostered by his relationship
with Monsigny the composer, and he occupied
his leisure moments with literature, especially
that of music, and in composition. He wrote
novels, contributed to the 'Annales archeo-
logiques,' 'Annales romantiques,' and to
several mus. periodicals; comp. nocturnes, ro-
mances and songs, also writing the words, and
furnished the libretti of several operas. —
Mus. writings: tloge historique de Monsigny
(1821), Gossec, savieet ses ouvrages (1852), De
I1 Abandon des anciens compositeurs. Ma pre-
miere visits a GrHry, * Richard Coeurde Lion* de
GrHry, Lesueur, Meyerbeer d Boulognc-sur-
Mer, Paganini, Joseph Dessauer (publ. in the
'Menestrel'), Trots anecdotes musicales (on
Lesueur, Mile. Dugazon, and Gluck) in his
'Mosaique' (1856; a publ. coll. of his miscel-
laneous articles); Gluck, son arrivSe en France
(1859) ; etc.
Hee'ringen, Ernst von, b. Grossmehlra,
n. Sondershausen, 1810; d. Washington, Dec.
24, 1855. In 1850 he tried to introduce a new
notation, which abolished the b and #, gave
white notes for the 7 fundamental tones, black
for the 5 intermediate, and simplified time-
signatures, clefs, etc. Mortified at his want
of success, he emigrated to America.
Heermann [bar'-], Hugo, distinguished
violinist; b. Heilbronn, Wurttemberg, March
3, 1844. A very musical mother encouraged
the boy's talent from the beginning, and
by Rossini's advice he was sent in 1857
to the Brussels Cons., where he remained
four years, studying chiefly with Lambert
Meerts, but also profiting from his. associa-
tion with de Beriot, Leonard and Yieuxtemps;
graduated in 1861 as winner of the 1st prize.
He then went to Hanover for further study
under Joachim (1862); debut in 1860 in
Brussels with a concerto by Meerts. From
1864-1904 he lived in Frankfort as Konzert-
meister of the 'Museumsgesellschaft' (ap-
pearing frequently as soloist) and prof, at
Hoch's Cons.; also was leader of the famous
'Frankfurter Streichquartett' (Hugo Becker,
'cellist); from* 1906-9 he was head of the
vln.-dept. at the Chicago Mus. Coll.; 1911,
prof, at Stern's Cons, in Berlin; since 1912
professor of the virtuoso-class at -the Geneva
379
York, Melbourne and Sidney. He has pub-
lished a new ed. of de Beriot's &cole trans-
cendentale du violon (1896). — His son and
pupil Emil is also a talented violinist.
He'gar, Emil, brother of Friedrich; b. Ba-
sel, Jan. 3, 1843. Studied at Leipzig Cons. In
1866, 'cello-teacher at the Cons., and 1st 'cello
in the Gewandhaus Orch. An excellent player,
nervousness compelled him to abandon the
instr. He then studied singing, and is now
vocal-teacher at the Basel School of Music,
and a concert-singer. — Julius, another broth-
er, is 1st 'cello in the Zurich 'Tonhalle' orch.
He'gar, Friedrich, b. Basel, Oct. 11, 1841.
Pupil (1857-60) of Hauptmann, Richter,
Rietz, David, and Plaidy, at Leipzig Cons.
In 1860, leader of the Biise Orch. in Warsaw;
lived awhile in Paris and London, then (1861)
became mus. director in Gebweiler, Alsatia;
and in 1863 settled in Zurich as cond. of
orch. and chorus. He became cond. of the
Subscription Concerts, and also of the Choral
Soc. rGemischter Chor Zurich') in 1865, and
raised both to a high artistic level. From
1868-1906 he was cond. of the Tonhalle orch.
In 1875 he founded a Cons. ('Musikschule')
at Zurich, of which he was dir. till 1914. In
1889 the Univ. of Zurich made him Ph.D.
(hon. c.). Among the Swiss composers he
occupies- a position of prominence. — Works:
Op. 1, 3 piano-pieces; op. 2, Hymne an die
Musik, for ch. and orch.; op. 3, violin-con-
certo in D; op. 4, Morgen im Walde, for male
ch.; op. 5, Das Abendmahl, for male ch.; op. 7,
4 songs; op. 8, 3 songs for male ch.; op. 9, Die
beiden Sarge, for mate ch.; op. 10, 3 songs; op.
11 1 In den Alpen, for male ch.; op. 12, 3 mixed
chs.;*op. 13, Waldlied, for male ch.; op. 14,
Waltz tor vln. with piano; op. 15, Rudolph v.
Werdenberg, for male ch.; op. 16, Manasse,
dram, poem for soli, ch. and orch. [v. succ.];
op. 17, Todtenvolk, for male ch.; op. 18, male
ch.; op. 19, 5 songs for solo voice; op. 20,
Hymne an den Gesang, for male ch.; op. 21, 2
songs for male ch.; op. 22, Weihe des Liedes,
for male ch.; op. 23, male ch.; op. 24, Die
Trompete v. Gravelotte, for male ch.; op. 25,
FestouvertUre for orch., in F; op. 26, 4 songs
for solo voice; op. 27, Die Bliitenfee, for male
ch. ; op. 28j Kaiser Karl in der Johannisnacht,
for male en.; op. 29, 4 songs for male ch. ; op.
30, Walpurga, lor male ch.; op. 31, 3 songs for
female ch. and piano; op. 32, Konigin Bertha,
for male ch.; op. 33, Das Mdrchen vom Mum-
melsee, for male ch. ; op. 34, Ahasvers Erwachen,
for bar. solo, mixed ch. and org. ; op. 35, Jung
HEGEDUS— HEINEFETTER
Volker, for male ch.; op. 36, Das Herz von
Douglas, for ten. solo, male ch. and organ; op.
37, Fruhlingslied, for male ch.; op. 38, Des
Geigers Heimkehr, for male ch.; op. 39, 2
songs for male ch.; op. 40/ Heldenzeit, for
male ch.; op. 41, 1813, lor male ch.; op. 42,2 ,
songs for male ch. — Cf. H. Trapp, F. H., in
'Monographien moderner Musiker' (vol. ii,
Leipzig, 1907).
He'gedus, Ferencz, celebrated violinist;
b. Fiinfkirchen, Hungary, Feb. 26, 1881. His
talent showed itself very early and was care-
fully fostered by his father, who was himself
a 'cellist; from 1890-3 he studied under Hoffer
and Lohr at the Cons, of his native town, and
from 1893-1901 at the Budapest Cons, under
Gobbi and Jeno Hubay; debut in London in
1901 (Vieuxtemps concerto No. 4 and Paga-
nini); he then toured England, France, Ger-
many, Belgium, Holland, and made his first
visit to the U. S. (1906-7), arousing genuine
enthusiasm everywhere. From 1909-11 he
was obliged, because of overwork, to inter-
rupt his career temporarily; since then he has
resumed his successful tours; revisited Ameri-
ca 1915-16. He has all the fire and abandon
of his race, tempered with utmost artistic re-
finement. While still a student at Budapest
he won the 'Extra Diploma' entitling him to
assume the title of Prof, without further ex-
amination. From 1900-1 he was cond. at the
Volkstheater in Budapest. He is the possessor
of the famous 'Gillott' Guarnerius, one of the
finest instruments in existence.
H6glon [ag-lohnl, Meyriane, dram, con-
tralto; b. Brussels, 1867 (of Danish parents).
Pupil of d'Obin, Barbov and Rosina Laborde;
debut at the Opera in 1890 as Giovanna
(Rigoletto) ; she was then a regular member of
the company until 1905, when she went to
the Opera-Comique; has also sung several
seasons in London. She created the leading
contralto rGles in Thais, La Montague noire
(Holmes), Djelma (Lefebvre), Olcllo, Frlde-
gonde (Guiraud), La Cloche du Rhin (Rous-
seau), La Burgonde (Vidal), La Prise de
Troie (Berlioz), AstartS (Leroux), Les Bar-
bares (Saint-Safins), Or sola (Hillemacher), Le
Fits de VetoUe (Erlanger), Miarka (Georges).
Heg'ner, Anton, fine 'cellist; b. Copen-
hagen, March 2, 1861; d. New York, Dec.
4, 1915. Studied in Copenhagen Cons.; played
with great success in Copenh. (1875), etc.,
Berlin (1892), New York (1894), etc.; settled
in 1899 as teacher in New York.— Works: 4
quartets; 1 piano-trio; many soli for 'cello,
violin; abt. 60 songs; also 2 concertos for
'cello (op. 17, in A; op. 23, in D min.); and
American Festival Overture for orchestra.
Heg'ner, Otto, b. Basel, Nov. 18, 1876;
d. Hamburg, Feb. 22, 1907. Studied in Basel
with Fricker, Huber, and Glaus; in 1893 with
d' Albert. Made his pianistic d£but as a youth-
ful prodigy at Basel, Baden-Baden, etc. Ap-
peared in England and America in 1888, and
at the Gewandhaus, Leipzig, 1890; taught at
Stern's Cons, in Berlin, 1898-1904; in 1905
app. at Cons, in Hamburg; comp. piano-pieces
(Suite, Toccata, etc.).
Hegyesi [hfchd'ye'-se] (Magyarization of
his real name, Spitzer), Louis, noted 'cellist;
b. Arpad, Hungary, Nov. 3, 1853; d. Cologne,
Feb. 27, 1894. At the age of 8 he began to
study the 'cello with Denis in Vienna, and
later became a pupil of Schlesinger at the
Cons. ; went to Franchomme in Paris in 1865,
and played there until the outbreak of the
war of 1870, when he accepted a position in
the orch. of the Imp. Opera at Vienna. In
1875 he succ. Hilpert in the famous 'Floren-
tine Quartet,' remaining until its dissolution
in 1880. For some years he then toured
Germany, Austria and Hungary as soloist
with great success; from 1887 till his death
he was professor at the Cologne Cons. Wrote
some solo-pieces for 'cello, and valuable Neue
rhythmische Tonleiter-- und Akkordstudien.
Hei'de, von der. See Von der Heide.
Hei'den. See Heyden.
Hei'dlngsfeld, Ludwig, talented comp.;
b. Jauer, Prussia, March 24, 1854. Pupil of
Stern Cons., Berlin; music dir. at Glogau,
1878; at Liegnitz, 1884; then at Stern's Cons.,
Berlin; cond. a series of orchl. concerts in
Danzig, 1896-7, and several male singing so-
cieties; since 1899 cond. of the Singakademie
and dir. of the Cons., which he founded. In
1914 he was made *R. Prof.'— Works: Op. 3,
2 Zigeunertdnze for small orch.; op. 8, dram,
symphony, Konig Lear; op. 9, symph. poem,
Der Totentanz; op. 24, 2 Zigeunertdnze for
full orch.; piano-pieces; songs.
Hein [bin], Karl, b. Rendsburg, Germany,
Feb. 2, 1864. From 1880-6 he was a student
at the Hamburg Cons., where his teachers
were Dr. Riemann, Gradener, y. Bernuth,
Lee and Gurlitt. 1885-90, member ('cellist)
of the Hamburg Philh. Soc. and cone-master
of the Amicitia Orch.; came to New York in
1890 as prof: at the German Cons, of Music;
at the same time he conducted several choral
societies ('Mozart-Verein,' 'Franz Schubert-
Chor,' New York; 'Harmonie,' Newark;
'Liederkranz,' Elizabeth). In 1894 and 1907
he was Fest.-cond. of the great national
'Sangerfest' held in Madison Square Garden,
New York, on which occasion he led a chorus
of 5-6,000 singers. Since 1906 he has been dir.
(with August Fraemcke) of the New York
Coll. of Music and the German Cons, of
Music. Has publ. a number of male choruses,
and exercises for the voice.
Hei'nefetter, Sabine, celebrated soprano
380
HEINEMEYER— HEINROTH
opera-singer; b. Mayence, Aug. 19, 1809; d.
Illenau, Nov. 18, 1872. Of humble parentage,
she was noticed, as a strolling harpist, by a
Frankfort musician, who gave her lessons.
Her debut was successful, and in 1825 she
went to Spohr at Cassel, who further instruct-
ed her. Sang in Berlin and Paris, where she
studied with Tadolini. Achieved brilliant
success in Vienna, Milan, and other cities. Her
last appearance was at Frankfort in 1844.
Among her chief rdles were Donna Anna
(Don Giovanni) and Zelmira. In 1853 she
married a Mons. Marquet of Marseilles. She
died insane. Her five sisters also sang with
success on var. stages: Clara (Mme. Stockel),
b. Mayence, Feb. 17, 1816; d. (also insane)
Vienna, Feb. 24, 1857; Rathinka, b. 1820;
d. Dec. 20, 1858; Fatima (married to the
nobleman Miklowitz); Eva, and Nanette.
Hei'nemeyer, Ernst Wilhelm, celebrated
flutist; b. Hanover, Feb. 25, 1827; d. Vienna,
Feb. 12, 1869. Son and pupil of the distin-
guished flutist and Hanoverian royal chamber-
musician, Christian H. [1796-1872]. From
1845-7, he was a member, with his father, of
the royal orch., Hanover. In 1847, went to
Petrograd as 1st flute in the Imp. orch. and
instructor at the Theatre-school. Pensioned
in 1859, he returned to Hanover, but settled
in Vienna in 1866. — Works: Concertos and
other fltite-compositionsf much esteemed.
Hei'nichen, Johann David, b. Krossuln,
n. Weissenfels, April 17, 1683; d. Dresden,
July 15, 1729. Pupil of Schelle and Kuhnau at
the Thomasschule, Leipzig; also studied law,
and practised as a lawyer at Weissenfels. Re-*
turning to Leipzig, he comp. operas, and publ.
a work on thorough-bass: Neu erfundene und
griindliche Anweisung ... (1711); 2d ed.
as Der Generalbass in der Composition, oder
Neu erfundene, etc. (1728). Councillor Buchta,
of Zeitz, supplying the funds, H. accompanied
him to Italy, where (1713-18) he studied, and
prod, several operas, mostly in Venice; also
for a time was eng. by and travelled with the
Prince of Anhalt-Kdthen; was app. (1718)
Court Kapellm. to Augustus the Strong, at
Dresden. — Comps. (in the Royal Library,
Berlin): Requiem masses, Kyrie and Gloria,
Te Deum, cantatas, etc.; (in the Royal Li-
brary, Dresden) : 3 operas, 57 cantatas, 1 1
concertos, 7 masses, 2 requiems, and 6
serenades. — See Q.-Lex.
Heinrich XXIV, Prince of Reuss-Kostritz,
b. Trebschen, Brandenburg, Dec. 8, 1855; d.
Castle Ernstbrunn, Austria, Oct. 2, 1910.
Pupil of his father, Heinrich IV, Reuss [April
26, 1821— July 25, 1893] and Witting in
Dresden; then of Herzogenberg and Rust in
Leipzig. Talented composer: 6 symphonies (C
m., D, E m., A, F m., Eb); 2 string-quartets;
2 string-quintets; 1 piano-quartet; 1 string-
sextet; 1 string-trio; 1 vln.-sonata; an octet for
strings, clarinet, horn and bassoon; and a
mass.— Cf. F. Keller, H. XXIV, in vol. ii of
'Monographien moderner Musiker' (Leipzig,
1907).
Hein'rich, Johann Georg, b. Steinsdorf,
n. Hainau (Silesia), Dec. 15, 1807; d. Sorau,
Jan. 27, 1882. Org. at Schwiebus, and in
1846 at Sorau. App. royal mus. dir., 1872. —
Comp. cantatas, psalms, chorals, and organ-
pieces. Writings: An OrgeUehre (1861), Der
accentuierend rhythmische Choral (1861), and
Der Orgelbau-Revisor.
Heln'rich, Max, baritone concert-sineer;
b. Chemnitz, Saxony, June 14, 1853, d. New
York, Aug. 9, 1916. Trained from 1865 by
Klitzsch at Zwickau, and from 1869 at the
Dresden Cons. Resided 1873-6 in Philadel-
phia; 1876-82, teacher in the Judson Inst.,
Marion, Ala. In 1882, at New York, success in
the r61e of Elijah (with the New York Chorus
Society) opened the way for further concerts
under the batons of Thomas, Seidl, Gericke,
Paur, Nikisch, W. Damrosch, etc. In 1884,
California tour with Thomas' Orch.; 1888-
93, prof, of singing at the R. A. M., London.
From 1894-1903 he lived in Chicago; then
until 1910 in Boston; after that in New York.
Although he gave his official 'farewell' re-
cital on Feb. 23, 1903, in Chicago, he had
been heard again at various times (the last
time in the spring of 1916.) A pione3r in
the cultivation of the German Lied in
America. His daughter, Julia, has been a
member of the M. O. H. since 1915. —
Compositions: Several attractive songs;
melodramatic settings of Waller's Magdalena
and Poe's Raven.
Hein'richs, Anton Philipp, born Schdn-
biichel, Bohemia, March 11, 1781; d. New
York May 3 (Nov. 23?), 1861. Spent a life
, of remarkable vicissitudes, and was known
as 'Father H.' Publ. songs, piano-pieces, and
instrl. works of merit.
Hein'richs, Johann Christian, b. Ham-
burg, 1760. Studied at Liibeck and Riga, and
settled in Petrograd. Wrote Entstehung,
Fortgang und jettige Beschaffenheit der rus-
sischen Jagdmusik (1796).
Heinroth [hln'roht], Charles, distin-
guished organist; b. New York, Jan. 2, 1874.
Pupil of A. Friedheim and M. Spicker (1891),
at Nat. Cons, of John White (org.) and V.
Herbert (comp.), 1893; then studied at the
Kgl. Akademie der Tonkunst in Munich with
Otto Hieber and J. Rheinbcrger (1896). In
1893 he was org. and choirm. at St. Paul's
P. E. Ch., Brooklyn; 1897, at Ch. of the
Ascension and Temple Beth- El, New York;
also instr. of org., harmony and cpt. at the
Nat. Cons. In 1907 he succ. E. H. Lemare as
org. and dir. of music at the Carnegie Inst.,
381
HEINROTH— HELENE
Pittsburgh, a position which he has since then
filled with distinction; at the same time he
has occupied the post of org. and choirm. at
the Third Presbyterian Ch. His duties as org.
of the Inst, require him to give there annually
about 70 recitals and as many (often more)
throughout the country from the Atlantic to
the Pacific. At the Panama Exposition of
1915 he gave five recitals; has opened many
large organs, and played up to 1916 about
1 ,500 recitals. He is hon. member of the Amer.
Organ Players' Club (Phila.) and Kansas
City Assoc, of Organists; in 1912, elected
member of the R. Philh. Academy, Rome.
Hein'roth, Johann August Gilnther, b.
Nordhausen, June 19, 1780; d. GSttingen,
June 2, 1846. Son and pupil of Chriatoph
Gottlieb H., for 62 years org. at Nordhausen.
In 1818, app. music dir. of Gottingen Univ.,
in succession to Forkel, and instituted aca-
demical concerts. With Jacobson, he reor-
ganized the Israelitish liturgy, and comp.
several melodies still sung in the synagogues.
He also attempted the introduction of a sim-
plified notation by figures. — Comps.: 169
choral melodies for 4 voices (1829); 6 3-part
songs; 6 male choruses. Writings: Gesang-
unlerric his- Method* fiir hohere und niedere
Schulen (1821-3, 3 parts); Volksnoten oder
vereinfachte Tonschrtft . . • (1828), Kurze
Anleitung, das Clavier spiel tu lehren (1828),
Musikalisches Hilfsbuchfiir Prediger, Canloren
und Organisten (1833); contributions to G.
Weber's 'Cacilia,' Schilling's 'Universallexi-
kon,' etc.
Heintz, Albert, b. Eberswaldc, Prussia,
March, 21, 1822; d. Berlin, June 14, 1911.
Pupil of W. Rust and at the Kgl. Inst, for
Kirchenmusik in Berlin; org. at the Petri-
kirche in Berlin. Wrote excellent analyses of
Wagner's works, and paraphrases of Wag-
nerian themes for piano 2 and 4 hands.
Hein'ze, Gustav Adolf, composer r born
Leipzig, Oct. 1, 1820; d. Muiderberg, n.
Amsterdam, Feb. 20, 1904. Son and pupil of
Wilhelm Heinrich H. [b. 1790], clar.-player
in the Gcwandhaus orch. Studied pf. with W.
Haake. At 15 was clarinettist in the Gewand-
haus. In 1840, studied comp. with Kotte
(Dresden), and made concert -tours. In 1844,
became 2d Kapellm. at the Breslau Th.
and prod, operas on his wife's libretti, Lorelei
(1846), and Die Ruinen von Tharandt (1847)
(FfeTis ascribes these to the father). In 1850,
app. Kapellm. of German Opera, Amsterdam;
in 1853, dir. of the 'Euterpe Liedertafel'; in
1857, of the Vincentius Concerts, and in 1868
of the Excelsior church-music singing-society.
— Works: The oratorios Auferstehung, Sankta
Cd cilia, Der Fecnschleier, and Vincentius von
Paula, 3 masses, 3 overtures, numerous canta-
tas, hymns, songs, and male choruses.
382
Hein'ze, Sarah (nee Magnus), talented
pianist; b. Stockholm, 1836; d. Dresden, Oct.
27, 1901. Studied with Kullak, Al. Drey-
schock, and Liszt. Lived in Dresden, then
Hamburg; from 1890, again in Dresden.
Hei'se, Peter Arnold, born Copenhagen,
Feb. 11, 1830; d. Stockkerup, Sept. 12, 1879.
Student at Copenhagen Univ.; also pupil of
Lund (pf.), Gade, and Berggreen; 1852-3
pupil of Leipzig Cons.; 1857-69music-teacher
at Sort) Acad. Returned to Copenhagen, and
after 5 years' unsuccessful endeavors prod, his
first opera, The Pasha's Daughter (1869). It
met with success, as also King and Marshal
(1878). Other comps.: Ballad Dornroschen, a
ballet, Kort Adelar, and many songs. Posthu-
mous work, Medieval Romances and Sones
(Leipzig, 1893).— Cf. W. Behrend, P. H., ein
ddntscher Liederkomponist, in 'Riemann-Fest-
achrift' (Leipzig, 1909).
Hei'ser, Wilhelm, b. Berlin, April 15,
1816; d. Friedenau, n. Berlin, Sept. 9, 1897.
Opera-singer at Stralsund, Rostock, Berlin;
1853-66, bandmaster of the Fusilier Guards
at Berlin; later singing-teacher. Best known
as a composer of songs (over 500 are publ);
Zieht im Herbst die Lerche fort, Zerdriick' die
Thrane nicht in deinem Auge, and others, are
remarkably popular.
Hekldng, Anton, notable 'cellist; b. The
Hague, Sept. 7, 1856. Pupil of Joseph Giese
at the Cons, there. At the age of 16 he was
1st 'cellist in the munic. orch. at Utrecht; re-
signed in 1874, and went to Paris, where he
^cont. his studies at the Cons, under CheviHard
and Jacquard, graduating as winner of the
1st prize. After a succ. tour with Annette
Essipov he became 1st 'cellist of the Bilse
Orch. in Berlin; when the Berlin Philh.
Orch. was established in 1882, he accepted a
similar post with that organization, but
resigned soon to go with Ysa^e on an extended
tour of Europe; from 1884-8, and again from
1898-1902, he occupied his former position
with the Berlin Philh. Orch. In 1888 he made
a most succ. tour of America; was solo 'cellist
with the Boston Symph. Orch. (1889-91);
ditto with the New York Symph. Orch.
(1895-8); since 1898 he had resided in Ber-
lin, where in 1902 he formed a trio with A.
Schnabel (pf.) and A. Wittenberg (vln.).
Helene Pavlova, Princess of WCirttemberg,
b. c. 1800; d. Petrograd, Jan. 21, 1873. In
1824 she married Prince Michael Pavlovitch.
Throughout her life she was an enthusiastic
patroness of music. In 1858 she established in
her palace some classes for music, which in
1862 were organized as the Imp. Cons, of
Music. Together with A. Rubinstein, V.
Koloprivov, V. Stassov and others she found-
ed in 1895 the Imp. Russian Music Soc.
HELLER— HELLMESBERGER
Rubinstein dedicated his symphony in G m.
(op. 107) to her memory.
HeU'er, Stephen, pianist, teacher, and
composer; b. Pest, May IS, 1813 [date given
by H. himself in a letter to R. Schumann
(May 15, 1836), stating that he is celebrating
his 23d birthday]; d. Paris, Tan. 14, 1888.
His Cather intended him for a lawyer, and he
was educated at the College of the Piaristes.
His first instructor in piano-playing was F.
Brauer. At nine years of age he' performed
in publip with such success that he was sent
to Vienna to study under Czerny; but it was
Anton Halm who continued his tuition. As
early as 1827 he gave concerts in Vienna, and
from 1829—32 made a concert-tour with his
father through Hungary, Poland, and Ger-
many. At Pest he received a few elementary
harmony-lessons from Czibulka. At Augsburg
he was taken ill, and was adopted by a wealthy
family, who furthered his musical instruction
and with whom he remained, perfecting him-
self in composition, until 1838, when he went
to Paris. He became the friend of Liszt,
Chopin, Berlioz, and others, and as a concert-
player and teacher was in high repute. His
first composition, written in Augsburg, and
published at Leipzig and Hamburg, had
received the praise of Schumann. In 1849 he
visited London, where his thoughtful and re-
fined playing charmed a large circle, though
nervousness prevented frequent appearances
in public. Again in 1862 he played at the
Crystal Palace with Halle. The rest of his
life was spent in Paris. His music, solely for
pf., is distinguished for elegance and refine-
ment, varied and forceful rhythms, exquisite
melody, bold and original thematic treatment,
and, above all, for a poetic sentiment to which
distinctive titles in many cases give the key.
In pianistic style he far outshines Mendels-
sohn, though he does not reach the rugged
intensity of Schumann or the pathetic charm
of Chopin. There are several hundred (gen-
erally short) piano-pieces composed in over
150 opus-numbers: — Characteristic pieces
(Traumbilder, op. 79; Promenades d'un soli-
taire, op. 78, 80, 89; Nuits Blanches [or Blu~
men-, Frucht- und Dornenstucke], op. 82; Dans
lesbois, op. 86, 128, 136; Htglogues, op. 92; 3
Bergeries, op. 106; Voyage autour de ma
chambre, op. 140; TableUes d'un solitaire, op.
153; HerbstblaUer, op. 109; BallelstOcke, op.
Ill; 3 Ballades, op. 115;J Preludes, op. 117;
Tarentelles, op. 53, 61, 85, 137 ; etc.) ; admirable
etudes (op. 125, 47, 46, 45, 90, 16— here pro-
gressively enumerated); other ballades
(notably La Chasse, op. 29) ; 4 sonatas, 3 sona-
tinas, waltzes, Ldndler, mazurkas, scherzi,
caprices, nocturnes, Songs without Words,
variations, etc., etc. — A biographical sketch
of H. appeared in Westermann's 'Monatshefte,'
1859, by L. Hartmann; H. Barbedette
also published a sketch (1876; English, 1877).
The standard biogr. is by R. Schutz, 5/. H.
(Leipzig, 1911).
HeU'mesberger, Ferdinand, son of Jo-
seph, Sr.; b. Vienna, Jan. 24, 1863. 'Cellist in
the court orch. from 1879; in his father's quar-
tet from 1883. App. teacher at the Cons.,
1885; solo 'cellist at the Court Opera, 1886;
since 1913 cond. of the Popular Concerts
of the Vienna Konzertverein.
HeU'mesberger, Georg, Sr., renowned
violin-teacher; b. Vienna, April 24, 1800; d.
Neuwaldegg, n. Vienna, Aug. 16, 1873. His
father, a country school-master, gave him his
first mus. instruction; he succeeded F. Schu-
bert as soprano chorister in the Imperial
chapel; in 1820 became a pupil of the Con-
servatory, under Bohm (vln.) and E. Forstcr
(comp.); in 1821, became asst.-teacher; in
1825, prof, extraordinary; in 1833, prof. Made
successful concert-tours through Austria,
Hungary, and Bohemia. In 1829, succeeded
Schuppanzigh as cond. of the Imperial Opera;
1830, member of the court chapel; pensioned
in 1867. He formed many distinguished
pupils, including Ernst, Hauser, Auer, Joa-
chim, and his own sons, Georg and Joseph. —
String-quartet, 2 concertos, variations, and
solos for violin. — His son and pupil,
HeU'mesberfter, Georg, Jr., b. Vienna,
Jan. 27, 1830; d. Hanover, Nov. 12, 1852.
Studied comp. with Rotter. Made successful
concert-tour through Germany and England.
At 21, app. Concert meister of the Hanover
Royal orch., and prod. 2 operas, Die BUrg-
schaft and Die betden Koniginnen (Leipzig,
1851). — In MS., an opera, Palma, sympho-
nies, etc. — His daughter Rosa, in 1883, made
her debut as a singer at the Court Opera,
Vienna.
HelTmesberger, Joseph, Senior, distin-
guished violin-virtuoso, another son of Georg
H., Sr.; b. Vienna, Nov. 23, 1828; d. there
Oct. 24, 1893. In 1851, was app. artistic cond.
of the 'Gesellschaft der Musikfreunde' (till
1859, when he was succeeded by Herbeck),
and Dir. of the Cons, till 1893, where he was
violin-prof. 1851-77; Concertmeister at the
Imperial Opera, 1860; solo violinist in the
court orch., 1863; Hofkapellm., 1877. From
1849-87 he led the famous string-quartet
bearing his name (H., Durst, Heissler, Schle-
singer), which opened a new era for chamber-
music in Vienna. Decorated with the Legion
of Honor, as president of the jury for mus.
instrs., at the Paris Exhibition of 1855. On
his 25th anniversary as Dir. of the Cons, he
received the freedom of the city of Vienna.
Comps. of an educational character. — Cf.A.
BarthelmS, Vom alien H. (Vienna, 1908).
HeU'mesberfter, Joseph, Jr., violinist and
dram, comp.; b. Vienna, April 9, 1855; d.
383
HELLOU I N— HELM HOLTZ
there April 26, 1907; was 2d violin in his
father's quartet, 1875; solo violinist in the
Imperial and the Opera orchs., and prof, at
the Cons, in 1878. Kapellm. at the 'Komi-
sche Oper' and at the 'Karl theater'; cond. of
the ballet-music, and leader at the Court
Opera, 1884; Court Opera Kapellm., 1886;
1900-2, Hofkapellm.; 1904-5, Hofkapellm. in
Stuttgart; in 1887 he succeeded his lather as
leader of the quartet. — Works: 10 operettas,
prod. (1880-1906) at Vienna, Munich, and
Hamburg: Kapitdn Ahlstrom; Der Graf van
Gleichen; Der schone KurfHrst; Rikiki, oder
Nelly, das Blumenmddchen (1887); Das Orakel
(3 acts; Vienna, 1889) and Der bleiche Gast;
Das VeUchcnm&del (1904); Die drei Engel,
Mutzi and Der Triumph des Weibes (1906);
the ballet Fata Morgana; a 2-act ballet, Die
verwandelte Kobe (1888); the 1-act pant. -bal-
let Meissner Porsellan (Leipzig, 1890); the
1-act ballet Das Lichl (Leipzig, 1891); the
ballet Die funf Sinne (Vienna, 1893) ; etc.
Hellouln [tfil-wanl, Frederic, b. Paris,
April 18, 1864. Pupil of Massenet at the
Cons.; since 1902 lecturer at the 'Ecole des
hautes etudes sociales.' He has published
FeuilUis oVhistoire musicale francaise (1902),
Gossec el la musique francaise a la fin du
X VIII' silcle (1903), Essai de critique musicale
(1905), Le Noel musical francais (1906).
HeU'wig, Karl Friedrich Ludwig, organ-
ist and composer; b. Kunersdorf, n. Wrietzen,
July 23, 1773; d. Berlin, Nov. 24, 1838.
Learned to play several instrs. without a
teacher; studied theory and comp. with
Schneider, Gurrlich, and Zelter. From 1793,
member of the Berlin Singakademie; in 1803,
vice-cond.; in 1813, org. of Berlin cath. He
was music-teacher in several public institu-
tions.— Works: Operas, Die Bergknappen
(Berlin, 1818), Don Sylvio (Berlin, 1822);
masses, motets, psalms, chorals; songs, and
male choruses. — See Q.-Lex.
Helm, Theodor, musical critic; b. Vienna,
April 9, 1843. Son of a physician, he studied
law, and entered the government service, but
abandoned this in 1867 for mus. criticism;
Ph.D. in 1870. Contributed to the Tonhalle,'
1868; and since 1870 to the 'Musikatisches
Wochenblatt.' Music critic to the 'Wiener
Fremdenblatt' (1867), 'Pester Lloyd* (since
1868), the 'Deutsche Zeitung' (since 1885);
1876-1901 editor of Fromme's 'Kalender fur
die musikal. Welt/ His criticisms are highly
esteemed. In 1874, app. teacher of mus. his-
tory and esthetics at Horak's School of Music.
— Publ. Beethovens StreichquartetU: Versuch
einer technischen Analyse im Zusammenhang
mil ihrem geistigen Gehalt (1885; 2d ed. 1910,
a reprint from the 'Musikalisches Wochen-
blatt,' 1873).
Helmlioltz, Hermann (Ludwig Fer-
dinand) von, distinguished physician, physi-
ologist, and physicist; b. Potsdam, Aug. 31,
1821; d. Charlottenburg, Sept. 8, 1894. His
father was a professor in the Potsdam Gym-
nasium, and there H. received his education.
His mother, Caroline Penn, was of English
extraction. He studied medicine in the Mili-
tary Institute of Berlin, graduated M.D., and
was attached to the stall of La Charite hos-
pital (1842). In 1843 he was appointed mili-
tary surgeon at Potsdam; was recalled to Ber-
lin as teacher of Anatomy (for artists) at the
Academy of Fine Arts (1848); 1849, Prof, of
Physiology at the University of Konigsberg;
1855, Prof, of Anat. and Physiology at Bonn;
1858, Prof, of Physiol, at Heidelberg; elected
correspondent of the Berlin Academy of Sci-
ences (Physical section) in 1870; and app.
Professor of Physics at Berlin in 1871. His
principal publications, which enjoy a world-
wide reputation, have been translated into
various languages {The Conservation of
Force, 1847; Manual of Physiological Opera*
lions, 1856-66; Popular Scientific Lectures,
1865-76). The work of most interest to
musicians, and indispensable for students
of musical science, is his Sensations of Tone
as a Physiological Basis for the Theory of
Music [Lehre von den Tonemffindungen als
physiologische Grundlage fur die Theorie der
Musik] (Brunswick, 1863; 6th ed. 1913; trans-
lated into English, by Ellis, 1875). By a long
series of careful experiments, H. established a
sure physical foundation for the phenomena
manifested by musical tones, either single or
combined. He supplements and completes
the theories of Rameau, Tartini, Wheatstone,
Corti, and others, furnishing impregnable
formulae for all classes of consonant and dis-
sonant tone-effects, and proving with scien-
tific precision what Hauptmann and his
school sought to establish by laborious dialec-
tic processes. The laws governing the differ-
ences in quality of tone (timbre, tone-color)
in different instrs. and voices, covering the
whole field of harmonic, differential, and
summational tones; the physiology of the
major triad; the nature and limits of musical
perception by the human ear — these are the
chief results at which H. has arrived. His
explanation of the nature of the minor triad,
and of dissonances, has been supplemented by
the works of von Oettingen and H. Lotze (in
theory) and Hugo Riemann (in practice).
H.'s magnum opus likewise reviews at length,
from a scientific standpoint, the scales of the
Arabians, Persians, Greeks, etc.; develops a
theory of the pitch of vowel-sounds (impor-
tant for vocalists) ; deduces a series of 'sound-
colors' (Klangfarben) corresponding to the
arrangement of the solar spectrum; etc. — Cf.
S. Epstein, H. v. H. als Mensch u. Gelehrter
384
HELSTED— HENNES
(Stuttgart, 1896); L. Kanigsberger, H. v. H.
(3 vols., Brunswick, 1902-3).
Hel'sted, Gustaf , b. Copenhagen, Jan. 30. '
1857. Pupil of Gebauer, Hartmann, Gade and
Matthisson-Hansen; since 1892, professor of
theory, and since 190i also of organ, at the
Copenhagen Cons. Has written 2 symphonies,
a aecimet for wood-wind and strings, a str.-
sextet, 2 str. -quartets, a pf.-trio, 2 vln. -sona-
tas, romanzas for vln. and orch.; 2 works for
soli, ch. and orch., Gurres&nge (1903) and
Vort Land (1909).
Hempel, Frieda, brilliant coloratura so-
prano; b. Leipzig, June 26, 1885. In 1900 she
ent. the Leipzig Cons, as a piano-pupil; from
1902-5 she studied sinking with Frau Nicklas-
Kempner in Berlin; debut at the R. Opera as
the Queen in Les Huguenots in Aug., 1905;
from 1905-7 at the Court Opera in Schwerin;
1907-12 member of the R. Opera in Berlin;
since 1912 at the M. O. H., where she made
her debut as the Queen in Les Huguenots on
Dec. 27, 1912. between seasons she has
regularly appeared in Berlin, and as a star
in the principal cities of Europe, everywhere
acknowledged as one of the few supreme co-
loratura artists now living, with the tempera-
ment of the real dramatic singer; in fact, her
favorite role is the soulful Eva in Die Meister-
singer. Her voice, remarkably even through-
out its entire compass, is wonderfully flexible
and vibrant, and her vocal technic is well-
nigh flawless. Her roles include Violetta,
Gilda, Amelia (Balio in Maschera), Bastienne,
Donna Anna, Olvmpia (Contes d' Hoffmann),
Queen of the Night, and the Feldmarschallin
(Rosenkavaiier.)
Henderson, William James, b. Newark,
N. J., Dec. 4, 1855. Graduate, 1876, of
Princeton ; A. M ., 1886. Pupil of Carl Langlotz
(pf.), 1868-73; studied voice with A. Tornani,
1876-7; chiefly self-taught in theory. Writer
of many libretti of light operas, and also
Cyrano de Bergerae for W. Damrosch (1913).
1883, reporter, 1887-1902 music critic, on
'N. Y. Times,' since 1902 on 'The Sun'; lec-
turer on mus. hist, in N. Y. College of Music
1899-1902; since 1904 lecturer on the Devel-
opment of Vocal Art at the Inst, of Mus. Art,
New York. Member of the Natl. Inst, of Arts
and Letters; also of Natl. Inst, of Social
Sciences.— Works: The Story of Music (1889;
12th enlarged ed. 1912); Preludes and Studies
. (1891); How Music Developed (1898); What is
Good Music? (1898); The Orchestra and Or-
chestral Music (1899); Richard Wagner , His
Life and Dramas (1901); Modern Musical
Drift (1904); The Art of the Singer (1906);
Some Forerunners of Italian Opera (191 1).
Henltel, Georg Andreas (Dr.phil.), son
of Michael; b. Fulda, Feb. 4, 1805; d. there
April 5, 1871. Studied law at Marburg Univ.;
1830-7, org. at Koburg; in 1837, app. music-
teacher in the Fulda seminary. — Works:
Masses, motets, male choruses; piano- and
organ-music; symphonies, overtures, etc.
Henltel, Heinrich, son of Michael; pian-
ist; b. Fulda, Feb. 14, 1822; d. Frankfort,
April 10, 1899. Pupil of his father, also studied
with Aloys Schmitt, and theory with Kessler
and Anton Andre. Lived in Fulda and Leip-
zig, then settled in Frankfort in 1849, as
teacher in the Musikschule. In 1883 was
named Royal Musikdirektor. — Compositions:
Songs and choruses; piano- and vln. -pieces;
etudes, etc., for vln. — Also publ. a piano
Method, Vorschule des Klavierspiels (techni-
cal studies), a biography of Aloys Schmitt, an
abridged ed. of A. Andre's Lehrbuch der Ton-
setzkunst (1875), Mitteitungen aus der musikal.
Vergangenheit Fuldas (1882). — His son,
Henltel, Karl, studied at the Berlin
Hochschule, and settled in London as a vln.-
teacher; is a specialist in finger-exercises.
Henltel, Michael, sacred composer; born
Fulda, June 18, 1780; d. there March 4, 1851.
Pupil of Vierling; became town-cantor,
chamber-musician to the Prince-Bishop, and
music-teacher at the Gymnasium of his native
place. — Works: Numerous masses, chorals,
etc. ; pieces for organ, piano, strings, and other
instrs. — See Q.-Lex.
Henneberg, Johann Baptist, b. Vienna,
Dec. 6, 1768; d. there Nov. 26, 1822. From
1790-1803 he was Kapellm. at the Th. auf
der Wieden; then member of the orch. of
Count Esterhazy; from 1818 org. at the Imp.
Chapel. Wrote ch.-music, and a number of
Singspiele of which the most successful were
Die Waldtndnner (Hamburg, 1787) and
Lithe machl kurzen Prozess (Leipzig, 1799).
Hen'nen, Arnold, pianist and composer;
b. Heerlen, Holland, 1820. First piano-prize
at Liege Cons., 1845. Went to Paris, 1847;
settled in London, 1850; now lives at Heerlen.
-^Comps.: Concertos, and other music for
piano. — His brother,
Hen'nen, Frederik, violinist; b. Heerlen,
Jan. 25, 1830. First vln. -prize, Liege Cons.,
1846; medal, 1847. 1850-71, soloist in various
prominent London orchestras. Retired to
Strythagen, n. Heerlen. — Compositions for
violin. — His son Charles, b. Dec. 3, 1861, is a
violinist at Antwerp.
Hen'nen, Mathias (brother of Arnold),
Eianist, b. Heerlen, 1828. First pf. -prize,
iege Cons., 1852; from I860, teacher at Ant-
werp, and prof, at the Cons. — Works: Church
and orchl. music; comps. for piano, violin
and 'cello.
Hen'nes, Aloys, b. Aix-la-Chapelle, Sept.
8, 1827; d. Berlin, June 8, 1889. A post-office
official for 8 years, from his 17 th year he st«
385
HENNIG— HENSCHEL
for some time with Hiller and Reinecke at the
Rhenish School of Music. Cologne. Lived as
pf.-teacher at Kreuznacn, Alzey, Mayence,
Wiesbaden, and from 1872 at Berlin. In 1881
app. teacher at X. Scharwenka's Cons.—
Works: Klavierunterrichtsbriefe, containing
clever educational pieces. — His daughter,
Thereee, b. Dec. 21, 1861, was a youthful
Prodigy; in 1873 she studied with Kullak.
rom 1877-8, met with great success as a
pianist in London.
Hen'nift, Karl, b. Berlin, April 23, 1819;
d. there April 18, 1872. In 1847, org. of St.
Paul's; from 1851, of the Sophienkirche. Also
director of the 'Lyra* male chorus. In 1863,
named royal mus.-dir. — Comps.: Cantatas,
psalms, Lieder, male choruses. — His son,
Hen'nlg, Karl Rafael, b. Berlin, Jan. 4,
1845; d. Posen, Feb. 6, 1914. A law-student
of mus. tendencies, he became a pupil of
Richter (Leipzig) and Kiel (Berlin). In 1868,
teacher of the Wandelt Institute of Mus.,
Berlin; from 1869-75, organist of St. Paul's
Ch., Posen, where he founded the successful
'Hennig Vocal Soc.' in 1873. In 1877, music
teacher to the Institute for Female Teachers;
in 1883, Royal music-dir.; in 1892, Royal
Professor. — Comps: Cantata (190th Psalm),
piano-sonata, songs, male and female choruses,
etc. — Writings : Methodik des Schulgesangunter-
richts: Die uesangsregister auf physiologischer
Grundlage; Beitrag tur Wagnersache; Asthetik
der Tonkunst (1896); Deutsche Gesangschule
(1889; 2d ed. 1903); Beitragzur Lehre von der
'hohen Resonant* (1902); Einfuhrung in den
Berufdes Klavierlehrers (1903); Mustktheore-
tisches Hilfsbuch (1903; 2d ed. 1906); Ein-
fuhrung in das Wesen der Musik (1906); and
profound analyses of Beethoven's 9th Sym-
phony and Mtssa Solemnis.
Hen'ning, Karl Wilhelm, b. Ols, Silesia,
Jan. 31, 1784; d. Berlin, May, 1867. Vln.-pupil
of his father and P. Rode; studied comp. with
Gurrlich; violinist at the R. Opera, and
leader in 1822; 1823-6 music-dir. at Kftnig-
stadter Th.; returned to the Op.; 1836, mus.
director; 1841-8 Kapellm., when he retired.
Prolific comp. of ballets, cantatas, chamber-
music and incid. music to about 30 plays
(Gotz von Berlichingen, Die Piccolomini,
Prinz von Homburg, etc.); also an opera, Die
Rosenntddchen.
Hen'nius. See Haym, Gilles.
Henrion [ahn-r'y&hnl, Paul, b. Paris,
July 20, 1819, died there Oct. 24, 1901. He
composed over 1000 songs, which he sang
very effectively in parlors and at concerts;
although many are favorites of the Parisian
bourgeoisie, none are of great value (Adieu,
Grenade; he Muletier de Tarragone; Manola,
etc.). Also wrote the operettas Un Rencontre
dans le Danube (1854), Une Envie de Clarinette
(1871), La Chanteuse par amour (1877),
which met with little success.
Henriques [hen-re'kes], Fini Valdemar,
b. Copenhagen, Dec. 20, 1867. Pupil of
Tofte and Svendsen, and of Joachim at the
Kgl. Hochschule in Berlin (1888-91); 1892-
6, member of the court orch. ; since then living
at Copenhagen as composer. Has written 2
symphonies (both in C); Andante and Fugue
for string-orch. ; Vdlund, Suite for full orch.;
Suite for oboe ana string-orch; Romanza for
vln. and string.-orch; a Symphonic Legend;
string-quartet in A m.; string-trio in G
(Kinaertrio); a vln.-sonata in G m.; many
pieces f. piano; songs; incid. music to Drach-
mann's Wieland der Schmied; a ballet Die
kleine Seejungfrau (1910).
Henriques, Robert, b. Copenhagen, Dec
14, 1858. Studied 'cello with F. Neruda, Fr.
Grutzmacher and D. Popper; comp. with E.
Kretschmer in Dresden (18S7); founded in
Copenhagen two societies. 'G major' (1886)
ana 'Symphonia' (1889), directing the former
three seasons, and the latter four; 1892-6
music critic of 'Danebrog'; 1902-3 cond. of
the Students' Orch. — Composed an overture,
Olaf Trygoason; Aquarellen, 2 pieces for orch.;
TarentelU for vcl. and orch.; other pieces for
vcl.; songs.
Henry, Harold, noted pianist; b. Neo*
desha, Kansas, March 20, 1884. Pupil of
Karl Preyer at Univ. of Kansas, 1898-1902;
summer of 1902 with L. Godowsky in Berlin;
1902-4 at Stern's Cons, pupil of E. Jedliczka;
in 1905 with M. Moszkowski in Paris. He
made his debut in Berlin, June, 1904, playing
Chopin's F minor concerto; Amer. debut in
recital in Chicago, Jan. 30, 1906, with em-
phatic success; since then he has made annual
tours throughout the U. S., appearing in re-
cital and with the large orchestras. Active
propagandist for the works of MacDowell;
his choice of novelties shows fine discrim-
ination.
Hen'schel, (Sir) George, composer, cond.
and baritone singer, b. Breslau, Feb. 18,
1850 (on father's side of Polish descent).
Pupil of Wandelt and Schaeffer at Breslau,
Moscheles and Wenzel (pf.), Gotze (singing)
and Reinecke (theory and comp.) at Leipzig
Cons., 1867-70. In 1870 st. in Berlin with
Kiel (comp.) and Adolf Schulze (singing);
debut as singer, 1868 in Leipzig. Undertook
concert-tours through Europe; 1877-80, lived
in London; 1881-4, cond. of the Boston
Symph. Orch.; since 1885, settled in London
(naturalized Engl, subject, 1890); founded
the 'London Symphony Concerts/ which he
cond. from 1885-96; he was the first cond. of
the Scottish Symph. Orch. at Glasgow, whose
concerts he cond. from 1891-5. 1886-8, prof.
386
HENSCHEL— HENTSCHEL
of singing at the Royal Coll. of Mus. In
1881 he married Lillian Bailey (see Hbnschel,
Lillian) ; after her death in 1901 he withdrew
from public appearances until 1909, devoting
himself ' to composition. Made his final
appearance as singer in 1914, and was
knighted the same year. H. is equally fine
as singer, conductor and pianist. He was
one of the most enthusiastic champions of
Brahms, with whom he was on terms of
friendship. — Comps.: Operas, Friedrich der
Schdne (not prod.) and Nubia (Dresden, 1899);
comic operetta, A Sea Change, or Loot's
Castaway; an oratorio; a Requiem; a Stabat
Mater; Te Deums; Zigeuner, serenade for
orch.; Canon-Suite for string-orch.; a str.-
quartet in Eb; incid. music to Hamlet; a
mass for 8 voices a capp.; psalms, part-
songs, songs, etc. — He has publ. Personal
Recollections of Johannes Brahms (Boston,
1907).
Hen'schel, Lillian June (nee Bailey) , con-
cert-soprano; b. Columbus, O., Jan. 18, 1860;
d. Kensington, London, Nov. 4, 1901. Pupil
of Mme. Kudersdorff ; made a succ. debut in
Boston in 1876; in 1878 she went for further
study to Mme. Viardot-Garcia in Paris; her
Engl, debut occurred at the Philh. concert
of Apr. 30, 1879, Vhen she sang, besides her
solo number, a duet with George Henschel.
She then studied with him, and on March 9,
1881, was married to him. Until her untimely
death the two artists were constantly asso-
ciated in recital and concert. Her beautiful,
well-trained voice and deep musical feeling
won her many admirers.
Hen'sel, Fanny Cacilia, born Hamburg,
Nov. 14, 1805; d. Berlin, May 14, 1847.
Eldest sister of Mendelssohn, she married
the Prussian court painter H. in 1829. A
brilliant pianist and composer. Brother and
sister were devotedly attached, and the
shock of her sudden death was so over-
whelming that M.'s health declined, and he
died six months after. — Comps. : Gartenlieder;
Lieder ohne Worte; part-songs, songs; pf.-trio.
Hen'sel, Heinrich, dramatic tenor; born
Neustadt, 1875. Pupil of G. Walter in
Vienna and F. Emerich in Milan; made his
debut at Freiberg in 1897; from 1900-6
member of the Frankfort Opera; 1906-10 at
Wiesbaden, where S. Wagner heard him and
engaged him to create the chief tenor role in
his Banadietrich (Karlsruhe, 1910) and to sing
Parsifal at the Bayreuth fest. of the same year.
His great success there led to engagements at
Cov. Garden (1911) and the M. O. H., where
he was received with tremendous applause on
his first appearance as Lohengrin (Dec. 22,
1911); at the end of the season several
critics declared him the finest Wagnerian
tenor heard at the M. O. H. since the days
of de Reszke, and compared his Siegfried to
that of Alvary. His numerous star engage-
ments in European capitals have so far (1916)
prevented his reappearance at the M. O. H.
His repertoire includes, besides the Wagnerian
roles, the standard German and many modern
Italian operas.
Hen'sel, Octavia (pseudonym of Mrs.
G. A. Fonda), writer on music; b. 1837; d.
May 12, 1897, n. Louisville, Ky. Wrote Life.
and Letters of Louis Moreau Gottschalk (Boston,
1870) ; The Story of Rheingold; etc.
Hen'selt, Adolf von, distinguished pian-
ist and comp.; b. Schwabach, Bavaria, May
12, 1814; d. Warmbrunn, Silesia, Oct. 10,
1889. First st. pf. and harm, with Geheim-
rathin von Fladt at Munich. In 1831, an
allowance from King Ludwig I enabled him
to continue pf.-study with Hummel at
Weimar, whence he went to Vienna, for
a two-years' course in theory under Sechter.
Assiduous study and practice injured his
health, and in 1836 he was ordered to Carls-
bad. In 1837 he made a short tour through
Germany, and aroused the greatest enthu-
siasm. He married at Breslau the same
year, and went to Petrograd in 1838. He
was appointed chamber-pianist to the Em-
press, and music- teacher to the princes.
Later he was app. inspector of mus. instruc-
tion of the Imperial educational institutions
for girls, and received the Order of Vladimir.
His playing was of the most poetically in-
spired character, and highly individualized,
his technical specialty being the legato
execution of widely-extended chords and
arpeggios, for the practice of which he com-
posed extremely difficult extension-studies.
His principal works are: The celebrated F
minor pf. -concerto; £tudes, op. 2 and 13;
Poeme d' Amour, op. 3; Fr&hlingslied, op. IS;
Impromptu, op. 17; Ballade, op. 31; Para-
phrases de Concert (39 works with opus-no.,
and 15 without); a pf.-trio; a 2d pf.-part
to a selection from J. B. Cramer's Sjtudes;
etc. He edited an excellent edition of Weber's
pf. -works (with variants). — A very sym-
Eathetic character-sketch is that by W. von
enz in Die grossen Pf.- Virtuosen unserer Zeit
(Berlin, 1872; Engl. ed. N. Y., 1899). Cf.
also La Mara, A. H , in Musikalische Studien-
kopfe (vol. iii, 1909; repr. separately 1911).
Hent'schel, Ernst Julius, b. Langen-
waldau, near Liegnitz, July 26, 1804; d.
Weissenfels, Aug. 14, 1875. Principal of the
Weissenfels training-school. Editor and co-
founder of the music-journal 'Euterpe.' Publ.
school song-books, and a book of chorales.
Hent'schel, Franz, b. Berlin, Nov. 6,
1814; d. there May 11, 1889. Studied with
GreU, A. W. Bach, and Marx. Theatre music
387
HENTSCHEL— HERBERT
dir. at Erfurt (1843), Altenburg (1845), and
Berlin ('Urania,' private theatre, 1848-51).
Resided in Berlin as music-teacher.— Opera
Die Hexenreise; operettas; marches, etc., for
orch. and mil. band; concertos for wind-instrs.;
pf. -music, songs, etc.
Hent'achel, Theodor, b. Schireiswalde,
Upper Lusatia, March 28, 1830; d. Hamburg,
Dec. 19, 1892. Chorister in Dresden; studied
with Reissiger and Ciccarelli, then in Prague
Cons. Concert-pianist at Leipzig, and be-
came theatre Kapellm. there; 1860-90 at
Bremen; after 1890 at Hamburg. — Works:
Operas, Matrose und Stinger (Leipzig, 1857);
Det Konigspage (Bremen, 1874); Die Braid
von Lusignan, oder die schone Melusine (Bre-
men, 1875); Lancelot (Bremen, 1878); Des
Konigs Schwerdt (Hamburg, 1891); overtures
and symphonic marches for orch.; pf .-music,
songs; mass for double chorus; etc.
Hepworth, William, b. Hamburg, Dec.
16, 1846. Pupil of his father, George H.
(b. Almondbury, Engl., Dec. 21, 1825), and
at Leipzig Cons., 1866-7, of David, Haupt-
mann, Moschcles, Richter and Rontgen; for
many years (from 1873) organist at St. Ja-
cobi in Chemnitz; since 1908 Kirchenmusik-
direktor. Has written a string-quartet, op.
10; Suite for orch., op. 18; Andante for vcl.
and orch.; organ-fugues and pf. -pieces; he
orchestrated Bach's Organ-prelude and fugue
in A m.; also publ. Mitteuungen fur Spieler
. . . von Streichinstrumenten . . . (1895; Engl,
translation, 1899).
Herljart, Johann Friedrlch, eminent
philosopher; b. Oldenburg, May 4, 1776; d.
Gdttingen, Aug. 14, 1841. Studied at Jena
under Fichte; became preceptor at Bern. In
1805, app. prof, of philosophy at Gdttingen;
1809-35, at Konigsberg; 1835 (to his death)
again at Gottingen. The determination of
the proportions of intervals is treated of in his
Psychol ogische Bemerkungen zur Tonlehre
(1811), and the esthetics of music in chap.
ix of his Encyclopedia of Philosophy, While
of interest to advanced musicians, they con-
tribute but little to the knowledge of the
natural laws of creative music. H. was a
good pianist, and of his comps. a pf. -sonata
was published. — Cf. G. Bagier, H. und die
Musik (Langensalza, 1911).
Her'beck, Johann (Franr) von, b. Vienna,
Dec. 25, 1831; d. there Oct. 28, 1877. Son of
a poor tailor, he became soprano chorister at
the Keiligcnkreuz monastery. Studied harm,
with Rotter a few months, but virtually edu-
cated himself. A man of high ambition, he
became choir-director of the Piaristenkirche,
Vienna, 1853; chorusmaster to the Vienna
Manncrgesangverein, 1856; prof, at the Cons,
and chorusmaster of the Singverein, 1858;
conductor to the 'Gesellschaft der Musik-
freunde,' 1859; chief court Kapellm., 1866;
director of the Imperial opera, 1871, but re-
signed this position on account of intrigues
and various annoyances, and resumejd con-
ductotship of the 'Gesellschaft' two years
before his death. As a conductor he was held
in high esteem, and left an indelible impress
of his individuality on music in Vienna. —
Works: Part-songs, some for male voices with
horn-quartet, and some with orch.; also sev-
eral sets for mixed chorus; graduals, a mass
for male voices, and a grand mass; sympho-
nies, Symphonic Variations, Tammomente for
orch., and a string-quartet. — Biographical:
Johann Herbeck, ein Lebensbild, by hts son,
Ludwig H. (1885), contains portrait, and cat-
alogue of his works. See also the sketch in
E. Hanslick's Suite (Vienna, 1885).
Herbert, Victor, b. Dublin, Ireland, Feb.
1, 1859, is a grandson of Samuel Lover, the
famous Irish novelist. At seven he was sent
to Germany to begin his musical education;
1876-8, private pupil (vcl.) of B. Cossmann
at Baden-Baden; he then toured Germany,
France and Italy as soloist; 1882, first 'cellist
of the Strauss orch. in Vienna; in 1883-6 he
was a member of the court orch. in Stuttgart,
and studied comp. with M. Seifritz. Here he
also began his career as composer with some
songs and a suite for 'cello and orch. in F
(op. 3), followed soon by the first concerto for
'cello and orch. in D. After his marriage in
1886 to Therese Focrster, prima donna at the
Court Opera in Vienna, he accepted the posi-
tion of first 'cellist at the newly established
German opera at the M. O. H. in New York,
appearing also frequently as soloist (his own
concerto with the Philh. Soc., etc.); was also
first 'cellist in Th. Thomas' orch., and first
'cellist and asst. -conductor of the Seidl orch.;
from 1889-91 he was assoc. conductor of the
Worcester Festival, for which he wrote an*
oratorio, The Captive (1891). In 1893 he
succeeded P. S. Gil more as Bandmaster of
the famous 2 2d Reg. band. In the same year
Wm. MacDonald, the manager of the Boston-
ians, persuaded H. to try his hand at light
opera, offering him the libretto of Prince
Ananias. The emphatic success which the
work scored (N. Y., Nov. 20, 1894) decided
H.'s further career as a composer. From
1898-1904 he was conductor of the Pitts-
burgh Symphony Orch.; in 1905, and again in
1906, he was invited by the N. Y. Philh. Soc.
as one of a number of 'star' conductors (Co-
lonne, Wood, Safonov, Weingartner, etc.); in
1900 he came specially from Pittsburgh to
direct at Madison Square Garden, N. Y.,
an orch. of 420 performers for the benefit
of the sufferers in the Galveston flood; in
1906 he directed a similar monster concert
at the Hippodrome for the sufferers in the
San Francisco earthquake. H.'s fame as a
388
HERBLAY— HERMANN
composer rests upon his tight operas, which
owe their success to spontaneity of melodic
invention, piquancy of rhythm and variety
of style. From the simplicity of the earlier
works there is a gradual evolution toward
greater complexity in style and technic, so
that some numbers in later works sound
almost like excerpts from grand opera. Yet
his two attempts in the grand style, Natoma
(Philadelphia, Feb. 21, 1911) and Madeleine
(M. O. H., 1913), did not meet with lasting
success because of the composer's evident in-
ability to sustain his inspiration in a style
foreign to his native talent. — Works: The
operas Prince Ananias (N. Y., 1894), The
Wizard of the Nile (Chicago, 1895), The
Gold Bug (N. Y., 1896), The Serenade (Cleve-
land, 1897), The Idols9 Eye (Troy, 1897),
The Fortune Teller (Buffalo, 1898), Cyrano
de Berzerac (Montreal, 1899), The Singing
Girl (ib.t 1899), The Ameer (Scranton,
1899), The Viceroy (San Francisco, 1900),
Babes in Toy land (Chicago, 1903), Ba~
bette (Washington, 1903), It Happened in
Nordland (Harrisburg, 1904), Mtss Dolly
Dollars (Rochester, 1905), Wonderland, or
Alice and the Eight Princesses (Buffalo, 1905),
Mile. Modiste (Trenton, 1905), The Red Mill
(N. Y., 1906), Dream City (ib., 1906), The
Magic Knight (ib., 1906), The Tattooed Man
(Baltimore, 1907), The Rose of Algeria (Atlan-
tic City, 1908), Little Nemo (Philadelphia,
1908), The Prima Donna (Chicago, 1908),
Old Dutch (Wilkesbarre, 1909), Naughty Ma-
rietta (Syracuse, 1910), When Sweet Sixteen
(Springfield, Mass., 1910), Mile. Rosita (Bos-
ton, 1911), The Lady of the Slippers (1912),
The Madcap Duchess (Rochester, 1913),
Sweethearts (Baltimore, 1913), The Dfbutante
(Atlantic City, 1914), The Only Girl (N. Y.,
1914), Princess Pat (ib., 1915). In 1916 he
made a new and successful departure with
elaborate music to the photo-play The Fail
of a Nation. Besides the above works he has
written for orch. a symphonic poem, Hero
and Leander; Serenade, op. 12; a second con-
certo for vcl., op. 30; Suite romantique, op.
31; the suites Woodland Fancies and Colum-
bus; Irish Rhapsody; male choruses; songs.
Herblay, V. H. See Hirschmann.
He'ring, Karl Eduard, son of Karl Gott-
lieb; b. Oschatz, Saxony, May 13, 1807; d.
Bautzen, Nov. 26, 1879. Studied with his
father at Zittau, and at Leipzig Univ. with
Weinlig and Pohlenz. In 1839 app. organist
at Bautzen. Published pf.-pieces, part-songs,
songs, a coll. of school-chorales, and a Buck
der Harmonie (1861). In MS.: Oratorios Der
Erloser (Leipzig, 1834), Die heilige Nacht,
David, Salomo, Christi Leid und Herrlichkeit;
a mass (produced at Prague); two operas;
masses, cantatas, hymns, etc.
He'ring, Karl (Friedrich August), violin-
ist: b. Berlin, Sept. 2, 1819; d. Burg, near
Magdeburg, Feb. 2, 1889. Studied with H.
Ries and Rungenhagen (Berlin), Lipinski
(Dresden), and Tomaschck (Prague). Made
concert-tours, became violinist in the Berlin
royal chapel, founded the 'Sonatenverein' in
lfifw, and a music-school in 1851. Appointed
royal music director. — Comps.: Symphonies,
overtures, masses, chamber-music, songs.—
Author of educational works: Methodischer
Leitfaden fur ViolinUhrer (1857), fiber R.
Kreutzers Ettiden (1858), and an elementary
Violin-Method.
He'ring, Karl Gottlieb, born Schandau,
Saxony, Oct. 25, 1765; d. Zittau, Jan. 1853.
Pupil of Meissen Coll.; became student of
theology and pedagogy at Leipzig University.
From 1811 to his death, principal of Zittau
seminary, and chief teacher of harmony. He
published half a score of pedagogical works,
and composed instructive piano-pieces, varia-
tions, exercises, etc. In 1830 he founded a
'Musikalisches Jugendblatt fur Gesang, Cla-
vier und Fl6te,' continued by his son. —
see y.-L*ex.
Heritte-Viardot,Louise-PauHne-Marie,
b. Paris, Dec. 14, 1841. Daughter of Louis
Viardot and Pauline Garcia. Vocal-teacher
at Petrograd Cons.; later at Dr. Hoch's
Cons., Frankfort; then lived in Berlin, and
later in Heidelberg, as a singing-teacher. She
married Consul-General ftentte.— Comps. :
Opera Lindora (Weimar, 1879); Le feu du ciel
for soli, ch. and orch.; cantatas; 2 pf. -quar-
tets; vocal exercises; etc.
Herman, Reinhold (Lud wig) , pianist and
dramatic composer; b. Prenzlau, Branden-
burg, Sept. 21, 1849. Pupil at Stern Cons.,
Berlin, of Ehrlich (pf.), Kiel (comp.), and
Stern (singing). From 1871-8, singing-
teacher and conductor in New York; 1878-81,
director of Stern Cons., Berlin; then returned
to N. Y.; 1884, conductor of 'Liederkranz';
1887, prof, of sacred history at the Theol.
Seminary; 1898, conductor of Handel and
Haydn Soc., Boston; in 1900 he returned to
Benin, where he has been living since. —
Works: Romantic opera Vineta (1872; Bres-
lau, 1895, mod. succ.); heroic opera Lancelot;
Spielmannsgluck (Kassel, 1894); Wulfrin (Co-
logne, 1896, mod, succ.); Sunddri (Kassel,
1911); cantatas (Braut von Messina, The
Bridge of Sighs [Hood], The Spirits of the
Thay, Sancta Cdcilia, The Buried Song);
overtures; pf. -concerto; suites, sonatas; vocal
sextets, quintets, quartets, etc.; songs.
Her'mann, Friedrich, violinist, composer
and distinguished teacher; b. Frankfort, Feb.
1, 1828; d. Leipzig, Sept. 27, 1907. In 1843
pupil at Leipzig Cons, of David (vln.),
Hauptmann and Mendelssohn (comp.) . From
389
HERMANN— HERMESDORFF
1846-75, viola-player in the Gcwandhaus and
theatre-orchs. From 1848-78, vln.-teacher at
the Cons. In 1883 was created Royal Saxon
prof. — Comps. : Symphony (Gcwandhaus,
1852); quartet for wind-instrs., terzet for 3
vlns., duo for vln. and 'cello, etc. * He edited
Peters' and Augener's valuable publications
of classical works for stringed instruments.
Her'mann, Hans, song-composer; b. Leip-
zig, Aug. 17, 1870. From his 18th year he
filled temporary engagements as a double-
bass player or tuba-player in orchestras at
Kassel, Geneva, Petrograd, Vienna, and Lon-
don; studying when his means permitted with
W. Rust at Leipzig Cons., and Kretschmer
at Dresden; later (on Brahms' recommenda-
tion) with von Herzogenberg at Berlin.
From 1901-7 he taught at the Klindworth-
Scharwcnka Cons, in Berlin; since then he
has devoted his whole time to composition.
He has publ. over 100 songs, and is equally
at home in the simple folk-song, the powerful,
dramatic ballade, and the playful or -passion-
ate love-song. Has also published a suite in
sonata-form for violin and pf.; psalms for
alto with organ; 2 string-quartets (G m., C);
a symphony in D m., Lebensepisoden; etc.
In MS. he has 2 Singspiele, Das Urteil des
Midas * and DevroU Ptmpcrneli; pieces for
clarinet and pf., vcl. and pf., etc.
Herrmann, Johann David, brilliant pian-
ist, b. in Germany, circa 1760; d. Paris, 1846.
In 1785 settled in Paris, and became music-
master to Marie Antoinette. — He composed
6 pf. -concertos, 15 sonatas, potpourris, etc.
Her'mann, Johann Gottfried Jakob, b.
Leipzig, Nov. 28, 1772; d. there Dec. 31,
1848. Celebrated philologist and Hellenic
scholar. Pupil of Leipzig and Jena Univs.
In 1798, appointed prof, of philosophy at
Leipzig Univ.; in 1805, prof, of elocution;
in 1809, prof, of poetry. Wrote valuable
works on metre: De metris pot tar um Graeco-
rum et Romanorum (1796), Handbuch dcr
Metrik (1798), EXemenla doclrinae metricae
(1816), Epitome doclrinae metricae (1818, '44,
and '69), and De metris Pindari (1817).
Her'mann, Matthias. SeeWERREKOREN.
Her'mann, Robert, b. Bern, Switzerland,
April 29, 1869. Gifted composer. Destined
for a medical career, he studied at Geneva
Univ. 1887-90, but finally obtained his fa-
ther's permission to become a musician, and
entered Frankfort Cons, in 1891. Until then
he had been wholly self-taught (zither, pf., ,
comp.), and had already developed an obsti-
nate originality (noticed and encouraged by
Grieg). He applied himself (on Grieg's ad-
vice) to the study of masterworks; studied
with Humperdinck one year (1893-4), and
then went to Leipzig (where some of his
scores were publ.), and thence to Berlin,
where, on Nov. 7, 1895, his Symphony in C
and a Concert-overture in D m. were brought
out by the Philh. Orch. He never held any
positions, but has been living (since 1895) in
Plagwitz, near Leipzig. — Works: P elites Vari-
ations pour riret for pfT and vln. (no opus-no.);
op. 1, 12 Kleine Lteder for m.-sop.; op. 2, 5
pf. -pieces; op. 3, Roman** and Scherzino for
pf. and vln.; op. 4, Concert-overture (D m.)
tor orch.; op. 5, 6 Lieder; op. 6, Pf.-trio (D
m.); op. 7, Symphony No. 1 (C) for orch.;
op. 8, songs; op. 9, pf. -quartet in F m.; op.
10, Berceuse for horn and string-orch. (also
arr. for vcl. and pf.); op. 11, Symphony No.
2 (B m.); op. 12, Suite for pf. (C m.); op.
13, Suite for pf. in F. — Cf. W. Niemann,
R. H.f in vol. hi of 'Monographien moderncr
Musiker' (Leipzig, 1909).
Herman'nus (surnamed Contrac'tus on
account of his paralyzed limbs); b. Sulgau,
Swabia, July 18, 1013; d. Alleshausen, n.
Biberach, Sept. 24, 1054. Son of Hermann,
Graf von Venringen. Distinguished pupil of
St. Gallen Abbey; was a monk in Reichenau
monastery. His best- known work (con-
taining valuable historical notices on music) is
a chronology from the foundation of Rome to
1054. It has been republ. several times, and is
to be found in Peres' (Pertz's) Monumental (vol.
v). Two small treatises, supposed to have
been lost, were found in the Imperial Library,
Vienna, by Gerbert, and publ. in his •Scrip-
tores' (ii). The 1st, 'Musical,' is an exposition
of the Greek modes, and gives an example of
Hucbald's notation of the tenth century.
The 2d, Versus Hermanni ad discernendumt
contains the key of an original notation by
Greek and Latin letters. In the indication of
a change in pitch, it had an advantage over
neume- notation. H.'s notation is written
above the neume- notation in some MSS. of the
11th and 12th centuries in the Munich Libr.
Hermes, Eduard, b. Memel, May 15 (?),
1818; d. Koni^sberg, 1905. A merchant-com-
poser in Komgsberg (Prussia); wrote songs
and part-songs for male chorus.
Her'meadorff, Michael, b. Trier (Treves),
March 4, 1833; d. there Jan. 17, 1885. Entered
the priesthood, and was app. org. of Trier
cath. Founded the Choral Society, chiefly for
the exposition of Gregorian Church-Song, on
which "he was an authority by virtue of his
study of original sources. He edited the
'Graduate ad usum Romanum cantus S. Gre-
gorii,' publ. (Leipzig, 1876-82, 10 nos.) in the
monthly supplements of the 'Cicilia' journal
(H. and Bockeler, Aix), but died before its
completion. Revised the 2d cd. of Luck's
coll. of sacred comps. (4 vols.); publ. a Ger-
man transl. of the Microlo^us of Guido d'Arez-
zo; a Kyriale, and Harmonica cantus ckoralis
a 4; a graduate, anthems, and Praefatio
390
HERMSTEDT— HfeROLD
(prayers used in the Trier diocese); and 3
masses of his own composition.
Herm'stedt, Johann Simon, celebrated
clarinettist; b. Langensalza, n. Dresden, Dec.
29, 1778; d. Sondershausen, Aue. 10, 1846.
Pupil in the Annaberg school for soldiers'
children. Studied with Knoblauch and Baer.
1st clarinet in the regiment at Langensalza. In
1800, app. Kapellm. at Sondershausen. Made
improvements in his instr.; comp. concertos,
variations, etc., for clar. Spohr wrote a clari-
net-concerto for him.
Heraan'dez [&hr-], Pablo, Spanish com-
poser; b. Saragossa, Jan. 25, 1834. Chorister
at Nuestra Dama del Pilar, and pupil of
Valentin Met6n (org., pf., and harm.) and
Rabanals (vln.). In 1856, entered the Madrid
Cons, under Eslava; became org. of the Royal
Basilica of Nuestra Dama d'Atocha, and was
app. (1863) auxiliary prof, at the Cons. —
Works: Zarzuelas; a Mass, Miserere and Ave,
Te Deum, Lamentations, motets; symphony,
overture, 6 organ-fugues, and a Method for
Organ.
Hernan'do [ehr-], Rafael Jose* Maria, b.
Madrid, May 31, 1822. 1837-43, pupil of R.
Carnicer at Madrid Cons. In 1843, went to
Paris, comp. a Stabat Mater and other works
which were perf. by the 'Societe de Ste.-
Cecilc,' but was unsuccessful in his endeavors
to prod, a 4-act Italian opera at the Theatre
Italien. After his return to Madrid, from
1848-53, he successfully prod, the zarzuelas
Las sacerdotesas del sol, Palo de ciego, Colegiales
y soldados. El duende, Bertoldo y Comparsa,
Cosas de Juan, El Tambor, etc. ; also collabor-
ated with Barbieri, Oudrid and Gaztambide
in Escenas de Chamberi, and Don Simplicio
Bobadilla. An enterprise was formed for the
exploitation of comic operettas, the Theatre
des Varietes taken, and H. was app. dir. and
comp. In 1852 he was app. sec. of Madrid
Cons., later prof, of harmony, and founded
a Mutual Aid Mus. Soc. of which he was
elected secretary.— Other comps.: Grand
mass, cantatas (El Nacimiento, Premios de la
Virtud, etc.), hymns, etc.
Her'ner, Karl, born Rendsburg, Jan. 23,
1836: d. Hanover, July 16. 1906. Pupil of the
Prague Cons. (1852-5) and of Joachim in Han-
over. Having played in various orchestras in
Hamburg, ruel, Copenhagen, Brussels, etc.,
he joined the opera-orch. at Hanover in 1858;
became repetitor there in 1865, Musikdirektor
in 1877, and in 1887 Kapellm. ; retired in 1900.
He wrote 2 overtures, Schdn Rottraut and
Jussuff und Suleika; a ballet, Das Hexenfest;
choruses and songs; also comp. the recitatives
of Weber's Oberon. — His son Julius (b. Han-
over, July 27, 1866), pupil of K. Schroder and
J. Klengel, is 1st 'cellist of the M. O. H.
orchestra in New York.
Herold [a-r6h1d'l, Louis- Joseph-Ferdi-
nand, dramatic composer and pianist; b.
Paris, Jan. 28, 1791; d. at Themes, n. Paris,
(Fan. 19, 1833. His father, Francois- Joseph H.
pupil of Ph. E. Bach], a pianoforte- teacher
ana composer of merit, did not desire his son
to become a musician, and sent him to the
Hix school, where his aptitude for music was
noticed by Fetis, then assistant-teacher there.
But after his father's death (1802), H. could
follow his natural bent; in 1806 he entered
the Cons., studying the piano under Louis
Adam, and winning first prize for piano-play-
ing in 1810. He studied harmony under Catel,
and (from 1811) composition under Mehul; in
1812 his cantata Mile, de la Valliere gained the
Prix de Rome (the MS. score is in the Con-
servatory Library with works composed dur-
ing his three years' study in Rome). From
Rome he went to Naples, where he became
pianist to Queen Caroline; here he produced
his first opera, La giovenlil di Enrico Quinto
(1815), which was well received. From Naples
he went to Vienna, and after a few months'
stay returned to Paris in 1815, where he
finished the score of Boieldieu's Charles de
France, an 'opera d 'occasion,' produced at the
Opera-Comique, 1816. Its flattering reception
led to the production of Les Rosier es (1817),
which, as well as La ClocheUe, which followed
in the same year, was very successful. Unable
for a time to obtain good original libretti, he
now wrote piano-fantasias and minor pieces,
and produced a few operas (Le premier venu,
1818; Les Troqueurs, 1819; V Amour platonique,
1819 [only rehearsed]; and VAuteur mart et
vivant, 1820), the ill-success of which caused
him to distrust his natural talent, and to imi-
tate, in several succeeding stage-works, the
style then in vogue — that of Rossini. With the
3-act comedy-opera Marie (1826) H. returned,
however, to his true element, and won instant
and brilliant success. Meantime (1824) he had
obtained the post of pianist at the Italian
Opera, but soon relinquished it for that of
chorusmaster (1824-6); during this period he
brought out Les Muletiers, Lasthenie, Ven-
ddme en Espagne, Le Roi Rene, and Le Lapin
blanc. In 1827 he was appointed 'chef du
chant* at the Grand Opera, for which he wrote
several poetic and graceful ballets (Astolphe et
Joconde, La Somnambule, Lydie, La Belle au
Bois dormant, and La Fille mal gar dee) \ La
Somnambule furnished Bellini with the subject
of his popular opera. In 1828 H. was received
into the Legion of Honor. In 1829 appeared
l' Illusion, a one-act opera, full of charming
numbers. Emmeline (1830) was a failure, but
the brilliant success of Zamtoa (1831) placed
H. in the first rank of French composers. He
wrote VAuberge <TAurey (1830) jointly with
Carafa; La Marauise de Brinvilliers (1831) in
collaboration with Auber, Batton, Berton,
391
HEROLD— HERTEL
Blangini, Boieldieu, Carafa, Chcrubini, and
Paer; and also produced La Medicine sans
nUdecin (1832), a one-act opera. His last
work, Le Pri aux clercs (1832), has had re-
markable vogue in France. Shortly after the
production o? Zampa his health had begun to
decline, and he died of consumption in his
forty-second year. His unfinished opera
Ludovic was successfully completed by Halevy.
— Herald' s piano-music, comprising 55 opus-
numbers, consists of sonatas, caprices,
rondos, divertissements, fantaisies, variations,
and potpourris. — Busts of H. by Danton and
Demesnay are in the foyer of the New Opera
house; one by Charles Gauthier is in the library
of the Conservatoire. — Cf. A. Touvin, Herald,
sa vie et ses ctuvres (Paris, 1868k A. Pougin,
H. (Paris, 1906; throughout this book the
accent over the composer's name is omitted).
Herold[ha'-],Max,b.Stehweiler,Franconia,
Aue. 27, 1840; since 1903 dean and vestryman
in Neustadt-on-the-Aisch; the founder and
director of the Bavarian Evang. 'Kirchen-
Gesangverein'; also from 1876 (with Krilger)
assistant, and since 1881, sole editor of the
periodical 'Siona.' D. D. hon. causa (Er-
fangen, 1897). — Works: Passah, liturgische
Gottesdienste fur die Charwoche und das Oster-
jest (1874); Vesper ale, oder die Nachmittage
unserer Feste; Alt-Niirnberg in seinen Gottes-
diensten (1890); Kultusbilaer aus vier Jahr-
hunderten (1896).
Herr'mann, Eduard, b. Oberrotweil, Ger-
many, Dec. 18, 1850. Pupil of Keller (vln.)
and Faiszt (comp.) at the Stuttgart Cons.,
1861-8; then of Joachim (vln.) and Kiel
(comp.) in Berlin, 1869-70; in 1871 he be-
came a member of the Schwerin court-orch.;
1875, concert-master at the Hamburg opera;
1877, concert-tour of Germany, Holland and
Switzerland; 1878, concert-master of the Im-
perial Orch. in Petrograd. In 1881 he settled
in New York as a teacher, and with Schenck,
Lilienthal and Hauscr formed a quartet
which enjoyed an excellent reputation; one
of their features was the annual performance
of all of Beethoven's quartets. His more im-
portant compositions are a Violin-concerto in
Cm., op. 25; a String-quintet in G, op. 31;
a String-cjuartet in F, op. 32; a Sextet for
oboe, clarinet and strings in D m., op. 33.
Herr'mann, Georg (pseudonym George
Armin), b. Brunswick, Nov. 10, 1871. He
originally learned engineering, but in 1892
abandoned that profession and began to study
singing with A. Iffert in Cologne; then
studied with Mary Davis and L. Torsleff in
Leipzig. After one season as a concert -singer
(1894-5) he devoted himself to teaching and
the investigation of various vocal problems;
since 1904 living in Berlin. He has publ. Die
Lehrsatze der automatischen Stimmbildung
(1900), Stimmkrise und Stimmheilung (1901),
Gesammelte A ufsatoe fiber Stimmbildung (1903) ,
Konservatorium und Gesangunterrickt (1907),
Muller-Brunow, cine Kritik der Stimmbildung
(1907), Das Stimmprinwip (1908), Die Stimm-
krise (1912); also wrote Die Lieder von Emil
Wetz (1911).
Herr'mann, Gottfried, violinist and pi-
anist; b. Sondershausen, May 15, 1808; d.
Lubeck, June 6, 1878. Vln.-pupil of Spohr
at Kassel, and studied comp. with Haupt-
mann. He became first violin at Hanover,
and, under Aloys Schmitt, developed into a
talented pianist. Organized a quartet-party,
with his brother Kan, at Frankfort; in 1831
was app. organist and dir. of the Marien-
kirche, Lubeck; in 1844, Kapellm. to the
Sondershausen court; in 1852, city- Kapellm.
of Lubeck, also directing the LUbeck theatre
orch., and Hamburg 'Bach-Verem/ — Works:
Operas, orchestral and chamber-music, songs,
etc.— His niece and pupil, Klara H.v gifted
pianist, residing at Lubeck, also a student of
Leipzig Cons., is the daughter of his brother
Karl [cellist, d. Stuttgart, Nov. 12, 1894].
Her/8chel, Friedrich Wilhelm, eminent
astronomer (anglice Sir William Herschel,
K. C. H., D. C. L.); b. Hanover, Nov. 15,
1738; d. Slough, near Windsor, Aug. 23, 1822.
Son of a military musician, at 14 years of age
he entered the band of the Hanoverian
guards as oboist, and was stationed at Dur-
ham when that regiment came to England.
Became organist of Halifax parish church; in
1766, of the Octagon Chapel, Bath. De-
voted his leisure to astronomy, constructed
the great 'Herschel' telescope, discovered the
planet Uranus, was app. 'Astronomer Royal'
(1781), and abandoned the musical profession.
Received the honor of knighthood and an
Oxford degree. — Compositions: A symphony,
and 2 concertos for wind-instruments.
Hertel [h&hr'tl], Johann Christian, viola-
da-gamba virtuoso; b. Oettingen, Swabia,
1699; d. Strelitz, Oct., 1754. Studied singing
and the gamba; pf., vln., and comp. with
Kaufmann at Merseburg, later with Hess at
. Darmstadt. Became first violin of Eisenach
court chapel; from 1742-53, ducal Concert-
meister at Mecklenburg-Strelitz. — In MS.,
symphonies, overtures, vln. and bass con-
certos, sonatas, trios,etc; only 6 sonatas were
published.
Her'tel, Johann Wilhelm, violinist, pian-
ist, and composer; b. Eisenach, Oct. 9, 1727;
d. Schwerin, June 14, 1789; son and pupil of
Joh. Chr.; also studied vln. with Benda. In
1757, Concertmeister and composer to the
Duke of Mecklenburg-Schwerin, subsequently
Kapellm. In 1770, private secretary to Prin-
cess Ulrike, and councillor at Schwerin.—
Works: 8 oratorios, descriptive of the princi-
392
HERTEL— HERVEY
pal events in the life of Christ; 12 symphs.;
6 pf. -sonatas; 1 pf. -concerto; songs. Also
compiled, with translations and notes, Samm-
lung musikalischer Schriften, erosstentheils aus
den Werken der Italianer and Franzosen . . .
(1757-8, 2 parts).— See Q.-Lex.
Her'tel, Peter Ludwig, b. Berlin, April
21, 1817; d. there June 13, 1899. Son of
Karl H., violinist [1784-1868], and pupil of
Greulich (pf.), Rietz (vln.), Schneider and
Marx (comp.). In 1858, app. court composer,
in 1860 director of ballet at the Berlin Royal
Opera; pensioned in 1893. — Works: Sympho-
nies, overtures, but principally ballet-music:
Die lustigen Musketiere (1852), Flick und
Flock (1858), Sardanapal (1865), Winer
(1869), Fantaska, Die 4 Jahreszeiten, etc.
Her'ther [hehr'teV], F., pen-name of Her-
mann Gunther, M. D. (brother of Dr. Otto
Giinther); b. Leipzig, Feb. 18, 1824; d. there
Feb. 13, 1871.— 6pera, Der Abt von St. Gallen
(Berlin, 1864).
Hertz [hghrts], Alfred, b. Frankfort, July
15, 1872. Having completed the regular
course at the Gymnasium of his native city,
he entered the Raff Cons., where he was a
pupil of A. Urspruch; 1892-5, conductor at
the Hofth. in Altenburg; 1895-9, at the
Stadtth. in Bar men-Elbert eld ; 1899-1902, at
the Stadtth. in Breslau. In 1902 he came to
the M. O. H. as conductor of the Wagner
works. His enthusiasm made a favorable
impression, although his zeal sometimes
elicited excessive sonority from the orch.
But in time he overcame this defect and se-
cured splendid tonal balance from his forces.
During thirteen consecutive seasons he also
conducted many novelties, among them all the
works of American composers brought out at
the M. O. H. He has the distinction of having
conducted the first performance of Parsifal
outside of Bavreuth (Dec. 24, 1903). Be-
cause of this 'desecration' not only Bavreuth
but all German opera-houses nave been
barred to him. He resigned in the spring of
1917; conducted the premiere of Parker's
Fairyland at the Panama Exposition (Los
Angeles, July 1, 1915). Since then, conductor
of the San Francisco Symph. Orch. In
Tune, 1914, he married the concert-soprano
Lilly Dorn in Vienna.
Hertz'berg [hghrts'behryh), Rudolf von,
b. Berlin, Jan. 6, 1818; d. there Nov. 24,
1893. Pupil of L. Berger and S. Dehn; 1847,
singing-teacher; 1858, 'Kdnigl. Musikdirek-
tor; 1861-89, conductor of Domchor (cathe-
dral choir), with title 'Professor/ succeeding
Neithardt. Editor (as Franz Commer's suc-
cessor) of the valuable collective work 'Mu-
sica Sacra.'
Herv6 (properly Florlmond Ronger), a
dramatic composer, the creator of French op-
eretta; b. Houdain, near Arras, June 30, 1825;
d. Paris, Nov. 4, 1892. Chorister and scholar
of St.-Roch, he became organist at various
churches in Paris. With his friend Kelm, in
1848, he sang in Don Quichotte et Sancho
Pansa, an interlude of his own composition,
at the Opera National. In 1851, chef d'or-
chestre at the Palais Royal Th. In 1855 he
opened the 'Folies-Concertantes,' a small the-
atre for the production of pantomimes, say-
netes (musical comediettas for two persons),
etc., and, with phenomenal activity, devel-
oped the light French operetta from these
diminutive and frivolous dramatic composi-
tions, writing both libretti and music, and
frequently appearing in the dual capacity of
actor and orch. -conductor. In 1856 he re-
signed, and (1856-69) was connected with
theatres in Paris, Marseilles, Montpellier
and Cairo; 1870-1, conductor of Covent Gar-
den Promenade Concerts, London; 1871-4,
mus. -director of The Empire Th. He wrote
over 50 operettas, which, however, were
eclipsed by those of Offenbach. Some of the
best-known are Vade au Cabaret, Le Composi-
teur toque, Fiji et. Nini (these 3 at the Fol.-
Conc, 1855-6); Femme a vendre (1858);
VCEU crevS (1867); Le petit Faust (1869); Fla-
Fla (1886); La Noce & Nini; La Roussotte
(collab. with Lecocq); Le roi Chilphic, and
Les Bagatelles (1890). One of his latest,
Bacchanale (Paris, '92), was a fiasco. Other
works are the 3-act operetta Mimi; two 3-act
operas bouffes, Le Rubicon and Friooli; and
the 1-act opera comique Vftlixir. — He also
published pf.-pieces, songs, and dances.
Hervey, Arthur, composer and writer; b.
of Irish parentage at Paris, Jan. 26, 1855.
Pupil of Berthold Tours (harm.) and £douard
Marlois (instrumentation). At first intended
for the diplomatic service, he embraced a
musical career in 1880; was critic for 'Vanity
Fair' 1889-92; 1892-1908 on the staff of the
London 'Morning Post.' — Works: The operas
The Fairy's Post-box (London, 1885), and
Uona (ib., 1914); dram, overture Love and
Fate (1890); dram, scene, The Gates of Night
(1901); 2 tone-pictures, On the Heights and On
the March (1902); overture, Youth (1902); 2
tone- poems, In the East (1904) and Summer
(1907); orchl. prelude, lone (1907); symph.
vars., Life- Moods (1910); Suite f. orch. (MS.);
Romance for vln. and orch.; pf. -music; he is
also a song- writer of repute: 6 Liebeslieder,
8 Neue Liebeslieder, and 6 other songs, Her-
zensstimmen (all by Heine); Love of my life,
May Song, Once, Mine all, etc. — Author of
Masters of French Music (London, 1894);
French Music in the XlXth Century (1903);
Alfred Bruneau (1907); Franz Liszt and His
Music (1911); Meyerbeer (1913); Rubinstein
(1913). Has also been a contributor to the
393
HERZ— HERZOGENBERG
(
Supplement of the 'Encycl. Britannica,'
and other works.
Herz, Henri, brilliant pianist; b. Vienna,
an. 6, 1806; d. Paris, Jan. 5, 1888. Taught
y his father, and by Hunten at Koblenz;
later (1816) by Pradher, Reicha and Dourlen
at the Paris Cons., and won 1st piano-prize;
improved himself in Moscheles' style after
that virtuoso's visit in 1821; was in high
repute as a fashionable teacher and composer,
his comps. realizing 3 and 4 times the price
of those of the best musicians. In 1831 he
made a brilliant tour of Germany with the
violinist Lafont; visited London in 1834, and
at his first concert Moschcles and Cramer
played duets with him. In 1842, was app. pf.-
prof. at the Paris Cons. Lost considerably by
partnership with a piano-manufacturer, Klep-
fer, and thereupon undertook a concert-tour
through the United States, Mexico, and the
W. Indies (1845-51). Returning, he estab-
lished a successful piano- manufactory, his
instrs. receiving 1st prize at the Paris Exhibi-
tion of ^ 1855. Resigned professorship at the
Cons, in 1874. H. acknowledged that he
catered to the popular taste; of his numerous
works (over 200), at which Schumann fre-
quently poked fun, only his fitudcs, and
MHhode complete de piano (op. 100) have
survived him. They include piano-concertos,
variations, sonatas, rondos, vln. -sonatas,
nocturnes, dances, marches, fantasias, etc.
Mes voyages en AmSrique (1866) is a reprint of
his letters to the 'Moniteur Universel/ de-
scribing his American tour.
Hen, Jacques Simon, b. Frankfort, Dec.
31, 1794; d. Nice, Jan. 27, 1880. Of Jewish
parentage; went to raris when young; in 1807
ent. the Cons., studying the piano with Prad-
her. Became a distinguished pianist and
teacher in Paris; taught for some years in
London; returned to Paris in 1857, as acting
prof, for his brother Henri, at the Cons. —
Comps.: Much pf. -music; vln. -sonatas, and a
horn-sonata.
Herz'berft, Anton, pianist, b. Tarnow,
Galicia, June 4, 1825. Studied with Bocklet
and Preyer in Vienna. Made concert-tours
through Hungary, Prussia, Turkey, Greece,
Italy, France, Holland and England, and re-
ceived various decorations. In 1866, settled in
Moscow as piano- teacher. — Works: About 130
pieces of salon- music.
Herz'feJd, Victor von, b. Presburg, Oct.
8, 1856. Law-student in Vienna, where he
also attended the Cons., graduating in 1880
with first prizes for violin and composition;
received the Beethoven prize in 1884, studied
with E. Grell in Berlin, and in 1886 went to
Pest, becoming prof, of musical theory at the
Nat. Acad, of Music. He plays 2d violin in the
394
Hubay Quartet. Has publ. works for orch.,
chamber-music, piano-pieces, etc.
Herzog [har'tsohg], Benedlkt. See Ducis.
Her'zoft, Emilie, brilliant coloratura-
singer and soubrette; b. Diessenhofen, Thur-
eau, c. 1860. Pupil of the Zurich School of
Music under K. Gloggner, 1876-8; at Munich,
under Ad. Schimon, 1878-80. Made her
theatrical debut as the Page in Les Huguenots,
at Munich, 1880. In 1889, eng. for the Berlin
Court Opera, where she became especially
famous as an interpreter of Mozart; extended
tours of Germany establ. her reputation
as one of the foremost Lieder-singers; she
taught at the Kgl. Hochschule, Berlin, from
1903-10; app. 'Kgl. Kammersangerin' in 1900;
now living retired in Aarburg, Switzerland.
In 1890 she married the writer Dr. H. Welti.
Her'zoft, Johann Georg, organ-virtuoso,
b. Schmdlz, Bavaria, Sept. 6, 1822; d. Mu-
nich, Feb. 2, 1909. Pupil of Bodenschatz, and
of the Seminary at Altdorf, Bavaria. 1841-2,
teacher at Bruck, n. Hof ; 1842, org. of Munich
Protestant ch., cantor in 1848; org. -prof, at
the Cons., 1850; music director at Erlangen
Univ., 1854; in 1866, Dr.fhil.; later profes-
sor, retiring in 1888.— Organ- works: Pra-
ludienbueh, Kirckliches Orgelsfnei (3 parts),
Chordle mil Vor~, Zwischen- und NachspicUn,
Evangdisches Choralbuch (3 books), Chorge-
sdngefUr den kirchlichen Gebrauch (5 books),
Geistltches und Wdtliehes (collections), an
Orgdschule, fantasias, etc.
Her'zogenberg, Heinrich von, pianist
and com p., b. Graz, Styria, June 10, 1843; d.
Wiesbaden, Oct. 9, 1900. Pupil of Dessoff at
Vienna Cons., 1862-4. Lived at Graz until
1872, then removed to Leipzig, and with P.
Spitta, F. v. Holstein and A. Volkland found-
ed the Bach-Verein in 1874; in 1875 he suc-
ceeded Volkland as its dir. In 1885, app. prof,
of comp. at the Berlin 'Hochschule fiir Musik,'
as successor to F. Kiel; in 1889 he was elected
member of the Akademie, and app. dir. of
the 'Meisterschulc'; owing to illness he re-
signed in 1892 and was succ. by Bruchuafter
the death of Bargiel, in 1897, H. again was
director till his death. — Works: 3 Oratorios,
Die Geburt Christi, op. 90; Die Passion, op.
93; Erntefeier, op. 104; the choral works with
orch. Der Stern des Liedes, op. 55; Die Weihe
der Nacht, op. 56; N annas Klage, op. 59;
Psalm J 16, for 4-part ch. a capp., op. 34;
Psalm 94, for soli, double ch., org. and orch.,
op. 60; Konisgspsalm, for male ch. and organ,
op. 71; Requiem, for male ch. and orch., op.
72; Totenfeier, for soli, ch. and orch., op. 80;
Mass in E m., for soli, ch. and orch., op. 87;
Begrabnis-Gesang, for tenor solo and male
ch. a capp., op. 88; 4 Choral- Motetten, f. mixed
ch. a capp., op. 102; 4 Motetten for 4-,5-,8-
part ch. a capp., op. 103; Cantata, GoU ist
HESS— HESSE
gegenwdrtig, op. 106; 2 bibl. scenes, Der See-
sturm, for bar. solo, ch., str.-orch. and organ
and Das Kanan&ische Weib, for sop. and bar.
soli, male ch. and organ, op. 109 (last work);
numerous choruses a capp. and w. instrl.
accomp.; sacred and secular songs. — Instrl.
works: Symphonic Poem Odysseus, op. 16; 2
Symphonies (op. 50, C m.; op. 70, B\>); 1 pi..
quintet in C, op. 17; 1 string-quintet in C m.,
op. 77; 5 string-quartets (op. 18, D m.; op.
42, G m., D m.,6; op. 63, F m.); 1 quartet
for pf., horn, cl., bassoon, in Eb, op. 43; 2 pf.-
quartets (op. 75, E m.; op. 95, Bt>); 2 piano-
trios (op. 24, C m.; op. 36, D m.); 2 string-
trios in A and F, op. 27; 1 trio for pf., ob. and
horn, op. 61; 3 sonatas for vln. and piano (op.
32, A; op. 54, Eb; op. 78, D m.); 3 do. for vcl.
and pf. (op. 52, A m.; op. 64, D; op. 94, Eb); 2
fantasies for organ (op. 39, Nun kotnm, der
Heiden Heiland; op. 46, Nun danket A lie
Gott); op. 13, Thema und Var. for 2 pfs.; op.
5 3 and 83, Walzer for piano 4 hands; op. 84,
Vars. for piano 4 hands, in E; op. 85, do. in
13 b; op. 86, do. in D m.; works for piano solo
Cop. 3, vars. ; op. 23, vars. on a theme from
Brahms; op. 58, vars. on the .minuet from Don
Giovanni; op. 107, Capriccio, etc.). Op. 14,
Deutsches Lieder spiel tor soli, mixed ch. and
piano 4 hands, was orchestrated by H. Heub-
ner. — H.'s wife, Elisabeth, ne'e von Stock-
hausen, b. Paris, April 13, 1847; d. San
Remo, Tan. 7, 1892, was an excellent pianist.
— Cf. J. H. Spengel, H. v. H. in seinen
Vokalwerken (Leipzig, 1893); W. Altmann,
H. v. H. Sein Leben u. Schaffen (Leipzig, 1903) ;
M. Kalbeck J oh, Brahms im Briefwechsel
mil Heinricn und Elisabeth von H. (1906;
vols, i and ii of the Brahms Correspondence);
Verzeichnis der Kompositionen von H. v. H.
(publ. by J. Rieter-Biedermann,1900).
Hess, Joachim, organist and carilloneur
of St. John's Ch., Gouda, Holland, for 44
years, 1766-1810. An erudite musician, who
wrote several valuable works on the history
of the organ. — His brother, A. H. H.t was a
distinguished organ-builder at Gouda.
Hess, Karl, b. Basel, March 23, 1859; d.
Bern, Feb. 19, 1912. Pupil of S. Barge, A.
Glaus and A. Bargheer in Basel, then of
Reinecke, Jadassohn and Papperitz at the
Leipzig Cons. In 1882 he was app. org. at
the cath. in Bern and instr. in music at the
University; made Prof, in 1905. — Works:
Psalm XC for mixed ch. and organ.; Nahe des
Toten for mixed ch. and orch. ; Der Weihnachts-
stern for 4 solo voices, via. and organ; motets
a capp.; choruses for men's voices; do. for
women's voices; piano-ouintet in Eb; organ-
sonata in E m. and other works for organ.
Hess, Ludwig, eminent Lieder-singer
(tenor); b. Marburg, March 23, 1877. At the
age of 5 he began to study the piano; from
1895-1900 he was a pupil at the Kgl. Hoch-
schule in Berlin; 1901, pupil of M. Vidal
(singing) in Milan. In 1892 he began his bril-
liant career as a concert -singer, attracting
special attention in the works of Bach ; he was
one of the earliest and most zealous apostles
of Hugo Wolf, and throughout his career has
given much attention to modern songs (R.
Strauss, Hausegger, Reger, H. Hermann, etc.).
From 1907-10 he was cond. of the 'Konzert-
gesellschaft' in Munich; 1911-13 he made very
successful tours of the U. S., Canada and
Mexico; after his return he settled in Berlin
as teacher and composer. — Works: Symphony
in Cm.; the symphonic poem Himmelskonig
mil musieierenden Engeln (after Hans Mem-
ling); Ariadne, for soli, chorus and orch.;
choruses; numerous songs (several w. orch.).
Hess, Willy, violinist; b. Mannheim, July
14, 1859. Pupil of his father; lived from 1865-
72 in the United States, beginning his public
career at 9 by a tour with the Thomas Orch.,
followed by others; 1872-6 toured Holland,
Belgium, France and Germanv; studied under
Joachim 1876-8; then until i886 Konzertm.
in Frankfort, 1886-8 at Rotterdam; after
7 years at Manchester, Engl., in the Halle
Orch., as Ludwig Strauss's successor, H. was
1895-1903 in Cologne as 1st prof, of violin at
the Cons., leader of the GQrzenich Quartet,
and Konzertm. of the Gurzenich Concerts.
In 1900, *R. Prof.' From Sept., 1903, violin-
professor at the R. A. M., London, succeeding
Sauret; from 1904-10 he was leader (as
Kneisel's successor) of the Boston Symph.
Orch., and also of the Hess Quartet (H.,
Theodorowicz, Ferir, Schroder). In 1910 he
succeeded Halir as prof, at the Kgl. Hoch-
schule and leader of the Halir Quartet (H.,
Stoessel, Heber, Baldner).
Hes'se, Adolph (Friedrich), organ-vir-
tuoso; b. Breslau, Aug, 30, 1808; d. there Aug. 5,
1863. Son of an organ-builder; pupil of Berner
and E. Kohler. The Breslau authorities grant-
ed him a sum which enabled him to visit
Leipzig, Kassel, Hamburg, Berlin, and Wei-
mar, his talents gaining him the acquaintance
and instruction of Hummel, Rinck and Spohr.
In 1827, app. assist. -org. at St. Elizabeth's
ch., Breslau, and 1831, org. of St. Bernard's.
Visited Paris in 1844, for the inauguration of
the new organ of St.-Eustache, and astonished
the Parisians by his pedal-playing. In 1846
visited Italy, and England in 1852, perform-
ing on the organs in the Crystal Palace, and
protesting against their unequal tempera-
ment. For many years dir. of the Breslau
symphony concerts. — Works: Oratorio Tobias;
dram, cantata Herzog Ernst v. Schwaben, for
soli, male ch. and orch., op. 21; other can-
tatas; 6 symphonies, 4 overtures, motets, pf.-
concerto, string-quintet, 2 string-quartets.
395
HESSE— HEUBNER
and piano-pieces; organ-comps. (preludes,
fugues, fantasias, etc.), and an Orgelschule
(Practical Organist).
Hes'se, Ernst Christian, viola-da-gamba
virtuoso; b. Grossen-Gottern, Thuringia, Apr.
14, 1676; d. Darmstadt, May 16, 1762. Court
secretary for Hesse- Darmstadt; then, at the
Prince's expense, he studied in Paris with
Marin Marais and Foraueray; made concert-
tours and played at the Viennese and Dresden
courts. 1715—19, Kapellm. at Vienna. — In
MS. : Sonatas and suites for gamba, and other
instrl. music; much church-music.
Hes'se, Julius, b. Hamburg, March 2,
1823; d. Berlin, April 5, 1881. He originated
and successfully introduced a new measure-
ment for piano-keys, and published System des
Klavier spiels.
Hes'se, Max, music-publ.; b. Sonders-
hausen, Feb. 18, 1858; d. Leipzig, Nov. 24,
1907. In 1880, founded a publishing-house at
Leipzig, and in 1883, the printing establish-
ment Hesse & Becker, for music and books.
Hes'selberg, fidouard Gregory, pianist
and teacher; b. Riga, May 3, 1870. Pupil of
the Cons, of the Moscow Philh. Soc., 1888-92;
then private pupil of A. Rubinstein. Came to
America in 1892; dir. of piano-dept., Ithaca
Cons., 1895-6; of Academy of Mus.t Denver,
1896-1900; of Wesleyan Coll. Cons, of Mus.,
Macon, Ga., 1900-5; dir. of music at Belmont
Coll., Nashville, Tenn., 1905-12; since 1912
prof, of advanced piano-class at Toronto
Cons, and examiner in Loretto Abbey, Glen
Mawr College and Westbourne College (all in
Toronto); establ. in 1914 the 'H. Studio of
Pianistic Art.' He is the Canadian editor of
Elson's 'Modern Music and Musicians'
(1912); advisory cd. and contrib. to 'The Art
of Music' (1916). Has composed 2 suites for
orch., Set Momenti and Russian Suite; pieces
for vln.; do. for piano; songs.
Hessen, Alexander Friedrich, Landgraf
von, b. Copenhagen, Jan. 25, 1863. Although
blind from birth, he began at a very early age
to study piano with C. Rubncr and vln. with
Paul Klengel; in 1884 he attended Billow's
lectures at the Raff Cons, in Frankfort, and
studied comp. with A. Urspruch; from 1894-6
he studied in Berlin with Herzogenbcrg,
Joachim, Bruch and Weingartner; 1897-8
with Draesckc in Dresden, and in 1899 with
Faure in Paris. His compositions show talent
and skilful workmanship. — Works: Op. 1,
String-quartet; op. 2, Intermezzo for pf.; op.
3, trio for clarinet, horn and piano; op. 4,
Fatitne, scena for baritone and orch.; op. 5, 4
Canons for 2 sopranos, 2 horns and piano;
op. 6, Grand mass for ch. and org. — Cf. P.
Hiller, DerLiederzyklusvonA. Fr. i>. H. (1910).
Hetsch, (Karl Friedrich) Ludwlg, pian-
ist and violinist; b. Stuttgart, April 26, 1806;
d. Mannheim, June 28, 1872. Pupil of AbeiUe
and Weiss, and protege of the King of Wurt-
temberg. In 1835, mus. dir at Heidelberg; in
1846, 2d Kapellm. of Munich Court Th. —
Works: Opera Ryno (Stuttgart. 1833), orato-
rios, symphonies, chamber and vocal music,
Lieder; his 130th Psalm and a duet for piano
and vln. won prizes.
Heuberger [hoi'-], Richard (Franz Jo-
seph), dramatic composer; b. Graz, Styria,
June 18, 1850; d. Vienna, Oct. 27, 1914. St.
music under good masters; he was by pro-
fession a civil engineer, and obtained the
Government certificate in 1875. In 1876 de-
voted himself to music. App. Chormeister of
the Vienna academical 'Gesangverein,' and
in 1878 cond. of the Singakademie; 1902-9
cond. of the 'Mannergesangverein'; app. prof,
at the Cons, in 1902. In 1881 he became mus.
critic of the 'Wiener Tageblatf ; 1896-1901 do.
of 'Neue Freie Presse'; after 1904, of 'Neue
Musikalische Pressed 1904-6 editor of *Mu-
sikbuch aus Osterreich.' — Works: Operas
Abenteuer einer Neujahrsnacht (Leipzig, 1886);
Manuel Venegas (do., 1889), remodelled as the
3-act grand opera Mirjam, oder Das Maifest
(Vienna, '94; succ.); Barfussele (Dresden,
1905); 2 'Tanzspiele' (ballets), Die Lauten-
schldgerin (Prague, 1896; succ), and Struwwel-
peter (Dresden, 1897); cantata, Geht es dir
wohl, so denk1 an mich, for soli, male ch. and
orch., from 'Des Knaben Wundcrhorn'; over-
ture to Byron's Cain; a rhapsody from
Riickert's Liebesfruhling, for mixed ch. and
orch.; suite in D, for orch.; 2d suite, Ausdem
Morgenlande; a symphony; orchl. variations
on a theme by Schubert; serenades for orch.,
op. 7; part-songs, songs. He also wrote the
operettas DerOpernbaU (Munich, 1898; succ.);
Ihre Excellenz (Vienna, 1899) ; Der Sechsuhr-
zug (ib., 1900); Das Baby (ib., 1902); Der
Furst von Dusterstein (ib., 1909); Don Quixote
(ib., 1910). Published a selection of his cri-
tiques as Musikalische Skizzen and Im Foyer
(1901); a biography of Schubert for the series
'Beriihmte Musiker' (Berlin, 1902; 2d ed.
1908); and a new edition of G. Jensen's
revision of Cherubini's Counterpoint (Leipzig,
1911).
Heubner [hoib'-], Konrad, talented com-
Er; b. Dresden, April 8, 1860; d. Koblenz,
t 6, 1905. Pupil of the 'Kreuzschule' in
sden, also of Leipzig Cons. (1878-9), and,
at the Univ., of Ricmann. Studied under
Nottebohm at Vienna, and in 1881 under
Wullner, Nicode and Blassmann at Dresden.
In 1882, conductor of the Liegnitz 'Singaka-
demie'; in 1884, assist.-cond. of the Berlin
'Singakademie.' In 1890 succeeded R. Masz-
kowski as dir. of the Koblenz Cons, and Mus.
Soc.; R. Prof., 1898.— Works: Overtures Der
396
HEUGEL— HEYER
gefesseltc Prometheus and Waldmeisters Braut-
fahrt; a concerto for vln.; Das Geheimnis der
Sehnsucht for soli, ch. and orch. ; symphony in
A (1892); quintet for pf., 2 vlns., via. and
'cello; piano and vln. -sonata; piano-trio (op.
9); songs, etc.
Heugel [d-zhell, Jacques-Leopold, b. La
Rochelle, 1815; d. Paris, Nov. 12, 1883. Ed.
and publ. from 1834 of 'Le Menestrel.' Foun-
der and director of the Paris mus.-publ. establ.
4H. et Cie.,' well known for its excellent publi-
cations, which include the famous 'Met nodes
du Conservatoire' in all branches.
Heuss [hois], Alfred Valentin, b. Chur,
Jan. 27, 1877. Pupil of the Stuttgart Cons.
(1896-8), then at the 'Akademie der Ton-
kunst' in Munich, where at the same time he
attended the Univ. (1898-9); from 1900-3 he
st. musicology at the Univ. of Leipzig under
H. Kretzschmar, taking degree of Ph. D.
with the thesis Die Instrumentalstucke des
t(^rfeo1 und die venezianischen Opernsinfonien
(1903). From 1902-5 he was music critic
of the 'Signale'; 1905-12 of the 'Leipziger
Vblkszeitung,' and since 1913 of the *L.
Zeitung'; since 1904 ed. of the 'Ztschr. Int.
M.-G., to which he has contrib. valuable
monographs; has also written analyses of
works by Bach, Beethoven, Liszt, Bruckner,
etc., for Breitkopf & Hartels 'Kleiner Kon-
zertfiihrer.' Of special value are his program-
books of the Bach Festivals at Leipzig
(1904, '07, '08, '14); also contrib. Ober die
Dynamik der Mannheimer Schule to the
'Riemann Festschrift* (1909); ed. A. Krieger's
Arien in vol. xix of *Dkm. deutscher Ton-
kunst.'
Hey [hi], Julius, singing-teacher; b. Ir-
melshausen, Lower Francoma, Apr. 29, 1832;
d. Munich, Apr. 23, 1909. First st. painting,
but turned to music, and was a pupil of
Franz Lachner (harm, and cpt.) and F.
Schmitt (singing). He became an ardent
Wagnerian after his introduction to the
master by King Ludwig II, and worked
under the direction of Biilow at the Munich
School of Music (estab. by the King in
accordance with Wagner's plans). After
Billow's departure (1869), he vainly essayed,
from a German national standpoint, a
reform in the cultivation of singing, but met
with so many obstacles that he resigned
when Wagner died (1883), and devoted
himself to finishing the important method
of singing Deutscher Gesangsunterricht (4
parts; 1886). It contains a complete and
logical exposition of Wagner's views on
vocal training. Part I relates to Speech;
Part II, to the Development of Tone in, and
the Formation of, Women's Voices; Part III,
do. do. of Men's Voices; Part IV, letterpress
explanations. This work was written with
the ulterior motive of forming a 'Stilbildungs-
schule' (school for the formation of style),
which Wagner and H. were convinced could
alone bring about the needed reform. Many
pupils of H. are to be found in the principal
German theatres. Wagner considered him
'the chief of all singing-teachers.' Settled
1887 in Berlin. — Comps.; Songs, duets, 16
easy songs for children, etc.; R. Wagner als
Vortragsmeister was publ. (1911; posth.) by
his son Hans.
Hey'berger, Joseph, b. Hettstadt, Alsa-
tia, June 18, 1831; d. Paris, Feb., 1892. Till
1871, teacher, org., and cond. at Mtihlhausen;
then chorusmaster at the Opera-Corn.,. Paris.
Prof, of solfeggio in Paris Cons.; composer.
Hey'den, Sebald, b. Nuremberg, 1498; d.
there July 9, 1561. In 1519 app. cantor of
the Hospital school, in 1537 rector of the
church of St. Sebald. — Publ. Musicaet i. e.,
artis canendi libri duo (1527; 3d ed., as De
arte canendi, etc., 1540), an important
treatise on measured music. — His son Hans,
b. Nuremberg, 1540; d. there 1613, or£. of
the ch. of St. Sebald, invented the 'Geigen-
clavicimbal' CNflrnbereisch Geigenwerk'),
which he described in Musicale instrumentum
reformatum (1610).
Hey'drich, Bruno, b. Leuben, near Lom-
matzsch, Saxony, Feb. 23, 1865. Pupil of
Dresden Cons. 1879-82, taking prizes as a
double-bass player, pianist, and comp.; was
for one year double-bass in Billow's Weimar
orch., and for 4 years in Dresden court
orch.; also pursued vocal studies, at first
under Prof. Scharfe, then Hey (Berlin) and
v. Milde (Sondershausen) ; his debut at the
Sonderhausen th. as Lyonel was successful;
after short engagements at Weimar (1888),
Stettin ('89), Magdeburg ('90), and Aachen
('91), he succeeded Emil Gtttze as dramatic
tenor in Cologne (1892-6); then at Bruns-
wick. Wagner rdles were his forte. In 1912
he retired from the stage, and has since then
been living in Halle as dir. of a Cons., cond.
of the 'Liedertafel' and music critic of the
' Allgem. Zeitung.' — Works: Amen : Opern-
Drama in einem Akte und einem musikalisch-
Cantomimischen Vorspiele 'Reinhards Ver-
rechen' (Cologne, 1895; v. succ); Frieden
(Mayence, 1907); Der ZufaU (Halle, 1914);
several choral works with orch.; chamber-
music; over 30 songs (Kusstieder, Schwar-
mereien, Liebeslieder, etc.).
Heyer [hl'er], Wilhelm, born Cologne,
March 30, 1849; d. there March 20, 1913.
Founder of the firm Poensgen & Heyer
(wholesale paper manfrs.) ; was an enthusias-
tic amateur and patron of music, for .many
years member ot the executive committee
of the 'Kdlner Konzertgesellschaft,' the
'Mustkalischc Gesellschaft' and the Cons.
397
HEYMANN— HILES
(1912 hon. member). In 1906 he founded in
Cologne a 'Musikhistorisches Museum,' which
soon developed into an institution of great
importance. It contains over 2600 instru-
ments with accessories (the beginning was
made with de Wit's second coll., the Kraus
Coll. [Florence] and the I bach coll. [Barmen]) f
about 20,000 autographs of musicians, 3500
portraits and a library of books about
music (many rare editions). Since 1909
Georg Kinsley has been curator of the
museum; he also publishes the catalogue; a
catalogue of the MSS. is now (1916) in press.
Dr. A. Ebert has undertaken the preparation
for publication of the autograph letters.
The Museum is maintained by H.'s heirs,
and has been open to the public since the
autumn of 1913. — [Riemann].
Hey'mann, Karl, pianist; b. Filehne, Po-
sen, Oct. 6, 1854. [His father, Isaac H., was
cantor successively at Filehne, Graudenz,
Gnesen, and Amsterdam.] Pupil of Hiller.
Gernsheim, Breunung, at Cologne Cons., ana
of Kiel at Berlin. Ill-health compelled him
to abandon the career of a virtuoso, on which
he had successfully entered; but in 1872 he
reappeared with Wilhelmj, and became mus.
dir. at Bingen. He was app. court pianist
to the Landgrave of Hesse, and from 1877-
80 was teacher at the Hoch Cons., Frankfort.
Against the doctor's advice he then resumed
the virtuoso career, but after a few years of
brilliant success was compelled to retire
permanently. — Comps.: Pf. -concerto; Elf en-
spiel, Mumntenschanz, PhantasiestUcke, and
other brilliant and effective pieces for piano.
Hey'mann-Rheineck, [Karl August
Heymann,] pianist and comp.; b. Burg
Rheineck-on-the-Rhine, Nov. 24, 1852. St.
at Cologne Cons., and at the R. Hochschule,
Berlin, under Rudorff (pf.) and Kiel (comp.);
since 1875, teacher at the Hochschule. —
Comps.; Pf.-pcs. (Novelletten, op. 5; Fan-
tasiestiicke, op. 3) and songs (Einen Brief soil
ich schreiben).
Hiebsch, Josef, violinist and teacher; b.
Tyssa, Bohemia, Oct. 7, 1854; d. Karlsbad,
May 10, 1897. Chorister of the Dresden
Royal Chapel, 1866, and at the Leitmeritz
Seminary, 1869. Vln.-pupil of Dont, Vienna.
Settled as a music-teacher in Vienna. —
Writings: Leilfaden fur den elementaren
Violinunterricht (1880; enlarged ed. 1884);
12 books of vocal duets of like character,
Methodik des Gesangunterrichls (1882; 1893);
Methodik des Violinunterrichts (1887); AUge-
meine Musiklehre (1890); and Lehrbuch aer
Harmonie (1893).
Hlentzsch, Johann Gottfried, b. Mok-
rehna, n. Torgau, Aug. 25, 1787; d. Berlin,
July 1, 1856. Pupil of the Thomasschule
and the Univ. at Leipzig. As a teacher, he
398
lived for some years in Switzerland, with
Pestalozzi, to learn that master's method.
In 1817, app. mus.-teacher at the Neuzelle
Seminary; in 1822, director of the Breslau
Seminary; in 1833, at Potsdam; 1852-4, dir.
of the Berlin Institute for the Blind. From
1828-37 he edited the 'Eutonia,' an education-
al mus. journal, and in 1856 commenced a
new paper, 'Das musikalische Deutschland,'
which reached only 3 numbers. He publ.
collections of church-melodies for school use;
also treatises on singing.
HIgnard [en-yahr'], (Jean-Louis-) Aris-
tide, b. Nantes, May 20, 1822; d. Vernon,
Mar. 20 (?), 1898. Pupil of Halevy in Paris
Cons., 1845-50, taking the 2d Grand prix de
Rome. He was an earnest composer of
lofty aims; but was able to bring out only
works of secondary importance, ^ with the
exception of Hamlet, a 'tragedie lyrique' prod,
at Nantes, 1888. His other stage-works
were the comic operas he Visionnaire (1
act; Nantes, 1851); Le Colin- MaHlard (1
act; Paris, Th.-Lyr., 1853); Les Compagnons
de la Marjolaine (1 act; ibid., 1855); Af. de
Chimpanzl (1 act; Bouffes-Par., 1858); Le
nouveau Pourceaugnac (1 act; ibid., 1860);
I Auberge des Ardennes (2 acts; Th6atre-Lyr.,
1860) ; and Les Musiciens de Vorchestre (2 acts;
Bouffes-Par., 1861). 2 'operettes de salon/
Le Joueur d'orgue and A la porte, and 2
more comic operas never perf., Les Mules de
Fleuretle and La mille et uni&me Nuit, end the
list. He also publ. Valses romantiques and
Valses concertantes for pf. 4 hands; choruses
for men's and women's voices; songs, etc.
Hirdach, Eugen, b. Wittenberge-on-the-
Elbe, Nov. 20, 1849. — A fine baritone singer,
he was twenty-four years of age before he
began vocal lessons. Pupil at Berlin of Frau
Prof. El. Dreyschock, he met and married
another pupil,
Hildach, Anna (nSe Schubert), a power-
ful mezzo-soprano; b. Konigsberg, Prussia,
Oct. 5, 1852. From 1880-6, both were teachers
at the Dresden Cons.; then they toured Ger-
many with great success in recitals. In 1904
they established their own singing-school in
Frankfort; in 1909 H. was made Prof. He
has published a number of excellent songs.
Hil'debrand, Zacharias, b. Saxony, 1680;
d. cir. 1755; a clever organ-builder, and G.
Silbermann's best pupil. He built the organs
of the Dresden Catholic ch., and of St.
Wenceslaus, Naumburg. His equally emi-
nent son, Johann Gottfried H., built
the great organ of St. Michael's ch., Hamburg.
Hlles, Henry, b. Shrewsbury, Dec. 31,
1826; d. Worthing, n. London, Oct. 20, 1904.
Brother and pupil of the following. Filled
various positions as organist* 1852-9, owing
HILES— HILL
to ill-health, he spent in travelling. In
1862, Mus. Bac., Oxon.; 1864-7, org. of St.
Paul's, Manchester; Mus. Doc. in 1867. In
1876, app. lecturer on harm, and comp. at
Owens college, Manchester; in 1879, at
Victoria University. In 1882 was co-founder
of the National Society of Professional Mu-
sicians; later, prof, of harm, and comp. at
Manchester College of Music. From 1885.
editor of the 'Quarterly Musical Review.
Writings: Grammar of Music (2 vols.; 1879);
Harmony of Sounds (3 editions, 1871, 72, 78);
First Lessons in Singing (1881); Part Writing,
or Modern Counterpoint (1884); Harmony
versus Counterpoint (1894). Comps.: 2 ora-
torios, David (1860) and The Patriarchs
(1872); the cantatas Fayre Pastoral, The
Crusaders, and Watchfulness; psalms, an-
thems, services, part-songs; an operetta, War
in the Household (1885); and an historic
opera, Harold (1893; not perf.); also odes,
and music for organ and pi.
Hiles, John, English organist, b. Shrews-
bury, 1810; d. London, Feb. 4, 1882. Org.
at Shrewsbury, Portsmouth, Brighton, and
London. Comp. pf.-pcs. and songs; also
wrote didactic works, catechisms of the pf.,
org., harm., thorough-bass, part -singing; and
a Dictionary of Musical Terms (1871).
Hilf, Arno, celebrated violin-virtuoso; b.
Bad Elster, Saxony, March 14, 1858; d. there
Aug. 2, 1909. Pupil of his father, Wilhelm
Chrlstoph H., and from 1872 of the Leipzig
Cons, under David, Rftntgen and Schradieck.
Second Concertmeister and teacher at Mos-
cow Cons, in 1878, and at Sondershausen in
1888. The same year, he succeeded Petri as
leader of the Gewandhaus orch., Leipzig,
and in 1892 succ. Brodsky as princ. prof, of
vln. at the Cons. Also leader of an excellent
quartet.
Hill, Edward Burllngame, b. Cambridge,
Mass., Sept. 9, 1872. St. music with J. K.
Paine while pursuing the regular course at
Harvard Univ.; grad. in 1894 (summa cum
laude in music); pupil in pf . of B. J.Lang,
A. Whiting (Boston) and L. Breitner (Paris),
in comp. of F. F. Bullard (Boston) ana
Widor (one summer in Paris), in orches-
tration of G. W. Chadwick (Boston). For a
time he was asst. -critic to the 'Boston Tran-
script'; since 1908 instructor in mus., Harvard
Univ.; member of faculty, 1915; Chairman
of Boston section of the Int. Mus. Soc.; is a
frequent contrib. to various journals ('Mer-
cure Musical' [Paris], 'Mus. Quart.' IN. Y.],
*£tude' [Phila.], 'Musician' [Boston], etc.);
associate ed. of and contrib. to 'The Art of
Music' (1916). He has also made for himself
an honorable place among contemporary
Amer. composers. — Works: Op. 5, Songs
from 'The Round Rabbit' (for children);
op. 6, 6 songs; op. 7, 5 songs; op. 8, Three
Poetical Sketches I. pf.; op. 10, Country Idyls
(6 pes. f. pf.); op. 13, 3 songs; op. 15, Nuns
of the Perpetual Adoration, f. women's vcs.
and orch. (1908); op. 16, Jack Frost in
Midsummer, pantomime w. orch. (1908); op.
19, Pan and the Star, do. (1914); op. 21,
Autumn Twilight, f. sop. and orch.; op. 22,
The Parting of Lancelot and Guinevere, symph.
rem after S. Phillips (1915); op. 23, Poem
vl. and orch. — Without opus-number, The
Wilderness shall rejoice, anthem f. mixed ch.
(1915).
Hill, Junius Welch, b. Hingham, Mass.,
Nov. 18, 1840. Pupil, in Boston, of J. C. D.
Parker. Entered Leipzig Cons. 1860 (Mo-
scheles, Plaidy, Richter, Reinecke, Haupt-
mann), studying (also privately) until 1863.
After occupying, since 1860, important
positions as organist and director at Tremont
Temple, Shawmut Ch., Tremont St. Metho-
dist Ch., and Harvard Ch. (Brookline), in
Boston, he was app. Prof, of Music at
Wellesley College, where he raised the standard
of music to a very high degree of excellence,
giving (during 13 years) more than 200
concerts of real artistic merit (with fine
soloists, quartets, and orchestras). H. re-
signed his position in 1897,. and devoted
himself to teaching in Boston, with marked
success; retired, and is now (1916) living in
Los Angeles. He has publ. numerous female
choruses, and edited several valuable in-
structive colls, f. pf.; among them being
'Treasures of Lyric Art/ 'Arabesques,
'Mosalques,' 'Characteristic Piano-pieces, etc.
Hill, Karl, baritone state- and concert-
singer; b. Idstein, Nassau, May 9, 1831; d.
insane in an asylum at Sachsenberg, Mecklen-
burg, Jan. 12, 1893. A post-office official,
he occasionally appeared as a concert -singer,
but in 1868 went on the stage, was attached
to the Schwerin court th., and also sang at
the Gewandhaus, Leipzig, and the Giirzenich
Concerts, Cologne. Held in high esteem
by Wagner, he sang the role of Alberich at
Bayreuth in 1876.
Hill, Thomas Henry Weist, violinist and
conductor; b. London, Jan. 23, 1828; d. there
Dec. 26, 1891. Pupil of Sainton at R. A. M.
Made concert-tours in America and Europe.
Member of the orchestras of the Opera,
Philh., and Sacred Harmonic. In 1879, cond.
at Alexandra Palace; 1880, Principal of the
Guildhall School of Music. — Pieces for vln.
and f. 'cello; and a Civic Anthem.
HOI, Uriah C, b. N. Y., 1802 (?); d. there
Sept., 1875. Violinist, a pupil of Spohr at
Kassel (1836). Founder and first President
of the N. Y. Philh. Soc. (1842), playing with
the first violins.
399
HILL— HILLER
Hill, W. E., & Sons, a celebrated firm of
violin-makers and dealers in London. It is
claimed that 'Mr. Hill, the instrument maker'
referred to in Pepys* Diary (1660) was an
ancestor of the present owners. ' Joseph H.
(1715-84) established himself circa 1750 as
an instrument-maker in London; on his death
his five sons, who also were good violinists,
succeeded to the business; the oldest, Wil-
liam Ebsworth (b. London, 1817; d. Han-
ley, April 2, 1895) adopted the present name
of the firm; his instruments took first prizes
at the expositions in London (1851) and
Paris (1867). The present proprietors are his
four sons Alfred Ebsworth, Walter Edgar,
William Henry and Arthur Frederick; all
are practical violinists and investigators of
the history of their instrument ; from materials
gathered by them, Lady M. L. Huggins has
written Giov. Paolo Maggini. His Life and
Work (1892); they are the joint authors of
Antonio Stradivari. His Life and Work
(1909; a standard work).
Hill, Wilhelm, pianist; b. Fulda, March
28, 1838; d. Homburg, June 6, 1902. Pupil
of H. Henkel and Hauff. In 1854 he settled
in Frankfort, where his opera Alona was
awarded the 2d prize in the competition for
the inauguration of the new opera-house.
Has publ. vln. -sonatas, op. 20 and 28; trios,
op. 12 and 43; pf. -quartet, op. 44; songs, pf.-
pieces., etc. His song Es liegt eine Krone
im lief en Rhein achieved immense popularity.
Cf. K. Schmidt, W. H. Leben und Werke
(Leipzig, 1910).
Hill, William, English organ-builder; b.
London, 1800; d. there Dec. 18, 1870. With
Dr. Gauntlett, introduced the CC compass.
Mendelssohn frequently said that the organ
of St. Peter's, London, built by H., was the
finest in the world.
Hille, Eduard, b. Wahlhausen, Hanover,
May 16, 1822; d. Gttttingen, Dec. 18, 1891.
From 1840-2, student of philosophy at Got-
tingen; also learned music under Heinroth.
For several years lived as mus.-teacher at
Hanover, was cond. of a male choral society,
and founded the 'Neue Singkademie.' Visited
Berlin, Leipzig, Prague, Vienna, etc., for
study, and founded the 'Singakademie' at
Gottingen, where, in 1855, he had been app.
academical mus. dir. He revived the aca-
demical concerts. — Songs, part-songs, and an
opera, Der neue Oberst (Hanover, 1849).
Hille, Gustav, excellent violinist; b. Jeri-
chow-on-Elbe, n. Berlin, May 31, 1851.
Studied 1864-8 at Kullak's Acad., Berlin,
under R. Wuerst (theory); 1869-74 at the
Hochschule f. Musik under Joachim (vln.).
Lived in Berlin, as a solo player and comp.,
till 1879, when he was invited to join the
Mendelssohn Quintette Club of Boston,
400
Mass.; after 9 months' touring, accepted an
engagement at the Mus. Acad, in Phila.;
co-founder of the Leefson-Hille Cons, there,
of which he was dir. until 1910, when he
returned to Germany. — Works: 5 violin-con-
certos w. orch.; 1 Doppelconcert f. 2 vlns.;
1 canonic vln.-suite; 2 suites for solo vln.; 2
sonatas for piano and vln.; many pieces for
solo piano; songs, etc.
Hillemacher, two brothers; Paul (-Jo-
seph-William) (b. Paris, Nov. 25, 1852) and
Lucien (-Joseph-Edouard) (b. Paris, June
10, 1860; d. there June 2, 1909). Both
studied at the Cons., and took the 1st Grand
prix de Rome, the elder in 1876 with the
cantata Judith, the younger in 1880 with the
cantata Fin gal. Well-known composers, they
are remarkable for writing all their scores in
collaboration. — Works: Symphonic legend
Loreley (1882; won City of Pans prize); 4-act
opera St.-M6grin (Brussels, 1886; succ);
1-act com. op. Une aventure d'Arlequin
(Brussels, 1888); 1-act com. op. Le Rbgiment
qui passe (Royan, 1894); 3-act lyric drama
Le Drac (prod. Karlsruhe, 1896, as Der
Flutgeist); 3-act grand opera Or sola (Paris,
Opera, 1903); 3-act lyric opera CircS (Op.-
Comique, 1907); incid. mus. to Harancourt's
HSro et Uandre (1893) and G. Sand's Claudie
(1900); two orchl. suites, La Cinquantaine
and Les Solitudes (after Harancourt); a
legend, Ste.-Genevihte; and a Passion Mystery;
also songs. They wrote a biogr. of Gounod
(1905) for the series 4Les Musiciens celebres.'
Hil'ler, Ferdinand von, distinguished
composer, conductor, pianist and writer; b.
Frankfort, Oct. 24, 1811; d. Cologne, May
12, 1885. Scion of a wealthy Jewish family,
he early became a pupil of Hofmann (vln.),
Aloys Schmitt (pf.), and Vollweiler (harm,
and cpt.); at 10 he played a Mozart concerto
in public, and at 12 began composition.
From 1825 he was a pupil of Hummel at
Weimar; accompanied him to Vienna in
1827 (where his op. 4, a string-quartet, was
publ.), and, as a boy of 15, saw Beethoven
on his deathbed. From 1828-35 he lived in
Paris, teaching for a time in Choron's School
of Music, but afterwards living independently,
perfecting himself as a pianist and composer,
and on intimate terms with celebrated
musicians. He gave concerts with FStis and
Baillot, and shone as an interpreter of
Beethoven. In 1836, on his father's death,
he returned to Frankfort, and during Schel-
ble's illness cond. the Cacilien-Verein. Aided
by Rossini, in 1839 he (unsuccessfully) prod,
his opera Romilda at Milan, and commenced
an oratorio, Die Zerstorung Jerusalem s,
which impressed Mendelssohn, who invited
him to Leipzig to superintend its production
at the Gewandhaus (1840). , In 1841, at
HILLER— HILLER
Rome, he studied church-music under Baini.
During one winter (1843-4) he cond. the
Gewandhaus-concerts at Leipzig. At Dresden
he prod, the operas Traum in der Christnacht
(1845) and Conradin (1847). In 1847 he
was app. municipal Kapellm. at Dusseldorf,
in 1850 at Cologne, ana organized the Cons.
As cond. of the Gttrzenich Concerts, and of
the Lower Rhine festivals, he became the
most notable musical figure in the Rhenish
provinces. During the season of 1852-3 he
cond. the Italian Opera at Paris. In 1849 he
was elected a member of the Royal Academy
of Fine Arts, Berlin; in 1868 Bonn Univ.
gave him the hon. title of Dr. In 1884 he
retired. — Although he freely expressed his
antipathy to many features of the 'new
school' of German musk, he was liberal-
minded, and placed many of Wagner's
works on his concert-programs. His easy
circumstances, classical training, and artistic
and friendly association with Spohr, Haupt-
mann, and especially Mendelssohn, naturally
influenced his style, which also has a strong
leaning toward romanticism; his compositions,
numbering over 200, are not so remarkable
for originality and profundity as for their
elegant form, flowing melody, sparkling
rhythm, and clarity of harmony. They
include 6 operas (the 3 noted above, and Der
Advohat, Cologne, 1854; Die Catacomben,
Wiesbaden, 1862; and Der Deserteur, Cologne,
1865); 2 oratorios (Saul, 1858, was the
second); 6 cantatas (Lorelei, Nal und Dama-
janti, Israels Siegesgesang, Prometheus, Re-
becca, Prim Papagei); a ballad (Richard
Lowenherz, 1883) f. soli, chorus and orch.;
psalms, motets, etc.; quartets for male chorus,
mixed chorus, and female chorus; over 100
songs f. solo voice w. pf., over 30 duets w.
piano, 24 3-part songs tor female voices and
piano, 29 4-part songs; piano-music (concertos
in Al>, F m. and C; sonatas; suites, Moderne,
Serieuse; about 30 numbers of smaller pes.;
etudes; Operette ohne Text f. 4 hands); fine
chamber-music (vln. -sonatas, canonical suite
f. pf. and vln., Concertstuck in A m. f. pf.
and 'cello, 'cello-sonatas, five pf.-trios, 3 pf.-
quartets, 5 string-quartets); 3 overtures, 3
symphonies, etc. He was also a very
successful lecturer, and a contributor to the
'K6lnische Zeitung'; some of his papers were
publ. in collected form as Die Mustk und das
Publikum (1864); L. van Beethoven (1871);
Aus dem Tonleben unsrer Zeit (1868, 2 vols.;
new series, 1871). Other writings are
Musikalisches und Personliches (1876); Brief e
von M. Hauftmann an Spohr und andere
Componisten (1876); Felix Mendelssohn-Bar-
thcUy, Briefe und Erinnerungen (1874);
Briefe an eine Ungennannte (1877) ; Kunstler-
leben (1880); Wie horen wir Musik? (1881);
Goethe's . musikalisches Leben (1883); and
ErinnerungsblaUer (1884).
Hiller, Friedrich Adam, son of Johann
Adam; violinist and tenor singer; b. Leipzig,
1768; d. Konigsberg, Nov. 23, 1812. App.
mus. dir. of Schwerin th., 1790; of Altona
th. 1796; in 1803 became Kapellm. of Konigs-
berg th. — 4 operettas, 6 string-quartets, grand
pf. -sonata; other instrl. and vocal works.
Hiller (HOller), Johann Adam, dram,
comp.; b. Wendisch-Ossig, n. Gdrlitz, Dec.
25, 1728; d. Leipzig, June 16, 1804. His
father, a schoolmaster, cantor, and parish-
clerk, d. when the boy was 6 years of age.
His fine soprano voice obtained him free
instruction at the Gorlitz Gymnasium, whence
he proceeded to the Kreuzschule, Dresden, as
a pupil of Homilius (pf. and thorough-bass),
and later (1751) to the Univ. at Leipzig.
While in Leipzig, he earned a meagre sub-
sistence as flutist and singer in Doles' grand
concerts, and as a music-teacher. In 1754
he became tutor to the son of Count Briihl
at Dresden, whom he accompanied in 1758
to Leipzig. Here he finally settled, and
devoted himself to a revival of the Subscrip-
tion Concerts in 1763. These developed
into the famous 'Gewandhaus' concerts, of
which he was app. cond. In 1771 he founded
a singing-school, and from 1789-1801 was
Cantor and Musikdirektor of the Thomas-
schule as successor of Doles. As composer,
cond., teacher and author his industry was
astonishing. — H. was the originator of the
'Singspiel, the precursor of German 'comedy-*
opera', which tiad a distinct development
contemporaneously with Italian opera buffa
and French opera comique. A peculiar (not
wholly unjustifiable) notion of his was, to let
the gentry in his dramatic works sing arias
and the like, while to persons of low degree
were given simple songs, etc. His Singspiele
were the following: Der Teufel ist los (1st
part, Die verwandelten Wciber; 2d part, Der
lustige Schuster [Leipzig, 1766]); Lisuart und
Danolette (ib., 1766); LoUchen am Hofe (origi-
nally prod, as Lottchen, oder Das Bauermadchen
am Hofe, ib., 1767); Die Liebe auf dem Lande
(ib., 1768); Die Jagd (Weimar, 1770); Der
Dorfbalbier (Leipzig, 1771); Der Aerndte-
kranz (ib., 1771); Die Musen (ib., 1772);
Der Krieg (Berlin, 1772); Die Jubdhochzeit
(originally prod, as Das Jubelfest, Hamburg,
1773); Das Grab des Mufti (Leipzig, 1779).
No record of first performances is available
for PoUis, oder das gerettete Troja (libretto
printed Leipzig, 1773), and Der neue Gutsherr
(libr. pr. ib., 1781). The songs of these
operettas became, and many of them are
soil, exceedingly popular. Among his other
compositions may be mentioned a Passion
cantata, funeral music in honor of Hasse,
the 100th Psalm, symphonies and partitas.
He edited Chr. Felix Weisse's Lieder fUr
401
HILLER— HINCKLEY
Kinder, also 50 geistiiche Lieder /fir Kinder,
Choral- Melodien zu Gellerts geistHchen Oden,
Vierstimmige Chorarien, a Choralbuch, canta-
tas, etc. His writings include 'Wdchentliche
Nachrichten und Anmerkungen, die Musik
betreffend' (1766-70, the earliest musical
paper) ; Lebensbeschreibungen berdhmter Musik-
gelehrten und Tonkunstler (1784); Nachricht
von der Auffuhrung des H&ndeVschen Messias
in der Domkirche zu Berlin, 19. Mai 1786;
Vber Mctastasio und seine Werke (1786);
Anweisung turn musikalisch richtigen Gesang
(1774); Anweisung turn musikalisch zierlichen
Gesang (1780); Anweisung sum Violinspiel
(1792). He prepared the 2d ed. of Adlunp's
Anleitung zur musikalischen Gelahrtheit (with
comments, 1783), arranged Pergolesi's Stabat
Mater for four-part chorus, and publ.
Handel's Jubilate, Haydn's Stabat Mater,
Graun's Tod Jesu, and Hasse's Pilgrime auf
Golgotha. — Biography by Carl Peiser (Leip-
zig, 1895).— See Q.-Lex.
Hiller, Paul, son of Ferdinand; b. Paris,
May 1, 1858; living in Cologne as writer and
critic for the 'Kolner Frauenzeitung' ; has
edited some of Verdi's operas for Ricordi's
'Edizione del Popolo' and translated some
French operas: has publ. Der Liederzyklus von
Alex. Friedr.vonHessen (1910) and Old English
Tunes (1911).
HiU'mer, Fried rich, b. Berlin, circa 1762;
d. there May 15, 1847. Viola-player in the
court orch. in 1811; pensioned in 1831. Oc-
cupied himself in improving and constructing
stringed and keyed instrs. Invented the
'AUdrcy,' Tibia,' and improved 'Polychord.'
Hil'pert, W. Kasimir Friedrich, b. Nu-
remberg March 4, 1841; d. Munich, Feb. 6,
1896. Fine 'cellist, pupil of Friedr. Griitz-
macher and Leipzig Cons.; co-founder (with
Jean Becker) and (1867-75) member of the
famous ^ 'Florentiner Quartett.' Later solo
'cellist in Imp* orch. at Vienna, then in the
Meiningcn orch.; 1884, teacher at the Royal
Music-school, Munich.
Hilton, John, born 1599; buried at St.
Margaret's, Westminster, March 21, 1657;
Graduated Mus. Bac, Cambridge, 1626.
App. org. and parish-clerk of St. Margaret's
(1628). — Works: Ayres, or Fa-las for 3 voyces
(1627; reprinted by the Mus. Antiq. Soc.);
Catch that catch can, or, a Choice collection of
catches, rounds, and canons for 3 or 4 voyces
(1625); 2 services; Elegy; anthems. The Brit-
ish Museum has other MSS. — See Q.-Lex.
Him'mel, Friedrich Heinrich, pianist
and comp., b. Treuenbrietzen, Brandenburg,
Nov. 20, 1765; d. Berlin, June 8, 1814. A
student of divinity, he also cultivated music.
Friedrich Wilhelm II, hearing him play the
piano, gave him a stipend to continue his
mus. studies in Dresden, with Naumann. On
402
his return, the excellence of his comps. gained
him further royal favor; he was named royal
chamber-comp.; studied in Italy for two years,
and there prod. 2 operas, // primo navigatore
(Venice, 1794) and Semiramide (Naples, 1795).
He succeeded Reichardt as court Kapellm. at
Berlin in 1795; in 1798 he went to Petrograd.
where he produced his opera Alessandro; lived
at Riga in 1799; in 1800 returned to Berlin
via Sweden and Denmark, and in 1801 visited
Paris, London and Vienna. His operas were
very popular, and include Vasco di Gama,
Ital. opera (Berlin, 1801); operetta Frohsinn
und Schwdrmerei (1801); Fanchon das Leier-
mddchen, his most succ. work (1804); Die
Sylphen (1806); Der Kobold (Vienna, 1811).
Many of his songs had great vogue (An Alexis,
Es kann ja nicht immer so bleiben, etc.). He
also comp. an oratorio, Isacco figura del Re-
dentore (1791); a cantata, La Danza (1792);
Paternoster, a mass, vespers, psalms; a con-
certo, sonatas, fantasias, rondos, etc., for pf.;
quartet for pf ., flute, vln. and 'cello; sextet for
pf., 2 violas, 2 horns and 'cello. — See Q.-Lex.
Hinckley, Allen (Garter), dramatic bass;
b. Gloucester, Mass., Oct. 11, 1877. "After
graduation from the Univ. of Pennsylvania,
he studied singing with Schachner at Phila.,
and Oscar Saenger at New York; held several
positions as soloist in churches, also as choir-
director; then, after a year and a half with
'The Bostonians' on the stage in light opera,
he went to Germany, was eng. at the Ham-
burg Opera, and made d6but there in 1903 as
the Kinjj in Lohengrin. Here he remained 5
years, singing all Wagnerian roles for bass,
Caspar in Der Freischtitz, the Cardinal in La
Juive, etc.; was also star in various large
German cities; sang for the first time at
Covent Garden in 1904, and returned next
year; likewise sang at Bavreuth, seasons of
1905 and 1906, the roles of Hagen, Hunding
and King Henry. Nov. 18, 1908, debut at the
Metr. Opera House in New York as Hunding
(Walkure); was for the next 3 years a member
of the company, singing on tour with them at
Phila., Chicago, etc., as Hunding, Hagen, the
Landgraf (Tannhduser), Gurnemanz, rogner,
Ramphis (Aida), Capulet (Romeo et Juliette).
During Oct., 1910, sang with the Beecham
company at Covent Garden (Wagner roles,
and Rocco in Fidelia). H. is also in request as
a concert-singer; was soloist at the produc-
tion of Verdi's Requiem at New York in 1908-
9 and 1909-10. Besides the rdles already enu-
merated he sings in Faust (Gounod), Damna-
tion of Faust (Boito), Figaro (Mozart),
Ivanhoe (Sullivan), Tiefland (d'AIbert), and
the parts of both Marcel and St.-Bris in Les
Huguenots; has created the chief bass r6les in
Salome, Feuersnot, Der fault Hans, Bruder
Lustig and Sternengebot (Siegfried Wagner),
etc. His voice is a smooth, pure bass ranging
HINKE— HIPKINS
from E\> below the bass staff to /# above.
Hin'ke, Gustav Adolf, b. Dresden, Aug.
24, 1844; d. Leipzig, Aug. 4, 1893. A fine
oboist, son of Gottfried H. [d. 1851; said to
have introduced the bass tuba into the Dres-
den orch.l. Pupil of Dresden Cons. (Hieben-
dahl, oboe); in 1867, first oboist in theatre-
orch. and Gewandhaus, Leipzig.
Hln'rich8,Frtedrich,b.Halle-on-the-Saale,
Feb. 4, 1820; d. Berlin, Oct. 25, 1892, as
a judge of the Supreme Court (Oberjustisrath).
Com p. songs in the style of his friend and
brother-in-law, Robert Franz, and wrote an
essay on R. Wagner und die neue Musik (1854).
—His sister, Marie H., b. 1828; d. Halle, May
5, 1891; wife of R. Franz, was also a song-
composer.
Hinshaw, William Wade, dramatic bari-
tone; b. Union, Iowa, Nov. 3, 1873. In youth
a fine cornet tist; graduated B. S. at Valparaiso
(Ind.) Univ. in 1890, and began serious musi-
cal study there under R. A. Heritage (voice
and harm.), continuing with L. G. Gottschalk
and L. A. Phelps in Chicago, where he became
choir-director at the Second Bapt. Ch.; in
1895, dean of the Cons, of Music at Valp.
Univ. First concert appearance at Chicago
World's Fair, 1893; then took up the study of
grand opera under Arturo Mareschalchi, and
in 1899 was eng. for the H. W. Savage Grand
Opera Co., making debut as Mephisto in
Gounod's Faust at St. Louis, Nov. 6, with
marked success. After three years with this
company, singing leading rdles in some 50
operas and operettas, in 1903 he opened the
Hinshaw School of Opera in Chicago, the
success of which brought about a merger with
the Chicago Cons., H. being president of the
combined institutions 1903-7. During this
E?riod he also studied German opera with
elwidt at Frankfort-on-the-Main. In 1909 he
founded the Internat. Grand Opera Co. of
Chicago, and as general director took a
leading part .in its every department, singing
in 126 performances during the season o? 14
weeks, and even acting as stage-director; this
venture led to the establishment of the Chica-
go-Philadelphia Opera Co. in 1910, under the
auspices of the Metr. Op. Co. of New York
(see art. Dippel). In Feb., 1910, H. signed a
3-year contract with this latter company; sang
for the first time in the Metr. Opera House,
New York, on Nov. 16, as Biterolf in Tann-
hduser. In 1912 he sang in the Wagner fest.
at Graz, and in 1914 in the special Ring
festivals at Berlin. He created the role of
Gloom in Parker's Mona (1912), the King in
Lobetanz (1912), Le Bret in Damrosch's
Cyrano de Bergerac (1913), and Corvain in
Parker's Fairyland (1°15.) Of imposing
stature (6 feet 3 inches), and endowed with
a rich and sonorous voice having a range
from F to &*i>, his impersonation of serious
rdles is most striking; but he is equally at
home in light opera, and his repertory
includes more than 50 works: Ring des
Nibelungen, Parsifal, Tannhduser, Lohengrin,
Der fliegende Hollander, Der Freischutz,
Faust, Carmen, Martha, Der Bettelstudent,
II Trovatore, La Sonnambula, La Traviata,
The Bohemian Girl, The Mikado, Robin Hood,
etc. H. is also an excellent concert-singer;
from 1908 to 1910 he toured the U. S. and
Canada, giving song-recitals, and appearing
in concert and oratorio.
Hlnton, Arthur, b. Beckenham, England,
Nov. 20, 1869. For 3 years, pupil at the
R. A. M., studying vln. with Sainton and
Sauret and comp. with F. W. Davenport;
then for 3 years sub-prof, at the R. A. M.;
also played in concerts in London and the pro-
vinces; went for further study to Rheinberger
in Munich, and there wrote his first large
work, a symphony, which he cond. at one of
the Cons, concerts; after some time spent in
Vienna, Rome and Albano, industriously
composing, he returned to London in 1896,
where he has resided since; for several years
he was examiner on the Assoc. Bd. of the R.
A. M. and R. C. M. In 1903 he married the
celebrated pianist Katharine Goodson, an
ideal interpreter of his piano-works. He is a
composer of solid attainments and sane ten-
dencies, who does not find it necessary to
abandon form; his larger orchestral works and
chamber-music have figured frequently on
programs in England and America. — Works:
An opera Tamara (not prod.); 2 children's
operettas, The Disagreeable Princess and St.
Elizabeth's Roses; 2 symphonies (B|>, C m.);
The Triumph of Cesar, orchestral fantasy;
Endymion, suite f. orch.; Porphyria* s Lover,
dramatic romance for orch.; Epipsychidion,
scena for tenor and orch.; Semele, do. for
sop. and orch. ; Concerto in D m. for piano and
orch.; Sonata in Bb for vln. and piano; Suite
in D for do.; String-trio in D m.; Pf. -quintet
in G m.; Chant des Vagues for vcl. and piano;
piano-pieces (Etude Arabesque, Rigaudon,
Romance in A, A Summer Pilgrimage [6
pieces]), etc.
Hipldns, Alfred James, F. S. A., author-
ity, lecturer, and expert performer on ancient
mus. instrs.; b. Westminster, June 17, 1826;
d. London, June 3, 1903. He was connected
in business with the Broad woods; to his
indefatigable researches are due many valu-
able contributions to the 'Encyclopaedia
Britannica' and Grove's 'Dictionary of Mus.'
He wrote, besides, a Guide to the Loan Col-
lection of Mus. Instrs., etc., at the Albert
Hall (1885); Old Keyboard Instruments
(1887); Musical Instrs., Historic, Rare, and
Unique (1888); The Standard of Musical
403
HIRN— HLAWATSCH
Pitch (1896); and A Description and History
of the Pianoforte, and the Older Keyboard
Stringed Instrs. (1896); Dorian and Phrygian
(1902).
Hlrn, Gustav Adolf, distinguished physi-
cist; b. Logelbach, n. Colmar (Alsatia), Aug.
21, 1815; d. Colmar, Jan. 14, 1890, as dir. of
the meteorological institute. A voluminous
writer on physics, in La musiaue et Vacous-
tique (1878) he combats the idea that the
beautiful in music is explicable by purely
physical laws.
Hirsch, Karl, b. Wendingen, Bavaria, Mar.
17, 1858. Studied in Munich; haa held the
following positions: 1876-8, teacher in the
Violin-makers' School at Mittenwald; 1878-
80, at the King Max Music-school, Tegernsee;
1880-2, 'regens chori' at Ending; 1882-4,
cantor, mus. dir., etc., at Sigmaringen; 1884-5,
Kapellm. at St. Jumier, Switz. ; 1885-7, church
mus. -director at Munich; 1887-92, Music-dir.
at Mannheim; 1892-3, do. at Cologne; 1893-
1906, do. at Elberfeld (Dir. of the 'Gesang-
schule,' the 'Liedertafel,' the Mixed Chorus,
the Instrumental Society and the Philharm.
concerts); 1906-9, cond. of a mixed and female
chorus, and dir. of the Mus. School at Heil-
bronn; since 1909 cond. of the 'Aurora' and
R. Musikdirektor at Baden-Baden. — Works:
H. is one of the most prolific among present-
day male-chorus composers; his a-cappella
choruses, numbering several hundred, are
prime favorites in Germany. His cantatas
have also received the stamp of popular
approval: Cantata Die Krone im Rhein, for
male ch. and orch. (op. 45); cantata Lands-
knechtsleben (op. 74) ; Lieder-Cantate in 4 parts,
Reiterleben, for soli, male ch. and orch. (op.
106); Der Ratten) anger v. Hameln, for solo
voices, male ch., boys' voices, orch. and organ
(op. Ill); Werinher, dram, poem for S. A. T.
B. soli, mixed ch., and orch. (op. 119); Bilder
aus der alien Reichsstadt, for soli, male and
boy-ch., orch. and org. (op. 120); Vaganten-
sang, song-cycle for soli, male ch. and orch.;
Der Trompeter von Sdkkingen, dram, cantata
in 6 scenes, for soli, male ch., orch. and organ
(op. 101); An das Meet, 'Concert stuck' for
male ch. and orch. (op. 75) ; Fahr' wohl, ballad
for soli, mixed ch. and orch. (op. 51). — Also
numerous songs.
Hirsch, (Dr.) Rudolf, musical critic, com-
poser and poet; b. Napagedl, Moravia, Feb.
1, 1816; d. Vienna, March, 10, 1872. His
Galerie der lebenden Tondichter (1836) is re-
markable for its original criticisms; he also
wrote Mozart's Schauspieldirector (1859), an
apology for Mozart. Comp. vocal pieces, etc.
Hirsch 'bach, Hermann, instrumental
composer; b. Berlin, Feb. 29, 1812; d. Gohlis,
n. Leipzig, May 19, 1888. Pupil of Birnbach.
Settled in Leipzig (1842), and founded and ed-
ited the 'Musikalisch-kritisches Repertorium*
(1843-5). His caustic and intemperate criti-
cisms made him so many enemies that he
abandoned the musical for a mercantile
career. He was an original and prolific compo-
ser of characteristic music. — Comps.: 14
symphonies; several overtures (GotzvonBer-
lichingen, Julius Caesar, Hamlet, etc.); 13
string-quartets (Lebensbilder, op. 1; etc.); 2
string-quintets with 2 violas, and 2 string-
quintets with 2 'celli ; 2 quintets with clarinet
and horn; septet; octet; and 2 operas, Das
Leben ein Traum and Othello.
Hlrsch'feld, Robert, b. Moravia, Sept.
17, 1858; d. Salzburg, April 2, 1914. Graduate
of Breslau and Vienna Universities, also st.
at the Vienna Cons. From 1882, was lecturer
at the Cons.;. in 1884, app. teacher of mus.
aesthetics, and the same year took his degree
of Dr. phil. (dissertation, Johannes de Muris).
In 1913 he was app. director of the Mozarteum
in Salzburg. He wrote a noteworthy polemical
pamphlet against Hanslick, in defence of old
a-cappella music, and founded the 'Renais-
sance-Abende' to promote its cultivation.
For the revivals at the Vienna Court Opera he
arranged Haydn's Apotheher, Mozart's Zaide
and Schubert's Der vierjdhrige Posten.
Hirschmann, Henri (pseudonym V. H.
Herblay), b. Ste. -Maude, 1872. Composer of
the operas l* Amour a la Bastille (Paris, 1897),
Lovelace (ib., 1898), Rolande (Nice, 1905),
Hernani (Paris, 1909), La danseuse de Tanagra
(Nice, 1911), La petite Nanon (Ghent, 1913);
and of the operettas Das Schwalbennest
(Berlin, 1904; as Us HirondeUes, Paris, 1907),
La peHte Bohhne (Paris, 1905; as Musette,
Berlin, 1905), LafeuiUe de vigne (Paris, 1907),
Mile. Don Juan (ib., 1909), La vie joyeuse
(Brussels, 1910), Les fetits Stoiles (Paris, 1911),
Les deux princesses (ib., 1914) ; has also written
pantomimes and ballets.
Hissem-De Moss, Mary, concert-soprano;
b. California, Ky., July 27, 1871. Studied at
Cincinnati Coll. of Music with L. Mattioli,
1892-5; between 1900-12 she continued her
studies at various times with I. Luckstone, A.
Mees, Mrs. H. Brown, Marie Bissell and Mrs.
A. Wolf in New York. She made her debut in
Cincinnati, Dec., 1899, with the Cincinnati
Symph. Orch.; came to New York in 1900 as
solo soprano at the 5th Ave. Presb. Church, a
position she still holds (1916); has appeared
with the leading choral societies and orches-
tras, at numerous festivals and in many re-
citals, establishing herself as one of the fore-
most concert-singers; she prefers oratorio, and
her favorites are the sop. parts in Elijah,
Messiah and Creation; her voice has a compass
from b\> to «*b. In 1894 she married Lacy
M. De Moss.
Uawatsch, Woizech Ivanovitch, b. Le-
404
HOBRECHT— HOFFMAN
ditsch, Bohemia, in 1849; d. Petrograd, Mar.,
1911. Pupil 1861-4 of the Paris School of
Organists; versatile concert-conductor; from
1888 cond. of the Petrograd Student Orch.,
from 1892 also of the Students' Singing-So-
ciety, and after 1900 organist of the P. court
orch. — Works: Comic opera Oblava; Chopin-
Suite for piano and orch.; studies, mazurkas,
rhapsodies, characteristic pieces, waltzes, a
Servian Rhapsody (4 hands), etc., f. pf.; a
suite, 10 mazurkas, 7 waltzes, an elegy, a
Rumanian Rhapsody, a Persian March, for
orch.; songs, choruses, etc.
Holyrecht [Obrecht, Obreht, Obertus,
Hobertus], Jakob, distinguished Nether-
land contrapunist, and one of the most famous
musicians of the 15th cent.; b. Utrecht, circa
1430; d. Ferrara, 1505 (of the pestilence). In
1465 he was app. Cath. Kapellm. at Utrecht;
1474 singer at the court of Hercules d'Este
at Ferrara; then again in Utrecht; 1483-5
singer at the Cath. of Cambrai; 1490 Kapellm.
at St. Donatus' in Bruges; in 1492, succeeded
Barbireau as Kapellm. at Notre- Dame, Ant-
werp, and received a chaplaincy in 1494;
1498 again at St. Donatus'; 1500 Provost at
St. Peter's at Thourout; 1501 in Antwerp;
1504 again in Ferrara. He was a prolific and
facile composer; his masses, motets, hymns,
etc., are to be found in various collections of
the period, in MS. in the Munich Royal
Library, and in the archives of the Papal
chapel. Petrucci printed Missae Obreht
(1503), containing the masses Je ne demand*,
Grecorum, Fortuna desparata, Malheur me
bat, Salve diva par ens ;&nah\sMissae diver sorum
(vol. i) contains H.'s mass Si dedero. In 1908
the 'Vereeniging voor Neederlands Muziek-
geschiedenis' began the publication of H.'s
complete works under the editorship of Job.
Wolf; so far (1916) 20 vols, have appeared.
Hoch1>erg, Bolko (Graf) von, pseudonym
J. H. Franz; dram, composer; b. at Ftirsten-
stein Castle, Silesia, Jan. 23, 1843. Instituted,
and for several years maintained, the 'Hoch-
berg Quartet,' at Dresden; in 1876 founded
the Silesian music-festivals. In 1886 he was
appointed general intendant of the Prussian
Court Theatres; retired in 1903, and has been
living since then at his castle Rohnstock.
Made Kgl. Prof, in 1913.— Works: Operas,
Claudine von ViUabeUa (Sen werin, 1864) ; Die
Falkensteiner (Hanover, 1876; rewritten, and
prod, as Der Wdrwolf [Dresden, 1881]), 3
symphonies (op. 26, C; op. 28, E; F); 3 string-
auartets (op. 22, El>; op. 27, No. 1, D; No. 2,
A m.); 2 piano-trios (op. 34, A; op. 35, Bb); a
concerto for piano and orch., C m. (op. 42);
songs; choruses for men's voices, and 3-part
do. for women's voices.
Hodge*, Edward, b. Bristol, Engl., July
20, 1796; d. Clifton, Sept. 1, 1867. Org. of
Clifton ch., and later of St. James, and St.
Nicholas, Bristol. In 1825, Mus. Doc., Can-
tab. Contributed to the 'Quarterly Musical
Magazine,' and The Musical World.' In 1838,
went to Canada as org. at Toronto; in 1839,
became org. of St. John's Episcopal Chapel,
New York; in 1846, app. org. of Trinity Ch.,
inaugurating the new organ built after his
specifications: returned to England in 1863.
He wrote An Essay on the Cultivation of Church
Music (N. Y., 1841), and comp. 1 Morning
and Evening Service, 2 anthems, and other
church-music. — His daughter, Faustina
HasseH., d. New York, Feb., 1896, formerly
organist in Brooklyn, and (1878) of two
churches in Philadelphia, composed songs and
instrl. pieces, and wrote a biogr. of her
father, E. H. (New York, 1897).— His son,
Rev. John Sebastian Bach H. (1830-1915),
D. D., rector of St. Paul's Church, Baltimore,
was also a fine organist; comp. numerous
anthems and services.
Hoer'ter, Philippe, b. Strassburg, Aug.
30, 1795; d. there Nov. 6, 1863. His parents
wished him to follow the tailor's trade, but he
ran away, joined the army and was taken
prisoner in the Russian campaign. After his
return in 1815 he opened a music-shop, and
taught himself music; in 1819 he played
double-bass in the theatre-orch.; in 1829,
appointed prof, of singing at the Protestant
Seminary. The number of his compositions
exceedea 100 opus-numbers, but the greater
part of his MSS. was lost in a fire in 1860.
There have been preserved Zwei Guttenberg-
Kantaten for soli, ch. and orch.; a cantata
Jehova; an overture in Eb; a string-sextet in
F; songs. All these are not without some
merit.— Cf. Hommage d Ph. H, (Strassburg,
1864; anon.).
Hoe'sick, Ferdinand* b. Warsaw, Oct.
16, 1867. Having completed the course at the
Gymnasium of his native city, he studied at
the universities of Heidelberg, Cracow and
Paris; settled in 1891 in Warsaw and devoted
himself to literary pursuits, writing on Polish
literature; since 1905 living in Cracow. His
writings regarding musk deal exclusively
with Chopin; his biography of the composer
(written in Polish) is the most comprehensive
and authoritative, and it is a matter for
regret that as yet no translation of this ex-
cellent work has been made. He has publ.
(all in Polish) F. Chopin (Petrograd, 1898; a
brief sketch); a Selection from /. Eisner's
Memoirs (Warsaw, 1901); Chopin's Life and
Works (3 vols., ib., 1912); Chopiniana (vol. i,
1912; two more are to follow). — See also
Chopin, Bibliography.
Hoffman, Richard, born Manchester,
Engl., May 24, 1831; d. New York, Aug. 17,
1909. Pianist, taught by his father and by de
405
HOFFMANN— HOFFMEISTER
Meyer, Pleyel, Mo9cheles, Rubinstein, D6h-
lcr, Thai berg and Liszt. Lived in New York
since 1847, where he was for years at the head
of the pianistic fraternity. In 1848 he made a
tour in the United States, with Burke, the
violinist; he accompanied Jenny Lind on her
tours, as solo pianist, and played with Gotts-
chalk; also with von Billow at the latter 's
first concerts in New York (1875). A distin-
guished pianist and remarkable sight-reader;
a successful and popular teacher. He was a
prolific composer, chiefly of superior salon-
music for piano (about 100 op.-numbers); also
wrote about 100 songs; part-songs and an-
thems.— Cf. Some Musical Recollections of
Fifty Years (with biogr. sketch by his wife)
(New York, 1910).
Hoffmann, Ernst Theodor [Amadeus]
Wilhelm [he added Amadeus to his Christian
names from love of Mozart], celebrated writer,
poet, composer, and caricaturist; b. Konigs-
ber$, Jan. 24, 1776; d. Berlin, June 25, 1822.
While a law-student, he studied music with
the organist Podbielski; was app. assessor at
Posen, but on account of an irrepressible
penchant for offensive caricaturing, was re-
moved to Plozk in 1802; in 1803, obtained a
position at Warsaw, but in 1806 the war cut
off his resources, and he became a music-
teacher. He was appointed mus. dir. of the
Bamberg th. in 1808; in 1810, contributed
piquant articles to the Leipzig 'Allgemeine
musikalische Zeitung' under the pen-name of
'Kapellmeister Johannes Krcislcr (republ. as
Phantasiestiicke in Callot's Manier, with pre-
face by Jean Paul; 2 vols., 1814). From 1813-
14, he cond. the orch. of Sekonda's 'Schau-
spielcrgesellschaft' at Leipzig and Dresden.
From 1816 to his death, he occupied a judicial
position in Berlin. A man of wonderful versa-
tility, he was admired by Beethoven, Weber,
Schumann, and Carlyle. — Comps.: Operas:
Scherz, List und Roche (Goethe) (Posen, 1801);
Der Renegat (Plozk, 1803); Faustine (ib.,
1804); D\* ungeladenen Gdste, oder der Ca-
nonicus von Mailand (Warsaw, 1805); Lustige
Musikanten (ib., 1805); Liebe aus Eifersucht
(ib., 1807); Der Trank der UnsterUiehkeit
(Bamberpr, 1808); Das Gespenst (ib., 1809);
Aurora (ib., 1811); Undine [his best] (Berlin,
1816); Julius Sabinus (MS., only Act I).—
Also a ballet, Harlekin; music to plays, etc. ; a
mass, Miserere, and other vocal works; a
symphony, an overture, a quintet for harp
and strings, piano-sonatas, etc. H.'s complete
literary works, incl. his writings on music, were
publ. by E. Griesebach (15 vols., Leipzig,
1889; 2d augm. edition 1905); his writings on
music separately by H. v. Ende (Cologne,
1896).— Bibliography: G. Ellinger, E. T. A.
H. (Hamburg, 1894); E. Istel, E. T. A. H.
als MusikschriftsteUer, in 4N. Ztschr. fur M.'
(1903); H. v. MQller, Das Kreislerbuch
(Leipzig, 1903); id., E. T. A. H. im person-
lichen Verkehr (2 vols., Berlin, 1912); H. v.
Wolzogen, E. A. T. H. und R. Wagner (Berlin,
1906); A. Sakheim, E. T. A. H. Studien zu
seiner Personlichkeit u. seinen Werken (Leip-
zig, 1908) ; E. Kroll, E.T.A. Hoffmanns musi-
kal. Anschauungen (Konigsberg, 1909; cont.
also some criticisms by H. not publ. before).
Hoffmann, Heinrich August, called H.
von Fallersleben, distinguished poet and
philologist; b. Fallersleben, Hanover, April 2,
1798; d. at Castle Korvei, Jan. 29, 1874. In
1823, app. librarian, in 1830, assist. -prof., and,
in 1835, prof.-in-ordinary of German, at
Breslau Univ. His political views caused his
dismissal and exile in 1842. In 1848 he re-
turned to Prussia, and afterwards became
librarian to Prince Lippe at Korvei. — Works:
Geschichte des deutschen Kirchenlieds (1832;
2d ed. 1854); Schlesische Volkslieder mit
Melodien (1842) ; Kindcrlieder (1843) ; Deutsche
Gesellschaftslieder des 16.-17. Jahrh. (1844).
Hoffmann, Karl, b. Prague, Dec. 12,
1872; studied violin-playing in Prague Cons.
1885-92; then founded, with Suk, Nedbal, and
Wihan, the famous 'Bohemian St r. -quartet/
in which he plays 1st violin.
Hoffmann, Leopold, b. Vienna, c. 1730;
d. there March 17, 1793. From 1772 until his
death he was Kapellm. at St. Stephen's cath.;
in 1791 Mozart was app. his assistant. He
was a very prolific composer and highly
esteemed by his contemporaries; historically
he is important because he was one of the
first to adopt the new style of Stamitz and the
Mannheim symphonists, and the immense
popularity of his symphonies and chamber-
music retarded the proper appreciation of
Haydn's works. Of his compositions little
was printed; in MS. there are preserved in
the libr. of St. Stephen's and other libraries
12 masses, a requiem, graduate, symphonies,
concertos, trios, etc.— Cf. K. F. Pohl, Joseph
Haydn (Leipzig, 1882; vol. ii, p. 189).— See
Q.-Lex.
Hoff melster, Franz Anton, composer; b.
Rotenburg-on-the-Neckar, 1754; d. Vienna,
Feb. 9, 1812. Studied law in Vienna; became
a church Kapellm., and founded a book, art,
and music business in 1784. With Kuhnel he
established a 'Bureau de Musique' (now C.
F. Peters) at Leipzig, in 1800. In 1805 he re-
turned to Vienna and devoted himself to com-
position.—Works: 9 operas, a Paternoster,
symphonies, serenades and other orch. pieces ;
30 concertos, 18 quintets, 156 quartets, 44
trios, 96 duos, for flute; 12 piano-sonatas, 5
piano-quartets, 11 piano-trios; 42 string-
quartets, 18 string- trios; variations, nocturnes,
etc., for various instrs.; much ch. -music; and
songs. — See Q.-Lex.
406
HOFHAIMER— -HOFMANN
Hofhaimer [Hofheimer, Hoffhalmer,
Hofifhaymer], Paulus von, b. Radstadt,
Salzburg, Jan. 25, 1459; d. Salzburg, 1537.
Cuspinien and Luscinius both wrote of him
as an unrivalled organist and lutenist, and the
best composer of the age. He was court org.
and comp. at Vienna; in 1515 he was ennobled
by Emperor Maximilian I, at the same time
being made Knight of the Golden Spur "by
the Kin? of Hungary, and in 1518 received
the freedom of the town of Augsburg. Among
his distinguished pupils were Johann Buchner
of Constance, Conrad of Speier, Schachinger
of Padua, Wolfgang of Vienna. — Works:
Harmoniae poeticae (odes of Horace and other
Latin poets set for 4 voices; 33 by H., and 1 1
by L. Senfl, 1539; republ. by Achtleitner,
1868); German Lieder a 4, in various collec-
tions of the period; in MS. in the Vienna
Library, chorals and lute-music; in the Berlin
Royal Library, org. -music, copied by Kleber
(1515).
Hoff'mann, Helnrich (Karl Johann), b.
Berlin, Jan. 13, 1842; d. Gross-Tabarz, Thu-
ringia, July 16, 1902. Pupil of Kullak's
Akademie under Grell, Dehn, and WUerst.
Became famous as a pf. -virtuoso and teacher;
but after the success of his opera Cartouche
(Berlin, 1869), and his orchl. works, Hun-
garian Suite (1873) and Frithjof symphony
(1874), he devoted himself to composition.
He was elected member of the Berlin R.
Acad, of Arts in 1882; member of the Senate
in 1898. Although his works show no striking
individuality, they are remarkable for formal
finish and euphony, which accounts for their
great popularity during the composer's life. —
Works: Operas Cartouche (Berlin, 1869); Der
Matador (Berlin, 1872); Armin (Dresden,
1872); Annchen von Tharau (Hamburg, 1878);
Wilhelm von Oranien (ib., 1882) ; Donna Diana
(Berlin, 1886); and the comic opera Lully
(Stettin, 1889); 'secular oratorio' Prome-
theus (1896); cantata Selig sind die Todten
(op. 64) for alto solo, ch. and orch. —
choral works for solo, ch. and orch.: Nor-
nengesang, op. 21; Marchen von der sch&nen
Mefusine, op. 30; Aschenbrodel, op. 45;
Festgcsang, op. 74; Harolds Brautfahrt, op. 90;
Editha, op. 100; Johanna von Orleans, op. 105;
Waldfrdulein, op. Ill; Champagnerlied, for
male ch. and orch. (op. 17); Lieder Raouls le
Preux an Iolanthe von Navarret for baritone
and orch.; Die Verlassene, vocal scene for
sopr. and orch. (op. 118); part-songs for
mixed and male ch. — for orchestra: Op. 3,
3 Charakterstiicke; op. 16, Suite hongroise; op.
22, Symphony, Frithjof; op. 28, Schausptelou-
verture; op. 38, Trauermarsch; op. 65, Serenade
for string-orch. and flute; op. 72, Serenade for
string-orchestra; op. 78, Suite, Im Schlosshof;
op. 94, Scherzo, Irrlichter und Kobolde; op.
128, Huldigungsmarsch; Bilder aus Norden
(no op.-number); op. 31, Concerto for 'cello;
op. 98, Konwertstuck for flute and orch. —
chamber-music: Op. 18, Pf.-trio; op. 25,
String-sextet; op. 50, Piano-quartet; op. 80,
Octet for 2 vis., via., vcl., flute, cl., horn and
bassoon. — for piano: 4 hands, Op. 10,
Fughette, Menuet u. Festmarsch; op. 13,
Walter u. Kosakenmarsch; op. 19, Italienische
Liebesnovelle; op. 39, Steppenbilder; op. 46,
Aus meinem Tagebuche; op. 52, Der Trompeter
von Sdkkingen; op. 57, Ekkehard; op. 79,
Waldmdrchen; op. 86, 3 Sonatas; op. 102,
Kirmes; op. 109, Zum Wiegenfeste; op. 120,
Romantische Suite; op. 123, IdyUen; op. 129,
Ballet-suite, Atalante. Also numerous pieces
for piano solo, songs, etc.
Hof'mann, Josef, concert-pianist; born
Podfgorze, near Cracow, Tan. 20, 1876. Pupil
of his father Caaimir [prof, of harm, and
comp. at Warsaw Cons., cond. of W. opera].
Played in public at 6; at 9 made tour of
Germany, Denmark, Norway, Sweden, France
and England; played 1887-8 in America
(52 concerts in 2% months).
Under this strain the boy's health broke
down, and he retired from public activity
for six years, devoting the time to the study
of comp. and orchestration under H. Urban
in Berlin. For two years of this period he
travelled twice a week to Dresden for pf.-
lessons from A. Rubinstein, who regarded
young H. as one of the most remarkable
pianistic geniuses he had ever heard of. In
Nov., 1894, he reappeared in Dresden with
enormous success; first tour of Russia in
1896 (followed by 12 since then); returned
to the U. S. in 1898, and has been heard
there almost every season, enjoying a popu-
larity second to that of no other artist. In
1905 he married an American lady, Mrs. G.
P. Eustis. H. is one of those great artists
who, free from personal vanity, identify
themselves completely with the composer
they interpret. Technic he has, as a matter
of course, in superabundance; perhaps his
most striking characteristic is his marvellous
variety of tonal shading, almost rivalling the
effects of the orchestra; his conception
is marked by nobility and grandeur;
without a trace of eccentricity, he is a
powerfully individual artist. In his earlier
years he wrote 5 concertos for pf. and
orch., a set of variations, a fugue and
minor pieces for pf., but he has never
played his own works. That he is an
earnest thinker concerning the technical
problems of his art he has shown in his
eminently practical book Piano-Playing with
Piano-Questions answered (1914).
Hof'mann, Richard, b. Delitzsch, Prus-
sian Saxony, April 30, 1844. His father was
municipal mus. dir. Pupil of Dreyschock and
407
HOFMEISTER— HOLBROOKE
Jadassohn; settled in Leipzig as a music-teach-
er. Has publ. instructive comps. for piano,
strings, and wind-instrs. ; a valuable and ex-
haustive Praktische Instrumentationsschule (7
rs; Leipzig, 1893; 3d ed. 1907; Engl. tr. by
H. Segge, 1898); a catechism of musi-
cal instruments; Methods for the various
orchestral instruments; and a valuable Fuehrer
durch die Violin- und Viola-LiUeratur (1909).
Hof'melster, Friedrich, b. Strehlen, Jan.
24, 1782; d. Reudnitz, n. Leipzig, Sept. 30,
1864. Founded, in 1807, the music-business
at Leipzig which bears his name. From 1838,
publ. the 'Musikalisch-litterarischer Monats-
bericht,' a monthly classified list of the
musical works appearing in Germany. His
son and successor, Adolf H., b. c. 1818; d.
Leipzig, May 26, 1870, publ. a 3d and en-
larged ed. of Whistling's Handbuchdermusika-
lischen Litteratur (1845), and supplementary
vols, (from issues of the 'Monatsbericht').
Since 1852 the 12 'Monatsberichte' for the
entire year have been arranged in alphabetical
order and issued as 'Jahresbencht'. All these
excellent works were continued by the firm,
under the proprietorship of Albert Rdtbing,
b. Leipzig, Jan. 4, 1845; d. there Aug. 11,
1907. Since 1905 Karl GUnther has been
the head of the firm, which still continues the
policy of its founder.
Ho'garth, George, b. Carfrae Mill, near
Oxton, Berwickshire, 1783; d. London, Feb.
12, 1870. Studied law and practised in
Edinburgh. Was an amateur musician, 'cel-
list and comp., and became a mus. critic and
historian. From 1830 contributed to the
'Harmonicon.' In 1834 settled in London as
sub-editor and music critic of the 'Morning
Chronicle'; from 1846-66 mus. critic of the
'Daily News.' In 1850 was app. sec. to the
Philharmonic Soc. Comp. glees and songs.
Wrote Musical History, Biography, and
Criticism (1835; 2d ed. in 2 vols., 1838);
Memoirs of the Musical Drama (1838; 2d ed.
1851 as Memoirs of the Opera . . . ); How's
Booh of British Song ... (2 vols., London,
1845); The Philharmonic Society of London,
1813-62 (1862); The Life of Beethoven (n. d.).
He was son-in-law of Thomson (Beethoven's
Scotch publisher) and father-in-law of Charles
Dickens.
Hohl'feld, Otto, violin-virtuoso, b. Zeu-
lcnroda, Voigtland, March 10, 1854; d.
Darmstadt, May 10, 1895. Was a pupil of can-
tor Urban and air. Regener; then for 3 years
at Dresden Cons, under Rietz, Lauterbach
and Kretschmer. Became member of the
Dresden court orch., and in 1877 was app.
Konzertmeister at the Darmstadt court tn.
Made several successful concert-tours. —
Works: String-quartet, op. 1; Zigeunerkldnge
for piano, op. 2; Elegit for trombone with
organ, op. 3; Elegie for violin, op. 4; songs;
Phantasiestache for horn and piano; etc.
Hohn'stock, Carl, violinist, pianist, and
comp.;b. Brunswick, 1828; d. there Aug. 5
(?), 1889. He came of a musical family, with
whom he made a professional European tour
in 1846. In 1848 ne went to America, estab-
lished himself at Philadelphia as mus.-teacher,
and gave concerts; here the degree of Mus.
Doc. was conferred upon him. In 1860 he
returned to Brunswick and settled in Blanken-
burg.— Comps. (mostly unpubl.) : Symphonies,
overtures, piano- and violin-concertos, and
vocal music.
Hoi, Richard, pianist, organist and com-
poser; b. Amsterdam, July 23, 1825; died
Utrecht, May 14, 1904. Pupil of Martens
(org.) and Bertelman (harm, and cpt.). After
travelling in Germany he became mus.-teacher
at Amsterdam, was app. director of the choral
society 'Amstels Mannenkoor' in 1856, and of
the Society for the Promotion of Music in
1857. In 1862 he succeeded Kufferath as city
mus. dir. at Utrecht. In 1869, became cath.-
org., and in 1875 dir. of the School of Music.
He was also cond. of the 'Diligentia' concerts
at The Hague, and of the Classical Concerts at
the Peoples Palace, Amsterdam. He received
various orders; was elected Officer of the
French Academy (1878), and a member of
several learned societies. His compositions
belong to the romantic German school, and
include an oratorio David, op. 81; 2 operas,
Floris V (Amsterdam, 1892) and Uit de
branding (Amsterdam, 1894; not succ.);
masses, songs, chamber-music, 4 symphonies
(C m., D m., Bb [No. 4 in MS.]), overtures
and other orchl. music, several ballads for
soli, mixed ch. and organ (e. g., De vliegende
Hollander, op. 70); fine male choruses with
orch., etc., also a cappella; female choruses;
etc. H. was also a contributor to the Dutch
mus. journal 'Cicilia,' and is the author of a
monograph on J. P. Sweelinck (1860). From
1886-1900 he was ed. of 'Het Oreel.'— Cf.
H. Nolthenius, R. H. Levensschets (Haarlem,
1904).
Holden, Oliver, the composer of the hymn-
tune Coronation, was a resident of Charles-
town, Mass., and a carpenter by trade. Before
1792 he gave up this occupation to become a
music-teacher, music-seller, and publisher; and
comp. many other psalm-tunes, anthems,
and odes, of a commonplace character. He
died in 1834.
Holbrooke, Josef, b. Croydon, July 6,
1878. Having been prepared by his father, he
entered the R. A. M.f where his teachers
were F. Westlake (pf.) and F. Corder (comp.);
winner of the Lucas prize and the Sternaale
Bennett scholarship. After graduation in
408
HOLLAENDER— HOLLINS
1898, he went on a tour with A. Lloyd, was
cond. of a pantomime (1899) and the Wood-
hail Spa Orch. (1900); since then he has
devoted himself entirely to com p., appearing
only as cond. of his own works. He is a com-
poser of extreme tendencies, attracted by the
sensational and grotesque, showing little
regard for form or euphony; his chamber-
music sounds forced and thin, his orchestral
music overloaded with bizarre and sensational
effects in harmony and instrumentation. —
Works: Tone-poems The Raven (1900), The
Viking, Ulalume, Byron, Queen Mob, The
Bells (w. ch.), The Skeleton in Armor, The
Mask of the Red Death; a symphony, Apollo
and the Seaman; Vars. for orch., Three Blind
Mice and The Girl I left behind me; Dreamland
Suite; Les Homntages, suite; Vars. on 'Auld
Lang Syne' ; The Haunted Palace, fantasy for
orch.; an overture, The New Renaissance;
the ballets The Red Masque, The Moth, The
Enchanted Garden; an opera, Pierrot and
Pierrette (London, 1909). He is now complet-
ing the third part of a very ambitious trilogy,
The Children of Don: Dylan; Bronwen, Daugh-
ter of Liyr. The first two operas were prod, in
London (1912 and 1914, resp.) without suc-
cess.—Cf. 'M. TV April, 1913.
Hollaender, Alexis, pianist; b. Ratibor.
Silesia, Feb. 25, 1840. Pupil of Schnabel ana
Hesse at Breslau, and cond. of the Gymnasium
scholars' singing-society. From 1858-61, st.
at the Berlin Royal Akademie under Grell and
A. W. Bach; privately under K. Bohmer. In
1861, became instructor at Kullak's Academy:
in 1864, cond. of a choral society, and in 1870
of the 'Cacilienverein' ; 1877, taught singing
at the Vtktoria-Schule; since 1903 instr. at
the Humboldt-Akademie. In 1888 H. was
named Professor. — Works: Sarabande and
Gavotte for piano, op. 23; 6 Intermezzi for left
hand alone, op. 31 ; In trod, and Fugue, op. 37;
op. 39 and 45, pf. -pieces; Musikal.Bilderbuch,
op. 41; Suite for vln. and pf., op. 40; Piano-
quintet (G m.), op. 24; songs (op. 29, 30,
32, 43) ; duets (op. 16, 20, 34) ; songs for male
ch. (op. 26, 42), mixed ch. (op. 1/, 35, 36),
female ch. (op. 33, 38).
Hollaender, Gustav, talented violinist;
b. Leobschutz, Upper Silesia, Feb. 15, 1855;
d. Berlin, Dec. 6, 1915. Taught by his father,
a physician, he played in public when very
young; was from 1867-9 a pupil of Leipzig
Cons. (David), and 1869-74 of the Kgl.
Hochschule, Berlin, under Joachim (vln.) and
Kiel (theory). In 1874, principal vln. -teacher
at Kullak's Academy, and royal chamber-
musician; made a concert- tour in Austria with
Carlotta Patti. From 1871-81 he gave sub-
scription-concerts of chamber-music with
X. Scharwenka and H. Griinfeld at Berlin.
I n 188 1 , orchestra leader of the Giirzenich con-
certs, and teacher at the Cons., Cologne; in
1884, leader at the Stadttheater ; succeeded
Japha as leader of the 'Professoren-Streich-
euartett,' and in 1894 was app. Dir. of the
tern Cons., Berlin, which position he filled
with distinction till his death. His concert-
tours in Belgium, Holland, and Germany were
very successful. — Works (for vln. and pf.):
SpmnerUed, op. 3; Am Strande, op. 8; Ro-
manse, op. 10; Stdndchen, op. 11; Wiegenlied,
op. 12; Robin des bois [Weber], op. 18; Don
Juan Fantasy {Mozart], op. 19; Impromptu,
op. 32; Spanische Serenade, op. 49; Wold-
mdrchen, op. 50; 2 concertos for vln. and orch.
(op. 52, 66); Andante cantabile for flute and
orchestra, op. 60.
Hollaender, Viktor, brother of Gustav;
b. Leobschutz, April 20, 1866. Pupil of Kul-
lak. For a short time he was cond. at the
' Me tropolt heater' and (1908) at the 'Neues
Operettentheater' in Berlin; since then living
in Berlin, devoting himself to composition. —
Works: Piano-pieces and the 1-act comic
opera CarmosineUa (Frankfort-on-M„ 1888,
succ.); 1-act operetta TheBeyof Moroceo (Lon-
don, 1894, succ.); the operettas Schneider Fips
(Weimar, 1908), Der Regimentspapa (Dres-
den, 1914) ; and the operas San Lin and Trilby.
Hollander, Benno, b. Amsterdam, June
"8, 1853. Pupil at Paris Cons, of M assart (vln.),
Savard (harm., cpt.) and Saint-Safins (comp.),
and winner of the 1st prize for vln. in 1873.
After successful tours of France, Germany and
Scandinavia, he settled in London in 1876;
concert-master under Richter during the
seasons of German opera in 1882 and '84; app.
prof, of vin. at G. S. M. in 1887; since 1903
cond. of the 'B. H. Orchestral Soc.', giving
regular symph. concerts in the Kensington
Town Hall. — Works: Roland, a symph.; 2
pieces for orch., Drome and ComSdie; 2 con-
certos for vln. and orch.; septet for piano,
strings and 2 horns; 2 string-quartets; a
string-trio; a piano-trio; 2 sonatas for vln.
and piano; numerous solos for vln.; pf. -pieces
(sonata, etc.). He has in MS. an opera, Die
letMten Tage von Pompeii (not produced).
Hotline, Alfred, b. Hull, Sept. 11, 1865.
Until his ninth year he was taught by various
relatives; then he entered the Wilberforce
Inst, for the Blind (he was born totally blind),
where the oldest brother of Sir J. Barnby was
teacher of the piano; in 1878 he entered the
R. Normal Coll. for the Blind at Upper Nor-
wood; here he cont. piano-study with Fritz
Hartvigson and began on the organ w. Dr. E.
J. Hopkins. His progress on both instruments
would have been considered remarkable for
a normal boy, for at the age of 13 he played
Beethoven's Emperor Concerto at the Crystal
Palace under A. Manns. After a year's further
study with Bulow in Berlin he was app. org.
409
HOLLMANN— HOLMES
at St. John's, Redhill. In 1886 Dr. Campbell,
the pnncipal of the R. Normal Coll., brought
him and a quartet of blind players to America,
where their performance excited such interest
that a second visit was made in 1888. Since
then he has filled various positions as org. ; in
1904 he made a successful tour of Australia.
He is hon. F. R. C. O. He has publ. 2 concert-
overtures, a Triumphal March and numerous
other pieces for organ; a Romance for vln. and
piano; several anthems; a trio for female vcs.;
piano-pieces.
Holl'mann, Joseph, fine 'cellist; b. Maes-
tricht, Oct. 16, 1852. He began to study with
a local teacher, Keller, and after a year won a
scholarship at the Brussels Cons., where he
studied under Servais (vcl.), and Boeselet
and Fetis (comp.); graduated in 1870 as
winner of the first pnzes for 'cello, solfeggio
and harm.; from 1870-4 he studied at tne
Paris Cons, with Jacquard (vcl.) and Savart
(comp.). Since 1875, tours of Europe and
America; now (1916) living in Paris. He is
Chev. of the Legion of Honor and the recipient
of numerous decorations. Saint-Safins wrote
his second 'cello-concerto for H. — Works: 2
concertos for vcl. and orch., and effective
solo-pieces.
Holly, Franz Andreas, pianist, org., and
dram, comp.; b. Luba, Bohemia, 1747; d.
Breslau, May 4, 1783. Mus. director of the
Kotzentheater, Prague, until 1769; at Koch's
Th., Berlin, to 1775; later at Waser's, Breslau.
Composed the popular Singspiele Der Zau~
berer (Prague, 1772), Der Bassa von Tunis
(Berlin, 1774), Der Kaufmann von Smyrna
(Frankfort, 1774), Deukalion «. Pyrrha (Bres-
lau, 1779), Das Opfer der Treue (Breslau,
1779), Der Tempel des Schicksals (Berlin,
1779), etc.
Holmes, Alfred, violin-virtuoso; b. Lon-
don, Nov. 9, 1837; d. Paris, March 4, 1876.
Pupil of his father, a self-taught musician. In
1846 was principal soprano chorister at the
Oratory; made his debut with his brother
Henry in 1847; they visited Brussels in 1855;
Darmstadt, Leipzig, Kassel, Vienna, etc.,
1856-7; Sweden, 1858-9; played in Copen-
hagen in i860, in Amsterdam in 1861, and
settled in Paris in 1864, making another tour
to Russia, Belgium, Holland, and Germany,
in 1867. — Works: Opera Inez de Castro (not
prod.); symphonies Jeanne d'Arc, The Youth
of Shakspere, Robin Hood, The Siege of Paris%
Charles All, and Romeo and Juliet; overtures
The Cid and The Muses (London, 1874).
Holmes (properly Holmes; pen-name [for
some pf .-pieces and songs] Hermann Zenta),
Augusta (Mary Anne), b. Paris, Dec. 16,
1847 (of Irish parents); d. there Ian. 28, 1903.
At first a pianist, she devoted herself to the
study of comp. under Lambert, Klose and
410
Cesar Franck; brought out a psalm In Exitu
(1873); a 1-act 'symphony' Hfro et Uandre
(1874, Chatelet); an Andante pastoral (1877);
the symphonies Lulece (1879) and Les Argo-
nautes (1880); a svmph. poem Les 7 Ivr esses
(1883); symph. Irlande (1885); an ode triom-
phale, Patrie (1889); and in 1895 the 4-act
lyric drama La Montagne noire (Gr. Opera),
which last had hardly a succes d'estime. Be-
sides over 100 songs, Mme. H. wrote an
allegorical cantata, La Vision de la Reine;
the 2 'symphonies' (for soli, ch. and orch.)
Lutin, Hymne a la Paix; the symphonic poem
Roland (Orlando Furioso), Pologne, Au Pays
bleu. In MS. 2 operas, Astarte and Lancelot
du Lac. — Cf. P. Barillon-Bauche, A. H. et la
femme-compositeur (Paris, 1913).
Holmes, Edward, b. near London, 1797;
d. United States, Aug. 28, 1859. A pupil of V.
Novello, he became a piano-teacher. In 1827
he visited Germany, and publ. A Ramble
among the Musicians of Germany . . . (1828;
3d ed. 1838}, which obtained him the position
of mus. critic of 'The Atlas.' Other works:
The Life of Mozart (1845; 2d ed. E. Prout,
1878); Life of PurceU, for Novello's 'Sacred
Music'; Analytical and Thematic Index of
Mozart's Piano-works; articles for the 'Musical
Times' and other journals. In 1849 he settled
in America as editor and music critic.
Holmes, George Augustus, b. Peckham,
May 10, 1861. He received his entire mus.
education from private teachers; organist at
St. George's, Camberwell, 1880-1903; since
1887 dir. of examinations of the London Coll.
of Music. Author of many instructive works
for piano, of which the more important are
Technical Training for the Pianoforte (part I,
1901; part II, 1904); Analyses of Pianoforte
Compositions (4 vols., 1905, '06, '12, r15);
Preparatory Manuals for the Pianoforte (book
I, 1907; bk. II, 1909); The Academic Manual
of Harmony (1911); etc. Has also comp. pf.-
pieces (Tarentelle briUante, Tarentelle chro-
matique, Melodious Studies, etc.).
Holmes, Henry, b. London, Nov. 7, 1839;
d. San Francisco, Dec. 9, 1905. The equally
famous and talented brother of Alfred, with
whom he was associated until 1865. He then
visited Copenhagen, Stockholm, etc., and re-
turning to London, became vln. -prof, at the
Royal College of Music in 1883; resigned in
1894, when he came to the U. S.— Composed
5 symphonies, 2 cantatas {Praise ye the Lord
and Christmas) , vln.-concerto, concert-over-
ture, 2 string-quintets, vln. -pieces, and songs.
Holmes, William Henry, Engl, pianist;
b. Sudbury, Derbyshire, Jan. 8, 1812; d.
London, April 23, 1885. Pupil of the R. A.
M. from its establishment in 1822; he won
two medals, became assistant pf.-prof. in
1826, and later principal professor for piano.
HOLMSEN— HOLZBAUER
Formed many distinguished pupils, including
Sterndale Bennett, the two Macfarrens, and
Davison. — Works: The Elfin of the Lake,
opera; symphonies; a pf. -concerto, a sonata
for pf. and vln., pf.-sonatas, and songs.
Holm'sen, Borfthild, b. Chrtstiania, Oct.
22, 1865. Pupil of the Leipzig Cons, and
later in Berlin; made her debut as pianist and
composer in a concert of her own in 1889;
has concertized extensively in Scandinavia
and Germany. Has published a vln. -sonata,
2 romances for vln., pf. -pieces, and songs.
Hoist, Edvard, b. Copenhagen, 1843; d.
New York, Feb. 4(?), 1899. He settled in
N. Y. about 1874, and was in turn an actor,
stage-dancer, dancing- master, and playwright;
all the time being also a diligent composer
of songs and pf .-pieces of a light description,
pieces for mil. band (Marine Band March,
Battle of Manilla, etc.)t and a comic opera. Our
Flats (N. Y., 1897)— in all over 2,000 works.
One of his comedies was Hot Water.
Hoist, Gustav von, b. Cheltenham, Sept.
21, 1874. Pupil of Sir C. V. Stanford at the
R. A. M.; dir. of music at Morley College.
Has composed the operas Savitri (1-act) and
Sita (3-act); a masque, The Vision of Dame
Christian; The Mystic Trumpeter, scena for
sop. and orch.; 3 books of hymns from the
'Rig Veda' (for voice and orch.).
Hol'stein, Fran2 (Friedxich) von, dram,
composer; b. Brunswick, Feb. 16, 1826; d.
Leipzig, May 22, 1878. At the desire of his
father, an officer of high rank, he entered the
army after a course at the Brunswick cadet
school, where he studied mus. theory under
Richter. While a lieutenant, he privately
produced en operetta, Zwei Nachte in Venedig
(1845). After the Schleswig-Holstein cam-
paign he wrote the 5-act grand opera Wa-
verly, and sent it to Hauptmann at Leipzig,
who advised him to adopt a musical career.
In 1853 he resigned his position in the army
and became a pupil of Hauptmann's at Leip-
zig Cons. From 1856-9 he travelled for the
purpose of study, visiting Rome, Berlin, and
Paris, finally settling in Leipzig, where he
devoted himself to composition. He was also
a poet and artist, and wrote his own libretti.
— Works: Operas Der Haideschacht (Dresden,
1868); Der Erbe von Morley, comic opera
(Leipzig, 1872); Die Hochl&nder (Mannheim,
1876); and Marino Faliero (unfinished; a few
numbers publ. separately); overtures Lorelei
and Frau Aventiure; Beatrice, scene for sop.
solo with orch.; a pf.-trio; other chamber-
music; part-songs for mixed and male voices;
songs. He left a valuable legacy for the
benefit of indigent music students. — His
Nachgelassene Gedichte were published in
1880, with a biogr. sketch by H. Bulthaupt.
Hol'ten, Karl yon, pianist and composer;
b. Hamburg, July 26, 1836; d. Altona, Jan.
12, 1912. Pupil of J. Schmitt, Ave-Lalle-
mant, and Gradener, and 1854-6 at the
Leipzig Cons. From 1874, instructor at the
Hamburg Cons.; R. Prof, in 1889. — Comps.:
A Kinder symphonic, vln.-sonata, pf.-concerto,
trio, pf.-pieces, -songs.
Hol'ter, Iver (Paul Fredrik), b. Chris-
tiania, Dec. 13, 1850. He entered the Univ.
as a student of medicine, but devoted more
time to the study of music under T. Svend-
sen; 1876-9, pupil of the Leipzig Cons. (Ja-
dassohn, Richter and Reinecke) ; spent 1879-
81 in Berlin; became Grieg's successor as
cond. of the 'Harmonie' in Bergen (1882);
1886-1911, conductor of 4Musikf6reningen'
in Christ iania, and from 1890-1905 also of
'Handvaerkersangfdreningen'; in 1897 he
•founded (and has since cond.) 'Holters Kor-
fdrening,' a society devoted to the production
of large choral works (sacred and -secular);
has been festival conductor of several of the
great Scandinavian festivals; in 1900 he cond.
with Svendsen the 'Northern Concerts' in
Paris. — Works: Op. 1, 18, string-quartets;
op. 2, pf.-pieces; op. 3, Symphony in F; op.
4, St. Hans Kveld, Idyl for string -orch. ; op.
5, 7, 9, 11, 13, songs; op. 6, 17, male choruses;
op. 8, Novelettes for pf.; op. 10, Suite for
orch. (arr. from incid. music to Goto von Ber~
lichingen); op. 12, Romances for vln. and
orch.; op. 14, Til Faedrelandet, cantata for
soli, ch. and orch.; op. 15, Festival cantata
for male ch.; op. 19, cantata for sop. solo
and male chorus.
#
Holy, Alfred, eminent harp- virtuoso; b.
Oporto, Portugal, Aug. 5, 1866. At an early
age he began to study the vln. and pf . ; from
1882-5 he studied the harp with W. Stanek
at the Prague Cons.; 1885-96, solo harpist at
the German opera, Prague; 1896-1903, ditto
at the Berlin R. Opera; 1903-13, ditto at the
Vienna Court Opera and with the philh. Soc.
For ten years he also was solo harpist at the
Bayreuth Festivals, and made tours of Eu-
rope; since 1913, solo harpist of the Boston
Symph. Orch. (succeeding the la^e H. Schu-
Scker). He is 'Kammermusiker' to the Prus-
sian and Austrian courts. Has publ. comps.
for harp; chamber-music for harp with organ
and other instrs.; orchl. studies for harp
from the symphonic works of R. Strauss;
arrangements. A comedy-opeia, Das M&r-
chen vom Gluck, was prod, at Hamburg (1909).
Hol'yoke [hdl'yok], Samuel, composer of
church-music, and teacher of vocal and in-
strumental music, was born at Boxford,
Mass., 1771; d. Concord, N. H., 1816. His
hymn-tune Arnheim still survives.
Holzl>auer, Iftnaz, dram, composer; b.
Vienna, Sept. 17, 1711; d. Mannheim, April
411
HOLZEL— HOMEYER
7, 1783. Destined for the law, he secretly
taught himself music with the aid of Fux's
Gradus ad Parnassum. On Fux's advice he
went to Italy, but owing to illness was obliged
to return. Parental opposition overcome, he
became Kapellm. to Count Rottal in .Mora*
via, and at the Vienna Court Th. in 1745.
In 1747 he made a concert- tour through Italy
with his wife, an excellent singer; in 1750
became court Kapellm. at Stuttgart, and in
1753 at Mannheim. He again visited Rome
(1756), Turin (1757), and Milan (1759), for
the production of various operas. An erudite
musician, his works were held in high esteem,
and warmly eulogized by Mozart. They in-
clude 11 Italian operas: II figlio delle selve
(Schwetzingen court th., 1735), Alessandro
neW Indie (Milan, 1759), La demensa di Tito
(Mannheim, 1780), etc.; a German opera,
Guniher von Sckwartburg (Mannheim, 1776;,
publ. by H. Kretzschmar in vols, viii and ix
of 'Dkm. deutscher Tonk.'); 5 oratorios, 26
orchl. masses a 4 (1 German); 37 motets; 65
instrl. symphonies, 18 string-quartets, 13
concertos for various instrs.; etc. H. Rie-
mann publ. 3 Divertimenti and a string-
Suintet (Eb) in vol. xv of 'Dkm. d. Tonk. in
layern.' — Cf. K. M. Klob, Drei musikalische
Biederm&nner (Ulm, 1911).— See Q.-Lex.
Hbl'zel, Gustav, b. Pest, Sept. 2, 1813; d.
Vienna, March 3, 1883. He filled several
positions as operatic buffo-bass; was pen-
sioned in 1869. Visited America in 1870.
Composed popular songs, pf. -pieces, etc.
Hdlzl, Franz Severin, b. Malaczka, Hun-
gary, March 14, 1808; d. Fttnfkirchen, Aug.
18, 1884. Pupil of Kessler and Seyfried, in
Vienna; in 1843, Cath. Kapellm. at Funf-
kirchen. In 1852 he received the gold medal
for art and science for his grand mass in D.
Comps.: An oratorio, Noah (1844); much
church-music; Die Colonna, rom. opera (1847);
a symphony, overtures, chamber-music, etc.
Homer, Louise (nSe Louise Dilworth
Beatty), dramatic contralto; b. Pittsburgh,
Penn., circa 1872; pupil in Philadelphia of
Misses Whinnery and Groff; in Boston from
1894 of Wm. L. Whitney (voice) and Sidney
Homer (harm.), marrying the latter in 1895
and going with him to Paris in 1896, where
her chief instructors were Fidele Koenig
(voice) and Paul Lherie (dramatic action).
Won pronounced success at debut as Leonora
in La Favorita at Vichy in May, 1898, and
during that season sang there the rdles of
Ortrud, Dalila, etc.; in Angers the same year,
in addition to these, she created Katelyn in
Blockx's Princesse d'auberge; engaged for the
following season at Covent Garden, London,
making debut as Amneris and singing for the
first time in Italian, previous roles having
been French. Then called to the Monnaie,
Brussels, appearing in 80 performances, and
creating the rdle of Mme. de la Haltiere in
Massenet's CendriUon. After a second en-
gagement at Covent Garden, where she sang
most of the Wagnerian contralto rdles in
German, she was engaged by Grau for the
Metropolitan Opera, New York. American
debut at San Francisco, Nov. 14, 1900, dur-
ing the preliminary tour of the company, as
Amneris; first appearance in New York, Dec.
22, 1900, in same rdle; since which time she
sang regularly at the M. O. H. as the leading
contralto until 1912; since then she has ap-
peared only occasionally in opera, as her
concert-work claims more of her time and
attention. Her greatest successes have been
achieved as Amneris, Laura (Gioconda), Azu-
cena, Ortrud, Brangane, Fricka (and other
Nibelung roles), The Witch (Hansel und
Gretel), and The Witch in Konigskinder
(created at New York). Her classic interpre-
tation of Orfeo at the Paris revival of Gluck's
opera in 1909-10 was a grand operatic tri-
umph. Her rich and commanding voice,
with a compass from / to c*t has also been
heard in recitals throughout the U. S.; she
has sung with all American symphony orchs.,
and at the festivals in Worcester, Cincinnati,
Springfield, etc. Her favorite rdles are Am-
neris, Orfeo, and Dalila.
Homer, Sidney, song-composer; b. Bos-
ton, Mass., Dec. 9, 1864. Pupil of Chad-
wick in Boston; thereafter studied 2 years in
Leipzig and 3 in Munich (O. Hieber, Abell,
Rheinberger). Returning to Boston, he
taught harmony and counterpoint for 8
years, also conducting lecture-classes in the
study of symphonies and the Wagner music-
dramas. In 1895 he married Miss Louise
Dilworth Beatty, his pupil, and next year
went with her to Paris. He has publ. some
80 songs (list publ. by Schirmer) ; many have
won favor at home and abroad: Dearest
(poem by Henlev), Requiem (Stevenson),
Prospice (Browning), The Pauper's Drive,
The Bandanna Ballads, etc.— Residing (1916)
in New York.
Ho'meyer, Paul (Joseph Maria), famous
organist; b. Osterode, Harz, Oct. 26, 1853;
d. Leipzig, July 27, 1908. His grandfather,
Joh. Just. Adam H., edited a Roman
Catholic choral-book, Cantus Gregorianus; his
father, Helnrich H. [b. 1832; d. Dec. 31,
1891], was org. at Lamspringe. He studied
at the Josephinum Gymnasium, Hildesheim;
at the Leipzig Cons, and Univ. ; and was also
a pupil of his uncle, J. M. H. [b. 1814; d.
Oct. 5, 1894], organist at Duderstadt. His
first recital, given at Leipzig while still a
student, created a sensation; nevertheless,
though continuing his recitals, he finished the
regular course at the Cons., and after that
412
HOMILIUS— HOPFE
went for further study to his uncle. After
phenomenally successful tours of Germany,
Austria and Italy, he settled in Leipzig as
organist at the Gewandhaus, and teacher of
organ and theory at the Cons. He edited
the organ-works of Bach, Mendelssohn and
Schumann, and (jointly with R. Schwalm)
wrote a valuable organ-school.
Homillus, Gottfried August, eminent
organist and church-comp. ; b. Rosenthal,
Saxony, Feb. 2, 1714; d. Dresden, June 5,
1785. Pupil of J. S. Bach. App. organist of
the Frauenkirche, Dresden, in 1742; cantor
at the Kreuzschule, and music director of the
three principal churches, in 1755. — Published
works are: A Passion cantata (1775); a
Christmas oratorio, Die Freude der Hirten
uber die Geburt Jesu (1777); Seeks deulsche
Arien (1786).— In MS. in the Berlin Royal
Library, and in the Dresden Kreuzchor ar-
chives: Passion ace. to St. Mark; ch.-music
for each Sunday and Feast-day in the year;
motets, cantatas, f ugued chorals, a Thorough-
bass Method, 2 choral-books, etc. — See
Q.-Lex.
Hood, Helen, composer; b. Chelsea, Mass.,
June 28, 1863. Studied with B. J. Lang (pf.)
and Chadwick (comp.) in Boston; and in
Berlin 1 year with Moszkowski (pf.). Resides
in Boston. — Works (published if not marked
MS.): Op. 1, 4 songs; op. 2, 2 songs; op. 3,
The Robin, part-song; op. 5, 2 part-songs
(MS.); op. 6, 5 pieces for vln. and pf.; op. 7,
Song- Etchings (6 songs); op. 8, 3 pf. -pieces;
op. 9, 3 songs; op. 10, 3 pieces for vln. and
pf.; op. 11, pf.-trio (MS.); op. 12, 2 pieces
for 2 vlns. and pf.; op. 13, 2 songs; op. 14,
4 songs; op. 15, Te Deum in Eb (MS.); op.
16, string-quartet in D ; op. 18, sacred songs.
Hook, James, Engl, organist and comp.;
b. Norwich, Tune 3, 1/46; d. Boulogne, 1827.
Pupil of Garland, organist of Norwich cath.,
he became music director at Marvlebone
Gardens, London, 1769-73, and at Vauxhall
Gardens, 1774-1820. He was organist at St.
John's, Horsleydown, for many years. An
industrious composer of songs (over 2,000
songs, catches, and cantatas); the songs
Within a mile of Edinboro' Town and Sweet
Lass of Richmond Hill are about the only
ones now remembered. His other works in-
clude an oratorio, The Ascension (1776),
operas, pf. -sonatas, organ-concertos, rondos
and transcriptions, and an instruction-book,
Guida di musica (1796), for pf. — See Q.-Lex.
Hope-Jones, Robert, b. Hooton Grange,
Cheshire, Feb. 9, 1859; d. (by suicide) Roch-
ester, N. Y., Sept. 13, 1914. As a boy he
learned to play tne organ merely for his own
Eleasure. In 1877 he entered the employ of
aird Bros., engineers and shipbuilders at
Birkenhead, and became an expert electrical
engineer. As chief electrician of the National
Telephone Co. he found ample opportunity
for the exercise of his extraordinary inventive
genius. At the same time he gratified his love
for music by fulfilling the duties of organist
at St. John's in Birkenhead. Here he
to experiment with the application of elec-
tricity to organ-building, obtaining such grat-
ifying results that in 1889 he severed his
connection with the telephone company and
became an organ-builder. In 1903 he came
to America, was for a time connected with
the Austin Organ Co. of Hartford and the
E. M. Skinner Co. of Boston, and in 1907
founded the Hope- J ones Organ Co. at Tona-
wanda, N. Y., but sold the plant and his
patents in 1910 to the Rudolph Wurlitzer
Co. of N. Y. His inventions have revolu-
tionized modern organ-building. He built in-
struments in England, Germany, France, In-
dia, Australia, New Zealand, and the U. S.
(one of the finest being the great organ in
the Auditorium at Ocean Grove, N. J.). — Cf.
G. L. Miller, The Recent Revolution in Organ-
Building (2d ed. N. Y., 1913).
Hopeldrk, Helen, Scotch pianist and
composer; b. circa 1868 near Edinburgh,
where she studied under Lichtenstein and
A. C. Mackenzie; then for 2 years at Leipzig,
later with Leschetizky at Vienna. Pianisttc
debut at Gewandhaus, Leipzig, Nov. 28,
1878; the next few years she played with
great success in England and Scotland. In
1882 she married William Wilson, and came
with him to America in 1883; h^re she was
heard with all the large orchestras, and her
reception was so cordial that she remained
for the following season; frori 1887-91 she
lived in Vienna, whence she made frequent
tours of the principal German cities; 1891-2
again in the U. 5., and also in Canada;
alternately in Paris and London until 1897,
when she settled in Boston; 1897-1901,
teacher of pf. at the N. E. Cons. She now
gave frequent recitals and played much
chamber-music; was an early champion of
MacDowell and the modern French school
(d'Indy, Debussy, Faure, etc.). .For some
years she has devoted herself to teaching
and composition in Brookline, Ntass. PubL
over 100 songs; many pf. -pieces (Serenade, Sun-
down, Iona, Memories) ; also a vol. of Scottish
folk-songs with original pf.-accojhp. .In MS.
she has a Concerto for pf. and orch., a Kon~
wertstuck for ditto, minor pieces for orch., and
2 sonatas for vln. and pf. -.
Hop'fe, Karl, b. Barmen, Sept. 30, 1872;
d. there June 30, 1910. Pupil of his father
(pf.) and Fromling (vln.); from 1888-93 he
attended the 'Kgl. Hochschuie' in Berlin,
(Joachim, Dorn, Spitta, Hans Muller and
Franz Schulz) ; also studied comp. with Bruch
413
HOPFFER— HORAK
at the 'Meisterschule'; 1895, cond. of the
male choral societies 'Euphonia' and 'Lehrer-
gesangverein' in Remscheid; in 1897 he
founded in Barmen the 'Volkschor* and 'All-
gem. Konzertverein,' both of which he dir.
till his death. He wrote an opera, Du Frci-
jagd; a suite for orch., Rheinsagen; male
choruses; pf. -pieces.
Hop'fifer, Ludwig Bernhard, dramatic
composer; b. Berlin, Aug. 7, 1840; d. Nieder-
wald, n. RQdesheim, Aug. 21, 1877. Studied
at Kullak's Akademie, 1857-60. In 1872-5
visited S. Germany, Switzerland and Italv.
—Works: 2 operas, Friliof (Berlin, 1871)
and Sakuntala; festival-play Barbarossa
(Berlin, 1871); Der Student von Prag, comic
opera; the choral works Pharao, Darthulas
Urabgesang, and the 23d Psalm; sympho-
nies, overtures, chamb.-music, songs, etc.
Hopkins, Edward Jerome, b. Burlington,
Vt., April 4, 1836; d. Athenia, N. J.. Nov. 4,
1898. Excepting 6 lessons in harmony, from
T. E. Miguel, he was a wholly self-taught
musician. Had a regular position as organist
at 10; began composing at 14. Studied at the
Univ. of Vt., and at the N. Y. Med. College
(chemistry, for 3 years); from his 20th year
he devoted himself wholly to music. Played
in various N. Y. churches down to 1869;
founded (1856) 'The Amer. Music Assoc.' for
performing native works; founded and sup-
ported (1865-87) the N. Y. 'Orpheon Free
Schools' (over 30,000 pupils); founded and
edited the 'N. Y. Philh. Journal' (1868-85).
He originated the popular 'Lecture-Concerts';
made many <|oncert-tours in the U. S., also
to England: (1690); and was an indefatigable
composer. — Works: Symphony, Life, for full
orch.; Child' i Symphony, for string-orch.;
pf. -concerto; j>f.-trio in D; 2 organ-preludes
and fugued fantasias; the very original works
Easter Festival Vespers (for 3 choirs, echo-
choir, 2 organs and orch., harp obbl., and
Cantor Priest), Bible Opera (for 2 troupes,
one singing, one speaking), a School-Opera
Toffee ana Old Munch, a Piano-Trio-Con-
certo (or Trio with Orch.), a Fantasia on an
original th^me (for 5 pfs.); also 2 operas,
Samuel (N..Y., 1877) and Dumb Love; pf.-
music; etc. (in all over 700 works, few of
which are published). Also 2 collections of
church-musk, and an Orpheon Class-book.
Hopkins, Edward John, b. Westminster,
June 30, 1818; d. London, Feb. 4, 1901.
Chorister of ihe Chapel Royal (under Wm.
Hawes) 1826-33; then pupil for harm, and
cpt. of T. F. Walmisley. A self-taught organ-
ist, his first appointment was at Mitcham ch.
(1834-8); the next, St. Peter's (Islington),
whence he went (1841) to St. Luke's (Ber-
wick St.), and finally (1843) to the Temple
Church, London (retired 1898; successor, Dr.
Walford Da vies), where he raised the musical
services to a very high degree of excellence.
He was a member of the chief British musical
associations, and in 1882 received the title of
Mus. Doc. from the Archbishop of Canter-
bury, and- in 1886 from Trinity Coll., Univ.
of Toronto, Canada. His compositions for
the church are of sterling quality; some an-
thems— Out of the deep (1838), God is gone up
(1840), Thou shalt cause the trumpet of the
jubilee to sound (1887) — have taken prizes;
his very numerous hymn-tunes and chants
have made his name a household word in
Great Britain; his church services are favor-
ites. His book The Organ; Its History and
Construction, written in cooperation with
Rimbault, is a standard work (London, 1855;
5th ed. 1887). He contributed valuable ar-
ticles to Grove's Dictionary of Music, and
edited many- series of English compositions,
ancient and modern.
Hopkins, Harry Patterson, b. Baltimore,
1873; pupil at the Peabody Inst, of Hamerik
and Burmeister, and at Prague in 1895 of
Dvorak. Since 1899, instructor at Washing-
ton College, Washington, D. C, and dir. of
music at Franklin St. Presbyterian Ch., Bal-
timore.— Works (MS.) for orch.: 2 overtures,
2 suites de ballet, and The Dreamer, orchl.
Fantasie; also a pf. -quintet. — Has publ. a
score of short pf. -pieces, and numerous songs;
also A Tragedy, chorus for mixed voices
with orch., op. 15.
Hopkinson, Francis, the first American
composer; b. Philadelphia, Sept. 21, 1737; d.
there May 9, 1791. Although a lawyer by
profession, he was deeply interested in music
and a good performer upon the harpsichord.
He has the distinction of being the composer
of the' first original piece of music written in
America, the secular song My days have been
so wondrous free (1759). He also provided
Franklin's Glass-harmonica with a keyboard,
introduced improvements in the quilling of
harpsichords (also adopted by European
manufacturers) and invented the Bell-har-
monic, 'a contrivance for the perfect measure-
ment of time.' — Cf. O. G. Sonneck, F. H.
and James Lyon. Two Studies in Early
American Music (Washington, 1905); A. R.
Marble, Heralds of American Literature (Chi-
cago, 1907).
Hoplit. See Pohl, Richard.
Ho'rak, Eduard, born Holitz, Bohemia,
1839; d. Riva, Lake of Garda, Dec. 6, 1892.
Co-founder (with his brother Adolph ; b. Jan-
kovic, Feb. 15, 1850] of, and teacher at, the
'Horak* Pianoforte School, Vienna, which
soon acquired a European reputation. In
collaboration with Fr. Spigl, who succeeded
him as dir., he published Der K'avirrunterrieht
in neue, naturliche Bahnen gdenkl (1892, 2
414
horAk— horner
vols.), and, with his brother, a valuable
Klavierschule. — Adolf alone wrote Die tech-
nische Grundlage des Klavier spiels.
Ho'rak, Wenzel [Vaclav] Emanuel, b.
Mscheno- Lobes, Bohemia, Jan. 1, 1800; d.
Prague, Sept. 15, 1871. Pupil of Josef Schu-
bert and the Prague Gymnasium; studied
composition and theory from the works of
Tunc, Vogler, Albrechtsberger, and Cheru-
bim. Organist and choirmaster, in succession,
of various churches in Prague; as a teacher
and ch.-composer he was highly esteemed. —
Wrote 10 masses with instrl. accomp., a mass
for male voices a capp., a requiem for ditto,
and motets; also Die Mehrdeutigkeit der
Harmonien .... (1846).
Horn, August, b. Freiberg, Saxony, Sept.
1, 1825; d. Leipzig, March 25, 1893. Pupil
of Mendelssohn at the Leipzig Cons. From
1862-8, lived at Dresden, then settled in
Leipzig, and became favorably known by his
pf.-arraneements of symphonies, operas, etc.,
for 2 and 4 hands. — Works: A 1-act comic
opera, Die Nachbarn (Leipzig, 1875); orchl.
music (overture; Festmarsch); pf. -pieces; his
part-songs for male chorus, and songs, were
very successful.
Horn, Camlllo, b. Reichenberg, Bohemia,
Dec. 29, 1860. Pupil of A. Bruckner; living
in Vienna as choral conductor and music
critic of 'Deutsches Volksblatt.' Has publ. a
Symphony in F m. (op. 40); Bundeslied der
Deutschen in Bohmen, for male ch. and orch.
(op. 23) ; Deutsches Festlied, for mixed ch. and
orch. (op. 26); 2 scenes for solo voice and
orch., Tnusnelda and WaUada; a Scherzo for
orch.; choruses for men's, women's and mixed
voices; songs; pf. -pieces (sonata in F m., etc.).
Horn, Charles Edward, son of Karl
Friedr.; b. London, June 21, 1786; d. Boston,
Mass., Oct. 21, 1849. In 1809 made his
debut, and for several years lived in London
as opera-singer and composer. . In 1833 he
• went to America and produced several operas
at the Park Th., New York. His voice fail-
ing, he became a music-teacher, and later an
importer and publisher of music. He prod,
an oratorio, The Remission of Sin; returned
to England in 1843, and in 1845 this oratorio,
renamed Satan, was performed by the Melo-
phonic Soc. He was appointed music director
of the Princess' Th. ; returned to America in
1847, and became conductor of the Handel
and Haydn Soc., Boston. — Works: Another
oratorio, Daniel* s Prediction (1848); a can-
tata, Christmas Bells; 26 English operettas
(1810-30); canzonets, glees, songs, etc.
Horn, Karl Frledrlch, b. Nordhausen,
Saxony, April 13, 1762: d. Windsor, England,
Aug. 5, 1830. Pupil of Schroter; at 20 years
of age he went to London, and with the pa-
tronage of Count Briihl, Saxon Ambassador,
became a fashionable teacher. To 1811 he
was music-master to Queen Charlotte and
the Princesses. In 1823 he succeeded Sexton
as organist of St. George's Chapel, Windsor.
With Wesley he prepared an English edition
of Bach's Wohltemperirtes Clavier; also wrote
a treatise on thorough-bass; composed pf.-
sonatas, 12 sets of pf.- variations with ace.
of flute or violin, and Military Divertimentos,
Horn, Pater Michael, b. Oct. 25, 1859.
Pupil of Dr. B. Sauter, abbot of the Bene-
dictines in Prague; 1883-96, org. and mus.
dir. of the Benedictine monastery in Mared-
sous; now (1916) living in the monastery at
Beuron, Bavaria. Since 1902 editor of
'Gregorianische Rundschau'; has contrib.
valuable articles on Gregorian Chant to
German and French periodicals. Publ. mass-
es, motets, preludes for organ, and 'Samrn-
lung kirchlicher Tonstucke fttr die OrgeT
(3 parts).
Hor'neman, Christian F. Emil, son and
pupil of Johan; b. Copenhagen, Dec. 17,
1841; d. there June 8, 1906. Also studied at
Leipzig Cons., 1857-60. Director of school of
music in Copenhagen and founder of the
'Konzertverein.' Has composed an overture,
Heldenleben, pf .-caprices, songs, etc. An opera,
Aladdin, was prod, at Copenhagen (1888). L.
Schytte brought out a new ed. of his Kinder-
Klavierschule. — Cf. G. Hetsch, C. H. Ein
ddnischer Kapellmeister u. seine Werke, in
the 'Neue Musikzeitung' (vol. xxiii).
Hor'neman, Johan Ole EntU, vocal
composer; b. Copenhagen, May 13, 1809; d.
there May 29, 1870. His Tapfere Landsoldat
became a national melody.
Horner, Dr. Ralph Joseph, b. Newport,
Monmouthshire, April 28, 1848V From 1864-
67 pupil in the Leipzig Con*, of Plaidy,
Moscheles, Reinecke, Papperitz and E. Fr.
Richter. On his return to England he settled
as a teacher of pf., harm, and singing at
Camberwell; cond. Peckham Choral Soc.,
choirmaster at St. Mary's, 1873-5; for the
next 12 years conductor of various operatic
companies (Grand Opera at Alexandra Pal-
ace, for A. Sullivan's works, etc.); conductor
in Nottingham of the Orchestral Soc. (1889—
95) and Operatic Soc. (1893-1900); lecturer
on music, Nottingham Univ., 1895-1905. In
1906 he came to New York; went to Win-
nipeg in 1909 as director of the Imp.
Academy of Music and Arts; cond. of the
Oratorio Soc. (1909-12), and is now director
and conductor of his own opera- troupe. Mus.
Doc., Durham, 1898. — Works: The operas
Amy Robsart and The Belles of Barcelona; 6
operettas; Suite in D for orch.; Fairy Over-
ture; Intermezzo for orch.; 2 oratorios, St.
Peter and David's First Victory; a dram, can-
tata, Confucius; a sacred cantata, A Song of
415
HORNSTEIN— HOUDARD
Prayer and Praise; a string-quartet in Ef>; a
sonata for vln. and pf.; pf. -pieces; about 100
songs. A Torch-Dance for orchestra won the
Earl Grey Prize in 1911.
Horn'stein, Robert Ton, b. Donaue-
schingen, Dec. 6, 1833; d. Munich, July 19,
1890. Pupil of Leipzig Cons.; teacher at the
Munich Royal School of Musk. — Works:
Operas, Adam und Eva (Munich, 1870); Der
Dorfadvokat: incid. music to Shakespeare's
As You Like It and MosenthaTs Deborah; a
ballet, Der Blumen Roche; pf.-pieces, songs,
etc. From posth. works his son Ferdinand
arranged incid. music to his (F.'s) drama Bud-
dha; also publ. his father's Memoiren (1908).
Horaley, Charles Edward, son and pupil
of William; b. London, Dec. 16, 1822; d. New
York, Feb. 28, 1876. Also studied with
Moscheles (pf.), Hauptmann and Mendels-
sohn (comp.). Became organist of St. John's,
Notting Hill, London; in 1868 went to Aus-
tralia, and later to America. Contributed in-
teresting articles on music in America to the
'Mus. Standard,' London. — Comp. 3 orato-
rios, Gideon, David, Joseph; ode Euterpe, for
soli, ch. and orch. (1870; for opening of Mel-
bourne Town Hall); music to Milton's Co-
tnus; instrl. and pf.-pieces; songs; and wrote
a Text-Book of Harmony, publ. posth. (1876).
Horsley, William, b. London, Nov. 15,
1774; d. there June 12, 1858. Organist of
various churches in London; in 1800 he grad-
uated Mus. Bac, Oxon. His suggestion re-
sulted in the foundation of the 'Conccntores
Sodales' (1798-1847), to some extent a revival
of the catch- 'and glee-clubs. He published
An Explanation of Musical Intervals, and of
the Major and Minor Scales (1825); Introd. to
. . . Harm, and Modulation (1847); edited a
coll. of glees- etc., by Callcott (with biogr.
and analysis), Book i of Bird's Cantiones
Sacra, and publ. 5 colls, of glees, 40 canons,
a coll. of psalm- tunes with interludes, sona-
tas, pf.-pieces, songs, etc. — See Q.-Lex.
Horvath [hdhr'vaht], Geza, b. Komaron,
Hungary, May 27, 1868; intended for a mer-
cantile career, but from 18 studied music in
Vienna under L. Schytte and others. Director
of a private music-school at Vienna; librarian
of the Assoc, of Licensed Music-school Pro-
prietors of Vienna. Has published over 60
compositions! chiefly easy pf.-pieces.
Hor'witz, Benno, violinist and composer;
b. Berlin, March 17, 1855; d. there June 3,
1904. Pupil of the Royal Hochschule,' and of
Kiel and Albert Becker. — Works: Symphonic
poem Dionysos; choral works; chamber-
music, part-songs, and songs.
Hd'sel, Kurt, b. Dresden, Jan. 28, 1862.
Pupil of the Dresden Cons, and of Schulz-
Beuthen. Was Kapellm. in Freiburg and
Breslau; since 1895 conductor of 'Dreyssig-
sche Singakademie' in Dresden, and since
1897 prof, of the opera- and orch. -classes at
the Cons.; made R. Prof, in 1907. Composer
of male and mixed choruses and songs; also
of the opera Wieland der Schmied (Char-
lottenburg, 1913).
Hosmer, Lucius, b. South Acton, Mass.,
Aug. 14, 1870. Pupil of G. W. Chadwick in
Boston. Has written 2 suites, 3 overtures, a
Southern Rhapsody for orch.; songs; a roman-
tic comedy-opera. The Rose of the Alhambra,
was prod, in Rochester (1905; later in N. Y.).
Hostin'sky, Ottokar, writer on musical
esthetics; b. Martinoves, Bohemia, Jan. 2,
1847; d. Prague, Jan. 19, 1910. Pupil of the
Prague Gymnasium; also studied law and
philosophy. From 1867-8 continued the
study of philosophy at Munich, and took
degree of Dr. phil. at Prague. After resi-
dence in Salzburg and Munich, and a visit to
Italy in 1876, in 1877 he passed the teacher's
examination for esthetics and the history of
music, at Prague Univ.; in 1884 he was app.
extraord., and in 1892 regular, prof, of es-
thetics.— Works: A brief biography of War-
ner (in Bohemian; 1871); Das Musikalisch-
Schone und das Gesammtkunstwerk vom Stand-
punkt der formalen Asthetik (1877; German);
Die Lehre von den musikalischen Kldngen
(1879; German); tJber die Entwickelung und
den jetoigen Stand der tschechischen Oper
(1880); and Vber die Bedeutung der prak-
tischen Ideen Herbarts fUr die aJUgemeine As-
thetik (1883). .
Hotteterre [oht-tarH, Louis, nicknamed
'Le Romain,' from having lived in Rome; was
the finest flutist of his period and chamber-
musician at the courts of Louis XIV and XV.
His father, Henry H. (d. 1683), was a famous
instr. -maker, player on the musette, and also
court musician; and another son, Nicolas H.
(d. 1695), was a celebrated bassoonist and
oboist. Louis wrote: Principes de la fi&e
traversiere ou fltlte dfAUemagne, de la fliUe a
bee ou flUte douce et du hautbois (probably
1699; republished several times); MSthode
pour la musette (1738); L'art de prSluder sur
laflUte traversiere, surlaflilte a bee, etc. (1712;
2d ed., under title MSthode pour apprendre,
etc., abt. 1765); also composed sonatas,
duos, trios, suites, rondes (chansons & darner) ,
and minuets for flute.— Cf. D. J. Carlez, Les
H. (Paris, 1877); E. Thoinan, Les H. et les
ChSdeville (ib., 1894).— See Q.-Lex.
Houdard [oo-dahr'], Georges, b. Neuilly-
sur-Seine, March 30, 1860; d. Paris, Feb. 28,
1913. Pupil of L. Hillemacher and Massenet;
one of the foremost scholars and investigators
of Neume notation. — Works: I Art dit GrS-
gorien d'apres la notation neumatique (1897);
Le rhythme du chant dit GrSgorien d'apres la
notation neumatique (1898); V&oolutxon de
416
HOVEN— HUBER
Vart musical et I* art Grigorien (1902); La
question Griyorienne en 1904 (1904); La can-
tilene Romatne (1905); Aristoxene de Tareni
(1905); La rhythmique intuitive (1906); La
science musicale tradUioneUe (n. d.); Textes
thSoriques . . . Vademecum de la rhythmique
GrSgorienne des X' et XI* siecles (1912). He
also wrote some sacred musk (Requiem, Pa-
ter Noster, 3 Aye Marias, 2 O Salutaris; of-
fertories, elevations, etc., for organ [mostly
is MS.]).
Ho'ven, J. Penname of Vesoue von
POttlingen.
Howard, George H., b. Norton, Mass.,
Nov. 12, 1843. Pupil of John W. Tufts (the-
ory), and B. F. Baker (singing), at the Boston
Music School, where he afterwards taught,
1864-9. Studied 1869-70 in Leipzig Cons.
(Moschcles, Richter, Papperitz), then in Ber-
lin under Haupt and Kullak (pf.). He again
taught in Boston and (1874) in London; then
for several years in the Mich. Cons, of Music
at Olivet, Mich., and 1882-4 in the N. E.
Cons, at Boston, where he gave 41 lectures.
In 1891 he organized the Boston School for
Teachers of Music, of which he is the pi-
rector, and in which he leads the classes in
psychology. He is widely known as a
teacher and lecturer of exceptional ability. —
Published compositions: Songs. — In MS.:
Organ-pieces, anthems, and sacred songs.
Howard, Kathleen, dram, contralto; b.
Clifton, Canada. Pupil of O. Saenger in N.
Y. and J. Bouhy and J. de Reszk6 in Paris;
debut in Metz, Sept., 1907, as Azucena; 1907-
9, member of the opera there; 1909-12, at R.
Opera in Darmstadt; 1913 at R. Opera, Cov.
Gard.; 1914-15 w. Century Op. Co., N. Y.;
1916, at M. O. H. Fine concert-singer; tours
of Germany, England, Holland, Scandinavia
and the U. S. She created the rdle of Myriel
in Parker's Fairyland (Los Angeles, 1915);
her repertoire includes all the contralto and
many mezzo-sop. r61es in standard operas;
her favorites are Orfeo, Carmen, Dalila,
Amneris and Waltraute.
HHmaly [r'zhe-mah'le], Adalbert, violin-
ist, comp., and cond.; b. Pilsen, Bohemia,
July 30, 1842; d. Vienna, June 17, 1908.
Pupil of Mildner at the Prague Cons. He
was app. cond. of the Gothenburg orch. in
1861, at the National Th.f Prague, in 1868,
at the German Th. there in 1873; in 1874
he settled in Czernowitz, Bukowina, as
cond. of the Mus. Soc. and dir. of the Cons.
His opera Der verzauberte Prinz (1871) is in
the repertory of the National Th., Prague;
another opera, Svanda duddk [The Village-
Musician], scored considerable succ. at Pilsen
(1896).— Publ. Tonale und rhythmische Stu-
dien fur die Vidine (Prague, 1895) ; Das kgl.
bdhmische Nationaltheater u. die bohmischen
Komponisten (ib., 1895) ; a song-cycle, Mensch-
liches; a Lauda Sum for soprano solo w.
string-quartet ; an A dagio f . vl.,vcl. and pf . ; etc.
HHmaly, Johann, brother of preceding;
b. Pilsen, Apr. 13, 1844; d. Moscow, Feb.,
1915. Pupil of Mildner at the Prague Cons.;
1862-3 conc.-master in Amsterdam; settled
in Moscow, 1869, as teacher at the Cons., and
in 1875 head of vl.-dept.; also conc.-master of
the Cons. orch. and leader of his own quartet.
He was one of the most celebrated and suc-
cessful teachers of his time. Publ. Tonleiter-
studien und Obungen in Doppelgriffen fUr
die Violine; also a new.ed. of Mazas' 'Violin-
schule'.
Hu1>ay, Jentt (also known as Eugen
Huber in Germany); son and pupil of Karl;
famous violinist; b. Budapest, Sept. 14,
1858. Also st. with Joachim at Berlin,
(1871—5). Gave concerts in Hungary (1876);
and scored a success at a Pasdeloup concert,
Paris. Became principal vln.-prof. at Brussels
Cons. (1882), and in 1886 at Pest Cons., in
succession to his father. In 1913 the Univ.
of Klausenburg made him Ph. D. (hon. c).
With v. Herzberg, Waldburn and Popper he
formed the 'H. String-Quartet,* wnich is
famed as one of the finest organizations in
Europe. Married, 1894, Countess Rosa
Cebrain. — Works: The operas Alienor (Pest,
1891); Der Geigenmacher von Cremona (ib.,
Nov. 10, 1893; v. succ.); Hungarian opera A
Falu Rossza [Der Dorflump] (ib., 1896; succ.);
Moosroschen (ib., 1903); Lavothas Liebe (ib.,
1906); Anna Karenina (ib., 1915); 2 sym-
phonies (No. 2 entitled 1914-15) ; 4 concertos
for vl. {Cone. dramatiquet op. 21; op. 90; op.
99; Cone. aWantica, op. 101); Sonate roman-
tique f. pf. and vln.; Szenen aus der Czdrda
(op. 9, 13, 18, 32-34, 41, 83) f. pf. and vln.;
Les Fileuses, f. vln. and pf., op. 44, No. 3;
and other vln.-pcs. (some also arr. w. orch.).
Hulmy [Huber], Karl, b. Varjas, Hun-
gary, July 1, 1828; d. Pest, Dec. 20, 1885.
Cond. of the National Th., Pest, and vln.-
prof. at the Cons. — Works: Operas, Szekler
Mddchen (1858), Lustige K urn pant, Des
Konigs Kuss (1875), and Der HofbaU (posth.;
Castle Totis, 1889).
Hu'ber, Eugen. See Hub ay, Jen6.
Huber [hoo'-]t Felix, distinguished Swiss
vocal composer and poet; d. Berne, Feb. 23,
1810. Publ. : 6 Schweizer Lieder, Lieder far
eidgenossiche Krieger, Lieder fur Schweizer
Jiinglinge, etc.
Hu'ber, Ferdinand Ftlrchtegott, another
popular Swiss song-composer; b. Oct. 31,
1791; d. St. Gallen, Jan. 9, 1863. His songs
were highly praised by Mendelssohn.--Cf.
K. Nef, F. F. H. (St. Gallen, 1898).
417
HUBER— HUBERMANN
Hu'ber, Hans, b. Sch5newerd, n. Olten,
Switzerland, June 28, 1852. St. at Leipzig
Cons. (1870-4) under Richter, Reinecke, and
Wenzel; was private music-teacher at Wes-
serline for two years, then at the music-
school at Thann (Aisatia), later at the
Basel Music School. In 1892, Basel Univ.
gave him the hon. title of Dr. phil., and in
1896 he was app. Director of the Music
School, succeeding Bagge. A composer of
strong individuality and poetic temperament,
he has cultivated with pronounced success
almost every field of composition. — Cf. E.
Refardt, H H., in vol. i of 'Monographien
moderner Musiker' (Leipzig, 1906). — Works:
The operas Weltfruhling (Basel, 1894; succ.),
Gudrun (ib., 1896; v. succ.), Der Simplicity
ib., 1912), Frulta di mare (ib., 1914), Die
schone Belindc (Berne, 1916); an oratorio,
Weissagung und Erfullung; choral works with
orch.: Op. 1, Weihgesang {nach dent 8. Psalm);
op. 45, Aussohnung; op. 66, Pandora; op. 91,
Meerfahrt; op. 101, Caenis; Hebr&ische Melo-
dien (no opus-number). — For orch.: 7 sym-
phonies (op. 63, Eine TeUsymphonie; op.
115, E m. [Bocklin]; op. 118, C [Heroische];
op. 134, A; op. 135, u m. (Schweizerische);
without op.-number, Akademische [orig. for
str.-orch. and org.; rewritten f. large orch.]
and Romantische [Der Ceiger von GmUnd]; op.
50, Eine Lustspielouvertiire; op. 86a, Sommer-
ndchte. Serenade No. 1; Wtnterndchte, Ser-
enade No. 2; Romischer Karneval [Humo-
reske nach Scheffel]; op. 40, violin-concerto
in G m.; 4 pf. -concertos (op. 36, C m.; op.
107, C; op. 113, D; Bb, no op.-number). —
Chamber-music: 9 Sonatas f. vl. and piano
(op. 18, C na.; op. 42, Bb; op. 67, D; op.
102, G; op. 112, E; op. 116, D m. [Appassio-
nato]; op. 119, G [Graziosa]; op. 123, A [Lirica];
op. 132 [?]); op. 17, Fantasie in G m. for
vl. and pf.; op. 82, Suite in G f. do.; op. 83,
8 Trio-Fantasien f. do.; 4 Sonatas f. vcl. and
pf. (op. 33 , D; op. 84, A [Pastorale]; op. 114,
C m.; op. 130, Bb); op. 89, Suite in D m.,
f. vcl. and pf.; 4 pf. -trios (op. 20, Eb; op.
65, E; op. 105, F; op. 120, Bb [Bergnovelle]) ;
2 pf. -quartets (op. 110, Bb; op. 117, E);
2 pf. -quintets (op. Ill, G m.; op. 125, G
[Divertimento]); for 2 pfs. 4 hands (op. 31,
Sonata No. 1; op. 64, Improvisationen; op.
121, Sonata No. 2; op. 126, Sonata No. 3);
for pf . 4 hands (op. 1 1 and 47a, handler vom
Luzerner See; op. 15, Romansen-Zyklus; op.
23 and 23b, Balletmusik zu Goethes Walpur-
gisnacht; op. 41, A us Goethes West-osUichem
Divan; op. 57, Suite; op. 62, Italienisches
Album; op. 68, Florestan; op. 71, Variationen
uber einen Walzer von Brahms; op. 73, Land-
liche Suite; op. 75, Ballfest; op. 76, Im Winter;
op. 95, Gila Govinda; op. 100, Prdludien und
Fugen in alien Tonarten; op. 108, Kinder-
garten); for pf.-solo (op. 7, Studien uber ein
Originalthema; op. 9 and 124, Etuden; op.
19, Serenade; op. 47, Sonata [zu Maler N olten];
op. 60, handler ; op. 81, 5 Elegien; and numer-
ous smaller pieces, op. 2, 5, 8, 10, 12, 14,
etc.) ; choruses a capp. and w. instrl. accomp.
(op. 29, 39, 52, 69, 72, 74, 88); vocal duets
(op. 58, 80) ; songs (op. 13, A us Mirsa Schaffy;
op. 25, Fruhlingsliebe; op. 32, Peregrine; op.
38, 44, 53, 61, Mddchenlieder; op. 98, Fiedel-
lieder).— Works without op.-number: Aus
den Alpent 20 BagateUen, Sehweizer Lieder
und Tame, f. pf. 4 h.; 9 Romantische Stucke
f. pf. and vl.; 3 Romanzen f. vcl. and pf.;
6 choruses f. women's vcs. w. pf., via., fl.,
horn; 9 Serbian and Rumanian folk-songs f.
mixed ch. a capp.; and numerous pes. f. pf.
Hu'ber, Joseph, comp.; b. Sigmaringen,
Apr. 17, 1837; d. Stuttgart, Apr. 23, 1886.
Pupil, at Stern Cons., Berlin, of L. Ganz
(vln.), Marx (theory), and at Weimar of
E. Singer and P. Cornelius. He became
violinist in the Prince of Hechingen's orch.
at L6wenbere; in 1864 was app. Konzert-
meister of the Euterpe 6rch., Leipzig; in
1865, violinist in the royal orch., Stuttgart.
— Works (in which the influence of Liszt
and P. Lohmann is seen) : 2 operas, Die Rose
von Libanon and Irene (both publ., but not
perf.); 4 one-movement symphonies (No. 3,
after Lohmann 's drama Durch Dunkel zum
Licht; No. 4, after the same author's Gegen
den Strom), songs, instrl. music, etc.
Hu'ber, Karl. See Hubay, Karl.
Huberdeau [Q-bar-dohl, Gustave, cele-
brated dram, basso; b. Paris, c. 1878. St.
vl. and singing at the Paris Cons, from
1895-8; debut at Opera-Comique in 1898
as Bartolo in // Barbiere di Siviglia; his
decided success led to an immediate engage-
ment there, and for 10 years he was a
member of the institution*; in 1908-10 with
the Manhattan Opera Co., N. Y., where he
created Orestes in the Amer. premiere of
Strauss' Elektra; since 1910 one of the
favorite and most versatile artists of the
Chicago Opera Co. His repertoire comprises
practically all modern French and Italian
operas (PelUas et Melisande, Louise, Jongleur
de Notre-Dame, Thais [2 roles, Prior and
Painter monk], Quo Vadis, Fanciulla del
West, etc.) and many standard works (Nozze
di Figaro, Aida, Rigoletto, Hamlet, Huguenots,
Carmen, Faust, LakmS, etc.).
Hubermann fhoo'-], Bronislav, b. Czen-
stochowa, n. Warsaw, Dec. 19, 1882. At a
very early age he began to study the vln.
with a local teacher, Michalowicz, was then
taken to Paris to Isidor Lotto, under whom
his progress was amazing, and in 1892 was
for 8 months a pupil of Joachim in Berlin;
made a sensational debut in 1893 in Amster-
dam, and played the same year in Brussels
418
HUBERT— HUEFFER
and Parts; in 1894 Patti heard him in Lon-
don and at once engaged him to appear
with her at one of her farewell concerts in
Vienna. There (in 1895) he played the
Brahms concerto and was commended by
the master himself. In 1896-7 he toured
the U. S.; since then has visited every
country of Europe. At a monster concert
arranged in 1909 by the city of Genoa for the
sufferers by the Messina earthquake, H. was
honored by an invitation to play upon
Paganini's Guarnerius (preserved in the
Museum of Genoa). He has publ. Aus der
Werkstatt des Virtuosen (Vienna, 1912).
Hubert, Nikolai Albertovitch, b. Petro
frad, Mar. 19, 1840; d. Moscow, Oct. 8, 1888.
'upil of his father and at Petrograd Cons.
(1863-8) of Zaremba (theory) and N. Rubin-
stein (instrm.); 1869-70, dir. of the classes
of the Imp. Russ. Mus. Soc. at Kiev; 1870,
prof, of theory at the Moscow Cons.; in
1881 he succ. Rubinstein as dir., but resigned
in 1883; since then music critic of 'Moscow
News,' as succ. to Laroche, and contrib. to
various mus. publications.
Huber'ti, L&m-Gustave, distinguished
composer; b. Brussels, April 14, 1843; d.
there July, 1910. Pupil of Brussels Cons.,
where he won the Prix de Rome in 1865. From
1874-8 he was Dir. of Mons Cons.; from
1880-9, prof, and inspector of singing in the
schools of Antwerp; from 1889, prof, at
Brussels Cons., and Dir. of the Music-School
of St.-Josse-ten-Noode-Schaerbeek. In 1891
he was elected a member of the Belgian
Academy, and in 1893, chevalier of the Legion
of Honor. — Works: 3 oratorios, Een laatste
Zonnestraal (1874), Bloetnardinne, and Willem
van Oranjes dood; the dram, poem Verlichting
(Fiat lux), for soli, ch., organ and orch.; the
symph. poem Kinderlust en Leed, for ch. and
orch.; and several other- works of the same
class; for orch. alone: a Symphonie funkbre,
a Suite romantique, a 'scene de genre In den
Gaarde, and Triomffeest (with organ); also
various festival marches, etc. ; a score of vocal
soli with orch. accomp.; numerous French,
Flemish, and German songs with piano; an
Andante et intermezzo, for 4 flutes and orch.; a
piano-concerto; F. pf. solo: An £tude, a ConU
d' enfant, a Tarentelle, Impromptu, Historictte,
£tude rythmique, and Valse Unte; and an a
cappella male chorus, Van Maerlantszang.
Hucbald [Hugbal'dus, Ubaldus, Uchu-
baldus], b. circa 840; d. St.-Amand, near
Tournay, June 25 (or Oct. 21), 930, or June
20, 932. Pupil of his uncle Milo, mus. director
at the St.-Amand monastery. At 20 years of
age, owing to his uncle's jealousy, he retired to
Nevers, where he established a singing-school.
He continued his studies at St. -Germain
d'Auxerre c. 860, and in 872 succeeded his
uncle at St.-Amand. In 883 he dir. a similar
school at St.- Bert in, and c. 893, with Re mi
d'Auxerre, was called by the Archbishop of
Rheims to reestablish the old church-schools
in the diocese. On the death of the Arch-
bishop (June, 900), H. returned to St.-Amand.
His Harmonica institutio or Liber de musica
contains the earliest known examples of
notation practically illustrating the rising and
falling of pitch ; parallel lines being employed,
and the intervals of whole notes ana semi-
tones shown at the beginning by s^semitonium,
t= tonus. The following works are printed in
Gerbert's 'Scriptores' (vol. i): De Harmonica
institutions, Musica enchiriadis, fragments
entitled Alia musica, and Commemoratio
brevis de tonis et psalmis modulandis. W. Muhl-
mann {Die 'Alia musica,*- Leipzig, 1914) es-
tablished the fact that H. is not the author of
that work. — Cf. H. Riemann, Geschichte der
Musiktheorie (Leipzig, 1898). — See Q.-Lex.
Hudoy [Q-dwah'J, Jules, President of the
'Societe des Sciences et des Arts' at Lille;
author of Histoire artistique de la cathedrale de
Cambray (Paris, 1880), a very valuable work
as regards the music of the 15th century.
Hue, Georges-Adolphe, born Versailles,
May 6, 1858. Pupil, in Paris Cons., of Reber
and Paladilhe; took 1st Grand prix de Rome
in 1879, and the Prix Cressent in 1881; now
living in Paris as teacher and comp. ; chev. of
the Legion of Honor. — Works: The operas
Les Pantins (Op.-Com., 1881), Le Roi de
Paris (Opera, 1901), Titania (Op.-Com., 1903),
Le Miracle (Opera, 1910); Rubczahl, symph.
legend in 3 parts (Concerts Colonne, 1886);
Teerie dramatique' La Belle au bois dormant
(Paris, 1894; succ.); Resurrection, 'episode
sacre' (Cons. Concerts, 1892); Le Berger,
ballade, and a Fantaisie for vln, (1893); a
pantomime, Cctur brisS; also 1 symphony, a
symphonic overture Rtoerie and Serenade for
small orch., Romance for vln. and orch., choral
works, and songs of more than average merit
(6 songs from Heine's Lyrisches Intermezzo;
Croquis d' Orient; Chansons printanieres, etc.).
Hueffer, Francis, b. Munster, May 23, 1843 ;
d. London, Jan. 19, 1889. Studied modern
philology and music in London, Paris, Berlin
and Leipzig. The Gdttingen Univ. conferred
upon him the degree of Ph. D. for his first
publication (1869), a critical edition of the
works of Guillem de Cabestant, troubadour
of the 12th cent. In 1869 he settled in London
as a writer on music, and from 1878 was music
critic of the Times. He warmly espoused the
cause of national English opera, and wrote
the libretti of Mackenzie's colomba and The
Troubadour, also of Cowen's Sleeping Beauty.
Other works: Rich. Wagner and the Music of
the Future (1874), The Troubadours: a History
of Provencal Life and Literature in the Middle
419
HUGHES— HULLAH
Ages (1878), Musical Studies (1880; reprints
of his articles from the Times and Fortnightly
Review [Ital. transl. by Visetti, Milan, 1883]);
Italian and Other Studies (1883), Half a Cen-
tury of Music in England (1889; 2d edition
1898); he also translated the correspondence
of Wagner and Liszt into English, and was
editor of Novello's series of biographies 'The
Great Musicians/ for which he wrote Wag-
ner (1881).
Hughes, Rupert, b. Lancaster, Mo., Jan.
31, 1872. Pupil in cpt. and theory of W. G.
Smith in Cleveland (1890-2), E. S. Kelley in
New York (1899) and Dr. Ch. Pearce in Lon-
don (1900-1). Author of American Composers
(1900; rev. and enlarged by A. Elson, 1915);
Love-affairs of Great Musicians (2 vols., 1903);
The Musical Guide (2 vols., 1903; rev. as
Music Lover's Cyclopedia [in 1 vol. I, 1912);
has edited Thirty Songs by American Compo-
sers' (1904). Comp. of piano-pieces and songs.
Hugo, John Adam, b. Bridgeport, Conn.,
Jan. 5, 1873. From 1888-97 he attended the
Stuttgart Cons., where he studied pf. with W.
Speidel, comp. with I. Faiszt, orchestration
with K. Doppler and H. Zumpe. Having
appeared as concert-pianist in Germany,
England and Italv, he returned to the U. S.
in 1899; instr. of piano at Peabody Cons.,
Baltimore, 1899-1900; 1901-6, dir. of the
European Cons, and head of mus. -department
of the Woman's Coll. there; since then living
in Baltimore as private teacher and composer.
— Works: 2 Concertos for piano and orch.
(op. 7, F m.; op. 11, C); Symphony in C; a
piano-trio in Eb (op. 4); pieces for vln.; do.
for vcl.; pf. -pieces; songs. In MS. he has 2
operas, The Hero of Byzanz (3 acts) and The
Temple Dancer (1 act).
Huhn, Bruno (Siegfried), b. London,
England, Aug. 1, 1871; piano-pupil of Miss
Sophie Taunton, and played in London and
the provinces 1881-9; starting in Sept., 1889,
he toured Spain, Italy, Egypt, Southern
India, and Australia, where he stayed 18
months, giving concerts in leading towns. In
1891 he went to New York; took piano-lessons
of S. P. Mills and theory with L. Alberti; first
Eiano-recital at Steinway Hall, April 17, 1896.
[. is a noteworthy accompanist. A self-taught
organist, he has held several positions in New
York, being at present (1916) org. and mus.
director at Plymouth Ch., Brooklyn; also
cond. of 'Nylic Choral Soc.' and 'Arbuckle
Inst. Choral Club'; director of Arbuckle Inst.,
Brooklyn. — Works: Te Deum Laudamus and
Jubilate Deo for soli,, ch., orch. and organ;
Blest Pair of Syrens, for fern, ch., orch. and
organ; Ttie Message, for female ch., piano and
organ; The Divan, song-cycle for mixed
quartet and piano; part-songs for male chorus;
anthems, songs, and piano-pieces.
Huhn, Charlotte, alto singer in concert
and opera; b. Luneburg, Sept. 15, 1865; pupil
1881-5 of Hiller and Paul Hoppe at the Co-
logne Cons., and 1887-9 of Hey in Berlin, then
making a brilliant debut at Kroll's Theatre as
Orpheus. On the stage thereafter at New
York 1890-1, at Cologne 1892-5, at Dresden
1895-1902, and at Munich 1902-6. She then
retired, and is now living as teacher in Dres-
den; 'Kgl. Kammersangerin.'
Hull, Arthur Eaglefleld, b. Market Har-
borough, England, 1876. Private pupil of
J. H. Wood, T. Matthay and Dr. Ch. Pearce
in London. Since 1904 org. and choirm. at
Huddersfield Parish Ch.; principal of Hud-
dersfield Coll, of Music; editor of The Month-
ly Musical Record'; Mus. Doc. (Oxon.); F. R.
C. O. In 1906 he married Constance Barratt,
an accomplished violinist. Author of Organ
Playing, its Technique and Expression (1911),
Modern Harmony, its Explanation and Appli-
cation (1914), and The Sonata in Music; has
edited for Augcner the complete organ-works
of Bach and Mendelssohn (with annotations
for students); also editor of 'Music Lovers'
Library' and 'Library of Music and Musicians'
(in which the volumes on 'Scriabin,' 'Bach/
and 'Three English Composers,' are by H.
himself). Has comp. and pu bl. op. 1, Resur-
rection Morning (oratorio); op. 2, Paraphrase
on 2 melodies of Grieg; op. 3, Variations
poctiques; op. 4, Toccatina on *Corde Natus1;
op. 5, Fantasia on an old English Carol; op.
6, Prelude, Berceuse and Reverie; op. 7, Rus-
sian Country Scenes (for piano; op. 2-6 are
for organ).
Hullah, John Pyke, b. Worcester, June
27, 1812; d. London, Feb. 21, 1884. Pupil of
W. Horsley (1829) ; st. singing w. Crivelli at
the R. A. M. (1833). First became known as
a comp. of opera, prod. The Village Coquette
[libretto by Dickens] (London, 1836), The
Barbers of Bassora (1837), and The Outpost
(1838). In 1841, with the sanction of the
national education committee, he opened his
'Singing-school for Schoolmasters' at Exeter
Hall. The system of tuition was the French
one of Wilhem, which H. had studied in
Paris( 1839-40), and modified to suit English
requirements. Notwithstanding jealous and
bitter criticism, it became so successful and
popular that from 1840-60 25,000 persons
passed through its classes. In 1847 his
scholars and admirers erected, and presented
him with, St. Martin's Hall for tne public
performances of his pupils. Inaugurated 1850,
it was burned in 1860. From 1844-74 H. was
Crof. of singing at King's College, and later
eld similar positions at Queen's and Bedford
Colleges. On the death of Horsley (1858) he
was app. Charter House organist. He cond.
the R. A. M. concerts, 1870-3, and for several
420
HOLLER— HUMMEL
years the annual concert of the Metropolitan
School-children at the Crystal Palace. In
1872, app. Inspector of Training Schools.
Received the hon. degree of LL. D. from
Edinb. Univ. in 1876, and was elected member
of the Cecilia Soc., Rome, and of the Acad, of
Music, Florence. He edited some .admirable
collections of vocal music, and Wilhem's
Method of Teaching Singing, Adapted to English
Use. Wrote A Grammar of Vocal Music; A
Grammar of Harmony; A Grammar of Counter-
point; The History of Modern Music (1862);
The Third or Transition Period of Musical
History (1865); The Cultivation of the Speaking
Voice; Music in the House (1877); and numer-
ous historical and scientific mus. essays publ.
in various periodicals. Besides the operas
mentioned, he comp. motets, anthems, con-
certed vocal music, and many songs, of which
0 that we two were Maying, The Storm, and
Three Fishers, still remain popular. — Cf.
Life of John H.t by his wife (London, 1886).
Huller, J. A. See Heller.
HfklTmandel, Nicholas- Joseph, cele-
brated pianist and performer on the harmo-
nica; b. Strassburg, 1751; d. London, Dec. 19,
1823; nephew of the famous horn- virtuoso,
Rodolphe. He first studied music in the
Strassburg Cath. school; became a pupil of
the 'Hamburg Bach' (Ph. Em.); went in 1775
to Milan, in 1776 to Paris, and for ten years
was a fashionable teacher. In 1787 he made
a wealthy marriage and retired, but the
Revolution drove him to London, and he
again gave lessons. Napoleon restored a
portion of his property, and he again retired
into private Hie. H.'s playing and composi-
tions had considerable influence on Frencn art
of the period. He publ. 12 piano- trios, op. 1-2;
14 vln. -sonatas with piano, op. 3, 4, 5, 8, 10,
11; 6 piano-sonatas, op. 6; Divertissement, op.
7; and 2 sets of airs and variations for solo
piano, op. 9. — See Q.-Lex.
Hull'weck, Ferdinand, b.'Dessau, Oct. 8,
1824; d. Blasewitz, n. Dresden, July 24, 1887.
Fine concert-violinist. Pupil of FY. Schneider;
in 1884, 2d leader of Dresden court-orchestra.
Teacher in Dresden Cons. ; retired 1886. Publ.
educational works for violin.
Hull'weck, Karl, b. Dresden, April 15,
1852; son of Ferd. H. Pupil of Fr. Grtttz-
macher ('cello) from 1865-70; harm, and cpt.,
Ad. Reichel and G. Merkel; pf., G. Schmole.
1870, 'aspirant' in Dresden court orch.; 1877,
full member (Kammermusikus), and, till
1882, teacher of 'cello, Dresden Cons. —
Works: Mazurka for 'cello and piano, op. 6;
Arioso for 'cello and org. (or pf.), op. 7; Ca-
pricci for 'cello and pf., op. 9.
Humbert [6n-bar1, Georges, b. St.-Croix,
Switzerland, Aug. 10, 1870. Pupil of Hubert!
and de Greef at the Brussels Cons.; studied
further at the Leipzig Con9. and the Kgl.
Hochschule in Berlin (W. Bargiel). From
1892-1912, prof, of history of music at the
Geneva Cons, (since 1912, hon. prof.); 1892-6
org. and m. de chap, at Notre-Dame; 1893-
1901, cond. of the 'Societe de l'Orchestre' at
Lausanne; 1898-1912 org. at the Temple in
Morges. From 1894-6 he edited the 'Gazette
musicale de la Suisse romande'; since 1908 ed.
of 'La Vie musicale.' Has publ. Notes pour
servir a V&tude de Vhistoire de la musique (vol.
i, 1904; 2 more vols, are in preparation). He
is the translator into French of Riemann's
Musiklexikon (1899; 2d edition 1913), Verein-
fachte Harmonielehre (1899) and Elemente der
musikalischen Asthetik (1906).
Humfrey [Humphrey, Humphrys], Pel-
ham, b. London, 1647; d. Windsor, July 14,
1674. Important early English composer,
lutenist, and lyricist. In 1660, Chapel Royal
chorister, and became known as a comp. In
1664 Charles II sent him to Paris to study
under Lully, and also to Italy. During his
absence (1666) he was app. Gentleman of the
Chapel Royal; in 1672 he succeeded Cooke as
master of the Chapel Royal children, and
comp. (with Purcell). for the King's private
string-orch. Two years later he (Tied at the
early age of 27. He introd. new and beautiful
effects, after Lully's style, into his comps.,
and had a predilection for minor keys. —
Works: Evening Service in E m.; 2 odes for
the King's Birthday; anthems, songs.
Humiston, William Henry, b. Marietta,
O., April 27, 1869. Studied piano and harm,
with W. S. B. Mathews (1884-93) and organ
with C. Eddy (1885-94) in Chicago; cont.
org. with R. H. Woodman (1895) and studied
comp. with Mac Do well (1896-99) in New
York. Organist at Lake Forest Presb. Church,
Chicago, 1889-91 and 1893-4; at First
Con$r. Ch., 1891-3; 1896-1906, org. at
Trinity Congr. Church, East Orange, N. J.;
at Presb. Church, Rye, N. Y., 1906-9; cond.
opera companies (comic and grand), 1909-12;
since 1912 annotator of the programs of the
Philh. Soc., New York, and lecturer. Comp.
of Southern Fantasie for orch. (1906); Suite
in F# m. for orch. (1911); Iphigenia, dram,
scene for sop., ch. and orch. (1913); overture,
Twelfth Night (written for Maud Adams'
production, 1916); songs.
Hum'mel, Ferdinand, composer; b. Ber-
lin, Sept. 6, 1855. Son and pupil of a musician,
at the age of 7 he was a harp-virtuoso; from
1864-7 made a concert-tour of Europe with
his father, and was the recipient of a royal
grant for additional study. Pupil at Kullak's
Akademie (1868-71); 1871-5 at the Royal
High School of Music under Rudorff and
Grabau (pf.); at the Akademie school for
comp. under Kiel and Bargiel; Kgl. Musikdi-
421
HUMMEL— HUMPERDINCK
rektor in 1897.— Works: The operas Mara
(Berlin, 1893; succ.); Ein treuer Schelm
(Prague, lS9A);Angla (Berlin, 1894, unsucc.);
Assarpai (Gotha, 1898; succ): Sophie von
Brabant (Darmstadt, 1899); Die Beickte
(Berlin, 1900) ; 'Marchen-Schwank' Das heilige
Lachen (Berlin, 1892); 'Marchendichtungen'
for solo and 3-part female chorus: Rumpel-
stilzchen, Frau Holle, Hansel und Gretel, Die
Meerkonigin, Die Najaden; Columbus, Jung
Olaf, Der neue Hen Uluf, Germanenzug, Das
Geisterheer, for soli, mixed chorus and orch.;
an overture, op. 17; Symphony in D, op. 105;
4 'cello-sonatas; Phantasiestttcke for 'cello and
piano (Marchenbilder and Waldleben;); Not-
turno for 'cello, harp and harmonium; piano-
quintet; piano-quartet; piano-trio; violin-
sonata, horn-sonata, piano-suite for 4 hands;
Konzertstuck for piano, op. 1; pf. -concerto in
Bl? m., op. 35; rantasie for harp and orch.; 2
concert-polonaises for piano; other pf.-pcs.
Hum'mel, Johann Nepomuk, celebrated
pianist and comp.; b. Presbure, Nov. 14, 1778;
d. Weimar, Oct. 17, 1837. Son and pupil of
Joseph H., music-master of the Wart berg
Military School. In 1786 the father was app.
Kapellm. of Schikaneder's Th., Vienna, and
there Mozart interested himself in young H.,
took him into his house, and for two years in-
structed him. He made his debut in 1787 at a
concert given by Mozart in Dresden; 1788-93
he accomp. his father on professional concert-
tours as pianist, visiting Germany, Denmark,
Scotland, England and Holland. On his re-
turn to Vienna he applied himself to serious
study in cpt. under Albrechtsberger, and profit-
ed by. the counsel of Haydn and Saheri in
comp. From 1804-11, he acted as deputy-
Kapellm. for Haydn, in Prince Esterhazy's
service. From 1811-16 he taught and comp.
in Vienna; in 1816, was app. court Kapellm.
at Stuttgart, and in 1819 at Weimar. He
obtained frequent leaves of absence for profes-
sional tours; in 1822 he went to Petrograd
with the Grand Duchess Marie Pavlovna; in
1825 to Paris, where he was made Chevalier
of the Legion of Honor; in 1826 visited Bel-
gium and Holland, in 1827 Vienna, in 1828
Warsaw, and France again in 1829. In 1830
and '33 he went to England, and cond. a
season of German opera at the King's Th.,
London. The last years of his life were
marked by ill-health and much suffering. He
was one of the most famous piano- virtuosi and
extemporists of his period, and at one time
was considered the equal of Beethoven. His
comps. are distinguished for excellence of
construction and brilliancy of ornament.
They number 124, and include 9 operas, can-
tatas, ballets, now forgotten; 3 masses for 4
voices, orch, and org., in Bb, Eb, and D; a
Graduate and Offertorium, still in use in
Austrian churches; a long list of piano-comps.
— 7 concertos and some sonatas remain stan-
dard pieces — and much concerted music, of
which the septet in D m., op. 74, is considered
a masterpiece. H.'s Anweisung zum Piano-
fortespiel (1828), an elaborate instruction-
book, and one of the first to give a sensible
method of fingering, appeared too late to be
of much use. — His wife, Elisabeth H., ne'e
Rockl, b. 1793, d. Weimar, March, 1883, was
an opera-singer. — See Q.-Lex.
Hum'mel, Joseph Friedrich, b. Inns-
bruck, Aug. 14, 1841; d. Salzburg, 1908. Pupil
of Munich Cons. From 1861-80 theatre-
Kapellm. at Glarus, Aix-la-Chapelle, Inns-
bruck, Troppau, Linz, Briinn, and Vienna.
From 1880-1907, dir. of the Mozarteum,
Salzburg, music-teacher at the Training Col-
lege, and cond. of the 'Liedertafel.'
Hum'perdinck, Engelbert, b. Siegburg,
n. Bonn, Sept. 1, 1854. Studied architecture
in Cologne, where Ferd. Hiller persuaded him
to devote himself to music. Entered Cologne
Cons., studied harm, and comp. with Hiller,
Gernsheim and -Jensen; piano (Seiss and
Mertke); 'cello (Rensburg and Ehlert). After
4 years, won Mozart scholarship at Frank-
fort; then studied 2 years at Munich with
Franz Lachner, also in Cons, under Rhein-
berger and Barmann. Puhl. several comps.,
Humoreske for orch. and Die WaUfahrt nach
Kevlaar for chorus, which in 1897 won the
Mendelssohn prize (3,000 marks) in Berlin;
in 1881 he won the Meyerbeer prize (7,600
marks), and visited Italy and France. In
Italy he met Wagner, who invited him to
be his guest at Bayreuth. Here H. was privi-
leged to assist the master in preparing the
score of Parsifal for publication, rendering
the same services that Richter and Seidl had
performed for the scores of the Ring dramas.
From that time on the relations between H.
and the Wagner family have remained the
most cordial; for a few years later Siegfried
Wagner became H.'s pupil and received his
entire musical education from him. From
1885-7 H. was prof, in the Cons, in Barcelona;
after his return to Germany he taught a short
time in Cologne, and then went to Mayence
in the employ of B. Schott's Sonne; in 1890 he
became prof, at Hoch's Cons, in Frankfort,
and mus. critic for the 'Frankfurter Zeitunj|.'
On Dec. 23, 1893, he made his debut in
Weimar as a dramatic composer with the 2-
act fairy-opera Hansel und Gretel (text by his
sister, Adelheid Wette). Aside from the in-
trinsic merit of the score, which would have
compelled success at any time, the work ap-
peared at the psychological moment. The
German public, weary of the inflated bom-
bast of the Wagner-imitators, had welcomed
the blood-and- thunder effects of Italian 4ve-
rismo' as a relief from the labored dullness of
422
HUNEKER— HURLSTONE
its native composers. And now a new com-
poser, drawing inspiration from the inexhaus-
tible fount of native folk-music, found true
musical expression for a thoroughly German
subject, and the public was electrified. Be-
fore a year had passed, the work was in the
repertoire of every German opera house; even
abroad its success was extraordinary and last-
ing (American premiere at Daly's Th., N. Y.,
Oct. 8, 1895). As soon as H. had shown a new
path a host of imitators ransacked German
fairy-lore, but with the usual ill-success of
imitators. As H.'s health had never been
robust, he determined after this success to
give up teaching, and in 1896 he retired to
oppard on the Rhine to devote himself en-
tirely to composition. His next work was Die
sieben Geislein (1897), a fairy-play for children,
written for voice and piano; in 1898 he wrote
incidental music to E. Rosmer's Konigskinder,
of which the instrumental numbers made a
more favorable impression than the melo-
dramatic portions. In 1900 he accepted a call
as director (with practically nominal duties)
of the 'Akademische Meisterschule' in Ber-
lin, where he has resided since then. Neither
of his next two operas, Dornrdschen (Frank-
fort, 1902) and a comedy-opera Die Heir at
wider WUlen (Berlin, 1905), was successful;
the libretti are poor, and the music lacks the
naivete of Hansel und Gretel, H. now turned
to writing incid. music, illustrating Shake-
speare's Merchant of Venice (1905), Winter's
Tale (1906), Tempest (1906), Aristophanes'
Lysistrata (1908) and Maeterlinck's I'Oiseau
bleu (1910). In 1908 he recast the music of
Konigskinder as a real opera; at the premiere
at the M. O. H. in New York (Dec. 28, 1910),
the composer was given a veritable ovation,
and the work is one of the very few that have
maintained themselves in the repertoire; it
was received with much less enthusiasm in
Germany. H.'s latest works are elaborate
incidental music to Vollmflller's Mirakel
(Berlin, 1911) and another comedy-opera,
Die Marketenderin (Cologne, 1914). Had not
the outbreak of the war lent a special interest
to the subject, this last work could scarcely
have escaped the fate of a complete fiasco.
Besides the works enumerated, H. has written
incid. music to Der Richtervon Zalamea (1896),
a choral ballade, Das Gluck von Edenhall; Mau-
rische Rhapsodic for orch. (1889) ; a Symphony
in C (MS.). Of his songs several, especially
the 'Kinderlieder,' are likely to become the
property of the entire nation. H.'s fame still
rests upon his one opera Hdnsel und Gretel,
which in the history of opera will stand as a
landmark showing the path to new develop-
ment. His power of specific thematic inven-
tion is limited, but his command of technic is
supreme. — Cf. G. Mttnzer, E. H., in 'Mono-
graphien moderner Musiker' (vol. i, Leipzig,
1906); E. Istel, German Opera since Richard
Wagner, in 'Musical Quarterly* (April, 191 5);
O. Besch, £. H. (Leipzig, 1915).
Hu'neker, James Gibbons, musical writer
and critic; b. Philadelphia, Jan. 31, 1860. He
studied piano-playing with Michael Cross at
Philadelphia, also from 1878 in Paris with
Th6odore Ritter; later with Joseffy at the
Natl. Cons., New York; theory with Leopold
Doutreleau. Settled in New York, where
(1888-98) he was teacher of piano at the
National Cons.; 1891-5, musical and dra-
matic critic of the 'N. Y. Recorder'; 1895-7,
of the 'Morning Advertiser'; 1900-12, critic
for the 'Sun' of music, drama and art. Has
written for various journals in New York.
London, Paris, Berlin, and Vienna. Furnished
the critical and historical text for Joseffy's
new edition of Chopin's works (publ. by G.
Schirmer). — Works: Mezzo-Tints in Modern
Music (1899); Chopin: The Man and His Mu-
sic (1900); Melomaniacs (1902); Overtones:
Music and Literature (1904); Iconoclasts: A
Book of Dramatists (1905); Visionaries: Fan-
tasies and Fiction (1905); Egoists:. A Book of
Superman (1909) ; Promenades of an Impression-
ist: Studies in Art (1910); FranzLiszt: A Study
(1911); The Pathos of Distance (1913); Old
Fogy: Musical Grotesques (1913); New Cos-
mopolis (1915) ; Ivory, Apes and Peacocks (1915).
Hunlce, Joseph, b. Josef stadt, Bohemia,
1801 ;d. Petrograd, Dec. 17, 1883; choirmaster
of the Russian court chapel-choir; wrote nu-
merous sacred compositions; also methods of
Harmony and Composition (both in Russian).
Hun'ten, Franz, b. Koblenz, Dec. 26,
1793; d. there Feb. 22, 1878. Pupil of his
father, an organist, then at the Paris Cons.
(1819) under Pradher (pf.), Cherubini (cpt.)
and Reicha (harm). He lived in Paris as a
fashionable teacher until 1837, when he re-
turned to his native city. His pleasing and
popular piano-works were remunerated with
extraordinary prices. Works: MSthode nouvelle
four le piano, op. 60; piano- trio, op. 14; duos
for piano and violin, op. 22, 23; serenades,
divertissements, rondos, fantasias, etc. His
brothers, Wilhelm H., pf. -teacher at Kob-
lenz, and Peter Ernst H., do. at Duisburg,
also comp. piano-music of similar character.
Hurel de Lamare [il-rel' du lah-mahr'],
Jacques-Michel, celebrated 'cellist; b. Paris,
May 1, 1772; d. Caen, March 27, 1823. Pupil
of Duport the younger. 'Cellist at the Th.
Feydeau, Paris (1794); 1801-9, made a tour
of Germany and Russia; retired in 1815. 4
'cello-concertos publ. under his name were
the work of his friend Auber.
Hurlstone, William Yeates, b. London,
Jan. 7, 1876; d. there May 30, 1906. Talented
composer; pupil at R. C. M. of Stanford,
423
HURSTINEN— HUTSCHENRUIJTER
Dannreuther and A. Ashton; later app. prof,
of harm, and cpt. — Works: Pf. -concerto in D;
The Magic Mirror, fairy suite for orch.; vars.
on a Hungarian air, for orch.; Fantasie Varia-
tions on a Swedish air, for orch.; a string-
quartet; a quintet for piano and wood-wind;
a piano-quartet; a suite for clar. and piano;
sonata for piano and vln. ; do. for piano and
vcl.; do. for piano and bassoon; do. for piano
and clar. ; songs and part-songs.
Huratinen [hodr'ste-nen], Sulo, distin-
fuished Finnish violinist ; b. Helsingfors, Dec.
, 1881. Having received his first instruction
from local teachers, he was sent to O. Sevfik
in Prague and then to K. Halir in Berlin; has
met with great success on his tours of Ger-
many, Finland and Scandinavia; for a short
time he taught at the Music Inst, in Helsing-
fors. He has publ. a number of comps. for
violin and piano (Fantasiestuck, Finnish
minuet, Valse elegiaque, etc.), and numerous
arrangements; also a violin method. In MS.
he has a Suite in A m. for orch.
Hum, George J., b. Roth, n. Nuremberg,
Bavaria, Sept. 25, 1828. Pupil of his father,
Joh. Mich. Muss (pf.) and Lambrecht (org.).
Went to America 1848; became org. of the
First Presb. Ch. of Elizabeth City, N. J.;
later of the Second Presb. and South Park
Presb. churches in Newark. Moved to New
York in 1856, where he was org. of the Uni-
versity Place Presb. Ch. 1858-68. He was
principally engaged as a piano-teacher. Va-
rious sacred and secular comps., most in MS.
Hum, Henry Holden, comp. and concert-
pianist; b. Newark, N. J., Jan. 21, 1862. Pupil
of his father (pf.) and 0. B. Boise (cpt. and
comp.), also, 1882-5, at Munich Cons, of
J. Giehrl (pf.) and J. Rheinberger (organ,
comp.), graduating with a Rhapsody for piano
and orch. in C m. On his return to the U. S.
he settled in 1885 in New York as teacher and
concert-pianist; debut in 1887 with Boston
Symphony Orch., playing his Rhapsody in C
m.; has since played with the leading orchs.
(N. Y. Philh., Cincinnati Symphony, Pitts-
burgh Symphony, etc.) ; has had considerable
success witn his first concerto for piano and
orch. (B, op. 10), which has also been per-
formed by Raoul Pugno and Adele aus der
Ohe. On June 15, 1904, he married Hilde-
gard Hoffmann, a noted concert -soprano, and
since then the two artists have frequently
appeared in joint recitals. — Works: Op. 1,
Ballade for piano in F; op. 2, Wald-Idylle for
small orch. (MS.); op. 3, Rhapsodie for piano
and orch. (MS.); op. 4, Ave Maria for female
ch., soli, strings, org. and harp; op. 5, 3
pieces for piano; op. 6, 3 songs; op. 7, Prelude
appassionata and The Rivulet (6tude) f. piano;
op. 8, pf.-trio in D m. (MS.); op. 9, Sanctus
for ch., organ and orch.; op. 10, Concerto for
424
piano and orch.; op. 11, Romanze and Polo-
naise for vln. and orch.; op. 12, Concerto for
vln. and orch. (MS.); op. 13, A Summer Sketch
Book (6 pieces for piano); op. 14, Adeste
Fideles for ch. a capp.; op. 15, Pater Noster for
ch. a capp.; op. 16, The Seven Ages of Man,
for bar. and orch. (MS.); op. 17, Quatre Pre-
ludes en forme d' Etudes for piano; op. 18,
Menuet and Gavotte, for piano; op. 19, Sonata
for vln. and piano; op. 20, Valse , Nocturne,
Gavotte, for piano; op. 21, La Nuit for piano;
op. 22, 4 songs; op. 23, Six Pieces for the Piano;
op. 24, Sonata for vcl. and piano; op. 25, 5
pieces for piano (MS.) ; op. 26, String-quartet
in G m.; op. 27, How Sweet the Moonlight
Sleeps upon this Bank, nocturne for sop. solo,
female ch. and orch. Without opus-number:
Cleopatra's Death, for sop. and orch.; An-
dante religieuse, for organ; 3 Intermezzi for
piano; choruses; about 25 songs. All works
in MS. have been publicly performed.
Huttla, Viktor, b. (of German parents)
Petrograd, Oct. 16, 1857; d. Lisbon, Nov. 14,
1899. Pupil of Herrmann and Schradieck at
the Leipzig Cons., and of C. Thomson in
Lugano and Nice; app. dir. of the 'Real
Academia de Amadores de Musica* in Lisbon
(1887). Wrote numerous works for vln. and
orch. (Portuguese Suite, 3 Portuguese rhapso-
dies, etc.).
Hutcheaon, Ernest, b. Melbourne, Aus-
tralia, July 20, 1871. Studied the piano there
with Max Vogrich, and at the age of 5 made
an extensive tour of Australia; studied further
at the Leipzig Cons, under Reinecke; gradu-
ated in 1890, and went to Stavenhagen in
Weimar. For the next 10 years he appeared
seldom in public, giving the greater part of
his time to practice and teaching; in 1900 he
toured Germany, England and Russia, but
after that went again into comparative retire-
ment; from 1907-12 he was in America, play-
ing but rarely. His real career did not begin
until the fall of 1912, when he undertook his
second European tour, scoring overwhelming
successes everywhere; since then he has con-
certized without interruption and won for
himself a place among the foremost contem-
porary pianists. During the season of 1915
he created a sensation in New York by the
performance at a single concert of 3 concertos
(Liszt's El?, Tchaikovsky's Bb m. and Mac-
Dowell's D m.). For a time he was head of
the piano-department of the Peabody Cons,
in Baltimore. He has publ. several comps. for
piano; in MS. he has a symphony, a sympho-
nic poem, a piano-concerto, a vln.-concerto, a
concerto for 2 pianos and orch. and a sympho-
nic suite.
Hutschenruljter [httts'hSn - roi - ter],
Wouter, b. Rotterdam, Dec. 25, 1796; d.
there Nov. 18, 1878. Pupil of Hummel and
HUTSCHEN RUI JTER— I BACH
Romberg, he also studied violin under Dah-
men, and afterwards the horn and trumpet,
on which he became a famous performer. A
member of the city band, in 1821 he founded
the music-corps of the Civic Guard, and in 1822
became cond. of both. In 1826 he founded
the 'Eruditio musica,' and eventually became
dir. of the Euterpe Choral Soc., of the Musis
Sacrum Soc., prof, at the Sch. of Music, Ka-
pellm. of St. Dominick's Ch., municipal mus.
dir. at Schiedam, and organized a church-
choir; was app. hon. Kapellm. at Delft, elected
a member of the Accad. di Santa Cecilia,
Rome, and decorated with the order of the
Oaken Crown in 1818. — Works: Opera, Le Roi
de Bohtone; 4 symphonies; 2 concert-overtures
for wind-instrs. ; over 150 works, original and
arranged, for wind-band; Kontertstuck for 8
kettledrums with orch.; several masses, can-
tatas, songs, etc. — His son Willem, b. March
22, 1828, was also a celebrated horn- virtuoso.
Hutachenruljter, Wouter, b. Rotterdam,
Aug. 15, 1859. Educated by local teachers;
began career as choral cond. and teacher at the
Cons, there; in 1890 he went to Amsterdam as
2d cond. of the Concertgebouw Orch. and prof,
of piano and the hist, of music at the 'Orkest-
school.' He found full scope for hip talents in
1894, as cond. of the munic. orch. in Utrecht,
where he has remained to this day; in a short
time he made the orch. one of the finest in
Holland, and stimulated younger Dutch com-
posers by the production of their works. His
own orchestral and chamber-music works are
highly esteemed by his compatriots. He has
written (in Dutch) Richard Strauss (1898),
Orkest en Orkestspel na 1600 (1903), Levens-
schets en portret van F. Weingartner (1906).
Hut'tenbrenner, Anselm, b. Graz, Styria,
Oct. 13, 1794; d. Ober-Andritz, n. Graz, June
5, 1868. At 7 years of age, pupil of Gell, the
Cath. org., in singing, pf., and harm. In 1815,
law-student at Vienna; studied comp. with
Salieri. Schubert was his fellow-pupil, and
praised his comps.; and he was intimate with
Beethoven, who died in his arms. From 1816
he made successful appearances as a pianist;
in 1820 he retired to his estates at Graz, and
from 1825 cond. the Styrian 'Musikverein.' —
Works: 3 operas, 9 masses, 3 requiems, 5
symphonies, 10 overtures, 3 funeral marches,
2 string-quartets, a string-quintet; sonatas,
24 fugues, and other piano-comps.; 300 male
quartets and choruses; over 200 songs; etc.
Hutter, Hermann, b. Kaufbeuern, Ba-
varia, Dec. 22, 1848. During the war of 1870
he embraced the military career and rose to
the rank of Major; he had always been greatly
interested in music, and in comp. he is
practically self-taught; after his retirement
in 1897 he devoted himself entirely to comp.
He has written Laiuelot and Coriotan for soli,
mixed ch. and orch.; Im Lager der Bauern,
Der Tamer unserer lieben Frau, and An den
Gesang, for male ch. and orch. ; many male
choruses a capp.; Serenade for vcl. and piano;
songs.
Htittner, Georg, b. Schwarzenbach, Upper
Franconia, Feb. 10, 1861. Pupil of Schaar-
schmidt in Hof ; since 1887 cond. of the Philh.
Orch. in Dortmund, which he brought to a
high level of efficiency; the Cons, and a sepa-
rate school for orchestral players which he
founded have been essential factors in making
D. a city of some importance musically. Made
'Kgl. Musikdirektor' in 1907, 'Prof/ m 1912.
Hy lies ted, August, brilliant concert-
pianist and comp. ; born, of Danish parents, at
Stockholm, Sweden, June 17, 1858. Began
study of piano when 5 years old, and played in
public as early as 1863. He was taught in
Copenhagen by Holger Dahl until 1869, and
then made a very successful concert-tour
through Scandinavia. He now entered the
Royal Cons, at Copenhagen, studying with
Edm. Neupert (pf.), Gade (comp. and orch.),
T. P. E. Hartmann (cpt.), W. Tofte (vln.),
and Carl.Attrup (org.). Made 2d Scandina-
vian tour in 1875 as solo pianist and asst.-dir.
of the orch. In 1876 he was app. organist of
the Cath., and director of the Mus. Soc.
*Nykj0bing Falster.' In 1879 he studied with
Th. Kullak (pf.) and Fr. Kiel (comp.) in
Berlin, going thence to Liszt. Gave concerts
in Great Britain and Ireland 1883-4; in 1885,
at Steinway Hall, N. Y., and travelled through
the Eastern States and Canada; 1886-91,
asst.-dir. of Chicago Mus. College; 1891-4,
director of piano dept. in the Gottschalk
Lyric School. From 1894-7 in Europe, con-
certizing in Scandinavia, Germany, France,
and England (in London H.'s symph. poem
Elizabeth, for full orch. and double chorus,
was perf. under his own leadership). In 1897
H. returned to Chicago. He is court pianist
to the Princess Louise of Denmark; has re-
ceived flattering testimonials from European
sovereigns. — Publ. works: For pf.: 6 pieces,
Mazurka in Di>, Album-leaf, Scandin. Dances,
Faust Faniasie, Variations, Melody, Fantasia
on Scotch melodies, Grand Polonaise, Valse
senHmentale, Improptu in F, Suite romantique,
Suite de ballet, several transcriptions; songs.
MS. works: Op. 2, Variations s&rieuses f or pf . ;
op. 25, Suite for piano in old style; op. 27,
Sonata for piano; Grand Polonaise in El?; 2
piano- trios (in B m. and E). For orch: Music
to the romantic play Die Rheinnixe; Symph.
poem Elisabeth, for full orch. and double ch.;
Suite romantique; Marche triomphale; etc.
I'bach [g'bah], Johannes Adolf, b. Oct.
20, 1766; d. Sept. 14, 1848. In 1794, founded
425
IFFERT— D'INDY
a pf. and org. manufactory at Barmen; from
1834, with his son C. Rudolf, traded under
the name of 'Adolf I bach & Sohn'; from
1839, as 'Ad. I bach & Sonne,' when his son
Richard joined. From 1862 the firm was
known as 'C. Rud. & Rich. Ibach,' to dis-
tinguish it from another business founded
by a third son, Gustav J. The same year
C. Rudolf died, and in 1869 his son Rudolf
(d. Herrenalb, Black Forest, July 31, 1892)
continued the pf. -factory alone as 'Rudolf
I bach Sohn/ estab. a branch at Cologne,
pained medals for the excellence of his
instrs., and became purveyor to the Prussian
court. Richard I. continued the organ-
factory.— Cf. Das Haus L 1794-1894 (1895).
Iffert, August, noted singing-master; b.
Brunswick, May 31, 1859. Studied in Berlin
and Hanover; after a brief stage-career he
settled in 1884 in Leipzig as a singing-teacher;
at Cologne Cons. (1891), Dresden Cons.
(1893), Vienna Cons. (1904); since 1912 again
at Dresden. Has publ. Allgemeine Gesang-
schule (1894; 4th ed. 1903).
Iliffe, Frederick, b. Smeeton-Westerby,
Leicester, Engl., Feb. 21, 1847. Since 1883
organist and choirmaster of St. John's Coll.,
Oxford, and conductor of Queen s Coll. (Eg-
glesfield) Mus. Soc. — Mus. Bac., Oxon., 1873;
Mus. Doc., 1879.— Works: Oratorio, The Vi-
sions of St. John the Divine (publ. 1880) ; Even-
ing Service in D, for men s voices; Lara, a
cantata for male ch. and orch. (1885); Sweet
Echo, f. 8-part ch. and orch. (1893) ; Morning, a
pastoral for sopr. solo, ch. and orch. (1896);
Concert-overture in E; Festival Overture in
D; Serenade for strin^-orch., in G; Prelude
and fugue for orch.; piano-sonata, and other
pieces; Critical Analysis of Bach's Well-tem-
pered Clavichord (London, 1896; 4 parts).
Illin'ski, Count Jan Stanislaw, Polish
poet and church-composer; b. Castle Roma-
nov, 1795; d. 1860. Studied composition under
Salieri, Kauer and Beethoven at Vienna,
where he produced a Mass in 1826. After a
military and diplomatic career, he became, in
1853, a senator, and privy councillor and cham-
berlain to the Tsar. Works: 3 masses, 2
requiems, a Te Dcum, a Stabat Mater, a De
profundis, a Miserere, all with full orch.; a
symphony; overtures to Schiller's dramas, and
one to Houwald's Leuchlthurm; Grand March
for 2 orchestras; 2 piano-concertos; 8 string-
quartets; Rondo for vln. and orch.; piano
pieces; songs.
Ilyinsky, Alexander Alexandrovitch, b.
Tsarskoje Selo, Jan. 24, 1859. Pupil of
Kullak (pf.) and Bargiel (comp.) in Berlin.
Since 1885 prof, of theory and comp. at the
Cons, of the Philh. Soc. in Moscow. — Works:
A symphony; Psyche, symphonic poem; a
symphonic Scherzo; Croatian Dances; an
overture to A. Tolstoi's Tsar Feodor; incid.
music to Sophocles's CEdipus and Philoktetes;
a string-quartet; choruses for men's and wo-
men's voices; pf.-pieces; songs; also an opera,
The Fountain of Bachtchisarai.
Imbart de la Tour [an-bahr'], Georges
(- Jean- Bap tiste), operatic tenor; b. Paris,
May 20, 1865; pupil of St.-Ives Bax at the
Cons. Debut Geneva, 1891, as Raoul in Les
Huguenots; has also sung at the Opera-Corn.,
Paris; and the Monnaie, Brussels, where he
is now (1916) engaged. In 1901 he toured
the United States with the Grau Company.
Created leading roles in Winkelried (La-
combe), Fervaal (d'Indy), Tyl Uylensptegel
(Blockx), and Werther (Massenet). His rep-
ertory includes all the Wagnerian tenor rdles.
Imbert [an-bar], Hugues, b. Moulins-
Engilbert, Nievre, France, Jan. 11, 1842; d.
Paris, Ian. . 15, 1905. Pupil in Paris from
1854 of Faucheux and R. Hammer. Musical
critic and essayist; editor of the Paris section
of Kufferath's 'Guide musical'; after 1903
general editor. — Works: Profils des Musiciens
in 3 series: I. Tchaikovsky, Brahms, Cha-
brier, d'Indy, Faure, Saint-Saens (1888); II.
Boisdeffre, Dubois, Gounod, Augusta Holmes,
Reyer (1892); III. A. de Castillon, P. La-
combe, Lefebvre, Massenet, Lalo, A. Rubin-
stein, Ed. Schure (1897); Symphonie (1891);
Portraits el Htudes (1894; letters of Bizet,
and biogr. sketches of C. Franck, Widor, Co-
lonne, Garcin and Lamoureux); Rembrandt el
Wagner (1897); Ch. Gounod, V Autobiographic
el Us Mhnoires (1897); Bitel (1899); La Sym-
phonie apres Beethoven (1900; a reply to
Weingartner's book); MSdaillons contempo-
rains (1902); J. Brahms: Sa vie et son teuvre
(1906; posth. ed. [with preface] by Ed.
Schure).
Im'myns, John, English attorney and
lutenist; b. 1700 (?); d. London, April 15,
1764. He founded the Madrigal Society in
1741, and in 1752 became lutenist to the
Chapel Royal; was also a member of the
Academy of Antient Music, and amanuensis
to Dr. Pepusch. A connoisseur and collector
of early music. He taught himself, at 40, to
play the lute. — His son, John, organist of
Surrey Chapel, London, died 1794.
d'Indy [dan-de'], (Paul -Marie-Theo-
dore-) Vincent, b. Paris, Mar. 27, 1851.
Owing to the early death of his mother his
education was directed entirely by his grand-
mother, a woman of culture ana refinement
who had known Gretry and Monsigny, and
who had shown a remarkable appreciation of
the works of Beethoven when that master
was still living. From 1862-5 he studied pf.
with Diemer, and later harm, and theory
with Marmontel and Lavignac. In 1869 he
426
D'INDY
made the acquaintance of H. Duparc, and
with him spent much time studying the mas-
terpieces of Bach, Beethoven, Berlioz and
Wagner; d'l. also wrote his op. 1 and 2, and
contemplated an opera on V. Hugo's Les
Burgraves. During the Franco-Prussian war
he served in the Garde Mobile, and wrote his
experiences in Histoire du 105m bataillon . . .
en Yannke 1870-71 (1872). He now began to
study comp. with Cesar Franck, continuing
until 1880; when the latter was app. prof, of
organ at the Cons. (1873), he joined the
class, winning a second accessit in 1874 and
the first the following year. On his first visit
to Germany in 1873 he met Liszt and Wag-
ner, and was introduced to Brahms as the
bearer of the score of Franck's Redemption
with the composer's compliments. In 1876
he heard the first performances of the Ring
dramas at Bayreuth, and for several years
thereafter made regular trips to Munich to
hear all the works of Wagner; also attended
the premiere of Parsifal in 1882. From
1872-6, organist at St.-Leu; 1873-8, chorus-
master and tympanist with the Colonne
Orch.; for the Pans premiere of Lohengrin in
1887 he drilled the chorus and was Lamou-
reux's assistant. Together with Franck, St.-
Saens, Faure, Castillon, Duparc and Chaus-
son he founded in 1871 the 'Societe Nationale
de Musique,' was secretary until 1890, when,
after Franck's death, he became president.
In 1894 he founded with Borde and Guilmant
the famous 'Schola Cantorum' (opened 1896),
primarily as a school for Plain-Chant and the
Palestrina style. Gradually the scope of in-
struction was enlarged so as to include all
musical disciplines, and the institution has
become one of the world's foremost music-
schools. To-day (1916) it has a faculty of
60 instructors and an enrollment of 600 pu-
pils. From the beginning d'l. not only was
one of the directors, but also taught; after
the death of Guilmant (1911) he became sole
director. His fame as a composer began with
the performance of Le Chant de la Cloche at
a Lamoureux concert in Feb., 1886; the work
itself had won the City of Paris Prize in the
competition of the preceding year. As early
as 1874 Pasdeloup had played the overture
Piccolomini (later embodied as the second
part in the WaUenstein. trilogy), and in 1882
the 1-act opera Attendez-moi sous Yorme had
been produced at the Opera-Comique; but
the prize-work attracted general attention,
and d'l. was recognized as one of the most
important of modern French masters. Al-
though he never held an official position as
cond., he has frequently, and with marked
success, appeared in that capacity (chiefly
upon invitation to direct his own works) ; thus
he visited Spain in 1897, Russia in 1903 and
1907, and the U. S. in 1905, when he cond.
the regular subscription concerts of Dec. 1
and 2 of the Boston Symph. Orch. In 1892
he was a member of the commission app. to
revise the curriculum of the Conservatoire,
and refused a proffered professorship of com-
position; but in 1912 accepted the appoint-
ment as prof, of the orchestra-class. Besides
other duties, he has discharged, since 1899,
those of inspector of musical instruction in
Paris. Chevalier of the Legion of Honor in
1892, officer in 1912; member of many aca-
demies and artistic associations (in Belgium,
Holland, Spain,* Italy, Sweden, etc.).
Both as teacher and creative artist d'l.
continues the traditions of Cesar Franck.
After a period of development, in which the
influence of German classic and romantic
masters is traceable, he arrived at maturity
about the year 1885. Although he has culti-
vated with success almost every form of com-
position, his special talent seems to be in ths
direction of the larger instrumental forms.
Some French critics assign to him a position
in French music analogous to that occupied by
Brahms in German music as the conservator
of classical form. Like the German master and
his own teacher, Franck, d'l. fills the form
with new and thoroughly individual content.
His style rests upon the art of Bach and
Beethoven; however, his profound study of
Gregorian Chant and the early contrapuntal
style adds an element of severity, and not
rarely of complexity, that renders approach
somewhat difficult, and has jpven ris2 to the
charge that his mu*ic is lacking in emotional
force. While occasionally rising to great
emotional heights, it nevertheless remains
true that his music appeals chiefly to the
intellect. — For the edition of Rameau's com-
Elete works (ed. by Saint-Sa€ns and Mal-
erbe) d'l. revised Dardanus, Hip poly te et
Aricie and Zais; also ed. Monteverde's Orfeo
and Coronizione di Poppea; he has made pf.-
arrangements of orchestral works by Benott,
Chausson, Castillon, Duparc. His numerous
articles in various journals (French, Engl, and
Amer.) are remarkable for critical acumen and
literary finish; he is the author of Cours de
Composition musicale (2 vols., 1903, '09);
Cesar Franck (1905; in 'Les Mattres de la Mu-
sique'); Beethoven: Biographic critique (1911;
Engl, transl. by Th. Baker, Boston, 1913). —
Bibliography: E. Deniau, V. d'l. (Toulouse,
1903); A. Hervey, French Music in the 19th
Century (London, 1903); F. Starczewski, La
Schola Cantorum de Paris; ou V. d'l. consiisre
comme professeur (Warsaw, 1905); O. Sere,
Musiciens francais d'aujourd'hui (2d ed.
Paris, 1911); L. Borgex, V. d'l. Sa vie et son
auvre (Paris, 1913); A. Serieyx, V. d'l. (Pa-
ris, 1914); R. Rolland, Musiciens d'aujourd'hui
(2d ed. Paris, 1914); E. B. Hill, V. d'I.t An
Estimate, in 4Mus. Quart/ (April, 1915).
427
INGEGNERI— INZENGA
DINDVS COMPOSITIONS.
Op. 1, Trois Romances sans Paroles for piano; op. 2.
La chanson des Aventuriers de la Met for bar. solo and
piano; op. 5. Jean Hunyade, symphony (not publ.) ; op.
6, Anloine et CUopdire. overture (not publ.); op. 7, Pf.-
quartet in Am.; op. 8, La Forit enchantie, ballade-
symphony: op. 9, Petite Sonate for piano; op. 10. Plaint*
de Thicla (song); op. 11, La Chevauchie du Cid, scena
for bar., ch. and arch.; op. 12, WaUenstein, symphonic
trilogy: a. Le Camp de W., b. Max et Thicla, c. La
Mori de W.; op. 13, Clair de Lune for sop. and orch.;
op. 14. AUendet-moi sous I'orme, opera (Op.-Comique,
1882); op. 15, Pohne des Montagues tot piano: a. La
Chant des bruyeres, b. Danses rythmiques, c. Plein-air:
op. 16, Quatre Pieces for piano; op. 17, Helvetia (3
waltzes); op. 18. Le Chant de la Cloche, dram, legend
for soli, double ch. and orch.; op. 1$, Lied lot vcl. and
orch.; op. 20. V Amour et la Crdne (song); op. 21, Sauge-
flewrie, legend for orch.; op. 22, Cantate Domino a 3
with organ; op. 23, Sle.- Marie- Magdalene, cantata for
sop., fern. ch. and pf.; op. 24. Suite in D for trumpet,
2 flutes and strings; op. 25, Symphonic Ctvenole (surun
chant montagnard francais) for orch. and piano; op. 26,
Nocturne for piano; op. 27, Promenade for pf.; op. 28,
Strtnade (from op. 16) and Valse (from op. 17) for
small orch.; op. 29, Trio for piano, clar. and vcL; op.
30. Schumanniana (3 piano-pieces); op. 31, Pantaisie
tot oboe and orch.; op. 32, Sur la Mer, ch. for female
voices; op. 33, Tableaux de Voyage (13 pieces for pf.);
op. 34. Incid. music to Alexandre's Karadec; op. 35.
String-quartet in D; op. 36. Tableaux de Voyage, suite
for orch. (not publ.); op. 37, Pour V inauguration d'une
statue, cantata for bar., ch. and orch. (not publ.); op.
38. Prilude et petit Canon for organ; op. 39, VArt et
le Peuple, male chorus; op. 40, Pervaal, opera in 3 acts
(Brussels. 1897); op. 41. Deus Israel, motet a capp.;
op. 42, 1 star, symphonic variations; op. 43, Lied Mari-
time (song); op. 44. Ode a Valence for sop. and ch. (not
publ.); op. 45, String-quartet in E: op. 46, Les Noces
a' or du Sacerdoce, canticle; op. 47, Incid. music to
Mendes's Midie: op. 48, La premiere dent (song) ; op. 49,
Sancta Maria succurre mtseris, motet (not publ.);
op. 50, Chansons et Danses, divertissement for wind-
instrs.; op. 51, Vtpres du commun d'un martyr tot
org.; op. 52. 90 Chansons populaires du Vivarots: op.
53, / Etr anger, opera in 2 acts (Brussels, 1903) ; op. 54.
Marc he du 76* rlgiment d'infanterie for piano 4 hands;
op. 55, Choral varii for saxophone and orch.; op. 56,
Mirage (song); op. 57. Deuxieme Symphonic in Bt>; op.
58. Les Yeux de I'Aimie (song); op. 59. Sonata for vln.
and piano; op. 60. Petite Chanson Grigorienne for piano
4 hands; op. 61, Jour d'itt a la Montague for orch.: a.
Aurore, b. Jour. c. Soir; op. 62. Souvenirs, poem for
orch.; op. 63, Sonata for piano; op. 64. Vocalise; op.
65. Menuet sur le nom de Haydn for piano; op. 66. Piece
in Bb for org.; op. 67. Le Mystire de Soint-Christophe,
oratorio (finished 1916).
Ingegne'ri [in-jeli-fia're], Marco Anto-
nio, b. Verona, circa 1545 ; d. Cremona, July 1,
1592; pupil of Vincenzo Ruffo. In 1576 he
was m. di capp. at Cremona cathedral; after-
wards to the Duke of Mantua. Monteverde
was his pupil. — Publ. works: A book of
Masses a 5-8 (1573); a second, a 5 (1587);
4 of Madrigals a 4-5 (1578, 79, '80, '84);
Sacrae cantiones a 5 (1576) ; Sacrae canliones a
7-16 (1589). The 27 celebrated Responses,
formerly attributed to Palestrina, are by I.
They had been printed in Br. & H.'s edition
in vol. 32 among the 'doubtful' works, but
were eliminated when Haberl, in 1897, dis-
covered a copy (printed in Venice in 1588)
with the full name of the composer. Many
other Motets and Madrigals appeared in col-
Iectionsof the time.— Cf.F.X. Haberl, M.A.I.,
in 'Kchm. Jahrbuch' (1898).— See Q.-Lex.
Ingram, Frances, dramatic and concert
contralto; b. Liverpool, Nov. 5, 1888. She
was educated in Brooklyn, N. Y., graduating
from the Teachers' Normal Coll.; from 1910-
12 pupil of Victor Maurel; debut with the
Chicago Opera Co. in Philadelphia as Lola
(Cavatleria Rusticana, Dec. 2, 1911); remained
with the company for 2 seasons; in 1913 with
the Montreal Opera Co. ; the season of 1914-15
she devoted to a successful concert-tour of
the U. S.; since 1915 she has been singing
again with the Chicago organization, dividing
her time between opera and the concert-stage.
Her voice is rich, of very sympathetic quality,
with a range from eb-Pb. Her rdles include
Amneris, Carmen, Azucena, Maddalena (Riga-
letto), Suzuki, Orfeo, La Cieca (Gioconda),
etc. In March, 1913, she married the theatrical
manager Karl G. MacVitty of Chicago.
Insan'gutne, Glacomo, called Monopoll,
from the town where he was born in 1744; d.
Naples, 1795. Pupil of C. Cotumacci at the
Cons, di San Onofrio, Naples; then his mas-
ter's assistant, and, from 1774, second teacher
of cpt. He soon relinquished this position, and
devoted himself to dramatic composition. —
Works: 21 operas, written for Naples; among
the most successful were Lo Fumaco revotato
(about 1756; his firstling); Didone (1772);
Adriano in Stria (1773); I voti di Davide
(1775); Astuzie per amore (1777); Medonte
(1779); Calipso (1782). His best work is,
however, the 71st Psalm for 3-part ch. and
orch.; he also comp. other psalms, hymns,
masses, etc. — See Q.-Lex.
Inten, Ferdinand von, noted pianist and
teacher; b. Leipzig, Feb. 23, 1848. From
1862-6 he studied at the Leipzig Cons, with
Moscheles, Plaidy, Hauptmann, E. Fr.Richter
and Reinecke, winning the Helbig prize for
comp. in 1864; from 1866-8 he toured Ger-
many, and then came to New York, where he
settled permanently. He made his American
debut on Dec. 12, 1868, playing Beethoven's
concerto in G at one of Th. Thomas' Sym-
phony Concerts in Stein way Hall. In spite of
striking success the career of a soloist had
little allurement for him, his predilection being
in the direction of chamber-music. His
chamber-music concerts, in which Th. Thomas
and Dr. L. Damrosch assisted frequently,
soon were famous, and contributed largely
toward the appreciation of a form of music
little cultivated and less understood at that
time. In 1876-7 he visited Germany again,
and there had the distinction of playing the
first public performance of Liszt's B m. sonata
at the Cons, concert in Leipzig. As a teacher
he has also achieved success; among his
pupils are Frank and Walter Damrosch.
Inzenga [-then'-], Josl, b. Madrid, June
4, 1828; d. there July, 1891. Pupil of his
428
IPPOLITOV-IVANOV— ISOUARD
father and the Madrid Cons., completing his
studies at the Paris Cons, in 1848; app. prof,
of singing at the Madrid Cons, in 1860; was
commissioned by the Minister of Publ. In-
struction to make a collection of Spanish
folk-songs, which he publ. as Ecos de Espafta
(3 vols., 1874-8); also wrote a treatise on
accompaniment, and Impresiones de un artiste
en Italia. He was very successful as a com-
poser of zarzuelas: Para seguir una mujer
(1851); Don Simpiicio Bobadilla (1853); Un
dia de reino (1854); Alhajado a cuatro reales
(1866); Oro, astucia y amor; Sifuera rey; etc.
Ippoli'tov-Iva'nov [rede Ivanov, but
assumes his mother's name to distinguish
him from Ivanov below], Michail Michailo-
vitch, Russian composer; b. Gatchina, Nov.
19, 1859. Pupil 1875-82 of Rimsky-Korsakov
in Petrograd Cons.; in 1882, director of the
Music-School and cond. of the symphony con-
certs at Tin* is; in 1884, also cond. at the Imp.
Theatre. During his stay in the Caucasus he
became deeply interested in the folk-music of
that region, and published the results of his
study in The Georgian Folk-songs (in Russian).
Upon Tchaikovsky's recommendation he was
app. in 1893 prof, of harm., instrumentation
and free composition at Moscow Cons., and
in 1899 also cond. of the Private Opera; in
1906 he succeeded Safonov as dir. of the
Cons. — Published works: Op. 1, overture Yar
Chmel, on Russian themes; op. 2, symphonic
Scherzo; op. 9, piano-quartet; op. 10, suite for
orch., Sketches from the Caucasus; op. 12,
Coronation Cantata; op. 13, string-quartet; op.
18, Fiinf Charakterbtlder for en. and orch.;
op. 16, 10 2-part female choruses with piano;
op. 17, 5 4-part mixed choruses a capp.; op.
20, Suite for orch. ; op. 24, Legend of the White
Swan at Novgorod; op. 34, Symphonietta for
orch. (originally op. 8, Sonata for vln. and pf.) ;
op. 42, Iveria, symph. poem; op. 48, i4r-
tnenian Rhapsody for orch.; 3 cantatas in
memory of Pushkin, Gogol, and Shukovsky;
psalms for mixed ch.; songs and duets; the
operas Ruth (Tiflis, 1887), Asya (Moscow,
1900), Treachery (ib., 1911).— Also The Science
of the Formation and Resolution of Chords
(1897, Russian).
Ir'gang, Friedrich Wilhelm, b. Hirsch-
berg, Schleswig, Feb. 23, 1836. Pupil of Grell
and A. W. Bach at the School of Comp. of the
R. Acad., Berlin, 1856-9. He then taught in
Proksch's school at Prague; in 1863 he founded
at Gdrlitz a school for piano-playing and the-
ory, to which was added, in 1871, a mus. semi-
nary for ladies. Organist of Trinity Ch.,
Gdriitz, from 1878-81; from then until his
retirement in 1905 he was org. and instructor
at the 'Padagogium' in Ztillichau; living since
1910 again in GoYlitz. — Publ. an Allgemeine
Musiklehre (1865; several editions); a Har-
monielehre; and piano-pieces.
Irrgang, (Heinrich) Bernhardt famous
organist; b. Zduny, Posen, July 23, 1869; d.
Berlin, April 8, 1916. Pupil of the 'Kgl. In-
stitut fur Kirchenmusik' and Blumner's
'Meisterschule' in Berlin; in 1890 app. org. at
the Garrison Ch. in Spandau; 1894, org. at
Holy Cross Ch., Berlin; 1895, at St. Mary's,
and from 1910 at the Domkirche; also prof,
of organ at Stern's Cons, in 1905, and at the
Kgl. Hochschule from 1912. He was a
virtuoso of the first rank; comp. sonatas for
organ and songs.
Isaak [e'zahk], Heinrich (or Isaac,
Izak, Yzac, Y&ack; in Italy, Arrigo Tedesco
[Henry the German]; Low Lat. Arrighus),
an eminent contrapuntist, probably of Ger-
man origin; b. c. 1450; d. Florence, 1517.
From circa 1480-92 he was in the service of
Lorenzo de* Medici, surnamedthe 'Magnifi-
cent,' in the capacities of organist, maestro di
cappella, and of teacher to Lorenzo's children.
He afterwards spent several years in Rome,
and finally was called to the court of Maxi-
milian I, at Vienna, as 'Symphonista regis';
from 1514 until his death he lived in Florence.
He is one of the most important composers of
the period. A notable peculiarity of his
works is the frequent appearance of the mel-
ody in the soprano, at that time a compara-
tively unusual device. — Works: 23 Masses
a 4-6 (of which 10 were publ. between 1506-
39) ; those in MS. are in the libraries at Vienna
(8), 'Munich (4), and Brussels (1). Motets and
Psalms by I. were printed in some 40 collec-
tions from 1501-64 (cf. Eitner, 'Bibliographic
der Musiksammelwerke'; Berlin, 1877). His
part-songs are agreeable to modern ears, and
remarkable for the clearness and ease of the
part- writing; one of the most beautiful of
German chorals, Mm ruhen atte Wdlder, is
sung to the melody of I.'s Inspruk, ich muss
dich lassen. He also wrote introits, Graduals,
and the like; and a 'sacred drama,' 5. Giovanni
e S. Paolo. A voluminous collection of
motets, Chorale Constantinum, was ed. by his
pupil, Ludwig Senfl, in 1550 (3 parts). Part
1 was republ. in 'Dkm. der Tonk. in Osterreich
(vols, v, 1, and xvi, 1). I.'s secular works
were republished in vol. xiv, 1. — See Q.-Lex.
Isouard [e-zoo-ahrl, Niccold, called Nic-
cold de Malte because b. at Malta, Dec. 6,
1775; d. Paris, March 23, 1818. Against the
wish of his father, who desired him to enter
the banking business, he studied music at
Palermo with Amendola, and at Naples with
Sala and Guglielmi. In 1795 I., under the
pen-name 'Niccold,' brought out his first
opera, Vavoiso ai mariiati, at Leghorn, with
slight success; Artaserse (Florence, 1795) was
better received, and had the practical effect
that he was recalled to Malta as organist of
the church of St. John of Jerusalem, and later
became m. di capp. to the Knights. On the
429
ISRAEL— JACCHIA
suppression of the order by the French, I.
brought out several Italian operas in the
temporary theatre at Malta; in 1799 he went
to Paris, where his career as a dramatic com-
poser fairly began. In 16 years he produced
33 French operas and operettas, the way to
success being smoothed by the friendship and
cooperation of R. Kreutzer.
Le Tonndier (1799). Le petit Page (1800). Flaminius a
Corinthe (1801). La Statue, ou la femme avare (1802),
Michel Ange (1802). Les Confidences (1803) , Le Baiser et
la quittance (1803). Le Midecin turc (1803). V Intrigue
aux J 'entires (1805), Le Dijeuner de gar cans (1805), La
Ruse inutile (1805). Lionet (1805), La Prise de Passaw
(1806). Idala (1806). Les Rendezvous bourgeois (1807).
Les Creancers (1807). Un Jour a Paris (1808). Cimarosa
(1808). I' Intrigue au sir ail (1809). CendriUcn (1810).
La Vic time des arts (1811). La File du pillage (1811),
Le Billet de loterie (1811), Le Magicien sans magie
(1811). Lulli et Quinault (1812). Le Prince de Catane
(1813). Le Francois a Venise (1813). Le Siege de
Mltihes (1814). Joconde (1814). Jeannot et Colin (1814),
Les deux maris (1816). and VUne pour V autre (1816).
Aladin, ou la lampe trier veilleuse (posth., finished by
Benincori), was given in 1822.
Of these, CendriUon, Joconde, and Jeannot et
Colin, were the best; the improvement noted
in his later works was due in part to keen
rivalry with Boieldieu; the latter was finally
elected in 1817 to succeed Mehul in the Acacf-
emy, and I., who had aspired to the chair, was
so mortified by his failure that he abandoned
work, plunged into dissipation, and died next
year. — His music combines simplicity with
finish of style and suave melody; he was for-
tunate in his libretti, -which, like his scores,
never descend to vulgarity. He was an ex-
cellent musician, and possessed fine dramatic
taste; but he was not particularly original. —
While in Malta, he also wrote numerous
masses, cantatas, motets, psalms, etc. — Cf. E.
Wahl, N. I. (Munich, 1911).— See Q.-Lex.
Israel, Karl, writer; b. Heiligenrode,
Electoral Hesse, Jan. 9, 1841; d. Frankfort-on-
M., April 2, 1881. Studied in the Leipzig
Cons., and settled in Frankfort, becoming
an influential critic. — Writings: Musikalische
Schatze in Frankfurt am Main (1872), and
Musxkalien der standi schen Landesbibliothek zu
Kassel (1881), both important in music bibli-
ography; valuable bibliographic articles in the
'Allg. Mus. Zeitung,' 1873-4; and a Frank-
furter Concertchronik von 1713-1780 (1876).
Istel, Edgar, b. Maycnce, Feb. 23, 1880.
While pursuing his studies at the Gymnasium
he had systematic instruction on the violin,
and from r . Volbach in comp. ; after graduation
he went to Munich in 1898 and completed
his studies under L. Thuille; also studied
musicology under Sandberger at the Univ.;
Ph. D. with the dissertation /. /. Rousseau
als Komponist seiner lyrischen Szene 'Pygma-
liori (1900); he then settled in Munich as a
teacher and writer; since 1913 Dozcnt of mus.
esthetics at the Humboldt Akadcmie. —
Compositions: The operas Der fahrende
Schiller (Karlsruhe, 1906), Des Tribunals
Gebot (Mayence, 1914), Nur ein Traum
(finished 1916); incid. music to Kussner's
Zauberkessel (1908) and Goethe's Satyros
(1910); Singsfnelouverture (op. 17); 3 Gesdnge
von Goethe with orch. (op. 15); Hymnus an
Zeus for ch. and orch.; 4 mixed choruses in
canon-form (op. 12); songs (op. 1-4, 8-11);
also edited Rousseau's Pygmalion (1904). —
Writings: Das deutsche Weinachtsspiel und
seine Wiedergeburt aus dent Geiste der Musik
(1900), JL Wagner im Lichte eines zeitgenos-
sischen Briefwechsels (1902), Peter Cornelius
(1906, in Reclam's Ed.), Die Entstehung des
deutschen Melodramas (1906), Die komische
Oper (1906), Die Blutezeit der musikalischen
Romantik (1909), Das Kunstwerk R. Wagners
(1910), Das Libretto (1914), Die moderne Oper
seit R. Wagner (1916; an amplification of
German Opera since R. W., in 'Mus. Quart.'
[April, 1915]); he has ed. the collected essays
of Cornelius (1^05), the mus. writings of fe.
Th. A. Hoffmann (1907, '10, '13) and Ditters-
dorf's Autobiographic (1909); has also written
several Guides (works of Cornelius, Mahler,
Thuille, Humperdinck).
Iva'nov, Michail Michailoritch, b. Mos-
cow, Sept. 23, 1849; pupil of Tchaikovsky
(comp.) and Dubuc (pf.); studied abroad
1870-6 (Sgambati); composer and writer;
since 1876 mus. critic of 'Novoye Vremya,'
and contrib. to several important journals. —
Works: The operas Potemkiris Feast (1888),
Sabava Putyatishna (Moscow, 1899), The
Proud Woman (Kashira's Golden Time) and
Woe to the Wise (the last two not prod.) ; a
ballet, The Vestal; musk to Medea; symphony
Night in May; symphonic poem; symph.
prologue Savonarola; Suite champUre; over-
tures; a grand Requiem; songs and piano-
pieces. — Pushkin in Music (in Russian, 1900);
translation of Hanslick's Vom Musikalisch-
Schonen and Nohl's Die historische Entwicklung
der Kammermusik.
d'lvry, Paul-Xaver-De*ire\ Marquis de
Richard, b. Beaune, Coted'Or, Feb. 4, 1829;
d. Hyeres, Dec. 18, 1903; lived from 1854 in
Paris. Amateur dramatic composer, pupil of
A. Hignard and Leborne. Operas: Fatma
and Quentin Matzys (1854), La Maison du
docteur (Dijon, 1855), Omphale et Pinelope,
Les Amants de Verone (1867), under the pen-
name of 'Richard Yrvid'; revised, and ex-
tended to 5 acts, at the Th. Ventadour, in
1878) ; the 4-act opera Perseverance d' amour.
— Also a concert-overture, songs, etc.
Izac. See Isaak.
Jacchia [yahk'yah], A&ide, orchestral
conductor; b. Lugo, Jan. 5, 1875. Pupil of the
Cons, at Parma (1886-91) and of the 'Liceo
430
JACHET— JACOBSOHN
Musicale' at Pesaro (1891-8); won prizes
for flute (1896), conducting (1897), and comp.
(1898); debut as cond. at the Teatro Grande
in Brescia, Dec. 26, 1898; at T. Communale,
Ferrara, 1899-1900; La Fenice, Venice, 1901;
in 1902 he accompanied Mascagni on his
Amer. tour; on his return to Italy he cond. at
the T. Lirico in Milan, 1903; at T. Regio,
Leghorn, 1904; at Siena, 1905-6. From 1907-
9 he was cond. of the Milan Opera Co. on its
tour of the U. S.; 1910-13, cond. of the Mont-
real Opera Co.; 1914, of the Century Opera
Company.
Jachet (also Jacquet, Giachet, Jaches,
Giaches, and other forms) de Mantua, a
composer of church-music; d. circa 1558. In
1555 he was m. di capp. at the cathedral in
Mantua; wrote several masses and numerous
motets. Conclusive proof that this comp.
is not identical with Jachet Berchem, with
whom he has frequently been confused, is
found on the titlepage of a vol. publ. 1547 by
A. Gardane: 'Sex missae, quarum prima Man-
tuae capellae magistri Jachetti est . . . duae
tamen Jachetti Berchem.' — See Q.-Lex.
Jach'mann-Wagner. See Wagner,
Johanna.
Jackaon, Edwin W., an English justice
of the peace, publ. in German (Payne: Leipzig,
1866) an interesting and valuable essay,
Finger- und Handgelenk-Gymnastik zurAusbtl-
dung und Stdrkung der Muskeln fur musika-
lische . . . Zwecke. As a complete manual of
finger-gymnastics it cannot be too warmly rec-
ommended. English transl. (New York).
Jackaon, John P., English writer; d.
Paris, Dec. 1, 1897.— Works: Album of the
Passion Play at Oberammergau . . . 1873; an
illustrated handbook on Wagner's Ring of the
Nibelung (London, 1882); Engl, translations
of Parstfal, Die Meister singer, etc.
Jackaon, Leonora, violin- virtuoso; b.
Boston, Feb. 20, 1879. Studied at the 'Kgl.
Hochschule fiir Musik' in Berlin; after a very
successful tour of Germany and Scandinavia
she returned to the U. S., where she played
160 concerts in her first season of 1900-1,
appearing also with the Boston Symph. Orch.;
since then she has played with the foremost
mus. organizations in Europe and America.
Jackaon, Samuel P., b. Manchester, Eng-
land, Feb. 5, 1818; d. Brooklyn, N. Y., July
27, 1885. Son of the organ-builder James J.,
he went to America in 1825, and learned his
father's trade; his teachers in music were Mo-
ran (pf.) and Thornton (harm.). From 1830-
42 he played the organ at St. Clement's Ch.;
at St. Bartholomew from 1842^-61; later at
Christ Ch., Ch. of the Ascension, and the
Anthon Memorial Ch. A well-known teacher
of pf.. organ, and harmony; for many years
music-proof reader to G. Schirmer, New York.
Besides a variety of excellent vocal sacred
music, he publ. Gems for the Organ, and 4
books of very popular Organ- Voluntaries.
Jackaon, William (I), Engl, organist and
comp.; b. Exeter, May 29, 1730; d. there
July 5, 1803. Pupil of Sylvester, the org. of
Exeter Cathedral, and of J. Travers in Lon-
don. After teaching for years at Exeter, he
became (1777) organist and choirmaster at
the cathedral. Besides the operas The Lord of
the Manor (1780) and Metamorphoses (1783),
he comp. odes (Warton's Ode to Fancy, Pope's
The Dying Christian to His Soul, and Lycidas)
and a large number of songs, canzonets,
madrigals, pastorals, hymns, anthems, Church-
services, etc.; also sonatas for harpsichord. —
Writings: 30 Letters on Various Subjects (Lon-
don, 1782); Observations on the Present State of
Music in London (1791); and The Four Ages,
together with Essays on Various Subjects (1798).
Jackaon, William (II), organist and
comp.; b. Masham, Yorks., Engl., Jan. 9,
1815; d. Bradford, April 15, 1866. A self-
taught musician, he became org. at Masham
in 1832; won first prize, Huddersfield Glee
Club, in 1840; in 1852, est. a music-business,
and became org. of St. John's Ch., at Brad-
ford; later, took the organ at Horton Chapel,
was cond. of Bradford Choral Union, and
chorusmaster of Bradford Festivals. — Works:
2 Oratorios, Deliverance of Israel from Babylon
and Isaiah; 2 Cantatas, The Year and The
Praise of Music; the 103d Psalm for solo, ch.
and orch.; sacred music, glees, part-songs,
and songs.
Jacob, Benjamin, b. London, Apr. 1,
1778; d. there Aug. 24, 1829. Famous organist,
pupil of Willougnby, Shrubsole, and Arnold
(1796). Organist at various churches, finally
at Surrey Chapel (1794-1825). With Wesley
and Crotch, he gave organ-recitals to im-
mense audiences from 1808-14. He cond. a
series of oratorios in 1800, and the Lenten
Oratorios at Covent Garden in 1818. — Works:
National Psalmody (London, 1819), and other
collections; also glees, songs, and an arrange-
ment of the Macbeth music.
Jacob, F. A. L. See Jakob.
Jacobs [zhah-kdhb'l, fidouard, b. Hal,
Belgium, in 1851; fine 'cellist, pupil of Joseph
Servais at Brussels Cons. Played in tne
Weimar court orch. for some years; in 1885
succeeded his teacher as 'cello-professor at
Brussels Cons.; has also appeared as a viol
da gamba player in concerts of early music.
Jacobsohn/Simon E., violinist; b: Mitau,
Kurland, Dec. 24, 1839; d. Chicago, Oct. 3,
1902. Pupil of Leipzig Cons.; 1860, leader of
Bremen orch.; 1872, of Theodore Thomas's
orch. in New York; then taught in the Cin-
cinnati Cons., and in Chicago.
431
JACOBSSON— JADIN
Jacobsson, John, b. Ldiholmen, near
Stockholm, April 2, 1835; d. Stockholm, June
4, 1909. While carrying on a music-business,
he studied with G. Mankell (ore.)* L. Norman
(harm.) and F. Berwald (comp.); after further
study in Germany he became org. and choirm.
at the synagogue in Stockholm in 1870. —
Works: Agnus Dei for sop. and orch. ; a mass;
a piano-quartet; a string-quartet; a piano-
trio; an overture for orch., Sommarminnen; a
cantata for the silver wedding of King Oscar
II; piano-pieces; songs and part-songs. An
operetta, Ungmors kusin, was prod, in Stock-
holm in 1868.
Jacobsthal [yah1c6hbs-tahl], Gustav, b.
Pyritz, Pomerania, March 14, 1845; d. Berlin,
Nov. 9, 1912. Student at Strassburg Univ.,
1863-70; lecturer on music there, from 1872;
professor extraordinary, 1875; full prof.,
1897; retired 1905, Berlin.— Wrote Die Men-
suralnotenschrift des 12. und 13. Jahrhunderts
(1871), and Vie chromalische Alteration im
liturgischen Gesange der abendldndischen Kirche
(1897), both works of jjreat merit; also valu-
able essays in several journals.
Jaco'by, Georges, b. Berlin, Feb. 13,
1840; d. London, Sept. 13, 1906. Studied
violin with E. and L. Ganz in Berlin, de
Beriot in Brussels, and M assart in Paris;
comp. with Reber, Cheri and Gevaert; in
1861 violinist, later leader, at the Opera; 1869,
cond. at the Bouffes Parisiens. At the out-
break of the Franco-Prussian war he went to
London, where, in 1871, he became cond. at
the Alhambra Th.; from 1896 prof, at the
R. A. M. In Paris he prod. 7 operas and
operettas; wrote over 100 ballets for London.
Jacotin [zhah-k6h-tan'] (real name Jac-
ques Godebrye), Flemish contrapuntist; b.
about 1445; d. March 24, 1529. He was a
singer (chapelain) in the choir of Notre- Dame
at Antwerp, from 1479-1529, and one of the
most renowned musicians of his time. Motets
and chansons were printed in early collections
of Petrucci, Attaignant, Rhaw, etc.; 6-part
Masses are in MS. at Rome.
Jacquard [zhah-kahr'], Leon-Jean, fine
'cellist, pupil of Norblin at Paris Cons.; b.
Paris, Nov. 3, 1826, d. there March 27, 1886.
From 1877, prof, of 'cello at the Cons. He
wrote Morceaux de genre for 'cello.
Jacques-DalcTOze. Wrong, but frequently
used, form for Jaques-Dalcroze.
Ja'dassohn [yah'], Salomon, noted comp.
and influential teacher; b. Breslau, Aug. 13,
1831; d. Leipzig, Feb. 1, 1902. Pupil of the
Breslau gymnasium, also taking lessons of
Hesse (piano), Llistner (vln.), and Brosig
(harm.); entered Leipzig Cons, in 1848, went
next year to Liszt at Weimar, and then studied
comp. privately under Hauptmann at Leipzig,
settling there as a music-teacher in 1852. In
1866 he became cond. of the 'Psalterion' cho-
ral soc.; was from 1867-9 Kapellm. of the
'Euterpe'; after 1871, prof, of harm., cpt.,
comp., and instrumentation at the Cons.,
dividing with Reinecke the honors of first
place as a theoretical instructor in that in-
stitution. In 1887 the Univ. of Leipzig made
him Ph. D. (hon. c); in 1893 he received the
title 'Kgl. Prof.'; member of the R. Academy
of Florence, and other societies. His rather
conservative, though not illiberal, method of
teaching is expounded in a Harmonielehre
(Leipzig, 1883; 7th ed. 1903; Engl. ed. New
York, 1893; 2d revised ed. 1894); Kontrapunkt
(1884; 5th ed. 1909); Kanon und Fuge (1884;
3d ed. 1909); Die Formen in den Werken der
Tonkunst (1889; 4th ed. 1910); Lehrbuch der
Instrumentation (1889; 2d ed. 1907); [Eng-
lish translations of all these have also ap-
peared at Leipzig]; Die Kunst zu modulieren
und prdludieren (1890); AUgemeine Musik-
lehre (1892); Elementar-Harmonielehre (1895);
Methodik des musiktheoretischen Unterrichts
(1898); Das Wesen der Melodie in der Ton-
kunst (1899); Das Tonbewusstsein: die Lehre
vom musikalischen Horen (1899); Erlduterung
der in Backs 'Kunst der Fuge* entkaUenen
Fugen und Kanons (1899); Der Generalbass
(1901). His mastery of form is finely illus-
trated in his compositions in canon-form, not-
ably the vocal duets (op. 9, 36, 38, 43), a
piano-serenade (op. 8), a serenade for orch.
(op. 35), ballet-music for pf. 4 hands (op.
58), which earned him the sobriquet of
the 'musical Krupp'; all his compositions are
marked by finish of style and masterly work-
manship. Among the most important of his
more than 130 works are 4 symphonies (op.
24, 28, 50, 101), 4 serenades (op. 42, 46, 47,
73), 2 overtures (op. 27, 37); a piano-con-
certo, op. 89; 3 piano-quintets (op. 70, 76,
126); a piano-quartet, op. 77; 4 piano-trios
(op. 16, 20, 59, 85); 2 string-quartets; a
serenade for string-orch. and flute; a cavatina
for vcl. with orch., op. 120.— The 100th
Psalm, for double ch., alto solo, and orch.;
Vergebung, for sop. solo, ch. and orch.; Ver-
keissung, for ditto; Trostlied, for ditto, with
organ ad lib.; An den Sturmwind, for male
chorus with orch.; GoU ist gross, for male
chorus, with 2 horns and 3 trombones; mo-
tets for male, mixed, and female chorus;
numerous piano-pieces, songs, etc.
Jadln fzhah-dan'], Hyaclnthe, b. Ver-
sailles, 1769; d. Paris, Oct., 1800. Pianist,
pupil of his father, Jean J., and of Hull-
mandel. Prof, of pf. at the Cons, from its
foundation in 1795. — Works: 4 pf. -concertos;
5 pf. -sonatas; 2 do. for 4 hands; 3 books of
sonatas for vln. and pf.; also an overture for
wind, 12 string-quartets, 6 string-trios, etc.
432
JADIN— JAHN
Jadln, Louis-Emmanuel, dramatic com-
poser; b. Versailles, Sept. 21, 1768; d. Paris,
April 11, 1853. Vln.-pupil of his father,
Jean J.; pf. -pupil of his brother, Hyacinthe
J. In 1789 he became accompanist at the
newly organized Theatre de Monsieur; in
1792 he joined the band of the Garde Na-
tionale, for which he wrote many patriotic
airs, marches, and hymns. In 1802, on his
brother's death, he succeeded him as prof,
at the Cons.; became cond. at the Theatre
Moliere (1806), and Master of the Music-
pages from 1814-30, when he retired. From
1790-1822 he produced nearly 40 operas and
operettas in Paris; he also wrote symphonies,
overtures, a vast amount of chamber-music,
pf. -concertos, sonatas, duos, fantasies, etc.,
for pf.; concertante for 2 pfs.; 14 collections
of airs for solo voice; romances, etc., for 2
voices; and other music.
Jadlowker [yahd-16hy'ker], Hermann,
fine dramatic tenor; b. Riga, 1879. When IS
years of age he ran away from home to es-
cape the distasteful drudgery of a commer-
cial career. Having completed his studies at
the Vienna Cons, under Gansbacher, he
made his debut at Cologne in 1899 in Kreut-
zer's Nachtlager von Granada; in 1900 he was
a member of the Stettin opera; 1901 in
Karlsruhe, where Emperor William heard
him and invited him to sing in Berlin;
success there led to a five-year contract, at
whose expiration he signed a similar con-
tract for Vienna; his American debut took
place at the M. O. H. in Faust, Jan. 22, 1910,
and for 3 seasons he was a great favorite; he
created the chief tenor parts in the American
premieres of Konigskinder (1910), Lobetanz
(1911) and Le Donne Curiose (1912); since
1913 again at the R. Opera in Berlin.
Jaell [yah'gl], Alfred, noted pianist; b.
Trieste, Mar. 5, 1832; d. Paris, Feb. 27,
1882. Pupil, for violin and pf., of his father,
Eduard J. (died Vienna, 1849); pianistic
debut at Venice, 1843, after which time his
almost continual concert-tours earned him
the title of 'le pianiste voyageur.'- From
1852-4 he travelled in America; after this,
he made Paris, Brussels, or Leipzig his tem-
porary home. In 1866 he married Marie
Trautmann [see below]; his tours took him
all over the continent of Europe; he was
made court pianist to the King of Hanover
in 1856. His playing was remarkable rather
for suave elegance and refinement than force-
ful energy. Besides original Valses, Not-
turnos, Komanzas, etc., he wrote many ex-
tremely effective transcriptions from Wag-
ner, Schumann, Mendelssohn, etc.
Jaell-Trautmann, Marie, wife of Alfred
Jaell; a fine pianist and notable writer; b.
Steinseltz, Alsatia, Aug. 17, 1846; pupil
(1861) of H. Herz at Paris Cons., where she
won first pf.-prize. After her marriage, she
accompanied her husband on his travels. —
Works: Pf. -concerto; pf. -quartet; 4-hand
waltzes; Valses melancoliques, Valses mi-
?'nonnes, and several characteristic pieces
or pf. She wrote La musique et la psycho-
physiologic (1895; German translation by F.
Kromayer, 1905); Le micanisme du toucher
(1896); Le Toucher (1899; German transla-
tion 1901); V intelligence et le rythme dans
les mouventents artistiques (1905); Le rythme
du regard et la dissociation des doigts (1906);
La coloration des sensations tactUes (1910);
La rhonnance du toucher et la topographie des
pulpes (1912).
Jaf'fe, Moritz, b. Posen, Jan. 3, 1835.
Violinist, pupil of Ries in Berlin, also of
Bohmer (harm.); then (1858) of Maurin and
M assart, Paris, and again in Berlin of Laub,
Wfierst, and Bussler. — Works: The operas
Das Kdthchen von Heilbronn (Augsburg, 1866) ;
Ekkehard (Berlin, 1875) ; and La Duchessa di
Svevia (in Italian at Milan, 1893); also a
string-quartet, violin-music, songs, etc.
Jaffe, Sophia, violinist; b. Odessa, Feb.
26, 1872. Pupil of Auer at Petrograd; later
of M assart and Sauzay at the Paris Cons.,
where she won first prize in 1892. Very suc-
cessful concerts at Berlin, season of 1895-6,
afterwards in other German cities. Soon
after she inherited a fortune, and retired.
Jahn [yahn], Otto, learned musicographer
and art-critic; b. Kiel, June 16, 1813; d.
Gdttingen, Sept. 9, 1869. After study at
Kiel, Leipzig, and Berlin, he travelled in
France and Italy 1836-9, then qualifying at
Kiel as a lecturer on philology; in 1842 he
became prof, extraordinary of archaeology at
Greifswald, and full prof, in 1845; undertook
the directorship of the archaeol. museum at
Leipzig in 184/, was dismissed in 1851 for
political reasons, and in 1855 was app. direc-
tor of the art-museum, and prof, of archaeol-
ogy, at Bonn Univ. In 1867 he was called
to Berlin, but before he could enter upon his
duties his health broke down, and he died
after a lingering illness. — As a writer on
music his magnum opus is the standard biog-
graphy of W. A. Mozart (1856-9, 4 vols.; 2d
ed. 1867, 2 vols.; 3d ed. 1889; 4th ed., re-
vised by Dr. H. Deiters, 1905-7; English
transl. rw P. Townsend, London, 3 vols.,
1882). This was the first musical biography
written according to the 'comparative' critical
method; it reviews the state of music during
the period immediately preceding Mozart,
and has become a model for subsequent mus.
biographers and historiographers. Other
writings on music are uber Mendelssohn's
Paulus ('Grenzbote,' 1842), and numerous
essays, publ. 1866 in his GcsammelU Auf-
433
JAHN— JANK6
sdtze uber Musik, on Wagner, Berlioz, on the
Lower Rhine Music Festivals of 1855-6, on
Breitkopf & Hartel's complete ed. of Beet-
hoven, etc. It had been his intention to
write a Beethoven biography; but under his
hand the collected materials first shaped
themselves to a Life of Mozart, and Thayer
utilized the accumulated data for hisa 'Beet-
hoven/ as Pohl used J.'s notes in his
'Haydn.'— As a 'practical musician, I. publ.
32 songs, in 4 books, and a voj. of 4-part
songs for mixed voices. His critical edition,
in vocal score, of Beethoven's Fidelio, is es-
teemed.—Cf. J. Vahlen, 0. J. (1870); H.
Deiters, 0. /. (in *All$. M.-Ztg.,' 1870); E.
Petersen, 0. J. in setnen Briefen (Leipzig,
1912) ; J. Pulver, O. /., in 'M. TV (April, 1913).
Jahn, Wllhelm, b. Hof, Moravia, Nov.
24, 1835; d. Vienna, April 21, 1900. Was a
chorister at Temesvar in 1852, Kapellm. at
Pest (1854), later at Agram, Amsterdam,
Prague (1857-64), the Royal Th. at Wies-
baden (1864-81), and Vienna, where he was
Director of the Court Opera until his retire-
ment in 1897 (G. Mahler was his successor).
He published songs.
Jahns [vans], Friedrich Wilhelm, b.
Berlin, Jan. 2, 1809; d. there Aug. 8, 1888.
A pupil in singing of Ed. Grell and Heinrich
Stumer (also of Ch. Detroit, pf., and L.
Horzizky, pf. and comp.), he entered the
Royal Opera chorus as a boy-soprano, later
becoming a distinguished vocal teacher (some
1,000 pupils). He founded a singing-society
in 1845, and was its conductor until 1870; in
1849 he received the title of 'Royal Music-
Director,' and that of 'Professor' in 1870; in
1881 he was app. teacher of rhetoric at
Scharwenka's Cons. An enthusiast in all
things pertaining to Weber, he made a
unique collection of Weberiana (all W.'s
compositions in the first and in all subse-
quent editions; 300 autograph letters and
documents; many mus. autographs, as the
sketches for Euryanthe, the Mass in Eb, the
Aufforderung turn Tanz, Leyer und'Schwert,
etc.; and all obtainable published essays and
articles on Weber; etc.), purchased in 1883
for the Royal Library, Berlin. His own
work, C. M. von Weber in seinen Werken
(1871), is the most trustworthy treatise on
the composer's works, containing a thematic
catalogue chronologically arranged, with
critical notes; it was followed in 1873 by
C. M. von Weber, a sketch of W.'s life, j/s
original compositions include a pf.-trio, op.
10; a Grand Sonata for pf. and vln., op. 32;
other pf. -music; and over 150 works for one
or more voices (e. g., the Schotiische Lieder.)
Jaltob, Friedrich August Leberecht,
b. Kroitzsch, near Liegnitz, June 25, 1803;
d. Liegnitz, May 20, 1884. Cantor at Con-
434
radsdorf, Silesia, 1824-78, when he was pen-
sioned.— For years the co-editor of the Eu-
terpe'; publ. a Fassliche Anweisung sum Ge-
sangunUrricht in VMsschulen (1828), and
(with E. Fr. Richter) a valuable Reformirtes
Choralbuch (Berlin, 1873; 2d ed. 1877).
Also quartets for male ch., school-songs, songs.
Jan, Maistre. See Gallus, Johannes.
Jan [y&hn], Karl von, b. Schweinfurt,
May 22, 1836; d. Adelboden, Switzerland,
Sept. 3, 1899; took the degree of Dr. phil. at
Berlin, 1859, with the thesis De fidibus Gra-
corum; taught at the 'Graues Kloster' un-
der Bellermann, and then at Landsberg until
1875, where he went to Saargemund, and
thence (1883) to the Lyceum at Strassburg.
He publ. several musico-historical essays:
Uber die altgriechischen Tonarten (1878), and
the Diaulos (1881; both in the 'Allg. mus.
Zeitung'); in art. CUharodik in the 'Halle
Encyclopaedia/ on the cithara and lyre; an
analysis of Bacchius's Eisagoge (1891, 'Pro-
gramm' of Strassburg Lyceum); on the
metrics of Bacchius (Rhenish 'Museum fflr
Philologie,' vol. 46); on the Hymnen des
Dionysos und Mesomedcs (Fleckeisen's 'Jahrb.
der Philologie/ 1890); on the Harmonie der
Sph&ren ('Philologus/ vol. 52); on Rousseau
als Musiker ('Preuss. Jahrb./ vol. 56). An
important work is his critical edition (super-
seding Meibom's) of the Greek writers on
music: Musici scriptores greeci: AristoieUs,
Eudides, Bacchius, [Cleonides], Nichomachus,
Gaudentius, Alypius (1895), with an Appen-
dix Melodarium reliquia containing all the
extant vocal music (this also in a separate
edition, augmented and revised, 1899).
Jank6, Paul von, b. Totis, Hungary,
June 2, 1856; studied at the Polytechnic,
Vienna, and also at the Cons, (under Hans
Schmitt, Krenn, and Bruckner); then (1881-
2) at Berlin Univ. (mathematics), and with
Ehrlich (of.); since 1892 living in Constanti-
nople. His new keyboard, invented in 1882,
is really a new departure in piano-mechanics,
though standing in distant relationship to
the older 'chromatic' keyboard advocated by
the society 'Chroma.' It has six rows of
keys in step-like succession; the arrangement
of the two lowest rows (typical of the other
two pairs) is as follows:
Second row: c# d% F G A B
Lowest row: C D E f# g# a# C etc.
the capitals representing white keys, and the
small letters black ones. The 3d and 4th
rows, and the 5th and 6th rows, are mere
duplications of the 1st and 2d; and corre-
sponding keys in the 1st, 3d, and 5th rows,
and in the 2d, 4th, and 6th rows, are on one
and the same key-lever, so that any note can
be struck in three different places. The
fingering of all diatonic scales is alike; chro-
JANNACONI— JANSSEN
matic scales are played by striking alternate
keys in any two adjoining rows. The width
of an octave on the ordinary keyboard corre-
sponds exactly to that of a tenth on the
Janko keyboard, on which latter large hands
can easily stretch a thirteenth. A full de-
scription of the keyboard was published in
pamphlet-form by its inventor (1886), who
has also produced it in numerous concerts.
It has been taken up by several pianists
(Wendling, Gisela Gulyas), and is taught in
some music-schools (Leipzig Cons., Schar-
wenka Cons.). In 1905 a * Janko- Verein' was
founded in Vienna. — Cf. R. Hausmann, Die
J.-Klavjatur (1892): K. W. Marschner, Das
J.-Klavier (1899); H. Schmitt, Zur Geschich-
te der J.-Klaviatur (in 'Wiener Rundschau,1
1889); R. Hausmann, Das J.-Klavier und
seine technische Vervollkommnung (in 'Ztschr.
Int. M.-G.,' vol. v); G. Scrinzi, The J. -Key-
board and Simplification (ib.); H. F. Mtin-
nich, Afalerialien fur die J.-Klaviatur (1905).
Jannaco'ni [yahn-], Giuseppe, one of the
last composers in 'Palestrina-style'; b. Rome,
1741; d. there March 16, 1816. A pupil of S.
Rinaldini and G. Carpani, he succeeded Zin-
parelli in 1811 as maestro at St. Peter's. He
is noted for his scoring of many of Palestrina's
works, aided by his friend Pisari. Himself a
most distinguished composer of church-
music, his works still remain in MS. in the
Santini Coll. at Rome; they include a. Mass, a
Te Deum, a Magnificat, a Dixit Dominus, and
a Tu cs Petrus, all a 16; 16 Masses in 4-8 parts,
with organ; 14 other masses; 32 Psalms in
4-8 parts; 10 do. with orch.; 16 motets in 2-6
parts; 57 Offertories and Anthems a 3-8; a
Canon a 64; 2 Canons a 16; an Ecce terrae
tnotus for 6 basses^ an oratorio for 2 tenors
and 1 bass, L'Agonia di GesH Christo; etc.
Jannequin [zhahn-kanl (or Janequln,
Jennekin), Clement, a French (or Belgian)
contrapuntist of the 16th century. Probably a
pupil of Josquin, he was an imitator of Gom-
bert as a writer of descriptive or 'program'-
music. Besides detached pieces in colls, of
the time (Attaignant's^ Gardane's, etc.), and
chansons in special editions, there were publ.
Sacrce cantiones seu motecUe 4 vocum (1533),
Proverbes de Salomon mis en cantiques et ryme
francais (1554), Octante psaumts de David
(1559). Among the most interesting 'Inven-
tions' (chansons) in 4-5 parts are La BataiUe
(portraying the battle n. Malegnano in 1515;
Verdelot added a fifth part to the original
four) , La Prise de Boulogne, La Guerre , Le Chant
des oiseaux (2 settings), etc. — See Q.-Lex.
Janotha [yah-noh'tah], Nathalie, pianist;
b. Warsaw, June 8, 1856. Pupil of Joachim
and Rudorff at the Berlin Hochschule; later
of Clara Schumann, Brahms, and Princess
Czartoryska; also (in harm.) of F. Weber in
Cologne and Bargiel in Berlin. Dtbut as
pianist at the Gewandhaus, Leipzig, Jan. 1,
1874. She is court pianist to the German
Emperor (1885). —-Compositions: Ave Maria
(inscribed to Pope Leo), Mountain Scenes (to
Frau Schumann), gavottes, mazurkas, and
other piano-music. She translated (with
additions) into English Kleczinslri's Chopin*s
Greater Works (London, 1896).
Janowka [yah-ndhff'kahj, Thomas Bal-
thaaar, b. Kuttenberg, Bohemia, about 1660,
organist at Prague; known to fame as the
compiler of Clavts ad thesaurum magnae artis
mustcae (1701), the earliest musical lexicon
save Tine tor* 3 Terminorum musicae diffini-
torium (publ. about 1475).
Jan'sa, Leopold, b. Wilde nschwert, Bo-
hemia, March 23, 1795; d. Vienna, Jan. 24,
1875. Violinist, taught at home by Jehada
and Zizius, in Vienna from 1819 by Wor-
zischek (vln.) and E. Forster (com p.). In
1823 he became chamber-musician to the
Graf von Brunswick in Hungary; in 1824,
joined the Imperial orchestra in Vienna; and
was appointed director of music, and prof,
of violin, at the Univ. of Vienna in 1834;
in 1849, having taken part in a concert for
the benefit of the Hungarian revolutionists
in London, he was banished, and went to
London, living there as a teacher and concert-
player until 1868. On proclamation of amnesty
in that year, he returned to Vienna, and re-
ceived a pension. As a player, J. ranked next
to Bdhm and Mayseder; his compositions in-
include 4 violin-concertos, also fantasias,
rondos and variations for vln.; 36 vln. -duets;
a Rondeau concertant for 2 vlns. with orch.;
8 string-quartets; 3 string-trios; and a few
church-works (offertory for tenor and vln.
solo, ch. and orch.; Graduate for 4 male
voices; 2 cantatas).
Jan'sen, F. Gustav, b. Jever, Hanover,
Dec. 15, 1831; d. Hanover, May 3, 1910.
Pupil of Coccius and Riccius in Leipzig;
taught music in Gdttingen; and in 1855 was
app. organist of Verden Cathedral, with the
title of Royal Music- Director in 1861; re-
tired in 1900. He publ. Die Davidsbundler;
aus R. Schumanns Sturm- und Drangperiode
(1 883 ), vividly describing thisimportant period ;
for his somewhat extravagant statements he
was taken to task by Wasielewski in Schu-
manniana; also edited R. Schumanns Briefe;
neue Folge (1886; 3d ed. 1904) and the 4th
ed. of Schumann's Gesammelte Schriften (1891).
He wrote original pieces and transcriptions
for piano, and songs.
Jans'sen, Julius, b. Venlo, Holland, June
4, 1852. He studied in the Cologne Cons., be-
came cond. of the Mus. Soc. at Minden in
1876. later of the Mus. Soc. and Male Choral
Soc. at Dortmund, where he was app. city
435
JANSSENS-JAQUES-DALCROZE
mus. director in 1890, and cond. of the 1st
and 2d Westphalian Mus. Festivals; R. Prof,
in 1908. Has published songs.
Jans'sens, Jean-Francois-Joseph, com-
poser; b. Antwerp, Jan. 29, 1801; d. there
Feb. 3, 1835. Taught by his father and De
Loeuw, later for 2 years by Lesueur in Paris.
Returning to Antwerp, he studied law at his
family's desire, and practised as a notary
until the siege of Antwerp (1832), composing
in leisure hours; going to Cologne, he lost his
MSS. and other possessions by fire on the
night of his arrival, and became insane in
consequence. In his biography, by Van der
Straeten (Brussels, 1866), is given a list of
his works, the importance of which was recog-
nized after his death. They include 4 operas:
Le Pere rival and La iolie fiancee (both Ant-
werp, 1824), and 2 others in MS.; 2 cantatas
with orch., Les Grecs, ou Missolonghi, and
Winter armoede; an ode, Le Roi; 2 Symphonies,
Le Lever du soldi, and a 2d, which won a
prize at Ghent; 5 masses; a Te Deum; some
25 motets, anthems, psalms and hymns, with
orch.; songs. — Cf. Hendrickx, Simple histoire.
Boulades biographiques d l' occasion du 25**
anniversaire de la mort de J.-F. J. (Antwerp,
1860); E. van der Straeten, J.-F.- J. J.t com-
positeur de musique (Brussels, 1866).
Januschowsky [-sh6hfF], (Frau) Georftine
von, dram, soprano; b. Austria, circa 1859.
d: New York, Sept. 6, 1914. She sang in
operetta at Sigmaringen in 1875, then at
Stuttgart, Freiburg, and Graz. In 1877 she
succeeded Marie Geistineer as soubrette at
the Theater an der Wien, Vienna; from 1879-
80, soubrette at Leipzig; 1880, in the Ger-
mania Theatre, New York; 1892, sang at
Mannheim and Wiesbaden; 1893-5, dramatic
prima donna at the Imp. Opera, Vienna. She
married Ad. Neuendorff (d. 1897). Rdles:
Briinnhilde in Die Walkiire, Siegfried, Cotter-
dammerung; Elisabeth, Elsa, Ortrud, Senta,
Leonore, Adrianna, Donna Anna, Aida, Se-
lika, Valentine, Iphigenie, Marguerite, Re-
becca, Santuzza, etc.; also leading soubrette
rdles in over 60 comic operas and operettas.
Ja'pha, Georg Joseph, b. K6nigsberg,
Aug. 28, 1835; d. Cologne, Feb. 25, 1892.
Violinist; pupil of David and R. Dreyschock
in the Leipzig Cons., 1850-3; then of Edmund
Singer at Konipsberg, and of Alard in Paris.
Played 1855-7 in the Gewandhaus Orch., also
giving concerts; concertized in Russia in the
winter of 1857-8; taught in Konigsberg 1858-
63, and organized chamber-music concerts
with Adolf Jensen; played successfully in
London; finally, leader of the Giirzenich
Concerts, Cologne, and teacher in the Cons.
Ja'pha [Langhans-Japha], Louise, b.
Hamburg, Feb. 2, 1826; d. Wiesbaden, Oct. 13,
1910. Distinguished pianist and composer;
436
pupil of Fritz Warendorf (pf.), and of G. A.
Gross and Wilhelm Grund (comp.); studied
composition and advanced piano-playing in
1853 under Robert and Clara Schumann at
Dilsseldorf. In 1858 she married W. Langhans
and zealously studied classic chamber-music,
?'ving brilliant concerts with her husband; in
aris she was feted as one of the finest pianists
of the time (1863-9). Settled in Wiesbaden,
1874. — Works: An opera, string-quartet, pf.-
pieces, and songs.
Jaques-Dalcroze [zhahk dahl-krohz'J,
Emile, b. (of French parents) Vienna, July
6, 1865. In 1873 his parents moved to Geneva;
having completed his course at the Univ. and
also at the Cons, there, he went to Vienna for
further study under R. Fuchs and A. Bruck-
ner, and then to Paris, where he studied
orchestration at the Cons, with Delibes; in
1892 he returned to Geneva as instr. of theory
at the Cons. As he laid special stress on
rhythm, he insisted on all his pupils' beating
time with their hands, and this led him, step
by step, to devise a series of movements af-
fecting the entire body. Together with the
French psychologist fidouard Claparide he
worked out a special terminology and re-
duced his practice to a regular system, which
he called Eurhythmies/ When his applica-
tion to have his method introduced as a
regular course at the Cons, was refused, he
resigned, and in 1910 established his own
school at Hellerau, near Dresden. Even be-
fore that time the new system had attracted
wide attention, and the school flourished from
the beginning; within three years branches
were opened in France, Russia, Germany,
England and the U. S. (Bryn Mawr Coll.,
New York and Chicago). Conditions result-
ing from the war brought about the closing
of the school at Hellerau in 1915. Without
question, the results obtained by J.-D. have
contributed toward the recent extraordinary
development of the ballet. Aside from his
rhythmical innovations, he also commands re-
spect as a composer of marked originality
and fecundity of invention; many of his
works show now thoroughly he is imbued
with the spirit of Swiss folk-music. — Works:
The operas J ante (Geneva, 1894); Sancho
Pansa (ib., 1897); Onkel Dazumal (Cologne,
1905; as Le bonhomme Jadis, Paris, 1906);
Les Jumeaux de Be r game (Brussels, 1908) ; an
operetta, Respect pour nous (Geneva, 1898);
a pantomime, £cho el Narcisse (Hellerau,
1912); Festival vaudois, for soli, ch. and orch.;
La Veillie, for do.; Pohne alpestre, for do.; 2
concertos for vln.; a string-quartet; pieces for
piano (op. 8, 10, 44, 45, 46, 47, etc.); Suite for
vcl. and piano (op. 9); Fantasia appassionato
for vln. and piano (op. 53); several colls, of
songs (Chansons romandes el enfantinest
Chansons populaires el enfantines, Idylles el
JAQUET— JEDLICZKA
chansons, Volkskinderlieder, Tandieder Mr
Kinder, Chansons rcUgieuses, etc.)* He has
publ. a series of lectures on his system as
V Education par le rythtnc (1907) and a com-
prehensive MSthode J.-D. (5 parts, 1907-14);
both have appeared in Ger. transl. by P.
Boepple. — Cf. A. Seidl, Die Hellerauer Schul-
Jeste und die Bildungsanstalt J.-D. (Ratisbon,
1912); K. Storck, £. J.-D. Seine Stellung und
Aufgabe in unserer Zeit (Stuttgart, 1912); M.
£. Sadler. Eurhythmies (London, 1912).
Jaquet. See Buus.
Jarnefelt, Armas, b. Wiborg, Finland,
Aug. 14, 1869. Pupil of Wegelius and Busoni
at the Helsingfors Cons.; then of A. Becker
in Berlin (1890) and Massenet in Paris (1892);
began his career as repetitor at the Stadtth.
in Magdeburg (1896); next year at Dussel-
dorf; 1898-1903 cond. of a symph. orch. in
Wiborg; in 1903 he won a government stipend
and spent a year in further study abroad. On
his return he was app. cond. of the opera at
Helsingfors, where he produced Wagnerjs
later works with native artists; in 1905 he be-
came cond. of the symphony concerts of the
R. Orch. at Stockholm, which he cont. while
discharging his duties as director of the
Helsingfors Cons. (1906-7); in 1907 he was
app. cond. of the R. Opera in Stockholm, and
in 1911 Hofkapellm. In 1893 he married the
singer Maiklri Pakarinen, was divorced in
1908, and married in 1910 another singer,
Liva Edstrdm. — Works: For orch., Korsholm,
symph. poem; a Sytnfonisk Fantasi; HeimaU
Hang, symph. fantasy (4 movents.); Serenade
(5 movems.); 2 overtures; 4 suites; for chorus
and orch., Laula vuoksella, Suomen synty, Abo
slott; male choruses; piano-pieces; songs.
Jarno [yahr'-], Georg, b. Pest, June 3,
1868. After a short activity as cond. at the
Stadtth. in Breslau he settled in Vienna, de-
voting himself entirely to comp. Has written
the operas Die schwarte Kaschka (Breslau,
1895), Der Richter von Zalamea (ib., 1899),
Der zerbrochene Krug (Hamburg, 1903); the
operettas Der Goldfisch (Breslau, 1907), Die
Forster-Christel (Vienna, 1907), Das Musikan-
tenmddel (ib., 1910); Die Marine-Gustd (ib.,
1912), Das Farmermddchen (Berlin, 1913).
Jarnovic [yahr'ndh-vits] [Glornori(c)chi],
Giovanni Mane, an Italian violinist of
Polish parentage; b. Palermo, 1745; d. Pe-
trograd, Nov. 21, 1804. A pupil of Lolli, he
won fame at the 'Concerts Spintuels' in Paris,
1770; went to Berlin in 1779, where he was a
member of the Crown Prince's orch. until
1783; then undertook a long concert- tour to
Warsaw, Petrograd, Stockholm, Vienna ( 1 786) ,
and other cities, reaching London in 1792;
here, as previously at Berlin and Paris, he
met Viottt, and might have coped with him suc-
cessfully, had not his (J.'s) insufferable arro-
gance and irregular habits rendered him
odious. He lived in Hamburg from 1796-1802,
and went thence via Berlin to Petrograd,
winning fresh laurels. He died suddenly of
apoplexy. His works (7 symphonies, 16 vln.-
concertos, 6 string-quartets, 16 violin-duos,
sonatas for vln. and bass, etc.) were in high
favor as light and agreeable music.
Jarvis, Charles H., excellent classical
pianist; b. Philadelphia, Dec. 20, 1837; d.
there Feb. 25, 1895. He played in public at
the age of seven. In 1862 he founded the
Phila. Quintet Club; he also cond. various
series of orchestral concerts, and gave histori-
cal piano-recitals. He was a teacher of repute.
Jaspar [zhahs-pahrl, Maurice, b. Li&ge,
June 20, 1870. Pupil of the Paris Cons. ; since
1909 prof, of piano there. In 1894 he organiz-
ed regular chamber-music concerts for piano
and string-quartet, and since 1900 he has
been giving series of concerts illustrating the
development of the pf. -sonata and pf.-con-
certo; with Lebefvre he founded in 1909 the
Walloon Mus. Festivals; comp. of chamber-
music and songs; author of several text-
books (Harmony, Mus. Dictation, etc.).
Jausions [zhoh-z'yohn'], Dom Paul, b.
Rennes, Nov. 15, 1834; d. Vincennes, Ind.,
U. S. A.. Sept. 9, 1870. In 1856 he entered the
order of St. Benedict at Solesmes, and under
the direction of Dom Gueranger began to
study the Gregorian Chant; he pursued his
investigations in company with Dom Pothier,
whose Melodies Gregoriennes are the result
of their joint labors. In 1869 he was sent
to the U. S. to collect data for a biography
of Brute de Remur, bishop of Vincennes (an
uncle of Dom Gueranger), and died as he was
about to return. J.'s interpretation of the
Gregorian melodies according to the tonic
accent has become the guiding principle in all
the publications of the Benedictines of
Solesmes. A complete list of J.'s writings is
found in the Bibliographic des Benedictins de
la congregation de France (1907). — Cf. Dom
Guepin, Obituary notice in 4La Semaine re-
ligieuse de Rennes* (Sept. 16, 1871), and
Souvenirs, in 'Boletin de Santo Domingo de
Silos' (April, 1904; errors can be corrected by
reference to Guepin's notice).
Jean le Goq. See Gallus, Johannes.
Jedliczka [yehd-litch'kah], Ernst, b. Pul-
tava, Southern Russia, June 5, 1855; d. Ber-
lin, Aug. 3, 1904. He received his first in-
struction from his father, an excellent musi-
cian; entered the Univ. of Petrograd to study
mathematics, but left to continue his musical
studies with N. Rubinstein and Klindworth
(pf.) and Tchaikovsky (comp.) in Moscow;
from 1879-86 he was prof, of pf. at the Mos-
cow Cons.; after that, at the Klindworth-
437
JEHAN— JENNER
Scharwenka Cons., and at Stern's Cons., in
Berlin. He was a very successful teacher.
Jehan. See Gallus, Johannes.
Jehin (Jehin-Prume) [zhti-an' prilm],
Francois, celebrated violinist; b. Spa,
Belgium, April 18, 1839; d. Montreal, Canada,
May 29, 1899. At 4, pupil of Servais; at
5, entered the class of his uncle, Francois
Prume, in Liege Cons. ; gave a public concert
at 6, and at 9 won a prize. On rrume's death,
the town of Spa sent J. -P. to study with de
Beriot and Leonard at Brussels Cons.; in
the latter's class he won 1st prize in 1851, and
the harmony-prize in Fetis's class in 1853.
At 16, after finishing under Vieuxtemps and
Wieniawski, he made his virtuoso-debut at
Dresden, followed by a Russian tour, playing
with the Rubinsteins, Jenny Lind, Essipoft,
etc., forming the famous trio J. -P., de Kont-
ski, and Monsigny. After tours in Germany,
Belgium, Scandinavia, and Holland, he was
app., in 1862, violinist to the King of Bel-
gium, as de Beriot's successor. In 1863 he
travelled through Mexico, Havana, and New
York, to Montreal, meeting and marrying the
famous singer Rosita del Vecchio. In 1866,
European, tour; 1869-71, long tour in the
United States with Carlotta ratti and Th.
Ritter. Till 1887 his time was divided be-
tween Europe and America; he then settled
in Montreal, where he was prof, at the Tra-
falgar Inst., founded the Artistic Association
(for chamber-music) in 1893, and was active
in every good musical work until retirement
in 1896. He succeeded Vieuxtemps as head
of the 'Belgian School'; his tone was sweet
and pure, technique superb. Decorations, etc.,
were showered upon him. Eugene Ysajte was
one of his marty pupils. Among his violin-
works are 2 concertos, and over 30 brilliant
soli; he also set to music a score of songs.
Jehin, Leon-Noel -Joseph, b. Spa, July
17, 1853; violinist, pupil of Leonard in Brus-
sels Cons.; cond. an orchestra at Antwerp,
and in the Theatre de la Monnaie and Vaux-
hall, Brussels; from 1879-89, asst.-prof. of
theory at Brussels Cons. ; since then, cond. at
Monaco. Has written for orch. Suite de Ballet,
March* jubilaire, Minuetto, etc.; tXegie for
str.-orch.; Romance for vln. and orch.; songs.
Jelensperger [ya'-], Daniel, b. n. Mulhau-
scn, Alsatia, in 1797; d. there May 31, 1831.
He was employed at Mayence and Offen-
bach as a lithographic copyist; was engaged
at Paris in the same capacity, and there
studied theory under Reicna, soon becoming
the latter's repetiteur in his Cons, classes, and
later asst. -professor. In 1820, several com-
posers formed an association for publishing
their own works, and made J. their business-
manager. As such he edited Reicha's TraitS
de haute composition and wrote L'harmonie au
commencement du dix-neuoieme s&cle et mHkode
pour VHudier (Paris, 1830; German transl.
Leipzig, 1833). He was the translator, into
French, of J. Hummel's Clavierschule and
Haser's Chorgesangschule.
Jelinek, Franz Xaver, b. Kauri ns, Bo-
hemia, Dec. 3, 1818; d. Salzburg. Feb. 7, 1880.
Oboe virtuoso, trained in the Prague Cons.;
from 1841, librarian at the Mozarteum, and
oboe-teacher, at Salzburg; later also choir-
director at the Cathedral. — Works: Church-
music; male choruses; solos for oboe.
Jenkins, David, composer; b. Trecastell,
Brecon, Jan. 1, 1849. Pupil of Dr. Joseph
Parry at the Univ. Coll. of Wales; graduated
Mus. Bac., Cantab., 1878. In 1885 he visited
America as a festival-conductor. Since 1899
he has been prof, of music at the Univ. Coll.
of Wales, Aberystwith; member of Council,
and examiner, in the Tonic Sol-fa Coll.; ex-
aminer in the R. C. M.; cond. and judge at
many Eisteddfodau. He has written an
opera, The Enchanted Isle; an operetta, The
Village Children; 3 oratorios, David and Saul,
The Legend of St, David (Carnarvon Eistedd-
fod, 1894), Scenes in the Life of Moses (1915);
3 cantatas, The Ark of the Covenant, David and
Goliath, and A Psalm of Life (Cardiff Festival,
1895); The Maiden's Lake (Llangollen Eis-
teddfod); The Storm (1912); also anthems,
girt-songs, songs, etc. Together with D. E.
vans he was editor of *Y Cerddor' (The
Musician); since the latter's death (1913)
sole editor and proprietor.
Jenkins, John, Engl, composer; b. Maid-
stone, 1592; d. Kimberley, Oct. 27, 1678.
Musician to Charles I and Charles II, playing
on the lute and the lyra-viol. He wrote many
Fancies for viols or organ, and light pieces
which he termed Rants (The Mitter Rant, in
Playford's 'Mustek's Handmaid,' 1687; The
-Fleece Tavern Rant, and The Peterborough
Rant, both in Playford's 'Apollo's Banquet',
1690). In 1660 he published 12 Sonatas for 2
Violins and a Base, with a Thorough Base for
the Organ or Theorbo, the first English instru-
mental compositions of the kind; his popular
The Lady Katherine Audley's Bells; or, The
Five Bell Consort, was first printed in Play-
ford's 'Courtly Masquing Ayres' (1662). His
Fancies are still in MS. Several interesting
vocal works were also printed.
Jennekin. See Jannequin.
Jenner [y&hn'-], Gustav, b. Keitum, Island
of Sylt, Dec. 3, 1865. Pupil of Stange and
Gange in Kiel and of Mandyczewski and
Brahms in Vienna; since 1895 Musikdir. and
cond. of the 'Konzertverein' in Marburg;
Ph. D., 1904 (hon. c). He has publ. Psalm
XIII for bar. and org.; a sonata f. clar. and
pf. (op. 5); do. for vl. and pf.; 12 trios f. fern,
voices (op. 3); songs (op. 1, 2, 4, 6, 7); author
438
JENSEN— JIMMERTHAL
of Joh. Brahms als Mensch, Lehrer und
KUnstler (Marburg, 1905).
Jen'sen, Adolf, a German song-composer
of conspicuous talent; was born in K5nigs-
berg, Jan. 12, 1837; d. Baden-Baden, Jan. 23,
1879. Self-taught as a boy, he was aided
by L. Ehlert and Fr. Marpurg for some 2
years, and composed diligently (overtures,
a string-quartet, sonatas, and songs). The
year 1856 he passed as a teacher in Russia,
earning money to go to Schumann at Dtissel-
dorf, whom he passionately admired, and
with whom he corresponded; but Schumann
died at the end of July. J. was Kapellm.
of the Posen City Th. in 1857; went to
Copenhagen in 1858 to spend 2 years with
Gade; and in 1860 returned to Konigsberg.
From 1866-8 he taught advanced pupils at
Tausig's school in Berlin, but was then
compelled by ill health to retire to Dresden,
in 1870 to Graz, and at last to Baden-Baden,
where he died of consumption. In his
vocal music J. is most nearly akin to Schu-
mann, though of too deep emotional origi-
nality to be termed an imitator. He publ.
about 160 songs for solo voice w. pf.: — Op.
1, 4, 5; op. 6 (Der Ungenannten, 6 love-songs
after Geibel); op. 9, 11; op. 13 (6 Liebeslieder
f. low voice); op. 14, 21-4; op. 30 (Dolorosa,
6 poems by Chamisso); op. 34, 35, 39; op.
40 (Gaudeamus, 12 songs f. bass); op. 41,
49, 50-3, 55, 57, 58, 61; and 3 sets without
opus-number. His other vocal music in-
cludes op. 10, No. 1, Nonncngesang f. sopr.
solo and female ch., w. 2 horns, harp, and
piano, and No. 2, Brautlied f. mixed ch., w.
ditto; op. 26, Jephthas Tochler, for soli, ch.
and orch.; Adonis- Feier, f. ditto; op. 54,
Donald Caird ist wieder da, f. tenor solo,
male ch., and orch.; op. 63, three songs f.
3-part female ch. and pf.; op. 64, two Marien-
lieder f . tenor solo, 4 violas, 2 'cellos, 2 double-
basses, and kettledrums; and 2 sets of eight
4-part songs, op. 28 and 29. — Instrumental:
Concert-overture in E m.; a geistliches Ton-
stuck f. orch., Der Gang der Junger nach
Emmaus, op. 27; much interesting and
poetic pf. -music (for 4 hands: Hochzeitsmusik,
op. 45; Abendmusik, op. 59; Lebensbilder, op.
60; 6 Silhouetten, op. 62; and Landliche Fest-
tnusik; — for pf. solo: Innere Stimmen, op.
2; Wanderbilder, op. 17; sonata in F m.,
op. 25; 6 German Suites, op. 36; IdyUen, op.
43; Erotikon, 7 pieces, op. 44; a scherzo,
Wald-IdyUe, op. 47; Scenes carnavalesques,
op. 56; and many others). — A 3-act opera,
Turandot, was left in MS., and has been
revised and edited by W. Kienzl. — Cf. A.
Niggli, A. 7. (Zurich, 1895); id. A. /. (Ber-
lin, 1900; in 'BerUhmte Musiker'). His
letters were publ. by P. Kuczinski (1879).
Jen'sen, Gustav, violinist and composer;
brother of preceding; b. Konigsberg, Dec.
25, 1843; d. Cologne, Nov. 26, 1895. Pupil
of Dehn (comp.), and Laub and Joachim
(vln.); member of orch. in Konigsberg City
Th.; 1872-95, prof, of cpt. at Cologne Cons. —
Works: Symphony in nb; 3 Characterstucke
f. orch., op. 33; a string-quartet, op. 11; trio,
op. 4; Suite for pf. and vln., op. 3; violin-
sonata, op. 7; 'cello-sonata, op. 26; Landliche
Serenade f. string-orch., op. 37; pf. -pieces,
arrangements of classic music, songs, etc.
A new ed. of Cherubim's 'Counterpoint' pre-
pared by J. was publ. by O. Klauwell (1896;
revised again by R. Heuberger, 1911).
Jen'sen, Niels Peter, b. Copenhagen,
July 23, 1802; d. there Oct. 19, 1846. Al-
though blind from childhood, he became an
excellent flutist and organist. Pupil of Brunn
(fl.), A. W. Hartmann (org.) and Kuhlau
(comp.); from 1828 org. at St. Peter's in
Copenhagen. Publ. 2 sonatas for flute and
pf. (op. 6, 18), duets f. 2 flutes (op. 4, 7, 11),
3 fantasies for flute and pf. (op. 14), several
studies for flute and numerous -transcriptions
and arrangements.
Jentsch [yfchntsh], Max, b. Ziesar, Saxony,
Aug. 5, 1855. After finishing a course in
surveying, he st. at Stern's Cons, in Berlin
from 1876-80; made a pianist ic tour of the
Orient, lived in Constantinople, 1884-9; then
in Berlin until 1892; after two years of
travel he settled in Vienna in 1894, where he
has been prof, of pf. at Kaiser's Cons, since
1899. — Works: 2 operas, Eine venetianische
Hochzeit and Der Porta; a symphony; a
symph. poem; a concerto f. pf. and orch.; a
serenade for orch.; Elysium for ch. and orch.;
string-quartet, op. 49; pf. -quintet, op. 50. —
For pf.: Op. 3, Tarantella; op. 14, Scherzo;
op. 18, Fantasie; op. 23, Sonata in C m.; op.
28, Sechs Konzert-£tUden; op. 33, Marchen-
bUder; op. 36, Scherzo in A m.; etc.
Jepson, Harry Benjamin, fine organist;
b. New Haven, Conn., Aug. 16, 1871. St.
pf., org. and comp. with Gustav Stoeckel
from 1889-94; then comp. with H. Parker,
1895-9; org. and comp. with Widor in Paris
during the summers of 1899, 1901, '03, '04.
In 1897 he was app. instr. of organ and theory
at Yale Univ.; 1903, prof, of Applied Music
and Univ.-organist; also cond. of the Univ.
Choir (80 male voices); has given recitals
throughout the U. S., and played at all the
recent expositions. Has publ. a number of
works for organ (Sortie nuptiale, Ballade,
Caprice, Rhapsody, Legende, etc.) and male
choruses; in MS., several pieces for orch.,
and organ with orch.
Jim'merthal, Hermann, born Lflbeck,
Aug. 14, 1809; d. there Dec. 17, 1886. Pupil
of Mendelssohn; fine organist, and an expert
in organ-construction. In 1877 he publ. a
439
JIRANEK— JOACHIM
monograph on Dietrich Buxtehude; also
wrote valuable essays on organ-building.
Jiranek [ye'rah-nehk], Aloys, b. Ledec,
Bohemia, Sept. 3, 1858. Pupil of the Prague
School of Organists and of Fibich in comp.;
since 1881 living in Charkov as pf.-teacher.
Comp. of an opera, Da&nar; some orchl.
works; a pf.-trio (op. 11); a sonata f. vl.
and pf.; pt.-pcs.; songs.
Jir&nek, Josef, brother of preceding; b.
Ledec, Bohemia, March 24, 1855. From
1866-73 pupil of Smetana; in 1874 of Stanek
(harp) and A. Hrimaly (vl.) at the Prague
School of Organists; began his career as
harpist at the Landesth. in Prague; 1877-91,
teacher of pf. in Charkov; since 1891 prof, of
pf. at the Prague Cons. He is not only a
remarkably successful teacher, but his writ-
ings are among the most valuable contri-
butions to mus. pedagogy: Musical Grammar
(in Russian, 3 parts); Schule des Akkordspids
und der Akkordzerlegungen (Ger. and Engl.);
Theoretisch-praktische Schule der wesenUichen
Vertierungen im Pianofortespiel. . . . / An-
schlagiibungen zur Erreichung gleichzeiUg vet-
schiedener Tongebung im mehrsUmmigen Spiel;
Tonleitern in Doppelgrijfen (2 parts); Techni-
sche Cbungen in Verbtndung mil prakiischen
Finger satzstudien (3 parts); Neue Schule der
Technik und des musikal. Vortrags (9 parts). —
Comps.: Ballade and Scherzo fantasHque f.
orch.; pf. -quintet; 3 StimmungsbUder f. vcl.
and pf . (op. 5) ; £.ligie f. vl, vcl. and pf. (op. 6) ;
2 sonatas f. pf. (op. 10, D; op. 11, F m.); etc.
Jo'achim, Albrecht (Wllhelm Friedrich
Karl Ernst), Prince of Prussia; b. Hanover,
Sept. 29, 1876. Has comp. the ballets Aus
der guten, alien Zeii; FrUhlingszauber; Im
Atelier; Im Manover; the pantomimes Tanz-
stunde, Das verwunschene Schlosst Vision nach
dem Ball; Die Frau vom After, prelude f.
orch.; suite f. do. (op. 50); suite f. vl. and pf.;
many pes. f. vcl. and pf.; military marches.
Jo'achim, Amalle, nSe Weiss (recte
Schneeweiss), highly accomplished concert-
singer (contralto); b. Marburg, Styria, May
10, 1839; d. Berlin, Feb. 3, 1899. After her
father's death she made her stage-debut at
Troppau in Sept., 1853; six months later she
went to Herman nst ad t, and in 1854 was
eng. at the Karnthncrthor Th., Vienna, here
assuming the theatre-name of 'Weiss.' In
1862 she was called to the Royal Opera at
Hanover; on May 30, 1863, she sang, as her
farewell-rdle before her marriage to Joseph
Joachim, the part of Fidelio (up to this
time she had sung first and second soprano
parts). Withdrawing from the stage, she
now devoted herself to concert-singing, and
became the representative Li«f-singer of
Germany; her interpretation of Schumann's
songs was unrivalled.
Jo'achim, Joseph, one of the greatest
masters of the violin; b. Kittsee, n. Pres-
sure, June 28, 1831; d. Berlin, Aug. 15,
1907. He began the study of the violin at
5, his first master being the leader of the
Pest opera-orch., Szervaczinski, with whom
he first appeared in public, at the age of 7,
in a duet. From 1841 he studied in the
Vienna Cons, under Bohm, developing so
rapidly that in 1843 he played in Leipzig
at a concert given by Viardot-Garcia, and
shortly after at the Gewandhaus, with genuine
artistic success. He made Leipzig his home
until 1849. It was the brilliant epoch of Schu-
mann, Mendelssohn, and David; their in-
fluence was undoubtedly powerful in deter-
mining the young virtuoso to devote his
exceptional sifts solely to the best in musical
art. From Leipzig, too, he visited London,
for the first time in 1844, again in 1847,
and thereafter every few years, (later annu-
ally,) appearing at the Monday Popular
Concerts, the Crystal Palace, etc% During
the last years of his stay in Leipzig he fre-
quently took David's place as leader of the
Gewandhaus Orchestra. In 1849 he became
Konzertmeister of the orch. at Weimar,
where Liszt reigned supreme; two such
antagonistic natures could hardly be expect-
ed to agree for long, and in 1854 J. accepted
the position of conductor of concerts and
solo violinist to the King of Hanover. In
1863 he married Amalie Weiss [see above J.
In 1868 he was app. head of the newly es-
tablished 'Hochscnule fur ausilbende Ton-
kunst,' at Berlin, on the reorganization of
which, some years later, J. was made artistic
director of the department of stringed instru-
ments. In 1895 he resumed the directorship.
He was the life and soul of the institution,
so much so that after David's death in 1873
Berlin usurped the place of Leipzig as the
Mecca of all aspiring violinists. In 1877 \\2
received the honorary degree of Mus. Doc.
from Cambridge Univ.; German universities
also bestowed degrees upon him, and he was
a knight of numerous orders. His style of
playing, nurtured on the best classic models,
was remarkable for a masterful repose,
dignity, breadth, and flawless finish which
won for him the popular title of 'the king
of violinists.' It was his aim to interpret
only the best violin-literature in absolute
accordance with the intentions of the re-
spective composers; this quality of unmixed
objectivity made him the foremost quartet-
player of his time; as an exponent of classic
soli he stood unrivalled in his peculiar do-
main, though the more brilliant and fiery
Claying of some other virtuosi may have
een more effective under certain conditions.
His quartet-party (Joachim, De Ahna, Wirth,
and Hausmann) attained the ne plus ultra
440
JOXO— JOMMELLI
of excellence. His compositions are of a
sombre, passionate cast; the finest is prob-
ably the Hungarian concerto, op. 11, in
D m.; he wrote 2 others (op. 3, in G m.,
and the Variations in G, f. vln. and orch.).
His op. 1 is an Andantino and Allegro scher-
zoso for vln. and pf.; op. 2, 3 Stucke for vln.
(Romanze, Fantasies tuck, Fruhlingsfantasie) ;
op. 4, overture to Hamlet; op. 5, 3 Stucke for
vln. and pf. (Lindenrauschen, Abendglocken,
Ballade); op. 6, 7, 8, overtures in MS.; op.
9, Hebrew Melodies, f. viola and pf.; op.
10, Vars. on an orig. theme, f. viola and
pf.; op. 12, Notturno in A, f. vln. and small
orch.; op. 13, overture Dem Andenken Kleists;
op. 14, Szene der Marfa (from Schiller's
Demetrius), f. contralto solo w. orch.; three
cadenzas to Beethoven's violin-concerto; two
Marches (in C and D), with Trios; a song,
Ich hob* im Traum geweinet. — Bibliography:
A. Moser, /. /., Ein Lebensbild (Berlin, 1898;
2d ed. 1900; 3d ed. 1904; 4th enlarged ed., 2
vols., 1908, '10; Engl, transl. by L. Durham,
London, 1900 [from 2d German ed.]); K.
Storck, /. /., Eine Studie (Leipzig, 1902);
T. A. Fuller Maitland, /. /. (London, 1905;
in 'Living Masters of Music1); id., On J. J.
(London, 1906); L, Brieger-Wasservogel, /.-
Gedenkbuchlein (Dresden, 1907); H. J. Moser,
/. /. (Zurich, 1908).— J.'s letters were publ.
by A. Moser, Joh. Brahms im Briefwechsel
mil J. J. (Berlin, 1908; vols, v and vi), and
Johannes Joachim and A. Moser, Briefe an
und von J. /. (3 vols., Berlin, 1911, '12, '13).
Joao IV, King of Portugal; born Villa-
Vicosa, Mar. 19, 1604; d. Lisbon, Nov. 6,
1656. Musical theorist and church-composer.
His magnificent musical library was totally
destroyed by the earthquake of 1755. Only
3 of his motets are still extant. He publ.
Defensa de la musica moderna contra la
errada opinion del obispo CyriUo Franco
(1649; anonymous), and Respuestas a las
dudas que se puzieron a la missa 'Pants quern
ego dabo' de Palestrina (1654); Italian trans-
lations were made of both. Two other works,
left in MS., were never published. The cata-
logue of the destroyed library was published
in facsimile by J. de Vasconcellos in 1873.
Jobst, Brant. See Brant.
Johannes Gotto. See Cotto.
Johannes Damascenus (recte Johannes
Chrysorrhoos of Damascus), b. circa 700
A. D.; d. about 760 as a monk in the Saba
monastery near Jerusalem; canonized by
both Greek and Roman Churches, and the
earliest dogmatist of the Greek Church; was
likewise the arranger of the liturgical song,
and the reformer of Byzantine notation.
Johannes de Garlandia. See Garlandia.
Johannes de Muris. See Muris.
Johannes Gallus. See Gallus.
Johns, Clayton, b. New Castle, Del.,
Nov. 24, 1857. Studied architecture in
Philadelphia, 1875-9; then turned to music,
studying at Boston under J. K. Paine (theory)
and W. H. Sherwood (pf.) for 3 years. In
Berlin, 1882-4, he studied with Kiel (comp.),
and Grabow, Raif and Rummel (pf.)- Since
then he has lived at Boston, Mass., as a
concert-pianist, composer, and teacher. —
Publ. works: About 100 songs; several pf.-
Steces; music for vln. and pf. (Melody,
berceuse, Romance, Intermezzo, Scnerzino) ; and,
for string-orch., a Berceuse and Scherzino. He
has in MS. music for a Mystery Play, which
has been privately perf. Has also written
The Essentials of Pianoforte Playing (1909)
and From Bach to Chopin (1911).
Johnstone, J. Alfred, b. Ireland, July 6,
1861. Pupil of R. Stewarts in Dublin;
living in Melbourne as pf.-teacher and dir.
of the Music School of the Atheneum. Has
written The Art of Expression in Piano-
t>fayin& Modern Tendencies and Old Standards
in Musical A rt; How to Use the Pedal in Piano-
ptoy*n& Individuality in Piano-touch; The
Royal Method for Octave- and Wrist-technique;
The Royal Method for Scales and Arpeggios;
Piano-technique; Piano-touch, Phrasing and
Interpretation (1908); The Art of Teaching
Piano-playing (1910); Essentials in Piano-
playing (1913).
Joramelli, Nicola, eminent opera-comp.
of the Neapolitan school, and called 'the
Italian Gluclc'; b. Aversa, near Naples, Sept.
10, 1714; d. Naples, Aug. 25, 1774. Canon
Mozzillo was his first teacher; at 16 he was
admitted to the Cons, of San Onofrio,
Naples, as a pupil of Durante, but was soon
transferred by his father to the Cons, del la
Piet4 de' Turchini, where Feo and Leo were
his instructors in dramatic and sacred com-
Sjsition, and Prato and Mancini in singing,
allets and minor vocal pieces were his
first comps.; then followed dramatic cantatas,
warmly praised by Leo. At 23 he produced
his maiden opera, VErrore amoroso (Naples,
1737), under the assumed name 'Valentino/
dreading popular disapproval; but its en-
thusiastic reception encouraged him to bring
out a second, Odoardo (Naples, 1738), under'
his own name, likewise with flattering suc-
cess. After several other fortunate dramatic
ventures, he was called to Rome in 1740,
where, under the patronage of the Cardinal
the Duke of York, he brought out // Ricimero
(1740) and Astianatte (1741). Invited to
Bologna to write an opera, he prod. Ezio
(1741); here P. Martini, delighted with his
genius, gave him valuable advice. At
Venice (1/41) his Merope aroused transports
of enthusiasm, and the Council of Ten
441
JON AS— JONClfiRES
appointed him director of the Cons, del-
l'Ospedaletto; while here he wrote several
notable sacred works. In 1745 he went to
Vienna, forming a warm friendship with
Metastasio, and profiting by his suggestions
on dramatic expression and the like. AckiUe
in Sciro and Didone (1745), and V Amort in
maschera (1746), were the fruit of his sojourn
in Vienna; he was in Venice in 1745-6, and
in 1746 returned to Naples, where >his Eumene
was produced the same year; in 1748 he
brought out there with enormous success a
revised version of his Ezio. The next year,
at Rome, he prod. Artaserse, and, by the
good offices of Cardinal Albani, was app.
maestro at St. Peter's as Bencini's assistant.
He remained in this position until 1754,
writing much church-music; then resigned,
to become Kapellm. to the Duke of WQrt-
temberg. For 15 years he lived alternately
at Stuttgart and Ludwigsburg, in the en-
joyment of liberal compensation, and of
every facility for composition and for pro-
ducing his works (17 opere serie, 3 opere
buffe, and sacred music) ; under his direction
the Ducal 'Kapelle' was famed as the finest
in Europe. In 1769 the Stuttgart opera was
disbanded, and J. again sought the field of his
former triumphs, Naples; but the fickle Italian
public had almost forgotten him, and the
influence of the German style, reflected in
his richer modulation and heavier instru-
mentation, was not at all to their taste;
consequently, Armida abbandonata (1770),
Demofoonte (1770), and Ifigenia in Tauride
(1771), failed to win popular favor. These
sad disappointments at the close of so
brilliant a career so affected J.'s spirits as
to bring on an apoplectic stroke in 1773. He
recovered sufficiently to write a cantata on
the birth of an heir to the crown of Naples,
and a Miserere (considered his masterpiece)
for two soprani with orch., to Italian words.
He also received a commission from the
King of Portugal to write 2 operas and a
cantata; but died shortly after completing
the Miserere.
Jommelli belongs to the period of Aless.
Scarlatti, Leo, Pergolesi, and L. Vinci, and
perhaps surpasses them in naturalness of
dramatic expression in many arias and
scenas; he renounced, for instance, the da
capo form of the aria fixed by Scarlatti, and
imbued his later dramatic works with some-
thing of the German spirit in orchestral
variety and color. He wrote over 50 known
operas and divertissements. His sacred music
won equal fame; it includes 4 oratorios,
several cantatas, and a great quantity of
miscellaneous church- works; a Laudate w.
4 soprani soli and double choir, a Miserere
and a Dixit a 8, an In convertendo w. 6 soli
and double chouva Magnificat w. echo, a
Hymn to St. Peter f. double choir, and
especially the Miserere f. 2 soprani, alluded
to above, are the most celebrated. — The
opera Fetonte (Stuttgart, 1769) is publ. in
vols. 32-3 of 'Denkm. deutscher Tonkunst'
(H. Abert).— Cf. P. Alfieri, Notizie biografiche
di N. J. (1845); H. Abert, N. J. als Opern- .
komponist (Halle, 1908; contains also a biogr.).
Jonas [hoh-nahss'], Alberto, fine pianist;
b. Madrid, June 8, 1868. Pupil of Olave and
Mendizabal; also studied at the Cons. He
entered Brussels Cons, at 18, studied there
under Gevaert, and in 1888 won 1st prize
for pf. -playing, and later 2 first prizes in
harm. His pianistic debut was at Brussels
in 1880. In 1890 he passed 3 months at the
Petrograd Cons, under Rubinstein's tuition.
He played in Berlin for the first time in 1891 ;
has made concert-tours in England, Holland,
Belgium, France, Germany, Russia, Mexico,
and the United States. From 1894-8 he was
head of the pf. -department in the Univ. of
Michigan School of Music, and from 1898-
1904 air. of a Cons, in Detroit, making also
several tours of the U. S. From 1904-14
he lived in Berlin in great demand as a
teacher (6 assistants). One of his pupils,
Pepito Arriola (b. 1896) created a sensation
in Europe and the U. S. (1908-9) by his
astonishing precocity. In 1914 T. settled in
New York as a teacher. He began com-
posing as a mere child; several comps. f. pf.
nave been publ.; op. 10, Fantasie-StUcke; op.
12, Northern Dances: op. 14, Toccata in A;
op. 15, Concert-Mazurka in G; Valse in C$ m;;
etc. His trans!, into Spanish of Gevaert' s
Instrumentation appeared in 1903 (Paris).
Jonas [zhoh-nahl, fimile, b. Paris, March
5, 1827; d. St.-Germain-en-Laye, May 21,
1905. Entering the Cons, in 1841, he took
first prize in harmony in Lecouppey's class
(1847), and the 2d Grand prix de Rome in
Carafa's class (1848, with the cantata An-
tonio). Two overtures were played in the
Cons., 1851, 1852; but he found his true
vocation in the composition of comic operettas
a la Offenbach, making his debut with Le
Duel de Benjamin (Bouffes-Parisiens, 1855),
followed by a score of others (La Parade,
1856; Le Roi boit, and Les petits Prodiges,
1857; Job et son chien, 1863; Avant la nocet
1865; Deux Arlcquins, 1865; Le Canard A
trois bees, 1869; Javotte, 1871, later in Lon-
don as Cinderella; Le premier baisert 1883;
etc.). From 1847-66 J. was prof, of solfeggio
at the Cons., and from 1859-70 also took a
harm. -class tor students of military music.
As mus. dir. of the Portuguese Synagogue he
publ. a Receuil de chants hSbraiques (1854).
Joncleres [zh6hn-s'yar'], Felix-Ludger-
Victorin de, b. Paris, April 12, 1839; d.
there Oct. 26, 1903. A student of painting
442
JONES— JONGEN
under Picot, he renounced that art for music,
and entered El wart's class at the Paris
Cons., but left it after the first public Wagner
concert at Paris, in I860, his enthusiasm for
the great dramatist revolting at the pedantic
strictures of El wart. In 1868 he attended
the first performance of Die Meistersinger
at Munich. From 1871 he was the mus.
critic of 'La Liberte,' and a contributor to
other papers. — Works: The 3-act opera
Sardanapale (Th.-Lyrique, 1867); 4-act opera,
he dernier jour de PompH (ibid., 1869) ; 4-act
opera, Dimitri (ibid., 1876); 2-act opera, La
Reine Berthe (Opera, 1878); 4-act lyric
drama, Le Chevalier Jean (Opera-Comique,
1885); 3-act lyric drama, Lancelot du lac
(received at the Opera); music to Hamlet
(1862); a symphonie-ode, La Mer; a Sym-
phonic romanttque; an orchestra Suite, Ias
Nulnennes; a Chinese theme for soli and
orch., Li Tsin; an Aubade triomphale, a Sere-
node hongroise, and a Marche slave for orch.;
a concert-overture; a vln. -concerto; etc.—
He is President of the 'Soc. des Composi-
teurs de musique'; chevalieF of the Legion of
Honor; and Officer of public instruction.
Jones, Arthur Barclay, b. London, Dec.
16, 1869. Chorister in Brompton Oratory,
1878-93; in 1884 he entered the Guildhall
School of Music, where he won a scholarship
and studied under Th. Wingham and H. C.
Banister; was made Associate in 1889, prof,
of pf. in 1892, of harm, in 1896; in 1893 suc-
ceeded Wingham as mus. dir. at Brompton.
— Works: Symphony in C m. (1896); con-
cert-overture (1892); Sonata for vln. and
pf.; 'celU>music; pieces for pf. and for organ;
Ave Maria for sopr.; hymns for children; etc.
Jones, Edward, Welsh musician and
writer ('Bardy Brenin'); b. Llanderfel,
Merionethshire, April 2, 1752; d. London,
Apr. 18, 1824. Player on the Welsh harp;
appeared in London, 1775; app. Welsh Bard
to the Prince of Wales, 1783.— Works:
Musical and Poetical Relicks of the Welsh
Bards, ... a History of the Bards from the
Earliest Period, .and an Account of Their
Music, Poetry, and Musical Instrs. (in 2
parts; London, 1784); a 2d ed. of same, with
slightly altered title, and augmented (1794);
The Bardic Museum of Primitive British Lit-
erature . . . , forming the 2d vol, of the Mu-
sical, Poetical and Historical Relicks of the
Welsh Bards and Druids (1802); vol. lii of
same (about 1824) and a supplementary
vol. later; the entire work contains 225
Gaelic melodies. — He also publ. a number
of other works, of which Lyric Airs (1804)
is still of some interest. — See Q.-Lex.
Jones, Griffith, British writer. Published
in the 'Encycl. Londoniensis' a paper, after-
wards printed separately as Music (new ed.
1819 as A History of the Origin and Progress
of Theoretical and Practical Music; in German,
1821, as Geschichte der Tonkunst).
Jones, Griffith Rhys (or Caradog),
Welsh conductor; b. Trecynon, Dec. 21,
1834. Conductor of the choir called 'Cor
Caradog/ whence his appellation. He cond.
the victorious Welsh choir in the Crystal
Palace competitions of 1872-3; later, choirs
in Cardiganshire, Cardiff, and Pontypridd.
Jones, John, English organist andcomp.;
b. 1728; d. London, Feb. 17, 1796. Org. of
Temple Ch., 1749; of Charterhouse, 1753;
of St. Paul's, 1755.— Publ. 60 Chants, single
and double (1785); Lessons for Harpsichord
(1761); 8 Setts do. do. (1754); and songs.
Jones, Robert, English lutenist and comp.;
Mus. Bac., Oxon., 1597. Publ. The Ftrst
Booke of Ayres (1600), followed by 4 other
books (1601, '08, '09, '11); a book of madri-
gals a 3-8 (1607); also the madrigal Faire
Oriana, seeming to wink at Folly, in 'The
Triumphs of Oriana' (1601), and 3 pieces in
Leighton's 'Teares or Lamentations (1614).
— See Q.-Lex.
Jones, Sidney, b. Leeds. 1869; pupil of
his father. At an early age he became cond.
of a military band; then toured the Engl,
provinces and Australia as cond. of various
light opera companies; for many years
connected with the productions of Geo.
Edwardes; in 1905 app. cond. at the Empire
Th., London; since 1911 at the Whitney Th.
Works: The operetta The Gaiety Girl (Lon-
don, 1893); the opera An Artist's Model
(Daly's Th., London, 1895); and the Japan-
ese operetta The Geisha (ibid., 1896; very
succ. there, and later in New York, Berlin,
etc.); A Greek Slave (Vienna, 1899); San
Toy (ib., 1899); My Lady Molly (London,
1903); The Medal and the Maid (ib., 1903);
See See (ib., 1906); The King of Cadonia (ib.,
1908); The Persian Princess (ib., 1909);
Spring Maid (ib., 1911); The Girl from Utah
(ib., 1913).
Jones, (Sir) William, b. London, Sept.
28, 1746; d. Calcutta, Apr. 27, 1794. A
learned orientalist, and, from 1783, judge at
Calcutta. — Wrote: The Musical Modes of
the Hindus (1784), also publ. in vol. vi of
his Coll. Works (1799); transl. into Ger. by
Dalberg (1802).
Jongen (y&hn'ge'n], Joseph, born Liege,
Dec. 14, 1873. Pupil of the Cons, there; won
almost every prize, and in 1898 the Prix de
Rome with the cantata Comala; then spent
four years studying in Berlin, Munich, Dres-
den, Leipzig, Paris and Rome; app. prof, of
harm, and cpt. at the Cons, in 1903, but re-
moved to Brussels the following year and de-
voted himself entirely to comp. Of his publ.
443
JORDAN— JOSEFFV
comps. a string-quartet in B m., a Piano-
trio in B m. and a 'cello-sonata won prizes;
other publ. works are a trio for piano, vln.
and via. in F# m. (op. 30); 2 vln. -sonatas (op.
27, D; op. 34, E) ; a piano-quartet (op. 23, Et>);
a concerto for vln.; do. for vcl.; Meditation for
Engl, horn and orch.; orchl. fantasy on 2
Walloon Christmas hymns; numerous pieces
for piano; do. for organ. In MS., 2 prize-
cantatas, Calirrhoe (1895) and Comala (1898);
Lalla Roukh, symph. poem; Pohne for vcl.
and orch.; Prelude and Dance for orch.;
EpUhalame for 3 vis. and orch.; motets, male
choruses, songs, etc. A mimosymph. legend,
S'Arka, was prod, at Brussels (1912); a 4-act
opera, Jelyane, is just completed (1916). —
His brother and pupil, Leon (b. 1884), has
comp. the opera Maria Josephe, and won a
prize with the cantata La Nuti de Noel (1913).
Jordan, Jules, born Willimantic, Conn.,
Nov. 10, 1850. Removing to Providence, R.
I., in 1870, J.'s fine tenor voice secured him a
position in Grace Ch. ; he studied singing with
G. L. Osgood, of Boston, and in Europe under
Wm. Shakespeare, London, and Sgr. Sbriglia,
Paris. Returning to Providence, he was for
13 years choirmaster of Grace Ch., and, since
its foundation in 1880, cond. of the famous
Arion Club. Favorite singer in concert and
oratorio; created 'Faust' in Berlioz's Damna-
tion de Faust at its first perf. in America
(New York, Feb. 14, 1880). Highly success-
ful conductor and teacher. In 1895 Brown
Univ. conferred on J. the degree of Mus.
Doc.— Works: Rip van Winkle, 3-act roman-
tic comedy-opera (publ. 1898); The Night
Service, cantata for soli, ch. and orch.; The
Wind-swept Wheat, for tenor solo, ch. and
orch.; Barbara Frietchie [Whittier], ballad for
sopr., ch. and orch.; 'Great Western Land,'
national hymn; many fine popular songs; the
sacred pieces 'The lost sheep/ for tenor solo
and ch., 'Tantum ergo,' for bass and ch., 'I
am the vine,' and numerous others.
Jordan, Mary, dramatic and concert
contralto; b. Cardiff, Wales, Nov. 27, 1879.
Was educated at St. Cecilia Convent, Scran-
ton, Pa.; studied singing with F. d'Auria
(Seattle), Dr. J. H. Stewart (San Francisco),
O. Saenger and V. Maurel (N. Y.); succ.
debut as Amneris with Boston Opera Co. in
Boston, March 28, 1911; member of the
company till 1914; has sung as soloist in
churches since the age of 12; soloist at Lafa-
yette Ave. Presby. Church, Brooklyn, for 9
years, and Temple Emanu El, New York, 5
years; frequent appearances in recital and
at the principal festivals (in oratorio).
J6rn, Karl, lyrico-dramatic tenor; b.
Riga, Russia, Jan. 5, 1876; pupil 1890 of
Kapellm. Lohse, and later of SchUtte, Harm-
sen, and Elisabeth Jacobs in Riga; finished
with Ress (Berlin) and Weiss (Wiesbaden),
generously aided by Baron Vietinghof-
Scheel. Debut 1896 at Freiberg, Baden; re-
mained there two years, 1898-99 at the Zurich
City Th., 1899-1902 at the Hamburg City
Th.; since then at the Berlin Court Opera,
also visiting all principal theatres in Germany
and Austria as a star, and singing at Brussels
and London (1905-8, Covent Garden), and
New York (1908-11, Met. O. H.). His reper-
tory includes the Jeading r61es for lyric or
dram, tenor; his voice has a range from A to <P.
Joeef'fv, Rafael, distinguished pianist
and teacher; b. Hunfalu, Hungary, July 3,
1852; d. New York, June 25, 1915. At the age
of 8 he began to study the piano with a local
teacher at Miskolcz; continued in Budapest
under Brauer, the teacher of St. Heller; in
1866 entered the Leipzig Cons., where his
principal teacher was E. F. Wenzel, though
he had some lessons from Moscheles. From
1868-70 he studied under Karl Tausig in
Berlin, and the summers of 1870-71 he
spent with Liszt in Weimar; these last two
artists exerted a- powerful and lasting influ-
ence upon his pianistlc style and artistic
ideals. At his debut in Berlin, 1870, his
transcendent technic and the variety of his
tonal coloring aroused general admiration ; he
played with enormous success in the principal
European cities. His Amer. d£but took place
at one of Dr. Damrosch's Symphony concerts
in New York in 1879, and his brilliant playing
won him instant favor, so that he settled defi-
nitely in New York. It was soon noticed by
critical observers that his art was paining
in breadth of conception and poetic insight.
As a mere virtuoso his reputation had been
secure from the beginning, but gradually he
convinced the public that he was a master-
interpreter, whose technical powers were
used only as a means toward the attainment
of the noblest ideals. His catholicity of taste
was remarkable. Mozart, Beethoven, Schu-
bert, Schumann, Chopin, Liszt and Brahms,
all were interpreted with equal mastery and
equal enthusiasm. As for Chopin, none of the
so-called 'specialists' has yet surpassed J.;
and as for Brahms, the name of J. will never
be forgotten as that of the earliest and one of
the most influential apostles of that master in
America. As a teacher also J. exerted a strong
and lasting influence, both through his per-
sonal teaching and his masterly pedagogical
works; while his authoritative edition of
Chopin's Complete Works (15 vols., with
critical and historical introductions by J. G.
Huneker [G. Schirmer, N. Y.]), the fruit of
years of unremitting labor, is a lasting monu-
ment to his sound musicianship. From 1888*
1906 he was prof, of piano at the Natl. Cons,
in New York. Besides the great Chopin
edition, he edited studies by Czerny, Hen-
444
JOSEPHSON— JULIEN
selt, Moscheles, Schumann and Schldzer.
His School of Advanced Piano-Playing (1902
[in Ger. as MeisterschuU des Klavierspiels]) is
one of the most valuable works of that kind.
In his earlier years he published a number of
original comps. for pf. (Die Milhle, Romance
sans Paroles, Souvenir d'Amtrique, Mazurka-
Fantasie, Spinnlied, etc.) and arrangements
of works by Schumann, Bach, Boccherini,
Gluck, Delibes, etc. — Cf. the article Rafael
Joseffy's Contribution to Piano Technic, by
Edwin Hughes, in 'The Mus. Quarterly*
for July, 1916.
Josephson, Jacob Axel, b. Stockholm,
March 27, 1818; d. Upsala, March 29, 1880.
Studied music in Upsala, and taught mus. in
the Cathedral School; in 1844 he went to
Germany, where he studied with Joh. Schnei-
der (org.) in Dresden and with Hauptmann
and Gade (comp.) in Leipzig. After further
study in Rome (1846-/) he returned to
Upsala as cond. of the Philh. Soc.; became
mus.-director at the Univ. in 1849, org. at
the Cath. in 1864, and was made prof, in
1874. In Sweden he is highly esteemed as a
composer. — Works: For ch. and orch., Isloss-
ningen, op. 9; Korsriddarne utanfbr Jerusalem,
op. 13; Quando Corpus, op. 20; Psalms 23,
126, 130; numerous cantatas for special
occasions; piano-pieces; male choruses; songs
(21 books); etc.
Joaquin. See Despr£s.
Jost [y6hst], Franz, b. Oschatz, Silesia,
Aug. 24, 1843; d. Leipzig, Feb. 19, 1909. From
1866-1907 he edited the 'Monatsberichte' and
'Jahresberichte' publ. by Hofmeister (q. v.).
Joteyko [y6h-ta'k6h], Thaddeus, born
Poczniki, Ukraine, 1872. Pupil of Gevaert in
Brussels (1889) and Noskowski in Warsaw
(until 1895). Has publ. a Symphony in C; a
symph. poem; an overture; a str.-quartet; a
Velio-sonata; 2 piano-sonatas; songs and
part-songs.
Jouret [zhoo-ra1, Leon, b. Ath, Belgium,
Oct. 17, 1828; d. Brussels; June 6, 1905.
Studied at Brussels Cons., where he taught a
vocal ensemble-class from 1874. — Works:
2 operas, Quentin Metsys and Le Tricorne
enchanti; church-music; cantatas, part-songs
and songs.
Jouret, Theodore, brother of preceding;
b. Ath, Belgium, Sept. 11, 1821; d. Kissingen,
July 16, 1887. By vocation a prof, of chemis-
try at Brussels military school, he was mus.
critic for several papers, and composed (with
Meynne) a 1-act comic opera, Le MSdecin
turc (1845); also male quartets, and songs.
Journet, (Hippolyte-Jules-) Marcel,
basso cantante, b. Grasse, Alpes Maritimes,
France, July 25, 1869. Pupil of Obin and
Seghettini at Paris, 1890-2; operatic debut at
Montpellier in 1893; then engaged at the
Theatre de la Monnaie, Brussels, for six sea-
sons; 1901-8 at the M. O. H., New York, and
(since 1893) 8 summer seasons at Coverit Gar-
den, London; 1908-14, star appearances in
European capitals; since 1914 member of the
Chicago Opera Co. Repertory: 8 Wagner
operas in German, 27 Italian and 65 French
operas. Favorite roles: Leporello, Mephisto-
Pheles (Boito), Peters (VAtoile du Nord).
[as created the leading bass parts in Thais,
Les Maitres-Chanteurs, La Navarraise, Sam-
son et Dalila, Monna Vanna (at Brussels), etc.
Jousae [zhooss], J., b. Orleans, France,
1760; d. Jan. 19, 1837, in London, whither he
fled to escapethe Revolution, residing there as
a teacher of singing and piano. He pub. several
mus. textbooks, among them Lectures on
Thoroughbass (1819), a new revised and aug-
mented edition of which was publ. in New
York, 1894, as A Catechism of Music.
Juch [y66h], Emma (Antonia Joanna),
b. Vienna, July 4, 1865, while her American
parents (residents of Detroit) were on a visit
to the Austrian capital. In 1867 she was
brought back to the U. S., and received her
education in New York; pupil for 3 years of
Mme. Murio-Celli, making her debut in
concert in the old Chickering Hall in 1882;
her operatic debut occurred at H. M.'s Th.
in London in June of the following year as
Philine (Mignon); she then sang 3 seasons
under Col. Mapleson's management in Engl,
and the U.S.; from 1886-8 she was principal
soprano of the Amer. Opera Co. under the
direction of Th. Thomas (singing Elsa al-
ternately with Nilsson) ; after the failure of
that enterprise, she organized, in 1889, the
Emma Juch Grand Opera Co., with A.
Neuendorff as cond., and gave performances
in the Eastern States and Mexico until 1891;
after that she confined herself to concert-
engagements, appearing frequently as soloist
with the large symphony orchestras and at
festivals. Her repertoire comprised Aida,
Valentine, Leonore, Marguerite, Violetta,
Senta, Elisabeth, Elsa, Sieglinde, etc. At
the Amer. premiere of Rubinstein's Nero
(1887) she created the part of Chrysa. In
1894 she was married to District-Attorney
Francis L. Wellman, but was divorced in
1911. Now (1917) living in New York.
Jue [zhu], fcdouard, b. Paris, 1794; vln.-
pupil of the Cons. 1808-11, later of Galin,
whose 'meloplaste' he adopted, with modifica-
tions.— Wrote: La musique apprise sans maitre
(1823; 1835; 1838); Solfege meloplastique
(1826); and a Tableau synoptique des prin-
cipes de la musique (1836).
Julien (or Jullien) [zhu l'yeii'], Louis-
Antoine, b. Sisteron, Basses-Alpes, April 23,
1812; d. Paris, Mar. 14, 1860. Pupil of
445
JULIEN— JUNK
Halevy in Paris Cons., 1834-6, but had no
taste for serious study, preferring to write
dance-tunes, and left the Cons, to establish
dance-concerts in the Jardin Turc, which
were soon all the rape. On account of debts
he fled to London in 1838; recruited a fine
orchestra, gave promenade-concerts, and
made tours through Britain and to America.
He also founded a music-selling business for
profitably disposing of his own popular
dance-music; success encouraged him to.
more ambitious efforts, and he. wrote an
opera, Pietro il Grande, in 5 acts; the enor-
mous expenses attending its production, in
1852, ruined him. To escape his creditors,
he returned to Paris, where he was thrown
into prison; he died in an insane asylum.
Jullen, Paul, fine violinist; born Brest,
France, Feb. 12, 1841; pupil of Paris Cons.
1848-50, winning 1st prize; travelled in N.
America 1853-8, and again in the '60's,
losing his life on the voyage between New
York and Savannah, Oct. 4, 1866.
Julllen, Jean-Luden-Adolphe, son of
Marcel-B.; b. Paris, June 1, 1845. Having
completed his literary studies at the Lycee
Charlemagne, and obtained the degree 'licen-
ce en droit,' he finished his musical edu-
cation as a private pupil of Bienaime, a
former prof, at the Cons. He is one of the
foremost French musical writers, authors,
critics, and reviewers; contributes to 'Le
Menestrel,' the 'Revue et Gazette musicale,'
and the 'Chronique musicale.' — Writings:
L'OpSra en 1788 (1873); La Musique et les
philosophes au XV III* siicle (1873); La
CorrUdie it la cour de Louis XVI, le thSdtre
de la reine a Trianon (1873); Histoire du
thSdtre de Mme. Pompadour, dit thSdtre des
petits cabinets (1874); Les Spectateurs sur le
thSdtre (1875); Le ThSdtre des demoiselles
VerriSres (1875); Les grandes units de Sceaux,
le thSdtre de la duchesse du Maine (1876);
Un Potentat musical (1876); USglise et
V optra en 1735; Mile. Lemaure et VevSque de
Saint-Papoul (1877); Weber & Pans (1877);
Airs variSs: histoire, critique, biographie musi-
coles et dramatiques (1877); La Cour et VopSra
sous Louis X VI; Marie- Antoinette et Sacchini,
Salieri, Favart et Gluck (1878); La ComSdie
et la galanterie au XVIII' siecle (1879);
Histoire des costumes au thSdtre (1880);
Goethe et la musique (1880); VopSra secret au
XV II I* siecle (1880); La Ville et la Cour au
XVIII* siecle (1881); La ComSdie de la cour
. . . pendant le siecle dernier (1883); Paris
dilettante au commencement du sitcie (1884);
two great quartos, 'editions de luxe,' Richard
Wagner, sa vie et ses auvres (1880, Engl,
transl. by B. J. Lang, Boston, 1901), and
Hector Berlioz (1888); Musiciens d'aujourd'hui
(1st series, 1891; 2d series, 1894); Musique
(1895); Le Romantisme el VSditeur Renduel
(1897 ; contains new details concerning Meyer-
beer). His masterpieces are the two great
biographies of Wagner and Berlioz. — CI. F.
Delhasse, A. J. (Paris, 1884).
Julllen, Marcel-Bernard, b. Paris, Feb.
2, 1798; d. there Oct. 15, 1881. Secretary-
general to the 'Soc. des Methodes d'ensei-
Siement,' and a learned grammarian. — Wrote
e VStude de la musioue instrumental dans
les pensions des demoiselles (1848); De quel-
ques points des sciences dans Vantiquite
{Physique, mitrique, musique) (1854); and
Theses supplSmentaires de mStrique et de
musique anciennes (1861).
Jumllhac [zhli-mel-ahk'I, Dom Pierre- Be-
nott de, b. chateau St.-Jean-de-Ligour, near
Limoges, 1611; d. St.-Germain-des-Pres, Apr.
21, 1682. A Benedictine monk. He wrote
La Science et la Pratique du plain-chant . . .
(Paris, 1673; edited by Nisard and Leclerc,
and republ. 1847), an erudite work containing
many musical examples.
Junck, Benedetto, b. Turin, Aug. 2A,
1852. Composer, pupil from 1872 of Baz-
zini and Mazzucato at Milan, where he lives.
— Works: A str. -quartet in E; 2 vln. -sonatas
in G and D; several songs; La Simona (song-
cycle of 12 duets for sopr. and tenor); Sere-
nata for sopr. and tenor with string-quartet.
Jung'mann, Albert, born Langensalza,
Prussia, Nov. 14, 1824; d. Pandorf, n. Vienna,
Nov. 7, 1892. Pupil of G. W. Korner (pf.)
and T . A. Leibrock (theory) ; for years prof,
at the St. Cecilia Acad., Rome; settled in
Vienna, 1853, became manager for C. A.
Spina (Diabelli & Co.), and finally founded
the firm of Jungmann & Lerch, Spina's
successors. — Publ. over 400 works f. pf.,
chiefly salon-music; also songs.
Jung'mann, Ludwig ['Louis'], b. Weimar,
Jan. 1, 1832; d. there Sept. 20, 1892; pupil
in the Teachers' Seminar>ri later of Dr.
Tdpfer (comp.) and Liszt (pf.). From
1869, teacher at the Sophien-Institut, Wei-
mar.— Publ. pf.-music (trios, variations,
Phantasiestttcke), songs, etc.
Jttngst, Hugo, b. Dresden, Feb. 26, 1853;
studied in the Cons, there, 1871-6; now con-
ductor of the Dresden Male Choral Society,
which he founded in 1876, of the Julius Otto
Society, and of the acad. Gesangverein
'Erato.' Received the title of Professor from
the King of Saxony in 1898. — Works: Male
choruses, of which op. 66 appeared in 1897.
Junk, Viktor, b. Vienna, April 18, 1875;
Privatdozent at the Univ. there. Has written
an opera, Die Wildfrau (1-act); Dilrnstein,
symphonic poem; Spieglein an der Wand, for
2 solo voices and orch.; Gocthes Fortsetzung
der Zauberflote (1900), and Max Reger als
446
JUNKER— KADLETZ
Orchesterkomponist (1911); also has published
pf.-arrangements (Wolf's Italian Serenade,
Mahler's 2d Symphony, etc.).
Junlter, Karl Ludwig, b. Ohringen, circa
1740; d. as pastor in Ruppertshofen, near
Kirchberg, May 30, 1797.— Works: Melodr.
Genoveva im Thurm (Speyer, 1790); cantata
Die Nacht, with vln. and 'cello; 3 pf.-con-
certos; etc. — Writings: Einige der vornehmsten
Pflichien eines CaptUmeisters oder Musikdi-
rectors (1782); Vber den Werth der Tonkunst
(1786); Die musikaliscke Geschichle eines
Autodidacts in der Musik (1783); etc.
Juon, Paul, b. Moscow, March 6, 1872;
pupil there of Hfimaly (vln.), and Tan£iev
and Arensky (comp.), 1894-6 of Bargiel at
Berlin; teacher of theory at the Baku Cons,
for one year; since 1897 has lived in Berlin;
appointed prof- of comp. at the Kgl. Hoch-
schule in 1906. A notable composer, cultivat-
ing with success the classical forms. — Publ.
works: 2 string-quartets (op. 5, D; op. 29,
A m.); sonata for vln. and pf. (op. 7, A); do.
for via. and pf . (op. 15); do. for vcl. and
pf . (op. 54) ; Funf Stucke for string-orch. (op.
16); pf.-trio in A m. (op. 17); sextet in C m.
for 2 vlns., via., 2 'celh and pf. (op. 22; also
arranged for 2 pfs.) ; Symphony in A (op. 23) ;
octet for pf., vln., via., vcl., oboe, clarinet,
horn, bassoon (op. 27); Wdchterweise for orch.
(op. 31); quintet for 2 vlns., 2 vlas., vcl. (op.
33); A us einem Tagebuche, suite for orch. (op.
35) ; Rhapsodic for string-trio and pf . (op. 37) ;
Serenade for orch. (op. 40); string-quintet (op.
44) : concerto for vln. and orch. (op. 42) ; pf .-
quartet (op. 50); pieces for vln. and pf. (op.
9, 28, 52); pf.-pieces (op. 1, 9, 12, 18 \Saiyre
und Nymphen], 20 [Kletne Suite], 26, 30, 38);
songs (op. 13, 21). Has also published a
Praktische Harmonielekre (1901), and a Ger-
man translation of M. Tchaikovsky's Life of
Peter Tchaikovsky (2 vols., 1904).
Jupin [zhu-pan'], Charles-Francois, b.
Chamb6ry, Nov. 30, 1805; d. Paris, Tune 12,
1839. Precocious violinist, pupil of Monti-
celli and Georgis, then of Bail Jot at Paris
Cons., taking 1st prize in 1823; from 1826-
35, prof, and conductor in Strassburg. —
Works: An opera comique, La Vengeance ita-
lienne (1834); Vara, brillantes for orch; a
vln.-concerto; a string-trio, a pf.-trio; Fan-
tasie f. pf. and vln.; Vars. conoertantes f. pf.
and vln.; etc.
Jurgenson [yoor'gen-son], Peter Ivano-
vitch, b. Reval, July 17, 1836; d. Moscow,
Jan. 2, 1904. The youngest son of indigent
parents, he learned the music-trade with M.
Bernard at Petrograd, served in three other
houses there, and in 1861 opened a business
of his own, with a few hundred roubles, in
Moscow. Under Nicolai Rubinstein's pro-
tection he entered the exclusive musical
circles of the city, became purveyor for the
Conservatory, and a Director of the Imp.
Russian Musical Society. For years prior
to his death he had won the position of the
most influential music- publisher in Russia;
nearly all of Tchaikovsky's works, beginning
with op. 1, were issued by him, and this
foremost Russian composer owed his success
in great measure to his publisher's generous
efforts. J.'s catalogue embraces over 20,000
numbers; through the quality and cheapness
of his publications he has been a mighty
factor in Russian musical progress. — His sons
Boris and Grigori succeeded to the business.
Kaan-Albest, Heinrich von, pianist;
b. Tarnopol, Galicia, May 29, 1852. Pupil
of Blodek and Skuhersky at Prague, where
he was prof, at the Cons., from 1890-1907;
since, director. Member of the k. k. Franz-
Josef Akademie; k. k. Regierungsrat. — Works: .
Ballet Bojaja; a pantomime, Olim; symphonic
poem Sakuntala; Fruhlings-Eklogen f. orch.;
a suite f. orch.; several pf. -concertos; chamber-
music; and 2 operas, Der Fluchtling, Germinal.
Kade [kah'-J, Otto, historiographer, com-
poser, conductor; b. Dresden, May 6, 1819;
d. Doberan, n. Rostock, July 19, 1900. A
stipend from King Friedrich August enabled
him to study under J. Otto (comp.) and J.
G. Schneider (pf. and organ); after a year
and a half in Italy, he founded the 'C&cilia'
singing-society for ancient church- music
(1848). He also became mus. director of the
Neustadt Church. Called to Schwerin in
1860 to succeed Schaffer as Grand- Ducal
Mus. Dir., and conductor of the 'Schlosschor'
(palace-choir); from 1866 he also taught
singing at the Gymnasium. Retired in 1894.
Dr. pnil., Leipzig, 1884. — Works: German
transl. of P. Scudo's Chevalier Sarti; mono-
graphs on Le Maistre and H. Isaak; an
Officielles Melodienbuch and a Choralbuch for
the Mecklenburgische Landeskirche; a Can-
tionale for the same, in 3 parts; Der neu auf-
fefundene Lulhercodex vom Jahr 1530 (1872);
)ie weltliche Liedweise (lecture in pamphlet-
form); many valuable historical papers for
various periodicals; edited the mus. supple-
ments to vol. i of Ambros' Geschichte der
Musik (1881, as a 5th vol.) and the revised
ed. of vol. iii (1893); Thematischer Katalog der
Musikalien der Sckweriner Regierungsbiblio-
thek (1893, 2 vols.); began in 1893 the pub-
lication of a series of Passions (34 numbers,
from Obrecht to Schtitz); compositions of his
own, in Gregorian style, are collected in the
above Can tionale.
Kadletz, Andreas, b. Dobrisch, Bohemia,
Feb. 18, 1859. Pupil of Bennewitz and Auer
(vl.) and A. Bernhardt (comp.) at the
447
KAEMPFERT— KAISER
Petrograd Cons.; cone-master of the Imp.
Russian Opera at Petrograd. Has comp. an
opera, The Village Diplomat, and the ballets
Acis and Galathea, The Water-Lily, and
Kirmess; comps. for vln. and pf. (op. 31,
Souvenir de Davidov; op. 46, Caniculi [11
pes.]; op. 47, Recreations of the Russian Vio-
linist [10 pes.], etc.); numerous fantasies on
themes from Russian operas.
Kaempfert, Max, b. Berlin, Jan. 3, 1871.
St. in Paris and Munich; conc.-master, and
for a time cond., of the Kaim Orch. in Munich ;
1898, cond. in Eisenach; since 1899 cond. of
the 'Kapelle des Palmengartens' and the
Tonkunstler-Orch.' in Frankfort; made Kgl.
Musikdirektor in 1912.— Works: A 'Volks-
oper,' Der Schatz des Sultan; 3 rhapsodies f.
orch.; trios, quartets and sonatas; songs.
Kafflca (or Kawka), Johann Chris toph,
[real name J. G. Engelmann], b. Ratisbon,
1754; d. Riga, Jan. 29, 1815. A dramatic
.composer, singer, and actor; pupil of Riepel;
after singing and acting at Berlin (1778),
Breslau, Dessau (1800), he settled in Riga
(1803) as a bookseller. Produced a dozen
operas, several ballets, 2 oratorios, masses,
vespers, etc.
Kafka, Helnrich, b. Strazowitz, Bohemia,
Feb. 25, 1844. Pupil at the Prague School
for Organists of Mildner and Krej£i ; living
since 1875 as teacher and comp. in Vienna.
Has written the operas Melisande and King
Arthur; a symph. poem, Der Gott und die
Bajadere; pf.- trios and vl. -sonatas; songs, etc.
Kafka, Johann Nepomuk, b. Neustadt,
Bohemia, May 17, 1819; d. Vienna, Oct. 23,
1886. Composer of salon-pieces f. pf., easy
and popular (especially those on Austrian
themes), but shallow artistically.
Kahler, Willibald, born Berlin, Jan. 2,
1866. Pupil at the Kgl. Hochschule of
Herzpgenberg, Kiel and G. Engel; held various
positions as cond. (Hanover, Freiburg, Basel,
Mannheim, etc.); since 1906 Hofkapellm. in
Schwerin; 1896-1901, asst. -cond. in Bayreuth;
made Prof, in 1911. Has publ. an EXegie f.
vl. and orch.; pf.-pes.; songs and male cho-
ruses; incid. music to Goethe's Faust and a
symph. prologue to Kleist's Der Prinz von
Homburg. He has also ed. the scores of H.
Wolf's songs w. orch., and written guides for
Bruckner's 8th Symphony and Te Deum.
Kah'lert, August Karl Tlmotheus, b.
Breslau, Mar. 5, 1807; d. there Mar. 29,
1864. Prof, of philosophy at Breslau Univ.
— Wrote Blatter aus der Brieftasche eines
Musikers (1832); Tonleben (1838); contri-
buted to the 'Allgem. mus. Zeitung' and
Dehn's 'Caecilia'; also comp. songs of merit.
Kahn, Robert, pianist and comp.; b.
Mannhein, July 21, 1865. Pupil of Ernst
448
Frank and V. Lachner (Mannheim), Kiel
(Berlin, 1882), and Jos. Rheinberger (Munich,
1885). In 1885 he went to Berlin, where
Joachim aided him; in 1890, to Leipzig, where
he founded a Ladies' Choral Union in 1891,
and gave concerts; in Oct., 1893, he was app.
teacher of pf. at the Berlin Hochschule fur
Musik; since 1903 Prof. — Works: Serenade f.
orch.; Mahomet's Gesang [Goethe] f. mixed ch.
and orch., op. 24; 3 sonatas f. pf. and vl.
(op. 5, G m.; op. 26, A m.; op. 50, E); a
str.-quartet in A (op. 8); 3 pf. -trios (op. 19,
E; op. 33t Eb; op. 35); 3 pf. -quartets (op.
14, B m.; op. 30, A m.; op. 41); 2 sonatas f.
vcl. and pf. (op. 37, 56); a trio f. clar. (or
vl.),vcl. and pf. (op. 45); pf.-pes. (op. 11, 18,
29); excellent terzets and quartets f. female
voices; numerous songs. — Cf. E. Radecke,
R. K. (Leipzig, 1894).
Kahnt, Christian Friedrich, b. May 10,
1823; d. Leipzig, June 5, 1897. Founder, and
till 1886 head, of the music- publishing firm
of C. F. Kahnt at Leipzig and Zwickau;
from 1857 publisher, and after Brende/'s
death in 1868, titular editor, of R. Schumann's
'Neue Zeitschrift fur Musik.' Firm and
paper were acquired by Oscar Schwaim ('C.
F. K. Nachfolger') in 1886, by Dr. Paul
Simon in 1888, and by Alfred Hoffmann
in 1902.
Kaim [kirn], Franz, b. Kirchheim unter
Teck, n. Stuttgart, May 13, 1856. Having
built a concert-hall and organized an orch. in
Munich, he est. (1893) the 'Kaimkonzerte'
under the direction of Hans Winderstein; the
successive conds. were H. Zumpe (1895), F.
L6we (1897), Hausegger and Weingartner
(1898), P. Raabe (1903) and G. Schneevoigt
(1904 until the dissolution of the orch. in
1908). Besides classical symphony-concerts
a series of 'Volkssinfoniekonzerte' was given.
Immediately after the dissolution the mem-
bers of the orch. formed the 'Konzertverein'
under the direction of F. L6we.
Kai'ser, Alfred, b. Brussels, Mar. 1, 1872.
Pupil of A. Bruckner in Vienna and J.
Ffirster in Prague; now (1916) living m
London. Comp. of a ballet, he Violon en-
chante (Nantes, 1895), an operetta, Sous le
Voile (Paris, 1900; as Verschleiert in Leipzig,
1904), and the operas Der Harlekin (not
prod.), Le Billet de Josephine (Paris, 1902),
Die schwarze Nina (Elberfeld, 1905), Stella
Maris (Dusseldorf, 1910), Theodor Korner
(Kassel, 1913) ; has also written a symphony, a
pf. -concerto, 3 serenades f. str.-orch., 2 pf.-
trios, and incid. music to Grabbe's Don
Juan and Faust.
Kai'ser, Friedrich Emit, b. Koburg, Feb.
7, 1850. Regimental bandmaster at Prague;
later Kapellm. at the Th. an der Wen,
KAISER— KALISCHER
Vienna; now living in Munich (1916). —
Operas: Die Kavaliere des Konigs (Salzburg,
1879); Der Trompeter von Sdkkingen (Olmiitz,
1882); Andreas Hofer (Reichenberg, 1886);
Der Kornet (Leipzig, 1886); Rodenstein
(Briinn, 1892); Das Hexenlied (Berlin, 1894);
An der Grenze (Cologne, 1903); also numerous
farces.
Kai'8er, Karl, b. Leipa, Bohemia, Mar.
13, 1837; d. Vienna, Dec. 1, 1890. Student of
philosophy at Prague; army-officer 1857-63;
1874, founded a popular school of music in
Vienna, carried on by his son Rudolf (d.
Oct. 21, 1914).
Kajanus [-yah'-], Robert, b. Helsingfors,
Dec. 2, 1856. From 1877-9 pupil of Reinecke,
E. Fr. Richter and Jadassohn at the Leipzig
Cons.; spent the winter of 1879-80 in Paris,
and lived for some time in Dresden; returned
to Helsingfors in 1882, where he founded an
orchestral soc., an orchl. school and a choral
soc., all of which he soon brought to a high
level of efficiency; in 1886 the orchl. soc. was
organized as the Helsingfors Philh. Soc., and
in 1888 it gave the first perf. of Beethoven's
Ninth Symph. in Finland. To-day the orch.
is recognizee! as one of the finest in Europe.
In 1897 K. was app. dir. of music at the
Univ. He is the first Finnish composer of
serious tendencies to strive for national
expression. — Works: The symph. poems Kid-
lervo and Aino (w. chorus); Sommarminnen,
suite f. orch.; 2 Finnish rhapsodies; minor
works f. orch.; cantatas; male choruses; pf.-
pcs.; songs. — Cf. K. Flodin, Finska mustker
(Helsingfors, 1900; in Swedish).
Ralafa'ty, B., Russian composer; born
Eupatoria, Crimea, in 1869. — Op. 1, 4 songs;
op. 2, do.; op. 3, mixed ch. w. pf.-accomp.;
op. 4, 2 pf. -sonatas; op. 5, Nocturne f. pf.;
op. 6, 2 Novellettes f. pf.; op. 7, 5 Preludes
f. pf.; op. 8, Phantasie-Ouverture f. orch.; op.
9, 3 Bagatelles for pianoforte.
Kal'beck, Max, b. Breslau, Jan. 4, 1850;
st. in Munich Univ. and also in the School of
Music there. 1875, mus. critic and feuille-
toniste of the 'Schlesische Zeitune', Breslau,
later of the 'Breslauer Zeitung ; in 1880,
Hanslick recommended him to the Vienna
'Allgemeine Zeitung'; and now (1916) he is
on the staff of the 'Wiener Montags- Revue'
and the 'Neues Wiener Tageblatt. He has
publ. studies on Wagner's Nibelungen (1876)
and Parsifal (1880); his collected critiques
appeared as Wiener Opernabende (1881),
Gereimtes und Ungereimtes (1885), Opern-
abende (2 vols., 1898). He has made excellent
Ger. translations of many opera-books (Mo-
zart's Don Giovanni; Massenet's Cid and
Werther; Mascagni's Amico Fritz and /
Rantzau; Verdi's Otello and Falstaff; Sme-
tana's Bartered Bride and Dalibor; Giordano's
Mala vita; etc.). To Mozart's Bastien et
BasHenne and Die Gdrtnerin aus Liebe he
wrote entirely new texts; also wrote original
texts for various composers (Henschel, J.
Strauss, v. Fielitz, Poldini, etc.). Colls, of
orig. poems are Aus Natur und Lfben, and
Aus alter und neuer Zeit. His most important
work is Johannes Brahms (8 vols., 1904-14),
the standard biogr. of the master. He also
edited J oh. Brahms im Briefwechsel mit H.
u. E. v. Herzogenberg (2 vols., 1906).
Kalhauge [kahltiow-gg], Sophus Vlggo
Harald, b. Copenhagen, Aug. 12, 1840; d.
there Feb. 19, 1905. Pupil of P. Heise, C.
Rongsted and J. C. Gebauer; won the Ancker
prize, and went for further study to Germany,
Switzerland and Italy; lived in Copenhagen
as a highly esteemed teacher of pf. and sing-
ing.— Works: The operas Zouavens Hjem-
komst (Copenhagen, 1868), Paa Krigsfod (ib.,
1880), and M ant Men (ib., 1889); An den
Fruhling, f. soli, ch. and orch.; pf.-pes. and
songs.
Kalin'nikov, Vaasili Sergeieritch, born
Voina, Govt, of Orlov, Russia, Jan. 13, 1866;
d. Jalta, Crimea, Jan. 11, 1901. Talented
neo- Russian composer; pupil 1884-92 of
Ilyinskiand Blarambergat the Music-School
of the Moscow Philharm. Soc.; 1893-4,
second conductor of the Italian Opera at
Moscow, relinquishing this position on account
of ill health. — Works: Music to Tolstoi's
tragedy Tsar Boris (1899; overture and 4
entr'actes); prologue to the opera 1812;
cantata John of Damascus; ballade f. soli,
ch. and orch., Russalka; 2 symphonies, G m.
(played in Vienna 1898, Berlin 1899, Paris
1900, etc.) and A major; 2 symphonic poems,
The Nymphs and Cedar and Palm; 2 orchl.
Intermezzi; suite f. orch.; a string-quartet;
pf.-pieces, songs, etc.
Kallsch, Paul, dramatic tenor; b. Berlin,
May, 6, 1855. He had begun life as an
architect, when Pollini discovered his voice
and induced him to study in Milan with
Leoni and Lamperti; sang with considerable
success for five years in Italy (Milan, Rome,
Florence); then at the Kgl. Hofoper in
Munich, and from 1884-7 in Berlin; in
1887 he sang the Wagner rdles at the M. O.
H. with Lilli Lehmann, whom he married
the following year; he then appeared as
star in various German cities; at the first
Paris perf. of Tristan und Isolde (1904) he
and his wife sang the title-rdles. He is now
(1916) living in Munich.
Kallscher, Alfred, b. Thorn, Mar. 4,
1842; d. Berlin, Oct. 8, 1909. After taking
the degree of Dr. philol. at Leipzig, he st.
music with Burgel and Bohmer at Berlin,
where he lived as a writer and teacher.
Editor of the 'Neue Berliner Musikzeitung'
449
KALKBRENNER— KAMPF
from 1873; wrote for numerous mus. journals.
Of special value are his writings about
Beethoven; he also published philosophical
works, poems and dramas. — Works about
music: Lessing als Musikdsthetiker (1889);
Die unsterUiche Geliebte Beethovens (1891) ; Die
Machl Beethovens (1903); Beethoven u. seine
Zeitgenossen (4 vols., 1908; I, B. u. Berlin;
II and III, B.'s Frauenkreis; IV, B., Wien u.
Weimar). He also edited Neue Beethoven-
briefe (1902); B.'s sammUiche Briefe (6 vols.,
1906-8); and issued reprints of Wegeler and
Ries' Notiten (1905), G. v. Breuning's Aus
dem Schwarzspanierhause (1907), A. Schind-
Ier's B. (1909).
KalkTjrenner, Christian, b. Minden,
Hanover, Sept. 22, 1755; d. Paris, Aug. 10,
1806. Mediocre writer and opera-composer;
pupil, at Kassel, of Becker (pf.) and Rode-
wald (vln.). Kapellm. to the Queen at
Berlin in 1788; ditto to Prince Heinrich, at
Rheinsberg, 1790-96; was in Naples till
1797, then went to Paris, and was app. chef
du chant at the Opera in 1799. His operas,
chamber-music, pf. -pieces, etc., are forgotten;
a History of Music, a Theory of Composition,
etc., are of no present value. — See Q.-Lex.
— His son,
Kalk'brenner, Friedrich Wilhelm Mi-
chael, b. 1788 on a journey from Kassel to
Berlin; d. Enghien-les- Bains, n. Paris, June
10, 1849. Pianist; taught by his father,
then (1799) at Paris Cons, by L. Adam
(pf.) and Catel (harm.), taking first prizes in
1801. From 1803 he studied for a while
under Clement i and Albrechtsberger (cpt.)
at Vienna; appeared as a concert-pianist at
Berlin, Munich (1805), and Stuttgart, also
in Paris again, with great success, in 1806.
As a teacher, too, he was in great vogue. The
years 1814-23 were spent in London; in
1818 he took up Logier's newly- invented
Chiroplast, simplified it, and applied it
practically. After a German tour in 1823
with the harpist Dizi, K. settled (1824) in
Paris as a partner in the Pleyel piano-factory
(the future^ Mme. Camille Pleyel was one
of his pupils). He revisited Germany in
1833, and Belgium in 1836. K. was inor-
dinately vain of the success of his method of
teaching, which aimed at the independent
development of the fingers and wrist (he
was the father of modern octave-playing) ; he
even invited Chopin to become his pupil in
order to learn to play artistically. He like-
wise developed left-hand technique, and a
proper management of the pedals. As a
player, his technique was smooth and well-
rounded, his fingers supple and of equal
strength, and his tone full and rich; his style,
while fluent and graceful, lacked emotional
power. His numerous etudes (among them
450
several for left-hand solo) are interesting and
valuable. — Works: 4 pf.-concertos (the last,
op. 125, f. 2 pfs.); pf. -septet f. strings and 2
horns; pf.-quintet w. clar., horn, bssn., and
d.-bass; 2 pf. -sextets; pf.-quintet; 3 pf.-
quartets; 7 pf. -trios; 15 sonatas; also rondos,
fantaisies, variations, caprices, etc., of a
light character; a Methode pour apprendre It
pianoforte d Vaide du guide-mains (op. 108;
1830); and a Traits dharmonie du pianiste
(1849).— Cf. L. Boivin, K. (Paris, 1840).
KaHiwo'da, Johann Wenzel, violinist
and composer of distinction; b. Prague, Feb.
21, 1801; d. Karlsruhe, Dec. 3, 1866. Taught
by Pixis in the Prague Cons. 1810-16, he
played in the theatre-orch. 1816-22; from
1823-53, Kapellm. to Prince Furstenberg at
Donaueschingen, then retiring to Karlsruhe.
— Works: 2 operas, Blanka and Prinze ssin
Christine (1827); 10 masses; 7 symphonies,
14 overtures, and 13 fantasias, f. orch.; a
vln.-concerto, op. 9, and a concerto f. 2
violins, op. 20; 7 concertinos, 3 string-
quartets, 3 string-trios, and a variety of
solos f. vln.; also choruses, duets, and songs
(among them the popular Deutsche* Lied). —
Cf. K. Strunz, /. W. K. (Vienna, 1910).
Kalliwo'da, Wilhelm, son of preceding;
b. Donaueschingen, July 19, 1827; d. Karls-
ruhe, Sept. 8, 1893. Taught by his father;
then entered the Leipzig Cons. In 1847,
music-director at the Catholic ch., Karlsruhe;
1853-75, court Kapellm. at the theatre there.
Excellent pianist, and teacher of pf. He
wrote pf.-music of a light and pleasing kind,
also songs, and excellent male choruses.
Kall'witz, or Kalwitx. See Calvisius.
Kamlenaki [kah-m'yelin'ske], Mathias, the
first composer of Polish opera; b. Odenburg,
Hungary, Oct. 13, 1734; d. Warsaw, Jan. 25,
1821. He studied comp. in Vienna, and
settled in Warsaw as a teacher. In 1778
his first opera, Nedza uszczesliwiona [Comfort
in misfortune], sung by Poles, was enthusias-
tically received; he prod. 5 more Polish operas,
and wrote 2 German operas (not pen.), a
cantata for the unveiling of the Sobieski
statue, masses, offertories, and polonaises.
Kam'merlander, Karl, b. Weissenhom,
Swabia, Apr. 30, 1828; d. Aug. 24, 1892, at
Augsburg, as Kapellm. at the cathedral
(since 1871). Pupil of Kempter. Poet, and
a composer of songs, church-music, and fine
male choruses.
KAmpf, Karl, b. Berlin, Aug. 31, 1874.
Pupil of A. Sormann, F. E. Koch and Frau
Olbrich-Poppenhagen; living in Berlin. Comp.
of a symph. poem, Im deutschen Wald; 2
orchl. suites, Aus baltischen Landen (op. 24)
and Hiawatha (op. 27); male choruses w.
orch., Aus Natur und Leben and Mee res sage;
KANDLER— KARL
Vcrlorene Liebe, ballade w. orch.; Ballade f.
harm, and str. -quintet (op. 12); a sonata for
pf. and vi. in E ra. (op. 23); pf.-pcs.; songs.
— Cf. J. Hagemann-Bonn, K. K.t in 'Mono-
graphien moderner Musiker' (vol. ii, Leipzig,
1907).
Kan'dler, Franz Sales, Imperial military
draughtsman ('Feldkriegskonzipist'); b. KIo-
sterneuburg, Lower Austria, Aug. 23, 1792;
d. Baden, n. Vienna, Sept. 26, 1831. As a
boy he sang in the court choir, Vienna, and
was carefully taught by Albrechtsberger,
Salieri, and Gyrowetz. When ordered to
Italy (1815-26), he pursued the study of
Italian music and its history as an avocation;
besides numerous fugitive papers, he publ.
Cenni storico-critici intorno alia vita ed alle
opere del celebre compositore Giov. Adolfo
Hasse, detto il Sassone (1820); Vber das
Leben und die Werke des G. Pierluigi da
Palestrina, genannt der Furst der Musik
(1834); and Cenni storico-critici suite vicende
e lo stato attuale delta musica in Italia (1836).
— Cf. L. Schiedermair, Venezianer BHefe F.
S. K.'s, in 'Riemann-Fest8chrift, (Leipzig,
1909).
Kapp, Julius, b. Steinbach in Baden,
Oct. 1, 1883. St. in Marburg, Berlin and
Munich; Ph. D. in 1906; from 1904-7 ed.
of 'Literarischer Anzeiger,' which he founded
in 1904. Has publ. R. Wagner und Fr.
Liszt (1908); Franz Liszt (1909; illustr. ed.
1911); LisztrBrevier (1910); Richard Wagner
(1910); Der junge Wagner (1910); Liszt und
die Frauen (1911); R. Wagner und die Frauen
(1912); Niccold Paganini (1913); Hector
Berlioz (1914); Register zu Liszt' sGesammel-
ten Schriften (1909). Has ed. Liszt's fGes.
Schriften' (4 vols., 1910) and R. Wagner's
'Gesammelte Schriften und Briefe' (24 vols.,
1914).
Kaps'berger, Johann Hieronymus von,
of noble German family; d. Rome, c. 1650.
Noted virtuosoon the theorbo, chitarrone, lute,
and trumpet, he lived at Rome on a friendly
footing with the Jesuits, and as a flatterer
of Pope Urban VIII. His compositions are
in the then 'modern* Florentine style; those
for lute are* written in a much simplified lute-
tablature. He publ. numerous comps. f. lute,
masses, motets, madrigals; Apotheosis of St.
Ignatius of Loyola; a mus. drama, Fetonte
(1630); and wedding-cantatas. Many works
in MS. — See Q.-Lex.
Ka'rajan, Theodor Georg von, b. Vienna,
Jan. 22f 1810; d. there Apr. 28, 1873, as sub-
director of the Imperial Library and president
of the Acad, of Sciences. His important
monograph Josef Haydn in London 1791 und
1792 contains Haydn's correspondence with
Marianne von Genzinger (1861); also wrote
Aus Metastases Hoflehen (1861).
Karasow'ski, Moritz, b. Warsaw, Sept.
22, 1823; d. Dresden, Apr. 20, 1892. His
teacher was Val. Kratzer (pf. and 'cello).
In 1851 he joined the Grand Opera orch. at
Warsaw as 'cellist; travelled from 1858-60;
and in 1860 became royal chamber- virtuoso
at Dresden. He publ. (in Polish) History of
the Polish Opera (1859); Chopin's Youth
(1862; 2d ed. 1869); Life of Mozart (1868);
and (in German) Friedrich Chopin, sein
Leben, seine Werke und Briefe (1877; 2d rev.
ed. 1878; 3d ed. 1881). Also pieces f. 'cello.
Karganov, Genari. See Korganov.
Karg-Elert, Siegfried, born Oberndorf,
Wiirttemberg, Nov. 21, 1879. Pupil of
Reinecke, Reisenauer, Jadassohn and others
at the Leipzig Cons.; now living in Leipzig.
A composer of extreme modern tendencies. —
Works: For organ: Op. 25, Passacaglia; op.
39, Phantasie und Fuge in D; op. 48, Sanctus
und Pastorale (w. vl.); op. 65, ChoraUImpro-
visationen; op. 78, 20 Pra- und Postludien;
op. 87, 3 sinfonische Chorale; 3 sinfonische
Kanzonen; Sonate; Chaconne; Fugentritogie;
etc.; op. 21, Jeux d' en f ants, orchl. suite; op.
106, pf. -concerto in D; op. 89, Partita in D,
f. vl. solo; Symphonische Legende f. do.; op.
88, vl. -sonata in E m.; op. 90, duets f. vl.;
op. 71, 'cello-sonata; op. 100, str. -quartet.
For pf.: Op. 7, Reisebuder; op. 16, 17, 21,
22, 23, 45; op. 38, Sckwabenheimat; op. 50,
sonata in F# m.; op. 67, 2 sonatinas; op. 80,
2 sonatas; op. Ill, 28 Prdludien; etc.; a 12-
part Requiem aetemam; a Pfingsthymnus a 8;
Das chrtstliche Kirchenjahr (12 motets). For
the ( 'Kunstharmonium,' in which he is
specially interested, he has written op. 14,
3 sonatinas; op. 26, 8 Stucke; op. 27, AquareL
len; op. 31, Scenes pittoresques; op. S3, 5
Monologe; op. 34, Improvisation; op. 36,
sonata in B m.; op. 37, Partita; op. 42,
Madrigale; op. 46, sonata in Bb m.; op. 70,
Orchestrate Studien; op. 102, Impressumen;
op. 104, IdyUen; op. 105, Romantische Stucke.
Also songs (op. 11, 12, 40, 54, 56, 62, 63) and
sacred songs w. org. and vl. (op. 66, 81, 82).
Technical works for the 'Kunstharm.': Theo-
retisch-prakiische Elementarschule; op. 91, Die
Kunst des Registrierens; op. 93, Die ersten
grundlegenden Studien; op. 94, Hohe Schule
des Legatospiels; op. 95, Die Harmonium-
technik (Gradus ad Parnassum). — Cf. H.
Avril, Kompositionsverzeichnis mil einer
monographtschen Skizze (Berlin, 1908); A. E.
Hull, K.-E., in *M. T.\ Feb. and Mar., 1913.
Karl, Tom, tenor singer in opera and
concert; b. Dublin, Jan. 19, 1846; d. Roches-
ter, N. Y., Mar. 19, 1916. Studied in England
under Henry Phillips, and in Italy under
Sangiovanni and Trivulzi. Sang in Italian
opera for many years, and went to America
with Parepa-Rosa, singing a season in English
451
KARLOWICZ— KASSMEYER
opera, and settling in New York. His
remarkable success as Ralph Rackstraw in
Pinafore (1879) determined him to abandon
grand opera; some years later he organized
with H. C. Barnabee and W. H. MacDonald
the famous 'Bostonians,' unquestionably the
finest light-opera company at the time.
Their greatest success was De Koven's
Robin Hood. K. had a repertory of 150
operas and operettas. He retired in 1896,
living for some years in N. Y. as dir. of an
operatic school, and then as a private teacher
in Rochester.
Karlowicz [-vitch], Miecyslaw, b. Wisz-
niewo, Lithuania, Dec. 11, 1876; d. Zakopane,
Galicia, Feb. 10, 1909 (buried under an
avalanche). From 1890-5 pupil of Barcewicz,
Noskowski, Roguski and Maszynski in War-
saw; then st. comp. with H. Urban in Berlin,
1895-1900; from 1904-6 he was dir. of the
Mus. Soc. in Warsaw; after that he lived in
Zakopane, devoting himself entirely to comp.
His untimely death deprived Poland of one
of her most talented composers. — Works: Op.
1, 3, 4, songs; op. 2, Serenade f. str.-orch.; op.
5, Prdludium und Doppelfuge f. pf.; op. 6,
Sonata f. pf.; op. 7, Symphony in E m.; op.
8, Concerto f. vl. and orch.; op. 9, Powraca-
face fale (Returning Waves), symph. poem;
op. 10, Odwieczne picsni (Old, Old Songs),
symph. trilogy; op. 11, Lithuanian Rhapsody
f. orch.; op. 12, Stanislaw and Anna of
Oswiecim, symph. poem; op. 13, Sad News,
do. He publ. The Hitherto Unedited Literary
Remains of Fr. Chopin (in Polish, 1903 [letters
to and from C.J; Fr. transl. by L. Disiere as
Souvenirs inedits de F. C, 1905).
Ka'row, Karl, b. Alt-Stettin, Nov. 15,
1790; d. Dec. 20, 1863, at Bunzlau, Silesia, as
music-teacher at a training-school. Publ. a
Choralbuch, a Leitfaden fur den Schulgesang-
unterricht; motets, and pieces for piano and
for organ.
Karpath [kahr'paht], Ludwlg, b. Buda-
pest, Apr. 27, 1866. Pupil of the Cons, there;
later st. singing with Prof. Laufer in Vienna;
J 886-8 member of the National Opera Co.
in the U. S. (sinking minor bass rdles);
since 1894 mus. critic for the 'Neue Wiener
Tageblatt* and contributor to various mus.
journals. He has publ. Siegfried Wagner als
Mensch und Kunstler (1902), Zu den Brief en
R. Wagners an eine Putzmacherin (1906),
R. Wagner, der Schuldenmacher (1914).
Kasanli. See Kazanly.
Kasatchenko. See Kazatchenko.
Ka'shin, Daniel Nl kit itch, b. Moscow,
1773; d. there 1844. Pupil of Sarti. Comp.
of the operas Natalya, the Boyar's Daughter
(Moscow, 1801); Beautiful Olga (ib., 1809);
The One-day Reign of Nurmanhal (ib., 1817);
cantatas, choruses and songs. More impor-
tant are his Patriotic Songs and his collections
of Russian Folk-songs (over 200) and Fifteen
Folk-songs f. ch. and pf.
Kashinaky. See Kazhinsky.
Kashldn, Nikolai Dimltrievitch, b.
Voronesh, Dec. 9, 1839. Since 1862 mus.
critic of several Moscow papers and contrib.
to many of the Russian mus. journals. Has
publ. a Treatise of Elementary Theory (1875;
many eds. since) ; Recollections of P. I. Tchai-
kovsky (1896); Outlines of Russian Music-
History (1908); also translations of Bussler's
Formenlehre and Der freie Stil; Riemann's
Katechismus der Mustkgeschichte and Kat.
der Akustik; Lobe's Die Oper.
Kash'perov, Vladimir Nikititch, b. Sim-
birsk, 1827; d. Romanzevo, July 8, 1894.
Pupil of Voigt and Henselt in Petrograd and
of Dehn in Berlin (1856); lived from 1858-
64 in Italy, and after his return was prof, of
singing at the Moscow Cons, from 1866-72,
when he resigned and established free singing-
classes in Moscow. His first opera, The
Gypsies (1850) was never perf. in its entirety ;
his most successful operas were those written
in Italy: Maria Tudor (Milan, 1859), Rienzi
(Florence, 1863) and Consuelo (Venice?); he
achieved only moderate success with the
Russian operas The Storm (Petrograd, 1867)
and Taras Bulba (Moscow, 1893).
Kaaltel, Freiherr Karl von, b. Dresden,
Oct. 10, 1866. While a law-student at
Leipzig, he studied music in the Cons, under
Reinecke and Jadassohn (1886-7), and later
for several years at Cologne under Wullner
and Jensen. Lived many years in Dresden;
now (1916) in Munich.— Works: 1-act opera
Hochzeilsmorgen (Hamburg, 1893; later in
Berlin, Dresden, Mannheim, etc); 2-act
opera Sjula (Cologne, 1895); Die Bettlerin
vom Pont des Arts (Kassel, 1899); Der Dusle
und das Babeli (Munich, 1903) ; Der Gefangene
der Zarin (Dresden, 1910); Die NachtigaU
(Stuttgart, 1910); Die Schmiedin von Kent
(Dresden, 1916); Lustspielouverture (op. 14),
Humoreske (op. 15), Ballade (op. 17), f. orch.;
Vier Klavierstucke (op. 5); songs (op. 6, 7,
8, 9, 11, 12).— Cf. E. Schmitz, K. v. K., in
'Monographien moderner Musiker' (vol. iii,
Leipzig, 1909).
Kass'meyer, Moritz, b. Vienna, 1831; d.
there Nov. 9, 1884. Violinist and comp.;
pupil, at the Cons., of Sechter and Preyer;
violinist in the opera-orch.; later Imp. ballet-
director. — Works: A comic opera, Das Land-
haus zu Meudon (Vienna, 1869); symphonies;
masses, other church-music, part-songs, songs;
publ. 5 string-quartets. K.'s Musikalische
MesaUiancen fur Streichquartett mil Pianoforte
zu 4 Hdnden, op. 22, and Volkweisen und
452
KASTALSKY— KASTNER
Lieder fUr das StreichquarteU humoristisch
und contrapunktisch bearbeitet, are good speci-
mens of sound musical humor.
Kastalsky, Alexander Dimitrievitch, b.
Moscow, Nov. 28, 1856. Pupil of Tchai-
kovsky, Taneiev and Hubert at the Moscow
Cons. (1875-82). In 1899 he was app.
asst.-cond., 1901 cond., of the Synodal
Choir in Moscow, and under his direction
the chorus soon won international reputation;
in 1911 he took it on an extended tour
(Warsaw, Vienna, Dresden, Florence, Rome,
etc.). As a composer of sacred music he
occupies a prominent place because of his
successful blending of old and modern ele-
ments.— Works: The opera Clara MUitche
(Moscow, 1916); The Furnace of Nabucho,
oratorio f. soli and ch. a capp. (1909);
Le Chant d'Sglise, cantata; Requiem f. ch.
and orch. (1916; in memory of the heroes
fallen in the war); 5 choruses a capp. (on
patriotic texts); over 80 sacred choruses a
capp.; En Georgie, suite f. pf.; De Temps
Passes (4 vols, of restorations of ancient
music [f. pf.j: I, China, India, Egypt. II,
Greece, Judea, Islam. Ill, Early Christianity.
IV, Ancient Russia). Has also publ. a
Manuel autodidactique de Chant d'Sglise.
Kastner, Alfred, harp-virtuoso; b. Vienna,
Mar. 10, 1870. Pupil of Zamara at the
Cons, there; has played in recitals since
1885; soloist at the R. Opera in Dresden,
and at the Imp. Opera in Warsaw; 1892-8,
taught at the 'Landesmusikakademie' in
Pest; 1898-1900, in the U. S.; then for 3
years in Zurich, and since 1904 soloist of the
Queen's Hall Orch. (Sir H. J. Wood) in
London. Has publ. concert-pieces for harp.
Kast'ner, Emmerich, b. Vienna, Mar.
29, 1847. Viennese writer; for a time editor
of the 'Wiener musikalische Zeitung'; has
publ. a Richard Wagner-Katalog (1878);
Bayreuth (1884); Wagneriana (1885); Brief e
R. Wagner's an seine Zeitgenossen 1830-83
(1885); Die dramatischen Werke R. Wagner's
(1899); and one fascicle of a Neuestes und
voUstdndigstes Tonkunstler- und Opern-Lexi-
kon (1889; only A-Azzoni printed). Has also
edited Beethovens sdmmtliche Brief e (Leipzig,
1911). J y *'
Kastner, Georg Friedrich Eugen, son
of Joh. Georg; b. Strassburg, Aug. 10, 1852;
d. Bonn, April 6, 1882. Inventor of the
pyrophone, described in his work Le pyro-
phone, ftammes chan* antes (Paris; 4th ed.
1876). Also see his father's biography, vol. iii.
Kast'ner, Johann Georg, composer and
theorist; b. Strassburg, March 9, 1810; d.
Paris, Dec. 19, 1867. A pupil of Maurer
and Romer, and early developed musically
(he was an organist at ten), he was destined
for the church, and sent to the Strassburg
Lutheran Seminary; but devoted his spare
time, to the study of instrs. and composition.
At the age of 20 he became bandmaster;
at 22 he gave up theology; and in 1835, after
bringing out 4 operas — Gustav Wasa (1832),
Der Tod Oscar's (1833), Der Sarazene (comic,
1834), and Die Konigin der Sarmaten (1835)
— was sent by the town council to Paris, to
finish his studies under Berton and Reicha.
In 1837 he publ. his Trail* geniral d'instru-
mentation, the first of a series of didactic
works approved by the Academie and adopted
in the cons, (it was later superseded by
Berlioz's treatise); the other works were a
Cours d' instrumentation, Grammaire musicale,
ThSorie abregSe du contrepoint et de la fugue,
Methode Hem. de I'harm. appliquSe au piano,
MSthodes elementaires of singing, piano, violin,
flageolet, flute, cornet a pistons, clarinet,
horn, 'cello, ophicleide, trombone, and oboe;
MSthodes completes et raisonnSes for saxo-
phone and tor kettledrums; Bibliotkeque
chorale; Manuel general de musique militaire.
Others still in MS. — In Paris K. devoted
himself to teaching, composing, and musical
researches of the most various kinds; he was
also especially interested in military music,
and originated the competitions of bands of
all nations, the first being at the Paris Ex-
position of 1867; he was a founder, and
became vice-president, of the 'Association des
artistes- musiciens'; and zealously promoted
the welfare of the 'Orpheons.' The Univ. of
Ttibingen conferred on him the degree of Dr.
phil. et mus. hon. causa; he was made a
member of the Institut, of the 'Comit6 des
Etudes' of the Cons., and of several foreign
societies; and officer of the Legion of Honor.
He was a frequent contributor to French and
German mus. periodicals, and wrote for
Schilling's 'Lexikon der Tonkunst,' besides
laboring for many years on an 'Encyclopedic
de la musique' of his own. — Compositions:
Add to operas above, Beatrice (1839), La
Maschera (in French; Paris, Op.-Com.,
1841); Le dernier Roi de Juda, a biblical
opera, considered his masterpiece (concert-
performance at the Cons., 1844); and Les
Nonnes de Robert le Diable (not perf.); also
incid. music to Die Belagerung von Missolonghi
(Strassburg, 1829).. Equally characteristic of
his erudition and his originality as a composer
are the famous 'Livres-partitions,' which are
vocal and instrumental symphony-cantatas
preceded by valuable musioo-histoncal essays
on their several subjects. The first of these
was Les Danses des marts;, dissertations et
recherches historiques, philosophiques, littSraires
et musicales sur les divers monuments de ce
genre qui existent tant en France qu'a V Stranger;
ace. de la Danse macabre, grande ronde voc. et
instr. (Paris, 1852; a large 4to vol. of 310
453
KATE— KAUN
pages); the others (titles abbreviated!) were
La Harpe d'£ole et la musique cosmique; . . .
suivies de Stephen, ou la Harpe d'Eole, gr.
monol. avec chaws (1856); Les Voix de Paris,
followed by Les Cris de Paris, gr. symphonie
humoristique voc. et instr. (1875); Les Sirenes,
. . . essai suivi du Rtoe d' Oswald ou les Sirenes,
gr. symph. dram. voc. et instr. (1858); Parhni-
ologie musicale de la langue francaise, . . .
suivie de la Saint- Julien des mSnitriers, sym-
phonie-cantate & gr. orch., avec solos et chaurs
(1862). Two notable collections of male
choruses, with similar prefaces, are Les Chants
de la vie (1854), containing 28 numbers a
4-8, and Les Chants de Tarmie francaise
(1855). His dramatic scenes, numerous songs,
and instrumental works (3 symphonies and
5 overtures f. full orch.; 10 serenades f. wind;
prand sextet f. saxophones; etc.) are also
imbued with an individuality happily blended
of French and German elements. — Biographi-
cal: H. L. von- Jan, J. G. K.t tin els&ssischer
Tondichter, Theoretiker und Musikforscher,
(Leipzig, 1886; 3 vols.); the art. 'Kastner' in
Fetis is also excellent.
Ka'te [kah'tgh], Andrt ten, b. Amsterdam,
May 22,. 1796; d. Haarlem, July 27, 1858.
'Cellist, pupil of Bertelmann; prod, the
operas Seid e Palmira (1831) and Constantia
(1835) at Amsterdam; wrote other operas,
chamber-music, part-songs, etc.
Kauders [kow'-J, Albert, journalist and
mus. 'critic in Vienna; has brought out the
comic opera Der Schats des Rhampsinit
(Prague, 1887; succ), and the romantic opera
Walther von der Vogelweide (Vienna, 1896);
of the latter he also wrote the text.
Kau'er [kow'er], Ferdinand, prolific comp.
of Singspiele; b. Klein-Thaya, Moravia, Jan.
8, 1751 ; d. Vienna, Apr. 13, 1831. Organist, as
a boy, of the Jesuit College at Znaim; st. cpt.
under Heidenreich at Vienna; became director
and 1st violin at Marinelli's Th. in 1795; acted
as Kapellm. in other theatres, and was
finally viola-player in the Leopoldstadter Th.
— Works: About 100 operas and operettas
(Das Donauweibchen and Die Sternenkonigin
were publ.); oratorio Die Sundfluih (Vienna,
1809); 20 masses, and other sacred music;
cantatas, songs; symphonies, chamber-music,
etc., nearly all lost in the great flood of Mar.
1, 1830.— See Q.-Lex.
Kauff'mann, Em 11, son of Ernst F., b.
Ludwigsburg, Nov. 23, 1836; d. Tubingen,
June 18, 1909. Pupil of Keller, Faiszt, Tung,
and Singer at Stuttgart Cons.; joined the
court orch. in 1863 as violinist; teacher at
the Music School at Basel 1868-77; musical
director at Tubingen Univ., which made him
Dr. phil. in 1885.— Works: Over 60 Lieder;
male choruses; sonatas and other pf. -pieces;
Die Nacht (H Merlin), w. orch.; also the
essays Entwickelung der Tonkunst von der
Mitte des 18. Jahrhunderts bis tur Gegenwdrt
(1884), and Justinus Heinrich Knecht: ein
sckwdbischer Tonsetzer (1892). Contributor
to the Leipzig 'Musikalisches Wochenblatt/
Kauff'mann, Ernst Priedrich, b. Lud-
wigsburg, Nov. 27, 1803; d. Stuttgart, Feb.
11, 1856. While in the Gymnasium, he
studied the pf. by himself, and became an
excellent player. Student at Tubingen Univ.,
1825-7; principal of the Realschule at Lud-
wigsburg. On account of his connection
with revolutionists he lost his position in
1835, and was finally imprisoned 4 years
(1838-42) in the Asperg, where, however, he
was allowed to have a piano, and where he
composed the beautiful songs which have
made him famous (6 sets, each of 6 songs;
Stuttgart: Ebner).
Kauff'mann, Fritz, b. Berlin, June 17,
1855. At first a student of natural science,
and a druggist at Leipzig and Hamburg, he
turned definitively to music in 1878, and
entered the Akademische Hochschule at
Berlin, studying under Kiel, and winning
the Mendelssohn prize for composition in
1881. The next year he spent in Vienna;
then lived in Berlin till 1889 as a composer
and teacher, and became in that year con-
ductor of the 'Gesellschaftskonzerte' at Mag-
deburg, which he directed till 1900; since
1897 cond. of the ' Kirch engesangvere/n.'
Created Royal 'Musik-Direktor' in 1893.—
Works: Songs f. solo voice w. pf., op. 1-5,
10, 17, 21, 24, 26; quartets f. mixed ch., op.
12, 19; quartet f. male ch., op. 15; terzet I.
female en., op. 22; comic opera Die Herz-
krankheit, 1 act, op. 13; op. 18, symphony in
A m.; op. 23, Dramatische Ouverture; op. 27,
violin-concerto in D m.; op. 50, do. in B m.;
op. 25, pf. -concerto in C m.; op. 29, 'cello-
concerto in G m.; op. 9, 20, pf. -trios; op. 8,
variations f. string-quartet; op. 14, string-
quartet in G; op. 7, 11, pf. -sonatas in A and
B m.; op. 16, 2«, Tanz-Improvisationen L pf.;
op. 6, Phantasie, variations, and fugue, f.
organ; op. 40, quintet f. wind-instrs. and horn.
Kaufmann, Friedrich, b. Dresden, Feb.
5, 1785; d. there Dec. 1, 1866. Inventor of a
trumpet-automaton (1808), the 'Belloneon,'
the 'Claviatur-Harmonichord,' the 'Chordau-
lodion,'and themore important 'Symphonion, "
from which his son Friedrich Theodor (b.
Dresden, Apr. 9, 1823; d. there Feb. 5, 1872)
evolved the now popular 'Orchestrion' in 1851 .
Kaun [kown], Hugo, b. Berlin, Mar. 21,
1863. Pupil of Grabau and Fr. Schultz at
the Kgl. Hochschule, 1879-80; then at the
Akademie of Kiel (comp.), and private pupil
of K. and O. Raif (pf.) 1881-4. From 1887-
1902 he lived in Milwaukee as teacher and
cond.; since then in Berlin. A prolific com-
454
KAYSER— KfeFER
poser of considerable inventive and structural
power, a strong sense of euphony, and master
of the larger forms. — Works: For orch.:
Op. 16, Vineta, symph. poem; op. 22, Sym-
phony No. 1, in D, An mein Voter land; op.
28, Ein Karnevalsfest, suite; op. 29, Festmarsch
mit Benutzung der amer. Fretheitshymne 'The
Star-spangled Banner' \ op. 35, Gesangscene
f. vcl. and orch.; op. 43, 2 symph. poems,
Minnehaha and Hiawatha; op. 44, Maria
Magdalena, symph. prologue; op. SO, pf.-
concerto in E[>; op. 60, Sir John Falstaff,
humoresque; op. 66, Fantasiestuck f. vl. and
orch.; op. 70, 6 Originalkompositionen f.
small orch.; op. 76, Dreieinfache Stucke f. do.;
op. 85, Symphony No. 2, in C m.; op. 88,
Drei BagaieUen f. str.-orch.; op. 90, Am Rhein,
overture; op. 92, Mdrkische Suite (orig. f. pf.
4 hands); Symphony No. 3, in E m. (1915).
— Chamber-music: Op. 26, octet f. wind-
instrs.; op. 32, pf.-trio in Bb; op. 34, octet
f. stfs., clar., horn and bassoon; op. 39, pf.-
quintet in F# m.; op. 40, str, -quartet in F;
op. 41, do. in D; op. 58, pf.-trio in C m. —
For ch. and orch.: Op. 20, Normannen-
Abschied (bar. solo and male ch.); op. 27,
Abendfeier in Venedig (8-part ch. w. str.-
orch., 2 horns and org.); op. 54, Auf dent
Meet (bar. solo and mixed ch.); Zigeuner-
treiben (bar. solo and male ch.); Mutter Erde
(soli and mixed ch.); Festkantate (mixed ch.);
Psalm 126 (do.). He has also publ. numerous
songs, male choruses and pf.-pcs. A 1-act
opera, Der Pietist (Oliver Brawn), has not
been prod. ; a 3-act grand opera, Sappho, was
completed in March, I916.—-Cf. W. Altmann,
//. A., in 'Monographien moderner Musiker
(vol. i, Leipzig, 1906).
Kay'aer[kI],FriedrichEmll. See Kaiser.
Kay'aer, Heinrich Ernst, violinist and
teacher; b. Altona, Apr. 16, 1815; d. Ham-
burg, Jan. 17, 1888, as a player in the theatre-
orcn. — Works: Violin-etudes, op. 20 and
30; studies in shifting, op. 28, and a Method
f . vln. ; all of merit.
Kay'aer, Philipp Christoph, b. Frank-
fort, Mar. 10, 1755; d. Zurich, Dec. 23, 1823.
Both as a pianist and composer he did not
rise above mediocrity; from 1775 he lived
in Zurich as a private teacher. From Goethe's
correspondence with him it appears that he
wrote music to several of G.'a Sinsgpiele,
but only one, Schert, Liszt und Roche, is
preserved in MS. He publ. a Weihnachts-
kantate, Deux Sonates en symphonie f . pf . and
2 horns, and songs. — Cf. C. A. Burkhardt,
Goethe u. der Komponist Ph. Chr. K. (Leipzig,
1879).
Kazanly, Nikolai Ivanovitch, Russian
composer; b. Tiraspol, Govt, of Cherson,
Dec. 17, 1869; studied in the Odessa Music-
School (1879-83) and Petrograd Cons. (1891-
4; Rimsky-Korsakov). He also profited from
some lessons from Balakirev, and. his sub-
sequent intimate association with that master.
Since 1897 he has conducted Russian sym-
phony concerts abroad (Prague, Munich, etc.).
In 1899 he cond. the German premiere of
Glinka r8 Russian and LudmUla m Munich;
from 1897-1904 he cond. a regular series of
Russian Symph. Concerts with the Kaim
Orch. at Munich; has also contributed to
Russian and German mus. journals; at present
(1916) member of the commission tor the
improvement of Russian military music. —
Works: An opera, Miranda (Petrograd, 1910);
a symphonietta in G; a symphony in F m.;
Russalka f. orch. and voices (Munich, 1897);
Leonore f. do. (ibid.); The Villa by the Sea,
orchl. fantasia after Bocklin; La Nuit du
Carnaval, f. orch.; Le Loup dans le ckenil,
cantata i. ch. and orch, ; choruses and songs.
He has orchestrated Liszt's Sposalisio and
// Pensieroso, Schubert's Erlkontg, and pieces
of Glinka publ. as Glinkiana. Under the
title Philharmonica he has publ. over 100
classic pieces in arrangement for small orch.
. Kazatchenlto, Grigory Alexeievitch,
Russian composer; b. May 3, 1858; after
study at the Petrograd Cons. 1874-83, he be-
came chorusmaster of the Imp. Opera. He also
conducted concerts in P. and (1898) Paris. —
Works: Two operas, Prince Serebryanny (P.,
1892), and Pan Sotnik (ibid., 1902); a sym-
phony in A m.; an overture; 2 Oriental
Suites (No. 1 is the Armenian); a Ballet-
Suite; a fantasia on Russian themes f. viola
and orch.; a cantata, Russalka; Hymn to
Pushkin; etc.
Kazhin'aky, Viktor, b. Vilna, Lithuania,
Dec. 30, 1812; d. 1870. Pupil of Eisner, at
Warsaw, 1837-9. He brought out an opera,
FeneUa (Vilna, 1840), and a second, Der
ewige Jude (Warsaw, 1842). From 1843 he
made Petrograd his home; became conductor
at the Imp. theater, and prod, the operas
Les Pages du Due de Venddme (1846) and
Man and Wife (1848) without much success.
His musical diary (1845) of a tour made in
Germany and Austria with Gen. Lvov, is
interesting. He also wrote cantatas, overtures,
concertos f. pf., do. f. vln., pf.-music, a Sone-
Album containing some fine numbers (1855),
and a History of Italian Opera (1851).
•
Ktfer, Paul, fine 'cellist; b. Rouen, Dec.
30, 1875. Pupil of the mus. school at Ver-
viers and winner of the gold medal (1894);
cont. his studies under J. Delsart at the
Paris Cons., where he won the first prize in
1900. Member of the Colonne and Lamou-
reux orchs. and of the Op.-Comique; from
1908-13, solo 'cellist with the N. Y. Symph.
Orch.; since then living in N. Y. as teacher
455
KEISER— KELLER
and concert- 'cellist. In 1913 he formed with
G. Barrens (fl.) and C. Salzedo (harp) the
'Trio de Lutece.'
Kei'ser, Relnhard, b. Teuchern, n. Weis-
senfels, Jan. 9, 1674; d. Copenhagen, Sept.
12, 1739. Educated musically by his father,
and at the Thomasschule and Univ., Leipzig.
In 1692 the success of his pastoral, Ismene,
at Brunswick, followed by a grand opera,
Basilius (1693), encouraged him to go to
Hamburg, then possessing the best operatic
stage in Germany, in 1694. Of the 116 or
more operas written during his 45 years'
sojourn there, Mahtnutk II (1696) was the
first, and Circe ( 1 734) was the last . He was the
first German to employ popular subjects in
opera; Stortebecker undGoedje Michel (1701),
Die Leipziger Messe (1710), Der Hamburger
Jahrmarkt (1725), and Die Hamburger Schlacht-
zeit (1725), however trivial and coarse they
may be, are at least original in design and
execution, and not mere copies of French
and Italian models. Most of his subjects
were mythological or historical. In melody,
orchestration, and vigor of dramatic ex-
pression, he was easily the foremost German
opera-composer of the day. He successfully
undertook the management of the Hamburg
opera, and in 1709 married into a Hamburg
patrician family. From 1722-8 he resided in
Copenhagen as conductor to the King; in
1728 he was a pp. canon and cantor of the
Hamburg 'Katharinenkirche.' His last years
were passed in ease and retirement in Copen-
hagen, where his daughter was eng. at the
opera. Of his other works (oratorios, can-
tatas, motets, psalms, passions, etc.), a
number were publ.: R. Reisers Gemuths-
Ergotzung, beslehend in einigen Sing-Gedichten,
mil einer Stimme und unterschiedliehen Instru-
ments (1698); Divertimenti serenissimi (duets
and airs w. harpsichord; 1713); Musikalische
Landlust (cantatas w. continuo f. harpsich.;
1714); Kaiserliche Friedenspost (songs and
duets w. harpsich.; 1715); a Weihnachts-
Cantate (n. d.); etc. The opera Crosus and
selected numbers from V Inganno fedele were
publ. by M. Schneider in vols. 37 and 38 of
'Dkm. der Tonkunst.' — Cf. E. O. Lindner, Die
erste stehende deutsche Oper (Leipzig, 1855);
F. A. Voigt, R. K.t in 'Vschr. f. M.-W.'
(1890); H. Leichtentritt, R. K, in seinen
Opern (Berlin, 1901).— See Q.-Lex.
Kelbe, Theodore, b. Brunswick, Germany,
Oct. 6, 1862. St. vl. with G. Mueller and W.
Wenzel, pf. and comp. with G. Ewald in his
native town; 1879-82, member of the R.
Court orch. there; in 1882 he joined the
opera-orch. in Cologne, and had some lessons
from R. Heckmann; came to America in
1901 as conc.-master of the Milwaukee
Symph. Orch.; since 1904 conductor of the
'Sangerbund des Nordwestens'; since 1910
also prof, of vln. at the Schenuit Cons, in
Milwaukee. He has cond. the great festivals
of the Sangerbund in Milwaukee (1904), St.
Paul (1906), La Crosse (1908), Omaha (1910),
St. Paul (1912), Omaha (1915) and Kansas
City (1917). Has written comps. for. orch.,
vl. and pf., and male choruses.
Keldorfer, Viktor, b. Salzburg, April 14,
1873. Pupil of the Mozarteum there; since
1900 cond. of the 'Mannergesangverein' (as
Kremser's succ.) and the 'Niederosterreichi-
scher Sangerbund' in Vienna. Has publ. a
Missa solemnis in G m., many male choruses,
and arrangements of Strauss waltzes f. male
ch. and orch.
Keler-Bela (recte Albert von Keier), b.
Bartfeld, Hungary, Feb. 13, 1820; d. Wies-
baden, Nov. 20, 1882. Law-student, then
farmer, and took up music in 1845, studying
under Sechter ana Schlesinger at Vienna,
and playing the violin at the Th. an der
Wien, where he developed his specialty, the
composition of dance-music. In 1854 he
went to Berlin for a time to conduct the
Gungl orch.; next year he succeeded Lanner
in Vienna, where he was Kapellm., 1856-63,
of an infantry regiment, then becoming con-
ductor of the Kur-Orch. at Wiesbaden,
resigning in 1873 on account of ill health. —
Works: Overtures and dance-music /. orch.;
violin solos.
Kel'ler, P. A. E., inventor of a piano-*
graph which he called 'pupitre-improvisateur'
(1835), also publ. a MSthode oV improvisation
musicale theorique et practique fondee sur Its
propriktes du pupitre-improvisateur (Paris,
1839). His invention was not successful.
Keller, Gottfried (called Godfrey), a
German harpsichord- teacher in London. Publ.
A Complete Method for Attaining to Play a
Thorough-bass upon either Organ, Harpsichord,
or Theorbo-lute (1707; reprinted in W. Holder's
456
treatise on Harmony, London, 1731); 6
sonatas for 2 vlns., trumpet, or oboe, viola
and continuo (1710); and 6 sonatas for 2
flutes with basso continuo (posthumous).
Keller, Karl, b. Dessau, Oct. 16, 1784; d.
Schaffhausen, July 19, 1855. Flute-virtuoso;
court musician at Berlin, Kassel, Stuttgart,
and from 1817 at Donaueschingen, where he
later also became theatre-cond. Pensioned in
1849. — Works: 3 flute-concertos; 4 polonaises
with orchestra; 2 divertissements with orch.;
variations, pot-pourris, duos and solos for
flute; 6 part-songs for male ch.; and numerous
very popular songs.
Keller, Max, b. Trostberg, Bavaria, Oct.
7, 1770; d. as organist at Altotting, Dec. 16,
1855. Publ. 6 Latin masses; 6 German mass-
es; litanies, Advent hymns, funeral chants;
also organ-music (preludes, cadences, etc.).
KELLER— KELLOGG
Keller, Otto, born Vienna, June 5, 1861.
From 1886-99, ed. of the 'Deutsche Kunst-
und Musikzeitung'; now (1916) living in
Munich. Has publ. biogrs. of Beethoven
(1885) and Goldmark (1906); IUustrierle Mu-
sikgeschichte (1894; 4th ed. 1912), also in
'Volksausgabe' [text only] as Geschichte der
Musik (1908; 4th ed. 1911). He is now (1916)
preparing an exhaustive biogr. of Suppe.
Keller, Walter, concert-organist; b. Chi-
cago, Feb. 23, 1873. From 1891-4 pupil of
the Amer. Cons, of Music; then for 2 years of
C. Piutti and P. Homeyer at the Leipzig
Cons., and of F. G. Gleason in Chicago
(1896-8). Instr. in the North-Western Univ.
School of Music, 1898-1904; since 1903 org.
of St. Vincent de Paul Ch.f Chicago; director
of Sherwood Mus. School (since 1910); dean
of de Paul Univ. Sch. of Music (since 1912);
1914-16, dean of 111. Chap, of A. G. O. Has
given numerous recitals in the Eastern and
Middle States. — Works: A comic opera, The
Crumpled Isle; a melodrama, Alaric's Death;
a Festival Anthem in D; Magnificat and Nunc
Dimittis in C; Allegro for organ in F; 2 canons
(Ab, DlO for pf., and other pf. -pieces; songs.
Kellermann, Christian, fine 'cellist; b.
Randers, Jutland, Jan. 27, 1815; d. Copen-
hagen, Dec. 3, 1866. Pupil of Merle at
Vienna. After prolonged concert-tours, he
was app. soloist in the royal orch. at Copen-
hagen in 1847. Publ. a few solos for 'cello.
- Kelley, Edgar Stillman, American com-
poser and writer; b. Sparta, Wis., April 14,
1857. Pupil of F. W. Merriam (1870-4),
Clarence Eddy and N. Ledochowski (1874-
6, at Chicago), and at Stuttgart Cons.,
1876-80, of Seifriz (comp.), Krflger and
Speidel (pf.)t and Friedrich Finck (organ).
Has acted as organist in Oakland and San
Francisco, Cal.; conducted a comic-opera
company in the Eastern States, 1890-1; has
taught pf., ore. and comp. in various schools
in Cal. and N. Y., and in the New York
College of Music; was music critic for the
San Francisco 'Examiner,' 1893-5; 1896-7,
lecturer on music for the Univ. Extension of
the Univ. of New York; 1901-2, acting prof, at
Yale Univ.; 1902-10, in Berlin as teacher of
pf. and comp.; since 1910 dean of the dept. of
comp. at Cincinnati Cons., at the same time
holding a fellowship in comp. at the Western
College, Oxford, O. Has contributed to the
leading musical papers of the U. S. — Works:
Orig. theme and vars. for string-quartet, op.
1 ; op. 4, Wedding Ode for tenor solo, male ch.
and orch; op. 7, incid. music to Macbeth for
full orch. and ch.; op. 10, Aladdin, Chinese
suite for full orch.; op. 11, comic opera Pu-
ritanic (Boston, Tremont Th., June 9, 1892;
100 performances; publ. in vocal score); op.
17, incid. music to Ben Hut for soli, ch. and
orch.; op. 20, string-quintet; op. 25, string-
quartet; Alice in Wonderland, suite for orch.;
Symphony No. 1, Gulliver; do. No. 2, New
England; incid. music to Prometheus Bound;
pf. -pieces; songs. Has published Chopin the
Composer (New York, 1913).
Kellle, Lawrence, tenor singer and comp.;
b. London, April 3, 1862. Articled to a solici-
tor; began professional study of music in 1884
at R. A. M., and as a private pupil of Ran-
degger. Debut Coven t Garden, Nov., 1886;
gave vocal recitals at Steinway Hall, from
May 23, 1887. His songs have had great
vogue (Is it loo late?, Sleeping Tide, AU for
thee, This heart of mine, Douglas Gordon, etc.).
KelTner, Ernst August, born Windsor,
England, Jan. 26, 1792; d. London, July 18,
1839. Began the study of the pf. at 2 years
of age; at 5 he played a Handel concerto
before the court. His voice, too, was care-
fully trained by W. Parsons, and in Italy by
Nozzari, Casella and Crescentini at Naples
in 1815. Returning to England in 1820, he
was very successful both as pianist and bari-
tone vocalist, and made a concert-tour with
the Catalani. In 1824 he sang at Venice in
Rossini's Most. His success as a player and
singer in Petrograd (1828) and Paris (1833)
was phenomenal. In 1834 he became org. of
the Bavarian Chapel in London. — A biogr.
sketch by Richard Cull: Case of Precocious
Musical Talent . . ., was publ. at London, 1839.
KelTner, Georg Ghristoph, litterateur
and teacher at Mannheim, where he died
Sept., 1808.— Works: Ober die Characteristih
der Tonarten (Breslau, 1790); Ideen zu einer
neuen . Theorie der schonen Kunste uberhaupt
und der Tonkunst insbesondere (in Egger's
'Deutsches Magazin' for August, 1800); a
Neue Clavierschule fur Anf anger; organ-
pieces, and songs.
Kellogg, Clara Louise, dramatic soprano;
b. Sumterville, S. C, in July, 1842; d. New
Hartford, Conn., May 13, 1916. Received
her vocal training in New York from 1856,
and made her debut at the Academy of Music
there as Giida in Rigoletto (1861), and sang
there ten or twelve nights. Her London debut
at Her Majesty's Th. (Nov. 2, 1867), as Mar-
gherita in Faust, was so successful that she
sang regularly, and was reengaged for the
next season. After tours in the United States,
1868-72, she appeared at Drury Lane (Linda)',
sang in Italian opera in the U. S. till 1874;
then organized an English opera-company,
extending her supervision to the translations
of the libretti, the stage-settings, and the
training of the soloists and chorus. She her-
self sang 125 nights in the winter of 1874-5.
After that time she divided her time between
Europe and America. She had a repertory
of about 40 rdles. In 1887 she married her
457
KELLY— KERLL
impresario, Karl Strakosch, and retired from
the stage. Her Memoirs of an American
Prima Donna were published in 1913.
Kelly, Rev. Felix Joseph, b. Dayton, O.,
Au^. 1, 1876. From 1890-3, pupil at Cincin-
nati Coll. of Music of B. Guckenberger (pf.)(
W. S. Sterling (org.) and V. Gorno (voice);
1896-8, at Scharwenka Cons., Berlin, receiv-
ing degree of Mus. Doc. Since 1913, prof, of
Ecclesiastical Music in the Catholic Univ. of
America, Washington, D. C, and conductor
of the Univ. orch.; also official organist of
the Knights of Columbus (since 1911). F. R.
C. O. (London, 1913) and Doc. of Gregorian
Chant (Rome, 1914). Has in MS. a sonata
in D; Scherzo in C; Fugue in A; 4 rondos;
Salve Regina, O Salutaris, and other motets.
Kelly, Michael, Irish singer and composer;
b. Dublin, 1762; d. Margate, Oct. 9, 1826.
He studied singing under Rauzzini, and in
Naples (1779) under Fenaroli and Aprile.
He now sang in Palermo, Leghorn, Florence,
Bologna, and Venice. Visiting Vienna, he was
engaged at the court opera for 4 years, be-
coming the friend of Mozart, and taking the
rdle of Basilio on the production of Ftgaro.
In 1787 he appeared in the part of Lionel at
Drury Lane, and sang leading tenor roles
there until his retirement. In 1789 his com-
poser's d£but was made with False A ppearances
and Fashionable Friends; up to 1820 he wrote
the music for 62 stage-pieces, also many
songs. He had a music-shop from 1802-11,
failed, and went into the wine trade; it was
Sheridan who said, anent the quality of his
works and wines, that he was "a composer
of wines *nd an importer of music.'.' — His
Reminiscences (1826) are replete with amus-
ing musical anecdotes. — See Q.-Lex.
Kemp, Joseph, b. Exeter, England, in
1778; d. London, May 22, 1824. Pupil of
W. Jackson; organist of Bristol cathedral,
1802; Mus. Bac, Cantab., 1808; Mus. Doc.,
1809, thereafter teaching in London. As one
of the earliest promoters of mus. instruction
by classes, he publ. a pamphlet on a New
System of Musical Education (1819). He com-
posed psalms, anthems, double chants, duets,
songs; an 'occasional piece,' The Jubilee
(1809); a melodrama, The Siege of Isca [Exe-
ter] (1810); Musical Illustrations of the Beau-
ties of Shakespeare; do. of The Lady of the
Lake, etc.
Kemp, Robert, better known as 'Father
Kemp,' the originator and conductor of the
'Old Folks' Concerts,' commencing in 1854;
b. Wellfleet, Mass., June 6, 1820; d. Boston,
May 14, 1897. His book, Father Kemp and
Hts Old Folks, etc. (Boston, 1868), contains
his autobiography. His regular business was
that of a shoe-dealerat 261 Hanover St., Boston.
Kemp'ter, Karl, b. Limbach, Bavaria,
Jan. 17, 1819; d. March 11, 1871, as Ka-
pellm. at Augsburg cathedral.— -Church-
music: 4 oratorios, numerous masses and
graduals. Also published Der Landchor-
regent, a collection for use in small churches.
Kemp'ter, Lothar, b. Lauingen, Bavaria,
Feb. 5, 1844. Was taught at first by his
father, Friedrich K. (music-teacher in the
Lauingen Seminary); studied at Munich
Univ., and in 1868 entered the Royal Music-
School there (Rheinberger); 1869-71, chorus-
master at the court theatre; 1871—4, 2d
Kapellm. and chorus-director at Strassburg;
since 1874, chief Kapellm. at the Zurich City
Th., and since 1886, prof, of musical theory
in the Zurich Music-School. From 1879-95
he also cond. the popular concerts in the
Tonhalle.' Made Dr. phil. (hon. c.) in 1911
by Zurich Univ. — Works: A score of songs,
and 10 male choruses; an Albumblatt for vln.
and pf.; marches, and over 40 fantasias for
orch. with solo instrs.; and the operas Das
Fest der Jugend (Zurich, 1895; very succ.)
and Die Sansculottes (ib., 1900).
Kenn, P., German horn-virtuoso; went to
Paris, 1782, and was 2d horn at the Opera
in 1783. When the band of the National
Guard was organized in 1791, K. joined it;
and became prof, in the Cons, in 1795, but
was dismissed on the reduction of the staff
of feachers in 1802, and was succeeded by his
pupil Dauprat (1808) in the Opera orch., re-
tiring on pension. — Published 36 trios for 3
horns; 12 duos for clarinet and horn; and
duos and airs for 2 horns.
Kent, James, b. Winchester, England,
March 13, 1700; d. there May 6, 1776.
Chorister in Winch, cath. under Richardson,
and in the Chapel Royal under Croft; org. of
Trinity Coll., Cambridge, 1731-7, then till
1774 of Winch, cath. A new 2- volume ed. of
'Kent's Anthems' was published in London,
1844; he also composed services in C and D.
Kepler, Johannes, the illustrious astrono-
mer; b. Weil, Wurttemberg, Dec. 27, 1571 ; d.
Ratisbon, Nov. 15, 1630; elucidates the de-
tails of musical science, from a philosophical
standpoint, in Books 3 and 5 of his Har-
monices mundi.
Kerll (or Kerl, Kherl, Gherl), Johann
Caspar, b. on Apr. 9, 1627, at Adorf, Saxony;
d. Munich, Feb. 13, 1693. One of the earliest
important German masters of the organ, he
studied in Vienna under Valentini, and about
1645 was sent by Ferdinand III to Carissimi
and Frescobaldi in Rome. From 1656-74,
court Kapellm. at Munich, resigning because
of the intrigues of the Italian singers. He
then went to Vienna, where he was organist
at St. Stephen's cath. from 1677-84, and also
court organist. In 1684 he returned to Mu-
458
KERNOCHAN— KEURVELS
nich. He wrote preludes, interludes and post-
ludes for organ; toccatas and suites for harp-
sichord; a number of masses; several Kyries
and Glorias for voices and various instru-
ments; a Requiem a 5; sacred concertos; etc.
A selection from his works was publ. by A.
Sandberger in vol. ii, 2, of the 'Dkm. der
Tonkunst in Bayern.' — See Q.-Lex.
Kernochan, Marshall Rutgers, b. New
York, Dec. 14, 1880. Pupil there of U. Bdh-
ler (pf.) and H. H. Wetzler (theory), 1899-
1905; of I. Knorr (theory) in Frankfort,
1905; and of P. Goetschius at the Inst, of
Musical Art in N. Y., 1907-10; living in
Pittsfield, Mass., as a composer.— Works:
Op. 7, Fresh Spring, 3- part ch. for female
voices; op. 8, The Foolish Virgins, cantata
for bar. solo, female ch. and orch.; op. 10,
The Sleep of Summer, for female ch. and orch.;
op. 11, The Legend of the First Cam-u-el, for
male ch. and orch.; songs (op. 1-6, 9).
Res, Willem, violinist, composer and con-
ductor; b. Dordrecht, Holland, Feb. 16, 1856.
Pupil of Nothdurft, Tyssens, and Ferd. B&hm;
then (1871) of David in Leipzig Cons., and
afterwards, with stipend from the King of
Holland, of Wieniawski (Brussels Cons.) and
Joachim (Berlin). In 1876 he became leader
of the Park Orch. and Felix Mentis Society
at Amsterdam; conductor of the 'Society'
concerts at Dordrecht for several years; in
1883, became conductor of the 'Parkschouw-
burg' Concerts at Amsterdam, then lived a
while in Dordrecht, and in 1888 assumed the
conductorship of the 'Concertgebouw* Con-
certs at Amsterdam. In 1896 he succeeded
G. Henschel as cond. of the Glasgow orch.;
and in 1898 was chosen cond. of the Moscow
Philh. Concerts, and Director of the Moscow
Cons, for 3 years. (His place in Amsterdam
was taken by W. Mengelberg.) In 1904 he
resigned his positions in Moscow and went to
Dresden; since 1905 dir. of the Cons, and
cond. of the chorus of the 'Musikinstitut' at
Koblenz; Gen. Musikdirektor and Prof. He
has composed Der' Toucher, ballade for soli,
ch. and orch.; several overtures; a symphony;
a sonata for vln. and pf.; pf. -pieces; songs;
has also orchestrated Schumann's £tudes
Symphoniques.
Kes'sel, Franz, in 1889 Kapellm. of the
theatre at Freiburg- in-t he- Breisgau, produced
a symphony in F in 1889, and in 1895, at
Trier, a successful 3-act opera, DieSckwes tern.
Kessler, Ferdinand, b. Frankfort-on-
Main, Jan., 1793; d. there Oct. 28, 1856. Vio-
linist and teacher; pupil of his father and Voll-
weiler. Publ. some sonatas, rondos, etc. , for pf .
Fr. Wiillner was one of his pupils in theory.
Kessler, Frledrich, preacher at Werdohl,
Westphalia, from 1819, later diocesan at Lii-
denscneid, was an active propagandist of
Natorp's figure-notation, published a Choral-
buch (Essen, 1829; 2d ed. 1836) in the same,
and also Der musikalische Gottesdienst: tin
Wort fur . . . Organisten und Prediger (Iser-
lohn, 1832), Kurze und fassliche Andeutungen
einiger Mangel des Kirchen-Gesanges (1832),
and Das Gesangbuch von seiner musikalischen
Sciie betrachtet (1838).
Kessler {rede K5tzler), Joseph Chris-
toph, b. Augsburg, Aug. 26, 1800; d. Vienna,
Jan. 14, 1872. Excellent pianist and teacher;
comp. of valuable pf. -etudes (op. 20 and 51).
Pupil, 1807-10, of the organist Bilek at Felds-
berg; otherwise self-taught. Teacher, 1820-6,
in the family of Count Potocki at Lemberg
and Landshut; then lived three years in Vi-
enna, one year in Warsaw, 1 830-5 in Breslau,
then 20 years in Lemberg, and from 1855 in
Vienna. Moscheles and others have utilized
K.'s etudes in their methods; technically they
are more advanced than Czerny's Schule des
Virtuosen; musically they are ingenious, but
rather dry. Liszt commended them. His
variations, preludes, nocturnes, etc., are of
minor importance; the best are Bliithen und
Knospen (op. 104), and op. 29, 30, 38. —
Pyllemann publ. Personliche Erinnerungen of
K. in the 'Allgemeine musikal. Zeitung,' 1872.
Ketten, Henri, talented pianist, pupil of
Marmontel and Halevy in Paris; b. Baja,
Hungary, March 25, 1848; d. Paris, April 1,
1883. rf.-pieces of a light and graceful de-
scription (Chasse au papulon, op. 10; Romance
sans paroles; TranquiUite; Melancolie); etc.
Kettenus [kSht-nusI, Aloys, Belgian
violinist and able teacher; b. Venders, Feb.
22, 1823; d. London, Oct. 3, 1896. Studied at
Liege Cons., also in Germany; in 1845, leader
of the Mannheim orch.; from 1855, member
of the Halle Orch. in London, and of the
Royal Italian Orch. — Works: An opera, Stella
Monti (Brussels, 1862; mod. succ); a vln.-
concerto; a concertino for 4 vlns. with orch.;
a duet for vln. and pf.; etc.
Ketterer, Eugene, pianist; born Rouen,
1831; d. Paris, Dec. 18, 1870. A pupil in the
Paris Cons., he publ. 290 pf.-pieces in draw-
ing-room style, many of which became
popular (op. 7, Grand caprice hongrois; op.
21, V Argentine; op. 90, La Chdtelaine; op.
101, Gaetana; op. 102, Rondo oriental).
Keurvels IkdrVels], Edward H. J., cond.
and dram, composer; b. Antwerp, 1853. Pupil
of Benoit; till 1882, chorusmaster at the
Royal Th., since then conductor at the Na-
tional Flemish Th., Antwerp, where he has
brought out Benoit 's Pacificatie van Gent and
Charlotte Corday, Waelput's Stella, Beetho-
ven's Fidelio, and like works. — Operas: Pa-
risina, Hamlet, Rolla; also operettas, can-
tatas, a mass with organ, ballads, songs, etc.
459
KEUSSLER— KIENLE
KeuMler [kots'-], Gerhard von, b. Schwa-
nenburg, Livonia, July 6, 1874. Abandoning
a scientific career, he began the study of
music in 1900 at the Cons, and the Univ. in
Leipzig, receiving the degree of Dr. phii. for
his thesis Die Utenzen der Asthetik (1902);
now (1916) living in Prague as cond. of the
'Deutscher Singverein' and the symph. con-
certs of the 'MusikerverbanoV — Works: The
opera Gefdngnisse (Prague, 1914); the symph.
poems Der Einsiedler, Morgenldndische Phan-
tasie, Auferstehung und JUngstes Gericht; and
the oratorios Vor der hohen Stadt and Der Tod.
Kewitsch [Kiewics] [ka'vitch], (Karl)
Theodor, b. Posilge, W. Prussia, Feb. 3,
1834; d. Berlin, July 18, 1903. Pupil of his
father, an organist, and of W. Maslon at
Peplin. For 3 years, oboist in the 21st Regt.
band; then was teacher and organist in va-
rious towns; from 1866-87 teacher, and
1881-5 'Direktoriatsverwalter', in the Mu-
sic-teachers' Seminary at Berent. Pensioned
in 1887, went to Berlin, edited the 'Musik-
korps,' 1891-2; 1893-7, editor of the "Han-
nover'sche Musikzeitung'; after that ed. of
| Deutsche Militarmusiker-Zeitung', also writ-
ing for other musical papers. He publ. a
Vade-mecum for organists, and much church-
music (chiefly Polish), 4-part songs for mixed
and male ch., pf. -pieces, etc.; also wrote Ver-
mdchtnis an die deutschen Militdrmusikmeister
(1901).
Kldaon, Frank, b. Leeds, Nov. 15, 1855.
Originally a landscape-painter, he became in-
terested in historical studies and began to
collect English, Scottish and Irish folk songs
and dances, and subsequently founded the
Folk-song Society; contributed to the 2d ed.
of Grove s Dictionary. Has publ. Old English
Country-dances (1889); Traditional Tunes , a
Collection of Ballad-airs (1890); British Mu-
sic-publishers (1900); several essays in 'The
Mus. Antiquary' (1910-12). With A. Moffat
he ed. The Minstrelsy of England; Songs of the
Georgian Period; British Nursery Rhymes; etc.
Klefer fke'-], Hetnrich, distinguished
'cellist; b. Nuremberg, Feb. 16, 1867. Studied
at the Cons, in Munich (1883), Stuttgart
(1884-7) and Frankfort (1887-90, pupil of
Cossmann); 1896, solo 'cellist of the Philh.
Orch. in Leipzig; 1898, do. of the Philh. Orch.
in Berlin, and prof, at Stern's Cons. (1900-1);
since 1902 living in Munich as concert-'cellist
and member of the 'Miinchener Streichquar-
tett' (with Vollnhals, Kiiian and Knauer);
has made successful tours of Europe.
Kiel [kel], Friedrich, eminent composer;
b. Puderbach, near Siegen (Rh. Prussia), Oct.
7, 1821; d. Berlin, Sept. 14, 1885. Taught the
elements of music by his father, the village
schoolmaster, he was a self-taught pianist and
composer; dance-music and variations written
1832-4 attracted the attention of Prince
Karl von Wittgenstein, who himself eave K.
violin-lessons in 1835, and took him into his
orchestra. After studying theory under Kas-
par Kummer at Koburg, 1838-9, he became,
in 1840, leader of the ducal orch., and teacher
to the Duke's children. From 1837-42 he
brought out a cantata, 2 overtures, several
variations and fantasias for pf., violin and
oboe, with orch., 4 sonatas for pf., etc. Re-
ceiving a stipend from King Friedrich Wil-
helm IV. he studied, 1842-4, under Dehn at
Berlin, where he thenceforth resided. His
first published works (op. 1, 15 canons, and
op. 2, 6 fugues) appeared in 1850. He gradu-
ally, though steadily, won general recognition
as a composer, though even as late as 1859
and '61 he had to arrange private concerts to
get a hearing for his works; but his fame was
assured in 1862, when the Stern Gesangver-
ein brought out his Requiem (op. 20; com-
posed 1859-60), enthusiastically received in
the chief musical centres. In 1865 he was
made a member, in 1870 senator, of the
Academy of Fine Arts. Up to 1866 he gavt
private lessons in piano- playing; he then
taught composition in Stern's Cons, until
1870, when he was app. teacher of comp. at
the Hochschule far Musik (in 1868 he had
received the title of 'Royal Professor'). As a
teacher he was extremely successful. His
compositions are not strikingly original, but
are noteworthy principally as presenting some
of the finest exemplars of the 'classic' ten-
dency produced in the last half -century. —
Works: 2 Requiems for soli, ch. and orch.
(op. 20 and 80) ; a Missa solemnis for do., op.
40 (comp.. 1865); an oratorio, Christus, op. 60
(comp. 1870-1, perf. 1874); a Stabat Mater
and the 130th Psalm, both for female ch.,
soli and orch.; a Te Deum for mixed ch. and
orch. (1866); Zwei Gesdnge for ditto; 2 Motets
for female ch., soli and pf., op. 32; 6 Motets
for mixed ch.; 4 Marches for orch.; a pf. -con-
certo; a sonata for 'cello, op. 52; do. for viola,
op. 67; 2 string-quintets, op. 75, 76; 3 string-
quartets, op. 43, 44, 50; 2 sets of Waltzes for
string-quartet, op. 73, 78; 7 trios, op. 3, 22,
24, 33, 34, 65 (the last containing 2 numbers) ; 4
vln. -sonatas; many pf.- works; songs. He publ.
83 works with opus-number.— Sketches of K.
were written by Saran ('Allgem. Musikzei-
tung,' 1862); Bungert ('Neue Zeitschrift fur
Musik,' 1875); Gumprecht (Westermann's
;Monatshefte,' 1886); W. Altmann ('Musik,'
i, 1; with complete catalogue of K.'s works).
Kiene\ See Bigot.
Kienle [kenlS], Ambroslus, an authority
on Gregorian chant; b. Siegmaringen, May 8,
1852; a. in the monastery at Beuron, June 18,
1905. In 1873 he entered the Benedictine
monastery at Beuron, Hohenzollern. — PubL
460
KIENZL— KILBURN
Choralschule (1884; 3d ed. 1899), Kleines
kirchenmusikalisches Handbuch (1892), Mass
und Milde in kirchenmusikalischen Dingen
(1901), and essays in periodicals; also Der
fregorianische Choral (1881; a translation of
'othter's Les melodies grSgoriennes).
Klenzl [ken'tsll, Wilhelm, born Waizen-
kirchen, Upper Austria, Jan. 17, 1857. As a
student at Graz Gymnasium, his music-
teachers were Buwa and Ignaz Uhl; later
W. A. Remy (comp.) and Mortier de Fon-
taine (pf.). while studying in Prague Univ.,
1875-6, he was also a music-pupil of Jos.
Krej£i; studied further in Leipzig, and under
Liszt at Weimar; and in 1879 took the degree
of Dr. pkil. at Vienna with the dissertation
Die musikalische Declamation . . . (publ. Leip-
zig, 1880). A second work, MisceUen (Leip-
zig, 1885), treating of impressions received m
Bayreuth, 1879, created a stir by its bold
criticism. During 1880 he lectured on music
at Munich; in 1881-2 he made a pianistic tour
with Aglaja Orgeni and R. Sahla to 80 towns
in Hungary, Rumania, and North and South
Germany; in 1883-4 he was chief Kapellm.
of the German opera in Amsterdam; then
served in a like capacity at Crefeld, and in *
1886 married the concert-singer Lili Hoke;
1886-90, artistic director of the Styrian Mu-
sikverein at Graz, also conducting the sym-
phony concerts and directing the provincial
vocal and instrumental schools; 1890-2, 1st
Kapellm. at the Hamburg .opera; 1892-3,
Hofkapellm. at Munich; since then living at
Graz, wholly devoted to composition. K. is
one of the best known 'among contemporary
dramatic composers. His first opera, Urvasi,
in 3 acts (Dresden, Feb. 20, 1886 [rewritten
1909]), was well received; the 3-act opera
Heilmar, der Narr (Munich, March 8, 1892),
was very successful; the third opera, Der
Evangelimann, called a 'musikalisches Schau-
spiel, in 2 acts (Court Opera, Berlin, May 4,
1895), has had tremendous success in Ger-
many, and appeared up to 1900 on over 130
stages in Austria, Germany, Holland, Hun-
gary, Croatia, Switzerland, England, etc.
Then followed Don Quichote, a 'musical tragi-
comedy1 (Berlin, 1898); Knecht Rupprechts
Werkstatt, a 'Marchenspier (Graz, 1907);
Der Kuhreigen [Rant des Vaches] (Vienna,
191 1 ; Chicago and N.Y., 1913). A new opera,
Testament, was completed in 1916. K. finished
Ad. Jensen's opera Turandot, and edited Mo-
zart's Titus. His original published comps.
comprise about 90 songs; much light pf.-
music; music to the melodrama (Romance)
Die Brautfahrt; 3 Phantasiestucke for pf. and
vln. (op. 7); pf.-trio in F m. (op. 13); string-
quartet in Bb m. (op. 22); choral music; etc.
— Edited Brendel's Grundzuge der Geschichte
der Musik (Leipzig, 1886); also Brendel's
Geschichte der Musik in Italien, Deutschland
und Frankreich (7th ed., Leipzig, 1889). Also
wrote R. Wagner (1904; 7th ed. 1908); A us
Kunst und Leben (1904); Im Konzert (1908);
Betrachtungen und Erinnerunten (1909). —
Cf. M. Morold, W. K.t in 'Monographien
moderner Musiker' (vol. iii, Leipzig, 1909).
Klesewetter [ke'-]» Raphael Georft, Edler
▼on Wletenbrunn, distinguished writer on
music; b. Holleschau, Moravia, Aug. 29, 1773;
d. Baden, near Vienna{ Jan. 1, 1850. An ex-
cellent amateur musician, he studied for an
official career under the Austrian government,
becoming attached to the Imp. Ministry of
War, and travelling in various countries until
1801, when he settled in Vienna. His passion
for music still unabated, he studied counter-
point under Albrechtsberger in 1803, and
later with Hartmann. He was an indefati-
gable collector of old musical MSS., hence his
later love for historical research, which be-
came his life-work. He was elected a member,
or honorary member, of numerous musical
and scientific societies, and was ennobled a
few years before his retirement in 1845. A.
W. Ambros was his nephew. — Works: Die
Verdienste der Niederldnaer urn die Tonkunst
. . . (took prize of the Netherland Academy in
1826; Dutch transl. 1829); Geschichte der eu-
ropdisch-abendldndischen oder unsrer heutigen
Musik (Leipzig, 1834; 2d ed. 1846; English
transl. by R. Muller, 1846) ; Ober die Musik
der neuern Griechent nebst freien Gedanken
Uber altdgyptische und altgriechische Musik
(1838); Guido von Aretzo, sein Leben und
Wirken (1840); Schicksale und Beschaffenheit
des weUHchen Gesangs vom fruhenMittelalter
bis sur Erfindung des dramatischen Styles und
den Anfdngen der Oper (1841); Die Musik der
Araber nach Originalquellen (1842); Der neuen
Aristoxener serstreute Aufsdtse (1846); Ober
die Octave des Pythagoras (1848); Galerie alter
Contrapunctisten (1847; a catalogue of his old
scores, bequeathed to the Vienna Library);
many essays in the Leipzig 'AH gem. musika-
lische Zeitung,' on Gregorian notation, on
tablatures, on Franko of Cologne, etc. He
was supervising editor of Kandler's 'Life of
Falestnna' (1834). He left in MS. several
theoretical works.
Kllbura, Nicholas, b. Bishop Auckland,
Durham, Feb. 7, 1843. Conductor of the
Mus. Soc. there (since 1875), of the Mus.
Union of Middlesborough (since 1882), and
of the Philh. Soc. of Sunderland (since 1885);
still filling these posts to-day (1916); Mus.
Baa, Cambridge, 1880. — Works: An oratorio,
St. Thomas; Psalms 23 and 137 for soli, ch.
and orch.; the cantatas By the Waters of Bab-
ylon and The Golden River for do. ; Silver Star,
cantata for soprano and alto soli and 2 -part
female ch.; an orchl. suite; an overture; Duo-
logue for vln. and pf.; several services; cho-
461
KIMBALL— KIPPER
ruses; pf. -pieces. Also publ. Notes and No-
tions on Music; How to Manage a Choral So-
ciety; Wagner, a Sketch; Parsifal and Bay-
reuth; The Story of Chamber music (1904).
Kimball, Josiah, born Topsfield, Mass.,
Feb., 1761; d. in the local almshouse, Feb.
26, 1826. He gave up the law to become a
music-teacher, and taught in several New
England towns, trying to introduce his col-
lection of mostly original tunes, Rural Har-
mony (1793). His compe. were simple psalm-
tunes and 'fuguing pieces.1
Kin'der, Ralph, organist; b. Stalybridge,
near Manchester, England, Jan. 2/, 1876;
lived from 1881 in Bristol, R. L, where he
was a chorister in Trinity Ch., and from 1888,
organist; he studied pf., organ and theory a
year with the choirmaster, Rev. W. R. Trot-
ter; then studied with Macdougal till 1897,
finally one year in London with Drs. Pearce
and Turpin, and organ with E. H. Lemare.
On Sept. 1, 1898, app. organist and choirm.
of Grace Ch., Providence; since 1899 at $he
Ch. of the Holy Trinity, Philadelphia; also
director of his own organ-school. As a con-
cert-organist he has appeared in most States
of the Union. Conductor of the Church
Choral Soc. in Philadelphia, and choral soci-
eties in Norristown, Pa., and Collingswood,
N. T. — Works: About 30 in number (services,
anthems, songs, organ-music, pf. -pieces).
Kln'dermann, August, b. Potsdam, Feb.
6, 1817; d. Munich, March 6, 1891. Baritone
stage- singer; at 16, chorus-singer in the Berlin
opera, also taking small soli; 1839-46, at Leip-
zig; later, until his retirement in 1886, a prime
favorite at the M unich court opera. — Father of
Kln'dermann, Hedwig. See Reicher-
KlNDERMANN.
King, Julie. See Rive-King.
King, Matthew Peter, b. London, 1773;
d. there Jan., 1823. Composed 10 or 12 Engl,
operas for the Lyceum Th.; an oratorio, Tne
Intercession; a quintet for pf., flute and
strings; pf. -sonatas and rondos; also publ. A
General Treatise on Music . . . (London,
1800), and an Introduction to sight-singing
(1806).— See Q.-Lex.
King, Oliver A., pianist; born London,
1855. Articled pupil of J. Barnby; studied
pf. with W. H. Holmes, and under Reinecke
at Leipzig Cons., 1874-7. Pianist to H. R. H.
the Princess Louise, 1879; in Canada, 1880-3,
giving recitals and visiting New York. Since
1893 prof, of pf. at the R. A. M.— Works: 3
cantatas, The Romance of the Roses, Proser-
pina, and The Naiades; the 137th Psalm for
soli, ch. and orch. (Chester Festival, 1888);
church -music; a symphony, Night; 2 concert-
overtures; pf. -concerto; vln. -concerto in G m.;
pieces f. vln. and pf., f. pf. solo, and f. organ.
Kingston, William Beatty, b. London,
1837, d. there in Sept., 1900. He was in the
Public Record Office in 1852; in 1856, at-
tached to the Austrian consular service. Spe-
cial correspondent of various papers; extended
•travels in Europe. — Works: Music and Man-
ners (London, 1887, 2 vols.; his chief work);
Wanderer's Notes (1888, 2 vols.); the English
book of the Bettelstudent (London production
by Rosa, 1884); etc.
Klnk'el, Johanna (nie Mockel, div. Mat-
thieux), wife of the poet; b. Bonn, July 8,
1810; d. London, Nov. 15, 1858. Studied
music in Berlin with Karl Btthmer, and was
married in 1843 to Gottfried Kinkel. — Works:
A cantata, Die Vogel-Cantate; operetta OUo
der Schiitz (1850?); Achl Briefe an eim
Freundin uber Clavierunlerricht (1852).
Kinkeldey, Otto, b. New York, Nov. 27,
1878. Graduated from the College of the Citv
of N. Y. in 1898 (A.B.); N. Y. Univ., 1900
(A. M.); pupil of E. MacDowell at Columbia
Univ., 1900-2; of Radecke, Egidi and Thid
at the 'Akad. Inst, fur Kirchenmusik,' Berlin,
1902-3; st. musicology at Berlin Univ. under
Fleischer, Friedlander, Kretzschmar and J.
Wolf, 1902-6; Ph. D., Univ. of Berlin, 1909;
made R. Prof, in 1910. Org. and choirm. at
Chapel of the Ascension, N. Y, 1898-1902;
organist and mus.-dir. of American Church
in Berlin, 1903-5; from 1909-U, instructor in
organ and theory, lecturer on musicology and
Univ. mus.-dir. at Breslau Univ.; since March
1, 1915, Chief of Mus. Division of the K \.
Public Library, and org. and choirm. ol Aft
Souls' Ch., Brooklyn. Has publ. Orgel und
Klovier in der Musik des 16. Jahrhunderts
(Leipzig, 1910), and edited Erlebach^s Hor-
montsche Freude musikalischer Freunde in vols.
46 and 47 of 'Dkm. deutscher Tonk.' (1914).
Klnaky, Georg, b. Marienwerder, West
Prussia, Sept. 29, 1882. Self-taught in music;
after working under Kopfermann for some
months at the R. Library in Berlin, he was
app. in 1909 curator of the private museum
of W. Heyer (q. v.) in Cologne. He is pub-
lishing a very valuable illustrated catalogue
of the collections: Vol. i, Keyed instruments
(1910); vol. ii, Stringed instruments (1912);
vol. iii will treat of wind and percussion in-
struments, and vol. iv of MSS. He has publ. a
condensed Handkatalog containing valuable
historical notes (1913).
Kip'per, Hermann, b. Koblenz, Aug. 27,
1826; d. Cologne, Oct. 25, 1910. Pupil of
Anschutz and H. Dorn. Music-teacher and
critic at Cologne. — Comic operettas (written
for male choral societies): Der Quacksalber,
oder Doctor Sdgebein und sein Famulus; In-
cognito, oder Der Furst wider Willen; Kellner
und Lord; Der Haifisch; etc.
462
KIRCHER— KIRKMAN
Kir'cher [kfr'yher], Athanaaius, famous
Jesuit archaeologist; b. Geisa (Buchow?), n.
Fulda, May 2, 1602; d. Rome, Nov. 28,
1680. He was prof, at Wurzburg, 1633-7 at
Avignon; lived thereafter in Rome. His
Oedipus aegyptiacus . . . contains a curious
chapter on hieroglyphic music; in his treatise
De arte magnetica are given airs then popu-
larly regarded as a cure for tarantism; in
fact, all his musical works exhibit a unique
blending of real scientific thought with
childish credulity. — See Q.-Lex.
Kirchl, Adolf, b. Vienna, Tune 16, 1858;
is choirmaster of the Viennese 'Schubertbund,'
and a comp. of songs f. male voices.
Kirch'ner, Fritz, b. Potsdam, Nov. 3,
1840; d. there May 14, 1907. Pianist; pupil
of Th. Kullak (pf .), and of Wiierst and Seyffert
(theory), at Kullak's Acad.; taught there
from 1864-89, when it was dissolved, and
K. became teacher in the 'Madchenheim'
school at Berlin. — Works: Educational pieces
and other pf.-music (Ball-Scenes; 24 Preludes) ;
also songs.
Kirch'ner, Hermann, comp. and tenor
concert-singer; b. Wdlfis. Thuringia, Jan. 23,
1861. Having resigned his position as a
school-teacher in Onrdruf, he was a pupil
of the Kgl. Hochsctiule in Berlin from 1886-9;
until 1893 as a concert-singer in Berlin; then
cond. of choral societies in Mediasch and
Hermannstadt; 1906, prof, at the Cons, and
cond. of the 'LiedertateP in Bucharest; since
1910 in Ratibor, Silesia; also cond. of the
'Philharmonic* in Beuthen. Has written
choruses and songs, and the operas Der Herr
der Hann (Mediasch, 1899), Suphania (Her-
mannstadt, 1902), Viola (ib., 1904).
Kirch'ner, Theodor, a distinguished De-
composer; b. Neukirchen, near Chemnitz,
Saxony, Dec. 10, 1823; d. Hamburg, Sept.
18, 1903. From 1838-42, by Mendelssohn's
advice, he studied in Leipzig under J. Knorr
(pf.) and K. F. Becker (org. and theory); in
the summer of 1842, with Joh. Schneider at
Dresden; six months in the Leipzig Cons.,
and then, 1843-62, was organist at Winter-
thur. 1862-72, teacher in the Zurich Music-
School, and conductor; lived a year at Meinin-
gen as music- master to Princess Maria; was
director of Wurzburg Conservatory 1873-5;
lived in Leipzig till 1883; then in Dresden,
and finally went to Hamburg in 1890. Both
Mendelssohn and Schumann were warm
friends of K., and aided him by advice.
Besides songs, song-transcriptions f. pf.,
piano-duets (A lie Sekannte in neuem Ge-
wande), etc., K. published some 90 original
pf. -works; the most popular are op. 2, ten
pieces; op. 5, Gruss an meine Freunde; op. 7,
nine Album-leaves; op. 8, Scherzo; op. 9,
Preludes (2 books); op. 11, Skizzen (3 books);
op. 12, Adagio quasi fantasia; op. 13, Lieder
ohne Worte; op. 14, Phanlasiestucke (3 books);
op. 16, Kleine Lust- und Trauersbiele; op. 17,
Neue Davidsbundlertdnze; op. 18, Legenden; op.
19, 10 pieces (transcrs. of his own songs) ; op.
21, AquareUen; op. 22, Romansen (2 books);
op. 23, Waltzes (2 books); op. 25, NachtbUder
(2 books); op. 26, Album; op. 27, Caprices (2
books); op. 28, Nocturnes; op. 29, A us
meinem Sktaenbuch (2 books) ; op. 30, Studien
und Stucke (4 books); op. 36, Phantosien
am Klavier (2 books); op. 37, four Elegies;
op. 38, twelve Studies; op. 39, Dorfgeschich-
ten; op. 41, Verwehte Blatter; op. 43, four
Polonaises; op. 46, 30 Kinder- und KUnst-
lertdnze; op. 48, Humoresken; op. 49, New
Album-leaves; op. 52, Ein neues Klavier-
buck (3 parts) ; op. 53, Florestan und Eusebius;
op. 54, Scherzo; op. 55, Neue Kinder scenen;
op. 56, In stillen Stunden; op. 65, sixty Pre-
ludes; op. 70, five Sonatinas; op. 71, 100
short Studies; op. 73, Romantische Geschichten
(4 books) ; op. 80, nine Album-leaves; Lieb-
linge der Jugend are 30 little etudes without
opus-number. Also Kinder-Trios f. pf., vln.
and 'cello (op. 58); pf. -quartet (op. 84); a
string-quartet (op. 20); a Serenade f. pf., vln.
and cello (op. 15, in B); 8 pieces f. pf. and
'cello (op. 79); etc.— Cf. A. Niggli, Th. K.
(Leipzig, 1880).
Kirkby-Lunn, Louise, distinguished dra-
matic contralto; b. Manchester, Nov. 8, 1873.
She received her first instruction from Dr.
Greenwood; in 1893 she won a scholarship
at the R. C. M., where she completed her
studies under Albert Visetti; while still a
gupil there she appeared at Drury Lane, in
chumann's Genoveva and DelibeV Le Roi
Va dit; d&but as Nora in Stanford's Shamus
O'Brien at the Opera-Comique in London
(1896); after a tour with Sir A. Harris' com-
Siny, she was a member of the Car! Rosa
pera Co. until 1899. In that year she
married W. J. Pearson, and retired from the
stage for two years. In 1901 she reappeared
as a member of the R. Opera, Covent Garden,
where since then she has been one of the
prime favorites. In 1902 she sang for the
first time at the M. O. H., where especially
her Ortrud and Brangane made a deep im-
pression; in 1904 she sang Kundry in Savage's
production of Parsifal in English; 1906-8,
again at M. O. H.; 1912-14 she made tours
of Australia and New Zealand. She is equally
famous as a concert-singer, having appeared
at all the great English festivals.
Kirkman, Jacob {rede Kirchmann), the
founder (before 1740) of the firm of Kirk-
man & Son, harpsichord-makers in London;
previously he had been foreman for H. Tabel,
alsb a harpsichord-maker. The firm began
making pianofortes in 1774; but turned out
463
KIRKMANN— KITCHINER
harpsichords also until the end of the cen-
tury, when Joseph K. was the head. The
founder died wealthy in 1778; he had no
children, but took his nephew, Abraham K..
into partnership. In 1896 the firm passed
under the control of the Collards.
Kirkmann, Jan, a native of Holland,
was organist of the Lutheran Ch., London,
in 1782, and died at Norwich, 1799.— Works:
Pf. -trios, organ-pieces, sonatas f. pf. and vln.,
rondos f . pf., etc.
Kirn'berger, Johann Philipp, noted
theorist; b. Saalfeld, Thuringia, April 24,
1721; d. Berlin, July 27, 1783. Pupil of J.
P. Kellner at Grafenroda, and of H. N.
Gerber at Sondershausen, then (1739) of J.
S. Bach at Leipzig. From 1741-50 he was
• music-master and conductor in various noble
Polish families, and at the Nunnery, Lem-
berg; studied the violin under Fickler in
Dresden, 1751; Joined the royal orch. at
Berlin, and in 1754 was app. Kapellm. and
teacher of composition to Princess Amalie.
His numerous compositions are unimportant;
but as a theoretical writer he was regarded
for a long time as one of the greatest authori-
ties. His failure to understand Rameau's
epoch-making discoveries seriously retarded
tne progress of musical theory. — Works: Die
Kunst des reinen Satzes in der Musik aus
sicheren Grundsdlzen hergeleitet und mil
deuilichen Beispielen versehen (2 vols.; 1774,
1779; his magnum opus); Grundsatze des
Generalbasses, als erste Linien zur Composition
(1781; often republ.); Gedanken uber die
verschiedenen Lekrarten in der Composition,
als Vorbereitung tut Fugenkenntniss (1782);
Die Construction der gletchschwebenden Tern-
peratur (1760); Der aUzeit fertige Menuetten-
und Polonaisen-Componist (1757; a kind of
mus. joke, the precursor of mus. games of
dice). Die wahren Grundsatze sum Gebrauch
der Harmonic (1773) was claimed by a pupil
of K.'s, J. A. P. Schulz, as his work.— Cf. H.
Riemann, Geschichte der Musiktheorie (Leipzig,
1898; p. 478 et seq.).— See Q.-Lex.
Kiat, Florent Gorneille [Florens Cor-
nelius], born Arnhcim, Jan. 28, 1796; d.
Utrecht, Mar. 23, 1863. In vouth an excellent
flutist and horn- player, he lived in The Hague
as a physician 1818-25; in 1821 he founded
the 'Diligentia' mus. society; gave up medi-
cine, organized and presided over several
singing-societies, and in 1841 settled in
Utrecht, editing the 'Nederlandsch muztkaal
Tijdschrift' for 3 years, and then founding
the 'Cicilia,' still the leading Dutch mus.
periodical. In Utrecht he established Ama-
teur Concerts, and the singing-society 'Duce
Apolline.' — Publ. De toestand van het proles-
tantsche kerkgesang in Nederland (1840);
Levensgeschiedenis van Orlando de Lassus
(1841); a Dutch t ran si. of Brendel's Grund-
zuge der Geschichte der Musik (1851); many
essays in his own and several German
papers; also vocal music f. 1 or more voices,
and variations f. flute.
. Klttler, Cyrill, born Gross- Aitingen, near
Augsburg, Mar. 12, 1848; d. Kissingen, Jan.
1, 1907. School-teacher from 1867-76; then
studied music at Munich under Wu liner,
Rheinberger, and Fr. Lachner (1876-80). In
1883 he was called to the Sondershausen Cons,
as teacher of theory, cpt., organ, and pf.;
from 1885 he lived in Bad Kissingen as
principal of a private music-school, and as a
music- publisher; 1884-94 he also edited the
'Musikalische Tagesfragen.' An enthusiastic
admirer of Wagner, he, like many others, un-
successfully attempted to employ the master's
form and principles. — Works: The operas
Alfred derGrosse and Lichtenstein (not perf.;
destroyed by the composer); lCunihUi
(Sondershausen, 1884); Eulensptegel (Wiirz-
burg, 1889); Arm Elslein (Schwerin, 1902);
Roslein im Hag (Elberfeld, 1903); Der Vogt
auf Muhlstein (Dusseldorf, 1904); Baldurs
Tod (ib., 1905); Die deutschen Kleinstddter
and Im Honigmond (publ., but not perf.); a
symph. poem, Hexenk&che. Besides these,
104 works (festival- and funeral-marches f.
orch.; mixed and male choruses; songs;
Phantasies; Serenades; pieces f. organ and
harmonium). He wrote a Harmonielehre
(1879; based on Wagner's innovations; 2d
augm. ed. 1903); Musikalische EUmentarlekrc
(1880); Der Gesang- und MusikunUrricki an
den Volksschulen (1881); VolksschulUhrtr-
Tonkunstlerlexikon (3d ed. 1887); Jenseiis
des Musikdramas (1888); Franz Witt (1888);
Vber Originalitdt in der Tonkunst (1894; 2d
ed. 1907); Der einfache Kontrapunkl u. die
einfache Fuge (1904); Der drei- u. mehrfacke
Kontrapunkl (1908).— Cf. A. Eccarius-Sieber,
C. K., in 'Monographien moderner Musiker'
(vol. i, Leipzig, 1906).
Klst'ner, Friedrich, b. Leipzig, Mar. 3,
1797; d. there Dec. 21, 1844. In 1831 he
took over Probst's music- publishing business,
which he carried on from 1836 under the
firm name of 'Fr. Kistner.' His son Julius
succeeded him, and in 1866 sold out to K.
F. L. Gurckhaus (1821-1884).
Kitchlner, William, wealthy physician,
amateur musician, and epicure; b. London,
1775; d. there Feb. 26, 1827.— Works: An
operetta, Love A mong the Roses, or, The Master
Key; a mus. drama, Ivanhoe, or, The Knight
Templars; glees, and songp. Also publ. Obser-
vations on Vocal Mustc (London, 1821);
The Loyal and National Songs of England
(1823); The Sea Songs of England (1823);
Amatory and Anacreontic Songs Set to Music
(n. d.); The Sea Songs of Charles Dibdin,
464
KITTEL— KLAUSER
with a Memoir of his Life and Writings (1824).
Kit'tel, Johann Christian, b. Erfurt,
Feb. 18, 1732; d. there May 18, 1809. He
was J. S. Bach's last pupil. At first organist
in Langensalza, he went in 1756 to the
Predtgerkirche in Erfurt; but, although a
famous player, his salary was wretchedly
small, and lesson-giving poorly remunerated.
When nearly 70 he was obliged to make a
concert-tour to Gottingen, Hanover, Ham-
burg and Altona, where he remained a year
(1800). In his old age a pension from Prince
Primas of Dalberg saved him from starvation.
J. C. H. Rinck was his most celebrated
pupil. His principal publ. works are Der
angehende, practische Organist, oder Anweisung
zum zweckntdssigen Gebrauch der Orgel beim
Gottesdienst (Erfurt, 1801-8, in 3 parts; 3d
ed. 1831); Neues Choralbuch fiir Schleswig-
Holstein (Altona, 1803); 6 sonatas and a
fantasia f. clavichord; Crosse Prdludien, and
2 chorals w. variations, f. organ; 24 chorals,
each with 8 figured basses; and a 4- part
Hymne an das Jahrhundert (1801). — See
Q.-Lex.
Klt'tl, Johann Friedrich, born Schloss
Worlik, Bohemia, May 8, 1806; d. Lissa,
Prov. Posen, July 20, 1868. While a law-
student he also was a music-pupil of Sawora
and Tomaschek at Prague; adopted music
as his profession in 1840, succeeded Dionys
Weber as Director of the Prague Cons, in
1843, and retired to Polnisch-Lissa in 1865.
— Operas (given in Prague): Daphnis' Grab
(1825); Bianca und Giuseppe, oder Die Fran-
zosen vor Nizza (1848; text by Richard
Wagner); Waldblume (1852); Die Bilderstur-
mer (1854); also masses, cantatas, 3 sympho-
nies, a pf. -nonet, a pf. -septet, a pf.-trio, etc.
— Cf. E. Rychnowsky, /. F. A. (2 parts.
Prague, 1904-5).
Ritzier, Otto, b. Dresden, March 16,
1834; d. Graz, Sept. 6, 1915. Pupil of Johann
Schneider, J. Otto, and Kummer ('cello),
later of Seryais and Fetis at the Brussels
Cons. 'Cellist in opera-orchs. at Strassburg
and Lyons; Kapellm. at theatres in Troves,
Linz, Konigsberg, Temesvar, Hermannstadt
and Brunn; from 1868, director of the
Brunn Mus. Society and of the Music-School,
also cond. of the Mannergesangverein. He
retired in 1898. A. Bruckner was among his
pupils. He publ. orchestral music, pf.-
pieces, songs, etc.; also Musikalische Erin-
nerungen (1904; with letters from Wagner,
Brahms and Bruckner).
KJe'rulf [yha'roolf], Half dan, Norwegian
composer; b. Christiania, Sept. 15, 1815; d.
there Aug. 11, 1868. He renounced the study
of theology for music; studied in Leipzig, and
settled in Christiania as a music-teacher.
Jenny Lind, Nilsson, and Sontag brought
his songs into vogue, and on them his repu-
tation chiefly rests; but he also publ. much
beautiful pf.-music of a strongly Scandinavian
cast (Spring Song, Shepherd's Song, Cradie-
song, Album-leaf, Elfin Dance, Capriccio,
Scherzo, Scherzino, Intermezzo, Berceuse, Ron-
dino, Polonaise, 6 Sketches, 40 Norske FoU
keviser [Norse Folk-songs], etc.). In 1874 a
monument was erected to him in Christiania.
— Cf. A. Grfinvold, H. K., in vol. i of
'Norske Musikere' (Christiania, 1883).
Klaf'aky [Lohae-Klafsky], Katharina,
dramatic soprano; b. St. Johann, Hungary,
Sept. 19, 1855; d. Hamburg, Sept. 22,
1896. She sang in church when 8; studied
with Mme. Marchesi at Vienna when 16;
sang in comic-opera chorus, then (1875) as
soloist at Salzburg, in minor parts; married
in 1876, left the stage, and went to Leipzig,
where she recommenced her theatrical career
in 1881, soon took leading r61es, succeeded
the Reicher-Kindermann in A. Neumann's
troupe, making the European tour as Sieg-
linde and Briinnhilde (Siegfried); 1883,
Bremen City Th.; 1885^ Hamburg City Th.;
sang in London in German opera. 1892,
1894; at the Munich Festival of 1694 she
sang the r61e of Isolde; created rdle of La
Navarraise, in German, at Hamburg, Jan.
2, 1895, and married Otto Lohse, the Th.-
Kapellm. there, on Jan. 31. With him, in
the Damrosch Opera Company, she made an
American tour in 1895-6.—Cf. L. Ordemann,
Aus dem Leben und Wirken von K. K. (Ha-
meln, 1903).
Klatte, Wllhelm, b. Bremen, Feb. 13,
1870. St. music in Leipzig, and then with
R. Strauss in Weimar; for some time he
held various positions as cond.; since 1897
mus. critic of the Berlin 'Lokalanzeiger'; since
1904 also teacher at Stern's Cons.; in .1909
he was elected member of the executive
comm. of the Allgem. Deutscher Musikverein.
Together with A. Seidl he wrote the first
biographical sketch of R. Strauss (1895);
has also publ. Zur Geschichte der Program-
musik (1905), Franz Schubert (1907), Auf-
gaben fiir den einfachen Kontrapunkt, and
several analyses of modern compositions.
Klau'aer, Julius, b. New York, July 5,
1854; d. Milwaukee, Apr. 23, 1907. Pupil
of his father, Karl, and Wenzel in Leipzig
Cons., 1871-4; lived at Milwaukee as a
music-teacher. Author of The Septonate and
the Centralization of the Tonal System (1890),
a modern manual of harmony.
Klau'aer, Karl, b. Petrograd, Aug. 24,
1823, of Swiss parents; d. Farmington, Conn.,
"an. 4» 1905. Studied music in Germany,
ut was chiefly self-taught. Went to New
York in 1850, and thence to Farmington,
Conn., in 1856, where he was Musical Director
t
465
KLAUWELL— KLEEFELD
for many, years in Miss Porter's School. He
was well known as an editor and arranger of
classic and modern compositions (Beethoven,
Mozart, Schumann, Field, Wagner); edited
Half-hours with the Best Composers, and also
(with Th. Thomas and J. K. Paine) Famous
Composers.
Klau'well, Adolf, b. Langensalza, Thurin-
gia, Dec. 31, 1818; d. Leipzig, Nov. 21,
1879. Teacher in the Third and Fourth 4Biir-
ferschulen' (Municipal Schools) at Leipzig,
'ubl. elementary class-books, and instructive
pf.-pieces (Goldnes Melodien- Album).
Klau'well, Otto, nephew of Adolf; b.
Langensalza, Apr. 7, 1851. Pupil at Schul-
pforta, 1865-70; served in the Franco-German
war; studied mathematics and natural
science at Leipzig Univ., 1871, but 1872-4
devoted himself to music at the Cons,
under Richter and Reinecke, continuing the
study of music at the Univ., where he took
the degree of Dr. phil. with the dissertation
Die historische Entwickelung des musikalischen
Kanons (1874). In 1875, prof, of pf., theory
and history at Cologne Cons.; since 1885,
director of the Teachers' Seminary (classes
in pf.-playing established by Wtillner) con-
nected with the Cons.; made R. Prof, in
1894; since 1905 asst.-dir. of the Cons. —
Publ. Der Vortrag in der Musik (1883; Engl,
transl. New York, 1890); Musikalische Ge-
sichtspunkte (1881; aphorisms on music and
musicians, 2d ed. as Musikalische Bekennt-
nisse, 1892); Der Finger sat* des Klavier-
spiels (1885); Formen der Instrumental' Musik
(1894); GeschichtederSonate (1899); Beethoven
u. die Variationenform (1901); Th. Gouvy.
Sein Leben u. seine Werke (1902); Studien u.
Erinnerungen (1904); Geschichte der Progjam-
musik (1910); also completed G. Jensen's
new ed. of Cherubim's Contrepoint. Among
his compositions are 2 romantic operas, Das
Madchen vom See (Cologne, 1889; succ.) and
Die heimlichen Richter (Elberfeld, 1902); over-
tures, chamber-music, pf.-pieces, and songs.
Klee [Ida], Eugen, distinguished choral
conductor; b. Kaiserslautern, Dec. 15, 1869.
While attending the Humanistisches Gym-
nasium (1879-83) and Teachers' Seminary
(1883-8) there, he received systematic musi-
cal instruction from his father, Musikdir.
Jacob K., and the music-teachers at those
institutions (Daiman; Eccarius, Berger, etc.).
After completing his year of military service
he ent. the Cons, at Karlsruhe, where he
st. under K. Hildebrandt, M. Brauer and
F. Mottl (1890-2); then spent another year
studying with F. Sander, L. Thuille and J.
Rheinberger in Munich. In 1894 he settled
in Philadephia as org. and choirm. at the
Ch. of the Advocate (P. E.), and cond. of
the 'Kreuznacher Sangerbund'; the same
466
year his chorus won first prize in the Nat/.
Singing Fest. at New York; this success led
to his appointment (1895) as asst.-cond. ot
the United Singers of Phila., and cond. of
several other choral societies; under his
leadership the 'Liedertafel' won the 1st prize
at a local fest. in 1895; in 1897 he appeared
for the first time as cond. of a 'Massenchor'
(several choruses combined) with orch., and
directed his own Festival Hymn for male
solo-quartet, ch. and orch.; in 1898, elected
first cond. of the United Singers. Giving
up the smaller societies, he devoted his
energies to drilling only one chorus, and his
singers took first prizes at the following
festivals of the 'Norddstlicher Sangerbund':
Brooklyn, N. Y. (1900, 'Columbia'), Newark
(1906, 'Harmonie'), Philadelphia (1912, 'Tun-
ger Mannerchor' [Kaiser-Preis]), Brooklyn
(1915, 'Anon' [Kaiser-Preis; first victory for
the new trophy; 2 more victories ensure
permanent possession]). From 1914-16 K.
lived in Brooklyn as cond. of the 'Arion,'
which in 1915 celebrated the 50th anniver-
sary of its foundation; resigned in Nov.,
1916. In May, 1917{ he was elected con-
ductor of the N Y. 'Liederkranz*'
Klee, Ludwig, pianist and pedagogue: b.
Schwerin, Apr. 13, 1846; pupil of Th. Kullak,
1864-8, and teacher in Kullak's Acad, until
1875; since then, director of a school of his
own. Title of Musik-Direlctor from King of
Saxony. — Publ. Die OrnamenUkderklassischen
Klaviermusik (the pf.-graces from Bach to
Beethoven, inch); and edited 3 vols, of
'Klassische Vortragsstticke.'
Klee'berg, Clotilde, distinguished pianist;
b. Paris, June 27, 1866; d. Brussels, Feb. 7,
1909. Pupil of Mmes. Retz and Massart at
the Cons., winning 1st prize in the tatter's
class. Sensational debut, at the age of 12,
in a Pasdeloup Concert, with Beethoven's
concerto in C minor; from 1881 she toured
Denmark, Russia, Austria. Holland, and
England with uniform success. In 1894 she
was elected 'Officier de l'Academie.' Her
repertory embraced works from Bach to
Liszt. Brilliant tournee in England in
1898. In 1908 she married the sculptor
Charles Samuel in Brussels.
Kleefeld [Ida'-], Wilhelm, b. Mayence,
Apr. 2, 1868. Pupil of Hartel, Radecke and
Spitta in Berlin; 1891-6 opera-cond. at
Mayence, Trier, Munich and Detmold; took
degree of Dr. phil. at Berlin Univ. with the
dissertation Das Orchester der ersten deutschen
Oper, Hamburg, 1678-1738 (published 1898);
in 1898 app. teacher in the opera-school of
the Klindworth-ScharwenkaCons.; 1901, Pri-
vatdozent at Greifswald Univ.; since 1904
at Berlin Univ. He has written an opera,
Anarella (Konigsberg, 1896), a suite f. str.«
KLEEMANN— KLEIN
i:
y.
r
orch., pf.-pcs. (2 and 4 h.), and songs. Under
the title 'Opernrenaissance' he edited a
number of early operas (Cimarosa, Cherubini,
Boieldieu, etc.); transl. Saint-Sa£ns' Har-
monie et Mflodie (1902; 2d ed. 1905); contrib.
analyses to the 'Opernfiihrer'; publ. his
' Habilitationsschrift' Landgraf Ludwig von
Hessen-Darmstadt u. d. deutsche Oper (1904).
Klee'mann, Karl, composer; b. Rudol-
stadt, Sept. 9, 1842. Pupil of Hofkapellm.
Muller. Studied several years further, from
1878, in Italy, and in 1882 was appointed 2d
opera -cond. and Ducal Music Director at
Dessau; from 1889 till his retirement in
1913, Hofkapellm. and cond. of the Musik-
verein at Gera. — Works: Music to GriH-
parzer's Der Traum ein Leben; a symphonic
fantasia, Des Meeres und der Lithe WeUen;
3 symphonies (C; D, Im Fruhling; D m.,
Dutch Kampf zum Sieg); op. 27, Lustspiel-
ouverture; a str.-quartet ; choral works; songs;
pf.-pcs. A 1-act opera, Der Klosterschuler von
Mildenfurt, was prod, at Dessau in 1898.
Klef'fel, Arno, b. Pdssneck, Thuringia,
Sept. 4, 1840; d. Nikolassee, n. Berlin, July
15, 1913. Studied in the Leipzig Cons., and
privately with M. Hauptmann; from 1863-7,
Dir. of the Mus. Soc. at Riga; then Kapellm.
at theatres in Cologne, Amsterdam, Gorlitz,
Breslau, Stettin, and 1873-80 at the Friedrich
Wilhelmstadt Th. in Berlin; then at Augsburg
and Magdeburg; from 1886-92, and again
1894-1904, at Cologne; 1892-^4, teacher of
theory at Stern's Cons., Berlin; from 1904
cond. of Stern's 'Gesangverein' in Berlin,
mus. critic of the 'Lokalanzeiger,' and (from
1910) head of the operatic dept. at the Kg!.
Hochschule. In 1895 he received the title
of 'Professor.' — Works: Opera Des Meet-
manns Harfe (Riga, 1865); music to the
Christmas legend Die Wichlelmdnnchen, and
to Goethe's Faust; overtures, a string-quartet,
pf. -pieces (Ritornelles, op. 26; Petite Suite, op.
29; Impromptu, op. 27; Jungbrunnen, op.
41, 30 short didactic pieces; — Fite d'enfonts,
and Nuits italiennes, for 4 hands); part-
songs, songs, etc.
Klein, Bernhard, church-composer; b.
Cologne, March 6, 1793; d. Berlin, Sept. 9,
1832. Went to Paris in 1812 to study under
Cherubini and in the Cons. Library; was
music director at Cologne cathedral for some
years, and in 1818 settled in Berlin, where
(1820) he was app. teacher of comp. at the
R. Inst, for Churcn-music, and music director
and singing-teacher at the Univ. — Works: 3
oratorios, Jephtha, David, and Hiob (Job) ; the
cantata Worte des Glaubens (Schiller); an 8-
part Paternoster, a 6-part Magnificat, 6-part
responses, 8 books of psalms, hymns, and
motets for male voices (deservedly popular);
2 operas, Dido (1823) and Ariadne (1825)
and 2 acts of a third, Irene; music to Rau-
pach's Erdennacht; sonatas and variations
for pf.; etc. — His younger brother, Joseph
(1801-62), lived in Berlin and Cologne as a
comp.— Cf. C. Koch, B. K. (Rostock, 1903).
Klein, Bruno Oscar, b. Osnabrfick, Han-
over, June 6, 1858; d. New York, June 22,
1911. Studied pf. and comp. under his father,
Carl K., organist of Osnabrtick cath.; then
for 2 years at Munich Cons, under Rhein-
berger (cpt.), Wttllner (score-reading), and C.
Baermann (pf.). Went to America in 1878;
spent several years in travelling and concert -
izing, and settled in New York in 1883.
From 1884 till his death he was head of the
pf.-department at the Convent of the Sacred
Heart; also, 1884-94, organist at St. Francis
Xavier; 1887-92, prof, of cpt. and comp. at
the National Cons.; and 1904-11, organist at
St. Ignatius. In the season of 1894-5 he
gave several concerts in Germany. His works
exhibit consummate technical mastery, and
are distinguished by noble melody, beautiful
harmony and great formal finish. In his
sacred works he favors the severe style, while
in his secular works he belongs to the ro-
mantic school of Schumann. — Works: Kenil-
worth, grand opera in 3 acts and an Introduc-
tion (Hamburg, Feb. 13, 1895). For orch.:
Cone-overture in D m. ; Thema und symph.
Variationen; Liebeslied und Hochzeitskldnge;
Petite Suite; Capriccietto; op. 19, Scenes de
Ballet; op. 80, American Dances; Konzert-
stuck for pf. and orch. in A m.; Concerto for
pf. and orch., D m. (unfinished); Concerto
for vln. and orch., Em.; op. 28, Suite for vcl.
and orch. in F; op. 22, Zwei Konzertstiicke for
vln. and orch. (Komanze, Spinnlicd); op. 38,
Ballade for vln. and orch. in D m.; op. 17,
WaUfahrt nach Kevlaar for alto and orch.;
op. 27, Ingeborg's Klage, dramatic aria for
sop. w. orch.; op. 7, Serenade for flute and st.-
orch.; 2 sonatas for vln. and pf. (op. 10, G;
op. 31, B m.); quintet for sop., vln., vcl.,
horn and pf.; op. 30, Paschal moss; op. 44,
Missa de Natwitate Domini; op. 82, Messe
solennelle for soli, ch. and orch.; op. 85, Mass
in Bb; op. 90, Missa Brevis; Mass in D
(posth.); numerous motets; 3 vols, of songs
and about 80 publ. separately; many works
for pf. (op. 25, Suite in G m.; op. 50, Italian
Suite; op. 18, Elfenmdrchen; op. 40, Album
tooklique [6 pieces]; op. 53, A us der Jugendzeit
[10 pieces]; op. 54, A Book of New Piano
Music [8 pieces]; op. 56, Violcttes; etc.).
Klein, Karl, son of preceding, b. New
York, Dec. 13, 1884. Pupil of E. Bdgner,
cone-master at M. O. H., New York (1897-
1900); then of A. Hilf in Leipzig (1900-2), E.
Ysa?e in Brussels (1902-5), and for a few
months of A. Wilhelmj in London (1905);
made his debut Nov. 14, 1905, with the
467
KLEINHEINZ— KLENOVSKY
Queen's Hall Orch. in London (Tchaikovsky
concerto), and played with success in Leipzig,
Berlin and Vienna (1906-7); American debut
Nov. 5, 1907, in N. Y. with the Philadelphia
Symph. Orch.; on tour with Calve, 1908-9;
cone-master, Russian Symph. Orch., 1911-
12. In 1916 he married the harpist Wanda
de Chiari. Has publ. some transcriptions for
violin and pianoforte.
Kleinheinz, Franz Xaver, b. Mindelheim,
Suabia, July 3, 1772; d. circa 1832 in Pest(?).
Studied in Memmingen; member of the Mu-
nich orch. ; then studied with Albrechtsberger
in Vienna (1803, probably also before then);
some time th.-cond. in Brtinn, and finally
cond. to Count Brunswick in Pest. — Works:
The operas Harold (Ofen, 1814) and Der
Kdfig (Pest, 1816); quintet for wind-instrs.;
trio for pf., clarinet and vcl. (op. 13); vln.-
sonatas (op. 7, 8, 9, 19); several ballads of
Schiller, Heklors Abschied (op. 10), Der Hand-
tchuh (op. 11), Der Kampf mil dent Drachen
(op. 12), Erwartung (op. 14); a festival mass
with orch.; pf. -concerto in Eb; // Ciclope,
cantata with orch.; a number of pf. -sonatas.
He also arranged several of Beethoven's pf.-
sonatas for string-quartet.
Kleinknecht, Jakob Friedrich, b. Ulm,
June 8, 1722; d. Ansbach, Aug. 14, 1794. In
1743 he was flutist in the Margrave's orch. in
Bayreuth; 1747, violinist; in 1749 he became
2d Kapellm., was then app. court-composer,
and in 1761 1st Kapellm. He was a famous
flute-virtuoso. Publ. a double concerto for
flutes; trios for flute; sonatas for flute; do.
for vln.; do. for vcl.; do. for pf.
Klein'mlchel, Richard, pianist and com-
poser; b. Posen, Dec. 31, 1846; d. Charlotten-
burg, Aug. 18, 1901. Pupil of his father
(Hermann K., b. 1817; d. Hamburg, May
29, 1894; bandmaster and music-director at
Posen and Potsdam); studied in Hamburg
and (1863-66) at Leipzig Cons.; taught music
in Hamburg, returned to Leipzig in 1876, and
in 1882 became music-director of the City Th.
He married Clara Monhaupt, a dram. sopr. at
Leipzig. — Works: 2 operas, Der Pfeiffer von
Dusenbach (3-act, romantic; Hamburg, 1881),
and Manon [Schloss de Lorme] (ib., 1883); 2
symphonies; chamber-music; pf.- music (Dorf-
mustk, 16 characteristic pieces, is op. 56; 4
books of pf. -Etudes fur kleine und grosse
Leute, op. 60; and other valuable studies).
He made admirable vocal scores of Wagner's
Jtotg-dramas, Meistersinger and Parsifal.
Klenau, Paul (August) Ton, b. Copen-
hagen, Feb. 11, 1883. Studied there with
Hilmer (vln.) and Mailing (comp.); 1902-4,
in Berlin, pupil of Halir (vln.) and Bruch
(comp.), then in Munich of L. Thuille; 1907,
opera-cond. in Freiburg; 1908, in Stuttgart,
where he studied at the same time with M.
468
Schillings; since 1914 again cond. in Frei-
burg.— Works: A 1-act opera, Sulamilh (Mu-
nich, 1913); Ebba Skamtnelsen, ballade for
baritone and orch. ; 4 symphonies; a pf .-
quintet; a string-quartet; songs.
Kleng'el, August Alexander ('Kanon-
Klengel'), b. Dresden, Jan. 27, 1783; d. there
Nov. 22, 1852. Pupil of Milchmeyer; from
1803, of Clementi, with whom he travelled
through Germany, and in 1805 to Petrograd,
where K. remained, studying and lesson-giv-
ing, until 1811. After 2 years in Paris he
went to Italy, Dresden, England (1815), and
returned to Dresden in 1816, when he was
app. organist of the R. C. Court Church. A
master of the legato pf. -style and a fine org.,
K. was also a remarkable composer in the
strict contrapuntal forms (whence the above
sobriquet), works of this kind being Les
Avant-coureurs (24 pf. -canons; publ. before
1840), and 48 canons and 48 fugues (an un-
successful attempt to outdo Bach's 'Well-
tempered Clavichord'; publ. 1854 by M.
Hauptmann). Other publ. pf.-comps.: 2 con-
certos, a trio, a 4-hand fantasia, a rondo, a
Promenade sur mer, interrompue par une tent-
pHe (op. 19), and other salon-music.
Kleng'el, Julius, brother of Paul, and
one of the greatest of contemporary 'cellists;
b. Leipzig, Sept. 24, 1859; pupil of Emit He-
par ('cello) and Jadassohn (comp .); 1st 'cello
in Gewandhaus Orch., and teacher at the
Cons. — Publ. comps.: 4 'cello-concertos (op.
4, in A m.; op. 20f in D m., with pf.; op. 31,
in A m.; op. 37, in B m.); a concertino for
'cello, with pf., op. 7, in C; a Konxertstuck lor
do., op. 10, in D m.; a Suite for 2 'celli, op.
22, in D m.; Koniertstuck for 2 'celli and pf.,
op. 45; a Suite for 'cello and pf., op. 1, in
£ m.; about 40 soli for 'cello with pf.; also a
Serenade for string-orch., 2 string-quartets
(op. 21 and 34), a pf.-trio in D (op. 25), etc.
Kleng'el, Paul K., pianist and violinist;
b. Leipzig, May 13,' 1854. Took degree of
Dr. phil., Leipzig, with dissertation Zur
Asthetik der Tonkunst; 1881-6, cond. of the
Leipzig Euterpe concerts; 1888-93, 2d Hof-
kapellm. at Stuttgart; then cond. the student-
chorus 'Arion' at Leipzig until 1898, when
he went to New York as cond. of the 'Lie-
derkranz'; since 1902 again in Leipzig as cond.
of the 'Arion'; made Prof, in 1908. Has
written songs, choruses, pf.-pes.; pes. for pf.
and vl.; do. f. pf. and vcl.; do. f. via. and pf.
Klenov'aky, Nikolai Semenovitch, b.
Odessa, 1857; pupil of- Hrimaly (vln.) and
Tchaikovsky and Hubert (theory) at the
Moscow Cons. ; conductor of the Imp. Theatre
at Moscow (1883-93) and of the Univ. orch.
(1889-93); 1893-1902, Director of the Music-
School at Tiflis; since then asst.-cond. of the
Court Choir at Petrograd.— Works: 3 ballets,
KLlCKA— KLOSE
Hasheesh (Moscow, 1885), Svietlana (ib., 1886),
and Salanga (Petrograd, 1900); music to the
dramas Messalina, The Star of Seville, and
Antony and Cleopatra; 4 cantatas; an orchl.
suite, Fata Morgana; Georgian Songs for solo,
ch. and orch.; a pf. -suite; a Georgian Litur-
gy a cappella (1902); etc. '
Kli£ka [klitchlcah], Josef* organ- virtuoso;
born Klattau, Bohemia, Dec. 15, 1855.
Pupil of the Prague Cons, and of the School
for Organists; for some years cond. at the
Bohemian 'Landestheater ; then of the choral
society 'Hlahol' in Prague; now (1916) prof,
of organ at the Cons, there. Has composed
numerous works for organ; also choruses,
orchl. works, and an opera, Die schane Mullerin.
Klie'bert, Karl, b. Prague, Dec. 13, 1849;
d. Wurzburg, May 23, 1907. Pupil of Rhein-
berger and Wullner at Munich; Kapellm. at
Augsburg theatre; from 1876, Kirchner's
successor as Director of the R. School of
Music at Wiirzburg. He wrote an overture,
Romeo und Julia (op. 5); songs; pes. f. pf.;
do. f. org.— Cf. R. Heuler, Hofrat Dr. K. K.
(Wurzburg, 1907).
Klind'worth [klint'vort], Karl, pianist and
pedagogue; b. Hanover, Sept. 25, 1830; d.
Stolpe, n. Potsdam, Aug., 1916. A pre-
cocious self-taught pianist, at 6 he clayed a
pf.-arrangement of Boieldieu's Calife de
Bagdad; Dut the violin was his chief instr.
At 15 he wished to go to Spohr, but lack of
money prevented; at 17, obliged to earn his
own livelihood, he became cond. of a travel-
ling opera-troupe (Bilse played under him
as 1st violin). In 1849, on his way to Am-
sterdam to conduct the German opera, a
telegram apprised him that the venture had
failed; so he went back to Hanover, and gave
lessons. While on a pianistic tour he met
Liszt, and in 1852, aided pecuniarily by a
Jewish lady, went to Weimar for 2 years'
study. He made rapid progress, and in
1854, armed with letters of introduction,
went to London; his first concert, on Mar.
30, appears to have made an unfavorable
impression, but Wagner next year heard and
admired him, and became his firm friend.
K. gradually made his way in London, and
remained there 1854-68 as a pf. -teacher and
concert-pianist. A. Rubinstein then called
him to Moscow as pf.-prof. at the Imp. Cons.
While here, he completed two 'monumental'
works, his pf.-scores of Wagner's Ring des
Nibelungen, and a complete revised edition
of Chopin's compositions (1878). After N.
Rubinstein's death in 1881, K. settled in
Berlin, conducting for ten years all the
concerts of the Wagnerverem and (with
Joachim and Wullner) the Philharm. Con-
certs. He also establd. a 'Klavierschule'
(School of Pf. -playing), von Billow cooperating
one month each year; this was united with
the Scharwenka Cons, when K. retired to
Potsdam in 1893. — As a 'finishing' teacher,
K. was in the front rank. His masterly arrs.
of Wagner's music-dramas, Schubert's C-maj.
Symphony (f. 2 pfs.), Tchaikovsky's sym-
phonic poem Francesca da Rimini, etc., are
world-renowned, like his revised edition of
Beethoven's Sonatas, etc.; he also re-orches-
trated Chopin's F-minor concerto. Among
his original (publ.) comps. f. pf., a difficult
and effective Polonaise- Fantaisie, and 24
grand pf. -etudes in all keys, maybe mentioned.
Kling, Henri, b. Paris, Feb. 17, 1842;
prof, in Geneva Cons., and teacher of music
m the city schools. — Works: Operas^ and
other mediocre instrl. and vocal music; a
Method and 40 characteristic Studies f.
horn; Method f. drum; a treatise (in German)
on Instrumentation (several editions); Der
voUkommene Musikdirigent (1891); etc.
Kling'enberg, Friedrich Wflhelm, born
Sulau, Silesia, June 6. 1809; d. Gdrlitz, April
2, 1888. Director of the Breslau 'Akade-
mischer Musikverem,' 1830-7; then of the
Kunstlerverein; 1840-85, cantor at fhePeters-
kirche, Gorlitz. — Works: A symphony, over-
tures, pf.-pes., part-songs, vocal church-music.
Klltzsch, Karl Emanuel, b. Schdnhaide,
Saxony, Oct. 30, 1812; d. Zwickau, Mar. 5,
1889. Teacher in Zwickau Gymnasium; pen-
sioned 1886. Self-taught musician ; co-founder
and conductor of the Musikverein, cond. of
the concerts of the mus. society, cantor of
the Marien- and Katharinenkirche, Zwickau.
Contributor to the 'Neue Zeitschrift fur
Musik' since Schumann's time. Under the
pen-name of 'Emanuel Kronach' he publ. the
96th Psalm f. soli, ch., and orch.; also songs;
his opera, Juana, oder ein Tag auf St. Domin-
go, was given in Zwickau (1850?).
Kloee, Friedrich, b. Karlsruhe, Nov. 29,
1862. St. there one year with V. Lachners
later with A. Ruthardt (comp.) and Provesi
(pf.) in Geneva, and 1886-9 with Bruckner
in Vienna. He then taught for two years in
the Academie de music* ue in Geneva; then
lived several years in Vienna, Karlsruhe and
Thun, devoting his entire time to comp.;
taught in the Basel Cons., 1906-7; succ.
Thuille in 1907 as teacher of comp. at the
Akad. der Tonkunst in Munich; made Prof,
in 1910. A composer of modern tendencies,
following in the paths of Berlioz, Wagner ana
Liszt. — PuW. works: Ilsebill {Das Mdrlein
von dem Fischer und seiner Frau), 'dramatic
symphony', really an opera (Karlsruhe, 1903) ;
Mass in D m., 1. soli, ch. and orch., supple-
mented by an organ prelude, Ave Maria, O
Salutaris, and Elevation-music; Vidi aquam;
Das Leben ein Traum, symph. poem; Elf en-
reigen f. orch.; Prelude and Double-fugue
469
KLOSfi— KNEISEL
f. orch., 4 tpts. and 4 trombones; Elegit f.
vl. and orch.; Die Wailfahrt nach Kevlaar,
f. declamation, ch., orch. and org. In MS.:
Festzug f. orch.; Un Chant de pie de Niron,
f. orch. and ch. ; Szene des Ariel (from Goethe's
'Faust,' Part II); a str.-quartet in F. — Cf. R.
Louis, F. K.t in 'Monographien moderner
Musiker' (vol. ii, Leipzig, 1907).
Klosl, Hyacinthe-£leonore, clarinettist;
b. Isle of Corfu, Oct. 11, 1808; d. Paris, Aug.
29, 1880. From 1839-68, prof, of darinet
at the Paris Cons., succeeding Berr, his
teacher. He improved the fingering of the
clarinet by applying Boehm's system of
ring-keys in 1843. — Works: Grande mithode
pour la clarinette d anneaux mobiles, solo
pieces, Etudes, and other instructive music
I. clar.; marches, etc., f. military band; and
3 methods f. saxophone (one for each group).
KIom, Erich, b. Gorlitz, Feb. 19, 1863;
d. Berlin, Nov. 1, 1910 (in an automobile
accident). On account of difficulty in hearing
he was obliged to give up his career as a
teacher, and devoted himself to writing. He
publ. 20 Jahre Bayreuth (1896); Wagner, wie
er war und ward (1901); Bin Wagner-Lese-
buch (1904); Wagner-Anekdoten (1908); R.
Wagner in seinen Brief en (1908); R. Wagner
an seine Kunstler (1909) ; R. Wagner im Liede
(1910); R. Wagner uber die Meistersinger
(1910); R. Wagner uber den Rin% des Ntbe-
lungen (posth., 1913); alsoed. Brtefe Wagners
an Freunde und Zeitgenossen (1909) and the
3d, augm., ed. of the Wagner- Liszt Corre-
spondence (1910).
Rlotz (or Clotz), a family of Bavarian
violinmakers at Mittenwald. Their instrs.
were brought into repute by Matthias (b.
June 11, 1653; d. Aug. 16, 1743), the son of
Aegidius, sen. ; he is believed to have learned
the art with Nicola Amati; worked for
some time in Padua, and settled in Mitten-
wald in 1683. Matthias' sons, Sebastian
and Joseph, were followed, in the 18th
century, by Georft, Carl, Michael, and
Aegldius, jr. Many of their violins are
mistaken for Stainer's make.
Klug'hardt, August (Friedrich Martin),
b. Kdthen, Nov. 30, 1847; d. Dessau, Aug.
3, 1902. Pupil of Blassmann and Reichel,
at Dresden. Theatre-Kapellm. at Posen
(1867), Lubeck (1868), and Weimar (1869-
73), where he was also mus. director to the
Grand Duke; then court Kapellm. at Neu-
strelitz, and in 1882 at Dessau. This career,
and the influence of Liszt, awakened his
talent for dramatic composition; the 3-act
opera Mir jam (Weimar, 1871) was followed
by Iwein (Neustrelitz, 1879), Gudrun (ibid.,
1882), Die Hochzeit des Monchs (Dessau,
1886; at Prague, 1888, as Astorre). Other
works: The oratorios Die Grablegung Christi
(op. 50), Die ZerslSrung Jerusalems (op. 75),
Judith (op. 85); the great symphonic poem
Lenore (op. 27); 4 symphonies (op. 34, in
F m.; op. 37, in D; op. 57, in C m.; op. 71,
in C m.); the overtures Sophonisbe (op. 13;
to Geibel's drama), Im FrUhling (op. 30),
Konzertouverture (op. 45), Festouverture
(op. 54) j do. (op. 78), Siegesouverture; an
orchl. suite in 6 movements in A m. (op. 40);
a vln.-concerto in D (op. 68); a vcl. -concerto
(op. 59); KonzertstUck for oboe and orch.
(op. 18); Auf der Wanderschaft, suite f. orch.
(op. 67); a string-sextet; a pf. -quintet; 2
string-quartets; a string- trio; Schilflieder
(after Lenau), 5 Phantasiestiicke f. pf., oboe
and 'cello; pf. -music; 8 books of songs; etc.
— Cf. L. Gerlach, A, K. Sein Leben und seine
Werke (Leipzig, 1902).
Kna'be, William, founder of the cele-
brated pf.-manufactory at Baltimore, Md.,
was born at Kreuzburg, n. Oppeln, Prussia,
in 1797; d. Baltimore, 1864. Began business
in 1839 with Henry Gaehle; in 1854 the part-
nership was dissolved . H is successors were h is
sons William (1841-89) and Ernest, joined
later by Charles Keidel. The present (1916)
heads of the firm are Ernest J. Knabe, jr.
(b. July 5, 1869), and William Knabe (b.
Mar. 23, 1872).
Knecht, Justin Heinrich (Abbe* Vogler's
rival at the organ, and surpassing him as a
composer and theorist); b. Biberach, Wflrt-
temberg, Sept. 30, 1752; d. there Dec. 1, 1817.
From 1771-1807, organist and music-director
at Biberach; then for 2 years Hof kapellm. at
Stuttgart, but resigned on account of in-
trigues, and returned to Biberach. — As a har-
monist, K. taught chord-building by thirds
up to chords of the eleventh on all degrees of
the scale. Publ. Erklarung einiger . . . miss-
verstandenen Grundsdtze aus der Vogler'schen
Theorie (Ulm, 1785); Gemeinnulzliches Ele-
mentarwerk der Harmonie und des General-
basses (4 parts, 1792-8) ; Kleines alfhabetisches
Worterbuch der vornehmsten und tnteressante-
stenArtikel aus der mus. Theorie (1795); Voll-
stdndige Orgelschule fur Anf anger und Geub-
tere (3 parts, 1795-8); Theoretisch-praktiscke
Generalbass-Schule (n. d.); Kleine Clavier-
schule fur die ersten Anf anger (n. d.; republ.
as Bewdhrtes Methodenbuch beim ersten Cla-
vier unterricht)\ AUgem. musikalischer Cate-
chismus (Biberach, 1803); Luther's Verdienst
urn Musik und Poesie (1817). His composi-
tions are now obsolete; but the Tongemdlde
der Natur is interesting as a symphony iden-
tical in subject with Beethoven's 'Pastoral'
symphony. — Cf. E. Kauffmann, /. H. K.
(Tubingen, 1892).— See Q.-Lex.
Knelael [km'-], Franz, violin -virtuoso; b.
(of German parentage) Bucharest, Jan. 26,
1865. A precocious pupil of Grtin and Hell-
470
KNIESE— KNORR
mesberjger at Vienna, he early became Kon-
zertmeister of the Hofburg Theatre-orch. ;
then in Bilse's Orch. at Berlin; and in 1885
was called to Boston, Mass., by Gericke, as
leader and soloist in the Symph. Orch., suc-
ceeding Bern hard Listemann. K. made his
Boston debut in the Beethoven concerto on
Oct. 31, 1885. Next year he organized the
now world-renowned Kneisel Quartet' (1st
violin, K.; 2d violin, Otto Roth [till 18991;
viola, Louis Svecenski; 'cello, Fritz Giese),
which has not only played in leading Ameri-
can towns, but also in Europe, and is in the
front rank of similar organizations to-day.
(Present personnel [1916] : K., Hans Letz,
Louis Svecenski, Willem Willeke.) K. is
equally at home in classic and romantic vln.-
literaturc, interpreting the concertos of Beet-
hoven, Spohr, and Mendelssohn, or of Joa-
chim, Goldmark, and Brahms, with masterly
insight. He is admirable in ensemble, and
has done and is doing important service
to the cause of chamber-music in America.
In recognition of his services he was made
Mus. Doc. (hon. c.) by Yale Univ. in 1911,
and by Princeton Univ. in 1915. A signal
honor was conferred upon him in 1907, when
he was invited to serve (with Colonne, Vidal,
Dukas, etc.) as a member of the jury at the
Violin 'Concours' of the Paris Cons. In 1893
he cond. the concerts of the Boston Symph.
Orch. at the World's Fair in Chicago; 1902
and '03, asst.-cond. of the Worcester Festival;
since 1905 prof, of vln. at the Inst, of Mus.
Art in N. Y. He resigned as concert-master
of the Boston Symphony Orchestra in 1903.
Kniese [km"'-], Julius, b. Roda, n.Jena, Dec.
21, 1848; d. Dresden, April 22, 1905. Pianist
and organist; taught by W. Stade in Alten-
burg, and (1868-70) by Brendel and C. Rie-
del in Leipzig. Director of the Singakademie
at Glogau, 1871-6; then cond. of the Riihl
Singing-society and the Wagnerverein at
Frankfort; from 1884-9, Breunung's successor
as mus. director at Aix; from 1882 he was
also chorusmaster for the festival-plays at
Bayreuth, where he lived after 1889, be-
coming Director of the Preparatory School
for Stage-singers established in the following
year. — Works: Opera, Konig Wittichis, and a
symphonic poem, Frilhjof (both MS.); he
published 4 books of songs.
Knight, Joseph Philip, English song-
composer; b. Bradford-on-Avon, July 26,
1812; d. Great Yarmouth, June 1, 1887. Or-
gan-pupil of Corfe at Bristol. While in the
United States, 1839-41, he brought out his
songs Rocked in the Cradle of the Deep (sung
by Bra ha in with great success) and Why
Chime Die Bells so Merrily? After 2 years as
vicar and organist at St. Agnes, Scilly Islands,
he married, lived abroad for a time, and then
returned to England. — Works: About 200
songs {All on the Summer Sea; She Wore a
Wreath of Roses; Say, What Shall My Song be
To-night? Of What is the Old Man thinking?
etc.), and the oratorio Jephtha.
Knittl, Karl, born Polna, Bohemia, Oct.
4, 1853; d. Prague, March 17, 1907. Pupil of
Skuhersky at the Prague School for Organ-
ists, 1872-5; later studied singing with Pivoda
and cond. with Smetana (1879); from 1877-
90, and again 1897-1901, cond. of the choral
soc. 'Hlahol' in Prague; 1882, teacher of org.
and harm, at the School for Organists; 1890,
prof, at the Cons.; 1901, admin, dir. (with
Dvorak as artistic dir.); after the lattcr's
death (1904), sole dir.; from 1877-1901 he
also tauffht singing at two intermediate
schools. He was a member of the Franz Josef
Akademie. — Publ. Wintermarchen and Lied
von der Glocke, for orch. ; some chamber- music;
cantatas; choruses; songs; pf. -pieces; also
Beispiele zur aUgemeinen Musiklehre, and
Lehre vom homophonen Salze.
Knoch, Ernst, born Karlsruhe, Aug. 1,
1875. Pupil of the Cons, there, and later of
Felix Mottl; 189&-1901, Repetitorand Motel's
asst. at the Karlsruhe opera; debut as cond.
Oct., 1901, in Strassburg (Lohengrin); re-
mained there till 1907; 1904-7, asst.-cond. at
Bayreuth; 1907-9, Kapellm. in Kssen, and
1909-^12, in Cologne; engaged by Th. Quintan
as principal Wagner-cond. for his world-tour,
1912-13; cond. the first perf. of Tristan und
Isolde in Australia (Melbourne, July 14, 1912);
1913-14, cond. at Elberfeld, where in the
spring he cond. 20 performances of Parsifal;
he cond. the Wagner Festival in Rotterdam
during the summer of 1914; in the fall of that
year he made his American debut in N. Y.
with the Century Opera Co. (winning great
success in Lohengrin); during the summer of
1916 he cond. the operatic performances at
Rivinia Park, Chicago. In Sept., 1916, he
was engaged as chief conductor of the Inter-
state Grand Opera Co. in Cleveland, Ohio.
Knorr, Ivan, b. Mewe, West Prussia, Tan.
3, 1853; d. Frankfort, Jan. 22, 1916. Lived
from 1856 in Russia; entered Leipzig Cons.
1869 (Richter, Reinecke); 1874, teacher of
music in the Ladies' Institute and the Cons,
at Charkov, Russia; 1883, prof, of mus. the-
ory at the Hoch Cons, at Frankfort-on-Main;
in 1908 he succeeded Scholz as dir. — Works:
The operas Dunja (Koblenz, 1904), Die
Hochxett (Prague, 1907), Durch's Fenster
(Karlsruhe, 1908); 2 suites for orch.; varia-
tions (op. 7) for orch. on a folk-song of the
Ukraine; vars. for pf., vln. and 'cello, op. 1;
pf. -quartet, op. 3; vars. for pf. and 'cello, op.
4; vars. and fugue for pf. on a Russian folk-
song, op. 8; and Love-songs of the Ukraine, for
mixed ch. and pf. He wrote a biography of
471
KNORR— KOCH
Tchaikovsky in 'Beruhmte Musiker' (1900);
Aufgaben fur den Unterricht in der Harmonic-
lehre (1903); Lehrbuch der Fugenkomposition
(1911); Fugen des wohltemp. Klaviers in bild-
licher Darstellung (1912); and a number of
analyses for Schlesinger's 'Musikftthrer.'
Knorr, Julius, b. Leipzig Sept. 22, 1807;
d. there June 17, 1861. Eminent pf. -teacher.
Pianist ic d£but at the Gewandhaus, 1831. An
intimate friend q( Schumann, and editor of
the 'Neue Zeitschrift fur Musik' during the
first year. As a technician, K. introduced
the preparatory technical exercises which have
become the groundwork of technical study on
the piano. His publ. works are Neue Ptano-
forteschule in MObungen (1835; 2d ed. 1841
as Die Pianoforteschule der neuesten Zeit; tin
Supplement mu den Werken von Cramer, Cserny,
Herz, Hummel, H&nten, KMbrenner, Mo-
scheles . . .); Das Klavier spiel in 280 Obungen;
Malerialien fur das mechaniscke Klavierspiel
(1844); Methodischer Leilfaden far Klavier-
lehrer (1849; often republ.); Wegweiser f&r den
Klavier spieler im ersten Stadium (n. d.); Aus-
fHhrliche Klaviermethode in 2 parts, Methode
(1859) and Schule der Mechanik (I860); Fukrcr
auf dem Felde der Klavierunterrichts-Litteratur
(n. d.); Erkldrendes Verteichniss der haupt-
sdchlichsten Musikkunstwdrter (1854). *
Knote [knoh't£], Helnrich, famous dra-
matic tenor; b. Munich, 1870. Pupil of E.
Kirchner there; from 1892-1914, member of
the court opera there, with a short interval,
when he sang in Hamburg; he frequently was
granted leave of absence to sing at some of
the chief German opera houses; he was first
heard at the M. O. H. in 1903, the same
season when Caruso made his American d£but.
He almost rivalled the latter as a drawing
card, and is still regarded as the finest Ger-
man tenor ever heard there in the Wagner-
rdles; especially his Walther (Meistersinger)
was praised as the equal of Jean de Reszke's;
he sang with enormous success in 3 subse-
quent seasons, and only the refusal of the
Munich authorities to grant extended leave
of absence is responsible for the fact that he
has not been heard in America more fre-
quently. Since 1915 he has been the prin-
cipal tenor at the Deutsches Opernhaus in
Charlottenburg (Berlin).
Kntipfer, Paul, dramatic basso; b. Halle,
June 21, 1866. Pupil of Gunberg at the
Cons, in Sondershausen ; debut there in 1885;
1887-98, member of the Leipzig opera; since
then at the Kgl. Hofoper in Berlin; made
'Kg!. Kammersanger' in 1908; sang at Bay-
reuth in 1901, '02, '04, '06 (Gurnemanz, Da-
land); since 1904 he has appeared with great
applause in the Wagner-rdles at Covent Gar-
den. His wife, Marie Egll, is a fine dra-
matic soprano.
472
Knyv'ett, Charles, English organist and
tenor singer; b. Norfolk, Engl., Feb. 22, 1752;
d. London, Jan. 19, 1822. Gentleman of the
Chapel Royal, 1786; with S. Harrison he es-
tablished the Vocal Concerts (1791-4); or-
ginist of the Chapel Royal, 1796. — His son,
hades, b. 1773, d. Nov. 2, 1852, revived
the Vocal Concerts in 1801 with Greatorex,
Bartleman, and his brother William. He was
organist of St. George's, Hanover Square,
and a much-sought teacher of pf. and har-
mony.— A younger son, William, b. April
21, 1779; d. Ryde, Nov. 17, 1856, was the
principal alto at the Concerts of Antient Mu-
sic in 1795, Gentleman of the Chapel Royal
in 1797, Lay- vicar of Westminster Abbey,
and succeeded Arnold as composer to the
Chapel Roval. He conducted the Concerts
of Antient Music, 1832-40, and the Birming-
ham Festivals, 1834-43. He composed a
number of glees, and the coronation-anthems
for the coronations of George IV and Queen
Victoria.
Kob'W, Gustay, b. New York, Mar. 4,
1857. Studied pf. and com p., 1867-72, with
Adolf Hagen at Wiesbaden; later with Joseph
Mosenthal at New York. Graduate of Co-
lumbia College (School of Arts, 1877; School
of Law, 1879). Resides (1916) in Babylon,
L. I.; is a frequent contributor, on musical
and other subjects, to the daily press and the
magazines (Century, Scribner's, Forum).
Publ. Wagner's Life and Works (New York,
1890; 2 vols.; contains analyses, with the
Leitmotive in notes, of the music-dramas);
The Ring of the Nibelung (1889; part of pre-
ceding, printed separately); Opera-Singers
(1901); Signora, a Child of the Opera House
(1902; novel); Loves of the Great Composers
(1905); How to Appreciate Music (1906);
Wagner and His Isolde (1906); Famous Ameri-
can Songs (1906).
Koch, Caspar P., b. Carnap, Germany,
Nov. 25, 1872. Studied pf., org. and theory
with J. Singenberger in Milwaukee (1889-
92); from 1901-3, pupil of H. Reimann (org.),
F. Kullak (pf.), and H. Urban and W. Berger
(comp.) in Berlin; then studied for a short
time at the Kirchenmusikschule in Ratisbon,
where he won first honors. Organist at Trini-
ty Ch., Pittsburgh, 1892-1901; since 1904,
city-orjjanist in Allegheny, Pa., and (since
1914) instr. of organ at the Carnegie Inst, of
Technology, Pittsburgh. Has given numerous
organ-recitals. Has publ. Bach's 3-part In-
ventions arranged as organ-trios ana a Book
of Scales for the Organ; also pieces for organ
and songs; in MS., choruses, pieces for full
orchestra and for string-orchestra.
Koch, Eduard Emil, b. Schloss Solitude,
near Stuttgart, Jan. 20, 1809; d. Stuttgart,
April 27, 1871. Pastor at Gross-Anspach,
KOCH— KOCZALSKI
1837; at Heilbronn, 1847; superintendent
there, 1853-64. Author of the valuable work
Geschichle dcs Kirckenliedes und Kirchenge-
sanges, insbesondere der deutschen evangelischen
Kirche (1847; 3d ed.f in 8 vols., 1866-76,
vol. viii edited by R. Lauxmann).
Koch, Friedrich E.9 b. Berlin, July 3,
1862. From 1878-82, pupil at the Kgl. Hoch-
schule of Hausmann (vcl.), Succo (cpt.), Bar-
pel and Radecke (comp.); 1883-91, member
of the R. Hoforchester in Berlin; 1891-2, Ka-
pellm. in Baden-Baden; since then living in
Berlin as composer and teacher of comp.; in
1900, app. instr. of singing at the Lessing-
Gymnasium; 1900, R. Prof.; 1901, member
of the Academy; 1902, member of the Senate.
As a composer he cultivates almost exclu-
sively the largest forms; his style is somewhat
severe. — Works: The operas Die HaUiger (Co-
logne, 1897) and Lea (not prod.); the orato-
rios Von den Tageszeiten (op. 29) and Die
Sundflut (op. 32); 2 symphonies, Van der
Nordsee (D m.v op. 4) and in G (op. 10);
Symphonische Fuge in C m. (op. 8); Deutsche
Rhapsodic, concerto for vln. and orch. (op.
31); a string-trio (op. 9, won the Mendelssohn
prize); a pf.-trio, Waldidyll (op. 20); the
choral works for soli, ch. and orch. Der ge-
fesseUe Strom (op. 18), Polyhymnia (op. 24),
Das Sonnenlied (op. 26), Halteluja (op. 27),
Die deutsche Tonne (op. 30); pieces for vcl.
and pf. (op. 1, 2, 11, 14, 17); Kleine Suite for
vln. and pf. (op. 12); songs (op. 6, 22, 23, 39).
— Cf. K. K&mpf, F. E. A., in 'Monographien
moderner Musiker' (vol. ii, Leipzig, 1907).
Koch, Heinrich Christoph, noted theo-
rist; b. Rudolstadt, Oct. 10, 1749; d. there
March 12, 1816. Pupil of Gopfert at Weimar;
1768 violinist, 1777 Kammermusiker, in the
Rudolstadt orch. — Comps.: Choralbuch for
wind-band; cantatas. — Writings: Musika-
lisches Lexikon (1802; republ. in epitome,
1807 and 1828; revised ed. by A. von Dom-
mer, 1865); Versuch einer Anlcitung zur Com-
position (3 parts, 1782-93); Handbuch bci dem
Studium der Harmonic (1811); a manual of
enharmonic modulation (1812); and essays
and reviews in periodicals. His 'Journal der
Tonkunst,' started in 1795, was short-lived.
— See Q.-Lex.
Koch, Markua, b. Vflshofen, Bavaria,
July 26, 1879. One of the founders (1900) of,
and teacher in, the 'Musi kerf achschule' in
Munich; since 1913, instr. at the Akademie
der Tonkunst there. He has written several
masses (a capp., and with organ); a Religiose
Symphonic for military band; a string-quar-
tet; a suite for pf., oboe, Engl, horn, clarinet
and bassoon; organ-pieces; choruses; chil-
dren's songs. Also Abrtssd. Instrumentenkunde. .
Koch, Max, b. Munich, Dec. 22, 1855;
since 1895, prof, of German literature at
Breslau Univ. He has written Was kann das
deutsche Volh von Richard Wagner lemen?
(1888); Richard Wagner (3 vols., 1907, '12,
'14; a very scholarly and excellent biography);
Wagner's Stellung in der Entwicklung der
deutschen KuUur (1913).
Koch'el, Ludwig, Ritter von, b. Stein-
on-Danube, Lower Austria, Jan. 14, 1800; d.
Vienna, June 3, 1877. A musical dilettante
of rare gifts and learning. Doctor of Laws,
teacher of the Austrian princes, and (1832)
Imp. councillor; ennobled in 1842. — Writings:
Ober den Umfang der musikalischen Producti-
vity W. A, Mozarts (1862), preceding his
uniquely valuable Chronologisch-systemattsches
Verztichniss sdmmtlichcr Tonwerhe W. A. Mo-
zarts (Leipzig, 1862; K. publ. supplementary
matter in the 'Allgem. mus. Zeitung,' 1864);
2d ed. by Waldersee (1905); Die kaiserliche
Hofmusikkapelle zu Wien von 1543-1867
(1868); and Johann Joseph Fux (1872); he
edited 83 neuaufgefundene Originalbriefe L.
van Beethovens an den Erzherzog Rudolf (1865).
Koch'er, Conrad, b. Ditzingen, n. Stutt-
gart, Dec. 16, 1786; d. Stuttgart, March 12,
1872. In 1803 he went to Petrograd as a
private tutor; studied the pf., by dementi's
advice, under Klengel and Berger, comp.
under J. H. Mailer. Travelled in Italy (1819),
returned to Stuttgart, 1820, founded a church
choral society, and devoted himself to comp.
Became mus. director of the Stiftskirche in
1827; Dr. phil. (hon. c.) of Tubingen Univ.,
1852. — Publ. a pf. -method; a manual of com-
position, Die Tonkunst in der Kirche (1823);
and Zionsharfe (ancient and modern chorals) ;
composed 2 operas, an oratorio, etc.
Kodan [koh'ts'yahn], Jaroalav, violinist;
b. Wildenschwert, Bohemia, Feb. 2, 1884.
Taught by his father, a schoolmaster, from
his fourth year; entered the Prague Cons, at
12, studied under Sevfik (vln.) and Dvorak
(comp.); at his final examination he played
the Paganini concerto and had over 20 re-
calls. Debut, 1901; since then concertizing
in Europe and America. He is preeminently
a bravura performer. Has publ. some brilliant
comps. for his instrument (Dumka, Serenade,
etc.).
Koczalaki [kdh-tchahl'ske], Raoul (Ar-
mand Georg), pianist and composer; b.
Warsaw, Jan. 3, 1885. First lessons in pf.-
playing from his mother; then trained by Ga-
dowski (Warsaw). When only 4, he played
at a charity-concert in Warsaw, and at once
became famous as an 'infant phenomenon';
played at Vienna (1892), Petrograd, Moscow,
Paris, London (1893), and other European
cities. Court pianist to the Shah of Persia,
with a yearly stipend of 3,000 francs. Is said
to have played in 1,000 concerts up to 1896;
since then he has been touring Europe with
473
KOEMMENICH— KOHLER
decided success. — Compositions: The 1-act
opera Hagar (not prod.); Rytnond (Elberfeld,
1902); Die Suhne (Mtilhausen, in Alsatia,
1909); Symphonische Legende for orch.; and,
for pf., a Scherzo- Fantasia, a Fantasia in F m., a
Grand Fantasia in D, a Gavotte, Waltzes, etc.
Koemmenich [kom'-], Louis, b. Elber-
feld, Germany, Oct. 4, 1866; pupil of Anton
Krause at Barmen, and of Franz Kullak, W.
Pfeiffer, A. Hollander and W. Tappert at
Kullak's Academy, Berlin (1885-7). Going
to New York in 1890, he has been active as a
conductor of singing-societies, and teacher of
pf. and singing; since 1894, conductor of the
Brooklyn Sangerbund (performance of novel-
ties a specialty); in 1898 he organized an
Oratorio Society in Brooklyn for the produc-
tion of modern works. In 1912 he succeeded
Frank Damrosch as cond. of the Oratorio Soc.
(N. Y.); since 1913, also cond. of the Merv
delssohn Glee Club. — Publ. compositions:
Consist chiefly of part-songs for male chorus,
a cantata, and songs.
Koenen [kd'-|, Friedrich, b. Rheinba'ch,
near Bonn, April 30, 1829; d. Cologne, July
6, 1887. Pupil of his father (pf. and organ),
and Biermann ('cello). Ordained priest, 1854;
studied church-music at Ratisbon (1862-3)
under Haberl, Schrems, and Witt, then re-
turned to Cologne, and was appointed cathe-
dral Kapellm., and music-teacher at the Semi-
nary for Priests. He founded the 'Cacilien-
verein' in 1869, and was its president until
death. His 58 compositions include 2 masses
for male choir and 5 for mixed choir; 2 church-
cantatas; a Te Deum, motets, psalms, etc.;
also organ-preludes, and 25 songs with pf.
Koenen [koo'nen], Tilly, distinguished
concert -contralto; b. Salatiga, Java (ofDutch
parents), circa 1880. Up to her sixteenth year
she devoted her entire time to the piano, on
which she became an excellent performer; at
the suggestion of her mother she then en-
tered the Cons, at Amsterdam, where she
studied singing with Cornelia van Zanten; at
her debut in Vienna, January, 1904, in a
Lieder-recital, she made a deep impression,
and soon was recognized as one of the fore-
most concert-singers; she was received with
special favor in Germany; since then she has
made extensive tours through Europe; she
visited America in 1909-10, and created the
part of Naomi in the American premiere of
G. Schumann's oratorio Ruth, bv the Apollo
Club of Chicago (Feb., 1910); in 1915-16 she
made a second tour, which took her from coast
to coast. Queen Wilhelmina decorated her
with the Order of Orange- Nassau for Art and
Science. He voice, ranging from f-b*, is of
extraordinary fullness and beauty. Her
favorite composers are Schubert, R. Strauss,
and her compatriot, Catharina van Rennes.
474
Koessler, Hans, b. Waldeck, Bavaria, Jan.
1, 1853; pupil, 1874-7, of Rheinberger, Mu
nich; 18/7, teacher in Dresden Cons., and
conductor of the Dresden 'Liedertafel,' which
won the highest prizes at the international
contest at Cologne in 1880; 1881, Kapellm. at
the Cologne City Th.; 1882, teacher of organ
and chorus-singing at the Natl. Academy of
Music in Budapest, also taking the classes in
composition after Volkmann's decease (1883);
retired in 1908, and has lived since then in
various cities; now (1916) living again
in Pest. — Works: Opera Der Munzenfram
(Strassburg, 1902); Sylvesterglocken, secular
oratorio for ch., soli, orch. and organ; Hymne
an die Schonheit for male ch. and orch.;
Kammergesange for oboe, horn and string-
?|uintet; a symphony; Symphonic Variations
or orch.; a vln. -concerto; string-sextet, string-
quintet, 2 string-quartets; a vln.-aonata; a
'cello-sonata; Waltz-suite for pf.; a 16- part
Psalm (his first notable work, for which the
Vienna 'Tonkimstlerverein' awarded him a
prize); a mass for women's voices with organ,
choruses and songs.
Ko'fler, Leo, b. Brixen, Austrian Tyrol,
March. 13, 1837; d. New Orleans, Nov. 29,
1908. Well-known writer, critic, and singing-
teacher; from 1877, organist and choirmaster
of St. Paul's Chapel, Trinity Parish, New
York. — Works: The Art of Breathing as the
Basis of Tone-production (Sew York, 5 eds.;
Leipzig [in German], 1897); Take Care of
Your Voice, or, The Golden Rule of Health;
Selected Hymn-tunes and Hymn-Anthems.
Ko'gel, Gustav Friedrich, b. Leipzig,
Jan. 16, 1849. Pupil of the Cons. (1863-7);
then in Alsatia till 1870; editor for C. F.
Peters until 1874, was then theatre- Kapellm.
in various cities, and at Leipzig (1883-6);
1891-1903 cond. of the Museum Concerts
at Frankfort; since 1908 cond. of the 'Ca-
cilienverein' in Wiesbaden; has travelled
extensively as visiting cond. (Petrograd,
Moscow, Madrid, Barcelona, New York
[Philh. Soc., 1906]). Editor of full scores and
pf. -scores of several operas (notably Jessonda,
Die lustigen Weiber von Windsor, and Hans
Heiling). Comp. a few pf.-pieces f. 2 and
4 hands.
Kohler, Franz, b. Clinton, Iowa, Feb. 20,
1877. Pupil of Karl Halir (vl.) in Weimar
and Berlin, 1890-8; on his return to the U. S.
he was appointed leader of the Pittsburgh
Symph. Orch. (1898); member of the Men-
delssohn Trio; since 1911 prof, of vln. at
Oberlin Coll., and since 1913 cond.' of the
Erie, Pa., Symphony Orch.
Ktthler, Ernesto, eminent flute-virtuoso;
b. Modena, Dec. 4, 1849; d. Petrograd, May
17, 1907. Pupil of his father, Josef K., 1st
flutist of the court-orch. at Modena; eng.
K6HLER— KOHUT
1869 as 1st flutist at the Karltheater in
Vienna; from 1871 1st flutist of the Imp.
Orch. and soloist in Petrograd. He publ.
numerous comps. for flute (almost 100 opus-
numbers [a Konzertst&ck f. fl. and orch. is op.
94]) and some excellent studies of all degrees
of difficulty (op. 33, 55, 75, 77, 82, 89).
Also wrote an opera, Ben Achmed, and several
ballets.
• Kdhler, Ernst, b. Langenbielau, Silesia,
May 28, 1799; d. Breslau, May 26, 1847,
where he was 1st organist of the Elisabeth-
kirche from 1827. Excellent organist and
pianist, and publ. fine works for both instrs.;
also comp. 2 symphonies, 9 overtures, 12
church-cantatas, and 12 large vocal works w.
orch.
K6hler, (Christian) Louis (Heinrich),
distinguished pianist, teacher, and composer
of instructive pf. -music; b. Brunswick, Sept.
5, 1820; d. Kdnigsberg, Feb. 16, 1886. Pupil,
at Brunswick, of Sonnemann (pf.), Zinkeisen
senior and Leibrock (theory), and Zinkeisen
junior (violin); at Vienna (1839—43) pf
Sechter and v. Seyfried (comp.), and v.
Bocklet (pf.). Then Kapellm. at theatres
in Marienburg, Elbine, and (1845-6) Kdnigs-
berg, where he finally settled in 1847 as
teacher, founding an eminently successful
school for pf .-playing and theory. He received
the title of 'Royal Professor1 in 1880. He
was one of the chief promoters of the 'Allgem.
deutscher Tonkunstlerverein/ founded in
1859 at Leipzig. His reviews of new com-
positions, in the Leipzig 'Signale,' were
models of impartiality and acumen. He
was a zealous teacher (Hermann Goetz was
his pupil), and his didactic writings and
compositions obtained great vogue, the
Studies being used in most Conservatories;
he was called 'the heir of Czerny' as a pf.-
instructor. — Works: Systematische Lehrme-
thode fur Klavierspiel und Musik, in 2 vols.:
Vol. i, Die Mechanik als Grundlage der
Technik (1856; 3d ed., rev. by Riemann,
1888); Vol. ii, Tonschrifttoesen, Harmonik,
Mctrik (1858); Die Gebruder Mitiler und das
Streichquartett (1858); Fuhrer dutch den
Klavierunterricht (6th ed. 1879) is of value,
but not free from bias; further, Der Klavier-
finger satz (1862); Der Klavierunterricht, oder
Studien, Erfahrungen und Ratschldge (4th ed.
1877); Die neue Rtchtungin der Musik (1864);
Leichtfassliche Harmonic- und Generalbass-
Lehre (3d ed. 1880); Brahms und seine
Stellung in der neuern Klavierlitteratur (1880);
Der Klavierbedalzug (1882) ; AUgemeine Musik-
lehre (1883). — K. composed 3 operas: Prinz
und Maler (Vienna, 1844?), Maria Dolores
(Brunswick, 1844), and Gil Bias; a ballet,
Der Zauberkomponist (Brunswick, 1846);
music to Euripides' Helena (Vienna, 1843);
overture to Phormio (Terence); a cantata; a
Vaterunser f. 4 female and 4 male voices (op.
100); a symphony, a quartet, songs, and
some 300 pf.-works, chiefly didactic.
Ktihler, Moritz, b. Altenburg, Thuringia,
Nov. 29, 1855. Pupil of his father, then of
Stamm and M tiller- Berghaus in Chemnitz;
1873, member of Bilse s orch. in Berlin;
went to Petrograd in 1880, where he became
vtnst. in the Imp. Orch., 2d conc.-master,
and Kapellm. in 1898. Has written 2 suites,
3 serenades and several Fantasie-Tdnze for
orch.; a concerto f. vl. and orch.; a str.-
quartet; many solo pes. f. vl.; some pes. for
vcl. and pf.; an Elegy f. via. and pf.; eta
Kdhler, Oskar, b. Schkeuditz, Saxony,
May 19, 1851. Pupil of J. Brambach and J.
Tausch in Bonn and of Th. Kirchner in
Dresden; held several positions as cond.,
taught some time at Stern's Cons, in Berlin,
and is now living in Leipzig. Has written
a suite f. orch. (op. 189), and the overtures
Essolda (op. 48), Huldigungs-OuvertUre (op.
114), Lenzeszauber (op. 168), and minor works
f. orch.; some fine church-cantatas (Ich
danke dim Herrn% Licht aus dem Licht ge-
boren, etc.); pf.-pes. and choruses.
Kdhler (K.-Wttmbach), Wilhelm, b.
WQmbach, Thuringia, May 22, 1858. Taught
for some years in his native town, went to
Hamburg and then to Berlin, completing
his mus. studies under Grell and Bargiel;
now (1916) teacher at the Seminary and
cond. of St. Peter's Choir in Hamburg.
Noteworthy as a teacher and church-com-
poser. Has written masses, 2 Psalms a 8,
motets; Das Mddchen von Kola f. male ch.
and orch.; sonatas; etc.
Koho'ut, Franz, bom Hostin, Bohemia,
May 5, 1858. Pupil, 1873-6, of Skuhersky
in the Prague Organ-School. Besides inci-
dental music to various plays, he has comp.
the 1-act (Bohemian) romantico-comic opera
Babinsky (Smichov summer theatre, near
Prague, 1892; Pilsen, 1893); the 1-act (Ger-
man) dramatic opera Stella (Prague, German
Landest heater, 1896; v. succ.); and a 4-act
opera Juan de Marafta (not perf.); organ-
pieces, and pf. -pieces (many still in MSJ.
Ko'hut, Adolf, b. Mindszent, Hungary,
Nov. 10, 1847. Living in Berlin. Made Dr.
phil. (hon. c.) by Univ. of Klausenburg in
1912. Author of Moses Mendelssohn und
seine Familie (1886) \Weber-Gedcnkbuch (1887);
Friedrich Wieck (1888); Das Dresdener Hof-
ikeater in der Gegenwart (1888); Die grossten
deutschen Soubretten im 19. Jahrhundert
(1890); Joseph Joachim (1891); Bilder aus
der Musikwelt (1891); Aus dem Zauberlande
Polyhvmnias (1892); Dur- und Mollakkorde
(1894); Schiller in seinen Beziehungen zur
Musik (1905); Die Gesangskoniginnen der
475
KOL AKOVSKI— KON I NG
lettten drei Jahrhunderte (1906); for Reclam's
'Universalbibliothek' biogrs. of Auber, Meyer-
beer and Rossini.
Kolakov'ski, Alezel Antonovitch, violin-
ist; b. in Podolia, 1856; gold-medallist of the
Petrograd Cons.f 1898, then studying abroad
with government stipend; after teaching at
the Moscow Cons., and acting as soloist at
the Imp. Theatre, he became (1897) teacher
in the Kiev Music-School of the Imp. Russ.
Musical Association.
Kolar, Victor, b. (of Bohemian parentage)
Budapest, Feb. 12, 1888. Pupil of O. Sevcik
(vl.) and A. Dvorak (comp.) at the Prague
Cons., 1900-4; came to America, and joined
the N. Y. Symph. Orch. as violinist in 1907;
app. asst.-cond. in 1914. — Works: 2 str.-
quartets (E m. and E; both prod, by Saslavsky
•Quartet in 1913); A Fairy Tale, symph. poem
(N. Y. Symph. Orch., 1913); Americana,
symph. suite (ib., 1914; won 1st prize at 111.
State Teachers' Assoc, competition); Thru
Humoresques f. vl. and pf. (1915); Symphony
No. 1, in D (N. Y. Symph. Orch., 1916); 3
songs. A symph. poem, Hiawatha, was prod,
in 1906 by the Pittsburgh Symph. Orch.
(Emil Paur); in spite of its flattering recep-
tion the composer later withdrew it from
the list of his works, and considering it
immature, destroyed the score.
Kolatchev'aky, Michail Ntkolaievitch,
b. Oct. 2, 1851, pupil of Richter in the
Leipzig Cons.; has written a Ukraine sym-
phony, a string-quartet (Eb), a trio (A m.),
a Requiem f. ch., string-orch. and organ, 2
Salvum fac for ch. a cappella, songs, etc.
Kol'be, Oskar, b. Berlin, Aug. 10, 1836;
d. there Jan. 2, 1878. Pupil (1852^) of
Grell, Loschhorn, and A. W. Bach, at the
R. Inst, for Church-music; then at the R.
Acad, until 1856. Teacher of theory at
Stern's Cons., 1859-75, with the title of
'Royal Music-Director' in 1872 (on the pro-
duction of his oratorio Johannes der Taufer).
Publ. an overture to Wallenstein$s Tod; pf.-
music, songs; a Kurzgef assies Handbuch der
Generalbasslehre (1862; 2d ed. 1872), and a
Handbuch der Harmonielehre (1873).
Kolberg, Oskar, b. Radom, 1814; d.
Warsaw, 1891. Pupil of Rungenhagen in
Berlin; wrote many Polish national dances.
His chief claim to distinction is his great
collection of Polish folk-songs in 30 vols.
(Pies' ni ludu polskiego).
Kolff, J. van Santen, essayist; b. Rotter-
dam. Holland, Apr. 19, 1848; d. Berlin, Nov.
29, 1896. Wrote hundreds of mus. articles
for the German, French and Dutch press;
among them Geschichtliches und Asthetisches
iiber das Erinnerungsmotiv [a history of the
Leitmotiv before Wagner] (in vols, viii and
ix of the 'Bayreuther Blatter'); on the Wer-
deschicksale of Parsifal ('Bayreuther Taschen-
buch,' 1892); Werden und Wachsen der Faust-
Ouverfure ('Bayr. Blatter,' 1894); on the
utilization of the Faust-idea in music ('Bayr.
Taschenbuch,' 1894); on Zola und die Musik
('Berliner Sipiale,' 1896, Nos. 5, 7, 8, 13);
and many others in the 'Revue Wagnerienne,'
the Leipzig 'Musikalisches Wochenblatt,' the
Amsterdam 'Weekblad voor muxiek,' etc
Rolling, Karl W. P., composer and
music-teacher in Hamburg, where he was
born Feb. 28, 1831. His works are chiefly
attractive salon-pieces for piano; he brought
out a very successful operetta, SchmeUer-
linge (1891, Karl Schulze-Theater, Hamburg).
KolTmann, August Friedrich Chrte-
toph, b. Engelbostel, Hanover, 1756; d.
London, Mar. 21, 1829, as organist and choir-
master in the German Chapel, St. James's.
He was a somewhat eccentric theorist and
composer. — Works: The Shipwreck (a pro-
gram-symphony); 100 Psalms harmonized in
100 ways; Rondo f. pf. on the chord of
the diminished 7th; etc. Publ. Essays on
Practical Harmony (1796); First Beginning
on the Pianoforte (op. 5; n. d.); and a number
of other theoretical works. Only 2 numbers
of his own 'Quarterly Mus. Register' appeared
(1812).— See Q.-Lex.
Kdm'pel, August, violinist, called Spoor's
best pupil; b. Bruckenau, Aug. 15, 1831; d.
Weimar, Apr. 7, 1891. Studied at the Wurz-
burg Music-School, later with Spohr, David,
and Joachim. From 1844-52 he played in
the Kassel court orch., 1852-61 in that at
Hanover; after long concert-tours he became
a member of the Weimar orch., in 1863, and
leader in 1867, being pensioned in 1884.
Ktt'nlgslttw, Johann Wilhelm Cornelius
von, b. Hamburg, Mar. 16, 1745; d. May 14,
1833, at Ltibeck, where he had been organist
of the Marienkirche from 1773. He composed
many ' Abend musi ken/ following Buxtehude'i
example.
Kd'niftsldw, Otto Friedrich von, born
Hamburg, Nov. 13, 1824; d. Bonn, Oct. 6,
1898. Pupil of Fr. Pacius and Karl Hafner,
and from 1844-6 of David (vln.) and Haupt-
mann (theory) in the Leipzig Cons. After
concert-tours for 12 years (many in company
with Carl Reinecke), he was leader (1858-81)
of the Gurzenich Orch. at Cologne, also
violin-teacher in, and vice-director of, the
Cons., with the title of 'Royal Prof.' Retired
to Bonn in 1884.
Ko'ning, David, b. Rotterdam, Mar. 19,
1820; d. Amsterdam, Nov. 6, 1876. Pianist
and comp; pupil of Aloys Schmitt in Frank-
fort. From 1840, conductor of the 'Felix
Mentis' choral soc. at Amsterdam; also for
476
KONIUS— KORBAY
ten years secretary, then president, of the
Cecilia Soc.; hon. member of the Cecilia
Soc., Rome, and the Amsterdam Soc. for
the Promotion of Music. Excellent teacher,
and a talented composer. — Works: Op. 1,
Domine, sahum fac regent, w. orch.; comic
opera, The Fishermaiden; Elegy on the Death
of an Artist, f. soli, ch. and orch. (op. 22);
string-quartets; a great variety of vocal
music; 7 pf. -etudes in the style of Schmitt,
Clementi, Cramer, etc.; sonatas, and a
Vrcdemarsch, for pf.; etc.
Konius, Georgy Eduardovltch, b. Mos-
cow, Sept. 30, 1862. Pupil at the Cons, there
of Taneiev and Arensky; from 1891-99 he
taught there; since 1902 prof, at the music-
school of the Philh. Soc.— Works: Op. lf
Scenes enfantincs, suite f. orch. and ch.; op.
8, Cantata in memory of Alexander III; op.
23, From the World of Illusion, symph. poem;
op. 30, La forit bruisse, symph. poem after
W. Korolenko; Daita, ballet (Moscow, 1896);
pf.-pes. and songs.
Kon'nemann, Arthur, b. Baden-Baden,
Mar. 12, 1861; pupil of his father (cond. of
the 'Kurorchester'), and G. Krasselt; theatre-
cond. in several German towns; since 1887
in Mahrisch-Ostrau as director of a music-
school and head of the Orchestral Society. —
Works: The operas Gawrilo (Rostock, 1882),
Der Bravo (Miinster, 1886), Vineta [Die ver-
sunkene Stadt] (Leipzig, 1895), Der tolle Eber-
slein (Munich, 1898; 2d Luitpold Prize); Die
Madonna mil dem Mantel (Ostrau, 1912);
symphonic suite Indien; orchl. scherzo
Lichtelfentanz; overture Der Herbst (op. 4);
Symphonisch-odisches Erdffnungsspiel; an
interlude, Vision; concerto f. vl. and orch.
(op. 53); pf. -pieces; choruses, ballads, songs.
Kon'radln, Karl Ferdinand, operetta-
composer; b. St. Helenenthal, n. Baden, L.
Austria, Sept. 1, 1833; d. Vienna, Aug. 31,
1884, where he prod. 11 operettas.
Konta, Robert, b. Vienna, Oct. 12,
1880; comp. of the opera Das kalte Hen
(Prague, 1908) and a pantomime, Der bucklige
Geiger (ib., 1909); also of a symphony and
songs.
Kont'skl, Antoine de, eminent pianist;
b. Cracow, Oct. 27, 1817; d. Ivanitchy, Dec.
2, 1899. Pupil of Joh. Markendorf at War-
saw, and (1830) of Field at Moscow. On
numerous concert-tours he created a furore
by the brilliancy, suaveness, and delicacy of
his technique; lived in Paris till 1851, in
Berlin for about 2 years (app. court pianist),
in Petro^rad 1854-67, also concert lzing in
various cities, then in London as a teacher
of advanced pf.-playing. He traversed the
United States in 1885-6, and later lived for
a time in Buffalo, N. Y. In 1896-8 (at the
age of 80!) he made a {grand pianist ic tour
around the world, ending at Warsaw; in
January, 1899, he was giving concerts in
Petrograd. — Works (technically difficult, but
generally of mediocre quality) : LeReveil du lion
(op. 115), very popular both for pf. and as
arr. f. orch.; 2 pf. -concertos; the waltzes La
victorieuse (op. 89) and Souvenir de Biarritz
(op. 278); Grande Polonaise (op. 271); La
nuit sur la mer (op. 259) ; also an opera, Les
deux distraits (London, 1872); an operetta,
Le Sultan de Zanzibar (N. Y., 1886); an
oratorio; symphonies, overtures, masses, etc.
— His brother,
Kont'skl, Apollinalre de, b. Warsaw,
Oct. 23, 1825; d. there June 29, 1879. Vio-
linist, pupil of his brother Charles (b. Sept.
6, 1815; d. Paris, Aug. 27, 1867); when but
4, he could play concertos by Rode, and later
became Paganini's favorite pupil in Paris.
— Toured France and Germany (1847), made
a sensation in Petrograd (1851), and from
1853-61 was Imp. chamber-virtuoso there;
then settled in Warsaw, and in 1861 founded
the Cons., of which he was Director till
death. — Violin-music of slight "value. — A
fourth brother, Stanislas (b. Cracow, Oct.
8, 1820), a violin-teacher in Paris, publ.
light violin-pieces.
Kopeck? [koh-pghts'ke], Ottokar, violin-
ist, b. Chotebor, Bohemia, Apr. 29, 1850.
Pupil (1864-70) of Prague Cons.; leader of
the Philharm. Orch., Hamburg, cond. of
the 'Schaeffer' Orch.; is now (1916) teacher
in the Cons. He was the teacher of the
princes Friedrich Wilhelm and" Adalbert of
Prussia.
Koptialev [k&hp-t'yah'y&hv], Alexander
Petrovitch, b. Petrograd, Oct. 12, 1868.
Has written for orch. Cortege de la Vie
(op. 2), Pohne SUgiaque (op. 11), Oriental
Dances; Psalm 18 f. bar. solo, ch. and pf.
(op. 15); pf.-pes. (op. 9, Scenes du Bat mas-
que*; op. 14, Trois Precludes; etc.); songs.
Kopylow [koh-pulohv], Alexander, born
Petrograd, Tuly 14, 1854; studied in the
Imp. Chapel, where he is now (1916) vocal
instructor. — Works: Op. 7, Andantino for
str. -quartet; op. 10, Scherzo f. orch.; op. 11,
Prelude and Fugue f. str.-quartet; op. 14,
Symphony in C; op. 15, str.-quartet in G;
op. 23, do. in F; op. 31, Concert -overture; op.
29, Souvenir de Peterhof f . vl. and pf. ; pieces
f. pf. (op. 9, Etude; op. 12, Trois fugues; op. 17,
4 miniatures; op. 36, 4 musical pictures; op.
53, 14 Tableaux musicals de la vie enfantine;
op. 60, Deux etudes; etc.); choruses and songs.
Korbay [kdhr'baht], Francis Alexander,
b. Pest, Hungary, May 8, 1846; d. London,
Mar. 9, 1913. Tenor singer (pupil of Roger)
and pianist (pupil of Liszt). Sang at the
477
KORESHTCHENKO— KOSELITZ
Hungarian Opera, Pest, 1865-8; toured
Germany, England, and America as a concert-
pianist; settled in New York, 1871, as
teacher of voice and pf.; went to London in
1894 as prof, of singing at the R. A. M.,
where he taught till 1903; from then on as
private teacher. His many vocal recitals
were very successful. — Works: Nuptiale,
f. orch. (often perf.); Le matin, f. solo voice
and pf. (arr. by Liszt f. orch.); settings f.
vocal solo of Lenau's SckUflieder; Hungarian
Folk-songs transcr. f. pf.; pf. -pieces; etc.
Koreshtchenlto, Arseni Nikolalevitch,
neo- Russian composer; b. Moscow, Dec. 18,
1870, pupil of Taneiev (pf.) and Arensky
(comp.j at the Cons, there, graduating 1891
with the gold medal; then appointed teacher
of counterpoint and mus. form at the Cons,
and the Synodal School. — Publ. works: The
operas Belshazsar (Moscow, 1891), The Angel
of Death, and The Ice Palace (Moscow. 1900);
music to Euripides' Women of Troy (op. IS)
and Iphigenia in Aulis (op. 18); a ballet,
The Magic Mirror (Moscow, 1902); the orchl.
pieces Barcarolle (op. 6), Erzdhlung (op. 11),
Scene poHique (op. 12), 2 Symphonische
Bilder (op. 14), Armenian Suite (op. 20),
Scenes nocturnes (op. 21), Symphonie lyrique
(op. 23), Musikaltsche Bilder (op. 27a); a
fantasy f. pf. and orch. (op. 3); cantata Don
Juan, f. ch. and orch. (op. 5); Armenian
Songs f. do. (op. 8); Georgian Songs f. do.
(op. 27b); a string-quartet (op. 25); 2 pes. f.
vcl. and pf. (op. 34); choruses (op. 16, 29,
32, 37); instrl. soli, pf.-pieces, songs.
Korga'nov, Genari, Russian pianist; b.
Kvarely, Caucasus, May 12/ 1858; d. Rostov-
on-the-Don, Apr. 12, 1890. Pupil of Reinecke
(Leipzig) and L Brassin (Petrograd). — Publ.
about 40 works, chiefly for piano.
KoVner, Christian Gottfried, b. Leipzig,
July 2, 1756; d. Berlin, May 13, 1831. He
was the father of Theodor K., the poet.
Composed songs, etc.; and publ. (in the
'Horen,' 1775) an essay Vber den Charakter
der Tone oder uber Charakterdarstellung in
der Musik.
Kdr'ner, Gotthllf Wllhelm, b. Teicha,
n. Halle, June 3, 1809; d. Erfurt, Jan. 3,
1865, as a music-publisher. He founded his
business in 1838, and publ. many organ-
works; in 1886 the firm was united with
that of C. F. Peters. He also founded the
'Urania,' a periodical for organists, in 1844
(present editor, M. Puttmann [since 1908]).
Korngold, Erich, a composer of remark-
able precocitv; b. BrUnn, May 29, 1897.
Pupil of his father, Julius K. (b. Dec. 24,
1860; since 1902 mus. critic of the 'Neue
Freie Presse' in Vienna) and of R. Fuchs,
A. von Zemlinsky and H. Gradener in
478
Vienna. At the age of 1 1 he wrote a panto-
mime, Der Schneemann, which was prod, at
the court opera in 1910; the following year
Nikisch played his Ouverture tu einem Sckau-
spiel (op. 4) in a Gewandhaus concert. In
the same year the youthful composer gave a
concert of his own comps. in Berlin, appearing:
also as a pianist. Since then his works have
been heard in the larger cities of Germany,
England and America. As vet K. is under
the influence of R. Strauss, his form is con-
fused and the orchestration overloaded; but
there is sufficient merit in his works to make
it worth while watching his development. —
Other works: Op. 1, Pf.-trio in D; op. 2,
Pf. -sonata in E (No. 2; No. 1 [D m.] has no
op.-number); op. 3, 7 Mdrchenbilder f. pf.;
op. 5, Sinfonielta in Bb; op. 6, sonata f. vl.
and pf. in G. Two 1-act operas, Der Ring
des Polykrates and Violanta, were produced
on the same evening in Munich (Mar. 28.
1916).
Kornmuller, Utto, b. Straubing, Bavaria,
Jan. 5, 1824; d. Metten, Bavaria, Feb. 15,
1907. Was ordained to the priesthood in
1847, entered the Benedictine order in 1858,
and became choir-dir. of the monastery at
Metten; until 1903 he was pres. of the
Ratisbon branch of the 'Cacilienverein'; died
as prior. Comp. a number of masses and
motets; publ. a Lexikon der kirchlichen Ton-
kunst (1870; 2d ed. in 2 vols., 1891, '95),
Der katholische Kirchenchor (1868), Die Musik
beim liturgischen Hochamt (1871); also con-
trib. many articles to the 'Kchm. Jahrb.'
and 'Monatshefte f. Musikgeschichte.
Koschat, Thomas, composer and bass
singer; b. Viktring, n. Klagenfurt, Aug. 8,
1845; d. Vienna, May 19, 1914. While a
student of natural science at Vienna, Esser
induced him to join the court-opera chorus,
in which he soon became the leader. In
1874 he also joined the cathedral-choir; in
1878, the Hofkapelle. In 1871 he publ. his
first Carinthian quartets for men's voices;
they attained immense popularity, and were
his specialty (over 100 have appeared). He
wrote the poems (in the Carinthian dialect)
as well as the music. With four other solo
singers, he organized the famous 'Karnthner
Quintett' in 1875. His 'Liederspiel' Am
Worthersee, containing many of his favorite
vocal numbers, had great vogue in Vienna
and elsewhere; he also prod, a 4-act 'Volks-
stQck mit Gesang/ Die Rosentkaler Nachtigall,
and the 'Singspiel' Der Biirgermeister von St.
Anna (Prague, 1893; succ.) [given in Italian
as Un colpo di fuoco]. — Cf. M. Marold, Das
Kdrntner Volkslied und Th. K. (Leipzig,
1895); C. Krobath, Th. K., der Sanger Karn-
tens (Leipzig, 1912).
Kd'selitz, Helnrich, b. Anna berg, Saxony,
KOSLECK— KOTHE
Jan. 10, 1854. Pupil of Richter (Leipzig
Cons.), and Nietzsche (Basel). Lived in
Italy from 1878-91; in 1900 as librarian at
the Nietzsche Archiv in Weimar; now (1916)
in retirement at Annaberg. Under the pen-
name of 'Peter Cast* he prod, the operas
WMram (1879), Scherz, List und Roche
(1881), Die heimliche Ehe (Danzig, 1891;
score printed 1901 as Der Lowe von Venedig);
a^ fest. play, Walpurgisnocht (at the open-
air theatre on the 'Hexentanzplatz' [Harz
Mts.]t 1903). Two other operas, Konig
Wenzel and Orpheus und Dionysos have not
been prod. Has also written a symphony,
HeUe Ndchte; a concert-overture; a str. -quar-
tet; choruses and songs. With A. Seial he
ed. vol. i of Nietzsche's collected letters;
with Elisabeth Forster-Nietzsche, vol. iii, 2
(letters to Bfllow). — Cf. L. Brieger-Wasser-
vogel, P. G.t in 'Monographien moderner
Musiker' (vol. i, Leipzig, 1906).
Koeleck, Julius, b. Neugard, Pomerania,
Dec. 3, 1825; d. Berlin, Nov. 5, 1905. Vir-
tuoso on the trumpet and cornet d pistons;
member of the royal band, Berlin, and
teacher of trumpet and trombone at the
Hochschule. Founder (1871) and leader of
the famous 'Kaiser-Cornett-Quartett.' Publ.
a method f. trumpet and cornet.
Kdssler, Hans. See Koesslek.
Kossma'ly, Carl, b. Breslau, July 27, 1812;
d. Stettin, Dec. 1, 1893. Pupil (1828-30) of
Berger, Zelter and Klein at Berlin; theatre-
Kapellm. at Wiesbaden, Mayence, Amster-
dam, Bremen, Detmold, and (1846-9) Stettin,
where he settled as teacher and concert-
conductor. — Works: Schlesisches TonkUnstler-
Lexikon (1846-7); Mozart's Opern (1848,
after Oulibishev's 'Mozart'); Ueber die An-
wendung des Programmes zur Erkldrung
musikalischer Compositions (1858); Ueber
Richard Wagner (1874, anti- Wagnerian);
contributions to mus. periodicals; symphonies,
overtures, instrl. and vocal works, songs, etc.
Kdstlin, Heinrlch Adolf, b. Tubingen,
Oct. 4, 1846; d. Cannstadt, June 4, 1907.
Student of theology, tutor, chaplain, etc.;
in 1875 he united the choirs of three towns
(Sulz, Kalw, Nagold) for church-music per-
formances, the germ of the Wiirttemberg
Evangelical 'Kirchengesaneverein,' organized
bv him in 1877, the festivals of which he
also conducted for years. The widespread
interest aroused by this organization led
him to found in 1883, with Dr. L. Hallwachs,
the 'Evangelise her Kirchengesangverein fUr
Deutschland,' the annual meetings of which,
in different cities, have come to be events of
prime importance. In 1916 the association
embraced 21 provincial branches with 2020
choirs. K. was vice-pres. from its foundation
till 1903, when at the death of the pres.,
Dr. Hallwachs, he became pres. While
preacher in Friedrichshafen (1878), he also
cond. the Oratorio Soc. there; went to
Stuttgart in 1881, to Friedberg in 1883, and
(1891) to Darmstadt; prof, of theol. at
Giessen from 1895-1900, when he retired. —
Publ. Geschichte der Musik im Umriss (1873;
6th rev. and augm. ed. by W. Nagel, 1910);
Die Tonkunst: Einfuhrung in die Asthetik der
Musik (1878); a biographical sketch of his
mother, Josephine Lang- Kdstlin (the song-
comp.); Luther als Voter des evang. Kirchen-
liedes (1882); Geschichte des christl. GoUes-
dienstes (1886); Die deutsche Tonkunst, in
Meyer's 'Das deutsche Volkstum' 1898); also
book-reviews in the 'Deutsches Litteratur-
blatt' and the Augsburg 'Allgemeine Zeitung.'
Kdstlin, Karl Rein hold t b. Urach, Wurt-
temberg, Sept. 28, 1819; d. Apr. 12, 1894, at
Tubingen, as prof, of esthetics and art-
history.— Publ. Asthetik (2 vols., 1863-69),
treating incidentally of music; an essay on
mus. esthetics in Vischer's Asthetik, vol. iii;
and a pamphlet on Wagner.
Ko'tchetov, Nikolai Razumnikovitch,
b. Oranienbaum, July 8, 1864; law-student in
Moscow, but soon devoted himself to music
as composer, writer and conductor. — Works:
Opera The Terrible Revenge (Petrograd, 1897);
a symphony (op. 8), an Arabian Suite f.
orch. (op. 3), a Waltz-Serenade f. string-orch.,
piano-pieces, and songs.
Ko'tek, Joseph, b. Kamenez-Podolsk,
Govt, of Moscow, Oct. 25, 1855; d. Davos,
Switz., Jan. 4, 1885. Violinist; pupil of
Moscow Cons., later of Joachim; from 18S2,
teacher at the Hochschule, Berlin. — Duets,
soli, and 6tudes, f. vln.
Ko'the, Aloys, brother of Bern hard; b.
Grobnig, Oct. 3, 1828; d. Breslau, Nov. 13,
1868, as teacher of music at the Teachers'
Seminary. He was a pupil of Grell and Bach
in Berlin. — Publ. a mass f. men's voices;
songs, pf. -pieces, etc.
Ko'the, Bernhardt b. Grobnig, Silesia,
May 12, 1821; d. Breslau, July 25, 1897.
Pupil of the R. Inst, for Church-music,
Berlin, and of A. B. Marx; 1851, church mus.
director and teacher at Oppeln; 1869, teacher
of music at the Teachers' Seminary, Breslau,
succeeding his brother Aloys. Here he
founded the Cacilien-Verein for Catholic
church-music. — Publ. Musica sacra (sacred
songs f. men's voices); a book of organ-
preludes; organ-pieces; motets; and 2 pam-
phlets, Die Musik in der katholischen Kirche
(1862) and Abriss der Musikgeschichte fur
Lthrer seminar e und Dilettanten (1874; 8th ed.
by R. v. Prochazka, 1908); edited the 4th
ed. of Seidel's Die Or gel und ihr Bau (1887);
and, with Forchhammer, a Fiihrer durch die
479
KOTHE— KOWALSKI
OrgelliUeratur (1890); new ed. by Burkert
(1909).
Ko'the, Wllhelm, brother of preceding;
b. Grdbnig, Jan. 8, 1831; d. Habelschwerdt,
Dec. 31, 1897. Pupil of the R. Oreel-Institut
at Berlin, from 1871 music-teacher at the
Teachers' Seminary in Habelschwerdt, Silesia.
He publ. a pamphlet on Friedrich der Grosse
als Musiker; methods for violin and voice;
songs, and pf.-music.
Kothen [koh'ten], Karl Axel, b. Frederiks-
hamn, Finland, Aug. 15, 1871. Pupil of We-
gelius at the Helsingfors Cons., 1894-5; st. in
Rome with Sparapani (singing) and A. Lu-
cidi; then with A. Cotogni in Petrograd,
F. Forsten in Vienna, E. Colonne and G.
Villa in Paris; from 1900-6 he lived as con-
cert-singer (bar.) and teacher in Helsingfors,
where in 1904 he founded the Tinsk Mtisik-
revy'; in 1906 he went to Munich and st. for
two years comp. and instrumentation with
Thuille and Courvoisier; since 1908, prof, of
singing at the Helsingfors Cons. — -Works:
Vagorna sjunga for male ch. and orch.; Fin-
lands namn for bar. solo, male ch. and orch. ;
Till musiken for soli, ch. and orch.; orchl.
suite (incid. music) to F. Lindberg's Kristina
Vasa; a festival cantata for the tercentenary of
the founding of Vasa; pf. -pieces; songs (17
opus-numbers).
KotUal'nen, Otto, b. Heinavesi, Finland,
Feb. 5, 1868. Pupil of Wegelius and Sibelius
at the Cons, and the orch. -school of the
Philh. Soc. in Helsingfors; studied also in
Berlin; has cond. many festivals; music critic
of 'Helsingin Sanomat' and the mus. journal
'Savdetftr.' — Works: Suite for orch.; Legend
for string-orch.; a cantata, Cygncus; Festsdng
for ch. and horns; incid. music for several
Finnish dramas; pieces for vln. and pf.;
choruses and songs.
KottTioflf, Lawrence, b. Eversberg, Ger-
many, Dec. 11, 1862. Pupil, in Berlin, of
Emil Breslaur (pf.), Fr. Grunike (org.), and
A. Buchhoiz (cpt. and orchestration). Settled
in St. Louis, Mo., in 1886. Is a Bach special-
ist; a critic, and a successful teacher. Has a
Scripto- Analysis of Music in MS., and is a
frequent contributor to scientific periodicals.
Kdtflltz, Adolf, b. Trier, Sept. 27, 1820;
killed while hunting in Uralsk, Siberia, Oct.
26, 1860. Precocious violinist, playing con-
certos by Rode and Mayseder in his seventh
year, and giving public concerts at ten years
of age. He lived for 3 years under Liszt's
Crotection in Paris; was leader in the Konigs-
erg Th., 1848-56, then made a long concert-
tour through Russia and Siberia, and settled
at Uralsk as music director. Publ. 2 fine
string-quartets. — His wife Clothilda, nee
Ellendt (1822-1867), was an excellent sing-
ing-teacher in Kdnigsberg.
Kotzeluch. See KoJeluch.
Kot'zolt, Helnrich, noted vocal teacher
and chorus-conductor; b. Schnellewalde, Up-
per Silesia, Aug. 26, 1814; d. Berlin, July 2,
1881. Student of philology at. Breslau, but
S referred music, studying under Dehn and
Uingenhagen at Berlin, 1836-8. Bass singer
at the Danzig opera, 1838-42; then first solo
bass in the Berlin cathedral-choir, of which
he became 2d conductor in 1862. In 1849 he
founded the 'Kotzolt Gesangverein' (a cap-
Sella), which he conducted until he died (still
ourishing; pres. conductor [1916] Leo Zell-
ner). He received the titles of 'R- Musik-
direktor' in 1866, and 'Professor* in 1876.
Publ. a Method for a cappella singing (six eds.) ;
the 54th Psalm, for double ch. a capp. ; Lobd
den Herrn, alle Heiden, for 8-part ch. ; etc.
Kotz8ch'mar, Hermann, b. Finsterwalde,
Germany, July 4, 1829; d. Portland, Me.,
April 12, 1909. His father taught him to play
the orchestral instrs. (vln., flute, clar., French
horn, trombone, etc.) and the organ; he st.
further in Dresden under his uncle Hayne
(pf.) and Jul. Otto (comp.), after 1839. He
played in the R. Body Guards' band, and in
the opera-orch.; went to America with the
Saxonia Band in 1848, and settled in Port-
land, Me., in 1849. Here, besides displaying
noteworthy activity as a teacher, he was org.
at the First Parish Ch. for 47 years, and then
at the State St. Ch.; conducted the 'Haydn
Association' for over 30 years, also other
choral societies in the State of Maine. Publ.
numerous vocal quartets (Te Deum, Dcus
misereatur, Benedtctus, Oh Land, oh Lord,
Rejoice in the Lord, Barcarole, etc.); songs;
and pf. -pieces.
Kovarovlc [koh-vahr/zh6h-vits], Karl, op-
era-composer; b. Prague, Dec. 9, 1862. Pupil
of the Prague Cons., and of Fibich in comp.;-
since 1899, conductor and director of the Nat.
Bohemian Th., Prague. He is one of the few
Bohemian composers that show the influence
of French models; some of his operas almost
rival Smetana's in popular favor. — Works:
The operas (all at Prague) ZenichovS (The
Bridegrooms; 1884); Cesta oknem (Through
the Window; 1886); Noc Simona a Juda (The
Night of Simon and Judas; 1893); Psohlavci
(Dog-heads; 1898); Na starSm MidU (On the
Old Bleaching-ground; 1901); Fraquita (1902).
His first ballet, HaSis (1884), was followed by
6 more (3 under the pen-name 'Charles
Forgeron'). Has also written a pf. -concerto,
choruses and songs.
Kowal'ski, Henri, talented pianist, and
composer of light pf.-pieces; b. Paris, 1841; d.
Bordeaux, July 8, 1916. Pupil of Marmontel
(pf.) and Reber (comp.). Frequently visited
London. — Op. 9, Barcarolle; op. 10, Polonaise
de concert; op. 13, Marche hongroise; op. 16,
480
K02ELUCH— k ram m
12 Caprices en forme d'Hudes; op. 68, Barca-
rolle chinoise; op. 79, SirSnade japonaise; etc.
Koieluch [k6h'zh*h-166h], Johann An-
ton, b. Wellwarn, Bohemia, Dec. 13, 1738;
d. Prague, Feb. 3, 1814. He was a chorister
at St. Veit'sCh., and a pupil of Seegert, at
Prague; studied later under Gluck and Gass-
mann, Vienna. Church music director at
Vienna and Prague; then Kapellm. at the
Metropolitankirche at Prague. His operas,
oratorios, masses, and other church-music re-
mained in MS. — His cousin,
Ko'zeluch [Kotzeluch], Leopold Anton,
b. Wellwarn, Dec. 9, 1752; d. Vienna, May 7,
1818 [Grove]. Law-student at Prague, 1765;
his teacher in music was the above cousin,
and the' success of a ballet of his own at the
National Th., Prague, in 1771, caused him to
adopt the profession of music. Within six
years he wrote 24 more ballets, 3 panto-
mimes, and incidental music; became music-
master to the Archduchess Elisabeth at
Vienna in 1778, and followed Mozart as court
composer in 1792, which proves the estima-
tion in which he was held as a composer. He
was a brilliant pianist, and in high favor as a
teacher amon^ the aristocracy. His composi-
tions are of little interest to-day. They in-
clude the operas Le Motet (Vienna, 1780),
Didone abbandonata (1795?), Giuditta, o la
liberazione di Betulia; Deborah und Sisara;
the oratorio Mose in Egitto (1787); several
cantatas; 30 symphonies; nearly 50 concertos
for pf.; a quantity of other pf. -music; cham-
ber-music; etc. — Cf. Thayer's Beethoven (iii,
271).— See Q.-Lex.
KoSlow'ski, Josef Antonovltch, b. War-
saw, 1757; d. Petroerad, Feb. 11, 1831.
During the Russo-Turkish war of 1787-9 he
attracted the attention of Count Potemkin,
who induced him to come to Petrograd,
where he became inspector of the Imperial
theatre-orchestras and director of the court
balls. His polonaises enjoyed extraordinary
popularity, and one, Raise Shouts of Victory
(for ch. and orch.), for a long time figured as
the Russian national hymn; he wrote incid.
music to the tragedies (Edipus in Athens
(1804), Fingal (1805), Deborah (1810), King
(Edipus (1811), Esther (1816); also several
masses; a Te Deum for 2 choruses and orch.;
a Requiem (op. 14, El? m.) on the death of
King Stanislaus August of Poland (1798; also
performed at the funeral of Tsar Alexander I
of Russia, 1826).
Kraft, Anton, b. Rokitzan, n. Pilsen,
Dec. 30, 1752; d. Vienna, Aug. 28, 1820.
'Cello- virtuoso; pupil of Werner at Prague,
and of Haydn (comp.) at Vienna. Played in
the orchestras of Prince Esterhazy (1778-90),
Prince Grassalkovics (1790-5), and Prince
Lobkowitz (until his death).— Works: 'Cello-
concerto; 6 sonatas for 'cello with bass; Di-
vertissement for do.; 3 duos concertants for
vln. and 'cello; 2 'cello-duos; also trios for 2
barytones (which he played with Prince Es-
terhazy).— His son and pupil,
Kraft, Nicolaus, also a 'cellist of renown;
b. Esterhaz, Hungary, Dec. 14, 1778; d. Stutt-
gart, May 18, 1853. Went on concert-tours
with his father while guite young; played in
Dresden with Mozart (1 789) ; went to Vienna
in 1790, and became a member of Prince Karl
Lichnowsky's quartet (the 'Schuppanzigh
Quartett'), famous for its production of
Beethoven's works; was chamber-musician to
Prince Lobkowitz, who sent him to Berlin in
1791 to study for a year with Duport. After
concerts in Berlin, Leipzig, Dresden, and
Prague, he returned to Vienna, and joined the
court orch. (1809); finally, he entered the
Stuttgart court orch. in 1814. Pensioned,
after an accident to his hand, in 1834. —
Works: 5 'cello-concertos; 6 duos and 3
Divertissements for 2 'celli; a 'cello-fantasia
with string-quartet; Polonaise (op. 2) and
Bolero (op. 6), for 'cello with orch.; and
other valuable 'cello-music. — His son, Fried-
rich, b. Feb. 12, 1807, was for years 'cellist
in the Stuttgart court orch.
Krai, Johann Nepomuk, b. 1826; d.
Tulln, n. Vienna, 1895 (?). Viennese band-
master; comp. numerous popular marches
and dance-music (130 opus-numbers).
Kramer, A. Walter, b. New York, Sept.
23, 1890. Was educated at the Coll. of the
City of N. Y., graduating in 1910; since
then member of the staff of 'Musical America' ;
contrib. to various mus. journals. He has
written the chapter on The Modern Italians
in The Art of Music' (14 vols., N. Y., 1916).
— Comps. for orch. : Op. 16, Two Symphonic
Sketches; op. 24, No. 2, Gavotte in E; op. 28,
No. 1, A Night Song; op. 35, Symphonic
Rhapsody in F m., for vl. and orch.; op. 37a,
Two Sketches; op. 44, The Tragedy of Nan,
symph. poem after J. Masefield's drama; op.
45, The Lady of Ceret, cantata for sop. solo,
mixed ch. and orch.; pes. for vl. and pf.; do.
for vcl. and pf. ; pf .-pes. ; orean-pes. ; choruses
(a capp. ana w. instrl. ace.); songs.
Kramm, Georg, b. Kasscl, Dec. 21,
1856; d. Dusseldorf, Oct., 1910. Pupil of
Dilcher, Kaletsch and Rundnagel in Kassel;
violinist in the court orch. there; after
playing some time in orchestras in Stettin
ana Hamburg, he went to Dusseldorf for
further study under Tausch; from 1896 cond.
of the 'Mannergesangverein' there and in
Rheydt, prof, at the Cons, and teacher of
singing at the 'Luisenschule.' — Works: The
opera Leonore (Dusseldorf, 1903); Der
Felsenstrom, cantata for solo, ch. and orch.;
the orchl. works Johannes, overture (op.
481
KRANTZ— KRAUSE
22); Fest bet Herodes: Salome lanzt (op. 23);
Polnische Festmusik (op. 24); Andalusische
Serenade (op. 25); Romanze for vcl. and pf.
(op. 27); pL-pcs. (sonata in Df Humoreske,
etc.); songs. In MS. he has 2 other operas
and 2 symphonies.
Krantz, Eugen, b. Dresden, Sept. 13,
1844; d. Gohrisch, n. Konigstein, May 26,
1898. Pianist; pupil in the Dresden Cons, of
Doring, Leon hard, Ad. Reichel, Rietz, Ftir-
stenau; then taught in Dresden, was chorus-
master at the court opera 1869-84, and began
teaching at the Cons., taking the highest
choral class in 1884, and assuming the
directorship in 1890 after acquiring the
institution by purchase. An excellent accom-
panist and Bach player; he publ. some songs,
and a Lehrgang im Klavierunterricht (1882).
Received the title of 'Professor' in 1882.
From 1874-6 he was critic for the Dresden
'Presse'; 1886-7, for the 'Nachrichten.'
Kraus, Alessandro (baron), b. Frankfort,
Aug. 6, 1820; d. Florence, Sept. 22, 1904.
Co-founder of the 'Tonkunstlerhilfsverein' in
Frankfort and of the Florentine 'Societa del
Quartette*'; famous for his extensive and very
valuable collection of mus. instruments, which
after his death was acquired by Wilhelm
Hcyer (q. v.) of Cologne.
Kraus, Alessandro (baron), son of pre-
ceding; b. Florence, Oct. 12, 1853; excellent
pianist. Has publ. Esercizi elementari for pf.
(1873); Le quattro scale della moderna tonalitd
(1874; also in Fr.); Ethnographic musical* :
La musique au Japan (1878; 2d ed. 1879);
Catalogo della sua collezione etnografica musi-
cale (1901); Appunti sulla musica dei popali
nordici (1907).
Kraus, Ernst, dramatic tenor; b. Erlangen,
Bavaria, June 8, 1863. Studied with Cesare
Galliera at Milan 1891-2, and with Frau
Schimon- Regan at Munich until 1893. Con-
cert-debut at a Kaim Concert in Munich,
Jan. 18, 1893; opera -debut at Mannheim,
Mar. 26, 1893, as Tamino in Die Zauberflote;
member of the Mannheim Opera till 1896,
and then engaged at the Court Opera, Berlin,
where he has been without interruption since
then; is also R. Prussian chamber-singer,
etc. Four seasons in America at M. O. H.
(the last with Conried, 1903-4); has likewise
sung in England, Austria, Hungary and
Russia. Repertory, 45 rdles actually sung
on the stage, including all the leading Wagner
tenor-parts; favorite roles are Siegfried, Sieg-
mund and Tristan. In 1901 he sang Sieg-
mund at Bayreuth.
Kraus, Felix von, eminent dramatic and
concert-basso; b. Vienna, Oct. 3, 1870. St.
musicology at the Univ. of Vienna (Ph. D.,
1894); with the exception of 2 months'
482
instruction from Stockhausen, entirely self-
taught in singing. His tours of Germany,
Austria, England and France established his
reputation as one of the foremost lieder-
and oratorio-singers; made his debut as a
dramatic singer in 1899 at Bayreuth as
Hagen, and during the same summer appeared
also as Gurnemanz; since then he has partici-
pated in the festivals every summer, and has
also appeared as star at some of the larger
German opera-houses, Covent Garden, and
Vienna. His repertoire consists exclusively
of the bass rdles in all of Wagner's works.
Made 'k. k. dsterr. Kammers&nger' in 1905;
since 1908 prof, of the 'Meisterklasse* for
singing at the Kgl. Akademie der Tonkunst
and 'Vortragsmeister' at the Kgl. Hof- und
Nat.-Th. in Munich. In 1899 he married
Adrienne Osborne (b. Buffalo, 1873; pupil
of Marie Gotze and her husband), also a
distinguished dramatic and concert-singer
(contralto). Like her husband, she sings
only Wagner rdles.
Kraus, Joseph Martin, b. Miltenberg, n.
Mayence, June 20, 1756; d. Stockholm, D«c
15, 1792. Pupil of Abbe Vogler in Mannheim;
went to Stockholm, became in 1778 chorus-
master at the opera, and was app. Kapellm.
in 1781 ; at the expense of the king he travelled
some years in Italy, France and England,
and on his return in 1788 succ. Uttini as
Hofkapellm. — Works: The operas Alsira
(Stockholm, 1777), Proserpina (ib., 1780),
Soliman II (ib., 1788), Aneas in Carthago
(ib., 1790); symphonies, overtures, str.-
quartets; sacred and secular songs; also
publ. a pamphlet, Etwas von und uber Musik
(1777). His autobiogr. (MS., in Swedish) is
preserved in the R. Library in Berlin.
Krau'se, Anton, pianist, conductor, com-
poser; b. Geithain, Saxony, Nov. 9, 1834;
d. Dresden, Jan. 31, 1907. Taught from his
sixth year by cantor Dietrich; "then, at
Dresden, by Fr. Wieck, Reissiger, and
Spindler. Debut as pianist at Geithain,
1846. Studied 1850-3 in Leipzig Cans,
under Wenzel, Moscheles, Hauptmann, Rich-
ter, Rietz, and David. 1853-9, music-
teacher, from 1856 also conductor of the
Leipzig Liedertafel; in 1859 succeeded Rei-
necke at Barmen as director of the Singverein
and the Konzertpesellschaft (retired 1897,
his successor being Richard Stronck of
Mttlheim-on-Ruhr); 1877, Royal Music-
Director; 1894, Professor.— Works: Op. 32,
Prinzessin Uset 'Riibezahl Legend' for soli,
female ch., pf. and declamation; op. 16,
Kyrie, Sanctus and Benedict us for soli, ch.
and orch.; op. 29, 4 Gesange for mixed
chorus and orch.; op. 29, 4 Gesange for
mixed ch.; a score of songs; a large number
of instructive pf. -pieces (18 solo sonatas, 13
KRAUSE— KRAUSS
sonatas for 4 hands, a sonata for 2 pfs. [op.
17], technical studies, 10 melodious studies
for advanced players [op. 28), 12 studies for
young performers [op. 31], 10 studies for the
left hand [op. 15], sonatinas, etc.). Also
edited Czerny's op. 139, 299, 636, 740;
publ. a coll. of classical sonatinas, and a
Library for Two Pianofortes' (18 books).
Krau'se (Prof. Dr.), Eduard, b. Swine-
milnde, Mar. IS, 1837; d. Berlin, Mar. 28,
1892. Pupil of Kroll at Berlin and Haupt-
mann at Leipzig. From 1862 in Stettin, as
pianist, teacher, and composer. — Publ. chiefly
works for pf.: Op. 21, Berceuse (concert-
etude); op. 22, Impromptu (do.); op. 24,
Grosse Satiate in Bb; op. 29, Ungarische
Rhapsodic in G m.; op. 36, Konzertfantasie
uber schwedische Volkslieder; etc.
Krau'se, Emil, b. Hamburg, July 30,
1840. Pupil of Hauptmann, Richter, Rietz,
Moscheles and Plaidy at Leipzig Cons.
Since 1860, teacher of pf. and theory at
Hamburg (since 1885 at the Cons.); made
R. Prof, in 1893; from 1864-1907 he was
mus. critic for the 'Fremdenblatt.' Publ.
Beitrdge zur Technik des Klavierspiels (op.
38 and 57), with supplementary matter in
op. 75 (Erganzungen); Aufgabenbuch fUr die
Harmonielehre (1869; 8th ed. 1908); Prak-
tische Klavierschule (op. 70; 1892); and Neuer
'Gradus ad Parnassum* (op. 95; 100 6tudes).
His comps. include a Requiem, Den Heimge-
gangenen, for ch. and orch. ; 3 cantatas; an Ave
Maria a 6; songs; chamber-music, etc.;
studies, variations, sonatas, etc., for pf.
Krau'se, Karl Christian Friedrich, b.
Eisenberg, Altenburg, May 6, 1781; d.
Munich, Sept. 27, 1832. He publ. many
important philosophical works; also Darstet-
lungen aus der Geschichte der Musik (1827), a
VoUstandige A nweisung for pf .-technics (1808),
and Anfangsgrunde der aUgemeinen Theorie
der Musik (1838).
Krau'se, Martin, b. Lobstadt, n. Leipzig,
June 17, 1853. Eminent pianist and peda-
gogue; pupil of his father, a cantor, of Fuchs
at the Borna Teachers' Seminary (where he
graduated as first in his class), and of Wenzel
and Reinecke at Leipzig Cons., 1873-6, also
attending University lectures. He taught six
months m Montreux, then was private tutor
in Detmold with unlimited opportunity to
practise- the pf.; after successful tours in
Holland and Germany (1878-80), he was
prostrated by nervous exhaustion for two
years, made Liszt's acquaintance in 1882,
played before him in 1883, and " for three
years was in constant communication with
the master and his pupils, learning every
detail which could tnrow light on Liszt s
marvellous facility. In 1885 K., Siloti, Frau
Moran-Olden, and others gave two grand
concerts in Leipzig, which led to the founda-
tion in that year of the 4 Liszt verein,' of
which K. was the chief promoter, and chair-
man and manager till 1900, when it was
discontinued. Then, teacher and writer in
Leipzig, also teaching at the Dresden Cons.;
since 1904 prof, at Stern's Cons, in Berlin.
The Duke of Anhalt bestowed on K., in
1892, the title of 'Professor.'
Krau'se, Paul, b. Klingenthal, Saxony,
Dec. 27, 1880. For a short time he st. with
Schreck at the Leipzig Cons.; then accepted
a position as school-teacher in Dresden, and
cont. his mus. studies at the Cons, there with
A. Fuchs, Fahrmann, Draeseke and Reuss;
now (1916) prof, of organ at the Cons. As a
composer he has gradually espoused the
Erinciples of the extreme modernists. He
as publ. for org. a sonata in G m. (op. 5),
Kanonische Choralvorsfnele (op. 7, 36), Choral-
studien (op. 12), a suite (op. 21), and minor
pieces.
Krau'se, Theodor, b. Halle, May 1,
1833; d. Berlin, Dec. 12, 1910. Theological
student; studied music under Naue, Hent-
schel, Hauptmann and Grell (theory), and
Mantius and Blumner (voice). He organized
the choirs of the Nikolaikirche and the
Marienlrirche, Berlin, and was conductor of
the Seiffert a cappella society. Created R.
Music-Director in 1887, Prof, in 1894; app.
Srof. of singing at the 'Kgl. Institut fur
archenmusik' in 1895. He resigned from
his pastoral duties in 1898, but continued in
his positions as cond. and teacher. He taught
singing at sight by using the 'Wandernote'
(movable Do). Conip. church-music, part-
songs, and songs; and was mus. critic for
several Berlin papers. — Publ. Die Wandernote
(1888; 3d ed. 1900) and Deutsche Singeschule
(4 parts, 1888; 6th ed. 1901).
Kraus'haar, Otto, b. Kassel, May 31,
1812; d. there Nov. 23, 1866. Pupil of
Hauptmann, whose idea of the opposition
of the major and minor modes he developed
in a treatise on Der accordliche Gegensatz und
die BegrUndung der Scala (1852), prior to
Hauptmann 's Natur der Harmonik. Also
publ. Die Construktion der gleichschwebenden
Temperatur ohne Scheibler'sche Stimmgabeln
(1838); essays in periodicals; Songs without
Words; and songs.
Krauss, Gabrlele, b. Vienna, Mar. 24,
1842; d. Paris, Jan. 6, 1906. Brilliant dram,
soprano; a pupil of Vienna Cons, and Mme.
Marchesi; del>ut on July 20, 1860, in Rossini's
Tell at the Vienna Hofoper. Sang at Vienna
court opera, 1860-7; at the Theatre Italien,
Paris, 1867-71; then in Baden and Milan;
reappeared for a short season in 1873 at
the Th. Ital.; eng. 1875-87 at the Grand
Opera, Paris. Hon. member of the Soc. of
483
KREBS-KREIPL
the Conserv. Concerts, 1870; officer of the
Academie, 1880. Gave leading rdles in some
40 operas, e. g., Rebecca (Templario), Donna
Anna, Semiramide, Desdemona, Gilda (Rigo-
leUo), Fidelio, Rachel (La Juwe), Valentine
(Huguenots) , Norma, Alice (Robert), Agathe
(FreischuU), Selika (VAfricaine), Aida, Mar-
guerite (Faust), Lucrezia Borgia, Senta, Elisa-
beth, Elsa, etc.
Krebs, Johann Ludwig, whom Bach
thought his best organ-pupil; b. Buttelstadt,
Thunngia, Oct. 10, 1713; d. Altenburg, Jan.,
1780. While at the Leipzig Thomasschule
1726-35 he was J. S. Bach^ private pupil.
Later organist at Zeitz, Zwickau, and Alten-
burg.— Publ. comps. (in strict style) : Clavier-
ubungen (Nuremberg, 1743-9); clavichord-
concerto; sonatas f. clav. and flute; suites
and preludes for clav.; flute-trios; organ-
Eieces. (A complete edition is publ. by
[einrichshofen, Magdeburg.) — See Q.-Lex.
Krebs, Karl, b. Hanseberg, Wiirttemberg,
Feb. 5, 1857. Student of music in the R.
Hochschule, Berlin, likewise hearing Spitta's
lectures in the University. Took degree of
Dr. phil. at Rostock with dissertation Giro-
lamo Dirutas 'Transilvano.' Living in Berlin
as mus. critic for the 'Vossische Zeitung,'
'Moderne Kunst,' the 'Deutsche Rundschau/
etc.; since 1898 prof, of hist, of mus. at the
Kgl. Hochschule. Has publ. Diltersdorfiana
(1900; biogr. and thematic cat.); Schaffen
und Nachschaffen in der Musik ( 1902) ; Haydn,
Mozart, Beethoven (1906; 2d ed. 1913) ; also
valuable musico-historical essays in the
'Vierteljahrsschrift fur Musikwissenschaft,'
the supplement of the 'Vossische Zeitung/
the 'Preussische Jahrbucher/ etc.
Krebs, Karl August (real family-name,
Miedcke, changed to K. after his adoption
by the opera-singer J. B. Krebs); b. Nurem-
berg, Jan. 16, 1804; d. Dresden, May 16,
1880. Taught by J. B. Krebs and, at Vienna,
by Sey fried; after a brilliant pianist ic season
in Vienna (1825) he was app. (1826) 3d
Kapellm. at the Vienna court opera; 1827,
do. at Hamburg; 1850, Hof kapellm. at Dres-
den opera, retiring in 1872. He prod. 2
operas, Stlva, oder die Macht des Gesangs
(Hamburg, 1830), and Agnes, der Engel von
Augsburg (ibid., 1834; rewritten, and given
at Dresden, 1858, as A%ncs Bernauer); of
the opera Feodore, comp. in his 7th year(!),
some numbers were publ. His songs were
immensely popular; his pf. -music much less
so. His daughter,
Krebs, Mary (Frau Brenning), accom-
plished pianist; b. Dresden, Dec. 5, 1851; d.
there June 27, 1900. Taught by her mother
and father, her talent matured with astonish-
ing rapidity; debut at Meissen, Oct. 15, 1863;
shortly thereafter she gave a concert in
484
Dresden; was then invited to play at Leipzig:
(Gewandhaus; Euterpe), Hamburg, Prague,
Vienna, Paris, and London (where she gave
over 170 concerts from 1864-6). Returning
to Dresden, she received the appointment of
R. Saxon Chamber-virtuoso. After further
European journeys, she toured America front
1870-2, giving more than 200 concerts. She
was one of the leading pianists of her day,
and an excellent teacher. Resided in Dresden.
Krecman, Theobald. See Kretschmann.
Krehbiel [kra'-], Henry Edward, writer
and critic; b. Ann Arbor, Mich., Mar. 10,
1854. Studied law at Cincinnati, but pre-
ferred journalism, and devoted himself
especially to music; 1874-80, mus. critic of
the Cincinnati 'Gazette'; then editor of the
New York 'Musical Review,' and critic for
the Tribune,' which latter position he still
(1917) holds. Received degree of A. M.
(hon. c.) from Yale Univ. in 1909; Chev. of
the Legion of Honor since 1901; in 1900 he
served as member of the International Jury
at the Paris Expos. — Works: Notes on the Cul-
tivation of Choral Music, and the Oratorio Soc.
of New York (1884); Review of the N. Y. Mus.
Seasons 1885-90 (5 vols.); Studies in the
Wagnerian Drama (1891); The Pkilharm. Soc.
of New York; A Memorial (1892); How to
Listen to Music (1896) ; Annotated Bibliography
of Fine Art, with R. Sturgis (1897); Music and
Manners in the 18th Century (1898); Chapters
of Opera (1908; 2d ed. 1911); A Book of
Operas (1909); The Pianoforte and its Music
(1911); Afro-American Folksongs (1914);
transl. Courvoisier's Technic of Violin-playing
(New York. 1880; 2d ed. 1896); Kerens Beet-
hoven (1905) and Kerst's Mozart (1905); con-
sulting editor of 'The Music of the Modern
World' (1895-7); and Amer. editor of the
second edition of Grove's 'Dictionary of
Music and Musicians' (1904-10). Has been
engaged for some years upon an Engl,
translation of Thayer's Beethoven.
Krebl, Stephan, bom Leipzig, July 5,
1864. Studied at the Conservatories in
Leipzig and Dresden; 1889, app. teacher of
pf. and theory at Karlsruhe Cons.; since 1902
at the Leipzig Cons. Very talented composer.
— Works: Op. 8, sonata in A for pf. and vl.;
Slovenische Tame for pf. 4 hands; op. 15,
Prelude to Hannele for orch.; op. 17, str.-
quartet; op. 19, quintet for cl., 2 vis., via.
and vcl.; op. 20, sonata in F for vcl. and pf.;
pf.-pcs. (op. 2, 3, 4, 7 [Phantastische Skixzen],
11, 13, 16); songs (op. 1, 5, 6, 10, 22 [Vom
Tode], 23, 24, 25). Also wrote Praktische
Forntenlehre (1902); Allgemeine Musiklehre
(1904; 2d ed. 1910); Kontrapunkt (1908; 2d
ed. 1912); Erlduterungen zur Kom position der
Fuge (1909).
Kreipl [kri'-J, Joseph, b. 1805; d. Vienna,
/
KREISLER— KRENN
{une, 1866. For years the favorite tenor in
inz-on- Danube; a composer of beautiful
songs, among which Das Mailufterl (poem
by Kleesheim) attained extraordinary vogue.
Kreisler, Fritz, eminent violinist; b.
Vienna, Feb. 2, 1875. His talent manifested
itself at an early age and was carefully
fostered by his father, under whose instruc-
tion the boy made such progress that at the
age of 7 he was admitted to the Cons., where
he st. under Auber and Hellmesberger, and
in 1885 carried off the gold medal. He then
ent. the Paris Cons., where he was a pupil
of Massart (vl.) and Delibes (comp.); gradua-
ted in 1887 as winner of the Grand Prix
(gold medal) over 40 competitors. In 1889
he made a very successful tour of the U. S.
with Moriz Rosenthal. On his return he
abandoned music for some years; st. medicine
in Vienna, art in Rome and Paris, and then
entered the Austrian army, serving as an
officer in an Uhlan regiment. Because of
irregular practice, his technical skill suf-
ered, ana he retired for a time. At
his reappearance in Berlin (March, 1899)
his playing created a sensation. Not
only had he regained his former astounding
virtuosity, but he had also developed into a
great interpreter. On his second visit to
the U. S. in 1900-1, when he appeared as
soloist and in ensemble with Hofmann and
Gerardy, he carried his audiences by storm;
on his tour of England in the spring of 1901
he scored similar triumphs; since then he has
visited every civilized country, and securely
established his reputation as one of the
supreme contemporary masters of his instru-
ment; in 1904 the London Philh. Soc. honored
him by awarding him the Beethoven gold
medal. At the outbreak of the great war in
1914 he joined his former regiment, was
wounded at Lemberg, and excused from
further service. Fortunately his recovery
was rapid and complete, so that at the end
of the same year he resumed his artistic
career in the u. S. His repertory includes al-
most everything of note written for the violin
since the 17th cent. He is the owner of the
fine Guarneri formerly used by Wilhelmj;
recently he bought from Hills & Sons the
famous 'Stradivari with the wonderful golden
varnish.' He has publ. numerous arrange-
ments of early and modern music; his reminis-
cences of the war were publ. as Four Weeks
in the Trenches (Boston, 1915).
Kreisler, Johannes. See E. T. A. Hoff-
mann.
Kreissle von Hellboro, Heinrich, Schu-
bert's biographer; b. Vienna, 1812; d. there
Apr. 6, 1869. He was Dr. juris, and secretary
in the Ministry of Finance, Vienna. A
passionate admirer of Schubert, he publ. F.
Schubert, eine biographische Skisse (1861),
followed in 1865 by the exhaustive biography
Franz Schubert (condensed Engl, transl. by
Wilberforce, 1866; full transl., with an
Appendix by Sir George Grove, by A. D.
Coleridge, 1869, in 2 vols.).
Krejci [kreVchS], Josef, b. M Host in,
Bohemia, Feb. 6, 1822; d. Prague, Oct. 19,
1881. Pupil of Witasek and Jos. Proksch in
Prague; from 1844, organist in various
churches there, 1858 Director of the Organ-
School, 1865 Dir. of the Cons. Distinguished
organist and composer. — Works: An oratorio,
masses, overtures, organ-pieces, songs.
Krem'pelsetzer, Georg, b. Vilsbiburg,
Bavaria, Apr. 20, 1827; d. there June 9,
1871. By trade a cloth- weaver, he became
the pupil of Fr. Lachner in Munich. He
was Kapellm. at the Volkstheater, Munich,
in 1865; at G5rlitz, 1868; and at K&nigsberg,
1870. Brought out an opera, Der Onkel aus
der Lombaraei (1861), and the successful
operettas Die Franzosen in Got ha, Der Vetler
auf Besuch (1863), Die Kreuzfahrer (1865),
Das Orakel in Delphi (1867), Die Ceister des
Weins (1867), Aschenbrddel, Rottnantel (1868),
etc.
Krem'aer,Eduard,b. Vienna, Apr. 10,1838;
d. there Nov. 27, 1914; from 1869, chorusmas-
ter of the Viennese 'Mannergesangverein'; in
1899 made 'Ehrenchormeister'; 1878-80 cond.
of the 'Gesellschaftskonzerte'. — Works: The
operettas Eine Operette (1875), Der Schlosser-
konig, and Der Botschafter; a 'Singspiel,' Der
kritische Tag (Th. an der Wien, 1891); the
cantatas for soli, male ch. and orch. : Balkan-
bilder, Print Eugen, Das Leben ein Tanzt Im
deulschen Geist, Altes Weihnacktslied; many
part-songs (his settings of 6 altniederlandische
Volkslieder are famed far and wide); Das
Herzklopfen, Errinnerungen, and Frohliche
Armuth, for male ch. and orch.; songs (Jagd-
lied, with accomp. of 4 horns; 2 songs from
Der Trompeter von Sakkingen, with solo cor-
net); excellent pf. -music (op. 1, 2, 4-6, 8-10,
12, 16, 17); etc.; also edited 'Wiener Lieder
und Tanze' (2 vols., 1912, '13).
Krenn, Franz, b. Dross, Lower Austria,
Feb. 26, 1816; d. St. Andra vorm Hagenthal,
June 18, 1897. Pupil of Seyfried at Vienna.
Organist in several Vienna churches; 1862,
Kapellm. at St. Michael's (the court church);
1869, prof, of harmony at the Cons. He was
an eminent organist and conductor, and did
much to popularize the liturgical music of
the old Italian and Flemish schools in
Vienna. — Works: The oratorios Bonifacius,
and Die vierletzten Dinge; cantatas; 15 masses;
3 requiems; other sacred music; a symphony,
quartets, pieces for org. and pf.; part-songs;
a Method for organ; a vocal method, etc.
485
KRETSCHMANN— KREUTZER
Kretsch'mann (rede Krecman), Theo-
bald, b. Vinos, n. Prague, Sept. 1, 1850. In
1881 app. solo ''cellist at the court opera,
Vienna, and conductor of the chamber-
concerts; organized his own str.-quartet;
1889-1902, Kapellm. at the * Votivkirche' ;
1907, cond. at the 'Volksoper'; now retired
in Vienna (1916). Comp. of an opera, Die
Brautschau (Tot is, 1895) and a burlesque,
Salome die sweite (Vienna, 1906). Publ.
Tempi passati (2 vols., 1910, '13).
Kretsch'mer, Edmund, b. Ostrifz, Sax-
ony, Aug. 31, 1830; d. Dresden, Sept 13,
1908. Pupil of Jul. Otto and Joh. Schneider
in Dresden. In 1854, organist of the court
church; in 1863, court organist, retiring in
1901. Founded the Cacilia Singing-soc., and
conducted it and other like societies. Was
also instructor in the R. 'Kapellknaben-Insti-
tut' until 1897, when his son Franz succeeded
him. He was an eminent composer; his Gei-
sterschlacht won a prize in Dresden (1865); a
3-part mass for male ch. won the Brussels
Academy's prize in 1868; his operas Die
Folkunger (Dresden, 1874) and Heinrich der
Lowe (Leipzig, 1877), are among the most
important dramatic works of the post-
Wagnerian epoch (K. wrote the libretti, as
well); he has also prod, an operetta, Der
Fluchtling (Ulm, 1881), and a romantic
opera, Schon Rotraui (Dresden, 1887); 2
large works for soli, ch. and orch., PUger-
fahrt and Sieg in Gesang; a Festgesang and
Dramatisches Tongedicht for ch. and orch. ;
an orchestral suite, Hochweitsmusik (op. 54,
1896); three other masses; etc. — Cf. O.
Schmid, £. K. (Dresden, 1890).
Kretzsch'mar, (August Ferdinand) Her-
mann, b. Olbernhau, Saxony, Jan. 19, 1848.
Pupil of J. Otto at the Kreuzschule, Dresden,
and of Richter, Reinecke, Paul and Papperitz
at Leipzig Cons. Took degree of Dr. phil. at
Leipzig with a thesis on ancient notation
prior to Guido d'Arezzo, in 1871, then
becoming teacher of or^an and harmony^ at
the Cons., and conducting several societies;
1876, Kapellm. at Metz Th.; 1877, mus. dir.
at Rostock Univ.; 1880, town mus. dir. there;
1887, Langer's successor as mus. dir. of
Leipzig Univ., and cond. of the academic
male chorus 'Paulus.' From 1888-97, Riedel's
successor as cond. of the 'Riedelverein,' then
retiring on account of ill health (present cond.
Dr. Richard Wetz of Erfurt). Received the
title of 'Professor' in 1890, in which year he
organized the 'Akademische Orchesterkon-
zerte,' giving historical programs. App. prof,
of music in Berlin Univ. in 1904; in 1909
dir. of the K^l. Hochschule. Made Geh.
Regierungsrat in 1908. A fine organist, he
has publ. sacred and secular part-songs, and
some organ-music. He is likewise a well-
486
known mus. critic (in the 'Musikalisches
Wochenblatt/ 'Grenzboten'); has publ. lec-
tures on Chorgesang, Sdnter chore, etc., and
Peter Cornelius (1880, in Waldereee's 'Samm-
lung mus. Vortrage'); a Fukrer durch den
Konxertsaal (3 vols., 1887; 4th ed. 1913); also
essays in the 'Grenzboten' (Das deutsche Lied
seit Schumann [1881]; Die deutsche Klavier-
muHk seit Schumann (1882]; Brahms (1884]);
and a paper on Venetian Opera in the ' Viertel-
jahrsschrift fur Musikwissenschaft' (1892).
In 1911 he publ. a coll. of his essays as
Gesammelte Aufsatze (2 vols.). Vol. i of Ge~
schichte des neuen deutschen Ltedes appeared in
1912. He edited vols, viii and ix of 'Dkm.
deutscher Tonic' and a new edition of Lobe's
Lehrbuch der musikalischen Komposition (4
vols., 1884r-7).
Kreube (kro-ba'i, Charles- Frederic, b.
Luneville, Nov. 5, 1777; d. at his villa, n.
St. -Denis, in 1846. Pupil of R. Kreutzer;
1816-28, 1st cond. at the Opera-Comique. —
Works: 16 comic operas (1813-28).
Kreut'zer [kroi'tser], Auguste, brother of
Rodolphe, b. Versailles, Sept. 3, 1778; d.
Paris, Aug. 31, 1832. Violinist; played in
orch. of the Opera-Comique and Grand
Opera, also in the court orchestras; succeeded
Rodolphe as teacher of violin in the Cons.,
1826. — Publ. 2 vln.-concertos; 2 duets; 3
sonatas, etc.
Kreut'zer (or Kreuzer), Conradin, b.
Messkirch, Baden, Nov. 22, 1780; d. Riga,
Dec. 14, 1849. Pupil of J. B. Rierer and
(1792-6, at Zwiefalten Abbey) of Ernst
Weihrauch. Law-student at Freiburg, 1799-
1800; then devoted himself to music, bringing
out his first operetta, Die Idcherliche Werbung,
at Freiburg in 1800. He lived 5 years in
Constance, and then sojourned in Vienna till
1811, studying counterpoint two years under
Albrechtsberger. He prod, with considerable
success J try und Bately (1810); not being
able to bring out two grand operas, Conradin
von Schwaben and Der Toucher, in Vienna,
he went, after a pianistic tour of a year, to
Stuttgart, where, after the production of the
former in 1812, he was appointed court
Kapellm. In Stuttgart he produced 8 dra-
matic works; then went to Donaueschingen
in 1817 as Kapellm. to the Prince von
Furstenberg. Here he produced in 1821
Aesop am Hofe des Konigs Krosus (written
in 1808 and entitled Aesop in Phrygien; prod,
in Stuttgart in 1822 as Aesop in Lydien).
Returning to Vienna, he brought out Libussa
(1822); acted as Kapellm. at the Karnth-
nerthorTh. (1825, 1829-32, 1837-40), and
the Josephstadter Th. (1833-37); in 1834 his
best work, Das Nachtlager von Granada,
appeared, which, with Der Verschwender
(1836) and J try und Bately, held the stage
KREUTZER— KRIENS
until the end of the century. From 1840-46,
Kapellm. at the City Th., Cologne; was in
Vienna again 1847-9; and then accompanied
his daughter Cacilie, a stage-singer, to Riga. —
Works: 30 operas; an oratorio, Die Sendung
Mosis (Stuttgart, 1814); church-music, cham-
ber-music, and pf. -pieces; songs, and some
very beautiful male choruses (Die Capelle,
Sonntagsmorgen [Uhland], Der Tag des Herrn,
etc.).Cf. W. H. Riehl, Musikalische Ckarakter-
kopje (vol. i, Stuttgart, 1879).— See Q.-Lex.
Kreut'zer, Leon (-Charles-Francois),
composer and mus. critic; b. Paris, Sept. 23,
1817; d. Vichy, Oct. 6, 1868. Pupil of Fleche
(pf.) and Benoist (comp.). Wrote for the
'Revue et Gazette musicale1 (L'Optra en
Europe, 1841), the 'Revue contemporaine*
(on Meyerbeer), 'La Quotidienne,' 'L Union,'
etc.; also an Essai sur Vart lyrique au tht&tre
(1845; down to Meyerbeer); orchestral pre-
lude to The Tempest; string-quartets, pf.-
sonatas, etc.; and a treatise on modulation.
— Biographical sketch by Pougin (1868).
Kreut'zer, Rodolphe, famous violinist;
b. Versailles, Nov. 16, 1766; d. Geneva, Jan.
6, 1831. His father, a German violinist in
the Chapelle du Roi, and Anton Stamitz
were his teachers. At 13 he played a violin-
concerto of his own composition at one
of the Concerts Spirit uels; in 1782 he was
a pp. 1st violin in the Ch. du Roi, and in
1/90 solo violin in the The&tre Italien,
bringing out his first opera, Jeanne d'Arc &
Orleans, the same year. It was followed by
over 40 others, given at the Opera, the Opera-
Comique, or the Th. Italien. Lodoiska (1793)
was perhaps his best; but alt have passed
into oblivion. A year after his appointment
as teacher of violin at the Cons., he made a
triumphant concert-tour through Italy, Ger-
many, and Holland. In 1801 he succeeded
Rode as solo violin at the Opera, of which
he became 2d cond. in 1816, and 1st oond.
in 1817. From 1802 he was also chamber-
musician to Napoleon; from 1815, to Louis
XVIII; retired 1826, and so far lost influence
that his last opera, Matkilde, was contemp-
tuously rejected by the direction of the
Grand Opera. To him Beethoven inscribed
the celebrated 'Kreutzer Sonata.' — Works:
43 operas; 19 violin-concertos; 2 double
concertos; a symphonie concertante for vln.
and 'cello, with orch.; 15 string-quartets; 15
string-trios; also duets, sonatas, variations,
etc., for vln.; but his masterwork, wherein his
worthiness to rank with the great masters
of the classic Parisian school of violin-playing
is convincingly proved, is the 40 Etudes ou
Caprices for vln. solo, republ. in countless
editions, revised by Vieuxtemps and others.
K. was joint author, with Rode and Baillot,
of the great Violin-Method used in the Paris
Cons.— Cf. H. Kline, R. K. (Brussels, 1898);
J. Hardy, R. K. Sa Jeunesse d Versailles
(Paris, 1910).— See Q.-Lex.
Kreu'zer, Conradin. See Kreutzer.
Kxie'ger, Ferdinand, b. Waldershof, Fran-
conia, Jan. 8, 1843. Studied at Eichstatt
Teachers' Seminary and Munich Cons.; from
1867, music-teacher in the Normal School at
Ratisbon. — Publ. Die Elemente des Musikun-
terrichts (1869); a Uhre der Harmonie (1870);
Der rationeUe Musikunterricht . . . (1870); Die
katholische Kirchenmusik (1872) ; and technical
studies for vln. and for pianoforte.
Krle'ger (or Krufter), Johann, famous
contrapuntist, brother and pupil of Joh.
Philipp; b. Nuremberg, Tan. 1, 1652; d.
Zittau, July 18, 1735. He succeeded his
brother at Bayreuth; was then court Kapellm.
at Greiz and Eisenberg; from 1681, organist
and mus. director at Zittau. — Works: Musi-
kalische Ergetzlichkeiten, arias for 5-9 voices
(1684); Musikalische Parthien, dance-music
for clavichord (1697); Anmuthige Clavier-
ubungen, preludes, fugues, etc. (1699); also
sacred vocal music (MS. masses and motets
in Berlin Library). — See Q.-Lex.
Krie'ger, (Johann) Philipp, b. Nurem-
berg, Feb. 26, 1649; d. Weissenfels, Feb. 6,
1725. Pupil of J. Drechsel and Gabriel
Schiitz, also of G. Forster at Copenhagen,
where he was the assistant and pupil of court
organist Schrdter for 5 years. Court organist
and chamber-comp. at Bayreuth, with an
interval of study in Italy (1672); Kapellm.
at Kassel, court organist at Halle, and from
1675 Kapellm. to the Duke of Saxe- Weissen-
fels. On a concert-tour to Vienna, he was
ennobled by Emperor Leopold I. He prod,
several operas at different courts, and at
Hamburg; publ. 24 Sonatas for 2 vlns. and
bass (op. 1, 1687; op. 2, 1693); Musikalischer
Seelenfriede, 20 sacred arias for vln. with bass
(1697; 1717); Lustige Feldmusik for 4 wind-
instrs.; etc. — See Q.-Lex.
Kriens fkrens], Christian, b. Amsterdam,
Apr. 29, 1881. St. vl., pf., cpt. and comp.
at the R. Cons, at The Hague; winner of the
gold medal in 1895. A boy of precocious
development, he made his debut in the same
year at Amsterdam with his father's sym-
phony orch., playing Beethoven's violin-con-
certo and the pf. -concerto in Eb (Emperor)
and conducting his second (!) symphony;
from 1896-9 he toured Holland, Belgium
and France as a violinist, and then taught
some years in the Hague Cons.; came to
America as cond. of the French Opera Co.
in New Orleans in 1906; settled in New
York in 1907; formed the K. String-Quartet
(1911) and the K. Symphony Club (1912).
The object of the latter organization is the
487
KRIGAR— KROHN
training of orchestral players; the training is
not confined to the standard repertory, but
many new works are played from MS.; the
club now (1916) numbers 125 active members.
— Works: 2 Symphonies (C and F); Les Rots
en Exile, symph. poem; suite for small
orch.; a sonata for n. and pf.; a number of
pes. for vl. and pf. (Dans la eampagne,
Serenade melancolique, etc.); pf.-pes.; songs.
Kri'gar, (Julius) Hermann, b. Berlin,
Apr. 3. 1819; d. there Sept.«5, 1880. Pianist;
pupil at Leipzig of Schumann, Mendelssohn,
Hauptmann, etc., 1843-5; then organised a
singing-society at Berlin, where he also
cond. the 'Neue Berliner Liedertafel' for
some years; 1857, R. Mus. Director; 1874,
Professor. Comp. incidental music, motets,
psalms, pf. -pieces, and songs.
Kris'per, Dr. Anton, of Graz, publ.
(1882) an interesting essay on Die Kunst-
musik in ihrem Printipe, xhrer Entwickelung
und ihrer Kbnsequenz (favoring harmonic
dualism).
KHzkow'sky [krzhlz-k&hv'ske], Paul, note-
worthy Czechish composer of national and
sacred music; b. Brtinn, Jan. 9, 1820; d.
there May 8, 1885. Augustine monk, and
councillor in the archiepiscopal consistory.
Kroeger, Ernest Richard, b. St. Louis,
Missouri, Aug. 10, 1862. He received his
entire mus. education from local teachers (E.
Froehlich, W. Malmene, P. G. Anton, C.
Kunkel, W. Goldner, E. Spiering, L. Mayer);
held various positions as org.; now (1916) at
Ch. of the Messiah (Unitarian); cond. of the
Morning Choral Club (women's vcs.), 1893-
1903; cond. of Amphion Club (male ch.),
1910-12; dir. since 1887 of Coll. of Music,
Forest Park Univ., and since 1904 also of
his own School of Music; Pres. of Mus.
Teachers' Nat. Assoc. (1896); Pres. Missouri
Mus. Teachers' Assoc. (1897-9); Master of
Programs, Bureau of Mus., St. Louis World's
Fair (1904); elected member of the French
Academy (1904), and of the Nat. Inst, of
Arts and Letters (1915). During the summer
of 1915 he gave a series of lecture-recitals at
the Univ. of California, and organ-recitals at
the Panama Exposition. Since 1893 he has
appeared in many cities in recitals (as organist
and pianist) ; has given in St. Louis annually
a series of pf. -recitals; his repertory for pi.
comprises 600 numbers. — Works: For orch.:
Overtures Thanatopsis, Pittoresque, Endymion,
Sardanapalus, Hiawatha, A tola; a suite, Lalla
Rookh; a pf.-trio in.E m.; a pf. -quartet in
D m.; a pf. -quintet in F m.; 4 str.-quartets;
a sonata for pf . and vl. (op. 32, F m.); several
larger works for pf., 12 Concert-Etudes (op.
30), a suite in 5 movems. (op. 33), a sonata
(op. 40, D), Prelude and Fugue (op. 41, B
m.), Scherzo (op. 45), Three Mythological
Scenes (op. 46), 16 vars. on an elegiac theme
(op. 54), 15 etudes for the left hand (2 books,
op. 55), and numerous minor pieces; a
Romanza for vcl. and pf. (op. 47); The
Masque of the Dead Florentines tor recitation
or action (op. 75); many pes. for org*; about
100 songs.
Krohn, Ilmarl (Henrik Reinhold), b.
Helsingfors, Nov. 8, 1867. Pupil of R.
Faltin there, 1885-6; of Papperitz, Schreck
and Reineeke at Leipzig Cons., 1886-90; and
in 1909 of W. von Baussnern in Weimar
(instrumentation); Ph. D. with the thesis
Vber die Art und Entstehung der geisUichen
Volksmelodien in Pinnland (publ. Helsingfors,
1899). In 1900 he establ. himself as 'Privar-
dozen t' for musicol. at the Univ. in Helsing-
fors; taught theory and hist, of mus. at the
Cons., 1900-1, '05-7. and again since 1914;
also at the Orch. School, 1900-1 and 1904-
14; 1894-1905, org. in Tammerfors, and since
1911 in Helsingfors; has lectured at the mus.
congresses in London (1891), Paris (1900),
Basel (1906), Vienna (1909), Rome (1911),
Paris (1914). His interest in folk-music led
him to travel extensively in Finland and
Sweden in the years 1886, '90, '96-8, when
he collected a great number of folk-meibd/es.
In 1906hefounded the mus. journal 'SSve/etar, '
in 1910 the Helsingfors branch of the 7nt.
Mus.-Gesellschaft/ and in 1916 the 'Musik-
wissenschaftliche Gesellschaft in Finland.' In
1906 he invented the 'Acoustic Harmonium'
(in use since then at the Univ., and described
by him, Das akusHsche Harmonium dtr Unto.
zu Helsingsfors). After the death (1905) ol
his first wife he married the Finnish writer
Hilja Haahti in 1906. As a composer K.
is highly esteemed by his compatriots, but
his importance rests mainly upon his scholarly
writings and collections of folk-music In
1903 and 1915 he was awarded the State
prize for comp. — Compositions: Op. 3, In
Memoriam, sonata in d for pf.; op. 5, Psalm
33 for ch. and org.; op. 6, Psalm 25 for ch. a
capp.; op. 14, Juhannuskantaatti (St. Johns
cantata) for soli, ch. and orch. (1910); op.
15, Sionin Sointuja (25 sacred choruses); op.
17, Joudu jo Jesu (Come, O Jesus; motet a
capp.); secular choruses (op. 9, 11, 12, 16);
songs (op. 4, 7, 8, 10, 13). Without op.-
n umber: Ikiaartehet (Eternal Treasures), ora-
torio in 3 parts, text by H. Haahti, Helsing-
fors, 1914; ValiUuia Psalmeja (10 psalms for
ch. with kantele (zither-like Finnish instr.]);
Meiddn fasten lauluja (Songs from Child-
life); Suite for str.-orch. (in MS.). At present
he is working on a 3-act opera, Tuhotulva
(The Flood; text by his wife). He has ed.
a number of Italian arias (Scarlatti, etc.) w.
Finnish text, arr. for vcl. and pf.; and 30
Advent- and Christmas-songs w. narmonium.
In 1893 he began the publication of his coll.
488
KROLL— KRCCKL
of Finnish folk-melodies, Suomen Kansan
S&velmia (about 3700 melodies, methodically
arr.: I. Sacred melodies. II. Secular melodies.
III. Dance-melodies. IV. Runic melodies). —
Writings: Guide for Acoustic Intonation (in
Finnish, 1911; Swedish tr. by A. Tornudd,
1912); Rytmiofpi (1914; Treatise on Rhythm,
vol. i of an elaborate work on the theory of
mus.; vol. ii, Sdveloppi (Tr. on Melody), is
now [1916] in preparation). Has written the
articles on music for the great Finnish Ency-
clopaedia 'Tietosanakirja,' and numerous
articles for Finnish, Swedish, French and
German mus. journals, especially the 'Smb.
Int. M.-G.' (the essays on Finnish music are
very valuable).
Kroll, Franz, b. Bromberg, June 22,
1820; d. Berlin, May 28, 1877. Pianist, pupil
of Liszt at Paris and Weimar; from 1849 in
Berlin,' teaching 1863-4 at Stern's Cons.
Editor of the Peters Ed. of the 'Well-tem-
pered Clavichord/ and the 'Bibliothek alterer
und neuerer Klaviermusik'; also publ. a
few original pf. -pieces.
Krolop, Franz, dramatic bass; b. Troja,
Bohemia, Sept. 5, 1839; d. (from an operation)
at Berlin, May 30, 1897. A pupil of Richard
Levy at Vienna, his debut as Ernani. at
Troppau in 1863 was very successful; after
engagements at Troppau, Linz^on- Danube,
Bremen and Leipzic, he was permanently
engaged for the Berlin court opera in 1872.
In 1868 he married Vilma von Voggenhuber.
Of fine and versatile talent, he sang, for
instance, in Don Giovanni the rdles of the
Commandant, Leporello, and Masetto.
Krom'mer, Franz, b. Kamenitz, Moravia,
May 17, 1760; d. Vienna, Jan. 8, 1831. Vio-
linist; his uncle, choirmaster at Turas,
Hungary, taught him organ-playing, and he
held a position as organist there from 1776-
84; then joined Count Ayr urn's orch. at"
Simontornya as violinist, later conducting it;
was choir-director at Ftinfkirchen, band-
master of the Karoly regiment, went to
Vienna as Kapellm. to Prince Grassalkovics,
and followed Kozeluch as Imp. Kapellm. in
1814. He comp. ar mass for 4-p. ch. w. orch. ;
5 symphonies; 5 violin-concertos; much excel-
lent chamber-music (18 string-quintets, 69
string-quartets, a string-trio, etc.); quintets
and quartets for wind-mstrs., and music for
windband; symphonies concertantes; etc. —
Cf. W. H. Riehl, Musikalische Charakterkdpfe
(vol. Hi, Stuttgart, 1879). — See Q.-Lex.
•Kro'nach, Emanuel. See Klitzsch.
KronTce, Emit, pianist and composer; b.
Danzig, Nov. 29, 1865. Pupil of Reinecke
and Paul in Leipzig, 1883-4; later of Nicode
and Th. Kirchner in Dresden. In 1886 he
won the prize of the Dresden Cons, for
piano-playing; in 1887, the diploma of honor.
An indefatigable student of Liszt's works;
living in Dresden as concert-pianist and
teacher. — Publ. op. 14, Symphonische Varia-
tionen uber ein nordisches Tnema, for orch.;
op. 24, 'cello-suite; op. 42, Karnevalsuite, for
orch.; op. 45, Ballade for orch.; op. 72, pf.-
conccrto; op. 80, Konzert-Variationen for 2
pfs.; op. 99, vln.-suite; 2 suites for fl.; quartets
for horn; also a number of instructive pf.-
works; op. 17, Das virtuose Arpeggiospiel; op.
23, Chopin- Etuden; op. 44, Die moderne
Technik; op. 77, Die hone Schule des 4. und 5.
Fingers. Also edited Chopin's works (Stein-
graber).
Kronold, Hans, conccrt-'cellist; b. Cra-
cow, July 3, 1872. Pupil of Kiesling (vcl.)
in Leipzig, and of Vollrath (vcl.) and Hans
Rasch (pf. and harm.) in Berlin; came to
America in 1886, made a tour with Emma
Juch and later. with Patti; joined the orch.
of the M. O. H.; 1895-7, member of the N.
Y. Symph. Orch., during which time he
cont. to study the 'cello with A. Hekking;
since 1898 living in N. Y. as concert-'cellist
and teacher; for many years prof, of 'cello
at the N. Y. Coll. of Music; has made several
tours of Canada and the Eastern States. A
great part of his time he devotes to concertiz-
tng in the settlements and poor districts of
N. Y. Since 1896 he has regularly played
at the Sunday evening service in All Angels'
Ch. Has publ. solo pes. for vcl.; pf.-pes.
and songs.
Kroyer, Theodor, b. Munich, Sept. 9,
1873. While studying pf. with Lang and cot.
with Gluth and Rheinberger at the Kgl.
Akademie der Tonkunst, he also took the
course in musicol. at the Univ. under Sand-
berger, obtaining the degree of Dr. phil. in
1897; app. mus. critic of the 'Mimchener
allgem. Zeitung' in 189.7; taught hist, of mus.
at Dr. Kaim*s Musikinstitut, 1900-2; in
1902 he establ. himself as Privatdozent for
musicology at the Univ., being made prof,
extraord. in 1907. He ed. vol. i of the com-
plete works of Senfl in 'Dkm. der Tonkunst
in Bayern' (iii, 2) and a selection from the
works of G. Aichinger (ib., x, 1), and publ.
several valuable essays on early music (in
'Jahrb. Peters,' 'Beihefte der Int. M.-G.',
etc.); contrib. to Herder's 'Konversations-
lexikon.' Has written 2 symphonies (Bb m.
and D m. [w. soli and ch.]), str.-quartets,
pf.-pes. and songs (all in MS.).
Kriicld (or Kriikl), Franz, celebrated
baritone stage-singer; b. Edlspitz, Moravia,
Nov. 10, 1841; d. Strassburg, Jan. 13, 1899.
Pupil of Dessoff; debut at Brunn, 1868; sang
thereafter at Kassel, Augsburg, Hamburg
(1874), Cologne (1875), and Hamburg again
(1876-85); then became teacher at the Hoch
489
KRUG— KRUIS
Cons., Frankfort; and from 1892 was director
of the Municipal Th., Strassburg.— Publ. Der
Vertrag zwischen Direktor und Mitglied der
deutschen Buhne (1889).
Krug, Arnold, son of Dietrich; b. Ham-
burg, Oct. 16, 1849; d. there Auk. 4, 1904.
Was taught by his father, and later by
Gurlitt; also by Reinecke at Leipzig (1868),
winning the Mozart scholarship in 1869.
Studied further with Kiel and Eduard Frank,
in Berlin; was pf. -teacher at the Stern Cons.,
1872-7; then, as winner of the Meyerbeer
scholarship, devoted a year to study in
France and Italy. In 1878 he organized a
'Gesangverein' in Hamburg, where, from
188S, he taught at the Cons., and conducted
the Altona 'Singakademie.' A talented
composer, he publ. a symphony in C (op. 9);
a symphonic prologue to OteUo (op. 27); a
suite A us der Wanderzeit (op. 42); Romanische
Tdnte for orch. (op. 22); Italienisehe Reise-
skizzen (op. 12), LiebesncvcUe (op. 14) for
string-orch.; Serenade (op. 34) for str.-orch.
and fl.; a violin-concerto; a pf.-trio (op. 1),
a pf. -quartet (op. 16), a str.-sextet (op. 68);
a str. -quartet (op. 96); a romance for vl. and
orch. (op. 73); do. for vcl. and pf. (op. 105);
fine pf. -music; songs; etc.; also several . large
choral works: La Rfgine AvriUouse (op. 10),
for fem. ch. and orch.; Nomadenzug (op. 11),
for male ch., bar. solo and orch.; Sigurd (op.
25), for soli, ch. and orch.; AUromisches Fruh-
lingslied (op. 30), for male ch. and orch.; An
die Morgensonne (op. 38), for mixed ch. and
orch.; Jingal (op. 43), for soli, male ch. and
orch.; Hen Olaf (op. 57), ballade for male ch.
and orch.; Chor der wilden Jagd (op. 70), do.;
A us alien Zonen (op. 76), do.; Hymne an
Germania (op. 79), do.; Der Kiinste Lobge-
sang (op. 86), cantata for male ch., sop. solo
and orch.
Krug, Dietrich,, music-teacher at Ham-,
burg, where he was b. May 25, 1821, and d.
Apr. 7, 1880. Pianist, pupil of Melchert and
(nominally) of J. Schmitt. Composer of
excellent melodious studies for pf.; also
publ. a Method.
Krug, Friedrich, b. Kassel, July 5, 1812;
d. Karlsruhe, Nov. 3, 1892. Baritone opera-
singer, later court mus. director, at Karlsruhe.
— Operas: Die Marquise (Kassel, 1843); Mei-
sier Martin der Kufer und seine Gesellen
(Karlsruhe, 1845); Der Nachtwachter (Mann-
heim, 1846).
Krug, (Wenzel) Joseph (called Krug-
Wald8ee), b. Waldsee, Upper Swabia, Nov.
8, 1858; d. Magdeburg, Oct., 1915. Pre-
cocious talent, mostly self-taught until sent
(1872-80) to Stuttgart Cons., where he
studied violin, pf., singing, and composition
(Faiszt). Taught for a short time at Hofwyl,
near Bern; 1882-9, cond. of the 'Neuer Sing-
490
verein/ Stuttgart; 1889, chorusmaster and
music-director at the Municipal Th., Ham-
burg; 1892-3, Kapellm. at Brttnn Th.; 1894,
do. at Nuremberg; 1896, do. at Augsburg;
1899, cond. of the 'Privatkapelle' in Nurem-
berg; 1901, cond. of the 'Symphonic' and
'Gesellschaftskonzerte' and the 'Lehrer-Ge-
sangverein' in Magdeburg. Made. R. Prof,
in 1913; retired in Jan., 1915. A composer
of individuality and power; grand concert-
cantatas were his specialty. — Works: The
operas Der Procurador von San Juan (Mann-
heim, 1893), Asiorre (Stuttgart, 1896), Der
Rotmantel (Augsburg, 1898); a dramatic
'Christmas tale/ Heinzelmanncken (Hamburg,
1889); a 1-act ballet, Das Mdrchen (MS.);
the 'secular oratorio' Konig Rot her t for so//,
mixed ch. and orch. (op. 25); concert-
cantata Seebilder, for baritone solo, male cVl
and orch. (op. 29); the ballade Harali
[Uhland], for baritone solo, mixed ch. and
orch. (op. 6); the concert -cantatas Dorn-
rdschen, Hochzeitslied (op. 16), Der Geiger at
Gmund (op. 27), Das begrabene Lied (op.
48); a symph. poem, Des Meeres und der
Liebe WeUen (op. 4); a symphony in C m.
(op. 46); a suite for vl. and pf. (op. 43); a
str. -quartet in D m. (op. 56); a concert-
overture in E, for full orch.; pf.-trio in D;
songs; etc.
Krti'ger, Eduard, writer; b. Lflneburg,
Dec. 9, 1807; d. Gottingen, Nov. 9, 1885.
Philological student at Berlin and Gottingen,
also devoting much time to musical studies;
from 1861, prof, of music at Gottingen.
Besides thoughtful and erudite critiques and
reviews in various papers, he publ. De
musicis Graecorum organis circa Pindari
tempora (1830; his doctor-dissertation); a
Grundriss der Metrik (1838); Beitrdge fur
Leben und Wissenschaft der Tonkunsi (1847);
and System der Tonkunst (1866).
Krti'ger, Johann. See Kriegbr.
Krti'ger, Wllhelm, b. Stuttgart, Aug. 5,
1820; d. there June 16, 1883. Pupil of
Ziegele (pf.) and Lindpaintner (comp.). Ex-
cellent pianist and teacher; lived in Paris
1845-70, when the outbreak of the Franco-
Prussian war caused his withdrawal to Ger-
many; then court pianist, and teacher at
the Cons., in Stuttgart. His works for piano,
168 in number, include caprices, nocturnes,
5enre pieces (Harpe folienne, Guitare), a
'olonatse-Boliro (op. 97), 6tudes (especially
op. 32, Les six jours de la semaine), and
transcriptions, fantasias, etc., of and on
operatic airs. He edited an excellent 2 -vol.
edition of Handel's clavichord- works.
Kruis [kroiss], M. H. van't, b. Oudewater,
Holland, Mar. 8, 1861. Pupil of Nikolai at
The Hague, 1877; organist and mus. director
at Winterswyk, 1881; org. and teacher at
KRUMPHOLTZ— KOCKEN
the Rotterdam School of Music, 1884; in
1886 he founded a mus. monthly, '.Het
Orgel.' Publ. a Beknopt overticht der muziek-
geschiedenis (1892); cotnp. an opera, De
oloem van Island, 3 symphonies, 8 overtures,
organ-music, pf.-pieces, etc.
Krumplioltz, Johann Baptist, famous
harpist; b. Zlonitz, n. Prague, circa 1745; d.
Paris, Feb. 19, 1790. Taught by his father,
a bandmaster in a Paris regiment. Gave
concerts in Vienna, 1772; took lessons in
comp. of Haydn, and belonged to Prince
Esterhazy's orch. 1773-6. Returning to
France after a long concert-tour in Germany,
he met a Fraulein Meyer at Metz, who
became his pupil (said even to surpass him
as a player), and, at the age of 16, his wife.
In Paris they gave brilliant concerts, and
K. added to his fame by inventing a harp
with 2 pedals, loud and soft (the former still
used in the modern harp) ; he also stimulated
£rard to the experiments which led to the
invention of the pedal-mechanism now em-
ployed. He drowned himself in the Seine on
account of his wife's elopement to England
with a young man. His comps. for harp are
still worthy of attention; they include 6
concertos w. orch., a quartet w. strings, a
duo for 2 harps, 52 sonatas, and others
entitled Sonates pathctiques; a symphony for
harp, 2 vlns., flute, 2 horns, and bass; varia-
tions, preludes, etc. — His brother,
Krump'holtz, Wenzel, violinist, b. circa
1750; d. Vienna, May 2, 1817, was a player
in the Vienna opera-orch., and a friend of
Beethoven, who inscribed to him the Gesang
der Monche. — Publ. an AbendunterhaUung for
violin solo, and Eine Viertelstunde fur tine
Violine.
Kru'se, Johann S., violinist; b. Mel-
bourne, Australia, Mar. 22, 1859. Pupil of
Joachim at Berlin in 1876; leader of the
Philharm. Orch.; in 1892, leader of the
Bremen orch.; 1894-7, member of the Joa-
chim-Quartet and prof, at the Kgl. Hoch-
schule in Berlin. In 1897 he settled in
London, where he founded his own quartet,
giving 2 series of chamber-concerts annually
(the Pop. Saturday and Pop. Monday Con-
certs) ; has also appeared frequently as cond.
Krygell [kru'gel], Johan Adam, b. Naest-
yed, Denmark, Sept. 18, 1835. He began
life as a painter, but abandoned that pro-
fession, and ent. the Copenhagen Cons, in
1867, where he st. organ under G. Matthison-
Hansen; won the Ancker stipend, and spent
1874-5 studying in Germany; since 1880
org. at St. Matthew's Ch. in Copenhagen;
R. Prof, in 1893. A fine organist, he is
specially noteworthy for his improvisation. —
Works: An opera Saul (not prod.); an ora-
torio; a mass in C# m.; 24 str. -quartets; a
septet (op. 90); symphonies; overtures. His
chief works are for organ: Op. 8, Praludium
und Fugue; op. 19, Fantasia appassionata; op.
51, Pra- una Postludien; op. 52, Praludium
og Fuga; op. 57, Sonata appassionata; op. 64,
Dur und Moll (2 books of fugues in all
keys); op. 65, Toccata ct Fuga {Souvenir de
J. S. Bach); op. 72, Praludium, Fugato und
Postludium uber den Namen 'Gade'; op. 73,
Tonbilder; op. 100, Souvenir de Tycho Brake.
Kryzhanov'sky [krti-], Ignacy, b. Kiev,
Feb. 24, 1867. St. medicine there, and at
the same time was a pupil of O. Sev&k (vl.);
in 1886 he went to Petrograd, continuing his
medical studies and taking up comp. with
Rimsky-Korsakov at the Cons.; since 1909
prof, at the Medical Inst, for Women and
the military Acad.; contrib. to various
Russian mus. journals. Comp. a concerto for
vl. and orch.; a sonata for vcl. and pf. (op.
2) ; do. for vl. and pf . (op. 4) ; a Romanza for
do. (op. 5); numerous pf.-pcs.; songs.
Kubellk [koo'-], Johann, violinist; b.
Michle, n. Prague, July 5, 1880. Taught by
his father, a gardener; then for six years by
SevEik at the Prague Cons.; later at Vienna,
where he made his ddbut in 1898. Toured
Europe; played in Milan and London (1900),
and America (1901-2). In 1902 the London
Philh. Soc. awarded him its Beethoven
medal. Since then he has been playing
throughout Europe, and also visited the
U. S. several times. His greatest successes he
achieved in England. A marvellous tech-
nician, he lays too much stress on the mere
exhibition of skill, and arranges his programs
chiefly to sait the popular taste that is
readily satisfied with brilliant execution. He
is the possessor of the famous 'Emperor'
Stradivari. In 1903 he married a Hungarian
countess and became a naturalized Hungarian
citizen. He has been decorated with nu-
merous orders.
Kucharcz [kooliahrtsh], Johann Baptist,
b. Chotecz, Bohemia, Mar. 5. 1751; d.
Prague, Feb. 18, 1829. Studied in the
Jesuit College, K&ntsgratz, the Jesuit Semi-
mary, Gitschin, and with Seejrert, Prague;
organist at the Heinrichskirche, then at
Strahow monastery, and finally conductor
(1791-1800) of the Prague opera. A finished
player on the organ, pf., mandolin, and
harmonica. He made the first pf. -scores of
Mozart's operas. Compositions in MS.,
except 5 pes. for org. in Berra's 'Museum
fur Orgelspieler.'
Kttck'en, Friedrich Wilhelm, popular
song-composer; b. Bleckede, Hanover, Nov.
16, 1810; d. Schwerin, Apr. 3, 1882. The
son of a peasant, he was taught by his uncle
Ltthrss, court organist at Schwerin, and
played various instrs. in the court orch.; his
491
KUCZINSKI— KOFFNER
simple songs in the popular vein already
attracted attention, and he was app. tutor
to the princes. Studied further (1832) in
Berlin under Birnbach, and brought out a
successful opera there, Die Fluchl nach der
Schweiz (1839); after studying with Sechter
at Vienna (1841) and Halevy and Bordogni
at Paris (1843), he was Kapellm. at Stuttgart
from 1851-61, then retiring to Schwerin. In
Stuttgart he prod, a second opera, Der
Prdtendent (1847); he also wrote violin-
sonatas, 'cello-sonatas, and quartets for
male voices; but these, and even the majority
of his very numerous songs, found little favor
with fastidious musicians, although the songs
have had immense success with the multitude,
and many are very beautiful; the Thuringian
folk-song Ach, wie ist's moglich dann (1827),
Ach, wenn du worst mein eigen, Du schones,
blitzendes Sternelein, Gretelein, are among his
best.
Kuczinski [koo-tchin'ske], Paul, b. Ber-
lin, Nov. 10, 1846; d. there Oct. 21, 1897.
Though a banker by profession, he was an
excellent musician (pupil of Biilow and Kiel),
and an intimate friend of Jensen's, letters
from whom he publ. in part as A us Brief en
Ad, Jensens (1879). His book Erlebnlsse und
Gedanken, Dichtungen tu Musikwerken (1898)
shows his admiration for Wagner. For his
own numerous vocal works he himself wrote
the poems; Die Bergpredigt, f. bar. solo, ch.
and orch. and Ariadne, have been frequently
performed; his 130th Psalm is highly praised.
Publ. also Des Rodensteiners Riti turn Mond
for ten. solo, male ch. and orch.; Fakrt zum
Lichi for soli, mixed ch. and orch.; Gesang des
Turmwdchters (from Margrita) for ten. solo
and orch.; Geschenke der Genien for fern. ch.
and orch.; Neujahrsgesang for ten. solo, mixed
ch. and orch.; pf. -pieces (Humoreske, Inter-
mezzo, Karnevalswalzer, Phantasiestucke). —
Cf. A. v. Hanstein's Musiker- und Dichler-
briefe von Paul K. (Berlin; n. d.).
Kudel'ski, Karl Matthias, b. Berlin,
Nov. 17, 1805; d. Baden-Baden, Oct. 3,
1877. Violinist, pupil of Lafont; 1st violin
in the orch. of the Konigstadtisches Th.,
Berlin; quartet-player at Dorpat, 1830;
Kapellm. to a Russian prince, 1839; and
1841-51, leader and director in the Imp.
Theatre, Moscow. — Publ. a Kursgefasste Har-
monielehre (1865); concertos for vln. and for
'cello; violin-sonatas; pf.-trios; fantasies for
vl. and pf. on themes from operas; etc.
Kuf'ferath, Hubert Ferdinand, noted
pianist and organist; b. Mulheim, June 11,
1818; d. Brussels, June 23, 1896. Brother
and pupil of Joh. and Louis K.; then pupil
of Hart ma nn at Cologne (vln.), and of
David and Mendelssohn at Leipzig. Con-
ductor of the Mannergesangverein of Cologne
492
1841-4; then settled in Brussels, where he
was the teacher of Princess Charlotte (the
future Empress of Mexico) and other members
of the royal family; from 1872, prof, of cpt.
and fugue at the Cons. — Works: Symphonies;
pf. -concertos; pf. -music (op. 1, Capriccio\
op. 2, 8, 35, £tudes de concert; op. 9, pf.-trio;
op. 12, pf. -quartet; op. 30, Charakterstuckr;
op. 40, 4-hand waltzes). Wrote a Praktiscke
Chorschule fuf 4 Vocal- oder Instrumental*
stimmen turn Studium der Harmonie, (Us
Kontrapunktes und der Or gel (1896; French
and German).
Kufferath, Jonann Hermann, b. Mul-
heim-on-Ruhr, May 12, 1797; d. Wiesbaden,
July 28, 1864. Pupil, at Kasael, of Spohr
(vln.) and Hauptmann (com p.); 1823, mus.
dir. at Bielefeld, 1830 at Utrecht, where he
taught singing at the School of Music and
cond. various societies; retired to Wiesbaden
in 1862. Excellent violinist and composer
(Jubelcantate. and other cantatas; overtures;
motets); his Manuel de chant, for schools,
won the prize of the Netherland Music Soc.
in 1836. — His brother,
Kufferath, Louis, b. Mulheim, Nov. 10,
1811; d. n. Brussels, Mar. 2, 1882. Pupil of
his brother and of Fr. Schneider at Dessau.
From 1836-50, director of the Cons, at
Leeuwarden, Holland; after that in Ghent
and Brussels. Fine pianist and successful
teacher. — Publ. a 4-part mass w. org. and
orch.; 250 canons; a cantata, Artndde; trios,
morceaux de salon, and variations, tot pi.;
part-songs, songs, etc.
Kufferath, Maurice, son and pupil of
H. F. K.; b. Brussels, Jan. 8, 1852. 'Cello-
pupil of Servais (pere and fils); student of
law and philosophy at the Univ. In 1873,
editor of the 'Guide musicale,' later becoming
proprietor. On his appointment in 1900 as
dir. of La Monnaie he gave up the editorship
of the journal to H. Imbert. A writer of
thoroughly modern spirit, he has publ.
essays on R. Wagner und die Neunte Sym-
phonie, Berlioz und Schumann (1879), Le
ThSdtre de Wagner de Tannhduser & Parsifal
(1891-8; 6 vols.; Parsifal in Engl, transl. by
L. Henermann, N. Y., 1904); iTart de diriger
Vorchestre (2 editions), Musiciens et philosophts
(1897), La Salome' de R. Strauss (1908),
Fidelio de Beethoven (1912), and a sketch of
Vieuxtemps; under the pen-name of 'Maurice
Reymont' he has transl. texts composed by
Wagner, Brahms, etc. He wrote the report
on the mus. instrs. at the Brussels Exposition
of 1880.
Kttff'ner, Joseph, composer; b. Wilrzburg,
Mar. 31, 1776; d. there Sept. 8, 1856 —
Works: 2 operas, Sporn una Schdrpe, and
Der Cornell, both prod, at Wiirzburg; 7
KOGELE— KCHNER
symphonies, 10 overtures, music for military
band and wind-instrs., a Fantasia for vln.
with orch., a quintet for flute and Btrings,
string-quartets, trios and duets for flutes,
clarinet-duets, guitar- music, sonatas for pf.
and vln., etc. — See Q.-Lex.
Ktt'gele, Richard, b. Loslau, Silesia, Apr.
8, 1850. Pupil of the 'Kgl. Inst, fur Kirchen-
rnusik' in Berlin; for 40 years music-teacher
in seminaries in Pilchowitz, Liebenthal and
Frankenstein; now (1916) living in retire-
ment at Gorlitz. A prolific comp. (nearly
300 op.-numbers) of pleasing son^s and
choruses (many in dialect); a 'geistliches
Schauspiel,' Maria Virgo (op. 245); pf.-pcs.
Has also publ. several theoretical works:
Elementar-Klavierschule (2 parts); Harmonie-
und Kompositionslehre (3 parts); Musik-,
Harmonic- una* Formenlehre; Anleitung zum
Gesangsunterricht; etc.
Kuhac [kooliahtch], Franz Xaver, b.
Escheck, Croatia, Nov. 20, 1834; d. Agram,
iune 19, 1911. St. at the Cons, in Pest and
eipzig, with Hanslick in Vienna and Liszt
in Weimar. Publ. several valuable studies
on the mus. system, instrs. and notation of
the South-Slavic nations, and 4 vols, of Slavic
folk-songs with pf.-acc. He claims Haydn
and Tartini as Croatian composers.
Kuh'e, Wilhelm, pianist; b. Prague, Dec.
10, 1823; d. London, Oct. 9, 1912. Pupil of
Proksch, Tomaschek, and Thalberg. Went
to London with the singer Pischek in 1845,
and settled there; 1886-1904 prof, at the
R. A. M. — Works: Graceful salon-music
(Feu follet, Gondola, RosSe du soir, fttude dc
concert), operatic fantasias, etc., for pf. Publ.
My Musical Recollections (1897).
Kuhlau, Friedrich, b. Clzen, Hanover,
September 11, 1786; d. Lyngbye, near
Copenhagen, Mar. 12, 1832. Harmony-pupil
of Schwenke at Hamburg. Going to Copen-
hagen in 1810, to escape the French conscrip-
tion, he supported himself there by teaching
the piano and theory; in 1813 he became
unsalaried chamber-musician (flutist) in the
royal orch.; and brought out. a series of
operas which were well received and elevated
the public taste {The Robber's Castle, 1814;
The Magic Harp, 1817; Elisa, 1820; Lulu,
\824;Hugo and Adelaide, \S27). In 1818 he was
app. salaried court composer, and received
the title of 'Professor* in 1828. He also
prod, a dram, scene, Euridice, and music
to Heiberg's Elverhoi; comp. 3 flute-quartets;
trios concertants, duets, etc., for flute; 8
violin-sonatas; 2 pf. -concertos, and many
pf.-sonatas and sonatinas for piano 2 and
4 hands, which are valuable, albeit dry,
instructive works (sonatas, op. 5, 8, 52, 60;
sonatinas, op. 20, 55, 59; for 4 hands op. 8,
17, 44, 66); also songs and male quartets,
then in great vogue. — Cf. C. Thrane, Danske
Komponister (Copenhagen, 1875; with list of
works); id., F. K. Zur lOOjdkrigen Wieder-
kehr seines Geburtstages (Leipzig, 1886).
Ktihm'stedt, Friedrich, b. Oldisleben,
Saxe-Weimar, Dec. 20, 1809; d. Eisenach,
Jan. 10, 1858. Noteworthy theorist; taught
by Rinck at Darmstadt for 3 years (1828-31);
was music-teacher there until 1836, and then
teacher in the Eisenach Seminary; later
'Musikdirektor' and 'Professor. •—Wrote a
Gradus ad Parnassutn (preludes and fugues
preparatory to Bach's); Kunst des Vorspiels
fur Orgel; Theorelisch-praktische Harmonie-
und Ausweichungslehre (1838); comp. valuable
organ-music (a double concert-fugue, a
Fantasia eroica, fugues, preludes, and post-
ludes); his other compositions (oratorios, a
mass with orch., motets, pf.-concertos, etc.)
are of minor importance.
Kuh'nau, Johann, erudite musician, ex-
cellent organist and harpsichordist; b. Apr. 6,
1660, at Geysing, Saxony; d. Leipzig, June
S, 1722. Pupil of Hering and Albrici at the
Dresden Kreuzschule; then of Edelmann at
Zittau, where he became cantor; attended
Leipzig University 1662-4, then succeeding
Ktihnel as organist at the Thomaskirche,
where he became cantor (Bach's predecessor)
in 1700, and also mus. director of the Univ.
The first harpsichord-sonata imitated from
the instrumental sonata in several movements
was publ. by K. in J oh. Kuhnau's neue
Clavier- Uebung (Part II, 1695).
This sonata has 3 movements (Allegro,
Adagio, Allegro [Rondo]), in the form of
monotonous imitations and sequences; the
7 sonatas in his Frische ClavierfruchU (1696)
show a marked advance in freedom. The
first part of his Neue Clavier- Uebung was
publ. in 1689. Six more harps.-sonatas
appeared in his Musikalische Vorstellung
etniger biblischer Historien (setting forth the
fight between David and Goliath; David's
cure of Saul; Jacob's Wedding, etc.; newed.
by J. S. Shedlock, 1905). K. wrote an essay
Jura circa musicos ecclesiasticos (1688), and
a satire on Italian music, Der Quacksalber
(1700). His complete pf.-works were publ.
by K. Pasler in vol. iv of 'Dkm. deutscher
Tonkunst.'— Cf. H. Bischoff, Vber J. K.'s
Vorstellung etniger biblischen Historien (1877);
J. S. Shedlock, The Pianoforte Sonata (Lon-
don, 1895; p. 38 et seq.); R. Miinnich, J. K.,
in vol. iii (p. 473 et seq.) of 'Sbd. Int. M.-
G. (1902).— See Q.-Lex.
Ktih'ner, Konrad, pianist, teacher at
Brunswick; b. Markt-Streufdorf, Meiningen,
Mar. 2, 1851. Studied in Stuttgart Cons.;
1889-99, in Dresden as pf. -teacher; since
then in Brunswick. — Works: The symphonic
poem Maria Stuart; pf. -music; and a Tech-
493
KOHNER— kummer
nik des Klavier spiels. Has edited many works
for 'Edition LitolftV
Ktihner, Vassili Vassilievitch, b. Stutt-
gart, Apr. 1, 1840; d. Vilna, Aug., 1911.
Pupil of Faiszt and Lebert at the Stuttgart
Cons.; then of Massart (vl.) in Paris and of
Henselt (pf.) in Petrograd; dir. of a Cons, at
Tiflis, 1870-6; settled in 1878 in Petrograd,
where he establ. his own music-school in
1892.— Works: The opera Tarass Bulba
(Petrograd, 1880); 2 symphonies (G m. and
Caucasian); a str.-quintet; 2 str.-quartets; a-
suite for vcl. and pf. (op. 7); Snow/lakes,
suite for pf . ; minor pes. for pf .
Kulenkampf, Gustav, b. Bremen, Aug.
11, 1849. Embraced a mercantile career,
but studied with Reinthaler (composition)
from 1879-82, at the Berlin Hochschule and
under Barth (pf.) and Bargiel (comp.). Or-
ganized the ' Kulenkampf 'scher Frauenchor,'
giving 5 or 6 successful concerts annually;
became director of the Schwantzer Cons, at
Berlin, but resigned in a few years to devote
himself to composing and teaching. Up to
1890 he frequently appeared as a concert-
pianist. — Works: A 2-act comic opera, Der
Page (Bremen, 1890; succ.); 3-act comic
opera, Der Mohrenfiirst (Magdeburg, 1892;
mod. succ); 3-act opera, Die Braid von
Cypern (Schwerin, 189/; succ); Konig Dros-
selbart (Berlin, 1899); Annetnarie (1903).
Also female choruses, duets, songs, and a
pf.-sonata.
Kullak, Adolf, brother of Theodor; b.
Meseritz, Feb. 23, 1823; d. Berlin, Dec 25,
1862. Dr. phil. of Berlin Univ.; then studied
music under Agthe and Marx; teacher at
his brother's Acad., and contributor to mua,
periodicals. Publ. some pf.-pes. and songs;
wrote Das Musikalisch-Schdne (1858), and
an Asthetik des Klavierspiels (1861, 2d ed.
1876; 4th ed. rewritten by W. Niemann,
1906; Engl. ed. New York, 1892), a very
valuable and instructive risumi of pf .-methods.
Kullak, Franz, son of Theodor K.; b.
Berlin, Apr. 12, 1844; d. there Dec. 9, 1913.
Pupil of his father and of Wieprecht (instru-
mentation); also of Liszt for a short time;
in 1867, teacher of pf., and director of the
orchestra-class, in his father's Academy, of
which he assumed the directorship on the
latter's death, dissolving the institution in
1890; made R. Prof, in 1883.— Works: An
opera, Ines de Castro (Berlin, 1877); pf.-
music, songs; and an essay on Der Vortrag
in der Musik am Ende des 19. Jahrhunderts
(Leipzig, 1898).
Kullak, Theodor, pianist and pedagogue
of exceptional attainments; b. Krotoschin,
Posen, Sept. 12, 1818; d. Berlin, Mar. 1,
1882. His musical gifts attracted the atten-
tion of Prince Radziwill, who had him trained
by the pianist Agthe, and brought him out
at a court concert in 1829. K. nevertheless,
at his father's desire, took up the study of
medicine at Berlin in 1837; but met Agthe
there, practised and gave lessons, studied
harmony under Dehn, and finally devoted
himself wholly to music. In 1842 he studied
with Czerny, Sechter and Nicolai in Vienna;
and after a brilliant Austrian pianist ic tour
settled in Berlin, became teacher to the
royal family, and, in 1846, court pianist. In
1850 he founded, with Julius Stern and Bern-
hard Marx, the Berlin (later Stern) Cons.,
from which he resigned, in 1855, to establish
his own 'Neue Akademie der Tonkunst,' one
of the most successful of German music-
schools (cf. above, Franz Kullak). Besides
numerous high orders, he received the titk
of 'Royal Professor' in 1861. Among his
pupils were the two Scharwenkas, A. Griin-
leld, Sherwood, Arthur Mees, Hans Bischoff,
O. Neitzel, C. Sternberg, Moritz Moszkow-
ski, Erica Lie, Martha Remmert, Helene
Geissler, etc His instructive works for
piano are classics in their line, particularly
the School of Octave-playing (op. 8), with its
sequel, Seven Studies in Octave-playing (op.
48), employed by all teachers, and three
books of Matenalien fur den Elementar-
Unterricht; also the practical part of the
Moscheles and Fetis Method (2 books).
Other works: Op. 5, La danse des sylphides;
op. 7, sonata; op. 27, Symphonic it piano;
op. 54, Ballade; op. 55, concerto; op. 57,
three duos* with vln. (with Wuerst); op. 62
and 81, Kinderleben (delightful sketches,
universally admired); op. 70, Andante with
vln. or clar.; op. 75, Pastorales; op. 77, trios;
op. 85, Hymn; op. 97, Impromptu-Caprice;
op. 103, two Polonaises caractenstiques; op.
104, four solo pieces; op. 108, Airs nationaux
russes (transcr.); op. Ill, Romances du vieux
temps; Arplges, and La Gazelle (op. 22)
(effective salon-pieces much played); difficult
and brilliant paraphrases and fantasias for
Sf.; songs; etc; about 130 in all. — Cf. O.
:einsdorf, Th. K. und seine Neue Akademie
der Tonkunst in Berlin (1870); H. Bischoff,
Zur Erinnerung an Th. K. (1883).
Kum'mer, Friedrich August, b. Mei-
ningen, Aug. 5, 1797; d. Dresden, May 22f
1879. 'Cello-pupil of Dotzauer in Dresden,
also studying the oboe, becoming oboist in
the court orch., 1814, and 'cellist in 1817,
retiring 1864. For many years teacher of
'cello m Dresden Cons.; Goltermann, Coss-
mann and Hausmann were among his dis-
tinguished pupils. He was a virtuoso of the
first rank, and a fine writer for his instr.
(concertos, a concertino, divertissements,
fantasias, variations, etc.); likewise about
200 pieces of entr'acte-music for the court
theatre, and concert-pieces for oboe, clar.,
494
KUMMER— KUNZ
horn, trumpet; and a method for 'cello
(new ed. by H. Becker, 1910). — His son,
Alexander, b. Dresden, July 10, 1850, and
a pupil of Leipzig Cons., is a violin- virtuoso,
now living in England.
Kum'mer, Kaspar, b. Erlau, Province of
Saxony, Dec. 10, 1795; d. Koburg, May 21,
1870. Flute-virtuoso and composer; from
1813 member of the court orch., Koburg, later
M usikdirektor there. — Works : Quintets and
quartets, for flute and strings; flute-concertos,
trios, duos, etc.; and a Method for flute.
Kum'merle, Salomon, b. Malmsheim,
n. Stuttgart, Feb. 8, 1838; d. Samaden, Aug.
28, 1896. From 1875-40, professor at the
Lower School in Samaden. He published
several collections of vocal music, among
them 'Musica sacra' for 2-part male ch.;
'Grabgesange,' 'Zionsharfe/ 'Choralbuch filr
evangelische Kirchenchdre,' and an 'Ency-
klopadie der evangelischen KirchenmusiV
(voli, 1888; ii, 1890; iii, 1896).
Kun'dinger, Georg Wilhelm, b. Konigs-
hofen, Bavaria, Nov. 28, 1800; Stadtcantor at
Nordlingen (1831) and Nuremberg (1838);
composer of church-music. — His sons are (1)
August, b. Kitzingen, Feb. 13, 1827; vio-
linist in the court orch., Petrograd; comp.
music for vln.; — (2) Kanut, b. Kitzingen,
Nov. 11, 1830; 'cellist, 1850-1903, in the
Mannheim court orch.; now living in Munich;
— and (3) Rudolf, pianist; b. Nordlingen,
May 2, 1832; pupil of his father, and of
Blumroder (theory); from 1850 in Petrograd;
in 1860 tutor to Grandduke Constantin's
children; teacher at the court, and to the
reigning Empress. For one year (1879)
prof, at the Cons. — Publ. a trio and a few
pf. -pieces.
Kunltef, Franz Joseph, theorist and
composer; b. Dieburg, Hesse, Aug. 20,
1808; d. Frankfort-on-Main, Dec. 31, 1880.
From 1828, rector of and music-teacher in
Bensheim Teachers' Seminary; pensioned
1854. — Works: A cantata, psalms, motets,
etc.; wrote a Kleine Musiklehre; Die Verur-
teUung der Konservatorien zu Pflanzschulen des
musikalischen Proletariats (1855); Kritiscke
Beleuchtung des C. F. Weitzmann'schen Har-
monic Systems; Die neue Harmonielehre im
Streit mil der alien (1863); etc.
Kiin'neke, Eduard, b. 1885; has attracted
attention with his operas Robins Ende (Mann-
heim, 1909), Die Circe (Munich, 1912) and
Geur-As (Dresden, 1913).
Kunsemuller, Ernst, b. Rehme, West-
phalia, June 24, 1885. St. hist., philos. and
Germanic philology at the universities of
Berlin and Bonn (Ph. D., Bonn, 1909); then
st. under Friedberg, Wdlsche and Steinbach
at the Cologne Cons.; 1910-12, cond. of an
a capp. chorus at Neuss; since 1912 cond. of
the Verein der Musikfreunde' and 'Gesang-
verein' in Kiel; since 1914 also M usikdirektor
at the Univ. (succ. of H. Stange). — Works:
Op. 1, 3, 5, songs; op. 2, songs with orch.;
op. 4, 10, sonatas for pf . ; op. 6, vars. for pf . ;
op. 7, KnabenUeder for alto with octet-acc.;
op. 8, choruses a capp.; op. 9, Serenade for
small orch.
Kun'tze, Karl, b. Trier, May 17, 1817;
d. Delitzsch, Saxony, Sept. 7, 1883. Pupil
of A. W. Bach, Marx, and Rungenhagen, at
Berlin; cantor and organist at Pritzwalk, 'R.
M usikdirektor' in 1852; 1858, organist at
Aschersleben; 1873, music-teacher at the
Delitzsch Seminary. Best known as a
composer of humorous male choruses {Adam
und Eua, Der Hecht im Karpfenteich, Wein-
galopp, Der neue Bur germeister, Die Schwiepr-
mutter); also wrote an operetta, Im Gebtrge
(Dessau, 1875), motets and songs for mixed
ch., organ-pieces, etc. Edited the 3d ed.
(1875) of Seidel's Die Orgel und ihr Bau.
Kunwald, Dr. Ernst, b. Vienna, Apr. 14,
1868. Having completed the course at the
Schotten-Gymnasium of his native city, he
ent. the Univ. in 1885, took the full course
in jurisprudence, and received the degree of
Dr. tuns in 1891. At the same time he had
studied music systematically, pf. with Le-
schetizky (1882) and J. Epstein (1885-6), and
comp. with H. Gradener (1884-8); from
1893-4 he finished his mus. studies at the
Leipzig Cons, under Jadassohn (pf. and
comp. J, acting also as chorus-master at the
opera. In Dec. 1895 he made his debut as
cond. with Lortzing's WildschiUz in Rostock,
where he remained two years; he then held
positions as 1st Kapellm. at the opera-
nouses of Sondershausen (1897-8), Essen
(1898-1900), Halle (1900-1), Madrid (Teatro
Real, 1901-2), Frankfort (1902-5) and Ber-
lin (Kroll's Th., 1905-7); from 1907-12 he
was cond. of the Berlin Philh. Orch.; since
1912 cond. of the Cincinnati Symph. Orch.,
and since 1914 also of the May Festival.
He visited America for the first time in
1906, when he was invited by the N. Y.
Philh. Soc. to conduct one of its concerts.
He is an excellent pianist, appearing fre-
quently in that capacity with chamber-
music organizations. He was decorated with
the Order of Isabella la Cat61ica of Spain.
Kunz, Konrad Max, b. Schwandorf, Bav.
Palatinate, Dec. 30, 1812; d. Munich, Aug.
3, 1875. Pupil of Hart ma nn Stuntz at
Munich; was a co-founder, and the conductor,
of the Munich Liedertafel; composed many
very popular male quartets (Elstein, Odin,
der Schtachtengott), though his best-known
work (op. 14) is 200 Canons for Piano,
warmly recommended by von Biilow, a
495
KUNZEN— KUSSER
series of most excellent short technical
studies; he also publ. the satirical pamphlet,
Die Grundung der Moosgau-Bruderschaft Moos-
griUia (1866).
Kun'zen (Kuntzen), Adolf Carl, born
Wittenberg, Sept. 22, 1720; d. Lubeck, in
July, 1781, as his father's successor as or-
ganist of the Marienkirche. He was a very
precocious pianist, making tours in Holland
and England at the age of 8. Only a few of
his pf. -sonatas were publ.; he also wrote an
oratorio, a Passion, symphonies, 21 violin-
concertos, etc. (many MSS. are in the library
of the Brussels Cons.). — See Q.-Lex.
Kun'zen, Friedrich Ludwig Aemillus,
b. Lubeck, Sept. 24, 1761; d. Copenhagen,
Jan. 28, 1817. Heattended Kiel Univ., 1784-
7; then settled in Copenhagen as a teacher of
music, producing the successful opera Holger
Danske in 1789. After spending a few years
in Berlin, and as Kapellmeister at Frankfort
and Prague, where his opera Das Fest der
Winter, oder Die Weirdest made a sensation in
1795, he succeeded Schulz as court conductor
at Copenhagen (1795). Here he brought out
numerous Danish operas; also oratorios, can-
tatas, overtures, choruses, pf.-sonatas, etc.
— See Q.-Lex.
Kup'fer-Ber'ger, Ludmilla, dramatic so-
prano; b. Vienna, 1850; d. there May 12,
1905. Pupil of the Cons, there. Debut as
Marguerite (Faust) at Lin z-on- Danube, 1868,
then succeeding the Harriers- Wippern at the
Berlin court opera. After marrying the Ber-
lin merchant Kupfer, she was engaged in 1875
at the Vienna court opera as Materna's alter-
nate. From 1885 she made extensive tours
of Italy, Spain and South America; settled in
1898 as singing-teacher in Vienna.
Kurpin'ski, Karl (Kasimlr), b. Lusch-
witz, Posen, Mar. 6, 1785; d. Warsaw, Sept.
18, 1857. At first 2d conductor, from 1825-
41 Eisner's successor as 1st conductor, of the
Warsaw National Th., he brought out some
26 Polish operas, and several ballets between
1811-26; also a symphony (op. 15), overtures,
cantatas, masses, etc.
Kursch'mann. See Curschmann.
Kttrsteiner, Jean Paul, b. (of French-
Swiss father and Amer. mother) Catskill, N.
Y., July 8, 1864. St. in Leipzig with Jadas-
sohn (1887, cpt. and comp.), J. Weidenbach
(pf.) and R. Hofmann (1889-91, orchestra-
tion); from 1888-92 hest. pf. with R. Teich-
mtiller, acting at the same time as his asst.
In 1893 he was app. instr. of pf. and theory
at the Ogontz School in Philadelphia, a posi-
tion which he still (1917) holds; 1896-1906,
instr. of pf. and theory at the Baldwin School,
Bryn Mawr, Pa.; since 1906 living in N. Y. as
teacher and comp. Has publ. Essays on
Expert Aid to Artistic Piano-Playing; contrib.
to various musical journals. His comps. (24
opus-numbers) consist of songs and pf .-pes.
Kurt [kdort], Metafile, dramatic soprano;
b. Vienna, Jan. 8, 1880. St. pf. at the Cons,
from 1887-94, winning the gold medal and
the Liszt prize; then for two years with Le-
schetizky, and made her debut as concert-
pianist in Vienna in 1897 with gratifying suc-
cess; she cont. her pianistic career until 1900.
In 1896 she had begun to take singing- lessons
from Fannie M Otter in Vienna, and made her
operatic debut with success as Elisabeth
(Tannhduser) in Lubeck in 1902, remaining
there for 6 months. After a season at Leip-
zig she withdrew for two years, and studied
in Berlin with Marie and LilH Lehmano;
from 1905-8 she was eng. at the Hofth. m
Brunswick; 1908-12 at the Kgl. Oper in Ber-
lin. She became one of the foremost inter-
preters of the Wagner heroines, and ap-
peared as star in London, Brussels, Milan,
Budapest and the principal cities of Germany
and Austria. Wnen the new 'Deutsches
Opernhaus' in Charlottenburg was opened in
1912 she was eng. as the chief soprano for the
heroic rdles. At her Amer. d6but as Isolde
(M. O. H., Feb. 1, 1915) she carried the audi-
ence by storm; since then she has been a
regular member of the M. 0. H. She is
gifted not only with a voice of great volume
and sympathetic quality, but atao with a fiery
temperament, queenly stage-presence ana
histrionic ability of the highest order. She
is 'herzogl. Anhaltische Kammersangerm.1
In 1910 she married Prof. Dr. Max Deri ot
Berlin. Besides the Wagner rdles her reper-
toire includes Fidelio, Donna Anna, Mar-
schallin (Rosenkavalier), Aida, Valentine,
Amelia (Ballo in Maschera). Favorite roles
are-Fidelio, Isolde and the three Brunnhildes.
Kurth [k&drt], (Martin Alexander) Otto,
b. Triebel, Brandenburg, Prussia, Nov. 11,
1846. Pupil of Haupt, Ldschhorn, and Jul.
Schneider, at Berlin. Since 1871, teacher of
music in the Teachers' Seminary at Lflne-
burg; received the title of 'R. Musikdirektor*
in 1885. — Works: The 3 -act opera Konigin
Bertha (Berlin, 1892); 1-act opera Das Cluck
von Hohenstein (MS).; 3-act opera Wittekind;
oratorio, I soaks Opferung; Advent Cantata f.
soli, ch. and orch.; 2 Hungarian dances for
orch.; pieces f. string-orch.; three symphonies
(in Cm., in D, and in F); pf. -quartet in Eb;
pf.-trio in C m.; Old German Warsongs, and
Prussian Warsongs of Frederick the Great's
Time, for soli, male ch. and orch. ; 2 sonatas for
pf. and vln.; etc.
Kus'ser (or Cousser), Johann Sleg-
mund, b. Presburg, Feb. 13, 1660; d.
Dublin, 1727. He is best known as the con-
ductor (1693-5) who raised the Hamburg
496
KUSSEWITZKY— KOZDO
opera to renown; in this capacity Mattheson,
in his VoUkommener Capellmeister, holds him
up as a model. Before this period he had
lived 5 years in Paris as Lully's intimate;
from 1698-1704 he conducted the Stuttgart
opera; then became cond. of the Viceroy's
orchestra at Dublin. After the model of the
French opera-suites he wrote concert-over-
tures and dances, which brought about a
complete revolution in German orchestral
music. — Works: Operas for Brunswick, Julia
(1690), KUopaira (1691), Jason (1692), Ariad-
ne (1692), Narcissus (1693); for Hamburg,
Erindo (1693), Porus (1694), Pyramus und
Thisbe (1694), Scipio Africanus (1695); for
Stuttgart, Der verliebU Wold (1699) and
Junto (1699); 18 suites from the lost operas
Lejestin des Muses, La Cicala delta ceira
d'Eunomio, Apollon enjoui, 6 operatic over-
tures and several arias (1700). — Cf. H. Scholz,
/. S. K. (Munich, 1911).— See Q.-Lex.
(Cousser).
Kussewitzlcy, Sergei (Alexandrovitch),
distinguished double-bass virtuoso and con-
ductor; b. Vishny Volotchk, Russia, June 30,
1874. St. at the Music-School of the Philh.
Soc. at Moscow; app. prof, there in 1900, and
in 1904 member of the Imp. Orch. After his
first tour of Germany in 1903 he was pro-
nounced the greatest double-bass virtuoso
since Dragonetti; a second tour in 1906 was
sensationally successful. In 1907 he estab-
lished his own orchestra of 75 performers,
with which he gave regular symphony-con-
certs in Petrograd and Moscow, proving
himself a conductor of splendid ability, and
meeting with striking success. Being a man
of great wealth, he now conceived the idea of
using his fine organization for the purpose of
advancing musical culture in districts that
had never had an opportunity of hearing first-
class symphonic music. Accordingly, in the
summer of 1909 he chartered a steamer, and
made a four months' tour of the cities along
the Volga with such gratifying artistic results
that he made similar tours annually until the
outbreak of the war. During the season of
1916-17 he visited the U. S. for the first time.
He has written for his instrument a concerto
in A m. and minor pieces (Chanson triste,
Valse miniature, etc.).
Ktis'ter, Hermann, b. Templin, Bran-
denburg, July 14, 1817; d. Hertord, West-
phalia, Mar. 17, 1878. After study under A.
W. Bach, Ludwip Berger, Marx and Run-
genhagen at Berlin, he was mus. director at
SaarbrUcken 1845-52, then settling in Berlin
as a music-teacher. Here he founded the
'Berliner Tonkiinstler-Verein/ succeeded Grell
as court and cathedral-organist in 1857, with
the title of 'R. Musikdirektor'; was made
'Professor' in 1874.— Publ. Ober Handel's
Israel in Agypten (1854); Populdre Vortrdge
uber Bilding und Begrundung eines musika-
lischen Urteils (4 vols., 1870-7; Methode fur
den Unterricht im Gesang auf hoheren Schulan-
stalten (1872); Ober die Formen in der Musik
(1872); etc. He composed 7 oratorios; also
orchestral and church-music, songs, etc.
Kutacher'ra, Elise, dramatic soprano; b.
Prague, June 10, 1874. Pupil of Mme. Viar-
dot-Garcia and Mme. Artdt de Pad ilia in
Paris; debut in July, 1892, as Marguerite at
KroH's Th. in Berlin; in 189«5 she was a
member of Damrosch's German comDany;
after her* return to Europe she married a
Belgian officer, Maximilian de Nys (fallen in
battle, 1915), and has since then lived in
Brussels; eng. at la Monnaie, where she sings
the heroic rdles; has also sung in Paris (Ooera
and Op.-Comique); in 1915-16 she revisited
the U. S. on a successful concert-tour. She
is Kammers&ngerin, Officier de 1 'instruction
publique, and the recipient of numerous dec-
orations. Her favorite rdles are Aida, Fide*
Ho, Valentine, and Agathe (Freischuts).
Kutzachbach, Hermann Ludwig, b.
Meissen, Aug. 30, 1875. Pupil of his father,
then of Kluge, Krantz and Draeseke at the
Dresden Cons.; 1895-8, Repetitor at the
Dresden court opera; after a few months as
cond. at the Cologne opera and the Neues
Kgl. Opernhaus in Berlin, he returned to
Dresden as 3d Kapellm.; 1906-9, 1st Hof-
kapellm. in Mannheim; then again at his
former post in Dresden until 1913, when
upon Hagen's retirement he became 2d Ka-
pellm.
Kuula [koo'-J, Tolvo, b. Vasa, Finland,
July 7, 1883. From 190O-5, and again 1906-
8, pupil of the Cons, at Helsingfors; 1908-9,
of E. Bossi (cpt.) in Bologna; during the sum-
mer of 1909 he st. cond. with H. Sitt in Leip-
zig and 1909-10 instrum. with M. Labey in
Paris; since 1910, cond. of the orch. at Ulea-
borg. Has publ. a sonata for vl. and pf . ; a pf .-
trio; pf.-pcs; songs; a capp. choruses. In
MS. he pas a symphony; symph. poem; 2
suites f. orch.; Prelude and Fugue f. orch.;
3 cantatas f. soli, ch. and orch.; 2 Legends f.
solo voice w. orch. (all publicly perf.).
Kuyper [koi'-], Elisabeth, b. Holland,
Sept. 13, 1877. Pupil of H. Barth and M.
Bruch at the Kgl. Hochschule, Berlin; since
1908 teacher of theory and comp. there; the
founder (1908) and cond. of the Berlin 'Ton-
kiinstlerinnen-Orchester' and the 'Sange-
rinnen-Vereinigung des deutschen Lyzeum-
klubs.' Her compositions show real talent.
Has publ. a sonata in A for violin and pf.;
ballade for vcl. and pf.; a serenade for orch.;
a concerto for vl. and orch.
KHzdd, Victor, b. Budapest, Sept. 18,
1869. At the .age of 7 he began to st. the
497
KUZN I ETSOV— LABLACHE
violin with a member of the Nat. Opera
House; ent. the Nat. Cons, in 1880 and gradu-
ated from the class of Karl Huber (1882);
debut at Budapest in 1882 with the de Beriot
cone. No. 7; then toured -Hungary, Germany,
Austria, Belgium, Serbia and Turkey as a
prodigy, visiting the U. S. in 1884. After.
Further study under I. Lotto in Warsaw and
L. Auer in Petrograd he returned to the U. S.
in 1887, and appeared for several seasons as
soloist and in recitals; since 1894 living in N.
York as a successful teacher. Has publ.
Serenade and Witches' Dance for violin solo,
and a number of works for vl. and pf. •
Kuznietsov, Maria, dramatic soprano;
b. Odessa, 1884; educated as a singer and
dancer; debut at the Imp. Opera in Petro*
frad (1905); she has met with great success in
'etrograd, Moscow, Madrid, London and
Paris; created the rdle of Potiphar's Wife in
the world-premiere of R. Strauss' JosefUgende
in Paris (1914); also sang at the Opera-Comi-
que; member of Beecham's opera company
in London (1914); in 191S-16 she made a
very favorable impression as member of the
Chicago Opera Co.; reengaged for 1916-17.
Kwast, James, pianist; born Nijkerk,
Holland, Nov. 23, 1852. Pupil of his father
and Ferd. Boh me; later of Reinecke and Rich-
ter at Leipzig Cons., of Th. Kullak and Wiierst
at Berlin, and of Brassin and Gevaert at
Brussels. 1874 teacher at Cologne Cons.;
1883-1903 pf. teacher at the Hoch. Cons.,
Frankfort; 1903-6 at the Klindworth-Schar-
wenka Cons. ; since then at Stern's Cons. His
first wife, Antonia (d. 1902), was a daughter
of Ferd. Hiller; his second wife, Frieda Ho*
dapp (b. Bargen, Aug. 13, 1880), is a distin-
guished concert-pianist. — Works: A pf. -con-
certo in F; a pf.-trio; a Romanze.in F#; and
other pf. -music.
Labarre, Theodore, famous harpist; b.
Paris, Mar. 5, 1805; d. there Mar. 9, 1870.
Private pupil of Cousineau, Boecha and Na-
derman; at the Cons, of Dourlen, Eler, Feds
and Boieldieu. From 1824 he lived alter-
nately in London and Paris till 1847; was
the chef d'orchestre at the Opera-Comique for
2 years, lived 2 years longer in London, and
in 1851 was app. conductor of Louis Napo-
leon's private orchestra; succeeded Prumier
as harp-prof, at the Cons, in 1867. — Works:
4 operas, 5 ballets; all sorts of soli and duets
f. harp; a MUhode compute f. harp; elegant
romances; etc.
Labatt', Leonard, celebrated dramatic
tenor; b. Stockholm, Dec. 4, 1838; d. there
March 7, 1897. Pupil of the Stockholm Acad,
of Music, and of Masset at Paris; debut as
Tamino at Stockholm in 1866; from 1869-83,
member of the court opera, Vienna; in 1888
he made a tour of America; was especially
fine in the Wagner rdles. — Cf. F. Hedberg,
Svenska Opera-sdngare (Stockholm, 1885).
Labey [lah-ba'], Marcel, b. in the Dept.
of Vesinet, Aug. 6, 1875. St. law in Parts
(Dr. jur., 1898), and then ent. the Schola
Cantorum, where he st. chiefly under d'lndy;
now (1917) professor there of advanced pf.-
playing and the orchestra-class, and with
d'lndy cond. of the concerts of the Schola
Cantorum; also Seer, of the 'Society nationale
de musique.' — Works: A 3-act opera, BSran-
gere (1912); 2 symphonies (1903, '08); a pf-
quartet (1911); a fantasy f. orch.; a suite f.
via. and pf.; a violin-sonata; a sonata f. pf.;
songs. Has also publ. pf. -arrangements of
several orchl. works of d'lndy (Symph. in Bb
Jour d'iU & la montagne, etc.).
Labia [lah'b'yah], Maria, dramatic so-
prano; b. Verona, 1885. She received her
musical education from her mother, who was
an excellent amateur singer (contralto) ; sang
at first in concert in Milan, Petrograd ana
Stockholm; operatic debut at the R. Opera in
Stockholm as Mimi (La Boheme), May 19,
1905; from 1906-8 she was a member of the
Komische Oper in Berlin, creating there the
part of Martha in Tiefland at the Berlin pre-
miere (1907); 1908-10, oneof the stars of the
Manhattan Opera in N. Y.; since 1911 mem-
ber of the Vienna court opera. She is an
actress of great emotional power; principal
rdles are Santuzza. Nedda, Tosca, Carmen,
Marguerite (Faust), Margherita and Ekna
(Mefistofele), Violetta, etc. — An older sister,
Fausta (b. Verona, 1872), was a favorite in
Stockholm until her retirement on her mar-
riage in 1895.
Labitzlty, Joseph, dance-composer; b.
Schdnfeld, n. Eger, July 4, 1802; d. Karlsbad,
Aug. 18, 1881. Taught by Veit of Petschau,
in 1820 he joined the orch. at Marienbad as
1st violin, in 1821 the Karlsbad orch.; in
1834 he organized an orch. of his own,
making concert -tours from Russia to England.
Many of his numerous waltzes, galops,
quadrilles, etc. (about 300 opus-numbers),
are still favorites. — His sons are (1) August,
b. Petschau, Saxony, Oct. 22, 1832; d.
Reichenhall, Aug. 29, 1903. Pupil of Prague
Cons., also of David and Hauptmann in
Leipzig, became in 1853 cond. of the Karlsbad
Kurorchester; he composed pf. -pieces, etc.
— and (2) Wilhelm, a violinist, settled in
Toronto, Canada.
Lablache [lah-blahshl, Luigi, bass opera-
singer; born Naples, Dec. 6, 1794; d. there Ian.
23, 1858. His voice, of great compass (Eb-
e*b) and wonderful volume and flexibility,
was trained by Valesi at the Cons, della Pieta
de' Turchini, in which L. spent 6 years. At
498
-1
LABOR— LACHNER
18 he commenced his career, as a basso buffo
at the San Carlino Th.; married soon after,
and followed his young wife's advice to leave
that theatre, and begin higher studies. In
a year he was eng. at the Palermo theatre
as primo basso cantante, and sang there with
growing applause for 5 years; then at Milan,
Venice, Vienna, and in 1830 at Paris-, where his
Geronimo in the Malritnonio segreto won him
the reputation of the first dramatic bass of
his day. He sang thereafter, till his retire-
ment in 1852, at Paris, Petrograd and London.
His impersonation of Leporello, in Don Giovan-
ni, was considered the finest ever seen on the
stage.— Cf. G. Widen, L.L. (Goteborg, 1898).
Labor Rah'-], Josef, b. Horowitz, Bohemia,
June 29, 1842. A blind pianist, pupil of
Sechter and Pirkhert at the Vienna Cons.;
after a successful debut at Vienna he made a
long concert-tour in Germany, remaining 2
years irr Hanover as chamber-pianist and
teacher of the princess. In Brussels and
London, 1865; Leipzig, 1866; then at Paris,
Pet. and Moscow; since 1868 living in Vienna.
In 1879 he also began to appear as an organ-
virtuoso and soon was reputed to be the
finest organist in Austria. — Works: Op. 5,
sonata f. vl. and pf. in Dm.; op. 6, pf.-quar-
tet; op. 7, sonata f. vcl. and pf. in A; op. 10,
Thema und Var. f. horn (or vcl.) and pf.; op.
11, quintet f. vl., via., vcl., cl. and pf.; a quin-
tet f. vl., via., vcl., double-bass and pf.;
Konzertstuck in B m. f. pf. and orch.; pes. f.
org.; do. f. pf.; songs. A Paternoster f. ch.
and orch., and an Ave Maria in canon-form
f . female voices, have been perf. in the Court
Chapel. He ed. Biber's vl. -sonatas in 'Dkm.
der Tonk. in Osterr.' (v. 2; xii, 2) and wrote
out the basso cont. for Cesti's Porno d'oro (ib.f
iii, 2 and iv, 2).
Laborde, Jean- Benjamin de, b. Paris,
Sept. 5, 1734; d. there July 22, 1794 (guil-
lotined). Pupil of Dauvergne (vln.) and
Rameau {comp.). He was chamberlain to
Louis XV, and a member of the Compagnie
des Fermiers-Generaux; after the King's death
he withdrew from the co"urt and devoted him-
self to composition. — Works: 11 comic operas;
chansons; etc.; Choix de chansons mises en
musique (1773; 4 vols.); Essai sur la musique
ancienne et modern* (1780; 4 vols.); Memoirs
sur les proportions musicales . ... (1781;
a suppl. to the Essai); Memoires historiques
sur Raoul de Coucy (1781). — See Q.-Lex.
Lach, Robert, b. Vienna, Jan. 29, 1874.
From 1893-9 pupil of R. Fuchs at the Cons.;
at the same time he st. law at the Univ., but
soon abandoned this for philosophy and musi-
cology under Wallaschek, Rietsch and G.
Adler; Dr. phil., Prague, 1902; he then spent
several years in research and study, the fruit
of which he publ. in a remarkable work,
Studien sur Entwickl'ungs^eschichte der oma-
mentalen Melopdie (Leipzig, 1913). In this
book he views the entire field of musical
history in the light of the latest discoveries
of ethnographic investigation. To the 'Sbd.
Int. M.-G.' he has contributed AUe Weih-
nachtslieder und Ostergesdnge auf Lussin,
Ober einen interessanlen SpezialfaU von 'au-
dition color Se\ AUe Falsibordont auf Osserot
Volkslieder in Lussingrande. Since 1911 he
has been chief of the music division of the
Vienna Hofbibliothek. — Comps.: Symphony
in D ra.; 3 overtures (Don Juan, Totentans,
Narrentraum); Der Mdnch von Heisterback,
legend f. soli, ch. and orch.; Porzellanntdrchen,
ballet; incid. music to Schdnherr's Ein Konig-
reieh; 3 masses; 3 pf. -quintets; 3 pf. -quartets;
3 str.-quartets; 3 pf. -trios; 3 sonatas f. via.
d 'amour and pf.; several works f. pf. and wood
wind; choruses a capp. and with instrs.;
duets; songs.
Lachmund, Carl V., b. Booneville,
Missouri, Mar. 27, 1857. Graduated in 1875
from the Cologne Cons., where he had st. with
Hiller, Jensen and Seiss; then continued his
studies in Berlin with Moszkowski, Kiel, X.
and Ph. Scharwenka; from 1881-4 he had the
good fortune of being one of the last pupils of
Liszt, who took a special interest in him; for
some time he taught in the Scharwenka Cons,
in Berlin, and appeared as a pianist; made a
tour of the U. S. with Wilhelmj (1880) and
one with Marianne Brandt (1887); then set-
tled in New York, where he establ. his own
Cons. In 1896 he organized the Women's
String Orch., which he cond. for twelve
seasons and brought to a high degree of effi-
ciency; now (1917) living in N. Y. as teacher
of pf. He was married to Carrie Josephine
Culbertson, a harpist, who publ. a number of
European musical letters in Chicago papers;
she died a few years after their return to the
U. S. — Works: Italian Suite and several over-
tures for orch.; a trio for harp, vl. and vcl.; of
his pf.-works the best known are a Valse-
Impromptu, Woodland Lullaby and a ConcerU
itude (ed. by A. Henselt).
Lach'ner, Franz, eminent composer and
contrapunist; b. Rain, Upper Bavaria, April
2, 1803; d. Munich, Jan. 20, 1890. Pupil of
his father, a poor organist; then, for 6 years,
of Eisenhofer, the rector of the Gymnasium at
Neuburg-on- Danube, in composition. Going
to Munich, he earned his livelihood by teach-
ing and playing in an orchestra, also study-
ing under Kapellm. Ett. In 1822 he proceeded
to Vienna, became organist of the Protestant
church, and took further lessons from Stadler,
Sechter and Weigl; was an intimate friend
of Schubert's, and was also strongly influenced
by intercourse with Beethoven. Through
Duport's good offices he was app., in 1826,
499
LACHNER— LACOMBE
Kapellm. at the Karnthnerthor Th., remain-
ing there until called in like capacity to Mann-
heim in 1834; he also established the Philharm.
Concerts in Vienna. Passing through Mu-
nich, the production of his D minor symphony
procured him the appointment of court Ka-
pellm., taking effect at the expiration of his
engagement at Mannheim in 1836. In Munich
he assumed a very prominent position as cond.
of the court opera, the court performances of
sacred music, and, from 1852, as General Mus.
Director; he retired oh pension in 1868, the
growing predominance of Wagnerian tenden-
cies at court being distasteful to him. From
Munich Univ. he received the degree of Dr.
phil. (hon. c.) in 1872. His eight orchestral
suites are the happiest inventions of his de-
cidedly original talent; in them his gifts for
imitative and contrapuntal work, in an indi-
vidual development of the Bach tradition,
find widest scope. He brought out 4 operas:
Die BUrgschaft (Pest, 1828; Munich, 1834);
Alidia (Munich, 1839); Catarina Cornaro
(Munich, 1841); and Benvenuto Cellini (Mu-
nich, 1849); music to Lanassa (Vienna, 1832);
the oratorios Moses and Die vier Menschen-
alier; a Requiem (op. 146); a solemn mass (op.
52); 2 Stabat Maters; other masses, motets
and Psalms; 8 symphonies (the passionate is
op. 52); concert-overtures; festival march f.
brass; nonet f. wind; sextets, quintets, quar-
tets, trios and sonatas f. pf. and strings; ser-
enade f. 4 'celli; elegy f. 5 'celli; 2 harp-con-
certos; organ-music (sonatas, fugues, etc.);
songs w. orch. or pf.; part-songs; male quar-
tets; female trios; etc. — Cf. O. Kronseder,
Fr. L., in 'Altbayrische Monatsschrift', vol.
iv (1903; w. complete cat. of works); M. von
Schwind, Die L.-RoUc (Munich, 1904).
Lach'ner, Ignaz, brother of preceding;
b. Rain, Sept. 11, 1807; d. Hanover, Feb. 24,
1895. Pupil of his father; then at Augsburg,
where he attended the Gymnasium, of Neu-
gebauer (vln.), Keller (pf.), and Witschka
(comp.). He joined his brother Franz in the
orch. of the Isarthal Th., Munich, and followed
him to Vienna in 1824, succeeding him as
organist in the Protestant church; he entered
the orch. of the Karnthnerthor Th., and in
1825 became 2d Kapellm. at the court opera.
In 1831, court mus. director at Stuttgart; in
1842, 2d Kapellm., under his brother, at Mu-
nich; in 1853, Kapellm. of the Hamburg City
Th.; in 1858, court conductor at Stockholm;
from 1861-75, 1st Kapellm. at Frankfort,
then retiring. — Works: The operas Der Gei-
sterturm (Stuttgart, 1837); Die RegenbrUder
(ibid., 1839); Loreley (Munich, 1846); several
'Singspiele,' among them the popular *s lettte
FensUrle; ballets, melodramas, entr'actes,
symphonies, string-quarters and trios; masses;
pf.-pieces; etc., his last work (op. 108)
being 4 duos for vln. and pf.
Lach'ner, Vincens, brother of Franz L.;
b. Rain, July 19, 1811; d. Karlsruhe, Jan. 22,
1893. Pupil of his father, and, in Vienna,
of his brothers; he succeeded Ignaz as organ-
ist in 1831, and Franz as court Kapellm. at
Mannheim in 1836, being pensioned in 1873.
In 1842 he cond. the German opera in London,
and in Frankfort the municipal opera in 1848.
Lived from 1873 in Karlsruhe, teaching in the
Cons, there after 1884. His 4-part male
choruses are celebrated, particularly his set-
tings of nearly all of V. Scheffel's songs, among
the best being Alt Heidelberg, du feine, Im
sckwanen WaUfisch, Nun grass' dich GoU, Alt
Heidelberg; he also wrote music to Schiller's
Turandot, and Demetrius; symphonies, over-
tures, string-quartets, a pf. -quartet, numer-
ous songs, etc.
Lachnith [lah'nSt], Ludwift Wenzel, b.
Prague, July, 7, 1746; d. Paris, Oct. 3, 1820.
Was member of the court orch. in Pfalz-
Zweibrttcken; went to Paris in 1773, and st.
there with Rudolph (horn) and Philidor
(comp.). He is notorious for his opera Les
Mysteres d'Isis (Paris, 1801), a clumsy ar-
rangement of Mozart's Zauberflote. — Works:
The ^oratorios Saul and La Prise de Jericho;
several operas; 3 pf. -concertos and a quantity
of shallow chamber-music. — See Q.-Lex.
Lack, Theodore, pianist and composer;
b. Quimper, Finisterre, France, Sept. 3, 1846.
A very precocious boy, he was app. at the are
of 10 org. in his native town, which post he
held until he ent. the Paris Cons, m I860;
pupil there of Marmontel (pf.), Bazin iharm.^
and Lefebure-Wely (comp.) ; grad. in 1&64 as
winner of several prizes. The same year he
was app. teacher of pf. at the Cons., and has
held the same position ever since; never left
Paris since his admission to the Cons. (1860);
from 1875-1905 he was a member of the com-
mittee on Admission and of the jury of exam-
inations. Officer of the Academie, 1881;
Officier de l'lnst ruction publique, 1887. —
Works: A preat quantity of elegant salon-
music for piano (TarenteUe, op. 20; Bolero,
op. 27; Etudes eUgantes, op. 30; Valse espa-
gnole, op. 40; Scenes enfanttnes, op. 61; Aludes
de Mile. Didit op. 85; Souvenir d1 Alsace, op.
106; Polonaise de concert, for 2 pfs.; etc.).
Lack'owitz, Wilhelm, b. Trebbin, n.
Berlin, Jan. 13, 1837. Pupil of Erk, Th.
Kullak, and Dehn; editor, 1877-97, of the
'Deutsche Musikerzeitung.' Publ. Musika-
lische Sknzenbldtter (2d ed. 1876); Opern-
fHhrer (2 parts; 6th ed. 1899); OpereUenfiihrer
(1898).
Lacombe flah-kahnbl, Louis [BrouiUon-
Lacombe], b. Bourges, France, Nov. 26,
1818; d. St.-Vaast-la-Hougue, Sept. 30, 1884.
From 1829, Zimmerman's pupil at the Paris
Cons., taking first prize f. pi. -playing in 1831.
500
"I
LACOMBE— LADMIRAULT
After a pianistic tour through France, Bel-
gium, and Germany, he resided in Vienna for
8 months (1834), studying with Czerny, Fisch-
hof, Seyfried, and Sechter. After a second
tour in Germany, he took lessons in composi-
tion from Barbireau, and settled in Paris as a
much-sought teacher, a successful concert-
giver, and industrious composer. — Works:
A 1-act comic opera La Madone (1860); a
2 -act comic opera Le Tannelier (given as
Meister Martin und seine GeseUcn at Koblenz,
1897); a 4-act grand opera Winkelried (Gene-
va, 1892); a melodrama V Amour (1859); the
prize-cantata Sapho (1878); a grand Epopee
lyrique f. orch.; 2 dramatic symphonies w.
soli and ch. (Manfred, 1847, and Arva ou les
Hongrois, 1850); Lassan et Friss, Hungarian
fantasy f. orch. (op. 51); Concert-overture in
B m. (op. 91); Au tombeau d'un HSros, elegy
for vl. and orch.; a pf. -quintet w. vln., 'cello,
oboe and bassoon, op. 26; 2 pf. -trios- numer-
ous pf. -pieces (4 Nocturnes; grand Etudes en
octaves, op. 40; Choral, granae itude de con-
cert, op. 45 ; Six romances sans paroles, op. 52) ;
also choruses a cappella and w. organ; etc.
He wrote an essay on Philosophic et musique
(Paris, 1895).— Cf. E. Bourdin, L. L. (Paris,
1882) ; H. Bover, L. L. et son ceuvre (ib., 1888) ;
L. Gallet, ConfSrence sur L. L, et son ceuvre
(ib., 1891).
Lacombe, Paul, pianist and composer;
b. Carcassonne, Oude, France, July 11, 1837,
and taught there by Teysseyre, but chiefly
self-trained. His chamber-music (sonatas f.
pf. and vln., a pf.-trio, a serenade f.
flute, oboe, and strings, etc.) and pf. -music
(divertissement f. pf. and orch., suite f. ditto,
etudes, Arabesques, Aubade aux mariSs, etc.)
are his most famous productions (he received
the Prix Chartier in 1889 for chamber-music);
his other works include 3 symphonies, a sym-
phonic overture, a Suite pastorate for orch., a
serenade and Scene au camp f . ditto, a mass, a
requiem, songs, etc.
Lacome, Paul [Paul-Jean-Jacques La-
come de rEstalenz] pah-kohm' du l£h-stah-
lahn'], b. Houga, Gers, France, Mar. 4, 1838.
Since 1860 in Paris. He contributed to vari-
ous mus. reviews, and is a composer of light
operas and operettas, having produced a
score of stage-pieces, the latest being Le Ca~
deau de noces (1893), Le Bain de Monsieur
(1895), Le Marshal Chaudron (1898) and
Les quatrefiUes Aymon (1898). His Jeanne,
Jeannette et Jeanneton (1876) was also quite
successful in Germany. Other works: 3
orchestral suites (Clair de tune, Suite an-
cienne, La Verbena); quartets; trios; over 200
songs (VEstudiantina); psalms f. 1 or more
voices, w. org. or pf.; pf. -music (Les succes de
famille, 30 progr. pes. f. little pianists). Has
publ. Introduction & la vie mustcale (1911).
La'degast, Friedrich, b. Hochherms-
dorf, n. Leipzig, Aug. 30, 1818; d. Weissenfels,
June 30, 1905. Worked for his brother, an
organ-builder at Geringswalde, and set up for
himself at Weissenfels in 1846. One of the
best of modern German organ-builders;
renovated the great Merseburg organ (1855),
and built the organ in the Nikolaikirche at
Leipzig: (1859-62; 4 manuals and 85 stops).
He built over 200 organs.
Ladmirault [lahd-me-roh'J, Paul-ftmlle,
b. Nantes, Dec. 8, 1877. At the age of 7 he
began to study the pf., and a little later also
vl. and org.; in 1892 he ent. the Cons, of his
native town, where he st. harm, with Hour-
din, winning the 1st prize in 1893. The
same year a 3-act opera, Gilles de Rets, was
prod, at the Salle des Beaux-Arts, with grati-
fying succ.; nevertheless the young composer
refused to permit further performances, as
he considered the work immature. In 1895
he ent. the Paris Cons, and cont. his studies
with M. Taudou (harm.), Th. Dubois and
G. Faure (comp.), winning several prizes;
from 1900-4 he attended the class of A.
Gedalge in cpt. and fugue, and after three
unsuccessful trials for the Prix de Rome left
the Cons. From 1900-2 he was mus. critic for
the 'Courrier Musical', until 1912 contrib. to
TOuest-Artiste' (Nantes), and since 1913 to
*S. I. M.'; since 1908 member of the 'Associa-
tion anglo-francaise' and of the executive
committee of the 4Soci£t6 nationale de Musi-
que.1— Publ. comps.: Suite bretonne, Bro-
ciliande au matin, Hymne d* Amour and Chant
funebre f. orch. (from an unpubl. opera Myr-
dhin); Offertoire f. str. -quartet and org.;- Tan-
tum ergo f. ten. solo, ch., org., harp, vl. and
d.-bass; for pf. 4 hands: Variations sur des
airs de Biniou TrSgonois (No. 2 and 3 also
arr. f. orch.); Mustques rustiques; Rapsodie
gailique (also arr. f. orch.); for pf. solo: 4
Pieces and 4 Esquisses; Fantaisie f. vl. and pf.;
I' Hymne de la St.-Jean-d'eti f. 2-part ch. and
pf.; songs and several colls, of folk-songs
(Quelques chansons de Bretagne et de Vendee
[2 books], Quelques vieux cantiques bretons,
Noels anciens, La DUaissSe). — In MS.: The
operas Gilles de Rets (1893) and Myrdhin
(1902-9; not prod.); Symphony in C (1910);
Les Sablaises (1899) and Marche du Gorsedd
(1910) f. mil. band; Les Berceaux, f. ch. w.
str .-quartet and pf. (1898); Printemps f. ch.
and orch. (1902); Chasurs des dmes de la
forit f. do. (1903); V Hymne national breton
f . ch. and mil. band (1910) ; Chanson bretonne
f. do. (1910); Les Dominicales f/ch. and pf.
(1911); Suite f. pboe and pf. (1896); Airs
anciens f. ten. w. str.-quartet and pf. (1897);
Ballet bohSmien f. fl., ob., double str.-quartet
and pf. (1898); Chanson grecque for fl. and pf.
(1900); Sonata for vl. and pf. (1901). At
present (1916) L. is finishing a symph. poem,
501
LADUCHIN— LA GRANGE
Tristan et Iseult dans la forit du Morois and a
ballet, La PrUresse de Koridwen. — Cf. O. Sere,
Musiciens fran$ais d'aujourd'hui (2d ed.f
Paris, 1911).
Laduchin [lah-doo'hin], Nikolai Mi-
chailovitch, b. Petrograd, Oct. 3, 1860.
Pupil of Tan&ev at the Moscow Cons., 1876-
9. Has publ. Variations symphoniques for
orch.; Cripuscule f. str.-orch.; Petite Suite f.
vl. and pf.; Liturgy of St. John Slatoust f. 4-
part ch.; pf.-pcs.; songs (100 Children's songs,
etc.) ; also 4 books of solfeggi.
Lad un lea, Naum Ivanovitch, b. Dec.
13, 1730; d. Petrograd, Aug. 2, 1782; one of
the few secular Russian composers of the 18th
century, chiefly known for his arrangement
for orch. of many Russian folk-songs.
Ladurner [-door7-], Ignaz Anton Franz
Xaver, b. Aldein, Tyrol, Aug. 1, 1766; d.
Villain (Massy), Seine-et-Oise, Mar. 4, 1839.
From 1777-82 he studied in the monastery at
Benediktbeuern ; then became organist at
Algund, near Meran, and afterwards studied
at Munich under the patronage of Countess
Hainhausen, herself an excellent pianist,
whom he accompanied to Bar-le-Duc. From
1788 to his retirement in 1836 he lived in
Paris, renowned as a teacher and pianist.
Auber was his pupil. — Works: Nine pf. -sona-
tas (op. 1, 2, 4); 3 more, followed by a caprice
(op. 11); 3 sonatas f. pf. and vln. (op. 5), and
3 more (op. 7); sonata f. pf. 4 hands (op. 6);
also variations and divertissements. He
brought out 2 operas at the Opera-Comique.
Lafage [-fahzh'], Juste-Adrien-Lenoir
de, eminent writer; born Paris, Mar. 28,
1801; d. at the Charenton Insane Asylum,
Mar. 8, 1862. Pupil of Perne and Choron;
then taught singing; went to Rome in 1828,
on a government stipend, to study under
Baini; 1829, maitre de chapelle at St.-£tienne-
du-Mont, Paris; visited Italy 1833-6 and
1848, and also travelled to Germany, Spain,
and England. He died of brain-disorders due
to overwork. In 1859 he founded the perio-
dical 'Le Plain-chant.' Important writings:
Manuel complet de musique vocale et instru-
mental (1836-i8; 6 vols.; elaborated from
Choron'ssketchesand notes) ;S6miiologiemusi-
cale (elements of music after Choron's prin-
ciples; 1837; — an epitome was also publ.,
1837, as Principes elementaires de musique);
De la chanson considSrSe sous le rapport musi-
cal (1840) ; Histoire gSnerale de la musique et de
la danse (1844; 2 vols.); Miscellanies musi-
cales (1844, sketches of Bellini, Haydn, and
others); sketches of Zingarelli, S. Mattei
(1839), Choron, Bocqufllon-Wilhem, Baini
(all 1844), Donizetti; Essais de diptherographie
musicale; De Vunite tonique et de la fixation
d'un diapason universe! (1859); Nicolai Ca-
puani presbyteri compendium musicale; many
works on plain-song: De la reproduction ders
litres de plain-chant romain (1853); Cours
complet de plain-chant (1855-6; 2 vols.); Ncid-
veau traiti de plain-chant (1859); Routine pcn*r
accompagner le plain-chant; etc. — He com p.
motets, etc.; duets, fantasias, and variations
for flute; and songs. — Cf. R. D. Denne- Baron,
A.deL. (Paris, 1863).
Lafont [-foTml, Charles-Philippe, born
Paris, Dec. 1, 1781; d. on the way from Ba-
enieres-de-Bigorre to Tarbes, Aug. 14, 1839.
Violin-virtuoso, the nephew and a pupil of
Bertheaume; studied later with Kreutzer and
Rode. Made a concert-tour in Germany with
his uncle while very young, and continued
travelling until appointed chamber- virtuoso
at Petrograd as Rode's successor. From 1815
he lived mostly in Paris as court violinist;
but still made tours and met his death on one
of them. — 7 violin-concertos; rondos, fan-
tasias, variations, etc., either f. orch. or string-
quartet, harp, pf., etc.; about 200 romances
for voice; and 2 comic operas, prod, at Petro-
grad and Paris.
La Forge [fohrzhl, Frank, b. Rockford,
111., Oct. 22, 1879. He received his first piano
lessons from an older sister; from 1896-1900
he st. pf. and harm, with Harrison M. Wild
in Chicago, continuing his musical studies in
Vienna with Leschettzky (pf.), Labor and
Navratil (comp.), 1900-4. Marce/Ja Sem-
brich engaged him as her exclusive accompa-
nist, and for six years he appeared with her on
her tours of Germany, France, Russia and the
U.S., being heard also as a soloist; since then.
he has been in great demand by the foremost
vocalists. As an accompanist he is unex-
celled, and he himself attributes his success to
the fact that he plays everything from mem-
ory. As a composer he has become known
through songs (To a Violet, Retreat, Come
unto these yellow sands, My Love and I, etc.)
and pf.-pcs. (Gavotte and Musette, Valse de
Concert, Improvisation, etc.).
Lagoanere [lah-gwah-nar'] , Oscar de,
b. Bordeaux, Aug. 25, 1853. Pupil of Mar-
montel, Duprato and Savard at the Pa^ris
Cons.; since 1876 cond. of operettas at wa-
rious Paris theatres (Folies-Dramatiques,
Porte Saint- Martin, Bouftes-Parisiens, etc.);
a very prolific composer of light music (ope-
rettas, ballets, pf.-pcs. and songs) ; wrote incid.
music to Richepin's translation of Macbeth;
among his most succ. stage- works are Un
Minage au violon, Miss Helyett, Le Cadeau
oV Alain and V Habit de Cesar.
La Grange [-grahnzh], Mme. Anna
(-Caroline) de, b. Paris, July 24, 1825.
Soprano coloratura-singer, with a voice re-
markable for range and flexibility; pupil of
Bordogni and Lamperti; debut 1842, at Va-
rese; she sang in Italy until 1848; then in
502
LAGUERRE^—LALO
Vienna, where she married the wealthy Rus-
sian Stankovich, and Paris; 1849-69, long
tours in Europe and America (in N. Y., 1855).
Laguerre Pah-gar/], fellaabeth-Claude
de (nee Jacquet), b. Paris, 1659; d. there
June 27, 1729; esteemed as a clavecinist,
organist and composer; wrote an opera.
Cfphale et Procris (Paris, 1694), sacred and
secular cantatas and violin-sonatas.
La Harpe [ahrp], Jean-Francois de,
poet and critic; b. Paris, Nov. 20, 1739; d.
there Feb. 11, 1803. An opponent of duck's
music, which he attacked in the 'Journal de
politique et de litterature' (1777).
Lahee, Henry, b. Chelsea, England, Apr.
11, 1826; d. London, Apr. 29, 1912. Pupil of
Bennett and C. Potter (pf.), and J. Goss
(comp.); organist 1847-74 of Holy Trjnity
Ch., Brompton. Concert- pianist; member of
the Philharm. Soc. ; lived in Croydon as teacher
and composer. — Works: Cantatas The Build-
ing of the Ship (1869); The Blessing of the
Children (1870); The Jolly Beggars (MS.); and
2 others for female voices, The Sleeping Beauty
and The Blind Girl of CasUl-CuMe; several
anthems; numerous very popular glees, mad-
rigals, and part-songs.
Lahire Dah-eV], Philippe de, b. Paris,
1640; d. there Apr. 21, 1719. Prof, of mathe-
matics at Paris Univ. ; wrote Explications des
differences des sons de la corde Undue sur la
trompetle marine, and Experiences sur le son.
Laidlaw, Anna Robena [Mrs. Thom-
son], pianist; b. Bretton, Yorkshire, Apr. 30,
1819; d. London, May 29, 1901. Pupil of
Robert Muller at Edinburgh; then studied in
Konigsberg, Prussia, and in 1834 with Henri
Herz at London. In Berlin, 1836, she met
Ludwig Berger; played in the Gewandhaus,
Leipzig, in 1837, and made Schumann's
acquaintance; he inscribed his Phantasie-
stucke, op. 12, to her. Her eminently suc-
cessful career as a concert-pianist continued
until her marriage in 1852.
Lajarte flah-zhahrtl, Theodore-ftdouard
Dufaure de, b. Bordeaux, July 10, 1826;
d. Paris, June 20, 1890. Writer and com-
poser; pupil of Leborne at the Paris Cons.,
and prod, numerous operas and operettas;
also marches and dances for military band,
etc. From 1 8 73 he was archivist of the Grand
Opera, and wrote a Bibliotheque musicale du
thSdtre de V Optra (1876, etc.; 2 vols.); In-
strumenls Sax et fanfares civiles (1867); (with
Bisson) a Traite* de composition musicale
(1880); Grammaire de la musique (1880);
Petite Encyclopedic musicale (1881-4); Curi-
osities de I' Opera (1883); publ. a coll. of
Airs d denser de Lulli d Mehul, and Chefs-
d'oeuvre classiques de I 'opSra francais, including
vocal scores of Lully's Armide, Psychi, and
ThisSe, besides operas by Campra, Rameau, et
al. Among his original comps. the principal
ones are the comedy-operas MamzeUe Penelope,
Monsieur de Floriaor, Duel du Comtnandeur,
Portrait, Roide Carreau, etc. (all early works).
Lajeunesse [lah-zha-ne'hss'], Marie Lou-
ise Cecilia Emma. See Albani.
Lalande (Meric-Lalande) [lah-lahnd'],
Henriette*C16mentine, brilliant stage-so-
prano; b. Dunkirk, 1798; d. Paris, Sept. 7,
1867. At first a 'natural1 singer in comedy-
opera, she received stricter training from
Garcia, and at Milan from Bonfichi and Ban-
derali; was highly successful in Italy, Vienna,
and Paris, but less fortunate in London. She
married the horn-virtuoso Meric.
Lalande, Michel-Richard de, b. Paris,
Dec. 15, 1657; d. there June 18, 1726. Pupil
of Chaperon; organist of four churches in
Paris, music-master to the princesses, and
from 1683 chef de musique to Louis XIV. A
very eminent church-composer (works MS.),
and also wrote many ballets, the music to
Moliere's AfSlicerte, etc. 60 motets f. ch. and
orch. were publ. in an Sdition de luxe in 20
parts. — See Q.-Lex.
La Laurencie [loh-rahn-sel, Lionel de,
b. Nantes, July 24, 1861. Having com-
pleted the course at the Lycee in Paris, he
ent. the school of forestry at Nancy; was
app. to a government position in 1883, but
attended courses at the universities of Nancy
and Grenoble. He received his musical edu-
cation from A. Weingartner and L. Reynier
(vl.) and at the Cons, from Bourgault-
Ducoudray (1891-2). In 1898 he gave up
his government post, was app. lecturer at the
ficole des Hautes fitudes Sociales, and became
regular contributor to several mus. journals
('Revue Musical/ 'Courrier Musical/ 'Mer-
cure Musical/ 'Rev. mus. S. I. M.') — Works:
La LSgende de Parsifal et le dratne musical de
R. Wagner (1888-94); Espana (1890); Le
goilt musical en France (1905) ; l' Academic de
musique et le concert de Nantes (1906); Quel-
ques documents sur J.-Ph. Rameau et sa fa-
mille (1907); Rameau (1908); Les Bouffons
(1912); with G. de St.-Foix he wrote Contri-
bution a I'histoire de la' symphonic francaise
vers 1750 (in TAnnee musicale/ 1912). Also
contrib. a history of French instrl. music
from 1687-1789 to Lavignac's 'Encyc. de la
Mus. et Diet, du Cons.'
Lalo [lah-loh'], Charles, eminent writer
on musical esthetics; b. Perigueux, Feb. 24,
1877. St. philosophy in Bayonne and Paris;
instr. in philosophy at Univ. of Bayonne.
Publ. /' Esthetique experimentelle contemporaine
(1908); Esquisse d'une esthetique musicale
scientifique (1908); Les sentiments esthStiques
(1909); Introduction d I' esthetique (1912);
503
LALO— LALOY
Programm einer sosiologischen Asthetik (1914;
in 'Bericht des Berliner Kongresses fiir Asth.
u. allgem. Kunstwissenschaft').
Lalo, ftdouard (-Victor- Antoine), distin-
guished French composer (of Spanish de-
scent); b. Lille, Jan. 27, 1823; d. Paris, Apr.
22, 1892. Pupil of Baumann at the branch
of the Paris Cons, in Lille; ent. the Paris Cons,
in 1839, and st. vl. with Habeneck and comp.
with Schulhoff and Crevecoeur; won second
Prix de Rome in 1847; excellent player
on the violin and viola, which latter he
Flayed in the Armingaud and Jacquard soirees,
n 1848-9 he publ. his first songs (V Adieu au
DSsert, l' Ombre de Dieu, Le Novice, Six ro-
mances populaires de BSranger) without at-
tracting attention; five years later appeared
some chamber-music, and its indifferent re-
ception discouraged the composer to such an
extent that for several years lie did not write
a note. His ambition, however, was stimu-
lated again by his marriage (in 1865) to Mile.
Bernier de Maligny, a contralto singer and
fine interpreter of his works. He wrote a
3-act opera, Fiesque, sent the score to the
concours establ. in 1867 by the Th.-Lyrique
and just missed the prizes, his work being
ranked third ; although later it was accepted,
and was on the point of being produced, by
the Grand Opera and the Monnaie in Brussels,
untoward circumstances intervened, and to
this day the opera has never been produced.
L. utilized parts of it in later works, especially
in the 3-act pantomine Niron (1891), which
was not publ., and the. MS. score is now lost.
In spite of the ill luck of his first opera, L.
at once began a second dramatic work, Savo-
narola (text by A. Silvestre) ; but before he had
proceeded very far he lost interest, and turned
to orchestral music. In this field he achieved
his first decided success with the Divertisse-
ment at the 'Concerts Populaires' (Dec. 8,
1872); he became famous after the sensa-
tional success of his first viol in -concerto, op.
20, played by Sarasate at a Chatelet concert
(Jan. 18, 1874); his Symphonie espagnole and
Fantaisie norvtgienne (for violin and orch.)
enhanced his reputation, and in 1880 he was
made Chevalier of the Legion of Honor. In
1875 he began work on nis chief dramatic
effort, Le Rot oVYs (3 acts, text by E. Blau);
three years later the original draft was fin-
ished, but he did not proceed with the orches-
tration because he became absorbed in other
instrumental works. When, in 1886, he re-
turned to the opera, he revised and largely
rewrote it. On May 7, 1888, it was produced
at the Opera-Comique with enormous suc-
cess, and has maintained itself in the reper-
toire ever since. (The Amer. premiere took
place at New Orleans, Jan. 23, 1890.) One
week later the Academie des Beaux-Arts
awarded L. the Prix Monbinne, and on the
last day of that year the composer was made
Officer of the Legion of Honor. Among
modern French composers L- occupies a con-
spicuous place. He is a master of exquisite
instrumentation, and his music is distin-
guished for warmth, noble melody and pi-
quant harmony. — Works: Besides the operas
mentioned L. left the first act of La Jacquerie
(4 acts, text by E. Blau and S. Arnaud ; com-
pleted, and the entire work orchestrated, by
A. Coquard; prod, at Monte Carlo, Mar. 9,
1895); the ballets Namouna (2 acts, Paris,
1 882 ; very succ. ) and Nhon (see above ) . For
orch.: Overture to Fiesque (1866); Aubade*
Allegretto (1872); Divertissement (1872); op.
20, Concerto f. vl. and orch. (1872); op. 21,
Symphonie espagnole f. vl. and orch. (1873).
Allegro sympkonique (1875); Concerto for
vcl. and orch. (1876); Fantaisie norvegienne
i. vl. and orch. (1880); Romance-Serenade f.
vl. and orch. (1880); Rapsodie norvegienne
(1881); Concerto russe f. vl. and orch. (1883),
Scherto (1884); Symphony in G m. (1886);
Concerto in C m. f. pf. and orch. (1889), 2
symphonies in MS. — Chamber-music: Op.
7, pf.-trio in C m.; pf.-trio in B m.; op. 12,
sonata f. vl. and pf.; op. 19, str. -quartet in Et>
(revised, finale rewritten, and publ. in 1880 as
op. 45); sonata f. vcl. and pf.; op. 26, pf.-trio
in A m.; minor pes. f. vl. and pf.fop. 1, Fan-
taisie originate; op. 2, Allegro maestoso in C
m.; op. 4, Deux Impromptus; Arlequin; op.
8, Impromptus; op. 18, Soirees parisiennes; op.
28, Guitare); for vcl. and pf. (op. U, Deux '
Pieces; op. 16, Allegro in Eb). AlsoO Solutoris
f. 3-part fem. ch. and org.; Veni Creator [.[tm.
ch. and org.; Litanies de la Sainte-Vierte i.
mixed ch. and org.; op. 32, La MereetVEnjani,
2 small pes. f. pf. 4-hands; 33 songs. — Biblio-
graphy: H. lmbert, Nouveaux Profits de
Musiciens (Paris, 1892); A. Jullien, Musiciens
d'aujourd'hui, l"sirie (ib.,1892); A.Lavignac,
La Musique et les Musiciens (ib., 1896); G.
Servieres, La Musique francaise moderne (ib.,
1897); C. Bellaigue, Atudes musicales et nou-
velles silhouettes de musiciens (ib., 1898); M.
Dufour, E. L. (Lille, 1908); O. Sere, Musi-
ciens francais d'aujourd'hui (2d ed. Paris,
1911).
Laloy (lah-lwahl Louis, distinguished
musicologist; b. Grey, Haute-Sadne, Feb. 18,
1874. St. philosophy in Paris, receiving the
degree of Dr. es Lettres in 1904; from 1899-
1905 pupil of Breville and d'lndy at the Scho-
la Cantorum; 1906-7 he delivered a series of
lectures on the hist, of music at the Univ. of
Paris, substituting for R. Rolland. In 1905
he founded with J. Marnold the 'Mercure
Musical,' which two years later became the
official organ of the French branch of the Int.
M.-G. (S. I. M.) under the editorship of L.
and I. d'Ecorcheville (q. v.; publication sus-
pended after the outbreak of the war in 1914).
504
LA MARA— LAMBORD
L. is contributor to 'Revue de Paris/ 'Grande
Revue,' 'Mercure de France' and •Gazette des
Beaux- Arts'. Has publ. Aristoxbie de TarerUe
et la musique de VantiquiU (1904); Rameau
(1907; in 'Maitres de la musique'); C. Debussy
(1909; ib.); La musique chinoise (1910); He
also wrote Notes sur la musique cambodgienne
(in the transactions of the Int. M.-G. at
Basel, 1907), and publ. a vol. of transcrip-
tions of Chinese comps. for the Kin (in the
publications of the 4S. I. M.'). The publi-
cation of a biogr. of Chopin for the series
'Maitres de la musique' was delayed by the
war.
La Mara. See Lipsius, Marie.
Lam'bert, Alexander, b. Warsaw, Poland,
Nov. 1, 1862. Instructed in pf. -playing by
his father, Henry L., from the age of ten; at
12 he was sent, by Rubinstein's advice, to the
Vienna Cons., where he was grad. (from Jul.
Epstein's class) at 16. After studying two
years longer (pf. alone; comp. with Urban of
Berlin), he went in 1881 to New York, and
gave concerts at Stein way Hall; then made a
concert-tour through Germany and Russia,
worked several months at Weimar under
Liszt (his classmates being Rosenthal, Siloti,
Friedheim, and Reisenauer), and in 1884 he
returned to America. Played in concerts at
New York, Boston, Chicago, etc., and in 1888
became Director of the N. Y. Coll. of Music,
which position he held till 1906; since then
living in New York as private teacher. He
retired from the concert-platform in 1892. —
Publ. works: £tude and Bourree, Tarantella,
Mazurka, Valse-Impromptu, and Canzonetta,
f. pf.; a Romanze I. 'cello; an Ave Maria f.
soprano; a valuable pf. -met hod, A Systematic
Course of Studies (3 vols., 1907); and a brief
Piano Method for Beginners,
Lam'bert, Johann Heinrlch, b. Mtil-
hausen, Alsatia, Aug. 29, 1728; d. Berlin,
Sept. 25, 1777. A building-inspector ('Ober-
baurat'), and a member of the Berlin Acad-
emy.— Works: Sur quelques instruments acous-
tiques (1763; German ed. 1796); Sur la viUsse
du son (1768); Remarques sur U temperament
en musique (1774; German in Marpurg's
'Historisch-kritische Beit rage,' vol. v); and
Observations sur Us sons desflHtes (1 775). All
the above are printed in the reports of the
Academy.
Lambert [lahn-bar'], Lucien, b. Paris,
Jan., 1861. Pupil of Barbereau, Dubois, and
Massenet, at the Cons.; took the Prix Rossini
in 1883 with his cantata PromSthie enchatnt;
since then he has brought out the 2-act 'fan-
taisie-vaudeville' Sire Olof (Lille, 1887;
Paris, Th.-Lyrique, 1888; unsucc.); the fairy-
opera BrocUiande (Rouen, 1893); the 4-act
lyric drama Le Spahi (Opera-Corn., 1897);
the 1-act lyric drama La Marseillaise (Op.-
Com., 1903); the 4-act opera Flamenca (Th.
de la Gaite, 1903); PenHcosa (Op.-Com., 1908;
won prize at Concours Astruc); La Sorciere
(not yet prod. [1917]); also an overture, and
a symphonic poem, Legende roumaine, for
orch.; Andante et Fantaisie ttigane f. pf. and
orch.; an orch I. suite, Esquisses Creoles (on
themes by Gottschalk) ; pf .-pes.
Lambert [lahn-barl, Michel, b. Vivonne,
Poitou, 1610; d. Paris, 1696. From about
1650 he was master of chamber-music to
I.ouis XIV. Celebrated singing-teacher and
virtuoso on the lute and theorbo; father-in-
law of Lully. Publ. Airs et brunettes (1666;
2d ed. 1689); and, posthumously, Airs et
dialogues (1698).
Lamber'ti, Giuseppe, b. Cuneo, Italy,
1820(?); d. Turin, April, 1894. Comp. of
sacred and secular music. — Operas, Malek-
Adel (Turin, 1851); Leila di Granata (Cuneo,
1857); both quite successful.
Lambillotte (lahn-be*-y6ht'], Pere Louis,
writer and church composer; b. Charlerot,
Hainault, Mar. 27, 1796; d. Vaugirard, Feb.
22, 1855. Organist at Charleroi, then at
Dinant; in 1822 maftre de chapel le at the
Jesuit Seminary at St.-Acheul, joining the
order in 1825, and residing in various monas-
teries, lastly at Vaugirard. — Works: .4 grand
masses, one in the Lydian Church-mode;
other sacred music, organ-pieces, fugues, etc.;
he publ. an AntiphonairedeSaint-Gregoiret fac-
simile du manuscrit de Saint-Gall (1851), with
historical and explanatory essays; Clef des
Melodies grSgoriennes (1851); Quelques mots
sur la restauration du chant liturgique . . .
(1855); EsthStique, Theorie et Pratique du
chant grSgorien . . . (1855). Pere Du-
four, editor of these last two, publ. a Graduel
and VespSral after L.'s ideas about choral
notes. — Cf. J. Dufour, Memoire sur Us
chants liturgiques restaurSs par L. (Paris, 1857) ;
Th. Nisard, Le Pere L. et Dom. A. Schubiger
(ib., 1857); M. de Monter, L. L. et ses frires
(ib., 1871).
Lambord, Benjamin, b. Portland, Me.,
June 10, 1879; d. Lake Hopatcong, N. J.,
une 6, 1915. Having studied with local
teachers and pf. with A. Whiting in Boston,
he ent. Columbia Univ. in 1897 and took the
music courses under E. MacDowell until
1902; then st. orch. and comp. under C. Rub-
ner; winning the Mosenthal fellowship in
1905, he went to Europe, spending a year in
travel and further study; the summer of 1910
he spent in Parts, studying orch. with P.
Vidal Org. and choirm. of the Reformed Ch.„
Kingsbridpe (N. Y.), 1904-14; from then until
his death in a similar capacity at the Presbyt.
Ch., Rye, N. Y.; 1904-8, instr. of pf. at the
Hotchkiss School. In 1911 he organized the
'Lambord Choral Soc.', which he cond. until
505
LAMM ERS— LAM PERTI
1913; after that cond. of the 'Modern Music
Soc.', producing chiefly modern choral works
with orch. Although as a composer he fol-
lows modern tendencies, his works are re-
markable for real melody and sensuous
beauty. — Works: Op. 1, 3 songs for low voice;
op. 2, 2 part-songs f. mixed vcs.; op. 3, 4
songs f. high voice; op. 5, pf.-trio (MS.); op.
6, Valse fantastique f. pf.; op. 7, 2 songs; op.
8, Introduction and Vars. on an Engl, dance-
theme, f. orch. (MS.); op. 10, Clytie, song f.
sop. w. orch.; op. 11, Verses from Omar Khay-
yam, f. mixed ch. and orcn. Without op.-
number were publ. Ten Lyric Studies for
Piano, songs, duets and anthems. He left
unfinished a romantic opera, Woodstock, and
a book, The Orchestra and Orchestral Music.
Lam 'men, Julius, b. Leipzig, Apr. 20»
1829; d. there Sept. 20, 1888; teacher in the
Conservatory. Composer of numerous songs
and some pf.-pcs.
Lamond', Frederic A., concert-pianist; b.
Glasgow, Jan. 28, 1868. His brother David
was his first teacher; in 1880 he became organ-
ist of Laurieston Parish Ch. He had violin-
lessons of H. C. Cooper in Glasgow; went in
1882 to Frankfort, studied at the Raff Cons,
under Max Schwarz (pf.), A. Urspruch (com p.),
and Heermann (vln.); later v. Bulow (1884-5)
and Liszt '(1885-6) at Weimar and Rome.
Pianistic debut at Berlin, Nov. 17, 1885, was
highly successful; after concerts in Vienna,
Glasgow, and London, he spent several years
in Germany, and gives frequent concerts in
that country and Britain; visited Russia in
1896, and Paris in 1899, with brilliant success;
in 1909 he gave 'Meisterschulkurse' at the
Sondershausen Cons. His superb interpreta-
tion of Beethoven's later works has materially
helped to overcome the prejudice against
them. For many years he nas been living in
Berlin. — Works: Op. 3, Symphony in A
(1889); op. 4, overture A us dem schottischen
Hochlande (1889); a pf.-trio; 8 pf. -pieces, op.
1 ; sonata f. 'cello and pf ., op.2 ; other chamber-
music in MS.
Lamothe [lah-moht'], Georges, very pro-
lific French composer of dance- music (over
1,000 op.-numbers) ; b. 1837; d. Courbevoie,
Oct. 15, 1894.
Lamoureux [lah-moo-rd'l, Charles, emi-
nent conductor and violinist; b. Bordeaux,
Sept. 28, 1834; d. Paris, Dec. 21, 1899. Pupil
of Girard, Paris Cons.; violinist in the Gym-
nase orch., then at the Op6ra; studied further
under Tolbecque, Leborne, and Chauvet, and
founded (w. tolonne, Adam, and Rignault)
a society for chamber-music; in 1872 he or-
ganized a 'Society de musique sacreV; became
widely famed as a conductor (cond. the Boiel-
dieu Jubilee Concert at Rouen in 1875);
1876, asst.-cond. to Deldevez at the Opera,
succeeding him as first conductor in 1878;
1872-8 was also asst.-cond. of the Cons. Con-
certs; resigned from the Op6ra in 1881, and
established the 'Concerts Lamoureux' (Nou-
veaux Concerts), justly celebrated for their
excellence; after his death they were contin-
ued by his son-in-law, Camille Chevillard
(q. v. ) . He was made Chevalier of the Legion
of Honor in 1880. More than any other
French musician, L. educated the Parisians
for the appreciation of Wagner. He conduc-
ted the memorable perf. of Lohengrin on May
3, 1887, the first pen. of a Wagnerian drama
in France since the notorious Tannhduser
fiasco. — Cf. R. Rolland, Musiciens d'aujour-
d*hui (6th ed. Paris, 1914; see the chapter 'Le
Renouveau', p. 234 et seq.).
Lampa'dius, Wilhelm Adolf, Lutheran
pastor; b. 1812; d. Leipzig, Apr. 7, 1892;
author of * Felix Mendelssohn- Bartholdy: tin
Denkmal fur seine Freunde (1848; rev. ed.
1886 as F. M.-B. Ein Gesammtbild seines
Lebens und Schaffens), and several mus. essays.
Lampe, Walter, b. Leipzig, Apr. 2&,
1872. Pupil of I. Knorr in Frankfort and of
Herzogenberg and Humperdinck in Berlin;
living as composer in Weimar. — Works: Op.
1, Drei Skizzen f. pf.; op. 2, Thema und Varia-
tions f. 2 pfs.; op. 3, pf.-trio in F m.; op. 4,
sonata f. vl. and pf. in B; op. 5, Drei Stucke
f. pf.; op. 6, Tragisches Tongcdicht f. orch.;
op. 7, Serenade f. 15 wood-wind instrs.; op. 8,
pf.-pieces.
Lam'peren, Michel van, b. Brussels,
Dec. 6, 1826. 1859-1882, librarian of the
Brussels Cons.; published church-music and
some works for pf. (solo and 4 hands).
Lam'pert, Ernst, b. Gotha, July 3, 1818',
d. there June 17, 1879. Pianist and violinist;
pupil of Hummel, Spohr, and Hauptmann.
1844 Concertmeister, 1855 Kapellm., to the
court at Gotha. He prod, operas at Gotha
and Koburg, and publ. string-quartets, pf.-
pieces, music for pf. and violin, etc., all of
which was praised.
Lamper'ti, Francesco, celebrated singing-
teacher; b. Savona, Italy, Mar. 11, 1811; d.
Como, May 1, 1892. Pupil of the Milan
Cons., where from 1850-75 he gave vocal
instruction, giving private lessons after re-
tiring. Among his most famous pupils were
Albania Mme. Artdt, both Cruvellis, Cam-
panini, Collini, and Mme. Lagrange. — Publ.
Guida teorico-pratico-elementare per lo studio
del canto; Studtdi bravura per soprano; Esercizt
giornalieri per soprano o mezzo-soprano; VA rte
del canto; Osservazioni e consigli sul trUlo; Sol-
feggi; etc.
Lamperti, Giovanni Battista, son of the
preceding; b. Milan (?), 1840; d. Berlin, Mar.
19, 1910. Pupil of his father, and equally
506
LAM PUGNANI— LANG
famous as a teacher; taught at first in Milan,
then in Paris, many years in Dresden, and the
last years in Berlin. Among his pupils are
Sembrich, Schumann-Heink, Bulss, Stagno,
etc. He publ. Die Technik des Bel Canto
(1905; Engl. tr. by Th. Baker); Scuola di
Canto (8 books of solfeggi and vocalises); a
number of other technical exercises; pes. for
pf. (Chiri, Grande march* militaire, etc.)..
Lampugnani [-pdd-fiah'-]f Giovanni Bat-
tista, teacher and dramatic composer; b.
Milan, 1706; d. there 1781. From 1743-66
he wrote for Milan, Venice, London, etc., 52
serious operas in the style of Hasse. In 1743
he succeeded Galuppi as cond. of the Ital.
Opera, London; in 1779 he was maestro al
cembalo at La Scala, Milan. Also publ.
some trio-sonatas; symphonies and concertos
in MS. — See Q.-Lex.
Land, Dr. Jan Pieter Nicolaas, b.
Delft, Apr. 23, 1834; d. Arnhem, Apr. 30,
1897. In 1864, prof, of Oriental tongues and
philos. at Amsterdam; 1872-94, prof of phi-
los. at Leyden Univ. An accomplished lin-
guist, deeply interested in musico-historical
research, to which he made most valuable
contributions: — Musique et musiciens au 17*
sihcle. Correspondance et muvres musicales de
Constantin Huygens (Leyden, 1882); Recher-
che sur Vhistoire de la gamme arabe (Leyden,
1884); Tonschriftversuche und Melodieproben
aus dent muhammedanischen Mittelalter (in the
'Vierteljahrsschrift fiir Musikwissenschaft,'
Sept., 1886); Het Luitboek van Thysius (Ams-
terdam, 1889) ; Over onze kennis der javaansche
mutiek (ibid., 1891); Remarks on the earliest
development of Arabic Music (Proceedings of
the London Oriental Congress, Sept., 1892).
Lan'di, Stefano, b. Rome, c. 1590; d.
there c. 1655. M. di capp. at Padua; from
1629, singer (musico) in the Papal Chapel,
Rome. Noted church composer; pupil of
Nanini ; one of the creators of the cantata, and
one of the earliest operatic composers in
Rome. Wrote a pastoral opera, La morte di
Orfeo (1619), a sacred opera, S. Alessio (1634);
masses, psalms, madrigals, arias. — See Q.-Lex.
Landormy [lahn-ddhr-mel, Paul (-Char-
les-Rene1), b. Issy-les-Moulineaux, n. Paris,
Jan. 3, 1869. St. philosophy, aiid did not
take up music systematically until 1892,
when he became a pupil of Sbnglia (singing) ;
later he studied with Plancon, whose niece, an
excellent pianist, he married in 1897; taught
philosophy in Roanne and Bar-le-Duc, and
Publ. several philosophical works; settled in
aris in 1902, lecturing on the hist, of music
and contributing to mus. and philosophical
journals; now (1917) prof, at the 'fecole des
Hautes £tudes Sociales', where he establ. an
acoustic laboratory. Has publ. Histoire de
la musique (1910; 3d ed. 1913); for the series
'Malt res de la Musique* he is preparing a
biogr. of Brahms (1917).
Landowska [-ddhv'-], Wanda, b. War-
saw, 1877. Pupil at the Cons, there of Micha-
lowski (pf.); later in Berlin of Moszkowski
(pf.) and H. Urban (comp.); from 1900-13
she lived in Paris, teaching pf. at the Schola
Cantorum. There she became interested in
music written for the harpsichord, and soon
became a virtuoso upon that instrument; since
1906 she has made several successful tours
of Europe as pianist, but principally as
harpsichord- player; in 1913 she was called to
Berlin as prof, of the newly establ. harp-
sichord-class at the Kgl. Hochschule fiir Mu-
sik. Has publ. Bach et ses interpretes (1906);
La Musique ancienne (1908); Les Atte-
manis et la musique francaise au XVIII'
Steele (1911); also songs and pf.-pes.; in MS.
she has some works for orch.
Lang, Benjamin Johnson,b.Sa1em,Mass.,
Dec. 28, 1837; d. Boston, Apr. 3, 1909. A
piano-pupil of his father, of F. G. Hill at
Boston, and of Alfred Jaell and Gustav Satter;
in 1855 he studied comp. in Berlin, and pf.-
playing under Liszt. Since 1852, organist
successively at Dr. Neale's church, the Old
South, the South Congr. Ch. (20 years), and
King's Chapel, Boston, from 1885. Also
(1859-95) organist of the Handel and Haydn
Society, Boston, of which he was conductor
in 1895-7, succeeding Zerrahn. Besides con-
ducting the Apollo Club and the Cecilia since
their organization (1868 and 74, resp.) he
gave very numerous concerts (orchestral,
choral^ chamber-music) on his own. account.
As a pianist, teacher, conductor, and organizer
he was in the first rank of Boston's musicians
for a third of a century, and brought out a
long list of important works by foreign and
native composers. His own comps. include
the oratorio David; symphonies and over-
tures; much chamber- ana pf. -music; a great
many church-compositions; also songs, etc.;
mostly still in MS.
Lang, Heinrich, b. Laichingen,- Wiirt-
temberg, Feb. 17, 1858. Pupil of Faiszt,
Pruckner and Doppler at the Stuttgart
Cons.; 1884-97, teacher at the intermediate
school and org. of the 'Verein far klassische
Kirchenmusik ; in 1891 he succ. his teacher
Faiszt as org. and mus. dir. at the Stifts-
kirche, which post he still (1917) holds;
1897, teacher of org., mus. dictation and
choral singing at the Cons.; 1900, made
prof.; 1910, asst.-dir.; since 1907 also Pres.
of the 'Wurttemberger Organ isten verein'
(of which he was one of the founders). —
Works: Introduktion und Doppelfuge (op.
25), Sonata (op. 31), Festprdludium (op. 32),
numerous Choralvorspiele and canons for
organ; motets and hymns for mixed ch. a
507
LANG— LANGE
capp. (op. 19, 20, 27, 37, 38, 43); male
choruses (op. 15, 30, 33, 44); songs. He
was one of the most active collaborators in
the preparation of the 'Neues Wurttem-
bergisches Choralbuch' (1912).
Lang, Henry Albert, b. (of German
parents) New Orleans, Oct. 9, 1854. St. for
five years at the Stuttgart Cons, with Lebert
and Pruckner (pf.) and Faiazt (comp.),
graduating in 1875; then st. further with
V. Lachner (comp.) in Karlsruhe; after a
concert-tour of Germany with Remenyi he
taught some time at the Cons, in Karlsruhe,
going from there to Riga and then to Konigs-
berg; appeared as soloist with orch. and in
ensemble (Joachim Quartet); came to the
U. S. in 1890, and after a year in Galveston,
Texas, settled in Philadelphia, where he
taught in several schools; since 1913 head of
dept. of theory and comp. at Phila. Cons,
of Music; Mus. Doc., 191 L — Works: Sym-
phony No. 1, Fantasies of a Poet (1914);
Symphony No. 2 in C m. (1st prize, III.
Mus. Teachers' Assoc., 1915) ; Fantastic Dances,
suite for orch.; Concerto for vl. and orch.;
a pf.-trio in C m.; a vcl.-sonata (prize,
Hamburg, 1884); a pf.-quintet in Bb (1st
prize, Utopian Club, Phila., 1894); a pf.-
trio in E (1st prize, Nat. Fed. Mus. Clubs,
1911); 2 str.-quartets (prizes, N. Y. Mus.
Teachers' Assoc., 1898; Sinfonia, 1913); pf.-
pcs.; songs.
Lang, Hermann, b. Grossvoigtsberg,
Saxony, Mar. 29, 1872. Pupil at the Dres-
den Cons, of Rappoldi (vl.), P. Janssen (org.),
E. Engel (voice) and F. Draeseke (comp.);
1893-5, violinist in the Dresden court-orch.;
since 1895 teacher of vl. and via. at the
Cons., and since 1910 prof, of theory. Comps.
(in MS.): Sextet for str. -quartet, clar. and
bassoon; quintet for ob., clar., horn, bassoon
and pf.; trios; pes. and studies for vl.; songs.
Lang PLang-Kostlin], Josephine, b.
Munich, Mar. 14, 1815; d. Tubingen, Dec. 2,
1880. Song-composer; pupil of Frau Berling-
hof-Wagner and Mendelssohn. Her son, H.
A. K., publ.a sketch of her life in Waldersee's
'Sammlung musikalischer Vortrage' (Leipzig,
1881).
Lang, Margaret Ruthven, daughter of
Benjamin J. L.; b. Boston, Nov. 27, 1867, a
pupil of her father (pf. and harm.), Schmidt
of Boston, Drechsler and Abel in Munich
(vln.), Gluth in Munich (comp.) and of G.
W. Chad wick and E. Mac Dowel 1 ; is a talented
song-composer, many of whose compositions
have been published and publicly performed;
member of N. Y. MS. Soc. and Hon. Vice-
pres. of Amer. Music Soc. — Works: For orch.:
Op. 10, Witichis, overt. (1893); op. 12, Drama-
tic Overture (1893); op. 23, Totita, overt.; op.
36, Ballade (1901); Sappho's Prayer to Aphro-
dite, aria f. alto w. orch. (1895); Armida, do.
(1896); Phabus, do. f. bar. and orch.; a str.-
quartet; about 100 songs (28 opus-numbers) ;
choruses f. male, fern, and mixed voices; pf.-
pcs. (op. 18, Petit Roman en six chapilres;
op. 21, Rhapsody in E m.; op. 26, Meditation;
etc.).
Lang'becker, Emanuel Christian Gott-
lieb,, b. Berlin, Aug. 31, 1792; d. there Oct.
24, 1843. He was secretary to Prince Walde-
mar of Prussia; his researches on the origin of
the Protestant chorale are embodied in Das
deutsch-evangelische Kirchenlied ( 1 830) ; Johann
CrUgers . . . Choral- Melodien (1835);
Gesangbldtter aus dem 16. Jahrhundert (1838)
and Paul Gerhardts Leben und Lieder (1841).
Lang'don, Richard, b. Exeter, England,
about 1729; d. there Sept. 8, 1803. Organist
of Exeter cathedral, 1753-77; Mus. Bac,
Oxon., 1761; org. of Bristol cath., 1777-81;
of Armagh cath., 1782-94. —Works: 12 songs
and 2 cantatas, op. 4; 'Divine Harmony', 1774
(a coll. of psalms and anthems); and 12 glees
a 3-4 (1770).
Lang'e, Daniel de, brother of Samuel
de L.; b. Rotterdam, July 11, 1841; studied
'cello under Ganz and Servais, comp. under
Verhulst and Damcke; taught at the Lemberg
Cons., 1860-3, then took pf. -lessons of Mme.
Dubois at Paris; chiefly self-taught as an
organist, he obtained two positions at Mont"
rouge, also conducting the 'Liedertafe/';
taught from 1870 at the school of the 'Maat-
schappij tot bevordering van Toonkunst,' of
which he was made secretary; acted (or yean
as Coenen's assistant as the cond. of 4Am-
stels Mannenkoor,' and succeeded him in
1895 as Director of the Amsterdam Cons,
(formerly Music-School), where he remained
till 1913. As the cond. of the Amsterdam a
cappella chorus, he has made a successful
specialty of the production (in London, 1888
and '94; in Germany, 1892) of old Dutch a
cappella music. For many years he was mus.
critic for the 'Nieuws van den Dag.' — Works:
An opera, De vol van Kuilenbur$; music to
Ernani; an a cappella mass; a requiem; several
cantatas; two symphonies (in C and D); an
overture, Willem van Holland; a 'cello-con-
certo; sonata f. 'cello and pf.; pf. -sonata;
songs; etc. Has also publ. an ExposS d'ttne
thiorie de la musique.
Lang'e, Guatav, b. Schwerstedt, n.
Erfurt, Aug. 13, 1830; d. Wernigerode, J uly
19, 1889. Pianist and composer; pupil of
A. W. Bach, Grell, and Loschhorn. Lived
in Berlin, and publ. upwards of 400 pf.-pes.,
generally facile, elegant, and effective, many
having gained great vogue.
Lang'e, Konrad von, b. Gottingen, Mar.
15, 1855; since 1905 prof, of Science of Art
at the Univ. of Tubingen; eminent writer on
508
LANGE— LANGER
Y
esthetics, who attracted attention through his
investigations regarding the part played by
'Illusion' in the creation and appreciation of
works of art. — Works: Die bewusste Selbsttdu-
sckung (1895); Das Wesen der Kunst (2 vols.,
1901; 2d ed. 1907); Das Wesen der kunstU-
rischen Ertiehung 1902) ; Der Zweck der Kunst
(1912).
Lang'e, Samuel de, brother of Daniel;
noted Dutch organ- virtuoso and composer; b.
Rotterdam, Feb. 22, 1840; d. Stuttgart, July
7, 1911. Pupil of his father, the organist S.
de L. [1811-1884], then of A. Winterberger,
Vienna, and Damcke and Mikuli, Lemberg.
After concert- tours in Galicia (1858-9), he
lived in Lemberg until 1863, then became
organist and teacher at the Rotterdam Music-
School, though still making tours to Switz-
erland, Vienna, Leipzig, Paris, etc. Taught
in the Music-school at Basel 1874-6; lived
a few months in Paris, and toward the end of
1876 was app. teacher at the Cologne Cons.,
also cond. of the 'Mannergesangverein' and
the 'Gurzenichchor.' From 1885-93 he con-
ducted the Oratorio Soc. at The Hague; was
then teacher and vice-director at the Stutt-
firt Cons, and in 1900 dir. ; in 1895 he became
umpe's successor as cond. of the Stuttgart
Soc. for Classical Church-music; retired from
active work in 1908. — Works: An oratorio,
Moses (op. 57; The Hague, 1889); for male
ch. and orch., De barre rots (op. 12), Wtilem
de Eerste (op. 13), Die Schollenjahrer (op. 79);
3 cantatas, De Opstanding (op. 64; f. soli,
ch. and pf.), Die Totenklage (op. 73; f. soli, ch.
and org.) and Eines Konigs Tranen (op. 86;
f . soli, ch. and orch.). For orch. : 3 symphonies
(in MS., but perf. in Cologne, Amsterdam and
Stuttgart) ; op. 16, vcl.-concerto; op. 22, vim-
concerto in F; op. 32, pf. -concertino in G m.;
op. 38, Konzertstuek f. vcl.; op. 80, Serenade
(f. small orch.). Chamber- music: 4 str.-
quartets (op. 15, E m.; op. 18, C; op. 67, G
m.; op. 81, D); 2 pf.-trios (op. 21, G; op. 89,
Eb); 4 sonatas f. vl. and pf. (op. 19, G; op.
29, C m.; op. 48, D; op. 69, D); 2 sonatas f.
vcl. and pf. (op. 37, C m.; op. 76, A); op. 23,
Serenade f. pf. and str.-quartet; op. 65, pf.-
quintet in C. For organ: Op. 10, Prdludtum
und Fuge in F m; op. 11, do. in C; op. 53,
Fantasie und Fuge in C m; op. 60, Praludien;
op. 62, Fantasie und Fuge (on the theme of
Psalm 66); op. 82, Konzertstuek; op. 83, Fan-
tasie; op. 90, Praludien und Fugen; 8 remark-
able sonatas f. org. (op. 5, C m; op. 8, on
Luther's Ein' feste Burg; op. 14, G m.; op. 28,
D; op. 50, C m.; op. 61, C; op. 75, F m.; op.*
88, E).
Lange-Milller, Peter Erasmus, b. Fre-
deriksberg, n. Copenhagen, Dec. 1, 1850.
Pupil of G. Matthisson-Hansen, and of Neu-
pert (pf.) at the Cons., 1870-1; as winner of
the Ancker stipend he spent the year 1879 in
Vienna and Italy; the only official positions
he ever held were those of cond. of the Con-
cert Soc. (1877-9 and '80-2) and the stu-
dents' Singing Soc. (1881-2). He is Knight
of the Order of Danebrog and- of the North
Star (Swedish). His early compositions show
the influence of J. P-E. Hartmann; those of
his later period exhibit distinct individuality.
Of his songs many have come to enjoy the
popularity of folk-songs. — Works: 2 Suites
for orch. (op. 3, G; op. 47, C); 2 symphonies
(both in D m., op. 17, 33); Sommernat ved
Sundet f. orch.; a violin-concerto; a pf.-trio;
2 romanzas f. vl.; male and fern, choruses a
capp.; about 200 songs; many cantatas; the
operas (all prod, at Copenhagen): Tove
(1878), Spanish Students (1883), Fru
Jeanna (1891), Viking Blood (1900); and
incid. music to the dramas In Master Sebald's
Garden, Fulvia, Once upon a time, The Feast at
Solhaug, At the Bosporus, Peter Plus, Die
schlimmen Briider, Anna Bryde, MitteUdter-
lich, Letizia, Renaissance.
Laager, Eduard, b. Moscow, May 3f
1835. Pupil at the Leipzig Cons, of Mosche-
les, E. Fr. Richter and Hauptmann ; org. of the
Lutheran Ch. at Moscow; app. prof, at the
Cons, there in 1866; has publ. numerous ar-
rangements for 2 pfs. (4 and 8 hands) of
operas and orchestral works by Russian com-
posers; his own comps. include a str.-quartet,
a str.-trio, 2 violin-sonatas and many pf.-pes.
Lang'er, Ferdinand, born Leimen, near
Heidelberg, Jan. 21, 1839; d. Kirneck (Black
Forest), Aug. 25, 1905. By dint of stren-
uous application he became an excellent
'cellist, joined the orch. of the Mannheim
court th., and later was app. 2d Kapellm.
there. With Emil Heckel he founded the
first 'Wagnerverein' in Germany (1883; an
extension of the 'Patronatsverein' founded
1876). He prod, several locally successful
operas: Die gefahrliche Nachbarschaft (1868),
Dornrbschen (1873), Aschenbrbdel (1878), Mu-
rillo (1887; 'romantic'), and the 'romantische
VolksoDer' Der Pfeiffer von Hardt (1894),
all at Mannheim. He revised Weber's Syt-
vana for its revival in 1885.
Lang'er, Hermann, b. Hockendorf, n.
Tharandt, Saxony, July 6, 1819; d. Dresden,
Sept. 8, 1889. Pupil, from 1840, of K. F.
Becker in Leipzig, also studying philosophy at
the Univ.; in 1843 he was app. organist of the
Univ. church, and cond. of the 'Paul us' stu-
dent-chorus; 1845, Univ. teacher of liturgical
song; 1857, Mus. Director of the Univ., and
Lector publicus; 1859, Dr. phil. (hon. c). He
likewise cond. the Euterpe Concerts for
several years (from 1855), and various sing-
ing-societies; and in 1882 received the title of
'Professor.1 Was called to Dresden in 1887
509
LANGER— LANKOW
as Royal Inspector of Organ-building. — Publ.
a Repertorium fur Mdnnergesang; Der erste
Unterricht im Gesang (3 courses; 1876-7);
also edited the 'Musikaiische Gartenlaube.'
Lang'er, Victor, b. Pest, Oct. 14, 1842;
d. there MaT. 19, 1902. Studied there under
R. Volkmann, and later at the Leipzig Cons.
He then returned to Pest, and lived there
as a teacher, theatre-conductor, and editor
of an Hungarian mus. paper. His songs,
Ogyek dalai [Ogyek's songs], and Hungarian
dances, songs, choruses, arrangements, and
the like, publ. under the pen-name of ]Ala-
dar Tisza,' and in the genuine national
vein, have enjoyed great popularity; H.
Hofmann*s Ungarische Suite and Ungarischc
Tdnte owe many themes to Tisza's works.
Lang'ert, (Johann) August (Adolf)* b.
Koburg, Nov. 26, 1836. Dramatic composer;
Kapellm. at the theatres in Koburg (1860),
Mannheim (1865), Basel (1867), Trieste
(1868); lived without appointment at Koburg
and Paris (1869) and Berlin (1871); became
teacher of composition at Geneva Cons, in
1872, and in 1873 was called to Gotha as
court conductor; after an interval of retire-
ment, he was reappointed to this last post in
1893; retired in 1897 with the title Hofka-
K»llm.; now (1917) living in Koburg. — Operas:
ie Jungfrau von Orleans (Koburg, 1861),
Des Stingers Fluch (ibid., 1863), Dofia Maria,
Infantin von Spanien (Darmstadt, 1866), Die
Fabier (Koburg, 1866; Berlin, 1868), Dornrbs-
chen (Leipzig, 1871), and Jean Cavalier (Ko-
burg, 1880; rewritten, and perf. as Die Ca-
misarden at Koburg in 1887).
Langey, Otto, b. Leichholz, n. Frankfort -
on-Oder, Oct. 20, 1851. St. the 'cello with
Specht in Sorau, Ullrich in Halle and Ca-
bisius in Bremen (1866-71), and theory and
comp. with W. Fritze in Liegnitz (1872-4);
from 1877-89 he lived in London, playing in
the Halle and Richter concerts; came to the
U. S. in 1889, and made a tour as soloist with
the Boston Symphony Club; then settled in
New York as a teacher; since 1909 arranger of
orchestral music for G. Schirmer (the greater
part of the collection 'Galaxy of Orch. Music'
has been arr. by him). Has publ. the L.
Tutors (methods for 28 different instruments)
and over 100 lighter comps. for orch., some
of which have become very popular (op. 21, 2
schottische Tdnze; op. 24, Arabian Serenade;
op. 37, Mandolinata; etc.).
Lang'hans, (Friedrich) Wilhelm, born
Hamburg, Sept. 21, 1832; d. Berlin, June 9,
1892. Trained in Leipzig Cons, by David
(vln.), and Richter (comp.), 1849-52; played
there in the Gewandhaus and theatre-orches-
tras; studied under Alard in Paris; was Kon-
zertmeister at Diisseldorf 1857-60, then lived
in Hamburg (I860), Paris (1863), and Heidel-
berg (1869), giving concerts, teaching, and
studying; took the degree of Dr. phil. a*
Heidelberg in 1870, settled in Berlin 1871,
became teacher of the history of music
Kullak's Acad, in 1874, going over to Schar-
wenka's new Cons, in 1881 ; in 1858 he married
the concert-pianist Louise Tapha (div. 1874).
Publ. a Concerto- Allegro f. vln. w. orch., a
violin-sonata in A m. (op. 11), and studies f.
vln. ; other comps. in MS. Wrote Dos musika-
iische Urteil (1872; 2d ed. 1886); Die konie-
liche HochschuU fUr Musik in Berlin (1873);
Musikgeschiehte tn 12 Vortrdgen (1878; Dutch
transl. 1885); Die Geschichte der Musik dcs
17. , 18. und 19. Jahrhunderts (2 vols.; 1882-
1886; a well-written continuation of Ambros's
great work). He translated Niecks* biogr. of
Chopin into German (1889).
Langl6 fl&hn-gla], HonorG- Francois- Ma-
rie, theorist and composer, b. Monaco,
1741; d. Villiers-le-Bel, n. Paris, Sept. 20,
1807. Pupil of Caffaro at Naples; music-
director at Genoa; in Paris from 1768, he
taught in the '£cole royale de chant et de
declamation' 1784-91; was librarian and prof,
of harmony at the reorganized 'Conserva-
toire,' 1795-1802, and thereafter librarian
only. Wrote an important Traile d'harmo-
nieetde modulation (1793; 2d ed. 1797; chord-
building by thirds) ; Traite de la basse sous Ie
chant (1798); NouveUe mithode pour chiffrer
les accords (1801); TraitS de la fugue (1805);
also collaborated with Cherubini on the Mat-
ter's Methode de chant. Compositions un-
important.— See Q.-Lex.
Langlotz, Karl A., the composer ot
Old Nassau; b. in Saxe-Meiningen, 1833; d.
Trenton, N. J.r Nov. 25, 1915. In the early
fifties he was a member of the Liszt circle in
Weimar, came to America in 1856, and joined
the Princeton faculty as instr. of German and
music. He wrote the famous college-song
in 1859, having been attracted by the poem
which a student, Harlan P. Beck, had con-
tributed to the Nassau Literary Magazine.
Laniere pah-nar'] (or Lanier, Lanieri),
Nicholas, b. London (bapt. Scot. 10th),
1588; d. there Feb., 1666. He is important
as the first to introduce the recitative style
into England (in his masques). He was Mas-
ter of the King's Musick under Charles I and
II. Besides a Pastoral on the birth of Prince
Charles, a Funeral Hymn for Charles I, a
cantata, Hero and Lcander, and some New
Year's Songs, there are songs, etc., in the
British Museum (MS.), also in the collections
'Select Musicall Ayres and Dialogues' (1653,
•59), The Musical Companion' (1667), The
Treasury of Musick' (1669), and 'Choice
Ayres and Songs' (1685). — See Q.-Lex. (Lan-
yer).
. Lankow, Anna, noted singing- teacher; b.
510
LANNER— LAROCH E
Bonn, Jan. 13, 1850; d. there Mar. 19,
1908. From 1870-2 she st. singing in
Cologne, then ent. the Leipzig Cons., and
finished her studies at Dresden; in 1877 she
began her career as a concert-singer (con-
tralto), and her success in this field led to an
engagement at the Weimar Opera, where she
made a deep impression; nevertheless she
was obliged to abandon the stage because of
excessive strain, for she had been lame from
childhood. In 1883 she married the sculptor
Paul Pietsch of Berlin; after his death in 1885
she came to America, made a very successful
debut with the N. Y. Symphony Orch. in
1886, and undertook an extended tour of the
States, after which she settled in New York as
a singing-teacher. She published a valuable
treatise, Die Wissenschaft des Kunstgcsangs
(1899, in Ger. and Engl.; 4th ed. [Ger. only]
1905).
Lan'ner, August (Joseph), son of Joseph,
and a promising violinist, dance-composer,
and conductor; b. Vienna, Jan. 23, 1834;
died there in his 22d year, Sept. 27, 1855.
Lan'ner, Joseph (Franz Karl), b. Ober-
dobling, near Vienna, Apr. 12, .1801; d. there
Apr. 14, 1843. A self-taught violinist and
composer, he became the leader of an ama-
teur quartet, in which Johann Strauss played
the viola; the quartet developed into an or-
chestra, for which L. wrote the dance-music
which is so famous, and which soon caused a
great demand for his orch. to furnish ball-
music and the like; he also gave concerts in
Crovincial Austrian towns. L. was made
and master of the 2d Burgerregiment; and
later alternated with Strauss in conducting
the court ball-music. He is the creator of the
modern Viennese waltz. He wrote 106
waltzes, 25 galops, 25 Ldndler, 10 quadrilles,
8 mazurkas, 6 cotillons, 3 polkas, 3 marches,
etc.; overture to Der Preis einer Lebensstunde
(op. 130); Banquet-Polonaise (op. 135); Ta-
rantella (op. 187); and a Bolero (his last work).
His complete works (207 opus-numbers) in
8 vols., ed. by E. Kremser, were publ. by
Breitkopf & Hartel in 1889.— Cf. H. Sachs,
/. L. (Vienna, 1889); F. Rebay and O. Keller,
J. L. (ib., 1901); F. Lange, 7. L. und Joh.
Strauss, Ihre Zeitt ihr Leben und ihre Werke
(ib., 1904).
Lannoy (lahn-wahl, Eduard, Freiherr
▼on, b. Brussels, Dec. 4, 1787; d. Vienna,
Mar. 28, 1853. Owing to the French invasion
his parents emigrated and settled in Graz;
he received his education there and in Paris;
from 1813 he lived in Vienna, where for some
years he cond. the 'Concerts spirituels,' -and
was an active promoter of the 'Gesellschaft
der Musikfreunde'; from 1830-5 he was a
member of the executive board of theCons.
He wrote several operas and Siogspiele, a
symphony in E, overtures, chamber- music,
pf.-pcs. and songs.
Lans, Michael J. A., b. July 18, 1845,
at Haarlem; a R. C. priest, from 1869 teacher
in the Voorhout Seminary, from 1887 pastor
at Schiedam. He started the 'Gregorius-
blad,' a Catholic church-music periodical, in
1876, and organized the Gregorian Soc. in
1878. — Works: Missa in honorem Nativitatis
Domini; cantatas; G. P. daPalestrina (1882);
and a Manual of Strict Counterpoint (1889).
Lanzetti [-ts&ht'te], Sarvatore, b. Naples,
c. 1710; d. Turin, c. 1780. He was one of the
earliest virtuosos upon the 'cello; during his
residence in London (c. 1748-c. '56) he suc-
ceeded in establishing the 'cello there as a
favorite solo instrument. He publ. 2 books of
'cello-sonatas (1736), 6 solos, and 6 sonatas for
2 'celli w. basso cont.; also a method, Prin-
cipes de doigter pour le violoncelle dans tous les
tons.
Lapar'ra, Raoul, b. Bordeaux, May 13,
1876; comp. of the operas Peau d'&ne (Bor-
deaux, 1899), La Habanera (Op.-Com., 1908;
Boston, 1910), La Jota (ib., 1911).
Laporte, Joseph de, Jesuit abbe and
writer; b. •Befort, 1713; d. Paris, Dec. 19,
1779. Wrote Anecdotes dramatiques (1775;
4. vols., including all varieties of theatrical
works) ; Dictionnaire dramatique ( 1 7 76 ; 3 vols. ) ;
Almanack des spectacles de Paris, ou Calen-
drier historique des thedtres de VOptra, des
ComSdies francaise et italienne el des foires
(48 volumes in all; those from 1750-79 by L.
himself, the rest by Duchesne and others).
La Poupliniere [poo-pli-narl, Alexan-
dre-Jean-Joseph Le Riche de, b. Paris,
1692; d. there Dec. 5, 1762; a wealthy ama-
teur and patron of music, pupil of Rameau.
The musical soirees which he gave in his pri-
vate theatre were famous, and became of
historical importance in 1751, when he en-
gaged Gossec as musical director. He intro-
duced Joh. Stamitz to the Parisian public,
and upon the German musician's advice
added horns andclarinets (later also a harp)
to his orchestra, instruments never heard in a
concert-orch. before that time. La P. wrote
a number of arias, some of which Rameau in-
corporated into his own works. — Cf. Ancelet,
Observations sur. la musique et les instruments
(Amsterdam, 1757); P. Heclouin, Gossec
(Paris, 1852); id., Mosaique (ib., 1856); G.
Cucuel, L. P. et la musique de chajnbre au
XVIII* siecle (ib., 1913).
Lara, Isidore de. See De Lara.
I troche flah-rfihsh'], Hermann Augus-
tovitch, distinguished writer and critic; b.
Petrograd, May 25, 1845; d. there Oct. 18,
1904. Pupil of A. Rubinstein and Zaremba
at the Cons. (1861-6), at the same time with
511
L'ARRONGE— LASSALLE
Tchaikovsky, whose friend he became then
and remained through life; 1867-70, prof, at
the Moscow Cons.; 1872-9, at the Petrograd
Cons.; 1883-6, lived in Moscow, and after
1890 permanently in Petrograd. One of the
earliest and most influential champions of
Tchaikovsky's genius, he contributed valu-
able material to vol. i of Modeste Tchai-
kovsky's biography of his brother; his nu-
merous essays and criticisms he collected and
publ. in 1894; his most important work is
M. I. Glinka and his place in Russian music
(1868; in Russian); with N. Kashkin he wrote
Reminiscences of Tschaikovsky (1896); trans-
lated into Russian Hanslick's Vom Musi-
kalisch-Schdnen (with valuable preface). He
romp, an overture to Karmosina, a symphonic
Allegro, and songs.
L'Arronge (lahr-rfthnzhl, Adolf, b. Ham-
burg, Mar. 8, 1838; d. Berlin, May 25, 1908.
Son of the actor and theatre-manager £. Th.
L'Arronge (d. 1878); pupil of R. Genee and
(1851-4) the Leipzig Cons.; theatre-cond. in
Cologne, Danzig, Kdnigsberg, Wflrzburg,
Stuttgart, Pest, etc.; dir. of the Kroll opera,
Berlin, in 1866. From 1874-8, dir. of the
Lobetheater in Breslau; returning to Berlin,
bought the Friedrich-Wilhelmstadtisches Th.
in 1881, and managed it until 1894 as 'Deut-
sches Theater.' He brought out many mus.
farces, 'Singspiele,' and the like, at the Wall-
nertheater, incl. the comic operas Das Ge~
spenst and Der zweite Jakob, the 'Volksstilcke*
Das grosse Los (1868) and Mein Leopold, etc.
Also wrote many songs.
La Rue [ru], Pierre de (Latinized Petrua
Platensls; also called Plerchon, Pierson,
Pierzon, Perlaone, or Pieraron de la
Ruellien); b. (?); d. Courtrai, Nov. 20,
1518. Eminent Netherland contrapuntist,
pupil of Okeghem together with Josquin;
1492-1510, chapel-singer at the court of Bur-
gundy; after that at trie court of Margaret of
Austria, the regent of the Netherlands; also,
from 1501, prebend at Courtrai, Namur and
Termonde. He was one of the greatest
masters of imitative counterpoint. He wrote
about 40 masses, of which many were publ.;
others in MS. in libraries in Brussels, Malines,
Rome, Vienna, Berlin, etc. Motets and mad-
rigals were printed in colls, of the time. A
mass Ave Maria was publ. by H. Expert in
'Maitres-musiciens de la Renaissance fran-
caise' (1890).— See Q.-Lex.
Laruette f-rfl-e'ht'], Jean-Louis, an actor
in the Opera-Comique; b. Toulouse, Mar. 27,
1731; d. there Jan., 1792. An early vaude-
ville-composer; his works were soon forgotten.
La Salette [sah-teht'], Joubert de, French
brigadier-general; b. Grenoble, 1762; d. there
1832. Author of Stenographic musicale . . .
(1805; an unsuccessful invention on the lines
of German tablature); Considerations sur Us
divers systemes de la musique ancienne et mo-
derne. . . (1810; his best work); De la notation
musicale en ghtfral, et en paHiculier de celle du
systhne grec (1817); De lafixiU et de Vinvaria-
biliti des sons musicaux (1842); and other
La&ka, Gustav, born Prague, Aug. 23,
1847. From 1863-7 he st. at the Prague
Cons, under Hrabe, KittI and KrejEi; con-
certized as a double-bass virtuoso, 1867-8;
joined the court-orch. in Kassel in 1868; from
1872-5 in Sondershausen; for a year he then
acted as th.-cond. in Gottingen, Eisleben and
Halberstadt; 1877-8, member of Bilse's orch.
in Berlin; since 1878 solo double-bass of the
court orch. in Schwerin. — Works: An opera,
Der Kaiser soldat; Deutsches Aufgebot f. soli,
ch. and orch.; 3 masses; 2 symphonies (D m.,
A); 2 overtures; concerto (. double-bass and
orch. (A m.); several works for double-bass
and pf. (3 Romanzen, Rhapsodic, Erotik,
Ballade und Polonaise, Schlummerlied, Kar-
neval von Venedig, etc.); pf.-pes.; songs.
Las'ner, Ignaz, 'cellist; b. Drosau, Bohe-
mia, Aug. 8, 1815; d. Vienna, Aug. 18, 1883.
Pupil of Goltermann (Prague), and Merk and
Servais (Vienna). Orchestra-player at 'Vien-
na and Arad; comp. excellent 'cello-music. —
His son Karl, b. Vienna, Sept. 11, 1865,
studied in the Cons, there, and was 'cellist in
the Laibach Phi I harm, orch.; since 1901 in the
orch. of the 'Konzertverein.'
Lassalle, Jean-Louis, famous dramatic
baritone; b. Lyons, Dec. 14, 1847; d. Paris,
Sept. 7, 1909. Being destined for a commer-
cial career, he st. industrial designing at the
Beaux-Arts in Lyons and later in Paris, but
soon became interested in art and took up
painting. When he discovered his voice he
entered the Paris Cons., but finding progress
too slow, he left and went to a private teacher,
Novelli. After his debut in Liege (Nov.,
1869) as St.-Bris he sang in Lille, Toulouse
and The Hague. His first great success he
scored in Brussels as de Nevers (Sept. 5, 1871),
and with his appearance at the Opera in
Paris (Tell, June 7, 1872) began his succession
of uninterrupted triumphs. After the retire-
ment of Faure in 1876 he succeeded not only
to the rdles of that popular idol, but also to
his place in the public favor. For more than
20 years L. remained at the Opera, with ex-
tended leaves of absence, during which peri-
ods he sang in England, Germany, Austria,
Italy, Spain, Russia and the U. S. His
American debut took place at the M. O. H.
on Jan. 15, 1892, and for six consecutive
seasons he was one of the brightest stars in a
company that included the de Reszkes, Plan-
con, Nordica, Melba, Calve, Eames. In 1901
he settled in Paris as a singing-master; in 1903
512
LASSEN— LASSO
he was app. prof, at the Cons. L. was equally
excellent as a singer and actor. His reper-
toire comprised about 60 operas, and inclu-
ded the principal baritone parts in the works
of Verdi, Meyerbeer, Gounod, Massenet,
Saint-Saens, Mozart, Auber, Rossini, Bel-
lini, Donizetti, etc.; although he sang the
Wagner rdles in Italian, he was a splendid in-
terpreter of the Dutchman, Telramund and
Hans Sachs; he created the following rdles:
Scindia (Massenet's Roi de Lahore, 1877).
Severe (Gounod's Poheucte, 1878), Ben Safd
(Gounod's Tribui de Zamora, 1881), Lanciot-
to Malatesta (Thomas' Franchise de Rimini,
1882), Henry VIII (Saint-Saens, 1883), Gun-
ther (Reyer's Sigurd, 1885), De Rysoor (Pala-
dilhe's Patrie, 1886), Benvenuto Cellini
(Saint-Saens' Ascanio, 1890), Claude Frollo
(G. Thomas' Esmeralda, 1890).
Las'aen, Eduard, b. Copenhagen, Apr. 13,
1830; d. Weimar, Jan. 15, 1904. His parents
took him to Brussels in 1832; from 1842 he
studied in the Cons, there, winning 1st prize
for pf. in 1844, and for harmony in 1847, then
the 2d prize in composition, and in 1851 the
Prix de Rome. After travels in Germany and
Italy, and a long stay in Rome, he was app.
court music-director at Weimar in 1858, Liszt
having procured the production of his opera
Landgraf Ludwigs Brautfahrt at Weimar in
1857. From 1861 to 1895 he held the posi-
tion of court Kapellm. at Weimar as Liszt's
successor, being himself succeeded by d 'Albert
and Stavenhagen. As a grand feat of con-
duct orship may be mentioned his bringing-
out of Wagner s Tristan und Isolde in 1874,
its first production after the initial perform-
ances at Munich. The Univ. of Jena made
him Dr. phil. (hon. c); he retired in 1895. —
Other operas: Frauenlob (Weimar, 1860): Le
Captif (Brussels, 1865; in German at Weimar,
1868); a ballet, Diana (Vienna, 18?); music to
Oedipus in Kolonus (1874), to Faust (1876),
to Pandora, to HebbeFs Ntbelungen (11 char-
acteristic pieces f. orch.), and to Calderon's
Circe (in the German version, Vber alien Zau~
hern Liebe, by Devrient) ; a Te Deum f. ch. and
orch.; vocal Bible-scenes, w. orch.; cantatas
(Die Kunstler is op. 56) ; a soprano scene w.
orch., Der Schdfer puttie sick turn. Tanz; 2
symphonies (D and C), a vl.-concerto (op. 87),
and several overtures; very popular songs.
Las'so, Ferdinand div eldest son of
Orlando; d. Munich, Aug. 27, 1609, as court
Kapellm. — Publ. Cantiones sacrae suavissimae
(1587; motets); with his brother Rudolf he
edited their father's Magnum opus musicum.
— See Q.-Lex.
Las'so, Ferdinand di, son of preceding;
d. 1636. He was for some years ducal Ka-
pellm.; from 1629 he was judge and treasurer
at Reispach. Many comps. in MS.
Las'so, Orlando di {rede Roland de
Lattre, Lat. Orlandus Lassus), the greatest
of the Netherland composers, and, after Pa-
lestrina, the foremost composer of the 16th
century, was born at Mons (Hainault), in
1532; died at Munich, June 14, 1594 [dates
ace. to Haberl]. A choir-boy in the church of
St .-Nicholas, Mons, it is said that he was
thrice kidnapped on account of his beautiful
voice. In 1532 he was taken by Ferdinand
de Gonzaga, Viceroy of Sicily, to Milan and
Sicily; from 1538 he attached himself for
three years to the Marchese della Terza in Na-
ples; spent 6 months, in 1541, at Rome with
the Cardinal Archbishop of Florence, there-
after being appointed m. di capp. at San
Giovanni in Laterano, retaining tnis position
until 1548. His movements during the next
5 years are uncertain ; it appears that he visited
Mons, and thereafter England; in 1554 he
settled in Antwerp, where he lived in the socie-
ty of the most distinguished and learned men
of noble family till called to Munich in 1557,
together with other Belgians, by Duke Albert
Vof Bavaria, entering the court Kapelle, and
assuming its conductorship in 1562, remain-
ing there in this capacity, until his death. —
L. represents the culmination of the era of
strict single counterpoint; in sacred music
(masses, motets, etc.) or secular composition
(madrigals, villanelles, Lieder, chansons) he
shows equal clarity of harmony and fluency
of progression and melodic invention, quali-
ties which render his works still admirable
to modern taste; contemporaries called him
the 'Belgian Orpheus,' the 'Prince of Music,'
etc. He wrote about 2,500 compositions;
Prof. Adolf Sandberger and Fr. X. Haberl
began in 1894 a complete edition for Breit-
kopf & Hartel of Leipzig, expected to fill
60 volumes, 20 of which have appeared. The
same firm also publish several popular num-
bers separately. Lasso's most celebrated
work, P salmi Davidis poenitentiales, was publ.
in modern scoring by Dehn (1838); collec-
tions of Proske, Rochlitz, Commer and others
contain several more detached pieces. A fine
5-volume edition was got up for the Duke of
Bavaria of the Patrocinium musices (1573-
76), containing (vol. i) 21 motets, (ii) 5 mass-
es, (Hi) offices, (iv) a Passion, vigils, etc., (v)
10 Magnificats. Rob. Eitner publ. Chronologi-
sches Verzeichniss der Druckwerke des O. di L.
(Berlin, 1874). — Bibliography. H. Del-
motte, Notice biographique sur R. de L. (Va-
lenciennes, 1836; Ger. tr. by Dehn, 1837); A.
Mathieu, R. de L., sa vie, ses outrages (Ghent,
1838); W. Baumker, O. de L., ein historisches
Bildnis (Freiburg, 1878); J. Decleve, R. de L.,
sa vie et ses auvres (Mons, 1894); E. v. Des-
touches, 0. di L. (in German; Munich, 1894);
T. Mantovani, O. di L. (Milan, 1895); A.
Sandberger, Beitrage zur Geschichte der bay-
513
LASSO— LAURENCIN
rischen HofkapeUe unter 0 di L. (3 vols. ; Leip-
zig, 1894-5); E. van der Straeten, Cinqlettres
intimes de R. de L. (Brussels, 1891).— See also
Q.-Lex.
Las'so, Rudolf di, second son of Orlando;
d. Munich, 1625. Organist to the Duke,
a composer of merit and repute; various works
were publ., and 3 masses and 3 Magnificats
are in MS. at Munich. — See Q.-Lex.
Latilla, Gaetano, b. Ban, Naples, Jan.
12, 1711; d. Naples, 1791. Pupil of Domeni-
co Gizzi at Naples, and a successful opera-
composer, bringing out his first opera, Li
Mariii a forsa, in 1732. The success of
Demofoonte (Venice, 1738) resulted in his be-
ing called to Rome to write Orazio (1738),
which was so well received that he was app.
vice- maestro at S. Maria Maggiore. Forced
to resign by ill health (1741), he lived as a
composer in Naples until his appointment as
teacher of choral sinking at the Cons, della
Pieta in Venice, 1756. He was also second
maestro at San Marco 1762-72, then return-
ing to Naples. He was considered an excel-
lent contrapuntist and teacher; his 51 operas,
written in the style of Scarlatti's school, are
obsolete. — See Q.-Lex.
La Tombelle [tdhn-bel'], Fernand de, b.
Paris, Aug.' 3, 1854. Pupil at the Cons, of A.
Guilmant (org.) and Th. Dubois (com p.);
winner of the Prix de l'lnstitut, Prix de la
Societe des Compositeurs, and Prix Chart ier
(for chamber-music); 1885-98, asst. to Th.
Dubois at La Madeleine; now (1917) prof,
of theory at the Schola Can tor urn; has been
chairman of numerous contests of the singing-
societies (Concours orpheoniques). Officer
of Public Instruction; Commander of the
Orders of St. Gregory, St. Sylvester, and
Isabella; fine organist and composer of merit.
— Works; The oratorios Crux, I'Abbaye and
Jeanne a" Arc; the orchl. suites Impressions
matinales, Litres a" images, Tableaux musi-
caux, Suite feodale; the ballets La Muse fieurie
and La Roche aux Fees; Antar, symph. poem;
2 cantatas, Ste.-Cecile and Ste.-Anne; 2 ope-
rettas, Un bon numero and Un Rhe au pays du
bleu (1892); incid. music to La Magdaleenne,
Yannict Conte bleu; chamber-music (quartets,
trios, sonatas for vl. and pf.); songs; numer-
ous sacred choruses and works for organ.
Together with some other pupils of Guilmant
he wrote A la mimoire de A. Guilmant (1911).
Laub [lowp], Ferdinand, famous violin-
virtuoso; b. Prague, Jan. 19, 1832; d. Gries,
Tyrol, Mar. 17, 1875. A pupil of Mildner at
the Prague Cons., from 1840. At the age of
11 he appeared in concerts; in 1847 he went to
Vienna for further study; made a German tour
in 1850; visited Paris and (1851) London,
playing at the Musical Union; and in 1853
succeeded Joachim as Konzertmeister at
Weimar. From 1855-7 he taught at the
Stern Cons., Berlin; in 1856 he was app. lead-
er of the royal orch., and Royal Chamber-
virtuoso; he also organized a quartet- party,
one of the most admirable of its kind, giving
classic performances of the great Beethoven
quartets. From 1862-5 he lived chiefly in
Vienna; made a grand tour with Carlotta
Patti, Jaell and Kellermann in 1864; after a
brilliant Russian tournee in 1865, he was app.
Prof, of violin at the Moscow Cons, in 1866.
ailing health forced his retirement; his last
years were spent in Karlsbad (1874) and the
Tyrol. — Works; An opera, Die Griesbdcker
(Prague?, 1864?); an Elegie, a polonaise, 2
colls, of Czech melodies, and other solo pieces
for violin.
Lauber, Joseph, b. Ruswil, Lucerne, Dec
25, 1864. Pupil of G. Weber in Zuridi,
Rheinberger in Munich, and Massenet in
Paris; for two seasons Kapellm. at the Grand
Thefltre in Geneva; now (1917) prof, of pf.
at the Cons, there. — Works: 3 symphonies;
orchl. suites; overtures; 2 pf. -concertos; 2
vl. -concertos; the symph. poems Sur VAlpe,
Chant du Soir, Le Vent et la Vague; En Met
and Ode patriotique f. male ch. and orch.;
Sappho f. women s vcs. and orch.; Wellen und
Wogen and WeUend&mmerung f. soli, ch. and
orch.; 3 vl. -sonatas (op. 4, 9, 28); pf. -quintet
(op. 6; on Swiss themes); 2 str. -quartets (op.
5, 8); choruses f. men's and women's vcs.;
pf.-pes.; songs.
Laubner, Julius, in 18% Kapellm. at
the Municipal Th., Stettin, prod, the suc-
cessful 1-act opera Gulnare there in 18%.
Launis Dow'-], Armas Emanuel, b.
Hameenlinna, Finland, Apr. 22, 1884. Pup?/
in Helsingfors of Sibelius (1901-4) and 1.
Krohn (1905-7), then at Stern's Cons, in
Berlin of W. Klatte (1907-8), and of W. v.
Baussnern in Weimar (1909); 1910, Ph. D.
with the thesis Vber Art, Entstehung und
Verbreitung der Esthnisch- Finnischen Rune*
melodien (publ. at Helsingfors); now (1917)
living in Helsingfors as teacher and cond. of
a choral soc. He has made a specialty of
collecting and studying national folk-melo-
dies, but is also noteworthy as a composer. —
Works: The opera Seitsemdn veljestd (Seven
Brothers; Helsingfors, 1913); str.-quartet in
C (1904); pf.-qumtet (1907); 2 festival can-
tatas (1906, '10); choruses; pf.-pes.; songs.—
Lappische Juoigosmelodten (1908) ; Ingerman-
Idndska Runomelodier (1910) .
Laurencie, Lionel de la. See La
Laurencib.
Laurencin [low'ren-tsln], Graf Ferdinand
Peter, b. Kremsier, Moravia, Oct. 15,
1819; d. Vienna, Feb. 5, 1890. Pupil of
Tomaschek and Pitsch at Prague, where he
514
LAURENS— LAVIGNAC
took the degree of Dr. phil>; lived in Vienna
as a writer, and publ. the essays Zur Geschichte
der Kirchenmusik bei den Italienern und
Deutschen (1856); Das Parodies und die
Peri van R. Schumann (1859); Dr. Hanslicks
Lehre vam Musikalisch-Schdnen, Eine A bwehr
(1859); and Die Harmonik der Neuzeit
(1861; a prize was awarded him for this
last); also contributions to the 'Neue Zeit-
schrift fur Musik,' in which a biographical
sketch of L.f by J. Schucht, appeared after
his death (1890).
Laurens [loh-rahn'J, Edmond, b. Ber-
gerac, France, Sept. 2, 1851. Pupil of E.
Guiraud in the Pans Cons. — Dramatic works:
La harpe et le glaive, 4 acts; Soldaisde plomb,
3-act pantomine; La Neuvaine, 2 acts. — Also
a Suite japonaise, and other orchl. works;
Silhouettes f. pf. and orch.: Pieces en trio f.
pf., violin and 'cello; pf. -pieces; 30 vocal
melodies.
Laurent de Rillt [loh-rahn' du re-ya1
Francois- Ana tole, b. Orleans, France, 1828.
Pupil of Comoghio and El wart; inspector of
vocal instruction in Paris public schools.
Besides many male choruses (chueurs orphe-
oniques), he brought out 5 operettas in 1857,
followed by nearly a score of others up to
1895. President of the 'Societe des auteurs,
compositeurs et editeurs de musique'; officer
of the Legion of Honor; etc. He wrote a
Vocal Method; a mus. novel, Olivier Vorphto-
niste; short masses, other church-music, etc.
Lauren'ti, Bartolomeo Girolamo, b.
Bologna, 1644; d. there Jan. 18, 1726. First
violin in the Basilica S. Petronio; one of the
earliest members of the Philharm. Acad, (es-
tabl. 1666). — Works: Sonate per camera a
violino e violoncello (1691), and Sei concerti a
3, cioh violino, violoncello ed organo (1720).
Laurischkus [low-rish'k66sl, Mai, born
Insterbure, Feb. 18, 1876. Pupil of Bargiel,
Succo and Herzogenberg at the Kgl. Hoch-
schule in Berlin. Comp. of Zug des Todes f.
ch. and orch.; concerto f. 'cello and orch.;
Koncertstiick f. vl. and orch.; Pastorale in Eb
f. 'Muster harm, and celesta; choruses f.
women's vcs.; pf. pes. (Suite in G m., Neues
Jugendalbum [36 pes.), Skizzent etc.); songs;
considerable chamber- music for string- and
wind-instrs. (with or without pf.).
Lau'ska, Franz (Seraphinus Ignatius),
noted pianist and teacher; b. Br (inn, Moravia,
Jan. 13, 1764; d. Berlin, Apr. 18, 1825. Pupil
of Albrechtsberger at Vienna from 1784; ac-
companied the Duke of Serbelloni to Rome;
became chamber- musician at Munich. In
1794 he journeyed via Frankfort and Ham-
burg to Copenhagen, where he taught 4 years;
went to Berlin in 1798, was engaged at court
as a teacher, and formed many excellent
pupils, among them Meyerbeer. A refined
and brilliant pianist, qualities reflected in his
compositions: 24 sonatas (op. 1, in C m; op.
4, Grande sonate; op. 43, Sonate pathitique);
op. 28, sonata w. 'cello; 4- hand pieces (op. 31,
sonata in Bb; Polonaise in C; 6 Easy and
Agreeable Pieces); also Rondos, a Polonaise,
and Variations, f. 2 hands. Publ. a pf.-
method (with BeEvarovsky). — See Q.-Lex.
Lau'terbach, Johann Chrtetoph, b.
Culmbach, Bavaria, July 24, 1832. Pupil of
the Wurzburg Music-School, and of F6tis and
de Beriot at Brussels (1850), winning the gold,
medal for violin- playing in 1851, and in 1852
acting as Leonard's substitute. In 1853, he
became Konzertmeister and violin-teacher in
Munich Cons., Konzertmeister in Dresden,
1860, also teaching in the Cons.; played in
England 1864-5, and in Paris just before the
war in 1870. He resigned from the Dresden
Cons, in 1877, and was pensioned as orches-
tra-player in 1889. — Works: Cavatine f. vl. and
orch. (op. 9); Capriccio f. do. (op. 11); and
works for vl. and pf. (op. 5, Zwei Konzertetu-
den, op. 8, Legende; op. 13, Allegro scherzoso;
Polonaise; Tarentelle; etc.).
Lavallee, Calixa, b. Vercheres, Canada,
Dec. 28, 1842; d. 1891 in Boston, Mass., where
he was instructor at the Petersilea Acad.
Concert-pianist; at first taught by his father,
then (1857) at the Paris Cons, by Marmontel
(pf.), Bazin and Boieldieu fils (comp.). Pian-
istic debut at 10; in 1881 he was also solo
Bianist of Mme. Gerster's first tour in the
jnited States; gave many concerts and re-
citals in chief American cities (notably in
Cleveland, 1884, and Boston), of American
composers' works. President of M. T. N. A.,
1886-7. — Works: 2 operas; an oratorio; a
cantata (1878); an offertory for soli, ch. and
orch.; a symphony; 2 orchl. suites; several
overtures; suite for pf. and 'cello; 2 string-
quartets; a pf.-trio; sonata for pf. and
violin; 30 pf. -etudes; etc.
Lavigna [lah-v£'fiah], Vlncenzo, b. Na-
ples, 1777; d. Milan, c. 1837. Pupil of the
Cons, della Pieta, Naples. Accompanist and
instructor of singing at La Scala from 1809;
vocal teacher at Milan Cons, from 1823. Be-
sides his first, and perhaps best, opera, La
Muta per amoret ossia It Medico per forza
(Milan, 1802), he comp. 10 other operas, and
2 ballets. He was the teacher of Verdi, when
Basily had refused to admit him into the Cons,
on the ground that he found him wanting in
musical talent!
Lavignac (lah-vf-nahkl, (Alexandre-
Jean-) Albert, b. Paris, Jan. 21, 1846.
d. there Apr., 1916. Pupil of Marmontel
(pf.), Bazin and Benoist (harm.), and A.
Thomas (comp.) at the Paris Cons.; app.
prof, of solfege there in 1882, later of ele-
515
LAVIGNE— LAWES
mentary theory, and finally dean of the
faculty. His Cours complet theorique de
dictee musicale (6 books; 1882) attracted
considerable attention and led to the in-
troduction of musical dictation as a regular
subject in all important European con-
servatories; followed (1900) by DicUes
musicales (additional exercises). Other
works: Solfeges manuscrits (6 books); 50
Lecons d'harmonie; Acole de la Pedale du
piano (with detailed hist, of the pedal, and 12
special etudes [these also publ. sep. as op. 34]) ;
La musique et les musiciens (1895; Engl. tr.t
with additions on Amer. music by H. E.
Krehbiel [1904]); Le voyage artistique a Bay-
tenth (1897; Engl. tr. by E. Singleton, as The
Music-Dramas of R. Wagner [1898]); Les
gattes du conservatoire (1900); V Education mu-
sicale (1902; Engl. tr. by E. Singleton, 1903);
Notions scolaires de musique (1905; Span. tr.
by F. Pedrell [1906]). He was editor-in-chief
of the 'Encyclopedic de la Musique et Dic-
tionnaire du Conservatoire' (over 130 con-
tributors), a work conceived on the grandest
scale, pub)., with subvention from the govern-
ment, by Delagrave; Part I, Histoire de la
Musique (5 large 8vo. vols, of about 700 pp.
each, containing 1,500 illustrations and 5,000
examples in mus. notation); Part II, 'Tech-
nique, Pedagogic et EsthSlique (Technical
terms, hist, of mus. notation, of the different
instrs., mus. forms, principal conservatories,
acoustics, etc.); Part III, Diciionnaire alpha-
bitique (an elaborate index to Parts I and II).-
The first fascicle appeared in May, 1913; up
to Nov., 1916, the first 3 vols, of Part I were
publ. (i) Antiquity and Middle Ages; (ii) Italy,
Germany; (iii) France, Belgium, England. —
L.'s comps. (chiefly for pf.) are of little im-
portance; together with Th. Lack, he publ.
arrangements for 2 pianos of Beethoven's
symphonies No. 1 and 2.
Larigne [Iah-ven'], An to! ne- Joseph, obo-
ist; b. Besancon, France, Mar. 23, 1816; d.
Manchester, Aug. 1, 1886 (in the poor-house).
Pupil of the Paris Cons.; from 1841 in Eng-
land, playing at first in the Drury Lane
Promenade Concerts, later in Halle's Man-
chester orch. He partially applied Boehm's
ring-key system to the oboe.
Lavigne, Jacques- £mile, dramatic tenor;
b. Pau, 1782; d. there 1855. He sang at the
Grand Opera, Paris, 1809-25. Though over-
shadowed and kept in the background by
Nourrit, who assumed most of the leading
tenor rdles, he was a popular favorite, known
as THercule du chant' on account of his im-
mensely powerful voice.
LavoU [l&h-vwah'], Henri -Marie- Fran-
cois, b. Paris, Apr. 26, 1846; d. there Dec.
27, 1897. Called 'Lavoix fils,' to distinguish
him from his father, custodian of the numis-
matic collection in the Paris National Library.
Graduate of the Paris Univ.; then a pupil of
H. Cohen (harm, and cpt.); from 1865,
librarian in the Nat. Library. Contributor
to the 'Revue et Gazette musicale/ etc.; mus.
feuilletonist to the 'Globe.1— Works: The
monographs Les traducteurs de Shakespeare
en musique (1869); La musiaue dans la nature
(1873); La musique dans I'tmagerie du tnoyen
dp (1875); Histoire de /' instrumentation (1878;
his chief work, which received honorable men-
tion from the Academie in 1875); V Histoire de
la musique (1882); Les principes et V histoire
du chant (with Th. Lemaire); La musique
au siede de Saint-Louis (1884).
Lavrov'skaja, Elisabeth Andrejcraa
(Princess Zeretelev), dramatic soprano; b.
Kashin, Govt, of Tver, Russia, Oct. 12, 184$,
pupil of Fenzi at the Elizabeth Inst., then oi
Mme. Nissen-Saloman at Petrograd Cons.
After debut as Orpheus (Gluck) in 1867, she
studied in London and Paris, and was then
engaged for the Imp. Opera, Petrograd, for 4
years, and again, after an interval of Euro-
pean touring, from 1878-1902. Chief roles:
Vania (A Life for the Tsar)t Ratmir (Russian
and Ludmilla) , Grania ( The Power of Evil) , etc.
Law, Andrew, pioneer singing-teacher in
New England; b. Cheshire, Conn., 1748; cL
there in July, 1821. Self-taught; composer
of some hymn-tunes, of which Archdale had
considerable vogue. Compiler of a Collection
of the best and most approved Tunes and An-
thems (1782); wrote Rudiments of Mustek
(1783; 4 editions up to 1794); Musical Primer
on a New Plan, with the Four Characters (1803;
an original, but unsuccessful, attempt to dis-
pense with the staff); Musical Magazine
(1804); Harmonic Companion and Guide to
Social Worship (Philadelphia; no date).
Lawes, Henry, b. Dinton, near Salisbury,
Dec., 1595; d. London, Oct. 21, 1662. Pupil
of Coperario. In 1625, Epistler and Gentle-
man of Chapel Royal; later clerk in same, and
member of the King's private band, also mu-
sic-master to the Earl of Bridgewater. Lost
appointments during Protectorate, but was
reinstated in 1660. Tomb in cloisters of
Westminster Abbey. — Works: 3 masques (The
Triumphs of Peace, Cesium britannicum, and
Comus); A Paraphrase upon the Psalmes of
David . . . (1637); Choice Psalmes put into
Musick for 3 Voices (1648); Ayres and Dia-
logues for /, Z and 3 Voices (3 books: 1653,' 55,
'58); songs and anthems in contemporary
colls.; music to poems by Milton, Herrick,
W. Cartwright, Davenant, etc. — See Q.-Lex.
Lawes, William, English composer;
brother of preceding; b. Salisbury, Wiltshire,
1582; killed at the siege of Chester, 1645.
Pupil of Coperario; member of Chichester
cathedral-choir; 1602, Gentleman of the
516
LAZARE— LEBERT
Chapel Royal ; musician in ordinary to Charles
I. — Works: Music to Shirley's Peace; The
Royal Consort for Viols; anthems, and other
sacred and secular pieces, in. various collec-
tions of the time.
Lazare [lah-zahr'], Martin, pianist and .
composer; b. Brussels, Oct. 27, 1829; d. there
Aug. 6, 1897. Pupil of van der Does (The
Hague) and Zimmerman (Paris Cons.).
After visiting Paris and London, he travelled
in Germany, the United States, and Canada,
then settling in Brussels. — Works: One opera,
Le rot de Bohhne (The Hague, 1852); an ope-
retta, Les deux Mandarins (Brussels, 1878;
private perf.); chamber-music; piano-music
(Sicilienne, op. 16; Valses de salon; 6 etudes de
concert; 6 btudes de genre).
Lazarus, Gustav, b. Cologne, July 19,
186L Pupil of I. Seiss, G. Jensen and F.
Wullner at the Cons, there; 1887-99, prof,
of pf. at the Scharwenka Cons, in Berlin;
after Emil Breslaur's death (1899) he became
dir. of the latter 's Cons, and Seminary in
Berlin; has appeared with success as a pianist
in Germany, France and England. — Works
(170 op.-numbers) : The operas Mandanika
(Elberfeld, 1899) and Das Nest der Zaunkoni-
ge (not prod.); the choral works w. orch. Die
gefangenen Frauen, Ndchtliche Rheinfahrl, Am
Strande, Das begrabene Lied, Der starke Hakon;
Suite for orch. (op. 3); pf.-trio in Em. (op.
5*5); vcl.-sonata in A m. (op. 56);. suite f. fl.
and pf. (op. 160); choruses f. men's and
women's vcs.; songs. Numerous comps. f. pf.:
Lyrische Stucke (op. 24, 28), suites (op. 53,
73, 119), Petite suite (op. 87), Suite mignonne
(op. 93), Melodische Etiiden (op. 35; 2 books),
Fantasiestucke (op. 43, 48, 63 [4 hands], 89,
141), Waldesromantik (op. 54), Jugendalbum
(op. 81), etc.
Lazarus, Henry, clarinettist; b. London,
Jan. 1, 1815; d. there Mar. 6, 1895. Pupil of
Chas. Godfrey, Sr.; debut 1838, at Mme.
Dulcken's concert; then app. 2d clar. to Will-
man" at the* Sacred Harmonic Concerts, suc-
ceeding him in 1840 as 1st clarinet at the
opera, etc., and playing in the Birmingham
Festivals 1840-85; was for many years prof,
of clar. at the R. A. M. Retired 1891.
Lazzari [lah-tsah're], Silvio, b. Bozen,
Jan. 1, 1858. Renouncing the study of juris-
prudence for music, he studied from 1882 at
the Paris Cons. (Cesar Franck and E. Gui-
raud). Up to 1894 he was an active propagan-
dist for the works of Wagner, contributing
essays to various journals; since then he has
devoted himself entirely to composition,
adopting the principles of impressionism. —
Works: The operas Armor (Prague; 1898),
VEnsorcelk (Paris, 1903), La Lepreuse (ib.f
1912); a pantomine, Lulu (1887); the symph.
poems Ophelia and Effet de NuU; Impres-
sions, suite f. orch.; Rapsodie espagnole f. do.;
KonzertstUck f. pf. and orch.; Fantasy f. vl.
and orch.; Marche pour une fHe joyeuse f.
orch.; a vl.-sonata (op. 24); a str.-quartet
(op. 17); octet f. wood-wind (op. 20); pf.-
pes.; choruses, duets, and songs.
Le Be" [hi ba], Guillaume, an early French
type-founder. His 1540 tvpes printed notes
and lines simultaneously; those of 1555, print-
ing notes and staff-lines separately^ neces-
sitated two impressions, like Petrucci's. He
also made tablature-type. Ballard acquired
his punches.
Lebeau [lu-bohl, Francois, b. Liege, Aug.
4, 1827. Amateur composer; pupil of Michelot
(pf.) and Bosselet (harm.). Secretary of the
administrative commission of Brussels Cons.
—Opera Esmeralda [book by Victor Hugo]
(Liege, 1856).
Le Beau [lu boh], Luiae Adolpha, com-
poser-pianist; b. Rastatt, Baden, April 25,
1850. Piano-pupil of Kalliwoda (Karlsruhe)
and Frau Schumann; for cpt. and comp., of
Sachs and Rheinberger (Munich); for instru-
mentation, of Fr. Lachner. Her concerts
at Munich, Berlin, Leipzig, Vienna, etc.,
have won well-earned applause; she has also
shown eminent talent as a composer. Resid-
ing since 1893 at Baden-Baden.— Works:
Grand choral works Hadumoth (1894) and
Ruth; pf.-quartet, op. 28; pf.-trio, op. 15;
Fantasia f. pf. w. orch., op. 25; 2 violin-sona-#
tas w. pf., op. 10, 17; 'cello-sonata w. pf.,
op. 23; pf. -sonata, op. 8; Vara, on an orie.
theme, f. pf.,op. 3; Improwisata for left hand,
op. 30; Gavotte f. pf. (very popular), op. 32. —
• Autobiography: Lebenserinnerungen einer
Komponistin (Baden-Baden, 1910).
Lebegue [lii-bag'], Nicolaa-Antolne, b.
Laon, 1630; d. Paris, July 6, 1702, as court
organist. — Publ. organ and clavecin-music,
and Airs f. 2-3 vcs. w. continuo. — See Q.-Lex.
Le'bert (rectius Levy), Sle&mund, b.
Ludwigsburg, n. Stuttgart, Dec. 12, 1822; d.
Stuttgart, Dec. 8, 1884. Pupil, at Prague, of
Tomaschek, D. Weber, Tedesco, and Proksch.
After teaching successfully in Munich,
he founded (1856-7), with Faiszt, Stark,
Brachmann, and Speidel, the Stuttprt Con-
servatory. It is possible that L. s attain-
ments, both as pianist and pedagogue, have
been somewhat overrated; his Grosse Ktavier-
schule, publ. in co6peration with Stark, has
run through several editions (rev. by Max
Pauer, 1904) and has been transl. into Eng-
lish, French, Italian, and Russian, but is
hardly increasing in professional favor;
neither is his Instructive Editlon-of classic pf.
works a model in every respect; his edition of
Clemen ti's Gradus ad Pamassum is far out-
classed by Vogrich's. He was Dr. phil. (hon.
517
LEBEUF— LE CARPENTIER
c, Tubingen), and 'Royal Wiirttemberg Pro- 1756; d. Berlin, May 14, 1791 ; a distinguished
fessor.' Numerous studies in the Klavicr- high soprano concert -singer, accompanied
schule were devised by him. her husband on his tours, and died of grief
Lebeuf [Iu-b6f'], abbe Jean, b. Auxcrre, soo° after his decease. She puhl. 36 sonatas
Mar. 6, 1687; d. there Apr. 10, 1760, as canon f?r Pf- and \J— See Q.- Lex.— Their two
and sub-cantor at the cathedral. In 1740 he .daughters, Sophie and Rosine, distinguished
succeeded to Lancelot's chair in the Academic themselves as a pianist and a vocalist.
Of his circa 180 essays on all manner of sub-
jects, we note a series publ. 1725-8 in the
'Mercure de France* on plain-song, combat-
ing Motz's newly invented style of notation;
a Lettre sur les orgues . . . ('M. de Fr.,'
1737); and a TraiU historique et pratique sur
le chant ecdesiastique . . . Precede d'une nou-
veUe methode pour Venseigner et Vapprendre
facilemcnt (1741).
Leborne, Aime-Ambroise-Slmon, noted
pedagogue; b. Brussels, Dec. 29, 1797; d.
Paris, Apr. 1, 1866. Pupil of the Paris Cons.
1811-20 (Dourlen and Cherubini); won the
Grand prix de Rome. In 1816 he was al-
ready a repetiteur in a solfeggio-class, be-
coming full teacher in 1820; succeeded Reicha
as prof, of comp. in 1836; also becoming
librarian at the Opera in 1829, and to the
royal chapelle in 1834. He edited a new
edition of Catel's Traite d'harmonie, making
numerous additions to the practical part.
Leborne (or Le Borne), Fernand, b.
Paris, Mar. 10, 1862. Pupil, in Paris Cons.,
of Massenet, Saint-Satlns, and C. Franck.
Now (1917) living in Paris as critic for 'Le
-Monde artiste/ and composer; won the Prix
Chartier in 1901. — Works: The operas Daph-
nis et Chloi (Brussels, 1885); Iledda (Milan,
1898); Mudarra (Berlin, '99); Les Girondins
(Lyons, 1905); La Catalane (Paris, 1907);
Clhp&tre (Rouen, 1914); for orch.: Temps
de guerre, Symphonic drantatique, Ouver-
ture symphonique, Scenes de ballet, Poeme
(suite 1 and II), Suite intime, Absent (suite),
Ouverture guerrikre; a Symphonie-Concerto f.
pf., vl. and orch.; a str.-quartet ; pf.-trio; vcl.-
sonata; Amour trahi, lyric ixm.mii f. ch. and
orch.; pes. f. vl. and pf.; pf.-jx's.; Messe breve;
motets; etc.
Lebouc (lu-lKK)k'], Charles- Joseph, b.
Besancon, Dec. 22, 1822; d. Hycres, Mar.,
1893. 'Cello-virtuoso; pupil, in Paris Cons.,
of Franchomme, and of llalcvy and Colet
(comp.). Won 1st 'cello- prize (1842) and
1st harmony-prize (1844); played in the Opera
orch. 1844-8, was a meml>er of the Societe des
Concerts from 1842, and its secretary 1856-
60. L. founded the 'Soirees de musique clas-
sique.' — Works: Trio de concert for pf., vln.
and 'cello; Ave verum, f. voice w. 'cello and
org.; La vision de Ste.-CecUe f. voice w. pf. and
Velio; duos f. 'cello w. pf.; 'cello- pieces;
Method for Velio.
Lebrun |lu-l>ron'| ou'r Danzi), Francis-
ka, wife of Ludwig Aug. L.; b. Mannheim,
respectively.
Lebrun, Jean, horn -virtuoso; b. Lyons,
Apr. 6, 1759; d. Paris, 1809. Chiefly self-
taught, excepting some lessons from Punto,
he was remarkable for sonority and purity of
tone, and for the case with which he took the
high notes. He was 1st horn in the Opera
orch., 1786-92; after a visit to England, he
entered the royal orch. at Berlin; after ex-
tended tours he returned to Paris in 1806, but
found no employment, and in despair com-
mitted suicide by suffocation.
Lebrun, Louis-Sebastien, tenor singer
and vocal teacher; b. Paris, Dec. 10, 1764; d.
there June 27, 1829. Unsuccessful as a singer
in the Opera and the OfK-ra-Comique, he be-
came one of the 4 ,maitres de chant' at the
Opera, in 1807 tenor in Napoleon's chapeUe,
and in 1810 chef du chant in the same. He
brought out several oi>eras, of which Le Ros-
signol, in one act (0|>era, 1816), remained
on the repertory for a long time, although
rather mediocre. 13 more operas, a Tc Deuni
(1809), a Solemn Mass (1815), a mass with
string-orch., and a coll. of romances, are also
known.
Lebrun, Ludwig August, often called
the greatest oboist of the 18th century; b.
Mannheim, 1746; d. Berlin, Dec. 16, 1790.
From 1767, meml>er of the electoral orch.t
Munich; concert-tours from 1775 in Germany,
Italy, France, and England, creating a sensa-
tion in London (1781) and Paris (1784). —
Publ. 7 oboe-concertos; 12 trios f. oboe, vln.
and 'cello; easy duos f. flutes.
Lebrun, Paul -Henri- Joseph, J). Ghent,
Apr. 21, 1861, and a pupil of the Cons, there;
won the Prix de Rome in 1891 with his cantata
Andromeda, and 1st prize of the Belgian
Academic for a symphony; since 1890 prof,
of theory at the Ghent Cons, and cond. of the
'Orphcon' at Cainbrai; since 1895 also cond.
of the 'Cercle artist ique' at Ghent. Officer of
the Legion of Honor. Has written an o|x.Ta,
Im Fiancee d'Abydos (Ghent, 1897); orchl.
works and choruses.
Le Carpentier [kahr-pahn-tVa'l, Adol-
phe-Clair, b. Paris, Feb. 17, 1S09; d. there
July 14, 1869. Pianist; pupil of l.esueur and
ret is at the Cons. U818), winning several
prizes, and settling in Paris as a t earlier in
1833. Wrote an excellent Methode de piano
pour les enfants, also 25 lltudes elcmrntaires
(op. 59), and a coll. of 24 etudes, Le progrts.
518
LECLAIR— LEDUC
Also nearly 300 fantasias, etc., on operatic and
national airs, well-arranged, and of moderate
difficulty.
Leclair, Jean-Marie, celebrated violinist;
b. Lyons, May 10, 1697; assassinated in Paris,
Oct. 22, 1764. At first a ballet-dancer at
Rouen, thea ballet-master at Turin, where
Somis took his education in hand, being at-
tracted by dance-music written by L. From
1729—31 he was ripieno violinist at the Opera,
Paris, then joined the royal orch., but soon
left it to pursue the vocation of composer
and private teacher. — Works: The opera
Glcucus et Scylla (Paris, 1747); opera-ballet
Apollon et Climene (1750); Concerti grossi
f. 3 vlns., via., 'cello and organ; 6 trios, and
2 easy trios, f. 2 violins w. bass; duos f. violins;
and (his finest romps.) 48 sonatas f. violin
w. continue — See Q.-Lex.
Lederq, Louis. See (Teller.
Lecocq [lu-kdhk'], (Alexandre-) Charles,
famous composer of operettas; b. Paris, June
3f 1832; d. Clifton, Guernsey, Feb. 15, 1911.
He studied at the Cons, under Bazin (harm.),
Hal6vy (comp.), and Benoist (organ); won
1st prize for harmony in 1850, and 2d prize for
fugue in 1852. His first stage-work, Le doc-
teur Miracle, written with Bizet, and prod, in
1857, won a prize offered by Offenbach for the
best opera buff a; but his first real hit, after
several transient successes, was made with
Fleur-de-The (1868), which had a run of a
hundred nights in Paris within three or four
months, and was well received in England,
Germany, etc. Another sensational hit was
made by Lafille de Mme. Angot, brought out
in Brussels, Dec. 4, 1872, and in Paris, Feb. 21,
1873, where it was played uninterruptedly
until April 8, 1874. It was closely followed by
its rival in popularity, GirofU-Girofla (1874).
He produced over 40 operettas, comedy-
operas, and especially comic operas (operas
bouffes), which, in finish of instrumentation
and carefulness of writing, are superior, on the
whole, to the productions of Offenbach and
Herv&. L. was made Chevalier of the Legion
of Honor in 1894. He publ., for piano, a
ballet-pantomine, Les Fantoccini; 24 mor-
ceaux de genre, Les Miettes; and a Gavotte;
also an Aubade; mSlodies and chansons f. voice
w. pf.; sacred songs f. female voices (e. g., La
chapetle au convent); and Rameau's Castor et
Pollux in piano-score. A list of his dramatic
works is appended:
Le doeteur If trade (1857); two 1-act operettas. Le
Boiser a la Porte and LUine et Valentin (1864); Les
Ondines au Champagne (1-act. 1865); Le My soils
(1-act. 1866); Le Cabaret du Ramponneau (1-act. 1867);
V Amour et son carquois (2-act). Fleur-de-Thi (3-act)
and Les Jumeaux de Bergame (1-act, 1868): Gandolfo
(1-act) and Le Rajah de Mysore (1-act. I860); Le beau
Dunots (1-act, 1870); Le Testament de M. de Croc
(1-act). Le Barbier de Troueitte (1-act) and Sauvons la
taisse (1-act, 1871); Les cent Vierges (3-act) and La
fill* de Mme. Angot (3-act, 1872); GtrofU-GiroU (3-act)
and Les Pris Saint-Gervais (3-act, 1874); Le Pompon
(3-act) and La petite Mar He (3-act. 1875) ; Kosiki tf-act.
1876): La Marjolaine (3-act. 1877); Le petit Due (3-act)
and La Cantor go (3-act, 1878); Le grand Casimir
(3-act), La petite Mademoiselle (3-act) and La jotie
Per sane (3-act, 1879); Janot (3-act). La Roussotte
(3-act) and Le Jour et la Nuit (3-act, 1881) ; Le Camr
et la Main (2-act. 1882); La Princesse des Canaries
(3-act 1883); VOiseau bleu (3-act. 1884): La Vie mon-
daine (4-act. 1885); Plutus (2-act. 1886): Les Grena-
diers de Mont-Comelte (3-act, 1&&7) -Ali-Baba (3-act,
1887); La Volihe (3-act. 1888); tEgyptienne (3-act.
1890); Nos bans Chasseurs (3-act. 1894); Ninette
(1896): Ruse d' Amour (1898); La belle au bois dor*
mant (1900): Yetta (1903); Rose-Mousse (1904); La
Salutiste (1905); Le trahison de Pan (1910); not per-
formed are Renaa, Cyrano de Bergerae, Don Jophet,
and Mimosa.
Le Gouppey Wa koo-pal, Felix, b. Paris,
Apr. 14, 1811; d. there July 5, 1887. Pupil of
Dourlen in the Cons., where he was asst.-
teacher of an elementary harmony-class in
1828, full teacher in 1837, Dourlen 's successor
as prof, of harmony in 1843, and substitute
piano-teacher for Henri Herz in 1848, when
the latter started on his American tour. Later
a special pf. -class for ladies was organized for
him. — Publ. Ecole du mScanisme du piano, 24
itudes primaires (op. 10); Cours de piano
elSmenlaire et progressif; L'art du piano (50
Etudes with annotations); a pamphlet, De
Venseignement du piano; consols aux jeunes
professeurs (1865) ; a few pf .-pieces, and songs.
Ledebur [l&'de'-boor]. Karl, Freiherr von,
b. Schildesche, n. Bielefeld, Apr. 20, 1806; d.
Stolp, Oct. 25, 1872. Prussian cavalry
officer. Publ. a Tonkunstlerlexikon Berlins
von den dltesten Zeiten bis auf die Gegenwart
(1860-1) and Konig Friedrich I. von Preussen
(1878; posth.; hist, of Berlin court-music).
Ledent Pd-d&hn'], F61ix-£tienne, born
Liege, Nov. 20, 1816; d. there Aug. 23, 1886.
Pianist, pupil of J. Talheau at the Liege Cons,
and of Daussoigne-Me'hul at Paris, taking the
2d prix de Rome in 1843, and becoming prof,
of piano in Liege Cons, in 1844. — Publ.
Adagio et Rondo f. pf. w. orch; pf. -pieces; and
songs.
Leduc flu-dak'], Alphonse, b. Nantes,
Mar. 9, 1804; d. Paris, Tune 17, 1868. Pianist
and bassoonist. Pupil of his father; also of
Reicha in Paris Cons, and of Rhein (pf.) in
Nantes (1826). He founded a music-busi-
ness in Paris in 1841 ; after his death his son
Alphonse was head of the firm till his death in
1892; the latter's widow then directed the
business until 1904, when a grandson of the
founder, fimile, and P. Bertrand became the
heads. From 1860-95 the firm publ. 'L'Art
Musical,' which then was assimilated with
the 'Guide Musical.' — Works: 632 dances;
328 piano-pieces; 13 pieces f. bassoon, 52 f.
guitar, 38 f. flute, 26 f. organ; 94 romances
and melodies f. 1-3 voices; nine collections of
Etudes; Mithode eUmentaire de piano, a V usage
des pensions (some 20 editions published).
519
LEDUC— LEFFLER-BURCKARD
Leduc, Simon, b. Paris, 1748; d. there
1777. Pupil of Gavinies; one of the first
French comf>osers who adopted the new in-
strl. style of Stamitz. Wrote several sym-
phonies; concertos, concertantes and sonatas
f. vl. — See Q.-Lex.
Lee, Ernest Markham, b. Cambridge,
England, June 8, 1874. Fine pianist and
organist; while a student at Emanuel Coll.,
where he received the degree of A. M., he
acted as org. at the various college functions;
1896-1911. org. at All Saints, Woodford
Green, where ne also established a regular
series of chamber-music concerts; now (1917)
prof, of organ at the G. S. M. and examiner
at the Univ. of London; authorof the Analyt-
ical Notes for the programs of the London
Symph. Orch.; Mus. Doc., Cantab.; F. R. C.
O.; comp. of church -services, anthems, songs,
etc. Has publ. Tchaikovsky (1904); the same
condensed for Bell's 'Miniature Series' (1906);
Edvard Grieg (1908); The Story of Opera
(1909); Brahms: The Man and his Music
(1916) ; also analyses of Puccini's operas in the
coll. 'Nights at the Opera.*
Lee, Louis, b. Hamburg, Oct. 19, 1819;
d. Lubeck, Aug. 26, 1896. Brilliant 'cellist
and composer of merit; pupil of J. N. Prell,
and gave concerts at 12 in German cities and
Coj>enhagen. He became 'cellist in the Ham-
burg Th., then lived several years in Paris,
returned to Hamburg, organized chamber-
music soirees (with Hafner, later with Boie),
was teacher in the Cons, until 1884, and 1st
'cello of the Philh. Soc. — Publ. a pf.-quartet,
a pf.-trio, a 'cello-sonata, a 'cello-sonatina,
a sonata and a sonatina f. vln., pieces f. pf.
and 'cello, soli f. pf.; also wrote music to
Schiller's Jungfrau von Orleans and Wilhelm
Tell; symphonies, overtures, 2 string-quartets,
pf.-duets, etc.
Lee, Maurice, brother of the preceding;
b. Hamburg, Feb., 1821; d. London, June 23,
1895, where he had long resided as a pf.j
teacher and composer of popular saion-music.
Lee, Sebastian, brother of the preceding;
b. Hamburg, \hv. 24, 1805; d. there Jan. 4,
1887; was also a pupil of Prcll, and a distin-
guished 'cellist; from 1837-68, solo 'cellist at
the Grand Oi>cra, Paris; lived thereafter in
Hamburg. — Publ. an excellent Method f.
'cello; variations, divertissements, and fan-
tasias, for 'cello w. orch.; vars. for 'cello w
string-quartet ; 'cello-duos.
Lefelnire [lu-fa-hur'l, Lou is- Francois-
Henri, b. Paris, Feb. 18, 1754; d. there
Nov., 1840. A government official until his
retirement in 1814. — Works: Nouveau Solfege,
a 23-page pamphlet publ. 1780, containing
ideas put into practice by (iossec in the Ecole
royale de chant; and Revues, erreurs et miprises
de different s auteurs ceVebres en mat&re must-
cole (1789). He also composed 2 oratorios,
several cantatas, and scenas.
Letebure-Wely, Lou is- James- Alfred, b.
Paris, Nov. 13, 1817; d. there Dec. 31, 1869.
A pupil of his father from his fourth year, at 8
he took the latter's place as organist of the
church of Saint- Roch, becoming regular organ-
ist at 14. Entering the Paris Cons., in 1832,
he was taught by Benoist (org.) and Laurent
and Zimmerman (pf.), taking first prizes for
both instrs. in 1835; his teachers in compo-
sition were Berton and Halevy, and he had
private instruction from Adam (comp.) and
Sejan (org.). 1847-58, organist of la Made-
leine; after 5 years devoted to composition,
he succeeded Sejan as organist at St. -Su I pice.
L. was a thorough musician, a skilful player
on the organ, piano, and harmonium, and a
versatile composer. — Works: A 3-act opera,
Les Recruleurs (1861); a cantata, Apres la
victoire (1863); 1 mass w. orch. and 2 masses
w. organ; 3 symphonies; a string-quintet and
a string-quartet; sacred vocal music; much
elegant salon-music f. pf. (his most celebrated
piece is The Monastery-bells); 50 pf. -etudes;
harmonium-music; etc.
Lefebvre [lu-favr'L Charles- fed ouard, son
of the historical painter L.; b. Paris, June 19,
1843. Entered Paris Cons., 1863; pupil of
Ambr. Thomas; Grand prix de Rome, 1870,
for the cantata Le Jugement de Dieu. While
in Rome he composed the 23d Psalm f. ch.
and orch.; the first two parts of a biblical
drama, Judith; and several symphonic pieces.
In 1873, after tours in Greece and the Orient,
he settled in Paris; since 1895, prof, at the
Cons.; won the Prix Chartier for chamber
music in 1884 and 1891. — Works: The operas
Le Trhor (Paris, 1883), Zaire (ib., 1887),
Djelma (ib., 1894); the *16gende fantastique'
Melka; 'poeme lyrique' Ste.-CScile (1896);
choral works Eloat La Messe du fantome,
DalUa; chamber-music; etc.
Lefevre [lii-favr'], Jean-Xavier, famous
clarinettist; b. Lausanne, Mar. 6, 1763; d.
Paris, Nov. 9, 1829. Pupil of Michel Yost in
Paris; played in concerts from 1787; member
of the Opera orch. 1791-1817; prof, in Cons.
1795_lg25; and joined the Imperial Orch. in
1807. Chev. of the Legion of Honor. Wrote
the Clarinet-method adopted (1802) at the
Cons.; 6 clarinet-concertos; concertantes f.
clar. w. other instrs.; also trios, duos, and
soli (sonatas). He added a sixth key to the
clarinet.
Leffler-Burckard, Martha, dramatic so-
Rrano; b. Berlin, c. 1870. Pupil of Anna von
leichsner in Dresden ; debut as a colorat ura
soprano at Strassburg in 1890; then at Bres-
lau and Cologne; 1894-8 at Bremen, where she
appeared with much success in the great
520
LEGINSKA— LEHAR
dram, rdles; 1898-1900, at the court th. in
Weimar; 1900-2, at Wiesbaden; after that
she sang as star at the principal German opera
houses; 1906 at Bayreuth as Kundry; 1908 at
the M. O. H. in the Wagner rdles; since 1912
member of the Berlin R. Opera. She is
'Kgl. Preuss. Kammeraangerin, and has been
decorated with many orders by the Emperor
and several German princes. Her favorite
rdles are Rezia, Selica, Armide, Fidelio, Isolde,
and the three BrQnnhildes.
Leglnska (rede Leg&ins), Ethel, concert-
pianist; b. Hull, England, 1883. St. 4 years
at the Hoch Cons, in Frankfort, and 3 years
with Leschetizky in Vienna; debut in London,
followed by tours of Europe; Amer. debut at
New York, Jan. 20, 1913, in recital. She
leaped into fame with her recital of Nov. 16,
1914, when she played a program consisting
of Chopin's Sonata (op. 35) and all the
etudes (op. 10 and 25). Her playing is
characterized by masculine vigor, dashing
brilliancy and great variety of tonal color;
withal, her transcendent technic is too much
in evidence, for she does not sufficiently
subordinate her own personality to that of
the composer.
Legoulx [lu-gwel, Isidore-£douard, b.
Paris, Apr. 1, 1834; pupil of Reber and Ambr.
Thomas at the Cons.; has brought out 4
operas and about 10 operettas without
marked popular success.
Leftren'zi, Giovanni, celebrated comp.
of sacred and secular music; b. Clusone, n.
Bergamo, c. 1625; d. Venice, May 26, 1690.
Pupil of Pallavicino; organist at Bergamo;
maestro di cappella to the Duke of Ferrara,
and prod, his first opera, AchilU in Sciro, at
Ferrara in 1663; from 1664 in Venice, be-
coming director of the Cons, de' Mendicant!
in 1672, and in 1685 succeeding Natale Mon-
ferrato as maestro at San Marco, where he
enlarged the orch. to 34 pieces (8 violins, 11
violette [small viols], 2 tenor viols, 3 viole da
gamba and bass viols, 4 theorbos, 2 cornette,
1 bassoon, and 3 trombones). His 18 operas
show a noteworthy advance over those of his
predecessors in the orchestral support of the
vocal parts, and he treats the recitative and
the melodic phrase with greater freedom. He
was one of the first to write for 2 violins and
violoncello, and one of the most important
composers of chamber-music before Corel li.
Also a noted teacher; among his pupils were
Gasparini, Lotti and Caldara. — Publ. Con-
certo di messe e salmi a 3-4 con violini (1654) ;
MotteUi da 2-4 voci (1655); MotteUi a 5 voci
(1660); Sacri e festivi concetti, messe e salmi
a due cori (1657); Sentimenti devoti (2 e 3 voci,
1660; 2 vols.) ; Compiete eon lilanie ed antifona
delta Beata Vergine (a 5; 1662); Cantate e can-
tonette a voce sola (1674); Idee armonicke (a
2 and 3; 1678); Echi di rwerenza (14 cantatas
for solo voice; 1679); MotteUi sacri con voce
sola con 3 strumenti (1692); Suonate per chiesa
(1655); Suonate da chiesa e da camera a tre
(1656); Una muta di suonate (1664); Suonate
a 3 violini e violone (w. org. continuo; 1667);
La Cetra (sonatas for* 2-4 instrs.; 1673);
Suonate a 2 violini e violoncello (1677) ; Suonate
da chiesa e da camera (1693). — See Q.-Lex.
Lehar [ULliahr], Franz, born Komorn
(Komarom), Hungary, Apr. 30, 1870. He was
first instructed in music by his father, L. Franz
(1840-98), a military bandmaster; from
1882-8 he st. at the Prague Cons, under A.
Bennewitz (vl.), J. Fdrster (theory). In 1885
Fibich became interested in the youth, and
gave him lessons in comp., although L. con-
tinued his regular courses at the Cons. Two
years later L. submitted two pf.-sonatas
(G, D m.) to Dvorak, whose advice was to the
effect that L. should devote himself entirely
to composition. After leaving the Cons. L.
accepted a position as first violinist in the
theatre-orch. at Elberfeld, but as the duties
were heavy and left him no time for com-
position, he left after a year; he then ent. his
father's band (50th Infantry) at Vienna as
asst.-cond.; from 1890-1902 he was cond. of
various bands; in the spring of 1902 he be-
came cond. at the Th. an der Wien, which
position he resigned after the pronounced
success of his Wiener Frauen there in Nov. of
that year. Since then he has been living in
Vienna, devoting himself entirely to comp.
L. is deservedly one of the most popular com-
posers of light opera; his music, like that of
his famous predecessors, Strauss and Suppe,
makes an instant appeal through its unaffect-
ed simplicity, piquant rhythm and beautiful
melody; like theirs, the scores of L. are also
well written and orchestrated. His greatest
success is still Die lustige Wihve (The Merry
Widow; Vienna, Dec. 30, 1905); in the U. S.
alone it has had over 5,000 performances; in
Vienna, Berlin, New York, Paris and London
the numbers of perfs. exceeds 1,000 in each
city; in Buenos Aires it was played simultan-
eously in five theatres ana five languages
(1907). Through this one work both composer
and publisher have become millionaires. L.
is Knight of the Order of Isabella (Spain), of
the Sun and of the Lion (Persia), and Officer
of Public Instruction (France). — Works: The
opera KukuSka (Leipzig, 1896; rewritten as
Tatjana, Brtinn, 1905); and the operettas
(all premieres at Vienna) Wiener Frauen
(1902; in Berlin as Der Klavierstimmer; re-
written as Der Schlussel zum Paradicse, Leip-
zig, 1906), Der Rastelbinder (1902), Die Jux-
heirat (1904), Der Gottergatte (1904), Die
lustige Witwe (1905), Peter und Paul reisen ins
Scktaraffenland (1906), Mitislav, der Moder-
ne (1907), Edelweiss und Rosenstock (priv.
521
LEHMANN— LEHMANN
perf., 1907), Der Mann mil den drei Frautn
(1908), Das FiirsUnkind (1909), Der Graf von
Luxemburg (1909), Zigeunerliebe (1910), Eoa
(1911), Die ideale GaUin (1913), Endlieh
allein (1914), Der Sterngucker (1917). Besides
these stage-works, L. has written Ungarische
Fantasie f. vl. and small orch. (op. 45);
Huldigungsouverture; Ein Marchen aus 1001
Nacht; II Guado, symph. poem for orch. and
pf.; Eine Vision, overture; a symph. poem,
Fieber (1916); songs; and numerous marches
and dances for orch. (90 op.-numbers).
Lehmann [la'-], Friedrich J., b. Cleve-
land, O., Sept. 17, 1866. Began to st. the
piano at the age of 7; ent. Oberlin Cons.,
where he cont. the pf. and also st. voice and
theory; later pupil of F. von Bose and G.
Schreck in Leipzig. Since 1902 prof, of
theory in Oberlin Cons. Has publ. Lessons
in Harmony; Harmonising at the Piano;
Simple Counterpoint in Forty Lessons (1907).
Lehmann, George, violinist; b. New
York, July 31, 1865. Pupil at Leipzig Cons.,
1880-3, of Schradieck and Hermann (vln.),
Lammers (harm.), and Jadassohn (cpt. and
fugue). Also one season with Joachim at
Berlin. Won the Helbig prize for playing,
at the Gewandhaus, 1883, Joachim s Hun-
garian concerto. Travelled till 1893 as a
soloist and with his quartet-party, the
'Lehmann Quartet'; 1886-9, leader of the
Cleveland, Ohio, Symphony Orch. (now
disbanded); 1889-92 in Europe; 1893-
1907 living in New York as a soloist, teacher,
editorial writer, and critic on the staff
of 'Musical America'; since then in Berlin. —
Has publ. True Principles of the Art of Violin-
play tng (New York, 1899), valuable for
students and teachers.
Lehmann, Lilli, famous dramatic soprano;
b. Wurzburg, Nov. 24, 1848. Her mother,
Marie Loew (1807-83), who had sung leading
soprano rdles and had also appeared as a harp-
virtuoso at the Kassel opera under Spohr,
accepted in 1853 the position of harpist at the
Natl. Th. in Prague, and there Lilli spent her
girlhood. At the age of 6 she began the
study of the piano with Colestin Miiller, an
unsympathetic and mediocre teacher. After
6 years she had progressed so far that she was
able to act as accompanist to her mother, who
also was the only singing-teacher she ever
had. She made her debut on Oct. 20, 1865,
in Prague as the First Page in Die Zauberflote;
she then sang in Danzig (1868), Leipzig (1869-
70), and in 1870 became a member of the R.
Opera in Berlin, where she soon established a
reputation as a brilliant coloratura singer.
The summer of 1875 she spent in Bayreuth,
studying with Wagner the parts of Woglinde
{Rheingold and Gbtterddmmerung), Helmwige
and the Forest Bird, which rdles she created
at the Festival of the following summer. She
then returned to Berlin under a life-contract
with the R. Opera, and was made 'Kammer-
sangerin'; frequent leave of absence, although
granted only for short periods at a time,
enabled her to appear in star performances
in the principal German cities, Stockholm
(1878, 79) and London (1880, '84, '85).
Illness prevented her from creating the
part of the leader of the Flower-girls in
Parsifal in 1882, after she had selected and
trained the sixteen solo-singers. By that
time she was recognized not only as a great
coloratura-singer, but also as an artist of
unusual versatility, having sung tragic and
comic parts, from Wagner to Suppe. In
1884 she was obliged to refuse an offer for
the first season of German opera at the M. 0.
H. because she could not obtain the necessary
leave. When, with some difficulty, this had
been granted the following year, she made her
Amer. debut at the M. O. H. on Nov. 25,
1885, as Carmen; five days later she made her
first appearance as an interpreter of Wagner
(Brunnhilde in Die Walkure) with over-
whelming success; from that moment she
was the idol of the public, and remained so
throughout her engagement till 1889. In
that time she sang all the Wagner rdles
(excepting in Meistersinger and Kheingold)y
Norma, Sulamith, Aida, Valentine, Donna
Anna, Fidelio, Euryanthe, etc., and created
at the Amer. premieres the rdles of Isolde
(Dec. 1, 1886), and BrunnhUde (Siegfried,
Nov. 9, 1887; Gdtterdammerun%% Jan. 25,
1888). During the season of 1891-2 she
sang again at the M. O. H., under the manage-
ment of Grau, appearing in Italian opera with
the De Reszkes and Lassalle. When she
returned to Berlin after her Amer. season of
1889, she found the doors of the German
opera-houses closed to her because of breach
of contract (she had overstayed her leave);
it was then that she established her fame as an
unsurpassed Lieder- singer. In 1891 the
Emperor caused the ban to be lifted, and
since then she has sung as* star at the principal
German opera-houses, and in Vienna and
Paris. In 1896 she sang the three Brtinn-
hildes at the Bayreuth Festival. Her great
admiration for Mozart caused her to take an
active part in the annual Mozart Festivals
held at Salzburg, and since 1905 she has fceen
the chief, and practically sole, manager. In
1909 she still sang Isolde in Vienna, the next
year the First Lady in Die Zauberflote and
Donna Anna in Don Giovanni (Salzburg Fest.)
and in 1914 appeared as soloist with the Berlin
Philh. Soc.; while she has continued her Lie*
der-recitals without interruption to the present
day (1916). Since 1890 she has been living in
Grunewald, Berlin. Her operatic repertoire
comprised 170 rdles in 114 operas (German,
522
LEHMANN— LEICHTENTRITT
Italian and French), all actually sung on the
stage; her concert-repertoire, all the standard
oratorios and over 600 songs. On Feb. 24,
1888, she married the tenor Paul Kalisch in
New York. Mme. L.'s place among the
greatest mistresses of song that the world
Has ever seen is securely established. She
possessed in the highest degree all the quali-
ties of the supreme artist : a boundless capacity
for work, a glorious voice, faultless technic,
penetrating intelligence, a fiery temperament,
always kept within the bounds of artistic
moderation, plasticity of pose, grace of move-
ment, queenly stage-presence; as for univer-
sality, she stands almost unrivalled, although
in America she will be remembered chiefly as
the high-priestess of Wagner; her interpre-
tations of Isolde and Briinnhilde have set a
standard by which all Metropolitan artists
have been measured since. Her success as a
teacher is attested by such pupils as Olive
Fremstad, Geraldine Farrar, Melanie Kurt,
Marion Weed, Florence Wickham, etc. She
has publ. Meine Gesangskunst (1902; Engl. tr.
by R. Aldrich, 1903; Fr. tr. by E. Nageli,
1910), Studie zu Fidelio (1904), Mein Weg
(1913, an autobiography; Engl. tr. by A.
Seligmann, 1914); she transL V. Maurel's
Dix ans de carriere into Ger. as Zehn Jahre aus
meinem Kiinstlerleben (1899). — Cf. 1. H.
Wagenmann, L. L.'s Geheimniss der Stimm-
bdnder (Berlin, 1905); L. Andro, L. L. (ib.,
1907).
Lehmann, Liza (Mrs. Herbert Bedford),
concert-soprano and comp.; b. London, July
11, 1862. Pupil of Randegger (voice) and
Raunkilde at Rome, and in composition of
Freudenberg (Wiesbaden), and Hamish Mac-
Cunn. Debut Nov. 23, 1885, at a Monday
Popular Concert; sang at the Norwich Fes-
tival, 1887; and was frequently heard in
Britain and Germany. Married and retired
from the concert-stage in 1894; since then she
has devoted herself with considerable success
to composition. In 1910 she made a tour of
the U. S., producing, with the assistance of a
solo-quartet, her song-cycles In a Persian
Garden and Nonsense Songs, meeting with
most emphatic success. In 1913 she was
app. prof, of singing at the G.S. M. — Works:
The operas Sergeant Brue (London, 1904),
The Vicar of Wakefield (ib., 1906), Everyman
(ib., 1915); 2 cantatas, Once upon a Time and
The Golden Threshold; Young Lochinvar f.
bar. solo, ch. and orch.; Endymion, scene f.
sop. and orch.; Romantic Suite f. vl. and pf.;
the song-cycles In a Persian Garden (from the
'Rubaiyat,' f. solo quartet and p(.),The Daisy-
Chain (12 songs of childhood), More Daisies,
Prairie- Pictures, In Memoriam (selected from
Tennyson), Nonsense Songs (from 'Alice in
Wonderland'); choruses; pf. -pieces (Cobweb
Castles, etc.), numerous separate songs.
Lehmann, Marie, sister of Lilli L.
also a fine dramatic soprano; b. Wurzburg,
May 15, 1851. Pupil of her mother, and
later of her sister; debut in Leipzig, May 1,
1867; in 1876 she created the parts of Well-
gunde (Rheingold and Gbtterddmmerung) and
Ortlinde (Walkure) at Bayreuth; from 1881
until her retirement in 1902 she was a member
of the Vienna court opera; since then living in
Berlin as a successful teacher.
Lehmann, Robert, b. Schweidnitz, Silesia,
Nov. 26, 1841. Pupil of Kdnig (org.) there,
and of Oswald (vcl.) in Ldwenberg. Having
played as 'cellist in various orchestras, he
settled in Stettin in 1875 as org. at St. John's
and the Synagogue, singing-teacher at the
Realgymnasium, and cond. of the Lieder-
tafel; made Kgl. Musikdirektpr in 1894.
Has publ. Brief e aus Wien (waltzes f. orch.),
melodious pes. f. vcl., and sacred music; also
Erinnerungen eines Kunstlers (1895).
Lelb'rock, Joseph Adolf, b. Brunswick,
Jan. 8, 1808; d. Berlin, Aug[. 8, 1886. Dr.
phil., Berlin; 'cellist and harpist in the Bruns-
wick court orch. — Works: Music to Schiller's
Rauber; part-songs; songs; arrangements f. pf.
and 'cello; a Musikalische Akkordenlehre; and
a history of the Brunswick Hofkapelle
('Braunschweiger Magazin,' 1865-6).
Leichtentritt [Hyh'-] Hugo, b. Pleschen,
Posen, Jan. 1, 1874. While pursuing the clas-
sical course at Harvard Univ. (1889-94), he
also st. music under Prof. J. K. Paine; went
to Berlin in 1895, completed his mus. studies
at the Kgl. Hochschule and attended courses
in musicology at the Univ. there until 1898;
obtained the degree of Dr. phil. (Berlin, 1901)
with the dissertation Reinhard Keiser in
seinen Opern; taught for some years at the
Klindworth-Scharwenka Cons.; now (1917)
living in Berlin as composer and writer. — •
Works: Publ.: Op. 1, Str.-quartet; op. 2, 11
songs; op. 3, 13 songs (on old Ger. texts); op.
4, Chines isch- Deutsche Tages- und Jahresseiten
(Goethe). In MS.: Op. 3, Hymnen und
Gesange von Holderlin (some w. orch.) ; op. 6,
Hero und Leander, symph. poem; op. 7, Str.-
quintet; op. 8, 20 songs (R. Dehmel); op. 9,
6 Romanttsche Gesange; op. 10, Symphony in
A; op. 11, Ein Sommertag f. sop. solo, fern. ch.
and small orch.; op. 12, Suite f. 'cello solo; op.
13, Sonata f. via. and pf.; op. 14, Pf. -quintet;
op. 15, Concerto f. vl. and orch. — Even more
important are his scholarly writings: Chopin
(1905; 2d ed. 1913; in Reimann's ^Beruhmte
Musiker') ; Geschichte der Musik (1905; in Hill-
ger's 'Illustr. Volksbucher'); Geschichte der
Motelte (1908); Musikalische Formenlehre
(1911); also publ. numerous valuable essays
in various journals. He has ed. new editions
of Bussler's Harmonielehre, Kontrapunkt and
Formenlehre; has rewritten vol, iv of Ambros'
523
LEIGHTON— LEMAIRE
Hist, of Music, incorporating the latest re-
searches onthemonodic style (1909) ; and publ.
a selection of Beethoven's letters (1912). Of
early music he ed. in 'Dkm. deutscher Tonk.'
selected works of H. Praetorius (vol. xxiii) and
A. Hammerschmidt (vol. xl); in 'Meister-
werke deutscher Tonk.' 35 part-songs; in 'Ed.
Peters' 12 madrigals of Monteverdi; for the
publications of ' Vereenieing voor Nederlands
Muziekgeschiederiis' Scherti musical* by I.
Schenck (vol. xxviii); also a coll., Deutsche
Hausmusik aus 4 Jahrhunderten (1906).
Leigh ton, Sir William, English musician,
'gentleman-pensioner'; publ. The Teares or
Lamentations of a Sorrowfull Soule; Composed
with MusicaU Ayres and Songs both for Voyces
and Divers Instruments (1614), containing 54
metrical psalms and hymns, 17 being for 4
voices w. accomps. in tablature for the lute,
bandora, and cittern, and 13 for 4 voices and
24 for 5 voices without accomp. The first 8
are by L. himself; the others by Bull, Byrd,
Dowland, Gibbons, etc.
LeTslnger, Elisabeth, dramatic soprano;
b. May 17, 1864, in Stuttgart; studied at the
Cons, there, and later with Viardot-Garcia,
Paris. Member of the Berlin court opera
1884-94, when she married Dr. MUlberger in
Esslingen, and retired from the stage.
Leite [la'itg], Antonio da Silva, b.
Oporto, May 23, 1759; d. there Jan. 10, 1833.
Conductor at the Oporto Cathedral about
1787-1826. Publ. Rezumo de todas as regras
e preceitos de cantoria assim da musica metrica
como da eantocJuto (1787); a guitar-method
(1796); 6 sonatas f. guitar w. violin (rebec)
and 2 trumpets; etc. Two operas, / puntigli
per equivoco and Vastuzie aelle donne were
prod, in Oporto in 1807.
Lei'tert, Johann Georg, excellent pianist;
b. Dresden, Sept. 29, 1852; d. Hubertusburg,
n. Dresden, Sept. 6, 1901 (insane). Pupil of
Kragen and Reichel (pf.), and Rischbieter
(harm.). Concert-debut 1865 at Dresden;
then played in Leipzig, Berlin, Prague, etc.,
and made a brilliantly successful tour to Eng-
land in 1867. Visited Liszt in Weimar in
1869; then, after concerts (he played Beetho-
ven's sonata op. 106 at Vienna), spent 2
winters with Liszt in Rome. From that time
his concerts in Germany, Austria, Russia, etc.,
were attended with remarkable success.
From 1879-81 he taught at the Horak Music-
school in Vienna. Many fine characteristic
pieces for piano: Op. 12, Esquisses; op. 24,
Chants du crepuscule; op. 30, Herbstblatter;
op. 31, Strahlen und Schatten; op. 33, Aus
schonern Stunden; op. 37, FeuiUes d' amour;
op. 38, Lose Blatter; op. 43, Valse- Caprice;
etc.; also transcriptions f. pf. (chiefly from
Wagner's works).
Leitzmann flits'-], Albert, b. Magde-
burg, Aug. 3, 1867. Pupil of J. Meyer and C.
F. Ehrlich, but St. chief ly literature and es-
thetics; establ. himself as Privatdozent for the
Ger. lang. and lit. at the Univ. of Jena ; Prof.
extraord. since 1898. Besides numerous
books dealing with literature and philology,
he has publ. Beethovens Brief e (1909; 2d ed.
1912 [selections)); Mozarts Briefe (1910 |do.J);
Mozarts Persdnlichkeit (1914); Beethovens
Personlichkeit (2 vols., 1914).
Le Jeune [lu zhdn'], Claudln, b. Valen-
ciennes, about 1530; d. 1602. French contra-
puntist; in some of his larger chansons he in-
troduced, like Jannequin, some very realistic
'tone-painting* (as far as the limitations of the
human voice permit) . — Chief works, 40 Psalms
of David (1601); chansons, madrigals, etc..
were printed 1585-1610; and many of his works
have been republ. by H. Expert in his 'Malt res
musiciens de la Renaissance francaise' (vols.
11-14, 16, 20-22).— See Q.-Lex.
Lekeu Pti-kd']f Guillaume, b. Heusy, n.
Verviers, Jan. 20, 1870; d. Angers, Jan. 21,
1894 (of typhoid fever). Pupil of G. Vallin
(harm.), C. Franck and V. d'Indy (comp.); a
composer of great promise untimely blighted.
Publ. works: Andromede f. soli, ch. and orch.
(2d Prix de Rome, Brussels, 1891); Premim
Etude symphonique, Chant de triomphale aVit-
vrance; Deuxteme £tude symph., No. 2, SurU
second Faust (No. 1, Sur Hamlet, not pub/.);
Fantaisie symph. sur deux airs populates
angevins; Adagio f. str.-orch. (without double-
bass); Sonata f. vl. and pf.; Pf.-trio; Sonata
f. vcl. and pf. (finished by d'Indy); pi .-quar-
tet (fin. by d'Indy); a Sonata, Tempo di Ma-
zurka and 3 pes. for pf.; 6 songs. He/e/f
numerous sketches and fragments of a Vyric
comedy, Barberine.—Ci. A. Tissier, C L.
(Verviers, 1906) ; O. Sere, Musiciens fran$ais
d'aujourd'hui (2d ed. Paris, 1911).
Lemaire (or Le Maire), a French musician
of the 16th-17th centuries, is said to have
urged the adoption of a seventh solmisation-
sy liable (si, ace. to Rousseau; zat ace. to Mer-
senne); an invention tantamount to the
abandonment of the old system of mutation.
— Cf. H. Riemann, Gescn. d. Musikthearie
(Leipzig, 1898; p. 408 et seq.).
Lemaire [lu-mar7], (Jean-Eugene-) Gas-
ton, b. Castle d'Amblainvillers, Seine etOise,
Sept. 9, 1854. Pupil of the £cole Niecier-
meyer; a very prolific comp. of light music
(operettas, pf. pes. and char. pes. for orcli.).
Among his numerous operettas the best are
Pierrette et le Pot au tail, La belle Tunisienne,
Les Maris de Juanita, Le Supplier de J cannot,
Le Rive de Mancttc, etc. ; a ballet, Feminissima,
achieved considerable success at the Op.-
Com. (1902).
524
LEMAIRE— LEMONT
Lemaire, Theophile, b. Essigny-le-Grand,
Aisne, Mar. 22, 1820. Pupil of Garcia,
Michelot, and Moreau-Sainti at the Paris
Cons. He became a singing-teacher, and a
student of vocal methods; publ. (with I^avoix)
Les principes et Vhistoireau chant (1878-81);
transl. into French Tosi's Opinioni dei cantori
aniichi e moderni (L'art du chant . . . 1874).
Le Matetre (or Le Maftre) flu* ma'tr],
Mattheus, Netherland contrapuntist; court
Kapellm. at Dresden, 1554-68; died 1577.—
Publ. motets, offices and secular chansons;
3 masses, 24 offices, and 4 versicles are in MS.
in the Munich Library. Monograph on L.
by O. Kade (Mayence, 1862; with 5 sacred
and 5 secular chansons). — See Q.-Lex.
Lemare, Edwin Henry, famous organist;
b. Ventnor, Isle of Wight, Sept. 9, 1865. He
received his first instruction from his father,
and when only 8 years old began to act occa-
sionally as substitute at the services; in 1876
he won the John Goss scholarship at the R.
A. M., where he studied for six years under
G. and W. Macfarren, Steggail and Turpin;
in 1882 app. ore. at St. John s, Finsbury Park,
London ; made nis debut as a recitalist at the
Inventions Exhibition in London (1884);
1886, F. R. C. O. and ore. at the Parish Ch.
and Albert Hall, Sheffield" where he remained
six years, and in that time gave 300 recitals
in the North of England. In 1892 he was
called to Holy Trinity, London, where his
weekly recitals made him famous, so that he
was elected honorary F. R. A. M. From
1897-1902 he was org. at St. Margaret's,
Westminster. Here he continued his weekly
recitals, and created something of a sensation
when he produced with a chorus of 60 men and
boys the entire first act of Parsifal, himself
playing from the orchl. score. His reputation
now was such that after the death of Best
(1897) he was generally regarded as England's
greatest living organist and the legitimate
• successor of that master. He visited America
for the first time in 1900, and in the following
year played 100 recitals in the U. S. and Can-
ada, creating such a profound impression that
in 1902 he was called to Pittsburgh as org.
of the Carnegie Inst. He resigned in 1905.
Since then he has held no official position, but
travelled around the world as a concert-
organist. In 1915 he gave 100 recitals at the
Panama Exposition, arousing such enthu-
siasm that he was obliged to add 21 to the
original series. He has recorded many of his
masterly interpretations for the Welte Phil-
harmonic Organ (see Welte). In the legiti-
mate attainment of orchestral effects upon
the organ he is unsurpassed, perhaps unri-
valed.— Works: Easter cantata J. soli, ch. and
orch.; Communion Service in F, for do.;
Magnificat and Nunc Dimittis in E, fordo.;
several anthems. For organ: 2 Symphonies
(G m., D m.), 2 concert- fantasies, Elegy in
G, Marche modern*, Marche solennelle, Noc-
turne in B m., Pastorale in E, Meditation in
Db, Reverie in Eb, etc.; Cecilia (a coll. of 19
transcriptions); 20 transcriptions of orchl.
works (8 from Wagner).
Lem'mens, Jacques-Nicolas, remarkable
organist; b. Zoerle-Parwys, Belgium, Jan. 3,
1823; d. at Castle Linterport, n. Malines, Jan.
30, 1881. Pupil of his father, and of van der
Broeck at Diest; of Godineau at the Brussels
Cons. (1839; pf.); after playing the organ at
Diest for some months, he took further lessons
(1841) with Michelot (pianoforte), Girschner
(org.), and Fetis (cpt.). In 1846 he went to
Breslau, with a government stipend, to study
under Hesse; in 1849 he was app. prof, of or-
gan-playing at the Brussels Cons. ; married the
singer Miss Sherrington, in 1857, and thence-
forth spent much time in England. In 1879
he opened a seminary for Catholic organists
and choirmasters at Malines.— Organ-works:
Excellent sonatas, improvisations, studies,
etc. (over 60 in all); a great EcoU d'orgue,
adopted in the Paris and Brussels Conserva-
tories;— also 2 symphonies, pf. -music, a Te
Deum, motets, songs, etc. Four large vol-
umes of posth. works. CEuvres inedits (masses,
motets, organ-works), were publ. by Breit-
kopf & Hartel.
Lemoine Pfi-rawahnl, Aime", b. 1795; d.
(?); a pupil of Galin, taught his method, and
publ. 2 editions of the Methode du MeloplasU
(1824, 1838). Later he resumed the usual
method of instruction.
Lemoine, Antoine-Marcel, guitar-player;
b. Paris, Nov. 3, 1763; d. there in April, 1817.
Self-taught, he played the viola at the Th.
de Monsieur, conducted at minor Parisian
theatres, and finally founded a music-publish-
ing business. Wrote and publ. a Guitar-
method. — His fourth son,
Lemoine, Henri, b. Paris, Oct. 21, 1786;
d. there May 18, 1854. Studied in the Cons.
1798-1809; in 1821 he also had harmony-
lessons of Reicha; taught the piano; and at
his father's death succeeded to the business. —
Works: Methods f. harmony, pf., and sol-
feggio; Tablettes du piano, Memento du profes-
seur de piano (1844); and sonatas, variations,
dances, etc., f. pf.
Lemont, Cedric Wilmot, b. Fredericton,
N. B., Canada, Dec. 15, 1879. Pupil of C.
Faelten (pf.) and H. M. Dunham (org.) in
Boston; has filled various positions as org. and
choirm. in Canada; 1907-8, org. at Plymouth
Ch., Chicago; since 1907 teacher of pf. in the
Walter Spry Music School and member of
Bid. of directors. Has publ. a number of pes.
for pf. (op. 6, Dream Pictures; op. 8, Spring-
525
LEMOYNE— LENORMAND
time Sketches; op. 15, Creole Sketches; op. 17,
Sylvan Sketches; etc.).
Lemoyne (rede Moyne) [hl-mwahn'],
Jean- Bap tiste, b. Eymet, Perigord, Apr. 3,
1751; d. Paris, Dec. 30, 1796. Conductor at
provincial French theatres before studying
composition with Graun and Kirnberger at
Berhn.where he became 2d Kapellm. to Fred-
erick the Great. Returning to Paris, he
brought out an opera, Electre (1782), pretend-
ing to be a pupil of Gluck; an imposture which
the latter diet not see fit to expose until the
failure of the piece! In revenue, L. copied
the style of Piccinni and Sacchini, and prod,
nearly a score of quite successful operas; at
the end of the representation of Nebhtf (1789,
Grand Opera), tne author was called out by
the enthusiastic audience, an honor never
before accorded an author in a French theatre.
— See Q.-Lex.
Lenaerts [te-nahrtsl, Constant, b. Ant-
werp, Mar. 9, 1852. Pupil of Benott; at 18,
cond. of the Flemish National Th.; now (1917)
prof, at the Antwerp Cons., cond. of the Pop.
concerts and the Toonkunstenaarbond';
founded in 1914 the 'Society royale de 1'har-
monie.' Has written a cantata, De triomf
vanH licht (1890) f. ch. and orch.
Lendval [knd'vT], Erwfn, b. Budapest,
Tune 4, 1882. Pupil of H. Koessler at the
Landesakademie there; having won a scholar-
ship in 1905, he travelled, and spent some
time in Milan studying with Puccini; 1913-4,
teacher of theory at Jaques-Dalcroze's school
at Hellerau; since 1914 prof, of dram. comp.
at Hoch's Cons, in Frankfort. — Works: Op.
2, 6, Old Japanese songs; op. 3, 4 pes. for vcl.
in the form of a suite; op. 4, 3 pes. for org.;
op. 5, Nippon, choral suite f . fern. vcs. ; op.
6a, Venice, nocturne f. pf.; op. 7, Masken,
scherzo in G f. orch.; op. 9, 12, 13, pes. for pf.;
op. 10, Symphony in D (Bonn, 1909); op. 11,
Str.-trio in Bb; op. 15, Pf.-trio; Festmarsch f.
orch. (no op.-n umber). In MS. he has an op-
era, Elga.—C(. H. Leichtentritt, E. L. (Ber-
lin, 1912).
Lenepveu flu-nejp-vS'], Charles (-Ferdi-
nand), b. Rouen, Oct. 4, 1840; d. Paris, Aug.
16, 1910. As a law-student he took music-
lessons of Servais; won 1st prize at Caen in
1861 for a cantata; entered Ambr. Thomas's
class at the Cons, in 1863, and in 1865 took the
Grand prix de Rome with the cantata Renaud
dans les iardins d'Armide (perf. 1866). Re-
turning from Rome, his comic opera Le Flo-
rentin also won a prize offered by the Ministry
of Fine Arts (1869), and was perf. at the
Opera- Comique in 1874. The 4-act grand
opera VellSda was prod, at Co vent Garden,
London, in 1882. In 1891 L. succeeded
Guiraud as harmony-prof, in the Cons., and
in 1893 again succeeded him as prof, of com-
position, taking an advanced class in 1894. I n
1896 he was elected to Ambr. Thomas's chair
in the Academie des Beaux- Arts; was Che v. of
the Legion of Honor, and officer of public
instruction.' — Other works: Jeanne d'Arcm
lyric drama in 3 parts (Rouen Cathedral,
1886) ; a Requiem; Ode triomphale a Jeanne
d'Arc; Hymne junhbre et triomphale [V. Hugo J
(Rouen, 1889); Iphigenie, scene f. soli, ch. and
orch.; Messe de Mariage; a str.-quartet in B;
motets; pf.-pes. — Cf. R. de Saint- Arroman,
C. L. (Paris, 1898).
Lengyel (von Bagota), Ernst, remarkable
pianist; b. Vienna, Aug. 28, 1893; d. Berlin,
Nov. 1914 (of consumption). At the age of
4 he began to study the pf. with his mother,
and after one year s instruction played 'to a
select audience' a number of pieces, including
the Rondo from Beethoven s Sonate pathe-
tique and Chopin's First Impromptu. This
won him a municipal subvention, and for six
years (1898-1904) he st. with Prof. A. Szendy
in Budapest. His playing attracted unusual
attention in Berlin and Vienna, where Hans
Richter heard him, took him to London, and
introduced him to the English capital at the
Richter concert of Nov. 4, 1907 (Queen's
Hall), when L. played Liszt's concerto in E>
and Bach's Chromatic Fantasy, creating: a
veritable furore. The extraordinary matu-
rity of L'.s conception aroused the greatest
hopes for a brilliant career.
Lenormand [lu-nor-mahnl, Rent, born
Elbeuf, France, Aug. 6, 1846. He received
his entire pf. -training from Jiis mother, an
excellent pianist and former pupil of Zim-
merman. Although he wished to follow a
musical career, his father compelled him in
1863 to. take a position in a commercial
house. But his musical ambitions couVi
not be suppressed; his first attempts at
composition finding favor with Berlioz, he
went to Paris in 1868 to study comp.
with B. Damcke, the intimate friend of .
Berlioz. His chief interest was centered^ in
chamber- music, and particularly the Lied.
He founded, and still is dir. of, a society, I*e
Lied en tons pays, the object of which is to
promote in France the interest in the Lieder
of foreign nations, and to spread in foreign
countries a knowledge of French Lieder. For
many years he was correspondent ^ of the
London 'Mus. Times'. L.'s reputation as a
composer rests chiefly upon his songs (about
100), which are distinguished by excellent
workmanship and poetic conception; in spite
of his admiration for and profound study of
the German Lieder, L.'s music is typically
Gallic; a comprehensive study of these songs,
from the earliest (publ. 1871) to the latest
(1914), shows that the composer has constant-
ly kept abreast of the evolution of French
526
LENT— LEONARD
music of the last forty years. — Works: Op.
23, Adagio f. vl. and or en.; op. 31, Le Lahn
de Mabed (on an old Arabic theme) f. vl. and
orch.; op. 41, Le Voyage imaginaire, tableaux
symph. f. orch. after P. Loti; op. 54, Deux
Esquisses sur des themes malais t. orch.; op.
6, sonata f. vcl. and pf.; op. 11, Trots Mot-
ceaux f. vl. and pf.; op. 27, Suite f. string
quartet; op. 30, pf.-trio in G m.; op. 55,
Berceuse f. vcl. and pf. For pf. (2 hands):
Op. 16, Une journSe a la campagne;
op. 40, Le Nuage vivant; op, 42f Vaises sSri-
euses; op. 82, NouveUes Vaises serieuses; op.
92, Pieces exoHques; etc. For pf. (4 hands):
Op. 3, Marches; op. 10, Introduction et allegro;
op. 12, Divertissement amiricain (fantasy in
retrograde and contrary cpt.); op. 19, La
Nouba Medjenneba (on an old Arabic theme).
Songs: Op. 1, Six Melodies; op. 14, Quinze
Melodies; op. 33, Les Fleurs du mal; op. 39,
Melodies trtstes; op. 56, Chanson de Marie;
op. 68, Avant la Temp&te; op. 78, A la Grand* -
Messe; op. 80, Chansons a'iludiants; op. 89,
Antipodes; op. 90, Melodies exoUqucs; etc.
Ready for publication (1917) are Le Cachet
rouge, 2-act lyric drama; Concerto f. pf. and
orch. (perf. Paris and London, 1903); La
Nuit de JuUlet, 'mimodrame' in 1 act; Souve-
nirs du Valais f . sop. solo, male ch., and Engl,
horn (or clar.). He has also publ. Etude sur
V harmonic moaerne (Paris, 1912; Engl. tr.
by H. Antcliff, Boston, 1915).
Lent, Ernest, b. Brandenburg, Germany,
Sept. 18, 1856. St. at Leipzig Cons. (1878-
81) pf. and comp. with Reinecke, and vcl.
with J. Klengel, Piutti, and Karl and Alwin
Schroder; taught one year (1881-2) at the
K6nigsberg Cons., made a concert-tour of
Denmark and Sweden, played a season in the
M. O. H. orch. (1883), and then settled in
Washington, D. C., where he has been living
since 1884 as a successful teacher and concert -
'cellist. Has publ. numerous pes. for vcl. and
pf.; do. for vl. and pf.; songs; Elementary
Technics for the Violin (4 books). In MS.:
Concert-overture, Festival March, Symphony
in Bt>, f. orch.; Cradle-Song and Spinning-Song
f. str.-orch.; Rapsodie Srotique f. str.-orch.,
horn and harp; Pf.-trio in B m.; Scenes cham-
pitres, suite tor str.-quartet; a vcl. -sonata in
D ; Andante, Romance and Cradle-Song f. 4 vcls.
Lenz, WUhelm yon, b. Russia, 1804; d.
Petrograd, Feb. 12, 1883. A pf.-pupil, in
Paris, of Liszt (1828) and Chopin (1842).
Later Russian councillor in Petrograd. His
charmingly written works are interesting and
valuable partly by reason of his intimate per-
sonal experience, partly from the enthusiastic
admiration which he expresses and imparts.
He wrote Beethoven et ses trois styles (2 vols.
1852-1865); Beethoven: eine Kunststudie (5
vols., 1855-60; vols, iii-v separately publ. as
Kritischer Katalog der sdmmtlichen Werhe
nebst Analysen derselben . . . [1860], and vol.
i as Beethoven: eine Biographie [2d ed. 1879;
repr., with additions by A. Kalischer, 1908]);
and Die grossen Pianoforte- Virtuosen unsrer
Zeit (brief character-sketches of Liszt, Chopin,
Tausig, and Henselt; 1872; Engl, transl. New
York, 1898).
Leo [la'oh], Leonardo, with Scarlatti,
Durante and Feo one of the founders, and an
eminent teacher, of the 'Neapolitan* school of
composition; b. San Vito degli Schiavi, Brin-
disi, Aug. 5, 1694; d. Naples, Oct. 31, 1744.
Pupil ofAless. Scarlatti and N. Fago at the
Cons, della Pieta de' Turchini, Naples, and of
Pitoni, Rome; 1716, 2d maestro in the above
Cons., and maestro at the cathedral; 1717,
maestro at Santa Maria della Solitaria. After
' the success of some cantatas which he pro-
duced, he was app. organist to the court; and
later (1725) became instructor in the Cons, di
Sant' Onofrio, where he trained many illus-
trious pupils: Pergolesi, Jommeili, Piccinni,
Sacchini, Traetta. In 1713, he brought out a
dramatic oratorio, II trionfo delta castitd di
Sant' Alessio, at the Cons. His first opera
was Pisistrato (Naples, 1714); it was followed
by nearly 60 others, La Contesa delV Amore
colla Virtu (Paris, 1744) being the last. His
career was abruptly ended c>y a stroke of
apoplexy while he was sitting at the harpsi-
chord.— Works: Besides operas, 5 more orato-
rios, 5 masses, magnificats, Misereres, Credos,
Dixits, motets, hymns, responses, etc. (most
celebrated of all is a grand Miserere for double
[8-part] choir a cappella, ranking with Per-
golesi's famous Stabat Mater) ; also 6 'cello-
concertos w. string-quartet ; 2 books of organ-
fugues; several clavichord -toccatas; etc. Most
are in MS. at Naples, Rome, Berlin and Paris.
A few have been publ. in modern collections,
etc.: A duet from Demofoonte, and an aria
from La clemenza di Tito, in Gevaert's 'Gloires
d'ltalie'; the above Miserere in Commer's
'Musica sacra1 (vol. viii) — also separately by
Choron, Paris, and Schlesinger, Berlin; one
Dixit dominus a 8 by Stanford^ London, and
another a 5 by Ktimmel in his 'Sammlung,
etc/; a Credidt propter, a Tu es sacerdos, and
a Miserere a 4, in Braune's 'Cacilia'; a Di
quanta pena and an Et incarnatus est, in Roch-
fitz's 'Sammlung vorzuglicher Gesangstticke';
many solfeggi w. bass, in Levesque and
Beche's 'SolTlges d'ltalie.'— Cf. G. Leo, L. L.t
musicista del secolo XVIII e le sue opere
musicali (Naples, 1905). — See Q.-Lex.
Leonard [la-oh-nahr/], Hubert, eminent
violinist and teacher; b. Bellaire, n. Liege,
Belgium, Apr. 7, 1819; d. Paris, May 6, 1890.
His first violin-teacher was Rouma, at Liege;
he then became a pupil of Habeneck at the
Paris Cons. (1836-9), also playing in the
527
LEONCAVALLO— LEONOVA
orchestras of the Th. des Varietes, Opera-Co-
mique, and Grand Opera. From 1844-8,
extended and successful concert-tours; then
succeeded de Beridt as first prof, of violin-
playing at the Brussels Cons. On account of
ill health he gave up his position in 1867,
thenceforward living in Pans as a teacher. —
Publ. works: Petite gymnastique du jeune
violoniste; Gymnastique du violoniste; 24
£tudes classiques; Etudes harmoniques; a
method for violin, Acole Leonard; Vancienne
icole italiennc, a coll. of special studies in
double-stopping, inch works by Corelli, Tar-
tini, Gemimam, and Nardini; also 5 violin-
concertos, 6 concert-pieces w. pf.; a serenade
f. 3 violins, a concert-duo f. 2 violins, fantasias
and morceaux de genre; many duos w. pf.
Also publ. Le violon au point de vue de V orches-
tration (n. d.).
Leoncavallo, Ruggiero, Italian dramatic
composer, fine pianist, man of letters; b. Na-
ples, Mar. 8, 1858. He attended the Naples
Cons., where his teachers were B. Cesi (pf.),
M. Ruta and L. Rossi (comp.), and at 16 made
a pianist ic tour. His first opera, Tommaso
Chatterton, was begun in 1876, and was about
to be produced in Bologna, in 1878, when the
manager disappeared. In order to earn his
living L. then began to teach, and to play in
cafes; this life he continued many years, visit-
ing Egypt, Greece, Turkey, Germany, Bel-
gium, Holland, etc., In Paris he sojourned
several years. Here an opera, Songe d*une
nuit d'etc, was privately performed, and many
songs published. An enthusiastic admirer of
Wagner's works, their study, and the master's
personal encouragement, inspired him to
write and set to music an 'historic play,' the
trilogy Crepusculum (I. I Medici; II. Girolamo
Savonarola; III. Cesar e Borgia), depicting
the Italian Renaissance. Basic historical
researches for this work occupied 6 years.
With text of the first part completed and the
scenario of the entire work sketched, he re-
turned in 1887 to Italy, and succeeded in
interesting Ricordi in the work. A year
later the score of / Medici was completed, but
repeated delays in the production led to a
quarrel between composer and publisher. L.
tnen wrote for Sonzogno Pagliacci, which
was produced with sensational success at the
dal Verme in Milan (May 21, 1892), and
immediately took possession of the operatic
stages of the whole world. / Medici was
brought out at La Scala in 1893, and proved a
fiasco; and the same fate befell Chatterton at
its first performance in Rome (1896). This
ill success discouraged L. from continuing his
ambitious trilogy. His next opera, La
Boheme (Venice, 1897), scored considerable
success, but had the misfortune of coming a
year after Puccini's work, which by that time
had achieved great popularity; Zaza (Milan,
1900) was fairly successful, while Der Roland
von Berlin (Berlin, 1904), written by command
of Emperor William, was a complete failure.
In 1906 .L. made a tour of the U. S. and Can-
ada, conducting his Pagliacci and a new opera.
La Jeunesse de Figaro, which latter was re-
ceived so coldly that it was never staged in
Europe. Maia and Malbruk were produced
in Rome in 1910 within the same week; L&
Reginetta delle Rose simultaneously in Rome
and Naples in 1912. In the fall of that year
L. visited London to conduct the premiere of
Gli Zingpri; one year later he revisited the
U. S., directing Ztngari and Pagliacci in San
Francisco. His last operas, Ave Maria and
Gioffredo Mameli, were both brought out
in Genoa in 1916 without making an impres-
sion. Besides these operas L. has written an
operetta, Are you there? (London, 1913): a
ballet, La Vila d*una Marionetta; a symph.
poem, Serafita; a Hymne France-Italic (Paris,
1916) ; and songs. He is also the author of
the libretti of his earlier works (including
Roland), and wrote the book for Machado's
Mario Wetter (1898). Despite his long list of
failures he has the distinction, which he shares
with Mascagni, of being the originator of the
'veristic' school of opera.
Leonhard, Julius Emll, b. Lauban, June
13, 1810; d. Dresden, June 23, 1883. Prof,
of pf. at Munich Cons., 1852; at Dresden
Cons., 1859. — Works: Oratorio Johannes der
Tdufer; 3 cantatas for soli, ch. and orch.;
symphony in E m.; overture to Oehlen-
schlager's Axel und Walpurg; a pt.-sonata;
2 violin-sonatas, 3 str.-trios, a pf .-quartet, etc
Leo'ni, Carlo, Italian composer; has prod,
the 3-act operetta Per un bacxo (Siena, 1894),
and text and music of the 3-act comic opera
Urbano, ossia le awenture di una nottc (Ptenza,
1896; succ.).
Leo'ni, Franco, b. Milan, Oct. 24, 1864.
Pupil of Dominiceti and Ponchiellt at the
Cons, there; living in London since 1892; has
written the operas Raggio di Luna (Milan,
1888); Rip van Winkle (London, 1897); lb
and Little Christina (ib., 1901); VOracolo (ib.r
1905; N. Y., 1915); the cantatas Sardanapa-
lus (1896), The Gate of Life (1898) and Gol-
gotha (1911); also songs.
Leo'ni, Leone, church-composer and m.
di capp. at Vicenza Cathedral in 1588.— PubL
Psalms, madrigals and motets. — See Q.-Lex.
Leono'va, Darya Mlkailovna, distin-
guished dramatic contralto; b. Govt. Tver,
Russia, 1825; d. Petrograd, Feb. 6, 1896.
Studied 5 years with Glinka at the Imp.
Opera-School, Petrograd; debut, at 18, as
Vania in A Life for the Tsar; she also sang
Ratmir in Russian and LudmiUa, and leading
rdles in Rognedo, William Rotcliff, Boris Go-
dunov. The Maiden of Pskov, etc. Triumphant
528
LEOPOLD— LESLIE
tour through Siberia, China, Japan, America,
and Western Europe, in 1879.
Leopold I, German. Emperor from 1658-
1705; born June 9, 1640; died May 5, 1705.
During his reign Vienna became the centre of
the world's operatic activity, not less than
400 new operas having been prod, in that time;
he was not only an enthusiastic patron of
music, but also a practically trained musician
and diligent, although not great, composer.
His complete works are in MS. in the Hof-
bibliotheic in Vienna: 15 Oratorios, 7 operas,
17 ballet-suites, 155 arias, 79 sacred comps.
(2 masses, 5 offices for the dead, 4-part
Miserere w. instrs.). G. Adler publ. a selec-
tion from his works (2 vols. 1892-3; con-
tains also selected works of Emperors Fer-
dinand III and Josef I).
Lerner, Tina, fine pianist; b. Odessa,
June 5, 1890. Pupil of Rudolph Helm in
Odessa, 1896-9; then of Louis Pabst at the
Moscow Cons., 1899-1904; made her debut
in Moscow, Feb. 12, 1904, playing Beetho-
ven's 'Emperor* concerto with the Philh.
Soc.; she then made extended tours of Europe,
meeting with pronounced success; her Amer.
debut took place at New York, Dec. 4, 1908,
in recital, with such success that she made
a second Amer. tour the following season; the
next two years she was again in Europe;
since 1912 she has been heard every season in
the U. S., in recital and with orch. Her
playing is noted for fine shading, exquisite
delicacy, deep feeling and a very poetic con-
ception. In 1915 she married the violinist
Vladimir Shavitch in San Francisco, Cal.
Leroux [hVroo'], Xavier(-Henri-Napo-
leon), b. Velletri, Papal States, Oct. 11,
1863. Pupil of Dubois and Massenet at
Paris Cons.; 1st Grand prix de Rome, 1885;
app. prof, at the Cons, in 1896. — Works: The
operas Cleopdlre (Paris, 1890); Hvangtline
(Brussels, 1895); AstarU (ib., 1900); La Reine
Fiammette (Paris, 1903); Venus et Adonis
(Nrmes, 1905); William Ratcliff (Nice, 1906);
ThSodora (Monte Carlo, 1906); Le Chemineau
(Paris, 1907; New Orleans, 1911); Le Caril-
lonneur (Paris, 1912); La Fille de Figaro (ib.,
1914); Les Cadeaux de Noel (ib., 1916);incid.
music to iEschylus' Persians, Aristophanes'
Plulus, Sardou s Soreiere and Richepin's
Zantho; the cantata Endymion (Prix de
Rome); a mass w. orch.; a dram, overture,
Harold; songs; pf.-pcs.
Le Roy, Adrien. Partner of Ballard.
See Ballard.
Lery fla-rS'], Fernand de, b. Paris, Apr.
2, 1859; founded in 1896 an amateur vocal and
instrumental society, 'Le Timbalier'; since
1905 cond. of the 'Nouveaux Concerts Popu-
lates/ which met. with more than ordinary
success, and at which he has brought out many
new works of the younger composers. Has
written a Bourree in A m. and several over-
tures for orch.; pieces f. vl. and pf.; songs;
choruses for women's vcs.; considerable
church-music (3 masses, etc.).
Leschetixky [l£h-sh£-tit'ske], Theodor,
pianist and famous pedagogue; b. Lancut,
Austr. Poland, June 22, 1830; d. Dresden,
Nov. 17, 1915. Pupil of his father, an emi-
nent teacher in Vienna; then of Czerny (pf.)
and Sechter (comp.). In his fifteenth year
he began teaching; also attended the Univ. as
a student of philosophy until its closure in
1848 (the revolutionary year); made highly
successful professional tours 1842^8, and
1852, and then went to Petrograd, becoming
a teacher in the Cons., giving many private
lessons, playing, composing, and acting as
conductor to the Grand Duchess Helen during
Rubinstein's absences. Ill health compelled
him to leave Russia in 1878; he then played
in London, Holland, Germany, and Vienna;
here he married (1880) his former pupil,
Annette Essipov, and settled as a teacher.
He still macfe occasional concert-tours, but
his interest in teaching caused him to with-
draw at the height of his powers from the
concert-stage in 1886, appearing for the last
time in Frankfort. After the phenomenal
success of his pupil Paderewski (Vienna, 1887;
London and New York, 1891) L. was regarded
as the world's foremost piano-pedagogue, and
pupils flocked to him from all quarters of the
globe. He retained the full vigor of his men-
tal faculties to the very end, and taught
almost to last day of his life. The long
list of his pupils includes the names of
Gabrilowitsch, Mark Hambourg, A. Schna-
frel, Fanny Bloomfield Zeisler, {Catherine
Goodson, Ethel Leginska, etc. He was
married four times, and, with the exception of
his first wife (a singer, Anna Friedbourg), to
his own pupils: Annette Essipov (1880-91),
Dominirska Benislavska (1894-1908), Marie
Rozborska (1908). These varied matrimonial
ventures, except the last, ended in divorce.
He wrote a successful opera, Die erste Folic
(Prague, 1867), and numerous brilliant and
effective compositions for pf.: Op. 2, Les
deux Alouettes; op. 5, Grande Polka de Ca-
price; op. 10, La Cascade (concert -etude); op.
20, Perpctuum mobile; op. 22, Valse chro-
matiquc; op. 39, Souvenirs a" Italic (6 pes.);
op. 40, A la Campagne (5 pes.); op. 41, Trois
Eludes caracUristiques; etc. — His method was
explained by Malvine Bree, Die Grundlage
der Methode L\s (1902; also in Engl, and Fr.
transl.). — Cf. Countess A. Potocka, Thm L.
(New York, 1903); A. Hullah, Th. L. (Lon-
don, 1906).
Leslie, Henry David, noted conductor
529
LESSEL— LE SUEUR
and composer; b. London, June 18, 1822; d.
Llansaintfraid, n. Oswestry, Feb. 4, 1896.
Pupil of Charles Lucas; amateur 'cellist in the
Sacred Harmonic Soc.; Hon. Secretary, 1847,
of the Amateur Mus. Soc., and its conductor
1853-61, when it was dissolved. In 1855 he
organized (with Heming) an a cappella sing-
ing-society, which he cond. 1856-80; it won
the 1st prize at Paris, 1878, in the Interna-
tional Competition; was disbanded in 1880,
but reorganized 1882 with Randegger as con-
ductor and L. as President; the latter re-
sumed the conductorship in 1885. — Works:
The operas Romance, or Bold Dick Turpin
(1857); Ida (1864); the oratorios Immanuel
(1853) and Judith (1858; Birmingham Mus.
Fest.) ; the cantatas Holyrood (1860), Daughter
of the Isles (1861), and a 'biblical pastoral/
The First Christian Morn (1880; Brighton
Fest.); festival anthem, Let God arise; Te
Deum and Jubilate; a symphony; and an
overture, The Templar.
Lea'ael, Franz, b. Parlawy, c. 1780; d.
Petrikow, in Aug., 1838. A pupil and devoted
friend of Haydn in Vienna, after whose death
L. returned to Poland in 1810. Sonatas and
fantasias f. pf. were printed. — See Q.-Lex.
Lessmann, (W. J.) Otto, b. Rttdersdorf,
near Berlin, Jan. 30, 1844. Pupil of A. G.
Ritter at Magdeburg (ore. and theory), and
at Berlin of v. BUlow (pf.), Kiel (comp.) and
Teschner (voice). For 2 years private tutor
in Count Bruhl's family; teacher at Stern's
Cons.; then at Tausig's academy until the
latter's death in 1871. After a brief interval
as head of a piano-school of his own, he be-
came (1872) head of the mus. department at
the 'Kaiserin Augusta-Stiftung,' Charlotten-
burg. From 1882-1907 proprietor and editor
of the 'Allgem. Musik-Zeitune.' He is a well-
known mus. critic; has publ. several songs;
and edited the 2d ed. of Weitzmann's Ge-
schichte des K latter spiels. His daughter Eva,
pupil of Etelka Gerster, is a fine concert-
singer.
Lester, Thomas William, b. Leicester,
England, Sept. 17, 1889. Came to the U. S.
in 1902, and lived until 1908 in Keokuk, Iowa,
where he st. the pf. with Jane Carey; from
1908-13 in Chicago pupil of Adolf Brune (pf.
and theory) and Wilh. Middelschulte (org.);
1911-14, asst. mus. -critic on Chicago 'Record-
Herald'; since 1913 concert-accompanist
(Edm. Clement, Rosa Olitzka, Jane Osborn-
Hannah, etc.), and org. at Second Ch. of
Christ Scientist, Chicago. — Works: Op. 9,
Suite f. vcl. and pf.; op. 12, do. f. vl. and pf.;
op. 27, do. for org.; op. 29, Rhapsody f. vl. and
pf. in C m.; op. 37, Str.-cjuartet in Am.; op.
44, Keokuk Sketches, Suite f. vl. and pf.; 8
cantatas (sacred and secular); several suites
forpf.; organ-pcs. ; numerous choruses f. men's,
women's and mixed vcs.; songs (a cycle, Out
of the East [op. 57], etc.). Also an operetta,
The Courting of Kitty (op. 49), and an Operetta
for Children (op. 58).
Le Sueur (or Leoueur) [\0l su-or'], Jean-
Francois, b. Drucat-Plessiel, n. Abbeville,
France, Feb. 15, 1760; d. Paris, Oct. 6, 1837.
At 7, choir-boy in the mattrise at Abbeville;
a few months later, in the cathedral at Amiens,
where he remained 7 years. His college-
course was broken off 2 years after by his
acceptance of the post of malt re de musique
at Seez Cath.; in 6 months he became under-
master of music at the Saints- Innocents,
Paris. Abbe Roze gave him slight aid in
harmony; he was really self-taught as a com-
poser. In turn maftre de musique at Dijon
and Le Mans, he was called to Paris in 1784
as mattre de chapelle at the Innocents, recom-
mended by Gretry and others. In the com-
petition of 1786, L. won the post of m. de chap,
at Notre- Dame, Paris; here he organized an
orchestra for the chief church-festivals, and
brought out masses, motets, services, etc., w.
orch., quite transforming the character of the
church-music, but attracting crowds by his
novel and brilliant effects, in the nature of
descriptive music (he was Berlioz's forerun-
ner in France). His most bitter opponents
(and they were many) dubbed his music
TOperadesgueux* [Beggars' Opera/. In self-
defence he publ. an Essai de musique sacrSe
ou musique motivSe et mtthodique, pour la fUe
de Noel, a la tnesse dujour (1787); to a violent
anonymous attack he replied in an Extoosl
oVune musique unie, initiative, et particuliere
a chaque solennite . . . (1787). In the pre-
face he avows his intent of making church-
music 'dramatic and descriptive/ During his
temporary absence, the music was reduced to
the old footing; whereupon he retired to the
country, and spent 4 happy years in com-
posing; in 1793 he brought out a 3-act opera,
La Caverne, which had a popular success, and
was followed in 1794 by Paul et Virginia, and
TeUmaque (all at the Th. Feydeau). On the
organization of the Cons, in 1795, L. wasapp.
inspector, and a member of the Committee on
Instruction; with Mehul, Langl6, Gossec and
CatuI he wrote the Principes elementaires de la
musique, and the Solfeges, used in the institu-
tion. L. was dismissed in 1802 on account of
a violent altercation ensuing after the rejec-
tion, by the Opera, of two of his operas for
Semiramis, written by Catel. For two years
he lived in poverty and suffering, when Napo-
leon, in 1804, raised him to the highest posi-
tion attainable by a musician in Paris, by
appointing him his maitre de chapelle, suc-
ceeding Paisiello. His rejected opera, Les
Bardes, was now produced with great applause
and even La mort a" Adam, the other rejected
work, came out in 1809, but met with a cool
530
LEUCKART— LEVI
reception. At the Restoration, in 1814, he
was made superintendent and composer to the
chapelle du roi, holding these positions till
1830. From 1817 he also acted as prof, of
composition in the Cons., and from 1806-24
was on the mus. jury for the Opera. He was
elected a member of the Institute in 1813; and
other honors were showered upon him. L.
wrote 3 other operas, which were received at
the Grand Opera, but never performed
(Tyrtee, Artaxerse, Alexandre & Babylone);
also 2 divertissements, V Inauguration du
temple de la Victoire (1807, with Persuis), and
Le triomphe de Trajan (1807); several oratori-
os (Debora, Racket, Ruth el Noemi, Ruth et
Boot) ; a solemn mass f. 4 voices, ch. and orch. ;
a cantata, VOmbre de Sacchini; a Christmas
oratorio; 3 Te Deums; 2 Passions; a Stabat
Mater; these, and some other works, were
published; he left many more (over 30 masses)
m MS. He also publ. a Notice sur la mSlopie,
la rytkmopSe, et les grands caracUres de la musi-
que ancienne (Pans, 1793); and a sketch of
Paisiello (1816); besides numerous polemical
pamphlets. — Bibliography : Raoui- Rochet-
te, notice historique sur la vie et Us ceuvres de
J.-F. L. . . .(Paris, 1837); Stephen de la
Madeleine, Biographie de J.-F. Le Sueur (ib.,
1841); P. O. Fouque, L. comme prSde'cesseur
de Berlioz, in Les revolutionnaires en musique
(ib.t 1882); H. Berlioz, Les musiciens et la mu-
sique (new ed. by A. Hallays, Paris, 1903 [on
L. s oratorios]); W. Buschkdtter, 7. F. L.
(Halle, 1912); F. Lamy, J.-F. L. (Paris, 1912);
G. Servieres, Les oratoires de J.-F. L., in
Episodes d'kistoire musicaU (Paris, 1914).—
See Q.-Lex.
Leuckart floi'-], F. Ernst Christoph, es-
tablished a music-business at Breslau in
1782; it was acquired by Constantin Sander
in 1856, who removed it to Leipzig in 1870,
and added to it by buying out the firms of
Weinhold & Forster (Breslau), Damkohler
(Berlin), and Witzendorf (Vienna). The
firm, now 'Constantin Sander, vormals
F. E. C. Leuckart,' has publ. many learned
works (e. g., Ambros, Lussy, Westphal,
Niecks, Mofitor, etc.) and compositions of
R. Franz, Rheinberger, Draeseke, Bossi,
Hausegger, Huber, Klose, Duparc, etc. The
present head (1917) is Martin Sander, b.
Breslau, Nov. 11, 1859.
Leva, Enrico de, b. Naples, Jan. 19,
1867. Pupil there of Puzone and Arienzo; an
excellent singing-teacher, he has done much
for the improvement of singing in the schools
of Italy; immensely popular in Italy for his
numerous cannonette (mostly in Neapolitan
dialect); has alsocomp. an opera, La Camargo
(Naples, 1898) ; pf .-pes. and pes. for vl. and pf .
Lewie* [lu-v&h-da'], Charles-Gaston, b.
Paris, Jan. 3, 1869. Pupil of Massenet at the
Cons.; comp. of the operas V Amour d'HSUo-
dora (Paris, 1903) and Les HMtiaues (Beziers,
1905); a pantomime, Cceur de Mar got (1895);
Prelude religieux f. str.-orch.; orchl. suites,
chamber-music, and pf.-pes.
Levasseur Pti-vah-sor'], Jean-Henri, a
'cellist, and pupil of Dupont, Jr., and Cupis;
b. Paris, 1 765 ; d. 1823. Member of the Opera
orch. 1789-1823; prof, of 'cello in the Cons.,
and belonged to the Imperial (from 1814,
Royal) 'chapelle' 1795-1823. Publ. sonatas,
etudes, and duets, f. 'cello; co-editor of the
'cello-method used in the Cons.
Levasseur, Nicolas- Prosper, celebrated
dramatic bass; b. Bresles, Picardy, Mar. 9,
1791; d. Paris, Dec. 7,1871. Admitted to the
Cons, in 1807, he entered Garat's class in
1811. Debut at the Opera, 1813; sang during
season of 1816 in London; rejoined the Opera
in that year, and sang subordinate rdles until
1822, when his success at Milan, in Meyer-
beer's Marguerite d 'Anjou, attracted attention
and he was engaged for 5 years at the Theatre
Italien, Paris, and from 1828-45 took leading
bass rdles at the Opera. From 1841-1870
prof, of lyric declamation at the Cons.
Levasseur, Pierre- Francois, 'cellist; b.
Abbeville, France, Mar. 11, 1753; d. soon
after serving in the Grand Opera orch. from
1785-1815. He was a pupil of Dupont, and
publ. 12 'cello-duets.
Levasseur, Rosalie, soprano at the Paris
Opera 1766-85; famous in leading rdles of
Gluck's operas. — Biogr. sketch m "Mus.
Quar.", April, 1916, by J. G. Prod'homme.
Levens [lti-vahnl, mattre de musique in a
Bordeaux church, publ. (1743) an AbrSgS des
regUs de V Harmonic, pour ap prendre la com-
position, avec un nouveau projet sur un system*
de musique sans temperament ni cordes mobiles,
in which he ingeniously (but futilely) contrasts
the ascending harmonic progression (over-
tones) with the descending arithmetical pro-
gression (undertones), thereby obtaining a
dual harmonic basis.
Levey, William Charles, b. Dublin, Apr.
25, 1837; d. London, Aug. 18, 1894. Pupil,
from 1852, of Auber, Thalberg, and Prudent,
at Paris. He became conductor at Covent
Garden, Drury Lane (1868-74, and later),
the Haymarket, etc., and brought out several
operas and operettas (the first was Fanchette,
1864); also music to Anthony and Cleopatra;
various pantomimes; 3 cantatas; many songs;
pf.-pieces, etc.
Levi pa've], Hermann, noted conductor;
b. Giessen, Nov. 7, 1839; d. Munich, May 13,
1900. Pupil of V. Lachner at Mannheim
1852-5, and of the Leipzig Cons. 1855-8;
mus. dir. at Saarbrilcken 1859-61; conductor
of the German Opera at Rotterdam 1861-4;
531
LEVI— LEWY
court Kapellm. at Munich. App. 'General-
musikdirektor' at Munich in 1894; resigned on
account of ill health, and pensioned, in 1896.
In 1882 he cond. the first performances of
Parsifal at Bayreuth ; also cond. the musical
program at the master's funeral. He publ. a
pf. -concerto in A m. and songs. He brought
out new editions with revised text of Mozart's
CosX fan tuttc, Don Giovanni and Figaro;
transl. the libretti of Berlioz* Les Troyens
and Chabrier's Gwendoline, and wrote Gedan-
ken aus Goethe's Werken (1901; 3d ed. 1911).
— Cf. E. PosssLrt,ErinnerungenanH.L. (Mu-
nich, 1901); A. Ettlinger, H. L. (Necrology
in Bettelheim's 'Biogr. Tahrbuch,' 1903). For
L.'s correspondence with Brahms see 'Brahms'
Brief wechsel,' vol. vii (Berlin, 1912).
Levi (or Levy, Lewy) , Jacob. See Lebert.
Levi. See Gobbaerts, Jean-Louis.
Levltz'ki, Mischa, concert-pianist; b.
Krementchug, Southern Russia, May 25,
1898. Pupil of A. Michailowski in Warsaw,
1905-6; then came to New York, where he
cont. his studies at the Inst, of Musical Art
under S. Stojowski, 1907-11; from 1911-15
he was a pupil (at irregular intervals) of E.
von Dohnanyi at the Kgl. Hochschule, win-
ning the Mendelssohn Prize. As early as
Oct., 1906, he played in public (Antwerp), but
he really began his career in 1912, playing in
Antwerp and Brussels; 1913-14, tour of
Belgium; 1914-15, of Germany; 1915-16, of
Germany, Austria, Hungary and Scandina-
via; he made his Amer. debut in recital in
New York (Oct. 17, 1916), being received
with marked favor.
Levy, Henlot, b. Warsaw, July 19, 1879.
Until 1897 pupil of O. Raif (pf.) and H. von
Herzogenberg (comp.) at the ICgl. Hochschule
in Berlin; then of M. Bruch (comp.) at the
Meisterschule there until 1899; debut as
pianist with the Berlin Philh. Orch. in 1899,
followed by tours of Germany and Scandina-
via; since 1904 teacher of pf. at the American
Cons, in Chicago; has also appeared as soloist
(Chicago Symph. Orch., Minneapolis S. O.,
Kneisel Quartet, etc.). Works: Op. 5, Concerto
f. pf. and orch. in C m.; op. 6, v In. -sonata in
C m. (won prize in Warsaw, 1901); op. 10,
pf.-trio in A m. (won 1st prize at 'Concours
international,' Paris, 1906); op. 12, vcL-
sonata in A m.; op. 15, musical setting to
Tennyson's Guinevere; pes. for pf.
Lewalter [le-vahl'tcr], Johann, b. Kassel,
Jan. 24, 1862. Pupil of Reinecke, Pappe-
ritz and Weidenbach at the Leipzig Cons.;
living since 1886 in Kassel as comp. and teach-
er. His songs and part-songs (many in the
style of real folk-songs) have won great popu-
larity; has also written pf.-pes. (fugues,
canons, etc.), and ed. several colls, of folk-
songs: Deutsche Volkslieder in Niederhessen
(2d ed. 1896,) Hessische Kinderliedchcn,
Deutsches Kinderlied und Kinder spiel, Sckwal-
mer Tanze.
Lewandovski [-dov'-J, Louis, b. Wreschen,
Posen, Apr. 3, 1823; d. Berlin, Feb. 4, 1894.
Pupil of the School of Composition of the
Berlin Akademie; mus. dir. of the Berlin
Synagogue from 1840. Co-founder of the
Inst, for Aged and Indigent Musicians, which
owes its flourishing condition in great part to
him. H is main work was as a singing-teacher;
he comp. orchestral, vocal, and chamber-
music.
Lewinger [la'-], Max, fine violinist; b.
Sulkow, n. Cracow, Mar. 17, 1870; d. Dresden,
Aug. 31, 1908. Pupil of the Cons, at Cracow
and Lemberg; after playing a short time in the
th.-orch. at Lemberg he was granted a sub-
vention, and studied further with Griin at the
Vienna Cons.; 1893, teacher of vl. at the Cons,
in Bucharest; then Konzertmeister of the
Philh. Concerts in Helsingfors; 1897, do. of the
Gewandhaus and th.-orch. in Leipzig; from
1898 'Hofkonzertm.1 with the R. Orch. in
Dresden. Publ. Legende f. vl.and orch. (op.
9) and a number of pieces for vl. and pf.
(Tarantella, Polonaise, Capriccio, Dumka,
Serenade, etc.).
Lewis, Leo Rich, b. South Woodstock,
Vt., Feb. 11, 1865. Graduate of Tufts Coll.
(A. B., 1887) and of Harvard Univ. (A. M.f
1889); from 1889-92 pupil of Rhemberper at
the Akad. der Tonkunst in Munich, winning
diploma in comp.; 1892-5, instr. of French at
Tufts Coll.; since 1895 prof, of theory and
hist, of music there; member of Examining-
staff of College Entrance Exam. Bd.; since
1910 chief examiner; Seer, of U. S. branch ol
Int. Mus. Soc. since 1912.— Works: The Con-
solation of Music, cantata (1895); Sonata for
vl. and pf. (1895); incid. music to Milton's
Comus (1901); do. to Dekker's Fortunatus
(1906); symphonic prelude to Browning's A
Blot on the * Scutcheon (1907); several minor
works; has also ed. a number of Song-books.
He originated a card-system of thematic
cataloguing of music.
Lewy, Charles, son of Ed. C. L.; pianist
and salon-composer; b. Lausanne, 1823; -d.
Vienna, Apr. 30, 1883.— His brother, Rich-
ard Lewy, b. Vienna, 1827, d. there Dec
31, 1883, was a player on the French horn,
and a member of the court orch. at 13; later,
Inspector-in-Chief, and sta^e-manager, of the
court opera. Noted singing-teacher (Mai*
linger, Sembrich and Lucca were among his
pupils).
Lewy, Eduard Constantln, horn-vir-
tuoso; b. Saint-Avoid, Moselle, Mar. 3,
1796; d. Vienna June 3, 1846. Pupil of
532
LEYBACH— LICHTENBERG
Domnich in the Paris Cons.; from 1822 1st
horn at the Vienna Court Opera and prof,
in the Cons. — Joseph-Rodolphe, his brother
and pupil (b. Nancy, Apr. 2, 1802, d. Ober-
kxssnitz, n. Dresden, Feb. 9, 1831), was 1st
horn in the royal orch. at Dresden.
Leyfxich, Ignace, b. Gambsheim, Alsatia,
July 17, 1817; d. Toulouse, May 23, 1891.
Pupil, in Paris, of Pixis, Kalkbrenner, and
Chopin; in 1844, organist at Toulouse Cathe-
dral. Excellent pianist and teacher. His
pf. -pieces (225 numbers) are 'easy, preten-
tious and pleasing' (e. g., Nocturnes, op. 3 and
4; Aux birds du Ganges [Mendelssohn], op.
42; Bolero brillant, op. 61; Ballade, op. 19;
Valse poltique% op. 216; Les batelieres de
Naples) ;^ he also publ. an extensive Organ-
method in 3 vols. (350 pieces) ; concert-pieces
f. harmonium; motets and songs w. org.; etc
LheVlnne, Joseph, distinguished pianist;
b. Moscow, Dec. 3, 1874. Began to study the
Rf. at the age of 5; pupil of Safonov at the
foscow Cons., where he won the virtuoso
diploma and gold medal; debut in 1889 at
Moscow with Beethoven's 'Emperor' con-
certo (A. Rubinstein conducting); winner of
the Rubinstein Prize (Berlin, 1895); 1900-2,
teacher of pf. at the school of the Imp. Russ.
Mus. Soc. at Tiflis; 1902-6, prof, at the Mos-
cow Cons.; since then living as teacher in
Berlin; on his extended concert-tours of
Europe and America he has met with most
emphatic success. His Amer. debut took
place with the Russ. Symph. Orch. in New
York, Jan. 27, 1906; subsequent tours, 1908-
9, '12-3, '15-6. He is a player in the grand
style.
Lladov D'yah'-L Anatole, b. Petrograd,
May 11, 1855; d. there August. 1914. Studied
at the Cons, under Johansen (cpt. and fugue)
and Rimsky-Korsakov (mus. form and in-
strumentation). From 1878, prof, of harmony
and theory at the P. Cons.; also to the Imp.
Chapel. From 1894, conductor of the con-
certs of the Mus. Soc. His works, chiefly f.
pf., are technically difficult, and of elegant and
distinguished originality: Op. 3, Six morceaux;
op. 4, four Arabesques; op. 7 and 8, Intermezzi ;
op. 11, Prelude and Mazurka; op. 13, four
preludes; op. 20, Novel lette; op. 21, Ballade;
opt 28, three Preludes; op. 31, Deux morceaux;
further, mazurkas, waltzes, impromptus,
bagatelles, idyls, sketches, etc. For orch.: Op.
10, Scherzo; op. 16, do. ; op. 19, Mazurka(Presde
la guinguette); op. 21b, Ballade; op. 49, Polo-
naise; op. 55, do. ; 3 symph. poems (op. 56, Baba
Yaga; op. 62, he Lac enchante; op. 63, Kiki-
mora) ; op. 28, choruses w. orch. to Schiller's
Brant von Messina; op. 60, do. to Maeter-
linck's Sceur Beatrice. A ballet, Leila and
Adelai, was left unfinished.
Lia'punov, Serge Michailovitch, born
Yaroslav, Russia, Nov. 30, 1859. Student
1878-83 at Moscow Cons, under Klind worth
and Pabst (pf.),and Hubert, Tchaikovsky and
S. Taneiev (comp.). From 1884-1902 sub-
director of the Imperial Choir at Petrograd;
1902-10, inspector of music at St. Helen's
Inst.; since 1910 prof, at the Cons, in Pe-
trograd. Has appeared as cond. (by invita-
tion) in Berlin and Leipzig (1907), and as
pianist in Germany and Austria (1910-11);
attended the mus. congress in Rome (1911)
as representative of the Russian government.
He is a member of the Imp. Geographical
Soc., in which latter capacity he was commis-
sioned in 1893 to collect the folk-sonp in the
Governments of Vologda, Viatna and Kostro-
ma (publ. w. pf.-accomp. in 1897). Works: For
orch.: Op. 2, Ballade; op. 4, Pf.-concerto No.
1; op. 7, Ouverture solennelle (on Russian
themes); op. 12, Symphony in B m.; op. 16,
Polonaise; op. 28,. Rapsodte f. pf. and orch.
(on Ukrainian themes); op. 37, Yelasova Volaf
symph. poem; op. 38, Pf.-concerto No. 2;
for pf.: Op. 1, Trois morceaux; op. 6, Sept
preludes; op. 11, Douze etudes d' execution
transcendante; etc.; songs. Has ed. the
correspondence between Tchaikovsky and
Balakirev (1912; in Russian).
Libon fll-bonnl, Philippe, b. (of French
parents) Cadiz, Spain, Aug. 17, 1775; d.
Paris, Feb. 5, 1838. Pupil of Viotti in Lon-
don; 1796, chamber- virtuoso in Lisbon;
1798, in the R. orch. in Madrid; settled in
Paris in 1800, and became member of the
court orch. and chamber musician to the
Empress Josephine. t Publ. 6 concertos for vl.
and orch.; 6 str. -trios; 3 Duos concertants;
2 vols, of Airs varies; Trente caprices f. vl. solo.
Lichey pi'yhi], Relnhold, organ-virtuoso;
b. Pohlsdorf, n. Liegnitz, Mar. 26, 1879.
Pupil of Baumert and Rudnick in Breslau,
completing his studies at the Kgl. Hoch-
schule in Berlin (1901-4); 1905, org. in
Aachen; since 1907 org. at the Haberberger
Trinitatis-Kirche, mus.-teacher at the Real-
gymnasium, and cond. of the Oratorien-Verein
in Ko nigs berg. Has publ. a number of com-
positions for organ, motets, male choruses, etc.
Lich'ner, Heinrich, b. Harpersdorf, Sile-
sia, Mar. 6, 1829; d. Breslau, Jan. 7, 1898.
Pupil of Karow, at Bunzlau; Dehn, at Berlin;
and Mosewius, Baumgart, and Ad. Hesse, at
Breslau, where he became cantor and org.
of the Church of the 11,000 Virgins, and
cond. of the Sangerbund. — Works: Popular
pf.-pieces (rather commonplace sonatinas,
etc.); psalms, choral music, and songs.
Llch'tenberg, Leopold, violin- virtuoso;
born San Francisco, Cal., Nov; 22, 1861.
Taught by Beaujardin, he played in a concert
at 8; at 12, Wieniawski took him as his pupil
and aid on a tour through the United States.
533
LICHTENSTEIN— LIEBIG
Later, after 6 months under Lambert at Paris,
L. rejoined Wieniawski at Brussels, and
studied hard for 3 years, then winning the
first prize of honor at the national 'concours'.
A successful tour in Holland was followed by
a season in New York, etc., with Th. Thomas,
when L. made a 3-year European tournie,
another successful American trip, and lived in
Boston for some time as a member of the
Symphony Orch. ; since 1899-kead of the violin
department in the National Cons, at New
York. In 1904 he formed with Adele Mar-
gulies (pf.) and Leo Schulz (vcl.) the 'Mar-
gulies Trio1, whose concerts rank among the
most important chamber-music concerts in
N. Y. Both in technical finish and emotion-
al power, L. ranks high among living virtuosi.
Llch'tenstein, Karl August, Freiherr
von, b. Lahm, Franconia, Sept. 8, 1767; d.
Berlin, Sept. 16, 1845. Intendant of court
theatres at Dessau (1798), Vienna (1800),
Bamberg (1811), and Berlin (1823; director
of the opera, 1825). Composed 11 operas
and numerous vaudevilles. — See Q.-Lex.
Llch'tenthal, Peter, comp. and writer;
b. Presburg, 1780; d. Milan, Aug. 18, 1853,
where he had settled in 1810. Prod. 3 operas
and 4 ballets at La Scala; publ. a string-
quartet, 2 pf. -trios and pf.-pieces. His chief
writings are Cenni biografict intorno al celebre
maestro W.A. Mozart (1814); Mozart e le sue
creazioni (1842) ; Estetica, ossia dottrina del beUo
e deUe belle arti ( 1 83 1 ) ; Dizionario e bibliografia
delta musica (1826; 4 vols., the last two con-
taining bibliography). — See Q.-Lex.
Lld6n [le-dohn'], Jose*, born Be jar, Sala-
manca, 1752; d. Madrid, Feb. 11, 1827. Was
chorister in Madrid, then org. at the Cath. in
Malaga; 1808, org. at the R. Chapel in Madrid,
and finally m. di capp. there. Publ. fugues
for organ and a method of accomp.; among
his MSS. in the R. Chapel are two operas,
Glauca y Coriolano and El baron de Mescas, a
Miserere, Te Deum, hymns, motets, etc.
Lie [Tya], Erica [Mme. Nisaen], born
Konesvinger, n. Christiania, Jan. 17, 1845;
d. Christiania, Oct. 27, 1903. Pianist, pupil of
Kjerulf (1860), and, at Berlin, of Th. Kullak
(1861-6); the latter engaged her as a teacher
in his acad., and persuaded her to give a con-
cert, the success of which encouraged her to
make a tour in Germany, and to Copenhagen
and Stockholm (elected member of the Royal
Acad,). Gave concerts in Germany in 1871,
then returning to Copenhagen, where she was
app. prof, at the Cons. In 1874 she married
Dr. Oscar Nissen; after another succ. tour
of German v (1876-7) she settled as a concert-
pianist and teacher in Christiania.
Lie, Sigurd, b. Drammen, Norway, May
23, 1871; d. there Sept. 29, 1904. Pupil of
P. Lindemann, Bdhm, and J. Holter; 1891—3,
at the Leipzig Cons.; after his return he was
cond. of the Harmonie and at the Central Th.
in Bergen; winning the Houens stipend in
1900, he spent a year in further study in
Berlin, ana returned to his native country,
where he was cond. of the 'Christiania Han-
delsstand Sangforening.' — Works: Symphony
in A m.; Orientalisk Suite; a pf.-quintet;
Erling Skdlgsson f. bar. solo, male ch. and
orch.; Norske Danse f. vl. and pf.; pf.-pes. ;
male choruses; songs (a cycle, Wartburg, etc.).
Lie'be, Eduard Ludwig, b. Magdeburg,
Nov. 19, 1819; d. Chur, Feb. 4, 1900. Pupil
of Spohr and Baldewein at Kassel; mus.dir. at
Koblenz, Mayence, and Worms; taught for
some years in Strassburg; then in London. —
Works: Opera Die Braut von Azola (Karls-
ruhe, 1868); he publ. popular songs, and pf.-
pieces; other comps. MS.
Liebesktad [IS'-], Joseph, b. Leipzig, Apr.
22, 1866. Pupil of Hermann, Sitt, Reinecke
and Jadassohn at the Leipzig Cons. ; living in
Leipzig as composer, writer, and collector of
first and rare editions. His valuable library
contains a complete set of the first editions of
duck's publ. works. He has ed. a number
of almost unknown works of Gluck, Mozart.
Dittersdorf; and transl. into Ger. Wo tqu ca-
ne's thematic cat. of Gluck's works (with
additions). — Comps.: Op. 2, Str. -quartet in
E m.; op. 3, Pf.-tno in D m.; op. 4, Symphony
in A m.; op. 6, 2 fugues for org.; op. 7, Str.-
quartet in C; op. 12, Festmarsch f. orch.;
choruses and songs.
Lie'bich, Ernst (Johann Gottlob), b.
Breslau, Apr. 13, 1830; d. there Sept. 23,
1884. Eminent violin-maker, the successor
of his father and grandfather, and trained in
the workshops of Vuillaume (Paris), Hart
(London), and Bausch (Leipzig). His instrs.
have taken several first prizes.
Llebig, Franz, b. London, 1860. Received
his first instruction from his father, Im-
manuel L.; then pupil of I. Seiss and F.
Hiller at the Cologne Cons.; st. further in
Dresden with E. Kretschmer and H. von
Biilow; has toured England as solo pianist,
and with Mmes. Patti and Neruda. He is
especially interested in Debussy (whose works
he st. with the comp.) and the modern French
school; living in London as concert-pianist
and teacher. His wife (nee Louise Shirley)
has written a biogr. of Debussy (1908).
Lle'blg, Karl, b. Schwedt, July 25, 1808;
d. Berlin, Oct. 6, 1872. At first 'Stabsoboist'
in the Alexander Grenadier Regt., Berlin, he
established in 1843 an independent orchestra,
the Berlin 'Symphoniekapelle,' which at-
tained such a high standard that it was em-
ployed for the concerts of the Singakademie,
534
LIEBLING— L1LIENCRON
for the Kunstler-Konzerte, etc. In 1860 he
was made R. Music- Director. In 1867 his
orchestra deserted him, and elected Prof.
Stern conductor; L. did his best to organize
another orch.f but the new one never became
as good as the old. — Julius L., his son (1838-
1885), was Kapellm. at Ems for many years.
Lieblin£, Emll, fine concert-pianist; b.
Pless, Silesia, Apr. 12, 1851; d. Chicago, Jan.
20, 1914. Studied the piano with EhrTich and
Th. Kullak at Berlin, Dachs in Vienna, and
Liszt at Weimar; composition with H. Dorn,
Berlin. He came to America in 1867, and
lived in Chicago from 1872, actively engaged
as a concert-pianist, teacher, and contributor
to several papers. — Chief published works:
For pf., Gavotte modcrne, op. 11; Florence
Valse, op. 12; Feu follet, op. 17; A IbumblaU,
op. 18; two Romances, op. 20 and 21; Cradle-
song, op. 23; Canzonetta, op. 26; Menuetto
scherzoso, op. 28; Mazurka de concert, op. 30;
Spring Song, op. 33; Songs {Adieu, Dost thou
Remember, etc.). He was editor for The
American History and Encyclopaedia of Music'
Liebling, Georg, b. Berlin, Jan. 22,
1865. Piano-pupil of Th. and Fr. Kullak,
and later of Liszt; studied comp. with H.
Urban and H. Dorn. 1880-5, teacher in
Kullak 's Acad.; 1881, first professional tour
in Germany and Austria. First Berlin con-
cert in Oct., 1884, was very successful.
European tours 1885-9. Court pianist to
Duke of Koburg (1890). From 1894-7 he
directed his own music-school in Berlin;
1898-1908 in London as prof, at the G. S. M.;
since 1908 living in Munich as dir. of his own
Cons. Among his elegant salon-comps. may
be noted op. 15, Suite a la Watteau; op. 31,
NouveUe Suite a la W.; op. 42, Suite ilalienne;
op. 54, Aria e Tarantella f. vcl. and pf.— Cf.
G. Braun, Hofpianist G. L. (Berlin, 1896).
Llemann, Oscar. See Mansfield, Or-
lando.
•
Lienau [le'now], Robert, music-publisher
in Berlin; b. Neustadt, Holstein, Dec. 28,
1838. Purchased Schlesinger's business (Ber-
lin) in 1864, and Haslinger's (Vienna) in 1875;
with the latter he acquired the most important
works of Weber, Meyerbeer, Liszt, Spohr, etc.
Liepe [le'pe1], Emil, b. Potsdam, Jan. 16,
1860. Began his mus. education at Schwant-
zer's Cons, in Berlin; from -1879-82 at the
Leipzig Cons., pupil of F. Rebling (voice),
Reinecke (pf.), and Jadassohn (comp.); then
st. singing for one year with Gansbacher at
the Vienna Cons.; 1884-1902, dram. bar. at
various German theatres (1891, '92 sang
Klingsor and Biterolf in Bayreuth); since
then has appeared only as Lieder-singer;
1903-7, prof, of singing at the Sondershausen
Cons.; made 'Kammersanger' in 1904; since
1907 living in Berlin as a teacher and critic
of the 'Allgem. Musikzeiting.' — Works: The
1-act opera Colomba (Danzig, 1894); over-
ture and incid. mus. to Narztss; the symph.
poems Fatum and Rilckblick; a symphony in
C m. (1913); songs. Has also publ. several
Wagner-Albums (voice and pf.) and a new ed.
of Erk's Liederschatz.
Lier [l€r], Jacques van, distinguished
'cellist; b. The Hague, Apr. 24, 1875. Pupil
there of Hartog and Giese; 1887-8, of Eberle
at Rotterdam; 1891, solo 'cellist of the
Palace Orch. in Amsterdam; 1892-5, in
Basel. After an extended European tour he
joined the Berlin Philh. Orch. in 1897; app.
instr. of 'cello at the Klindworth-Scharwenka
Cons, in 1899. In 1900 he founded with
J. van Veen (vl.) and Coenraad Bos (pf.) the
'Hollandisches Trio,' which soon enjoyed a
European reputation (dissolved 1907); from
1910-12 he concertized as «oloist and with
the Heermann-van L. Quartet; since 1913
principal prof, at the Klindworth-Schar-
wenka Cons, in Berlin. Has publ. Violon-
ceU-Bogentechnik; Moderne Vtoloncell-Tech-
nik der linken u. der rechten Hand; and ed.
about 400 classical pes. for 'cello.
Llerhammer PeV-], Dr. Theodor, fine
concert-baritone; b. Lemberp, Nov. 18, 1886.
Graduated from Vienna Univ. as M. D.f and
practised as a throat specialist; began to study
singing with Prof. Ress in Vienna, went to
Caratta in Milan and Stockhausen in Frank-
fort; made his d£but at Vienna in 1894 in a
concert with Fritz Kreisler, and scored an
emphatic success; toured Austria and Hun-
gary (1896), Germany (1898), Russia (1899),
France and England (1900) ; after a successful
tour of the U. S. in 1904 he settled in London
as prof, at the R. A. M.; made hon. F. R. A.
M. in 1906.
Lillencron, Rochus, Freiherr yon, emi-
nent writer on music; b. Plon, Holstein, Dec.
8, 1820; d. Koblenz, Mar. 5, 1912. Studied
jurisprudence and philology at Kiel, Berlin,
and Copenhagen; was prof, of the German
language and literature at Tena 1852-5, then
privy councillor at Saxe-Meiningen; in 1858
ne accepted the invitation of the newly or-
ganized Historical Commission at Munich to
collect and annotate the historical German
folk-songs of the middle ages (publ. as Hi-
storische Volkslieder der Deutschen vom 13-16.
Jahrkundert in 4 vols.; Leipzig, 1865-9).
In 1869 he settled in Munich, and was elected
foreign member in ordinary of the Bavarian
Acad, of Sciences. From 1876 he lived in
Schleswig as provost of St. John's monastery.
In honor of his ninetieth birthday a 'Fest-
schrift' was publ. to which many of the fore-
most musicologists contributed (Riemann,
Adler, Friedlander, Kretzschmar, Sandberger,
535
LILIENTHAL— LINCKE
Seiffert, etc.). — Other works: C. E. F. Weyse
und die ddnische Musik sett dent vorigen Jahr-
hundert (8th annual series, 1878); Oberden
Chorgesang inder evangelischen Kirche (1881,
in 'feit- und Streitfragen,' No. 144); bio-
graphy of J. B. Cramer in the 'Allgem.
deutsche Biographie'; Deutsche* Leben im
Volkslied urn 1530 (the finest German folk-
songs of the 16th century, with melodies; in
volume n of Kurschner-Spemann's 'Deutsche
Nationallitteratur'); Vber Kirchenmusik und
Kirckenconcert (in the 2d annual report of the
'Verein fiir evang. Kirchenmusik'); Vber
Entstehun$ der Chormusik innerhalb der
Liturgie (in the Magdeburg 'Evang. Kirchen-
Zeiiung'); Chorordnung fUr die Sonn- und
Festtage des evangelischen Kirchenjahres (1900) ;
also con t rib. the musical portions to Paul's
'Grundriss der german. Philologie'; etc.
Lilienthal, Abraham W., b. New York,
Feb. 13, 1859. Received his entire mus.
training in N. Y.; st. vl. with G. Weingarten
(1869-75) and H. Brandt, the leader of the
Philharm. See. (1877-9), harm, and cpt. with
C. C. M tiller and instrum. with Ernst Grill;
1886-91, member of the Theo. Thomas Orch.;
elected member of the Philh. Soc. in 1887; for
many years he played the viola in the N. Y.
String-Quartet, which made a specialty of
all of Beethoven's quartets; now (1917)
living in N. Y. as teacher and composer. —
Works: Op. 18, Str.-quintet in Eb; op. 21,
Str.-sextet in Dm.; op. 25, Pf.-trio in Bt>; op.
26, Sonata f. vl. and pf. in G m.; op. 36, Str.-
quartet in Bt>; also dances for full orchestra.
Liljeforo [lfl'v^-l, Ruben, born Upsala,
Sweden, Sept. 30, 1871. Pupil there of I.
Hedenblad; then of Jadassohn in Leipzig
(1895-6, and again '97-9); later st. comp. with
Draeseke and cond. with Kutzschbach in
Dresden, and comp. with Reger in Leipzig.
Cond. of the Students' Chorus in Upsala
(1902); settled in Goteborg, and was cond. of
the Students' Chorus there, 1903-9, and chor-
us-master of the Philh. Soc. 1903-11; since
1912 cond. of the Lans Orkester-Forening
there. — Works: Symphony in Eb; a concert-
overture; intermezzo f. orch.; incid. music to
Fritjof och Ingeborg; a pf. -concerto; Blomster-
fursten (The Flower-prince) for soli, ch. and
orch.; a sonata for vl. and pf, in Em.; male
choruses; pf.-pes.; songs.
LU'lo, Giuseppe, pianist and dramatic
comp.; b. Galatina, Lecce, Italy, Feb. 26,
1814; d. Naples, Feb. 4, 1863. Pupil of
Furno, Lanza and Zingarelli in the Naples
Cons. Having good luck with his dramatic
firstling, Una moglie per 24 ore (Cons, theatre,
1834), he launched out as an opera-composer,
and up to 1842 prod. 9 more operas, Vosteria
d'Andujar (Naples, 1840) being the best and
most successful. Much ill success having
disgusted him, he turned to teaching:, and
in 1846 was app. teacher of harmony* etc..
in Naples Cons., where, in 1859, he succeeded
C. Conti as teacher of cpt. and comp. From
1849-53 he prod. 6 more operas, generally
with slight success. A disorder of the brain
put an end to his career in 1861. — Other
works: Symphonies; a pf. -quartet; much good
piano-music; also church-music.
Lim'bert, Frank L., b. New York, Nov.
15, 1866, living in Germany since 1874; trained
at the Hoch Cons., F rankfort -on-Main ; then
further by Rheinberger; studied musical
science at the universities of Berlin and Strass-
burg, graduating Dr. phil. at the latter in 1894
(dissertation Beitrag zur Kenntnis der votks-
tumiichen Musik, insbesondere der BaUaden-
komposition in England). 1895-8, cond. of
the Oratorio Soc. at Hanau ; a short time in
Frankfort as composer and teacher; then cond.
of the choral soc. 'DUsseldorf/and prof, at the
Cons, in Dusseldorf; in 1906 he returned to
his former position in Hanau. — Publ. works:
Op. 1, Dret Prdludien u. Fugen f. pf.; op. 3,
Konzertstuck f. pf. and orch.; op. 4, Sonata f.
vl. and pf. in A; op. 6, Ein Zyklus von Sonetten
f. mixed ch. a capp.; op. 7, Sonata f. via. and
pf. in C m.; op. 15, Str. -quartet in F m.; opt
16, vars. on a theme by Handel f. orch.; cp
18, 2 scenes from Sudermann's Johannes, I
soli, ch. and orch.; choruses, songs, and pf.-
pcs. Also wrote Mozart's C moll Messe (1 904).
Limnan'der de Nieu'wenhore fh'yd've'n-
hoh-ve], Armand Marie Ghislain, b.
Ghent, May 22, 1814; d. MoignanviUe, Aug.
15, 1892. Pupil of Lambillotte at Freiburg,
and of F6tis at Paris; founded a smging-
society, 'Reunion lyrique,' at Malines; lived
thereafter at Paris. — Works: The comic ope-
ras Les Montenegrins (Op.-Com., 1849), Le
Ch&teau de la Barbe-Bleue ( 1 85 1 ) , and Yvonne
(1859); a grand opera, Le Maitre-chanteur
(Opera, 1853); another, La Messe de minuit
(MS.); Scenes druidiques, f.orch.; church-mu-
sic, a 'cello-sonata, a str. -quartet, songs, etc.
Lin'cke, Joseph, b. Trachenberg, Silesia,
June 8, 1783; d. Vienna, Mar. 26, 1837. 'Cel-
list in the famous Rasumovsky Quartet, 1808-
16; played in Schuppanzigh's soirees; was 1st
'cello at the Th. an der Wien, finally at the
Vienna Court Opera. Comp. Variations for
'cello.
Lincke, Paul, b. Berlin, Nov. 7, 1866.
Was for some years th.-cond.; then establ. a
verv succ. publishing business (Apollo-Kunst-
verlag, Berlin). Amon^ his numerous farces
and operettas (all prod, in Berlin) the best are
Venus auf Erden (1897), Im Reiche des Indra
and Frau Luna (1899), Frdulein Loreley
(1900), Nakiris Hochzeit and Lysistrata (1902);
a film-operetta, Der Gluckswalzer (1913).
536
LIND— LINDEN
Lind, Jenny, famous soprano, called 'the
Swedish Nightingale'; b. Stockholm, Oct. 6,
1820; d. at her villa, Wynd's Point, Malvern
Wells, Nov. 2, 1887. Admitted to the school
of singing connected with the Court Th., she
studied under Berg and Lindblad, making her
debut in March, 1838, as Agathe in Der Frei-
schulz, afterwards singing Euryanthe, Alice
(Robert le Diable), and Giulia (La Vestale).
Although eminently successful, she was not
satisfied with the quality of her voice, and in
June, 1841, went to Manuel Garcia in Paris,
who rave her lessons for nine months.
Meyerbeer, on hearing her then, predicted a
brilliant future. Though she sang at the
Opera in 1842, she was not engaged. In 1844
she went to Berlin, studied German, and sang
the rdle of Vielka, in Meyerbeer's Feldlager in
Sehlesien, with great applause. Then began
a triumphal progress through Hamburg,
Cologne, and Roblenz (April, 1845), and ma
Copenhagen to her native city; sang in the
Leipzig Gewandhaus Dec. 6, 1845, was en-
gaged for the Vienna Opera, and appeared
there Apr. 18, 1846. Her London debut, put
off by all sorts of excuses and advertised in
everyway in order to inflame public curiosity,
was on May 4, 1847, at H. M.'s Th.f as Alice
in Robert. She leaped at once to the pinnacle
of fame; "the town, sacred and profane, went
mad about the Swedish nightingale," says
Chorley. Her voice, with a compass from dl-
e\ was 'a soprano of bright, thrilling, and
remarkably sympathetic quality'; she was an
unrivalled coloratura singer, wonderfully
long-breathed, and showed exquisite taste in
her cadenze, which she usually invented. Her
impersonations of La Sonnambula, Lucia,
Giulia (La Vestale), created a furore. Never-
theless, she left the operatic stage in 1849
(her last appearance was in Robert, May 18),
to become the chief ornament of the concert-
stage, a position which she held undisputed
until 1870. From 1850-2 she toured the
United States, reaping a golden harvest ($130,-
000); of this sum she distributed $100,000 to
various charitable institutions in Sweden.
She married Otto Goldschmidt in Boston,
Feb. 5, 1852; went by way of Holland to
Dresden, where she remained a long time;
and returned to London in 1856, frequently
appearing in public. Goldschmidt conducted
the 'Bach Choir* for a time, and she sang both
at rehearsals and performances. Her 'final
public appearance was at Diisseldorf in her
husband s oratorio Ruth (Rhenish Mus. Fest.,
1870). Her private life was as admirable as her
public repute; her generosity was unbounded;
her modesty and nobility of soul have been
the theme of enthusiastic eulogy. A bust of
Jenny Lind was unveiled in Westminster Ab-
bey, Apr. 20, 1894. — Bibliography: Anon.,
J\ L.f die sckwedische Nachtigall (Hamburg,
1845; also in Swedish); A. J. Becher, /. L.
Eine Skisze ihres Lebens (Vienna, 1846); J. B.
Lyser, G. Meyerbeer und J. L. (Vienna, 1847);
C. G. Rosenberg, J. L. in A merica (New York,
1851); Fr. Hedberg, Svenska Operasdngare
(Stockholm, 1885); H. S. Holland and W. S.
Rockstro, Memoirs of Mme. J. L.-G:, 1820-
51 (2 vols., London, 1891; Ger. tr. by J. H.
Scholl, Leipzig, 1891; Swed. tr. by R. Spil-
hammar, Stockholm, 1891; condensed Engl,
ed. 1893 [1 vol.]); W. S. Rockstro and O.
Goldschmidt, J. L.-G. A Record and Analysis
.of the Method of the late J. L.-G. (London,
1894); C. A. Wilkens, J. L. Ein Cdcilienbild
aus der evang. Kirche (Gutersloh, 1894; 4th
ed. 1913; Fr. tr. by J. Jequier, Geneva, 1896;
3d ed. 1910); M. Holmstrdm, /. L. som Konst-
ndrinna och mdnniska (Goteborg, 1913); J.
L.'s Singing Method (a letter written by her),
in *Mus. Quar.', July, 1917. See also the 8-
page article in Nor lind 's 'Allmant Musiklexi-
kon' (1916).
Lindblad, Adolf Fredrik, b. Skeninge,
n. Stockholm, Feb. 1, 1801; d. Loivingsborg.
n. Linkdping, Aug. 23, 1878. Pupil of Zelter
in Berlin; lived in Stockholm from 1835. His
numerous songs, tinged with national (Swed-
ish) color, won deserved popularity, especially
after Jenny Lind, his pupil, sang them in
public. — Works: An opera, Frondorerna
(Stockholm, 1835); symphony in C (Gewand-
haus, 1839); duo f. pf. and vln.; vocal duets,
terzets, and quartets; his songs w. pf. earned
him the title of 'the Schubert of the North.' —
Cf. the article L. in Norlind's 'Allmant Mu-
siklexikon' (1916; 9 pages); M. Grandinson,
BreftillA. r. L.fr&n Mendelssohn, Dohrn, etc.
(Stockholm, 1913).
Lindblad, Otto (Jonas), b. Karlstorp,
Sweden, Mar. 31, 1809; d. Mellby, Jan. 26,
1864. His vocal comps. (quartets, trios,
duets, and songs for one voice) are still highly
esteemed in Sweden. — See Norlind's 'All-
mant Musiklexikon'.
Lindegren, Johan, b. Ullared, Sweden,
Jan. 7, "1842; d. Stockholm, June 8, 1908.
Pupil of the Stockholm Cons., 1860-5; at the
same time he sang in the chorus at the opera
and acted as Repetitor; 1876, teacher of cpt.
at the Cons.; 1881, music-teacher in Jakobs's
Institute; 1884, cantor at the Storkyrka.
He was an authority on church-music, a
learned contrapuntist and famous teacher
(H. Alfven was among his pupils); 1881*2 he
was editor of Tidning for kyrkomusik'. Of
his numerous comps. but few were pub I.:
Sonata (canonic) in B m.; str.-auartet in F;
HosUankar . (Autumn Thoughts), an elegy;
Till Vegas hjdltar (For Vega's Heroes), fest.
mirch. An elaborate Koralbok appeared in
1906.
Lin'den, Karl van der, b. Dordrecht,
537
LINDER— LINTERMANS
Aug. 24, 1839. Pupil of Kwast (pf.) and
F. B6hme (theory). 1860, cond. of the Har-
monie at Dordrecht, later also of the Lieder-
tafel, 'Ido's Mannenkoor'; bandmaster of the
Nat. Guard, and (1875). cond. of the grand
concerts of the Netherland Musicians' Assoc.
Has directed several important Dutch mus.
festivals, and been member of the juries at the
great 'concours'at Ghent (1873), Raris(1877),
and Brussels (1880). He occupies a high
place among Dutch conductors and composers.
— Works: 2 cantatas f. soli, ch. and orch., De
starrenhemel and Kunstzin (both publ.) ; many
songs. In MS. are 2 operas, 7 overtures,
part-songs, pf.-sonatas, etc.
Lin'der, Gottfried, b. Ehingen, July 22,
1842. Pupil, and from 1868 teacher, in Stutt-
gart Cons.; 'Professor' in 1879; retired in 1912.
— Works: 2 operas,. Dornrdschen (Stuttgart,
1872) and Conradin'von Sckwaben (ib., 1879);
Waldlegende f. orch.; overture A us nordischer
Heldenseit; Charakter-Tans f. orch.; trios;
choruses; songs.
Lindley, Robert, English 'cellist; b. Roth-
erham, Yorkshire, Mar. 4, 1776; d. London,
June 13, 1855. 'Cellist in Brighton Th.; 1st
rcel!o at the R. Opera, London, 1794-1851,
succeeding Sperati. When the R. A. M. was
founded in 1822 he was app. prof, of 'cello
there. Compositions unimportant. — His son
William (1802-69) was also an excellent
'cellist, but had to abandon the career of a
virtuoso because of extreme nervousness.
Lind'ner, Adolf, horn-player; b. Loben-
stein, 1808; d. Leipzig, Apr. 20, 1867, as a
member of the Gewandhaus Orch.
Lindner, August, b. Dessau, Oct. 29,
1820; d. Hanover, June 15, 1878. Fine 'cel-
list; 1st 'cello in the court orch. at Hanover
from 1837. A pupil of Drechsler. Comp. a
'cello-concerto; Fantasiestiicke f. 'cello and
pf.; and numerous vocal pieces.
Lindner, Ernst Otto Timotheus, b.
Breslau, Nov. 28, 1820; d. Berlin, Aug. 7,
1867. Editor of the 'Vossische Zeitung';
musical writer and lecturer; cond. the Berlin
Bach-Verein for some years. — Publ. Meyer-
beers 'Prophet1 als Kuntswerk beurteill (1850);
Die erste stehende deutsche Oper (1855, 2 vols.);
Zur Tonkunst. Abhandlungen (1864); and Ge-
schichte des deulschen Liedes im 18. Jahrhundert
(1871; edited by Erk).
Lindner, Eugen, born Leipzig, Dec. 11,
1858. Pupil of G. Kogel (pf.), O. Bolck and
F. Stade (comp.), and F. Gdtze (voice); 1878,
chorus-master at the Stadtth. ; after a season
(1884) as singer with Neumann's Wagner-th.
he taught at the grand-ducal music-school
in Weimar; in 1902 he joined the faculty of
the Leipzig Cons.; since 1913^ Kgl. Prof. —
"7fo
Works: The operas Ramiro (Weimar, 1885),
Der Meisterdieb (ib., 1889), BJLdena (not
prod.); about 60 songs (some with orch.).
Llnd'paintner, Peter Joseph von, born
Koblenz, Dec. 9, 1791; d. Nonnenhorn, Lake
of Constance, Aug. 21, 1856. He was a pupil
of Winter at Munich, and brought out nis
first opera, Demophoon, at Munich in 1811;
from 1812-19, Kapellm. at the new Isarthor
Th., still taking lessons in cpt. of Gratx.
From 1819, court Kapellm. at Stuttgart,
where his great talent as a conductor made
the orchestra famous. — Works: 21 operas
(the best are Der Vampyr and Lichtensiein);
5 ballets and 5 melodramas; music to Goethe's
Faust; 2 oratorios; 6 masses; symphonies,
overtures, concertantes, chamber-music, songs
(Die Fahnemvacht).
Linley, George, poet and composer; b.
Leeds, England, 1798; d. London, Sept. 10,
1865. — Operas and operettas: Francesca Doria
(1849) ; La Poupee de Nuremberg (Covent Gar-
den, 1861); The Toy-makers (1861); Law vs.
Love (1862). Also a cantata, The Jolly Beggars
[Burns]; part-songs, trios, duets, hymns, and
many songs. A satirical poem, The Musical
Cynics of London, was aimed at the critic
Chorley.
Linley, Thomas, Sr., b. Wells, Somerset
1732; d. London, Nov. 19, 1795. Pupil d
Chilcot and Paradies; cond. oratorios and
concerts at Bath; then acquired Gam'ck's share
in the Drury Lane Th., with Sheridan, in
1776, bringing out the operas The Duenna,
The Camp, Carnival of Venice, Triumph of
Mirth, Spanish Maid, Selima and Aior, Span-
ish Rivals, Tom Jones, The Strangers at Home,
Love in the East, Robinson Crusoe, etc.—
Publ. Six Elegies f. 3 voices and pf. (1770);
12 Ballads; canzonets; The Posthumous
Vocal Works of Thomas and T. Linley, lum.'
(1800; 5 vols, of songs, madrigals, etc.). — See
Q.-Lex.
Linley, Thomas, Jr., eldest son of pre-
ceding; b. Bath, May, 1756; d. by drowning
at Grimsthorpe, Lincolnshire, Aug. 7, 1778.
Violinist; pupil of Boyce and (at Florence) of
Nardini. Leader of Bath concerts, and at
Drury Lane. — Works: Music to Shakespeare's
Tempest; an Ode on the Witches and Fairies in
Shakespeare; an oratorio, The Song of Moses;
an orchestral anthem, Let God arise; etc.
Linnarz, Robert, b. Potsdam, Sept. 29,
1851. Pupil of Haupt, Berlin; teacher in
seminaries in Bcderkesa and (1888) Alfeld;
Kgl. Musikdirektor in 1902.— Works: AU-
Deutschland, an overture (op. 24); Jung-
Niedersachens Heimatsschwur, f. m. ch. and
orch.; male choruses; songs; methods f. vln.,
organ, and on vocal instruction.
Lln'termana, Francola-Joeeph, b. Brus-
sels, Aug. 18, 1808; d. Ixelles, May 14, 1895.
i
538
LIONCOURT-LISSINSKY
Eminent Belgian singing-teacher. Direc-
tor of the Brussels choral society 'Les Artisans
reunis.' I'ubl. male choruses {Cri it Guerre,
Uracil, Chaur dcs buveuri, etc.).
Lloncourt (I'vohn-koor'], Georges de, b.
Cannes, Dec. 1, 1885. Pupil of d'lndy at the
Schola Cantorum; now (1917) inspector of
studies there. Has publ. songs and a motet,
Libera me; in MS. he has Uyalts, le petit Faune
aux yeux bieus (f. soli, ch. and orch.), and
several orch!. and dramatic works.
Llpln'okl, Karl Joseph, celebrated vio-
linist; b. Radiyn, Poland, Nov. 4 (Oct. 30?),
1790; d. Orlow, n. Lemberg. Dec. 16. 1861.
Self-taught, excepting some lessons from his
father, an amateur. Leader at Lemberg Th.
where Paganini favored him, and played with
him daily; L. then made long concert-tours,
and in 1829 met Paganini again in Warsaw,
where rivalry undid their friendship. In
1839 L. became Konzertmeister ' "
noted for great breadth, and skill in double-
stopping. — Works: A Polish opera, The Siren
of the Dniester; 4 violin-concertos (incl. the
'Military Concerto'); a string-trio; rondos,
polonaises, variations, caprices, fantasias.
with Zalewski, the poet, he publ. a collection
of Galician folk-songs (1834; 2 vols.).
Llpkov'ska, Lydla, coloratura soprano; b.
Poltava, Southern Russia, c. 1887. Pupil of
Mme. Iretska at the Petrograd Cons.; made
a very successful debut in 1906 as Gilda at the
Imp. Th. in Petrograd, and remained there as
a regular member for three years; 1909, in
Paris at the ChStelet and Op.-Comique; the
same year (Nov.) she made her Amer. debut
in Boston, and won much applause during her
two seasons with the Boston Opera Co. Her
voice is light, very flexible, and possessed of
greater warmth than is usually found in
coloratura voices. Besides Russian rOles her
repertoire comprises Lakme, Rosina, Vio-
letta, Manon, Mimi.
Lfp'alua, Marie (pen-name La Mara),
a gifted writer; b. Leipzig, Dec. 30, 1837.
She received her entire education from her
father, Dr. Adalbert L., rector of thcThomas-
schule; through R. Pohl she was introduced
to Liszt, and in the latter's Weimar circle
became acquainted with the foremost musi-
cians of the time. Her writings, especially
those about her contemporaries, are authori-
tative.— Works: Musikalische Studienkdpfc
(1873-80; 5 vols., often republ.; many of the
sketches publ. separately in 1911); Gedanken
berUhmter Musiker iiber ihre Kunst (1877);
Das Buhnenfestspiel in Bayreulh (1877); Ger-
man translation of Liszt's Chopin (1880);
Musikerbriefe aus fun/ Jahrhunderten (1886;
2 vols.) ; Klassisckes und Romanlisches aus der
Tonwelt (1892); LitatsBriefeaneine Freundin
(1893-4; 3 vols.); Briefe an August Ratchet,
von'Richard Wagner (Leipzig, 1895); Brief-
viechsel tuiischen F. Liszt und 11. v. Bulow
(1898); Brie/etxm H. Btrliot an die Furslin
Carolync at Savn- Wittgenstein (1903); Aus
der Clamteit der Weimarcr Altenburg (1906);
Marie v. Mttckanov-Kalergit in Brie/en an ihre
Tochtcr (1907; 2d ed. 1911); Brie/wechscl
zunschen F. Lisa und Grosshenog Karl Alex-
ander v. Sachsen {190$); Grdfin Therese Bruns-
wick, die unsterblicheGelieb'e Beethooens ('Neue
Deutsche Rundschau', 1908); Beethovens un-
iterbliche Geliebte. Das Geheitnniss der Grdfin
Brunswick und ihre Memoiren {1909); List! und
die Frauen (1911).
Lirou [le-rool, Jean-Francois-Eaplc,
Chevalier de, b. Paris, 1740; d. there 1806.
Musical amateur; officer in the 'Mousque-
taires du roi,' for whom he comp. a Marche
des mousquetaires, played until the revolu-
tion. He wrote several opera-books, and
publ. an Explication du systime del' harmonie ■
. . . (1785), being the first French author
to give up Rameau s system, and to seek the
laws of chord-progression in the affinities of
tonality; though his ideas lack clearness.
Li shin, Grigory Andrefevitch, Rus-
sian composer; b. 1854; d. Petrograd, June 27,
1888. His last opera, Don Cesar de Batan
(Kiev, 1888), was very successful.
LIsaen'Lo, Nikolai Vltallevltch. b. Grin-
zhky, n. Krementchug, Southern Russia, Mar.
22, 1842; d. Kiev, Nov. 11, 1912. While
studying Natural Sciences at the Univs. of
Kiev and Charkov, he also devoted much time
1866-8 he was a pupil of Reinecke, E. Fr.
Rich ter, and Papperitz at the Leipzig Cons.;
in 1868 he settled in Kiev as a teacher and
composer. He was an indefatigable student
of Ukrainian folk-music, publishing 240 songs
with pf.-acc. (6 books; 1868-95), 80 part-songs
(8 books; mixed and male ch.), and a coll. of
Spring, Dance- and Children's Songs (1875).
His original works include the operas (very
popular in Southern Russia) Tchernomorzy,
Christmas, May Night, Winter and Spring,
Tarass Bulba, Sappho; the children's operas
Kotadereia and Pan Kotsky; 1 cantatas for
soli, ch. and orch.; choruses; songs; pf.-pes.
Also wrote (in Russian) The Characteristics of
the Main-Russian Dumki and of the Songs of
the Kobsaplayer Ostap Veresai (1877).
Lls'slitsky, Vatroslav, born Agram, July
8, 1819; d. there May 31, 1854. Pupil of Soj-
ka and Wiesner von Morgenstern,and,aslate
as 1847, of Pitschand Kittl in Prague; was
inspector at the mus. -school in Agram. He
is remembered chiefly as the composer of the
LISSM ANN- LISZT
first Croatian opera, Ljubav i zlolni (Intrigue
and Love; Agram, 1846); Porin (ib., 1849) is
considered his best opera. He also wrote
orchl. works, choruses, songs and pf.-pes.
Li88'mann, Heinrich Fritz, dramatic
baritone; b. Berlin, May 26, 1847; d. Ham-
burg, Jan. 5, 1894. Pupil of Hillmer and
Stockhausen; sang at the theatres in Zurich,
Lubeck, Leipzig, Bremen, and from 1883 at
the Hamburg City Th. as Gura's successor.
— He married the well-known soprano Anna
Marie Gutzschbach (b. Ddbeln, Apr. 22,
1850) in Leipzig, where she was a popular
favorite; she sang later with him in Bremen
and, until 1892, at Hamburg, where she is
now (1917) living as a singing-teacher.
Lls'temann, Bern hard, violinist; b.
Schlotheim, Aug. 28, 1841 ; d. Chicago, Feb.
11, 1917. Pupil of Ullrich, and (1856-7)
of David at Leipzig; then of Vieuxtemps
(1861) and Joachim (1862, at Hanover).
Konzertmeister in Rudolstadt court orch.
1859-67, with the title of solo violinist and
' chamber- virtuoso; then went with his brother
to America, travelled with Leopold de Meyer,
lived in Boston, and from 1871-4 was leader
in the Thomas Orch., New York. In 1874 he
founded the Boston 'Philharmonic Club,'
toured the country until 1878, then organized
the Boston 'Philharm. Orch.,' and conducted
it till 1881, when Mr. Higginson established
the 'Symphony Orch./ whose leader Bern-
hard L. was for 4 years. Meantime he also
started the 'Listemann Quartet.' From
1885-93, soloist and director of the 'L. Con-
cert Co./ also teaching in Boston. From
1893-1907 head of the violin-department in
the Chicago College of Music; the next two
years he lived in Boston, but returned to
Chicago in 1909, where he was prof, in the
Sherwood Mus. School until 1911; thereafter
living in retirement in Chicago. He publ.
a Method for Violin.
Listemann, Franz, son of Bernhard; b.
New York, Dec. 17, 1873. 'Cello- virtuoso;
from 1887-90, pupil of Fries and Giese at
Boston, Mass.; from 1800-3, of Julius Klen-
gcl, at Leipzig, and 1893-5 of Haussmann, at
Berlin. After a year as 1st 'cello in the Pitts-
burgh Orch. (1896), he settled in New York,
where he has since l>een living as a teacher,
soloist, and quartet-player. As soloist with
the N. Y. Symph. Orch. he introduced the
Dvorak 'cello-concerto in the V. S. (1896).
He is the possessor of a valuable Bergonzi.
Listemann, Fritz, brother of Bernhard;
1). Schlotheim, Tluiringia, Mar. 25, 1839;
d. Boston, Dec. 28, 1000. Violinist; nupil of
his uncle, Konzertm. Ullrich of Sondershausen,
and of David (1856 7) at the Leipzig Cons.
In 1S5S, chamber- virtuoso to the Prince of
Rudolstadt, of whose concert-orch. he was a
member until 1867, when he went to New
York, where (after a few years in Boston) he
joined the Thomas Orch. as 1st violin in 1871.
Returning to Boston in 1874, he joined the
' Philharm. Club' (sextet ) , with which he toured
the United States. From 1878, 1st violin in
the Philharm. Orch.; 1881-5, ditto in the
Symphony Orch.; after that devoted his time
to teaching, and occasional tours with the
'Listemann Concert Co.' — Works: Grand
Concerto and Second Concerto f. violin (both
MS.); publ. Grosse Polonaise, and Idylle; also
songs.
Listemann, Paul, son of Bernhard; b.
Boston, Oct. 24, 1871. Violinist. Taught
by his uncle Fritz, and his father, he entered
the 'L. Quartet* and the *L. Concert Co.' in
1888, and travelled with these organizations
for 2 years; then studied at Leipzig under
Brodsky and Hilf (1890-3), and at Berlin
under Joachim (1893-5). For one year,
leader of the Pittsburgh, Pa., Orch.; 1896,
leader of the 'American Orch.' of New York;
then toured America as soloist of the 'Red-
path Grand Concert Co.'; since 1903 living in
N. Y. as teacher and member of the M. O. H.
orchestra.
Liszt, Franz [Hungarian Ferencz], the
creator of the art of orchestral pianoforte-
playing, and of the symphonic poem, was born
at Raiding, near Odenburg, Hungary, Oct. 22,
1811; died at Bayreuth, July 31, 1886. His
father, an excellent amateur, began his in-
struction on the piano at the age of six; pro-
gress was so rapid that at nine Franz olayed,
at a public concert in Odenburg, Ries s diffi-
cult Eb concerto with so great artistic success
that his father decided on further concerts at
Presburg. After the second, several Hun-
garian counts offered to provide 600 florins
annually, for 6 years, for the boy's musical
education. The offer was joyfully accepted,
and the family removed in 1821 to Vienna.
Here Franz took piano-lessons from Czerny
for 18 months, and studied theory with Sa-
lieri, composing under the latter's supervision
a considerable number of short church-pieces.
Beethoven, hearing of the talented boy,
asked to see him; at their memorable meeting
the delighted master embraced Liszt after the
latter's execution (without notes and accom-
paniment) of his trio, op. 97. L.'s first public
concerts in Vienna were given in 1823, with
such flattering results that the father deter-
mined to take his son to the Paris Cons. On
the way, concerts were given at Munich and
Stuttgart. Franz passed his examinations
admirably; but Cherubini, then Director of
the Conservatoire, was opposed on principle
to 'infant phenomena,' and refused him ad-
mission, using as an excuse a rule forbidding
the entrance of foreigners. As a consequence,
540
LISZT
Franz took no more piano-lessons, developing
his genius in his own way; but still studied
composition, for a short time under Pacr, but
chiefly under Reicha, eagerly profiting by the
latter's teachings, and bringing out a one-
act operetta, Don Sancko, ou U Chdteau de
V Amour, performed five times at the Acad,
royale de Musique in 1823. (The score was
believed to have been lost until Jean Chanta-
voine found it in 1911, and publ. an account
of it in his Musiciens et Poites [1912]). Al-
ready a well-known pianist, he now spent two
years in concert-tours; his father died in 1827,
and L. settled in Paris to support his mother
and himself. He was in great demand as a
teacher, and moved in the highest circles of let-
ters and art; in aristocratic salons, which had
always been open to 'le petit Litz,' homage
was soon paid to the great artist. His impres-
sionable spirit was strongly moved by the
influences of the period; the romanticism of
Chopin and Weber, St. Si monism, the revo-
lutionary era of 1830; he even dreamt of enter-
ing the priesthood, but in the end a love of art
conquered. Paganini's advent in 1831 in-
spired him to heretofore unheard-of feats in
piano- technique and expression; the music
of Berlioz ripened his conviction of the poetic
possibilities of his art; ne became one of the
most ardent champions and potent promo-
ters of realism in music. For the present,
however, these ideas found public utterance
only in his pianistic achievements. These
were interrupted for a time by his liaison with
the Countess d'Agoult (known as an author-
ess under the nom deplume of 'Daniel Stern');
with her he retired to Geneva (1835-9).
Three children were born to them; Cosima,
the younger of two daughters, l>ecame the
wife of Richard Wagner. During these four
years, L. twice emerged from retirement to
vanquish his only serious pianistic rival, Thal-
berg (1836). Finally, in 1839, he set out on
a triumphal progress through Europe, signal-
izing this step by generously assuming the re-
sponsibility for the completion of the Beet-
hoven monument at Bonn, for which a large
sum was still required, and subscriptions
scanty. For the ensuing decade the world
rang with the fame of the greatest pianist
who has ever lived. In 1848 Tie accepted the
position of court Kapellmeister at Weimar,
with t he understanding that he was to further,
by all means at his command, the progress of
modern musical art. An adherent of the New
German School (free tonality, romantic real-
ism, program-music), he extended generous
aid to struggling brother-artists. When the
exiled Wagner, in despair over the dumb score
Lohengrin, sent it to Liszt, the answer came
back that the work was preparing for its first
|x*rformance (Weimar, Aug. 28, 1850). It was
followed by Raff's Konxg Alfred in 1851.
Here Der fliegende Hollander and Tannhiiuser
were revived, like Schumann's Genaveva, and
Berlioz's Benvenuto Cellini. Naturally, Wei-
mar became a centre of attraction for artists
of modern tendency, reinforced by a multi-
tude of pupils of the great pianist. His rela-
tions with the countess Carolyne Sayn-Witt-
genstein, who left her husband and took up
her residence in the 'Altenburg', brought
about momentous changes in L.'s* artistic life.
She confirmed him in his resolution to aban-
don the virtuoso-career and devote himself
to composition in the larger forms. Cp to
to that time he had confined himself almost
exclusively to works for pf. (in fact, the bulk
of his original pf.-works and his brilliant tran-
scriptions belong to this first period), the in-
fluence and importance of which upon the de-
velopment of the modern pianoforte-style can
scarcely l>e overestimated. From this period
on he appeared as a pianist only at rare inter-
vals, but he sent into the world a new orches-
tral conception, — the symphonic poem, in
which he makes free and original use of the
leading-motive, 'local color' of most varied
hues, and all arts and devices of orchestration,
to plastically follow and interpret the inner
meaning of the given poem or 'program'. In
1859 he left Weimar, on account of the op-
position displayed to the production of Cor-
nelius' Barbter von Bagdad, and the consequent
failure of that opera. Until 1870 he lived for
the most part in Rome; in 1866 the Pope,
Pius IX, conferred on him the dignity of
Abl>e. In 1870, being invited to conduct the
Beethoven Festival at Weimar, cordial rela-
tions with the court were reestablished; and
thereafter L. spent some months of each sum-
mer at Weimar. In 1875 he was made presi-
dent of the new Hungarian Academy of Music
at Pest; and between Weimar^ Pest and Rome
the last years of his life were divided, a throng
of pupils and admirers following him from
place to place. ^ His death at Bayreuth, in
1886, occurred in the midst of the Wagner
Festival.
According to a will made in 1860 Liszt's
belongings, including all MSS., passed into
the possession of the Countess Carolyne Sayn-
Wittgenstein. It is known that in the early
eighties L. drew up another will remembering
the friends of later years, but to this day the
document has not been found. After the
death of the countess, on March 7, 1887,
everything was left to her daughter, Princess
Mane Hohenlohe-Schillingsfiirst. Immedi-
ately after L.'s death Grand-duke Karl Alex-
ander of Weimar had suggested the idea of a
foundation to honor the memory of the master.
He himself donated the rooms which Liszt had
occupied in the 'Hofgiirtnerei.' Princess
Hohenlohc turned over all treasures and MSS.,
and thus the 'Liszt- Museum' was founded.
541
LISZT
Dr. Aloys Obrist was the first director; in
1910 he was succeeded by Peter Raabe.
Princess H. also founded the 'Liszt -Stiftung'
by placing with the 'Allgemeine Deutsche
Musikverein' as trustee the sum of 70,000
marks, the interest of which is awarded to
talented composers and pianists. In 1905
the committee conceived the plan of publish-
ing through Breitkopf & Hartel the master's
complete original works, and such arrange-
ments of his own and other composer's works
as in the opinion of the publication committee
(Peter Raabe, chairman) are of permanent
value. The editors are E. . d 'Albert, F.
Busoni, E. Reuss, A. Szendy, A. Stradal, F.
von Weingartner, Dr. Ph. Wolf rum; F.
Mottl and B. Stavenhagen were also active
editors until their death. Eminent musi-
cians in every part of the plobe are assisting
in various ways. The edition is estimated to
contain 40 volumes; the first vol. appeared in
Dec., 1907; the following vols, have been
publ. so far (1916): Vols, i-vi, Symphonic
Poems; vii-ix, the Dante and Faust sympho-
nies; x-xii, minor orchl. works; xiii, works for
pf. with orch.
Asa pianist Liszt, the creator of the trans-
cendental style of piano-playing, occupies
a position absolutely unique. He never bad
a rival. This does not mean that his great-
ness was appreciated by his contemporaries
even at the height of his triumphs as a vir-
tuoso. When they called him the 'Pagan in i
of the piano' they thought they had done him
justice, for all that those good people could
appreciate was his fabulous tcchnic. That
this was a mere means of expression' employed
solely for the purpose of recreating the mas-
terpieces of a Beethoven, of revealing their
deepest meaning, was a conception of the
function and art of the interpreter entirely
unknown to the audiences — and most musi-
cians— of that time. With Paganini, the
glorification of self, virtuosity for its own
sake, was the sole object. Liszt regarded the
interpreter as a high-priest, whose duty is the
revelation of the composer's innermost soul.
Gradually, and very slowly, this lofty concep-
tion came to be understood, until to-day virtu-
osity is presupposed as a matter of course,
and the merit of an artist is judged by his in-
terpretative ability. According to the unani-
mous testimony of the best musicians of the
time L.'s playing defied description in words.
Also as a composer Liszt occupies a promi-
nent place in the history of music. His ideals
were the noblest, his intentions the grandest,
his technical equipment the fullest; and had
his powers of thematic invention been on the
same high level, he would have attained a
glace among the supreme creators of music.
ven so, his daring originality of conception
created the 'Symphonic Poem.' No one had a
542
deeper insight into, or a greater reverence
for, the works of Beethoven and his predeces-
sors, than Liszt; in fact, he was convinced that
in the field of absolute music progress beyond
Beethoven was impossible. Yet he was
equally convinced that standing still in art
meant spiritual stagnation; and if there was
to be any progress, it could only be along new
paths. Berlioz attempted to develop the
symphony beyond Beethoven, but failed
because he merely introduced tone-painting
into Beethoven's form. Liszt saw the im-
mense possibilities of Program-music, pro-
vided that for the new style of music a new
and adequate form could be found. This
form he did not construct a priori, but pro-
ceeded to the creation of the art-work itself.
He drew his inspiration from the master-
pieces of literature and the plastic arts, and
whatever mood or general idea these evoked
in him, he delineated in broad lines in his
music, allowing the content to determine the
form. Thus each of the symphonic poems is
the musical expression of some broad idea.
If Liszt's themes possessed that inherent,
compelling power and spontaneity which char-
acterize those of Wagner, he would invariably
have realized his lofty intentions. The
vitality of Liszt's form has been amply
proved by recent works of other composers,
especially Strauss's Tod und Verkldrung and
Till EuUnspiegcVs lustige Streiche. For the
caricatures of countless imitators the master
is not responsible. One can hardly claim (as
some enthusiasts have done) a place for Liszt
by the side of Beethoven and Wagner; it is,
however, absurd to go to the other extreme
of denying him all creative power. Only
genius of a high order could create the new
pianoforte-style (both of composition and of
playing) or the symphonic poem. The crea-
tion of either constitutes a valid claim to
immortality.
Liszt, the artist and the man, is one of the
grand figures in the history of music. Abso-
lutely free from envy, generous, kindly, and
liberal-minded, whole-souled in his devotion
to art, superbly equipped as an interpreter of
classic and romantic works alike, a composer
of original conception and daring execution, a
conductor of marvellous insight, a discoverer
and promoter of talent, worshipped as teacher
and friend by a host of disciples, reverenced
and admired by his fellow-musicians, honored
by institutions of learning and by potentates
as no other artist before or since, his influence,
spread by those whom he personally taught
and swayed, will probably increase rather than
diminish as time goes on.
Works: For orchestra : The symphonic
poems Dante (after the 'Divina Commedia';
f. orch. and female ch.), Eine Faustsymphonie
(in 3 pictures: Faust, Gretchen, Mephisto-
LISZT
pheles; f. orch. and male ch.), Ce qu'on entend
sur la montagne (Victor Hugo), Tasso, latnenlo
e trionfo, Les PrHudes, Orpheus, Prometheus,
Mazeppa, Festkldnge, Heroide funebre, Hun-
garia, Hamlet, Hunnenschlachi [after Kaul-
bach], Die Ideale [after Schiller], and Von der
Wieqt bis zum Grabe [after Michael Zichy]; —
Zwet Episoden aus Lenaus 'Faust9 {Der
ndchUiche Zug; Mephistowalzer) ; Kunstler-
Festzug (Schiller Fest., 1859); Gaudeamus
igilur, with soli and choruses; Festmarsch,
Festvorspiel, Huldigungsmarsch, Vom Fels
zum Meet! Deutscher Siegesmarsch, Rdkoczy-
Marsch (f. symphony orch.); grand arrange-
ments of Schubert marches, of the Divertisse-
ment d I'hongroise, etc.
For pianoforte: 2 Concertos, in Eb and A;
Danse macabre f. pf. and orch.; Concerto pathe-
tieue (concert-solo); 15 Hungarian Rhap-
sodies; a Rhapsodie espagnole; Sonata in B m.;
Fantasia and Fugue on B-A-C-H ; Variations
[theme from Bach's B-m. mass]; 6 preludes
and Fugues [Bach]; 10 Harmonies poetiques
et religieuses; Annies de pelerinagc; 3 Appari-
tions; 2 Ballades; 6 Consolations; Berceuse;
Weinen, Klagen, Sorgen, Zagen (prelude after
Bach); Fantasia and Fugue; Scherzo and
March; 2 Polonaises; Mazurka briUante; 3
Caprices- Valscs; FeuUles d' Album; 2 ditto;
Grand Galop chromatique; Valse- Impromptu;
Mosonyi's Grabgeleit; 2 Elegies; 2 Legendes
(St.- Francois d Assise and St.- Francois de
Paul); L'hymnc du Pape; Via crucis; Liebes-
trdume (3 Notturnos) ; Lf idee fixe (after melody
by Berlioz) ; Impromptu in F ; £tudes d' execu-
tion transcendante; 3 Grandes etudes de concert;
Ab iralo, etude de perfectionnement; 2 concert-
etudes, Waldesrauschen and Gnomenreigen;
Technische Studien (1889; 12 books); tran-
scriptions of Beethoven's symphonies, of
Berlioz's Symphonic fantastique and overtures
to Les Francs-jugcs and La Damnation de
Faust, of Wagner s overture to Tannhduser,
of more than 50 songs by Schubert (and many
others), etc., etc.; — paraphrases on operatic
themes by Meyerbeer, Wagner, Verdi, Auber.
Vocal: Missa solemnis (the Graner Festival
Mass) in D; Hungarian Coronation Mass;
Mass in C m.f w. organ; Missa choralis in A m.,
w. organ; Requiem; 3 oratorios, Die Legende
von der heiligen Elisabeth, Christus, and Sta-
nislaus (unfinished); 9 choruses w. org.; Die
Seligkeiten f. bar. solo, ch. and org.; Paler
nosier, f. mixed ch. w. org.; Paler noster and
Ave Maria, f. male voices w.org.; Psalm 13, f.
tenor solo, ch. and orch.; Psalm 18, f. male
ch., orch. and org.; Psalm 23, f. tenor (or
sopr.) solo, w. harp (or pf.) and org. (or har-
monium); Psalm 116, f. soli, male (or mixed)
ch., org. and orch.; Psalm 137, f. solo, fe-
male ch., violin, harp, pf. and org.; Christus
ist geboren, f. ch. w. org.; An den heiligen
Franzikus, f. men's voices, org., trombones
and drums; Les Moris, f. m. ch. and orch.;
numerous minor church comps.; — the can-
tatas Die Glocken des Slrassburger Munsters,
Die heiUge Cacilc, An die Kunstler (f. soli,
male ch: and orch.), Hun^aria (f. soli,
mixed ch. and orch.; has nothing in common
with the symph. poem bearing the same
title; score lost for many years, discovered
by P. Raabe in 1912);— Zur Sdcular-Feier
Beethovens; FestaUmm (for Goethe's 100th
birthday); Festchor (for the unveiling of
the Herder monument, Weimar, 1850);
numerous 4-part male choruses (Das Lied der
Begeisterung, Weimar's Volkslied, Was ist des
Deutschen Vaterland? [w. pf.], Festgesanf [w.
org.]) ; about 60 songs w. pf., many strikingly
beautiful (Du bist vote cine Blume, Es muss ein
wunderbares sein. Die Macht derMusik, Jeanne
d'Arcau bUcher).
Writings : De lafondation Goethe (Goethe-
stiftung) a Weimar (1851); Lohengrin et Tann-
hduser de Richard Wagner (1851; also Ger-
man); Frederic Chopin (1852; 2d ed., in
French, Leipzig, 1879; in German, 1880);
Ober Field's Notturnos (1859; French and
German); Die Zigeuner und ihre Musik in
Ungarn (French, '1861 ; also Hungarian and
German); Robert Franz (1872); Keine Zwir
schenaktmusikmehr(\879). His 'Gesammelte
Schriften' were transl. by L. Ramann and
publ. in 6 vols. (Leipzig, 1880-83); also a
selection as ' Volksausgabe' (4 vols. ; ib., 1910) ;
J. Kapp publ. AUgemeine Inhaltsubersicht with
full indices (1910).
BIBLIOGRAPHY. A. biography: Lina
Ramann, F. L. als Kunstler und Mensch (3
vols., Leipzig, 1880-94; vols, i and ii are an
excellent and exhaustive biogr. up to 1847;
errors can be corrected by reference to L's
publ. correspondence; vol. iii is devoted
chiefly to an analysis of the works, and is an
uncritical panegyric rather than a biogr.,
important facts and events being touched but
incidentally and inadequately; Engl. tr. of
vol. i by E. Cowdery, London, 1882); L.
Nohl, L. (Leipzig, 1884; Part II by A. G6l-
lerich, 1887; Engl. tr. by G. P. Upton,
Chicago, 1890); E. Reuss, F. L. (Dresden,
1898); R. Louis, F. L. (Berlin, 1899); M.-D.
Calvocoressi, F. L. (Paris, 1905); A. Gdilerich,
F. L. (Berlin, 1908); A. W. Gottschalg, F. L.
in Weimar und seine letzten Lebensjahre
(Berlin, 1909) ; J. Kapp, F. L. Eine Biographic
(Berlin, 1909; 2d ed. 1911; the best biogr.,
very sympathetic and sane; compiled from
original sources; contains list of L.'s publ.
works and exhaustive bibliogr.); J. Chanta-
voine, L. (Paris, 1910) ; R. Ledos de Beaufort,
F. L. The Story of His Life (Boston, 1910;
with list of works and pupils); A. Hervey,
F. L. and His Music (London, 1911); J. G.
Huneker, F. L. (New York, 1911); Sir A.
Mackenzie, L. (London, 1913).
543
LISZT— LITOLFF
B. Appreciation, Criticism: L. Nohl,
Beethoven, L.t Wagner (Vienna, 1874); R.
Wagner, Ober F. L/s Symphonische Dichtun-
gen, in vol. v of 'Ges. Schriften u. Dichtungen'
(Leipzig, 1883) ; R. Pohl, F. L. Studien und
Erinnerungen (Leipzig, 1883); B. Vogel, F. L.
als Lyriker (ib., 1887); A. Habets, A. Borodin
ti F. L. (Paris, 1893; Engl. tr. by R. New-
march, London, 1895); O. Bie, Das Klavier
und seine Meister (Munich, 1898); A. O.
von Pozsony, L. und H. von Biilow (ib.,
1900); E. Segnitz, F. L. und Rom (Leipzig,
1 9 1 1 ) ; E. Genast, A us Weimar s klassischer und
nachkiassischer Zeit (Hamburg, 1901); H.
Gerstenberg, A us Weimars nachkiassischer
Zeit (Hamburg, 1901); E. O. Nodnagel,
Jenseits von Wagner und L. (Konigsberg,
1902); La Mara, A us der Glanzzeit der
Weimarer Altenburg (Leipzig, 1906); F. H.
Clark, L.'s OJjfenbarung. Schlussel zur Frei-
heit des IndvMuums (Berlin, 1907); J. Kapp,
R. Wagner und F. L. Eine Freundschaft
(Berlin, 1908); J. Kapp, Liszt-Brevier (Berlin,
1910); id., F. L. und die Frauen (Berlin, 1911);
La Mara, L. und die Frauen (Leipzig, 1911);
A. de Angelis, F. L. a Roma (Turin, 1911);
A. Kohut, F. L. in seinen Werken als Mensch
und als Tonkunstler (Leipzig, 1911); E. Reuss,
F. L. in seinen Brief en (Stuttgart, 1911); A.
von Schorn, Das nachklassische Weimar unter
der Regierungszeit Karl Friedrichs und Maria
Paulownas (Weimar, 1911); E. Segnitz, L.'s
Kirchenmusik (Langensalza, 1911); C. Wag-
ner, F. L. Ein Gedenkblatt von seiner Tochter
(Munich, 1911); F. Barberio, L. e la princi-
pessa de Sayn-Wittgenstein (Rome, 1912); A.
von Schorn, Zwei Menschenalter, Erinnerun-
gen und Briefe aus Weimar und Rom (Stutt-
gart, 1913); E. Hughes, L. as a Lieder Com-
poser, in 4Mus. Quart.' (April, 1917). See
also W. Lenz, Die grossen Pianoforte- Virtuosen
unserer Zeit (Berlin, 1872; Engl. tr. by M.
Baker, N. Y., 1900).
C. Correspondence: Briefwechsel zwi-
schen Wagner und L. (2 vols. Leipzig, 1887;
2d ed. 1900; Engl. tr. by F. Hueffer, London,
1888 [2d ed. 1897, with index by W. A. Ellis);
Ital. tr. by A. Cavalieri-Sanguinetti, Turin,
1896; Fr. tr. by L. Schmitt, Paris, 1900).
These two editions contain only the letters
from 1841-61, and many passages referring
to persons still living at the time of publica-
tion were omitted; in the 3d ed., prepared by
Erich Kloss (1 vol., 1910), all letters up to
W.'s death are included, and the omitted
portions restored. — La Mara, F. L.'s Briefe
(8 vols., Leipzig, 1893-1905; about 2,500
letters in the original French or German;
those to Carolyne Sayn-Wittgenstein (vols,
iv-viil all in Fr.). This collection makes no
claim to completeness, and contains, in fact,
but few letters included in the following: C.
Bache, Letters of F. L, (2 vols., London, 1894;
in Engl, tr.); La Mara, Briefwechsel zwischen
F. L. und Hans v. Biilow (Leipzig, 1898); R.
v. Seydlitz, Ungedruckte Orxginalbriefe des
Meister s an G. Freiherrn v. Seydlitz (Dresden,
1902); A. Stern, F. L.'s Briefe an Karl Gilie
(Leipzig, 1903); La Mara, F. L. el Charles-
Alcxanare, grand-due de Saxe. Correspon-
dence (Leipzig, 1909); W. v. Csap6, F. L.'s
Briefe an Baron Anton Augusz, 1846-78
(Budapest, 1911); N. de Gutmannsthal,
Souvenirs de F. L. Lettres inedites (Leipzig:,
1913); K. v. Sch!6zer, Romische Briefe, 1864-
69 (Stuttgart, 1913). See also La Mara,
Briefe hervorragender Zeitgenossen an F. L,
(3 vols., Leipzig, 1895-1904).
D. Guides, Catalogues, etc.: Separate
analyses of all the larger works, including the
oratorios, masses ana psalms, are found in
H. Kretzschmar, Fuhrer dutch den Konzerf-
saal (3 vols., Leipzig, 1887; 4th ed. 1913);
in Breitkopf & Hart el's 'Kleiner Konzert-
ftihrer' (Leipzig), Schlesinger's 'Der Musik-
fuhrer' and 'Meisterfiihrer' (Berlin).— The-
matic catalogues of L.'s works were publ. by
Br. & H. in 1855 and '76; a complete cata-
logue of the publ. works by A. Gollerich ap-
peared in the 'Neue Ztschr. f. Musik' (1887-
8) ; a Chronologisch-systematisches Verzeichnis
by L. Friwitzer was publ. in the 'Wiener
musikalische Chronik' (Nov. 1887-Mar. '»).
A complete thematic catalogue, including
youthful works and unpubl. MSS., is now
being prepared by A. Gdllerich (1916). — See
also A. Mirus, Das Liszt-Museum zu Weimar
und seine Erinnerungen (Leipzig, 1887; 3d
ed. 1902).
Li'tolff, Henry Charles, b. London, Feb.
6, 1818; d. Paris, Aue. 6, 1891. A pupil of
Moscheles, he played at 12 in pub/ic. An
early marriage (at 17) forced him to seek a
livelihood in Paris; unsuccessful there, Vie
supported himself in Melun by teaching; and
in 1840 attracted the attention of Paris by a
brilliant concert. His reputation now grew
rapidly, though the unhappy course of his
private affairs led to a separation from his
wife. He made tours, beginning in Belgium;
from 1841—4 was conductor at Warsaw;
toured Germany and Holland, visited London
in 1846, and Vienna during the Revolution of
1848, in which he participated, but escaped to
Brunswick. Here he married the widow of
the music-publisher Meyer, changing the firm-
name in 1851 to 'H. LitohT; he was one of the
pioneers in the publication of cheap editions
(Collection Litolff). In 1860 he turned the
business over to his adopted son, Theodor,
and returned to Paris. For ten years the
state of his health had prevented concert -
giving; he devoted himself to composition,
and brought out 8 operas and operettas in
Paris, Baden-Baden, and Brussels, of which
the operetta Httoise et AbSlard was the most
544
L1TTA-IXOYD
successful. Of 4 operas, Die Brant vom Kynasl
(Brunswick, 1847) and Les Templiers (Brus-
sels, 1886) were performed; Rodrigue de To-
ledef and Le Rot Lear (finished 1890), have
not been prod. — Other works: An oratorio,
Ruth et Booz (1869); orchestral overtures; Subjekten (op. ^S^etc*
Robespierre, op. 55; Les Girondists, op. 80; '
-na^^ gyle: 3 Orga,
f£^ ?4 ;
Fuge a 5 uber 'Austiefer Not schrei ich zu Dir'
<?*!'• £' : ^m^tsatz im sir en gen Stil mil 4
Les Guelfes, op. 99; Chant des Beiges t op. 101;
Szenen aus Goethe's Faust f. soli, ch. ana orch.,
op. 103; the Eroica violin-concerto, op. 42; a
Funeral March for Meyerbeer, op. 116; 5
Concerto-symphonies f. pf. w. orch., op. 15,
22, 45, 102, 123; 3 pf.-trios, op. 47, 56, 100;
3 duets f. pf. and vln. (with Leonard); 6
etudes de concert, f. pf.; Opuscules, op. 25;
Invitation d la TarenteUe, op. 36; Nocturne,
op. 62; Characteristic Pieces, op. 65; a Spinn-
hed; etc., all f. pf. — His music is character-
ized by striking and brilliant effects.— Cf. H.
Berlioz, Les Musicians el la Musique (Paris,
1878; in Ger. tr. in vol. ix of 4H. B.'s Lite-
rarische Werke/ Leipzig, 1903); P. Magnette,
H. L. (Paris, 1914).
Lit'ta, Duca Giulio, Visconte Arese, b.
Milan, 1822; d. Vedano, n. Monza, May 29,
1891. Composer of precocious talent and
excellent training; prod, an opera at 20,
Bianca di Sanlafiora (Milan, 1843), followed
by nine others, the last being II Violino di
Cremona (La Sea la, Milan, 1882). Also an
oratorio, La Passione, at Turin ; and songs.
Litvinne, Felia, dramatic soprano; b.
in Russia, c. 1860. Pupil of Mme, Barth-
Banderoli and Victor Maurel in Paris, where
she made her debut at the Th. des Italiens.
After a season in America (1885-6, as Mile.
Litvinov) with Col. Mapleson's company, she
sang for some years in Russia (Petrograd,
Moscow), and then went to Paris, where she
became a favorite, especially through her
rendition of the great excerpts from Wagner's
works, which Lamoureux was then introducing
in his concerts. During the season of 1896-7,
she was heard as Isolde and Briinnhilde at the
M. O. H., but made little impression, coming
after such interpreters as Lehmann, Klafsky,
Materna and Nordica. Nevertheless, when
Cortot in 1902 gave his Wagner performances
at the Chateau d'Eau in Paris, both her sing-
ing and acting took the French audiences by
storm, and she has remained a prime favorite,
both as a member of the Th.-Lyrique de la
Gafte and of the Op.-Comique. She is a
sister-in-law of the de Reszkes, and married
to Dr. Emmanuel Depoux.
Lit'zau, Johannes Barend, b. Rotter-
dam, Sept. 9, 1822; d. there July 18, 1893.
Pupil of J. B. Bremer and B. Tours (pf. and
organ); self-taught in theory and composition.
1842, organist of the Presb. Ch.; 1855, suc-
ceeded Bremer as organist of the Lutheran
Ch. He founded an organ-school, and wrote
Litzmann, Bert hold, b. Kiel, Apr. 18f
1857; since 1897 prof, of Ger. literature at
**onn J^v.; wrote an exhaustive biogr.,
Klara Schumann, ein Kunstlerleben, nach Ta-
gebuchem und Briefen (3 vols.; Leipzig, 1902-
8; En^i. tr. by G. E. Hadow [abridged, 2
vols.], lb., 1913).
Livera'tl, Giovanni, b. Bologna, 1772;
d. after 1829. Noted tenor singer and opera-
composer; pupil of Mattei (comp.) and Gi belli
(singing). Brought out an opera at Bologna
in 1790; in 1792, first tenor in the Ital. th. at
Barcelona, later in Madrid, and conducted the
Royal Opera at Potsdam until 1800; then cond.
the theatre-orch., Prague, went to Trieste in
1804, and Vienna in 1805, living there as a
singing-teacher till 1814, when he was app.
composer to the Royal Th., London. His
last work was the opera The Nymph of the
Grotto (1829). — Works: 14 operas; 2 oratorios;
cantatas, minor vocal pieces; string-quartets;
'cello- music; etc.
Lloyd, Charles Harford, b. Thornbury,
Gloucestershire, England, Oct. 16, 1849.
Mus. Bac, 1871, Mus. Doc., 1891 (Oxford).
1876, organist of Gloucester Cath., and in that
capacity cond. of the 'Three Choirs' Festi-
vals there in 1877 and '80; 1882, of Christ
Church Cath., Oxford, and cond. of the
Oxford Symphony Concerts from 1882-6;
from 1887-92, prof, of org. and comp. at R.
CM.; 1892, precentor and mus. instructor
at Eton College, succeeding Barnby. Founder
and first president of the Oxford Univ. Mus.
Club. — Works : The cantatas Hero and Leander
(1884), The Song ofBaldur (1885), Andromeda
(1886), A Song of Judgment (1891), and Sir
Ogie and the Lady Elsie (1894) ; and (for female
voices) The Gleaner's Harvest; music to Alces-
tis (Oxford, 1887); Full Cathedral Service in
Et>; a pastoral, The rosy dawn (1889); 8-part
chorus To Morning (1890); trio f. clar., bas-
soon and pf.; part-songs and songs; organ-
sonata; etc.
Lloyd, Edward, born London, March 7,
1845. Noted tenor singer; choir-boy under
Tames Turle at Westminster Abbey till 1860.
He sang in churches and concerts, coming
prominently into notice at the Gloucester
Fest., 1871, in Bach's St. Matthew Passion.
Since 1874, first tenor at the Leeds Festivals.
He appeared at the Cincinnati Festival in
1888, and at other times in the United States.
He retired from the concert-stage in 1900, and
has since been living on his estate in Sussex.
545
LOBE— LOEFFLER
Lo'be, Johann Christian, b. Weimar,
May 30, 1797; d. Leipzig, July 27, 1881. His
first teacher was A. Riemann (flute and
violin); he was then taught by E. A. M Ciller,
and played a flute solo in the Gewandhaus,
1811. He was flutist, later viola-player, in the
Weimar court orch. until 1842; then received
the title of 'Professor,' and founded a music-
school, but gave it up in 1846 to go to Leipzig,
where he edited the 'Allgem. mus. Zeitung'
till 1848, and was diligent in composing and
teaching. — Works: 5 operas, prod, at Weimar;
2 symphonies; overtures; concertos, varia-
tions, and solo numbers f. flute; pf. -quartets,
etc. — He wrote Die Lehre von der thematischen
Arbeit (\S46),Lehrbuchder musikalischen Com-
position (Vol. i, Harmony, 1850; rev. by
Kretzschmar, 5th ed., 1884; Vol. ii, Instru-
mentation, 3d ed. 1879; Vol. iii, Canon, Fugue,
etc., 1860; Vol. iv, Opera, 1867; also rev. by
Kretzschmar, 1884-7); Katechismus der Mu-
sik (1851; 28th ed., 1904; Engl, transl., New
York) ; Musikalische Briefe eines Wohlbekann-
ten (1852; 2d ed. 1860); Fliegende Blatter fUr
Musik (1853-57, three vols.); Aus dem Leoer\
eines Musikers (1859); Vereinfachte Harmo-
nielehre (1861); Katechismus der Komposi-
tionslehre (1872, 7th ed. 1902); Consonanun
und Dissonanzen (1869).
Lobltowitz, Prince Franz Maximilian,
b. Dec. 7, 1772; d. Castle Raudnitz, Dec. 16,
1816. He was an eminent patron of art,
especially of Beethoven, who dedicated to him
the quartets op. 18, the 3d, 5th and 6th
symphonies, the Tripelkonzert, and the song-
cycle An die entfernte Geliebte,
Lotx) (or Lopez, Lupus), Duarte, b.
1540, d. 1643 (aged 103); important Portu-
guese composer, and a pupil of Manoel Men-
des, was (about 1600; choirmaster of the
Hospital Church, later of the Cathedral, at
Lisbon ; he died as Rector of the Seminary for
priests. — Publ. masses, magnificats (a 4-8),
an office for the dead, etc. — See Q.-Lex.
Locatelli, Pietro, violinist; b. Bergamo,
1693; d. Amsterdam, Apr. 1, 1764. Pupil of
Corelli at Rome; after long professional tours,
he settled in Amsterdam, establishing regular
public concerts there. His technical feats,
particularly in double-stops, were considered
marvellous at the time; by changing the
accordatura of his violin, he prod, apparently
impossible effects; Paganini is saia to have
profited by L.'s innovations. — Works: Op.
1, 12 Concetti grossi; op. 2, flute-sonatas w.
6 string-trios; op. 6, 12 sonatas f. solo violin;
op. 7, six Concerti a quattro; op. 8, string-trios;
op. 9, VArte di nuova modulazione (Fr. Ca-
prices inigmatiques); op. 10, Contrasto ar-
monico, 4-part Concerti. — In new editions:
The sonatas, op. 6; also a few pieces in
Alard's and David's methods. — See Q. -Lex-
Locke, Matthew, born Exeter, England,
1632 ('33?); d. London, Aug., 1677. Chor-
ister in Exeter Cathedral, studying under
Edward Gibbons and W. Wake. Composer to
Charles II, 1661; became a Roman Catholic,
and was app. organist to Queen Catherine.
Prominent among early English composers, he
wrote music to The Tempest and Macbeth, and
to Shadwell's Psyche (this last, and The Tem-
pest, were publ. 1675 as The English Opera) ; to
Shirley's masque Cupid and Death, and Staple-
ton's comedy The Stepmother; also 6 suites,
anthems, etc. (some pieces are in 17th-century
collections) ; the first English workon thorough-
bass, Mclathesia, or Certain General Rules for
Playing upon a Continued Bass (1673); and
pamphlets versus Salmon's attempt at re-
ducing mus. notation to one universal char-
acter.— See Q.-Lex.
Lo'der, Edward James, b. Bath, England,
1813; d. London, Apr. 5, 1865. Pupil of his
father, also of Ferd. Riesat Frankfort. Com-
posed operas for Drury Lane and Covent
Garden; was conductor of the Princess's Th.,
and later at Manchester. — Operas: Nourja-
had (1834); The Night Dancers (1846); Pud
[a ballad-opera], Raymond and A$nes (1855);
additions to various others; music to Oxen-
ford's Dice of Death ( 1835) ; masque The Island
of Calypso (1851); string-quartets; songs (The
Brave Old Oak).
Loeb, Jules, born Strassburg, May 13,
1857. A leader among French 'cellists; was a
pupil of Chevillard at Paris Cons, and won 1st
prize. Is solo 'cellist at the Opera, and at the
Cons. Concerts; also a member of theManack
Quartet, and of I. Philipp's 'Societe poor
instrs. a vent et a cordes.
Loeffler, Charles Martin Tornov, born
Mulhausen, Alsatia, Jan. 30, 1861. Vio-
linist and composer; studied the violin under
Massart and Leonard, in Paris, later under
Joachim in Berlin ; comp. under Guiraud,
Paris. Began public career by playing in
Pasdeloup's orch.; afterwards joined Prince
Dervier's orch. in Nice and Lugano. From
1883-1903 2d leader in the Boston, Mass.,
Symphony Orch., also appearing as a soloist
every season; since 1903 living in Boston as
teacher and composer. Among Amer. com-
posers he occupies a place of great prominence,
chiefly through his orchestral compositions,
which have been performed frequently by the
larger organizations; his style is strongly im-
pressionistic.— Works: Suite in 4 movements
Les veillees de V Ukraine (after Gogol), f. vio-
lin and full orch. (1891); concerto in 1 movem.
f. 'cello and full orch. (played by Schroeder,
1894); Divertimento f. violin w. orch. (1895);
546
LOEILLET— LOEWENGARD
La Mart de Tintaeiles (after Maeterlinck),
symph. poem f. full orch. w. 2 viole d'amore
obbl. (1897); Divertissement espagnole f. orch.
and saxophone (1901); and the symph. poems
La bonne Chanson (after Verlaine), La Villa-
mile du Diable (after Rollinat), A Pagan Poem
(after Virgil); The Mystic Hour, symph. f.
orch. and male ch.; Psalm 137, f. female ch.;
For One Who Fell in Battle, L 8-part mixed ch. ;
2 Rhapsodies f. ob.f via. and pf.; octet f. 2
clars., 2 vlns., viola, 'cello,. double-bass and
harp; string-sextet; quintet (1 movem.) f. 3
vlns., viola and 'cello. Also songs f. mezzo-
sopr., w. viola obbl. and pf . (poems by Verlaine
and Baudelaire). In MS., a 1-act opera.
Loeillet fld-yal, Jean-Baptiste, a cele-
brated flutist and harpsichordist; b. Ghent;
d. London, 1728. Studied in Ghent, and
from 1702 in Paris; went to London in 1705,
and from 1710 gave weekly amateur concerts
at his own house. Excellent teacher. Publ.
sonatas f. flute, oboe and violin; also flute-
trios, and 12 suites of lessons f. harpsichord.
Loewe, (Johann) Karl (Gottfried), the
perfecter of the 'ballade* for solo voice w. pf.-
accomp.; b. Nov. 30, 1796, at Ldbejun, n.
Halle; d. Kiel, Apr. 20, 1869. His father, a
school- master ana cantor, taught him at first;
in 1809 he was sent to the Francke Institut,
Halle, where his beautiful soprano voice and
clever, attempts at composition attracted
attention. He received a yearly stipend of
300 Thaler from King Jerome until 1812;
Turk was his teacher in music until 1813,
after which L. joined the Singakademie found-
ed by Naue. He studied theology at the
Univ., 1817-19, also producing some vocal
works (Treuroschen, Wallhaide, Erlkonig) ; was
app. cantor at St. Jacob's, and teacher at the
gymnasium at Stettin in 1820, and town mus.
air. in 1821, remaining here until 1866, when
he settled in Kiel. From Greifswald Univ. he
received the title of Dr. ffhil. (hon. c). On
journeys to German cities, Vienna (1844),
London (1847), Sweden and Norway (1851),
and Paris (1857), Loewe, being an excellent
vocalist, introduced his ballades to public
notice. His publ. works, 145 opus-numbers,
include 1 opera, Die drei Wunsche^ (Berlin,
1834; pf. -score publ.); 17 oratorios (Die
Festzeiten, Die Zerstorung Jerusalems, Johann
Huss, Die Auferweckung des Lazarus, etc.); a
cantata, op. 120, Die Hochzeit der Thetis; a
ballade f. soli, ch. and orch., op. 25, Die erste
Walpurgisnacht [Goethe] ; his most important
and characteristic works, the ballades f . voice
w. pf., are publ. by Peters and Schlesinger in
'Loewe- Albums' containing 20 and 16 numbers
respectively (among the finest are Edward,
Erlkonig, Der Wirthin Tochterlein, Der Nock,
Archibald Douglas, Tom der Reimer, Heinrich
der Vogler, OluJ, and Die verfallene MuhU)\ 3
string-q uartets (op. 24 ; G, F, B b) ; a pf .-trio (op.
12, G m.); several pf. -sonatas. 4 other operas
(not perf.), symphonies, overtures, etc., were
left in MS. — Writings: Gesanglehre fitr Gym-
nasien, Seminarian und Burger schulen (1826, 3d
ed. 1834); MusikaHscher Gottesdienst; metho-
dische A nweisung zum Kirchengesang und OrgeU
spiel (1851; 3 further editions); Clavier- und
Generalbass-Schule (2d ed. 1851). A'Gesammt-
ausgabe der Balladen, Legend en, Lieder und
Gesange' (over 500 in 17 vols.), ed. by Max
Runze, was publ. by Breitkopf & Hartel
(1899-1903). A Loewe- Verein was founded
in Berlin in 1882.
Bibliography: Selbstbiographie, ed. by K.
H. Bitter (Berlin, 1870) ; A. Wellmer, K. L. Ein
deutscher Tonmeister (Leipzig, 1885); M.
Runze, L. redivivus (Berlin, 1888); A. B. Bach,
The Art-ballad. L. and Schubert (London,
1890; 3d ed. 1896); M. Runze, Ludw. Giese-
brecht und K. L. (Berlin, 1894); W. Wossidlo,
K. L. als Balladenkomponist (Berlin, 1894);
A. Niggli, K. L. (Zurich, 1897); H. Bult-
haupt, K. L. Deutschlands Balladenkomponist
(Berlin, 1898); M. Runze, Goethe und L. (as
introd. to vols, xi and xii of the 'Gesammt-
ausgabe' of L;'s works, Leipzig, 1901); id.,
Die musikalische Legende (introd. to vols,
xiii and xiv of same; ib., 1902); H. Draheim,
Goethes Balladen in L.'s Komposition (Lan-
eensalza, 1905); M. Runze, K. L. (Reclam,
Leipzig, 1905); L. Hirschberg, Reitmotive.
Ein Kapilel vorwagnerischer Charakterisie-
rungskunst (Langensalza, 1911); K. Anton,
Beitrdge zur Biographie K. L.'s (Halle, 1912);
H. Kleemann, Beitrdge zur Asthetik und Ge-
schichte der Loeweschen Ballade (Halle, 1913).
See also the annual reports of the 'L.-Verein'
(Berlin).
Loewengard, Max Julius, b. Frankfort-
on-Main, Oct. 2, 1860; d. Hamburg, Nov. 21,
1915. Pupil of Raff in Frankfort; began his
career as th.-cond.; 1890-1, teacher at the
Cons, in Wiesbaden; 1891-1904, prof, at the
Scharwenka Cons, in Berlin, and mus. critic of
the 'Bdrsen-Zeitung'; in 1904 he removed to
Hamburg, where he succ. Sittard as critic
for the 'Korrespondent,' was prof, at the Cons,
(until 1908), and founded the 'Institut fur
Musikwissenschaft.' He was eminently suc-
cessful as a teacher. His comps. include an
opera, Die vierzehn Nothelfer (Berlin, 1896),
a Serenade for orch., and songs of merit. —
Writings: Lehrbuch der Harmonic (1892; 6th
ed. 1906; Engl. tr. by H. M. Peacock [1905],
F. Liebing [1907], Th. Baker [1910; from the
6th augm. Ger. ed.]); Lehrbuch des Kontra-
punkts (1902; Engl. tr. by F. Liebing, 1907);
Aufgabenbuch zur Harmonielehre (1903); Lehr-
buch des Kanons u. der Fuge (1903); Lehrbuch
der musikalischen Formen (1904); Praktische
Anleitung zum Generalbasspiel, Harmoni-
sieren, Transponieren u. Modulieren (1913).
547
LOGIER— LOHR
Logier [loh-zh'ya'l, Johann Bernhardt
b. Kassel, Feb. 9, 1777; d. Dublin, July 27,
1$46. Finding piano-practice distasteful,
he fled from home at the age of ten, and was
taken to England by an Englishman enam-
oured of his flute- playing (L. was a most
precocious pupil of Weidner). In 1805 he
joined a regimental band as flutist, and ac-
companied it to Ireland, some years later be-
coming organist at Westport, where he per-
fected the invention of the 'chiroplast,' an
apparatus for holding the hands in correct
position during piano-practice. It was patent-
ed in 1814, and Logier travelled through the
United Kingdom to introduce it. It obtained
great vogue, and brought him fame and wealth.
Stopel was sent by the Prussian Government
to examine and report on the chiroplast, and
L. was invited to Berlin to introduce his
system. He remained there 3 years, and
then returned to Dublin (1826). This sys-
tem, which soon spread over Great Britain
and Germany, and was even adopted in the
Paris Cons., was reinforced by L.'s original
idea of the simultaneous practice of several
pupils on different pianos, which became the
most important part of this method of in-
struction. The system was not received
without protest. L. published in 1816 a work
entitled An Explanation and Description of the
Royal Patent Chiroplast, or Hand-Director for
Pianoforte, etc.; bitter attacks were met by
An Authentic Account of the Examination of
Pupils instructed on the New System of Musical
Education, by J. B. Logier (1818), which was
greeted by yet more violent diatribes, all
serving as excellent advertisements of the in-
vention. In The First Companion to the Royal
Patent Chiroplast, L. explains his method of
simultaneous teaching: he also publ. Logier1 s
Practical Thorough-bass, and (in German) a
System der Musikwissenschaft und der musi-
kalischen Composition (Berlin, 1827). His
compositions include a of. -concerto; sonatas,
etc., f. pf.; pf.-trios w. flute and 'cello; and a
method for Buglehorn. — See Q.-Lex.
Logroacino [:she'~], Nicola, b. Naples, c.
1700; d. there in 1763. Eminent dramatic
composer, pupil of Durante. In 1747 he be-
came first prof, of counterpoint at the Cons,
dei Figliuoli dispersi in Palermo, but spent
his last years in Naples, where he prod, over
a score of operas, chiefly in opera-buffa style,
in which he surpassed his predecessors Leo,
Pergolesi, and Hasse, and introduced the
(then) new and brilliant effect of the act-
close in ensemble. His operas held the stage
till Piccinni's star gained the ascendant.
Among his works were Inganno per Inganno
(1738), La Violante (1741), // Governatore
(1747), Tanto bene, tanto male, Ilvecchiomarito,
La Furba burlata (1760; written with Piccinni),
and his one opera seria, Giunio Bruto (1750). —
Cf. H. Kretzschmar, Zwei Opern JV. L.'s, in
Peters' 'Jahrbuch' (1908).
Ldhlein, Georg Simon, b. Neustadt, n.
Koburg, 1727; d. Danzig, Dec. 18, 1781.
On account of his gigantic stature he was
seized in' his seventeenth year, while on a.
journey, and forced into the Prussian Guard ;
having passed through several campaigns,
he was severely wounded in the battle of
Kollin (1757), and discharged. He recovered
completely, went to Tena in 1760, and there
finished his musical education, becoming
Musikdirektor; in 1763 he settled in Leipzig
as a violinist, pianist and teacher; from 1779
he lived in Danzig as Konzertmeister. His
Klavierschule (2 parts, 1765, '81) was im-
mensely successful, passed through many
editions, and was even revised by Czerny;
a Violinschule (1774) met with almost equal
success; but his numerous comps. are for-
gotten. He wrote a Singspiel, Zemaire und
Azor (Leipzig, 1775); divertimenti for orch.;
concertos for clavicembalo, sonatas, trios,
quartets, etc. — See Q.-Lex.
Loh'mann, Peter, German poet; born
Schwelm, Westphalia, Apr. 24, 1833; d.
Leipzig, Jan. 10, 1907. From 1856 he lived
in Leipzig, and wrote 1858-61 for the 'Neue
Zeitschrirt fur Musik.' His dramatic idea/
was the art- work free from conventionalism,
nationalism, religious conflict, or mythic
influence — a universal drama appealing equal-
ly to all mankind; in music his principles
coincide in great part with Wagner's poly-
phony. Several of his vocal dramas have
been set to music: Die Rose vom Libanon,
and Irene, by Joseph Huber; Frithjof by
Goebel; Durch Dunkelzum Licht by Freuden-
berg; Valmoda and Frithjof by Dreszer; etc.
These and other poems have been puVA. in
4 vols. (3d ed. 1886). Other works are
Ober R. Schumanns Faustmusik (I860), and
Vber die dramatische Dichtung mil Musik •
(1861; 2d ed. 1864; 3d ed. as Das Ideal
der Oper, 1886).
L6hr, George Augustus, born Norwich,
England, Apr. 23, 1821; d. Leicester, Aug.
25, 1897. Chorister at Magdalen Coll.,
Oxford; asst. -organist to Dr. Z. Buck, Nor-
wich Cath., for 10 years; 1845-85, organist
at St. Margaret's, Leicester. For many
years also cond. the Amateur Harm. Soc.
Ldhr, (Richard) Harvey, son of preceding;
b. Leicester, Engl., June 13, 1856. Pupil of
his father; then of Prout, Sullivan and Holmes
at the R. A. M., winning the Lucas medal
twice (1877, 78); also Potter Exhibitioner,
and Santley Prizeholder (1879). Was for
many years organist at St. James's, Maryle-
bone. Has also appeared as a concert-
pianist since 1882. — Works: Oratorio The
Queen of Sheba; an opera, Kenilworth; 5
548
LOHSE— LORENTZ
symphonies; 2 str. -quartets; a pf. -quintet; a
pf. -quartet; a pf.-trio; services, anthems, etc.;
part-songs; songs; a Ballade (op. 3) for
cello and pf.; Duo concertante (op. 13) for
do.; a Caprice (op. 11) and a Cavatina (op.
14) for violin and pf.; The Window, 12 pf.-
pieces; etc. — Primer of the rudiments of music
\\m);Principia of Music (1890), etc.
Lohse, Otto, distinguished conductor; b.
Dresden, Sept. 21, 1859. Pupil at the Cons,
there of H. Richter (pf.), F; GrQtzmacher
(vcl.), F. Draeseke and F. Wtillner (comp.);
1877-9, 'cellist in the Dresden court orch.;
1880-2, teacher of pf. at the Imp. Music-
School at Vilna; 1882-9, cond. of the Wagner
Soc. and the Imp. Russian Mus. See. in
Riga, and 1889-93 first Kapellm. at the
Stadtth. there; 1893-5, do. at the Stadtth.
in Hamburg. There he married the famous
singer Katharina Klafsky, and in the spring
of 1896 both artists were members of the
Damrosch Opera Co. (L. as cond.); 1897-
1904, first Kapellm. and Genera lmusikdir.
in Strassburg; 1904-11, first Kapellm. in
Cologne; 1911-12, at La Monnaie, Brussels;
since 1912 first Kapellm. at the Leipzig
Stadtth. From 1901-4 he cond. the Wagner
dramas at Cov. Garden, and in 1902 the
series of svmphony-concerts of the R. orch.
in Madrid. He has comp. an opera, Der
Print wider Willen (Riga, 1890) and songs.
— His son Georg is principal tenor (since
1913) at the Stadtth. in Chemnitz.
Lolli, Antonio, distinguished violinist;
born Bergamo, c. 1730; died Palermo, 1802.
Leader at Stuttgart, 1762-73; spent 5 years
in Petrograd, the special favorite of Empress
Catherine II; was in Paris in 1779, traversed
Spain, Austria, Germany, and Denmark, and
came to London in 1785, where, in striking
contrast with other towns, his reception was
cool. He then went to Naples, and finally
to Palermo. A player of the Corelli 'school/
he had great technique but no emotional
power, and his performances were unequal.
—Works: 8 concertos; 3 sets of sonatas (6
in each) w. bass; 6 sonatas w. 2d violin; and a
Vln.-method ; all of slight value. — See Q.-Lex.
Lomagne, B. de (pen-name of Albert
Soubiks in the Paris 'Le Soir').
Lo'makin, Gabriel Joachimovitch, b.
Petrograd, Apr. 6, 1812; d. Gatchina, May 21,
1885. While a chorister in the church-choir
of Count Sheremetiev he studied theory with
Sapienza; became choirmaster in 1830, and
singing-master at several institutions in
Petrograd; cond. of the court chapel, 1848-59.
Together with Balakirev he established in
1862 the Free School for Music, and had
charge of the singing classes. Ill health
compelled him in 1874 to withdraw from
musical activities. He comp. 10 Cherubim
Songs; 14 Penitential Songs; a Liturgy;
several other sacred songs. Also publ. a
Treatise on Choral Singing. Even more im-
portant are his arrangements for 4-part
chorus of the old Russian church-hymns
(in collaboration with Vorotnikov and Lvov).
Longhurot, William Henry, b. Lambeth,
England, Oct. 6, 1819; d. Canterbury, June
17, 1904. 1828-36, chorister in Canterbury
Cath.; then asst. -organist, master of the
choristers, and lay-clerk; 1873, first organist,
succeeding T. E. Jones; retired in 1898,
after seventy years of uninterrupted service
in the Cath. Mus. Doc. 1875; mus. lecturer
at St. Augustine's Coll., Canterbury. — Works:
The oratorio David and Absalom (1872);
The Village Fair, an Alpine IdyU (1882);
cathedral-service in E; other church-music;
etc.— His brother, John Alex. (1809-1855),
sang in opera and concert.
Longy [lohn-zhe']t Georges, oboe-virtuoso;
born Abbeville, France, 1868. Pupil of the
Paris Cons., graduating in 1886 as winner of
the 1st prize; from 1886-8 he was a member
of the Lamoureux Orch.; 1888-98, 1st oboe
of the Colonne Orch., and of the orch. at
the Op.-Comique; since 1898 do. of the Boston
Symph. Orch.; 1899-1913, cond. of the
Boston Orchl. Club; in 1915 app. cond. of
the MacDowell Orch. (Boston). In 1916 he
establ. his own music-school in Boston. He
is perhaps best known as the founder (in
1900) and dir. of the Longy Club, one of the
leading chamber-music (wood-wind) organi-
zations.
Loomis, Harvey Worthington, b. Brook-
lyn, N. Y., Feb. 5, 1865. Pupil at the Nat.
Cons, of Madeleine Schiller (pf.) and A.
Dvorak (comp.); living in New York as
composer. — Works: A grand opera, The
Traitor Mandolin; 4 comic operas, The Maid
of Athens, The Burglar's Bride, Going Up?,
The Bey of Baba; the musical pantomimes
Put to the Test, Her Revenge, In Old New
Amsterdam, The Enchanted Fountain, Love
and Witchcraft, Blanc et Noir; incid. music
to R. Peter s The Tragedy of Death and
W. Sharp's The Coming of the Prince; Fairy
Hill, cantata for children; pf.-pes. Among
his songs those written for children deserve
special mention (Song Flowers for Children to
Gather [2 books], Toy Tunes, etc.).
Lopez. See Lobo.
Lo'rentz, Alfred, b. Strassburg, Mar. 7,
1872. St. flute with Rucquoy arid Taffanel
in Paris, and was for a time flutist in the
orch. at Baden-Baden; then st. comp. with
Rheinberger at the Akademie der Tonkunst
in Munich (1892), and practical cond. under
Mottl at Karlsruhe; app. chorus- master in
1894; later Kapellm. at the Stadtth. in
549
LORENZ— LORTZING
Strassburg; since 1899 Hofkapellm. in Karls-
ruhe. Comp. of the operas Der Monck von
Sendomir (Karlsruhe, 1907), and Die beiden
AiUomaten (ib.f 1913); also some works for
orchestra.
Lo'renz, Franz, b. Stein, Lower Austria,
Apr. 4, 1805; d. Vienna, Apr. 8, 1883. Phy-
sician and litterateur. — Works: In Sachen
Mozarts (1861); Haydns, Mozarts und Beet-
havens Kirchenmusik; W. A. Mozart als
Claviercomponist (1866); newspaper articles.
Lorenz, Julius, born Hanover, Oct. 1,
1862. Pupil of Reinecke, Jadassohn and
Paul at the Leipzig Cons. From 1884,
cond. of the Smgakademie at Glogau;
1895-1911, of the 'Arion,' New York; since
1911 org. at the synagogue in Glogau. —
Works: An opera, Die Kekruten; Mass in
D m. for soli, ch. and orch.; Psalm 95 for
ch. and orch.; Festhymne for ten. solo, ch.
and orch. (op. 25); pf.-trio (op. 12); .str.-
quartet in D m. (op. 24); overtures, pf.-
music, choruses, and songs.
Lorenz, Karl Adolf, b. Kdslin, Pomera-
nia, Aug. 13, 1837. As a school-boy he com-
posed trios, quartets, etc.; studied music in
Berlin under Dehn, Kiel and Gehrig, also at
Berlin Univ. (Dr.phil., 1861). Became cond.
of the Meixner Gesangverein ; 1864, of the
Stettin Musikverein; 1866, Municipal Direc-
tor of music in Stettin, succeeding Loewe.
He is also an organist; cond. of the Symphony
Concerts and of the 'Lehrer-Gesangverein ;
music-teacher in two gymnasiums; ' and
founded the 'Stettiner Musikverein' (for
oratorio). Created 'Professor' in 1885;
retired in 1910. — Works: The secular ora-
torios Otto der Grosse (op. 20), Winfried (op.
30), Krosus (op. 35), Die Jungfrau von
Orleans (op. 44), Das Lickt (op. 80); a passion
cantata, Golgatha (op. 65); the choral works
with orch. Heinrich der VogelsteUer (op. 19),
Hymne an die Kunst (op. 25), Die Ozeaniden
(op. 60); Symphony in Eb (op. 74); a pf.-
tno in Ei> (op. 12); 2 operas, Die Komodie
der Irrungen, and Harold und Theano (4 acts;
Hanover, 1893), both succ.; overtures, etc.
Loren'zi-Fabris, Ausonlo de, b. Monte-
belluna, Jan. 18, 1861. Pupil of the Liceo
Benedetto Marcello in Venice. Comp. of
the operas Gli Adoratori del fuoco (Venice,
1891), Maometto II- (ib., 1892; rewritten
Florence, 1903), Refugium Peccatorum (Ven-
ice, 1897), // Re s'annoia (Trieste, 1904).
Two other operas, Giuditta and Sordello,
have not yet been produced.
Loren'zo, Leonardo dc, born Viggiano,
Potenza, Italy, Aug. 29, 1875. St. at the
Naples Cons, with G. Nigro, A. Pagnotti
and C. de Nardis; 1897-1900, first flutist
at the T. Municipale in Alessandria (Pied-
mont); 1900-7, tours of Europe and South
Africa; 1910-12, first flutist of the N. Y-
Philh. Soc.; 1912-14, do. of the Symph.
Orch.; since 1914 do. of the Minneapolis
Symph. Orch. Has publ. some pieces for
ft. and pf. (Tarantella, Notturno, Pensiero
elegiaco, etc.) and many studies: Op. 1,
Nave grandi studi artistici; op. 2, / due virtuosi
(for 2 fls.); op. 9, V Indispensable (a modern
fl.-school); op. 10, 11, 12, 13, Grand Studies
(solos) with pianoforte.
Lo'ris; Lori'tus. See Glareanus.
Lortat [16hr-tah'], Robert, fine pianist;
b. Paris, Sept. 12, 1885. Pupil at the Cons,
of L. Diemer, winning 1st prize in 1901;
won the Prix Diemer in 1909 at a contest
of the 1st prize-winners of the preceding ten
years (judges: Saint-Saens, Massenet, rade-
rewski, Rosenthal, Bauer, etc.). After a
most successful debut in Paris in 1910, he
made a tour of the principal German cities,
playing mostly with orch., and winning
golden opinions; during 1913 he played in
six recitals the entire works of Chopin in
Paris and London; in London also in four
recitals the entire works of G. Faure. His
Amer. debut in New York (Nov. 2, 1916)
fully confirmed the favorable reports that
had preceded him; his programs of the
first season contained many novelties d
contemporary French composers; his recitals
with J. Thibaud proved him an ensemble-
player of a very high order.
Lort'zing, (Gustav) Albert, an eminently
popular opera-composer; b. Berlin, Oct. 23,
1801; d. there Jan. 21, 1851. His parents
were actors; the boy had lessons for a time
with Rungenhagen, but the wandering life
led by the family cut them short. He him-
self took children's rfiles on the stage, and
had some training as an actor and singer;
as an instrumental player, and in composition,
he was almost wholly self-taught. In 1825
he married an actress, Regina Ahles (b. Dec.
5, 1800; d. June 13, 1854). In 1824 brought
out a short opera, Ali Pascha von Janina,
at Cologne; joined the company of the
Court Th., Detmold, in 1826 as an actor,
and in 1832 produced 2 vaudevilles, Der
Pole und sein Kind and Scene aus Mozarts
Leben, which were well received on several
German stages. From 1833-44 he was en-
gaged at the Leipzig Theatre as a tenor
singer; here he launched Die beiden Schiitzen
(Feb. 20, 1837; instantly popular), and on
Dec. 22 of the same year Czar und Zimmer-
mann (not appreciated at Leipzig, but warmly
greeted at Berlin, and still a general favorite) ;
Die Schatzkammer des Inka (not perf.), Das
Fischerstechen (1839; a local skit, but a
failure), Hans Sachs (1840), and Casanova
(1841) were followed by his best work, Der
550
LOSCHHORN— lotto
Wildsihutz (1842; only a moderate success
at first). Promoted to the conductorship
of the Leipzig opera in 1844, he resigned
in a short time- on account of differences
with the management. Reduced to poverty,
which the successes of his operas mitigated
but transiently, he went from town to town,
bringing out Undine at Hamburg (1845),
Der Waffenschmied at Vienna (Th. an der
Wien, 1846), Zum Grossadmiral at Leipzig
(1847), and Die Rolandsknappen (Leipzig,
1848). The success of Der Waffenschmied
led to an engagement as Kapellm. at the
Th. an der Wien, but during the revolution
of 1848 the institution failed, and L. again
was without the means of subsistence.
After a second brief appointment at Leipzig
(1849), which again ended in a quarrel, he
went to Berlin, and became Kapellm. of
the new Friedrich Wilhelmstadtisches Th.
in 1850, spending the last year of his life
as a conductor of farces and similar triviali-
ties. The sum of 15,000 Thaler (about
$11,000) was raised by theatrical benefits
for the support of his destitute family. In
1850 he still brought out an operetta, Die
Opernprobe, and a farce, Die Berliner Grisette.
He left two other dramatic works, Der
Weihnachtsabend (not perf.), and a 3-act
romantic opera Retina, oder die Marodeure
(comp. 1848; carefully edited by Richard
Kleinmichel, with text-revision by L'Arronge,
it was prod, at the Royal Opera, Berlin,
Mar. 21, 1899, with great applause). The
delightful humor and never-failing flow of
melody in L.'s operas make them fresh as
ever, after the lapse of three-quarters of a
century. He also wrote music to Benedix'a
drama Drei Edelsteine; an oratorio, Die
Himtnelfahrt Christi; overtures, songs, etc.
— Bibliography: G. A. Duringer, A. L.9
seinLebenund Wirken (Leipzig, 1851); G. R.
Kruse, A. L. (Berlin, 1899; the best biogr.);
R. Burner, A. L. in Detmold. . . (Detmold,
1900); C. A. Webster, Pamphlet an A. L.
(London, 1900); G. R. Kruse, L.'s Briefe
(Leipzig, 1902); Anon., A. L.-FeiertBad Pyr-
mont% 29. und30. Juni 1901; (Pyrmont, 1901);
H. Wittmann, L. (Reclam, Leipzig, 1902).
Ldsch'horn, Albert, b. Berlin, June 27,
1819; d. there June 4, 1905. Pupil of L.
Berger, 1837-9, and of Killitschgy (likewise
a pupil of Berger), Grell, and A. W. Bach
at the R. Inst, for Church-music, succeeding
Killitschgy there as pf. -teacher in 1851;
'Professor in 1859. A pianist and teacher
of deservedly high reputation, he published
many elegant and effective $ato»-pieces for
f>f., also suites, sonatas, sonatinas, and the
ike; and a long series of excellent pf. -studies
(Studies for Beginners, op. 65; for more
advanced pupils, op. 66; for Advanced
Students, op. 67; Melodious Studies, op. 38,
193, 194, 195, 196; La Velaeiti, op. 136;
Universal Studies, op. 185; Le TrUle, op.
1 65 ; School of Octaves, op. 1 76 ; etc . ) . Favorite
pf.-soli are op. 25, La belle Amasone; op.
109, 4 Pieces SUgantes; op. 133, TarenteUe;
op. 162, the barcarolle A Venise; op. 161,
Deux Valses; op. 163, Trois Mazurkas.—
With J. Weiss he publ. a Wegweiser in die
Pianoforte-Litteratur (1862; 2d ed. 1885 as
Fuhrer durch die Klavierlitttratur).
Loth, Louis Leslie, b. Richmond, Vs.,
Oct. 28, 1888. Began the study of the pf.
with Mrs. W. H. Laughter, and continued
for two years with Herman Epstein in New
York; then spent six years in Berlin with
A. Jonas (pf.) and Dr. Paul Ertel (comp.);
has appeared as pianist in Germany and the
Eastern States; in 1914 his First Symphony
in A was perf. by the Orchesterverein in
Breslau. Has written 2 symphonies; a str.-
quartet; a str.-trio; a quartet for vl., fl.,
bassoon, and pf.; a pf. -sonata; comps. for
fl. and pf.; do. for vl. and pf.; do. for vl.,
vcl. and pf.; pf. -pieces and songs.
Lotti, Antonio, famous organist and
composer; b. Venice, c. 1667; d. there Jan.
5, 1740. Pupil of Legrenzi at Venice, where
he prod, an opera, Giustino, at the age of
16; in 1687, chorister at San Marco; in
1692, 2d organist there; from 1704-36, 1st
organist; finally, maestro di cappella. He
absented himself but once, 1717-19, two
years spent in Dresden at the Crown Prince's
invitation, L. taking a company of singers
with him, and successfully producing several
operas. — A foremost representative of the
Venetian school, Lotti stands midway be-
tween the old contrapuntists and the freer
» style of A. Scarlatti, Handel, etc. During
his dramatic period (1683-1719) he brought
out 17 operas in Venice, 1 in Vienna, and
3 in Dresden (only in these last did he
employ wind-instrs., so fearful was he of
overpowering the voices). His sacred music
forms the most important part of his works,
and includes 4 oratorios, many masses,
motets, Misereres, etc., none of which were
publ. by him (Lack's 'Sammlung ausgez.
Compositionen' contains 4 masses, and other
numbers; Rochlitz, Proske, Trautwein, Com-
mer, Schlesinger, and others, have also
printed Misereres, and other music, in their
collections). His MSS. are in various libraries.
He publ. only Duetti, terzetti e madri^ali
(1705; includes the madrigal In una stepe
ombrosa, the appropriation of which caused
Bononcini's downfall). His most famous
work is a Miserere a 4 with Crucifixus a
12. Albert!, Gasparini, Galuppi and Mar-
cello were his pupils. — See Q.-Lex.
Lot/to, Isidor, b. Warsaw, Dec. 22, 1840.
Pupil of Massart (vln.) and Reber (comp.)
551
LOTZE— LOZZI
at Paris Cons. In 1862, after long tours,
solo violinist at Weimar; 1872, violin-
teacher at Strassburg Cons.; since 1882 at
the Warsaw Cons.
Lot'ze, Rudolf Hermann, physiologist
and writer; b. Bautzen, May 21, 1817; d.
Berlin, July 1, 1881. In 1842, prof, of philo-
sophy at Leipzig; 1844, prof, in ordinary,
and court councillor, at Qtttingen; called to
Berlin in 1881. His Geschichle der Asthetik
in Deutschland (1868) contains sound criti-
cism of Helmholtz, Hauptmann, and others;
also interesting ideas on musical esthetics.
Louis Ferdinand, Prince of Prussia,
nephew of Frederick II; b. Friedrichsfelde,
n. Berlin, Nov. 18, 1772; fell at Saalfeld, Oct.
10, 1806. Excellent amateur musician and a
great admirer of Beethoven, whose influence
is everywhere noticeable in the prince's
works. He publ. a quintet in C m. (op. 1);
3 pf. -trios (op. 2, Ab; op. 3, Eb; op. 10, Eb);
2 pf. -quartets (op. 5, Eb; op. 6, F m.); Notturno
f. tl., vl., via., vcl. and 2 horns (op. 8) ; 2 Rondos
for pf. and orch. (op. 9, Bb; op. 13, Eb);
octet for pf., clar., 2 vlas., 2 vcls., 2 horns
(op. 12); etc. — See Q.-Lex.
Louis, Rudolf, b. Schwetzingen, Jan. 30,
1870; d. Munich, Nov. IS, 1914. St. philo-
sophy in Geneva and Vienna (Dr. phil.t
1894) and music with F. Klose; took a course
in practical cond. under F. Mottl in Karls-
ruhe, 1894-5; Kapellm. at the Stadtth. in
Landshut, 1895-6, and then for a year in
Lubeck; settled in 1897 in Munich as a
writer; from 1900 also critic for the 'Neueste
Nachrichten.' — Works: Der Widerspruck in
der Musik (1893), R. Wagner als Musikds-
thetiker (1897), Die Weltanschauung R.
Wagners (1898), Franz Liszt (1899), Hector
Berlioz (1904), Anton Bruckner (1905), Die
deutsche Musik der Gegenwart (1909; 3d ed.
1912), Aufgaben fur den Unterricht in der
Harmonielehre (1911); with L. Thuille he
wrote Harmonielehre (1907; 4th ed. 1913;
abridged as Grundriss der Harmonielehre
[1908]). He also publ a symph. fantasy for
orch., Proteus; Zum Hochzeitstage and Album-
blatt for pf. 4 hands; and some songs.
Loulie [loo-l'ya'], fitienne, inventor of the
'chronometre/ the precursor of the metro-
nome; also of a 'sonometre.' He was music-
master to Mile, de Guise about 1700, and
publ. Elements de musique (1696, describing
the 'chronometre') ; and a Nouveau systhme de
musique (1698, describing the 'sonometre/
which was a monochord to aid piano-tuners).
Lffrenskjold [I6'v$ns-yh8hlt], Herman
Severin, b. Holdens jarnbruk, Norway, July
30, 1815; d. Copenhagen, Dec. 5, 1870.
At the age of 13 his parents took him to
Copenhagen, where he received his entire
552
mus. education, and in 1836 made his d£but
as composer with a ballet, Sylphiden, which
achieved unusual success. After the pro-
duction of a second ballet, Sara, in 1839, he
went abroad, studied a short time with
Sey fried in Vienna, visited Italy, and in
Leipzig attracted the attention of Mendels-
sohn and Schumann, the latter recommending
him to Breitkopf & Hartel. He returned to
Norway in 1841, and for some years devoted
his chief attention to writing incid. music
to several Norwegian plays; in 1851 he was
app. organist at the Slottskyrka in Chris-
tiansborg with the title of 'Hoforganist.'
Besides the works mentioned, he wrote an
opera, Turandot (Copenhagen, 1854); Fest-
ouverture (op. 10, for the coronation of Chris-
tian VIII); Ouverture de concert idyttique
(op. 29); another overture, Fra Skoven ved
Furesj; a pf.-trio in F (op. 2); a pf. -quartet
in F m. (op. 95) ; pf .-pes. for 2 and 4 hands.
Lover, Samuel, the novelist and poet,
also a painter and composer; b. Dublin,
Feb. 24, 1797; d. Jersey, July 6, 1868. He
wrote the music to several Irish plays, and
to many songs; publ. Songs and Ballads
(London, 1859).
Low, Joseph, b. Prague, Jan. 23, 1834;
d. there Oct. 5, 1886. Pianist; successful
tour through Moravia, Silesia, Galicia and
the Bukowina in 1854; from 1856, concert-
player and composer in Prague. Publ.
over 450 numbers of light pf.- music (op.
142, Jugend- Album; op. 187, Deux Impromp-
tus romantiques; op. 325, Allegro brillant for
2 pfs.; op. 326, Soir de printemps; op. 413,
Maiengruss).
Lowe [lo'vel, Ferdinand, b. Vienna, Feb.
• 19, 1865. Pupil at the Cons, there oi Dachs,
Krenn and Bruckner; 1883-96, teacher ol
Ef. and choral singing; in 1897 cond. of the
laim Orch. in Munich; 1898-1900, Hof-
kapellm. at the court opera in Vienna;
1900-4, cond. of the 'Gesellschaftskonzerte';
resigned in 1904 to accept the conductor-
ship of the newly founded 'Wiener Konzert-
verein-Orch.', which he made one of the
finest instrumental bodies in Europe. After
the dissolution of the Kaim-Orch. in Munich
(1908) the members organized themselves
as the Konzertverein, and invited L. as
cond. Since then he has directed the con-
certs of both the Vienna and Munich societies.
L8we, Karl. See Loewe.
Lowthian, Caroline, [Mrs. Cyril A.
Prescott,] b. Penrith, c. 1860; pupil of 0.
Beringer; English composer of songs (Sun-
shine, The Reign of the Roses) and pf.-pieces
(Bourree, Danse de ballet, etc.).
Lozzi [16h'tsel, Antonio, Italian dramatic
composer, b. 1874. Has written the operas
LOBECK— LUCAS
EmmaLiona (Venice, 1895), Malata (Bologna,
1896), Le Vergini (Rome, 1900), Mirandolina
(Turin, '04), Bianca Cappello (Warsaw, '10).
Lii'beck, Ernst,, son of Joh. Heinr.; b.
The Hague, Au?. 24, 1829; d. Paris, Sept.
17, 1876. Pianist; toured America 1850-4
with Franz Coenen; then settled in Paris,
and gave excellent chamber-music concerts
with Lalo, Armingaud, and Jacquard.
Lii'beck, Johann Heinrich, b. Alphen,
Holland, Feb. 11, 1799; d. The Hague, Feb.
7, 1865. After passing through the war of
1813-15 as a Prussian regimental musician,
he studied in Potsdam, played in theatre-
orchestras at Riga and Stettin, and gave
violin-concerts, from 1823 in Holland.
1827, Director of the new Cons, at The
Hague; cond. of the 'Diligentia' concerts;
1829, court conductor.
Liibeck, Louis, son of Joh. Heinr.; b.
The Hague, Feb. 14, 1838; d. Berlin, Mar.
8, 1904. 'Cellist, pupil of Jacquard in Paris;
1863-68, 'cello-teacher in the Leipzig Cons.;
then toured Germany, Holland and England;
1875-81 in the U. S.; in 1881 he settled in
Berlin as solo 'cellist of the Kgl. Kapelle.
Wrote 2 concertos for 'cello, and solo pieces.
Liibeck, Vincentius, celebrated organist
of the North German school; b. Padding-
buttel, n. Bremen, 1654; d. Hamburg, Feb.
9, 1740, as organist of the Nicolaikirche
(since 1702). Publ. Clavier- Obung. . . (1728);
cantatas and organ-works in MS. — See Q.-Lex.
Lu'benau, L. Pseudonym of Salomon
Jadassohn.
Lu'brich, Fritz, b. Barsdorf, Posen, July
29, 1862. Pupil of Ad. Fischer in Breslau
(1882-4); cantor at Peilau, Silesia, 1890;
1899, cantor and org. at Meissen; 1901,
teacher in the seminary at Kyritz; now (1917)
Kgl. Musikdir. at Sagan. Editor of 'Die
Orgel' from 1889-97, and again since 1909;
since 1896 also ed. of 'Fliegende Blatter des
evang. Kirchen-Musikvereins fur Schlesien9
and of 'Kirchenmusikalisches Archiv.' Has
publ. a Chorgesangschule for* men's singing-
societies; also male choruses and songs.
Luca, Giuseppe de, dramatic baritone;
b. Rome, Dec. 26, 1876. Made his debut
in 1897 at Piacenza as Valentine (Faust) ;
then sang in various cities of Italy; since
1902 chiefly in Milan at the Teatro Lirico
and La Scala; he created the principal
bar. rfiles in the Italian premieres of Cilea's
Adriana Lecouvreur and Massenet's Grise-
lidis (1902), Giordano's Siberia (1903),
Puccini's Madama Butterfly (1904), and
Franchetti's Notte di Leggenda (1915). At
his Amer. ck'but as Figaro in Barbiere di
Sivigli* at the M. O. H. (Nt>v. 25, 1915)
he received an ovation, and immediately
became a favorite; on Jan. 28, 1916, he
created the part of Paquiro in the world-
premiere of Goyescas. He has a voice of
beautiful quality and great volume. Favorite
rdles are Rigoletto, Don Carlos, Don Gio-
vanni and Amleto; his repertoire includes
chief baritone rdles in Lucia, Aida, Traviata,
Bohhme, Manon Lescaut, Cavalleria Rusti-
cana, Pagliacci, Marta, etc. He is Com-
mander of the Crown of Italy, and Rumania;
Officer of the Crown of Portugal.
Lucanto'ni, Giovanni, b. Rieti, Italy,
Jan. 18, 1825; d. 1902. Pupil of G. Pacini
at Lucca, and N. Vaccai at Milan Cons.
In 1845 he prod., at La Scala, a 2 -act ballet,
Don ChiscioUe; in 1850, a 4-part mass, and
the opera Elisa (Milan). Devoted himself
to vocal instruction; settled in Paris 1857;
lived in London for several years. His
songs, duets, etc., are well liked; he also
wrote a cantata, a symphony, and various
'ballabili' for pf.
Lucas, Charles, b. Salisbury, July 28,
1808; d. London, Mar. 23, 1869. Chorister
in Salisbury Cath. under Corfe, 1815-23;
pupil of Lindley and Crotch at R. A. M.,
1823-30, and cond. there in 1832; he suc-
ceeded Lindley as principal 'cello at the
opera; 1840-3 cond. of tne 'Antient Con-
certs,' and 1859-66 dir. of the R. A. M.—
Works: Opera The Regicide; 3 symphonies,
overtures, a vcl. -concerto; anthems and songs.
Lucas, Clarence, b. n. Niagara, Canada,
Oct. 19, 1866. He received his first instruc-
tion from local teachers in Montreal; in
1886 he st. in Paris with G. Marty, and then
ent. the class of Th. Dubois at the Cons.;
1889-91, teacher of harm, and cpt. at the
Coll. of Music, Toronto, and cond. of the
Philh. Soc. at Hamilton, Ontario; 1891-3,
prof, of theory and hist, of -music at the
Utica (N. Y.) Cons.; since 1893 living in
London as critic and correspondent for
various papers; also for some years proof-
reader and editor for Chappell & Co.; 1902-4,
cond. of the Westminster Orchl. Soc. Of
seven operas only one, The Money-Spider
(London, 1897), was prod., with little suc-
cess; also wrote four oratorios (The Birth of
Christ, Chicago, 1902) and several cantatas;
a symphony; 2 symph. poems; the overtures
to Othello, As you like it, Macbeth; Fantasy
and Fugue (op. 22), Saga, Ein isldndisches
Mdrchen (op. 25), and minor pes. for pf.;
pes. for vl. and pf. ; organ- pes.; about 70 songs.
Lucas, Stanley, son of Charles L.; b.
1834; d. Hampstead, July 24, 1903; member
of the music-publishing firm of Lucas, Weber
& Co.; was secretary to the R. Soc. of
Musicians from 1861, and of the Philharm.
Soc. 1866-80.
553
LUCCA— LUGERT
Luc'ca, Pauline, charming dramatic so-
prano; b. Vienna, Apr. 25, 1841; d. there
Feb. 28, 1908. Sang as a child in the choir
of the Karlskirche, and was taught by
Uschmann and Lewy; joined the chorus of
the Vienna Opera, and in 1859 created
quite a stir in the rdle of First Bridesmaid,
in Der Freischiitz, her final appearance before
going to Olmutz, where she was already
engaged for leading rdies. Her debut at
Olmutz as Elvira in Ernani (Sept. 4, 1859)
won all hearts. Her appearance in Prague
(1860) as Norma and Valentine (Huguenots)
gave her fame such an impetus that Meyer-
beer caused her engagement at Berlin, so
that she might create the r61e of Selika in
his VAfricaine; here she was engaged as
court singer for life. At London her imper-
sonations of Valentine and Marguerite
(Faust), in 1863 and 1864, excited unbounded
enthusiasm; she sang there every season up
to 1872 (excepting 1869); then severed her
connection with Berlin, sang in the United
States for two years, and, returning to
Europe, at German capitals (Berlin excepted),
at Paris, Brussels (1876), Petrograd and
Moscow (1877), and Madrid (1878). In
1869 she had married Baron von Rhaden
(divorced 1871); while in America she es-
poused Herr von * Wallhofen (d. Vienna,
1899). From 1874-89 she was a member of
the Vienna Court Opera, one of its brightest
ornaments. On her retirement in 1889 she
was made honorary member. Among her
favorite r61es (she had some 60 prepared) were
Carmen, Zerljna (Fra Diavolo), Elsa, Cheru-
bino, La Sonnambula, and those mentioned
above.— Cf. La Mara, Musikalische Studien-
kopfe (vol. v, Leipzig, 1902).
Lucchesi [166-ka'ze], Andrea, b. Motta,
Venezia, May 28, 1741; d. c. 1800 in Italy.
Pupil of Paolucci, Seratelli and Cocchi;
came with an Italian opera-troupe to Bonn
in 1771; cond. of the electoral orch. there,
1774-94; the boy Beethoven played viola
under him. Wrote 8 operas, 2 symphonies,
6 sonatas for vl. and cembalo, and some
church-music.
Ltick, Stephan, b. Linz-on-Rhine, Jan.
9, 1806; d. Trier, Nov. 4, 1883, as a member
of the cathedral-chapter. Distinguished for
instituting reforms in Catholic church-
music. — Works: Gesang- und Gebetbuch fur
die Diocese Trier (1846); Theoretisch-prakti-
sche Anleitung zur Herstellung eines wurdigen
Kirchengesanges (1856); Sammlung ausge-
zeichneter Compositionen fiir die Kirche
(1859; 2d ed., in 4 vols., 1884, 1885).
Luckstone, Isidore, b. Baltimore, Jan.
29, 1861. St. pf. with an older sister, and
later (1893) with Ph. Scharwenka in Berlin;
at various times also st. singing for short
periods with several masters; pianist for
Camilla Urso, 1883; then made a tour around
the world with Remenyi, 1884-91; tours
with Materna, Ondriczek and Nordica until
1897, when he settled in New York as singing-
teacher and valued accompanist.
Ludovic. See Gobbaerts, Jean Louis.
Lud'wig, August, b. Waldheim, Saxony,
Jan. 15, 1865; pupil of Conservatories at
Cologne and Munich. Has brought out a
number of orchestral works (e. g., the over-
tures Ad astra and Luther-Ouvertiire); Pf. -con-
certo in G m.; etc.; and pub!, pf. -compositions
and songs; also a comic opera, Kunst und
Schein (1906). Edited 1894-1903 the 'Neue
Berliner Musikzeitung' ; author of Geharnischte
Aufsdtze uber Musik; Der Konzertagent (1894) ;
Stachel und Lorbeer (1897); Zur Wertschatsung
der Musik (1898); Tannhduser redwwus (1908).
He attracted special (unfavorable) attention
by his 'completion' of Schubert's B minor
symphony, adding 2 movements, a Philo-
sophen-Scherzo and a Sckicksalsmarsch.
Ludwig, Franz, born Graslitz, Bohemia,
July 7, 1889. Pupil of his father, Franz L.,
dir. of the Musikschule there; st. from 1908-11
at the Leipzig Cons, under Pembaur, Reger
and Krehl, and at the same time musicokgy
under H. Riemann at the Univ.; 1911-12,
Kapellm. at the court th. in Sondersharaea;
since 1912 instr. of pf., comp., and hist, d
music at the Cons, there; contrib. to 'Ztschr.
Int. M.-G.' (Neue Forschungen uber
J oh. K. F. Fischer and Zwei Brief e Em. A.
Forsters). Has publ. Lustspielouverture for
orch.; a pf. -concerto; Serenade for 8 wind-
instrs.; sonatas and other pes. for pf.; songs.
Ludwig, Joseph, fine violinist; b. Bonn,
Apr. 6, 1844. Pupil at the Cologne Cons,
from 1859-64 of Grunwald (vl.) and F.
Hiller (comp.) ; then, until 1866, of J. Toachim
in Hanover. In 1870 he settled definitely
in London (naturalized British subject), and
was app. prof, at the R. A. M.; together
with G. Collins (2d vl.), A. Gibson (via.) and
W. E. Whitehouse (vcl.) he formed a quartet
which enjoys an excellent reputation. He
plays a Guarneri del Gesu which is an exact
duplicate of the famous Paganini violin.
He has written 2 symphonies; a pf. -quartet;
minor pes. for vl. and pf.; do. for vcl.
Ludwig, Otto, b. Eisfeld, Thuringia, Feb.
11, 1813; d. Dresden, Feb. 25, 1865. A
g>et who also composed songs and an opera,
ie Kohlerin (completed, but not perf.).
A number of cantatas and incomplete operas
are in MS. in the Ducal library in Meiningen.
— Cf. A. Stern, O. L. (Leipzig, 1891) and
A. Sauer, 0. L. (Prague, 1893).
Lugert, Josef, b. Frohnau, Bohemia, Oct.
30, 1841 . Pupil of Krejft at the Prague School
554
LCHRSZ— LULLY
for Organists; was for some years vlnst. at
the Ger. Landesth.; app. instr. of pf. and
hist, at the Prague Cons., 1868; made in-
spector of all mus. -schools under state con-
trol in 1876; 4k. k. Inspektor' in 1905. He
organized the orchl. schools at Petschkau
and Pressnitz and the technical schools for
the manufacture of mus. instrs. at Graslitz
and SchSnbach. — Works: Op. 10, Serenade for
str.-orch. in A; op. 11, Suite for orch. in
Bb; op. 14, Serenade in D for orch.; op. 15,
In Memo riant, elegy for Engl, horn and orch.;
op. 16, Symphony in Em.; a pf. -quartet; 3
str. -quartets; a pf.-trio; a sonata for vl. and
pf.; pf.-pcs. — Writings: Musikalische For-
menlehre, Anleitung zur Partiturenkenntnis9
Praktischer Lehrganq der Instrumentation,
Leitfaden der Mustkgeschichte, Stufengang
beim Klavierunterricht.
Liihnz, Karl, b. Schwerin, Apr. 27,
1824; d. Berlin, Nov. 11, 1882. Pupil of his
father, an organist, and of Mendelssohn
at the Berlin Akademie; wrote orchestral and
chamber-music.
Luigini [-je'-]» Alexandre (-Clement-
Leon- Joseph), b. Lyons, Mar. 9, 1850; d.
Paris, July 29, 1906. Pupil at the Paris
Cons, of Massart (vl.), Savard (harm.) and
Massenet (comp.); ent. his father's orch. at
Lyons in 1869 as vlnst., and the following
year began his very successful career as a
composer of stage-works with the ballet Le
Reve de Nicette; 1877, chef d'orch. at the
Grand Th. at Lyons, and prof, of harm, at
the Cons, there; in 1897 he succ. Messager
as chef d'orch. at the Op.-Comique in Paris,
where he remained till his death, excepting
the year 1903, when he cond. the orcn. at
the Th.-Lyrique. — Works: Les Caprices de
Margot (op.-com., Lyons, 1877), La Reine des
Fleurs (do., ib., 1878), Faublas (operetta,
Paris, 1881); the ballets Anges et Demons
(1876), Les Noces d'lvanovna (1883), Ballet
Sgyptien (1886, inserted, with Verdi's per-
mission, in the 2d act of Aida at its pert, at
Lyons), Le Bivouac (1889), Les Rcharpes
(1891), Rayon d'Or (1891), Rose et Patnllon
(1891), Le Meunier (1892), ArUquin Ecolier
(1894), DaurUha (1894); also Romance
symphonique for orch.; 3 str. -quartets (all
won prizes); marches for orch.; numerous
pf. -pieces.
Lully (or Lull!) [lu-le'], Jean-Baptiste de,
the founder of French grand opera; b. Florence,
Nov. 29, 1632; d. Paris, Mar. 22, 1687.
He was taught the elements of music, and
to play the violin and guitar, by a Fran-
ciscan monk. Though of noble family, his
parents were poor, and made no difficulties
when the Chevalier de Guise proposed to
take their son, then 13, to France to amuse
the leisure of Mile, de Montpensier, 'la
grande demoiselle.' Whether she tired of
his music- making, and sent him down to
the scullery, or whether he was put there at
first, is uncertain; but one day, while he was
edifying the kitchen with his violin, the
Count de Nogent overheard him, and se-
cured him the position due to his talents in
the private band of Mile, herself. But the
mischievous boy set to music a satirical poem
reflecting on the lady, who thereupon ex-
pelled him from her house. He contrived
to obtain instruction on the harpsichord,
and in composition, from Metru, Roberday,
and Gigault, organists of St.-Nicolas-des-
Champs; he also gained admission to the
King's private orchestra, 'la grande bande,'
rose fast in royal favor, and in 1652 was
made head of this violin-corps of 24 violins;
he soon organized a second corps, ies petits
violons,' of 16 instrs., which, under his
leadership, became the finest orch. in France;
L. himself had hardly a rival as a violinist.
App. court composer in 1653, writing masques
ana ballets in which Louis XIV himself
took part, Lully also, as 'M. Baptiste,'
danced and acted in the court ballets- and
festival-plays, and made himself indispen-
sable to the King, who preferred his music
to all other. In 1672 he obtained letters
patent for the establishment of an 'Academie
royale de musique' (now the Grand Opera),
and a rival theatre was closed by the police
by the King's express command [cf. art.
Campra]. From this time dates L.'s real
fame — that of creating French opera; writing
to French texts a music which not only
respected the genius of the language, but
eschewed the purely musical redundancies
(flowery ornamentation, undue extension and
needless repetition of words and syllables,
and the like, which delay the dramatic
action) then in vogue in Italian opera.
L. is, therefore, a reformer of tendencies
similar to those of Gluck and Wagner,
allowance being made for the period, and for
the means at his disposal. — He now devoted
himself heart and soul to his theatre, of
which he became the director, stage-manager,
conductor, composer, and even (when re-
quired) the machinist. A strong point in
his favor was the genius of his librettist,
Quinault, who followed the intentions of his
imperious employer with rare understanding.
His operas held the stage for nearly a century,
until Gluck's grander creations overshadowed
them. He developed the form of the overture;
wrote recitatives of an easy and dramatically
effective style, and arias distinguished for
their fluent grace and beauty; his choruses
were more dramatic, and he introduced the
brasses into the orchestra; finally, his scenic
arrangements eclipsed those of his prede-
cessors. He was a man of vehement energy,
555
i
LULLY— LUPOT
haughty, arrogant, and irascible. In a fit
of excitement while conducting, he struck
his foot with the cane used as a blton; an
abscess resulted, which caused his death. —
The works produced by L. after 1672,
mostly at the 'Academic royale,' are as
follows: Les fjtes de V Amour et de Bacchus,
a pastoral (1672; a pasticcio from his earlier
ballets and masques); Cadmus et Hermione,
lyric tragedy (1673); Alceste, ou le triomphe
d'Alcide (1674); Thcsfe (1675); Le Carnaval,
opera-ballet (1675); Atys, lyric tragedy
(1676); Isis, 4tragedie-opera' (1677); Psychi,
lyric tragedy (1678); BclUrophon, opera
(1679); Proserpine, lyric tragedy (1680);
Le triomphe de V Amour, opera-ballet (1681);
PersSe, lyric tragedy (1682); Phaeton, lyric
tragedy (1683); Amadis de Gaule, lyric
tragedy (1684); Roland, lyric tragedy (1685);
ridylle de la Paix, ou Veglogue ae Versailles,
divertissement (1685); Le temple de la Paix,
opera-ballet (1685); Armide et Renaud, lyric
tragedy (1686); Acts et GalatSe, heroic pas-
toral (1686); parts of Act I of AchilU et
Polyxene, lyric tragedy (1687; written with
Colasse). All the above have been publ.;
nearly all by Breitkopf & Hartel in 'Chefs-
dVruvre classiques de. l'opera francais';
Armide et Renaud in Eitners 'Monatshefte
fiir Musikgeschichte,' vol. xiv (full score,
also pf. -score). — Besides these, L. wrote the
music to many ballets, masques, etc.; also
symphonies, trios, airs for vln.; a Te Deum,
a Miserere, a 4 -part mass a cappella, many
motets, etc. — Bibliography: Le Prevost
d'Exmes, L. musicien (Paris, 1779); Th.
I-ajarte, L. (Paris, 1878); E. Radet, L. Homme
d'affaires, proprietaire et musicien (Paris,
1891); R. Gandolfi, Accademia dedicata a
G. B. L. e Luigi Cherubini (Florence, 1902);
R. Rolland, Musiciens d' autrefois (Paris,
1908); H. Pruniercs, L. (ib., 1909); L. de la
Laurencie, L. (ib., 1911); H. Prunieres,
V opera italien en France avant L. (ib., 1913);
id., Le ballet de cour en France avant L.
(ib., 1914).
Lully, Louis de, son of preceding, b.
Paris, Aug. 4, 1664; d. after 1713; brought
out 3 operas, a ballet, a cantata, etc.
Lumbye [lodm'bul, Hans Christian, b.
Copenhagen, May 2, 1810; d. there Mar. 20,
1874. Called the 'Northern Strauss/ on
account of his popular dance-music. In
1865 he organized an orch., with which he
played in Copenhagen, and made tours. —
His son and successor, Georg (b. Copen-
hagen, Aug. 26, 1843), wrote an opera,
The Witclfs Flute (Copenhagen, 1869). —
Cf. G. Skjerne, //. C. L. og hans Samtid (Copen-
hagen, 1912).
Lund, John, b. Hamburg, Oct. 20, 1859.
St. pf. with Conrad Dinkier there; from
1876-80 pupil at the Leipzig Cons, of E. P.
Wenzel, Dr. O. Paul, E. Fr. Richter and Carl
Reinecke; 1880-3, chorus-master at the
Bremen opera; 1883-4, asst.-cond. at the
opera in Stettin; 1884, asst.-cond. to Dr.
Damrosch during the first season of German
opera at the M. O. H.; 1885, on tour with
Walter Damrosch and the Ger. Opera Co.;
1887-1903, in Buffalo as cond. of the 'Or-
pheus' and the B. Symph. Orch.; 1903-14,
touring the U. S. as cond. of V. Herbert's
operas written for Fritzi Scheff; since 1914
again in Buffalo as cond. of the 'Orpheus*
and the munic. symph. concerts.— Works:
Germanenzug for sop. and bar. soli, m. ch.
and orch.; Griechisches Kriegslied for do.;
Kaiser Karl for bar. solo, m. ch. and orch.;
Spring Morning for sop. solo, m. ch. and
orch.; Liebeslied, Intermezzo, Im Garten, for
str.-orch.; Novelletle (str. -sextet); numerous
songs (Musikantenliebe, Spats und Spdtzin,
Klingend Nachtgebet, etc.).
Lunn, Charles, singing-teacher and writer;
b. Birmingham, England, Jan. 5, 1838; d.
London, Feb. 28, 1906. After vocal study
in Italy with Sangiovanni, Cattaneo and Vi-
zione (1860-4), he sang in concert and ora-
torio till 1867, and then settled as a teacher
in Birmingham, where his Pupils' Concerts,
given in the Town Hall, became important
local events; in 1895 he removed to London.
Author of an important work, The Philosophy
of Voice (1874; 10th ed. 1906), followed by a
sequel, Vox Populi (1880); also Vocal Ex-
pression, Empirical or Scientific (1878);
several pamphlets and many contributions
to journals.
Lunn, Henry Charles, b. London, 1817;
d. there Jan. 23, 1894. From 1835-43
Eupil at the R. A. M. of C. Potter and C.
ucas; later teacher, and finally dir. there;
from 1863-87 editor of the 'Mus. Times';
retired in 1887. His Musings of a Musician
(1846) passed through many editions; wrote
many articles for the 'Mus. Times' and other
papers; publ. songs and pf.-pes.; several
orchl. comps. in MS.
Lunn, Louise. See Kirkby-Lunn.
Lupori'nl, Gaetano, dramatic composer;
b. Lucca, Italy, 1865, A pupil of Primo
Quilici, and a protegd of Ricordi. After
graduating from the Pacini Mus. Inst., he
comp. a 4- part mass w. orch., and a suite for
orch.; has also prod, the opera Marcella;
a 3-act lyric comedy, I dispetti amorosi (Turin,
1894; succ.); the 3-act opera seria La Collana
di Pasqua (Naples, 1896; very succ); and
the 3-act op. seria Nova (Lucca, 1908).
Lupot [lii-pohl, Nicolas, the most im-
portant member of a French family of
violin-makers; b. Stuttgart, 1758; d. Paris,
556
LUSSAN— LUTKIN
v
1824. His excellent copies of Stradivari
violins earned him the sobriquet of the
'French Stradivari.'
Lussan fltts-sahn'J, Zeiie de, dramatic
soprano; b. (of French parents) New York,
1863. Taught by her mother, an opera-
singer. Concert-debut at 16 in the Academy
of Music; opera-debut with the Boston Ideal
Opera Company, 1885; she sang several
seasons with that troupe, and then went to
London, where she was engaged (1889) for
the Carl Rosa company; from 1895-1902
she sang almost every season at Cov.
Garden; in 1894 she was a member of the
M. O. H., but had the misfortune of singing
Carmen there after Calve had created a
sensation in that rdle during the preceding
season, so that her real worth was not prop-
erly appreciated; during that season she
created the rdle of Anne at the Amer. pre-
miere of Falstaff (Feb. 4, 1895); she sang
again at the M. O. H. in 1900-1 in Savage's
English company; has had much success in
Paris and Madrid. On Sept. 11, 1907, she
married the pianist Angelo Fronani in
London, and since then has practically retired
from the operatic stage; in 1908 she appeared
in vaudeville. Rdles: Arline, Zerlina, Ch6m-
bin, Berta (Prophete), Carmen, Mignon,
(Fille du RSgiment), Marion (La Vwandifre),
etc.
Lussy Dtt-s€l, Mathls, b. Stans, Switzer-
land, Apr. 8, 1828; d. Montreux, Jan. 21,
1910. Pupil of Businger and Nageh. Went
to Paris m 1847 to study medicine, but
became a eood pf.-teacher, and a writer of
repute. — Works: Exercices de mecanisme
(1863); Traitf de V expression musicale (1873;
partial reprint as Le rythme musical, 1883;
4th augm. ed., 1911; German transl. of the
entire work by Felix Vogt as Die Kunst
des musikalischen Vortrags, 1886); Histoire de
la notation musicale (edition de luxe, 1882;
written with E. David; it won the Prix
Bordin of the Paris Academie, offered for
the best history of notation); Vanacrouse
dans la musique moderne (1903); De la diction
musicale et grammaUcale (Riemann -Fest-
schrift, 1909); La 'Senate pathttique' de Beet-
hoven (posth., 1912; ed. by A. Dechevrens).
Cf. E. Monod, M. L. et le Rythme musical
(Paris, 1912).
Lust/ner, Ignaz Peter, violinist; born
Poischwitz, n. Jauer, Dec. 22, 1793; d. Jan.
30, 1873, at Breslau, where he founded a
school of violin-playing in 1844. — His five
sons are: (1) Karl, b. Breslau, Nov. 10.
1834; d. Wiesbaden, Apr. 9, 1906; pianist and
'cellist, from 1872 in Wiesbaden as a piano-
teacher; (2) Otto, b. Breslau, Apr. 9, 1839;
d. as town mus. dir. at Barmen, Sept. 8,
1889; previously violinist in several orchestras;
(3) Louts, b. Breslau, June 30, 1840; violinist
and conductor (1874-1905) of the Wies-
baden 'Kurorchester'; (4) Georg, 'cellist;
b. Sept. 23, 1847; d. as Kapellm. at Berlin,
Apr. 21, 1887; and (5) Richard, harpist and
violinist in Breslau, where he was born
Sept. 2, 1854.
Lutgendorflf, Willibald Leo, Freiherr
von, b. Auesburg, July 8, 1856. Pupil of
the Kunstakademie in Munich; since 1889
dir. of the Kunstschule and curator of the
Art-Gallery in LCibeck. Besides writings on
the plastic arts, he has publ. Die Geigen- und
Laulenmacher vom Mittelalter bis zur Gegen-
wart (1904; 2d ed., considerably augm., 1913),
which is regarded as a standard authority.
Luther [166t'ter], Martin, b. Eisleben,
Nov. 10, 1483, d. there Feb. 18, 1546. His
reform of the church extended to the musical
services, in which he took the deepest interest.
After leaving the Wartburg, Mar. 22, 1522,
his ideas took practical shape; his Formula
missae (1523), and still more his new order
for the German Mass, 'first sung in the
Parish Church at Wittenberg on Christmas
Day, 1524, were the initial steps. Kapell-
meister Conrad Rupff, and cantor Johann
Walt her, ably seconded L. in these endeavors;
the latter states that Luther invented chorale-
tunes on the flute (he was an excellent
flute-player), which tunes his coadjutors
noted down. The hymn-tunes (chorales)
ascribed with confidence to Luther are
Ein' feste Burg ist unser Gott, and Jesaia
dem Propheten das geschah; 11 others are
thought, with more or less probability, to
be by him; though it has become the fashion
to deny him all share in the composition of
the hymns of the church he founded. His
influence was, however, predominant in the
establishment of its musical services; and
he wrote (or arranged) the words of many
chorales (Grove gives a list of 36). — Biblio-
graphy: A. T. Ram bach, Ober L.'s Verdienst
um den Kircnengesang (Hamburg, 1813); K.
von Winterfeld, L.'s deutsche geisUiche Lieder
(Leipzig, 1840); H. von Stephan, L. als
Musiker (Bielefeld, 1899); M. Rade, Dr. M.
L.'s Leben, Taten und Meinungen (3 vols.,
Tubingen, 1883; 2d ed. 1901); F. Zelle, Das
dUeste lutherische Haus-Gesangbuch [1524]
(Gottingen, 1903; with commentary); F.
Spitta, Die Lieder L.'s in ihrer Bedeutung fur
das evangel. Kirchenlied (Gottingen, 1905);
id., Studien zu L.'s Liedern (Gottingen, 1907);
H. Lehmann, L. im deutschen Lied (Halle,
1910).
Lutkin, Peter Christian, b. Thompson-
ville, Wis., Mar. 27, 1858. St. music in
Chicago with Mrs. R. Watson (pf.)f Clarence
Eddy (org.) and F. G. Gleason (theory);
from 1881-3 pupil at the Kgl. Hochschule
557
• /
LOTSCHG— LVOV
in Berlin of O. Raif (pf.), A. Haupt (org.)
and W. Bargiel (comp.) ; had further piano-
instruction from Moszkowski in Paris and
Leschetizky in Vienna. Was org. at SS.
Peter and Paul's Cath., Chicago, from 1871-
81; do. at St. James', Chicago, 1891-6; dir.
of theory dept. at Amer. Cons, of Mus..
1888-95; app. prof, of music in 1891, ana
since 1897 dean of School of Mus. of North-
western Univ.; since 1894 also cond. of
Evanstown Mus. Club; 1896-1904, cond.
Ravenswood Mus. Club; since 1909 cond.
Chicago North Shore Fest. Assoc.; Mus. Doc.,
Syracuse Univ., 1900; one of the founders
of the A. G. O. He has publ. church-music
and instructive works for pianoforte.
Lutschg, Karl, b. Petrograd, Oct. 15,
1839; d. Blankenburg, Harz Mts., June 6,
1899. Pupil of KrolT, Moscheles and Hen-
selt (pf.), and of E. Fr. Richter and Kiel
(comp.); was. for many years Dreyschock's
asst. at the Petrograd Cons.; a renowned
pedagogue, he publ. a number of valuable
studies and instructive editions of classical
and modern comps.: Acole d'£tudes (12
books); Bibliotheque des oeuvres classiques et
modernes (420 numbers); etc.
Liitschg, Waldemar, son and pupil of
preceding; b. Petrograd, May 16, 1877.
Made his debut as pianist with Henselt's
concerto in 1896; settled in Berlin as concert-
pianist and teacher; taught pf. at the Chicago
Mus. Coll., 1905-6; since then in Berlin.
Lutz, Wilhelm Meyer, b. Mannerstadt,
Kissingen, 1822; d. London, Jan. 31, 1903.
Pupil of his father and Eisenhofer and
Keller at Wiirzburg, where he also attended
the Univ. Settled in England in 1848, where
he was orgst. in Birmingham, Leeds, and at
St. George's Catholic Cath. in London;
1851-5, cond. at the Surrey Th.; from
1869-81 at the Gaiety Th., and on tours
with Mario, Grisi, and other celebrated artists.
His operettas enjoyed great popularity in
their day. Among his principal successes
were Faust and Marguerite (1855), Blonde
and Brunette (1862), Zaida (1868), The
Legend of the Lys (1873), Posterity (1884);
he left considerable orchl. and chamber-
music in MS.
Liit'zel, Johann Helnrich, b. Iggelheim,
n. Speyer, Aug. 30, 1823; d. ZweibrQcken,
Mar. 9, 1899. Pupil of Jacob Vierling;
teacher and organist at ZweibrOcken, where,
in 1854, hs organized the 4 Evangel ischer
Kirchenchor* (which had spread over the
entire Palatinate by 1880), also, in 1860, the
'Pfalzischer Sangerbund.' Created 'Pro-
fessor' in 1883. — Works: A Choralbuch
(1858); Der praktische Organist (2 vols.);
school song-books; the 24th Psalm, for male
chorus and orch. ; etc.
Lut'zer, Jenny. See Dingelstedt.
Lux, Friedrich, comp. and organist; b.
Ruhla, Thuringia, Nov. 24, 1820; d. Mayence,
July 9, 1895. Pupil of his father (cantor
at Ruhla); at 12 he gave an organ-concert
at Gotha, and played Weber's Konzertstuck
for pf. at Eisenach. Studied 1839-41 under
F. Schneider at Dessau; was then Mustk-
direktorat the Dessau court theatre for ten
years; 1851-77, Kapellm. at the City Th.,
Mayence; from 1867 also cond. the Oratorio
Society (the united 'Liedertafel' and 'Dom-
gesangverein'). Retired 1891. — Works: 4
operas, Das Kdthchen von Heilbronn (Dessau,
1842; 5 acts); Rosamunde (1860; not perf.);
Der Schmied von Ruhla (Mayence, 1882, 3
acts); and Die Furstin von A then (Frankfort,
1890; comic); a dram, scene, Corioian, for
soli, male ch. and orch.; a choral symphony,
Durch Nachi turn Licht (Constance, 1895);
3 string-quartets (op. 58, Dm; op. 87, C;
op. 95, G m.); Grand trio for pf., vln. and
'cello, in C m.; many orchestral and choral
works, organ-music, pf.-music, songs, etc
His vocal music is especially important and
successful. — Cf. A. Reissmann, Fr. L.: Sein
Leben u. seine Werke (Leipzig, 1887; 2d ed.
1895).
Luzzaschi poo-tsah'ske], Luzzaaco, from
c. 1576-1604 court organist at Ferrate;
d. there 1607; highly praised by contempo-
raries. Publ. 7 books of 5- part Madrigals (?,
1576, 1582, 1594, ?, 1604; a second [post-
humous] coll. appeared in 1613) ; also Madri-
gals a 1-3 soprano voices w. instrs. (1601).
Diruta's // Transilvano contains a toccata and
2 ricercari by L., the former reprinted in
Ritter's Zur Geschichte des Orgelspiels; a 4-p.
Canton da sonar is given in Rauerij's Col-
lection (1608).— Cf. O. Kinkeldey, L. L.'s Solo
Madrigale, in vol. ix, 4 of 'Sbd. Int. M.-G.'
Luzzi [16d'ts6], Luigi, born Olevano di
Lomellina, Mar. 28, 1828; died Stradella,
Feb. 23, 1876. A medical student at Turin,
he later embraced the profession of music. —
Works: 3 operas, Chtarina (Turin, 1853);
TripiUa, opera buffa (Novara, U874); Fra
Dolcino (not perf.); a symphony and a
funeral-march tor orch.; hymns for ch. and
orch.; pf.-music; and many inspired songs.
Lvov, Alexis von, b. Reval, June 6,
1798; d. on his estate, Govt, of Kovno,
Jan. 7, 1871. Excellent violinist and mu-
sician; entering the army, he became
major-general, and adjutant to Emperor
Nicholas. Conductor of the court choir,
1836-55. Because of deafness he retired
from all musical activity in 1867. His
operas met with very little success, and to-day
he is remembered only as the composer of
the Russian national hymn (written 1833).
— Works: The operas Bianca e GuaUerio
558
LYNE— LYRA
(Dresden and Petrograd, 1845); Undine
(Vienna, 1846); The Village Bailiff Boris
(Petrograd, 1854); a concerto and fantasias
for violin; Le duel, for vln. and 'cello; Russian
part-songs; sacred songs; etc. Publ. an essay
On the free and non-symmetrical rhythm of
Old Russian Church-song (1859).
Lyne, Felice, operatic soprano; b. Kansas
City, 1891; was brought up in Allentown,
Pa., where she st. singing with F. S. Hardman,
who advised her to prepare for an operatic
career; 1908-11, pupil of Mme. Marches!*,
J. de Reszke ana L. d'Aubigne; made a
sensationally successful debut as Gilda at
the London Opera House (Hammerstein's,
Nov., 1911), and appeared not less than 36
times that season, creating the prin-
cipal soprano parts in the Engl, premieres
of Massenet's Don Quicholle and Jongleur
de Notre-Dame and Holbrooke's Children of
Don. After a single season Hammerstein
abandoned opera in London, and she re-
turned to the U. S., where she has since
appeared successfully in concerts.
Lynes, Frank, b. Cambridge, Mass., May
16, 1858; d. 1914. Pupil of the New Engl.
Cons., Boston; then of B. J. Lang (pf. and
org.), and J. K. Paine (harm.); in Leipzig
Cons., 1883-5, of Reinecke and Zwintscher
(pf.), A. Richter (theory), and Jadassohn
(comp.). Settled in Boston, Mass.; held
positions as org. in various churches; also
cond. of the 'Cantabrigia Choral Class.' —
Works: Op. 2, Gavotte for pf. and vln.; op. 4,
Romanza for vln., 'cello, org. and pf.; op. 8,
Te Deum; op. 9, four pf. -pieces; op. 14, ten
Bagatelles for pf.; studies, and other pf.-
music; about 50 songs; and several part-
songs, sacred and secular.
Lyon, James, a Presbyterian clergyman
who disputes with Francis Hopkinson the
distinction of being the first Amer. composer;
b. Newark, N. J., July 1, 1735; d. Machias,
Me., Dec. 25, 1794. After graduation from
Princeton in 1759 he lived in Philadelphia
until 1765, when he accepted a pastorate in
Nova Scotia, Me.; from 1771 till his death
he preached the gospel in Machias. The
•N. Y. Mercury' of Oct. 1, 1759, speaks of
an Ode comp. by J. L., a member of the
graduating class of Princeton, and mentions
its performance at the graduation-exercises
on Sept. 26; but the music of this work,
written in the same year that Hopkinson
wrote his first songs, is lost. The first known
comps. of L. are six psalm-tunes publ. by
him in a coll. 'Urania' (Philadelphia, 1762);
the list of works is completed by enumerating
the settings of 2 poems of Watts, A Marriage
Hymn and Friendship, and of Psalms 17
and 19. In a letter (Apr. 22, 1774), P. V.
Fithian made the statement that L. was about
to publish a new Book of Tunes, chiefly of
his own composition, but the book never ap-
peared, nor has a MS. of such tunes been
found. Speaking of L/s works O. G. Sonneck
says: "Their study will induce no critic to
call L. a composer of real merit or even a
musician conversant with musical grammar.
But his importance lies not in the
sphere of esthetics; it lies rather in the sphere
of retrospective history He was a
pioneer, and thereupon rests his lasting
flory." — Cf. O. G. Sonneck, Francis Hop-
inson and J. L.: Two Studies in Early
Amer. Music (Washington, 1905).
Lyon & Healy, celebrated manufacturers
of musical instruments. The firm was founded
in October, 1864, by George Washburn Lyon
(b. 1820) and Patrick Joseph Healy (b. Mar.
17, 1840; d. Chicago, April 3, 1905). They
began originally as dealers in sheet-music,
books, and the smaller musical instruments;
in 1871 they took over the piano business of
Smith & Dixon, and gradually began also to
manufacture other instruments. After the
retirement of Mr. Lyon in 1889, Mr. Healy
became the sole head and general manager,
and immediately proceeded to put into exe-
cution his long-cherished ideas for the expan-
sion of the manufacturing department. A
new, large factory was erected, which soon
turned out annually 100,000 instruments;
this, in 1914, was superseded by a still larger
building. Among their instruments the L. &
H. Harp, put on the market in 1889, has
become especially famous; their collection of
old violins rivals those of the world's most
famous dealers. The present (1917) officers
of the firm are R. B. Gregory, Pres. ; M. A.
Healy (son of the founder), Vice- Pres. and
Genl. Mgr.; J. F. Bowers, Sec.; C. R. Fuller,
Treas.
Ly'ra, Justus W., b. Osnabrttck, Mar. 23,
1822; d. Gehrden, n. Hanover, Dec. 30,
1882. Student of philos. and theol. at Berlin
and Bonn; filled various church-offices at
Lingen, Laneensalza, Witttngen, Bevensen,
and (1877-82) that of 'Ortsgeistlicher' (toastor
primarius) at Gehrden and Hanover. — Many
of his student-songs were written as a student;
they were, and still are, extremely popular,
e. g., Der Mai ist gekomment Durch Feld und
Buchenhallen, Zwischen Frankreich und dem
Bbhmerwald, Meine Mus* ist gcgangen). He
also wrote church-music (Christmas cantata,
1872). — Five books of songs were publ. in
1896: I. Nine Sacred songs for solo voice;
II. Six miscel. songs for one voice; III. Four-
teen Student-songs, for one voice; IV. Five
2- and 3-part songs; V. Four songs for mixed
ch., and eight songs f. male ch. He also
wrote Die liturgischen AUarweisen des luthe-
rischen Hauptgottesdienst (1873) and Andreas
559
LYSBERG— McCLELLAN
Ornithoparchus und dessen Lehre von den Kir-
chenaktenten (1877).— Cf. Bar and Ziller, /.
W. L. (Leipzig, 1900).
Lyslierg, Charles-Samuel (real family-
name Bovy), born Lysberg, near Geneva,
Mar. 1, 1821; d. Geneva, Feb. 15, 1873.
Pianist and composer; pupil of Chopin * (pf.)
and Delaire (harm.), in Paris; teacher in
the Geneva Cons. — Some favorite pieces are
op. 26, La Napolitaine; op. 29, Deux Noc-
turnes; Le rheil des oiseaux, and Le chant
du rouet; op. 64, Idylle; op. 90, Les Ondines;
op. 94, Sur Vonde; the romantic sonata
V Absence; etc. (about 150 numbers for
}>iano) ; also a comic opera, La fille du caril-
onneur (Geneva, 1854).
M
Maas, Gerald, 'cello-virtuoso; b. Mann-
heim, Aug. 22, 1888. Pupil of the Paris
Cons, and of J. Klengel in Leipzig; 1908-12,
solo 'cellist of the Konzertverein in Munich;
1912-14, do. at the R. Opera in Berlin;
since then prof, at the Hoch Cons, in Frank-
fort, and member of the Rebner Quartet
there; debut as soloist with the Philh. Orch.
in Berlin (1909; Volkmann and Saint-Saens
concertos); has played with much success
in Germany and London; first Amer. tour,
1916-17.
Maas, Louis (Phillpp Otto), b. Wies-
.baden, Germany, June 21, 1852; d. Boston,
Mass., Sept. 18, 1889. Pianist; pupil 1867-
71 of Reinecke and Papperitz at Leipzig
Cons.; also of Liszt during 3 summers. From
1875-80, pf.-teacher in Leipzig Cons. Settled
in Boston 1880; cond. the Philharm. Concerts
1881-2. He gave concerts in many cities of
the United States; and had many private
pupils. — Works: On the Prairies, an Amer.
Symphony (1883); overtures, suites, marches,
fantasias, etc., for orch.; string-quartet, op.
3; pf. -concerto in C m., op. 12; 3 sonatas, 3
Impromptus, and 12 Phantasiestucke for
pf.; violin-sonatas; songs.
Mabelli'ni, Teodulo, b. Pistoia, Italy,
Apr. 2, 1817; d. Florence, Mar. 10, 1897.
Pupil of G. Pilotti, Pistoia, and of the R.
Istituto Musicale, Florence; the successful
prod, of his opera Matilda a Toledo (Florence,
1836) interested Grand Duke Leopold II,
whose bounty permitted further study under
Mercadante at Novara. A second opera,
Rolla (Turin, 1840), was highly successful.
Settled in Florence 1843; became cond. of
the Filarmonica, and dir. of the grand annual
concerts; court m. di capp. 1847; cond. in
Pergola Th. 1848; 1859-87, prof, of compo-
sition in the R. Istituto Musicale. — Works:
7 other well-received operas, Ginevra degli
Almieri (Turin, 1841), // conte di Savagna
(Florence, 1843), / Veneziani a Costantinopoli
560
(Rome, 1844), Maria di Francia (Florence,
1846), // Venturiere [with L. GiordaniJ
(Leghorn, 1851), Baldassare (Florence, 1852),
Fiammetta (ibid., 1857); an oratorio, Eudos-
sia e Paolo; a sacred drama, Lf ultimo giorno
di Gerusalemme; the cantatas La Caccia, II
Ritorno, Elegiaca, Rafaele Sanzio, Lo SpirUo
di Dante; masses, responses, hymns, motets,
etc.; chamber-music; pf . -pieces.— -Cf. M-
Giannini, M.ela musica (Pistoia, 1899).
Macbeth', Allan, b. Greenock, Scotland,
Mar. 13, 1856. Pupil 1875-6, at Leipzig:
Cons., of Richter, Reinecke, and Jadassohn.
Organist in several Glasgow churches; choir-
master of the Choral Union 1880-7; cond.
of Greenock Select Choir 1881; of Glasgow
Kyrle Choir 1884. Since 1890, Principal of
the School of Music at the Glasgow Athe-
naeum.— An operetta, The Duke's Doctor
(MS.); 2 cantatas, The Land of Glory (1890)
and Silver Bells; a Jubilee Chorus (1896); In
Memoriam, for orch.; Intermezzo, for strings;
Serenata, Danze pizzicate, and Ballet, for
orch.; string-trios; pf.-trios; suite for 'cello
and pf.; pf. -music; songs.
Macbeth, Florence, dram, coloratura-
soprano; b. Mankato, Minn., 1891. Received
her first vocal instruction from Mrs. Snyder
in St. Paul; then went to Yeatman Griffith
in Pittsburgh, and followed him in 19\0 to
Europe; debut in concert in Scheveningen,
July, 1912, with Lamoureux Orch.; operatic
debut as Gilda, Jan., 1913, at the Gross-
herzogl. Th. in Darmstadt; sang then as
star in Brunswick and Dresden ; Amer. debut
as Rosina, with Chicago Opera Co. in Chicago,
Jan. 14, 1914; since then a regular member
of the company; has also appeared with
great success with the leading symphony
orchs. She has been especially applauded in
England, where her voice is frequently
compared with Patti's. Chief r61es: Rosina,
Gilda, Lucia, Amina, Ophelia, Mignon,
Olympia, Carmen, Bird (Siegfried).
McClellan, John Jasper, concert-organ-
ist; b. Payson, Utah, April 20, 1874. Began
to study music at the age of 10 with local
teachers, and after two years with A. \V.
Platte at Saginaw ent. the Univ. of Michigan
School of Music at Ann Arbor, where he
cont. his studies under A. A. Stanley (org.),
A. Jonas (pf.), and J. E. Schmaal (comp.);
later st. with X. Scharwenka in New York
and E. Jedliczka in Berlin. While still a
student at Ann Arbor he acted as org. at
St. Thomas's, as pianist to the Univ. Choral
Soc., and organized and cond. the first large
orch. there; 1893, asst. to Prof. Stanley at
the great organ at the World's Columbian
Expos, in Chicago; 1895-6, asst. to Prof.
Jonas at the Univ. of Mich. School of Mus.
and instr. of theory: 1900-1, prof, of mus.
McCORMACK— MACDOWELL
at Brigham Young Univ. at Provo, Utah;
since 1901 prof, of mus. at Univ. of Utah.
On Oct. 1, 1900, he was app. org. at the
Mormon Tabernacle, Salt Lake City; founded
in 1908 the Salt Lake Symph. Orch., and in
1911 the Utah Cons, of Music. He is re-
garded as one of the foremost organists in
the West and has given recitals at the St.
Louis World's Fair, the Jamestown Expos.,
and the Panama Expos.
McCormajck, John, famous tenor; b.
Athlone, Ireland, June 14, 1884. Without
firevious training he took part in the National
rish Fest. at Dublin in 1902, and carried
off the gold medal; in 1903 he became, a
member of the Dublin Cath. Choir, and here
he began to study seriously with the org.
and choirmaster, Vincent O'Brien; the fol-
lowing year he sang with this choir at the
St. Louis Expos., after which he went to
Milan for further study; he made his debut
as a concert-singer with unusual success at a
concert of the Sunday League in London,
Feb. 17, 1907, and his operatic debut as
Turiddu at Cov. Garden on Oct. 5 of the
same year, becoming instantly a prime
favorite, so that he nas sung there every
season since then; in 1909 he sang at the
San Carlo in Naples, and in the fall was
eng. by Hammerstein for the Manhattan
Op. House in N. Y., where he made his
Amer. debut on Nov. 10, 1909, as Alfred
Germont (Traviata); 1910-11, with the Bos-
ton Opera Co.; 1912-14, with Chicago Opera
Co.; since then he has appeared seldom in
opera, his concert -engagements making ever-
increasing demands upon his time. He is
unquestionably one of the most popular
singers before the public; as an interpreter of
Irish songs he is inimitable. His operatic
repertoire includes the principal tenor rdles
in Rigoletto, Traviata, CavaUeria, Lucia, FUle
du RSgiment, Boheme, Tosca, Don Giovanni.
MacCunn', Hamlsh, Scotch composer;
b. Greenock, Mar. 22, 1868; d. London, Aug.
2, 1916. Student in R. C. M., 1883-6, under
Hubert Parry, having won a scholarship
for composition. August Manns brought
out several of his pieces in 1887; in 1888 he
was commissioned to compose a cantata for
the Glasgow Choral Union; also gave a
series of orchestral concerts at the studio
of John Pettie, whose daughter he married
in 1889. 1888-94, prof, of harm, at R. A.
M.; 1892, cond. of the Hampstead Conserv.
Orchl. Soc.; 1898, of the Carl Rosa opera-
company; 1900-5, of the Savoy Th., and
after the dissolution of that company he
toured with various troupes, conducting
light opera. In 1910, he was eng. by Thos.
Beecham as asst.-cond. at Cov. Garden and
His Majesty's Th., where he directed some
of the Wagner works; 1915-16 he was cond.
for Beecham 's company at the Shaftsbury
Th. — Works: The 4-act opera Jeanie Deans
(Edinburgh, 1894); 4-act opera Diarmid an1.
Ghrinl (London, Covent Garden, Oct. 23,
1897; succ.); a mus. comedy, The Golden Girl
(Birmingham, 1905); the cantatas Bonnie
Kilmeny (1888), Lord Ullin's Daughter
(1888), The Lay of the Last Minstrel (1888),
The Cameronian's Dream (1890), Queen
Hynde of Caledon (1892), The Death of Farcy
Reed (for male ch. and orch.); The Wreck of
the Hesperus (1905); 3 overtures, Cior Mhor,
The Land of the Mountain and the Flood,
and Ballad Overture, The Dowie Dens o'
Yarrow; orchl. ballade, The Ship o' the
Fiend; Highland Memories, 3 pes. for orch.;
songs and part-songs; pieces for vln. and pf.,
and 'cello and pf.; the 8th Psalm, for ch.
and orch.; etc.
MacDowell, Edward Alexander, b. New
York, Dec. 18, 1861 ; d. there Jan. 23, 1908.
Pupil there of J. Buitrago, P. Desvernine,
ana Teresa Carreno. Studied from 1876, at
Paris Cons., under Marmontel (pf.) and
Savard (theory). In 1878 he went to Ger-
many, where he studied for a few months
with Louis Ehlert in Wiesbaden, and then
entered the Frankfort Cons, in 1879. Here
he continued the pf. with Karl Heymann
and comp. with Joachim Raff, both of whom
quickly recognized their pupil's unusual
talent and took a special interest in him.
When Heymann resigned in 1881 he recom-
mended M. as his successor, but for some
reason the suggestion was disregarded by
the authorities, and M. accepted a position
at the Darmstadt Cons. The next year
Raff introduced him to Liszt, who showed
his appreciation of the compositions sub-
mitted by placing the Modern Suite (op. 10)
upon the program of the annual concert of
the Allgem. Musikverein, on which occasion
M. himself played the work (July 11, 1882).
Its favorable reception induced him to
remain in Germany, settling in Wiesbaden
as pianist and composer. In 1884 he paid
a short visit to his native land, and married
a former pupil, Miss Marion Nevins. In
1888, however, he returned permanently,
taking up his residence in Boston. There the
interpretation of his piano-works attracted
the attention of Gericke, at that time the
cond. of the Boston Symph. Orch., under
whose direction he played his own new pf.-
concerto in D m. on April 12, 1889. Under
Gericke's immediate successors, Nikisch and
Paur, all of M.'s orchestral works received
their first hearing almost as soon as completed,
and the fame of the new composer spread
rapidly throughout the land. When in
1896 the department of music was created
at Columbia University, the trustees unani-
561
MACDOWELL
mously chose M. as the first incumbent, a
distinction due to 'the greatest musical
genius America has produced.' The assump-
tion of these new duties practically ended
his pianist ic career; he now devoted himself
entirely to teaching and composition, and,
as regards his creative activity, the years
spent in New York were the most fruitful
of his life. For two seasons (1897-9) he also
was cond. of the Mendelssohn Glee Club.
Unfortunately his health began to fail about
the year 1902, and when a year's rest had
wrought no improvement, he resigned his
position in the spring of 1904. The phy-
sicians diagnosed the malady as a gradual
disintegration of the brain-tissues, which in
the fall of 1905 ended in insanity.
Unlike some other geniuses cut off in
their prime, M. lived to enjoy in a large
measure the recognition due to his talent;
for this timely appreciation not a little
credit is due to Teresa Carreno, who was
the first artist (except the composer himself)
to play in public a work of M. In a Chicago
recital in 1883 she played the Second Sutte
(op. 14), which she also introduced to New
York on Mar. 8, 1884. She likewise gave
the first European performance of the pf.-
concerto in D m. (op. 23) at a Gewandhaus
concert in 1891; and included all his
pf.-works one after the other in her
regular repertoire. — Shortly after the
composer's death a number of admirers
organized the MacDowell Memorial Asso-
ciation and raised a fund of $50,000. Mrs.
M. deeded to the Assoc, her husband's
summer residence at Peterboro, N. H. At
very moderate rates rooms were rented to
young American composers who, during the
summer months, sought inspiration in those
beautiful surroundings, the last resting-place
of America's most inspired composer. Soon
the number of applicants could no longer be
accommodated, and several cottages were
built. During the summer of 1910 Mrs. M.
arranged an elaborate pageant under the
direction of Prof. G. P. Baker of Harvard,
with appropriate music from the works of
M., arranged and conducted by Chalmers
Clifton. The success of the undertaking led
to the establishment of an annual four-day
festival in August, known as the Peterboro
Festival.
Among American composers M. occupies
easily the first place, because of his striking
originality; he is, in fact, the first and (so
far) only native-born musician who has
developed an individual style so pronounced
that in his mature works he can be confused
with no other master. His musical personality
is as distinct as that of Grieg or Schumann.
Like them, M. also is preeminently a poet
whose exquisite fancies find their happiest
expression in the smaller forms. His most
pronounced gift is a fertile invention, and
his themes are generally short, always clearly
defined, wonderfully expressive and logically
developed. His sense of proportion, sym-
metry and artistic unity is well-nigh perfect;
with unerring instinct he strikes and main-
tains a fundamental mood, carefully avoiding:
irrelevant or disturbing elements. There are
no sudden, violent transitions, no baffling:
contrasts, no jarring discords, nothing that
offends the esthetic sense; yet his harmonic
scheme is bold within the limits of the beau-
tiful, his rhythm varied and incisive, his
melody invariably noble, his climaxes power-
ful and stirring. Directness, freshness and
vitality constitute the perennial charm of
M.'s music. — Bibliography. L. Gilman,
E. M. A Study (New York, 1908); E. F.
Page, E. M. His Work and Ideals (ib.,
1910); J. Adams, What the Piano Writings of
M. Mean to the Student (Montreat, N. C,
1913); T. P. Currier, M. as I Knew Hint, in
4Mus. Quart.' (Jan., 1915); O. G. Sonneck,
Suum cuique: Essays in Music (New York,
1916).
Compositions
Op. 1-8, unpubl.; op. 9, Two Old Songs;
op. 10, First Modern Suite for pf.; op. 11,
Drei Lieder; op. 12, Zwei Lieder; op. 13,
Prelude and Fugue for pf.; op. 14, Second.
Modern Suite for pf.; op. 15, Concerto in
A m. for pf. and orch.; op. 16, Serenata for
pf.; op. 17, Zwei Phantasiestucke for pf.;
op. 18, Zwei Stilcke for pf.; op. 19, Forest
Idyls for pf.; op. 20, Drei Poesien for pf.
4 hds.; op. 21, Mondbilder for pf. 4 hds.
(5 pes.); op. 22, Hamlet and Ophelia, 2
symph. poems for orch.; op. 23, Concerto in
D m. for pf. and orch.; op. 24, Four Pieces
for pf.; op. 25, Lancelot and Elaine, symph.
poem for orch.; op. 26, From an Old Garden
(6 songs); op. 27, 3 songs for m. ch.; op. 28,
Idyllen (6 pes. for pf.); op. 29, Lamia, symph.
poem for orch. (posth.) ; op. 30, The Saracens
and Lovely Alda for orch.; op. 31, Six Poems
for pf.; op. 32, Quatre petites Poesies for pf.;
op. 33, Drei Lieder; op. 34, 2 songs; op. 35,
Romance for vcl. and orch.; op. 36, £tudc de
Concert in F# for pf.; op. 37, Les Orientates
(3 pes. for pf.); op. 38, Marionettes (8 pes. for
pf.); op. 39, Twelve Studies for pf.; op. 40,
Six Love Songs; op. 41, 2 songs for m. ch.;
op. 42, First Suite for orch.; op. 43, Two
Northern Songs for m. ch.; op. 44, Barcarole
for mixed ch. with pf. 4 hds.; op. 45, Sonata
Tragica for pf.; op. 46, Twelve Virtuoso
Studies for pf.; op. 47, 8 songs; op. 48, Second
(Indian) Suite tor orch.; op. 49, Air and
Rigaudon for pf.; op. 50, Second Sonata
(Eroica) for pf.; op. 51, Woodland Sketches
(10 pes. for pf.); op. 52, 3 choruses for m.
voices ; op. 53, 2 do. for do.; op. 54, 2 do. for
562
MACFARLANE— MACFARREN
do.; op. 55, Sea Pieces (8 pes. for pf.); op.
56, 4 songs; op. 57, Third Sonata (Norse)
for pf.; op. 58, 3 songs; op. 59, Fourth Sonata
(Keltic); op. 60, 3 songs; op. 61, Fireside
Tales (6 pes. for pf.); op. 62, New England
Idyls (10 pes. for pf.). — Without op. -number:
Two Songs from the Thirteenth Century for
m. ch.; 6 kleine Stucke nach Skizsen von
J. S. Bach; Technische Obungen for pf. —
M.'s lectures, delivered at Columbia Univ.,
were publ. by W. J. Baltzell as Critical and
Historical Essays (Boston, 1911).
Macfarlane, William Charles ("Will
C"), b. London, Engl., Oct. 2, 1870; since
1874 in New York, where he had his entire
musical education. Taught 1876-86 by his
father, Duncan M. (1836-1916); 1886-90
by S. P. Warren (organ and theory). Debut
as organist in a recital at Chickering Hall
on Mar. 22, 1886; organist of St. John's
Meth. Ch. 1885-6; then filled several similar
positions; 1898-1912, organist of the Temple
Emanu-El; 1900-12, org. and mus. dir. of
St. Thomas's Ch., ana conductor of the
Yonkers Choral Society (1902-12); since
1912 munic. org. in Portland, Me. Has given
organ-recitals in the Eastern States, and in
1915 made an extended concert-tour to the
Pacific Coast. He is a founder and Gold
Medalist of the A. G. O.; won the prize of
the Chicago Madrigal Club in 1911 and
1914; A. M. (Bates Coll., 1915; hon. c).
Has publ. several anthems, and other sacred
music; numerous organ-pieces in MS. An
operetta, Little Almond-Eyes, was prod, in
Portland in 1916.
Macfarren, Sir George Alexander, im-
portant English composer; b. London, Mar.
2, 1813; d. there Oct. 31, 1887. Pupil of
his father, George Macfarren (the dramatist);
and of Ch. Lucas (1827) and C. Potter
(1829) at the R. A. M., where he became
prof, in 1834. In 1875 he succeeded Bennett
as Prof, of Music at Cambridge Univ.;
Mtis. Bac. and Mus. Doc., Cantab., 1876,
in which year he became Principal of the
R. A. M. He was knighted in 18*8 J.— -Works:
The operas The Devil's Opera (1838); Don
Quixote (1846); King Charles II (1849);
Robin Hood (1860); Jessy Lea (1863); She
Sloops to Conquer (1864); The Soldier's
Legacy (1864); Helvellyn (1864); 4 others not
perf.; 2 masques, and several farces and
melodramas; the oratorios St. John the
Baptist (1873), The Resurrection (1876), Joseph
(1877), and King David (1883); the cantatas
Leonora, May Day, Christmas, Songs in a
Cornfield, Outioard Bound* and The Lady of
the Lake; — Church-Music: Choral Service
in Eb; Unison Service in G; 52 Introits or
Short Anthems, and many other anthems;
hymns, chants, etc. — 8 Symphonies (in C,
D m., F m., A m., Bb, C# m., D, and E m.);
Overtures (in Eb; Merchant of Venice; Romeo
and Juliet; Chevy Chase; Don Carlos; Hamlet;
Festival); an Idyll in memory of Bennett; a
pf.-concerto, a flute-concerto, and a violin-
concerto; a pf. -quintet; a quintet for con-
certina and strings; 6 string-quartets (G m.,
C. A. F, G m., and G); a pf.-trio; a trio for
pf., flute and 'cello; 2 sonatas for vln. and
pf.; sonata for flute and pf.; several pf.-
sonatas; an organ-sonata; 5 Romances for
violin; 2 4-part songs; trios, duets,, songs,
etc. — His chief writings are Rudiments of
Harmony (1860; 14 editions); and Six Lec-
tures on Harmony (1867; 3d ed. 1880);
also valued contributions to Grove's 'Diction-
ary of Music,' the 'Encyclopaedia Britannica,'
and the 'Imperial Diet, of Biography.' He
edited 'Old English Ditties' (2 vols.), 'Old
Scottish Ditties,' 'Moore's Irish Melodies,'
'Songs of England,' 'British Vocal Album';
also PurceU's Dido and Mneas, Handel's
Belshazzar, Judas Maccabaeus, Jephtha, and
Messiah; etc. — Biography by H. C. Banister:
G. A. Macfarren, His Life, Works, and
Influence (London, 1891). — His wife,
Macfarren, Natalia, b. Ltibeck, 1827; d.
Bakewell, April 9, 1916. She received her
early education in New York, and later ent.
the R. A. M., where she st. singing; also for
a time comp. under G. A. Macfarren, whom
she subsequently married. She appeared as
an opera-singer (contralto) in New York, and
in her husband's operas in England. As a
singing-teacher she enjoyed an excellent
reputation; made many translations into
English of German songs, cantatas, opera-
libretti, etc.; and wrote a Vocal Method, and
an Elementary Course of Vocalising and Pro-
nouncing the English Language.
Macfarren, Walter Cecil, brother of Sir
George; b. London, Aug. 28, 1826; d. there
Sept. 2, 1905. Chorister at Westminster
Abbey, 1836-41, under Turle; from 1842-6,
pupil, at the R. A. M., of Holmes (pf.),
C. Potter, and his brother (comp.). From
1846, pf.-prof. at the R. A. M., of which inst.
he was a Fellow. From 1873-80 he conducted
the Academy Concerts; also acted as director
and treasurer of the Philharm. Soc. He gave
many pf.-recitals and lectures in London,
Bristol, and elsewhere; also a series of orchl.
concerts in 1882. He retired from all positions
in 1903. — Works: A symphony in Bb; 7
overtures; a Concertsttick in E, for pf. and
orch.; 3 pf. -trios; 2 sonatas f. pf. and violin;
1 sonata for pf. and 'cello; 4 Romances for
pf. and violin; a great variety of pf. -music
{3 Suites de pieces; 6 Illustrations of Tenny-
son's Heroines; Allegro appassionato; Allegro
cantabile; Rondinos, Caprices, Tarantellas,
Scherzos, Impromptus, Gavottes, Mazurkas,
563
MACHADO— MACLEAN
Waltzes, etc.); a cantata, The Song of the
Sunbeam; services and anthems, songs and
gut-songs. — He edited Mozart's pf.- works;
eethoven's Sonatas; 'Popular Classics';
'Morceaux classiques'; etc. He publ. his
autobiogr. under the title Musical Memories
(London, 1903). See also 'M. TV (Jan., 1898).
Machado [mah-shah'dfid], Augusto, b.
Lisbon, Dec. 27, 1845. Pupil of Junior,
Lami, and d'Almeide there, and of Lavignac
and Danhauser in Paris; 1892-1908, inspector
of the San Carlos Th. in Lisbon; 1894-1910,
dir. of the Cons, there. Besides numerous
operettas he wrote the operas A Cruz de oiro
(Lisbon, 1873); A Maria da Fonte (ib.f
1879); Lauriane (Marseilles, 1883; immense
succ.; Lisbon, 1884); Os Dorias (Lisbon,
1887); Mario Wetter (ib., 1898); Ventre
(ib., 1905); La Borghesina (ib., 1909). For
the third centenary of the death of Camoens
he wrote the symph. ode Combes e os Luziadas
(1880); also pes. for organ and for pf.
Machault [mah-shohl, (or Machau,
Machaud, Machau t), Guillaume [Guillel-
mus de Mascandio], probably a native of
Machau in the Champagne, b. 1300; d. c.
1370; troubadour in the service of Joanna of
Navarre, Johann of Luxembourg, and Charles
V of France. He is the earliest French
representative of the 'Are nova* that origi-
nated in Florence in the 14th cent. A mass,
motets, rondos, chansons and ballads are
preserved, besides many poems. A full
description of his works, as well as 14 com-
plete compositions in notation, are found in
Joh. Wolfs Gesehichte der Mensuralnotation
von 1250-1460 (Leipzig, 1904).
Maciro'ne, Clara Angela, composer,
pianist, and teacher; b. London, Jan. 20,
1821. Pupil, at the R. A. M., of Potter and
Holmes (pf.), Lucas (comp.), and Negri
(voice). Associate of the Philharm. Soc.;
teacher of pf. at the R. A. M.; then head
music-mistress (1872-8) of Aske's School for
Girls, Hatcham, later at the Ch. of England
High School for Girls, in Baker St.; success
as a teacher remarkable. — Works: Te Deum
and Jubilate, sung at Hanover Chapel
(first service by a woman ever sung in the
church); anthem By the waters of Babylon
(sung at Canterbury, Ely, and other cathe-
drals); numerous part-songs (her most popular
and successful comps.), and songs; Suite de
pieces in E m., for vln. and pf.; Rondino in
G, and other pf.-music.
Mackenzie, Sir Alexander Campbell,
b. Edinburgh, Aug. 22, 1847. Pupil of
Ulrich (vl.) and Stein (comp.) at Sonders-
hausen Cons., 1857-62, when he entered the
Ducal orch.; won the King's scholarship at
the R. A. M., 1862, and studied under
Sainton, Jewson, and Lucas; from 1865-79
in Edinburgh as a teacher and conductor,
concert- violinist, and quartet-player. From
1879-88 he lived the greater part of the year
in Florence, but from 1885-7 was obliged to
spend considerable time in London as cond.
of Novello's Oratorio Concerts. He was abou t
to settle entirely in Florence, when in 1888 he
was elected principal of the R. A. M.,a post
which he has since filled with distinction;
now (1917) in the 28th year of uninterrupted
service. From 1892-99 he was also cond. of
the Philh. Soc. Hon. Mus. Doc., Univ. of St.
Andrews, 1886; of Cambridge, 1888; of
Edinburgh, 1896; LL.D., Glasgow, 1901, and
Leeds, 1904; D. C. L., McGill Univ. (Mont-
real), 1903. Knighted in 1895. He is a
distinguished and active member of various
societies and musical associations. — Works:
4 operas, Colombo (1883), The Troubadour
(1886), His Majesty, or The Court of Vingolia
(1897; comic), and The Cricket on the Hearth
(1914); the operetta The Knights of the Road
(1905); the oratorios The Rose of Sharon
(1884), and Bethlehem (1894); the cantatas
The Bride, Jason, The Story of Sayid, The
New Covenant, The Dream ofJubal, The Cotter's
Saturday Night, The Witch's Daughter,
The Sun-God's Return, and Veni, creator
spiritus; incid. mus. to Ravenswood, Marmion,
The Little Minister, Manfred, and Coriotanus.
— For Orchestra: A Scherzo; 3 Scottish
Rhapsodies; a ballad, La belle dame sans
merci; overtures (Cervantes, To a Comedy,
Tempo di ballo, Twelfth Night, Britannia) ;
a concerto, and a suite, Pibroch, for violin
and orch.; Scottish Concerto for pf. and orch.;
a suite for orch., London Day by Day; In-
vocation for orch.; a Canadian Rhapsody; —
also a pf. -quartet (op. 11, in EV; From
the North (9 pieces for violin with pL-acc.);
other music for violin and for pf.; anthems,
songs, and part-songs.
McLean, Alick, composer; b. Eton, Eng-
land, July 20, 1872. Pupil of Sir Joseph
Barnby; in 1899 app. mus. dir. to Sir C.
Wyndham; since 1911 mus. dir. at the Spa,
Scarborough. — Works: The 3-act opera
Quentin Dunoard (London, 1895); the 1-act
opera Petruccio (Covent Garden, June 29,
1895; won the Moody-Manners prize of
£100); Die Liebesgeige (Mayence, 1906);
MattreSeiler (London, 1909); a choral work,
The Annunciation; incid. music to Parker's
The Jest and Rostand's Cyrano de Bergerac;
a Serenade for vl. and pf.; songs.
Maclean, Charles Donald, b. Cambridge,
England, Mar. 27, 1843. Pupil of F. Hiller
in Cologne; Mus. Doc., Oxon., 1865; 1871-5,
org. and mus.-dir. at Eton Coll.; has appeared
frequently in recital, especially at Albert
Hall and Crystal Palace; for many years he
was in the civil-service in India; returned to
564
MACMILLEN— MAERZ
London in 1893, where he has been living
since as composer; 1899-1908, Engl. ed. of
the 'Internationale Musikgesellschaft' (Leip-
zig); since then General Secretary. — Works:
An oratorio, Noah (1865); a cantata, SulmaUa;
the overtures Cynthia's Revels, Artegal, Pen-
thesUea, Iona, Laodameia, A Joyous Overture;
2 symph. poems, Songs of Selma and On
the Heights; Concert- AUegro in G; a suite in
C, Melody-Album; Idyl and ViUanella in
F; a sinfonietta, A Ball-night; Pageant
March; Colonia March; A us Bayern, 4 pes.
for orch.; a pf. -concerto in F. He wrote the
History of Modern Engl. Music for I^avignac's
'Encyclopedic de la Musique' (1914).
Macmillen, Francis, eminent violinist;
b. Marietta, O., Oct. 14, 1885. At age of 7
ent. Chicago Coll. of Music, where he st.
vl. and pf.; 1895-9, pupil of K. Markees and
J. Joachim in Berlin; then of C. Thomson
at Brussels Cons., where he won the 1st
prize and the van Hal cash prize in 1901;
cont. his studies with K. Flesch and L. Auer,
in Petrograd. Triumphal debut in Brussels,
Mar. 30, 1903; in the fall of the same year
he was heard with the Queen's Hall Orch.
(H. Wood), and made a very succ. tour of
England; Amer. debut with N. Y. Svmph.
Orch. (Damrosch), Dec. 7, 1906, followed
by an extended tour of the U. S.; 1907-8,
second Amer. tour; on this third tour, 1910-
11, he appeared in 158 .concerts with all the
leading orchs., and in recital; other tours,
1914-17; from 1911-14 he played in the
principal cities of Europe, meeting everywhere
with emphatic success.
Macpherson, Charles, b. Edinburgh, Mar.
10, 1870. From 1879-87, chorister at St.
Paul's Cath., and pupil of Sir G. Martin
(org.); ent. the R. A. M. in 1890, won the
Lucas prize in 1892, and became A. R. A. M.
in 1896; since then prof, of harm, and cpt.
there. Works: Overture, Cridhe an Ghaid-
hil; Overture on Jacobite Airs; Fantasy on
Scotch Tunes; the suites Hallowe'en and
Highland; a pf. -quartet in E^»; sextet for
wood- wind; Psalm 137 for ch., orch. and
org.; 3 Gaelic songs for sop., str.-orch. and
harp; organ-works (Fantasy-Prelude, Pre-
lude and Fugue, etc.); considerable church-
music; songs and part-songs.
Macpherson, Charles Stewart, b. Liver-
pool, Mar. 29, 1865. Won the Sterndale
Bennett scholarship and ent. the R. A. M.
in 1880, where he st. pf. with W. C. Macfarren
and comp. with Sir G. A. Macfarren; won
the Balfe scholarship in 1882, the Lucas
medal in 1884, and the Potter Exhibition in
1885; app. org. of Immanuel Ch. in 1885;
prof, of harm, and comp. at R. A. M. in
1887; F. R. A. M., 1892; 1885-1902, cond.
of Westminster Orchl. Soc.; 1886-1904, cond.
of Streatham Choral Soc.; in 1898 app.
examiner to the Assoc. Bd. of R. A. M. and
R. C. M., in which capacity he visited Can-
ada, Australia and New Zealand in 1900, and
South Africa in 1905; since 1903 prof, of
comp. in the R. Normal Coll. for the Blind;
member of the Bd. of mus. studies of the
Univ. of London. — Works: Symphony in C;
Ballad for orch.; a vln. -concerto; Mass in
D for soli, ch. and orch.; overtures, services,
pf.-pes.; songs. Has also publ. Practical
Harmony; Practical Counterpoint; Evolution
of- Musical Design; Rudiments of Music;
Form in Music; Music and Its Appreciation;
Aural Culture Based upon Musical Appre-
ciation; 350 Exercises in Harmony; Studies
in Phrasing and Form (with E. Read).
McWhood, Leonard B., b. Brooklyn,
N. Y., Dec. 5, 1870. Graduate student of
Columbia Univ., 1894-7; pupil of MacDowcll
there from 1896-7; 1897-1904, asst. to
Prof. MacDowell; 1904-10, adjunct-prof.;
1902-7, instr. in music at Vassar Coll.;
since 1907 head of dept. of church-music
at Drew Theological Seminary, Madison,
N. J.; has lectured extensively, and contrib.
to various mus. journals. Has comp. a can-
tata with orch. (1915), a light opera (1916),
choruses, songs, pes. for org., and do. for pf.
Ma'der, Raoul (Maria), b. Presburg,
Hungary, June 25, 1856. Law-student at
Vienna Univ. 1874-8; studied in the Vienna
Cons., 1879-82, under Schmitt and Schenner
(pf.), Bruckner (harm.), and Krenn (comp.),
taking first prizes for pf.-playing and pf.-
composition, and (1880) the great silver medal
and the Liszt prize as best pianist in the
Cons. From 1882-95, 1st 'Sologesangscor-
repetitor' ('coach' for solo singers) at the
Vienna court opera, also conducting ballets
and minor operas; 1891-5 also chorus-
master of the Academical Gesangverein.
Since 1895, chief conductor at the Royal
Opera, Pest. — Works: The 3-act comic
opera Die Fluchtlinge (Court Opera, Vienna,
1891); the verv succ. operettas Ceeur d'ange
(Vienna, 1895'), Kadet Kivasstony (Pest,
1900), Das Garnisonsmadel (Vienna, 1904),
Der selige Vincenz (ib. 1907), A Nagymama
(Pest, 1908); many ballets; choruses; songs.
Maerz, Joseph, b. Buffalo, N. Y., Dec.
23, 1883. Was exhibited at the age of 6 as
a pianistic prodigy, but retired and st.
seriously with Carlos de Serrano in New
York; has toured as concert-pianist since
1900; taught pf. at N. Y. Inst, of Music
and Syracuse Univ.; now (1917) dir. of
music at Wesleyan Coll., Macon, Ga.;
married in 1909 the violinist Glenn Priest.
Has comp. a Concert Allegro in A (op. 1),
a suite for 2 pfs. (op. 3), Berceuse pastorale
for vl. and pf. (op. 4), Symphonic Intro-
565
MAGGINI— MAHLER
Auction and Hymn to the Flag (op. 6); cho-
ruses; pf.-pcs.; songs.
Maggi'nl, Giovanni Paolo (also Magini,
Magino), b. Botticino-Marino, Italy, Aug.
25, 1580; d. Brescia, c. 1631. Famous
violin-maker at Brescia. His violins, violas,
'celli and double-basses are prized almost
equally with Stradivari's and Guarneri's; the
double-basses are especially valued. The
violins have a soft, viola-like tone. The
label reads: Gio. Paolo Maggini, Brescia.
— Cf. M. L. Huggins, G. P. M,t His Life and
Work (London, 1892); A. Berenzi, Gli artefici
liutai hresciani (Brescia, 1890); id., Di G.
P. M. (Cremona, 1907).
Magnard [mah-nahr'], (Lucien-Denis-
Gabriel-) Alteric, b. Paris, June 9, 1865;
d. Baron, Oise, Sept. 3, 1914 (killed while
defending his house against the Germans).
Having completed his legal studies, he
became a pupil of Dubois and Massenet at
the Cons., where he won the 1st prize for
harm, in 1888; then cont. his studies with
d'Indy. He never held any position, but
lived in almost complete seclusion at Baron,
devoting his entire time to composition. —
Works: The operas Yolandc (Brussels,
1892), Bircnice (Op.-Com., 1911), Guercceur
(publ. 1904; not prod.) [M. wrote his own
libretti]; 3 symphonies (op. 4, 6, 11); a
suite (op. 2); an overture (op. 10); Hymns
a la Justice (op. 14); Hymne a Venus (op.
17); Chant funebre (op. 9); a quintet for
pf. and wind-instrs. (op. 8); a string-quartet
(op. 16); a pf.-trio (op. 18); a vln. -sonata
(op. 13); a vcl.-sonata; 4 songs.
Magnus, Desire* (recte Magnus Deutz),
b. Brussels, June 13, 1828; d. Paris, Jan.,
1884. Studied with Vollweiler in Heidelberg,
and at the Brussels Cons.; after successful
pianist ic tours in England, Spain, Russia,
etc., he settled in Paris as a concert-pianist,
teacher, composer, and critic. — Publ. a well-
known Methode Slementaire de piano (1879) ; a
Grande sonate, op. 140; 24 etudes for velocity
and melody, op. 190; many 5a/<m-pieces; etc.
Mahillon [mahi-ydhn], (Charles-) Victor,
b. Brussels, Mar. 10, 1841. Since 1877,
custodian of the museum of mus. instrs. at
Brussels Cons.; also editor, 1869-86, of
'L'fecho musical,' and manager of his father's
wind-instr. factory. rte has made excellent
reproductions of rare instruments, among
them a complete collection of all the wind-
instrs. in use during the 16th and 17th
cents. — Publ. Tableau synoptique des voix,
et de tous les instrs. de musique; Tabl. syn.
de la science de Vharmonie; ftttments d'acous-
tique musicale et instrumental (1874; silver
medal, Paris) ; £tude sur le doigte de la flUte
Bohm (1885); Catalogue descriptif et analy*
tique du music instrumental du Cons. Royal
de Mus. de Bruxelles (1880; 2d ed., 4 vols.,
1893-1912); Le matSriel sonore des orchestres
de symphonic, d' harmonic, et de fanfares
(1897); Les instruments a vent. I. Le Trombone,
son histoire, sa thSorie, sa construction. II. Z>
Cor, do. III. La TrompeUe, do. (1907).
Mahler, Gustav, b. Kalischt, Bohemia,
July 7, 1860; d. Vienna, May 18, 1911.
Studied in Iglau Gymnasium; then (1877)
philosophy at Vienna Univ.. and also at the
Cons. (pi. with Epstein, comp. and cpt.
with Bruckner). 1883-5, Kapellm. in court
th. at Kassel (directed the grand mus.
festival as a leave-taking); 1885-6 in Prague
with Angelo Neumann, as Anton Seidl's
successor (directed Nibelungen, Meistersinger,
Tristan und Isolde, etc.); 1886-8 in City
Th., Leipzig; 1888-91, Director of the Royal
Opera at Pest, thoroughly reorganizing the
opera; 1891-7, Kapellm. at Hamburg City
Th.; in May, 1897, called to the Vienna Court
Opera as riofkapellm.; in Oct., 1897, suc-
ceeded Wilhelm Jahn as Director of the
Court Opera. During the ten years of his
directorship he displayed extraordinary talent
as an organizer, and the institution flourished
as perhaps never before; it was famous
throughout the world for the perfection of
its ensemble. In the fall of 1907 he resigns/
and came to New York as principal cone/, of
the M. O. H., where he made his debut
Jan. 1, 1908, with a superb performance of
Tristan und Isolde; specially noteworthy
were also his revivals of Fidelia and Don
Giovanni and the American premieres of
Smetana 's Bartered Bride and Tchaikovsky's
Pique Dame. In 1909 he was elected cond.
of the N. Y. Philh. Soc., and, in order that
he might carry out his plans for a complete
reorganization, endowed with autocratic
powers. Into this work he threw himself
with all his tremendous energy, achieving
magnificent results, but the effort cost him
his life. Early in 1911 he broke down and
returned to Vienna, where he died a few
months later. — Among modern conductors
M. was one of the most imposing figures.
But his soaring ambition would not let him
rest content with the universal tribute paid
to his genius as an interpreter; he sought
equal distinction as a creative artist. His
conceptions are invariably on the grandest
scale, and the means employed for the reali-
zation of his ideas correspondingly elaborate.
Although M. designates his principal works
as 'Symphonies/ they have really nothing
in common with the established classical
form, beyond the number of movements;
and even the arrangement of these differs
from the accepted scheme of fast and slow
tempi. In spite of consummate mastery of
all technical details, M. failed as a composer
because of lack of individuality and limited
566
MAHR— MAINZER
inventive power; his music is purely eclectic.
In every work occur passages of real and
preat beauty, but the effect of these is
invariably impaired by lone stretches of
uninspired music. Two other factors militate
against the effectiveness of M.'s works:
Inordinate length and over-indulgence in
sudden, violent contrasts. — Works: 9 Sym-
phonies: I. D (1891); II. C m. (1895);
III. D m. (1896); IV. G (1901); V. D m.
(1904); VI. A m. (1906); VII. E m. (1908);
VIII. Eb (1910); IX. D (1912; posth.)
M.'s sketches for a tenth symph. were
elaborated by Franz Mikorev, and the work
was prod, in Berlin (1913; as Symphonia
Engadiana. — Das klagende Lied for soli, ch.
and orch.; the song-cycles with orch. Kinder-
totenlieder (5 songs), Des Knaben Wunderhom
(12 songs), Meier eines fahrenden Geseilen
(4 songs), Das Lied von der Erde (posth.; 3
songs for ten. and 3 for alto); several separate
songs with orch.; 3 books of early songs
(with pf.); a 'Marchenspiel,' RUbetahl (text
by M.); fragments of an early opera, Die
Argonauten. He also completed Weber's
Die drei Pinios (1877; after the composer's
sketches). — Bibliography. L. Schiedermair,
G. M. (Leipzig, 1901); R. Specht, G. M.
(Berlin, 1905; brief sketch, 39 pp.); P.
Stefan, G. M.'s Erbe (Munich, 1908; a
polemic against Weingartner [M.'s succ. in
Vienna]); G. M. Ein Bild seiner PersonUch-
keit in Widmungen (Munich, 1910); P.
Stefan, G. M. Eine Studie uber Personlichkeit
und Werk (Munich, 1910; 3d augm. ed. 1912;
Engl. tr. bv T. E. Clark, N. Y., 1913);
R. Specht, G. M. (Berlin, 1913; very full,
388 pp.). Detailed analyses of the symphs.
[bv Schiedermair, Specht, Teibler, Weigl,
with in trod, by E. Istel] are found in vol. x
of 'MeisterfQhrer' (Berlin).
Mahr, Emil, b. Wiesbaden, Mar. 25,
. 1851; d. Brookline, Mass., Mar. 31, 1914.
Pupil of Joachim; played among the first
violins at the Bayreuth festivals of 1876 and
1882; 1877-87, concert-master of the Richter
concerts in London; 1885-7, do. of Henschel's
'London Symphony Concerts'; from 1887
till his death prof, of violin, viola and en-
semble classes at the N. E. Cons, in Boston.
Mai'er, Julius Joseph, b. Freiburg,
Baden, Dec. 29, 1821; d. Munich, Nov. 21,
1889. He studied for a governmental career,
but from 1849 took up music under Hauss-
mann in Leipzig; 1850, teacher of counter-
point at the Munich R. School of Music:
1857-87, custodian of the important musical
department of the Munich Library. — Publ.
Kiassische Kirchenwerke alter Meister (1845;
arr. for male ch.); an Auswahl englischer
Madrigale (1863); and the valuable catalogue
Die musikalischen HandschHJten der Kgl.
Hof- und Staatsbibliothek in Munchen (1879;
only Part I, Die Handschriften bis turn Ende
des 17. Jahrhunderts).
Mal'erl, Anton yon. See Mayerl.
Maikapar [mi'-], Samuel, b. Cherson,
Russia, Dec. 18, 1867. Pupil of G. Molla
in Taganrog, and from 1885-93 at the
Petrograd Cons, of Cesi and Weiss (pf.), and
Soloviev (cpt.); at the same time he st.
law at the Univ. (Dr. juris, 1890); after
further study with Leschetizky in Vienna
he began his career as a pianist, . playing
with considerable success in Germany and
Russia; lived for some years in Moscow;
since 1910 prof, of pf. at the Petrograd Cons.
With the exception of some books of songs
(op. 1, 7, 9) his comps. are for the pf.: Varia-
tions, op. 2, 5, 12; Preludes, op. 3; Miniatures,
op. 4; Petite Suite en style classique, op. 6;
Novelettes mignonnes, op. 8; Reveries, op. 10;
Pensies fugitives, op. 11; Octave-Intermezzi,
op. 13; Preludes for the wrist, op. 14; Suite
pastorale, op. 15; AlbutnbULtter, op. 16;
Pohne, op. 17; Sonata in C m.,op. 19; Sonata
in C, op. 20; PensSes fugitives, op. 21. He
also publ. The Musical Ear (1900; in Russian).
Maillart, Louis (called Alme), b. Mont-
pellier, Herault, France, Mar. 24, 1817; d.
Moulins, Allier, May 26, 1871. Pupil, at
Paris Cons., of Guerin (vln.), El wart (harm.),
and Leborne (cpt. and comp.); won the
Grand prix de Rome in 1841, and spent 2
years in Italy, then visiting Vienna and
German cities. He wrote six operas; the
first, Gastibelsa (1847), was well received;
Les dragons de Villars (1856) has also been
successful in Germany as Das Glockchen des
Eremiten.
Mailly [mah-ye'I, Alphonse-Jean-Er-
nest, b. Brussels, Nov. 27, 1833. Pianist
and organist; pupil of Girschner at Brussels
Cons., where ne was app. piano- teacher in
1861, and organ-teacher in 1868. A fine
organ-virtuoso, he has given concerts in
Paris, Amsterdam, London, etc. — Works:
Sonatas, fantaisies, morceaux de genre, etc.,
f. org.; Serenade for flute, violin, cello, org.,
and pf.; pf.-trio; pf. -pieces; motets w. org.; etc.
Mainwaring, John, b. 1735; d. Cam-
bridge, April, 1807. He is the author of
the first biography of Handel, publ. anon, as
Memoirs of the Life of the late G. F. H. (1760;
Ger. by J. Mattheson, 1761).
Malnzer [mln'tser], Abbe Joseph, b.
Trier, Oct. 21, 1801; d. Manchester, England,
Nov. 10, 1851. Studied music in Trier, and
became singing-teacher at the seminary.
Exiled during the Polish Revolution, he
went to Brussels, Paris (where he started
the short-lived 'Chronique musicale de
Paris' in 1838), London (1841), and finally
567
MAIR— MALHERBE
to Manchester, where he established suc-
cessful singing-classes on Wilhem's system.
In 1844 he founded 'Mainzer's Musical
Times,' which in 1846 became the 'Musical
Times/— Publ. a Singschule (183 1 ) ; Melhode de
chant pour les cnfants (1835-1838); MHhode
de chant pour votx d'hommes (1836); Biblio-
theque ilementaire du chant (1836); Melhode
pratique de piano pour les enfants (1837);
AbicSdaire de chant (1837); £cole chorale
(1838); Cent miladies enfantines (1840);
Singing for the Million (1842); Esquisses
musicales, ou souvenirs de voyage (1838-39);
Musical Athenaum, or, Nature and Art,
Music and Musicians, in Germany, France,
Italy, etc. (1842). — 2 operas were unsucc.
Mair, Franz, b. Weikersdorf in the March-
feld, Mar. 15, 1821; d. Vienna, Nov. 14,
1893. Vocal composer; founder (1883) and
conductor of the Vienna Schubertbund. —
Works: Music to Die Jungfrau von Orleans,
Dornrbschen, etc.; male choruses for soli,
ch. and orch.: Germanenzug, op. 32; Die
Auswanderer, op. 35; Sangesweihe, op. 47;
Hofers Tod, op. 66; Auf dem Schlachtfelde,
op. 98; Die Volker und ihre Lieder (cycle of
15 folk-songs of various nations arr. for m.
ch. and orch.). His reminiscences were
publ. by the Schubertbund as Aus meinem
Leben (1897).
Maitland, John Alexander Fuller. See
Fuller-Maitland.
Maitland, Rollo F., b. Williamsport, Pa.,
Dec. 10, 1884. Having been taught the
rudiments of music by his father, he became
in 1897 a pupil of Dr. D. D. Wood (pf., org.
and theory) in Philadelphia; also st. vl. with
Henry and Frederick Hahn; has filled various
positions as org. and choirm. in Phila.; now
(1917) at the Memorial Ch. of St. Paul,
Overbrook, and org. at the Stanley Th.;
F. A. G. O., and member of the Exec. Com.
of the Pa. Chapter; member MS. Soc., Phila.
Has publ. a Concert-overture in A f. organ
and other works for do., anthems, pf.-pcs.
and songs; in MS. he has a sonata f. organ
(D), and do. for pf. (Eb).
Maltre Jehan. See Gallus.
Majo [mah'yoh], Francesco di (called
Ciccio dl Majo), b. Naples. 1745 (?); d.
Rome, Jan. 18, 1770. Distinguished com-
poser, pupil of the Cons, di S. Onofrio. For
a number of years, organist of the Royal
Chapel, for which he wrote 5 masses (one
for double choir and 2 orchestras) and other
sacred music. He brought out 19 operas,
Astrea placata (1760) being the first. — See
Q.-Lex.
Major [mah'yohr], Julius Jacques, b.
Kaschau, Hungary, Dec. 13, 1859; pupil of
Volkmann and Erkel at the Nat. Mus. Acad.
in Pest, where he founded the Ladies1 Choral
Union in 1894, and a private music-school in
1896. — Works: Two 1-act operas, Lisbeth
and Erysika (both Pest, 1901); Szicki Maria
(Klausenburg, 1906); Mila (Presburg, 1913);
5 symphonies (No. 4 in F# m., op. 40, publ.);
Concert symphonique for pf. and orch., op.
12; a vl. -concerto, op. 18; a pf. -concerto in
A m., op. 49; a symph. poem Balaton, op. 55;
Drei Konzertfantasien for pf. and orch., op.
63; Niels Finn for ch. and orch., op. 38;
Psalm 47 for male (or mixed) ch. and orch..
op. 45; a Serenade for strings, op. 24; 3 trios,
op. 4, 20, 63; 3 str.-quartets (D m., E m.v
C m.); several violin-sonatas; an Hungarian
sonata for pf.; female choruses; songs.
Majora'no. See Caffarelli.
Malash'kln, Leonid Dlmitrievitch, pop-
ular song-composer; b. Russia, 1842; d.
Moscow, Feb. 11, 1902. His opera, Ilja
Muromez (Kiev, 1879), was unsuccessful,
like his symphony in Eb. Besides original
songs, he publ. Fifty Ukrainian Folk-Songs,
c6nsiderable church-music, and pf. -pieces.
MaTdeghem, Robert Julien van, b.
Denterghem, Flanders, 1810; d. IxeJles, n.
Brussels, Nov. 13, 1893; for many years ed.
of 'Cecilia'; publ. a very valuable coll. of
sacred and secular comps. of old Belgian
masters, Trisor musical (29 vols., 1865-93).
Mal'der, Pierre van, early symphomst
and comp. of string-quartets; b. Brussels,
May 13, 1724; d. there Nov. 3, 1768. Solo
violinist at the court opera; chamber-musician
to Prince Charles of Lorraine. — Chief works:
18 symphonies for strings, 2 oboes, and 2
horns (the first 6 publ. 1769), 6 string-
quartets (1757), 6 sonatas for 2 violins and
bass; violin-pieces. Also operas. — See Q.-Lex.
Malherbe [mah-lehrb'], Charles-Theo-
dore, comp. and musicograph; b. Paris,
April 21, 1853; d. Cormeilles, Eure, Oct. 5, •
1911. Though musically gifted, he studied
law, and was admitted to the bar; but then
took up music in earnest, under A. Danhauser,
A. VVormser, and J. Massenet. After a
tour (as Danhaaser's secretary) through
Belgium, Holland, and Switzerland in 1880-1,
to inspect the music in the public schools,
he settled in Paris; in 1896 was app. asst.-
archivist to the Grand Opera, succeeding
Nuitter as archivist in 1899. He edited 'Le
Menestrel,' and contributed to many leading
reviews and mus. journals. His collection
of mus. autographs, which he left to the
Paris Cons., was probably the finest private
coll. in the world. — Compositions: An opera
comique, l' Amour au camp (Le Mans, 1905);
incid. music to Les yeux clos; a ballet-pan-
tomime, Cendrillon; 3 operas in MS. (Ordon-
nance, Les trots commtres, Le bastion de
568
MALIBRAN— MALLING
Cetteville); several pes. for orch.; pf.-pes.
(chiefly for 4 hds.); 2 offertories for org., one
in canon-form, the other with vln., 'cello
and harp; vln. -music, songs, and many
transcriptions. — Writings: Ueeuvre drama-
tique de Richard Wagner (1886); PrScis d'his-
Unre de I'Opera-Comique (1887); Notice sur
Ascanio (1890); Melanges sur R. Wagner
(1891); Histaire de la seconde Salle Favart
[Opera-Comique] (2 vols., 1892-3, 'couronnee
par T Institute; Catalogue des ceuvres de Doni-
zetti (1897); Programmes et concerts (1898);
Auber (1911). M. was also secretary of the
edition of Rameau's complete works now
publishing by Durand, editing the historical
and biographical notices therein; also ed.,
with Weingartner, of the complete edition of
Berlioz's works (B. & H.).
Malibran [mah-le-brahn'], Alexandre,
violinist; b. Paris, Nov. 10, 1823; d. there
May 13, 1867. Spohr's pupil at Kassel,
where he settled. At Paris (1860) he started
the short-lived 'L'union instrumental,' a
mus. paper; at Brussels (1864) 'Le Monde
musical. Publ. Ludwig Spokr; sein Leben
und Wirken (1860); comp. a mass for
male ch. (for the Legion of Honor); also
orchl. and chamber-music.
Malibran, Maria Pelicita (nSe Garcia),
b. Paris, Mar. 24, 1808; d. Manchester, Sept.
23, 1836. Daughter of Manuel Garcia, and
a most eminent dramatic contralto. Taken
to Naples at 3, at 5 she played a child's
part in Paer's opera Agnese. Two years
later she studied solfeggi with Panseron;
from the age of 15, however, she was her
father's pupil in singing. Her debut at
H. M.'s Th., London, June 7, 1825, as
Rosine in the Barbiere, procured her engage-
ment for the season. The family then
voyaged to New York, where for two years
she was the popular favorite, singing in
Otellot Romeo, Don Giovanni, Tancredi, Cene-
rentola, and the 2 operas which her father
wrote for her, VAmante astuto and La Figlia
deWaria. Here she married the French
merchant Malibran; he soon became bank-
rupt, and they separated. Returning to
Paris, her immense success led to an engage-
ment at a salary of 50,000 francs; after 1829
she sang every season at London; also
appeared at Rome, Naples, Bologna, and
Milan; at her last Naples engagement she
received 80,000 francs for 40 nights, with
2l/b benefits; at London, 1835, she had
£2,775 for 24 nights. She married the vio-
linist de Beriot in 1836, only a few months
before her death, which was caused by over-
exertion in singing after a severe fall from
her horse. As a singer and actress she
exercised the fascination of a highly endowed
personality over her audiences. Her voice
was of extraordinary compass, but the
medium register had several 'dead' tones.
She was also a good pianist, and com-
posed numerous nocturnes, romances, and
chansonnettes, publ. in album-form as
Demieres toensUs, etc, — Bibliography. Cenni
biografici (Venice, 1835); G. Barbieri, Notizie
biografiche di M. F. M. (Milan, 1836); J.
Nathan, The Life of Mme. M. M. de Beriot
(London, 1836); A. von Treskow, Mme. M.
(Leipzig, 1837); Comtesse Merlin, Loisirs
d*une femme de monde (Paris, 1838; Ger. tr.
by G. Lotz as M. M. als Weib und Kunst-
lerin, Leipzig, 1839; Engl, tr., London, 1844;
more romantic than trustworthy); E. Le-
gouve, M. M.t in £tudes et souvenirs de
thSdtre (Paris, 1880); E. Heron- Allen, Con-
tributions toward an accurate biography of de
Beriot and M.% in No. vi of 'De hdiculis
opuscula' (1894); A. Pougin, M. M. Histoire
dune cantatrice (Paris, 1911; Engl, tr.,
London, 1911); Clement Lanquine, La M.
Paris, 1911).
Mallshevsky. See Malyshevsky.
Mailing [mah'-J, Jtfrgen, b. Copenhagen,
Oct. 31, 1836; d. tfiere July 12, 1905. Pupil
of Gebauer and Gade; first winner of the
Ancker stipend in 1861, he visited Paris and
there became enthusiastic over Cheve's
system of vocal notation, which he tried
(unsuccessfully) to introduce in various
cities in Scandinavia and Russia; 1869-72, org.
in Svendborg; 1877-9, singing-teacher in
Norrjctiping; settled in Vienna in 1879 as
composer, and lived in Munich from 1882-
95, four years as Dozent for theory and
esthetics at the Univ.; returned to Copen-
hagen in 1901, where he was prof, of theory
at Matt hison- Hansen's Cons, from 1902-5. —
Works: 2 operas, Lisenka and Frithjof;
Kuvala, cantata for soli, ch. and orch.; a
str. -quartet in D m.; a pf.-trio in A m.; pf.-
pcs.; songs.
Marling, Otto (Valdemar), composer; b.
Copenhagen, June 1, 1848; d. there Oct. 5,
1915. Pupil of Gade and J. P. E. Hart man n
at the dons.; 1872-84 conductor of the
Students' Choral Society; 1878, organist of
St. Peter's Ch.; 1891, at Ch. of the Holy
Ghost; from 1900, at Ch. of Our Lady; 1874,
co-founder and (until 1893) cond. of the
Concert Society; 1885, teacher of theory at
the Cons., and from 1899 its dir. His pub-
lished works, over 90 in number, include a
symphony in D m., op. 17; Fantasia f. vln.
with orcn., op. 20; Concert Overture, op.
29; 2 orchl. suites, Musique de ballet, op. 42,
and Orientalische Suite, op. 51; a pf. -concerto,
op. 43; Reveil for 4 solo voices with string-
orch., op. 13; Das heilige Land for soli, ch.
and orch., op. 46; Es war einmal ein Konig,
for sop. and bar. soli, ch. and orch., op. 58;
569
MALLINGER— MANCINELLI
Den htllige Shrift, for sop., ten. and bar. soli
with org., op. 65; a pf.-trio, op. 36; a pf.-
quintet, op. 40; a str. -octet, op. 50; a pf.-
quartet, op. 80; valuable organ- works (op.
66, 70, 81, 84); 2 suites for vln. and pf.,
Faust-Suite, op. 55, and Aus den vier Jahres-
teiten, op. 68; a sonata for vln. and pf., op.
57; numerous songs; characteristic pieces for
pf.; a ballet, Askepot (Copenhagen, 1911);
and a treatise on instrumentation (3 eds.).
Mal'linger, Mathllde (nSe Lichteneg-
fter), dramatic soprano; b. Agram, Feb. 17,
1847. Pupil (1863-6) of Gordieiani and Vogl
at Prague Cons., and Lewy at Vienna; debut
at Munich, 1866, as Norma; created the
role of Eva in the Meistersinger in 1868; in
1869 was eng. at Berlin Court Opera, and
married Baron y. Schimmejpfennig. 1890,
singing-teacher in Prague Cons.; 1895, do.
at Eichelberg's Cons, in Berlin; now (1917)
living there as 'Kgl. Kammersangerin.'
Mallinson, Albert, born Leeds, 1870.
Pupil of W. Creser; in 1887 app. org. at St.
Chad's Ch., Leeds; lived some time in
Melbourne as org. at various churches; in
1903 he married the Dajiish Lieder-singer
Anna Steinhauer, and with her made success-
ful tours of Denmark and Germany, intro-
ducing his own songs; 1898-1903, organist
to Viscount Portman; since 1904 living in
Dresden as org. of the Engl. Ch. In 1906 he
gave a series of recitals of his own songs with
his wife and Ada Crossley, which were
received so favorably that since then he has
made annual visits to the English capital. — >
Works: Tegner's Drapa for sop., ch. and
orch.; The Battle of the Baltic for male ch.;
a pf.-trio; a pf. -quartet; over 300 songs (Ger.,
Engl., Danish).
Malliot [mahl-yoh'], Antoine-Louis, b.
Lyons, Aug. 30, 1812; d. Rouen, Apr. 5,
1867. St. from 1832-5 in Paris under Choron,
Garaude and Banderali; sang tenor rfiles at
various provincial theatres from 1835-43,
and then settled in Rouen as singing-teacher
and critic of the 'Nouvelliste,' exerting
considerable influence upon the musical life
of the town. He prod, with much succ. the
operas La Vendeenne (1857) and La Truffo-
manie (1861); publ. La musique au theatre
(1863), CrSation d'un conservatoire de musique
a Rouen (1866), etc.
Malmquist; Karl Julius, b. Copenhagen,
June 16, 1819; d. Horsholm, Aug. 4, 1859.
Chiefly self-taught; cond. of various male
singing socieites; composer of popular male
choruses and several operettas.
Mal'ten (recte M Oiler), Therese, dram,
soprano; b. Insterburg, E. Prussia, June 21,
1855. Trained by Gustav Engel, Berlin;
debut at Dresden, 1873, as Pamina and
Agathe, secured her a life-engagement there
for leading roles (Armide, Fidelio, Senta,
Elisabeth, Elsa, Eva, Isolde). Created role
of Kundry (Parsifal) at Bayreuth in 1882;
retired in 1903, and living since then as
honorary member of the court opera at Neu-
Zschieren, n. Dresden. Made 'Kgl. Kammer-
sangerin' in 1881.
MalyaheVsky [mah-la], Vitold Josefo-
vltch, b. Mogilov-Podolsk, July 8, 1873.
While studying medicine in Tinis, he pursued
his musical studies at the Cons, there under
E. Kolotchin and Ippolitov-Ivanov; in 1898
he went to Petrograd as instr. in mathematics
at the Nikolai Inst., and until 1902 st. comp.
with Rimsky- Korea kov; since 1908 prof, of
comp. and dir. of the Music-School of Odessa.
— Works: 3 Symphonies (G, op. 8; A, op.
10; C m., op. 14); 3 str.-quartets (F, C, Dm.);
a str.-quintet in D m. (op. 3); a vl. -sonata in
G (op. 1); a suite for vcl.; 2 overtures; pf. -pes.
MaTzel, Johann Nepomuk, mechanical
inventor; b. Ratisbon, Aug. 15, 1772; d. on
board the brig Otis, bound for America,
July 31, 1838. Settled in Vienna, 1792, as a
music-teacher; attracted wide attention by
his 'Pan-harmonion' (a sort of orchestrion),
an automaton-trumpeter, and an automatic
chess-player; he was created 'Court Mechani-
cian' in 1808. He constructed the 'Metro-
nome' in 1816; Winkel, of Amsterdam, was,
however, the inventor. M. also made ear-
trumpets (Beethoven's, among others). He
undertook long journeys to exhibit his in-
ventions.
Mancinelll [-ch€-], Luigi, distinguished
dram. comp. and cond.; b. Orvieto, Papal
States, Feb. 5, 1848. Intended for a mer-
cantile career, he learned to play the pf.
by himself, and finally ran away from home
in pursuit of mus. teaching. Though caught
half-way to Florence, and made to return,
he vanquished parental resistance, and at
14 was sent to Sbolci, at Florence, to /earn
the 'cello. Becoming 3d 'cellist at the
Pergola Th., next year, he earned his living
for 8 years by 'cello-playing, teaching, and
song-writing. He had a few theoretical
lessons from Mabellini. In 1870 he joined
the orch. of the Opera at Rome, cond. by
Terziani; became 2d cond. in 1874, and 1st
cond. in 1875. In 1881, Director of the
Bologna Cons., which he reformed completely,
making it one of the best music-schools in
Italy. From 1886-8, he cond. the opera-
seasons at Drury Lane, London; 1888-1906,
the spring seasons at Covent Garden, where
he cond. the first perf. of Tristan u. Isolde
sung in German; 1888-95, cond. of the Royal
Th., Madrid, also of the Concert Soc. (for
3 years); 1894-1902, cond. of the M. O. H.;
in 1906 he inaugurated the Teatro Colon in
570
MANCINI— MAN£N
Buenos Aires, and was there as principal
cond. till 1912; since then living at his villa
near Meina on Lake Maggiore. He has been
decorated with the Grand Collar of the Order
of Santiago (Portugal) , is the recipient of
many other decorations, and commander of
various orders. He is famous as a conductor,
both of Italian and German (Wagner) opera;
in Italy he is called 'il Wagnerista' by reason
of his enthusiastic work for Wagner. — Com-
positions: Overture and entr'acte-music to
Cossa's Cleopatra; Scene Veneziane, suite for
orch.; 2 overtures, Romantica and Messalina,
for orch.; Tizianello for solo, ch. and orch.;
Carmen Tragicum for orch.; 2 masses; 2
oratorios, Isaiah (Norwich, 1887) and Saint
Agnes (ib., 1906); the operas Isora di Pro-
venza (Bologna, 1884), Ero e Leandro (in
concert-form, Norwich, 1896; as opera,
Madrid, 1897; very succ.; Cov. Garden,
1898; M. O. H., 1899), Paolo e Francesca
(Bologna, 1907); has also orchestrated many
of Chopin's works. His latest comps. are
La Priire des Oiseaux for alto solo, fern. ch.
and orch. (publ. by Ricordi, 1916) and a
3-act lyric opera, Midsummer Night's Dream
(after Shakespeare; finished 1916). — Cf. L.
Arnedo, L. M. y su opera Hero y Leandro
(Madrid, 1898).
Mancinl [-che'-], Francesco, composer of
some 20 operas for Naples, where he was b.
1674; studied and taught at the Cons, di S.
Loreto, was app. 2d maestro of the R.
Chapel in 1709, and 1st maestro in 1720. He
died in Naples, 1739.
Manci'nl, Giambattista, vocal teacher;
b. Ascoli, 1716; d. Vienna, Jan. 9, 1800,
where he was singing-master to the Arch-
duchesses.— Publ. Pensieri e riflessioni prac-
tiche sopra il canto figurato (1774; 2d ed. 1777;
French editions as Varl du chant figure, 1776,
and Reflexions pratiques sur le chant figuri,
1796).
Man'cio [-chdh], Felice, b. Turin, Dec.
19, 1840; d. Vienna, Feb. 4, 1897. Stage-
and concert-singer, a pupil of Mercadante
and Hassel-Barth. Debut 1870. For some
years prof, of singing at Vienna Cons.
Mandl, Richard, b. Prossnitz, Moravia,
May 9, 1859. From 1878-83 pupil of the
Vienna Cons.; attended as 'auditor' the
classes at the Paris Cons, of Delibes, with
whom he became intimate, and for whom he
occasionally substituted; returned in 1900 to
Vienna, where he has since then been living
as composer. — Works : A 1 -act comedy-opera ,
Ndchtliche Werbung ((Prague, 1888; as Ren-
contre imprtvue, Rouen, 1889); the symph.
poems Griselidis (for sop., fern, ch., org. and
orch.) and Stimme des Orients; a symph.
rhapsody, Algier; Ouverture su einem gasko-
gnischen Riltersptele; Viennensiat dance-suite;
Hymnus an die aufgehende Sonne for str.-
orch., harp and org.; Gesang der Elfen for
fern. ch. and orch.; 5 Intermezzi for vl., vcl.
and pf.; Romanze and Serenade for vl. and
orch.; a str. -quintet in G; songs; pf.-pcs.
In MS. he has a 3-act opera, Parthenia. —
In 1899 he married Camilla Barda, who has
publ. a valuable pedagogical work, Kompen-
dium der gesammten Klaviertechnik (3 vols.),
and has ready for publication (1917) a
Sapphische Elegie for vl. and orch.; pf.-pcs.
and songs.
Mandyzcewski [-chghf'ske], Eusebius,
b. Czernowitz, Aug. 18, 1857; pupil of R.
Fuchs and Nottebohm in Vienna; 1880
chorusmaster of the Vienna Singakademie
and archivarius to the Ges. der Musikfreunde;
1896 teacher of instrl. science, and 1900 of
mus. history, at the Conservatory. M. is
chairman of the Tonkiinstlerverein, a member
of the Board of Musical Experts, one of the
editors of the great edition of Haydn's works
(Breitkopf & Hartel), and of the 'Volks-
liederbuch' publ. under the auspices of the
German Emperor. He is the recipient of
several orders, and hon. member of a number
of societies, etc. In 1897 he received the
honorary degree of Dr. phil. (Leipzig) for
his work on the Complete Edition of Schu-
bert's compositions. He has ed. Bach's arias
for sop. with obbligato instrs. in 'Publ. der
neuen Bachgesellschaft' (vol. xiii), and written
the supplementary volume, Die Sammlungen
und Statuten, to Perger and Hirschf eld's
Geschichte der k. k. Ges. der Musikfreunde
in Wien (1912). Has also publ. several male
and mixed choruses, songs, and pf.-pcs.
Manelll, Franceaco, b. Tivoli, c. 1595;
d. Venice, c. 1670. Sang as boy-chorister
at the Cath. in 1605; 1609-24, chapel-
singer there; 1626-9, m. di capp.; in 1630 in
Bologna, where he prod, an opera, Delia;
in 1638, chapel-singer at St. Mark's in
Venice. In 1637 the Teatro San Cassiano
in Venice, the first public opera-house in
Europe, was opened with M.'s Andromeda;
this was followed by several other operas,
which all enjoyed treat, popularity, and
ushered in the period of supremacy of the
Venetian opera culminating in Monteverdi.
All the dramatic scores of M. have been
lost, but the libretti are preserved. His op.
4, Musiche varie (Venice, 1636), a coll. of
cantatas, arias, canzonette and ciacone, show
that he had adopted the 'parlando recitative.'
For full list of operas see F£tis.
Manen, Joan [de], b. Barcelona, Mar.
14, 1883. Before he was 4 years old his
father began to teach him piano and violin,
and on both instruments the boy's progress
was equally rapid and astonishing; after he
had been exhibited for some years as a
571
MANGEOT— MANNERS
pianistic prodigy, he st. vln. for a short time
with D. Alard, and thereafter appeared only
as a violinist, with such success that he is
generally regarded as the legitimate successor
of Sarasate. He also attracted considerable
attention as a composer, when in the same
year (1903) two operas, Giovanna di Napoli.
and Actf, were prod, at Barcelona; in these
he shows decidedly ultra-modern tendencies,
and his subsequent development leads dan-
gerously near to Futurism. His other works
include the operas Der Fackeltanz (Frankfort,
1909) and Der Weg zur Sonne (not yet prod.,
1916); a symph. poem, Nova Catalonia; op.
2, Vars. on a theme of Tart in i for vl. and
orch.; op. 5, Juventus, 'concerto grosso' for
vl. and orch.; 2 concertos for vl. and orch.,
•op. 6 (E m.) and op. 18 (Cone, espagnol); 4
Catalonian caprices for vl. and orch., op.
13 (Anyoransa), op. 20 (A pitch), op. 23
(PlainUs et Joies), op. 24 (Strophes d* Amour);
op. 22, a Suite for vl. and pf. with orch.;
op. 28, Scherzo Janlastique for vl. and orch.
Mangeot [mahn-zhoh'], fidouard- Joseph,
b. Nantes, France, 1834: d. Paris, May 31,
1898. A practical pf. -maker, he invented a
pf. with double keyboard ('a double clavier
renverse'), which created a sensation at the
Paris Exposition of 1878, and at London
under the hands of de Kontski. M. founded,
in 1889, 'Le Monde musical,' a periodical
which he himself edited.
Man'ftold, Karl (Ludwig Amand),
brother of Wilhelm; b. Darmstadt, Oct. 8,
1813; d. Oberstdorf, AlgSu, Aug. 5, 1889.
Pupil of Berton and Bordogm at Paris
Cons., 1836-9; violinist in Darmstadt court
orch.; from 1848-69, court mus. dir.; also
cond. of the Musikverein (1839), the Sanger-
kranz, the Cacilia, and 1869-75 of the
Mozartverein. — Operas Das Kohlermddchen,
Tannhduser (Darmstadt, 1846; revived there
in 1892 as Der gelreue Eckart), Gudrun,
Dornroschen; — oratorios Abraham, Wittekind,
Israel in der Wiiste; — concert-dramas Frithjof,
Hermanns Tod, Ein M or gen am Rhein,
Barbarossas Erwachen; — a symphony-cantata,
Elysium; a dramatic scene, Des Mddchens
Klage; a prize-cantata for male ch., soli
and orch., Die Weisheit des Afirza Schaffy;
2 symphonies (Eb, F m.); chamber-music;
extremely popular male quartets; Die Her-
mannsschlacht, "paean" for soli, mixed ch.
and orch.; choruses, part-songs, songs, etc.
Mangold, (Johann) Wilhelm, b. Darm-
stadt, Nov. 19, 1796; d. there May 23, 1875.
Son and pupil of Georg M. [1767-1835] in
violin-playing; later of Rinck and Abbe
Vogler, and of Cherubini at Paris Cons.;
chamber-musician at Darmstadt, from 1825
court Kapejlm., pensioned 1858. — Works:
An opera, Metope (1823), and 2 minor
ones; incidental and chamber-music, over-
tures, and melodies for horn or clar. with
pf., which are popular.
Mann, Arthur Henry, b. Norwich, Eng-
land, May 16, 1850; chorister at the cathedral
under Dr. Buck. Organist at various
churches, and since 1876 organist and choir-
director, Kind's College, Cambridge; since
1902 also choirm. of the Norwich rest. F.
C. O., 1871; Mus. Bac. (1874), and Mus.
Doc. (1882), Oxford; hon. member of R.
A. M., 1896. Noted Handel scholar; with
E. Prout he discovered in 1894, at the
Foundling Hospital, the orig. wind-parts of
The Messiah (perf. that year, with the re-
constructed score, at King s Coll.). Coeditor,
with Fuller-Maitland, of the Fitzwilliam
Catalogue; edited Tallis's motet for 40
voices (1888); mus. editor of The Church of
England Hymnal' (1895). — Cornps.; An Ecce
homo for soli, ch. and orch.; Te Deum for
ch., orch. and org.; Evening Service in E,
for do.; Eve. Serv. in E, for double choir a
capp.; anthems, organ-pieces, part-songs.
Mann, Johann Gottfried Hendrik,
b. The Hague, July 15, 1858; d. Coudewater,
Feb. 10, 1904. St. in the R. School of Music
there; began his career as military band-
master at Leyden; then cond. at the Park
Th. in Amsterdam, and finally at the Dutch
opera there. Wrote a ballet, De Droom van
den Klokkenluider, a concerto for cl. and
orch. (op. 90) ; orchl. works, choruses, songs.
Manners, Charles [real name Southcote
Mansergh], distinguished dram, basso and
impresario; b. London, Dec. 27, 1857. After
unsuccessful attempts to begin life as a
soldier, engineer and stock-broker, he ent.
the Dublin R. A. M. as winner of the Albert
scholarship; then st. for a year under Shake-
speare at the London R. A. M., and later
at Florence. In 1881 he joined D'Oyly
Carte's company as a chorus-singer, where
his fine voice attracted immediate attention,
so that he was entrusted with the creation
of the r61e of Private Willis in Sullivan's
Iolanlhe, in which he made a most successful
debut on Nov. 25, 1882 (Savoy Th., London);
having sung in the provinces with the Carl
Rosa company, he appeared in grand opera
at Cov. Garden as Bertram in Robert le
Diable (1890); in 1893 he was heard in the
U. S. as soloist at the Seidl Concerts; 1894-6
he sang under A. Harris. The emphatic
success of his South African tour (1896-7),
when he sang in English, led him to form on
his return the Moody-Manners Opera Co.
for the production of grand opera in the
vernacular: the principal soprano was his
wife, Fanny Moody (q. v.), whom he had
married in 1890. From modest beginnings
with such works as Maritana, Maria, Faust,
572
MAN NES— MANNS
etc., produced at various provincial theatres,
the company steadily increased in efficiency,
so that in 1902 M. undertook his first London
season, winning such generous applause
that since then these performances in English
have become a part of the musical life of
the capital. Securing adequate translations
of Wagner's music-dramas, these works were
added one after another to the repertoire,
and M. has the honor of having been the
first to introduce those masterpieces to the
provinces. To add to the value of his
company as an educational institution, M.
has at various times offered prizes for
British composers, and brought out their
works. In 1904 and 1906 he gave two
operatic festivals at Sheffield, donating
the entire profits to the fund for the foun-
dation of a university there.
Mannes, Clara Damrooch, daughter of
Dr. Leopold D.; b. Breslau, Dec. 12, 1869.
At the age of 6 she began to study piano
with Clara Gross in New York, continuing
with Jessie Pinney; 1888-9 she st. in Dres-
den, pf. with H. Scholtz and harm, with
Joh. Schreyer; in 1897 she was a pupil of
F. Busoni; from 1889-1910, taught pf. in
N. Y.; on June 4, 1898, she married the
violinist David M. (q. v.), with whom she
has given numerous sonata-recitals.
Mannes, David, violinist; b. New York,
Feb. 16, 1866. He took up the vln. at the
age of 11, studying with various local teachers
(H. Brode, Th. Moses, J. Douglas, C. Rich-
ter); later he spent the summer months in
Europe, studying with de Ahna (1891) and
Halir (1892-3) in Berlin, and Ysaye (1903)
in Brussels; played at first in various th.-
orchs. until Walter Damrosch discovered
him and eng. him as one of the 1st vlns.
for the N. Y. Symph. Orch. (1891); from
1898-1912, he was conc.-master, and also
appeared as soloist; 1902-4, gave chamber-
music concerts with his own str. -quartet;
in 1904 he founded the Symphony Club of
N. Y., which he has dir. since. Always
much interested in settlement work, ne
took charge of the vl.-dept. of the 'Music
School Settlement' in N. Y. in 1902, and
from 1910-15 was general dir.; founded in
1912 the 'Music School Settlement for
Colored People'; in 1916 he opened his
own mus.-school in N. Y. He is, perhaps,
best known for his fine sonata-recitals with
his wife, Clara M. (see above), begun in
1900; at first given at irregular intervals,
they have been fixtures in the N. Y. musical
season since 1906, and have been extended
to several of the larger Eastern cities; in
1913 a successful series was given in London.
Manney, Charles Fonteyn, b. Brooklyn,
N. Y., Feb. 8, 1872. While singing as sop.
soloist at the Ch. of the Redeemer, he st.
harm, with W. A. Fisher in N. Y.; later cpt.
with W. Goodrich in Boston, and comp. with
Dr. P. Goetschius; since 1898 living in
Boston as assoc.-editor for O. Ditson & Co.,
and cond. of several choruses and the 'Foot-
light Orch.'; member of the Harvard Mus.
Assoc, and N. Y. MS. Soc. Has written a
comic opera, The Duke's Double; publ. 2
cantatas, The Resurrection and The Manger-
Throne; choruses, anthems, pf.-pcs. and songs.
Manning, Edward Betts, b. St. John,
N. B., Canada, Dec. 15, 1874. Having
completed his law-studies in St. John, he
came to New York in 1894 and st. vl. with
H. Schradieck and comp. with E. Mac Do well
at Columbia Univ., 1896-1902; later st.
with Humperdinck in Berlin (1907-8) and
P. Vidal in Paris (1910-11); taught in N.
Y., 1897-1904; instr. at Oberlin Cons.,
1905-7; supervisor of music in the publ.
schools of N. Y., 1908-11; Mosenthal Fellow,
Columbia Univ., 1910; instr. there since
1915. — Works: Op. 1, 7, pf,-pcs.; op. 2-6,
8, songs; op. 9, Prelude and Fugue for org.;
op. 10, The Tryst, scena for m.-sop. and orch.;
op. 11, Pf.-trio in D m.; op. 12, Ungarischer
Tanz in A m. for vl. and orch.
Manns, Sir August (Friedrich), b.
Stolzenberg, n. Stettin, Mar. 12, 1825; d.
London, Mar. 2, 1907. The son of a poor
glass-blower, his talent was fostered by a
rude quintet (2 vlns., 'cello, horn, and
flute) formed by his father, brothers, and
himself; the village musician of a near-by
hamlet taught him the violin, clarinet, and
flute. At 15 he was apprenticed to Urban,
town-musician of Elbing. Later he became
1st clar. of a regimental band at Danzig;
transferred in 1848 to Posen, M. came under
Wieprecht's eye, who got him a place as
1st violin in Gungl's orch. at Berlin. 1849-51,
conductor at KrolPs Garden; band-master of
a regiment at Kdnigsberg and Cologne
(1854), when Schallehn eng. him as sub-cond.
of the Crystal Palace band, London, also
to play the E> clar., copy music, etc. Having
arranged a set of National Quadrilles at S.'s
request, the latter publ. them as his own
work; M. promptly resigned his position,
and published the reason, which Schallehn
did not refute. M. now appeared as a
violinist at Leamington, and 1854-5 in
Wood's opera-orch., Scotland; cond. the
Amsterdam summer concerts of 1855, and
in that autumn succeeded Schallehn as
director of the music at the Crystal Palace,
a position which he held with distinction
until the dissolution of the orchestra in 1901.
The original band was changed to a regular
symphony orchestra, which soon was recog-
nized as the best in England. The famous
573
MANNSFELDT— MANTUANI
Saturday Concerts were inaugurated in
1856.* During the 46 years of his sway M.
conducted some 14,000 concerts. He also
cond. 6 Triennial Handel Festivals (1883-
1900); the Promenade Concerts at Drury
Lane in 1859; and the orchl. concerts of the
Glasgow Choral Union, 1879-92. He in-
troduced many new works by English and
foreign composers. Numerous decorations
rewarded his intelligent, conscientious, and
eminently popular labors. He was knighted
in 1904.— Cf. H. S. Wyndham, A. M. and the
Sat. Concerts (London, 1909).
Manns'feldt, Hermann, b. Erfurt, Jan.
21, 1833; d. Ems, Feb. 3, 1892. Noted
conductor; long in Dresden; finally Kapellm.
of the Kurkapelle, Ems.
Mann'stadt, Franz, b. Hagen, West-
phalia, July 8, 1852. Pupil of the Stern
Cons., Berlin; 1874, Kapellm. at Mayence;
1876, of the Berlin Symphony Orch.; 1879,
of. -teacher at Stern Cons. Was for a time
Biilowfs asst.-cond. at Meiningen, and cond.
the Berlin Philharm.; then (1887-93) Ka-
pellm. at the R. Th., Wiesbaden, and pf.-
teacher at the Cons.; again cond. the Berlin
Philharm. (1893-7), and then resumed his
post at Wiesbaden, succeeding J. Rebicek;
now (1917) Hofkapellm. — His brother,
Mann'stadt, Wilhelm, b. Bielefeld, May
20, 1837; d. Ste^litz, n. Berlin, Sept. 13,
1904; cond. of singing-societies and stage
manager in small Berlin theatres, wrote
words and music of many farces and ope-
rettas, and publ. a paper, 4Der Kunstfreund,'
in 1874.
Mans'feldt, Edgar. See Pierson, Henry
Hugo.
Mansfield, Orlando Augustine, b. Horn-
ingsham, Wiltshire, Nov. 28, 1863. St. pf.
and org. under W. H. Cox in Bristol and
E. H. Turpin in London; self-taught in
theory and comp.; F. R. C. O., and Licentiate,
Trinity Coll., 1885; Mus. Bac, Trinity
Univ., Toronto (Silver medal), 1887; Mus.
Doc., ib., 1890, and Univ. of Toronto,
1905; F. A. G. O., 1910; in 1881 app. org.
at Manvers St. Ch., Trowbridge; 1885-95,
org. Trinity Ch., Torquay; 1900-12, org.
Belgrave Ch., Torquay; 1892-1912, examiner
for London Coll. of Music; 1908, Pres. of
Free Church Musicians' Union; since 1912
Erof. of music at Wilson Coll., Chambers-
urg, Pa. From 1890-1912 he appeared
frequently in England as concert -organist and
lecturer; married in 1886 Mile. Jutz, medallist
of the Geneva Cons, (vocalist, pianist and
'cellist), with whom he gave many recitals
for 2 pianos. He has publ. about 350 works
in the smaller forms for pf. and org. (30
prize-works) and about 100 arrangements of
574
choruses, org.- and pf. -works; many of the
orig. comps. are publ. under the pen-names
of Oscar Liemann and Sofie N. Adlam.
He has also been a prolific writer, having con-
tributed over 400 articles and reviews to
almost every mus. journal in England and
the U. S.; was for some time asst.-ed. of the
'Musical Journal,' and reviewer for 'The
Choir' and 'The British Congregational ist';
his Student's Harmony (1896, with key
and additional exercises) has passed through
10 editions.
Mansfield, Purcell James, concert-or-
ganist and composer; son of the preceding;
b. Torouay, England, May 24, 1889. He
received! his entire mus. education from his
father; in 1905 he won the gold and silver
medals at the Bristol Eisteddfod; 1906, A.
R. C. O.; 1907, F. R. C. O. and A. R. C. Af.;
1908, Lie. Mus., Trinity Coll., London; 1905.
org. at the Wesleyan Ch., Paignton, Devon;
1909, at Wesleyan Ch., Bideford, Devon;
since 1910 org. at Park Ch., Glasgow:
recitalist for the Glasgow Corporation and
Pres. of Glasgow Organists' Assoc. A very
prolific composer, chiefly for organ, he has
already publ. over 70 opus-numbers: Op.
13, Scherzo romantico; op. 22, L&gende roman-
tique; op. 25, Grand Chasur symphontque:
op. 47, Concert Fugue; op. 60, Scherzo sym-
phonique; op. 67, PrHude solenneUe; also 4
concert-overtures (No. 4, in G, is op. 1QV
Manskopf, (Jakob Friedrich) Nikolas,
b. Frankfort-on-Main, Apr. 25, 1869. Pupil
of L. Straus (vl.). After extensive travels
in France and England he founded in his
native city the 'Musikhistorisches Museum'
containing MSS., books, documents, rare
scores, theatre-programs, medals, caricatures,
autographs, etc., of musicians from the 14th
cent, to the present day; the catalogue con-
tains over 30,000 entries; admission is free
to the public.
Man'tius, Eduard, dramatic tenor; b.
Schwerin, Jan. 18, 1806; d. Bad I/menau.
July 4, 1874. Pupil of Pohlenz at Leipzig;
debut 1830 at the Berlin court opera as
Tamino, and sang there until 1857; after
that lived in B. as a highly esteemed singing-
teacher. Publ. a number of meritorious songs.
Mantova'nl, Tancredo, b. Ferrara, Sept.
27, 1864. Pupil of A. Busi in Bologna; in
1894 app. prof, of hist, of music and esthetics,
and librarian, at the Liceo Rossini in Pesaro;
since 1896 also editor of 'Cronaca Musicale.'
Has publ. Estetica musicale (1892), Orlando
di Lasso (1895), G. Rossini (1902), and numer-
ous histor. essays in various mus. journals.
Mantova'no, Alberto. See Rip*.
Mantua'ni, Josef, b. Laibach, Carniola,
Austria, Mar. 28, 1860. Pupil of A. Forster,
MANZUOLI— MARCEL
J. Bdhm and A. Bruckner in Vienna; also
st. philosophy, hist, and musicology at the
Univ. there, obtaining the degree of Ph.D.;
was app. to the k. k. Hofbibliothek in 1893,
and later became chief of the music division;
since 1909 dir. of the 'Landesmuseum' in
Laibach. In the 'Dkm. der Tonk. in Os-
terreich' he ed. (with Bezecny) J. Handl's
Opus musicum (vi, 1 [with biogr.]; xii, 1
[with bibliogr.l; xv, 1; xx, 1). He has publ.
Tabulae codicum manuscriptorum
asservatorum (2 vols., 1897, '99; a complete
catalogue of the MSS. in the Vienna library) ;
Katalog der Ausstellung anldsslich der tin*
tenarfeier D. Cimarosas (1901); Ober den
Beginn des Notendrucks (1901); Ein unbe-
kanntes Druckwerk (1902); Geschichte der
Musik in Wien. /. Teil: Von den RomerzeUen
bis zum Tode des Kaisers Max I (1904).
Manzuoli, Giovanni, famous stage-sop.
(musico); b. Florence, about 1725. Sang in
Italy, then in Madrid (1753), and London
(1764-5); in 1771 he was singer to the Grand
Duke at Florence. Date of death unknown.
Mapleson, Col. James Henry, the well-
known English impresario, d. London, Nov.
14, 1901. Studied at the R. A. M., London;
appeared as a singer, and also played the
viola in an orchestra. In 1861 his career as
an operatic manager began at the Lyceum,
with Italian opera; he was at H. M.'s Th.
1862-8; in Drury Lane, 1869; in partnership
with Gye, 1869-71, then returning to Drury
Lane; in 1877 he reopened Her Majesty's Th.
His seasons in the New York Acad, of Music
fluctuated between success and disaster.
Publ. The M. Memoirs (2 vols., 1888).
Ma'ra, Gertrud Elisabeth (nSe Schme-
ling), wonderful soprano, with the phenom-
enal compass £-«*; b. Kassel, Feb. 23,
1749; d. Reyal, Jan. 20, 1833. Daughter of
a poor musician, and crippled by a fall in
infancy, she took to the violin by instinct;
she was trained by charitable aid, and taken
as a prodigy (at 9) to Vienna, and thence to
London, by her father. She was a natural
singer, and was taught in London by Paradisi;
her health also greatly improved, and she
returned to Kassel hoping to be engaged for
the court opera; failing here, J. A. Hiller
engaged her at 600 Thaler per annum for
the 'Grosses Concert' at Leipzig. She sane
here from 1766-71, also appearing several
times at the Dresden Opera with great success;
and in 1771 obtained a life-engagement at
the Berlin Court Opera, at 3,000 Thaler.
The caprices of a vicious husband (the
'cellist Mara, whom she married in 1773),
and the incredible tyranny of King Frederick
II, rendered this period of the great singer's
life wretched; in 1780 she fled to Vienna with
her husband, and proceeded thence, armed
with letters of recommendation from Marie
Antoinette, to Paris, where the artistic
rivalry between M. and the Todi set the
town by the ears. From 1784-1802 she
made London her abode, singing chiefly in
concerts, and twice visited Italy; obtained a
decree of separation from her husband in
1799; left London to make a long European
tour, and settled in Moscow, but lost all her
property in the conflagration of 1812. She
taught singing? in Reval, tempted Fortune
once more, with ill success, in London, and
died poor at the age of 84. — Bibliography.
G. C. Grosheim, Das Leben der Kunstlerin
Mara (Kassel, 1823); Fr. Rochlitz, Fur
Freunde der Tonkunst (Leipzig, 1824-32; in
vol. i); G. Burkli, G. E. M. (Zurich, 1835);
Autobiographic fed. by Riesemann] in
'Allgem. mus. Zeitung' (Leipzig, 1875); A.
Niggii, G. E. M., in Waldersee's 'Sammlung
Mus. Vortrage' (Leipzig, 1881; after the
autobiogr.); E. Wolff, Mignon (Munich, 1909).
Ma'ra, La. See Lipsius, Marie.
Manila fmah-ra'], Marin, b. Paris, Mar.
31, 1656 [FfeTis], d. there Aug. 15, 1728;
the greatest viol-da-gamba virtuoso of his
time. Choir-boy in the Sainte-Chapelle,
taught by Chaperon; studied the gamba
under Hottemann, then under Sainte-Colom-
be; joined the Opera orch., and is said to
have studied comp. with-Lully. In 1685 he
entered the royal orch. as soloist; pensioned
1725. — Publ. works: 5 books of pieces for
gamba (1686, 1701, '11, '17, '25); book of
trios ('symphonies') for vln., flute and gamba
(1692); book of trios {La Gamme) for vln.,
gamba and clavichord (1723); 4 operas
{Alcide, Ariane et Bacchus, Alcyone, and
Semele); etc. — His son Roland followed him
as solo gambist; publ. 2 books of pieces for
gamba with continuo; also a Nouvelle M£-
thode de musique pour servir d? introduction aux
acteurs modernes (1711). — See Q.-Lex.
Marbeck, John (or Merbecke), English
composer and organist, b. 1523; d. c. 1581.
Chorister in St. George's Chapel, Windsor,
1531; narrowly escaped burning as a heretic,
1544; Mus. Baa, Oxon., 1550; lay-clerk, and
organist, of St. George's Chapel. Chief
work, The Booke of Common Praier noted,
an adaptation of the plain-chant of earlier
rituals to the first ritual of Edward IV;
reprinted- in facsimile, 1844; republ. in J ebb's
'Choral Responses and Litanies (1857 ; vol. ii).
Marcel, Lucille [real name Wasself],
dramatic soprano; b. New York, c. 1887.
St. singing with Mme. Serrano and pf. with
A. Lambert in N. Y.; then went to Berlin,
and in 1904 to Paris, where Jean de Reszke
heard her shortly before she was to have
made her debut at the Op.-Com.; upon his
advice she cancelled her engagement, and
575
MARCELLO— MARCHESI
Placed herself under his instruction. When
rau von Mildenburg declined to study the
r6le of Elektra for the Vienna premiere, de
Reszke recommended his pupil to Wein-
gartner, and accordingly she made her
debut with almost sensational success in
that difficult part on Mar. 24, 1908; for
the next two years she remained at the court
opera as a regular member; when Weingartner
resigned the directorship in 1910, she also
left, and married him the following year;
since then she has been the principal soprano
where W. was cond., in Hamburg (1912-14),
and in Darmstadt since 1914. In the early
part of 1912, and also in 1913, she and her
husband appeared with great applause in
several performances of the Boston Opera
Co., her Amer. debut taking place at Boston
as Tosca on Feb. 14, 1912. Although a good
actress, she captivates rather through the
charm and emotional quality of her voice,
which has much of the fullness of the contralto
quality. Her chief r61es are Elektra, Salome,
Eva, Aida, Desdemona, Marguerite, Djami-
leh, etc.
Marcello [-chghl'-], Benedetto, famous'
composer and poet; b. Venice, Aug. 1, 1686;
d. Brescia, July 24, 1739. Music-pupil of
Gasparini and Lotti. He studied juris-
prudence, filled various government positions,
was a member of the Council of Forty for
14 years, then Troweditore' at Pola for
8 years, and finally Camerlengo at Brescia.
His masterwork is the settings of Giustiniani's
paraphrases of the first 50 Psalms (Estro
poetico-armonico; Parafrasi sopra i cinquanta
primi Salmi; Venice, publ. by D. Lovisa,
1724, '26, '27, in 6 vols, folio); they are for
from 1-4 voices, with basso continuo for
organ- or clavicembalo-accomp. ; a few with
'cello obbligato, or 2 violas; and have been
often republ. (recently by Carli in Paris).
He also publ. 5-p. Concerti grossi (1701),
Sonate per cembalo, Sonate a cinque, e flauto
solo con basso continuo (1712), Canzoni
madrigaleschi ed Arie per camera a 2-4 (1717) ;
a biting satire on operatic abuses, II teatro
alia moda, o sia Metodo sicuro e facile per
ben comporre ed eseguire opere italiane in
musica (1720?; oft-reprintea; latest ed. by
E. Fondi, Lanciano (1913|); the pamphlet
Lettera famigliare . . . (1705) is a not wholly
just critique of madrigals by Lotti. 2
oratorios, 3 dramatic works, and several
cantatas remained in MS. Some of M.'s
sonnets, libretti, etc., were composed by
other musicians. — Bibliography. G. Sachi,
B. M. (Venice, 1789); L. Busi, B. M. (1884);
O. Chilesotti, / nostri maestri del passato
(Milan, 1885); E. Fondi, La vita e I 'opera
letteraria del musicista B. M. (Rome, 1909).
—See also Q.-Lex.
Marchand [mahr-shahn'l, Louis, French
organist at Nevers, Auxerre, and Paris; b.
Lyons, Feb. 2, 1669; d. in poverty at Paris,
Feb. 17, 1732; a virtuoso known to fame
chiefly by his failure to meet J. S. Bach at
Dresden, 1717, in open competition. He
taught in Paris, and publ. 3 books of clavecin-
music and one of organ-pieces. A vol. of
his organ-works was publ. by Guilmant in
'Archives des maltres de l'orgue.' — Cf. A.
Pirro, L. M.% in 'Smb. Int. M.-G.' (vol. vi).
Marchant, Arthur William, org. and
comp.; b. London, Oct. 18, 1850. Mus. Bac.t
Oxon., 1879. Organist, 1871-80, in several
English churches; 1880-2, org. and choir-
master of St. John's Cath., Denver, Colorado;
returned to Britain, and since 1895 has
been org. of St. John's Episc. Ch., Dumfries.
— Works: Psalm 48, for soli, ch. and orch.;
A Morning and an Evening Service; anthems,
songs, duets, trios, etc.; Suite de pieces for
vln. and pf.; pf. -music; organ-music; 500
Fugue Subjects and Answers, Ancient and
Modern (a Primer; Novello); and a pamphlet
on Voice Culture.
Marches! [mahr-ka'ze], Blanche (baroness
Andre Caccamisi), daughter of Salvatore
and Mathilde M.; dramatic soprano; b.
Paris, Apr. 4, 1864. She was first trained
as a violinist, having as her teachers A.
Nikisch and E. Colonne; began to study
singing with her mother in 1881, and for
several years, until her marriage to baron
C, was her mother's assistant; her debut in
concert in Berlin (1895) was followed by
tours of Germany, France and England, her
reception in London (1896) being so enthu-
siastic that she settled there permanently;
after further tours of Russia, Holland,
Belgium and Austria she made her operatic
debut in Prague as Brunnhilde (Walkure)
in Dec., 1900; in 1901 she sang with the
Moody-Manners Co.; 1902 and '03 the
Wagner r61es at Cov. Garden; since then in
opera and concert throughout Europe; she
made two concert-tours of the U. S. (1899,
1909). Her repertoire includes the roles of
Brunnhilde, Isolde, Elsa, Elisabeth, Senta,
Leonora, Santuzza, etc. Now (1917) living
in London as a highly "esteemed and very
successful teacher.
Marches!, Luigi, ("Marchesl'nV') cele-
brated soprano (musico); b. Milan, 1755; d.
there Dec. 15, 1829. Sang in principal
Italian cities from 1773, and was considered
the greatest singer in Italy in 1780; 1785-88
in Petrograd with the Todi; then several
years in London; retired 1806.
Marche'si de Castrone, Mathilde (nee
Graumann), famous vocal teacher; b.
Frankfort-on-M., Mar. 26, 1826; d. London,
Nov. 18, 1913. Pupil of Nicolai in Vienna
576
MARCH ESI— MARENCO
and Garcia in Paris (1845). Excellent con-
cert-singer; married Salvatore M. (see fol-
lowing article). Among her famous pupils
are di Murska, Gerster, Melba, Eames,
Calve, Sanderson, and her daughter Blanche.
Besides a vocal method, and 24 books of
Vocalises, she has publ. Marchesi and Music.
Passages from the Life of a Famous Singing-
teacher (New York, 1897), her Memoirs in
English, being an enlargement of a previous
work, A us meinem Leben (DQsseldorf, 1888),
which was preceded by Erinnerungen aus
meinem Leben (Vienna, 1877).
Marches! de Castrone, Salvatore, {recte
Cavaliere Salv. de Castrone, Marchese
della Rajata,) baritone stage-singer and
famous teacher; b. Palermo, Jan. 15, 1822;
d. Paris, Feb. 20, 1908. Studied law and
music together at Palermo and Milan, music
under Raimondi, La m pert i, and Fontana;
exiled after participation in the Revolution
of 1848, he went to New York, where his
stage-debut took place (Ernani). Going to
London, he studied with Garcia, was success-
ful as a concert-singer, and married (1852)
Mathilde Graumann, with whom he sang
in opera in Berlin, Brussels, London, and
Italy, and gave vocal instruction (1854) at
the Vienna Cons. After this they lived for
some years in Paris; taught in the Cologne
Cons. 1865-9, and again at Vienna 1869-81,
from which date they resided in Paris. —
Works: Beautiful songs on German, French,
and Italian texts; 20 Vocalizzi elementari e
progressiva, and others; a Vocal Method;
Italian translations of modern French and
German opera-libretti (The Flying Dutchman,
Tannhduser, Lohengrin, etc.). Also publ. a
report (in Italian) on the mus. instrs. at
the Vienna Expos, of 1873.
Marchesi'ni. See Marchesi, Luigi.
Marchetti [-keVte], Filippo, opera-comp.;
b. Bologna, Italy, Feb. 26, 1831; d. Rome,
Jan. 18, 1902. Pupil of Lillo and Conti at
the Royal Cons., Naples, 1850-4; his maiden-
opera, Gentile da Varano (Turin, Teatro
Nazionale, 1856), was extremely well re-
ceived; La Demente (1857) less so; he lived in
Rome 1860-3 as a singing- teacher, and,
failing to bring out II Porta, he went to
Milan, and wrote his Giulietta e Romeo
(text by M. M. Marcello), which was a
brilliant success at Trieste (1865) and at
La Scala, Milan. Ruy-Blas (La Scala, Apr.
3, 1869), a sensational success in Italian
towns, was less fortunate in Dresden (1879).
Later works — Gustavo Wasa (ib., 75), and
Don Giovanni d Austria (Turin, '80) — show a
falling-off. M. publ. much vocal chamber-
music, and wrote symphonies, choruses, and
church-music; 1881, Director of the R.
Accad. di Santa Cecilia, Rome.
Marcoux [mahr-koo'], VannI, fine dram,
baritone; b. (of French parents) Turin,
iune 12, 1879. While studying law, he had
is voice cultivated by Collino; instead of
practising law, after admission to the bar,
he went to Paris, where he cont. his vocal
studies under Boyer; debut as Marcello in
the Nice premiere of Puccini's Bohbne (1899);
he then sang at various French theatres, at
La Monnaie (Brussels) and Cov. Garden
(1905-12); he appeared for the first time at
the Opera in Pans when he created the rdle
of Colonna in the premiere of F6vrier's
Monna Vanna (Jan. 13, 1909); his extraor-
dinary success on that occasion led Massenet
to entrust to him the creation of the part
of Don Quichotte (Monte Carlo, Feb. 19,
1910), and the enormous success of that
opera was in no small measure due to M.'s
marvelous portrayal of the title-r61e; up to
1916 he had sung that part 150 times at
the Opera; similar success attended his
Amer. debut as Golaud in PelUas et MHisande
with the Boston Opera Co. (Boston, Jan.
10, 1912); subsequently he became one of
the prime favorites of the Chicago Opera
Co. Although his voice is neither sensuous
nor .robust, he obtains a wonderful finesse
of vocal nuances, while his histrionic power
of subtle characterization is equalled by but
few singers. His repertoire of 80 r61es in-
cludes almost all modern Italian and French
works.
Marechal Imah-ra-shahl'], Henri-Charles,
b. Paris, Jan. 22, 1842. Pupil of Victor
Masse at the Cons.; Grand prix de Rome
1870, with the cantata Le jugement de Dieu.
Debut as dram. comp. with the 1-act opera
comique Les Amoureux de Catherine (Op.-
Com., 1876); has also prod. La Taverne aes
Trabans, 3-act opera com. (Op.-Com., '81*);
l'£toilet 1-act do. (Th.-d'Appl., '89); Dei-
damie, 2-act opera (Gr. Opera, '93); Calendal,
4-act opera (Rouen, '94); Pin* Sin (Op.-
Com., 1895); Daphnis et ChloS (ib., 1899).—
Further, musique de scene for the stage-
pieces VAmi Fritz (76), Us Rantzau ('82),
Smilis ('84), Crime et chdtimeni '(88); the
sacred drama Le Miracle de Nairn ('91);
orchestral and sacred music, children '9
choruses, pf.-pes.; songs. Also wrote /?om«:
Souvenirs (1904) and Paris: Souvenirs (1907).
Maren'co, Romualdo, b. Novi Ligure,
Italy, Mar. 1, 1841; d. Milan, Oct. 10, 1907.
Violinist; then 2d bassoon in the Doria Th.f
Genoa, for which he wrote his first ballet,
Lo sbarco di Garibaldi a Marsala. He now
studied counterpoint under Fenaroli and
Mattei ; travelled; and became in 1873
Director of Ballet at La Scala, Milan. He
prod, over 20 ballets (Sieba, Excelsior, Sport
fl896]), also the operas Lorenzino de* Medici
577
MARENZIO— MARIN
(Lodi, 1874), I Moncada (Milan, 1880),
Le Diable au corps (Paris, 1884), and the
'idilio giojoso' Strategia d'amore (Milan,
1896). A posth. opera, Federico Struensea,
was prod, in Milan (1908).
Maren'zio, Luca, famous madrigal-comp.;
b. Coccaglio, n. Brescia, c. 1550; d. Rome,
Aug. 22, 1599. Pupil of Contini; until 1591
in the service of Sigismund III of Poland;
then maestro, in Rome, to the Cardinals
d'Este and Aldobrandini; cantor of the Papal
Chapel, 1595. It is said that he died broken-
hearted from love. He was called *il piu
dolce cigno d'ltalia,' and 'il divino composi-
tore,f by his contemporaries. His madrigals,
in which he is unsurpassed, were publ. as
follows: 9 books a 5 (1580-89); 6 books a 6
(1582-91); 1 book a 4-6 (1588); 1 book of
5-p. Madrigali spiritual* (1548); 2 books of
Mottetti a 4 (1588, '92); 1 book of MoUetti a
12 (1614); a book of Sacri conctnti a 5-7
(1616); 6 books of VillaneUe ed Arte alia
napoktana (1584-1605); also antiphones and
other church-music. Some pieces in modern
notation are in Proske's 'Musica divina,'
Choron's 'Principes de composition,' Padre
Martini's 'Counterpoint,' etc. — See Q.-Lex.
Mares' [mah'resh], Johan Anton, inventor
of the Russian 'hunting-horn music,' in
which each player has a horn producing a
single tone; D. ChoteboF, Bohemia, 1719; d.
Petrograd, June 11, 1794. Pupil of Hampel
in Dresden, and of Zika (vln.) in Berlin;
went to Russia in 1748, where he became
Imp. chamber- musician.--Cf. J. C. Hinrichs,
Entstehung, Fortgang und Beschaffenheit der
russischen Jagdmusik (Petrograd, 1796).
Ma'retzek, Max, opera-impresario, and
singing-teacher; b. Briinn, Moravia, June
28, 1821; d. Pleasant Plains, Staten Island,
N. Y., May 14, 1897. Pupil of Seyfried in
Vienna; orch. -conductor in Germany, France,
and London (H. M.'s Th., 1844); went to
New York in 1848; from 1849-78, manager
of opera in New York, Mexico, and Havana.
—Works: 3-act opera Hamlet (Briinn, 1843);
3-act opera Sleepy Hollow (New York, Acad,
of Music, 1879); orchl. and chamber-music,
pf. -pieces, and songs. Publ. Sharps and
Flats (1890).
Margulies [mar-goo-leess'], Adele, con-
cert-pianist; born Vienna, March 7, 1863.
From the age of ten, precocious pupil of
Anton Door (pf.) and H. Gradener (theory)
at the V. Cons., where she received the first
prize three years in succession at the ages
of 14, 15 and 16. Professional debut after
graduation; warmly commended by Hans-
lick. At 18 she came to New York; debut
in recital Nov. 3, 1881; with orch., Jan. 18,
1883, at a Thomas Concert, with Liszt's El?
Concerto; has also played with the Boston
Symph. Orch., etc. In 1890 she organized a
Trio party with Leopold Lichtenberg (vln.)
and Victor Herbert (cello), which disbanded
after 2 seasons; reorganized in 1904, with
Lichtenberg and Leo Schulz, it has won its
way to high public and critical favor, and
has brought out many novelties by rising
composers. In 191$ Alwin Schroder took
the place of Schulz as 'cellist. She has been
for many years principal instructor of pf.-
playing at the National Cons.
Maria Antonia Walpurgis, Electoress
of Saxony; daughter of the Elector of Bavaria
(Emperor Charles VII); b. Munich, July
18, 1724; d. Dresden, Apr. 23, 1780. She
was not only a generous patroness of the
fine arts, but a trained musician, pupil of
Ferrandini, Hasse and Porpora (1747-52);
under the pseudonym E. T. P. A. (Ermelinda
Talea Pastorella Arcada, her name as mem-
ber of the Acad, of Arcadians) she prod, and
publ. the operas // Trionfo delta FedeUd
Dresden, 1754) and Talestri (ib., 1763);
the former was one of the earliest publi-
cations of Breitkopf & Hartel printed from
their new types (1756); she also wrote texts
of oratorios and cantatas for Hasse and
Ristori.— Cf. K. von Weber, M. A. W. (2
vols., Dresden, 1857). — See Q.-Lex.
Maifa'nl, Angelo, noted conductor; b.
Ravenna/ Oct. 11, 1822; d. Genoa, June 13,
1873. Pupil of Rossini at the Bologna Liceo;
opera-conductor at Messina, 1844; then at
Milan and Vicenza; 1845-8, court cond. at
Copenhagen; volunteer in Italy during the
Revolution; 1852, cond. in La Fenice Th.,
Venice; later at Bologna; finally (1873) again
in Genoa. Wrote a Requiem, several can-
tatas, and songs.
Marie [mah-r€l, Gabriel, b. Paris, Jan.
8, 1852. Pupil of the Paris Cons., where he
also taught pf. for a short time; 1881-7,
chorusmaster of the Lamoureux concerts;
in 1887 he cond. the exposition concerts at
Hftvre; 1887-94, cond. of the orchl. concerts
of the Societe Nationale de Musique; app.
in 1891 by Guilmant as cond. of his concerts
at the Trocadero; 1894-1912, cond. of Ste.-
Cecile in Bordeaux; since then cond. of the
Association artistique in Marseilles and
(during the summer months) of the orchl.
concerts at the Casino in Vichy. Has
written numerous light numbers for orch., of
which La Cinquantaine [in arr. for vl.. or vcl.
and pf.] has become immensely popular; also
some male and mixed choruses.
Marin [mah-ran'], Marie-Martin-Mar-
celle de, renowned harpist; b. Bayonne,
France, Sept. 8, 1769; d. ? (still living 1861).
He had a few lessons of Hochbrucker, but
was principally self-taught; made long
artistic tours, and settled in Toulouse. His
578
MARINI— MARMONTEL
'truly classic' comps. for harp include 6
sonatas, 4 sets of variations for. solo harp,
1 duo with pf.; 1 duo with vln.; a quintet for
harp and strings; songs w. harp-accomp., etc.
Mari'ni, Blaglo, b. Brescia, c. 1600; d.
Padua, c. 1660; composer and 1st violin to
the Duke of Parma from 1623; publ. a
considerable amount of vocal and instru-
mental chamber-music noteworthy for the
then unusual demands made on the per-
formers.— Cf. A. Einstein, Italienische Musi-
ker am Hofe der Neuburger-Wittelsbacher, in
'Smb. Int. M.-G.' (vol. ix, 3).— See Q.-Lex.
Marinuzzi [noo'tse], Giuseppe (Gino),
b. Palermo, 1882. App. dir. of the Bologna
Cons, in 1916; has written the operas II
Sogno del Poeta (Palermo, 1899) and Bar-
berina (ib., 1903) ; a Suite Siciliana and a
symph. poem, Sicania.
Ma'rlo, Giuseppe, Conte di Candia, dis-
tinguished dramatic tenor; b. Cagliari, Sar-
dinia, Oct. 17, 1810; d. Rome, Dec. 11,
1883. After ten years in the Turin Military
Academy, he joined the regiment of which
his father was the colonel; but fled to Paris
in 1836 with a ballet-dancer, studied with
Bordogni and Poncharde in the Cons., and
made nis debut at the Opera in Robert le
Diable (Nov. 30, 1838); went over to the
Italian Opera in 1840, and won triumphs
by the freshness and power of his voice,
united with the charm of a fine presence and
finished vocal style. He sang also in London
and Petrograd; for many years as the con-
stant partner of Giulia Grisi, whom he
married. Retired 1867. — Cf. L. Engel, From
Mozart to M. (London, 1886); C. P. de
Candia, II Romanzo di un Celebre Tenore
(Florence, 1913; Fr. tr. by J. Gautier, Paris,
1912 [before orig.]).
Mariotte [mah-re-oht'], Antoine, b. Avi-
gnon, Dec. 22, 1875. After completing the
course at the Naval Acad, he became a
pupil in 1896 of d'Indy at the Schola Can-
torum; app. in 1899 org. and cond. of the
symphony concerts at St.-fitienne, Loire;
since 1902 prof, of pf. at the Cons, in Lyons. —
Works: The operas Salome* (Lyons, 1908);
Le vieux rot (ib., 1913); Nele Doryn (not vet
prod.); pf.-pcs. (Sonata in F# m., Sonattnes
d'automne, etc.); songs (Poeme de PitiS).
Marius, maker of clavecins in Paris at
the beginning of the 17th century, invented
a hammer-action (never practically em-
ployed), drawings of which are in vol. iii
of 'Machines et inventions approuvees par
l'Acaderaie des sciences1 (1713-19). — Cf.
Cristofori.
Markees [mahr-kas'], Karl, distinguished
violinist; born Chur, Switzerland, Feb. 10,
1865. Pupil of Wirth and Joachim at the
Kgl. Hochschule in Berlin; joined the Philh.
Orch., and in 1889 was app. instr. at the
Hochschule; for a time he was 2d vln. of
the Kruse, and later of the Halir, quartet;
since 1909 he has made several successful
tours of Germany. Has publ. Beitrdge zu
technischen Studien fur Viokne.
Marks, James Christopher, b. Cork,
Ireland, July 29, 1863. Pupil of his father,
the org. at Cork Cath., and chorister there
1871-6; then st. with an uncle in Armagh,
1876-81; ent. Dublin Coll. in 1881, and for
two years was pupil of Sir R. P. Stewart;
1883-1902, org. at St. Luke's Ch., Cork;
1902-4, at St. Andrew's Ch., Pittsburgh;
since 1904 org. at Ch. of the Heavenly Rest
in New York. Has written a cantata,
Victory Divine, and much church-music.
Markuir, Friedrich Wilhelm, b. Rei-
chenbach,n. Elbing, Feb. 17, 1816; d. Danzig,
Apr. 30, 1887. Trained at Elbing by his
father and Kloss, both organists, and Schnei-
der at Dessau (1833-5); from 1836, first
organist at the Marienkirche, Danzig. He
also conducted the Gesangverein, appeared
as a concert-pianist and organist, and was
a most successful teacher. In 1847, Royal
Music- Director. Critic for the Danzig
'Zeitunff.' — Works: The operas (prod, at
Danzig) Maja und Alpino, oder die bezauberte
Rose (1843); Der Konig von Zion (1848); Das
Walgurgisfest (1855); 2 oratorios, Johannes
der Taufer, and Das Geddchtniss der Entschla-
fenen (prod, by Spohr at Kassel, 1856; publ.) ;
the 86th Psalm, for soli, ch. and orch.;
symphonies; — he publ. numerous pieces for
pf. and for org.; songs; a 'Choralbuch' cont.
136 chorals ( Danzig, 1845); arrangements of
classical works; etc.
Mark 'wort, Johann Christian, writer;
b. Reisling, n. Brunswick, Dec. 13, 1778;
d. Bessungen, n. Darmstadt, Jan. 13, 1866.
A theological student, he adopted the career
of a tenor on the stages at Feldsberg,' Trieste,
Munich, and Darmstadt, where he was
chorus-director 1810-30, then pensioned. —
Publ. Umriss einer GesammUonwissenschaJt
uberhaupt wie auch einer Sprach- und Ton-
satzlehre und einer Gesang-, Ton- und Rede-
Vortra^lehre (1826); Vber' Klangveredelung
der Sttmme . . . (1847); and an elementary
pf. -method. Shorter essays in mus. papers.
Marmontel [-m6hn-teV], Antoine-Fran-
cois, b. Clermont-Ferrand, Puy-de-Ddme,
July 18, 1816; d. Paris, Jan. 17, 1898. Studied
in Paris Cons, under Zimmerman (piano),
Dourlen (harmony), Halevy (fugue), and
Lesueur (composition); won 1st prize for pf.-
playing in 1832. In 1837 he left Lesueur's
class to accept the direction of a class in
solfeggio; in 1848 he succeeded Zimmerman
as head of a pf.-class, and won enduring
579
MARPURG— MARSCHNER
fame in this capacity; among his pupils
were Bizet, Jos. Wieniawsky, V. d'Indy, Th.
Dubois, £. Guiraud, H. Fissot, Paladilhe,
Th. Lack, A. and E. Duvernoy, L. Dimmer,
F. Thome, F. Plante, etc. M. gave up his
class in 1887. He publ. much piano-music,
chiefly didactic: Vart de dichiffrer (100 easy
studies) ; £cole iUmenlaire de mecanisme et de
style (24 studies; op. 6); £tudes (op. 9, 45,
62, 80, 85); £cole de mecanisme (op. 105-7);
5 fttudes de salon (op. 108) ; Vart de dichiffrer
6 4 mains (op. Ill); also sonatas, serenades,
characteristic pieces, salon-music, dances, etc.
— His writings include a Petite grammaire
populaire; Vart classique et moderne du piano
(1876, in 2 vols.: vol. t, Conseils d'un pro-
fesseur sur Venseignement technique et Ves-
thitique du piano; vol. ii, Vade-mecum du
professeur de piano; 3d ed. 1907) ; Les pianistes
celebres (1878); Symphonistes et virtuoses
(1880); Virtuoses contemporains .(1882); la-
ments d'esthilique musicale, et considerations
sur le beau dans les arts (1884) ; Histoire du
piano et de ses origines . . . (1885; Ital. tr.
by V. Morelli, 1904).
Mar'purg, Friedrich, great-grandson of
Friedr. Wilh.; b. Paderborn, Apr. 4, 1825;
d. Wiesbaden, Dec. 2, 1884. Early developed
violinist and pianist; studied comp. later
under Mendelssohn and Hauptmann at
Leipzig, became Kapellm. at the Konigsberg
Th., afterwards at Mayence, 1864 at Sonders-
hausen, and in 1868 succeeded Mangold as
court mus. dir. at Darmstadt; Kapellm. at
Freiburg 1873, and Laybach 1875, then
going to Wiesbaden, and becoming cond.
of the 'Cacilienverein.' — Operas: Musa, der
letzte Maurenkonig (Konigsberg, 1855), Agnes
von Hohenstaufen (Freiburg, 1874), and Die
Lichlensteiner (not perf.).
Mar'purg, Friedrich Wilhelm, impor-
tant theorist; b. Seehausen in the Altmark,
Nov. 21, 1718; d. Berlin, May 22, 1795.
While secretary to Gen. v. Rothenburg ,at
Paris (1746-9), he made acquaintance with
Rameau and his theories; after .a short
stay in Berlin, and a prolonged sojourn in
Hamburg, he was app. (1763) Director of the
Prussian lottery at Berlin. — Writings: Die
Kunst, das Clavier zu spielen (1750-1; 2 vols.,
often republ.); Anleitung zum Clavier spielen t
der schonen Ausubung der heutigen Zeit gemdss
entworfen (1755; 2d. ed. 1765; also in French
[by M. himself], and Dutch); Abhandlung
von der Fuge (his magnum opus; 1753-4, in
2 parts; French ed. by M., 1756; modern
revision by Sechter); Historisch- Kritische
Beytrdge zur Aufnahme der Musik (5 vols,
in irreg. intervals, 1754-62, 1782); Handbuch
beim Generalbass und der Composition (1755-8:
3 parts; supplem. 1760; 2d ed. 1762: French
by Choron and Lafage, 1836-8; Swedish,
1782); a German transl. of d'Alembert's
£lemenis de la musique {JSystemalische Ein-
leitung in die mus. Setzkunst ace. to Rameau;
1757); Kritische Einleitung in die GeschichU
und Lehrsdtze der alien u. neuen Musik
(1759; only on ancient music); Kritische
Briefe uber die Tonkunst (a weekly publi-
cation appearing 1759-63, covering many
important points in mus. science and art);
Anleitung zur Musik uberhaupt und zur
Singkunst insbesondere (1763); Neue Methodc,
allerlei Arlen von Temper aturen dem Claviere
aufs bequtmstemitzuthetlen (1779) ; and others.
He comp. 6 clavichord-sonatas, some books
of pf. -pieces and organ-music, songs (sacred
ana secular), and an unfinished 4-p. mass. —
Cf. H. Riemann, GeschichU der Afusiktheorie
(Leipzig, 1898; p. 476 et seq.). — See Q.-Lex.
Marochalk, Max, b. Berlin, Apr. 7,
1863. Pupil of H. Urban; since 1894 mus.
critic of the 'Vossische Zeitung.' Has comp.
a 1-act opera. In Flammen (Gotha, 1896);
a 'Liederspiel/ Aucassin und NicoleUe (Stutt-
gart, 1907); incid. music to Hauptmann *s
Hanneles Himmelfahrt (1894), Die versunkene
Glocke (1898), Und Pippa tanzt (1906), G.
Reuter's Das bose Prinzesschen (1904),
Maeterlinck's Sceur Beatrice (1904) ; Madchen-
lied and Tanz der Salome from Sudermami's
Johannes for pf. 4. hands; songs.
Maroch'ner, Franz, b. Leitmeritz, Bo-
hemia, Mar. 26, 1855. Pupil of Lugert and
Skuhersky at Prague Cons., and of Bruckner
at Vienna; since 1886, teacher in the Female
Teacher^ Seminary at Vienna. — Publ. Ent-
wurf einer Neugestaltung der Theorie und
Praxis des kunstgemdssen Anschlags (on piano-
touch; Vienna, 1888); Die Grundfragen der
Asthetik im Lichte der immanenten PhUosophie
(1899); Kants Bedeutung fur die Musikds-
thetik der Gegenwart, in 'Kantstudien' (vol. vi);
Der Wertbegriff als Grundlage der Musik-
wissenschaft, in 'Riemann-Festschrift' (Leip-
zig, 1909). — Comps.: A violin-sonata, choral
works, and songs.
Marach'ner, Heinrich (August), re-
markable opera-composer; b. Zittau, Saxony,
Aug. 16, 1795 [not 1796]; d. Hanover, Dec.
14, 1861. He had piano-lessons from his
sixth year, and surpassed three successive
teachers; also sang, until his voice broke, in
a church choir at Bautzen, where he was
taught by Bergt, the organist, while studying
at the Gymnasium. He entered Leipzig
Univ. in 1813 as a law-student; but his
passion for music, and Rochlitz's advice,
decided his vocation. Now a pupil of cantor
Schicht, he began composing minor pieces;
in 1817 he was invited to Vienna by Count
Thaddaus von Amadee, and met Beethoven.
Obtaining, through the court's aid, a place
as musk-teacher in Presburg, he wrote his
580
MARSHALL— MARTEAU
first (1-act) opera, Der Kyffhduserberg (Vien-
na, 1816); Saidor (3 acts; Presburg, 1819)
and Heinrich IV.und d'Aubigne followed; the
latter, brought out at Dresden, 1820, by
Weber, caused him to invite M. thither, and
1821 found the latter in the Saxon capital,
where, in 1823, he was made director of the
German and Italian operas, jointly with
Weber and Morlacchi. After Weber's death
(1826), M. became Kapellm. of the Leipzig
theatre, where he prod. Der Vampyr (1828)
and Der Tempter und die JUdin (1829), the
latter carrying his fame throughout Germany;
in 1831 he was app. court Kapellm. at Han-
over, and retained this post 28 years; his
liberal opinions, freely expressed, caused his
retirement on pension with the title 'General-
musikdirektor' in 1859. In 1834 the Univ.
of Leipzig made him Dr. phil. (hon. c). In
Hanover nis greatest work, Hans Heiling, was
written; it was first performed on May 24, 1833,
at Berlin, with tumultuous applause; with
Der Vampyr, and Tempter una Judin, it is
still on the repertory of most German theatres.
In these romantic operas Marschner stands
between Weber on the one hand, and Wagner
on the other, though nearer to the former.
His is one of the great names in the annals
of German opera. His other dramatic
works (Der Holidieb, Dresden, 1825; Lucretia
Danzig, 1826; Des Falkners Braut, Leipzig,
1832; Das Schloss am Atna, Berlin, 1838;
Der Bdbu, Hanover, 1837; Adolf von Nassau,
Hanover, 1843; and Austin, Hanover, 1851)
have disappeared from the stage. A post-
humous opera, Hjarne der Sangerkonig, was
prod, at Frankfort, 1863; also in 1883, at
Munich, as Konig Hjarne und das Tyrfing-
sckwert. He also wrote music to Kleist's
Print Friedrich von Homburg, Hall's Ali
Baba, Kind's Schon Ellen, Rodenberg's
Waldmullers Margaret, etc.; he publ. some
20 sets of songs, and 10 sets of 4-part male
choruses (Zigeunetieben, and others, are
very fine) ; his pf .-comps*. were popular at the
time, but, with his chamber-music, have
fallen into undeserved complete neglect. —
Bibliography. — M. E. Wittmann, M. (Leip-
zig, 1897); G. Miinzer, H M. (Berlin, 1901);
G. Fischer, Musik in Hannover (Hanover,
1902); H. Gaartz, Die Opern H. M.'s (Leip-
zig, 1912). M.'s letters to Ed. Devrient were
publ. by J. KOrschner in 'Deutsche Rund-
schau' (1879).
Marshall, John Patton, b. Rockport,
Mass., Jan. 9, 1877. St. music in Boston
from 1895-1900 with E. MacDowell, G. W.
Chad wick, B. J. Lang and H. A. Norris;
org. at St. John's Ch., Boston, 1896-1903;
dir. of music, Middlesex School, Concord,
Mass., 1902-12; lecturer on music, Harvard
Summer Sch., 1908-11; since 1903 prof, of
music at Boston Univ., and since 1909 org.
of the Boston Symph. Orch. and First Ch.
Has publ. pf.-pcs. and songs; Syllabus of
History of Music (1906), Syllabus of Music
Appreciation (1911).
Maraick, Martin-Pierre-Joseph, distin-
guished violinist; b. Jupille, n. Liege, Bel-
gium, Mar. 9, 1848. Pupil, at Liege Cons., of
Desire-Heynberg; at 12, organist of the cathe-
dral, and a fine vocalist; 1865-7, pupil of
Leonard at Brussels Cons.; 1868-9 of Massart
at Paris Cons., taking 1st prize for violin-
playing; 1870-1 of Joachim at Berlin. After
a brilliant debut at Paris in the 'Concerts
populaires' (1873), he undertook long artistic
tours in Europe and (1895-6) to the United
States. In 1892 he succeeded E. Sauzay as
violin-prof, at the Paris Cons. — Works: 3
violin-concertos; Adagio schertando; Adagio
in G m.; 2 Reveries; Songe; Romance; Taren-
telle; Agitato; Intermesso; Berceuse; and other
concert-pieces for violin.
Mar'sop, Paul, b. Berlin, Oct. 6, 1856;
pupil of Ehrlich and v. Btllow; living since
1881 in Munich and (during the winter)
Italy. He founded in Munich a 'Musi-
kalische Volksbibliothek,' which he turned
over to the city in 1907; has since then aided
in the establishment of simitar libraries in
other cities. — Works: Musikalische Essays
(1899); StudienbldUer eines Musikers (1903);
Neue Kdmpfe (1913); and the pamphlets
Neudeutsche Kapellmeistermusik, Dte Aussich-
ten der Wagnerischen Kunst in Frankreick,
Der Kern der Wagnerfrage, etc.
Marston, George W., b. Sandwich, Mass.,
May 23, 1840; d. there Feb. 2, 1901. He
studied with local teachers; played the organ
when 16; about 1859 he removed to Portland,
Me., where he studied under Tufts, and re-
mained permanently as organist, choirmaster,
and teacher — from 1887, organist at the
Hale St. Congr. Ch., for whose fine choir he
wrote much excellent music. M. also made
two student-trips to Europe. — Compositions:
Much church-music (services, anthems, sen-
tences, songs); part-songs for male voices;
trios, quartets and choruses for female
voices; the sacred dramatic cantata David; a
Romance for pf. and flute; Assyrian Battle-
march for pf. 4 hands; songs and pf.-pcs.
Marteau [mahr-tohl, Henri, famous vio-
linist; b. Reims, Mar. 31, 1874. Pupil at
the Paris Cons, of Leonard, and after his
death (1891) of Garcin; winner of the 1st
prize in 1892; pupil in comp. of Dubois.
At the age of 10 he made his debut at a
concert of the .Vienna Philh. Soc. under Hans
Rkhter, and in 1888 appeared under the
same conductor in London; he made his
first Amer. tour with immense success in
1892, and repeated his triumphs on subse-
quent visits in 1893, '94, '98 and 1906; the
581
MARTIN— MARTINEZ
same enthusiastic reception greeted him on
his tours of Scandinavia, Russia, France,
Germany and the Netherlands; from 1900-08
he was principal prof, at the Geneva Cons.,
and in 1908 succeeded Joachim at the Kgl.
Hochschule in Berlin; being a French officer,
he was obliged to resign this post on Oct.
1, 1915. At various times he formed a
quartet and proved himself likewise a masterly
ensemble-player. Massenet and Dubois each
wrote a concerto for him, and Leonard left
him his magnificent Maggini, formerly owned
by the Empress Maria Theresa. M.'s
technic is flawless, his tone large, warm and
brilliant. — Works: La voix de Jeanne d'Arc,
scene for sop., ch. and orch.; a concerto for
vcl., op. 7; a concerto for vln. in form of a
suite, op. 15; 2 str.nquartetB, op. 5 (Db) and
op. 9 (L>); a str.-trio, op. 12 (F); a quintet"
for clar., 2 vis., via. and vcl., op. 13 (C);
8 songs with str.-quartet, op. 10; minor pes.
for vl. and via. with pf.
Martin, Sir George (Clement), b. Lam-
bourne, Berks, Engl., Sept. 11, 1844; d.
London, Feb. 23, 1916. Pupil of J. Pearson
and Dr. Stainer; Mu$. Bac, Oxon., 1868;
F. C. O., 1875; Mus. Doc. (Canterbury), 1883;
knighted in 1897. In 1888 he succeeded
Stainer as organist of St. Paul's Cathedral,
which post he held until his death. Was
prof, of organ at the R. C. M. for a few years
(from 1883). — Works: Much church-music;
also part-songs, organ-arrangements, etc.
Wrote the primer The Art of Training Choir
Boys.— Cf. 4M. T.\ April, 1916.
Martin (mahr-tan'l, Jean-Blaise, famous
dramatic baritone; b. Paris, Feb. 24, 1768;
d. Ronzieres, Rhdne, Oct. 28, 1837. Debut
Th. de Monsieur, 1788; sang at the Th.
Feydeau and Th. Favart until they were
united as the Opera-Comique in 1801, then
at this last till 1823. From 1816-18, and
again from 1832-7, he was prof, at the Cons.
His voice, while essentially a baritone in
quality, had the extraordinary range of
three full octaves (C-<?).
Martin, Pierre-Alexandre, inventor of
the 'percussion' action in the harmonium
(little hammer striking the reed to insure
prompt speaking), was an organ-builder at
Paris, where he died in Dec., 1879.
Martin, Rlccardo [stage-name of Hugh
Whitfield M.], dramatic tenor; b. Hopkins-
ville, Ky., Nov. 18, 1878. Began as a child
to study vl. in Nashville; st. singing and
pf. in New York, and from 1896-1900 comp.
and orch. with MacDowell at Columbia
Univ.; went to Paris in 1901, and prepared
for the stage with Escalais and Sbriglia;
debut as Faust at Nantes in 1904; although
successful, he felt the need of further study
and placed himself under F. Cannone in
Milan; reappeared in Verona in Nov., 1905,
as Andrea Chenier; Amer. debut with the
San Carlo Opera Co. in New Orleans as
Canio (Pagliacci) in 1906; 1907-13, at the
M. O. H., where in 1910 he created the
rdle of Solon in Converse's Pipe of Desire;
sang there in Ger., Engl., Fr. and It.; also
sang several seasons at Cov. Garden; 1916—
17, with the Boston Grand Opera Co. Dur-
ing several summers he continued vocal
lessons with V. Lombardi at Florence. He
is a member of the Nat. Inst, of Social
Sciences. His voice ranges from Bb-e*; his
repertoire includes the rdles of Faust (Faust
and Mefistofele), Radames, Manrico, Cava-
radossi, Don Tos£, Romeo, des Grieux, Mar-
cello (Boheme), etc.
Martin y Soler (also Solar), Vicente,
b. Valencia, Spain, Mar. 5, 1754; d. Petro-
grad, Mar. 3, 1806. Organist at Alicante;
going to Madrid, he wrote some airs for an
Italian singer, who advised him to try his
fortune in Italy. Here his operas speedily
won popularity, although Cimarosa and
Paisiello were his rivals; in Vienna, La cosa
rara (1785, his masterwork) was greeted
with enthusiasm; even in rivalry with
Mozart he held his own at the time. From
1788-1801 he directed the Italian opera at
Petrograd; on the introduction of French
opera, he fell from favor, and supported
himself by teaching. His 10 operas, several
ballets, etc., are forgotten. — See Q.-Lex.
Martinelli, Giovanni, dramatic tenor; b.
Montagnana, Oct. 22, 1885. He made his
concert debut in Rossini's Stabot Mater in
Milan, Dec. 3,. 1910, followed 2 weeks later
(Dec. 29) by his operatic debut there in
Ernani; then sang with great success in
Ancona, Rome, Brescia, Genoa, Naples,
Turin, Monte Carlo, Budapest and Brussels;
since 1912 he has sung every season at Cov.
Garden, where he created Gennaro in the
Engl, premiere of / Giojelli della Madonna
(1912) and Paolo in Zandonai's Paolo e
Francesca (Engl* prem., 1914); since 1913
regular member of the M. O. H., where he
made a most successful Amer. debut as
Rodolfo (Boheme$ Nov. 20, 1913), and
created Lefebre in Giordano's Madame Sans-
G&ne (Jan. 25, 1915) and Fernando in Grana-
dos' Goyescas (Jan. 28, 1916); also sang Paolo
in the Amer. prem. of Zandonai's opera
(Dec. 22, 1916); among other creations,
Marzio in Zandonai's Melenis (Milan, Nov.
13, 1912); sang in Buenos Aires during the
summer of 1916. He is Chev. of the (Sown
of Italy. Rdles: Radames, Manrico, Des
Grieux, Riccardo (Ballo in Maschera), etc.
Martinez [-te'nfcth], Marianne di, born
Vienna, May 4, 1744; d. there Dec. 13,
1812. Vocalist and pianist, pupil of Meta-
582
MARTINI— MARTUCCI
stasioand Haydn. — Works: Oratorios, motets,
psalms, symphonies, pf.-concertos, etc. (all
MS., in poss. of the Gescllschaft der Musik-
freunde). — See Q.-Lex.
Martl'ni [-te'ne], Giambattista, best
known as Padre Martini; b. Bologna, Apr.
24, 1706; d. there Oct. 3 (or 4), 1784. His
mus. education was conducted by his father,
a violinist; by Padre Predieri (clavichord
and voice); and Riccieri (cpt.). In 1725 he
became m. di capp. at the church of San
Francesco, and took holy orders in 1729.
In his eager study of mathematics and
counterpoint he was seconded by Zanotti
and Perti, m. di capp. at San Petronio; his
masses and oratorios rendered him famous
throughout Europe as a composer, and his
renown as a learned theorist was still greater.
Students of all nationalities sought his instruc-
tion (among them Gluck, Mozart, Gretry,
Jommelli, Mattei), and recognized authorities
in musical science and history submitted
knotty questions to him for settlement.
The greater part of his magnificent musical
library went to the Liceo Musicale of Bologna;
the rest to the Vienna Library. He was a
member of the Accademia Filarmonica of
Bologna; also of the Accad. Arcadica of
Rome, in which his 'Arcadian' title was
'Aristosseno Anfioneo' (Aristoxenos Am-
phion). Of his compositions, in the style of
the Roman school (of which he was a warm
partisan), the following were publ.: Litaniae
atque antiphoniae finales . . . , i a 4, with
org. and instrs. (1734); 12 Sonate d'inla-
volatura per Vorgano e cembalo (1742); 6
ditto (1747); Duetli da camera a diver si voci
(1763). In MS. are 2 oratorios, masses, a
'farsetta,' 3 'intermezzi/ etc. — His principal
work is Storia deUa musica (3 vols. ; Bologna,
1757, 70, '81), treating only of ancient
music; the Esemplare ossta saggio fondamen-
tale pratico di contrappunto (2 vols.; 1774/75)
is a coll. of contrapuntal models; he also
wrote Regole per git organisti per accompa-
gnare il canto fermo (17562), other learned
dissertations and essays, etc. — Bibliography:
G. deUa Valle, Elogio del P. G. M. (Bologna,
1784); id., Memo At storiche del P. G. B. M.
(Naples, 1785); F. Parisini, DeUa vita e delta
opere del padre M. (Bologna, 1887); L. Busi,
II tadre G. B. M. (vol. i, Bologna, 1891).
M. s voluminous correspondence was publ.
by F. Parisini (Bologna, 1888). — See Q.-Lex.
Martl'ni (rede Schwar'zendorf), Jean
Paul £gide, b. Fretstadt in the Palatinate,
Sept. 1, 1741; d. Paris, Feb. 10, 1816. In
1760 he settled in Na.ncy, and Italianized
his name; went to Paris in 1764, and, by
winning a prize for a military march, gained
favor in high circles, was app. officer d la
suite of an Hussar regiment, and wrote more
band-music, also bringing out in 1771 an
opera, VAmoureux de quinze ans, with
triumphant success at the Italian Opera.
Leaving the army, he became mus. dir. to
the Prince of Conde, later to the Comte d'Ar-
tois. He purchased the reversion of the office
of First intendant of the king's music, a
speculation brought to naught by the Revo-
lution, which caused him to resign in haste
his position as conductor at the Tn. Feydeau,
and flee to Lyons in 1792. App. Cons.
Inspector in 1794, he lost this place, too, on
the reduction of the number of teachers in
1802; but at the Restoration in 18*14 he
claimed and received the post of Royal
Intendant. He wrote 12 operas; 2 cantatas;
masses, requiems, psalms, and other church-
music; also chamber- music, military music,
pf.-pieces, etc. — Cf. A. Pougin, M. (Paris,
1864).— See Q.-Lex.
Martuc'ct [-too'chej, Giuseppe, note-
worthy composer; b. Capua, Jan. 6, 1856;
d. Naples, June 1, 1909. A pupil of his
father (a trumpet-player), he made his
pianistic d£but at Naples, 1867, and was
admitted to the Cons., studying under Cesi,
Costa, Serrao, and L. Rossi, till 1872. In
1874 he was app. professor in the Cons.
He cond. the orchestral concerts establ. by
Prince d'Ardore, and was also the director
of the Neapolitan Societa del Quartette
From 1875 ^ he travelled as a successful
concert-pianist in Italy, Germany. France,
and England. From 1886-1902 dir. of the
Bologna Cons.; 1902 till his death, dir. of
the Naples Cons. t A distinguished conductor,
he cond. the Italian premiere of Tristan und
Isolde at Bologna (June 2, 1888). As a
composer he follows the ideals of Wagner and
Liszt. — Works: Symphony in D m., op. 75;
do. in F, op. 81; pf.-concerto in B m., op.
66; pf. -quintet in C, op. 45; pf.-trio in C,
op. 59; do. in Eb, op. 62; sonata for pf. and
'cello in F# min., op. 52; 3 pieces for vln. and
pf., op. 67; 3 pieces for 'cello and pf., op.
69; many interesting pf.-pieces (caprices,
romances, 6tudes, etc.; e. g., Trois morceaux
pour piano, op. 76); an organ-sonata; an
oratorio, Samuel; songs; etc.—-Cf. L. Torchi,
La seconda sinfonia in fa magg. di G. M.
(Turin, 1905).
Martucci, Paolo, son of preceding; b.
Naples, Oct. 8, 1885. He st. pf. and comp.
chiefly with his father (at that time dir. of
the Liceo Musicale in Bologna); made his
pianistic debut with Tchaikovsky's Bt> con-
certo in Bologna, June 27, 1902; lived for
5 years in London, concertizing there and in
otner English cities; tour of the principal
Italian cities in 1909; 1911-13, prof, of pf. at
the Cincinnati Cons, of Music; since 1913 liv-
ing in New York as teacher and concert-pianist.
583
MARTY— MARZO
Marty [mahr-tel, Georges-Eugene, b.
Paris, May 16, 1860; d. there Oct. 11, 1908.
Attended the Cons. 1872-82, winning the
Grand prix de Rome with the cantata
Edith; app. 1894 prof, of ensemble-singing
in the Cons.; 1904 prof, of harm.; in 1895-6
chorusmaster and cond. of the Concerts de
l'Opera. In 1903 he succ. Taffanel as cond.
of the famous 'Concerts du Cons.', and in
1906 also cond. of the 'Concerts classiques'
at the Casino in Vichy. — Works: Fororch.,
Ballade d'hiver; Ouoerture de Balthazar; Mati-
nee de printemps; Suite romantique; a symph.
poem, Merlin enchantS; Lysic, 1-act pan-
tomime (1888); Le Due de Ferrare (3-act
opera, Th. de la Ren., 1899); Daria (2-act op.,
Opera, 1905); La grande Mademoiselle (not
perf.); much pf. -music, choruses, songs, etc.
Marx, Adolf Bernhard, celebrated theo-
rist and writer; b. Halle, May 15, 1795; d.
Berlin, May 17, 1866. Intended for the law,
he matriculated at the Univ. of Halle, but
likewise studied music with Tttrk, and gave
up a subsequent legal appointment at
Naumburg to gratify his love for art. He
continued the study of composition in Berlin
under Zelter while gaining a livelihood by
teaching; founded, with Schlesinger, the
'Berliner allgemeine musikalische . Zeitung'
in 1824, which he edited with conspicuous
talent, as a warm advocate of German
masters, until its cessation in 1830. Took
the degree of Dr. phil. at Marburg, 1827;
lectured on music at the Berlin Univ.,
and was app. prof, in 1830, and mus. dir. in
1*832. With Kullak and Stern he founded
the Berlin Cons, in 1850, retiring from it in
1856 to devote himself to literary and
University work, and the teaching of com-
position. His intimate friendship with
Mendelssohn was dissolved by the latter's
disparagement of his (Marx's) compositions,
which have, in fact, not stood the test of
time (an opera, a melodrama, 2 oratorios,
symphonies, etc.); his writings on musical
theory and esthetics are valuable: Die
Lehre von der musikalischen Komfosition (4
vols. 1837-47; several times reprinted; new
edition by Hugo Riemann); Allgemeine
Musiklehre (1839; 10th ed. 1884; transl.
into English); Ober Malerei in der Tonkunst
(1828); Ober die Geltung Handel' scher Solo-
gesdngefur unsre Zeit (1829); Die alte Musik-
lehre im Streit mil unsrer Zeit (1842); Die
Musik des 19. Jahrhunderts und ihre Pflege
(1855); Ludwig van Beethovens Leben und
Schaffen 1858; 6th ed., by G. Behnke,
1911); Gluck und die Oper (1863; 2 vols.);
Anleitung turn Vortrag Beethoven' scher Klavier-
werke (1863; new ed. by E. Schmitz, 1912;
Engl. tr. by F. Gwinner, 1895); Erinnerungen
aus meinem Leben (1865; 2 vols.); Das Ideal
u. die Gegenwart (1867). A coll. of his essays
was publ. by L. Hirschberg as Ober Ton-
dichter und tonkunst (vol. i, 1912).— Cf. G.
F. Selle, Aus A.B. M.'s liUerarischem Nachlass
(Berlin, 1898); L. Hirschberg, Der Tondichter
A. B. M.f in 'Sbd. Int. M.-G/ (x, i; 1908).
Mars, Joseph, b. Graz, May 11, .1882.
Pupil of E. Degner; then st. musicology at
the Univ., taking the degree of Dr. phil.
with the dissertation Ober die Funktionen
von Harmonic und Melodic; living in Graz as
composer. Has written Herbstchor an Pan
for ch., boys' vcs., org. and orch.; a sonata,
fantasy and fugue for vl. and pf.; Scherzo,
rhapsody and ballad for pf. -quartet; pes.
for str.-quartet; about 80 songs (Italienisches
Liederbuch; some with orch.).
Marx'sen, Eduard, b. Nienstadten, n.
Altona, July 23, 1806, d. Altona, Nov. 18,
1887. Pupil of his father, an organist, and
Clasing; later of Seyfried and Booklet,
Vienna. Music-teacher in Hamburg (the
teacher of Brahms); 1875, 'Royal Music-
director.'
Maryon, Edward, b. -London, Apr. 3,
1867. He received his first training in Eng-
land; with several works in MS. he then went
to Paris, where his first opera, V Odalisque,
won the gold medal of the Exposition of
1889; becoming dissatisfied with his work
he burnt all MSS. (including the opera),
and in 1891 st. pf. with Max Pauer in Dres-
den; then ent. the Cologne Cons., where he
took courses in fugue and orch. with G.
Jensen, and in comp. with F. WtiHner, On
his return to England he devoted himself
anew to comp., writing both text and music
of the 1-act operas A Golden Shower, or
Danae; The Feather Robe, or Fujiyama;
Paolo and Francesco; also The Beatitudes for
bar. solo, double ch. and orch., and a Reouiem
(written without bars). His most ambitious
work is a heptalogy, The Cycle of Life; of
this the prologue, Sangraal, and the first
three dramas, Lucifer, Cain, and Magdalen,
are completed. M. is now (1917) living in
Montclair, N. J., .as dir. of his own Cons.
Marzials, Theodor, popular song-comp.;
b. Brussels, Dec. 21, 1850. Studied with
M. L. Lawson in London; later in Paris
and Milan. Since 1870, superintendent of
the mus. dept. in the British Museum. He
is an excellent baritone singer, a circumstance
which has been conducive to the introduction
and popularization of his songs.
Mar'zo, Eduardo, b. Naples, Italy, Nov.
29, 1852. Studied there under Nacciarone,
Miceli, and Pappalardo. He went to New
York in 1867 as a boy-pianist; conducted
opera- and concert-companies for many
years, and was accompanist to numerous
great artists (Carlotta Patti, Mario, Tietjens,
Sauret, Sarasate) on tours in America. Org.
584
MASCAGNI— MASEK
at St. Agnes' (R. C.) church; then at All
Saints' and St. Vincent Ferrer's; now (1917)
at Ch. of the Holy Name. Knighted by the
Kine*of Italy in 1884; elected member of
the R. Acad, of S. Cecilia, Rome, in 1892;
Knight of Order of St. Sylvester, 1914.
Residing in New York as a teacher of sing-
ing, composer, and ed. of Catholic church-
music for Schirmer and Ditson. — Publ. works:
8 masses (3 with orch.); 4 Vespers; 3 Te
, Deums (Engl.); 36 anthems (do.) ; 5 anthems
(Latin); 23 sacred songs (Engl, and Lat); 38
songs; a sacred cantata; 2 secular cantatas;
3 operettas; 'pf.-pcs. ; a prelude for orch. ; some
fugues for str. -quartet . Has ed. Songs of Italy
and The Art of Vocalization.
Mascagnt [-kah'ne], Pietro, b. Leghorn,
Dec. 7, 1863. His father (a baker) wished
him to study jurisprudence; but he learned
glano- playing by stealth, later attending
offreaini s music-school (until 1881), where
he studied pf., harm., cpt., and comp. His
father, discovering this, confined him to the
house, whence he was freed by an uncle,
who promised to take care of the 14-year-
old boy. He comp. a dram, cantata, In
Filanda, and Schiller's Hymn to Joy (1881).
Upon his uncle's death, Count Florestan
supported him while studying at Milan Cons,
under Ponchielli and Saladino (until 1884).
From 1885-90 he was cond. of the munic.
orch. at Cerignola. When the musk-pub-
lisher Sonzongo offered a prize for a 1-act
opera, M. sent in Cavalleria Rusticana,
which created a veritable sensation at its
first performance (Costanzi Th., Rome, May
17, 1890), and has since been heard the world
over. The general enthusiasm which the
work produced at first hearing has been
termed 'an acute attack of Mascagnitis,'
and notable critics have unmercifully con-
demned the music, while admitting the
dramatic force of the libretto. Music and
text certainly work in wonderful harmony
in the swift and gloomy tragedy. So far,
it has remained M.'s only genuine success.
He brought out VAmico Fritz (Rome,
Costanzi Th., Oct. 31, 1891), and J Rantzau
(Florence, Nov. 10, 1892), neither of which
met expectations; there followed the 4-act
opera seria Guglielmo Ratcliff (Milan, La
Scala, Feb. 16, 1895; mod. succ.), the 2-act
opera seria Silvano (ibid, Mar. 25, 1895;
fiasco), and in the same year M. was app.
Director of the Rossini Cons, at Pesaro,
where he remained till 1902; then came the
1-act 'bozzetto' Zanetto (Pesaro, Mar. 2,
1896; succhs d'estime), and the 3-act opera
Iris (Rome, Costanzi Th., Nov. 22, 1898;
success not brilliant; its prod, at La Scala,
Milan, Tan. 19, 1899, partly revised, met
with only fair success). But all this time
the success of Cavalleria continued unabated,
and made the composer a national idol; so
much so, that when he had completed Le
Maschere it was produced on Jan. 17, 1901,
simultaneously at 7 of the most important
Italian Opera houses (Rome, Milan, Turin,
Genoa, Venice, Verona, Naples). The next
opera was on a French text, Arnica (Monte
Carlo, Mar. 16, 1905); then followed Isabeau
(Buenos Aires, June 2, 1911), Parisina (Mi-
lan, Dec. 15, 1913), and LodoUtta (Rome, Apr.
30, 1917). A recent 1-act opera, La Fatda
di Commune, has not yet been prod . He is now
(1917) at work on an opera from Bracco's
Piccolo Santo (text by Renato Simone).
In 1902 he made a tour of the U. S., cond. his
Cavalleria, Amico Fritz, Ratcliff, Zanetto and
Iris, but owing to gross mismanagement the
visit ended in disaster. A tour of South
America in 1911 was more successful. He
has also appeared frequently as cond. of
symphony concerts. In 1890 he was made
Knight of the Crown of Italy. Among
various 'occasional' comps., Poema Leopar-
diano (for the centenary of G. Leopard i,
1898) and a Hymn in honor, of Admiral
Dewey (July, 1899) may be noticed. — The
vogue of Cav. Rusticana is responsible for the
seemingly endless crop of 1-act 'realistic'
music-dramas which has sprung up on
every side. — Bibliography. G. Monaldi,
P. M. Vuomo e Vartista (Rome, 1899); G.
Marvin, P. M.: Biografia aneddotica (Pa-
lermo, 1904); G. Bastianelli, P. M. con nota
deUe opere (Naples, 1910); E. Pompei, M.
nella mta e neWarte (Rome, 1912).
Mascheroni [mah-skg-roh'n€], Edoardo,
b. Milan, Sept. 4, 1857. As a boy he showed
special interest in mathematics and litera-
ture; when at a comparatively advanced age
he discovered his musical talent, he placed
himself under the instruction of Boucheron
in Milan; in 1883 he began his career as
cond. at Leghorn (T. Goldoni); from there
he went to the T. Apollo in Rome, where he
remained seven years, establishing his repu-
tation as one of the foremost conductors
of Italy; in 1893 he was selected by Verdi
to conduct the premiere of Falstaff at La
Scala, remaining there 4 years; since then
he has appeared in many important opera-
houses of Italy, Germany (chiefly conducting
Falstaff), Spain and South America; now
(1917) cond. of the symphony concerts at
the August eo, Rome. — Works: The operas
Lorenza (Rome, 1901) and La Perugina
(Naples, 1909); a Requiem for soli, ch. and
orch. in memory of King Victor Emanuel; do.
a capp.; some chamber-music; an album of
pf.-pcs.
MaSek [mah'shgk], Vlncenz, b. Zwikovecz,
Bohemia, Apr. 5, 1755; d. Prague, Nov. 15,
1831. Pupil of Seegert and Dussek; virtuoso
585
MASETTI— MASON
on the pf. and harmonica; after long tours,
he settled in Prague as an organist and music-
dealer. — Works: Bohemian operas, masses,
symphonies, chamber-music, pieces for pf. and
harmonica, etc. — His brother Paul (1761-
1826) was a good pianist, and died as a teacher
in Vienna.
Maset'ti, Umberto, b. Bologna, Feb. 18,
1869; studied at the Cons, thereunder Dal-
TOlio, Busi, and Martucci, graduating in
1890. Since 1895, prof, of singing in the
above Cons.; is also a member of the R.
Philharm. Acad. — Works: The 3-act opera
V indict (Bologna, 1891; succ.); a Messa di
gloria for solo voices; a Requiem for 4 voices
and orch.; a Scherto sinfonico for orch.; and
numerous songs.
Masl'nl, Francesco, b. Florence, July
16, 1804; d. Paris, in extreme poverty, Aug.
20, 1863. Since 1830 he had lived in Paris
as a composer of very popular songs.
Mason, Daniel Gregory, writer and
composer; b. Brookline, Mass., Nov. 20, 1873.
Puptl of Clayton Johns, E. Nevins and J. K.
Paine (Harvard Univ.; A. B., 1895); later of
A. Whiting (pf.), P. Goetschius (theory),
G. W. Chadwick and V. d'Indy (orch.).
Has lectured extensively on music (Brooklyn
Inst, of Arts and Sciences, Inst, of Mus. Art,
Inst, of Applied Music, Columbia Inst, of
Arts and Sc., etc.); since 1910 asst.-prof. of
music at Columbia Univ.; member of Am.
Inst, of Arts and Letters.-—Comp8.: Op. 2,
Elegy for pf.; op. 5, Sonata for vl. and pf.;
op. 7, Pf.-auartet; op. 11, Symphony (1916);
Pastorale lor vl., clar. and pf.; Country
Pictures for pf.; songs (2 sets of Children's
songs, etc.). — Writings: From Qrieg to
Brahms (1902) ; Beethoven and His Forerunners
(1904); The Romantic Composers (1906); The
Appreciation of Music (1907; with T. W.
Surette); The Orchestral Instruments (1908);
A Guide to Music (1909); A Neglected Sense
in Piano Playing (1912); Great Modern
Composers (1916). Editor-in-chief of 'The
Art of Music' (14 vols., 1917).
Mason, Edith Barnes, dramatic soprano;
b. St. Louis, Mar. 22, 1892. St. singing in
New York, Boston, Philadelphia and Paris;
debut as Nedda (Pagliacci) with the Boston
Opera Co. (Boston, Jan. 27, 1912), and
member of the company for the rest of the
season; 1913-14, sang at munic. opera, Nice;
1914-15, at munic. opera, Marseilles, and
Op.-Comique, Paris; since fall of 1915 mem-
ber of the M. O. H. Her voice has a range
of two octaves; her repertoire includes Mar-
guerite, Juliette, Micaela, Manon, Mimi,
Gretel, Gilda, Sophie (Rosenkavalier) , Oscar
(BaUoinmaschera), Irma (Louise), Zerlina, etc.
Mason, Lowell, born Medfield, Mass.,
Jan. 8, 1792; d. Orange, N. J., Aug. 11, 1872.
A self-taught musician, at 16 he directed the
church-choir at Medfield; 1812-27, bank-
clerk at Savannah, Ga., still teaching and
conducting; 1827, went to Boston, becoming
president of the Handel and Haydn Soc.,
and establishing classes on Pestalozzi's
system, teaching it from 1828 in the public
schools. Founded the Boston Acad, of
Music in 1832, with G.J. Webb; in 1835, hon.
Mus. Doc. (N. Y. Univ.). Studied mus.
pedagogic methods in Germany, etc., in
1837, publishing his experiences in Musical
Letters from Abroad (New York, 1853). He
became wealthy through the sale of his
popular collections of music: 'Boston Handel
and Haydn Coll. of Church Music' (1822);
'Juvenile Psalmist* (1829); 'Juvenile Lyre'
(1830); 'Sabbath School Songs' (1836);
'Boston Academy Coll. of Church Music*
(1836); 'Lyra sacra' (1837); 'Boston Anthem
Book' (1839); 'The Psaltery' (1845); 'Cantica
Laudis' (1850); 'New Carmina sacra' (1852);
'The Song Garden' (1866); etc.
Mason, Luther Whiting, b. Turner,
Maine, Apr. 3, 1828; d. Buckneld, Me., July
14, 1896. Chiefly self-taught; 1853, supt.
of music in Louisville (Ky.) schools, later
in Cincinnati, where he invented the 'National
System* of music-charts and books (Ginn &
G>., Boston), which had instant success, and
made him famous. Settled in Boston 1865,
and reformed mus. instruction in the primary
schools; in 1879 he was invited by the
Japanese government to superintend music
in the schools of Japan, where he labored 3
years with notable results (school-music in
Japan is termed 'Mason-song'). Spent some
time in Germany perfecting his principal
work, The National Music-Course (in German
as Die neue Gesangsschule).
Mason, William, distinguished Amer.
?ianist and pedagogue; b. Boston, Mass.,
an. 24, 1829; d. New York, July 14, 1908.
*he son of Lowell Mason, his opportunities
for study were excellent; after of. -lessons
from Henry Schmidt in Boston, ana frequent
public appearances (first in Boston, Mar. 7,
1846, at an Acad, of Music concert), he
studied in Leipzig (1849) under Moscheles,
Hauptmann, and Richter, in Prague under
Dreyschock, and under Liszt at Weimar.
He played in Weimar, Prague, and Frankfort;
1853, in London; 1854-5, as a ripe concert-
pianist, in various American towns, settling
1855 in New York. With Th. Thomas,
Bergmann, Mosenthal, and Matzka, he
founded the 'Mason and Thomas Soirees of
Chamber- music,' a series of classic concerts
continued until 1868; thereafter he won
wide celebrity as a composer and teacher.
In 1872 Yale College conferred on him the
586
MASON— MASSENET
hon. degree of Mus. Doc. — His principal text-
book for piano-playing is Touch and Technic,
(op. 44); others are A Method for the Pf.,
with E. S. Hoadley (1867); System for Begin-
ners (1871); and Mason's Pianoforte-Technics
(1878). His comps., classical in form and
refined in style and treatment, tncl. a Serenata
for 'cello and pf . ; among some 40 numbers for
pf. solo may be named op. 4, AmitiS pour
tnoi; op. 6, Silver Spring; op. 12, Ballade in
B; op. 13, Monody in Bt>; op. 20, Spring
Dawn, mazurka-caprice; op. 24, Reverie poS-
tique; op. 34, Berceuse; op. 39, Serenata; op.
41, Scherzo; op. 50, Capriccio fantastico.
He publ. Memories of a Musical Life in 1901.
Mason & Hamlin Co., celebrated firm of
piano-manufacturers. The house was founded
as the M. & H. Organ Co. in Boston in
1854 by Henry Mason, a son of Dr. Lowell
M., and Emmons Hamlin. The latter, a
brilliant mechanic, turned his attention to
improving the quality of the reeds and ob-
taining great variety of tonal color, with the
result that in 1861 the firm introduced the
American Cabinet Organ. The firm became
internationally famous, when at the Paris
Expos, of 1867 its organs were awarded the
1st prize over numerous European competi-
tors; since then they have exhibited at
every important exposition in Europe and
America, invariably taking the 1st prize.
In 1882 they began the construction of
pianofortes, introducing a new system of
stringing which found immediate favor; of
several improvements patented by them the
most important is the Tension- Resonator
(1902; described in the 'Scientific American/
Oct. 11, 1902), a device for preserving the
tension of the sounding-board. Since 1906
Henry Lowell M., b. Boston, Aug., 1864,
has been Pres. and Chairman of the ooard of
directors.
Mas'aa, Nicold, b. Calice Ligure, Italy,
1854; d. Genoa, Jan. 24, 1894. Pupil of
Milan Cons. Successful opera-composer. —
Works: Aldo e Clarenza (Milan, 1878); //
Conte di Chatillon (Parma, 1882); Salammbd
(Milan, 1886); 4-act opera seria Eros (Flor-
ence, 1895).
Maaaart [mahs-sahr'], Lambert-Joseph,
eminent violinist; b. Liege, July 19, 1811;
d. Paris, Feb. 13, 1892. Pupil of R. Kreutzer
at Paris, where he was refused admission to
the Cons., as a foreigner, by Chembini, but
became so famous a teacher that he was app.
prof, of violin there (1843-90). H. Wieniaw-
ski, Marsick, Sarasate and Teresina Tua
were his pupils. — His wife, Loutae-Aglae* M.
(nee Masson), pianist, and (1875) Farrenc's
successor as Cons. -teacher; b. Paris, June
10, 1827; d. there July 26, 1887.
Maaaart, Neator-Henrl-Joeeph, tenor
opera-singer; b. Ciney, Belgium, Oct. 20,
1849; d. Ostende, Dec. 19, 1899. An officer
in the Belgian army, his remarkable voice
attracted tne attention of the royal family,
through whose influence he was granted
leave of absence for study. Sang with success
at Brussels, Lyons, Cairo, New Orleans,
San Francisco, and Mexico, Chief roles in
La Favorita, Esclarmonde, Lohengrin, Sigurd,
Patrie, etc. •
Mas** [man-sal, Feiix-Marie, called
Victor, opera-comp.; b. Lorient, Morbihan,
France, Mar. 7, 1822; d. Paris, July 5, 1884.
From 1834-44, pupil of Zimmerman (pf.)
and Hatevy (theory) at the Paris Cons.,
winning the Grand prix de Rome with his
cantata, Le Renlgat de Tanker (perf. 3 times
at the Opera, 1845). While in Rome, he
prod, a solemn mass, and sent home an
Italian opera, La Favorita e la schiava. After
his return, his romances had great vogue, and
his first French opera, La Chambre gothique
(Op.-Com., 1849), was very successful. 1860,
chorusmaster at the Opera; 1866, Leborne's
successor as prof, of counterpoint at the
Cons.; 1872, Auber's successor in the Aca-
demie. He retired in 1880. His greatest
hit was Les noces de Jeannette (Op.-Com.,
1853; 1 act); others well-received, but
short-lived (La Chanteuse voiUe, 1850; Gala-
thee, 1852; La Fiancee du diable, 1854; Miss
Fauvette, 1855; Les Saisons, 1855; La reine
Topaze, 1856; Le cousin de Marivaux, 1857;
Les Chaises d porteurs, 1858; La fie Carabosse,
1859; Mariette la promise, 1862; Le mule de
Pidro, 1863; Fior d'Aliza, 1866; Le Fils du
brigadier, 1867; Paul et Virginie, 1876;
Une nuit de CUopatre, 1885); 5 not perf.—
Cf. L. Delibes, Notice sur la vie de V. M.
(Paris, 1885); G. Ropartz, V. M., sa vie et
ses ceuvres (ib., 1887).
Maaaenet [mahss-na'], Jules (-fcmile-
Fr6deric), born Montaud, near St.-£tienne
(Loire), France, May 12, 1842; d. Paris,
Aug. 13, 1912. Pupil of Laurent (pf.),
Reber (harm.), Savard and Ambr. Thomas
(comp.) ; after taking first prizes for piano-
playing and fugue, he carried off the Grand
prix de Rome with the cantata David Rizzio
(1863). Prof, of composition at the Cons.,
from 1878 until his resignation in 1896; in
1878 he succeeded to the chair in the Aca-
demie vacated by Bazin; he was a Commander
of the Legion of Honor, and Vice-President
of the Soc. of Dramatic Authors. Even
during his life M. enjoyed the distinction' of
being regarded by his countrymen as one of
their classic masters. But his works became
immensely popular in foreign countries also,
and are still holding their own. This popu-
larity is due to M.'s graceful, melodious style
and his exquisite instrumentation, qualities
587
MASSON— MATERNA
that never fail to make an instant appeal.
But it cannot be denied that M.'s music is
monotonous in its saccharine sweetness; it
lacks depth, and never grips. An excellent
and inspired musician, he nevertheless lacked
strong artistic convictions and ideals, and
was too ready to give the public what it
could enjoy without much intellectual effort.
— Bibliography. E. de Soleniere, M. £xude
critique et documentaire (Paris, 1897); A.
Bruneau, La Musique francaise (ib., 1901);
C. Fournier, £tude sur te style de M. (Amiens,
1905); L. Aubin, Le Drame lyrique (Tours,
1908); L. Schneider, M.iVhomme et le musi-
cien (Paris, 1908; the most comprehensive
biogr.); H. T. Finck, M. and His Operas
(N. Y., 1910); O. Sere\ Musiciens francais
d'aujourd'hui (2d ed. Paris, 1911); A. Soubies,
M. historien (Paris, 1913); A. Pouein, M.
(Paris, 1913); G. Jean-Aubry, Un Mot sur
M.t in La Musique francaise d'aujourd'hui
(Paris, 1916). M.'s memoirs [really an auto-
biogr., completed by X. Leroux] appeared
shortly after his death as Souvenirs d'un
musicien (Paris, 1912).
Works:
Operas: La Grand* Tante (Op.-Com., Apr. 3. 1867);
Don Ctsar de Baza* (ib.. Nov. 30, 1872); Le Rot de
Lahore (Optra, Apr. 27, 1877): Htrodiade (Brussels,
Dec. 19. 1881); it anon (Op.-Com., Jan. 19, 1884);
Le Cid (Opera, Nov. 30, 1885); Esclarmonde (Op.-
Com., May 14, 1889); Le Mage (Optra, Mar. 16,
1891); Werther (Vienna. Feb. 16, 1892); Thais (Opera,
Mar. 16, 1894); Le Portrait de Manon (Op.-Com.,
May 8. 1894); La Navarraise (London, Cov. G.,
June 20. 1894); Sapho (Op.-Com., Nov. 27. 1897);
Cendritton (Op.-Com.. May 24. 1899); GrisHidis (ib..
Nov. 20, 1901); Le Jongleur de Noire- Dame (Monte
Carlo, Feb. 18. 1902); Chirubin (ib.. Feb. 14. 1905);
Ariane (Optra. Oct. 31, 1906); Therise (Monte Carlo,
Feb. 7, 1907); Bacchus (Opera. May 5. 1909); Don
Quichotte (Monte Carlo. Feb. 19. 1910); Roma (ib..
Feb. 17. 1912). Posthumous: Panurge (Th.-Lyrique.
Apr. 25. 1913); CUopdtre (Monte Carlo. Feb. 23,
1914); Amadis (not prod. up. to 1917).
Incidental music to Les Erynnies (de Lisle, 1873);
Un Drame sous Philippe II (de Porto-Riche, 1875);
Nana-Sahib (Richepin. 1883); Theodora (Sardou.
1884); Le Crocodile (Sardou. 1886); Phidre (Racine,
1900); Le GriUon (de Francmesnil. 1904); Le Manteau
du Rot (Sicard, 1907); Perce-Neige et Us sept gnomes
(Dortzal, 1909).— Ballets: Le Carillon (1892); Cigole
(1904); Espada (1908). — Oratorios: Atarie-Magde-
leine (1873); Eve (1875); La Terre Promise (1900).—
For soli. ch. and orch.: Narcisse, La Vierge and
Biblis. — For Orchestra: 7 suites: 1. Premiere Suite
(1865). 2. Scenes hongroises (1871), 3. Scenes drama-
Hones (1873). 4. Scenes pilloresques (1874), 5. Seines
napoliUiines (1876). 6. Seines de Fierie (1879), 7.
Seines alsaciennes (1881); 3 overtures: Ouv.de Concert
(1863), Phidre (1873), Brumaire (1899); a symph.
rm. Visions (1890); Parade militaire (1887); Devout
Madone (1897); Marche solennelU (1897); Les
Rosati (1902); Fantaisie for vcl. and orch. (1897);
Concerto for pf. and orch. (1903). — About 200 songs
(many orchestrated), 12 vocal duets, several choruses;
pf.-pes. for 2 and 4 hands. — M. completed and orches-
trated Delibes' opera Kassya (1893).
Masson [mah-s6hn'], Paul-Marie, born
Cette, Herault, Sept. 19, 1882. While
receiving a liberal education at the Lyc€es of
Cette, Montpellier and Paris (L. Henri IV)
he became interested in the hist, of music;
then st. • musicology systematically with R.
Rolland; winning the Thiers stipend in
1907, he ent. the Schola Cantorum as pupil
of d'Indy; in 1910 he was app. prof, of the
hist, of music at the Univ. of Grenoble and
entrusted with the organization of the 'In-
stitut francais de Florence* (under the aus-
pices of the faculty of Philosophy), which
publishes the works of the early Italian
masters on the same plan as the famous
German 'Denkmaler' (4 series publ. up to
1916). M. himself has ed. CanH camasciaie -
schi (vol. i), and is now (1916) preparing a
vol. of 5-part madrigals by G. di Venosa;
has publ. LulUstes et Ramistes (191 2), Musique
italienne et musique francaise (1912); and
valuable contributions to 4S. I. M.\ 'Riv.
Mus. Ital.' and 4Sbd. Int. M.-G.'
Masut'to, Giovanni, b. Treviso, July 30,
1830; d. Venice, Jan. 30, 1894. Mus. critic
for several Venetian papers; publ. / Maestri
di musica italiani del Jeccio XIX (Venice,
3d ed. 1884), and Delia Musica sacra in
Italia (3 vols.). — His son,
Masut'to, Renxo, b. Treviso, Apr. 25,
1858, is bandmaster of the 27th Italian
infantry regiment, also a concert-pianist and
violinist, and a noteworthy composer (2
operas; overtures; pf. -pieces; songs).
Maszkowsky [mahsh-k6hv'ske]f Raphael,
b. Lemberg, July 11, 1838; d. Breslau, Mar.
14, 1401. Pupil of the Conservatories at
Vienna and Leipzig; 1865, cond. of the *Im-
thurneum' at Schaffhausen; 1869, mus. dir.
at Koblenz; in 1890 succeeded Bruch as cond.
of the Breslau Orchestral Soc.
Maszynski [mah-shin'ske], Peter, b. War-
saw, 1855; piano-pupil there of Michailowski
and Roguski; studied composition with Nos-
kowski at Constance; resides in Warsaw as
a conductor and teacher. — Works: Music to
the dramas Larik (by Gadomski) and Borusa
(by Grabowski); many choral works •(can-
tata for the jubilee of H. Sienkiewicz; prize-
chorus Chor miwiarzy) ; orchl. works, varia-
tions for string-quartet, violin- sonata (op.
21), pieces f. vln.w. pf.; pf. -pieces, songs, etc.
Mater'na, Amalie, great dramatic sopra-
no; b. St. Georgen, Styna, July 10, 1845. On
the death of her father, a schoolmaster, she
sang in churches and concerts at Graz; also
made her debut in opera as a soubrette in
1864. After her marriage to Karl Friedrich.
an actor, they were engaged at the Carl
Theatre, Vienna, where she sang in operettas
at first, but made her debut in 1869 as Selika
at the court opera, where her marked success
led to an immediate engagement; she re-
mained a regular member until her retirement
in 1897. Her eminent dramatic talent, united
with a voice of extraordinary beauty and
588
MATERNA— MATTEI
power, attracted the attention of Wagner,
who selected her to create the Brunnhilde in
the first Bayreuth festival of 1876, and the
Kundry in 1882; in 1877 she was soloist at
the great Wagner festival (under the master's
direction) in London; in 1882 and 1884 she
sang with Winkelmann and Scaria in the
Wagner festivals arranged by Theo. Thomas
in New York, Chicago and Cincinnati; her
Amer. operatic debut took place on Jan. 5,
1885, as Elisabeth, during the first season of
German opera at the M. O. H. under Dr.
Leopold Damrosch; in 1894 she was a member
of Walter Damrosch 's German company.
She was particularly fine in Wagner rdles,
in which she has had few equals. Since 1902
she has been living in Vienna as a teacher.
Materna, Hedwig, niece of preceding;
dramatic soprano; b. Graz, Aug. 4, 1871.
Pupil of Frau Weinlich-Tipka and Ida
Fichna; d£but in Mayence, 1896; with the
exception of the season of 1900 (when she
sang in Zurich) she has been the principal
sop. of the Mayence opera; especially nne
in the great Wapier rdles; married the art-
critic Heinrich Hirsch. Has publ. R. Wagners
Frauengestalten (1904).
Mathews, William Smythe Babcock,
b. Loudon, N. H., May 8, 1837; d. Denver,
Col., Apr. 1, 1912. He studied with local
teachers; later at Lowell and Boston; taught
pf. at Macon, Ga., 1860-3, then at Green-
boro, N. C, and Marion, Ala.; organist of
Centenary M. E. Ch., Chicago, 1867-93;
correspondent for 'Dwight's Journal of
Music* 1866-72; editor of the 'Musical
Independent' 1868-72; mus. critic of Chicago
'Times,' 'Morning News,' and 'Tribune'
(1878-86); founder (1891) and editor of the
monthly magazine 'Music' — Publ. works:
Outlines of Mus. Form (1867); Emerson
Organ-Method, with L. O. Emerson (1870);
Mason's Pf. -Technics, with Dr. Wm. Mason
(1876); How to Understand Music (vol. i,
1880; vol. ii, 1888); 100 Years of Music in
America (1889); Popular History of Music
(1889; 2d ed. 1906); Pronouncing Dictionary
of Mus. Terms (1896); Music, Its Ideals and
Methods (1897); The Masters and Their
Music (1898); The Great in Music (3 vols.,
1900-3); and half a score of instructive
works of various descriptions.
Mathias [mah-tVahl, Georges (-Ame-
dee-Salnt-Clair), b. Paris, Oct. 14, 1826;
d. there Oct. 14, 1910. Pupil of Savard,
Bazin, Barbereau and Halevy (in comp.)
at the Cons., and of Kalkbrenner and Chopin
(pf.). Prof, of pf. at the Cons., 1862-93;
then lived in retirement as a composer. —
Works : Symphony, op. 22 ; overtures to Hamlet
and Mazeppa; 2 pf. -concertos; 6 pf.- trios; S
morceaux symphoniques for pf. and strings;
pf. -etudes (£tudes de style et de m&canisme,
op. 28; Htudes de genre, op. 10); CEuvres
ckoisis pour le piano, a coll. of excellent orig.
pieces for 2 and 4 hands; a lyric scene,
Jeanne a" Arc; the choral works Promithie
enchatni and Olaf; etc.
Mathieu [mah-t'y6'], Adolphe-Charle*-
Ghislain, b. Mons, Belgium, June 22,
1804; d. Paris, Aug., 1883. Custodian of
MSS. in the Brussels Library; publ. the
monograph Roland de Lattre (1838, 2d ed.
1840).
Mathieu, fimile (-Louis-Victor), born
Lille, France, of Belgian parentage, Oct. 16,
1844. After preliminary study at the Louvain
Music-school, he entered Brussels Cons.
(Bosselet, harmony; Fetis, cpt. and fugue;
Aug. Dupont, pf.), taking 1st harmony-
prize in 1861, and 1st pf.-prize in 1863;
from 1867-73, prof, of pf. and harmony at
Louvain Music-school; 1873-4, chef d'orches-
tre at the Chatelet Th., Paris; 1881-98,
Director of the Louvain Music-school; since
Nov., 1898, Dir. of the R. Cons, at Ghent.
In 1869, and again in 1871, he won the 2d
Grand prix de Rome at Brussels; he is a
Chevalier of the Order of Leopold (1885),
and Officer since 1896; corr. member of the
R. Belgian Acad, since 1897. — Works: 1-act
com. opera V&chanw (Liege, 1863); 2-act
com. opera Georges Dandin (Brussels, 1877);
1-act com. opera La Bernoise (Brussels, 1880);
4-act lyric tragedy RichUde (Brussels, 1888);
com. opera Bathyle (Brussels, 1893); 3-act
opera I Enfance de Roland (Brussels, 1895);
music to Sejour's Cromwell (Paris, 1874); a
ballet, Fumeurs de Kiff (Brussels, 1876); the
cantatas La derniere nuit de Faust, Le songe
de Colomb, Torquato Tasso's dood, Debout,
peuple! and 2 children's cantatas. Les Bois
and V&cole fraternelle; 3 grand 'poemes
lyriques et symphoniques,' Le Hoyoux, Frey-
hir, , and Le Sorcter; 3 orchl. symphonic poems;
a violin-concerto; a pf.-concerto; a Te Deum;
male choruses; French and Flemish songs.
M. also wrote the texts of RichUde, V Enfance
de Roland (both transl. into German by
Fremery), and the 3 'Poemes lyr. et symph.'
Matte'i, Abbate Stanislao, b. Bologna
[bapt. Feb. 10], 1750; d. there May 12, 1825.
He succeeded his teacher, Padre Martini,
as m. di capp. at San Francesco; was later
maestro at S. Petronio, and prof, of counter-
point at the Liceo Filarmonico from its
organization (1804). Among his pupils were
Rossini, Donizetti, Pacini, Tadohni, etc.
Eminent comp. of sacred music; publ.
Prat tea oVaccompagnamento sopra bassi
numerati ... (3 parts; Bologna, 1825-30;
new ed. by Ricordi). — See Q.-Lex.
Matte'i, Tito, b. Campobasso, n. Naples,
May 24, 1841; d. London, Mar. 30, 1914.
589
MATTEIS— MATTHEWS
Pianist; pupil of Maggoni, Parisi, Ruta,
Conti, and Thalberg; at 11 (!) created
'Professore' of the Accad. di Santa Cecilia,
Rome; received a special gold medal for
playing before Pope Pius IX, and was app.
pianist to the King of Italy. After Continen-
tal tours, he settled about 1865 in London,
becoming cond. at Her Majesty's Th. —
Works: Opera Maria di Gand (H. M.'s Th.,
London, 1880); 2 comic operas, The Grand
Duke and La Prima Donna (both London,
1889); ballet The Spider and the Fly (1893);
all successful; much brilliant pf. -music; very
popular songs.
Matte'ls, Nicola, Italian violinist, who
settled 1672 in London. Publ. 4 books of
Ayres, Preludes, Fugues and AUemands for
violin; and a Guide to Playing a true Base
upon the Guittare. — His son, Nicola (d.
1/49), lived in Vienna, and in Shrewsbury,
England; was Burney's teacher. — SeeQ.-Lex.
Matthay, Tobias (Augustus), eminent
piano-pedagogue; b. London, Feb. 19, 1858.
At the age of 6 he began to play the pf., and
was taught by private teachers until 1871,
when he ent. the R. A. M. as a pupil of
Dorrell (pf.); at the end of the first year he
won the Sterndale Bennett scholarship, and
cont. pf. with W. Macfarren; took up comp.
with S. Bennett, and after his death (1875)
completed the course with E. Prout and A.
Sullivan; app. sub-prof, of pf. in 1876, sub-
prof, of harm, in 1878, and full prof, of pf.
in 1880. In that year he gave his first public
recital, and for the next 15 years appeared
frequently on the concert-platform; but his
interest in teaching gradually engrossed his
attention, so that in 1895 he gave up all
conceit- work and establ. his own pf. -school
in London, which soon became famous. At
C resent (1917) he has 18 assistants, all trained
y himself; a dozen of his pupils are now
professors on the staff of the R. A. M., and
among those that have achieved distinction
on the concert-stage may be mentioned
Gertrude Peppercorn, Irene Scharrer, Myra
Hess, York Bowen, etc. He has publ. Hero
and Leander, scena for ch. ana orch.; a
Konzertstuck in A m. for pf. and orch. (op.
23); a pf. -quartet (op. 20); about 80 pieces
forpf. (24 op.-numbers). — Writings: The Art
of Touch (1903); The First Princifies of Piano-
forte Playing (1905); Relaxation Studies
(1908); Commentaries on the Teaching of
Pianoforte Technique (1911); The Rotation
Principle (1912); The Child's First Steps in
Piano Playing (1912); Musical Interpre-
tation (1913); Practice Triangle and Card
(1914).— Cf. 'M. T.,' Oct., 1913.
Mattheson [mah'te-s5n], Johann, born
Hamburg, Sept. 28, 1681; d. there Apr. 17,
1764. Of thorough general education, a
student of Jaw, and master of several lan-
guages, his decided mus. talent was developed
by Braunmuller, Pratorius, and Kellner;
at 9 he sang, composed, and played the organ
and harpsichord; entered the opera-chorus
1690, and 1697-1705 sang operatic tenor rdles,
also bringing out 5 operas; he befriended
Handel in 1703, but afterwards broke with
him, and (1705) became tutor in the English
ambassador's family; 1706, secretary of
legation; later, ambassador ad interim.
From 1715-28, mus. dir., and cantor, at the
Hamburg Cathedral; deafness then obliged
him to resign the former post. His comps.
include 8 operas, 24 oratorios and cantatas,
a Passion, a mass, suites for clavichord, 12
flute-sonatas with violin; etc. (88 publ. works;
some in Pauer's 'Old German Composers').
A partial list of his writings, important for
their promulgation of advanced views,
brushing aside traditional prejudices, follows:
Das neu-erojfnete Orchester, oder grundliche
Anleitung, wte ein 'galant homme' einen vollkom-
menen Begriff von der Hoheit und Wurde der
edlen Mustk erlangen moge (1713); Das
beschutzte Orchester [versus Buttstedt's Ut,
re, mit fa, sol, la, tola musica] (1717); Die
exemplarische Organistenprobe (1719; 2d ed.
as Grosse Generalbass-Schule, 1731); Critica
musica (2 vols.; 1722); Der brauchbare Virtuos
(1720); Das forschende Orchester (1721); De
eruditione musica (1732); Der vollkommene
CapeUmeister (1739); Grundlagen einer Ehren-
pforte, worin der tUchtigsten CapeUmeister,
Componisten, etc., Leben, Werke, etc., er-
scheinen sollen (1740; a new ed. of this
interesting work, edited by Max Schneider,
exactly copying the original, and with oc-
casional bibliogr. references and Mattheson *s
own addenda, was publ. Berlin, 1910); Die
neueste Untersuchung der Singspiele (1744);
Mithridat, wider den Gift einer welschen Satyre
des Salvalor Rosa, genannt: lLa Musica,'
ueberselzt und mit Anmerkungen, etc. (1749);
Georg Friedrich Hdndels Lebensbeschreibung
(1761); and many others, both publ. and in
MS.— Cf. L. Meinardus, M, und seine
Verdienste um die deutsche Tonkunsl, in
Waldersee's 'Samml. Mus. Vortrage' (Leip-
zig 1879); H. Schmidt, /. M. . . . im Lichte
seiner Werke (Erlangen, 1897).— See Q.-Lex.
Matthews, (Harvey) Alexander, b. Chel-
tenham, England, Mar. 26, 1879. Pupil of
his father, John A. M., org. in Cheltenham;
org. at Second Presb. Ch., Philadelphia; A. A.
G. O. — Comp. of the cantatas The Triumph
of the Cross, Life Everlasting, The Conversion,
The Story of Christmas, The Slave's Dream,
The Lake of the Dismal Swamp.
Matthews, John Sebastian, brother of
preceding; b. Cheltenham, England, Dec.
11, 1870. Pupil of his father and articled
590
MATTHIAS— MAUBOURG
pupil to G. B. Arnold; app. sujb-org. at
Winchester Cath. in 1888; came to Phila-
delphia in 1891 as org. and choirm. of St.
Martin- in- the-Fields; since 1901 org. at St.
Peter's, Morristown, N. J. Has comp. the
cantatas The Paschal Victor and The Eve of
Grace; part-songs, anthems, and pes. for org.
Matthias (or Mattheus) Le Mattre.
See Le Maistre.
Matthias, Hermann. See Wbrrekoren.
Mat'thieux, Johanna. See Kinkel.
Maf thiaon-Han'sen [mah'tfe-sen], Got-
fred, son and pupil of Hans M.-H.; b.
Roskilde, Nov. 1, 1832; d. Copenhagen, Oct.
14, 1909. Winning the Ancker scholarship,
he studied at Leipzig during the winter of
1862-3. Founded m 1865, with Grieg, Nord-
raak, and a Horneman, the concert society
'Euterpe', in Copenhagen; after its dissolu-
tion in 1868 he was app. instr. of organ at
the Cons.; in 1884 prof, of pf.; in 1900 succ.
J. P. E. Hartmann as dir.; 1859-71, org. of
the German Friedrichskirche; 1871-81, org.
at St. John's; from 1881 org. at the Holy
Trinity. Successful German tours (Tonkunst-
ler-Versammlung at Hanover, 1877). — Works:
Op. 5, pf.-trio; op. 11, violin-sonata; op. 14,
pf. -ballade; op. 15, fantasia for org.; op. 16,
cello-sonata; op. 19, concert-pieces for org.;
op. 30, Legenae for vcl. and pf.; op. 40,
Passacaglia for org.; pf.-pes.
Matthison-Han'sen, Hans. Danish or-
ganist and composer; b. Flensburg, Feb. 6,
1807; d. Roskilde, Jan. 7, 1890. Pupil of
Weyse at Copenhagen; in 1832, organist of
Roskilde Cathedral, a very important posi-
tion.— Works: Oratorio Johannes; church-
cantatas, psalms with orch., chorales with
variations, organ-symphonies (sonatas), pre-
ludes, postludes, fantasias, etc., for organ.
Mattioli. Lino, 'cellist and vocal teacher;
b. Parma, Italy, Aug. 23, 1853; graduated
from the Cons, there with high honors.
Appeared as solo 'cellist and also taught
singing in Milan; played in orch. of M. O. H.
in 1884; since 1885 prof, of singing at the Coll.
of Music in Cincinnati. Has written many
songs, pes. for pf., and pes. for vcl. and pf.
Mat'zenauer, Margarete, dramatic sop.;
b. Temesvar, Hungary, June 1, 1881. From
a child she grew up in musical surroundings,
her father being an orchl. cond. and her
mother a dramatic soprano. As a girl her
desire was to become an actress, but when
her voice gave promise of success, she st.
singing with Mme. Neuendorff in Graz,
and later with Antonia Mielke and Franz
Emerichin Berlin; her debut as Puck (Oberon)
at the Strassburg opera in 1901 was followed
by a three-year engagement there; 1904-11,
in leading contralto rdles at the Munich
court opera, appearing also every summer
in the Wagner festival performances at the
Prinzregenten-Th.; sang Waltraute, Floss-
hilde and 1st Norn in Bayreuth in 1911;
Amer. debut as Amneris at M. O. H., with
almost sensational success, on Nov. 13, 1911;
since then one of the most brilliant stars of
the organization; repeated her New York
triumphs the following summer in Buenos
Aires (Teatro Col6n); since 1912 also eng.
for principal rdles at the Stadtth., Hamburg.
For the summer of 1912 she had been eng to
sing Kundry at Bayreuth. Owing to the sud-
den illness of Mme. Fremstad, who was to have
sung that part on Jan. 1, 1912, at the M. O.
H., Mme. M., at one hour's notice, and with-
out orchl. rehearsal, gave a superb rendering
of the rdle; because of that incident the
portals of Bayreuth have been closed against
her. Until the end of her Munich engage-
ment she had sung only contralto rdles, but
the unusual compass of her voice made her
ambitious to essay the great soprano rdles,
an ambition realized during the Metropoli-
tan seasons; although retaining her contralto
parts, she has called herself a soprano since
1914. In 1902, married Ernst Preuse of Mu-
nich (divorced in 1911); on Tune 26, 1912,
married the Italian tenor Edoardo Ferrari-
Fontana (q. v.; div. Jan., 1917). Her art has
been characterized as follows: "A tragic
actress of intense force and passion, Mme. M.
possesses in addition a voice so rich and
sonorous, and capable of such infinite grada-
tions of color and emotional depiction, that
the combination forms an irresistible whole."
Besides all the soprano and contralto rdles
from Rienzi to Parsifal, her repertoire in-
cludes Fidelio, Donna Elvira, Orfeo, Fides,
Selica, Azucena, Dalila, Carmen, Mignon,
Herodias (Salome), Klytemnestra (Elektra),
Marschallin (Rosenkavalier), etc.
Maubourg [M.-Goffauz] (moh-boor'gd-
foh'), Jeanne, operatic soprano; b. Namur,
Belgium, Nov. 10, 1875. Destined at first
for a teacher, she was taught pf. and harm,
by her father (since 1894 artistic dir. of the
Th. des Galenes St.-Hubert, Brussels); st.
singing with Mme. Labarre and Mme.
Jouron-Duvernay in Brussels, 1892-5. After
a few concert-appearances she was invited
by the directors of La Monnaie to sing Mer-
cedes (Carmen) at a day's notice (1897), and.
although without stage-routine, acquitted
herself so creditably that she was eng. for
4 years; remained there till 1907, singing
the 'Dugazon' (q. v.) rdles and many of the
parts sung formerly by Gall i-M arid; 1900-4,
brother was cond.) and the Th. Moliere:
1909-14, member of the M. O. H., making
591
MAUKE— MAURICE
her Amer. debut in La Filie de Mme. Angot
at the New Th. on Dec. 14, 1909. In 1914
she opened a studio in New York. In 1911
she was married to the French comedian
Claude Benedict; divorced, 1915. As a
proof of her versatility it may be mentioned
that in Carmen she has sung the title-rdle,
Micaela, Frasquita, and Mercedes; in LaknU,
Mallika, Rose, and Ellen. In Brussels pre-
mieres she created the roles of Fiammina
(Grisilidis), Le Prince charmant (Cendrillon),
La Fee Urgele (Silver's La Belle au bois
dormant), Lisette (Pfeiffer's Ugataire unvoer-
sel)\ in N. Y. premieres, Seiysette (Ariane et
Barbe-Blcue), Beatrice (Donne Curiose), The
Maid (Amort dei Ire Re). Her repertoire in-
cludes the chief soprano parts in Don Gio-
vanni, Rigoletto, Faust, Otello, Fra Diavolo,
Armida, Falstqff, Germania, etc.
Mauke [mow'kS), Wilhelm, b. Hamburg,
Feb. 25, 1867. Abandoned medicine to st.
music with Huber and Low in Basel; pupil
of the Akad. der Tonkunst in Munich,
1892-3; is mus. critic of the 'Mtinchener
Zeitung' ; both in his writings and composi-
tions he manifests himself an adherent of
extreme modern principles. Has written the
operas Der Taugenichts and Fanfreluche
(Munich, 1912); an operetta, Der Tugend-
prinz (Vienna, 1910); a symph. poem, Ein-
samkeit; about 100 songs; also publ. a mono-
graph T>n Ernst Mielck (1901).
Maurel [moh-raT]. Victor, dramatic bari-
tone; b. Marseilles, Tune 17, 1848. A pupil
of Vauthrot (singing) and Duvernoy (opera)
at the Paris Cons., which he left in 1867 with
the 1st prizes (divided with Gailhard) for
vocal art and opera. ^ Debut in 1868 at the
Opera, as de Nevers in Les Huguenots, with
slight success; then sanp for several seasons
in Italy, Spain, America (1874), London,
Petrograd and Cairo (at Milan, in 1870, he
created // Guar any; at Naples, in 1871, Don
Carlos). Rejoined the Opera in 1879 with
an established reputation, and remained
there till 1894, excepting 1883-4 (consumed in
a brilliant but financially unfortunate attempt
to revive Italian opera at the Th. des Nations),
and 1885-6 at the Opera-Comique. During
the winter of 1894-5 he sang at the M. O.
H.; then, from 1895 till his retirement in
1904, he sang at the Op.-Comique. In the
Autumn of 1903 he gave a series of lectures
on vocal art at the Sorbonne, and after
his retirement he devoted himself, with
pronounced success, to teaching; from 1909-
10 he taught in New York. Even in his
prime his voice was not marvelous, but he
used it with exquisite art; his dramatic
powers, however, were so extraordinary that
after the retirement of Faure (1878) he hardly
had a rival on the French stage; he did, in
fact, make a few appearances in spoken
drama in Paris with great applause (1901-2).
His creations of Iago in OteUo (Milan, Feb.
5, 1887) and of Falstaff in Verdi's last work
(ib., Feb. 9, 1893) are historical; in these
roles he has not yet been equaled; except for
the Amer. premiere of (Hello (when Iago was
sung by Galassi, 1888) M. appeared in these
parts in the French, English and Amer.
Sremieres; his last creation was the rdle of
f athias in Erlanger's Le Juif folonais (Op.-
Com., Apr. 11, 1900). It is also worthy of
record that he was the first interpreter in
England of Telramund (May 8, 1875),
Wolfram (May 6, 1876) and the Flying
Dutchman (June 16, 1877). He publ. Le
Chant renovt par la Science (1892); Un
problem* a" Art (1893); A propos de la mise-
en-scene de Don Juan (1896); VArt du Chant
(1897); Dix arts de carriere (1898; Ger. tr.
by Lilli Lehmann as Zehn Jahre aus meinem
Kunstierleben [1887-97], 1899).
Mau'rer, Ludwig Wilhelm, distinguished
violinist; b. Potsdam, Feb. 8, 1789; d.
Petrograd, Oct. 25, 1878. Played in public
at Berlin when only 13; entered the Royal
Orch.; from 1806-18, in Russia, giving
concerts, etc.; visited Berlin and Paris, and
then became Konzertmeister in Hanover;
revisited Petrograd in 1833, and, after
travelling in 1845, settled in Dresden. His
most famous comps. are the Symphome
concertante for 4 violins with orch., and the
A major violin-concerto; also wrote 7 other
concertos, a double concerto, 2 concertinos,
2 string-quartets, duos concertants for
violins, airs varies, fantasias, etc ; and 6 operas.
Maurice [moh-reV], Alphons, b. Ham-
burg, Apr. 14, 1862; d. Dresden, Jan. 27,
1905. Pupil of Dessoflf, Krenn and Gr&dener
at the Vienna Cons., and of Schulz-Beuthen
in Dresden. Wrote the operas Josepha,
Schatz, Der Wundersteg; the Singspiele
Stelldichein, Wette, Trau, schau, wem; for
orch., Waldestraum (op. 37a), Largo (op. 48);
for vl. and orch., Spanische Serenade (op.
50), Sage (op. 53) ; choruses a capp. and with
instrl. ace.; songs; pf.-pes.
Maurice, Pierre, baron de, b. Geneva,
1868. Attended the Cons, at Geneva, then
for a short time that at Stuttgart, finishing
with Lavignac and Massenet at the Paris
Cons.; has been living for many years in
Munich. Comp. of the operas Die weisse
Flagge (Kassel, 1903), MisS brun (Stuttgart,
1908), Lanval (Weimar, 1912), Kalif Storch
(not perf.); a bibl. drama, Die Tochter Jephtha
(1899); a symph. suite, Die Islandfischer (op.
8; after Loti); a prelude and scene for orch.,
DaphnS; a suite in fugal style for 2 pfs.; pf.-
pcs. (a ballad, Lenore, Chanson des quatre
saisons, etc.); songs.
592
MAURI N— MAYER
V
Maurin [moh-ran'], Jean-Pierre, b. Avi-
non, Feb. 14, 1822; d. Paris. Mar. 16, 1894.
/iolm-pupil of Baillot and Habeneck at
Paris Cons., where he succeeded Alard as
teacher in 1875. Co-founder of the 'Societe
des derniers quatuors de Beethoven.'
Mawet [mah'vet], fimile, b. Prayon-Foret,
Belgium, Mar. 2, 1884. Pupil of the Conserva-
tories at Liege and Cologne; app. solo 'cellist
in Baden-Baden, 1903; since 1904 do. in Strass-
burg, and instr. at the Cons. Has written a
3-act opera, Phosphoreme; a prize-cantata, Les
Temps sont revolus (1905; for the 75th anniv.
of the independence of Belgium); Esquisse
symphonique and Fantaisic-Caprice fororch.;
a str.-quartet; pes. for org.; do. for vcl.
Mawet, Fernand, brother of preceding;
fine organist; b. Vaux-sous-Chevremont,
Belgium, Apr. 7, 1870. Pupil of the Liege
Cons.; later prof, there. Cotnp. of the opera
Noel sanglant (Brussels, [?]); 2 comic operas
in Walloon dialect; an oratorio, Abraham; a
Slabat Mater for 3 vcs. and org.; a mass for
3 vcs. and org.; numerous motets, and pes.
for organ.
Maxaon, Frederick, b. Beverly, N. L,
June 13, 1862. Organ-pupil of Dr. D. D.
Wood in Philadelphia (1880), and of A.
Guilmant in Paris (1897); 1884-1902, org.
and choirm. at Central Congregational Ch.,
Philadelphia; since then do. at First Baptist
Ch. there; since 1906 prof, of oqj. at the
Leefson-Hille Cons., Phila., and since 1914
also at Ivy Hall, Bridgeton, N. J.; has ap-
peared as recitalist in Eastern cities. A. R.
C. O. (London, 1897); F. A. G. O., 1903; one
of the founders (1890) of Amer. Organ-
layers' Club. A very successful teacher.
as publ. anthems; organ-pes.; pf.-pes.; songs.
May, Edward Collett, celebrated organist
and singing-teacher; b. Greenwich, England,
Oct. 29, 1806; d. London, Jan. 2, 1887.
Pupil of Th. Adams, C. Potter, and Crivelli;
organist of Greenwich Hospital, 1837-69;
prof, of vocal music at Queen's College,
London. A disciple of Hullah, he taught in
numerous schools and private classes, doing
much to popularize singing among the masses.
— Publ. Progressive Vocal Exercises for Daily
Practice (1853); songs. '
May, Florence, daughter of preceding;
fine pianist, pupil of her father and Brahms,
of whose pf.-music she is an excellent and
enthusiastic interpreter; has given first per-
formances in Engl, of most of the works and
?ubl. a comprehensive biogr. of the master,
lie Life of Brahms (2 vols., 1905; Ger. tr.
by L. Kirschbaum, 1912).
Maybrick, Michael (pseudonym Ste-
phen Adams), baritone singer in opera and
concert; b. Liverpool, Jan* 31, 1844; d.
fi
Buxton, Aug. 25, 1913. Organ-pupil of
Best; 1866-8 at the Leipzig Cons, (rlaidy,
Moscheles, Richter), and vocal pupil of
Nava at Milan. He sang at the princi-
pal concerts in London and the provinces,
and toured the United States and Canada
in 1884. Many of his songs (sung by him-
self) have great vogue (Nancy Lee).
May'er, Charles, pianist, b. Kdnigsberg,
Mar. 21, 1799; d. Dresden, July 2, 1862.
Pupil of Field in Petrograd, and in 1814, a
finished player, accompanied his father on a
tour to Paris via Warsaw, Germany, and
Holland; lived 1819-50 in Petrograd; in
1845 he made a tour to Stockholm, Copen-
hagen (where he was app. court pianist),
Hamburg, Leipzig, and Vienna; settled in
Dresden, 1850. His pf.-music (about 350
opus-numbers) is well -written and effective.
He was a fascinating player and an excellent
teacher. — Works: Many valuable studies and
educational pieces; Grand Concerto, op. 70,
Concerto symphonique, op. 89; Concert-Polo-
naise, op. 238; Grande rantaisie dramatique,
op. 54; Toccata in E; Valses-Atudes (op. 69,
71, 83, 116, 122, 131, \U, 157); brilliant
concert-pieces, fantasias, variations, etc.
May'er, Emilie, composer; b. Friedland,
Mecklenburg, May 14, 1821. Pupil of Lowe,
Marx, and Wieprecht; lived in Berlin, where
she died in 1883. — Works: 7 symphonies and
12 grand overtures; an operetta, Die Fischerin;
pf. -concerto; the 118th Psalm, with orch.;
14 string-quartets; 2 pf. -quartets; 12 sonatas
for pf. and violin; 11 pf. -trios; other pf.-
music; over 150 songs, etc. (about 50 num-
bers were publ.).
Mayer, Joaeph Anton, b. Pfullendorf,
Baden, 1855. Pupil of the Stuttgart Cons.,
and of Bargiel and Taubert at the Akad.
Meisterschule in Berlin; joined the orch. of
the court opera at Stuttgart in 1880; since
1892 mus.-dir. there, and since 1890 prof,
of theory at the Cons. Comp. of the operas
Der Stern von Bethlehem and Magdelenen-
brunnen (Augsburg, 1912); the choral works
with orch. Kyffhauser, Der Geiger von Gmund,
Jephtha, WUrde der Frauen, Festhymne zu
Sckillers 100. Todestage; pf.-pes.; choruses
and songs.
Mayer, Max, b. Hamburg, May 31, 1859.
St. pf. with J. Levin and L. Meinardus in
his native city, then with Pruckner and
Seyfriz in Stuttgart, and finally with Liszt
in Weimar; living since 1883 in Manchester,
where he has been prof, of pf. at the R. C. M.
since 1908; has appeared frequently in
chamber-music concerts and as accompanist
in his own songs, which were first introduced
by Muriel Foster. Has publ. numerous
songs (mostly on Ger. texts), and pf.-pes.
593
MAYER— MAYSEDER
May'er, Wilhelm (pseudonym W. A.
Remy), b. Prague, June 10, 1831; d. Graz,
Tan. 23, 1898. Music pupil of C. F. Pietsch;
Law-student, graduated as Dr. jur. in 1856,
and held a government appointment* till
1861. Gave up the law in 1862, and became
conductor of the Graz Mus. Society, resigning
in 1870 to apply himself to teaching ana
composing. As a teacher of piano, and more
especially of counterpoint and composition,
he was very eminent; among his pupils
were F. Busoni, W. Kienzl, Keznicek, F.
Weinjjartner, R. Sahla, etc. — Works: 3 sym-
phonies; symphonic poem Helene; overture
Sardanapal; Slavisches Licder spiel and Ost-
liche Rosen (fantasias for 2 pfs. with orch.);
and a concert-opera, Waldfraulein (Graz,
1876); songs, part-songs, etc.
Mayer-Mahr, Moritz, fine pianist and
teacher; b. Mannheim, Jan. 7, 1869; since
1892 prof, of pf. at the Klindworth-Schar-
wenka Cons, in Berlin. Has publ. charming
pf.-pcs. and songs.
Mayer-Reinach, Albert, b. Mannheim,
Apr. 2, 1876. St. 1894-9 in Munich and
Berlin; Dr. phil., Berlin, 1899, with the
dissertation A. H. Graun als Opernkomponist;
having filled several positions as operatic
cond., he establ. himself as Dozent for musi-
col. at the Univ. of Kiel in 1904; app. cond.
of the 'Philharmonischer Chor' in 1905;
since 1908 dir. of the Cons, there; made
'Kgl. Musikdirektor' in 1913. Has publ. Zur
Geschichte der Konigsberger Hofkapelle, in
'Sbd. Int. M.-G' (vi. 1); ed. Graun 's opera
Montezuma in 'Dkm. deutscher Tonk.' (vol.
xv); is now (1917) preparing 2 vols, of comps.
by early Kdnigsberg composers.
Mayerhoff, Franz, b. Chemnitz, Jan. 17,
1864; pupil of Leipzig Cons. ; theatre- Kapellm.
at Lubeck (1883), Memel, and Tilsit; since
1885 in Chemnitz; 1888 cantor of the Petri-
kirche; cond. of the Mus. Soc.; 1898, cantor
at the Jacobikirche; 1910, cond. of the Lehrer-
Gesangverein; made R. Prof, in 1911.—
Works: 2 symphonies (B m. and C m.);
op. 21, Frau Mtnne for sop. and bar. solo,
m. ch. and orch.; op. 24, Lenzfahrt for solo
quartet, mixed ch. and orch.; op. 29, Heilige
Nacht for str.-orch. and ore.; Die Nonne,
dram, scene for sop. and orch.; choruses for
men's and women's vcs.; songs. Also wrote
Instrumentenlehre (1909).
MayOath [mi'lahtj, Heinrich, b. Vienna,
Dec. 4, 1827; d. New York, Dec. 31, 1883.
Pupil of his father in pf. -playing; on tours
1863-5; in Russia till 1867; then settled as a
teacher in New York. Classical pianist and
thorough musician; wrote excellent instruc-
tive pf.-music, and concert-pieces of depth
and some difficulty; many transcriptions.
Mayr [mir], (Johann) Simon, famous
teacher and dramatic composer; b. Mendorf,
Bavaria, June 14, 1763; d. Bergamo, Dec. 2,
1845. Pupil of the Jesuit Seminary, Ingol-
stadt; then of Lenzi at Bergamo, whither he
had gone as the tutor of a Swiss nobleman,
De Bessus; later of Bertoni at Venice, settling
here as a composer, and bringing out ora-
torios, a Passion^ a requiem, and other masses
and church-music, until, by Piccinni's advice,
he wrote the very successful opera Saffo, ossia
i riti d* A polio Leucadio (1794), after which he
brought out, in 30 years, about 70 others.
These works, in which the more elaborate
harmonization and orchestration of German
type influenced contemporary Italian pro-
duction (to its benefit), held the Italian stage
between Cimarosa and Rossini (circa 1800-
1815). In 1802 Mayr became m. di capp.
at Santa Maria Maggiore, in Bergamo, and,
at the foundation ofthe Mus. Inst, there in
1805, its Director. His most eminent pupil
was Donizetti. He publ. Breve notizie istori-
che della vita e delle opere di Giuseppe Haydn
(1809); theoretical works in MS. — Bibliog-
raphy: F. Alborghetti and M. Galli wrote
Donizetti e Mayr, notizie e documenti (Ber-
gamo, 1875); C. Schmidl, Cenni biografici
su G. S. M. (Milan, 1901); C. Scotti, G. S. M.
(Bergamo, 1903); H. Kretzsch mar, Item kj**-
geschichtliche Bedeutung 5. M.'s, in Peters'
jahrb.' (Leipzig, 19(H); L. Schiedermair,
Seitrdge zur Geschichte der Oper urn die
Wende des IS. und 19. Jahrhunderts: S. AT.
(2 vols., Leipzig, 1907, '10).— See Q.-Lex.
Mayr'berger, Karl, b. Vienna, June 9,
1828; d. Presburg, Sept. 23, 1881. Pupil of
Preyer; from 1864, Kapellm. of Presburg
Cathedral. — Works: Opera Melusina (Pres-
burg, 1876); burlesque opera Die Entfuhrung
der Prinzessin Europa (1868); music to
Oehlschlagel's drama Yrsa; male choruses,
songs, etc.; also wrote Lehrbuch der musika-
liscnen Harmonik (1878) and Die Harmonik
R. Wagners (1883).
Mayseder [mi'-], Joseph, celebrated vio-
linist and comp.; b. Vienna, Oct. 26, 1789;
d. there Nov. 21, 1863. Pupil of Suche and
Wranitzky; debut as violinist in 1800;
studied pf. and comp. with E. Forster in
1802; played in the famous Schuppanzigh
Quartet (2d violin); entered the court orch.
in 1816, became solo violinist at the court
opera in 1820, and Imperial chamber- vir-
tuoso in 1835, also playing in the Cathedral
(Stephankirche). He never went on tours,
and rarely gave concerts; yet he was a
finished virtuoso, admired even by Paganini.
An eminently successful teacher, and a
composer of well-written and effective soli
and concerted pieces (3 violin-concertos, 2
concertinos, 3 string-quintets, 7 string-
594
MAZAS— MEDTNER
quartets, 4 pf.-trios, a fantasia for pf. and
vln.; also variations, polonaises, rondos, duets,
studies, etc., for violin; many published;
others MS.).
Mazas [mah-zahl, Jacques-Fereol, vio-
linist; b. Beziers, France, Sept. 23, 1782; d.
1849. Pupil at Paris Cons, of Baillot, 1802-5,
winning 1st prize; joined the orch. of the
Italian Opera; toured Europe 1811-29, taught
in Orleans, and from 1837-41 was Director
of the town Music-School at Cambrai. His
tone was powerful and mellow, his composi-
tions very effective; he wrote a Method for
Violin (new ed. by. T. Hrimaly) and numerous
valuable studies; a Meth. for Viola; concertos,
string-quartets, trios, violin-duets, fantasias,
variations, romances, etc.; also 3 operas.
Mazzola'ni, Antonio, b. Rutna, Ferrara,
Dec. 26, 1819; d. Ferrara, Jan. 25, 1900.
Pupil of Zagagnoni and Puccini (cpt.) and
Ferrari and Lodi (pf.). Produced the operas
Nicold de* Lapi (Lucca, 1852), Gisnumda
(Ferrara, 1854,) and Enrico Charlis (Ferrara,
1876); all quite successful. His choruses
with soli were popular in Italy and elsewhere.
Mazzin'ghl [mah-tsin'gg], Joseph, b.
London, Dec. 25, 1765; d. 1839. Of noble
Corsican parentage; pupil of J. C. Bach,
Anfossi, and Sacchim; 1789, mus. dir. of
King's Th.; music-teacher to Princess of
Wales. He wrote (mostly with Reeve)
several operas, melodramas, etc.; also comp.
many songs, glees, trios, etc., and sonatas
and other pf .-music. — A violinist Thomas M .,
who died at Downside, n. Bath, Jan. 15,
1844, was probably his brother. Of his works
6 soli for vl. (op. 1) are extant. — See Q.-Lex.
Mazzocchi [mah-tsdh'ke], Domenico, b.
Veja, n. Civita Castellana, Rome, c. 1590;
d. c. 1650. A learned Roman lawyer, he
was a music-pupil of Nanini, and publ. a
book of Madrigali a 5 voci in partitura
(1640) in which appear, for the first time, the
conventional mus. signs for the crescendo
and decresc. (<= — Z Z — ^=-), piano (p) , forte
(f), and trillo (tr), which he explains in a
Preface. Also comp. madrigals and motets,
an opera, La catena dAdone (Rome, 1626),
an oratorio, etc.— -C{. H. Prunieres, V Optra
italien en France avant Lulli (Paris, 1913).
— See Q.-Lex.
Mazzocchi, Virgilio, brother of preceding;
b. Veja, n. Civita Castellana; d. there Oct.,
1646. In 1628 m. di capp. at S. Giovanni
Laterano; from 1629 do. at St. Peter's,
Rome. Together with Marco Marazzoli he
wrote the first comic opera, Chi soffre speri
(Rome, 1639); also a Latin oratorio, motets,
psalms, etc. — See Q.-Lex.
Mazzuca'to, Alberto, born Udine, July
28, 1813; d. Milan, Dec. 31, 1877. He re-
nounced the study of mathematics for music,
his teacher being Bresciano at Padua, where
his first opera, La Fidanzata di hammer moor,
was .successfully performed in 1834; six
others had similar temporary success, but
were thrown into the shade by Verdi's
fresher style; his other comps. have also
left no lasting impression; but he was really
eminent as a violinist (leader at La Scala,
Milan, 1859-69), and still more so as a
teacher. From 1839-51 he taught a girls'
vocal class at the Cons.; 1851, teacher of
composition; 1852, lecturer on history and
esthetics; 1872, succeeded Lauro Rossi as
Director. For several years he was editor
of the Milanese 'Gazzetta Musicale' (founded
1845); wrote Prineipt elementari di musica
di Asioli, riformali ed ampliati (Milan;
Ricordi); also publ. an Atlas of Ancient
Music (Atiante delta musica antica . . . )
with an historical preface; a TraUato d'estetica
musicale; and Italian translations of Garcia 'a
Singing-Method, Berlioz's Instrumentation,
Fetis's Harmony, Segond's Hygiene for
Singers, and Panofka's Vocal A-B-C.
Mead, Olive, b. Cambridge, Mass., Nov.
22, 1874. Began study of violin at 7; pupil
of Jul. Eichberg, and later of Fr. Kneisel.
Talented concert-violinist; has played in
many concerts in New England cities, New
York, etc.; together with Vera Fornaroff,
Gladys North, and Lillian Littlehales, she
formed the O. M. Quartet, whose perform-
ances have won high praise.
Me'deritach, Johann, called Gallus,
Bohemian pianist And composer; b. Nimburg,
c. 1765; was living at Lemberg in 1830.
Mus. director at Ofen 1794-6; resided chiefly
in Vienna, where he prod, several Singspiele
and operettas, music to Macbeth and other
dramas, and publ. considerable chamber-
music, sonatas and variations for pf., etc. —
See Q.-Lex.
Me(d)tner (mat'-], Nikolai, b. (of German
parents) Moscow, Dec. 24, 1879. Ent. the
Cons, there in 1891 and st. pf. with Safonov,
graduating in 1900 as winner of the gold
medal; in the same year he won the Rubin-
stein prize (Vienna); for the next two years
he appeared with much success as a pianist
in the European capitals; 1902-3, prof, of
pf. at the Moscow Cons.; resigned m order
to devote himself entirely to comp. His
earlier works, which show the influence of
Brahms, raised high hopes for his future,
but he rapidly drifted away from classical
models, and espoused unconditionally the
principles of the extreme modernists. His
works (chiefly for pf.) comprise op. 5, Sonata
in F m.; op. 11, Sonaten-Triaden (Ab, D m.,
C); op. 22, Sonata in G m.; op. 25, Marchen-
Sonate in C ra. and Sonata in E m.; op. 27,
595
MEERENS— MfcHUL
Sonaten-BaUade; numerous minor pes. (Mdr-
chen, Dithyramben, Novellen, Tragodie- Frag-
ment, etc.); op. 21, a vl.-sonata in B m.;
some songs. — tf. E. Newman, N. M.t in
*M. T.,' Jan., 1915.
Meerens [ma'-], Charles, b. Bruges, Dec.
26, 1831. He studied 'cello-playing under
Beseems, Dumont, and Servais; then be-
came a tuner in his father's piano-factory, and
devoted himself to acoustical researches. —
Writings: Le MStro-me4re, ou moyen simple
de connaitre le degre de vitesse d'un mouvement
indiqui (1859); Instruction SISmentaire de
caicul musical (1864); PhSnomenes musico-
physiologiques (1868); Hommage a la mhnoire
de M. Delezenne (1869); Examen analytique
des experiences d'acoustique musicale de M.
A. Cornu el E. Mercadier (1869); Le Diapason
el la notation musicale simplifies (1873);
Mhnoire sur le diapason (1877); Petite mi-
thode pour apprendre la musique et le piano
(1878); La Gamme majeure et mineure (1890;
2d ed. 1892); Acoustique musicale (1892);
L'avenir de la science musicale (1894); La
science musicale & la portee de tous les artistes
et amateurs (1902).
Meerts [marts], Lambert (-Joseph), b.
Brussels, Jan. 6, 1800; d. there May 12,
1863. Violinist; pupil of Lafont and Ha-
beneck at Paris; from 1835, prof, at Brussels
Cons. Among his important instructive
works for violin are £tudes pour violon avec
accompagnement d'un second violon; Af&ca-
nismedu violon (advanced studies); 12 Hudes
on double-stopping; 3 books on the 2d, 4th
and 6th positions; 12 books of studies on
rhythm, on motives by Beethoven; 3 studies
on the fugued and staccato styles; 12 studies
on bowing; 6 2-part fugues lor solo violin;
3 Etudes brillantes.
Mees, Arthur, b. Columbus, Ohio, Feb.
13, 1850. Pupil at Berlin, 1873-6, of Th.
Kullak (pf.), Weitzmann (theory), and H.
Dorn (score-reading and conducting). From
1880-6 cond. of the Cincinnati May Festival
chorus; 1886-7, asst.-cond. of American
Opera; 1888-1911, cond. Orange Mendelssohn
Union; 1891-1913, cond. Albany Musical
Assoc.; 1898-1904, cond. Mendelssohn Glee
Club; since 1903 cond. of the Newark Or-
Pheus; since 1908 cond. of the Worcester
estivals, and since 1913 also cond. of the
Bridgeport Oratorio Soc. From 1896-8 he
was aset.-cond. of the Chicago Symph. Orch.
(Th. Thomas). Wrote analytical programs
for the New York Philharm. Soc. (1887^96),
and for the Thomas Orch. (1896-8). Re-
ceived degree of Mus. Doc. from Alfred Univ.
in 1901. Author of Choirs and Choral Music
(1901).
Mehlig, Anna, pianist; b. Stuttgart,
July 11, 1843, where she studied with Lebert,
and later at Weimar with Liszt (1869); was
long considered the principal exponent of the
'Stuttgart1 school of pf.-playing, but since
her marriage with the merchant Falk of
Antwerp has been less before the public.
Her tours on the Continent, also to England
and (1869-70) in America, have been suc-
cessful.
Mehritens, Frledrich Adolf, b. Neuen-
kirchen, n. Otterndorf-on-Elbe, April 22,
1840; d. Hamburg, May 31, 1899. Pupil of
Leipzig Cons. 1861-2; settled in Hamburg as
pianist, teacher, and conductor of singing-
societies; from 1871, cond. of the Bach-
Gesellschaft. Wrote a symphony, a Te
Deum, and minor works.
Mehul [ma-uT], fitienne-Nlcolas, French
opera-composer; b. Givet, Ardennes, June
22, 1763; d. Paris, Oct. 18, 1817. By dint
of hard work, and with the friendly aid of a
blind old organist, he learned to play the
organ, and at ten was organist of the Cou-
vent des Recollets at Givet. The fame of
Wilhelm Hanser, organist at Lavaldieu mon-
astery, attracted the boy; the abbot admitted
him as a novice, so that he might be taught
by Hanser, whose assistant he became in
1/77. Next year he went to Edelmann in
Paris for lessons in piano-playing and com-
position, supporting himself by teaching.
Hearing Gluck's Iphiginie en Tauride, he
was moved to seek an introduction to the
master, by whose advice he turned from
sacred to dramatic composition. For the
sake of practice he wrote three operas (Psyche,
A nacrton, Lausus et Lydie) ; a fourth, Alonzo et
Cora, though accepted by the Acad£mie de
musique, was not perf. until 1791; meanwhile
Euphrosyne et Coradin, ou le tyran corrifjk,
came out at the Th. Italien in 1790 with
great success; good fortune likewise attended
the production of Stratonice (1792), Le congres
des rois (1793, written with 11 others), Le
jugement de P&ris (ballet; 1793), Le jeune
sage et le vieux fou (1793), Horotius Codes
(1794), Phrosine et Mc lido re (1794), and La
caverne (1795); in this year M. was app. one
of the four Inspectors of the newly established
Conservatoire, and also elected a member
of the Academic In 1797 3 operas, Doric,
La toupie et le papillon, and Le jeune Henri,
were produced; the last was hissed off the
stage, after the overture had been twice
repeated in response to clamorous applause,
because of the reverence still felt by republi-
can France for the hero, Henri IV; this
overture still survives. Now followed Le
pont de Lodi (1797), Adrien (1798), Ariodant
(1799), Epicure (1800), Bion (1800), I'Irato,
ou I'emporte (1801; a vain attempt to imitate
the Italian opera-buffa style, but so successful
with the public that M. employed this lighter
596
MEIBOM— MEISTER
vein in several tch—quail "•Wj U"* ^nlit
(1802), Le Trisor mpfmse (1802), Joanna
(1802), VHeureux mater.- l«i (1802), Helena
(1803), Le Baiser ti la quittance (1803, with
Boieldieu, Isouard. and Kremzer), £«
Hussites (1804), Lfj &m nww,;,>j o> ToMoV
(1806), Vthal (1806). r„j>., ■,,;■,■ ./V-Js/r-rHlHCkii.
and on Feb. 17, 180
his (treat est work,
which at first obtair
in Paris, though mi
French provinces a
years, M. wrote on
d'Ulysse, and J'm
Feb. 17, 180?, at the Theatre Feydeau,
:t opera Josepk,
a studs d'eslime
r received in the
saoy. For four
hsiJiets Le retour
A ndromidc; Les
a JoHd.tiion dr. Thibet I1S11),
Le Prince troubad,' (18131, ffrriftamme
(1814; with Berton, Krautaa, and Paer),
and La Journee at%x aventures (1816). were
still performed before his death: Valentine
dr. Milan was completed liy I Jaussoigne-Me-
hul, and brought QUI in 1822; Hvpsipvk,
Armitiius, Scipion, Tancride el Clonnde,
Sisostris, Agar dans le desert and Le ro\
CEdipus have never been performed. Mehul's
fame rests wholly upon his operas, in which
he develops a robust dramatic style and" fine
orchestral effects. His overtures are often
masterly; his symphonies were correctly
written, but uninspired, and his pf.-sonatas
were in-iynilii-.Mit : sumt dioral works (Chant
du depart. Chant th- -.■i>lfir-\ Chan! de retour,
etc.) attained a certain vogue- He (ell a
victim in rnnsumption, and his death was
probata Ii.mciu'i] by chagrin ol the com-
paratively slight *iifoess of the last operas,
due in i mi i l.j Sixiniiiii'* in.T.a-in.. celebrity.
— Cf. P.Vieillard, E.-N. SJ. (Paris, IKS'/);
A. Poiinin, ,1/. Sa fie el set a-uves (ik. US1!;
Med 1893); R. Brancriur, At. lib., WW),
-See Q.-Ux.
Mei (mm (or Meibo'miusl, Marcus, b.
T6nmri,;,Nl,lv,wiK, in K>-'o; d. Utrecht, 1711.
An frmliiir |-,liil,,l,,KL,n, for some years prof
and i,l.r.iri,iii ,,i l.'psal* University; lived
theri.n.i |,riii,';,ullv in Utrecht, ending; in
such .,.,..,, -iv t1t.it lie had to sell part of his
library, ilis diii-f work is Antiquae musicat
niid... ■,,■■„,■,„_ glatcf ^ Ultine, Marcus
Meti«>m,„: miimil at. natis expliravit (Am-
tterl.-,. si.ij. i ,,,|sj. ;t ,.otlt;,ing treatises
on i-.Lii-.i-. I.y .■Vi,i,,x,.n,,s, ICuclid tlnlrwhittw
MrwoiiKa), Nicomachos, Gaudcntius Philo-
sophy, Bacchius Senior, Aristides Ouinti-
l«m», and M, Capclla (Book \x of the
MlyricoM); until the publication of the new
M- ol those auihor, by Karl Jan, M.'s work
»a5 the only accessible source of information.
MeVlncl, Jonnh-Jean-Werre-ftmUe,
ttom-virtuMo; born Colmars, Basses-Alpes,
Sw: £ »«! 4 Paris, Aug. », 186?:
VW of Dauprat U Pari, Cons., where he
™ Prof- 1SJWS. Wrote De Tltenduc, de
CttnpUn el des resources du cor en general, et
de its corps de rcchange en particulier . . .
i'IS29); Milhode pour le cor a deux pistons;
Mrthode de cor ehromalique {avec J pistons);
hum-ducts, etc
Melnar'dua, Ludwig (Siegfried), comp.
and writer; h. Hnoksii !, <~ih!>-nliurg, Sept. 17,
1827; d. Bielefeld, July 12. 1896. Pupil of
Leipzig Cons. 1846-7; then until 1849 private
pupil of F. A. Riccius; also studied a short
time in Berlin, in Weimar with Liszt, and,
after acting as theatre-cond. at Erfurt and
Nordhausen, with Man al Berlin. I85M5,
cond. of the Sinrakadcnue at Glogati; (hen
teacher in Dresden Cans.; from 1874 till
1887 he lived in I tamburg as a composer and
critic, then going to Bielefeld. From the
Grand Duke of Oldenburg he received the
title of 'Musikdiicktor' in 1862.— Priori pal
compositions: Operas Bahnesa and Doktor
Sassafras (not pcrf.); the oratorios Simon
Pttrus, Gideon, Konig Salerno, Luther in
Warms, Emmaus, and Qdrun; the choral
ballades Rolands Schwa nenlied, Fran Hitt, Die
ch. and wind-instrs. : Passionslied, for soli,
ch. and orch.; — 2 symphonies, a pf. -quintet,
3 pf.-trios, string-quartets, an octet for wind,
sonatas for vln. and pf., a sonata for 'cello
and pf„ pf.-pieces, sours, — Writings: Kuitur-
gesihichllithe Brief e Abrt deulsche Tonkunst
(2d ed. 1872); fib JugendU.ben (1874, 2
vols.; a sort of autohiographv) ; Ruckhlick iiitf
die Anfdnge der dculschen Oper (1878);
Matthcson und seine Verdiensle urn die deulsche
Timkunsl (1879); Motart: tin KiimtlerUben
(1882); Die deutsche Tonkunst im 18.-19.
Jahrhundert Cl««7 H; Klassizitat und Romantik
in der deutschen Tonkunst (1893); Eigene
Wcgc (1895).
Mei'ners, Giovanni Battista. b. Milan,
1826; d. Cortenova, Coino, Aug. 6, 1897.
Pupil 1833-43 of Milan Cons., where he
wrote the operas Francesca da Rimini (not
perf.)and//ZJi'j(Tfci«jpi'iMro(1842). Studied
further with Donizetti, and at Vienna with
Sechter; then became nl. di capp. at the
basilica in Yercelli. writing sacred music
He was for a time theatre-cond. at Turin,
and later prof, at the Guildhall School of
Music, London, for some years. — Other
operas: FJodui di San Mtiurn (Milan. 1855);
Rictardo III (Milan, 18571; Veronica Cybo
(Florence, 1866); and GabrieUa di TheUcheti
(not prod.).
Mel'ster, Karl Senrin, b. Konigstem
(Taunus). Oct 23, 1818; d. Sept. 30, 1881,
at Mom aluiir (Wertenmld), where from 1851
he had been ad-teacher at the Seminary
and town muslial director. Wrote the valu —
able work Dta katholische deutsche Ktrcken—
MELA— MELCER
lied in seinen Sinpoeisen von den frUhesten
Zeiten bis gegen Ende des 17. Jahrhunderts
(1862); continued by Baumker (2d vol. 1883);
vol. i, revised ed., 1886. Also publ. organ-
accompaniments to the hymns in the Ge-
sangbuch' of the Limburg diocese; a Method
of Modulation; hymns for male choir:
cadenzas and preludes for organ; etc.
a Mela, Vincenxo, opera-composer and
singer; b. I sola della Scala, Verona, in 1821;
d. Cologna Veneta, Nov., 1897.— Works: //
Feudatorio (Verona, 1853); VAUoggio mili-
tare (1855; farce); // Convento di San Nicola
(1858); La Testa di bronzo (1855); Cristoforo
Colombo (1857); // Casino di campagna
(Milan, 1865; Paris, 1866, in which the
principal rdle was sung by his own daughter,
called 'la tenoressa,' her voice being said to
resemble that of a tenor in quality).
Melar'tin, Erkkl Gustaf, b. Kexholm,
Finland, Feb. 7, 1875. Pupil of Wegelius at
the Cons, in Helsingfors and of R. Fuchs in
Vienna; taught theory at the Cons, until
1908; 1908-11, cond. of the symph. orch. in
Viborg; since 1911, dir. of the Cons, in Hel-
singfors. He has won a place among the
foremost of contemporary Finnish composers.
— Works: The opera Aino (Helsingfors,
1907); 4 symphonies (C m., E m.f F, E);
2 symph. poems, Siikajoki and Traumgesicht;
a suite for orch.; a vl.-concerto; 4 str.-
quartets (E m., G m., Eb, F); a vl.-sonata
(E); incid. music to Prinsessan Tornrosa; pf.-
pcs.; male and mixed choruses; songs.— Cf. K.
Flodin, Finska musiker (Stockholm, 1900).
Melba, Nellie [stage-name of Mrs. Nellie
Porter Armstrong, nee Mitchell], famous
coloratura-soprano; b. Burnley, n. Mel-
bourne, May 19, 1861. Her father, who had
decided objections to anything connected
with the stage, was nevertheless fond of music
and proud of his daughter's talent. When
she was only 6 years old he allowed her to
sing at a concert in the Melbourne Town-
Hall, but would not consent to her having
singing-lessons; instead, she was taught piano,
violin and harp, and even had instruction
in harm, and comp. As she grew older she
frequently played the organ in a local church
and was known among her friends as an
excellent pianist, while all the time her chief
desire was to study singing. Not until
after her marriage in 1882 to Captain Charles
Armstrong was she able to gratify her am-
bition, when she began to study with a local
teacher, Cecchi; her first public appearance
as a singer was in Dec., 1885, in a performance
of The Messiah in Sidney. The next year
her father received a government appoint-
ment in London, and she accompanied him,
determined to begin an operatic career.
Her first concert in London (June 1, 1886)
convinced her of the necessity of further
study, and she went to Mme. Marchesi in
Paris. Her debut as Gilda at La Monnaie
in Brussels (Oct. 12, 1887) created a veritable
sensation; Sir A. Harris immediately engaged
her for the spring season at Cov. Garden,
where she appeared on May 24, 1888, as
Lucia amid scenes of indescribable enthu-
siasm; with similar demonstrations she was
received wherever she appeared: Paris
(Opera, as Ophelie, May 8, 1889), Petrograd
May, 1890), Milan (La Scala, Mar., 1893;
immense triumph over a carefully planned
opposition). Stockholm and Copenhagen
(Oct., 1893), New York (M. O. H.f as Lucia,
Dec. 4, 1893), Melbourne (Sept. 27, 1902).
From her first appearance at Cov. Garden
she has sung there regularly with the only
exception of the seasons of 1909, '12 and '13;
besides having been one of the most brilliant
stars of several seasons at the M. O. H., she
has also sung with Mr. Damrosch's company
(1897-8) and at Hammerstein's Manhattan
Opera (1906-7), and has made several trans-
continental concert-tours of the U. S. Bern-
berg wrote for her Elaine and Saint-Saens
Hi&ne, in both of which operas she created
the title-rdles (Cov. Garden, July, 1892, and
Monte Carlo, Feb. 18, 1904 [resp.)). By
nature Mme. M. was gifted with a voice of
extraordinary beauty and bell-like purity;
through her art she has made this nne in-
strument perfectly even throughout its entire
compass (bb-f*) and wonderfully flexible, so
that she executes the most difficult fioriturc
without the least effort. As an actress she
does not rise above the conventional, and
for this reason she is at her best in parts
demanding brilliant coloratura (Gilda, Lucia,
the Queen, Violetta, Rosina, Lakm6, etc.).
On a single occasion she attempted the
tremendous rdle of Brtinnhilde (Siegfried,
M. O. H., Dec. 30, 1896), and met with
disaster. As a coloratura singer she has not
now, and possibly never had, a superior. —
Cf. A. Murphy, M. A Biography (London,
1909; with a chapteron singing written by M.).
Melcer [meiu'tser], Heiirik, b. Kalisch,
Posen, Sept. 21, 1869. Pupil of Noskowski
and Strobl at the Warsaw Cons, and of
Leschetizky in Vienna (1891-3). After suc-
cessful concert-tours of Russia, Germany and
France he taught pf. for a short time at the
Cons, in Helsingfors; 1901-2, prof, at the
Cons, in Lemberg and cond. of the Philh.
Soc.; 1903-6, prof, at the Vienna Cons.;
since 1908 cona. of the Warsaw Philh. Soc.
He is among the most prominent of con-
temporary Polish composers. — Works: The
operas Marja (Warsaw, 1904) and Protasiiaos
and Laodamia; Pani Twardowska for soli,
ch. and orch.; 2 pf. -concertos, No. 1 in E
m. (won Rubinstein prize, 1895) and No. 2
598
MELCHIOR— MENDELSSOHN
in C ixl (won Paderewsld prize, 1898); a pf.-
trio in G m. (op. 2); a vl. -sonata in G; pf.-
pcs.; transcriptions for pf. of several songs
of Moniuszko.
MeTchior, Edward A.v b. Rotterdam,
Nov. 6, 1860; music-teacher there. Publ.
a Wetenschappeltjk en biografisch woordenboeh
der Toonkunst (1889), in which contemporary
Dutch musicians are well represented.
Melchio'rl, Antonio, b. Parma, Nov.
25, 1827; d. Milan, July, 1897. Violinist and
teacher; composed 'balli teatrali' for La
Scala and La Canobbiana (theatres); also
'pezzi' for violin, and 'ballabili' for piano.
MeTgunov, Julius von, born Vetluga,
Govt, of Kostroma, Russia, Sept. 11, 1846;
d. Moscow, Mar. 31, 1893. Pupil of Henselt
and the Rubinsteins; also at Moscow Cons,
of Dreyschock (pf.) and Laroche (theory);
later of R. Westphal, whose system of rhyth-
mic articulation tie applied to Bach's preludes
and fugues. Publ. a coll. of Russian folk-
songs, harmonized, part I with Klenovsky
(1879), part II with Blaramberg (1885). 12
choruses were publ. posthumously by Bla-
ramberg.
Melts [maliss], Carmen, dramatic sop.;
b. Cagliari, Sardinia, c. 1885. St. with
Teresina Singer and Carlo Carignani in
Milan, and later with J. de Reszke in Paris;
debut as Iris at the San Carlo Th. in Naples
(1906); met with instant success, and for
the next two years sang in Palermo, Rome,
Milan, Venice, Cairo, Odessa and Warsaw;
eng. by Hammerstein, she made her Amer.
debut at the Manhattan Op. H. as Tosca
(N. Y., Nov. 26, 1909); 1911-13, member of
the Boston Opera Co. She uses her fine
voice with great skill, and is gifted with
splendid dramatic instinct. Her roles (chiefly
modern works) include Aida, Desdemona,
Nedda, Thais, Mimi, Maliella, Cio-Cio-San,
Minnie {Girl of the Golden West), etc.
Melo'ne, Annlbale (imperfect anagram
Alemanno Benelli or Bonelli). See Bottri-
gari, Ercole.
Melsa, Daniel, violinist; b. Warsaw, Aug.
14, 1892. Pupil of Carl Flesch in Berlin;
made a very successful debut, Jan. 15, 1913,
in London, where he has appeared frequently
since then; also heard in Germany and
France. His favorite number is the Brahms
concerto.
Meluz'zi, Salvatore, distinguished church-
comp.; b. Rome, July 22, 1813; d. there
Apr. 17, 1897. He was m. di capp. at the
basilica of St. Peter's in the Vatican, and for
45 years had been director of the Cappella
Giulia. Thoroughly versed in the old Italian
masters, a fine organist and eminent com-
poser, his works include masses, requiems,
antiphones, motets, hymns, psalms, a fine
Stabat Mater, and a beautiful Miserere.
Membrte [mahn-bra'], Edmond, b. Valen-
ciennes, Nov. 14, 1820; d. chateau Damont,
n. Paris, Sept. 10, 1882. Pupil, at Paris
Cons., of Alkanand Zimmerman (pf.), and
Carafa (comp.). — Works: The operas Fran-
cois Villon (Grand Opera, 1857), VEsclave
(ibid., 1875), Us Patios (Op.-Popul., 1876),
and La courte echelle (Op. -Com., 1879) ; music
to choruses of (Edipe roi; cantata Fingal;
chansons, ballads, etc. Two operas, Colombo.
and Freyghor, were not perf. — Cf . L. Mention,
Un Compositeur valenctennois: E. M. (Paris,
1908).
Men'del, Hermann, writer; b. Halle,
Aug. 6, 1834; d. Berlin, Oct. 26, 1876. Pupil
of Mendelssohn and Moscheles in Leipzig,
and of Wieprecht (1853) in Berlin. Active
contributor to the 'Echo,' the Tonhalle,'
the Theaterdiener,' and the 'Berliner Mon-
tagszeitung'; founder (1870) and editor of
the 'Deutsche Musiker-Zeitung,' in which
appeared his interesting biographical sketch
of Nicolai. He also publ. G. Meyerbeer, tine
Biographic (1868), and G. Meyerbeer ; sein
Leben und seine Werke (1869); edited 'Mode's
Opernbibliothek' (about 90 opera-libretti
with preface, short review, biography, etc.),
and a 'Volksliederbuch.' His great work was
the 'Musikalisches Conversations-Lexikon'
(1870-83, written by M. to letter M; com-
pleted by Reissmann).
Mendelssohn, Arnold, son of a cousin
of the master; b. Ratibor, Dec. 26, 1855.
St. jurisprudence at Tubingen, then ent. the
Kgl. Hochschule fiir Musik in Berlin, where
he st. pf. with Loschhorn, org. with Haupt,
and comp. with Grell, Kiel and Taubert.
1880-3, organist and instr. of music at Univ.
in Bonn; 1883-5, cond. of the Musikverein
in Bielefeld; 1885-90, prof, at the Cologne
Cons. ; since then prof, ot music at the Gymna-
sium, and dir. of church-mus. in Darmstadt;
since 1912 also prof, at Hoch's Cons, in
Frankfort; made R. Prof, in 1899.— Works:
The operas Elsi, die seUsame Magd (Cologne,
1896), Der BarenhduUr (Berlin, 1900), Die
Minneburg (Mannheim, 1909); for mixed
ch., soli and orch., Abendkantate, Das Leiden
des Herrn, Auferstehung, Neckreigen, Der
HagtstolZy Fruhlingsfeier, Paria; for male ch.,
soli and orch., Schneiders HoUenfahrt, Pan-
dora; Aus tiefer Not, cantata for sop., mixed
ch., org. and orch.; Psalm 137 for cfo.; many
fine a capp. choruses and songs. He has ed.
several of Schiitz's oratorios and 3 Geistliche
Concerte (Br. & H.).— Cf. E. O. Nodnagel,
Jenseits von Wagner und Liszt (Kdnigsberg,
1902); W. Nagel, A. Af;, in vol. i of Mono-
graphien moderner Musiker' (Leipzig, 1906).
Men'deUaohn, Felix (full name Jacob
599
MENDELSSOHN
Ludwig Felix Mendelssohn-Barthol'dy),
b. Hamburg, Feb. 3, 1809; d. Leipzig, Nov.
4, 1847. Grandson of the philosopher Moses
Mendelssohn; son of the banker Abraham
M.t who removed to Berlin in 1812, during
the French occupation of Hamburg; his
mother was Lea Salomon- Bart holdy, of
Berlin, and from her he received his first
piano-lessons, in company with his elder
sister Fanny [1805-47]. These lessons were
continued by L. Berger; M.'s other teachers
were Zelter (theory), and Hennings (violin);
also Mme. Bigot for a short time in 1816 at
.Paris, whither M. had accompanied his
father on a business trip. On Apr. 11, 1819,
he entered the Singakademie (cond. by
Zelter) as an alto; on Sept. 18 a composition
by M., the 19th Psalm, was performed by
the Akademie, of which, after the change
of his voice to a tenor in his 16th year, he
still remained a favorite member. M.'s
talent for composition was likewise fostered
by the Sunday performances of a small
orchestra at his father's house, his own works
finding speedy production. In 1825 his
father again took him to Paris, to ask Cheru-
bim's opinion on the adoption of a musical
career by Felix; this opinion was strongly
affirmative, and the master even offered to
undertake the boy's further training, but
the elder Mendelssohn considered the home
atmosphere preferable. Indeed, M.'s genius
could nowhere have been more healthfully
stimulated; as early as 1820 he was regularly
engaged in composition, producing in that
year between 50 and 60 movements (a can-
tata, In ruhrend feierlichen Tonen; a little
musical comedy for voices and pf.; a pf.-
trio; 2 pf. -sonatas; a sonata for violin and
pf.; 2 songs for 4 men's voices; songs, etc.);
this many-sided activity is characteristic of
his work through life. As a piano-player,
his debut was even earlier — on Oct. 24, 1818,
he played at a public concert the piano-part
of a trio with 2 horns, by Wolffl. In 1821
his talent for extemporizing was already
noteworthy; being presented to Goethe in
that year, and requested to execute a Bach
fugue, his memory played him false, but not
his quick wit, for he extemporized the
forgotten development! The overture to
A Midsummer Night's Dream was written in
1826, and is a most astonishing proof of the
young composer's mental maturity, showing
no less mastery and finish of form than the
remaining numbers composed fifteen years
later. In 1827 his opera, Die Hochzeit des
Camacho, was performed with much applause
at the Berlin Opera, but was nevertheless
soon withdrawn by Spontini, then general
musical director with almost unlimited
powers, who had a dislike to M. In no single
instance is the thoroughness of M.'s musical
training more apparent than in his deter-
mination to bring out Bach's Passion act. to
St. Matthew in the Singkademie; in spite
of Zelter 's opposition, grudgingly withdrawn,
the performance (the first anywhere since
Bach's death) took place on March 11, 1829,
and gave the initial impulse to the successful
Bach propaganda in which M. was long the
leading figure. In 1830, M. 'declined the
proffered chair of music at the Berlin Univ.
m favor of Marx. His first journey to
England, undertaken at Moschefes' sugges-
tion, had been made in the preceding year;
on Mav 25 (1829) he conducted his sym-
phony in C minor seated, after the fashion of
the time, at the piano; some months after
this performance the London Philharmonic
Society, to which he dedicated the symphony,
elected him an honorary member. Later he
played the ConcertstiUk by Weber, and (for
the first time in England) Beethoven's
concerto in Eb. Here it should be remarked,
that M. was not only a pianist of the highest
rank, but also a finished organist. Following
this active concert-season, a long pleasure-
tour through Scotland stimulated his teeming
imagination. This was followed 1830-32 by
travels through Germany, Austria, Italy
and Switzerland to Paris; he then made his
second visit to London, where he conducted
the Hebrides overture, and played his G m.
concerto and B m. Capriccio brtUanle. Here,
too, his first book of 6 Songs without Words,
finished in Venice, 1830, was published.
In England, now and later, he found the
musical environment far more genial than
in Berlin, where, for some reason, he was
not generally popular — witness his failure,
in competition with Rungenhagen, to obtain
the conductorship of the Singakademie on
his return in 1833. And this after he had
arranged a series of concerts for the benefit
of the Orchestral Pension-Fund, himself
conducting his Reformation symphony, the
three overtures, Midsummer Night's Dream,
Hebrides, and Calm Sea and Prosperous
Voyage, etc. He was called to conduct the
Lower Rhine Musical Festival at Dusseldorf
in May, 1833; after a short visit to London,
he returned to Dttsseldorf to take charge,
as Town Musical Director, of the church-
music, the opera, and two singing-societies,
all for the annual salary of 600 Thaler (about
$450) ! He gave most of the theatrical work
into the hands of Julius Rietz within six
months; after conducting the Lower Rhine
Festival at Cologne, June 7-9, 1835, he
accepted a call to the conductorship of the
Gewandhaus Orchestra in Leipzig — an
epoch-making point, not only in his personal
career, but for the musical life of Leipzig
and the world. Leipzig was not slow to
respond to his masterly activity as a con-
600
MENDELSSOHN
ductor, composer, and player; the University
created him, in 1836, Dr. phil. (hon. c); he
infused new life into the orchestra, and, by
calling Ferdinand David to his aid, gave it
a leader who not merely (and most ably)
seconded his own efforts, but who, by native
force of character and musicianly ability,
gave a tone of precision and pliability to
this body of players which is still a tradition
of vital force in the Gewandhaus. M.'s
oratorio Paulus was brought out at the
Lower Rhine Festival in Dusseldorf, May
22-24, 1836, he himself conducting. On
March 28, 1837, he married Cecile Charlotte
Sophie Jeanrenaud of Frankfort, the daughter
of a French Protestant clergyman. Five
children, Carl, Marie, Paul, Felix and 'Lili'
(Elisabeth) were born to them, and their
union was happy. During four weeks of
this year M. was in England, and conducted
Paulus (St. Paul) at the Birmingham Festi-
val. In 1841 Friedrich Wilhelm IV invited
M. to Berlin to take charge of the grand
orchestral and choral concerts; but M. found
the attitude of the court, the musicians, and
even the public, more or less openly hostile,
and wished to resign in October, 1842, but,
at the King's especial request, remained to
organize the music in the cathedral; the
chosen body of singers later became famous
as the 'Domchor' (cathedral-choir). M. also
received the title of Royal General Musical
Director; residence in Berlin was not required.
Late in 1842, with von Falkenstein, Keil,
Kistner, Schleinitz and Seeburg as directors,
and Schumann, Hauptmann, David, Becker
and Pohlenz as teachers, Mendelssohn or-
ganized the Conservatorium of Music at
Leipzig (from the beginning under the pat-
ronage of the 'King of Saxony, and since
1876 the 'Royal' Cons.); it was opened on
Jan. 16, 1843. M. himself taught when his
other manifold duties permitted. The finan-
cial nucleus of the foundation was a legacy
from Bltimner of 20,000 Thaler ($15,000),
left at the disposal of the King of Saxony for
the promotion of art; M. had made a special
journey to Dresden to interest the King in
the conservatory-project. During his fre-
quent absences, Hiller conducted the Gewand-
haus Concerts 1843-4, and Gade 1844-5; in
the autumn of 1845, M. resumed the baton.
During the summer of 1844, he conducted
the Philharmonic Concerts in London, and
took part, as a pianist, in numerous other
concerts, everywhere receiving a most en-
thusiastic welcome. This was his eighth
visit to Britain; his ninth was made memo-
rable by his conducting the first performance
of Elijah (at Birmingham, August, 1846).
Returning to Leipzig, he resigned the Ge-
wandhaus conductorship to Gade, and the
superintendency of the piano-department to
Moscheles, whom he invited from London to
accept the position. For several years he
had been jaded by overwork; the sudden
death of his favorite sister, Fanny, was a
shock which his overwrought nervous system
could not withstand, and in a few months
he followed her. — Mendelssohn left no mark
as a dramatic composer, although he long
and eagerly sought after a suitable libretto.
Besides Die Hochseil des Camacho he left
fragments of the opera Lorelei (an Ave Maria,
a vintage chorus, and the beautiful finale to
Act I); the operetta Son and Stranger, op.
89; and 5 small unpubl. operas. His grandest
Productions are the oratorios Paulus (St.
aul) and Elias (Elijah), op. 36 and 70
respectively, the greatest works of their
kind since the time of Handel and Haydn;
Christus, op. 97, is unfinished. Other im-
portant vocal works with orch. are the
symphony-cantata Lobgesang, op. 52; the
ballade Die erste Walpurgisnacht, op. 60, for
soli, ch., and orch.; 2 'Festgesange,' An die
Kunstler (for male ch. and brass;, and Zur
SdcularfeierderBuchdruckerkunst ('Gutenberg
Cantata,' for male ch. and orch.); music to
the choruses, etc., of Antigone (op. 55),
Athalie (op. 74), (Edipus in Colonos (op. 93),
and A Midsummer Night's Dream (op. 61);
Hymn for alto solo, ch. and orch. (op. 96);
Lauda Sum for ch. and orch. (op. 73); Tu es
Petrus, for 5-p. ch. w. orch. (op. Ill); Psalms
115 (op. 31) and 95 (op. 46) for soli, ch.
and orch.; Psalms 114 (op. 51) and 98 (op.
91), for male ch. and orch.; prayer Verletk*
uns Frieden, f. ch. and orch.; soprano concert-
aria lnfelicel with orch. (op. 94). — Vocal
works without orch. are Psalm 42, f. ch.
and organ; Psalms 2, 22, and 43, a 8, a
cappella; Funeral Song f. mixed ch. (op. 116);
Kyrie eleison f. double ch.; 6 anthems
('Spriiche') f. 8-p. ch. (op. 79); 3 motets f.
soli, ch., and organ (op. 23); 3 motets f.
female ch. and organ (op. 39); 3 motets for
solo and ch. a cappella (op. 69); 21 quartets
for men's voices, and 28 quartets for mixed
voices (among these vocal quartets are some
of his finest and most popular compositions);
13 vocal duets; and 83 songs for solo voice w.
pf. (Es ist bestimmt in Gottes Rat, Wer hat
dich, du schoner Wold, O Taler weit, o Hohen,
and many others, have become genuine folk-
sopgs in Germany). — Orchestral works:
4 symphonies (op. 11, in C m.; op. 56, in
A m., 'Scotch'; op. 90, in A, 'Italian'; op.
107, in D, 'Reformation'); the concert-
overtures A Midsummer Night*s Dream
(Sommernachtstraum; op. 21), Hebrides (Die
Fingalshohle; op. 26), Calm Sea and Prosperous
Voyage (Meeresstille und gluckliche Fahrt; op.
27), The Lovely Melusine (Die schone Melusine;
op. 32), Ruy Bias (op. 95), and the 'Trumpet'
overture (op. 101); also an overture for wwd-
601
MENDELSSOHN— MENGAL
band (op. 24); Andante, Scherzo, Capriccio,
and Fugue, f. string-orch. (op. 81); Funeral
March (op. 103) and March (op. 108); pf.-
concerto No. 1, in G m. (op. 25), and No.
2, in D m. (op. 40); Capriccio brillanU f.
pf. w. orch. (op. 22); Rondo brillante, f. do.
(op. 29); Serenade and Allegro giojoso, f. do.
(op. 43); 1 violin-concerto in E m. (op. 64;
a classic, and one of the finest of its class;
while writing it, M. constantly consulted
and often deferred to David's judgment.) —
Chamber-music: An octet f. strings, op. 20;
2 string-quintets, op. 18, 87; 'a pf. -sextet, op.
110; 7 string-quartets, op. 12, 13, 44 [3], 80,
81; 3 pf.-quartets, op. 1, 2, 3; 2 pf.-trios, op.
49, 66; 2 trios f. clar., basset-horn and pf.,
op. 113, 114; 2 sonatas f. 'cello and pf., op.
45, 58; a sonata f. violin and pf., op. 4; Varia-
tions concertantes (op. 17) and Lied ohne
Worte (op. 109), f. 'cello w. pf. — Pianoforte-
music: 3 sonatas, op. 6, 105, 106; Capriccio,
op. 5; Charakterstucke, op. 7; Rondo capric-
ctoso, op. 14; Fantasia on 'The last rose of
summer,' op. 15; 3 Fantasias, op. 16; the
original and popular Songs without Words
(Lteder ohne Worte), in 8 books (op. 19b, 30,
38, 53, 62, 67, 85, 102); Fantasia in F# min.,
Sonate Scossaise, op. 28; 3 Caprices, op. 33;
6 preludes and fugues, op. 35; Variations sin-
enses, op. 54; 6 Kinderstucke, op. 72; Varia-
tions in Et>, op. 82; do. in Bb, op. 83; 3 pre-
ludes and 3 studies, op. 104; AlbumUatl, op.
117; Capriccio in E, op. 118; Perfetuum
mobile, op. 119; etc.— 4-hand Variations in
Bb op. 83a; 4-hand Allegro brillante, op. 92;
Duo concertant (with Moscheles) f. 2 pfs., on
the march-theme in Preciosa.— Organ-music:
3 Preludes and Fugues, op. 37; 6 Sonatas,
op. 65; Preludes in C m.
M.'s complete works, ed. by Julius Rietz,
were publ. by Breitkopf & Hartel (1874-7);
the same firm publ. a Thematisches Verzeich-
niss in 1846; 2d ed. 1853. The third ed.
(1882) is absolutely complete and also con-
tains a full bibliography to date.
BIBLIOGRAPHY. A. Biography: W. A.
Lampadius, F. M.-B. Ein Denkmal fUr seine
Freunde (Leipzig, 1848; Engl. tr. by W. L.
Gage, Philadelphia, 1865; 2d greatly enlarged
ed. as F. M.-B. Ein Gesammtbild seines
Lebens und Schaffens, 1886); Sir J. Benedict,
A Sketch of the Life and Works of the late
F. M.-B. (London, 1850; 2d ed. 1853); T.
Schu bring, Erinnerungen an F. M.-B., in
'DaheinV (No. 26, Leipzig, 1866; Engl. tr.
in 'Mus. World' [May 12 and 19,1866]); A.
Reissmann, F. M.-B. Sein Leben und seine
Werke (Berlin, 1867); W. S. Rockstro, M.
(London, 1884; 2d enlarged ed. 1911); B.
Schrader, M. (Leipzig, 1898); S. S. Stratton,
M. (London, 1900); J. C. Hadden, Life of M.
(London, 1904); V. Blackburn, M. (London,
1904); E. Wolff, F. M.-B. (Berlin, 1906); C.
602
Bellaigue, M. (Paris, 1907); P. de Stoecklin,
M. (Paris, 1907); J. Hartog, F. M.-B. en
sijne werken (Leyden, 1908). — B. Criticism,
Appreciation: C. Selden, La musique en
AUemagne: M. (Paris, 1867) ; K. Mendelssohn-
Bartholdy, Goethe und M. (Leipzig, 1871;
Engl. tr. by E. von Glehn, London, 1874);
S. Hensel, Die Familie M. (3 vols. Berlin,
1879; 16th ed. [2 vols.] 1913; Engl. tr. by
K. Klingemann, N. Y., 1882; new ed. 1911);
E. David, Les M.-B. et R. Schumann (Paris,
1887); J. Eckardt, Ferd. David und die
Familie M.-B. (Leipzig, 1888); F. G. Edwards,
The History of M.'s Oratorio Elijah (London,
1896; 2d ed. 1900); J. W. Hathaway, An
Analysis of M.'s Organ-works (London, 1908);
M. Clerjot and G. Marchet, M. et ses Quotums
en cordes (Reims, 1901); O. A. Mansfield,
Organ-parts of M.'s Oratorios: Analytically
considered (London, 1907); id.,- Some Char-
acteristics and Peculiarities of M.'s Organ-
sonatas, in 'Mus. Quart.' (July, 1917). — C.
Correspondence: P. Mendelssohn-Barthol-
dy, Reisebriefe aus den Jahren 1830-32
(Leipzig, 1861; 5th ed. 1882; Engl. tr. by
Lady Wallace as Letters from Italy and
Switzerland, London, 1862); id., Brief e aus
den Jahren 1833-47 (Leipzig, 1863; 7th ed.
[in 1 vol. with the Reisebriefe] 1898; Engf. tr.
by Lady Wallace, London, 1863); L. Nohl,
Musikerbriefe (Leipzig, 1867); E. Polko,
Erinnerungen an F. M.-B. (Leipzig, 1&6&;
Engl. tr. by Lady Wallace, London, 1869);
E. Devrient, Meine Erinnerungen an F. M.-B.
und seine Brief e an mich (Leipzig, 1869; Engl,
tr. by Lady Macfarren, London, 1869);
Acht Brief e und ein Faksimile [letters to Mrs.
Voight] (Leipzig, 1871; Engl. tr. in 'Mac-
millan's Magazine' [June, 1871]); F. Hiller,
F. M. Briefe und Erinnerungen (Cologne,
1874; Engl. tr. by M. E. von Glehn, London,
1874); F. Moscheles, Briefe von F. M. an
Ignaz und Charlotte Moscheles (Leipzig, 1888;
Engl. tr. as Letters of F. M.t London, 1888);
M. Friedlander, Briefe an Goethe, in 'Goethe-
Jahrbuch' (1891); E. Wolff, F. M.-B. Mei-
sterbrie/e (Berlin, 1907; 2d augm. ed. 1909);
K. Klingemann, F. M.-B.'s Briefwechsel mil
Legationsrat Karl Klingemann (Essen, 1909).
Mendea [mahn-das'1, Ga tulle, poet, drama-
tist, novelist; b. Bordeaux, May 22, 1841;
d. Paris, Feb. 8, 1909; wrote the libretti of
several popular operas and operettas, e. g.,
Le Capitaxnc Fracasse (music .by Pessard),
Gwendoline (Chabrier), La Femme de Tabarin
(Chabrier), Isoline (Messager), Le docteur
Blanc (Pierne).
Mengal [mahn-gahll, Martin-Joseph,
horn-virtuoso; b. Ghent, Jan. 27, 1784; d.
there July 3, 1851. Pupil of Duvernoy
(horn), Catel (harm.) and Reicha (comp.)
in Paris Cons.; belonged to the Imperial
MENGELBERG— MERCADANTE
Guard, the orch. of the Odeon, and that of
the Th. Feydeau; after failure as a theatre-
manager in Ghent, Tie became conductor
there and in Antwerp, and in The Hague; from
1835, Director of Ghent Cons. — Brought out
5 operas, and wrote 2 horn-concertos, cham-
ber-music f. wind and strings, duos f. horn
and harp, fantasias f. horn and pf., etc.
Men'gelberg, Josef Will em, famous
conductor; b. Utrecht, Mar. 28, 1871. Pupil
of the Cons, there, and later of Seiss, G.
Jensen. and Wallner at the Cologne Cons.
App. muntc. mus.-dir. in Lucerne in 1891, his
work there attracted so much attention that
in 1895 he was placed at the head of the
famous Xo^certgebouw-Orke8t, in Amster-
dam, a position which he has filled with
signal distinction since then; in addition he
became cond. of the choral society Toon-
kunst' in Amsterdam (1898), and of the
'Museumskonzerte' in Frankfort (1907).
Beginning in 1903 he has appeared frequently
as 6tar cond. in all European countries; in
England he has been an annual visitor (many
concerts of the London Philh. Soc.) ; appeared
with the N. Y. Philh. Soc. in 1905. R.
Strauss, who regards him as an unsur-
passable interpreter of his (S.'s) works,
dedicated the score of Ein Heldenleben to him.
Mengee, Isolde, talented violinist; b.
Brighton, England, 1894. Received her
first instruction from her father (dir. of a
Cons, at Brighton) ; then st. with Leo Sametini
(now prof, at Chicago Mus. Coll.), and was
from 1909-12 a pupil of L. Auer in Petrograd;
London debut Feb. 4, 1913; first appearance
in the U. S., New York, Oct. 21, 1916.
Men'gewein, Karl, b. Zaunroda, Thurin-
gia, Sept. 9, 1852; d. Berlin, Apr. 7, 1908.
From 1876-86 teacher at Freudenberg's
Cons., Wiesbaden, and with the latter
founded a Cons, at Berlin in 1886, of which
he was co-director till 1896; founded in
1895 the 'Oratorienverein' and the next
year the 'Madrieal' for the production of
a capp. music—Works: Oratorio Johannes
der Taufer (1892); festival cantata Martin
Luther; operetta Schulmeisters Brautfahrt
(Wiesbaden, 1884); overture Dornroschen;
several 'Singspiele,' a requiem, female
choruses, etc. Also wrote Die Ausbildung des
musikalischen Gehors (1908).
Mengoz'zi, Bernardo, b. Florence, 1758;
d. Paris, March, 1800. Pupil of P. Potenza
at Venice; sang on Italian stages, and at
concerts in London and Paris, also for years
at the Th. de Monsieur. He brought out
13 operas and a ballet in Paris; from 1795
was prof, of singing in the Cons.; and wrote
the greater part of the MSthode de chant du
Cons. publ. by Langle.
Menil [ma-neTJ, Felicien de, b. Boulogne-
sur-Mer, July 16, 1860. App. prof, of hist,
of mus. at the Ecole Niedermeyer in 1899;
comp. of a comedy-opera La Janeliere (1894),
an operetta Gosses (1901); the ballets Diver-
tissement oriental and A la Ducasse (both
1902). Has publ. Monsigny (1893), Josquin
de Prhs (1896) ; L ecole contrapunctiste flamande
duXV-siecle (1895; considerably augmented
as L'icole contrafmnctique flamande au X Vmt
et au XVI™ sUcle% 1906); Histoire de la
Danse d trovers les dges (1904).
Men'nlcke, Karl, b. Reichenbach, May
12, 1880. He was educated at the Gymna-
sium and the Univ. in Leipzig; in 1901,
attended for a short time the Cons., then
cont. his mus. studies with H. Riemann; Dr.
phil. in 1905, with the dissertation Hasse und
die Bruder Graun als Symphoniker (with
thematic cat.); 1907-11, cond. of the 'Singa-
kademie' in Glogau; since then cond. in
various cities (Liegnitz, Trier, Helsingfors,
etc.). He originated the idea of honoring
Riemann 's 60th birthday by the publication
of a 'Festschrift,' to which a number of the
most eminent writers contributed, M. acting
as editor, and writing a biogr. sketch of R.
and an essay on Strauss's Elektra (1909).
Men'ter, Joseph, b. Deutenkofen, Ba-
varia, Jan. 19, 1808; d. Munich, Apr. 18,
1856. 'Cello-pupil of Moralt at Munich,
where he entered the court orch. in 1833.
Won fame by tours in Germany, Austria,
Belgium, Holland, and England. Wrote
fantasias, etc., f. 'cello w. orch. — His daughter,
Men'ter [Menter-Popper], Sophie, dis-
tinguished pianist; b. Munich, July 29, 1848;
pupil there of Schonchen, later of Lebert and
Niest. Debut 1863; in 1867, after sensational
successes at Frankfort, Tausig persuaded her
to study with him; she met Liszt in 1869,
who recognized and zealously promoted her
wonderful talent. Married the 'cellist
PopDer in 1872 (divorced 1886). Court
pianist to the Prince of Hohenzollern and
the Emperor of Austria. Professor at Petro-
grad Cons., 1883-^7. Both in technique
and style her playing approaches perfection.
Vassily Sapellnikov was her pupil. Resides
at her country-seat, Castle Itter, in the
Tyrol. She has publ. Ungarische Zigeuner-
weisen for pf. and orch. (instrumentation by
Tchaikovsky) and pf.-pcs.
Mer'becke, John. See Mar beck.
Mercadan'te, (Giuseppe) Saverio (Raf-
faele), b. Altamura, Sept. [bapt. 17th], 1795;
d. Naples, Dec. 17, 1870. Favorite pupil of
Zingarelli in the R. Collegia di Musica,
Naples; after haying comp. 2 symphonies
(praised by Rossini), concertos, quartets, a
4~p. mass w. orch., and a cantata, his career
603
MERCADIER— MERKEL
as a dramatic composer began with Vapoteosi
d'Ercole (San Carlo Th.f Naples, Jan. 4,
1819), a grand success. Up to 1866 he pro-
duced about 60 operas with fluctuating
fortune, the- last being Virginia (Naples,
Apr. 7, 1866). His greatest triumphs were
won with EJisa e Claudio (Milan, La Scala,
Oct. JO, 1821; the work which secured his
fame), / Briganti (Paris, Th. Italien, Mar.
22, 1836), // Giuramento (Milan, La Scala,
Mar. 11, 1837; considered his best), and II
Bravo (ibid., Mar. 9, 1839). He composed
operas for different cities, residing, after the
manner of ^ Italian opera-composers, in the
city for which he was writing; thus he lived
in Rome, Bologna. Turin, Milan, Venice,
Madrid (1827-8), Lisbon (1827-9), Paris, and
Vienna (where he prod. 3 operas in 1824).
In 1833 he succeeded Pietro uenerali as m. di
capp. at No vara Cathedral; here he lost the
sight of one eye, and in 1862 total blindness
ensued. In 1839 he became m. di capp. at
Lanliano; and in 1840 succeeded Zingarellias
director of the Naples Cons. — Other works:
A Mcssa solenne, and some 20 other masses;
Le 7 parole di Nostro Signore, f. 4 voices w.
string-quartet; a Salve Regina, a De pro-
fundis, 2 Tantum ergo, litanies, vespers,
psalms; cantatas, hymns (one to Garibaldi
in 1861; to Rossini in 1866); funeral sym-
phonies to Rossini, Donizetti, Bellini, Pacini;
orchestral fantasias (Vaurora, La rimem-
branza, II lamento dell'Arabo, II lamento del
Bardo (written after he had become blind);
pieces for various instrs.; many songs; sol-
feggi for the Conservatory; etc.
Mercadler [mthr-kah-d'yal, Jean-Bap-
tiste, b. Belesta, Ariege, France, Apr. 18,
1750; d. Foix, Jan. 14, 1815. Wrote Nou-
veau sysieme de musioue thSorique et pratique
(1776), a critique of Tartini's and Rameau's
systems, favoring Rameau.
Mercandetti. See Generali, Pietro.
Mereaux [ma-roh'], Jean-Nicolas-Am6-
dee Lefroid de, b. Paris, 1745; d. there
1797. Organist; prod. 7 operas, etc.; also
oratorios and cantatas. — His son, Joseph-
Nicolas Lefroid de M., b. Paris, 1767, was
an organist and pianist, and wrote pf.-
sonatas; his son, Jean-Arn6dee Lefroid de
M., b. Paris, 1803, d. Rouen, Apr. 25, 1874;
pianist, pupil of Reicha; publ. an interesting
coll. of clavecin-music, Les Clavecinistes de
1637 4 1790 (1867); comp. pf. -music, etc.
His widow publ. a number of M.'s essays
as VarieUs IttUraires el musicales (1878; with
biogr. sketch of M. by F. A. Marmontel).
Me'rian, Hans, b. Basel, 1857; d. Leipzig,
May 28, 1905. Publ. Mozarts Meisteropern
(1900); Geschichte der Musik im 19. Jahrhun-
dert (1902; 2d ed. by A. Smolian, 1906; 3d
ed. by B. Egg as fllustrierte Geschichte der
604
Musik von der Renaissance bis auf die Ge fen-
wart, 1914); also wrote a number of guides
to instri. and operatic masterpieces.
Meriel [maVyghr], Paul, b. Mondonbleau,
Loire-et-Cher, Jan. 4, 1818; d. Toulouse, Feb.
24, 1897. As a boy he earned his- living as
violinist in an orch.; taught later by Aless.
Nepbleao in Lisbon, and Somma. Became
chef d'orchestre of a travelling orch.; prod,
a comic opera, Cornelius Vargentier, at Amiens;
then settled in Toulouse, bringing out a
symphony, Le Tasse (Tasso), a dramatic
oratorio, Cain, chamber-music, and a 4-act
grand opera VArmorique (Toulouse, .1854)
of which he wrote text and music. Then
app. Director of the Toulouse Cons.; later
cnev. of the Legion of Honor. Afterwards
prod, the 1-act comic opera Les prScieuses
ridicules (1877) and the comic operas Le
Retour au pays, VOrpheon en voyage, and Les
Pdques de la Reine (1886).
Merikan'to, Oskar, b. Helsingfors, Aug.
5 j 1868. Studied there, and in 1887 in Leip-
zig and Berlin; org. of St. John's Ch. and
cond. of the National Opera in Helsingfors;
eminent organ-virtuoso, and a composer of
national tendencies. — Works: The operas
Pohjan neiti (The Girl of Pohja; Helsingfors,
1899) and Elinan surma (The Death of E.);
pes. for vl. and pf.; pf.-pes.; songs; instructive
works for organ. Also a coll. of folk-songs.
Merk [mark], Joseph, 'cello- virtuoso; b.
Vienna, Mar. 18, 1795; d. Ober-Dobling,
June 16, 1852. Trained by Schindlocker; in
1818, 1st 'cello at the court opera; 1823,
teacher at the Cons.; 1834, Imp. chamber-
virtuoso. Many successful tours in Germany
and Italy. — Works (f. 'cello): Concerto in
D (op. 5), concertino in A m. (op. 17),
fantasias, polonaises, etc.; his 'cello-etudes,
op. 11 and 20, are excellent.
Merkel [mar'ktl], Gustav (Adolf), born
Oberoderwitz, Saxony, Nov. 12, 1827; d.
Dresden, Oct. 30, 1885. Pupil of Joh.
Schneider (org.) and Jul. Otto (cpt.); also
aided by Schumann and Reissiger. Org. of
the Waisenhauskirche, Dresden, 1858; of
the Kreuzkirche, 1860; of the Catholic Court
Ch., 1864. Taught in the Cons, from 1861;
cond. the Dreyssig Singakademie 1867-73. —
Valuable organ- works: 9 sonatas, op. 30 [f. 4
hands, w. double pedal], op. 42, 80, 115, 118,
137,140, 178, 183; Introduction u. Doppelfuge,
op. 41; Weihnachls- Pastorale, op. 56; Einlei-
tung und Doppelfuge, op. 105; Konzertsatz,
op. 141; 5 fantasias; 30 pedal-studies; chorales
and fugues; an Organ-method (op. 177);
etc.; also pf. -pieces, motets, songs.
Merlcel, Karl Ludwig, medical prof,
at Leipzig Univ.; publ. Anatomie und Physio-
logie aes menschlichen Stimm- und Sprachor-
MERKLIN— MERULO
gans (1856; 2d ed. 1876); Die FunkHonen
des menschliehen Schlund- und Kehlkopfes
(1862); Physiologic der menschliehen Stimme
(1866); Der Kehlkopf (1873).
Merklin', Joseph, famous organ-builder;
b. Oberhausen, Baden, Jan. 17, 1819; d.
Nancy, Tune 10, 1905. Trained in the work-
shops of his father, organ-builder at Frei-
burg, and Walcker; established himself in
Brussels, 1843; won a medal at the National
Exposition of 1847; took his brother-in-law,
F. Schtitze, into partnership, changing the
firm- name to 'Merklin, Schtitze & Cie.' in
1853, and to 'Merklin-Schutze' in 1858. In
1855 they bought out Ducroquet of Paris,
and established a branch in that city.
Merd [ma'ro], Yolanda, Gne pianist; b.
Budapest, Aug. 30, 1887. At the age of 5
she began to study pf. with her father; by
the end of a year she had made such astonish-
ing progress that she was admitted to the
Cons., although still under the age required
for admission; pupil there of Auguste Renne-
baum (herself a pupil of Liszt), and twice
winner of the state prize; debut in Feb.,
1903, with the Dresden Philh. Soc. (Liszt's
Eb concerto); then toured Europe with
considerable success until 1909; Amer. debut
with Russian Symph. Orch., N. Y., Nov. 3,
1909 (Chopin's F m. and Liszt's A major
cone); since then she has played with much
applause every season in the U.S.; app. prof,
of pf. at the Nat. Cons, in Budapest in 1908.
In 1909 she married Herman Inon of N. Y.
Meraenne (mar-sShn'], Marin, b. Oize
(Maine), France, Sept. 8, 1588; d. Paris,
Sept. 1, 1648. Franciscan monk, living in
Paris. — Wrote: Traite de I'harmonie untver-
stllc (1627), later expanded to Harmonic
universelfe (1636-7; 2 large folio vols, with
illustrations and musical examples; includes
a TraiU des instruments, depicting and de-
scribing all instrs. of the 17th. century; his
most important work); Quaestiones celeberri-
mae in Genesin (1623; chiefly on Hebrew
music); Questions harmoniques (1634); Les
preludes de Vharmonie universeUe (1634); Har-
monicorum libri XII (1635; enlarged ed.
1648); etc.— Cf. Ch. Adam, Le Pert M. et ses
correspondents en France. (Paris, 1897); A.
Pirro, Les correspondents du Pete M.f in
'S. I. M.' (1909).— See Q.-Lex.
Mertens, Joseph, b. Antwerp, Feb. 17,
1834; d. Brussels, June 30, 1901. 1st violin
at the Opera there; violin-teacher at .the
Cons.; cond. of the Flemish Opera, Brussels,
1878-9; then inspector of the Belgian music-
schools, and finally dir. of the R. Th. at The
Hague. Brought out a number of Flemish
and French operettas and operas with local
success; De zwaarte Kapitein (The Hague,
1877) was also prod, in Germany; other
operas are De Vrijer in de strop (1866), La
mkprise (1869), VEgoisa (1873), fhkla (1874),
Liederik Vintendenl (1875), Les trois ttudiants,
Le vin, lejeu et le tabac, Le Capitaine Robert,
Les evinces. Wrote one oratorio, I'Angelus.
Mert/ke, Eduard, pianist; b. Riga, June
17, 1833; d. Cologne, Sept. 25, 1895. Pupil
of S. von Lutzau (pf.) and. Agthe (theory).
Played in public at ten; succ. conceits in
Petrograd and Moscow, 1850; from 1853-9,
1st violin in the Gewandhaus, Leipzig; pianis-
tic tour in Norway and Sweden, 1859; after
living at Wesserling (Alsatia), Lucerne,
Freiburg, and Mannheim, he was app.
(1869) teacher of pf. at the Cologne Cons. —
Works: Lisa, oder die Sprache des Hertens,
opera (Mannheim, 1872); the posth. opera
Kyrill von Thessalonica; 2 cantatas, Des Ltedes
Verkldrung and Blumengeister (f. sopr. and
alto soli, fern, chorus and 2 pfs.) ; pf. -suite in
G min., op. 8; 4 pf. -pieces, op. 7; Nocturne
and Valse, op. 23; technical exercises and
School of Octaves f. pf. ; arrs.of Mendelssohn's,
Weber's, and Hummel's concerted pieces, f.
pf. w. 2d of.; edited Chopin's works; publ. a
coll. of Melodies of the Ukraine.
Me'rula, Tarqulnio, early composer for
violin, and a native of Bergamo; 1623, m.
di capp. at S. Maria Maggiore in Bergamo;
1639, org. and m. di capp. at the Cath. there;
1652, do. at the Cath. in Cremona. Publ.
Cantoni owero sonaie per chiesa e camera a
2 e 3 (4 books; 1623-51); other sonatas in
his Concerti spirituali (1628) and Pegaso
musicale (1640). A Sonata cromatica for org.
was publ. by L. Torchi in. vol. iv of *L'Arte
Musicale.' — See Q.-Lex.
Me'rulo (rede Merlotti), Claudio, called
da Coreggio because born in Coreggio,
Apr. 8, 1533; d. Parma, May 4, 1604. A
Supil of Menon and G. Donati; organist at
irescia; from July 2, 1557, organist of the
2d organ at San Marco, Venice, and from
1566-86 Padovano's successor as 1st organist
there. Thereafter court organist to the Duke
of Parma. One of the greatest organists of
the time, he stands at the head of the Vene-
tian School, and his works open a new era
of independent composition for the king of
instruments: Toccate oVintavoldtura oVorgano
(1604; 2 books), and Ricercari aVintavolatura
oVorgano (1605). Among his pupils were
Angleria, Bonizzi and Conforti. He also
prod, an opera in madrigal-style, La Tragedia
(Venice, 1574), and publ. 4 vols, of madngals
a 3-5 (1566-1604), 2 vols, of motets a 5
(1578), Ricercari da cantare a 4 (1607, 1608),
and Cantoni alia francese (1620).— Cf. A.
Catelani, Memorie deUa vita di C. M. (Milan,
1859); Q. Bigi, Di C. M. (Parma, 1861); C.
M. da Correggio (Parma, 1904; essays by
8 Italian scholars).— See Q.-Lex.
605
MERTZ— METASTASIO
Mertz [marts], Joseph Rasper, distin-
guished guitar-player; b. Presburg, Hungary,
Aug. 17, 1806; d. Vienna, Oct. 14, 1856.
His parents were poor, and he was early
obliged to give music-lessons to support
himself. In 1840 he took part in a concert
at Vienna; then made a tour through Moravia,
Silesia, Poland and Prussia (Royal Theatre,
Berlin); gave concerts in 1842 at Dresden,
where he met and married the piano-virtuosa
Josephine Plantin, with whom he played in
Chemnitz, Leipzig, Dresden, and Prague,
when ill health compelled his return to Vienna
in February, 1843. There they played before
the Empress, and settled as music-teachers;
gave several concerts in 1851; made a trip
to Salzburg in 1853, again playing before
the Empress, King Ludwip of Bavaria, and
other notabilities, performing some duos for
guitar and pianoforte of their own composi-
tion, and giving two more successful concerts.
After this, M.'s health failed rapidly.
Men [marts], Karl, born Bensheim, near
Frankfort-on-Main, Sept. 19, 1836; d.
Wooster, Ohio, Tan. 30, 1890. Pupil of his
father and F. J. fcunkel. Went to the United
States in 1854, and lived in Philadelphia and
other cities as a teacher. He was a contributor
to various periodicals; his collected essays,
Music and Culture, edited by his son, Dr.
Chas. H. M.f were publ. at Philadelphia, 1890.
Messager [mghs-sah-zha'], Andre*
(-Charles-Prosper), b. Montlucon, Allier,
France, Dec. 30, 1853. Pupil at the Niedermey-
er School of E. Gigout (cpt.), A. Laussel (pt.)
and C. Loret (org.); tnen of Saint-Sa£ns.
Org. of the choir at St.-Sulpice, 1874; chef
d 'orchestra at Brussels; org. at Saint- Paul-
Saint-Louis; then maitre de chapelle at
Sainte-Marie des Batignolles; in 1898 app.
by Carre orchestral conductor of the Opera-
Comique; 1901-7, artistic dir. of opera at
Cov. Garden, London; 1908-14, dir. and chef
d'orch. of the Grand Opera, Paris; in 1908
he succ. Marty as cond. of the 'Concerts du
Cons.' Officer of the Legion of Honor (1907).
— Works: Operas: Francois Us Bas-bleus
(Fol.-Dram., 1883; score begun by F. Bernicat
and completed after his death by M.); La
FauveUe du Temple (ib., 1885); La Bearnaise
(Bouffes-Par., 1885); Le Bourgeois de Calais
(Fol.-Dram., 1887); Isoline (Th. de la Ren.,
1888); La Basoche (Op.-Com., 1890); Madame
Chrysantheme (Th. de la Ren., 1893); MireUe
(Savoy-Th., London, 1894); Le Chevalier
d'Harmental (Op.-Com., 1896); VSronique
(Bouffes-Par., 1898); Les Dragons de Vlm-
pSratrice (Th. des Var., 1905); Fortunio (Op.-
Com., 1907); Beatrice (Monte Carlo, 1914).
Operettas: Le Mari de la Reine (Bouffes-
Par., 1889); Miss Dollar (Casino, Paris,
1893); La FiancSe en Loterie (Fol.-Dram.,
1896); Les pHites Michu (Bouffes-Par., 1897;
immense succ.). Ballets: Fleur d'Oranger
(1878); Les Vins de France (1879); Mignons
el Vilains (1879); Les deux Pigeons (1886);
Scaramouche (1891); Affiants Sternels (1893);
Le Chevalier aux Fleurs (1897); Le Prods des
Roses (1897); Une Avenlure de la Guimard
(1900).— Incid. music to Delair's HSlene
(1891) and Moreau and Carre's La Montague
enchanUe (1897); the dram, scenes Don
Juan et Haydie (1876; won gold medal of the
Academie de St.-Quentin, 1877) and Promt-
thte enchatnS (MS.; won 2d prize of City of
Paris); some pf.-pcs. (op. 10-15); about 20
songs. A symphony in 4 movems. (MS.,
1875) won the gold medal of the Societe des
Compositeurs in 1876, and was prod, by
Colonne in 1878.— Cf. 'Musica,' No. 72
(Paris, Sept., 1908; articles by various
writers about M.; also autobiogr. sketch).
Messchaert [mghstiahrt], Johannes Mar-
timis, eminent concert-baritone; b. Hoom,
Holland, Aug. 22, 1857. Was first trained as
a violinist, but then st. singing with Schneider
in Cologne, Stockhausen in Frankfort, and
Wullner in Munich; began his career as a
teacher and cond. of choral societies in Am-
sterdam; comparatively late he began to
appear as a Lieder-singer in Holland, then
with enormous success in Germany; has been
living for many years in Berlin; since 1911
prof, of singing at the Kgl. Hochschule. —
Cf. F. Martienssen, 7. M. Ein Beitrag turn
Verstdndnis echler Gesangskunst (Berlin, 1914).
Mes'aerichmidt-Grun'ner (Frau), b. Vi-
enna, c. 1847; d. there Oct. 15, 1895; cele-
brated for organizing at Vienna, in 1870,
the first Ladies' Orchestra, a successful and
widely imitated enterprise.
Memiter, Arthur Henry, organist; b.
Frome, Somersetshire, Apr. 12, 1834; d. New
York, July 2, 1916; organist and choirm. at
Trinity Ch., New York, 1866-97; after that
lived in retirement in N. Y. Publ. History
of ike Choir and Music of Trinity Church (1907) .
Mestri'no, Nlccold, b. Milan, 1748; d.
Paris, Sept., 1790. Solo violin in the orches-
tras of Prince Esterhazy and Count Erdfldy;
successful concerts in Italy, Germany, and
(1786) Paris, where he settled as a teacher;
1789, cond. of the Th. de Monsieur.— Publ.
12 violin-concertos, duets, etudes and ca-
prices f. vln., and sonatas f. do. w. figured
bass. — See Q.-Lex.
Metasta'sio, Pietro Antonio Domenlco
Bonaventura (son of the Papal soldier Tra-
passi, but changed his name at the instance
of Gravina, his patron); b. Rome, Jan. 3,
1698; d. Vienna, Apr. 12, 1782. Celebrated
poet and dramatist; from 1730 until his
death he was court poet at Vienna. Of 34
606
METHFESSEL— MEUSEL
opera-texts written by him, and set to music
by Gluck, Hasse, Porpora, Handel, Jommelli,
Caldara, Galuppi, and others, Mozart's La
Clemenza di Tito (1791) alone still holds the
stage. His libretti were less remarkable for
dramatic power than for graceful and melo-
dious verse; some- have been composed 30 or
40 times. His complete works were publ. in
Paris (1780-2; 12 vols.) and Mantua (1816-
20; 20 vols.).— Cf. S. Mattei, Memorie per
servire alia vita del M. (Colle, 1785); M. Zito,
Studio su P. M. (Naples, 1904); E. M.
Leonardi, II melodramma del M. (Naples,
1909). Also A. Wotquenne, Alphabet. Ver-
teichnis der Stiicke in Versen . . . von Zeno,
M., und Goldoni (Leipzig, 1905).
Meth'fessel [mat'-], Albert Gottlieb, b.
Stadtilm, Thuringia, Oct. 6, 1785; d. Hecken-
beck, near Gandersheim, Mar. 23, 1869.
1832-42, court composer at Brunswick, then
retiring on pension. — Works: Opera Der
Print von Basra; oratorio Das befreite Jeru-
salem; sonatas and sonatinas f. pi.; and still
popular songs and part-songs, publ. in his
Liederbuch, Liederkrans, and other collections.
— Cf. W. H. Riehl, Musikal. Charakterkopfe
(Stuttgart, 1879; vol. tii). — His brother,
Methfessel, Friedrich, b. Stadtilm, Aug.
27, 1771; d. there May, 1807; publ. songs w.
guitar-accomp. — Ernst Methfessel, a rela-
tive; b. Mulhausen, 1802; d. Bern, Nov. 19,
1878, as mus. cond. [Not the same as Ernst
M. (1811-1866), conductor at Winterthur.]
Metner, Nikolai. See Medtner.
M6tra, (Jules-Louis-) Olivier, b. Reims,
June 2, 1830; d. Paris, Oct. 22, 1889. An
actor's son, and himself a boy-actor, he was
taught music by Ed. Roche, and was in turn
violinist, 'cellist and double-bass player in
minor Parisian theatres. Pupil in Paris
Cons, of Elwart (1849-54), then of Ambr.
Thomas for a short time, then conducting
the orch. at the Th. Beaumarchais, and
successively at various dance-halls; the
masked balls at the Opera-Comique (1871);
the orch. at the Folies-Bergere (1872-7);
the balls at the Th. de-la Monnaie, Brussels
(1874-6); finally the Opera balls. His
waltzes, mazurkas, polkas, quadrilles, etc.,
are extremely popular; at the Folies-Bergere
he prod. 18 operettas and ballet-divertisse-
ments; and at the Opera the 3-act ballet
Yedda (1879; mod. succ.).
Met'tenleiter, Dominicus, b. Tannen-
hausen, Wurttemberg, May 20, 1822; d.
Ratisbon, May 2, 1868; Dr. theol. and phil.;
wrote Musikgeschichte der Sladt Regensburg
(1866), Musikgeschichte der Oberpfalz (1867);
and contributed to his brother's Enchiridion.
His fine mus. library was united with Proske's
jn the §isJ)op's Library, Ratisbon.
Met'tenleiter, Johann Georg, b. St.
Ulrich, n. Ulm, Apr. 6, 1812; d. Ratisbon,
Oct. 6, 1858, as choirmaster and organist at
the cathedral. An erudite church-composer,
he publ. Manuale breve cantionum ac precum
(1852), and an Enchiridion chorale . . .
(1855), both with added organ-accompani-
ments; also Psalm 95, for 6 male voices
(1854); other works in MS. (masses; a
Stabat Mater; 2 Misereres; Ave Maria for
double chorus, etc.). — Biography, /. G. M.t
ein K&nstierbUd, publ. 1866 by his brother.
Metz'dorff, Richard, b. Danzig, June 28,
1844. Pupil at Berlin of Fl. Geyer, Dehn,
and Kiel; Kapellmeister successively at
Dusseldorf (1865), Berlin, Nuremberg, Bruns-
wick, and Hanover. In 1875 he prod, the
grand opera Rosamunde at Weimar; in 1893
the opera Hagbart und Signe, also at Weimar,
with great success. Has also written 3 sym-
phonies (in F, D m. ['tragic'], and Eb);
overture King Lear; Frau Alice, ballade f.
contralto, ch. and orch.; Phantasiestuck for
orch.; a symphonic concerto f. violin w. orch.,
op. 48; a pi. -quintet; a string-quartet; pf.-
trios; sonatas and other pf. -pieces; songs.
Metzger-Lat'termann, Ottilie, distin-
guished dramatic contralto; b. Frankfort,
c. 1880. St. with Frau Nicklas-Kempner,
G. Vogel and E. Reicher; debut in Halle;
since 1903 principal contralto at the Hamburg
opera; has sung with notable success in the
Srincipal cities of Germany (3 summers at
layreuth), Belgium, Austria and England;
equally famous as a concert-singer; has made
two concert-tours of the U. S. (1914 and '15).
On March 26, 1910, she married Theodor
Lattermann, basso at the Hamburg opera.
Metzler & Co., music-publishers in Lon-
don. Valentine M. founded the firm about
1790 as a business for selling instrs.; the
publishing department was added in 1816.
Metzler-LOwy, Pauline, alto stage-
singer; b. Theresienstadt, Aug. 31, 1853.
Eng. at Leipzig City Th. 1875-87. Married
the piano-teacher Ferdinand Metzler in
1881; living since 1897 as teacher in Leipzig.
Meuerer [moi'-L Johannes Georg, born
Wttrzburg, July 8, 1871. Pupil of the Kgl.
Musikechule there; app. instr. at the music-
school of the 'Steiermarkische Musikverein'
in Graz; 1899, org. and choirm. of the Ch.
of the Sacred Heart; since 1904, org. and
Kapellm. at the Cath. A notable church-
composer, he has publ. about 20 masses
(some with orch.), a Requiem, litanies,
offertories, motets; Auferstehungschor for
mixed vcs., org., 2 tpts. and 2 trombones;
also an organ-school.
Meu'sel [moi'zeU Johan Georft, born
Eyrichshof, Mar. 17, 1743; d. Erlangen, Sept.
607
M E Y— M E YER-OLBERSLEB EX
I
19, 1820, as prof, of history in the Univ. —
Pub!. Deutsche* KumsHer-Lexiam (1778, 1789;
2 vols.: 2d ed. 1808-9; suppL 1814); Das
geiekrU Deutsehiand (as the 4th ed. of Ham-
burger's work, edited by M.; 1783-1, 4 vols^
and 3 supplementary vols. 1786-8; 5th ed.
1802-20, in 17 vols.); Deutsches Museum fur
KumsOer mmd Liebhaher (periodical; 1772-89);
MisceUameen ariisHschen Iuhalts (1779-83).
Mey [ml], Kurt Johannes, b. Dresden,
June 24, 1864; d. there Sept. 21, 1912. Pupil
of K. A. Fischer in Dresden: then of Spitta
at Univ. of Berlin, and of Paul at Univ. of
Leipzig: 1890-3, Repetitorin Karlsruhe; from
1894 m Dresden.— Works: Der Meistergt-
samt im Gexhkhte umd Kmnst 1 1892; revised ed.
190P: Die Mmsik als iomemme HTAmT*. I.
Teil: Die mMiaphysischeu CVpsete der Mdotik
(19QP: numerous essays in the "Bayreuther
Blatter,* 'Wartburgsrimmrn,' etc
Mey'er, Guatav, b. Konigsberg, Prussia,
June 14, 1S59. Pupil there of Robert
N:hm\*I~i. from 1SSO-4. of
Jadassohn in Leipzig Cons. Held
as Kape. rr.. in Lie^nitx, Gociitx,
UVxpat, RneCa-j 5 years , Scettin, and
nnilS-, s£r;e !*>5. at the Leipzig Citv
Theatre. — Works: The 4-act tarce with
sortcs. A ms bnxcx*
jvir:ocr.:rje Kmvs^r^rg Bres^a;: ; the
rettas ZV- H.yrk.lttir' Leipzig.' Oii TV.
1$©-.* jv> r^i«r«« Tb^ 1^7 : Pariser
F~z*r* Fr^r^ux-k." I*i5 . Omkti Lavs
Prajrje, 1°!5 : the Kar« £>;>a Lerpz^; ;
and ^pvards of ^0
.4 •
there TJv >\ 1**4. Exre.
b Ber5=, Mar. 26, 1S34;
Corrs . oc * ~ ;h
sbe
=: -Nto ai
K Ahcsbc
David at
a v^ril ttsr^r-s* at Mea-
ar»i «rr:**i - r*->~«t"\- N V, r: !5^I,
"v,x". ^esotf ~w- -<=*-* jc a vxi prrc'osor-
sfr.:p at die Lcltj^ Cass.
Mey er, Ltng mU w— i caT^i Ae M<
K Raoesi. r. Ysftr.3*. IVc_ ?.\ 15: : d
zc~ Mar. 5. :$*£. r^Kvvirraoee of
tecixical ai£ ry. ?ctl of Caerry *-*j
bcif. Froes !5w^. after Lis d-rO^ be
rrvxc of hi* Lfe oa: <
:h*v«jrS?ct E -• oe a-»- A-r»enra :<45^-"^
*."v»fc ^ ".>"*-> t Wr-i H* ar .r*si
son*. <tc
tfL. de M. (London, 1845).
Mey'er, Waldemar, b. Berlin, Feb. 4,
1&53. Violinist; pupil of Joachim; from 1873-
81, member of the Berlin Court Qrch~; since
then, concert-player of repute, and leader of
an excellent quartet, lias pubL several
comps. for vL (Tamtmder Famm fooncert-
etode], Legmdt, etc).
MeT'er-HeTmoiMi, Erik, b. Petrogra^,
Apr. 25, 1861. His lint instruction was
received from his father; subsequently he
studied in Berlin under Kiel and Stock-
hausen; from 1881-1906 he travelled exten-
as a concert -'Muyj, ruti mlurin^ his
He is best known to the genera/
public as a song-composer, and more than
200 of his light and graceful, bat highly
effective, vocal numbers have been pubosned,
to many of which he him w If has written the
Hb other works aachade a number of
(Wm rtrwmm, BaU-
etc.:; a /wanes* for
vL and orch. fop. 44); SerenunV L orch. (op.
62 : the operas JTorpms (Magdeburg, 1889),
Der UAeshmmpf Dresden, 189? . Tmjiomi
fl-act, Berlin, 1912 , Tw \M Al, 1912),
Die scheme Frmm Mmrtits '.4Jm«juf& WW;
the operettas Trisdkhm R%jl 19H/, Lacmffms
•Tb^ 10Q5 . Die Hevwt+eqm; the baBet
RubeaaM or Der Brrggosi "^apng, 1893);
the Tamspier MwmAtmtr biitr*** (Mu-
nich, 1910 .
MeVer-Lwt*. "Tiiwi b Msnariit^,
n. Kisss^en. 15JN: d_ London, Jam. 31, UU.
P=p£I oiEjaenboUr mmd Keler, Warabanj;
froc: 1*4* in r«vgt»»f or^_ at Bamkujam,
L45etis. ar*d St. George s IL C Ch, Londoo\
sl^o 1&51-5 coed, at Sanies Tk, and from
Ist^ar Gaiety Th. He brought out 8 operas
* * W 9_ • _ *
% *» "^ f rf-* ^sj^~^_ w ^k«AK9Mie * %|aM& ^p^k^K^nnnnnaa^^.najVBGSjr"
*-J^ SCVCkmV tedOBSv wkBD ^XnnnnnWJCl*laUDwL«
UVr-ar. Aar. 5. U5k Fapff <*
&r ^tLTi: «l»r Lsats seoswaaeadarian he
: jl ririher srjr>- p^sedrwveaasat
a vear ai Brassei _
Iz :*"tc Tracer z£ z£ ^^i^nrvatWi
iliTT,
Dtr cot. &dc =Gnavac tie B. Cms- of
MEYER-STOLZENAU— M EYERBEER
DeUin (Wurzburg, 1896); 3-act comic opera
Der Haubenkrieg (Munich, 1902); 2 overtures,
Feierkidnge (op. 18) and Festouverture (op.
30); pf.-trio, op. 7; 3 pes. f. pf. and 'cello,
op. 10; sonata f. via. and pf., op. 14; sonata
f. flute and pf., op. 17; 50 male choruses (of
which op. 52, Konradin, op. 45, Gothentreue,
op. 56, Tansreigen, op. 62, Des deutschen
Liedes Sendung, op. 67, Wanda, op. 69, Das
Festt op. 71, Jubelhymne, op. 82, Der Spiel-
mann, op. 84, Des Konigs Eintug, are w.
orch.); 7 mixed choruses (op. 40, Das begra-
bene Lied, op. 54, Der Blumen Roche, op.
64, Zigeunermddchen, op. 65, Eine alte Mar,
w. orch.); 9 3-part female choruses (op. 51,
Das blinde Elflein, is a cantatina f. sopr. and
alto soli, female ch., w. pf. or orch.) ; Sonnen-
hymnus, symph. poem, op. 90; about 30
characteristic pf.-pieces in modern and origi-
nal style; and about 60 songs for one voice
(Loreley is a dramatic scene w. orch. or pf.).
Meyer-Stol'zenau, WUhelm, b. BOcke-
burg, Sept. 2, 1868. From 1885-9, pupil oi
the Grossherzogl. Musikschule in Weimar;
1893-1901, teacher and cond. of choral
societies in Hanover; 1901-6, cond. of the
'Liedertafel' in Gumbinnen; since then again
in Hanover as teacher. Comp. of the operas
Der Nachtwdchter (Magdeburg, 1900) and
Klein-Daumling (Hanover, 1906); an ope-
retta, Grosspapa (Hamburg, 1906); a symph.
poem, Hero und Leander (op. 26; after Grill*
parzer's Des Metres und der Liebe Wellen);
choruses; pf -pes.; songs.
Mey'erbeer, Giacomo, famous dramatic
composer, b. Berlin, Sept. 5, 1791; d. Paris,
May 2, 1864. Of Jewish family, his real
name was Jakob Liebmann Beer; a wealthy
relative made him his heir on condition that
he should prefix the name 'Meyer' to his
patronymic; and 'Giacqmo' (Jacob Italianized)
was later assumed as an artist-name. He
was a piano-pupil of Lauska and Clementi,
and played in public at 7; began the study
of theory under Zelter, but soon left this
strict master for Anselm Weber, and from
1810-12 lived and studied with Abbe Vogler
at Darmstadt, C. M. von Weber and Gans-
bacher being his fellow pupils. Here he
wrote an oratorio, Goti una die Natur (Sine-
akademie, Berlin, 1811), and 2 operas, Jeph-
thas Gelubde (Court Opera, Munich, 1813)
and Abimelek, oder die betden Kalifen (Munich,
1813); the first two were failures, but Abi-
melek was accepted for Vienna, and thither
M. repaired. Already a brilliant pianist,
Hummel's suave style so impressed him that
he deferred his own debut at Vienna for
several months, successfully working to
acquire the same fluent ease and finish.
His opera was rather coolly received in
Vienna (and later, as Wirth und Gast, in
Prague and Dresden); still, despite pianistic
triumphs, he felt dramatic composition to be
his real vocation. Acting on Salieri's sug-
gestion that Italian melody would prove a
corrective for his heavy contrapuntal style,
M. went to Venice in 1815; the vogue of
Rossini's operas indicated the path to popu-
larity, and M. entered it with a series of
operas in the Italian vein — Romilda e Co-
stanza (Padua, 1818), Semiramide riconosciuta
(Turin, 1819), Emma di Resburgo (Venice,
1819; in Germany as Emma von Leicester),
Margherita d'Angtu (La Scala, Milan, 1820),
L'esule di Granata (Milan, 1822), and //
crociato in EgiUo (Venice, 1824), this last
with immense success. While writing it,
he had visited Berlin with the vain hope of
bringing out a 3-act German opera, Das
Brandenburger Thor, and embraced the oppor-
tunity to call on his old friend Weber, in
Prague, whose strong remonstrances against
M.'s Italian transformation of himself seem
to have borne fruit. Certain it is, that for
six years M. produced no more operas. In
1826 he went to Paris to prepare the first
representation of II crociato. After this, his
father's death, his own marriage, and the
death of two of his children, also serve to
explain his silence. But at this time he
was also, on Mendel's authority, immersed in
the study of French opera, from Lully
onward; the result being Meyerbeer's third
style of operatic composition, in which 'he
united to the flowing melody of the Italians
and the solid harmony of the Germans the
pathetic declamation and the varied, piquant
rhythm of the French.' Combining with
these M.'s undeniable fecundity and origi-
nality of orchestral effect, and the theatrical
ability and routine of his librettist, Scribe, it
is no wonder that M.'s first French 'grand
opera,' Robert le Diable (Grand Opera, Nov.
21, 1831), fairly electrified the Parisians, and
(incidentally) caused the Opera to prosper
financially. Les Huguenots followed on Feb.
20, 1836, and was recognized by cultured
critics as vastly superior to Robert; though
the general public, enjoying the flamboyant
unrealities of the latter, was disappointed at
first. Two years later M. began the compo-
sition of I'Africaine, which was destined to
occupy him through life; irritated by the
composer's continual demand for changes,
Scribe after a while testily withdrew the
libretto, but was mollified by M.'s entering
heart and soul into the composition of another
of his texts, Le Propkete, finished in the year
1842-3. After the production of Les Hugue-
nots at Berlin, 1842, M. was called to that
city by King Friedrich Wilhelm IV as
General Mus. Director. Here his opera, Das
Feldlager in Schlesien (1843), achieved only
moderate success until Jenny Lind assumed
609
MEYERBEER— MICHAEL1S
the role of Vielka in 1844. He visited
Vienna and London in 1847; on his return
to Berlin, he brought out Wagner's Rienzi.
In 1849, Le PropheJe was at last produced at
the Grand Opera, Paris, on April 16; in
1854, it was followed by VAtoile du Nord at
the Opera-Comique (much of the music
taken from Das Feldlager in Schlesien),
where Dinorah, ou le Pardon de Ploermel,
was brought out in 1859. Last in the series
was lAfricaine (Grand Opera, Apr. 28,
1865), just a year after his death; he had
returned to Paris to take charge of the re-
hearsals in the spring of 1864. — M.'s fame is
inseparably knit with his dramatic music,
the popularity of which has long been on
the wane. — Other works: Incidental music
to Struensee (tragedy by Michael Beer, his
brother; Berlin, 1846), one of his finest works;
choruses to /Eschylus' Eumenides; festival-
?lay Das Hottest von Ferrara; monodrama
%hevelindens Liebe, f. sopr. solo, ch., with
clar. obbligato (Vienna, 1813); Gutenberg
cantata; cantata Maria und ihr Genius, for
the silver wedding of Prince and Princess
Carl of Prussia; Serenade Brautgeleite aus der
Heimat, for the wedding of Princess Luise of
Prussia; cantata Der Genius der Musik am
Grabe Beelhovens; ode to Rauch (the sculptor),
f. soli, ch. and orch.; 7 sacred odes by KIop-
stock, f. 4 voice-parts a cappella; Festhymnus
for the King of Prussia's silver wedding, f.
4 voices and chorus; Freundschaft, f. 4 -part
male ch.; Psalm 91, a 8; Pater noster a 4 w.
organ; in MS. are 12 Psalms f. double choir,
a Te Deum, a Stabat Mater, and a Miserere.
Quarante mSlodies a une et plusieurs voix
were publ. in Paris (Brandus) ; others are Neben
dir, f. tenor w. 'cello obbl.; Des Jdgers Lied,
f. bass w. horns obbl.; Des Schdfers Lied, f.
tenor w. clar. obbl.; A Venezia, barcarolle;
Didders Wahlspruch, canon f. 3 voices. —
Instrumental: 4 Fackeltanze for wind-band,
(also scored f. orch); Grand March for the
Schiller Centenary (1859); overture in march-
form (for opening of London Exhibition,
1862); Coronation March for King Wiihelm
I (1863); pf.- music in MS.
M. left by will 10,000 Thaler ($7,500) for
the foundation of a Meyerbeer Scholarship;
only Germans under 28, and pupils of the
Berlin 'Hochschule,' the Stern Cons., and
the Cologne Cons., may compete. Com-
petitors must submit a vocal fugue a 8 (for
double chorus), an overture f. full orch., and
a dram, cantata a 3, w. orch. (text of can-
tata, and text and theme of fugue, are given).
Six months in Italy, six in Paris, and six
more in Vienna, Munich, and Dresden to-
gether, is the plan of study mapped out for
the winner of the scholarship. — Biblio-
graphy: A. de Lasalle, M., sa vie et le cata-
logue de ses osuvres (Paris, 1864); A. Pougin,
Meyerbeer (ib.t 1864); H. Blaze de Bury.
M., sa vie, ses ceuvres et son temps (1865) ; Ella,
Personal Memoir of M.t with an analysis of
lLes Huguenots1 (1868); H. Mendel, G. M.
(Berlin, 1868); the same in epitome, M.,
sein Leben und seine Werke (ib., 1869); A.
Kohut, Af. (Leipzig, 1890); J. Weber, M.
Notes et souvenirs d'un de ses secretaires (Paris,
1898); H. de Curzon, M. Biographic critique
(ib., 1910); H. Eymieu, Vauvre de M. (ib.(
1910); L. Dauriac, M. (ib., 1913); A. Hervey,
G. M. (London, 1913).
Mezeray [maz-ral, Louis-Charles-La-
zare-Costard de, b. Brunswick, Nov. 25,
1810; d. Asnieres, n. Paris, Apr., 1887. At
15, 2d leader in the Strassburg Th.-orch.;
studied under Talliez and Wachethal, and
brought out a little opera, Le Sicilien; at 17,
maftre de chapelle at the Liege Th.v also
cond. of the Cons, concerts and the Concerts
Gretry. In 1830, 1st cond. at the Court
Th., The Hague; in 1832 he prod, the heroic
opera GuiUaume de Nassau; studied under
Reicha in Paris (1833), was cond. at Ghent,
Rouen, and Marseilles, and baritone singer
at Bordeaux, Montpellier, Antwerp, and
Nantes; finally (1843) 1st m. de chap, at
the Grand Theatre, Bordeaux, which, under
his 30 years' sway, won a high reputation.
He founded the Societe Sainte-Cecile m 1843.
Miceli [me'chMS], Giorgio, b. Reggio di
Calabria, Italy, Oct. 21, 1836; d. Naples,
Dec. 2, 1895. Studied in Naples under N.
Gallo and G. Lillo; his first opera, Zoe, was
successful (1852). In 1872, Director of the
R. Educandati Femmenili, Naples; 1887-94,
Dir. of Palermo Cons. — Works: Operas (all
first given in Naples): Zoe (1852), Gli amanti
sessagenari (1853), II conte di Rossiglione
(1854; v. succ.), La Somnambule (French
operetta, 1869; reprod. in Italian, 1871, as
VOmbra bianco), La Fata (1875), II Convito
di Baldassare (1878), and 2 biblical operas,
La leggenda di Pisa (1885) and La Figlia di
Jefte (1886). Also church- and chamber-
music.
Michaelis [mI-yMh-a1is]fChristianFried-
rich, b. Leipzig, 1770; d. there, as'Dozent*
(reader) at the University, Aug. 1, 1834.—
Publ. Ueber den Geist der Tonkunst mil
Rucksicht auf Kants Kritik der aestketischen
Urtheilskraft (2 vols., 1795, 1800); Entwurf
der Aesthetik, als Leitfaden bei akademischen
Vorlesungen (1796); Catechismus uber /. B.
Logiers System der Musikwissenschaft (1828);
short essays; translation of Busby's Hist,
of Music (1820); etc.
Michaelis, Gustav, b. Ballenstedt, Jan.
23, 1828; d. Berlin, Apr. 20, 1887.— Kapellm.
at the Wallner Th., Berlin; prod, musical
farces and operettas. — His brother,
610
M ICH AELIS— M I ERSCH
Michaelis, Theodar, b. Ballenstedt, Mar.
15, 1831; d. Hamburg, Nov. 18, 1887. Or-
chestral player. Comp. Die turkische Schaar-
wache, Die Schmiede im Walde, and other
popular open-air pieces.
Michalek [ml-yhah'lehk], Boh u mil, con-
cert-violinist and teacher; b. Chicago, Mar.
11, 1885. St. at first with Jan van Oordt,
then in Brussels and, finally, in Prague
with O. Sevcik, whose asst. he was for some
time; app. concert-master at the Bohemian
Ooera, Prague, in 1907; declining a professor-
ship at the Cons, there, he returned in 1908
to Chicago, where he establ. the M. Master
School for Violinists.
Michel (the clarinettist). See Yost.
Mlchl [mS'ke] (Mihi), Orazio, called O.
delta Arpa (because of his virtuosity upon
the harp), b. c. 1595 at Alisa, Caserta; d.
Rome, Oct. 27, 1641; from 1614-23 in the
service of Cardinal Montalto in Rome;
after that with Cardinal Maurice of Savoy.
Until 1914 nothing was known of his works
except 5 arias publ. in Bianchi's coll. 'Rac-
colta d'arie' (Rome, 1640) and a sixth one
?>ubl. by Torchi in vol. v of 'Arte mus. in
talia.' In April, 1914, A. Cametti publ. a
full description and complete thematic cat.
(4Riv. mus. Ital.', xxi, 2) of 43 comps. for
1-3 voices with basso cont. (chiefly anas) by
M. which he had discovered in various Ital.
libraries, and which prove M. to have been
one of the earliest and most important
Roman masters of the monodic style.
Mick'witz, Paul Harald von, pianist; b.
Helsingfors, May 22, 1859. Pupil of Brassin
and Rimsky-Korsakov at the Petrograd
Cons., and of Leschetizky at Vienna (1880-5).
1886, teacher of advanced piano-classes at
the Karlsruhe Cons.; 1893-5, ditto at Wies-
baden Cons. Came to U. S. in 1897 as mus.
dir. of a school in Sherman, Texas; 1906-8,
head of pf.-dept. at Bush Cons., Chicago;
returned to his former post in Sherman in
1908; lived again in Chicago, 1912-16; since
1916 dean and dir. of dept. of Fine Arts at
Southern Meth. Univ., Dallas, Texas. Has
publ. elegant pf. -music; in MS., a pf. -con-
certo and violin-sonatas.
Middelschulte, Wilhelm, eminent or-
ganist; b. Werne, n. Dortmund, Apr. 3,
1863. Pupil of A. Knabe in Soest; then ent.
the Kgl. a lead. Inst, fur Kirchenmusik in
Berlin, where his teachers were Loschhorn
(pf.), Haupt (org.), Commer and SchrSder
(comp.); 1888-4)1, org. at the Ch. of St.
Luke in Berlin (succ. Dr. J. Alsleben);
1891-5, org. at the Cath. of the Holy Name,
Chicago;* since 1899 org. at St. James1 there
and prof, of org. and theory at the Wis.
Cons, of Music, Milwaukee; since 1894 he
has also been organist of the Theo. Thomas
(Chicago Symph.) Orch. He has made a
name as a Bach player in the U. S. and
Germany. — Works: Passacaglia in D ra.;
Kanon und Fuge iiber * Voter unset im Him-
melreich1; Toccata uber *Einf feste Burg'; Con-
certo for org. and orch. (on a theme by Bach) ;
Kananische Fantasie uber BACH, with fugue
on 4 themes by Bach; has arr. for org. Bach's
Chaconne in D m. for vl., and Busoni's Fan-
tasia contrapuntistica (on the last number of
Bach's 'Kunst der Fuge').
Mlekach. See Miksch.
Mielck, Ernst, b. Viborg, Finland, Oct.
24, 1877; d. Locarno, Italy, Oct. 22, 1899.
Pupil of A. Tietze for pf. (Petrograd, 1887);
from 1890-4, of H. Ehrfich and R. Radecke
at the Stern Cons, in Berlin, and from 1894-7
of Max Bruch. Although he did not live
long enough for his talent to reach its full
development, his works exhibit considerable
technical skill and inventive power of a
high order; some of them even strike the
note of decided individuality.— Works: Op.
1, Str.-quartet in G m.; op% 2, Macbeth,
overture; op. 3, Str.-quintet in F; op. 4,
Symphony m F m. (1897; rev. 1899); op.
5, Altbdhmisches Weihnachtslied for mixed
ch. and orch.; op. 6, Dramatic overture; op.
7, Altgermanisches Jul/est for bar. solo, male
ch. and orch.; op. 8, Konsertstuck in D for vl.
and orch.; op. 9, Finnish Fantasy for pf.
and orch.; op. 10, Finnish Suite for orch.;
pf.-pes. and songs. — Cf. K. Flodin, Finska
musiker (Stockholm, 1900); W. Mauke, E,
M. Ein kurtes Kunstlerleben (Leipzig, 1901).
Mielke [mellcS], Antonia, dramatic sop.;
b. Berlin, c. 1852; d. there Nov. 15, 1907.
She made her debut at Dessau, then singing
in Wurzburg, Vienna, Rotterdam and Cologne;
at first she sang chiefly coloratura-roles,
but gradually assumed the great dramatic
parts, for which she was admirably fitted
because of the quality of her voice, her fine
stage- presence, and her ability as an actress;
during the season of 1890-1 she sang with
much applause the Wagner heroines at the
M. O. H. (succeeding Lilli Lehmann), and
the following season made an equally suc-
cessful concert-tour of the U. S.; after that
she was a great favorite at the principal
German opera-houses; from her retirement
in 1902 until her death she lived in Berlin
as a teacher.
Mlersch, Paul Friedrich Theodor, b.
Dresden, Jan. 18, 1868. Pupil at the Kgl.
Akademie in Munich of Werner (vcl.) and
Rheiriberger (comp.); settled in New York
in 1892; 1893-8, solo 'cellist of the N. Y.
Symph. Orch.; since then do. at the M. O.
H.— Comp. a vcl. -concerto; a vln.-concert©,*
611
MIGNARD— MILDENBERG
Indian Rhapsody for orch.; pes. for str.-
orch.; pes. for vcl.; do. for pf.; songs.
Mignard [me-ftahr'], Alexander Kon-
stantinovitch (real name Sheltobru'chov),
b. Warsaw, Aug. 13, 1852. Pupil of Freyer
in Warsaw, and of Saint-Saens at the Paris
Cons, from 1869-71; then st. jurisprudence,
entering the civil service in 1876; living in
Moscow since 1893. Has written the operas
Kolma, Vorosheya, and The Widow; 2 sym-
phonies; 2 overtures; much church-music;
pf.-pes.; songs.
Mihalovich, Edmund von, b. Feric-
sancze, Slavonia, Sept. 13, 1842. Pupil of
Mosonyi at Pest, then (1865) of Haupt-
mann at Leipzig; later at Munich of v.
Billow (pf.); living* as a composer in Pest
and for many years director of the 'Landes-
Schauspielakademie' there; in 1887 he succ.
Liszt as dir. of the 'Landes-Musikakademie.'
A disciple of the neo-German school. — Works:
The romantic opera Hagbarth und Signe
(Dresden, 1882); the 3-act opera Toldi (Pest,
1893; succ); ballads f. full orch. (Das Geister-
schiff, Hero und Leander, La ronde du sabbat
[V. Hugol, Die Nixe); a symphony in D m.
(publ.; 3 others in MS.); Trauerkldnge f.
orch.; pf. -music, etc.
Mikorey [mTkoh-ri], Franz, b. Munich,
June 3, 1873. Pupil of H. Schwarz, L.Thuille
2nd H. Levi in Munich, and of H. von Her-
zogenberg in Berlin; in 1894 he acted as asst.-
cond. in Bayreuth and Munich; then 3d
Kapellm. at the Landestheater in Prague;
after filling positions as 1st cond. in Ratis-
bon, Elbeneld, and at the court opera in
Vienna, he succ. Klughardt in 1902 as Hof-
kapellm. in Dessau; made Generalmusik-
direktor in 1912.— Works: The opera Der
Konig von Samarkand (Dessau, 1910); Nor-
dische Sommernacht for ten. and bar. soli,
male ch. and orch.; Fruhlingsgesdnge for
ten. and orch.; 2 symphonies (Tragische,
An der Adria); a pf. -concerto in A; a pf.-
quintet in Em.; a pf.-trio in B; male
choruses and songs. From Mahler's sketches
he completed the 10th symphony (prod,
as Symphonic Engadiana, Berlin, 1913). — Cf.
E. Hamann, F. M.t in vol. ii of 'Monographien
modern er Musiker' (Leipzig, 1907).
Mlksch, Johann Aloys, b. Georgental,
Bohemia, July 19, 1765; d. Dresden, Sept.
24, 1845. Choir-boy in Dresden, 1777; 'Cere-
moniensanger' at the Court Church, 1786;
baritone singer in the Italian Opera, 1797;
chorusmaster of the German Opera, 1820,
pensioned 1831. A celebrated teacher of
singing; the Schroder- Devrient, A. Mitter-
wurzer, and Agnes Schebest, were his pupils.
Mfkuli, Karl, b. Czernowitz, Bukowina,
Oct. 20, 1821; d. Lemberg, May 21, 1897.
A student of medicine at Vienna (1839), his
pronounced talent for music won him over;
in 1844 he went to Paris, and studied under
Chopin (pf.) and Reicha (comp.), returning
home on the outbreak of the revolution of
1848. After highly successful pianistic tours
through Russia, Rumania, and Galicia, he
was app. Artistic Director of the Lemberg
Cons, in 1858; in 1888 he founded a music-
school of his own, which was well attended.
His edition of Chopin's works, containing
numerous emendations made by Chopin as
marginal notes in M.'s student-copies, was
regarded as a standard. He has publ. a
number of pf.-pieces generally influenced by
Chopin's style; Serenade f. clar. and pf.
(op. 22); Scherzino f. 3 vis. (op. 25); Die Reue
f. bar. and str.-orch. (op. 30); 48 Airs natio-
naux roumains (arr. for pf.).
Milanollo, Teresa and Maria, sisters;
b. Savigliano, n. Turin, Aug. 28, 1827, and
July 19, 1832, respectively. Teresa, a pupil
of Caldera and Morra at Turin, became a
celebrated violinist, travelling in Italy, France,
Belgium, Holland, and England from 1836;
from 1838 with her sister Maria (also a vio-
linist), who died of consumption in Paris,
Oct. 21, 1848. Teresa, after ner marriage in
1857 to the military engineer Parmen tier,
ceased to appear in public. She lived in
Paris, where she died Oct. 25, 1904.— Cf. C.
M., T. if. et M. M. (Nantes, n. d.).
Milch'meyer, Philipp Jakob, b. Frank-
fort-on-Main, 1750; d. as a pf. -teacher in
Strassburg, March 15, 1813. From 1780,
court mechanician at Mayence. Invented a
3-manual pianoforte; publ. Anfangsgrunde
der Musik ... (a pf. -method; 1797).
MUde, Franz von, son and pupil of Hans
Feodor; dramatic baritone in Weimar, 1876-
8; from 1878-^1907, in Hanover; since then
prof, of singing and stage-deportment at
the Kgl. Akademie der Tonkunst in Munich.
MiTde, Hans Feodor von, stage baritone,
the creator of Telramund in Lohengrin at
Weimar, 1850, and a life- member of the
Weimar Court Opera, was born on the estate
Petronek, near Vienna, April 13, 1821; d.
Weimar, Dec. 10, 1899; was a pupil of Hauser
and Manuel Garcia. — His wife Rosa {nSe
Agtbe), b. Weimar, June 25, 1827; d. there
Jan. 26, 1906; created the rdle of Elsa, and
sang at Weimar till 1876. — Cf. Natalie von
Milde, P. Cornelius. Briefe . . . . an F. und
R. v. M. (Weimar, 1901).
Mi Id en berg, Albert, b. New York, Jan.
13, 1878. St. in N. Y., pf. with R. Joscffy
(1900-4) and comp. with B. O. Klein and
C. C. M tiller; went to Sgambati, in Rome,
1905; with Massenet in Paris, 1906-8; with
Jemain at the Cons, there, 1909-12; cond.
612
MILDENBURG— MILLER
of the 'Societe symphonique' in Paris, 1907;
since 1913 prof, of music at Meredith Coll.,
Raleigh, N. C. Mus. Doc., Wake Forest
Coll., 1916; member of 'Societe des Composi-
teurs.'—Works: A 1-act opera, Rafaello (Na-
ples, 1910; in concert-form); 2 comedy-operas,
Wood-Witch (N. Y., 1909) and Love's Lock-
smith (ib., 1912); a cantata, The Garden of
Allah (Brighton, Engl., 1911); pf.-pes.;
songs. The scores and material of a 3-act
grand opera, Michael Angelo, sent to the
prize-competition of the M. O. H. in 1911,
were lost in transit.
Mildenburg, Anna von, celebrated dra-
matic soprano; b. Vienna. Nov. 29, 1872.
Pupil at the Cons, there of Rosa Papier and
Pollini; debut in concert with the 'Musik-
verein* in Klagenfurt in 1895; operatic
debut same year in Hamburg, where her
splendid voice and remarkable dramatic gifts
rapidly established her reputation, so that
as early as 1897 she was invited to appear in
Bayreuth; since 1898 one of the brilliant
stars of the Vienna court-opera; made k. k.
Kammersangerin in 1901. Her repertoire
includes all the great Wagner-roles from
Rienzi to Parsifal; especially famous as
BrUnnhilde. On Aug. 24, 1909, she married
the poet and dramatist Hermann Bahr,
with whom she wrote Bayreuth und das
Wagner-Theater (Leipzig, 1910; 2d ed. 1912;
Engl. tr. by T. W. Makepeace, London,
1912). Bahr alone wrote Parsifalschut* ohne
Ausnahmegesetz (Berlin, 1912).
Mil'der-Haupt'mann, Pauline Anna,
dramatic soprano; b. Constantinople, Dec.
13, 1785; d. Berlin, May 29, 1838. She was
'discovered' by Schikaneder, and taught by
Tomaschelli and Salieri at Vienna. Debut
1803; sang in the Vienna Court Opera;
Beethoven wrote the role of Fidelio for her.
Prima donna in Berlin, 1816-29, leaving on
account of difficulties with Spontini. Toured
Russia, Sweden, etc.; farewell appearance
Vienna, 1836. Her voice was so powerful
that Haydn said to her, 'Liebes Kind, Sie
haben eine Stimme wie ein Haus' [Dear
child, you have a voice like a house].
Mild'ner, Moritz, b. Turnitz, Bohemia,
Nov. 7, 1812; d. Dec. 4, 1865, at Prague,
where he had been a violin-pupil of Pixis in
the Cons., teaching there from 1842. He
was a leader in the theatre-orch.; among his
pupils were Laub, Hrimaly, and Zajic.
Mllilotti, Leopoldo, b. Ravenna, Aug. 6,
1835. Settled in Rome, where he had studied
music, as a singing-teacher. Publ. many
beautiful songs, and wrote (with his brother
Giuseppe [1833-1883]) 2 operettas, La ven-
detta d'un folletto, and Un sogno nella luna
(both Romef 1875).
Mil'lard, Harrison, b. Boston, Mass.,
Nov. 27, 1830; d. there Sept. 10, 1895.
Sang in a church-choir, and at 10 in the
chorus of the Handel and Haydn Soc.
Studied 1851-4 in Italy; tenor concert-
singer; toured Great Britain with Catherine
Haves. Returned to Boston, 1854; settled
in New York, 1856, as a. singer, composer,
and vocal instructor. — Works: The 4-act
Italian opera Deborah (not perf.); Grand
Mass; Church-services; 4 Te Deums; he
was a noted song-composer, having publ.
over 350 songs, besides adaptations from the
French, Italian and German.
Miller, Edward, English composer and
theorist; b. Norwich, 1731; d. Doncaster,
Sept. 12, 1807. Apprenticed to a street-
eiver, he ran away and studied music under
urney at Lynn. Organist at Doncaster,
1756-1807; Mus. Doc., Cambridge, 1786.—
Publ. 6 solos f. German flute (with remarks
on double- tonguing; 1752); 6 harpsichord-
sonatas; elegies, songs, and an ode, w. instrl.
parts; psalms and hymns; etc.; also Institutes
of Music, or Easy Instructions for the Harpsi-
chord (1771); Elements of Thorough-bass and
Composition (1787); etc.
Miller, Reed, concert tenor; b. Anderson,
S. C, Feb. 29, 1880. While attending
Clemson Coll. he played the cornet in the
college-band; was 1st cornet in the First
S. C. Regiment during the Spanish-Amer.
War; began to study singing in 1900 with
E. G. Powell in Birmingham, Ala.; 1902-5,
soloist at Calvary M. E. Ch., New York;
1905-8, at Plymouth Ch., Brooklyn; since
then at Brick Presb. Church, N. Y. First
appearance in concert and oratorio, 1903; has
sung with all large orchestras and choral
societies in every state of the Union; his
repertoire includes all the standard oratorios
and over 100 concert-numbers. In 1909 he
married the soprano Nevada van der Veer,
with whom he has since appeared in joint
recitals.
Miller, Russell King, b. Philadelphia,
May 10, 1871. Student at Princeton Univ.;
pupil of C. Sternberg (pf.) in Phila.; then of
$>. P. Warren (org?), X. Scharwenka and
B. O. Klein (comp.), in New York; has
filled various positions as org. in Phila.
churches; since 1902, org. at Temple Keneseth
Israel, and since 1910 dir. of music at the
Penna. Inst, for the Blind ; has given recitals
at Buffalo and St. Louis Expos. — Works for
organ: Symphonic Scherzo (1895), Nocturne
and Epilogue (1897),' Festival March (Prize
of A. G. 6., 1903), Festival Prelude (1904),
Impromptu (1904), Cortege (1904), Elegy
(1905), Chanson pastorale (1907), Berceuse
and Serenade (1908); church-music, pf.-pes.,
and songs.
613
MILLET— MINGOTTI
Millet [mfl-y£ht']( Luis, b. Barcelona,
Apr. 18, 1867. Pupil there of Vidiella and
Pedrell; founded in 1891 the 'Orfeo CatahV
for the production of extended choral and
orchestral works. Comp. of several orchl.
fantasies on folk-songs; sacred and secular
choruses.
MUligen, Simon van, b. Rotterdam,
Dec. 14, 1849; was for 15 years munic. mustc-
dir. in Gouden; lived some time in Paris,
and then for many years in Amsterdam as
teacher and mus. critic of the 'Handelsblad.'
Comp. of the operas Brinio and Darthula
(The Hague, 1898); Snowa for soli, ch. and
orch.; a concert-overture; a string-quartet;
cantatas; etc.
Millttcker, Karl, operetta-composer; b.
Vienna, May 29, 1842; d. Baden, n. Vienna,
Dec. 31, 1899. Studied in the Cons, there;
theatre- Kapellm. at Graz, 1864; at the
Harmonie Th. in Vienna, 1866; from 1869,
at the Th. an der Wien. M.'s music is
melodious and sprightly, and, like the in-
strumentation, well suited to the situations.
— Works: Der todte Cast and Die beiden
Binder (both in Graz, 1865); Diana (Vienna,
1867); Die Fraueninsel (Pest, 1878); and
the following (all at Vienna) : Der Regiments-
tambour (1869), Drei Paar Schuhe (1870), Die
Musik des Teufels (1870), Ein nagender
Wurm (1872); Etn Abenteuer in Wien (1873),
Das verwunschene Schloss (1878, with songs
in Upper Austrian dialect), Grdfin Dubarry
(1879), Apajune der Wassermann (1880), Die
Jungfrau von Belleville (1881), Der BetteU
student (Dec. 6, 1881; popular everywhere; in
Italian as II Guitarrero), Gasparone (1884),
Der Feldprediger (1884), Der Dieb (1885
[Berlin]), Der Viceadmiral (1886), Die Sieben
Schwaben (1887), Der arme Jonathan (1890),
Das Sonntagskind (1892), Der Probekuss
(1895), and Das Nordlicht (1897). He also
brought out a number of musical farces,
and for vears contributed piano-pieces to
the monthly 'Musikalische Presse.'
Mills, Charles Henry, b. Nottingham,
Jan. 29, 1873. Received his mus. education
at the G. S. M., London; then private pupil
of E. Prout and F. Niecks; 1892-3, pianistic
tour of the U. S.; 1898-1900, cond. of Aber-
deen Operatic Soc.; in 1900 app. city-org.
there; 1906-7, borough-ore. in Salford, Man-
chester; 1907-8, prof, of hist, and theory of
music in Syracuse (N. Y.) Univ.; 1908-14,
dir. of school of music, Univ. of III.; since
1914 do. at Univ. of Wis.— A. R. C. M.,
1898; F. R. C. O., 1905.— Has written Ode
to St. Cecilia for soli, double ch. and orch.;
The Wreck of the Hesperus for orch. ; Magni-
ficat in F for soli and ch.; songs; has also
contrib. articles, to mus. journals.
Mills, Sebastian Bach, noted pianist; b.
Cirencester, England, Mar. 13, 1838; d.
Wiesbaden, Dec. 21, 1898. Taught by his
father, by C. Potter, and by Sterndale
Bennett, he played before Queen Victoria at
the age of 7; studied later at the Leipzig
Conserv. (Moscheles, Plaidy. Karl Mayer,
Julius Rietz, and Hauptmann); later the pf.
with Liszt. Was organist of the R. C. Cath.,
Sheffield, in 1855; played in a Gewandhaus
Concert on Dec. 2, 1858, and went to New
York in 1859, where he was so well received
at his debut in Schumann's Concertstuck
(with the Philharm. Soc.), that he settled
there. In 1859, '67, and '78, he made brilliant
tours in Germany; he also toured America,
and up to 1877 played in New York in every
season. He did yeoman service in the cause
of good music in the United States; and was
a most successful teacher. — Works: Pf. -music
(Barcarolle vhtitienne, op. 12; 2 Tarantellas,
op. 13, 20; Murmuring Fountain, op. 22;
Recollections of Home, op. 23; Fairy Fingers,
op. 24; polka Toujour s gai, op. 25; etc.).
Mills, (Robert) Watkin, born Painswick,
Gloucestershire, England, Mar. 4, 1856.
Bass-baritone singer (basso cantante) in
oratorio and concert, with a compass from
£b to f1. Pupil of Edwin Holland at the
R. A. M., and of F. Blasco, Milan; later of
Sir J. Barnby, Randegger, and Blume. Very
succ. debut at the Crystal Palace, May
17, 1884. Has filled many engagements in
oratorio, in which his popularity is great.
In America 1894-5.
Milton, John, father of the English
poet ; d. 1646 (7?). A scrivener in Bread Street,
Cheapside, London, he was an excellent
musician; his fine 6-part madrigal Fayre
Oriana in the Morne was published in the
'Triumphes of Oriana' (1601); 4 motets were
publ. in 'Teares and Lamentacions' (1614);
also psalm-tunes in Ravenscroft's 'Whole
Booke of Psalms' (1621).
Minchejmer [min'hi-meY], Adam, b. Jan.
4, 1831; d. Warsaw, Jan. 28, 1904. Pupil of
Freyer, Alois Tausig and A. B. Marx; in
1858 app. ballet-master at the Grand Th.
in Warsaw; 1861, prof, at the Mus. Inst,
there; 1902, chief librarian of the Warsaw
theatres. — Works: The operas (all prod, at
Warsaw) Otton lucznik (Otto the Hunter;
1864), Stradiota (1876), Mazepa (1890),
Msciciel (The Avenger;?); incid. music to
several plays; a ballet [with Moniuszko],
Figle Szatana (The DeviVs Tricks); 4 over-
tures; a mass; motets; also re-orchestrated
Chopin's E m. concerto, and arr. other works
for orch.
Mingot'ti, Reglna, nSe Valentin!, famous
soprano; b. Naples, 1721; d. Neuburg-on-
Danube, Oct. 1, 1808. Pupil of Porpora,
and the rival at Dresden of Faustina Hasse;
614
MINOJA— MIZLER
they left the Dresden stage in the same year
(1751), and M. then sang for two years at
Madrid under Farinelli; later in London,
Italy, Munich (1763), and Neuburg (1787).
Mino'ja, Ambroftio, b. Ospedaletto, n.
Lodi, Oct. 22, 1752; d. Milan, Aug. 3, 1825.
From 1814-24, prof, of comp. at the R. Cons.,
Milan; from 1789-1809 also maestro al cem-
balo at La Scala, where his opera Tito nelle
Gallie was prod, in 1787. — Works: A sym-
phony; cantatas; hymns; a De Profundis a
3; celebrated Solfeggi (M. was an excellent
singing- teacher); and LeUere sopra il canto
(Milan, 1812; publ. in German as Vber den
Gesang; 1815).
Miolan-Carvalho. SeeCARVALHO-MioLAN.
Mirande [me-rahn'd], Hlppolyte, born
Lyons, May 4, 1862. Pupil of Dubois and
Guiraud in Paris Cons.; 1886-90, prof, in
the Acad, of Music and the Cons, at Geneva;
since 1890, Secretary-General of the Grand
Th., Lyons, and prof, of mus. history at the
Lyons Cons. He is also critic of the Lyons
'Frogres,' and organist at the synagogue. —
— Works: Une fite Directoire, ballet (Lyons,
1895; 45 representations up to 1898); over-
tures Rodogune, Frithjof, Macbeth, PronUthee
and La mart de Roland; Suite de ballet for
pf. 4 hands; pf. -music; songs.
Mireckl [mS-rSht'ske], Franz, b. Cracow,
Apr. 1, 1791; d. there May 29, 1862. Pupil
of Hummel (1814) in Vienna and of Cheru-
bini (1817) in Paris; lived in Milan, 1822-26;
in Geneva, 1826-38; after that in Cracow
as dir. of a school for operatic singing. —
Works: The operas Cyganie (Gypsies; War-
saw, 1822), Evandro in Pergamo (Genoa,
1824), I due forzati (Lisbon, 1826), Cornelio
Bentivoglio (Milan, 1844), Noc w Apeninach
(A Night in the Apennines; Cracow, 1845);
3 ballets; a mass; numerous vars. and other
pes. for pf.; also publ. (in 12 vols.) 50 psalms
of B. Marcello, with added instrl. ace.; and
a Trattato intorno agli stromenti ed all* istro-
mentazione (1825).
Mi'ry, Karel, b. Ghent, Aug. 14, 1823; d.
there Oct. 5, 1889. Pupil of Mengal and
Gevaert. He wrote 18 Flemish operas and
operettas for Brussels, Antwerp, and Ghent,
where he was prof, of harm, ana Vice-Director
of the Cons.
Mi8'8a9 Edmond-Jean-Louls, dramatic
comp.; b. Reims, Marne, June 12, 1861; d.
Paris, Jan. 29, 1910. Pupil of Massenet at
Paris Cons.; won the Prix Cressent. Lived
in Paris as a comp., teacher, and org. at S.-
Thomas d'Aquin. — Works: Juge et Partie,
2-act opera comique (Op.-Com., 1886);
Lydia, 1-act do. (Dieppe, 1887); Le Chevalier
timidet 1-act do. (Paris, Menus- Plaisirs, 1887);
La belle Sophie, 3-act opera (ibid., 1888);
Doctor esse, 1-act pantomime (1888); La
Princesse Nangara, 3-act opera (Reims,
1892); Mariage galant, 3-act opera (Paris,
1892); Tararaboum-revue (1892); VHdte, 3-act
pant. (1893); lyric comedy Dinah (3 acts,
1894); Le dernier des Marigny, 4-act revue
(1896); Les deux PeuPUs, 1 act (1896);
Ninon de Lenclos, 4-act lyric episode (1895);
Babette (1900); Muguette (1903); Dans la
lumiere et les farfums (feerie symbolique,
1905); also orchl. music, pf. -pieces, songs, etc.
Mlt'terer, Ignaz Martin, b. St. Justina,
Tyrol, Feb. 2, 1850. St. sineing with his
uncle, Anton M., mus. "dir. there; pf. and
org. with B. Huber; then was chorister at
Neustift, n. Brixen, where he st. the works
of the early masters with K. Hdllwarth; or-
dained priest in 1874; st. again (1876-7) at
the Kirchenmusikschule in Ratisbon under
G. Jakob, M. Haller and F. X. Haberl;
1882-5, Kapellm. at the Cath. in Ratisbon;
since then mus. dir. at the Cath. in Brixen.
He has won for himself a distinguished
place among modern masters of the Pale-
strina style. His works (over 160 opus-
numbers, exclusively for the church) com-
prise about 20 masses (a 2-5), a Missa
solemnis with orch. (op. 89), 4 Requiems, a
Stabat Mater (op. 57), vespers, litanies,
offertories, motets, etc. Has also publ.
Praktischer Leitfaden filr den rdmischen
Choralgesang (1896), Die vrichtigsten kirch-
lichen Vorschrtften fur Kirchenmusik (4th ed.
1905), Praktische Chor-Singschule (4th ed.
1908).
Mit'terwurzer, Anton, baritone stage-
singer; b. Sterzing, Tyrol, Apr. 12, 1818; d.
Dobling, n. Vienna, Apr. 2, 1876. Pupil of
Gansbacher, his uncle; choir-boy at St.
Stephen's, Vienna; stage-d£but Innsbruck, as
the Jager in Das Nachtlager von Granada.
Sang in Austrian provincial theatres; eng.
1839 at Dresden . Court Opera; pensioned
1870. Favorite r61es: Flying Dutchman,
Hans Heiling, Don Giovanni, Hans Sachs, etc.
MIttler, Franz, b. Vienna, Apr. 14, 1893.
Pupil of J. Fischer, Labor, Heuberger and
Prohaska; comp. of a str. -quintet in F, a pf.-
trio, a 'cello-sonata, pf.-pes. and songs.
Mittmann, Paul, born Habelschwerdt,
June 18, 1868. St. with G. Kothe at the
seminary there, and later (1893) with G.
Riemenschneider; 1st org. and mus. dir. at
St. Michael's, Breslau; since 1901 also mus.
critic of the 'Breslauer Zeitung.' Comp. of
fine male and mixed choruses (several in
Silesian dialect), a Festmesse in G (op* 140),
and other church-music.
Mizler [nuts'-], Lorenz Christoph Hater
ennobled as Mizler von Kolof), b. Heiden-
heim, Wurttemberg, July 25, 1711; d. War-
615
MLYNARSKI— MOHAUPT
saw, Mar., 1778. Pupil of J. S. Bach on the
clavichord and in comp.; graduate of Leipzig
Univ. (Dissertatio, quod tnusica ars sit pars
erudition** musicae, 1734; 2d ed. 1736);
lecturer at the Univ., 1736; establ. the 'So-
ciety der musikalischen Wissenschaften,'
1738; from 1743, private tutor in Warsaw.
His 'Neu erdffnete rausikalische Bibliothek
. . ' (1736-54) was one of the earliest mus.
periodicals. Publ. Die Anfangsgrunde des
Generalbasses, nach mathematischer Lehrart
abgehandelt (1739); a transl. of Fux's Gradus
as Gradus ad Parnassum, oder Anfiihrung sur
regelmdssigen mus. .Composition (1742); etc.
— See Q.-Lex.
Mlynar'skJ, Emil, b. Kibarty, Poland,
July 18, 1870. From 1880-9 pupil at the
Petrograd Cons, of L. Auer (vl.), A. Rubin-
stein (pf.), and A. Liadov (comp.); debut as
violinist in Petrograd (1889), followed by
tours of Germany and England; 1893-4, 2d
cond. at the Warsaw opera, also directing
the symphony concerts; 1894-7, prof, of vL
at the mus. school of the Imp. Russ. Mus.
Soc. in Odessa; 1897-1903, 1st cond. at
the Warsaw opera; 1901-5, cond. of the
Philh. Soc., and from 1904-9 dir. of the
Cons, there; at that time he began his very
successful tours as visiting cond. (Petrograd,
Moscow, London, Paris, etc.); settled in
London in 1909; since 1910 permanent cond.
of the Scottish Orch. (Glasgow and Edin-
burgh), visiting London every season. With
the London Symph. Orch. he gave concerts
devoted entirely to Slavonic music (1912 and
'13), and in 1915 a British Musical Festival
(devoted exclusively to British composers).
— Works: Vln. -concerto in D m. (op. 11;
won the Paderewski prize in Leipzig, 1898);
a symphony in F, Polonia (op. 14); effective
pes. for vl. and pf. (op. 2, 4, 6, 7); pf.-pes.
(op. 1, 3, 5). A comic opera, A Summer
Night, was finished in 1915 (not yet prod.);
at present (1917) he is writing a second vl.-
concerto.— Cf. 'M. T.,' May, 1915.
Mocquereau [mdhk-roh'], Dom Andrt, b.
La Tessoualle, near Cholet (Maine-et-Loire),
June 6, 1849. In 1875 he joined the order of
Benedictines at the Abbey of Solesmes,
devoted himself to the study of the Gregorian
chorale under the direction of Dom Pothier,
and became teacher of choral singing in the
Abbey. After the expulsion, in 1903, of the
Order from France tney found a refuge on
the Isle of Wight (Quarr Abbey, Ryde),
where M. is now (1917) prior. Founder
(1889) and editor of the great work 'Paleo-
graphie musicale,' published serially, and
containing photographic facsimiles of ancient
MSS., together with transcriptions of the
neumes into nota quadrata, and comprehen-
sive essays on neume-notation. The following
616
numbers have appeared: (1) Codex 339 of
the St. Gall library, Antiphonale missarum S.
Gregorii (10th century), with a general In-
troduction, notes on the St. Gall library, a
description of the Codex, and the essay
Origine et classement des diffe'rentes Scritures
neumatiques; — (II and III) Responsorium
graduale Justus ut palma in facsimile after
more than 200 MS. antiphonaries of the 9th-
17th centuries, together with the essays (1)
Les neumes-accents and (2) De V influence de
V accent tonique latin et du cursus sur la
structure mSlodioue et rythmique de la phrase
grigorienne: A. V accent tonique et la psalmodie;
— (IV) Codex 121 of the Einsiedeln library,
Antiphonale missarum S. Gregorii (9th-10th
centuries), together with the second half of
the essay on neumes, B. Le cursus et la
psalmodie^V and VI) Codex addit. 34209
of the British Museum, Antiphonarium Am-
brosianum (12th century), with In trod, and
description;— (VII and VIII) Codex H. 159
of the faculty of Med. at Montpellier, Anti-
phonarium tonale missarum (11th century),
in double notation of neumes and letters,
with the essay Du rble etdela place de V accent
tonique latin dans le rythme prSgorien; — (IX)
Codex 601 of the capitular library in Lucca,
Antiphonaire monastique (12th-13th cen-
turies), together with a 'tonale* collating
the notation of the Lucca MS. with the
notation of one from Toledo; — (X) Codex
239 of the library of Laon, Antiphonale
missarum S. Gregorii (9th-10th centuries),
with the essays Les signes rytkmiquts
SangaUiens et Solesmiens and Vintroitus de la
messe 'In Medio9 et la mtlodie authentique du
'Credo1 selon VEd. Vaticana;—(X1) Codex 47
of the library of Chartres, Antiphonale mis-
sarum 5. Gregorii (10th century). — The
greater part of the preceding essays nave also
b$en printed separately. Of these, essays
Riemann says: 'The method of the Bene-
dictine of Solesmes appears to be the sole
trustworthy one, resting as it does on a
judicious maintenance of tradition upon a
cautiously broadened foundation.1
Moffat, Alfred Edward, b. Edinburgh,
Dec. 4, 1866. Pupil of L. Bussler at Berlin,
1882-88; composer, residing in London and
Germany in turn. — Works: Cantatas (for
female or children's voices) The Passing Year,
The Dressing of the Well, The Children of
Samuel, A Christmas Dream; album of ten
trios for female voices; many duets and duet-
tinos; 12 sacred rounds; 8 books of school-
songs; songs, etc.; — a pf.-quartet; pieces for
vln. and pf.; pieces for 'cello and pf.; many
vocal arrangements ('The Minstrelsie of
Scotland,' 'Folk-songs of England,' etc.); also
instrl. arrs., chiefly of classical pieces.
Mohaupt [moh'howpt], Franz, b. Jackets*
MOH R— MOLLENHAUER
thai, Bohemia, Aug. 29, 1854. St. at the
Teachers' Seminary in Leitmeritz (1869-72),
taught in various towns, and became dir. of
St. John's Orphan Asylum in Prague; since
1896 dir. of a school in Bohmisch-Leipa. —
Works: Two operas, Der Graf von Gleichen
(Reichenberg, 1901) and Sckwcdennot (not
prod.); a suite for orch. (op. 17); a pf.-
quintet in C (op. 11); Missa solemnis (op.
16); Lied der Pappenheimschen Reiter (op.
12) and Deutsche Heimat (op. 24) for male
ch. and orch. ; Lied vom Zwergenk&nig Laurin
(op. 9) for mixed ch., vl., harp, harmonium
and pf.; pf.-pcs.; many, songs.
Mohr, Hermann, b. Nienstedt, Oct. 9,
1830; d. Philadelphia, May 26, 1896. Pupil
of the Teachers' Seminary. Eisleben; went to
Berlin in 1850; founded the Luisenstadt
Cons, there; taught in Zeckwer's Cons.,
Phila., from 1886. — Works: Caqtata Berg-
mannsgruss; male choruses (e. g., Jauchzend
erhebt sich die Schbpfung^ Am Altare der
Wahrheil); songs; instructive pf. -pieces; etc.
Mtth'ring, Ferdinand, born Alt-Ruppin,
Jan. 18, 1816; d. Wiesbaden, May 1, 1887.
Pupil for composition of the Berlin Akademie;
in 1840, org. and mus. dir. at Saarbrucken;
1844, 'Royal Music-Director'; 1845, org. and
singing-teacher at Neu-Ruppin. — Works: 2
unsucc. operas, Das Pfarrhaus, and Schloss
Warren; many male choruses (e. jr., Norman-
nenzug), widely known and appreciated; other
music in MS.
Moir, Frank Lewis, born Market Har-
borough, Engl., Apr. 22, 1852; d. Deal, July
14, 1904. While a student of painting at
S. Kensington, he also learned music; won
scholarship in the Nat. Training School
(1876), and made a name as a song-composer.
— Works: A comic opera, The Royal Watch-
man; church-services; madrigal When at
. Chlot's eyes I gaze (Madr. Soc. prize, 1881);
duets; choruses; over 200 songs; Melody in
A, for vln. and pf.; etc.
Mojsisovics [mol-se'soh-vitch], Roderich
von, b. Graz, May 10, 1877. Pupil there of
E. Degner, of Wullner and Klauwell at the
Cologne Cons., and of Thuille at the Aka-
demie der Tonkunst in Munich; in 1903
cond. of the 'Mannergesangverein' in Briinn;
1908, dir. of the music-school of the Musik-
verein in Pettau, Styria; 1910-11, mus. critic
of the 'Volkszeitung' in Leipzig; since 1912
cond. of the 'Steiermarkischer Musikverein'
in Graz. — Works: The operas Tantchen Ros-
marin (Briinn, 1913) and Die roten Dominos
(finished 1915); a symph. poem, Stella; 2
symphonies, In den Alpen (Bb m.) and
Barock-Idylle (G); Serenade for str.-trio,
op. 21; a vl. -sonata, op. 29; a str.-quartet,
op. 33\ an organ-sonata, op. 38; a vln.-
concerto in F# m., op. 40; Chorus mysticus
from 'Faust,' op. 4, for soli, double ch., org.
and orch.; Wethnachtskantilenef op. 45b, for
soli, ch., org. and str.-orch.; 2 melodramas,
Ninion and Wahnsinn; melodram. music to
Sophocles' King Oedipus (for harp only);
choruses; pf.-pcs. Has written guides for
several modern operas in Schlesinger's 'Opern-
ftihrer' and analyses of Liszt's Bergsymphonie
and Heldenklage in B. & H/s 'Kleiner Kon-
zertflihrer.'
Molique [mdh-lekl, Wilhelm Bernhard,
famous violinist and comp. ; b. Nuremberg,
Oct. 7, 1802; d. Kannstadt, May 10, 1869.
His first teacher was his father, a town-
musician; King Maximilian I, hearing of
his extraordinary talent, # had . him trained
(1816) by Rovelli at Munich. A member of
the court orch. at Vienna in 1818, in 1820
he succeeded Rovelli as leader in the Munich
orch. After finishing-lessons from Spohr, he
made his first artistic tour in 1822; in 1826
Lindpaintner called him to Stuttgart as leader,
with the title of 'Musikdirektor/ He won
celebrity abroad by extended tours in Holland,
Russia, England and France. The political
crisis of 1849 caused him to settle in London,
where he remained (excepting a visit to
Stuttgart, Munich, and Frankfort, in 1859)
until 1866, enjoying' deserved success as a
soloist, quartet-player, and teacher. He re-
tired to Kannstadt in 1866.— Works: The
oratorio Abraham (Norwich Festival, 1860;
comp. in 3 months); 2 masses, a symphony,
2 pT. -trios; his highly prized compositions for
violin include the 6 concertos (real classics),
a concertino, 8 string-quartets; concertantes
for violin and pf., and for violin and flute;
violin-duets; fantasias, rondos, etc., for solo
vln.; besides a 'cello-concerto, concertantes
for flute and pf., etc.
Molitor, Raphael Fidelia, b. Sigmarin-
gen, Feb. 2, 1873. St. philosophy and theol.
in the Benedictine monastery Beuron; or-
dained priest in 1897; 1898-1904, lecturer
there on canon-law, and organist; since 1904
prior of Benedictine monastery St. Joseph n.
Coesfeld, Westphalia; app. in the same year
a member of the advisory board of the
'Editio Vaticana.' He is one of the foremost
authorities on Gregorian Chant. Has publ.
Reformchoral (1901), Die nachtridentinische
Choralreform (2 vols., 1901, '02), Choralwie-
gendrucke (1904), Der gregorianische Choral als
Liturgie und Kunst (1904); important essays
in the 'Gregoriusblatt,' 'Greg. Rundschau,'
'Kchm. Jahrb.,' 4Sbd. Int. M.-G.', etc.
Mollenhauer, Eduard, b. Erfurt, April
12, 1827; d. Owatoma, Minn., May 7, 1914.
Vln. -pupil of Ernst (1841) and Spohr (1843);
after concertizing some years in Germany,
he went to London, where he joined Jullien's
Orch., of which an older brother, Frtedrich
617
MOLLENHAUER— MONDONVILLE
(1818-85), also a violinist, was a member;
the orch. made a tour of the U. S. in 1853,
and at the conclusion of the engagement the
two brothers settled in New York as teachers;
they were the originators of the Conserv-
atory system in America. Eduard also
appeared frequently as a soloist, especially
with the N. Y. Philh. Soc.— Works: The
opera The Corsican Bride (New York, 1861);
the comic operas Breakers (N. Y., 1881) and
The Masked Ball; a vln.-concerto in A; a
concerto for 2 vis. in C; 3 symphonies;
string-quartets; solo- pes. for vl. (La Sylphide,
etc.); songs.
Mollenhauer, Emit, nephew of preced-
ing, son of Friedrich; b. Brooklyn, N. Y.,
Aug. 4, 1855. A violinist, he appeared at
the old Niblo's Garden, New York, in his
ninth year; in 1872 he entered Theodore
Thomas's orch. as one of the first violins,
remaining here some 8 years. He then
joined the Damrosch Orch., and a few years
later became a member of the Bijou Th. orch.
at Boston; was 1st violin in the Boston Sym-
phony Orch. 1885-8, then assuming the
conductorship of the Germanta and Boston
Festival Orchestras, touring the country
with the latter with famous vocal and in-
strumental soloists (Calve, Nordica, Melba;
Campanari, Plancpn, Ben Da vies; Rummel,
Joseffy, Ysajte, Marteau). In 1899 he was
elected conductor of the Boston Handel and
Haydn Society, succeeding Mr. Lang; since
1900 also cond. of the Apollo Club (male ch.),
and since 1915 of the Brookline Choral Soc.
He cond. the concerts of the Boston Symph.
Orch. at the St. Louis Expos. (1904) and at
the Panama Expos. (San Francisco, 1915).
Mollenhauer, Henry, brother of Eduard;
fine violoncellist; b. Erfurt, Sept. 10, 1825;
d. Brooklyn, Dec. 28, 1889. In 1853 he was
a member of the R. Orch. in Stockholm;
toured the U. S. from 1856-8 with Thalberg,
Gottschalk and Carlotta Patti; he settled
in Brooklyn as teacher and concert- 'cellist;
founded the H. M. Cons, in 1868, which is
still (1917) flourishing under the direction of
his sons Henry and Adolph.
Mollenhauer, Louis, eldest son of Henry;
violinist; b. Brooklyn, Dec. 17, 1863. Pupil
of his uncle, Eduard; concertized for several
years as soloist and member of the Schubert
and Mollenhauer Quintette Clubs; after his
father's death he succeeded him as dir. of
the Cons, for two years (1889-91); since then
dir. of his own Cons, in Brooklyn.
Moller (or Mdller), Joachim. SecBuRGK.
Molloy, James Lyman, b. Cornclore,
King's County, Ireland, 1837; d. Wooleys,
Bucks, Feb. 4, 1909. An amateur comp.
and writer, whose operettas (Students' Frolic,
My Aunt's Secret, Very Catching), numerous
songs, and Irish melodies with new accom-
paniments, have enjoyed considerable vogue.
Molter, Johann Melchior, d. Durlach,
Jan. 12, 1765; was Kapellm. in Durlach from
1722-33; Kirchenmusikdirektor at Eisenach,
1733-43; then again in Durlach till his
death. He was one of the most prolific instrl.
composers of the century. — Works (all in
MS. in the Landesbibl. at Karlsruhe): 169
symphonies, 14 overtures, 61 concertini a 5,
12 concerti a 4, 22 concerti a 3. — Cf. L.
Schiedermair, /. M. M.t in 4Sbd. Int. M.-G-*
(xiv, 3). — See Q.-Lex.
Momlgny [moh-me-fl€'], Jerome-Joseph
de, b. Philippeville, Jan. 20, 1762; d. Paris,
July, 1838. At 12, org. at St.-Omer, later
at Ste.-Colombe, and 1785 at Lyons; establ.
a music-business in Paris, 1800; lived later
in Tours,, but seems to have returned to
Paris.— Comp. string-quartets, string-trios,
pf. -sonatas, vln. -sonatas, an opera, Ariequin-
Cendrillon, cantatas, etc. Wrote Cours
compUt d% harmonic et de composition d'apres
une thiorie neuve (3 vols., 1806; bases the
scales on the overtone-series up to 13); and
other books supporting his theories. In
this work he lays the foundations of the theory
of phrasing. Lussy, Westphal and Riemaon
have really advanced no new theories, but
only elaborated the- principles laid down by
M. He also wrote the musical articles tar
vol. ii (1818) of Framery and Ginguene's
'Encyclopedic methodique,' giving in con-
densed form the theories advanced in his
Cours compUt (under Mesure, Motif, Pkriode,
Phrase, Ponctuation, Proportion, Rythme).
Momolet'to. See Albbrtini, Michael.
Monaste'rio, Jesus, b. Potes, Spain, Mar.
21, 1836; d. Santander, Sept. 28, 1903.
Distinguished violinist; debut 1845 as infant
prodigy; studied Brussels Cons., 1849—51/
under de Beriot; after long and brilUstat
tours, he founded the Quartet Soc. at Ma-
drid in 1861. Influential in forming taste for
classical music in Spain. Court violinist ;
prof, in, and (1894) Director of, Madrid
Cons., succeeding Arrieta. Publ. various
violin-pieces, some of which (e. g., Adieux d
I'Alhambra) were very popular.
Monbelll, Marie, famous stage-soprano;
b. Cadiz, Feb. 13, 1843. Pupil of Mme.
Eugenic Garcia in Paris; from 1869, prima
donna at Coven t Garden, London, after
sensational tours with Ullmann.
Mondonvllle [m5hn-d6hn-veT], Jean-Jo-
seph Gassanea de [de Mondonville was his
wife's maiden-name], b. Narbonne, Dec. 25,
1711; d. Belleville, n. Paris, Oct. 8, 1772.
A violinist in the Concerts spirituels, Paris,
he prod, successful motets, and succeeded
618
*aon iuszko— monsigny
■ft
Gervais in 1744 as Intendant of the 'musique
de la chapelle' at Versailles; 1755-72, cond.
of the Concerts spirituels, succeeding Royer.
—Also comp. operas and oratorios.- -Cf.
M. L. Galibert, 7.-7. C. de M. (Paris, 1856);
F. Hellouin, Feuillets d'kistoirc (ib., 1903).
— See Q.-Lex.
Moniuszko [m&h-iioosh'k&h], Stanislaw,
b. Ubiel, Govt, of Minsk, Lithuania, May 5,
1819; d. Warsaw, June 4, 1872. Pupil of
the organist A. Freyer in Warsaw (1828) and
of Rungenhagen in Berlin 1837-9, earning
his living there as an organist and music-
teacher. Then settled in Vilna. In 1858
he was app. Director of the Warsaw Opera;
later prof, at the Cons. His career as a
composer began with songs, of which, after
long waiting, he publ. 6 books in Vilna; he
also wrote many masses with accomp. of
org. or orch., several cantatas w. orch., the
Ostrobramer Litany for ch. and orch., and
other church-music; but his most famous
works are his 15 national (Polish) operas,
written in melodious and graceful style (The
Lottery, Ideal [18461, The New Don Quixote,
Night-camp in the Apennines, Idylle, Belly,
The Gypsies, Halka (Vilna, 1854 [in concert-
form 1847); the first thoroughly national
Polish opera), Jawnuta [The Paria], The
Raftsman, Verbum nobile, Rokitsckana, The
Countess, The Haunted Castle, Beata, and
Tea [unfinished]). — Biography in Polish by
A. Walicki (Warsaw, 1873).
Monk, Edwin George, b. Frome, Somer-
setshire, Engl., Dec. 13, 1819; d. Radley,
Berkshire, Jan. 3, 1900. Organist and comp.,
pupil of G. A. Macfarren; Mus. Bac, Oxon.,
1848; Mus. Doc., 1856. 1858-83, Camidge's
successor as organist of York Minster. —
Works: Ode to the Nativity [Milton]; ode
The Bard; unison service in A; other comps.;
edited 'Anglican Chant Book'; 'Anglican
Choral Service Book' ; 'Anglican Hymn Book'
(with Singleton); 'The Psalter and Canticles
pointed for chanting' (with Ouseley); and
Anglican Psalter Chants' (with Ouseley).
Monk, William Henry, b. London, Mar.
16, 1823; d. Stoke Newington, London, Mar.
18, 1889. Pupil of T. Adams, J. A. Hamilton,
and G. A. Griesbach. Org. in various London
churches; 1847 choirmaster, 1849 organist,
and 1874 prof, of vocal music in King's
College, London; prof, of music at the
School for the Indigent Blind, 1851; prof, in
Natl. Training College, 1876; in Bedford
Coll., London, 1878; Mus. Doc. Hon. causa
(Durham), 1882. He edited for the Church
of Scotland The Book of Psalms in Metre,'
'Scottish Hymnal,' 'The Psalter,' and 'Book
of Anthems ; was the mus. editor of 'Hymns,
Ancient and 'Modern,' and comp. many pop-
ular hymn-tunes (Eventide), also anthems,
chants, etc.; he edited 'The Parish Choir,'
and lectured in London, Edinburgh, etc.
Monleo'ne, Domenlco, composer of the
operas CavaUeria Rusticana (Amsterdam,
1907; rewritten as La Giostra dei Falcatori,
Florence, 1914), Alba eroica (Genoa, 1910),
Arabesca (Rome, 1913; won 1st prize at the
competition of the City of Rome [1912]),
Suona la ritirata (Milan, 1916).
Monod [moh-nohl, Edmond, b. Lyons,
Feb. 4, 1871. St. pf. with B. Roth in Dresden
and Varette Stepanov and Leschetizky in
Vienna; 1899-1906, asst. to Mme. Stepanov;
since 1907 prof, of pf. at the Geneva Cons.;
composer of songs. Has publ. Harmonic et
Milodie: Le rdle de VSUment mUodique dans
la formation de l' harmonic dissonante (1906;
Ger. tr., 1908); Mathis Lussy et le rythme
musical (1912) ; essays in 'Rev. mus. de Lyon.'
Monsigny [mflhn-se-n'5'], Pierre-Alexan-
dre, b. Fauquembergue, n. St.-Omer, Oct.
17, 1729; d. Paris, Jan. 14, 1817. Forced at
an early age, by his father's death, to support
his family, he obtained a clerkship in 1/49,
and later the post of 'maitre d'hotel' to the
Duke of Orleans; renouncing former musical
studies until, in 1754, a performance of
Pergolesi's Serva padrona so fired his imagina-
tion, that he, after a five-months' course of
harmony under Gianotti, succeeded - in
scoring a 1-act comic opera, Les Aveux in-
discrets, most successfully prod, at the Th.
de la Foire in 1759. The same theatre
having brought out in quick succession and
with increasing success 3 more operas of
his, Le Maitre en droit (1760), Le Cadi
dupe* (1761), and On ne s* arise jamais de
tout (1761), the Comedie Italienne, jealous
of its rival's good fortune, closed it by
exercise of a vested privilege, and took over
its best actors. M. thenceforward wrote
exclusively for the Comedie Italienne: Le Rot
et le fermier (1762), Rose et Colas (1764),
Aline, reine de Golconde (1766), Vile sonnante
(1768), Le DSserteur (1769), Le Faucon
(1772), La belle Arsene (1773), Le rendezvous
bien employe* (1774), were a series of- triumphs
culminating in Felix, ou V enfant trouvS
(1777). Here M. stopped abruptly; either
fearful that he had done his best, or (as he
himself modestly explained it) for lack of
ideas. He lost a government position, and
the stewardship of the Duke of Orleans'
estates, in the Revolution, but the Opera-
Comique allowed him a pension of 2,400
francs; in 1800 he was made Inspector of
Instruction at the Cons, (resigning in 1802).
In 1813 he was elected to Gretry s chair in
the Academic He had a wonderful gift of
melody, and rare sensibility in dramatic
expression, but his theoretical training was
deficient; still, he is regarded as one of the
619
MONTANARI— MONTEVERDI
creators of French comedy-opera. — Cf. Qua-
tremere de Quincy, Notice hist, sur la vie et Us
outrages de If. (Paris, 1818); M. Alexandre,
tXoge historique de P.- A. M. (Arras, 1819);
M. Hedouin, £loge de M. (Paris, 1820);
A. Pougin, M. et son temps (Paris, 1908).
— See Q.-Lex.
Montana'ri, G.f b. Salerno, 1881; pupil
of the Cons, at Naples; composer of a very
successful lyric comedy, // birichino diParigi
(Milan, 1913).
Monte, Fllippo de [Philippe de Mont,
or Philippus de Monte], b. Mons (or
Malines), 1521; d. Vienna, July 4, 1603.
Kapellmeister to Emperor Maximilian II;
later to Rudolf 1 1 . Celebrated contrapuntist ;
publ. masses and many books of motets and
madrigals; numerous others in MS. Some
of these are also in collections; a few others
are found in modern works (Hawkins's 'His-
tory' has a madrigal a 4; Dehn's 'Sammlung,'
ana Commer's 'Col lectio/ each contains a
motet ).—Ci. G. van Doorslaer, Ph. de M.
(Malines, 1895).— See Q.-Lex.
Monteclalr [mdhn-ta-klarl, Michel W-
gnolet de, b. Chaumont, 1666; d. Saint-
Denis, n. Paris, Sept., 1737. One of the
earliest players on the modern double-bass,
he was a member of the Opera orch., Paris,
1707-37. He prod, at the Opera Les FUes
de I'Sti, ballet-opera (1716), and JephU, 3-act
grand opera (1732); also comp. cantatas, a
requiem (1736), 6 trios (sonatas) for 2 violins
and bass, 'Brunettes' for flute and violin,
flute-duos, etc. — Wrote Mithode pour appren-
dre la musique (1700; revised eds. 1709,
1736), and a Mtihode pour apprendre &
jouer du violon (1720; a pioneer violin-
method; 2d ed. 1736).— See Q.-Lex.
Montemez'z.l, Italo, b. Verona, 1875;
pupil of the Milan Cons. Comp. of a cantata,
Cantico del carUici (1900), ana of the operas
Giovanni Gallurese (Turin, 1905), HeUera (ib.,
1909), and Vamore dei tre re (Milan, 1913;
M. O. H., 1914).
Montever'dl FMonteverde], Claudto
(Giovanni Antonio), b. Cremona [bapt.
May 15], 1567; d. Venice, Nov. 29, 1643.
He began his career as a viola-player in the
orch. of Duke Gonzaga of Mantua, and
studied counterpoint under the Duke's maes-
tro, Ingegneri. His first published works,
Canzonette a 3 (1584) and 5 books of madri-
gals a 5 (1587-99), foreshadowed his course
as a composer; the harmonic progressions
show a strong feeling for modern tonality, and
the dominant seventh and other dissonances
enter without preparation. M. was one of
the reformers attacked by Artusi in the
pamphlet V Artusi ovoero delle imperfeUioni
della moderna musica (1600); he was, indeed,
heartily in sympathy with the efforts of tiie
Florentines Caccini and Peri to establish a
modern musical drama. In 1603, he suc-
ceeded Ingegneri as maestro to the Duke, and
wrote, for the wedding of the latter's son
with Margherita of Savoy, his first dramatic
work, Orfeo, received with unbounded enthu-
siasm. In 1608 he set to music Rinuccini's
Arianna, and a ballet, Ballo delle ingraie.
Meantime he had" not only continued secular
composition in the smaller forms (Scherxi
tnustcali a tre voci in the French chanson -
style [1607]), but had also won fame as a
sacred composer (vespers and motets were
publ. 1610); and in 1613 was elected to
succeed Martinengo as maestro di cappella
at San Marco, Venice, at a salary of 300
ducats (raised to 500 in 1616), and a house,
besides travelling expenses. For several
years his duties as composer for the church,
and chorusmaster, absorbed his attention; in
1624 his epico-dramatic II combaUimenio di
Tancredi e Clorinda, in which a narrator
('testo') connects the dialogue, was brought
out at the palace of Senator Mocenigo; in
1627 he wrote 5 dramatic intermezzi in
episodes from Bradamanie and Dido for the
court of Parma, and in 1630 an opera, Pro-
serpine raptia, was performed at the wedding
of Mocemgo's daughter. In 1637 the first
opera-house was opened at Venice, the
Teatro di S. Cassiano, followed by a dozen
more within sixty years; up to this time
operas had been performed at the palaces
of the nobility. M. now produced the operas
Adone (Teatro SS. Giovanni e Paolo, Venice,
1639), Le None di Enea con Lavinia (ibid.,
1641), // ritorno di Ulisse in patria (T. S.
Cassiano, 1641), and V Incoronatione di
Poppea (SS. Giovanni e Paolo, 1642). He
enlarged the orchestra, selected and com-
bined with skill the instruments accompany-
ing the voices, and first employed the tremolo
of strings (Orpheus' lament, in II combaUi-
mento d\ Tancredo, is accomp. by bass viols
tremolo); besides this, his recitative is far
freer and more dramatic, sometimes expand-
ing to an arioso, and of a sentiment and force
greatly surpassing the monotonous first-
fruits of the 'stile rappresentativo.' Portions
of Orfeo (publ. 1609) were republ. 1881 by
the 'Gesellschaft fur Musikforschung' (vol.
x); portions of Poppea were repubh by H.
Golaschmidt in his Studien zur Geschichte
der ital. Oper (vol. ii, 1904). 3 more books
of madrigals were publ.; Book vi, a 5, a
'dialoguero 7 (1614), Book vii, // concerto,
a 1-6, and some songs (1619), and Book viii,
Madrigali guerrieri ed amorosi con alcuni
opuscoli in genere rappresentativo (1638). A
few detached madrigals and other numbers
have been reprinted in modern works.
Besides the vespers and motets (1610), a
620
Moody— moore
mass a 6, masses a 4, psalms a 1-8, with
litanies to the Virgin (1650), and Selva morale
e spirituals (a collection of masses, psalms,
hymns, Magnificats, motets, Salves, and a
Lamento from Arianna; in MS. in the Vienna
Library), have been preserved. — Bibli-
ography: E. Vogel, C. if., in 'Vschr. fttr
M.-W.' (vol. iii, 1887); G. Sommi Picenardi,
C. M. a Cremona (Milan, 1896); A. Heuss,
Die Instrummentalstucke des 'Orfeo* ....
(Leipzig, 1903); H. Lekhtentritt, C. M. als
Maarigalkomtfonist, in vol. x of 'Sbd. Int.
M.-G. ; A. Heuss, C. M. als Charakteristiker
in seinen Madrigalen, in 'Liliencron-Festschr.'
(Leipzig, 1910); Ft Mitjana, C. M. y los
origenes de la dpera italiana (Malaga, 1911).
— See Q.-Lex.
Moody, Charles Henry, b. Stourbridge,
Worcestershire, March 22, 1874. Pupil of
T. W. Morgan, organist at Bangor Cath.;
1893, org. at St. Michael's Coll., Tenbury;
1894, deputy-org. at Wells Cath.; 1895, org.
at Parish Ch.. Wigan, and the next year
app. cond. of the District Choral Soc.,
Church Choral Assoc., and Wigan Amateur
Operatic Soc.; 1899, org. and choirm. at
Holy Trinity, Coventry; since 1902 org.
and master of choristers at Ripon Cath.,
cond. of the Festival Chorus and Ripon
Choral Soc., and lecturer on music at the
Diocesan Training Coll. Has publ. a Festival
Magnificat, anthems, services and songs (the
latter under the pen-name of Coin t hart
Brayton) ; Music and Emotion, The Evolution
of Ecclesiastical Music, Selby Abbey from
1069-1908.
Moody, Fanny (M. -Manners), dramatic
soprano; b. Redruth, Cornwall, Nov. 23,
1866. She st. singing with Mme. Sainton-
Dojby, and made her concert-debut in a
performance of her teacher's cantata Flori-
mel (London, Apr. 25, 1885); her operatic
debut occurred as Artine (Bohemian Girl)
with the Carl Rosa company in Liverpool
(Feb., 1887); in April she won great success
at Drury Lane, but remained with the Rosa
company until her marriage to Charles
Manners (q. v.) on July 5, 1890; since then
she has always accompanied her husband on
his tours as the principal soprano of his
company. She is an artist of considerable
versatility, having sung the entire Wagner
repertoire as well as early and modern
French and Italian works; her voice is
rather light, but very sympathetic, and
she is at her best in such parts as Eva, Elsa,
Juliet, Marguerite, etc. She created the
title-rdle in Pizzi's Rosalba (1902), Militza
in MacAIpin'8 Crescent and the Cross (1903)
and Tatiana in the Engl, premiere of Tchai-
kovsky's Eugen Onegin (1892).
Moor [mohr], Emanuel, b. in Hungary, c.
1862. He st. in Budapest and Vienna; toured
the U. S. from 1885-7 as dir. of the 'Concerts
artistiques,' at which appeared soloists of
the rank of Lilli Lehmann, Ovide Musin,
Franz Rummel, etc. ; in New York (probably
in 1886) he married a wealthy lady, Miss
Burke; nothing was heard from him then
until 1894, when he played some of his own
comps. for pf. in London; in 1895 the London
Symph. Orch. prod, one of his symphonies;
in 1899 R. Rettich played some chamber-
music works in Berlin; in 1902 two of his
operas were prod, in Cologne and in 1908
another opera in Kassel; at different times
he lived in London, Lausanne and Munich.
M.'s is a case without parallel in modern
music; although he has publ. many important
works (over 150 opus-numbers) through such
houses as Schott, Simrock, Ricordi, Scnirmer,
etc., it seems impossible to discover his
hiding-place, and while his works have not
been played frequently, actual performances
have been given by Ysajte, Thibaud, Casals,
Marteau, etc. The works themselves give
evidence not only of fine workmanship, but
of real talent. — Works: The operas Die
Pompadour (Cologne, 1902), Andreas Hofer
(ib., 1902), Hochzeitsglocken (Kassel, 1908),
Der Gotdschmied von Paris; 7 symphonies
(publ. op. 45, D m.; op. 65, E m. [No. 6]
and op. 67, C [No. 7]); for str.-orch., op.
16, Serenade; op. $S, Barcarolle; op. 73,
Suite in C; for full orch., op. 63, Improvi-
sationen uber ein eigenes Thema; op. 75,
PensSes symphoniques; 2 pf. -concertos (op.
57, 58); 2 vcl.-concertos (op. 61, 64); 4 vln.-
concertos (op. 62, 66, 72, 84); a triple-
concerto for pf., vl., vcl. and orch. (op. 70);
2 suites for vl. and pf. (op. 50, 52); 7 vl.- '
sonatas (op. 12, 21, 23, 51, 54, 56, 74); 3
vcl.-sonatas (op. 22, 53, 55); a pf. -quintet
(op. 19); a str. -quartet (op. 59); a suite for
double str.-quintet (op. 103) ; a mass for soli,
ch. and orch. (op. 127); numerous pf.- pieces;
over 500 songs.
Moore, Graham Ponsonby, b. Ballarat,
Australia, Apr. 14, 1859. St. pf. with Th.
Kullak, X. Scharwenka and M. Moszkowski;
prof, of pf. at the R. C. M., and examiner for
the R. A. M. Has publ. some meritorious
pf. -music: Op. 12, Hochzeit im Dorfe; op.
22, FUnf Klavierstucke fur den Konzertoor-
trag; op. 24, Chromatische Etuden; op. 25,
Lyrische Tonbilder; op. 35, Neun Klavier-
Gedichte in EtUden-Form, etc.
Moore, John W.v b. Andover, N. H.,
Apr. 11, 1807; d. Boston, 1887. Publ.
Complete Encyclopedia of Music, Elemen-
tary, Technical, Historical, Biographical, Vocal
and Instrumental (1854); and a Dictionary of
Musical Information (1876).
Moore, Thomas, the famous poet, was b.
621
MOOS— MORELOT
in Dublin, May 28, 1779; d. Sloperton Cot-
tage, near Devizes, Feb. 25, 1852. He had
no regular musical training, but picked up
an amateurish knowledge of piano-playing
with the aid of the organist, William Warren,
and possessed a naturally pleasing voice.
He set to music many of his 125 Irish songs
and sang them with great effect to his own
accompaniment, in the home-circle. Some
of his original melodies are Love thee, dearest.
When 'mtdst the gay, One dear smile, and The
Canadian Boat-song. He also composed short
concerted vocal pieces; the terzetto 0 lady
fair, and the 3-part glee The Watchman,
won wide popularity.
Moos [mohs], Paul, distinguished writer
on esthetics; b. Buchau, Upper Swabia,
Mar. 22, 1863. Pupil of Thuille, Rhein-
berger, Bussmayer and others at the Kgl.
Akademie der Tonkunst in Munich; now
(1917) living in Ulm. Author of Moderne
Musikdsthettk in Deutschland (1902); R.
Wagner ,als Asthetiker (1906); Die psychoto-
gische Asthetik in Deutschland; has also con-
trib. many valuable essays to the 'Sbd. Int.
M.-G.\ 'Ztschr. Int. M.-G/, 'Kunstwart,* etc.
Morales, Grist6bal [Gristofero], b. Se-
villa, Jan. 2, 1512; d. Malaga, June 14, 1553.
From 1535-40 he was a singer in the Papal
Chapel. Compositions by this eminent
Spanish contrapuntist are still sung at Rome.
Modern reprints of motets and parts of
masses, etc., are in colls, by Eslava, Choron,
Martini, Proske, and Rochlitz; 2 books of
masses, many motets, Magnificats and
Lamentations were publ. during his lifetime.
— See Q.-Lex.
Morales, Olallo Juan Magnus, b. (of a
Span, father and Swedish mother) Almeria,
Spain, Oct. 13, 1874. He received his first
mus. instruction in Gdteborg; 1891-9, pupil
at the Stockholm Cons, of H. Thegerstrdm,
T. Dente and W. Stenhammar; 1899-1901, of
H. Urban and Teresa Carreno in Berlin;
1901-4, teacher of pf. and mus. critic in
Gdteborg; 1904-5, cond. of the Philh. Orch.
in Lausanne; 1905-9, again in Gdteborg as
cond. of various societies; since 1909 living
in Stockholm as critic of 'Dagens Nyheter",
app. prof, at the Cons, in 1911, and critic of
the 'Svensk Dagblad.' In 1902 he married
Clary Asplund (b. Kristinehamn, May 31,
1876), a pupil of J. Hey, and a fine concert-
singer. — Works: Symphony in G m.; a
concert-overture, Forsommar; Serenade in Eb;
Andante lugubre for orch.; Berceuse for fl.
and vl. with str.-orch.; Ballade and Berceuse
for vl. and pf.; a pf. -sonata and other pes.
for pf.; songs.
Mo'ralt, Joseph, the eldest in a famous
Munich quartet-party of brothers, and 1st
violin; b. Schwetzingen, n. Mannheim, Aug.
622
5, 1775; d. 1828 at Munich as orchestral
leader;— Johann Baptist, the 2d violin;
b. Mannheim, Jan. 10, 1777; d. Munich,
Oct. 7, 1825; also comp. symphonies, quartets,
and concertantes and duos for violin; —
Philipp, the 'cellist, b. Munich, 1780; d.
there 1829;— and Georg, the viola, b. Mu-
nich, 1781; d. there 1818.— See Q.-Lex.
Mo'ran-Ol'den, Fanny, distinguished
dramatic soprano; b. Oldenburg, Sept. 28,
1855; d. Berlin, Feb. 13, 1905. Taught by
Haas at Hanover, and Auguste Gotze at
Dresden, she made her debut as 'Fanny
Olden' (her real name was Tappenhorn) at a
Gewandhaus concert in 1877; sang the rdle
of Norma at Dresden a few months later,
and was eng. as leading soprano at Frankfort
in the autumn of 1878. From 1884-91 she
sang in opera at Leipzig (City Th.); then
until 1895 at the court opera, Munich.
Sang in New York in 1888-9. Twice married :
in 1879 to the tenor Karl Moran, and in
1897 to Herr Bertram, court singer at Munich.
More, Felicit6. See Pradher.
Morel', Auguste-Francois, self-taught
dramatic composer; b. Marseilles, Nov. 26,
1809; d. Paris, April 22, 1881. From 1836-50
in Paris, as a song-composer and writer; also
set to music Autran's La filled'Eschyle (184S),
and a ballet. VEtoile du marin (1850); tbta
returned to Marseilles, becoming director of
the Cons, there in 1852. Prod, a grand opera,
Le Jugement de Dieu (Grand Th.f 1860V,
wrote much fine chamber-music (a string-
quintet, 5 string-quartets, and a pf.-trio), for
which he twice won the 'Prix Chartier*; also
2 symphonies, overtures, cantatas, etc.
Morelli, Giacomo, b. Venice, April 14,
1745; d. there May 5, 1819. Librarian at
San Marco, and the discoverer of the frag-
ments of Aristoxenos' Art of Rhythm, which
he publ. in 1785.
Morelot [mohr-loh'], Stephen, b. Dijon,
Jan. 12, 1820; d. Beaumont, Cdte d'Or, Oct.
7, 1899. Dean of the Faculty of Jurispru-
dence there, and a connoisseur of sacred
music. Co-editor from 1845 of Danjou's
* Revue de la musique religieuse, populaire et
classique'; sent to Italy in 1847 by the
Ministry of Public Instruction to study
church-music and sacred song. Publ. numer-
ous essays, among them De la musique an
XV* Steele . . . (1856; pp. 28, and 24 music-
pages containing several motets and chansons
by Dunstable, Haynes, and Binchois, in
modern notation), Elements de V harmonic
abpliquSs d Vaccompagnement du plain-chant,
dapris les traditions des anciennes icoles
(1861; pp. 196; an excellent work). His
Manuel de Psalmodie en faux-bourdons & 4 .
voix . . . (1855) is an ingenious attempt to
revive the ancient style of harmonization.
MORENA— MORLEY
Morena [-r5'-I* Berta, dramatic soprano;
b. Mannheim, Jan. 27, 1878. Her great
physical beauty attracted the attention of
the famous painter von Lenbach; he in-
troduced her to von Possart, intendant of
the R. Opera in Munich, who advised her to
study. Alter brief training under Frau Sophie
R6hr-Brajnin in Munich, she made a most
successful d£but as Agathe (Frcischiitz) at the
court opera in 1898, and was immediately
engaged. She assumed one after another the
rdles of her distinguished predecessor, Milka
Ternina, who generously aided the younger
artist with advice and suggestions. Although
she had never sung outside of Munich, she
was engaged for the M. O. H., where she
made a successful debut as Sieglinde (Mar.
4, 1908), and remained a favorite for five
consecutive seasons; in 1914 she sang at
Cov. Garden. She is still (1917) a member of
the Munich court opera, singing also at the
Prinzregenten-Th. Equally £reat as a singer
and as an actress, her repertoire comprises the
rdles of Senta, Elisabeth, Elsa, Eva, Sieglinde,
Isolde, the three Brfinnhildes, Fidelio, Selika,
Santuzza, etc.
Moret'tl, Giovanni, b. Naples, 1807; d.
Ceglie, near Naples, Oct., 1884. Pupil of
Casella, Furno, Tritto, Zingarelli, etc., at
Naples Cons.; was leader at several theatres,
and m. di capp. at the San Carlo. From
1829-60 he wrote 24 operas; also, comp. 12
masses, a Requiem, litanies, and other
church-music.
Morgan, George Washbourne, b. Glou-
cester, Engl., Apr. 9, 1823; d. Tacoma,
Washington, in July, 1892. Sang in the
Gloucester Philh. chorus, 1834; articled to
John Amott; org. in several churches, and
cond. of the Gloucester Philh. about 1845;
went to New York in 1853; org. at St.
Thomas's (1854-5), Grace Ch. (1855-68),
St. Ann's R. C. Ch. (1868-9), St. Stephen's
R. C. Ch. (1869-70), Brooklyn Tabernacle
(1870-82), and the Dutch Ref. Ch. at
Madison Av. and 29th St. (1886-8).— Works:
A Morning Service, and anthems f. quartet,
ch. and orch.; ballads and songs; organ- and
pf.- music.
Morgan, John Paul, b. Oberlin, Ohio,
Feb. 13, 1841; d. Oakland, Cal., in Jan.,
1879. Talented organist, for many years
in New York. Composed church-music,
chamber-music, organ-pieces, songs. ^ Made
the first English translation of Richter's
Manual of Harmony (New York, 1867).
Morgan, Maud, concert-harpist; daughter
of George W. M.; b. New York, Nov. 22,
1864. She received her first instruction
from her father, then st. with A. Toulmin,
and finally with K. Oberthtir in London;
debut in 1875 in a concert with Ole Bull,
and has made tours of the U. S.; since 1895
solo harpist at Grace Ch., New York.
Morgan, Robert Orlando, b. Manches-
ter, Mar. 16, 1865. St. with Barnett, Gadsby
and Dr. Jordan at the G. S. M., where he
won several prizes, and was app. instr. of
pf. and theory in 1887, which post he still
holds (1917). Comp. of a comic opera, Two
Merry Monarchs (Savoy Th., 1910); an ora-
torio, The Crovm of Thorns; 2 cantatas for
fern, vcs., Zitella and The Legend of Eloisa;
3 vt.-sonatas; pf.-pcs.; choruses; songs. Also
publ. Exercises on the Elements of Music
and Harmony.
Morja. Pen-name of Moriz Jaff£.
Morlacchi [-lah'ke], Francesco, b. Peru-
?ia, June 14, 1784; d. Innsbruck, Oct. 28,
841. Pupil of Mazzetti and Caruso in
Perugia, of Zingarelli at Loreto, and of
Padre Martini at Bologna, where he received
the diploma of 'maestro compositore' from
the Liceo Filarmonico in 1805. Besides a
coronation-cantata for Napoleon (as King
of Italy), he prod, a Te Deum, a Miserere a
16, a Pater noster, a cantata, and other
church-music. His dramatic firstling was a
farce, II Simoncino (Parma, 1803) ; an operetta,
II Poeta spiantato, o il Poeta in campagna,
(Florence, 1807), and a comic opera H
Ritratto, ossia la Form delTastrazione (Verona,
1807), aided his growing reputation; 7 more
were prod, up to 1810, when he was eng. as
Kapellm. for the Italian Opera at Dresden,
his tenure for life being confirmed in 1811.
Here, according to Chilesotti in I nostri
maestri del passato, M. formed a classic style
blending Italian vivacity with German
philosophical profundity; he brought out 11
more operas in Dresden and Italy, and wrote
much sacred music: Requiem for the King
of Saxony, 10 grand masses w. orch., a Passion-
oratorio (1812), the oratorios Isacco (1817)
and La morte di Abele (1821), cantatas,
hymns, etc.; besides organ-pieces and songs.
Morley, Thomas, English contrapuntist;
b. 1557; d. 1603. A pupil of Byrd; Mus.
Bac, Oxford, 1588; Gentleman of the Chapel
Royal, 1592, also Epistler and Gospeller. —
Puol. compositions: Canzonets t or Little
Short Songs to three voyees (1593); MadrigaUs
to Foure Voyees (1594); The First Booke of
Balletis to fiue voyees (1595; reprinted 1842 in
score by the Mus. Antiq. Soc.); The First
Booke of Canzonets to Two Voyees (1595);
Canzonets, or Little Short Aers to fiue and
sixe voices (1597); The First Booke of Aires
or Little Short Songes to sing and play to the
Lute with the Base- Viol (1600; contains the
song // was a lover and his lass from 'As you
like it,' reprinted in Knight's 'Shakespeare/
and Chappell's 'Popular Music of the Olden
Time'). — M.'s works are unusually melodious
623
MORNINGTON— MOSCHELES
for the period, and many of the madrigals
and ballets are still popular; the canzonets a
3-4, and madrigals, were publ. in modern
score by Holland and Cooke; 5 sets of harp-
sichord-lessons are in 'Queen Elizabeth's
Virginal Book1; services and anthems are in
Barnard's and Boyce's colls. — M. edited
'Canzonets or Little Short Songs to Foure
Voyces. Celected out of the best and approued
Italian Authors' (1598); 'Madrigals to fiue
voyces [dittol' (1598); and The Triumphes
of Oriana, to fiue and sixe voyces, composed
by diuers seuerall aucthors' (1601 ; reprinted
in score by Wm. Hawes). — He wrote the
first regular treatise on music publ. in Eng-
land: A Plaint and Easie Introduction to
Practicall Musicke . . . (1597; an excellent
work; publ. in German as Musica practice);
and edited the curious treatise, 'The First
Booke of Consort Lessons, made by diuers
exquisite Authors for sixe Instruments to
Play together, viz. the Treble Lute, the
andora, the Citterne, the Base Violl, the
Flute, and the Treble Violl' (1599; rev. ed.
1611).— Cf. O. Becker, Die englisehen Madri-
galisten W. Bird, Th. M. und J. Dowland
(Bonn, 1901).— See Q.-Lex.
Mornington, Garret Golley Wellesley,
Earl of; the father of Wellington; b. Dangan,
Ireland, July 19, 1735; d. May 22, 1781. He
excelled as a glee-composer. In 1776 and
'77 the Catch Club awarded him prizes for
catches; and in 1779 for the glee Here in a
cool grot. Sir H. R. Bishop edited a complete
coll. of his glees and madrigals (1846). He
was Mus. Doc., Dublin, and prof. 1764-74
at Dublin Univ.
Morse, Charles Henry, born Bradford,
Mass., Jan. 5, 1853. Graduate (a) of the
New Engl. Cons., Boston, 1873, under J.
C. D. Parker (pt.), S. A. Emery (harm.), and
Geo. E. Whiting (org.); (b) of the Boston
Univ. College of Music, 1876, under Parker,
J. K. Paine, and Whiting. Then st. pf. 1
year with Perabo, and 3 years with Baermann.
Mus. Bac.f Boston Univ., 1879. Teacher of
gf. and org. at N. E. Cons., 1873-8; Mus.
>ir. at Wellesley College, 1875-84; founder
and director of the Northwestern Cons, of
Music, Minneapolis, 1885-91; 1891-99, org.
and choirmaster at Plymouth Church,
Brooklyn; Pres. of N. Y. State M. T. A.,
1894-6; Pres. of Alumni, and Trustee of N.
E. Cons.; co-founder, and first 'Sub- Warden,'
of A. G. O. Excellent organist and chorus-
cond.; teacher of organ-playing and voice-
building. — Publ. a Choral Song, Agnus Dei,
anthems, Christmas Carols; many arrs. for
org., and several valuable compilations (The
Contemporary Organist,' 'A March-Album,'
The Church-Organist/ The Junior Church-
Organist,' The Wellesley Coll.*, 'Songs for
the Chapel,' etc.).
Mor'telmans, Lodewijk, born Antwerp,
Feb. 5, 1868. Pupil of the Cons, there and
in Brussels; especially famous in his native
country for his songs, which have won for
him the title 'the prince of Flemish song."
Has also written a symphony, Germania; a
symph. poem, Wilde Jagd; a cantata, Sinai;
Ariadne, dram, scene for ten. and orch.; pes.
for str.-orch.
Mortier de Fontaine [mfir-t'ya'], Henri -
Louis-Stanislas, pianist; b. May 25, 1816,
Wisniewiec, Volhynia, Russia; d. Balham,
London, May 10, 1883. Debut Danzig,
1832; 1833 in Paris; 1837, Italy; 1842, again
in Paris, going to Russia in 1850, and settling
in Petrograd 1853-60 as a teacher; taught
1860-8 in Munich; travelled; and spent his
last years in London. Noted as the first to
play in public one of the 5 last Beethoven
sonatas (op. 106); also among the earliest
pianists to play works of Bach in recitals.
Mortimer, Peter, a Moravian brother; b.
Puttenham, Surrey, Dec. 5, 1750; d. Dresden,
Jan. 8, 1828. Wrote a valuable treatise on
the old church-modes, Der Choralgesang %ur
Zeit der Reformation (1821).
Mosca, Giuseppe, b. Naples, 1772; d.
Messina, Sept. 14, 1839. Pupil of Fenaroli;
accompanist at the Th. Italien, Paris, 1803-9;
m. di capp. at Palermo Th., 1817-21; mus.
dir. of Messina Th., from 1823. Very pro-
lific opera-composer; 44 operas (comic,
serious), and 2 ballets, were prod, on leading
Italian stages. — His brother,
Mosca, Luigl, b. Naples, 1775; d. there
Nov. 30, 1824. Likewise a pupil of Fenaroli,
and a dramatic comp., having prod. 14 operas.
He was maestro al cembalo at the San Carlo
Th., and later prof, of singing at the Cons,
di San Sebastiano. Also comp. an oratorio,
Joas, a festival mass, etc.
Mo'scheles [m6h'sh£-less], Ignaz, eminent
pianist, pedagogue and composer; b. Prague,
May 30, 1794; d. Leipzig, Mar. 10, 1870.
His father was^ a Tewish merchant. From
1804 he was trained by Dionys Weber at the
Prague Cons., and at 14 played publicly a
concerto of his own composition. On his
father's death, shortly after, he went to
Vienna to study under Albrechtsberger (cpt.)
and Salieri (comp.), earning his living as a
pianist and teacher. His conspicuous talents
won him access to the best circles; he pre-
pared the pf.-score of Beethoven's Fiaelio
under the composer's supervision, and entered
into friendly rivalry with Meyerbeer, then a
brilliant pianist, and Hummel. On tours to
Munich, Dresden and Leipzig (1816), and
to Paris (1820), his remarkable playing was
624
MOSEL— MOSER
much applauded; he was the pioneer in
developing the various modifications of tone
by touch, afterwards exploited by Liszt and
his following of the 'orchestral1 school. In
1821 M. settled in London; though he made
frequent trips to the Continent, and gave
Mendelssohn piano-lessons at Berlin in
1824. He had increasing success in London
both as a teacher and composer, and his
concerts were thronged. His friendship with
Mendelssohn was cemented by the latter's
repeated visits to London; and in 1846 he
was persuaded to join Mendelssohn's staff of
teachers in the newly founded Leipzig Con-
servatorium. Here he contributed in no
small measure to the fame of the institution,
and trained a host of pupils from all quarters
of the globe. He was noted for his sym-
pathetic interpretation of compositions of
the most various schools, and for fine flights
of free improvisation; his playing was ener-
getic, brilliant, and strongly rhythmical —
features equally characteristic of nis compo-
sitions (of very unequal merit), in which a
sustained loftiness of style is at times blended
with no mean emotional power. — Works
(142 opus-numbers; those up to 80 appeared
before 1830): 8 pf. -concertos: — No. 1, op.
45; No. 2, op. 56 in Eb; No. 3, op. 60 in G m.;
No. 4, op. 64; No. 5, op. 87 in C; No. 6, op.
90 in Bb (fantastique); No. 7, op. 93 (pathl-
tique); No. 8, op. 96 (pastoral); Noe. 3, 5
and 6 are favorites; — also f. pf. and orch.,
Marche d* Alexandre, op. 32; Souvenirs d'lr-
lande, op. 62; Ankldnge aus Schottland, op.
75; Souvenirs de Danemark, op. 72; — f. pf. w.
other instrs., Grand septuor (pf., vln., via.,
clar., horn, 'cello, d.-bass), op. 88; Grand
sextuor (pf., vln., flute, 2 horns, 'cello), op.
35 ; Vars. on an Austrian melody (pf ., 2 vlns.,
via., 'cello, d.-bass), op. 42; pf.-trio, op. 84;
duos with violin, with horn, and with guitar;
sonata f. pf. and 'cello, op. 121; etc.; — f. 2
£fs., Hommage d Handeltop. 92 (very effective) ;
>uo concertant on Preciosa, op. 87b; Les
Contrasts, op. 115 (2 pfs., 8 hands); — f. pf.
4 hands, Sonata in Eb, op. 47, and Sonaie
symphonique in B m., op. 112; — f. pf. solo,
Sonaie caracUristique, op. 27; Sonaie mSlan-
colique, op. 49; Allegro di bravura, op. 51;
La Tenerezza (rondo), op. 52; Les Charmes de
Paris, op. 54; also excellent studies (24
Characteristic St., op. 70; 12 ditto, op. 95;
54 Etudes de concert, op. Ill; V Ambition, and
I'EnJouement [2 6tudesj; etc.). M. translated
Schindler's biogr. of Beethoven into Engl,
(with numerous additions), publ. as The Ltfe
of B. (2 vols., London, 1841).— His wife,
Charlotte M.f tUe Embden (d. Detmold,
Dec. 13, 1889), wrote Aus Moscheles' Leben.
Nach Briefen und Tagebuchern herausgegeben
(Leipzig, 1872; 2 vols.; Engl. transL by
Coleridge, London, 1873). His correspondence
with Mendelssohn was publ. by his son, F.
Moscheles (Leipzig and London [Ger. and
Engl.]); F. Moscheles also publ. Fragments of
an Autobiography (London, 1899).
Mo'sel, Ignaz Franz, Edler von, b.
Vienna, Apr. 2, 1772; d. there Apr. 8, 1844.
Composer (operas, overtures, etc.), conductor,
vice-director of the court theatres (1820),
and from 1829 custodian of the Imperial
Library. In 1816 he cond. the first concert
of the 'Gesellschaft der Musikfreunde.' He
also was the first conductor in Vienna who
directed with the baton (1812).— Wrote Ver-
such einer Astheiih des dramatischen Tonsatzes
(1813); Ober das Leben und die Werhe des
Antonio Salieri (1827); Ober die Original-
partitur des Requiems von W. A. Mozart
(1829); Geschichte der Hofbibliotheh (1835);
and Die Tonkunst in Wien wahrend der
letzten fiinf Decennien (1818, in the Vienna
'Allgem. musikal. Zeitung'; separate reprint
1840).— Cf. R. Batka, Moseliana, in 'Musik-
buch aus Osterreich' (1911 and 1912).
Mo'senthal [-tahl], Joseph, b. Kassel,
Nov. 30, 1834; d. New York, Jan. 6, 1896.
Pupil of his father and Spohr: for 4 years
leader of 2d violins in the court orch. cond.
by Spohr. Went to America 1853; became
organist and choirmaster in Calvary Ch.,
New York, in 1860, resigning in 1887. From
1867 to the day of his death, he was cond.
of the N. Y. Mendelssohn Glee Club; played
for forty years with the first violins in the
Philharm. Orch.; and was 2d violin in the
Mason and Thomas Quartet during the 12
years of its existence. — Publ. works: Anthems,
hymns, etc., for the Episcopal church; part-
songs f. male ch. (Thanatopsis, Blest pair of
Sirens, Music of the Sea, etc.); Sunday Lyrics
(6 songs); psalm The earth is the Lord's;
numerous songs.
Moser, Andreas, b. Semlin, Hungary,
Nov. 29, 1859. Pupil of Joachim in 1878 at
the Kgl. Hochschule in Berlin. When a
nervous affection of his arm compelled him
to renounce the career of a virtuoso, he
became Joachim's asst., showing unusual
ability as a teacher, so that in 1888 he was
app. instr. at the Hochschule; made Prof, in
1900. He has written a biogr. of Joachim
(1899), which after the latter's death was
entirely rewritten and enlarged, /. /. Ein
Lebensbild (2 vols., 1908); ed. J oh. Brahms
im Briefwechsel mit J. J, (1908; vols, v and
vi of the B. corresp.) and [with Joh. Joachim]
Briefe an und von J. J. (3 vols., 1911/12, '13).
Also ed. (with Joachim) Beethoven's Str.-
quartets and Bach's Partitas for vl.; (with
H. Becker) Mozart's and Schubert's Str.-
quartets; (with G. Schreck) Bach's Violin-
concertos and Violin-sonatas.
Moser, Hans Joachim, son of preceding;
625
MOSER— moszkva
b. Berlin, May 25, 1889. Pupil of H. van
Eykcn, G. Tenner and R. Kahn, and in singing
of Oskar Noe and Felix Schmidt; st. from
1907-10 at the Univs. of Marburg, Berlin
and Leipzig musicol., Germanic phil., and
hist.; Dr. phil., Rostock, 1910, with the
dissertation Die Musikergenossenschaften im
deuischen Mittelalter; living as concert-bari-
tone in Berlin. Has publ. a number of songs
(op. 1-5); in MS. Gesang der Vestalin for
alto and orch.; Proserpina for alto solo, m.
ch. and orch.; Tanzretgen for orch. To the
music of Weber's Euryanthe he wrote an
entirely new text, Die sieben Raben (Berlin,
1915). Has written Jos. Joachim (1908; not
to be confused with his father's larger work),
Goethe und die musikalische Akustik (1910; in
'Liliencron-Festschr.'), Technik der deuischen
Gesangskunst (1911; with O. Nog). Ready
for publication (1916) Geschichie des Streich-
instrumentenspiels im Mittelalter and Die
Entstehung des Durgedankens,
Md'ser, Karl, violinist; b. Berlin, Jan.
24, 1774; d. there Jan. 27, 1851. Pupil of
Bdttcher and Haacke. Joined the royal
orch.; then travelled for several years, and
rejoined it in 1811. Received tne title of
'Royal Kapellm.' In 1826 he cond. the
first perf. of Beethoven's Ninth Symph. in
Berlin. His son August, b. Berlin, Dec. 20,
1825, died while touring America in 1859;
he publ. a few violin-pieces.
Mose'wius, Johann Theodor, b. Kdnigs-
berg, Sept. 25, 1788; d. Schaffhausen, Sept.
15, 1858. Opera-singer in Konigsberg and
Breslau; in 1829, Univ. Mus. Dir. in Breslau,
and 1831 Dir. of the Acad. Inst, for Church-
music. By establishing the Singakademie
(1825), and giving masterly performances of
the finest classical works from Bach to
Beethoven, he exercised a mighty influence
on the musical life of Breslau. — Publ. J, S.
Bach in seinen Kirchencantaten und Choral-
gesdngen (1845), and J. S. Backs Matthaus-
passion (1852).— Cf. A. Kempe, Erinnerungen
an J. T. M. (Breslau, 1859).
Moson'yi, (real name Michael Brandt,)
b. Boldog-Aszony, Hungary, Sept. 4, 1814;
d. Pest, Oct. 31, 1870. At first a piano-
teacher, and, as a composer, a disciple of
the classic school, he became enamoured of
the national music. Liszt (who later re-
tarded him as the noblest representative of
Hungarian music) proposed in 1857 to bring
out M.'s German opera Maximilian, but
ventured to suggest some changes, whereupon
the composer threw the MS. into the fire.
From 1842 he lived in Pest; the transfor-
mation of his style took place about 1860, and
in 1861 he prod, an Hungarian opera, Slip
Ilonka; a second, Almos, was not perf. His
other works are a funeral symphony for
Count Szechenyi; a symphonic poem, Tri-
umph and Mourning of the Honved; an overture
with the national song 'Szozat'; piano-pieces
(Studies for the Improvement of Hungarian
Music; Childhood's Realm); etc.
Moezkowski [m6hsh-k6hf'ske], Alexan-
der, brother of Moritz; b. Pilica, Poland,
Jan. 15, 1851. Living in Berlin; for many
years mus. critic for the 'Deutsches Montags-
blatt', and joint-editor of the Berliner
Wespen. Now (1917) ed. of 'Lustige
Blatter.' Has publ. the humorous booklets
Anton Notenquetschers Neue Humoresken
(1893; 9th ed. 1904), Anton Notenquetschers
heitere Dichtungen (1894) ; etc. A serious work
is Die Kunst in 1000 Jahren (1910). He has
transl. Haweis's Music and Morals as Die
Tonkunst und ihre Meister (1912).
Moazkow'ski, Moritz, brilliant concert-
pianist, teacher, and composer; b. Breslau, Aug.
23, 1854. His father, a Polish gentleman of
independent means, early recognized his son's
mus. talent. M. was trained at home, in the
Dresden Cons., and at the Conservatories of
Stern and Kullak in Berlin, in which latter
he taught for several years. His first public
concert, at Berlin, 1873, was highly successful,
and, followed by tours to other German
cities., and to Warsaw and Paris, establ. his
fame as a pianist. Until 1897, M. made
Berlin his headquarters; since then he has
been living in Paris. In 1899 he was elected
a member of the Berlin Akademie. — As a
composer he is most widely known by his
elegant and dainty salon-music for piano;
the Spanish Dances brought his pieces into
vogue, and the concert-studies, concert-
waltzes, gavottes, Skiaen, a Tarantella, a
Humoresque, etc., have also won favor
among pianists. In larger forms he has
successfully produced an opera, Boabdil, der
Maurenkonig (Berlin, 1892); the music to
Grabbe's Don Juan und Faust (1896); a
ballet, Laurin (1896); a symphonic poem,
Jeanne d'Arc, op. 19; Phantastischer Zug (.
orch.; A us oiler I I err en Lander f. orch., oo.
23; 2 orchl. suites (F, op. 39; G m., op. 47);
a violin-concerto, op. 30; a pf. -concerto in
E, op. 59; Der Scluifer puttie sich zum Tanz,
scene from 'Faust' for soli, ch. and orch.; a
Suite for 2 violins and pf., op. 71. About 75
opus-numbers have appeared.
Moszkva, Prince of the [Joseph Napo-
leon Ney, eldest son of Marshal Noyl; b.
Paris, May 8, 1803; d. St.-Germain-en-Laye,
July 25, 1857. A senator, and Brigadier-
Gen, under Napoleon III, he was a thorough
and talented musician. In 1843 he establ.
the 'Soc. de musique vocale, religieuse^et
classic j ue' (for prod, works of the 16th-17th
centuries), himself conducting the concerts
in his palace; the society publ. 11 vols, of
626
MOTTA— MOUTON
these works. He brought out 2 successful
operas at the Opera-Comique, Le Cent-suisse
(1840), and Yvonne (1855); also prod, a
solemn mass w. orch. in 1831.
Motta, Jose* da. See Da Motta.
Mottl, Felix, b. at Unter-St. Veit, near
Vienna, Aug. 24, 1856; d. Munich, July 2,
1911. His fine boy-soprano voice gained
him admission to the Ldwenberg 'Konvikt';
he studied thereafter at the Vienna Cons,
under Hellmesberger (conducting), Dessoff
(comp.), Bruckner (theory), and Scheuer and
Door (pf.), graduating with high honors.
In 1875 he went to Wagner as one of the
'musikalische Assistenz' during the prepara-
tions for the first Bayreuth festival. He cond.
the Academical 'Wagnerverein' for some
time, and in 1880 [correct date] succeeded
Dessoff as court Kapellm. at Karlsruhe,
where he also cond. the Philharm. Concerts
until 1892; in 1893 the Grand Duke app.
him General Musical Director. In 1886 he
acted as conductor-in-chief at Bayreuth, and
his distinguished success in that capacity
won the flattering offer of an appointment as
court Kapellm. of the Berlin Opera, which
he declined. In 1898 he was also obliged to
decline a similar call to Munich. As a
'travelling conductor' M. directed successful
concerts in London (1893, '94) and Paris.
In 1903 he resigned his position in Karlsruhe,
and went as 'Generalmusikdirektor' to
Munich; in 1904 he was app. co-dir. (with
H. Bussmeyer) of the 'Kgl. Akademie der
Musik'; in 1907 he also became dir. of the
court opera. In 1903 he was engaged by
Conried to conduct the projected perform-
ances of Parsifal at the M. O. H. in New
York, but after careful preparation of the
work he withdrew at the last moment owing
to the protests of the Wagner family, leaving
the direction of the work to Alfred Hertz.
However, he cond. some of the other Wagner
works, and a symphony concert at the M.
O. H., during the season of 1903-4. In 1892
M. married the opera-singer Henriette
Standhartner, from whom he was subsequently
divorced; shortly before his death he married
Zdenka Fassbender (b. Tetschen, Dec. 12,
1879), since 1906 principal soprano at the
Munich court-opera. — M. was one of the
greatest conductors of his time, a man of
wonderful versatility. On Feb. 1, 1884, he
brought out Cornelius's Barbier von Bagdad
in a new version, entirely reorchest rated;
when he became convinced that this 'arrange-
ment' had turned out somewhat too radical,
he made a new arrangement with Hermann
Levi, and in this form the work has become
a fixture in the repertoire of German opera-
houses. In 1890 he also cond. the first
complete performance of both partsof Berlioz's
Les Troyens (Karlsruhe, Dec. 7, 8 [in Ger-
man]); he orchestrated Wagner's Fiinf Ge-
dichte; edited Wagner's early overtures,
Konig Enzio, Polonia, Christoph Columbus and
Rule Britannia (1907); his complete vocal
scores of Wagner's dramatic works were
publ. posthumously in the 'Ed. Peters' (1914).
He also orchestrated works of Handel, Ra-
meau, Mozart, Loewe and Schubert. His few
original comps., showing masterly workman-
ship without real inspiration, are the operas
Agnes Bernauer (Weimar, 1880), and the
1-act Furst und Sanger (Karlsruhe, 1893);
a Testspiel,' Eberstein (Karlsruhe, 1881);
a 'Tanzspiel,' Pan im Busch (ib., 1900); a
string-quartet in F# m. (1898); 2 books of
songs.-— Cf. E. Kloss, F. M.t in 'Monographien
moderner Musiker,' vol. iii (Leipzig, 1909).
Mount-Edgcutnbe, Richard, Earl of,
English amateur composer; b. Sept. 13,
1764; d. Richmond, Surrey, Sept. 26, 1839.
Prod, an opera, Zenobia, at the King's Th.,
London, 1800. Wrote Mus. Reminiscences of
an Amateur . . . chiefly on Ital. opera from
1773-1823 (London, 1823; 4th ed. 1834).
Mouquet [moo-kul, Jules, born Paris,
Tuly 10, 1867. Pupil at the Cons, of X.
Leroux (harm.) and Th. Dubois (comp.);
won 1st Prix de Rome in 1896 with the
cantata Melusine; PrixTremont in 1905, and
Prix Chartier (for chamber- music) in 1907;
since 1913 prof, of harm, at the Cons.; in
1908, Vice-pres. of 'Soc. des Compositeurs
de Musique.' — Works: The oratorios Le
Sacrifice d* Isaac and Le Jugement dernier;
for orch.: op. 2, Diane et Endymion, symph.
prelude; op. 4, Nocturne; op. 5, Persie el
Andromede, symph. poem; op. 11, Au Village,
symph. sketch.; op. 14, Danse grecque; op.
18, Marche antique. Op. 23, Divertissement free
for fl. and harp.; op. 15, Sonata for fl. and
pf. (La FMte de Pan); op. 19, do. in A for vl.
and pf.; op. 24, do. in E ra. for vcl. and pf.;
2 Str.-quartets, op. 3 (C m.) and op. 20 (w.
harmonium); a Sonata (op. 10) and a Suite
(op. 9) for 'Mustel' org. or harm.; minor
works for fl. and pf., oboe and pf., bassoon
and pf., saxophone and pf.; organ- works
(Suite symph., etc.); a Septuor for wind-
instrs. ; pf .-pes. (3 Sonatinas, £tudes antiques,
etc.). Has also written a Cours complement
taire d'harmonie.
Moure t [moo-ral, Jean-Joseph, b. Avi-
gnon, April 11, 1682; d. in Charenton insane
asylum, Dec. 20, 1738. Cond. of the Con-
certs spirituels, and comp. to the Corned ie
Italiehne. He prod, ephemeral operas and
ballets. — See Q.-Lex.
Moussorgsky. See Mussorgsky.
Mouton [moo-t6hn'], (Jean de Hollln-
gue, called Mouton,) important contra-
627
MOUZIN— MOZART
punt 1st; born Holling (?), near Metz; d. St.-
Quentin, Oct. 30, 1522. A pupil and follower
of Josquin; chapel-singer to Louis XII and
Francis I; canon at Therouanne and St.-
Quentin. He was Willaert's teacher. Many
masses and motets were publ. between 1508
and 1540; many in MS. are in the Munich
Library. Glarean's Dodehachordon (republ.
by P. Bonn, 1889) contains some motets,
etc.; 3 motets and a hymn are in the histories
of Burney, Forkel, Hawkins, and Busby;
also in Commer's 'Collection a mass, Alma
Redemptoris, was republ. by H. Expert in his
'Maitres Musiciens' (vol. ix). — See Q.-Lex.
Mouzin [moo-zan'], Pierre-Nicolas (call-
ed fedouard), b. July 13, 1822, at Metz; d.
Paris, 1894. He studied in the branch of the
Paris Cons, at Metz; a teacher there in
1842, and Director in 1854; from 1871 (after
the Franco-German war), teacher in the
Paris Cons. — Works: 2 operas; cantatas,
symphonies, church-music, songs; historical
sketches of the Metz Music-school and the
'Societe chorale de l'Orpheon' there; also a
Petite grammaire musicale (1864).
Mo'zart, (Maria) Anna ['Nannerl']*
daughter of Leopold; b. Salzburg, July 30,
1751; d. there Oct. 29, 1829. Taught by her
father from 1759, she quickly developed into
an excellent pianist, at first the equal of her
pifted brother; but after their Vienna trip
in 1768 she remained at home, aided in
supporting the family by teaching, and in
1784 married Baron von Berchthold zu
Sonnenburg. After his death she resumed
lesson -giving; in 1820 her eyesight failed.
Mo'zart, (Johann Georg) Leopold, the
father of Wolfgang Amadeus; b. Augsburg,
Nov. 14, 1719; d. Salzburg, May 28, 1787.
A poor bookbinder's son, ne learned music
as a choir-boy in Augsburg and at Salzburg,
whither he went to study law, supporting
himself by giving music-lessons. An ex-
cellent violinist, he entered the Prince-
Bishop's orchestra in 1743, was app. court
composer, and vice- Ka pel lm. in 1762. He
married Anna Maria Pertlinof Salzburg in
1747; of their 7 children only two, 'Nannerl*
and Wolfgang, passed the age of one year.
The parents devoted their lives to the musical
education of these two (cf. Mozart, W. A.).
Leopold M. was a noteworthy composer:
12 oratorios, other sacred music, operas
(probably written by his son), pantomimes,
etc.; many symphonies (18 publ.), serenades,
divertimenti (the Musikalische Schlittenfahrt
was publ.), concertos, chamber-music (6 trio-
sonatas for 2 violins w. basso continuo were
publ.), organ-music, pf. -music (12 pieces, Der
Morgen und der Abend, were publ.). His
celebrated violin-method, Versucn einer grund-
lichen Violinschidc (1756; 2d rev. ed. 1770;
then often republ. up to 1804; in French
1770 and 1801; also in Dutch), is thought:
to be the earliest after Gemtniani's (1740).
A selection from his works was publ. by
M. Seiffert in 'Dkm. der Tonk. in-Bayern*
(vol. ix, 2).— Cf. E. A. Engel, 'Aus L. und,
des Sohnes W. M.'s irdischem Lebensgang
(Salzburg, 1902).— -See Q.-Lex.
Mozart [moh'tsahrt], Wolfgang Ama-
deus, (baptismal names Johannes Chry-
sostomus Wolfgangus Theophllus,) was
born in Salzburg, Jan. 27, 1756; d. in Vienna,
Dec. 5, 1791. In his fourth year he manifested
such eager and intelligent interest in his
sister's clavichord-lessons, that his father
began teaching him, as well; he also composed
little pieces. His progress was so rapid that
in January, 1762, the father ventured to
introduce his children to the public on a
concert-trip to Munich, and in September
to Vienna; the Emperor, Francis I, frequently
invited the children to the palace, where
Wolfgang was wholly at his ease amid the
brilliant assemblage, caring only for the
approval of connoisseurs. Some of the pieces
which he played were sonatas by D. Paradies
and J. C. Bach, and a concerto by Lucchesi.
While in Vienna, a small violin was given
him, on which he learned to play without
instruction ; he learned the organ in the same
manner, after the use of the pedals had
been explained. A longer journey, to Paris,
was undertaken in 1763; the brother and
sister gave private and public concerts on
the way, ana in Frankfort Wolfgang played
concertos both on the harpsichord* and the
violin; accompanied symphonies on the
harpsichord; and finished by lon£ improvi-
sations 'out of his head.' In Pans the pair
played before the royal family, and gave
two brilliant public concerts. Here Wolf-
gang's first publ. compositions appeared, op.
1 and 2, each comprising // Sanities pour le
clavecin [2 harpsichord-sonatas] with violin
ad lib. The travellers' reception in England
(1764) was so cordial, that they remained
there about 15 months; the King tried M.'s
faculty for sight-reading with works by Bach,
Handel, Abel, etc., and greatly admired his
playing. Here Wolfgang composed six so-
natas for violin and harpsichord, and his
first symphonies, which were performed
repeatedly. Of his marvellous progress his
father wrote home: "Our high and mighty
Wolfgang knows everything in this, his
eighth year, that one can require of a man
of forty." On the return- journey they
passed through Lille, The Hague, Paris,
•The clavichord and harpsichord were his instru-
ments up to 1777, when he visited Augsburg and tried
the new pianofortes constructed by Stein; with which
he wai so delighted that he thenceforward played on,
and wrote for, the pianoforte.
628
MOZART
Dijon, Bern, Zurich, Donaueschingen, Ulm,
Munich, etc.; and arrived in Salzburg in
November, 1766, having been absent three
years. After an interval of rest and serious
study, during which M. composed his first
oratorio (1767), they revisited Vienna in
1768, and M. wrote, at the Emperor's request,
his first opera, La finta sempUce; its pro-
duction was prevented by intrigues, although
Hasse and Metastasio declared that thirty
operas, in no way equal to the boy's, had
been given there (it was brought out at
Salzburg in 1 769). However, the 'Liederspiel'
Bastien und Bastienne was privately per-
formed; and M. made his first appearance
at a large public concert as a conductor,
directing his own Solemn Mass (Dec. 7,
1768). Returning to Salzburg, he was ap-
pointed Konzertmeister to the Archbishop.
For the purpose of broadening his son's
education, Leopold Mozart decided on an
Italian tour, leaving home in Dec., 1769.
The program of a concert at Mantua,
Jan. 16, 1770, exhibits M.'s versatility
at the age of 14: — A Symphony of his
own composition; a Clavichord-concerto,
which will be handed to him, and which
he will immediately play prima vista;
a Sonata handed him in like manner, which
he will provide with variations, and after-
wards repeat in another key; an Aria, the
words for which will be handed to him, and
which he will immediately set to music and
sing himself, accompanying himself on the
clavichord; a Sonata for clavichord on a
subject given him by the leader of the violins:
a Strict Fugue on a theme to be selected,
which he will improvise on the clavichord
[harpsichord?]; a Trio, in which he will
execute a violin-part all'improwiso; and
finally, the latest Symphony composed by
himself. — It was in Rome that M., after
twice hearing Allegri's famous Miserere,
wrote out the entire score from memory,
without a mistake. This journey was a
veritable triumphal progress; his concerts
were crowded, his genius recognized by the
highest musical authorities; the Pope con-
ferred on him the order of the Golden Spur,
and he was elected a member of the Bologna
Philharmonic Academy, after passing the
required examinations." At Milan his 3-act
opera seria Mitridate. re di Panto, was en-
thusiastically received on Dec. 26, 1770, and
had 20 consecutive performances under M.'s
own direction. He returned to Salzburg in
March, 1771; but in August again visited
Milan to bring out a dramatic serenade,
Ascanio in Alba, written for the wedding
festivities of Archduke Ferdinand (Oct. 17,
1771); it quite eclipsed Hasse's festival opera
RuggUro. Next year his friendly protector,
the Archbishop of Salzburg, died; his un-
musical successor, Hieronymus, Count of
Colloredo, cared little for M.'s genius, and
in the end heaped indignities upon him.
It was for his installation (1772) that M.'s
dramatic // sopto di Scipione was penned.
Lucio SiUa (Milan, Dec. 26, 1772) and La
finta tiardiniera (Munich, Jan. 13, 1775)
were the occasion of trips to those cities for
their production. On April 23, 1775, // re
pastore was brought out at Salzburg during
Archduke Maximilian's visit. M.'s insuffi-
cient income caused him to resign his
position in 1777; accompanied by his mother,
he repaired to Munich, in hopes of obtaining
an appointment commensurate with his
abilities; disappointed here, and also in
Augsburg and Mannheim, they journeyed to
Paris, where a symphony of M.'s was per-
formed at a Concert spintuel. But the war
between the Gluckists and Piccinnists was
at its height, and little attention was paid
to the young composer. He had the further
misfortune to lose his mother, who died
July 3, 1778. His expectations unrealized,
M. resumed his function of Konzertmeister
at Salzburg, also succeeding Adlgasser as
court organist in 1779, with a salary of 400
florins. The opera Idomeneo (Munich, Jan.
29, 1781) was the first dramatic- work in his
mature (classic) style. In the summer of
that year M. definitively left the service of
the Archbishop, whose treatment had grown
unbearable; and settled in Vienna. (Koie-
luch declined the Archbishop's offer of
Mozart's place, at a salary of 1,000 florins,
with the remark, "If he lets such a man go,
how would he treat me!") Commissioned
by the Emperor to write an opera, M. com-
posed Belmonte und Constanae, oder Die
Enifahrung aus dem Serail, which was most
successfully produced, despite the machina-
tions of the theatrical clique, on July 12,
1782; a month later he married Constance
Weber, the sister of his youthful flame
Aloysia, whom he had met in Mannheim.
A period of real poverty set in. His wife
was a careless housekeeper, and' he himself
an improvident liver, fond of pleasant
company and fine dress, of danding, oowling,
billiards, and kindred pleasures (but, despite
allegations to the contrary, never dissipated
or dissolute); the meagre receipts for com-
positions and concerts were quickly spent,
and, though an indefatigable worker, he
was never free from pecuniary anxieties.
A musical comedy, Der Schauspieldirektor,
was produced at Schdnbrunn, February 17,
1786; on May 1 his admirable opera buffa
Le none di Ftgaro (Marriage of Figaro) came
near failing in Vienna through the intentional
lapses of the jealous Italian singers (at that
time Paisiello, Sarti, and Cimarosa, were
the supreme arbiters of musioo-dramatic
629
MOZART
taste in Vienna). But the hearty and spon-
taneous welcome accorded to this master-
piece and its author in Prague, partially
made up for this rebuff; he was invited to
lodge in the palace of Count Thun, and
every attention was bestowed on him. Next
year, the unexampled success of his grandest
work, Don Giovanni [Don Juan] at Prague
(Oct. 29, 1787), coupled with the fear that
M. might accept favorable offers to go to
England, moved the Emperor to show tardy
and scanty recognition of his genius by
appointing him 'chamber-composer' at 800
florins annually (Gluck, just deceased, as
court composer had 2,000 florins). In this
year (1788) M. ceased giving public concerts
at Vienna, appearing there but once more,
in 1791. In 1789 he accompanied Prince
Carl Lichnowski to Berlin, on the way playing
before the Dresden court, and in the Tnomas-
kirche at Leipzig. King Friedrich Wilhelm
II, after hearing him at Potsdam, offered
him the post of 1st Royal Kapellmeister,
with 3,000 Thaler ($2,250) a year; but M.,
with simple trust in and loyalty to his 'good
Kaiser/ refused the benevolent offer — his
last opportunity, as it proved, of ridding
himself of money-troubles. For the Em-
peror's only response to the news of the
King's offer, was an order for a new opera
(Cosi fan tuite; Vienna, Jan. 26, 1790), which
seems to have made little impression beside
the fashionable Italian works. In October
M. attended the coronation of Emperor
Leopold II at Frankfort, full of joyful antici-
E at ions which, as usual, were not realized,
[e came back to Vienna in time to bid fare-
well to his fatherly friend Haydn, then about
to set out for London. For the coronation
of Leopold II at Prague, as King of Bohemia,
M. was invited to write a festival opera; and
La clemenza di Tito was performed on Sept.
6, 1791, the eve of the ceremony. Already
suffering from illness, overwork, and the
excitement and fatigue of the journey, he
returned to Vienna, and still, at Schikaneder's
entreaty, composed Die Zauberflote [Magic
Flute] (Vienna, Sept. 30, 1791). The writing
of his last work, the Requiem, was interrupted
by fainting fits, and in his morbid depression
of spirits he imagined that he had been
poisoned. The Requiem was just completed
when he died (v. Engl's pamphlet on the
Mozart Centenary, 1891). The immediate
cause of his death was malignant typhus; the
funeral was in the open air, near St. Stephen's
Cathedral, and the coffin was accompanied
by a few friends only part way to the ceme-
tery of St. Marx, where he was buried in the
ground allotted to paupers. Thus even his
last resting-place is not exactly known. A
monument was erected to his memory in the
above cemetery in 1859; Salzburg had hon-
ored him with a grand monument in 1841.
Mozart is one of the brightest stars in the
musical firmament. In his music breathes
the warm-hearted, laughter-loving artist,
living in and for art, whose genial nature all
the slings and arrows of outrageous fortune
might wound, but could not embitter. Joy
is the keynote of his compositions; the rare
note of tragedy or mourning is but a brief
minor episode. From an instinctive repug-
nance to demonstrative excess of feeling,
flowed plastic serenity of form; in his heart-
felt melody German depth of emotion is
expressed with Italian frankness, making
his great dramatic works perennially fresh.
That his piano-works are less so, is due
chiefly to a century of progress in technical
means of expression; yet his D- major con-
certo of 1788 (for example) still charms by
suave euphony, like many lesser pieces.
Among his symphonies the 'Jupiter,' in C,
and those in G. minor (1789) and Eb, are
prominent. In finish of form, Cherubini and
Mendelssohn are most akin to M.; in soulful
melody, Schubert is his lineal successor. Like
Schubert and Mendelssohn, his productivity
was astounding, and embraced all depart-
ments of musical composition. The first
complete edition of M.'s works (528 comps.
in 24 series), prepared by Kdchel, Notte-
bohm, Rietz, Espagne, Keinecke, Brahms
et al., was issued by Breitkopf & Hartelfrora
1876-86; it contains: (1) Church-music
[Series 1-4]: 15 masses, 4 litanies, 1 Dixit,
1 Magnificat, 4 Kyries, a madrigal, a Veni
Sancte, a Miserere, an Antiphone, 3 Regina
coeli, a Te Deum, 2 Tantum ergo, 2 German
church-songs, 9 offertories, a De profundis,
an aria, a motet f. sopr. solo, a 4-p. motet,
a Graduate, 2 hymns, a Passion cantata, and
the cantatas Davidde penitente, and (masonic)
Maurerfreude and Kleine Freimaurercantate. —
(2) Stage- works [Series 5]: Die Schuldigkeit
des ersten Gebots (only partially by M.),
Apollo el Hyacinthus (Latin comedy with
music), Bastien et Bastienne, Lafinla semplice,
Mitridate, Ascanio in Alba, II sognodiScipume,
Lucio Silla, La finta giardiniera, U re pastore,
Zaide (German operetta; unfinished), Thamos,
Konig in Agypten (heroic drama; choruses
and entr'actes; Berlin, 1786), Idomeneo, re di
Creta, ossia Ilia ed Idatnante, Belmonte und
Constanze, Der Schauspieldirektor, Le none di
Figaro, Don Giovanni, CoH fan tulle. La
clemenza di Tito, Die Zauberflote. — (3) Vocal
concert-music [Series <>]: 27 arias, and
1 rondo, f. sopr. w. orch.; 1 alto aria; 8 tenor
arias; 5 arias and an arietta f. bass; a German
warsong; a duet f. 2 soprani; a comic duet f.
sopr. and bass; 6 terzets; 1 quartet. — (4)
Songs, etc. [Series 7]: 34 songs f. solo voice
w. pf.; a song w. ch. and org.; a 3 -part
chorus w. org.; a comic terzet w. pf.; 20
630
MOZART
canons a 2-12. — (5) Orchestral works
[Series 8-11]: 49 symphonies, 2 symphonic
movements, 31 divertimenti, serenades, and
cassations, 9 marches, 25 dances, Masonic
Funeral-music, A Musical Jest f. string-orch.
and 2 horns; further (f. various instrs.) a
sonata f. bassoon and 'cello, an Adagio f.
2 basset-horns w. bassoon, an Adagio f. 2
clarinets and 3 basset-horns, an Adagio f.
harmonica, Adagio and Allegretto f. harmon-
ica, flute, oboe, viola and 'cello, Phantasie f.
Glockenspiel, Andante f. barrel-organ. — (6)
Concertos and solo pieces w. orch.
[Series 12 and 16]: 6 violin-concertos, 6 soli
f. violin, a Concertone f. 2 violins, a Concer-
ianle f. violin and viola, a bassoon -concerto, a
concerto f. flute and harp, 2 flute-concertos,
an Andante f. flute, 4 horn-concertos, a
clarinet-concerto, 25 pianoforte-concertos, a
Concert Rondo f. pf., a double concerto f. 2
pfs., a triple concerto f. 3 pfs. — (7) Chamber-
music [Series 13-15, 17, 18]: 7 string-quintets
(w. 2 violas); a quintet f. violin, 2 violas,
horn [or 'cello], and 'cello; a quintet f. clar.
and strings; 26 string-quartets; a Nachtmusik
f. string-quintet (incl. double-bass); Adagio
and Fugue f. string-quartet; a quartet f.
oboe w. string-trio; a divertissement f.
string trio; 2 duos f. vln. and via.; 1 duo f.
2 vlns.; a quintet f. pf., horn, oboe, clar.
and bassoon; 2 pf. -quartets; 7 pf. -trios; 1 pf.-
trio w. clar. and viola; 42 violin-sonatas; an
Allegro f. pf. and vln.; 2 sets of variations
f . pf. and vln. — (8) Pianoforte-music [Series
19-22]: (a) 4 hands: 5 sonatas, and an
Andante w. variations; (b) f. 2 pfs.: a Fugue,
and a Sonata; (c) solo pieces: 17 sonatas; a
Fantasia and fugue; 3 Fantasias; 15 sets of
variations; 35 cadences to pf. -concertos;
several minuets; 3 rondos, a suite, a fugue,
2 Allegros, an Allegro and Andante, Andan-
tino, Adagio, Gigue. — (9) For organ [Series
23]: 17 sonatas, mostly w. 2 violins and
'cello; — Supplement [Series 24): Unfinished
works, doubtful works, and arrangements.
In the 'Ztschr. I. M.-G.' (Nov., 1908)
Wyzewa and St.-Foix adduce conclusive evi-
dence that certain works listed by Kochel
and publ. in B. & H.'s ed. are not original
works of M., but copies in his handwriting
of works of other composers. The works in
question are: Symphony No. 3 (Kochel 18)
is by K. F. Abel; Symphony No. 37 (K. 444)
is by Michael Haydn; the first four pf.-
concerts (K. 37, 39, 40, 41) are studies after
works by loh. Schobert.
There should be mentioned, finally, (1)
the Mozart Scholarship, based on the
surplus receipts of a Musical Festival given
by the Frankfort 'Liederkranz' on June 25,
1838. The interest of the fund, amounting
in 1915 to 1800 marks, is applied . quadren-
nially to the aid of talented young composers
of limited means; and (2) the Mozarteum
at Salzburg, a celebrated municipal musical
institute founded in 1842 in memory of
Salzburg's greatest son; it consists of an
orchestral society, pledged to perform M.'s
church-music in the 14 churches of the town,
and to give 12 philharm. concerts yearly; a
music-school, in which the musicians of the
orchestra give instruction; and an interesting
museum of Mozart relics, .etc. Since 1880
a yearly report has been issued. Under the
collective title of 'Internationale Mozart-
gemeinde' branches were established in 1888
in Austria and Germany, of which those in Ber-
lin and Dresden have been especially active.
BIBLIOGRAPHY. A. Biography: F.
Niemtschek, W, A. M.'s Leben f nock OriginaU
quellen beschrieben (Prague, 1798; 2d augm.
ed. 1808; a facsimile reprint of this ed., with
in trod, by E. Rychnovsky, ib., 1905); G. N.
von Nissen, Biographie W. A. M.'s (Leipzig,
1828); A. D. Oulibishev, Nouvelle biographie
de M. . . . (Moscow, 1843; Ger. tr. by A.
Schraishuon, 3 vols., Stuttgart; 2d ed. augm.
by L. Gantter, 4 vols., ib., 1859); E. Holmes,
Life and Correspondence of M. (London, 1845;
2d ed. 1878; repr. 1912); O. Jahn, W. A. M.
(4 vols., Leipzig, 185<H>; 2d ed., 2 vols., 1867;
3d ed. 1891-3; 4th ed., rev. and augm. by
H. Deiters, 1905, '07; Engl. tr. by P. D.
Townsend, London, 1882 [3 vols.]; the most
exhaustive and standard btogr.); L. Nohl,
M.'s Leben (Leipzig, 1863; 3d ed. by P.
Sakolowski, Berlin, 1906; Engl. tr. by Lady
Wallace, London, 1877); id., M. nock den
Schilderungen seiner Zeitgenossen (Leipzig,
1880); V. Wilder, M.t Vhomme et V artiste
(Paris, 1880; 4th ed. 1889; Engl. tr. by L.
Liebich, London, 1908 [2 vols.]); L. Meinar-
dus, M. Ein KUnstlerleben (Leipzig, 1882);
F. Gehring, M. (London, 1883; new^d. 1911);
L. Klasen, W. A. M. Sein Leben und seine
Werke (Vienna, 1897); O. Fleischer, M. (Ber-
lin, 1899); E. J. Breakspeare, M. (London,
1902); E. Prout, M. (London, 1903); L.
Mirow, M.'s letste Lebensjahre. Eine Kunst-
lertragodie (Leipzig, 1904); J. Harfog, W. A.
M. 2ijn naaste omgeving en tigne werken
(Amsterdam, 1905); C. Bellaigue; M. (Paris,
1906); F. Lentner, M.'s Leben und Schaffen
(Innsbruck, 1906); H. von der Pfordten, M.
(Leipzig, 1908); K. Storck, M. Sein Leben
und Schaffen (Stuttgart, 1908); W. Hutschen-
ruyter, W. A. M. Zijn leven en werken ge-
schetst (Rotterdam, 1909); L. Schmidt, W.
A. M. (Berlin, 1912); Th. de Wyzewa and
G. Saint-Foix, W. A. M. Sa vie musicale et
son wuvre de Venfance & la pleine maturiU
(2 vols., Paris, 1912; goes only to 1777; the
most valuable work since Jahn, especially
on the origin and development of M.'s style);
A. Schurig, W. A. M. Sein Leben und sein
Werk (2 vols., Leipzig, 1913).
631
MOZART— MUCK
B. Criticism, Appreciation: K. F. Pohl,
M. und Haydn in London (Vienna, 1867);
W. Pole, The Story of M.'s Requiem (London,
1879); E. Sauzay, Haydn, M.t Beethoven.
Htude sur le quatuor (Paris, 1884); K. Prieger,
Urteile bedeutender Dichter, Philosophen und
Musiker uber M. (Wiesbaden, 1886); A.
Farinelli, Don Giovanni: Note critiche (Turin,
1896); A. J. Weltner, M.'s Werke und die
Wiener Hof theater: Statistisches und histori-
sches (Vienna, 1896); D. Schultz, M.'s Jugend-
symphonien (Leipzig, 1900) ; C. Belmonte, Die
Frauen im Leben M.'s (Augsburg, 1905); E.
von Komorzynski, M.'s Kunst der Instrumen-
tation (Stuttgart, 1906); A. Cametti, M. a
Roma (Rome. 1907); K. Sohle, M. Dramati-
sches Zeitbild (Leipzig, 1907) ; D. F. Scheurleer,
Het muziekleven in Nederland in de tweede
helft der 189 eeuw in verband met M.'s verblijf
aldaar (S'Gravenhage, 1909); G. Schune-
mann, M. as an 8-year old composer: W.'s
Notebook ed in its entirety and with
critical remarks (Leipzig, 1909); W. Nagel,
M. und die Gegenwart (Langensalza, 1912);
A. Leitzmann, M.'s Personlichkeit (Leipzig,
1914). — For technical analyses: E. J. Dent,
M.'s Operas. A Critical Study (London,
1913); and single works in Schlesinger's
'Meisterfuhrer', 'Musikfiihrer' and 'Opern-
fUhrer,' and Reclam's 'Erlauterungen zu
Meisterwerken der Ton kunst' (Leipzig).
C. Correspondence: L. Nohl, M.'s Brief e
nach den Originalen herausgegeben (Salzburg,
1865; 2d augm. ed., Leipzig, 1877; Engl. tr.
by Lady Wallace, London, 1866); G. Notte-
bohm, Mozartiana (Leipzig, 1880); H. de
Curzon, Nouvelles lettres des dernieres annees
de la vie de M. (Paris, 1898); K. Storck,
M.'s Brief e in Auswahl (Stuttgart, 1906);
M. Weigel, M.'s Briefe (Berlin, 1910); A.
Leitzmann, M.'s Briefe ausgewdhlt (Leipzig,
1910); H'. Leichtentritt, M.rs Briefe (Berlin,
1912); L. Schiedermair, Die Briefe W. A. M.'s
und seiner Familie. Erste kritische Gesammt-
ausgabe (2 vols., Munich, 1914).
D. Catalogues, Year-books: A. Andre,
Thematischer Katalog wie M. solchen von
1784-91 eigenhdndig geschrieben hat (Offen-
bach, 1805] 2d augm. ed. 1828): L. von
Kdchel, Cironologisch-thematisches Verzeich-
niss sammtlicher Tonwerke W. A. M.'s
(Leipzig, 1862; supplement, 1889; 2d ed.,
rev. and augm. by P. von Waldersee, 1905);
K. Moyses, Systematischer Katalog der im
Mozarteum befindlichen Autographe
M.'s (Salzburg, 1862); J. Horner, Katalog
des M. -Museums zu Salzburg (Salzburg, 1882;
2d ed., by J. Engl, 1898); H. de Curzon,
Revue critique des ouvrages relatifs a W. A. M.
et ses teuvres. Essai de bibliographic mozartine
(Paris, 1906).— 'Jahresbericht des Mozar-
teums' (since 1880); 'Mitteilungen fur die
M.-Gemeinde' (Berlin, since 1895); 'Bericht
des Dresdener M.-Vereins' (since 1897).
Mo'zart, Wolfgang Amadeus, son of
the great composer; b. Vienna, July 26, 1791;
d. Karlsbad, July 29, 1844. Talented pianist
and composer, pupil of A. Streicher, Albrech ts-
berger, and Neukomm. Founded the Cecilia
Society at Lemberg, where he lived many
years as a music-teacher, then going to
Vienna and Karlsbad. — Works: 2 pf. -con-
certos, a string-quartet, a pf.-trio, a violin-
sonata, a pf. -sonata, variations, polonaises,
etc., f. pf.— Cf. J. Fischer, W.A.M. (Karls-
bad, 1888).
Mraczek [mrah'chfchk], Joseph Gustav,
b. Brunn, Mar. 12, 1878. He received his
first instruction from his father, the 'cellist
Franz M. (d. 1898); from his eighth year he
sang as chorister in various churches and
attended the mus.-schooj of the Musikverein
at Brunn; 1894-6, pupil of Hellmesberger,
Stocker and Lowe at the Vienna Cons.;
after travelling a year as a violin-virtuoso he
was from 1897-1902 concert-master at the
Stadtth., and since 1898 prof, of vl. at the
mus. -school of the Musikverein in Brunn.
He attracted wide and favorable attention
with his symphonic burlesque Max und
Moritz (Brunn, 1911; since then played
throughout Germany and by several larger
orchs. in the U. S.). Other works: Ruslans
Traum, symph. interlude for orch.; incid.
music to Kismet; a pf. -quintet in Eb; pes. for
vl. and pf.; pf.-pes.; the operas Der glaserne
Pantoffd (Brunn, 1902), Der Traum (Berlin,
1912), Die Insel Abelo (Breslau, 1915).
Another opera, Idkar, was finished in 1916.
Muck [m66k], Karl, famous orchl. con-
ductor; b. Darmstadt, Oct. 22, 1859. He
received his first mus. instruction from his
father, and also st. pf. for a short time with
Kissner at the Kgl. Musikschule in Wurzburg;
being, however, destined for a learned career,
he st. classical philol. at the Univs. of Heidel-
berg and Leipzig; Dr. phil.t 1880. At Leipzig
he also attended the Cons., and in 1880,
shortly after receiving his degree, he made a
very successful debut as pianist at the Ge-
wandhaus; instead of continuing a career
begun so auspiciously, he accepted a position
as chorus-master at the municipal opera in
Zurich, where his ability soon secured him
the post of Kapellm.; then went in a similar
capacity to Salzburg, Brunn, and Graz;
there Angelo Neumann heard him, and in
1886 engaged him as Kapellm. for the
Landesth. in Prague, and as Seidl's successor
for his travelling Wagner-Th. In these
positions M. had ample opportunity to
demonstrate his extraordinary qualities as
cond., especially through his performances of
the Ring-dramas (1889) in Petrograd and
Moscow, and (1891) at the Lessing Th. in
632
MUDIE— MOHLING
Berlin. Here he was eng. in 1892 as 1st
Kapellm. at the R. Opera, also frequently
cond. the Symphony concerts of the Kgl.
Kapelle; of the numerous invitations to
appear as visiting cond. he could accept
only a limited number; from 1894-1911 he
cond. the Silesian Mus. Festivals; 1899, the
Wagner repertoire at Cov. Garden; 1903-6,
alternating with Mottl, the Philh. concerts
in Vienna; besides, he appeared with enormous
success in Paris, Madrid, Brussels, Copen-
hagen, Rome, etc.; since 1901 he has been
the reg. cond. of the Parsifal perfs. at Bav-
reuth. During the winter of 1906-7 ne
obtained leave to direct the Boston Symph.
Orch. (Amer. debut Boston, Oct. 12, 1906),
and attempts were made to secure him as
permanent cond.; but, he obtained leave
only for the season of 1907-8. On his return
to Berlin he was made General- Musik-
direktor (1908). After long negotiations
Emperor William in 1912, with great reluc-
tance, consented to release him; in the fall
M. returned to America as permanent cond.
of the Boston Symph. Orch. His farewell
appearance at the K. Opera (he had chosen
Tristan und Isolde) was made the occasion
of a tumultuous demonstration. During the
20 years of his activity in Berlin he conducted
1,0/1 performances of 103 operas, of which
35 were novelties. He is the recipient of
numerous orders and decorations. As a
matter of curiosity it may be recorded that
M. does not compose.
Mudie, Thomas Molleson, b. Chelsea,
Engl., Nov. 30, 1809; d. London, July 24,
1876. Pupil of Crotch and Potter at the
R. A. M., 1823-32; prof, of pf. there, 1832-44;
organist at Gal ton, Surrey, 1834-44; then
taught in Edinburgh, and returned to London
in 1863. — Works: Symphonies in C, Bb, F,
and D; string-quintets, -quartets, -trios, etc.;
pf.- music; anthems, sacred duets and songs,
songs, etc. Macfarren praises 3 symphonies,
a quintet, and a trio, prod, by the Soc. of
British Music.
Muff at, Georg, noteworthy comp.; b.
Schlettstadt, c. 1645; d. Passau, Feb. 23,
1704. He studied Lully's style in Paris for
6 years, was org. of btrassburg Cath. till
1674, to the Bishop of Salzburg till 1687,
then org. and (1690) Kapellm. to the Bishop
of Passau. — Publ. organ-works, sonatas for
various instrs., orchf suites and 'concerti
grossi.' Suavioris harmoniae . . . .flarilegium
(2 parts, 1695, '98) was republ. by H. Rietsch
in 'Dkm. der Tonk. in 0»tetTeich, (vols, i,
2 and ii, 2); Auserlessener . . . Instrumenial-
musik erste Versamblung (1701), with selec-
tions from Armonico tribute (1682), republ.
by E. Luntz, ib. (vol. xi, 2).— See Q.-Lex.
MugeUlai [moo-jehl-lg'nS], Bruno, b.
Potenza, Dec. 24, 1871; d. Bologna, Jan. 15,
1912. Pupil of Tofano, Busi and Martucci;
after successful appearances in Italy as a
concert-pianist he was app. prof, of pf. at
the Liceo musicale in Bologna in 1898, and
succ. Martucci as dir. of the institution in
1911. Comp. of an opera, Catullo; a symph.
poem, Alia Fonte del Clitumno; a pf. -quartet;
a 'cello-sonata; pes. for orch.; several sonatas
and minor pes. lor pf.; some church-music.
' Mugnone [md6-fioh'ne], Leopoldo, b. Na-
ples, 1858. Pupil of the Cons, there; his
excellent work as cond. at the Costanzi Th.
in Rome attracted the attention of Verdi,
who entrusted to him the premiere of Fal-
staff (Milan, 1893); one of the most active
and efficient apostles of Wagner in Italy;
together with Mariani he shares the honor
of being the first of the great interpretative
Italian conductors. Comp. of the operas
Don Bizarro e le sue figlie (Naples, 1875),
// Birichino (Venice, 1892), Vita Brettona
(Naples, 1905).
Muhl'dorfer, Wilhelm Karl, b. Graz
(Styria), Mar. 6, 1836 [son of Wilhelm M.,
court Inspector of Theatres at Mannheim;
b. 1803; d. Mannheim, Apr. 22, 1897].
St. at Linz-on- Danube, and Mannheim; he
began his stage-career as an actor at Mann-
heim; 1855, Kapellm. at the City Th., Ulm;
1867-81, 2d Kapellm. at Leipzig; 1881-1906,
1st Kapellm. at Cologne; since then living
in retirement in Cologne. — Operas Im Kyff-
kauser (1868); Der Commandant von Konig-
stein (Leipzig, 1869); Prinzessin RebenHuthe
(ib., 1879); Der Goldmacher von Strassburg
(Hamburg, 1886); lyric-romantic opera Io-
lanihe (Cologne, 1890; succ.); the ballets
WaldeinsamkeU (1869), Aschenbrodel (1870)
andDerAlpenstrauss(\S7\); incid. music tosev-
eral dramas; overtures; part-songs and songs.
Muhl'feld, Richard, famous clarinettist;
b. Salzungen, Feb. 28, 1856; d. Meiningen,
June 1, 1907. St. vl. with Fleischhauer and
theory with E. Btichner in Meiningen;
entirely self-taught on the clarinet; joined
the Meiningen court-orch. in 1873 as violinist;
from 1876 1st clar.; was 1st clar. in Bayreuth
from 1884-96. For him Brahms wrote the
Trio, op. 114 (clar., vcl. and pf.), the Quintet,
op. 115 (clar., 2 vis., via. and vol.) and the
2 clar.-sonatas, op. 120.
Mtthllng, August, b. Raguhne, Sept.
26, 1786; d. Magdeburg, Feb. 3, 1847, as
R. Mus. Dir. and cathedral-organist. — Works:
Oratorios Abbadona, Bonifazius, David, Die
Leidensfeier Jesu; 2 symphonies (C, D); 2
overtures (D m., Eb); a concerto for bassoon
and orch. (op. 24); 3 str.-auartets (op. 20
12], 59); a quintet for fl., 2 vis., via. and vcl.
(op. 27); sacred duets and songs (e. g., 40
poems from Spitta's Psalter und Harfe).
633
MUKLE— MOLLER
Mukle, May, fine 'cellist; b. London,
May 14, 1880. St. the 'cello with J. E.
Hambleton, and later at the R. A. M. with
Pezze; played in public as early as 1889;
has appeared with principal orchs. in England
and made successful tours of the Continent,
Australia, South Africa and America. She
is especially fond of chamber-music, and was
for a number of years a member of the Nora
Clench and Langley-M. quartets. A. R. A.
M. since 1900.
MOller (recte Schmidt), Adolf, Sr.t born
Tolna, Hungary, Oct. 7, 1801; d. Vienna,
July 29, 1886. In 1826, singer in the Karnth-
ner court theatre; 1828, Kapellm. and com-
poser at the Th. an der Wien, Vienna.
Brought out sixty or more 'Singspiele/ mus.
farces, etc., 2 operas, and many instrumental
and vocal pieces, all of mediocre quality. —
His son,
MOller, Adolf, Jr., b. Vienna, Oct. IS,
1839; d. there Dec. 14, 1901. 1875-83, cond.
of the German Opera at Rotterdam; after
that Kapellm. at the Th. an der Wien.
Prod, the operas Heinrich der Goldschmidi,
Waldmeisters Brautfakrt, Van Dyck; and the
operettas Das Gespenst in der Spinnstube,
Der kleine Print, Der Hofnarr, Der Liebeshof,
Des Teufels Weib, Die Kammerjungfer (1890),
Der Mulionen-Onkel (1892), Lady Charlatan
(1894), General Gogo (1896), and Der Blandin
van Namur (Vienna, 1898; succ.).
MOller, August, eminent double-bass
player; b. 1810; d. Dec. 25, 1867, as Konzert-
meister in Darmstadt. — Publ. variations, etc.,
for double-bass.
MOller, August Eberhard, b. Nord-
heim, Hanover, Dec. 13, 1767; d. Weimar,
Dec. 3, 1817. In 1789, oreanist of St. Ulrich's,
Magdeburg; in 1794, of the Nikolaikirche,
Leipzig; in 1800, asst. to Joh. Adam Hiller,
whom he succeeded in 1804 as cantor of the
Thomasschnle, and mus. dir. of the Thomas-
and Nikolaikirche. In 1810, court Kapellm.
at Weimar. — Publ. 3 concertos and 18 sonatas
f. pf., and many lesser pieces; cadenzas to
Mozart's concertos; suites, choral variations,
and a sonata for organ; a pf.-trio; 2 violin-
sonatas; 11 concertos and one fantasia f.
flute and orch.; flute-duos; vocal pieces; 11
church-cantatas; motets; an operetta, Der
Polterabend; etc. Also an excellent pf.-
method (1805; really the 6th ed. of Lohlein's
Pianoforte-Schule. rev. by M.; on it Kalk-
brenner's method is based; Czerny publ. the
8th ed. in 1825); a Guide to the interpreta-
tion of Mozart's concertos; a flute-method ; etc.
MOller, Bernhard, b. Sonneberg, Jan.
25, 1824; d. Meiningen, Dec. 5, 1883. Pupil
of Bogenhardt and Mahr in the Hildburg-
hausen Seminary. 1850, cantor in Salzungen,
634
where he organized a celebrated church-choir,
the performances of which in various cities
were looked upon as events in mus. circles.
He was made superintendent of church-
music in the public schools, for the Duchy of
Saxe-Meiningen.
MOller, Carl Christian, b. Saxe-Meinin-
fen, July 3, 1831; d. New York, June 4,
914. F. W. and Heinrich Pfeiffer were his
teachers for pf. and organ, Andreas Zollner
for comp. Went to New York in 1854; was
at first eng. in a pf.-manufactory, then as
leader of the Barnum's Museum orch. From
1879-95 prof, of harmony at the N. Y. College
of Music. Transl. Sechter's Grundsatze der
musikalischen Composition (as Fundamental
Harmony; New York, 1871, and 9 subsequent
editions); also supplemented it by 4 sets of
Tables, on primary instruction, modulation,
chord-succession, and harmonization (1882-
93). — Publ. works: For pf., Pleasant Recollec-
tions, and Golden Hours; 3 organ-sonatas, op.
47 (F m., B m.,) and op. 57 (D m.); sonata f.
violin and pf., op. 61, in A; string-quartet in
A m., op. 63; 4-part male choruses; songs;
and for organ, 2 Pastorales, a Scherzo,
March of the Crusaders, and Resignation. — In
MS., symphony in D m.; orchl. suite in G m;
Idyl f. orch. (on an excerpt from Hiawatha);
overture to Nathan der Weise; Romanze for
horn, harp and orch.; Schiller's Vie Kranicke
des Ibicus, for soli, ch. and orch.; etc. (in
all, 69 works).
MOller, Christian, organ-builder at Am-
sterdam c. 1720-70. Bunt the great organ
at Haarlem in 1738 (sixty registers).
^MOller, (Karl Wilhelm) Ernst, b. Leip-
zig, Aug. 2, 1886. Pupil at the Cons, there
of Ruthardt, Reinecke and Homey er; st. at
the same time musicol. at the Univ. under
Kretzschmar and Paul; was teacher of singing
at the Realgymnasium and cantor at St.
Andrew's in Leipzig; since 1893 critic for the
'Leipziger Zeitung, and since 1907 org. at
the 'Universitatskirche.' Has written a
symphony; a sympli. prologue to Ahasverus;
2 suites for orch.; 2 cantatas; motets; pes.
for org., for pf. and for vl.; choruses; songs.
MOller, Franz (Karl Friedrich), b. Wei-
mar, Nov. 30, 1806; d. there Sept. 2, 1876,
as government councillor. One of the first
to recognize' Wagner's real importance. —
Publ. the treatises Tannhauser (1853), R.
Wagner und das Musikdrama (1861), Der
Ring des Nibelungen: tine Studie (1862). Tris-
tan und Isolde (1865), Lohengrin (1867), and
Die Meistersinger von Niirnberg (1869). the
last three at the desire of King Ludwtg II
of Bavaria; also Im Foyer (1868; on theatrical
affairs in Weimar).
MOller, Friedrich, b. Orlamunde, Dec.
mOller— mCller
10, 1786; d. Rudolstadt, Dec. 12, 1871. Fine
clarinettist; 1803, in the royal orch. at Rudol-
stadt, succeeding Eberwein in 1831 as
Kapellm.; pensioned 1854. — Works: 2 sym-
phonies (Ej>, C m.); overtures; a hymn for
soli and mixed ch. with orch.; 2 concertos,
2 concertinos, and other clar.- music; vars.
for clar. and strings; clar. Etudes; quartets
and terzets for horns; vars. for bassoon w.
orch.; a prize-quartet for clar. and strings;
4-part male choruses; etc.
Milller, Gustav. See Brah-Muller.
Milller, Hans, writer on mus. history; b.
Cologne, Sept. 18, 1854; d. Berlin, Apr. 11,
1897. Son of the poet Wolfgang M Oiler von
KGnigswinter. Dr. phil.% Leipzig; 1888 teacher,
1889 Royal prof, of hist, of music, at the
Hochschule fur Musik, Berlin; also First
Permanent- Secretary, and Senator, of the
Acad, of Fine Arts. — Principal works: Die
Musik WUhelms von Hirschau (1884); Hue-
balds echte und unechte Schriften uber Musik
(1884); and an Abhandlung uber Mensural-
musik (Leipzig, 1886).
Mill'ler, Heinrlch Fidelia, b. Fulda,
April 23, 1827; d. there Aug. 30, 1905; was
for many years choirm. at the Cologne Cath.
Comp. of the oratorios WeihnachtsoraU&ium
(op. 5), Die heilige Elisabeth (op. 12), Pie
Passion unseres Herrn (op. 16); several
masses, motets, male choruses, etc.
Milller, Ivan [IwanJ, clarinettist; born
Reval, Dec. 13, 1786; d. Buckeburg, Feb. 4,
1854. Inventor of the clarinet with 13 keys;
also of the 'Altclarinet' (superseding the
basset-horn). Went to Paris in 1809, and
establ. a clarinet-factory, which failed on
account of the prejudiced opposition of the
Academy, despite which the improved instrs.
soon won general popularity. M. died as
court musician at Buckeburg. — Publ. a
Method for his new instrs.; 3 quartets for
clar. and strings; a concertante f. 2 clars.;
pieces for clar. and pf.; 6 flute-concertos; etc.
Milller, Johannes, b. Koblenz, July 14,
1801; d. Berlin, Apr. 28, 1858. Ordinary
prof, of physiology at Bonn, 1830-33. —
Wrote Untersuehungen uber die menschliche
Stimme (1837), Vber die Compensation der
physischen Krdfte am menschlichen Stimmorgan
(1839), and valuable articles on the organs
of speech and hearing in his* Handbuch der
Physiologie des Menschen (1833, '40; 2 vols.).
Milller, Joseph, b. 1839; d. Berlin, June
18, 1880, as seer, of the Hochschule fur
Musik. Editor (1871-*) of the 4Allg. mus.
Zeitung.' Publ. a valuable catalogue, Die
mustkalisthen Sch&tze der koniglichen und
Untversitdtsbibliothek zu Konigsber{ (1870).
Mill'ler, Karl, conductor; b. Weissensee,
n. Erfurt, Oct. 21, 1818; d. Frankfort, July
19, 1894. Pupil of Gdtze at Weimar, and
violinist there under Hummel; 1846-60, mus.
dir. at Minister; 1860-92, cond. of the Cecilia
Soc., Frankfort. — Comp. successful cantatas
(Tasso in Sorrent; Rinaldo); overtures; etc.
Milller, Peter, b. Kesselstadt, n. Hanau,
June 9, 1791; d. Langen, Aug. 29, 1877.
While a teacher in the Friedberg Seminary,
he wrote his renowned Jugendlieaerf also male
choruses, organ-preludes, and 2 string-
quintets; in 1839 he became pastor at Staden,
writing 5 more quintets (often perf. at Darm-
stadt). His opera Die letzten Tage von Pom-
peii [after Bulwer] was prod, at Darmstadt,
Dec. 25, 1853. Another opera, Claudine von
Villa bella, a string-quartet, etc., are in MS.
Milller Quartets. Two famous German
quartet -parties, their members being
(1) The brothers Karl (1797-1873); Gus-
tav (1799-1855); Theodor (1802-1875); and
Georg (1808-1855); they were all born in
Brunswick, and belonged to the orchestra
there, Karl as Konzertmeister, Theodor as
1st 'cello, Gustav as symphony-director, and
Georg as Kapellm. Their artistic tours in-
cluded not only all large German cities, but
also Vienna and Paris (1833), Copenhagen
(1838), Petrograd in 1845, and Holland in
1852.— Cf. L. Kohler, Die Gebruder M. und
das Streichquartett (Leipzig, 1858); E. Stier,
Das SlreichauarteU der Gebruder M., in
'Braunschweigisches Archiv' (July, 1913).
(2) The four sons of Karl, all b. in Bruns-
wick (this quartet-party organizing in 1855,
after the death of two members of the first
one); Karl, 1st violin, b. April 14, 1829; d.
Stuttgart, Nov. 11, 1907; Hugo, 2d violin,
b. Sept. 21, 1832; d. Brunswick, June 26,
1886; Bemhard, viola, b. Feb. 24, 1825; d.
Rostock, Sept. 4, 1895; and Wilhelm,
'cello, b. June 1, 1834; d. New York, Sept.,
1897. For ten years they held the position
of court quartet at Mciningcn; then, after
extended and successful travels, they settled
in Rostock as members of the orch., Karl
being appointed Municipal Mus. Dir. The
party was broken up by the appointment of
Wilhelm (1873) to succeed Sweerts as 1st
[cello in the R. Orch. at Berlin, and prof,
in the Hochschule. Karl lived from then
at Stuttgart and Hamburg; was also a noted
composer (Milller-Berghaus, Berghaus being
the maiden-name of his wife Elvira), his
works including an operetta, the cantata
Jephthas Tochter, an overture to Fiescot a
symphony, 2 str. -quartets, a Hungarian con-
certo for vl. ana orch., concert-pieces for
violin and f. 'cello, songs, etc.; also arr.
numerous works for orch.
MUrier, Richard, singing-master; b. Ka-
menz, Mar. 12, 1853. St. Natural Sciences
at the Univ. of Leipzig, receiving the degree
635
M OLLER— MURATORE
of Ph. D.; then st. singing with Luise Ress
in Berlin; settled in 1888 in Dresden as priv.
teacher; app. prof, of singing at the Lehrerin-
nenseminar and the Musikschule; made R.
Prof, in 1902; resigned in 1904 to devote
himself to private pupils.
Mill'ler, Wenzel, b. Tyrnau, Moravia,
Sept. 26, 1767; d. Baden, n. Vienna, Aug. 3,
1835. Kapellm. at the Leopoldstadt Th.,
Vienna, from 1813. His 200 operas, 'Sing-
spiele,' etc., were extremely popular in their
aay, e. g., Das Neusonntagskind (1793), Die
SchoesternvonPrag (1794), etc. A full list of
his works is given in the 2d supplement to
Riemann's Opernhandbuck (Leipzig, 1887). —
Cf. W. Krone, W. M. Ein Beilrag tur
Geschichte der komischen Oper (Berlin, 1906).
MUl'ler-Berg haus. See Karl MOller
in the Junior Mailer Quartet.
MuHer-Brunow, Bruno, born 1853; d.
Dec. 11, 1890, in Leipzig, where he had been
living since 1887 as a singing-teacher. He
publ. Tonbildung oder Gesangsunterricht (1890;
3d ed. 1901), in which he first advanced the
theory of the 'primary tone,' denying the
existence of 'registers' in the human voice.
Milller-Har'tung, Karl (Wllhelm), b.
Suiza, May 19, 1834; d. Berlin, June 11,
1908. Pupil of Ktihmstedt at Eisenach,
succeeding him in 1859 as mus. director and
teacher at the Seminary; 1864, 'Professor';
1865, dir. of church-music in Weimar; 1869,
opera- Kapellm. ; 1872, Director of the Grand
Ducal 'Orchester- und Musikschule/ which
he founded. He resigned other positions in
1889; retired altogether in 1903.— Works:
Organ-sonatas; part-songs f. malech.; church-
music; also a system of mus. theory, of which
vol. i, Harmonielekre, appeared in 1879.
MUller-Reu'ter, Theodof, b. Dresden,
Sept. 1, 1858. Pupil of Fr. and Alwin Wieck
(pi-); J. Otto and Meinardus (comp.); and
the Hoch Cons., Frankfort (1878-9). Teacher
of pf. and theory at Strassburg Cons., 1879-
87; went to Dresden 1887, becoming cond.
of the male chorus 'Orpheus1 in 1888; also
1889 of the Dreyssig 'Singakademie.' 1892,
teacher in the Cons. In 1893 he went to
Krefeld as cond. of the 'Konzertgesellschaft';
since 1902 dir. of the Cons, there; made Kgl.
Musikdirektor in 1897; Prof, in 1907.—
Works: The operas Ondolina (Strassburg,
1883), and Der tolle Graf (Nuremberg, 1887);
Paternoster f. mixed ch. and orch.; Ruth for
soli and mixed ch. a capp. (op. 22); Das Lied
des Stunnes f. double ch. and orch. (op. 23);
Hackelberends Begrdbnis f. mixed ch. and
orch. (op. 24); female choruses w. pf.; male
choruses with and without accomp.; songs;
pf.-pieces and studies. He wrote a valuable
Lexikon derdeulschen Konsert-Litteratur (vol. i.
1909).
MUller von der Ocker, Fritz, b. Bruns-
wick, Feb. 21, 1868. Pupil of H. Riedel
there; vlnst. in the munic. orch. in Magde-
burg; now (1917) cond. of the 'Volks-Smg-
akademie' and Kitzel's 'Quartettverein.' —
Works: The operas (all at Magdeburg) Die
Nixe (1907), Lurley (1912), Jung Joseph
(1913), Die Nilbraut (not vet prod.); an
operetta, Ohne Manner gehts nicht (Karls-
ruhe, 1911); Frau Minne for soli, ch. and
orch.; orchl. works; chamber-music; male
and fern, choruses; songs.
Mill'ler von der Wer'ra, artist-name of
Friedrich Ronrad Mttller, b. Ummerstadt,
Meiningen, Nov. 14, 1823; d. Leipzig, Apr.
26, 1881. Popular poet; founder of the
'Deutscher Sangerbund'; editor of the 'Neue
Sangerhalle' 1861-71, and of the 'Allgemeines
Reichskommersbuch' for students.
Munck, Ernest de. See Dbmunck.
Milnzer, Georg, born Breslau, Sept. 4.
1866; d. Berlin, Apr. 24, 1908. Pupil of
Brosig, Bohn and Schaffer in Breslau; then
st. in Berlin with Klindworth (pf.), and at
the Univ. with Helmholtz (acoustics) and
Bellermann and Sprtta (musicol.); Dr. phtf.,
1890, with the dissertation Beitrdge tur Kon-
tertfeschichte Breslaus; lived as teacher and
critic in Breslau, and from 1902 in Berlin.
Wrote R. Wagners Ring des Nibelungen (1900),
Heinrich Marschner (1901), Das Singebuch
des Adam Puschmann (1907), Die Notation
der Meistersinger (1907; in the report of the
Basel Congress of the 'Int. M.-G.'); numerous
essays in mus. journals.
Muratore [mfl-rah-tohr'], Luclen, dra-
matic tenor; b. Marseilles, 1878. Pupil of the
Marseilles Cons., graduating in 1897 as winner
of the 1st prize. After a short career as an
actor at the Varietes and the Casino at
Monte Carlo he served 3 years in the army;
returning to Paris, he played leading roles
with Mme. Rejane at the Odeon. Here
Carre, the dir. of the Op.-Comique, heard
him, and induced him to enter the Paris
Cons, to prepare for opera; debut at the
Op.-Comique, Dec. 16, 1902, creating the
principal tenor r61e in Hahn's La CartnSlite
with such success that the following year
the creation of Missa's La Muguette was en-
trusted to him; in 1905 he sang for the first
time at the Grand Opera as Rinaldo in
Gluck's Armide. When Massenet heard
him, he was so impressed by M.'s singing
and acting that he offered him the creation
of the chief part in Ariane (1906); other
creations during his engagement at the Opera
were in Massenet's Bacchus (1909) and Roma
(1912), Fevrier's Monna Vanna (1909), Hue's
Le Miracle (1910), and in the first perform-
ances at the Opera of Strauss's Salome
(1910), Giordano's Siberia (1911), and
636
MURIS— MUSIN
Saint-Saens's DSjanire (1911). Since 1913
he has been a member of the Chicago Opera
Co., though it was not until the season of
1915-16 that he won his position among the
stars of the first magnitude. During the
summer of 1917 he was eng. for the season
at the Col6n Th. in Buenos Aires. On
July 10, 1913, he married the dram, soprano
Una Cavalieri. His repertoire includes
practically all modern French operas.
Muris [ma-res'], Johannes de (called
de Francia, also Jullanus de M.), eminent
theorist of the 14th century; in 1321 prof, at
the Sorbonne in Paris; elected rector in
1350. A friend of Philippe de Vitry, he
was an ardent advocate of the latter's Ars
nova (counterpoint) and held advanced
views, in opposition to those of his English
namesake. Before Dr. Hirschfeld brought
evidence of the existence of two different
theorists of the same name, musical historians
had been puzzled by the direct contradictions
found in the various treatises publ. under the
same name and all ascribed to the English
J. de M. The French J. de M. is the author
of Musica practice, Musica speculative,
Quaestiones super paries musicae, De discantu
et consonantiis (all reprinted in Gerber's
'Scriptores,' vol. iii); probably also of Ars
contrapuncti secundum J. de M., Ars discantus
per J, de M. and Libellus practicae cantus
mensurabilis (reprinted in Coussemaker's
'Scriptores,' vol. iii). See bibliogr. under
next article.
Mu'ris, Johannes de [called Norman-
nus], master of mathematics at Oxford;
eminent mus. theorist, a disciple of Franco.
Author of a treatise, Speculum musicae,
written (probably) about 1325, in 7 books
(I. Miscellaneous; II. On Intervals; III.
Mus. Ratios; IV. Consonance and Disso-
nance; V. Theory of Ancient Music, after
Boetius; VI. Church-modes, and Solmisation;
VII. Measured Music, and Discant); books
VI and VII printed by Coussemaker in
'Scriptores/ vol. ii; 2 MSS. are in the Paris
Library. — Cf. Dr. Robert Hirschfeld *s dis-
sertation Johannes de Muris (Vienna, 1884);
H. Riemann, Geschichte der Musiktheorie
(Leipzig, 1898); J. Wolf, Geschichte der
Mensuralnotation von 1200-1450 (ib., 1904).
Murphy, Lambert, concert-tenor; born
Springfield, Mass., Apr. 15, 1885. Graduated
from Harvard Univ. in 1908 (A. B.); st.
singing with Thomas Cushman in Boston,
1904-8; soloist in various Boston churches
until 1910; 1910-12, at St. Bartholomew's,
New York, studying at the same time with
I. Luckstone; later (1915-16) with H. Wither-
spoon; since 1910 he has made several tours
with the Boston Festival Orch. (E. Moilen-
hauer) and the Chicago Symph. Orch.; he is
a special favorite at the great annual festi-
vals (Worcester, Cincinnati, Norfolk, Evans-
ton, etc.). From 1910-14 he was a member
of the M. O. H., where he sang minor r61es.
Murska [mdors'kah], lima di, famous
dram, soprano; b. in Croatia, 1836; d. Munich,
Tan. 14, 1889. Pupil of the Marchesis in
Vienna; debut at the Pergola Th., Florence,
1862; after singing at Pest, Berlin, and
Hamburg, she was eng. at Vienna. London
debut May 11, 1865, at H. M.'s Th., as
Lucia; also sang Linda, Amina, and Astri-
fiammante; and at the Phtlharm. on May
29. Up to 1873 she was repeatedly eng. at
H. M. 8 Th., Covent Garden, and Drury
Lane; sang in Paris and other Continental
cities; visited America, Australia, etc.,
1873-6; and England again in 1879. With
a voice of nearly 3 octaves' compass, great
in coloratura, she united brilliancy and
originality of acting. — Other rdles: Dmorah,
Isabella, Martha, Ophelia, Marguerite de
Valois, Gilda, etc.
Muaard [mfl-zahr'J, Philippe, b. Paris,
1 793 ; d. there Mar. 3 1, 1859. Famous dance-
composer, private pupil of Reicha; first
came into public view at the promenade
concerts begun Nov., 1833, in a bazaar of
the Rue St. Honore, at which Dufresne's
soli on the cornet a pistons were a novel
feature; M. also cond. the Opera balls 1835-6,
his orch. of 70 pieces winning great applause.
Up to 1852 he neld first place in France as a
conductor of promenade concerts and dance-
composer. His quadrilles and galops enjoyed
immense popularity; he was callea the 'lung
of quadrilles.' In London he cond. the
promenade concerts at Drury Lane from
Oct. 12, 1840 (his English debut), till March,
1841, and reappeared at the Lyceum the
following autumn. — His son Alfred (1828-
81), was likewise an orch .-cond. and quadrille-
comp., but of mediocre talent.
Mucin, Bonaventura. See Furlanetto.
Musin [mU-zanl, Ovide, noted violinist;
b. Nandrin, n. Liege, Sept. 22, 1854. Pupil of
Heynberg and Leonard at Liege Cons.,
entering at 9 and taking 1st violin-prize at
13. Following Leonard to the Paris Cons.,
he won, at 15, the gold medal for solo and
quartet-playing. In 1870 he began his
career as solo violinist at the Th. Royal in
Spa, and made his first concert-tour in 1873-
4, filling, upon the recommendation of
Leonard, engagements which L. and Wieniaw-
ski could not undertake. From 1874-82 he
made triumphal tours throughout Europe.
In 1883 he went to America,, and organized
a concert-troupe of his own; from 1892-7 he
made 2 tours of the world, returned to Liege
in 1897, and was app. head of the advanced
class for violin at the Cons. In 1898 he
637
MUSIOL— MCTHEL
succeeded Cesar Thomson as violin-prof.;
also made arrangements to spend half his
time in New York. In 1908 he resigned this
post and established in New York his own
school of music. In 1875 he organized the
'Quatuor de Musique moderne in Paris,
which introduced the chamber-music of
Brahms to the French capital. In 1876 he
was app. 'Court violinist' to the King of
Holland. He is Officer of Public Instruction,
Officer of the Order of Leopold (Belgium),
of Bolivar (Venezuela), and the recipient of
numerous decorations. He has publ. a num-
ber of brilliant solo pieces for violin (with
orch. and pf.); System of Daily Practice
(1899) ; The Belgian School of theViolin (1916;
a combination of his own and Leonard's
methods).
Mu'aiol, Robert Paul Johann, b. Bres-
lau, Jan. 14, 1846; d. Fraustadt, Posen, Oct.
19, 1903. Attended the Seminary at Lie-
benthal, Silesia; from 1873 teacher and
most talented and original of Russian com-
posers. His best works are his songs (about
30), which for power of expression and depth
of feeling stand perhaps unrivalled by any
other Russian musician. However, he is
best known for his national 4-act opera,
Boris Godunov, begun in 1868, finished two
years later, and first prod, at the Maryinsky
Th. in Petrograd on Feb. 5, 1874. It was
revised and entirely reorchestrated by Rim-
sky- Korsakov in 1896, and in this form it
has found its way into the repertoire of the
principal opera houses of Europe; the Amer.
premiere took place at the M. O. H. on Mar.
19, 1913. Chovantchina, a 5-act opera (also
on a national subject) was left almost com-
pleted in vocal score; Rimsky- Korsakov
added the last few pages, revised and or-
chestrated the entire work, and had it prod,
at Petrograd in 1885. Of the operas Salamtn-
bS (1863), The Marriage (1868) and The
Fair at Sorochinsk (1887) only portions were
cantor at Rohrsdorf, n. Fraustadt, Posen; ^tt£nr?t,hSr ""f^V KZ.-ntmrmA v"**
pensioned I891.-Publ. MusikaUsches Fremd- • The Defeat of Sennacherib (mi) Jesus Nartn
worterbueh; CaUchismus der Musikgeschichte; V*!]±™*? ih^™£°^£*fi foL «*
edited Tonger's Conversations-Lexikon der
Tonkunst (1888) and Musikerlexikon (1890),
also the 10th ed. of J. Sen u berth's Musika-
lisches Conversations-Lexikon (1877); and
wrote Wilhelm Fritze, and Theodor Korner
und seine Beziehung zur Musik (1893).
Wrote for mus. periodicals; com p. male
part-songs, pieces for pf. and for organ,
songs, etc.
Mussorgsky, Modest Petrovitch, b.
Karev, Govt, of Pskov, Russia, Mar. 28,
1835; d. Petrograd, Mar. 28, 1881. He
received his first instruction from his mother
on the pf., on which instrument his progress
was very rapid; when he ent. the military
acad. at Petrograd he continued to take pf.
lessons from Gerke, with no intention of
taking up music as a profession; after gradu-
ation in 1856 he joined one of the crack
regiments. There he made the acquaintance
of Dargomyzhsky, who introduced him to
Cui and Balakirev; the latter recognized
M.'s original talent, and persuaded him to
devote himself to music; thereupon M. left
the army, but, instead of taking a systematic
course in theory, began to study by himself,
with some advice from Balakirev, the works
of Beethoven, Schumann and Glinka. He
had, indeed, become a good pianist, but he
never acquired an adequate command of
the techmc of composition. Besides this
handicap, poverty compelled him in 1863
to accept an uncongenial position in the
government service, which he was never
able to resign. It is not surprising, therefore,
that his musical output is limited; yet it is
sufficient to establish his place among the
intermezzo in modo classico in B m.f Scherzo
in B, Turkish March, A Night on the Bare
Mountain (symph. fantasy); pf.-pes. (Pictures
from the Exhibition [10 sketches], On the
Southern Shore of the Crimea, Me* dilation, Une
Larme, etc.). — Bibliography: V. Raskin,
M. P. if. (Moscow, 1887; Russian); P.
d'Alheim, M. (Paris, 3d ed. 1896); M.
Olenin-d'Alheim, he Legs de M. (ib.t 1908);
M.-D. Calvocoressi, M. (ib., 1908; Engl,
transl. London, 1916); J. Rivieres, Andes
(Paris, 1911); R. Newmarch, M.'s Operas,
in 'M. T: (Jury, 1913).
Mustel [miis-tghll, Victor, celebrated
builder of .harmoniums; b. Havre, 1815; d.
Paris, 1890. He began life as a plain car-
penter; went to Paris in 1844, where he
worked in several shops, becoming foreman
in Alexandre's harmonium factory; establ.
himself in 1853, invented 'the double expres-
sion' the following year, which won the first
prize at the Expos, of 1855; since 1866 the
firm has become famous as 'V. Mustel et ses
Fils.' He also constructed an instrument
consisting of graduated tuning-forks in a
resonance-box, operated by a keyboard; this
was patented in 1886 by his son Auguste
as 'Celesta.'
Mtithel [mii'tel], Johann Gottfried, b.
Molln, Lauenburg, 1720; d. Riga, after 1790.
Pupil of J. P. Kunzen in Lubeck; 1738,
chamber-musician and court org. in Schwerin;
went in 1750 for further study to J. S. Bach
in Leipzig, and after the latter 's death st. for
a short time with his pupil, Altnikol, in
Naumburg; settled in Riga in 1753 as
Kapellm. of the private orch. of Freiherr
638
MUZIO— NADERMANN
von Vietinghoff; app. asst.-org. in 1755, and
later became 1st org. at the Hauptkirche.
His music is severe, almost sombre, and
remarkable for bold modulation.— Works:
2 pf. -concertos (C m. and D m.; publ.), 2
others in MS.; a duet for 2 pfs.; 3 pf.-sonatas;
12 vara, and other pes. for pf.; a volume of
odes and songs. — See Q.-Lex.
Muzio [moo'ts'yoh), Claudia, dramatic
soprano; b. Pavia, 1892. Practically growing
up on the stage (her father was asst. stage-
mgr. at the M. O. H. and Cov. Garden), she
heard the greatest singers; at a very early
age she began to play the harp and pf.,
making remarkable progress on both in-
struments; became in 1908 a pf. -pupil of
Mme. Casaloni in Turin, who discovered
and trained her voice. Her successful debut
as Manon at Arezzo (Feb. 7, 1912) was
followed by engagements at the leading
Italian theatres (Milan, Palermo, Turin,
Naples, Genoa, etc.); has sung also in South
America, Cuba, Paris and London (1914);
Amer. debut at the M. O. H. on Dec. 4,
1916, as Tosca. She created the principal
r61es in Carini's Baronessa (Palermo, 1913)
and Zandonai's Melenis (Milan, 1914); her
repertoire includes Desdemona, Mistress
Ford (Falstaff), Mtmi, Gilda, Carmen, Norma,
Nedda, Eva, Sieglinde, etc.
Mu'zio, Emanuele, b. Zibello, n. Parma,
Aug. 25, 1825. Pupil of Provesi and Verdi,
and (for pf.) of the latter's first wife, Mar-
gherita Barezzi. In 1852 hecond. the Italian
Opera at Brussels; was later in London and
New York (Acad, of Music), and settled in
Paris (1875) as a sinking- teacher (Carlotta
Patti and Clara Louise Kellogg were his
pupils). — Works: The operas Giovanna la
pazza (Brussels, 1852), Claudia (Milan,
1853), Le due Regine (Milan, 1856), and La
Sorrcntina (Bologna, 1857); also many songs
and pf.-pieces.— -Cf. A. Belforti, E. M.,
Vunico allievo di G. Verdi (Milan, 1895).
Mysliveczek [mis-tl-vet'shek], Joseph,
called 'II Boemo,' or 'Venatorini,' in Italy; b.
in a village n. Prague, Mar. 9, 1737; d. Rome,
Feb. 4, 1781. Pupil of Habermann and
Segert at Prague, and in 1760 publ* 6 sym-
phonies named after the months Jan.-June.
Studied dramatic music with Pescetti at
Venice, 1763; brought out a successful opera
at Parma, 1764; and was commissioned to
write Bclterofonte for Naples (1767). His
operas, about 30 altogether, were extraor-
dinarily popular with the public and singers
alike; but M. was poorly remunerated, and
of extravagant habits, consequently always
in financial difficulties. Mozart greatly
admired his pf.-sonatas. He also wrote 2
oratorios, and publ. 12 string-quartets and
6 string-trios. — See Q.-Lex. [Misliweczek].
Mysz-Gmelner [mush gim'ner], Lula,
distinguished concert-contralto; b. Kronstadt,
Transylvania, Aug. 16, 1876. At the age of
6 she began to st. violin with Olga Grigoro-
wicz; st. singing with mus.-dir. R. Lassel in
Kronstadt (1892-5), G. Walter in Vienna
(1895-6), and from 1896-1900 in Berlin with
Emilie Herzog-Welti, Etelka Gerster and
Lilli Lehmann; debut in Berlin in 1900.
Since then she has sung with emphatic
success in the principal cities of most Euro-
pean countries; especially famous as an
interpreter of Schubert, Brahms, Wolf and
Strauss. In 1905 she was made 'k. k. Kam-
mersangerin'; married in 1900^ to the Austrian
naval officer Ernst Mysz; living in Berlin
since 1907.
N
Nach'baur, Franz, famous dramatic tenor;
b. Schloss Giessen, n. Fried richshaf en, Mar.
25, 1835; d. Munich, Mar. 21, 1902. While
attending the Polytechnic School at Stuttgart,
Pischek noticed his fine voice, and instructed
him in singing. He sang at Basel as a chorister,
and then at theatres in LuneVille, Mann-
heim, Hanover, Prague, Darmstadt, and
Vienna; engaged at Munich 1866-90, with
the title of 'Kammersanger'; then pensioned.
He created Walther von Stolzing in Die
Meisiersinger (Munich, June 21, 1868), and
Froh in Das Rheingold (Munich, Sept. 22,
1869) ; also sang in Italy, creating Lohengrin
at Rome, 1878. Favorite rdles were Raoul,
Prophet, Arnold.
Na'chez [nah'chez], Tivadar (Theodor
Na'schltz), b. Pest, May 1, 1859. Brilliant
violin-virtuoso, a pupil of Sabatil at Pest,
Joachim at Berlin (3 years), and Leonard
at Paris (1 year). Established himself at
Paris, making tours on the Continent, and
finally went to London, where he was emi-
nently successful. After further Continental
tours, he settled (1889) in London as concert -
g layer and composer; living since 1916 in
anta Barbara, Cal. — Works: 2 concertos
for violin and orch. (op. 30, 36); 2 Hungarian
Rhapsodies (op. 16, 25), and 4 Hung, dances
(op. 14); 2 Romances and various minor
pieces for vln. w. orch.; Suite in 6 movem.,
for vln. and pf.; Requiem Mass for soli, ch.
and orch.; arrangements; songs.
Nadaud [nah-doh'], Gustave, b. Roubaix,
France, Feb. 20, 1820; d. Paris, Apr. 28,
1893. Celebrated chansonnier (poet-com-
poser); 15 vols, of his works, each containing
20 chansons, have been publ.; also a vol. of
Chansons Ugeres. Monument in Roubaix. —
He prod. 4 operettas: Le docteur Vieuxtemps,
La Voltire, Le Roseau chantant and Porte et
f entire.
Na'dermann, Francois- Joseph, harpist;
639
NAGEL— NANINO
b. Paris, 1773; d. there Apr. 2, 1835. Pupil
of Krumpholz; 1816 court harpist at Pans,
and 1825 harp-prof, at the Cons. In his
father's harp-factory, continued by him and
his brother Henry [b. 1780, asst.- harpist in
the King's music, and asst. -prof, in the Cons,
till 1835], the old-fashioned instrs. with
crooks were made until wholly driven out
by firard's inventions. N. publ. a great
deal of music for harp (100 opus-numbers).
Na'&el, Dr. Willi bald, was born at Mffl-
heim-on-Ruhr, Jan. 12, 1863. A pupil of
Ehrlich, Spitta, Bellermann, etc., in Berlin.
Establ. himself as Privatdozent at the Univ.
of Zurich, lived 1893^6 in London, studying
early Engl, music; in 1898 he settled in
Darmstadt as lecturer on mus. science at
the Technical Academy. As Academical
Mus. Dir. he conducts the Acad. Singing
Society; is also a successful concert-pianist. —
Works : fiber die dramatisch-musikalische Bear-
beitung der Genovefa-Legende (1888); Geschich-
ie der Musik in England (2 vols., 1894, 7;
down to Purcell's death); Annaien der eng~
lischen H of musik, 1509-1649 (1894); Johan-
nes Brahms (n. d.); Geschichte der Musik am
Darmst&dter Hof, 1570-1800 (1901); Beet-
haven und seine Klaviersonaten (2 vols., 1903,
•05); C. Graupner als Sinfoniker (1912);
other musico-historical essays, etc., in various
magazines ('Musikal. Magazin,' 'Sbd. Int.
M.-G.\ etc.). He revised and ed. the 6th
edition of Kostlin's Geschichte der Musik im
Umriss (1910).
Na'geli, Johann (Hans) Georft, b. Wetzi-
kon, n. Zurich, May 16, 1773; d. there Dec.
26, 1836. Music- publ. at Wetzikon (establ.
1792); founder and president of the Swiss
Assoc, for the Cultivation of Music; singing-
teacher at a primary school, applying the
Pestalozzian system. As a song-composer
he is best known by Freui euch des Lebens
(Life let us cherish). He wrote Gesangsbil-
dungslehre nach Pestalozzischen Grundsdtzen
(w. M. Pfeiffer; 1812); Christliehes Gesang-
buch [an 'Auszug* of the samel (1818); Vorle-
sungen uber Musik mil Berucksichtigune der
DUettanUn (1826); Musikalisches TabeUwerk
fur Volksschulen zur Herausbildunf fur den
Figuralgesang (1838); and a polemical pam-
phlet against Thibaut, Der Streit zwischen
der alien und neuen Musik (1827); etc.
Monument at Zurich, 1848. — Biographies
by Bierer (1844), Keller (1848), and Schnee-
beli (1873).— Cf. also H. Kling, Beethoven
et ses relations avec H. G. N. (Turin,
1912).
Na'giller, Matthaus, b. Mttnster, Tyrol,
Oct. 24, 1815; d. July 8, 1874, at Innsbruck,
as cond. of the 'Musikverein.' — Works: An
opera, Herzog Friedrich von Tirol (Munich,
1854); successful orchl. and choral comps.
Na'gler, Franziakus, b. Prausitz, Saxony,
July 22, 1873. Pupil of his father, an or-
Knist ; sang as soprano soloist at St. Thomas's,
iipzjg; later ent. the Cons, there, and st.
!)f. with Wendltng and Reinecke, comp. with
[adassohn and O. Paul, singing with Reb-
ing. While singing in St. Paul's choir, he
acted as asst. -cond. to Kretzschmar; 1898-
1902, org. and cantor in Limbach; since then
do. in Leisnig; made Kgl. Musikdirektor in
1910.' Comp. of numerous fine male choruses
(op. 63, Helgoland, w. orch.); several 'Sing-
spiele' and 'Kinderfestspiele'; op. 69, Hilde-
funde for soli, mixed ch. and orch.; op. 73,
>ie heilige Nacht for soli, double ch., boys'
ch. and orch.; sacred music; etc.
Nani'no, Giovanni Bernardino, brother
and pupil of Giov. Maria; b. Vallerano, c.
1560; d. Rome, 1624. From 1599 m. di capp.
at the French church of St. -Louis; later at
San Lorenzo in Damaso. Proske printed 4
psalms a 4 in 'Musica divina.' — Publ. 3
books of madrigals a 5 (1598-1612); 4 of
motets a 1-5, w. organ-bass (16QJ8-18J;
Psalms a 4 and 8 (1620); and a Venite exvt-
temus a 3, w. org. (1620). Many other
works in MS. — See Q.-Lex.
Nani'no [Nanlni], Giovanni Maria, b.
Vallerano, Italy, c. 1540; d. Rome, Mar. 11,
1607. Pupil of Palestrina; after completing
his studies, he officiated in Vaiierano as m.
di capp.; but on Palestrina fs resignation as
maestro at Santa Maria Maggiore, Rome,
he was called thither in 1571. Resigning in
1575, he founded the first public school of
music opened in Rome by an Italian, in
which his brother, Giovanni Bernardino, and
Palestrina were active instructors. ^ N.'s
compositions were performed at the Sistine
Chapel; in 1577 he became a member of
the Papal choir, and, in 1604, m. di capp.
of the Sistine Chapel. His works are among
the best of the Palestrina epoch; the 6-part
motet Hodie nobis coelorum rex is still sung
annually on Christmas morning in the Sistine
Chapel. Haberl publ. a sketch of N. in the
'Kirchenmusikalisches Tahrbuch' for 1891,
with 5 hitherto unpubf. Lamentations a 4.
Other printed works are motets a 3-5 in
canon-form with cantus firmus .(1586); 4
books of madrigals a 5 (1578-86); canzonets
a 3 (1587); psalms in Constantini's 'Psalmi
a 8 voci' (1614); other motets and madrigals
in colls, of the time. 3 motets a 3, one a 4,
and a Miserere, are in Proske's 'Musica
divina'; detached numbers in the collections
of Rochlitz, Tucher, Luck, and Prince von
der Moszkva. An admirable work in MS.
is the Cento cinauanta sette contrappunti e
canoni a 2-11 voct, sopra del canto fermo in-
titolato la base di Costanso Festa; also a
Trattato di contrappunto.—Cl G, Radiciotti,
640
NAPOLEXO— NATORP
G. M. N., musicista tiburtino. . . Vita ed opere
(Pesaro, 1906).— See Q.-Lex.
NapoIeSo [-la-ahnl, Arthur, pianist; b.
Oporto, Mar. 6, 1843. After sensational
concerts at the courts of Lisbon and London
(1852), and Berlin (1854), he studied under
Halle at Manchester, made tours throughout
Europe, and N. and S. America. Settled in
Rio de Janeiro in 1868 as a dealer in music
and instrs. Has publ. comps. for pf. and
orch., solo pieces for pf., etc.; has also acted
as a conductor.
Napra'vnlk, Eduard Frantsorltch, b.
Bejst, n. Koniggratz, Aue. 24, 1839. Pupil
of the Prague Organ-School 1853-4; from
1856, teacher in the Maydl Inst, for Music
in Prague; 1861, Kapellm. to Prince Yussupov
at Petrograd ; then organist, and 2d conductor
at the Russian Opera, and from 1869 1st
cond. From 1870-82 he was Balakirev's
successor as cond. of the symphony concerts
of the Mus. Soc. He is a distinguished
pianist, conductor, and composer. — -Works:
The operas The Tempest; The Inhabitants of
Nishnij Novgorod (Petrograd, 1868); Harold
(ib., 1886); Dubrovsky, in 4 acts (ib., 1895;
Leipzig, 1897; succ.); Francesco, da Rimini
(ib., 1903); incid. music to A. Tolstoi's Don
Juan (op. 54); 4 symphonies (No. 3 in E m.,
The Demon, op. 18); a symph. poem, The
Orient (op. 40) ; 6 Danses nationales for orch.
(op. 20) ; Concerto-symphonie for pf. and orch.
(op. 27); Fantasie f. vl. and orch. (op. 30);
Festival March for orch. (op. 33); Fantaisie
russe for pf . and orch. (op. 39) ; Marcia funebre
for orch. (op. 42 b.); Pieces espagnoles for do.
(op. 51); Suite for vl. and orch. (op. 60);
Deux pieces russes for orch. (op. 74) ; 2 over-
tures, Vlasta (op. 4) and Triumphal (op. 14);
a str.-quintet (op. 19); 3 str.-quartets (op.
16, 28, 65); a pf.-quartet (op. 42); 2 pf.-trios
(op. 24, 62); 2 suites for vcl. and pf. (op. 29,
36); a vl-sonata (op. 52); 3 songs with orch.,
Kasak (op. 22), Voyevoda and- Tamara (op.
26); minor pes. for vl.; do. for vcl.; choruses
a capp. ; male and mixed choruses; songs;
pf.-pes.— Cf. P. Weymarn, E. F. N. (Petro-
grad, 1888; Russian); N. Findeisen, E. F. N.
(ib., 1898; do.).
Nardl'ni, Pietro, fine violinist; b. Fibiana,
Tuscany, 1722; d. Florence, May 7, 1793.
Pupil of Tartini at Padua; from 1753-67,
solo violinist in the court orch., Stuttgart;
lived with Tartini until the latter's death in
1770; then maestro of the court music at
Florence. Both Leopold Mozart and Scho-
bert praised his playing. — Publ. 6 violin-
concertos; 6 sonatas for vln. and bass; 6
violin solos; 6 violin-duets; 6 string-quartets;
6 flute-trios. Sonatas are in Alard's 'Les
maltres classiques' and David's 4Hohe Schule
des Violinspiels'; others in Jensen's 'Klassische
Violinmusiic' — See Q.-Lex.
Narea, James, English comp. and organ-
ist; b. Stan well, Middlesex, April, 1715; d.
London, Feb. 10, 1783. Chorister in the
Chapel Royal under Gates; also studied with
Pepusch. DeputV;organist of St. George's
Chapel, Windsor; ore. of York Cath., 1734;
in 1 756 he succeeded Greene as org. and comp.
to the Chapel Royal; Mus. Doc., Cantab.,
1757; Master of the Children, at the Ch.
Royal, 1757-80.— Publ. a dramatic ode,
The Royal Pastoral; a coll. of catches,
canons, and glees (1772); methods for harpsi-
chord, organ and singing; etc. Detacned
Pieces are in Arnold's 'Cathedral Music/
'age's 'Harmonia Sacra,' and Stevens'
'Sacred Music' — See Q.-Lex.
Naret-Konlng, Johann Joseph David,
b. Amsterdam, Feb. 25, 1838; d. Frankfort-
on-Main, Mar. 28, 1905. Violinist; pupil of
David at Leipzig; 1859-71 leader of the
Mannheim orch., also cond. of the Mus.
Soc. and the Sangerbund (until 1878).
From 1871 leader at the City Th., Frankfort,
and member of the Heermann Quartet;
made R. Prof, in 1896. Has publ. songs, etc.
Nasoli'nl, Sebastiano, b. Piacenza, c.
1768; d. probably in Naples, c. 1816. Pro-
lific opera-composer, producing 38 operas
from 1788-1816 at Venice, Milan, Florence,
Naples, Vicenza, etc. For list of operas see
Sonneck's Catalogue of Opera Librettos (Wash-
ington, 1914).
Nathan, Isaac, b. Canterbury, 1792; d.
Sydney, Australia, Jan. 15, 1864. Pupil of
D. Corri. — Works: Music to the comedy
Sweethearts and Wives (1823, very popular);
an opera, The Alcaid (1824); an operetta,
The Illustrious Stranger (1827) ; Hebrew Melo-
dies [Byron], w. Braham (1822, 1861); songs.
Musurgia Vocalis, an essay on the History and
Theory of Music, and on the Qualities, Capa-
bilities, and Management of the Human Voice
(1823, 2d ed. 1826); Life of Madame Mali-
bran de Biriot. . . (1836).
Na'torp, Bernhard Christian Ludwig,
b. Werden-on-Ruhr, Nov. 12, 1774; d. Mon-
ster, Feb. 8, 1846. Studied theology and
pedagogics at Halle Univ.; pastor at Essen,
1798; Counsellor of the Consistory at Pots-
dam, 1808; General Supt. at Munster, 1819. —
Publ. Anleitung zur Unterweisung im Singen
fur Lehter an Volksschulen (2 courses, 1813,
1820; often republ.); Lehrbuchlein der Singe-
hunst (2 courses, 1816, 1820); Ober den
Gesang in der Kirche der Protestanten (1817);
Ober den Zweck, die Eintichtung und den
Gebrauch des Melodienbuchs fur den Gemeinde-
gesang in den evangelhchen Kitchen (1822),
followed by the Melodienbuch (1822) ; Choral-
641
NAU— NAUMANN
buck fur evang. Kitchen (1829; harmonized
in 4 parts w. preludes and interludes by
Rinck); and Ober Rincks Prdludien (1834).—
By his labors the singing in churches and
schools was greatly improved.
Nau, Maria Dolores Benedicta Josefina,
noted soprano stage-singer; born of Spanish
parents at New York, Mar. 18, 1818. Pupil
of Mme. Damoreau-Cinti at the Paris Cons,
from 1832, taking 1st prize in 1834; debut
at the Opera, 1836, as Page in the Huguenots;
sane in minor rdles here for 6 years; then
with much success in Brussels, London, etc.,
and was reengaged at the Opera for leading
rdles (1844-8). In 1848 she went to London,
and thence to America; returning to London,
she sang for 18 months at the Princess's
Th.; then again at the Opera in Paris from
1851-3. She revisited America in 1854, and
was welcomed with extravagant enthusiasm;
she retired in 1856.
Nau'bert, Friedrich August, celebrated
«ong-composer; b. Schkeuditz, Saxony, Mar.
23, 1839; d. Neubrandenburg, Aug. 26, 1897,
where he was organist and singing- teacher
at the Gymnasium; wrote about' 200 songs
and choruses.
Naudin [noh-dan'], Emilio, operatic tenor;
b. (of French parentage) Parma, Oct. 23,
1823; d. Boufogne-sur-Mer, May, 1890.
Pupil of Panizza at Milan; debut at Cremona;
sang in several Italian 'theatres, toured
Europe, and was eng. 1862 at the Th. Italien,
Paris. At Meyerbeer's testamentary desire
he created the r61e of Vasco on the production
olVAfrieaine (Opera, 1865), but soon returned
to the Th. Italien.
Nau'e, Johann Friedrich, b. Halle, Nov.
17, 1787; d. there May 19, 1858. Pupil of
T(irk; in 1813, mus. cur. of the Univ., and
organist. He spent an inherited fortune in
collecting a fine mus. library, and on prep-
arations for the Halle Mus. Festivals of
1829 and 1835; and died poor.— Works:
Vet such einer musikalischen Agende (1818);
Allgem. evang. Choralbuch mil Mdodien,
grosstentheils aus den Urquellen berichtigt,
mil viersHmmigen Harmonien (1829, with
histor. Introd.); he comp. a triumphal
march for chorus and wind-orch., church-
music, pf.-pieces, etc. — Cf. H. Abert, Ge-
schichte der Robert Franz- Singakademie zu
Halle (Halle, 1908).
Nau'enburg, Gustav, baritone concert-
singer and excellent singing-teacher; b. Halle,
May 20, 1803; d. after 1862. He wrote
valuable studies (Tagliche Gesangstudien,
Tagliche Coloraturstudien); wrote for various
mus. papers; and publ. Ideen zu einer Reform
der christlichen Ktrchenmusik (1854).
Naumann [now'-], Emil, grandson of Joh.
Gottlieb N.; b. Berlin, Sept. 8, 1827; d
Dresden, June 23, 1888. Pupil of Schnyder
von Wartensee at Frankfort; of Mendelssohn,
1842; and of Leipzig Cons., 1843—4; then
attended Bonn Univ. In 1848 his first grear
work, the oratorio Christus der Friedensbotr,
was prod, at Dresden; also the opera JzediU
In 1856 his treatise on Die EinfUhrurtg da
Psalmengesanges in die evang. Kirche procured
his appointment as mus. dir. in the court
church, Berlin, for which he comp. motets,
psalms, etc., publishing Psalmen auf aile
Sonn- und Feiertage des evang. Kirchenjahres
[vols, viii-x of Commer's 'Musica sacra 'J.
The Univ. of Berlin conferred on him the
title of Dr. phil. for Das Alter des Psalmen-
gesanges; his masterwork, Die Tonkunst in
der Kulturgeschichle (2 vols.; 1869, 1870),
brought him that of 'Professor.' He went
to Dresden in 1873, and lectured on mus.
history at the Cons. His opera Loreley was
grod. posth. in Berlin (Apr., 1889; complete
asco). — Other writings: Deutsche Tondtckter
von Seb. Bach bis auf die Gegenwart (1871;
often republ.); Ital. Tondichter von Palestrw
bis auf die Gegenwart (1876) ; IUustrierte Musik-
geschtchte (1880-85; Engl. tr. by F. Praeger,
1886; new Ger. ed., brought down to date,
by E. Schmitz, 1908); Musikdramo oder
Oper (1876; contra Wagner); Zukunftsmusik
und die Musik der Zukunft (1877).
Nau'mann, Johann Gottlieb, b. Blase-
witz, n. Dresden, Apr. 17, 1741; d. Dresden,
Oct. 23, 1801. Intended for a school-teacher,
he was trained in the Dresden KreuzschuVe,
where he learned singing. In 1 757 a Swedish
musician named Weestrom offered to take
him to Italy; they travelled thither via
Hamburg, and Weestrom studied at Padua
under Tartini, not allowing N., however, to
share the master's instruction. On account
of this slight, and general ill-treatment, N.
left his former patron; Tartini taught him
gratuitously; in 1761 he went to Rome and
Naples with the violinist Pitscher to study
dramatic composition; studied counterpoint
later with Padre Martini at Bologna; brought
out his first opera, II Tesoro insidiato, in
1763 at the San Samuele Th., Venice; and
returned to Dresden in 1763, receiving next
year the appointment of court composer of
sacred music, and of 'chamber-comp., in
1765. On a second Italian tour he brought
out several operas; then, after refusing an
offer from Frederick the Great, he was app.
Kapellm. at Dresden (1776), advancing in
1786 to Kapellm.-in-chief. In 1777 he was
also invited to Stockholm to reorganize the
orchestra, and brought out operas then and
in 1780. In all he prod. 24 operas; also a
ballet, 11 oratorios, 21 masses, cantatas and
other sacred music (incl. the fine Voter unser,
after Klopstock); an elegy, Klopstocks Grab;
642
NAUMANN— NEATE
18 symphonies; sonatas for pf., violin and
harmonica; songs (new complete ed. by
Breitkopf & Hartel); etc. (Mannstein publ.
a catalogue of N.'s comps.). — Bibliography:
A. G. Meissner, Bruchstucke aus Naumanns
LcbensgcschichU (2 vols.; Prague, 1803-4;
2d ed. Vienna, 1824); G. H. von Schubert
Des sacks. Kapellm. J. G. N. Leben (Dresden,
1844); Emil Naumann, in the 'Allgem.
deutsche Biographie'; M. J. Nestler, Der
kur sacks. Kapelltn. N. aus Blasewilz (Dres-
den, 1901).— See. Q.-Lex.
Nau'mann, Karl Ernst, grandson of J. G.
N.; b. Freiberg, Saxony, Aug. 15, 1832; d.
Jena, Dec. 15, 1910. St. in Leipzig (1850)
under Hauptmann, Richter, Wenzel and
Langer; took degree of Dr. phil. at the Univ.
in 1858 for his dissertation Vber die verschie-
denen Bestimmungen der Tonverhaltnisse und
die Bedeutung des pythagoreischen und reinen
Quintensystems fur unsre Musik; then studied
for 2 years in Dresden under Joh. Schneider
(org.), soon afterward being called to Jena
as academical music-director and organist;
'Professor' in 1877; retired in 1906. Com-
posed chiefly chamber-music (wrote the first-
sonata f. viola and pf., op. 1); publ. many
valuable revisions and arrangements of
classical works, especially for the Bach-
Gesellschaft. — Works: Pastorale in F, for
small orch., op. 16; Serenade in A (nonet for
strings, flute, oboe, bassoon and horn), op.
10; 2 string-quintets, op. 6 and 13; string-
trio, op. 12; pf.-trio, op. 7; string-quartet in
G m., op. 9; etc.
Nava [nah'vah], Gaetano, singing-master;
b. Milan, Mar. 16, 1802; d. there Mar. 31,
1875. Taught by his father (Ant. Maria N.f
1775-1826), and Pollini; then at Milan Cons.
1817-24 by Orlandi, Ray, Piantanida, and
Frederici. App. 1837 prof, of solfeggio at
the Cons.; in 1848, maestro of choral singing
and harmony for the alumni. Wrote a great
number of excellent solfeggi and vocalizzi;
also a Metodo pratico di vocalizzazione;
church-music, songs, pf.-pieces, a Notturino
for harp and harmoniflOte, etc.
Naval, Franz, lyric tenor; b. Laibach,
Carniola, Oct. 20, 1865; pupil of Gansbacher;
debut at Frankfort-on-Main in 1888; 1895-
98 at the Beriin Court Opera as first lyric
tenor; 1898-1902 at the Vienna Court Opera.
Sang in New York at the M. O. H., 1903-*;
then again in Vienna, where he is now (1917)
living as 'k. k. Kammersanger'.
Navratil [-vrah'-], Karl, b. Vienna, Oct.
7, 1836; d. there Apr. 6, 1914. Pupil of
Nottebohm (cpt.). Excellent teacher; Essi-
pov, Schutt and A. Ruckauf were his
pupils. — Publ. works: Psalm xxx, for soli,
ch. and orch.; an overture, op. 5; Grosse
Messe for soli, ch. and orch., op. 26; 2 pf.-
643
quintets, op. 16 (D) and 17 (C m.); 2 str.-
quartets, op. 18, 21 (both in D m.); 2 pf.-
trios, op. 9 (Eb) and 11 (F); a vl.-sonata, op.
20 (F); a vcl.-sonata, op. 24 (D m.); songs;
pianoforte-pieces.
Navratll, Karl, b. Prague, April 24, 1867;
pupil of Ondricek (violin) and G. Adler
(theory); composer, living in Prague. —
Works: The lyric drama Hermann; opera
Salatnbo; the symphonic poems Der weisse
Bergt Lipany, Jan Hus, li&ka, and 2alco; a
symphony in G m.; a pf. -concerto in F m.;
a violin-concerto in E m.; a pf. -concerto;
sonata for violin; sonata for viola; male
choruses; songs; a biography of Smetana,
essays on Hugo Wolf, etc.
Naylor, Edward Woodall, son of John N.;
b. Scarborough, Feb. 9, 1867. Pupil of his
father, and from 1888-92 of the R. C. M.;
Mus. Doc., Cambridge, 1897; org. at St.
Mary's, Kilburn, 1896-8; since 1908 org. at
Emanuel Coll., Cambridge. — Works: An
opera, Angelus (London, 1909; won the
Ricordi prize); Merlin and the Gleam, dram,
scene (1892); a cantata, Arthur the King
(1902); male choruses; services; anthems; a
pf.-trio in D. (MS.). Has also publ. Shake-
speare and Music (1896), An Elizabethan
Virginal-book (1905); essays in the 'Mus.
Antiquary,' 'Proceedings of the Mus. Assoc.'
Naylor, John, Engl, comp.; b. Stanning-
ley, n. Leeds, June 8, 1838; d. at sea, May
14, 1897. Choir-boy at Leeds Parish Ch.,
while S. S. Wesley and R. S. Bunton were
organists. Org. of Scarborough Ch., 1856;
Mus. Bac, Oxon., 1863; Mus. Doc., 1872.
Org. of All Saints', Scarb., 1873; in 1883
org. and choirmaster of York Minster, and
also (1892) cond. of York Mus. Soc., suc-
ceeding Burton. — Works: 4 cantatas, Jere-
miah, The Brazen Serpent, Meribah, and
Manna; church-services, anthems, hymns,
part-songs, organ-pieces, and a well-known
book of chants.
Naylor, Sidney, b. London, July 24,
1841; d. Shepherd's Bush, Mar. 4, 1893.
Chorister at the Temple Ch.; pupil of Dr.
Hopkins (org. and harm.). Organist, suc-
cessively, at 4 London churches, a skilful
accompanist, often touring with Sims Reeves.
In 1868 he married Miss Blanche Cole, the
well-known soprano concert-singer [b. 1851;
d. London, Aug. 31, 1888].
Neate, Charles, b. London, Mar. 28,
1784; d. Brighton, Mar. 30, 1877. Pupil of
W. Sharp ('cello), John Field (pf.), and
Woelfl (comp.); appeared with great success
as a pianist in 1800 in London; in 1815 he
spent 8 months in Vienna, making the ac-
quaintance of Beethoven and profiting from
Uie master's advice; then spent 5 months
NEDBAL— NEIDLINGER
in Munich, where he took a course in cpt.
with Winter. He was one of the founders of
the London Philh. Soc. (1813), and frequently
appeared at its concerts as performer and
conductor. He pubt. 2 pf.-sonatas (C m.
and D m.); a quintet for pf., wood-wind
and double-bass; 2 pf. -trios; a fantasia for
vcl. and pf.
Ned'bal, Oscar, b. Tabor, Bohemia, Mar.
26, 1874. Pupil of Bennewitz (vl.), Knittl
and Stecker (theory), and Dvorak (comp.)
at the Prague Cons., where he grad. in 1892.
From 1891-1906 he played viola in the famous
Bohemian String Quartet (Karl Hoffmann,
Josef Suk, N., Hans Wihan); 1896-1906 he
also cond. orchl. concerts of Bohemian music
in Prague and Vienna; since 1906 cond. of
the Tonkiinstler-Orch.' in Vienna. A fine
cond. and talented comp. — Works: Op. 5,
Scherzo- Caprice for orch.; op. 6, Romanze
und Serenade forvl. and pf.; op. 9, VI. -sonata
in B m.; op. 15, Suite for orch.; the ballets
Der faule Hans (1902), Grossmutterchens
Mdrchensckdtze (1908), Prinzessin Hyazintha
(1911), Des Teufels GrossmuUer (1912),
Andersen (1914); the operettas Die keusche
Barbara (Prague, 1910) and Polenblut (Vienna,
1913; very succ).
Neeb [nap], Heinrich, born Lich, Upper
Hesse, 1807; d. Frankfort, Ian. 18, 1878.
Pupil of Peter M tiller at Friedberg, and Aloys
Schmitt at Frankfort, where he cond. the
'Germania,' 'Neeb's Quartet/ the Teutonia/
and the 'Neeb'scher Mannerchor.' — Works:
4 operas, Domenico Baldi, Der Cid (Frank-
fort, 1857), Die sckwarzen Jager (ib., 1858),
and Rudolf von Habsburg (not prod.); popular
ballads (Die Zobeljagd, Andreas Hofer, Der
todte Soldat, Der sterbende Trompeter, etc.);
a cantata, Das deutsche Lied und sein Sanger.
Other comps. in MS.
Neefe [na'te], Christian Gottlob, born
Chemnitz, Feb. 5, 1748; d. Dessau, Jan. 26,
1798. While a law-student at Leipzig, he
had lessons in music with A. Hiller; acted as
a conductor at Leipzig and Dresden, then
of Sevier's travelling opera-troupe, and (1779)
of the Grossmann-Hellmuth company at
Bonn, where he was app. deputy-organist,
and succeeded van den Eeden as Electoral
mus. dir. in 1782, also as Beethoven's teacher.
In 1796 he became cond. of the Dessau
opera. — Works: 8 vaudevilles and operas for
Leipzig and Bonn; Klopstock's ode Dent
Unendlichen, for 4 voices and orch.; double
concerto for pf., violin and orch.; sonatas,
variations, and fantasias for pf.; songs; etc.
— Cf. H. Lewy, C. G. N. (Rostock, 1902).
— See also Q.-Lex.
Nef [n£hf], Karl, b. St. Gall, Aug. 22,
1873. Ent. the Leipzig Cons, in 1891, study-
ing with Reckendorf (pf.), J. Klengel (vcl.),
and Jadassohn (theory) ; attended the lectures
on musicol. by Kretzschmar at the Univ.,
and in 1896 became Dr. pkil. with his dis-
sertation Die 'Collegia musica' in der deutsck-
reformirten Schweiz von ihrer Enstehung bis
zum Beginn des 19. Jahrhunderts (publ. St.
Gall, 1897). Settled in Basel in 1897; 1898
1909, ed. of 'Schweizerische Musikzeitung':
1900, Privatdozent for musicol. at the Univ..
since 1909 Prof, extraord. Has publ. Ferd.
F. Huber (1898); Zur Geschichte der deulschen
Instrumenlalmusik in der vweiten Halite des
17. Jahrh. (1902; in 'Beihefte Int. M.-G.'
[No. 5]); Die Musik im KanUm St. GalUn,
1803-1903 (1903); Katalog der Musikinslrw
mente im histor. Museum zu Basel (1906);
Schriften uber Musik und Volksgesang (1908.
bibliogr. of books and essays by Swiss
writers) ; essays in various journals. Has also
ed. J. Rosenmtiller's Kammersonaten (vol. 18
of 'Dkm. deutscher Tonk.').
Neff, Fritz, b. Durlach, Baden, Nov. 20,
1873; d. Munich, Oct. 3, 1904. Pupil of
Thuille and Mottl in Karlsruhe; a composer
of great promise unfulfilled. — Publ. works:
•Op. 4, Etn schon teutsch Reiterlied for mate
ch. and orch. ; op. 5, Chor der Toten for mixed
ch. and orch.; op. 6, Schmied Schmers for
do.; op. 7, Die Weihe der Nacht for do.;
songs (Die Polenschenket with orch.).
Nehrlich [narliyh], Christian Gottfried,
b. Ruhland, Upper Lusatia, Apr. 22, 1802;
d. Berlin, Jan. 8, 1868. A vocal teacher,
who establ. a school for singing at Leipzig,
later going to Berlin. His work, Die Gesangs-
kunst . . . (1841), followed by a Gesangschule
fur gebildete Stdnde (1844), though twice
republ., had no lasting success.
Neidlinger, William Harold, b. Brook-
lyn, N. Y., July 20, 1863. Pupil of Dudley
Buck and C. C. Muller in New York (1880-90,
comp. and orch.), and of £. Dannreuther in
London (1896-8). Until 1896 he was an
organist in Brooklyn; cond. of the 'Amphion
Male Chorus' and 'Cecilia Women's Chorus'
in Brooklyn, and the Treble Clef Club' and
'Mannheim Glee Club' in Philadelphia; then
lived in London and Paris as singing-teacher
until 1901 ; returning to the U. S., he settled
in Chicago, where for several years he was
one of the most prominent singing-teachers;
Frank King Clark was one of his pupils,
and, for a time, his asst. The remarkable
success of Small Songs for Small Singers
(1896), which has become a standard work
for kindergartens, turned his special atten-
tion to that line of composition and to the
study of child-psychology; the latter pursuit
gradually absorbed his interest to such an
extent that he practically abandoned music,
and established a school for sub-normal
children in East Orange, N. J. — Works: 2
644
NEITHARDT— NERUDA
comic operas, Ulysses (Cleveland , 1901) and
Sweet Anne Page (Albany, 1903); Prayer,
Promise, and Praise, sacred cantata; pf.-pcs.;
about 200 sacred and secular songs; cnoruses.
He is best known for his books of children's
songs: Earth, Sky, and Air in Song (1900;
2 books); The Owl and the Woodchuck; The
Squirrel and the Crow; Little Folks* Song
Book.
Neit'hardt, August Heinrich, b. Schleiz,
Aug. 10, 1793; d. Berlin, April 18, 1861.
Pupil of Ebhardt and Graner in Schleiz;
oboist in the Gardejager Corps in the War
of Liberation; app. bandmaster in 1816, and
bandmaster of the Kaiser Franz Grenadier
Regt. in 1822-40; in 1843, teacher of singing
for the Domchor (Berlin cathedral-choir),
and in 1845 its conductor. For its improve-
ment he inspected the Imp. Choir at Petro-
gjrad in 1846, and the Sistine Chapel at
Rome in 1857; under his conductorship the
Domchor became famous. — Works: An opera,
Manfred und Julietta (Konigsberg, 1834);
fine music for military band; male choruses;
songs (he set to music Thiersch's Ich bin ein
Preusse); horn-quartets and -trios, pf. -music;
his chief work is as ed. of Commer s 'Musica
sacra'; vols, v, vii and xii are by N. himself.
Neltzel, Otto, b. Falkenburg, Pomerania,
July 6, 1852. Pupil of Kullak's Acad.,
Berlin, and studied also at the Univ. (Dr. phil.,
1875); then made a concert-tour, as pianist,
with Pauline Lucca and Sarasate; and in
1878 became cond. of the 'Musikverein' at
Strassburg, where (1879-81) he likewise
conducted in the City Th. Until 1885 he
taught at the Moscow Cons.; then at the
Cologne Cons.; since 1887 also critic for
the ^Colnische Zeitung'; visited the U. S.
in 1906-7 as lecturer, pianist and conductor.
—Works: The operas Angela (Halle, 1887),
Dido (Weimar, 1888; N. wrote both text and
music), Der alte Dessauer (Wiesbaden, 1889),
Die Barberina (Wiesbaden, 1904), WalhdU in
Not (Bremen, 1905), Der Richter von Kaschau
(Darmstadt, 1916); Das Leben ein Traum
for vl. and orch.; a pf. -concerto in C (op. 26);
CapHccio for pf. and orch. (op. 40); 2 can-
tatas, Vaierland and Priesterwald; pf.-pcs.;
songs. Wrote Fiihrer durch die Oper der Ge-
genwart (3 vols., 1890-3; 4th ed. 1908); Saint-
Saens (1898); Beethoven' s Sinfonien nach
ihrem Stimmungsgehalt erldutert (1901); Aus
meiner Musikantenmappe (1913). — Cf. A.
Dette, Die Barberina (Fulda, 1913; guide
to the opera, contains biogr. sketch).
Nejedl? [n£-yehd1e], Zdenek, b. Leito-
mischl, Bohemia, Feb. 10, 1878. St. music
with Zdenko Fibich in Prague, and musicol.
at the Univ. there with O. Hostinsky; Dr.
phil., 1900; establ. himself as Privatdozent
of musicol. there in 1905; since 1909 prof.
extraord. Editor of the mus. journal 'Sme-
tana' and the quarterly 'Hudebni Slovnik.'
— Writings (in Bohemian) : History of Bo-
hemian Music (1903; in form of a catechism);
History of Music in Bohemia' (3 vols. I. Hist,
of pre-Hussite Hymnology [1904]; II. The Be-
ginnings of Hussite HymnoL 11907); III. Hist,
of Hussite HymnoL in the time of the Hussite
Wats [1913J); Smetana1 s Operas (1909); The
Modern Bohemian Opera since Smetana (1911);
Gustav Mahler (1912; extensive biogr.); bio-
graphical sketches of Hostinsky, Smetana,
Fibich and Jos. Forster; guides to Beethoven's
string-quartets and Strauss's Rosenkavalier
and Ariadne auf Naxos. Also contrib. (in
German) to 'Sbd. Int. M.-G.'
Nekes [n&'k&s], Franz, notable church-
composer; b. Huttrop, n. Essen, Feb. 14,
1844; d. Aix-la-Chapelle, May 6, 1914.
Until 1910 he was Kapellm. at the Cath.
and prof, at the Inst, for Organists in Aix-
la-Chapelle. — Works (mostly a capp.): 15
Masses, several litanies, offertories, anti-
phones, etc.
Ne'ri, Filippo, b. Florence, July 21, 1515;
d. Rome, May 26, 1595. He took holy orders
in 1551, and began giving lectures in the
oratory of San Girolamo (later at Santa Maria,
Vallicella); for which Animuccia, and after
his death Palestrina, composed the 'Laudi
spirituals as a kind of musical illustration of
tne lectures, growing after many years into
the art-form of the oratorio, which derives
its name from the 'oratory' (Ital. 'oratorio')
in which the lectures were held. The atten-
dance on these lectures increased, and in
1575 N. organized a seminary for secular
priests, recognized by Pope Gregory XIII .
as the 'Congregazione dell' Oratorio.' — Cf.
P. G. Bacci, Vita di San F. N. (Naples,
1855; Engl. tr. by F. I. Antrobus [2 vols.),
St. Louis, 1903); A. Capecelatro, La Vita di
San F. N. (Milan, 1884); F. Bazet, Vie de
S. Ph. de N. (Abbeville, 1902).
Neruda, Franz, brother of Wllma M. F.;
b. Briinn, Dec. 3, 1843; d. Copenhagen,
Mar. 19, 1915. Fine violoncellist. At an
early age he appeared in concerts with his
father and sister; 1864-76, member of the R.
Orch. in Copenhagen, where in 1868 he
founded the 'Soc. for Chamber- music'; succ.
Gade in 1892 as cond. of the 'Music Soc.',
and also was cond. of a similar organization
in Stockholm; made 'Prof.' in 1894. — Works:
An orchl. suite, Aus dem Bohmerwald (op.
42) and Slovakische Mdrsche (op. 30) for orch.;
a 'cello-concerto in D m. (op. 59) ; string-
quartets; pieces for 'cello, piano-pieces, organ-
pieces, songs.
Neruda [Lady Halle], Wllma Maria
Francisca, celebrated violinist; b. Briinn,
• Mar. 29, 1839; d. Berlin, Apr. 15, 1911. Her
645
NESSLER— NEUENDORFF
father was an organist. She studied under
J ansa, and first played in public at Vienna,
1846, with her sister Amalie, a pianist; thence
making a tour with her father, sister, and
brother Franz (a 'cellist) through Germany.
In 1849 she played at a Philharm. concert
in London; after prolonged travels on the
Continent, chiefly in Russia, she gave sensa-
tional concerts at Paris in 1864, and there
married Ludwig Norman (div. 1869). She
returned to London in 1869, and played every
winter and spring season at the Popular
Concerts, the Philharm., the Crystal Palace,
Halle's recitals and the Manchester Concerts,
etc. On July 26, 1888, she married Sir Charles
Halle, and with him made triumphal tours
, to Europe, Australia and South Africa until
her husband's death in 1895. When she an-
nounced her intention of retiring, a number
of admirers, headed by the Prince of Wales
(Edward VII), raised a subscription and
presented her with a palace at Asolo, near
Venice. But after the death (1898) of her
oldest son she resumed her concert-work
with an American tour in 1899; after 1900
she made her headquarters in Berlin; in
1901 Queen Alexandra conferred upon her
the title of 'Violinist to the Queen.* She was
regarded as the rival of the greatest masters
of her instrument. Her violin, a Stradivari us
dated 1709, considered one of the finest in
existence, was presented to her in 1876 by
the Duke of Edinburgh, Earl Dudley and
Earl Hardwicke.
Ness'ler, Victor E., b. Baldenheim, Alsa-
tia, Jan. 28, 1841; d. Strassburg, May 28,
1890. A student of theology and music (Th.
Stern) at Strassburg, he prod, a successful
opera, Fleurette, in 1864, and threw himself
into the arms of art. Studied further in
Leipzig, where he became very popular as
chorusmaster at the City Th.t cond. of the
'Sangerkreis,' and a composer of operas which
strongly appealed to popular taste; the above
theatre brought out his romantic fairy opera
Dornroschens Brautfahrt (1867), and the
operettas Die Hochzeitsreise (1867), Nacht-
wdchter und Student (1868), and Am Alexan-
der tag (1869); then followed the operas Ir-
mingard (1876), Der Raitenf anger von Hameln
(1879), Der wilde Jdger (1881), and Der
Trxmpeter von Sdkkingen (1884; N.Y., 1888);
the Ratten} anger and the Trompeter have
achieved more than passing success; Otto
der Schiitz (1886), and Die Rose von Strassburg
(Munich, 1890), closed the series.— Other
works: Der Blumen Rache, ballade for soli, ch.,
and orch.; double chorus Sdngers Fruhlings-
gruss, for men's voices; a part-song cycle,
with soli and pf.-accomp., Von der Wiege bis
zum Grabe; Psalm 137 for soli, ch. and orch.;
male quartets; popular songs, also comic
(Drei Schneider, FraUr Kellermeister, etc.).
Neavad'ba, Joseph, b. Vysker, Bohemia,
Jan. 19, 1824; d. Darmstadt, June 20, 1876.
While studying philosophy at Prague, he
brought out an opera, Blaubart, at the Bo-
hemian Th. in 1844; then acted as theatre
cond. at Karlsbad (1848), OlmUtz, Brunn,
Graz, the Bohemian Th. in Prague (1857-8,
as 1st Kapellm.), the Italian Opera, Berlin
(1859-60), the City Th., Hamburg (1861-3);
and from 1864 as court Kapellm. at Darm-
stadt, where he prod, several ballets. His
Bohemian songs and choruses are prized in
Bohemia.
Neivera [n&hsh-va'rah], Joseph, b. Pros-
koles, Bohemia, Oct. 24, 1842; d. Olmtttz,
Apr. 13, 1914. From 1878-85, mus. dir.
of the Episcopal Ch. in K6niggratz; from
1885, Kapellm. at Olmutz Cath.— Works:
The operas Bratrdnek; Mlynarski (Briinn,
1884); Lesni vzduch (Scent of the Forest;
Olmutz, 1896); Perdita (Prague, 1897);
RadhoH (The Monk of the Mountain;
Briinn, 1906); an oratorio, Job (1913);
Psalm 129 for soli, ch. and orch.; a symphony
in G m. ; a vln-concerto in G; a suite for orch.;
Serenade for str.-orch.; many minor pes.
for orch.; male and mixe^ choruses; Bo-
hemian' songs; Idyll for 3 violins, 2 violas,
'cello and bass; violin-music and pf.-pieces.
Net'zer, Joseph, b. Imst, Tyrol, Mar. 18,
1808; d. Graz, May 28, 1864. After studies
with local teachers, he went to Vienna,
becoming a pupil of Gansbacher and Sechter.
Brought out there the operas Die Belagerung
von Gothenburg (1839), Mara (1841), and
Die Erobe rung von Granada (1844); was
Lortzing's asst. -Kapellm. at Leipzig, 1844-
5; in 1846 Kapellm. at the Th. an der Wien,
Vienna, producing there the opera Die
seltene Hoehzeit; in 1849, Kapellm. at May-
ence, 1853 at Graz. Besides over 100 songs,
he also wrote symphonies, overtures, and
string-quartets.
Neubauer [noi'-], Franz Chris toph, b.
Horzin, Bohemia, 1760; d. Buclceburg, Oct.
11, 1795. A violinist, taught by the village
schoolmaster, he led a wandering life; prod,
an operetta, Ferdinand und Yariko, at
Munich in 1784; then went to Vienna, where
he met Mozart and Haydn; in 1789, Kapellm.
to Prince Weilburg; later court composer
and Chr. Fr. Bach's successor as court
Kapellm. at Buckeburg. — Publ. 12 sym-
phonies; 10 string-quartets; concertos for pf.f
for flute, and for 'cello; other chamber-
music, songs, etc. — See Q.-Lex.
Neuendorf! [noi'-], Adolf, b. Hamburg,
June 13, 1843; d. New York, Dec. 4, 1897.
Went to America in 1855; pupil of G. Matzka
and J. Weinlich (vln.), and Dr. Schilling
(pf.). Debut as pianist, 1859; also 1st violin
in the old Stadt Theatre, New York; 1861,
646
NEUHOFF— NEUPERT
tour of Brazil as violinist; 1863, mus. dir.
of German theatre, Milwaukee; 1864-7, cond.
of German opera, N. Y.; 1867-71, cond. of
Stadt Theatre (Lohengrin given for first
time in America, April IS, 1871). In 1871
he brought Wachtel over; 1872, cond. opera
in Acad, of Music, N. Y.; 1872-4, manager
of Germania Th.; 1875, brought over Wachtel
and Pappenheim; 1877, director and con-
ductor of Wagner Festival at N. Y. (Walkure
given first time, April 3, 1877); 1878, cond.
of N. Y. Philharm.; 1884-9, concert director
in Boston; 1889-91, cond. of the Juch Engl.
Opera Co.; 1892, of English grand opera,
N. Y.; 1893-5, in Vienna, his wife, Georgine
v. Januschowsky, being prima donna at the
Imp. Opera; then returned to N. Y., be-
coming (1896) dir. of music in the Temple
Emanu-El; 1897, cond. of the Metropolitan
Permanent Orch., succeeding Seidl. — Works:
4-act comic opera The Rat-charmer of Hamelin
(1880); do. Don Quixote (1882); 3-act rom.
comic opera Prince Woodruff (1887); comic
opera The Minstrel (1892); 2 symphonies,
overtures, cantatas, male quartets, many
songs; etc.
Neuhoff [noi'hdhf], Ludwig, b. Berlin,
Aug. 11, 1859; d. Gardone, n. Brescia, April
1, 1909. St. comp. from 1885-9 in Munich
with K. Sander, and in 1890-1 at the Leipzig
Cons. On account of his health he lived
from 1898 in Italy. — Works: A mass a capp.;
a symphony; a vcl. -concerto; a vln. -sonata
in E (op. 3); a str.-quartet in C (op. 10);
2 organ-sonatas, in E m. (op. 11) and F m.
(op. 21); Am Meeresstrande for m. ch. and
orch.; choruses for men's vcs.; do. for women's
vcs.; songs.
Neukomm [noi'-], Sigismund, Rittcr
▼on, b. Salzburg, July 10, 1778; d. Paris,
April 3, 1858. Pupil of the organist Weissauer,
and of M. Haydn for comp.; at 15, Univ.
organist; at 18, chorusmaster at the opera.
From 1798 he studied at Vienna under J.
Haydn, who showed him fatherly care. In
1806 he passed through Stockholm, where he
was elected a member of the Acad., to Petro-
grad, there becoming cond. of the German
opera. 1809 found him in Paris, an intimate
of Gretry and Cherubini, and pianist to
Talleyrand after Dussek. For his requiem
in memory of Louis XVI (Vienna, 1814),
Louis XVII ennobled him in 1815, decorating
him with the cross of the Legion of Honor.
In 1816 he went to Rio de Janeiro, and was
app. court mus. dir. by Emperor Dom Pedro,
whom he accompanied to Lisbon on the
outbreak of the revolution in 1821. He was
in Talleyrand's service until' 1826; then
travelled for many years; and finally resided
alternately in London and Paris. He was
extremely popular in England before
Mendelssohn's advent in 1837. Despite his
almost continuous travels, he was a most
industrious composer of fluent and interesting
works, now mostly consigned to oblivion.
Besides much church-music (5 German and
2 Engl, oratorios [Mount Sinai and David],
a complete Morning and Evening Service
[for London], 15 masses, 5 cantatas, psalms
in Ger., Engl., Ital., and Latin, etc.), he
prod. 10 German operas [Alexander am Indus];
3 Ital. dram, scenas; a symphony, 5 overtures
and 7 fantasias for orch.; military marches;
chamber-music (about 20 numbers); a pf.-
concerto and many pf. -pieces; 57 organ-
pieces; about 200 French, English, Italian
and German songs; etc. — His autobiogr. was
publ. as Esquisses biographiques de S. N.
(Paris, 1859).— See Q.-Lex.
Neumann [noi'-], Angelo, b. Vienna,
Aug. 18, 1838; d. Prague, Dec. 20, 1910.
Began a mercantile career, but deserted it
after vocal lessons from Stilke-Sessi, and
after his debut as a lyric tenor in 1859; sang
at theatres in Cracow, Odenburg, Presburg,
Danzig, and the Vienna court opera (1862-
76); from 1876-82 he was manager of the
Leipzig opera under Forster; then gathered
together a travelling company for prod.
Wagner operas, journeying as far as Italy;
from the end of 1882 to 1885 he was manager
of the Bremen opera; then until his death,
of the German opera in Prague (Landes-
theater). — Publ. Erinnerungen an R. Wagner
(1907; Engl, transl. by E. Livermore, 1908).
Neumann [noi'-], Franz, b. Prerau, Mora-
via, June 16, 1874. Pupil of the Leipzig Cons. ;
Repetitor in Karlsruhe and Hamburg;
Kapellm. in Ratisbon, Linz, and Reichenberg;
since 1904, 2d Kapellm. in Frankfort. Comp.
of the operas Die Brautwerbung (Linz, 1901),
Liebelei (Frankfort, 1910); Leyer und Schwert
(publ. 1901; not prod.); op. 30, Heimgefunden
for ten. solo, male ch. and orch.; 2 ballets;
a str.-quartet in C; a pf.-trio in El?; male
choruses; etc.
Neupert [noi'-], Edmund, b. Christiania,
April 1, 1842; d. New York, June 22, 1888.
1858 student, later teacher, at Kullak's
Acad, in Berlin; afterwards he taught at the
Stern Cons., and in 1868 succeeded Anton
Rees as pf .-teacher at the Copenhagen Cons. ;
in 1881 he followed N. Rubinstein as prin-
cipal pf. -teacher in the Moscow Cons.;
settled 1883 in New York, where he soon
made a reputation, but fell a victim to ill-
health. An excellent concert-pianist, his
instructive pieces for pf. are of value: Tech-
nical Studies; Concert-Etudes, op. 17; Octave
Studies, op. 18; Studies in Style, op. 19 and
20; Poetical txudes, op. 25; Poetiske Etuder,
op. 51 ; Exercises for the Various Hand Move-
ments and Modes of Touch, op. 77.
647
NEUVILLE— NEWMAN
Neuville [no-veT], Valentin, b. Rexpoede, Pupil of von der Hcidc and W. Gunther (pf.)
Belgium, in 1863; pupil of the Brussels Cons.; 'at Pittsburgh; of von Boehme (voice) at
organist at the Ch. of St.-Nizier, Lyons.
Works: The operas Le Trifle & quatre;
Tiphaine (Antwerp, 1899) ; Madeleine; VAveu-
gle (1901); Us Willis (1902); V Enfant; ora-
torio Notre-Dame de Fourvieres; 2 symphonies,
2 string-quartets, pieces for organ and for
pf.; — a mass, motets, songs, etc.
Neva'da, Emma, 9tage-name of Emma
Wixom, soprano stage-singer; b. Alpha,* n.
Nevada City, Cal., 1862. St. from 1877 with
the Marchesi in Vienna. Debut London,
May 17, 1880, in La Sonnambula; sang at
Trieste in the autumn; then in Florence,
Leghorn, Naples, Rome and Genoa, and
obtained an engagement for 21 nights at
La Scala, Milan. Parisian debut at the
Opera-Comique, May 17, 1883, as Zora in
F. David's PerU du BrSsil. During the
season of 1884-5 she was a member of Col.
Mapleson's company at the old Academy of
Music in New York, singing on alternate
nights with Patti. Sang in Chicago at the
Opera Festival, 1885, and again in 1889.
Since then she has sung with great applause
in the principal opera houses of Europe. Qn
Oct. 1, 1885, she married Dr. Raymond
Palmer, an English surgeon; has been
living for some years in Paris. Her voice,
ranging from cl-f*, is very light and flexible,
showing to its best advantage in brilliant
coloratura-rdles. Leading rdles in // Bar-
biere, Traviata, Sonnambula, Rigoletto, Don
Pasquale (Spanish Widow), Lakme, Faust,
Mignon (sang Mignon a whole year in Paris),
Hamlet, MireUle, Perle du BrSsil (Zora), I
Puritani, etc.
Nevada, Mignon, daughter of Emma N.;
operatic soprano; b. Paris, c. 1887. Debut
at Costanzi Th., Rome, as Rosina in II
Barbiere di Siviglia; then sang a season at
the San Carlos in Lisbon; after a season at
the Pergola Th. in Florence she sang with
great applause at Cov. Garden in the fall of
1910, and in subsequent seasons; has also
appeared at La Monnaie, Brussels.
Nev'ln, Arthur Finley, brother of Ethel-
bert N.; b. Edgeworth, Penn., April 27, 1871.
Received his first mus. instruction from his
father; from 1891-3 pupil of the N. E. Cons,
in Boston, and from 1893-7 of K. Klindworth
(pf.) and O. B. Boise (comp.) in Berlin.
Since 1915 prof, of music at the Univ. of
Kansas.— Works: The operas Poia (Berlin,
1910) and Twilight (not perf.); 2 orchl.
suites, Lorna Doone and Love Dreams; 2 can-
tatas, Roland and The Djinns; a pf.-trio; a
str. -quartet; choruses and songs.
Nev'in, Ethelbert Woodbridge, pianist
and comp.; b. Edgeworth, Penn., Nov. 25,
1862; d. New Haven, Conn., Feb. 17, 190L
Dresden (1877-8); of Pearce (N. Y.) and
Lang and Emery (Boston); and of Biilow,
Klindworth, and K. Bial at Berlin (1884-6).
Lived at various times in Boston, New York,
Berlin, Paris, Venice and Florence. His
works consist chiefly of pf.-pcs. and songs,
which show a fine melodic talent and marked
individuality. Of the former Narcissus (op.
13, No. 4), and of the latter The Rosary,
achieved immense popularity. A pantomime.
Lady Floriane's Dream, was prod, in New
York in 1898.— Cf. V. Thompson, The Life
of £. N. (Boston, 1913); F. Rogers, Some
Memories of E. N., in 'Mus. Quar.' July, 1917.
Newcomb, Ethel, concert-pianist; born
Whitney Point, N. Y., Oct. 30, 1879. She
received her first instruction from an aunt,
Stella Seymour, an excellent amateur pianist;
went to Vienna in 1895, and st. with Le-
schetizky until 1903; the greater part of one
summer L. spent in imparting to his pupil
the art of teaching, in order to prepare her
to become his assistant, a position "which
she filled from 1904-8; her debut on Feb.
28, 1903, with the Vienna Philh. Orch.
(Schumann concerto) was an unqualified
success; in Oct., 1904, she played in London
with the Queen's Hall Orch., at a concert
cond. by R. Strauss, 3 concertos (Schumann's,
Chopin s £ m., and Saint-Saens's C m.); in
1905 she received a medal and an autograph
letter from the Mikado, thanking her {or a
benefit concert she had $iven in Vienna in
aid of the Japanese. Since then she has
appeared in recital and with orch. in Ger-
many and the U. S., winning special applause
in her all- Beethoven programs; as an ensemble
player she is equally successful.
Newman, Ernest, b. Liverpool, Nov. 30,
1869. He prepared himself for the Indian
Civil Service, but entered business in Liver-
pool, pursuing his musical studies as a
favorite avocation. In 1903 he accepted an
instructorship in the Midland Inst, Birming-
ham, and took up music as a profession;
1905, in Manchester as critic of the 'Guard-
ian'; since 1906 living in Birmingham as
critic for the 'Daily Post.' He is one of the
best equipped and most influential of the
English critics. He has publ. Gluck and the
Opera (1895); A Study of Wagner (1899);
Musical Studies (1905); biographies of
Wagner (1904; a valuable book), Elgar (1906) ,
Hugo Wolf (1907; Ger. tr. by H. von
Hase, 1910), R. Strauss (1908); Wagner cls
Man and Artist (1914; one of the most
impartial and best estimates); he has trans-
lated Weingartner's Vber das Dirigieren and
Schweitzer's /. S. Bach; for Breitkopf &
Hand's complete ed. of Wagner's works he
648
NEWMARCH— NICHOLLS
wrote entirely new and remarkably fine
translations. He has edited Fifty Songs of
Hugo Wolf (with critical introduction);
editor of The New Library of Music' (histor.
and biogr. monographs); he contributed the
chapter on The Post-Classical and Poetic
Schools of Modern Germany to 'The Art of
Music' (1917).
Newmarch, Mrs. Rosa Harriet (nie
Jeaffreson), b. Leamington, 1857. Growing
up in an artistic atmosphere, she ent. the
Hetherley School of Art to study painting,
but after a time abandoned that career for
literary pursuits; settled in London in 1880
as contributor to various journals. Here she
married Mr. Henry Charles N. in 1883.
During her first visit to Russia in 1897 her
association with some of the foremost
Russian ^ musicians aroused her enthusiasm
for Russian music to such an extent that she
studied with Vladimir Stasspv; since then
she has revisited Russia many times, and
become the foremost English authority on
Russian music. Since 1908 she has written
the analytical notes for the programs of the
Queen's Hall Orch.; she is editor of thie
series 'Living Masters of Music'; has contrib.
numerous articles on Russian musicians to
the 'Diet, of National Biogr.' and the second
ed. of Grove. — Works: Tchaikovsky (1900);
Henry /. Wood (1904); Jean Sibelius (1905;
Ger. tr. by L. Kirschbaum, 1906); Songs to a
Singer (lv06) ; Poetry and Progress in Russia
(1907); The Russian Opera (1914); The
Russian Arts (1916). She has translated
Deiters's Brahms (1887); Habets's Borodin
el Liszt (1895); The Life and Letters of Tchai-
kovsky (1908; abridged from Modeste Tchai-
kovsky's biogr.).
Ney, Joseph Napoleon. See Moszkva.
NibeUe [ne-behl'], Adolphe-Andre, born
Gien, Loiret, Oct. 9, 1825; d. Paris, March,
1895. Pupil of the Paris Cons. His numer-
ous light operas had considerable vogue in
Paris. Among the most successful were
Le Loup-Garou (1858), Les Filles du Lac
(1858), V Arche-Marion (1868), La Fontaine
de Berny (1869), Le 15 AoAt (1869), Les
Quatre cents femmes d'Ali-Baba (1872), l' Alibi
(1873); also wrote a symphony-cantata,
Jeanne dArc, and publ. Heures musicales
(24 songs).
Nlccollni, Giuseppe. See Nicolini.
Niccold de Malta. Sec Isouard.
Nich'oll, Horace Wadham, composer;
b. Tipton, n. Birmingham, Engl., March 17,
1848. Son of an excellent musician, John N.,
his first teacher; studied from 16 to 18 with
the organist Samuel Prince. Organist at
Dudley, n. Birmingham, 1867-70; at Stoke-
on-Trent, 1870-1; in the latter year he was
induced by an American gentleman to ac-
company him to Pittsburgh, Pa., where he
became org. at St. Paul's Cath. (4 or 5
years), later at the Third Presb. Ch., and
also teacher at the Female College. During
this time N. gave many recitals at Pitts-
burgh, I ndianapolis, and elsewhere. Removing
to New York in 1878, he became editor of
the organ-dept. in Freund's 'Music Trades'
Review'; 1879-80, org. at St. Mark's. From
1888-95, N. was associated with B. Boekel-
man as prof, of harmony and ensemble-
playing at Miss Porter's school, Farmington,
Conn. — Works: A cycle of 4 oratorios:
Adam (op. 16), Abraham (op. 17), Isaac
(op. 18), and Jacob (op. 19) (all MS.); Elsie,
or The Golden Legend, op. 4, for ch. and orch.
MS.]; Cloister Scene, op. 6, for do. [publ.];
Mass No. 1, in Eb [publ.] ;— For orch.:
Suite, op. 3; symphonic fantasia, op. 5; do.,
op. 7; 1st symphony, in G m., The Nation1 s
Mourning, op. 8; symphonic poem Tartarus,
op. 11; 2d symphony, in C, op. 12; Hamlet,
psychic sketch in C, op. 14 [publ.]; Scherzo-
Fugue for small orch., op. 15; — For pf.:
Concerto in D m.f op. 10; 12 Concert Pre-
ludes and Fugues (in all the diff. cpts.);
numerous studies and charact. pieces [several
are publ.]; 16 pes. for pf. 4 hands [9 publ.]; —
For organ [all publ.]: Fantasia, 12 Grand
Preludes and Fugues (masterpieces of contr.
ingenuity; 6 single, 4 double, 1 triple, 1
quadruple); 6 Short Preludes and Fugues;
6 symphonic Preludes and Fugues; a sonata
in A m., op. 42; a symph. poem, Life, op.
50; 3 melodic pieces; — a sonata, op. 13, for
pf. w. 'cello [publ.]; sonata, op. 21, for pf.
and violin; Salve regina, w. vln. and org.
ad lib.; several songs and anthems; also a
Text-book on Harmony (New York).
Nlcholls, Agnes, distinguished concert-
soprano; b. Cheltenham, July 14, 1877.
She began her musical studies (vln. and
singing) while a pupil in the Bedford High
School. Winning a scholarship, she ent.
the R. C. M. in 1894, where she st. singing
with Visetti until 1900; after that she still
took some lessons from John Acton in Man-
chester. She made her operatic debut at
the Lyceum Th., Nov. 20, 1895, as Dido
(in a revival of Purcell's opera), and also
sang Anne Page in the English premiere of
Verdi's Falstaff (Dec. 11, 1896); concert
debut at the Gloucester Fest., 1897. In spite
of her success she continued her regular
studies, postponing the real beginning of
her professional career until May 14, 1901,
when she* sang the Dewman in Hansel und
Gretel at Cov. Garden; from 1904-8 she sang
there every season (Donna Elvira, Micaela,
Marguerite, Woglinde, etc.).; has also toured
South Africa and Australia with the Quin-
tan company. But her greatest triumphs she
649
NICHOLS— NICOLAI
achieved in oratorio and concert, appearing
at the principal English festivals and the
large orchl. concerts in London and Manches-
ter. In 1904 she made a successful tour of the
U. S. On July 15, 1904, she married the
composer Hamilton Harty.
Nichols, Marie, violinist ; b. Chicago, Oct.
16, 1879. Pupil of Emil Mollenhauer in
Boston till 1892; then studied with Halir
(Berlin) and Debroux (Paris). Debut at the
old Boston Music Hall, Nov. 12, 1899,
playing Lalo's Symphonie espagnole with
the Boston Festival Orch.; also toured South
and West; abroad she has played success-
fully with the Berlin Philharm. Orch., the
London Queen's Hall Orch. under H. J.
Wood (Bruch's Serenade, op. 5; Miss Nichols
was the first lady to play this work in public) ;
also in Paris. Tour of the United States
1903-4; since then living in Boston as
concert-violinist (soloist with the large
orchestras).
Nicod6, Jean-Louis, gifted pianist and
comp.; b. Jerczik, n. Posen, Aug. 12, 1853.
Taught by his father, and the organist
Hartkas; ent. Kullak's A lead, der Tonkunst,
Berlin, 1869 ((Kullak, pf.; Wilerst, harm.;
Kiel, cpt. and comp.). Dwelt for some years
in Berlin as a teacher and pianist; won re-
nown on a concert-tour (1878) with Mme.
Art6t through Galicia and Rumania; 1878-85,
pf. -teacher at Dresden Cons.; till 1888, cond.
of the Philharm. Concerts; establ. the
'Nicode Concerts' in 1893, and, in order to
enlarge their scope by the production of
larger choral works (chiefly those seldom
heard), formed the *N. Chorus' in 1896. In .
1900 he abandoned these concerts, retired
to Langebruck, n. Dresden, and devoted
himself to comp., with only occasional
appearances (by invitation) as cond. of his
own works. In 1897, temporary cond. of
Leipzig 'Riedel-Verein,' succ. Kretzschmar.
— Works: Four symphonic poems: Maria
Stuart, op. 4; Die Jagd nach dem Gliick, op.
11; Das Meer (with solo, m. ch. and org.),
op. 31; Gloria, op. 34; Italienische Volks-
tanze und Lieder, op. 13; Jubildumsmarsch,
op. 20; Faschingsbuder, op. 24; Sinfonische
Variationen, op. 27; 2 pieces for string-
ore h. with 2 oboes and 2 horns, op.
32; symphonic suite for small orch., op. 17;
Romanze for vl. and orch., op. 14; Erbarmen,
hymn for alto w. orch., op. 33; 2 sonatas for
'cello and pf., op. 23, 25. For pf. solo: Vars.
and fugue, op. 18; Sonata in F m., op. 19;
Ein Liebesleben (cycle of 10 pes.), op. 22;
minor pes. For pf. 4 hands: Op. 7, 10, 16, 26,
29 (Bilder aus dem Suden; also arr. for orch.);
songs (op. 30, Dem Andenken an A ma rant ha
[cycle of 8 songs]).— Cf. Th. Schafer, /.-L.
N. Ein Versuch hritischer Wiirdigung und
Erlduterung seines Schaffens (Berlin, 1907);
O. Taubmann, J.-L. N.t in ' Monograph ien
moderner Musiker' (vol. Hi, Leipzig, 1909).
Ni'colai, Otto, gifted opera-comp.; b.
K6nigsberg, June 9, 1810; d. Berlin, May 11.
1849. A pf.-pupil of his father, a singing-
teacher, he escaped from parental tyranny
at the age of 16, and found a protector in
Justizrat Adler of Stargard, who sent him
to Berlin in 1827 to study under Zelter and
Klein. He had developed excellent ability
as a teacher, when the Prussian ambassador
at Rome, von Bunsen, app. him (1833) or-
ganist of the embassy chapel at Rome,
where he also studied the old Italian masters
under Baini. Going to Vienna in 1837, he
was Kapellm. at the Karnthnerthor Th. till
Oct., 1838, when he returned to Rome, and
launched out on the smooth sea of Italian
opera-composition. He had great vogue,
partly in consequence of his Italian-looking
patronymic, bringing out Rosmonda d*In-
ghUterra (Turin, " 1838 ; at Trieste, 1839, as
Enrico II) , II Templario [after 'IvanhocV
(Turin, 1840; at Naples as Teodosia; it
Vienna as Der TemPler), Odoardo e GUdippe
(Turin, 1841), and II Proscritto (Milan, Mil;
in Vienna as Die Heimkehr des Verbbwden).
Succeeding Kreutzer as court Kapellm. at
Vienna, 1841-7, he founded the Philharmonic
Soc. in 1842; also brought out his TempUr
and Die Heimkehr (see above). He began
to compose Die lustigen Weiber von Windsor,
the opera on which his fame rests, in Vienna;
but was called to Berlin (1847) as Kapellm.
of the opera and of the newly establ. 'Dom-
chor.' His last-mentioned opera, (in English
The Merry Wives of Windsor,) came out at
Berlin, Mar. 9, 1849, only two months before
his death by a stroke of apoplexy. — N.'s other
works are a mass (dedicated 1843 to Fr.
Wilhelm IV), a Festival Overture on Ein1
Jeste Burg (1844), a pf. -concerto, and other
pf.-pieces; 2 symphonies; a str. -quartet; a
cello-sonata; a requiem; and a Te Deum;
songs (op. 6, 16), and part-songs.— Bibli-
ography: H. Mendel, Otto Nuoloi: tint
Biographic (Berlin, 1868); G. R. Kruse,
O. N. Ein Kunstlerleben (ib., 19UV. B.
Schroeder, 0. N.'s TagebUcher, nebst biograpk.
Ergdnzungen (Leipzig, 1892); 0. N.'s Brteft
aus den Jahren 1832-48, in the 'Deutsche
Rundschau' (Jan., 1897); G. R. Kruse, 0.
N. als Symphoniker, in the 'Allg. M.-Ztg.'
(1908); id., 0. N.'s italienische Opern, in
'Sbd. Int. M.-G.' (xii, 2; 1911); id., 0. JWj
mustkalischt Aufsdtze (Ratisbon, 1913).
Ni'colai, Willem Frederik Gerard, b.
Leyden, Nov. 20, 1829; d. The Hague, Apr.
25, 1896. Pupil (1849) of Leipzig Cons.
(Moscheles, Hauptmann, Richter, Rietz), and
of Joh. Schneider at Dresden (org.); 1852,
650
NICOLE— NIEDERMEYER
prof, of ore., pf., and harm, at the R. Music-
school at The Hague, becoming Director on
Lubeck's death (1865). A musician of
modern tendency, he made his mark as a
conductor and composer. For 25 years he
was editor-in-chief of the 'Cicilia.' In 1892
he was created officer of the Paris Academie.
— Works: Oratorio Bonif actus; Schiller's
Song of the Bell, for soli, ch. and orch.;
cantata The Swedish Nightingale (prod. Dec.
1, 1880, on the 25th anniversary of Jenny
Lind's endowment of the Musicians' Pension-
Fund at The Hague); cantata Jahveh's Wraak
(Jehovah's Wrath; Utrecht, 1892); cantata
Hanske van Gelder; a symphony, and several
overtures, songs, etc.
Nicole, Louis, b. Geneva, Feb. 25, 1863.
Pupil of the Leipzig Cons., and of Litolff in
Paris. Went to Athens in 1890, where he
lived several years, lecturing on the hist, of
music at the Cons, there; also brought out
an opera, Le Fiance de Claire (1893), and made
an arrangement of the first hymn to Apollo
(discovered at Delphi, 1893); now (1917)
living in London. Has also written a symph.
poem, Edelweiss; a choral symphony, La
Batatlle du Leman; a Stabat Mater; Psalm 148
for ch. and org.; vl.-pcs.; pf.-pes.
Nlcoli'ni, stage-name of Ernest Nicolas,
dramatic tenor; b. St.-Malo, France, Feb. 23,
1834; d. Pau, Jan. 19, 1898. Pupil of Paris
Cons., taking a second accessit for comic
opera in 1856; made his debut in July, 1857,
in Halevy's Mousquetaires de la Reine, at
the Opera-Comique, where he was eng. till
1859; then went to Italy, and sang as 'Nico-
lini' with fair success. From 1862-70 he
sang at the Salle Ventadour, Paris, visiting
London in 1866 (St. James's Hall, May 21).
In 1871 he sang in opera at Drury Lane;
from 1872 for several years at Covent
Garden. After starring tours with Adelina
Patti, he married her, on Aug. 10, 1886.
His best roles were Lohengrin, Faust, and
Radames.
Nlcoli'ni (or Nlccolini), Giuseppe, b.
Piacenza, Jan. 29, 1762; d. there Dec. 18,
1842. Pupil of Insanguine at the Cons, di
San Onofno, Naples, which he left in 1792,
and in 1793 prod, his first opera, La Famiglia
stravagante, at Parma, which was followed
by some 60 others, written for Venice, Milan,
Bergamo, Piacenza, Genoa, Rome, etc. Even
after his appointment as maestro of Piacenza
Cath. in 1819, he brought out half a dozen
dramatic works, but not so successfully as
before; he devoted himself principally, how-
ever, to sacred composition (7 oratorios, 40
masses, 2 requiems, 3 Miserere, 2 De pro-
fundis, 6 litanies, 100 psalms, cantatas).
Also wrote sonatas for pf.; string-quartets;
arias and canzonets (3 colls.). — See Q.-Lex.
Nlcold. See Isouard.
Niecks [neks], Frederick [Friedrich], b.
Diisseldorf, Feb. 3, 1845. St. the violin
under Langhans, Griinewald, and Auer, and
pf. and comp. with 1. Tausch; debut (as
vlnst.) at Diisseldorf in 1857 ;. until 1867 he
was a member of the orch. there, the last
years as Konzertmeister; in 1868, organist
at Dumfries, Scotland, and viola-player in a
quartet with A. C. Mackenzie. After 2
terms in Leipzig Univ. (1877), and travels in
Italy, he won a position in London as critic
for the 'Monthly Mus. Record' and 4Mus.
Times'; in 1891, app. Reid Prof, of music
in Edinburgh Univ. (his inaugural lecture
on Mus. Education and Culture was publ.).
There his duties included practical instruction
in the various branches of mus. comp.,
lecturing, and the direction of not less than
4 historical concerts every winter. Although
the Reid professorship had been founded in
1839, no practical results were shown until
N.'s appointment (see Reid, John). In
1901 N. founded the Mus. Education Soc.
He was made Mus. Doc. (hon. c.) by Dublin
Univ. in 1898; LL.D. by Edinburgh Univ.
Since his retirement in 1914 he has been
living in Edinburgh. By his lectures and
literary work he has risen to a high place
in musical circles. — Works: Dictionary of
Musical Terms (1st and 2d eds. 1884);
FrSderic Chopin as a Man and a Musician
(1888; German ed. 1889; an impartial and
valuable work); a monograph on the history
of the accidentals, The Flat, Sharp, and
Natural (1890; in 'Proceedings of the Mus.
Assoc.'); The Two Keys to the Theory and
Practice of Harmony (1903; ib.); Program
Music in the Last Four Centuries (1907).
Nle'den, zur. See Zuk Nieden.
Nie'dermeyer, Louis, b. Nyon, Switzer-
land, April 27,1802; d. Paris, Mar. 14, 1861.
Pupil in Vienna of Moscheles (pf.) and
F6rster (comp.); in 1819, of Fioravanti in
Rome, and 2ingarelli in Naples, where he
was intimate with Rossini, and prod, the
opera II Reo per amore (1821) ; lived in Geneva
as an admired song-composer; and settled
in Paris in 1823. Brought out 4 unsuccessful
operas {La Casa nel bosco, Th. Italien, 1828;
Stradella, Opera, 1837; Maria Stuart, Opera,
1844; and La Fronde, Opera, 1853). He then
bent his energies to sacred composition, and
reorganized Choron's institute for church-
music as the 'ficole Niedermeyer,' now a
flourishing institution with government sub-
vention; he also founded (with d'Ortigue) a
journal for church-music, 'La Maitrise'; and
publ. with him a Methode d'accompagnement
du plain-chant (1856; 2d ed. 1876). His
masses, motets, hymns, etc., were well
received; his romances (Le lac; Le soir; La
651
NIELSEN— NIEMANN
met; Vautomne; etc.) are widely known; he
also publ. organ-preludes, pf.-pieces, etc.
I is bust in bronze is in the foyer of the Grand
Opera. — Cf. A. Niedermever, L. N. Son
teuvre et son Scole (Paris, n. d.) ; Anon., Vie d'un
compositeur rnpderne (ib., 1893; with preface
by Saint -Saens).
Nielsen, Alice, operatic soprano; born
Nashville, Tenn., 1876. Pupil of Ida Valerga
in San Francisco. D£but with the Burton
Stanley Opera Co. as Yum- Yum (The Mikado)
in Oakland, Cal.t 1893; from 1896-8 she was
the leading lady of the famous Bostonians;
1898-1901, the star of her own light opera
company. While singing in The Fortune
Teller in London, Henry Russel, later dir.
of the Boston Opera Co., heard her, and upon
his advice she went for further study to
Rome; debut as a grand opera singer at the
Bellini Th. in Naples, Dec. 6, 1903, as Mar-
guerite; sang at Cov. Garden 1904-6; toured
the U. S. as member of the San Carlo Opera
Co., 1906-9; member of the Boston Opera
Co., 1909-14, appearing also with the Met-
ropolitan and Chicago companies; has made
numerous concert-tours (with Nordica, R.
Martin, etc.). Her rdpertoire includes the
r31es of Cio-Cio-San, Mimi, Gilda, Violetta,
Lucia, Margherita (Mefistofele), Zerlina, Su-
zinna (Nozze di Figaro), Marta, etc. In
1892 she married the organist Benjamin Nent-
wig in Kansas City.
Nielsen, (August) Carl, b. Norre-Lyn-
delse, Denmark, June 9, 1865. Pupil at the
Copenhagen Cons, of V. Tofte (vl.) and O.
Rosen hoff (comp.); won the Ancker stipend,
and spent a year studying in Paris and Italy;
1890-1905, vlnst. in the court orch. in Copen-
hagen; 1908-14, Hofkapellm.; since 1914 dir.
of the Cons. Has appeared frequently as
visiting cond. (Amsterdam, Berlin, Dresden,
Helsingfors, Stockholm, etc.). knight of
Danebrog; member of the R. Acad, in
Stockholm. — Works: The operas Saul and
David (Copenhagen, 1902) and Masker ode
(ib., 1906); op. 12, Hymnus Amoris for soli,
ch. and orch.; 4 symphonies (op. 7, G m.;
op. 16, De fire Temperamenter; Sinfonia
espansiva; V Inestinguibile) ; op. 1, Suite for
str.-orch.; op. 8, Symphonische Suite; op.
17, Helios, overture; 3 str.-auartets (op. 5,
F m.; op. 13, G m.; op. 14, E!>); op. 2, Ro-
manze for vl. and orch.; pf.-pcs.; songs.
Nielsen, Ludolf, b. Norre-Tvede, Den-
mark, Jan. 29, 1876. Pupil at the Copenhagen
Cons, of V. Tofte (vl.), A. Orth (pf.), Bon-
desen (harm.), O. Mailing and F. P. E.
Hartmann (comp.); during the winter of
1903-4 at the Leipzig Cons.; as winner of
the Ancker stipend travelled in 1907 in
Germany, Austria and Italy. From 1897-
1907 solo viola and asst.-cond. of the Tivoli
Orch., and viola of the Bj6rvig-Quartet;
since then living in Copenhagen as teacher
and composer. — Works: 3 Symphonies (op.
3, B m.; op. 19, E; op. 32, C); op. 2, Radnor
Lodbrog, symph. poem; op. 6, Sommernats-
stemning, symph. picture; op. 7, In Memotiam,
symph. mood-picture; op. 8, Fra Bjaergeme
(From the Mountains; symph. suite); op.
13, Concert-overture in C; op. 35, Babels-
taarnet (The Tower of Babel), symph. poem
w. soli, double ch., and brass-band at distance;
op. 9, Berceuse f. vl. and orch.; op. 11,
Romanze f. vcl. and orch.; op. 20, do. for vl.
and orch.; op. 14, St. Hans, f. bar. solo,
ch. and orch.; op. 31, Herbstabend, recitation
w. orch.; 2 str. -quartets (op. 1, A; op. 5,
Cm.); the operas Isabella (1 act; Copenhagen,
1915) and Uhret (The Clock; 3 acts; not yet
prod.); pf.-pcs.; choruses; songs.
Nie'mann, Albert, renowned dram, tenor;
b. Erxleben, n. Magdeburg, Jan. 15, 1831;
d. Berlin, Feb. 6, 1917. Endowed with a
rood natural voice, he appeared at Dessao
(1849) in minor rdles, and sang in the
chorus; he was then taken in hand by F.
Schneider and the baritone Nusch; after
this training he sang at Hanover, then 'vent
to study under Duprez at Paris, sang with
good fortune at Halle and other towns, and
was eng. at Hanover as dram, tenor 1860-6;
from then, until his retirement in 1889, at
the court opera in Berlin. Wagner eng.
him to create the rdles of Tannhauser at
Paris, 1861, and Siegmund at Bayreuth, 1876.
During the season of 1886-8 he was a member
of the M. O. H., making his debut as Sieg-
mund (Nov. 10, 1886); there he created at
the Amer. premieres the rdles of Tristan
(Dec. 1, 1886) and Siegfried in Gotterddm-
fnerung (Jan. 25, 1888). Although he was
then no longer in his prime, and his voice
was worn, he made a tremendous impression,
for 'he took possession of the stage like an
elemental force'; after more than a quarter
of a century his marvelous impersonation
of the Wagner heroes is not yet forgotten,
and his name is inseparably linked with
those of Seidl, Lehmann, Brandt, Alvary
and Fischer for winning the cause of Wagner
in America. Above all, he was a grand actor,
while his singing was remarkable for distinct
enunciation and intense emotionality, rather
than sensuous beauty. — Cf. R. St era f eld,
A. N. Eine Monographic (Berlin, 19(H).
Nie'mann, Rudolf (Frledrich), b. Wcs-
selburen, Holstein, Dec. 4, 1838; d. Wies-
baden, Mav 3, 1898. Pupil at Leipzig Cons.
(1853-6) of Moscheles, Plaidy, and Rietz;
then at the Paris Cons, of Marmontel (pf.)
and Halevy (comp.); later of Biilow and
Kiel at Berlin. As accompanist to Wilhelmi
he toured Germany, Russia, and England
652
NIEMANN— NIKEL
if.
*
(1873-7); lived for years in Hamburg; from
1883 at Wiesbaden. Piano- pieces (Gavotte,
op. 10), a violin-sonata, op. 18, and songs,
are his chief works.
Nie'mann, Walter, son of preceding;
b. Hamburg, Oct. 10, 1876. Pupil of his
father, and of Humperdinck (1897); 1898-
1901 at the Leipzig Cons, of Reinecke and
von Bose, and at the Univ. of Riemann and
Kretzschmar. (musicol.); Dr. phil. in 1901,
with the dissertation Die abweichende Bedeu-
Htng der Ligaturen in der MensuraUheorie der
Zeit vor Jok. de Garlandia; 1904-6, editor of
'Neue Zeitschrift fur Musik,' in Leipzig;
1906-7, teacher at the Hamburg Cons.; since
then living again in Leipzig as writer and
critic of the 'Neueste Nachnchten.' Besides
a serenade for str.-orch., Rheinisehe Nacht-
musik, he has written interesting pf.-pcs.:
op. 9, Holsteinische Idyllen; op. 20, 25,
Variations; op. 21, Schwarzwald Idyllen; op.
23, Suite; op. 24, sonatinas; op. 26, Deutsche
Ldndler una Reigen; etc. As a writer he has
won distinction with Musik und Musiker
des 19. Jahrk. (1905); Die Musik Skandina-
wens (1906); Das Klavierbuch (1907; 3d ed.
1913); Edvard Grieg (1908; with G. Schjel-
derup); Die musikalische Renaissance des 19.
Jahrk. (1911); Tasckenlexikon fur Klavier-
spieler (1912; 2d ed. 1913); Die Musik seU
R. Wagner (1913). He practically rewrote
the 4th ed. of Kullak's Astketik des Klavier-
spiels (1905); ed. Ph. E. Bach's Versuck uber
die wahre Art das Klavier zu spielen (1906;
critical reprint), and some early works for
pf. and organ in 'Alte Meister,' 'Meister-
werke deutscher Tonkunst,' etc.
Nieuen-Stone, Matja von, concert-
soprano; b. Moscow, Dec. 28, 1870. At the
age of 6 she was taken by her mother to
Germany, where she was educated, first in
Weimar, then in Dresden; st. singing with
Adolf Jensen in Dresden (1886-9); then in
Berlin with Lilli Lehmann, Mme. Souvestre-
Paschalis, Etelka Gerster and Geo. Fergus-
son; debut in concert in Dresden (1890);
then toured Germany, Austria, Hungary
and Russia; 1896-1901, prof, of singing at
the Imp. Russ. Music-School in Odessa;
1901-5, do. in Riga. In 1905 she sang in
Belgium and England; Amer. debut in
recital in March, 1906. During the season
of 1908-9 she was a member of the M. O. H.,
making her operatic debut as one of the
Valkyrs (Nov. 18); later in the season she
was heard as Ortrud, Fricka, Erda, Waltraute,
Brangane, Magdalene, Amneris, Azucena
and Maddalena (Rigoletto). Now (1917)
living in New York as head of the vocal
dept. of the Inst, of Mus. Art. She is at
her best as a Lieder-singer; her fine mezzo-
soprano has something of the richness of
the contralto quality. On Aug. 5, 1897, she
married W. E. Stone of London.
Nle'tzsche, Friedrich, the philosopher;
b. Rdcken, n. Liitzen, Oct. 15, 1844; d.
Weimar, Aug. 25, 1900. Prof, of classical
philology at the Univ. of Ba^sel 1869-79,
retiring on account of impaired eyesight.
At first a warm partisan of Wagner, he publ.
Die Geburt der Tragbdie aus dim Geiste der
Musik (1872; 2d ed. 1874), and Richard
Warner in Bayreuth (1876); the first, es-
pecially, is fantastic in its enthusiasm. In
Der Fall Wagner and N. contra Wagner
(both 1888) and Gotzendammerung (1889)
he as sharply opposes the former demigod;
later his intellect became wholly "unbalanced.
His unique philosophical writings contain
much to interest musicians. N. was also a
trained musician; he publ. 17 songs (1864)
and An das Leben for ch. and orch. (1887)
in MS. are pf.-pcs. (2 and 4 hands) and songs
— Bibliography: E. Forster-Nietzsche, Das
Leben F. N.'s (2 vols., Leipzig, 1895-1904
Engl. tr. [condensed], N. Y., 1912-15); J
Zeitler, N.'s Astketik (Leipzig, 1900); P.
Lasserre, Les idSes de N. sur la musique
La periode wagnSrienne [1871-6] (Paris
1907); E. Eckertz, N. als Kunstler (Munich
1910); H. Belart, F. N.'s Freundschaftstra-
godie mil R. Wagner (Dresden, 1912). See
also F. N.fs psammelte Brief e (Berlin, 1900-
1908; vol. iii, 2 contains letters to Billow,
H. von Senger and M. von Meysenbug; vol.
iv, letters to P. Gast) and H. Daffner's
ed. of N.'s Randglossen zu Bizet's * Carmen'
(Ratisbon, 1912).
Nig'gli, Arnold, b. Aarburg, Switzerland,
Dec. 20, 1843. Studied law at Heidelberg,
Zurich, and Berlin. Since 1875, secretary
to the town council at Aarau. A diligent
student of mus. history, he publ. in 'Samm-
lung musikalischer Vortrage' (Leipzig) mono-
graphs on Chopin, Schubert, Faustina Hasse,
Gertrud Elisabeth Mara, Paganini, and
Meyerbeer; also on Schumann and Haydn in
a Coll. of lectures given in Switzerland
(Basel); a biography of Jensen for Reimann's
'Beruhmte Musiker' (1900); a biogr. of
Schubert for Reclames ed.; several analyses
for the 'Musikfuhrer'; a valuable work, Die
Sckweizerische Musik gesellsckaft: cine musik-
und kuUurgeschichtiiche Studte (1886); and
a Geschickte des Eidgenossischen Sdngervereins,
1842-92. He is an esteemed contributor to
various mus. periodicals.
Nlkel [m"k£l], Emit, b. Sohrau, Silesia,
Sept. 12, 1851. Pupil of the Kirchenmusik-
schule in Ratisbon; ordained to the priesthood
in 1877; now (1917) vice-deacon at the Cath.
and prof, at the theol. seminary in Breslau;
R. Prof, in 1905; Monsignore, 1906; Dr.
theol. (hon. c, Univ. of Breslau, 1908). An
653
NIKISCH— NINI
excellent and prolific church-composer. —
Works: Op. 40, Caecilias Gebet, cantata for
soli, double ch. and orch.; 5 masses (op. 1,
w. orch.; the others a capp.); 2 Requiems;
op. 3, Te Deutn for ch. and orch.; Psalm 95
for male ch. and orch.'; 4 Litanies; about
ISO offertories and motets; almost 200 hymns,
etc. (mostly a capp.). Also wrote Geschichte
des gregorianischen Chorals (1908).
Nikiach, Amalie (nee Heussner), wife of
Artur N.; b. (of German parents) Brussels,
c. 1860; sang in light operas in Kassel and
Leipzig; married the famous conductor on
July 1, 1885; living in Leipzig as a teacher
of singing and dramatic interpretation. Has
written .music to Print Adolar und das Tau-
sendschonchen; the comedy-operas Meine
Tante, deine Tante (Berlin, 1911); Daniel in
der Lowenqrube (Hamburg, 1914); Immer der
anderc (Leipzig, 1915). Also wrote the text
to Mraczek's Abelo (Breslau, 1915).
Nik'isch, Artur, b. Szent Miklos, Hun-
gary, Oct. 12, 1855. His father was head-
bookkeeper to Prince Lichtenstein. N.
attended the Vienna Cons., studying with
DessofT (comp.), and Hellmesberger (violin),
graduating in 1874 with prizes for violin-
playing, and for a string-sextet. While still
a student he had the honor of playing among
the first vlns. (under Wagner's direction) at
the laying of the corner-stone of the Bay-
reuth Th. (1872). He was at first eng. as a
violinist in the court orch. (1874); then by
Angelo Neumann in 1878 as 2d cond. in the
Leipzig Th. (he began by conducting operettas
in the Old Theatre, without score), later being
Placed on an equality with Seidl and Sucher.
rom 1882-9 he was 1st Kapellm. under Sta-
gemann's management; then (1889-93) great-
ly distinguished himself as cond. of the Boston
(Mass.) Symphony Orch. From 1893-95 he
was Director of the Royal Opera in Pest,
and conducted the Philharmonic Concerts
there; since 1895, cond. of the Gewandhaus
Concerts, Leipzig, succeeding Reinecke, and
of the Philharm. Concerts, Berlin. Since
1897 he has been in constant demand as
visiting cond., and made a number of ex-
tended tours with the Berlin Philh. Orch.;
has directed many of the concerts of the
London Philh. Soc., and works of Wagner
and R. Strauss at Cov. Garden; in 1912 he
made a tour of the U. S. with the entire
London Symphony Orch. {85 performers).
From 1902-7 he was dir. of studies at the
Leipzig Cons.; 1905-6, general dir. of the
Stadth.; made *R. Prof.' in 1901. He is a
conductor of the widest sympathies, pene-
trating insight, and extraordinary magnetism;
he conducts the most intricate music without
score. He has in MS. an orch I. fantasy on
themes from Nessler's Trompeter van Sak-
kingen, a symphony, a str.-quartet, a vl -
sonata, and a cantata Christnacht.—Cf. F.
Pfohl, A. N. als Mensch und als KunstUr
(Leipzig, 1900); I. Lipaiev, A. N. (Moscow,
1904; Russian).
Nlki'ta, stage-name of Louisa Margaret
Nicholson, dramatic soprano and coloratura
singer; b. Philadephia, Aug. 18, 1872. Pupil
for a time of M. Le Roy in Washington;
sang in various cities (Boston, New York)
with a travelling opera-troupe, then studied
with Maurice Strakosch in Paris, and sang
in concerts in Germany with much success.
In 1894 she was eng. at the Paris Opera as
'prima donna soprano/ — Sings leading roles
in LakmS, Fille du regiment, Manon, Barbiere,
Traviata, Picheurs de per Us, Pagliacci, etc
Nil'sson, Christine, brilliant stage-
soprano; b. on the estate Sioabel, n. Wexio,
Sweden, Aug. 20, 1843. Her teachers were
Baroness Leuhausen, and F. Berwald at
Stockholm; with him she continued study in
Paris, and on Oct. 27, 1864, made her debt'/
(as Violetta in La Traviata) at the Th-
Lyrique, where she was eng. for 3 yais.
After successful visits to London, she was
eng. 1868-70 at the Paris Opera; then mad*
long tours with Strakosch in America (1870-
2), and sang in the principal Continental
cities. In 1872 she married Auguste Rou-
zaud (d. 1882); her second husband (1887)
was the Spanish count Angel Vallejo y
Miranda (d. 1902). She revisited America
in the winters of 1873, 74, and *84. At
London she created Edith in Balfe's Talis-
mono (1874), Elsa in Lohengrin (1875), and
Margherita and Elena in Mefistofele (1881).
She gave her farewell concert in London,
May 11, 1891; since then has spent the
winters in Paris and on the Riviera, and the
summers in her native land. Her voice was
not powerful, but sweet, brilliant, and even;
compass from g-d*. She excelled as Mar-
guerite and Mignon.
Nin, Joaquin, b. Havana, Cuba, Sept.
29, 1859. St. pf. with Carlos V7diella ia
Barcelona, and M. Moszkowski in Paris;
comp. with d'Indy at the Schola Cantorum.
Has made several successful pianist ic tours
of Europe; especially fine as an interpreter
of early pf.-music, for the performance of
which he earnestly endeavors to revive the
use of the harpsichord; 1906-8, prof, at the
Schola Cantorum. He has written Pour
VArt (1909), Idees et Commentaires (1912), and
Clavecin ou Piano? (ready for publication).
Ni'nl, Alessandro, b. Fano, Romagna,
Nov. 1, 1805; d. Bergamo, Dec. 27, 1880.
Pupil of Palmerini at Bologna; from 1830-7,
Director of the School of Singing at Petro-
grad; from 1843, m. di capp. at Bergamo
Cath. — Works: The operas Ida della Torre
654
NISARD— NOEB
(1837), La MaresciaUa d'Ancre (1839), Cristina
di Svezia (1840), Margherita di York (1841),
Odalisa (1842), Virginia (1843), and // Cor-
saro (1847); also church-music (masses, re-
quiems, psalms, a fine Miserere a capp., etc.).
Nisard [nS-zahr'], Theodore, pen-name of
Abbe Theodule-Eleazar-Xavier Normand,
b. Quaregnon, n. Mons, Jan. 27, 1812; d.
Paris, 1887. Chorister at Cambrai, and also
studied music in Douay; attended the
priests' seminary at Tournay; and in 1839
was app. director of Enghien Gymnasium,
occupying his leisure with the study of
church-music. In 1842 he became 2d chef
de chant and organist at St.-Germain, Paris;
but soon devoted himself wholly to literary
work; he discovered the Antiphonary of
Montpellier (neumes and Latin letter-no-
tation from A to P). Of his numerous
books on Plain-Chant the most important
are a rev. ed. of Jumilhac's La science et la
pratique du plain-chant (1847; w. Le Clercq)
and Vict, litur&ique; historique et pratique du
plain-chant et de musique d'eglise au moyen
Age et dans Its temps modernes (1854; w.
d Ortigue). For complete list see Riemann.
Nissen, Erika. See Lie.
Nis'sen, Georg Nicolaus von, Danish
Councillor of State; b. Hadersleben, Den-
mark, Jan. 22, 1761; d. Salzburg, Mar. 24,
1826. He married the widow of Mozart in
1809, and collected materials for a biography
of M., publ. by his widow in 1828 as Biographic
W. A. Mozarts nach Originalbriefen.
Nis'sen [Nlssen-Saloman], Henriette,
b. Goteborg, Sweden, Mar. 12, 1819; d.
Harzburg, Aug. 27, 1879. Pupil (1839) of
Chopin (pf.) and Manuel Garcia (singing)
at Paris. Debut at the Italian Opera as
Adalgisa (Norma), 1843, led to immediate
engagement. Toured Italy, Russia, Norway,
Sweden, and England (1845-8); in Leipzig
(1849-50 and 1853) she sang at most of the
Gewandhaus Concerts, and at Berlin rivalled
Jenny Lind in popularity. Married Siegfried
Saloman in 1850; after further tours, became
, teacher of singing at the Petrograd Cons.
(1859), where she remained till her death. —
Her Vocal Method was publ. in German,
French, and Russian, in 1881.
Noack, Sylvain, violinist; b. Rotterdam,
Aug. 21, 1881. Pupil of A. Spoor, and from
1898-1900 of Elderling at the Cons, in Am-
sterdam, where he graduated as winner of
the 1st prize; was a member of the Concert-
gebouw Orch., and in 1903 teacher at the
Cons.; 1906, Konzertm. at Aix-la-Chapelle;
since 1908 leader of the 2d violins of the
Boston Symph. Orch., with which he has
appeared repeatedly as soloist.
Noble, lliomas Tertlus, distinguished
organist; b. Bath. England, May 5, 1867.
From 1884-9 pupil at the R. C. M. of Sir
W. Parratt (org,), Sir J. F. Bridge (harm.,
cpt.), and Sir C. V. Stanford (comp.). Org.
at All Saints', Colchester, 1881-9; asst.-org.
at Trinity Coll., Cambridge, 1890-2; org.
at Ely Cath., 1892-8; at York Minster, 1898-
1913; since then org. and choirm. at St.
Thomas's, New York. He made a recital
tour of the Eastern States and Canada in
1913; gave recitals at the Panama Expos, in
San Francisco, 1915. In 1898 he founded the
York Symph. Orch., which he cond. until
1912; with the York Mus. Soc. he revived
(after a lapse of 75 years) the once famous
York Festivals.— F. R. C. O.; A. R. C. M.—
Works : A comic opera KiUibegs (York, 1911);
Morris Dance for orch.; Suite for vl. and orch.
(MS.); Gloria Domini, f est. cantata for bar.
solo, ch. and orch.; Concerto in G m. for
org.; Toccata and Fugue in F m. for do.;
Solemn March in E m. for do.; Theme in
Db with vara, for do.; etc.; anthems, services,
and hymns; pes. for vl. and pf.; choruses;
songs; pf.-pes.
No'dermann, Preben (Magnus Chris-
tian), b. Hjdrring, Denmark, Jan. 11, 1867.
Pupil of O. Mailing in Copenhagen (1888-
90); 1899-1903. org. in Malmd; since then
Kapellm. at the Cath. in Lund. — Works:
The opera Konig Magnus (Hamburg, 1898);
an operetta, Prins Inkognito (Copenhagen,
1909; publ. as Die Jungfernstadl); a second
opera, Gunnlogs Saga (not prod., but publ.);
motets; sacred and secular choruses; pes.
for vl. and pf.; organ-preludes; etc. He
made a new vocal score of Gluck's Orfeo
(1906). Has publ. Tragcdien om Orpheus
och Eurydice afj. Celsius (1901) and Studier
i svensk hymnologi (1911; very valuable).
No'dnagel, (Ernst) Otto, b. Dortmund,
May 16, 1870; d. Berlin, March 25, 1909.
While studying jurisprudence in Heidelberg
(1888-90); he also st. music with Ph. Wolf-
rum; 1890-2, pupil of the Kgl. Hochschule
in Berlin; 1899-1903, prof, of singing at
the Cons., and critic of the 'Ostpreussische
Zeitung* in Kdnigsberg. He wrote 2 symph.
poems, Vom tapfren Schneiderlein (op. 25)
and VAdultera (op. 30); Serenade for orch.,
op. 4; Festouvertiire, op. 10; several songs
w. orch. (Neurotika, op. 16; Impressionen,
op. 18; Abschieds^esdnge, op. 40); a number
of 'Lyrische Rezitative' (ultra-mod. songs,
op. 15, 17, 21, 23). Besides a number of
guides to modern operas (Ingwelde, Moloch,
Pfeifertag, etc.) and artalyses of Beethoven's
2d and 5th symphs., he wrote Jenseits von
Wagner und Liszt (1902), Stimmbildung und
Stoat (1903), A us dem Gemerke (1904); also
a mus. novel, Kdthe Elsinger (1905).
Noeb, Victorine. See Stoltz.
655
NOHL— NORDICA
Nohl, (Karl Friedrich) Ludwig, h. Iser-
lohn, Dec. 5, 1831; d. Heidelberg;, "Dec. 16,
1885. Studied jurisprudence at Bonn (1850),
Heidelberg, and Berlin ; and entered the legal
career against his own desire, to please his
father. In music he was instructed by Dehn,
later (1857) by Kiel, in Berlin, then having
embraced music as his profession. Lecturer
at Heidelberg, 1860; prof, extraord. at
Munich, 1865-8; retired to Badenweiler till
1872, when he settled in Heidelberg as a
private lecturer, becoming prof, in 1880 (the
Univ. had created him Dr. phU. in I860). —
Works (most also in English): Beethovens
Leben (in 3 vols., 1864-77); Brief e Beet-
hovens (1865); Mozarts Briefe (1865; 2d ed.
1877); Neue Briefe Beethovens (1867); Musi-
kerbriefe (1867); Mozarts Leben (1863; 2d ed.
1877); Beethoven, Liszt, Wagner (1874);
Beethoven nach den Schilderungen seiner
Zeitgenossen (1880); R. Wagners Bedeulung
fur dienationale Kunst (1883); Das moderne
Musikdrama (1884). For Reclames Ed. he
wrote Allgemeine Musikgeschichte and biogrs.
of Beethoven, Mozart, Wagner, Haydn,
Weber, Spohr and Liszt.
Nohr, Christian Friedrich, b. Langen-
salza, Thuringia, Oct. 7, 1800; d. Meiningen,
Oct. 5, 1875. Pupil of Spohr, Hauptmann
and Umbreit. Alter successful tours, Kon-
zertmeister (1830) to the Duke of Saxe-
Meiningen. — Works: Operas Der Alpenhirt
(Gotha, 1831), Die wunderbaren Lichier
(Gotha, 1833), Liebeszauber (Meiningen,
1837), Der vierjdhrige Posten (Meiningen,
1851); oratorios Martin Luther, Frauenlob
and Helvetia; orchestral pieces, quintets,
quartets, violin-pieces (many pub!.), songs.
Nolopp, Werner, b. Stendal, June 5,
1835; d. Magdeburg, Aug. 12, 1903. Lived
as teacher in various cities; was pensioned
in 1882 because of an affection of the eyes
and ears, and lived thereafter in Magdeburg.
Composer of numerous male choruses which
enjoyed great popularity (Bretagne [op. 27]
and Deutscher Schwur [op. 67] w. orch.).
Norblin [n6hr-blan'], Louis-Pierre-Mar-
tin, noted 'cellist; b. Warsaw, Dec. 2, 1781;
d. Chateau Connantre, Marne, July 14, 1854.
Pupil of Paris Cons.; 1811-41, 1st 'cello at
the Opera; 1826-46, 'cello-prof, at Cons. —
His son Emile (1821-1880) was also a fine
'cellist.
Norden, N. Lindsay, b. Philadelphia, Apr.
24, 1887. St. in New York with M. Spicker,
F. W. Robinson and A. Weld; then with C
Rubner at Columbia Univ. (Mus. Bac, 19J0-
A. M., 1911); 1905-9, mus. dir. at St. Mary's'
Brooklyn; 1909-17 org. and choirm. at
All Saints'. In 1912 he organized the 'Aeo-
lian Choir' (60 trained voices), with which
he has carried on an active and successful
propaganda for Russian liturgical music in
the concert-hall. In 1917 he succ. W. W.
Gilchrist as cond. of the Mendelssohn Club
of Phila. — Works: Thanatopis for soli, ch.
and orch.; King Melville, overture; church-
music (Te Deum, Benedict us, Jubilate w.
orch.); a vol. of Children's Songs. Has
Cubl. also about 60 a capp. sacred choruses
y various Russian composers (with Engl,
words; most publ. for the first time outside
of Russia).
Nordica, Lillian (stage-name of IJIIian
Norton), distinguished operatic soprano; b.
Farmington, Me., May 12, 1859; d. Batavia.
May 10, 1914. St. with John O'Neill and
in N. E. Cons., Boston; made her concert-
debut in Boston, 1876. In 1878 she travelled
in Europe with Gilmore's Band, as soloist.
She then st. operatic roles with San Giovanni
in Milan, making her operatic debut on
April 30, 1879, at Brescia in La Traviata, and
sang with success in Genoa, Petrograd (where
the assassination of the Czar in 1881 cur
short her engagement), Danzig, Kdnigsberc
and Berlin. On July 21, 1882, she madeW
first appearance in Paris as Marguerite ai
the Gr. Opera, and in the same year &e
married Frederick A. Gower. With him she
returned to America and made her Aroer.
debut with Col. Mapleson's company at
the Acad, of Music (N. Y.) as Marguerite,
Nov. 26, 1883. After that season she retired
for a time; in 1885 proceedings begun by
her for a separation were suspended on
account of Mr. Gower's mysterious disap-
pearance in a balloon. She did not sing in
public again till 1887, then appearing at
Covent Garden Th., London. She first
sang at the M. O. H., New York, 1893,
when the company included Melba, Calve,
Eames, the de Reszkes, Plancon. In 1894
she sang Elsa in Bayreuth, and her em-
phatic success in that part caused her to
take up the greater Wagner rdles. After
careful study with J. Kniese at Bayreuth
she was heard for the first time as Isolde
(to de ReszkS's Tristan) at the M. O. V\.
on Nov. 27, 1895, scoring an overwYie\mutg
success. From then on she sang chiefly '
Wagner rdles. With short intermissions she
remained at the M. O. H. until 1908, when
she began to make extended concert-tours
throughopt the world, appearing only occa-
sionally in opera; in 1910 she sang Isolde
and Briinnhilde in Paris; in 1912, Isolde
with the Boston Opera Co. In 1896 she
married the Hungarian tenor Zoltan Doeme,
from whom she was divorced in 1904; on
July 30, 1909, she married the banker George
W. Young in London. N. possessed a
glorious voice, which she used with consum-
mate art; it was rather as a singer than as
an actress that she achieved her eminence.
.656
NORDQUIST— NORRIS
Nordqulst, (Johan) Conrad, b. Vaners-
borg, Sweden, Apr. 11, 1840. Pupil of the
Mus. Acad, in Stockholm (1856); joined the
court orch. in 1859 as viola-player; 1864,
regimental bandmaster; 1876, chorus-master
at the R. Opera; 1879, 2d Kapellm.; 1885,
1st Kapellm. (Hofkapellm.) ; 1888-92, general
dir. Differences with the singers led to his
resignation, but popular demand brought
about his reinstatement in 1897. From
1870-2, and again from 1880-1900, he was
prof, of harm, at the Cons.; in 18-75, org. at
the Storkyrka. In 1908 he practically re-
tired, retaining only the ensemble classes
and conductorship of the pupils' orch. at
the Cons. He was one of the most distin-
guished of Scandinavian conductors. He
wrote a funeral march for the obsequies of
Charles XV (1872) and a fest. march for the
golden wedding of Oscar II (1897), besides
pf.-pcs. and songs.
Nord'raak, Rfltard, the composer of the
Norwegian national hymn, Ja, vi elsker; b.
Christiania, June 12, 1842; d. Berlin, Mar.
20, 1876. Pupil of Kiel and Kullak; composer
of strong Scandinavian tendency (cf. Grieg).
— Works: Music to Bjdrnson's Marie Stuart
in Scotland, and Sigurd Slembe; also national
songs and choruses, and piano-pieces.
Noren, Heinrich Gottlieb, b. Graz, Jan.
6, 1861. Violin-pupil of Massart in Paris;
after having filled various positions as
leader in Belgium, Spain, Russia and Ger-
many, he st. comp. with Gernsheim in Berlin;
1896-1902, dir. of his own Cons, in Krefeid;
1902-7, prof, at Stern's Cons, in Berlin;
1907-11, living in Loschwitz, n. Dresden, as
comp.; since then in Berlin. He attracted
considerable attention in 1907 with his orchl.
variations Kaleidoskop, op. 30 (on a theme
from Ein Heldenleben). Although intended
as an act of homage to Strauss, the latter
instituted a law-suit, which in the end
proved to be a most valuable advertisement
for N. — Other works: Symphony in B m.,
Vita; op. 11, Elegische Gesangscene f. vcl.
and orch.; op. 35, Serenade for orch.; op. 38,
Concerto for vl. and orch. (A m); op. 16,
Suite in E m. for vl. and pf.; op. 26, Skizzen-
for vl., vcl. and harm.; op. 28, pf.-trio in
D m.; op. 33, vl. -sonata in A m.; op. 42,
Divertimento for 2 vis. and pf.; pes. for vcl.;
pf.-pcs.; numerous male choruses and songs.
An opera, Der Schleier der Beatrice, has not
yet been perf. (1917).
Norlind, (Johan Henrik) Tobias, b.
Hvellinge, Sweden, May 6, 1879. Pupil of
F. Rothstein (pf.) and A. Berg (theory) in
Lund; of von Bose (pf.) and Jadassohn
(comp.) at the Leipzig Cons., 1897-8; of
L. Thuille (comp.) in Munich, 1898-9, and
at the same time of A. Sandberger (musicol.)
at the Univ.; the following winter he cont.
his studies in musicol. at the Univ. of Berlin
with O. Fleischer and M. Friedlander. Re-
turning in 1900 to- his native country, he
attended the univs. of Upsala and Lund,
and from the latter obtained the decree of
Dr. phil. in 1909 for his dissertation Skolsang
och Soekengang i Sverige. From 1907-14 he
was dir. of the high school in Tomelilla;
since then do. in Grefvie, n. Malmo; at the
same time (since 1909) Dozent for hist, of
literature and mus. at Lund Univ.; also
(since 1902) sec. of the Swedish branch of
the 'Int. Mus.-Ges.' At various times he
received stipends from the government for
extended travels (for research) in Austria,
Italy, England, and Switzerland. — Works:
Svensk musikhistoria (1901; Ger. tr.f abridged,
1904); Om spr&ket och musiken (1902);
Beethoven (1907); Latinska skolsanger i
Sverige och Finland (1909); Studier i svenska
folklore (1911); Svenska aUmogens lif (1912);
Allmdnt Musiklexikon (2 vols., 1916; very
valuable for Scandinavian and Finnish
music). Has also contrib. valuable essays
(in Ger.) to 'Sbd. Int. M.-G.'
Nor'man, Ludwlg, b. Stockholm, Aug.
28, 1831; d. there Mar. 28, 1885. Under the
patronage of Prince (later King) Oscar,
Jenny Lind, and Lindblad, he was sent to
Leipzig Cons. (Moscheles, Hauptmann, Rietz)
1848-52; returning to Stockholm, he became
(1859) cond. of the new Philharm. Soc., in
1861 prof, of comp. in the R. Swedish Acad.,
and cond. of the Opera; also Pres. of the
Mus. Acad.; retired in 1879. Married the
violinist Wilma Neruda in 1864 (div. 1869).
— Works: Op. 45, Rosa rorans bonitatem
for sop. solo, ch. and orch.; op. 48, Kantat.
for soli, ch. and orch.; op. 63, Humleplock-
ningen (Hop-picking) for bar. solo, male ch.
and orch.; an oratorio, Die Konige in Israel
(unfinished); op. 39, incid. music to Torkel
Knutsen; op. 57, do. to Anthony and Cleo-
patra; 2 publ. symphonies, op. 40 (Eb)
and op. 58 (D m.); 2 others in MS.; op.
21, Concert-overture in Eb; op. 60, Festou-
verture in C; a pf. -concerto; a str.-octet; a
st r. -sextet, op. 18; a str. -quintet in C m.;
3 str. -quartets, op. 20 (E), op. 42 (C), op.
65 (A m.); a pf.-sextet in A m., op. 29; a
pf. -quartet, op. 10; 2 pf. -trios, op. 4 (D),
op. 38 (B m.); a suite for 2 vis., op. 26; a
vln. -sonata, op. 3; a vcl.-sonata, op. 28;
a via. -sonata, op. 32; 24 books of pf.-pcs.;
1 book of vocal duets; 11 books of songs;
a vol. of 30 Swedish folk-songs. A vol. of
criticisms, Musikaliska uppsatser och kritiker,
was publ. in 1888. — Cf. L. Lagerbielke,
Svenska tonsdttare (Stockholm, 1908).
Normand. See Nisard, Th&odore.
Nor'ris, Homer Albert, b. Wayne, Maine,
657
NORTON— NOUGUtS
1860. Pupil of Marston; graduate of N. £.
Cons., Boston (Turner, Emery,- Chad wick);
studied 4 years m Paris under Guilmant,
Dubois, Godard and Gigout (chiefly comp.
and theory). Organist at Lewiston and Port-
land, Me.; then at the Ruggles St. Baptist
Ch.f Boston, for 12 years; 1904-14 org. and
choirmaster at St. George's Ch., New York.
If not actually the very first, he was one of
the first American composers to employ the
modern French impressionistic idiom. — Works
Practical Harmony on a French Basis (1896);
The Art of Counterpoint (1899).— An oratorio,
St. John the Baptist; a sacred cantata, Nain;
Walt Whitman's The Flight of the Eagle, for
soprano, tenor and baritone; about 60 sacred
and secular songs; pes. for organ; do. for pf.
Norton, Lillian B. See Nordica.
Noakowaki [-k6hv'-j, Siglsmund, [Zyg-
munt von,] b. Warsaw, May 2, 1846; d.
there July 24, 1909. Pupil of the Warsaw
Mus. Inst., 1864-7. After his invention of
a mus. notation for the blind, the Mus. Soc.
sent him (1873) to study under Kiel and Raif
at Berlin. 1876, cond. of the Bodau Society,
Constance; 1881-92, director of the Mus.
Soc. at Warsaw, and (1888) prof, at the Cons,
there; in 1904 app. 2d cond. of the Warsaw
Philh. Soc., and in 1906 do. at the opera. —
Works: The operas Livia Quintilla (Lemberg,
1898) and Wyrok (Warsaw, 1907); a ballet,
Swieto ognia (The Feast of Fire; Warsaw,
1902); 2 operettas; 3 symphonies (A, C m.,
Von Fruhling zu Fruhling); op. 19, Morskie
oko (The Eye of the Sea), concert -overture;
Z iycia (From Life), vars. on the theme of
Chopin's Prelude in A; op. 66, Die Steppe,
symph. poem; cantatas for soli, ch. and
orch. : Switezianka, Jasio, Powrot (The Return) ,
Rok w pies' ni ludowej (The Year in Folk-song),
Kantata rycerska (Knight Cantata); incid.
music to several Polish plays; 3 str.-quartets;
a pf. -quartet; numerous pes. for pf. (solo
and 4 hands); songs. Also publ. 2 colls, of
folk- melodies; treatises on Harmony (1902)
and Counterpoint (1908).
Ndssler, Karl Eduard, b. Reichenbach,
Saxony, Mar. 26, 1863. Pupil 1882-5 of
Reinecke, Papperitz, Paul, Piutti, etc., at
Leipzig Cons.; 1885-7, Kapellm. at Bremen
City Th.; 1888-93, organist at the Frauen-
kirche there, and since 1887 cond. of the
Male Choral Union; also, since 1893, successor
of Reinthaler as org. and dir. at Bremen
Cath., and cond. since 1896 of the 'Neue
Liedertafel.'— Works: A 'Marchenspiel,'
Dornroschen (Bremen); symphony in A min.;
Lustspiel-OuvcrtUre; Des Rheinstroms Schirm-
herr% patriotic hymn for male ch. and orch.;
male and mixed choruses; a score of songs;
also pf.-music,
Not6 [noh-tal, Jean, dramatic baritone;
b. Tournai, Belgium, 1860. Pupil of th-
Ghent Cons., and winner of the 1st prize fo-
singing; debut at Lille in 1886; then 2 year
at La Monnaie, Brussels; after engagemen:
at Lyons and Marseilles he appeared wr
Seat success in 1893 as Rigoletto _at t-
rand Opera, where he remained until 19l«*
sang at the M. O. H. during the season c.
1908-9, making his Amer. debut as Valentin*
in Faust (Nov. 14). At the Opera he created
the principal baritone roles in Bruneau's
Messidor (1897), Rousseau's La Cloche du
Rhin (1898), P. Vidal's La Burgonde (189SI
Hue's Le Roi de Paris (1901), Hillemacher's
Or sola (1902). Perhaps his most famous
part was Tell in Rossini's opera; other operas
sung with distinction are Lohengrin, Meister-
singer, Siegfried, Tannhauser, Sigurd, Aida,
Don Giovanni, l'Africaine, Huguenots, etc.
Not'tebohm, Martin Gustav, b. Laden-
scheid, Westphalia, Nov. 12,1817; d. Gra*.
Oct. 29, 1882. Pupil of Berger and Ddra
at Berlin, 1828-9; of Schumann and Mee-
delssohn at Leipzig, 1840; and 1846 of Seeks*
at Vienna, where he settled as a sraac-
teacher and writer (a Beethoven speriabstV
— Works: Ein Skizzenbuch von Ueetiwsen
(1865); Thematisches Verzeichniss der t«
Druck erschienenen Werke von Beethoven
(1868; reprint 1913); Beethoveniana (2 vols.,
1872, 1887); Beethovens Studien (vol. i, 1873;
B.'s exercises, etc., under Haydn, Albrechts-
berger, and Salieri, after the orig. MSS.);
Thematisches Verzeichniss der im Druck er-
schienenen Werke Franz Schuberts (1874);
Neue Beethoveniana (in the'Musikal. Wochen-
blatt' for 1875, etc.); Mozartiana (1880): Ein
Skizzenbuch von Beethoven aus dem Jakre
1803 (1880). — Comps. unimportant.
Nougues [noo-gas'], Jean, b. Bordeaux,
1876. He showed remarkable precocity as
a composer, having completed an opera, Le
Roi du Papagey% before he was 16, and before
he had had systematic mus. instruction.
After regular study in Paris he prod, his
opera Yannha at Bordeaux in 1897. On
reaching his majority he came into a con-
siderable fortune, the greater part of which
he squandered in a few years, during which
he did nothing with his music beyond retouch-
ing his early opera (Bordeaux, 1901). The
next two operas, Thamyris (Bordeaux, 1904)
and La Mort de Tintagiles (Paris, 1905),
were brought out without much success;
but after the production of his spectacular
Quo Vadis (text by H. Cain after Sienkiewicz'
novel; Nice, Feb. 9, 1909) he found himself
suddenly famous. The work was given the
same year at the Th.-Lyrique in Paris (Nov.
26); in 1911 it was given in Philadelphia
(Mar. 25), New York (Apr. 4), Milan (May
3), and London (Nov. 14). His other works
658
NOURRIT— NOVELLO
are Ckiquito (Op.-Com.t 1909); VAuberge
rouge (Nice, 1910); La Vendetta (Marseilles,
1911); VAiglon (Rouen, 1912); V&claircie
(Pans, 1914); the ballets La Danseuse de
Pompei (1912) and Nanisse (1913); a pan-
tomime, Le Desire, la Chimhre et V Amour
(1906).
Nourrit [noo-rej, Adolphe, celebrated
dramatic tenor; b. Paris, Mar. 3, 1802; d.
Naples, Mar. 8, 1839. Trained by Garcia,
who persuaded his father to let him become
a singer, his debut at the Grand Opera
(1821), as Pylades in Giuck's Iphigenie en
Tauride, was successful. In 1825 he succeeded
his father (Louis N., 1780-1831) as leading
tenor; he resigned in 1837 because Duprez
was associated with him for the interpre-
tation of principal rdles. This fancied slight
so preyed upon his spirits that, in spite of
warm receptions on a tour through Belgium,
southern France, and Italy, he threw him-
self out of a window after singing at a benefit-
concert in Naples. He was an exceptionally
endowed singer, an excellent teacher (in
the Paris Cons, for ten years), and a comp.
of talent (ballets La Sylphide, La Temptte,
Le Diable boiteux, Vile des pirates, etc.,
written for the Taglioni and Fanny Elssler).
The r61es of Robert, Masaniello, Arnold,
Eleazar, Raoul, and many others, were
written expressly for Nourrit.— Cf. M. L.
Quicherat, A. N. Sa vie ... (3 vols., Paris,
1867); E. Boutet de Monvel, XJn artiste d' au-
trefois. A. N. Sa vie et sa correspondence
(2 vols., ib., 1903).
No'vacek [ndhVah-chShk], Ottokar (Eu-
gen), talented violinist and composer; b.
Fehertemplom (Ungarisch-Weisskirchen) in
Hungary, May 13, 1866; d. New York,
Feb. 3, 1900. Pupil of his father, Martin
Jos. N., and up to 1880 played often in
public; 1880-3, pupil of Dont in Vienna;
then studied, in the Leipzig Cons, under
Schradieck and Brodsky, graduating 1885
with the Mendelssohn prize. He also played
in the Gewandhaus, and joined the Brodsky
Quartet as 2d violin (later viola). In 1890
his E minor quartet (No. 1) was produced
by them. Next year he entered the Boston
Symphony Orch. (under Nikisch) ; from
1892-3 he was solo viola in the Damrosch
Orch., New York, and likewise in the revived
Brodsky Quartet; also a member for a time
of the Metropolitan Opera House orchestra.
About 1899 weakness of the heart caused
his retirement, but he still composed zeal-
ously till shortly before his decease. His
works show great originality in form and
conception; yet, new and bold as his har-
monic schemes appear; they are naturally
and logically developed from the underlying
ideas. The instrumentation abounds in
659
strikingly novel effects. — Publ. works: Three
remarkable string-quartets, No. 1, E minor,
No. 2, Eb, No. 3, C (posthumous); concerto
f. pf. (played by Busoni); 2 Concert Caprices
f . pf . ; 8 ditto f. vln. w. pf. ; Bulgarian Dances
f. vln. w. pf.; Perpetuum mobile f. vln. w.
orch.; Air f. vln. w. pf.; 6 Songs (Tolstoi).
Nova '6s, Guiomar, concert -pianist; b. Sao
Joao da Boa Vista, Brazil, Feb. 28, 1895.
At the age of 4 she began to play by ear; at
7 she was placed under Prof. Chiafarelli in
Sao Paulo, under whom her progress was so
rapid that in 1904 she was exhibited as a
prodigy; for the next 5 years she cont. her
studies, but also made frequent appearances
in public. In 1909 she entered the com-
petition for a scholarship at the Paris Cons.,
winning the first place, over 380 rivals, with
her performance of Chopin's Ballade in Ab
and Schumann's Carnaval; st. there for 2
years with I. Philipp, graduating in 1911 as
winner of the 1st prize; the same year, highly
successful debut in Paris; until 1913 she
toured France, Germany, England, Italy
and Switzerland; then appeared in Sao
Paulo and Rio de Janeiro. At her debut in
the U. S. (New York, Nov. 11, 1915) she
made a deep impression, less through her
transcendent technic than thrqugh a maturity
of conception far beyond her years; her
second tour of 1916-17, when she was heard
also with orch., heightened admiration for
her talent.
Novak [n6h'vahk], Vltezslav, b. Kamenitz,
Bohemia, Dec. 5, 1870. St. under Jiranek,
Stecker and Dvorak at the Prague Cons.
Living in Prague as state examiner for music
in intermediate schools, and since 1909 as
prof, of comp. at the Cons. His earlier
works show the influence of German ro-
manticism, but later he became one of the
foremost exponents of nationalism. — Works:
The opera The Sprite of the Castle (Prague,
1915); for orch.: Op. 18, Marysa, dramatic
overture; op. 26, In der Tatra, symph. poem;
op. 33t Von ewiger Sehnsucht, do.; op. 36,
Serenade; op. 40, Toman und die Waldfee
{symph. poem); op. 42, Der Sturm f. soli, ch.
and orch.; Die Totenbrout, do.; op. 1, pf.-
trio in G m.; op. 7, pf. -quartet in C m.; op.
12, pf.-quintet in A m.; op. 22, str. -quartet
in G; op. 27, Trio quasi una ballata, in D m.;
op. 35, str.-quartet in D. For pf.: Op. 2,
Ballade (after Manfred); op. 9, Serenaden;
op. 10, Barkarolen; op. 11, Eklogen; op. 24,
Sonata eroica; op. 29, do.; op. 30, Winter-
nachtgesdnge; op. 32, Slovdckd suita; op. 43,
Pan, tone-poem (5 movems.); op. 45, Suite
exotica.
Novello, Clara Anastasia, daughter of
Vincent N., concert and operatic soprano;
b. London, June 10, 1818; d. Rome, Mar. 12,
NOVELLO-NOWAKOWSKI
1908. Having studied pf. and singing in
London, she ent. the Paris Cons, in 1829,
but returned home the following year because
of the revolution. After successful debut in
concert in 1833 at Windsor, she was eng. for
the Philh. Soc., the Antient Concerts, and the
principal festivals. In 1837 Mendelssohn
eng. her for the Gewandhaus concerts; she
then sang in Berlin, Vienna, Diisseldorf,
Petrograd, etc.; in 1839 she prepared herself
for the stage under Micheroux in Milan,
making her operatic d6but as Semiramide in
Padua (July 6, 1841); sang with great
success in the principal Italian cities, and
appeared at Drury Lane in 1843. On Nov.
22, 1843, she married count Gigliucci, with-
drawing to private life for several years;
reappeared in 1850, and celebrated the
greatest triumphs of her career, singing in
concert and opera (chiefly in England and
Italy). After her farewell appearance in
London in 1860 (The Messiah), while still
at the height of her powers, she retired to
Rome. — Cf. Valeria Gigliucci, C. N.'s Remi-
niscences, compiled by her daughter (Lon-
don, 1910; with memoir by A. D. Coleridge).
NoveTlo, Joseph Alfred, son of Vincent
N.; b. London, Aug. 12, 1810; d. Genoa,
July 17, 1896. Bass singer, organist, com-
poser; choirmaster at Lincoln's Inn Chapel.
Entered his father's business at 19. Inau-
gurated an important innovation, the printing
of separate vocal parts for choir use; did much
to popularize classic music in England by
publ. cheap oratorio-scores. Retired 1856 to
Nice, later to Genoa.— See Novello & Co.
Novello, Vincent, b. London, Sept. 6,
1781; d. Nice, Oct. 9, 1861. He was chorister
in the Sardinian Chapel, Duke St., under
Webbe; later deputy-organist to Webbe and
Danby, and 1797-1822 organist at the chapel
at the Portuguese Embassy. Pianist to the
Italian Opera, 1812; co-founder of the
Philharm. Soc., sometimes conducting its
concerts; 1840-3, organist at the R. C. Chapel,
Moorfields. Retired to Nice in 1849. In
1811 he founded the great London music-
publishing firm of Novello & Co. Himself a
composer of sacred music (masses, motets,
anthems, Kyries, etc.), he also gathered
together and publ. excellent collections: 'A
Collection of Sacred Music* (1811, 2 vols.);
TurceH's Sacred Music' (1829; 5 vols.);
'Croft's Anthems'; 'Greene's Anthems';
'Boyce's Anthems'; masses by Haydn,
Mozart, Beethoven ; etc. — See Novello & Co.
Novello & Co., famous firm of music-
publishers, founded in 1811 in London by
Vincent N. (q. v.). Under the management
of his eldest son, Joseph Alfred (q. v.), the
business increased enormously, and after
the latter's retirement in 1856 Henry Little-
ton (d. London, May 11, 1888), who for
some years had been a partner, assumed the
general management, becoming sole pro-
prietor in 1866. The following year he ac-
quired the business of Ewer & Co., and in
1867 changed the name of the firm to 'Novello.
Ewer & Co.- On his retirement in 1887 he
was succeeded by his sons, Alfred H. and
Augustus J., and his sons-in-law, Geo. T. S.
Gill and Henry W. Brooke. In 1898 the
house was formed into a limited company,
under the name of 'Novello & Co., Ltd.*
In 1846 they acquired 'Mainzer's Mus. Times'
(est. 1844), which they have publ. since then
as 'The Musical Times.' The New York
branch, establ. in 1850, was taken over in
1906 by H. W. Gray & Co.— See 'M. T./
June, 1911: The N. Centenary.
Novello-Daviea, Clara, singing-teacher
and conductor; b. Cardiff, Apr. 7, 1863.
Taught by her father, a professional
musician; debut as a singer at Cardiff in
1872; her success in 1881 as conductor of z
chorus of women's voices led her to orgaraar
the Royal Welsh Ladies' Choir, with wbdi
she toured Great Britain, France, Anuria
and South Africa; at the World's Fair in
Chicago (1893) and at the Paris Expos, ol
1900 the chorus was awarded the 1st prize.
She has publ. a number of successful songs
(A Voice from the Spirit Land, The Vipl.
Comfort, etc.).
Noverre [noh-var'J, Jean-Georges, the
introducer of dramatic action into the ballet
(ballet-pantomime); b. Paris, April 29, 1727;
d. St.-Germain, Nov. 19, 1810. Solo dancer
at Berlin; ballet-master at the Opera-Corn.,
Paris, 1749; at London, 1755; at Lyons,
Stuttgart, Vienna, Milan, and (1776-80) at
the Grand Opera, Paris. — Publ. Lettres sur la
danse et Its ballets (1760, several editions). —
Cf. C. C. Noverre, Life and Works of the
Chev. N. (London, 1882); H. Abert, /. G. N.
und sein Einfluss auf die dramatiscke Balkt-
komposition, in 'Jahrb. Peters' (1908J.
Novotn^, Wenzel, b. Pocaterl, Bohemia,
Sept. 17, 1849; pupil of Prague Organ-School
(Skuhersk^); for many years editor of the
Bohemian musical paper 'Dalibor'*, comp. of
pieces for violin (Rondino for vl. and orch.,
etc.), and songs; made a large collection of
Bohemian folk-songs; has trans!, into Bo-
hemian about 100 opera-texts, among them
all dram, works of Wagner.
Nowakowski [-k6hff'-], Jozef , b. Mniszck,
Poland, 1800; d. Warsaw, 1865. I istin-
guished pianist, pupil of Wilrfel and Llsner
at the Warsaw Cons.; after long pianist ic
travels, prof, at the Alexandra Inst., Warsaw.
— Works (about 60 publ.): An overture, a
quintet, quartets, etc., and, for pf., 12
urandes itudes, op, 25; Grande Polonaise
660
NOWOWIEJSKI— OAKELEY
pathltique, op. 14; Mazurkas, op. 19 and 26;
a Method for pf.; etc.
Nowowiejski [n&h-vdh-v'y«i'y'ske1, Felix,
b. Wartenburg, Ermeland, Feb. 7, 1877.
Pupil of Bussler, Taubert and G. Hollaender
at Stern's Cons, in Berlin; of Haller, Renner
and Haberl at the Kirchenmusikschule in
Ratisbon; st. again in Berlin with Bellermann,
and 4 years with M. Bruch at the Meister-
schule; won a prize for comp. in London
(1899), 2 state stipends (Berlin, 1900 and
1902), the Paderewski Prize (Bonn, 1903),
and twice the Meyerbeer Prize (1901, with
an 8-part double fugue and an overture;
1904, with the oratorio Die Ruckkehr des
verlorenen Sohnes); as winner of this last
prize he spent 2 years travelling and studying
in Austria, Italy, France and Belgium.
Lived as teacher of comp. and cond. of
various choral societies in Berlin; since 1909
dir. of the Mus. Soc. and cond. of the sym-
phony concerts in Cracow. — Works: An
opera, Busola (The Compass); 2 symphonies
(A, B m.); 2 overtures, Swaty polskie (Polish
Wooing) and Konrad WaUenrod; an orchl.
fantasy, Pergolesi; Slavischer Marsch for
orch.; several mil. marches for do.; op. 18,
Slavische Volksszene f. mixed ch. and orch.;
2 oratorios, Quo Vadis (after Sienkiewicz;
his best-known work) and Die Auffindung
des hi. Kreuzes; pes. for organ; choruses; songs.
Noyes, Edith Rowena, b. Cambridge,
Mass., Mar. 26, 1875. St. pf. with E. Mac-
Dowel 1 (1891-6) and theory with G. W.
Chadwick (1890-5); also profited from as-
sociation with Emit Paur. Living in Boston
as a teacher and concert-pianist. She is an
ardent advocate of the cause of the American
composer; toured Europe in 1899 and 1909,
playing only 'American programs.' Besides
numerous pf.-pes., songs, and anthems, she
has written a vl. -sonata in F# m. (op. 70,
on Indian themes), a pf.-trio in D (op. 73);
an operetta Last Summer (Lowell, Mass.,
1898); a romantic pageant-opera on an
Indian subject, Waushakum (Framingham,
Mass., 1917). — In March, 1909, she married
Roy G. Greene.
Nultter, pen-name of Charles-Louis-
Etienne Trulnet; b. Paris, Apr. 24, 1828;
d. there Feb. 24, 1899. Originally a lawyer,
he became custos of the Opera archives; he
arranged the material systematically, and
made a complete catalogue. Author of a
great many lyric poems, vaudevilles and
ballets, operettas, etc. — Wrote Histoire el
description du nouvel Opera (1884; with
Thoinan) ; Origines de V opera francais (1886) ;
translated Weber's Oberon and Preciosa,
Bellini's Romeo e Giulietta, Wagner's Rienzi,
Hollander, Tannhduser and Lohengrin, Mo-
zart's Zauberflbte, Verdi's Aidat etc.
Nunn, Edward Cuthbert, b. Bristol,
Feb. 23, 1868. Pupil at the R. A. M. of
G. Macfarren, T. Matthay, F. W. Davenport
and H. R. Rose; since 1887 org. at St. John
the Baptist's, Leytonstone; also cond. of
the Orchl. Soc. and the Ilford Operatic Soc.
Member of the R. Phifli. Soc. and Soc. of
British Composers. — Works: Symphony in
D (unfinished); Ftte Champitrc, suite de
ballet; Petite Suite; minor pes. for orch.;
Psalm 100 for bar. solo, ch. and orch.;
Everyman, cantata; the children's operas
Kamar-al-Zaman, The Fairy Slipper, The
Shepherdess and the Sweep, The Garden of
Paradise, The Wooden Bowl; pes. for vl.
and pf.; pf.-pes.
Nux [nttks], Paul Veronge de la, b. Fon-
tainebleau, June 29, 1853. Pupil of F. Bazin
in Paris Cons.; 2d Premier grand prix in
1876. — Works: The 2-act grand opera
Zaire (Opera, 1889; mod. succ.; Stuttgart,
1895; succ.); music-drama Labdacides (not
perf.); incid. music to Isora (drama by
Aderer); pf.-music; etc*
O
Oakeley, Sir Herbert Stanley, English
composer; b. Ealing, Middlesex, July 22,
1830; d. Eastbourne, London, Oct. 26, 1903.
While at Oxford, he studied harmony under
Eivey; later attended the Leipzig Cons.
(Moscheles, Plaidy, Papperitz); and took
organ-lessons of Schneider in Dresden,
finishing with Breidenstein at Bonn. 1855-
91, Reid Prof, of Music at Edinburgh Univ.,
succeeding Donaldson. He soon became a
power in musical circles; the annual Reid
Concert developed into a 3-days' Festival;
the concerns of the Univ. Mus. Soc., and his
own regular organ-recitals, had a wide-
spread educational influence; and his success-
ful exertions were acknowledged by the
bestowal of numerous high distinctions; he
was knighted in 1876; Mus. Doc., Cantab.,
1871; LL.D., Aberdeen, 1881; Emeritus
Professor, 1892. He was Composer to the
Queen, in Scotland, and from 1887 Pres. of
the Cheltenham Mus. Festival. — Publ. works:
A cantata., Jubilee Lyric, for the Chelt. Fest.;
a Festival March, and a Funeral March
(op. 23), for orch.; a Morning and Evening
Service, and various anthems; a sonata (op.
20), a Rondo capriccioso, a Romance (op.
21), 3 other romances, f. pf.; and 12 Scottish
Natl. Melodies, air. for chorus (op. 18); 12
part-songs f. mixed ch. (op. 25); 6 part-
songs f. male voices (op. 17); an Album of
26 songs (dedicated to the Queen); 3 duets
w. German words (op. 8); etc. His orchl.
Suite in the olden style was prod, at the
Chelt. Fest. in 1893; and a Pastorale f. orch.
at Manchester, 1891. — Cf. E. M. Oakeley,
The Life of Sir H. 5. 0. (London, 1904).
661
OBER- OCHS
Ober, Margarete, famous dramatic mezzo-
soprano; b. Berlin, Apr. 15, 1885. St. there
with Benno Stolzenberg (1903-5), then with
Arthur Arndt; debut in Frankfort, Aug. 20,
1906, as Azucena; at the Stadtth. in Stettin
(1906-7) her extraordinary vocal and his-
trionic gifts attracted so much attention that
in Sept., 1907, she was eng. at the R. Opera
in Berlin; her Amer. d6but took place as
Ortrud at the M. O. H. on Nov. 21, 1913.
She was recognized as a star of the first mag-
nitude; since then she has divided her time
equally between the R. Opera in Berlin
(May-Oct.) and the M. O. H. (Nov.-Apr.);
has also sung as star in Amsterdam and
the principal German opera houses. In
Dec., 1910, she married her former teacher,
Arthur Arndt, who has also been her coach.
Her superb and powerful voice has a range
from c-<P; her queenly stage- presence, plas-
ticity of pose and gesture, and an extraor-
dinary mobility of features exert an irresis-
tible fascination. At the R. Opera she
created the title-role in the Berlin premiere
of Massenet's Thcrese (1908), and the r61e
of Nenahu in Nevin's Poia (1910); at the
M. O. H. she sang Oktavian in the American
Eremierc of Strauss's Rosenkavalier (1913).
ler favorite r61es are Brangane, Ortrud,
Fricka, Waltraute, Amneris, Fides, Dalila,
Oktavian, Azucena, Marina (Boris Godunov),
Klytemnestra ((iluck's Iphigenia in Aulis),
Katharina {Der Widerspdnstigen Zdhmung);
also sings Erda, Eglantine, Laura (Gioconda),
Klytemnestra (Strauss's Elektra), the Witch
(Hansel und Gretel), etc.
O'berhoffer, Emil, b. n. Munich, Aug.
10, 1867. He received his first mus. training
from his father, an organist; at the age
of 10 he was a proficient performer on the
organ and violin; while pursuing his studies
at the Gymnasium he st. pf. and comp. with
Cyril Kistler, and later cont. his pianistic
studies in Paris with I. Philipp. After a
short sojourn in New York he settled in
1897 in St. Paul, Minn., as cond. of the
Apollo Club. Becoming cond. of the Philh.
Club of Minneapolis in 1901, he set about
securing an endowment for the establishment
of a permanent orchestra, and in 1903 the
MinneaiK)lis Symph. Orch. of 60 performers
gave its first concert under his direction;
it is now one of the foremost orchestras in the
U. S., consisting (1917) of 90 performers,
and giving al>out 170 concerts annually (at
home and on tour). O. is also prof, of
music at the l.Tniv. of Minnesota.
Oberhoffer, Heinrich, b. Pfalzeln, near
Trier, Dec. 9, 1824; d. Luxemburg, May 30,
1885. St. 1842-4 at the seminary in Brus-
sels; in 1X56 or^. at St. Michael's, and prof,
at the seminary in Luxemburg; founded in
1862 the mus. journal 'Cacilia ' in Trier. —
Works: Op. 11, Mass for male vcs. a capp.;
op. 17, Im Lager for male ch. and orch.;
op. 33, Weihegesang an die hi. Cacilia for
do.; considerable church-music (motets, lita-
nies, etc.); organ-pes.; male choruses a capp.;
Orgelschule fur kath. Organisten. Also wrote
a Kompositionslehre (1860; 2d ed. 1883).
O'berthiir, Karl, b. Munich, March 4,
1819; d. London, Nov. 8, 1895. Harpist;
pupil of Elise Brauchle and G. V. Rdder,
at Munich; harp-player in theatres at Zurich
(1837-9), Wiesbaden, Mannheim, H. M/s
Th. in London (1844). Composer, teacher,
and player of European celebrity; many
tours on the Continent. — Works: 2 operas,
Floris von Namur (Wiesbaden, 1840?), and
Der Berggeist des Harzes (ibid., 1850?); 3
cantatas, The Pilgrim Queen (f. treble voices),
The Red Cross Knight (female voices), and
Lady Jane Grey; 2 overtures, Macbeth and
Rubezahl; symphonic legend Loreley; grand
mass St. Philip di Nert (w. harp); concer-
tino f. harp and orch., op. 175; orchl. preluoV
Shakespeare; nocturne for 3 harps; 2 trios
for harp, vln. and 'cello; very many elegant
soli for harp (Elegie; PensSes musicaUs;
Reveil des elfes; Miranda; Le Sylphe; etc.);
also pf.-pieces, part-songs, and songs.
Obin [oh-ban'], Louis-Henri, dram, basso
cantante; b. Ascq, n. Li//e, Aug. 4, 1820; d.
Paris, Nov. 11, 1895. Debut Paris (Opera,
1844); sang in provinces till 1850; then at
the Opera till 1869. Retired 1871. Succeeded
Levasseur as prof, of singing at the Cons.
(1871-91).— Roles: Moise, Leporello, etc.
O'brecht. See Hobrecht.
O'brist, Aloys, b. San Remo, Mar. 30,
1867; d. (by suicide, after having killed the
singer Anna Sutter out of jealousy) Stuttgart,
June 29, 1910. Pupil of K. Muller-Hartung
in Weimar and of A. Becker (comp.) in
Berlin; Dr. phil., Berlin, 1892, with the
dissertation Melchior Franck. Having filled
positions as Kapellm. in Rostock, Briinn
and Augsburg, he succ. Zumpe in 1895 as
Hofkapellm. in Stuttgart; from 19()0 till his
death 'Kustos' of the Liszt-Museum in
Weimar, and chairman of the editorial
board for the publication of Liszt's works.
He was a connoisseur of old instruments,
and owned a valuable collection, which
passed to the Bach-Museum in Eisenach.
O'Carolan, Turlogh, one of the last Irish
bards; b. Newton, Meath, 1670; d. Roscom-
mon, Mar. 25, 1738. Blind from 16, he
wandered through Ireland after 1691, singing
to the harp national ballads of his own con-
ception (a coll. was publ. 1747; republ.
1785 as 'A Favourite Collection ...').
Ochs, Siegfried, b. Frankfort -on- Main,
662
OCHS— OETTINGEN
Apr. 19, 1858. Student of medicine and
chemistry, but finally devoted himself to
music; attended the Hochschule fur Musik
at Berlin, then studied with Kiel and Urban,
and profited chiefly by long personal inter-
course with von Biilow. In 1882 he founded
a choral union, the 'Philharmonischer Chor,'
which Billow utilized in numerous perform-
ances, thus attracting public attention.
O.'s genius for handling large choral* masses
soon made the organization world-renowned.
He not only produced the great choral
works of classic and romantic masters, but
gave first performances of innumerable im-
portant works by modern composers (Bruck-
ner, Tinel, Hugo Wolf, Hans Koessler, Ar-
nold Mendelssohn, Otto Taubmann, Oskar
Fried, etc.). To-day (1917) the chorus con-
sists of 400 members. O. also gives singing
lessons, and contributes to mus. papers. —
Works: Text and music of the 3-act comic
opera Im Namen des Gesttzes (Hamburg,
1888; succ.); 2 operettas; duets f. sopr. and
alto; male choruses, vocal canons, and
several books of songs.
Ochs, Traugott, b. Altenfeld, Schwarz-
burg-Sondershausen, Oct. 19, 1854. Pupil
of Stade, Erdmannsdorfer, Kiel, and the
R. Inst. f. Church-music; 1883, org. at
Wismar, 1889 also cond. of the Singakademie;
later in Guben; autumn of 1899, artistic
director of the Mus. Union and the Music-
School at Briton; went to Bielefeld in 1900
as munic. mus. dir., and establ. His own
Cons, there in 1904; 1907-10, Hofkapellm.
and dir. of^ the Cons, at Sondershausen;
since 1911 dir. of his own Cons, in Berlin. —
Works: Deutsche s Aufgebot f. male ch. and
orch.; requiem, part-songs, Method f. male
voices, organ-music.
Ock'enheim. Se? Okeghem.
O'dlngton, Walter, 'Monk of Evesham/
d. after 1330. His treatise De spccukUione
musicae (printed by Coussemaker in 'Scrip-
tores,' i; MS. in the Cambridge Library), is
important in the history of mensural music
and discant. — Cf. H. Riemann, Gesckichte
der Musiktkeorie (Leipzig, 1898).
Odo de Clugny [klfl-fie'l, (Saint), in 927
abbot of Clugny, where he died in 942,
wrote Dialogus de musica (printed by Ger-
bert, 'Scriptores,* i). He was apparently
the first to employ the letter-notation A 6
C D E F G in the modern sense of a minor
series (the succession C, D, etc:, formerly
represented our A, B, etc., and was, therefore,
a minor series instead of the present major
scale).— Cf. Th. Nisard, St.-O. de C. (Paris,
1866); H.- Riemann, Gesckichte der Musik-
theorie (Leipzig, 1898).
Oel'achlegel, Alfred, b. Anscha, Bohemia,
Feb. 25, 1847. Pupil of Prague Organ-School;
theatre- Ka pel lm. at Hamburg, Teplitz, Wiirz-
burg, Karlsbad, and Vienna (Karltheater);
later bandmaster at Klagenfurt; then cond.
of the 'KurkapehV in Franzensbad. — Ope-
rettas Print und Maurer (Klagenfurt, 1884),
Die Raubritter, oder Der Sckelm von Bergen
(Vienna, 1888; succ.), and Der Landstrcicher
(3 acts, Magdeburg, 1893; succ.); the opera
Kynast (Altenburg, 1898).
Oels'ner, (Friediich) Bruno, b. Neudorf ,
n. Annaberg, Saxony, July 29, 1861. Pupil
at Leipzig Cons. (1877-80) of Schradieck
and Hermann (vln.), and Grill (theory).
Eng. as solo viola for court orch., Darmstadt,
and st. comp. with de Haan. Since 1882,
violin-teacher at Darmstadt Cons., with
title of Grand Ducal Chamber-musician.
Has prod. 2 one-act operas at Darmstadt,
Vardhdmana (1893), and Der Brautgang
(1894; succ.); also a cantata f. ten. and bar.
soli, ch. and orch.; a pf.-trio; songs; etc.
Oes'ten, Theodor, pianist and comp.; b.
Berlin, Dec. 31, 1813; d. there March 16,
1870. Pupil of Dreschker (pf.), • A. W.
Bach, Rungenhagen, and Schneider. A
successful teacher, whose studies for pf. are
of value; as a ^o/cm-composer he is light
and graceful, but often shallow.
Oe'sferle, Otto, brilliant flutist; b. St.
Louis, Mo., Nov. 22, 1861 ; d. Darien, Conn.,
July 22, 1894. Was 1st flute in the Thomas
Orch., the Philharm. Societies of New York
and Brooklyn, and the Seidl Orch. Taught
in the National Cons., N. Y.
Oe'sterlein, Nikolaus, the indefatigable
collector of Wagneriana; b. Vienna, May 4,
1842; d. there. Oct. 8, 1898. His perusal of
Wagner's Oper und Drama awakened such
enthusiasm, that he set about collecting
everything relating to the master. His coll.,
known as the 'Wagner Museum/ was sub-
sequently given to the town of Eisenach ; the
catalogue, publ. by Breitkopf & Hartel
(1882-95), falls 4 vols. O. also publ. a vol.
on the inauguration of the Festival Plays in
1876, entitled Bayreuth, and Vber Sckicksale
. ... des Wagner- Museums in Wien (1892).
— See bibliography under Wagner.
Oet'tingen, Arthur Joachim von, b.
Dorpat, Mar. 28, 1836. He studied physics,
physiology and mathematics at the Uni-
versities of Dorpat, Paris and Berlin;
qualifying in 1863 as lecturer on physics at
Dorpat, and becoming prof, in ordinary in
1866. Since 1877, coir, member of the
Petrograd Acad, of Sciences. Likewise a
well-trained musician, he was pres. of the
Dorpat Mus. Soc., and cond. of an amateur
orch. Since 1894 he has been prof, at the
Univ. of Leipzig. Besides numerous other
663
OFFEN B ACH— OKEGHEM
scientific works, he publ. Das Harmonie-
system in dualer Entwickelung (1866; 2d,
rev. ed. as Das duale Harmoniesystem, 1913),
reconciling and developing the systems of
Helmholtz and Hauptmann. Thdrlings,
Hostinsky and Hugo Riemann are among
his followers.
Offenbach, Jacques, the creator of
French burlesque opera; b. Cologne, June 21,
1819; d. Paris, Oct. 5, 1880. The son of a
Jewish cantor, he came early to Paris;
attended Vaslin's 'cello-class for a year
(1833-4) in the Cons., then joining the
Opera-Comique orch., playing beside Selig-
mann. Soon appeared chansonnettes (on
parodies of La Fontaine) ; he also played the
cello in concerts, and wrote 'cello-duets and
pieces for pf. and 'cello. In 1849 he became
cond. at the Theatre Francais, where his
really fine Chanson de Fortunio (in de Mus-
set's Chandelier) made a hit. His 1-act
operetta Pcpito (Op. -Com., 1853) made slight
impression; but he prod, one operetta after
another, and in 1855 ventured to open a
theatre of his own, the Bou fifes- Parisiens
(the old Theatre Comte, in the Passage
Choiseul), which he carried on until 1866,
Producing many of his most popular pieces,
rom 1872-6 he was manager of the Theatre
de la Gatte; turned it over to Vicentini,
and in 1877 undertook a not wholly success-
ful tour in America (described in his Notes
d'un musicien en voyage, 1877). Returning,
he continued composing industriously until
death. In the intervals of theatrical manage-
ment, he brought out operettas on other
stages — the Vanetes, Palais Royal, and even
the Opera-Comique; his ballet-pantomime
Le Papillon was prod, at the Opera in 1860
with some success. Such was the vogue his
works enjoyed that within 6 months after
his death three works were prod, posthumous-
ly: La belle Lurette (Th. de la Ren., Oct. 30,
1880), Les Contes d'Hoffmann (Op.-Com.,
Feb. 10, 1881), Mile. Moucheron (Th. de la
Ren., May 10, 1881). Another posth. opera,
Myriame et Daphne, was proa, at Monte
Carlo in 1907, while as late as 1913 L.
Schmidt brought out in Frankfort an ope-
retta, Der Bogen des Odysseus, with music
selected from older operettas and unpubl.
MSS. of O. Of these posth. works Les Contes
d'Hoffmann, really a grand opera, and the
composer's favorite, achieved unusual suc-
cess; since its first Amer. production (1907)
it has become a decided favorite in the U. S.
In his best works (Orphee aux enfers, 1858,
La belle Hilene, 1864; Barbe-Bleue and La
vie parisienne, 1866; La grande duchesse de
Girolstein, 1867; Madame Favart, 1879), the
music happily follows the extravagant bur-
lesque of the situations; the orchestration
is clever, and the melodic vein inexhaustible
(though his melody is often trivial ano
vulgar) ; the whole is seasoned with a sprightly
and ironic humor wholly in keeping 'with. tK
subjects musically illustrated. He certainh
'knew his public ; his stage- works (102 -
number) were all the rage at the time, £.
many are still played in Paris and elsewber-
They even possess a certain historical intere%:
as being a fairly accurate reflex of Frenc-
life under the Second Empire. — Cf. E. de
Mirecourt, 0. (Paris, 1867); A. Martine?.
/. 0. (ib., 1887); H. Berlioz, Les Musicien
et la Musique (ed. by A. Hallays, Paris,
1903); P. Bekker, J. 0. (Berlin, 1909).
Ogin'skl, Michael Caslmir, b. Warsaw,
1731; d. there 1803. He is said to have in-
vented the pedals of the harp. He was
Grand Commander of Lithuania.
Ogin'ski, Prince Michael Gteophas, h
Guron, n. Warsaw, Sept. 25, 1765; d. Flor-
ence, Oct. 31, 1833. Grand treasurer of
Lithuania; in music a pupil of Kozlowsti
Wrote celebrated polonaises f. pf., 14 of
which are publ.; the so-called Death Polmise
was popularly named from its supposed con-
nection with a tragically romantic Vsc&nt.
O'keghem (or Okekem, Okenfthem,
Ockenheim), Jean de (or Joannes), the
founder of the Second (or New) Netherland
School (which includes Josquin, de la Rue,
Compere, etc.; to the First, or Old, School
belonged Dufay, Binchois, Brasart, Etoy,
etc.); b. probably at Termonde, East Flan-
ders, about 1430; died Tours, 1495. Chorister
in Antwerp Cathedral 1443-4; pupil of
Dufay at Cambrai, about 1450; mention*/
in 1454 as composer and 'premier chapelbm
to King Charles VII, at Paris; made treasure
of the Abbey of Saint- Martin at Tours by
Louis XI; royal 'maitre de chapelle' at
Paris in 1465; travelled 1469 in Spain, and
1484 to Flanders '(Bruges), at the Kings
expense. Great as a composer and teacher,
Josquin and Pierre de la Rue being bis most
famous disciples in the art of imitative coun-
terpoint, which O. elevated from the com-
paratively crude and ungainly efforts of the
older school to the rank of a beautiful
science—Extant works: 17 masses; 1 mo-
tets; a ninefold canon Deo gratia in 36 parts;
19 chansons and several canons. Forkel,
Kiesewetter, Rochlitz and Ambros gave
fragments of the mass Cujusvis toni (ad
omnem tonum), a MS. copy of which is in
Munich; Ambros prints an enigmatical canon;
in Bellermann's 'Contrapunkt* is a fragment
of the Missa prolationum. — Cf. L. P. de Bur-
bure, /. de 0. (Brussels, 1856; 2d ed. 1868);
E. Thoinan, Deploration de Guillaume Cretin
sur le trepas de J. de O. (Paris, 1864); M.
Brenet, J. de 0. (Paris, 1893; with bibliogr.;
very important); De Marcy, Un Musicien
664
OLDBERG— ONDRlCEK
flamand: /. de O. (Termonde, 1895); A.
Thomas, Le Mailre de chap, de Charles VII,
in 'Revue Musicale' Qan.f 1901).— See Q.-Lex.
Oldberg, Artie, b. Youngstown, O., July
12, 1874. Until 1893 he st. in Chicago,
pf. with A. Hyllested, comp. and orch. with •
A. Koelling, F. G. Gleason and W. Middel-
schulte; 1893-5, pupil of Leschetizky in
Vienna; 1898, of J. Rheinberger in Munich;
since 1899 dir. of the pf.-dept. and prof, of
comp. at Northwestern Univ., Evanstown,
111. As a composer he cultivates not onlv
the classical forms, but their real spirit; his
music, entirely free from all impressionistic
tendencies, is 'absolute music' as that term
is generally understood; although showing
no very striking individuality, it commands
respect for its sincerity, warmth, and ex-
cellent technical workmanship. — Works: For
orch. (MS.): Op. 17, Pf. -concerto; op. 19,
Theme and Variations; op. 20, Horn-concerto;
op. 21, Paolo and Francesca, dram, overture;
op. 22, Four songs for alto w. orch.; op. 23,
Symphony No. 1, in F m. (won prize of
"Nat. Fed. of Mus. Clubs, 1911); op. 29,
Academic Overture; op. 34, Symphony No. 2,
in C m.; op. 35, Symphonic Variations for
org. and orch.; op. 36, June, a rhapsody.
Nearly all these works have had repeated
Sublic perfs. — Chamber-music (also MS.):
►p. 15, Str. -quartet in C m.; op. 16, Pf.-
quintet in B m.; op. 18, Quintet for wood-
wind and pf. in Eb; op. 24, Pf. -quintet in
C# m. (publ.). — Publ. works for pf.: Op. 8,
Suite; op. 25, Thematic Variations; op. 26;
Legend; op. 27, Three Miniatures; op. 28,
Sonata; op. 31, Arabesque; op. 32,* Improvi-
sation; op. 33, Russian Prelude.
Oli'brio, Flavlo Anicio. See J. F.
Agricola.
Oliphant, Thomas, b. Condie, Perth-
shire, Dec. 25, 1799; d. London, Mar. 9,
1873. For 40 years hon. secretary, later
pres., of the London Madrigal Soc. — Wrote
Brief Account of the Madr. Soc. (1835);
Short Account of Madrigals . . . (1836);
La Musa MadrtgaUsca (1837; the words of
400 madrigals, chiefly of the Elizabethan
period). Also publ. several colls, of madri-
gals, of glees, catches, rounds, etc.
Ollt'zka, Rosa, dramatic contralto; b.
Berlin, Sept. 6, 1873. Pupil of Desiree
ArtOt and Julius Hey; made her debut in
concert in Berlin (1891), and in opera in
Brtmn (1892); 1892-3, at the court opera
in Hanover; then at Cov. Garden, wnere
Damrosch heard, her and eng. her for his
German Opera Co. (1895-7); sang later
also at the M. O. H. Since her marriage
to Boris J. Sinai of Chicago, in May, 1908,
she has appeared but rarely (one season
with Chicago Opera Co.). Her chief roles
were the contralto parts in Wagner's works.
Oliver, Henry Kemble, b. Beverly, Mass.,
Nov. 24, 1800; d. Boston, Aug. 10, 1885.
Boy-soprano in Park St. Ch., 1810; graduate
Dartmouth Coll., 1818; taught in Salem
till 1844, then going to Lawrence, where he
was mayor in 1859; 1861-5, treasurer of
State of Mass.; later mayor of Salem. Or-
ganist and mus. dir. at Lawrence and also
in Salem, where he founded a glee club
(1823) and a Mozart Assoc. (1826). 1883,
Mus. Doc. (Dartmouth). Composed many
well-known hymn-tunes (Federal Street,
Morning, Harmony Grove, Beacon Street,
Hudson), motets, chants, and a Te Deum;
publ. 'The National Lyre' (1848; w. Tucker-
man and Bancroft); 'Coll. of Church Music'
(1860); Original Hymn Tunes (1875).
d'OMone, Max, b. Besancon, June 13,
1875; pupil of Lavignac, Massenet and Lenep-
veu at the Paris Cons. 1892-7, graduating
with the 'Grand prix de Rome. Besides
some chamber- music and songs, he has
produced a cantata, Fridigonde; a lyric scene,
Jeanne dfArc a DomrSmy; a pantomime,
Bacchus et Silene (1901); an oratorio, Fran-
cois d* Assist; a fantasy for pf. and orch.;
the symph. poems La Vision de Dante, Les
ViUes maudites, Dans la Cathedrale, Au
Cimeti&re, Lamento, Les funerailles du Poete,
Liberation; also an opera, Le Retour (Angers,
1913).
Ol'sen, Ole, b. Hammerfest, Norway,
July 4, 1850. After studying in Trondhjem
(1865-7) he became asst.-org. at the Cath.
there; ent. the Leipzig Cons, in 1870; 1878-81,
cond. of the Musikfcrening in Christiania;
1887-1903, instr. of music at the Military
Academy; since 1899 inspector of mil. mus.
(with rank of Major since 1903). A composer
of extreme modern tendencies. — Works: The
symph. poems Asgaardsreien and Alfedans;
the oratorio Nidaros; incid. music to Weilen's
Erik XIV; a symphony in G; the operas
(on his own texts) Sven Orddd (Stockholm,
1892), Leila (Christiania, 1908), Stig Hvide
and Stallo (not prod.).
Ondftcek [fthn'dr'zhf-chehk], Franz, fa-
mous violinist; b. Prague, Apr. 29, 1859.
Pupil of his father, cond. of a small orch.;
1876-9, of A. Bennewitz at the Prague Cons.,
winning the 1st prize with Beethoven's
concerto; 1879-81, of L. M assart at the
Paris Cons., where he also won the 1st
prize with Beethoven's and Mendelssohn's
concertos. After a most successful debut
in Paris in 1882 he began his extended
concert- tours of Europe, America (1896),
Siberia (1898), and the Far East; settled in
Vienna in 1907, where the following year he
formed the O.-Quartet (with Silbiger, Junck
and Jelinek); since 1910 prof, of the 'Meister-
665
O'NEILL— OREFICE
klasse' at the 'Neues Wiener Kons.* In
1885 he married Anna Hlava&ek, a singer at
the Bohemian National Th. He is k. k.
Kammervirtuose,' and the recipient of
numerous decorations (Sweden, Rumania,
Bulgaria, Turkey, etc.). As a youth he
was a player of volcanic temperament; but
as he grew older he developed into an inter-
preter of the grand classical style, impressing
nis audiences profoundly by his breadth of
conception and dignified repose, just as
formerly he had swept them off their feet by
his tempestuosity. He has publ. Rapsodie
boherne tor vl. and orch. (op. 21); a cadenza
to Brahms's vl. -concerto; some pes. for vl.
and pf.; fantasias for vl. and pf. on themes
of Dvorak and Smetana. With Dr. S.
Mittelmann he has written Neue Methode
zur Erlernung der MeisterUchnik des Violin-
spiels auf anatomisch-physiologischer Grund-
lage (2 parts, 1908).
O'Neill, Norman, b. Kensington, London,
Mar. 14, 1875. St. with Dr. Somervell in
London (1892-3) and I. Knorr at Hoch's
Cons, in Frankfort (1893-7); lived in London
as teacher of pf. and comp.; since 1909 cond.
at the Hay market Th.; has appeared as
cond. of his own works in Pans and the
principal cities of England. In 1899 he
married in Paris the pianist Adine Riickert.
— Works: For orch.: Op. 8, In Autumn,
overture; op. 11, Hamlet, overture; op. 14,
Miniatures, suite for small orch.; op. 21,
In Springtime, overture; op. 29, Variations;
op. 39, Scotch Rhapsody. Op. 12, Death on
the Htlls, ballad for contralto and orch.;
op. 19, Waldemar, fantasy for soli, ch. and
orch.; op. 31, La belle Dame sans merci,
ballad for bar. and orch. Op. 1, Vara, for
str.-trio; op. 7, 26, and 32, pf.-trios; op. M),
pf. -quintet. Has also written incid. music
to many plays (Hamlet, op. 13; King Lear,
op. 34; The Blue Bird, op. 37; etc.).
Onslow, George, grandson of the first
Lord Onslow; b. Clermont-Ferrand, France,
July 27, 1784; d. there Oct. 3, 1852. Pf.-
pupil in London of HUllmandel, Dussek and
Cramer; st. comp. with Reicha in Paris, to
fit himself for opera-writing (his 3 comic
operas, V Alcalde de la Vega [1824], Le Col-
porteur [1827], and Le due de Guise [1837],
had temporary success). He passed his
winters in Paris, and the summers on his
estate near Clermont. His passion was
chamber- music, of which he comp. much,
playing with other amateurs, the 'cello
being his instr.; his music was prized in
Parisian mus. circles; in 1842 the Academie
elected him to succeed Cherubini. Only his
string-quintets still survive; he publ. 34 of
them (either f. 2 vlns., via. and 2 'celli; or
f. 2 vlns., 2 violas and 'cello; or f. 2 vlns., via.,
'cello and double-bass, — the excessively dif-
ficult double-bass parts were written i<ar
Dragonetti). Other works: 4 symphonies.;
a nonet f. wind and string-quartet; septet i
pf., flute, oboe and strings; sextet f. do.
36 string-quartets; 10 pf.-trios; 6 sonatas i_
pf. and violin; 3 sonatas f. pf. and 'cello;
pf. -music; and a solo scena f. bass w. orch-.
Abel's Death.— Cf. L. Halevy, Notice sur
G. 0. (Paris, 1855).
Oosterzee [oh'ster-za], Cornelia van, b.
Batavia, Aug. 16, 1863. St. in Stuttgart
with S. de Lange, and in Berlin with Rob.
Radecke, W. G. Nicolai and H. Urban;
living in Berlin. As a composer she has
attracted favorable notice with an opera.
Das Gelobnis (Weimar, 1910); a symph. poem,
Koningsidyllen (after Tennyson); Nordiscke
Phantasie; prelude to Iolanthe; 2 Phantasie-
stiicke for pf.-trio (op. 18); choruses; songs.
O'pelt, Friedrich Wilhelm, b. Rochlitz,
Saxony, July 9, 1794; d. Sept. 22, 1863, it
Dresden, as privy councillor for finance-
Publ. tiber die Natur der Musik (1834). aad
All gem. Theorie der Musik, auf den R&ytkmus
der Klangtvellenpulse gegrundet . . . \\%5T);
treatises of a mathematico- physical character.
Opienski [6h-p'y£hn'ske], Heinrich, b.
Cracow, Jan. 13, 1870. Pupil of Zeienski
in Cracow, of d'Indy in Paris, and of H.
Urban in Berlin; lived in Warsaw as mus.
critic for the 'Mus. Echo', and inspector of
the Philh. Orch.; 1904:-6, in Leipzig, studying
musicol. with Riemann and cond. with
Nikisch; 1907, prof, of hist, of music at the
Mus. School in Warsaw; since 1908 KapeHra.
at the opera there. Comp. of the symph.
poems LUla Weneda and Eine Konigsliebe;
an opera, Maria; incid. music to Calderon's
The Steadfast Prince; a cantata in honor ol
Mickewiczs; vln. -pieces and songs. Has
written (in Polish) Chopin (1910), Chopin's
Works (1911), Chopin the Creator (1912),
Handbook of the History of Music (1912).
Or'denstein, Heinrich, b. Worms, Jan. 1 ,
1856. Pupil 1871-5 at Leipzig Cons, of
Wenzel, Reinecke, Jadassohn, etc.; also
private pupil of Paul (pf.). After concert-
tour with the Peschka-Leutner and Grutz-
macher, he studied in Paris; from 1878 gave
successful concerts in Leipzig, etc.; music-
teacher at the Countess Rehbinder's school
at Karlsruhe, 1879-81; at Kullak's Acad.,
Berlin, 1881-2; in 1884 founded the Karls-
ruhe Cons., a flourishing institution. Title
of 'Professor* from Grand Duke of Baden;
'Hofrat' in 1907. Has publ. a valuable
Fuhrer durch die Klavierlitteratur (1912).
Orefice f-fe'ehfc], Giacomo, b. Vicenza,
Aug. 27, 1865. Comp. of the operas Maris ka
(Turin, 1889), Consuelo (Bologna, 1895),
666
ORGENI— ORTLIEB
// Gladiafore (Madrid, 1898), Chopin (Milan,
1901), Cecilia (Vicenza, 1902), Most (Genoa,
1905), // Pane d'altrui (Venice, 1907),
Radda (Milan, 1912).
Orge'ni [Orgenyi], A&lala, stage-soprano
(fine coloratura singer) ; b. Tismenice, Galicia,
Dec. 17, 1843. Pupil of Mme. Viardot-
Garcia at Baden-Baden; debut Sept. 28,
1865, as Araina, at Berlin Opera, where she
was eng. for a year. First appearance in
London, Apr. 7, 1866, as Violetta, at Covent
Garden; sang later at Vienna, Dresden,
Berlin, Copenhagen, etc.; since 1886, vocal
teacher at the Dresden Cons.; made *R.
Prof.' in 1908 (the first case of the title
being conferred on a woman). Among her
distinguished pupils are Erika Wedekind,
Helene Stagemann, Edyth Walker, etc.
Orlandi, Ferdinando, b. Parma, 1777; d.
there Jan. 5, 1848. Pupil of Pa£r; wrote 26
operas for various Italian cities, but aban-
doned comp. when Rossini began to dominate
the stage, and devoted himself to teaching
singing, first at the Cons, in Milan (1807);
1821 in Munich, 1823 in Stuttgart; returned
to Parma in 1828. — See Q.-Lex.
Orlandi'ni, Giuseppe Maria, b. Bologna,
Feb. 4, 1688; d. Florence, c. 1750. Pupil
of Domenico Scorpioni; for some time ne
was m. di capp. to the Duke of Toscana;
wrote 44 operas from 1708-45. — See Q.-Lex.
Orlandus Lassus. See Lasso, Orlando di.
Orlov, Count Gregor Vladimir, b. 1777;
d. Petrograd, July 16, 1826. Wrote Essai
sur Vhistoire de la musique en Italic (1822;
2 vols. ; in German as Entwurf einer Geschichte
der ital. Musik, 1824).
Ornithopar'cus (Greek form of his real
name, Vogelsang), Andreas, a native of
Memmingen; led a wandering life; about 1516,
Magister artium at Tubingen. Author of a
rare and valuable theoretical treatise, Mitsicae
activae micrologus (Leipzig, 1516; 6th ed.
1540; Engl, tr. by Dowland, London, 160°).
— Cf. J. W. Lyra, A. 0. und dessen Lehre
von den Kirchenaksenten (Gfltersloh, 1877).
Ornstein, Leo, b. Krementchug, Dec. 11,
1895. Pupil of the Petrograd Cons, until
1906, when he came to New York, where
he cont. his studies at the Inst, of Mus. Art.
At his debut as pianist (N. Y., Jan., 1911)
he gave evidence of a fine technic and splen-
did command of tonal color. Soon it was
evident that his sympathies were exclusively
with the ultra-modernists (futurists), whose
works, together with his own, fill his pro-
grams. He has publ. some songs, numerous
pf.-pcs., and a (so-called) sonata for vl. and
pf. Musicians have not yet discovered any
standard by which to judge his comps. In
his own words O. is "one of the commanding
contemporary figures of musical evolution.
Together with Schdnberg and Stravinsky,
he has taken his position at the extreme
outposts of ultra-modern musical advance-
ment, and as the exponent of a system of
unparallelled originality and boldness of
procedure outdistances these two formidable
innovators."
Orth [6hrt], John, b. near Annweiler,
Bavaria. His parents settled in Taunton,
Mass., when he was a year old; at 8 he began
study under his father, took an organ at
12, and from 16 to 20 studied and taught in
Boston, earning money to continue study in
Germany for 5 years under Kullak, Lebert,
Pruckner, Deppe and Liszt (pf.), and Faiszt,
Weitzmannt> Kiel, and P. Scharwenka (comp.).
Since 1875 in Boston as pianist and teacher.
He has always been an enthusiastic apostle
of Liszt, and his lecture-recitals 'With Liszt
in Weimar' (personal reminiscences) have
met with much success. In 1883 he married
his pupil, Lizette E. Blood [known as L. E.
Orth (d. Boston, Sept. 14, 1913), composer
of songs, pf.-pieces, and the successful ope-
rettas Mother Goose's Jubilee and The Song
of the Sea-shell], — His own published com-
positions number about 50 pf.-pieces in 14
opus-numbers, chiefly graceful salon-music;
has also done much editing for various publrs.
Orth, L. E. See Orth, John.
Ortlgue, Joseph-Louis d\ b. Cavaillon,
Vaucluse, May 22, 1802; d. Paris, Nov. 20,
1866. Writer on church-music, frequently
by commission of the French government.
Founded in 1857 (with Niedermeyer) 'La
Maitrise,' a periodical for church-music,
and was sole editor 1858-60; contributor to
other papers. — Principal writings: De la
guerre des dilettanti, ou de la revolution optrie
par M. Rossini dans V opera jrancais (1820);
De Vecole italienne et de l1 administration de
I Acad. roy. de Mus. . . . (1839; on Berlioz's
Benvenuto Cellini; republ. 1840 as Du Thedtre
ItaUen et de son influence . . . ); Abicedaire
du plain-chant (1841); Dictionnaire liturgiquef
etc. (1854; cf. Nisard); Introd. & l' etude
comparte des tonalites et principalemtnt du
chant gregorien et de la musique moderne
(1853); La musique d Vhglise (1861); TraiU
theorique et pratique de Vaccompagnement du
plain-chant (1856; cf. Niedermeyer).
Ortlleb, Eduard, b. Oberndorf, Baden,
July 16, 1807; d. Kannstadt, Jan., 1861
(accidentally drowned). Ordained priest in
1834, he devoted practically his whole life
to freeing contemporary church-music from
the influence of the opera; for this purpose
he founded in 1845 a 'Kirchenmusikverein'
in Stuttgart (Haydn-Verlag) for the publi-
cation of dignified church-music; 1852-7,
editor of 'Organ ftir kirchliche Tonkunst.'
667
OSBORN— OTHEGRAVEN
His comps. consist of 4 masses (op. 2, 5V 7,
8), a Requiem (op. 6), motets, etc.
Osborn-Hannah, Jane, dramatic so-
prano, b. Chicago, c. 1880. She received
ner first singing-lessons from her mother,
at that time a vocal teacher in Cincinnati;
after successful appearances on the concert
stage she went to Berlin in 1903 to prepare
herself for opera under Rosa Sucher; her
d£but in Leipzig in 1904 as Elisabeth was
followed by a 3-year engagement there,
during which she also cont. her concert-
career, singing at the Gewandhaus and in
other German cities; in 1908 at Covent
Garden; Amer. debut at the M. O. H., Jan.
5, 1910, as Elisabeth; since 1910 (fall)
member of the Chicago Opera Co., singing
chieflv Wagnerian roles (Isolde, Brtinnhilde).
At Magdeburg she married Frank Hannah,
at that time Amer. consul there.
Osborne (real name Eisbein), Adrienne,
dramatic contralto; b. Buffalo, N. Y., 1873.
Pupil of Auguste Gdtze and Max Stagemann
in Leipzig; later of Felix von Kraus, whom
she married in 1899. Advised by Rubin-
stein to adopt a stage-career. Debut as
Mignon. For her interpretation of Carmen
she received gold medals from the Prince
of Sondershausen and Duke of Altenburg.
For some years engaged at Leipzig City Th.;
also sings in concerts (Gewandhaus, Berlin,
Dresden, Amsterdam, etc.); living since
1908 in Munich as 'Kgl. Kammersangerin.'
Osborne, George Alexander, a fine
Cianist and popular teacher and composer;
. Limerick, Ireland, Sept. 24, 1806; d.
London, Nov. 16, 1893. Said to have been
self-taught until 18 years of age, then studied
at Paris under Kalkbrenner and Pixis (pf.),
and F6tis (comp.). Settled in London, 1848.
— Works: Sextet f. pf., flute, oboe, horn,
'cello and d.-bass; famous duets f. pf. and
violin (43 w. de Beriot, 2 w. Ernst, 1 each
w. Artdt and Lafont); 3 pf.-trios; a sonata
f. pf. and 'cello; a pf. -quartet; much brilliant
and graceful salon-music f. pf. (Pluie de
perles, Nouvelle pluie de perks, Marche milt-
taire, Summer's Eve, etc.).
Osgood, George Laurie, born Chelsea,
Mass., April 3, 1844. At Harvard, where he
graduated in 1866, he was for 3 years dir.
of the Glee Club, and the college orch. He
now spent 3 years in Germany; studied sing-
ing under Sieber and Haupt, and German
song and choral works under R. Franz.
After 3 years' further vocal study with the
elder Lamperti in Italy, O. made a very
successful concert-tour in Germany; at
once eng. by Th. Thomas for a winter tour
in America. Since 1872 he has lived in
Boston as a much-sought vocal teacher;
1875-93, cond. of the Soylston Club (200
voices), famed for the brilliancy of its
formances (from 1890, the 'Boston Singers'
Soc.'). For many years 0. gave concerts
of classical music; now (1917) living: in
Geneva, Switzerland. Publ. Guide in the
Art of Singing (pp. 200; 8 editions); anthems,
choruses, part-songs, and over 50 songs.
fts'ten. See Oestbn.
OstriHl [fths'tr-chll], Ottokar, b. Smichow,
n. Prague, Feb. 25, 1879. St. pf. with
Mikes' at the Prague Cons. (1893-5); from
1895-1900 priv. pupil in comp. of Z. Fibich,
acting at the same time as his asst.; since
1909 cond. of an amateur orch. in Prague.
One of the most gifted and individual among
the younger Bohemian composers. — Works:
The operas Wlasta's End (Prague, 1904),
Kunala's Eyes (ib., 1908), The Blossom (not
prod.); for orch.: Peasants1 Festival, op. 1;
Suite, op. 2; The Tale of Schemnick, op. 3:
Symphony in A, op. 7; Impromptu, op. 13;
a str. -quartet, op. 4; 2 melodramas (op. 6.
8); The Orphan Child, op. 9, for sop. and orch.
O'Sullivan, Denis, concert-baritone; b
(of Irish parents) San Francisco, Apr. .!?,
1868; d. Columbus, O., Feb. 1, 1908. Pcpfl
of Ugo Talbo (Hugh Talbot Brennan) and
Karl Formes in San Francisco; then st.
with Vannuccini in Florence, Santley and
Shakespeare in London, and Sbriglia in
Paris. Concert d6but in London, Mar. 6,
1895, winning great applause with his fine
interpretation of Schumann's songs; operatic
debut as Ferrando (Trovatore) with Carl Rosa
company in Dublin, Aug. 25, 1895; created
the title-r61e in Stanford's Shamus O Brie*
(1896), singing that part also in the U. S.
(1897); visited America again in 1898 and
*99, appearing in light opera (chiefly in
San Francisco) and concerts. He was highly
esteemed in England as a Lieder-singer, and
immensely popular as an interpreter of
Irish songs.
0*SuUivan, Patrick, b. Louisville, Ky.,
Aug. 23, 1874. Began to st. pf. with W.
Frese in his native city; pupil o\ HaroVd
Bauer in Paris (1898), and Ph. Scharwenka
in Berlin (1900); st. comp. with W. Berger
in Berlin (1901-4); appeared as concert-
pianist in Paris and Berlin; in 1911 app.
cond. of the Irish Choral Soc. in Chicago;
since 1915 prof, of pf. and harm, at the
Louisville Cons. Has written Heraklius for
orch.; Fantaisie irlandaise for pf. and orch.;
Epithalamium for ch. and str.-quartet; pf.-
pcs.; songs; also publ. a coll. of 65 Irish
melodies for 2 vcs.
Othegraven loh'tfc-grah-ven], August
von, b. Cologne, June 2, 1864. Pupil of the
Cologne Cons., and winner of the Mozart
prize; since 1889 prof, there of pf., choral
668
OTIS-OUSELEY
singing and operatic ensemble. — Works: Op.
10, Schwerlertanz, Totenklage, Schlachtgesang,
for male ch. and orch.; op. 11, An des Baches
stillen Weiden, Fruhling wdhrt nicht immer,
for fern. ch. and orch.; op. 15, Der Milch-
brunnen, for mixed ch. and orch.; op. 21,
Meine GoUin, for bar. solo, mixed ch. and
orch.; Abend auf Golgotha, for mixed ch.
and orch.; numerous fine male choruses a
capp.; songs; arrangements of folk-songs for
male ch.; a 'Marchenspiel,' Die schlafende
Prinzessin (Cologne, 1907); and an operetta,
Poidis Hochzeit (lb., 1912).
Otis, Phllo Adams, b. Berlin Heights,
O., Nov. 24, 1846. Graduate of the Western
Reserve Coll. (1868); st. with Dudley Buck
in New York (1871); spent 1873-4 in Europe,
travelling and studying; pupil of Clarence
Eddy in Chicago, 1876-81 . Has been actively
identified with music in Chicago since 1863;
in 1865 he sang in the choir at the funeral
of Lincoln; since 1874 chairman of the mus.
committee of the First Presb. Ch.; choirm.
from 1905-12 (employing members of the
Chicago Symph. Orch. at all services during
the winter months); one of the founders
(1872) of the Apollo Club, and member of
its bd. of managers till 1890; Pres., 1890-3;
since 1893 Sec. of the Bd. of Trustees of the
Chicago Symph. Orch. Has written 2 sacred
cantatas for soli, ch. and orch.: Wondrous
Words of Love and The Risen Christ; Bene-
dicts and Pastorale for vl., vcl., double-bass,
harp and org.; many hymns and anthems;
also publ. History of the First Presbyterian
Church (1913).
Ottani, Abbate Bernardino, b. Bologna,
Sept. 8, 1736; d. Turin, Oct. 26, 1827. Pupil
of Padre Martini; at 22, church-maestro in
Bologna; from 1779, at Turin. — Works: 12
operas; much excellent church-music (2 ora-
torios, 46 masses, motets, psalms, etc.). —
See Q.-Lex.
Ot'tingen. See Oettingen.
Ot'to, Franz, b. K6nigstein, Saxony, June
3, 1809; d. Mannheim, Apr. 30, 1842. His
songs for male voices, In dctn Himmel ruht
die Erde, Blatter Montag, etc., have had some
vogue.
Ot'to, (Ernst) Julius, b. Koniestein,
Saxony, Sept. 1, 1804; d. Dresden, Mar. 5,
1877. From 1814-22 he attended the Kreuz-
schule at Dresden, Weinlig being his music-
teacher; as a pupil in 'Ober-Secunda' he
comp. a cantata, soon followed by others.
While a student at Leipzig Univ. 1822-5, he
continued musical work under Schicht and
Weinlig, and brought out cantatas and motets
in the churches. Returning to Dresden, he
taught at the Blochmann Inst., and from
1830-75 was cantor at the Kreuzkirche, where
his choir became one of the finest in Germany;
was also for years mus. dir. at the principal
Lutheran churches, and cond. of the 'Lieaer-
tafel.' — Works: Admirable male choruses in
his collection 'Ernst und Scherz'; he created
the immensely popular cycles for male voices
(Burschenfahrten, Geseutnfahrtent Soldaten-
leben, Der Spinnabend, Der Sdngersaal, etc.);
also wrote 4 comic operas for amateur per-
formance (Die Mordgrundbruck bei Dresden
is the best); settings of Hofmann's Kinder-
feste; many fine songs for solo voice (In die
Feme and Des deutschen Rheines Braut took
prizes); his pf. -sonatas, rondos, etudes, etc.,
are likewise excellent. O. prod. 2 operas,
Das Schloss am Rhein (Dresden, 1838), and
Der Schlosser von Augsburg (Augsburg); 3 ora-
torios, Des Heilands letste Worte, Die Feier
der Erlosten am Grabe Jesu, and Hiob; also
masses, festival cantatas, a Te Deum, etc. —
Cf. A. R. Scheumann, /. O. Sein Leben und
Wirhen (Dresden, 1904).
Ot'to, Rudolf Karl Julius, b. Berlin, Apr.
27, 1829; d. there Dec. 18, 1905. Solo boy-
soprano in the Berlin Domchor; from 1848,
tenor singer in the same. In 1852, teacher
of sinking in the Stern Cons.; 1873, in the
Kgl. Hochschule fur Musik. He was an
eminent singer in oratorio.
Ot'to-Ahrsleben, Melitta (nee Alvs-
leben), dramatic soprano; b. Dresden, Dec.
16, 1842; d. there Jan. 13, 1893. Pupil of
Thiele at the Dresden Cons. 1856-9; eng. at
the court theatre for coloratura (later dra-
matic) roles from 1860-73; sang in concerts
1873-5 in England, Scotland, and Germany;
prima donna at Hamburg City Th. 1875-6,
at Dresden court theatre 1877-83. Married
(1866) Commissioner of Customs Otto.
Sang at the Cincinnati Mus. Festival in 1879.
Oudin [co-danl, Eugene (-Esperance),
b. (of French parents) New York, Feb. 24,
1858; d. London, Nov. 4, 1894. Baritone
dramatic and concert-singer; song-composer;
accomplished pianist. Sang with great suc-
cess in London, 1886, '89, etc.; and as the
Templar in Sullivan's Ivonhoe, 1891; also
sang at Petrograd, 1893.
Oudrid y Segura, Grist6bal, Spanish
zarzuela-composer; b. Badaioz, Feb. 7,
1829; d. Madrid, Mar. 15, 1877. In 1867,
chorusmaster of the Italian Opera, Madrid;
1872, cond. at the Zarzuela Th.; later at the
Teatro del Oriente. From 1850 he prod,
over 30 operettas (zarzuelas) in Madrid
(some w. Gaztambide, Caballero, etc.).
Oulibichef. See UlVb¥shev.
Oury. See Bblleville-Ourt.
Ouseley, Sir Frederick Arthur Gore,
English composer and theorist; b. London,
Aug. 12, 1825; d. Hereford, Apr. 6, 1889.
669
OWST— PACHE
Son of the Orientalist Sir William O., ambas-
sador to Russia and Persia. Graduate of
Oxford (B. A., 1846; M. A., 1849). He was
ordained in 1849, and curate of St. Paul's,
Kriightsbridge, 1849-50, then taking the
degree of Mus. Baa, and that of Mus. Doc.,
Oxon., in 1854. In 1855 he succeeded Sir
Henry Bishop as Prof, of Music at Oxford
Univ., and also became precentor of Hereford
Cath. The degree of Mus. Doc. was con-
ferred on him by Durham (1856), and Cam-
bridge (1862); that of LL.D. by Cambridge
(1883), and Edinburgh (1885). A fine
pianist and organist, he excelled in fugal im-
provisation.— Sacred compositions: 2 ora-
torios, The Martyrdom of St. Polycarp (1855),
and Hagar (Hereford Fest., 1873); 11 church-
services; 70 anthems; 'The Psalter, air. for
Chanting, with Appropriate English Chants'
(several eds.); 'Anglican Psalter Chants'
(1872); 'Cathedral Services by English Mas-
ters' (1853); 'Coll. of Anthems' (2 vols.,
1861, '66) ;-—Other comps. : An opera, U I sola
disabttata (com p. at the age of 8) ; 18 preludes
and fugues for organ ; other do., also 3- An-
dantes, and a sonata, for org.; a string-
sextet, 2 string-quartets, a pf.-quartet, 2
pf.-trtos, and sonatas, nocturnes, etc., for pf. ;
glees, part-songs, and songs. — Writings: Trea-
tise on Harmony (1868, 3d ed. 1882); Counter-
point, Canon and Fugue [after Cherubini]
(1868; 2d ed. 1884); Musical Form and
General Composition (1875; 2d ed. 1886);
articles for Grove's 'Dictionary.' He left his
fine mus. library to St. Michael's College,
Tenbury. — Cf. F. T. Havergal, Memorials of
Sir F. A. G. O., Bart. (London, 1889);
F. W. Joyce, Life of Rev. Sir F. A. G. Ouse-
ley, Bart., etc., (London, 1896).
Owst, Wllberfoss, George, b. London,
Engl., June 13, 1861. Pupil of Eaton Faning
and H. Gadsby; studied 1886-93 at Stuttgart
Cons, under Faiszt, Goetschius, Paul Klengel,
Karl Doppler, and H. Zumpe. From 1893-5,
organist at P. E. Ch. of St. Michael and All
Aneels, Baltimore, Maryland; since 1896 org.
and choirmaster at St. John's, Waverly,
Baltimore, and mus. critic of the Baltimore
'Sun.' — Publ. works: The Message of the
Winds, cantata for ch. and orch.; The White
Ship (melodrama); Communion Service in A;
anthems; male quartets; quartet for mixed
voices; songs.
Pabst, August, born Elberfeld, May 30,
1811; d. Riga, July 21, 1885, as Dir. of the
Cons, there. — Operas: Der Kastellan von
Krakau (Konigsberg, 1846), Unser Johann
(ib., 1848), Die letzten Tage von Pompeji
(Dresden, 1851), and Die Longobarden (not
perf.).
670
Pabst, Louis, son of August P.; b.
berg, July 18, 1846. After his debut as
pianist in K&nigsberg (1862) he concertized
for some years in Germany; visited England
in 1867, arid Russia in 1869; establ. a music-
school in Riga in 1875; toured Australia in
1885, and founded in Melbourne the Academy
of Music (1887) and a society, 'Risvegliato,'
for the cultivation of classical music; revisited
London in 1894, Petrograd and the Caucasus
in 1897; app. instr. at the music-school of
the Philh. Soc. in Moscow in 1899; since
1903 prof., and court councillor in the minis-
try of the Interior. Has publ. meritorious
pf.- works: Op. 1, Phantasiestuck; op. 11,
Humoreske; op. 15, Miniaturbildet; op. 20,
do.; op. 28, Scherzo; op. .30, Faniatsie en
forme de variations; op. 40, Suite; op. 41,
Nordische Sommernacht; op. 44, windes-
rauschen (concert-etude) ; etc. ; also songs and
2 melodramas.
Pabst, Paul, talented pianist, son of
August P.; b. Konigsberg, May 27, 1854; d
Moscow, May 28, .1897. Gave concerts st
9; studied some years with Liszt. N. Ruhs-
stein invited him to Moscow in 1878 as pt-
prof. at the Cons.; he succeeded Rubinstem
as Director, and was also director of the
Imp. Soc. of Music. His pf. -compositions,
and transcriptions from A. Rubinstein's
Demon and Tchaikovsky's Eugen Onegin, are
popular in Russia; also wrote a pf. -concerto
in Eb (op. 82), a pf.-trio in A (4a la memoire
d'A. Rubinstein').
Pacchiarotti [pah-k'yah-rdh'tej, Gaaparo,
famous musico; b. Fabriano, Ancona, 1744; d.
Padua, Oct. 28, 1821. Choir-boy at Forli
Cath.; trained in Venice by a sopranist of
San Marco; d6but there about 1/70; soon
became famous in Italy; sang in 1778, '82-3,
'90-1, jn London, where he was idolized.
He retired in 1792 to Padua, spending the
enormous fortune he had accumulated in
benefactions to the poor. Together with
A. Calegari he publ. Modi generali del canto . . .
(Milan, 1836).
Pacchierotti [pah-k'ya-roh'te], Uba/do,
b. 1876; d. Milan, April 21, 1916. Composer
of the operas La Lampada (Buenos Aires,
1899), VAlbatro (Milan, 1905), Eidelberga
mia (Genoa, 1908; in N. Y. as Alt Heidelberg,
1910), // Santo (Turin, 1913).
Pache [pah'bel, Johannes, b. Bischofs-
werda, n. Dresden, Dec. 9, 1857; d. Limbach,
Dec. 21, 1897. Having held various positions
as cond. in Switzerland, Dresden and Leipzig,
he finally settled as cantor and org. in Lim-
bach. Composer of numerous excellent male
choruses: Op. 25, Niederwaldfahrt for bar.
solo, male ch. and orch.; op. 85, Des Liedes
Heimat for male ch. and orch.; op. 125,
Mondaufgang for male ch. and str.-orch. ; op.
PACHE— PACHMANN
169, Lenxwonne for male ch..and orch.; op.
180, Des Kindes Nachlgesang for 3-part fem.
ch. and str.-orch.; op. 184, Lenzeszauber for
male ch. and orch.; a 1-act comic opera,
Tobias Schwalbe; songs and duets.
Pa'che, Joseph, born Friedland, Silesia,
June 1, 1861. Pupil of the Munich Cons.,
1879-83; st. pf. with Klindworth in Berlin,
1883-5; pupil in comp. of Max Bruch in
Breslau, 1885-6; further study in Berlin
with H. Barth (pf.) and J. Hey (voice);
1889-90, tour with Amalie Joachim and
Alfred Rittershaus. Came to the U. S. in
1891, taught one year at the N. Y. Coll. of
Music, and was cond. of various mus. or*
ganizations in N. Y., Newark, and Trenton;
since 1894 cond. of the Oratorio Soc. in
Baltimore; later he founded there the Wo-
man's Philh. Chorus, and the Oratorio Soc.
in York, Pa. Has publ. choruses and songs.
Pa'chelbel, Johann, influential organist;
b. Nuremberg [bapt. Sept. 1], 1653; d. there
Mar. 3, 1706. A pupil of Schwemmer,
studying further at Altdorf and Ratisbon;
organist at Vienna, 1674; court org. at Eisen-
ach, 1677; of the Predigerkirche at Erfurt,
1678; court org. at Stuttgart, 1690; at Got ha,
1692. Or£. at St. Sebakfs, Nuremberg, 1695.
This varied experience is reflected in his
organ- works; his chaconnes, toccatas, and
arrs. pf chorals, are fluently and easily
written, much in J. S. Bach's style. Compara-
tively little was printed during his life, but a
great number of his works are preserved in
MS. in various libraries. — Several organ-
pieces are printed by Commer in 'Musica
sacra/ vol. i; others by G. W. Korner in
'Der Orgelvirtuose,' and in vol. i of a pro-
jected, but unfinished, complete ed. of P.'s
works; by Winterfeld in 'Evang. Kirchenge-
sang, vol. ii; and a chaconne w. 13 vars., a
fugue, and a fughetta (all for pf., i. e., clavi-
chord), by Trautwein (Berlin, 1860); H.
Botstiber and M. Seiffert publ. 94 fugues on
the Magnificat in 'Dkm. der Tonk. in Oster-
reich' (vol. viii, 2; with biogr.); M. Seiffert
ed. Hexachdrdon Apollinis, 4 arias w. vars.,
Musikalische Sterbensgedanken, 6 chaconnes,
4 fantasies, 19 suites, and 7# fugues in 'Dkm.
der Tonk. in Bayern' (vol. ii, 1 ; with introd.
and biogr. by A. Sandberger). — See Q.-Lex.
Pa'chelbel, Wilhelm Hieronymus, son
of preceding; b. Erfurt, 1685; d. Nuremberg,
1764. From 1725 org. at St. Sebald's,
Nuremberg; publ. Musikal. Vergnugen (1725;
prelude, fugue, and fantasia for organ or
clavichord); also a prelude and fugue in C;
all reprinted by M. Seiffert in 'Dkm. der
Tonk. in Bayern' (vol. ii, 1; as supplem. to
his father's works).
Pach'er, Joseph Adalbert, b. Daubra-
witz, Moravia, Mar. 29, 1816; d. Gmunden,
Sept. 3, 1871. Pupil of G. Preyer and A.
Halm; lived in Vienna as a comp. of favorite
salon-pieces for pianoforte; also publ. an
elaborate pf. -method, Der Pianist der guten
Schule (op. 75; 9 books).
Pachler-Ko'achak, Marie Leopoldine,
fine pianist; b. Graz, Oct. 2, 1792; d. there
April 10, 1855. She was an enthusiastic
admirer of Beethoven, who wrote to her in
1817: 'I have found no one, not excepting
the great pianists, who interprets my com-
Smt ions as well as you . ' I n 1 8 1 6 she married
r. Karl Pachler, a lawyer in Graz. Her son
Faust P. publ. Beethoven und M. P.-K.
(Berlin, 1865), which contains valuable de-
tails concerning B.'s last days.
Pach'mann, Vladimir de, brilliant pian-
ist; b. Odessa, July 27, 1848. Pupil of his
father [prof, at Vienna Univ. and a good
violinist], and from 1866 of Dachs at the
Cons. Although he met with considerable
success on his first concert-tour of Russia
(1869), he was not satisfied, but retired for
8 years; in 1877 he played in Berlin, Leipzig,
and other German cities. After another
period of retirement he reappeared in Vienna
and Paris in 1880, creating a veritable furore;
since then he has made phenomenally suc-
cessful tours of all Europe and America
(first visit 1891); his official Amer. farewell
'for all time' took place in New York on
Apr. 13, 1912; since then, however, he has
been playing with undiminished success in
London, the scene of his greatest triumphs.
In 1885, on his tour of Denmark, he was made
Knight of the Order of Danebrog; in 1916
the London Philh. Soc. awarded him the
much-coveted Beethoven medal. In 1884 he
married his former pupil, Maggie Oakey, a
fine pianist, who accompanied him on his
first Amer. tour, and who was also heard in
her own recitals; about 1895 she obtained a
divorce, and later married the famous French
lawyer, Fernand Labori; in 1913 her opera
Yato was prod, in Paris. — De P. is a player of
a highly poetic temperament, refined sensi-
bilities, and extraordinary personal magnet-
ism. He is at his best in works demanding
extreme delicacy of touch, for there he can
legitimately display his marvellous velvety
tone and ethereal pianissimo. In this respect
he probably never had a superior, and cer-
tainly very few equals. Unfortunately he
has allowed this quality to influence his
entire scale of dynamics to such an extent
that even in tremendous works demanding
powerful climaxes he never rises above a
moderate forte. This, perhaps, is one of the
reasons — aside from his decided preference
for the romantic composers — why his inter-
pretations of Bach and Beethoven have been
neither stirring nor convincing. For many
671
PACHULSKY— PADEREWSKI
years he had been generally regarded as a
peerless Chopin player, as if the interpre-
tation of that master's works required only a
poetic conception, exquisite tonal shading,
grace and delicacy of execution. As a matter
of fact, P. never compassed the heights and
depths of the stately Polonaises, the im-
petuous Ballades, the titanic Scherzi. From
the very beginning of his career P. was
eccentric, indulging in undignified grimaces,
gestures, and audible comments — a bad
habit in which he became more and more
confirmed with advancing years. This lack
of self-control often rendered his playing
capricious, unfitted him completely for the
performance of chamber-music, and seriously
impaired his performances with orchestra.
He himself admitted his inability to coordinate
himself with others, and for this reason his
appearances with orchestra have been very
rare during the last 15 years.
Pachulaky [pah-hool'ske], Heinrich, Rus-
sian pianist; b. Lasa, Govt, of Sedletz, Oct.
16, 1859. Pupil of Strobl and Zelenski at
Warsaw; of Taneiev (comp.), N. Rubinstein
and Pabst at the Moscow Cons., where he
has taught since 1886. — Works: An orchl.
suite, op. 13; Marche solennelle, op. 15, for
orch.; fantasia for pf. with orch., op. 17;
concert-studies for pf., op. 7; 12 Preludes,
op. 8, 21, 22, 29; 2 pf. -sonatas, op. 10, 27;
Phantastische Miirchen, op. 12; etc.; fine pf.-
arrangemcnts of Tchaikovsky's orchestral
works; soli for various instruments; songs.
Pacini [p&h-che'ne], Antonio Francesco
Gaetano Sarerio; b. Naples, July 7, 1778;
d. Paris, Mar. 10, 1866. Pupil of the Cons,
dclla Pieta, Naples; singing-teacher in that
city, then for a time m. de chap, at Nimes;
went to Paris in 1804, prod, some comic
operas, and finally founded a music-publishing
business, a specialty of which was contem-
porary Italian operas.
Paci'ni, Giovanni, opera-composer; b.
Catania, Feb. 17, 1796; d. Pescia, Dec. 6,
1867. Pupil of Marchesi and Padre Mattei
at Bologna, and of Furlanetto at Venice;
first opera was Annetta e Lucinda (Th. of
Santa Radegonda, Venice, 1813); up to
1835 he had prod, over 40 operas on various
Italian stages, when the failure of Carlo di
Borpogna at Venice temporarily checked the
flow of dramatic composition; he went to
Viareggio, near Lucca, and established a very
successful school of music there, for which
he wrote several short treatises: Corso teo-
relico-pratico di Irzioni di armonia, Principt
elementari col melodo pel meloplasto, Memoria
sui mipliore imiirizzo def}i studt musuali
(1863), Cenni storici sulfa musica e tratiato
di contrappunto (1864), and built a private
theatre. Later he removed the school to
Lucca. In 1840 P., who prided himself on
rapid work, wrote his dramatic masterpiece,
Saffo, in 28 days; its reception at Naples on
Nov. 29 was enthusiastic Forty more
operas followed up to 1867; the best were
Medea (Palermo, 1843), La regina di Cipro
(Turin, 1846), and Nicold def Lapi (Rio de
Janeiro, 1855). This indefatigable composer
also prod, .numerous oratorios, cantatas,
masses, etc.; Dante symphony; an octet; 6
string-quartets; other chamber-music; vocal
duets and arias; he was an active contributor
to several mus. papers; and publ. memoirs,
Le mie memorie artistiche (Florence, 1865;
enlarged by Cicconetti, 1872; rev. by F.
Magnani, 1875). — Cf. Anon., G. P. (Pescia,
1896).— His brother, Emilio Pacini, b. 1810;
d. Neuilly, n. Paris, Dec. 2, 1898, was a
distinguished librettist: II Trovatore was from
his pen.
Paciu8 [pahVyoos], Friedrich, fine vio-
linist, pupil of Spohr; b. Hamburg, Mar. 19,
1809; d. Helsingfors, Jan. 9, 1891, where he
has been mus. dir. at the Univ. from l&W.
In 1835 he organized a choral society, and
in 1845 he established regular symphony
concerts, which made Helsingfors the musical
centre of Finland. He introduced the works
of the German classic and romantic masters,
and in his own compositions laid the foun-
dations of the national Finnish school. In
1852 his opera Kung Karls jaktt the first
Finnish opera, was prod, at Helsingfors,
and received with immense enthusiasm. In
recognition of his services he was made
Knight of the Order of Vasa in 1856, Prof,
in 1860, and Dr. phil. (hon. c.) in 1877.
Many of his songs (Finland's Song, Our Land,
The Soldier-boy, etc.) have become genuine
folk-songs. He also wrote a second opera,
Loreley (on Geibel's text; Helsingfors, 1887);
incid. music to Topeliuss Prinsessan af
Cypern (1860); a fantasy for vl. and orch.;
a vl. -concerto; male and mixed choruses.
Paderewski [-reff'ske], Ignace Jan, b.
Kurilovka, Podolia (Russian Poland), Nov.
6, 1860. His father was a gentleman farmer,
and the boy grew up in the country until his
twelfth year. At the age of 3 he received his
first lessons on the pf. from his mother; after
her early death, in 1865, he had some further
instruction from an old itinerant fiddler, who
visited the little town at irregular intervals.
In 1867 Pierre So win ski was engaged as
teacher, and from him the boy learned a
few operatic airs. Systematic study was not
begun until 1872, when he ent. the Warsaw
Cons., studying pf. with Janotha (the father
of Natalie J.) and comp. with Roguski. In
1876 he made a tour of some of the smaller
towns of Russia. At the conclusion of the
tour, about which no details have
672
PADEREWSKI— PADILLA
recorded, the voting man returned to the
Cons, for further study. In 1878 he was
a pp. instr. in pf. there, remaining 4 years; in
1882 he went to Berlin, where he st. comp.
with F. Kiel and H. Urban. In 1883 he
l>ccame instr. at the Cons, in Strassburg,
and there he met his famous countrywoman,
Mme. Modjeska, whose admiration of his
playing finally decided him to abandon
teaching for the career of the virtuoso.
Accordingly, he went to Vienna to Leschetizky
in 1884, and after 3 years of hard work with
that master and Annette Essipov (at that
time L.'s wife) made his debut with consider-
able success in Vienna in 1887. The next
year he gave his first recital in Paris, where
Lamoureux heard him, and immediately
engaged him as soloist for one of his orchl.
concerts, at which P.'s playing created
nothing less than a sensation. Shortly after
that he was signally honored by an invitation
to appear at one of the 'Concerts du Cons.'
His English debut took place in London on
May 9, 1890, his Amer. debut in New York
on Nov. 17, 1891, and in both countries the
first season sufficed to bring public and
critics to his feet. The conquest of Germany
was somewhat more difficult, for at his
debut with the Berlin Philh. Soc. (Billow)
he won only the public, while the critics
reserved their judgment; but after his appear-
ance at the Lower Rhenish Fest. in May,
1894, and in concerts in Dresden and Leipzig,
the critics joined the general chorus. Since
then his numerous tours of Europe, North
and South America, and South Africa have
been an uninterrupted succession of triumphs.
In 1909 he accepted the directorship of the
Warsaw Cons. No other instrumentalist,
not even Paganini or Liszt, has earned such
fabulous sums of money. In 1898 he bought
the beautiful Chalet de Riond-Bosson on Lake
Geneva, near Morges, where he spends his
time when not on tour. Before fortune began
to smile upon him P. had passed through the
school of adversity. The years in Warsaw
were one struggle against poverty. In 1879
he married a poor Polish girl, who died the
following year. In 1899 P. married the
baroness Helene von Rosen. An outstanding
trait of the artist is hisa ardent patriotism.
In the vear of the Chopin centenary (1910)
he donated $60,000 to the Chopin Memorial
Hall in Warsaw, and in the same year he
unveiled a colossal stutue of King Jagello
(founder of the Polish dynasty), which he
had erected at a cost of $100,000.
All who have ever heard P. play admit
that he exerts a peculiar fascination. Dr.
William Mason wrote as early as 1893:
"It seems to me that in the matter of touch
P. is as near perfection as any pianist I ever
heard, while in other respects he stands more
nearly on a plane with Liszt than any other
virtuoso since Tausig. His conception of
Beethoven combines the emotional with the
intellectual in admirable poise and propor-
tion. Thus he plays with a big, warm heart
as well as with a clear, calm, discriminative
head. ... In musical conception he is so
objective a player as to be faithful, true, and
loving to his author, but withal he has a
spice of the subjective, which imparts to his
performance just the right amount of his
own individuality. ... It is the undcfinablc
poetic haze with which P. invests and sur-
rounds all that he plays which renders him
so unique and impressive among modern
pianists."
P. began to compose in his seventh year,
and his earliest ambition — and one that has
never left him — was to win laurels as a
composer. Posterity, however, will remem-
ber him rather as one of the supreme pianists
of the world. — Works: Op. 1, Zwei Klavier-
stiickt; op. 3, Krakowiak for pf . ; on. 4, EJegie
for pf.; op. 5, Danses polonaises, for pf.; op.
6, Introd. et toccata for pf.; op. 7, 4 songs
(German and Polish); op. 8, Chants du voya-
geur for pf.; op. 9, Danses polonaises for pf.;
op. 10, Album de mait scenes polon., for pf.;
op. 11, Vars. and fugue on orig. theme, for
pf.; op. 13, sonata for vln. and pf.; op. 14,
Humoresques de concert for pf.; op. 15, Dans
le desert, toccata for pf.; op. 16, Miscellanea
for pf.; op. 17, pf. -concerto in A m.; op. 18,
6 songs with pf.; op. 19, Fantaisie polonaiseon
orig. themes, for pf. with orch.: op. 20,
Legende No. 2, for pf. ; op. 21, sonata in E> m.
for pf.; op. 22 [!']; op. 23, Variations et Fugue
for pf.; op. 24, Symphony in B m. His
opera Manru was prod, in f)resden, May 29,
1901 (X. V., Feb. 14, 1902); a second opera,
Saknntala% has not been perf. — Cf. H. T.
Finck, P. and his Art (New York, 1805);
E. A. Baughan, /. /. P. (London, 1907);
J. (". Madden, Modern Musicians (Boston,
1913).
The Pauerewski Fi'Nn. After his Amer-
ican tour of 1895-6, I*, established a cash
fund of SI 0,000 (orig. trustees were Wm.
Steinwav, Major H. L. Higginson, and Dr.
Wm. Mason), the interest to be devoted to
triennial prizes 'to composers of American
birth without distinction as to age or religion';
1. S500 for best orchl. work m symphonic
form; 2. $300 for best comj>osition for solo
instr. w. orch.: 3. $200 for best chamber-
music work. Mr. Stein way added $1500 for
prizes, to institute the first competition in
1897.
Pad ilia (pah-dil'yah], Lola Art6t de, fine
dramatic soprano; daughter of Mariano P.:
b. Sevres, n. Paris, Oct. 5, 1885, and trained
solely bv her mother, Desiree Artot. After
singing In salons and concerts, she was eng.
673
i
PADILLA— PAGANINI
by Albert Carre for the Opera-Comique in
1903. Later made grand tour as concert-
singer through Russia, England, Scandinavia,
Germany, Switzerland, etc.; sang Mignon as
star at Wiesbaden; engaged at the Komische
Oper, Berlin, 1905-8, as prima donna (debut,
as Mi mi, instant success); since 1909 at the
Royal Opera, Berlin. A highly esteemed
Mozart singer (Countess and Cherubin in
Figaro, Zerlina, Papagena), her own prefer-
ence is for modern character-r61es (Lotte,
Mignon, Juliette, Micaela, Die Gansemagd,
though Zerlina and Cherubin are also
favorites; other r61es are Mallika (Lakme),
Vrenchen, Marie (Verk. Braut), Oscar (Ballo
in Maschera), Urbain (Huguenots) , Rosalba
[Pizzi], Episna (Poia, by Nevin), Prince
Orlowsky (Fledermaus), Lola (Cav. Rusticana),
etc. Her full, velvety mezzo-soprano has a
compass from / to /* (3 octaves), the usual
range being b-&. Her impersonations are
highly dramatic; she is likewise an excellent
Lieder-singer. She has created the roles of
Vrenchen (in Romeo u. Julia auf dent Dorfe,
by Delius; 1907), Rosalba (1908), Episna
(1910), and the Gansemagd at the first
Berlin perf. of Konigskinder (Jan. 14, 1911).
Pa 'd ilia y Ra'mos, Mariano, baritone
opera-singer; b. Murcia, Spain, 1842; d.
Auteuil, n. Paris, Nov. 23, 1906. Pupil of
Mabellini at Florence; debut at Messina;
sang in Turin, Milan, etc., Madrid, Petrograd,
Vienna and Berlin. Married Desiree Art6t
in 1869.
Paer [pah-ar/], Ferdinando, dramatic
comp. ; born Parma, June 1, 1771; d. Paris,
May 3, 1839. A pupil of the \ iolinist Ghiretti,
he gave up study for operatic composition,
bringing out Im Locanda dei vagabondi at
Parma in 1789, and / Preteudenti burlati
(1790), after which he was called to Venice
as thcatre-cond., and wrote several operas
in the light and melodious style of Cimarosa,
Paisicllo, etc. In Vienna, 1797-1802, his
style, doubtless influenced by Mozart's mas-
terpieces, underwent a change, lx>th harmony
and orchestration showing increased variety
and fullness; Camilla, ossia il softer raneo
(1799) is considered his best opera. P. suc-
ceeded Naumann as court Kapellm. at Dres-
den in 1802; FJeanora, ossia Vamore con-
jugale (1805) is identical in subject with
Beethoven's Fidelio. In 1807 he went to
Paris, Incoming maitrc cle ehapclle to Napo-
leon, and conductor of the Opera-Comique;
later (1812) he succeeded Spontini at the
Th. Italicn, where he remained, through
the vicissitudes of the Cutalini's domination,
and the joint -conduct orship of Rossini
(1824-6), his siircetttful rival on the stage,
until his forced resignation in 1827 (he was
held to blame for the poor financial condition
of the theatre). In 1828 he received the
cross of the Legion of Honor; was elected to
the Academie in 1831; and in 1832 was app.
cond. of the royal chamber- music. His 43
operas have disappeared from public view;
he also wrote 2 oratorios and a Passion, 10
cantatas, and much other vocal music; a
Symphonic bacchante, and vars. on Vive
Henri IV, for full brch.; 4 grand military
marches; 6 waltzes for wind-band; 3 grand
sonatas for pf., violin obbl., and 'cello ad
lib.; a fantasia for pf., 2 flutes, 2 horns, and
bassoon; many pf.-variations. — Cf. T. Masse
and A. Deschamps, P. et Rossini (Paris,
1820); C. de Colobrano, FuneraUles de F. P.
(ib., 1839).— See Q.-Lex.
PaesieTlo. See Paisiello.
Pagan! 'ni, Niccold, most famous of
violin-virtuosi; b. Genoa, Oct. 27, 1782; d.
Nice, May 27, 1840. His father, a poor
shopkeeper with little musical knowledge,
but loving the art, taught him to play on
the mandolin, and then procured abler
teachers for his gifted son; under G. Servetto,
and after him the maestro di cappella G.
Costa, Niccolo's progress in violin-playing
was rapid; at 8 he comp. a sonata for violin:
in 1793 he appeared in public; and from
1795 he studied with Ghiretti and Aless.
Rolla at Parma, but soon surpassed his in-
structors. His career as an independent
virtuoso dates from 1798, when he ran away
from his father after a concert at Lucca,
and made a tour by himself to Pisa and other
places. Though only 16, he was passionately
fond of gambling, and addicted to all forms
of dissipation; at Leghorn he had to part
with his violin to pay a gambling debt, but
a M. Levron lent him a fine Joseph Guarne-
rius, and was so charmed with his playing
that he made him a present of it. (P. left
it by will to the city of Genoa; it may be
seen in the Municipal Building, where it is
kept under glass.) In 1804 he went home,
and spent a year in assiduous practice; set
out again on his travels in 1805, arousing
unbounded enthusiasm; was soon anp. court
solo violinist at Lucca (where his novel
performances on the G-string l>egan), and
stayed there until 1808; then up to 1827
he travelled throughout Italy, his renown
spreading from year to year, and his vast
technical resources maturing and augmenting
so that victory' over would-be rivals (I^afont
at Milan, 1816, and Lipinski at Piacenza,
1817) was easy. Leaving Italy for the first
time in 1828, his opening concert at Vienna
was an unparalleled triumph; from the muni-
cipality he received the great gold medal of
St. Salvator; from the Emperor the (honorary)
title of court virtuoso. He reached Berlin
in March, 1829, Paris in March, 1831; and
674
PAGE— PAINE
played for the first time in London on Tune 3,
1831. Within a year he accumulated a for-
tune in Britain. The winter of 1833-4 was
passed in Paris; he then retired for a time
to his villa at Parma, though often visiting
Paris; his health had already begun to fafl
seriously, as a result of life-long dissipation
and excitement. He spent the winter of
1838 in Paris, where his chief disorder, laryn-
geal phthisis, was aggravated by the climate
and by chagrin at financial losses; he lived
for several months at Marseilles with a
friend, but finding no relief, repaired to Nice
for the winter, and died there the following
spring. — As a soloist, P. was the most wonder-
ful and original of violin-players. His stu-
pendous technique (in double-stops, left-hand
pizzicato, staccato, harmonics), great power
and perfect control of tone, the romantic
passion and intense energy of his style, auite
apart from his personal eccentricities (which
were numberless) and mere tricks of virtuosity
(such as tuning up the A-string by a semitone
or playing the Witches' Dance on one string
after severing the other three on the stage,
in sight of the audience, with a pair of
scissors), made him the marvel of his time.
He never controlled his individuality so far
as to become even a £ood quartet-player; he
was an artist quite sut generis, whose dazzling
penius held his audiences spell-bound, and
impressed musicians and amateurs alike.
That such gifts could be united with the
most sordid avarice and unbridled sensuality,
is a fact requiring no further comment here;
it aids in explaining the small number and
ephemeral character of his compositions. —
Works: 24 Capricct per violino solo (op. 1;
pf. -transcriptions by Schumann and Liszt);
6 Sonaie per violino e chitarra (op. 2); do.
(op. 3) ; 3 gran quartetti a violino, viola, chitarra
t violoncello (op. 4, 5) ; Concerto in El? (solo
part written in D, for a violin tuned a semi-
tone higher) (op. 6); Concerto in B m., La
Catnpanella, w. Rondo 'a la clochette' (op.
7); Le Streghe, vars. on theme by S. Mayr
(op. 8); Vars. on God Save the King (op. 9);
// Carnevaledi Venezia, 20 variations (op. 10);
the concert Allegro Moto perpetuo (op. 11);
Vars. on Non piU mesta (op. 12); do. on Di
tanti palpiti (op. 13); Vartazioni di bravura
on airs from Most; 60 Studies in 60 progressive
vars. on the air Barucabd. Of these only op.
1-5 were publ. during his life (the others
posth.). Still in MS. are Ghiribizzo vocale
(Vocal Freak) and Chant patriotique (on the
accession of George IV, 1830). — Biblio-
graphy: J. M. Schottky, Paganini's Leben
und Treiben als KiinsUer'und als Mensch (in
Bohemian, Prague, 1830: Ger. tr. by L.
Vinata, Hamburg, 1831; the orig. reprinted
1909); K. F. Guhr, Ober P.'s Kunst die
Violine zu spielen (Mayence, 1831; Engl. tr.
by S. Novello, London, 1831); F. J. Fetis,
Notice biopafhiaue sur N. P. (Pans, 1851;
Engl. tr. by W. Guernsey, London, 1852); G.
Conestabile, Vita di N. P. (Peruria, 1851) ; O.
Bruni, N. P., Racconto storico (Florence, 1873;
new ed. 1903); A. Niggli, N. P., in Waldersee's
4 Sam ml. mus. Vortrage' (Leipzig, 1882); S. S.
Stratton, N. P. His Life ana Work (London,
1907); J.-G. Prod'homme, P. (Paris, 1907;
Engl. tr. by A. Matullath, London, 1911);
A. Bona ventura, N, P. (Modena, 1911); J.
Kapp, N. P. (Berlin, 1913).
Pago, John, b. England, circa 1750; d.
London, Aug., 1812. Tenor singer; lay-clerk
at St. George's, Windsor, 1790; Gentleman
of Chapel Royal; Vicar-choral at St. Paul's,
1801.— Publ. 'Harmonia sacra* (1800; 3 vols.;
a coll. of 74 anthems in score, by eminent
Engl, composers of the 16th-17th centuries:
new ed. by Rimbault) ; 'Festive Harmony ...
(1804; 4 vols.; madrigals, glees, and elegies);
'Collection of Hymns . . . ' (1804); 'The
Burial Service, Chant, Evening Service,
Dirge, and Anthems App. to be Perf. at the
Funeral of Lord Nelson' (1806); anthems,
psalms, etc.
Page, Nathan Clifford, b. San Francisco,
Oct. 26, 1866. Pupil of Edgar S. Kelley;
1905-9, editor for O. Ditson Co. in Boston;
since 1909 do. for C. C. Birchard & Co.
He has made a specialty of Japanese music,
using in his original works Japanese themes
to a considerable extent. Works: 2 operas.
The First Lieutenant (San Francisco, 1889)
and Villiers; incid. music to The Moonlight
Blossom (London, 1899), A Japanese Night-
ingale (N. Y., 1903), The Cat and the Cherub,
The Ghetto, etc. ; Village File, suite for orch. ;
Caprice for orch. ; songs.
Pagella, Giovanni, b. Spezia, Nov. 21,
1872. At first self-taught, he continued his
studies at the Schola Cantorum in Paris and
later at the Kirchenmusikschule in Ratisbon;
org. and choirm. at San Giovanni in Turin.
Has publ. about 20 masses, many litanies,
motets, etc.; 2 organ-sonatas; a biblical
drama, Job; also secular choruses and songs.
In MS. he has a sacred opera, Judith (after
Hebbel).
Paine, John Knowles, b. Portland, Me.,
Jan. 9, 1839; d. Cambridge, Mass., Apr. 25,
1906. Pupil of Kotzschmar at Portland,
and of Haupt (cpt.), Fischer (singing) and
Wieprecht (instrumentation) at Berlin, 1858-
61 . After orpan-concerts in Berlin and various
American cities, he settled in Boston as
organist of the West Church, Cambridge St.
In 1862 he became teacher of music at Har-
vard Univ., and organist at Appleton Chapel,
Cambridge, Mass.; from 1875 until his
death he occupied the newly created pro-
fessorship of music at Harvard, the first in
675
PAISIELLO
any American University. A. M. (hon. c),
Harvard, 1869; Mus. Doc. (hon. c), Yale,
1890. A fine concert-organist. . As a com-
poser his first, classic, period was followed
By a turn to romanticism, and he is one of
the leaders in American musical development.
— Works [those with * are publ.): Domine
salvum fac, for male ch. and orch., op. 8
(1863); *Mass in D, for soli, ch. and orch.,
op. 10; *oratorio St. Peter, op. 20; ^Centennial
Hymn in D, for ch. and orcn., op. 27 (Phila.,
1876); music to *(Edipus tyrannus [Sophocles],
for male voices and orch., op. 35; *The Realm
of Fancy, cantata for sopr. solo, ch. and
orch., op. 36; *Phwbus, arise; *The Nativity,
cantata for soli, ch. and orch., op. 38; *Song
of Promise, cantata for sopr., ch. and orch.,
op. 43; incid. music to The Birds of Aristo-
phanes; Columbus March and Hymn, for the
Chicago Expos. (1893); Hymn of the West,
for the St. Louis Expos. (1904); — 2 sym-
phonies, op. 23 in C m., and op. 34 in A
(*Spring Symphony); 2 symphonic poems,
op. 31 in D m., on The Tempest, and op. 44
in G# m. and A!?, An Island Fantasy; overture
to As you like it; Duo concertante for vln. and
'cello w. orch., in A, op. 33; String-quartet,
op. 5; pf.-trio, op. 22; Larghetto and Scherzo
for pf., vln. and Velio, op. 32; Romanza and
Scherzo for pf. and 'cello, pp. 30; Sonata for
pf. and violin, op. 24; a variety of •characteris-
tic pieces for pf.; Variations and fantasias
for organ; motets, part-songs, and songs.
An opera, Azara (text by himself), was
publ. in 1901, and had a concert-perf. in
Boston in 1906. Also wrote The History of
Music (posth., 1907).— Cf. 4M. T.' (June,
1906).
Paisielio, Giovanni, famous dram, comp.;
b. Taranto, Italy, May 9, 1741; d. Naples,
June 5, 1816. From the age of 5 he studied
at the Jesuit school in Taranto, where he
was taught by a priest, Resta, and where his
singing so delighted Guaducci, maestro at
the Capuchin church, that he advised his
father to place him in the Cons, di S. Onofrio
at Naples. Here he studied under Durante,
Cotumacci, and Abos, from 1754-59, remain-
ing 4 years longer as a teacher, and occupying
himself with sacred composition (masses,
oratorios, etc.). But a comic intermezzo
perf. at the Cons, theatre in 1763, discovered
such dramatic talent, that he was commis-
sioned to write an opera for the Marsigli
Th. at Bologna; here his first comic opera
was prod., La Pupilla, ossia 11 Mondo alia
rovescia (1764). For 12 years, during which
he brought out no less than 50 operas, his
successes were manvj and reverses few, even
in rivalry with Piccinni and Cimarosa;
though he did not scruple to win his triumphs
by the aid of low trickery and intrigues
prompted by artistic jealousy. Important
works of this period are II Marchese di
Tulipano (Rome, 1766), VIdolo cinese (Na-
ples, 1767; Paris, Acad. R. de Mus. 1779), and
La Serva padrona (Naples, 1769). Invited to
Petrograd by Empress Catherine in 1776,
he lived there 8 years on a princely salary;
11 Barbiere di Siviglia, given at P. in 1776,
was the first opera with that title, and so
charmed the Romans that Rossini's master-
piece was not even allowed a hearing at its
initial performance. During the next 15
years he acted as maestro di cappella to
Ferdinand IV of Naples (1784-99); VOiim-
piade (1786), and Nina, o La Pazza per amore
(1789, a charming 'opera semiseria/ a genre
in which Paisiello excelled), La Molxnara,
and J Zingari in fiera, are especially note-
worthy. During the revolutionary period of
1799-1801 P. stood well with the republican
government, but lost the favor of the King,
together with his place and salary. From
1802-3 he was Napoleon's ma it re de chapelle
at Paris, and a favorite of the First Consul,
who preferred his music to Cherubim's.
From 1803 to the Bourbon restoration <A
1815, he held his former position at Naples,
and other places of importance, all of which
latter he lost on Ferdinand's return in 1815,
being retained solely as maestro di cappella
in recognition of his eminent abilities. — P.
was an extraordinarily productive composer,
and one of the most popular of his time; yet
of his 100 or more operas only La Serva
padrona and possibly one or two others are
ever played nowadays. His vein of melody
was original, fresh, and natural; although he
introduced instrumental effects that were
novel in Italy, he carefully avoided the over-
elaborate vocal numbers common to the
period, obtaining his effect by the grace,
beauty, and dramatic truthfulness of his
melody. Seven operas were printed : II Mar-
chese di Tulipano, La Serva padrona, II Bar-
biere, II re Teodoro, La Molinara, Nina, and
Proserpine. — Church-music: "A Passion ora-
torio (Warsaw, 1784); 3 solemn masses for
double choir and 2 orchestras; Te Deum for
do.; Requiem for 4 voices and orch. (perf. at
his own funeral); 30 masses for do.; 2 5-part
masses; Dixit, Magnificat, Miserere, about
40 motets w. orch.; etc. — 12 symphonies;
funeral march for Gen. Hoche; 6 pf. -concertos;
12 pf.-quartets; 6 string-quartets; sonata and
concerto for harp; 2 vols, of sonatas, caprices,
etc., for pf. — Bibliography: I. E. Arnold,
G. P., seine kurze Biographic (Erfurt, 1810);
J. F. Lesueur, Notice sur P. (Paris, 1816);
Gagliardo, Onori funebri . . . di P. (Naples,
1816); Quatrcmcre de Quincy, Notice his-
torique de P. (Paris, 1817); Anon., Schixsi
delta vita e degli studi di G. P. (Milan, 1833);
C. C.. Pupino, P. (Naples, 1908); S. Panareo,
P. in Russia (Trani, 1910).— See Q.-Lex.
676
PALADILHE— PALESTRINA
PaladUhe [pah-teh-del'], fimile, b. Mont-
pelher, June 3, 1844. Entered Paris Cons.
in 1853; studied under Marmontel (pf.),
Benoist (org.), and Halevy (cpt.); 1st prize
for pf. and organ, 1857; won the Grand prix
de Rome in 1860 with the cantata Le Czar
Ivan IV (Opera, 1860). While in Rome, he
sent to the Academie an Italian opera buffa,
an overture, and a symphony; returning to
Paris, he brought out a number of songs, and
in 1872 the 1-act comedy-opera Le Passant,
at the Op.-Comique, followed by the 2-act
ditto, V Amour ajricain (1875), the 3-act do.,
Sutanne (1878), the 3-act do., Diana (1885),
the 5-act opera Patriel (Opera, 1886; in
Hamburg, 1889, as Vaterland; at La Scala,
Milan, 1895, as Patria); and Les Saintes
Maries de la mert a sacred lyric drama
(Montpellier, 1892). Has also produced 2
masses, a symphony in Eb, some sacred
music, and numerous songs, among which
the Mandolinata, Premieres pensees, and
Melodies tcossaises, are popular. In 1892 he
succ. Guiraud as member of the <Acad6mie.f
Palestri'na, [Giovanni Pierluigi, called
da Palestrina,] the greatest composer of the
Catholic Church and of the Roman School,
was born at Palestrina, n. Rome, 1526; d. at
Rome, Feb. 2, 1594. His early life is obscure;
the first reliable information we have is that
he was organist at his native town 1544-51,
in which year he succeeded Rosseli as magis-
ter puerorum (master of the boys) in the
Cappella Giulia, with the title of 'maestro
delta cappella delta Basilica Vaticana.' His
first published work (1554) was a book of
masses a 4, dedicated to Pope Julius III,
who, recognizing his genius, caused him to
be admitted to the Pontifical Chapel as a
singer (a gross infraction of the rules, P.
being married, and a poor singer) in Jan.,
1555. Paul IV, on his accession to the
Holy See, dismissed P. with a pension of 6
scudi per month (July 30, 1555); however,
on the latter's recovery from a severe illness
caused by this blow, the Pope appointed him
maestro di cappella at the Lateran (Oct. 1,
1555). In 1560 his famous Improferia for
Holy Week attracted such attention, that
the Pope (Pius IV) secured them for the
Sistine Chapel, where they have since been
performed on every Good Friday. In 1561
he exchanged his post for the better-salaried
one of maestro at Santa Maria Maggiore.
He remained in this church for a decade,
during which his fame was firmly established.
The scheme of Pope Paul IV for the reform
of church-music, laid before the Council of
Trent (1545-63), had resulted in the deter-
mination by that august body to suppress
all distinctly secular elements, and more
particularly the cantifermi borrowed by even
eminent composers from the melodies of
indecent songs; but they hesitated to adopt
the more radical features in the Pope's
program, especially the abolition of figural
song. During further discussion of this
matter by the College of Cardinals in 1564,
Palestrina was requested to write a mass
which, without banishing the beauties of
florid melody and polyphonic art, should be
in every way appropriate for church-per-
formance. He wrote not one, but three, of
which the third, the Missa Papae Mar cell i,
was so wholly satisfactory that the idea of
banishing polyphonic music from the church-
service was definitively abandoned, and P.
('the saviour of music') was appointed com-
poser to the Pontifical Chapel, a post of
nonor held only by himself and Anerio.
In 1571 he succeeded Animuccia as maestro
of St. Peter's, an office which he retained
until his death. He was also interested in
Neri's 'Congregazione del Oratorio' as a
composer (v. Neri), taught occasionally in
Namni's school, and was 'maestro concerta-
tore' to Prince Buoncompagni from 1581.
The desire of Pope Sixtus V to make P.
maestro of the Sistine Chapel, was frustrated
by the opposition of the singers, who refused
to serve under a layman. The revision of the
Roman Gradual and Antiphonal, entrusted
to P. in 1577 by Pope Gregory. XIII, re-
mained unfinished; for representations from
Philip II of Spain and the Spanish bishops
induced the Pope to abandon the intended
revision. — Palestrina 's works mark the cul-
mination of the era of strict simple contra-
puntal composition in the Gregorian modes;
the perfection of a cappella church-music
within these limits. Oriandus Lassus and
Giovanni Gabrieli approach, but hardly equal
him. A monumental edition of his complete
compositions has been publ. by Breitkopf
& Hartel in S3 volumes (1862-94); vols,
i-iii edited by Theodor de Witt and J. N.
Rauch; vols, iv-viii by Franz Espapne; vol. ix
by Fr. Commer; and vols, x-xxxiii by Fr. X.
Haberl. The contents of these volumes is as
follows: Vols, i-vii, 179 motets (a 4-12);
vols, viii, ix, 113 hymns and offertories (a
4-5) ; vols, x-xxiv, 93 masses (a 4-8) ; vol. xxv,
9 lamentations (each in several settings a
4-8); vol. xxvi, 10 litanies, 4 psalms, 2
motets (a 4-12); vol. xxvii, 35 magnificats
(a 4-8); vol. xxviii, 83 Ital. secular madrigals
(a 3-6); vol. xxix, 56 Ital. sacred madrigals
(a 4-6) ; vols, xxx-xxxii, miscellaneous comps.
(many doubtful) ; vol. xxxiii, index, documents,
facsimiles, etc. After the completion of this
great edition the same firm began the separate
publication of several of the most famous
works (in treble and bass clefs). In Walder-
see's 'Sammlung musikalischer Vortrage,'
No. 52, will be found full information; Br. &
H. also publ. a special catalogue. As this
677
PALLAVICINI— PANIZZA
new edition supersedes and includes all
previous ones, a list of original editions is
omitted. — Bibliography: G. Baini, Me-
morie storio-critiche della vita e delle opere di
G. P. da P. (Rome, 1828, 2 vols.; an excellent
monograph; Ger. tr. by F. S. Kandler,
abridged and ed. by R. G. Kiesewetter,
Leipzig, 1834); K. von Winterfeld, J oh. P.
von P. (Breslau, 1832); W. Baumker, P.
(Freiburg 1877); F. X. Haberl, Die Kardinals-
kommisston von 1564 und P.'s 'Missa Papae
Marcelli,' in 'Kchm. Jahrb.' (1892); Ph.
Spitta, P. im 16. und 19. Jahrhundert, in
'Deutsche Rundschau* (July, 1894); A.
Cametti, Garni biografiti di G. P. da P.
(Milan, 1895); G. Felix, P. et la musique
sacrie [1594-M4\ (Lille, 1896); C. Respighi,
Nuovo studio su G. P. da P. e Vemendamone
del 'Graduate Romano* (Rome, 1900); A.
Cametti, Un nuovo documento sulla origine di
G. P. da P., in 'Rivista mus. Ital.' (1903);
M Brenet, P. (Paris, 1905); J. Gloger, Die
Mtssa Prima.' Eine Studie iiber den Pale-
strinastil (Leobschtltz, 1910) r K. Weinmann,
P. s Geburtsjahr (Ratisbon, 1915). For P.'s
correspondence with the Duke of Mantua see
Kchm. Jahrb/ (1886).— See also Q.-Lex.
Pallavlcinl (or Pallavicino) fcjche'-], Carlo,
b. Said, n. Brescia, 1630; d. Dresden, Jan.
27, 1688. Vice-Kapellmeister in 1667, and
Kapellm. in 1672, to the Dresden court;
after a stay in Italy, he became Kapellm.
of the new Italian Opera at Dresden. Com-
posed over 20 operas for Italian theatres and
Dresden; La Gerusalemme liberata (1688),
and Antiope (finished by Strungk, and prod,
at Dresden, 1689), were the last.— See Q.-Lex.
Pallavici'no, Benedetto, b. Cremona; d.
Mantua (?) after 1616, where he was maestro
to the Duke. He publ. 1 book of madrigals
a 4 (1570), 7 books a 5 (1581, '93, '96 W
1612, '13), 1 book a 6 (1587), and other mad-
rigals in colls.; also a book of motets a 8.
12, and 16 (1595).-See Q.-Lex.
PaUo'ni Gaetano, b. Camerino, Italy,
Aug. 4 1831; a pupil of Cellini at Fermo!
where he became the favorite organist in
1854; studied further with Mabellini at
Florence, where he lived as a much-sought
singing-teacher. Publ. many songs, duets, etc.
^.Fah5e b*M'm*]f Rudolf, b. Barby-on-
Em' °& 23'. 1834; d- Magdeburg, Jan. 8,
1909 Organist; pupil of A. & Ritter.
Royal Mus. Dir., and org. of the Ch. of the
Holy Ghost at Magdeburg.— Works: Much
organ-music (concert-fantasiasw.male chorus,
sonatas, chorale-preludes); male choruses,
songs, school-songs .etc.; also wrote Das
Orgelregtstrteren (1908).
rJPlZn?*'a?e(£reZ Mo|yn««. b. Staines,
Oct. 8, 1882. Pupil at R. C. M. of Sir c!
678
V. Stanford; Mus. Bac, Oxon., 1902; ore.
and choirm. at Holy Trinity, South Woodford,
1905-8. Comp. of the cantatas for ch, and
orch. Sir Galahad and The Abbot of Inisfalen;
pf.-pcs.; choruses and songs.
Palmer, Horatio Richmond, b. Sher-
burne, N. Y., Apr. 26, 1834; d. Yonkers,
N. Y., Nov. 15, 1907. Taught by his father
and sister, later by various, teachers in New
York, Berlin, and Florence. Began compos-
ing at 18, and chorus-conducting at 20. In
1857, head of mus. dept., Rushford Acad.;
settled in Chicago after the Civil War;
edited the 'Concordia'; cond. associations in
the Northern States and Canada; from 1873
he had charge, for many years, of the New
Church Choral Union, giving conceits with
as many as 4,000 singers; from 1877-91 Dean
of the Summer School of Music at Chautau-
qua, conducting from 2 to 4 concerts weekly.
Mus. Doc. (Chicago Univ. and Alfred Univ.).
Of his colls. 'The Song Queen,' The Son*
King,' The Song Herald,' and 'Concert
Choruses,' have had great success; also
Theory of Music, Class Method (of elem.
teaching), Manual for Teachers (in pufe/ic
schools), Brief Statements, Mus. Catechism, etc
Palmgren, Selim, b. Bjorneborg, Finland,
Feb. 16, 1878. After completing the course
at the Cons, in Helsingfors (1895-9) he cont.
his pianistic studies in Berlin with K. Ansorge,
W. Berger and F. Busoni; from 1902-4,
cond. of a choral society in Helsingfors;
1909-12, cond. of the Music Soc. (orchl.)
m Abo. He has made several very succ.
pianistic tours of the principal cities of
Finland and Scandinavia, appearing also as
visiting cond. In 1909 he married the Fin-
nish soprano Maikki Pakarinen (after she
had been divorced from A. Jarnefelt). —
Works: 2 operas, Daniel Hjort (Abo and
Helsingfors, 1910) and Peter Schlemihl (not
yet prod.); 2 pf.-concertos(Gm. and C# m.)r
a symph. poem, Floden; incid. music to
Tuhkimo.— For pf.: Sonata in D m.; op. 6„
Fantaisie; op. 17, 24 Preludes; op. 18„
Ballade (in the form of a theme with vara.),-
op. 22, Finnische Lyrik (12 pes.); op. 24„
Finnische Suite; songs and male choruses.
PaloachJ [p&h-15h'ske], Giovanni, of the
publishing-house of Ricordi, Milan; b. 1824;
d. Jan. 2, 1892; publ. 1876 (2nd ed. 1878)
a valuable Annuario musicale universale;
Piccolo dizionario delle opere teatrali rinomate
(4th ed. '98). He translated many works for
Ricordi, and contrib. to the 'Gazetta Musicale.*
Panlzza [-mYsah], Ettore, born Buenos
Aires Au$. 12, 1875. St. at the Cons.
G. Verdi in Milan, winning 1st prizes for
pf. and comp. He began his career as
operatic cond. in Italy in 1899; 1907-13,
cond. of Ital. operas at Cov. Garden; since
PAN NY— PANZNER
1916 at La Scala, Milan. Composer of the
operas 7/ Fidanzato del mare (Buenos
Aires, 1897), Medio Evo Latino (Genoa,
1900), Aurora (Buenos Aires, 1908).
Pan'ny, Joseph, b. Kolmitzberg, Lower
Austria, Oct. 23, 1794; d. Sept. 7, 1838, at
Mayence, where he had founded a music-
school. Violinist; comp. a scena for violin
and orch. for Paganini; publ. easy string-
quartets (op. 15), a sonata for the G-string,
trios and solos for violin, masses, a Requiem,
male choruses, etc.; also (in MS.) an opera,
Das Mddchen von Rugen.
Panof'ka, Heinrlch, b. Breslau, Oct. 2,
1807; d. Florence, Nov. 18, 1887. Violinist,
a pupil of the cantors Strauch and Forster,
at ten he played in a concert, and from 1824-7
studied at Vienna under Mayseder and
Hoffmann; then gave concerts, went to
Munich in 1829, thence to Berlin, and settled
in Paris (1834), playing at the Cons, con-
certs, and studying the art of singing and
vocal instruction under Bordogni, with
whom he founded, in 1842, an 'Academie de
chant,' which failed in competition with the
Prince of Moszkva's 'Societe de concerts.'
Lived 1844-52 at London, becoming famous
as a singing-teacher; was also Lumley's
asst.-cond. at H. M.'s Th. in 1847, during
Jenny Lind's appearances; returned to Paris,
1852; settled in Florence, 1866. — He wrote
considerable violin-music during his virtuoso-
period (variations, rondos, a sonata, studies,
charact. pieces, duos concertants with pf.),
and transl. Bai Hot's Method f. Violin into
German; but his instructive vocal works are
more important: The Practical Singing
Tutor; Vart de chanter (op. 81); an Abectdaire
vocal; 24 Vocalises progressives (op. 85); 12
Vocalises d* artiste (op. 86); Erholung und
Studium (op. 87); 86 Nouveaux exercices (op.
88); 12 Vocalises pour contralto (op. 89); 12
Vokalisen fur Bass (op. 90).
Panseron [pahns-r6hn'], Auguste-Ma-
thieu, b. Paris, April 26, 1796; d. there July
29, 1859. His father, who instrumented
many operas for Gretry, taught him until he
entered the Paris Cons, in 1804; he studied
under Gossec, Levasseur and Bertini, win-
ning the Grand prix de Rome in 1813 with
his cantata Herminie. After study in Bologna
(with Mattei), Rome, Naples, Vienna (Salieri)
and Munich, he returnee! to Paris in 1818,
taught sinking, was accompanist at the
Opera-Comique, and prod. 3 1-act operas;
became prof, of solfeggio at the Cons, in
1826, prof, of vocalisation in 1831, and prof,
of singing in 1836. From 1825-40 he brought
out some 200 charming romances; he also
comp. church-music (2 masses f. 3 soprani,
and motets a 3-4, Mois de Marie, were
publ.), etc.; but attained real eminence as a
vocal teacher and as a writer, of instructive
works on sinking: ABC musical (solfeggi
written for his daughter, aged 8); Solfeges
df artiste (50 solfeggi with change of clefs);
36 do., of advanced difficulty; Solfege d' en-
semble & 2, 3, et 4 voix, 3 books; SoTftge du
pianiste; Solfege du violonistet MHhode de
vocalisation, followed by a MHhode complete
de vocalisation in three books, and another
series of special studies and exercises for the
different voices and grades of difficulty; also
a Traite de V harmonic pratique el de modu-
lation (1855).
Pa'num, Hortense, b. (of Danish parents)
Kiel, Mar. 14, 1856. Her father, who had
been prof, of physiology at the Kiel Univ.,
returned to Copenhagen in 1864. There
she st. with A. Winding, V. Bendix and O.
Rosenhoff (comp.); later she won a stipend,
and st. hist, of music with W. Tappert in
Berlin (1886-7). After her return she de-
voted herself to historical studies (especially
concerning old instruments); in 1898 she
was one of the founders, and from 1901-3
Pres., of the 'Musikpedagogisk Fftrening';
since 1907 prof, of hist, of music at the
Copenhagen Cons. — Works: IUustreret Mu-
sikhistorie (1897-1905; Part ii by W. Beh-
rend) ; Musiken og musiklivet i Danmark fdr
anno 1800 (1904); do. efter anno 1800 (1906);
Haydn, Mozart, og Beethoven (1908); Middel-
alderens Strengeinstrumenter og deres Forlbhere
i Oldtiden (1915; profusely ill.). Has also
contrib. valuable papers to 'Sbd. I. M.-G.'
(Harfe und Lyra tm alten Nordeuropd), and
various Danish journals.
Panzner, Karl, distinguished conductor;
b. Teplitz, Bohemia, Mar. 2, 1866. Pupil
at the Dresden Cons, of Nicode (pf.), Drae-
seke a*nd Wullner (comp.); then private pupil
of A. Rubinstein, who advised him to adopt
the career of a concert-pianist. Instead, he
became th.-cond. at Cottbus; then went in a
similar capacity to Sondershausen, and Elber-
feld; in 1893 he succ. E. Paur as 1st Kapellm.
at the Leipzig Stadtth., where he remained
6 years. In 1899 he was called to Bremen
to conduct the Thilharmonie/ and in 1904
also accepted the conductorship of the
'Lehrer-Gesangverein,' with which he made
several triumphant tours (notably to Paris
in 1907); from 1907-9 he also was cond. of
the Mozart Orch. in Berlin. During his ten
years' activity in Bremen he exerted a
powerful influence upon the musical life of
that city, and the Senate showed their
appreciation by making him munic. music-
dir. and Prof. At the same time he filled
numerous engagements as visiting cond. in
Barcelona, Paris, Petrograd, Moscow, Rome
and New York (Philh. Soc., 1906). Since
1909 he has been munic. music-dir., cond.
679
PAPE— PARENT
of the symph. concerts and of the chorus of
the munic. 'Musikverein' in Dusseldorf. —
Cf. W. Gareiss, K. P., in vol. iii of 'Mono-
graphien moderner Musiker' (Leipzig, 1909).
Pape [pah'p£], Johann Heinrich, born
Sarstedt, n. Hanover, July 1, 1789; d. Paris,
Feb. 2, 1875. A piano-maker; worked 1811-
15 for Pleyel in Paris, later for himself. He
built an 8-octave piano; introduced padded
hammers; and invented overstringing.
Papier [pah-per'], Louis, b. Leipzig, Feb.
26, 1829; d. there Feb. 13, 1878; org. at the
Thomaskirche from 1869; singing- teacher in
public-schools. Publ. pieces for org. and
pf.; also songs.
Papier, Rosa, b. Baden, n. Vienna, Sept.
18, 1858. Fine mezzo-soprano; eng. at the
Imp. Opera, Vienna. Owing to an affection
of the throat she was obliged to retire in
1891 ; since then prof, of singing at the Vienna
Cons. Married Dr. Hans Paumgartner, a
pianist and mus. critic (1845-96), in 1881.
Papillon de la Ferte' [pah-pg-y6hn'], In-
tendant of the 'menus plaisirs' of Louis XVI
(1777), Inspector of the '£cole royale de
chant,' director of the OpeVa, was guillotined
in 1793. — His son was Mus. Intendant-in-
chief after the Restoration (1814).
Pap'peritz, Benjamin Robert, b. Pirna,
Saxony, Dec. 4, 1826; d. Leipzig, Sept. 29,
1903. Studied under Hauptmann, Richter
and Moscheles at the Leipzig Cons., where
he became teacher of harmony and counter-
point in 1851. From 1868-99 he was also
organist of the Nikolai kirche, then retiring.
Excellent instructor; 'Kgl. Professor' in 1882.
Publ. organ-music, choral works, and songs.
Paque [pahk], Desire*, b. Liege, May 21,
1867. Pupil of the Cons, there; lived as
teacher of pf. and organ in various cities
(Sofia, ^ Athens, Lisbon, etc.); now (1917)
living in Geneva. Has written an opera,
Vaima; a Requiem, op. 41 ; 2 vl.-sonatas, op.
4 and 32; 4 suites for via., op. 15, 20, 26,
27; organ- and pf.-pcs.; songs.
Paque, Guillaume, 'cello-virtuoso, pupil
of Demunck; b. Brussels, July 24, 1825; d.
London, Mar. 2, 1876. Teacher in Barcelona
Cons.; soloist at the Royal Th., Madrid;
member of the R. Orch., London, from 1863,
and teacher in Dr. Wylde's London Acad, of
Mus. Publ. fantasies and transcriptions for
vcl. and pf. of operatic airs and songs of
Schubert.
Paradl'es (or Paradi'si), Pietro Domeni-
co, dram. comp. and harpsichord-player; b.
Naples, 1710; d. Venice, 1792. Pupil of
Porpora; brought out operas in Italy, went
to London in 1747, and lived there many
years as a harpsichord-teacher. — Publ. 12
Sonate di graviccmbalo (London, 1746). Some
680
pieces are in Pauer's 'Old Ital. Masters';
many in MS. in the Fitzwilliam Coll. — See
Q.-Lex.
Paradis', Maria Theresia Ton, b. Vienna,
May 15, 1759; d. there Feb. 1, 1824. Blind
from her fifth year, she was taught by
Richter and Kozeluch (pf.), Salieri and
Righini (singing), and Fnberth and Abbe
Vogler (comp.), becoming an excellent pianist
and organist; played in Paris in 1784, and
made a tour to London, Brussels and Ger-
man capitals in 1786. By the aid of a system
of notation invented by a friend, she became
a skilful composer, her chief works being a
melodrama, Ariadne und Bacchus (Vienna,
1791), an operetta, Der Schulcandidat (1792),
the fairy opera Rinaldo und Alcina (Prague,
1797), a funeral cantata on the death of
Louis XVI (1794), a pf.-trio, sonatas and
vara, for pf., songs, etc. In her last years
she taught singing and piano-playing.
Paradi'si. See Paradies.
Parent [pah-rahn'], Armand, b. Liege,
Feb. 5, 1863. Pupil at the Cons, there of
L. Massart and Heynberg (vl.), and S.
Dupuis (harm.); won 1st prizes in solfege
(1876), chamber-music (1878), violin (1880),
harm. (1882). From 1881-2 he was leader
of the orch. at Pau (Basses Pyrenees);
1882-3, do. with Bilse's orch. in Berlin;
1883-9, do. with the Colonne Orch. (also at
the summer concerts in Aix-les- Bains). He
is now (1917) prof, of vl. at the Schola Can-
torum; Chev. of the Legion of Honor. In
1892 he founded (with Loiseau, Vieux and
Fournier) the 'Quatuor P.,' which for many
years has enjoyed international fame. By
the end of 1916 they had given over 1,200
concerts. While cultivating the classic
masters, they also introduced to France the
latest chamber-music of contemporary com-
posers, especially of the younger French-
school (Debussy, Faure, Ropartz, Roussel,
Ravel, Chausson, Lekeu, etc.); as zealous
apostles of Brahms, they performed all his
works repeatedly, and many for the first
time in France. P. has written 2 str. -quartets,
a str.-quintet, a vl. -sonata, and a number of
minor pes. for vl. and pf.; Gymnastique du
violon (with preface by d'Indy), 20 Etudes
de virtuosity (on a modern harmonic basis),
Etudes pour violon, Exercices pour le violon
d'apres Us 17 quatuor s de Beethoven.
Parent, (Charlotte-Frances-) Hortense,
b. London, Mar. 22, 1837. Pianist, pupil of
Mme. Farrenc (Paris Cons., 1853-7), foun-
dress (1882) of an '£cole preparatoire au
professorat' (pf. -teachers* seminary) at Paris;
authoress of Etude du piano (1872; with sup-
plem. exercises; 5th ed; 1907); RSpertotre
encyclopedique du pianiste (2 vols., 1901, *07).
PAREPA-ROSA— PARKER
Pare'pa-Ro'sa {ne'e Parepa de Boyeecu'),
Euphroayne, famous soprano; b. Edinburgh,
May 7, 1836; d. London, Tan. 21, 1874. Her
father was a native of Bucharest; her mother,
Elizabeth Seguin, was a well-known singer,
undertaking her daughter's mus. education
at first. After the father's death she was
trained for the stage; made her debut at
16, as Amina, in Malta; then sang in Naples,
Genoa, Rome, Florence, Madrid and Lisbon,
appearing in London as Elvira in / PurUani
on May 2 1 , 1857. She became a great favorite
there, singing frequently in opera and oratorio
up to her American tour in 1865 with Carl
Rosa, whom she married on their second
American tour in 1867, when they organized
an opera-company, with 'Parepa as leading
lady, and gained great success. On her third
visit to America, in 1871, Parepa sang with
Santley and Wachtel in Italian opera; re-
turned to England in 1873, intending to
give Lohenerin in English at Drury Lane the
following March; a project defeated by
Parepa 's sudden illness. — Her voice, sweet
and powerful, had a compass of 2^ octaves
(to a1). She was even more successful in
oratorio than in opera.
Parish- Alvaro, Ellas, noted player on and
comp. for the harp; b. Teignmouth, Engl.,
Feb. 28, 1808; d. Vienna, Jan. 25, 1849. Of
Jewish parentage; pupil of Dizi, Labarre and
Bochsa. Tours in Germany, 1831, and
Italy, 1834; concerts in London 1836-7;
Oriental tour 1838-42, succeeded by further
tours in Germany and Italy. Settled in
Vienna, 1847, as chamber-harpist to the
Emperor. Many fine works for harp: Op.
62, Voyage d'un harpiste en Orient (Turkisn,
Greek, and other melodies for solo harp);
op. 67, March f. harp; op. 81, concerto f. harp
w. orch., in G m.; op. 98, do. in Eb; op. 91,
concertino f. 2 harps w. orch.; fantasias,
romances, characteristic pieces, transcrip-
tions, etc., for harp with orch. or pf.
Parisi'ni, Federico, b. Bologna, Dec. 4,
1825, d. there Jan. 5, 1891. Pupil of Fabbri
at the Liceo Musicale, Bologna, becoming
teacher of harmony, etc., in that inst., suc-
ceeding Gaspari as librarian of the Acad.
Fllarmonica, of which he was twice president,
also lecturer on mus. aesthetics and history.
Wrote theoretical treatises on choral singing
and harmony, a biogr. of Padre Martini (1887),
and edited his correspondence (1888); publ.
vol. i of the catalogue of the Liceo filarmonico
prepared by Gaspari (1890), and completed
vol. ii (1892). Comp. 5 well-known operettas
for students.
Parker, Bertie Patterson, brother of
William Frye P.; fine violoncellist; b. Great
Dunmow, Essex, Sept. 2, 1871. Pupil at the
R. A. M. of W. E. Whitehouse, B. Haynes
and A. Fox; A. R. A. M., 1904. He is solo
'cellist of the London Philh. Soc. and the
Symph. Orch., and member of the Wessely
String Quartet; since 1907 prof, at the R. A.
M. In 1912 he toured the U. S. with the
London Symph. Orch. under Nikisch; in
1914 he made a tour of Austria and Belgium
with the Wessely Quartet.
Parker, Henry, b. London, Aug. 4, 1842.
Pupil, in Leipzig Cons., of Plaidy, Moscheles
and Richter; at Paris, of Lefort; was for
many years prof . atthep. S. M.; now (1917)
living in retirement in London. Works:
Rom.-comic opera Mignonette (London, 1889);
3 comic operas, Jack %n the Green, The King's
Pardon, and Kitty (Cheltenham, 1897); Jeru-
salem, for bass solo and chorus (Albert Hall,
1884); gavottes, etc., for orch.; pf.-music;
songs.— -Wrote The Voice, its Production and
Improvement, with Practical Exercises.
Parker, Horatio William, b. Auburndale,
Mass., Sept. 15, 1863. Pupil, in Boston, of
Emery (theory), J. Orth (pL), and Chadwick
(comp.). Organist at Dedham and Boston;
studied in Munich 1882-5 with Rheinberger
(org. and comp.) and L. Abel (conducting),
bringing out a cantata, King Trojan, in
1885. Returning to. America, he became or-
ganist and prof, of music at the Cathedral
School, Garden City, L. I.; 1886, org. and
choirmaster at St. Andrew's, N. Y.; 1888, do.
at Ch. of the Holy Trinity, Boston. In 1894
the performance of his oratorio Hora Novis-
sima attracted wide attention and in the
same year he was called to the chair of music
at Yale Univ. There he reorganized a
choral soc. and founded the New Haven
Symph. Orch., of which he is still (1917)
cond. A. M. (hon. a), Yale Univ., 1894;
Mus. Doc. (hon. c), Cambridge, Engl.,
1902. In 1911 his opera Mona won the
$10,000 prize offered by the M. O. II., and
was prod, there on March 14, 1912; two
years later his second opera, Fairyland, won
a similar prize offered by the Nat. Federa-
ation of Women's Clubs, and was prod, at
Los Angeles on July 1, 1915. Books of both
operas are by Brian Hooker.
Works.
Op. 1, The Shepherd Boy, for male vcs.;
op. 2, 5 mixed choruses (not publ.); op. 3,
Psalm 23 for fern, vcs., org., and harp; op. 4,
Concert-overture in Efc» (not publ.); op. 5,
Overture in A (not publ.); op. 6, The Ballad
of a Knight and His Daughter for mixed ch.
and orch.; op. 7, Symphony in C m. (not
publ.); op. 8, King Trojan, lor soli, ch. and
orch.; op. 9, 5 pes. for pf.; op. 10, 3 songs;
op. 11, Str. -quartet in F (not publ.); op. 12,
Venetian Overture in Bb (not publ.); op. 13,
Scherzo for orch., in G (not publ.); op. 14,
Blow, thou Winter Wind, male ch.; op. 15,
681
PARKER— PARLOW
IdyUe (Goethe) for mixed ch. and orch.; op.
16, Normannenzug for male ch. and orch.;
op. 17, 4 pes. for organ; op. 18, Morning
and Evening Service in E; op. 19, 4 pes. for
pf.; op. 20, 4 pes. for organ; op. 21, The
Kobolas for ch. and orch.; op. 22, 3 sacred
songs; op. 23, 6 Lyrics for pf.; op. 24, 6
songs; op. 25, 2 songs; op. 26, Harold Har-
fagar for mixed ch.; op. 27, 2 fern, choruses;
op. 28, 4 pes. for organ; op. 29, 6 songs; op.
30, Hora Novissima, oratorio; op. 31, The
Dream King and His Love, cantata; op. 32,
5 pes. for organ; op. 33, 6 male choruses;
op. 34, 3 songs; op. 35, Suite for vl., vcl.
and pf. (not publ.); op. 36, 4 pes. for organ;
op. 37, The Holy Child, Christmas cantata;
op. 38, Str.-quintet in D m. (not publ.);
op. 39, 4 male choruses; op. 40, Cdhal M6r of
the Wine-red Hand, for bar. and orch.; op.
41, Suite for vl. and pf. (not publ.); op. 42,
Ode for Commencement; op. 43, The Legend
of St. Christopher, oratorio; op. 44, Adstant
Angelorum Chori, motet for mixed ch. a
capp. (prize of Mus. Art Soc., N. Y., 1899);
op. 46, A Northern Ballad for orch. (not
publ.); op. 47, Six Old English Songs; op.
48, male choruses; op. 49, 3 pes. for pf.;
op. 50, A Wanderer's Psalm for ch. and orch.;
op. 51, 3 songs; op. 52, do.; op. 53, Hymnos
Andron, Ode (on Greek text) for the bi-
centenary celebration of the founding of
Yale Univ. (1901); op. 54, A Star Song for
soli, ch. and orch. (Paderewski Prize, 1901);
op. 55, Concerto for org. and orch. in E m.;
op. 56, Symph. Poem (not publ.); op. 57,
Communion Service in Bb; op. 58, 3 medieval
hymns for solo voice; op. 59, 4 songs; op. 60,
Union and Liberty , patriotic song with orch.
for the inauguration of Pres. Roosevelt (1905) ;
op. 61, Spirit of Beauty, Ode for the dedication
of the Albright Art Gallery in Buffalo (1905);
op. 62, Crepuscule for m.-sop. and orch.;
op. 63, The Shepherd's Vision; op. 64, King
Gorm the Grim, ballad for mixed ch. and orch.;
op. 65, Organ-sonata in Eb; op. 66, songs for
high-schools; op. 67, 4 pes. for organ; op.
68, Five Short Pieces for org.; op. 69, Norse-
men's Raid for male ch. and orch.; op. 70,
7 songs; op. 71, Mona, opera (see above);
op. 72, Collegiate Overture; op. 73, A Song of
Times, cantata; op. 74, 7 Greek Pastoral
Scenes for sop. and alto soli, fern, ch., str.-
orch., harp and oboe; op. 75, The Leap of
Roushan Beg, ballad for ten. solo, male ch.
and orch.; op. 76, songs (not publ.); op. 77,
Fairyland, opera (see above); op. 78, Series
of books for public schools; op. 79, Morten
and the Grail, oratorio; op. 80, Cupid and
Psyche, masaue for the 50th anniversary
of the founding of the Yale Art School
(June, 1916); op. 81, Music for the Yale
Pageant (Oct., 1916). — Also wrote Music
and Public Entertainment (1911).
Parker, James Cutler Dunn, b. Boston,
Mass., June 2, 1828; d. Brookline, Mass.,
Nov. 27, 1916. Studied law in Boston
1848-51, and music in Leipzig 1851-4, under
Mosrheles and Plaidy (pf.), Hauptmann
(harm.), and Richter and Rietz (comp.).
Lived since then in Boston and the suburban
Brookline. In 1862 he organized the 'Parker
Club/ an amateur vocal society; organist
and choir-director of Trinity Ch. 1864-91,
and for many years org. of the Handel and
Haydn Soc.; was prof, at the Boston Univ.
College of Music, and Examiner for the New
Engl. Cons. — Works for soli, ch. and orch.:
Redemption Hymn (1877); cantata The Blind
King (1886); St. John; The Life of Man
(oratorio); several church -services, and other
church-music. Translated Richter's 'Manual
of Harmony'; publ. an original Man. of
Harm. (1855), and Theoretical and Practical
Harmony (1870).
Parker, William Frye, violinist; b. Great
Dunmow, Essex, Sept. 10, 1855. Pupil of
P. Sainton at the R. A. M.; debut as concert-
vlnst. in London, 1871; prof, at the R. A. M.
since 1882; taught also at the G. S. M. from
1881-1904; 1895-1909, conc.-master of the
London Philh. Soc.; now (1917) cond. of the
'Civil Service Orch.' and 'Colet Orchl. Soc.'
Parkhunt, Howard Elmore, b. Ashland,
Mass., Sept. 13, 1848; died (accidentally
drowned) Lavallette, N. L, Aug. 18, 1916.
Org. at the Madison Sq. Presb. Ch., N. Y.,
where his brother, the Rev. Charles Henry
P., has been rector since 1880. He publ.
(besides books on botany and ornithology)
A Complete System of Harmony (1908), A
Complete Method for the Modern Organ (1911),
The Church Organist (1913), The Beginnings
of the World's Music (1914), Rambles in
Music-Land (1914); also wrote an oratorio,
a cantata, an orchl. overture, and church -
music.
Parki'na, stage-name of Elizabeth Par-
kinson, lyric soprano; born in Southern Mis-
souri, May, 1882; taught by Mrs. Layton
at Kansas City; went in 1899 to Paris and
studied with Mme. Mathilde Marchesi.
Engaged at the Opera-Comique in 1902;
debut in the title-r61e of the opera LakmS;
sang at Cov. Garden from 1904-7; made a
very succ. tour of Australia in 1905. Her
greatest successes have been on the concert-
stage (as soloist with the London Philh.
Soc. and other important instrl. and choral
organizations in England).
Parlow, Kathleen, distinguished violinist;
b. Calgary, Canada, Sept. 20, 1890. When
she was 5 years old her family moved to
San Francisco, where she began to study
the violin with a cousin, who taught her
until 1900; she was then placed under the
682
PARODI— PARRY
tuition of Henry Holmes, a pupil of Spohr,
who emphasized the technical rather than
the musical development of his pupil. In
1905 he took her to London, where she was
exhibited as a prodigy, appearing frequently
in recitals, and also with the London Symph.
Orch. In July of that year she was com-
manded to play before Queen Alexandra.
These constant exhibitions soon palled upon
the young artist, and her love for music
was almost extinct, when in 1906 she heard
Elman in London, whose playing revealed
to her the true art of violin-playing, and filled
her with enthusiasm. She immediately went
to L. Auer (Elman's teacher) in Petrograd,
and after 18 months of earnest study made
her real debut as a mature artist (1908) in
the Russian capital. She then visited Scandi-
navia, Germany, Holland and Belgium. On
her first Amer. tour (1910-11) she immediately
established herself as a prime favorite, both
in recitals and with the leading orchestras;
on her. second tour (1911-12) she appeared
with the Boston Symph. Orch. not less than
13 times; has been a regular visitor since
then, with the exception of the season of
1914-15.
Paro'di, Lorenzo, b. Genoa, 1856. St.
there and with Guiraud in Paris. He is
prof, of esthetics and hist, of music in, and
also dir. of, the Liceo Amilcare Zanella in
Genoa; mus. critic of 'Caffaro.' — Works:
The oratorios Joannes Baptista and Calvario;
masses and hymns; cantatas; a Stabat
Mater; Suite greca and Ouverture triomphale
for orch.; pes. for vl. and pf.; pf.-pes.; songs.
Has also publ. Musicologia, L'estetica del
canone, and a treatise on instrumentation.
Parratt, Sir Walter, b. Huddersfield, Feb.
10, 1841. At 7 sang regularly in church; at
10 knew the 'Well-temp. Clavichord* by
heart; at 11, organist at Armitage Bridge,
and passed through successive similar posi-
tions to Magdalen Coll., Oxford (1872), and
St. George's Chapel, Windsor (1882), suc-
ceeding Elvey. Mus. Bac, Oxon., 1873;
organ-prof, at R. C. M., 1883; knighted in
1892; Master of Music in Ord. to the Queen,
1893; do. to King Edward VII (1901), and
King George V (1910); since 1908 prof, of
music at Oxford. Mus. Doc. (hori. c),
Oxford, 1894; Past Pres. R. C. O.; Past
Grand Organist of the Freemasons. — Works:
Music to iEschylus' Agamemnon and Orestes;
Elegy to Patroclus (1883); anthems, songs,
music for organ and pf. Contributor to
Grove's Dictionary— Cf. 'M. T.' (July, 1902).
Parry, Sir Charles Hubert Hastings, b.
Bournemouth, Engl., Feb. 27, 1848. While
at Eton, from 1861, he studied composition
with G. Elvey; took part in the concerts of
the Musical Sqq, a& a pianist, organist,
vocalist, and composer. At 18, still a lad
at Eton, he took the degree of Mus. Bac. at
Oxford, his exercise being; a cantata, O Lord,
Thou hast cast us out. Entered Exeter Coll.,
Oxford, in 1867; was a founder of the 'Univ.
Mus. Club,1 and took the degree of M. A.
in 1874. Here he began to study music in
earnest under Bennett and Macfarren, also
taking pf.-lessons of Dannreuther 1872-9, and
a 2-months' vacation-course with Pierson at
Stuttgart. His public career as a composer
began with the prod, of an Intermezzo religioso
for strings at the Gloucester Festival of
1868; in 1880, his settings of scenes from
Shelley's Prometheus Unbound, for soli, ch.
and orch. (Glouc. Fest.), opened a series of
works on a large scale: The Symphony No.
1, in G (Birmingham, 1882), The Glories of
Our Blood and State (Glouc, 1883), Suite
moderne, in A m. (ibid., 1886), the oratorio
Judith (Birm., 1888), Ode on St. Cecilia's
Day (Leeds, 1889) V Allegro ed il Pensieroso
(Norwich, 1890), De Profundus, for sopr.
solo, 3 choirs and orch. (Hereford, 1891),
oratorio Job (Glouc, 1892), symphonic
Overture to an unwritten tragedy (Worcester,
1893), oratorio King Saul (Birm., 1894), In-
vocation to Music (Leeds, 1895), Magnificat,
in Latin (Hereford, 1897); also Blest Pair
of Sirens (1887): choral song The Lotos-
eaters (1892); music to Aristophanes' Birds
(1883), Frogs (1892), Clouds (1905), and
Acharnians (1914), and to Hypatia (1893);
Ode to Music (1901), War and Peace (1903),
Voces clamantium (Hereford, 1903), The Pied
Piper of Hamelin (Norwich, 1905), The Vision
of Life (Cardiff. 1906), The Soul's Ransom
(Hereford, 1906), Beyond Those Voices there
is Peace (Worcester, 1908), Hymn to the
Nativity (Hereford, 1912), Te Deum (English;
Gloucester, 1913.) — In 1883 P. was app.
Choragus of Oxford Univ.; in that year
Cambridge conferred on him the hon. degree
of Mus. Doc, followed by Oxford (1884),
and Dublin (1891). In 1894 he succeeded
Sir George Grove as Director of the R. C. M.,
which post he still (1917) holds; 1899-1908,
prof, of music at the Univ. of Oxford. He
was knighted in 1898. P. is a distinguished
lecturer and writer; he contributed numerous
excellent articles to Grove's Dictionary, and
has publ. Studies of Great Composers (1886),
The Art of Music (1893; enlarged as The Evo-
lution of the Art of Music, 1896), Summary of
Mus. History (1893), The Music of the 17th
Century (vol. iii of the 'Oxford History of
Music/ 1902); John Sebastian Bach (1910);
Style in Musical Art (1911). Also wrote the
'Introduction* in vol. i of 'The Art of Music'
(1917). Publ. compositions (incl. all noted
above): 4 further symphonies (No. 2 in F,
No. 3 in C, No. 4 in E m., No. 5 in B m.);
overture Guillem de Cabestanh; symphonic
683
PARRY— PASDELOUP
vars. for orch., in E m. (1897); a string-
quintet; a string-quartet; a pf. -quartet; 3
pf. -trios; a sonata for pf. and 'cello; a Fan-
taisie-Sonata, a Partita, and a Sonata (all
3 for pf. and violin); 12 Short Pieces forpf.
and violin; a pf. -concerto in F# m.; a Duo
in E m. for 2 pfs. ; pf. -sonatas in F and A, other
pf. -music; a Fantasia and Fugue f. organ;
4 sets of English Lyrics, 3 Odes of Anacreon,
6 Shakespearian songs, other songs; 20
part-songs; a Service in D; anthems (the
Processional Anthem for the coronation of
King Edward VII, which was repeated at
the coronation of King George V) ; etc.
Parry, John, Welsh bard; b. Ruabon, N.
Wales; d. as harper to Sir W. W. Wynne at
Wynnstay, Oct. 7, 1782.— Publ. 'Antient
British Music . . . ' (tunes of the Cambro-
Britons, 1742); 'Coll. of Welsh, English and
Scotch Airs' (1761); 'Cambrian Harmony;
a Coll. of Antient Welsh Airs ... ' (1781).
Parry, John (called 'Bardd Alaw,' master
of song), born Denbigh, Feb. 18, 1776; d.
London, Apr. 8, 1851. Clarinettist in a
band, then bandmaster; teacher of flageolet;
comp. to Vauxhall, 1809; cond. of 'Eistedd-
fodau' in Wales for years; was critic for the
'Morning Post/ and treasurer of the R.
Soc. of Musicians (1831^49).— Works: The
Welsh Harper* (1839-48; coll. of Welsh
music, with historical in trod.); various other
collections; also much original music (incid.
music to several plays, harp-sonatas, glees,
songs, part-songs, etc.).
Parry, John Orlando, son of preceding;
pianist, harpist, and singer; b. London, Jan.
3, 1810; d. E. Molesey, Feb. 20, 1879. Ap-
peared at the German Reed Entertainments
1860-9. Wrote songs, comic and sentimental.
Parry, Joseph, b. Merthyr Tydvil, Wales,
May 21, 1841; d. Penartb, n. Cardiff, Feb.
17, 1903. The son of a laborer, and put to
work at 10 in a puddling furnace; his parents
emigrated to America, but he returned to
Britain, won Eisteddfod prizes for songs,
and through Brinley Richards' influence en-
tered the R. A. M. in 1868, studying under
Bennett, Garcia and Steggall. Mus. Bac,
Cambr., 1871; then app. prof, of music at
the Univ. Coll., Abervstwith; Mus. Doc.,
1878; in 1888, Mus. Lecturer at Univ. Coll.
of S. Wales, Cardiff. Also F. R. A. M.—
Works: 4 operas, Blodwen (Aberdare, 1878);
Virginia (ib., 1883); Arianwen (Cardiff,
1890); Sylvia (ib., 1895); King Arthur (fin-
ished 1897); the oratorios Emmanuel, 1880,
and Saul of Tarsus, 1892; the cantatas The
Prodigal Son, Nebuchadnezzar, Cambria and
The Maid of Cefu Ufa; Druids' Chorus; an
orchestral ballade, overtures, a string-quartet,
pf.-music, anthems, songs.
Parsons, Albert Ross, b. Sandusky, O.,
Sept. 16, 1847. Pupil 1863-0 of F. L. Ritter,
New York; 1867-9, at Leipzig Cons., of
Moscheles, Reinecke, Wenzel and Papperitz
(pf.), and Richter and Paul (cpt. and fugue);
later of Tausig, Kullak, Weitzmann and
Wuerst at Berlin. Settled in New York
1871, holding various positions as organist;
prominent as a pf.-pedagogue. In 1889, Pres.
of the M. T. N. A. Has publ. Science of
Pianoforte Practice (1893); Parsifal, or The
Finding of Christ through AH (1893); trans-
lated Wagner's Beethoven and O. Lessmann's
Liszt into English; edited Kullak's 'Complete
Works of Chopin ' ; etc. Comp. vocal quartets,
songs, etc.
Parsons, E. A., pianist, organist, teacher,
composer; since 1894, organist and choir-
director of the Ch. of the Divine Paternity,
New York. — Works: For pf., a concerto, a
Mazurka-Arabesque, 'Legend of the Foun-
tain,' 3 Impromptus, Gavotte sicilienne,
Valse styrienne, Polka-transcription, Pensee
mignonne, a Caprice on 'Home, sweet home,'
etc. — Vocal, 'The Conqueror/ 'A Prince of
Peace,' etc.
Pasch, Oskar, b. Frankfort -on-Oder, Mar.
28, 1844. Pupil of the R. Inst, for Church-
music and the Acad, for Composition, Berlin,
winning the Michael Beer prize in 1874 with
Psalm 130 for soli, ch., and orch.; 'Royal
Mus. Dir.' in 1884. He is an organist, and
singing-teacher at schools, in Berlin. — Works:
A symphony; vaudevilles; oratorios, motets,
psalms, etc.
Paschalov [pahs-hahldhv], Viktor Nikan-
drovitch, very popular Russian song-com-
poser; b. Saratov, April 20, 1841; d. Kazan,
Mar. 12, 1885.
Pascucci [-skod'che], Giovanni Cesare, b.
Rome, Feb. 28, 1841. Composer of comic
operas and many operettas in Roman dialect;
also 2 oratorios, other church-music, songs,
etc.
Pasdeloup tpah-d'loo'], Jules- fctlenne,
distinguished conductor; b. Paris, Sept. 15,
1819; d. Fontainebleau, Aug. 13, 1887. Pf.-
pupil, at the Conservatoire, of Laurent and
Zimmerman; 1841, r£p£titeur of a solfeggio-
class; 1847-50, teacher of a pf. -class, which
he gave up to organize the celebrated sym-
phony-concerts of the 'Society des jeunes
eleves du Cons.' (1851), developing (1861)
into the 'Concerts populaires de musique
classique' at the 'Cirque d'hiver,' a pioneer
series of good cheap popular concerts which
were a success from tne start. Not only
classic music, but the best modern French
and foreign authors, had a hearing. P. also
taught a vocal ensemble-class at the Cons.,
1855-68, and likewise cond. a section of the
Orpheons for a time; he unsuccessfully at-
684
PASKIEVITCH— PASTERNACK
tempted the direction of the Th.-Lyrique,
1868-9, and his popular concerts gradually
lost ground in competition with Colonne and
Lamoureux, ceasing in 1884. A grand popular
mus. festival at the Trocadeio, instituted for
his benefit, netted him nearly 100,000 francs.
Paskievitch [pahs'k'yS-], Vasaily, cham-
ber-musician to Catherine II; began his
career as vlnst. at the Petrograd opera in
1763; later became court-composer, and in
1789 dir. of the court-balls. He was one of
the first Russian composers who sought to
obtain national color by introducing folk-
songs into his operas. He wrote Love Brings
Trouble (1772), FedulandHer Children (1794),
The Early Reign of Oleg (with Canobbio and
Sarti on a text by Catherine II; 1794), The
Two Anions (1804), The Miser (1811); also
some songs. .A 4-act comic opera, Tsare-
vitch Fevey (1786; text by Catherine II) is
not by P., but by Briks, of whom nothing is
known. On the title-page of the pf. -score of
the work publ. in 1789 P. is mentioned as the
composer; the orchl. score in the library of
the Imp. Theatres in Petrograd, however,
bears the name of B. A new ed. of the opera,
with the name of B. on the title-page, was
publ. by Jurgenson in 1895.
Pasmore, Henry Bickford, b. Jackson,
Wis., June 27, 1857. Pupil of J. P. Morgan
(organ and harm.); in Leipzig, 1882, of
Jadassohn, Reinecke, and Frau linger- Haupt
(voice) ; further vocal studies at London under
W. Shakespeare and R. H. Cu minings.
Settled in San Francisco; organist of St.
John's Episc. Ch.f and prof, of singing at the
Univ. of the Pacific, San Jose. — Works:
Conclave march, and Miles Standish, over-
ture for organ; suite for organ and st ring-
ore h.; a Taren telle for pf.; masses, part-
songs, and songs.
Pasquall, Nicold, Ital. violinist and comp.
at Edinburgh, where he lived from 1740 until
his death, Oct. 13, 1757.— Publ. Thorough-
bass made easy (1757); comps. : The oratorios
David and Noah; an opera, V Ingratitudine
punita; Dirge on Romeo and Juliet; 12 over-
tures for horns; 2 sets of violin-sonatas w.
bass, and 1 set for 2 vlns., via., and continuo.
Paaque [pahs-ka'], Ernst, born Cologne,
Sept. 3, 1821; d. Alsbach, Mar. 20, 1892.
Baritone singer, pupil of Paris Cons.; debut
Mayence, 1844; sang at Darmstadt till 1855;
operatic stage-manager at Weimar 1856-72;
theatre-director at Darmstadt till 1874, then
pensioned. — Wrote opera-books (Otto der
Schutz, Melusine, Van Dyckt etc.); a Geschichie
des Theaters zu Darmstadt 1559-1710 (1852);
Musikalische Statistik des Hoftheaters zu
Darmstadt (1868); Frankfurter Musik- und
Theatergeschichte (1872); Aus der Tone Welt
(1878); Abt Vogler (1884); novels; etc.
Pasquinl [-skwe'n£], Bernardo, b. Massa
di Valdinevole, Tuscany, Dec. 8, 1637; d.
Rome, Nov. 22, 1710. Famous organist;
pupil in Rome of Vittori and Cesti. Long
the organist of S. Maria Maggiore; chamber-
musician to Prince Giambattista Borghese.
Durante and Gasparini were his pupils. —
Works: 10 operas, 8 oratorios, etc.; clavi-
chord-pieces were publ. in 'Toccates et suites
pour le clavecin de MM. Pasquini, Paglietti
et Gaspard de Kerle' (Paris, 1/04); a sonata
is in Pauer's 'Old Ital. Composers. ' — Cf. J. S.
Shedlock, The Pianoforte Sonata* (London.
1895; p. 71 et seq.); V. Virgili, B. P. (Pescia,
1908).— See also Q.-Lex.
Pamy [pah'sU], (Ludvig Anton) Edvard,
b. Stockholm, Sept. 4, 1789; d. Drottning-
holm, Aug. 16, 1870. He received his first
mus. instruction from his brother; then st.
with L. Piccinni (who was Kapellm. in
Stockholm from 1796-1801), with J. Field
(pf.) in Petrograd* and with Eggert in Stock-
holm. After several successful pianistic
tours of Germany he settled in his native
city as a highly esteemed teacher, and org.
of the court chapel. Among his pupils were
B. Bauck, O. Wingen, I. Hallstrdm, and the
crown-prince of Sweden (later King Oscar I).
— Works: 2 operas (in MS.), Den nordiska
kvinnan (The Northern Woman) and InbiU-
ning och verklighet (Imagination and Reality) ;
2 pf. -concertos; a fantasy for pf. and orch.;
3 str. -quartets; 2 pf. -trios; a symphony (un-
finished); organ-fugues; pf.-pes. (2 and 4
hands); arias and choruses with orch.; songs.
Pa'sta (nie Negri), Gluditta, celebrated
soprano stage-singer; b. Como, Apr. 9, 1798;
d. at her villa on Lake Como, April 1, 1865.
At first a pupil of Asioli at Milan Cons., she
sang without success, after her d^but in 1815,
in Italy, London, and Paris; returned to Italy
for further serious study under Scappa, and
reappeared at Paris in 1822 as a vocal
phenomenon; the compass of her voice was
from a to <P, and in power, dramatic intensity,
and truth of expression she had then no
rival, though her voice, even in her best days,
was not perfectly equalized. In 1829 she
had acquired a fortune in London and Paris,
and sang but little thereafter (in London
1837 and 1850; in Petrograd 1840; etc.), as
her singing rapidly deteriorated. For the
Pasta, Bellini wrote La Sonnambula and
Norma, Donizetti his Anna Bolena, Pacini
his Niobe; she excelled in the leading rdles
of the Italian operas then in vogue.
Pas'ternack, Josef Alexander, b. Czens-
tochowa, Poland, July 1, 1881. From 1892-5
pupil at the Warsaw Cons, of Michalowski
(pf.) and Noskowski (comp.)- Came to
America in 1895; 1900-10, solo viola of the
M. O. H. orch.; 1910-13, cond. of the Sunday
685
pAsterwitz— PAffi
concerts there; 1913-14, cond. of the Century
Opera Co.; since then cond. of the season of
summer opera at Ravina Park, Chicago.
Pas'terwitz, Georg von, b. Bierhiitten,
n. Passau, June 7, 1730; d. Kremsmiinster,
Jan. 26, 1803. About 1750 he st. music with
Eberlin in Salzburg; then made extensive
tours through Europe; entered the order
of the Benedictines in 1755; 1767-82, choirm.
at the monastery in KremsmOnster; lived in
Vienna from 1782-95; from then until his
death again in Kremsmiinster. He publ. 24
organ-fugues (op. 1-3) and 300 Themata und
VerseUen turn Prdambulieren (op. 4). In
MS. in various libraries are about 20 masses,
numerous psalms, offertorios, vespers, motets]
etc.; also several operas, 'intermezzi,' and
detached arias interpolated in various operas
of other composers. — Cf. G. Huemer, Die
Pflege d*r Musik im Stifte Kremsmiinster
(Wels, 1877).— See also Q.-Lex.
Pastou (pahs-too'], £tienne-Jean-Bap-
tiste, born Vigan, Gard, France, May 26,
1784; d. Ternes, near Paris, Oct. 8, 1851.
Founded a singing-school at Paris in 1819;
publ. a method for ensemble-singing, £cole
de la lyre harmonique, and was made prof,
at the Cons, in 1836.
Patey (nie Whytock), Janet Monach,
alto singer in oratorio and concert; b. Lon-
don, May 1, 1842; d. Sheffield, Feb. 28, 1894.
Pupil of T. Wass, Pinsuti, and Mrs. Sims
Reeves. She sang at the festivals in Worces-
ter (1866; in this year she married John
Patey [1835-1901], the bass vocalist); Bir-
mingham (1867), Norwich (1869) and Leeds
(1874); American tour, 1871 (sang in Elijah
at New York, Oct. 31); in Paris 1875; Aus-
trahan tour, 1890. After Mme. Sainton-
Dolby s retirement in 1870, she was considered
the foremost English contralto, singing at all
the principal concerts and the great festival
competitions.
Paton, Mary Ann, [Mrs. Wood,] soprano
stage-singer; b. Edinburgh, Oct., 1802; d.
Bulchffe Hall, n. Wakefield, July 21, 1864.
U* M"lus- family, she sang in concerts as a
child of 8; after further appearances at
. no?n (wnither the family had removed)
in 1811, she retired temporarily to complete
her education (under what teachers does not
JKS^Z' and in 181°-21 sang at Bath. In
1822 she appeared as Susanna in Figaro at
Covent Garden; and till her retirement in
1844 was a prominent figure on the English
fc/lJ and concert-stage. She created the
ttnor in 1«|6)' TMa3eduJoi- Wood' th*
1834H5 United States
Patterson, Annie Wilson, b. Lurgan, Co.
Armagh, Ireland. Pupil of the R. Irish Acad.
of Music (pf., vcl., singing, comp.); won an
organ-scholarship, and cont. study with Sir
R. Stewart, winning the gold medal in 1888.
From 1887-97 org. at several Dublin churches;
1891-3, cond. of the Dublin Choral Union;
1897, do. of Hampstead Harmonic Soc.;
1892-5, examiner in music at the R. Univ. of
Ireland; reelected 1900; 1900-1, examiner in
music for the Irish Intermediate Bd. of
Education; lived in London from 1897-1908,
devoting herself to writing and comp.;
since 1909 living in Cork as org. and choirm.
at St. Anne Shandon, and (since 1914)
examiner in music at the Cork Munic.
School. She received the degree of Mus. Doc.
from the Nat. Univ. of Ireland. In 1894 she
organized the 'Feis Ceoil' (Irish Mus. Fest.)
for the general advancement of Irish music
and the collection and publication of ancient
Irish melodies; the annual fest. of a week's
duration (held regularly since 1897) has
come to be among the most important of
British festivals. She has been indefatigable
in her efforts to promote the cause of Irish
music, in hopes of founding a distinct national
school of composition.— Publ. works: Six
Original Gaelic Songs, Rallying Song of the
Gaelic League (w. orch.), The Bells of Shandon
(mixed chorus), and Ivernia (arrangement of
Irish airs). In MS.: 4 Irish tone-poems for
pf.; several do. for orch.; an Irish cantata, An
Bdbdn; 2 sacred cantatas, The Raising of
Lazarus and The Vision of St. John; 2 Irish
operas, The High-King's Daughter and Oisin;
686
many songs and carols. — Writings: The
Story of Oratorio (1902), Schumann (1903; in
'Master Musicians'), Chats with Music-
Lovers (1908), How to Listen to an Orchestra
(1913), etc.
Pat'ti, Adelina (Adela Juana Maria),
one of the greatest singers of the 19th century
in coloratura rdles, both in opera and concert;
born Madrid, Feb. 10, 1843. Taught pf.
by her sister Carlotta, and singing by her
half-brother Ettore Barili; her debut was
made at New York on Nov. 24, 1859, as
Lucia (under the stage-name of 'the little
Florinda'). In London she first appeared in
La Sonnambula on May 14, 1861, at Covent
Garden, her success rivalling that of the Grisi;
her Parisian d6but was in the same rdle, at
the Th. Italien, on Nov. 19, 1862. Here she
married the Marquis de Caux in 1868, from
whom she separated in 1877, and was divorced
in 1885. She sang for the first time in Italy
at La Scala, Milan, Nov. 3, 1877, Violetta in
La Traviata being the rdle selected. She has
sung in all the chief towns of Europe, and
has everywhere been received with enthu-
siasm. She retired from the stage in 1895,
but continued to appear in concerts, giving
an official 'Farewell' concert at Albert Hall,
London, on Dec. 1, 1906. She resides for
PATTI— PAUER
the greater part of the year at her villa, Craig
y Nos, in Wales. Her second husband, the
tenor Nicolini, whom she married in 1886,
died in 1898; she married a Swedish noble-
man, Baron Cederstrom, in 1899. P.'s voice
was not powerful; but it had a wide range
(c1-/*), wonderful flexibility, and perfect
evenness throughout; it probably excelled
that of any other singer in voluptuous sweet-
ness and bell-like purity. Her vocalization
and technical skill were above all criticism,
and the ease with which she took the highest
notes was astonishing. The combination of
these qualities earned the audiences by
storm, and established her immense popu-
larity. After 1882 she never sang for less
than $5,000 a performance. But besides her
glorious voice and stupendous technical skill
she had practically nothing; she was. no
actress, she lacked temperament, and her
musical intelligence was ordinary. She was
merely a singer, not an interpreter. Her
operatic repertoire included about 30 rdles
in the operas of Rossini, Bellini, Donizetti,
Meyerbeer, Gounod, Auber, and Verdi
(earlier works). — Cf. G. de Charnace, A. P.
(Paris, 1868); E. Hanslick, A. P., in Musi-
kalische Stationen (Berlin, 1885).
Pat'ti, Carlotta, sister of Adelina P.;
b. Florence, 1840; d. Paris, June 27, 1889.
Her father, Salvatore P., a tenor singer, and
her mother, Caterina, nee Chiesa, a stage-
soprano, were her first teachers in singing;
she had piano-lessons with Henri Herz, at
Paris. Her early youth was spent in New
York. Lameness prevented success on the
stage, but she was more fortunate as a
concert-singer, making her debut in New
York, 1861, followed by an American tour
with the impresario Ullmann. Here, and in
Europe, she became a favorite on the con-
cert-stage, more especially as a coloratura
vocalist of exquisite technique united with
great sentiment. In 1871 she married the
violoncellist Demunck, with whom her artistic
tours were continued.
Pat'tteon, John Nelson, born Niagara
Falls, N. Y., Oct. 22, 1845; d. New York
City, July 27, 1905. Pf.-pupil of Liszt, Thal-
berg, Henselt and von Billow; st. harmony
with Haupt at Berlin. In the United States
he was well known as a successful concert -
Sianist, and made tours with Parepa-Rosa,
[ellogg, Albani, Lucca, and others. — Works:
Niagara symphony for orch. and military
band; concert-overture; a romantic concerto-
fantasia for pf. and orch.; many compositions
for pf. solo (over 200 in all).
Patton, Willard, b. Mil ford, Me., May
26, 1853. Pupil of F. S. Davenport (1871-4),
J. Whitney (1875-7), and W. W. Davis
(1879-80); st. singing in 1893 with A. Errani
and Dudley Buck in New York. From
1877-82 he sang (tenor) in concerts and ora-
torios in various cities of Maine; organized
the Handel Assoc, in Bangor in 1877; after
a concert-tour of the Central States in 1883
he settled in Minneapolis as a concert-singer
and teacher, continuing his activities to the
S resent time (1917); 1886-9, vocal instr. at
[amline Univ.; founded in 1890 the Philh.
Club, which he cond. till 1894; organizer pf
the Minn. State Music Teachers' Assoc., and
twice pres. — Comp. the operettas The Gallant
Garroter (1882) and La Fianza (1889); the
oratorio Isaiah (1897); 2- 'mus. epics,' The
Star of Empire (1900) and Foot-Stones of a
Nation (1906); the opera Pocahontas (1911);
a symph. fantasy, The Spirit of %6l (1915).
Pat'zold, Hermann, b. Neudorf, Silesia,
Aug. 15, 1824; d. Feb. 6, 1861, at Konigsber^,
as cond. of the Singkademie. Wrote music
to Kdthchen von Heilbronn; also pf.-pieces
and vocal numbers.
Pau'er [pow'er], Ernst, b. Vienna, Dec. 21,
1826; d. Jugenheim, n. Darmstadt, May 9,
1905. Pupil of Theodor Dirzka until 1839;
1839-44, of W. A. Mozart, Jr. (pf.), and
Sechter (comp.); 1845-7, of Fr. Lachner,
Munich. 1847-51, dir. of the mus. societies
at Mayence; visited London, and played at
the Philharm. and Mus. Union Concerts,
and settled in London, 1851. Succeeded C.
Potter as prof, at the R. A. M. in 1859; in
1861, began his historical performances of
clavecin- and pf.-music in chronological
order (3 series); in 1862, juror of the In-
ternat. Exhib. for Austria and Germany,
writing the official report for the Germar
fovernments. 1867, principal prof, at t\\
fat. Training School; 1883, do. at the R.
C. M. In 1878, member of the Board of
Mus. Studies at Cambridge Univ., and Ex-
aminer in 1879. He was app. pianist to the
Austrian court in 1866; many other high
distinctions have been conferred upon him.
He retired to Jugenheim in 1896. His
lectures (from 1870) on the history of pf.-
music received conspicuous approbation; his
publications of classic music for harpsichord
and pianoforte are interesting and valuable. —
Publ. Primers on The Art of Pf. -playing, Mus.
Forms, and The Beautiful in Music (all
popular); The Pianist* s Dictionary (1895);
^\Ite Claviermusik,' 12 books, and 'Alte
Meister,1 65 numbers, contain clavier-works
of old English, Italian, French and German
masters; 'Old En^l. Composers for the Vir-
ginals and Harpsichord,' 'Old French Com-
posers/ 'Old German Composers,' 'Old
Italian Composers,' etc., etc. — Educational:
The New Gradus ad Parnassum (100 selected
studies); Classical Companion (100 pieces);
Celebrated Concert-studies (50); Culture of the
687
PAUER— PAUR
Left Hand (4 books). He also published
many original studies and educational pieces
for piano; a symphony in C m. (op. 50); a
quintet f. pf. and wind (op. 45); a pf.-quar-
tet (op. 44); a violin-sonata; a 'cello-sonata;
solo sonatas for pf.; characteristic pieces;
etc. Also excellent arrangements of Beet-
hoven's and Schumann's symphonies, for
solo pf., 4 and 8 hands; 42 overtures; and
Mendelssohn's orchl. works (4 and 8 hands).
a Pau'er, Mai, son of the preceding; dis-
tinguished pianist and teacher; b. London,
Oct. 31, 1866. Pupil of his father till 1881;
then of V. Lachner at Karlsruhe (theory)
till 1885; made concert-tours, settled in
London, and in 1887 was called to the Cologne
Cons, as pf.-prof. In 1893, chamber- virtuoso
to the Grand Duke of Hesse; in 1897, Pruck-
ner's successor as prof, at Stuttgart Cons.,
with title of 'Professor' (1898) from the King
of Wurttemberg; since 1908 dir. (succ. of
Samuel de Lange). On his first Amer. tour,
1913-14, he met with great success. Has
publ. pf.-pieces, and airs, of Mozart's and
Haydn's symphonies for 2 and 4 hands; and
brought out a new ed. of Lebert and Stark's
Klavterschule (1904).
Paul [powl], Oscar, b. Freiwaldau, April
8, 1836; d. Leipzig, April 18, 1898. Student
of theology at Leipzig Univ., 1858, but chose
music for a profession, studying at the Cons.,
with private lessons from Plaidy (pf.), and
Hauptmann and Richter (theory). After
taking the degree of Dr. phil. in 1860, he
lived in Cologne and elsewhere, and in 1866
qualified as lecturer at Leipzig Univ. with the
treatise Die absolute Harmonik der Griechen
(Leipzig, 1866). Teacher in the Cons.,
1869; after publishing his translation of
Boetius' De Musica, 1872, he was app. Prof,
extraordinarius at the Univ. A disciple of
Hauptmann, he publ. the latter's Lehre von
der Harmonik (1868), of which his own
Lehrbuch der Harmonik (1880) is a practical
exemplification (Engl, transl. New York,
1885). He also wrote a Geschickte des Claviers
(1869), and was an authority on questions
relative to pianoforte-making (elected expert
to the Imp. Patent Office, Berlin, 1878).
At the Vienna Exhibition of 1873, he repre-
sented the German Empire as juror and re-
porter in the musical section. His Hand-
lexikon der Tonkunst was publ. in 1873. He
founded and edited 2 mus. periodicals, 'Die
Tonhalle' (1869), and after its decease 'Das
musikalische Wochenblatt' (1870), which he
edited 3 months.
Paulll [powle], Holger Simon, b. Copen-
hagen, Feb. 22, 1810; d. there Dec. 23,
1891. St. vl. with K. Schall and F. Wexschall;
ent. the court orch. as vlnst. in 1828; was
app. concert-master and asst.-cond. in 1849;
1864-83, 1st Kapellm., in which capacity he
cond. the first performances in Denmark of
Lohengrin (1870), Meistersinger (1872), and
Tannhauser (1875); he also cond. the con-
certs of the Mus. Soc. (1865-70) and of
the Cecilia Soc. (1872-7). On the founding
of the Copenhagen Cons, in 1866 he was
app. co-director with Gade and Hartmann;
founded the Chamber-music Soc. in 1868,
and was its pres. until his death. Besides a
number of succ. ballets, he wrote a 'Singsptel,'
Lodsen (The Pilot), a concert-overture,
studies for vl., and songs.— Cf. F. Bendix,
Af en Kapelmusikers Erindringer (Copen-
hagen, 1913).
Paulus [pow7-], Olaf, b. Christiania, Jan.
25, 1859; d. Stavanger, June 29, 1912. Pupil
of C. Cappelen and J. Svendsen, and of the
Leipzig Cons.; from 1889 he was org. at the
Cath. in Stavanger; made a trip to the U. S.
in 1902, directing choral concerts in Minne-
apolis and St. Paul. In his native country
he is highly esteemed as a national composer;
his male choruses are in the r6pertoire of all
Norwegian societies; also wrote songs and
pf.-pcs., and ed. a coll. of Finnish songs, De
1,000 kjems sange (1888).
Paumann [pow'-], Conrad, born blind at
Nuremberg, c. 1410; d. Munich, Jan. 25,
1473. Famous as the greatest organist of
his time; also a virtuoso on the harp, lute,
theorbo and flute; author of the oldest extant
or^an-book, Fundamentum organisandi, con-
taining exercises, preludes, and other pieces
(not all by P.); it was publ. by Arnold in
Chrysander's 'Jahrbiicher' (2d year, 1867).
Arnold also publ. some other compositions
(MSS. at Wernigerode). — See Q.-Lex. — Cf. H.
Abele, Erinnerungen an einen grossen Mun-
chener Tonmeister .... (Munich, 1910).
Paumgartner [powm'-J, Dr. Hans, born
Kirchberg, Austria, 1843; d. Vienna, May
23, 1896. Fine pianist; comp.; chorusmaster
at the Court Opera. For 20 years the mus.
critic for the 'Kaiserl. Wiener Zeitung.'
Married Rosa Papier in 1881. — Works:
Chamber-music, many songs, pf.-pieces.
Paur [powr], Emll, noted conductor; b.
Czernowitz, Bukovina, Aug. 29, 1855. Taught
by his father, at 8 he played the violin and
piano in public; in 1866 he entered the Vienna
Cons., .studying under Dessoff (comp.), and
Hellmesberger (vln.). Among his felloW-
pupils were Nikisch, Mottl, and Eugene
Gruenberg. In 1870, after graduating with
first prizes, he joined the court opera-orch.
as first violin and asst. -soloist. Became
Kapellm. at Kassel (1876), K6nigsberg, and
1st court Kapellm. and cond. of the Sub-
scription Concerts at Mannheim (1880);
Kapellm. at Leipzig City Th., 1891; from
1893-^8 of the Boston (Mass.) Symphony
688
PAUR— PEARSALL
Orch., succeeding Nikisch; 1898-1902, cond.
of the N. Y. Philh. Soc., succeeding Seidl;
1899-1900, cond. of the Wagner works at the
M. O. H.; 1902-4, in Europe as visiting
cond.; 1904-10, cond. Pittsburgh Symph.
Orch. (also appearing as pianist). In 1912
he succ. Karl Muck as Kapellm. at the R.
Opera in Berlin, t>u towing to differences with
the intendancy resigned after 2 months;
since then living in Berlin as concert-cond.
From 1899-1902 he also was dir. of the
National Cons, in N. Y. (succ. of Dvorak).
— -Works: A symphony in A, In der Natur;
violin -concerto ; string-q uartet ; violin-sonata ;
pf.-pieces; songs.-^-In 1882 he married
Paur (nie Burger), Marie, b. Gengenbach
in the Black Forest, 1862; d. New York,
April 27, 1899; a pupil of Stuttgart Cons.
(Lebert, Pruckner), finishing pf. -study under
Leschetizky and Essipov at Vienna. Was
an excellent pianist, cultivating modern
romanticism by preference.
Pauwels [pow'vels], Jean Engelbert, b.
Brussels, Nov. 26, 1768; d. there June 3,
1804. Violinist, pupil of Le Sueur at Paris,
where he played in the Ital. Opera; 1790-1,
Kapellm. at Strassburg; then soloist at the
Brussels opera, becoming cond. in 1794. He
founded a series of concerts remarkable for
technical precision. Produced 3 operas at
Brussels. Publ. a violin-concerto, 3 polo-
naises for orch., a horn-concerto, 3 string-
quartets, 6 violin-duets, etc.
Pave'sl, Stefano, prolific opera-comp.; b.
Casaletto Vaprio (Crema), Jan. 22, 1779; d.
Crema, July 28, 1850, as maestro at the
cathedral (from -1818). For 6 months in
each year from 1826-30 he also acted as
cond. in the Teatro di Corte' at Venice.
Among, his 60-odd operas, Ser Marcantonio
(Milan, 1810) was thought the best. Also
comp. much sacred music, symphonies, etc. —
Cf. F. Sanseverino, Notisie intorno la vita e
le opere del maestro S. P. (Milan, 1851). —
See also Q.-Lex.
Payer [pi'er], Hieronymus, b. Meidling,
n. Vienna, Feb. 15, 1787; d. Wiedburg, n.
Vienna, Sept., 1845. Chiefly self-taught, he
was organist at Wiedburg, Kapellm. at the
Th. an der Wien, Vienna, and cond. at Am-
sterdam in 1824, settling in Paris 1825 as
teacher of voice and piano, from 1831-2 also
conducting the newly founded German
Opera. 1832-8, Kapellm. at the Joseph-
stadt Th.g Vienna. He prod, operas and
operettas in Amsterdam, Paris and Vienna;
comp. masses, motets, chamber-music, pf.-
pieces; concertos and fugues for organ; etc.
Payne, Albert, b. Leipzig, June 3, 1842.
From 1858-61 pupil at the Leipzig Cons, of
David (vl.), Dreyschock (pf.), E. Fr. Richter
and Hauptmann (theory); then for a short
time of Massart in Paris. In 1862 he ent.
the publishing firm of his father; under the
title T.'s Kleine Kammermusik Partitur-
ausgabe' he began in 1886 the publication of
a low-priced pocket-edition of the chamber-
music of the classic masters, which immedi-
ately met with pronounced favor, so that he
soon added the works of the romanticists;
in 1892 he sold the edition (212 numbers) to
Ernst Eulenburg (q. v.), who enlarged its
scope still further.
Peace, Albert Lister, fine organist; born
Huddersfield, Engl., Jan. 26, 1844. Pre-
cocious pupil of Henry Horn and H. Parratt,
he became at 9 organist of Holmfirth Parish
Ch.; 1865, organist of Trinity Congr. Ch.,
Glasgow; 1870, to the Univ. of Glasgow, in
that year graduating Mus. Bac, Oxon., and
Mus. Doc. in 1875. In 1879, organist of
Glasgow Cathedral; and in 1897 succeeded
Best as org. of St. George's Hall, Liverpool,
the highest position in the kingdom. — Works:
Psalm 138, for soli, ch. and orch.; cantata
St. John the Baptist; church-services; anthems;
organ- music [Sonata da camera No. 1 (D
mj, No. 2 (C m.), No. 3 (G m.); Concert-
fantasia on Scotch melodies; Fantasia in
Bb; two Andantes]; etc.
Pearce, Stephen Austen, born London,
Engl., Nov. 7, 1836; d. Jersey City, N. J.,
April 9, 1900. Pupil of J. L. Hopkins; grad-
uate of Oxford Univ. (Mus. Bac, 1859; Mus.
Doc., 1864). Visited the United States and
Canada in 1864; became organist and mus.
dir. of 2 London churches; returned to
America in 1872, and was app. instructor of
vocal music at Columbia College, New York;
lecturer on harmony, etc., at the Gen. Theol.
Seminary, on 'Music of all nations' at the
Peabody Inst., Baltimore, and on classical
orchl. music at Johns Hopkins Univ. Or-
ganist of the Collegiate Church, Fifth Av.
and 48th St., New York, 1879-85. Contribu-
tor to the 'Encyclopaedia Americana/ and
to The N. Y. Evening Post,' The Mus.
Courier,' and other periodicals. Also gave
many recitals (pf. and org.). Works: 3-act
opera, La belle AmSricaine; a children's opera;
dram, oratorio, Celestial Visions, and a church-
cantata, The Psalm of Praise (the last 2 in
strict fugal style, for soli, 8-p. ch., full orch.
and org.; pert, at Oxford Univ.); overture
in E m. (Crystal Palace); orchl. Allegro
agitato in D m. (Thomas Orch.); several
char. pes. for pf.; vocal trio in canon- form,
Bright be thy dreams; songs; Dictionary of
Mus. Terms in 21 languages (New York);
complete eds. of celebrated pf. -methods; etc.
Pearaall, Robert Lucas de, English
comp.; b. Clifton, Mar. 14, 1795; d. Aug. 5,
1856, at Schloss Wartensee, Lake of Con-
689
PEARSON— PEDROTTI
stance, where he had resided since 1832.
Practised law till 1825; then studied com-
position under Panny at Mayence. In
London, 1829; Karlsruhe, 1830.— Publ. Mad-
rigals a 4-8 (London, 1840); 8 Glees and
Madrs. (1863); 24 Choral Songs (1863; ed.
by Hullah); a Catholic Hymn-book (1863);
part-songs a 4 (Sir Patrick Spens, a 10);
Essay on Consecutive Fifths and Octaves in
Counterpoint (London, no date); etc. — Cf.
4Mus. Herald' (Aug., 1906).
Pearson. See Pierson.
Pease, Alfred Humphries, b. Cleveland,
Ohio, May 6, 1838; d. St. Louis, Mo., July
13, 1882. Pupil for 3 years, at Berlin, of Th.
Kullak and v. Bulow (pf.), Wuerst (comp.),
and Wieprecht (instrumentation); visited
the United States, studied 3 years longer in
Germany, and made long pianistic tours to
chief Amer. cities. — Works (for orch.; perf.
by Thomas Orch.): A pf.-concerto; Reverie
and Andante; Andante and Scherzo; Ro-
mance;— also many pieces and arrs., etc., for
pf.; and songs.
Pedrell [p&h-dre'hr], Felipe, distinguished
Spanish musician and writer; b. Tortosa,
Feb. 19, 1841. He is entirely self-taught in
pf., comp., and musicology. He was from
1888-96 editor of 'La Ilustracion musical
Hispano- Americana'; 1895-1903, prof, at the
Cons., and 1896-1903 prof, of esthetics at
the Ateneo in Madrid; since then living in
Barcelona as editor of 'La Musica religiosa en
Espana.' Since 1894 member of the Spanish
Acad. P.'s compositions have exerted an
enormous influence over his younger con-
temporaries, and have been largely instru-
mental in lifting the spell of Italian (chiefly
operatic) influence, and establishing a new
Spanish school of music resting upon the
solid foundation of national folk-song. Of
equal, if not greater, importance have been
his indefatigable labors on behalf of the earlier
Spanish masters, of whose works he has
brought out several monumental editions,
placing him in the front rank of musical
scholars. On his 70th birthday P. was
honored by personal letters from almost all
archbishops and bishops of Spain expressive
of their appreciation of the immense value
of P.'s services for the cause of Spanish
sacred music, and by the publication (under
the auspices of the 'Orfe6 Tortosf,' the choral
society of his native city) of a 'Festschrift,'
Al Maestro P. Escritos heortdsticos, with
contributions from the foremost musical
scholars throughout the world. — Works: The
operas El ultimo Abencerraje (Barcelona,
1874; rewritten, ib. 1889); Quasimodo (ib.,
1875); Mazeppa and Tasse a Ferrare (both
on 1-act Fr. texts, Madrid, 1881); Clcop&tre
(4-act, Fr. text, ib., 1881); Los Pirineos, his
most ambitious effort, a trilogy consisting of
a Prologue and the 3 dramas El Conde de
Foix, Rayo de Luna, and La Jornada de
Panissars (The Prologue prod, separately in
Venice, 1897; the entire work, Barcelona,
Jan., 1902); La Celestina (Madrid, 1904);
Matinada (really a dram, cantata; prod,
scenically, Barcelona, 1905). Another opera,
El Rey Lear (comp. 1879) was abandoned
before beginning the instrumentation. For
orch.: The symph. poems Excelsior (after
Longfellow); El Conde Arnau; Glose (w. ch.);
Cant de la Montanya, 'escenas sinf6nicas';
/• Trionfi, suite after Petrarca; Marcia a
Mistral; Cancon latine for ch. and orch.;
Messa di Gloria for soli, ch., org. and orch.;
a Requiem a capp.; Hymne a Ste.-ThSrhe;
motets and antiphones; songs (from V.
Hugo's Les Orientates [op. 73, 74, 79], Th.
Gauthier's Consolations fop. 80], etc.). — He
has edited the colls. 'Hispaniae Schola musica
sacra,' works of Spanish masters from the
15th-18th cents. (8 vols., 1894-); 'Teatro
lirico espaiiol anterior al siglo XIX' (5 vols.,
1897-8); 'Salterio sacro hispano' (1905);
'Antologfa de organistas clisicos de Espana'
(2 vols., 1905, '08); the complete works of
Victoria (8 vols., 1903-13; wfth biogr. in
vol. yiii). — Writings: Diccionario tecnico de la
musica (1894); Prdcticas preparatorias de in-
strumentation (1902); Emporio cientifico e
histdrico de Organografia musical antigua es-
paflola (1902); Musicalerias (1906); Catalech
de la Bibliotheca de la diportacio (2 vols.,
1908, '09); Jean I d'Aragon, compositeur de
musique (1909; in 'Riemann Festschr.'). Of
a valuable Diccionario bio-biblipgrdfico de los
musicos es pa Holes only vol. i appeared (A-C;
1894-7). His collected essays and critical
writings were publ. in Paris in 2 vols., Jor-
nadas de A rte and Orientaciones. — Cf . * G.
Tebaldini, F. P. edit dramma lirico spagnuolo
(Turin, 1897); R. Mitjana, La Musica con-
tempordnea en Espana y F. P. (Malaga, 1901);
H. de Curzon, F. P., in 'La Nouvelle Revue'
(Jan., 1912).
Pedrot'ti, Carlo, b. Verona, Nov. 12,
1817; committed suicide there, Oct. 16, 1893,
by drowning in the Adige. Pupil of Dom.
Foroni; the great success of his first opera,
Lina (Verona, 1840), caused his appointment
as cond. of the Ital. Th. at Amsterdam.
Returned 1846 to Verona. 1868, Dir. of the
Cons, at Turin, and cond. at the Royal Th.;
establ. and cond. the eminently successful
popular concerts at Turin. 1882, Dir. of
the Liceo Rossini, Pesaro, holding this
position till shortly before death. — Operas:
Lina and Clara del Mainland (Verona,
1840); Matkilde (Amsterdam, 1841); La
Figlia del arciere (ibid., 1844); Romea di
Monfort (Verona, 1846); Fiorina (ib., 1851);
// Parrucchiere delta reggenza (ib., 1852); Gel-
690
PEELLAERT— PEMBAUR
mina, o coifuoeo rum si schema (Milan, 1853);
Genoveffa del Brabanie (Milan, La Scala,
1854); TuUiin maschera (Verona, 1856; Paris,
as Les Masques, Th. Athenee, 1869); Isabella
d'Arrogona (Turin, 1859); La Guerra in
quaUro (Milan, 1861); Mazeppa (Bologna,
1861); Marion Delorme (Trieste, 1865); //
Favorito (Turin, 1870); Olema la schiava
(Modena, 1872). — Also church-music (a Salve
Regina), romances, etc.
Peellaert [pa'Iahrt], Augustin-Philippe-
Marie-Ghi8lain, baron de, b. Bruges, Mar.
12, 1793; d. Brussels, April 16, 1876. Pupil
of d'Ennery in Lille and of Momigny in
Paris. Although he ent. the army in 1814,
he devoted himself assiduously to musical
composition; in 1832 he became a member of
the executive board of the Brussels Cons.
He wrote, besides masses, chamber-music
and songs, a number of operas, of which the
following were prod.: Le Sorrier par hasard
(Ghent, 1819), VHeure du rendezvous (Brus-
sels, 1821), Agnes Sorel (ib., 1823), Le Bar-
micide (ib., 1824), Teniers (ib., 1825), VExiU
(ib., 1827), Faust (ib., 1834), Le Coup de
pistolet (ib., 1836), Louis de Male (ib., 1838).
— Cf. his autobiogr., Cinquante ans de sou-
venirs (Brussels, 1867).
Pellegri'ni, Felice, basso buffo; b. Turin,
1774; d. Paris, Sept. 20, 1832. Stage-singer
in Italy, then (1826-9) at London; from
1829, prof, of singing at Paris Cons. — Publ.
solfeggi, terzets, duets, etc.
Pelletan, Fanny, b. Paris (?), July 28,
1830; d. Passy, Aug. 2, 1876. Daughter of a
French army-surgeon; pupil of Bazille (pf.)
and B. Damcke (theory). An enthusiastic
and thoroughly trained amateur, she was
inspired by Berlioz's essay on Les grotesques
de la musique (1859) to institute an absolutely
correct edition of Gluck's operas; with
Damcke's editorial aid she publ., at great
expense, the 2 Iphigenies; also, with Saint-
Saens, Alceste. Death interrupted her un-
finished task.
Peltast. Pseudonym of Hans von Billow,
signed to articles contrib. to the 'Neue Ztschr.
fur Musik.'
Pel ton* Jones, Frances, harpsichordist;
b. Salem, Oregon. St. pf. with C. Faelten
at the N. E. Cons., Boston, and Wm. H.
Sherwood, Chicago, organ with D. Buck and
Wm. C. Carl in New York; was org. and
choirm. at the First Congr. Ch. and Temple
Beth Israel in Portland, O.; came to N. Y.
in 1904, and was for some years org. at
Grace Presb. and Unity Ch., Brooklyn.
Meeting Arnold Dolmetsch, she became in-
terested in the harpsichord, and under his
instruction developed into a virtuoso; about
1909 she gave up her organ positions, and
has appeared with considerable success as a
harpsichordist throughout the U. S. and
Canada, giving historical recitals in univer-
sities, conservatories, and musical clubs.
Pem'baur, Joseph, Sr., b. Innsbruck,
May 23, 1848. He gave up a university
course to study at the yienna Cons. (Bruck-
ner), later at the Munich R. Sch. of Music
(Buonamici, Hey, Wiillner, Rheinberger).
Since 1874, Dir. and headmaster in the
Innsbruck Music-School. — Works: Op. 16,
Gott der Weltenschopfer, for male ch. and
orch.; op. 22, Die Wettertanne, for do.; op. 40,
Bilder aus dim Leben Walthers von der VogeL
weide, for soli, mixed ch. and orch.; op. 58,
Sp&therbst, for bar. solo, male ch. and orch.;
op. 74, Totengrdberhochzeitlied, for male ch.
and orch.; op. 80, Zapfenstreich, for do.; op.
85, Thermopylae, for sop. and bar. solo,
male ch. and orch.; op. 92, Die Schlacht am
Berg Iselt for soli, male ch. and orch.; op.
100, Ew'ge Ruh in Gott dent Herrn, for do.;
masses (op. 1, 5, 10, 25, 39, 43, 56 [a capp.],
72); Deutsche Festmesse, op. 62; Das klagende
Lied, op. 24, melodrama; a symphony, In
Tirol; a Requiem (in memory of the Tyrolese
fallen in the European War, 1916); an organ-
sonata (op. 51); numerous male choruses a
capp.; songs; technical studies for pf. In
1898 he prod, the opera Der Bauer von
Langwall in 3 acts with Prologue (Innsbruck,
May 2 ; very succ. ) . Has also publ . Harmonie-
und Modulationslehre (1901); Vber das Diri-
gieren (1907).
Pembaur, Joseph, Jr., fine pianist; son
and pupil of preceding; b. Innsbruck, April
20, 1875. From 1893-6 pupil of Rheinberger
and Thuille at the Kgl. Musikschule in
Munich; 1897-1900, instr. of pf. there; cont.
his pianistic studies with A. Reisenauer at
the Leipzig Cons. (1901-2), and has taught
there since then; made R. Prof, in 1912.
1907-8 he was cond. of the 'Riedel-Verein,'
and since 1910 he has been cond. of an amateur
orch. in Leipzig. He has publ. Von der Pocsie
des Klavierspiels (1911).
Pembaur, Karl, organist and cond.; son
and pupil of Joseph P., Sr.; b. Innsbruck,
Aug. 24, 1876. St. also at the Kgl. Musik-
schule in Munich with Rheinberger, Werner,
and Lang. In 190.1 he went to Dresden as
org. at the Hofkirche and Repetitor at the
R. Opera there; since 1903 also cond. of
the 'Liedertafel'; 19HM3, cond. of the 'R.
Schumann Singakademie* ; in 1913 he succ.
Hagen as 2d cond. at the opera; made Kgl.
Musikdirektor in 1909. He has publ. a
mass in F for mixed ch., str.-orch. and organ
(op. 10); Stdndchen for male ch. and small
orch. (op. 11); male choruses a capp. (op.
1*2, 15, 16); a Singspiel, Seien Sie vorsichtig
(op. 17); marches; etc.
691
peNa y goNi— pentenrieder
Pefia y Gofil, Antonio, comp., writer and
critic; b. San Sebastian, Spain, Nov. 2,
1846; d. Madrid, Nov. 13, 1896. Pupil of
Manterola; friend of Wagner and Gounod.
Mus. critic for over 30 years of the Madrid
'Impartial'; a successful champion of Wagner
and of advanced ideas in music. Comp. the
Basque national hymn Viva Hernani; a
mass; pf. -music, etc. — Wrote La obra maestra
de Verdi (1875), Impresiones musicales
(1878), Ch. Gounod (1879), La dpera espanola
y la musica dramdtica en el sigh XIX (1881),
Contra la dpera espafiola (1885), etc.
Plnavalre [pa-nah-var'], Jean-Gr6goire,
b. Lesparre (Gironde), Sept. 15, 1840; d.
Paris, Sept., 1906. Pupil of Sivori, Morel,
El wart, and Fetis; th.-cond. at Nantes.
Wrote a ballet, La Folie espagnole (1874); the
operas Chanson de mai and Ninette et Ninon
(both Paris, 1873), Le Contrast (ib., 1889),
Monseigneur Scapin [Le Progrhs artistique]
(Nantes, 1891); the dram, overtures Tor-
quato Tasso and Miguel Cervantes; a symph.
poem with ch., La Vision des croisies; minor
pes. for orch.
Penfield, Smith Newell, born Obcrlin,
Ohio, April 4, 1837. Pupil of Jas. Flint in
New York; of Moscheles, Reinecke, Plaidy
and Papperitz (pf.), Richter (org.), and
Hauptmann (theory), at Leipzig. Founder,
at Savannah, Ga., of the Cons, and the
Mozart Club; also of the 'Arion' Cons.,
Brooklyn, N. Y. Since 1882 in New York;
for many years org. of the Broadway Taber-
nacle; 1884, Mus. Doc. of the Univ. of the
City of N. Y.; 1885-90 pres. of the M. T.
N. A. — Works: Psalm 18 for soli, ch. and
orch.; overture; string-quintet; anthems; a
pf.-sonata (Poem of Life) and other pf.-
music; songs.
Penha, Michael, violoncellist ; b. Amster-
dam, Dec. 14, 1888. Pupil at the Cons,
there of Prof. Mossel; then st. in Frankfort
with H. Becker, and in Paris with J. Salmon.
Since his debut with the Concertgebouw
Orch. in Amsterdam (1907) he has made
successful tours of the principal cities of
Europe, South and Central America; visited
the U.S. in 1916-17 (debut NewYork,Oct. 13).
Pen'na, Lorenzo, b. Bologna, 1613; d.
Imola, Oct. 20, 1693. Maestro at the Car-
melite Monastery, Parma; later at Imola
Cath. — Publ. 2 books of masses a 4, with
instrs. ad lib. (166?, 1670); 2 books of Psalms
ditto; P salmi per tutto Vanno . . . , with a
fauxbourdon Mass, Antiphones, and Litanies
^1669); and treatises: Li primi albori musicali
per li principianti delta musica figurata
(1656); Albori musicali per li studiosi delta
mus. fig. (1678); Direttorio del canto fermo
(1689).— See Q.-Lex.
692
Penny, George Barlow, b. Haverstraw,
N. Y., June 30, 1861. Pupil in New York
of Max Pinner (pf.), Dudley Buck (org.),
Percy Goetschius (comp.); later in Chicago
of Clarence Eddy (org.). From 1890-1903
prof, of org., singing, and comp., and dean
of the Sch. of Fine Arts, Univ. of Kansas;
1903-9, do. of do., Washburn Coll., Kansas;
1903-7, official org. of the City Auditorium;
1905-9, dir. of Fine Arts Inst.; also cond. of
the Topeka Oratorio Soc. (200 voices);
since 1911 dir. of the Rochester Cons., org.
and choirm. at St. Andrew's, cond. of the
Rochester Oratorio Soc., prof, of music at
Rochester Univ. and Rochester Theol. Sem.
Has publ. services for the Episc. church,
and other sacred music.
Pen'te, Emillo, b. Padua, Oct. 16, 1860.
Pupil of V. Corbellini and A. Bazzini at the
Milan Cons., where he grad. in 1884. Settled
in Padua as editor of the local mus. journal
and correspondent for several Ital. papers;
made a special study of the works of Tartini,
and had the good fortune to find some 40
MSS. which about a century before had
disappeared from the library of the chapel
of San Antonio. These he revised, and
publ. through various German firms. In
1893 he went to Florence, and was app.
Chiostri's succ. (1894) as prof, of vl. at a
private institute. On Jan. 14, 1895, he made
a successful debut as concert- vlnst. at the
Sala Filarmonica in Florence; his historical
concerts (especially the 'concert! Tartiniam')
attracted considerable attention in Florence
and Milan, so that he resigned his professor-
ship in 1897 to devote himself to concertizing;
toured Italy, Austria and Germany till 1904.
The success of his first concert in London
(Mar. 20, 1905) induced him to settle there
permanently; since 1909, prof, at the G. S. M.
He is hon. member of the Real Accademia of
Florence, and chev. of the Crown of Italy.
— His original comps. are exclusively for vl.
and pf. (17 opus-numbers). Of Tartini 's
works he has publ. 6 sonatas for 2 vis. and
vcl. (arr. as pf .-quartets) ; 4 do. for 2 vJs.
and vcl.; 5 trios for 2 vis. and pf.; 2 str.-
quartets; Allegro festoso for vl. and pf.;
Preludio e Variationi in A m.; concerto in
D m. for vl. and str.-orch.; do. in G for vl.
and full orch. (publication of score delayed
by outbreak of the war); in collab. with C.
Angelelli, 6 sonatas for vl. and pf.; with M.
Zanon, 11 sonatas and a Minuetto variato for
vl. and pf.; etc.
Pen'tenrieder, Franz Xaver, b. Kaufbeu-
ren, Bavaria, Feb. 6, 1813; d. Munich, July
17, 1867. Pupil of Kalcher and Stunz;
became court Kapellm., chorusmaster at the
court opera, court organist, and choirmaster
at St. Ludwig's. As the result of an accident
PEPPERCORN— PERFALL
he became insane, and spent the last few
years of his life in an asylum. — Works: 2
operas, Die Nacht auf Paluzzi (Munich, 1840;
perf. throughout Germany), and Das Haus
tst zu verkaufen (Leipzig, 1846); masses, can-
tatas, and motets.
Peppercorn, Gertrude, concert-pianist;
b. West Horsley, Surrey, Dec. 1, 1878.
Pupil at the R. A. M. of T. Matthay, winning
several prizes. Her successful d£but in
Edinburgh in 1896 was followed by several
tours of the United Kingdom; she has also
been received with marked favor in Germany,
Holland, and the U. S. (debut New York,
Feb. 15, 1907).
Pe'pusch [pa-], John Christopher [Jo-
hann Chrlstoph], b. Berlin, 1667 ; d. London,
July 20, 1752. For a year he was taught by
Klingenberg (theory), and Grosse (organ),
but was obliged to complete his mus. edu-
cation by private study. He had a position
at the Prussian court 1681-97; then went to
Holland, and thence (1700) to London,
joining the Drury Lane orch. as violinist,
later as cembalist and composer; from 1707
adapting Italian airs to English operas,
adding recitatives and songs. In 1710 he
founded (with Needier, Gates, Galliard, and
others) the 'Academy of Antient Music/
famous for the revival of 16th-century com-
positions (P. was deeply versed in mus.
lore); 1712, org. and comp. to the Duke of
Chandos, preceding Handel; 1713, Mus.
Doc., Oxon.; for many years director of
Lincoln's Inn Theatre, for which he wrote
the masques Venus and Adonis (1715),
Apollo and Daphne (1716), The Death of
Dido (1716), The Union of the Three Sister-
arts (1723), and music to the ballad-operas
The Beggar's Opera [Gay], Polly, and The
Wedding. In 1724 his scheme for founding a
college in the Bermudas with Dr. Berkeley was
frustrated by shipwreck. In 1730 a fortune
of £10,000, brought him by marriage with
the singer Marguerite de l'fipine, rendered
him independent. From 1737 till death he
was organist of the Charterhouse. P. was a
learned, though conservative, musician, and
a high authority in England before Handel.
He publ. a Treatise on Harmony (1731), the
final attempt of the kind to revive solmisation;
an essay on the 3 genera of the Greeks is in
the 'Philosophical Transactions' of 1746.
His odes and cantatas, and the concertos
and sonatas for strings and wind, are of
slight importance. The Beggar's Opera was
repr. by G. Calmus (1912).— See Q.-Lex.
Per'abo, (Johann) Ernst, b. Wiesbaden,
Germany, Nov. 14. 1845; the family re-
moved to New York in 1852. Pupil of his
father from the age of 5; then, in Leipzig
Cons. (1862-5, and 1878-9), of Moscheles
and Wenzel (pf.)f Papperitz, Richter and
Hauptmann (harm.), and Reinecke (comp.).
Returning to America in 1865, he gave con-
certs in the West, and at Boston, 1866, es-
tablished his reputation as a concert-pianist.
He has resided there till now (1917) as a
well-known and influential teacher (nearly
1,000 pupils, one of whom is Mrs. H. H.
A. Beach) and pianist. — Works: Various
original pf. -compositions (Moment musical,
op. 1 ; Scherzo, op. 2; Prelude, op. 3; Waltz, op.
4; 3 Studies, op. 9; PensSes, op. 11; Circum-
stance, or Fate of a Human Life, op. 13;
Prelude, Romance, and Toccatina, op. 19);
his arrangements and transcriptions for pf.
include the 1st movem. of Rubinstein's
Ocean symphony, ditto of Schubert's un-
finished symphony, ten selections from
Iolanthe, and several of Lowe's ballades.
Pere'ira, Domingos Nufies, b. Lisbon;
d. Camarate, n. Lisbon, Mar. 29, 1729.
Maestro at Lisbon Cath.; comp. Requiems,
Responses a 8 for Holy Week, vulancicos, etc.
Pere'ira, Marcos Soares, Portuguese
comp.; b. Caminha; d. Lisbon, Jan. 7, 1655.
— Works: A mass a 12, Te Deum a 12,
Vesper-Psalms a 12, psalms a 8, motets,
responses, etc.
Perepell'tsln, Polycarp de, Russian col-
onel of hussars; b. Odessa, Dec. 26, 1818; d.
Petrograd, June 14, 1887. Violin-pupil of
Lipinski; a student of mus. history. — Publ.
a Dictionary of Music (1884); Illustrated
History of Music in Russia (1885-6); Album
of Mus, History (illustrations of ancient and
modern mus. instrs.). — Instrl. adaptations.
Peres [pS'relith], Davide, b. Naples, of
Spanish parents, in 1711; d. Lisbon, 1778.
Pupil, at the Cons, di Loreto, of A. Galli
(violin), and Fr. Mancini (cpt.); 1739,
maestro at Palermo Cath. He began his
dramatic career at Naples with La Nemica
amante (1735), followed in rapid succession
by several other operas there; in 1741 he
was app. 2d maestro of the court orch. at
Palermo, remaining there and bringing out
operas until 1748. He now lived the life of
a travelling opera-composer (at Naples,
Vienna, Rome, etc.) till 1752, then receiving
an appointment as maestro at the court
theatre, Lisbon. Among his 30 operas
Siroe, re di Persia (Naples, 1740), Demofoonte
(Lisbon, 1752) and Solimano (ib., 1757) rank
high; he was contemporary with, and a
rival of, Jommelli. — Church-comps. impor-
tant: Masses a 4 and 8, with orch.; Miserere
a 5, with bassoons obbligati and organ;
MaUutini de' morti (London, 1774); etc. —
See Q.-Lex.
Perfair, Karl, Freihcrr von, b. Munich,
Jan. 29, 1824; d. there Jan. 14, 1907. Law-
693
PERGER— PpRGOLESI
student and government official, but studied
music 1848-9 with Hauptmann at Leipzig,
and became cond. of the Munich Liedertafel
in 1850; founded the still vigorous Oratorio
Soc. in 1854, conducting it till 1864, and
composing fine songs, part-songs, and *the
cantata Dornroschen. In 1864 ne was app.
Intendant of the court music, and in 1867
Intendant of the court theatre (retired
1893),— Operas (prod, at Munich): Sakunlala
(1853), Das ConUrfei (1863), Raimondin [or
Melusine] (1881), and Junker Heinz (1886);
the fairy cantatas Dornroschen, Undine, and
Rubezahl; and the melodramas Print Korne-
vol, Barbarossa, and Der Friede. — Publ. 25
Jahre Miinchener Hoftheater-Geschichte (1892;
the period 1867-92); Ein Beitrag zur Ge~
schichte des Kgl. Theaters in Munchen (1894);
Die Entwickelung des modernen Theaters
(1899).
Per'ger, Richard, von, composer and
conductor; b. Vienna, Jan. 10, 1854; d. there
Jan. 11, 1911. Pupil of F. Schmidtler (vcl.)
and Zellner (comp.) from 1870-6; after his
return from the campaign against Bosnia
(1878) he won a stipend, and studied with
Brahms (1880-2); 1890-5, Director of Rot-
terdam Cons., and cond. of the concerts,
succeeding Gernsheim; in 1895, cond. of
the 'Gesellschaftskonzerte' at Vienna; from
1899-1907, dir. of the Vienna Cons. AH his
comps. show the unmistakable influence of
Brahms. — P. wrote text and music of the
3-act comic opera Der Richter von Granada
(Cologne, 1889; succ); the 'Singspiele' Die
14 Nothhelfer (Vienna, 1891); the Ton-
marchen' Das stdhlerne SchJoss (ib., 1904);
3 str.-quartets (op. 8, G m.; op. 11, Bb;
op. 15, A); op. 10, str.-quintet in D; op. 12,
str.-trio in D m.; op. 14, pf. -quartet in A;
op. 17, Serenade in G for str.-trio; op. 21,
do. in Bb for vcl. solo and str.-orch.; op.
22, concerto for vl. and orch. in C m.; songs
(op. 1, 2, 18, 19, 23).— Wrote for Reclames
Ed. Brahms (1908); Geschichte der k. k.
GeseUschaft der Musikjreunde (posth. 1912).
Pergole'si, Giovanni Battista, b. Jesi,
Papal States, Jan. 4, 1710; d. Mar. 16,
1736, at Pozzuoli, n. Naples. In 1726 he
entered the Cons, dei Poveri di Gesu Cristo
at Naples, studying the violin with de Matteis,
and counterpoint with Greco, Durante and
Feo. His (harmonically) novel improvisa-
tions attracted attention; though his last
student-work, the biblical drama San Gu-
gliemo d'Aquitania (prod, with comic inter-
mezzi at the convent of S. Agnello Maggiore,
Naples, 1731), and the opera Sallustia, the
intermezzo Amor fa I'uomo cieco, and the
opera seria Ricimero (all Naples, 1731),
made little impression. For his patron,
the Prince of Stigliano, he wrote 30 terzets
for violin with bass; probably through the
Prince's influence, he was commissioned to
write a solemn mass for Naples, which, per-
formed after the terrible earthquake of 1731
as a votive offering to the patron saint of
Naples, rendered the young maestro at
once famous in that city. For two years he
continued sacred composition, though four
stage- works prod, in 1732 showed his leaning
toward dramatic writing; with the opera
buffa ('intermezzo') La Servapadrona (Naples,
1733; teatro San Bartolomeo) he won im-
mediate and lasting distinction; it is his
finest work, and has served as a model for
succeeding Italian composers in that genre.
(New ed. by H. Abert, 1911.) P. obtained
his effects with the simplest means; the
string-orch. is his main dependence through-
out, being supported in only a few numbers
by the horns, and at the finale by the en-
trance of the trumpet; even the string-ac-
companiment is sometimes reduced to two
parts, the violins playing in octaves, and
the viola being reinforced by the 'cello an
octave lower. This was his sole real success
on the stage; none of the operas written for
Naples (// Maestro di musica, II Geloso scker-
nito, Lo Frate 'nnamorato, II Prigionero
superbo, Adriano in Stria) received popular
approbation; VOlimpiade (Rome, 1735) did
no better; only the intermezzo to Adriano,
given at first as Livictta e Tracollo (Naples,
1734), and later, independently, as La Con-
tadina astuta, had a fair measure of success.
Flaminio, written in 1735, was first perf. at
Naples in 1749. Musicians, far more than
the general public, admired P.'s works; while
VOlimpiade was rehearsing, Duni, the com-
poser of the successful opera Nerone, is said
to have told P. that his music was too deli-
cately beautiful for appreciation by the
vulgar — and so it proved: VOlimpiade
failed utterly, and Nerone was applauded.
After P.'s death, his compatriots recognized
his genius, and a revival of his operas was
enthusiastically welcomed. They were, in-
deed, new, as fairly beginning the modern
era of harmonically (in contradistinction to
contrapuntally) accompanied melody. — Re-
peated disappointments, and irregular habits,
undermined his constitution; consumption
set in, and he died at the baths of Pozzuoli,
working to the last, finishing the pathetically
beautiful Stabat Mater five days before the
end. It is his best-known sacred work,
written for soprano and alto with string-orch.
and organ; he also composed 2 masses for
5- part chorus w. orch., and other church-
music; an oratorio, La Natwitd; a cantata,
Orfeo, for solo voice and orch.; a cantata o
5, Giasone; 6 cantatas with string-accomp. ;
and the 30 trios mentioned above; a violin-
concerto with string accomp. ; and a 'sinfonia'
694
PERI— PERKINS
f. 'cello and bass. — Bibliography: Mar-
chese di Villarosa, Lettera biografica intorno
alia patria ed alia vita di G. B. P. (Naples,
1831); H. M. Schletterer, G. B. P., in Wal-
dersee's 'Musikalische Vortrage' (Leipzig,
1880); E. Faustini-Fasini, G. B. P. attraverso
i suoi biografi e le sue opere (Milan, 1900);
G. Radiciotti, G. B. P. Vita, opera ed in-
fiuenza su VarU (Rome, 1910); R. Barchiesi,
// passaggio d'un genio, G. P. B. (Milan,
1911).— See also Q.-Lex.
Pe'ri, Achille, b. Reggio d'Emilia, Italy,
Dec. 20, 1812; d. there Mar. 28, 1880. Pupil
of Gregori (pf.) and Rabitti (comp.), and in
Paris of M. Carafa. After the production
of his first stage-work, the operetta Une
visile & Bedlam (Marseilles, 1839), he returned
to his native city, where he was many years
cond. of the opera, and later m. di capp. at
the Cath. He wrote the operas // SolUario
(Reggio d'Emilia, 1841), Dirce (ib., 1843),
Ester d'Engaddi (Parma, 1843; very succ.),
Tancreda (Genoa, 1848), Orfano e diavolo
(Reggio, 1854), J Fidanzati (Genoa, 1856),
Vittore Pisani (ib., 1857), Guiditta (Milan,
1860; his masterpiece), L' Espiazionc (ib.,
1861), Riemi (ib., 1862).
Pe'ri, Jacopo, called 'II Zazzerino' from
his abundant hair; b. Florence, Aug. 20,
1561; d. there Aug. 12, 1633. Of noble
family, he studied at Lu*cca under Cristoforo
Malvezzi; was maestro at the court of
Ferdinando I and Cosimo II de' Medici,
and from 1601 at the court of Ferrara. A
member of the distinguished circle at the
houses of Count Bardi and Corsi, where the
revival of ancient Greek musical declamation
was planned, P. set to music Rinuccini's
text of Dafne (1597). Encouraged by its
success, he composed Rinuccini s Euridice
for the wedding of Maria de' Medici with
Henry IV of France (prod. Oct. 6, 1600).
Dafne was the first 'opera,' or drama set to
music in monodic style (i. e.t vocal soli
supported by instrs.); this style was termed
'stile rappresentativo.' In 1608 P. wrote
for Mantua the recitatives of Ariadne (text
by Rinuccini), while Monteverdi comp. the
arias. In the same year he submitted in
Mantua an opera Tetide (text by Cini),
which, however, was not prod. With Grazie,
Signorini and del Turco he wrote Guerra
d'amore (Florence, 1615). No records are
available showing that Adone (text by Cico-
gnini), comp. 1620, ever had a public perf.
La precedenza delle dame was prod, at Flor-
ence in 1625, and P. also collaborated with
Gagliano on La Flora (1628). He publ. in
1609 Le varie musiche del Signor Jacopo
Peri ... in 1-3 parts, some to be sung
with harpsichord or chitarrone, others to be
played on the organ. Kiesewetter printed 3
madrigals a 4 in Schicksale und Beschaffenheit
des weltlichen Gesanqes (1841). Fragments
from Euridice are in several histories of
music; a complete ed. was publ. by Guidi in
Florence, and by Torchi in vol. vi of 'Arte
musical e in Italia.' — Cf. G. O. Corazzini,
Commemorazione delta Riforma melodram-
matica, in the annual report of the 'Real
Istituto de Musica' (Florence, 1895); A.
Solerti, Le orifpni del melodramma (Turin,
1903); id., Git albori del melodramma (3
vols., ib., 1905); O. G. Sonneck, Dafne the
First Opera, in 'Sbd. Int. M.-G., vol. xv,
1913).— See also Q.-Lex.
Peri'ni, Flora, dramatic mezzo-soprano; b.
Rome, Nov. 20, 1887. Pupil of Zaira Falchi
at the Regio Liceo di Santa Cecilia in Rome, .
where she grad. in 1907 as winner of the
gold medal; debut in 1908 at La Scala,
Milan, as Anacoana in Franchetti's Cristoforo
Colombo; then sang in Venice and Nice (1909);
in Madrid and Buenos Aires (1910); in Bari,
Rome, Montevideo and Rio de Janeiro
(1911); in Barcelona and Palermo (1912); in
Turin and Petrograd (1913); in Trieste and
Turin (1914); in Rome again in 1915; Amer.
debut at the M. O. H. in Puccini's Manon
Lescaut, Nov. 27, 1915; since then a regular
member of the M. O. H., and since the sum-
mer of 1910 of the Teatro Col6n in Buenos
Aires. She created the r61e of the Prince in
Buciardo's Sogno d'Alma (Buenos Aires,
1914) and Pepa in Granados' Goyescas
(M. O. H., 1916); her principal rdles include
Brangane, Venus, Gutrune, Fricka (Rhein-
gold and Walkure), Magdalene (Meister-
singer)t Herodias (Salome), Mallika (LakmS),
Amneris, Azucena, Adalgisa, Meg (Falstaff),
Suzuki, Maddalena (Kigoletto), Charlotte
(Werther), etc. She married Amleto Polattri.
Perkins, David Walton, b..Rome, N. Y.,
Nov. 16, 1847. St. pf. with S. B. Mills in
New York, and Th. Kullak and A. Rubin-
stein in Berlin; founded the Sherwood Mus.
School in Chicago in 1897, and was its dir.
until 1901; since 1907 pres. of the Chicago
Mus. Coll.; was for many years critic for
various Chicago papers, and contrib. to
mus. journals. Has publ. Piano Technique,
pf.-pes., and songs; also several collections
for men's, women's and mixed voices.
Perkins, Henry Southwick, b. Stock-
bridge, Vt., Mar. 20, 1833. Graduate, 1861,
of Boston Music School (vocal teachers
Baker, Wetherbee, and Guilmette); Pres.
1867-71 of the Iowa Normal Acad, of Music;
1867-8, prof, music at the State Univ.,
Iowa; 1870-4, Pres. of Kansas Normal Acad,
of Music, Leavenworth; 1887-8, of the
Illinois M. T. A.; 1888, seer, and treas. of
the M. T. N. A.; in 1890 he founded the
Chicago Nat. Coll. of Music, now a flourishing
695
PERKINS— PERRIN
institution. For over 20 years he also cond.
mus. festivals and conventions, from Maine
to California; active mus. critic; one of the
organizers of the M. T. N. A. in 1876. The
year 1875 he spent in study under Wartel
at Paris, and Vannuccini at Florence. Edited
30 song-books, hymn-books, class-books, etc.,
and comp. numerous vocal quartets and
songs. — His brother,
Perkins, Julius Edson, b. Stockbridge,
1845; d. Manchester, Engl., Feb. 24, 1875.
Bass singer; studied in Paris and Italy;
debut 1868; joined Mapleson Opera Co. in
1873, and was primo basso in the R. Ital.
Opera, London. In 1874 he married Marie
Roze (later Col. Mapleson's wife).
Perkins, William Oscar, brother of pre-
ceding; b. Stockbridge, May 23, 1831; d.
Boston, 1902. Pupil of Wetherbee, and of
G. Perini, Milan. Mus. Doc., Hamilton
Coll., 1879. Lived in Boston as a teacher,
cond. and composer; publ. some 40 books of
songs, anthems, etc., which contain many
of his own comps.
Perne [para], Francois- Louis, b. Paris,
1772; d. there May 26, 1832. He studied
harm, and cpt. under Abbe d'Haudimont at
the maftrise of St.-Jacques-de-la-Boucherie;
chorus-singer at the Opera, 1792; double-bass
C layer in the orch. there, 1799. In 1801 he
rough t out a grand festival mass. His
theoretical knowledge was illustrated by a
triple fugue, to be sunp backwards on re-
versing the page. Continued study of mus.
theory and history won him, in 1811, the
position of Catel s successor as prof, of
harmony at the Cons!; he became Inspector-
General in 1816, and also librarian in 1819.
In 1822 he retired to an estate near Laon;
he returned to Paris a few weeks before his
death. The few printed works of this learned
and voluminous writer (on Greek notation,
the songs of the troubadours, etc.) appeared
in vols, i-ix of Fetis' 'Revue musicale,' ex-
cepting his essay on the Chatelain de Coucy
(in Michel's monograph, 1830). His publ.
comps. include a Cours dy harmonic et d'ac-
compagnement (1822), 2 pf.-methods, varia-
tions and easy sonatas for pf., and the famous
triple fugue.
Pero'si, Don Lorenzo, b. Tortona, Italy,
Dec. 23, 1872. Pupil, 1891, of Saladino;
1893, of Milan Cons.; 1894, of Haberl's
Domchorschule (School for Church-music)
at Ratisbon. 1895, maestro di cappella at
Imola; in 1897, at San Marco, Venice;
since 1898 maestro of the Pontifical Choir
at the Sistine Chapel. His sacred trilogy La
Passione di Crisio (I. La cena del S ignore; II.
Vorazione al monte; III. La morte del Reden-
tore), prod, in Milan, Dec. 2, 1897, at the
Ital. Congress for Sacred Music, created a
sensation (not equalled at later performances
in Germany, London, New York, etc.).
Other oratorios are La Trasfiqurazione did
Nostro Signore Gesu Crisio (Venice, Mar. 20,
1898); La Risurrezione di Lazaro (Venice,
July 27, 1898, in La Fenice theatre, by special
6 amission); La Risurrezione di Cristo (Rome,
ec. 13, 1898); // Natale del Redentore
(Como, Sept. 12, 1899); VEntrata di Crisio
in Gerusalemme (Milan, Apr. 25, 1900); fja
Strage degli Innocenli (Milan, May 18, 1900);
Mose (Milan, Nov. 16, 1901); Dies Iste
(Rome, Dec. 9, 1904); Transitus Animae
(Rome, Dec. 18, 1907); In Patris memoriam
(Naples, May 15, 1910); Giorni di Tribute-
zione (Milan, Oct., 1916). Has written about
25 masses with org.; a Requiem with small
orch.; a Stabat Mater for soli, ch. and orch.;
Vespertina Oratio for do.; over 100 motets,
psalms, etc. Instrl. works: A symphony
(in classical form); 2 symph. poems, Dovrei
non piangere and La testa del vitteggio; a
'national' suite for full orch. (7 movems.,
each named after a city: Roma, Firenze,
Milano, Venezia, Tortona, Genoa, Torino); a
suite for small orch.; Tetna variato for orch.;
a pf. -concerto; a vl.-concerto; a suite for
pf.-trio; a vl. -sonata; vars. for vl. and pf.;
do. for via. and pf . ; many comps. for org. —
Cf. I. Seytre, Vabbe P.: Sa btographie, son
auvre (Nice, 1901); R. Rolland, Don L. P.,
in Musiciens d'aujourdrhui (Paris, 1914).
Peroti'nus, sumamed Maftnus, Magister,
maitre de chapelle at 'Beatae Mariae Vir-
finis' (before the erection of Notre-Dame),
aris. Celebrated composer of the 12th
century, representing the 'Ars antiqua.'
Some comps. publ. in Coussemaker's 'L'art
harmonique au XII- et XIIs siecles,' and
vol. i of 'Oxford Hist, of Music.'— See Q.-Lex.
Perot'ti, Giovanni Agostino, b. Vercelli,
April 12, 1769; d. Venice, June 28, 1855.
Pupil of Mattei in Bologna; in 1817 he suc-
ceeded Furlanetto as maestro at San Marco,
Venice. Besides excellent church-music, an
opera (La Contadina nobile, Pisa, 1795),
etc., he wrote essays Sullo stato attuale delta
musica in Italia (Venice, 1812), and // buon
gusto delta musica (1808).— See Q.-Lex.
Pen-In, Harry Crane, b. Wellingborough,
Aug. 19, 1865. Pupil in Dublin of Sir R.
Stewart, Dr. C. W. Pearce, and Dr. F.
Bates; Mus. Bac, Dublin, 1890; F. R. C. O..
1892; Mus. Doc., 1901; 1892-8, org. and
choirm. at St. Michael's, Coventry; 1898-
1908, do. at Canterbury Cath., and cond. of
the Cathedral Musical Soc.; since 1908 1 prof,
of mus. and dir. of the Cons.. McGill Univ.,
Montreal, Canada. Has published cantatas,
church-services, anthems, organ-pieces, ana
songs; in MS. some orchl. works.
Perrin [peTir-ranl, Pierre, b. Lyons, c.
696
PERRON— PERTI
1620; d. Paris, April 25, 1675. Author of the
libretti for the first French operas (so called) :
Cambert's La Pastorale (1659), Pomone
(1671), and Ariane (1672). The privilege
obtained of Louis XIV by P. and Cambert,
to organize an 'Academie de musique' (1668),
was revoked in Lully's favor (1669).
Perron, Karl, dramatic baritone; born
Frankenthal, Palatinate, Jan. 3, 1858. Pupil
of J. Hey and K. Hasselbeck in Munich,
and in 1882 of J. Stockhausen in Frankfort;
st. diction and rhetoric with E. von Possart.
From 1880-4 he appeared with great success
as a concert-singer, when dir. Stagemann
eng. him as principal bar. for the Leipzig
opera, where he made his debut in 1884 as
Wolfram; remained there till 1891, when he
became a member of the court opera at
Dresden; resigned in 1913; sang in Bayreuth
in 1889 (Amfortas) and 1896 (Wotan). He
is the recipient of numerous decorations,
hon. member of the Dresden opera, and Kgl.
Kammersanger. His principal rdles were
Telramund, Hollander, King Marke, Don
Giovanni, Alma viva, Escamillo, Nelusco, etc.
Perry, Edward Baxter, pianist; b. Haver-
hill, Mass., Feb. 14, 1855. He early lost his
sight; was taught by J. W. Hill at Boston;
studied later in Germany under Kullak,
Clara Schumann, Pruckner, and Liszt.
Played before the German Emperor. Re-
turning to America, he originated the 'lecture-
recital' ; has visited every state of the Union,
appearing in over 3,000 pf. -recitals, and an
equal number of 'lecture-recitals'; 1881-3,
prof, of music at Oberlin Coll. Has composed
a Loreley fantasia, The Lost Island, and other
pf. -works; a str.-quartet; has written De-
scriptive Analyses of Piano Works (1904) and
Stories of Standard Teaching Pieces (1908).
Perry, George, English comp.; b. Nor-
wich, 1793; d. London, Mar. 4, 1862. Director
of music at Haymarket Th., 1822; organist
of Quebec Chapel; 1832-47, leader, from
1848 conductor, of Sacred Harmonic Soc.
orch.; in 1846, also org. of Trinity Ch.,
Gray's Inn Road. — Oratorios, Elijah and the
Priests of Baal (1818), The Fall of Jerusalem
(1830), The Death of Abel (1846), Hezekiah
(1847); a cantata, Belshazzar's Feast (1836);
2 operas, Morning, Noon, and Night (1822),
Family Quarrels (1830); overture to The
Persian Hunters; anthems, songs, pf.-pes.
Peroia'ni (nee Tacchinardi), Fanny,
famed soprano (coloratura) stage-singer; b.
Rome, Oct. 4, 1812; d. Passy, n. Paris, May
3, 1867. Her father, the tenor singer Nicola
T., was her teacher. After a successful
debut at Leghorn in 1832, she sang in the
principal cities of the peninsula; at Milan
she was called 'la piccola Pasta'; from 1837-
48 she shone in London and Paris as one of
the greatest singers ever heard, also visited
Holland and Russia, but returned to Paris
in 1858. — In 1830 she married Giuseppe
Persiani [1804-1869], a composer of 11 operas.
Persinger, Louis, violinist; b. Rochester,
111., Feb. 11, 1887. St. with Hans Becker
at the Leipzig Cons., 1900-4, making his
debut at a Cons, concert on Mar. 23, 1904
(Bruch's G minor concerto); concertized in
America during the winter of 1904-5; then
went for further study to Ysa^e in Brussels
(1905-8); also coached with J. Thibaud in
Paris during the summers of 1910 and '11.
In 1908 he was leader at La Monnaie,
Brussels; 1909-11 he made successful tours
of Germany, Austria, and Scandinavia;
1912-13, first extended Amer. tour, appearing
from coast to coast in numerous recitals and
with the leading orchestras; 1913-14, another
tour of Germany; 1914-15, cone. -master with
the Berlin Philh. Orch.; 1915-17, leader
with the San Francisco Symph. Orch. In
June, 1913, he married the pianist Angela
Gianelli. Has publ. arrs. for vl.t and songs
with pf. and vl.
Persuls [pghr-sue'], Louis-Luc Loiseau
de, b. Metz, July 4, 1769; d. Paris, Dec. 20,
1819. A violinist, he went to Paris in 1787;
became 1st violin at the Th. Montansier
(1790), and at the Opera (1793); 'chef du
chant' at the Opera (1804), and 'chef d'or-
chestre' in 1810, succeeding Rey. Was also
prof, of violin at the Cons. 1795-1802. In
1814, Inspector-General of the Opera, super-
seding Choron as Director in 1817.. Under
his management the Opera prospered; and
this is his chief claim to fame. He was
likewise asst.-cond. of Napoleon's court
orch., and succeeded Le Sueur as Intendant-
in-chief of the Royal Orch. in 1816. He prod,
about 20 operas and ballets, none rising
above mediocrity; even his best, Jerusalem
delwree (1812) was withdrawn after a few
performances. — See Q.-Lex. (under Loiseau).
Per'ti, Jacopo Antonio, b. Bologna, June
6, 1661; d. there April 10, 1756. A celebrated
dramatic and sacred composer, pupil of
Padre Petronio Franceschini. As early as
1680 he brought out a solemn mass, and
next year was elected a member of the
Accademia Filarmpnica, of which he was
five times the president. After spending
several years as an opera-composer at Parma,
he became maestro at San Pietro in Bologna
(1690), and in 1696 maestro at San Petronio.
He wrote 24 operas, and 19 oratorios; publ.
Cantate morali e spiritual* (1688), and Messe e
salmi concertati (1735); in Novello's 'Sacred
Music' are 2 fine choruses. His MSS.
were dispersed; Abbate Santini possessed a
valuable collection. — Cf. L. Mancini, J. A, P.
(Bologna, 1813); an extended biogr. of P.
697
PESCETTI— PETERSON-BERGER
is found in L. Busi's // Padre Giambatt.
Martini (Bologna, 1891; vol. i, p. 61 et seq.).
— See also Q.-Lex.
Pescetti [peh-sheVte], Giovanni Battista,
b. Venice, 1704; d. there c. 1766. A pupil of
Lotti, he prod, several operas in Venice
1726-37; lived in London till 1740, writing
operas, of which the overtures and some
arias were publ. by Walsh; from 1762 he
was second organist at San Marco, Venice.
— See Q.-Lex.
Peschlta-Leutner [-loit'ner], Minna, cele-
brated stage-soprano (coloratura); b. Vienna,
Oct. 25, 1839; d. Wiesbaden, Jan. 12, 1890.
Pupil of Proch; d6but Breslau, 1856; after
singing there a year, she retired temporarily,
married Dr. Peschka of Vienna in 1861,
then sang in Dessau. After several appear-
ances at the Vienna Court Opera, and
further study under Frau Bochkoltz-Falconi,
she was eng. as prima donna at Darmstadt
in 1865. From 1868-76, at the height of
her powers and fame, she was eng. at Leipzig
under Director Haase; in 1872 she sang at
the Philharm. and Crystal Palace, London,
and in that autumn at the Peace Jubilee at
Boston, U. S.; it is said that over-exertion
there seriously impaired her voice. Poll in i
eng. her for the Hamburg opera in 1876;
in 1883 she went to Cologne.
Pessard [pghs-sahr'], fimlle-Louis-For-
tun£, b. Montmartre, Seine, May 29, 1843;
d. Paris, Feb., 1917. Pupil in the Paris Cons,
of Bazin (harm.), Laurent (pf.), Benoist (org.)
and Carafa (comp.); won the 1st harmony-
prize in 1862, and the Grand prix de Rome
in 1866 with the cantata DalUa (Opera,
1867). From 1878-80, inspector of singing
in the Paris schools; succeeded Savard as
prof, of harmony at the Cons, in 1881.
He was director of mus. instruction in the
educational department of the Legion of
Honor. From 1895, mus. critic for '1 £vene-
ment.' Officer of Legion of Honor and of
Pub. Instruction. — Works: La Cruche cassfo
(Op.-Com., 1870); Le Char (ib., 1878); Le
Capitaine Fracasse (Th.-Lyr., 1878); Tabarin
(Opera, 1885); Tartarin sur Us A I pes (Gatte,
1888); Don QuichoUe ( Menus- Plaisirs, 1889);
Les Folies amoureuses (Op.-Com., 1891);
Vne Nuit de Noel (Ambigu, 1893); Mile.
Carabin (Bouffes, 1893); Le Muet (1894); La
Dame de trefles (1898); VArmee des Vierges
(1902); l'£pave (1903); all comic operas or
operettas. Also masses, orchl. suites, a pf.-
trio, pf. -pieces, songs.
Petchnikov, Alexander, b. Yelets, Rus-
sia, Feb. 8, 1873. Famous violinist; pupil of
Hrimaly at the Moscow Cons., where he
won the gold medal. Played with phenom-
enal success in Berlin in 1895; has since
then toured Europe and (1906-7) America;
lived several years in Berlin; since 1913 prof.
at the Kgl. Akademie in Munich; made
Kg!. Prof, in 1910. His wife, Lily, is also
an excellent violinist.
Peters [pa'-], Carl Friedrich, Leipzig
music-publishing firm, founded in 1814,
C. F. Peters *hen purchasing; Kuhnel &
Hoffmeister's 'Bureau de Musique' (establ.
1800). Gained celebrity by the critical
complete ed. of J. S. Bach's works; since
1868, by the issue of classical works in the
cheap and reliable 'Edition Peters.' Its
large and important musical library was
opened to the public in 1893 as the 'Bibliothek
Peters.' Dr. Max Abraham (q. v.) was sole
proprietor from 1880-1900. After his death
(1900) his nephew, Heinrich Hinrichsen
(b. Hamburg, 1868), became head of the firm.
Peters, Guldo, b. Graz, Nov. 29, 1866.
Pupil of the Vienna Cons.; 1901-5, instr. of
pf. at the Kgl. Akademie in Munich; since
1905 living in Vienna as teacher of pf. and
comp. Has written 2 symphonies (No. 1,
Landliche Symph.; No. 2, in Eb), 2 str.-
quartets (C m., A), and songs.
Pe'teraen, Peter Nikolaus, flute-virtuoso ;
b. Bederkesa, n. Bremen, Sept. 2, 1761; d.
Hamburg, Aug. 19, 1830; improved the flute
by the addition of several keys, and publ.
studies, vars., and duets for flute.
Peterai'lea, Carlyle, b. Boston, Mass.,
Jan. 18, 1844; d. Tropico, n. Los Angeles,
June 11, 1903. Distinguished pianist and
teacher; pupil of his father, and (1862-5) of
Moscheles, Reinecke, Richter, Hauptmann,
etc., at Leipzig Cons., winning the Helbig
prize for pf.-playing. After a successful
tour in Germany, he returned to Boston;
establ. 'The Petersilea Acad, of Music' in
1871, closing it in 1886 to become a teacher
in the New Engl. Cons.; removed to Califor-
nia in 1892. He spent the Spring of 1884
with Liszt at Weimar, and gave a concert
at the Berlin Singakademie. — Publ. technical
studies, etc., for pf.
Peterson, Franklin Sivewright, b. Edin-
burgh, Feb. 24, 1861. Pupil of K. A. Fischer
in Dresden; 1884, org. in Edinburgh; 1893,
instr. of music at the Ladies' Coll. there;
1895, asst. -examiner in music at Edinburgh
Univ.; since 1901 Ormond prof, of music
at Melbourne Univ. Has publ. Elements of
Music (1895; 5th ed. 1899); Introduction to
the Story of Music (1897); Pianist's Handbook
(1899); Catechism of Music (1900).
Peteraon-Berger, (Olof) Wilhelm, b.
Ullangar, Sweden, Feb. 27, 1867. From
1886-9 pupil of J. Dente and O. Bolander at
the Stockholm Cons.; then st. in Dresden,
pf. with H. Scholtzand instr. with E. Kretsch-
mer. Having taught 2 years (1892-4) at the
698
PETRELLA— PETROV
Musikschule in Dresden, he settled in 1895
in Stockholm, where he has been mus.
critic of 'Dagens Nyheter' since 1896, rec-
ognized as one of the ablest of Swedish
writers; 1908-11, stage-mgr. for the Wagner
works at the court opera. As a comp. of
national tendencies he is highly esteemed in
his native land.— Works: Sveagaldrar, a
fest. play for the silver jubilee of the acces-
sion of Oscar II (1897); a fairy opera, Lyckan
(Luck; Stockholm, 1903); the music-dramas
Ran (ib., 1903) and Arnljot (ib., 1910) [all
texts by himself]; 2 symphonies, Banfret
8 Tie Banner, in Bb, 1904) and Sunnanfard
ourney to Southland, in Et>, 19f3); a suite
and 2 sonatas for vl. and pf.; Karneval i
Stockholm, intermezzo for orch.; Floret och
Blanzeflor, ballad w. orch.; pf.-pcs.; numerous
songs, many of which have become real
folk-songs. — Writings: Svensk Musikkultur
(1911); R. Wagner som kulturforeteelsc (W. as
a Phenomenon of Civilization, 1913). He
has transl. into Swedish a selection of Wag-
ner's prose- works (W.'s skrifter i urval,
1902), Tristan und Isolde (1909), Nietzsche's
Die Gtburi der Tragodie (1902) and Also
sprach Zarathustra (1913).
Petrella, Errico, b. Palermo, Dec. 1, 1813;
d. Genoa, Apr. 7, 1877. An opera-composer;
violin-pupil of Saverio del Gtudice; then at
the Naples Cons. (Collegio di S. Sebastiano)
from 1825-30 of Costa, Bellini, Furno,
Ruggi and Zingarelli. His first theatrical
attempt was the 2-act opera buffa // Diavolo
color di rosa (Naples, 1829). Being success-
ful, it was followed up to 1874 by over 20
more operas, both comic and serious; Le
Miniere di Freibergh (Naples, 1839) was his
finest buffo work; Elnava, o VAssedio di
Leida (Milan, 1856), the best in the serious
style. Marco Visconti (Naples, 1854) im-
mediately obtained immense popularity in
Italy, and La Conies sa d'Amalfi (Turin,
1864) also had noteworthy success. His
last opera was Bianca Orsene (Naples,
1874). During a quarter of a century he
vied with Verdi in Italian favor; but he
belonged to the 'old' school, and his operas
have disappeared before the influence of
Germanism. Despite his many successes,
he died in extreme poverty. — Cf . F. Guardione,
Di E. P. e della traslazione delta salma da
Geneva a Palermo (Palermo, 1908); G.
Siciliano, Di E. P., musicista palermitano
(ib., 1913).
Petrelll, stage-name of Eleonora (Louise
Marianne) Petrov (nee Wigstrom), operatic
and concert soprano; b. Sientuna, Sweden,
1835; d. Chicago, Feb., 1904. While touring
Finland as a member of' a small theatrical
company she married a wealthy Russian,
Petrov, and then st. with Lamperti in Milan,
Mme. Viardot-Garcia in Paris, and Mme.
Nissen-Salomon in Petrograd; after her hus-
band's death (1869) she sang with much
applause, chiefly in concerts, in Russia,
Germany, and Scandinavia; settled in 1886
as a singing-teacher in Stockholm, but soon
went to Chicago, where she establ. a very
successful school for vocal culture. She
publ. a number of songs.
Petri [p&'trej, Henri, b. Zeyst, n. Utrecht,
April 5, 1856; d. Dresden, April 7f 1914.
Fme violinist, pupil of Dahmen in Utrecht,
of Joachim in Berlin (1871-4), and of the
Brussels Cons. (1875-6); 1877, Konzert-
meister in Sondershausen; 1881, do. in
Hanover; leader of the Gewandhaus Orch.
1882-9 (with Brodsky), then succeeding
Lauterbach as leader of the Dresden court
orch.; prof, at the Cons, until 1912; leader
of his own quartet. Publ. studies and
pieces for violin; (op. 3, Drei Fantasiestucke;
op. 9, Funf Kunstler-Etiiden; op. 10, Abend-
lied; etc.).
Pe'tri, Johann Samuel, b. Sorau, Sept. 1,
1738; d. as cantor at Bautzen, April 22,
1808. Publ. Anleitung zur praktischen Musik
(1767; 2d ed. 1782), and Anweisung sum
regelmdssigen und geschmackvollen Orgelspiel
(1802).
Petri'ni, Franz, harpist; b. Berlin, 1744;
d. Paris, 1819. Court musician at Schwerin,
1765; harp-teacher in Paris, 1770.— Publ. 4
concertos, 8 sonatas, variations, duets, etc..
for harp; also a harp- met hod, and a manual
of harmony.
Petrov [pa'trohv], Oaaip Afanattievitch,
famous dramatic basso; b. Eliza vetgrad, Nov.
15, 1807; d. Petrograd, March 14, 1878.
Lebiediev, the intendant of the Imp. Opera,
accidentally heard this remarakble artist, in
1830, singing with an inferior company at a
fair in Kursk, and immediately engaged
him. The same year P. made his d6but in
Petrograd as Sarastro in the Magic Flute;
the enormous compass of his voice (BBt>-gl#),
its extraordinary power and beautiful quality,
combined with consummate histrionic skill,
secured for him almost immediately recog-
nition as the greatest of Russian bassos.
This place he held throughout his long
career (he appeared on the stage for the last
time Mar. 10, 1878, four days before his
death!). He created the r61es of Sussanin
in Glinka's Life for the Tsar (1836), Russian
in the same composer's Russian and Ludmilla
(1842; written specially for P.), the Miller in
DargomVzhsky's Russalka (1856) and Le-
porello in The Stone Guest (1872), Ivan in
Kimsky-Korsakov's Pskovityanka (1873), and
Waarlam in Mussorgsky's Boris Godunov
(1874). Cf. Recollections of the 50th Anni-
versary of 0. A, P. (Petrograd, 1876); V.
699
PETRUCCI— PFEIFFER
Stassov, 0. A. P., in vol. iii of his 'Coll.
Works' (Petrograd, 1894); A. Kompaneisky,
A Great Russian Singer, in 'Russkaya Muz£-
kalnaya Gazeta' (1903, No. 9). [All in Rus-
sian.]
Petrucci [pa-tr66'ch€], Ottaviano del, the
inventor of music-printing with movable
types; b. Fossombrone, June 18, 1466; d.
there May 7, 1539. In 1498 he received
from the Council of the Republic of Venice
the privilege of printing music by his new
method for 20 years, and worked there in-
dustriously 1501-11, then ceding the business
to A. Scotto and N. da Rafael, and removing
to Fossombrone, with a 15-year privilege
for printing within the Papal States. His
editions, printed with great neatness, are
rare and highly prized specimens of early
press- work. In Fossombrone he labored
from 1513-23. His invention appeared at
the most flourishing epoch of the Netherland
School, and his first work, Harmonica
musices Odhecaton. A (1501), contains 94
chansons a 3, 222 a 4t and 15 motets, by
famous composers before 1501. P.'s last
publications were 3 books of masses (1520-3)
printed, in folio as chorus-books. A complete
list of P.'s publications is found in R. Eit-
ner's Bibliographic der Musiksammelwerke des
16. u. 17. Jahrhunderts (Berlin, 1877). —
Cf. A. -Schmid, 0. d. P (Vienna, 1845;
contains full list of works known at the
time) ; A. Vernarecci, O.d.P (Bologna,
[2d ed.] 1882); J. B. Weckerlin, Bibliothlque
du Cons. National (Paris, 1885); E. Vogel,
Der erste .... Notendruck fur Figuralmusik,
in 'Jahrb. Peters' (1895; full list of contents
of Odhecaton). — See also Q.-Lex.
Pe'trus Platen'sis. See La Rue.
Petsch'ke, Dr. Hermann Theobald, b.
Bautzen, Mar. 21, 1806; d. Leipzig, Jan. 28,
1888. On board of Directors of the Gewand-
haus Concerts. Comp. excellent choruses for
men's voices, and songs.
Petschnikoff. See Petchnikov.
Petzet, Walter, b. Breslau, Oct. 10, 1866.
While attending the Gymnasium at Augsburg,
he st. music with A. Kleffel; 1882-6, pupil
of the Kgl. Akademie in Munich of Gienrl
(pf.), Rheinberger (comp.), L. Abel (score-
reading), and von Riehl (hist, of music);
also attended lectures at the Univ. on litera-
ture, hist, of culture, and esthetics; in 1887
pupil of Biilow (pf.) in Frankfort. From
1887-90, in Minneapolis as teacher of pf.;
1890-1, prof, of pf. at the Chicago Mus.
Coll.; 1891-6, do. at the Scharwenka Cons,
in New York; 1896-8, prof, at the Helsingfors
Cons., succ. Busoni; 1898-1910, prof at
the Karlsruhe Cons. In Karlsruhe he played
all Beethoven '8 pf. -sonatas (in 9 evenings)
with such success that during the following
season he was obliged to repeat the entire
series; in numerous concerts of chamber-
music he proved himself a master of en-
semble-playing; the Grand Duke made him
Prof, in 1909. This activity he cont. during
his residence in Weimar, where he was prof,
at the Cons. 1910-13; then settled in Berlin
as prof, at the Klindworth-Scharwenka Cons,
and mus. critic for the 'Signale fur die
musikal. Welt'; since 1914, prof, at Schar-
wenka's 'Meisterschule.' Admirable inter-
greter of the pf.- and chamber-music of
•rahms. He has written 2 symph. poems,
2 pf.-concertos, numerous pes. for pf., and
songs; ed. Czerny's 40 Daily Exercises (with
annotations in Ger. and Engl.).
Petzold (or Petzhold), Wllhelm Lebe-
recht, b. Lichtenhain, Saxony, July 2, 1784;
d. (?). Piano-maker, with J. Pfeiffer in
Paris, 1806-14, later independent. His
squares were favored before Pape's time, as
his strings were longer and thicker, and his
instrs. more solidly built, than the generality.
Pfannstiehl, Bern hard, eminent organist;
b. Schmalkalden, Thuringia, Dec. 18, 1861.
Having become blind (at the age of 6 months)
as a result of scarlet fever, he was educated
at the Inst, for the Blind in Leipzig, and at
the same time st. music privately with J.
Kniese; later st. pf. at the Cons, with H.
Klesse; 3 times winner of the Mendelssohn
Prize. Following Liszt's advice, he made a
specialty of the organ; 1896-1903, organist
at St. John's, Leipzig; 1903-11, do. at St.
Peter's, Chemnitz; since 1912, do. at the
Kreuzkirche, Dresden, and Kirchenmusik-
direktor. He enjoys a great reputation as an
interpreter of Bach, as well as of recent
composers. — Cf. K. Hasse, B. P., in 'Die
Orgel' (1910).
Pfeiffer, Georges- Jean, b. Versailles, Dec.
12, 1835; d. Paris, Feb. 14, 1908. Pianist
and comp., pupil of the Maleden and Damcke.
Successful debut at the Cons, concerts,
1862. Mus. critic for the 'Voltaire'; Vice-
pres. of the Soc. of Composers. Member of
the firm Pleyel, Wolff et Cie.. pf. -makers at
Paris.— Works: The operetta Capitaine Roche
(1862), 1-act opera, VEnclume (Op.-Com.t
1884), 3-act comic opera, Le Ligataire unir
versel (ib., 1901); an oratorio, Hagar; a
symphony; a symph. poem, Jeanne d Arc,
op. 43; Legend*, symph. fantasy for pf. and
orch., op. 58 (arr. for 2 pfs. as op. 138); 3
concertos for pf. and orch., op. 11, 21, 86;
a pf.-trio in G, op. 14; a vcl.-sonata, op. 28;
a pf. -quintet in C m., op. 41 (won Prix
Chartier); a vl. -sonata in E m., op. 66; a
pf.-guartet in F m., op. 119; a sonata for
2 pis., op. 65; numerous comps. for pf. (2
and 4 hands).
700
PFEIFFER— PHALfcSE
Pfelffer, Karl, b. 1833 (?); d. Vienna,
Feb. 17, 1897. For 30 years chorus-director
at the Vienna Imp. Opera. Wrote 2 operas,
Das Nordlicht and Harold (both unsucc.
prod, at the Vienna Opera); 1 mass, several
part-songs, and songs.
Pfelffer, Theodor, fine pianist; b. Heidel-
berg, Oct. 20, 1853. He abandoned the study
of philology and ent. the Stuttgart Cons.,
where he was a pupil of A. Seidel; during the
summers of 1884-6 he st. pf. with Bulow
at Raff's Cons, in Frankfort. In 1889 he
settled in Baden-Baden as private teacher;
since 1899 also prof, of pf. at the Mann-
heim Cons.; made Kgl. Prof, in 1905. Has
publ. a number of valuable studies: Studien
nach Kreutzerschen Violin- Etiiden gebildet;
Tonleiterschtde; Virtuosen-Studien (in part
prep, studies for Billow's editions); also has
written a mass for mixed voices a capp.,
songs, male choruses, and pf.-pcs. (Album-
blatt, Dryadenspiel, Mazurka- Caprice, Kon-
zert- Elude, etc.). His recollections of Bulow
he has publ. as Studien bei H. von Bulow
(1894; 6th ed. 1909).
Pfeil, Heinrlch, born Leipzig, Dec. 18,
1835; d. there April 17, 1899. Entirely self-
taught in music; 1862-87, editor of the
'Sangerhalle' (Leipzig). Composer of many
popular male choruses; also wrote Abriss der
Musikgeschichte, Kleine Musikanten^eschich-
ten, and a number of small biographies.
Pfitz'ner, Hans Erich, b. (of German
parents) Moscow, May 5, 1869. Pupil at
the Hoch Cons., Frankfort, 1886-90, of
Kwast (pf.), and I wan Knorr (comp.).
Teacher of pf. and theory at Koblenz Cons.,
winter of 1892-3; asst.-cond. of City Th.,
Mayence, winter of 1894-5; 1895-6, 2d
Kapellm. there; 1897-1907, teacher in Stern
Cons., Berlin, and from 1903-7 first Kapellm.
at the Th. des Westens; 1907-8, cond. of the
Kaim Orch. in Munich; in 1908 he succ.
Stockhausen as munic. music dir. and dir.
of the Cons, at Strassburg; since 1910 also
1st Kapellm. at the opera there; made Kgl.
Prof, in 1913. As a dramatic composer he is
entirely under the influence of Wagner,
whereas his instrl. and choral works show
decided individuality. — Works: The operas
Der arme Heinrich (Mayence, 1895), Die
Rose vom Liebesgarten (Elberfeld, 1901),
Palestrina (finished 1916); incid. music to
Ibsen's Fest auf Solhaug, Kleist's Kdthchen
von Heilbronn (op. 17), von Stach's Christ-
elf lein (op. 20); Der Blumen Roche, ballade
for alto solo, fern. ch. and orch.; op. 12,
Herr Oluf for bar. and orch.; op. 14, Die
Heinzelmdnnchen for do.; op. 16, Columbus,
8-part ch. a capp.; Scherzo tor orch. — Cham-
ber-music: Op. 1, Vcl.-sonata in F# m.; op. 8,
Pf.-trio in F; op. 13, Str.-quartet in D; op.
23, Pf. -quintet in C; about 50 songs. He
revised Marschner's Tempter und Judin, and
ed: Hoffmann's Undine. — Cf. P. N. Cossmann,
H.P. (Munich, 1904); R. Louis, H. P.'j 'Die
Rose vom Liebesgarten. Eine Streiischrift
(ib., 1904); id., H. P., in 'Monographien
moderner Musiker' (Leipzig, 1907; vol. ii).
Pflug'haupt, Robert, b. Berlin, Aug. 4,
1833; d. Aix-la-Chapelle, June 12, 1871.
Pianist; pupil of Dehn (Berlin), Henselt
(Petrograd), and Liszt (Weimar), where he
lived 1857-62, then settling in Aix. His
fortune, left to the 'Allgem. deutscher Musik-
verein,' was employed to found a Beethoven
scholarship. — Pf. -works: Op. 1, orig. Theme
and Vars.; op. 3, Petite valse; op. 6, Mazurka;
op. 9, Galop de concert; op. 11, Invitation &
la Polka; etc. — His wife,
Pflug'haupt, Sophie (nee Shtchepin),
excellent pianist, pupil of Henselt and Liszt,
was b. Dunaburg, Russia, March 15, 1837;
d. Aix-la-Chapelle, Nov. 10, 1867.
Pfohl, Ferdinand, b. Elbogen" Bohemia,
Oct. 12, 1863. Law-student at Prague; in
1885 he went to Leipzig, studying philosophy
at the Univ., and music as a private pupil
of O. Paul. There his first critical essays
attracted attention because of their fine dis-
crimination and elegant literary style; in
1891 he became mus. editor of 'Daheim';
in 1892, do. of the 'Hamburger Nachrichten/
In this important post, which he still (1917)
holds, he soon became one of the most in-
fluential of German critics; since 1908, also
prof, of esthetics and theory at Vogt's Cons,
in Hamburg; made Kgl. Prof, in 1913. He
has publ. Die moderne Oper (1894), Die
Nibelungen in Bayreuth (1896), A. Nikisch
(1900), Karl Grammann. Ein Kunstlerleben
(1910), R. Wagner. Sein Leben und Schaffen
(1911); descriptions of African music are
contained in Quer durch Afrika (1891) and
West-Ostliche Fahrten (1902); has also publ.
guides to Fidelio, Der fliegende Hollander,
Tannhduser, Lohengrin, Tristan und Isolde,
Die Meister singer, Parsifal. — His comps. in-
clude the symph. poems Die versunkene
Glocke and Frau Holle; a symph. fantasy in 5
movems., Das Meer; Balleltszene for orch.;
Twardowsky, for sop. solo, male ch. and orch.;
pf.-pcs. (Suite SUgiaque, Strandbilder, etc.);
songs (Mondrondels, Sirenenlieder, Turm-
balladen, etc.).
Pfundt, Ernst Gotthold Benjamin,
famous tympanist; b. Dommitzsch, n. Torgau,
June 17, 1806; d. Leipzig, Dec. 7, 1871, as
drummer in the Gewandhaus Orch. (since
1835). He invented the 'machine-head,' and
publ. a Method, for the kettledrum.
Phalese [fah-laz'], Pierre, [Petrus Pha-
lesiiM,] b. c. 1510 at Louvain, where he establ.
701
PHELPS— PHILIPP
a music-publishing business in 1545 (?),
which was removed to Antwerp in 1579 as
'Pierre Phalese et Jean Bellere.' His heirs
still published in 1669. — See Q.-Lex.
Phelps, Ellsworth C, born Middletown,
Conn., Aug. 11, 1827. Self-taught in music,
he became organist in New London at the
age of 19; taught successfully there, in
Syracuse, and New York, and settled in
Brooklyn in 1857. He held various important
positions as organist, and taught in the
public schools for more than 30 years. —
Works: (MS.): 2 comic operas; sacred
operetta David (perf. twice in Brooklyn);
Hiawatha symphony (1878); Emancipation
symph. (1880); 2 concert-overtures (1860,
'97); Elegie, choral work in 6 movem. (perf.
in New York, Phila., etc.); 4 symphonic
poems; Psalm 145, for soli, ch. and orch.;
pieces for military band (perf. by Gilmore
and Sousa); etc. — in all over 200 comps. in
every style.
Philidor, recie Danican, famous family of
French musicians. — (1) Jean Danican-
Philidor, d. Paris, Sept. 8, 1679, as 'Phiphre
de la Grande ficurie (piper in the King's
military band). — (2) Andre Danican-Phili-
dor (Vatnt)\ d. Aug. 11, 1730. In 1659 he
became cromorne-player in the above band,
later of the King's private band (oboe,
cromorne, trompette marine, and bassoon).
As asst. -librarian of the R. Mus. Library at
Versailles, he made a fine collection of old
instrl. pieces performed at court since the
time of Francois I. He composed masques,
ballets, etc., for the court, and military
music (marches, etc.). — Publ. works: Mas-
carade des Savoyards (1700); Masc. du roi de
la Chine ( 1 700) ; Suite de danses pour les violons
et hatUbois . . . (1699); Pieces d deux basses de
viole, basse de violon et basson . . . (1700);
Marches et batteries de tambour . . . avec les
airs de fifre et de hautbois. — (3) Anne Dani-
can-Philidor, Andre's eldest son; b. Paris,
April 11, 1681; d. Oct. 8, 1728. Flute-player;
composed pastoral operas (V Amour vainqueur,
1697; Diane et Endymion, 1698; Danae,
1701), and publ. music for flutes, violins
and oboes. He founded the Concerts spiri-
tuels (1725).— (4) Pierre Danican-Philidor,
flute-player; b. Aug. 22, 1681; d. Sept. 1, 1731.
Publ. 3 books of suites for 2 cross-flutes
(1717, '18), and flute- trios.— (5) Francois
Andrg Danican-Philidor, last and greatest
of the family, the youngest son of Andre;
b. Dreux, Sept. 7, 1726; d. London, Aug. 31,
1795. Campra was his teacher in music,
but chess was for a long time his master-
Cassion, and after vanquishing many cele-
rated Continental players, he wrote an
Analyse du jeu d'echecs, which he publ. in
London in 1749, where he commenceda series
702
of victories at the London Chess Club, later
receiving a pension from the Club. From
1756 he appeared in the novel and unexpected
rdle of a successful composer of comic operas,
producing at Paris the 4-act opera Le Viable
a quaire (Op.-Com.) and the opera-ballet
Le Retour du printemps; these were followed
by several one-act pieces {Blaise le savetier,
1759; VHuitre et Us plaideurs, 1759; Le Qui-
proquo, ou Le Volage fixe, 1760; Le Soldai
magicien, 1760; Le Jardinier et son seigneur,
1761); then one of his best, in 2 acts, Le
Marichal f errant (1761), perf. over 200 times;
followed by more one-act pieces (Sancho
Panca, 1762; Le BOcheron, ou Les trots
souhaits, 1763). Then" came Le Sorcier, 2
acts (1764), and Tom Jones, 3 acts (1764); the
latter had, finally, great vogue, and contained
a noteworthy novelty, a quartet a cappei/a.
In 1767 appeared his finest effort, the grand
opera Ernelinde, princesse de Norv&ge (re-
vised in 1769 as Sandomir; prince de Dane-
mark). Le Jardinier de Sidon (1768), VAmant
dSguisS (1769), La nouveUe Scole des femmes
(1770), Le bonfils (1773), Zemire el MSlide
(1773), Berthe (Brussels, 1775, with Gossec
and Botson), Les Femmes vengies (1775), Le
puits aV amour (1779). PersSe (Grand Opera,
1780), VAmUU au milage (1785), ThSmislocle
(1786), La belie esdave (1787), and Le Mari
comme il les faudrait tous (1788) close the
long list. BUisaire, finished by Berton, was
prod, in 1796. P. surpassed his rivals Gretry*
and Monsigny both in skilfulness of orches-
tration and richness and correctness of
harmony, though their inferior in dramatic
expression and melodic charm. He was
adored by the Parisians; but his love for
chess caused him to forsake them at frequent
intervals for their neighbors across the
Channel. — P. also wrote church-music; a
set of 12 Ariettes periodiques (in alternation
with Trial) for vocal solo w. violin, bass,
oboe and horn; L Art de la modulation, quar-
tets for 2 violins, oboe and bass; etc. — Cf-
J. Lard in, Ph. peint par lui-mime (Paris,
1847); G. Allen, Life of Ph. (Philadelphia,
1863); A. Pougin, Ph., in 'Chronique musi-
cale' (1874-5); Ch. Piot, Particulars int-
dites concernant les ceuvres musicales de
Gossec et de Ph., in 'Bulletins de l'Academie
royale de Belgique' (Brussels, 1875). —
See Q.-Lex.
Philipp [fe-llp'], Iridor, fine pianist; b. Pest,
Sept. 2, 1863. He is a naturalized French
citizen; came to Paris at the age of 3, entering
the Cons, at 16 as a pupil of Gieorges Mathias,
and winning 1st pf. -prize in 1883; taught
later bv Saint-Saens, Stephen Heller, and
Ritter (4 years). Has played at the concerts
of Lamoureux, Colonne, and the Cons.;
in all large French towns; also in Brussels,
London, Geneva, Barcelona, etc. An en-
PHILIPPE— PICCINNI
thusiastic admirer of chamber-music, P.
establ. concerts in the Salle £rard, with
Loeb and Berthelier, performing many of
the finest among modern French chamber-
compositions for the first time; also reorgan-
ized the 'Societe des instrs. a vent' (founded
in 1897 by Taffanel). As a teacher he has
met with extraordinary success, among his
pupils being Guiomar Novaes, Raymonde
Blanc, Winifred Purnell, Maurice Dumesnil,
Paul Loyonnot, etc. In 1903 he was app.
prof, at the Cons. He is a member of the
'Conseil supeVieur,' chev. of the Legion of
Honor, and officer of public instruction. For
orch. P. has publ. a Reverie melancoiique, and
a Serenade humor istiqxic. His comps. for
pf. (Fantasmagories, Feeries, Pastels, Valse-
Caprices, Preludes, etc.), are marked by
breadth and refinement of style; among the
technical works which have won high esteem
may be mentioned Exercices journaliers,
Hcole d1 octaves, Problemes techniques, Etudes
techniques basees sur une nouvelle man&re de
travailler, La gamme chromatique, etc.; has
also publ. 18 arrs. of Bach for 2 pfs. (4 hands),
arrs. for 2 pfs. of works of Mendelssohn,
Widor, Dubois, Saint-Saens, Massenet, and
Blockx.
Philippe de Mons. See Monte.
Philips, Peter (or Petrus Philippus,
Pietro FUippo), English contrapuntist; b.
c. 1560; d. c. 1633. Canon at Bethune,
Flanders; organist of the vice-royal chapel,
Antwerp; and, finally, canon at Soignies.
The earliest regular fugue on one subject,
discoverable by Burney, was one by P. in
'Queen Elizabeth's Virginall-Booke.' Publ.
masses, motets, litanies, numerous madrigals,
etc. — Cf. P. Bergmans, L'organiste des archi-
ducs Albert et Isabelle, P. Ph. (Ghent, 1903).
— See Q.-Lex. •
Phillipps, Adelaide, alto dramatic singer;
b. Stratford-on-Avon, Engl., 1833; d. Karls-
bad, Oct. 3, 1882. The family emigrated to
America in 1840, settling in Boston. Taught
by her mother, Adelaide appeared as a
child-dancer at the Tremont Th., Jan. 12,
1842, and was eng. at the Museum Th.,
1843-50, as a dancer and actress. Jenny
Lind then started a subscription to enable
her to study singing; at first under Garcia
in London, and then in Italy. Her debut
was at the Teatro Carcano, Milan, Dec. 17,
1854, as Rosina. Returning to Boston in
1855, she sang in concerts and English opera;
her first American appearance in Italian
opera being at the Acad, of Music, New
York, Mar. 17, 1856, as Azucena. Her great
success won her an engagement for five
seasons. She next went to Havana, and
thence to Paris (1861), Madrid, Barcelona,
Hungary, and Holland, singing leading
contralto parts in all the Italian operas then
in vogue. Joining the 'Boston Ideal Opera
Company' in 1879, she made her last Boston
appearance at the Museum on Nov. 30,
1880; and her final stage-appearance at
Cincinnati in December, 1881. Miss Phillipps
also excelled in oratorio, and on the concert-
stage.
Phillips, Montague Fawcett, b. London,
Nov. 13, 1885. Pupil in comp. of F. Corder
at the R. A. M.; org. and choirm. at Esher
Parish Ch. — Works: Symphony in C m.; 2
overtures, Boadicea and Festival; Symphonic
Scherzo for orch.; pf. -concerto in F m.;
Fantasy for vl. and orch.; a str. -quartet in
D; The Death of Admiral Blake, for bar. solo,
ch. and orch.; organ-pcs.; pf.-pcs.; part-
songs and songs.
Philp, Elizabeth, English singer and vocal
comp.; b. Falmouth, 1827; d. London, Nov.
26, 1885. Pupil of Garcia, Marchesi, and
Ferd. Hiller. Publ. many songs; also part-
songs, and a pamphlet, How to Sing an
English Ballad.
Plat'ti, Alfredo Carlo, eminent 'cello-
virtuoso; b. Bergamo, Jan. 8, 1822; d. there
July 19, 1901. Son of the violinist Antonio
P. [d. Feb. 27, 18781; pupil at first of Zanetti,
and 1832-7 of Merigni at Milan Cons.
Concert-debut at Milan, 1834; in 1838 his
concert-tours began; he played (1843) with
Liszt at Munich, and next year in Paris.
The same year he visited London, where he
created a profound impression; after playing
in Italy and Russia he returned to England
in 1846, and met with such enthusiasm that
he became an annual visitor; from 1846-9 he
was 1st 'cello at the Italian opera, and from
1859-98 a leading figure in the Monday and
Saturday Popular Concerts of chamber-
music. From 1880 he spent the winters in
London and the summers at his villa near
Cadenabbia on Lake Como. He combined
marvelous technical skill with profound
musicianship, and his influence on contem-
porary 'cellists may well be compared with
that of Joachim on violinists. — Works: Op.
18, Concertino for vcl. and orch.; op. 24,
concerto for vcl. and orch. (Bl>); op. 26,
do. (D m.); 6 sonatas for vcl. and pf. (op.
28, C; op. 29, D; op. 30, F; op. 31, G, idillica;
2 others in MS.); a number of minor pes. for
vcl. and pf. (op. 8, Airs Baskyrs; op. 14,
Bergamasca; op. 17, Serenade italienne; op.
23, Tarantella; etc.). Also edited 6 string-
sonatas by Boccherini and Locatelli, a sonata
(op. 2) by B. Marcello, etc.; and Kummer's
Method lor 'cello.
Picclnnl [pf-chin'ne], Louis-Alexandre,
grandson .of Nicola; b. Paris, Sept. 10, 1779;
d. there April 24, 1850. Pupil of Hausmann,
Le Sueur, and his grandfather; cond. and
703
PICCINNI— PICCINNI
accompanist at several minor- Parisian thea-
tres; 'chef du chant' at the Opera 1816-26.
His more than 200 operas, melodramas,
ballets, etc., require only casual mention.
Plccin'nl, Luigi, son of Nicola; b. Naples,
1766; d. Passy, July 31, 1827. Pupil of his
father, with whom he lived in Paris and
Naples; 1796-1801, R. conductor at Stock-
holm. Wrote some IS French and Italian
operas of no special merit, for Paris, Naples,
etc.
Piccinni (Piccinl, Picinni), Nicola, pro-
lific and celebrated opera-composer; b. Ban,
Jan. 16, 1728; d. Passy, n. Paris, May 7,
1800. His father, though a musician, gave
him no music-lessons, intending him for the
church; but the Bishop of Ban, recognizing
the boy's talent, overcame paternal oppo-
sition, and at 14 years of age P. entered the
Cons, di San Onofrio, Naples, where he
studied for 12 years, becoming the favorite
pupil of Leo and Durante. His student-
compositions were a mass and other church-
music. At this time Logroscino's buffo operas
ruled the Neapolitan stage; young P. boldly
invaded the popular favorite's held, a few
months after leaving the Cons., with the
opera Le Donne dispettose (Teatro de' Fioren-
tmi, 1754), which was received with accla-
mation. There followed, in 1755, Gclosia
per gelosia and // Curioso del suo propria
danno; the latter had a run of four years, a
thing then unheard of in Italy. His first
Roman venture, Alessandro nellc Indie (1758),
was also successful, and Cecchina zitella, o
La buona figliuola (Rome, 1760) was lauded
to the skies as the most perfect of opere
buffe; P. wrote it in 3 weeks, and it extorted
praise even from Jommelli. Logroscino, who
died in 1763, was already outri vailed; the
freshness of P.'s melody, the increased
dramatic vigor of his duets, and his effective
finales (extended to several . scenes with
corresponding changes in tempo and key)
made him the idol of the hour. His produc-
tiveness was astounding; in 1762 he brought
out no less than six operas, and in the course
of his career wrote (on the authority of his
friend and biographer Ginguen6) 133 dra-
matic works. This period of triumphant
success, to which II Re pastore (1760), VOlim-
piade (1761; revised, 1771), Berenice (1764),
La Cecchina maritata (1765), Didone ab-
bandonata (1767), Antigone (1771), and
many others contributed, was .rudely inter-
rupted in 1773, when the fickle Roman
public turned to the far inferior Anfossi,
and hissed one of P.'s operas off the stage.
He fell seriously ill on his return to Naples;
on recovering, he wrote J Viagqiatori for
Naples, and its enthusiastic reception (1776)
in some measure consoled him lor the pre-
vious undeserved failure. Negotiations begun
about this time by La Borde, 'valet de
chambre' to Louis XV, and author of the
Essai sur la musique, to induce P. to visit
Paris, were continued in 1775 by the Mar-
quis of Caraccioli by special desire of Marie
Antoinette. In consequence of flattering
offers, P. removed with his family to Paris
in December, 1776. He required an entire
year to obtain sufficient mastery of the
language to- write his first French opera,
Roland (Opera, Paris, Jan. 27, 1778), a
mediocre work which probably owed its
temporary success as much to partisan in-
trigue as to its intrinsic value. For as soon
as the celebrated Italian maestro reached
Paris, the opponents of the innovator Gluck
rallied around P. as the standard-bearer of
Italian musical taste [melody simply accom-
panied, in contradistinction to the dramatic
declamation and heavier scoring of G luck's
operas]; the controversy between the 'Gluck-
ists' and 'Piccinnists' rose to a pitch of
acrimony and animosity inconceivable to the
present generation, even after the long (but
chiefly 'academical ) warfare against Wagner.
It is pleasant to note that P. took no part
whatever in this quarrel, which his frank
and generous nature abhorred. When Gluck
died (1787) he endeavored, though vainly,
to raise a fund for annual memorial concerts.
His own successes were great. In 1778 he
was appointed director of the newly engaged
Italian opera-troupe, whose performances al-
ternated with those of the French company
at the Opera, and was thus enabled to pro-
duce his best Italian scores, meeting his rival
on less unequal terms. Unfortunately the
management of the Opera commissioned both
Gluck and P. to compose the opera Iphigenie
en Tauride at the same time; P. was dissatis-
fied with his text, and lost time by having
it rewritten by Ginguene, so that his version
appeared in 1781, the year after Gluck left
Paris, and failed utterly in comparison with
the German composers masterpiece. [His
successful French operas were Le Fat miprisc*
(1779), Atys (1780), Didon, Le Dormeur
eveiltt, and the Le faux Lord (these last 3
in 1783); half a dozen others either failed, or
were never performed]. To add to his dis-
comfiture, a new rival, Sacchini, now began
successfully to- dispute the field of Italian
opera; although P.'s French opera Didon
(1783) renewed his earlier triumphs. In
1784 he was appointed 'maftre de chant' at
the new '£cole royale de musique et de-
clamation'; 2 years thereafter, his opera
Roland was represented by his pupils there.
His last operatic attempts in French were
unfortunate. In 1789, at the outbreak of
the. Revolution, he lost his positions, and
retired to Naples, where the King granted
704
PICCOLOMINI— PIERRE
him a pension. But because of his daughter's
marriage with a young French radical, P.
was suspected of republicanism; he was kept
a prisoner in his own house for four years,
with the added misfortune of extreme poverty,
which he alleviated as best he might by the
composition and sale of church-music. After
the treaty of peace with the French republic
(1798), he returned to France, was feted
at the Conservatoire, and received a present
of 5,000 francs and a small pension, which
was not regularly paid, however. He was
prostrated for some months by paralysis;
after his recovery, a sixth Inspectorship was
created at the Cons, for his benefit, but he
soon became ill again, and retired to Passy
to die.— Bibliography: P. L. Ginguerie,
Notice sur la vie et les ouvrages de N. P.
(Paris, 1801); G. Desnoiresterres, Cluck et P.
(Paris, 1872); H. Abert, P. als Buffokom-
ponist, in 'Jahrb. Peters' (1913). A. Cametti
gives a complete list of P.'s operas under the
title Saggio cronologico delle opere teatrali di
N. P., in vol. viii of 'Riv. Mus. Ital.' (also
separate, Turin, 1901). — See Q.-Lex.
Piccolo'mini, Maria, soprano stage-
singer; b. Sienna, 1834; d. Florence,»-Dec.,
1899. Pupil of Mazzarelli and Raimondi,
Florence; debut there in 1852 as Lucrezia
Borgia, with pronounced success; sang in
Italian cities, London (H. M.'s Th.), Paris
(Th. Italien, 1856), and New York (1858).
Married the Marquis Gaetani in 1863, and
retired from the stage.
Pich'el (or Pichl), Wenzel, b. Bcchin,
Bohemia, Sept. 25, 1741; d. Vienna, Jan. 23,
1805. A violinist, pupil of Pokorny, and of
Segert in composition, he was chamber-
composer to Archduke Ferdinand at Milan
1775-96; then violinist at the Court Th.,
Vienna. His compositions (about 700) in-
clude 88 symphonies (28 publ.), 13 serenades
(3 publ.), violin-concertos, clarinet-concertos,
a concertante for 2 violins with orch., 12
string-quintets, 12 string-quartets, 6 octets
and 7 septets for barytone, flute and strings;
6 sextets, 6 quintets, and 3 quartets for
barytone with strings; much other chamber-
music; besides 4 masses, 6 motets, 10 psalms,
2 graduate, and 1 Miserere (all publ.), and
other sacred music (MS.); a score of operas
(I German, 4 Latin, 8 French, 7 Italian);
etc. — See Q.-Lex.
Picinni. See Piccinni.
Plel [pel], Peter, b. Kessenich, n. Bonn,
Aug. 12, 1835; d. Boppard, Aug. 21, 1904.
From 1868, music-teacher at the Seminary
in Boppard-on- Rhine, with title (1887) of
'Royal Music- Director.' — Works: Numerous
masses a 2-4 (for equal or mixed voices, with
or without organ); motets; 8 Magnificats (in
the church-modes); antiphones to the Virgin
705
a 4-8 (for male choir); other church-music;
organ-pieces; a Harmonielehre (1889; 10th
ed. 1911); etc.
Pierne [p'yar-na'], (Henri- Constant-)
Gabriel, b. Metz, Aug. 16, 1863. Pupil of
Marmontel, Cesar Franck, and Massenet,
at Paris Cons. (1871-82), taking 1st piano-
prize (1879), do. for cpt. and fugue (1881),
do. for organ (1882), and the Grand prix
de Rome (1882) with the cantata Edith.
In 1890 he succeeded Cesar Franck as
organist at Ste.-Clothilde, where he remained
until 1898. In 1903 he was a pp. asst.-cond.
to Colonne, and in 1910 his successor. In
1900 he was made chev. of the Legion of
Honor; he is also member of the Jury of the
Cons., and of the 'Qonseil superieur' of the
Beaux-Arts. — Works: The operas La Coupe
enchanUe (Royan, 1895; rewritten in 1 act,
Op.-Com., 1905); Vendee (Lyons, 1897), La
FiUe de Tabarin (Op.-Com., 1901), On ne
badine pas avec V Amour (Op.-Com., 1910);
the early operas Le Chemin de V Amour
(1883), Don Luis (1886), and Lizarda (1894)
have not yet been perf. and are still MS.
Ballets and pantomimes: Le Collier de
Saphirs (1891), Les joyeuses Commeres de
Paris (1892), Bouton d'Or (1893), Le Docteur
Blanc (1893), Salome (1895); incid. music to
Silvestre and Morand's Izejl (1894), Lorrain's
Y an this (1894), Rostand's La Princesse
lointaine (1895) and La Samaritaine (1897),
Crawford's Francesca da Rimini (1902), Loti's
Ramuntcho (1908); the oratorios La Croisade
des Enfants (1902; his most famous work),
Les Enfants d Bethleem (1907), St.- Francois
d'Assise (1912); Les Elfes, dram, legend;
Pandore, lyric scene for recitation, sop., ch.
and orch.; La Nuit de Noel de 1870, lyric
episode for soli, ch., organ and orch.; for
orch.: Op. 3, Suite de Concert; op. 6, Fantaisie-
Ballet for pf. and orch.; op. 10, Ouverture
symphonique; op. 11, Suite d'orchestre; op.
23, Marche solennelle; op. 24, Pantomime; op.
25, Scherzo- Caprice; op. 37, Poeme sym-
phonique for pf. and orch.; op. 39, Konzert-
stuck for harp and orch.; VAn Mil, symph.
poem with ch. Has also written a vl.-
sonata (op. 36), minor pes. for various
instrs. with pf., pf.-pes. (2 and 4 hands),
and songs. To Lavignac's 'Encycl. de la
Musique' he contrib. Histoire de V Instru-
mentation.— Cf. W. Weber, G. P. (Leipzig,
n. d.); O. Sere, Musiciens franqais d'aujour-
oVhui (2d ed. Paris, 1911).
Pierre [p'yar], Constant, b. Passy, Aug.
24, 1855. Pupil of Paris Cons.; orchl.
bassoon-player; writer for mus. journals, and
(since 1881) asst.-secr. at the Cons. Editor
of 'Le Monde musical.' — Works: Essays on
Les Noels populaires (1866) and La
Marseillaise (1887); La facture instru-
PIERSON— PI RAN I
mentale a l' Exposition de 1889 (1890); Les
facteurs d' instruments de musique, les luthiers
(1893); Vtcole de chant a VOpera de 1672-
1807 (1895); B. SarreUe et les origines du
Cons. not. de musique et de declamation (1895);
Notes inedites sur la musique de la Chapelle
Royale 1532-1790 (1899); Le Cons. nat. de
musique et de declamation (1900); Le Concert
spirituel 1725-1790 (1900); etc.
Pierson. See La Rue.
Pieroon (recte Pearson), Henry Hugo
[early pen-name Edgar Mansfeldt], English
composer; b. Oxford, April 12, 1816; d.
Leipzig, Jan. 28, 1873. He studied medicine
at Cambridge, also music under Attwood
and Corfe, and from 1830 under Rinck,
Tomaschek and Reissiger in Germany.
In 1844 he succeeded Bishop as prof, of
music at Edinburgh Univ., but soon resigned,
and settled in Germany, changing then the
spelling of his name to retain its pronuncia-
tion. He lived in Vienna, Hamburg and
Leipzig.— Works: The operas Der Elfensieg
(Briinn, 1845), Leila (Hamburg, 1848), Con-
tarini (ib., 1872), and Fenice (Dessau, 1883);
oratorios Jerusalem (Norwich Mus. Fest.,
1852) and Hezekiah (fragmentary; Norwich,
1869); symphony Macbeth, op. 54; 4 over-
tures, Twelfth Night, Romeo and Juliet,
Julius Caesar, Romantische Ouvertiire; music
to Faust (Part II, 39 numbers), written for
the first .perf. in Hamburg, Mar. 25, 1854;
Funeral March for Hamlet; Roman dirge
Salve aeternum, op. 30; communion-service,
hymn-tunes, Te Deums, etc.; part-songs,
songs.
Pilger, Karl. See Spazier.
Pilot' ti, Giuseppe, b. Bologna, 1784; d.
there Tune 12, 1838. At first he followed his
fathers trade, that of an organ-builder;
later studied under Mattei, produced an
opera, VAjo nell'imbarazzo (Bologna, about
1810), and adopted music as his profession.
Was maestro at a church in Pistoja, in 1826
succeeded Mattei as maestro of San Petronio,
Bologna, and in 1829 became prof, of coun-
terpoint at the Liceo Filarmonico. — Other
works: A 2-act opera buffa, Non essere geloso
(Florence, 1816); much church-music (Dies
irae w. orch.; Psalms a 8; etc.); publ. Breve
insegnamento teorico sulla natura, estensione,
proporzione armonica . . . per tutti gli stromenti.
Pinel'H, Ettore, b. Rome, Oct. 18, 1843.
Violinist, pupil of Ramaciotti in Rome and
(1864) of Joachim at Hanover. Returned to
Rome in 1866, and founded, with Sgambati,
a society for classical chamber-music; also
(1874) the 'Societa Orchestrale Romana,'
which has prod. St. Paul, The Creation, The
Seasons, and other important works. From
a school for violin and pf., organized by him
at the Accad. of S. Cecilia, grew the Liceo
Musicale, in which he has been violin-teacher
since 1877. He conducted the court con-
certs in alternation with Sgambati. — Works:
A Rapsodia italiana, and an overture, f. orch.;
a string-quartet; etc. Enthusiastic admirer
of German music; his orch. has played, for
example, all of Beethoven's and Brahms's
symphonies.
Pin'ner, Max, pianist; b. New York, April
14, 1851; d. Davos, Switzerland, May 10,
1887. Pupil (1865-7) of Leipzig Cons.; and
at Berlin (1867-9) of Tausig (pf!) and Weitz-
mann (theory). After long pianistic tours,
he settled in New York, 1877; he was a
player and teacher of high repute.
Pinsu'ti, Giro, celebrated singing- teacher;
b. Sinalunga, Florence, May 9, 1829; d.
Florence, Mar. 10, 1888. His talent devel-
oped so rapidly, that at 11 he was elected an
honorary member of the Acad. Filarmonica,
Rome. Taken to England soon after by
Henry Drummond, he st. the pf. under C.
Potter, and the violin under Blaprove;
returned to Bologna, 1845, and studied at
the Liceo Filarm., also privately with Rossini,
soon 'becoming asst. -teacher of a pf. -class.
In 1848 he went back to England, organized
a mus. society at Newcastle, and speedily
became famous as a vocal teacher, being
appointed prof, of singing at the R. A. M.
in 1856. He divided his time between
London and Italy; brought out an opera,
// Mercante di Venewia, at Bologna (1873),
another, Mattia Corvino, at Milan (1877),
and a third, Margherita, at Venice (1882).
In 1871 he represented Italy at the opening
of the London Exhibition, for which he
comp. the hymn 0 people of this favoured
land. As a recipient of the order of the
Italian Crown, he was styled 'Cavaliere'
Pinsuti. The theatre at Sinalunga was
named Teatro Ciro Pinsuti.'— Publ. works:
Opera // Mercante di Venezia; over 200
English and Italian songs; part-songs, terzets,
duets, and other vocal music.
Pira'ni, Eugenio, pianist and composer;
b. Bologna, Sept. 8, 1852. Pupil of Golinelli
at the Bologna Liceo Musicale, graduating
in 1869; then studied in Berlin with Th.
Kullak (pf.) and Kiel (comp.); taught m
Kullak's Acad. 1870-80, also touring Italy
(1873, 76), England and Germany, France
and Russia. He lived in Heidelberg till
1895, and then settled in Berlin. Corre-
spondent for the 'Gazzetta Musicale of
Milan, and other papers. In 1888, chairman
of the German committee for the Musical
Exhibition at Bologna; since 1905 living m
New York as dir. of his own music-school
(The Powell and Pirani Mus. Inst.). A
member of numerous societies. — Works: A
706
PIRRO— PITONI
1 -act ballet, Un sogno d'artista (MS.); sym-
phonic poem Im Heidelberger Schloss, op. 43;
Scene veneziane for pf. and orch., op. 44; a
Ballala for full orch., op. 47; Caprice for vi.
.and orch., op. 50; Airs bohemiens for orch.,
op. 53; Variazioni sulla scala diatonica for
orch., op. 71; a Fantasia in D m. for 2 pfs.,
op. 87; pf. -trios (op. 24, 48); Concert-studies
(op. 19, 41); many pieces for pf. solo, songs,
duets, etc.; also Die Hochs chute des Klavier-
spiels, op. 88 (in Ger. and Engl.). In MS.
he has two operas, The Witch and Black Blood.
Pirro, Andre\ distinguished musicologist;
b. St.-Dizier, Haute-Marne, Feb. 12, 1869.
Pupil of his father, an organist; since 1896
prof, at the Schola Cantorum, and member
of the board of directors; since 1904 also
lecturer on the hist, of the theory of music at
the Ecole des Hautes £tudes Sociales; in
1912 he succ. R. Rolland as prof, of the hist,
of music at the Sorbonne. — Works: VOrgue
de J.-S. Bach (1897; won prize of the Acad,
des Beaux-Arts; preface by Widor; Engl. tr.
by A. J. Goodrich, 1902); /. 5. Bach (1906,
in 'Maitres de musique'; Ger. tr. by B. En-
gelke, 1910); Descartes et la musique (1907);
T EsthStique de J. S. Bach (1907; a most
valuable work); Dietrich Buxtehude (1912);
Heinrich Schiitz (1913; Ger. tr. by W. Gur-
litt,A 1914). For Guilmant's 'Archives des
Maitres* de POrgue' he has written a number
of biographies of early French organists
(Titelouze, Raison, du Mage, Daquin, Rober-
day, Gigoult, Couperin, Marchand); also
valuable essays in various reviews.
Pi'sa, Agostino, author of the earliest
known treatise on the details of conducting,
Battuta delta tnusica dichiarata (2d ed. Rome,
1611; 1st ed. not extant). It also discusses
other musical questions. — Cf. R. Schwartz,
Zur Geschichte des Taktschlagens, in 'Jahrb.
Peters' (1907); G. Schunemann, Geschichte
des Dirigierens (Leipzig, 1913).
Pisa'ri, Pasquale, called by Padre Mar-
tini the ,Palestrina of the 18th century'; b.
Rome, 1725; d. there 1778. Pupil of Giovanni
Biordi; in 1752 he was taken into the Papal
Chapel, being a fine bass singer. Most of his
romps, are in MS. in the archives of the
Papal Chapel; they include a Dixit in 16
real parts, for 4 choirs, and a series of motets
for the entire year, written for the Lisbon
court. — See Q.-Lex.
Pisaro'ni, Benedetta Rosamonda, b.
Piacenza, Feb. 6, 1793; d. there Aug. 6,
1872. From her debut at Bergamo (1811)
until 1813 her voice was a high soprano, then
changing after a severe illness to a magnificent
contralto. In Italy and in Paris (1829) she
won great applause on the stage; also sang
1838-48 at Cadiz. Her failure at London was
707
probably due to her unprepossessing appear-
ance, her face being disfigured by the smallpox.
Pi'schek, Johann Baptist, stage-bari-
tone; b. Moscheno, Bohemia, Oct. 14, 1814;
d. Sigmaringen, Feb. 16, 1873. Debut at
Prague; sang in Brtinn, Presburg, Vienna,
Frankfort, and lived for years as court
singer in Stuttgart.
Pisendel [pe'-]t Johann Georg, b. Karls-
burg, Dec. 26, 1687; d. Dresden, Nov. 25,
1755. Excellent violinist, pupil of Torelli
at Ansbach, and later of Vivaldi at Venice;
succeeded Volumier in 1728 as leader of the
Electoral orch. at Dresden. He travelled
much, and assimilated the characteristics of
the French and Italian schools. A symphony,
2 Concerti grossi, 8 violin-concertos, 3 con-
certs for 2 oboes with strings, and 2 violin
soli with bass, are in MS. at Dresden.
Plstocchi [pls-tdh'ke], Francesco An-
tonio, founder of the famous School of
Singing at Bologna; b. Palermo, 1659; d.
Bologna, May 13, 1726. Taken to Bologna
very young, his first work was publ. there in
1667: Capricct puerili saviamente compos ti
e passeggiati in 40 modi sopra un Basso da
un balletto, per il clavicembalo ed altri istru-
menti, when he was but 8 years old! His
teacher in theory was G. A. Perti; he studied
singing under Padre Vastamigli and B.
Monari. As a lad he became maestro at the
church of San Giovanni in Monte; later a
priest in the Oratorian order; from 1697-9
was Kapellm. at the court of Ansbach; and
returned to Bologna, via Vienna and Venice,
about 1700. Here he founded, soon after
his return, the first school of music in which
vocal instruction was given systematically in
the several classes. In this school were
trained many eminent singers (Bernacchi,
Bertolino da Faenza, Minelli, Pio Fabri, etc.);
similar institutions soon sprang up in other
Italian cities. P. was twice elected president
of the Accad. Filarmonica, in 1708 and 1710.
— Works: The operas Narciso (Ansbach,
1697); he risa di Democrito (Vienna, 1700);
and two early works, Leandro (1679) and II
Girello (1681); the oratorios II martirio di S.
Adriano (Venice, 1699), Maria Virgine addo-
lorata (1698), and La fuga di S. Teresia
(1717); Scherzi musicali (French, Italian
and German airs; publ. at Amsterdam);
Duetti e terzetti (1707); and a MS. Lauda
Jerusalem (Psalm 147) a 5 with basso con-
tinue— Full biogr. sketch in L. Busi's //
Padre G. B. Martini (Bologna, 1891; vol. i,
pp. 142-86). — See also Q.-Lex.
Pito'ni, Giuseppe Ottavio, born Rieti,
Italy, March 18, 1657; d. Rome, Feb. 1,
1743. He began mus. studies at 5, under
Pompeo Natale in Rome; at 8 was chorister
at S. Giovanni de' Fiorentini, later at the
PITT— PIXIS
S.S. Apostoli, and studying counterpoint
under Foggia. In 1673, m. di capp. at Terra
di Rotondo; in 1674, at Assisi; in 1676, at
Rieti; finally, in 1677, he became maestro di
cappella of the Collegio di S. Marco, Rome,
retaining this post until death, though
simultaneously engaged at San Apollinare
(1686), San Lorenzo in Damaso (1686), San
Giovanni in Laterano (1708-19), and St.
Peter's (1719), also in some minor Roman
churches. He was an excellent teacher, and
taught after the same method by which he
himself rose to eminence as a composer,
i.e., the writing out in score of Palestrina's
works to study his style; — Durante, Leo
and Feo were his greatest pupils. As a
composer he cultivated a distinctive feature
of the Roman school, the writing in many
parts; his finest works are a Dixit a 16 (for
4 choirs), still sung yearly at St. Peter's
during Holy Week, and 3 masses based on
popular airs, Li pastori a Maremme, Li
pastori a Montagna, and Mosca. Of masses
and^ psalms he comp. over 40 a 12 (for 3
choirs) and over 20 a 16 (for 4 choirs),
psalms and motets a 24 and 36; and left an
unfinished mass a 48. He also wrote for
St. Peter's a set of masses, vespers, etc., for
the entire year, besides motets a $-8, hymns,
etc. Only one book of motets a 2 was publ.
(Rome, 1607) during his lifetime, probably
because he insisted that music written for
one church should not be perf. in any other.
Proske, in his 4Musica divina' (1855, etc.),
has printed a mass, a Requiem, 6 motets, a
psalm, a hymn, and a Chrtstus foetus est. In
the Vatican Library is a MS. work by P.,
Notizie dei maestri ai cappella si di Roma che
oltramontani . . . from 1500-1700; and a
fragmentary Guida armonica (108 printed
pages). — See Q.-Lex.
Pitt, Percy, b. .London, Jan. 4, 1870.
Pupil of Reinecke and Jadassohn at the
Leipzig Cons. (1886-8) and of Rheinberger
at the Kgl. Akademie der Tonkunst in
Munich (1889-91). He returned to England
in 1893, and in 1895 acted as chorusmaster
for the Mottl concerts; app. org. at Queens
Hall in 1896; in 1902 he became Repetitor
at the R. Opera, Covent Garden, in 1906
asst.-cond., and in 1907, after Messager's
resignation, principal cond., a post which he
has since filled with distinction. — Works: For
orch.: Symphony in G m. (Birmingham
Fest., 1906); Serenade in B\> (5 movems.);
Suite; English Rhapsody; Oriental Rhapsody;
Files galantes, suite after Verlaine; Cinderella,
mus. fairy tale; Dance Rhythms; Coronation
March; overture to The Taming of the Shrew;
Le Sang des Crepuscules, symph. poem;
Anactoria, symph. poem for via. and orch.;
Ballade for vl. and orch.; Concerto for clar.
and orch. Incid. music to S. Phillips's Paolo
and Francesca, A. Austin's Flodden Field,
Shakespeare's Richard II; Hohenlinden, ballad
for male ch. and orch.; Swerting the Saxon,
cantata for do.; 5 poems for bar. and orch.;
do. for mezzo-sop. and orch.; Sakura, a,
ballet-pantomime; also some chamber- music,
pf.-pes., and songs.
Pit'trlch, George (Washington), born
Dresden, Feb. 22, 1870. Studied 1884-90 in
the Dresden Cons, under Hoppner, Roth,
Kirchner, Braunroth, Draeseke and Hagen,
graduating with high honors. From 189CMJ
chorusmaster and cond. of ballets in Dresden
Court Opera, and taught chorus-singing in
the Cons.; 1898, Kapellm. of Hamburg opera;
1899, 1st Kapellm. of the Cologne opera;
1901, Kapellm. at the Frankfort opera; 1904,
do. at the 'Zentral-Th.' in Dresden; since
1912 1st Kapellm. at the 'Wintergarten' in
Berlin. — Works: 1-act opera Marga (Dres-
den, Feb. 8, 1894); complete incid. music to
Jungfrau von Orleans, As you like it. Blonde
Kathrein, Meister von Palmyra, Das Mdrchen
vom Gluck; a ballet, Pechvogel und Lachtaube;
the 'Weihnachtsmarchen' Der Stern von
Bethlehem, Der Zauberschleier, Mausckbnigin;
a clarinet -concerto; a fantasia for pf. with
string-orch. ; orchestral pieces, many songs.
Piu'tti, Karl, b. Elgersburg, Thuringia,
April 30, 1846; d. Leipzig, June 17, 1902.
Studied in Leipzig Cons., where he taught
from 1875; in 1880, organist of the Thomas-
kirche, succeeding Rust. — Organ works: Op.
1, 6 fugal fantasias; op. 2, 8 preludes; op.
3, 3 interludes; op. 4, 5 choral -preludes; op.
5, 5 charact. pieces; op. 9, * Wedding Sonata';
op. 10 and 11, 12 pes.; op. 15, 10 improvi-
sations on chorals; op. 16, Pfingstfeier; op.
20, Festhymnus; op. 21, In Memoriam;
op. 22, Sonata in G m.; op. 27, do. in E m.;
op. 34, 200 Choralvorspiele; psalms and
motets a capp.; songs. Also publ. Regeln
und Erlduterungen zum Studium der Musik-
theorie.
Piu'tti, Max, b. Luisenhall, n. Erfurt,
Germany, Sept. 13, 1852; d. Jackson, Mich.,
Aug. 9, 1885. Educated at the Erfurt
Gymnasium, and (musically) at Leipzig and
Stuttgart. In 1874 he went to America,
settling in Aurora, N. Y., as instructor at
Wells College. He was director of music
there for 9 years, until failing health obliged
him to resign. A very cultured and successful
teacher and lecturer. He left an unfinished
work on the Folk-songs of the Nations.
Pixis, Friedrich Wilhelm, violinist; b.
Mannheim, 1786; d. Oct. 20, 1842, in Prague,
where he was Kapellm. at the City Th., and
teacher at the Cons.
Pixis, Johann Peter, brother of preceding;
pianist and comp. for pf.; b. Mannheim, 1788;
708
PIZZI— PLAN CON
d. Baden-Baden, Dec. 22, 1874. A good
player at 9, and travelled with his brother;
lived 1825-33 in Paris as a fashionable
teacher, from 1840 in Baden-Baden. — Works:
3 operas, and a 'Singspiel'; a symphony in C,
op. 5; a pf. -quartet, op. 4; a str.-quintet in
C, op. 23; a pf.-quintet in D m., op. 99; 7
pf. -trios, op. 75 (Eb), op. 86 (F), op. 95
(B m.), op. 118 (Eb), op. 129 (C), op. 139
(F# m.), op. 147 (D m.); 2 sonatas for fl.
and pf. (op. 17, 35); pf. -concerto in C, op.
100; much pf.-music (sonatas, vars., tran-
scriptions, etc.). Together with Liszt,
Chopin, Thalberg, Czerny and Herz he
wrote Hexameron (a series of brilliant vars.
on the march from Puritani). — Cf. R. Bat lea,
A us J. P. P.'s Memoiren, in Kranz. Gesam-
melte Blatter iiber Musik (Leipzig, 1903).
Piz'zi [pit-se], Emilio, b. Verona, Feb. 2,
1862. Pupil of Ponchielli and Bazzini at
Milan Cons., graduating 1884. Took 1st
prize, Milan, 1885, for 1-act opera Lina; 1st
and 2d prizes at Florence, 1887-89, for 2
string-quartets; prize of 5,000 francs, Bologna,
1889, for 4-act grand opera Guglieltno Raicliff
(Bologna, Oct. 31, 1889; succ.). In 1897,
app. Dir. of Music-School at Bergamo, and
m. di capp. at church of S. Maria Maggiore,
succeeding Cagnoni. On his marriage to an
English lady in 1900 he resigned, and settled
in London, where he has lived since then.
Other works : Editha (Milan, 1890) ; the 1-act
opera seria Gabriella (written for Adelina
Patti, who created title-rGle in Boston,
1893); the comic opera Bric-d-brac Will
(London, 1895); the 1-act opera Rosalba
(written for Patti in 1896, but not prod.
until 1899 in Turin); Vendetta (Cologne,
1906); a Messa solenne for soli, ch. and orch.;
a Requiem; pes. for vl. and pf.; pf.-pes.;
songs. In MS. he has an oratorio, Death
and Resurrection.
Plaichinger [pli'-l, Thila, dramatic so-
prano; b. Vienna, Mar. 13, 1868. Pupil of
Gansbacher at the Cons, there; debut at the
Stadtth., Hamburg, in 1893; 1894-1901,
member of the Strassburg opera; 1901-14, of
the Kgl. Oper, Berlin; has appeared as star
in almost all the principal cities of Germany;
sang Brunnhildc in Bayreuth in 1896, and
appeared there in several subsequent seasons;
made Karnmersangerin in 1912; since 1914
living in Berlin as teacher. Her finest rdles
were those demanding intense dramatic
expression (all the Wagner parts, Fidelio,
Elektra, Salome, etc.).
Plal'dy [pla'-], Louis, b. Hubertusburg,
Saxony, Nov. 28, 1810; d. Grimma, Mar. 3,
1874. Pupil of Agthe (pf.) and Haase (vln.)
in Dresden. Entered the Wunderlich Orch.
at Leipzig, 1831, as a violinist; later devoted
himself to the piano, carefully studying the
principles of technique, and teaching; in
1843 Mendelssohn invited him to join the
staff of instructors at the Cons., and he
taught there until 1865, later giving private
lessons in Leipzig. He was eminently
successful as a pedagogue; and publ. the
still standard text-book Technische Studien
fur das Pianofortespiel; also a booklet, Der
Khavierlehrer (1874; Engl, by Ritter as The
Pianoforte Teacher's Guide, and by Dwight as
The Piano-Teacher).
Planchet [plahn-sha'], D. -Charles, born
Toulouse, 1862. Pupil of the £cole Nieder-
meyer in Paris; was tor many years org. and
maitre de ch. at the Versailles Cath.; since
1898 do. at Ste.-Trinite, Paris, and prof, at
the fecole Niedermeyer; he is also general
sec. of the 'Societe des Compositeurs'; in
1905 he won the Prix Chartier for chamber-
music. — Works: The opera Le Fils du Croise
(priv. perf. at 'Cercle catholique,' Versailles,
1885); a symph. poem, Breiz; Le Grand
FerrS for soli, ch. and orch.; 2 vcl.-concertos;
Messe solenneUe; Esclavage africain, cantata
for male vcs.; a pf.-trio; a vl. -sonata; pes.
for vl. and pf.; organ-pes.; songs. For
Lavignac's 'Encyc. de la Mus.' he wrote
I Art du mattre de chapelle.
Plancon [pULhn-s6hn'], Pol (-Henri),
famous dramatic basso; b. Fumay, Ardennes,
June 12, 1854; d. Paris, Aug. 12, 1914.
Destined by his parents for a commercial
career, he was sent to a large business in
Paris. Upon the advice of the pianist Th.
Ritter he began to study singing with Duprez,
and later with Sbriglia. His successful debut
as St.-Bris at Lyons, in 1877, led to a 2
years' eng. there; he was first heard in Paris
at the Th. de la Gaite on Feb. 11, 1880, as
Colonna in Duprat's Petrarque, and subse-
quently sang with great success at the La-
moureux concerts; after a season at Monte
Carlo, highly successful debut at the Grand
Opera as Mephistopheles on June 23, 1883.
During his ten years' engagement there he
sang that rdle over 100 times; it always
remained his greatest part, and probably
no other singer has equalled P.'s marvelous
conception and delivery. On J[une 3, 1891,
he made his London debut in the same
rdle, and from then until 1904 he appeared
at Covent Garden every spring. His Amer.
debut, likewise as Mephistopheles, took
place at the M. O. H. on Nov. 29, 1893.
He then resigned from the Paris Opera, and
until his retirement in 1906 remained a
member of the New York institution, where
he sang with such artists as Melba, Eames.
Sembnch, Nordica, the de Reszkes, Maurel
and Lablache. — P. possessed an imposing
physical appearance, a voice of marvelous
volume and rare flexibiltiy, mobile features,
709
PLANQUETTE— PLATEL
and true musical instinct. Although the
rdle of Mephistopheles is in some special
manner identified with this artist, he was
anything but one-sided, as is proved by
the variety of his repertoire (about 50 r61es
in French, Italian, German and English
works) and his phenomenal successes on the
concert-platform. He created the rdles of
Eustache in Saint-Saens's Utienne Marcel
(1879), Francois I in the same composer's
Ascanio (1890), Garrido in Massenet's La
Navarraise (1898), Ariofarne in Mancinelli's
Ero e Leandro (1901), the Friar in Stanford's
Much Ado about Nothing (1902), the King in
Bunning's Princess Osra (1904). In several
operas he sang more than one part, as in
Romko et Juliette (Capulet and Friar), Aida
(Ramfis and King), Huguenots (St.-Bris,
Marcel), etc. Of Wagnerian rdles he sang
the Landgrave, King Henry, and Pogner (in
German and Italian;.
Planquette [plahn-kght'], (Jean-) Ro-
bert, b. Paris, July 31, 1848; d. there Jan. 28,
1903. St. comp. at Paris Cons, under Du-
prato; debut as composer with chansons and
saynetes' for 'cafes-concerts' ; first stage- work
the 1-act operetta Paille d'avoine (1874); his
first hit was with Les Cloches de Corneville,
a 3-act comic opera (Folies-Dramatiques,
1877), given over 400 times running, and
popular both in England and Germany.
Some of his latest are Surcouf (1887), Le
Talisman (1892), Panurge (1895), and a
spectacular comic opera in 3 acts, Mam'xelle
Quat'sous (Gaite, 1897). For London he
wrote The Old Guard (1887), and Paul Jones
(1889). A posth. operetta, Le Paradis de
Mahomet (orch. by Louis Ganne) was prod,
at the Th. des Var. in 1906.
Plantade [plahn-tahd'], Charles- Fran-
cois, son of Charles-Henri P.; b. Paris, April
14, 1787; d. there May 26, 1870. He comp.
romances, and was a co-founder, in 1828, of
the 'Concerts du Conservatoire.'
Plantade, Charles- Henri, b. Pontoise,
Oct. 19, 1764; d. Paris, Dec. 18, 1839. From
8 he studied singing and the 'cello in the
royal school for the 'pages de musique';
afterwards Langle, Hullmandel and Petrini
were his teachers. From 1 797 he was singing-
teacher at the Campan Inst, at Saint-Denis,
where Hortense de Beauharnais, the future
queen of Holland, was his pupil. From 1802
he was prof, of singing at the Cons.; but
resigned this position, Queen Hortense calling
him to Holland as court conductor, and
remained in her service at Paris, after the
King's abdication in 1810, until 1815. From
1812-15, P. was also maitre de chant and
stage-manager at the Opera; 1816-28, again
Prof, of singing at the Cons., also succeeding
ersuis as maitre de chapelle to Louis XVIII.
Losing his positions in the revolutionary
year 1830, he retired to Batignolles. His
most distinguished pupil was Mme. Cinti-
Damoreau. Besides half- a -score of operas
(Palma and Le Mari de cir Constance were
publ.), he comp. masses, motets, etc., for the
Chapelle royal e; publ. 20 sets of romances,
3 books of vocal duets (nocturnes), and a
harp-sonata.
Plante* [plahn-ta'], Francois, celebrated
pianist; b. Orthez, Basses- Pyrenees, Mar. 2,
1839. From 1849, pupil of Marmontel at
Paris Cons.; won 1st prize after 7 months'
tuition, and was installed by Alard and
Franchomme as pianist in their trio soirees.
After a course of harmony and reading from
a figured bass, in Bazin's class (1853), he
retired for private study during ten years,
and then reappeared as a pianist of finished
technique and style. About 1900 he sud-
denly, without apparent reason, disappeared
from public life, and settled as a farmer near
Monte de Marsan, vowing that he should
'never be seen again in public' He created
nothing less than a sensation in 1915 when
he was heard again in several concerts in
Paris; but, in order to keep his strange vow,
he was hidden from the view of the audience
by a screen. Has made excellent transcrip-
tions of classic pieces (Gluck, Mozart), but
has publ. no original compositions. — Cf. O.
Comet tan t, F. P. (Paris, 1874).
Plata'nia, Pletro, born Catania, April 5,
1828; d. Naples, April 26, 1907. Pupil of
P. Raimondi at the Cons, there; 1863, Dir.
of Palermo Cons.; later m. di capp. at Milan,
and (1888) Dir. of the R. College of Music
at Naples.— Operas: Matilde Bentivoglio
(Palermo, 1852); Piccarda Donati (ib., 1857);
La Vendetta slava (ib., 1865); 4-act opera
Spartaco (Naples, 1891); Giulio Sabino (not
perf.). Also a Hymn to the Queen of Italy;
a symphony, U Italia; funeral symphony in
memory of Pacini; festival symphony with
choruses to welcome King Humbert in 1878;
Pensiero sinfonico; a Requiem; Psalm 67 for
ch. and orch.; etc.; and Trattato tfArmonia
(1872).— Cf. F. Guardione, P. P. (Milan,
1908).
Platel', Nicolas- Joseph, famous 'cellist;
b. Versailles, 1777; d. Brussels, Aug. 25,
1835. A pupil of Duport and Lamare;
considered the best 'cellist in Paris from
1801-5, when he went on a long tour, became
1st 'cello at the Antwerp opera in 1813, and
the same about 1819 at Brussels, where he
was app. prof, at the royal school of music
(reorganized as the Cons, in 1831). — Works:
5 'cello-concertos; 3 'cello-sonatas, w. bass;
8 airs varies for 'cello; caprices or preludes
for 'cello; 3 string- trios; 6 duos for violin
710
PLATO— PLODDEMANN
and 'cello; 6 romances with pf.-accomp.
(all publ.).
Plato, the eminent Greek philosopher
(429-347 B. a), formulated in his 'Timaeus'
a system of musical harmony, eruditely in-
terpreted by Th.-Henri Martin in his Atudes
sur le Timte de Platon (Paris, 1841). R.
von Westphal, in his Harmonik und Melopdie
der Griechen (Leipzig, 1865), von Jan in
Die Harmonic der Sphdren (in 'Philogus,' vol.
lii), and H. Abert's Die Lehre vom Ethos in
der griechischen Musik (Leipzig, 1899), may
also be consulted. Plato's thoughts on
music are collected in an essay by Deyk in
Weber's 'Cacilia' (1828). P. likened the
movements of music to those of the soul,
whose development may therefore be in-
fluenced by musical art.
Playford, John, London music-publisher;
b. 1623; d. Nov., 1686. He was in business
from 1648^84. Publ. Hilton's 'Catch that
catch can' (1652); 'Select Musicall Ayres and
Dialogues' (1653); 'Mustek's Recreation on
the Lyra Violl' (1652; in a collection);
'Breefe Introduction to the Skill of Musick
for Song and Viall' (1654; 2d enlarged ed.
1655, with an essay on The Art of Descant
by Dr. Thos. Campion, which was revised
by Purcell in the 10th ed. of 1683; this very
popular work ran through 19 numbered eds.
up to 1730, besides 6 or more unnumbered
eds.); 'Psalms and Hymns in Solemn Musick
of foure parts . . . ' (1671); The Whole
Book of Psalms, with the usual Spiritual
Songs' a 3 (2d ed. 1695, 20th ed. 1757); 'The
Musical Companion* (1673; Book i, catches
and rounds a 3; Book ii, dialogues, glees,
ayres and songs a 2^1); 'Choice Ayres,
Songs and Dialogues to be sung to the theor-
bo ...' (5 books; 1676-84); 'Musick's
Delight on the Cithern' (1666); etc.— His
son and successor, Henry Playford, b. May
5, 1657; d. c. 1720; publ. 'The Theatre of
Musick' (4 books; 1685-7; 'the newest and
best songs'); 'Banquet of Music' (6 books;
1688-92; ditto); Purcell's 'Orpheus Britan-
nicus' (1698-1702) and 'Ten Sonatas' with
Te Deum and Jubilate for St. Cecilia's
Day (1797); Blow's 'Amphion Anglicus'
(1700) and Ode on Purcell's death; etc.
Pleyel [pli'Sl], Camille, son of Ignaz J.;
b. Strassburg, Dec. 18, 1788; d. Paris, May
4, 1855. Pupil of his father, and an excellent
pianist; had some success as a composer
(op. 1, 3 pf.-trios; op. 3, a pf. -quartet; also
pieces for pf. solo, for pf. and violin, etc.);
but is chiefly noteworthy as a piano- manu-
facturer, the business prospering greatly under
his skilful supervision. Kalkbrenner was his
partner for a time; August e Wolff, his suc-
cessor.—-His wife, Marie-F61icit6-Deni8e, a
distinguished pupil of Henri Herz, Moscheles
and Kalkbrenner; b. Paris, Sept. 4, 1811;
d. St.-Josse-ten-Noode, Mar. 30, 1875. In
her fifteenth year, as Mile. Moke, her vir-
tuosity created a sensation in Belgium,
Austria, Germany and Russia. From 1848-
72 she was prof, at the Brussels Cons.
Pley'el, Ignaz Joseph, born Ruppertsthal,
near Vienna, June 1, 1757; d. on his estate
near Paris, Nov. 14, 1831. His pianoforte-
teacher till his 15th year was Wannal; Count
Erdddy, his patron, then placed him under
Haydn's care, with whom he lived 5 years.
The count now app. him his private Kapellm.,
but granted leave of absence for further study
in Rome, together with means of mainte-
nance. P. remained in this congenial atmo-
sphere until 1781, then making, a brief visit to
Vienna, and returning to Rome, departing
for the second time, in 1783, to become 2d
Kapellm. at the Strassburg Minster. He was
advanced to 1st Kapellm. in 1789; lost his
position through the mad attacks of the
Revolution on Church and State, and went
to London in the winter of 1791-2 on an
invitation to conduct the Professional Con-
certs, a rival enterprise (though P. did not
know it) to his old teacher Haydn's concerts
under Salomon's management. These Pro-
fessional Concerts were successful in them-
selves, but did not overwhelm the rival en-
terprise; P., after conducting them for a
few years, returned to his property near
Strassburg, but was subjected to such
annoyances from the revolutionists, that he
sold his place in 1795, and went to Paris.
Here he began business as a music-seller,
and in 1807 founded a piano-factory, the
growing prosperity of which gradually ab-
sorbed his attention, and caused him to
give up composition. (The firm-name is
now 'Pleyel, Wolff & Cie.'; the 100,000th
instrument was sold in 1889.) P. was an
extremely prolific instrumental composer; he
publ. 29 symphonies; a septet for strings
with 2 horns; a sextet for 2 violins, 2 violas,
'cello and d.-bass; 5 books of string-quintets;
45 string-quartets; 6 quartets for flute and
strings (12 more, called by Onslow the best,
are still MS.); string-trios; 2 violin-concertos;
7 symphonies concertantes for 2 violins, for
strings, for strings and wind, for wind, or
pf. and violin; 4 'cello-concertos; 2 pf. -con-
certos, many sonatas for pf. and violin, 6
grand sonatas for pf. solo, sonatas for pf.
4 hands, other pf.- music; etc. — See Q.-Lex.
Plttd'demann, Martin, b. Kolberg, Sept.
24, 1854; d. Berlin, Oct. 8, 1897. Pupil of
Leipzig Cons.; cond. at St. Gallen; then stud-
ied singing under Hey at Munich; in 1887,
cond. of the Singakademie at Ratibor; 1889,
singing- teacher at the Styrian Music-School,
Graz. — Very popular male choruses; as a
711
PLUTARCH— POHL
comp. of 'ballades' he approaches Lowe; also
publ. songs, and pamphlets of Wagnerian
tendency. — Cf. R. Batka, M. P. und seine
BaUaden (Prague, 1895).
Plutarch [Plutarchos], born Chaeronea,
Boeotia, c. 50 A. D.; d. there 120 (131?).
Greek biographer and essayist, among whose
minor treatises ('Moralia') one, De musica,
contains important historical data concerning
music (Lat. transl. by R. Volkmann; German
transl., with parallel Greek text, and com-
mentary, by R. Westphal [1865]).
Pocci [poh'che], Franz, Graf von, b. (of
an old Italian noble family) Munich, Mar. 7,
1807; d. there May 7, 1876. A composer of
. considerable inventive power, but deficient in
technical skill;. among his numerous works
the best are .smaller comps. for children
{Blumenlieder, Bildertone fur Klavier, Sol-
datenlieder, Jagerlieder, Alte und neue Kinder-
lieder, etc.); he was also a gifted poet (texts
of most vocal works by himself) and drafts-
man; several works he publ. with original
drawings. Two pf. -sonatas (in A and E)
were praised by Schumann for their poetic
content and fine romantic spirit; an opera,
Der Alchemist, was prod, in Munich (1840).
Pochhammer [p6hh'-], Adolf, b. Rheine,
Westphalia, Aug. 14, 1864. Pupil of O.
Raif and O. Tiersch in Berlin; ent. the
Hamburg Cons, in 1888 (pupil of M. Fiedler,
E. Krause, and H. Riemann); followed
Riemann in 1890 to Sonderhausen (3 months)
and Wiesbaden, where he also st. singing
with Bussard and Marie Retzer; taught
there at the Cons., and cond. some choral
societies; 1897-1902, prof, at the Musikschule
in Frankfort; since then dir. of the Hoch-
schule fur Musik in Aix-la-Chapelle. Has
written Einfiihrung in die Musik (1895; 5th
ed. 1906), Musikalische Elementargrammatik
(1901), numerous analyses for the 'Musik-
fuhrer' and 'Opernfuhrer'; has also publ. some
songs.
Pochon [p6h-sh6hn']. Alfred, violinist; b.
Yverdon, Switzerland, July 30, 1878. At the
age of 6 he began the studv of the violin in
Geneva; at the age of 11 he made concert-
tours of Switzerland and France as a prodigy.
Joachim in 1892 advised him to give up
concertizing for a time, and recommended
him to Cesar Thomson, whose pupil he then
was at the Liege Cons, until 1897. When
JionoN ame prof- at the Br"ssels Cons.
(1898) he had P. app. as teacher there, and
also eng. him as 2d vl. in his quartet; at the
same time P. played among the 1st vis. in
E. Ysa?e s orch. In 1902 he was commis-
sioned by E. de Coppet to organize the
Flonzaley Quartet, to which he has since
then devoted his entire time; he even aban-
doned his intention of publishing a method
712
for vl. embodying some original ideas, which
he had nearly completed at the time. For
the first year and a half he and Betti alter-
nated at the 1st and 2d desk, but as that
Plan involved much loss of time at practice,
. volunteered to occupy the 2d desk per-
manently.— See Coppet, Edward de.
Podbertsky, Theodor, favorite composer
for men's voices; b. Munich, Nov. 16, 1846;
d. there Oct. 5, 1913. From 1901-10 con-
ductor of the Munich 'Mannergesangverein'
and 'Das neue Bavaria.' Wrote about 300
male choruses (206 op.-numbers), of which
about 40 are with orch. (Sckwerting der
Sachsenherzog, Wittekind, Habsburgs Mauern,
Weihegesang, etc.); also an opera, Des Liedes
Ende.
Pohl, Karl Ferdinand, b. Darmstadt,
Sept. 6, 1819; d.Vienna, April 28, 1887, where
he had been archivist and librarian to the
'Gesellschaft der Musikfreunde' since 1866.
During 3 years' residence in London (1863-6)
he gathered all attainable facts concerning
the residence there of Mozart and Haydn,
embodying them in his Mozart und Haydn in
London (1867; 2 vols.). P. also began an
extended biography of Haydn, but publ. only
one vol. (in 2 parts: 1875, '82; see biblio-
graphy under Haydn); Zur GeschichU der
Glasharmonika (1862); and an interesting
historical review. Die Gesellschaft der Musik-
freunde . . . und ikr Conservaiorium (1871).
Pohl, Richard, (pen-name 'HopUt,') b.
Leipzig, Sept. 12, 1826; d. Dec. 17, 1896, at
Baden- Baden, where he had lived since
1864. Study at Gottingen and Leipzig, and
long intercourse with Liszt at Weimar,
showed their influence in P.'s sturdy advocacy
of neo-German tendencies, both in the 'Neue
Zeitschrift fiir Musik,' of which he was
joint-editor for some years, and in his writ-
ings: Akustische Brief e fiir Musiker und
Musikfreunde (1853); Bayreuther Erinne-
rungen (1877); Autobiographisches (1881);
Richard Wagner (1883; in Waldersee's *Vor-
trage') ; Richard Wagner, Studien und Kritiken
(1883); Franz Liszt (1883); Hector Berlioz,
Studien und Erinnerungen (1884); Die Hdhen-
ziige der musikalischen Enhvickelung (1888).
Also publ. Gedichte (1859; 2d ed. 1883); a
comedy, Musikalische Leiden (1856); a Ger-
man transl. of Berlioz's Collected Writings;
wrote connecting text for Schumann's Man-
fred and Liszt's Prometheus; and comp. the
melodrama Die Wallfahrt nach Kevelaar, an
Abendlied for string-orch., a Wiegenlied for
violin with pf., ballads, songs, male choruses,
etc. — From his notes and collected materials
his second wife, Luise, compiled Hector
Berlioz' Leben und Werke (1900) and Richard
Wagner. Episoden aus dem Leben eines grossen
Meisters (1904).— His first wife, Johanna (nt*
POHLENZ— POLDINI
Eyth), born Karlsruhe, March 19, 1824; d.
Baden-Baden, Nov. 25, 1870, was a dis-
tinguished harp-virtuoso.
Poh'lenz, Christian August, b. Saalgast,
Niederlausitz, July 3, 1790; d. Leipzig, Mar.
10, 1843. Organist of the Thomaskirche,
Leipzig, and cond. of the Gewandhaus
Concerts 1827-35, when he was replaced by
Mendelssohn. — Choruses for male voices are
in the 'Orpheus' coll.; his songs were popular
(Der kleine Tambour Veil; Auf, Matrosen, die
Anker gelichlct; etc.).
Pohlig, Karl, b. Teplitz, Feb. 10, 1864.
Pupil of Liszt in Weimar, Pest and Rome;
began his career as a pianist, touring Ger-
many, Austria, Russia, Scandinavia and
Italy; became 1st Kapellm. at Graz, then
asst.-cond. to Mahler at the Vienna court
opera, and cond. at Cov. Garden (1897, '98);
until 1900 1st Kapellm. at the Hofth. in
Koburg; 1900-7, do. at the Hofth. in Stutt-
gart, and cond. of the symph. concerts;
1907-12, cond. of the Philadelphia Symph.
Orch.; since 1914 1st Kapellm. at the Bruns-
wick opera; made General Musikdir. in 1916.
Has publ. a symph. poem, Per Aspera ad
Astra (Stuttgart, 1902), several choral works,
songs, and pf.-pcs.
Police [pwah-ral, (filie-fimtle-) Gabriel,
b. Villeneuve-St.-Georges, Seine-et-Oise, Oct.
9, 1850; writes for various papers, is librarian
of the Stc.-Genevieve library, and has publ.
V evolution de la musique (1884); an essay
on Tannhduser (1895; with Alfred Ernst);
Essais de technique et d'esthetique musicales
(No. f, Wagner's Meistersinger [1898]; No. 2,
Etude sur le discours musical (1899)); Le
chant gnostico-magique des sept voyelles (1901 ;
with Ch.-E. Ruelle); Une nouvelle interpre-
tation du second hymne delphique (1901);
Chopin (1907; in 'Les Musiciens celebres');
has also publ. a str.-quartet.
Poise fpwahz], Jean- Alexandre-Ferdi-
nand, b. Nimcs, June 3, 1828; d. Paris, May
13, 1892. Pupil (1850-3) of A. Adam and
Zimmerman at the Paris Cons., taking 2d
Grand prix de Rome, 1852. His first opera,
Bonsoir, voisin (Th.-Lyf., 1853), had a run
of 100 nights, and was followed by 13 other
comic operas and operettas; Le mkdecin malgri
ltd (1887) was the last; Carmoisine was not
performed.
Poisot [pwah-zohl, Charles- fimile, born
Dijon, France, July 8, 1822; d. there Mar.,
1904. Pianist; pupil of Senart, L. Adam,
Stamaty and Thalberg; of Leborne in cpt.;
and of Halevy (at the Cons., 1844-8) in
comp. Co-founder of the 4Soc. des Composi-
teurs.' Founder and Director of Dijon
Cons., also conducting the Soc. for Sacred
and Classical Music from 1872. He comp.
3 operas and several 'parlor* operas; an
oratorio, Christ au Mont des Oliviers; the
cantata Jeanne d'Arc, church- and chamber-
music, etc.; and wrote historical essays for
mus. journals.
Poiszl, Johann Nepomuk, Freiherr von,
b. Haukenzell, Bavaria, Feb. 15, 1783; d.
Munich, Aug. 17, 1865, as royal Intendant
of Music, and chamberlain. A pupil of Danzi,
he prod. 14 serious and comic operas at
Munich 1806-43; an oratorio, Der Erndtetag;
Psalm 95, for soli and chorus; a Stabat
Mater, 2 Misereres, etc. — Cf. E. Re ipse hi a-
fer, Schubaurf Danzi, und P. als Opern-
omponisten (Rostock, 1911).
Polac'co, Giorgio, b. Venice, Apr. 12,
1875. Taught at first in Petrograd, he cont.
in Venice under Niccold Coccon at the Liceo
Benedetto Marcello, and graduated from
the Cons. G. Verdi in Milan. Having won
his spurs as cond. in Milan, Genoa and Rome,
he was 4 seasons at the T. Colon in Buenos
Aires, and 7 in Rio de Janeiro; then for 3
years in Rome, and 3 years in Milan, where
he cond. all the Italian and French novelties;
appeared also as visiting cond. in Brussels,
Lisbon, Warsaw and Petrograd; in the
Russian capital he won reputation chiefly
through his interpretation of Wagner's works;
in 1906 he appeared in Mexico, and for the
first time in the U. S. (San Francisco); in
1911-12 he was cond. of Savage's prod, in
Engl, of Puccini's Girl of the Golden West.
On Nov. 11, 1912, he made his debut as one
of the conductors at the M. O. H. (with
Puccini's Manon Lescaut). In the spring
of 1915 he concluded the Metropolitan
season by directing, without notice, To-
sca nhii's repertoire after the latter 's sudden
nervous breakdown; since T.'s resignation
(fall of 1915) P. has been the principal cond.
of the Italian, French and Russian works;
since 1913, also a regular cond. at Cov. Gar-
den. He has conducted over 150 operas.
Pdl'chau, Georg, b. Cremon, Livonia,
July 5, 1773; d. Berlin, Aug. 12, 1836. From
1833, librarian of the Singakademie at Berlin.
His fine mus. library, including autographs
by C. Ph. E. Bach and operas by Keiser.
was divided between the Singakademie and
the Royal Library.
Poldi'ni, Eduard, bom Pest, June 13,
1869. Pupil of the Cons, there, and of
Mandyczewski in Vienna; living near Vevey,
Switzerland. Composer of numerous melo-
dious and graceful pieces for pf. (about 60
op.-numbers), of which Poupfe valsante has
become very popular as an encore number of
many great pianists; has also written meri-
torious songs, male choruses, and the fairy
operas Dornroschen, Aschenbrodel, and Dte
Knusperhexe. A comic opera, Der Vagabund
713
POLE— POLLINI
und die Prinzessin, was very aucc. at its
premiere in Pest (1903), but met with little
Favor in London (1906) and Leipzig (1910).
Pole, William, born Birmingham, Engl.,
April 22, 1814; d. London, Dec. 30, 1900.
Prof, of Civil Engineering at University
College, London; also a student of music
(Mus. Doc., Oxon., 1864), and Examiner in
Music for London Univ., 1876-90. Besides
reports and scattered essays, his works
Philosophy of Music (1879; republ. 1895) and
The Story of Mozart's Requiem (1869, in
'Mus. Times'; republ. in pamphlet-form,
1879) are valuable. Also contributor to
Grove's 'Dictionary.' Comps.: Psalm 100
in cantata-form (1861); organ-music, arrange-
ments, etc.
Polido'ro, Federico, b. Naples, Oct. 22,
1845; d. Giorgio a Cremano, n. Naples, Au^.
14, 1903. Pupil for pf. and singing of his
father, Giuseppe P. [vocal teacher in the
Cons, at Naples, where he died Mar. 12,
1873]; later, in comp., of Lillo, Conti and
d'Arienzo. Well-known musical lecturer;
active contributor to the Milan 'Gazzetta
Musicale' (pen-name 'Acuto') and the 'Gior-
nale napoletano di filosofia e lettere.' Among
his valuable studies are sketches of Beethoven,
Mozart, Mendelssohn, Wagner ('musician,
philosopher, poet'), Cimarosa, Rossini, Verdi,
Gounod, Herold (Le pre aux clercs), etc., the
majority publ. in the 'Archivio Musicale'; a
course of lectures on mus. esthetics; studies
in mus. history, Dei pretesi portenti delta
musica antica; II Pianoforte, la sua storia . . . ;
etc. Has also comp. some church- and
chamber-music.
Polin'sky, Alexander, b. Wlostow, Poland,
June 4, 1845. Pupil of Noskowski, Zclenski
and Minchejmer in Warsaw; 1899, mus.
critic for the 'Warsaw Courier'; since 1904
prof, of hist, of music at the Warsaw Cons.
Has publ. (in Polish) Concerning Church-
music and Its Reform (1890), The Song
' Bogarodzica' from the Viewpoint of Music
(1903), History of Polish Music (1907;
illustr.); essays on early Polish music in
various journals; was also editor of the mus.
portion of the 'Encyclopedya Powscechna'
(16 vols., 1898-1904).
Pol'ko (*& Vogel), Elise, b. Leipzig, Jan.
13, 1822; d. Munich, May 15, 1899. Gifted
with a fine mezzo-soprano voice, she studied
under Garcia at Paris for the stage; but
after a few appearances at Frankfort, she
married the railway engineer Eduard Polko,
and thenceforward sang only occasionally on
the concert-sta^e. She lived at Minden,
Wetzlar and Wiesbaden until her husband's
death (1887); since then in Hanover, Frank-
fort, and latterly in Munich. Her musical
proclivities are strongly displayed in many
novels and romances of sentimental tendency
(Ein Frauenleben, Unsere Pilgerfahrt, etc.); in
mus. circles she became widely known by
the Musikalische Marchen (publ. in the
'Signale'; later in book-form, 3 vols., 1852,
and other eds. ; also in English) ; then followed
Faustina Hasse (a novel in 2 vols., 1860, 2d
ed. 1870); Die Bettleroper (3 vols., 1864); AUe
Herren (1866; Bach's 6 predecessors at the
Thomaskirche, Leipzig); Verklungene Akkorde
(1868; 3d ed. 1873); Erinnerungen an F.
Mendelssohn-Bartholdy (1868); Niccold Paga-
nini und die Geigenbauer (1876; also Ital.
transl.); Vom Gesang (1876); Aus der Kunst-
lerwelt (1878); Die Klassiker der Musik
(1880; Handel, Bach, Gluck, Haydn, Mo-
zart, Beethoven); Meisterder Tonkunst (1896).
Pollak, Egon, b. Prague, May 3, 1879.
Pupil of K. Knittl at the Cons, there; began
his career as chorusmaster at the Landesth.
in Prague; his occasional appearances at the
conductor's desk disclosed unusual ability,
so that in 1905 he was called to the Bremen
opera as 1st Kapellm.; went to Leipzig in
1910 in the same capacity; since 1912 1st
Kapellm. at the Frankfort opera; in the
spring of 1914 he cond. the Wagnerian
repertoire at Cov. Garden, and later at the *
Th. des Champs-£lysees in Paris; since 1915
cond. of the Wagner works with the Chicago
Opera Co. In Germany he is regarded as
one of the foremost interpreters of R. Strauss.
Pollarolo, Antonio, son of Carlo Fran-
cesco; b. Venice, 1680; d. there 1750; succeed-
ed his father in 1723, and was Lotti's suc-
cessor (1740) as 1st maestro at San >larco.
Comp. 13 operas for Venice; also 7 oratorios,
and church-music. — See Q.-Lex.
Pollarolo, Carlo Francesco, b. Brescia,
1653; d. Venice, 1722. Pupil of Legrenzi;
1665, singer at San Marco, Venice; 1690,
organist of the 2d organ, and from 1692
vice-maestro. At Venice alone he prod. 70
operas from 1686-1721; at least 3 others are
known. They were very popular in their
day. — See Q.-Lex.
Polle'dro, Giovanni Battista, noteworthy
violinist; b. Piova, «. Turin, June 10, 1781;
d. there Aug. 15, 1853. A pupil of Pugnani,
he joined the court orch. at Turin, gave his
first concert in 1797, travelled 1799-1801,
lived in Milan and Moscow, toured Germany
and France, was Kapellm. at Dresden 1814-
24, and maestro of the court orch. at Turin
1824-44.— Publ. Sinfonia pastorale for full
orch.; a mass; a Miserere a 4 with orch.; 2
violin-concertos; 1 bassoon-concerto; duets
and trios for strings; pieces for violin with
orch.; studies for violin; etc.
Polli'ni, Bernhard (real name Baruch
Pohl), famous impresario; b. Cologne, Dec.
714
POLLINI— PONCHIELLI
16, 1838; d. Hamburg, Nov. 27, 1897. A
tenor singer, he made his debut at Cologne,
1858, as Arturo in Bellini's / Puritani; later
sang baritone roles in an Italian opera-
troupe, of which he subsequently became
manager and artistic director. He then
undertook the management of the Lemberg
Th.f later of the Italian opera at Petrograd
and Moscow. His fame dates from his
assumption, in 1874, of the directorship of
the Hamburg City Th.; in 1876 he also
became manager of the Altona Th., and in
1894 of the Thalia Th. in Hamburg. All
these enterprises were in a highly prosperous
condition at his death. — In 1897 he married
the singer Bianca Bianchi (his second wife).
He had received the title of 'Hofrat' in
recognition of his services.
PolH'ni, Cesare, Cavaliere de\ b. Padua,
July 13, 1858. After legal studies at the
Univ. there, he took a 2-year course in
music with Bazzini in Milan (1881-3); was
from 1883-5 Director of the chief Cons, at
Padua; resigned to devote himself to writing
and composition. Has publ. a Terminologia
tnusicale tedesco-italiana; a Teoria generate
delta tnusica; La musica italiana nelle sue
brincipak fasi storiche; also, in the journal
II Teatro illustrato' of Milan, translations
and analyses of works by Ambros, Hirschfeld,
Langhans, and Riemann (he is an adovcate
of the theories of the last-named). — Cf. G.
Sacerdoti, C. P. (Padua, 1912).
Polli'ni, Francesco (Giuseppe), pianist;
b. Laibach, Carniola, 1763; d. Milan, Sept.
17, 1846. Pupil of Mozart (who dedicated
a violin-rondo to him) at Vienna, later of
Zingarelli at Milan, where he was app.
prof, of pf. shortly after the opening of the
Cons. (1809). The first to write pf.-music
on 3 staves, imitated therein by Liszt,
Thalberg, and others; a specimen of this
style being one of his 32 Ezercizt in forma di
toccata (op. 42), a central melody surrounded
by passage- work for both hands. — Publ. (for
pf.) Toccatas, op. 31, 50, 67; Toccatina in
G; 3 Sonatas, op. 26; Caprices, op. 28, 29;
Rondo, op. 43; 6 books of Variations; Diver-
timento pastorale, op. 34; a Method for pf.
(2 editions); a Stabat Mater in Ital. for sopr.
and alto, with 2 violins, 2 'celli and organ; etc.
Pollitt, Arthur W., b. Liverpool, Nov.
27, 1878. St. at the R. C. M. in Manchester.
Comp. of 2 overtures; True Love, cantata for
mixed ch. and orch.;,, Fairyland of Upsidedown,
do. for women's vcs. and orch.; considerable
organ-music (sonata in C m., 2 ballads, etc.) ;
church-music; part-songs and songs. Has
publ. a new ed. of Merkel's organ-sonatas.
PolHtzer, Adolf, b. Pest, 1832; d. London,
Nov. 14, 1900. Pupil, at Vienna, of Bohm
(vln.) and Preyer (comp.); then, after -a
European tour, of A lard, at Paris. In 1851,
leader of orch. at H. M.'s Th., London;
later, to the New Philharm. Society. Prof,
of violin at the London Acad, of Music, of
which he became a director in 1890, succeed-
ing Dr. Wylde. Comp. of a vln.-concerto
and Konzertstuck (MS.); 10 caprices for vl.
(publ.); edited numerous comps. for vl.
(de Beriot, Alard, Ernst, Singelee, etc.).
Pomazan'sky, Ivan Alexandrovitch, b.
n. Kiev, April 11, 1848; pupil of Petrograd
Cons.; since 1868 harpist and chorus-con-
ductor at the Imperial Opera. — Works: A
cantata, Samson's Death; a Russian Overture;
numerous attractive songs; pf.-pieces.
Ponchard [pdhn-shahrl, Louls-Antoine-
feleonore, b. Paris, Aug. 31, 1787; d. there
June 6, 1866. Tenor singer, pupil of Garat
at the Cons.; debut 1812 at the Opera-
Comique in Gretry's Tableau parlant, singing
there until 1817; in 1819 he became prof, of
singing at the Cons. He was the first stage-
singer accepted into the Legion of Honor. —
His son Charles, b. Paris, Nov. 17, 1824, d.
there in May, 1891, had a class in comedy-
opera at the Cons.— Cf. Mereaux, L.-A .-is. P.
(Paris, 1866).
Ponchlelli [pohn-k'y&ne], Amilcare, a
modern opera-composer who stands next to
Verdi in Italian estimation; b. Paderno Faso-
laro, Cremona, Aug. 31, 1834; d. Milan, Jan.
16, 1886. Studied 1843-54 at the Milan
Cons.; his first dramatic work (written with
3 other students) was the operetta II Sindaco
Babbeo (1851). Leaving the Cons., he at
first took the organ at S. Ilario in Cremona;
then became bandmaster; but in 1856 brought
out the opera / promessi sf>osi at Cremona,
followed by La Savojarda (ib., 1861; revised
as Lina, Milan, 1877), and Roderico, re de'
Goti (Piacenza, 1864); his first striking success
was achieved with a revised version of I
promessi sposi (Milan, 1872), whereupon he
was commissioned to write a ballet for La
Scala, Milan, where Le due gemelle, in 7 acts,
was prod, in 1873. Continuous good fortune
attended the production of the operas /
Lituani (La Scala. 1874; revised and revived
in 1884 aaAlduna)tLa Gioconda (ibid., 1876;
M. O. H., 1883), II Figliuol prodigo (ib.,
1880), and Marion Delorme (ib., 1885).
Bertrando del Bornio has not been perf. An
unfinished opera, / Mori di Venezia, was
completed by A. Cadora, and prod, with
succ. in Monte Carlo (1914). He also
brought out a mus. farce, II parlaiore eterno
(1873), and the ballet Clarina (1873); a
cantata A Gaetano Donizetti; a funeral
march, // 29 Maggio, for Manzoni; a fine
'Garibaldi Hymn* (1881); etc.— In 1881 he
became maestro of Piacenza Cath., for which
he wrote sacred music. The last years of his
715
PON I ATOWSKI— PORGES
life he also was prof, of comp. at the Milan
Cons. Of his works La Gioconda has found
its way into the repertory of all the opera
houses in the world. — Cf. A. Mandelli, Le
distrazioni di A. P. (Cremona, 1897).
Poniatow'ski, Josef (Mlchal Xawery
Franciszek Jan), Prince of Monte Rotondo,
b. Rome, Feb. 20, 1816; d. Chiselhurst, Engl.,
July 3, 1873. Tenor singer and opera-com-
poser; pupil of Ceccherini at Florence, where
he made his stage-debut, and also brought
out his first opera, Giovanni da Procida (1838).
In Italy he also prod. Don Desiderio, Ruy
Bias, Bonifazio, I Lambertazzi, Malek Add,
Esmeralda, La Sposa d'Abido; in Paris
(1860-8) Pierre de M edicts, Au trovers du
mur, VAventurier, and La ConUssina; and in
London (1872) Gelmina. After Sedan, he
followed Napoleon III into exile.
Pd'nltz, Franz, fine harpist; b. Bischofs-
werda, W. Prussia, Aug. 17, 1850; d. Berlin,
March 19, 1913. Pupil of L. Grimm; from
1866, member of the Berlin royal orch.,
from 1891 with title of 'chamber-virtuoso/
— Works: Opera Cleopatra; sinfonietta for
violin, 'cello and harmonium; a string-
quartet; pieces for harp; etc.
Pons [pohns], Charles, comp. of the operas
VEpreuve (Nice, 1904), Laura (Pau, 1906),
Mourette (Marseilles, 1909), Le Voile du ban-
heur (Paris, 1911), Francaise (Lyons, 1913);
an oratorio, La Samaritatne; incid. music to
V Enfant du Temple (1907); a dram, scene,
Loin du bal; a pastoral scene, Le Retour des
bergers de la Creche; a mass a capp.; pf.-pcs.
Ponte, Lorenzo da. See Da Pontk.
Pontecoulant [pohn-ta-koo-lahn'], Louis-
Adolphe le Doulcet, Marquis de, b. Paris,
1794; d. Bois Colombe, n. Paris, Feb. 20,
1882. After a stirring and adventurous
career, he began the study of mus. history
and the construction of instrs. about 1837;
contrib. to periodicals; and publ. the works
Essai sur la facture musicale consider et dans
ses rapports avec Vart, V Industrie, et le com-
merce (1857; 2d augm. ed. as Organography :
essai, etc., in 2 parts, 1861); Douze jours a
Londres ... (on the World's Fair, 1862);
Muste instrumental du Cons, de musique . . .
(1864); La musique d V Exposition universelle
de 1867 (1868); and Les phinomenes de la
musique (1868).
Pontogllo [p6hn-tohTyoh], Cipriano, b.
Grumello del Piano, Italy, Dec. 25, 1831; d.
Milan, Feb. 23, 1892. Pupil of Ant. Cagnoni.
Dir. of a music-school in Milan. Produced
5 fairly successful operas: Lamberto Mala-
testa (Pavia, 1857); Tebaldo Brusato (Brescia,
1865; rewritten as UAssedio di Brescia,
Rome, 1872); La Sckiava greca (Bergamo!
1868); Notte di Natale (ib.f 1872); Edoardo
716
Stuart (Milan, 1887); also a ballet, Rotta.
Poole, Elizabeth, mezzo-sop. concert- and
opera-singer; b. London, April 5, 1820; d.
Langley, Bucks, Jan. 14, 1906. Debut at
Drury Lane in 1834; sang in Ital. opera in the
U. S. in 1839; member of the Engl, company
at Drury Lane in 1841 ; then sang chiefly in
Ital. opera (appearing with Malibran). Until
her retirement in 1870 she was immensely
popular as a ballad-singer. Balfe wrote for
her 'Tis gone, the past is all a dream, which
she introd. into The Bohemian Girl.
Po'pov, Ivan Gregorovitch, b. Ekateri-
nodar, 1859. Pupil of the Cons, of the Mos-
cow Philh. Soc.; since 1900 dir. of the music-
school of the Imp. Russ. Mus. Soc. in Sta-
vropol, Caucasus. — Works: Symph. poem
Freedom; a symphony in E m. ; overture, Ivan
the Terrible; Armenian Rhapsody; Oriental
Suite; Spanish Dances; Andante religioso for
str.-orch., harp and harmonium; songs.
Pop'per, David, famous 'cellist; b. Prague,
Dec. 9, 1843; d. Baden-Baden, n. Vienna,
Aug. 7, 1913. Pupil of Goltermann in the
Prague Cons. He was at first a member of
Prince von Hechingen's orch. at Lowenburg;
from 1863 he toured Europe, visiting all
important capitals, and everywhere winning
enthusiastic applause as one of the finest
of living 'cellists. From 1868-73 he was 1st
'cello in the Vienna court orch., and in
1872 married Sophie Menter (divorced 1886).
From 1896 till his death he' was prof, at
the 'Landesmusikakademie' in Pest. The
diploma making him K^l. Hofrat reached
him on the morning of his death. Many of
his numerous comps. for his instrument have
become great favorites with 'cellists; while
not profound or strikingly original, they are
pleasing, grateful, and eminently idiomatic.
— Works: For vcl. and orch,: Concerto No.
1 in D m., op. 8; No. 2 in E m., op. 24; No.
3 in G, op. 59; No. 4 in B, op. 72; Serenade
orientate, op. 18; Gavotte in D, op. 23; Taren-
teUe, op. S3; Elfentanz, op. 39; Im Walde,
suite, op. 50; Requiem, for 3 vcls.; Ungarische
Rhapsodic, op. 68. Also publ. a str.-quartet
in C m., op. 74; numerous minor pes. for
vcl. and pf.; songs; Hohe Schule des Violon-
cellspiels (40 studies), op. 73; Zehn mittel-
schwere grosse Etuden (preparatory studies to
op. 73), op. 76.
Por'ges, Heinrich, b. Prague, Nov. 25,
1837; d. Munich, Nov. 17, 1900. Pupil of
Colestin Muller (pf.), Rummel (harm.), and
ZwonaF (cpt.). In 1863 he became co-editor
with Brendel of the 'Neue Zeitschrift fur
Musik,1 and was in close intercourse with
Wagner and Cornelius; lived for a time in
Vienna, and in 1867 was called to Munich
by King Ludwig II, for whom he had written
a study on Tristan und Isolde (publ. 1906 by
PORPORA— PORTA
H. von Wolzogen). Here he was literary
editor of the 'Siiddeutsche Presse,' pf.-
teacher at the R. School of Music, and, from
1871, Royal Musikdirektor; from 1880 mus.
critic for the 'Neueste Nachrichten.' Organ-
ized the 'Porges'scher Gesangverein' in 1886,
giving modern programs (Liszt, Berlioz,
Cornelius), together with classic works. P.
was among the foremost champions of Wag-
ner.— Writings: Die Auffiihrung von Beet-
hovens 9. Symtohonie unter R. Wagner in
Bayreuth (1872), Die Buhnenproben zu den
187 6er Festspielen (1877), and many essays
in periodicals; composed songs.
- Porpora, Niccold Antonio, (signed his
name 'Niccola,' but in his publ. works it is
spelled 'Niccolo,') b. Naples, Aug. 19, 1686; d.
there Feb., 1766. Until 1709 he studied at
the Cons, di San Loreto under Greco, Padre
Gaetano of Perugia, and Mancini. His first
opera, Agrippina, was brought out in Naples
in 1708; the following year Basilio, re di
Oriente, was prod, at the Teatro de' Fiorentini,
Naples, in which year he became maestro to
the Portuguese ambassador. Berenice, written
to order for the Teatro Capranica, Rome, and
prod, in 1710, was praised by Handel. About
1712 he opened a vocal school in Naples,
which soon attained celebrity through its
illustrious pupils (Farinelli, Caffarelli, Sene-
sino, il Porporino, Tosi, and others). In 1719
he was app. singing-teacher at the Cons, dx
San Onofrio, for which he wrote an oratorio,
II martirio di Santa Eugenia, in 1722. Mean-
time he had brought out 6 more operas,
among them Faramondo (Naples, 1719), and
had been made 'chamber-virtuoso* about
1721 to the Prince of Hesse- Darmstadt.
Hasse came in 1724 to study under P., but
left him for Aless. Scarlatti; P. never forgot
or forgave the slight. In 1725 he was called
to the Cons, degli Incurabili at Venice as
singing-teacher, staying there till 1728, with
the brief interruption of a rather unsuccessful
trip to Vienna; then went to Dresden as
singing-master to the Electoral princess, and
maestro of the opera, but in 1/29 obtained
leave of absence to go to London, whither
he was invited by the opposition to Handel.
Here he prod, several operas (Ariadne, 1733;
Agrippina, 1735; etc.), and two others on
intermediate visits to Venice (Annibale, 1731;
Mitridate, 1733); although he resigned his
Dresden posts, he was unable to make head
as a composer against Handel, and left
London in 1736, settling in Venice, and be-
coming Dir. of the Cons. delP Ospedaletto.
About 1745 he returned to Vienna with the
Venetian ambassador, and staged there 3
years; Haydn was his pupil part of the
time. From 1748-51 he was court Kapellm.
at Dresden with Hasse, who was made 1st
Kapellm. in 1750; the old grudge which P.
bore his successful rival, and which had
caused bitter competition during P.'s former
sojourn in Dresden, very probably influenced
the latter to leave the Saxon capital again, and
forever. He returned to Naples in 1755, and
in 1760 succeeded Abos as maestro at the
cathedral and Dir. of the Cons, di San Ono-
frio. As a dramatic composer, however, he
had already outlived his popularity; his last
stage-work, II trionfo dt Camilla (Naples,
1760; really a slight revision and adaptation
to a new text of an earlier opera of the same
title prod, at Naples in 1740), was unsuccess-
ful; and he is saia to have died in such poverty
that his friends had to raise a sum to secure
his decent burial. His posthumous fame
rests wholly on his wonderful ability as a
teacher of singing, as which he was unique
and unexcelled. He wrote 53 operas, and
6 oratorios, none of which have survived;
many masses, and other church-music;
numerous excellent cantatas for vocal solo
with harpsichord (12 publ. in London, 1735);
also publ. 6 Sinfonie da camera, for 2 violins,
'cello and bass (London, 1736); 12 violin-
sonatas with bass (Vienna, 1754); 6 fugues
for harpsichord (in Clementi's 'Practical Har-*
mony*; 2 are in Pauer's 'Old ItaL Comps.');
a fine Trio-sonata (in D) was publ. by
Riemann in 'Collegium musicum' (No. 23).
— Cf. Marchese Villa rosa, Memariedei com-
positori di musica del regno di Napoli (Naples,
1840); F. Clement, Les musiciens ctlebres
depuis le XVI*» Steele (Paris, 1868; 4th ed.
1887).
Porpori'no. See Ubertl
Porro, Pierre- Jean, b. Beziers, 1750; d.
Montmorency, 1831; a famous virtuoso on
the guitar, through whose influence the in-
strument enjoyed considerable vogue for a
time; lived in Paris from 1783 as a teacher;
1787-1803, editor and publr. of 'Journal de
Guitaire.1 Publ. Tableau mSthodique (guitar-
method), numerous divertissements, sonatas,
canzonets, etc., for guitar solo, and with
other instrs.; also a 'Collection de musiaue
sacreV (for 4 mixed vcs. and org.). — Cf.
F. Donnadieu, P., compositeur et Sditeur de
musique (Beziers, 1897).
Porslle, Giuseppe, b. Naples, 1672; d.
Vienna, May 29, 1750; until 1711 m. di
capp. in Barcelona; 1720-40, court composer
in Vienna. Wrote 13 oratorios, 6 operas,
festival plays, cantatas, serenades, etc.; all
perf. in Vienna, but none publ.; MSS. in
the 'Hofbibliothek* and the library of the 'Ges.
der Musikfreunde' in Vienna. — See Q.-Lex.
Porta, Padre Gostanzo, b. Cremona c.
1530; d. Padua, May 26, 1601. Contra-
puntist; pupil of Willaert at Venice; maestro
successively at Padua, Osimo, Ravenna and
Loreto. — Publ. 5 books of motets a 5-8
717
TORTER— POTTER
(1555-85); 1 of masses a 4-6 (1578); 2 books
of Introits a 5 (1566, '88); 4 of madrigals a
4-5 (1555-88); hymns a 4 (1602); vesper
psalms and cantica a 8 (1605). Lamen-
tations, madrigals, and a treatise on coun-
terpoint are in MS. — See Q.-Lex.
Porter, Frank Addison, b. Dixmont,
Maine, Sept. 3, 1859. Graduate of the New
England Cons, of Music, Boston, in 1884,
after a 5-year course under Turner, Emery,
Chad wick, and others; st. later in Leipzig
under Hofmann, Freitag, etc. Eng. as
piano^prof. at the N. E. Cons, in Sept., 1884;
app. superintendent of Normal Course for
pf., in 1892; still (1917) occupies both
positions. — Publ. works: A sonata in D m.,
Sonatinas, Prelude and Fugue, Nocturnes,
Mazurka, instructive pieces, System of
Finger- Technique, Intermediate and Advanced
Technique, New Engl. Cons. Course for Piano
(3 grades) ; also songs.
Portugal [Portogallo], Marcos Antonio,
[real namo, ace. to Vasconcellos, was Portu-
gal da Fon8eca], the greatest composer of
Portugal; b. Lisbon, Mar. 24, 1762; d. Rio
de Janeiro, Feb. 7, 1830. A pupil of the
priests' seminary at Lisbon, his mus. edu-
cation was continued under the opera-
singer Borselli (singing and composition),
by whose influence he was app. cembalist
at the Madrid opera in 1782. Between 1784
and 1791 he wrote for Lisbon 17 stage- works,
mostly ephemeral. His reputation was made
in Italy, where, with the exception of a
short visit to Lisbon, he lived from 1793-99,
bringing out 24 Italian operas. From 1799-
1810 he acted as cond. at the San^ Carlos
Th., Lisbon, producing a score of Italian and
Portuguese operas. His // filosofo seducente,
ossia Non irritar le donne (Venice, 1798), was
selected by Napoleon for opening the Theatre
Italien at Paris in 1801. In 1807 the royal
family fled to Brazil before the French
invasion; P. remained until the San Carlos
Th. was closed in 1810, and then followed the
court to Rio de Janeiro, where he was made
general musical director. The royal theatre
of Sao Joao, after its inauguration in 1813,
prod, several new operas by P. In that
year he became Director of the new Cons.
at Vera Cruz, jointly with his brother
Simao; visited Italy in 1815, returned to
Rio de Janeiro, and passed his last years
there as an invalid. Of his 40 operas, 2
were also played in German, Le donne
cambiate (Der Teufel ist los; Dresden, 1799),
and La confusione, nata delta somiglianza
(Verurirrung durch Ahnlichkeit, oder Die beiden
Buckeligen; Vienna, 1794); others were given
in Italian in Germany, London, and Petro-
grad. P. also prod, several occasional pieces,
operettas, etc., 5 grand masses, 5 masses
with organ, 2 Te Deums with orch., psalms
with orch., and other church-music.
Posa, Oskar C.f b. Vienna, Jan. 16, 1873.
Abandoning the career of law, he embraced
music, and attracted attention as a song-
writer of merit (op. 1-6); 1911-13, as concert-
and th.-cond. in Graz; since then living in
Vienna. Has also comp. a vl. -sonata in C m.f
op. 7; theme, vars. and fugue for pf.; about
70 songs (several w. orch.).
Pos'se, Wilhelm, harpist; b. Bromberg,
Oct. 15, 1852. He grew up in Berlin, and
received his first instruction from his father,
a flutist in a military band, but at the same
time took up the harp by himself; after a
2 years' engagement at Tiflis (1862-4, in the
opera-orch.) father and son returned to
Berlin, and P. now st. the harp with Louis
Grimm, and completed his mus. education
at Kullak's Akademie. 1872-1903, harpist
at the R. Opera in Berlin; since 1890 also
prof, of harp at the Kgl. Hochschule fur
Musik; made R. Prof, in 1910. He has
publ. numerous concert -pes. and studies, as
well as arrs. of a number of Liszt's pf.-
works for harp.
Pothler [poh-t'yal, Dom Joseph, eminent
mus. historiographer; b. Bouzemont, near
Saint-Die, Dec. 7, 1835. Benedictine monk;
1862, sub-prior, 1866, prof, of theology, at
the Solesmes monastery; since 1898 abbot
of the Benedictine monastery St.AVandrille.
In 1904 he was app. by Pius X Pres. of the
publication committee of the 'Editio Vati-
cana.' His important publications, based on
the study of original MSS.. are Les melodies
gregoriennes (Tournai, 1880; 3d ed. 1890;
Ger. tr. by A. Kienle, 1881; Ital. tr. by M.
Serafine, 1890); Liber Gradualis (Tournai,
1883); Hymni de Tempore et de Sanctis
(Solesmes, 1885); Processionale Monaslicum
(ib., 1888); Liber Antiphonarius (ib.f
1891); Liber Responsorialis (ib., 1895); Cantus
Mariales (Paris, 1902); Mcthode du Chant
Gregorien (ib., 1902). He has contrib. nu-
merous valuable articles to the 'Revue du
Chant Gregorien, ' and ed. many Plain
Chant melodies.
Potter, Philip Cipriani Hambly, pianist
and composer; b. London, Oct. 2, 1792; d.
there Sept. 26, 1871. Pupil of his father, and
of Callcott, Attwood, and Crotch (theory) and
WoelfH (pf.); during subsequent study at
Vienna, under Forster (1817-18), Beethoven
gave him good advice. In 1822, pf. -teacher
at the R. A. M., succeeding Crotch as Prin-
cipal in 1832, and resigning in 1859, his
successor being Ch. Lucas. From 1855-70
he was cond. of the. 'Madrigal Soc.' As
soloist with the Philh. Soc. he introduced 3
of Beethoven's concertos (C, C m., G) to
England. — MS. works: 9 symphonies, 4
718
POTTGIESSER— POUGIN
overtures, 3 pf.-concertos, string-quartets, a
concertante tor pf. with 'cello; etc. — Publ.
works: Op. 1, 2, 3, sonatas for pf.; op. 6,
Grand duo for 2 pfs.; op. 7, duet for 2 pfs.;
op. 11, sextet for pf., flute and strings; op.
12, 3 pf. -trios; op. 13, Sonata di bravura for
pf. w. horn (or bassoon); op. 19, pf. -studies
in all keys; op. 20, Introd. and Rondo for
pf.; op. 21, 2d Rondo brillant for pf.; also
rondos, toccatas, 6 sets of variations, 4-hand
pieces, and transcriptions of 2 symphonies
and an overture; a Fantasia and Fugue for
2 pfs.; a trio for 3 pfs., 6 hands; etc. He
also edited Mozart's pf.-works (Novello).
Pottgiesser [p6ht'-]f Karl, b. Dortmund,
Aug. 8, 1861. Pupil of H. Riemann at the
Hamburg Cons., 1887-90; living since 1890
ascomp. in Munich. — Works: The f est. play
Siegfried von Xanten und Kriemhild (1892);
an opera, Heimkehr (Cologne, 1903); a mus.
comedy, Aldegevers Erben; symphony in G m.;
a symph. poem, Brand (alter Ibsen); orchl.
vars. on O Sanctissima, and Weber's Wiegen-
lied; Festvorspiel und Festmarsch (for the
Munich expos., 1910); an oratorio, Gott istdie
Lube; Das 13. Kapitel der 1. Epistel St. Pauli
an die Korinther for bar. solo, mixed ch., org.
and orch.; Trinklied for male ch. and orch.;
chamber-music; male choruses a capp.;
songs (Hebbel-Cyclus, etc.). Has publ. in
'Die Musik' (Jan., 1903) letters of J. Elias
Bach (a cousin of Joh. Seb. B.) contributing
interesting facts to the biogr. of the master.
Poueigh [poo-a'], (Marie-Octave-Ge"-
raud-) Jean, b. Toulouse, Feb. 24, 1876.
While pursuing the study of the classics at
the Jesuit coll. of his native city he also
had lessons on the pf.; in 1895 he began to
take private lessons in harm, from Prof.
Hugounenc of the Cons., whose class he
ent. in 1897; after winning the 2d prize the
following year, he ent. the Paris Cons.,
where he st. cpt. and fugue with G. Caussade,
and comp. with Ch. Lenepveu and G. Faure;
from 1898-1902 he also went regularly to
d'lndy for criticism and advice. Since then
living in Paris as comp. and contrib. to
TEffort,' 'Le Titan,' 'Le Mercure musical,'
'Le Mercure de France,' 'Musica.' He has
harmonized and ed. a number of folk-songs
of Languedoc and Gascogne in 'Les Chansons
de France' (1907-8), 3 Chansons des Pays d'Oc,
and 14 Chansons anciennes. — Orig. works:
An orchl. suite, Funn (from a 1-act ballet);
Marche triomphale; Les Lointains, dram, poem
for soli, ch. and orch.; La Ronde du Bte
d' Amour for mixed ch. and orch.; pf.-pcs.
(Chant de Montague, Air d danser, Pointes
seches); songs (Dentelliere de Reve and Le
Soir rode with orch.) ; a 5-act opera, Le Meneur
de Lowes (not yet prod., 1917). Under the
pseudonym 'Octave Ser6* he has publ.
Musiciens francais d'aujourd'hui (1911 ; valu-
able sketches of 27 composers).
Pougln [poo-zhan'J, Arthur, (pen-name
of Franopis-Auguste-Arthur Paroisse-Pougin,)
distinguished writer and critic; b. Chateau-
roux, Indre, France, Aug. 6, 1834. Pupil of
Alard (vln.) and Reber (harm.) at the Paris
Cons.; 1855, cond. of the Th. Beaumarchais;
later, leader at Musard's Concerts; 1856-9,
asst.-cond. of the Folies-Nouvelles; till 1863,
violinist in the Op.-Comique orch.; since
then has devoted himseff to letters. Active
contributor to leading French mus. papers
('Le Menestrel,' 'France musicale,' TArt
musical,' etc.), and mus. feuilletoniste to 'Le
Soir,' 'La Tribune,' Tfevenement,' and the
'Journal Officiel.' He started the 'Revue de
la musique' in 1876, but it appeared only 6
months. Has publ. many biographical
sketches and essays: Andre Campra (1861),
Gresnick ('62), Dezedes ('62), Floquet ('63),
Martini ('64), Devienne ('64) [all six are col-
lected as ' Musiciens francais du XVIII*
Steele'], Meyerbeer ('64), F. Halevy, Scrwain
('65), William Vincent Wallace ('66), LSon
Kreutzer ('68), Bellini ('68), A. Grisar (70),
Rossini (71), Auber (73), Notice sur Rode
(74), Boieldieu (75), Rameau (76), Adolphe
Adam (76), Verdi (81), and others in mus.
periodicals; further, an Almanack de la
musique (1866, '67, '68; the last two with
necrological suppls.) ; De la literature musicale
en France (1867); De la situation des com-
positeurs de musique et de Vavenir de Vart
musical en France (1867); A propos de V exe-
cution du §Messie' de Handel (18/3); Figures
de VOpira-Comique ; Elleviou, Mme. Dugazon,
la tribu des Gavaudan (1875); Question de la
UbertS des thSdtres (1879); Question du thidtre
lyrique (1879); Les vrais crtateurs de I'opira
francais (1881); Dictionnaire historique et
pittoresque du thedtre (1885); Viotti et Vicole
moderne de violon (1888); Mehul (1889);
V Opera Comique pendant la Revolution (1891);
Essai historique sur la musique en Russie
(1896; 2d ed. 1904); Acteurs et actrices
d* autrefois (1897); /.-/. Rousseau musicien
(1901); HSrold (1906), Monsignyet son temps
(1908); Musiciens du XIX™ Steele (1911);
Marie Malibran (1911); Marietta Alboni
(1912); Massenet (1914); UnDirecteurd'opSra
(1914). He has completed (to be publ. after
the conclusion of the war) L'opera sous le
regne de Lully, and Le Violon, les violonistes,
et la musique de violon en Italic, en France
et en Allemagne, du 16m€ au 18™ Steele. P.
wrote for Larousse's 'Grand Dictionnaire
Universel' all the articles on music (theoreti-
cal, histor., biogr.). He likewise edited the
supplement to Fetis' 'Biographie universelle'
(2 vols., 1878-80), and the new edition of
the 'Diet, lyrique, ou histoire des operas'
of Felix Clement and P. Larousse (Paris,
719
POUPLINlfcRE— PRAGER
1898; with suppl. up to 1904).
Poupllniere. See La Pouplini&re.
Powell, John, b. Richmond, Va., Sept.
6, 1882. After graduation from the Univ. of
Virginia (A. B.f 1901) he st. in Vienna, pf.
with Leschetizky (1902-7), and comp. with
Navratil (1904-7); pianistic d£but in Berlin
in 1908; then played in Vienna, Paris, and
London; Amer. d6but in New York in 1912.
Although a very fine performer, it is as a
composer that he has attracted most atten-
tion. While preserving the classical nomen-
clature in the titles of his works, the contents
and musical development are anything but
classical; for his themes P. generally uses
Negro melodies, which he dresses in the
most modern harmonic garb; nor is there
(even in the so-called sonatas) much thematic
development; almost all his works sound like
free improvisations in cyclical forms. — Works:
Op. 7, Sonate Virginianesque, for pf. and
vl.; op. 13, Concerto for pf. and orch., in
B m.; op. 15, Sonate psycnologique, for pf.;
op. 16, In the South, suite for pf.; op. 18, 3
songs; op. 19, String-quartet in E m.; op.
20, Vars. and double fugue on a theme by
F. C. Hahr; op. 21, Sonate noble, for pf.; op.
22, At the Fair, suite for pf.; op. 23, Concerto
for vl. and orch., in E; op. 24, Sonata Teu~
tonka, for pf.
Powell, Maud, distinguished violinist; b.
Peru, Illinois, Aug. 22, 1868. Her father, a
writer of English-Welsh stock, and her
mother, an amateur composer of Hungarian
parentage, removed to Aurora, 111., in 1870.
After home-instruction, the daughter studied
violin-playing with William Lewis of Chicago
for four years, meanwhile appearing in minor
concerts; this was supplemented by a year
under Schradieck at Leipzig, and a course
with Charles Dancla at the Paris Cons.;
then, acting on Leonard's advice, she pro-
ceeded to London, played in concerts and
also before the Queen, and made a provincial
tour with the noted soprano Miss Jose
Sherrington. Joachim, then in London,
invited her to Berlin and continued her
instruction until her debut at a Philharm.
Concert in 1885, with Bruch's G-minor con-
certo. Returning to New York the same
year, she appeared with great success at a
Philharm. Concert cond. by Theodore Thom-
as; toured America yearly for a number of
seasons, and Germany and Austria in 1892
with the N. Y. Arion Society under Van der
Stucken, as a 'representative American vio-
linist,' as which she also played at the
Chicago World's Fair in 1893, and read a
paper on Woman and the Violin at the
Women's Musical Congress. In 1894 she
organized the Maud Powell String Quartet
(O. Kovarik, 2d vln.; Joh. Miersch— later
Franz Kaltenborn — viola; Paul Miersch,
'cello), with which she visited all leading
American towns till its disbandment in
1898, when she revisited I^ondon and the
British provinces, Germany, Holland, Bel-
gium, France, Austria, Russia and Denmark;
in America again 1900-1, followed by a
season (1901) at London and another Con-
tinental tour, repeated with Sousa and his
band in 1903 (30 weeks). In 1904 a second
quartet-party was organized at New York
with Louis Ureen, Jacob Altschuler and May
Mukle, but disbanded after a few concerts
on account of the leader's numerous solo
engagements. With a concert-party of her
own she toured South Africa in 1905-6; until
1910 she vibrated between Europe and
America; since then in the United States. —
Miss Powell is unquestionably one of the
greatest violinists of the day; her style has
masterly breadth and flawless finish in
interpreting either classic or highly modern
works, of which latter she has introduced
numerous masterpieces to American audiences
— the concertos by Tchaikovsky, Bruch (D
m. and Konzertstuek), Saint-Sa£ns (C), Lalo
(F m., and Concert a la russe), Arensky (A
m.), Tor Aulin (C m.), R i msky- Korea kov
(Konzertstuek), H. R. Shelley (MS.), H. H.
Huss (MS.), DvoFak (A m.), Sibelius (D m.).
In 1903, Miss Powell acquired a beautiful
Joseph Guamerius violin, which she gave
up, in 1907, in favor of a grand Joanna Bap-
tist a Guadagnini instrument of large pattern
and admirable tone. She was the first
violinist to make records for the Victor
Talking Machine. In 1904 she married
Godfrey Turner.
Pradher (rectius Pradere), Louis-Bar-
theiemy, pianist and composer; b. Paris,
Dec. 18, 1781; d. Gray, Haute-Sa6ne, in
Oct., 1843. Pf. -pupil of Gobert in the Ecole
royale de musique and Conservatoire, study-
ing theory with Berton in the latter; suc-
ceeded Jadin as pf.-prof. in 1802. Eminent
teacher; Henri and Jacques Herz, Dubois,
Lambert and Rosellen were some of his
pupils. He also gave lessons to the daughters
of King Lou is- Philippe, and was accompanist
in his 'chapelle,' and in the private orchestras
of Louis XVIII and Charles X. In 1829 he
married Felicitf More (b. Carcassonne,
Jan. 6, 1800; d. Gray, Nov. 12, 1876), a
singer at the Opera-Corn ique, and retired on
pension to Toulouse. He prod. 7 comic
operas, and publ. considerable pf. -music (a
concerto; a grand e sonate for pf., vln. and
'cello; an Adagio and Rondo for do.; a
Rondo for 2 pfs.; several solo sonatas; Ron-
dos, Fantaisies, Variations, etc.); and 22
sets of songs.
Pra'ger, Ferdinand Christian Wilhelm,
720
PRATORIUS— PRATT
b. Leipzig, Jan. 22, 1815; d. London, Sept. 1,
1 89 1 . Son of the violinist and cond. Heinrich
Aloys P. [b. Amsterdam, 1783; d. Magdeburg,
1854]. On Hummel's advice he renounced
'cello-playing for the piano, studying under
Hummel (Weimar) and Pape (Lubeck); was
music-teacher in the Hague 1831-4, and
then settled in London, becoming a most
successful teacher. He was the English
correspondent for Schumann's 'Neue Zeit-
schrift fur Musik,' and an early and staunch
supporter of Wagner. — Works: The sym-
phonic poem Life and Love, Battle and Victory
(1885); an overture, Abeilino; symph. prelude
to Manfred; pf.-trio; pf. -pieces (Caprice,
Crtpuscule, Flocons de neige, Elfenmarchen,
etc.; a selection was publ. in the 'Prager
Album,' Leipzig). His book, Wagner as I
knew him (1885), was violently attacked
because of inaccuracy and misrepresentation,
so that Breitkopf & Hartel eliminated it
from their catalogue.
Prato'rius, Hieronymus, b. Hamburg,
Aug. 10, 1560; d. there Jan. 27, 1629. Or-
ganist, pupil of his father (ore. of the Jacobi-
kirche), studied further at Cologne, became
town cantor at Erfurt in 1580, and asst.-
org. in 1582 to his father, whom he succeeded
in 1586. — Publ. Opus musicum novum et per-
fectum (a coll. of 'cantiones sacrae' and
masses a 2-20; 1622) ; Cantiones novae officiosae
a 5-15 (1618, '25); and a Choralbuch (Ham-
burg, 1604; with his son Jacob [d. 1651],
J. Decker, and D. Scheidemann). — See Q.-Lex.
Prato'rius [Praetorius], Michael, a musi-
cian of high attainments both as a composer
and writer; b. Kreuzberg, Thuringia, Feb.
15, 1571; d. Wolfenbiittel, Feb. 15, 1621.
Few facts are known concerning his career;
he was Kapellm. at Luneburg; later organist,
and finally Kapellm. and secretary to the
Duke of Brunswick. — Compositions: Musae
Sioniae, a coll. of 1244 vocal numbers in 9
Parts, in note against note cpt. Part ix was
publ. 1605-10 (2d ed., as Bicinia et tricinia,
1611); Musarum Sioniarum motetae et psalmi
4-16 voc. (Part i, 1607); Eulogodia Sionia
1611; 60 motets a 2-% for 'the close of the
Divine Service'; Missodia Sionia (1611),
Hymnodia Sionia (161 1 ; hymns a 2-8) ; Mega-
lynodia (1611; madrigals and motets a 5-8);
Terpsichore (1612; dance-pieces a 4-6, by
P. and some French composers); Poly-
hymnia caduceatrix et panegyrica (1619; songs
of peace and rejoicing a 1-21); Polyhymnia
exercitatrix (1619; a 2-8); Uranodia [Ura-
nochordia] (1613; 19 songs a 4); Kleine und
grosse Litaney . . . (1606); Epithalamium
(1614); Puericinium (1621; 14 church-songs
a 3-12); — Writings: Syntagma musicum . . . ,
his magnum opus, of which three volumes
were printed: Vol. i (1615), in 2 parts, is an
historical and descriptive treatise in Latin
on ancient and ecclesiastical music, and
ancient secular instrs.;— Vol. ii (1618), written
in German, in 5 parts and an Appendix
(1620), is by far the most important extant
source for musical instrs. of the period,
describing their form, compass, tone-quality,
etc., the organ, in particular, being treated
at great length; the Appendix contains 42
woodcuts of the principal instrs. enumerated
[Vol. ii has been reprinted as vol. xiii of the
publications of the 'Gesellschaft fur Musik-
forschung']; — Vol. iii (1619) contains a valu-
able and interesting account of secular com-
position at that time, and a treatise on sol-
misation, notation, etc., etc. A reprint of
vol. iii is now (1917) being prepared by E.
Bernoulli.— Cf. W. Gurlitt, Leben und Werke
des M, P. (Leipzig, 1915). — See Q.-Lex.
Pratt, Silas Gamaliel, b. Addison, Vt.,
Aug. 4, 1846; d. Pittsburgh, Oct. 30, 1916.
He received his first mus. instruction in
Chicago (1866-8); then st. pf. -playing under
Bendel and Kullak, Berlin, and comp. under
Dorn and Kiel (1868-71). In 1871 he or-
ganized the Apollo Club in Chicago; re-
turned to Berlin in 1875, and studied score-
reading under H. Dorn; his Anniversary
Overture was perf. on July 4, 1876. In 1877
he went back to Chicago, giving symphony
concerts in 1878, and bringing out his first
opera, Zenobia, in 1882. In 1885 he gave
concerts of his own works at the Crystal Palace,
London; returned to Chicago in 1886; from
1890-1902 -pf.-prof. at the New York Metro-
politan Cons.; in 1906 he moved to Pittsburgh,
where he establ. the 'Pratt Inst, of Music
and Art,' of which he was dir. till his death.
— Works: The above opera and overture;
5-act lyric opera, Lucille (Chicago, 1887);
5-act opera, The Triumph of Columbus (in
conc.-form during the quadricentennial cele-
bration, New York, Oct. 12, 1892); 2 other
operas, OUanta and Antonio (not prod.); The
Last Inca, cantata for soli, ch. and orch.;
4 symphonies (No. 2, The Prodigal Son; No.
3, Lincoln; No. 4, Centennial)", the symph.
poems Magdalena's Lament, Sandalphon, A
Tragedy of the Deep (in commemoration of
the 'Titanic* disaster); a fest. overture, The
Voyage of Columbus; other orchl. works:
Reverie, Paul Revere's Ride, The Revolution of
'76, Battle Fantasia (in commemoration of
the battle of Manila), Suite grotesque, symph.
suite on The Tempest; Centenary Hymn to
Washington; about 50 comps. for pf.; songs
and part-songs. Also wrote Lincoln in
Story (1901), and Pianist's Mental Velocity
(1903).
Pratt, Waldo Selden, b. Philadelphia,
Nov. 10, 1857. Graduate of Williams Coll.
(1878); then spent 2 years in post-grad.
721
PRATTfe— PRESSER
work at Johns Hopkins, specializing the
first year (1878-9) in Greek and classical
archaeology, the second as Fellow in esthetics
and art; st. music with B. C. Blodgett in
Pittsfield, Mass., but chiefly self-taught.
From 1880-2 he was asst.-dir. of the Metro-
politan Museum of Art, New York; since
1882 in faculty of Hartford Theol. Sem.; from
1889 as prof, of music and hymnology, and
from 1917 as prof, of public worship and
allied subjects; also lecturer on hist, of
music at Smith Coll. (1895-1905), and at
Inst, of Mus. Art, N. Y. (since 1905). From
1882-91 he was org. and choirm. at the
Asylum Hill Congr. Ch., and cond. of the
Hosmer Hall Choral Union, in Hartford;
1884-8, cond. of St. Cecilia Club (female vcs.),
and for 2 years cond. of the Hartford Orchl.
Union; Pres. of Music Teachers' Natl. Assoc.,
1906-8, and editor of the 'Proceedings of the
M. T. N. A.', 1906-15; since 1912 Pres. of
the Amer. section of the Int. M.-G.; made
Mus. Doc. by Syracuse Univ. in 1898. —
Has publ. Musical Ministries in the Church
(1901; 3d, enlarged edition, 1914), The,
History of Music (1907); editor of 'St.
Nicholas Songs' (1885), 'Aids to Common
Worship' (1887), 'Songs of Worship' (1887),
dept. of music of 'Century Diet.' (1892; also
of the supplement, 1909); contrib. to 'Parish
Problems (1887; 5 chaps.), 'Internatl. En-
cyclop.' (1891; article Music), 'Standard
Bible Diet.' (1908). Has also written
extensively on other than musical subjects.
Pratt*, (Anton) Edvard, b. Hajda, Bo-
hemia, Nov. 22, 1799; d. Odensnas, Sweden,
May 23, 1875. As a mere child he played
the harp in his father's marionette-th., and
as early as 1809 his virtuosity attracted the
attention of musicians in Goteborg; in order
to escape his father's brutality he ran away
at the age of 15, and settled in Linkdping,
Sweden; there and in Norrkftping he lived
as a famous harpist and teacher; 1835-6 he
was cond. of the 'Musikforening' in the latter
city. Besides a concerto and concert-pes. for
harp, he wrote an idyllic symphony, Storm-
natten (The Storm-night); Napoleon pa St.
Helena, melodrama for ch. and orch.; Frids-
roster (Voices of Peace), for ch. and orch.
Predie'ri, Luca Antonio, b. Bologna,
Sept. 13, 1688; d. Naples, 1769. In 1723, pres.
of the Accad. Filarmonica; became maestro
at the cathedral; from 1739-46, vice-Kapellm.,
then till 1751 1st Kapellm., of the court
Kapelle, Vienna. Prod. 24 operas, 2 sere-
nades, 9 oratorios, etc. — See Q.-Lex.
Prelndl [prin'dl], Joseph, born Marbach,
Lower Austria, Jan. 30, 1756; d. Vienna,
Oct. 26, 1823. Pupil of Albrechtsberger; in
1780, choirmaster at St. Peter's, Vienna; in
1809, Kapellm. at St. Stephen's.— Publ.
masses, a Requiem, a Te Deum, etc.; 2
pf. -concertos, pf. -sonatas, etc.; a Gesanglehre;
the Wiener Tonschule for strict composition,
edited by Seyfried (1827; 2d ed. 1832); also
'Mefodien aller deutschen Kirchenlieder,
welche im St. Stephansdom in Wien gesungen
werden,' with preludes and cadenzas. — See
Q.-Lex.
Preite [prits], Franz, b. Zerbst, Aug. 12,
1856. Pupil of Leipzig Cons. 1873-6; is a
concert-organist; since 1885 teacher of sing-
ing at Zerbst Gymnasium, and cantor at the
court church; since 1894 also cond. of the
Oratorio Soc. there; made herzogl. Musik-
direktor in 1897. — Publ. an a cappella Re-
quiem, motets, songs, organ- preludes; incid.
music to Kaiser's Gustaf Adolf and Bunger's
500 Jahre in Treue; etc.
Prentice, Thomas Ridley, pianist; b.
Paslow Hall, Ongar, Essex, July 6, 1841; d.
Hampstead, July 15, 1895. Pupil, from
1861, of G. A. and Walter Macfarren at the
R. A. M., winning silver medal and Potter
Exhibition (1863). Founded a series of
Monthly Popular Concerts at Brixton in
1869; became org. at Christ Ch., Lee, in
1872; gave up both on account of ill health,
but in 1880 started the Kensington Two-
penny Concerts' (successful attempts to
popularize high-class music), and was app.
prof, of pf. at the Guildhall School of Music;
from 1883, also Principal of the new Becken-
ham Sch. of Mus. — P. was eminently suc-
cesful in teaching; he publ. The Musician, a
Guide for Pianoforte Students, in 6 grades
(1883-6). a treatise on Hand-gymnastics
(Novello), and several solos for pf.; also the
cantata Linda, for female voices, trios for
do., anthems, part-songs, etc.
Pres'sel, Gustav Adolf, born Tubingen,
Tune 11, 1827; d. Berlin, July 30, 1890.
Pupil of Silcher, and (1850, at Vienna) of
Sechter. Prod, the operas Die St. Johannis-
nacht (1860) and Der Schneider von Vim
(1866) at Stuttgart; from 1868 he lived at
Steglitz, near Berlin. His researches proved
that, excepting a few unimportant details,
Mozart wrote the Requiem in its entirety.
P. comp. the ballad Barbarossa, and songs,
several of which (especially Ich sah den Wold
sich fdrben) enjoyed inmense popularity.
Presser, Theodore, b. Pittsburgh, Pa., July
3, 1848. Studied music at N. E. Cons, in
Boston with S. Emery, G. E. Whiting,
J. C. D. Parker and B. J. Lang; then at
Leipzig Cons, with Zwintscher and Jadas-
sohn; in 1883 he founded in Philadelphia
'The Etude,' a well-known mus. monthly of
which he was the editor, and which is chiefly
devoted to the interests of teachers and
students of the pianoforte. Since 1907
James F. Cooke has been editor, and the
722
PROVOST— PRINT2
present circulation is 250,000 copies per
month (1917). Shortly after the foundation
of this journal P. establ. a publishing house,
'The Theo. Presser Co,' for music and books
about music, which has come to be one of
the important firms in the U. S. In 1906 he
founded the 'Presser Home for Retired
Music Teachers', which in 1908 moved into
fine new quarters in Germantown (accomo-
dations for 65 inmates). In 1916 Mr. P.
gave a million dollars for the addition of a
'Department for the Relief of Deserving
Musicians' and a 'Department of Scholar-
ship' (40 scholarships were given in 1916; 65
are provided for 1917). — He has written in-
structive pieces and studies for pf., and
transl. several foreign text-books on music.
Co-founder of the Music Teachers' Nat.
Association (1876).
Pre*voet [pra-vohl, Eugene- Prosper, b.
Paris, Aug. 23, 1809; d. New Orleans, Aug.
30, 1872. Pupil, at Paps Cons., of Jelen-
sperger, Seuriot, and^ Le Sueur, winning the
Grand prix de Rome in 1831 with the cantata
Bianca Capello. Cond. at Havre theatre
1835-8; was then cond. and singing-teacher
in New Orleans until 1862, excepting one
year's conductorship at Niblo's Garden, New
York, in 1842; 1862, chef d'orchestre at the
Bouffes-Parisiens, later of the Champs
filysees concerts, Paris; returned to New
Orleans in 1867. He prod, several operas in
Paris, and one (Blanche' et Rene) at New
Orleans; also comp. oratorios and masses.
Preyer [pri'er], Gottfried von, b. Haus-
brunn, Lower Austria, Mar. 15, 1807; d.
Vienna, May 9, 1901. A pupil of Sechter,
1828-34; in 1835, organist of the Lutheran
Ch., Vienna; 1838, prof, of harm, and cpt.
at the Cons., of which he was Director 1844-8;
1844, vice-court -conductor; 1846, court or-
ganist; 1853, Kapellm. at St. Stephen's; pen-
sioned as 'Vice-Hofkapellm.' in 1876. — He
prod. 3 operas, and the oratorio Noah (often
perf. by the Tonkiinstler-Verein'); publ. a
symphony, masses (1 for male voices), other
church-music, and 'Hymnen der griechisch-
katholischen Kirche' (1847); a string-quartet;
music for pf. and org.; songs.
Preyer, Karl Adolph, born Pforzheim,
Baden, July 28, 1863. Pupil of the Stutt-
gart Cons.; then of K. Navratil in Vienna,
and of H. Urban and H. Barth in Berlin.
Since 1893 prof, of pf. and comp., and since
1915 assoc. dean of the School of Fine Arts,
Univ. of Kansas. — Comps. chiefly for pf.:
Op. 32, Variationen uber ein eigenes Thema;
op. 33, Sonata in C# m.; op. 36, Dialogue
without Words and Toccata; op. 40, Three
Pieces; Scherzo in Bb m.; several studies:
Op. 30, Twenty Progressive Octave-Studies; op.
35, 20 Melodious Pieces in the Form of Htudes;
op. 43, Twelve Wrist-Studies; op. 44, Sixteen
Studies for Rhythm and Expression; op. 45,
Twelve Etudes for the Left Hand; also songs.
Preyer, William Thierry, b. Manchester,
Engl., July 4, 1841; d. Wiesbaden, July 15,
1897. Studied at Bonn Univ.; 1869, prof, of
physiology at Jena; retired to Wiesbaden in
1894. — Wrote Vber die Grenzen der Tonwahr-
nehmung (1876).
Prill, Emil, eminent flutist; b. Stettin,
May 10, 1867. Pupil of his father (a mus.
dir.), then of Gantenberg and Joachim
Andersen; finished his studies at the Kgl.
Hochschule in Berlin; 1888, teacher in the
Music School in Charkov; then 1st flute of
the Hamburg Philh. Soc.; since 1892 do. at
the R. Opera in Berlin; app. rnstr. at the
Kgl. Hochschule in 1903; made Kgl. Kam-
mervirtuos in 1908, and Prof, in 1912. Has
written Tarentelle for fl. and orch. (op. 6);
Schule fur die Bohm-Flote (op. 7); Flbten-
schule (op. 10); Or Chester studien, a coll. (7
books) of flute-passages from orchl. works.
Prill, Karl, brother of preceding; b. Berlin,
Oct. 22, 1864. Pupil of his father, and of
Helmich, Wirth, and Joachim (at the Hoch-
schule), also playing as solo violinist in
Brenner's and Laube's orchestras; 1882-5,
leader in Bilse's orch.; 1885, at Magdeburg;
1891-7 of the Gewandhaus Orch., Leipzig;
since 1897 Konzertmeister at the court-
opera in Vienna, and of the Philh. Soc. there.
Equally eminent as a soloist (tours of all
Europe) and leader of the famous P. Quartet.
He has been decorated with numerous orders.
Prill, Paul, brother of preceding; born
Berlin, Oct. 1, 1860. He received his first
instruction from his father; after further
study with Handwerg (pf.), Sturm (theory),
and Manecke (vcl.), he ent. the Kgl. Hoch-
schule in 1879, and finished with Bargiel at
the Akadem. Meisterschule; 1882-5, solo
'cellist in Bilse's orch.; 1886-9, Kapellm. at
the opera in Rotterdam; 1889-92, do. in
Hamburg; 1892-1901, in Nuremberg; 1901-6,
Hof kapellm. in Schwerin; 1906-8, cond. of
the Mozart-Orch. in Berlin; since 1908 living
in Munich as cond. of the Konzertverein.
Prints, Wolfgang Caspar, b. Waldthurn,
Upper Palatinate, Oct. 10, 1641; d. Sorau,
Oct. 13, 1717. Originally a theological stu-
dent, he later led a roving life, and then was
cantor successively at Promnitz, Triebel, and
(1665) Sorau. Autobiography in his Histo-
rische Beschreibung der edeln Sing- und
Kling-Kunst (1690), a work of some impor-
tance for the hist, of music of the 17th cent.
His other theoretical writings are verbose,
and of no value. According to his own
statement the MSS. of his1 numerous comps.
were destroyed in a fire. — Cf. E. Schmitz,
723
PROCH— P ROH AZKA
Studien fiber W. P. als Musikschriftsteller,
in 'Monatschrift fur Mus.-Gesch. (1904).—
See Q.-Lex.
Proch [prdhh], Heinrich, an excellent
conductor, and once popular song-composer;
b. Bohmisch-Leipa, July 22, 1809; d. Vienna,
Dec. 18, 1878. He studied the law and
violin-playing together; became Kapellm. at
the Josephstadt Th., Vienna, in 1837, and
of the Court Opera 1840-70, when he was
?ensioned. Among his pupils were Materna,
>ustmann, Csillag, Tietjens, and Peschka-
Leutner; the last-named made P.'s coloratura
variations with flauto concertante famous,
and many of his simpler songs were favorites.
He prod, a 3-act comic opera, Ring und
Maske, at Vienna, in 1844; also 3 one-act
operas, 1846-8.
Proch&zka [-hahz'-], Rudolf, Freiherr
von, b. Prague, Feb. 23, 1864. While pur-
suing the study of jurisprudence at the Univ.
of Prague, he st. vl. with Wittich and comp.
with Grunberger and Fibich ; living in Prague
as 'k. k. Bezirks-Hauptmann.' and 'Landes-
musikreferent' (gen. mus. inspector); is also
'Archivvorstand' (master of records) of the
'Verein zur Beforderung der Tonkunst in
Bohmen,' and of the Cons. In May, 1911,
he arr. an important mus. expos, in Prague
in commemoration of the centenary of the
founding of t"he Cons., and for that occasion
wrote Aus fiinf Jdhrhunderten (official cat. of
the expos.). In the same year he brought
about the establishment of a commission for
the examination and licensing of all music-
teachers in Bohemia, and was app. its head. —
Works: An allegorical opera, Das Gliick
(Vienna, 1898); a mystery, Christus; op. 13,
Die Palmen for sop.-solo, male ch. and orch.;
op. 16, Harfner- Variationen iiber ein Thema
von Mozart for orch.; op. 19, Seerosen for
bar.-solo, male ch., str.-orch. and harp; op.
24, Sinfonische Lieder for orch.; a str.-
quartet, In Memoriam; mixed choruses a
capp. (op. 6, 8); male choruses (op. 7);
songs (op. 1, 3, 4, 10, 11, 12, 18, 22, 25); pf.-
pcs. (op. 2, 7, 9, 14, 20); Deutsch-bohmische
Reigen for pf. 4 hands; etc. — Writings:
Die bbhmischen Musikschulen (1890); Mozart
in Prag (1892; 3d ed. 1914); Robert Franz
(1894); Arpeggien. Musikalisches aus alien
und neuen Tagen (1897; 2d ed. as Musikalische
Streiflichter, 1901); Joh. Strauss (1900; 2d
ed. 1903); Das romantische Musik-Prag (1914).
Also ed., and practically rewrote, the 8th
ed. of Kothe's Musikgeschichte (1909).— Cf.
K. Hunnius, R. v. P. Ein deutscher Ton-
dichttr aus Bbhmen (Leipzig, 1902); R.
Janetschek, R. v. P., in 'Neue Ztschr. fur
Mus/ (vol. 82, No. 12, 1915).
Prod'homme [proh-dohm'], Jacques-Ga-
briel, b. Paris, Nov. 28, 1871. Having com-
pleted his course at the Lycee Condorcet,
he st. philology and hist, of music at the
ficole des Hautes £tudes Sociales (1890-1)
In 1895 he began his career as mus. critic
of TEnclos,' and until 1912 held similar
positions with 'La Revue Social iste,' 'Droits
de rHomme,' 'Messidor/ 'Paris- Journal/ etc.;
1897-1900 he lived in Munich as ed. of the
'Deutsch-franzosische Rundschau1; since 1898
an indefatigable contributor to the principal
French and several foreign mus. journals
('S. I. M.\ 'Riv. Mus. Ital.\ 'Sbd.* and
4Ztschr. I. M.-G.\ etc.); 1898-1916, Sec. of
the French section of the 'Int. M.-G.' (S.
I. M.); in 1913 he visited Belgium, Holland
and Germany as commissioner of the govt,
to report on mus. conditions. Officer of the
Acad., 1903; Officer of Piibl. Instr., 1908.—
Works: Le Cycle Berlioz (2 vols. I. La Dam-
nation de Faust [1896], II. VEnfance du
Christ [1898]); H. Berlioz. Sa vie el ses
ceuvres (1905; Ger. tr. by L. Frankenstein,
1906); Les Symphonies de Beethoven (1907;
6th ed. 1914; awarded prize by the Acad.);
Paganini (1907; Engl. tr. by A. Matullath,
1911); Merits de Musiciens (1912); also
biogrs. of Wagner and Liszt in the coll.
'Portraits d'hier' (1910); in collab. w. Ch.
Bert rand, Guide musical el Hude analytique de
la Gotterddmmerung (1902); in collab. with
A. Dandelot, Gounod. Sa vie el ses ceuvres
d*apres des documents inedits (2 vols., 1911).
In collab. w. I. Kienlin he made a new Fr.
tr. of Mozart s Zauberflote (prod. Brussels,
Dec. 10, 1912); has also publ. metrical
transls. of Tristan and Parsifal (1914).
Together with Fr. Holl, F. Caille and L.
van Vassenhove he transl. into French Wag-
ner's prose-works ((Euvres en proset 9 vols.,
1907-13). .
Prohazlca, Karl, b. Modling, n. Vienna,
April 25, 1869. Pupil in Vienna of Anna
Assmayer (pf.) and F. Krenn (comp.); then
in Berlin of E. d'Albert (pf.) and H. von
Herzogenberg (comp.); taught 1894-5 at the
Strassburg Cons.; 1901-5, cond. of the
Philh. Orch. in Warsaw; since 1908 prof, at
the k. k. Akad. der Tonkunst in Vienna. —
Works: Op. 1, Sonata in D for vl. and pf.;
op. 2, 4 choruses for fern, vcs.; op. 3 and 7,
songs; op. 4, str.-quartet in G; op. 5, 9
pes. for pf. 4 hands; op. 6, 4 duets; op. 8,
male ch.; op. 9, Unter den Stemenf 6-part
male ch.; op. 10, Weihnachtslieder for fern,
ch.; op. 11, motet for double ch., org. and
orch.; op. 12, 2 8-part choruses a capp.;
Fruhlingsfeier for soli, ch., org. and orch.
In MS., vara, for orch.; str.-quintet; pf.-
trio; and songs.
Prohazka, Ludwig, b. Klattau, Aug. 14,
1837; d. Prague, July 18, 1888. He was a
member of the Prague City Council; also
724
PROKOFIEV— PROUT
lived for a long: time in Hamburg as a sing-
ing-teacher. Comp. of Bohemian songs and
duets; also publ. a coll. of Slavonic folk-songs.
Prokofiev, Sergei, born 1891; pupil of
Liadov at the Petrograd Cons.; winner of
the Rubinstein Prize in 1910; a composer of
strong futuristic leanings. Has written
Scythian Suite for orch.; a SinfonieUa (op. 5);
2 pf.-sonatas (op. 1 and 14); 2 pf. -concertos
(op. 10, [?]); 2 suites for pf. (op. 12, 17
[Sarcasmes]); a Ballade for vcl. and pf.
(op. 15). — See M. Montagu-Nathan, S. P.t
in 'M. TV (Oct., 1916); id., P.'s First Piano-
forte Concerto (ib., Jan., 1917).
Proluch, Josef, b. Reichenberg, Bohemia,
Aug. 4, 1794; d. Prague, Dec. 20, 1864. A
piano-pupil of Kozeluch, he became blind
in 1811, but still learned Logier's system,
and in 1830 founded a 'Musikbildungsan-
stalt' (school of pf.-playing) in Prague. An
excellent teacher, he wrote a Versuch einer
rationetten Lehrmetkode im Pianofortespiel
accepted by numerous teachers; a Musika-
lisches Vaaemecum; Aphorismen uber katho-
lische Kirchenmustk; Allgemeine Musiklekre
(1857); made for his pupils transcriptions
(for 4-3 pianos) of orchl. works; and comp.
a concerto for 3 pfs., sonatas, etc., masses
and cantatas, and other vocal music. — His
son, Theodor (1843-1876), and a daughter,
Marie (1836-1900), managed the inst. after
his death.
Pro'ny, Gaspard-Claire-Francois-
Marie-Riche, Baron de, born Chamelot,
Rhone, France, July 12, 1755; d. Paris,
July 29, 1839. Examiner at the Polytech-
nique, and member of the Academie, for
which he wrote a Rapport sur la nouveUe
harpe & double mouvement (1815), £rard's
double-pedal harp; Note sur les avantages du
nouvel etablissement d'un professorat d'harpe &
Vccole royale de musique . . . (1825); Instruction
clementaire sur les moyens de calculer les in-
tervalles musicaux (1822; employing Euler's
system of logarithms).
Pros'ke, Karl, b. Grobnig, Upper Silesia,
Feb. 11, 1794; d. Ratisbon, Dec. 20, 1861.
Medical student; regimental physician during
the war of 1813-15; took degree of M. D.
at Halle in 1817, and practised at Oberglogau
and Oppeln. In 1823 he renounced medicine
for theology, and studied at Ratisbon; was
ordained in 1826, became Vicar-choral in
1827, and canon and Kapellm. of the Church
of Our Lady at Ratisbon in 1830. After
diligent research in Germany and Italy, he
began his life-work, the publication of sacred
classics, the first being Palestrina's Missa
Papae Marcelli (Palestrina's original version,
and arrangements by Anerio a 4, and Su-
riano a 8), followed by the famous collection
'Musica divina/ containing chiefly Italian
masterworks of the 16th-17th centuries: Vol.
i, 12 masses a 4 (1853); Vol. ii, motets for
the entire church-year (1855); Vol. iii,
Fauxbourdons, Psalms, Magnificats, hymns
and antiphones (1859); Vol. iv, Passions,
Lamentations, Responses, Te Deums, Lita-
nies (1863; edited by Wesselack) ; publication
continued by Schrems and Haberl; also a
'Selectus novus missarum' a 4-8 (1855-9).
His valuable library was purchased for the
Episcopal Library at Ratisbon; in 1909, when
Dr. Karl Weinmann was app. librarian, it
was opened to musicians and music-students.
— Cf. Dom. Mettenleiter, K. P. (Ratisbon,
1868; 2d ed. 1895); K. Weinmann, K. P., der
Restaurator der klassischen Kirchenmusik
(Ratisbon, 1909); id., Die Proskesche Musik-
bibliothek in Regensburgt in 'Riemann Fest-
schrift' (Leipzig, 1909).
Prosniz, Adolf, b. Prague, Dec. 2, 1829.
Pupil of Proksch and Tomacek; 1869-1900,
prof, of pf. and hist, of music at the Vienna
Cons.; 1916, still living in retirement in
Vienna. Wrote Kompendium der Musik-
gesthichte (vol. i, 1889 [2d ed. 1901]; vol. ii.
1900) ; Handbuch der Klavierlitteratur (vol. i
[1450-1830], 1884, 2d ed. 1908; vol. ii [1830-
1904], 1907); also an Elementarmusiklehre.
Protheroe, Daniel, b. Ystradgynlais, S.
Wales, Nov. 24, 1866. From 1884-6 cond.
of the Choral Soc. there; lived from 1886-94
in Scran ton, Pa., as cond. of the Cymrodorion;
1894-1909, in Milwaukee as concert-singer
(bar.) and teacher; since then living in
Chicago as mus. dir. of the Central Ch.,
cond. of the Amer. Choral Soc., and Arion
Club (of Milwaukee). Has publ. a symph.
poem, In the Cambrian Hills (op. 59); a str.-
quartet in A m. (op. 52); The Nun of Nidaros
for male ch. and orch. (op. 63); Britons for
do. ; male choruses a capp. ; songs.
Prout, Ebenezer, eminent English com-
poser and theorist; b. Oundle, Northampton-
shire, March 1, 1835; d. London, Dec. 5,
1909. Excepting some piano- lessons as a
boy, and a later course with Charles Sal-
aman, he was wholly self-taught. His
father had him trained for a school-teacher,
and he took the degree of B. A. at London
Univ. in 1854; but in 1859 went over de-
finitively to music; was organist at Union
Chapel, Islington, 1861-73; prof, of pf. at
the Crystal Palace School of Art, 1861-85;
prof, of harm, and comp. at the Nat. Training
School from 1876, and took Sullivan's class
at the R. A. M. in 1879; also conducted the
Hackney Choral Assoc. 1876-90, bringing it
to a high state of efficiency; edited the 'Month-
ly Mus. Record* 1871-4, was critic on the
'Academy* 1874-9, and on the 'Athenaeum*
1879-89. To Grove's 'Dictionary' he con-
tributed 53 articles. In 1894 he was called
72$
PROUT— PRUME
to Dublin Univ. as prof, of music, succeeding
Sir R. Stewart; in 1895 both Dublin and
Edinburgh Universities conferred on him
the degree of Mus. Doc. (hon. c). His valu-
able theoretical works are the following:
Instrumentation (Novello primer, 1876; Ger.
tr. by B. Bachur; 3d ed. 1904); Harmony, Its
Theory and Practice (1889; 20th ed., entirely
rewritten, 1903); Counterpoint, Strict ana
Free (1890); Double Counterpoint and Canon
(1891); Fugue (1891); Fugal Analysis (1892);
Musical Form (1893); Applied Forms
(1895); all of which have passed through
two or more editions; and The Orchestra
(2 vols., 1898-9;. Ger. tr. by O. Nikitis,
1905-6). — Compositions: 4 symphonies, in C,
G m., F, and D; 2 overtures, Twelfth Night
and Rokeby; Suite de ballet for orch., op. 28;
Suite in D; 2 organ-concertos, in E m. and
Eb; a pf. -quintet, op. 3; 2 string-quartets,
op. 1 (prize) and op. 15; 2 pf. -quartets, op.
2 (prize), and op. 18; sonata for pf. and clar.v
op. 26; organ-sonata, op. 4; Duo concertante
for pf. and harmonium, op. 6; the cantatas
Hereward, op. 12 (1878), Alfred, op.. 16
(1882), The Red Cross Knight, op. 24 (Ilud-
dersfield, 1887), Damon and Phintias, op. 25,
for male ch. (Oxford, 1889), and Queen
Aimie, for female ch., op. 21 (1885); a
Magnificat, op. 7, for soli, ch. and orch.;
Evening Service, op. 8, with orch.; Psalm 126
for soli, ch. and orch. (St. Paul's, 1891);
Psalm 100, op. 23, for sopr. solo, ch. and
orch. (1886); The Song of Judith, contralto
solo with orch. (Norwich, 1867); Freedom,
op. 20, ode for bar. solo and orch. (1885);
anthems, organ-arrangements, etc.
Prout, Louis Beethoven, son of preced-
ing; b. London, Sept. 14, 1864. Pupil of his
father at the R. A. M.; app. in 1888 prof, of
harm, at Crystal Palace School of Art; now
(1917) prof, at the G. S. M.— Publ. Harmonic
Analysis; Time, Rhythm, and Expression; and
set Psalm 93 for voices and organ.
Pruck'ner, Dionys, distinguished pianist;
b. Munich, May 12, 1834; d. Heidelberg, Dec.
1, 1896. Taught by Niest, he played in the
Gewandhaus, Leipzig, at 17; studied with
Liszt at Weimar, 1852-6; lived 3 years in
Vienna, making concert-tours; from 1859,
teacher at Stuttgart Cons.; from 1864,
court pianist, and 1868, Kgl. Professor.
With Singer (violin) and Goltermann ('cello)
he organized chamber-music soriecs in 1861.
His reputation as a teacher was high.
Pruck'ner, Karoline, b. Vienna, Nov. 4,
1832; d. there June 16, 1908. Soprano stage-
singer, from 1850 at Hanover, from 1852 at
Mannheim, having striking success as Martha,
Elvira, Leonora (Stradella), and Valentine;
suddenly lost her voice in 1855, seriously
studied voice-production in all its branches,
and in 1870 opened a School of Opera in
Vienna. Publ. a valuable treatise, Theorie
und Praxis der Gesangskunst (1872; 2d ed.
1883, for which the Grand Duke of Mecklen-
burg-Schwerin bestowed on her a gold medal
and the title of Professor), and Vber Ton-
und Woribildung (1897; 2d ed. 1904).
Prudent [pru-dahn], (Beunie-Prudent,)
Emile, pianist; b. Angouleme, Feb. 3, 1817;
d. Paris, May 14, 1863. Early orphaned, he
was adopted by a piano-tuner; studied under
Lecouppey and Zimmerman (pf.) and Laurent
(harm.) at Paris Cons., taking 1st prize in
1833. He modelled his style on Thai berg's,
between whom and Dohler, according to con-
temporary critics, he ranked. Successful
tours in France, Belgium, England, and
Germany; highly esteemed in Paris as a
teacher; compositions well written, but
neither warmly inspired nor original. —
Concert symphonique with orch.; Pf.- works:
pf.-trio; concerto No. 2, in Bb; 6 etudes de
salon, op. 60; much elegant salon-music
(VHirondeUe, op. 11 ; La Berceuse and Chanson
sicilienne, op. 30; Le Reveil des fSes, op. 41;
etc.).
Prtt'fer, Artur, b. Leipzig, July 7, 1860;
law-student, taking degree of Dr. jur. in
1886; then went over to music, studying in
Leipzig with Fr. Stade and at the Cons.
(1887-8), also attending the lectures on musi-
col. of Paul and Kretzschmar at the Univ.; st.
further in Berlin (1888-9) with Spitta and
Bargiel; took the degree of Dr. phil. (Leipzig,
1890), with the dissertation Vber den ausser-
kirchlichen Kunstgesang in den evangelischen
Schulen des 16. Jahrhunderts; habilitated
1895 as lecturer at Leipzig Univ. with the
essay Johann Hermann Schein; 1902 as prof,
extraordinary, with the lecture /. S. Bach
und die Tonkunst des 19. Jahrhunderts.
Further publications: Briefwechsel swischen
K. von Winterfeld und Ed. Kruger (1898);
Die Buhnenfestspiele in Bayreuth (1899; 2d
ed., completely rewritten and greatly en-
larged, as Das Werk von B., 1909); Joh.
Herm. Schein und das weltliche Lied des 17.
Jahrh. (1908; in 'Beihefte Int. M.-G,' ii, 7);
R. Wagner in Bayreuth (1910); Einfuhrung in
R. Wagner's 'Feen' (1912); R. Wagner u. Jakob
Grimm (1913). — He is editor of the first
complete ed. of Schein 's works, publishing
since 1901 by Breitkopf & Hartel; 6 vols,
up to 1917 [2 more to appear]^ has publ.
separately selections of 20 weltliche Lieder,
and instrl. pes. of Schein.
Prume [prum], Francois-Hubert, born
Stavelot, n. Liege, June 3, 1816; d. there
July 14, 1849. Violin- virtuoso; pupil of
Lie^e Cons. 1827-30, then of Habeneck at
Pins Cons.; from 1833-9, prof, at the
Li.Vje Cons., then undertaking a tour through
r2:>
PRUME— PUCCINI
Germany, Scandinavia, and Russia, returning
in 1842, and becoming 1st prof, of violin at
Liege in 1844. — Op. 1, La Melancolie for
violin with pf . or orch. (very popular) ; op. 2,
5 Grandes etudes; op. 4, Concerto in D; op. 5,
Andante and Polonaise for vl. and orch.;
op. 8, KonzertstiUk in A; op. 11, Concerto
heroique in G m.; op. 48, Concerto in A; etc.
Prume, Frantz Henry, nephew of the
above. See Jehin-Prume.
Prumler [prii-m'ya'], Ange-Conrad, son
and pupil of Antoine P.; b. Paris, Jan. 5,
1820; d. there April 3, 1884. His father's
successor at the Opera-Comique; played later
at the Opera; and succeeded Labarre as prof,
of the harp at the Cons, in 1870. — Works:
Solos and etudes for harp; nocturnes for
harp and horn; sacred songs.
Prumler, Antoine, born Paris, July 2,
1794; d. there Jan. 20, 1868. Harp-player,
pupil at the Cons.; harpist at the Th. Italien,
and at the Opera-Comique in 1835, then
also succeeding Nadermann as harp- prof, at
the Cons. — Works: About 100 fantasies,
rondos, and airs with variations, for harp.
Prunieres [prii-naV], Henri, distinguished
musicologist; b. Paris, May 24, 1886. St.
hist, of music with R. Rolland; Dr. es lettres,
1913; since 1909 instr. at the fecole des
Hautes £tudes Sociales in Paris. Has publ.
Lully (1910), V Optra italien en France avant
Lully (1913; very important), Le Ballet de
Cour en France avant Benserade et Lully
(1914); and the following valuable essays:
La Musique de la Chambre et de V&curie sous
le regne de Francois I (in TAnnee musicale,'
i [1911]), Jean de Cambeford, Surintendant
de la Musique de la Chambre du Roy (ib., ii
[1913]); Notes sur la vie de Luigi Rossi (in
'Sbd. I. M.-G.', xii, I [1910]), Notes sur V origine
de rOuverture (ib., xii, 4 [1911]), Les repre-
sentations du * Palazzo d'Atlante' de Luigi
Rossi (ib.t xiv, 2 [1913]); Lecerf de VieviUe
et le classicisme musical (*S. I. M.\ June,
1908), La jeunesse de Lully (w. L. de la
Laurencie; ib., Mar.-Apr., 1909), LuUyfils de
meunier (ib., June, 1912); Recherches sur les
annees de jeunesse de J.-B. Lully ('Riv. Mus.
Ital.', xvii, 3 [1910]).
Pruwer [prQ'ver], Julius, b. Vienna, Feb.
20, 1874. St. in Vienna, pf. with A. Friedheim
and M. Rosenthal, theory with R. Fuchs
and F. Krenn, cond. with H. Richter; also
Srofited greatly from his association with
irahms. Began his career as cond. at
Bielitz; 1894, Kapellm. at the Cologne opera;
since 1896 do. in Breslau, where he distin-
guished himself by producing an unusual
number of novelties; in 1913 also app. munic.
Kapellm. In 1898 he cond. in Petrograd
the first perf. of Tristan u. Isolde; in 1907 he
made a tour with the personnel of the Breslau
opera, producing Strauss's Salome. Has publ.
a guide to Strauss's Elektra.
Ptolemy, Claudius, the celebrated Alex-
andrian astronomer, geographer, and math-
ematician, early in the 2d century wrote a
very important treatise on music, a poor
Latin version of which was made by Goga-
vinus (1562); Wallis publ. the orig. Greek
text in 1688; O. Paul gives a fragment in
Greek, with German transl., in his 'Boetius.'
Puccini [pdd-che'ne], Giacomo, foremost
of contemporary Italian dramatic composers;
b. Lucca, Dec. 23, 1858 [correct date; in
autograph letter to Ed.]. Beginning with
his great ^reat-grandfather, Giacomo (1712-
81), all his ancestors in the direct line were
musicians of local prominence: Antonio
(1747-1832), Domenico (1771-1815), Miche-
le (1813-64). As a child P. showed neither
inclination nor special talent for music; but
his mother, determined to continue the family
tradition, sent him to the Istituto Musicale
of Lucca (founded by Pacini), where Carlo
Angeloni, a pupil of Michele P., became his
teacher. After Angeloni 's untiring patience
had aroused interest, and then enthusiasm,
in his pupil, progress was rapid, and P. soon
was a good pianist and organist. About 1875
he became org. at the church in a near-by
village, Muligliano, and soon after was also
app. org. at San Pietro in Somaldi. In 1877
he submitted a cantata, Juno, to a competition
held at Lucca, but failed to win the prize.
Nevertheless, he prod, the work, which won
considerable local success, so that the young
composer brought out, also with success,
a motet for the feast of Santa Paolina.
These successes fired his ambition, and
when he became acquainted about that time
with Aida he resolved to win laurels as a
•dramatic composer. Assistance from a
grand- uncle and a stipend allowed by Queen
Margherita enabled him to enter the Milan
Cons., where he spent 3 years (1880-3) in
serious study with Antonio Bazzini and Amil-
care Ponchielli. For his graduation he wrote
a Capriccio sinfonico, which at its perf. at
one of the Cons, concerts, and later by
Faccio, elicited unstinted praise from the
critics. In the same year Ponchielli intro-
duced P. to the librettist Fontana, who
furnished him the text of a 1-act opera;
in a few weeks the score was finished and
sent to the Sonzogno competition. It did
not win the prize, but on May 31, 1884, Le
VUli was prod, at the Dal Verme Th. in
Milan, with gratifying success. Ricordi, who
was present, considered the work sufficiently
meritorious to commission the young com-
poser to write a new opera for him; but 5
years elapsed before this work, Edgar (3
727
PUCCITTA— PUCHAT
acts, text by Fontana), was prod, at La
Scala on April 21, 1889, scoring only a mod-
erate succ. By this time P. had become
convinced that, in order to write a really
effective opera, he needed a better libretto
than Fontana had provided. Accordingly,
he commissioned Domenico Oliva to write
the text of Manon Lescaut; during the com-
position, however, P. and Ricordi practically
rewrote the entire book, and in the publ.
score Oliva's name is not mentioned. With
Manon Lescaut (4 acts), first prod, at the
T. Regio in Turin on Feb. 1, 1893, P. won
a veritable triumph, which was even surpassed
by the next work, La Boheme (4 acts; text
by Illica and Giocosa), prod, at the same
theatre on Feb. 1, 1896. These two works
not only carried their composer's name
throughout the world, but also have found
and maintained their place in the repertoire
of every opera-house. With fame came
wealth, and in 1900 he built at Lago del
Torre, where he had been living since 1891,
a magnificent villa. The next opera, Tosca
(3 acts; text by Illica and Giocosa), prod,
at the T. Costanzi in Rome on Jan. 14, 1900,
failed to meet expectations, which the phe-
nomenal success of its two predecessors had
caused to be pitched too high. At its premiere
at La Scala on Feb. 17, 1904, Madama
Butterfly (1 act; text by Illica and Giocosa)
was hissed. P. thereupon withdrew the score,
and made some slight changes (division into
3 acts, and addition of the tenor air in the
last scene). This revised version was greeted
with frenzied applause in Brescia on May
28 of the same year. P. was now the acknowl-
edged ruler of the Italian operatic stage, his
works rivaling those of Verdi in the number
of performances. The first perf. of Madama
Butterfly at the M. O. H. (Feb. 11, 1907)
took place in the presence of the composer,
whom the management had invited specially
for the occasion. It was then suggested
that he should write an opera on an Amer.
subject, the premiere to take place at the
M. O. H. He found his subject when he
witnessed a perf. of Belasco's The Girl of
the Golden West, commissioned C. Zangarini
and C. Civinini to write the libretto, and in
the presence of the composer the world-
premiere of La FanciuUa del West occurred,
amidst scenes of boundless enthusiasm, at
the M. O. H. on Dec. 10, 1910. But the
enthusiasm subsided quickly; the following
season the work had a few more performances,
and then disappeared from the repertoire;
it shared the same fate in Italy (1st Ital.
perf. T. Costanzi, Rome, June 12, 1911)
and other European countries. Since the
outbreak of the war P. has completed La
Rondine (3 acts; Monte Carlo, April, 1917)
and 7/ Tabarro (1 act, after Didier Gold's
La Houppelande; in rehearsal at Monte Carlo,
Feb., 1917); he is at present (1917) writing
Anima aUegra (3 acts). — All operas but Edgar
have been prod, in the U. S.: Le Villi
(M. O. H., Dec. 17, 1908); Manon Lescaut
(Wallack's Th., N. Y., May 27, 1898);
La Boheme (ib., May 16, 1898); Tosca
(M. O. H., Feb. 4, 1901); Madama Butterfly
(Garden Th., N. Y., by Savage Opera Co.
in English, Nov. 12, 1906). — It is as yet too
early to attempt to fix P.'s place in music.
Verdi regarded him as the most talented of
Italian dramatic composers then living, an
opinion which P.'s subsequent successes have
justified. Since then many younger men
have come forward, and still P. maintains
his supremacy. Of all living Italian dramatic
composers none rival him either in technical
equipment or fertility of invention. His
musical inspiration is almost entirely de-
pendent upon the dramatic situation; when-
ever the poet soars, the composer follows
and writes inspired, often superb, music;
when the text descends to the level of the
commonplace, the music becomes dull and
labored. Madama Butterfly is P.'s master-
piece because the excellence of the text
proved a constant inspiration; La FanciuUa
del West is a failure because the very subject
is unfit for a mflsical setting. — Bibliography:
M. Virgil io, Delia Decadenza dell* Opera in
Italia (Milan, 1900); A. BrQggemann, Ma-
dama Butterfly e Varte di G. P. (ib., 1904);
Wakeling Dry, G. P. (London, 1906); G.
Csath, On P. A Study (in Hungarian;
Budapest, 1912; Ger. tr. by H. Horvat, ib.,
1912); F. Torrcfranca, G. P. e VOpera Inter-
nationale (Turin, 1912).
Puccitta [p66-chet'ta], Vlncenzo, b. Civi-
tavecchia, 1778; d. Milan, Dec. 20, 1861.
Pupil of Fenaroli and Sala at the Cons, della
Pieta in Naples. Many of his operas en-
joyed great vogue during his life. Prod, some
30 operas at Rome, Venice, Milan, London,
and Paris, where he was cembalist at the
Jtalian Opera.
Puchalsky [p66-hahl'ske], Vladimir Via-
tcheslavltch, Russian pianist; born Minsk,
Apr. 2, 1848; taught by Leschetizky, Johann-
sen and Zaremba at the Petrograd Cons.;
since 1876 director of the Kiev Music-School.
— Works: An opera, Valeria; sl Little- Russian
Fantasy for orch., op. 9; a Liturgy; pf.-
pieces, songs, etc.
Puchat [pod'haht], Max, b. Breslau, Jan.
8, 1859. Composer and pianist; pupil of
Kiel at Berlin, and winner of the Mendels-
sohn prize in 1884. In 1886 munic. mus.-dir.
in Hamm; 1896-1903, cond. of the Oratorien-
verein in Paderborn; 1903-5, cond. of the
Musikverein in Milwaukee, then lived in
Munich till 1910, when he settled in Breslau
728
HJCHTLER— PUGNO
as dir. of his own Cons. — Works: Symphonic
poems Euphorion (1888), Leben und Ideal
(1892), and Tragodie eines Kunstlers (1894;
5 movem.); Ouverture uber ein nordisches
Thema; a pf. -concerto in C m.; a str.-quartet
in F; and numerous songs.
Puch'tler, Wllhelm Maria, b. Holzkir-
chen, Franconia, Dec. 24, 1848; d. Nice,
Feb. 11, 1881. Pupil of Faiszt, Lebert, and
Stark, at Stuttgart Cons. (1868-73); teacher
and cond. at Gottingen till 1879.— Works:
Der Geiger yon Gntiind, a choral comp. (1881);
pf.-pieces in virtuoso-style.
Pu'dor, Dr. Heinrich, son of Joh. Friedr.
P.; b. Dresden, Aug. 29, 1865; succeeded his
father in the Cons., which he disposed of, in
1890, to E. Krantz. He then travelled ex-
tensively, and after the loss of his fortune
was solo 'cellist of the Scottish Orch. in
Glasgow (1898) and of the Pavlovsk Orch.
in Petrograd (1899); returned to Germany in
1900, living first in Berlin, then in Leipzig,
where, since 1906, he is editor of 'Die Kultur
der Fa mi lie,' and 'Unlauterer Wettbewerb.'
In the '90's some of his writings on music
attracted attention by their eccentricities
and extravagances. — Works: Wiedergeburt
in der Musik (1892, 9 collected essays); Die
alien und die neuen Wege in der Musik
(1892); Der Konzertsaal der Gegenwart und
Zukunft (n. d.); etc.
Pu'dor, Johann Friedrich, b. Delitzsch,
Saxony, 1835; d. Dresden, Oct. 10, 1887,
where he had been manager and proprietor
of the Cons, since 1859.
Puget [pu-zha'], Paul-Charles-Marie, b.
Nantes, June 25, 1848. Pupil, at Paris
Cons., of Marmontel (pf.), Bazin (harm.),
and Masse (comp.); 1st Grand prix de Rome
in 1875. — Prod, the comic opera Le Signal
(Op.-Com., 1886), and the 4-act opera Beau-
coup de bruit pour rien (ibid., Mar. 24, 1899;
mod. succ); incid. music to de Musset's
Lorenzaccio; a setting of P. Collin's Ulysse
el les Sirenes; and songs.
Pugnani [pdd-nah'ne], Gaetano, famous
violinist; b. Turin, Nov. 27, 1731; d. there
July 15, 1798. Studied under Somis; later
in Tartini's school at Padua. In 1752,
leader in the court orch., Turin; from 1754
he made concert-tours, spent some years in
London as leader at the Ital. Opera, and
played at Paris in the Concerts spirituels.
From 1770 m. di capp. at the court theatre,
Turin; also opened a school for violinists,
among whose alumni were Viotti, Conforti,
Buini, and Polledro. — Publ. a violin-con-
certo (he wrote 9), and 14 violin-sonatas; 6
quintets for 2 violins, 2 flutes and 'cello; 6
string-quartets; 12 octets (sinfonie) for strings,
2 oboes and 2 horns; 3 sets of trios for 2
violins and 'cello; and 2 sets of violin-duets.
One sonata is in Jensen's 'Klassische Violin-
musik.' He prod, several operas, a ballet,
and 2 cantatas. — Cf. F. Fayolle, Notices sur
Corelli, Tartini, Gavinies, P., et Viotti (Paris,
1810); Dom. Carutti, Delia famiglia di G. P.,
in 'Miscellanea di storia ital.' (3d series, vol.
ii, Turin, 1895).— See Q.-Lex.
Pugni [poo'ne], Cesare, b. Milan, 1805; d.
Petrograd, Jan. 26, 1870. Pupil of Asioli at
the Milan Cons. Began his career as dramatic
comp. in 1831 with // Disertore svizzero
(Milan), followed by several other operas
of little importance; settled in Petrograd in
1840, and attracted attention with several
succ. ballets, and in 1851 was app. comp. of
ballets at the Imp. Th., where he prod, an
enormous number of these works; wrote also
many masses and some chamber-music.
Pugno [pdo'noh], (Stephane-) Raoul, b.
(of an Ital. father) Montrouge, Seine, June
23, 1852; d. (on a concert-tour) Moscow, Jan.
3, 1914. From early childhood he showed un-
usual talent for the pf., appearing frequently
in public. Prince roniatowski was struck
by his performance, and procured for him a
scholarship at the £cole Niedermeyer; from
1866-9, at the Paris Cons., he st. pf. with
G. Mathias, org. with F. Benoist, and comp.
with A. Thomas; won 1st prize in pf. (1866),
1st prize in harm. (1867), 1st prize in org.
(1869); his Ital. citizenship barred him from
competition for the Prix de Rome. He began
his career as organist at St.-Eugene in 1871;
m. de chap, there in 1878; 1892-6 prof, of
harm., and 1896-1901 prof, of pf., at the
Paris Cons. Having become known as a
successful composer of ballets and operettas,
he surprised the world in 1893 by appearing
as a solo pianist at one of the Cons, concerts,
revealing himself as a virtuoso of the first
rank; from then until his death he made
triumphant tours of Europe and America
(first tour, 1897-8). He was equally great
as an ensemble-player, his sonata-recitals with
Ysa^e having become world-famous. P. is
one of the imposing figures in the history of
pf.-playing. First of all, he was a univer-
salist; whether he interpreted early, classic,
romantic, or modern works, it was impossible
to distinguish whether he had any preferences;
he played everything with authority, with
scrupulous attention to the minutest details.
At all times he subordinated his own per-
sonality— strong as it was — to that of the
composer. His sense of tone and mastery
of tonal shading were extraordinary, and a
wonderful artistic moderation restrained him
from ever forcing the tone of the instrument.
He was a player of fiery temperament and
intense musical feeling, a builder of superb
climaxes, a performer in the grand style. The
729
PUJOL— PURCELL
Welte-Mignon Co. has preserved his art in
21 records representing all styles from Cou-
perin to d'Indy. — Works: An oratorio, La
Resurrection de Lazare (1879); the operas
bouffes (all, except the first, at Paris) A qui
la trompe (Asnieres, 1877), Ninetta (1882), Le
Sosie (1887), Le Valet de casur (1888), Le
Retour d' Ulysse (1889), La Vocation de Marius
(1890), La petite Poucette (1891; as Der
Talisman, Berlin, 1893); the ballets La Fee
Cocotte (1&81), Papillons (with C. Lippacher,
1881). Viviane (1886), La Danseuse de Corde
(1892), Le Chevalier aux Fleurs (with A.
Messager, 1897); a 'mimodrame' Pour le
Drapeau (1895); a Suite d*orchestre (3 move-
ms.); pf.-pcs. (sonata, mazurka, Feuillets
d* Album, Pages d' Amour, Pay sages, etc.).
An opera, La Ville morte (after d'Annunzio),
left incomplete, was finished by Nadia
Boulanger.
Pujol [poo-h&hll, Juan Bautista, famous
pianist and teacher; b. 1836; d. Dec., 1898,
in Barcelona, where he had been for many
years prof, of pf. at the Cons.; among his
pupils was Granados. Publ. Nuevo mecanismo
del piano (1896; also in Fr.), and comps. for
pf. (Fite andalouse, Bolero de concert, Valse
des Sylphes, etc.).
Puli'ti, Leto, b. Florence, June 29, 1818;
d. there Nov. 15, 1875. A student of music
and natural science; publ. songs, and music
for pf. and orch.; also valuable essays in the
Proceedings of the R. Inst, of Music at
Florence, especially Cenni storici delta vita del
serenissimo Ferdinando de* Medici (1884,
printed separately), with information con-
cerning Cristofori, the inventor of the pf.
Pun'to, Giovanni. See Stich.
Pup'po, Giuseppe, an eccentric violinist;
b. Lucca, June, 12, 1749; d. in poverty at
Florence, April 19, 1827. Lived for years in
London (till 1784), then in Paris as cond. at
the Th. de Monsieur, and as fashionable
accompanist and teacher, till 1811, and in
Naples 1811-17 as maestro at the San Carlo
Th. — Publ. 3 concertos, 3 violin-duets, 8
violin-etudes and 6 pf.-fantasias.
Pur'cell, Daniel, brother of Henry; b.
London, c. 1660; d. there Dec. 12, 1717.
Also an excellent musician, he became org.
of Magdalen College, Oxford, in 1688; took
his brother's place as dramatic composer in
1695, and was org. of St. Andrew's, Holborn,
from 1713. — Works: Incid. music to ten
dramas; several odes (e. g., funeral ode for
his brother); publ. The Psalm Tunes set full
for the Organ or Harpsichord . . . (n. d.);
songs in collections. — Six anthems are in the
choir-books of Magdalen Coll. chapel. — See
Q. Lex.
Pur'cell, Henry (called 'the younger,' be-
cause the son of Henry P., Gentleman of the
Chapel Royal, and Master of the Choristers
at Westminster Abbey), b. in St. Ann's Lane,
Old Pye St., Westminster, London, in 1658;
d. Dean's Yard, Westminster, Nov. 21,
1695. From 1664, the year of his father's
death, he studied as a chorister of the Chapel
Royal under Cooke and Humfrey, also
receiving instruction from Dr. Blow. In
1680 he was appointed organist at West-
minster Abbey; in 1682 he became organist of
the Chapel Royal as Lowe's successor; in
1683, composer-in-ordinary to the King. His
first printed comp. is a song in vol. i (1676)
of Playford's 'Choice Ayres'; vol. ii (1679)
contains several other songs, and an elegy on
the death of Matthew Lock. In 1680 P. wrote
the first of 29 'Odes' and 'Welcome Songs.'
His first publ. chamber-music dates from
1683, Sonnatas of III. Parts: two viollins and
basse: to the Organ or Harpsechord (with en-
graved portrait), 12 numbers, based on
Italian models, each having an Adagio, a
Canzone (fugue), a slow movem., and an
air (3 reprinted by Augener). The Yorkshire
Feast Song, called by D'Urfey, the author,
'one of the finest compositions he ever made,'
was composed and produced in 1690. This
is one of the 29 'Welcome Songs.' which he
wrote (on an average of 2 annually) in his
capacity of 'composer-in-ordinary.' Although
the texts are almost invariably stupid or
bombastic, P. wrote some of his finest music
for these occasional odes. During the last
five years he developed extraordinary activity
in theatrical composition, to which he had
given some attention since 1680, when he
began to write incidental dances and occasion-
al airs for various dramas. In spite of this
close connection with the stage, he wrote
only one opera, Dido and ALneas, prod, in
1688 or '89. It is probable that he died after
a lingering illness (consumption); he lies in
the north aisle of Westminster Abbey, and
his burial-tablet well expresses contemporary
estimation of his worth: "Here lyes Henry
Purcell, Esq.; who left this life, and is gone
to that blessed place where only his harmony
can be exceeded." His church- music shows
the original melodist, and a master of form,
harmony, and all contrapuntal devices; his
dramatic music is equally original in in-
vention, dramatic instinct, and power of
characterization; his chamber- works surpass
those of his predecessors and contemporaries.
His stage-music is as dramatic as and more
melodious than that of his model, Lully; his
sacred compositions were eagerly and profit-
ably studied by Handel. — Works: Besides
the comps. mentioned there were publ.
during P.'s life a theoretical treatise, The
Art of Descant, in the 10th ed. of Playford's
'Rreefe Introduction to the Skill of Musick'
730
PURCELL— PYCHOWSKI
(1683); Playford also publ. several airs and
'symphonies' [written for various dramas]
in The Theatre of Mustek' (1685), anthems
and sacred songs in ' Harmon ia Sacra' (1688),
and pieces for harpsich. in 'Mustek's Hand-
maid' (part II, 1689); of the incid. music
to plays there appeared Amphitryon (1690;
the airs in the text, the instrl. pes. in 'Ayres
for the Theatre'), Dioclesian (1691), and
'Select ayres' from the Fairy Queen (1692).
Expecially with regard to P.'s dramatic work
there existed much uncertainty and con-
fusion until the investigations of Barclay
Squire in 1904 brought order out of chaos.
According to him the correct list is as follows:
1680, Lee's Theodosius, D'Urfey's The Vir-
tuous Wife; 1681, Tato's arr. of Shakespeare's
Richard II, D'Urfey's Sir Barnaby Whigg;
1682, Beaumont and Fletcher's The Double
Marriage; 1683, The English Lawyer (doubt-
ful); 1685, Davenant's Circe (probable), Lee's
Sophonisba; 1686, Beaumont and Fletcher's
The Knight of Malta (only 1 catch); 1688,
D'Urfey's A Fool's Preferment; 1690, Better-
ton's Dioclesian, Settle s Distressed Innocence,
Norton's Pausanias, Sout heme's Sir Anthony
Love, Dryden's Amphitryon, Lee's The Mas-
sacre of Paris; 1691, Dryden's King Arthur,
The Gordian Knot Untyed (author unknown),
Dryden's The Indian Emperor, Sou theme's
The Wife's Excuse; 1692, Dryden's Cleomenes,
The Fairy Queen (an arr. of the Midsummer
Night's Dream), D'Urfey's The Marriage-
hater Matched, Crowne's Regulus, Shadwell's
The Libertine, Bancroft's Henry II, Dryden's
Aurenge-Zebe, Dryden and Lee's (Edipus;
1693, Congreve's The Old Bachelor, D'Urfey's
The Richmond Heiress, Southerne's The Maid's
Last Prayer, Wright's The Female Virtuoses
(after Moliere), Congreve's The Double
Dealer, Shadwell's Epsom Wells, Killigrene's
Rule a Wife and Have a Wife; 1694, D'Urfey's
Don Quixote (part I), Dryden's Love Trium-
phant, Crowne's The Married Beau, South-
erne's The Fatal Marriage, Ravenscroft's
The Canterbury Guests, D'Urfey's Don Quix-
ote (part II), Shadwell's arr. of Timon of
Athens, Dryden's The Spanish Friar, Dry-
den's Tyrannic Love; 1695, Behn's Abdelater,
Beaumont and Fletcher's Bonduca, Howard
and Dryden's Indian Queen, Scott's The
Mock Marriage, Gould's The Rival Sisters,
Southerne's Oroonoko, Davenant and Dryden's
arr. of The Tempest (doubtful), D'Urfey's
Don Quixote (part III). In this list only
Dioclesian, The Fairy Queen, The Indian
Queen and King Arthur are provided with
sufficient music to be possibly classed as
'semi-operas'; the music contributed to the
other dramas consists of some airs and
instrl. dances. B.'s widow, who survived
him till 1706, publ. A Choice Coll. of Lessons
for the Harpsichord or Spinet (1696), Ten
Sonatas in Four Parts (1697), Orpheus Bri-
tannicus: A Coll. of all the choicest Songs . . .
with . . . Symphonies for Violins or Flutes ....
(Part I, 1698, 2d ed. 1706; Part II, 1702, 2d
ed. 1711; both parts in 1 vol., with the
addition of several new numbers, 1721).
Many comps. were publ. in Playford 's 'Mercu-
rius Musicus' (1699), Walshes 'The Catch
Club, or Merry Companions' (c. 1730),
Boyce's 'Cathedral Music' (3 vols., 1760-73),
Arnold's continuation of the same (4 vols.,
1790), Page and Sexton's ' Harmon ia Sacra'
(3 vols., 1800). Vincent Novello collected
all services, anthems, hymns, and sacred
songs, and publ. them as P.'s Sacred Music
(4 vols., 1829-32; very inaccurate). The
Musical Antiquarian Soc. publ. Dido and
Mneas (ed. G. A. Macfarren, 1840), Bonduca
(ed. E. F. Rimbault, 1842; with historical
sketch of dram, music in England), King
Arthur (ed. E. Taylor, 1843), Ode for St.
Cecilia's Day (ed. E. F. Rimbault, 1847).
In 1876 the Purcell Society was formed in
London for the purpose of publishing the
first complete ed. of P.'s works (vol. i ap-
peared in 1878; vol. xix, the last publ. so
far [1917], in 1912). Contents: i, The York-
shire Feast Song; ii, Timon of Athens; iii,
Dido and Mneas; iv, Duke of Gloucester's
Birthday Ode; v, Twelve Sonatas of Three
Parts; vi, Harpsichord Music; vii, Ten
Sonatas of Four Parts; viii, Ode on St. Cecilia's
Day; ix, Dioclesian; x, Three Odes for St.
Cectlia's Day; xi, Birthday Odes for Queen
Mary (part I); xii, The Fairy Queen; xiii,
Sacred Music (part I) [not yet publ.l; xiv,
Sacred Music (part II); xv, Welcome Songs
(part I); xvi, Abdelater, Amphitryon, Aurenge-
Zebe, Bonduca, The Canterbury Guests, Circe,
Cleomenes, Distressed Innocence, Don Quixote
(3 parts), The Double Dealer, The Double
Marriage, The English Lawyer; xvii, Sacred
Music (part .III); xviii, Welcome Songs
(part II); xix, The Indian Queen, The Tem-
pest. This monumental edition is publ. by
Novello & Co. — Bibliography: W. H.
Cummings, P. (London, 1881; 3d ed. 1911);
Barclay Squire, P.'s Dramatic Music, in
'Sbd. I. M.-G.' (v, 4; 1904); J. F. Runciman,
P. (London, 1909); G. E. Arkwright, P.'s
Church Music, in 'Mus. Antiquary' (July,
1910); P. A. Scholes, H. P. Sketch of a Busy
Life, in 'Mus. Quart.' (July, 1916).
Pychowski [p€-h6hv'ske], Jan Nepotnu-
cene, b. Grazen (Nowry Hrady), Bohemia,
April 8, 1818; d. Hoboken, N. J., Mar. 18,
1900. Pianist and teacher; a pupil for one
year of Prague Cons.; later (for 4 years) of
Tomacek at Prague. Went to New York in
1850; had lived in Hoboken from 1855. He
publ. in New York a Grand Sonata for
violin and pf., op. 8; fine pf.-trio and many
other comps. in MS.
731
PYNE— QUANTZ
Pyne, James Kendrick, distinguished
organist; b. Bath, Engl., Feb. 5, 1852. Pupil
of his father, James K. (for 53 years org. at
Bath Abbey); then of Dr. S. S. Wesley, org.
at Winchester Cath. At the age of 11 he
was app. regular org. at All Saints' Chapel,
Bath, and when at the age of 21 he became
org. of Chichester Cath., he had already
held five positions; in 1875 he was org. at
St. Mark's, Philadelphia, but returned to
England in 1876 as succ. to Sir F. Bridge
at Manchester Cath., where he remained till
1898; app. also town-org. in 1877; prof, of
organ at R. C. M., Manchester, in 1893; in
1901 lecturer on church-music, 1903 Univ.
org., and 1908 dean of faculty of music at
Victoria Univ., Manchester. In 1887 he
was official org. for the Jubilee Expos, in
Manchester, and in 1888 member of the
jury at the Brussels Expos. Made Mus.
Doc. by the archbishop of Canterbury in
1900; hon. mem. R. A. M. in 1902. He ex-
hibited his valuable coll. of early mus. instrs.
at the R. Inventories Exhibition (London,
1884). Retired in 1913. Has publ. a Com-
munion Service in Al?, and other church-
music; also a set of Lancashire songs (words
by Edwin Waugh).
Pyne, Louisa Fanny, soprano stage-
singer; b. England, Aug. 27, 1832; d. London,
Mar. 20, 1904. Pupil of Sir George Smart.
Debut at Boulogne, 1849, as Amina in La
Sonnambula; from Oct. 1, eng. at the Princess's
Th., London; sang here, at the Haymarket,
the Italian Opera, and in oratorio and
concert, till 1854, when she set out on an
American tour lasting 3 years. In 1858 she
organized an English opera-troupe in London
(with Harrison), which played in the Lyceum,
Drury Lane, and Coven t Garden, until 1862.
She sang later at H. M.'s Th.; in 1868,
married Frank Bodda, a baritone vocalist,
and retired from the stage. • She had a
beautiful voice of great compass and flexi-
bility, and was splendid in coloratura cdles.
Pytha'goras, famous philosopher and
mathematician; b. Samos, Greece, c. 582
B. C; d. Metapontum, c. 500 B. C. His
doctrines on the musical ratios are pre-
served in the writings of his followers,
as P. himself wrote no books. The Pytha-
goreans (Archytas, Didymos, Eratosthenes,
Euclid, Ptolemy, etc.) reckoned only the
fifth and octave as pure consonances (the
fourth being the fifth below); their system
recognized only intervals reached by succes-
sive skips of pure fifths, their major third
being the 4th fifth above (ratio 64 : 81,
instead of the modern 64 : 80, or 4 : 5), their
minor third the 3rd fifth below; etc.
Their thirds and sixths were, consequently,
dissonant intervals.
Quad'flieg, Gerhard Jakob, b. Breberen,
n. Aix-la-Chapelle, Aug. 27, 1854. Pupil of
the Kirchenmusikschule in Ratisbon (1875);
app. teacher at the Gymnasium in Elberfeld
in 1881; since 1898 dir.; for 10 years also
org. and choral cond. there. Has publ. 8
masses (op. 3, 4, 7, 8b, 12b, 25, 26, '28),
Passio secundum Matthaeum (op. 21); do.
sec. Johannem (op. 22); motets; a book of
preludes and postludes for org.; has also
written new organ-parts for the 'Graduate
Romanum,' Witt's 'Ordinarium Missae,' and
Hanisch's 'Psalterium Vespertinum.'
Qua'dri, Domenico, b. Vicenza, 1801; d.
Milan, Apr. 29, 1843. Pupil of Marchesi
and Pilotti. Devoted himself to teaching
and theoretical research. An advocate of the
theory of chord-building by thirds, he publ.
in 1830 two fascicles of a work, La ragione
armonica, dimostrata sui partimenti del Padre
Mallei; opened a school in Naples (1831) for
teaching harmony, and next year publ.
Lezioni di armonia per facilitate lo studio della
composizione tnusicale; but could make no
headway against the opposition of powerful
musicians, and died in poverty.
Qua'drio, Francesco Saverio, b. Ponte,
Valtellina, Dec. 1, 1695; d. Milan, Nov. 11,
1756. Wrote Delia storia e della ragione
d'ogni poesia (7 vols., 1739-46; vols, ii and
iii treat of the opera, oratorio, and cantata).
Quagllati [quahl-yah'te], Paolo, comp.
and excellent cembalist; d. Rome, c. 1660.
Publ. Carro di fedeltd d?amore} one of the
earliest mus. dramas, containing not only
monodies, but ensemble-numbers up to 5
voices (Rome, 1611); also Mottetti and Dia-
loghi a 2-8 (1620), Canzonette a 3, etc.
Quantz, Johann Joachim, flute-teacher
of Frederick the Great; b. (according to his
autobiography in Marpurg's 'Beitrage zur
Aufnahme der Musik') at Oberscheden,
Hanover, Jan. 30, 1697; d. Potsdam, July 12,
1773. Naturally musical, at 8 he played the
double-bass at village festivals. His father
died when he was but 10, and Q. was appren-
ticed to an uncle, the 'Stadtmusikus' at
Merseburg, in 1708, learning various instrs.,
among them the clavichord with Kiesewetter.
His apprenticeship ended, he went to Rade-
burg, Pirna, and in 1716 joined the town-
orch. of Dresden, under Heine. In 1717,
during 3 months' leave of absence, he studied
counterpoint with Zelenkaand Fuxat Vienna;
in 1718 he became oboist in the Royal Polish
orch. of Warsaw and Dresden, but soon
took up the flute, which he studied under
Buffardin. In 1724 he was sent to Italy in
the suite of the Polish ambassador; studied
counterpoint under Gasparini at Rome; went
732
QUARANTA— RAABE
to London via Paris in 1726; and returned to
Dresden in 1727, resuming his position as
orchestral flute-player in 1728. In this year
he played before Frederick the Great (then
Crown Prince) at Berlin, and so pleased
him that he engaged Q. to teach him the
flute, and to make two long yearly visits to
Berlin for that purpose. Frederick ascended
the throne in 1740, and next year called Q.
to Berlin (Potsdam) as chamber-musician
and court composer at a salary of 2,000
Thaler, _ besides an honorarium for each
composition furnished, and 100 ducats for
each flute supplied by Q. Here he remained
until his death. He left in MS. 300 concertos
for one and two flutes, and some 200 other
flute-pieces (soli, duets, trios, and quatuors).
Publ. Set sonate with bass (1734); Set duetti
(1759); Neue Kirchenmelodien (1760; settings
of 22 odes by Gellert as chorals); Versuch
einer Anweisung, die Fl&te traversi&re su
spielen (1752; flute-method; 2d and 3d eds.
1780, '89; French, 1752; Dutch, 1755); and
Application pour la fl&te traversiere & deux
clefs (n. d.; Q. invented the second key for
the flute; also the sliding top for tuning the
instr.). — Cf. A. Quantz, Leben und Werke des
Flotisten /. /. Q. (Berlin, 1877).
Quaran'ta, Costantino, b. Brescia, 1813;
d. there May 31, 1887. Pupil of Basili,
Vaccai and Angeleri at the Milan Cons.
He began to write for the stage, and brought
out a succ. opera, Ettore Fieramosca (Brescia,
1839), but after his appointment as m. di
capp. at the Cath. of his native town he
wrote only sacred music (almost all in MS.).
He publ. an Ave Maria for 8-part ch. w. orch.
Quaran'ta, Francesco, b. Naples, April 4,
1848; d. Milan, Mar. 26, 1897. Pupil of
Naples Cons., settled in Milan as a popular
singing-teacher. Wrote many songs.
Quaren'gh), Guglielmo, b. Casalmag-
giore, Oct. 22, 1826; d. Milan, Feb. 4, 1882.
Pupil at Milan Cons., 1839-42; from 1850,
1st 'cello at La Scala Th.; 1851, prof, of
'cello-playing at the Cons.; from 1879, m.
di capp. at Milan Cath. — Works: Excellent
'cello method, and original pieces and tran-
scriptions for 'cello; church-music; and an
opera, // d\ di S. Michele (Milan, 1863).
Quarles, James Thomas, concert-organ-
ist; b. St. Louis, Nov. 7, 1877. Pupil of C.
Galloway (pf. and org.), and E. Kroeger
(comp.); later of Ch. Widor in Paris. Org.
and choirm. in St. Louis at West Presb. Ch.
(1897-1900), Lindell Ave. M.-E. Ch. (1900-
13), and Scottish Rite Cath. (1905-13); org.
of St. Louis Symph. Soc., 1908-13; cond.
St. Louis Choral Art Soc., 1908-10; dean of
dept. of Fine Arts, Lindenwood Coll. for
Women, St. Charles, Mo., 1906-13; since
1913 org. at Cornell Univ., and since 1916
also asst.-prof. of music there. Pres. Missouri
Music Teachers' Assoc., 1911-13; assoc. A.
G. O. Has given numerous recitals in all
parts of the U. S.; gave official series of
recitals at St. Louis Expos. (1904) and
Panama Expos. (1915). Has comp. anthems,
organ-pieces, and songs.
Quatreme're de Quincy [kaht'r-maV du
kan-se'], Antoine-Chrysostome, b. Paris,
Oct. 28, 1755; d. there Dec. 28, 1849. Secre-
tary of the Academie des Arts. Publ. De
la nature des operas buffons (Paris^ 1789;
pamphlet); and eulogies of Catel, Boieldieu,
Gossec, Mehul, Monsigny, Paisiello, and
other deceased members of the Academie
(in Recueil de notices historiques . . . 1834-7,
2 vols.; also printed separately).
Quidant [ke-dahnl, Alfred (rate Joseph),
b. Lyons, France, Dec. 7, 1815; d. Paris, Oct.
9, 1893. St. 1831 at Paris Cons., but left it
to exhibit the pianos in ferard's warerooms,
where he was employed for some 30 years.
Good pianist; composed light pf. -music of
considerable vogue.
Quinault [ke-noh'], Jean-Baptiste-
Maurlce, singer and actor at the Theatre
Francais, Pans, 1712-33, then retiring to
Gien, where he died 1744. He set to music
over 20 intermedes, ballets, etc. ; also a grand
4-act ballet, Les Amours des deesses (Grand
Opera, 1729).
Quinault, Philippe, b. Paris, 1635; d. there
Nov. 26, 1688; was Lully's librettist, as which
he exhibited unusual dramatic instinct. — Cf.
E. Richter, P. Q. Sein Leben, seine Tragodien,
seine Bedeutung fur das Theater Frankreichs
u. des Auslandes (Leipzig, 1910).
Raabe, Peter, b. Frankfort-on-Oder, Nov.
27, 1872. He is the son of the painter Her-
mann R. and a nephew of the famous actress
Hedwig Niemann- R. (wife of Albert Nie-
mann). Having completed the course at the
Realgymnasium of his native city, he st. mu-
sic with Bargiel at the Kgl. Hochschule fur
Musik in Berlin; 1894-8, Kapellm. in Konigs-
berg and Elberfeld; 1899-1903, 1st Kapellm.
at the Dutch Opera in Amsterdam; 1903-6,
cond. of the Kaim Orch. in Munich; 1906-7,
cond. of the newly establ. Kaim Orch. in
Mannheim; since 1907 1st Kapellm. in Wei-
mar, and since 1910 also dir. of the Liszt
Museum there. Dr. phil. (Univ. of Jena,
1916) with the thesis Entstehungsgeschichte
der Orchesterwerke Franz Liszts. He is highly
esteemed as a visiting cond. in England,
Holland and Belgium. Has publ. songs and
pf .-pes. ; and Festschrift zum Jubilaum des 50-
jdhrigen Bestehens der A bonnementskonzerte der
Grossherzogl. HofkapeUe in Weimar (1909).
733
RAAFF— RACHMANINOV
Raaff (or Raff), Anton, b. Holzem, n.
Bonn, 1714; d. Munich, May 27, 1797. Stage-
tenor, pupil of Ferrandim at Munich and
Bernacchi at Bologna; sang 1742-52 at Bonn,
Vienna, and other German courts; then in
Lisbon 1753-5, Madrid 1755-9, and Naples,
returning to Germany in 1770, where he was
attached to the court of Karl Theodor at
Mannheim and (1779) Munich. In 1778 he
went to Paris with Mozart, who wrote the
rdje of Idomeneo, and also the aria 'Se al labbro
mio,' for R.
Rabaud [rah-bohl, Henri, b. Paris, Oct.
10, 1873. Chefd'orch.attheOp6ra-Comique.
— Works: The operas La Fille de Roland
(Op.-Com., 1904), Le premier Glaive (Beziers,
1908), Mdrouf, Savetier du Caire (Op.-Com.,
1914); for orch., Op. 2, Divertissement sur
des Chansons russes; op. 5, Symphony No. 2
in £ m. (No. 1 in MS.); op. 6, La Procession
nocturne, symph. poem after Lenau (Der
nachtliche Zug); op. 7, £glo$ue, 'Poeme Vir-
gjlien'; op. 3, str. -quartet in G m.; op. 4,
Psalm 4 for soli, ch. and org.; op. 15, Con-
certino for vcl. and pf.; op. 17, Allegro de con-
cert for do.; an oratorio, Job; pes. for vcl.
and pf.; pf.-pes.; songs. Also a Methode pour
Violoncelle (op. 12).
Rablch frah'biyh], Ernst, b. Herda, Thu-
ringia, May 5, 1856. Pupil of Thureau and von
Milde. Since 1880 org. at the Schlosskirche,
prof, at the seminary, and cond. of the Lie-
dertafel (900 voices) in Gotha; later also cond.
of the students' chorus at the Gymnasium
and of the 'Kirchengesangverein'; founded in
1889 the 'Gothaischer Kirchenchor-Verband';
was made 'Herzogl. Musikdirektor* and *Hof-
kantor' in 1889, 'Prof.' in 1897; since 1897
editor of 'Blatter fur Haus- und Kirchen-
musik'; also editor of 'Musikalisches Maga-
zin' (a coll. of excellent monographs [60 vols.
up to 1916]). — Works: Kaiser-Hymne for
male ch. and orch.; Die Martinswandt dram.
cantata f. soli, ch. and orch.; Die Friihlings-
feier f. alto solo, mixed ch. and orch.; Des
Volkes Gruss f. male ch. and orch.; Das hoke
Lied der Arbeit f. do.; Dornrbschen f. sop.
solo, ch. and orch.; 'Psalter und Harfe', a
coll. of motets (5 books); Thuringcr Lieder-
kranz,' a coll. of male and mixed choruses;
male choruses a capp.; pf.-pes. ; songs.
Rabl, Walter, b. Vienna, Nov. 30, 1873.
While studying at the Gymnasium in Salz-
burg he received a thorough musical train-
ing from J. F. Hummel, the dir. of the Mozart-
eum; then st. comp. with K. Navratil in
Vienna, and musicol. with G. Adler in Prague
(Dr. phil. 1897). After some months as
asst.-cond. at the Prague opera he went to
the Hofoper in Dresden as Repetitor; 1903-6,
1st Kapellm. at the Diisseldorf opera; then
Kapellm. at the munic. theatres in Essen
734
and Dortmund; since 1915 munic. Musik-
direktor in Magdeburg. — Works: The opera
Liane (Strassburg, 1903); Symphony in D
m., op. 8; quartet for clar., vl., vcl. and pf.f
in E m., op. 1 (won 1st prize of Vienna Ton-
kunstlerverein, 1897); a vl. -sonata in D, op.
6; Sturmlieder for sop. and orch., op. 13; 4
songs w. pf. and vcl., op. 5; etc.— Cf. A.
Eccarius-Sieber, W. R., in vol. ii of 'Mono-
graph ien moderner Musiker' '(Leipzig, 1907).
Rachmaninor [rah-mah'ne-nohvj. Ser-
gei Vassilievitch, excellent pianist and gifted
composer; b. Onega, Govt, of Novgorod, Rus-
sia, April 2,1873. Pupil 1882-5 of Demyansky
in Petrograd Cons.; 1885-91, in Moscow
Cons., of Ziloti (pf.) and Taneiev and Arensky
(comp.), winning the great gold medal; after
some concert-giving, he was eng. in 1899 by
the London Philharm. Soc. as pianist, con-
ductor and composer. In 1902 he played in
the Vienna Symphony Concerts; 1903-$ he
taught in the Moscow Maryinsky Inst, for
girls; 1897-9, cond. of a private opera at Mos-
cow, and 1904-6, cond. at the Imp. Opera
there; after that lived for some years in Dres-
den, devoting himself chiefly to comp. and
making concert-tours as pianist and cond.;
visited the U. S. in 1909-10. Among living
Russian composers R. unquestionably oc-
cupies the first place because of his pro-
nounced inventive power and finely developed
sense of tonal beauty. He keeps aloof from
both impressionism and futurism. The stir-
ring effect of his music proceeds from the
inherent beauty and expressiveness of his
themes and their logical, masterly develop-
ment. Technically he has learned from the
modern Russian and German masters, but
his remarkable inventive power and rich
imagination impress upon his work the stamp
of unmistakable individuality. Although a
master of all moods, he excels in the portrayal
of the heroic. Nobility, directness, fire, and
strength are the prominent characteristics of
his music. — Works: The 3 1-act operas Aleko
(Petrograd, 1893), Skupoy rftsarj [The Miser
Knight] (Moscow, 1900; Boston, 1910),
Francesca da Rimini (Moscow, 1906); 2
symphonies, op. 13 and 27 ; 3 pf. -concertos, op.
1, 18, 30; Der Felsen, fantasy for orch., op. 7;
Capriccio bohemien for do., op. 12; Die Toten-
inselt op. 29 (symph. poem after Bocklin);
Trio SUgiaque for pf., vl. and vcl., op. 9; a
'cello-sonata in Gm.,op. 19; Vesna (Spring)
for bar. solo, ch. and orch., op. 20; The BeUs
(after Poe) for ch. and orch.; a Fanlaisie for
2 pfs., op. 5; a suite for do., op. 17; 6 pes. for
pf. 4 hands, op. 1 1 ; 6 choruses for mixed vcs.,
op. 15; songs (op. 4, 8, 14, 21, 26, 34). His
comps. for pf. solo are of more than ordinary
merit: Op. 3, 5 Morceaux de fanlaisie (No, 2
is the justly famous Prelude in C£m.); op. 10,
7 Morceaux de salon; op. 16, Six Moments
RADECKE— RADOUX
musicaux; op. 22, Vara, on a theme of Chopin;
op. 23, 10 Preludes; op. 28, sonata in D m.;
op. 32, 13 Preludes; op. 39, £tudes-tableaux
(8 concert-studies) .—-Cf. I. Lipiaiev, 5. V. R.
(in Russian; Saratov, 1913); M. Montagu-
Nathan, Contemporary Russian Composers
(New York, 1917).
Ra'decke, Ernst, son of Robert R. ; b. Ber-
lin, Dec. 8, 1866. Pupil of his father, F.
Mannstadt, H. Ehlert, L. Bussler, and at
Stern's Cons.; st. hist, of music, Germanic
philology, and philosophy, at the Univs. of
Jena, Munich and Berlin; took degree of
Dr.phil. at Berlin, 1891, with a dissertation
on Das deutsche weltiiche Lied in der Lautcn-
musikdesl6. Jahrkunderis (publ. in the Viertel-
iahrsschrift fur Musikwissenschaft,' 1891).
Became 'Korrepetitor' at the Leipzig City
Th.; from 1893, town mus. director, and
director of the Music-school, at Winterthur,
Switzerland; since 1908 also Privatdozent
at the Univ. of Zurich. Made R. Prof, in
1906. Has publ. Robert Kahn (1904); ed.
J. K. Eschmann's 100 Aphorismen fiber den
Klavierunterricht (1899); and wrote an analy-
sis of Beethoven's Eroica for Schlesinger's
'Musikfuhrer' (No. 51).
Ra'decke, Luise, stage-soprano ; b. Celle,
Hanover, June 27, 1847. Pupil of the Mar-
chesi at Cologne Cons., 1866-7, then making
debut at Cologne as Agathe in Der Freischiitz;
eng. there till 1869, then at Weimar till 1871,
at Riga till 1873, and then as prima donna
at Munich till her marriage, in 1876, with
Baron von Brummer, when she retired.
Ra'decke, (Albert Martin) Robert, b.
Dittmannsdorf, Oct. 31, 1830; d. Wernigerode,
June 21, 1911. Pupil of Leipzig Cons. 1848-
50, then 1st violin in Gewandhaus; in 1852,
2d cond. of the Singakademie; in 1853, mus.
dir. of the City Th. for a short time; later
pianist, organist and quartet-player in Berlin,
giving grand choral and orchl. concerts 1858-
63, then becoming mus. dir. of the court
theatre, and court Kapellm. in 1871. From
1883-88 he succeeded Stern as artistic dir. of
the Stern Cons.; resigned his opera -director-
ship in 1887; and in 1892 succeeded Haupt
as dir. of the R. Inst, for Church-music, Ber-
lin, which position he held till 1907. In 1874
he was elected member of the R. Acad.; 1882,
member of the senate; 1909, hon. member.
In 1905, in honor of R.'s 75th birthday,
friends and former students of the R. Inst,
for Church-music establ. the 'R. R. Stiftung'
(7000 marks), the income of which is granted
as partial scholarships to deserving students.
— Works: 1-act 'Liederspiel,' Die Monkguter
(Berlin, 1874); a symphony in F (op. 50), 2
overtures (Konig Johann [op. 25], Am Strande
[op. 40]), Festmarsch (op. 34), 2 Scherzi (op.
52), a Capriccio in C m., and a Nachtstuck
(op. 55), f. orch.; 2 pf.-trios (Ab, op, 30; B m.,
op. 33); many excellent part-songs and songs.
(His- beautiful Ausder Jugendzeit [op. 22, No.
1] has become a real folk-song).
Ra'decke, Rudolf, brother of preceding;
b. Dittmannsdorf, Silesia, Sept. 6, 1829; d.
Berlin, April 15, 1893. Pupil of Baumgart in
the Acad. Inst, for Church-music, Breslau,
and (1851-3) of Leipzig Cons.; from 1859 in
Berlin, teaching 1864-71 at the Stern Cons. ;
cond. 1864-8 of the ,Cacilien-Verein,; founded
the Radecke Choral Soc. in 1868, and a music-
school in 1869. — Publ. part-songs and songs.
Radlciottl [-ch6h'te], Giuseppe, b. Jest,
Le Marche, Jan. 25, 1858. While studying at
the Univ. in Rome he was a pupil in music of
his uncle, G. Faini, and of Rafto; taught in
secondary schools in Rome till 1895; since
then prof, of history at the Liceo in Tivoli.
He .has made a specialty of the music and
musicians of Le Marche. — Works: Teatro,
musica e musicisti in Sinigaglia (1893);
ContribtUi alia storia del leatro e delta musica
in Urbino (1899) ; // leatro e la cultura in Roma
nel secondo quarto del secolo XIX (1904);
Teatro, musica e musicisti in RecanaH (1904) ;
// genio musicale dei Marchigiani .... (1905 ) ;
Varte musicale in Tivoli nei secoli XVI,
XVII e XVIII (1907); G. B. Pergolesi.
Vita, opere ed influenza su Varte (1910); nu-
merous essays in various journals. For
several years he has been at work on a dic-
tionary of musicians of Le Marche.
Radoux [rah-dool, Charles, son of Jean-
Theodore R.; b. Liege, July 30, 1877. Pupil
of his father; app. instr. of harm, at the Liege
Cons, in 1900; won Prix de Rome in 1907
with the cantata Genevieve de Brabant. Has
written the operas Les Sangliers des Ardennes
(Liege, 1905), Oudelette (Brussels, 1912); the
choral works w. orch. Adieu- Absence- Retour,
Chanson d'Halewyn, A AndrS-Modeste GrHry,
Les Aventures d'un papiUon et d'une bite a bon
Dieu, La Bretagne, Les FSes; — for orch. Danse
tzigane, Burlesque, Vision, Triptiaue cham-
pHre; Scene grecque for vcl. and orch.; Varia-
tions for vl. and orch. ; Lamentation (on a pre-
lude of J. S. Bach) for Engl, horn and pf.;
the cantata (Edipe a Colone; pf.-pcs.
Radoux, Jean-Theodore, b. Liege, Nov.
5, 1835; d. there March 21, 1911. Pupil of
Daussoigne-Mehul and Bacha (bassoon) at
the Cons., where he became teacher of bassoon
in 1856; won the Prix de Rome with the
cantata Le Juif errant (1859); st. with Halevy
at Paris; and in 1872 was app. Director of
Liege Cons. — Works: Operas Le Beamais
(comic; Liege, 1866), and La Coupe enchanUe
(comic; Brussels, 1872); oratorio Cain (1877);
cantata LafiUedeJephtt, f. soli, ch. and orch.;
chorus f. female voices, w. orch., Le Prtntemps;
the symphonic tone-pictures Akasvere and
735
RADZIWILL— RAFF
Lefestin de BaUhasar; symph. overture £popSe
nalionale; Te Deum; church-music, male
choruses, songs, etc. — Also the work Henri
Vieuxtemps, sa vie et ses ccuvres (1891).
Ra'dziwill, Prince Anton Heinrich, b.
Vilna, June 13, 1775; d. Berlin, April 8, 1833.
'Stadtllalte^, of Posen; mus. amateur, an ex-
cellent singer, and a patron of art. — Works:
Incid. music to Goethe's Faust (often perf. at
Berlin, Leipzig, etc.; publ. 1835); ComplainU
di Maria Stuart, w. 'cello and pf.; French ro-
mances (1802), vocal duets (1804), male quar-
tets (for Zeltner's 'Liedertafer) etc. To him
Beethoven dedicated the Namensfeier over-
ture, op. 115; he was also Chopin's patron.
Raff, Anton. See Raaff.
Raff, Joseph Joachim, b. Lachen, Lake
of Zurich, May 27, 1822; d. Frankfort-on-
Main, June 25, 1882. The son of an organist,
he was educated at Wiesenstettenj Wurttem-
berg, and at the Jesuit Lyceum in Schwyz;
being too poor to take a University course, he
then became a school-teacher, but continued
the study of composition, and of the piano
and violin, by himself. In 1843 he sent some
MS. works to Mendelssohn; the latter recom-
mended them to Breitkopf & Hartel, who
publ. R.'s op. 2-14, all pf. -pieces. Thus en-
couraged, he gave up school-teaching for the
career of a composer, and worked hard, though
without improving his material condition
for some time. Liszt invited him to accom-
pany him on a concert-tour; R. went as far
as Cologne (1846), and then intended to go
to Mendelssohn at Leipzig, but Mendelssohn
died in 1847, and R. remained in Cologne for
a time, writing reviews for Dehn's 'Cacilia/
and composing industriously. His hopes of
remunerative employment by the Viennese
publisher, Mechetti, were dashed by the
latter's death; R. returned to Wiesenstetten,
but often visited Stuttgart, and there met
von Biilow, who greatly aided his reputation
by publicly playing his KonzertsttUk; R.'s
opera, Konig Alfred, was also accepted for
performance at the court theatre; but the
Revolution of 1848 again frustrated his hopes.
In 1850 he joined Liszt at Weimar; entered
heart and soul into the neo-German move-
ment, which he championed in the 'Neue
Zeitschrift fur Musik,' and had the satis-
faction of seeing his opera, Konig Alfred,
brought out in revised form at Weimar (1851)
by Liszt; though it never got any further.
Until his death he always remained in close
contact with Liszt, and rendered very material
assistance in the instrumentation of several
of L.'s symphonic poems. He publ. (1854)
a pamphlet, Die Wagnerfrage. In 1856 he
followed the actress Doris Genast (b. 1826;
d. Munich, Nov. 7, 1912) to Wiesbaden, and
married her in 1859. In Wiesbaden he was in
great demand as a pf.-teacher. In 1863 his
first symphony, An das Vaterland, won the
prize of the Viennese 'Gesellschaft der
Musikfreunde' over 32 competitors; in 1870 a
second opera, Dame Kobold (comic), was prod,
at Weimar; and in 1877 he was app. Director
of the Hoch Cons, at Frankfort, where he re-
mained till his death (from apoplexy). — Raff
was a composer of prodigious fertility of in-
vention, an inexhaustible vein of melody, and
thorough mastery over the technical and
formal requirements of composition. He
wrote over 230 works of very unequal value,
poverty, the demands of publishers and
'popularity/ and his own native facility,
conspired to induce rapidity of writing; yet
his masterpieces, like the 3rd and 5th sym-
phonies (Im Walde and Lenore), the orchl.
overtures op. 101 and 194, the pf.-concerto
op. 185, the 'cello-concerto op. 193, etc., won
him, both with regard to originality and fine
workmanship, a leading place among con-
temporary composers. It is a pity that soon
after his death his popularity began to wane
rapidly; by the end of the century even the
best of the orchl. works had fallen into com-
plete oblivion. Occasional revivals of the
once immensely popular symphonies Nos.
3 and 5 have only emphasized the abso'ute
hopelessness of ever restoring them to favor.
The Raff Memorial Soc. publ. (Frankfort,
1886) a complete list of his works. A full
list is also given in Grove.— Cf. E. A.Schafer,
Chronologisches-systematisches Verzeichnis der
Werke Raffs (Wiesbaden, 1888); R. Gandolfi,
La Musica di G. R., in 'Note illustrative di
due accademie. . .' (Florence, 1904).
Principal Works.
Symphonies: No. I, op. 96. An das Vaierland; No.
2, op. 140 in C; No. 3. op. 153 In F. Jm Walde (1869);
No. 4, op 167 in G m.; No. 5. op. 177 in E. Lenore;
No. 6, op. 189 in D m., Gelebt, gestrebt—geliUen.ge-
striUen — gestorben, umtworben; No. 7, op. 201 in Bb.
In dm Alprn; No. 8. op. 205 in A, Fr+hlingsktange;
No. 9, pp. 208 in E ra.f 1m Sommer; No. 10. op. 213 in
F m.. Zur Herbstuit; No. 11. op. 214 in A m.f Der
Wintrr (posth.; ed. by Erdmannsdorfer) ;— stnfometta.
op. 188. f. 8 wood-wind instrs. and 2 horns; 4 suites
(No. 1, op. 101. in C; No. 2. op. 194 in F. In ungariscker
Weise; No. 3. no opus-number, in JS m., ltalientsche
Suite; No. 4. op. 204 in Bb, Aus Thurin&n (posth.;
publ. 1893]); 9 overtures: Jubebnaerture. op. 103;
Ffstouvcr litre, op. 117, in A; Konurlotaerture. op.
123, in F; FestouvertUre. op. 124, f. wind; on Ein
feste Burg. op. 127; 2 others, to Romeo and Jultet
and Macbrth (rev. by MacDowell: publ. 1891); and
2 more. Othello and The Tempest (also rev. by Mac-
Dowell, but not publ.); Festmarsch, op. 139; orchl.
rhapsody Abends, op. 163 in Bb; orchl. Elegit (MS.);
orchl. fugue (MS., unfinished) ;— FOR pf. w. orch.:
Ode au pr mtem ps, op. 76; concerto in C m., op. 185;
suite in Ei>, op. 200; — FOR VIOLIN w. ORCH.: La Fie
d' Amour, op. 67; concerto No. 1. op. 161. in B m.;
suite, op. 180; concerto No. 2. op. 206, m A in.;— -
For 'cello w. orch.: Concerto No. 1, in D m..op. 193;
No. 2 (MS.) in G;— Chamber-music: String-octet, op.
176, in C; string-sextet, op. 178; pf. -quintet, op.
107. in A m.; 2 pf. -quartets, op. 202 (G and C m.V;
8 string-quartets (op. 77, Dm.; op. 90, A; op. 136, E
736
RAGGHIANTI— RAIMONDI
m.; op. 137, A m.; op. 138. G: op. 192 [3 nos.. Suite
Merer Form, Die schbne MUllerin, Suite in Kanon-
form]; 4 pf.-tnos (op. 102. 112. 155. 158); 5 sonatas f.
pf. and via. (op. 73, 78. 128. 129. 145); suite f. pf. and
vln.. op. 210; other pieces f. pf. and vln. (op. 58, 63 [3
books, on Wagner operas], 85. 203. duo in G (MS.)); 2
FantasiestUcke f. pf. and 'cello, op. 86: duo f. do., op.
59; cello-sonata, op. 183; 2 romances t. horn or •cello
w. pf.. op. 182; very numerous solo pieces r. pf. (op.
1-46 are exclusively such); 2 sonatas, op. 14, 168; 7
suites, op. 69. 71. 72. 91. 162. 163. 204; 3 sonatinas,
op. 99; Hommoge au nio-romantisme, op. 10; 2 Rap-
sodies Ukgiaques, op. 22; Tan%-Capricen, op. 54;
Messagers du printemps, op. 55: Airs suisses. op. 60;
Caprkcio, , pp. 64: suite of 12 pieces without octaves,
op. 75; Chant dOndine (arpeggio tremolo etude),
op. 84; Introd. und Allegro scherzando, op. 87; Am
Giessbach (etude), op. 88; Polka de la reine, op. 95;
Faniaiste-Polonaise. op. 106: Valse in C. op. Ill ; Un-
garische Rhapsodie, op. 113; Spanische Rhapsodie,
op. 120; Gavotte, Berceuse, Espiigle. op. 125; 2 itudes
milodiques, op. 130; Tarentella. op. 144; Scherzo,
op. 148; Allegro Agitato, op. 151; Cavatina, and La
Fileuse. op. 157; La Cicerenella, op. 165; Polka
glissante, op. 170; Vars. on an orig. theme, op. 179;
30 etudes (without opus-number); many paraphrases
(e. g.. 'Die Oper im Salon.' in 12 books);— F. pf. 4
hands: 12 5olon-pieces without octaves, op. 82; Marche
brillante, op. 132; Humoresken in waltz-form, op.
159; Reisebilder, op. 160; A us dem Tantsalon, op.
174; Humoreske Todtentanz, op. 181; — For 2 pfs.:
Chaconne. op. 150. and a Fantasia, op. 207a:— Vocal:
Wachet auf [Geibel], f. male ch., soli and orch., op. 80;
festival cantata Deutschlands Auferstehung* f. ditto,
op. 100; De profundis a 8, w. orch., op. 141; other
church-music in MS.; Im Kahn and Der Tanz, I.
mixed ch. w. orch., op. 171; Morgenlied and Einer
Entschlafenen. f. sopr. eolo, mixed ch. and orch., op.
186; Die Tageszeiten, f. chorus, pf. and orch.. op. 209;
Die J&gerbraut and Die Hirtin, 2 scenes f . solo voice w.
orch., op. 199; the oratorio Weltende, Grricht, neue
Welt [Revelations], op. 212 (prod, at Leeds. 1882); also
Die Sterne and Dornrdschen (both MS.), and 4 unper-
formed operas (Die EifersAchtigen [book also by R.J,
Die Parole, Benedetto Mar cello, and Sa mson); also music
to Genast's Bernhard von Weimar (1858). Many songs,
op. 47-53, op. 66 (Traumkdnig und sein Lieb). op. 98
(SangesfrUhling, 30 numbers, several of which are
favorites), op. 172 (Maria Stuart, cycle of 11 songs).
173. 191. 211 (Blondel de Nesle; cycle); also FrUh-
lingslied and SUindchen, without opus-number: 12
duets, op. 114: 6 tenets f. female voices w. pf., op. 184;
10 songs f. mixed ch., op. 198; 30 male quartets, op.
97, 122, 195. — R.'s arrangements include Bach's D-
mtnor Chaconne f. orch.; Bach's 6 'cello-sonatas. 3
orchl. suites, and movements from the violin-sonatas
f. pf. 2 hands; one march from Handel's Saul, and
another from Jephlha. — He also wrote Die Stellung der
Deutschen in der Geschichte der Musik, in 'Weimarische
Jahrbticher' (1885).
Ragghian'ti, Ippollto, b. Viareggio, n.
Pisa, 1866; d. there Nov. 21, 1894. Fine
violinist. Comp. the one-act lyric drama
Jean-Marie, which was edited by Paul Gilson
and prod, at Brussels, Jan. 15, 1896; also
wrote meritorious pes. for vl. and pf.
Rahl'wes, Alfred, b. Wesel, Oct. 23, 1878.
From 1893-9 pupil of Wullner, G. Hollaender
and W. Hess at the Cologne Cons.; was th.-
Kapellm. in Stuttgart, Liegnitz and Kdnigs-
berg; 1902, cond. of the 'LiedertafeF in
Elbmg, where he also founded the 'Philh.
Chor'; since 1910 cond. of the 'Robert Franz
Singakademie' in Halle; succ. O. Reubke as
Univ. mus.-dir. in 1913: made Kg). Musik-
direktor in 1910. Has written a comic opera,
Jungfer Potiphar (Essen, 1907); Metres-
tauter for male ch. and brass instre.; a pf.-
quintet; choruses and songs.
Raida, Karl Alexander, b. (of German
parents) Paris, Oct. 4, 1852. Pupil of the
Conservatories of Stuttgart and Dresden.
Having held various posts as th.-cond., he
was Kapellm. from 1878-92 at the Viktoria
Th. in Berlin, where he founded an 'Akademie
fur dramatischen Gesang' (1882) and the
'Gesellschaft der Opernfreunde' (1887); 1895-
1897 dir. of the new 'Deutsehes Theater' in
Munich; since 1900 musical adviser and ed.
for the Munich publr. C. Profit. A success-
ful comp. of light operas, operettas, ballets,
farces, etc. — Principal works: The operas Die
Konigin von Golkonda (Berlin, 1879), Print
Orlofsky (ib.f 1882), Capricciosa (ib., 1886),
Der Jager von Soest (ib., 1887), Der schlum-
mernde Lowe (Nuremberg, 1903).
Ratf (rif]f Oscar, b. Zwolle, Holland, July
31, 1847; d. Berlin, Aug. 1, 1899. Pupil of his
father, Karl Raif, and Tausig; from 1875,
teacher of piano-playing at the Berlin Hoch-
schule, with title Royal Professor.' Excellent
pianist; he comp. a pi-concerto in G m. (op. I),
a sonata f. pf. ana violin in Gm. (op. 11),
and some comps. for pf. solo.
Raillard [ri-yahr'], Abbe F.. b. Montor-
mentier, France, 1804; teacher of science at
the colleges of Nimes and Juilly; publ.
Explication des neumes ou anciens signes de
notation musicale . . . (Paris; n. d.): Le chant
grtgorien restaurS (1861); Sur I'emploidu quart
de ton dans le chant grtyorien and Sur les quarts
de ton du graduel Tibi Domxne (both in the
'Revue archeologique,' 1861); and Memoire
sur la restauration du chant gregorien (1862).
Raillard, Theodor, b. Konigsbcrg, Sept.
27, 1864. From 1884-8 pupil of Rudorff,
Succo, Bargiel and A. Haupt at the Kgl.
Hochschule fur Musik in Berlin; lived from
1888-93 as teacher in Uppingham, Engl.;
since 1893 dir. of the Zschochersche Musik-
institut in Leipzig. Has publ. meritorious
motets, songs, duets, pf.-pes., male choruses,
pes. for vl. and pf., etc.
Rafmann, Rudolf, b. Vesprim, Hungary, .
May 7, 1861; d. Vienna. Sept. 26, 1913. He
wrote the opera Enoch Arden (Leipzig, 1905),
about a dozen operettas (Das Ellishorn,
Paula macht A lies, Das Wascherrnadel, etc.),
minor pes. for orch., and pf.-pes.
Raimon'dl, Ignazio, b. Naples, c. 1733;
d. London, Jan. 14, 1813. Violinist; founded
and conducted concerts in Amsterdam from
1762-80, producing a symphony, Les aven-
tures de Teltmaque, in 1777, and (in Paris,
1791) the opera-bouffe La Muette; in London
he produced a second symph. La Battaglia,
which achieved immense popularity; also
publ. 3 violin-concertos, 9 string-quartets,
737
RAI MON DI— RAM ANN
15 string-trios, 6 sonatas for 2 vis., 3 sonatas
for vl. and vcl.f etc. — See Q.-Lex.
Raimon'di, Pietro, b. Rome, Dec. 20,
1786; d. there Oct. 30, 1853. For six years
he studied under La Barbara and Tritto at
the Cons, della Pieta de' Turchini, Naples;
lived for a time at Rome and Florence, and
in 1807 brought out an opera buffa, Le Biz-
zarrie d'amore, at Genoa, where he had estab.
himself as a teacher and composer. It was
followed by about 60 other dramatic works,
which were generally successful, and 21 bal-
lets, for whose production he went from place
to place (Florence, Naples, Rome, Messina,
Milan, etc.); from 1824-32 he was director
of the royal theatres at Naples, also, from
1825, prof, of counterpoint at the R. Cons.;
from 1832-52, prof . of cpt. at Palermo Cons.;
on Dec. 12, 1852, he succeeded Basili as m. di
capp. at St. Peter's, Rome. — R.was a contra-
puntist of remarkable originality, and of a skill
in combination rivalling that of the masters of
the contrapuntal epoch ; he publ. 4 fugues a 4,
which might be combined as a quadruple
fugue a 16; 6 fugues a 4, to be combined as a
sextuple fugue a 24; in the 24 Fughe a 4, 5, 6
e 8 voci publ. by Ricordi, there is one such
quadruple fugue a 16, and a quintuple fugue a
20; further, 6 fugues a 4, performable as a
sextuple fugue a 24; and a fugue a 64, for 16
choirs a 4. His most astounding feat in
combination, however, was the sacred trilogy
Giuseppe (Joseph), comprising 3 oratorios,
Potifar, Giuseppe, Giacobbe, performed at the
Teatro Argentina, Rome, 1852, at first sepa-
rately, ana then simultaneously, the ensemble
of 400 musicians on the stage and in the
orchestra presenting a most striking effect,
and evoking indescribable enthusiasm. — He
also comp. 5 other oratorios, 4 masses w. orch.,
2 masses a 8 a cappella, 2 Requiems a 4 w.
orch., a third a 8, and a fourth a 16; the 150
Psalms of David a 4-8, in Palestrina-style
(15 volumes); 2 Sinfonie religiose, to be ex-
ecuted together or separately; a Credo a 16;
much other church-music: and publ. several
essays designed to elucidate the composer's
system of contrapuntal combination.— Cf. F.
Cicconetti, Memorie intorno a P.R. (Rome,
1867).
Rains, Leon, dramatic basso ; b. New
York, Oct. 1, 1870. Pupil of Oscar Saenger at
the National Cons., N. Y., 1891-6; then for
a year of J. Bouhy in Paris. Debut in 1897
with the Damrosch- Ellis Opera Co., and sang
the rdles of Landgraf Hermann, Pogner,
Fafner, Hunding, Mephistopheles and Rocco
(Fidelio) in the principal cities of the U. S.;
1898, tour of the U. S. with Melba; since 1899,
member of the Hofoper in Dresden, where he
is a great favorite; has appeared as star in
several of the larger German theatres, and
sang at the M. O. H. in 1908. Also highly
esteemed as a Lieder-singer. The King of
Saxony made him 'Kgl. Prof.1 and 'Kam-
mersanger.'
Raisa, Rosa, dramatic soprano; b. Bielo-
stok, Russia, c. 1890. In order to escape
the horrors of the Jewish persecutions she
fled to Naples at the age of 14; on Lombardi's
advice she ent. the Cons. San Pietro a Maiella,
where she st. under Barbara Marchisio; debut
at Parma, Sept. 6, 1913, in Verdi's Oberto,
Conte di San Bonifacio (revived for the V.
centenary) ; then sang 2 seasons at the Co-
stanzi in Rome; 1914 at Cov. Garden; 1914-
15, with the Chicago Opera Co. ; summer of
1915 at the Th. Colon, Buenos Aires; sang
with increasing success in Rio de Janeiro,
Montevideo, Sao Paulo, and Milan; on her
reappearance with the Chicago company she
scored a triumph as Aida (Nov. 13, 1916).
Principal rfiles: Valentine, Amelia, Mimi,
Santuzza, Mrs. Ford (Falstaff), Maddalena
(Andrea Chenier), Elena and Margherita
(Mefistofele), etc.
Raison [ra-zohnl, Andre1, organist at Ste.-
Genevieve in Paris c. 1685; a noted composer
for his instrument. Publ. Livre oVorgue (1 687),
and a second do. (1714). The former was repr.
by Guilmant in'Archives des Maftres d'orgue.'
Ra'mann, Bruno, b. Erfurt, April 17,
1832; d. Dresden, Mar. 13, 1897. Pupil of
Hauptmann at the Leipzig Cons.; lived from
1867 in Dresden as a singing-teacher. Be-
sides purely literary works (dramas, poems),
he publ. a considerable number of fine cho-
ruses, songs, and pf.-pcs. (solo and 4 hands).
Ra'mann, Lina, b. Mainstockheim, near
Kitzingen, J[une 24, 1833; d. Munich, Mar. 30,
1912. Pupil of Franz Brendel and Frau
Brendel, at Leipzig. Founded (1858) a mus.
seminary for female teachers, at GlQck-
stadt, Holstein; in 1865, with Ida Volkmann,
a music-school at Nuremberg, which they
sold in a most flourishing condition to August
Gollerich (q. v.) in 1890. From then untifher
death she lived in Munich, devoting herself
entirely to literary work. — Publ. Die Musik
als Gegenstand der Erziehung (1868); Aus der
Gegenwart (1868); Allgemeine Erzieh- jind
Unterrichtslehre der Jugend (1869; 3d ed.
1898); Bach und Handel (1869); Fr. Liszt's
Oratorium 'Christus'; eine Studie zur zeit- und
musikgeschichtlichen Stellung desselben (1880);
Franz Liszt als Kiinstler und Mensch (3 vols.,
(1880-94); Franz Liszt als Psalmensdnger
(1886); she transl. and ed. Liszt's literary
works, 'Gesammelte Schriften' (6 volumes,
1880-3); also wrote a Grundriss der Technik
des Klavierspiels, in 12 books. Comp. 4
sonatinas (op. 9), and other of. -music; ed.
'Liszt-Padagogium* (5 vols, of Liszt's pf-
738
RAMEAU
comps. with L.'s .own changes, additions,
remarks, etc.).
Rameau [rah-moh'J, Jean- Philippe, the
creator of the modern science of harmony,
and an original and distinguished dramatic
composer, was born at Dijon, Sept. 25, 1683;
died Paris, Sept 12,1764. [The date of birth,
Oct. 23, recorded on the R. monument at
Dijon, cannot be correct, since the certificate
of baptism in the church of St.-fitienne is
dated Sept. 25." All biographers give this
date also as the date of birth.) Of a musical
family, at 7 he could play at sight, on the
harpsichord, any music given him; from
10 to 14 he attended the Jesuit College at
Dijon; then devoted himself to music, and in
1701 was sent to Italy, but found the prevail-
ing style not at all to his liking, and joined
the orchestra of a travelling French opera-
troupe as violinist. In 1702 he was asst.-
organist at Notre- Dame in Avignon; in Tune
of that year he became org. at the Cath. in
Clermont-en-Auvergne. In 1706 he publ.
his first Lwre de pieces de clavecin in Paris,
where he probably had been living since the
spring of 1705. Until 1708 he remained in
Paris as org. of 2 minor churches, ha vine com-
peted unsuccessfully for the post of Ste.-
Madeleine in 1706. In 1709 he became his
father's successor at the Cath. in Avignon;
in 1714 he was org. in Lyons. When he re-
turned to his former post at the Cath. in
Clermont is not known, but the title-page of
his Traiti de V Harmonic (1722) mentions him
as organist there. This epoch-making work,
though little understood at the time, attracted
considerable attention and roused opposition,
so that when he settled definitely in Paris
(1723) he was by no means unknown. He
became organist at Sainte-Croix-de-la-Bre-
tonnerie, and soon was recognized as the fore-
most organist in France. The fact that he
failed in 1727 in a competition for the position
of org. at St.-Vincentnde-Paul did not injure
his reputation, for it was generally known that
Marchand (probably out of jealousy) had
exerted his powerful influence in favor of
Daquin, who was in every respect inferior to
R. In 1726 appeared his Nouveau systhne de
musiquc theor%quet an introduction to the
Traite. The leading ideas of. his system of
harmony are (1) chord-building by thirds;
(2) the classification of a chord and all its
inversions as one and the same, thus reducing
the multiplicity of consonant and dissonant
combinations to a fixed and limited number of
root -chords; (3) his invention of a fundamen-
tal bass ('basse fondamentale'), which does
not correspond to our thorough-bass, but is
an imaginary series of the root-tones forming
the real basis of the varied chord-progressions
employed in a composition. The stir which
these novel theories occasioned, and his repu-
tation as the foremost French organist, by no
means satisfied Rameau 's ambition; his
ardent desire was to bring out a dramatic
work at the Opera. He had made a modest
beginning with dramatic music in 1723, when
he wrote some dances and divertissements for
Alexis Piron's fairy burlesque VEndriague,
which was prod, at the Th. de la Foire St.-
Germain. In 1726 he brought out at the
same theatre two light operas by the same
poet, PEnrSlement d' Arlequin (Feb. 28) and
La Robe de dissention, ou le Faux Prodige.
(autumn). Having become music-master to
the wife of the 'fermier-general,' M. la Poupe-
liniere, the latter obtained of Voltaire a li-
bretto on Samson , which R. set to music; but
it was rejected on account of its biblical sub-
ject. A second libretto, by Abbe Pelegrin,
was accepted, and Hippolyte et A ride was
produced at the Opera in 1733; its reception
was cool, despite undeniable superiority
(over the operas of Lully and his following)
in the rich and varied harmony and instru-
mentation; and Rameau almost renounced
dramatic composition; but the persuasions of
his friends, who also influenced public opinion
in his favor, were effective; in 1735 he brought
out the successful opera-ballet Les Indes
falantes, and in 1737 his masterpiece, Castor et
9ollux, a work which for years held its own
beside the operas of Gluck. A career of unin-
terrupted prosperity commenced; he was rec-
ognized as the leading theorist of the time, and
his instruction was eagerly sought; for the
next 30 years his operas dominated the
French stage; the King created for him the
office of cabinet-composer, and later raised
him to the nobility. — From the beginning of
his dramatic career R. roused opposition, and
at the same time found enthusiastic followers.
The first war of words was waged between the
'Lullistes et Ramoneurs.' This had scarcely
been ended by a triumphant revival of Pyg-
malion in 1751, when the production of Per-
golesi's La Seroa Padrona 1752) caused a
more prolonged and bitter controversy be-
tween the adherents of R. and the 'Ency-
clopedistes,' known as 4La Guerre des Bouf-
fons,' in which R. took a very active part
with a number of essays defending his position.
Practically the same charges were made
against him as a century later against Wagner:
unintelligible harmony, lack of melody,
preponderance of discords, noisy instrumen-
tation, etc. But when the war between
Gluckists and Piccinnists was raging, R.'s
works were praised as models of beauty and
perfection. It is a matter for regret that R.
was so indifferent to the quality of his li-
bretti; he relied so much upon his musical in-
spiration that he never could be brought to a
realization of the importance of a good text;
hence the inequality of his operas. Never-
739
RAMEAU— RAN DEGGER
theless, his operas mark a decided advance
over Lully's in musical characterization,
expressive melody, richness of ^ harmony,
variety of modulation, and individuality of
instrumentation. — Writings: Traitf d'har-
monie ... (1722); Nouveau systhne de musique
theorique ( 1 726) ; Plan abrege d'une methode nou-
velle d'accompagnement (1730); Les diffirentes
met hades d'accompagnement pour le clavecin
ou pour Vorgue (1732); Generation harmonique
(1737); Demonstration du principe de Vhar-
monie (1750); Nouvelles riflexions sur la
demonstration . . . (1752); Reflexions . . . .
sur la manure de former la votx . . . (1752);
Observations sur notre instinct pour la musique
(1754); Code de musique pratique . . . (1760);
also numerous pamphlets, polemical or other-
wise, and 3 works in MS. — Operas (besides
those named) : Les Files d'Hebe, ou les talents
lyriques (1739); Dardanus (1739); La prin-
cesse de Navarre, Les Files de Polhymnie,
P la tee, ou Junon jalouse, and Le Temple de la
Gloire (1745); Les Fites de V Hymen et de
V Amour, ou les dieux d'£gypte (1747); Zais
(1748); Pygmalion (1748); Nais and Zoroastre
[the Samson music to a new libretto] (1749);
Acanthe et Cephise, ou la sympathiet La guir-
lande, ou les fleurs enchantees, and La nais-
sance d' Osiris, ou la fite de Pamilie (1751);
Daphnis et £gle, Lycis et Delve, and Le retour
aVAstree (1753); AnacrSon, Les Surprises de
V amour, and Les Sybarites (1757) ; Les Paladins
(1760); several others not perf. Most of the
above were publ. in short score (voice-parts,
violin, and bass, with the ritornelli in full);
Les Indes gal antes, Castor et Pollux, Les talents
lyriques and Dardanus, have been publ. in a
new edition by Breitkopf & Hartel. — Other
publ. music: Premier livre de pieces de clavecin
(1706); Pieces de clavecin avec une methode
pour la mecanique des doigts (n. d. ; with im-
portant notes); Pieces de clavecin avec une
table pour les agrements (1731); and Nouvelles
suites de pieces pour clavecin avec des re-
marques sur les diffcrents genres de musique
(n. d.; Farrenc publ. these last two in his
Tresor des pianistes,' 1861); Pieces de clave-
cin en concerts (1741; w. accomp. of violin,
flute, and viola [or 2d vln.]); detached
numbers of the above are in Pauer's 'Old
French Composers' and 'Popular Pieces by
Rameau'; Hugo Riemann edited a complete
ed. of the clavecin-compositions (publ. by
Steingraber).--In 1895 Durand & Cie. began
the publication of a monumental edition
under the editorship of C. Saint-Saens and
Ch. Malherbe; after the latter's death (1911)
his part of he work was divided between M.
Emmanuel and M. Teneo. Up to the out-
break of the war (1914) the following vols,
had appeared : Vol. i, Pieces de clavecin; vol. ii,
Musique instrumentale; vol. iii, Can totes;
vo!. iv, Motets (1st series); vol. v, Motets
(2d series); vol. vi, Hippolyte et Aricie;
vol. vii, Les Indes galantes; vol. viii, Castor et
Pollux; vol. ix, Les Fetes d'Hebi ou Les
Talents lyriques; vol. x, Dardanus; vol. xi.
La Princess" de Navarre, Les Fites de Ramire,
Nelee et Myrthis, Zephire; vol. xii, Plaice;
vol. xiii, Les Fites de Polhymnie; vol. xiv, Le
Temple de la Gloire; vol. xv, Les Fites de
V Hymen et de V Amour; vol. xvi, Zais;
vol. xvii, Pygmalion, Les Surprises de I1 Amour;
vol. xviii, Nats.
BIBLIOGRAPHY : A. Biography: Ch.
Poisot, Notice biographique sur J. -Ph. R. (Paris,
1864) ; Th. Nisard, Monographie de J. -Ph. R.
(ib. 1867); A. Pougin, R. Kssai sur savie et
ses csuvres (ib., 1876); R. Garraud, R. Sa vie,
ses asuvres (ib., 1876); H. Grigne, R. Sa vie,
ses ouvrages (Dijon, 1876); M. Brenet, Notes
et croquis sur J. -Ph. R., in 'Le Guide musical*
(1899); id., La Jeunesse de R., in 'Riv. Mus.
Ital.' (1902-3) ; H. Quittard, Les annees de jeu-
nesse de R., in 'Revue d'histoire et de critique
musicale' (1902); L. de la Laurencie, Quel-
?ues documents sur J. -Ph. R. et sa famille
Paris, 1907); id., R. (ib., 1908; in 'Les
Musiciens cdlebres'); L. Lalov, R. (ib., 1908;
in 'Maitres de la Musique'); L. de la Lauren-
cie, R. et ses descendants, in 'S. I. M.' (191 i).
— B. Criticism and History; L. Danjou, R.t
son influence sur Vart musical (Paris, 1866);
J. Carlez, Grimm et la musique de son temps
(ib., 1872); R. de Recy, La Critique musi-
cale au s&cle dernier; R. et les Encyctopedistes,
in 'Revue des Deux Mondes' (July, 1886);
A. Jullien, La Musique et les PhUosophes au
XVIII*" siecle (Paris, 1873); E. Newman,
Gluck and the Opera (London, 1895); H.
Imbert, VCEuvre de J.-Ph. R.t in 'Le Guide
musical (1896); H. Riemann, Geschichte der
Musiktheorie (Leipzig, 1898; pp. 450 et seq.)
E. Dacier, V Opera au XVI II™ siecle, in
'Revue musicale' (1902); E. Hirschberg,
Die Encyklopddisten und die franzosiscke
Oper im 18. Jahrhundert (Leipzig, 1903); R.
Rolland, Musiciens d? autrefois (Paris, 1908);
A. Jullien, Musiciens d'hier et d'aujourd'hui
(ib., 1910); P.-M. Masson, LuUistes et Ra-
mistes, in TAnnee musicale' (1911); J.
Riviere, Aludes (Paris, 1911); J.-G. Prod-
homme, £crits de musiciens X V"- au X VlIIm*
siicles (ib., 1912); L. Striffling, Le Gout
musical en France au XVIII™ siicle (ib.,
1913); G. Cucuel, La Poupliniere et la mu-
sique de chambre au X VIII™ siecle (ib.f 1913).
— A complete bibliography was publ. by M.
Brenet in 'Le Courrier musical' (1908).
Ran'degger, Alberto, b. Trieste, April 13,
1832; d. London, Dec. 18, 1911. Pupil of La-
font (pf.) and Ricci (comp.); prod. 2 ballets,
and an opera (// Lazzarone, 1852; written with
3 others), at Trieste; was theatre-cond. at
740
RANDEGGER— RAPPOLD
Fiume, Zara, Sinigaglia, Venice, and Brescia
(grand opera Bianco, Capello, 1854), and about
1854 settled in London, where he became fa-
mous as a singing-teacher. In 1868 he wasapp.
prof, of singing at the R. A. M., subsequently
becoming a director, and a member of the
Committee of Management; was likewise prof,
of singing in the R. C. M. In 1857 he cond.
Italian opera at the St. James's Th.; from
1879-85, the Carl Rosa company; 1887-98 at
Drury Lane and Cov. Garden ; also the Nor-
wich Triennial Festival (after the resignation
of Benedict) from 1881-1905.— Other works:
A comic opera, The Rival Beauties (London,
1864); the 150th Psalm f. sopr. solo, ch.t orch.
and org. (for the Boston Jubilee, 1872); the
dram, cantata Fridolin (1873, Birmingham);
2 dram, scenes, Medea (Leipzig, 1869) and
Saffo (London, 1875); Funeral Anthem in
memory of the Prince Consort ; scena f . tenor
w. orch., from Byron's Prayer of Nature
(1887); much other vocal music; and a valu-
able Primer of Singing (Novello).— Cf. 'M. TV
(Oct., 1899).
Randegger, Alberto, Jr., nephew of pre-
ceding ; b. Trieste, Aug. 3, 1880. At the age
of 7 be began to play the pf ., and 2 years later
took up the violin ; in 1896 he appeared in
London as a violinist at an orchl. concert cond.
by his uncle; then ent. the R. A. M.f where
he st. harm, with B. Haynes and vl. with E.
Sauret; 1897-1901, pupil of Bazzini, Coronaro
and Mapelli at the Milan Cons.; lived for
some years in London as a composer; now
(1917) living in Trieste. Has comp. the 1-act
opera L'Ombra di Werther (Trieste, 1899), the
3-act opera Maria di Breval (finished 1907,
not yet prod.) and a comedy-opera, VAmante
ideate (1917); a vln.-concerto (played by
Kubelik with the London Philh. Soc., 1902);
a vl. -sonata in E m. (op. 15); several Bohe-
mian Dances (op. 21, 22, 28), and other pes.
for vl. and pf.; pf.-pes.; about 100 songs
(some w. orch.). In MS. he has several
orchl. works.
Randegger, Giuseppe Aldo, b. Naples,
Feb. 17, 1874. From 1888-93 pupil of the
R. Cons, di Musica in Naples, where his
teachers were d'Arienzo, bimonetti, van
VVesterhout, de Nardis and Bossi; 1893-7,
in Atlanta as dir. of the Atlanta Musical
Club, and appearing in the South as concert-
pianist; after a year in England and 2 years
in Italy, he returned to the U. S.; was dir. of
music at Hamilton Coll., Lexington, Ky.,
and Belmont Coll., Nashville* Tenn.; then
settled in New York as concert-pianist, lec-
turer, dir. of his own Cons., and teacher of
pf. at Miss Mason's School and the Irving
School, Tarrytown; founder of the 4R. So-
cieta per la Musica Italiana' (for the cultiva-
tion of Ital. chamber-music). Comp. of a
1-act opera, The Promise of Medea (Ger. and
Engl, text by his wife, Henrietta Brinker R.;
Ital. tr. by E. Randegger); Reverie for vl. and
pf.; pf.-pes. (Gavotte en style antique, Bar-
carolle, Elegia, Album Leaves, etc.); songs.
Randhart'lnger, Benedict, b. Ruprechts-
hofen, Lower Austria, July 27, 1802; d. Vien-
na, Dec. 22, 1893. Solo soprano, in his tenth
year, in the court choir, Vienna (fellow-pupil
of Schubert under Salieri); studied law and
music, was Count Szechenyi's secretary for
10 years, and in 1832 entered the court choir
as a tenor singer. In 1844, Vice-Hofkapellm. ;
in 1862 succeeded Assmayer as 1st Kapellm.;
retired 1866. — Works: The opera Konig
Enzio; 20 masses; 60 motets; nundreds of
songs and part-songs; 2 symphonies; a string-
quintet, 2 string-quartets, a pf.-trio, pf.-mu-
sic, etc. (over 600 works, of which about 125
have been publ.). A life-long friend of Schu-
bert, he ed. the first critical edition of the
latter's songs.
Randolph, Harold, concert-pianist and
teacher; b. Richmond, Va., Oct. 31, 1861. St.
at the Peabody Cons, of Music, Baltimore,
under Nanette Falk-Auerbach and C. Faelten
(pf .), and Asger Hamerik (comp.) ; debut at
Baltimore, 1885, with the Peabody Symph.
Orch. (Chopin's E m. concerto); has since
then appeared with the principal orchestras
(Boston Symph., Phila. Symph., Chicago
Symph., etc.), and in numerous recitals
throughout the U. S.; also gave recitals for
2 pfs. with Ernest Hutcheson; 1885-90, org.
and choirm. at the R. C. Cath., Baltimore;
1890-1906, do. at Emmanuel P. E. Ch. In
1898 he succ. Hamerik as dir. of the Peabody
Cons., which under his administration has
come to be one of the foremost music-schools
in the U. S. (200 students in 1898, 1,400 in
1917). The ever-increasing duties of this
position have greatly curtailed, though not
entirely terminated, his appearances as con-
cert-pianist.
Rappold, Marie (nSe Winteroth), dra-
matic soprano; b. Brooklyn, N. Y., c. 1880.
Pupil of Oscar Saenger in New York. She had
just begun her career as a concert-singer, when
in the spring of 1905 Conried heard her, and
immediately engaged herforthe M.O.H., where
she made a succ. operatic dubut as Sulamith
(Konigin von Saba) on Nov. 22, 1905; has
sung there almost every season since then;
1909-10 in Bukarestand Paris; 1911 in Milan;
1916-17, member of the Ellis Opera Co. Be-
cause her husband, Dr. Julius R., objected to
her continuing on the stage, she separated
from him in 1906, obtained a divorce in May,
1913, and in June married the tenor Rudolf
Berger (q. v.). Her principal r61es are Elisa-
741
RAPPOLDI— RAUZZINI
beth, Elsa, Aida, Desdemona, Leonora, Eury-
dice, etc.
Rappol'dl, Edouard, b. Vienna, Feb. 21,
1839; d. Dresden, May 16, 1903. Pupil in the
Cons, of L. Janaa and J. Btthm (violin) and
Sechter (comp.); 1854-61, violinist in the
court-opera orch. ; then leader at Rotterdam,
cond. at Lubeck, Stettin and Prague; teacher
at the Berlin Hochschule, and member of the
Joachim Quartet, 1871-7; from 1878-98 Kon-
zertmeister of the Court Opera in Dresden,
and from 1893 till his death head of vl.-dept. in
the Cons, there. Publ. 2 vln.-sonatas (op. 1.
F; op. 3, A m.), a sonata for pf. op. 5), and
other pf.-pcs.; songs (op. 2, 4); also cham-
ber-music.— His wife, Laura Rappoldi-
Kahrer, b. Mistelbach, n. Vienna, Jan. 14,
1853, pupil of the Vienna Cons, and Liszt,
is a distinguished pianist; since 1890 teacher
of pf. at the Dresden Cons.; made R. Prof,
in 1911.
Rastrelli, Joseph, b. Dresden, April 13,
1799; d. there Nov. 15, 1842. Pupil of his
father, Vincenzo (b. Fano, 1760; d. Dresden,
March 20, 1839, as comp. to the court chapel) ;
in 1814 pupil of Padre Mattei in Bologna;
1829, 2d Kapellm. at the Hofoper in Dresden;
from 1830 Hof kapellm. (Wagner's predeces-
sor). Of several operas prod, in Ancona, Milan
and Dresden, Salvator Rosa (Dresden, 1832)
was the most successful; wrote also a number
of masses, motets, and vespers.
Rasumovsky. See Razumovsky.
Ratez [rSh-ta'], fimile-Pierre, b. Besan-
cpn, Nov. 5, 1851; d. Lille, Aug. 25, 1905.
Pupil 1872-81 of Bazin and Massenet at Paris
Cons.; viola-player in the Opera-Comique
orch.; chorusmaster under Colonne; 1891, Dir.
of the Lille branch of the Paris Cons. — Works:
3 operas, Ruse d' amour (Besancpn, 1885),
Lyderic (Lille, 1895; succ), and Le Dragon vert
(ib., 1907 [posth.]); a symphonic poem,
Scenes hiroiques, f. soli, ch. and orch. (1899);
publ. an orchl. suite; SinfonieUa (op. 24); a
pf.-quintet (op. 31); 1 pf.-quartet in C m. (op.
30) ; 3 pf. -trios (op. 6, D; op. 10, Eb; op. 24, C) ;
a str.-trio in Bb (op. 34); a vln.-sonata (op.
40); a suite for vl. and pf., and other music f.
violin and pf., oboe and pf., and horn and pf.;
etc. He also publ. Traitf Hementaire de Contre-
point et de Fugue and TraiU £ Harmonic
thSorique et pratique*
Rath [raht], Felix vom, b. Cologne, June
17, 1866; d. Munich, Aug. 25, 1905. St. pf.
with Max Pauer in Cologne and Reinecke
in Leipzig, composition with L. Thuille in
Munich, where he settled. A composer of
more than ordinary talent; his publ. works
comprise only 15 opus-numbers: Op. 6, pf.-
concerto in Bfrm.; op. 2, pf.-quartet in F m.;
a vl.-sonata in D m. (no op.-number); pf.-
pcs. (op. 9, 10, 13, 14, 15); songs (op. 3, 5, 7, 8,
12) ; in MS. he left a symphony.
Ra'tzenberger, Theodor, pianist; born
Grossbreitenbach, Thuringia, April 14, 1840:
d. Wiesbaden, March 8, 1879. Pupil of Liszt
(pf.) and Cornelius (comp.); court pianist at
Schwarzburg-Sondershausen; teacher at Lau-
sanne (1864) and Diisseldorf (1868).— Publ.
a few salon pieces and songs; in MS. 2 pf.-
concertos and some orchl. works.
Rau'chenecker, Georg Wllhelm, b. Mu-
nich, March 8, 1844; d. Elberfeld, July 17,
1906. Pupil of Th. Lachner (pf., org.), Baum-
fartner (cpt.), and Jos. Walter (violin); 1860-
, violinist at the Grand Th., Lyons; m. de
chap, at Aix and Carpentras until 1868, then
dir. of Avignon Cons.; in 1873, mus. dir. at
Winterthur, and in 1874 prod, a prize-cantata,
Niklaus von der Flue, at the Zurich Music Fes-
tival; cond. the Berlin Phil harm. Concerts for
one season (1884); 1885-9, cond. of the Mu-
sikverein in Barmen; in 1889 he establ. a
music-school in Elberfeld, and cond. an orchl.
society there till his death; made Kgl. Musik-
dir. in 1905. — Works: The operas Die letsten
Tage von Thule (Elberfeld, 1889), Ingo (ib.,
1893), Don Quixote (ib., 1897), Sanna (ib.,
1898), Zlatorog (ib., 1903), Der Florentintr
(Strassburg, 1910 [posth.]); Symphony in F
m.; Orientalische Fantasie for solo v\. w. str.-
quintet? 2 str.-quartets (C m. and D). In
MS., a second symphony, 4 str.-quartets,
a str. -sextet, an octet for wood- wind.
Raugel [roh-zhghn, Felix, b. Saint-Quen-
tin, Nov. 27, 1881. While attending the
Lycee at Lille he st. music with Ch. Queste
and F. Lecocq; cont. his studies in 1900 in
Paris with H. Libert and at the Schola Can-
tor um with V. d'Indy, attending at the same
time the historical lectures at the £cole des
Hautes fetudes Sociales. Together with E.
Borrel he founded in 1908 the 'Societe Ham-
del' for the cultivation of early music; since
1911 m. de chap, at St.-Eustache, and cond.
of the 'Societe de musique ancienne' (Lille).
Has publ. some litanies and pieces for organ;
contrib. to the 'Annee musicale' and Tribune
de St.-Gervais.?
Raupach [row'pahh], Hermann Fried-
rich, b. Stralsund, 1728 ; d. Petrograd, 1778.
From 1756 cond. at the court opera in Petro-
grad, where he prod, in 1758 a Russian opera
Alceste, and an Ital. opera Siroe (1760 or *66) ;
also several ballets.
Rauzzini [rah-oo-tse'ne],Venanzio (Mat-
teo), dramatic comp. and tenor singer; born
Rome, 1747; d. Bath, Engl., April 8, 1810.
Pupil of a singer in the Papal Chapel ; debut
at the Teatro Valle at Rome, 1756, in a female
r61e, which his beauty enabled him to play to
742
RAVANELLO— RAVENSCROFT
perfection; was eng. at Munich in 1767, and
sang at London 1774-8, living there until 1787
as a much-sought singing-teacher; he retired
to Bath.— Works: 8 operas, written for Mu-
nich and London; 3 string-quartets, 1 pf.-
quartet, 3 violin-sonatas, 2 sonatas f. pi. 4
hands, etc. — See Q.-Lex.
Ravanel'lo, Oreste, b. .Venice, Aug. 25,
1871. Pupil of P. Agostini and A. Girardi,
and later at the Liceo Benedetto Marcello;
1893, 2d org. at San Marco; 1895, 1st org.;
1898, m. di capp. at San Antonio, Padua; 1902,
prof, of org. at the Liceo Benedetto Marcello;
since 1914 again in Padua as dir. of the Isti-
tuto musicale (succ. Cesare Pollini); was for
3 years editor of 'II Repertorio pratico del-
1 'Organ ista liturgico.' He is highly esteemed
as org., cond. and composer. He has written
more than 20 masses al-6 (some w. orch.),
2 Requiems, numerous motets a 2-8; 2 can-
tatas for soli, ch. and orch.: pes. for str.-
orch.; a str.-quartet; a pf.-trio; a sonata for
vl. and org.; many pes. for org. and do. for
pf.; with L. Bottazzo, an organ -school and a
harmonium-school; also publ. 11 Ritmo del
Canto Gregoriano.
Ravel [rah-vehl'], Maurice, b. Ciboure,
Basses-Pyrenees, March 7, 1875. In 1889 he
ent. the preparatory class of M. Anthiome
(pf.) at the Paris Cons.; after winning the 1st
medal in 1891 he passed to the advanced class
of Ch. de Beriot; his other teachers were H.
Pessard (harm.), A. Gedalge (cpt. and fu^ue),
and G. Faure (comp.); won the 2d Prix de
Rome in 1901 with the cantata Myrrha; com-
peted twice unsuccessfully for the 1st prize
with the cantatas Alcyone (1902) and Alyssa
( 1903) . Among modern French composers R.
occupies a place of prominence second perhaps
only to Debussy. Although both are im-
pressionists, and both emphasize the develop-
ment of the underlying poetical idea as opposed
to the thematic, formal development of the
classicists, the younger composer is by no
means an imitator of the older. In fact, R.
makes little use of the whole-tone scale or the
chord of the ninth; in his music the chord of
the seventh plays a leading rdle. He is more
robust than most impressionists, and while
he goes as far in the employment of bold
harmonies, unresolved dissonances, and con-
stantly changing rhythms, he does not sacri-
fice definite outline to mere 'atmospheric*
vagueness. His art is one of finely wrought
detail, and shows to best advantage in the
smaller forms (songs and pf.-pes.). His or-
chestral technic, especially his original com-
binations of the different timbres of the in-
dividual instruments, is a direct development
of the method of Rimsky-Korsakov. — Works:
The musical comedy IHeure espagnole (Op.-
Com., May 19, 1911); the ballets Dapknis et
Chloe, La Mire VOye (after a suite for pf.),
and Adelaide ou le Langage des Fleurs (after the
Valses nobles et sentimentales for pf.) [all in
Paris, 191 2] ; — for Orch., ShShSrazade (over-
ture) and Rapsodte espagnole; a str.-quartet in
F; introduction et Allegro for harp, fl., clar.
and str.-quartet; Shihirazade for solo voice
and orch. (1. Asie, 2. La FlUte enchanUe, 3.
VIndifferent); Trots Poemes (Mallarme) for
voice, pf., 2 fls., 2 clars. and str.-quartet;
Les Sites auriculaires for 2 pfs.; La Mire VOye
(5 'pieces en fan tines') for pf. 4 hands; — for
Pf. solo, Strtnade grotesque, Menuel antique,
Pavane pour une Injante defunte, J tux d'Eau,
Miroirs (5 pes.), Sonatine, Gaspard de la Nuil
(after 3 poems by A. Bertrand), Menuet (on
the name of Haydn), Valses nobles et senti-
mentales. Prelude ; — Songs: Ballade de la Reine
morte d' aimer (R. de Mares; not publ.), Un
grand Sommeil noir (Verlaine; not publ.),
Sainte (Mallarme), Deux Apigrammes (Ma-
rot), Simorne (Verhaeren; not publ.), Manieau
de Fleurs (P. Gravollet ; also w.orch.), Le Noil
des jouets (M. Ravel; do.), Les grands vents
venus d } Outre- Met (H. de Regnier), Histoires
Naturelles (5 poems by I. Renard) , SurlHerbe,
Vocalise en forme d' Habanera. He has edited
5 popular Greek melodies (Fr. tr. by Calvo-
coressi), a French, an Italian, a Spanish and
a Hebrew melody [a Scotch, a Flemish and a
Russian, in MS.]; has air. Debussy's VAprhs-
midi d'un Faune /or pf. 4 hands, and Noc-
turnes for 2 pfs; in preparation, a 4-act lyric
drama, La Cloche engloulie (after Hauptmann).
—Bibliography: L. Vallas, Le nouveau style
pianistique, in 'Revue Musicale de Lyon'
(Jan. 6, 1907); Ch. Malherbe, M.R., in 'Sbd.
I. M.-G.' (Aug.-Sept., 1910); O. Sere, Musi-
ciens francais d'aujourd'hui (2d. ed. Paris,
1911); R. Manuel, M. R. et son centre (Paris,
1914); G. Jean-Aubry, La Musique francaise
d'aujourd'hui (Paris, 1916).
Ravenscroft, Thomas, Engl. comp. and
editor, b. 1593; d. London, c. 1635. Chorister
at St. Paul's under E. Pearce; Mus. Bac, Can-
tab., 1607. — Publ. Pammelia. Musickes Mis-
ceUanie: or Mixed Varielie of pleasant Rounde-
layes and delightful Catches of 3-10 Parts in
one (1609; the first coll. of rounds, catches
and canons printed in England; 2d ed. 1618);
Deuteromelia: or the Second Part of Musick's
Melodie (1609); Melismata. Musicall Phan-
sies, fitting the Court, Citie, and Countrey Hu-
mours, to 3,4 and 5 Voyces (1611 ; A Brief e Dis-
course of the true (but neglected) use of Charact'-
ring the Degrees by their Perfection, Imperfec-
tion, and Diminution in Mensurable Musicke
. . . (1614); and The Whole Booke of Psalmes:
With the Hymnes Evangelical and SpirituaUe
Composed into 4 parts by Sundry Authours
. . . (1621; 2d ed., newly corrected and en-
larged, 1633; his best-known and most valu-
able work, containing numbers by 15 leading
743
RAVERA— REAY
British composers, and some by R. himself).
—A set of sonatas by R., for 2 violins and
violone, was publ. in Rome, 1695. — See Q.-
Lex.
Rave'ra, Niccolo Teresio, b. Alessandria,
Italy, Feb. 24, 1851. Pupil of Milan Cons.,
winning 1st prizes for pf.t organ, and comp.
For some time chef d'orchestre at the Th.-
Lyrique de la Galerie-Vivienne, Paris. —
Works: Opera comique Lucette et Colin (1888) ;
4-act opera Fiamma (Alessandria, 1890); 1-act
op. com. Le Divorce de Pierrot (Paris, 1892);
3- act 'pastorale lyrique' La Mare au Viable
(ib., 1895); 1-act op. com. Pierrette somnam-
bule (ib., 1900); 2-act op. com. La Sotie de
Bridoye (ib., 1902); 3-act opera Eslelle (not
perf.).
Ravi'na, Jean-Henri, b. Bordeaux, May
20, 1818: d. Paris, Sept. 30, 1906. Pianist;
pupil at Paris Cons, of Zimmerman (pf.) and
Laurent (theory); won 1st pf. -prize m 1834,
and was app. ass t.- teacher; studied further
under Reicha and Lcborne; won 1st harmony-
prize in 1836, resigned his position at the Cons,
in 1837, and made long concert-tours (to
Russia, 1858; to Spain, 1871). Chevalier of
the Legion of Honor, 1861. — Works: Finished
and elegant jo&w-pieces f. pf. (op. 41, Douce
pensee; op. 55, Jour de bonheur; op. 62, Petit
bolero, Confidence, Nocturne; op. 13, Nocturne
in Dt>; op. 86, Cdlinerie; also etudes — op. 14,
Etudes de style et de perfecfionnement; op. 50,
twenty -five Etudes harmonieuses; etc.); also a
pf.-concerto (op. 63). R. has publ. 4-hand
arrangements of all Beethoven's symphonies.
Raymond [ra-m6hn'], Georges-Marie, b.
Chambery, 1769; d. there April 24, 1839, as
director of the Gymnasium. — Wrote Essai sur
la determination des bases physico-mathema-
txques dtVart musical (1813); Des principaux
systemes de notation musicale . . . (1824); Lettre
a M. Villoteau, touchant ses vues sur la possi-
bility et Vutilite d'une theorie exacte des principes
naturels de la musique (1811); etc.
Raymond-Ritter, Fanny. Sec Ritter.
Razumov'sky, Count (from 1815 Prince)
Andrei Kyrillovitch, Russian ambassador at
Vienna 1793-1809; b. Nov. 2, 1752; d. Sept.
23, 1836. From 1808-16 he maintained the
celebrated 'Razumovsky Quartett' (1st violin,
Schuppanzigh; 2d violin, R.; viola, Weiss;
'cello, Lincke), later known as the Schuppan-
zigh Quartett, with Sina as 2d violin. To R.
Beethoven inscribed the 3 quartets, op. 59.
He was a munificent patron of art, and in
every way prodigal of expenditure; but after
the burning-down of his Vienna palace in
1815, he gave up the quartet, and disappeared
from musical history.
Rea, William, b. London, March 25, 1827;
d. Newcastle-on-Tyne, March 8, 1903. Ar-
744
tided pupil of Josiah Pittmann ; in l£43. or-
ganist of Christ Ch., Watney St., studying
further under Sterndale Bennett (pf., comp..
and instrumentation). In 1849 he st. at Leip-
zig under Moscheles and Richter ; then at
Prague under Dreyschock. Returning to
London, he gave chamber-concerts at the
Beethoven Rooms ; became org. to the Har-
monic Union in 1853 ; founded the London
Polyhymnian Choir in 1856, proving an excel-
lent drill master ; also cond. an amateur or-
chestral society. In 1858, org. at St. Mich-
ael's, Stockwell ; in 1860, org. to the Corpora-
tion of Newcastle-on-Tyne; also org. at North
Shields 1864-78, and from then at St. Hilda's,
South Shields.
Read, Daniel, b. Rehoboth, Mass., Nov.
2, 1757; d. New Haven, Conn., Dec. 4, 1836;
combined the occupations of comb-maker,
composer, and music- teacher. Publ. 'The
Amer. Singing Book, or a New and Easy
Guide to the art of Psalmody, devised for the
use of Singing Schools in America' (1785);
•Columbian Harmonist' (1793; 4th ed. 1810);
and 'New Haven Collection' (1818). Some
of his hymn-tunes are still sung (Sherburne,
Windham, Lisbon).
Reading, John, English organist; b. in
first half of the 17th century; d. Winchester,
Engl., in 1692. Lay-vicar of Lincoln Cath.,
1667, and Master of the Choristers, 1670; org.
of Winchester Cath., 1675-81; then oi Win-
chester College. The 'Portuguese Hymn/
Adeste fideles, is ascribed to him. In the Har-
monia Wiccamica is a hymn, Duke domum.
Reading, John, son of preceding; b. 1677;
d. London, Sept. 2, 1764. Chorister of the
Chapel Royal under Blow; org. of Dulwich
College, 1700-1702 ; lay- vicar at Lincoln Cath.
1702, and Master of the Choristers, 1703;
later org. in several London churches. — Publ.
A Book of New A nthems . . . with thorough Bass
figured for the Organ or Harpsichord (1715); A
Book of New Songs . . . (1720).
Reading, John, organist of Chichester
Cath. 1674-1720.
Reading, Rev. John, Prebendary of Can-
terbury Cath. — Publ. A Sermon lately de-
livered in the Cathedral Church of Canterbury,
concerning Church Musik (London, 1663).
Reay, Samuel, b. Hexham, Engl., March
17, 1822; d. Newark-on-Trent, July 21, 1905.
Chorister of Durham Cath. in 1830, and
pupil of the organist, W. Henshaw; later of
J. Stimpson, Newcastle, whom he succeeded in
1841 as organist of St. Andrew's. After
holding several similar posts, he succeeded
Dr. Dearie as Song Schoolmaster of Newark
Parish Ch., an honorable and important posi-
tion. Also conducted the Newark Philharm.
Soc. Retired in 1901.— Mus. Bac, Oxon.f
REBEL— REBIKOV
1851.— Works: Psalm 102, f. solo, ch. and
string-orch.; Morning, Evening, and Com-
munion Service in F; anthems, part-songs,
etc. Editor of J. Stokes's 'Songs and Ballads
of Northern England' (1892).
Rebel [ru-bShl 1, Francois, b. Paris, June 19,
1701 ; d. there Nov. 7, 1775. Violinist, pupil
of his father; entered the Opera-orch. at 13,
and became the intimate friend of his fellow-
player Francceur; both were leaders in the
orch. 1733-44, then Inspectors of the Opera,
Directors 1753-7, then managers of private
theatrical enterprises for 10 years. R. also
was app. I n t en da nt -in -chief of the King's
music, and was Administrator-general of the
Opera 1772-5. With Francceur he wrote ten
operas; he also comp. a Te Deum, a De pro-
fundus, cantatas, etc. — See Q.-Lex.
Rebel, Jean-Ferry, b. Paris, 1669; d. there
1 747. 'Chef d'orchestre' of the Grand Opera,
1707; member of the 24 'violons du roi,' and
royal chamber-composer. — Prod, an unsuc-
cessful 5-act lyric tragedy, Ulysse, at the
Opera in 1703; publ. a book of violin-sonatas
w. bass, and another of trios f. 2 violins w.
bass. — See Q.-Lex.
Rebello, Joao Lourenco [JoSo Soarea],
eminent Portuguese composer; b. Caminha,
1609; d. San Amaro, Nov. 16, 1661. Psalms
a 16, Magnificats, Lamentations, and Misere-
res were publ. at Rome (1657); masses, and
many other sacred works, are in MS. at Lis-
bon. To R. his pupil, King John IV, dedi-
cated his Defensa de la musica moderna.
Reber [ru-bar'], Napoleon-Henri, born
Mulhausen, Alsatia, Oct. 21, 1807; d. Paris,
Nov. 24, 1880. Pupil of Reicha and Le
Sueur at the Paris Cons.; became prof, of
harmony in 1851, succeeded Halevy as prof,
of comp. in 1862 (being succeeded in turn by
Saint-Saens, in 1880), and was also Inspector
of the branch-conservatories from 1871.
Elected to Onslow's chair in the Academie,
1853. — Works: A ballet, Le diable amoureux
(1840); the comic operas La nuit de Noel
(1848), Le pete GaUlard (1852), Us papiUoUes
de M. Benoist (1853), and Les dames capi-
taines (1857), all at the Opj&ra-Comique; Le
mcnetrier a la cour and Nairn (grand opera;
overture publ. as op. 32) were not perf. His
instrumental works, in the classic German
style and spirit, are very fine; they include 4
symphonies (Dm., C, Eb, G), a Buite for
small orch. (op. 31), and the scenes lyriques
Roland f. orch.; 1 string-quintet in Cm. (op.l),
3 string-quartets (op. 4, Bb; op. 5, Db; op. 7,
F#m.), 1 pf.-quartet (op. 29), 7 pf.-trios
(op. 8, A; op. 12, Eb; op. 16, Gm.; op. 25, D
[trio-serenade]; op. 30, C: op. 34, E; op. 37,
Am.), pieces f. violin and pf., and pf.-music
for 2 and 4 hands; he also wrote an Ave
Maria and Agnus Dei f. 2 soprani, tenor, bass,
and organ; Le soir; f. 4-p. male ch. and pf.;
Chceur de pirates, f . 3-p. do. w. do. ; 33 songs
w. pf.-accomp.; vocalises f. sopr. or tenor
(op. 16); and a Traite d'harmonie (1862, and
several later eds.; one of the best modern
manuals).
fteblcek [r'zha'H-chfchk], Josef, b. Prague,
Feb. 7, 1844; d. Berlin, Mar. 24, 1904. Stud-
ied 6 years in Prague Cons.; in 1861, violinist
in Weimar court orch.; 1863, leader of orch.
at the Bohemian National Th., Prague; 1868,
leader of the royal theatre, Wiesbaden, and
(1875) Royal Music-Director; 1882, leader
and opera-director at the Imp. theatre, War-
saw; 1891, conductor of the National Th.,
Pest; 1893, cond. at Wiesbaden; and 1897—
1903, Kapellm. of the Berlin Philharm. Orch.,
succeeding Fr. Manns£adt. He wrote Huldi-
gungsfestkldnge (on old Dutch themes) for
orch. ; a symphony in B (op. 10) ; a vl.-sonata
in C (op. 3) ; and minor pes. for vl. and pf .
Rebikov [ra'-]F Vladimir Ivanovitch, b.
Krasnoyarsk, Siberia, June 1, 1866. At first
a pupil of the Moscow Cons., he studied later
in Berlin (cpt., with Mailer) and Vienna
(with Jaksch) ; thence went to Odessa, where
he prod, the 2-act opera VGrozu [In the
Thunderstorm] in 1894. Removing to Ki-
shinev in 1898, he founded a branch of the
Imp. Russ. Mus. Soc.; in 1901 he returned to
Moscow, where he has been living since,
devoting his entire time to composition.
The works of his 'first period' (op. 1-9) are
pleasing and poetical, without striking origi-
nality; with op. 10 (Esquisses for piano) he
enters a new field. He declared music to be
the 'language of emotion,' and thus, as
'our feelings have no prepared and conven-
tional forms and terminations, music should
give them corresponding expression.' Hence
his disregard of set forms, his weird harmonies
and dissonant closes; he is, in fact, a leading
light of modern musical decadence. Never-
theless, some of his compositions are music-
ally of value. An entirely new departure
are his MHomimiques (op. 11, 15, 17), short
lyric pieces for pf., in which music and mim-
icry are supposed to explain and interpret one
another. He has also written a number of
vocal melomimics (Gesang-Melomimik, op. 1,
16, 19, 20), 3 Rythmo-declamations for pf.
(op. 32) and 20 do. for voice and pf . (no op.-
number). — Other works: 8 Musico-psycho-
logical dramas: Op. 21, Yolka (The Christmas
Tree; Moscow, 1903); op. 34, Thea; op. 40,
Bezdna (The Abyss); op. 41, Zhenshtchina
s'knizhalom (The Woman with the Dagger);
op. 42, Alpha and Omega; op. 45, Narcissus;
op. A9fArachne; Les Fables de Krylov (no opus-
number); a musico-psychological pantomime,
Bieloniezhka (Little Snow-white; Tiflis, 1909);
a 2-act fairy opera, Le Prince Charmant. — For
745
REBLING— REED
orch. : 2 suites, and the 'Tableaux musicaux-
psychologiques' Esclavage et LiberU (op. 22),
Chansons du Cceur (op. 24), Aspirer et At-
teindre (op. 25), Cauchemar (op. 26); Conte
de la Princesse et du Roi des Grenouilles (op.
36). — For pf . : Op. 8, Reveries d' A utomne (also
orchestrated); op. 9, Autour du Monde; op.
13, Tondichtungen (10 pes.); op. 14, Mila e
Nolli, suite (Nos. 3, 4, 5 also for str.-orch.);
op. 28, Scenes bucoliques; op. 30, Petite Suite
(4 hands); op. 31, Silhouettes; op. 38, Une
File; op. 46, Dans la Forit; op. 47, Jenseits;
op. 48, Chansons blanches; op. 50, Idylles; op.
51, Les Danses. He has publ. the pamphlets
OrphSe ei les Bacchantes and La Musique de
1960; and transl. into Russian Gevaert's TraitS
df Instrumentation. — Cf. M. Montagu -Nathan,
Contemporary Russian Composers (New York,
1917).
Rebling, Friedrich, b. Barby, Aug. 14,
1835 ; d. Leipzig, Oct. 15, 1900. Pupil of Leip-
zig Cons., taking private singing-lessons of
Gotz. Lyric tenor at theatres^ in Rostock,
Konigsberg, Brcslau. and Leipzig (1865-78);
from 1877, teacher of singing at Leipzig Cons.
Rebling, Gustav, organist; brother of pre-
ceding; b. Barby (Magdeburg), July 10, 1821;
d. Magdeburg, Jan. 9, 1902. Pupil of Fr.
Schneider at Dessau, 1836-9; then organist of
the French church, Magdeburg, and teacher
in the seminary in 1847; 1853, cond. of the
cathedral-choir, and singing- teacher at the
Gymnasium; 1856, 'Royal Music- Director';
1858, org. of the Johanniskirche. Founded a
church choral society in 1846, which he con-
ducted until his retirement in 1897. — Works:
Psalms a 4-8 a cappella; motets; pieces f. org.
and pf.; choruses and songs; 2 'cello-sonatas
(op. 22, Cm.; op. 27, G); etc.
Reb'ner, Adolf, fine violinist; b. Vienna,
Nov. 21, 1876. Pupil of Griln at the Cons,
there, graduating in 1891 as winner of the 1st
prize; continued his studies under Mar sick
in Paris. Settled in 1896 in Frankfort, where
he was for some years leader at the opera, and
member of the 'Museumsquartett'; succ. H.
Heermann in 1904 as 1st prof, of vl. at Hoch's
Cons. An excellent soloist, he has become
especially renowned as leader of his own
quartet, with which he has made successful
tours of Germany, France, Spain, and Eng-
land.
Reck'endorf , Alois, born Trebitsch, Mo-
ravia, June 10, 1841; d. Leipzig, April 11, 1911.
Student of science at Vienna and Heidelberg,
and of music at Leipzig Cons. (1865-7), where
he was teacher of pf. and theory from 1877.
Has publ. pf. -pieces and vocal works.
Redan, Karl. Pen-name of Charles C.
Converse.
Redern [ra'dern], Friedrich Wilhelm,
Graf von, b. Berlin, Dec. 9, 1802; d. there
Nov. 5, 1883. Pupil of Grell (comp.). From
1842 intendant of the R. court music, in-
spector of the Domchor and all military
music. Wrote the opera Christine (Berlin,
1860); a cantata, Laut tone unser Lobgesang;
2 concert-overtures (C, Eb); numerous
marches for mil. band; several torch-dances
for court occasions; etc.
Redhead, Richard, b. Harrow, Engl.,
1820; d. Hellingly, Sussex, April 27, 1901.
Educated at Magdalen Coll., Oxford; organist
of St. Mary Magdalene's Ch., Paddington,
London. — Works: Masses, and much vocal
church-music; edited the collections 'Cathe-
dral and Church Choir Book,' 'Parochial
Church Tune Book/ and 'The Universal Or-
ganist*.
Redman, Harry Newton, b. Mount Car-
mel, HI., Dec. 26, 1869. St. org. and comp.
under G. W. Chadwick in Boston (1886-9);
otherwise self-taught; since 1897 instr. of
harm, at N. E. Cons., Boston. Has publ. 2
str.-quartets, in D and A (Creole); 2 vl.-
sonatas, op. 16 (C m.) and op. 17 (D); an
Octave Method and studies for pf.; pf.-pes.
(op. 8, 13, 18) ; 2 albums of songs.
Ree [ra], Anton, pianist; b. Aarhus, Jut-
land, Oct. 5, 1820; d. Copenhagen, Dec. 20,
1886. In 1835, pupil of Jacques Schmitt and
Carl Krebs in Hamburg; went to Vienna, 1839,
and Paris, 1841, giving successful concerts;
also had lessons of Chopin. Settled in Copen-
hagen, 1842, as a teacher and writer, con-
tributing also to German papers. Comps.
chiefly instructive. Publ. Musikhistoriske
Momenter, and a book of exercises, Bidrag til
Klaviersptllets Teknik; a sonatina, op. 9, 3
Danses caracteristiquesf op. 17; etc.
Ree, Louis, concert-pianist; b. Edinburgh,
Oct. 15, 1861. St. at the Stuttgart Qons.
and with Leschetizky in Vienna, where he
settled permanently. Since his marriage to
his pupil, Susanne Pilz, he has made a spe-
cialty of recitals for 2 pfs. Has written a pi.-
concerto; Suite champetre (op. 21) and varia-
tions (op. 32) for 2 pfs.; Walter (op. 20) for
pf. 4 hands; numerous pes. for pf. solo; songs.
Reed, Thomas German, b. Bristol, June
27, 1817; d. Upper East Sheen, Surrey, March
21 , 1888. At ten he appeared as a pianist and
singer in Bath; soon afterwards at the Hay-
market Th., London, where his father was
cond., and where, in 1838, he himself became
mus. director (until 1851). He greatly im-
proved the quality of the music given there,
and took an active part in the mus. life of Lon-
don. I n 1 844 he married M iss Priscllla Hor-
ton [b. Birmingham, Jan. 1, 1818; d. Bexley
Heath, March 18, 1895; a fine actress and con-
746
REEVE— REGER
tralto singer], and with her aid started the
celebrated 'Mr. and Mrs. German Reed's En-
tertainment' in 1855, to provide unobjection-
able dramatic amusement for persons opposed
to theatre-going. The entertainments began
in St. Martin's Hall as 'Miss P. Horton's Il-
lustrative Gatherings/ with small dialogue-
plays; were at the Gallery of Illustration, Re-
gent Street, from 1856, gradually increasing
the little company until it numbered 7 mem-
bers, and adding 'opere da camera' for four
characters to the repertory. These enter-
tainments were uniformly successful, and were
continued by his son, Alfred German Reed,
who died in London, March 10, 1895. A full
list of the plays produced is to be found in
Grove.
Reeve, William, b. London, 1757; d. there
June 22, 1815. Pupil of Richardson; organist
at Totness, Devon, 1781-3; returned to Lon-
don, and comp. operettas, pantomimes, and
incid. music for plays, for Astley's Circus and
Covent Garden (1791); in 1792, org. of St.
Martin's, Ludgate Hill; from 1802, part-
proprietor of Sadler's Wells Th. Besides mu-
sic to some 40 plays, he comp. glees and songs;
the song '1 am a friar in orders grey,1 in the
play of Merry Sherwood, was very popular.
Reeves, John Sims, celebrated tenor; b.
Woolwich, Sept. 26, 1818; d. Worthing, Lon-
don, Oct. 25, 1900. At 14, organist of North
Cray Ch.; learned to play the violin, 'cello,
oboe, and bassoon; and had lessons with J. B.
Cramer (pf.) and W. H. Callcott (harm.).
Debut (as a baritone) at Newcastle-on-Tyne,
in the rdle of Rodolfo (Sonnambula), in 1839.
Studied further under Hobbs and Cooke, and
sang minor tenor parts in Der Freischutz, etc.,
at Drury Lane, 1842-3; studied in Paris under
Bordogni, and in Milan under Mazzucato, ap-
pearing at La Scala, in 1846, as Edgardo
(Lucia), reappearing at Drury Lane, 1847, in
the same rdle, with great success. Debut in
Italian opera, 1848, at H. M.'s Th., as Carlo
in Linda; also in oratorio at the Worcester and
Norwich Festivals. Till his retirement in
1891 he was the leading English concert- and
oratorio- singer. On account of reverses, he
reappeared in 1893; and even made a success-
ful tour in South Africa in 1896. Publ. My
Jubilee, or Fifty Years of Artistic Life (London,
1889) and On the Art of Singing (1900).— Cf.
H. S. Edwards, The Life and Artistic Career
of S. R. (London, n. d.).
Re'gan, Anna, See Schimon- Regan.
Reger [ra'ge>], Max, b. Brand, Bavaria,
March 19, 1873; d. Jena, May 11, 1916. In
1874 his father, a school-teacher and good
organist (d. 1905 in Munich), removed to
Weiden, where R. attended the Realschule.
Although he was intended for the school-
master^ career, he received thorough in-
struction on the pf. and harmonium from his
father, and on the organ and in theory (ace.
to Riemann's system) from organist Lindner.
At an early age he began to write pf .-pes. and
chamber-music, and after hearing Die Meister-
singer and Parsifal in Bayreuth (1888) he gave
expression to the emotions created in him by
those masterpieces in an ambitious symphonic
poem, Hiroide funebre (score lost). In 1889
he passed the entrance-examination for the
teachers' seminary. But by that time music
had taken such complete possession of him
that he submitted a number of MSS. to H.
Riemann, who immediately recognized the
young man's unusual talent. Accordingly,
K. became Riemann's pupil at the Sonders-
hausen Cons, in April, 1890, and in 1891 fol-
lowed him to the Wiesbaden Cons., where he
cont. his studies till 1895, and also taught pf.
and org. (till 1896). Having served a year in
the army, he settled in Weiden as composer,
writing the works up to about op. 50. How-
ever, he did not attract general attention until
1901, when he removed to Munich, whence
he undertook pianistic tours through Ger-
many, Austria and Switzerland. From 1905-
6 he was prof, of cpt. at the Kgl. Akademie
der Tonkunst, and cond. of the Porges'scher
Gesangsverein'; in 1907 he was called to Leip-
zig as Musikdir. at the Univ. (also cond. of
the Univ. chorus 4Zu St. Pauli') and prof, of
comp. at the Cons.; the former post he re-
signed in 1908, but the latter he retained till
his death; 1911-15,Hofkapellm.in Meiningen;
then lived at Jena, where he died suddenly of
paralysis of the heart. In 1908 he was made
Kgl. Prof., and Dr. phil. (hon. c, Univ. of
Jena); in 1911 Hofrat, and in 1913 General-
musikdirektor. — Musical opinion is divided
as to the value of R.'s work. Admirers are
fond of summarizing the development of pure
instrumental music in this bnef formula —
Bach, Beethoven, Brahms, Reger. While R.
undoubtedly possesses certain qualities of his
great predecessors (lofty idealism, daring
originality, remarkable inventive power,
amazing contrapuntal skill), there are, un-
fortunately, other qualities which seriously
impair these positive virtues. His con-
tinual employment of the maximum of tech-
nical resources is responsible for a lack of
variety and an absence of thrilling climaxes;
his fatal facility in writing leads nim to de-
velop most works to inordinate length. Rie-
mann criticized the first (unpubl.) works sub-
mitted to him in 1889 for being overloaded
with contrapuntal complexities. Instead of
cultivating restraint, Reger allowed this ten-
dency to develop until he had practically lost
all sense of proportion and propriety. Only
in such set forms as the Fugue and Variations
does he attain clarity and proper balance of
details. He was also unduly influenced by
747
REGER— REHBAUM
modem impressionism, and when he adds
harmonic extravagance to an overladen con-
trapuntal apparatus, the technical analysis
of such a work becomes a puzzle rather than a
severe mental problem, and the actual hear-
ing a positive strain. One of the infallible
attributes of the highest genius is the power
of producing sublime effects by the simplest
means; simplicity, however, has no place in
Reger's scheme of things, not even in his so-
called 'children's songs.' The greatest num-
ber of admirers R. has won through his re-
markably fine works for organ, which may
ultimately determine the composer's place
in the history of music. — Bibliography: R.
Braungart, M.R.f in vol. ii of 'Monographien
moderner Musiker' (Leipzig, 1907); G. Ro-
bert-Tornow, M.R. und Karl Straube (Gflttin-
gen, 1907); V. Junk, M.R. als Orchesterkom-
pontst (Leipzig, 1910); W. Fischer, Ober die
Wtedergabe der OrgelkomposUionen M.R.'s
(Cologne, 1911); M. Hehemann, M.R. Eine
Studie uber moderne Musik (Munich, 1911);
H. Grace, The late M.R. as Organ Composer.
m i^'TV, (June' 1916« E- 282 ct seqO; F.
Rabich, Regerlieder: Eine •>/*<#* (Langensalza,
Works.
^F?5n°5CH,:^p- 90' SMonUUa; op. 95. Serenade;
2£ £a V7F*B%* und F?P **" *» lusti^ Th»»*
von Joh. Ad. HtUer; op. 108. Symphonischer Prolog
™ *!*? 1™***"; op. 120. Eine Lusts pielouverture;
°&J. 3f Ko7%P W- aUV* Siil> °P- 125» Romantische
Suite; op. 128. Vter Tondichtungen nach Bdcklin
Sutte;^ op. 132, Vartattonen und Fuge Uber ein Thema
von Monrt; od. 140. Etne voterlandische Ouverture;
op. 50. Zwet Romanzen for vL and orch. (G and D):
ff'J vin,,conttrto ,n A; op' ,,4« Pf-conccrto in
EJr ~Voc*l works w. orch.: Op. 21. Hymne an
den Gesang (male ch.); op. 71. Gesang der Verklarten
(mixed ch. a 5); op. 106. Psalm 100 (mixed ch and
org.); op. 112. Die Nonnen (mixed ch and or?V
op. 124, ,1 ndteHoffnung (alto solo); op. 126. Rdmisch*
Tnumphgesang (male ch.).— Chamber-music- Od 1 1«
pi-quartet in D m ; 5 str -quartets, op. 54 (G m. and
A), op. 74 (D m.), op. 109 (El>), op. 121 (F* m )•
afm "o;°7P7a2 ^ mJ°! »V vl': and via.) op .™02
tri^fnV fl PJ a' *ne*ad* for A- vL. and via.: op 77b.
tt\ '* ?„v!;;'onatas' OP- * (D m.), op. 3 (D), op. 41
00. op. 72 (C). op. 84 (F# m.). op! 103b {ZweikMne
Sonatrn Dm. and A), op. 122 (E m.). op. 139 (Cm.)!
op. 93. Suite xm alien StU for vl. and of.: 4 Veiled
sonatas, op 5 (F m.). op. 28 (G m.). op. 78 (F)?o£
116 (A m.); 3 clar.-sonatas. op. 49 (A and R m V
op 107 (B»- op. 42. 4 sonatas for vl. lollop M7
rrgudutn und Fugen for do.; op. 131. 3 suites Tor vcl
tola— For organ: Op. 16. Suite in E \ m? IS 97
Seeled °£ ^5™^*°" FreU dich sehr- ° ""*»*
We'iS&n /;«^" a ln/*.m'; °P* 40» 2 Fantasies on
nirhtitl K uns dfr M°r*'"stfrn and Straf mick
ntchttn detnem Zorn; op. 46. Fantasie und Fule S«r
BACH; op. 52, 3 Fantasies on AUe Me\Zh~l£ZL
undFu^e on laS"kS>\ S7-' Sp***—'** PhantasU
r*L- i 1 8 L °R* C0, Sonata in D m.: od. 67 52 Vtm
^^te?^ni3?raIU8e' Op°?3,%r^«
»»a />iif« uber etn Ortgtnalthema; op. 92, Suite in G m.;
op. 127, Introduktion, Pauacaglia und Fuse In E m •
numerous nunor pea: op. 7. 56. 59. 63. 65769. 79. «so
S n%**ce*tpU°"*<l*"j op. 58. 5«Aj BurUskeu; op
94, 5«:fo 5/ik*«; pp. 9<$. Introduktion, PassatagUa und
5??;~for,2f' ,80lo: °P- ,7« ^« ^ JugendzZ (%
M«mcre5*^n; op. 24. 5»* Morceaux; op. 25. <4<r*«-
r««m; op. 26. Sieben Fantasiestucke; op. 32 SiS^
CharafderstUcke; o». 36. B««/e «dtf«r (9 pci.)^ IT
tuge Uber etn Thema von Bach; op. 82 i4iu *m*iZ~L
Togebuche (22 pes.); op. 89. 2 s2tl& (pf Ah'oT
99. 5«cfo Prdludten und Fugen; op. 115. Episodlnn
booISi; °P; 134- Variations und Fuge UbefeinTkemZ
von PhTelemann;-ior 2 pfs.: op. 86. VaHa?iSnenu^
Fuge Uber etn Thema von Beethoven.— Mixed chorSLS ^
capp.. op. 6. 39 (a 6); male choruses do? op^S^J
5C'»CteMBi do* op- 1,,bJ duet8. op. 14 111a-
about 300 songs, op. 3. 4. 5 12 IS 21 ii « «-r ia*
S' 50V %«*i£ # ?6« 75; ^' S Sw^Sii)-
88. 97. 98. 104.— Sacred music: Op. 19. Zv»eimeist
ItcheCesange; op. 61. Leicht ausfuhrbare KomPotfttoVL
turn gottesdiensdichen Gebrauch in der kalLjKi^Z
(38 motets for mixed vcs.); op. 105 * Z& gei&Zche
Ueder: op. 110. Motets for mixed ch a ^afST t?Jl
op. 137 ZvOlf geistliche Lieder^WimSS^ nJll
kumbbr: Der evangelisehe KirchZcho?™™ n^J
choruses for aD festivals (4 seriesj; II. C^nteto O^tt
fdtg for mixed ch.. str.-orch. and org.- HI CamJJ^
O tiaupt voU Blut und Wunden (for alio and te^ 2m
mixed ch.. vl and ob. soli and org.). ]Kuirandm,Si'
choruses, and songs (sacred and ^fa^Lfr^r rff^i
books of canons in all major and minor kevs- a*£j.i
^SbeJ^a^^^^^
?/U?u^J.Dl* Toccata and Fugue (Dm)- FantlSa
(G). Prelude and Fugue (G). Selude Sd'F^?CA
S}' pShH?i!S EUgUC (/^ m)' T000^ and Fu«ue
^f^ii #Ch8 r0^0.1- SJuite8 a0*1 Brandenburg
p2S22f,,"~F5rf . ^* 8?I<?: H- Wolf 8 overture to
!?»%? *" and ^'f "fAe ^awirff d'Albert'iVverL
4?r^fii<r;*80ng8 of Jensen' Brahin«. H. Wolf andR
Strauss.— Arrangements:- 5 Spetialstudien (ChoDtn)-
R6gnal. Prtdfiric. Pen-name of FRfeofiHic
D Erlanger.
Regnart (or Reftnard) [r«h-i5alir^, Jacob,
Netherland composer; b. 1540; d. as Imperial
i^?L^fPf1Im- at Prague' & i60°- Publ
1574-1611 a great number of masses, motets
canzone yillanelle. and German songs (many
SK?"«5j|thT.fe Went throu8h ? erf/tionsT
L f. coll. of 1590 are some longs by his
!»enM0O7T-tshe/tf1fJir Musikgeschichte1 (vol.
»i, p. 97) is a full list of his works.— See Q.-
748
18« ^""l' TheobaW. b. Berlin, Aug. 7,
ouoil rf^ir™^ '," \hecathedral; later a
ff ?,f„"7\ *» (v,?l,n) and Kiel (comp.).
Now (1917) hving in Berlin. Wrote text
comic, 3 acts (Dresden, 1880); A« f/«»m.e
ffer8 (Magdeburg 1885); Turandot, eZZTt
acta (BerHn 1888); Obersl Lump^/T^ct
comic (Wiwbaden, 1892); 4 more not ptrf.'
REH BERG— REICHARDT
(Das Weib des Uria; Die Konskribirten; Der
Goldschmidt von Paris; Die Prinzessin van
Tunis); has publ. instructive pieces f. violin,
part-songs, songs, etc.; an Elementar-Violin-
schule (op. 7), and a BratschenSchule zum
Selbstunterricht fiir Violinisten (op. 9).
Reh'berg, Willy, fine pianist; b.Morees,
Switz., Sept. 2, 1863. Pupil of his father,
Friedrich R., a music-teacher; later, at the
Zurich Music-School, of Hegar, Weber and
Freund; and 1882-5 of Leipzig Cons., where
he was eng. as pf.-teacher until 1890. From
1888-90 he also successfully cond. the sub-
scription-concerts of the court orch. and the
Singakademie at Altenburg. From 1890-
1907, head teacher of pf. at Geneva Cons.;
1892-1907 also Kapellm. of the Geneva
Munic. Orch.; since 1907 prof, at Hoch'sCons.
in Frankfort. — Works: Op. 2, Menuet, Chan-
son d' amour and Gavotte, f. pf.; op. 3, Sonata
in G m.; op. 4, 2 Htudes de concert; op. 10,
Sonata f. pf. and violin, in D; op. 14, Fest-
marsch for pf. (4 hands) ; etc.
Reh'feld, Fabian, violinist and comp.; b.
Tuchel, W. Prussia, Jan. 23, 1842. Pupil of
Zimmermann and Grtinwald, Berlin; 1868,
royal chamber-musician; 1873-98, leader in
the court orch. Has comp. numerous pes.
for vl. and pf. (op. 43, Vision, scene drama-
tique; op. 49, Caprice, concert-£tude; op. 54,
Seeks Charakterstiicke; op. 58, Zwei Konzert-
stucke; op. 62, SaltareUo; op. 86, Andante
pathetique; etc.) ; also songs.
Rei'cha, Anton, eminent theorist and in-
strumental composer; b. Prague, Feb. 27,
1770; d. Paris, May 28, 1836. Nephew and
pupil of Joseph Reicha [rede Rejcha; comp.
and violinist, leader, and later Kapellm., of
the Electoral orch. at Bonn]. From 1788,
flutist in the Bonn orch., in which Beethoven
was a viola-player; 1794-9, piano- teacher in
Hamburg, writing an opera, and going to
Paris in hopes of producing it; but had to
content himself with the successful perform-
ance of two symphonies. From 1801-8 he
lived in Vienna, intimate with Beethoven,
and associating with Haydn, Albrechts-
berger, and Salieri. On the French invasion
he returned to Paris; brought out the moder-
ately successful comic operas Cagliostro (1810),
Natalie (1816), and Sapho (1822); but gained
a high reputation as a theorist and teacher
(some of his pupils were Jelensperger, Elwart,
Lefebvre, and Dancla), also as an instrumen-
tal composer. In 1818 he succeeded Mehul
as prof, of counterpoint and fugue at the
Cons.; was naturalized in 1829; and succeeded
to Boieldieu's chair in the Academie in 1835.
— Publ. comps.: 2 symphonies; an overture;
decet f. 5 stringed and 5 wind instrs.; octet f.
4 stringed and 4 wind instrs.; a clar.-quintet;
6 string-quintets; 20 string-quartets; 24 quin-
tets f. flute, oboe, clar., horn and bassoon;
6 quartets f. flute and strings; a quartet f.
pf., flute, 'cello and bassoon; a quartet f. 4
flutes; 6 string-trios; 24 trios f. 3 horns; a
trio f. 3 'celli; 6 violin-duets; 22 flute-duets;
12 violin-sonatas; and, f. pf., sonatas, etudes,
fugues (e. g.,36 fugues pour le piano d'aprls un
nouveau systhne, comp. in Vienna), variations
(L'art de varier has 57), etc. — Writings: £.tudes
ou theories pour le pianoforte, dirigees d'une
maniere nouveUe (1800); TraiU de melodic,
abstraction faite de ses rapports avec V harmonic
(1814; 2d ed. 1832); Cours de composition
musicale . . . (1818); Traite de haute composi-
tion musicale (1824, '26; 2 vols.; edited 1834
by Czerny in French and German as Voll-
stdndiges Lehrbuch . . . , 4 vols.); L'art du
compositeur dramatique . . . (1833); Petit traiU
d 'harmonic pratique (n. d.). — Cf. J. A. Delaire,
Notice sur R. (Paris, 1837); E. BQcken, Aus
A. R.*s Leben und Kompositionen (Munich,
1912); id., Beethoven undA.R., in 'Die Musik'
(March, 1913).
Rei'chardt, Alexander, tenor opera-
singer; b. Packs, Hungary, April 17, 1825; d.
Boulogne-sur-Mer, Marchl4, 1885. Debut
Lemberg, 1845, as Otello in Rossini's opera;
sang at the court opera, Vienna; also yearly,
from 1851-7, at London in opera and concert.
At Boulogne, where he settled in 1860, he or-
ganized a singing-society, and was president
of a music-school. — Composed songs.
Rei'chardt, Gustav, composer of Was isl
des Deutschen Vaterland?; b. Schmarsow, n.
Demmin, Nov. 13, 1797; d. Berlin, Oct. 19,
18§4. A pupil of Bernhard Klein; lived in
Berlin as a music- teacher, publishing 36 works
(chiefly popular songs); also cond. of the
i'unior Berlin Liedertafel; and was Emperor
■nedrich's music-teacher.
Rei'chardt, Johann Friedrich, born
Konigsberg, Nov. 25, 1752; d. Giebichen-
stein, n. Halle, June 27, 1814. A pupil of
C. G. Richter (pf. and comp.) and Veichtner
(violin), he later studied philosophy at the
Universities of Konigsberg and Leipzig;
travelled, a keen observer, through Germany
(1771—4); and on Agricola's death in 1775
applied for, and obtained, the post of Kapellm.
to Frederick the Great. After a visit to Italy
in 1782 he founded (1783) the 'Concerts spin-
tuels' for the performance of new works, for
which he wrote short analytical programs.
During a long leave of absence in London and
Paris (1785-6) he brought out his Passion
music (after Metastasio) in both cities, and
was commissioned to write two operas, Tamer-
Ian and Panthee, for the Grand Opera; Fred-
erick's death necessitated his hasty return to
Berlin, and the operas were not produced.
Friedrich Wilhelm II. allowed him to enlarge
the orchestra, and to obtain new singers from
749
REICHARDT— REICHERT
Italy; but later, hearing of R.'s sympathy with
the French Revolution, suspended him for 3
years, and dismissed him in 1794. R. lived
in Altona till 1797 ; was then app. Inspector of
the salt works at Giebichenstein, and held
the appointment after his return to Berlin on
the King's decease in the same year. Fried-
rich Wilhelm III increased his salary; but the
French invasion drove him to Kdnigsberg in
1806, and on Jerome Napoleon's threat to
confiscate his property R. joined him at Kas-
sel, and became his court conductor. On
account of disagreements with the authorities,
R. was soon granted leave of absence, which
he improved by visiting Vienna to produce
his operas and Singspiele; the trip was un-
successful, and he returned to Giebichenstein,
where he remained until his death. — For Ber-
lin and Potsdam R. composed numerous
Italian and German operas, incid. music to
plays, and German Singspiele, the latter
exercising considerable influence on the devel-
opment of German opera. He also wrote
a Passion; cantatas (sacred and secular);
psalms, 2 Te Deums; etc.; as a song-composer
[cf. Lindner, Geschichtedesdeulschen Liedes] he
ranks high (he set about 60 of Goethe's lyrics
to music); his instrl. music includes 7 sym-
phonies (the Scfdacktsymphonie celebrates the
battle of Leipzig), a Victory overture, 14 pf.-
concertos, a concertante f . string-quartet and
orch., a quintet f. pf. w. 2 flutes and 2 horns,
2 pf.-quartets, 6 string-trios, a violin-concerto,
11 violin-sonatas, 17 pf. -sonatas, a flute-so-
nata. An extremely diligent writer, he edited
a number of mus. periodicals; and publ. tfber
die deutsche kothische Oper (1774), Dber die
Pflichten des Ripienvioltnisten (1776), Brief e
tints aufmerksamen Reisenden, die Musik
betreffend (2 parts; 1774, 76), Schreiben uber
die Berliniscne Musik (1775), Vertraute Briefe
aus Paris (1804, 1805; 3 parts), Vertraute
Briefe, geschrieben auf einer Reise nach Wien
(2 vols.; 1810). Autobiography in the
'Berliniscne musikalische Zeitung* (1805;
Nos. 55-89).— His wife Jullane(n& Benda;
b. Berlin, 1752; d. there May 9, 1783) was
a fine pianist, who also publ. a number of
songs. — Cf. H. M. Schletterer, /. F. R. Sein
Leben und seine musikalische Tatigkeit (Augs-
burg, 1865; only vol. i publ.); C. Lange, /. F.
R. (Halle, 1902) ; W. Pauli, /. F. R. Setn Leben
und seine Stellung in der Geschichte des deut-
schen Liedes (Berlin, 1902).— See aisoQ.-Lex.
Rel'chardt, Lulse, daughter of preceding;
b. Berlin, 1788; d. Hamburg (where she had
lived from 1814 as a singing-teacher), Nov. 17.
1826. She composed a number of beautiful
songs.
Rei'chel, Adolf Heinrlch Johann, b.
Tursnitz, W. Prussia, 1817; d. Bern, March 5,
1896. Pupil of Dehn and L. Berger in Berlin ;
lived 14 years in Paris as a pf.-teacher and
composer (pf. -concertos, 2 pf. -trios, 4 preludes
and fugues, also mazurkas and sonatas, f . pf . ;
masses; many songs); 1857-67, teacher of
comp. at Dresden Cons., and cond. of Dreys-
sig's Singakademie; from 1867, municipal
Mus. Dir. at Bern, Switzerland.
Rei'chel, Friedrich, born Oberoderwitz,
Lusatia^ Jan. 27, 1833; d. Dresden, Dec. 29,
1889, as cantor and org. at the Johanniskirche.
Pupil of Wieck, Otto and Rietz, at Dresden.
Chief among 32 publ. works are a Fruhlings-
sympkonie, op. 25 ; part-songs f . men's voices,
op. 4, 5, 7; and some motets. He prod, an
operetta, Die geangsteten Diphmaten, at Dres-
den in 1875; 2 str.-quartets and an octet for
wind-instrs. remained MS.
Rei'cher - Kin'dermann, Hedwig, gifted
dram, soprano; b. Munich, July 15, 1853; d.
Trieste, tune 2, 1883. Daughter of the bari-
tone A. Kindermann; sang in the Court Th.,
then in the Gartnerplatz Th. at Munich;
later at Hamburg; from 1880-82 at Leipzig;
then in A. Neumann's Wagner troupe. She
married the opera-singer Reicher. — Cf. A.
Neumann, Erinnerungen an R. Wagner (Leip-
zig, 1907; Engl. tr. by E. Livermore, JV. Y.,
1908).
Rei'chert, Arno Julius, b. Dresden, May
31f 1866. Pupil of H6pner, Rischbieter and
Draeseke at the Cons, there. App. teacher of
music at the Freimaurer-Institut, Dresden;
1894-1904, at R. L. Schneider's Musikschule;
since 1904 head of the music division of the
Dresden R. Library. Has written a comic
opera, Onkel Stark; pf.-pcs.; many choruses
and songs; has arr. about 450 folk-songs for
male and mixed chorus; publ. 50 Jahre Sin-
fonie-Konzerte (a record of the works prod,
by the Kgl. Kapelle in Dresden from 1858-
1908).
Rei'chert, Johannes, b. Dresden, June
19, 1876. Pupil of Draeseke (1893), and of
Nicode and Buchmayer (1894-8). From
1896-1906, cond. of the orch.-class at the
Dresden Musikschule; 1902-6, also Repetitor
at the Hoftheater; founded in 1899the 'Volks-
singakademie' (a mixed chorus recruited ex-
clusively from the working classes) ; 1905-13,
private teacher of the crown-prince of Saxony;
wrote the program-notes of the symph.-con-
certs of the Kgl. Kapelle, 1902-13; since 1906
also munic. Musikdir. in Teplitz-Schdnau.—
Works: Op. 5, Konzertouverture in E; op. 25,
Eine Nachtmusik; op. 30, Lustige Suite (all
for orch.) ; op. 11, Helges Traum for soli, male
ch. and orch.; op. 18, Traumsommernacht for
6-part ch. and orch.: op. 20, Die Tonkunsl
for bar. solo, ch. and orch.; choruses for
male, fern, and mixed vcs.; pf.-pcs. (sonata in
A m., op. 1).
750
REICHERT— REINECKE
Rel'chert, Mathieu-Andrt, born Mae-
stricht, 1830. Flute-virtuoso; pupil from
1844 of the Brussels Cons., taking 1st prize
in 1847. Made long tours in Europe and
America. Comp. difficult music for flute.
Relch'mann, Theodor, celebrated dram,
baritone; b. Rostock, March 15, 1849; d.
Marbach, on Lake Constance, May 22,
1903. Pupil of Mantius and Elsler (Berlin),
Ress (Prague), and Lamperti (Milan). Sang
in theatres at Magdeburg, Berlin, Rotterdam,
Strassburg, Cologne, Hamburg, and Munich
(1874); 1882-9 at the Court Opera, Vienna;
in 1882 he created the rdle of Amfortas at
Bayreuth. Sang in German opera at New
York, 1889-90; made extended tours; and
was re-engaged at Vienna.
Reichwein [riyh'vin], Leopold, b. Breslau,
May 16, 1878. Began his career as Kapellm.
in Mannheim; 1909 at the Hofoper in Karls-
ruhe; since 1913 at the Hofoper in Vienna.
Has prod, the operas Vasanlasena (Breslau,
1903) and Die Liebenden von Kandahar (ib.,
1907); incid. music to Faust (Mannheim,
1909); songs (op. 1, 2, 5).
Reld, General John, b. Straloch, Perth-
shire, Feb. 13, 1721; d. London, Feb. 6, 1807.
A musical amateur, he left £52,000 to found a
chair of music in Edinburgh Univ., also pro-
viding that an annual concert of his own com-
positions should be given. The 'Reid' pro-
fessors since the foundation (1839) have been
John Thomson; Sir Henry Bishop, 1842;
Henry Hugo Pierson, 1844; John Donaldson,
1845; Sir Herbert Stanley Oakeley, 1865;
Frederick Niecks, 1889; and Donald Francis
Tovey, since 1914.
Relfner [rif'neV], Vlncenz, b. Theresien-
stadt, Bohemia, Oct. 25, 1878. St. in Prague,
and then under C. Kistler in Kissingen; now
(1917) living in Teplitz as comp. and mus.
critic. — Works: The symph. poems Fruh-
ling, op. 12; Dornroschen, op. 17; Die Bremer
Stadtmusikanten; a BaUettouverture, op. 15;
Ballade for soli, ch. and orch.; pf.-pes.;
songs.
Reijnvaan or Reynwaen [rin'vahn], Jean
Verachuere, LL.D.; b. Middelburg, Holland,
1743; d. Flushing, May 12, 1809. Organist
and 'carillonneur at Flushing. Compiled the
first Dutch mus. dictionary: Mutikaal konst-
woordenboek (1789; one vol., A-E, and part
of vol. ii, 2d ed., 1795, only to letter M).
Also publ. a Calechismus der Muzijk (1788);
comp. 6 violin-sonatas, psalms, motets, and
songs.
Rei'mann, Heinrich, son of Ignaz; born
Rengersdorf. Silesia, Mar. 14, 1850; d. Berlin,
May 24, 1906. Taught by his father; at-
tended the Glatz Gymnasium, and studied
philology at Breslau Univ. (187CM), also
conducting the academical Gesangverein
'Leopoldina.' He taught at several Gym-
nasia, and became director of that at Gleiwitz
in 1885; but soon resigned to devote himself
to music. From 1887 he lived in Berlin,
where he was asst. -librarian at the R. Library,
organist to the Phil harm. Soc., teacher of
organ and theory at the Scharwenka-Klind-
worth Cons., and (from 1895) org. at the
Kaiser Wilhelm-Gedachtniskirche; made Kgl.
Prof, in 1897. He was an eminent mus. critic
(on the -Allgem. musikalische Zeitung'), an
excellent organist, a composer of organ-sona-
tas and -studies, etc., and a writer of distinc-
tion: Biography of Schumann (1887); Zur
Theorie una Geschichte der byzantinischen
Musik (in the 'Vierteljahrsschrift filr Musik-
wissenschaft,' 1889); Jok. Brahms (1897; 3d
ed. 1903; in 'Beruhmte Musiker,1 of which
series he was editor); Musikalische Ruck-
blicke (2 vols., 1900); H. von Billow (1909,
posth.); /. S. Bach (1912; completed by B.
Schrader). He revised vol. ii of Ambros's
Musikgeschichle for a new edition (1892);
and publ. a coll. of old songs, arr. for concert-
performance, 'Das deutscne Lied* (4 vols.),
and the colls. 'Internationales Volkslieder-
buch' (3 vols.) and 'Das deutsche geistliche
Lied (6 vols.); also ed. Bach's St. John's
Passion (1903).
Rei'mann, Ignaz, b. Albendorf, Silesia,
Dec. 27, 1820; d. Rengersdorf, June 17, 1885.
Prolific church-composer; publ. 18 masses, 4
Requiems, 3 Te Deums, 48 offertories, 40
graduate; many others, also instrumental
works, in MS.
Reimers [ri'mers], Paul, fine concert-tenor;
b. Lunden, Schleswig-Holstein, March 14.
1878. St. with Prof. Spengel in Hamburg,
Georg Henschel and Raymond von zur Muh-
len in London, and Jean Criticos in Paris.
Debut as Max (Freischutz) in Hamburg,
1902; the success he achieved shortly after-
wards in Lorenz's oratorio Krosus deter-
mined him to devote himself to oratorio
and Lieder-singing; has toured Germany.
France, England, Russia, Scandinavia, the
Balkan States, etc.; since his first tour of
the U. S. (1913) he has been a regular visitor.
For some years he lived in Berlin as a member
of the 'Berliner Vokal-Quartett' (Jeannette
Grumbacher de Jong, Therese Schnabel-
Behr, R., and Artur von Eweyck), renowned
for their interpretation of Brahms's vocal
quartets.
Rei'necke, Karl (Heinrich Cars ten), b.
Altona, June 23, 1824; d. Leipzig, March 10,
1910. Pianist, pupil of his father, a music-
teacher. His first concert-tour was to Den-
mark and Sweden in 1843; he then went to
Leipzig, learned much through intercourse
with Mendelssohn and Schumann, made a
751
REINECKE— REINHOLD
second tour through North Germany, and
was from 1846-8 court pianist to Christian
VIII at Copenhagen. Then, after spending
some years in Paris, he became teacher at
Cologne Cons, in 1851, mus. director at
Barmen 1854-9, academical mus. dir. and
cond. of the Singakademie at Breslau 1859-
60, and from 1860-95 cond. (following J.
Rietz) of the Gewandhaus Concerts at Leip-
zig, his successor being Nikisch. At the
same time he was app. prof, of pf.-playing
and free composition at the Leipzig Cons,
and in 1897 he was made 'Studiendirektor*
at that institution. He retired in 1902. From
Leipzig Univ. he had the title of Dr. phil.
(hon. causa) ; from the King of Saxony, that
of 'Royal Professor.' An eminent pianist,
he excelled as an interpreter of Mozart, made
concert -tours almost yearly, and was enthu-
siastically welcomed in England, Holland,
Scandinavia, Switzerland, and throughout
Germany; among his pupils were Maas,
Kwast, Winding, Joseffy, Dora Schirmacher,
and Jeanne Becker. As a composer, and
teacher of composition, R. was the leader in
Leipzig for a quarter of a century; his works,
classic in form and of a refined workmanship,
have a distinct dash of romantic temperament.
Although his sympathies were almost ex-
clusively with the classicists (his favorite
was Mozart), he could not entirely escape
from the influence of Wagner and Brahms.
In his writings he showed himself an extreme
conservative. Besides the Leipzig letters
for the 'Monthly Musical Record' and essays
for various journals, he wrote Was sollen wit
spielen? (1886), Zur Wiederbelebung der
Mozartschen Klavierkonzerte (1891), Die Beet-
hcwenschen Klaviersonaten (1897; 6th ed. 1912;
Engl. tr. 1898), Und manche liebe Schatten
steigen auf (1900), Meister der Tonkunst
(1903), Aus dent Reich der Tone (1907).— Cf.
J. von Wasielewski, K. R. Ein KilnsUerbild
(Leipzig, 1893); E. Segnitz, K. R. (ib., 1900).
Principal Compositions.
Dramatic : Kdnig Manfred [op. 931 (Wiesbaden,
1867), Ein Abenlcuer H and els [op. 104] (Schwerin,
1874). Auf hohcn Befehl [op. 184] (Hamburg. 1886),
Der Gouverneur von Tours [no opus-numberj (Schwerin,
1891), Der vierjiihrige Posten (op. 45; not perf.);
Incid. music to Schiller's Tell (op. 102); the fairy
operas for soli, fern. ch. and pf. Nussknacker und
M aus r kdnig (op. 46), Schneewittchen (op. 133), Dorn-
rUschen (op. 139), Aschenbrbdel (op. 150), Die Wilden
Schwane (op. 164), Glilckskind und Pechvogel (op. 177),
Vom Bdumlein das andere Blatter hat gewollt (pp. 190),
Schneeweisschen und Rosenrot (op. 208), Die Teufelchen
auf der Himmelsiviese (op. 245), Traumfriedel (op. 278).
— Vocal: The oratorio Belsazor (op. 73); Missa a 5
(op. 95); Missa Brcvis a 4 (op. 114); for soli, mixed
ch. and orch.. Ein geistliches Abendlied (op. 50), Som-
mertagsbilder (op. 161); for soli, male ch. and orch.,
Hakon Jarl (op. 142); for male ch. and orch.,
SehlaehWied (op. 56); Der JUger Heimkehr (op. 90);
Festgesang (op. 192); Der deulsche Sang (op. 237);
concert arias, Mir jams Siegesgesang for sop. (op. 74):
Almansor for bar. (op. 124); Das HindumMchen for
alto (op. 151); numerous choruses for mixed, male
752
and fern, vcs.; songs and duets. — For Orch.: 3
symphonies (op. 79, A; op. 134, C m.; op. 227.
G m.) [a Kindersymphonie for pf. w. toy instrs., op.
239]: 9 overtures (op. 51. Dame Kobold; op. 70.
Aladdin; op. 92, Das Jahrmarktsfest zu Plunders-
weilern; op. 105, Friedensfeier ; op. 148. Festouver-
tare; op. 166, Zur JubeJfeier; op. 193. Zencbia; op.
218, An die KtinsUer [w. final ch.]; op. 223. Prolccus
solemnis in Form einer OuvertUre); op. 110. Deutsche*
Triumphmarsch; op. 128, In Memoriam. Introduktiom
und Fuge mil Choral; op. 191, Zur Reformatiousfeier
(vars. on 'Ein fesle Burg'): op. 200, Trauermarsch (on
the death of Emperor William I); op. 242, Serenade
for strings. — For Orch. with solo instrs.: Op. S3,
KontertstUck in G m. for pf.; 4 pf. -concertos (op. 72.
F# m.; op. 120, E m.; op. 144, C; op. 254, B); op.
87, Cadenzas to 42 movents, of pf.-concertos by Bach.
Beethoven. Mozart, Weber; op. 82, Vcl.-concerto In
Dm.: op. 141, Vln.-concerto in G m.; op. 155, Romanze
for vln. in A m.; op. 182, Harp-concerto; op. 263.
Romanzero in A m. for vd.; op. 283, Flute-concerto
in D. — Chamber-music: Op. 216, octet in Bb for
wind instrs.; op. 271, sextet in Bb for do.; 6 str.-
quartets (op. 16, Eb; op. 29, A; op. 30, F; op. 132.
C; op. 211, D; op.287,Gm.);op.249,8tr.-tnoinCm.;
op. 83. pf. -quintet in A; 2 pf. -quartets (op. 34, Eb;
op. 272, D); 6 pf. -trios (op. 38, D; op. 126. Zuei
Serenaden; op. 159, G and E m.; op. 230, C m.); op.
188. trio tor pf., ob. and horn in A m. (also arr. for
pf., vl. and vcl.); op. 264, trio for pf., clar. and horn
in Bb; for pf. and vln., op. 108, 3 sonatinas (F. G, Bb);
op. 116, sonata in E m.; op. 153. Suite in E m.; op.
160, Phantasie in A m.; op. 212, 6 leichte Duos; op.
213, Miniatur-Sonaten (A m., G); op. 257, Die Jahres-
keiten (4 char. pes. in sonata-form); 3 sonatas for vcl.
and pf. (op. 42, A; op. 89, D; op. 238. G); 3 Phan-
tasiestticke for via. and pf. (op. 43) ■ op. 167, Undine
(sonata for fl. and pf.). — For Pf.: Op. 15. Phantasie
in Form einer Sonate; op^ 47, 3 sonatinas; op. 57,
Alte und neue Tame; op. 65, PrMudien und Fugen;
op. 86. Bilder aus dem S&den; op. 88, M&dchenlieder:
op. 106, Aus der Jugendteii; op. 179, sonata for the
left, hand (C m.); op. 202, Von der Vfiegt bis turn
Grabe (16 char, pes.; also arr. for 4 hands and orch.);
op. 220, Biblische Bilder (also arr. for orch.); op. 25%,
Pastellbilderi op. 35, sonata in A m. (4 hands); op.
130, Zwdlf Studien in kononischer Weise (do.); 3
sonatas for 2 pfs. (op. 240 and 275 [G. C]) ; etc
Rei'necke, Leopold Karl, born Dessau,
1774; d. Giisten, Oct. 22, 1820. Pupil of Rust
(vln.) and Naumann (comp.); from 1798,
leader and music-director at Dessau. Prod,
operas at Dessau, also symphonies and cham-
ber-music.
Reinhardt [rin'-], Helnrich, popular
operetta-composer; b. Presburg, April 13,
1865. Pupil of M. Mocker and A. Bruckner
in Vienna; was mus. critic for the 'Extrapost,'
'Musikal. Rundschau,' and 'Wiener Tage-
blatt'; now (1917) editor of the'Tageblatt/—
The operettas Das susse Model (Vienna, 1901,
his greatest succ), Der liebe Schatz (ib., 1902),
Der General-Konsul (ib., 1904), Krieg im
Frieden ( b., 1906), Die sussen Grisetten
(ib., 1907), Ein Miidchen fur alles (Munich,
1908), Die Sprudelfee (Vienna, 1909),
Napoleon und die Frauen (ib., 1911), Prin-
zessin Gretl (Berlin, 1914), Des Konigs Gdste
(Vienna, 1916); has also written 2 operas,
Die Minnekonigin and Der Schuster ven
Delft; author of Die Entwicklung der Operetle
and Virtuosentum und KtinsUer s chaff.
Relnhold [rin'h6hlt], Hugo, b. Vienna,
Mar. 3, 1854. Choir-boy in the Hofkapelle;
REINKEN— REISS
then pupil of J. Epstein (pf.), 0. Dessoff and
A. Bruckner (comp.) at the Vienna Cons.,
graduating in 1874 as winner of the silver
medal; now (1917) prof, of pf. at the k. k.
Akademie der Tonkunst. A composer of
pronounced melodic gift and highly poetic
conception. — Works: Op. 7, Suite in Eb for
pf. and orch.; op. 10, Prdludium, Menuett
und Fuge for str.-orch.; op. 22, Symphony
in C; op. 29, Intermezzo scherzo so; op. 32,
Konzert-Ouverture; op. 18, str. -quartet in A;
op. 24, vl.-sonata in G; — for pf. 4 hands:
op. 4, Im Walde; op. 9, Fantasiebilder; op.
17, Abendbilder; — for pf. solo: op. 28, Drei
Impromptus; op. 45, Suite mignonne; op. 50,
Valses pittoresques; op. 53, Auf der Wander-
schaft; op. 55, Traunseebilder; op. 63, Traum-
bilder; op. 65, Tanzszenen; etc.; male cho-
ruses and songs.
Reinlcen, Jan Adams, famous organist;
b. Wilshausen, Alsace, April 27, 1623; d.
Hamburg, Nov. 24, 1722. Pupil of Sweelinck
in Amsterdam. In 1658 he became assistant,
and in 1663 successor, to Scheidemann, or-
ganist at the Katharinenkirche, Hamburg.
One of the foremost among North German
organists; J. S. Bach several times walked
from Liineburg to Hamburg to hear him.— r
Works: Hortus musicus f. 2 violins, viola,
and bass (1704), and Partite diverse (both
republ. by the 'Maatschappij tot bevordering
van Toonkunst'); in MS., a toccata f. organ,
2 arrs. of chorals, and 2 vars. f. clavichord
— Sec Q.-Lex.
Reins'dorf, Otto, b, KSselitz, May 28,
1848; d. Berlin, April 15, 1890. Pupil oiKul-
lak and Wiierst. Went to Leipzig 1870; co-
editor of the 'Neue Zeitschrift fur Musik, '
and (1872) of the Tonhalle' ; founded the'Mu-
sikalische Central-Zeitung- (soon ^defunct),
and the 'Allgemeine deutsche Musikzeitung'
(1874; retired from editorship, 1875); went to
Vienna, 1875, started the 'Illustr. Musik- und
Theater- Journal.' resigned the editorship in
1876, and went to Berlin. He was a talented,
but erratic, writer and composer.
Reinthaler [rin'tah-ler], Karl (Martin),
gifted composer; b. Erfurt, Oct. 13, 1822;
d. Bremen, Feb. 13, 1896. A music-pupil of
G. A. Ritter, he studied theology, at his
father's desire, in Berlin from 1871-6; but
his passion for music won the day, and he
took private lessons with Marx. The King
then granted him a stipend for study at Paris
in 1849 (6 months), where he had singing-
lessons from Geraldi and Bordogni, and for
3 years at Rome. He then (1853) was
called to the Cologne Cons, as teacher of
singing; in 1857 he was app. municipal mus.
din, organist and Kapellm. at the cathedral,
and cond. of the Singakademie in Bremen;
later also becoming cond. of the Liedertafel
there. He received the title of R. Prussian
Mus. Dir.; was elected full member of the
Berlin Akademie in 1882, and in 1888 was
made 'Royal Professor.' He prod. 2 operas,
Edda (Bremen, 1875) and Kalhchen von Heil-
bronn (Frankfort, 1881); an oratorio, Jephtha,
repeatedly perf. in Germany and elsewhere;
the famous Bismarch-Hymne (won a prize);
the choral works In der WUste, Das Mddchen
von Kolah (both w. orch.), and Die Rosen
von HUdeskeim (f. 4 male voices w. orch.);
a symphony in D; male choruses, songs,
psalms.
Reisenauer [ri'-l, Alfred, pianist; born
K6nigsberg, Nov. 1, 1863; d. (on a concert-
tour) Liebau, Oct. 3, 1907. Pupil of L.
Kohler and Liszt. Debut at Cardinal Hohen-
lohe's palace, Rome, with Liszt (1881); after
a concert-tour (London, Leipzig), he studied
law at Leipzig Univ. 1881-2, but in 1886
resumed his career of concert-pianist, and
visited almost every country of the globe
(even Siberia and Central Asia) ; 1900-6 he
was prof, of the 'Meisterklasse' at the Leip-
zig Cons. He combined brilliancy of ex-
ecution with scholarly insight. He publ.
a number of fine songs: 6 Gesdnge aus Wil-
helm Meister;' 5 Traurige Lieder (Heine);
Wanderlieder (Uhland); Steben Gedichte (op.
12); 6 Balladen und Romanzen (op. 13);
ReisebUder (op. 14; for pf. 4 hands); 50
Obungsstucke for pf. In MS. he left a set
of vars. for orch., a str.-quartet, a pf. -suite,
and more than 100 songs. — Cf. Grafin J.
Schwerin, Erinnerungen an A. R. (Konigs-
berg, 1909).
Reiser [ri'-l, August Friedrich, born
Gammertingen, Wurttemberg, Jan. 19, 1840;
d. Haigerloch, Oct. 22, 1904. From 1880-86,
editor of the Cologne 'Neue Musikzeitung';
comp. 2 symphonies; overtures; Barbarossa,
f. double ch., soli and orch. (op. 81); Deut-
sche Kriegsscene aus dem 17. Jahrh. for male
ch., solo and orch. (op. 108); Missa brevis
(op. 115); many male choruses and songs.
Reiset [ra-zal, Marie-FeHcie-Clemence
de. See Grandval, Mme. de.
Relss [ris], Albert, dramatic tenor; born
Berlin, Feb. 22, 1870. He was an actor until
1897, when Pollini discovered' his voice; the
same year (Sept. 28) he made his operatic
debut at the Stadtth. in Konigsberg as
Ivanov in Lortzing's Czar und Zimmermann;
1898-9, in Posen; 1899-1901, at the Hofth.
in Wiesbaden and Munich. On Dec. 23, 1901,
he made his Amer. debut at the M. O. H. in
the minor rdles of the Sailor and Shepherd in
Tristan und Isolde, but his sterling qualities
were quickly appreciated, and before the end
of the season he was given more important
parts; his interpretations of David (Mei-
ster singer, Jan. 24, 1902) and Mime {Siegfried,
753
REISS— REISSMANN
Mar. 4) were particularly striking; in fact,
since then no other artist has been heard in
these parts at the M. O. H.f where he has
sung uninterruptedly to the present day
(1917) ; during the summer months he has also
appeared at Cov. Garden and at the principal
derman opera houses. He created the rdles
of Nick in Puccini's Fanciulla del West (M. O.
H.; Dec. 12, 1910), Der Besenbinder in Hum-
perdinck's Konigskinder (ib.; Dec. 28, 1910),
Nial in Parker's Mona (ib.; Mar. 14, 1912),
Ragueneau in Damrosch's Cyrano de Bergerac
(ib.; Feb. 27, 1913), Robin Goodfellow in
Parker's Fairyland (Los Angeles; July 1, 1915),
King Richard II in DeKoven's Canterbury PU-
$rims (M. O. H.; Mar. 8, 1917), and Wenzel
in the Amer. premiere of Smetana's Bartered
Bride (M. O. H.; Feb. 19, 1909); has sung
numerous r61es in German, French and Itaf.
operas; decorated by the King of Bavaria
with the Ludwigsmedaille. — On Oct. 26, 1916,
he appeared in the new rdle of impresario,
producing at the Empire Th. in N. Y. Mo-
zart's Bastien und Bastiennne and Der
Schauspieldirektor (in Engl., himself singing
the rdles of Bastien and Mozart, resp.), the
latter work having its Amer. premiere on
that occasion [the former had been introduced
(in Ger.) to America under the auspices of the
the MacDowell Club, N. Y., Nov. 17, 1914J.
The experiment proved so successful that 4
repetitions had to be given; in the spring of
1917 (May 7-19) R. gave a 2-weeks season
of intimate light opera (also in Engl.) at
the Lyceum Th. in N. Y., repeating the
Mozart works, and bringing out for the first
time in America Pereolesi's La Serva Padrona
and Donizetti's It Campanello di Notte
(both May 7), and Gounod's Le Docteur
Miracle (May 10).
Relss, Karl Heinrich Adolf, b. Frankfort-
on-Main, April 24, 1829 ;d. there April 5, 1908.
Pupil of Hauptmann at Leipzig. Chorus-
master, and Kapellm., at various theatres; in
1854, 1st Kapellm. at Mayence; in 1856 2d,
and on Spohrs death 1st, Kapellm. at Kassel;
1881-6, at the court theatre, Wiesbaden. —
Prod. 1 opera, Otto der Schutz, at Mayence,
1856.
Reto'eiger, Friedricn August, b. Belzig,
July 26, 1809; d. Frederikshald, Mar. 2, 1883,
as military bandmaster. Pupil of Weinlig
and Schicht (Leipzig) and Dehn (Berlin);
prolific comp. (many songs); from 1840-50,
cond. at the Christiania theatre.
Rels'siger, Karl Gottlieb, b. Belzig, n.
Wittenberg, Jan. 31, 1798; d. Dresden, Nov.
7, 1859. A pupil of Schicht at the Thomas-
schule, Leipzig, from 1811; began the study
of theology in 1818, but gave it up for music,
continuing at first under Schicht, then going
to Vienna in 1821 (where he wrote, but did not
produce, an opera, Das Rockenweibchen, and
appeared as a vocalist and pianist), and thence
to Munich (1822), pursuing the study of
dramatic comp. under Winter, and success-
fully bringing out an overture and entr'actes
to Nero. In 1824, at the expense of the
Prussian government, he made a tour of in-
spection and study in Italy, and submitted
a plan for a conservatory; taught at the Ber-
lin R. Inst, for Church-music, and in 1826
was invited to The Hague to organize a conser-
vatory, which still flourishes. In the same
year he succeeded Marschner as mus. dir.
of the German Opera at Dresden, and soon
after was app. court Kapellm., as Weber's
successor. — R. was a prolific composer (over
200 opus-numbers), writing with jgreat facil-
ity, but utterly devoid of originality. —
Works: The operas Didoneabband onata (Dres-
den, 1823); Der Ahnenschatz (1824); Yelva
[melodr.] (1827); Libella (1828); Die Felsen-
ntuhle von £talieres (1829; the overture is
still played at concerts); Turandot (1835);
AdUe de Foix (1841); Der Schiffbruch der
Medusa (1846); — the oratorio David; 10
grand masses; motets, psalms, etc.; — a sym-
phony, an overture, a clar.-concerto, a flute-
concerto, a pf. -quintet, a string-quintet, 6
pf. -quartets, . 8 string-quartets, 27 pf. -trios,
3 violin-sonatas, 2 'cello-sonatas, 1 ciar.-
sonata; — and, f. pf., 3 solo sonatas, 2 4- hand
sonatas, rondos (op. 27, 4 hands; op. 37,
39), waltzes (that named Weber* s Last Thought
is R.'s most popular piece), 24 Danses moder-
nes et brillantes, in 2 sets, op. 38 and op. 46;
— also songs, many of which became popular.
Reiss'mann, August, b. Frankenstein,
Silesia, Nov. 14, 1825; d. Berlin, Dec. 1, 1903.
Pupil there of Heinrich Jung, and in
Breslau of Mosewius and Baumgart
(theory), E. L. Richter (pf. and org.),
Liistner (vln.)^ and Kahl ('cello). # His
first compositions were well received;
but two years' residence in Weimar with
Liszt (1850-2) developed a strong literary
vein. He lived in Halle, and from 1863-80
in Berlin, lecturing 1866-74 at the Stern
Cons, on the history of music; then in Leip-
zig (where the University conferred on him
the degree of Dr. phil. in 1875), in Wiesbaden,
and again in Berlin. — Writings: Katechis-
mus der Gesangskunst (1853; after Sieber);
Von Bach bis Wagner (1861); Das deutsche
Lied in seiner historischen Entwickelung
(1861; rev. ed. 1874 as Geschichte des
deutschen Liedes; considered his best and
most original work); Allgemeine Geschichte
der Musik (3 vols., 1863-5); Allgemeine
Musiklehre (1864; 2d ed. 1864); Robert Schu-
mann (1865; 3d ed. 1879); Grundriss der
Musikgeschichte (1865); Lehrbuchder musika-
lischen Komposition (3 vols., 1866-73);
Felix Mendelssohn-Bartholdy (1867; 2d ed.
754
REITER— RELLSTAB
1872); Fran* Schubert (1873; Die kdnigUehe
HochschuU fur Musik in Berlin (1875);
Klavier- una Cesangschule fur den ersten
Unterricht (2 parts, 1876); Joseph Haydn
(1879); Zur Asthctik der Tonkunst (1879);
IUustrirte Geschichte der deutschen Musik
(1880); /. S. Bach (1881); G. F. Handel
(1881); Gluck (1882); Weber (1882): Die
Oper in ihrer kunst- und kuUurhistorischen
Bedeutung (1885); Was wird aus unserer
deutschen Musik? (Berlin, 1899); edited
Gathy's 'Musikalisches Conversationslexikon'
(1870), and vols, vii-xi of Mendel's ditto
(1876; also Supplement of 1881, and an
epitome, Hanatexikon der Tonkunst, in
1882) .^—Compositions: 3 operas, Gudrun
(Leipzig, 1874), Die Burgermeisterin von
Schorndorf (ib.f 1880) and Das Gralspiel
(Diisseldorf, 1895); a ballet, Der Blumen
Roche (1887); Konig Drosselbart, f. soli, ch.
and pf., with declamation (1886); 2 dram,
scenes, Drusus* Tod, and Loreley; an oratorio,
Wittekind; choruses, ballads, vocal terzets
and duets, and many songs; — a symphony
in C m. (op. 50) ; a violin-concerto (op. 30) ;
a suite f. vln. w. orch. (op. 41); 2 violin-
sonatas (op. 6, 17); pf. -music.
Rei'ter, Ernst, b. Wertheim, Baden,
1814; d. Basel, July 14, 1875. Violin-prof,
at Wurzburg Cons.; in 1839, musical dtr.
at Strassburg, from 1841 at Basel. — Works:
Die Fee von Elverhoe, opera (Wiesbaden,
1865); Das neue Parodies, oratorio (Basel,
1845); 2 string-quartets (op. 7, 8); a vl.-
sonata (op. 11); songs.
Rei'ter [ri'-J, Josef, b. Braunau, Austria,
Jan. 19, 1862. He received his first instruc-
tion from his father, who was the school-
master and organist of the little town; after
that entirely self-taught; from 1886-1907
he lived in Vienna as teacher in the elemen-
tary schools; 1908-11, dir. of the Mozarteum
in Salzburg; since then living again in Vienna
as comp. In 1899 a number of admirers
formed the *J« R.-Verein' for the propagation
of his works. His reputation rests chiefly
on his numerous, and mostly excellent, male
choruses. — Works: The operas Klopstock
in Zurich (Linz, 1894), Der Bundschuh
(Troppau, 1897), Der Totentam (Dessau,
1906), Ich aber preise die Liebe (ib., 1912);
the choral works w. orch. op. 36, Meine
Gottin; op. 48, Freie Kunst; op. 63, Daheim;
op. 65, Ltebesfruhling; op. 66, Bergwanderung;
op. 70, Hymne zur Gedenkfeier des 100.
Todestages F. von Sckitters; op. 77, Mondnaeht
(8-part male ch.); op. 99, Der grUne Tod;
op. 108, Sand and Gebet.— Op. 35, Brout-
lieder, waltzes for orch.; op. 60, Requiem
for soli, ch. and orch.; op. 30, a str.-quartet,
Aus der Heitnat (4 others in MS.); op. 54,
Lowenritt, melodrama w. pf.; pf.-pcs. (op.
57,58,87,95); songs.
Relfe, John, English theorist and com-
poser; b. Greenwich, 1763; d. London, c. 1837,
as an esteemed teacher of pf. and harmony. —
Works: Airs, sonatas, lessons, divertimentos,
etc., for harpsichord or pf.; songs; Guida
Armonica . . . (3 parts, 1798; 2d ed. as The
Principles of Harmony . . . 1817); Remarks
on the Present State of Mus. Instruction (1819) •
Lucidus ordo . . . (1821). He proposed a
reformed thorough-bass figuring, marking the
root-chord r., and the inversions ' and ".
— See Q.-Lex.
Rell'stab, Johann Karl Friedrich, born
Berlin, Feb. 27, 1759; d. there Aug. 19, 1813.
Pupil of Agricola and Fasch; succeeded his
father as head of a printing-establish-
ment, adding a music-printing and -publish-
ing department and a circulating library of
music; founded short-lived amateur concerts
in 1787; lost his property in the war of 1806,
and gave music-lessons, lectured on harmony,
and wrote criticisms fort he' Vossische Zeitung.
Compositions unimportant. He publ. lVer-
such uber die Veretnigung der musikalischen
und oratorischen Deklamation (Vienna, 1785);
Anleitung fur Klavierspieler, den Gebrauch
der BacWschen Fingersetzung, die Manieren
und den Vortrag betreffend (1790); and a
polemical pamphlet, Uber die Bemerkungen
tines Reisenden [Reichardt], die Berlinischen
Kirchenmusiken, Komerte, Opern und die
konieliche Kammermusik betreffend9 (1789). —
Cf. O. Guttmann, /. K. F. jR. (Leipzig, 1910).
— See Q.-Lex.
Rell'stab, (Heinrich Friedrich) Ludwig,
the noted novelist, son of the preceding; b.
Berlin, April 13,1799; d.there Nov. 27, 1860.
Artillery officer, teacher of mathematics and
history in the Brigade School, Berlin, retired
from the army in 1821, and lived as a writer
in Berlin from 1823. Editor and mus. critic
of the 'Vossische Zeitung1 from 1826. Publ.
the satirical pamphlets Henriette, oder die
schone Sdngertn, erne Geschichte unserer Tage
von Freimund Zuschauer (1826; on Henriette
Sontag's triumphs), and Vber mein Ver-
hdltniss als Crttiker zu Herrn Spontini als
Componisten und General- Musikdirector in
Berlxn, nebst einem vergniiglichen Anhang
(1827; directed against Spohr's truckling
to virtuosity in Agnes von Hohenstaufen),
for each of which he suffered a period of im-
prisonment; though his opinions were even-
tually upheld both in official circles and
by the public. From 1839-41 R. edited a
mus. periodical, 'Iris im Gebiet der Tonkunst';
he also contributed to several other papers.
In his 'Gesammelte Werke' are biographies of
Liszt, Ludwig Berger, Bernhard Klein,
Nanette Schechner, and others; vol. i con-
755
REM£NYIt-RENNER
tains criticisms, on opera and concert, which
came out in the 'Vossische Zeitung' 1826-48.
— His best-known novel is 1812.
Remenyi [reVma-ne], fiduard, remark-
able violinist; b. Heves, Hungary, 1830; died
San Francisco, Cal., Mav 15, 1898. (Accord-
ing to his daughter, Mrs. H. von Ende of
N. Y., the statement made in various dic-
tionaries that his real name was Hoffmann,
has no foundation in fact.] Pupil of Bohm
at Vienna Cons. 1842-5 ; banished from Austria
for participation in the Hungarian Revolu-
tion of 1848, he began the career of a wander-
ing violinst in America ; returned to Europe in
1853, profited by Liszt's counsels, and in 1854
became solo violinist to Queen Victoria. In
1860 he he was amnestied, and app. solo
violinist to the Emperor of Austria; in
1865, commenced a brilliant^ tour, visiting
Paris (1865), Germany, Belgium, and Hol-
land; stayed in Paris 1875-7, playing in
many Pasdeloup concerts; then proceeded
to London (1877), and to America in 1878.
travelling in the United States, Canada and
Mexico; in 1886 he began a new concert-
tour around the world, visiting Japan, China,
Cochin-China, the Cape of Good Hope, etc.
He died of apoplexy on his last American
tour, 1897-8. — His technique was prodigious;
in vigor, passion and pathos he was un-
excelled; hi3 extravagances were forgotten
in admiration for his puissant genius.
Finding insufficient scope in the usual violin-
lite ature, he made skilful transcriptions of
Field's Nocturnes, Chopin's Waltzes, Polo-
naises and Mazurkas, and pieces by Bach,
Schubert, etc.,; these are united under the
title of 'Nouvelle ecole du violon.' He comp.
a violin-concerto, and some soli f. vln.— Cf.
G, Kelley and G. Upton, E. R. Musician,
Litterateur, and Man (Chicago, 1906).
Rem'mert, Martha, excellent pianist; b.
Gross-Schwein,n. Glogau, Aug. 4, i854. Pu-
pil of Kullak, Tausig, and Liszt. Has made
extended concert-tours since 1878 (Germany,
Russia, Scandinavia, Greece, Turkey, Egypt,
etc.). Since she settled in Berlin, where she
founded the Franz Liszt- Akademie (a school
for pf.-playing, of which she is dir.), she has
practically given up solo-playing, but has
appeared with striking success in chamber-
music concerts.^ She is 'Kgl. Hofpianistin'
and 'Kammervirtuosin.'
Remusat [Remuzat] fra-ma-zanl, Jean,
flute-virtuoso, pupil of Tulou; b. Bordeaux,
May 11, 1815; d. Shanghai, Sept. 1, 1880.
After successful concert-giving, he became
first flute at the Queen's Th., London; from
1853 ditto at the Th.-Lyrique, Paris. He
Preferred the old cross-flute to Bohm's. —
ubl. a Flute-method, and solo pieces and
duets f . flute, flute and violin, etc
Remy, W. A. See Mayer, Wilhelm.
Re'nard [ra-nahrl, Marie, (real name
P61zl,) operatic soubrette; b. Graz, Jan. 18,
1863; debut there 1882 as Azuccna. Eng.
1883-5 at the Prague Landestheater; 1885-8
at the Berlin Court Opera; 1888-1901 at the
Vienna Court Opera; made k. k. Kammer-
sangerin. In 1901 she married Count Rudolf
Kinsky, and retired from the stage. Her
principal rGles were Zerlina, Carmen. Baron in
iWUdschiitz) t Marie (Waffenschmied), etc.
Renaud fru-nohl, Albert, b. Paris, 1855.
Pupil of Cesar Franck and Leo Delibes;
organist at St.-Francois-Xavier; mus. critic
of 4La Patrie.'— Works: The 4-act 'feerie'
Aladin (Paris, 1891); opera com i que A la
Houzarde (Brussels, 1891); ballet The Awak-
ened Shepherd (London, 1892), and the ballet
Rokneddin (Paris, 1892); piece fantastique
Dan QuichoUe (1895); folie-vaudeville Un
voyage & Venise (1896); operetta Le Soleil de
minuit (1898); eta
Renaud, Maurice, renowned bass singer;
b. Bordeaux, 1862. Pupil of Paris Cons.;
engaged at R. Opera, Brussels, 1883-90; at the
Opera-Comique, Paris, 1890-1; at the Grand
Opera, 1891-1906. From 1906-10 he was one
of the prime favorites at the Manhattan Op.
House, N. Y. ; since then he has not been con-
nected with any particular theatre, but has
appeared as star (chiefly in France and Eng-
land). Sings bass (or baritone) parts in over
60 operas; is equally successful in comic and
serious works. — R61es: Huon; Mercutio and
Capulet; Escamillo; Basilio; Beckmesser;
Telramund; Flying Dutchman; Kurwenal;
Guillaume {Tell): Fernando (Fidelio); Ne-
lusko (VAJricaine); JDon Giovanni; Scarpia;
Athanael; and leading rdles in many modern
French and Italian operas.
Renda'no, Alfonso, pianist; b. Carolei, n.
Cosenza, Calabria, April 5, 1853. Pupil of
Naples Cons., of Thalberg, and of Leipzig
Cons. (1871). Very successful at the Phil-
harm. and Mus. Union Concerts in London;
also in Paris and Leipzig. Highly es-
teemed in Italy; has publ. scUon-pieces. His
opera Consuelo (Turin, 1902) has also been
perf. in Germany.
Ren'ner, Josef, Sr., b. Schmatzhausen, n.
Land shut, Bavaria, April 25, 1832; d. Ratis-
bon, Aug. 11, 1895. Taught by his father;
later by Mettenleiter and Proske. From
1858-92, choral cond. and teacher at the
Aula Scholastica, Ratisbon; cond. of several
mus. societies; founder, about 1865, and until
1882 director, of a Mus. Inst. To revive the
German madrigals of the 16th-17th centuriesr
he organized the Ratisbon Madrigal Quartet.
Edited and publ. 'Auswahl deutscher Ma-
drigale von Meistern des 16. Jahrh.', 'Neue
756
REN N ER— REUCHSEL
Regensburger Sangerhalle,' 'Regensburger
Oberquartette,' 'Mutter Donau,' 'Manner-
quartette von der Donau' (242 numbers), etc.
Also wrote several masses, 3 requiems,
motets, and comps. for organ (Suite, op. 56).
Rentier, Josef, Jr., b. Ratisbon, Feb. 17,
1868. Pupil of Rheinberger; since 1893
org. at the Cath. in Ratisbon, and since 1896
also prof, of org. at the Kirchenmusik-
schule; made Kgl. Prof, in 1912. Comp. of
numerous masses, requiems, motets, etc. (a
capp. and w. org.); organ-works (op. 39,
Zwolf Trios; op. 45, Sonata in C m.; op. 56,
Suite No. 1; op. 58, Thema tnit Var.; op.
61, Suite No. 2; op. 67, Zwolf Prdludien;
etc.); male choruses, pf.-pcs., and songs; a
Singspiel, Josef Haydn. Also wrote Moderne
Kirchenmusik und Choral, and /. Rhein-
bergers Messen.
Rensburg, Jacques E., violoncellist; b.
Rotterdam, May 22, 1846; d. Bonn, c. 1900.
Pupil of J. Giese, D. de Lange, and E. Hegar;
was compelled by his father to embrace a
commercial career, but took up music in
1867, acting as Alexander Sch mitt's sub-
stitute in the Giirzenich Orch. and as teacher
at the Cons.; after the latter's death (1868)
he succ. him in both positions; made a very
successful debut as soloist at the Gewandhaus
in 1872, and then toured Germany; shortly
afterwards a nervous affection compelled him
to abandon the concert career; returned to
Rotterdam in 1874; in 1880 he establ. him-
self in business in Bonn. — Works: Op. 1,
Konzertstiick for vcl. and orch.; op. 2, Drei
Stiicke for vcl. and pf.; op. 3, Concerto for
vcl. and orch.; op. 4, Am Meeresstrande (3
char, pes.) for do.; op. 5, Ballade for do.
(Op. 1, 4 and 5 are publ. only in arr. for vcl.
and pf.; the autograph orchl. scores are in
the Library of Congress at Washington.)
Respighi [reh-spe'ge], Ottorlno, born
Bologna, July 9, 1879. Pupil at the Liceo
Musicale there of F. Sarti (vl.) and G. Mar-
tucci (comp.); since 1913 prof, of compo-
sition.— Works : The operas Re Enzo (Bologna,
1905), Semirdma (ib., 1910), Maria VUtoria
(not yet prod.); Aretusa, cantata for m.-sop.
and orch.; a Suite in E for orch.; Notturno
and Burlesca for do.; Suite in G for str.-
orch. and org.; 2 str.-quartets (Dand D m.);
a pf. -concerto; pes. for pf., do. for org., do.
for vl. Has edited Monteverdi's Lamento
d'Arianna, and arr. VitaLi's Ciaconna in G m.
and Bach's vl.-sonata in E for vl. with str.-
orch. and organ.
Ress, Luise, famous singing-teacher; born
Frankfort-on-Main, Dec. 14, 1843; d. Berlin,
July, 1907 ; lived in Berlin from 1872. Among
her numerous pupils were Mathilde Mal-
linger, Helene Stagemann, Heinrich Gudehus,
Ludwig Beer, etc.
Resto'ri, Antonio, b. Pontremoli, Massa
Carrara, Dec. 10, 1859. St. philology at the
Univ. in Bologna, and taught in secondary
schools in various Italian cities; since 1897
Srof. of Romance languages at the Univ. of
lessina. Besides works on the hist, of
literature and philology, he has publ. Nota-
tione musicale deW antichissima Alba bi-
lingua (1892), Musica allegra di Francia net
secoli XII e XIII (1893), La Gatti de la Tor,
aubade del secolo XIII (1904); La Musique
des Chansons fran^aises for Petit de Jule-
vi lie's 'Hist, de la langue et de la litt. fran-
chises' (1895), and several valuable histor.
essays for various journals ('Riv. mus. Ital.,'
et al.).
Reszke*, Jean de. See De Reszke.
Rety [ra-tel, Charles, b. about 1826; d.
Paris, July 1, 1895. Best known under the
pseudonym of 'Charles Darcours,' as mus.
critic forthe Paris 'Figaro,' a post occupied
with distinction for 25 years; he was formerly
Director of the Old Th.-Lyrique.
Reunite [roiblce], Adolf, organ-builder at
Hausneindorf, n. Quedlinburg; b. Halberstadt,
Dec. 6, 1805; d. there March 3, 1875. Built
the organs in the cathedral ((88 stops) and the
Jacobikirche (53 stops) at Magdeburg. — His
son Emil, b. Hausneindorf, March, 1836; died
there 1885; succeeded his father, and intro-
duced various improvements (pneumatic
tubes). Present head of the firm is Ernst
Rover. — Julius R., son of Adolf, b. Haus-
neindorf, March 23, 1834; d. Pillnitz, June 3,
1858. Pupil of Kullak and Marx, in Berlin,
and later of Liszt; fine pianist, whose few
comps. show great talent (a pf. -sonata, an
organ-sonata entitled 'The 94th Psalm,'
other pf. -pieces, and songs). — Otto R., the
youngest son of Adolf, b. Hausneindorf, Nov.
2, 1842; d. Halle, May 18, 1913. Pupil of
von Biilow and Marx, lived in Halle as a mu-
sic-teacher; cond. of the Robert Franz-Sing-
akademie, 1867-1911; from 1892, musical
director at the Univ.
Reuchsel, Am6d6e, b. Lyons, March 21,
1875. Pupil at the Brussels Cons, of J.
Dupont (org.), A. Mailly (harm.), and E.
Tinel (comp.); then of G. Faure in Paris,
where he has been org. at St. -Denis for a
number of years; won the Prix Chartier
for Chamber-music in 1908. — Works: The
opera La Moisson sanglante (Brussels, 1913);
the oratorio Daniel; Poeme heroique for vcl.
and orch.; a sextet for wood- wind and pf.;
a pf. -quartet; a str. -quartet in D m.; a pf.-
trio in Eb; a vcl. -sonata in A; Fantaisie
appassionata for cl. and pf.; Ballade for ob.
and pf.; 3 sonatas for org., and minor pes.;
pf.-pcs. ; about 40 male choruses. Has writ-
ten Thiorie abrSgie de la musique, and ed.
757
REUCHSEL— REY
the coll. 'Solfege classique et moderne' for
the Paris Cons. (18 books).
Reuchsel, Maurice, brother of preceding;
b. Lyons, Nov. 22, 1880. Pupil of his father
and of the Paris Cons. Has made successful
tours as vlnst. of France, England and Italy;
since 1903 editor of the 'Express musical de
Lyon/ — Works: Suite dans le style ancien
for str.-orch.; Konzertstuck, Suite italienne,
Suite romantique, Poeme tttgiaque for vl. and
orch.; a str. -quartet; a str.-tno; a vl. -sona-
ta; psalms, motets; organ-pcs. and songs.
Has written La Musique d Lyon (1903),
Vfxole classique du violon (1905), Un Violo-
niste en voyage (1908).
Reuling [roi'-], (Ludwig) WUhelm, born
Darmstadt, Dec. 22, 1802; d. Munich, April
19, 1879. Pupil of Rinck, Seyfried, and E.
F6rster. Kapellm. of the Josephstadter
Th., Vienna, in 1829; of the rtarnthnerthor
Th., 1830-54. His works include 37 oper-
ettas and operas (Die Feuerbraut, Trieste,
1829; Alfred der Grosse, Vienna, 1840), and
17 ballets, prod, mostly in Vienna; also
pantomimes, overtures, chamber-music, etc.
Reuss [rois], August, b. Liliendorf, Mo-
ravia, March 6, 1871. Pupil of L. Thuille in
Munich; after a brief activity as Kapellm.
in Augsburg (1906) and Magdeburg (1907) he
was obliged to give up this career because of
ill health; lived for a time in Berlin; now
(1917) living as comp. in Munich. — Works:
The opera Herzog PhUipps Brautfakrt (Graz,
1909); symph. prologue to Hofmannsthal's
Der Tor und der Tod, op. 10; the symph.
poems Johannisnacht, op. 19, and Judith, op.
20; a pf.-quintet in F m., op. 12; a str.-
quartet in D m., op. 25; a pf.-trio, op. 30;
a vl. -sonata in C m., op. 26; Waldlied for ten.
solo, male ch. and orch., op. 3; 2 melodramas
for declamation and orch., Seegespenst and
Bergidyll, op. 21; songs w. orch. (Juninachl,
op. 8; Heisser Fruhling, op. 9; Ratbold der
Friese, op. 15; Junge Kldnge, op. 18) and do.
w. pf.; male choruses; pf.-pcs.
Reuss, Eduard, b. New York, Sept. 16,
1851: d. Dresden, Feb. 18, 1911. From
1862-9 pupil of E. Krtiger in G6ttingen;
then went to Liszt, and also st. with Savard
(1876-7) in Paris; 1880-96, teacher in Karls-
ruhe; 1896-1902 in Wiesbaden, where in
1899 he was dir. of the Cons.; accompanied
his wife, Luise R.-Belce (q. v.), on her Amer.
tour (1902-3), and then settled in Dresden as
prof, at the Cons. Publ. an excellent biogr.
of Liszt, Franz List*. Ein Lebensbild (1898),
and Liszts Lieder (1906); also essays (chiefly
about Liszt) in various journals. Ait.
Liszt's Konzertsolo in C m. for pf. and orch.
Reus9-Belce, Luise, dramatic soprano; b.
Vienna, Oct. 24, 1863. Pupil of J. Gans-
bacher in Vienna and Fritz Planck in Karls-
ruhe; d6but as Elsa at the Hof theater in Karls-
ruhe in 1881; 1896-9, at the Hofth. in Wies-
baden; 1900 at Covent Garden; 1902-3, in
the Wagner parts at the M. O. H; 1903-11 in
Dresden. In 1885 she married Eduard Reuss
(q. v.), after whose death (1911) she removed
to Berlin, where she establ. a singing-school
for the perpetuation of the Bayreuth tradi-
tion. Since 1882 she has been permanently
connected with Bayreuth, beginning as an
interpreter of minor rdles (one of the Valkyrs,
Norns, Rhine-maidens, Forest-bird), grad-
ually rising to the leading parts; for the last
few years a member of the 'musikalische As-
sistenz.' In 1913 she was stage- mgr. at the
festival perfs. in Nuremberg (the first woman
to act in that capacity on a German stage).
She is 'Grossherzogl. Kammersangerin.' In
Karlsruhe, under Mottl, she created the
rdles of Cassandra in Berlioz' Les Troyens
(1890), Bedura in d'Albert's Der Rubin (1893)
and Ingwelde in Schilling's opera of that
name (1894); among her other rdles were
Isolde, BrQnnhilde (in the 3 dramas), Sieg-
linde, Fricka, Ortrad, Elisabeth; — Fidelio,
Carmen, Santuzza, etc.
Reuter [roi'ter], (Johann Adam Karl)
Georg (junior), b. Vienna, April 6, 1708; d.
there March 12, 1772. Succeeded his father
as Kapellm. at St. Stephen's in 1738; 2d court
Kapellm., 1746; in 1751, acting chief Kapellm.
(with Predieri), receiving the title on the
latter's death in 1769. His works (an opera,
operettas, oratorios, masses, etc.) are unim-
portant. It was he who engaged young
Haydn for the choir, and treated him so badly.
— Stollbrock publ. an essay on R. in the
'Vschr. f. M.-W.' (1892).— See Q.-Lex.
Rey [ra], Jean-Baptlste (I), b. Lauzerte,
Tarnet-Garonne, Dec. 18, 1734; d. Paris, July
15, 1810. In 1751, m. de chap, at Auch
Cath.; from 1754, opera-cond. at Toulouse,
Montpellier, Marseilles, Bordeaux, and
Nantes; from 1776, for over 30 years, at the
Grand Opera, Paris, as assistant to Fran-
coeur, whom he succeeded in 1781, also con-
ducting the Concerts spirituels 1781-5. In
1779, cond. of chamber-music to Louis XVI;
1795-1802, prof, of harmony at the Cons.;
from 1804, Napoleon's 'maltre de chapelle.'
A most successful conductor; as a harmonist,
a disciple of Rameau, in opposition to Catel ;
as a composer, he prod. 2 operas; ballets;
orchl. masses, motets, etc.
Rey, Jean-Baptiste (II), b. Tarascon,
about 1760; from 1795-1822, 'cellist at the
Grand Opera. — Publ. Cours eltmentaire de
musique et de pianoforte and Exposition
elementaire de V harmonic : theorie ghUrale des
accords d'apres la basse fondamentale (1807).
758
REY— RHEINBERGER
Rey, V.-F.-S., b. Lyons, about 1762; publ.
Systeme harmonique . . . d'apres Us principes
du ceUbre Ratneau (1795) and L'art de la
musique thiori-physico- pratique (1806).
Reyer [ra-yar'], (recte Rey,) Loute-fitien-
ne- Ernest, b. Marseilles, Dec. 1, 1823; d.
Le Lavandou, n. Hyeres, Jan. 15, 1909. From
6 to 16 he studied in the free municipal school
of music; then took a place in the government
financial bureau at Algiers, and while there
composed a solemn mass and publ. several
songs; entered the mus. career in 1848, study-
ing at Paris with his aunt, Mme. Farrenc,
and producing in 1850, at the Th. Italien,
a symphonic ode with choruses, Le Selam
(poem by Th. Gautier), followed in 1854 by
a one-act comedy-opera, Maitre Wolfram
(Th.-Lyrique), a 2-act ballet-pantomime,
Sacountala (Opera, 1858), a 3-act comedy-
opera La Statue (Th.-Lyr., 1861), a 2-act
opera, Arostrate (Baden-Baden, 1862), a 4-act
opera, Sigurd (Brussels, 1884), and the 5-act
opera Salammbd (Brussels, 1890). He
succeeded Berlioz as librarian at the Opera,
and was elected to David's chair in the
Academie in 1876. He followed d'Ortigue
as feuilletoniste of the 'Journal des Debats';
his collected essays were publ. in 1875 as
Notes de Musique. Chev. of the Legion of
Honor, 1862; Officer, 1886. R. is a fore-
most representative of the modern French
romantic school of opera; his best work is
La Statue. Other comps.: A cantata, Vic-
toire (1859); a hymn, V Union des arts (1862);
male choruses (I'Hymne du Rhint Le
Chant du paysan, Chasur des buveurs, Cforur
des assieges) \ a dram, scene, La Madeleine au
desert (1874); also some church-music. — Cf.
A. Jullien, E. R. Sa vie et ses auvres (Paris,
1909); H. Roujon, Notice sur la vie et Us
travaux de E. R. (ib., 1911).
Reymont, Maurice. See Kufferath,
Maurice.
Reznicek [rehz'nl-ch&ik], Emil Nikolaus,
Freiherr von, b. Vienna, May 4. 1861. Law-
student at Graz; abandonee! that career
and st. music with W. A. Remy in Graz, and
with Reinecke and Jadassohn at the Leipzig
Cons.; then Kapellm., successively, in thea-
tres at Graz, Zurich, Mayence, Stettin, and
Weimar; 1896-9, 1st Kapellm. at Court Th.,
Mannheim. After a short residence in
Wiesbaden he settled in 1901 in Berlin, where
in the following year he establ. the very suc-
cessful 'Orchester-Kammerkonzerte'; app.
prof, at the Scharwenka Cons, in 1906;
1907-8, cond. at the Imp. opera in Warsaw,
and of the Philh. concerts there; since 1909
Kapellm. at the Komische Oper, Berlin.
Gifted opera-composer: Die Jungfrau von
Orleans (1887), Satanella (1888), Emerich
Fortunat (1889), all prod, at Prague, where he
also brought out the very succ. 3-act comic
opera Donna Diana (1894); this was followed
by another 3-act comic opera, Till Eulen-
spiegel (Berlin, 1902), an operetta, Die Angst
vor der Eke (Frankfort -on -Oder, 1914), and
Eros und Psyche (Breslau, 1917). R. writes
his own texts. — Other works: A Requiem
for ch., org. and orch.; a mass in F; 2 sym-
phonic suites (£ m. and D); 2 symphonies
{Tragische, D m.; Ironische, Bb); the symph.
poems Peter Schlemihl (1912), Der Sieger (w.
alto solo and ch.; 1914), Friede: eine Vision
(1915); 2 overtures, Lustspiel and Idyllische;
Introduktion und Valse-Caprice for vl. and
orch.; Prdludium und Fuge in C# m. for
orch.; Serenade for str.-orch.; NachtstUcke
for 'cello, harp, 4 horns, and str.-quartet ;
Ruhtn und Evngkeit for ten. and orch.; incid.
music to Strindberg's 'The Dream Play*
(1906); In Memoriam for soli, ch. and orch.
(1916); 2 str. -quartets (C m. and C# m.);
pf.-pes.; songs. — Cf. O. Taubmann, E. N. v.
R., in vol. ii of 'Monographien moderner
Musiker' (Leipzig/ 1907).
Rhaw [Rhau], Georg, b. Eisfeld, Franco-
nia, 1488; d. Wittenberg, Aug. 6, 1548.
Cantor of the Thomasschule, Leipzig, until
1520, bringing out a mass a 12, and a Te
Deum, at the disputation of Luther and Eck.
In 1524 he establ. a music-printing business
at Wittenberg, publishing more especially
Protestant compositions (the 'Bicinia gallica,'
1544, contains the earliest known version of
the Ranz des vaches). Wrote an Enchiridion
musices (Part i, 1518, on Musica choralis;
P. ii, 1520, on Mus. mensuralis). — See Q.-Lex.
Rhein'berger, Josef (Gabriel), b. Vaduz,
Liechtenstein, Mar. 17, 1839; d. Munich,
Nov. 25, 1901. He played the piano at 5.
and was a good organist at 7. Until 1850
he cont. study with Ph. Schmutzer in Feld-
kirch; then ent. the Munich Cons., where
from 1851-4 he st. pf. with J. E. Leonhard,
org. with J. G. Herzog, and comp. with J. J.
Maier. After graduating with the highest
honors he st. further with Franz Lachner,
earning his livelihood with private lessons and
acting as accompanist of the Munich Gesang-
verein, of which he became cond. in 1864
(producing oratorios and other choral works);
from 1860-6 he was org. at St. Michael's,
and from 1865-7 Repetitor at the Hofoper.
In 1859 he succ. his teacher Leonhard as
teacher of pf. at the Cons.; 1860, app. prof,
of comp. (later also of organ). When Bulow
completely reorganized the institution (1867)
as the 'Kgl. Akademie der Tonkunst,' R.
retained his professorship, and also was made
inspector of the instrl. and theory classes,
positions filled with signal distinction until
nis death. In 1877 he declined an invitation
to become dir. of the newly founded Hoch
759
rhen£-baton— ricci
Cons, in Frankfort. For this act of loyalty
he was app. Wtillner's succ. (with the title
of Kel. Hofkapellm.) as cond. of the 'Kgl.
Kapellchor,' celebrated for its performances of
early music, and King Ludwig made him
Knight of St. Michael; the bestowal of the
'ZivTl-Verdienstorden' in 1894 raised him to
the rank of the nobility, and the Univ. of
Munich made him Dr. phil. (hon. c.) in 1899;
he also was elected member of the Berlin
Akademie. — As a teacher R.'s reputation was
second to none; pupils flocked to him from
all parts of the world. As a composer he
just falls short of greatness; he never rises
to the height of passion and only occasion-
ally does he touch the strings of real emotion.
Nevertheless, his dignity, formal finish, and
consummate technical mastery, compel re-
spect and admiration. The 20 organ-sona-
tas are undoubtedly his highest achievement,
and must be ranked among the greatest works
in organ literature. — Cf. Th. Kroyer's ne-
crology in Bettelheim's 'Jahrbuch' (1901);
P. Molitor, /. R. und iexnt Kamposilionen
fUr die Orgel (Leipzig, 1904).
Principal Works.
Dramatic: Op. 20, Die sieben Raben. 3-act rora.
opera (Munich. May 23, 1869); op. 70, Turmers
Tdchterlein, 4-act comic opera (Munich, April 23.
1873); op. 37. Der arme Heinrich, 'Singspiel' for chil-
dren; op. 153, Das Zauberwort. do.; op. 30, incid.
music to Calderon's Der wunderUUige Magus ; op. 36,
do. to Raimunrt's Die unheitbringende Krone. — Vocal
(Secular): Op. 50. Das Tal its Es pinto f. male
ch. and orch.: op. 76, Toggenburg, Romanzen-
zyklus' f. soli. ch. and orch: op. 81. Die tote Braut
f. mezzo-sop., ch, and orch.; op. 97, KlArcken auf
Eberstein. ballade f. soli, ch. and orch.; op. 102, WiUe-
kind, ballade f. male ch. and orch. ; op. 143, Die Rosen
von Hildesheim f. male ch. and wind-instrs.; Mont fort
t. soil, ch. and orch.; op. 179, Hymnus an die Tonkunst
f. male ch. and orch. — Vocal (Sacred) : Op. 16, Stabat
Mater f. soli, ch. and small orch.; op. 138. do. f. ch.,
org. and str.-orch.; op. 60, Requiem f. soli, ch. and
orch. (Dent GeddchtnisderimdeutschenKriegegefallenen
Helden); op. 84, do. f. ch. a capp.; op. 194, do. f. ch.
and org.; op. 120. Ckristophorus, legend f. soli, ch.
and orch.; op. 134, Osterhymne f. double ch. a capp.;
op. 164, Der Stern von Bethlehem, cantata f. soli. ch.
and orch.; 13 masses (op. 62, 83, 109, 117, 126. 155,
159, 172. 187. 190. 192. 197 [poflth.]); numerous motets
a capp. and w. instrs. — For Orch.: Op. 10. W alien-
stein, symph. poem; op. 18. Die Zahmung der Wider-
sp&nstigen, overture; op. 79, Fantasie; op. 87,. Sym-
phony in F {Flarentiner S.)\ op. 94, Pf. -concerto in
Ab; op. 110. Overture to Schiller's Demetrius; op.
132b. Passacaglia; op. 137. Organ-concerto in F; op.
149, Suite f. 'org., vl. and vcl. w. str.-orch.; op. 167b,
Elegischer Mar sen; op. 177, Organ-concerto in G m.;
op. 195, Akademische OuvertUre Tin form of a fugue with
6 themes).— Chamber-music: Op. 139, Nonet f. fl..
ob., clar., bassoon, horn and atr. -quintet; op. 191b.
Sextet f. wind-instrs. and pf.; op. 82, Str.-quintet in
A m.; op. 38, Pf. -quartet in E!»; op. 89, Str.-quartet
In C m.; op. 93, Thema mil Veranderungen f. str.-
quartet; op. 147, Str.-quartet in F; 4 pf.-trios. op.
34 (Dm.), op. 112 (A), op. 121 (B t»). op. 19 la (F); horn-
sonata in E>. op. 178; 3 vln.-sonatas, op. 77 (Eb).
op. 92 (C; also arr. f. vcl.), op. 105 (Em.) —For
Organ: 20 sonatas (Op. 27, C m.; oo. 65. Fantasie-
Sonate in A; op. 88, Pastoral-Sonate in G; op. 98, A m.;
op. Ill, F# m.; op. 119. EU m.; op. 127. F m.; op.
132, E m.; op. 142, Bt> m.; op. 146. B m.; op. 148.
D m.; op. 1S4, D; op. 161, E>; op. 165, C; op. 168.
D; op. 175, Gft m.: op. 181, B; on. 188, A; op. 193.
G ra.; op. 196. F [Zur Friedensfetert); op. 49. Zehn
Trios fur die Orgel: op. 123. ZwMf Fughetten strengeu
Stils; op. 156. Zwdlf Charakterstucke; op. 162. Mono-
loge (12 pes.); op. 167, Meditationen (12 pes.); op. 174.
Miscellaneen (12 pes.); op. 189, Zwdlf Trios. — For Pf.:
Op. 33, Praludium und Fuge turn Konsertvortrag ; op.
39. Seeks TonstUcke in fugierter Form? op. 61, Thema
mil Veranderungen; op. 104. Toccata in Em.; op. 180.
12 Charakterstucke: 4 sonatas, op. 47 (Sinfonische S). •
op. 99 (D). op. 135 (Eb), op. 184 (Fg m.. Romantische
S.). For pf. 4 hands. Op. 13, Tarantella; op. 72. .4 us
den Ferientagen; op. 122. Sonata in C m. (also arr. for
2 pfs. 8 hands). — Over 100 songs (12 opus-numbers)
and 155 choruses for men's, women's and mixed vca.
(31 opus-numbers).
Rhen6-Baton, born Courseulles-sur-Mcr,
Calvados, Sept. 5, 1879. While receiving a
thorough classical education, he also st. the
pf. ; attended for 2 years the advanced class
for pf. at the Paris Cons.; then st. comp. as
a private pupil with A. Bloch and A. Gedalge.
He began his career as chef du chant at the
Opera-Comique (1 year), then was cond. of
the 'Concerts Populaires d'Angers,' the 'Con-
certs Durand,1 andof the4Societ6 Ste.-CtciW
at Bordeaux; in 1910 he cond. in Munich the
first fest. of modern French music. — Publ.
works: Op. 4, Variations for pf. and orch.
(on a theme in the /Eolian mode); op. 5,
Menuel pour Monsieur, frere du Roy, {or orch. ;
op. 7, Chansons douce s (12 poems by G.
Champenois); op. 13, En Bretagne, suite for
pf.; op. 14, Les Heures d'£te (6 poems by
A. Samain); op. 15, 3 songs; op. 16, 5 songs
(poems by J. Lahor); op. 17, 2 Chansons bre-
tonnes; op. 18, 2 songs (poems by A. Samain).
In MS. he has an orchl. suite, Fresques
antiques; PrSlude et Fugue for orch.; a
ballet; an opera.
Rlcca'ti, Count Giordano, b.Castelfranco,
Treviso, Feb. 28, 1709; d. Treviso, Tuly 20,
1790. — Writings: Sag^io sopra le teggi del
contrapunto (1762); Delle corde owero fibre
elastiche (1777); a series of essays, in the
'NuovoGiornalede'Letterati d' Italia,' on the
mus. systems of Rameau (in vol. xxi), Tartini
(in vol. xxii), and Vallotti (in vol. xxiii);
several dissertations on mus. acoustics in
Cologera's 'Raccolta d'opuscoli scienrifichi*
(in vol. ix); and a biogr. of Agostino Steffani
(1779).
Rlcci [ri'che], Federlco, dram, composer;
b. Naples, Oct. 22, 1809; d. Conegliano, Dec.
10, 1877. Pupil of Furno, Zingarelli, and
Raimondi, at the Royal Cons, di San Seba-
stiano. He prod. 19 operas, at least 4 of which
were written in collaboration with his elder
brother Luigi [see below]; these 4 were his
first, // Colonnello (Naples, 1835), // Diserlore
per amore (Venice, 1836), L'Amanle di
richiamo (Turin, 1846), and Crispino e la
comare (Venice, 1850). In 1838 his Le prigio-
ni d* Edinburgo had great success in Trieste;
Corrado d'Altamura was well received at La
Sea la, Milan, in 1841, and was prod, at the
760
RICCl-MCRAULT
Th. Itahen, Paris, in 1844. He was invited to
Petrograd in 1853 as musical director of the
Imperial theatres; in 1866 the fine comic
opera Crispino e la comare had a warm wel-
come at the Th. Italien; in 1869 Una follia
a Rama (as Une folie a Rome) had 77 con-
secutive representations at the Fantaisies-
Parisiennes, and was followed in that year
by a French version (Le docteur Crispin) of
Crispino, so that R. repaired • to Paris
in hopes of further good fortune; but his
subsequent dramatic ventures failed, and in
1876 he retired to Conegliano. 6 masses,
a cantata, and numerous smaller vocal works,
were also written by him.— Cf. F. de Villars,
Notice sur Luigiet Federico Ricci (Paris,
1866); L. de Rada, I frateUi Ricci (Florence,
1878).
Ric'd, Luigi, brother of the preceding; b.
Naples, July 8, 1805; d. Prague, Dec. 31,
1859. Eminent dram, composer; pupil
of Furno and Zingarelli at the Cons, di S.
Sebastiano, Naples, also taking private les-
sons of Generali. His first stage work was the
opera buffa L'Impresaria in angustie (Cons,
theatre, 1823) ; he wrote in all about 30 operas,
several in collaboration with his brother [see
above). In 1836 he was app. m. di. capp. of
the cathedral at Trieste, and chorusmaster
at the theatre. In 1844 he married the singer
Lydia Stoltz, of Prague. Shortly after pro-
ducing his last opera, II Diavolo a quattro
(Trieste, 1859), symptoms of insanity de-
veloped, and he was sent to an asylum in
Prague, where he died. Among his operas
may be mentioned // Colombo (Parma, 1829),
UOrfanella di Ginevra (Rome, 1829), Chiara
di Rosenberg (La Scala, Milan, 1831), Chi
dura vince (Rome, 1834), II Birrajo di Preston
(Florence, 1847), Crispino e la comare (with
Federico; Venice, 1850), La festa di Piedi-
grotta (Naples, 1852), and II Diavolo a quattro
(Trieste, 1859). — Also masses, a Requiem,
choruses, songs etc.
Ricci, Luigi, Jr., son and pupil of preced-
ing; b. Trieste, Dec. 27, 1852; d. Milan, Feb.
10, 1906. Comp. of the operas Frosina
(Genoa, 1870), Un curioso accidente (ib.,
1870), Cola di Rienzi (5 acts; Venice, 1880),
Don Chisciotte (ib., 1881), Donna Ines (Pia-.
cenza, 1883), Per un cappello (Turin, 1884),
La Coda del Diavolo (ib., 1885), Frutto proi-
bito (Barcelona, 1888); wrote also a str.-
quartet, songs, etc.
Riccius [ri'ts'ydds], August Ferdinand, b.
Bernstadt, Saxony, Feb. 26, 1819; d. Karls-
bad, July 5, 1886. In 1849,. dir. of the Eu-
terpe Concerts at Leipzig; 1854-64, Kapellm.
at the City Th.; then at the Hamburg Th.;
also mus. critic at the 'Hamburger Nach-
richten,' and singing-teacher. — Works: Over-
ture to Schiller's Braut von Messina; a can-
tata, Die Weike der Kraft; incid. music to
plays; Psalm 130 for sop. solo, male ch.
and orch. (op. 43); 3 concert-arias w. orch.
(op. 22, 26, 27); pf. -music; choruses, vocal
trios and duets, and songs.
Ric'cius, Karl August, nephew of preced-
ing; b. Bernstadt, July 26, 1830; d. Dresden,
July 8, 1893. Pupil in Dresden of Wieck,
Carl Kragen, and Schubert (pf. and violin);
then at Leipzig Cons, of Mendelssohn,
Schumann, David, etc., 1844-6; in 1847,
violinist in Dresden court orch., rising to
chorusmaster in 1863, third Kapellm. in 1887,
and succeeding Furstenau as librarian of the
R. Mus. Library in 1889.— Works: The 2-act
comic opera Es spukt (Dresden, 1871); music
to Schneewittchen, Daumling, Aschenbrbdel,
Der gestiefelte Kater, Ella [farce by Roder],
etc.; ballets; music to Schiller's Dithyrambe
(1859). Publ. only pf. -pieces and songs.
Richards, (Henry) Brinley, composer-pi-
anist; b. Carmarthen, Wales, Nov. 13, 1817;
d. London, May 1, 1885. Pupil of the R. A.
M., winning the King's Scholarship in 1835
and 1837. Member of the R. A. M. He
resided in London, highly esteemed as a con-
cert-pianist and teacher. — Works: Numerous
light pieces de genre f. pf.; songs and part-
songs; the popular hymn God bless the Prince
of Wales (1862); a symphony, 2 overtures,
a concerto for pf. and orch.; and 2 marches f.
military band, Albert Edward and Carmarthen.
Richardson, Alfred Madeley, b. South-
end-on-Sea, Essex, England, June 1, 1868.
He received his classical education at Keble
Coll., Oxford (A.M., 1892), and st. music at the
R. C. M. under Sir C. H. H. Parry, Sir W. Par-
ratt and E. Pauer; Mus. Doc., Oxon., 1897;
1897-1908, org. and choir m. at South wark
Cath.; founder and cond. of the Worcester
Orchl. Soc., Scarborough Choral Union, and
Southwark Choral Soc.; founder, vice-pres.
and chairman of the South London Mus.
Fest. In 1909 he became org. and choirm.
at St. Paul's, Baltimore; since 1912 in New
York as instructor in theory at the Inst, of
Musical Art. Comp. of numerous church-
services, anthems, part-songs, etc. Has
publ. Choir Training Based on Voice Pro-
duction (1897), Church Music for the Clergy
(1902); The Psalms, Their Structure and
Musical Rendering (1903); The Southwark
Psalter (1904); Modern Organ Accompani-
ment (1907); The Choir-Trainer's Art (1914);
The Southwark Canticles (1918).
Richault [re-shohl, Charles- Simon, b.
Chartres, May 10, 1780; d. Paris, Feb. 20,
1866. In 1805 he founded the well-known
music-publishing house, the first issues of
which were Mozart's concertos, and Beet-
hoven's symphonies, in score. His sons
Guillaume-Simon (1806-1877) and Leon
761
RICHE— RICHTER
(1839-1895) carried on the business, publish-
ing works by eminent French composers, and
also excellent editions of German classics.
Riche, Antoine le. See Divms.
Richter, Alfred, son of E. Fr. Richter; b.
Leipzig, April 1, 1846. Teacher in the Cons.,
1872-83; then lived in London, but returned
to Leipzig in 1897; 1898-9, cond. of the
choral soc. 'Arion;' now (1917) living in
Berlin as comp. and writer.— Publ. an Auf-
gabenbuch (Engl. ed. as Additional Exercises,
publ. in New York) supplementary to his
father's Lehrbuch der Harmonie; a supple-
ment to his father's Lehrbuch des Kontra-
punkts (Engl, transl. New York); Die
Elementarkenntnisse der Musik (1895; 4th
ed. 1911); Die Lehre von der thematischen
Arbeit (1896); Das Klavierspiel fur Musik-
studierende (1898; 2d ed. 1912) ;1 Die Lehre
von der Form in der Musik (1904; 2d ed.
1911). He also brought out numerous new
editions of his father's books. Has comp.
pf.-pcs., songs, and choruses; 2 male cho-
ruses w. orch., Trinklied (op. 9), Der Postilion
(op. 19).
Richter, Ernst Friedrich (Eduard),
distinguished theorist and composer; born
Gross-Schonau, Saxony, Oct. 24, 1808; d.
Leipzig, April 9, 1879. Son of a school-master,
and educated in the Zittau Gymnasium;
matriculated 1831 as student of theology at
Leipzig Univ., but gave his chief attention
to musical study under Weinlig, and on the
foundation of the Cons. (1843) became Haupt-
mann's coadjutor as teacher of harmony and
composition; from 1843-7, cond. of the
Singakademie as Pohlenz's successor; 1851,
organist of the Petrikirche; 1862, of the
Neukirche, going in a short time to the Niko-
Iaikirche, and in 1868 succeeding Hauptmann
as mus. dir.of the Nikolai- and Thomaskirche,
and cantor of the last-named, with the title
of 'Professor'; later, the Univ. conferred on
him the title (honorary) of the 'Univ. Mus.
Dir.'-—He is best known by his eminently
practical and very popular Lehrbuch der
Harmonie (1853; 26th ed. 1910; Engl. tr. by
F. Taylor [London, 1864], J. P. Morgan (N. Y.f
1867], and Th. Baker [N.Y., 1912; from 25th
Ger. ed.]; also in Swedish, Russian, Polish,
Italian, French, Spanish, Dutch); itscontinua-
tions are the Lehrbuch des einfachen und dop-
pelten Kontrapunkts (1872; 13th ed. 1913-
Engl tr. by F. Taylor [London, 1874], and
J. P. Morgan [N.Y., 1884]); and Lehrbuch der
Fuge (1859; 7th ed. 1911; Engl. tr. by F.
Taylor [London, 1878]). R. was a skilful
contrapuntist, and his vocal music, more
especially the a cappella motets, psalms, etc.,
is pleasing; he also comp. an oratorio, Chris-
iaSAu ^sfr (1849>» Setter's Dithyrambs
(Schiller Festival, Gewandhaus, 1859), masses,
string-quartets, organ-music, violin-sonatas,
pf. -sonatas, etc.
Richter, Ernst Heinrich Leopold, bom
Thiergarten, near Ohlau, Prussian Silesia,
Nov. 15, 1805; d. Steinau-on-Oder, April 24,
1876. Pupil of Hientzsh, Berner and Siegert
at Breslau; and of Klein and Zelter at the
R. Inst, for Church-music, Berlin. Instruc-
tor at the Teachers' Seminary in Breslau,
1827-47, also teaching in it after its removal
to Steinau. A teacher of high reputation.
He prod, a comic opera, Die Contrebande, at
Breslau; also comp. a mass, motets, cantatas,
part-songs for male chorus, songs (the
Schlesische Volkslieder are op. 27);a symphony,
organ-pieces, etc.
Richter, Franz Xaver, b. Holleschau, Mo-
ravia, Dec. 1, 1709; d. Strassburg, Sept. 12,
1789. In 1740 member of the chapel of the
Prince- Abbot at Kempten; in 1747 he joined
the electoral orch. at Mannheim; 1769 till
his death Kapellm. at Strassburg Cath.
A prolific composer of decided originality, one
of the chief representatives of the new mstrl.
style (Mannheim school; see Stamitz). — In
the library of Strassburg Cath. are the MSS.
(many autographs) of 28 masses, 2 requiems,
16 psalms, 38 motets, 2 cantatas, 2 passions,
Lamentations for Holy Week, etc. (the greater
part with orch.). An oratorio, La Dctoosi-
tione della Croce, was prod, in Mannheim
(1748). Publ. works: 69 symphonies (publ.
in Paris, London, and Amsterdam; 4 repr.
by Riemann in 'Dkm. der Tonk. in Bayern,'
iii, 1 and vii, 2), 6 str.-quartets (repr. by
Riemann, ib., xv, 1); 8 trios for fl. (or vl.),
vcl. and pf. (G m. repr. by Riemann, ib.,
xvi, 2; A in 'Coll. musicum'); 12 trio-sonatas
for 2 vis. w. basso cont.; 6 duets for fl.; 6
sonatas for fl. w. basso cont. ; 6 pf .-concertos
w. str.-orch. Almost all the chamber- music
was originally publ. in London. A treatise,
Harmonische Belehrung oder grundliche An-
weisung zur musikalischen Tonkunst (MS. in
library of Brussels Cons.) was publ. in transl.
by Ch. Kalkbrenner as Traile d'harmonie et
de composition (1804).— Cf. F. X. Mathias,
Thematischer Katalog der im Strassburger
Munsterarchiv aufbewahrten kirchenmvsika-
lischen Werke Fr. X. Richters, in 'Riemann
Festschrift' (Leipzig, 1909).
Richter, Hans, celebrated conductor; born
Raab, Hungary, April 4, 1843; d. Bayreuth,
Dec. 5, 1916. In 1853, choirboy in the Court
Chapel, Vienna; from 1860-5 he studied
comp. under Sechter, vl. under Heissler, and
the French horn under Kleinecke at the Cons.
From 1862-6, horn-player in the orch. at the
Karnthnerthor-Th.; from 1866-7 in Lucerne
(Triebschen) with Wagner, making for him
a fair copy of the Meistet singer score, and
recommended by him for the position of cho-
762
RICHTER— RICORDI
rusmaster at the Munich Opera (Dec., 1867);
from Aug. 25, 1868, to Sept. 1, 1869, court
cond. under v. Bulow. Conducted rehearsals
and initial performances of Lohengrin at
Brussels, Mar. 22, 1870; after ten months
more at Triebschen he was app. Kapellm. at
the Pest National Th. 1871-5, then succeeding
Dessoff as Kapellm. at the Imperial Opera,
Vienna, becoming 1st Kapellm. on Hellmes-
berger's death in 1893. From 1875-97 he
conducted, concurrently with the opera, the
concerts of the Vienna Philh. Soc., and from
1880-95 he also cond. the concerts of the
'Gesellschaft der Musikfreunde,' excepting
the season of 1883-4, when Jahn was his dep-
uty. He was chosen by Wagner to conduct
the Ring des Nibelungen at Bayreuth in 1876,
and at the close of the festival was decorated
with the Maximiliansorden by the King of
Bavaria and the Falkenorden by the Grand
Duke of Weimar. In 1877 (May 7-19) he
cond., alternately with the master himself,
the great Wagner Festival at Albert Hall,
London. The success of a second festival
(May 5-12, 1879), cond. by R. alone, led
to the establishment of an annual series in
May, known at first as 'Orchl. Fest. Con-
certs,' later simply as' R. Concerts,' which were
given regularly until 1897. In that year R.
settled definitely in Manchester as cond. of
the Symph. (Hall6) Orch., but did not by any
means limit his activity to that city; he still
gave occasional 4R. Concerts' in London, and
was regular cond. of the Birmingham Fest.
(1885-1911) and of the season of Wagner
opera at Cov. Garden (1903-10); in 1882 he
cond. at Drury Lane the Engl, premieres of
Meistersinger (May 30) and Tristan und
Isolde (June 20); was cond. of the Lower
Rhenish Fest. in 1888, '89, '91, and '97.
Throughout his life he remained in closest
touch with Bayreuth, spending a part of every
summer there as cond. -in-chief of the festi-
vals. The last orchl. concert -he conducted
was his farewell-concert with the Manchester
Symph. Orch. on April 11, 1911, having bid-
den farewell to London the day before at a
special concert of the London Symph. Orch.;
he then directed a few performances at the
Hofoper in Vienna, and after directing with
all the fire of youth the superb Meister-
singer performances at Bayreuth in the sum-
mer of 1912 he retired from all activities,
spending his last years in Bayreuth. Among
the world's conductors the figure of R. is one
of the most imposing. A pioneer and un-
surpassed interpreter of Wagner's art, he
espoused with equal devotion the cause of
Brahms, the majority of whose orchl. works
had their first performance in Vienna (and
later also in England) under R.'s baton. A
musician of universal sympathies and master
of all styles, his interpretation of classic or
modern works was equally convincing and
authoritative. — Cf. F. Klickmann, Dr.H.R.,
in 'Windsor Magazine' (Sept., 1896); also
'M. T.' (July, 1899).
Rlchter, Johann Christian Chris toph,
father of Jean Paul Friedrich Richter; b. Neu-
stadt am Kulm, Dec. 16, 1727; d. Schwarzen-
bach-on-Saale, 1779, as pastor. From 1760 he
was organist at Wunsiedel for some years, and
comp. vocal church-music (left in MS.). From
him his son inherited his musical nature, espe-
cially his fondness for improvising on the
piano.
Rider! [rf-ch'ya're], Giovanni Antonio,
the teacher of Padre Martini; b. Venice,
May 12, 1679; d. Bologna, 1746. In 1701,
soprano singer at S. Petronio, Bologna;
member of the Philharm. Acad, till his dis-
missal in 1716, because of unfavorable criti-
cisms of the works of his colleagues. He
wrote several oratorios; a fugue a 5 is given
as a model in Martini's Saggio del contrap-
punto.
Ricor'di & Co., G., famous music-publish-
ing firm in Milan; founded by Giovanni R.,
b. Milan, 1785; d. there March 15, 1853. At
first violinist and cond. at the old Fiando
theatre, he also earned small sums as a music-
copyist, and in 1807 went to Leipzig to learn
music-engraving in Breitkopf & Hartel's es-
tablishment. Returning, he opened a little
shop, and began publishing in 1808, the first
works being engraved by himself. He was
an intimate of Rossini, whose operas he pub-
lished; also recognized Verdi's genius when
the latter was still unknown. HissonTlto (b.
Milan, Oct. 29, 1811; d. there Sept. 7, 1888)
succeeded to the business. In 1845 he establ.
the 'Gazzetta Musicale,' one of the most im-
portant Ital. musical papers; also introduced
the 'Edizioni economiche,' and under his able
administration the house became the largest
music-publishing firm in Italy. With Verdi
he was on terms of intimate friendship, and
that composer's works (especially Aida) made
a fortune for both publisher and author.
Owing to ill health he withdrew from active
management in 1887. — His successor was his
son Giulio (b. Milan, Dec. 19, 1840; d. there
June 6, 1912), a man of extraordinary business
ability, who continued the policy of expansion.
In 1888 he bought, and consolidated with his
own, the important firm of Francesco Lucca,
thus bringing the number of publications to
100,000; he discovered Puccini, the immense
success of whose works enabled him to become
practically the dictator of the policies of the
principal opera houses in Europe and America
as far as the Italian repertoire was con-
cerned. A trained musician, he publ., under
the pseudonym of J. Burgmein, much ele-
gant salon-music (160 opus numbers), Fan-
763
MDER-KELSEY— RIEDT
laisie hongroise for orch., a str.-quartet in G
(Basevi Prize, 1864), a pf.-trio, etc.; also
wrote a ballet, Un Capriccio (with Marco
Sala; La Scala, 1866). Until his death
(when it ceased publication) he was ed. of
the 'Gazzetta Musicale'. — His son Tito,
a remarkable pianist, is the present head of
the house. The catalogue to-day (1917)
contains 1 16,000 numbers, and in the archives
are the autograph scores of more than 500
operas by the most famous Italian composers.
Rider-Kelsey, Mme. Corinne, concert-
soprano; b. n. Buffalo, N. Y., Feb. 24, 1879.
While attending Oberlin Coll. (1895H8) she
studied voice, pf. and harm.; completed her
vocal studies under L.- A. Torrens of Chicago
and Theo. J. Toedt of New York. Debut
in Handel's Messiah, Nov. 24, 1904, with the
St. Louis Choral- Symph. Soc.; the following
May she appeared as soloist at the Cincinnati
Fest., and has been reengaged for every
succeeding fest., excepting in 1908, when she
was in Europe; has likewise sung in The
Messiah with the N. Y. Oratorio Soc. al-
most every season since 1905. While on a
pleasure-trip in Europe (1907) she was
offered a 3-year contract at Cov. Garden,
where she made her operatic debut as Micaela
(July 7, 1908), ana also sang Mimi and
Zerhna; in spite of emphatic success the
stage did not attract her, and after release
from her contract she returned to America.
In 1909 she was eng. at a salary of $5,000 a
year as soloist at the First Ch. of Christ,
Scientist, N. Y. (one solo every Sunday for
9 months), but after 2 years was obliged to
resign owing to the increasing demands for
her services by the large choral and orchl.
societies throughout the U. S. She is also
recognized as one of the foremost Lieder-
sineers of to-day; her joint-recitals (in duets)
with Claude Cunningham (bar.) have won
unqualified praise.
Rle'chers [re'yhere], August, b. March 8,
1836, in Hanover; d. Berlin, Jan. 4, 1893.
Skilful maker and repairer of violins, trained
by Bausch of Leipzig; Joachim entrusted
his violins to R's. hands. He publ. a valuable
pamphlet: The Violin and the Art of its
Construction; a Treatise on the Stradivarius
Violin (Engl. ed. 1895; pp. 35), with 4 plates
of full-size diagrams exhibiting the structure
and exact dimensions of the model *Strad.'
Rle'del, (Ftirchtegott Ernst) August,
b. Chemnitz, May 22, 1855. Pupil of Leip-
zig Cons. 1876-8. From 1878-88 he was
cond. of the 'Quartettverein' (mixed chorus)
in Leipzig; since 1888 cond. of the 'Musik-
verein in Plauen, Saxony; since 1890 also
town-cantor and prof, of music at the Real-
schule; made Kgl. Musikdir. in 1903, and
Prof, in 1915; —Works: The cantata Win-
fried, op. 16; Der Sacksen Festiagssang, op.
17; Suite in kanonischer Form f. vl., vcL
and pf., op. 9; songs and part-songs; and
instructive pf. -pieces.
Rle'del, Hermann, b. Burg, near Magde-
burg, Jan. 2, 1847; d. Brunswick, Oct. 6, 1913.
Pupil of the Vienna Cons.; court Kapellm. at
Brunswick, 1882-1911; noted song-comp. (the
lyrics in ScheffePs Trompeter von Sakkingen);
also an opera, Der RiUerschlag (Vienna, 1880).
— His son Wolfgang, Kapellm. in Erfurt,
brought out an opera there, Das Lose geld
(1914).
Rle'del, Karl, b. Kronenberg, n. Elberfeld,
Oct. 6, 1827; d. Leipzig, June 3, 1888. A
silk-dyer by trade, the Revolution of 1848
upset his business, and turned his thoughts
to the serious study of music. He became
a pupil of Carl Wilhelm at Krefeld, and en-
tered the Leipzig Cons, in 1849. In 1854
he organized the 'Riedelverein,' a singing-
society which later became famous, for the
performance of ancient church-music. The
first public concert was given in 1855; in
1859 his fine mixed chorus successfully per-
formed Bach's mass in B minor. On Bren-
del's death in 1868, R. was elected president
of the 'Allgemeiner deutscher MusiJcverein, '
and founded the Leipzig branch ('Zweigver-
ein'). A powerful advocate of the Wagner
Festivals, he also became president of the
'Wagnerverein.' The Duke of Altenburg
conferred on R. the title of 'Professor
in 1868; Leipzig University created him
Dr. pkil. (hon. c) in 1883.— Even after
its founder's death the 'Riedelverein'
maintained its reputation as one of the finest
choral organizations in Germany; successive
conds. were H. Kretzschmar (1888-97),
K. Gohler (1897-1907 and 1909-13); since
then R. Wetz. — His publ. works include
only a few songs and part-songs. His col-
lections, 'Altbohmische Hussiten- und Weih-
nachtslieder,' and '12 altdeutsche Lieder';
his skilful reduction of Schiitz's 4 Passions
to one; and his editions of Schiitz's Sieben
Worte, J. W. Franck's Geistliche Melodien,
Eccard's Preussische Festlieder, Praetorius's
Weihnachtslieder, show the hand of a master.
— Cf. A. Gohler, Der Riedelverein zu Leipzig
(Leipzig, 1904; with biogr. of R.).
Riedt, Friedrich Wilhelm, b. Berlin, Jan.
24, 1712; d. there Jan. 5, 1784. Flute-virtu-
oso, pupil of Graun and Schaffrath; in 1741
chamber-musician to Frederick the Great;
1750, director of the 'Musikalische Gesell-
schaft' at Berlin. — Works: Symphonies;
quartets; 6 trios f. 2 flutes and bass; sona-
tas f. 2 flutes; a sonata f. flute and 'cello;
also a Versuch uber die musikal. Intervalle
(1753); and various articles (critical and
polemical) in Marpurg's 'Beitrage.'
764
RIEGEL— RIEMANN
Rledei [rg'gel), Heinrich Joseph, born
Wertheim, Franconia, Feb. 9, 1741; d. Paris,
May, 1799. Pupil of F. X. Richter in Mann-
heim and Jommelli in Stuttgart; settled in
Paris in 1768; from 1782-6 cond. of the
Concerts Spirituels. On the title-page of
several works publ. in Paris his name appears
as Rigel (which form his son [q. v.] adopted).
He is one of the earliest composers who wrote
ensemble-music with pf. — Works: Vl.-sona-
the operas (all prod, in Paris) Le Savetier et U
Financier (1778), VAutomate (1779), Rosanie
(1780), Blanche et Vermeille (1781), Lucas
(1785), Les Amours du Gros-Caillou (1786),
Alix de Beaucaire (1791), Cora et Alonzo
(not prod.); the oratorios La sortie d'£gypte,
Jephte, La prise de Jericho.
Riehl, Wilhelm Heinrich von, born
Biebrich-on- Rhine, May 6, 1823; d. Munich,
Nov. 16, 1897. Writer on the history of
civilization; from 1854, prof, of political
economy at Munich Univ.; for a time direc-
tor of the court theatre at Wiesbaden; from
1885, director of the Bavarian National
Museum, etc., at Munich; also lectured on
mus. history at the R. Music-School. — Publ.
Musikalische CharakUrkopfe (3 vols., 1853-
'61; 6th ed. 1879; vol. iii, containing the
essays Die Kriegsgeschichte der deutschen
Oper and Die beiden Beethoven, is the best);
and 2 vols, of original songs, Haustnusik
(1856, 77).— Cf. H. Simonsfeld, H. R. als
Kulturhistoriker (Munich, 1899).
Riem [rem], Friedrich Wilhelm, born
Kolleda, Thuringia, Feb. 17, 1779; d. Bre-
men, April 20, 1857, as cathedral-organist
and cond. of the Singakademie. He was a
pupil of J. A. Hiller, in Leipzig, and organist
at the Thomaskirche 1807-14, then being
called to Bremen. Reinthaler was his suc-
cessor.— Works: Cantata in commemoration
of tbe Augsburg Confession (Bremen, 1830);
an oratorio, Der Erloser; a str.-quintet in G
m. (op. 6); a pf.-quartet in F (op. 8); 3 str.-
quartets in A, B>, Eb (op. 19); 4 vl.-sonatas,
A (op. 5.), F, A, E!> (op. 13); 6 pf.-sonatas,
F (op. 1), Eb (op. 3), C m. (op. 4), E and C
(op. 7), E (op. 21); 6 sonatinas (op. 11), and
other pieces t. pf.; also publ. a coll. of orean-
pieces for concert and church. — See Q.-Lex.
Rle'mann, (Karl Wilhelm Julius)
Hugo, distinguished musicologist and teacher;
b. Grossmehlra, n. Sondershausen, July 18,
1849. He was trained in theory by Franken-
berger at Sondershausen, studying the piano
with Barthel and Ratzenberger; took the
gymnasial course in the Rossleben 'Kloster-
schule,' 1865-8, and studied at first law, then
philosophy and history, at Berlin and Tubin-
gen; and, after passing through the campaign
of 1870-1, entered the Leipzig Cons. In 1873
he took the degree of Dr. phii. at Gottingen
with the dissertation Musikalische Logik
(publ.); was active as a cond. and teacher at
Bielefeld until 1878, when he qualified as
University lecturer on music at Leipzig;
taught music at Bromberg 1880-1, then at
the Hamburg Cons, till 1890, at the Sonders-
hausen Cons, for a short time, and at the
Wiesbaden Cons, until 1895, when he resumed
his lectures at Leipzig. In 1901 he was made
prof, extraord., in 1905 regular prof.; in 1908
air. of the newly establ. 'Collegium Musicum,'
and in 1914 also dir. of the newly establ.
'Forschungsinstitut ftir Musikwissenschaft.'
He was elected honorary member of the
Cecilia Acad, at Rome (1887), of the Royal
Inst, at Florence (1894), and of the Musical
Assoc, in London (1900); made Mus. Doc.
(hon. c.) by the Univ. of Edinburgh (1899).
On his 60th birthday he was honored by the
publication of a 'Festschrift' (ed. by Karl
Mennicke) containing contributions from the
world's foremost scholars, many of whom were
R.'s personal pupils. — The mere bulk of R.'s
writings, covering every branch of musical
science, constitutes a monument of inde-
fatigable industry, and is proof of enormous
concentration and capacity for work. When
one takes into consideration that much of
this work is the result of painstaking, accurate
research and of original, often revolutionary,
thinking, respect and admiration may well
pass into a feeling of wonder. His works
treating of harmony constitute to-day the
foundation of modern musical theory. By
reducing to a system all the important dis-
coveries of Zarlino, Tartini, Rameau, Gott-
fried Weber, Fetis, Hauptmann, Helmholtz,
and von Ottingen, he freed harmony from
the trammels of thorough-bass, substituted
simple fundamental laws for empirical formu-
las, and bridged the gap that had always
existed between theory and practice. Stim-
ulated by Westphal's investigations, he
turned his attention to the matter of phrasing,
with the result that he established that
important (until then sadly neglected) dis-
cipline upon a sound scientific basis. The
principles laid down in several books deal-
ing with this subject he applied in his nu-
merous and very valuable 'Phrasierungs-
ausgaben' of pf. -com positions of early,
classic, and romantic masters. His researches
in the field of mus. history have solved a
number of vexed problems, and thrown light
on others. And, finally, in formulating the
new science of musicology (Musikwissen-
schaft) the labors of R. have been a most
important factor. — Cf. the biogr. sketch by
K. Mennicke in 'R. -Festschrift' (Leipzig,
765
RIEMANN— RIEPEL
1909); R. Heuler, Dr. H. R. als VolksschuL
gesangpadagog, in 'Sonde' (WUrzburg, 1910).
some were coll. and publ as Praludien und
(3 vols., 1895, 1900, '01).
Works.
Theory: Musikalische Syntaxis (1877); Sty
einer neuen Methode der HarmonieUhre (1880: 're-
written at Handbuch der HarmonieUhre, 1887 [6th ed.
1912]): Elementarmusiklehre (1882); Neue SchuU der
Melodtk (1883); Vergleichende KlavierschuU (1883);
Musikalische Dynamik und Agogik (1884); Praktische
Anleitung turn Phrasieren (1886; rewritten as Vade-
mecum der Phrasierung, 1900 (2d ed. 19111); Syste-
matische Modulationslehre (1887): Vereinfachte Hat-
monielehre (1893: Engl. tr. by H. W. Bewerunge.
1896) ; Lehrbuch des einfachen, doppelten und imiiier en-
den Kontrapunkts (1888; 3d ed. 1915; Engl. tr. by
S. H. Lovewell, 1904); Crundriss der Kompositions-
lehre (1897); Die Element* der musikalischen Asthetik
(1900); Crosse Kompositionslehre (vol. i* Der homo-
phone Satz [1902]; vol ii, Der tolyphone Sat* [1903];
vol Hi, Der Orchestersatn und aer dramatische Vokal-
stil [19131); System der musikalischen Rhythmik und
Metrik (1903); Grundriss der Musikwissenschaft
(1908; 2d ed. 1915).— History: Studien zur Geschichte
der Notenschrift (1878): Die Entwickdung unserer
Notenschrift (1881); Die 'MartyriaV der byzantinischen
liturgischen Notation (1882); Notenschrift und Noten-
druck (1896); Ceschichte der Musiktheorie im 9.-19.
dahrhundert (1898); Epochen und Heroen der Musikge-
schiehte (1900); Ceschichte der Musik sett Beethoven
(1901); Handbuch der Musikgeschichte (i, 1, Altertum
[1901]; i. 2, AUttelalter [1905]; ii, 1, Renaissance
[1907]; it, 2, Die Generalbass-Epoche [1911]; ii, 3,
Die grossen deulschen Meister |1913])r as suppl. to
this, a Musikgeschichte in Beisptelen (1912; a coll. of
150 instrl. and vocal comps., 13th-18th century);
Kleines Handbuch der Musikgeschichte (1908; 2d ed.
1915); Die byzantinische Notenschrift im 10.-15.
Jahrhundert (vol. i, 1909; vol. ii, 1915); Kompendium
der Notenschriftkunde (19 10) .—Catechisms (almost
all translated into English): Katechismus der Musik
(1888; 5th ed. 1914); do. der Musikinstrumente
(1888, 5th ed. 1914); do. des Klatierspiels (1888;
4th ed. 1909); do. der Or gel (1888; 3d ed. 1912);
do. der Musikgeschichte (2 vols., 1888; 5th ed. 1914);
Grundriss der Kompositionslehre (2 vols., 1889; 4th ed.
1911); Anleitung zum Generalbasspielen (1889; 3d ed.
190Q); Katechismus des Musikdiktats (1889; 2d ed.
1903); do. der Harmonie- und Modulationslehre (1890:
5th ed. 1914); do. der Fugenkom position (vols, i and
ii. analyses of Bach's Woh Item peri ertes Klavier'
[1890]; vol. lit. do. of Bach's 'Kunst der Fuge* [1891]:
3d ed. 1914); do. der Gesangskomposition (1891; 2d
ed. 1911); do. der Akustik (1891; 2d ed. 1914); do.
der Orchestrierung (1902; 2d ed. 1909); Anleitung
zum Partiturspiel (1903; 2d ed. 1911); Grundlinien
der MusikaSthetik (1903; 3d ed. 1911; orig. publ. as
Wie hbren wir Musikt [1886]).— Lexicography:
Mustklextkon (1882; rev. and largely rewritten every
5 years, it has long ago been recognised as the world s
standard reference-work on music; 8th ed. 1916.
Engl. tr. by J. S. Shedlock. 1893-6 [4th ed. 1908];
Russ. tr. by J. Engel, 1901-4 [2d ed. 1914; completion
interrupted by war]; Fr. tr. by G. Humbert. 1902
[2d ed. 1913]; Danish tr. by H. V. Schytte. 1888-92
[abridged]); Opernhandbuch (1884; with 2 suppls.,
1887, '93). For Meyer's 'KonversationslexlVon (3d
ed.) he wrote the technical articles on music; after
Langhans's death (1892) also the biogrs.— To Schle-
singer's 'Meisterftthrer' he contrib. analyses of Beetho-
ven's str.-quartets (vol. xii, 1910), and some of the
symphs. and orchl. works of Brahms (vol. iii, 1908),
Schumann (vol. xiii, 1911) and Tchaikovsky (vol.
»v, 1911); rev. Marx's Lehre von der musikalischen
Komposition (4 vols; 1887-90); ed. vols, iv (1907)
and v (1908) of Deiters's transl. of Thayer's Beethoven,
and rev. vols, ii and iii (1910, '11); transl. into Ger.
Gevaerts Nouveau Traill a" Instrumentation (1887)
and Les origines du chant liturgique de Viglise laiine
(1891). He has publ. in various journals ('Sbd. I. M.-
G..' 'Kchm. Jahrb.,' 'Peters Jahrb.,' etc.) innumerable
(many very important) articles and essays; of these
sonata (B m.); op. 26, str. -quartet (G m.); op. 47.
Compositions: Op. 5, pf. -sonata (G); op. 11. vU
(G m.);
pi. -trio (E) ; op. 53, van. on a theme of Beetl
for str.-quartet; op. 54, str.-quartet (Fin.; MS.); op.
op.
53,
van. on a theme of Beethoven's,
*** 63. 15 vara, (in canon-form) on a theme of Haydn s.
766
for pf.; many pf.-pcs. (chiefly instructive); ~~~»..
and choruses. Technical works for pf.: Op. 39.
Vergleichende theoretisch-praktische Klavier schule: op.
40, Die V or schule der Phrasierung; op. 41, TcmUtter-
ttudien; op. 55, 40 GeUufigkeitsetMen; op. 61. Der An-
fang im vierhdndigspid; op. 67, 9 rhythmische Studien;
op. 68, IS SpeziaUtuden; NormaUKlamerschuU; Tech-
ntsche V or studien fur das Polyphone Spiel; also Sys-
tematische Treffubungen fur den Gesang fop. 29)
and Technische Studien fur die Orgd (with K. Arm-
brnster). — Besides the above-mentioned 'Phnwerungs-
ausgaben' he has ed. numerous works of early com-
posers in 'Dkm. der Tonk. in Bayem': Select worka
of Abaco (i, 1). 'Symphonien der pfab-bayerischen
Tonschule' (iii, 1; vii, 2; viii, 2), Selections from the
operas of Ag. Steffani fcd, 2: xii. 1). Mannheim chamber-
music of the 18th cent. (xv. 1 and 2); in the 'Dkm.
deutacher Tonk.', Selections from Job. Schobert
(xxxix); also the colls. 'Alte Kammennusik' (4 vols.;
sonate da chiesa and da camera of the 17th and lata
centuries), 'Collegium mustcum' (50 books of chamber-
music of the 18th cent.), 'Hausmusik aus alter Zeit*
(96 madrigals, cansone, etc., of the 14th and 15th
centuries), 'Rococo* (14 old dances), 'Reigen und
Tanze aus Kaiser Matthias* Zeit' (15 German dances).
Rie'mann, Ludwig, b. Lttneburg, March
25, 1863. Pupil of his father; also of O.
von Kdnigsldw and H. Schroder (vL), H.
Griiters and A. Loschhorn (pf.), J. AZa/eben,
A. Haupt and W. Bargiel (comp.) at the Kgl.
Institut fiir Kirchenmusik in Berlin; since
1889 teacher of singing at the Gymnasium in
Essen; also ores, of the 'Verein akademisch
Sfoildeter Musiklehrer und -Lehrerinnen.*
as publ. Populate DarsteUung der Akustik
in Beziehung zur Musik (1896), Ober eigen-
tumliche bei Natur- und orientalisehen KuUur-
volkern vorkommende Tonreiken und ikre
Beziehungen zu den GeseUtn der Harmonie
(1899), Das Wesen des Klavierklanges und
seine Beziehungen zum Anschlag (1911).
RJe'menschneider, Georg, b. Stralsund,
April 1, 1848; d. Breslau, Sept. 14, 1913.
Pupil of Haupt and Kiel. Theatre-cond. in
Ltibeck (1875) and Danzig; 1889-98, cond. of
the Breslau "Orchesterverein'; from then in
Breslau as mus. critic and teacher. — Works:
A 1-act opera Monde szauber (Danzig, 1887);
opera Die Eisjungfrau; orchl. comps. Julinacht
(symphonic picture), Nachtfahrt, Donna
Diana, Todtentanz, Festpraludium; pf.-pcs.;
organ-pcs.; songs.
Rie'pel, Joseph, b. Horschlag, Upper Aus-
tria, 1708; d. Ratisbon, Oct. 23, 1782. as cham-
ber-musician to the Prince of Thurn and
Taxis. Comps. mostly MS. Theoretical
writings are of interest: AnfangsgrHnde zur
musikalischen Setzkunst . . . (1752, 2d ed.
1754); Grundregeln zur Tonordnung (1755);
GrUndliche ErM&rung der Tonordnung . . .
(1757); Erlduierung der betrHdichen Tonord-
nung . . . (1765); Unentbehrliche Anmer*
kung zum Contrafuntf . . . (1768); Bass*
A
RIES— RIETZ
schlussel, das ist Anleitung fur A nf anger und
Liebhaber der Setzkunst . . . (1786; edited by
his pupil, the cantor Schubarth); and Har-
monisches Sylbenmaass . . . (1776; 2 parts).
— See Q.-Lex.
Ries [res], Ferdinand, [eldest son of Franz,
'der alte Ries' (1755-1846), the leader and
mus. dir. to the Elector Max Franz at Bonn,]
b. Bonn, Nov. 29, 1784; d. Frankfort-on-
Main, Jan. 13, 1838. Piano-pupil of Beetho-
ven, his father's friend at Bonn, from 1801-5
at Vienna; st. theory with Albrechtsberger.
He lived 2 years in Paris, made pianistic
tours in North Germany, Scandinavia, and
Russia, and resided in London 1813-24,
Erominent as a player, teacher, and composer.
Ie then retired to an estate at Godesburg,
near Bonn; and .from 1830 resided in Frank-
fort, though he was town mus. dir. at Aix,
1834—6. He conducted several Lower Rhine
Festivals, also the 'Cacilienverein' in 1837-8.
He is best known by his Biographischc Notizen
iiber L. van Beethoven (1838; repr. by A.
Kalischer, 1906), which his intimacy with
the great man renders extremely valuable.
He was an excellent pianist, and a prolific
composer: 3 operas, Die Rauberbraut (Frank-
fort, 1828), Liska (as The Sorcerer at London,
1831), and Eine Nocht auf dem Libanon (not
perf.); 2 oratorios, Der Sieg des Glaubens,
and Die Kbnige Israels; 6 symphonies, 3
overtures, 9 pf. -concertos, 1 violin-concerto,
6 quintets variously combined; an octet, a
septet, 2 sextets, a quintet, 3 quartets and
5 trios, all w. pf.; 6 string-quintets, 14 string-
quartets, 20 violin-sonatas, 1 'cello-sonata,
a trio f. 2 pfs. and harp, 52 well-written pf.-
sonatas (in which the method, but not the
spirit, of Beethoven is apparent); other pf.-
music— Cf. L. Cberfeldt, F. R.'s Jugendent-
wickelung (Bonn, 1915).
Ries, Franz, son of Hubert R.; b. Berlin,
April 7, 1846. Violin-pupil of his father,
and of Massart at Paris Cons. (1866-8);
excellent concert-violinistr but gave up play-
ing in 1875 on account of nervousness, and
entered the music-publishing business (Ries
6 Erler, Berlin). — As a composer (pupil of
Kiel), he has written fine orchestral and
chamber-music: Op. 30. Dramatische Ouver-
tiire; op. 32, Nacnlstiick f. str.-orch.; op. 9,
Adagio e Rondo capriccioso f. vl. and orch.;
op. 28, Str.-quintet in C m.; op. 5, Str.-
quartet in Dm.; op. 22, do. in Bb; 4 suites
for vl. and pf. (op. 26, 27, 34, 38); pf.-pieces,
songs, etc.
Ries, Hubert, brother of Ferdinand; born
Bonn, April 1, 1802; d. Berlin, Sept. 14, 1886.
Studied at Kassel under Spohr (vln.) and
Hauptmann (comp.); in 1836, leader of the
royal orch., Berlin; in 1839, full member of
the R. Acad, of Arts; in 1851 teacher at
the Royal 'Theaterinstrumentalschule'; pen-
sioned 1872. Excellent instructive works
for violin: A Violinschule (also in Engl.);
Ersdhlungen aus alter Zeit (30 instructive
duets) ; 15 Violinstudien von massiger Schwie-
rigkeit, op. 26; SO Violinstudien fur den
ersien UnUrrickt, op. 28; 50 Intonationsu-
bungen, 12 Violinstudien in Form von Kon~
tertstucken, op. 9; duets, exercises, etc.; also
2 vln. -concertos (op. 13 and 16).
Ries, Hugibert, pseudonym of a Dr. Hugo
Riemann, affixed to some early journalistic
productions.
Rie'ter-Bie'dermann, J. Melchior, born
Winterthur, Switzerland, May 14, 1811, and
d. there Jan. 15, 1876. He founded the well-
known music-publishing house in 1849 in
Winterthur, with a branch at Leipzig in 1862,
which gradually became more important than
the original house, so that the latter was dis-
solved in 1884. Present (1917) proprietors
are Edmund and Robert Astor.
Rietsch [rech], Heinrich, b. Falkenau-on-
Eger, Sept. 22, 1860. St. in Vienna under
F. Krenn, E. Mandyczewski, R. Fuchs
(comp.) and E. Han slick, G. Adler (musicol.).
1895, Privatdozent for musicol. at Vienna
Univ.; 1900, prof, extraord. (succ. G. Adler)
at the German University in Prague; 1909,
full prof, and dir. of the Inst, for Musicology.
— Works: Op. 3, Str.-quartet in A; op. 10,
Das Walten der Liebe for male ch. and orch.;
op. 15, Britische Werbung for do.; Tauferer
Serenade for orch.; pf.-pcs.; choruses and
songs. In MS. he has an opera, Walther von
der Vogelweide, another serenade for orch.,
a pf.-quintet, 2 str.-quartets, etc. Has ed.
G. Muffat's Florilegium and songs of Frauen-
lob, Reinmar von Zweter and Alexander
in 'Dkm. der Tonk. in Osterreich.' Author
of Die Mondsee-Wiener Liederhandschrift und
der Monch von Salzburg (1886; with F. A.
Mayer), Die Tonkunst in der 2. Halfte des
19. Jahrhunderts (1900; 2d ed. 1906), Die
deulsehe Liedweise (1904), Die Grundlagen der
Tonkunst (1907), Kurze Betrachtungen zum
deutschen Volkslied (1910; in Liliencron-Fest-
schrift).
Rietschel [ret'shel], Georg Christian, b.
Dresden, May 10, 1842; d. Leipzig, June 13,
1914. St. tneol., and after filling several
pastorates in various cities became prof, of
theol. at Leipzig Univ. in 1899. Wrote Die
Aufgabe der Or gel im Gottesdienste bis in das
IS. Jahrhundert, geschichtlich dargelegt (1893;
valuable), and Lehrbuch der Liturgik (2 vols.,
1900, '09).
Rietz, Julius, b. Berlin, Dec. 28, 1812; d.
Dresden, Sept. 12, 1877. His father was the
royal chamber-musician Johann Friedrich
R. (d. 1828); his brother Eduard (1802-1832)
767
RIGA— RIMBAULT
was Mendelssohn's intimate friend, a talented
violinist, and the founder of the Berlin Phil-
harm. Soc. — Julius was a 'cello-pupil of
Schmidt, Bernhard Romberg and M. Ganz;
in 1828 he joined the orch. of the K6nig-
st&dter Th., for which he wrote incid. music
to Holtei's play, Lorbeerbaum and Beltelstab.
In 1834 he became 2d cond. at the Dussel-
dorf opera under Mendelssohn, whom he
succeeded as 1st in 1835, next year becoming
town mus. dir. In 1847 he was called to
Leipzig as theatre-Kapellm. and cond. of the
Singakademie, Ferd. Hiller replacing him at
Diisseldorf ; in 1848 also cond. of the Gewand-
haus Concerts, and prof, of comp. at the
Cons. To devote himself to these latter
duties he resigned his theatre-conductor-
ship in 1854. He succeeded Reissiger as
court Kapellm. at Dresden in 1860, conduct-
ing the opera, and the music at the court
church (R. C); later he was made artistic
director of the Cons., and received the title of
'General-Musikdirektor' in 1874. A conduc-
tor of great ability, and a scholarly musician,
R/s editorial work was of high value; his last
work was the complete edition of Mendelssohn
for Breitkopf & Hartel (1874-7); he also
edited Mozart's operas and symphonies,
Beethoven's symphonies and overtures, etc.
As a composer he belongs to the Mendelssohn
school, and was quite out of sympathy with
the neo-German movement. — Works: 4
operas, Das M&dchen aus der Fremde, 'Sing-
spiel' (Diisseldorf, 1833), Jery und Bdtely
(Berlin. 1840?), Der Carsar (Leipzig, 1850),
and Ceorg Neumark und die Gambe (Weimar,
1859), the last two being failures; 3 sym-
phonies, several overtures (the best are op. 7,
concert -overture in A, and op. 18, the Lust-
spielouverture) ; music to plays; 2 'cello-con-
certos, 1 violin-concerto, 1 clar.-concerto, a
string-quartet, a Capriccio f. violin w. orch.,
Konzertstucke f. oboe w. orch. (Adagio, Inter-
mezzo, Finale), Konzertstuck f. orch. (Idyl-
liscke Scene); a pf. -concerto; a violin-sonata,
a flute-sonata, pf.-sonatas and other pf.-
music; — masses, motets, psalms, chorales, and
much other church-music; Altdeutscher
Schlachtgesang, f. male ch. and orch.; Schil-
ler's Dithyrambe f. ditto (often perf.); many
choruses, songs, etc. — Cf. Pauline Viardot-
Garcia to J. R. Letters of Friendship, in 'Mus.
Quar.' (July, 1915, to Jan., 1916).
Ri'ga, Frantz [Francois], b. Liege, Jan.
21, 1831; d. Schaerbeek, n. Brussels, Jan. 18,
1892. Pupil at the Brussels Cons, of Fetis,
Lemmens and Hanssen; m. de chap, at Brus-
sels. As a comp. he is noted chiefly for his
masterly choruses (mostly sacred) ; also wrote
masses, 3 orchl. overtures, pf.-pes., pes. for
vl. and pf., for vcl. and pf., etc.
Rlgel [re-zhghll, Henri-Jean, son and
pupil of Heinrich Joseph Riegel; b. Paris,
May 11, 1772; d. Abbeville, Dec. 16, 1852;
1798-1800, chef-d'orch. of the French opera
in Cairo; 1808, chamber- pian»st to Napoleon.
— Works: The operas Les deux Meuniers
(Cairo, 1799), Le Duel nocturne (Paris, 1808) ;
the oratorios (sacred cantatas) Le Relcur de
Tobie, Gtdeon, Judith; a symphony; 4 pf.-
concertos; Pastorale for orch.; a str. -quintet :
a quartet in D m. for fl., vl., via. and vcl.;
trios for vl., pf. and harp; sonatas for vl. and
pf.; do. for pf.
Righi'nl, Vincenzo, b. Bologna, Jan. 22,
1756; d. there Aug. 19, 1812. Pupil of Ber-
nacchi (singing) and Padre Martini (cpt.).
Stage-debut as a tenor singer at Parma, 1775;
went to Prague in 1776, where he also began
composing; in 1780 he became singing-mas-
ter to the Archduchess Elisabeth at Vienna,
and cond. at the Opera Buffa; from 1788-92,
Electoral Kapellm. at* Mayence; and in 179 J,
after the successful production of his opera
Enea net Lazio at Berlin, he was a pp. Kapellm.
at the Court Opera with a salary of 4,000
Thaler ($3,000). Of some 20 operas, three
(Tigrane, 1799; Gerusalemme liberate, 1802:
La Selva incantata, 1802) were publ. in p/.-
score at Leipzig; also publ. a Serenade f. 2
horns and 2 bassoons; a flute-concerto; 2
pf. -trios; a mass (Kronungsmesse w. orch.).
a Requiem, a Te Deum, cantatas, duets, arias,
etc. ; and a series of very fine vocal exercises
(1806).— See Q.-Lex.
Rfhovsky [r'zhe-h&hf'skel, Adalbert, b.
Dub, Moravia, April 21, 1871. Pupil of
Skuhersky at the School for Organists and of
Lukas at the School for Opera in Prague.
Began his career as choirm. in Dub; now
(1917) org. at the arch-deanery and prof, at
the teachers' seminary in Chrudim, Bohemia.
Highly esteemed as a comp. of church-music.
Has written 2 requiems (op. 5, 25), and several
masses with orch.; other masses w. org. and
acapp.; litanies; offertories; etc.; organ-pes.
(Der praktische Organist, op. 26 [100 preludes],
etc.); Festmarsch for orch., op. 8; a pf.-trio,
op. 51: Serenade for vl. and pf., op. 55; pL-
pcs. (chiefly instructive).
Rille*. See Laurent de Rill£.
Rimbault, Edward Francis, distin-
guished writer and alitor; b. London, June 13,
1816; d. there Sept. 26, 1876. Son of Ste-
phen Francis R., organist and composer (1773-
1837); pupil of his father, of Samuel Wesley
and Dr. Crotch ; organist of the Swiss Church,
Soho, in 1832. From youth a student of mus.
history and literature, he began giving lec-
tures on English musical history in 1838; in
1840 he founded, with E. Tayloj and W.
Chappell, the Musical Antiquarian Society,
and became secretary to the rercv Sbc.; and
in 1841, editor to the Motet Soc. He was
768
RIMBAULT— RIMSKY-KORSAKOV
elected F. S. A. in 1842, also a member of the
Stockholm Academy; and received the degree
of Dr. phil. from Gottingen, and (1848)
that of LL.D., Harvard, where he declined
the proffered appointment of Prof, of Music.
He was in great request as a lecturer (at the
Royal Inst.; at the Collegiate Inst., Liverpool;
the Philosophic Inst., Edinburgh; etc.); be-
tween lecturing and editorial work, his time
was so fully occupied that he had little leisure
for composition, producing only small stage-
pieces (The Fair Maid of Islington [London,
1838] and The Castle Spectre [ib., 18391), a
cantata, Country Life, part-songs, and various
songs, of which Happy Land remains the
popular favorite. — Writings: Who was Jack
Wilson, the singer of Shakespeare's stage?
(1846, attempt to prove him identical w.
John Wilson, Mus. Doc.); Bibliotheca Madri-
galiana (1847; English poetry and comps.
Fubl. during reigns of Elizabeth and James
); First Book of the Pianoforte (1848); The
Organ, Its History and Construction (1855
and other eds. ; it is the first part of the Ap-
pendix to Hopkins' Hist, of the Org.); The
Pianoforte; Its Origin, Progress and Con-
struction (1860); The Early English Organ-
builders and Their Works (1864); /. 5. Bach
[after Hilgenfeldt and Forkel] (1869); an
Harmonium Tutor; a Guide to the Use of the
new Alexandre Church Harmonium; The Har-
monium (1857 ; for drawing-room and church) ;
a Singing Tutor [after Lablache]; — Editorial
work: 'Cathedral Chants of the 16th-18th
Centuries,' w. biogr. notes (1844); 'Order of
Daily Service ... in the Abbey Ch. of St.
Peter, Westminster' (1844); 'Coll. of An-
thems ... of the Madrigalian Era' (1845);
'Cathedral Music' (1 vol.); 'Coll. of Services
and Anthems' adapted from Palestrina, Or-
lando di Lasso, etc. (3 vols.); 'Handbook for
the Parish Choir'; 'Order of Morning and
Evening Prayer' a 4; 'Vocal Part-music,
Sacred and Secular'; 'Christmas Carols, with
the Ancient Melodies' (1847); 'Old English
Carols' (1865); 'The Full Cathedral Service,
with the Mus. Notation as Adapted and Com-
posed by Th. Tall is/ w. biography and hist.
Preface; 'Order of Daily Service' by Tallis;
ILdward Lowe's 'Ordei of Chanting the Cathe-
dral Service'; Thomas Este's 'Whole Book of
Psalms' a 4, w. hist, and biogr. notice; 'The
Booke of Common Prayer with Musical Notes,
as used in the Chapel Royal of Edward VI.,
1550. Compiled by John Merbecke' (in fac-
simile; also in modern score) ; The Organist's
Handbook,' a coll. of voluntaries, chiefly Ger-
man; 'Organist's Portfolio'; Arnold's 'Ca-
thedral Music,' w. biogr. notes, and organ-
accomp. written out; a 5-part mass by byrd
(in score, wjth hist, introd.); Morley s First
Book of Ballets for 5 Voices of 1595; Bateson's
First Set of Madrigals for 3-5 Voices; O. Gib-
bons's Fantasias of 3 Parts for Viols; PurceU's
opera Bonduca (w. history of dram, music in
England); 'Parthenia, or the first music ever
printed for the Virginals'; PurceU's Ode for
St. Cecilia's Day, The Ancient Vocal Music
of England' (2 vols. 1846-9) ; 'Little Book of
Songs and Ballads, gathered from Ancient
Musick Books' (1840; 2d ed. 1851); 'Little
Lays for Little Learners'; 'Nursery Rhymes,
with the Tunes to which they are sung in the
Nursery of England' (1847, 3d ed. 1857):
'Mus. Illustrations of Bishop Percy's Reliques
Of English Poetry' (1850); The Rounds,
Catches and Canons of England . . . 16th-
18th centuries'; The Old Cheque-book, or
Book of Remembrance of the Chapel Royal,
from 1561-1744'; 'Memoirs of Musick by
the Hon. Roger North, At tourney-General to
James II.'; Gallery of German Composers'
(1873). — R. also edited Handel's Samson,
Saul, and Messiah, for the London 'Handel
Soc.'; operas by various composers; many
works for the 'Percy See.'; edited and wrote
for The Choir' for a number of years; con-
tributed many articles to the 'Imperial Dic-
tionary' and Grove's 'Dictionary'; and made
a great number of vocal transcriptions, ar-
rangements, selections, etc.
Rimsky-Kor'sakov, Nikolai Andreye-
vitch, b. Tichvin, Govt, of Novgorod, March
18, 1844; d. Liubensk, n. Petrograd, June
21, 1908. His musical talent showed itself
at an early age, so that at 6 he received
regular pf.-lessons, and at 9 began to com-
pose. But his parents, belonging to the
aristocracy, destined him for a military career,
and sent him in 1856 to the Naval Academy
in Petrograd. Nevertheless, music was not
neglected; in his spare time the young man
studied the 'cello with Ulich and piano with
Fedor Kanille, an excellent musician. In
1861 he made the acquaintance of Balakirev,
the leader of the Neo- Russians, who intro-
duced him to the other principals of the cir-
cle (Mussorgsky, Borodin and Cui). Until
that time R.-K. had never thought of music
a&a profession, but his close association with
the leaders of the new movement for a na-
tional art fired his enthusiasm, and under
Balakirev's direction he began serious theo-
retical study; but after graduation from the
Academy, he was ordered on a cruise around
the world (1862-5). During this time he
composed his op. 1, a symphony in Eb m. (the
first work in that form written by a Russian
composer), each movement of which, as soon
as it was completed, he sent to Balakirev for
advice. Under the latter 's direction the
work was prod, in Petrograd (Dec., 1865),
immediately after the composer's return, and
met with considerable favor. A number of
very fine songs (op. 2, 3, 4, 7), a symph.
poem, Sadko (the first written by a Russian
769
RIMSKY-KORSAKOV— RINALDI
composer), and a fantasy for orch. (on Ser-
bian themes) made him locally famous.
Shortly after his app. as dir. of the Petrograd
Cons., Asantchevsky offered R.-K. the pro-
fessorship for comp. and instrumentation at
that institution, wfiich the latter accepted in
1871, and filled with distinction till his death.
Repeated offers of the directorship of the
Petrograd and Moscow conservatories he
persistently declined. Realizing soon after
his appointment the insufficiency of his tech-
nical equipment, he subjected himself to a
severe course of self-training (especially in
fugue) until he had attained consummate
mastery. In 1873 he definitely resigned from
the navy, but accepted the post of inspector
of the marine bands, which position he held
until its abolition in 1884. From 1874-81 he
was cond. of the concerts of the Free Music-
School (succ. Balakirev); 1886-90, of the
Russian Symph. Concerts founded (1885) by
Beliaiev (q. v.); 1883-94, Balakirev's asst.
as cond. of the Imp. Court Chapel; also ap-
peared as cond. of Russian music outside of
Russia, with a notable success at the Paris
Expos. (1889) and in Brussels (1890, 1900).—
R.-K. occupies a prominent place among the
great Russian composers, his influence in the
spreading of knowledge and appreciation of
tne national art outside of Russia being second
only to that of Tchaikovsky. His genius
finds its fullest expression in the free forms
of the symphonic poem and in dramatic music.
In the former field he is a follower of Liszt as
far as artistic principles and ideals are con-
cerned, but thoroughly individual in his treat-
ment, especially in the instrumentation. In
this respect his works may well serve as models
for idiomatic treatment of the individual in-
struments, artistic blending of timbres,
wise economy of means, and original, beau-
tiful effects. [Mussorgsky's Boris Godunov
did not become a fixture in the Russian
repertoire until after its complete re-orches-
tration by R.-K.] The operas exhibit fine
power of characterization and an astonishing
variety of style, which is conditioned by the
nature of the subject. With but two excep-
tions (Mozart and Salieri, Servilia) Russian
legend and history have been the sources of
inspiration. For the greater number of his
dramatic works he wrote his own texts, which
are skilfully constructed and possess literary
merit. As a song- writer his place is also high,
although here his gift for melodic invention
appears to be inferior to his other excellent
qualities; their chief interest lies in the rich
and finely wrought piano-part. In almost all
works he makes masterly use of the wealth
of Russian folk- melodies. — Bibliography:
[In Russian] V. Yastrebtsiev, N. A. R.-K.
(Petrograd, 1900; 2d ed. [with complete
list of works] 1908) ; N. Findeisen, it-iC.
(ib., 1908); J. Lapshin, Philosophical Motives
in the Works of R.-K. (ib., 1911); autobi-
ography, The History of My Musical IMc
[1844-1906] (ed. by M. Stasyulevitch, ib.
1909).— [In Engl.] M. Montagu-Nathan,
History of Russian Music (London, 1915; pp.
179-236); R. Newmarch, The Russian Opera
(N. Y., 1915; pp. 281-333).— [In Gcr.J N.
van Gilse van der Pals, R.-K. (Leipzig, 1914).
gnai
Nlfi
Works.
Operas: Pskovityanka (The Maid of Pskov; Petro-
ad. 1873; rewritten 1894); Maiskaya notch (A
Ight in May; ib., 1880); Sniegurotchka (The Snow-
Maiden; ib., 1882); Mlada (ib., 1892); Notch pered
Rothdestoom (Christmas Eve; ib., 1895); Sadko (Mos-
cow, 1897); Mozart i Salieri (ib.. 1898); Boyarfnia
Viera Shetoga (ib., 1898; a prologue to Pskcmtyanki);
Tsarskaya neviesta (The- Tsar's Bride; ib.. 1891);
Tsar Saltan (ib., 1900): Servilia (Petrograd. 1902);
Koshtchei betsmertny (JC the Immortal: Moscow,
1902); Pan Voyevoda (Petrograd. 1904); Skazanie o
neiidimom gradie Kiteuhie i dievie Pevroni (Tale of the
Invisible City of Kitezh and the Maid F; ib.. 1907);
Le Coq fOr (Moscow, 1910 [posth.]). — For Orchestra;
Op. 1, Symphony No. 1 in E m. (originally in EV m.;
later rewritten and transposed) ; op. 5, Sadko, symph.
poem; op. 6, Fantaisie sur des themes serbes; op. 9.
Symphony No. 2, Antar; op. 28, Overture in D (on
Russian themes) ; op. 29, Conte fieriaue; op. 30. Pf-
concerto in C# m.; op. 31, Symphontette in A m. (on
Russian themes); op. 32, Symphony No. 3 in C; op.
33, Fantaisie de concert in B m. for vl. and each-; op.
34, Capriccio espagnol; op. 35. Sh6herazade« lympho-
ma suite; op. 36, La grande P&que russe, overture on
Russian church-themes; op. 57, Musikalisde Bildcr,
suite from the opera Tsar Saltan; op. 59. Pe* Voyesoda,
suite (from the opera); op. 61, Nad mogUA IQa the
Tomb) ; op. 62, Chanson russe (w. ch. ad W>-V, suite*
from the operas Le Coq d'Or and Mlada (without «&,-
numbers) .---Chamber-music: Op. 12, str. -quartet in
F; op. 37, Suite for vcL and pf.; a str .-sextet in A
(MS.); a pf.-quintet in Bt» m. (do.): first movem.
(Allegro) of a str.-quartet on B-la-t [Beliaiev] (Scherzo
by Liadov, Serenata by Borodin, Finale by Glazunov).
— Vocal works with orch.: Op. 20. Stick ob Alek-
sieie (The Song about Alexis) for mixed ch.; op. 21.
Slava (Glory), for do.; op. 44. Svitayanka, cantata
for sop. and ten. solo and mixed ch.; op. 53, Strekosy
(Dragonflies), for 3-part fern, ch.; op. 58* Das Lied
vom ge/eiten Oleg, for male ch.; op. 60; A us Homer, for
3 fern, solo vcs. and fern. ch. ; op. 49, 2 ariosi for baas,
Antchar (The Upas Tree) and Prorok (The Prophet).
— Choruses, Op. 13. 14. 16, 18, 19, 23; songs, op, 2. 3.
4. 7, 8, 25. 26. 27. 39, 40, 41. 42, 43, 45. 46, 50, 51. 55.
56; duets, op. 47, 52; pf.-pes., op. 10, 11, 15. 17 (6
fugues). — He ed. a coll. of 100 Russian folk-songs, and
another of 40; orchestrated Dargomyzhsky's Kamennoi
gost (Stone Guest), Borodin's Prince Igor, and Mus-
sorgsky's Chovanstchina [all posth. works), and re-
orchestrated the latter's Boris Godunov.— Writings
(all in Russian) : Practical Treatise of Harmony (1&88,
Ger. tr. by H. Schmidt, 1893 [2d ed. 1912]): and post-
humously The History of My Musical Life (see bib-
liography above); Collected Musical Essays and
Sketches (ed. by F. Gnessin, 1911); The Foundations
of Instrumentation (ed. by M. Steinberg* 1913 [2 vols.];
French tr. by M. D. Calvocoressi, 1914).
Rinal'di, Giovanni, b. Reggiolo, Emilia,
Italy, in 1840; d. Genoa, March 25, 1895.
Studied under Asioli at Correggio; then
(1854-61) at the Milan Cons. Settled in
Genoa. Excellent pianist; comp. for pf. of
the romantic school. — Works: Spigliatesze,
Divagazioni pianistiche, Pagine d' Album, Pif-
ferate, Sfumature% Intermezzi* Fantasticherie,
770
RINCK— RIPFEL
Sorrisi di bimba, Mondo piccino, FrammenH,
BozzeUi a maUta, etc
Rinck, Johann Christian Heinrich,
famous organist; b." Elgersburg, Thuringia,
Feb. 18, 1770; d. Darmstadt, Aug. 7, 1846.
Studied under several Thuringian organists,
then under Bach's pupil Kittel, in Erfurt
(1786-9). Town-organist at Giessen, 1790;
ditto at Darmstadt, 1805, also teaching in the
Seminary; became court organist there in
1813, and chamber-musician in 1817. One
of the foremost players of the time, he made
frequent concert -tours. Dr. phil. (hon. c),
Giessen, 1840. Many organ -works: OrgeU
sckule (op. 55; new ed. by Otto Dienel, 1881);
2 Choralbucher; many preludes to chorales
(op. 2, 25, 37, 47, 49, 52, 53, 58, 63, 65, 74, 93,
95, 105, 116); postludes (op. 48, 78, 107, 114);
variations on chorales (op. 40, 64, 77, 78, 109) ;
Der Choralfreund (7 annual issues: Op. 101,
104, 110, 115, 117, 119, 122; also 2 supple-
ments); variations (op. 56, 57, 70, 84, 89,
108) ; pieces (op. 8, 9, 29, 33, 37, 38, 66, 72,
92, 94, 99, 100, 106); hints on organ-playing
(op. 124, etc.); — also a Paternoster a 4, w.
organ; a mass, motets, hymns, chorales, sacred
songs; 3 sonatas f. pf., violin, and 'cello, op.
32; another do. in Eb; sonatas f. pf. and
'cello (also for 4 hands); pf.- trios; preludes and
exercises f. pf.; etc. — tf. his Selbstbiogra-
phie (Breslau, 1833); M. J. Falsing, Zuge aus
dem Leben und Wirkcn des Dr. J. C. H. R.
(Erfurt, 1848); F. Clement, Musiciens cSU-
bres (Paris, 1868; 4th ed. 1887).— See Q.-Lex.
Ring 'el, Federico. Pen-name of Baron
F. d'Erlanger.
Ringler, Eduard, b. Nuremburg, Jan. 8,
1838. Intended for a school-teacher, he
also had music-lessons of Heinr. Hohmann;
adopted the mus. profession in 1868, study-
ing till 1871 with Grobe and Dupont at
Nuremberg. Cond. the Singyerein for 5
years; became in 1883 choir- director in the
synagogue, and in 1890 also cond. of the
Verein fur ldassischen Chorgesang,' one of
the best mixed choruses in S. Germany. Sing-
ing-teacher for advanced students; mus.
critic for the 'Frankischer Kurier.' His
comps. follow early classic models. — Works:
A 2-act 'Volksoper' Eppelein von GaUingen
(Nuremb., 1896; succ; also in Bamberg,
Erlangen, FUrth): 4-act grand opera Frithjof;
songs.
Rinuccini [re-n66t-che'ne), Ottavio, born
Florence, 1562; d. there March 28, 1621.
The librettist of Peri and Caccini's opera
Dafne (1597); Peri's Euridice (1600), and
Monteverde's Arianna a Nasso (1608);
Dafne being the first opera ever performed.
All three were republ. by A. Solerti in vol. ii
of Gli Albori del Melodramtna (Milan, 1905).
— Cf. F. Meda, 0. R. (Milan, 1894); A.
Civita, 0. R. edit sorgere del melodramtna in
Italia (Mantua, 1900); F. Raccamadoro-
Ramelli, O. R. Studio biografico e critico
(Fabriano, 1900); A. Solerti, Le Origini del
Melodramtna (Turin, 1903).
Rio [rS'oh], Anita, operatic and concert-
soprano; b. Alameda, Cal., July 30, 1880.
Having studied with local teachers, she made
her debut in The Messiah with the Handel
and Haydn Soc. in Boston (1901); then went
to New York for further study with Mme.
Florenza d'Arona (1902-4) and J. Armour
Galloway (whom she subsequently married) ;
sang in concerts in the U. S.; operatic debut
as Donna Elvira at Cov. Garden (July 26,
1909) ; then at various theatres in Italy until
1914 (Rome, Venice, Genoa, Perugia, Naples,
etc.); 1911-12, St. repertoire with L. Man-
cinelli in Rome; since her return to her
native country in 1914 she has appeared
with the larger orchestras and at festivals
(Handel and Haydn Centennial, 1915).
Her voice is a true lyric soprano, ranging
from bb to d*. Her operatie repertoire in-
cludes the rdles of Aida, Marguerite, Violetta,
Susanna (Nozze de Figaro), Manon Lescaut
(Puccini), Mimi, Cio-Cio-San, Amina, San-
tuzza, Nedda, Desdemona, Eva, Senta, Elisa-
beth.
Riot'te, Philipp Jakob, b. Treves, Aug.
16, 1776; d. Vienna, Aug. 20, 1856. Was
Kapellm. in Prague, and then do. at the Th.
an der Wien in Vienna, where from 1806-40
he prod, about 50 stage- works, among them
the grand operas Nureddin, Print von Persien
(Prague, 1823), Euphenie von Avogara (Vienna,
1823). Der Sturm (Briinn, 1834) ; many Sing-
spiele and ballets. Publ. works: Symphony
in C m. (op. 25); 2 pf. -concertos (both in C,
op. 8 and 15) ; 2 concertos for clar. and orch.,
op. 26 (Bb) and op. 36 (C m.); 3 do. for fl. and
orch. (No. 3 in D m., op. 31); septet in Eb for
vl.t via., vcl., clar., 2 horns and pf. (op. 39) :
6 str.-quartets (op. 21 and 46 [each 3]); 3
f>f. -trios (op. 9, 24, 49); 7 vl. -sonatas (op. 5
2], 13, 14, 33,45, 58); 9 pf. -sonatas (op. 11 [2],
32, 37, 41, 44, 45, 48, 50); Die Schlacht bet
Leipsig, 'Tongemalde' for pf.; numerous
other pf.-pcs. (vars.r polonaises, rondos, etc.).
Ri'pa, Alberto de, called Alberto Manto-
vano, because a native of Mantua; d. 1551.
Celebrated lutist, in the service of Francois I
of France. — Works: Tablature de Luth in 6
books, publ. by his pupil Guillaume Morlaye
(1553-8; important); nieces in Phalese's
publications of 1546 and 1574; also in Fran-
cesco da Forli's 'Intavolatura di liuto' (1536).
Ripfel, Karl, violoncellist; b. Mannheim,
1799; d. Frankfort-on-Main, March 8, 1876.
Having attracted attention as a prodigy on the
pf., he turned to the 'cello. His virtuosity
must have been transcendent, for contem?
771
RISCHBIETER— RITTER
poraries compared his technic with that of
Paganini, ana B. Romberg declared him the
greatest of all 'cellists. Extreme nervousness
compelled him to abandon a most successful
concert-career; for 45 years he was solo 'cel-
list of the Frankfort opera. His compositions
were praised by contemporaries, but none
have been published.
Risch'bleter, Wilhelm Albert, talented
theorist; b. Brunswick, July 20, 1834; d. Dres-
den, Feb. 1 1, 1910. Pupil of Hauptmann ; vio-
linist in Leipzig, Bremen, Nuremberg, and
Liegnitz; 1862-1900, teacher of harm, and
cpt. at Dresden Cons.— Comp. a symphony,
overtures, and other instrl. works; publ.
Vber Modulation, Quartsextakkord und Or-
gelpunkt (1879); Erlduterungen und Aufgaben
zum Studium des Kontrapunkts (1885); Die
Gesetzmdssigkeit der Hannonik (1888); other
theoretical essays in mus. periodicals.
Riseley, George, distinguished organist
and conductor; b. Bristol, Aug. 28, 1845. At
the age of 7 he became chorister at Bristol
Cath., and in 1862 was articled to J. D. Corfe,
the organist there, under whom he st. pf.t org.,
harm, and cpt., also acting as his deputy.
App. org. at Colston Hall, Bristol, where his
weekly recitals attracted attention; succ.
Corfe in 1876 as ore. at the Cath.: in 1877 he
founded the Bristol Soc. of Instrumentalists,
and gave fortnightly orchl. concerts, at which,
besides standard classical works, he prod,
many novelties (Engl, and foreign); in 1878
he also assumed the conductorship of the Or-
pheus Soc. (choral), which he brought to a
high degree of efficiency; in 1889 he founded
the Bristol Choral Soc., continuing ascond. of
all 3 societies to the present day (1917). In
1893 he was app. prof, of organ at the R. A.
M.; succ. Sir Charles Halle as cond. of
the Bristol Fest. in 1896; resigned his post as
org. at the Cath. in 1898, and accepted the
direction of the orchl. concerts at the Alex-
andra Palace and of the Queen's Hall Choral
Soc. in London. His indefatigable labors in
behalf of serious music have vastly elevated
Eublic taste throughout western England,
le is the comp. of a Jubilee Ode (Bristol,
1887), part-songs and pes. for organ. — Cf.
•M. 17 (Feb., 1899).
Rosier frSs-larl, (Joseph-) fedouard, born
Baden-Baden, Feb. 23, 1873 (of a German
mother and Alsatian father, who settled in
Paris in 1874). St. at the Paris Cons, with
Diemer (pf.) and Chabrier (theory); won
first prize in solf&ge and elementary piano
(1887), advanced piano (1889), and 2d prize
in harm. ^1892). After graduation he cont.
his pianistic studies with Rlindworth, Staven-
hagen and d' Albert; succ. debut in Paris in
1894; during the summers of 1896 and '97 he
was a member of the 'musikalische Assistenz'
at Bayreuth; since 1906 member of the 'Con-
seil supeVieur' of the Paris Cons. Has made
tours of all Europe, where he is regarded as
one of the greatest of living pianists; he maJces
a specialty of cycles of one composer's works
(Beethoven's complete sonatas, Bach's Well-
tempered Clavichord, Chopin's complete
works, etc.).
Risto'ri, Giovanni Alberto, b. Bologna,
1692; d. Dresden, Feb. 7, 1753, where he
had been successively comp. for the Ital.
Court Opera, and director of the Polish orch.
( 1 7 1 7 ), chamber-organist ( 1 733 ) t ch urch -com p.
(1746), and Vice-Kapellm. (1750). His comic
operas Calandro (1726) and Don Chisciolte
(1727) are among the earliest of their kind; he
also wrote 13 more operas, 3 oratorios, 16 can-
tatas, 11 masses, and other sacred and instrl.
music; much was destroyed by the burning of
the library during the siege of Dresden (1 760).
— Cf. K. R. Mengelberg, G. A. R. (Leipzig,
1915). See also Q.-Lex.
Ritter, Alexander, b. Narva, Russia, June
27. 1833; d. Munich. April 12, 1896. After
his father's death his mother removed to
Dresden in 1841; there he formed a lifelong
friendship with one of his classmates, Hans
von Biilow; st. vl. with Franz Schubert, the
leader at the opera, and cont. his musical
studies at the Leipzig Cons. (1849-51) with F.
David (vl.) and E. F.. Richter (theoryV In
1854 he married Franziska Wagner, a mece
of the master, and settled in Weimar, where
close association with Liszt, Biilow, Corne-
lius, Bronsart and Raff made him an ardent
disciple and propagandist of the new style;
from 1856-8 he was Kapellm. at the opera in
Stettin, where his wife was eng. as soprano.
After that time he never held any official posi-
tions, but devoted his entire time to comp.;
1858-60 he lived in Dresden; 1860-2 in
Schwerin; 1863-82, with short interruptions,
in Wiirzburg. When Biilow became cond.
of the Hofkapelle in Meiningen in 1882, R.
settled there, and ent. the orchestra as vlnst.
During his residence in that city he exerted
a strong influence on the young Richard
Strauss, who, fascinated by trie older man's
personality, abandoned his classical tenden-
cies, and embraced unconditionally the ideals
of program-music. After Billow's resigna-
tion in 1886 R. moved to Munich.— Works:
The operas Der faule Hans (Munich, 1885)
and Went die Krone? (Weimar, 1890); for
orch., Seraphische Phanlasie, Erotische Le-
fende, Karfrextag und Frohnleichnam, and
Zaiser Rudolfs Ritt zum Grabe (symph.
poems), Olafs Hochzeitsreigen (symphonic
waltz, op. 22), Sursum Corda ('Sturm und
Drang Phantasie,' op. 23); op. 24, Graf Wol-
ther und die Waldfrau, for declamation w. of.
(orchestrated by S. von Hausegger); a str.-
772
RITTER— RITTER
quartet in C m. (op. 1); about 60 songs and
some pf.-pcs. — Cf. S. von Hausegger, A. R.
Ein Bild seines Charakters und Schaffens
(Berlin, 1907).
■
Rltter, August Gottfried, organ-virtuoso;
b. Erfurt, Aug. 25, 1811; d. Magdeburg, Aug.
26, 1885. Pupil of Fischer at Erfurt, Hum-
mel at Weimar, Berber, A. W. Bach, and
Rungenhagen at Berlin; 1837, org. at Erfurt;
1844 cathedral-org. at Merseburg; 1847,
ditto at Magdeburg, succeeding M Oh ling.
Edited the 'Urania' 1844-8; co-editor of the
'Orgelfreund' and 'Orgelarchiv'; publ. an ex-
cellent Geschichle des Orgelspiels im 14.-18.
Jahrhundert (1884), and the Kunst des Orgel-
spiels (2 vols. ; 9 editions) ; 4 fine orean-so-
natas (op. 11, 19, 23, 31); preludes to chorales
(op. 4-9, 13, 25, 29, 38), other organ-pieces,
4 chorale-books; also wrote a pf. -concerto,
a pf.-quartet, 2 symphonies, 3 overtures, etc.
Rltter [Raymond - Rltter], Fanny,
American authoress; b. Philadelphia, 1840;
d. Poughkeepsie, N. Y., Oct. 26, 1890; wife of
Dr. F. L. Ritter. She publ. Woman as a
Musician, an Art- Historical Study (1877);
Some Famous Songs, an Art-Hist. Sketch;
and various other sketches; also good transla-
tions of Schumann's Music and Musicians,
Ehlert's Letters on Music to a Lady (1877).
Ritter, Frederic- Louis, born Strassburg,
June 22, 1834; d. Antwerp, July 22, 1891.
Pupil of Schletterer and Hauser at Strassburg,
and of J. G. Kastner in Paris. In 1852, prof,
of music at Fenestrange Protestant Semi-
nary, Lorraine; went with his parents in 1856
to Cincinnati, and organized the Cecilia vocal
soc. and the Philharm. Orch.; settled in New
York, 1861, becoming cond. of the Sacred
Harmonic Soc., and the 'Arion'; and in 1867
was a pp. prof, of music at Vassar College,
PoughTkeepsie, removing thither in 1874. In
1878 the Univ. of New York conferred on him
the degree of Mus. Doc. — Writings: History
of Music (Boston, 1870-4, 2 vols.; London,
1878, 2d ed. 1880); Music in England (New
York, 1883); Music in America (N. Y.f 1883,
3d ed. 1893); Music in Its Relation to Intel-
lectual Life (1891); Musical Dictation. —
Compositions; 5 symphonies; overtures;
'cello-concerto; pf. -concerto; trios, etc., f. pf.;
string-auartets; — Psalm 46, f. sopr. solo, ch.
and orcn.; Psalm 4, f. bar. solo, ch. and orch.;
Psalm 95, f. female voices w. organ; Hafis,
Persian song-cycle (op. 1); over 100 German
songs; etc.
Ritter, Georg Wenzel, bassoonist from
1788 in the Berlin court orch.; b. Mannheim,
April 7, 1748; d. Berlin, Tune 16, 1808.— Publ.
2 bassoon-concertos, and 6 quartets f. bassoon
and strings.
Ritter, Hermann, the inventor of the viola
alta; b. Wismar, Sept. 16, 1849. St. at the
Neue Akad. der Tonkunst and the Hochscule
fur Musik in Berlin; was for a time vlnst.
in the court orch. in Schwerin, and became
munic. Musikdirektor in Heidelberg, where
he attended courses at the Univ. in philoso-
phy, hist, of art, and archaeology. Turn-
ing his attention to musical instruments, he
began a series of experiments for the purpose
of improving the muffled tone of the ordinary
viola; profiting by some practical hints in A.
Bagatella's book, Regole per la Costruzione di
Violini .... (Padua, 1786), he constructed a
slightly larger model possessed of better reso-
nance and a more brilliant tone. Exhibit-
ing this new 'viola alta* in 1876, he attracted
the attention of Wagner, who invited his co-
operation for the first Bayreuth fest.; after
that engagement he made successful tours of
all Europe as viola-virtuoso; since 1879 prof,
of viola and hist, of music at the Kgl. Musik-
schule in Wurzburg; made Kammervirtuos
by the Grand Duke of Mecklenburg-Schwe-
rin, and Kgl. Prof, by King Ludwig of
Bavaria; in 1905 he founded the 'Ritterquar-
tettr (vl., W. Schulze-Prisca; viola alto, R.;
viola tenore, E. Cahnbley; viola bassa, H.
Knochel. In 1914 R.'s place was taken by K.
Wyrott, and Knochel's by A. Schreiber.) —
Writings: Die Geschichte der ' Viola alia1 und
die Grundsdtze ihres Baues (1876; 2d ed.
1877); Repetitorium der Musikgeschichte
(1880) ; Aus der Harmonielehre meines Lebens
(1883); Elemeniartheorie der Musik (1885);
Asthetik der Tonkunst (1886); KaUchismus
der Musikdsthetik (2d ed. 1894); do. der
MusikinstrumenU (1894); Volksgesang in al-
ter und neuer Zeit (1896); Schubert (1896);
Haydn, Mozart, Beethoven (1897); Die funf-
sailip Geige und die WeUerentwicklung der
Stretchinstrumente (1898); Allgemeine illus-
trierte Enzyklopddie der Mustkgeschichle (6
vols., 1901-2). Has also publ. numerous origi-
nal comps. and transcriptions for via. and pf.,
and Elementartechnik der Viola alta. — Cf.
G. Adema, H. R. und seine Viola alta (Wiirz-
burg, 1881; 2d ed., 1890).
Ritter, Peter, b. Mannheim, July 2, 1763;
d. there Aug. 1, 1846. St. vl. and vcl. under
his father, and from 1776 appeared in public
as 'cellist; having completed his theoretical
studies under Abbe Vogler, he ent. the Mann-
heim court-orch. as cellist, later became
leader, and in 1803 Musikdir.; in 1788 he
brought out in Mannheim his first opera, Der
Eremit auf Formentera, which became popular
throughout Germany, and remained his great-
est success, although followed by 20 other
operas and Singspiele. In 1787 he married
the famous actress Katharina Baumann (to
whom Schiller had proposed), and in 1790
both were eng. for life at the Hofth.; the
773
RITTER— ROCKEL
post of Kapellm. at Karlsruhe, offered him
in 1809, he declined; his wife retired on a
pension in 1819, R. himself in 1823. In 1792
ne comp. the fine chorale Grosser Gott dich
lobcn wir; also wrote the oratorio, Das vet-
lorene Parodies, and much chamber-music
(selections publ. by Riemann in vol. xvi, 2,
of 'Dkm. der Tonk. in Bayern'). 24 autograph
scores (2 symphonies [Et>, D], several con-
certos, etc.) are in the Library of Congress at
Washington. — Cf. W. Schulze, P. R. (Berlin,
1895).
Rltter (recte Bennet), Theodore, pianist,
b. near Paris, April 5, 1841; d. Paris, April 6,
1886. Pupil of Liszt; made successful con-
cert-tours; also publ. numerous solo pieces
for pf. (Les Courrters is a favorite). He prod,
the dram, scenes Le Paradis perdu and Me-
phistophtles; 2 unsuccessful operas, Mari-
anne (Paris, 1861) and La Dea risorta (Flor-
ence, 1865); etc.
Riv6-King, Julie, distinguished pianist;
b. Cincinnati, Ohio, Oct. 31, 1857. She re-
ceived her first instruction from her mother,
an excellent musician, and played in public at
the age of 8. From 1866-72 she st. in New
York with S. B. Mills and W. Mason; then
went to Reinecke in Leipzig, where she ap-
peared in 1874; after further study with Liszt
she returned to the U. S. Her Amer. debut
took place April 24, 1875, with the N. Y.
Philh. Soc. (Liszt's E[> concerto). Although
she has frequently been heard in the East, the
scene of her chief activity has been the Middle
West; is now (1917) instr. of pf. at the Bush
Cons., Chicago. She played in over 200
concerts under the direction of Th. Thomas.
A player of great brilliancy, vigor and breadth
of conception. In 1876 she married Frank
King in Milwaukee. Her piano-music is de-
servedly popular (Impromptu in Ab, Polo-
naise heroique, Bubbling Spring).
Robeson, Lila P., dramatic contralto; b.
Cleveland, O., April 4, 1880. Grad. of West-
ern Reserve Univ. (1902); st. singing with
C. S. Burnham and Mrs. S. C. Ford in Cleve-
land, and with I. Luckstone and O. Saenger in
New York; sang in church and concert un-
til her succ. operatic debut as Ortrud with
the Aborn Opera Co. (Boston, April 4, 1911);
has been a member of the M. O. H. since 1912,
where she has appeared as Amneris, Ortrud,
Fricka (Rheingold and WalkUre), Hexe (Han-
sel und Gretel), Waltraute, Hexe (Konigs-
kinder), etc.
Robyn, Alfred George, b. St. Louis, April
29, 1860. Pupil of his father, William R.f
whom he succ. as org. at St. John's; travelled
with Emma Abbott in 1876 as solo pianist;
now (1917) living as comp. in New York. —
Works: The light operas The Yankee Consul
774
(1903), The Gypsy Girl (1905), The Yankee
Tourist (1907), Fortune Land (1907), AU for
the Ladies (1912), etc.; the oratorios The
Ascension, Love Unending, Praise and Thanks-
giving; a symphony in Dm.; a symph.
poem, Pompeii; pf. -concerto in Cm.; a pf .-
quintet; 4 str. -quartets; a mass; numerous
pf.-pcs. and songs.
Rochlitz, Johann Friedrich, b. Leipzig,
Feb. 12, 1769; d. there Dec. 16, 1842. A
pupil of Doles in the Thomasschule, he en-
tered the University as a theological student ;
but was obliged to embrace the career of a
tutor and writer. He first publ. some novels
and sketches ; Blicke in das Gebiet der Kunst. . .
and Einiee Ideen uber Anwendung des gulen
Geschmacks (both 1796) treat in part of music.
In 1798 he founded the 'Allgemeine musika-
Hsche Zeitung/ which he edited till 1818, still
contributing until 1835 — the period of Beetho-
ven's career as a composer. From 1805 he
was a director of the Gewandhaus Concerts.
He received the title of 'Hofrat* from the
Grand Duke of Weimar. His best-known
work is, Fur Freunde der Tonkunst (4 vols.,
1824-32; 3d ed. 1868), which contains biog-
raphies, essays, analyses of compositions,
etc.; vol. iv has an outline Geschichte der
Gesangsmusik, which R. supplemented by 3
'Sammlung vorzuglicher Gesangstucke' in J
vols., from Dufay to Vallotti. He comp.
songs for male ch.; also the 23d Psalm; and
wrote many books for operas, oratorios, can-
tatas, etc.--Cf. J. Gensef, Aus R.'s Brief en on
HenrietU Voigt (Leipzig, 1906).
Rftckel, August, b. Graz, Dec. 1, 1814; d.
Pest, June 18, 1876. Pupil of his father, the
dram, tenor and impresario Jos. Aug. R-,
and of J. N. Hummel (his uncle); was for
some years Kapellm. in Weimar and Bam-
berg; 1843-8, mus. dir. in Dresden. There his
opera Farinelli was to have been prod., but
his admiration for Wagner's music caused him
to withdraw his score, and to abandon comp.
forever. Condemned to death for participa-
tion in the revolution of 1848, his sentence
was commuted, and he spent 13 years in
the prison at Waldheim; after his release he
lived in Frankfort, Munich, and Vienna, en-
gaged in literary activity.— Cf. La Mara, R.
Wagners Briefe an A. R. (Leipzig, 1894; 2d
ed. 1903; Engl. tr. by E. Sellar, London, 1897).
Rdck'el, Joseph Leopold, b. London,
April 11, 1838; d. there 1908. Pupil of
Eisenhofer at Wurzburg, and G6tze at Wei-
mar, for comp., and of his father and brother
Eduard for pf. Lived in Clifton, Bristol, as
teacher and pianist. — Works; The cantatas
Fair Rosamond, Ruth, Westward- ho, etc.; 2
children's operas, Little Snow- White and
Silver Penny; many characteristic pieces f.
pf., and fantasias on operatic airs; songs.
ca
ROCKSTRO— RODER
Rockstro (rede Racks t raw), William
Smyth, born North Cheam, Surrey, Jan. 5,
1823; d. London, July 2, 1895. He studied
1845-6 at the Leipzig Cons, under Mendels-
sohn, Plaidy, and Hauptmann. Returning
to London, he taught the piano and singing,
also appearing occasionally as a pianist.
Lived for years at Torquay; from 1867, or-
ganist and honorary precentor at All Saints',
Babbicombe; from 1891 in London, giving
lectures at the R. A. M. and R. C. M., taking
a class in plain-song at the latter. A student
of ecclesiastical music, he was one of the fore-
most among English mus. antiquaries. —
Writings: History of Music for Young Stu->
dents (1879); Practical Harmony (1881);
Rules of Counterpoint (1882); Life of G. F.
Handel (1883); Mendelssohn (1884); Gen-
eral History of Music (1886; 3d ed. 1897);
Jenny Lind, the Artist (1891; with Canon
Scott Holland); Jenny Lind, her Vocal Art
and Culture (1894; w. Otto Goldschmidt) ;
important contributions to Grove's 'Diction-
ary,' and to the 4M us. Times/ 'Mus. Society/
etc. — He composed a sacred cantata, The
Good Shepherd (Gloucester Fest., 1886), a 5 -p.
madrigal O, too cruel fair (Bach Choir, 1884),
a ballet, Flora's Path (1891), an overture,
songs, etc.; also publ. 'Festival Psalter,
Adapted to the Gregorian Tones'; 'Accom-
panying Harmonies to the Ferial Psalter';
and 'Harmonies for Additional Chants and the
Ambrosial Te Deum/
Roda, Cecilio de, b. Albunol, n. Granada,
Oct. 24, 1865; d. Madrid, Nov. 27, 1912.
From 1904 he- was pres. of the music -division
of the Ateneo in Madrid; elected member of
the Academy in 1906. Author of Los Instru-
mentos, las Danzas y las Canciones en el
Quijote (1905), La Evolucion de la Musica
(1906), Un Quaderno di Autograft di Beet-
haven del 1825 (1907; originally publ. in 'Riv.
Mus. It./ 1904-7; description of sketches
for op. 130, 132, 133), Las Sonatas de Piano
de Beethoven (1907), Los Cuartetos de Cuerda
de Beethoven (1909).
Ro'da, Ferdinand von, b. Rudolstadt,
March 26, 1815; died on the Bttlow Estate, n.
Kriwitz, April 26, 1876. Pupil of Hummel;
from 1842 in Hamburg, founding the Bach-
Verein in 1855; in 1857, mus. director at Ros-
tock Univ. — Works: Oratorio Der Sunder;
cantata Theomela; a Passion music ; Das Sieges-
fest, and scenes from Faust, for chorus ; excel-
lent church-music ; symphonies, pf . -musk, etc
Ro'de, Johann Gottfried, b. Kirchschei-
dungen, n. Freiburg-on-Unstrut, Feb. 25,
1797; d. Potsdam, Jan. 8, 1857. Horn-vir-
tuoso; from 1827 bandmaster of the 'Garde-
S" gerbataillon' in Berlin. — Works: Die Hu-
rtusjagd, a tone-painting; Die freundlichen
Kldnge der Jagd, ditto; concertos f. horn; do.
f. trumpet; various pieces and arrangements
f . horn.
Rode [rohd], (Jacques-) Pierre (-Joseph),
famous violinist ; b. Bordeaux, Feb. 16, 1774;
d. Chateau- Bourbon, n. Damazon, Nov. 25,
1830. Pupil of Fauvel; from 1787, of Viotti
at Paris. D6but 1 790 in a concerto by Viotti,
at the Th. Feydeau, where he was leader of
the 2d violins 1790-4; then, after tours in
Holland and Germany, and a short visit to
London, he was app. prof, of violin at the
newly opened Cons. During a visit to Spain
in 1799 he met Boccherini, who wrote concer-
tos for him. In 1800, solo violinist to Napo-
leon; from 1803-8, with Boieldieu in Russia,
becoming 1st violinist to Emperor Alexander.
After 3 years in Paris, he toured Germany and
Austria (at Vienna Beethoven wrote for him
the Romance, op. 50); lived for a time in
Berlin, where he married in 1814, then re-
tiring to Bordeaux. His final appearance in
Paris (1828) was a disheartening failure. —
Works: 13 violin-concertos; Themes varies,
w. orch.; ditto w. string-quartet; fantasia w.
orch.; Cavatine et rondeau, w. quartet; the
famed and indispensable 24 Caprices en forme
d'itudes, dans les 24 tons de la gamme; 12
etudes; 3 books of violin-duos; Romances
francaises; and a MSthode du violon (with
Baillot and Kreutzer).— Cf. A. Pougin, Notice
sur R. (Paris, 1874).— See also Q.-Lex.
Ro'de, Theodor, son of Joh. Gottfr. R.; b.
Potsdam, May 30, 1821; d. Berlin, Dec. 12,
1883. Pupil of Berger, Elsler, and Dehn;
singing-teacher at the Werder Gymnasium,
Berlin. Publ. a Theoretisch-praktische SchuU
gesangbildungslehre; essays on Prussian Mili-
tary musfcj and Russian horn-music, in peri-
odicals. Contr. to Mendel's 'Mus. Konver-
sationslexikon.'
Rd'der, Carl Gottlieb, b. St5tteritz, n.
Leipzig, June 22, 1812; d. Gohlis, Oct. 29,
1883. Founder of the great Leipzig estab-
lishment for engraving and printing music.
He started in 1846 with one engraver's ap-
prentice; to-day the business, employing
about 1,000 workmen, is probably the largest
of its kind in the world, and does work for
music-publishing firms the world over. A
book- printing department has also been added.
In 1872 R.»s sons-in-law C. L. H. Wolff and
C. E. M. Rentsch became partners in the
firm; R. himself retired in 1876. After
Rentsch's death (Feb. 19, 1889) his heirs with-
drew from the firm, but a son-in-law of Wolff,
Karl Johannes Reichel (b. Aug. 15, 1853)
became a partner, and after Wolffs death (in
June, 1915), head of the firm. On the 50th
anniversary of its foundation the firm issued
a 'Festschrift/ to which H. Riemann con-
tributed a valuable essay, Notenschrift und
Notendruck.
775
RODER— ROGER
Rtt'der, Georg Vincent, b. Rammungen,
Franconia.c. 1778; d.Altotting, Bavaria, Dec.
30, 1848. From 1805-24, court Kapellm.
and opera-conductor at Wurzbure; 1850,
mus. dir. at Augsburp; 1839, Kapellm.
at Munich to King Ludwig I. — Much church-
music: Oratorio La Messiade; cantata Cdcilia;
masses, psalms, motets, etc.; a symphony;
and the operas Hermann und Thusnelda
(Wurzburg, 1815), Der Verrdter (ib., 1816),
Das Gespensi (ib., 1818), Die Schweden in
Prag (Munich, 1842).
Rd'der, Martin, b. Berlin, April 7, 1851 ; d.
Boston, Mass., June 7, 1895. Pupil of the R.
Hochschule, Berlin, 1870-1; chorusmaster at
the Teatro dal Verme, Milan, 1873-80. In
1875 he organized the 'Societa del Quartetto
Corale,' which gave fine performances of
classical music; also conducted opera in
various cities. From 1880-1 he lived in Ber-
lin as a singing-teacher; then taught at Schar-
wenka's Cons, until 188 7, when he went to
Dublin as prof, at the R. Acad, of Music; a
position exchanged, in 1892, for the director-
ship of the vocal department in the New
Engl. Cons., Boston. He was a musician of
broad scholarship and versatile attainments,
and a composer of marked ability. — Works:
3 operas, Pietro Candiano IV (not perf.),
Giudilla (not perf.), and Vera (Hamburg.
1881); he also wrote the books for the last
two; 2 mysteries, Santa Maria apine delta
croce [after Tasso], and Maria Magdalena
(libretto by R. himself); 2 symphonic poems,
Azorenfahrt and Leonore; a symphony, an
orchl. suite, the overture Attila, a quintet in
A, a quartet in B[> m., a trio in F m.f pf. -music,
etc. — Also publ. Cber den Stand der dffent-
lichen Mustkpflege in Italien (in Waldersee's
'Samml. mus. Vortrage', 1881); Studt, critici,
raccolti (Milan, 1881; he was an esteemed
contributor to the 'Gazzetta Musicale,' sign-
ing his articles 'Raro Miedtner'); and Dal
taccuino di un direttore di orchestra (1881);
in Ger. as A us dem Tagebuch tines wandernden
Kapellmeisters (1882).
Ro'dio, Rocco, celebrated contrapuntist of
the early Neapolitan school; b. Calabria,
a 1530; d. (?). Publ. Regole per far contrap-
punto solo e accompagnato nel canto fermo (1st
ed. c. 1600; 3d ed. 1626); also a coll. (Naples,
1580) of 9 masses; the last, Missa de Beata
Virgine {a 5) is remarkable, as it can be sune
by 4 or 3 voices by omitting the quintus and
suferius (soprano), and also by the 3 highest
voices if quintus and bassus are omitted.
Rodolphe (or Rudolph), Jean- Joseph,
b. Strassburg, Oct. 14, 1730; d. Paris, Aug. 18,
1812. Pupilof his father for horn and violin;
later of Leclair (vln.) at Paris; 1st violin in
theatres at Bordeaux, Montpellier, etc.; about
1754 in the service of the Duke of Parma,
studying under Traetta; 1760 in Stuttgart,
under Jommelli, also bringing out several
'Ballets heroiques' (Medee el Jason; Pysche;
La Mort d'Hercule; Armide). From 1763
in Paris; 1765, 1st horn in the Grand Opera
orch.; 1770, royal chamber-musician; 1784,
prof, of harmony at the *£cole royale de chant '
(later the Cons.), losing the place during the
Revolution, but reinstated as prof, of sol-
fege in 1799, and pensioned in 1802. — Works:
3 operas for Paris; 2 horn-concertos; fan-
fares for 2 and 3 horns; duos and studies for
violin; etc.; also 2 text-books, Solfege (1790)
and ThSorie oVaccompagnement el de compo-
sition (1799).
Roeck'el. See Rockel.
Roentgen. See Rontgen.
Rogel [roh-hell, Jose, b. Orihuela, Ali-
cante, Dec. 24, 1829. At a very early age
he was taught music by the organist J. Cas-
cales, and at 10 composed a mass, which he
directed himself. Having finished his law-
studies in Valencia, he st. cpt. with Pascual
Perez; was cond. at various theatres in
Madrid, and in 1854 began his unusually
successful career as comp. of zarzuelas, of
which up to 1880 he had written 75 (some in
collaboration). Was still living in Madrid is
1910. Among his best works are El jam
Teltonaco, Las Amazones del Tormes, EI Iky
Midas, Los Infiernos de Madrid, Gena&va
de Brabante, Pablo y Virginia.
Roger [rSh-zhal, Gustave - Hippotyte,
famous operatic tenor; b. La ChapeHe St.-
Denis, n. Paris, Dec. 17, 1815; d. Paris, Sept.
12, 1879. Pupil, from 1836, of Martin and
Morin in the Cons. ; debut 1838 at the Opera-
Comique, where he sang till 1848 ; then at the
Opera, creating the r61e of the Prophete in
1849. From 1850 he also toured Germany.
While hunting in the fall of 1859 the acci-
dental discharge of his gun injured his right
arm so severely that it had to be amputated.
An artificial arm proved unsuccessful, and
he was obliged to retire from the stage in 1861,
when he settled in Paris as a singing-teacher.
From 1868 until his death he was prof, of
singing at the Cons. — Cf. his memoirs publ.
as Le Carnet d'un Tenor (Paris, 1880); also
A. Laget, R. (Paris, 1865).
Roger, Victor, born Montpellier, France,
July 22, 1853; d. Paris, Dec. 2, 1903. Stud-
ied at the Ecole Niedermeyer. Composer
of light opera; mus. critic of 'La France.'
He prod, about 30 operettas, etc., the latest
of which are Sa MajestS V Amour (1896),
VAuberge du Tohu-Bohu (1897), Les FHatds
(1897), VAgtnce Crook fir Co., 4-act vaud.-
operetta (1898), the 3-act ditto La petite
Tdche (1898), and the 4-act operetta Poule
blanche (1899; succ.). After his death three
776
ROGER-DUCASSE— ROHDE
completely finished scores were found: La
Fille de Fra Diavolo, La Princesse de Babylone,
and Adilaide.
Roger-Ducasse [rfih-zha' da-kalis'], Jean-
Jules-Amable, b. Bordeaux, April 18, 1875.
A pupil of G. Faur6 at the Pans Cons., and
winner of the 2d Prix de Rome in 1902.
Since he first attracted attention with his
Variations plaisantes sur un theme grave
(Lamoureux Concert, Jan. 24, 1909), his name
has figured prominently in Paris concerts. —
Other works: For orch., Suite francaise,
Prelude, Petit Suite, Prelude d'un ballet, Le
joli jeu de furet (orch!. scherzo); Sarabande,
symph. poem (w. solo voice); Au Jardin de
Marguerite, symph. poem (w. soli and ch.);
Sur quelques vers de Vergile for ch. and orch.;
a 2-act ballet, Orpliee; several works for chil-
dren's vcs. w. orch.; a str.-quartet in Dm.;
a pf. -quartet in G; several motets; pf.-pcs.
{Le Cceur de VEau, Noels des Roses, 6 Prec-
ludes, etc.).
Rogers, Cfara Kathleen, nee Barnett; b.
Cheltenham, Engl., Jan. 14, 1844; daughter
of John Barnett, 'the fat her of English opera/
Taught by her parents till 1856; then till
I860 at Leipzig Cons, by Moscheles and
Plaidy (pf.), Papperitz and Richter (theory),
David and Rietz (ensemble-playing); also
singing (1859) by Goetz. St. in Berlin 6
months; and for the stage at Milan with
Sangiovanni. Debut Turin, 1863, as Isa-
bella in Roberto it Diavolo (stage-name 'Clara
Doria'); sang at Genoa, Leghorn, Florence,
and Naples (S. Carlo Th., as Amina and
Lucia); then on the London concert -stage
for 5 years. Came to America 1871 with the
Parepa-Rosa company; d6but N. Y. Acad, of
Music in Bohemian Girl, Oct. 4; later sang
Donna Elvira (Don C), the Countess (Figaro),
and other rdles, in N. Y., Boston, Philadel-
phia, etc. In 1872-3, sang with the Maretzek
company; then settled in Boston as a concert-
singer, singing- teacher, and composer; since
1902 prof, of singing at the N. E. Cons.
Married a Boston lawyer, Henry M. Rogers,
in 1878. — Publ. works: Op. 10, 6 songs; op.
15, Scherzo in A, f. pf.; op. 16, Aubade, song
w. vln. and pf.; op. 17, Kiss mine eyelids,
lovely morn, w. do.; op. 20, 22, 24, 26, 28,
songs; op. 25, sonata f. pf. and violin, in
D m.; op. 29, Album of 6 songs [Brownings];
op. 30, 2 songs; op. 36, 6 folk-songs; etc. —
Also The Philosophy of Singing (1893);
Dreaming True (1899); My Voice and I
(1910); English Diction in Song and Speech
(1912); The Voice in Speech (1915).
Rogers, Francis, concert-baritone; born
Roxbury, Mass., April 14, 1870. Graduate of
Harvard Univ. (A. B., 1891); pupil of the
New Engl. Cons. 1894-5; st. singing with
C. Cheney and W. L. Whitney in Boston,
Vannuccini in Florence, Bouhy in Paris, and
I. Luckstone in N.Y.; concert debut in Bos-
ton, Feb., 1898; has appeared in concert and
oratorio throughout the U. S.; on tour with
Sembrich, 1910-11; sang one season in opera
with the Castle Square Opera Co. (1900-1).
Has publ. Some Famous Singers of the Nine-
teenth Century (1915); is a contributor to
various musical journals.
Rogers, James Hotchklss, b. Fair Haven,
Conn., Feb. 7, 1857. Studied with Clarence
Eddy in Chicago; 1875-80 in Berlin under
Loeschhorn and Ehrlich (pf.), Rohde (theory
and organ), and Haupt (organ); in Pans
under Fissot (pf.)f Guilmant (organ), and
Widor (theory). Returning to the U. S.,
he taught for one year in Burlington, Iowa;
settled in Cleveland, O., in 1883, where at
present (1917) he is organist of the Euclid
Ave. Temple and First Unitarian Ch., and
cond. of the Rubinstein Club. Has publ.
over 150 comps.: A Lenten cantata, The Man
of Nazareth; an Easter cantata, The New
Life; also anthems, secular part-songs, songs,
pf. -pieces, and studies for pf.
Rogers, Roland, b. Nov. 17, 1847, West
Bromwich, Staffordshire, Engl., becoming or-
ganist at St. Peter's at 11; from 1871-91,
organist at Bangor Cathedral, where he gave
annual series of recitals, and greatly elevated
the character of the mus. services. Also
gave recitals at St. George's Hall, Liverpool,
and elsewhere; and cond. the Penrhvn and
Arvonic Choirs. In 1906 he returned to his
former post at Bangor Cath,, which he still
holds (1917). Mus. Bac, Oxon., 1870; Mus.
Doc., 1875. — Works: Cantatas Prayer and
Praise (f. soli, double ch. and orcn.), The
Garden (prize at Llandudno, 1896), and Flora-
bel (f. female voices); Psalm 130, f. soli, ch.
and strings; a symphony, string-quintet,
organ-music, part-songs, songs, etc.
Roguslri, Gustaw, born Warsaw, 1839.
Pupil of Marx and Kiel in Berlin, and of Ber-
lioz in Paris; since 1865 prof, of comp. at the
Warsaw Cons.; enjoys a high reputation as
a teacher. Has written a symphony, a quin-
tet for pf. and wind-instrs., 2 str.-ouartets,
a pf.-trio, a vcl.-sonata; 2 masses and a num-
ber of motets; pf.-pcs. and songs. Also
Nauka harmonii (Manual of Harmony; w.
L. Zelenski); transl. into Polish Prout's The
Orchestra (1906).
Roh'de, Eduard, b. Hallc-on-Saale, 1828;
d. Berlin , Mar. 25, 1883, as choirmaster at the
St. Georgenkirche and singing-teacher at the
Sophien -Gymnasium. Comp. excellent mo-
tets, part-songs, etc.; Sommerabend f. fern,
ch., soli and pf. (op. 50); Der Blumen Roche
f. mixed ch., soli and pf. (op. 141); the can-
tata Schildhorn (op. 128); a vcl.-sonata (op.
777
ROHDE— ROLLAND
170); of .-music; wrote an elementary text-
book tor piano.
Rohde, (Friedrich) Wilhelm, b. Altona,
Dec. 11, 1856. From 1873-6 pupil at the
Leipzig Cons, of H. Schradieck and F. David
(vl.), J. Rdntgen (pf.), E. F. Richter and H.
Kretzschmar (comp.). Lived in Chicago
(1878-85) as teacher and member of the Ba-
latka Quintet; after one season in Boston as
viola in the Symph. Orch. and prof, at the
New Engl. Cons, he returned to Germany;
now (1917) living as teacher of vl. and pf. in
Schwerin. — Works: Symphony in Q m. (MS.),
Wolds title and Elfenreigen for orch., Serenade
for str.-orch. (op. 14); trio in F m. (op. 21);
HoUen-Galopp for vl., vcl., fl., horn and pf.
(op. 39); 2 Geistliche Lieder f. mixed voices
and org. (op. 13); male choruses (op. 6, 9, 18,
22); trios for fern. vcs. w. pf. (op. 10, 17);
4 canonic duets (op. 26); pf.-pcs.; songs.
R5hr, Hugo, b. Dresden, Feb. 13, 1866.
Pupil at the Dresden Cons, of A. Blassmann
(pf.) and F. Wiillner (comp.). Began his
career as Kapellm. in Augsburg ; after filling
similar positions in Prague and Breslau he
was called in 1892 as Hof kapellm. to Mann-
heim, where he also cond. the Akademie-
konzerte; since 1896 Hof kapellm. at the court
opera in Munich, and (since 1912) also cond.
of the Lehrergesangverein. — Works: The
opera Voter unser (Munich, 1904); Ekke-
hard, 'dram. Dichtung' for soli, ch. and orch.;
pf.-pcs. ; choruses and songs.
Rolla, Alessandro, violinist, Paganini's
teacher; b. Pavia, April 22, 1757; d. Milan,
Sept. 15, 1841. Pupil of Renzi and CoRti;
in 1782, court solo violist at Parma, later
leader of the Ducal orch. In 1802, maestro
at La Scala, Milan; in 1805, solo violinist to
the Viceroy, Eugene Beauharnais; prof, of
violin and viola at Milan Cons, from its foun-
dation in 1807.— Works: The ballets Adela-
sia (Milan, 1779), Iserbeck [Zachinda] (Padua,
1802), Eloisa e Roberto [II Conte d'Essex]
(Rome, 1805), Pizzarro, ossia La Conquista
del Peril (Milan, 1807), Abdul (Vienna, 1808),
Achilles auf Skyros (ib., 1808); symphonies;
church-music; 3 violin-concertos; 4 viola-
concertos; 6 string-quartets; a quintetto con-
certante f. strings; trios f. vln., via., and
'cello, also f. 2 viofinsand 'cello; duos f. violin,
also f. vln. and via.; etc. — See Q.-Lex.
Rolland [ffch-lahn'], Romain, distin-
guished musicologist and critic; b. Clamecy,
Nievre, Jan. 29, 1868. He was educated at
the Ecole normale supeneure and the £cole
de Rome; Dr. es lettres (1895) with two theses,
Cur ars picturae apud Italos X VI saeculi de-
ciderit and the very valuable Les origines du
thedtre lyrique moderne (Histoire de V opera
en Europe avant Lully et Scarlatti); the
latter was awarded the Prix Kastner-Bour-
gault by the Academy in 1896, and at the
same time won him tne professorship of the
hist, of music at the £cole normale. In 1900
he organized the first international congress
for the history of music in Paris, and read a
paper on Les musiciens italiens en France sous
Mazarin et 'I'Orfeo' deLuigi Rossi (publ. 1901) ;
with J.Combaneuhe ed. the transactions and
the papers read as Documents, mhnoiresetvarux
(1901). In Oct., 1901, he founded, with J.
Combarieu (ed.), P. Aubry, M. Emmanuel,
L. Lalois and himself as principal contribu-
tors, the 'Revue d'Histoire et Critique musi-
cales' (fortnightly). In 1903 the Univ. of
Paris commissioned him to organize the
music section of the newly founded £cole des
Hautes £tudes Sociales, of which he was the
first pres. (present pres. A. Pirro [1917]), and
where he has since lectured on the hist, of
music. R.'s writings exhibit sound scholar-
ship, broad sympathy, keen analytical power,
well-balanced judgment and intimate ac-
quaintance with the works of the composers.
The book by which he is most widely known
is Jean-Christophe, a musical novel remarkable
for its blending of historical accuracy, phil-
osophical and esthetic speculation, subtle
?;ychological analysis and romantic interest
he first vol. was publ. in 1905, the last (10th)
in 1912; Engl, transl. by G. Can nan, N. Y.,
1911-13; Ger. tr. by E. GrautofF, Frankfort,
1913-15; awarded the Prix Marcefttn Guerin
of the Acad. (5,000 francs) in 1913, rod one-
fourth ($10,000) of the Nobel Prize in \9\5.
R.'s other works are Paris als Musikstadt
(1904; in Strauss's series 'Die Musik'; re-
written and publ. in Fr. as Le Renouveau in
Musiciens daujourd'hui [q. v.]); Vie de
Beethoven (1907; Engl. tr. by A. E. Hull,
1917); Hcendel (1910; in 'Les Mattres de la
Musique'; Engl. tr. by A. E. Hull, 1916).
Valuable essays publ. in various journals he
coll. and publ. in 2 vols, as Musiciens d" au-
trefois (1908; 2d ed. 1912: V opera avant
I'optra 'Orfeo' de Luigi Rossi, Lully, Gluck,
Gritry, Mozart; Engl. tr. by Mary Blaiklock,
1915); and Musiciens df aujourd'hui (1908;
6th ed. 1914: Berlioz, Wagner, Saint-Sains,
oVIndy, Debussy, H. Wolf, R. Strauss, U
Renouveau de la musique francaise depuis
1870; End. tr. by M. Blaiklock, 1914 [2d ed.
1915]). — Aside from his writings on music
R. has won a high place among contemporary
literary men through his dramatic cycles
Thedtre de la Revolution (Le, 14 Juillet, Danton,
Les Loups) and Les Tragedies de la Foi (Saint-
Louis, A'ert, Le Triomphe de la Raison); of
these Les Loups has also been prod, in Munich
as Die Wolfe (1914). Has also publ. Vie de
Michel-Angc and Vie de Tolstoy, constituting
with the Vie de Beethoven the series 'Vies des
Hommes Illustres'; and contributed the chap-
ter on V Optra au XVII* siede en Italie to
778
ROLLE— ROMBERG
Lavignac's 'Encycl. de la Musique' (1913). —
Cf. P. Seippel, R. R. Uhomme et Vauvre
(Paris, 1913).
Rol'le, Johann Heinrich, born Quedlin-
burg, Dec. 23, 1718; d. Magdeburg, Dec. 29,
1785. Student of law and philos. at Leipzig
1736-40; viola-player in the Berlin court
orch. 1741-6; then organist, and from 1752
his father's successor as town mus. dir., at
Magdeburg. — Works: 4 Passions; 20 ora-
torios and cantatas; several church-services
for the entire year; the Odes of Anacreon f.
solo voice w. clavichord-accomp. ; etc.— Cf.
W. Kaweran, J. H. R. Ein musikalisches
CharakUrbild (Magdeburg, 1885).— See also
Q.-Lex.
Rdllig, Karl Leopold, b. Vienna, c. 1735;
d. there Mar. 4, 1804. Harmonica-player,
and inventor of the 'Orphika' and 'Aanor-
phika' (pianos with bows instead of hammers) ;
travelled to produce his instrs. and obtained
a position in the court library, Vienna, in
1797. — Works: A comic opera, Clarissa
(Hamburg, 1771); pieces f. harmonica and
Or ph ilea; wrote Ober die Harmonika (1787);
Ober die Orphika (1795); etc.— See Q.-Lex.
Ro'man, Johan Helmich, the 'Father of
Swedish Music'; b. Stockholm, Oct. 26, 1694;
d. Oct. 19, 1758, on his estate Haraldsmala,
n. Kalmar. At 16,' violinist in the court
orch., in which his father was leader; st.
comp. with Ariosti and Pepusch in London
(1714), and ent. the service of the Duke of
Newcastle, winning a high reputation; re-
turned to Stockholm in 1720; became Hof-
kapellm. in 1729; 1735-7, lived in Italy,
France, and England ; elected member of the
Swedish Acad, in 1740; retired in 1745. Of
his numerous comps. only 2 sets were publ.
during his life, 12 Sonate a flaulo traverso
(1727) and Assaggio a violino solo (1740).
In MS. in various libraries are preserved a
mass for soli, ch. and orch., motets, hymns,
and about 80 psalms; 21 sinfonie, 2 sinfonie
da chiesa, 6 overtures, 5 suites, 2 concerti
grossi, 5 vl. -concertos, about 20 vl. -sonatas,
17 trio-sonatas; also a great many occasional
pes. (instrl. and vocal).— Cf. P. Vretblad,
/. H. R. Svenska musikens fader (2 vols.,
Stockholm, 1914; vol. ii contains complete
thematic catalogue).
Roma'nl, Carlo, nephew of Pietro R.; b.
Avellino, May 24, 1824; d. Florence, March
4, 1875. Pupil of Palafuti (pf.) and Picchi-
anti (comp.); completed his studies under his
uncle; set to music the recitatives of Der
Freischuts for the first Ital. perf. (Florence,
Feb. 3, 1843); wrote the operas (all prod, at
Florence) Tutti Amanti (1847), // ManteUo
(1852; very succ), I Baecanali di Roma
(1854), ErmeUina ossia Le Gemme delta
Corona (1856); Gianni di Nisida (not prod.).
Also wrote an oratorio, San Sebastiano (1864);
patriotic songs.
Roma'ni, Felice, b. Genoa, Jan. 31, 1788;
d. Moneglia, Riviera, Tan. 28, 1865. Aban-
doning the legal profession, he turned to
literature, becoming the foremost librettist
of his time. He wrote about 100 libretti
for Mayr, Winter, Vaccai, Rossini, Bellini,
Donizetti, Pacini, Ricci, etc.— Cf. L. Liano-
vosani, Saggio btbliqgrafico telatwo ai melo-
drammi di F. R. (Milan, 1878); E. Branca,
F. R. ed i piU reputati maestri di musica del
sua tempo (Turin, 1882); C. Paschetto,
F. R. Monografia (Turin, 1907).
Romanlello, Luigi, pianist and comp.;
b. Naples, Dec. 29, 1860. Taught by his
father and his brother Vincenzjo; then at
Naples Cons., 1876-80, by Coop and Cesi
(pf.), and Scarano and Serrao (comp.), grad-
uating with the highest honors. For a time,
director of the pf. -department of the Cons.;
and later succeeded Martucci and Cesi in the
Soc. del Quartetto, also becoming the regular
pianist of the Ferni Quartet. Is instructor
in the R. 4Educandato di San Marcellino';
critic for 'Le Menestrel,' the 'Nouvelle mu-
sique,' and the 4 Monde artistique,' and a chev.
of the Italian ( Crown. Frequent successful
pianist ic tours in Italy and elsewhere. — Publ.
works: The 4-act opera seria Alda (Piacenza,
1896); a vast amount of music f. pf., f. violin
and pf., and for voice; also a method for
pf. (won prize at Naples, 1886). — In MS.
2 operas, Tra Marinari and Valentia; 2 sym-
phonic poems, on Byron's Corsair and Man-
fred; 2 symphonies; an overture; 'morceaux
de genre' f. orch.; 2 pf. -concertos; 2 pf. -trios;
and many others.
Roman! 'na. See Albbrtini, Michael
Romani'ni, Romano, born Parma, 1864.
Pupil, at the Cons, there, of Ludovico Mando-
vani (violin) and Giusto Dacci (comp.), grad-
uating in 1882. Began his career as 1st vio-
lin in the Teatro Regio; was then called to
Savigliano as cond. of the concert- and thea-
tre-orch.; in 1890, prof, of violin at the 'Isti-
tuto Venturi' (conservatory), Brescia, of
which he has been the Director since 1897. —
Works: The 2-act opera Al Campo (Brescia,
1895; succ); a symphony; a Gavotte and
Minuet for string-orch., etc.
Romano, Glulio. See Caccini.
Itom'berg, Andreas (Jacob), b. Vechta,
n. Munster, April 27, 1767; d. Gotha, Nov. 10,
1821. Son of the clarinettist and mus. dir.
Gerhard Heinrich R. [1745-1819]. Violin-
virtuoso; played in public at 7; in 1784 he
made a concert-tour with his cousin Bern-
hard through Holland and France, reaching
Paris in 1784, where he was engaged as soloist
for the Concerts Spirituels during the season.
779
ROMBERG— RONCHETTI-MONTEVITI
From 1790-3 he played in the Electoral orch.
at Bonn with Bernhard; toured Italy with
him, then lived in Vienna and Hamburg, and
followed him to Paris in 1800 in the vain hope
of getting a hearing as a composer; lived in
Hamburg 1801-15, and then succeeded Spohr
as court KapeHm. at Got ha. He received the
degree of Dr. phil. from Kiel Univ. — Works:
8 operas and operettas (Scipio and Die Ruinen
von Paluzzi are publ. in pf. -score; their over-
tures, and that to Don Mendoza, are publ. in
score); the choral works w. orch. Das Lied
von der Glocke [Schiller], op. 25 ; Die Macht des
Gesanges [id.], op. 28; Was bleibet und was
schwindet [Kosegarten], op. 42; Die Harmonic
der Spharen [id.], op. 45; the vocal soli w.
orch. Die Kindesmorderin, Monolog der Jung-
frau von Orleans, Der Graf von Habsburg,
Sehnsuchi (atl by Schiller); an orchl. mass
and much other church-music; many instrl.
compositions — 10 symphonies (4 publ.), 23
violin -concertos (4 publ.), 33 string-quartets
(25 publ.), a double quartet (2 movem.),
8 flute-quintets w. strings, 1 clar. -quintet,
2 string-quintets, 1 pf. -quartet, 3 violin-
sonatas, 11 rondos and caprices f. violin,
a concertante f. vln. and 'cello w. orch., etc. —
Biogr. sketch in Vol. I of Rochlitz's Fur
Freunde der Tonkunst (Leipzig, 1824).-zSee
Q.-Lex. ~
Romberg, Bernhard, b. Dinklage, Olden-
burg, Nov. 11, 1767; d. Hamburg, Aug. 13,
1841. [Son of Anton Romberg, famous
bassoonist, 1742-1814, brother of Gerhard
Heinrich R. above.] Excellent 'cellist, the
companion of his cousin Andreas for years.
Went to Paris in 1800, after a tour in England
and Spain, and was app. prof, of 'cello-play-
ing at^ the Cons.; resigned in 1803, lived 2
years in Hamburg, became solo 'cellist in the
Berlin court orch. in 1805, and court KapeHm.
1815-19; retired to Hamburg. Also made
numerous extended concert-tours, the last (to
London and Paris) in 1839. For 'cello he
wrote 9 concertos (still admired), 3 concer-
tinos and a fantasia w. orch., 4 sets of Russian
airs w. orch., caprices and fantasias on Swe-
dish, Spanish, and Rumanian airs, and Polo-
naises;— also several operas, incid. music to
plays, a concertante f. 2 horns w. orch.. 11
string-quartets, 1 string- trio, a trio f. viola,
'cello and bass, duos f. 2 'celli, and sonatas
w. bass; etc. — See Q.-Lex.
Rom'berg, Cyprian, son of Andreas, and
pupil of Bernhard; b. Hamburg, Oct. 28, 1807;
d. there Oct. 14, 1865. Made long tours, and
became 'cellist in the Petrograd court orch.
— Publ. concert-pieces f. 'cello.
Ronald, Landon [real name Russell;
brother of the impresario Henry Russell],
b. London, June 7, 1873. From 1885-90
pupil at the R, C, M. of Franklin Taylor (pf.),
Henry Holmes (vl.) and Sir H. H. Parry
(comp.); also attended for a time tiie classes
of Sir C. V. Stanford and Sir W- Parratt.
Succ. debut as pianist in London in 1890,
but soon abandoned that career to conduct
comic operas in the provinces; 1891-^i,
'maestro al piano' and second condL^ at Co v.
Garden, also cond. of Sir A. Harris's Ital.
Opera Co. (on tour); tour of the U- S. in
1894 with Mme. Melba as her accompanist
and cond.; in 1895 he cond. several perfor-
mances during the Grand Season at Cov. Gar-
den. In 1897 Sir P. Tosti eng. him as his
asst. in his duties as accompanist to the court,
and since then R. has participated regularly
in the state concerts at Windsor, Balmoral
and Buckingham Palace. From 1&98-1902
he was cond. at the Lyric Th.t London,
and during that time he began his series oi
symphony concerts at Blackpool on Sun-
days during Aug. and Sept. Having con-
ducted a number of concerts with the London
Symph. Orch. in 1907, he made a tour of the
continent (1908), directing some of the famous
orchestras in Berlin, Bremen, Leipzig, Vienna,
Amsterdam, etc. On his return he was app.
permanent cond. of the New Symph. Orc£.
(now the Royal Albert Hall Orch.), whicA
under his leadership has developed into ose
of the finest orchestras in England. In the
same year (1908) he instituted a series oi
Promenade Concerts in Birmingham, which,
together with the Blackpool concerts; he has
continued to the present day (1917); be has
frequently appeared, by invitation, as cond.
of the Scottish Orch., Manchester Symph.
Orch., London Philh. Soc., Liverpool Philb.
Soc., etc.; in 1909 he cond. one of the coo-
certs of the Accademia Santa Cecilia in Rome.
Since his appointment as principal of the
G. S. M. in 1910 he has raised the standard of
the institution by the introduction of gen-
eral culture courses. For 'distinguished ser-
vices to British Art' he was admitted on Oct.
28, 1913, to the freedom of the Worshipful
Company of Musicians. At various times
he has also acted as mus. .critic for 'The
Artist' (1902), 'The Onlooker' (1903) and
'The Tatler' (1907).— Works: A Winter's
Night, symph. poem; A Birthday, overt.;
Suite de Ballet; 2 ballets, Britannia's Realm
(1902; for the coronation of Edward VII)
and Entente cordiale (1904); an operetta,
A Capital Joke; 2 dramatic scenes, Adonais
and The Lament of Shah Jehan; pf.-pes. ;
about 200 songs.
Ronchet'ti - Montevi'ti [rohn-keVte«J,
Stefano, b. Asti, Sept. 18, 1814; d. Casale
Monferrato, Oct. 16, 1882. Pupil of B. Neri
at Milan, becoming prof, of comp. at the Cons,
there in 1850, and succeeding Mazzueato as
Director in 1877. His one opera, Pergolesi
(Milan, La Scala, 1857) was a failure; his
780
H.
RONGONI— RONTGEN
•!■."
church-comps. (especially a Motet a 16,
Sanctum et terribUe nomen Ejus), the inter-
mezzi to the poem Ossian, a national hymn
Per la patria il sangue han dato, etc., are
highly esteemed.
Ronco'ni, Domenico, stage-tenor; born
Lendinara, Rovigo, July 11, 1772; d. Milan,
April 13, 1839. Sang in Petrograd (1801-5),
Vienna, Paris, and the chief cities of Italy (at
La Scala, Milan, in 1808) ; director of the Ital-
ian opera, Vienna, in 1809; sang in Paris and
Italy, and 1819-29 at Munich, where he was
singing-master to the princesses. Founded a
singing-school at Milan in 1829. He was a
famous teacher, and publ. vocal exercises. —
His son Giorgio (b. Milan, Aug. 6, 1810; d.
Madrid, Jan. 8, 1890), was a well-known bari-
tone; he opened a music-school at Cordova,
Spain, in 1863, and from 1867 taught singing
in New York for some years; also publ. songs
and vocal exercises.
Rong, Wilhelm Ferdinand, d. Berlin
after 1821 (?), aged 100 (?). Chamber-musi-
cian, to Prince Heinrich of Prussia; music-
teacher in Berlin. Besides patriotic songs,
etc., he wrote an Elemenlarlekre am Clavier
(1786); Theoretiseh-praktisehes Handbuch der
Tonartenkenntniss (1805); etc.
Ronge [r&hn-zhal, Jean-Baptlste, born
Liege, April 1, 1825; d. there 1882. Pupil at
the Cons, there of Daussoigne-MShul, and
winner of the 2d Prix de Rome (1851). He
had won some reputation with a number of
occasional cantatas, when he met the poet
Andre van Hasselt, in collaboration with
whom he made excellent translations (into
Fr.) of famous operas {Don Giovanni, Nozze
di Figaro, Zauberflote, Fidelio, Freischutz,
Euryanthe, Oberon, Preciosa, Norma, Bar-
biere di Siviglia), abandoning music alto-
gether for the time. Before that he had publ.
various essays setting forth his ideas on the
relation between metrical and musical accent,
and these translations (publ. by Litolff) may
be regarded as a successful demonstration of
his theories. With the same poet he made
equally fine translations of many German
songs (chiefly Schubert's). After van H.'s
death (1874) he returned to comp., producing
an opera comique in 3 acts, La Comtesse
d' Albany (Liege, 1877); also wrote some
choruses and songs, and 24 Etudes rytkmiqucs
(for voice).
Ronger, Florimond. See Herv£.
Rdnt'gen, Engelbert, violinist; born
Deventer, Holland, Sept. 30, 1829; d. Leip-
zig, Dec. 12, 1897. Pupil of F. David in
Leipzig Cons.; played 1850-69 with the 1st
violins in the Gewandhaus Orch.; then suc-
ceeded R. Dreyschock as 2d Konzertmeister;
and on David's death in 1873 became his
successor as 1st Konzertmeister. Also
teacher in the Cons. He publ. a valuable
essay, Einiges zur Theorie und Praxis in
musikalischen Dingen, in 'Vierteljahrsschr.
f. M.W.' (vol. ix, 1893).
Rdnt'gen, Engelbert, violoncellist, son of
Julius R.; b. Amsterdam, Aug. 12, 1886. Pupil
of I. Mossel at the Cons, there (1900-2) and
of J. Klengel at the Leipzig Cons. (1902-4);
after further study under P. Casals during the
summer of 1905 he began his career as solo
'cellist at the opera and symph. concerts in
Rostock; 1906-11, in Zurich as solo 'cellist
of the Tonhalle Orch., member of the Ton-
halle Streichquartett, and head of the 'cello-
dept. at the Cons.; 1912-14, solo 'cellist at the
Hofoper in Vienna; since 1916 solo 'cellist of
the N. Y. Symph. Orch., with which organ-
ization he made his Amer. d£but as soloist
(J. Rdntgen's vcl. -concerto) on Jan. 21, 1917;
is also a member of the N. Y. Chamber-Mu-
sic Soc. and head of the 'cello-dept. at the
David Mannes Music School; has made suc-
cessful tours of Germany, Holland, England
and Scandinavia.
Rttnt'gen, Julius, pianist, son of Engel-
bert (the violinist); b. Leipzig, May 9, 1855.
Had private lessons with Hauptmann (1866),
later of E. F. Richter, Plaidy, and Reinecke;
even before 1866 he began to compose. In
1871 he went to Munich to study comp.
under Fr. Lachner; soon after his return, he
publ. a violin-sonata in B m. (op. 1). First
public appearance as a concert-player at
Stuttgart, 1875, giving a series of concerts
with J. Stockhausen. Settled 1878 in
Amsterdam as teacher in the Music-School;
succeeded Verhulst, as concert-conductor to
the Soc. for the Promotion of Music, in 1886
(retired from this post in 1898; his successor
is Mengelberg); has also cond. the concerts
of the Felix Merit is Soc. for several seasons;
was a co-founder (1885) of the Cons., of which
he has been dir. since 1913; establ. soirees for
chamber-music; and is one of the most popu-
lar pianists and teachers in his adopted home.
— Works: Besides 2 pf.-sonatas (op. 2, 10),
a pf. -suite (op/ 7), and much other pf. -music,
he has publ. Toskanische RispetU (op. 9)
for solo voices and pf.; a pf. -concerto in D
(op. 18); a Serenade f. wind-instrs. (op. 14);
Sturmesmythe [Lenau] f. mixed ch. and orch.
(op. 31); Gebet f. do. (op. 27); a pf.-trio in Bb
(op. 23) ; 3 sonatas f . violin and pf ., op. 1 (Bm.),
op. 20 (F#m.), op. 40 (E); 3 sonatas for vcl.
and pf ., op. 3 (Bb), op. 41 (A m.), op. 56 (B m.)
Ballade f. orch. (on Norwegian folk-themes),
op. 36; Een liedje van de zee (symph. an*, of
an old Dutch folk-song), op. 45; Oud-Ne-
derlandsche dansen f. orch., op. 46; Oud-Neder-
landsche amoreuse Liedekens [Old Netherland
Love-ditties] w. pf., op. 30; songs, etc.
781
ROOT— RORE
Root, Frederick Woodman, son of
George F. R. ; b. Boston, Mass., June 13, 1846.
Taught by his father, then by Dr. B. C.
Blodgett, and (from 16) by Dr. William
Mason, New York. In 1863, organist of the
Third Presb. Ch., Chicago; in 1865, of the
Swedenborgian Ch. In 1869-70, travelled
and studied in Europe for 18 months, study-
ing singing with Vannuccini in Florence.
Returning, he wrote for 'The Song Messenger,'
which he edited for some years; correpon-
dence, essays and reviews have ever since
demanded a share of his attention. His
work with large vocal classes, and on the
lecture-platform, has been very successful.
Besides numerous interesting papers on voice-
culture, he has publ. The Technic and Art of
Singing. Charter member of the Amer. Coll.
of Musicians.
Root, George Frederick, b. Sheffield,
Mass, Aug. 30, 1820; d. Barley's Island, Aug.
6, 1895. Pupil of Geo. J. Webb, Boston;
asst. -organist at Boston; removed to New
York in 1844, becoming organist of the
'Church of the Strangers,' Mercer St., also
teaching singing in various institutions, and
conducting conventions. Went to Paris for
a year's study in 1850; returning he success-
fully prod, the cantata The Flower Queen, his
first large work. Going to Chicago in 1859
he founded the music-publishing firm of Root
& Cady (dissolved 1871). Mus. Doc., Univ.
of Chicago, 1881.— Works: The cantatas
The Flower Queen, Daniel (1852), The Pilgrim
Fathers (1854), Belshanar's Feast (1855),
The Haymakers (1857), etc. — Popular songs
(Battle-cry of Freedom, Tramp, tramp, tramp,
Just before the battle, Mother), part-songs, etc.
Publ. numerous collections of church-music
and school-songs. — Cf. his autobiogr., The
Story of a Musical Life (Cincinnati, 1891).
Rootham, Cyril Bradley, b. Bristol, Oct.
5, 1875. At St. John's Coll., Cambridge, he
won classical and musical scholarships (Mus.
Bac, 1900; A. M., 1901; Mus. Doc., 1910);
finished at the R. C. M. under M. Barton,
Sir C. V. Stanford and Sir W. Parratt.
App. org. at Christ Ch., Hampstead, 1898;
since 1901 org. at St. John's Coll., Cambridge;
1912, cond. of the Univ. Musical Soc.; 1913,
lecturer on Form and Anaylsis; 1914, Fellow.
—Works: In Highland and Meadow, for ch.
and orch.; Coronach for bar. solo, ch. and
orch.; Helen of Kirkconnell for ten. solo and
orch.; Albert Graeme's Song for bar. solo and
orch.; The Lady of Shalott for m.-sop., ch.
and orch.; Andromeda, dram, cantata for
soli, ch. and orch. (Bristol Fest., 1908); For
the Fallen for ch. and orch. (1915); Four
Dramatic Songs w. orch.; incid. music and
choruses to R. Bridge's Achilles in Scyros
(1912); many songs and part-songs; Irish
Sketches for vl. and orch.; organ-works (Fc
tasia Overture in D m.; Epinikion, Elegiac
Rhapsody, etc.). In MS.: The Spirit of
Comedy, overt.; A Passer-by, rhapsody for
orch.; Pan, suite for orch.; str.-quintet in
D; 3 str.-quartets (E m., A m., G m.); Rhap-
sody in D m. for str.-quartet. Has also publ.
Voice Training for Choirs and Schools, and
other pamphlets.
Ropartz [roh-pahrts'], (Joseph) Guy
(Marie) [signs himself J. Guy], b. Guingamp,
Cdtes du Nord, June 15, 1864. St. law at
Rennes and was admitted to the bar, but
deserted the practice of law and ent. the Paris
Cons, as pupil of Dubois and Massenet; fin-
ished his studies with Cesar Franck; since
1894 he has exerted an ever-growing influence
as dir. of the Cons, and cond. of the symphony
concerts at Nancy. A composer oi pro-
nounced originality; awarded the Prix Cres-
sent (for opera comique) in 1906, and the
Prix Chartier (for chamber-music) in 1909;
chev. of the Legion of Honor in 1906. — Works:
Incid. music to Loti's Ptcheur d* Island*
(1893); the 1-act operas Le DiabU couturier.
Marguerite d'Hcosse, Paysages de Bretagne;
a 3-act grand opera, Le Pays (Nancy, 1912);
Psalm 136 for soli, ch., org. and orch. For
orch. : 4 symphonies (No. 1 'sur un choral bre-
ton'; No. 2, F m.; No. 3, E [w. ch.]; No. 4,
C); 2 suites (Seines bre tonnes, Dimanche ore-
ton); La Chasse du Prince Arthur, 'etude
symphonique'; Fantaisie in D; 3 Airs de bal-
let; ravsage breton (La Cloche des Moris, Les
Landes] ; Carnaval, ' imprompt u sym phomque* ;
Le Convoi du Fermier; Soir sur les Chaumes;
CinqPiices breves; A Marie endormie; Marcht
de FUe; Marche des Korrigans; Serenade and
Miditation for str.-orch.; Adagio for vcl. and
orch.; Lamento for ob. and orch.; 2 str.-quar-
tets (G m., D m.), vl.-sonata in D m., vcl.-
sonata in G m.; motets; organ-pes. (Prelude
furikbre, Theme varie, Offertoire pascal, etc.);
pf.-pes. (Dans V ombre de la montagne, Choral
varie, Pres d'un ruisseau, etc.); songs (some
w. orch., Priere, La Fleur d*or. Sous bois, 4
Poimcs [Heinel). — Has publ. Le Conserva-
toire et les Concerts de Nancy 1881-97; Nota-
tions artistiques; Notice sur Victor Massf; 3
vols, of poems (Les M nances, Adagiettos,
Modes mineures), and a play, La Batte (prod,
at the Th. TApplication, Paris).
Roquet [r6h-ka']. See Thoinan.
Ro're, CIprlano de, b. Mechlin, 1516; d.
Parma, 1565. This distinguished composer
was a pupil of Willaert, maestro at San Marco,
Venice, and in 1542 publ. his first book of
madrigals a 4 (often republ. and long in favor).
From 1553-1558 he was in the service of the
Duke of Ferrara, Ercole IV; visited Antwerp
in 1558, and about 1559 was app. asst.-mae-
stro to Willaert, whom he succeeded in 1563,
782
RORICH— ROSEL
but soon resigned, becoming 'chori praefectus'
to Ottaviano Farnese, then Duke of Parma. —
Publ. 8 books of madrigals, 3 of motets, a
Passion ace. to St. John, 'Fantasie e ricercari\
Motets and madrigals are in colls, by Susato,
Phalese, and others. — In MS. (Munich Li-
brary) are 3 masses: 'Vivat Felix Hercules'
a 5, 'Praeter rerum seriem' a 7, and a 'Missa
a note nere' a 5; also motets and madrigals. —
Cf . R. van Aerde, Notice sur lame tiles auvres
deC.de R. (M alines, 1909).— See alsoQ.-Lex.
Ro'rich, Karl, b. Nuremberg, Feb. 27,
1869. Pupil of R. School of Music, Wiirz-
burg. App. in 1892 teacher at the Grand-
Ducal Sen. of Mus., Weimar; made Musikdir.
in 1897, and in 1911 member of the 'Sachver-
standigenkammer'; from 1904-9 alsocond. of
the 'Philh. Verein'. Since 1914 dir. of the
munic. music-school in Nuremberg. — Works:
A symphony in D m.; 2 overtures, Mdrchen
and Karnevalistische; 2 suites, Waldleben
and Weihnachtsbilder; Akademischer Fest-
marsch; Hymnus solemnis [all for full orch.];
IntrodukUon und Allegro f: str.-orch.; a 3-act
'Marchenspiel', Ilsa; Kammerlieder f. alto
w. str. -quartet; quintet f. wind-instrs. in E
m.; str. -quartet in B m.; a suite for 2 flutes;
choruses, songs and pf. -pieces. Also publ.
Materialien fUr den theoretisehen Unterricht
(1908).
Ro'sa, Carlo (recte Karl Rose), b. Ham-
burg, Mar. 21, 1842; d. Paris, April 30, 1889.
At 12 he made tours as a violinist to England,
Denmark, and Germany; studied further in
the Conservatories of Leipzig (1859) and
Paris; was Konzertmeister at Hamburg 1863-
5; played in the Crystal Palace, London, in
March, 1866, and made a concert-tour in the
United States with Mr. Bateman, meeting
Euphrosyne Parepa, and marrying her at
New York in Feb., 1867. They organized an
English opera-company, and toured America
until 1871, then returning to London. After
his wife's death in 1874, he continued English
opera in the leading London theatres.
Ro'sa, Salvatore, famous painter, poet,
and musician; b. Aranella, Naples, June 20,
1615; d. Rome, Mar. 15, 1673. After the
popular insurrection, led by Masaniello, in
1647, he went to Rome. He comp. fine
madrigals and songs (coll. by Burney); Dr.
Crotch publ. a 'cantata* in his 'Specimens of
Various Styles' It was R. who wrote the
satire ('Satira') on music and kindred arts,
which provoked Mattheson's reply in 'Mi-
thridat'.
Roach, Friedrich, b. Memmingen, Dec.
12, 1862. Law-student at Munich: music*
pupil of Wohlmuth and Rheinberger, and
conductor of the Academical Singing Society;
gave up the law in 1888, and lived in Berlin,
Petrograd, and Munich. In 1898 hef with H.
Sommerand Richard Strauss, organized the
'Genossenschaft deutscher Tonsetzer'; made
Dr.jur. (hon. c.) by the Univ. of Jena in 1913.
— Works: Antonius, a burlesque oratorio;
numerous humorist ic choral pieces; 4- part
madrigals for male chorus; songs. — He has
written Musikdsthetische StreUfragen (1898;
on Billow's collected letters; on Program-
music; etc.); an essay on Alexander Kitter
(1898); etc.
Ros6 [roh-zal, Arnold (Josef), distin-
guished violinist; b. Jassy, Rumania, Oct. 24,
1863. Began to play vl. at the age of 7; st.
under Karl Heissler at the Vienna Cons.,
1874-7; debut at the Gewandhaus, Leipzig,
Oct. 30, 1879. His success with the Vienna
Philh. Soc. (Hans Richter) led to his appoint-
ment as leader at the Hofoper in 1881, which
post he still holds (1917); since 1909 he has
teen prof, of vl. and chamber-music at the
*k. k. Akademie fur Musik und darstellende
Kunst' in Vienna. In 1882 he founded the
Rose-Quartett (R.. P. Fischer, A. Ruzitska,
F. Buxbaum), which has won a high reputation
throughout Europe; as soloist and with his
quartet R. has toured Austria, Germany,
France, Belgium, England, Italy, Spain, and
Russia. He is k. k. Karamervirtuose,
Knight of the Crown of Italy, hon. member of
the Beethoven-Haus (Bonn), and the recipient
of numerous medals and decorations. In
1902 he married Justine Mahler, a sister of
Gustav M.
Roseingrave, Thomas, b. Dublin; d.
London, 1750. Organist at St. George's,
Hanover Square, 1725-37. — Publ. Voluntarys
and Fugues, made on Purpose for the Organ or
Harpsichord (1730); Solos for the German
Flute, with a Thorough Bass for the Harpsi-
chord; 8 Suites of Lessons f. harps.; a concerto
f. do.; fugues f. org. or harps. (1750); etc.
— See Q.-Lex.
R5'sel, Rudolf Arthur, b. Mflnchenberns-
dorf, Gera, Aug. 23, 1859. Studied 1873-7 at
the Weimar Music-School under WalbrUl (vio-
lin), Sulze (harm.), and Muller-Hartung
(cpt.); later under Thompson. 1877-9, 1st
violin at Hamburg City Th.; 1879-81, do. in
private orch. of von Derwies at Lugano and
Nice; 1881, at Weimar; 1884, leader at
Rotterdam, and teacher at the Music-School;
1888 till the present (1917) leader in Weimar
Court Orch.; also teacher of violin and en-
semble-playing at the Music-School. — Works:
The 2-act 'lyric stage-play* Halimah (Weimar,
1895, mod. succ.); opera ThSdtre VarieU (not
perf.); music to Der gestiefeUe Kater; sym-
phonic poem Fruhlingssturme; 2 violin-con-
certos; 1 viola-concerto; 2 string-quartets
(all in MS.).— Publ. pieces f. vln. and pf.;
a Notturno f. horn w. orch.; a Notturno f.
oboe w. orch.; songs.
783
ROSELLEN— ROSENTHAL
Rosellen, Henri, b. Paris, Oct. 13, 1811 ; d.
there Mar. 18, 1876. Pupil, at the Cons., of
Pradher and Zimmerman (pf.), and Dourlen,
Fetis and Halevy (comp.), later of H. Herz.
Successful and popular teacher of pf.-playing,
and composer f. pf. — Publ. a Method f. pf.,
op. 116; a Manuel des pianistes, op. 116 bis;
a trio concertante f. pf., vln. and 'cello, op.
82; 25 Etudes de tnoyenne force, op. 133, and
12 Etudes brillantes, op. 60; much good salon-
music (Reverie in G; Nocturne et TarenleUe,
op. 92); 76 fantasias on operatic airs; varia-
tions; etc.
Rosenberg, Vilhelm, born Copenhagen,
Aug. 20, 1862. Pupil of the Cons, there,
1883-5; winner of the Ancker stipend in 1892;
from 1890-1906 instr. of singing and theory at
Hornemann's Musikinstitut; 1892-1907, cond.
of the choral soc. 'Ydun'; since 1909 cond. of
'Afholdsfolkenes Faelleskor'; co-founder of
the Dansk Koncertforening. — Works: An
opera, Lorenzaccio; a ballet, Terpsichore; 2
cantatas, Tonernes Verden and Charles Dick-
ens; AttUa for soli, ch. and orch.; incid. music
to numerous plays (Klytemnestra, Othello,
Brand, Vasantasena, Sappho, etc.); songs
and duets.
Rosenfeld, Leopold, born Copenhagen,
July 21, 1850; d. there July 19, 1909. Pupil
of the Cons, there and winner of the Ancker
stipend in 1881 ; lived ascomp.in Copenhagen;
also for some years critic of 'Musikbladet.1
Wrote several choral works w. orch. (Henrik
og Else, Naar Solen daler, etc.), Romanze for
vl. and pf. (op. 22), pf.-pcs., about 200 songs
and duets (Danish and German).
Rosenfeld, Maurice (Bernard), born
Vienna, Dec. 31, 1867. Was brought to
America at the age of 6; graduated from the
Chicago Musical Coll. in 1888, winning the
medal for pf. -playing; also won the medal the
next year at the conclusion of a post-grad,
course; Master of Music, 1896. Taught pf.
there from 1888-1911; 1911-12, dir. of Sher-
wood Music School; 1912-16, member of the
board of directors of the Chicago Musical
Coll.; 1907-15, mus. critic and ed. of 'Chicago
Daily Examiner'; since 1917 do. of 'Chicago
Daily News'; since 1913 correspondent for
'Musical America'; contrib. to various jour-
nals; has also appeared as a concert-pianist
and lecturer. ^ In 1916 he opened his own pf.-
school in Chicago. Comp. of minor pes. for
orch., salon-music for pf., and songs.
Ro'senhain, Jacob [Jacques], b. Mann-
heim, Dec. 2, 1813; d. Baden-Baden, Mar. 21,
1894. Noted pianist; pupil of Schmitt at
Mannheim and Schnyder v. Wartensee at
Frankfort; made extended tours, and lived
in Frankfort, Paris (1849), and Baden-Baden.
— Works: 3 operas, Der Besuch itn Irrenhaus
(Frankfort, 1834), Liswcnna (provided with
a new libretto, it was prod, as Le Demon de la
nuit [Opera, Paris, 1851]), and Volage etjaloux
(Baden-Baden, 1863); 3 symphonies, op. 42
(G m.), op. 43 (F m.), op. 61 (F); a pf.-con-
certo in D m., op. 73; 3 string-quartets, op.
55 (G). op. 57 (C), op. 65 (D m.); 4 pf.-trios,
op. 2 (£ m.)t op. 32 (D m.), op. 33 (D m.).
op. 50 (F m.); many pf.-pieces (sonata
in F m., op. 44; Sonale symphonique in F mM
op. 70; sonata in D m., op. 74; Melodies
caracUristiques; HistorieUes, op. 97; Rheries,
op. 26); sonatas f. pf. and 'cello, op. 38 (E),
op. 53 (C), op. 98 (L> m.) [all arr. also as vl.-
sonatas]; 12 Eludes caracteristiaues; etc. —
Wrote Erinnerungen an Niccolo Paganini
(1893).— Cf. E. Krass-Harveng, J. R. (Baden-
Baden, 1895).— His brother Eduard, b.
Mannheim, Nov. 18, 1818, d. Frankfort,
Sept. 6, 1861, also a noteworthy pianist and
teacher, publ. a serenade f. 'cello and pf. (op.
20), pf.-music, etc.
Ro'senmttller, Johann,b.c. 1620;d.Sept.y
1684, at Wolfenbuttel as Kapellm.; was mus.
dir. at the Thomaskirche, Leipzig, 1648-55. —
Publ. Kernspriiche mehrentheils aus heiliger
Schrift, a 3-7 w. continuo (1648); Studen-
tenmusik von 3 und 5 Instrn. [dance-music]
(1654); 12 sonale da camera a 5 stromenii
(1671).— Cf. A. Horneffer, 7. R. (BerVm,
1898).— See also Q.-Lex.
Rosenthal [-tahl], Felix, b. Vienna, April 2,
1867. After the completion of his medical
studies (Dr. med., 1892) he st. p(. with J.
Epstein, theory with R. Fuchs, musicol. with
G. Adler; cont. with F. Gernsheim in Berlin.
Since 1901 lecturer at the Hum bold t-Afca-
demie in Breslau and prof, of pf. at the Cons,
there; has contrib. numerous essays (chiefly
about pf.-technic) to various journals. Comp.
of a 'Marchenspiel/ Peters Bilderbuch (Bres-
lau, 1909); vars. for orch. in B m.; a pf. -quin-
tet; a clar. -sonata in A; Prdludium und Fuge
for org. (Ab); Berceuse for vcl. and pf.; pf-
pcs.; songs.
Rosenthal, Moriz, famous pianist; born
Lemberg, Dec. 19, 1862 [correct date; in au-
tograph letter to Ed.]. He received his first
instruction on the pf. from a local teacher,
Galath (1869-72). Attracted by the boys
precocity, Karl Mikuli, Chopin's pupil and
dir. of the Lemberg Cons., undertook his musi-
cal education; in 1872 he played with him in
public Chopin's Rondo in C for 2 pfs. In
1875, after his parents' removal to Vienna, R.
became a pupil of R. Joseffy, who taught him
according to Tausijj's method. His dlbut at
Vienna in 1876 (Chopin's F minor concerto,
Beethoven's 32 vars., pieces by Mendelssohn
and Liszt) was followed by a phenomenally
successful tour of Rumania, at the end of
which the youthful virtuoso was made 'R.
court pianist' by the king; from 1876-8 he st.
784
ROSETTI— ROSSI
with Liszt in Weimar and Rome, but even
after the completion of his regular studies he
remained in constant touch with the master.
As Liszt's pupil he created a sensation in
Paris and Petrograd in 1878. He then with-
drew for six years from the concert-stage, took
the classical course at the Staatsgymnasium
in Vienna, and st. philosophy (von Zimmer-
mann and F. Brentano) and esthetics (Hans-
lick) at the Univ. ; at the same time he kept
up his practice on the pf. When he reap-
peared in Vienna in 1884 his stupendous tech-
nic and almost incredible physical endurance
fairly bewildered his hearers, and the critics
declared him the greatest living technician;
since then he has concertized with immense
success in all the principal cities of Europe and
America. Almost everywhere the first im-
pression of his playing was similar to that
produced in Vienna; but after the first wonder
had subsided it was discovered that the artist's
transcendent technic is only a legitimate
means of expression, never an end tn itself.
A player of individual conception, intellectual
power and keen penetration, R. is universally
acknowledged as one of the world's greatest
pianists. He has made 4 triumphal tours of
the U. S., 1887-8, 1896-7 (cut short by a seri-
ous illness), 1898-9, 1906-7. In 1912 he was
made 4k. k. Kammervirtuose' to the Emperor
of Austria; lives in Vienna. Has publ. a
study on Chopin's waltz (op. 64, No. 1; sev-
eral original comps. for pf. (Prilude, Romanic,
Variational iiber ein eigenes Thema, etc.);
and (with L. Schytte) Technical Studies for the
Highest Degree of Development.
Roset'tl, Francesco Antonio [Franz An-
ton R5ssler], b. Leit merit z, Bohemia, 1750;
d. Ludwigslust, June 30, 1792. Kapellm. to
Prince Wallerstem; from 1789, court Kapellm.
at Schwerin. — Works: A Requiem; 2 ora-
torios, Der sterbende Jesus (publ.), and Jesus
in Gethsemane; several operas (Das Winterfest
der Hirten, 1789); 34 symphonies, 9 string-
quartets, 4 flute-concertos, 4 clar. -concertos;
a sextet f. flute, 2 horns and strings; 3 horn-
concertos; 2 concertantes f. 2 horns; etc.
O. Kaul publ. 5 symphs. in vol. xii, 1 of 'Dkm.
der Tonk. in Bayern (also contains biogr. and
thematic index of instrl. works). — Cf. O.
Kaul, Die VokalwerkeA. R.'s (Munich, 1911).
— See also Q.-Lex.
Rosier, Gustav, b. Sept. 2, 1819; d.
Dessau, Feb. 24, 1882. Teacher and comp.
(one opera, Hermann und Dorothea, often
perf. at Dessau). He made the vocal scores
of Bach's cantatas for the Ed. Peters.
Rossa'ro, Carlo, b. Crescentino, Vercelli,
1828; d. Turin, Feb. 7, 1878. Pianist and
comp. (opera, II Castetio maladetto; pf. -sonata,
op. 23; character-studies, op. 10, 11, 15, 16;
4-hand sonata, op. 28; other pieces, op. 12-14;
fine fantasia f. pi. and d.-bass) ; etc.
Ros'si, Abbate Francesco, b. Ban, Italy,
about 1645; canon there, 1680. — Works: The
operas Bianca di Castiglia (Milan, 1674),
It Sejano moderno delta Tracia (Venice, 1680);
La Pena degli occhi, and La Clorilda (both
ibid., 1688); and Mitrane (ibid., 1689); ora-
torio La Caduta degli Angeli; Requiem a 5;
psalms; etc.
Ros'si, Gaetano, b. Verona, 1780; d. there
Jan. 27, 1855. For many years he was at-
tached to the Fenice Th. at Venice as dramatic
poet. He wrote over 100 libretti, among
them Linda di Chamounix and Maria Padilla,
for Donizetti; La Prova d'un' opera seria,
for Gnecco; II Giuramento, for Mercadante;
H Crociato in Egitto, for Meyerbeer; Tan-
credi and Semir amide, for Rossini.
Ros'si, Giovanni Battista, Genoese
monk. — Publ. Organo de' cantori per intendere
da se stesso ogni passo difficile che si trova nella
musica (1618; elucidates certain phases of
mensural notation).
Ros'si, Giovanni Gaetano, b. Borgo S.
Donnino, Parma, Aug. 5, 1828; d. Genoa,
Mar. 30, 1886. From 1873-9, maestro at the
Carlo Felice Th., Genoa; then Director of
the Liceo Musicale. — Works: 4 operas, Elena
di Taranto (Parma, 1852), Giovanni Giscala
(ib. 1855), Nicold def Lapi (Ancona, 1865),
La Contessa d'Altenberg (Borgo San Donnino,
1871); an oratorio, Le sette parole; overture to
the tragedy Saulo (prize from the Soc. del
Quartetto, Milan); a Requiem, 3 masses, etc.
Ros'si, Giulio, dramatic basso cantante;
b. Rome, Oct. 27, 1865. At 20 he began
vocal study under maestro Oreste Tomassoni,
chorister in the Sistine Chapel; debut Oct. 20,
1887, at Parma in the operas lone (Petrella)
and L'Ebrea (Appolloni). In 1888 he sang at
Odessa; in 1889, toured South America with
Patti, and also appeared in London; 1890
at La Scala, Milan, singing the rdle of Mar-
cello {Huguenots), and sang there 3 seasons;
also 3 seasons at the Royal Th., Madrid, 2
at the Liceo, Barcelona, and 4 in Petrograd;
6 in South America (Rio, Buenos Aires,
Chili), 3 in Mexico, a tour of the U. S., and
2 tours of Mexico and California with the
Tetrazzini; from 1908-13 he sang at the
M. O. H. His repertory includes no less
than 80 operas (in Italian); favorite rdles
are Marcello (Huguenots), Cardinal (VEbrea),
Leporello (Don Giovanni), Count (NozMe di
Figaro), Duke (Lucretia Borgia), Filippo II
(Don Carlos), Basilio (Barbiere), Freschi
(Simon Boccanegra), Plunkett (Martha),
Mefistofele (Faust), Daland (Vascello fan-
tasma), Hagen (Crepuscolo degli Dei); he has
created the bass rdles in Cristoforo Colombo
785
ROSSI— ROSSINI
and Fior d'Alpi (Franchetti), Cuglielmo
Ratdiff (Mascagni), and Savilri (Canti).
His voice is a powerful and flexible basso
canlanle of wide range, with profondo regis-
ter; at 19 it was a tenor, but became a low
bass after a three weeks' illness following an
unintentional bath in the Tiber in December.
In 1889 he was rescued with difficulty from
the fifth floor of a house in Savona split in
twain by the earthquake. He has crossed
the ocean some 30 times, coming safely
through an epidemic, a fire, and various
storms. In 1893, during the revolution in
Brazil, he was conscripted in Rio Janeiro,
by a squad of soldiers and obliged to fight,
gun in hand, at the Arsenal against the naval
forces; next year, at the same place, he barely
escaped with his life from a fire which broke
out in the theatre during a performance.
Ros'si, Lauro, celebrated dramatic comp. ;
b. Macerata, Feb. 19, 1810; d. Cremona, May
5, 1885. Pupil of Furno, Zingarelli and Cre-
scentini at the R. Coll. di S. Sebastian o,
Naples, graduating 1829, bringing out a buffo
opera, Le ConUsse villane, at the Fen ice Th.,
Naples, with fair success. He became mae-
stro at the Teatro Valle, Rome, in 1832; with
his tenth opera, La casa disabitata o I falsi
monetari, prod, at La Scala, Milan, Aug. 16,
1834, he scored his first real triumph — it
made the rounds of Italy, and was given in
Paris. In 1835 he went to Mexico as maestro
and composer to an Italian opera-troupe, be-
coming its director in 1837, and going to
Havana (1839) and New Orleans (1842), re-
turning to Italy in 1844. In 1850, Director
of the Milan Cons.; succeeded Mercadante as
Dir. of the Naples Cons, in 1871, resigning
in 1878, and retiring to Cremona in 1882. He
prod. 29 operas, I falsi monetari and La Con-
tessa di Mons (Turin, 1874) being the most
successful. Other works: The oratorio Saul
(1833); elegies on Bellini and Mercadante;
masses, cantatas, choruses to Plautus' Captivi,
6 fugues f. string-orch.f 8 vocalizzi and 12 ex-
ercises f. soprano; songs; and a Guida ad un
cor so di artnonia pratica orate for Milan Cons.
RoMl'nl, Gioachino (Antonio), a classic
representative of Italian opera; called the
'Swan of Pesaro,' because born at Pesaro,
Feb. 29, 1792; died at Ruelle, near Paris,
Nov. 13, 1868. From the age of 4, he was
left at Bologna by his parents, who were
obliged to travel to earn a subsistence; the
father as horn-player in the opera-troupes in
which the mother sang as prima donna buff a.
Instructed from 1799, with meagre results,
by a pedantic piano-teacher named Prinetti,
in 1802 he was turned over to Angelo Tesei,
under whom he made rapid progress; he sang
in church, and afterwards followed his parents
as a singer and accompanist in the theatre.
786
In 1807 he entered the Conservatory C*-fceo)
at Bologna, studying composition under
Padre Mattei, and the xello under Cavedagni.
In a year he brought out a cantata, // T^-i&itto
d'Armonia per la morte d'Orfeo, which won a
prize; he soon broke off the study of counter-
point, being told by Mattei that he knew
enough to write operas — the goal of his am-
bition. His first was a one-act opera buffa.
La cambiale di matrimonio, well received at
the San Mose Th., Venice, in 1810; returning
to Bologna, he produced next year a two-act
opera buffa, Uequivoco stravagante, with ap-
plause. Fortunate from the outset, he re-
ceived various commissions to furnish light
operas, writing 5 during 1812. In 1813 he
scored his first grand success with Tancredi at
the Fenice Th., Venice, followed up by UlUi-
liana in Algeri, an opera buffa perf. at the San
Benedetto Th. Encouraged by repeated
successes, R. ventured to set the text of one
of Paisiello's operas, Almaviva, ossia /' 'inutile
precauzione, and to bring it out at the Argen-
tina Th., Rome, in 1816. This opera, later so
celebrated under the title of // Barbiere di
Siviglia, and certainly one of the finest speci-
mens of Italian opera buffa, was hissed, on
its first production, by the old frequenters of
the theatre, indignant at the young master's
'presumption'; but the second night wa* a
veritable triumph for R.'s genius, and the
opera speedily made the round of European
stages. In Elisabetta, given at Naples in
1815, R. dispensed with secco recitative — a
great innovation. From 1815-23 R. was
under contract to write two operas yearly
for Barbaja, manager of the Neapolitan
theatres, La Scala at Milan, and the Italian
opera at Vienna, receiving a remuneration of
12,000 lire (francs) per annum. During
these 8 years he composed no less than 20
operas. In the spring of 1822 he spent a
most successful season, musically and socially,
in Vienna; but he was generally engaged in
travelling from town to town in Italy for the
purpose of bringing out his increasingly
popular dramatic works. In 1823, disappoint-
ment at the cool reception of his carefully
written Semiramide by the Venetians, and a
favorable offer from Benelli, the manager of
the King's Th., induced him to go to Lon-
don. Although Benelli did not fulfil his
promises, R. met with flattering attentions
from the court, and by means of grand
concerts, etc., found himself in posses-
sion of £7,000 when he left England 5
months later. Now, for 18 months, he under-
took the management of the Theatre Italien
at Paris, and produced several operas with
much artistic success; but his managerial
career was not so fortunate financially.
Thereafter he was appointed 'Premier com-
positeur du roi' and Inepecteur-general du
ROSSINI
chant en France/ two sinecures to which a
salary of 20,000 francs was attached; the
Revolution of 1830 cost him these positions,
but he afterwards received a pension of 6,000
francs. At the Opera he presented some
highly successful revisions, in French ver-
sions, of earlier Italian operas; these may be
regarded as preliminary studies to his master-
piece, Guillaume Tell, first given at the Opera
on Aug. 3, 1829, with a magnificent cast, and
winning immense applause. With this grand
work Rossini abruptly closed his dramatic
career at the age of 37. He made a flying
visit to his father in Bologna, and shortly
after the July Revolution returned to Paris,
where, under the new regime, he had no in-
ducement to continue opera writing. In
1832 the first six numbers of his famous Stabat
Mater were written, the remaining four in
1841, and the first performance of the entire
work took place on Jan. 7, 1842. Meantime
Meyerbeer entered upon the scene with Les
Huguenots (1836), in order to hear which
R. long delayed his intended return to
Bologna; after the performance he resolved
to write no more operas, and this resolution
was not shaken even by the sensational re-
vival of Tell in 1837, with Duprez in the
title-rdle. He lived in retirement at Bologna
and Florence until 1855, thenceforward mak-
ing Paris his home, but writing little new
music (the Petite tnesse solenneUe, f. soli, ch.
and orch.; a cantata for the Exposition of
1867; and a number of piano-pieces). In
the afterglow of his prestige as an opera-
composer, amid a circle of devoted admirers
and friends, his last years passed happily.
Operas: Lacambialedimatrimonio (Venice,
1810); Vequivoco stravagante ( Bologna, 1811);
Vinganno felice (Venice, 1812); L'occasione
failladro, ossia II cambio delta valigia (Venice,
1812); La scala di seta (Venice, 1812); Deme-
trio e Polibio (Rome, 1812); La pietra del
paragone (Milan, 1812); Tancredi (Venice,
Feb. 6, 1813); Vltaliana in Algeri (Venice,
1813); // figlio per aezardo (Venice, 1813);
Aureliano in Palmira (Milan, 1813); II
Turco in Italia (Milan, La Scala, 1814);
Elisabetta, regina d' Inghilterra (Naples, San
Carlo Th., 1815); Sigismondo (Venice, 1815);
7/ Barbiere di Siviglia (Rome, Argentina Th.,
Feb. 5, 1816); Torvaldo e Dorluka (Rome,
1815); La Gaszetta (Naples, 1816); Otello
(Naples, dal Fondo Th., 1816); La Ceneren-
tola (Rome, teatro Valle, 1817); La Gazza
ladra (Milan, La Scala, 1817); Armida
(Naples, 1817); Adelaide di Borgogna [or
Ottone, re d9 Italia] (Rome, 1818); Adinaf o
II califfo di Bagdad (Lisbon, 1818); Mose
in Egitto (Naples, 1818; Paris, as Moise en
£gypte, 1827); Ricciardo e Zoraide (Naples,
1818); Ermione (Naples, 1819); Edoardo e
Cristina (Venice, 1819); La Donna del lago
[after Scott] (Naples, San Carlo Th., 1819);
Bianca e Faliero (Milan, 1819); Maometto
II (Naples, San Carlo, 1820; Paris, revised
as Le Stege de Corinthe, Opera, 1826); Matilda
di Ciabrano (Rome, 1821); Zelmira (Naples,
1822); Semiramide (Venice, Fenice Th.,
1823; Paris, Grand Opera, as Stoniramis,
I860); // Viaggio a Rneims, ossia Valbergo
del giglio d'oro (Paris, Th. Ital., 1825); Le
eomte Ory (augm. and revised version of pre-
ceding; Paris, Opera, 1828); Guillaume Tell
(Opera, Aug. 3, 1829).— Cantatas: // Pianto
d'Armonia (1808); Ciro in Babilonia (1810);
Didone abbandonata (1811); Egle ed Irene
(1814); Teti e Peleo (1816); Igea (1819);
Partenope (1819); La Riconoscenza (1821); J/
vero omaggio (1823); Vaugurio felice (1823);
La sacra alleanza (1823); II Bardo (1823);
II Ritorno (1823) ; II Pianto delle Muse (Lon-
don, 1823); / Pastori (Naples, 1825); II Serto
votivo (Bologna, 1829). His first published
composition was the canzonet Se il vuol
la molinara; he wrote other canzonets and
arias (e. g., Soirees musical es, 8 ariettas and 4
duets), Gorgheggt e solfeggi per soprano per
rendere la voce agile, hymns, short cantatas,
and songs; a Chant des Titans f. 4 basses w.
orch.; Tantum ergo f. 3 male voices w. orch.;
Quoniam f. solo bass w. orch.; O salutaris, f.
solo quartet.
BIBLIOGRAPHY.— A. Biography: Sten-
dhal [pseudonym of H. Beyle), Vie de R.
(Paris, 1823 [repr. 1876]; Ger. tr. by A.
Wendt, w. corrections and additions, Leipzig,
1824 [repr. 1892]; Engl, tr., London, 1826);
G. Carpani, Le Rossiniane (Padua, 1824);
H. Blaze de Bury, Vie de R. (Paris, 1854);
M. and L. Escudier, R. Sa vie et ses ceuvres
(ib., 1854); E. de Mirecourt, R. (ib., 1855);
A. Azevedo, G. R. Sa vie et ses ceuvres (ib.,
1865); H. S. Edwards, Life of R. (London,
1869; condensed in 'Great Musicians', 1881);
S. Silvestri, Delia vita e delle opere di G. R.
(Milan, 1874); A. Zanolini, Biografia di G. R.
(Bologna, 1875); J. Sittard, G. A. R. (Leip-
zig, 1882; Nos. 47 and 48 of 'Sammlung Mus.
Vortrage') ; C. Thrane, R. og operaen (Copen-
hagen, 1885); A. Kohut, R. (Leipzig, 1892);
E. Checchi, R. (Florence, 1898); L. Dauriac,
R. (Paris, 1905); E. Corradi, G. R. (Rome,
1909); A. Struth, R. Sein Leben, seine
Werke und Charakterzuge (Leipzig, n. d.) — B.
Criticism, Appreciation: J. d'Orti^ue, £c la
guerre des dilettanti ou de la revolution operSe
par M. R. dans Vopfra francaise (Paris,
1829); F. Hiller, Plaudereien mit R., in Aus
dent Tonleben unserer Zeit (Leipzig, 1868);
A. Pougin, R.: Notes, impressions, souvenirs,
commentaires (Paris, 1870); O. Moutoz, R.
et son Guillaume Tell (Bourg, 1872); H. S.
Edwards, R. and His School (London, 1881;
2d ed. 1899); G. Tebaldini, Da R. a Verdi
(Naples, 1901); E. Michotte, Souvenirs
787
ROSSLER— ROTTER
personnels (Paris, 1906); A. Testoni, G. R.
Quattro episodi delta sua vita (Bologna, 1909).
— C. Correspondence: G. Mazzatinti,
Lettere inedite e rare di G. R. (Pesaro, 1892);
Lettere di G. R. a G. Ancillo (Venice, 1892);
G. Mazzatinti and G. Manis, Lettere di G. R.
(Florence, 1902; with explanatory notes).
Ro&sler, F. A. See Rosetti, F. A.
Roth [roht], Bertrand, b. Degersheim, St.
Gallen, Feb. 12, 1855. Pianist; pupil of Leip-
zig Cons, and Liszt; teacher at the Hoch
Cons.. Frankfort; founded, with Schwarz and
Fleisch, the Raff Cons, in 1882; from 1885-90
taught at the Cons, in Dresden, where he
opened a private music-school in 1890. In
1901 he establ. the 'Musiksalon B. R.,'
Sunday matinees, at which are performed ex-
clusively works of contemporary composers.
Was made R. Prof, in 1903. Has publ. songs
and pf .-pes.
Roth, Philipp, born Tarnowitz, Silesia,
Oct. 25, 1853; d. Berlin, June 9, 1898. 'Cellist,
pupil of Wilhelm Muller, and (1876-8) of
Hausmann at the Hochschule, Berlin. Head-
quarters Berlin, whence he made many con-
cert-tours; founded the 'Freie mus. Vereini-
gung' in 1890.— Publ a Violoncell-Schule,
op. 14, w. an appendix: Fuhrer durch die
Violoncell- Litter atur.
Rothier [r6h-t,ya'], Leon, dramatic basso;
b. Reims, Dec, 26, 1874. St. from 1894-9 at
the Paris Cons, under Crosti (singing), Lherie
(op. comique)., Melchisscdec (opera), win-
ning the 1st prize in all 3 classes on gradua-
tion. Made nis debut on Oct. 1, 1899, as Ju-
piter in Gounod's Philemon el Baucis at the
Op.-Comique, where he remained till 1903;
1903-7, at Marseilles; 1907-9, at Nice;
1909-10, at Lyons. Since 1910 he has been
a member of the M. O. H., where he made his
Amer. debut as Mephistopheles (Dec. 10);
in 1916 he joined the faculty of the newly
founded Volpe Inst, of Music in New York.
He is Officier de Tlnstruction Publique and
N. Y. representative of the 'Association des
Artistes Dramatiques.' He has a voice of
sympathetic quality and great volume, rang-
ing from C-f!#. He has actually sung 120
roles (all in Fr.), his favorites being Mephis-
topheles (Faust), Mcfistofele (Boito), St.-
Bris, Dr. Miracle (Contes d' Hoffmann), le
Pctc (Louise) , Hans Sachs.
Rothsteln [roht'stln], James, b. Kdnigs-
bcrg, Nov. 23, 1871. Pupil of Leimcr and
Bernekcr there, and of Bargiel and Bruch at
the Akadem. Meisterschule in Berlin, where he
1903); Das Grab im Busento for tenor solo,
male ch. and orch.; a double concerto for
vl. and vcl. with orch.; some chamber-music;
pes. for vcl. and pf.; over 200 songs.
Rothwell, Walter Henry, b. London,
Sept. 22, 1872. St. from 1881-8 at the k. k.
Akademie fur Musik und darstellende Kunst
under J. Epstein (pf.), R. Fuchs (cpt.), A.
Bruckner (com p.) and H. Krenn (hist, of
music); grad. as winner of the gold medal;
St. further in Munich under L. Thuille and M.
Schillings. Having toured Austria, Germany
and Switzerland as a concert-pianist, he
abandoned that career in 1895 to become asst.
cond. to G. Mahler at the Hamburg opera;
he filled posts as Kapellm. at several German
theatres; 1903-4 Kapellm. of the Ger. opera
in Amsterdam; eng. by Savage in 1904 to
cond. the Parsifal performances (in English)
in the U. S., he remained with that organiza-
tion till 1908, directing on Nov. 12, 1906, the
Amer. premiere of Madama Butterfly (N. Y.;
in English); 1908-14, cond. of the St. Paul
Symph. Orch. Since 1914, living in New
York, where in 1916 he cond. a successful
series of summer concerts (July and Atit.^
with the Civic Orch. On Sept. 10, 1908, he
married Elisabeth Wolff, who created the
rdle of Cio-Cio-San at the Amer. premiere of
Madama Butterfly. He has comp. an orch I.
suite, a pf.-concerto, some chamber-music,
pf.-pes. and songs.
Ro'toll, Augusto, b. Rome, Jan. 7, 1847;
d. Boston, Nov. 26, 1904. Pupil of Lucchesi;
choir-boy at St. Peter's. Founded tht
'Societa corale de' concerti sagri,' which he
conducted. Singing-master to Princess
Margherita, 1876; maestro of the Cappella
reale del Sudario in 1878. Having achieved
a high reputation as a cond., singing-teacher,
and song-composer, he was called to Boston,
Mass., in 1885 as vocal instructor in the New
Engl. Cons.; from 1896 also choirm. at St.
James's. — Chevalier of the Ital. Crown, etc. —
Works: Mass a 4 (for the funeral of Victor
Emmanuel, 1878); Salmo elegiaco on the
same, f. bar. solo, ch. and orch. (1878);
many songs w. pf.
Rottenberg [rdht'-], Ludwig, b. Czerno-
witz, Bukowina, Oct. 11, 1864. While at-
tending the Gymnasium he st. music with A.
Hrimaly; then pupil of R. Fuchs and E.
Mandyczewski in Vienna; 1891-2, Kapellm.
at the Stadtth. in Briinn; since then do. at the
Frankfort opera; cond. of the Wagner per-
formances at Cov. Garden in 1912 and 13.
He has publ a coll. of 30 songs; an opera.
is now (1917) living as comp. and cond. of the Die Gesckwister, was prod, in Frankfort, Nov.
--•■--* ' 30,1915.
Rot'ter, Ludwig, b. Vienna, Sept. 6, 1810;
d. there April 5, 1895. Beginning his career in
1830 as a pianist and accompanist, he became
'Mendelssohn-Chor' (mixed vcs.) and '
monie' (male vcs.) — Works: 1-act comic c.
Jasmin; a 'Volksooer/ Die Zarenbraul; a
musical parody, Artadne auf Naxos (Berlin,
Har-
opera
788
ROTTMANNER— ROUSSEL
organist of various churches, and in 1867 suc-
ceeded Sechter as court organist, with the title
'Imp. Roval Vice-Kapellmeister.'— Sacred
choral works (masses, requiems, Te Deums,
offertories, graduate, etc.); organ-music; pf.-
pieces (sonata in D m.f op. 12; fugue, op. 45;
etc.). Wrote a Thorough-bass Method.
Rott'manner, Eduard, b. Munich, Sept.
2, 1809; d. Speyer, May 4, 1843, as cathedral-
organist. — Many MS. works: 2 masses a 4,
w. org.; 1 mass a 16; a Requiem; a Stabat
Mater w. organ and strings; etc. (an Ave
Maria a 4, w. strings, organ, and 2 horns ad
lib., was publ.).
Rouget de lisle [rco-zha1 d(i tell, Claude-
Joseph, composer of the Marseillaise; b.
Lons-le-Saumier, Jura, May 10, 1760; d.
Choisy-le-Roy, June 27, 1836. He wrote the
famous national hymn in 1792, while a mili-
tary engineer at Strassburg. Imprisoned for
refusing to take the oath against the crown,
he went to Paris after Robespierre's downfall,
and comp. a Hymne dithyrambique sur la
conjuration de Robespierre . . . (1794), Chant
des vengeances (1798), and a Chant du combat
for the army in Egypt (1800). He publ. 50
Chants francais in 1825; and wrote several
opera-libretti. — Cf. J. Tiersot, R de L. Son
ceuvre, sa vie (Paris, 1894); A. Kdckert, C.-7.
R. de L. (Zurich, 1898); A. Lanier, R. de L.
(Besancon, 1907).
Rousseau [roo-sohl, Jean-Jacques, b.
Geneva, June 28, 1712; d. Ermenonville, n.
Paris, July 3, 1778. Without other musical
training than desultory self-instruction, this
great philosopher and author made his d£but
in Pans at the age of 29, as a reformer of mus.
notation, reading a paper before the Academie
in 1742, which was revised and publ. as a
Dissertation sur la musique moderne (1743).
His opera, Les Muses gatantes, had only one
Private representation, at the house of La
oupeliniere in 1745; his revision of the
intermezzo La Reine de Navarre (by Voltaire
and Rameau) was a flat failure in Paris; but
his opera Le Devin du village (Grand Opera,
1752) was very successful, and was on the
repertory for some 60 years. In the mean-
time his hastily written musical articles for
the 'Encyclopedic' had evoked scathing criti-
cisms from Rameau and others; improved by
revision and augmentation, they were republ.
as his Dictionnaire de musique (1768). In
1752 commenced the hot dispute, known as
the 'guerre des Bouffons,' between the par-
tisans of French and Italian opera; R. sided
with the latter, publishing a Lettre a M.
Grimm au sujet des remarques ajouttes a sa
lettre sur Omphale (1752), followed by the
caustic Lettre sur la musiaue francaise (1753,
to which the members of the Opera responded
by burning hira in effigy and excluding him
from the theatre), and Lettre (Tun symphoniste
de V academie royale de musique a ses camarades
de Vorchestre (1753). In Pygmalion (1773)
he created the melodrama ; the work met with
great success. Six new arias for Le Devin du
village, and a collection of about 100 romances
and duets, Les consolations des miseres de ma
vie (1781), and fragments of an opera,
Daphnis et ChloS, were publ. posthumously
(1780). AH his writings on music have been
often republ. in editions of his 'Collected
Works (1782; many eds. since). Despite
his deficiencies as a musician, he exercised
great influence on contemporary French art.
— Bibliography: A. Jansen, /.-/. R. Frag-
ments inSditst reeherches biographiques (Paris,
1882); id., /.-/. R. als Mus ike r (Berlin, 1884);
A.Chuquet, /.-./. R. (Paris, [?]; 2d ed. 1901);
A. Pougin, /.-/. R. musicien (Paris, 1901) ; E.
Istel, f.-J. R. als Komponist seiner lyrischen
Szene 'Pygmalion1 (Leipzig, 1901); F. Hellou-
in, J.- J. R. et la psychologie de Vorchestre, in
Feuiilets d'histoire musicale francaise (Paris,
1903); E. Schutte, 7.-7. R. Seine Personlich-
keit und sein Stil (Leipzig, 1910); J. Tiersot,
J.-J. R. (Paris, 1912); E. Faguet, R. artiste
(Paris, 1913).
Rousseau, Samuel- Alexandre, b. Neuve-
maison, Aisne, June 11, 1853; d. Paris, Oct.
1, 1904. Pupil of C. Franck (org.) and F.
Bazin (comp.) at the Paris Cons.; won the
Prix Cressent in 1878, also the 2d Grand prix
de Rome with the 1-act comedy-opera
Dianorah (OpeVa-Comique, 1879); his opera
Merowig won the Prize of the City of Paris in
1891 (Grand Th., 1892). From 1-892, 1st
chef d'orch. at the Th.-Lyrique; also m. de
chap, at Ste.-Clotilde, and for 10 years
chorusmaster of the Concerts du Cons. ; prof,
of harm, at the Cons. On Tune 8, 1898, his 3-
act lyric drama La Cloche du Rhin had a succes
d'estime&t the Opera (said to bean unsatisfac-
tory attempt to imitate Wagner's dramatic
procedures), followed by the music-dramas
Milia (Op.-Com., 1904) and Leone (ib., 1910;
posth.). Also wrote a solemn mass, many
songs, etc.
Roussel [roo-se'hl'1, Albert, b. Tourcoing,
Dept. du Nord, April 5, 1869. As a student
at the College Stanislas in Paris he prepared
himself for the Naval Academy, which
he ent. in 1887. During a cruise in the Indian
Ocean his musical instinct was awakened, and
on his return in 1894 he resigned from the
navy, beginning the study of harm, with a
local teacher at Roubaix; then st. cpt., fugue
and ore. under E. Gigout in Paris, won the
prize of the Soci£t6 des Compositeurs de Mu-
sique in 1897 with two 4-part madrigals, and
in 1898 became d'Indy's pupil in comp. at the
Schola Cantorum; prof, of cpt. there from
1902-14; at various times he has served as a
789
ROUSSIER— ROZE
member of the committee of the Societe
Nationale de Musique. — Wovks: Op. 4,
Resurrection, symph. prelude; op. 1*Leroeme
de la ForH, symphony; op. 15, Evocations,
3 symph. sketches; op. ?, pf.-trio in Eb;
op. 6, Divertissement for v/ind-instrs. and pf.;
op. 11, vl. -sonata in D n\.\ op. 9, La Menace
(poem by H. de Regni^r) for bar. and orch.;
for pf.: op. 1, Des He Ares pas sent; op. 5, Rus-
tiques; op. 14, suite; op. 16, sonatina; songs
(op. 3, 8, 10, 12); incid. music to G. Jean-
Aubry's Le Marchand de Sable qui passe
(Havre, 1908) ; a ballet-pantomime, Le Festin
de VAraignSe (Th. des Arts, 1913). In MS. he
has Vendanges, symph. sketch for orch.;
Danse de VOtseau sacre for orch, ; quintet for
strings and horn; a vl. -sonata. He is now
(1917) writing an opera and a second ballet.
Rou8sler, Abbe Pierre-Joseph, b. Mar-
seilles, 1716; d. as canon at £couis, Nor-
mandy, c. 1790. — Publ. Sentiment d'un har-
monipkile sur diffirents ouvrages de musique
(1756) ; Traite des accords et de leur succession
(1764; suppl. by Vharmonie pratique . . . .,
1775); Observations sur diffirents points de
Vharmonie (1765); MSmoire sur la musique
des anciens (1770); Notes et observations sur
le mSmoire du P. Amiot concernant la musique
des chinois (1779); Mem. sur la nouvelle harpe
de M. Cousineau (1782); MSm. sur le clavecin
chromalique (1782); Lettre sur V acceptation
des mots 'basse fondamentale' . . . (1783;
'Journal encyclop.', vol. i); etc.
Rovelli, Pietro, b. Bergamo, Feb. 6, 1793;
d. there Sept. 8, 1838, as maestro at the
church of S. Maria Maggiore, and 1st violin in
the theatre-orch. Pupil of R. Kreutzer;
teacher of Molique while leader at Munich
(1817-19). Publ. excellent etudes and
caprices for vl.; Variazioni f. vl. and orch.
(op. 8); etc.
Rovet'ta, Giovanni, pupil of Monteverde,
and his successor in 1644 as 1st maestro at
San Marco, Venice, where he died in Aug.,
1668. — Works: 2 operas, Ercole in Lidia
(1645) and Argiope (1649; finished by Lear-
dini d'Urbino); publ. much churcn- music
(psalms, motets, madrigals, a mass, etc.).
— See Q.-Lex.
Rowbotham, Rev. John Frederick, b.
Edinburgh, April 18, 1854. Took the Balliol
Scholarship, Oxford, at the age of 18; studied
music there, and at the Stern Cons., Berlin,
for 3 years, also at Dresden, Paris and Vienna;
ordained in 1891, he held various appoint-
ments as vicar and rector until 1910, when he
founded The Bard', of which he is editor.
He travelled on the Continent to collect
materials for his History of Music, publ. in 3
vols. (London, 1885-7); has also publ. How
to Write Music Correctly (1889); A Short
History of Music (1891) ; Private Life of Great
790
Composers (1892); The Troubadours, and the
Courts of Love (1895); A History of Music U>
the Time of the Troubadours (1899); the mus.
articles in Chambers' Encyclopaedia, and
many papers in leading periodicals. Has
comp. a mass f. double choir with orch.;
and songs. In recent years he has practi-
cally abandoned music, having publ. a number
of historical and poetical works.
Royer jrwah-ya'], Joseph-Nicolas-Pan-
crace, b. in Savoy, 1705; d. Paris, Jan. 11,
1755, where he settled in 1725 as a teacher;
1739, member of the R. orch.; 1741, chef-
d'orch. at the Op6ra; 1748, lessee and dir. of
the Concerts Spirit uels; 1753, inspector of the
Opera and 'Maitre de musique de la Chambre
du Roy'. — Works: The opera Pyrrhus (Paris,
1730); the ballets Zatde (1739), Le pouvoir
de V Amour (1743), Almasis (1747); sonatas
and a book of pes. for clavecin. An opera,
Pandore (not prod.), was found among his
posth. papers.--Cf. M. Brenet, Les Concerts
en France sous Vancien r&gime (Paris, 1900).
Roze [rohz], Marie-Hippolyte (nee Pan-
sin), famous dramatic soprano; b. Paris, Mar.
2, 1846. At an early age her mother taught
her pf.; ent. the Paris Cons, in 1862, where
she st. with Mocker and later with Auber,
winning the first prize in 1865; debut at the
Opera-Comique in the title-role of Herold's
Marie, Aug. 16, 1865; sang there for 3 years.
and then st. again with Wart el, appearing at
the Opera (Jan. 2, 1870) as Marguerite, after
she had st. the part with the composer. At
the outbreak of the Franco-Prussian War
she joined the ambulance corps, serving
throughout the entire war, and after the
conclusion was decorated with a gold medal
by President Thiers. She then resumed her
artistic career, singing in Brussels and Amster-
dam; appeared at Drury Lane in 1872 with
immense success, and for almost 20 years
san£, with brief interruptions, in the English
capital, 1872-81 either at Drury Lane or
Her Majesty's Th., 1883-9 with the Carl
Rosa Opera Co., 1889-90 at Cov. Garden,
after which she retired from the stage. She
visited America twice, in 1877-8 and 1880-1.
In 1890 she settled in Paris as a teacher, but
still appeared in England in concerts and
oratorio until her farewell-tour in 1894; her
last appearance was in London ht 1903, at
a concert given by several of her pupils. In
1874 she married an American basso, Julius
E. Perkins, who died the following year;
later she married Col. J. H. Mapleson, the
impresario, but the marriage proved unfor-
tunate and ended in divorce. She created
the rdles of Djelma in Auber's Premier Jour
de bonheur (Op.-Com., 1868), Jeanne in
Flotow's rOmbre (ib., 1870), Berengaria in
Balfe's Talismano (Drury Lane, 1874); also
ROZE— RUBINSTEIN
the principal riles at the Engl, premieres of
Manon (Massenet), Mefistofele, Les Dragons
de Villars (Maillart), Ruy Bias (Marchetti);
her repertoire included Fidelio, Elsa, Carmen,
Pamina, Donna Anna, Donna Elvira, Agathe
{Freischutz), Aida, Ortrud, Mignon, Leonora.
Rose, Abbe Nicolas, b. Bourg-Neuf, near
Chalons, Jan. 17, 1745; d. St.-Mand6, near
Paris, Sept. 30, 1819. From 1807, Langle's
successor as librarian of the Conservatoire.
— Publ. a MSthode de plain-chant; also vocal
church-music.
Roze, Raymond (J. H. Raymond Roze-
Perkins), b. London, 1875. Pupil of the
Brussels Cons, and winner of the 1st prize;
musical dir. to Sir Henry Irving at the
Lyceum Th., and later to Sir Herbert Tree at
His Majesty's Th. Has written overtures
and incid. music to Julius Casar, King John,
Henry IV, Henry V, Much Ado about Noth-
ing, The Tempest, The Merry Wives of Windsor,
Taming of the Shrew, A nlhony and Cleopatra;
also to Trilby, and many other plays. In the
fall of 1913 he cond. at Covent Garden a sea-
son of opera in English, during which he
brought out his Joan of Arc (Oct. 31); a fan-
tastic opera, Arabesque, was prod, at the
Coliseum in 1916. He has frequently ap-
peared in England and on the Continent as
cond. of his own works.
RozkoS'n? [-k6sh'-J, Josef Richard, b.
Prague., Sept. 22, 1833. Pupil of Jiranek,
Tomaschek, and Fr. Kittl. In 1855 he made
a successful pianistic tour through Austria,
Hungary, Rumania, etc.; resides in Prague.
— Works: The Bohemian operas Ave Maria,
MikuldS [St. Nicholas] (1870), Svatojanski
proudy [St. John's Rapidsl, Zavilz Falken-
Stejna [Zavish of Falkensteinl, Pytldci [The
Poachers], Popelka [Cinderellal (1885), Ebba,
Rubezahl (1889), SataneUa (1898), Stoja, and
The Black Lake (1906); all at Prague; also
overtures, 2 masses f. male voices, many
songs and choruses, and pf.-music.
Roiycki [roo-zhat'ske], Ludomir, b. War-
saw, 1883. Pupil of the Cons, there and of
Humperdinck in Berlin; since 1908 Kapellm.
at the opera and prof. at the Cons. in Lemberg.
—Works: Two operas, Boleslaw imialy (B.
the Bold; Lemberg, 1909) and Eros and
Psyche (Warsaw, 1915); the symph. poems
Stdnczyk, Boleslaw Smialy, Pan Twardowski,
AnheUi, Kasimir; Prelude to Mona Lisa
Gioconda; a vl.-sonata; a vcl.-sonata (op.
10); a pf.-trio (op. 33): a pf. -quartet (op.
35) ; many pf .-pes. and songs.
Rubens, Paul Alfred, b. London, Apr. 29,
1875; d. Falmouth, Feb. 5, 1917. Was
educated at Winchester Coll. and Oxford; in
1898 law-student at the Inner Temple.' The
success of Florodora (1899), to which he had
contributed several Ivrics, induced him to
give up the law, and: he began by writing
part of the music for several light operas.
Great Casar (1900), A Country Girl (1902)^
Three Little Maids (1902), The Cingalee (1904),
The Blue Moon (1905), Mr. Popple of Ipple-
ton (1905), Thru Dairymaids (1906); sole
composer of Lady Madcap (1904), Mis* Hook
of Holland (1907), My Mimosa Maid (1908),
Dear Little Denmark (1909), The Balkan
Princess (1910), The Sunshine Girl (1912),
The Girl from Utah (1913; in col lab.); has
also written numerous songs and ballads.
Ru'benflon, Albert, b. Stockholm, Dec.
20, 1826; d. there Mar. 2, 1901. Pupil at the
Leipzig Conservatory (1844-8) of David (vl.),
Hauptmann (cpt.) and Gade (comp.);
followed Gade to Copenhagen and cont. his
studies with him; 1850-1, viola-player in the
court orch. in Stockholm; was mus. critic for
'Ny Tidning f6r Musik' from 1852-9, when
he became ed. of Tidning for Teater och
Musik'; 1872, inspector at the Cons., and its
dir. from 1888 till his death. His writings
were influential in spreading appreciation of
Schumann in Sweden. — Works: Symphony
in C; Julius Casar, overture; suites and
intermezzi for orch.; str. -quartet in F; incid.
music to Hostrup's En natt bland fjdllen (A
Night in the Mountains, 1858) and Bjdrnson's
Halte Hulda (Lame H., 1865); songs and
part-songs.
Rubi'nf, Giovanni Battista, celebrated
tenor; b. Romano, Bergamo, April 7, 1795; d.
at his castle near Romano, March 2, 1854.
His teacher was Rosio of Bergamo; d6but
at Pa via, 1814, after which he sang for a time
at Naples; became famous during a season
in Vienna (1824), was in Milan 1825, and
went thence to Paris, singing with triumphant
success at the Theatre Italien 1825-6. ^ After
further successes in London and Paris, the
impresario Barbaja secured him for Italy,
paying him finally 60,000 francs. From
1852-43 he sang alternately at London and
Paris; accompanied Liszt to Berlin in 1843,
visited Petrograd twice more, and in 1845
returned to Italy as a millionaire. Mario
was his pupil. He publ. 12 Lezioni di canto
moderno per tenore o soprano; and an album
of 6 songs, UAddio.
Rubinstein [roo'bln-stin], Anton Gre-
gorovitch, b. Vichvatinets, Bessarabia, Nov.
28, 1829; d. Peterhof, n. Petrograd. Nov. 20,
1894. Soon after his birth, the family went
to Moscow, where his father established a
pencil-factory. His first teacher was his
mother; at 7 he began the study of the piano
under. Alexander Villoing, who was thereafter
his sole instructor on that instr. Villoing
took him to Paris toward the end of 1839, and
in 1840 R. played before Chopin, Liszt, and
791
RUBINSTEIN
others. Liszt, fully recognizing his wonderful
talent, advised him to complete his studies in
Germany. From Paris master and pupil
•proceeded to Holland, England, Scandinavia,
and Germany, giving concerts by the way;
and arrived at Moscow in 1843. As Anton's
brother, Nikolai [Nicholas], evinced talent for
composition, both boys were taken to Berlin in
1844, where, on Meyerbeer's recommendation,
Anton studied under Dehn. The father's
illness (1846) caused the mother to return to
Moscow with her younger son; Anton re-
mained in Berlin, whence he visited Vienna,
and made a tour through Hungary with
the flutist Heindl. Returning to Russia on
the outbreak of the revolution of 1848, he
settled in Petrograd. Here he enjoyed the
liberal patronage of the Grand Duchess Helen,
and produced 3 Russian operas, Dmitri
Donskoi (1852), Sibirskie Ochotniki [The
Siberian Hunters] (1853; 1 act) and Fomka
DuraUhek [Thomas, the Fool] (1853). In
1854, on the advice and with the assistance
of Count Wielhorski and the Grand Duchess,
R. undertook a journey for the purpose of
making himself and his works better Known.
He found publishers in Berlin, and gave con-
certs of his own works at London and Paris,
exciting admiration as a composer and pianist;
on his return in 1858, he was appointed court
Eianist, and conductor of the court concerts.
le assumed the direction of the Russian
Musical Society in 1859; in 1862 he founded
the Imp. Cons, at Petrograd, remaining its
director until 1867. In 1865 he married Vera
Tchekuanov. For 20 years he held no official
position; from 1867-70 he toured Europe,
winning fame as a pianist hardly second to
that of Liszt ; 1872-3 heextended nis triumphs
over the American continent, playing in 215
concerts, for which he was paid $40,000; but
the artistic wretchedness then endured was
such that he could never again be persuaded
to cross the ocean, refusing even an offer of
$125,000 for fifty concerts. Otherwise his
time was chiefly devoted to composing, and
to bringing out his works for the stage. On
Davidov's resignation in 1887, R. resumed
the directorship of the Petrograd Cons, for
3 years; after which he lived principally in
Berlin and (from 1892) in Dresden. — From
the Czar Rubinstein received the Order of
Vladimir, carrying with it nobility, and the
title of Imp. Russian State Councillor; he was
an Officer of the Legion of Honor, a Knight
of the Prussian Ordre pour le merite, etc., etc.
It was R.'s most cherished desire to be rec-
ognized as a great dramatic composer; but,
although several of his 13 best-known operas
(especially Nero, The Maccabees, The Demon)
have many admirers, — though his chief bid
for immortality, the new form of the so-called
Sacred Opera, (The Tower of Babel, Paradise
792
Lost, Moses, Christ us,) has features of marked
originality and powerful ideality, — thougii
his Ocean symphony, his piano-concertos in
D minor and G, and many beautiful piano-
compositions in the most diverse styles, have
been received with the warmest enthusiasm, —
and though he was feted and adored as few
musicians have been, — nevertheless he died
disappointed, and unhopeful for the future
of musical composition. Wagner, his suc-
cessful rival in dramatic composition, he
never appreciated. For R., musical creation
died with Chopin; and he thought the out-
look but gloomy for its resurrection. With
surprising rapidity his compositions have
one after another disappeared from the con-
cert-repertoire. Of his dramatic works none
had ever gained a real foothold anywhere;
his orchestral works went next, then his
chamber-music. Some of his songs and
brilliant pf. -pieces maintained themselves
longest, but for some years past even these
have been found but infrequently on recital-
Srograms. R.'s music is somewhat akin to
lendelssohn's in its mellifluous sweetness
and facile melodiousness, but far inferior in
formal finish and technical skill. Perhaps
the chief causes of R.'s comparative failure
as a composer are an almost complete lack of
the faculty of self-criticism (he invariable
regarded his latest work as his best), inability
to depict the stronger passions, and a too facile
invention, combined with careless workman-
ship.
Bibliography. — Biography: A. Rubin-
stein, Memoirs (Petrograd, 1899 [in Russian];
Ger. tr. by E. Kretschmann as Erinnerungen
aus 50 Jahren, 1839-89, Leipzig, 1892 [2d ed.
18951); A. McArthur, A. R. (London, 1889);
A. Soubies, A. R. (Paris, 1895); N. Findeisen,
A, R. (Moscow, 1907 [in Russian]); La
Mara, A. R., in Musikalische Studienkdpfe
(vol. iii [7th ed.], Leipzig, 1909; separate, ib.,
1911): N. Bernstein, A. R. (Leipzig, 1911);
A. Hervey, A. R. (London, 1913). — Criti-
cisim, Appreciation: I. Martinov, Episodes
delaviedeR. (Brussels, 1895); J. Rodenberg,
Meine personlichen Erinnerungen an A. R ,
nebst Briefen, in 'Deutsche Rundschau* (xxi,
5; Berlin, 1895); E.Wessel, Some Explanations,
Hints and Remarks of A.R. from His Lessons
in the Petrograd Cons. (Petrograd, 1901
[in Russian]; Ger. tr. by S. Droucker, Leip-
zig, 1904); I. G. Mintoft-Tchish and I. W.
Israel, Peculiarities of R.'s Interpretations in
the Works of Chopin, Beethoven . . . (Petrograd,
1913 [in Russian]); K. Preiss, A. R.'s pia-
nish'sche Bedeutung (Leipzig, 1914).
Works.
Operas (including the oratorios) : Dmitri Donskoi,
Russian opera (Petrograd. 1852); Sibirskie Ochotniki,
do. (ib.. 1853); Fomka DuraUhek, do. (ib., 1853); Hadji-
RUBINSTEIN— RUBNER
Abrek (corap. 1853; not prod.); Mestj [Revenge], do.
(ib., 1858); Das verier me Parodies, oratorio (Weimar,
1858; rev. and arr. as a sacred opera, Ddsseldorf, 1875);
Die Kinder der Haide, 5-act German grand opera (Vi-
enna, 1861): Feramors, oder Lalla Rookh. 3-act Ger.
lyric opera (Dresden, 1863); Der Turm tu Babel, Ger.
sacred opera (Kdnigaberg, 1870); The Demon, 3-act
Russ. fantastic opera (Petrograd. 1875); Die Maltha-
baer, 3-act Ger. opera (Berlin, 1875); Nero, 4-act Ger.
opera (Hamburg, 1879); Kalashnikov Moskovski Kupets
(The Merchant of Moscow], 3-act Russ. opera (Petro-
grad. 1880); Sulamitk, Ger. Biblical stage-play (Ham-
burg, 1883); Unter RSubern, 1-act Ger. comic opera
(Hamburg, 1883) ; Der Papagei, do. (ibid., 1884); Moses.
Ger. sacred opera (1887; scenic pert.. Riga, 1894);
Goryushko. 3-act Russ. opera (Petrograd, 1889);
Christus, Ger. sacred opera (in concert-form, Berlin,
1888; scenic perf., Bremen, 1895); also a ballet.
La Vigne [Die Re be].
Vocal w. orch. : 2 cantatas, Die Nix* (op. 63, f . alto
solo and female ch.) and Derjdorgen (op. 74,f. male
ch.); scene and aria f. sopr., £ dunque vert op. 58; 2
scenes f . alto, Hecuba and Hagar in der WiisU, op.' 92,
Nos. 1 and 2.
For Orchestra: 6 symphonies (op. 40, in F: op. 42
[Ocean, in C, 7 movem.]; op. 56, in A; op. 95, in D m.
[Dramatic]; op. 107, in G m. [in memory of Gr. Duch.
Helen]: op. 111. in Am.); the mus. 'character-pictures*
Faust (op. 68), Ivan IV (op. 79), and Don Quixote (op.
87): 4 concert-overtures, op. 43 (triomphaU), op. 60
(Bb), op. 116 {Anthony and Cleopatra), and op. 120
(solenneue); a Suite in 6 movements, op. 119 (his last
work); symphonic poem La J? U55>« (no op. -number);
5 pf. -concertos (op. 25, in E; op. 35, in F; op. 45, in G;
op. 70, in D m.; op. 94, in Eb); pf.-fantasta w. orch.,
op. 84; Caprice russe f. do., op. 102; Fantasia eroica
f. do., op. 110; violin-concerto in G, op. 46; Romance
and Caprice f . vln. w. orch., op. 86; 2 'cello-concertos
(op. 65, in A m.; op. 96, in D m.). — Chamber-music:
Octet f. pf., strings and wind in D, op. 9; string-sextet
in D, op. 97; quintet f. pf. and wind in F, op. 55: pf.-
quintet in Gm.,op.99; pf. -quartet in C, op. 66: 5 pf.-
trios. op. 15 (F and G m.), op. 52 (Bb). op. 85 (A m.),
op. 108 (C m.); 3 vln.-sonatas, op. 13 (G), op. 19
(A m.). op. 98 (B m.); 2 'cello-sonatas, op. 18 (D), op.
39 (G) [both also arr. f. vl.]; 1 viola-9onata, op. 49
(F m.; arr. f. violin by David.) — For Piano solo:
Suite, op. 38; 4sonatas, op. 12, 20, 41, 100; 6 Preludes,
op. 24; 6 Etudes, op. 23: 6 do., op. 81: 5 Barcarolles;
'Kamennoi Ostrow ['The Stone Island' in the Neva. w.
palace; a series of 24 'pictures'], op. 10; Soirees d St.
PHersbourg, op. 44 (3 books) ; Miscellanies, op. 93 (9
books); Le Bal, op. 14 (10 pieces); Album de Peterhof,
op. 75: etc. — For pf. 4 hands: Sonata, dp. 89; Bal
costume, op. 103; 6 CharakterbHdert op. 50; Fantasia
f. 2 pfs., op. 73.
Songs, etc.: Over 100 songs w. pf., op. 1, 8. 27, 32
(Asra is No. 6). 33, 34 (Mirza Schany), 36, 57, 64 (5
Fables). 72 (No. 1 is Es blinklder Tau). 76, 78, 83, 101.
105. 115;— Die Gedichte und das Requiem fUr Mignon
(Wilh. Meister], f . soli. ch. and pf., op. 91 ; 18 duets w.
pf.. op. 48, 67; 9 male choruses, op. 31, 61; 6 mixed
choruses, op. 62.
As a writer, besides the Memotrs. R. publ. Dte Mustk
und ihre Meister (l892 [5th ed. 1909]; Engl. tr. by J.
P. Morgan, N. Y.. 1892): Leiifaden *um richtigen
Gebrauch des Pianoforte-Pedals (posth.; ed. by S. von
N.. Leipzig, 1896; Fr. tr. Brussels. 1899): Gedonken-
korb. JJUerarischer Nachlass (posth.: ed. by H. Wolff,
Stuttgart. 1896 [2d ed. 18971) ; Die Meister des Klaviers
(posth.; ed. and tr. by M. Bezsmertny, Berlin, 1899).
Rubinstein Prize. Competition open
only to young men between 20 and 26 years
of age, of any nationality, confession, or
condition. Two prizes of 5,000 francs each
are offered, one lor composition, the other
for pf. -playing. Quinquennial competitions:
1890 at Petrograd, 1895 at Berlin, 1900 at
Vienna, 1905 at Paris; then 1910 at Petro-
grad, and so forth.
Ru'blnstein, Joseph [no relation to the
preceding], b. Staro-Konstantinov, Russia,
Feb. 8, 1847; d. (by suicide) Lucerne, Sept.
15, 1884. Pianist; pupil of Hellmesberg. r.
Dachs and Liszt. Friend and admirer of
Wagner; in 1874, etc., he was the pianist of
the piano-rehearsals of theRing des Nibelungen
at Bayreuth; also made excellent pf. -tran-
scriptions from that music-dramaandPar«/a/.
Rubinstein, Nikolai [Nicholas], brother
of Anton; b. Moscow, June 14, 1835; d. Paris,
Mar. 23, 1881. Pupil, 1844-6, of Kullak (pf.)
and Dehn (com p.) at Berlin. His brother
declared him to be a better pianist than him-
self— an opinion not shared by the general
public; but as a teacher and cond. he un-
doubtedly was superior. He founded the
Moscow Mus. Soc. in 1859, and this Society
opened, in 1866, the Moscow Cons., of which
R. was Director until his death. From 1860
he was the regular cond. of the concerts of the
Moscow branch of the Imp. Russian Mus.
Soc. He gave annual concerts in Petrograd;
and in 1878 cond. 4 Russian concerts at the
Paris Exposition. — Publ. tasteful and original
pf. -pieces, among them op. 11, Mazurkas 1
and 2; op. 13, Bolero; op. 14, Tarentelle;
op. 15, Polka; op. 16, Valse de scdon; op.
17, Polonaise; Scene de bal; etc. — Cf. N.
Findeisen, N.R., in 'Russkaya Muzykalnaya
Gazeta' (1901, No. 10).
Rub'ner, (Peter Martin) Cornelius,, b.
Copenhagen, Oct. 26, 1855. [Name is not
written Rubner; date correct; information
given to Ed. personally.] Pupil at the R.
Cons, in Copenhagen of N. W. Gade and
J. P. Hartmann; then at Leipzig Cons, of
F. David (vl.) and K. Reinecke (pf.); finished
his pianistic studies under H. von Billow and
A, Rubinstein. Made successful tours of Ger-
many, France, Italy and Scandinavia as
pianist; settled in Karlsruhe, being for a time
dir. of the Cons, and associate Kapellm. with
F. Mottl at the opera; succ. Mottl in 1892
as cond. of the 'Philharm. Verein,' which
position he held till he came to America in
1904, succeeding MacDowell as head of the
music-dent, at Columbia Univ. in New
York. His daughter, Dagmar, a fine pianist,
has been heard with her father (4 hands) and
as solo performer. R. is court pianist to the
King of Denmark, Knight of the Order of
Danebrog, the Rose Order (Brazil), the
Danilo Ch-der (Montenegro), the Order of the
Crown (Prussia), etc.; recipient of the gold
medal for Art and Science. — Works: Op. 9,
pf.-trio in G m.; op. 20, Friede, Kampf und
Sieg, symph. poem; op. 22, Marche heroique
for orch.; op. 27, Festouverture in C; op. 28,
Nordischer Hochzeitsreigen for orch.; op. 30,
vL-concerto in G m.; op. 32, Festkantate for
sop. and tenor soli, ch. and orch.; op. 34,
793
RttCKAUF— rudorff
Huldigungsmarsch for orch.; op. 35, Prinz
Ador, 3-act ballet (Karlsruhe, 1903); op.
38, Das Deutsche Lied, fest. march and hymn
for male ch. and orch.; pf.-pcs.; pes. for
vl. and pf.; do. for vcl. and pi.; songs and
duets. Also concert-transcriptions (very
difficult and effective) of the prelude to Die
Meister singer, Spring-song and Wotan's Fare-
well and Fire-music from Die Walkure,
Funeral music from GoUerddmmerung.
Rttck'auf, Anton, one of the foremost
among modern song-composers; born at
Prague, Mar. 13, 1855; d. at Schloss Alt-Erla,
Austria, Sept. 19, 1903. A pupil of Proksch
and the Prague Organ-School, he became a
teacher in the Proksch Inst.; receiving a
governmental stipend, he studied further at
Vienna (cpt. under Nottebohm and Nawratil),
where he settled permanently. He owed
much to his intimacy with the noted singer
of songs, Gustav Walter, whom he always
accompanied on the pf. His songs are remark-
able tor fine musical characterization and
masterly treatment of the pf.-part. Publ.
about 80 songs: Op. 1, 2, 3, 6 (Ballade by
Uhland), 9 (Hafis), 12 (five Minnelieder, by
W. von d. Vogelweide), 14, 15, 16, 17 (Zigeu-
nerlieder), 18, 21 (Flammen und Asche), 22
(Lent und Liebe), 23, 24, 25, 26 (Lieder der
Liebe in Volkerstitnmen), 27 (A us der Wander-
weii) and Griisse by Stieler; five Russian folk-
poems f. mixed ch. w. 4-hand pf.-accomp.;
five duets, op. 11; two songs f. mixed ch.,
op. 19; sonata f. vln. and pf. in F m.j op. /;
six Stiicke f. pf., op. 10; and a pf. -quintet in
F, op. 13. His opera, Die Kosenthalerin,
was successfully prod, at Dresden in 1897.
Ruckers. Celebrated family of clavecin-
makers at Antwerp, their harpsichords being
the finest ever made. Hans (senior), member
of the Guild of St. Luke in 1579, d. c. 1640;
his 4 sons were Franz, b. 1576: Hans (junior),
b. 1578; Andrtes (senior), b. 1579; and
Anton, b. 1581; the last manufacturer was
Andriea (junior) [1607-67].
Ru'dersdorff, Hermine, famous stage-so-
prano; b. Ivanovsky, Ukraine, Dec. 12,
1822; d. Boston, Mass.. Feb. 26, 1882.
A pupil of Bordogni at Paris and of de Miche-
rout at Milan, she sang at first in concerts in
Germany (1840); from 1841 she sane in opera
at Karlsruhe, then at Frankfort and Breslau ;
1852-4, at the Friedrich Wilhelmstadtisches
Th.t Berlin; and in London 1854-65, at the
Drury Lane Th., the Italian Opera, and in
concerts. Engaged at the Boston Jubilees of
1871-72, she settled in Boston, becoming re-
nowned as a teacher (Emma Thursby was
her pupil). She was eminent both in opera
and oratorio. In 1844 she married Dr.
K iichen meister, from whom she was divorced,
then married in 1850 an English merchant,
Maurice Mansfield. Their son was the
famous actor, Richard M. (1857-1907).
Rtt'dinger, Gottfried, b. Lindau, on Lake
of Constance, Aug. 23, 1886. Pupil of the
Lindau Musikschule, of which his father was
dir.; then st. philosophy and theol. in Eich-
statt until 1907; 1907-9, pupil of Max Reger
at the Leipzig Cons.; living in Munich since
1910. Has publ. Op. 1, Marchenstunde (8
pf.-pcs.); op. 2, 3 mixed choruses; op. 5, 6
Sinnspruche von Angelas Silesius (for voice
and pf.); op. 6, 5 do. (for fern, ch.); op. 79
Heimlich* Idyllen (for vl. and pf.); op. 8,
Skizzen (for vcl. and pf.); op. 9, Romantische
Serenade (for str.-orch.); op. 10, Bagatellen
(for pf.); op. 11, Symphony for vcl. and orch.
Rud'nick, Wllhelm, b. Damerkow, Pome-
rania, Dec. 30, 1850. Pupil of the Kgl. In-
stitut fur Kirchenmusik and Kullak's Akade-
mie in Berlin; 1879-91, org. and Musikdir.
in Landsberg; since then org. at St. Peter
and Paul's Ch. and cond. of the 'Chorgesang-
Verein' in Liegnitz. — Works: The oratorios
Judas Ischariot (op. 81), Der verlorene Sohn
(op. 100), Jesus und die SamariUrin (op. 150);
the vocal works for soli, ch. and orch.
Dornroschen (op. 80), Armins Kampfruf (op.
120), Am Konigssee (op. 132), Deutsche*
Banner lied, Gebet furs Vaterland; numerous
fine organ- works: op. 23, Aihl Orgetirios;
op. 33 fantasy on Ein' feste Burg; op. 37,
Zwei Fugen (G, Eb); op. 41, Neun Festpra-
ludien ; op. 44, Trinitatis-Sonate (G) ; op. 49,
sonata (D) ; op. 51, Pfingsten (sonata in D m.) ;
op. 56, Konzert-Phantasie in G m.; op. 57,
Introduktion, Thema und Varialionen (F);
op. 58, sonata (G m.); op. 62, sonata (D m.);
op. 70, 30 Choralvorspiele; op. 121, Zwei
Konzertstucke. Many songs and choruses
(sacred and secular). A dramatic cantata.
Otto der Schulz, was prod, in Landsberg
(1887); also a 'Singspiel,' Studio obenauf
(ib., 1888).
Rudorff, Ernst Friedrich Karl, b. Berlin,
Jan. 18, 1840; d. there Jan. (or Feb.), 1917.
Pupil of Bargiel 1852-7 (pf.); from 1859 of the
Leipzig Cons. (Moscheles, Plaidy, Rictz),
also a private pupil of Hauptmann and Rci-
necke. 1865, pf. -teacher in Cologne Cons.;
founded the Bach-Verein in 1867; from 1869-
1910 head pf. -teacher in the Berlin Hoch-
schule; also (succeeding Bruch) cond. of the
Stern Gesangverein 1880-90. He retired in
1910. — Works: Symphony No. 1, op. 31,
in Bb; No. 2, op. 40, inbra.; No. 3, op. 50,
in B m.; Serenades f. orch. (op. 20, A; op.
21, G); 3 overtures, to Tieck's Marchen vom
blonden Ekbert (op. 8); to Otto der Sckuiz
(op. 12); Romantische Out. (op. 45); Ballade
in 3 movem., f. orch. (op. 15); Variational
f. orch. (op. 24); Romanze f. vl. and orch.
(op. 41); Der Aufzug der Romanze [Tieck],
794
RUEGGER— RUMMEL
f. solo, ch. and orch. (op. 18); Gesang an
die Sterne [RUckert], f. 6 voices w. orch.;
Herbstlied f. do. (op. 43); string-sextet in
A (op. 5); many part-songs, songs, etc.
He orchestrated Schubert's Phantasie in
F m.; edited the full score of Weber's
Euryanthe, the pf.-concertos and pf.-sonatas
of Mozart; publ. Weber's letters to H.
Lichtenstein (1900).— For R.'s correspond-
ence with Brahms see vol. iii of the B.
correspondence (Berlin, 1907); for his
corresp. with Joachim, vol. iii of Briefe von
und an Jos. Joachim (Berlin, 1913).
Ruegger [rilg'ger], Elsa, fine violoncellist;
born Lucerne, Switzerland, Dec. <S, 1881.
First taught by her mother; from 1887-9,
pupil of Strassburg Cons. After her parents'
removal to Brussels, in 1889, she st. privately
with Anna Campawski until 1892, when she
became a pupil of fidouard Jacobs at the
Cons.; her first public appearance at a charity
concert in Brussels (1894) attracted the at-
tention of the leading critics; graduated in
1895 as winner of the 1st prize. She then
made a tour of Switzerland together with her
sisters, Charlotte (vl.) and Watty (pf.)t
who had been her fellow-students at the Cons.
Her Berlin debut as soloist, in 1896, was the
beginning of a very successful career; in the
same year she played in a number of German
cities, Ostend, Bruges, Antwerp, Brussels,
Paris and Petrograd; in 1897 she visited
England, and in 1899 the U. S. for the first
time; since then she has revisited both coun-
tries repeatedly and also toured Scandinavia.
In 1903 she lived in Berlin, teaching at the
Scharwenka Cons.; on Aug. 30, 1909, she
married the violinist Edmund Lichtenstein
of Detroit; now (1917) living in San Fran-
cisco.
Rti'fer, Philippe (-Barthelemy), b. Liege,
June 7, 1844 [son of a German organist,
Philipp R.J. Pupil of Liege Cons.; 1869^1,
mus. air. at Essen; since then he has lived
in Berlin as pf. -teacher at Stern's Cons.,
Kullak's Cons., and from 1881 at Scharwen-
ka's; elected member of the Kgl. Akademie
der Kunste in 1896, senator in 1901; corr.
member of the Academie in Brussels. — Works:
Opera Merlin (Berlin, 1887); 4-act opera
Ingo (Berlin, 1896; fairly succ.); symphony
in F, op. 23; 3 overtures (op. 5 publ.); a vl.-
concerto in D m., op. 33; 2 string-quartets
(op. 20, D m.; op. Jl, Eb); a pf.-trio in B>
(op. 34); 2 suites f. pf. and 'cello (op. 8, 13);
a violin-sonata in G m. (op. 1), an organ-so-
nata (op. 16) ; pf. -music, songs; Das Lied vom
Reicht f. mixed ch. and orch., op. 39. — Cf.
P. Magnette, Ph. R. £tude biographique et
critique (Liege, 1910).
Ruf'fo, Titta, famous dramatic baritone;
b. Pisa, 1878. Pupil of Persichini at the
Accademia S. Cecilia in Rome, then of Cassini
in Milan. Debut at the Teatro Costanzi in
Rome, as the Herald in Lohengrin (1898);
then sang in Rio Janeiro, with much success;
returning to Italy, he appeared in all the
Principal theatres; sang also in Vienna and
aris; the success of his brief tour of the U. S.
in 1912-3 was nothing less than sensational;
Amer. debut in concert in New York, Nov.
25; appeared in opera 4 days later with the
Chicago Opera Co. as Rigoletto; besides that
rdle he sang only Hamlet and Tonio.
Rufina'tscha, Johann, b. Mais, Tyrol,
1812; d. Vienna, May 25, 1893. Excellent
teacher (Briill was his pupil); comp. 5 sym-
phonies, 4 overtures, a pf.-concerto, songs,
pf .-pes (4 sonatas, op. 3, 7, 9, 18 ;) etc.
Rug'gi [rod'je] Francesco, b. Naples, Oct.
21, 1767; d. there Jan. 23, 1845. Pupil of
Fenaroli at the Cons, di S. Loreto. Ap-
pointed maestro di cappella extraordinary to
the City of Naples in 1/95; succeeded Tntto
as prof, of counterpoint and comp. at the
R. Cons, in 1825. Was the teacher of
Bellini and Carafa. He prod. 5 operas;
also an oratorio and other church-music.
Rtlhl'mann, (Adolf) Julius, b. Dresden,
Feb! 28, 1816; d. there Oct. 27, 1877. Pupil
of Tillmann and Jul. Otto; in 1841, tenor
trombone in the royal orch.; 1873, R. In-
spector of Instrs.; co-founder, and from
1855 president, of the Dresden Tonkunst-
lerverein'; from 1856, prof, of pf. and the
history of music at the Cons. A series of
valuable historical essays appeared in the
'Neue Zeitschrift fiir Musik'; his illustrated
Geschichte der Bogeninstrumente was publ.
in 1882 by his son, Dr. Richard R.; also
wrote Die Urform der Bogeninstrumente
(1874).
Rumford, R. Kennerley, distinguished
concert-baritone; b. Hampstead, .London.
Sept. 2, 1870. Pupil of George Henschel and
Alfred Blume in London; successful debut at
one of Henschel's Symph. Concerts, Feb. 16,
1893, but went in 1894 to Paris for further
study under Sbriglia and Bouhy; reappeared
in London in 1896, and has since sung at the
principal concerts and festivals throughout
England. On June 26, 1900, he married the
famous contralto, Clara Butt (q. v.), whom
he accompanied on her Amer. tour of 1913;
during 1913-14 the two artists made a tour of
the world; their joint recitals are justly
famous.
Rum'mel, Christian, b. Brichsenstadt,
Bavaria, Nov. 27, 1787; d. Wiesbaden, Feb.
13, 1849, where he was Kapellm. 1815-41.
Performer on the pf., violin and clarinet;
publ. a clar.-concerto, 2 quintets, etc. — His
son Joseph, b. Wiesbaden, Oct. 6, 1818, d.
795
RUMMEL— RUNZE
London, Mar. 25, 1S80, was court pianist to
the Duke of Nassau. Publ. pf. -music. — A
second son, August, b. Wiesbaden, Jan. 14,
1824, d. London, Dec. 14, 1886, was also a
good pianist.
Rum'mel, Franz, son of Joseph R.; b.
London, Jan. 11, 1853; d. Berlin, May 2,
1901. Distinguished pianist, pupil of Louis
Brassin at Brussel Cons., winning the 1st
prize in 1872. 1877-8, tour through Hol-
land with Ole Bull and Minnie Hauk.
First American tour, 1878; second, 1886.
Taught 1884-5 at Stern's Cons., then at
Kullak's, in Berlin. Gave his first concert in
Brussels, Nov. 24, 1872. In 1897 he received
the title of 'Professor' from the Duke of
Anhalt. His third tour in America began in
New York, Feb. 1, 1898. Up to that time he
had played in about 700 concerts.
Rummel, Walter Morse, son of Franz;
grandson of S.. F. B. Morse (inventor of the
telegraph) ; b. Berlin, July 19, 1887. Pupil of
S. P. Fabian in Washington; st. in Berlin
with L. Godowsky (pf.) and H. Kaun (comp.)
and later in Paris with Debussy, his pian-
ist ic debut in Paris (1913) was followed by
tours of France, Germany, England and
Switzerland. In July, 1912, he married
Therdse Chaigneau, the pianist of the Ch.-
Trio in Paris; has appeared with her in re-
citals for 2 pfs. He is living in Paris. Has
publ. a number of songs (Etaine's songs from
Fiona MacLeod's The Immortal Hour [w. 2
fls. and strs.]); Ecstasy, June, Das Pfeiferlein,
Twilight, etc., and pf.-pcs. (6 Viking Nature
Studies, Little Fairy Suite, Prelude in Bb m.f
etc.); in MS. he has Invocation to Wagner
for vl. and orch., Invocation to the God of
Earth for alto and orch., a str. -quartet (From
the Depths) and a vl.-sonata (To a Memory);
has made concert-arrs. of some early comps.,
and publ. Troubadour songs which he dis-
covered in the 'Bibliotheque Nationale.'
Runciman, John F., musical critic; b.
England, 1866 (?); d. London, April 11, 1916.
Precocious organist; in 1887 he accepted a
position in London. Critic on The Saturday
Review' from 1894 till his death, and for a
short time acting editor and managing direc-
tor; also editor of The Chord' (quarterly)
and the' Musician's Library', and mus. corre-
spondent for The Musical Record' (Boston).
His writings are remarkable for forceful and
Cirturesque language rather than for well-
alanced judgment; his bitter attacks on
some contemporary composers more than
once involved him in libel suits. He publ.
selected essays in 1899 under the title of
Old Scores and New Readings, an interesting
Biographical Study of Purcell (1909), and
a biography of Richard Wagner.- Composer of
Operas (1913).
796
Rung, Frederlk, son of Henrik R.; b.
Copenhagen, June 14, 1854; d. there Jan. 22,
1914. Pupil of his father and the R. Cons.;
1872, repetitor at the R. Opera; 1884, 2d
Kapellmastare; from 1908, 1st do.; 1877 till
his death cond. of the 'Cecilia Soc.' (founded
by his father); founder (1887) and cond. of
the ' Madrigal kdr'; taught at the R. Cons,
from 1881-93, when he became dir. of Home-
man n's Cons. — Works: The operas Del
hemmelige Selskab (The Heavenly Host;
Copenhagen, 1888) and Den trekantede Hat
(The Three-cornered Hat; ib., 1894); incid.
music to several plays; a symphony in D m.
(op. 25);. a rhapsody for orch., a suite (in the
old style) and Danse des PaptUons for do.; a
serenade for 9 instrs.; a pf. -quintet; 2 str.-
quartets (op. 30, 38); a vl.-sonata; pf.-pcs.;
a capp. choruses and songs.
Rung, Henrik, b. Copenhagen, Mar. 3.
1807; d. there Dec. 13, 1871, as chorusmaster
at the opera and cond. of the Cecilia Soc. for
old church-music, which he founded in 1851. —
Works: Incid. music to plays; popular songs;
choruses; etc. — Cf. C. Thrane, Caectiiafore-
ningen og dens Stifter (Copenhagen, 1901).
Run'ge, Paul, musicologist; b. Heinrichs-
feld, Posen, Jan. 2, 1848; d. Kolmar, Alsace,
July 4, 1911. Pupil of J. Schneider and the
Kgl. Inst, fur Kirch enmusik in Berlin;
lived from 1873 as org. and teacher in Kolmar.
His writings, which have thrown an entirely
new light on the notation of the Troubadours,
Minnesingers and Mastersingers, are Die
Sangeswetsen der Kolmarer Handschrift und
die Liederhandschrift Donaueschingen (1896),
Die Ges&nge der Geissler des Pestjahres
1349 (1899), Die Lieder Hugo von Montforts
mil den Melodien des Burk Mangolt (1906),
Die Notation des Meistergesanges (1907; in
the report of the Basel Congress of I. M.-G.);
with R. Batka he publ. Die Lieder Mulichs
von Prag (1905). Comp. of a Te Deum for ch.
and orch. (op. 3), Psalm 100 for mixed ch. a
capp. (op. 5), and a few other choruses.
Run'genhagen, Karl Friedrich, b. Berlin,
Sept. 27, 1778; d. there Dec. 21, 1851.
Pupil of Benda; in 1815, vice-cond. of the
Singakademie, succeeding Zelter in 1833
as first cond., also being elected a mem-
ber of the Berlin Academy. Soon app.
teacher in the School of Composition; in
1843, 'Professor.' — Works: 4 operas, 3 ora-
torios, several sacred and secular cantatas, a
mass f. male voices, a Te Deum, 30 motets, 30
4-part songs and chorals, over 100 sacred and
1,000 'secular songs; also symphonies, quar-
tets, etc. — See Q.-Lex.
Runze [roohn'tst], Maximilian, b. Wol~
tersdorf, Pomerania, Aug. 8, 1849. St. philos.
and theol. at the Univs. of Greifswald and
Berlin; since 1882 rector of St. Johannis-
RUOLZ-MONTCHAL— RUST
Moabit, Berlin, and Dozent in philos. at the
Humboldt-Akad. His writings on the life
and works of Karl Loewe are valuable. Has
publ. K. Loewe, eine dsthetische Beurteilung
(1884), Loewe redivivus (1888), Ludwig
Giesebrecht und K. L. (1894), Goethe und L.
(1901), K. L. (1905; biogr.); also Die musi-
kalische Legende (1902), VolksUed und Ballade
(1907). Has edited Arien aus ungedruckten
Opern und Oratorien Loewes (1892; 3 vols.),
Loewe-HohenzoUem Album (1898; 2 vols.),
Gesammtausgabe der BaUaden, Legenden und
Gesdnge L.'s (1899-1903; 17 vols.).
Ruolz-Montchal [ru-6hls' mfthn-shahll,
Henri (-Catherine-Cam Me), comte de, b.
Paris, Mar. 5, 1808; d. there Sept. 30, 1887.
Pupil of Berton, Lesueur, Pa6r and Rossini;
had won some success as a comp. when the
loss of his fortune, about 1840, induced him
to abandon music and devote himself to the
study of chemistry. — Works: The operas
Attendre et Courir (with F. Halevy; Op.-
Com., 1830), Lara (Naples, 183S), La Ven-
detta (Opera, 1839), La jolie Fille de Perth
and Manfred; a Requiem; Cantate en hon-
neur de Jeanne d'Arc; a str.-quartet; 2 pf.
trios (E, Et>); motets; songs.
Russell, (George) Alexander, b. Franklin,
Tenn., Oct. 2, 1880. Grad. from Syracuse
Univ. in 1901; after holding the position of
assoc. prof, of pf. and org. there from 1902-6
he went to Berlin, studying pf. with L.
Godowskyand comp. with E.S.Kelley; 1907-
8 in Pans with H. Bauer (pf.) and C. M.
Widor (org., fu^ue, orch.), making his debut
as concert-pianist there in 1908. After his
return in 1909 he made a concert-tour of the
U. S., and in 1910 became dir. of the Audi-
torium concerts at Wanamaker's in New
York; in 1912 he was also app. org. andchoirm.
at the Old First Presb. Ch. in Newark^ N. J.,
and cond. of the Madrigal Club there; in 1916
he was called as prof, to the newly-founded
chair of music in Princeton Univ. He has
publ. a number of concert-songs (Sacred
Fire, Sunset, Fountain Court, etc.).
Russell, Henry (brother of Landon
Ronald), operatic •impresario; b. London,
Nov. 14, 1871. A severe illness resulting in
permanent injury to his eyes determined him
to abandon his medical studies, and he ent.
the R. C. M. to study singing. His knowl-
edge of physiology and anatomy enabled him
to devise an original method of teaching sing-
ing, which attracted the attention of Mme.
Melba, who sent him his first pupils (Ben
Davis, Marie Tempest, etc.), and in a very
short time he was one of the best-known
teachers in London. While living in Rome
he restored Eleonora Duse's voice, which had
failed her. Owing to his wide acquaintance
with singers he was invited in 1903 to manage
a season of grand opera at Cov. Garden,
which was so successful that he managed a
second season the next year. In 1905 he
brought his company to the U. S., where
Boston was the principal field of his opera-
tions; his success there resulted, in 1909, in
the organization of the Boston Opera Co., of
which he was general manager until its dis-
solution in 1914 (owing to the panic follow-
ing the outbreak of the war) . J ust before the
war he had taken the entire Boston company
to Paris, where he gave an unusually success-
ful season at the Th. des Champs-felysees
(April 25-June 19). Since then he has been
living in London.
Russell, Louis Arthur, b. Newark, N. J.f
Feb. 24, 1854. Pupil of S. P. Warren, G. F.
Bristow, and C. C. Miiller, New York; of J.
Higgs, B. Tours, W. Shakespeare, and G.
Henschel, London. From 1878-95, organist
and choirmaster of South Park Presb. Ch.,
Newark; 1879, cond. of the Schubert Vocal
Soc.; since 1885, of the Easton (Pa.) Choral
Soc. Founded in 1885 the College of Music
of Newark, of which he is the mus. director
and in which he teaches singing, pf.-pLaying
and theory. Organized the Newark Symph.
Orch. in 1893.— Works: The Embellish-
ments of Music; How to Read Modern Music;
Problems in Time and Tune; Development of
Artistic Pianoforte Touch; — the cantata A
Pastoral Rhapsody, f. sopr. solo, ch. and orch.;
orchl. pieces, anthems, quartets, songs, pf.-
music, etc.
Russell, William, b. London, Oct. 6, 1777;
d. there Nov. 21, 1813. Pupil of Arnold,
Shrubsole, and others; from 1789-93, deputy
organist at St. Mary's, Aldermanbury ; finally,
from 1801, at the Foundling Hospital. Pian-
ist at Sadler's Wells Th., 1800; at Covent
Garden, 1801. Mus. Baa, Oxon., 1808.—
Works: Several operas; 3 oratorios, The
Deliverance of Israel, The Redemption, Job;
a mass, in C m.; psalms, hymns and anthems;
a morning and evening service; odes, glees,
and songs; 12 Voluntaries f. org. or pf.; etc.
Rust [roost], Friedrich Wilhelm, born
Wdrlitz, n. Dessau, July 6, 1739; d. Dessau,
Mar. 28, 1 796. Student of law at Leipzig until
1762; then a pupil of the violinist Hockh at
Zerbst and (1/63) of Franz Benda at Berlin,
under the patronage of Prince Leopold III
of Anhalt- Dessau, whom he accompanied to
Italy (1765-6), and who app. him court mus.
dir. in 1 775. Eminent violinist and composer;
he brought out several stage- pieces, wrote
incid. music to play3, and considerable instrl.
music. David, Singer, and Wilhelm Rust
have publ. several of his violin-pieces. — Cf.
W. Hosaus, F. W. R. und das Dessauer Musik-
leben (Dessau, 1882); E. Prieger, F. W. R.,
ein Vorgdnger Beethovens (Cologne, 1894;
797
• RUST— RYDER
with list of works). — See also Q. Lex. — His
son, Wilhelm Karl, b. Dessau, April 29,
1787, d. there April 18, 1855; was organist at
Vienna 1819-27; then teacher in Dessau.
Publ. pieces f . pf. and organ.
Rust, Wilhelm, b. Dessau, Aug. 15, 1822;
d. Leipzig, May 2, 1892. Pupil of his uncle,
W. K. Rust (pf. and org.) ; later of Fr. Schnei-
der (1843-6). From 1845-8 he was music-
teacher in an Hungarian nobleman's family.
He went to Berlin in 1849, taught there, en-
tered the Singakademie in 1850, joined the
Leipzig Bach-Verein in 1850, played in
numerous concerts, became organist of St.
Luke's in 1861, cond. of the Berlin Bach-
Verein from 1862-74, 'Royal Mus. Director'
in 1864, and received the title of Dr. phil. (hon.
c.) from the Marburg Univ. in 1868; in 1870,
teacher of theory and comp. at the Stern
Cons.; in 1878, organist of the Thomaskirche
at Leipzig, and teacher in the Cons, there;
in 1880 he succeeded Richter as cantor of the
Thomasschule. — As editor of several volumes
of the Bach edition prepared by the Bach-
Gesellschaft, he displayed great erudition and
precision. His comps. include motets, sacred
choruses^ part-songs f. male or mixed chorus,
vocal soli w. orch. or organ, songs; also some
pf.-music.
Ru'ta, Mlchele, born Caserta, 1827; d.
Naples, Jan. 24, 1896. Pupil, at Naples Cons.,
of Lanza (pf.), Crescentini the younger ana
Cimarosa (voice), and Conti (compj. Emi-
nent teacher, prolific composer, and writer on
music; mus. editor of the 'Corriere del Mat-
tino'; founder and editor of 'La Musica.1
He prod, at Naples the operas Leonilda
(1853), Diana di Vitry (1859), Vimpresario
per progetto (1873) ; a ballet, lsnelda; entr'acte
music; many masses, a Te Deum, motets; pa-
triotic songs; vocal chamber-music. — Wrote
Tratiato d'Armonia; Cor so complete di compo-
sizione; do. of Canto cor ale; Breve metodo di
canto , etc.
Ru'thardt [rdo'tahrt], Adolf, son of Fried-
rich R.; b. Stuttgart, Feb. 9, 1849. Pupil of
the Cons. ; music-teacherinGeneva 1868-1885,
then returning to Germany; from 1886-1914,
when he retired, prof, of pf. at the Leipzig
Cons., regarded as one of Germany's fore-
most pedagogues; made Kgl. Prof, in 1910.
— Works: Excellent pf.-music: Op. 4, Me-
nuet; op. 6, Romanze; op. 11, six Morceauxde
zenre; op. 14, six Preludes; op. 15, two Pre-
ludesand Fugues; op. 16, Nordisches Stdndchen;
op. 17, 3 Rondos; op. 18, Deux melodies in-
times; op. 20, Soiree dansante; op. 21, six
waltzes; op. 24, Introd. el scene de bal; op. 27,
SchriUfur Schritt (12 4-hand pieces); op. 31,
sonata f. 2 pfs.; op. 34, Trio pastorale f. pf.f
oboe and viola. Besides, he wrote a number
of valuable studies (op. 40, TriUerstudien;
798
op. 41, Oktavenstudien; op. 53, Terten-
Etiiden; op. 54, Sexten-Etuden; etc.); and
an Elemenlar-Klavierschule (op. 44); edited
a selection of Cramer's Studies (1909), a coll.
of Old Dances (2 vols., 1913), and a 'Klavier-
buch nordischer Komponisten' (2 vols., 1913).
— Also wrote Das Khmer: ein geschichtlicher
Abriss; a Chormeisterbuchlein of short biogra-
phies; and prepared the 3d-8th eds. of Esch-
mann's Wegweiser.
Ru'thardt, Friedrich, b. 1800; d. 1862 as
oboist in the Stuttgart court orch. — Publ. 2
books of chorales; comp. f. oboe and f. zither.
Ru'thardt, Julius, son of Friedrich R.;
b. Stuttgart, Dec 13, 1841; d. Constance, Oct.
13, 1909. Violinist in the court orch., 1855;
Kapellm. in the theatre at Riga (1871) and
at Leipzig (1882). — Works: Incid. music to
Bjornson s Hulda; songs.
Ryan, Thomas, b. Ireland, 1827; d. New
Bedford, Mass., Mar. 5, 1903. He went to
the United States in 1844, pursued his studies
in Boston, and in 1849, with August Fies
(1st violin), Francis ftiha (2d violin),
Eduard Lehmann (viola and flute), R. (viola
and clarinet), and Wulf Fries ('cello), the
newly organized 'Mendelssohn Quintette
Club gave its first Boston concert on Dec. 14,
at the Chickering warerooms. [For member-
ship of the Club as an amateur organization
cf . Fries, Wulf], From this time R.'s for-
tunes were inseparably bound up with those
of the Club, of which, after half a century of
pioneer work for the highest class of chamber-
music, he was the sole remaining original mem-
ber. This little band of excellent musicians
visited every town of any size in the United
States. Details will be found in R.'s book.
Recollections of an Old Musician (New York,
1899). He was a virtuoso on the clarinet and
viola; and comp. several quintets, quartets,
numerous songs, etc.
Ryba [re"bah], Jakob Jan, b. Przestitz,
Bohemia, Oct. 26, 1765; d. Roczmittal, 1815,
as rector of the gymnasium. — Comps.: Many
masses, motets, offertories, and other church-
music; 6 comic operas and melodramas; 35
symphonies; 38 concertos f. different instrs.;
a vast amount of chamber-music, etc., of no
enduring value.
Ryder, Arthur Hilton, b. Plymouth,
Mass., April 30, 1875. Organ-pupil of
Loraine Holloway; completed his mus. educa-
tion at Harvard Univ. under W. R. Spald-
ing (theory) and J. K. Paine (comp.); 1894-9,
org. at St. Stephen's, Boston; 1901-10, do.
and choirm. at Grace Ch., Providence, and
cond. of the People's Choral Assoc.; was also
for some time dir. of the chapel music at
Brown Univ.; now (1917) org. and choirm.
at Christ Ch., Quincy, Mass. Has publ.
RYDER— SACCHINI
chiefly songs (Yvonne, Gray Rocks and Grayer
Sea, A Votce on the Winds, etc.); also some
pf.-pcs., pes. for vl. and pf., sacred choruses.
Ryder, Thomas Philander, b. Cohasset,
Mass., June 29, 1836; d. Somerville, Mass.,
Dec. 2, 1887. Pupil of Gustav Satter.
For many years organist at Tremont Temple,
Boston. Composer of light and popular
piano-music.
Ryelandt [ri'lahnt], Joseph, b. Bruges,
April 7, 1870. St. comp. with Tinel in Brus-
sels. Has publ. the choral works w. orch.
Ste.-CScile (op. 35) and Purgatorium (op. 39,
w. sop. solo); a 'cello-sonata, op. 23; 2 vl.-
sonatas, op. 27., 53; pf. -quintet, op. 32; sona-
tina for ob. and pf.,op. 28; IdyUe mystique
for sop. and orch.; 2 pf. -sonatas, op. 50, 51;
much church-music. In MS. he has 2 sym-
phonies, 3 str.-quartets, a pf.-trio, a horn-
sonata, a clar.-sonata, and a 3d vl.-sonata.
S
Saar, Louis Victor Franz, b. Rotterdam,
Dec. 10, 1868. Pupil 1886-9 of Rheinberger
and Abel, at Munich Cons.; spent one winter
with Brahms in Vienna; lived in Leipzig and
Berlin; was eng. 1894-6 at the M. O. H. as
opera-accompanist; 1896-8, teacher of cpt.
and comp., at the National Cons., N. Y.;
from 1898-1906, do. at the College of Music.
Critic for the 'Staats-Zeitung' and the 'New
York Review, ' and corresp. for 'Die Musik'
and 'Signale' (Berlin). 1906-17 head of the
theory dept. and dir. of the chorus at the
Cincinnati Coll. of Music; since Sept., 1917,
do. at Chicago Mus. Coll. Has won nu-
merous prizes: Mendelssohn comp.-prize
(Berlin, 1891), Tonkunstlerpreis (Vienna,
1892), Kaiserpreis (Baltimore, 1902), first
Erizes for pf.-comps. (Boston, 1899; St.
ouis, 1912), Madrigal Club Prize (Chicago,
1911 and '12), etc.— Works: Op. 35, Schlacht-
gebet for tenor solo, male ch. and orch.;
op. 36, Die Vdtergruft for bar. solo, male ch.
and orch.; op. 41, Wechselgesang for 6- part
mixed ch. and orch.; op. 45, Nachlgesang for
3-part fern, ch., tenor solo, ft. obbl. and orch.;
op. 55, Hallowe'en Night for alto solo, fern,
ch. and orch.; op. 56, 2 male choruses w.
orch.; op. 71, Song of Consolation for mixed
ch. and orch.; op. 66, 2 arias w. orch.; op. 39,
pf. -quartet in Em.; op. 44, vl.-sonata in G.
— For pf . : Op. 6, Suite; op. 9, Tagebuchbl&t-
ter; op. 27, Suite (4 hands; alsoarr. for orch.);
op. 29, Vars. and Fugue in G; minor pes. (op.
18, 20 [4 hands], 22, 23, 25, 28, 52).— Male
choruses a capp. (op. 30, 37, 38, 40, 43, 46, 51,
57); duets (op. 61, 79); songs (op. 1-5 [Ana-
tolische Liebeslieder], 10-16, 19, 21, 24, 47,
49, 74 [Browning Cycle], 77 [Persian Love-
Songs]). Has also publ. arrs. for male ch.
of 'Swedish Folk-songs/ 'Cycle of Somerset
Folk-songs,' 'Old Engl. Songs/ and an 'Al-
bum of Church Classics.'
Saba'ta, Victor de, born Trieste, 1892.
Pupil of Orefice and Saladino at Milan Cons.,
1901-11, graduating as winner of the gold
medal. In 1904 an Andante and Scherzo was
prod, at one of the Cons, concerts; in 1910
Serafin played an orchl. suite at La Scala.
Immediately after graduation S. began the
composition of a 3-act opera, // Macigno,
text by A. Colantuoni, which was prod, with
considerable success at La Scala (Milan) on
March 31, 1917.
Sabatier. See Unger, Karolinb.
Sabbati'ni, Galeazzo, b. Pesaro; maestro
to the Duke of Mirandola. — Publ. 2 books of
madrigals a 2-5 (1627, 1636); 2 of Sacrae
laudes a 2-5 (1637, 1641); 1 do. w. organ
(1642); 3 of Madrigali concertati a 2-5, w.
instrs. (1630, 1636); Litanies a 3-6 (1638);
Sacri laudi e moteUi a voce sola (1639). — See
Q.-Lex.
Sabbati'ni, Luigi Antonio, b. Albano Li-
ziale, n. Rome, 1739; d. Padua, Jan. 29, 1809.
Pupil of Padre Martini at Bologna, and Val-
lotti at Padua, succeeding the latter as mae-
stro at the Antonius Basilica in 1780. — Publ.
Gli elemenli teorici della musica coUa practice de
medesimi in duetti e terzetti a canone (1789;
part transl. into French by Choron) ; La vera
idea delle musicali numeriche signature (1799;
gives an epitome of Vallotti's system) ; Trat-
tato sopra le fughe musicali (1802; with fine
examples by Vallotti); and Notizie sopra la
vitaele opere del R. P. Fr. A. Vallotti (1780).
— See Q.-Lex.
Sac'chi [sah'ke], Don Giovenale, learned
musicograph; b. Barfio, Como, Nov. 22, 1726;
d. Milan, Sept. 27, 1789. A Bamabite monk,
and excellent musician. — Publ. Del numero e
delle misure delle corde musiche e loro corrispon-
denza (1761); Delia dirn'sione del tempo nella
musica, nel hallo e nella poesia (1770); Della
natura e perfezione dell* antica musica de' Greci
. . . (1778); Delle quinte successive nel con-
trappunto e delle regole degli accompagna-
menti (}780) ; Vita del Cav. Don Carlo Broschi,
detto Farinelli (1784); Don Placido, dialogo
dove cercasi se lo studio della musica al religioso
convenga o disconvenga (1786); Vita di Bene-
detto Marcello (17 $9); etc.— See Q.-Lex.
Sacchl'nl [sah-ke'ne], Antonio Maria
Gasparo, noted dram, composer of the Nea-
politan school; b. Pozzuoli, n. Naples, July 23,
1734; d. Paris, Oct. 8, 1786. The son of a
poor fisherman, Durante was charmed with
his singing, and had him admitted to the Cons,
di Sant' Onofrio, where he studied under
Fiorenza (vln.), Manna (singing) and Du-
rante (harps., org. and comp.). He prod, an
799
SACHS— SACK
intermezzo at the Cons, theatre in 1756, Fra
Donate, with good success; then several
small operas in Neapolitan dialect at minor
theatres; in 1762 his Semiramide met with so
warm a reception at the Argentina Th., Rome,
that he remained in that city for 4 years in
competition with Piccinni. The great success
of Alessandro nelT Indie at Venice (1763),
caused his appointment as director of the
Cons, dell' Ospedaletto (for girls) there. In
1771, having written over 50 dramatic works,
he went via Munich and Stuttgart (where he
prod. 2 operas) to London, where he lived ten
years (1772-82) as a successful opera-com-
poser, but ran into debt, and fled from his
creditors to Paris. His fame had preceded
him, and some of his operas, in French ver-
sions, were produced at the Opera (Armida e
Rinaldo as Renaud, 1783; // gran Cid as
Chimene, 1784); he also wrote two new
operas, the 'tragedie lyrique' Dardanus (1784),
and (Edipe a Colone (1786, his masterpiece,
and still played in 1844); and left a third.
Andre et Hvelina, unfinished (Rey added
Act Hi, and it was successfully prod, in 1788).
Besides operas, he wrote 6 oratorios, masses,
and much other church-music; 2 symphonies,
chamber-music (6 string-quartets, 6 trios f. 2
violins and 'cello); 12 sonatas f. harpsichord,
violin-sonatas, etc. — Cf. J.-G. Prod'homme,
£crits de musiciens des X VmM-XVIIImM sticks
(Paris, 1912).— -See also Q.-Lex.
Sachs [z&hks], Hans, foremost poet of the
Meistersinger; b. Nuremberg, Nov. 5, 1494;
d. there Jan. 19, 1576. He wrote over 4,000
poems ( Meisterschulgedichte'), 1,700 tales,
etc., and 200 dramatic poems; also in-
vented numerous 'Weisen (melodies). He
is the central figure in Wagner's opera, Die
Meistersinger von Niirnberg. The original
melodies of a large number of the poems are
preserved in Das Singebuch des Adam Pusch-
mann (ed. by G. Miinzer, 1906). — Biblio-
graphy: Ch. Schweitzer, Un poete aUemand
au X VI— siecle: £tude sur la vie et les csuvres
de H. S. (Nancy, 1889); K. Drescher, 5/m-
dien zu H. S. (Marburg, 1891); R. Genee, //.
S. und seine Zeit (Leipzig, 1894; 2d ed. 1901);
B. Suphan, H. S.: Humanitdtszeit und Gegen-
wart (Weimar, 1895); K. Drescher,* Niirn-
berger Meister singer protokolie von 1575-1689
(2 vols.; Tubingen, 1898); H. Holzschuher,
H. S. in seiner Bedeutung fur unsere Zeit
(Berlin, 1906); E. Mummenhoff, Musikpflege
und Musikauffiihrungen im alien Niirnberg
(Leipzig, 1908); H. Nutzhorn, M ester sangeren
H. S. (Copenhagen, 1911).
Sachs, Julius, b. Waldhof, Meiningen,
Dec. 12, 1830; d. Frankfort-on-Main, Dec.
30, 1888. Gifted pianist and comp.; pupil
of Ferd. Kessler and Ed. Rosenhain at Frank-
fort. Successful tours. — Publ. op. 26, Zigeu-
800
nerbattade for orch.; Serenade for tenor and
orch.; op. 15, vl .-sonata in Eb; for pf.: op.
40, Suite in F# m.; op. 42, Marche triomphaJ*;
op. 45, Der traumenae See; op. 46, Hochzeils-
reigen; op. 50, Elfenmarchen; and many mi-
nor pes.; pes. forvl. and pf.; do. forvcl. an J
pf . ; songs and duets.
Sachs, Kurt, b. Berlin, June 29, 1881.
While attending the Gymnasium there, he st.
pf. and comp. with L. Schrattenholz and clar.
with Rausch; then matriculated at the Univ.
for hist, of music (O. Fleischer) and hist, of
art; Dr. phil. 1904; after some years as art-
critic he decided to devote himself to musi-
cology, and st. with Kretzschmar and J ah.
Wolf; living in Berlin. — Works: Musikge-
schichte der Stadt Berlin bis turn Jakre 1800
(1908); Die Ansbacher Hofkapelle unter Mark-
grafJok. Friedrich [1672S6\ ('Sbd. I. M.-G.t
xi, 1; 1910); Musikund Operant kurbrandi-
schen Hofe (1910); ReaUexikon der Musik-
instrument (1914; very valuable); Sy sterna-
tik der Musikinstrumente (with E. von Horn-
bostel, in 'Ztschr. fur Ethnologie,' 1914); Die
Musikinstrumente Indiens und Indonesiens
(1915); Die littauischen Musikinstrumente
('Internat. Archiv far Ethnographie,' 1915).
Sachs, Melchior Ernst, b. Mittelsinn,
Lower Franconia, Feb. 28, 1843. Pupil of the
Munich Cons. 1863-5, and of the reorganized
R. School of Music, under Rheinberger's
special tuition, 1867-9. Cond. of the 'Lie-
derkranz' 1868-72; in 1871, teacher of harm,
at the Sch. of Music, also founded and con-
ducted theconcertsof the'Tonkunstlerverein';
retired 1910.— Works: Opera Palestrina (Ra-
tisbon, 1886); an oratorio in 7 parts, Kains
Schuld und Suhne (text also by S.; Munich,
1912) ; ballade Das Thai des Espingo, f. ch. and
orch. ; Totenklage der Goten for male ch. and
orch. (op. 15); Bethanien, cantata for soli,
fern. ch. and harm.; a Paternoster; a sym-
phony; pf.-pes. and songs.
Sach/se-Hof 'meister, Anna, dramatic so-
prano; b. Gumpoldskirchen, n. Vienna, July
26, 1850; d. Berlin, Nov. 15, 1904. Pupil
of Frau Passy-Cornet at Vienna Cons.;
studied privately with Proch; debut Wfirz-
burg, 1870, as Valentine in Les Huguenots;
sang at Frankfort 1872-6, then in Berlin,
where she married (1878) the tenor Sachse.
Eng. at Leipzig, 1880-82; then, until 1889, at
the Berlin Court Opera as prima donna.
She excelled in the great dramatic r61es of
Gluck and Wagner.
Sack [zahk], Johann Philipp, b. Harzge-
rode, Anhalt, 1722; d. Berlin, 1763. In 1747
asst.-org., and from 1755 org. at the Berlin
Cath.; founded in 1749 the 'Musikiibende
Gesellschaft.' In the history of the Lied he
occupies a position of importance as one of
the first to employ three staffs (vocal part
SACRATI— SAGH
separate from pf.); he also made a begin-
ning with setting to music long poems re-
quiring larger musical forms.— CT. M. Fried-
lander, Das deutsche Lied im 18. Jahrhundert
(2 vols.; Stuttgart, 1902).
Sacra'ti, Francesco, d. Modena, May 20,
1650; in 1649 app. maestro to the court; one
of the earliest Venetian dramatic composers,
he wrote comic operas half a centurv before
the Neapolitan school of 'opera buffa.' —
Operas (almost all prod, at \fenice): Delia
[La szra sposa del sole] (1639), La finta pazza
(1641), BellerofotUe (1642), Venere gelosa
(Padua, 1643), Ulisse errante (1644), Proser-
pina rapita (1644), La Semir amide in India
(1648), VI sola fAlcina (Bologna, 1648).
2 books of madrigals a 4 are lost. — Cf. H.
Prunieres, VOpfra italien en France avant
Lully (Paris, 1913).
Saenger, Gustav, b. New York, May 31,
1865. St. violin with C. Richter, L. Meyer
and Dr. L. Damrosch, and comp. with C. C.
Muller in N. Y.; was vlnst. in the M. O. H.,
Symph. and Philh. orchs. until 1893, when he
became asst.-cond. to W. Furst at the Em-
pire Th., later succeeding him. In this posi-
tion he had charge of the music for' all the
productions of Ch. Frohmann's companies;
became connected in 1897 as arranger with
the house of Carl Fischer, which duties made
constantly increasing demands on his time,
so that he resigned his position at the Empire
Th. in 1909, to become confidential adviser
and ed. -in-chief of all Fischer's publications.
Since 1900 he has been editor of 'The Metro-
nome,' and since 1904 also of 'The Musical
Observer' (both publ. by C. Fischer). Be-
sides a vast number of arrs., he has publ.
comps. for vl. and pf. (op. 83, Concertino in
G m.; op. 106, 5 Silhouettes; op. 129, 2 Con-
cert Solos; op. 130,3 Concert Miniatures; etc.);
also a New School of Melody (op. 96).
Saenger, Oscar, celebrated singing-mas-
ter; b. Brooklyn, N. Y.f Jan. 5, 1868. Sang
in church and concert as a boy; st. under
J. Bouhy at the Natl. Cons, in N. Y., and
taught there from 1889-97; made his dfcbut
as operatic baritone with the Hinrichs
Grand Opera Co. in 1891; sang next year in
Germany and Austria; since then he has de-
voted himself entirely to teaching. Many
of his pupils have appeared at the M. O. H.
(Mme. Rappold, Jacoby, de Pasquale, Robe-
son, Garrison, Warrum, Curtis, Henri Scott,
Paul Althouse, Allan Hinckley, etc.); others
have made a reputation on the concert-stage
(Florence H inkle, Christine Miller, Mildred
Potter, Marie von Essen, etc.). In 1909
Rudolf Berger, a favorite bar. of the R.
Opera in Berlin, created a sensation, when,
after a year's study with S., he reappeared in
Berlin as Lohengrin; from that time on he
sang only tenor parts.
Saerchinger [zar'yhing-er], Cesar, born
Aix-la-Chapelle, Oct. 23, 1884. While at-
tending the Realschule at Halle he st. music
with Karl Zehler and singing with his mother
(a pupil of G. B. Lamperti at the Dresden
Cons.); cont. his studies in New York with
del Papa (pf .) and B. Lambord (theory) from
1902-6. Wrote biogrs. of musicians for 'The
National Cyclop, of Amer. Biogr.' (1906-9)
and the new ed. of Appleton's 'Cyclop, of
Amer. Biogr.' (1911-12); mus. ed. of 'The
International,' 1913-14; since 1916 do. of
'Current Opinion'; was managing ed. and
contributor to 'The Art of Music' (14 vols.,
1914-17). In 1913 he founded with Benjamin
Lambord the 'Modern Music Society' for
the production of modern chamber-music
and choral works with orch., especially by
American composers. Has publ. The Inter-
national Who's Who in Music (1918); is now
engaged on The Opera Since Wagner,
Safo'nov, Vasslly Ilyitch, b. Itsyursk,
n. Tertersk, Caucasus, Feb. 6, 1852; d.
Kislovodsk, Caucasus, Mar. 13, 1918. From
1878-80 pupil of Zaremba (theory) and Le-
schetizky and Brassin (pf.) in the Imp. Cons.,
Petrograd. Made his debut as pianist with
the Imp. Russian Music Soc. in Petrograd
(Nov. 22, 1880); from 1881-5 he was a
teacher of pf. at the Petrograd Cons.;
from 1885, teacher at, and from 1889-1905
Director of, the Moscow Cons, (two of his
Eupils have won the Rubinstein prize: Jos.
hevinne in 1895 and Alex. Godecke in 1900).
From 1885-1905 he cond. the symph. concerts
of the Imp. Russian Music Soc. in Moscow;
his fame as cond. brought him invitations to
direct concerts (chiefly of Russian music) in
almost all the capitals of Europe; from 1907
he visited England every year as cond.
of important festivals, the Philh. Soc., New
Symph. Orch., etc. In 1904 he was invited by
the N. Y. Philh. Soc. and received with en-
thusiasm at his first concert (Mar. 5); in-
vited again the following season, and eng.
as regular cond. for 3 seasons (1906-9); at
the same time he also was dir. of the Natl.
Cons, in N. Y. After his return to Russia
he was app. permanent cond. of the Imp.
Russ. Mus. Soc. in Petrograd. He never
used a b&ton, but conveyed his intentions to
the players by his hands ; a man of striking
personality and magnetism, an admirable
interpreter of Russian music. He publ.
A New Formula for the Piano-Teacher and the
Piano- Student (London, 1916).
Sagh, Joseph, b. Pest, March 13, 1852.
Pupil (later son-in-law) of K. Abrinyi. Publ.
an Hungarian dictionary of musicians (1877).
801
SAGITTAR1US-SAINT-SAENS
Founder (1885) and editor of the mus. paper
'Zenelap' (publ. in Hungarian and German).
Sagitta'rius. See SchOtz.
Sah'la, Richard, b. Graz, Sept. 17, 1855.
Violinist; pupil of David at Leipzig Cons.,
1868-72; debut at a Gewandhaus concert in
1873; since 1888, court Kapellm. at Biicke-
burg, where he organized an oratorio-society
and a school for orchl. players, which in 1914
was incorporated as 'Orchesterhochschule
des Verbandes deutscher Kapellmeister.'
Has publ. a Rumanian Rhapsody, concert-
pieces f. violin, songs, etc.
Sahlender [zah'-], Emil, born Ibenhain,
Thuringia, Mar. 12, 1864. Pupil of Reinecke
and Jadassohn at the Leipzig Cons.; 1886-9,
Kapellm. at the court th. in Altenburg; since
then cond. of the 'Concordia' (male ch.) and
'Harmonie-Gesellschaft' (mixed ch. and orch.)
and dir. of his own music-school in Heidel-
berg.— Operas: Der Schelm von Bergen (Heidel-
berg, 1895), Mummelsee (ib., 1900), and Die
Waff en nieder; Das deutsche Lied for male ch.
andorch.; 2 orchl. suites; songs.
Saint-Amans [san-tah-mahn'], Louis-
Joseph, b. Marseilles, June 26, 1749; d.
Paris, 1820. Composer of comic operas in
Paris, 1769; cond. of the Brussels opera 1778-
9; from 1784-1802, teacher in the Paris Cons.
Wrote 24 operas and ballets, also oratorios,
cantatas, and chamber-music.
Saint-Foiz [san-fwah'], Georges (-Poul-
lain), comte de, noted musicologist; b. Mar.
2, 1874. Pupil of d'Indy at the Schola Can-
torum.' His researches in the music of the
18th century have brought to light some very
important facts. He has publ. Un Mattre
inconnu de Mozart [with H. de Wyzewa], in
•Ztschr. I. M.-G\ (Nov., 1908); Contribution
a Vhistoire de la symphonic francaise vers 1750
[with L. de la Laurencie], in TAnnee musicale'
(1911); Chronologic de Vctuvre instrumental*
de J, B. Sammarttni, in 'Sbd. I. M.-G.' (xv;
1914). His most valuable book, and the
most important on Mozart since Jahn, is
W. A. Mozart. Sa vie musicale et son auvre
de Venfance a la pleine maturiU [1756-77] (2
vols., 1912; with H. de Wyzewa).
Saint-George, George, b. (of English
parents) Leipzig, Nov. 6, 1841. Pupil of
Riihlmann (pf.) and J. Otto (comp.) in
Dresden and of M. Mildner (vl.) in Prague.
The latter had a fine viola d'amore, in which
the pupil became so much interested that the
teacher lent him the instr. for practice. About
1862 S.-G. settled in London as a teacher and
virtuoso upon the viola d'amore, meeting
with considerable success, especially after
his son Henry (q. v.) assisted him on the viola
da gamba. Although not a professional instr.-
maker, he acquired rare skill in the manufac-
ture of the bowed instrs., having made 12
violins, 2 violas, a 'cello, 6 viole d'amore,
4 viole da gamba; a crwth, on which he per-
formed for the 'Hon. Soc. Cymmrodorion/
he presented to the museum at Cardiff. He
wrote many pes. for vl. and pf.; organ-pes. ;
a suite, a Coronation March, and an overture,
RSveil du Printemps, for orch.
Saint-George, Henry, son of preceding;
b. London, Sept. 26, 1866; d. there Jan. 30,
1917. Pupil of his father on the vl. and viola
da gamba; debut at the Alexandra Palace in
1881 as violinist; in recitals with his father
he introduced into England several works
(3 of Bach) for old instrs. and was the first in
England to give an all Bach recital. For 4
years he was editor of 'The Strad'; was a
recognized authority on old instrs. Publ.
The Bow: Its History, Manufacture and Use
(1895) ; The Place of Science in Music (1905) ;
Fiddles: Their Selection, Preservation and
Betterment (1910). He also publ. some comps.
for vl. and pf. and pf.-pes.; in MS. are an
opera, a pf.-concerto and a vl. -sonata.
Saint-Georges [san-zh6hrzh']f— Cheva-
lier de, b. Guadeloupe, Dec. 25, 1745; d. Paris,
June 12, 1799. Eccentric violinist; pupil
of Leclair. — Publ. violin-sonatas w. bass
(op. 1), 2 books of trio-sonatas f. 2 violins and
bass, 5 violin-concertos, and 6 concertantes
f. 2 violins w. orch.; in MS., Grandes ariettes
w. orch. and an opera, I'Amant anonyme (1 780) .
Saint-Huberty [san-tu-behr-tel, (An-
toinette-Cecile Clavel, called St.-Huberty,)
born Toul, about 1756. Celebrated soprano
singer at the Grand Opera, Paris, 1777-89.
In 1790 she married the Count d'Entraigues;
they were assassinated at their country-seat,
near London, July 22, 1812, probably from
political motives.
Saint-Lubin [san-lii-ban'], Leon de, b.
Turin, July 5, 1805; d. Berlin, Feb. 13, 1850.
Violinist, playing at Berlin and Dresden in
1817; then studied with Polledro (Dresden)
and Spohr; in 1827, leader at the Joseph-
stadter Th., Vienna. From 1830-47, leader
at the Konigstadter Th., Berlin.— Works: 2
operas, Kbntg Branors Schwert (Berlin, 1830),
and Der Vetter des Doctor Faust; a melo-
drama, ballets, and pantomimes; 5 violin-
concertos, 19 string-quartets, an octet, etc.
Saint-Saens jsan-sahns'], (Charles-) Ca-
naille, born Paris, Oct. 9, 1835. At the age
of %Yt years he began the study of the piano
with his great-aunt, Charlotte Masson; at 5
he could easily play a G retry opera from the
score; at 7 he became a private pupil of C.
Stamaty, under whom his progress was so
rapid that he made his pianistic debut at the
Salle Pleyel on May 6, 1846; at the same time
he st. harm, with Maleden. In 1848 he ent.
802
SAINT-SAENS
the Cons., where his teachers were Benoist
(org.) and Halvey (comp.); won the 2d prize
for org. in 1849, and the 1st prize in 1851;
in 1852 he competed unsuccessfully for the
Grand Prix de Rome, failing also in a second
attempt in 1864. From 1853-8 he was org.
at St .-Merry, where his playing and remark-
able improvisations attracted the attention
of abbe Gaspard Deguerry, the rector of la
Madeleine, who once said to him: "When my
organist leaves me, I shall take you." In
1858 Lefebure-Wely resigned, and S.-S.
succeeded to the post, which at that time was
regarded as the highest position a Paris or-
ganist could attain, for la Madeleine was the
most fashionable parish, and the salary (3 ,000
francs) the highest paid by any church. This
position he filled with distinction until 1877,
establishing a world-wide reputation as one
of the greatest of organ-virtuosi and masters
of improvisation. Since his resignation he
has never held any official, position, but de-
voted himself to composition and concertiz-
ing (as pianist, organist and cond. of his own
works). From 1861-4 he taught pf. at the
ficole Niedermeyer, where he had among his
Eupils A. Messager, E. Gigout and G. Faure.
[e was one of the founders, in 1871, of the
'Soctete Nationale de Musique' (for the en-
couragement of French composers) and a
most active and influential member until
1886, when there was a division over d'Indy's
proposition to include works by foreign com-
posers. After his mother's death in 1888
(S.-S. never married) he gave up his apart-
ment in Paris, and deeded her rare furniture,
paintings, art-treasures, etc., as well as his
own MSS., to the Museum in Dieppe (his
father's birthplace), thus establishing the
'S.-S. Museum* (formally opened on July
18, 1891); he has continually added to the
collections. In 1868 he was made Knight
of the Legion of Honor, in 1884 Officer, in
1900 Grand-Officer, and in 1913 'Grand-
Croix* (the highest honor); in 1881 he was
elected member of the Acad., succeeding
Reber; is also a member of the Academies of
Belgium, Prussia, Sweden and Spain (Ate-
neo); made Mus. Doc., Cantab, (non. c.) in
1892; has been honored with innumerable
orders and decorations. On Oct. 27, 1907,
he witnessed the unveiling of his own statue
(by Marqueste) in the foyer of the opera
house in Dieppe. — AH his life S.-S. has
travelled extensively, visiting almost every
country in the world, either for pleasure or
on concert-tours. He visited the U. S. for
the first time in the fall of 1906; his second
visit, in 1915, was made as representative of
the French government at the Panama Expos.
For this occasion he had written a new orchl.
work. Hail, California, the first perf. of
which he cond. personally in San Francisco
on June 19; he also delivered a lecture on
V execution de la musique, et principalemenl
de la musique ancienne. In 1916 (at the age
of 81 !) he made his first tour of South Amer-
ica, and after his return to France concer-
tized for the benefit of various war-funds;
in May, 1917, he cond. a perf. of his Samson
el Dalua at the Costanzi Theatre in Rome.
From the very beginning of his career,
S.-S.'s preeminence as an executant was ac-
knowledged. His phenomenal ability to
reproduce at sight orchl. scores on the pf.
called forth the admiration of Wagner, lor
whom (during W.'s stay in Paris in 1860-1)
he played the entire scores of Tannhauser,
Lohengrin and Tristan. But his compositions,
until about 1880, encountered considerable
opposition in France, whereas Germany,
almost immediately, recognized t S.-S. as
among — if not really — the most important
of living French composers. The very quali-
ties that proved an obstacle to the French
public appealed to the German: decided
preference for instrumental forms (both
classical and modern), brilliant orchestration,
masterly workmanship, solid contrapuntal
learning. Besides, a certain grace and light-
ness oi touch — the Germans use the French
word 'esprit' — made a strong appeal to the
Germans, perhaps because it is seldom
found in German composers. The earlier
French critics characterized S.-S. as 'learned
and dangerous'; learned, because his music
rests on the solid foundations of Bach and
Beethoven, dangerous, because of his (then)
well-known sympathy for the new school of
Wagner and Liszt. Only gradually did he
overcome this prejudice, and — strangely
enough— chiefly through his Symphonic
Poems. Had his operas, like those of Masse-
net, appealed to the French taste, success
would have been instantaneous. But as a
matter of fact, S.-S.'s operas, excepting
Samson et Dalila and Henry VIII, are not
among his best works; and, absurd as it
seems to-day, until the end of the last cen-
tury the almost unanimous verdict of French
critics condemned every opera of S.-S. as
'Wagnerian.' Not until the French public
had become educated to the appreciation of
instrumental music — largely through the
efforts of the Soc. Nat. de Musique, Pasde-
loup, Colonne and Lamoureux — did S.-S. win
due recognition in his native land. The
French then made amends for their earlier
indifference by proclaiming him, even while
alive, one of their 'classic masters.' — Per-
haps the most striking characteristic of S.-S.
is his universality. Not only has he culti-
vated all forms of music, but he has success-
fully imitated almost all styles from the 16th
century on, excepting impressionism, for
which he has no sympathy. This Protean
803
SAINT-SAfiNS
facility of assimilation has unfortunately
made him an eclectic, and prevented the
development of an individual style. Per-
haps tne strongest influence has been that of
Liszt, of whom the French master has always
been an enthusiastic admirer and zealous ad-
vocate. Certain it is that of all S.-S.'s
works the Symphonic Poems rank highest as
regards compelling utterance and sustained
power. In fact, he is at his best in 'program
music/ which appeals to his sense of the pic-
turesque, and offers him full opportunity for
the display of his talent for characterization
and his mastery of orchestration. In the
works on strictly classical lines (excepting
the 3rd Symphony) his inspiration is seldom
sustained, and his thematic material some-
times lacks distinction.
Besides his fame as a virtuoso and com-
poser S.-S. has achieved distinction as a
writer, not only on musical, but also on
scientific subjects. The serious study of
astronomy has been his hobby through life.
His critical and historical writings on music
exhibit an encyclopaedic knowledge of the
whole field, keen analysis and, generally, ex-
cellent judgment. His inconsistency in his
attitude toward Wagner, changing more than
once, is to be regretted (cf., e. g., his letters
on the Bayreuth Fest. to TEstafette' [Aug.
19-25, 1876] and his last book, Germanophilie
[19161).
BIBLIOGRAPHY.— a. books: C.Kit and
P. Loanda, Musique savante. Sur la musique
de M. S.-S. (Lille, 1889); Blondel, C. S.-S.
et son cinquantenaire artistique (Paris, 1896);
C. Bellaigue, C. 5.-5. (ib., 1899); O. Neitzel,
C. S.-S. (Berlin, 1899); P. Locard, Les
MaUres contemporains de VOrgue (Paris,
1900); A. Hervcy, French Music in the 19th
Century (London, 1903); E. Baumann, Les
grandes formes de la musique: VCEuvre de S.-
S. (Paris, 1905); L. Aubin, Le Drame lyrique
(Tours, 1908); R. Rolland, Musiciens d'au-
jourd'hui (Paris, 1908); A. Jullien, Musi-
ciens d'hier et d'aujourd'hui (ib., 1910); O.
Sere, Musiciens franqais d'aujourd'hui (2d
eil.; ib., 1911); J. Bonnerot, C. S.-S. Sa vie
et son asuvre (ib., 1914). — b. essays : P.
Savari, Le Musce S.-S. it Dieppe, 'Guide
Musical' (Nov. 9, 1890); L. de Fourcaud,
La Carriere d'un Maitre, 'Le Gaulois' (June
8, 1896) ; J. fecorcheville, M. S.-S. et le Wagne-
risme, 'Revue de Paris' (Aug. 1, 1899); J.
Combaricu, S.-S. VHomme et le Musicien,
1 Revue Musicale' (Nov. 1, 1903); H. Quit-
tard, VOrientalisme musical. S.-S. orien-
taliste, 'Revue Musicale' (Mar. 1, 1906);
J. Marnold, VCEuvre de M. S.-S., 'Mercure
de France' (Nov. 16, 1907); P. Lalo, La
Journte de M. S.-S. M. S.-S. compositeur,
pianiste et chef d'orchestret 'Le Temps' (Oct.
29, 1907); Ch. Malherbe, C. S.-S., 'Ztschr.
804
I. M.-G.' (Aug. and Sept., 1910; in Ger.)-
See also lLe Monde Musical1 (Oct. 31, 1901)
and 'Musica' (June, 1907), special numbers
devoted entirely to S.-S., containing numerous
portraits and essays by eminent writers. —
Durand publ. Catalogue general et thematiquc
des ceuvres de C. S.-S. (1897; rev. ed. 1907).
Works.
Operas: La Princesse jaune, op. 30 (Op.-Com.. June
12. 1872); Le Timbre d' Argent (Th. Lyr., Feb- 23.
1877); Samson et Dalila, op. 47 (Weimar, Dec. 2. 1877;
Rouen, Mar. 3. 1890; Opera, Nov. 23, 1892;^ New
Orleans. Jan. 4, 1893; M. O. H., Feb. 8. 1895); ktienne
Marcel (Lyons. Feb. 8. 1879); Henri VIII (Opera.
Mar. 5, 1883); GabrieUa di Vergy (Salle dea Horti-
culteurs, 1885; MS.); Proserpine (Op.-Com.. Mar. 16.
1887); Ascanio (Opera. Mar. 21, 1890); Phryni (Op.-
Com., May 24. '93) ; Les Barbares (Opera. Oct. 23, 190 1) ;
HiUne (Monte Carlo. Feb. 18. 1904); I'Ancitre (ib-
Feb. 24, 1906); Dijanire (ib.. Mar. 14. 1911; Chicago.
Dec. 9. 1914); Fridigonde (left unfinished by E. Gui-
raud. completed by S.-S.; Opera, Dec. 18. 1895). —
Incidental music: Antigone (after Sophocles, by P.
Meurice and A. Vacquerie; Th. Francais, 1894);
Dijanire (after Sophocles's Trachiniai and Seneca's
Hercules in Oeta. by L. Gallet; Beziers, 1898); Pary-
satis (Mmc. J. Dieulafoy; ib.. 1902); Andromaque
(Racine; Th. Sarah Bernhardt, 1903); VAssassinat
du Due de Guise (H. Lavedan; Salle Charras. 1908);
La Foi (E. Brieux; Monte Carlo, 1909); La FiUe dw
Tourneur d'ivoire (Mrae. H. Ferrare; 1909); On nt
badine pas avec V Amour (de Musset; 1916).— Ballet:
Javotte (Lyons, 1896). — Oratorios: Le DHuge. op. 45
(1875) ; The Promised Land [LaTerre promise}) Glouces-
ter Fest.. 1913).
Op. 1, Trots Morceaux for harm.; op. 2. Symphony
No. 1 in ES»; op. 3, Six Bagatelles for pf.; op. 4. Mes&e
solennette for soli, ch. and orch. ; op. 5, Tantum ergo for
8-part ch. and org. ; op. 6, Tarenielle for fl. and dar. w.
orch.; op. 7bis, Rapsodie bretonne (or orch.; op. 8, Six
duos for pf. and harm.; op. 9. Bintdiction nupliale for
org.; op. 10, Scene d' Horace for sop., bar. and orch.; ot».
II. Duetlino for pf. 4 hands; op. 12, Oratorio de AV«
for soli, ch., str.-orch.. harp and org.; op. 13. EUvaho*
for harm.; op. 14. pf.-quintet in Am.; op. 15, Serenade
for pf., org., vl. and via. (or vcl.); op. 16. Suite for vcl.
and pf.; op. 17, pf. -concerto No. 1 in D; op. 18. pf-
trio No. 1 in F; op. 19, Les Noces de Promithee. cantata
for soli, ch. and orch.; op. 20, vln.-concerto No. 1 in A;
op. 21. Mazourka No. 1 for pf; op. 22. pf.-concerto No.
2 in G m.; op. 23, Gavotte for pf.; op. 24, Mazourka
No. 2 for pf.; op. 25, Orient et Occident, march for mil
band (also arr. for orch.) : op. 26. Mi todies Persanes, ft
songs; op. 26bis, Nuit Persane for soli, ch. and orch.
(after op. 26): op. 27, Romance for vl., pf. and org.;
op. 28, Introduction et Rondo capriccioso for vl. and
orch.; op. 29, pf.-concerto No. 3 in Eb; op. 30. La
Princesse jaune, opera [see above]; op, 31. Le Rouet
d'Omphale, symph. poem; op. 32, vcl.-sonata No. 1 in
C m.: op. 33, vcl.-concerto No. 1 in A m.; op. 34.
Marche heroique for orch.; op. 35. Variations sur un
theme de Beethoven for 2 pfs.; op. 36, Romance in F for
horn (or vcl.) and orch.; op. 37, Romance in D for fl.
(or vl.) and orch.; op. 38, Berceuse in Bb for vl. and pf.;
op. 39. Phaiton, symph. poem; op. 40, Dame macabre.
do.; op. 41, str. -quartet in B!>; op. 42, Psalm 19 (Vul-
gate 18) for soli, ch. and orch.; op. 43. Allegro appas-
sionato for vcl. and pf.; op. 44. pf.-concerto No. 4 in
C m.; op. 45, Le Deluge, oratorio; op. 46, Les Soldats
de Gtdion for double ch. a capp.; op. 47. Samson et
Dalila, opera [see above]; op. 48, Romance in C for vl.
and pf.* op. 49, Suite for orch.; op. 50. La J runes se
d Ilercule, symph. poem; op. 51. Romance in D for
vcl. and pf.; op. 52, .Six Etudes for pf.; op. 53, Deux
Cfururs (1, Chanson de Grand- Pere for 2 fern. vcs. and
orch. ; 2. Chanson d'A nt etre for bar* aolo. male ch. and
orch.); op. 54, Messe de. Requiem for soli, ch. and orch.;
op. 55. Symphony No. 2 in A m.; op. 56. Menuet et
Valse for pf,; op. 57. La Lyre et la Harpe, ode for soli.
ch. and orch.; op. 58, vln.-concerto No. 2 in C; op. 59,
SAINTON— SAL A
Kdnig Harold Harfagor (after Heine) for pf. 4 hands;
op. 60, Suite algtrienne for orch.; op. 61. vln.-concerto
No. 3 in B m.; op. 62, Morceau de concert for vl. and
orch.; op. 63. Une nuit a Lisbonnt, barcarolle for orch.;
op. 64, Jota aragonesa for orch.; op. 65. Septuor for
at r. -quintet, trumpet and pf.; op. 66, Mazourka No. 3
for pf.; op. 67, Romance in E for born and pf. (from op.
1 6) ; op. 68. 2 choruses for mixed vcs. a capp. ; op. 69,
Hymne a Victor Hugo for orch.: op. 70, Allegro appas-
sionato for pf. and orch.; op. 71, 2 choruses for male
vcs. a capp. : op. 72. Album for pf . ; op. 73. Rapsodie
d'Auvergne tor pf. and orch.; op. 74. Sailor clle for male
ch. a capp.; op. 75, vl.-sonata No. 1 in D m.; op. 76,
Wedding Cake, capricc-valse for pf. and str.-orch.; op.
77, Polonaise for 2 pfs.; op. 78, Symphony No. 3 in
Cm.; op. 79, Caprice (on Danish and Russian airs)
for fi\. oboe, clar. and pf.: op. 80, Souvenir d' Italic for
pf.; op. 81. FeuilUt d Album for pf. 4 hands; op. 82,
La Fiancee du Timbalier for mezzo-sop. and orch. ; op.
83. Havanaise for vl. and orch.; op. 84. Les Cuerriers.
male ch. a capp.; op. 85, Les Cloches du Soir for pf.;
op. 86, Pas redoubU for pf. 4 hands; op. 87, Schcrto for
2 pfs.; op. 88, Valse canariote for pf.; op. 89, Africa.
fantasy for pf. and orch.; op. 90, Suite for pf.; op. 91.
Chant saphique for vcl. and pf.: op. 92. pf.-trio No. 2
in E m.; op. 93, Sarabande et Rigoudon for orch.; op.
94. Morceau de concert in F for horn and orch.; op. 95,
Fantaisie for harp; op. 96, Caprice arabe for 2 pfs.; op.
97, Theme varii for pf.; op 98. Pallas- Athini for sop.
and orch.; op. 99. Trots Preludes et Fugues for org.;
op. 100, Souvenir d'lsmallio for pf.; op. 101. Fantaisie
for org.; op. 102, vl.-sonata No. 2 in E; op. 103, pf.-
concerto No. 5 in F; op. 104, Valse mignonne for pf.;
op. 105, Berceuse for pf. 4 hands; op. 106, Caprice
heroique for 2 pfs.; op. 107, Marche religieuse for org.;
op. 108. Barcarolle for vl., vcl., pf. and org.; op. 109.
Trois Preludes et Fugues for org.; op. 110, Valse non-
chalanle forpf.; op. Ill, .S*tx Etudes for pf.; op. 112,
srr. -quartet in E m.; op. 113, Chants d'Aulomne, male
ch. a capp.; op. 114, La Nuit for sop. solo. fern. ch.
and orch.; op. 115, Le Feu cileste, cantata for sop. solo,
recitation, ch.. orch. and org.; op. 116, Lola. dram,
scene for 2 vcs. and orch.; op. 117, Marche de Couronne-
ment for orch.; op. 118, Romance du Soir, mixed ch. a
capp.; op. 119, vcl.-conccrto No. 2 in D m.; op. 120,
Valse langoureuse for pf.; op, 121, A la France, male
rh. a capp ; op. 122, Caprice andalousc for vl. and orch.;
op. 123, vcl.-aonata No. 2 in F; op. 124. Fantaisie for
vl. and harp; op. 125. Sur les boras du Nil, march for
mil. band; op. 126, La Glnire de Corneille. cantata for
soli, ch. and orch.; op. 127, Psalm 150 for double ch..
ore and orch.; op. 128. incid. music to I'Assassitiat du
Due de Guise [9ce above]; op. 129. Le Matin, male ch.
a capp.; op. 130, Trois tableaux symphoniques from
music to La Foi [see above]; op. 131. La Gloire, male
ch. a capp.; op. 132. La Mute et le Poite for vl.. vcl. and
orch.: op. 133, Ouverture de Fite; op. 135, Six Etudes
for pf. (left hand); op. 136. Triptique, suite for vl. and
pf.; op. 139. Valse gaie for pf.; op. 147, Tu es Petrus%
motet a capp.; op. 148. Quam dtiecta, do.; op. 150,
Sept Improvisations for org. [Missing op.-numbers are
not yet pub!.].
Publ. without op-number: Fantaisie for org.; Ro-
mance sans paroles for pf.; Le Cygne for vcl. and pf.;
Hymne Franco-cspagnol for band; Lever de Soleil sur le
Nil for contralto and orch; Serenade d'Hiver, male ch.
a capp.; Madrigal for ten.. solo and male ch.; Ode
d' Horace, male ch. a capp.; A Deux, 2-part canon for
children's vcs.; Panis angelicus for ten. solo, str.-
quintet and org.: about 75 songs and many motets;
Hail California (for Panama Expos.. 1915); Honneur
a VAmerique for orch. (1916).— In MS.: Le Camaval
des Animaux for orch.: Spartacus, overture; 2 sym-
phonies, in F and D; Ode a Ste.-Cteile, cantata for ch.
and orch.; Cantate for ch. and orch. (for the centenary
of the birth of Gen. Hoche [1868]).
He has publ. numerous arrs. of works of classical and
modern composers; editor of A. Charpentier** Le Ma-
lade imaginaire (1894). of Gluck's Armide, Orphic and
Echo et Narcisse in the Pelletan edition (1875-1902).
of Rameau's works (1895- ) and Mozart's pf.-
sonatas (1915).
Writings: Notice sur H. Reber (1881); Materialism*
el Musique (1882); Harmonic el Milodie (1885; a coll.
of essays, chiefly on Wagner; Ger. tr. by W. Kleefeld.
1902); NoUs sur les decors de thiatre dans I'antiquiti
romaine (1886); Ch. Gounod et le Don Juan de Mozart
(1893); Problemes et Mystrres (1894); Portraits et Sou-
venirs (1899); Essai sur les Lyres et Cilhares antiques
(1902); Ecolebuissonniere (1913); Au Courant de la V it
(1914); Germanophilie (1916). He has also publ. a
vol. of verse, Rimes familieres (1890), and the comedies
Botriociphale (IsmaOia, 1891), La Crampe des fori-
vains (Paris. 1892). le Rot A pi pi (Beziers. 1903); baa
contrib. frequently to musical and scientific journals*.
Sainton [san'tun], Joseph, b. London,
March 3, 1878. From 1902-3 he st. at the
Leipzig Conservatory under Weidenbach and
Reinecke; after a year of further study at
Nice and Milan he made a tour of South
Africa, appearing as pianist and organist;
for a short time he was org. at the Pretoria
Cath.; 1908-11, cond. of the Munic. Orch. at
Brighton, Engl., where he organized and
cond. the first music festivals in 1909 and
'10; came to the U. S. in 1912 as cond. for
Aborn's Opera Co., making his debut with
Hansel und Grelel in Boston (April); since
1915 cond. of the munic. concerts in Minne-
apolis.
Sainton fsan-tdhnl, Prosper (-Philippe-
Catherine), b. Toulouse, June 5, 1813; d.
London, Oct. 17, 1890. Pupil of Habeneck
at Paris Cons, from 1832, winning 1st prize
for violin-playing in 1834; orch. -player at the
Opera ami the Cons, concerts for two years;
after extended continental tours, prof, at
Toulouse Cons. 1840-4. Visited England in
1844; app. prof, at the R. A. M. in 1845;
leader of the Philharm. 1846-54; also of other
societies; at Covent Garden 1847-71; at
H. M.'s Th. 1871-80. Among his pupils were
Weist-Hill and A. C. Mackenzie. He married
Charlotte Helen Dolby [sec below]. — Works:
2 violin-concertos; a concert-solo f. violin w.
orch., op. 16; solos f. violin w. pf. (3
Romances, op. 18; Tarantella, op. 20; airs w.
variations, fantasias, etc.).
Sainton-Dolby, Charlotte Helen, (nSe
Dolby,) b. London, May 17, 1821; d. there
Feb. 18, 1885. Distinguished contralto singer
in oratorio and concert; pupil of Mrs. Mon-
tague (pf.) and of J. Bennett, Elliott, and Cri-
velli at the R. A.M. from 1832, winning the
King's scholarship in 1837. Debut at _ a
Philharm. concert, 1841; sang in oratorio,
etc., till 1846, then appearing in the Ge-
wandhaus, Leipzig, and making concert-
tours in Holland and France. Married Pros-
per Sainton in 1860. For ten years a leader
in English concerts, retiring in 1870. Establ.
a Vocal Academy at London in 1872. — Works:
Cantatas, Legend of Si. Dorothea (1876),
Story of the Faithful Soul (1879), Florimel, f.
female voices (1885); songs; a Tutor for
English Singers . . . .(n. d.).
Sala, Nicola, b. near Benevento, Italy,
between 1715-20; d. Naples, 1800. A pupil
805
SALAMAN— SALIERI
of Fago, Abos and L. Leo at the Cons, della
Pieta de' Turchini, Naples; teacher of comp.
there for some 60 years, succeeding Fago as
second maestro, and Cafaro as first (in 1787).
His most celebrated work is the Regole del
contrappunto prattico (3 vols., 1794; reprinted
by Choron in Paris, 1808, as Principii di
tenor; studied at Paris Cons. 1886-8, taking:
1st prize in singing, 2nd in opera. Debut at
the Opera-Comique, Sept. 19, 1888, as Mylio
In Le rot d' Ys; san^ 1889-91 at Nice, creating
the rdles of £neas in Berlioz's Prise de Troie,
and Richmond in Salvayre's Richard III;
was specially eng. to create the rdle of
composisione delle scuole dy Italia ). Matho for the Paris premiere of Reyer's
He prod, several operas: Vdogeso (Rome,
1737), Zenobia (Naples, 1761), and Merope
(Naples, 1769); an oratorio, Giuditla (1780);
masses and litanies; solfeggi, arias, etc.
Sal'aman, Charles Kensington, b. Lon-
don, March 3, 1814; d. there June 23, 1901.
Pianist ; pupil of Rimbault and Charles Neate.
Debut 1828, after which he went to Paris,
and studied with Henri Herz. Settled in
London as a teacher in 1831, giving annual
orchl. concerts; in 1835 he founded, with
Lucas, Blagrove, and others, the 'Concert!
da camera. He played in Munich, Vienna,
etc., in 1836; lived in Rome 1846-8; founded
an amateur choral society in London, 1849;
was a founder (1858) and until 1865 Hon.
Secretary of the Mus. Soc. of London; also
of the Mus. Assoc, in 1874. Contributor
to the 'Concordia/ The Mus. Times,' etc.;
critic for the 'Circle.' — Works: The comic
opera Pickwick (London, 1889; successful);
Overture in D, Fantasia orchestrale in G m.
for orch. ; Rondo al capriccio for pf . and orch. ;
about 100 choral works for the synagogue;
many anthems, part-songs, songs and pf.-pcs.
Saldo'ni, Don Baltasar, eminent singing-
teacher, composer and writer; b. Barcelona,
Jan. 4, 1807; d. Jan., 1890. Choir-boy, and
pupil of Andrevi, at Santa Maria del Mar;
then studied (1818-22) at Monserrat monas-
tery, brought out some sacred music, and was
app. organist at S. M. del Mar. Going to
Madrid in 1829, he was app., on the opening
of the Cons, in 1830, teacher of solfeggio and
vocalization. In 1839 he studied the vocal
method at the Paris Cons., where he was well
received by Cherubini, Bordogni, and others.
The next year he was made 1st prof, of singing
at the Madrid Cons. — Publ. ReseHa hist&rica
de la Virgen de Monserrat from 1456 (1856),
Efemirides de musicos espafloles (I860; bio-
graphical notes), and his singing-method,
Nuevo metodo de solfeo y de canto and 24
vocalises; — he composed Italian operas and
Spanish zarzuelas; a symphony, A mi patria9
f. orch., military band and organ; 14 charact.
pieces f . orch. ; a cantata, Himno al Dios de las
artes (1843); etc.^-also excellent church-
music with and without orch. and organ
(masses, motets, hymns, Stabat Maters,
Misereres); organ-pieces, part-songs, songs,
pf.-music, etc.
Saleza, Albert, b. Bruges, Beam, Oct. 18,
1867; d. Paris, Nov. 26, 1916. Fine dramatic
Salammbd (May 16, 1892), and sang at the
Opera till 1894, creating Otello there in the
Paris premiere (1894); then went to Monte
Carlo, creating Eiolf in Franck's posth. opera
Hulda (Mar. 4, 1894), remaining 2 seasons;
returned to the Opera in 1897; 1898-9 at la
Monnaie, Brussels; 1899-1901 at M. O. H.t
where he created Leandro in the Ameri-
can premiere of Mancinelli's Ero e Leandro
(Mar. 10, 1899); from then again at the
Opera, in Paris, excepting the years 1907-10,
when ill health necessitated a complete rest;
in 1911 he was app. prof, at the Cons. —
Rdles: Faust, Masaniello, Don Jose (Carmen),
Romeo, Jean (Proptete), Siegmund, Tann-
hauser, Sigurd. Otello, etc. — Cf. H. de Cur-
zon, Croquis d artistes (Paris, 1898).
Salie'ri, Antonio, noted dramatic comp.;
b. Legnano (Verona), Aug. 19, 1750; d. Vienna,
May 7, 1825. Pupil of his brother Fran-
cesco (violin) and the organist Simoni. His
father died about 1765, leaving the family
destitute; S. went to Venice, and was re-
ceived into the San Marco singing-school,
studying harmony under Pescetti, and sing-
ing under Pacini. On the recommendation
of Giovanni ^Mocenigo, Gassmann, who had
come to Venice to bring out an opera, took S.
back with him to Vienna in 1766, and pro-
vided there for his education. During Gass-
mann 's absence in Rome, 1770, S. took his
place as conductor, and produced his first
opera, Le Donne letterate, at the Burg Th.,
with marked success. From 1770-74 he
brought out 9 operas in the Italian style, the
last being La Calamity de* cuori; on Gass-
mann 's death he succeeded him as chamber-
composer and cond. of the Italian opera; he
began a serious study of Gluck's style under
the master's own direction, the latter aiding
him to bring out at Paris an opera, Les Da-
natdes (1784), as their joint work, and giving
S. full credit after the twelfth successful
representation. S. then returned to Vienna,
brought out five operas within a year, and in
1786 made a second venture in Paris with
Les Horaces, which failed; Tarare, however,
made a sensation in 1787 (it was given at
Vienna in a revised version as Axur, re d'Or-
mus). In 1788 he succeeded Bonno as court
Kapellmeister at Vienna, retaining this post
until 1824, but did not conduct operatic per-
formances after 1790, confining himself to the
concerts of the 'Hofsangerkapelle' ; was also
cond. of the 'TonkUnstler-Sozietat' (founded
806
SALIMBENI— SALTER
1771 by Gassmann) until 1818. He was an
excellent teacher; among his pupils were
Beethoven and Schubert. His 40 operas
were very popular at the time* and his style
was extensively imitated in Germany; but he
soon disappeared from the stage, although he
was a master of melody and dramatic effect,
and treated the vocal parts admirably.
Besides operas he wrote a dozen oratorios
and cantatas, 5 masses, a Requiem, several
Te Deums, motets, psalms, offertories, grad-
uals, vespers; numerous vocal canons, etc.,
etc.; — also a symphony, an organ-concerto,
2 pf. -concertos, a concerto f. flute and oboe,
a symphonie concertante f. violin, oboe and
'cello; etc. — Cf. J. von Mosel, Ober das
Leben und die Werke des Anton Salieri
(Vienna, 1827); A. von Hermann, A. S.
(ib., 1897).— See also Q.-Lex.
Salimbeni [-ba'ng], Felice, celebrated
stage-soprano (tnusico) ; b. M ilan , c. 1 7 1 2 ; d.
Laibach, Aug., 1751. A pupil of Porpora,
he sang at first in Italy, from 1733-7 in the
Vienna court chapel, again in Italy, and from
1743-50 at the Italian Opera, Berlin; then in
Dresden from Jan. to April, 1751. — Cf. J. A.
Hiller, Lebensbeschreibungen berilhmter Mu-
sikgelehrten und Tonkunstler (Leipzig, 1748).
Salmon, Alvah Glover, born Southold,
N. Y., Sept. 23, 1868; d. Boston, Sept. 17,
1917. Graduate of the New Engl. Cons,
in 1888; then studied with S. B. Mills, P.
Goetschius and E. MacDowell in N. Y., and
further in Germany; in Petrograd he st. with
Glazunov and became deeply interested in
Russian music; on his return to the U. S.
he made extensive tours as a pianist, intro-
ducing many new works by Russian com-
posers; lectured on Slavonic music at col-
leges and universities; contrib. numerous
essays (chiefly on Russian music) to various
journals. His publ. comps. are chiefly
for pf. (Valse arabesque. Scherzo , Novelette,
Fileuse, Impromptu, TarenteUe fantastique,
etc.). He owned a valuable library of Rus-
sian music (3000 vols.) and an extensive coll.
of autographs of Russian composers.
Said, Gasparo da. See Gasparo.
Saioman, Siegfried, b. Tondern, Schles-
wi?, Oct. 2, 1816; d. Stockholm, July 22,
1899. Pupil in comp. of Paulli, Wexschall
and J. P. Hartmann, Copenhagen, and Fr.
Schneider, Dessau (1838), in violin -playing of
Lipinski, Dresden (1841). Lectured on mu-
sic in Copenhagen, and produced 2 operas;
toured Russia, Germany and Holland 1847—
50, then marrying the singer Henriette Nis-
sen, travelling with her, and settling in Petro-
grad in 1859; after her death in 1879 he
moved to Stockholm. — Works: The operas
Tordenskjold (Copenhagen, 1844); Diamantr
korset (ib., 1847; in Leipzig, 1848, as Das
D.'amantkreuz); Das Korps der Roche (Wei-
mar, 1850); Flyktingen fr&n EstreUa [The
Fugitive from E.) (Stockholm, 1867); Der
verliebte Teufel (Moscow, 1867); Die Rose der
Karpathen (ib., 1868); I Bretagne (Stock-
holm, 1898); overtures; also pieces f. violin;
and songs, a few of which have been publ.
Salome1, Theodore-Cesar, b. Paris, Jan.
20, 1834; d. St.-Germain, July, 1896. Pupil
of Ambr. Thomas and Bazin at the Paris
Cons., winning 2d Grand prix de Rome in
1861. Second organist at La Trinite. Wrote
messe breve, op. 30; a symphony and many
organ-pieces.
Salomon, Hector, b. Strassburg, May 29,
1838; d. Paris, Mar. 28, 1906. Pupil of
Jonas and Marmontel (pf.), Bazin (harm.),
and Halevy (comp.). Accompanist at the
Bouffes-Parisiens; from 1860 at the Th.-
Lyrique; in 1870, 2d chorusmaster, and
later chef du chant, at the Grand Opera.
Prod, a few short operas; a grand opera,
Bianca Cappello (Antwerp, 1886); a cantata,
Le GSnie de la France; and publ. many songs,
pf .-pieces with and without violin or 'cello, etc.
Salomon, Johann Peter, b. Bonn, Jan.
[bapt. Feb. 2], 1745; d. London, Nov. 25,
1815. Violin- virtuoso; member of the Elec-
toral orch. at Bonn, 1758-6$; after a success-
ful concert-tour, Konzertmeister to Prince
Henry of Prussia at Rheinsberg; settled in
London, 1781, as a concert-player (he had
hardly a rival in quartet-playing) and leader
in various orchestras. In 1786 he gave a
series of concerts (symphonies by Mozart
and Haydn, etc.). While on the Continent
in 1790 to engage singers for the Italian opera,
he persuaded Haydn to make his first visit to
London; the latter wrote his last quartets
expressly for S. He founded the London
Philharm. Soc. in 1813. Wrote the operas
Les Recruteurs (Rheinsberg, 1771), Le Sejour
du Bonheur (ib., 1773), Titus (ib., 1774), La
Reine de Golconde (ib., 1776), Windsor Castle,
or The Fair Maid of Kent (London, 1795);
also vl. -sonatas.
Salomon, M., b. Besancpn, 1786; d. there
Feb. 19, 1831. Guitar-player; invented the
3-necked 'Harpolyre,' the middle neck with
fretted fingerboard strung like the ordinary
guitar, the other necks with free strings. He
publ. pieces for guitar.
Salter, Mary Turner (Mrs. Sumner
Salter), b. Peoria, 111., March 15, 1856.
Pupil in singing of Alfred Arthur and Max
Schilling in Burlington, Iowa (1870-3), of
John O'Neill in Boston (1874-6) and of Mme.
Hermine Rudersdorff in N. Y. (1876-7).
From 1874-93, solo soprano at churches in
Boston, New York, New Haven, Buffalo,
Syracuse and Atlanta; also appeared with
807
SALTER— SALZEDO
success in concert and oratorio; taught
singing at Wellesley College 1879-81. In
1893 she gave up all concert work^ devoting
her time to teaching and composition; mar-
ried to Sumner Salter, org. and comp., in
1881; now living in Williamstown, Mass.
— Works: The song-cycles Love's Epitome, A
Night in Naishapur, Lyrics from 'Sappho,'
From Old Japan; about 80 songs publ.
separately (The Cry of Rachel, The Pine-Tree,
Fur Musik, Die stille Wasserrose, etc.); duets,
some part-songs, and church- music.
Salter, Sumner, b. Burlington, Iowa, June
24, 1856. Studied at Amherst College (A.
B., 1877); from 1877-9 st. at the New Engl.
Cons, under J. C. D. Parker (pf.) and G. L.
Osgood (voice); at the same time private
pupil of E. Thayer (org.) and J. K. Paine
(comp.). Taught at Petersilea Acad., Boston
(1878-9), Oberlin Cons. (1880) and Ithaca
Cons. (1900-2); has filled various positions
as org. and choirm. in Lynn, Roxbury, Cleve-
land, Syracuse, Atlanta and New York;
since 1905 at Thompson Chapel, Williams
Coll., Williamstown, Mass.; cond. of the
'Arion Club/ Chelsea (1878-9), 'Cecilia
Soc.', Syracuse (1881-5), 'Atlanta Musical
Assoc.' (1886-9; giving first perf. of The
Messiah ever heard in the South), 'Mendels-
sohn Choir,' Williamstown (1909-14); editor
of The Pianist and Organist' (official organ
of A. G. O.; 1895-^8); has given many or-
gan-recitals (Buffalo Exposition, 1901; St.
Louis Expos., 1904; Panama Expos., 1915);
Pres. 'N. Y. State Mus. Teachers' Assoc.'
(1897-8), Librarian 4N. Y. MSS. Soc.' (1892-
7), do. A. G. O. (1896-9). Since 1905, dir.
of music at Williams Coll. in 1881 he
married Mary E. Turner, the composer.
Has publ. church-music, part-songs and songs.
Saltzmann-Stevens, Minnie, dramatic
soprano; born Bloomington, 111., c. 1885.
From 1905-9 she st. with Jean de Reszki
in Paris; made her d£but with striking
success as Brtinnhilde in Siegfried (Jan. 19,
1909) during a special season of opera in
English at Cov. uarden, under Hans Rich-
ter. She then was eng. for Lisbon, where
she sang the 3 Briinnhildes (in Ger.) at the
first perf. of the complete cycle given in
Portugal (summer of 1909); appeared in
Madrid, Brussels, Berlin, Fran Wort, and
again at Cov. Garden during the reg. season.
From 1911-14 she was a member of the
Chicago Opera Co., making her Amer. debut
as Brtinnhilde in Die Walkiire (Chicago,
Dec. 21, 1911); with the same company she
sang Isolde for the first time on Jan. 25, 1912
(Philadelphia); on the 'exchange-plan* she
also sang with the Boston Opera Co. (1912—
13), alternating in the Wagner rdles with
Nordica and Fremstad. In 1911 she sang
Kundry in Bayreuth. Her voice is very
sympathetic, powerful and perfectly even
throughout its range; the only other r6Ie
in her repertoire, besides those mentioned,
is Sieglinde. In 1905 she married Mr. A.
Newman Stevens of Bloomington.
Salvayre [sahl-vaV], (Gervala- Bernard-)
Gaston b. Toulouse, June 24, 1847; d. Paris.
Oct., 1917. Pupil of the cathedral-maf/rur,
then of Toulouse Cons., and finally of Paris
Cons. (Benoist, org.; Bazin, cpt.; Thomas,
comp.), taking the Grand prix de Rome in
1872 with the cantata Calypso. Chorus-
master at the Opera-Populaire, 1877, since
then producing several operas; went to
Serbia in 1894 to reorganize military music;
was mus. critic to the 'Gil Bias'; Chev. of the
Legion of Honor; Commander of the Serbian
order of Saint-Sava; do. of the Russian order
of St. Ann, etc. — Works: The 4-act comic
opera Le Bravo (Th.-Lyrique, 1877); ballet
Le Fandango (Opera, 1877); 4-act opera
Richard III (Petrograd, 1883); 4-act lyric
drama Egmont (Op.-Com., 1886); 5-act
opera La Dame de Montsoreau (Opera, 1888);
ballet La Fontaine des Fees (Opera, 1899);
ballet l' Odalisque (ib., 1905); 4-act opera
Solange (Op.-Com., 1909); 3 operas nor
prod., Saldk-ed-Dhin, Myrto, and Ste.-Gene-
vih>e (the latter completed a few days before
his death). Also the Biblical symphony
La Resurrection (later prod, as La Valtee de
Josaphat); a symphonic overture; Suite es-
pagnole and Suite orientate for orch.; Air de
danse for str.-orch.; the 113th Psalm f. soli,
ch. and orch.; a Stabat Mater ('envoi de
Rome1); songs; etc.
Salzedo [sahl-za'ddh], Carlos, fine harp-
ist; b. Arcachon, Gironde, April 6, 1885.
Pupil of the Bordeaux Cons. (1892-5), win-
ning 1st prize in solfege and pf.; then ent. the
Paris Cons, (where his father, Gaston, was
prof, of singing) and st. under Schwartz
(solfege; 1st prize, 1897), de Benot (pf.; 1st
prize, 1901) and Hasselmans (harp; 1st
prize, 1901). From 1901-5 he made tours
(as harpist) of France, Switzerland, Spain,
Portugal, Germany and Austria; 1905-9,
solo harpist of the 'Assoc, des Premiers Prix
de Paris' in Monte Carlo; 1909-13, do. at
M. O. H., New York. In 1913 he formed
with G. Barrere (fl.) and P. Kefer (vcl.) the
'Trio de Lutece' ; has made tours of the U. S.
with the trio and as soloist. On April 30,
1914, he married his pupil Viola Gramm.
At the beginning of the war he was called
to the colors, served a year, and was honorably
discharged in July, 1915. He is a member of
the 'Societe" des Compositeurs de Musique.'
Has publ. Vars. on an original theme, ending
with a fugue (the first ever written for harp)
and other concert-pes. for harp.
808
SAM ARA— SAM MARCO
Sama'ra, Spiro, dram, comp.; b. Corfu,
Nov. 29, 1861; d. Mar. or April, 1917. Pupil
of Enrico Stancampiano in Athens; later
of Leo Delibes at the Paris Cons. — First opera,
Flora mirabilis (Milan, 1886; in other Ital.
cities, and in Corfu, with much success);
MedgS (Rome, 1888); LioneUa (Milan, 1891);
3-act opera seria La Martire (Naples, 1894;
Paris, 1898); lyric comedy La Furia domata
(Milan, 1895); Storia d' amort (Milan, 1903;
in Gotha, 1906, as La Biondinetta); Mile, de
Belle-Isle (Genoa, 1905; Berlin, 1909);
Rhea (Florence, 1908); La Guerra in tempo
di guerra (Athens, 1914). Publ. Scenes
orientates, suite for pf. (4 hands); 6 serenades
and many other pes. for pf. solo; songs.
Sama'rov, Olga [nSe Hickenlooper],
distinguished pianist; b. San Antonio, Texas,
Aug. 8, 1882. Until 1892 she st. pf. with her
mother and grandmother, Mrs. L. Grfinewatd
(a former concert-pianist) ; during the winter
of 1892-3 she was a pupil of Constantin von
Sternberg in Philadelphia; 1893-4, of Ludo-
vic Breitner in Paris; 1894-7, of Delaborde
at the Paris Cons. ; 1900-1, of Ernest Hutche-
son in Baltimore; 1901-3, of Ernst Jed-
liczlca in Berlin. Debut Jan. 18, 1905, in
New York with the Symph. Soc. (Damrosch),
playing the Schumann A m. and the Liszt Eb
concertos; then toured the Eastern States in
recital and with the larger orchestras; until
her temporary retirement in 1912 she had
played 26 times with the Boston Symph.
Orch.; in 1908 she visited France, Germany
and England, creating almost a sensation in
London by her playing of Tchaikovsky's
Bb m. concerto; in 1909 she revisited Lon-
don, confining herself to appearances with
orchestra. In the U. S. she has been heard
repeatedly in all the larger cities, excepting
the Pacific Coast; has played at almost all
the principal festivals, and given joint re-
citals with Kreisler, Zimbalist and Farrar;
has also played with chamber-music organi-
zations (Kneisel Quartet, etc.). After ja
nervous breakdown, she made no public
appearances from 1912-4; since then she has
resumed her tours. On April 24, 1911, she
married Leopold Stokowslri (q. v.).
Samazeuilh [sah-mah-zoVL Gustave,
b. Bordeaux, June 2, 1877. Graduate of the
'£cole des Hautes £tudes Sociales' (B. es
letlres) ; he received his entire musical educa-
tion at the 'Schola Cantorum' from E.
Chausson and V. d'Indy. He is mus. critic
for 'La Republique Francaise'; contributor
to 'Le Guide Musical/ 'Courrier Musical/
*S. I. M/; gen. sec. of the 'Societe Nationale
de Musique.' — Works: £iude symphonique
for orch. (after E. Bourges's La Nef); Le
Sommeil de Canope for sop. and orch. (also
arr. for orch. alone); Deux Poemes chantes
{Chasses lasses and La Barque) for do. ; str.-
quartet in D m.; vl. -sonata in B m.; Fan-
taisie elegiaque for vl. and pf . ; suite in G for
pf. (6 movems.; Nos. 2 and 3 Francaise,
Sarabande arr. for str.-orch., Nos. 4 and 5
Divertissement, Musette arr. for strs. and
wood-wind); minor pf.-pes. (Chanson a ma
poupie, Naiades au soir); songs (Feuillage
du caur, Dans la brume ar gentle, Japonnertet
Tendresse); many arrs. for pf. of orchl.
works of d'Indy, Debussy, Franck, Dukas,
Duparc, Faur6, Bordes, Ropartz, etc. Has
written Un Musicien francais: Paul Dukas
(1913).
Sammarco, (Giuseppe) Mario, distin-
guished dramatic baritone; # born Palermo,
Sicily, Dec. 13, 1873. St. singing with An-
tonio Cantclli (1891-4), making a successful
debut at the Dal Verme, Milan, as William
in Puccini's Le Villi (1894); then sang with
constantly increasing success in Brescia, at
La Scala (1896), at the R. Operas in Madrid
and Lisbon, la Monnaie (Brussels), in Odessa,
Moscow, Warsaw, Berlin and Vienna. Since
his triumphant debut as Scarpia in Tosca at
Cov. Garden (Oct. 19, 1905) he has sung there
every season until the outbreak of the war,
having established himself as one of the
prime favorites of the British public. He
made his Amer. debut as Tonio (Feb. 1, 1907)
during the first season of the Manhattan
Opera House in New York, continuing as one
of the most valuable and popular members
until the dissolution of the enterprise in 1910;
since then he has been a prime favorite of the
Chicago Opera Co.; has also sung several
seasons at the Teatro Col6n in Buenos Aires
(first time in 1897). His voice, a powerful,
rich, and absolutely equalized baritone, with
a compass from A-a\ is one of the finest on
the stage to-day, especially in combination
with his remarkable histrionic talent in both
tragedy and comedy. Equally successful on
the concert-stage (he sings songs in several
Italian and Spanish dialects), he has been for 3
successive seasons soloist with the Liverpool
Philh. Soc. In 1916 he was made Officer
of the Crown of Italy. He has created the
rdles of Gerard in Giordano's Andrea Chhtier
(Milan, Mar. 28, 1896), Cascard in Leon-
cavallo's Zasa (ib., Nov. 10, 1900), Worms in
Franchetti's Germania (ib., Mar. 11, 1902),
Alvarado in Herbert's Natoma (Philadelphia,
Feb. 25, 1911), Don Fulgenzio in Parelli's
J dispettosi Amanti [A Lovers' Quarrel) (ib.f
Mar. 6, 1912); also created the title-rdle in
Perosi's oratorio M ose (Milan, Nov. 16, 1901).
His favorite rdles are Falstaff, Iago, Rigo-
letto, Tonio, Don Giovanni, the Demon
(in Rubinstein's opera); other rftles, Amo-
nasro, Germont (Traviata), Valentine (Faust),
St.-Bris and Nevers (Huguenots), Marcel
(Boheme), Sharpless (Madama Butterfly),
809
SAMM ARTI NI— SAN DERSON
Jack Ranee (Fanciulla del West), Almaviva
(None di Figaro), Figaro (Barbiere di Si-
viglia), Hans Sachs, Wolfram, etc. He has
sung in Russian, Spanish, Italian, French
and English.
Sammarti'ni [rede San Martini], Gio-
vanni Battista, b. Milan, 1704; d. 1774.
Organist in 2 Milanese churches; m. di capp.
1730-70 at the convent of Santa Maria Mad-
dalena. Gluck was his pupil. # Precursor of
Haydn in symphonic composition and cham-
ber-music; prod, his first symphony in 1734.
Most prolific comp.; he publ. 24 symphonies,
12 trios f. 2 violins w. bass, and some noc-
turnes f. flute and violin; prod, the operas
I'Ambizione superata dalla virtu (Milan, 1734)
and Agrippina, moglie di Tiberio (ib.f 174^).
— See Q. Lex. — His brother Giuseppe died
after 1740 in London as chamber-musician
(oboist) to the Prince of Wales; he publ. 12
sonatas (trios) f. 2 oboes and bass; 6 flute-
sonatas; 6 Concerti grossi; and 8 overtures.
Sammons, Albert, £.v violinist; b. Lon-
don, Feb. 23, 1886. Pupil of his father, J.
Saunders, and F. We is t- Hill; debut at the
Kursaal, Harrowgate, Oct., 1906 (Men-
delssohn concerto); has frequently appeared
as soloist in London; leader of 'Beecham
Symph. Orch.' and the 'London String-
Quartet' ; member of the King's private orch.
Samuel [sah-mtt-e'hr), Adolphe, b. Liege,
July 11, 1824; d. Ghent, Sept. 11, 1898. Pu-
pil of Conservatories at Liege and Brussels,
winning at the latter the Grand prix de Rome
in 1845, and becoming prof, of harmony in
1860; from 1871, Director of Ghent Cons.
He founded the Brussels Popular Concerts in
1865; and in 1869 organized the first annual
grand mus. festivals (orch. of 450, chorus of
1200). — Works: 5 operas (// a revS, '45;
Giovanni da Procida, '48; Madeleine, '49;
Les deux trttendants, '51; VHeure de la re-
traite, '52;; music to Potvin's Les Gueux;
choruses w. orch. to Racine's Esther; several
cantatas; etc. — 7 symphonies (No. 6 in D
min., 1891; No. 7, Christ, in 1895); a sym-
phonic fragment, Roland & Roncevaux; over-
tures; string-quartets; pf.-pieces; — Cours
d'harmonie pratique et d'accompagnement de
la basse chiffrie; report on the mus. instrs.
at the Paris Exposition, 1878 (in 'La Belgique
a 1' Ex posit ion universelle de 1878'); etc.
San Martini. See Sammartini.
Sanctis, Cesare de. See De Sanctis.
Sand'berger, Adolf, b. Wiirzburg, Dec.
19, 1864. From 1881-7 he studied comp. at
the R. School of Music there, and at Munich;
also mus. science at the Universities of Wtirz-
burg and Berlin (under Spitta); Dr. Phil.,
1887; spent the next 2 years in further study
in Austria, Italy, France, England and Rus-
sia. In 1889 provisional, 1892 regular, cus-
todian of the mus. department of the Munich
Library, also lecturer at the Univ. from 1894;
made prof, extraord. in 1900, and ree. prof,
in 1909. He is a member of the 'KhJ. bayr.
Akademie der Wissenschaften,' and of several
foreign academies; editor of 'Denkmaler der
Tonkunst in Bayern,' and of Breitkopf &
Hartel's monumental edition of the complete
works of Orlando di Lasso (to be issued in
60 vols.). — Works: The opera Ludwig der
Springer (Koburg, 1895); op. 8, SchauspUl-
Ouverture; op. 16, Riccio, symph. prologue;
op. 17, Viola, symph. poem; op. 21, Konigs-
marsch; op. 4, Trio-Sonate in Eb (for vl.f
via. and pf.); op. 9, str.-quartet (MS.); op.
10, vl.-sonata in D m.; op. 15, str.-quartet
in E m.; op. 20, pf.-trio; op. 5, Waldmorgen
for soli, ch. and orch.; 5 mixed choruses a
capp. (op. 3); 2 male do. do. (op. 19); pf.-
pes. (op. 2, 7); songs (op. 1, 6, 11, 13, 14, 18).
— Writings: Leben una Werke des Dichtcr-
musikers Peter Cornelius (1887; dissertation);
E. Chabriers 'Gwendoline9 (1892); P. Cor-
nelius' „Cid" (1893); Beitrage zur Geschichte
der bayrischen Hofkapelle unter Orlando di
Lasso (3 vols.: I, Life, 1894; III, Docu-
ments, 1895; II, not yet publ. [1917]); Zur
Geschichte des Haydnschen StreichquarieUs
(1899); tJber zwei ehedem Mozart tugeschrie-
bene Messen (1907); valuable essays in
'Sbd. I. M.-G.,' 'Jahrb. Peters,' 'NeueZtschr.
fur Musik,' etc.
Sandby, Herman, violoncellist; b. Sand-
by, n. Holbaek, Denmark, Mar. 21, 1881.
From 1895-1900 pupil at the Frankfort Cons,
of Hugo Becker; debut in Copenhagen (Jan.,
1900) ; has made many succ. tours of Scan-
dinavia, England, and Germany; 1912-6,
solo 'cellist of the Phila. Symph. Orch. and
head of 'cello-dept. at the Combs Cons.,
Philadelphia; resigned both positions in 1916
and moved to New York, devoting his whole
time to concert izing throughout the U. S.
— Works: A 'cello-concerto in D (perf. with
the Phila. S. O., Feb. 5, 1916); The Woman
and the Fiddler, orchl. suite; 2 str. -quartets;
numerous transcriptions for vcl. and pf.;
arrs. of Scandinavian folk-melodies (for pf.,
vl. and pf ., vcl. and pf ., trio, quartet, and str.-
orch.). The Prelude to an opera, The Vikings
of Helgeland (after Ibsen; not yet completed),
was played at a concert of the Phila. S. O.
San'der, Constantin. See Leuckart.
Sanderson, Lillian, concert mezzo-so-
prano; born Sheboygan, Wis., Oct. 13, 1867.
At 14 her singing in church attracted atten-
tion; she studied with Stockhausen in Frank-
fort-on-Main; d6but as concert-singer at Ber-
lin, 1890; since then, successful tours to the
chief cities of Europe; an enthusiastic ad-
mirer of Bungert, she has made numerous
810
SANDERSON— SANTLEY
attempts to popularize his songs. In 1899
she married the painter and etcher, Richard
M tiller, prof, at the Kgl. Kunstakademie in
Dresden; living in Loschwitz, n. Dresden.
Sanderson, Sibyl, dramatic soprano; born
Sacramento, Cal., Dec. 7, 1865; died Paris,
May 16K 1903. She was educated in San
Francisco, where her musical talent attracted
attention; taken to Paris by her mother, she
studied at the Conservatoire with Massenet,
also with Sbriglia and Mme. Marchesi. Her
operatic debut was as Manon in Massenet's
opera at the Hague (1888); her first appear-
ance in Paris at the Opera-Comique in Esclar-
monde (1889), which Massenet wrote for her,
like Thais (Grand Opera, 1894); Saint-
Saens wrote PhrynS (1893) for her. In 1895,
and again in 1898, she sang at the M. O. H.
in New York. In 1897 she married a wealthy
Chilean, Antonio Terry, who died in 1900.
In Paris she was principally identified with
the operas of Massenet, who regarded her
as his greatest interpreter, while the public
adored her. In New York she made no im-
Cression. Her voice was pure and sweet,
ut small and cold; as an actress she was
completely lacking in emotional warmth;
but her personal beauty and charm of man-
ner were extraordinary. — Cf. J. Massenet,
Mes Souvenirs (Paris, 1912).
Sando'ni. See Cuzzoni.
Sandt, Max van de, b. Rotterdam, Oct.
18,1863. Pianist; pupil of his father, and of
Liszt (1884-6). Toured Germany, Austria,
Switzerland, France, etc., with conspicuous
success; in 1889-94, pf. -teacher at the Stern
Cons., Berlin; 1896-1906, at the Cologne
Cons.; again in Berlin until 1910; since
then prof, of the 'Meisterklasse* at the Zis-
koven Cons, in Bonn. Wrote a str.-quartet
and pf.-pcs. (Concert-etude, Vier kleine
Tonbilder, Auf'dem See, vars., etc.); also
cadenzas to Beethoven's pf. -concertos.
Sanford, Samuel Simons, b. Bridgeport,
Conn., 1849; d. New York, June 6, 1910.
St. pf. for several years with Karl Klinpman
and William Mason, and for 2 years with S.
B. Mills; went to Europe in 1868, studying
with Rubinstein, and in Paris with £. Bat-
tiste and Th. Ritter. Nervousness and a
certain natural diffidence (possibly also the
possession of a large fortune) stood in the way
of his becoming (as Rubinstein put it) 'one of
the greatest artists of the century.' He made
few public appearances (Thomas orchl. con-
certs), and declined an invitation to be the
soloist at one of the Worcester (Engl.) festi-
vals. After one of his rare appearances in
N. Y. the 'Evening Post* wrote: 'His in-
dividual style of play was marked by power,
perfect accuracy, finished quality, high ex-
pression, exquisite feeling, and every musical
trait of a great artist.' In 1894 he accepted
the professorship of applied music at Yale,
developing the musical dept. of the university
in cooperation with H. Parker, and expanding
the system of university conceits.
Sangiovanni [sahn-joh-vahn'nS], Anto-
nio, noted singing-teacher; b. Bergamo,
Italy, Sept. 14, 1831; d. Milan, Jan., 1892.
Pupil of Milan Cons., 1842-9; from 1854,
prof, of singing there.
San'telmann, William Henry, b. Of-
fensen, Hanover, Sept. 24, 1863. Pupil of
the Leipzig Cons. ; member of the U. S. Ma-
rine Band from 1887-95; cond. at the Co-
lumbia Th., Washington, 1895-8; since then
cond. of the U. S. Marine Band; made Mus.
Doc. by George Washington Univ. in 1908.
Has publ. marches and dances for band and
orchestra.
Santi'ni, Abbate Fortunato, b. Rome,
Jan. 5, 1778; d. there 1862. Noted as the
collector of one of the finest mus. libraries
ever formed. Pupil of G. Guidi (org.) and
Jannaconi (com p.); ordained priest in 1801.
He spent his entire life hunting for works of
the old masters in various Italian libraries,
making full scores from the part-books. As
early as 1820 he publ. a catalogue of the MS.
scores then in his possession, Catalogo deUa
musica antica, sacra e madrigalesca . . . .,
listing 1,000 titles by more than 700 composers.
The valuable collection is now in the library
of the Cath. in Munster, Westphalia. His
original comps. (all MS.) include a Requiem a
8 a capp., a Stabat Mater a 3 (2 tenors and
bass), and many motets a 4-8 (mostly a capp.).
— Cf. V. Stassov, I'AbbS S. et sa collection
musicale a Rome (Florence, 1854; biogr. and
summary of S/s own catalogue); Mendels-
sohn's Reisebriefe (Leipzig, 1861; 5th edition
1882; Engl. tr. by Lady Wallace as Letters
from Italy and Switzerland, London, 1862);
J. Killing, Kirchenmusikalische Schdtte der
Bibliothek des Abbate F. 5. (Dttsseldorf. 1910).
— See also Q.-Lex.
Sanfley, Sir Charles, baritone singer in
opera and concert; b. Liverpool, Feb. 28,
1834. A chorister and amateur singer, he
studied with Nava in Milan, 1855-7, then
with Garcia at London, and made his pro-
fessional debut as Adam in Haydn's Creation,
Nov. 16, 1857. Since then he has been the
foremost concert -baritone of England, taking
part in most prominent festivals (e. g., those
of the Three Choirs, 1863-1906). His stage-
debut was at Covent Garden, Oct. 1, 1859,
as Hoel in Dinorah; he joined the Carl Rosa
Company in 1875, and toured with it for
several years with great success. He visited
America in 1871 and 1891; Australia in 1899-
90. In 1887 he was made Commander of the
Order of St. Gregory; in 1907, shortly after
811
SANTUCCI— SARASATE
the celebration of the 50th anniversary of
his debut, he was knighted. He has comp.
a mass f. soli, ch. and orch.; an offertory, an
Ave Maria, etc.; a Berceuse f. orch. (1890);
a madrigal and some songs have been publ.
under the pseudonym Ralph Betterton';
also publ. Student and Singer (London, 1892;
a vol. of reminiscences); The Singing Master
(2 parts; London, 1900); The Art of Singing
and Vocal Declamation (London, 1908);
Reminiscences of My Life (London, 1909).
— His wife was the soprano vocalist Ger-
trude Kemble (Charles Kemble's grand-
daughter); she died Sept. 1, 1882. Their
daughter Edith was also a soprano of some
note; she retired after her marriage in 1884.
Santucci [-too'che], Marco, b. Camajore,
Tuscany, July 4, 1762; d. Lucca, Nov. 29,
1843, as maestro and canon at the cathedral.
He was Anfossi's successor (1797-1808) as
maestro at S. Giovanni in Laterano, Rome.
A motet a 16, for 4 choirs, received a prize
from the Accad. Napoleone in 1806 because
of the 'entirely new and original* combination
of voices. Baini publ. an energetic protest,
showing that 16-part writing for four choirs
had been extensively employed by Italian
composers of the 16th and 17th centuries.
He also wrote masses, motets, psalms, canons
up to 7 parts, symphonies, organ-sonatas, etc. ;
also publ. Sulla melodia, suWarmonia e sul
metro (1828).— Cf. G. Rinuccini, Biografia
di M. 5. (Milan, 1851). — See also Q.-Lex.
Sapel'nikov, Vanity, b. Odessa, Nov. 2,
1868. Pianist; pupil of Franz Kessler, and
then (with a stipend from the city of Odessa,
given on A. Rubinstein's recommendation) of
L. Brassin and Sophie Menter at the Petro-
grad Cons., for 5 years. In 1888 he made his
debut at Hamburg with the Tchaikovsky con-
certo in Bbm., played under the composer's
direction. Since then he has made very succ.
tours of all Europe. From 1897-9 he was
prof, of pf. at the Moscow Cons., then re-
signed to continue his concert-tours. Since
then he has been living chiefly in Germany
(Berlin, Leipzig, Munich); also for a time
in Florence. He is hon. member of the
London Philh. Soc. Has publ. some ex-
quisite little pieces for pf. (op. 2, Petite
Mazourka; op. 3, Danse des Elfes; op. 5,
Valse- Caprice; op. 9, Impromptu; op. 12,
Solitude, etc.).
Sa'pio, Romualdo, b. Palermo, Sept. 8,
1858. Pupil at the R. Cons, there of E.
Caracciolo (pf.), L. La Cara (vl.), A. Loca-
scio (singing) and P. Platania (comp.); made
his debut as cond. with Norma in Milan
(1883); cond. of Patti's tours of North and
South America; also of operatic and concert-
tours of Albani and Nordica; cond. of the
inaugural season of Ital. opera at the Audi*
torium, Chicago; fall of 1917 cond. of the
De Vally French Opera Co., touring the
Pacific Coast. In 1892 he settled in New
York as teacher of singing and head of the
vocal dept. at the Natl. Cons.; the same
year he married the concert-singer Clemen-
tine de Vere. Has made Engl, versions of
Rienzi, Rom&o et Juliette, La Forza del Destino
and Der Kuhreigen, which are used in Eng-
land.
Sapir 'stein, David, pianist; b. Pittsburgh,
Pa., Oct. 29, 1889. He received his first
instruction on the pf. from his grandfather,
I. Michalowski, a former tenor at the Briinn
opera, while his father, a physician and for-
mer concert-bass, superintended his theoreti-
cal studies; he cont. the pf. with J. Gtttirtgs
in Pittsburgh, later going to A. Spanuth in
New York, whom, in 1906, he followed to Ber-
lin ; there he also took a course in theory under
Hugo Kaun. At the age of 10 he made his
first public appearance with orch. in Pitts-
burgh; in 1905 he gave a recital in New York,
and played Chopin's E minor concerto at a
Sunday night concert at the M. O. H.; in
Oct., 1908, Berlin debut in a joint recital with
Gerald ine Farrar ; 1910-12, tours of Germany,
Austria, Hungary, Italy, Russia and Scandi-
navia, visiting 180 cities. Since his return to
the U. S. he has confined himself mainly to
recitals, proving himself an artist of sterling
qualities with an extensive repertoire.
Saran [zah'-]( August (Frledrich), born
Altcnplathow, Province of Saxony, Feb. 28,
1836. Pupil of Fricdrich Ehrlich at Magde-
burg, and (1854) of R. Franz in Halle, where
he went to study theology; became a teacher,
army-chaplain, and (1873) Superintendent
at Zehdenick, Brandenburg; since 1885, at
Bromberg, where he conducts the church
choral society. Has comp. pf. -pieces and
songs; wrote Robert Franz und das deutscke
Volks- und Kirchenlied (1875); Musikalischti
Handbuch zur erneuerten Agende (1901); has
made excellent arrs. of Old German songs.
Sarasa'te, Pablo de [Pablo Martin Meli-
t6n Sarasate y Navascuez], remarkable vio-
lin-virtuoso; b. Pamplona, Spain, Mar. 10,
1844; d. Biarritz, Sept. 21, 1908. At the age
of ten he played before Queen Isabella, who
presented nim with a fine Stradivari us. After
successful concerts in Spain he studied 1856-9
at the Paris Cons, under Alard, taking the 1st
prize in the violin-class in 1857, and a 'premier
accessit' in 1859. He soon renounced the
study of composition (under Rebcr) for the
career of a virtuoso. From the very begin-
ning of his career he was noted for the ex-
traordinary beauty of his tone, impeccable
purity of intonation, perfection of technic
and grace of manner; but his repertoire con-
sisted almost exclusively of fantasies on oper-
812
SARM I ENTO— SARTI
atic airs (mostly arr. by himself). About
the year 1870, the time of his first Amer. tour,
his taste changed, and he turned to the mas-
terpieces of violin-literature; when he reap-
peared in Paris in 1872 he was hailed as a
new star. From that time until his very
last years his tours, extending through all
Europe, North and South America, South
Africa and the Orient, were an uninterrupted
succession of triumphs. His annual visit
to his native city came to be celebrated as a
public festival. He bequeathed to the city
the gifts which had been showered upon him
by admirers throughout the world; the col-
lection, valued at more than 100,000 francs,
was placed in a special museum. For him
Lalo wrote his first violin-concerto and the
Symphonic espagnole; Bruch, the second
concerto and the SchoUische Fantasie; Mac-
kenzie, the Pibroch suite. S.'s comps.,
exclusively for violin, owed their popularity
to his own fascinating performance rather
than to intrinsic musical merit. — Works:
For vl. and orch.: Op. 20, Zigeunerweisen
(his best and most popular work); op. 33,
Navarra (for 2 vis.); op. 34, Airs ecossais;
op. 35, Peteneras, caprice; op. 36, Jota de
San Fermin; op. 44, La Chasse; op. 45,
Nocturne- Serenade; op. 49, Chansons russes;
op. 53, Reve; Spanish dances (op. 32, 37, 38,
41,42,43); fantasies on Carmen and Faust.
For vl. and pf.: Spanish dances (op. 21, 23,
26, 27, 28, 29, 30, 39) and numerous fan-
tasies on operas of Mozart, Weber, Verdi,
Gounod, Herold and Flotow. — Cf. M. L.
van Vorst, 5., in 'Scribner's Magazine'
(Mar., 1896); J. Altadill, Memorias de S.
(Pamplona, 1910).
Sarmien'to, Salvatore, b. Palermo, 1817;
d. Naples, May 13, 1869. St. at Naples Cons,
under Furno, Zingarelli, and Donizetti-
From 1854, m. di capp. to the King. — Operas
(1837-52): Valeria la cieca; II Corsaro; II
Tramonte del sole; Costanza d'Arragona;
Guilhery le trompetU (Paris, 1852).— A cantata,
he tre ore dell' agonia; a Requiem; songs.
Saro [zah'ro), J- Heinrich, born Jessen,
Prov. of Saxony, Jan. 4, 1827 ; d. Berlin, Nov.
27, 1891. In 1859, bandmaster of the Em-
Ecror Franz Regiment in Berlin; in 1867 his
and won the victory in the international
contest at the Paris Exposition ; in 1872 he was
awarded a gold medal at the Boston Jubilee.
He was Kgl. Musikdirektor.— Works: Die
beiden Bergknappen, opera; a symphony;
overtures; string-quartets; military music;
Lehre vom musikalischen Wohlklang und
Tonsatz, and Instrumentalionslehre filr Milt-
Uirmusik.
Sarrette [sahr-rfcht'l, Bernard, founder
of the Paris Conservatoire; b. Bordeaux, Nov.
27, 1765; d. Paris, April 13, 1858. A captain
in the national guard at Paris, he brought to-
gether, after the 14th of July, 1789, 45 musi-
cians to form the nucleus of the Parisian band
of the national guard. In 1790 the City of
Paris assumed the expenses of this band,
which was increased to 70 members, among
them artists of distinction. In 1792 the
financial embarrassments of the commune
led to a suspension of payment; but S. held
the band together, and, with the aid of the
municipality, established a free school of
music employing all the members as teachers.
From this school came the musicians em-
ployed in the fourteen armies of the Republic.'
Its energetic principal soon had it converted
into a national Institute of Music; and in
Sept., 1795, it was definitively organized
as a Conservatory. Sarrette, having gained
his end, assumed the captaincy of the 103rd
Regiment; but the board of directors (5
Inspectors and 4 professors) proved so in-
competent, that he was recalled to the Direc-
torship of the Conservatoire in 1796. By
introducing advanced methods of instruction,
establishing the school of declamation, the
concert-hall, the £rand library, etc., he raised
the Cons, to an institution of the first rank.
At the Restoration in 1814 he was deprived
of his position; nor would he accept it after
the revolution of 1830, not wishing to oust his
friend Cherubini. — Pierre Constant wrote B.
Sarrette et les origines du Conservatoire national
de musique et de declamation (Paris, 1895).
Sar'rii Domenico, b. Trani, Naples, 1678;
d. after 1741. Pupil (1688-97) of Salvatori
and Provenzale in the Cons, della Pieta; in
1712, 2d, later 1st maestro at the Naples court.
He prod, a score of operas; several oratorios;
a cantata; 3 serenades; a concerto f. 2 violins,
flL, via,, vcU and d.-bass; etc. — See Q.-Lex.
Sar'ti, Giuseppe, called 11 Domenichi'-
no, b. Faenza, Dec. 1, 1729; d. Berlin, July
28, 1802. A pupil of Padre Martini at Bo-
logna, he was organist at Faenza Cath. 1748-
50; in this town his first opera, Pomjpeo in
Armenia, was successfully produced (1752).
II Re pastore (Venice, 1753), and others, made
him so famous, that in 1753 he was called to
Copenhagen as director of the Italian opera
and conductor to the Crown Prince. On the
closing of the opera 2 years later, S. was made
court cond.; in 1765 he was commissioned to
engage singers in Italy for a new company,
but the king's death, and other matters, kept
him there Tor three years; he returned to
Copenhagen in 1768, conducted the court
opera 1770-5, and was then dismissed for
political reasons. For 4 years he was direc-
tor of the Cons, dell' Ospedaletto at Venice.
In a competition with the leading musicians of
Italy, held at the Naples Cons, in 1779, he ob-
tained the position of maestro di cappella at
813
SARTORIO— SATIE
Milan Cathedral, vacated by Fioroni's de-
cease. This victory so increased his reputa-
tion, that many students of distinction sought
his instruction, among them Cherubini. This
was also the period of his greatest dramatic
success; of some 15 operas prod, from 1776—
84, the finest were Le gelosie villane and Far-
nace (Venice, 1776), Achille in Sciro (Florence,
1779), Giulio Sabino (Venice, 1871), and Fra
i due litiganti U terwo gode [Le nozsedi Darina]
(Venice, 1782). In Milan he also wrote
several grand cantatas, and, for the cathe-
dral, several masses, a Miserere a 4, and
some important motets (most are in MS. at
the cathedral). Invited to Petrograd by
Catherine II, he passed through Vienna,
where he was royally received by the Em-
peror, and met Mozart; his pedantic stric-
tures on the latter's music (quartets) go far
to explain the comparatively short life of
most of his own works. In Petrograd he
lived from 1784-1801, excepting a brief
period of disgrace (1787—91) owing to the
machinations of the Todi, then a prime
favorite with the Empress. He raised the
Italian opera to an unexampled state of
efficiency, and composed valuable works for
the court choir, among them a Te Deum (on
the taking of Otchakov by Potemkin) in which
the martial effect of the music was reinforced
by cannon-shots. His opera Artnida (1786)
obtained sweeping success. In 1793 he was
app. director of the Cons, at Yekaterinoslav,
organized on the Italian plan. He 'was en-
nobled in 1795. He died on the homeward
journey, undertaken because of failing health.
— Of his 54 operas, not one is now played;
some of his masses are still performed, but
all the rest of his music is practically for-
fotten, and very little was ever printed.— Cf.
>. Scudo, Le Chevalier S. (Paris, 1857; Ger. tr.
by O. Kade, 1858) ; G. Pasolini-Zanelli, G. S.
(Faenza, 1883).— See Q.-Lex.
Sarto'rio, Antonio, b. Venice, c. 1620;
d. there c. 1681. Dram, comp.; from 1676
asst. m. di capp. at San Marco. From 1652-
81 he prod. 14 operas in Venice; also publ.
Psalms a 8 (1680).— See Q.-Lex.
Saslav'aky, Alexander, b. Charkov, Rus-
sia, Feb. 8, 1876. Violinist, beginning study
under private teachers at nine, and at eleven
continuing in the Imp. Sch. of music under
Pestel (a pupil of Ferd. David) and later
under Gorsky; finishing under Jakob Gruen
in Vienna (1893). Concert-tour in 1893
through Canada and British Columbia; then
joined the N. Y. Symph. Orch. (W. Dam-
rosch) as one of the 1st violins; since 1903 he
has been concert master, soloist, and asst.-
cond. of that organization. Active in or-
ganizing the Russian Symph. Orch. in 1904;
concertmaster and soloist with it for four
814
years. He has introduced several new violin
compositions (in 1910 he played the newly-
discovered Haydn concerto; in 1911 the
Pohne by Chausson). Has toured the U. S.
from coast to coast, appearing in practically
every town of importance. In 1907 he
organized his own str.-quartet (S., N. Finkel-
stein, H. Weismann, J. Renard), which en-
joys an excellent reputation. In the summer
of 1915 he gave in Denver, Col., a series
of chamber-music recitals with such success
that he has repeated them every summer;
the quartet being then assisted by Alfred
de Voto (pianist).
Saw [Sax], Marie-Constance, French
operatic soprano; b. Ghent, Jan. 26, 1838;
d. Auteuil, n. Paris, Nov. 8, 1907 (in the poor-
house). ' Discovered, ' while a chansonette-
singer in a Paris cafe, by Mme. Ugalde, who
taught her, and recommended her to Car-
valno; debut as the Countess in Figaro at the
Th.-Lyrique, 1859; sang with great success
at the Opera from 1860-71; then in Italy.
Married Castlemary in 1864; divorced 1867.
Sassdll, Ada, distinguished harpist; b.
Bologna, Sept. 25, 1887. Pupil of the Cons,
there from 1894-9; then ent. the class of A.
Hasselmans at the Paris Cons., graduating
in 1902 as winner of the 1st prize. D6but in
Bologna, 1899; made occasional public ap-
pearances in France and Belgium while pur-
suing her studies under Hasselmans; tours
with Mme. Melba of England and Australia
(1904-5), of the U. S. and Canada (1905-6,
'10-11 and in 1916); tour of Italy, 1913-14;
tour of the U. S. with Geraldine Farrar, 1915-
16; has also appeared as soloist with orch.
(Boston Symph., N. Y. Symph., etc.). She
resides in Bologna. Has made transcrip-
tions of pf.-comps. for harp.
Satie [sah-tel, Erik (-Alfred-Leslie), b
Honfleur, Eure, May 17, 1866. At the age
of 8 he received his first musical instruction
from a local organist, Vinot (pupil of Nieder-
meyer); studied a short time with Guilmant
(1878), and in 1879 ent. the Paris Cons.,
where his lack of application caused him to be
regarded as absolutely untalented. After
leaving the Cons, he played in various caba-
rets in Montmartre until about 1890, when
he met Josephin Peladan, a writer and leader
of a mystic cult, the 'Salon de la Rose-Croix/
which he joined in 1892. For the next 2
years he wrote incidental music to mystic
plays by Peladan and other members of the
salon. Feeling the inadequacy of his tech-
nical equipment, he then ent. the Schola
Cantorum for serious study, and nothing was
heard of him until 1911, when Ravel played
some of his pieces for pf . ; since then ne has
been living in Arcueil, n. Paris, devoting
himself to composition. His first works for
SATTER— SAUVEUR
pf.f Ogives (1886), 3 Sarabandes (1887), 3
Gymnoptdies (1888) and 3 Gno'ssiennes (1889),
are remarkable as exhibiting the fully de-
veloped impressionistic style of Debussy
at a time when the latter was just beginning"
to 'find himself.1 Shortly after D.'s return
from Rome (1889) the two men met, and
became fast friends. S. has also written a
ballet, Uspud (1892); incid. music to Pela-
dan's Le Fils des Sxoiles (1891; prelude
orch. by Ravel) and Le Prince de Syzance
(1891), to H. Mazel's Le Nazarien (1892),
to J. Bois's La Porte hiroique au Ciel (1893),
to M. de Feraudy's Pousse V Amour (1905);
numerous pf.-pcs., notable chiefly for their
extravagant titles (Morceaux en forme de
poire, Pieces froides, Aper$us dtsagreables,
etc.). — Cf. G. Jean-Aubry, La Musique fran-
qaise d'aujourbvhui (Pans, 1916); C. van
Vechten, E. 5., in Interpreters and Interpre-
tations (N. Y., 1917; with full list of works).
Sat'ter, Gustav, b. Vienna, Feb. 12, 1832.
Pianist; trained as an amateur in Vienna,
then in Paris, whither he had gone to study
medicine. He threw over the latter profes-
sion, toured the United States and Brazil
with much success in 1854-60, and returned to
Paris, where Berlioz warmly praised his com-
positions; he resided successively in Vienna,
Dresden, Hanover, Gothenburg, and Stock-
holm, later revisiting America. — Works: An
opera, Olanthe; overtures Lorelei, Julius
Ciisar, An die Freude: 2 symphonies; a sym-
phonic tone-picture, Washington; pf.-quartets;
trios; many pf. -pieces (sonatas op. 104, 107,
157; Six Grand Studies, Op. 158; 4 Valses
de concert, op. Ill, 113, 114, 117; a Saltarello,
op. 147; etc.).
Sat'tler, Heinrich, b. Quedlinburg, April
3, 1811; d. Brunswick, Oct. 17, 1891. From
1861, music- teacher at Oldenburg Seminary.
— Publ. an Organ-Method ; methods for har-
mony and for school -singing; a work on Die
Orgel (5 editions) and Erinnerung an Mozart's
Leben und Werke (1856); — comp. an oratorio,
Die Sachsentaufe; 2 cantatas, Triumph des
Glaubens and Pfingstkantate; Schiller's Der
Toucher; a mass f. 3 female voices; chamber-
music; organ-pieces; etc.
Sau'er [zow'Sr], Emit, piano-virtuoso;
b. Hamburg, Oct. 8, 1862. Pupil of his
mother; then of N. Rubinstein at Moscow,
1879-81, and of Liszt at Weimar, 1884-5.
Since 1882 on tour— Germany, Austria, Ru-
mania, Russia (3 times), Sweden, Denmark,
Spain, Italy, and England; in the United
States 1898-9, and 1908. From 1901-7 he
was prof, at the 'Meisterschule fur Klavier-
spiel' (connected with the Vienna Cons.);
made k. k. Prof, in 1901, and chev. of the
Legion of Honor in 1907; is also Kgl. Kam-
mervirtuose; living in Dresden since 1908.
Both in technique and expression he vies with
the best pianists of the time. — Works: 2 Pf.-
concertos (E m. and Cm.); Suite moderne
in Et>; 2 pf. -sonatas (D, Eb); 24 Grosse
Konzertetuden; many minor pieces for pf.
(Aus lichten Tagen, Impressions dans la
fortt, Petite scene de ballet, Serenata veneziana,
etc.); Hymne bulgare for ch. and orch. He
has ed. the complete pf.-works of Brahms
(Ed. Peters), and many pes. from his con-
cert-repertoire. Wrote Meine Welt. Bilder
aus dem Geheimfache meiner Kunst und
meines Lebens (1901; autobiogr.).
Saurel [soh-rghl'], Emma, b. Palermo,
1850. Opera singer; brilliant debut at Pisa;
sang in Italy, then in South America and
Mexico with Tamberlik, and at New York
with Nilsson; later in Portugal and Russia,
and 1878-9 at Berlin.
Sauret [son-nil, fimlle, superb violinist;
b. Dun-le-Roi, Cher, France, May 22, 1852.
Studied in the Conservatoires at Paris
(Vieuxtemps) and Brussels (he was de Benot's
last pupil). From the age of 8 he travelled in
France, Italy and Austria with success; his
London debut was at Coven t Garden, 1866;
he made American tours in 1872, 1874-6,
1877 and 1895. Teacher in Kullak's Acad.,
Berlin, 1880-91; 1891-1903, prof, at the R.
A. M. (succ. P. Sainton); 1903-6, at the
Chicago Mus. Coll.; returning to Europe, he
lived for a short time in Geneva and Berlin;
since 1908 prof, at Trinity Coll., London. In
1872 he married Teresa Carrefto (divorced
1877). As for elegance and grace, he is a
typical representative of the French school
of violin-playing; his interpretation of the
classics is remarkable for noble dignity and
Curity of style. His concert-repertory em-
races 80 concertos, and about 400 other works.
— Works: For vl. and orch.: Op. 21, Sou-
venir de Moscou, caprice; op. 26, Concerto in
G m.; op. 32, Rapsodie russe; op. 59,- Rap-
sodie sueaoise; op. 60, Deux Morceaux; op. 67,
Andante et Caprice de Concert; Farfalla and
Ultgie et rondo (without op.-number). — For
vl. solo: Op. 24, 20 Grandes Eludes; op. 38, 12
Eludes artistiques; op. 64, 24 Eludes- Caprices;
op. 68, Suite. Over 100 pes. for vl. and pf.
(op. 28, Feuilles d' Album [6 pes.]; op. 29,
Pensies fugitives [8 do.]; op. 62, Seines cham-
pttres, suite; etc.); about 25 transcriptions;
also an excellent method, Gradus ad Parnassum
du violoniste, op. 36 (4 parts; Ger. and Fr.).
Sauveur [soh-vdr'], Joseph, b. La Fleche,
Mar. 24, 1653; d. Paris, July 9, 1716. A
deaf-mute, learning to speak in his 7th year,
he became a remarkable investigator in the
realm of acoustics; in 1696, member of the
Academie. — Works: Principes d'acoustique
et de musique (1700-1); Application des sons
harmoniques a la composition des'jeux aVorgue
815
SAUZAY— SAX
(1702); MHhode genirale pour former des
systemes tempirSs . . . (1707); Table gintrale
des systtmes temperh (1711); Rapports' des
sons des cordes d'instrs. de musique aux fUches
des cordes . . .(1713) [all publ. in the Me-
moires of the Academie]. He was the first
to calculate absolute vibration-numbers, and
to explain scientifically the phenomena of
overtones.
Sauzay [soh-za'], (Charles-) Eugene,
violinist; b. Paris, July 14, 1809; d. there
Jan. 24, 1901. Private pupil of Vidal;
studied later under Baillot in the Conserva-
toire, playing 2d violin, and afterwards
viola, in the latter's quartet. With Norblin
he organized chamber-music soirees; in 1840,
solo violinist to Louis Philippe, later leader
of second violins in the orch. of Napoleon III;
in 1860, Girard's successor as violin-prof . at
the Cons. ; retired in 1892. — Publ. a Symphonic
rustique (op. 12); a string-trio in G (op. 8);
pieces f. pf., violin, and 'cello, £tudes har-
moniques (op. 14) f. violin; fantasias, etc.,
f. violin and pf.; pf. -pieces; — also Haydn,
Mozart, Beethoven, etude sur le quatuor (1861;
2d ed. 1884); and L'Scole de Vaccompagne-
ment (1869).
Savage, Henry Wilson, operatic and the-
atrical manager; b. Boston, c. 1860. Orig-
inally a real estate operator, he built the Cas-
tle Square Th. in Boston; but when one
lessee after another went into bankruptcy,
he determined to manage the attractions
personally. Organizing a small company
of competent singers and a fine chorus, he be-
gan his career as impresario with a season of
grand opera in English at moderate prices.
The 'Castle Square Opera Co.' flourished,
more ambitious works were presented, and
tours of other cities were undertaken. In
1900 he formed the 'English Grand Opera
Co.', including, besides his own artists, stars
from the Carl Rosa company of London; in
Oct .-Dec., 1900, he gave a series of perform-
ances at the M. O. H. In 1904-5 he or-
ganized a special company, producing Par-
sifal in English with immense success in the
principal cities of the East and Middle West;
m 1906-7 the same company made a tour
with Puccini's Madama Butterfly (Amer.
premiere, Garden Th., N. Y., Nov. 12); in
1911-2 Puccini's Girl of the Golden West was
given; he also prod, light opera with another
company, which, among other operettas,
introduced Lehar's The Merry Widow to the
U. S. (1906).
Savard [sah-vahr'], (Marie-Gabriel-) Au-
gustin, born Paris, Aug. 21, 1814; d. there
June, 1881. Pupil of Leborne and Bazin;
in 1843 prof, of solfege, later of harmony and
thorough-bass, at Paris Cons. — Works: Cours
complet d'harmonie . . . (1853); Manuel aVhar-
monie; Prineipes de la musique (1861 ; 14th ed.
1913) ; RecueU de plain-chant d'Sglise (a 3-4) :
Prem&rcs notions de musique (1866; 25th ed.
1897); &tudes d'harmonie pratique (2 vols.).
Savard, (Marie-Emmanuel-) Augustin,
son of preceding; b. Paris, May 15, 1861.
After finishing his classical studies at the
'Lycee Louis-le-Grand' in Paris (1873-9) he
ent. the Cons, in 1880, studying harm, with
Durand and Taudou, and comp. with Masse-
net; won the Prix de Rome in 1886 with the
cantata La Vision de Saul; 1892-3, chorus-
master at the Opera; since 1902, dir.of the
Cons, in Lyons. Comp. of 2 symphonies, the
overture Roi Lear, a str. -quartet, and a 2-act
'Reve musical,' La ForH (Opera, 1910).
Savart [sah-vahr'], Felix, born Mezieres,
June 30, 1791; d. Paris, March 16, 1841.
Prof, of acoustics at the College de France;
in 182 7 j member of the Academie. — Works
[publ. in the 'Annales de physique et de
chimie']: * Memoir e sur la construction des
instrs. d cordes et & archet (1819; separate
reprint); Sur la communication des move-
ments vibratoires entre les corps solides (18201*
Sur les vibrations de Vair (1823) ; Sur la wix
humaine (1825); Sur la communication des
mouvements vibratoires par les liquides (1826);
Sur la voix des oiseaux (1826) ; etc.
Savenau [zah've-now], Karl Maria, Frei-
herr von, b. Prague^ Feb. 3, 1837. Pupil of
the School of Organists and the Cons, uiere;
st. further in Leipzig and Weimar; living
since 1870 in Graz as comp. and writer.—
Works: Op. 7, Psalm 50 for soli, ch., str.-
orch. and trombones; op. 15, Symphonisches
Konzerlstiick for pf. and orch.; op. 20, str.-
quartet in Eb; op. 35, Aus Waldmeisters
Brautfahrt for soli, ch. and pf.; op. 44, 2
dram, scenes from Tieck's Die schone Mage-
lone for voice and orch. ; male choruses, songs
and pf .-pes.
Sawyer, Frank Joseph, born Brighton,
England, June 19, 1857; d. there April 29,
1908. Pupil of E. Fr. Richter at the Leipzig
Cons.; then st. organ with Sir J. F. Bridge,
whose asst. he was for some time; Mus. Doc.,
Oxon., 1884; until 1896 org. and choirm. at
St. Patrick's, Brighton, and cond. of the
'Brighton and Hove Choral and Orchl.
Assoc.'; from then till his death prof, of
sight-singing at the R. C. M. — Works: An
oratorio, Mary the Virgin (1889); a dram,
cantata, Orpheus; the sacred cantatas
Jerusalem, The Soul's Forgiveness, The Widow
of Nain; 2 Slavonic Dances for orch.; Kon-
MertstiUk in D for organ and orch. ; anthems;
songs and part-songs; pf.-pes.; primer on
Extemporisation (Novello's series) and A
Course in Harmony (1899; with J. F. Bridge).
Sax, (An toine- Joseph-) Adolphe, fa-
mous instrument-maker, son of Charles-
816
SAX— SCARIA
Joseph S.; b. Dinant, Nov. 6, 1814; d. Paris,
Feb. 9, 1894. At the Brussels Cons, he
studied the flute and clarinet; Bender called
him his best pupil. A skilful workman from
early youth, he made improvements in the
clarinet 1835-40, and in 1842 went to Paris
with a new Xnstr. invented by himself, the
'Saxophone' (a metal wind-instr. with single-
reed mouthpiece and conical bore). Berlioz
over 30 rdles, and then made a grand tour-
nee of the United States with Parodi and
Adelaide Phillipps. After seasons in Mexico
and Havana, he again toured the States as
far as San Francisco, and returned to Europe,
settling in Paris about 1875. His success in
training the tenor Nouvelli now led S. to
devote himself to teaching; at this time
Jean de Reszke was singing baritone rdles in
and other prominent musicians speedily recog- ' the Theatre de la Salle Ventadour, but under
nized the importance of S.'s invention, and S.'s training he re-formed his voice, and
warmly advocated its adoption. S., aided
by his father, continued his experiments, and
evolved two other groups of wind-instrs., the
saxhorns (improved from the bugle-horn and
ophicleide by replacing the keys by a valve-
mechanism), and the saxotromba, midway
in tone between the bugle and the horn. His
instrs. were gradually adopted by French
military bands; the saxophone is sometimes
employed in orchestral and chamber-music.
S. was app. teacher of the saxophone at the
Paris Cons, in 1857; he publ. a method for
that instr. Wieprecht, Cerveny, and others,
have disputed the originality of his inventions;
but legal decisions have been uniformly in his
favor. — Cf. O. Comettant, Histoire dun in-
venteur du XIX— stick (Paris, 1860); Th.
Lajarte, Instruments Sax et fanfares civiles
(ib., 1876).
Sax, Charles-Joseph, born Dinant-sur-
Meuse, Belgium, Feb. 1, 1791 ; d. Paris, April
26, 1865. Established an instrument fac-
tory at Brussels in 1815, making wind-instrs.
and also pianos, violins, harps and guitars;
his specialty, however, was brass instruments,
of which he materially improved the scale.
He joined his son Adolphe in Paris, 1853.
Sax, Marie. Early stage-name of Marie
Sass.
Sayn-Wlttgensteln, Carolyne. See
Liszt.
Sayn-Wlttgensteln, F. E. See Witt-
genstein.
Sbolcl [sbohl'che], Jefte, b. Florence, Sept.
5, 1833; d. there Dec. 7, 1895. Fine 'cellist,
from 1865 prof, at the Istituto Musicale.
Founder and director of the Florentine So-
ciety Orchcstrale; member of the first famous
Florentine Quartet (Buonamici, Bruni, Van-
nuccini, Sbolci).
Sbrl'&lla [sbreTyah], Giovanni, was born
in Naples in 1840. At 18 he became a pupil
of de Koxas in the Naples Cons., and made his
debut at 21 as leading tenor in Ricci's //
Birrajo di Preston, at the San Carlo Th., then
singing in all Italy the entire Italian reper-
tory of the day. Engaged by M. Maretzek, he
sang in New York at the Acad, of Music with
Patti in La Sonnambula, etc.; in Havana
he successfully deployed his repertory of
came out in the tenor r61e of Robert (Robert
le Diable) in Madrid (1879). Josephine and
fidouard de Reszke also profited by S.'s in-
structions, the former changing her voice
from a light to a dramatic soprano within
six months, singing the r61e of Selika in
I Africaine so finely that Massenet wrote for
her the leading r61e in Le Rot de Lahore,
Other celebrated pupils are Pol Plancon, Nor-
dica, Sibyl Sanderson, etc. He was an
officer of the Academie, and member of the R.
Acad, at Florence from 1890.
Search! [skahl'ke], Sofia, dram, mezzo-
soprano; b. Turin, Nov. 29, 1850. Pupil of
Boccabadati; debut Mantua, 1866, as Ul-
rica in Verdi's BaUo in Maschera; then sang
in Verona, Bologna, Nice, etc. In London
her concert-debut (Sept. 16, 1868) was a
great success, her operatic debut (Cov. Gar-
den, Nov. 5, 1868; as Azucena an extra-
ordinary success; from then until 1890 she
sang there every season, her popularity
becoming so great as to arouse the jealousy
of Patti. She visited the U. S. for the first
time in 1882 in Col. Mapleson's company;
sang under Abbey in the first season given
at the M. O. H. (1883-4); the next two
seasons again with Mapleson; sang at the
M. O. H. under Grau s management from
1891-6. She has also sung in Petrograd,
Moscow, Warsaw, Vienna, Madrid and Rio
de Janeiro. In 1896 she retired to her castle.
Villa Sofia, in Turin. In 1875 she married
Count Luigi Lolli. Her voice had a range
of 2Ji octaves, from /-6b*; in her prime it
was very sympathetic, powerful and per-
fectly even throughout. Her r61es included
Pierotto (Linda di Chamounix), Leonora
(Favorita), Meala (Paul et Virginie), Fides
(Prophke), Page (Huguenots), Arsace ( Se-
mir amide), Amneris, Siebel, Ortrud, etc.
Sca'ria, Emit, highly rifted dramatic bass;
b. Graz, Sept. 18, 1838; d. Blasewitz, n. Dres-
den, July 22, 1886. Pupil of Netzer at Graz,
and of Gentiluomo and Lewy at Vienna. His
debut in 1860, at Pest, as Saint-Bris in
Les Huguenots was a complete fiasco. After
some months' study with Garcia in London
(1862) he appeared again in Dessau, scoring
a brilliant success; was then eng. at Leipzig
(1863), Dresden (1864), and lastly at the
817
SCARLATTI— SCARLATTI
Court Opera, Vienna, from 1872. He ex-
celled in Wagner rdles (created Gurnemanz
[Parsifal] in 1882).— Cf. A. Neumann, Erin-
nerungen an R. Wagner (Leipzig, 1907 ; Engl,
tr. by E. Livermore, N. Y., 1908).
Scarlat'ti, Aleasandro, founder of the
'Neapolitan School* of music; b. Trapani,
Sicily, 1659; d. Naples, Oct. 24, 1725. There •
is no authentic record of his early life and
training; in 1680 he conducted his first known
opera, L'Onestd neW amore, at the palace of
Queen Christina of Sweden in Rome; on the
score of another, Pompeo, performed there in
1684, he is styled maestro di cappella to the
Queen. In 1694 he was maestro to the Vice-
roy at Naples. In 1703 he became asst.-
maestro to Foggia at S. Maria Maggiore,
Rome, and succeeded him as chief maestro
1707, resigning in 1709 and returning to
Naples, where he subsequently became
maestro of the royal chapel. He also taught
successively at the Conservatories of San
Onofrio, de* Poveri di Gesu Cristo, and the
Loreto; among his distinguished pupils were
Durante, Leo, Feo, Logroscino, Hasse and
Porpora^. S. produced no less than 115
operas (41 still extant); La Rosaura (Rome,
about 1690), edited by Eitner, was printed
by the 'Gesellschaft ftir Musikforschune,'
Vol. xiv; in Teodora (Rome, 1693) occurs the
first orchl. ritornello, and an incipient red-
tativo obbligato accompanied by the entire
orchestra; also several arias with the first
part sung da capo, a style which was later
generally adopted by opera-composers; — an
aria and a duet from Laodicea e Berenice
(Naples, 1701) have been publ. by J. J. C.
Maier, also a terzet and quartet from Gri-
selda (Rome, 1721), with German transl. by
v. Wolzogen; in Tigrane (Venice, 1715;
marked by S. himself as his 115th opera) the
orch. comprises violins, violas, 'celli, double-
basses, 2 flutes, 2 oboes, 2 bassoons, and 2
tiorns. 14 oratorios are also known; he is
said to have written over 200 masses (up to
ten parts), besides much other sacred music
(Concerti sacri, motets a 1-4, w. 2 violins,
viola and organ, were publ. at Amsterdam as
op. 1 and 2; a few separate numbers are in
the colls, of Choron, the Prince of Moszkva,
Commer [a Tu es Petrus], Dehn, Proske, and
Rochlitz; Choron also publ. a Requiem, and
Proske a mass); his secular vocal music in-
cludes madrigals (one a 4, f. SS.AA., is in
Padre Martini's 'Esempl. di contrapp. fu-
gato'), serenatas, duets, and a vast number
of cantatas (Dent gives a list of 600 with
basso cont. and 61 with instrs.). The Cons.
Library at Paris has 8 vols, of these in MS.
— Cf. E. J. Dent, The Operas of A. S.f in
'Sbd. I. M.-G.' (iv, 1); id., A. S. His Life
and Works (London, 1905).— See also Q.-Lex.
818
Scarlat'ti, Domenico, son of preceding;
celebrated composer for and player on the
harpsichord; b. Naples, Oct. 26, 1685; d.
there 1757. He first attracted attention as
an arranger (1704) and composer of operas
(he was taught by his father and Gasparini) ;
he also early made a reputation as a harp-
sichord-player, for when Handel visited Rome
in 1709, Cardinal Ottoboni chose S., as the
foremost Italian harpsichordist and organ-
ist, to compete with the great German, who
proved his equal on the harpsichord, and his
superior on the organ. In Jan., 1715, S. was
app. Bai's successor as maestro at St. Peter's,
Rome, resigning in 1719 to become maestro
al cembalo at the Italian Opera, London,
where his opera Narciso was prod, in 1720;
in 1721 he became court cembalist at Lisbon,
and music-master to the princesses; was in
Naples 1725-9, in Madrid 1729-54, as music-
master to the Princess of the Asturias, and
then returned to Naples. Owing to his pas-
sion for gambling, he left his family in destitu-
tion, which Farinelli generously relieved. —
Domenico Scarlatti's especial claim to re-
nown rests upon his harpsichord-music; ht
studied the peculiarities of the instrument,
and adapted his compositions to them, being
the first writer in the 'free style* (the homo-
phonic 'song-form' with graceful ornamenta-
tion, in contrast to the former — contrapuntal
— vocal or organ-style). He also obtained
effects by the Frequent crossing of the hands;
runs in thirds and sixths; leaps wider than
an octave; broken chords in contrary mo-
tion; tones repeated by rapidly changing
fingers; etc. He has been called the founder
of modern pianoforte techn iq ue. A character-
istic of S.'s pieces is their brevity. He publ.
only 2 books of Pieces pour le clavecin ... (32
numbers), and Esercizi per gravicembalo . . .
Abbate Santini (jj. v.) had in his library 349
comps. for harpsichord and organ by S.; K.
F. Pohl had a coll. of 304 (all MS.). Mod-
ern editions include a coll., by Czerny, of 200
f>ieces; Breitkopf, 60; Pauer, 50 Harpsichord-
essons, also other pieces in 'Alte Meister,'
'Alte Claviermusik,' 'Old Italian Composers/
and 'Merry Musicians'; Kohler, 12 sonatas
and fugues; Tausig, 3 sonatas; v. Biilow,
1 8 pieces in suite-form ; Schletterer , 1 8 ; Andre,
28; Banck, 30; Farrenc, 100 (in Tresor des
fianistes') ; Peters, in 'Alte Claviermusik.'
n 1906 Ricordi began the publication of S.'s
complete harpsichord-works, edited by Ales-
sandro Longo (6 vols, up to 1917).— Cf. A.
Longo, D. S. e la sua figura nella storia della
musua (Naples, 1913).
Scarlat'ti, Giuseppe, grandson of Alcs-
sandro; b. Naples, 1712; d. Vienna, Aug. 17,
1777. Opera-composer, producing his works
on Italian stages, and (from 1757) in Vienna.
SCHAAB— SCHAFHAUTL
Schaab, Robert, b. R6tha, n. Leipzig, Feb.
28, 1817; d. Mar. 18, 1887, as organist of the
Johanniskirche, Leipzig. His teachers were
C. F. Becker and Mendelssohn; his organ-
works are of value (60 Choralvorspiele [op.
118, 119, 121]).
Schach'ner, Rudolf Joseph, b. Munich,
Dec. 31, 1821; d. Reichenhail, Aug. 15, 1896.
Pianist; pupil of Mme. von Fladt and (1837-
8) of J. B. Cramer. Played in Vienna (1842),
Paris, Leipzig (Gewandhaus), etc.; settled in
London 1853 as a teacher; later went to
Vienna, often visiting Munich. — Works:
Oratorio Israels Ruckkehr von Babylon; 2
pf .-concertos (op. 6 and 10) ; Poisies musicales,
op. 8 and 9; Romance varUe, op. 11; Ombres
et rayons t 6 books, op. 13 and 17 ; La Chasse,
op. 12; Phantasiestiick, op. 15; songs, op.
22 and 23; etc.
Schacht, Matthias Hetarich, b. Viborg,
Jutland, April 29, 1660; d. as rector at Kierte-
minde, Aug. 8, 1/00. Gerber utilized part of
his MS. mus. dictionary Bibliotheca musica
... for his lexicon.
Schack [Cziak], Benedikt, b. Mirowitz,
Bohemia, 1758; d. Munich, Dec. 11, 1826.
Tenor stage-singer at Prague, Salzburg, Vien-
na, Graz and Munich, belonging toScnikane-
der's troupe in Salzburg and Vienna; Mozart
wrote for S. the r61e of Tamino. He also
prod, some operas, a mass, etc.
Schad, Joseph, born Steinach, Bavaria,
Mar. 6, 1812; d. Bordeaux, July 4, 1879.
Pianist; pupil of WUrzburg Cons., then of
Aloys Schmitt at Frankfort. After concert-
tours in Switzerland, he became organist and
mus. dir. at Morges (canton Vaud) in 1834;
later teacher at the Geneva Cons.; settled in
Bordeaux 1847, where he was in high repute
as a teacher. — Publ. much melodious and
popular music f. pf.: Le Soupir, op. 19; La
Gracieuse, op. 23 (waltz); La Rose des Alpes,
op. 38; Fleur des Alpes, op. 39; Tarentelle,
op. 55; a ballet (f. pf.), Frantzia; fantasias,
transcriptions, etc.
Schaefer (or Schttfer), Alexander Niko-
lai evitch, born Petrograd, Sept. 11, 1866.
Pupil of the Cons, there, graduating in 1886;
from 1886-91 teacher at Krivoshin and
Dannemann's music-school; 1891-8, at the
Patriotic Inst.; 1898-1901, cond. at Pana-
iev's private opera; since then cond. at the
Popular Opera. — Works: The operas 7$jr-
ganf [Gypsies] (Petrograd, 1901) and Thisbe
(not prod.); 2 ballets, Die Phantasieinsel
and Das verzauberte Gras; 2 symphonies; 3
suites, 3 Russian dances and Scherzo for
orch.; 2 str. -quartets; a pf.-trio; pf.-pcs.
and songs. Has publ. numerous arrs. for pf.
(4 hands) of orchl. works (Tchaikovsky's
6th symphony, etc.).
Schaf'fer, August, b. Rheinsberg, Aug.
25, 1814; d. Berlin, Aug. 7, 1879. PupS,
from 1833, of Mendelssohn at Berlin, where
he spent most of his life. His humorous
duets and quartets won great popularity; he
also comp. symphonies, string-quartets, pf.-
pieces, etc., and prod, a few operas: Emma
von Falkenstein (Berlin, 1839); Josi Riccardo
(Hanover, 1857); Junker Habakuk (ib., 1861);
etc.
Schaffer, Julius, b. Krevese in the Alt-
mark, Sept. 28, 1823; d. Breslau, Feb. 10,
1902. Studied theology at Halle, where in-
tercourse with Franz, and musicians in the
near-by city of Leipzig, won him over to
music. In 1850 he went to Berlin to study
under Dehn; 1855, mus. dir. to the Grand
Duke at Schwerin, where he founded and
conducted the 'Schlosskirchenchor,' modelled
after the Berlin cathedral -choir. In 1860 he
succeeded Reinecke as mus. dir. at the Univ.,
and cond. of the 'Singakademie,' Breslau, with
the title of 'R. Mus. Dir.' in 1871, and 'Pro-
fessor' in 1878; Dr. phil. Hon. causa (Breslau)
in 1872. — Works: Excellent choral-books
(1866; 1880); songs and part-songs; in de-
fence of Franz's 'additional accompaniments'
to scores by Bach and Handel, S. wrote, ver-
sus Chrysander, Zwei Beurtheiler von Dr. R.
Franz, Fr. Chrysander in seinen Clavieraus-
zugen zur deutschen Handel-Ausgabe (1876),
and R. Franz in seinen Bearbeitungen dlterer
Vocalwerke. . . . (1877); also Die Breslauer
Singakademie (1875).— Cf. E. Bohn, /. 5.
(Breslau, 1902).
Schafhautl, Karl Franz Emil von, b. In-
golstadt, Feb. 16, 1803; d. Munich, Feb. 25,
1890, as prof, of mining, etc., custodian of the
State geological colls., etc. He was also a stu-
dent of acoustics, and intimate with Theobald
Bohm, whom he advised and aided in the con-
struction of his instrs. — Publ. Theprie ge-
dackter, cylindrischer und conischer Pfeifen
und der Querfloten (1833, in the 'Neue Anna-
len der Chemie'); Ueber Schall, Ton, Knall
und einige andere Gegenstdnde der Akustik
(1834, in do.; both separately printed);
Ueber die Kirchenmusik des katholischen Cul~
tus (1833, in the 'Allg. mus. Zeitung'); a
report on the mus. instrs. in the Munich
Industr. Exhib. (1854); Ueber Phonometrie
(1854); Der echte Gregorianische Choral in
seiner Entwickelung (1869); Ein Spaziergang
durch die liturgische Musikgeschichte der ka-
lholischen Kirche (1877; continuation of pre-
ceding); Abt Georg Jos. Vogler: Sein Leben,
sein Charakter, und sein musikal. System
(1888); also, in the 'Allg. mus. Zeitung,' 1879,
investigations into the phenomena of clang-
tints, with results at variance with Helm-
holtz's theory. — Cf. Erinnerungen an K. EU
und K. von Sch., in 'Kchm. Jahrb.' (1891).
819
SCHARFE— SCHARWENKA
Scharfe, Gustav, b. Grimma, Saxony,
Sept. 11, 1835; d. Dresden, June 25, 1892.
Distinguished singing-teacher; for 11 years
baritone in the Dresden Court Opera; teacher
of singing at the Cons., 1874; Professor, 1880.
— Publ. Die methodische Entwickelung der
Stimme, a standard work; also choruses and
songs.
Schar'fenberg, William, b. Kassel, Ger-
many, Feb. 22, 1819; d. Quogue, Long Island,
N. Y.t Aug. 8, 1895. A pupil of Hummel at
Weimar till 1837; returned to Kassel, playing
2d violin in Spohr's quartet; went to New
York in 1838, making his debut as a pianist
in Hummel's septet, and at once took a leading
position in the city as a teacher and concert-
player. He was successively secretary, vice-
president, treasurer, and (1863) president
of the Philharm. Soc. For many years he
was musical editor and adviser to the firm of
G. Schirmer, and did excellent editorial work.
Scharrer, August, b. Strassburg, Oct. 18,
1866. While attending the 'Handelsschule*
in Nuremberg he also st. pf. with Lina Ra-
mann and Ida Volkmann. At the beginning
of his mercantile career he was sent on a busi-
ness trip to the U. S.; in Salt Lake City he
visited the Mormon Tabernacle, and was
granted permission to play on the magnificent
organ; after improvising for hours he resolved
to devote himself entirely to music. He ent.
the Strassburg Cons., and also st. privately
with Miiller-Reuter and G. Jacobsthal; then
went to Berlin, studying comp. with H. Hof-
mann and Ph. Rtifer, and musicology at the
Univ. with Spitta and Bellermann. In 1897-
8 he acted as Mottl's asst. in Karlsruhe;
1898-1900, Kapellm. at the Stadtth. in Ratis-
bon; 1900-4, 2d cond. of the Kaim Orch. in
Munich; 1904-7, cond. of the Phil h. Orch.
in Berlin; 1907-14, dir. of the Strassburg
Cons. (succ. Franz Stockhausen) ; since then
living iji Nuremberg as cond. of the 'Lehrer-
Gesangverein.' — Publ. works: Op. 3, Hymne
an die Nacht for bar. solo, ch. and orch.; op.
19, Symphonisches Adagio for orch.; op. 20,
Heiiere Oliver ture; op. 23, Symphony in D m.,
Per Aspera ad Astra; songs (op. 1, 2, 17, 18).
In MS. an opera, Erlosung; op. 4, Gudruns
Befreiung for 3 solo vcs. and orch.; op. 29,
Advent, mixed chorus and orch.; and the
orchl. works, op. 5, BaUeUmusik; op. 6,
Symphonietta; op. 9, 3 Intermezzi; op. 11,
Festmarseh; op. 13, StiUste Stunde, symph.
poem; op. 21, Charakteristische Suite; op. 22,
Phantastisches Vor spiel; 3 overtures (op. 24,
25, 26); op. 27, Iphigenie, symph. poem;
op. 30, Adagio sostenuto for small orch.; op.
32, Variationen; Abendfrieden for str.-orch.
Scharrer, Irene, fine pianist; b. London,
c. 1880. Pupil of the R. A. M. and of To-
bias Matthay; debut in 1901; has since
appeared in numerous recitals and with all
the great English orchestras; successful tours
of Germany and Holland.
Scharwen'ka, (Ludwig) Philipp, b. Sa ni-
ter, Posen, Feb. 16, 1847. After a gym-
nasial course at Posen, he entered Kullak's
Academy at Berlin in 1865, studying chiefly
under Wiierst; also had private lessons with
H. Dorn. In 1870, teacher of theory and
comp. at the Academy; in 1880 he founded,
with his brother Xaver, the 'Scharwenka
Cons.1; also accompanied his brother to New
York in 1891, but returned in 1892, joining
Goldschmidt in the direction of the Cons.,
which was amalgamated with the Klind-
worth Cons, in 1893. He is senator of the
Berlin 'Akademie der KQnste.' In 1880
he married the violinist Marianne Stresov,
who has since then been teaching in his Cons.
— Works: For orch.: Op. 19, Serenade; op.
20, Zwei polnische Volkstdnte; op. 37,
Wold- und Berggeister, intermezzo; op. SSt
Polnische Tanzweisen; op. 40, Liebesnacht,
'Fan tasiest tick' ; op. 43, Festouverture; op.
76, Arkadische Suite; op. 87, Fruhlingswogen,
symph. poem; op. 92, Traum und WirklicW
keit, do.; op. 95, vl.-concerto in G; op. 96,
Symphony in D m.; op. 108, Dramatische
Fantasie; . op. 115, Symphonia brevis in El>.
Chamber-music: Pf.-quintet in B m.,
op. 118; 2 str.-quartets (op. 117, D m.;
op. 120, D); 3 pf. -trios (op. 100, C$ m; op.
112, G; op. 121, E m.); trio in A for v\., v\a.
and pf., op. 105; 2 vl. -sonatas (op. 110, B m.;
op. 114, E m.); via. -sonata in G m., op. 106;
vcl.-sonata in G m., op. 116. For soli, ch.
and orch.: op. 44, Hetbstfeier; op. 1 13, An den
Konig; Sakuntala (no op.-number). Minor
pes. for vl. and pf.; do. tor vcl. and pf.; nu-
merous pf.-pes. (op. 61, 3 sonatas; op. 85,
Zwei Rhapsodien; etc.); do. for 4 hands (op.
21, 54, 56, 91, 109, etc.); choruses a capp.
for male and mixed vcs. ; songs.
Scharwen'ka, (Franz) Xaver, brother of
preceding; b. Samter, Jan. 6, 1850. Distin-
guished pianist and composer; pupil of Kul-
lak and Wiierst at Kullak's Acad., graduating
in 1868, when he was app. teacher there.
First public concert at the Singakademie,
1869, very successful; for about 10 years he
gave an annual series of 3 chamber-concerts
there (with Sauret and H. Grfinfeld); also
arranged and cond. orchl. subscript ion -con-
certs. In 1874 he gave up his position as
teacher, and made pianistic tours through
Europe and America. In 1880 he founded
the Berlin 'Scharw. Cons.', of which he was
director till 1891, then establishing his Cons,
in New York. In 1898 he returned to Ber-
lin, as Director of the Klindworth-Scharwen*
ka Cons,, and head of the pf. -classes; re-
signed in 1914, and establ. his own 'Meister-
820
SCHATZ— SCHEEL
schule' for pf. in Berlin. He revisited the
U. S. in 1913-14. S. is court pianist to the
Emperor of Austria, and received the title of
Professor from the King of Prussia (Emperor
Wilhelm II); in 1911 elected senator of the
Berlin Akademie der Kiinste. — Works: Opera
Matasurinlha (Weimar, 1896; M. 0. H.f April
1, 1897; succ); symphony in C m., op. 60;
4 pf. -concertos (No. 1, Bt> m., op. 32; No. 2,
C m., op. 56; No. 3, C# m., op. 80; No. 4,
F m.f op. 82); a pf. -quartet in F, op. 37;
2 pf. -trios, (op. 1, F# m.; op. 45, A m.); 2 pf.-
sonatas (op. 6, C#; op. 36, Eb); many bril-
liant and fascinating pf.-pieces for 2 and 4
hands; a 'cello-sonata in E m., op. 46a; a
violin-sonata in D m., op. 2; numerous songs;
church-music; technical works, Beilrdge zur
Fingerbildung (op. 77), Studien im Oktaven-
spiel (op. 78), Meisterschule des Klavierspiels
(a coll. of famous etudes progressively arr.).
Also many arrangements: Chopin's B-m.
Scherzo, f. 2 pfs.; Hummel's B-m. ^ concerto,
and Chopin's Andante and Polonaise, op. 22,
newly instrumented; a critical edition of
Schumann's pf.-works. — S. was for some
years correspondent of the 'Monthly Mus.
Record,' London; author of Methodik des
Klavierspiels (1908).
Schatz, Albert, b. Rostock, May [not
Mar.] 19, 1839; d. there Oct. 18, 1910.
From earliest youth he was especially interested
in opera and its history; although a merchant,
he spent much time collecting materials for
a history of the opera. After living for 7
years in San Francisco he returned in 1873 to
his native city, where he took over the music-
business of Ludwig Trutschel. He then
conceived the plan of writing the history of
opera from original sources, and began to
collect the original libretti of the first per-
formances; after almost half a century he nad
in his possession about 12,000; the statistical
material he had entered on about 80,000
cards, each containing the title of an opera,
name of comp. and librettist, city, theatre
and date, not only of first perf. (world-pre-
miere), but also of first perfs.. in other cities.
Being in feeble health, he sold his valuable
coll. of libretti, the largest in the world, in
1908 to the Library of Congress in' Washing-
ton, where it has since been systematically
extended. — Cf. O. G. Sonneck's Preface to
Catalogue of Opera Librettos printed before
1800 (2 vols.; Washington, 1914).
Schaub [showp], Hans F., b. Frankfort-
on-Main, Sept. 22, 1880. Pupil of I. Knorr,
E. Humperdinck and Arnold Mendelssohn;
1902, choral cond. in Bingen; 1904, teacher of
theory at the Breslau Cons.; since 1906, in
Berlin as teacher of comp. at Benda's Cons,
and ed. of 'Deutsche Musikerzeitung.' He
advocates the abolition of thorough-bass in
the teaching of theory. Comp. of Festoor-
spiel, a symph. prologue to Monna Vanna,
3 intermezzi for orch., vl.-pcs.; in MS. an
opera, Der Pascha.
Schau'ensee [show'&n-za], (Franz Joseph
Leonti) Meyer von, b. Lucerne, Aug. 10,
1720; d. after 1790. After a stirring life, he
took holy orders in 1752, and became organist
at the 'Liudgardstift.' — Publ. works: 7
masses; much church-music, chamber-music,
and several operas (F6tis gives a full list).
Schebek [sha'-], Edmund, b. Petersdorf,
Moravia, Oct. 22, 1819; d. Prague, Feb. 11,
1895, as Imp. councillor and secretary of the
Chamber of Commerce. Wrote the official
(Austrian) report on the mus. instrs. at the
Paris Exposition of 1855 (separate reprint
1858); Der Geigenbau in Italien und sein
deutscher Ur sprung (1874); and Zwei Brief e
iiber J. /. Froberger (1874).
Schebest [sha'-], Agnes, noted mezzo-
soprano stage-singer; b. Vienna, Feb. 10,
1813; d. Stuttgart, Dec. 22, 1869. Studied
at Dresden, and sang in the opera there 1832-
3, then in Pest till 1836; again in Dresden, at
Vienna, and Karlsruhe, etc. Married D. F.
Strauss, author of Das Leben Jesu, in 1841,
and retired. — Autobiogr. A us dem Leben einer
Kunstlerin (1857).
Schech'ner-Waa'gen [shfchyh'-], Nanette,
noted operatic soprano; b. Munich, 1806; d.
there April 30, 1860. Sang at first in Italian
opera; from 1827 in German opera at Berlin
and Munich, being unrivalled in the roles of
Fidelio, Iphigenia \aufTauris)t and Spontini's
Vestalin. Nerve-disorders caused her re-
tirement in 1835. — Her husband was the
painter Waagen.
Scheel [shal], Fritz, b. Lfibeck, Nov. 7,
1852; d. Philadelphia, Mar. 13, 1907. His
grandfather and father were orchl. conduc-
tors, and at 10 the boy played the violin in
his father's orch., also acquiring practical
knowledge of several other instrs.; 1864-9,
pupil of F. David in Leipzig. At 17 he began
nis career as Konzertmeister and cond. at
Bremerhaven; in 1873, solo violin and cond.
of the summer concerts in Schwerin; succ.
Hans Sitt in 1884 as cond. of the Chemnitz
munic. orch.; 1890-3, cond. of orchl. concerts
in Hamburg. Came to America in 1893, and
after conducting some orchl. concerts in New
York went to Chicago in 1894 as cond. of the
Trocadero concerts at the Columbian Expos.;
in 1895 he establ. the San Francisco Symph.
Orch., which he cond. for 4 seasons; then ac-
cepted an eng. to conduct a series of summer
concerts at Woodside Park, Philadelphia.
His playing of Beethoven's symphonies
induced influential music-lovers to organize
the 'Phila. Orchl. Assoc.,' which establ. in the
fall of 1900 the Phila. Symph. Orch., of which
821
SCHEIBE— SCHEIDER
S. was cond. till his death. Under him the
orch. became one of the great orchs. in the
U. S.f a reputation maintained by his succes-
sors (Karl Pohlig, 1907-12; Leopold Stokow-
ski, 1912 till now [1918]).
Schelbe [shi'bS], Johann, celebrated Ger-
man organ-builder at Leipzig; d. Sept. 3,
1748. Built the organs in the Paulinerkirche
and Jjohanniskirche; Bach considered the
latter faultless.
Schei'be, Johann Adolf, son of preceding;
b. Leipzig, 1708; d. Copenhagen, April 22,
1776. Law-student at Leipzig, but on his
father's death had recourse to his mus. train-
ing to support himself; failing to obtain the
post of organist at the Thomaskirche in the
competition (adjudicated by Bach, among
others) with Gorner, he travelled for a time,
and settled in Hamburg, publishing a mus.
paper, 'Der critische Musicus,' from 1737-40
(in No. 6 is a sharp attack on Bach). In 1740
he became Kapellm. to the Margrave of
Brandenburg-Culmbach; in 1744, court cond.
at Copenhagen, where he was pensioned in
1758. He had continued the publication of
'Der critische Musicus/ issuing an enlarged
edition in 1745, containing discussions of
topics broached in that paper. — Publ. Ab~
handlung vom Ursprung und Alter der Musik,
insonderkeit der Vocalmusik (1754; maintains
that part-songs originated with Northern peo-
ples); an Abhandtung uber das Recitativ (in
the 'Bibliothek der Kiinste und Wissenschaf-
ten,' Vols, ii and iii) ; Ueber die musicaliscke
Composition (only Vol. i, of the 4 projected,
was publ. in 1773) ; etc. — His publ. comps. in-
clude a Danish opera Thusnelda (Copen-
hagen, 1749); tragic cantatas a 2, w. clavi-
chord; songs; Musicaliscke Erquickstunden
(6 sonatas f . flute w. continuo) ; 3 sonatas f .
flute w. clavichord. In MS. he left 2 ora-
torios, about 200 church-works, 150 flute-
concertos, 30 vl. -concertos, etc. — See Q.-Lex.
Scheibler [shi'-], Johann Heinrich, b.
Montjoie, n. Aix-Ia-Chapelle, Nov. 11, 1777;
d. Krefeld, Nov. 20, 1837. A silk-manufac-
turer at Krefeld, he became interested in
acoustic phenomena, and invented an appara-
tus consisting of 56 tuning-forks, for tuning
fixed-tone instrs. according to the equally
tempered scale. He publ. several pamphlets
to explain his invention: Der pkysikalische
und tnusikalische Tonmesser (1834); Anlei-
tung, die Orgel vermittelst der Stdsse (vulgo
Schwebungen) und des Metronoms correct
gleiscksckwebend zu stimmen (1834); etc. —
all united as Schriften uber pkysikalische und
musikaliscke Tonmessung . . . (1838). His
system is more clearly explained by Topfer
(1842), Vincent (1849), and Lecomte (1856).
At the Stuttgart Congress of physicists in
1834, S. proposed the pitch of a1 = 440 (vi-
822
brat ions) at 69° Fahr., which was adopted
(hence called the 'Stuttgart pitch1). — Cf. J.
f. Ldhr, Uber die Sch.'scke Erfindung uber-
haupt und dessen Pianoforte* und Orgelsli*n-
mung insbesondere (Krefeld, 1836).
Scheidemann [shi'-], Heinrich, b. Ham-
burg, c. 1596; d. there 1663. Important organ-
ist; pupil and successor of his father, Hans S.,
org. of the Katherinenkirche; also studied
under Sweelinck at Amsterdam. His suc-
cessor was Reinken. Of his works very little
was publ., but many works for organ and
harpsichord are preserved in MS.— -fcf. M.
Seiffert's essays in 'Vierteljahrsschrift fQr
Musikwissenschaft' (1891); R. Buchmayer,
Musikgesckicktlicke Ergebnisse einer Reise
nock Luneburg, in 'Dresdener Anzeiger'
(July 5-26, 1903).— See Q.-Lex.
Schei'demantel [shi'-], Karl, distin-
guished dram, baritone; b. Weimar, Jan. 21,
1859, where he was a private pupil of Bodo
Borchers, and was eng. at the court theatre
1878-86; also studied with Stockhausen in
the summers of 1881-3; received title of
'Kammersanger' in 1885. Member of the
Dresden court opera from 1886-1911; in
1886 he also sang the rdle of Amfortas at
Bayreuth, and has since then appeared there
in all the Wagner rdles; in 1892 he sang
with much applause at La Scala, Milan. On
his retirement in 1911 he was made Hon.
member of the R. theatres of Dresden and
Weimar; since then prof, at the 'Groseher-
zogl. Musikschule' in Weimar. He is the
recipient of numerous orders and decorations.
In 1909 the Dresden Opera brought out with
great succ. Mozart's Cost fan tutte with an
entirely new text by Sch. (as Dame Kobold;
prod, also at many other Ger. theatres). His
new t ran si. of Don Giovanni won the prize of
the 'Deutscher BUhnenverein' (1914). He
has publ. Stimmbildung (1907; 4th ed. as
Gesangsbildung, 1913; Engl. tr. by Carlyle,
1910); has written the libretti for Lindner's
Eldena and Pittrich's Peckoogel und Lach-
taube; also has ed. a coll. of songs, 'Meister-
weisen' (1914; 6 parts).— Cf. P. Trede, K.
S. (Dresden, 1911).
Scheider [shi'-J, May, coloratura and
lyric soprano; b. New York. St. pf. with P.
Gallico and A. Lambert in N. YT, and ap-
peared in public at the age of 13; st. singing
with Earl Brown in N. Y., 4 years with G. B.
Lamperti in Dresden, and one season (1913)
with J. de Reszke in Paris; debut with the
Blathner Orch. in Berlin (1908); operatic
d£but shortly afterwards in Zurich as Philine
(Mignon); eng. there from 1908-11; 1911-
13, at Karlsruhe; specially eng. at Mann-
heim for the difficult r61e of Zerbinetta in
Strauss's Ariadne auf Naxos for the local
premiere; has appeared in special engage-
SCHEIDT— SCHELLE
ments at the 'Komische Oper* in Berlin, and
the opera-houses of Dresden, Stuttgart,
Baden-Baden, Freiburg and St. Gallen;
1915-16, member ofthe Boston Grand Opera
Co. Her voice, which is both beautiful and
powerful, has a range from g-f*\ her reper-
toire of 40 rdles includes Marguerite, Juliette,
Manon, Lucia, Violetta, Gilda, Rosina,
Nedda, Mimi and Desdemona.
Scheldt [shit], Samuel, b. Halle-on-Saale,
1587; d. there Mar. 30, 1654 [date given in
the church-register]. Famous organist; pu-
pil of Sweelinck in Amsterdam; organist of
the Moritzkirche, and Kapellm. to Margrave
Christian Wilhelm of Brandenburg, at Halle.
Noteworthy as the first to treat the working-
out of the chorale artistically, and in true
organ-style. Principal work, Tabulatura
nova (1624, 3 vols.; republ., 1892, as Vol. i
of 'Denkmaler deutscher Tonkunst' ; contains
figured chorales, toccatas, fantasias, passa-
mezzi, a mass, Magnificats, psalms, hymns);
further, a Tabulaturbuch (1650; 100 psalms
a 4; songs); Cantiones sacrae a 8 (1620);
Concetti sacri 2-12 vocum, adjectis symphoniis
et choris instrumentalibus (1621; 1622); Ludi
musici (2 parts, 1621, '22; Paduane, Gagli-
arde, etc.); Liebliche Kraft-BlumUin (1625);
Newe geistliche Concertc a 2-3 w. fig. bass
(1631); ditto, Part ii (1634); Part iii (1635);
Part iv (1640); 70 Symphonien auf Concerten-
Manier a 3 w. fig. bass (1644). — Cf. A. Wer-
ner, Samuel und Gottfried Sch., in 'Sbd. I. M.-
G.' (I. [1900]).— See also Q.-Lex.
Schein [shin], Johann Hermann, born
Griinhain, Saxony, Jan. 20, 1586; d. Leipzig,
Nov. 19, 1630. On the death of his father,
the pastor at Meissen, in 1599, he entered the
Electoral Chapel at Dresden as a soprano;
studied at Schulpforta from 1603-7, then at
Leipzig Univ. (jurisprudence); became 'Prae-
ccptor and 'Hausmusikmeister' to Captain
von Wolffersdorf at Weissenfels; court Ka-
pellm. at Weimar in 1615; and succeeded
Calvisius as cantor of the Thomasschule at
Leipzig in 1616. Sch. was the first to make
artistic adaptations of the old chorales for
the organ; his harmonization is always re-
fined and dignified, although he was not as
careful as he might have been in preserving
the characteristics of the church-modes in
which these chorales were originally conceived ;
together with Pratorlus and Schiitz he shares
the distinction of being among the pioneers
to introduce into German music the newly
developed monodic and instrumental style of
the Italians. His most important work is
Cantional oder Gesangbuch Augspurgischer
Confession ... a 4-6 (1627; a 2d ed. of that
year has 27 new numbers, making in all 312
German and Latin sacred songsand psalms).
He also wrote much church-music, sacred and
secular madrigals, and 20 suites for strings
(BancheUo tnusicale, 1617; among the earliest
instrl. works in Germany). Of a complete
edition of his works in 8 vols., edited by
Artur Priifer, and publ. by Breitkopf & Har-
tel, the following vols, had appeared up to
1917: I, Venus Krantzlein (1609) and Ban-
ehetto tnusicale (1617); II, Musica Boscareccia
(1621, '26, '28); III, DileUi Pastorali (1624)
and Studenten-Schmauss (1626, '34); IV,
Cymbalum Sionium (1615); V, Opella nova
(1618, '26); VI, Fontana d' Israel (1623).
Vol. vii will contain the Caniionalt and vol.
viii occasional compositions. — Cf. A. Prii-
fer, I. H. Schein (Leipzig, 1895, w. biblio-
graphy); id., 7. H. Sch. und das weltliche
Lied des 17. Jahrh., with appendix, Sch.'s
Stellung zur Instrumentalmustkt in 'Beihefte
I. M.-G.' (II, 7; 1908).— See Q.-Lex.
Scheinpflug [shin'-], Paul, b. Loschwitz,
n. Dresden, Sept. 10, 1875. Pupil of the
Dresden Cons. (1890-4), studying violin with
E. Rappoldi and comp. with Braunroth and
Draeseke; 1897-8, member of the private
quartet of a Russian count in Deshev; 1898-
1909, Konzertmeister of the 'Philharmonic*
and cond. of the 'Liederkranz* and 'Lehrer-
Gesangverein' in Bremen; 1909-14, cond. of
the 'Musikverein1 in Konigsberg; since then
cond. of the Bliithner Orch. in Berlin. —
— Works: A symph. poem, Fruhling (op. 8)
and Ouverture zu einem Lusts piel (op. 15), for
orch.; pf. -quartet in E, op. 4; str.-quartet
in C m., op. 16; vl.- sonata in F, op. 13; 2
male choruses with vl. solo, op. 10; Vie Ultne
von Ilirsau for double male ch., op. 12; Worps-
wede (op. 5), song-cycle for voice, pf., vl.
and Engl, horn; songs (op. 1, 2, 3, 6, 9, 11,
14). — Cf. F. Dubitzky, P. 5., in vol. ii of
'Monographien moderner Musiker' (Leipzig.
1907).
Schel'ble, Johann Nepomuk, b. Hufin-
?;en, Black Forest, May 16, 1789; d. Frank-
ort -on-Main, Aug. 7, 1837. Choir-boy at the
Marchthal monastery; then a pupil in singing,
etc., of Weisse at Donauescningen, and of
Krebs in Stuttgart, where (1812) he was
court singer and teacher at the music-school.
From 1813-16 in Vienna as an opera-tenor;
intimate with Beethoven, Moscheles and
Spohr; then in Frankfort, at first as tenor at
the opera, 1817-18 cond. of the 'Akademie,'
then founded the 'Cacilien-Verein.' His
method for teaching the mus. rudiments, and
training the sense of absolute pitch, is still
successfully employed.
Schelie, Karl Eduard, b. Biesenthal, n.
Berlin, May 31, 1816; d. Vienna, Nov. 16,
1882. From 1864, Hanslick's successor as
critic for the Vienna 'Presse'; also lectured on
mus. history at the Cons., and at Horak's
School. — Publ. Der Tannhauser in Paris
823
SCHELLER— SCHERING
(1861) and a valuable monograph, Die pdpst-
liche Sanger schulc in Rom, genannt die Stxti-
nische KapeUe (1872).
Scheller, Jacob, b. Schettal, Bohemia.
May 16, 1759; d. 1803. Violinist; pupil of
Abbe Vogler at Mannheim; leader in the
Duke of Wttrttemberg's orch. at Montbeliard.
Noted for skill in harmonics and double-stops.
Schelling, Ernest (Henry), composer-
pianist; b. Belvedere, N. J., July 26, 1876.
Appeared as an infant prodigy (four and one-
half years of age) at the Acad, of Music,
Philadelphia, in 1880; studied 1882-5 with
Mathias (Chopin's pupil) at Paris, also with
Moszkowski, then in turn with Pruckner,
Leschetizky, Hans Huber, Barth, and from
1898-1902 with Paderewski at Morges,
Switzerland. Extended tours in Europe
(from Russia to Spain) and South America
(1903-4); in the U. S. since 1905. Lived in
Celigny, Switzerland, but since the outbreak
of the war in N. Y. and Bar Harbor, Me.
— Works: Sympkonische Legende, and a suite,
f. orch.; Suite phantastique for pf. and orch.;
Impressions from an Artist's Life, vars. for
do.; yl. -concerto; sonata f. pf. and vln.; 6
Klavierstucke; Variations f. pf. on an orig.
theme; songs; etc.
ScheTper, Otto, distinguished dram, bari-
tone; b. Rostock, April 10, 1840; d. Leipzig,
Tan. 10, 1906. At first actor, later operatic
baritone at Bremen, Cologne (1872-6), and
then succeeded Eugen Gura at Leipzig City
Th. — Leading rdles: Hans Sachs, Flying
Dutchman, Hans Heiling, Don Giovanni, etc.
Schenck, Jean [Johann], gamba-virtuoso
to the Elector- Palatine, later at Amsterdam,
where he publ., toward the end of the 17th
century, Kunst-oejfeningen ..... 15 sonatas f.
gamba w. basso continuo (1688); // giardino
armonico, sonatas f. 2 violins, gamba and b.
cont. (1692); Scherzi musicali f. gamba; 18
sonatas f. violin w. b. cont. (1693); etc.; also
Sang-Arien van oV opera Ceres en Bacchus.
Schenck, Johann, b. Wiener-Neustadt,
Lower Austria, Nov. 30, 1753; d. Vienna,
Dec. 29, 1836. Pupil of Tomaselli (singing);
of Stol! at Baden, and of Schneller and Wa-
genseil at Vienna. In 1778 he prod, a mass,
which made his reputation; it was followed
by other church-music, and then by a series
of operettas which enjoyed great popularity,
especially Der Dorfbarbier. S. was Beetho-
ven's secret instructor while the latter was
taking lessons of Haydn.— Operettas (all at
Vienna): Die Weinlese (1785), Die Weihnacht
auf dem Lande (1786), Im Finstern ist nicht
gut tappen (1787), Das unvermutete Seefest
(1789), Das Singspiel ohne Titel (1790), Der
Erntekranz (1791), Achmet und Almanzine
(1795), Der Dorfbarbier (1796), Der Bettel-
student (1796), Dte Jagd (1797), Der Fassbin-
824
der (1802).— In 1819 he wrote his last works,
2 cantatas, Die Huldigung and Der Mai.
Cf. F. Staub, /. 5. Eine Skizze seines Leberts
(Vienna, 1901). — See also Q.-Lex.
Schenk, Peter Petrovitch, b. Petrograd,
Feb. 23, 1870. Pupil of Goldstein and Parsh
at the P. Cons.; private pupil of Soloviev
(com p.) ; librarian of the Imp. Russian
theatres in Petrograd. — Works: The operas
Sila liuvi [The Power of Love] (Petrograd,
1893), Aktea (ib., 1899), Posliedneie svtdanie
[The Last Meeting] (ib., 1904); 2 ballets,
Sinyaya boroda [Bluebeard] (1896) and Sa-
lange (1899); several cantatas (Saul, Pushkin,
Gogol, etc.); 3 symphonies (op. 20, D; op. 27,
F m. ; op. 43, E m.) ; op. 12, 4 pieces for orch. ;
op. 13, Concert-overture; op. 14, Theme with
vars.; op. 24, Duchi [Ghosts], orchl. fantasy;
op. 38, Hero i Leander, symph. poem; op. 45,
suite for orch.; op. 29, str. -quartet in L> m.;
op. 34, vl.- sonata in Bb; pieces for vl. and pf.
(op. 2, 37); do. for vcl. and pf. (op. 21, 33);
pf.-pes. (op. 1. 4, 5 [sonata in fe], 9, 11 [sonata
in L> m.], 23 {Petite Suite], 28, 44); choruses
a capp. (op. 18, 25, 31, 35); a duet (op. 17);
songs (op. 3, 6, 8, 10, 15, 16, 22, 26, 30, 36,42).
Schering [sha'-]t Arnold, b. Brcslau, April
2, 1877. Having? completed the course at
the Gymnasium in Dresden, he matriculated
at Berlin Univ., continuing his musical
studies there with Joachim (vl.) and Succo
(com p.); then took courses at the Univs. of
Munich and Leipzig; Dr. phil. (Leipzig, \902)
with the dissertation Geschichte des Instru-
mentalkonzerts (as far as Vivaldi; cont. to the
present, 1905); establ. himself as Dozent
for esthetics and hist, of music at Leipzig
Univ. in 1907; prof, extraord., 1915; 1903-
4, mus. critic for the 'Neueste Nachrichten'
and from 1903-6 ed. of 'Neue Zeitschrift fur
Musik.' A noted Bach scholar, he has edited
the 'Bach-Jahrbuch* for the 'Neue Bach-Ge-
sellschaft' since 1904. In 1908 he discovered
in Upsala Schutz's long-lost Weihnachts-
oratonum [publ. as suppl. to Spitta's complete
ed., 1909]. His attempt to prove that a great
portion of the vocal music of the 14th-16th
centuries was originally organ-music fitted
to words, has aroused considerable interest,
but also strong opposition. — Works: Bach's
Textbehandlung (1900); Geschichte des In-
strumentalkonzerts bis auf die Gegenwart (1905) ;
Die A nfdnge des Oratoriums (1907) ; Geschichte
des Oratoriums (1911); Zur Geschichte der
Solo-Sonata in der ersten Halfte des 17. Jahr-
hunderts (1909; in the 'Riemann-Festschr.');
Musikalische Bildung und Erziehung turn
musikalischen Iloren (1911); Die niederldn-
dische Orgelmesse im Zeitalter des Josquin
(1912); Studien zur Musikgeschichte der Fruh-
renaissance (1914); Tabellen zur Musikge-
schichte (1914); valuable essays in 'Sbd. I.
SCHERZER— SCHIEDMAYER
M.-G.' and 'Peters Jahrb.'; also prepared a
new ed. of von Dommer's Handbuch der Mu-
sikgesckickte (1914). He has ed. numerous
works of early composers.
Scher'zer [shShr'tseY], Otto, b. Ansbach,
Mar. 24, 1821; d. Stuttgart, Feb. 23, 1886.
Violinist and organist; pupil of Molique and
Faiszt; 183&-54, vlnst. in the Stuttgart court-
orch.; Mus. Dir. at Tubingen Univ. 1860-77
(Dr. phil. kon. causa), then retiring to Stutt-
gart.— Works; 3 books of 6 songs each, op. 1,
3, 4; Liederbuch, 25 songs, op. 2; Choral-
figurationen (for org.), op. 5; Seeks geist-
liche Lieder, op. 6; pf. -pieces in Lebert and
Stark's Method, vol. iv. — Cf. Anon., 0. S.
Ein Kiinstlerleben (Stuttgart, 1897).
SchetTty, Chris toph, fine 'cellist; born
Darmstadt, 1740; died Edinburgh, 1773.—
Publ. 6 string-auartets; 6 string- trios; 6 duos
f. 'cello and vin.; 6 'cello-sonatas w. bass;
6 flute-duos; 6 'cello-duos, and 6 easy do.;
6 sonatas f . violin and 'cello. 3 symphonies
and 4 'cello-concertos are in MS. — See Q.-Lex.
Scheurleer [shdrlar], Daniel Francois,
b. The Hague, Nov. 13, 1855. Although a
banker, he has always taken an active part
in musical affairs; he is Pres. of the ver-
eeniging voor Nederlands Muziekgeschiedenis;
made Dr. phil. (hon. c.) by the Univ. of
Leyden; he is the owner of a valuable musical
library (cat. publ. in 1893; 2 suppls., 1903
and '10) and coll. of instrs. (cat. publ. 1885.
and '87). — Works: Twee Titanen der 19.
Eeuw: II. Berlioz en A. Wiertz (1878); Mo-
zarts verblijf in Nederland en het muziekleven
aldaar .... (1883); Franz Liszt (1887);
Bydragen tot een Repertorium der Neder-
landsche Muziekliteratur (vol. i, 1902); Mo-
zartiana (1903); Het Muziekleven te Amster-
dam in de 17. eeuw (1904; 2d ed. 1911);
Portretten van Mozart (1906); M. A. de
Ruyter (1907); Het Muziekleven in Neder-
land in de tweede kelft der 18. eeuw in verband
mil Mozarts verblijf aldaar (1909); Het
Muziekleven te *s Gravenhage in de tweede kelft
der 18. eeuw (1911). Has ed. Fruytier's
Ecclesiasticus [1563] with introd., and written
the introd. to Ront gen's 'De Nederlandsche
Dansen der 16. eeuw* and Locatelli's violin-
sonatas; catalogues of several Dutch exhi-
bitions and numerous essays in the 'Tijd-
schrift der Vereen. voor N. s Muziekgeschie-
denis.'
Sche've, Edward Benjamin, b. Herford,
Germany, Feb. 13, 1865. Pupil at Kullak's
Akad. (1885-8) of A. K6nig (pf.), F. Grunicke
(org.) and A. Becker (comp.); organist and
teacher in Rochester, N. Y.t 1888-92; con-
cert-org. and dir. of his own Cons, in Chicago,
1892-1906; since then prof, of pf., organ and
comp. at Grinnell (Iowa) Coll. School of
Music. — Works: An oratorio, Deatk and
Resurrection of Christ (1906); a Requiem
(1909); Festival Marck for orch., org. and ch.
(1909); pf.-concerto (1913); In Trying
Times, suite for orch. (1914); Suite religioso
for org. and orch. (1915); a vl. -sonata; an
organ-sonata; services; minor comps. for pf.;
do. for organ.
Schicht, Johann Gottfried, b. Retche-
nau, Saxony, Sept. 29, 1753; d. Leipzig, Feb.
16, 1823. In 1776, already well-trained as an
organist and pianist, he matriculated at
Leipzig as a law-student, but became pianist
at joh. Adam Hiller's 'Liebhaber-Konzerte/
and at the 'Gewandhaus Concerts' evolved
from them in 1781, succeeding Hiller as cond..
in 1785. In 1810 he followed A. E. Mailer as
cantor at the Thomaskirche. His works
comprise the oratorios Die Feier der Christen
auf Golgotha, Moses auf Sinai, and Das Ends
des Gerechten; masses, motets, Te Deums,
the 100th Psalm (after Moses Mendelssohn);
several chorale- motets {Nock einer Prufung
kurzer Tage, Jesus meine Zuversicht, Herzlick
lieb hab1 ick dick, o Herr, etc.) ; 9 settings of
Leo's Miserere a 4-8; an excellent book of
Chorales (1819; of 1,285 melodies, 306 are
original) ; — a concerto, sonatas, caprices, etc.,
f. pf.; and Grundregeln der Harmonic (Leipzig,
1812). He transl. the pf. -methods of Cle-
menti and Pleyel, and the Pellegrini-Celoni
singing-method. — Cf. P. Langer, Ckronik
der Leipziger Singakademie (Leipzig, 1902). —
See Q.-Lex.
Schick (nee Hamel), Margarete Luise,
noted stage-soprano; b. Mayence, April 26,
1773; d. Berlin, April 29, 1809. Pupil of
Steffani at Wurzburg, later of Righini at
Mayence, where her stage-debut took place
in 1791. Favorite rdles were Susanna (Fi-
garo) and Zerlina (Don Giovanni). From
1794 she sang at the Royal Opera, Berlin,
having great success in operas by Gluck.
Her contemporaries regarded her as the
equal of the famous Mara. In 1791 she
married the violinist Ernst Schick. — Cf.
Lewezow, Leben und Kunst der Frau M. S.
(Berlin, 1809).
Schledermayer [she'der-mi-e>], Johann
Baptist; b. Pfaffenmunster, Bavaria, June
23, 1779; d. Linz-on- Danube, Jan. 6, 1840,
as cathedral-organist. — Works: The 'Sing-
spiele' Wellmanns Eichenstdmme (Linz, 1815),
Das Gluck ist kugelrund (ib., 1816); Die Ruck-
kehr ins Vaierkaus (ib., 1816) ; 16 masses and
much other sacred music; also symphonies,
string-trios, organ-pieces, etc.; a Tkeoretisch-
practiscke CkoraUekre zum Gebrauch beim
iatkoliscken Kirckenritus (1828); and an
abridged ed. of L. Mozart's violin-method.
Schied'mayer & Sohne, Stuttgart firm of
piano-makers, founded in Erlangen, 1781, by
Joh. David S. Removed to Stuttgart, 1806.
825
SCHIEVER— SCHILLINGS
Began the manufacture of uprights (now their
specialty) in 1842. The present head is Adolf
S. (b. 1847), a great-grandson of the founder.
Schiever [she'-], Ernst, violinist; b. Han-
over, Mar. 23, 1844. From 1860-4 pupil of
Joachim; 1868-9, leader of the Mtiller Quar-
tet; after a short time as 2d vl. in Joachim's
quartet he organized his own (S., H. Franke,
L. Wolff, R. Hausmann), which was eng. by
count Hochberg and became known as the
'H.-Quartet'; settled in Liverpool in 1878
and formed the S.-Quartet (S., A. Ross, K.
Courvoisier, ^ W. Hatton), which gave con-
certs chiefly in the North of England. For
nearly 30 years he was leader of the Richter
orchestra.
Schikane'der, Emanuel (Johann), the
librettist of Mozart's Zauberflote; b. Ratisbon,
Jan. 3, 1748; d. Vienna, Sept. 21, 1812. A
member of a band of strolling players, he met
Mozart at Salzburg, and profited by the ac-
quaintance later, when manager of a theatre
in Vienna, by inducing M. to compose the
Zauberflote, in which S. himself played the
part of Papageno, and which rescued him
temporarily from ruin; he died in extreme
poverty. Besides Die Zauberflote he wrote
the libretti of 35 'Singspiele' (full list, with
names of composers, in Grove, iv., 263). —
Cf. E von Koraorzynski, E. S. Ein Beitrag
zur Geschichte des deutschen Theaters (Berlin,
1901); E. J. Dent, Mozart's Opera 'The Magic
Flute* Its History and Interpretation (Cam-
bridge, 1911).
Schiller, Friedrich von, the great Ger-
man poet; b. Marbach, Nov. 10, 1759; d.
Weimar, May 9, 1805. Even in the poet's
lifetime many musicians turned to his works
for inspiration; up to the present day the
number of compositions by composers of
every nationality, in every field of music
(vocal and instrl.), inspired by S.'s poetry
has been steadily increasing. Nevertheless,
scholars have only quite recently begun to
investigate this influence of the poet upon
musicians. t The following meagre list of
works bearing upon the subject is practically
exhaustive: M. Berendt, S. bis Wagner (Ber-
lin, 1901); J. Baltz, Beethoven und S. (Arns-
berg, 1905); A. Kohut, F. S. in seinen Bezie-
hungen zur Musik und zu Musikern (Stutt-
gart, 1905); V. D. Karganov, S. (Tiflis, 1905
[in Russian]; appended list of comps. very
incomplete); R. Sternfeld, S. und Wagner
(Berlin, 1905); H. Knudsen, S. und die
Musik (Greifswald, 1908); G. Adler, S. und
Schubert (Vienna, 1910). The S.-number of
'Die Musik* (vol. xv; May, 1905) contains
essays by W. Golther, 5. und Wagner; M.
Ru nze, S. und die BaUadenmusik; R. Ho-
henemser, 5. als Musikasthetiker.
Schil'ler, Madeline, gifted pianist; tin-
daughter of an English citizen of German
descent; b. in London, England, c. 1850; d.
New York, July 3, 1911. Though a
pupil of Benj. R. Isaacs [excellent pianist and
teacher; 1818-1881], and for a short time of
Benedict and Hall6, she really formed her
own style; after a year and a quarter at Leip-
zig with Moscheles she made a brilliant debut
at the Gewandhaus, playing Mendelssohn's
G-minor concerto; then made a very succ.
tour of England. On her return from a
successful Australian tour, she married Mr.
Marcus Elmer Bennett of Boston, Mass.,
making that city her headquarters for several
years, and winning renown in the United
States by her concerts. A second tour in
Australia was followed by a season of con-
certizing in Europe. A severe illness cut
short her pianistic career about 1895; from
then she lived in New York, highly esteemed
as a teacher. She won general recognition
by her spirited and refined interpretations at
classic and modern pf. -literature.
Schilling, Gustav, b. Schwiegershaosen,
near Hanover, Nov. 3, 1803; d. Nebra^
March, 1881. Theological student at Goft-
tingen and Halle (Dr. Ml.); in 1830, dir. of
the St6pel School of Music, Stuttgart, and
until 1857 an industrious writer; then emi-
grated to New York, went later to Mont-
real, and finally to Nebraska. — WorJb:
Musikalisches Handworterbuch (1830); En-
cyclopddie der gesammten musikal. Wissen-
schaften oder Universal- Lexicon der TonkuiuX
(6 vols.; 1835-38) [2d ed. 7 vols., 1840-2Vr.
Versuch einer Philosophic des Schonen in der
Musik (1838); Polyphonomos (1839; plagi-
arized from Logier's System der Musikvnssen-
schaft); Generalbass-Lehre (1839); Lehrbuck
der all gem. Musikwissenschaft (1840); Ge-
schichte der heutigen Musik (1841); Akustik
(1842); Mus. Dynamik oder die Lehre vom
Vortrag in der Musik (1843); Franz Listt
(1844) ; Sicherer Schlussel zur Klaviervirtuositdl
(1844); Der musikalische Auiodidakt (1846;
on harmony); Die schone Kunst der Tone
(1847); Musikalische Didaktik (1851); All-,
gem. Volksmusiklehre (1852); Der Pianist
(1854); also a revised ed. of Em. Bacn's
Versuch uber die wahre Art. das Clavier zu
spielen (1857).
Schillings, Max von, b. Duren, April 19,
1868. While attending the Gymnasium at
Bonn he st. violin with O. von Konigslow
and pf. and comp. with K. T. Brambach;
went to Munich Univ., where for 3 years he
attended courses on law, philosophy, litera-
ture and art; association with men like R.
Strauss and L. Thuille determined him to
devote himself entirely to music; lived in
Munich till 1908; since then 'Generali
Imusik-
826
SCHIMON— SCHINDLER
dir.' in Stuttgart; made Kgl. Prof, in 1903,
Dr. phil. (hon. c.) by the Univs. of Tiibingen
and Heidelberg in 1911, and raised to the
nobility by the King of Wurttemberg in 1912.
In his dramatic works he consciously adopts
Warner's form and principles, but a strong
individuality characterizes his music, which
thus rises far above the level of the average
imitator; nowhere are any direct reminis-
cences to be found. His technical mastery
commands respect; unfortunately, his music
is lacking in real inspiration and warmth.
— Works: The' music-dramas Ingwelde (op. 3;
Karlsruhe, 1894), Der Pfeifertag (op. 10;
Schwerin, 1899), Moloch (op. 20; Dresden,
1906), Mona Lisa (op. 31; Stuttgart, 1915);
incid. music to Sophocles's Oedipus Rex
(op. 11), Aeschylus's Agamemnon and Eu-
mcnides [Orcstie] (op. 12), Goethe's Faust
(Part I); Dem Vertlarten for bar. solo, ch.
and orch. (op. 21); Glockenlieder for solo
voice and orch. (op. 22); Hochseitsglocken
for bar. solo, ch. and orch. (op. 26) ; 4 melo-
dramas w. orch., Kassandra and Das eleusische
Fest (op. 9), Das Hexenlied (op. 15) and
Jung Olaf (op. 28); for orch., 2 symph.
fantasies, Meergruss and Seemorgen (op. 6),
vl.-concerto in A m. (op. 25), Festlicher
Marsch (op. 27; for mil. band); str. -quartet
in E m. (written 1887, rev. 1908); pieces for
vl. and pf. (op. 5, 18); male choruses a capp.
(op. 29, 30); songs (op. 1, 2, 4, 7, 13, 14, 16,
17, 19). Has also comp. the dialogue of
Mozart's Entfiihrung aus dem SeraU. — Cf.
R. Louis, M. S.t in vol. iii of 'Monographien
moderner Musiker' (Leipzig, 1909).
Schlmon [she'-], Adolf, noted singing-
teacher; b. Vienna, Feb. 29, 1820; d. Leipzig,
June 21, 1887. Pupil of Berton, Halevy, etc.,
at the Paris Cons, from 1836; accompanist
in the private classes of Bordogni and Ban-
derali, and acquainted with the leading singers
of the day. Studied the Italian method in
Florence, bringing out an opera, Stradetta,
there in 1846; was 'maestro al cembalo' at
H. M.'s Th., London, 1850-2, then at the
Italian Opera in Paris. In 1858 Flotow
brought out S.'s 1-act comic opera List urn
List at Schwerin. S. married the soprano
concert -singer Anna Regan in 1872; in 1874,
teacher of singing at Leipzig Cons.; from
1877-86, at the R. School of Music in Munich,
then again at the Leipzig Cons. His works
include Italian and French songs; German
Lieder; 2 string-quartets (No. 1, MS; No. 2
in A m., op. 25); a pf.-trio in D m., op. 19;
a violin-sonata, op. 20; pf. -music, etc.
Scht'mon-Re'gan, Anna, distinguished
concert-soprano; b. Aich, n. Karlsbad, Sept.
18, 1841; d. Munich, April 18, 1902. In
1859 she had her first singing-lessons from
Mmc. Schubert in Karlsbad; the next year
her aunt, the famous Karoline Unger, took
her to Florence and taught her till 1864; while
still studying she made some successful ap-
pearances at the opera in Siena; 1864-7, eng.
at the court opera in Hanover; during the
winter of 1867-8 she sang in Berlioz's concerts
in Petrograd, and was made 'Kammersan-
gerin' to the Grand Duchess Helena, who had
invited Berlioz ^ for these concerts. First
visit to England in 1869, appearing in concerts
with Karoline Unger; gave song-recitals
there every winter till 1875. In 1872 she
married Adolf Schimon (q. v.) and lived in
Munich from 1877-86, when they were eng.
at the Leipzig Cons.; after his death (1887)
she returned to Munich, where she taught at
the Kgl. Musikschule.
Schin'delmeiuer, Ludwig, b. KBnigs-
berg, Dec. 8, 1811; died Darmstadt, Mar. 30,
1864. Theatre- Kapellm. at Salzburg, Inns-
bruck, Graz, Berlin (Konigstadter Th., 1837),
Pest (German Th., for about 9 years); finally
(1851) court Kapellm. at Wiesbaden, and in
1853 at Darmstadt. — Prod. 7 operas (Melu-
sine at Darmstadt, 1861); a ballet; an ora-
torio (Bonifacius) ; overture to Uriel Acosta
(op. 19), do. on Schleswig-Holstein, meerum-
schlungen (op. 24), do. on Rule Britannia
(op. 43); Concertante in Eb for 4 clars. and
orch., op. 2; Concertino in C m. for clar. and
orch. (no op.-number); 2 pf .-sonatas (op. 31
and 40 [both in D]) ; minor pf .-pes. and songs.
Schin'dler, Anton Felix, Beethoven's
faithfuj friend and biographer; b. Meedl,
Moravia, June 13, 1795; d. Bockenheim, n.
Frankfort, Jan. 16, 1864. A violinist, he be-
came Kapellm. at the German Opera, Vienna.
During the last 8 years of Beethoven's life, S.
lived in the same house, doing everything in
his power for the master. From 1831-5 he
was cathedral-Kapellm. at Miinster and from
1835-7 at Aix-la-Chapelle; in 1842 he re-
turned to Miinster, and later moved to
Bockenheim. His intimacy with Beethoven
lends peculiar value to his Biographic Ludwig
van Beethovens (Miinster, 1840; 2d [enlarged]
ed. 1845; repr. by A. Kalischer, 1909; Engl,
tr. by I. Moscheles, 1841). He also publ.
Beethoven in Paris (1842; an account of the
prod, of B.'s compositions at the Concerts
spirit uels; united with the Biography in the
2d ed.). After S.'s death his papers (com-
prising many conversation-books and sketch-
books of B., as well as a vast amount of per-
sonal notes of all kinds) passed to the R.
Library in Berlin.— Cf. E. Hiiffer, A. F. 5.,
der Biopaph Beethovens (Munster, 1909,
dissertation).
Schindler, Kurt, b. Berlin, Feb. 17, 1882.
Pupil of K. Ansorge (pf.) and in comp. of L.
B ussier, F. Gernsheim and L. C. Wolf; at-
tended courses in philosophy and the hist.
827
SCHIRA— SCHJELDERUP
of art and music at the Univ., continuing at
the Univ. of Munich and studying composi-
tion under L. Thuille; at various times asst.
to R. Strauss in Berlin and to MottI and
Zumpe in Munich; 1902-3, Kapellm. in
Stuttgart; 1903-4 in Wurzburg; 1905-7,
asst.-cond. at the M. O. H.; since 1907 reader
for G. Schirmer. In 1908 he founded the
'MacDowell Chorus/ whose name was
changed in 1910, with the enlargement of the
scope of its work, to 'Schola Cantorum'; it
has introduced many novelties of modern
composers, revived early and^ forgotten music,
and has done pioneer-work in placing on the
frograms the folk-music of various nations,
n 1912 he succ. M. Spicker as chojr-dir. at
Temple Emanuel, and was app. chairman of
music of the 'Institut Francais' in the U. S.
On Nov. 14, 1916, S. married the Russian
actress, Vera Andruchevitch. He has publ.
about 30 songs; ed. 'A Century of Russian
Song' (50 songs, with Engl, transl., from
Glinka to the present day), Russian folk-
songs, choruses and church-music.
Schlra [she'-], Francesco, b. Malta, Aug.
21, 1808; d. London, Oct. 15, 1883. Pupil
of the Milan Cons. (Basili) from 1818-1828;
prod his first opera, Elena e Malvina, at La
Scala, 1832; was eng. next year as cond. of
the San Carlos Th. at Lisbon, and taught at
the Cons, there; went to London in 1840, and
was eng. for the English Opera at the Prin-
cess's Th. in 1842; in 1847 for Dairy Lane,
1848 for Covent Garden, and again in 1852
for Drury Lane, but soon resigned to devote
himself to vocal teaching, achieving a high
reputation. — Operas: // Fanatico per la mu sua
(1855) and / Cavalieri di Valencia (1857),
both at Lisbon; Mina (1849) and Theresa,
the Orphan of Geneva (1850), both at London,
in English; Niccolb de' Lapt (H. M.'s Th.,
London, 1863); La Selvaggta (Venice, 1875);
Lia (ibid., 1876); an operetta, The Ear-ring;
a cantata, The Lord of Burleigh (Birmingham
Mus. Fest., 1873); vocal chamber-music;
organ-music; etc. A third English opera,
Kenilworth, has not been produced.
Schir'macher, Dora, gifted pianist; b.
Liverpool, Sept. 1, 1857. Pupil, 1872-7, of
Wenzel and Reinecke at Leipzig Cons., win-
ning the Mendelssohn prize. Debut at the
Gewandhaus, Feb. 1, 1877; at the Crystal
Palace, London, on Mar. 31; has played at
Liverpool, Manchester, etc., at Amsterdam,
and in several German cities. Has publ. a
suite, Valse- Caprice, sonata, Tone-pictures,
Serenade, Evening Song, etc., i. pf.
Schir'mer, G. (incorporated), noted mu-
sic-publishing house at New York. It is an
outgrowth of the business founded in 1848
by Kerksieg & Breusing, in which Gustav
Schirmer (q. v.) obtained an interest in 1861
828
(firm-name then Beer & Schirmer), and com-
plete control in 1866. In 1893 the business
was changed to a stock-company under the
management of Rudolph E. Schirmer (b.
New York, July 22, 1859) and Gustav Schir-
mer (b. N. Y., Feb. 18, 1864; d. Boston,
July 15, 1907), sons of the founder. In 1885
the latter founded 'The Boston Music Co/,
to which he gave his entire attention till 189 J,
when he returned to New York, the Boston
firm becoming a branch of the N. Y- house.
The officers at present [1918] are Rudolph E.
Schirmer, Pres. and Treas.,- and Gustav
Schirmer, Jr., Sec.; the catalogue com prists
over 28,000 titles. In 1894 the firm be^an
the publication of the 'Library of Musical
Classics,' which, as regards careful editing,
accuracy and general typographical excel-
lence, rivals the famous editions of some of
the European houses; in the same year wa$
also begun the 'Collection of Operas' (voral
scores with original text and Engl, transla-
tion, as well as historical and critical intro-
ductions). Under the editorship of O. G.
Sonneck 'The Musical Quarterly was esta/>-
lished in 1914, the first number appearing
in Jan., 1915; from the very beginning &»
publication, containing contributions from iht
foremost scholars of America and Europe,
has occupied a place by itself among the musi-
cal periodicals of the U. S.
Schirmer, Gustav, founder of the New-
York music-publishing house; b. Kdni^see,
Saxony, Sept. 19, 1829; d. Eisenach, Thurin-
gia, Aug. 6, 1893, on a journey undertaken
with the hope of restoring his health. Both
his father and grandfather were piano-makers
to the court of Sondershauscn. He went to
New York in 1837; entered the music-store
of Scharfenberg & Luis, and in 1854 became
the manager of Breusing's music-busines?.
In 1861, with B. Beer, he took over this busi-
ness, which was then carried on under the
firm-name of 'Beer & Schirmer' until 1866,
when S. obtained complete control. Since
then the house has become one of the most
important in the world, both for the publi-
cation of, and general trade in, music. S.
was a publisher with an artistic conscience;
it was his life-work to elevate the public
taste, not to win mere commercial success by
catering to 'popular' wants; and his influence
for good is felt throughout America.
Schjelderup [shehl'de-r66p], Gerhard, b.
Christiansand, Norway, Nov. 17, 1859. Pu-
pil in Paris of Franchomme (vcl.) and Savard
and Massenet (comp.); since 1896 living in
Dresden as composer and teacher of com-
position.— Works: The music-dramas Nor-
wegische Hochzeit (Prague, 1900), Frilhlings-
nachi (Dresden, 1908); Jenseils Sonne und
Mond and Ein Volk in Not (not prod.); a
SCHLADEBACH— SCHLETTERER
Weihnachtsm&rchen; a dram, fairy-tale, Sampo;
a 'Tanzmarchen,' Wunderhorn; incid. music
to Gjellerup's Opferfeuer (Dresden, 1903;
Sonnenaufgang iiber Himalaya publ. separ-
ately); Weihnacht- Suite for orch. (from the
Weihnachtsm&rchen); 2 symph. poems, Eine
Sommernacht auf dent Fjord and Brand
(after Ibsen); a symphony; Sonntagmorgen
for orch.; Auf den Hbhen for mixed
ch.v sop. solo and pf . ; In Baldurs Hain and
2 Tanz-Suiten for vl. and pf.; Fantasiestuck
for vcl. and pf . ; songs. Has written Edvard
Grieg og hans voerker (1903); Edvard Griez:
Biographie und Wurdigung seiner Werke
(1908; with W. Niemann); Richard Wagner;
hans liv og voerker (1908; in German 1913);
also essays in various journals.
Schla'debach, Julius, a German physi-
cian; b. Dresden, 1810; d. Kiel, Sept. 21,
1872. Publ. vol. i of a Neues Universal-Lexi-
kon der Tonkunst (1854), completed by Berns-
dorf; also Die Bildung der menschlichen
Stimme turn Gesang (I860).
Schla'ger, Hans, b. Filskirchen, Upper
Austria, Dec. 5, 1820; d. Salzburg, May 17,
1885. Pupil of Preyer, at Vienna; 1844-61,
'Chormeister' of the Mannergesangyerein;
then Kapellm. of Salzburg Cath., and Director
of the Mozarteum, resigning on his marriage
with Countess Zichy in 1867. — Operas: Hein-
rich und Use (Salzburg, 1869), and Hans
Haidekukuk (ibid., 1873); the symphonic
tone-picture Waldmeisters Brautfahrt; a prize
string-quartet in F (op. 29); 3 masses w. orch.;
symphonies; etc.
Schlegel [phla'gel), Leander, b. Overveen,
n. Haarlem, Feb. 2, 1844; d. there Oct., 1913.
Pupil of the Cons, at The Hague and of
Reinecke (pf. and comp.) at the Leipzig Cons.
After making several tours (as pianist) with
Wilhelmj he settled in Haarlem as dir. of the
music-school of the 'Maatschappij tot be-
vordering van Toonkunst' (1871-98); also
cond. for 10 years of the 'Zangvereeniging';
in 1898 he moved to Overveen, where until his
death he was dir. of his own Cons. A com-
poser of solid attainments and serious ten-
dencies, following in the footsteps of Brahms.
— Works: Op. 14, pf. -quartet in C; op. 17,
str.-quartet in G; op. 31, Passacaglia for 2
pfs.; op. 26, 27, pes. for pf. 4 hands; for pf.
solo: op. 2, Ballade No. 1; op. 3, Rhein und
Loreley; op. 4, Suite; op. 5, Der arme Peter;
op. 11, Ballade No. 2; op. 13, Zwei fantas-
tische Studien; op. 15, Seeks Fantasien; etc.;
songs, op. 6 (An die Nacht), 8, 12, 20 {Deutsche
Liebeslieder), 21, 22, 24, 28; op. 23, 2 fern,
choruses w. pf. In MS.: Op. 16, pf. -concerto;
op. 18, Rhapsodic for pf.; op. 19, Aus Toggen-
burgs Sage, symph. poem; op. 25, a symphony;
op. 33, vl.-concerto; op. 35, a second str.-
quartet.
Schlelnitz [shir], Hetarich Conrad, b.
Zschaitz, n. Ddbeln, Saxony, Oct. 1, 1802; d.
Leipzig, May 13, 1881. Law-student, and
lawyer, in Leipzig; as a pupil of the Thomas-
schule he had an excellent mus. education;
was a member of the Gewandhaus Board of
Managers when they called Mendelssohn to
Leipzig, and became a fast friend of the latter,
giving up his legal practice on M.'s death
to undertake the direction of the Conserva-
torium, an office which he filled with con-
servative zeal until his decease.
Schle'slnger. Two well-known music-
publishing firms: (1) The 'Schlesinger'sche
Buch- und Musikalienhandlung' at Berlin,
founded in 1810 by Adolf Martin S.; carried
on from 1858 by his son Heinrich (d. 1879;
the founder of the mus. paper 'Echo'); since
1864 in the hands of R. Lienau; — and (2)
'M. A. Schlesinger* in Paris,. founded in 1834
by Moritz Adolf, son of Adolf Martin, and
the founder of the 'Gazette musicale' (from
1835, 'Revue et Gaz. mus.'). The business
was acquired by Louis Brandus in 1846;
present (1918) name of firm 'C. Joubert.'
Schle'singer, Sebastian Benson, born
Hamburg, Sept. 24, 1837; d. Nice, Jan. 8,
1917. Went to the United States at 13;
studied music at Boston, chiefly under Otto
Dresel. Was for 17 years Imp. German Con-
sul at Boston ; then lived for a time in London,
and the last years in Paris. Gifted amateur
composer; publ. over 120 songs, which
received the hearty approval of R. Franz, M.
Bruch, and other eminent musicians. For pf.
he publ. an Albumblatt; 6 Melodic Studies;
Novelette in Db; fitude in C m.; Nocturne;
5 Miniatures; an Improvisation; an Im-
promptu-Caprice; and a Wedding- march.
Schlet'terer, Hans Michel, b. Ansbach,
May 29, 1824; d. Augsburg, June 4, 1893.
Pupil, at Ansbach, of Ott, Durrner, and Th.
Mayer; later of Spohr and Kraushaar at Kas-
sel, and David and Richter at Leipzig. 1845-
7, teacher at Finstingen (Lorraine) Seminary;
1847-53, mus. dir. at Zweibrucken, 1854-8 at
Heidelberg Univ.; then Kapellm. at the
Protestant Ch., Augsburg, and singing-teacher
at Stetten's Institute. He founded (1865)
and cond. the Oratorio Soc., and was the
founder and Director of the Augsburg School
of Music. In 1875, Dr. phil. hon. causa,
Tubingen. — Works: 4 operettas, Dornrosehen,
op. 45; Pharaos Tochter, op. 50; Der erfiillte
Traumt op. 52; and Voter Beatus; — cantatas,
Lasset die Kindiein zu mir kommen and
Jephthas Tochter; — Ostermorgen and Tiir-
merlied, f. male ch. and orch.; Die kirchlichen
Festzeiten, op. 28; 17 books of choruses a
cappella, f. male, female and mixed voices;
minor vocal comps.; a Chorgesangschule for
schools (op. 29 and 30); ditto f. male voices,
829
SCHLICK— SCHMID
Op. 20; Violin-Method, op. 7; also edited
many pf. -scores of classical works, etc. —
Wrote Geschichle der geistlichen Dichiung und
kircklicken Tonkunst (Vol. i, 1869); Vber-
sichtliche Darsteilung der Gesch. of the same;
Zur Gesch. der dramatischen Musik und Poesie
in Deutschland (Vol. if Das deulscke Singspiel,
1863); /. Fr. Reichardt (1865); Studien zur
Geschickte der franzosischen Musik (1884-5;
3 vols.) ; the essays G. B. Pergolese, L. Spokr,
L. Bocckerini and Die Ahnen moderner Musik-
instrumente (in Graf Waldersee's 'Sammlung'),
etc.— In 1857 he married Hortenaia Zirges
(Mar. 19, 1830-Feb. 26, 1904), whose suc-
cessful career as violinist was cut short in
1870 by partial paralysis of both arms.
Schlick, Johann Konrad, b. Monster (?),
Westphalia, 1759; d. Gotha, 1825, as 'cellist
in the Ducal orch. — Publ. a concerto, and 3 so-
natas w. bass, f. 'cello; 3 quintets f. flute and
strings; 6 string-quartets; 3 pf. -trios; and a
concertante f. violin and 'cello.
Schlim'bacli, Georg Christian Fried-
rich, b. Ohrdruf, Thuruigia, 1760; in 1782,
organist at Prenzlau; later principal of a
music-school at Berlin. Organ-expert; publ.
Vber die Struktur, Erhaltung, Stimmunf und
PrUfung der Or gel (1801); also papers in the
'Berlinische musikal. Zeitung,' 1805-6.
Schldgel, Xavier, b. Brillonville, Famene,
Belgium, July 14, 1854; d. Ciney, n. Namur,
Mar. 23, 1889. Pupil of Ledent at Ltege
Cons. His comps. show talent of a high
order: Scenes ckampttres for orch.; Ballade
des Spies for voice and orch.; Messe solen-
nelle for male ch., org. and orch.; a second
mass; str. -quartets and pf. -trios.
Schlta'ser, (Karl Wilhelm) Adolf, son
and pupil of Louis S.; b. Darmstadt, Feb. 1,
1830; d. Great Bookham, Engl., Nov. 10,
1913. Pianist; debut Frankfort, 1847; after
concert-tours in Germany, France, and Eng-
land, he settled in London (1854). Teacher
(until 1903) at, and Hon. Member of, the R.
A. M. In 1868 he began a series of 'Schu-
mann Evenings', which were instrumental in
spreading an appreciation for that composer.
— ;Works: Pf. -quartet; pf.-trio; a Suite in D
min.; 24 Studies; several solo pieces f. pf.
SchldVser, Louis, b. Darmstadt, Nov. 17,
1800; d. there Nov. 17, 1886, as court Ka-
pellm. Composer; pupil of Rinck at Darm-
stadt, Seyfried, Mayseder and Salieri at
Vienna, and Le Sueur and Kreutzer at the
Paris Cons. — Works (about 70 opus-numbers
Subl.) : The operas Granada (Vienna, c. 1826),
>as Leben ein Traum (1839), Benvenuto Celli-
ni, Die Jugend Karls II. von Spanien (1847)
and Die Braul des Herzogs (1847); an operetta,
Kapitdn Hector; the melodrama Die Jahres-
zeiten; music to Faust; ballets, entr'actes,
symphonies, overtures, string-quartets, con-
certino f. horn w. orch., pf.-pieces, songs, etc.
Schlott'mann, Louis, b. Berlin, Nov. 12,
1826; d. there June 13, 1905. Fine pianist,
pupil of Taubert and Dehn; gave successful
concerts at London and elsewhere, and settled
in Berlin as a teacher. Title of 'R. Mus. Dir.'
in 1875. — Works: Overtures to Romeo and
Juliet (op. 18) and WaUensteins Lager (op.
23); Trauermarsck, ResUatio und Finale,
symphonic scene f. orch.; Concertstuck f. pf.
(op. 40); chamber-music; pf.-pieces (op. 8,
3 CapriceUes; op. 11, Polonaise de concert;
op. 19, Andanlino w. vars.; op. 22, Jugend-
spiegel, 6 numbers) ; choruses and songs.
Schmedes [shma'-J, Erik, dramatic tenor;
b. Gjentofte, n. Copenhagen, Aug. 27, 1868.
He was first trained as a pianist, but Mme.
Viardot-Garcia, hearing him sing some Dan-
ish folk-songs in Berlin (1888), advised him
to study singing; st. with N. Rothm&hl in
Berlin and Mme. Art6t de Padilla in Paris;
debut as baritone at the court th. in Wies-
baden (Jan. 11, 1891) as the Herald in Lokrn
grin; sang there till Sept., 1894; 1894-5,
first bar. in Nuremberg; after further study
with Prof. Ress in Vienna he sang at tfo
court opera in Dresden, 1896-7. On Pol-
lings advice to sing tenor roles he st. with A.
Iffert in Dresden, and made his debut as
tenor at the Vienna court opera on Feb. 11,
1898 (Siegfried); since then he has been a
regular member; has also appeared by in-
vitation in the principal cities of Austria
and Germany, in Pans, London, Warsaw,
Copenhagen, etc.; during the season oJ
1908-9 he sang at the M. O. H. (Amer. debut
as Siegmund, Nov. 18, 1908); in 1899 he
sans Siegfried and Parsifal in Bayreuth;
made 'k. k. Kammersanger' in 1901. His
voice is very powerful, but lacking in refine-
ment. His repertoire comprises 48 roles
(all of Wagner) ; has created 15 roles.
Schmellng, Gertrud. See Mara.
Schmid, Anton, b. Pihl, n. Lei pa, Bohe-
mia, Jan. 30, 1787; d. July 3, 1857, as custo-
dian of the mus. section in the Vienna Li-
brary. Publ. the valuable monographs
OUaviano dei Petrucci da Fossombrone, der
Erftnder des Musiknotendrucks mil beweglichen
Metalltypen, und seine Nachfolger im 16.
Jahrhundert (1845); /. Haydn und N. Zin
garelli (1847; to prove that Haydn comp.
Gott erkalte Franz den Kaiser); Christoph
Willibald, Ritter von Gluck (1854); and
Beitrdge zur Litteratur und Geschickte der Ton-
kunst (in Dehn's 'Cacilia,' 1842-6).
Schmid, Joseph* born Munich, Aug. 30,
1868. Pupil of Rheinberger (org. and comp.)
at the Kgl. Musikschule; 1890-1901, org*, at
the Ch. of the Holy Ghost; since then org. at
830
SCHMID— SCHMIDT
the Cath.t and cond. of the choral soc. 'Miin-
chen'; 1893-1908 also organist of the Kaim
concerts. A fine organ- virtuoso; has given
many recitals. — Works: Festmesse in C for
ch., org. and orch. (op. 32); 3 masses a capp.;
a Requiem, do.; 16-part Crucifixus, do. (op.
44); vcl.-sonata in D m. (op. 63); male
choruses; organ-works (op. 51, Fugue on 3
themes; op. 54, 6 Fughettas; op. 66, Dante-Fan-
tasie; etc.); Serenade for wind-instrs. (op. 47).
In MS. he has an opera, Die Sckildbiirger.
Schmid, Otto, b. Dresden, May 6, 1858.
He abandoned the study of jurisprudence in
Leipzig, and became a private pupil of Ed.
Kretschmer in Dresden; since 1912 prof, of
hist, of music at the Cons, there; also critic
for the 'Dresdener Journal.' Has publ.
biogrs. of Koschat (1887), Kretschmer (1890)
and M. Haydn (1906); Das sdchsische Konigs-
haus in musikalischer Betdtigung (1900); Die
bohmische Altmeisterschule Czernohorskys und
ihr Einfluss auf den Wiener Klassizismus
(1901); and Merkblatter zur Musikgeschichte
(1912). He has edited the important coll.
'Musik am sachsisehen Hofe* (10 vols.; comps.
by Hasse, J. C. Schmidt, J. A. and C. S.
Binder, Naumann, Petzold, etc., and mem-
bers of the Royal House); 'Orgelwerke
altbohmischer Meister' (2 vols.).
Schmidt, Arthur P., music-publisher; b.
Altona, Germany, April 1, 1846. He went to
Boston, Mass., in 1866, and entered the music-
business of Geo. D. Russell & Co. In 1876 he
established a business of his own, which now
has branches in New York and Leipzig, and
whirh has won prominence more especially by
its publication of the. works of American com-
posers.
Schmidt, Franz, born Presburg, Dec. 22,
1S74. Pupil of Hellmesberger in Vienna;
1892-1910, 'cellist in the court orch., and
teacher at the 'k. k. Akadcmie fur Musik1;
since 1910, prof, of pf. at the same institution.
Comp. of the succ. opera Notre Dame (Vienna,
1914); 2 symphonies, in E (prize of 'Ges. der
Musikfreunde,' 1900) and Eb (1913); Unter
Flagge und W impel, march for orch.; and
a Klavicrschule (2 parts).
Schmidt, Friedrich, torn Hartefeld, n.
Geldern, Mar. 5, 1840. Ordained priest in
1S64; 1889-99, Pres. of the 'Cacilienverein'
(succ. Witt); 1890, Privy Chamberlain (by the
Pope); 1902, Dr. phil. (hon. c.) by Mttnster
Univ.; 1909, cathedral-capitulary; since
1866 music-dir. at the Cath. in Mflnster, and
since 1890 eH. of Tliegende Blatter fur kathol.
Kirchenmusik.' Has publ. masses, motets
and litanies; wrote, with F. Diebels, Unter-
weisung in der kath. Kirchenmusik (1875).
Schmidt, Gustav, b. Weimar, Sept. 1,
1816; d. Darmstadt, Feb. 11, 1882, as court
Kapellm. While theatre-cond. at Frankfort,
he prod, the very successful opera Prinz Eugen
(1845), and Die Weibervon Weinsberg (1858);
other operas were La Reole (Breslau, 1863)
and Alibi. Also wrote songs, ballads, and
popular male choruses.
Schmidt, Heinrich, b. Kirchcnlamitz, in
the Fichtel Mts., April 30, 1861. Pupil of
Rheinberger, Kellermann and Riehl at the
'Kgl. Akademie der Tonkunst' in Munich;
Dr. phil. (Univ. of Munich, 1897) with the
dissertation J oh. Mattheson, ein For der er der
deutschen Tonkunst, im Lichte seiner Werke;
since 1898 teacher at the seminary in Bay-
rcuth. — Works: Incid. music to the fest.
plays Die Losburg, W alien stein in Altdorf,
Die Hochzeit auf dem rauhen Kulm, Landshuter
Hochzeit; concerto in C for org. and str.-
orch.; Festmarsch for orch.; male choruses.
Has ed. 'Streichorchester fur Mittelschulen*
(8 vols.; selections of classical pes.) and a
new ed. of Hohmann's Violinschule. Publ.
Die Or$el unserer Zeil in Wort und Bild (1904)
and Rtch. Wagner in Bayreuth (1909; with
U. Hartmann).
Schmidt, Johann Philipp Samuel,
government official; writer and amateur
composer; b. Konigsberg, Sept. 8, 1779; d.
Berlin, May 9, 185 J. Wrote half a score of
operas for Konigsberg and Berlin; many
cantatas; 9 oratorios and masses; sym-
phonies; quintets and quartets f. strings,
etc., many publ.; also contributed to musical
periodicals of Berlin and Leipzig, and was for
30 years critic for the 'Spener'sche Zeitung';
arr. symphonies by Mozart and Haydn,
Radziwill's Faust, etc., f. pf. — See Q.-Lex.
Schmidt, Leopold, b. Berlin, Aug. 2, 1860.
In 1880 he ent. the Kgl. Hochschulc in Ber-
lin, at the same time matriculating as a stu-
dent of philosophy at the Univ. Was Ka-
pellm. in Heidelberg (1887), at the Friedrich
Wilhelmstadtisches Th. in Berlin (1888), in
Zurich (1891) and Halle (1895); Dr. phil.,
Rostock (1895); since 1897 critic for the 'Ber-
liner Tageblatt'; 1900-12, prof, of hist, of
music at Stern's Cons.; since 1912 do. at the
Klindworth-Scharwenka Cons. Has publ.
a vl. -sonata in F m. (op. 4) and songs (op. 1,
2, 3, 5); ed. Corona Schrflter's songs [1786]
(1907); an operetta, Die Heimkehr des Odys-
seus, with music arr. from unknown operettas
by Offenbach, was prod, in Frankfort (1913).
— Writings: Zur Geschichte der Mdrchenoper
(1896); G. Meyerbeer (1898); Haydn (1898;
3d ed. 1914; in Reimann's 'Beruhmtc Musi-
ker'); Geschichte der Musik im 19. Jahrhun-
dert (1901); Moderne Musik (being vol. iii
of Die neue Kunst, 1904) ; Tonmeister des 19.
Jahrhunderts (1908); Mozart (1909; 2d ed.
1913; in Reimann's 'Beriihmte Musiker');
Beethoven (1914); collected criticisms he publ.
831
SCHMINKE— SCHMITT
in 2 vols.: Aus dem Musikleben der Gegenwart
(1908) and Erlebnisse und Belrachtungen
(1913) ; ed. Beethovenbriefe (1908) and Brahms-
briefe (1909); he also wrote several guides
(Strauss's Salome and Ariadne auf Naxos,
Gluck's Orfeo, etc.).
Schmlnke, Oscar E.v b. New York, Dec.
12, 1881. St. pf. with Herman Spielter from
1892-7, but hesitated, on account of partial
deafness, to take up music as a profession,
and ent. the N.Y. Coll. of Dentistry, gradua-
ting in 1903. His hearing improved, and in
1907 he took a course in harmony with
Spielter; st. theory with Max Spicker in
1908, and in 1909 abandoned dentistry;
from 1909-11 he st. pf. and orphan with Gas-
ton Dethier. Has publ. an Aria in D for vl.
and pf.; about a dozen comps. for organ
(Marche russe, Pohne exotique, etc.); many
pf.-pcs. (Chameleon, set of vars.; Moods;
Symphonic Scherzo, etc.) ; about a dozen songs.
Schmitt, Aloys, pianist and eminent
teacher; b. Erlenbach, Bavaria, Aug. 26, 1788;
d. Frankfort-on-Main, July 25, 1866. Son
and pupil of a cantor, and at 14 a fine player,
he studied com p. with Andre at Offenbach
from his 20th year, and settled in Frankfort
in 1816, remaining there, excepting a few
years in Berlin, and 1825-9 at Hanover as
organist to the Duke of Cambridge. His
valuable instructive works f. pf. include a
Method, op. 114; Studies, op. 16, 55, 62
(Rhapsodies), 67, 115; Rondos, op. 3; Sona-
tinas, op. 10, 1 1 ; he also wrote 4 pf. -concertos,
a pf. -concertino w. orch., rondos, variations,
etc., f. pf. and orch., pf. -quartets and -trios,
solo pieces (sonatas, variations, etc.) f. pf.;
4 operas (Das Osterfest zu Paderbornt Die
Tochter der Wiiste, Valeria, Der Doppelprozess) ;
% oratorios (Moses and Ruth); masses; orch I.
overtures, etc. — Cf. H. Henkel: Leben und
Werke von Dr. A. 5. (Frankfort, 1873).
Schmitt, Florent, b. Blamont, Meurthe
et Moselle, Sept. 28, 1870. He had his first
lessons from H. Hess (pf.), organist at the
Cath., and G. Sandre (harm.), dir. of the Cons,
in Nancy; from 1889-96 pupil at the Paris
Cons, of Th. Dubois and A. Lavignac (harm.),
J. Massenet and G. Faure (cpt., fugue,
comp.); won 2d Prix de Rome in 1897 with
the cantata FrSdegonde, and the 1st prize in
1900 with the cantata SSmiramis (perf. at
Colonne concert, Dec. 11, 1900). He spent
the years 1901-4 in the Villa Medicis in Rome,
sending to the Acadernie several important
orch 1. and choral works (1st movem. of a
pf.-quintet, Combat de Raksasas . . . . , Le
Palais hanti, Psalm 46) as 'envois dc Rome';
then spent 2 years travelling in Germany,
Austria, Hungary and Turkey; has lived in
Paris since 1906, devoting himself entirely
to composition. Since the foundation (1909)
of the 'Societe Musical e Independente' he has
been a member of the executive committee;
has also served on committees of the *So-
ciete Nationale de Musique.' His earlier
works are strongly influenced by Chabrier
and Debussy; but his individuality soon
asserted itself, so that to-day his is one of the
most striking physiognomies among the
younger French school. Though at times
indifferent to the quality of his^ thematic
material, his consummate technical mas-
tery and resourcefulness in thematic develop-
ment save him from triviality. He makes
free use of all the achievements of modern im-
pressionism, yet never allows mere 'atmos-
phere' to usurp the place of definite formal
structure. — Works: 2 Ballets, op. 50, La
Trag&die de Salami (Th. des Arts, 1907) and
Ourvaci (not yet prod.). — Vocal w. orch: Op.
14, Semiramts, lyric scene; op. 38, Psalm 46
[in the Engl. Bible No. 47] for soli, ch., org.
and orch. (Paris, 1906; Boston, 1913); op.
39, Chansons d 4 voix; op. 45, Pendant la
Tempite, mixed ch. (MS.); op. 47, Dansedes
Devadasis, mixed ch. — Orchl. : Op. 3, En £tt;
op. 28, Reflets d'AUemagne, suite (brig, forp/J;
op. 36, Pupazzi, suite in 8 movems. (on%.
for pf.); op. 44, Musiques de plein-air (MS.y.
op. 48, Selamlik, symph. poem for mil. band
(MS.); op. 49, Le Palais hante, symph. study
after Poe; op. 53, Rhapsodic viennoise (orig.
for 2 pfs.); Combat de Raksasas et Delivrance
de Stta, symph. poem from 'Ramayana'
(written 1898; MS. score lost in the Paris
flood of Jan., 1910). — Chamber-music: Op. 1,
Chant du Soir for vl. and pf.; op. 19, Deux
Pieces for vcl. and pf . ; op. 24, Chant elegiaque
for vcl. and pf.; op. 25, Quatre Pieces For vl.
and pf.; op. 35, Andante et Scherzo for harp
and str .-quartet ; op. 51, pf.-quintet; op. 54,
Lied et Scherzo for double quintet of wind-
instrs. (2 fls., 2 obs., 2 clars., 2 horns, 2 bas
soons). — Forpf.: Op. 3, Trois PrHudes; op. 5,
Soirs (10 preludes); op. 6, Ballade de la
Neige; op. 12, Deux Pieces; op. 16, Musiques
intimes (1st book, 6 pes.); op. 18, Trois
petites pieces; op. 23, Nuits romaines (2 pes.);
op. 27, Quatre Pieces; op. 29, Musiques in-
times (2d book, 6 pes.); op. 31, Trois Valses
Nocturnes; op. 32, Petites musiques (8 pcs.y,
op. 36, Pupazzi, suite in 8 movems. (arr. for
orch.); op. 42, Pieces romantiques (6 pes.).
— For pf. 4 hands: Op. 15, 7 pes.; op. 22,
Musiques foraines (6 pes.); op. 26, Feuillets
de Voyage (10 pes.); op. 28, Reflets d'AUe-
magne (8 waltzes; arr. for orch.); op. 34,
Sur cinq notes (8 little pes.); op. 37, Quatre
pibces recreatives; op. 41, Huit courtes pieces;
op. 43, Humoresques (6 pes.). — For 2 pfs.:
Op. 53, Trois Rapsodies (No. 3 arr. for orch.).
— Songs, op. 2, 4, 8, (Les Barques w. orch.),
9 (Sotr sur le Lac w. orch.), 10, 17, 20 (De-
mande w. orch.), 21, 33, (Musique sur I Eau
832
SCHMITT— SCHNABEL
w. orch.), 52 (Tristesse au Jardin w. arch.).
Also an 0 Salutaris for solo voice and pf.
(op. 1), a prelude for org. (op. 11), 2 choruses
a capp. (op. 40).— Cf. M. D. Caivocoressi,
(Euvres de F. S., in TArt Moderne' (Jan. 6,
1907); O. Sere, Musiciens franqais d'aujour-
d'hui (2d ed. Paris, 1911); G. Jean-Aubry, La
Musique franchise d'aufourd'hui (Paris, 1916).
Schmitt, Georg Aloys, son and pupi! of
Aloys; b. Hanover, Feb. 2, 1827; d. (sud-
denly, during a rehearsal) Dresden, Oct. 15,
1902. He studied theory with Vollweiler at
Heidelberg. After pianistic tours in Ger-
many, France, Belgium, and Algiers, he
visited London, became theatre-cond. at Aix-
la-Chapelle, Wdrzburg, etc., and 1857-92
court cond. at Schwerin; from 1893, director
of the 'Mozartverein/ Dresden, which flour-
ished under his sway (chorus of 1,400 and its
own orch.). Emma Brandes (Mme. Engel-
mann).was one of his pupils. He prod, the
operas Trilby (Frankfort, 1845), Das Wund-
wasser (ibid.), and Maiensauber; also incid.
music to plays; overtures and other orchl.
works; string-quartets; pf. -trios; pf. -pieces;
songs. He revised and completed Mozart's
Mass in C m. (1901), and orchestrated comps.
by Handel and Mozart. — He was married to
the singer Cornelia Czanyl (b. Debreczin,
Dec. 6, 1851; d. Wismar, Oct. 11, 1906).
Schmitt, Hans, excellent piano- teacher;
b. Koben, Bohemia, Jan. 14, 1835; d. Vienna,
Jan. 14, 1907. At first an oboist at Bucha-
rest and Vienna, throat-trouble compelled
him to give up that instrument, and he studied
the piano under Dachs at the Vienna Cons.,
1860-2, taking the silver medal, and being
app. teacher at the Cons. — His important
instructive works f. pf. include 300 Studies
without Octave-stretches; Vademecum; Funda-
ment der Klaviertechnik; Zirkelubungen in
Skalen und Akkorden; 120 kleine Vortrags-
stucke; a school-edition of Clement i's 'Gra-
dus'; Repertairestudien; Das Pedal des Kla-
viers (1875; after Louis Kohler); — also an
elementary vocal method, Schule des Gehbrs;
songs; charact. pieces f. pf.; a Konzertstuck
f. vl.; etc. An opera, Bruna, remained MS.
Schmitt, Jacob [Jacques], brother and
pupil of Aloys S.; b. Obernburg, Bavaria,
Nov. 2, 1803; d. Hamburg, June, 1853.
Excellent piano-teacher; of some 370 works,
his sonatinas f . pf . are especially prized (op. 29,
83 [easy and progr.], 84, 207, 248, 249; for
4 hands, op. 31, 49, 65, 118, 208); the Mu-
sikalisches SchatzkasUein, op. 325, is a valu-
able coll. of 133 short pieces; his Method, op.
301, and Studies (op. 37, 271, 330), are
also much used, like the Rondos (op. 88,
113, 250) and the 14 Nocturnes; he also
wrote sonatas, variations, and 5<z&m-music
f. pf.; and the opera Alfred der Grosse.
Schmitz, Eugen, born Neuburg, Bavaria,
July 12, 1882. He ent. the Univ. of Munich
to study law, but soon went over to musicology
under A. Sandberger and Th. Kroyer at the
Univ. and theory under A. Beer-Walbrunn;
Dr. phil. in 1905 with the dissertation Leben
«. Wirken des Niirnberger Komponisten J oh.
Staden (publ. 1906). Lived a short time in
Leipzig, but returned to Munich in 1908
as critic for the 'Munchener Zeitung' and ed.
of 'Neue musikalische Rundschau'; 1910,
Dozent for musicol. at the Univ. ('Habilita-
tionsschrift,' Beitrdge zur Geschichte der ital.
Kammerkantale im 17. Jahrh); in 1914 he
became dir. of the Mozarteum in Salzburg,
but resigned in the summer of 1915, and set-
tled in Dresden as mus. ed. of 'Dresdener
Nachrichten.'— Works: Hugo Wolf (1906);
Richard Strauss als Musikdramatiker (1907);
Richard Wagner (1909); Harmonielehre als
Theorie, Asthetik und Geschichte der musikali-
schen Harmonik (1911); Geschichte der welt-
lichen Solokantate (1914); Palestrina (1914);
Geschichte der Kantate und des geistlichen
Konzerts (1914); Handbuch der Musikasthetik
(1915); rev. Naumann's Illustrierte Musik-
geschichte (1908) and Marx's Anleitung turn
Vortrag Beethovenscher Klavierwerke (1912);
valuable essays in 'Sbd. I. M.-G.' 'Peters
Jahrb.', etc.; also several guides (Puccini's
Boheme, Reger's Symphonietta, etc.); contrib.
to 'Allgem. deutsche Biographic' and Her-
der's 'Konversationslexikon.' Has ed. select
works of Toh. Staden, with histor. introd.
(vols, vii, I and viii, 1 of 4Dkm. der Tonk.
in Bayern'). Has also publ. original choruses
and songs.
Schnabel [shnah'-l, Artur, born Lipnik,
Carinthia, April 17, 1882. After a few pre-
paratory lessons from Hans Schmitt he st.
in Vienna under Leschetizky from 1888r-97;
since then has made very successful pianistic
tours of Austria and Germany; especially
noted as an interpreter of Brahms; is living
in^ Berlin, where he gives a regular series of
joint recitals with Karl Flesch; formed in
1912 a trio with A. Wittenberg (vl.) and A.
Hekking (vcl.); also appears frequently as
assisting artist with chamber-music organiza-
tions. His wife Therese, nSe Behr (b. Sept.
14, 1876; pupil of Gerster), is a fine concert-
contralto. With K. Flesch he" has ed. Mo-
zart's vl.-sonatas; has publ. songs and pf.-pcs.
Schna'bel, Joseph Ignaz, b. Naumburg-
on-Queiss, Silesia, May 24, 1767; d. Breslau,
June 16, 1831. From 1804, cathedral-Ka-
pellm. at Breslau; from 1812, mus. dir. at the
Univ., teacher at the R. C. Seminary, and
Director of the R. Inst, for Church-music. —
Many sacred works; he publ. 5 masses, 4
gradual s, 2 offertories, antiphones, hymns,
and vespers; male quartets; songs; marches,
833
SCHNABEL-TOLLEFSEN— SCHNEIDER
etc., f. military band; quintet f. guitar and
strings; and a clarinet-concerto. — Cf. D.
Guckel, /. J. S., part ii of Katholische Kir-
chenmusik in Schlesien (Leipzig, 1912). — His
brother, Michael, b. Naumburg, Sept. 23,
1775; d. Breslau, Nov. 6t 1842, where he
founded (1814) a piano-factory, which was
carried on by his son Karl (1809-1881),
who was also an excellent pianist, and a
composer of some note (operas, masses,
orchl. works, pf. -music, etc.).
Schnabel-Tol'lefsen, Augusta, fine pi-
anist; b. Boise, Idaho, Jan. 5, 1885. Be-
ginning the study of the pf. at the age of 8,
her progress was so rapid that she was ex-
hibited as a prodigy in Germany, Switzerland
and Belgium, but cont. to study seriously
with Karl Widmann in Frankfort-on-Main;
returned to the U. S. in 1900, and made a
tour of the Middle West; then retired for
further study under Paolo Gallico in New
York; debut as finished artist with the N. Y.
Symph. Orch. on Nov. 25, 1906 (playing the
Rubinstein D m. and Saint-Saens G m. con-
certos). On Aug. 7, 1907, she married the
violinist Carl Tollefsen, and in 1909 formed
with him and Willem Durieux (vcl.) the T.-
Trio, which has made extensive tours of the
U. S. and won a prominent position among
chamber-music organizations.
Schneck'er, Peter August, b. in Hessen-
Darmstadt, Aug. 26, 1850; d. New York,
Oct. 3, 1903. Came to America in 1865, and
st. organ with S. P. Warren in N. Y.; during
the summer of 1874 he st. with O. Paul and
E. Fr. Richter in Leipzig. From 1872 till
his death he was org. at the West Presb. Ch. in
N. Y. — Works: Church-music, cantatas, pf.-
pieces, and songs; compiled several colls, of
organ-composi t ions.
Schneevoigt [shna'vohgt), Georg Len-
nart, b. Viborg, Finland, Nov. 8, 1872. Pupil
of the Cons, in Helsingfors; 1890-2, of Karl
Schrdder (vcl.) in Sondershausen; 1892 solo
'cellist of the Expos, orch. in Moscow; 1893-
4, concert-tour of Finland; st. further with
J. Klengel at the Leipzig Cons. (1894-5).
After a season as solo 'cellist of the Philh.
concerts^ in Helsingfors he made a tour of
Sweden in the summer of 1896; taught at the
Helsingfors Cons., 1896-9; 1897-1900, tours
of Germany, Belgium, England and Scandi-
navia. In 1901 he appeared with great suc-
cess as cond. of the symph. concerts at the
Expos, in Riga; 1904-8, cond. of the Kaim
Orch. in Munich (succ. Weingartner) ; 1909-^
12, cond. of the Riga Symph. Orch.; since
then cond. of the munic. orch. in Helsingfors,
and since 1914 also cond. of the 'Konscrtforcn-
ing' in Stockholm. In 1907 he married the
pianist Sigrid Sundgren (q. v.).
Schneider [shnl'-], Edward Faber, born
Omaha, Neb., Oct. 3, 1872. St. pf. with F.
L. King in San Jose (1886-93), L. Lisser in
San Francisco (1893-5) and X. Scharwenka
in N. Y. (1895); went to Berlin in 1896,
studying with H. Barth (pf.) and O. B. Bois*»
(com p.); living in San Francisco as teacher
of pf. and theory; dean of the dept. of music
at Mills Coll., Oakland, Cal. — Works: The
music-dramas Triumph of Bohemia (open-
air th., Bohemia Grove, Cal., 1907) and
Apollo (ib., 1915); a symphony, In Autumn
Time (San Francisco S. O., 1913); pes. for vl.
and pf.; songs.
Schnei'der, (Johann Christian) Fried -
rich, b. Alt-Waltersdorf, Saxony, Jan. 3,
1786; d. Dessau, Nov. 23, 1853. Son and
pupil of Johann Got t lob S. [b. 1753; d. as
organist at Gersdorf, May 3, 1840]; attended
the Zittau Gymnasium and (1805) Leipzig
Univ. As the pupil of Unger at Zittau, he
early began composing, and publ. 3 pf-
sonatas in 1803; was app. organist of the
Paulinerkirche at Leipzig in 1807, became
cond. of the Seconda opera-troupe in 18/g
org. of the Thomaskirche in 1812, and m
1817 Music-director of the Leipzig City TV.
In 1820 his grand oratorio, Das WeUgericht,
made him famous, and he was called to Des-
sau in 1821 as court Kapellm. Here he not
only brought the court orchestra to a high
state of efficiency, conducted the 'Singa-
kademie' with the best results, and organized
the 'Liedertafel,' but built up a fine choir of
students at the Gymnasium and Teachers'
Seminary, and founded a celebrated School
of Music in 1829, which was not closed until
1854, after the Leipzig Cons, had attracted
so many pupils of distinction; among his
pupils were R. Franz, F. Spindler, and Karl
Anschiitz. He also cond. nearly a score of
frand mus. festivals. In 1830 the degree of
>r. phil. was conferred on him by Halle Univ.
— His oratorios (Das WeUgericht, Die Sund-
fluth [in Engl, as The Deluge], Das verlorene
Parodies, Jesus' Geburt, Christus der Meister,
Pharao, Christus das Kind, Gideon, Gethst-
mane und Golgotha, Absalom [all publ.], — Das
befreite Jerusalem, Salomonis Tempelbau,
Bonifacius, Christus der Erldser, Die Hollen-
fahrt des Messias [unpubl.]) were often per-
formed.— Other works: 14 masses; 13 motets
and psalms; 25 cantatas; 5 hymns; 7 operas;
23 symphonies; many overtures; 7 concertos
w. orch.; pf. -quartets; trios; sonatas for
violin (or flute); 400 male choruses; 200
songs w. pf.; pf.-sonatas f. 2 and 4 hands,
etc. (compl. ed. of his pf. -works publ. at Hal-
berstadt); — Elementarbuch der Harmonic und
Tonsetzkunst (1820, etc.; in English, 1828);
Vorschule der Musik (1827); Handbuch des
Organisten (1829-30; in 4 parts).— Cf. F.
834
SCHNEIDER— SCHNERICH
Kcmpe, Friedrick Schneider als Mensch und
Kiinstler (Dessau, 1859; 2d ed. Berlin, 1864).
Schnei'der, Georg Abraham, horn-virtu-
oso; b. Darmstadt, April 19, 1770; d. Berlin,
Jan. 19, 1839. Member of the Royal orch. at
Berlin; from 1820, Kapellm. of the Court
Opera and 'Musikmeister' of all regiments of
the Guards. — Works: The operettas Der
Orakelspruch, Aucassin und NicoUUe, Die
Verschworenen, Der Traum, Der Wahrwolf; 13
ballets; music to numerous plays, melo-
dramas, etc.; 2 oratorios; cantatas; orchl.
masses; 54 entr'actes f. orch.; symphonies
and overtures; concertos f. horn, nute, oboe,
English horn, bassoon, etc.; quintets, quar-
tets, and other chamber-music tor wind-instrs.
(over 100 works were publ.). — See Q.-Lex.
Schnei'der, Johann (Gottlob), brother of
Friedrich; b. Alt-Gersdorf, n. Zittau, Oct.
28, 1789; d. Dresden, April 13, 1864. Pupil
of the Zittau Gymnasium, and later 'regens
chori' there; matriculated 1810 at Leipzig
as a law-student, but next year succeeded
his brother as Univ. organist (at the Pauliner-
kirche), and in 1812 became org. of the Ch.
of SS. Peter and Paul at Gorlitz, also founding
a singing-society there, and giving organ-
concerts at Dresden, Leipzig, Liegnitz, etc.
In 1825, court organist at Dresden, from 1830
also cond. the 'Dreyssig'sche Singakademie.'
Now (according to Mendelssohn) the finest
German organ-virtuoso of the period, he
extended his concert-tours to London (1833).
Famed as a teacher; among his pupils were
Berthold (his successor as court org.), G.
Merkel, F. G. Jansen, K. E. Naumann,
Willem Nicolai, and van Eycken. — Publ.
works: Fugues, fantasias, and preludes, for
organ; songs w. org. obbl.
Schnei'der, (Johann) Julius, b. Berlin,
July 6, 1805 ; d. there April 3, 1885. Excellent
pianist and organist; pupil of A. W. Bach,
Turrschmidt, and L. Berger (pf.), Hausmann
(organ), and B. Klein (comp.). In 1829, or-
ganist and cantor of the Friedrich werder Ch.
(where he organized a liturgical choir in 1852);
1835-58, singing-teacher at the Munic. Indus-
trial School; 1837, 'R. Mus. Din'; 1849,
member of the Akademie (senator in 1875);
1854, teacher of organ, singing and comp. at
the R. Inst, for Church-music; 1869, R. In-
spector of Organs. In 1829 he founded a 'Lic-
dertafel,' and in 1836 a choral society for
mixed voices, then also becoming mus. dir.
of the Royal York Grand Lodge; from 1844-
7 he cond. the Potsdam society for classical
chamber-music. — Works (few published): 2
operas; 2 oratorios; a mass a 6; a Paternoster
a 12; a Te Deum, cantatas, psalms, etc.; 200
male choruses, and others w. military band;
organ-pieces; a pf. -concerto and pf. -sonatas;
chamber-music; etc.
Schnei'der, Karl Ernst, b. Aschersleben,
Dec. 29, 1819; d. Dresden, Oct. 25, 1893, as
teacher at a music-school. — Publ. Das tnusi-
kalische Lied in geschiehtlicher Enttwickelung
(1863-7; 3 parts) ; Zur Periodisirung der Mu-
sikgeschichte (1863); and Musik, Klavier und
Klavierspiel (1872).
Schnei'der, Max, b. Eisleben, July 20,
1875. While a student at the Gymnasium in
Weimar he devoted much time to music; st.
musicology at Leipzig Univ. under Paul, Rie-
mann and Kretzschmar, and comp. under
Jadassohn (1895-7); 1897-1901, Kapellm. at
the Stadtth. in Halle, and during the summer
months at the Th. des Westens in Berlin.
Owing to an injury to his foot he declined an
appointment as chorusmaster at the Hofoper,
Munich (1901), and returned to his studies
in musicology under Kretzschmar; when the
latter became prof, at the Berlin Univ. in 1904,
he followed him and was app. librarian of the
musical seminary at the Univ.; 1907-14 he
was also Kopfermann's asst. in the music
division of the R. Library; 1909-15, teacher
of orchestration and score-reading at the 'Kgl.
akadem. Institut fiir Kirchenmusik'; made
Kgl. Prof, in 1913; since 1915 prof, extraord.
at the Univ. and teacher at the 'Kgl. Institut
fur Kirchenmusik' in Breslau. Since 1912,
he has been ed. (with H. Springer and W.
Wolff heim) of 'Miscellanea musicae bio-bibli-
ographica [suppl. to Eitner's 'Quellenlcxikon' ].
— Works: Verzeichnis der bisher erschienenen
Litteratur uber J. S. Bach (in 'Bach-Jahrb.',
1905); Verzeichnis der bis turn Jahre 1851
gedruckten Werke von J. S. Bach (ib., 1906);
Themalisches Verzeichnis der musikalischen
Werke der Familie Bach (part I; ib., 1907);
Das Orgelkonzert in D m. von W. Fr. Back
(ib., 1911); essays in various journals publ.
reprints of Mattheson's Ehrenpforte (1910;
with bibliogr. additions) and Diego Ortiz's
Tratado de glosas sobre cldusulas (1913; with
transl.). In 'Dkm. deutscher Tonk.' he ed.
Telcmann's ^ Der t Tag des Gerichis and J no
(vol. 28; with biogr.), Keiser's Crosus (vol.
37) and V Inganno Jedcle (vol. 38).
Schnei'der, Theodor, son of Friedrich S.;
b. Dessau, May 14, 1827; d. Zittau, June 15,
1909. Pupil of his father and Drechsler
('cello); in 1845, 'cellist in Dessau court
orch.; in 1854, cantor and choir-director of
the court and city churches; from 1860-96,
cantor and mus. director at the Jakobikirche
in Chemnitz (his successor is Meinel); also
cond. of the 'Singakademie,' and of a 'Man-
nergesangverein' which he founded in 1870.
He retired in 1898.
Schnerich [shna'riyh], Alfred, b. Tarvis,
Carinthia, Oct. 22, 1859. St. hist, of art at
the 'Inst, fiir osterr. Geschichtsforschung' in
Vienna; Dr. phil. in 1888; since 1889 li-
835
SCHNITGER— SCHOBERLEIN
brarian at Vienna Univ. ; member of the edi-
torial commission of the 'Dkm. der Tonic,
in Osterreich.' — Works: Der Messentypus
von Haydn bis Schubert (1892); Die Frage
der Reform der kath. Kirchenmusik (1902;
a reply to the attacks of the 'Cacilienverein');
Messe und Requiem seit Haydn und Mozart
(1909); Unsere Kirchenmusik und P. M.
Korn. Eine Abwehr (1911); essays in 'Kir-
chenchor' and 'Musik.' Publ. in facsimile the
autograph score of Mozart's Requiem (1914;
with explanatory notes).
Schnlt'ger, Arp, German organ-builder;
b. Godswardenr Oldenburg, July 2, 1648; d.
Neuenfelde, about 1720. His organs are in the
Nikolai- and Jakobikirche, Hamburg; the Ca-
thedral and Stephanskirche at Bremen; the
Tohanniskirche at Magdeburg; the Nikolai-
kirche at Berlin; etc.— His son Franz Kaspar
(d. 1729) worked with an elder brother at
Zwolle, Holland, building the organ at Zwolle
(63 stops), and that at Alkmar (56 stops).
Schnitzer, Germalne, distinguished pi-
anist; b. Paris, May 28, 1888. At the age of
10 she won a 1st prize for pf. -playing at the
Paris Cons.; cont. her studies there with
Raoul Pugno, graduating in 1902 as' winner of
the 1st prize; after a year with Emil Sauer
at the Meisterschule in Vienna she won the 1st
prize awarded by the Austrian govt. (1903);
dtf>ut with the Berlin Philh. Orch., Jan. 9,
1904 (Piern6's C m. concerto) ; her success
was complete, and the same year she played
with the Philh. Soc. in Vienna (Mottl) and
the Colonnc Orch. in Paris; since then has
appeared in numerous recitals and with the
Principal orchestras in Germany, Austria,
rancet> Belgium, Hungary, England and
Rumania (decorated by Queen Carmen Syl-
va); Amer. d£but in recital in N. Y., Dec 18,
1906, and eng. during her first visit by the
chief orchs. (Boston S. O.; N. Y. Philh. Soc.;
Chicago S. O. ; etc.) ; revisited the U. S. in
1909-10, 1913-14; living in New York since
1915, continuing her tours of the U. S. On
May 5, 1913, she married Dr. Leo Buerger,
a surgeon of N. Y. Her playing exhibits many
of the fine qualities of her master, Pugno —
passionate intensity, great variety of tonal
color, perfection of detail, artistic modera-
tion, reverent regard for the intentions of
the composer.
Schnorr von Ca'rolsfeld, Ludwig, dra-
matic tenor; b. Munich, July 2, 1836; d.
Dresden, June 21, 1865. Son of the noted
painter; pupil of Jul. Otto at Dresden, and
of the Leipzig Cons.; then of Ed. Devrient
at Karlsruhe, making his debut there, fol-
lowed by engagement in 1858. From 1860,
leading tenor at Dresden. He created the
rdle of Tristan in Wagner's Tristan und
Isolde at Munich, June 10, 1865, his wife
836
singing Isolde; a chill on that occasion
proved fatal. He was renowned as an in-
terpreter of Wagner rdles. — Cf. R. Wagner,
Meine Erinnerungen an L. S. v. C, in vol. viii
of 'Ges. Schriften und Dichtungen.'
Schnorr von Carolsfeld (nie Garrigues),
Malwine, famous dramatic soprano; wife
of preceding; b. Copenhagen, Dec. 7, 1832;
d. Karlsruhe, Feb. 8, 1904. She created
Isolde on June 10, 1865, in Munich, her hus-
band singing Tristan; after his death she
sang in Hamburg, and later in Karlsruhe;
after her retirement from the stage she taught.
In 1867 she publ. a volume of poems by her
husband and herself.
Schnyder von War'tensee [shne'-J,
Xaver, excellent teacher and vocal composer;
b. Lucerne, April 16, 1786; d. Frankfort -on-
Main, Aug. 27, 1868. A pupil at Vienna of
J. C. Kienlen; joined the campaign against
the French in 1815; taught at the Pestalozzian
Inst., Yverdun; and in 1817 settled in Frank-
fort. — Works: The fairy-opera Fortunat mil
dem Sdckel und WunschhiiUein (Frankfort,
1829) ; oratorio Zeit und Ewi^keit; cantatas,
sacred and secular songs; Swiss songs f. vaik
chorus; 2 symphonies; — a System aer Rhyk-
mik (posth. publ. by B. Widmann); articles
in the 'Cacilia' (Mayence) and the 'Allgem.
mus. Zeitung1 (Leipzig). — Biogr.: Lebens-
erinnerungen von 5. v. W. nebst musikalischen
Beilagen und einem Gesammtverzeichniss seiner
Werke (Zurich, 1888).
Scho'berlechner, Franz, b. Vienna, July
21, 1797; d. Berlin, Jan. 7, 1843. Pianist,
pupil of Hummel and E. A. Forster at Vienna,
and at 10 played in public Hummcl's 2d Con-
certo, written for him. On a pianistic tour
to Italy he prod, the opera I virtuosi teatrali
at Florence (1814), and the next year became
m. di capp. to the Duchess of Lucca, pro-
ducing there a second opera, Gli Arabi nelle
Gallie (1816) ; returned to Vienna in 1820,
where he brought out another opera, Der
junge Onkel (1820); made a tour to Petrograd
in 1823, and there married the singer Sophie
dair Occa [1807-1863], with whom he made
further tours to Northern Italy and Vienna,
and settled in Petrograd 1827-30, during her
engagement at the Italian Opera there. He
purchased a villa in Florence in 1831, and re-
tired to it some years later. — Publ. works:
Variations f. pf. w. orch., op. 46, 47; an over-
ture; string-quartets; a pf.-trio; a sonata f.
violin (or flute); a pf. -rondo, 4 hands; and
sonatas, variations, fantasias, etc., f. pf.
He also brought out 2 more operas, II Barone
di Dolsheim (Petrograd, 1827) and Rossane
(Milan, 1839).
Schd'berlein, Ludwig, born Kolmberg,
Bavaria, Sept. 6, 1813; d. Gottingcn, July 8,
1881, where he had been ordinary prof, of
SCHOBERT— SCHOLTZ
theology 1855-78. In 1876 he founded with
M. Herold and E. Krttger the monthly
journal 'Siona.' — Wrote (with Fr. Riegel)
Schatz des liturgischen Chor- und Gemeindege-
sangs (1865-72; 3 vols.; important).
Scho'bert, Johann, born Silesia, (?); d.
Paris, 1767, from eating poisonous mush-
rooms. Talented comp. and pianist; from
1760, chamber-musician to the Prince de
Conti. His works show the general charac-
teristics of the Mannheim school, although
it cannot be proved that he ever was in that
city. He is historically important as the first
composer who regularly employs the pf. in his
chamber-music comps. That Mozart studied
his works diligently is proved by Wyzeva and
St.-Foix (W. A. Mozart, 1911), who prove
that the four pf. -concertos of M. listed in
Kochel as Nos. 37. 39-41 are only studies on
sonatas by S. A selection of S.'s works
(with thematic cat.) was publ. by H. Rie-
mann in vol. 39 of 'Dkm. deutscher Tonk.'
(1909).— Publ. works: Op. 1, 2, 3, sonatas f.
clavecin and violin; op. 4, 5, 16, 17, sonatas
f. clavecin solo; op. 6, 8, clavecin-trios; op.
9, 10, 11, 12, 18, clavecin-concertos; op. 13,
Concerto pastoral f. clavecin; op. 14, 15, 6
'symphonies' f. clavecin, violin, and 2 horns.
(The same works repr. by Hummel in Amster-
dam with different op.-numbers.) A 'Sing-
spiel/ Le Garde-chasse et le Braconnier, was
prod, in Paris (1765) with little succ.
Schoeck, Othmar, talented German con-
temporary composer. — Publ. works: Op. 1,
Serenade for small orch.; op. 2-15, songs;
op. 16, vl. -sonata in D; op. 18, Der Postilion
for tenor solo, male ch. and orch.; op. 21,
vln.-concerto in Bb; op. 22, Dithyrambe for
double ch. and orch.; op. 23, str. -quartet in
D. An opera, Erwin und Elvire, was com-
pleted in 1916.
Schoe'nefeld, George, son of Henry S.;
b. Chicago. June 24, 1887. Pupil of his
father in pf. and harm, until 1908; then st.
pf. with Martin Krause in Berlin (1908-9),
Marc de la Nux in Paris (1909-10) and Har-
old Bauer, also in Paris (1911). Becoming
interested in the harpsichord and clavichord,
he taught himself those instruments, and
made his d£but at Los Angeles on June 13,
1913, as a harpsichord-player in a program of
early English, Italian, French and German
comps. (Bach's Chromatic Fant. and Fugue);
devotes himself exclusively to recitals of
early music; has made several tours of the
Pacific Coast. His clavichord is one of
those made by Arnold Dolmetsch (q. v.) in
the C bickering factories; his harpsichord is
an ferard (Paris).
~ Schoe'nefeld, Henry, b. Milwaukee, Wis.,
Oct. 4, 1857. Pianist; pupil, 1875-8, at Leip-
zig Cons., of Coccius and Papperitz (pf.),
Hermann (vln.), Richter (theory), Reinecke
and Grill (comp. and instr.), and Schradieck
(cond.). In 18/8-9 he studied with E. Lassen
at Weimar (comp.), and settled in Chicago,
after a pianistic tour through Northern Ger-
many, as a teacher and composer; 1891-1902,
cond. of the 'Germania Mannerchor.' In
1904 he moved to Los Angeles, where he is
cond. (since 1911) of the 'Germania Turn-
Verein' and the 'Women's Symph. Orch.'
In 1915 he was the fest. cond. of the first
'Pacific Sangerfest' at Los Angeles, where his
own chorus (Germ. Turn-Verein) won both
Kaiser-trophies (silver cups given by the
emperors of Germany and Austria). He is
one of the first Amer. composers who recog-
nized the artistic possibilities of the employ-
ment of Indian themes, his Suite caractSristique
(op. 15) having been written before the ad-
vent of Dvorak in the U. S. — Publ. works:
Suite earacUristique f. string-orch. (op. 15);
vl. -sonata in G m. (op. 53; won Marteau
prize, 1898); vl.-concerto in D m. (op. 59);
Evening Bells for women's vcs., pf. and bells;
for piano, Impromptu and fitude; Liebeslied;
Polonaise gracieuse; Little Soldiers1 March;
Kleine Tanz-Suitc; Danse amiricaine; Chil-
dren's Festival; Valse tttgante; Deutscher
Walter; Mystics of the Woods; Rondo elegante,
In the rosy month of June; Valse noble, Land-
ler. — Unpubl. works: The Three Indians, ode
f. solo, male ch., and orch.; Salvumfac regent
for ch. and orch.; Easter-Idyl for soli, ch. and
orch.; a pf. -concerto; 2 Impromptus for str. -
orch.; Rural symphony (won $500 prize,
Nat. Cons., N. V., 1892); Springtime sym-
§hony; 2 overtures, In the Sunny South and
'he American Flag; heroic fantasy Liberty,
Serenade and Intermezzo; Air; Gypsy Melo-
dies; American Rhapsody; 2 Indian Legends;
Album-Leaves, suite; Festival March [all f.
orch.]; a pantomime-ballet, Wachicanta (on
Indian themes); a 3-act grand opera (on an
Indian subject); also pf. -music, violin-music,
choruses, songs.
Schcelcher, Victor, b. Paris, July 21, 1804;
d. there Dec. 24, 1893. A French radical
statesman, from 1876 member of the national
Senate. During the second Empire he lived
in England, became an enthusiastic admirer of
Handel's music, and in 1857 publ. The Life
of Handel in an inadequate Engl, transl. from
the original French MS. He later presented
his fine coll. of Handeliana, and another of
mus. instrs., to the Paris Cons.
Scholtz, Hermann, b. Breslau, June 9,
1845. Pupil there of Brosig; 1865-7, of K.
Riedel and Plaidy at Leipzig, then repairing,
on Liszt's advice, to Munich, studying under
v. Billow and Rheinberger at the R. School of
Music, in which he taught 1870-5; since then
in Dresden, being app. 'R. Saxon Chamber-
837
SCHOLZ—SC HON BERG
virtuoso' in 1880, and R. Prof, in 1910. An
accomplished pianist (especially fine in Cho-
pin), admirable teacher, and a composer of
merit. — Works: Op. 51, pf.-trio in F m. For
pf.: Op. 20, Albumblatter, followed by Mdd-
chenlieder (op. 37) and Lyrische Blatter (op.
40), a series of delightful lyrics; op. 22, Traum-
hilder; op. 44, sonata in G m.; op. 60, Stim-
mungsbilder; op. 66, Ballade; pp. 73, Passa-
caglia in D m. — A pf. -concerto is MS. — Care-
ful edition of Chopin's works for piano (Ed.
Peters) ; also of Heller's fetudes (op. 45, 46,
47) and Brahms's pf. -concerto (op. 15).
Scholz, Bernhard E., b. Mayence, March
30, 1835; d. Munich, Jan., 1917. Dramatic
composer; pupil of Ernst Pauer at Mayence,
and (1855) of Dehn at Berlin. In 1856,
teacher at the R. School of Music, Munich;
1859-65, court Kapellm. at the Hanover
theatre; 1865-6, cond. of the Cherubini Soc.,
Florence; then lived in Berlin; conducted the
concerts of the Breslau Orchestral Society,
1871-83, and on April 1, 1883, succeeded Raff
as Director of the Hoch Cons., Frankfort;
from 1884 also cond. of the 'Ruhl'scher Ge-
sangverein.' He retired in 1908, and lived
then for several years in Florence. He was
Dr. phU. hon. causa (Breslau Univ.); Royal
Prussian ProCessor; etc. — Works: The operas
Carlo Rosa (Munich, 1858); Ziethen'sche
IJusaren (Breslau, 1869); Morgiane (Munich,
1870); Golo [or Genovefa] (Nuremberg, 1875);
Der Trompeter von Sdkkingen (Wiesbaden,
1877); Die vornehmen Wirte (Leipzig, 1883);
Ingo (Frankfort, 1898); Anno 1757 (Berlin,
1903); and Mirandolina (Darmstadt, 1907).
Choral works w. orch.: Op. 16, Requiem (soli
and ch.); op. 17, Des Stingers Wiederkehr
(double ch. w. wind-instrs.); op. 58, Stand-
chen an eine Verlassene (male ch. w. str.-
instrs.); op. 59, Das Siegesfest (soli and male
ch.); op. 61, Das Lied von der Glocke (soli and
mixed ch.); op. 66, Silvesterglocken (mixed
ch.); op. 73, Tiirmerlied (male ch.); op. 75,
Lebenslied (cantata for soli and mixed ch.);
op. 85, Der Wald (soli and male ch.); Media
Vita (no op. -number; cantata for ten. solo
and mixed ch.). For orch.: Op. 15, overture
to Goethe's Iphigenie auf Tauris; op. 21,
Im Freien, Konzertstiick in form of an overt.;
op. 35, Capriccio for pf. and orch. ; op. 37,
Capriccio alVOngarese tor vcl. (also arr. for vl.)
and orch.; op. 57, pf. -concerto in B; op. 60,
Symphony in Bl>; op. 74, Wanderung, suite
(5 movems.); op. 80, Symphony in A m.
Chamber-music: Op. 47, Str.-quintet in E m.;
2 str.-quartets (op. 46, G; op. 48, A m.); op.
79, pf.-quartet in F m.; 2 pf.-trios (op. 26,
E m.; op. 83, A m.); 3 vl. -sonatas (op. 3, Et»;
op. 20, C; op. 55, A m.); 5 vcl.-sonatas (op.
5, F; op. 14, D m.; op. 19, C and G; op. 81,
A m.). Numerous pf.-pcs., choruses and
songs. — Writings: Lehre van Kontrapunkf
und der Nachanmung (1897); Wohin treiben
wir? (1897; coll. of essays); Musikalisches
und Personliches (1899); Verklungene Weisen
(1911). Ed. Dehn' s Lehre vom Kontrapunkt.
Kanon und der Fuge (1859; 2d ed. 1883).
Schdn, Moritz, b. Kronau, Moravia, 1808;
d. Breslau, April 8, 1885. Violinist; pupil of
Hubert Ries, Karl M tiller and Spohr; after
touring Germany and Holland, he settled in
Breslau, acting as theatre- Kapellm., 1835-41,
and founding a school for violin-playing. —
Works: Praktischer Lehrgang fur den Vio-
linunterricht; 12 Lessons for Beginners, op.
26; violin-duets (studies); Der Opemfreund,
Der Sonntagsgeiger; Erholungsstunden; etc.
Schonberg, Arnold, b. Vienna, Sept. 13,
1874. Until his twentieth year, entirely self-
taught; then studied with his brother-in-law,
Alexander von Zemlinsky. Unable to gain
a hearing for his works in Vienna, he went to
Berlin in 1901; there he met H. von Wolzo-
gen, F. Wedekind and O. Bierbaum, who were
just launching their 'Oberbrettl' (a sort of
artistic cabaret), which created quite a sen-
sation, and S. accepted the position of Ka-
pellm.; after a little more than a year public
curiosity had been satisfied, and upon R.
Strauss's recommendation S. obtained a
position as teacher at Stern's Cons.; but
failed to attain his main object, the per-
formance of his own works, and returned in
1903 to Vienna. There he met Gustav
Mahler, who took a lively interest in the man
and his works; M.'s will was law, and, con-
sequently, singers had to sing S.'s songs
(op. 1, 2, 3, 6), the Rose-Quartet performed
the sextet Verklarte Nacht (op. 4), the str.-
quartet in D m. (op. 7) and the Kammer-
symphonie in E (op. 9), and the newly-founded
'Vereinigung schaffender Tonkunstler* was
asked to produce the symph. poem PeUeas
und Melisande (op. 5). Each of these works
contained passages of great beauty that gave
proof of real talent, and expectation ran high;
S. found himself suddenly famous, and pupils
began to flock to him; in 1910 he was app.
teacher of comp. at the 'k. k. Akademie fur
Tonkunst.' The new works, however, did
not fulfill expectations, and in 1911 S. again
tried Berlin, settling there as private teacher;
this time he was successful, soon gathering a
small, but very enthusiastic circle of admirers,
who began an effective propaganda. Since
then he has given full rein to his originality,
employing harmonies and a style of orches-
tration far in advance of any known system;
neither does he allow the flight of his imagina-
tion to be hampered by material or mechani-
cal considerations; e.g., his Gurrelieder is
scored for 5 solo voices, a recitator, 2 choruses
(of 8 and 12 parts, resp.), and 114 orchl.
838
SC HONBERGER— SCHOTT
parts! — Besides the works mentioned he has
written songs w. orch. (op. 8); a second str.-
quartet in F# m. (op. 10); pf.-pcs. (op. 11, 17,
19); a capp. choruses (op. 13); songs w. pf.
(op. IS); 5 pes. for orch. (op. 16); Pierrot
Lunaire, melodrama for recitation (op. 21).
A second Kammersymphonie remains un-
finished; his latest work, Envarlung, a mono-
drama, is not yet publ. His Harmonielehre
(1911) is a peculiar mixture of antiquated
theories and ultra-modern extravagances. —
Cf. A. S., a coll. of essays by 11 admirers
(Munich, 1912); E. Steinhard, Die Kunst
A. S.'s, in 'Neue Musikzeitung' (1912, No.
18); A. E. Hull, S. Explained, in 'Monthly
Mus. Record' (Mar.-July, 1914); J. G.
Huneker, S., in Ivory. Apes and Peacocks
(New York, 1915) ; E. Wellesz, 5. and Beyond,
in 'Mus. Quart.1 (Jan., 1916).
Sch5n'berger, Benno, b. Vienna, Sept. 12,
1863. Pianist, pupil of Anton Door (pf.),
Bruckner (cpt.) and Volkmann (comp.) at
Vienna Cons., which he left in 1874, play-
ing that autumn with the Hellmesbereer Quar-
tet, giving recitals, etc.; then studied with
Liszt, and again with^ Door. Concert-tour
in 1878 through Russia, Germany, Austria
and Belgium; in 1879 he played at Dresden,
Leipzig, Frankfort, etc. ; in 1880 gave re-
citals in Berlin; taught in Vienna till 1885;
since then in Sweden (1886) and London.
American tour, 1894. Since then he has
appeared frequently in England as ensemble-
player (with Ysaye and Gerardy), and toured
Europe with the famous Schubert singer
Gustav Walter; for a time he also taught at
the R. A. M. Since 1912 he has been cond.
of various travelling opera-companies- in
England. — Works: 3 sonatas, 3 Rhapsodies,
2 Silhouettes, Phantasiestucke, Novelletten,
Bolero, Polonaise, Waltz in At>, f. pf.; also
over 40 songs (Stevens: Boston).
Schon'dorf, Johannes, b. Rebel, Meck-
lenburg, July 1, 1833; d. Giistrow, Oct. 4,
1912. Pupil 1850-4 of the Stern-Kullak
Cons., Berlin; from 1864, organist of the Pfarr-
kirche at Giistrow, singing-teacher at the
Cathedral School, and cond. of the 'Gesang-
verein.' — Works: Vaterldndische Gesange for
mixed voices, op. 18-20, and f. male ch., op.
21; Kaiserhymne; school-songs; pf. -pieces.
Sch&n'feld, Hermann, b. Breslau, Jan.
31, 1829, where he was cantor of the St. Maria
Magdalenakirche, and R. Mus. Dir. Publ.
organ-music, school-songs, and 42 chorales a 4
for singing in schools; his cantatas, motets,
etc., also a symphony, 3 overtures, a pf.-trio,
and a violin-sonata, have been repeatedly per-
formed.
Schttnstein, Karl, Freiherr von, b. Ofen,
June 26, 1797; d. Vienna, July 16, 1876. A
high official of the Austrian government, he
was in early life a celebrated concert-si nger;
one of the first and finest interpreters of Schu-
bert, who dedicated to him the cycle Die
schone Miillerin.
Scho'penhauer, Arthur, the great philoso-
pher; b. Danzig, Feb. 22, 1788; d. Frank-
fort-on-Main, Sept. 21, 1860. Although his
excursions into the realm of music are neither
remarkable nor very valuable, they are sug-
gestive, and have inspired a number of valu-
able contributions by modern investigators,
especially in the field of musical esthetics.
Wagner was influenced to a considerable ex-
tent by S.'s philosophical system. — Cf. K.
Fuchs, Praliminarien tu etner Kritik der
Tonkunst (Greifswald, 1870); F. von Haus-
egger, R. Wagner und A. S. (Leipzig, 1878;
2d ed. 1892); H. Dinger, Die Weltanschauung
Wagners in den Grundgedanken ihrer Ent-
wickelung (Leipzig, 1893; traces especially
the influence of Hegel and S.); M. Seydel, A.
S.'s Metaphysik der Musik (Leipzig, 1894);
E. Zoccoli, VEstetica di A. 5. (Milan, 1901);
G. Melli, La Filosofia di S. {Florence, 1905;
treats of the relations between S. and Wagner) ;
Th. Lessing, 5., Wagner, Nietzsche (Munich,
1906); A«Macklenburg, S. und seine Slellung
zur Musik, in 'Die Musik' (vol. 29; Dec.,
1908); A. von Gottschalk, Beethoven und 5.
(Blanckenburg, 1912).
Schott, Anton, famous dramatic tenor; b.
Schloss Staufeneck, Swabian Alp, June 25,
1846; d. Stuttgart, Jan. 8, 1913. He was an
artillery officer in a Wtirttemberg regiment
1865-71; after the French campaign he
studied with Frau Schebest-Strauss, at the
end of 1871 was eng. at the Munich opera,
sang lyric rdles at the Berlin opera 1872-5,
ana was eng. as leading tenor atSchwerin
and Hanover, making many concert-tours
(to London in 1879) ; went to Italy with Neu-
mann's Wagner troupe in 1882; from 1884-7
he sang at the M. O. H.; Amer. debut as
Tannhauser on Nov. 17, 1884, the opening
night of the first season of German opera un-
der Dr. Leopold Damrosch. After his return
to Europe he sang only as star by special en-
gagement, and on the concert-stage. He
excelled as a Wagner interpreter. He publ.
Hie Welf, hie Waibling (1904; polemical).
Schott. B. Schott's Sdhne, one of the
largest and most important music-publishing
firms in the world, was founded by Bernhard
Schott (d. 1817) at Mayence in 1773. After
his death the business was carried on by his
sons Andreas (1781-1840) and Johann Joseph
1782-1855) under the firm-name of 'B.
Schott's Sdhne.' The present proprietors
of the Mayence house and the London
branch are Franz von Landwehr and Dr. L.
Strecker. The branches at Paris and Bnis-
839
SCHRADIECK— SCHRODER
sels, 'Schott freres,' are under independent
management. Among their valuable pub-
lications, numbering nearly 30,000, are some
of Beethoven's later works (Ninth symphony,
Missa solemnis), Wagner's Meister singer, Ring
des Nibelungen, and Parsifal, and nearly all
the operas of Donizetti, Rossini, Auber, and
Adam. — Cf. W. Altmann, R. Wagners Brief-
wechsel mit seinen Verlegern (Leipzig, 1911;
vol. ii contains corresp. with S.).
Schra'dieck, Henry, noted violinist;
born Hamburg, April 29, 1846; d. New
York, March 25, 1918. Taught at first by
his father; from 1854-8 by Leonard at the
Brussels Cons.; from 1859-61, by David at
Leipzig. In 1863 he became leader of the
'Pnvatkonzerte' at Bremen; teacher at the
Moscow Cons., 1864-8; then leader of the
Philharmonic Concerts at Hamburg, and from
1874-83 leader (with R6ntgen) of the Ge-
wandhaus Orch. and the theatre-orch. at
Leipzig, also teaching for a time at the Cons.
From 1883-9 he was prof, of violin-playing at
the Cincinnati Coll. of Music and cond. of the
Symph. concerts; returned to Germany as
leader of the Hamburg Philharm. Soc.; he
then went to New York, became head violin -
prof, at the National Cons., later at the S.
Broad St. Cons., Philadelphia; also at the
Inst, of Applied Music in N. Y. An excel-
lent teacher, he publ. valuable technical
studies for violin: 25 grosse Studien fur Geige
allein, Scale-studies, Technical Studies; Guide
to the Study of Chords; Finger-exercises;
The First Position; Schule der Violintechnik
(3 parts; also adapted for viola).
Schreck, Gustav, b. Zeulenroda, Sept. 8,
1849; d. Leipzig, Feb., 1918. Pupil of
Plaidy, Papperitz and Jadassohn at Leipzig
Cons., 1868-70; taught for 3 years in
the gymnasium at Wiborg, Finland; then
settled in Leipzig as a teacher and com-
poser. App. teacher of theory and com p. at
Leipzig Cons, in 1887; and succeeded W.
Rust in 1892 as mus. dir. and cantor, and
cond. of the Thomanerchor.' In 1898 he was
made Prof.; in 1909 Dr. phil. (hon. c.) by the
Univ. of Leipzig on the fifth centenary of its
foundation, for which he had written the
Festkantate. — Works: Vocal w. orch.: Op.
26, Christus der Auferstandene, oratorio; op.
4, Im Walde (ten. solo and male ch.); op. 6,
Konig Fjalar (soli and male ch.); op. 8, Der
Falken-Rainer vom Oberland (do.); op. 10,
Begriissung des Meeres (male ch.); op. 19,
Salvumfac regent (do.) ; op. 35, GoU ist dieLiebe
(soli, mixed ch. and org.); op. 42, Pfingst-
gesang (sop. solo, fern. ch. and str.-orch.). —
Op. 9, sonata in Et> for bassoon and pf.; op.
13, do. in F for oboe and pf.; op. 22, Fantasie
und Doppelfuge for org. and orch.; op. 40,
Divertimento (nonet) for 2 fls., ob., 2 clars.,
2 horns and 2 bassoons; motets a capp. ;
male and mixed choruses; pf.-pcs.; songs.
Schreiber [shri'-]» Friedrlch Gustav, b.
Bienstedt, Gotha, Aug. 5, 1817; d. Muhl-
hausen, Thuringia, July 14, 1889. Pupil of
E. Kast and L. Gebhardt in Erfurt; 1840-7,
teacher of organ at the 'Natl. Musikinst.'
in Prague; settled in Erfurt in 1851 as munic.
music-dir. and cantor at St. Blasius's; from
1864 org. there; founded and cond. a choral
soc. with which he prod, oratorios. Publ.
Borussia for male ch. and orch.; Pestaloxssi-
Kantate and Der deutsche Geist for soli, male
ch. and orch.; songs. In MS., an oratorio,
Der JUngling zu Nain; a cantata, Fruhlings-
feier; symphonies and overtures; psalms,
motets; pf.-pcs.
Schreker [shreV-], Franz, born Monaco,
Mar. 23, 1878. Pupil of R. Fuchs in Vienna;
founder (1911) and cond. of the 'Philhar-
monischer Chor' in Vienna; since 1912 also
prof, of comp. at the 'k. k. Akademie fur
Tonkunst.' A talented composer. — Works:
The operas [texts by S.] Der feme Klang
(Frankfort, 1912), Das Spielwerk und die
Prinzessin (Vienna, 1913); recently com-
pleted, but not yet prod., Der rote Tod, Dvt
Gegenpartie and Die Geseichneten; the pan-
tomimes Der Geburtstag der I nf an tin, Pans-
tdnte, Der Wind; op. 6, Psalm 116 for 3-part
fern, ch., org. and orch.; op. 8, Intermezzo
for str.-orch. ; op. 11, Schwanengesang tor ch.
and orch.; op. 12, Ekkehard, symph. over-
ture ; Nachtstuck for orch . ; Vor spiel su einem
Drama; about 50 songs.
Schrems, Joseph, b. Warmensteinach,
Upper Palatinate, Oct. 5, 1815; d. Ratisbon,
Oct. 25, 1872, where he was Kapellm. of the
cathedral 1839-71. He revived the perform-
ances of early church-music; edited 'Musica
divina' after Proske's death, and was an ex-
cellent teacher; among his distinguished
pupils were M. Haller, G. Weber, F. Witt and
F. ICoenen. Through his efforts the cathedral
library gradually came to possess one of the
largest collections of early church-music in
existence.
Schroder, Alwin, born Neuhaldensleben
(Magdeburg), June 15, 1855; eminent 'cellist,
and, as such, self-taught. At first he had
piano-lessons with his father and brother
Hermann, later with J. B. Andra at Ballen-
stedt; then took up the violin under De Ahna
at the Berlin Hochschule, studying theory
under Tappert, and likewise prosecuting his
'cello practice so successfully as to become 1st
'cello in Liebig's 'Konzert-Orchester' in
1875. After occupying similar positions
under Fliege and Laube (Hamburg), he went
to Leipzig (1880) as his brother Karl's assis-
tant, succeeding him in the Gewandhaus,
theatre and Conservatory, in 1881. Later he
840
SCH rOder— sch rOder-devrient
II
also joined the Petri Quartet. In 1891 he
came to Boston as solo 'cellist of the Boston
S. O. and member of the Knetsel Quartet,
holding the former position till 1903, and the
latter till 1907; then went to Frankfort-on-
Main as solo 'cellist of the Museum Orch.
and as H. Becker's succ. at the Hoch. Cons.,
but returned to Boston in 1908; from 1908-10
'cellist of the Hess-Schrdder Quartet; 1910-
12, again solo 'cellist of the Boston S. O.
Since 1915 he has been with the Margulies
Trio (New York) and the Boston String-
Quartet (S. Noack, O. Roth, E. Ferir, S.;.
As a player of chamber-music he has no su-
perior among living 'cellists, and as a soloist
lie also stands in the first rank. His instru-
ment is one of the finest specimens of Amati's
art. He has publ. Andes de Violoncelle,
Technische Studien, Neue Tonleiter-Studien,
Kammermusikstudien (3 books), Klassisches
Album (2 books), etc.
Schrd'der, Hermann, born Quedlinburg,
[uly 28, 1843; d. Berlin, Jan. 31, 1909. Vio-
inist, pupil of A. Ritter at Magdeburg;
from 1885, teacher at the R. Inst, for Church-
music, Berlin; also had a music-school of his
own. — Works: Orchl. and chamber-music for
instructive purposes (op. 8, Seeks instruktive
Quartette; op. 12, Drei kleine Trios, etc.);
a Method f. violin, Die Kunst des Violin-
spiels; Klassisches und modernes Reperto-
riutn. Also wrote Untersuchung uber die
sympathischen Kldnge der Geigeninstrumente
(1891); Die symmetrise he Umkehrung in der
Musik (1902); Ton und Farbe (1906).
Schrd'der, Karl, brother of preceding; b.
Quedlinburg, Dec. 18, 1848. Distinguished
'cellist and composer; pupil of Drechsler at
Dessau, and Kiel at Berlin. At 14 he joined
the court orch. at Sondershausen as 1st
'cello; taught in the Cons.; and organized
the 'Schroder Quartet' with his brothers
Hermann, Franz and Alwin, in 1871. In
1873 he became 1st 'cello in the Brunswick
court orch.; in 1874 he succeeded Hegar as
solo 'cellist in the Gewandhaus Orch. and the
theatre-orch. at Leipzig, also teaching at the
Cons, and making tours. Going to Sonders-
hausen in 1881 to replace ErdmannsdSrfer
as court Kapellm., he founded a flourishing
Cons., which he sold in 1886 to his successor,
Adolf Schultze, himself conducting the Ger-
man Opera at Rotterdam for one season,
then the Berlin Court Opera until 1888,
the Hamburg Opera (as Sucher's successor)
till 1890, finally returning to Sondershausen
under a more favorable contract as court con-
ductor and Director of the 'Ftirstliches Kon-
servatorium'; resigned in 1907, living for
some time in Leipzig, Frankenhausen and
Dresden, appearing as cond. of orchl. concerts.
Since 191 1 he has been prof, of 'cello at Stern's
Cons, in Berlin. Made Prof, in 1885, Hofrat
in 1907. — Works: The 3-act opera Aspasia
(Sondershausen, 1892; rewritten as Die
Palikarin, Posen, 1905) ; a 1-act opera, Der
Asket (Leipzig, 1893); the operetta Malajo
(Bunzlau, 1887; succ); 2 cello-concertos
(op. 32, Dm.; op. 36, C); 4 'Konzertstticke'
for vcl. and pf. (op. 38, 51, 56, 68); a str.-
trio in F "(op. 80); 2 str.-quartets (op. 88,
D m.; op. 89, C); numerous minor pes. and
excellent studies (op. 40, 44, 45, 46, 63, 66,
74, 76); also a method, Praktische Violon-
cellschule (op. 34), and ed. several colls, of
classical pieces, especially the Vortragsstu-
dien (Bach, Handel, Rameau, Corel li, Cou-
perin, etc. 160 pes.]). He has written Fuhrer
durch den Violoncellunterricht (1880); Kale-
chismus des Dirigierens und Taktierens (1889),
do. des Violinsptels (1889; 3d ed. 1911), do.
des VioloneeUspiels (1890) [all in Engl. tr. by
J. Mathews (1896, '93, '95, resp.)].
Schrd'der, Konrad (Gustav Ferdinand),
b. Marienwerder, W. Prussia, July 7, 1850.
Private pupil there of Frl. A. Genzmer (pf.)
and F. Leder (theory); studied 1871-4 in
Kullak's Acad., Berlin (pf. under Th. Kul-
lak), also taking private lessons in strict
comp. of O. Kolbe, and teaching in and out
of the Academy. — Works: The 1-act comic
opera Du droggst de Pann weg (Schwerin
Court Th., Mar. 15, 1897; the first 'Low
German' opera [after Fritz Reuter], and v.
succ.); has publ. about 50 songs (many sung
in public), 'ueistliche Arien' (op. 3 and 26),
Psalm 171 for 3-part fern. ch. (op. 41), etc.
Schroder-Devrient [-du-vr'yahn'], Wil-
helmine, famous dramatic soprano; b. Ham-
burg, Dec. 6, 1804; d. Koburg, Jan. 26, 1860.
Her father, Friedrich Schroder, was a bari-
tone singer, and her mother an actress; she
herself played children's parts, and was an
actress until her 17th year. Her father died
in 1818, and her mother was eng. at the Hof-
burg Th., Vienna, where J. Mazatti was her
singing-teacher; her debut in The Magic
Flute at the Hofburg Th., 1821, was trium-
phantly successful; as Agathe in Der Frei-
schutz she wholly won the hearts of the audi-
ence; but her grandest achievement was as
Leonore on the revival of Fidelio in 1822, her
wonderful interpretation of the part disclosing
its beauties to the most doubtful critics. In
1823 she was engaged at the Court Opera in
Dresden, and married the actor Karl Devrient
(divorced 1828) ; until her retirement in 1847
she was always connected with that theatre,
with brief interruptions during seasons in
Paris, London (1832, '33 ,'37), and elsewhere.
An offer to visit America in 1858 she had to
decline because of the poor state of her health.
Her vocal technic was not above criticism,
but her dramatic fervor was irresistible.
841
schrOder-hanfstangl— schubaur
Among her finest impersonations were Pre-
ciosa, Euryanthe, and Rezia (Weber) , and
Senta and Venus (Wagner); she created the
r61e of Adriano Colonna in the latter's Rienzi
(Oct. 20, 1842), Senta in Der fliegende Hoi-
lander (Jan. 2, 1843), and Venus in Tann-
hduser (Oct. 21, 1845).— Bibliography: C.
von Glilmer, Erinnerungen au W. S.~D. (Leip-
zig, 1862; repr. in Reclam's ed., 1904); A.
von Wolzogen, W. S.-D. (Leipzig, 1863); G.
Bonacci, G. S.-D. e Gasparo Spontini (Rome,
1903); K. Hagemann, W. S.-D. (Berlin,
1904); E. Schur6, Pricurseurs et revokes
(Paris, 1904); Anon., Les MSmoires d'une
chanUuse allemande (Paris, 1913; seems to
be transl. of an original never publ.). See
also Richard Wagners Ober Schauspieler und
Sanger (dedicated to her memory), in vol. ix
of his 'Ges. Schriften und Dichtungen/ and
his numerous references to her in Mein Leben
(Munich, 1911).
Schro'der-Hanf 'stangl. See Hanfstangl.
Schr5'ter, Christoph Gottlieb, noted or-
ganist and theorist; b. Hohenstein, Saxony,
Aug. 19, 1699; d. Nordhausen, Nov., 1782.
Chorister under Schmidt, and pupil of the
Kreuzschule, Dresden. In 1717 he began the
study of theology in Leipzig, but in the same
year became Lotti's music-copyist at Dres-
den; travelled 1720-4 in Germany, Holland
and England with a German baron; lectured
on music at Jena Univ., became organist at
Minden in 1726, and at Nordhausen in 1732.
— Works: 7 sets of church -cantatas for the
entire church-year; a Passion, Die sieben
Worte Jesu, for which he wrote the poem;
4 other Passions; secular serenades and can-
tatas; symphonies, overtures, concertos,
sonatas; fugues and preludes f. organ; etc.
— Umstdndliche Beschreibune eines neuerfun-
denen Clavierinstruments, auf welchem man in
unterschiedenen Graden stark und sckwach
spielen kann (1763, in Marpurg's 'Kritische
Briefe' [vol. ii]), in which he claims the in-
vention, in 1717, of a hammer-action for keyed
stringed instrs., a model of which (so he says)
he laid before the Saxon court in 1721; his
claim of priority in the invention of the piano-
forte-action rests, however, on this bare
assertion (cf. Cristofori); DeuUiche An-
weisung turn Generalbass . . . (1772; the first
book to represent the major and minor triads
as the sole fundamental chords) ; Letzte Be-
schdftigung mil musikalischen Dingen; nebst
seeks Temperaturpliinen und einer Notentafel
(1782); critical and polemical letters in Miz-
ler's 'Bibliothek' and Marpurg's 'Critischc
Briefe.' — See Q.-Lex.
Schrd'ter, Corona (Elisabeth Wilhel-
mlne), celebrated soprano; b. Guben, Jan.
14, 1751; d. Ilmenau, Aug. 23, 1802. Trained
by her father, Joh. Fr. S„ she sang at Leipzig,
842
when 14, in a 'Grosses Concert/ and was eng.
there till 1771; from 1778 she was Karri mer-
sangerin to the Dowager Duchess of Weimar,
and a chief ornament of that brilliant court
until 1786, after which she sang little in
'* public. Goethe esteemed her highly as an
actress. She also publ. 2 vols, of songs ( 1 786
and 1794; repr. 1907).— Cf. Keil, C. S. Kinr
Lebensskizse . . . , being vol. ii of Vor JOO
Jahren (Leipzig, 1875); H. Duntzer, Char-
lotte von Stein und C. S. (Stuttgart, 1876);
P. Pasig, Goetke und C. 5. (Ilmenau, 1902);
H. Stiimcke, C. S. (Bielefeld, 1904). — Her
brother, Johann Samuel (1750-1788), was
pianist to the Prince of Wales and music-
master to the Queen; publ. 15 pf. -concertos,
8 pf. -trios, 3 pf. -quintets, and 6 pf.-sonatas.
— Another brother, Joh. Heinrich (b. 1762),
a violinist, lived from 1782 in London, later
in Paris; publ. pieces f. 2 violins and flute,
and f. violin and cello. — See Q.-Lex.
Schrd'ter, Leonhard, eminent contrapunt-
ist; b. Torgau, c. 1540; d. Magdeburg, 1595,
as cantor of the Altstadt school. — Extant
works: Motets a 4-8; 55 songs for German
Protestants a 4-7 (1562); and a Te Det/n?
(1576; reprinted in Vol. v of Ambroses His-
tory.— See Q.-Lex.
Schu'bart, (Christian Friedrich) Da-
niel, poet and musician ; b. Sontheim, Swabia,
April 13, 1739; d. Stuttgart, Oct. 10, 1791.
Imprisoned 1777-87 on the Hohenaspe/y for
political reasons (his 'impudence' in his paper,
'Deutsche Cronik'); then, in absurd contrast,
created court poet and theatre-director av
Stuttgart. In the prison he comp. an ope-
retta, Die gliUklichen Reisenden, a melodrama,
Evas Klage bet des Messias Tod, pf. -pieces;
in his Musicaliscke Rhapsodien (1786) are
2 cantatas, Die Macht der Tonkunst and Die
Henne; also a vocal piece, Pdtus und Arm
(poem by Anfossi), songs, pf.-pieces, etc
His son Ludwig edited S.'s Ideen zu einer
Aestfietik der Tonkunst (1806), written in the
extravagant vein characteristic of his whole
life. — Cf. Schubart's Leben und Gesinnunien
von ihm selbst, im Kerker, aufgesetzt (2 vols. ;
Stuttgart, 1791-3); F. D. Strauss, Sck.fs
Leben in seinen Brief en (2 vols; Berlin, 1849);
H. Solcher, Sch. der Gefangene auf d. Hoken-
asperg (Bamberg, 1895); E. Holzer, Sch.
als Musiker (Stuttgart, 1905). See also Q.-Lex.
Schubaur [shoo'bowr], Johann Lukas, b.
Lechfeld, Swabia, Dec. [bapt. 23], 1749; d. Mu-
nich, Nov. 15, 1815. While studying medicine
in Vienna he earned his livelihood by giving
music-lessons; began to practise in 1775 in
Neuburg, but soon moved to Munich, where
he became physician to the court and Prcs. of
the medical commission. He is musically
important as one of the earliest and most suc-
cessful representatives of the German 'Sing-
SCHUBERT
spiel.' He wrote Melida (Munich, 1781;
lost), Die Dorfdeputierten (ib., 1783), Das
Lustlager (ib., 1784; lost), Die treuen Kbhler
(ib., 1786); also comp. Psalm 107, and a
cantata, II Sacrifoio. — Cf. E. Reipschlager,
S.t Danzi und Poissl als OpernkomponiWh
(Rostock, 1911).
Schu'bert, Ferdinand, brother of the
great composer; b. Lichtenthal, n. Vienna,
Oct. 18, 1794; d. Vienna, Feb. 26, 1859, as
director of the Normal School of St. Anna.
He was devoted to his gifted brother, and in-
herited the latter's literary remains. — Publ.
a Tantum ergo, a Regina coeli, a German
Requiem a 4 w. organ, part-songs, etc.; wrote
much other church-music, a Requiem for
Franz, 2 children's operas; etc. (all MS.).
Schu'bert, Franz (Peter), one of the
most original and prolific vocal and instru-
mental composers of Germany; b. Lichten-
thal, n. Vienna, Jan. 31, 1797; d. Vienna, Nov.
19, 1828. By his father, the schoolmaster at
Lichtenthal, the gifted boy was taught violin-
playing, and by choirmaster Holzer, in ad-
dition, the piano, organ, singing and thorough-
bass, becoming first soprano in the church-
choir in his tenth year; he also composed
songs and little instrumental pieces. In 1808
he was admitted into the Vienna court choir
as a singer, and also entered the 'Convict/
the training-school for the court singers. His
teachers in theory were Ruczizka and Salieri.
He also played in the school-orchestra, finally
as 1st violin. His earliest extant song, Ha-
zars Klage (dated Mar. 30, 1811), and several
others of the period, show that Zumstceg was
his model at this time; he also continued
instrumental composition, his first symphony
being written in 1813. In this year, his
voice breaking, he left the 'Convict, but still
studied hard under Salieri, as numerous
Italian arias testify; his first mass was com-
pleted in 1814. Meantime, to escape mili-
tary conscription, he hurriedly fitted for the
post of elementary teacher in his father's
school, and taught there until 1816. Dur-
ing these three years, the future grand master
of the German Lied devoted his leisure to
obtaining a thorough mastery of vocal expres-
sion. His usual method of composition was
to jot down the melody with a sketch .of the
harmonv, and then to write out the piece in
full, following this first version by a second
for the elimination of faults; when the second
failed to satisfy him, the song was subjected to
a third, or even a fourth, revision (e. g., Erl-
konig, and Die Forelle). Such masterworks
as Gretchen am Spinnrad (Oct. 19, 1814) and
Erlkonig (1815) mark the swift and unique
development of his genius. In the latter year
he composed no less than 144 lyrics^— in one day
(Oct. 13) he wrote eight. This 'period of exper-
imentation/ as it has been called, ceases in the
conscious mastery attained in 1816-17. From
1814-16 he also composed 2 operettas, 3
Singspiele, and 3 other (fragmentary) stage-
pieces, none of which were then performed;
4 masses, other church-music, etc. In 1816
his application for the directorship of the new
State music-school at Laybach was rejected.
He left his place in the Lichtenthal school, and
thenceforward made Vienna his home, with
the exception of two summers (1818 and 1824)
spent at Zelesz, Hungary, as music-teacher in
Count Esterhazy's family. From 1817 his
friend Franz von Schober [1798-1883] gener-
ously aided him, often sharing lodgings and
purse with the struggling artist. Through
nim, S. became acquainted with the famous
tenor Michael Vogl, one of the first and great-
est interpreters of his songs; through his
influence S.'s mus, farce, Die Zwillingsbruder%
was brought out at the Karnthnerthor Th. in
1820, but made little impression. In 1821,
however, when he had already written over
600 compositions, his Erlkonig was sung at a
public concert of the 'Musikverein' with
great applause, and others followed at other
concerts; so that Cappi and Dia belli were
induced to publish on commission 20 songs
(Erlkonig was the first) which were so success-
ful that Diabelli assumed the risk of further
publications; from 1826 his songs and piano-
music had good sales. In 1822 he refused
the proffered position of organist at the court
chapel ; but all subsequent efforts to obtain a
salaried post were unsuccessful; that of Vice-
Kapellm. to the court, for which he applied
in 1826, was given to Weigl; his friends failed
to obtain a similar position for him in Ham-
burg; and the conductorship of the Karnth-
nerthor Th. was also refused him in 1827.
Not until March 26, 1828, did he give a public
concert of his own works (the Eb trio, a move-
ment from the D m. quartet, songs, etc.),
which was an artistic and pecuniary success.
Excepting such^ occasional and momentary
good fortune, his life was a continual battle
For the daily means of subsistence; although
his genius was fully recognized by musicians
like Salieri, Weigl, and the singer Vogl, and
his songs were highly praised by Beethoven,
he was wretchedly underpaid by his publishers,
and his greatest works were almost totally
neglected. His wonderful gifts, and genial
and buoyant disposition, won many friends;
chief among them the poet Mayrhofer, the
family von Sonnleitner (at whose house S.'s
compositions were often performed long be-
fore their introduction to the public), Baron
von Schdnstein (whose singing aided in bring-
ing S.'s lyrical songs into vogue), Moritz
Schwind and Anselm Huttenbrenner. Two
visits which S. paid to Beethoven are re-
corded; but they were never intimate. For
843
SCHUBERT
months previous to his death, S. had been
failing; his final illness was brought to a fatal
termination by an attack of typhus. He was
buried, at his own desire, in the 'Ostfriedhof
at Wahring, his grave being the third from
Beethoven's. When, in 1888, the remains of
both masters were transferred to the 'Zentral-
friedhof the new graves also were only a few
feet apart. In 1897 Brahms was buried close
by. In 1872 a statue of S. (by Kundmann)
was unveiled in the Vienna Stadtpark.
Schubert was the least 'schooled* of all great
German musicians. For this lack of training,
his keen musical intuition and inexhaustible
resources of melody amply compensated. He
is one of the grandest 'impressionists' of all
time. The spontaneity and fecundity of his
song-composition are not more astounding
than the perfection with which the music —
melody and accompaniment— fit the poem.
He is regarded as the creator of the modern
German Lied. His known songs for solo
voice with pf.-accomp. number 603. As to
his alleged carelessness in choice of subjects for
musical setting, the fact is that he took 72
poems by Goethe, 46 by Schiller, 44 by Wil-
helm Miiller, 28 by Matthison, 23 by Holty,
22 by Kosegarten, 13 by Korner, etc. — that
is, the best at his command. He also set 47
poems by Mayrhofer and 12 by v. Schober,
both his warm personal friends. Of Heine
(then a newcomer) he composed only 6 num-
bers (in the 'Schwanengesang'). Equally
genial is his transference of the 'Liedform'
to the pianoforte in the 'Moments musicaux'
and Impromptus — a miniature form of piano-
composition extensively copied. In larger
forms, his symphony in C, and the unfinished
symphony in B minor, are equal to the best
after Beethoven — and S. was but 31 when he
died.
A complete critical edition of Schubert's
works in 40 vols (21 series), edited by E.
Mandyczewski (assisted by Brahms, Brtill,
Hellmesberger, J. N. Fuchs, etc.) was publ.
from 1888-97 by Breitkopf & Hartel, in
whose 'Mittheilungen,' Nos. 28, 36, and 43,
may be found full lists of his instrl. and vocal
music, and songs for one voice, respectively.
Nottebohm's 'Thematic Catalogue' (1874)
and Grove's Dictionary, may also be consult-
ed. Since the publication of the monumental
edition Max Friedlander discovered the MS.
of about 100 lost songs, which were first publ.
in Peters' complete ed. of the songs (7 vols.).
Among numerous editions of S.'s favorite
songs with English translations, that publ.
by G. Schirmer, New York, is decidedly the
best
BIBLIOGRAPHY, a. biography: H.
Kreissle von Hell born, F. 5., eine biograpkische
Skizze (Vienna, 1861; 2d, greatly enlarged,
ed. as F. S.t 1865; Engl. tr. by A. D. Coleridge,
844
London, 1869); H. Barbedette, F. S. Sa vie,
seseeuvres, son temps (Paris, 1866); La Mara,
F. S. in vol. i of Musikaliscke Studienkopfe
(Leipzig, 1868; 9th ed. 1894; repr. separate-
ly, 1912) ; A. Reissmann, F. S. Sein Leben und
seine Werke (Berlin, 1873); G. L. Austin,
The Life of F. S. (Boston, 1873); M. Fried-
lander, Beitragc zu einer Biographic F. S.'s
(Rostock, 1887); A. Niggli, 5. (Leipzig, 1888);
H. Ritter, F. S. (Bamberg, 1896) ; F. Skalla,
F. 5. (Prague, 1897); H. Frost, S. (London,
1899); M. Zenger, F. S.'s Wirken und Er-
denwaUen (Langensalza, 1902); R. Heuber-
ger, S. (Berlin, 1902; 2ded. 1908); E. Dun-
can, S. (London, 1905); W. Klatte, S. (Ber-
lin, 1907); L.-A. Bourgault-Ducoudray,
5. Biographic critique (Paris, 1908); H. Ant-
cliffe, 5. (London, 1910); W. Dahms, S.
(Berlin, 1912); O. E. Deutsch and L. Scheib-
ler, F. S. Die Dokumente seines Lebens und
Schqffens (4 vols.; Munich, 1913). — B. cri-
ticism, appreciation: J. Risse, F. S. in
seinen Liedern (2 vols. ; Hanover, 1872); E.
Mandyczewski, F. S.'s Werke, in series xx
of B. & H.'s complete ed. (Leipzig, 1895);
M. Friedlandler, F. S. zu seinem 100. Ge-
burtstage (Berlin, 1897); H. de Curzon, La
Lieder de F. S. (Brussels, 1899); O. E.
Deutsch, S.-Brevier (Berlin, 1905); M.
Vancsa, S. und seine Verleger (Vienna, 1905);
L. Scheibler, S. 's einstimmige Lieder mil Tex-
ten von Schiller, in 'Die Rheinlande' (1905);
A. Nathansky, Bauernfeld und S. {Trieste,
1906); D. G. Mason, The Romantic Composers
(New York, 1906); M. Gallet, S. et le Lwd
(Paris, 1907); A. Schnerich, Messe und Re-
quiem seit Haydn und Mozart (Vienna, 1909);
O. Wissig, F. S.'s Messen (Leipzig, 1909);
M. Bauer, Die Lieder F. S.'s (Frankfort,
1915). — c. catalogues, etc.: G. Nottebohm,
Thematisches Verzeichniss der im Druck er-
schiettenen Werke F. S.'s (Vienna, 1874); A.
Trost, F. S.-Bildnisse (Vienna, 1893); H.
de Curzon, Bibliographic critique de F. S.
(Brussels, 1900). Analyses of separate works
can be found in Breitkopf & Hartel's 'Kleiner
Konzertfiihrer' (Leipzig) and Kretzschmar's
Fuhrer durch den Konzertsaal (3 vols.: Leip-
zig, 1913 [4th ed.]).
Principal Works.
Dramatic: Des Tcufels Lustschloss, 3-act operetta;
Der vierj&hrige Posten, 1-act Singspiel; Fernando, 1-act
do.; Claudine von Villobella, 3-act do. (fragm.); Der
Spiegelritter, 3-act operetta; Adrast, opera (fragm.);
Die Frennde von Salamanca. 2-act Singspiel; Der Minne-
sdnger. Singspiel; all the above written 1814-1816;
none performed; Die Zwillingsbriider , 1-act farce (June
14. 1820); Die Zauberharfe, 3-act melodrama (Aug. 19,
1820); Sakontala, 3-act opera (fraRm.; comp. 1820;
not perf.); Alfonso und Estrella, 3-act opera (first prod.
Woimar. 1854, by Liszt; at Vienna 1880, rev. by
Fuchs); Die Verschworenen, oder der hdusliche Krieg,
1-act operetta (Vienna. 1861); Fierrabras, 3-act opera
(Vienna, 1861); incid. music to the drama Rosamund*
(overture from Die Zauberharfe] (Vienna, 1823); Die
BUrgschofl, 3-act opera (written in 1816; prod. byFranx
SCHUBERT— SCHUBERTH
Lachner at Pest, 1827); Der Graf von GUUhen, 3-act
opera (1827; not pcrf.); Die Salzbergwerke, opera (not
perf.).
Choral Works: 6 masses (Nos. 5 and 6 publ. in
full score) ; Deutsche Messe (i. 4-p. mixed ch. w. organ) :
oratorio Lazarus (fragm.); Psalm 92 (f. bar. solo and
mixed ch.); 2 Tantum ergo (f. 4-p. mixed ch. w. orch.);
2 Stabat Mater (4 voices w. orch.) ; several Salve regina ;
Miriams Siegesgesang (f. sopr. solo. ch. and orch.);
EraycT Vor der Schlacht (f. soli, mixed ch. and pf.;;
ymn 11 err unset Gott (f . 8-p. male ch. w. wind) ; Hymne
an den Heiligen Geist (I. 8-p. male ch. w. orch.); Mor-
gengesang im Walde (f . 4-p. male ch. w. orch.) ; Nacht-
gesang im Walde and NachlheUe (£. 4-p. male ch. w.
horns); Schlachtlied (8-p. male ch. w. pf.); Glaube,
Hoffnung und Liebe (f. mixed ch. and wind); several
occasional cantatas; numerous part-songs,
Soncs with Piano: Erlkonig, op. 1; Gretchen am
Spinnradt, op. 2; Heidenrdslein, op. 3; Der Wanderer
and Der du von dem Himmel bist, in op. 4; 3 Ges&nge des
Harfners [W. Meister], op. 12; Erster Verlust, Der Fi-
scher and Es war tin Konig in ThuU, in op. 5; the
Suleika songs, op. 14. 31; An Schwager Kronos, in op.
19; Mignon's songs [W. Meister], op. 62; Ober alien
Gipfeln ist Ruh\ in op. 96 (all the above by Goethe) ;
further, the grand song-cycles by Wilhelm MUller,
Die schdne M tiller in, op. 25, and Die Winterreise, op.
89. containing 20 and 24 numbers respectively; 7 songs
from Scott's Lady of the Lake (Frfiulein vom See), op.
52, and 9 songs from Ossian; Der Tod und das Maachen;
N&he des Geliebten; Des Made hens Klage; Grupte aus
• dem Tartarus; Nur wer die Sehnsucht kennt; Fruhlings-
glaube; Die Fertile; Du bist die Ruh'; the Barcarolle
Auf dem W asset zu singen; 6 songs by Heine, in the
Schwanengesang; and many more of surpassing beauty.
For Orchestra: 10 symphonies, of which No. 8
(the 'unfinished,' in B m.), and No. 10, in C, were men-
tioned above; 7 overtures (Nos. 2 and 5 'in the Italian
style'); violin-concerto in D; Rondo f. violin w. orch.
Chamber-Music: Octet f. strings, horn, bassoon*
and clar., op. 166; pf. -quintet in A, op. 114 (the 'Forel-
lenquintett,' w. double-bass); string-quintet in C, op.
163 (w. 2 'celli); 20 string-quartets; 2 pf.- trios; 2
string-trios; — for pf. and violin, a Rondo brillant in
B m.. op. 70; a Phantasie in C, op. 159; a sonata in A,
op. 162; 3 sonatinas, op. 137; — Nocturne f. 'cello and
pf., in Et», op. 148; Introd. and Vars. f. flute and pf.,
op. 160.
For Piano (2 hands): Over 20 sonatas (incl. op. 42,
in A m.; op. 53. D; op. 78 [fantasia], G; op. 120, A;
op. 122, E!>; op. 143, A m.; op. 147. B; op. 164, Am.:
and 3 grand posth. sonatas in C m., A and Bb); 4
Impromptus, op. 90, and 4 ditto, op. 142; 6 Moments
musicaux, op. 94; Adagio and Rondo, op. 145; Fan-
tasia, op. 15, in C; sets of variations (op. 10, E m., on
a French air; op. 35, in AS> ; on a Diabelli waltz, inCm.;
op. 82, in C, on Herold's Marie; etc.); many waltzes
(op. 9, 18, 33, 50 [34 Valses sentimentales], 67 [Horn-
mage aux belles Viennoises], 77 [10 Valses nobles], 91 [12
Grdtzer Walter], etc.); Wanderer-Fantosie in C. op. 15
(arr. for pf. and orch. by Liszt); 2 Scherzi; 5 Klavier-
etUcke; etc. — For pf. 4 hands: 2 sonatas (op. 30, Bb;
op. 140, C); Divertissement d I'hongroise, op. 54; Diver-
tissement in E m., op. 63; Fantasia in F m., op. 103;
Grand rondo in A, op. 107; Notre amitii, rondo in D,
op. 138; Andantino and rondo, op. 84; Lebenssturme,
allegro caractenstique, op. 144; Fugue in E m., op.
52; Polonaises, op. 61, 75; Variations, op. 10, 35, 82;
3 Waltzes, op. 33; 4 Landler; Marches (op. 27 [3 num-
bers], 40 [6], 51 [3], 55 [Trauermarsch],66[hiroique], 121.)
Schu'bert, Franz, violinist, son and pupil
of the R. Konzertmeister Franz Anton S.
fl76cM824]; b. Dresden, July 22, 1808; d.
there April 12, 1878. Also taught by Rott-
meier and L. Haase; then, with a stipend
from the King, by Lafont at Paris. Entered
the R. orch. at Dresden in 1823; succeeded
Lipinski as 1st Konzertmeister in 1861; re-
tired 1873. — Publ. etudes f. violin, op. 3;
Duo f. pf. and violin, op. 8; a fantasia f. vio-
lin w. orch.; 2 concertanti f. violin and 'cello
(w. Kummer); etc.
Schu'bert, Johann Frledrich, b. Rudol-
stadt, Dec. 17, 1770; d. Cologne, Oct., 1811.
Violinist; mus. dir. in theatres at Stettin,
Glogau, Ballenstedt, etc. ; publ. a violin-con-
certo; a symphonie concertante f. oboe and
bassoon; violin-duos; pf. -music; — a Neue
Singschule . . . (1804); and prod, the opera
Die ndchtliche Erscheinung at Stettin, 1798.
Schu'bert, Joseph, b. Warnsdorf, Bo-
hemia, 1757; d. Dresden, 1812, as violinist
in the court orch. Extremely prolific comp.
of instrumental music, mostly MS. (publ. a
'cello-concerto, duos f. violins, pf.-sonatas,
violin-sonatas w. basso cont.); also prod. 4
operas, 15 masses, etc.
Schu'bert, Louis, violinist; b. Dessau,
^n. 27, 1828; d. Dresden, Sept. 17, 1884.
ent to Petrograd at 17; was then for 6
years Konzertmeister at K&nigsberg City
Th.; then taught and gave concerts at Kd-
nigsberg till 1872, when he settled in Dresden,
making a name as a singing-teacher. — Prod.
4 successful operettas (Aus Sibirien, Die
Rosenmadchen, Der Wahrsager, Die beiden
Geitigen) ; publ. a method f. violin, a Gesang-
schule in Liedern, songs, and violin-duos
(transcrs. from Bach).
Schu'bert, Maschinka (nte Schneider),
wife of Konzertmeister Franz S., and the
daughter of Georg Abraham Schneider; b.
Reval, Aug. 25, 1815; d. Dresden, Sept. 20,
1882. Stage-soprano (coloratura); pupil of
Bordogniat Parts; debut London, 1832; then
studied with Bianchi at Milan, and was a
member of the Dresden Opera till 1860.
Their daughter, Georgine, b. Dresden, Oct.
28, 1840; d. Potsdam, Dec. 26, 1878. Pupil
of her mother and Jenny Lind, and of Garcia
at London 1857-9; debut in La Sonnambula
at Hamburg, 1859; sang at Prague, Florence,
Berlin, Frankfort and Paris (Th.-Lyrique);
eng. 1865 at Hanover, 1868 at Strelitz. Much
applauded at a Mozart concert in London,
1875. Publ. 2 sets of songs.
Schu'berth, Julius (Ferdinand Georg),
founder of the firm of 'J. Schu berth & Co.' of
Leipzig and New York; b. Magdeburg, July
14. 1804; d. Leipzig, June 9, 1875. Estab-
lished the Hamburg business in 1826; opened
a branch at Leipzig, 1832, and at New York,
1850. His brother Friedrich Wilhelm (b.
1817) took over the Hamburg house in 1853
(firm-name 'Fritz Schuberth'). S. publ. the
'Kleine Hamburger Musikzeitung' (1840-50),
the 'New-Yorker Musikzeitung* (from 1867),
and 'S.'s kleine Musikzeitung1 (1871-2). In
1872 he founded the fine mus. library at Wei-
mar known as the 'Liszt-Schuberth-Stiftung.'
— In 1891 the business was purchased by
845
SCHUBERTH— SCHUfiCKER
Felix Siegel, the originator of the 'Musika-
lische Universalbibliothek.'
Schu'berth, Karl, eminent 'cellist; born
Magdeburg, Sept. 25, 1811; d. Zurich, July
22, 1863. Pupil of Hesse at Magdeburg, and
(1825-8) of Dotzauer at Dessau; then cellist
and concert-giver in Magdeburg, later making
long tours to Holland, Belgium, Paris and
London (1835, vying with Knoop and Ser-
vais); in the autumn of 1835 he repaired via
Konigsberg, Riga and Dorpat to Petrograd,
where his playing created such a sensation
that he was immediately eng. as soloist to the
Czar, and was for 20 years Mus. Dir. at the
Univ., cond. of the court orch., and inspector
of the training-school connected with the
court theatre. He died on a journey under-
taken for the sake of his health. — Publ. 2
'cello-concertos; various fantasias and varia-
tions f. 'cello w. orch.; 1 octet for strings
(op. 23); 2 str.-quintets (op. 15, 24), and 4
str.-quartets (op. 34, 35, 37, 40); and a 'cello-
sonata (op. 42).
Schu'biger, Anselm, b. Uznach, Canton
of St. Gallen, Mar. 5, 1815; d. Mar. 14, 1888,
at the Monastery of Einsiedeln, where he had
taken holy orders in 1835. Learned writer
on the music of the Middle Ages. — Die San-
gerschule von St. Gallen (1858); Die Pfiege des
Kirchengesangs und der Kirckenmustk in der
deutschen katholischen Sehweit (1873); Mu-
sikaliscke Spicilegien (1876; essays on Das
liturgisehe Drama des MittelalterstOrgelbau und
Orgelspiel im Mittelaltert Die ausserliturgiscken
Lieder, and Zur mittelalterlichen Instrumen-
talmusik); also papers in the 'Monatshefte
fur Musikgeschichte.'
Schuch [shfldh], Ernst von, born Graz,
Styria, Nov. 23, 1847; d. Dresden, Mav 10,
1914. Pupil of E. Stoltz and O. Dessoff;
from 1867, mus. dir. at Lobe's Th., Breslau,
later at Wurzburg, Graz, Basel (1871); cond.
Pollings Italian Opera for a time in 1872, and
then went to Dresden, where he became court
cond. in 1873, and remained uninterruptedly
active till his death; made 'Hofrat' in 1878,
'Generalmusikdir.' in 1889, and 'Geh. Hofrat'
in 1899. In 1897 the Emperor of Austria
raised him to the rank of the hereditary no-
bility. During the four decades of his sway
— he had practically unlimited authority —
the Dresden opera maintained its tradition
(established by Weber and Wagner) and
reputation as one of the finest opera-houses
in the world for general excellence in all de-
partments. S. was not only an inspired
leader, but a strict disciplinarian and un-
tiring driilmaster. He was particularly for-
tunate in his choice of novelties (Strauss's
Feuersnot, Salome, Elektra and Rosenkavalier
had their world-premieres Under bis direction)
ami engagement of young singers, who al-
most always became famous. He seldom
left Dresden, the most extensive tour ever
undertaken being to New York in the spring
of 1900 to direct 3 orchl. concerts at the M . O.
H. In 1875 he married Clementine Prosit*
(recte Prochazka; born Odenburg, Feb. 12,
1853), who was the principal coloratura so-
prano under his direction from 1873 to her
retirement in 1895. Their daughter, Liael,
has been coloratura soprano at the Dresden
opera since 1914. — Cf. L. Hartmann, E. S.
und das moderne Kapellmeister turn, in 'Nord
und Slid' (May, 1896; Breslau); P. Sakolow-
ski, E. v. S. (Leipzig, 1901).
Schucht, Jean F., b. Holzthalleben, Thu-
ringia, Nov. 17, 1822; d. Leipzig, Mar. 30,
1894. Pupil of Hauptmann and Spohr at
Kassel, and of Schnyder von Wartensee at
Frankfort; from 1868 in Leipzig as a writer,
and critic for the 'Neue Zeitschrift ftir Musik.'
— Publ. a Wegweiser in der Tonkunst (1859);
Kleines Lexikon der Tonkunst; Partituren-
kenntniss; Meyerbeer s Lebcn und Bildungsgang
(1869); Grundriss einer praktischen Harmo-
nielehre (1876); and a Life of Chopin (1880);
also pf.- pieces and songs.
Schu'ecker [shoo'ehker], Edmund, bril-
liant harpist; b. Vienna, Nov. 16, 1860; d.
Bad Kreuznach, Nov. 9, 19 1 1 . From 187 1-7
pupil at the Vienna Cons, of A. Zamara
(harp), Drill (pf.), F. Krenn and R. Fuchs
(com p.); grad. as winner of the 1st prize
class-medal, silver medal for 'Art, Diligence,
Morality' and the diploma for 'artistic ma-
turity.' From 1877-82, solo harpist of the
Park Orch., Amsterdam; after a season with
the Parlow Orch. (1882-3) in Hamburg and
Bad Kreuznach, and another (1883-4) with
the 'Gewerbehaus Kapelle' in Dresden, solo
harpist of the Gcwandhaus Orch. and teacher
at the Cons, in Leipzig. In 1885 he was in-
vited to join the Boston Symph. Orch., but he
declined in favor of his younger brother Hein-
rich. When Th. Thomas organized the
Chicago Symph. Orch. in 1891, he secured S.
as solo harpist; in 1900 Mahler eng. him for
the Hofoper in Vienna, but at the end of the
season S. resigned on account of ill health;
from 1901-3 he lived in retirement at Bad
Kreuznach, composing and making arrs. for
his instrument; 1903-4, with the Pittsburgh
Symph. Orch. (V. Herbert) and 1904-9, with
the rhila. Symph. Orch.; overwork during
the season of 1909-10at the M. O. H. brought
on a complete collapse, and he retired to Bad
Kreuznach; during the seasons of 1903-6 he
was eng. as special harpist for the Wagner
works at Covent ( iarden under Hans Ricnter.
He never undertook private concert -tours,
but was heard frequently as soloist at the
concerts of the organizations with which he
was connected, and gave occasional re-
846
SCHUfiCKER— SCHULTZE
eitals (Leipzig, Chicago, Phi'a., I on* 'on).
As a teacher also he was highly successful;
in Chicago he cond. the 'Vienna Harp Coll.'
and had establ. regular summer courses at
Bad Kreuznach, which were attended by
many American pupils. In 1890 Duke Ernst
of Saxe-Altenburg app. him 'Kammervir-
tuose.' Karl Reinecke wrote for him the
harp-concerto in E m. (op. 182), which S.
played at the Gewandhaus in 1885. S. was
also a fine pianist, having made several
public appearances in his earlier years. —
— Works (44 op.-numbers) ; Op. 5, Erste
Ballade; op. 11, Nocturne; op. 11, Fantasia di
bravura; op. 14, Phantasie-Capvice; op. 12,
Mazurka (his most popular work); op. 15,
Am Springbrunnen; op. 28, Legende ; op. 38,
Barcarole; op. 40, Remembrances of Worcester,
for 2 harps (very brilliant); the instructive
works Etuden- una Melodien-Album (4 books),
Etiidenschule (3 books), 6 Virtuosenetuden,
Orchestra-Studies (5 books), The Most Im-
portant Parts from R. Wagner's Operas (2
books); many arrs. of comps. by Mozart,
Weber, Liszt, Berlioz and Jensen. In MS.
he left several original comps., arts, for harp
and vl., for 2 and 3 harps, and 7 ballads by
Loewe with the pf.-part arr. for harp.
Schu'Scker, Heinrich, distinguished harp-
ist, brother of preceding; b. Vienna, Nov.
25, 1867; d. Boston, April 17, 1913 (of heart-
failure during a concert). From 1878-84
he st. at the Vienna Cons, with the same
teachers (excepting Schenner for pf.) and
won the same prizes as his brother. After
one season as solo harpist with the Parlow
Orch. in Hamburg and Bad Kreuznach
(1884-5) he was eng. in 1885 for the Boston
Symph. Orch., which position he filled till his
death; he was also prof, of harp at the New
Engl. Cons. With Jacques Hoffmann (vl.)
and Karl Barth (vcl.) he formed (1893) the
'S. Trio.' He was heard as soloist with the
Boston S. O., at 11 Worcester festivals, and
in recitals in Paris and London (1904, in
joint recital with his brother Edmund). He
left a valuable collection of ten harps.
Schu'ecker, Joseph E., son of Edmund S.;
b. Leipzig, May 19, 1886. At the age of 8
he began to study pf. with his father, and 2
years later the harp; 190O-1, pupil at the
Vienna Cons, of Voigt (pf.) and Zamara
(harp); st. theory with G. Enzian and Wst. of
music with A. Brandt- Caspari in B*d Kreuz-
nach. During 1904-5 and 1908-9, first harp-
ist of the Pittsburgh Symph. Orch.; 1907-8,
do. of the Leipzig Phil. Orch.; 1909-11, do. of
the Philadelphia Symph. Orch. (succ. his
father); in 1910 on spring tour with the M.
O. H. company; 1911-13, first harpist with
the Savage Opera Co.; since 1914 teacher of
harp and lecturer on the hist, of the instr. at
Carnegie Inst, of Technology in Pittsburgh.
He has appeared as soloist with the above
orchestras, and in his own recitals. At
present (1918) he is writing a History of the
Harp.
Schul'hoff, Julius, noteworthy pianist
and comp.; b. Prague, Aug. 2, 1825; d. Berlin,
Mar. 13, 1898. He was taught in Prague by
Kisch and Tedesco (pf.) and Tomaschek
(theory). Debut in Dresden in 1842; he then
played in the Gewandhaus, and proceeded to
Paris, giving most successful concerts under
the patronage of Chopin. He lived for some
years in Pans, then made a long tour through
France, Austria (1849-50), England, Spain
(1851), and to South Russia and the Crimea
( 1853). Later he settled in Paris as a favorite
teacher until 1870; then made Dresden his
home, receiving in 1897 the title of R. Prof.;
and went finally to Berlin. He publ. excel-
lent salon-music f. pf.; Impromptus, Caprices,
Mazurkas, waltzes, etc. ; a grand sonata in F
m. (op. 37); 12 etudes (op. 13).
Schulte'slus, Johann Paul, b. Fechheimf
Saxe-Coburg, Sept. 14, 1748; d. in 1816 at
Leghorn as pastor of the Dutch and German
Protestant Church. — Publ. Memoria sopra la
musica di chiesa (1810); 2 quartets f. pf. and
strings; variations f. do.; vars. f. pf., violin
and V:ello; 7 sonatas f. pf. and violin; varia-
tions f. do.; etc.
Schultz, Edwin, born Danzig, April 30,
1827; d. Tempelhof, n. Berlin, May 20, 1907.
Baritone concert-singer, taught by Brandstat-
ter at Berlin ; living there as a singing-teacher.
Has also cond. the 'Melodia' choral society,
and others; and (with Wieprecht) the *Mon-
stre-Concerte' given in 1864, 1866, and 1870-
71, for the benefit of wounded soldiers; made
K*l. Musikdir. in 1880. In 1880 the Prussian
Ministry of War commissioned him to com-
pile a book of soldiers' songs. — Publ. many
male choruses (7 won prizes), songs, duets,
and a coll., 'Meisterstucke fur Pianoforte/
Schultz-Adaievsky, Ella von, b. Petro-
grad, Feb. 10, 1846. Pupil of Henselt (pf.),
and from 1862-6 at the Cons, of Dreyschock
and A. Rubinstein (pf.)f Zaremba (theory)
and Famintsyn (hist, of music), giving special
attention to ancient Greek music; living in
Venice since 1882. — Works: An opera, Zaria
svobody [The Dawn of Liberty] (Petrograd,
1881); Sonate grecque for clar. and pf.; a
capp. choruses for the Russian church; pf.-
pcs. ; songs. Has also publ. colls, of Ital. folk-
songs.
Schul'txe, Adolf, b. Schwerin, Nov. 3,
1853. Pianist; pupil of Kullak's Academy,
Berlin, 1872-5; taught ttere; replaced Karl
Schroder 1886-90 at Sondsrshausen as court
cond. and Director of the Cpns. ; now in Ber-
847
SCHULTZE— SCHULZ-BEUTHEN
lin.— Comps. Orchl. works; a pf.-concerto;
pf. -music.
Schul'tze, Dr. Wilhelm Heinrich, born
Celle, Hanover, 1827; d. Syracuse, N. Y.f
in Sept., 1888. For several years 1st violin
of the Mendelssohn Quintette Club, Boston;
prof, of music at Syracuse Univ. from 1880 (?).
Schulz, August, b. Lehre, n. Brunswick,
June 15, 1837; d. Brunswick, Feb. 12, 1909.
Pupil of Zinkcisen, Leibrock and Joachim;
violinist in the court orch. at Brunswick, then
Konzertmeister at Detmold, and returned to
Brunswick as cond. of the symph. concerts
and several choral societies. — Works: The
opera Der wUde Jdger (Brunswick, 1887);
the choral works w. orch., op. 55, Hekre, heilige
Musik; op. 63, Eine Sommernacht; op. 65,
Prinzessin Use; op. 69, Fruhlingsbrautfahrt;
op. 159, Sturmhymnus; many fine male cho-
ruses (a capp. and w. pf.); songs.
Schulz, BartholomHus, Gottschalk,
Hieronymu8, Jacob, and Michael: See
Pratorius.
Schulz, Ferdinand, b. Kossar, n. Krossen,
Oct. 21, 1821; d. Berlin, May 27, 1897. Pupil
of A. W. Bach, Grell, Kollitschgy and Dehn,
at Berlin; joined the cathedral-choir in 1843;
became cond. of the 'Cacilienverein* in 1856,
mus. dir. of the Markuskirche in 1858, later
organist oft he Sophienkirche. Singing-teacher;
comp. the 68th Psalm f. double choir, motets,
and other church-music; many male choruses,
songs, and pf.-pieces.
Schulz, Johann Abraham Peter, born
Liineburg, Mar. 31, 1747; d. Schwedt, June
10, 1800. Pupil of Kirnberger at Berlin;
from 1768-73, music-master to a Polish prin-
cess; then a popular teacher in Berlin, and
1776-8 mus. dir. at the French Theatre;
Kapellm. to Prince Heinrich at Rheinsberg, .
1780-7; then court conductor at Copenhagen
till 1795; returned ill to Germany, became
director of the Seconda opera-troupe, then
lived in Rheinsberg. A song-composer of
marked originality and influence, ne publ.
in 1779 Gesdnge am Clavier, in 1782 Lieder im
Volkston, both printed together, with aug-
mentations, as Lieder im Volkston in 1785;
a third book was publ. in 1790. His sacred
songs are Uzens lyrische Gedichte (1784) and
Religiose Oden und Lieder (1786). Chansons
italiennes (1782), 4 Lieder w. pf., and a
Rundgesang (round) for S. S. T. B., were also
publ. — Dramatic works (also popular): Das
Opfer der Nymphen (Berlin, 1/74); operetta
Lafte Urgele (1782; in Ger. as Was den Damen
gefdllt); do. Clarisse, oder das unbekannte
Dienstmddchen (1783); tragic melodr. Minona,
oder die drei Angelsachsen (1786; publ.); Le
Barbier de Seville (Rheinsberg, 1786); opera
Aline, Queen of Golconda (Copenhagen, 1789;
publ.); opera HostgUdet [The Harvest Festi-
val] (ibid., 1790); Peters BryUup [P.'s Wed-
ding] (ibid., 1793; sequel to preceding) ; Jnd-
toget [The Entry] (ibid. 1793); music to Cotz
von Berlichingen and Racine's Athalie; — the
oratorio Johannes und Marie and the Passion
cantata Christi Tod; also pf. -music: 6 Stucke
(1779); sonata (1782); Musikaliscke Belusti-
fung, Musikaliscke Badinage, Musikalischer
,uftbaU. — He wrote Entwurf einer neuen und
leichlverstdndlichen Musiktabulatur . . . (1786:
merely the old organ-tablature); the mus.
articles from S-Z in Sulzer's Theorie der
schbnen K&nste; Gedanken uber den Einfiuss
der Musik auf die Bildung cities Volks (1790) :
and claimed the authorship of Wahre Grund-
satte sum Gebrauck der Harmonic (1773;
publ. as Kirnberger's). — Cf. K. Klunger.
/. A. P. S. in seinen volkstumlichen Lieaern
(Leipzig, 1909); O. Riess, J. A. P. S.'s Leben,
in 4Sbd. I. M.-G.' (xv, 2; 1914).
Schulz, Johann Philipp Christian, b.
Langcnsalza, Thuringia, Feb. 1, 1773; d.
Leipzig, Jan. 30, 1827. Pupil of Angler and
Schicht at Leipzig, and from 1800 cond. of the
Seconda opera-troupe; from 1810, cond. of the
Gewandhaus Concerts. — Publ. overtures to
Faust and Die Jungfrau von Orleans; dances
interpolated into Faust (am f . pf.) ; a Salvum
fac regem a 4, w. brass; marches, etc.; songs
with piano.
Schulz, Leo, fine 'cellist; b. Posen, Mar.
28, 1865. From 1870-3 he was exhibited in
Germany as a prodigy; then st. at the Kgl.
Hochschule in Berlin; in 1885 solo cellist, ol
the Berlin Philh. Orch.; 1886-9, do. of the
Gewandhaus Orch. in Leipzig; 1889-98, do.
of the Boston Symph. Orch. and prof, at the
New England Cons.; 1890-1906, also 1st
'cellist of the N. Y. Philh. Soc.; 1906-8, do.
of the N. Y. Symph. Orch.; since then again
with the Philh. Soc.; was for several years
prof, of 'cello and cond. of the Cons. orch. at
the Natl. Cons, in N. Y.; 1904-15, 'cellist of
the 'Margulies Trio.' He has frequently
appeared as soloist (12 times with the Boston
S. O.). Numerous comps. in MS. (overtures,
str.-quartets and a cantata).
Schulz-Beuthen [-boi'ten], Heinrich, b.
Beuthen, Silesia, June 19, 1838; d. Dresden,
Mar. 12, 1915. Although both of his parents
were good amateur pianists, the boy did not
receive any systematic instruction; while at-
tending the Gymnasium at Breslau he spent
much of his time in practising the pf., and even
made attempts at comp.; destined for the
career of civil engineer, he then ent. the Univ.
of Breslau; there some of his comps. at-
tracted the attention of the music-dir., Sch6n,
who gave them a hearing; in 1862 he wrote a
'Singspiel,' Fridolin, which was prod, by the
students of the univ. with such success that
848
SCHULZ-SCHWERIN— SCHUMACHER
Schon and several other professors advised
him to devote himself to music. From 1862-
5 he was a pupil at the Leipzig Cons, of
Moscheles (pi.), F. S. Richter (harm.) and
M. Hauptmann (comp.), also studying pri-
vately with Karl Riedel, who was so much
impressed by his pupil's Psalm 29 for triple
ch., org. and wind-mstrs. that he sent the
score to Liszt in Rome; with Liszt's recom-
mendation the work was perf. at the annual
fest. of the 'Allgem. deutsche Musikverein'
(Dessau, 1865). From 1866-80 S.-B. lived
in Zurich, devoting the greater part of his
time to comp.; through his fearless criticism
of the city's musical decline since Wagner's
departure he made many influential enemies,
who prevented the performance of his works
in Switzerland; this opposition gradually
undermined his health, and for some years he
was obliged to give up all work; in 1880 he
moved to Dresden, resuming comp. with
redoubled energy; not meeting with the de-
sired success, he went to Vienna in 1893, but
there he found the influential Hanslick op-
posed to any productions of the Wagner-
Liszt school; in 1895 he returned to Dresden
as teacher at the Cons. ; made Kgl. Prof, in
1911. In 1913 the city council voted him an
annual stipend, to be continued to his widow.
A number of musicians of authority, among
them Liszt, regarded S.-B. as one of the most
important of modern German composers. —
Publ. Works: Op. 4, Befreiungsgesang der
Verbannten Israels for soli, ch. and orch.; op.
11, Kinder symphonic; op. 26, Negerlieder und
Tdnze for orch.; op. 28, Abschiedskldnge for
str.-sextet; op. $8, Die Blume Wunderhold,
melodrama; op. 46, Harold, ballade for bar.
solo, male ch. and orch.; Die Toteninsel,
symph. poem (no op.-number); Indianischer
Korntanz and Ind. iCriegerton* (do.); Psalms
42 and 43 for bar. solo, ch., org. and orch.
(do.). For pf. : Op. 2, Orientalische Bilder; op.
16, Drei Klavierstucke im ernsten StU; op. 17,
Stimmungsbilder in freier Walzerform; op. 19,
Funf Klavierstucke in Suitenform; op. 22,
Vier do. im heroischen StU; op. 23, Drei do.
in Sonatenform; op. 27, Suite in F, Bilder aus
alter Zeit; op. 40, Ein Zyklus von funf Klavier-
stucken; op. 54, Alhambra-Sonate; pf. 4
hands (op. 3, 5, 10); songs (op. 6, 18, 43, 44);
male choruses (op. 7, 20) ; fern. ch. (op. 29) ;
Ungarisches Stdnachen for vl. and pf. (op. 9).
— In MS.: 8 Symphonies, No. 1, Dem An-
denken Haydns; No. 2, Friihlingsfeier; No. 3,
Sinfonia maestoso; No. 4, Schon Elsbeth; No.
5, Reformationssymphonie (w. org.); No. 6,
Konig Lear (w. male ch.); No. 7, in Bb (ex-
panded from a str.-quintet) ; No. 8, Sieges-
symphonic; one movem. of a 9th and do. of a
10th symph.; the symph. poems MiUelalter-
lichc Volkssaene, Des Metres und der Liebe
Wellen, Beethoven-Hymnus, Ein Pharaonen-
begrabnis, Wilhelm Tell, Sturmesmythe; 3
overtures, Kriemhildens Leid und Untergang,
Bacchanlenzug des Dionysus ■, Pan una die
Waldnymphen; 2 orchl. episodes from 'Faust/
Am Rabenstein and Fausts Tod; 2 orchl.
suites, Auf dem Kunstlerfcst and Aus meincr
Wiener Musikmappc; Ballf est- Episode, Ne-
gerlieder und -Tdnze (2d series); Serenade;
Ungarische Ballade [all for orch.]; Symphoni-
sches Konzert for pf. and orch.; a str.-quintet
in Bt>; an octet for wind-instrs. ; a str.-trio,
Schdferspiele. — For pf., Heroische Sonata,
Erinnerung an die Jugendzeit, Praludium und
Fuge. — Choral works: Requiem for ch. and
orch.; Geburt und Sendung Christi for alto
solo, ch. and orch. ; Wander lied for fern. vcs. ;
Psalm 23 for ch. a capp. ; Psalm 29 for triple
ch., org. and wind-instrs. ; Psalm 129 for soli,
ch. and orch. — The operas Fridolin, Breslau,
1862), Aschenbrodcl (Zurich, 1879; text by
Mathilde Wesendonk), Die VerschoUene,
Ohne Mann, Kuriert, Die Paria [the last 4
not perf.) — Cf. K. Mey, H. S.-B., in vol iii of
'Monographien moderner Musiker' (Leipzig,
1909).
Schulz-Schwerin, Karl, b. Schwerin, Jan.
3, 1845; d. Mannheim, May 24, 1913. Pi-
anist; pupil at the Stern Cons., Berlin, 1862-
5, of von Biilow, Geyer, Stern and Weitz-
mann. Court pianist to the Grand Duke of
Mecklenburg; then cond. of the 'Musik-
verein* in Stargard; 1885-1901, in Berlin as
teacher at Stern's Cons. ; from 1901 in Mann-
heim.— Works: A symphony in Dm.; over-
tures to Torquato Tasso, Die Braut von Mes-
sina and the Ouverture triomphale; Serenata
giocosa, In Memoriam and JubU&ums-Fest-
marsch for orch.; Sanctus, Osanna, Bene-
dictus, Ave Maria, etc., f. soli, ch. and orch.;
orchl. transcriptions of Mendelssohn's Rondo
capriccioso, and other pf. -works; solo pieces
for piano.
Schul'ze, Adolf, excellent concert-singer
(bass) and singing- teacher; b. Mannhagen, n.
M6lln, April 13, 1835. Pupil of Karl Voigt
at Hamburg, and Garcia at London (1863).
Lived in Hamburg till about 1875, when he
was called to Berlin as head of the vocal dept.
at the Kgl. Hochschule; was made Kgl. Prof.,
and elected senator of the Akademie der
Kttnste. He retired in 1910.
Schul'ze, Johann Friedrlch, German
organ-builder; b. Milbitz, Thuringia, Jan. 27,
1793; d. Paulinzelle, Thuringia, Jan. 9, 1858,
whither he had removed his business from
Muhlhausen. Firm-name 'Schulze & Sohn.'
Schumacher, (Peter) Paul (Heinrich),
b. Mayence, Nov. 6, 1848; d. there April 25,
1891. Pupil of Fr. Lux (pf. and theory);
later of Richter, Reinecke and Hauptmann
at Leipzig Cons. Served in the Franco-Ger-
man war, and then settled in Mayence as
849
SCHUMANN
cond., teacher and critic (for the 'Frankfur-
ter-Zeitung,' the 'Mainzer Anzeiger,' and
mus. periodicals). He cond. several male
singing-societies; and in 1881 founded the
Mayence Cons, of Music (carried on by his
widow, Frau Luise S., as the 'Paul Schu-
macher'sches Kons.' — Publ. works: Many
songs (Wolff's Ratten) 'anger, Wilder Jdger,
etc.) and male choruses (Musikantenlieder w.
violin and pf., op. 4); much pf.-music (op. 6,
Albumbldtter; op. 11, 4 Concert-studies; op.
12, Sonatinen; op. 19, Aus der Jugendzeit,
24 pes.; op. 24, 3 Notturnos; op. 46, Feuille-
tons musicaux; — f. 4 hands, op. 20, Am Rhein,
waltz; op. 29, Dances and Wedding-march;
op. 52, Prelude and Fugue; etc.); op. 10,
Funeral march f. orch. in C m; op. 8, a
Symphonic Serenade f. orch.; Op. 48, Bilder
vom Rhein, orchl. suite; a Concert -suite f.
violin and pf., op. 34; — unpubl. are a cantata,
Derfahrenae Schuler, f. bar., male ch. and orch.
(1890, v. succ.); an opera, Die sieben Raben;
a violin-concerto, op. 9 (often played) ; etc.
Schu'mann, Camlllo, brother of Georg
S.; b. Kdnigstein, Mar. 10, 1872. Pupil of
his father, and of Homeyer, Jadassohn and
Reinecke at the Leipzig Cons., and from 1894-
6 of Bargiel in Berlin; since 1896, org. at the
principalchurch in Eisenach. Specially note-
worthy as comp. for organ. — Works: For or-
gan: Op. 5, Zwei Trauungsgesdnge; op. 8, Zwei
Choralfantasien; op. 9, Rezitativ und Adagio
for vcl. and org.; op. 10, fantasy and fugue
on 'Ein* feste Burg'; op. 12, Sonata No. 1 in
D m.; op. 16, Sonata No. 2 in D; op. 26,
Suite No. 1 in F; op. 29, Sonata No. 3 in
C m.; op. 37, Suite No. 2 in D; also Fan-
tasie stuck for ob. and orch. (op. 31); pieces
for vl. and pf. (op. 4, 7, 15, 21, 35); Zwei
Konzertstiicke for vcl. and pf. (op. 20) ; songs.
Schu'mann, Georg (Alfred), concert-
pianist and composer; b. Kdnigstein, Saxony,
Oct. 25, 1866. Pupil of his father, the city
Mus. Dir., and his grandfather, a cantor;
from 1877-81, of K. A. Fischer, B. Rollfuss
and Fr. Baumfelder, at Dresden; then at the
Leipzig Cons, till 1888, of Reinecke, Jadas-
sohn and Zwintscher., composing 2 sympho-
nies and a serenade f. orch., a pf. -quintet, 2
pf.-trios, a violin-sonata, etc., and taking the
Beethoven prize in 1887. From 1890-6,
cond. of the Danzig 'Gesangverein'; 1896-9,
of the Bremen Philharm. orch. and chorus;
in 1900 he succ. Blumner as cond. of the
Berlin 'Singakademie,' was made Kgl. Prof,
and member of the Akademie der Kunste,
later becoming senator; since 1913 he has also
been dir. of the 'Akadem. Meisterschule fur
Kom posit ion' (succ. Bruch). — Works: For
orch.: Op. 22, Zur Karnevalszeit, suite; op.
24, symph. vars. on Wer nur den lichen Gott
lasst uxuten; op. 28, Liebesfruhling, overture;
850
op. 30, Variationen und Doppelfuge uber ein,
lustiges Tkema; op. 34, Serenade; op. 42,
Symphony in F m. (No. 2; No. 1, in B m., is
MS.); op. 45, Ouverture zu einem Drama; op-
54, Lebensfreude, overture; op. 59, Varia-
tionen und Fuge on a theme by Bach. — Cham-
ber-music: 2 v I. -sonatas (op. 12, C# m; op.
55); 2 pf. -quintets (op. 18, E m.; op. 49, F);
vcl. -sonata in E m., op. 19; pf.-trio in Ff op.
25; pf. -quartet in F m., op. 29. Passacaglia
und Finale, op. 39 (for org.); vars. and fugue
on a theme by Beethoven, op. 32 (for 2 pfs.);
Reigen, op. 5, and Vier StUcke, op. 37 (for pf .
4 hands) ; for pf. solo, Stimmungsbilder (op. 2),
Traumbilder (op. 4), Tkema und Variationen
(op. 8), Fantasie- EtUden (op. 26), Harzbilder
(op. 27), Variationen und Fuge (op. 64),
Ballade in G m. (op. 65). — Choral works w.
orch.: Op. 3, Amor und Psyche for soli and
ch.; op. 33, Totenklage for mixed ch.; op.
40, Sehnsucht for do.; op. 47, Preis- und
Danklied for bar. solo, double ch., org. and
orch.; op. 50, Ruth for soli and ch.; op. 57,
Das Trdnenkruglein for soli, ch., harm., harp
and orch. Choruses a capp. (op. 31, 41).
motets (op. 52); numerous songs (op. 35,
Mddchenlieder; op. 44, Lieder der Liebe; etc.;.
— Cf. P. Hielscher, G. 5., in vol. i of ' Mono-
graph ien moderner Musiker' (Leipzig, 1906).
Schu'mann, Clara (Josephine), nie
Wieck, b. Leipzig, Sept. 13, 1819; d. Frank-
fort-on-Main, May 20, 1896. An exception-
ally giited pianist, the daughter and pupil of
Fnedrich Wieck, and the wife of Robert Schu-
mann. Trained from her fifth year, she played
in public for the first time on Oct. 20, 1828;
at the Gewandhaus on Nov. 8, 1830; made
tours from 1832; and during a sojourn in
Vienna (1836) received the title of Imp.
Chamber- virtuoso. At Paris she had great
success in 1839. On Sept. 12, 1840, she was
married to Schumann (q.v.). After his
death she went with her children to Berlin,
living for some years with her mother, who had
.been divorced from Wieck and had married
the music-teacher Adolf Bargiel (d. Feb. 4,
1841; father of Woldemar B.). In 1863 she
went to Lichtenthal, n.. Baden-Baden, and
resumed her concert-work, both to support
her children and because public appearances
were a necessity to her. From 1878-92 she
was teacher of pf. -playing in the Hoch Cons.,
Frankfort. At first a Beethoven player, Frau
Schumann became under her husband's in-
fluence a masterly and authoritative inter-
preter of the la Iter's compositions and Cho-
pin's works; later she became an equally ad-
mirable interpreter of Brahms, her lifelong
friend. However, she never was a 'specialist* ;
her chief claim to distinction as one of the
world's great pianists was her universality,
her sound musicianship impressing the stamp
SCHUMANN
of authority on all works from Bach to Brahms.
Her compositions are remarkable for masterly
workmanship; their style shows the unmis-
takable influence of her great husband. —
—Works: Op. 1, 4 Polonaises; op. 2, Caprices
in waltz-form; op. 3, Romance vartSe; op. 4,
Valses romantiques; op. 5, 6, Soirees musicales,
10 'pieces caract.'; op. 7, Concerto in A m.;
op. 8, Vara, on the cavatina in // Pirata; op.
9, Impromptu, Souvenir de Vienne; op. 10,
1st Scherzo; op. 11, 3 Romances [Mechetti];
op. 12, 3 Lieder in R. Schumann's op. 37
(Nos. 2, 4, and 11); op. 13, 6 Lieder; op. 14,
2d Scherzo; op. 15, 4 fluchiige Stucke; op. 16,
3 Preludes and Fugues; op. 17, pf.-trio in G
m. ; op. 20, Vars. on a theme by Schumann ;
op. 21, 3 Romanzen; op. 22, 3 Romansen f.
pf. and violin; op. 23, 6 Lieder from Rollet's
Jucunde;— without opus-number: Liebes-
zauber, Lied by Geibel ; Andante and Allegro;
Cadenzas to Beethoven's concertos in C m.
and G, and to Mozart's in D m. Edited the
Br. & Hart el ed. of Schumann's works, his
early letters, and finger-exercises from
Czerny's Pf.-Method.— Bibliography: A.
von Meichsner, Friedrich Wieck und seine
Tochter Klara und Marie (Leipzig, 1875); La
Mara, K. S.t in vol. v. of Mustkalische Stu-
dienkopfe (Leipzig, 1882; 3d ed. 1902); B.
Litzmann, K. S. Ein KunsUerleben nach
Tagebuchern und Brief en (Leipzig; Vol. i,
Mddchenjahre, 1902 [4th ed. 19101; vol. ii,
Ehejahre, 1905 [3d ed. 1907]; vol. iii, K. S.
und ihre Freunde, 1908; Engl, tr., abridged,
by G. E. Hadow, Leipzig, 1913 [2 vols.]);
W. Kleefeld, K. S. (Bielefeld, 1910); F. May,
The Girlhood of C. S. (London, 1912); F.
Schumann, Brahms and C 5., in 'Mus.
Quarterly' (Oct., 1916).
Schu'mann, Robert (Alexander), a
leader in German romanticism; b. Zwickau,
Saxony, June 8, 1810; d. Endenich, near
Bonn, July 29, 1856. The youngest son of
his father, a bookseller, his first music-lessons
were on the piano from the organist of the
Marienkirche, Kuntzsch. His attempts at
composition date from his seventh year; in
his eleventh, without instruction, he wrote
choral and orchestral works, and at this
time his father wished him to study under
Carl M. von Weber, but negotiations to that
effect came to naught. Instead, he attended
the Zwickau Gymnasium from 1820-8;
toward the end of this term developing a
marked predilection for the romantic works of
Byron and Jean Paul Richter. In 1826 his
father died; and in 1828 S. matriculated at
Leipzig Univ. as Studiosus juris, though he
gave more attention to the philosophical lec-
tures. In 1829 he repaired to Heidelberg,
drawn thither chiefly by the fame of Thibaut
(prof, of law, but a profound student of music) ,
and now began to apply himself seriously to
musical study, aided by his dexterity as a pi-
anist. In the autumn of 1830 he obtained nis
mother's permission to return to Leipzig in
order to devote himself to music. He lived
with Friedrich Wieck, under whom he studied
the piano; and also took a course in composi-
tion under H. Dorn, though his industry was
principally concentrated on piano-practice.
An unfortunate experiment (the endeavor to
obtain independence of the fingers by sus-
pending the fourth finger of the right hand in
a sling while practising with the others) ended
his bright prospects as a piano-virtuoso.
Thenceforward he gave himself up to composi-
tion and literary work. As a composer, his
published works (op. 1-23) up to the beginning
of 1840 (an important date) are exclusively
for the piano; Liszt, Henselt, and Clara
Wieck (the daughter of his instructor and
host) played them in public. In 1834 S.
founded, with J. Knorr, L. Schunke and
Wieck, the 'Neue Zeitschrift fflr Musik/
which S. edited alone from 1835-44. It
entered the field as an exponent of liberal and
progressive musical art, in opposition to the
vapid productions of the Italian stage, to the
then fashionable pianists, and to all shallow
or retrograde tendencies. Schumann's nu-
merous essays and criticisms (signed Flore-
stan, Eusebius, Meister Raro, or with the
numerals '2' and '12') show what musical
journalism can be when actuated by the lofti-
est motives, and based on real and intimate
knowledge of the subjects treated. During
the succeeding decades it exercised a potent
influence for good; S. was among the first to
herald Chopin's genius (}834); and one of his
last papers was the famous 'Neue Bahnen'
(1853) on Brahms. In the meantime he had
fallen in love with Clara Wieck; owing to her
father's determined opposition their marriage
did not take place until 1840, the year in
which the degree of Dr. phil. was conferred
upon S. by the University of Jena. He had
spent one year, 1838-9, in Vienna, hoping to
better his fortunes by establishing himself and
his paper in that city— an attempt which
failed. _ From his marriage-year, too, dates
the beginning of his career as a song-composer,
and some of his finest lyrical gems were then
produced, numbering nearly a score of books,
among them op. 25, 31, 36, and 40. In 1841
he wrote his first symphony, speedily followed
by three string-quartets, op. 41, the pf.-
quintet, op. 44, and the pf. -quartet, op. 47;
also his most beautiful choral work, Das
Parodies und die Peri (1843). In this last-
named year he was invited by Mendelssohn
to accept the position of teacher (of playing
from score) at the newly founded Conserva-
torium; it is of interest to note that S. in-
troduced the pedal-piano, for preparatory
851
SCHUMANN
organ-practice, into the Cons., which pos-
sessed no organ for ten years. In January,
1844, he undertook a concert-tour to Russia
with his wife; in the autumn of the same year
he removed to Dresden ; his duties in the Cons,
were uncongenial, and it is probable that
Mendelssohn, whom S. greatly admired, did
not fully appreciate the latter's genius. S.
likewise retired from the editorship of the
'NeueZeitschrift,' being succeeded in 1845 by
Dr. Brendel. In Dresden he lived until 1850,
giving private lessons and composing indus-
triously; to this period belong the great C-
major symphony op. 61 (1846), the opera
Genaveva (1848), and the pf. -trio op. 80 (1847;
one of the finest of its class). In 1847 he
became the conductor of the 'Liedertafel,' and
in 1848 organized the 'Chorgesang-Verein.'
He was called to Dusseldorf in 1850 to suc-
ceed Ferd. Hiller as town musical director
(cond. of the Subscription Concerts and the
Musical Society). He held this position until
the autumn of 1853, when signs of insanity,
which had appeared as far back as 1833, and
still more alarmingly in 1845, compelled him
to resign; for some time his assistant (and
successor) Tausch had relieved him of much
of the work. On Feb. 6, 1854, the disorder
reached a climax; he abruptly left the room in
which some friends were assembled, and threw
himself into the Rhine; rescued from drown-
ing, he had to be conveyed to an asylum at
Endenich, near Bonn, remaining here, with
but few lucid intervals, until the end. In
1880 a monument by Prof. Donndorf was
erected on his grave in the churchyard at
Bonn, opposite the Sternentor; a statue was
unveiled at Zwickau in 1889; a modest me-
morial also stands, since 1875, near the First
BUrgerschule in Leipzig.
S. was a founder of the neo-romantic school,
and perhaps its most powerful promoter both
as a composer and writer. At the very out-
set, his individuality found full expression.
His mastery of detail, his concentrated pas-
sion and profound emotion, are displayed to
best advantage in the smaller forms, the
piano-pieces and songs — the most suitable
mediums for presenting the subtle shadings
and artistic refinements characteristic of his
lyrical genius. In them he attains perfection
of expression and artistic finish. Yet — to
name but a few — the first two symphonies,
and the pf .-concerto op. 54, are unsurpassed in
the post -Beethoven epoch; the pf. -quintet,
the Etudes symfhoniques, the C major Fan-
tasie, the F#-minor and the G-minor pf.-so-
natas, rank with the grandest works of their
kind. His songs differ from those of Schubert
in a greater elaboration of the piano-part;
while as a composer for the pianoforte his im-
portance cannot very well be overestimated.
Together with Chopin and Liszt — yet quite
852
independent of either — he must be regards
as the founder of the modern piano-tecrHr.i
exploiting the utmost possibilities of the
strument. — A complete edition of his cw -
positions, in 34 vols., edited by Clara Schu-
mann, was publ. by Breitkopf & Hart el ( l&^fr
93); in 1893 Brahms edited a supplementary
volume.
BIBLIOGRAPHY.— A. biography: J. W
von Wasielewski, JL S. Eine Biograpf::
(Leipzig, 1858; 4th, augm., ed. 1906; En J
tr. by A. L. Alger, Boston, 1871); A. Rei-5
mann, R. S. Sein Leben und seine Wert.,
(Berlin, 1865; 3d ed. 1879; Engl. tr. by A.
L. Alger, London, 1886); La Mara, S., in
vol. i of Musikalische Studienkdpfe (Leipzig,
1868; 9th ed. 1894; repr. separately 1911.:
A. Niggli, R. S. Sein Leben und seine Wert?
(Leipzig, 1879); Ph. Spitta, Ein Lebensbtid
R. S.'s, in Waldersee's 'Samml. mus. Vor-
trage' (Leipzig, 1882); J. A. Fuller-Mait-
land, S. (London, 1884; new ed. 1913); H.
Erler, S.'s Leben aus seinen Brief en (2 vols.;
Berlin, 1887; 2d ed. 1912); H. Reimann,
R. S.: Leben und Werke (Leipzig, 1887); R
Batka, S. (Leipzig, 1892); H. Abert, R. S.
(Berlin, 1903; 2d ed. 1910): A. W. Patter-
son, S. (London, 1903) ; L. Schneider and \\.
Mareschal, S. Sa vie etses ceuvres (Paris* 1°05 >r
E. J. Oldmeadow, 5. (London, 1905); C. Mau-
claire, S., biographic critique (Paris, 1906);
E. Wolff, R. S. (Berlin, 1906); J. Hartoe,
R. A. S. en sijne werken (Haarlem, 1910); A.
Steiner, S. (Zurich, 1911); M.-D. Ca/voco-
ressi, S. (Paris, 1912). — b. criticism, ap-
preciation: A. W. Ambros, R. S.'s Tafr
und Werke, in Kulturkistorische Bilder aus Arm
Musikleben der Cegenwart (Leipzig, 1860):
H. Deiters, S. als Schriftstetter, in 'Allgem.
musikal. Zeitung' (Nos. 47-49; 1865); L.
Mesnard, Un Successeur de Beethoven: tlude
sur R. S. (Paris, 1876); S. Bagge, R. S. mid
seine Fauststenen, in Waldersee's 'Samml.'
(Leipzig, 1879); P. Graf von Waldcrstt,
Ober S.'s Manfred, in Waldersee's 'Samml.'
(ib., 1880); F. G. Jansen, Die Davidsbundler.
Aus R. S.'s Sturm- und Drangperiode (Leipzig.
1883); J. W. von Wasielewski, Schumanniana
(Bonn, 1883); B. Vogel, R. S.'s Klavierton-
poesie (Leipzig, 1886); E. David, Les Meruit s-
sohn-Bartholdy et R. S. (Paris, 1887); V. Jo*.
Fr. Wieck und sein Verhdltniss tu R. S. (Drcs
den, 1900); M. d'Albcrt, R. S., son muvre pour
frano (Paris, 1901) ; F. Kerst, S.-Brevier ( Ber-
lin, 1905); H. Kretzschmar, R. S. als Aslhtli-
kert in 'Peters Jahrbuch' (1906); D. G. Mason,
The Romantic Composers (New York, 1906);
M. Katz, Die Schilderung des musikaJischen
Eindrucks bei S. (Giessen, 1910); R. Pugno,
Les Leqons ecrites sur S. (Paris, 1911); Marie
Wieck, Aus dem Kreise Wieck-S. (Dresden,
1912; 2d augm. ed. 1914); V. E. Wolff, R.
S.'s Lieder in ersten und sp&teren Fassungen
SCHUMANN— SCHUMANN-HEINK
(Leipzig, 1914). — c. correspondence: Clara
Schumann, S.'s Jugfndbrieje. Nock den Origi-
nalen fnitgeteilt (Leipzig, 1885; 4th ed. 1910;
En*I. tr. London, 1888); F. G. Jansen, R. S.'s
Briefe (Leipzig, 1886; augm. ed. 1904; Engl,
tr. by M. Herbert, London, 1890); J. Gensel,
S.' s Briefwechsel mil Henriette Voigt (Leipzig,
1892); K. Storck, S.'s Briefe in Auswahl
(Stuttgart, 1906; End. tr. by H. Bryant,
London, 1907); M. Cremieux, Lettres choisies
de R. S. (Paris, 1909); A. Schumann, Der
junge S. Dichtungen und Briefe (Leipzig, 1910);
A us S.'s Kreisen [unpubl. letters from and to
S.], in 'Die Musik' (No. 14; 1914).— d. cata-
logues, guides: A. Ddrffel, Thematischer
Katalog der Werke R. S.'s (Leipzig, 1870).
Analyses of the larger works can be found in
Ruhle & Wendling's 'Oratorienbibliothek'
(Leipzig), Breitkopf & Hand's 'Kleiner
Konzertfuhrer' (ib.), Schlesinger's 'Meister-
fuhrer' (Berlin) and Kretzschmar's Fuhrer
durch den Konxertsaal (3 vols., Leipzig, 1913
[4th ed.]).
Works.
Vocal with orch.: The 4-act opera Genoveva. op.
81 (Leipzig. June 25, 1850); muaic to Byron's Manfred,
op. 115; scenes from Goethe's Faust (no opus-number);
cantata Das Parodies und die Peri. op. 50, f. solo, ch.
and orch.; Adoentlied, op. 71, f. sopr., ch. and orch.;
Abschiedslied, op. 84. I. ch. w. wood-wind or pf.; J?*-
quiem fur Mignon, op. 986; Nachtlied, op. 108. f. ch.
and orch.; cantata Der Rose Pilgerfahrt, op. 112. f. soil,
ch. and orch.; ballade Der Kdmgssohn, op. 116, f. soli,
ch. and orch.; ballade Des Stingers Finch, op. 139, f. do.;
four ballades Vom Paten und der Konigstochter, op. 140;
f . do.; ballade Dak Gluck ton EdenhaU, op. 143, f. do.;
Keujahrslied, op. 144. f. ch. and orch.; Missa sacra,
op. 147, w. orch.; Requiem mass. op. 148. w. orch.
Choruses a cappella: 6 4-part songs f. men's voices,
op. 33; 5 songs (Burns] f. mixed ch.. op. 55; 4 songs
f. do., op. 59; 3 songs f. male ch., op. 62; 7 Ri torn cue
in canon-form, f. male voices, op. 65; 5 Romances and
Ballades f. chorus (2 sets), op. 67 and 75; 6 Romances f.
female voices, w. pf . ad lib. (2 sets) . op. 69 and 91 ; motet
[Ruckert] Verzweifle nicht im Schmerzenstal, f. double
male ch., organ ad lib., op. 93: 5 Jagdlieder [Lanbe] f.
male ch., 4 horns ad lib., op. 137; 4 songs for double
ch.. op. 141.
Vocal with piano: 3 poems by Geibel, op. 29 (No.
1, f. 2 sopranos; No. 2, f. 3 do.; No. 3, f. small chorus);
4 duets f. sopr. and ten., op- 34. and 4 do., op. 78; 3
2-part songs, op. 43; Spanisches Liederspiel f. one voice
or S.A.T.B., op. 74; Minne spiel from Ruckett's 'Liebes-
frUhling.' f . one or several voices, op. 101 ; M&dchen-
lieder, by Elis. Kulmann. f. 2 sopranos, op. 103; 3 songs
f. 3 female voices, op. 114; ten Spanische Ltebeslitder
f. one or several voices, w. 4-hand accomp., op. 118;
the ballads Belsazar (op. 51), Der Handsckuh (op. 87),
Srhon I led wig (op. 106; f. declamation w. of.), and
Zwfi Balladen, op. 122 (No. 1, Ballade vom Haideknaben;
No. 2. Die FliUhUinge; both f. declamation w. pf.);
Liederkreis [Heine], song-cycle, op. 24, and Lieder'
kreis. 12 poems by Eichendorff, op. 39; Myrthen, op.
25; Lieder und Ges&nge, 5 sets (op. 27, 51. 77. 96, 127);
3 poems by Geibel, op. 30; 3 songs, op. 31; 12 poems
[Kerner], op. 35; 6 poems [Ruckert]. op. 36; 12 do.
[do.], comp. w. Clara S.. op. 37; 5 songs f. low voice.
op. 40; Frauenliebe und -Leben, op. 42; Dichterliebe,
op. 48: Romanzen und Balladen. 4 sets (op. 45. 49. 53.
64); Licdtr album fur die Jugend, op. 79; 6 songs, op.
89; 6 poems by Lenau. and Requiem, op. 90; 6 songs
from Byron's 'Hebrew Melodies,' op. 95 (w. pf. or
harp); nine Lieder und Gesange from 'Wilhelm Mci-
ster.' op. 98a; 7 songs, op. 104; 6 songs, op. 107; four
Husarenlieder f. bar., op. 117; 3 Waldlieder. op. 119; 5
853
keiUre Ges&nge, op. 125; Gedichie der Kbnigin Maria
Stuart, op. 135; 4 songs, op. 142; Der deutsche Rhein
(no opus-number).
Orchestral: 4 symphonies (No. 1, op. 38. in Bt>:
No. 2. op. 61, in C: No. 3, op. 97. in Et> ['Rheinische'
or 'Cologne' symphony]; No. 4. op. 120, in D m.);
Outerture, Scherzo und Pinole, op. 52; 4 concert-over-
tures {Die Braut von Messina, op. 100; FestouvertUre,
op. 123: Julius Caesar, op. 128; Hermann und Dorothea,
op. 136); pf.-concerto in A m., op. 54; Konzrrtstuck
(fntrod. and Allegro appassionato) in G. f. pf. and
orch., op. 92; KonzerUAllegro f. do., in D m., op. 134;
KonzertstUck f. 4 horns, op. 86; 'cello-concerto, op. 129;
Fantasia f. violin w. orch., op. 131.
Chamber-music: Pf. -quintet in Eh, op. 44: 3 string-
quartets, in A m., F and A, op. 41; pf.- quartet in Eb,
op. 47; 3 pf. -trios (No. 1, in D m.. op. 63; No. 2. in
F. op. 80; No. 3. in G m., op. 110); 4 Fantasiestucke f.
pf., violin and 'cello, op. 88; Adagio and Allegro f. pf.
and horn. op. 70; 3 Fantasiestucke f. pf. and clar., op.
73; 3 Romanzen f. pf. and oboe, op. 94; 5 Stiicke im
V oiks ton f. pf. and 'cello, op. 102; 2 sonatas f. pf. and
violin (No. 1. in A m., op. 105: No. 2. in D m., op. 121);
4 Mdrchenbilder f. pf. and viola, op. 113; 4 Mdrchener-
t&hlungen f. pf. and clar., op. 132.
For organ (or pedal-piano) : 6 studies in canon-
form, op. 56; Skizzen fur den PedalfiUgel. op. 58; six
fugues on B-A-C-H. op. 60.
For pianoforte: Op. 1. Variations on A-B-E-G-G;
op. 2. Papillaris; op. 3. Studies after Paganini's Caprices;
op. 4, Intermezzi; op. 5, Impromptus on theme by CI.
Wieck; op. 6, Davidsoundlertdnzt; op. 7. Toccata; op.
8, Allegro; op. 9, Car natal; op. 10, six Studies on
Paganini's Caprices; op. 11, Sonata No. 1, in Fif m.;
op. 12, Fantasiestucke (2 books); op. 13, Etudes sym-
phoniques; op. 14, Sonata No. 2, in F m.; op. 15,
thirteen Kinder szenen; op. 16, Kreisleriana; op. 17,
Fantasie in C; op. 18, Arabeske; op. 19. BlumenstUck;
op. 20. Humoreske; op. 21, NovelleUen (4 books); op.
22, Sonata No. 3. in G m. ('Concert sans orchestre');
op. 23, Nachtstucke; op. 26, Faschingsschvank aus Wien;
op. 28, three Romanzen; op. 32, Scherzo, Gigue. Romanze
und Fughette; op. 68. Album fur die Jugend; op. 72,
four Fugues; op. 76. four Marches; op. 82. Waldszenen;
op. 99, Bunte Blatter; op. 111. three Fantasiestucke;
on. 118. three Sonatas for the Young; op. 124. Album-
blatter; op. 126, seven pieces in fughetta-form; op.
133, Gesange der Fruht; also a Scherzo (orig. in So-
nata op. 14), a Presto passionato (orig. finale of Sonata
op. 22); and a canon on An Alexis. — For pf. 4 hands:
op. 66, Bilder aus Osten. after Rflckert's 'Makamen des
Hariri'; op. 85, 12 vierhdndige KlavierstUcke fiir kleine
und grosse Kinder; op. 109, BaUszenen ('9 charakte-
ristische Tonstucke'); op. 130. Kinder ball; op. 46,
Andante and Variations in Bb (for 2 pfs., 4 hands).
Writings: 'Gesammelte Schriften liber Musik und
M linker,' a coll. of his articles in the Neue Zeitschrift'
(1854; 4 vols.; 5th ed. rev. by M. Kreisig. 1914; Engl,
transl. by Fanny Raymond Ritter, London, 1877).
A judicious selection from the complete writings, edited
by H. Simon, was publ. under the same title as the
original ed. (3 vols.; Leipzig, 1888-9 [Rectam]).
Schumann-Heink {nee Roaster), Er-
nestine, famous operatic and concert-con-
tralto; b. Lieben, n. Prague, Tune 15, 1861.
Her mother, an Italian, taught her to sing
by ear (until the age of 9) all the operatic airs
popular at the time. In 1872 she was sent
to the Ursuline Convent in Prague, where,
because of her fine voice, she sang the solos
in the church-choir, but did not receive any
systematic instruction. Two years later her
father, an officer in the Austrian army, was
transferred to Graz, where she had her first
lessons from Marietta von Leclair. There
her first public appearance took place at a
concert of the 'Akademischer Gesangverein,'
when she sang the contralto solo in the Ninth
SCHUMANN-HEINK— SCHUPPANZIGH
Symphony ( 1876). The intendant of the Dres-
den opera immediately engaged her (operatic
debut at the Hofoper as Azucena on Oct. 13,
1878); she was also app. soloist at the Cath.
Realizing that her training had been inade-
quate, she remedied this shortcoming by
diligent study under Prof. Krebs and Franz
Wullner. In 1883 she became a member of
the Hamburg Stadtth., becoming a prime
favorite, and winning the good will of the
influential director, Pollini, by assuming on
very short notice parts then entirely new to
her (Carmen, Fides, Ortrud). When Pollini
in 1892 brought his company to Coven t Gar-
den she made a profound impression at her
London debut as Erda (Tune 8); she sang
there again in 1897 and 98 (chiefly Wagner
rdles). Meantime she appeared in the prin-
cipal German cities in concert, oratorio and
at festivals; in the summer of 1887 she first
sang at Berlin in opera at Kroll's Th. In
1896 Mme. Wagner invited her to sing in the
Ring performances at Bayreuth (Erda, Wal-
traute and the First Norn); froin then until
1906, excepting 1904, she took active part in
every Bayreuth festival (Mary, Ortrud,
Brangane, Magdalene, Fricka). In 1898 she
signed a contract for ten years with the R.
Opera in Berlin; in order to enable her to
accept an offer made at that time by Maurice
Grau for the M. O. H., a 4-years' leave of
absence during the winter months was granted
her. Her Amer. debut took place as Ortrud
on Nov. 7, 1898, in Chicago; she was first
heard at the M. O. H. in the same r6le on
Jan. 9, 1899. Her success was instantaneous
and overwhelming. When her leave from
Berlin had expired, she signed a new contract
with Grau, and paid a fine of 10,000 marks to
the R. Opera; two years later she was re-
leased from her Berlin contract on payment
of 25,000 marks. During the season of 1903-
4 she made her first extended concert-tour of
the U. S. (covering 40,000 miles) with phe-
nomenal success. At the conclusion she was
persuaded to try comic opera, and during
1904-5 she toured the country in Love's
Lottery (specially written for her). After
a brief rest in Germany she appeared again
in grand opera and concerts; since leaving
the M. O. H. as a regular member in 1904 she
has appeared but rarely on the operatic stage
(M. O. H., Manhattan Opera House, Chicago
Opera Co.). During the winter of 1908-9
she made a tour of Germany, England, France,
Belgium and Austria, appearing in opera and
concert, and creating the r61e of Klytcmnestra
in Strauss's FJektra (Dresden, Jan. 25, 1909).
On her annual concert -tours she appears in
more than 100 concerts; her operatiG reper-
toire includes about 150 rftlcs; her voice, per-
fectly even throughout, and of extraordinary
beauty and power, has a range from d to l*.
— She was married (1882) to Ernst Heia
of Dresden, from whom she was later <t-
vorced; in 1893 she married the actor Pa-
Schumann in Hamburg, who died in 1904
her third husband was a Chicago lawyer,
William Rapp, Jr., whom she married in 1905.
and from whom she was div. in 1914. In 190S
she was admitted to citizenship in the U. S.
Schu'nemann, Georg, b. Berlin, March
13, 1884. Pupil of Stern's Cons.; then si.
musicology at Leipzig Univ. (Dr. phil. in
1907 with the dissertation Das Taktschlagen
in der Mensuralmusik). Has publ. Mozart
als achtjdhriger Komponist (1908; the sketch-
book of 1764), and a valuable GeschichU des
Dirigierens (1913); essays in various journals.
Schunlte, Karl, pianist; b. Magdeburg,
1801; d. (by suicide) in Paris, Dec. 16. 1839
Pupil of his father, the horn-virtuoso Michael
S. (1780-1821); later of Ries, whom he ac-
companied to London. In 1828 he settled
in Paris, becoming pianist to the Queen
After an attack of apoplexy, which deprive J
him of speech, he took his life in despair.—
About 60 comps., chiefly brilliant transenr-
tions of operatic and popular airs.
Schunlte, Ludwig, pianist; pupil of his
father, the horn-virtuoso Gottfried S. (1777-
1840); b. Kassel, Dec. 21, 1810; d. Leipzig,
Dec. 7, 1834. Studied further under Kalfc-
brenner and Reicha at Paris, playing suc-
cessfully there and in Vienna, Stuttgart and
Prague; settled in Leipzig, 1833, became the
intimate friend of Schumann, and a co-foun-
der of the 'Neue Zeitschrift fur Musak.' W\s
few works were full of promise: Op. 3, Pf.-
sonata in G m.; op. 9, Caprice; op. 10, 2d
Caprice; op. 13, CharakUrstiUke; op. 14,
Variations.
Schuppan [shdo'pahn], Adolf, b. Berlin,
June 5, 1863. Pupil of B. Hartel; living as
comp. in Berlin. Has publ. Op. 4, FanUuvt-
stiick for via. and pf.; op. 5, str. -quartet in F;
op. 6, pf.-trio in A m.; op. 7, vcl. -sonata in
F; op. 12, Fantasie in G m. for vl. and pf.;
and for pf. 2 suites (op. 11, G; op. 18, C#m.),
2 sets of Deutsche Tanxe (op. IS, 16) Introd.
und Fuge (op. 14), Legende in E m. (op. 19),
Ballade in F m. (op. 22), Capriccio in A m.
(op. 24), Ricordanza (op. 26), etc.
Schuppan'zigh, Ignaz, b. Vienna, 1776;
d. there March 2, 1830. A violinist, he or-
ganized and cond. the Augarten Concerts;
then joined Prince Razumovsky's private
quartet (S., Mayseder, Linke and Weiss), in-
terpreting the Beethoven quartets under the
master's eye, and also playing those by Haydn
and Mozart. After 1816 they concertized in
Germany, Poland and Russia on their own
account; also after returning to Vienna in
1823. He joined the court orch. in 1824, and
854
SCHURfi— SCHUSTER
became Dir. of the German Opera in 1828.
— Works: Solo briUant f. vl. w. quartet; solo
vara, on a Russian theme; 9 vars. f. 2 vis.
Schure* [shti-ra'], fidouard, b. Strassburg,
1841. St. there law and Germanic philology;
lived in Bonn, Berlin and Munich; since
1867 in Paris. Has done much to awaken an
understanding for German music in France.
— Works: Histoire du Lied ou la chanson
populaire en Allemagne (1868; Ger. tr. by A.
Stahr, 1870; new ed. with a study, Le reveil
de la poesie populaire en France, 1903); Le
drame musical (1875; 5th ed. 1902; German
transl. by v. Wolzogen as Das musikalische
Drama, 3d ed. 1888; Part ii is devoted to an
appreciation of Wagner); Souvenirs sur R.
Wagner (1900; Ger. tr. by F. Ehrenberg,
1900); PrScurseurs el r holies (1904). Also
several works on purely literary subjects. —
Cf. Y. Mainor, E. S. (Angers, 1905); A.
Roux and R. Veyssie, E. 5. Son osuvre et sa
pensie (Paris, 1913).
SchU'rer, Johann Georg, b. Raudnitz,
Bohemia, 1720; d. Dresden, Feb. 16, 1786,
where he had been comp. since 1748. — Works:
4 Italian operas, Astrea (1746), Galatea (1746),
Ercole (1747), Calandro (1748); a German
Singspiel, Doris (1747) ; 3 oratorios; 40 masses;
3 Requiems; 140 Psalms; and other church-
music. — See Q.-Lex.
Schuricht [shoo'riyht], Karl, b. Danzig,
July 3, 1880. Pupil of E. Rudorff and E.
Humperdinck at the Kgl. Hochschule in
Berlin; winner of the Franz v. Mendelssohn
and Paul Kuczynski stipends; Kapellm. at
the theatres in Zwickau, Dortmund, Kreuz-
nach and Goslar; since 1912 munic. music-
dir. and cond. of the Kurkapelle in Wismar,
and cond. of the 'Rtihlscher Gesangverein*
in Frankfort. Has attracted attention with
Herbststiicke for orch. (orig. for pf.). — Publ.
works: Op. 1, Sonata in F m. for pf.; op. 2,
Drei Herbststiicke for pf. (Herbstiust, Vom
Hochwald, Herbstleid); op. 3, 5 songs; op. 4,
Drei Prdludien for pf.
Schu'rig, Artur, b. Dresden, April 24,
1870. St. in Dresden, Berlin and Leipzig;
ent. the army, rising to the grade of captain
of artillery; retired in 1904, and has since
then devoted himself to research work in the
history of music. Author of an excellent
biogr. of Mozart, based on Nissen's orig.
sources and taking into account the latest
investigations: W. A. Mozart. Sein Leben
und sew Werk (2 vols.; 1913).
Schu'rig, Volkmar (Julius Wilhelm), b.
Aue-on-the-Mulde, Saxony, Mar. 24, 1822; d.
Dresden, Jan. 31, 1899. Pupil of Schneider,
J. Otto and Uhlig, at Dresden; 1842-52,
choirmaster at the synagogue, and 1844-56
organist of the English Cn.; 1856-61, cantor
and org. at Presburg; thereafter lived in
Dresden as singing-teacher, cantor, and
(from 1876) teacher of theory at the Rollfuss
Acad.; from 1873-93 he was cantor at St.
Anne's. — Publ. organ-fantasias, op. 1 and 31;
organ-preludes, op. 46; Fantaste und Fuge
in C for org., op. 54; sacred songs f. one voice,
op. 14, 3$; English 4-part do.; sacred duets,
many motets and choruses; children's songs
w. pf., op. 48; etc. ; also an excellent collection,
'Liederperlen deutscher Tonkunst.'
Schiirmann, Georg Kaspar, b. in the
province of Hanover, c. 1672; d. Wolfenbtit-
tel, Feb. 25, 1751. From 1693-7 he sang
(alto-falsetto) in church and opera in Ham-
burg; was then eng. by the Duke of Bruns-
wick. While on his way to Wolfenbtittel he
killed a fellow-traveller in a duel, and was
obliged to flee; lived at the Duke's expense
some years in Italy; 1706 he was Hofkapellm.
in Meiningen; from 1707 in Wolfenbtittel,
first as singer, later as Kapellm. He wrote
about 20 operas (all for Wolfenbtittel) which
were highly esteemed by his contemporaries;
the greater part of his cantatas and sacred
music is lost. His opera Ludwig der Fromme
(1726). was publ. by Hans Sommer in vol. 17 of
the 'Publikationen der Gesellsch. ftir Musik-
forschung.' — Cf. G. F. Schmidt, G. K. S.
Sein Leben und seine Werke (Munich, 1913).
— occ y.-L»ex.
Schuster, Bernhard, b. Berlin, Mar. 26,
1870. St. pf., org. and vl. under private
teachers in Berlin, and theory under B ussier;
for some years operatic cond. in Magdeburg
and Berlin. In 1901 he founded the fort-
nightly review 'Die Musik,' which from the
beginning ranked with the foremost musical
journals of Germany; has been ed. -in-chief
since foundation. In 1905 he also founded
the publ.-house 'Schuster und Loeffler' (Ber- .
lin and Leipzig), which has brought out a
number of important works on Beethoven,
Wagner, Liszt, Chopin, Bach, etc. Has
publ. 2 books of songs (op. 12, 14); in MS.
are more songs, a str. -quartet, a suite for
small orch., a symphony, a Psalm for soli, ch.
and orch., a 2-act comic opera and a 3-act
grand opera.
Schu'ster, Joseph, b. Dresden, Aug. 11,
1748; d. there July 24, 1812. Dramatic com-
poser; taught by Schtirer. Spent 4 years,
1765-9, in Italy, returned to Dresden, and
became court and chamber-comp. in 1772;
spent 2 years more in Italy for study under
Padre Martini at Bologna, prod. Italian
operas, and was made honorary maestro to the
King of Naples; after a stay of 2 years in
Dresden, and a third visit to Italy 1778-^81,
he settled in Dresden, conducting at church
and theatre alternately with Naumann, Schti-
rer and Seydelmann, and from 1787 asso-
855
SCH 0TT— SCHOTZ
ciated with Seydelmann as court Kapellm.
Of 24 operas, 20 were in Italian (1770-1800);
the 4 in German {Der gleichgultige Ehemann,
Doktor Murner, Sieg der Liebe iiber die Zauberei,
and Das Laternenfest) were popular. His
best work was a cantata, Das Lob der Musik;
he also wrote other cantatas, oratorios, a
mass, etc. ; publ. pf .-pieces f . 2 and 4 hands,
divertissements f. pf. and violin, etc. t Sym-
phonies, a concerto f.'2 pfs., etc., are in MS.
— See Q.-Lex.
Schiitt, Eduard, b. Petrograd, Oct. 22,
1856. Pupil of Petersen and Stein at the
Cons, there; from 1876-8 of E. Fr. Richter
(harm.), S. Jadassohn (cpt.) and K. Reinecke
(comp.) at the Leipzig Cons.; 1878-80 in
Vienna as private pupil of Leschetizky (pf.).
In 1880 he made his first concert-tour of
Austria and Bohemia with Mme. Norman-
Neruda; in 1882 a tour of Hungary with
Leopold Auer; visited Petrograd as soloist in
1881, and won much applause with his first
pf. -concerto in G minor. In 1881 he was app.
cond. of the 'Akademischer Wagner- Verein'
in Vienna (succ. Felix Mottl); became an
Austrian subject by naturalization in 1882.
As delegate of the Wiener Wagner- Verein he
attended the first performances of Parsifal
at Bayreuth (1882). In 1883 he gave with
the Wagner- Verein a memorable performance
of Liszt s Der entfesselte Prometheus, with the
master himself at the piano. Since his re-
tirement in 1887 he has been living in Vienna,
devoting his time to comp., and giving oc-
casional concerts of his own works in the
larger cities of Austria, Germany and Eng-
land.— Works: A 3-act comic opera, Signor
Formica (Vienna, 1892) ; op. 6, Serenade in D
for str.-orch.; 2 pf. -concertos (op. 7, G m.;
op. 47, F m.); pf. -quartet \n¥ (op. 12); vl.-
sonata in G (op. 26); 2 pf.-trios (op. 27, C m.;
op. 51, E m.); 3 suites for vl. and pf. (op. 44,
D; op. 61, E; op. 86, A m.); Waltermdrchen
for vl., vcl. and pf. (op. 54); Andante canta-
bile und Schersino for 2 pfs. (op. 79) ; numerous
pes. for pf. (op. 17, Scenes de bal; op. 29,
Theme varie et Fugato; op. 34, Silhouetten-
Portrails; op. 36, Poesies dAutomne; op. 48,
Carnaval mignon; etc.); songs.
Schtitz [Sagitta'riuB], Heinrich, the most
influential German composer of the 17th cen-
tury in developing and promoting good
church-music, and a worthy forerunner of
Bach; b. Kostritz, Saxony, Oct. 8, 1585; d.
Dresden, Nov. 6, 1672. In 1599 he became a
choir-boy in the court chapel at Casscl, also
taking the gymnasial course, and entering
Marburg Univ. in 1607, at his parents' de-
sire, to study law; but was sent to Venice in
1609, by Landgrave Moritz of Hesse-Cassel,
to study under Giov. Gabrieli, remaining here
till after the latter's death in 1612. Return-
ing to Cassel, he became court organist; in
1617 he was app. Kapellm. to the Elector of
Saxony at Dresden, alter having acted in that
capacity since 1615. He repeatedly revisited
Italy; from 1631, amid the distractions of the
30 Years' War, he made protracted visits
to Copenhagen (in 1633-5, 1637-8, and 1642-
5), where he officiated as court conductor, the
Dresden court orch. having been wholly dis-
solved during 6 years (1633-9), and then
reorganized with only ten instrumentalists
and singers; after 1645 it attained the former
standard of efficiency. — Standing at the part-
ing of the ways between Palestnna and Bach,
Schutz was of peculiar importance in German
art through having applied the grand Italian
choral style, and the new dramatico-monodic
style (of Monteverde and his predecessors),
to the development of a semi-dramatic-church-
music which is not merely of historical in-
terest as preparing the mightier Bach epoch,
but of pleasing and powerful effect at the
present day. S. was also the composer of the
first German opera, Dafne, set to Opitz's trans-
lation of Rinuccini's libretto (prod. Schloss
Hartenfels, n. Torgau, 1627, at the wedding
of Princess Sophie of Saxony), and of a ballet,
Orpheus und Eurydice (1638, on the wedding
of Johann Georg II. of Saxony); the music of
both is lost. The late Karl Riedel did much
to awaken appreciation of S.'s merits by
publishing and producing Die 7 Worte Ckristi
am Kreut, and by bringing out other of his
works, notably a Passion consisting of selec-
tions from S.'s Historia des Leidens . . . Jesu
Christi [see below]. From 1885-94 Breitkopl
& Hartel publ. a complete edition of S.'s
works in 16 vols., ed. by Philipp Spitta: Vol.
I, Die evangelischen Historien und die Sieben
Worte Jesu Christi am Kreuz; the Historien
being (i) Die Historia des Leidens und Ster-
bens unsers Heylandes Jesu Christi (4 Passions
after the Evangelists; MS. in the Dresden
Library), and (2) Historia der frbhlichen und
siegreichen Auferstehung unsers einigen Er-
losers und Seligmachers Jesu Christi (first
Fubl. 1623; similar to the Passions); Vols.
I — III, Mehrchorige Psalmen mil Instrumenten,
with continuo (first publ. 1619); Vol. IV,
Cantiones sacrae a 4 w. continuo; Vol. V,
Symphoniae sacrae, Part I; Vol. VI, Kleine
geistliche Concerte a 1-5; Vol. VII, Sym-
phoniae sacrae, Part II; Vol. VIII, sacred
choral music, containing Musicalia ad cho-
rum sacrum, w. continuo (1648); Vol. IX,
Italienische Madrigale, containing his first
publ. work, sent home from Italy, and dedi-
cated to the Landgrave, // primo libro dei
Madrigale (1611; 18 madrigals a 5 and a
Dialog a 8); Vol. X-XI, Symphoniae sacrae.
Part III; Vol. XII-XV, GesammelU Motetten,
Concerte, Madrigale und Arien; Vol. XVI,
Psalmen Davids deutsch durch CorneUum
856
SCHWAB— SCHWARZ
Beckern in 4SUmmen gestellt; index{ etc. A
suppl. vol. was publ. in 1909, containing the
long-lost Weihnachtsoratorium, discovered in
1908 by Dr. A. Schering in the Univ. of
Upsala. — Bibliography: Ph. Spitta, H. S.
Eine Gedachtnissrede (Hildburghausen, 1886);
id., Die Passionen nach den trier Rvangelicn
von H. 5. (Leipzig, 1886); A. Pirro, La
forme d' expression dans la musique de H. S.
(Paris, 1900); F. Spitta, Die Passionen von S.
und ihre Wiederbelebung, in 'Peters Jahrbuch*
(1906); A. Werner, Stadtische und fursUiche
Musikpflege in Weissenfels (Leipzig, 1911);
A. Pirro, 5. (Paris, 1913; Ger. tr. by W.
Gurlitt, 1914; the standard work). Several
important letters of S.'s were publ. by F.
Chrysander in Geschichte der Braunschweig-
WolffenbUttelschen KapeUe und Oper, in
'Jahrbuch fur musikalische Wissenschaft1
(vol. i, 1863). — See also Q.-Lex.
Schwab, Francois-Marie-Louis, born
Strassburg, April 18, 1829; d. there Sept. 6,
1882. Cond. of the 'Union musicale,' 1871-4;
mus. ed. of the 'Journal d'Alsace.' — Works:
3 comic operas (French) ; mass w. full orch.
(1859); a cantata; a 'cello-concerto; other
instrl. and vocal comps.
Schwalm, Oskar, born Erfurt, Sept. 11,
1856. Pupil 1879-82 at Leipzig Cons, of
Wenzel, Reinecke, Paul and Jadassohn.
Manager of Bluthner's branch-establish-
ment at Berlin; from 1886-8, proprietor of
Kahnt's publishing- house in Leipzig, selling
out to Dr. Paul Simon, and was also critic
for the 'Tageblatt' and other Leipzig papers.
Has comp. an overture to Fitger s Konig
Drosselbart; pf.-music, songs, school-songs.
Schwalm, Robert, brother of preceding;
born Erfurt, Dec. 6, 1845; d. Konigsberg,
Mar. 6, 1912. Pupil of Pflughaupt, and of
the Leipzig Cons. From 1870-5, cond. of
several choral societies at Elbing; from then
until his death do. at Kdnigsberg ('Sanger-
verein,' 'Philharmonic' 'Musikafische Aka-
demie'). — Works: Opera Frauenlob (Leipzig,
1885); male choruses w. orch., Morgengrauen
(op. 15), Bismarck-Hymne (op. 24), An
Deutschland (op. 26), Mila (op. 38), Wikinger-
fahrt (op. 39), Gotenzug (op. 40), Festgesang
(op. 56), Der Goten Todesgesang (op. 78),
Abendstille am Meer (op. 81), Thermopylae
(op. 90), Waldpsalm (op. 124); 2 biblical scenes
for soli, ch. and orch., Die Hochteit zu Kana
(op. 63) and Der Jiingling %u Nain (op. 65);
Psalm 100 for male ch. and orch. (op. 109);
a ballade for solo voice w. orch., Das GewiUer
(op. 60); Serenade in G for str.-orch. (op. 50);
Konzertstiick for vl. and orch. (op. 51); do.
for vcl. and orch. (op. 72); male choruses a
capp.; pf.-pcs.; songs.
Schwa'nenberg, (Schwanenberger,
Schwanberg) , Johann Gottfried, b. Wolfen-
biittel, Dec. 28, 1740; d. Brunswick, April 5.
1804. Pupil of Latilla and Saratelli at
Venice, and aided by Hasse, whom he took
for his model. Court Kapellm. at Bruns-
wick.— Works: 12 Italian operas in imitation
of Hasse's style; cantatas; pf. -concertos;
violin-concertos; 3 sonatas f. pf. — See Q.-Lex.
Schwan'tzer, Hugo, b. Oberglogau, April
21, 1829; d. Berlin, Sept. 15, 1886. Pupil of
the Inst, for Church-music at Berlin; 1852,
organist of the Ref. Synagogue, and in 1866 of
the new Synagogue; 1856^9, teacher of org.
and pf. at the Stern Cons. Founder of the
Schwantzer'sches Cons. — Publ. pieces f. org.,
pf., and voice; also a Method f. pf.
Schwartz, Rudolf, b. Berlin, Jan. 20.
1859. St. philosophy at Berlin Univ., and
from 1882-7 musicology under Ph. Spitta;
Dr. phil. (Leipzig Univ., 1892) with the
dissertation H. L. Hassler unter dem Einfluss
der ilalienischen Madrigalisten; 1887-97, cond.
of the students' Liedertafel in Greifswald;
then moved to Leipzig, and in 1901 succ.
Emil Vogel as librarian of the 'Musikbibli-
othek Peters' and ed. of the 'Jahrbuch'; made
Kgl. Prof, in 1907. He has publ. Die FroUole
im 15. Jahrhundert (in 'Vschr. fur M.-W.\
1886); Das erste deutsche Oratorium (in
'Tahrb. Peters,' 1898); Die Tonkunst im 19.
Jahrhundert (1900); Zur Geschichte des
Taktschlagens (in 'Jahrb. Peters,' 1907); he
prepared the general index for the 'Vschr.
f. M.-W.' (1895) and a new ed. of the cata-
logue of the 'Musikbibl. Peters' (vol. i, 1910;
very valuable). Ed. the Centuriae of Du-
lichius in 'Dkm. deutscher Jonk.' (vols. 31
and 41) and a selection of secular comps. of
H. L. Hassler in 'Dkm. der Tonkunst in
Bayern' (vol. iv, 2).
Schwarz, Andreas Gottlob, b. Leipzig,
1743; d. Berlin, Dec. 26, 1804. Bassoonist,
from 1787, in the Berlin court orch.; pre-
viously in London, at Lord Abington's . con-
certs.— His son, Christoph Gottlieb, b.
Sept. 12, 1768, was also a fine bassoonist;
chamber-musician to the Prince of Wales, and
1788-1826 in the Berlin court orch.
Schwarz, Blanca. See Bianchi.
Schwarz, Max, son of Wilhelm S.; born
Hanover, Dec. 1, 1856; pupil of Bendel,
Biilow and Liszt. Excellent pianist; from
1880-3 teacher at the Hoch Cons., Frank-
fort, then founding, with other teachers
leaving that inst. after Raff's death, the
'Raff' Cons., of which he has been the Direc-
tor since 1885.
Schwarz, Wilhelm', b. Stuttgart, May 11,
1825; d. Berlin, Jan. 4, 1878. A theologian
and teacher who became a singer and teacher
of singing at Hanover and Berlin, introducing
a new, but unsuccessful, method. — Publ.
857
SCHWEDLER— SCHYTTE
System der Gesangskunst nach physiologisehen
Grundsditen (1857), and Die Musik als Ge-
fiihissprache im Verhaltniss tur Stimme und
Gesangsbildung (1860).
Schwe'dler, (Otto) Maximilian, born
Hirschberg, Silesia, Mar. 31, 1853. Excel-
lent flutist, pupil 1869-72 of Fr. Meinel at
Dresden. Played in orchestras at Warm-
brunn, Meissen, Kdnigsberg and Dusseldorf ;
called in 1881 to the Leipzig municipal and
Gewandhaus Orch., in which, since Barge's
retirement (1895) he is 1st flute; also prof, at
the Cons. Inventor of the 'Schwedler flute'
(1885), fully descr. in his Katechismus der
Flote and des Flotenspiels (Leipzig, 1897);
the manufacturer, Carl Kruspe, won a gold
medal at the Leipzig industrial Exhib. of
1897. — Works: Transcriptions f. flute, and a
method.
Schweitzer [shvi'tseY], Albert, distin-
guished musicologist; b. Kaysersberg, Alsace,
Jan. 4, 1875. St. organ with Eugen Munch,
organist at St. Stephen's in Mtilhauscn, then
with Ernst Mtinch in Strassburg, and in 1893
with C.-M. Widor in Paris; also st. theology,
philosophy and music in Strassburg, Paris
and Berlin, receiving the degrees of Lie.
theol. and Dr. phil.; in 1902 Dozent at Strass-
burg Univ., and since 1913 prof, extraord.;
while teaching there he completed the full
medical course (M. D., 1912). Always
specially interested in Bach, he has been
organist since 1896 of the Bach concerts at
St. Wilhelmi in Strassburg, and since 1906
also of the concerts of the 'Societe Bach' in
Paris. In 1909 he presided at the conferences
on organ-building held at the Congress of the
I. M.-G. in Vienna, which led to the adoption
of international regulations, and read a
paper, Die Reform unseres Orgelbaues (full
report in 'Wiener Kongressbericht der I. M.-
G.,' 1909 [pp. 581-679]). He has publ. Jean-
Seb. Bach, le musicien-poete (1905; 3d ed.
1913; Ger. ed. [enlarged] 1907; Engl. tr.
by E. Newman, 1912; very important) and
-Deutsche und franzdsische Orgelbaukunst und
Orgelkunst (1906). Editor, with Widor, of
Schirmer's definitive edition of Bach's Organ
Works; publication of the final volumes de-
layed for several years by Schweitzer's sojourn
in the French Gabon (Africa) as a medico-
missionary, and his subsequent detention
there as a German subject. He is now (1918)
in France.
Schwei'tzer, Anton, b. Koburg, [baptized
June 6 ] 1735; d. Gotha, Nov. 23, 1787. In
1745 chorister, and later member (viola), of
the Ducal orch. in Hildburghausen; 1764-6,
for further study in Italy; 1766-9, Ducal
Kapellm.; in 1769 he became cond. of Sev-
ier's operatic troupe, which was eng. by the
Duke of Weimar in 1772; after the destruc-
tion by fire of the theatre (1774) S. went to
Gotha, where he succ. G. Benda as Hof ka-
pellm. in 1780. He is historically important
as the first composer who wrote serious operas
to German texts; although his AlcesU (Wei-
mar, 1773) and Rasamunde (Mannheim, 1 7 SO)
[libretti of both by Wieland] were very suc-
cessful, his example was not followed till
many years later; his Pygmalion (Weimar,
1772; text by Rousseau) was the first melo-
drama in Germany; his 'Singspiele* enjoyed
enormous popularity in their day; also wrote
cantatas and symphonies. — Cf. J. Maurer,
A. S. als dramatischer Komponist (Leipzig,
1912).
Schwen'cke, Christian Friedrich Gott-
lieb, son of the bassoonist Johann Gottlieb S.
[1744-1823]; b. Wachenhausen, Harz, Aug.
30, 1767; d. Hamburg, Oct. 27, 1822, being K.
Ph. E. Bach's successor as town cantor and
mus. dir. at the ^ Katharinenkirche. Pupil
of Marpurg and Kirnberger. — Works: Many
cantatas, sacred and secular; 2 oratorios;
church-music; 6 organ-fugues; 3 violin-
sonatas; pf. -sonatas. He rescored Handel's
Messiah and Bach's mass in B minor; wrote
much for the Leipzig 'Allgem. Zeitung.' — See
Q.-Lex.
Schwen'cke, Friedrich Gottlieb, son
and pupil of Joh. Friedrich S. ; b. Hamburg,
Dec. 15, 1823; d. there June 11, 1896. Vir-
tuoso on the pf. and organ, giving organ con-
certs in Paris, 1855; succeeded his father in
1852 as organist of the Nikolaikirche, Ham-
burg.— Works: 3 fantasias f. org., trumpet,
trombone and kettledrums; sacred songs f.
female ch. w. org.; in 1886 he publ. a new and
augmented ed. of his father's chorale preludes.
Schwen'cke, Johann Friedrich, son and
pupil of C. F. G. S.; b. Hamburg, April 30,
1792; d. there Sept. 28, 1852. From 1829,
organist at the Nikolaikirche. — Comp. nu-
merous cantatas; over 500 preludes and
postltides f. organ; a septet f. 5 celli, double-
nass and kettledrums; harmonized about
1,000 chorales, and 73 Russian folk-songs;
publ. the popular Hamburgisches Choralbuch;
many arrangements f. pf. of classic works;
etc. — His brother,
Schwen'cke, Karl, b. Hamburg, Mar. 7,
1797; d. (?). Fine pianist, making tours to
Petrograd, Stockholm and Paris. Settled in
Nussdorf, near Vienna. Memoirs publ. (par-
tially) in the 'Hamburger Korrespondent'
(1884-5). — Works: Solemn mass (Paris); a
symphony (Paris Cons., 1843; also at Ham-
burg) ; publ. a violin -sonata, a pf.-sonata f.
4 hands, etc.
Schyt'te [shOt'te], Ludvig (Theodor), b.
Aarhus, liitland, Denmark, April 28, 1850
[correct date]; d. Berlin, Nov. 10, 1909 (from
858
SCONTRINO— SCOTTI
the effects of an operation). Originally a
druggist, he embraced music in 1870, studying
pf. with Anton Ree and later with Edmund
>Jeupert; comp. with Gebauer and Gade;
finishing under Taubert at Berlin and Liszt
at Weimar. From 1887-8 he taught the
advanced pf. -classes at Horak's Institute,
Vienna; then resided there as a concert -
pianist, private teacher and composer until
1907, when he accepted a position at Stern's
Cons, in Berlin. A master of the smaller
forms, which he cultivated almost exclusively;
his few larger works are full of interesting
details, charming in themselves, but not
welded into a homogeneous whole. — Works
(over 200 op.-numbers) : The 1-act opera
Hero (Copenhagen, 1898) ; the operettas Der
Mameluk (Vienna, 1903) and Der Student
von Salamanka (ib., 1909); a comic opera,
Fahrendes Volk (not prod.). A pf. -concerto
in C# m. (op. 28); Barcarolle for pf. and str.-
orch. (op. 60); Petiles suites faciles for vl.f
vcl. and pf. (op. 132) ; Trots Scenes orientates
for vl. and pf. (op. 136). For pf. 4 hands:
Op. 61, Bajadercnt&nse; op. 81, Kinder sym-
phonic; op. 112, Musikalische Wandelbilder;
op. 131, Reiseblatter; op. 142, Kinder suite*
For pf. solo: Op. 26, Promenades musicales;
op. 43, Mondscheinwanderungen; op. 53, a
sonata in Bb; Op. 59, Rapsodie norvigienne;
op. 69, Aus froher Kinder zeit; op. ?6, six
modern sonatinas; op. 110, Pizza del Popolo
(suite); op. 114, Spanische Ndchte; op. 119,
Valse piquante; op. 144, Waldbilder; op. 157,
A us der ileimal und Fremde; etc. ; some ex-
cellent studies (op. 15, 46, 50, 66, 73 [Seeks
brillante Vortragsetuden), 75 [Melodische Spe-
zialetuden), 90, 95, 99, 159, 161 [Studien in
Ornamenttk und Dynamik], etc.); also songs
(a cyclus, Die Verlassene, op. 89). — His
daughter, Anna Jofranne (b. Copenhagen,
Nov. 20, 1877), pupil of her father and
Reisenauer, is a concert-pianist.
Scontri'no, Antonio, b. Trapani, May
17, 1850. From 1861-70 pupil at Palermo
Cons, of L. Alfano (harm.) and P. Platania
(comp.); 1870-2, toured Italy as a double-
bass virtuoso; made a special study of Ger-
man music at the Kgl. Musikschule in
Munich (1872-4); played in Mapleson's
orch. in London (1874-5), and then settled
in Milan as teacher; app. prof, of comp. at
the Palermo Cons, in 1891; since 1892 ditto
at the R. lstituto Musicale in Florence. —
Works: The operas Malelda (Milan, 1879),
UProgeUista (Rome, 1882), Sortilegio (Turin,
1882), Cringoire (Milan, 1890), La Cortigiana
(Milan, 1896); incid. music to d'Annunzio's
Francesca da Rimini; overture to Marenco's
Celeste; a Sinfonia Marinaresca; a Sinfonia
Romantic a; a concerto for double-bass and
orch.; 3 str.-quartets (G m., C, A m.); Pre-
ludio efuga for str. -quartet; Gloria for 8-part
ch. a capp. ; pes. for vl., for vcl. and for double-
bass and pf. ; pf.-pes.; songs, including 2
cycles ( Vie interieure and Intima vita).
Scott, Cyril Meir, b. Oxton, Cheshire,
Sept. 27, 1879. Pupil of 1. Knorr at Hoch's
Cons, in Fran kfort-on- Main. As a composer
he adopted in toto Debussy's principles and
method, and completely identified himself
with the style of the French master. He is
not so much the 'English counterpart to D.'
[Grove], as his English double; for, unlike
most imitators, S. has caught the essentials,
the very spirit of impressionism, so that his
best works might easily be ascribed to D.
This can, perhaps, be explained on the ground
of identical natural endowment, for neither
composer can think music in terms of his
predecessors. S. is also a theosophist and a
student of, and lecturer on, occult philosophy,
and a thorough believer in the relation be-
tween tones and colors; he has written ex-
tensively on esthetics and the occult aspects
of music. — Works: For orch., a symphony;
4 overtures, Christmas, Princesse Maleine,
Aglavaine el Selysette, Pelleas et Melisande; 2
Rhapsodies; Aubade; Arabesque; Three
Dances; a pf. -concerto. — Vocal w. orch., La
belle Dame sans merci for sop. and bar. ; Helen
of Kirkconnel for bar.; Nativity Hymn for ch.
—-Chamber-music, pf. -sextet, op. 26; pf.-
quintet, op. 57; 2 str.-quartets, op. 28 and
31; vl. -sonata, op. 59; Tallahassee, suite for
vl. andpf. — Numerous com ps. for pf. (sonata,
2 suites, etc.) and songs (My Captain, A Re-
flection, Afterday, Lovely kind and kindly lovely,
etc.). Has publ. The Philosophy of Modern-
ism (1917).— Cf. D. C. Parser, An English
Impressionist, in 'Mus. Standard' (vol. vii;
1916); A. S. Potter, C. 5. The Man and His
Works, in 'Harvard Mus. Rev.' (voLiv; 1916).
Scott, Henri, dramatic bass; b. Coates-
ville, Pa., April 8, 1876. Pupil of Oscar
Saenger in New York; sang at first in church,
concert and oratorio ; operatic debut as Ramfis
at the Manhattan Op. House in Hammer-
stein's summer season (Sept., 1909); 1909-
10, regular member of the Manh. company;
1910-11, at Teatro Adriano in Rome; 1911-
14, with Chicago Opera Co.; since 1915 lead-
ing bass of the M. O. H. His fine, sonorous
voice has a range from D-f$l; of the 50 rdles
in his repertoire his favorites are Leporello,
Mephistopheles, Basilio (Barbiere di Siviglia),
King (Lohengrin), Landgraf (Tannhduser),
Ramfls. — A devotee of athletics, he was in
former years one of the champion oarsmen of
America.
Scotti [skoh'te*], Antonio, dramatic bass;
b. Naples, Jan. 25, 1866. Pupil of Mme.
Trifan Pagan in i in Naples; debut as Amo-
nasro at the Teatro Reale in Malta (1889);
859
SCRIABINE— SECKENDORFF
sang for the next 7 years in Italy and South
America; made succ. tours in Spain and
Russia; in the Spring of 1899 he made his
Engl, debut at Covent Garden as Don Gio-
vanni, and on Dec. 27, 1899, his Amer. debut
in the same r61e at the M. O. H.; since then
he has sung every season at both houses,
maintaining his great popularity to the pres-
ent day. His most famous r61es are Don
Giovanni, Amonasro, Tonio, Scarpia, Falstafl"
and I ago. He is both a great singer and a
versatile actor.
Scria'blne, Alexander. See Skriabin.
Scribe, Eugene, most prolific of French
dramatists, and the writer of over 100 opera-
libretti; b. Paris, Dec. 25, 1791; d. there Feb.
21, 1861. From his pen were the finest li-
bretti composed by Auber and Meyerbeer:
La Muette, Fra Diavolo, Le Domino noir, Les
Diamants de la couronne; — Robert, Les Hu-
guenots, Le Prophlte, VAfricaine. For Boiel-
dieu he wrote La Dame blanche; for Halevy,
Manon Le scant and La Juive. These are a
few of the best. In the complete ed. of his
GLuvres dramatiques (Paris, 1874-85; 76 vols.),
the libretti of operas and ballets fill 26.
Scu'do, Paolo, writer; b. Venice, June 8,
1806; d. Blois, Oct. 14, 1864.— Publ. Critique
el Littirature musicale (2 parts, 1850, '59);
Vart ancien et moderne . . . (1854); L'annie
musicale, ou Revue annueUe des thedtres lyri-
ques et des concerts (3 vols., 1860-2); La
musique en 1862 (1863); a mus. novel, Le
chevalier Sarti (1857; the sequel, FredSrique,
in the 'Revue des Deux Mondes'); and ar-
ticles in periodicals, etc.
Seagle, Oscar, fine concert-baritone; b.
Chattanooga, Tenn., Oct. 31, 1877. He
sang in concerts and recitals in the U. S.
from 1896-1905; from 1905-14 in Paris with
Jean de Reszke, first as pupil, later as his
asst.; European debut in Paris, May, 1907,
followed by tours of France and England;
since 1914 in New York. He is an excellent
interpreter of German Lieder.
Sebald [za'bahlt], Alexander, distin-
guished violinist; b. Pest, April 29, 1869.
Pupil of Saphir at the 'Musikakademie' there,
and of Cesar Thompson in Brussels. Until
1903 he was a member of the Gewandhaus
Orch. and the Gewandhaus quartet in Leip-
zig; since then he has undertaken extensive
tours as virtuoso; visited America in 1910-11;
in 1907 he establ. a school of his own in Ber-
lin; made Kgl. Prof, in 1913. In 1914 he
settled in Chicago as teacher and leader
of the Chicago Opera Co. Has published
Geigentechnik (3 parts), Petite Romance for
vl. and pf., and some songs.
Sebastia'ni, Johann, b. Weimar, Sept. 30,
1622; d. Konigsberg, 1683. In 1661, Kapellm.
to the Elector of Brandenburg at Konigsber*.
His passion, Das Leiden . . . Jesu Christ:
(1672), is noteworthy from the devotional
chorales therein introduced, as in Bach's Pas-
sions. It was reprinted by Zelle in vol- xvii
of 'Dkm. deutscher Tonk.' He also pubL
Geistliche und weUliche Lieder (1675). — Set
Q.-Lex.
Sebor [sha'Whr], Karl [Karel], b. Bran-
deis, Bohemia, Aug. 13, 1843; d. Prague,
May 17, 1903. Studied at Prague Cons.;
private pupil of Kittl. From 1864-7, cond.
of the National Opera; from 1871, military
bandmaster in Vienna. — Works: The Czech
operas The Templars in Moravia (1864), Dra-
homira (1867), The Hussite's Bride (1868),
Blanka (1870), The Frustrated Wedding ( 1878).
all at Prague; cantatas, symphonies, over-
tures, a string-quintet, a string-quartet, pf.-
pieces, songs, etc.
Sechter [z&hyh't&r], Simon, celebrated
teacher of counterpoint; b. Fried berg, Bo-
hemia, Oct. 11, 1788; d. Vienna, Sept. 10,
1867. Pupil of Kozeluch and Hartmann at
Vienna; in 1811, teacher at the Inst, for the
Blind; in 1824 assistant, in 1825 1st, court
organist; from 1851, prof, of harmony and
comp. at the Vienna Cons. Among his pu-
pils were Dohler, Henselt, Bruckner, Notte-
bohm, Otto Bach, Berens, Vieuxtemps, Ru-
finatscha, Thalberg, and Pauer. One of the
foremost contrapuntists of the 19th century,
he was an indefatigable composer, writing- a
vast amount of church-music (very little
printed), and publishing many fugues, pre-
ludes, etc., f. organ (op. 1-5, 8, 9, 12-15, 17,
20-22, 48, 50, 52, 56, 61), several intricate
pf.-pieces (op. 13, Dances in counterpoint; op.
62, 12 Contrapuntal pieces; op. 76, Prose
and Music; op. 55, 4 books [24 numbers] of
amusing Fugues f. 4 hands on national and
operatic airs; etc.); 2 string-quartets (No.
2 is Die 4 Temperamente); the burlesque
opera Ali Hitsch-Hatsch (Vienna, 1844; under
the pseudonym 'Ernst Heiter'); songs, etc.
His most important work is the treatise Die
Grundsatze der musikalischen Composition
(3 vols. 1853, '54), on the lines of Rameau's
'basse fondamentale.' He also publ. a
Generalbass-Schule, and a new ed. of Mar-
purg's Abhandlung von der Fuge. — Cf. K. F.
Pohl, 5. S. (Vienna, 1868); G. Capellen,
1st das System 5. S's. tin geeigneter Ausgangs-
punkt fur die theoretische Wagnerforschung?
(Leipzig, 1902).
Seckendorff [zelik'-], Karl Siegmund,
Freiherr von, b. Erlangen, Nov. 26, 1744; d.
Ansbach, April 26, 1785. From 1761-74 he
was an officer in the Austrian and Sardinian
armies; 1776-84, in Weimar in the diplo-
matic service; from 1784, Prussian ambas-
sador in Ansbach. At Weimar he was on
860
SEEGER— SEIDL
intimate terms with Goethe, who allowed
him to compose a number of his poems (Der
Fischer, Der Konig in Thule, etc.) before
their publication; in his songs he success-
fully reproduces the characteristics of folk-
melodies; his instrl. works show the style of
the Mannheim school. He publ. 3 colls, of
Volks- und andere Lieder (1779-82); in MS.
he left considerable chamber-music, also 2
operas, Proserpina (Weimar, 1778) and J try
und Bdtely (ib., 1780).— Cf. V. Knab, K. S.
von 5. (Bonn, 1913).
See'ger(t) [za'-l, Joseph, b. ftepin, Bo-
hemia, Mar. 21, 1716; d. April 22, 1782, at
Prague, as organist of the Kreuzherrenkirche.
Excellent organist and teacher; taught by
Czernohorsky and Fr. Benda at Prague;
among his pupils were Kozeluch, Mascnek,
Mysliweczek, etc. — Publ. 8 Toccatas and
Fugues f. org.; many masses, psalms, etc.,
are in MS. — See Q-Lex.
Seeling [za'-], Hans [HanuS], b. Prague,
1828; d. there May 26, 1862. Pianist of great
technical ability and admirable style; went
to Italy in 1852, where he made his debut;
thence to the East, again to Italy (1859), then
making Germany his home. Many brilliant
pieces (op. 10, 12, Concert-studies; op. 2,
LoreUy; etc.).
Seghers [su-gar7], Francois- Jean- Bap-
tiste, b. Brussels, Jan. 17, 1801; d. Margency,
near Paris, Feb. 2, 1881. Violinist, pupil of
Gensse (Brussels) and Baillot (Paris Cons.);
founded the Societe Ste.-Cecile in 1848, and
cond. it till 1854. Its concerts of orchl. and
choral works were famous; after the founder's
death it rapidly declined and soon was dis-
solved.
Segnitz [z£hg'-]f Eugen, b. Leipzig, Mar.
5, 1862. After graduation from the Leipzig
Cons, he studied privately with Papperitz
and Paul (1880-5); living in Leipzig as
teacher, writer and mus. critic of the 'Leip-
ziger Tageblatt.'— Works: Karl Reinecke
(1900), Wagner und Leipzig (1901), Listt und
Rom (1901), Goethe und die Oper in Weimar
(1908), Fr. Liszts Kirchenmusik (1911); also
several guides for Schlesinger's 'MusikffihTer';
arrs. for 2 pfs. of Mozart's divertissements.
Segond [su-gdhn'l, L. A., a physician at
Paris; took singing-lessons of Manuel Gar-
cia, and publ. Hygilne du chanteur. Influence
du chant sur V economic animate. Causes prin-
cipals de raffaiblissement de la yoix el du
developpement de certaines maladies chew les
chanteurs. Moyens de prtvenir ces maladies
(1846); and Mcmoires pour servir aVhistoire
anatomique et physiologique de la phonation
(1859; lectures at the Academie).
Seibert, Louis, b. Kleeberg, n. Wiesbaden,
May 22, 1833; d. Eisenberg, near Wetzlar,
July 29, 1903. Teacher of pf. at Wiesbaden
Cons.; comp. of orchl. and chamber-music,
male choruses, etc.
Sei'del [«'-]", Friedrich Ludwig, lorn
Treuenbrietzen, Brandenburg, July, 14, 1765;
d. Charlottenburg, May 8, 1831. Pupil of
Benda at Berlin, and organist of the Marien-
kirche; 1801, asst.-cond. at the National-
Theatre; 1808, mus. dir. of the Royal orch.;
1822, court Kapellm. — Works: The operas
J try und Bdtely, Der Dorfbarbier (1817),
Lila (1818); incid. music to dramas; an
oratorio, Die Unsterblichkeit (1797); masses,
motets, songs, pf.-music. — See Q.-Lex.
Sei'del, Johann Julius, b. Breslau, July
14, 1810; d. there Feb. 13, 1856. Org. at St.
Christopher's Ch. — Publ. Die Or gel und ihr
Bau (1843; 4th ed. by B. Kothe, 1885; rcpr.
with an appendix by H. Schmidt, 1907), a
clear and concise handbook.
Sei'del, Toscha, violinist; b. Odessa, Nov.
4, 1900. At 7 he began to study the violin
with Max Fiedemann in Odessa; 1909-11,
pupil of Alexander Fiedemann at Stern's
Cons, in Berlin; in 1912 L. Auer heard him,
and accepted him as a scholarship pupil;
successful debut at Christiania (Sept. 1, 1915)
followed by 3 tours of Scandinavia (1915-18),
appearing in recital and with orch.; also in
joint recitals with Auer, whom he accom-
panied in 1918 to America; debut at New
York in recital, April 14, 1918.
Seidl [zldl], Anton, eminent conductor;
b. Pest, May 7, 1850; d. New York, Mar. 28.
1898. Pupil of Leipzig Cons. 1870-2; then
eng. by Hans Richter as chorusmaster at the
Vienna Opera. Richter recommended him
to Wagner, to assist in preparing the score and
girts of the Nibelung Trilogy; S. worked in
ayreuth till 1879, when he acted for a short
time as Kapellm. at the Leipzig City Th.;
but in the same year Angelo Neumann eng.
him for his great Wagner tournee, continuing
until 1883. From 1883-5 S. cond. the Bre-
men Opera; there he met and married the
soprano singer Auguste Krauss. In 1885 he
was eng. at New York by Walter Dam rose h
and E. C. Stanton to cond. the German operas
in the Metropolitan Opera House, a post
occupied until the reaction (1891-2) to Italian
opera. The immense success of some per-
formances of Wagner's works given by Walter
Damrosch in 1894 attd '95 decided Mr. Grau
to include these works in the regular season
at the M. O. H., and from 1895 until his
sudden death (by ptomaine poisoning) S.
again conducted the Wagner performances
there (in German). From 1891 he was also
cond. of the N. Y. Philh. Soc., succeeding
Thomas. In the spring of 1897 he conducted
at Covent Garden, London, and during the
summer was one of the festival conductors
861
SEIDL— SEIFRIZ
at Bayreuth, where he had not taken part
since 1886. To forestall offers from the Con-
tinent a movement was started, shortly be-
before S.'s death, to raise a fund for a per-
manent concert- and opera-orch. in New
York. — S. was, above all, a Wagner conduc-
tor. Years of intimate association with the
master impressed the stamp of authority
upon his readings. In the operatic annals of
America his name will forever remain memo-
rable, for the first six seasons which he con-
ducted at the M. O. H. were the crowning
achievement, not only of his own labors,
but also of those of his distinguished pre-
decessors in the cause of Wagner in America.
Those performances with Lehmann, Brandt,
Niemann, Alvary, Reichmann and Fischer
definitely established the new art in the affec-
tions of the American public. S. made his
Amer. debut with Lohengrin, Nov. 23, 1885;
he cond. the Amer. premieres of Die Meister-
singer (Jan. 4, 1886), Tristan und Isolde
(Dec. 1, 1886), Siegfried (Nov. 9, 1887),
Gotterdammerung (Jan. 25, 1888), Rheingold
(Jan. 4, 1889); the first performance of the
entire Ring des Nibelungen in America took
place, under his direction, Mar. 4-11, 1889.
— Cf. H. E. Krehbiel, A. S. (New York, 1898);
A. S. Memorial by His Friends (ib.f 1899).
Seidl, Arthur, b. Munich, June 8, 1863.
Pupil of the R. School of Music at Ratisbon;
studied with Paul, Stade, Spitta and Beller-
mann; Dr. phil., Leipzig, 1887 (valuable
dissertation Vom Musikalisch-Erhabenen.
Prolegomena zur Asthetik der Tonkunst; 2d
ed. 1907.) From 1888-90 he visited the prin-
cipal libraries in Germany and Austria; 1890-
3, in Weimar as Gen. Sec. of the 'Verein fur
Massenverbreitung guter Schriften'; 1893-7,
in Dresden as writer; 1897-8, in Hamburg;
1898-9, in Weimar at the Nietzsche- Arch iv,
editing the philosopher's works and cor-
respondence; went to Munich in 1899 as
critic for the 'Neueste Nachrichten1; since
1903, music-dramaturgist at the Hoftheater
in Dessau; made Prof, in 1904; since 1904,
has lectured on literature, hist, of music and
esthetics at Leipzig Cons.— Works: Zur
Geschichte des Erhabenheitsbegriffs sett Kant
(1889); Hat R. Wagner eine Schule hinter-
lassen? (1892); R. Strauss. Eine Charak-
terstudie (with W. Klatte; 1896); Moderner
Getst in der deutschen Tonkunst (1900; 2d ed
1912); Wagneriana (3 vols., 1901-2); Moderns
Dtngenten(1902); Kunst und Kultur (1902);
Festschrift zum SOjahrigen Bestehen des lAU-
fem. deutschen Musikvereins' (1911); Die
lellerauer Schn!fes*e und die Bildungsan stall
Jaques-Dalcroze (1912); Straussiana (1913);
Ascania. Zehn Jahre in Anhalt (1913)- R
Wagners „Parsifaltl (1914); Neue Wagneriana
(3 vols., 1914); Zur modernen Tonkunst (2
862
vols., 1914); Zur Musikdramaturgie (2 vols..
1914-15); ed. Lina Ramann's posthumous
papers as Lisztiana (1914). — Cf. L. Franken-
stein, A. S. Ein Lebensabrtss (Ratisbon, 1913).
Sei'fert [zl'-], Uao, b. Rdmhild, Thuringia,
Feb. 9, 1852; d. Dresden, June 4, 1912.
Pupil of Wullner, Blassmann, Merkel, Nicode
and Rischbieter, at Dresden Cons.; taught
there for 25 years, and finally was organist
of the Reformed Church. In 1906 he was
made Kgl. Musikdir. — Works: A popular
Method f. pf.; numerous pf.-pieces (Ca-
priccietto, Valse- Impromptu, Polacca graziosa.
Polonaise, a grand elude Ohne Rast, ohne
RuW; etc.); songs; many male choruses;
fine organ-works (Prdludium und Doppel-
fuget op. 38; Einleilung und Doppelfuge,
op. 43; Zwanzig Orgelvorspiele, op. 55; etc.);
a concert-overture for orch., op. 1. He
edited classic instructive works.
Seiffert [zT-], Max, b. Beeskow-on-Sprec,
Feb. 9, 1868. Ent. Berlin Univ. in 1886,
studying musicologv under Ph. Spitta;
took degree of Dr. phil. with the dissertation
J. P. Sweelinck und seine direkten deutschen
Schuler (1891). Essayist and writer in
Berlin; 1904-14, ed. of 4Sbd. I. M.-G\
made Kgl. Prof, in 1907; elected member of
the Berlin Akademie in 1914. Has publ.
Geschichte der Klaviermusik (Berlin, 1899-
1901; nominally the 3d ed. of Weitzmann's,
but practically a new and very valuab/e book).
In 4Dkm. deutscher Tonk.' he ed. Scheldt's
Tabulatura nova (vol. i), selected works of
Fr. Tunder (vol. hi), do. of M. Weckmannand
Ch. Bernhardt (vol. vi), J. G. Walther's
organ-works (vols, xxvi and xxvii), the coll.
works of F. W. Zachow (vols, xxxi and xxxii);
in 'Dkm. der Tonk. in Bayern,' selected pf.-
works of Joh. and H. W. Pachelbel (vol. ii, 1),
organ-works of Joh. Pachelbel (vol. iv, 1),
Niirnberger Meister (vol. vi, 1), selected worb
of Leopold Mozart (vol. xix, 2); in 'Dkm.
der Tonk. in Osterreich' Joh. Pachelbel's 94
fugues (for org.) on the Magnificat (vol. viii,
2; with H. Botstiber); in Tublikationen der
Vereeniging voor Noordnederlands Muziek-
geschiedenis,f Sweelinck's complete works
(12 vols.), A. van Noordt's Tabulatuurboek
(vol. xix) and C. Boskoop's Psalmen Davids
(vol. xxii). Has also ed. many works by Bach
and Handel for modern concert-perfs. Since
Chrysander's death, Seiffert has undertaken
to complete the great Handel biography, 1\\
volumes of which were finished by C.
Sei'friz [zl'frits], Max, b. Rottweil, Wiirt-
tcmbcrg, Oct. 9, 1827; d. Stuttgart, Dec. 20,
1885. Violinist; pupil of Taglichsbeck;
1854-69, court Kapellm. to Prince Hohen-
zollern at Lowenberg; from 1871, mus. dir.
at Stuttgart.— Works: Incid. music to Die
Jungfrau von Orleans; concert-cantata
SEILER— SELLNER
Ariadne auf Naxos; a symphony; a concert-
overture; choruses f. male and mixed voices.
Wrote with E. Singer Grosse theoretisch-prak-
tische Violinschule.
Seller, G. Linn, b. Philadelphia, Mar. 30,
1881. While attending Buckncll Seminary at
Lewisburg, Pa. (1893-9), he played in the
str.-orch. and band, and st. theory at the
Cons, of Bucknell Univ.; during his college
course at Haverford (1899-1902) he was dir.
of the combined musical clubs; st. organ with
W. BagleyJn Rochester; 1904-7, dir. of music
at Haverford school; 1906-7, cond. of the
Sullivan operas for the Savoy Opera Co.,
Phila.; from 1907-11 he took post-graduate
courses in economics and sociology at the
Univ. of Pa.; 1915 16, cond. of The Singers'
(100 mixed vcs.) in Bronxville, N. Y. — Works:
Op. 6, The Builders, ballad for male ch.; op.
8, At the Green Bear Inn, male ch. a capp.;
op. 12, chorus for male vcs. w. soli, pf. and
org.; op. 14, 2 fern, choruses w. pf.; op. 16,
suite for vl. and pf.; op. 17, In the Bayou,
ballad for mixed ch. and orch.; op. 18, Sym-
phonic Poem; songs (op. 1, 2, 4, 7, 9 [sacred],
10, 11, 15); 2 pf. -suites (op. 3 and 5).
Seller [zf-], Joseph, b. Ltigde, n. Pyrmont,
Jan. 15, 1823; d. May 29, 1877, as organist of
the Moritzkirche at Munster. Pupil of Reis-
siger and Joh. Schneider at Dresden. Masses,
etc., in MS.; articles in mus. periodicals.
Seiss [ziss], Isidor (Wilhelm), b. Dresden,
Dec. 23, 1840; d. Cologne, Sept. 25, 1905.
Pianist, pupil of Fr. Wieck and J. Otto, also
1858-60 of Hauptmann at Leipzig. From
1871, pf. -teacher at Cologne Cons.; title of
Professor, 1878. Conducted the concerts of
the 'Musikalische Gesellschaft' until 1900.
Excellent pianist of classical leanings, admira-
ble interpreter of Mozart; successful teacher
and composer. — Works: Op. 7 and 9, Klavier-
stiicke; op. 8, sonatinas; op. 10, Studies in
bravura; op. 12, Preludes; fine arrs. of Beet-
hoven's Contredanses and Danses allemandes;
revision of Weber's Eb Concerto; also a
Feitrliche Scene und Marsch f. orch. (orig.).
An opera, Der vierjdhrige Posten, was not prod.
Seitz [zits], Friedrich [Fritz], b. Giin-
thersleben, n. Gotha, June 12, 1848. Vio-
linist, pupil of Uhlrich; since 1884, leader
of the Dessau court orch. He has publ.
Konzert in einem Salz in A m. for vl. and orch.
(op. 25); 5 Schiller- Konzerte for vl. and pf.
(op. 15 [4] and 22); 1 do. for vcl. and pf.
(op. 31); a pf. -quartet in G (op. 35); etc.
Seitz [zits], Robert, b. Leipzig, April 8,
1837; d. there Sept. 26, 1889. Music-pub-
lisher, 1866-78, then selling out, and estab-
lishing a piano-factory, which failed in 1884,
when his interesting paper, 'Das musikalische
Centralblatt,' ceased to appear.
Sejan [sa-zhahn], Nicolas, b. Paris, Mar.
19, 1745; d. there Mar. 16, 1819. Famous
organist, pupil of Forqueray. Org. of St.-
Andre-des-Arts in 1760, of Notre-Dame in
1772 (w. Daquin, Couperin and Balb&tre),
of St.-Sulpice in 1783; in 1789, of the royal
chapel, and teacher at the '£cole royale de
chant.' Lost his posts in the Revolution,
but in 1807 became org. at the Invalides, and
in 1814 of the royal chapel. — Publ. 6 violin-
sonatas, pf.-sonatas, 3 pf.-trios, and music f-
pf. and organ.
Settles [zeVkles], Bernhard, born Frank-
fort-on-Main, June 20, 1872. Pupil of
Uzielli, Knorr and Scholz at Hoch's Cons.;
1893-4, Kapellm. in Heidelberg:; 1894-5, do.
in Mayence; since 1896 prof of theory at
Hoch's Cons. Has written a symph. poem,
A us den Garten der Semiramis; op. 14, Sere"
node for 11 solo instrs.; op. 21, Kleine Suite
for orch.; op. 23, Passacaglia und Fuge for
str. -quartet; fern, choruses (op. 6); male
choruses (op. 12); many songs; a 'Tanz-
spiel,f Der Zwerg und dte Infantin (Frank-
fort, 1913); also publ. Musikdiktat (1905).
Selby, Bertram Luard, b. Ightham, Kent,
Engl., Feb. 12, 1853. Pupil of Reinecke and
Jadassohn at the Leipzig Cons. Organist of
Salisbury Cath., 1881-3; of St. Barnabas,
Pimlico, London, 1886-1900; since then org.
at Rochester Cath. — Works: 2 operas, The
Ring (1886) and Adela (Nottingham, 1888);
music to Helena in Troas (London, 1886);
a 1-act operetta ('duologue') Weather or no
(London, Aug. 10, 1896; in Berlin as Das
Wetterhduschen, Nov., 1896; v. succ); a
school-cantata, The Waits of Bremen; church-
music; part-songs; songs; Idyl f. orch.; 2
pf. -quintets; Sonata and Suite f. violin and
pf.; Suite f. pf.; sonatas, etc., f. organ.
Seligmann, Hippolyte-Proaper, b. Paris,
July 28, 1817; d. Monte Carlo, Feb. 5, 1882.
Fine 'cellist, pupil of Norblin at the Cons.,
taking 1st prize in 1836. Long concert-tours.
— Publ. 6 Etudes caracUristiques, divertisse-
ments, fantaisies, caprices, etc., f. 'cello w.
pf.; and 2 albums of songs.
Seirner [zelil'-], Joseph, b. Landau, Ba-
varia, Mar. 13, 1787; d. Vienna, May 17f
1843. Oboe-virtuoso in an Austrian regiment
and from 1811 at Prague in Weber's orch.;
from 1817 at the Court Opera, Vienna,
teaching at the Cons, from 1821, and cond.
the student-concerts until 1838. His Theo-
retisch-praktische Oboen-Schule is still con-
sidered the best method for oboe; he also
publ. a concerto and 3 concertinos f. oboe w.
orch.; a concerto f. 2 oboes; a quartet f.
oboe and strings; and Introd. and Polonaise
f. oboe and orch.; etc.
863
SELMER— SEMBRICH
SeTmer, Johan, b. Christianta, Norway,
Jan. 20, 1844; d. Venice, July 22, 1910. Law-
student; studied from 1868-70 under Ambr.
Thomas at the Paris Cons., and from 1871-4
under Paul and Richter at the Leipzig Cons.,
receiving a stipend from the Norwegian con-
gress in 1879. From 1883-6, conductor of the
Christiania Philharm. concerts; from then un-
til his death he lived chiefly abroad, devoting
his entire time to comp. A composer of ultra-
modern tendency. — Works: Fororch.: Op. 4,
Scene funebre; op. 11, Nordischer Festzug;
op. 31, Finnldndtscke Festkldnge; op. 32,
Karneval in Flandern; op. 35, In den Bergen,
suite; op. 50, Prometheus, symph. poem.
Vocal with orch.: Op. 1, Fortunios Lied for
ten.; op. 5, Nordens Aand [The Spirit of the
North] (or male ch.; op. 6, La Captive for alto;
op. 7, Zug der Turken gegen A then for bar. solo
and ch.; op. 10, Wunsch for bar.; op. 13, 3
poems by Shelley for ten. ; op. 21, Nogle politi-
ske Sange og andre Viser [Some political songs
and other airs] for ch. (unison); op. 23, Htl-
sen til Nidaros [Greeting to N.], cantata for
tenor solo and male ch.; op. 27, Der Selbst-
morder und die P tiger for bar. and alto soli, ch.,
org. and orch. ; op. 43, 2 poems by Jacobsen for
solo voice; op. 58, Erwartung for sop.; nu-
merous songs, duets and male choruses a
capp.; arrs. of folk-melodies. — Cf. P. Merkel,
Der norwegische Komponist J. S. Ein Lebens-
bild (Leipzig, 1904).
Sembach [zghm'bahh], Johannes, dra-
matic tenor; b. Berlin, Mar. 9, 1881. Pupil in
pf. and organ of II. Wichmann and B. Irrgang;
at 14 he was able to act as his teacher's sub-
stitute at St. John the Evangelist's; later was
regular organist for 2 years. Vocal pupil of
Felix Schmidt for 18 months; then in Stern's
Cons, under A. t Heinemann and N. Roth-
miihl. He sang in operetta for a time in Ber-
lin and other German cities. Singing for
Mahler in 1903, he was immediately eng. for
5 years at the Hofoper in Vienna; debut there
in grand opera as Max (Freischiitz), and soon
added the Wagnerian rdles to his repertoire;
he also studied the literature of the Lied with
Gustav Walter. Released from his contract
after the fourth year, he sang at the Hofoper
in Dresden from 1907-13, with leave of ab-
sence for study with Jean de Reszke in Paris
(1911-12). In 1910, debut at Covent Gar-
den; although he was eng. for each of the 3
following seasons, he could not fulfill his con-
tract because the Dresden intendancy re-
fused the necessary leave, for S. had become
the most popular tenor at the Hofoper; he
then handed in his resignation, which was not
accepted until after his tenth formal request.
In Feb., 1914, he reappeared in London, sing-
ing Joseph (Mehul), Lohengrin, Walther von
Stolzing, Lege and Parsifal; in the last role,
out of 20 performances, he sang in 13. Hay-
ing made his debut at the R. Opera in Berlin
(April 2, as Parsifal), he returned to London
for the months of April and May, and then
sang Parsifal and Walther at the^ Th. des
Champs Elysees in Paris. Gatti-Casazza
then eng. him for 5 years for the M. O. H.;
Amer. debut on Nov. 26, 1914, as Parsifal;
during the summer of 1916 he sang Siegfried
in the open-air performances at New Haven,
Pittsburgh, §t. Louis, Cleveland, Cincinnati
and Indianapolis. He is a Lieder-singer of the
first rank. His voice, ranging from G~c*,
is a pure tenor of great volume and unusual
beauty. His repertoire of some 60 roles
includes all the Wagner parts, excepting
Rienzi and Tannhauser; he created Konig
Matthias in Griinf eld's Die Schonen von Fo-
gara (Dresden, 1907), Agisth in Strauss s
Elektra (ib., 1909), Sascha Romanov in Kas-
kel's Der Gefangene der Zarin (ib.f 1910),
Pylades in the Amer. premiere of Gfuck's
Iphigtnie en Tauride (M. O. H., 1916).
Chaucer in De Koven's Canterbury Pilgrims
(ib., 1917). Has publ. numerous marches,
waltzes and songs (over 100 opus-numbers).
Sem'brich [zehm'briyh], MarceUa M
name Praxede Marcelline . Kochanska;
Sembrich was her mother's maiden-name),
famous operatic soprano (coloratura) and
Lieder-singer; b. Wisniewczyk, Gaticia, Feb.
15, 1858. From the age of 4 her father,
Kasimir Kochanski, a musician, gave her
pf. -lessons; viol in -lessons were soon added.
At 10 she appeared in public as a performer
on both instruments. In 1869 her father
sent her to the Lemberg Cons., where she
remained 4 years, studying pf. with W.
Stengel and vl. with Brustermann, also sing-
ing in the Cons, chorus. In 1874 she played
for Liszt one of his own rhapsodies; taking
her violin, she then played a difficult arrange-
ment of Polish melodies by Wieniawsti,
and in conclusion sang, although she had
never had a vocal lesson. Having com-
mended her playing, the master concluded:
"Sing! Sing for the world, for your voice is
that of an angel." Stengel then had her sing
for J. Epstein and J. Hellmesberger, and
their verdict agreed with Liszt's. From
1875-6 she st. singing with Viktor Rokitan
sky in Vienna, then went to Milan, chiefly to
learn Italian, but also took singing-lessons
from G. B. Lamperti, Jr., for 8 months. On
May 5, 1877, she married her former teacher,
W. Stengel (b. Lemberg, Aug. 7, 1846; d.
New York, May 15, 1917), and with him
went to Athens, where she made her operatic
debut on June 3, 1877, as Elvira in Bellini's
Puritani; after singing there with great
applause for 2 months, she returned to Vienna,
and st. the German repertoire with Richard
864
SEM ET— SENGER-BETTAQI I E
Lewy. At Dresden, in Oct., 1878, she began
a 2 years' engagement with a highly success-
ful interpretation of Lucia. London debut
(Lucia) on June 12, 1880, and sang there for
for the next 5 seasons; Amer. debut (in the
same rffle) in New York (M. O. H.), Oct.
24, 1883. She spent the summer of 1884 in
further study with Francesco Lamperti in
Milan. Thereafter she sang at the principal
opera houses of Germany, Austria, France,
Spain, Scandinavia and Russia until 1898,
then becoming a regular member of the M.
O. H. Until her retirement (1909), she sang
during the winter in the U. S. and during the
summer in Austria. At her farewell ap-
pearance in opera (M. O. H., Feb. 6, 1909),
she received an almost unprecedented ova-
tion, and was elected an honorary member
of the Metropolitan company. For many
years she was regarded as the foremost living
exponent of the school of 'Bel Canto.' She
never attempted Wagner (nor the later
Verdi), save the one r61e admirably suited
to her voice, Eva. of which she was an
ideal interpreter. When she retired from the
stage, she was still at the height of her powers.
Her concert-career was concurrent with the
operatic (as early as 1880 she appeared as
soloist at a Nether- Rhenish music-test.), and
extends beyond it to the present day (1917).
The compass of her voice is from c-f*t with
a special brilliance in the upper register. Of
her 40 operatic rfiles, Violetta was the favor-
ite; as Rosina she has perhaps never been
equalled; she was unsurpassable as Zerlina,
Susanna, Gilda, Amina, Dinorah, Marguerite,
etc. Iler concert-repertoire embraces all the
masterpieces of the Lied literature. She
sings equally well in English, German, Italian,
French, Polish and Russian. Soon after the
outbreak of the war she and her husband
came to New York, where in 1915 she became
Pres. of the Amer.-Polish Relief Committee.
— Cf. G. Armin, M. S. und HerrProf. Jul. Hey
(Leipzig, 1898).
Semet [su-ma'], Theophile (-Alm6-£mi-
le), born Lille, Sept. 6, 1824; d. Corbeil, n.
Paris, April 15, 1888. Pupil of Halew;
drummer at the Opera. — Operas (except the
first, at the Th.-Lyrique): La petite Fadette
( Varietces, 1850), Us nuits d'Espagne (1857),
La Demoiselle d'honneur (1857), GU Bias
(1860), Ondine (1863), generally successful.
Series! 'no, Francesco [real name Ber-
nard!; called S. after his birthplace], famous
male soprano; b. Siena, 1680; d. c. 1750.
Sang in 1719 at the court th. in Dresden,
where Handel heard him and en£. him for
London; his first appearance there in Buonon-
cini's Astarto (Nov., 1720) caused a sensation,
and for 15 consecutive seasons he was the
idol of the public, creating the principal parts
in all the operas by Handel produced during
that period; after a quarrel with II. in 1733
he and the Cuzzoni were eng. !>v the rival
company, the 'Opera of the Nobility' under
Porpora. In 1735 he returned to Siena; in
1739 he was living in Florence. In London
he was generally regarded as superior even to
Farinelh.
Senff, Bartholf (Wilhelni), the well-
known Leipzig editor and music-publisher,
was born at Friedrichshall, n. Kobun:, Sept.
2, 1815; d. Badenweiler, June 24, 1"00 [these
dates are correct]. As a young man he en-
tered Kistner's music-publ. house in Leipzig,
advancing to be managing clerk; here he
already began publishing the 'Signale fiir
die musikalischc Welt,' a trial number ap-
pearing in Dec., 1842 (publ. regularly from
Jan. 1, 1843), Senff being also the editor un-
til his death. He founded his own business
Nov. 1, 1847. Early in the '60's he became
Anton Rubinstein's publisher. His catalogue
shows original publications of works by Liszt,
Schumann, Raff, Rcinecke, Franz, Jensen,
Kirchner, Bruch, von Billow, Sarasate, and
many other celebrities. — His niece, Fraulein
Marie Senff, managed the business until
1907, when she sold both the firm and the
'Signale' to N. Simrock in1 Berlin.
Senfl (or Senffl, Senfel) [z*hnfl], Ludwig,
eminent contrapuntist; b. Zurich, c. 1492;
d. Munich, c. 1555. Pupil and successor of
Heinrich Isaak, the Kapellm. ('symphonista
regis') of the Imperial CliapeL In 1530 he be-
came court cond. at Munch, which position
he still held about 1540. After that date
there are no further data about him. He
was Luther's favorite composer. — Publ. works
5 Salulationes Domini nostri Hiesu Christi,
motets a 4 (1526) ; Varia carminum genera,
quibus turn Horatius a 4 (1534). 8
Odes are in P. Hofhaimer's 'Harmoniae po-
eticae* (1539); Magnificat 8 tonorum a 4-5
(1537); single comps. in colls, of the period
(cf. Eitner's Bibliographic, also vol. iv of the
'Gesellschaft fiir Musikforschung'). The
Magnificats and a selection of 12 motets were
publ. by Th. Kroyer in vol. iii, 2, of 'Dkm. der
Tonkunst in Bayern.' Many MSS. in the
Munich Library. — See Q.-Lex.
Senger-Bettaque [zShng'er bMi-tahk'),
Katharina, dramatic soprano; born Berlin,
Aug. 2, 1862. At an early age she became a
member of the ballet at the R. Opera in Ber-
lin; later vocal pupil of Heinrich Dorn; debut
at Kroll's Th. (Berlin, 1879), and soon after
appeared at the R. Opera as Agathe; 1880-
2, at the Stadtth. in Mayence; 1883—1, in
Leipzig; 1884-8, in Rotterdam; 1888-92, in
Bremen; 1893-5, leading sop. at the Stadtth.
in Hamburg; 1895-1906 at the Hofoper and
the Prinzregententh. in Munich; since then
865
SENILOV— SERRANO
in Stuttgart. In 1888 she sang Eva in Bay-
reuth; during 1888-9 and 1904-5 she was a
member of the M. O. H. In 1895 she mar-
ried the actor Alexander Senger, dir. of the
Stadtth. in Bremen; after his death (Feb. 24,
1902) she married Rudolf Klein, an engineer.
She received the title of 'Kgl. Kammer-
sangerin' from the king of Bavaria in 1897,
and from the king of Wttrttemberg in 1910.
Her chief rftles are Donna Anna, Fidelio,
Carmen, Undine, Senta, Elisabeth, Elsa,
Eva, Freia, Sieglinde, Isolde and the 3
Briinnhildes.
Senilov [sa'-], Vladimir Alezeievitch, b.
Viatka, July 27, 1875. Upon the advice of
Rimsky-iKorsakov he abandoned the study of
law, and from 1895-1901 was a private pupil
in comp. of H. Riemann in Leipzig, also at-
tending the latter's lectures at the Univ.;
cont. his studies until 1906 at the Petrograd
Cons, under Glazunov and Rimsky-Korsakov;
since then living in Petrograd as dir. of a
private music-school. — Works: The operas
(not yet prod.) GeorgJ tckestny [George the
Brave), VassUy Buslaiev and Hippolytus; a
symphony in D; the symph. poems Dikie
fus$ [Wild Geesel, Mtsyri [The Circassian
Joy], Pan, and SkifJ [The Scythians]; an
overture, Oseniu [In Autumn]; Pohne for vcl.
, and orch.; 2 str. -quartets (Bb, F); Mails,
suite for sop. and orch.; choruses for men's
and women s vcs. with orch.; pf.-pcs. and
songs; also arrs. of Russian folk-songs.
Sen'krah [recte Hark'nes], Anna Leo-
retta, b. New York, June 6, 1864; d. (by
suicide) Weimar, Sept. 5, 1900. Excellent
violinist, pupil of Arno Hilf at Leipzig,
Wieniawski at Brussels, and of M assart at
the Paris Cons., 1881, winning 1st prize; very
successful concert-tours from 1882. Married
Herr Hoffmann, a Weimar lawyer, in 1888.
Serafi'no, Santo, celebrated violin-maker
at Venice, 1730-45. His instrs., after models
by Stainer and Amati, are very valuable;
they bear the label 'Sanctus Seraphin Utinen-
sis fecit Venetijs, Anno 17 — \ — His nephew
Gregorio worked about the same period.
Seras'si, celebrated Italian family of organ-
builders at Bergamo. The founder of the
business was Giuseppe ('il vecchio'), b. Gor-
dano, 1694; d. Crcma, 1760. His son An-
drea Luigi, b. 1725, carried on the work till
his death in 1799; he built the cathedral-
organs at Crema, Parma, and Fossano. —
Giuseppe ('ilgiovane'), b. Bergamo, Nov. 16,
1750; d. there May 13, 1817, upheld the fame
of the firm, and built many organs in Lom-
bardy; his catalogue of 1815 enumerates 345
instrs. He also publ. a description of the new
organ at Como (1808), with a short history of
the organ, and good rules for registration, and
a pamphlet Sugli organi. Lettere (1816). The
866
catalogue publ. in 1852 by his sons, Carlo and
Giuseppe, shows a total of 654 organs con-
structed.
Sere\ Octave. See Poueigh.
Serieux [sa-r'yo'], (Jean-Marie-Charles-)
Auguste, born Amiens, June 14, 1865. St.
harmony with A. Barthe and cpt. with A.
Gedalge; ent. the 'Schola CantorunT in 1896,
and from 1897-1907 studied comp. with
d'Indy. He has written a vl.-sonata in G,
La Vote lac tie, for solo voice and orch.; pieces
for pf. and for organ; author of Les trots
Stats de la tonalitS (1909) and Vincent d'Indy
(1914); contrib. to *S. I. M.,' 'Tribune de
St.-Gervais,' 'Courrier Musical,' etc.
Se'ring [za-1, Friedrich Wilhelm, b.
Furstenwalde, n. Frankfort-on-Oder, Nov.
26, 1822; d. Hanover, Nov. 5, 1901. From
1871 head-teacher in the Seminary at Strass-
burg, where he organized a Gesangverein. — -
Publ. works: Oratorio, Christi Einzug in
Jerusalem (op. 32); Advent cantata; Psalm
72 f. mixed ch. w. pf.; male choruses (the
Hohenzollemlied); a Gesanglekre fur Volks-
schulen; Die Choralfiguration, theoretisch-
praktisch; and an elementary violin-method.
Serov, Alexander. See Sierov.
Serpette [s£hr-p£ht'], (Henrl-Charles-
Antoine-) Gaston, b. Nantes, Nov. 4, 1846:
d. Paris, Nov. 3, 1904. Pupil of Ambr.
Thomas at the Paris Cons. 1868-7J, taking
the 1st Grand prix de Rome with his cantata
Jeanne a" Arc. From 1874, when his first
stage- piece, the 3-act opera-bouffe La Brancke
cosset, was prod, at the Bouffes-Parisiens, he
brought out some 30 operettas and simi-
lar light dramatic works, among them Cen-
drillonette (1890), La dot de BrigiUe (1895), and
Lt CarHlon (1896).
Serra'o, Paolo, b. Filadelfia, Catanzaro,
in 1830; d. Naples, March, 1907. Pupil, at
the Naples Cons., of Lanza, Parisi, Conti and
Mercadante. From 1863, prof, of com-
position at the Naples Cons. ; very successful
as a teacher, most of the recent eminent
Neapolitan conductors being his pupils.
Wrote his first opera, L'Impostore, for the
Teatro del Fondo in 1852, but political
troubles prevented its production, and also
that of a second, Leonora de' Bardi; not until
1857 did he succeed in bringing out Pergolesi
(at the same theatre), Jollowed by La Duchessa
di Guisa (1865) and // Figliuol prodigo (1868).
He also composed an oratorio, Gli Ortonesi
in Scio; a Requiem; a funeral symphony,
Omaggio a Mercadante; a mass, Magnificat,
Te Dcum, and Le Ire ore dfagoniat for chorus
and orch.; an overture, pf. -pieces, etc.
Serrano y Ruiz [s£hr-rah'no g roo-eth'],
Emillo, b. Victoria, Spain, Mar. 13, 1850.
Court pianist to the Infanta Isabella; prof.
SERVAIS— SEVClK
at the Cons, and dir. of the Opera Real in
Madrid. Comp. of the very succ. operas (all
at Madrid) Mitridates (1882), Dofia Juana la
Loea (1890), Irene de Otranto (1891), Gonzah
de Cordoba (1898) ; Vida madrUena (6 natl.
dances forpf.) and much other music for pf.;
publ. Cur so de lectura de Solfeo.
Servais [sfchr-va'], Adrlen -Francois, b.
Hal, near Brussels, June 6, 1807; d. there
Nov. 26, 1866. Remarkable violoncellist;
pupil of his father, and later, at the Brussels
Cons., of Plat el. After playing: 3 years in the
theatre-orch., he made his debut as a concert-
player at Paris, 1834, with brilliant success;
played at the Philharm. Concerts in London,
studied another year at home, and then
toured the Continent for 12 years, even
reaching Siberia. He was app. prof, at the
Brussels Cons, in 1848, and formed many
distinguished pupils. Was also soloist to the
King. — Works: 3 concertos and 16 fantasias
f. 'cello w. orch.; 6 etudes f. 'cello w. pf. (with
Gregoir); 14 duos f. do.; 3 duos f. violin and
'cello (w. Leonard) ; I duo f . do. (w. Vieux-
temps).
Servais, Francois [Franz] (-Matthleu),
adopted son of preceding; b. 1852; d. As-
nieres, Jan. 14, 1901. A talented conductor,
he espoused Wagner's cause, and brought out
Der ftiegende Hollander and Siegfried for the
first time at the Theatre de la Monnaie,
Brussels; also instituted grand orchestral
concerts. Unfortunate as a composer, his
life-work, the grand opera Yon, was prod, at
Karlsruhe in 1899, with slight success. —
Cf. E. Michotte, Au souvenir de F. S. (Paris,
1907).
Servais, Joseph, son of Adrien-Fr. S.; b.
Hal, Nov. 23, 1850; d. there Aug. 29, 1885.
Taught entirely by his father; debut in a joint
recital with him at Warsaw in 1867; 1868-70,
solo 'cellist in Weimar; from 1872, prof, at
the Brussels Cons. His instrument was a
magnificent Stradivari, presented to his
father by Princess Yusupov; it was sold by
his widow for 100,000 francs.— Publ. a str.-
quartet in C.
Servleres [sShr-v'yar'l, Georges, b. Frejus,
Dept. Var, Oct. 13, 1858. Novelist; lec-
turer on musical subjects in Germany and
Austria; has contrib. valuable essays to
various French mus. journals ('Guide Musi-
cal,' 'S. I. M.,' 'Renaissance Musicale,* etc.).
Author of R. Wagner juge en France (1887);
Le 'Tannhduser' a VOpera en 1861 (1895); La
Musique fran^aise moderne (1897); C. M. von
Weber (1906); Emmanuel Chabrier (1911);
Episodes d'histoire musicale (1914); also
transl. into French Weber's Freischiit* and
Wagner's Tristan und Isolde.
Setaccloli [stfi-tah-chohle*], Giacomo, b.
Corneto Tarquinia, Dec. 8, 1868. Pupil of
F. Franceschini (fl.) and Cesare de Sanctis
(comp.) at the 'Liceo musicale dell' Accademia
S. Cecilia' in Rome; later became prof, of
theory there — Works: The operas La
Sorelia di Mark (Rome, 1896) and Adriana
Lecouvreur (ib.v 1907); a Requiem (in mem.
Humbert I); Cantica for soli, ch. and orch.;
the symph. poems La MorU di Gaulo and
Quadro sinfonico (w. ch. and org.); a sym-
phony in A; fugue for orch. ; Allegro f. pf. and
orch.; suite for str.-instrs. and harp; Marcia
solenne for orch.; Prelude and fugue for org.;
a nonet for wind-instrs.; a str. -quartet; mo-
tets a 4-8 a capp.; pf.-pcs; songs. Author
of Debussy e un novatore? (1910; Ger. tr. by
F. Spiro as D. Eine kritisch-asthetische Studief
1911); transl. into Ital. Riemann's Hand-
buck der Harmonielehre [Manuale di Armonia]
(1906).
Se'the [za'te*], Irma, violinist; b. Brussels,
April 28, 1876. Pupil of Jockisch at Brus-
sels Cons.; had lessons of Wilhelmj, and
studied four years with Ysajte. Successful
debut at London, 1895; at Berlin, Oct. 31,
1898; has played with many leading orches-
tras of Europe. In 1897 she married Dr. S.
Sanger, of Berlin.
Sevttk [shehf'chlk], Otakar (Josef), b.
Horazdowitz, Bohemia, March 22, 1852.
Violinist and famous pedagogue; pupil of his
father (Regenschori and schoolmaster) ; 1866-
70, of A. Sitt and A. Bennewitz in Prague
Cons.; three years Konzertmeister in the
Salzburg Mozarteum, also giving concerts in
Vienna, etc.; one year in the Th. an der
Wien, Vienna; 1875-92, after successful
concerts in Moscow, • violin-teacher in the
Music-school of the Imp. Russ. Music Soc. at
Kiev; 1892-1906, at the Prague Cons., where
he has formed many noted pupils (Kubelik.
Kocian, Zimbalist, E. Ondricek, Culbertson,
M. Sicard, Marie Hall, Marie Herites, Elea-
nore Jackson, Franz Lange). Since 1909, dir.
of the 'Meisterschule fur Violine' at the 'k. k.
Akademie filr Tonkunst' in Vienna. In
1911 he exhibited six pupils in London with
much success. He is Knight of the Order of
St. Stanislas. His method, in contradis-
tinction to the usual diatonic system, is
founded on semitonic progression, and the
results obtained are remarkable. He has
publ. the following valuable works (all publ.
in German, Bohemian, French and Russian):
Op. 1, Schule der Vidintechnik (4 parts); op.
2, Schule der Bogentechnik (6 parts); op. 6,
Violinschule fur Anf anger (7 parts); op. 7,
Triller-Vorstudien und Ausbtldung des Finger-
anschlags (2 parts); op. 8, Lagenwechsel-
Vbungen; op. 9, Doppelgriff-Vorstudien;
Vorschule der Violintechnik; op. 3, 40 Easy
867
SfiVfiRAC— SEYFFARTH
Vers, for vl. and pf.; op. 10, Bohmische Tanze
und Weiscn for do.
Severac [s5-v5-rahk'], Deodat de, b. Fclix-
de-Caraman, Lauraguais, July 20, 1873. He
received his first lessons on the pf. from his
father, a painter and ardent lover of music.
Having completed his classical studies at
Soreze, he went to Toulouse to study law,
but, instead, ent. the Cons, there; his teachers
were G. Sizes (solf.) and J. Hugounenc
(harm.); after winning an 'accessit' for
harm, in 1896 he ent. the 'Schola Cantorum*
in Paris, where he remained till 1907, study-
ing cpt. with A. Magnard and com p. with
V. d'Indy. He resides alternately in Paris
and his native town, engaged in composition.
— Works (those publ. marked *) : The operas
*Le Cctur du Moulin (Op.-Com., 1909), Les
Princesses d'Hokifari and Vtiudiant de Vich
(not prod.); incidental music to L. Damard's
Le Mirage (1905), E. Sicard's *HHiogabale
(1910), M. Navarre's Muguetto (1911), E.
Verhaeren's HiUne de Sparte (1912); the
symph. poems Nymphes au CrSpuscule, Tryp-
iique, Les Grenouillis qui demandent un Roi,
Nausikaa; symph. suite Didon et Unie (MS.
lost); Serenade for fl., str.-quintet and pf.;
pf. -quintet in E; Les Muses sytvestres, suite
for double str.-quintet and pf.; Le Pare aux
Cerfs, suites for oboe, str.-quintet and pf.;
*suite in E for organ; — for pf., Petite Suite
in E m.; *Le Chant de la Terre, Georgic poem
in 7 movems.; *En Languedoe, suite in 5
movems.; La Nymphe emue ou le Faune in-
discret; *En Vacances, album of little pieces;
•sonata in Bb m.; — songs, and several colls.
of early folk-songs. — Cf. O. Ser6, Musiciens
Jrancais d'aujourd'hui (2d ed.; Paris, 1911).
Severn, Edmund, b. Nottingham, Dec.
10, 1862. In 1866 his father, a violinist, and
his first teacher, settled in Hartford, Conn.;
1884-6, pupil of B. Listemann (vl.) in Boston;
1888-90, in Berlin of E. Wirth (vl.) and Ph.
Soharwenka (comp.); 1890-1, of G. W.
Chadwick (comp.) in Boston. He lived for
some years in Springfield, Mass.; since 1897,
teacher in New York. Has written 2 symph.
poems, Launcelot and Elaine (1898) and
Eloise and Abelard (1915); 2 overtures; an
orchl. fantasy on The Tempest; a vl. -con-
certo in Dm.; a suite for vl. and pf., From
Old New England; a vl. -sonata; numerous
pieces for vl. and pf.; choruses and songs.
Sewall, Maud Gilchrist, b. Urbana, O.,
Feb. 18, 1872. Violin-pupil of L. Stribelli in
Glasgow (1886-7), G. B. Faini (Florence,
1888-9), B. Walter (Mwiich, 1889-90) and
J. Kaspar (Washington, 1890-4); self-taught
in theory and organ; since 1896, org. and
choirm. at Ch. of the New Jerusalem, Wash-
ington; has given many lecture-recitals; F.
A. G. O. in 1911. Comps. (in MS.), a str.-
868
quartet In Haydn's Style; a chorale prelude
on Dundee and a set of vars. for org. ; 4-part
madrigal for male voices; 3-part Fughetta
for female voices; songs.
Seybold [zi'bdhlt], Artur, b. Hamburg,
Jan. 6, 1868. Pupil at the Cons, there of
Bott and Bargheer (vl.), Fiedler and Degen-
hardt (pf.), Gradener and Riemann (comp.);
travelled as violinist with Laube's orch. in
Russia (1888); living in Hamburg since 1890
as teacher and cond. of choral societies. His
numerous comps. for vl. and pf. and some
male choruses have won considerable popu-
larity; has also publ. a violin -met hod. Das
neue System, and instructive pieces (3 Con-
certinos, op. 96, 112, 121).
Seydel [zi'del], Irma, concert- violinist;
b. Boston, Sept. 27, 1896. Began to study
the violin at the age of 3 with her father,
Theodore S., a member of the Boston Symph.
Orch.; 1903-6, pupil of G. Straube and then,
until 1913, of C. M. Loeffler; st. harm, with
A. Maquarre. Has played with the principal
orchs. in the U. S. and made 2 succ. tours of
Germany.
Seydelmann [zi'-], Franz, born Dresden,
Oct. 8, 1748; d. there Oct. 23, 1806. Son and
pupil of a player in the court orch., which he
joined as a youth; studied in Italy 1765-70
at the Elector's expense, with Schuster and
Naumann. In 1772 both he and his father
were app. composers of church-music to the
Elector, later both became conductors at the
court church (with Naumann and Schurer),
cembalists at the Ital. opera, and (1787)
Kapellm. — Works (in MS. at Dresden): 7
Ital. operas, 36 masses, a Requiem, 40 psalms,
37 offertories, cantatas, duets, songs, etc. —
Publ.: The opera Die schone Arsene (in pf.-
score); some numbers from the operas 11
Capriccio cor ret to and La Villanella di Misnia;
6 pf. -sonatas f. 4 hands; 3 f. pf. solo; 3 flute-
sonatas; 3 violin-sonatas. — Cf. R. Cahn-
Speyer, F. S. ah dramatischer Komponist
(Munich, 1909).— See also Q.-Lex.
Seyffarth [zi'fahrt], Ernst Hermann, b.
Krefeld, May 6, 1859. Pupil of the Cologne
Cons. (F. Hiller, G. Jensen) and the Berlin
Hochschule (Kiel); 1887-92, cond. of the
'Liedertafel' in Freiburg; since 1892, cond.
of the 'Neucr Singvcrcin,' Stuttgart; later
also prof, of theory and pf. at the Cons.;
made Kgl. Prof, in 1897.— Works: Dram,
scene Thusnclda (op. 19); Trauerfeier fur
cine Friihentschlafene (op. 21); symphony in
D; vars. f. orch.; violin-sonata in A m. (op.
9); a pf.-ciuartet in C m. (op. 10); a str.-
quartet in Eb (op. 12); Schicksalsgesang for
alto solo, ch. and orch. (op. 13); Zum Gcd&cki-
niss for bar. solo, male ch. and orch. (op. 23) ;
a patriotic concert -cantata (op. 25), Aus
Deutschlands grosser Zeit, f. soli, mixed ch.f
SEYFRIED— SHAKESPEARE
male ch. and orch. (organ ad lib.) ; a pf.-sonata
in Eb (op. 1) ; songs (a cycle, Vom Schwarzwald
bis zum Khein, op. 2). An opera, Die Glocken
von Plurs, was prod, at Krefeld in 1912.
Seyfried [zi'fred], Ignaz Xaver, Ritter
von, b. Vienna, Aug. 15, 1776; d. there Aug.
2 7 , 1 84 1 . After piano-lessons with Mozart and
Kozeluch, he renounced the study of law, and
took up composition under Albrechtsberger
and von Winter. From 1797, Kapellm. at
Schikaneder's theatre, then at the new Thea-
ter an der Wien until 1828. A prolific, but not
original, composer (about 60 operas, melodra-
mas, ballets, etc.; oratorios, masses, Re-
quiems, motets, etc.; symphonies, quartets,
pf.-music). He published Beethoven's ex-
ercises in thorough-bass, cpt. and comp.
(1832; with unwarranted additions [cf.
Thayer's Beethoven, Hi, 80]); edited a com-
plete edition of Albrechtsberger's theoretical
works, also PreindFs ditto as Wiener Ton-
schule (1832; from thorough-bass to fugue).
— See Q.-Lex.
Sgamba'ti, Giovanni, b. Rome, May 18,
1843; d. there Dec. 14, 1914. Pianist; pupil
of Aldega, Barbieri and Natalucci; played in
public at 6, sang in church and conducted
small orchestras. His pianistic education
was finished under Liszt at Rome. S. now
gave orchl. concerts, producing German mas-
terpieces, conducting Liszt's Dante symphony
and Beethoven's Eroica in 1866. Although
not given at regular periods, he cond. these
symphonic concerts throughout his life with
great artistic, though little popular, success.
Historically these concerts are important as
the first systematic attempt to educate the
Italian public to an appreciation of absolute
music by producing masterpieces by classic
composers and contemporaries (Schumann,
Brahms and Saint-Saens). S. appeared both
as cond. and pianist. Later he made concert-
tours in Italy and Germany. In 1869 he
establ. a free pf .-class annexed to the Accad. di
S. Cecilia in Rome, which in 1877, after instruc-
tion had been extended to other branches,
was formally recognized and establ. by the
government as the 'Liceo Musicale'; for
years one of the foremost music-schools of
Italy. Until his death, S. was the active
head of the pf.-dept. He was pianist and
dir. of Queen Margherita's Quintet, and in
1903 the King made him Commander of the
Order of SS. Maurice and Lazarus. An
ardent admirer of Wagner, he made his ac-
quaintance in 1876 at a musicale given in the
master's honor, when S.'s two pf. -quintets
(op. 4 and 5) were performed. These pleased
W. so much that on the following evening they
were repeated for him privately. Wagner then
strongly recommended S. to his own publishers,
Schott of Mayence, who immediately brought
out both quintets and a Prelude and Fugue for
pf. (op. 6); subsequently they publ. all his
works. — As a performer and teacher S. was al-
ways regarded highly in Italy; as a composer
he won immediate recognition in Germany,
while in Italy (excepting the court) his im-
portance was not understood until recently,
after his labors in behalf of instrumental music
had begun to bear fruit. Although not a
composer of strongly pronounced individuality
he is prominent in the history of nineteenth-
century Italian music as one of the earliest,
and perhaps the greatest, of the few Italian
composers who have successfully cultivated
instrumental music. — Publ. works: Op. 4
pf. -quintet in F m.; op. 5, do. in Bb; op. 15,
pf. -concerto in G m.; pp. 16, symphony in D;
op. 17, str. -quartet in Db (last movem. in
C# m.); op. 28, Tc Deum laudamus for full
orch. (also for str.-orch. and org.); op. 34,
Versa est in luctum cythara mea for bar. solo,
ch., organ and orch. (later included in op.
38) ; op. 38, Messa da Requiem for bar. solo,
ch., organ and orch.; pes. for vl. and pf. (op.
24, 29); songs (op. 1, 2, 32, 35, 37, 41; and
12 without opus-number); pf.-pes. (op. 6,
Prelude and Fugue in Eb m.; op. 12, Fogli iw-
lanti; op. 21, Suite; op. 23, Pieces lyriques; op.
36, Melodies poetiques; 6 nocturnes, op. 3, 20
[3], 31, 33; etc.); also Formulario del pianista
(a coll. of fundamental technical exercises).
In MS. (without op.-number) : Symphony No.
2 in Eb; Epitalamio sinfonico (for the wed-
ding of the Duke of Aosta, 1887) ; Ouverture
solenneUe: overture to Cossa's Cola di Rienzu
— Cf. Bettina Walker, My Musical Experi-
ences (1892; pp. 44-84); R. A. Streatfeild,
in 'Masters of Italian Music' (1895; pp. 246-
256); E. Segnitz, S.'s Klaviermusik, in 'Mu-
sikpadagog. Blatter' (1911, Nos. 11, 12); A.
de Angelis, / Musicisti Italiani Contemporanei:
G. S.t in 'Rivista Mus. Ital.' (Jan., 1912); A.
Bonaventura, G. S.. in -La Nuova Musica'
(1914).
Shakespeare, William, tenor singer and
vocal teacher; b. Croydon, Engl., June 16,
1849. Choir-boy, and at 13 organist, in a
church; pupil 1862-5 in composition of
Molique; in 1866 he won the King's scholar-
ship at the R. A. M., studying there under Ben-
nett. Elected Mendelssohn Scholar in 187 1 for
pf. -playing and composition (a pf. -concerto,
pf.-trio, pf.-sonata, Caprice f. pf. w. orch.);
went to Leipzig for study under Reinecke,and
in 1872 repaired to Milan for the cultivation
of his fine tenor voice (with Lamperti for 2 %
years). From 1875, concert- and oratorio-
singer in England; in 1878, prof, of singing at
the R. A. M.; in 1880, also cond. of the con-
certs there (resigned 1886). In 1901-5 he
cond. the concerts of The Strolling Players'
Orchestral Society. Has won high reputation
as a singing-teacher. His comps. show the
869
SHALIAPIN— SHEDLOCK
influence of Mendelssohn and Bennett; be-
sides the above, he has written a Dramatic
Overture (1874), other overtures, a symphony,
2 string-quartets; also a valuable book, The
Art of Singing (2 parts; 1900, '01).
Shallapin, Fedor Ivanovitch, celebrated
Russian basso prof undo; b. Kazan, Feb. 11,
1873. Without previous training in music he
joined, in 1890, the chorus of a travelling
operetta company; before long the magnifi-
cent natural quality of his voice attracted
the director's attention, and he was en-
trusted with leading r61es. From 1892-3 he
studied with Usatov in Tiflis, and in 1894
appeared in grand opera in Petrograd, at first
during the summer season, later at the Mar-
yinsky Th. His great reputation dates from
his engagement at Mamontov's Private Opera
in Moscow (1896). His voice, ranging from
A\-e\ possesses power, beauty and flexibility;
his intense portrayal of national types in
Russian operas has made him a prime favorite
among his countrymen; his defective edu-
cation, however, seemingly prevents similar
successes in operas other than Russian. In
a season of Russian opera in Paris (spring of
1906) his appearances were a succession of
triumphs, and led to his engagement at the
M. O. H. (1906-7), where his interpretation
of French and Italian rdles made little impres-
sion; although he sang 3 seasons at La Scala
(1901, '04 and *08), he won real success in only
a single rdle (Mehstofele, in Boito's opera).
Shapleigh [shaple], Bertram, b. Boston,
Jan. IS, 1871. Pupil of the New Engl. Cons.;
lived in London from 1899-1916; since then
as composer in New York. He has made a
specialty of oriental music, on which he has
lectured extensively. — Works: Song of the
Dervishes, Vedic Hymn (8- part ch.), The Lake
of the Dismal Swamp and Poe's The Raven for
ch. and orch.; 2 orchl. suites, Ramayana
(op. 45) and Gur Amir (op. 51); a symph.
poem, Mirage (op. 57); pieces for vcl. and
pf. (op. 13, Hymnus; op. 14, Meditation; op.
25, Rhapsodie; etc.) ; do. for vl. and pf. (op.
23, Romanze; op. 34, Legende; etc.); male
choruses a capp. (op. 39); over 100 songs
(op. 28, Eine Nacht auf Kamtschatka; op. 37,
Rapture; op. 38, Persisches Lied; op. 40,
Fitnes Gesang [Persian cycle of 7 songs]; etc.). J
Sharpe, Herbert Francis, b. Halifax,
Yorkshire, Mar. 1, 1861. Queen's Scholar
at the N. T. S. M., succeeding Eugen d 'Albert.
Gave many pf. -concerts in England; app.
prof, at R. C. M., 1884; Examiner, 1890.
— Works: Part-songs, songs, many pf. -pieces;
chamber-music: Pianoforte School (w. Stanley
Lucas). In MS., a 5-act comic opera, an
overture, Romance f. 2 pfs.; etc.
Shattuck, Arthur, born Neenah, Wris.,
April 19, 1881. After 3 years of preparatory
870
study with a 'Vorbereiter* he st. with Le-
schetizky himself from 1895-1902 in Vienna;
debut in 1902 with the Copenhagen Philh.
Orch., playing Rubinstein's concerto in Dm.;
succ. tours of Europe, including Iceland and
the Balkan capitals; one tour of Egypt and
3 tours of the U. S. (1911-2, '15-16, *16-17);
has appeared with almost all the famous
European and Amer. orchs. (8 times with
Chicago S. O.). Permanent home, in Paris;
since the outbreak of the war, in the U. S.
Shaw, Mary [nie Postanal, fine contralto;
b. London, 1814; d. Hadleigh Hall, Suffolk,
Sept. 9, 1876. From 1828-31 she st. at the
R. A. M., and later privately with Sir G.
Smart; made her debut (concert) in London
in 1834 with marked success; sang in 1835
at the York fest. and in 1836 at the Norwich
and Liverpool fests., creating at the latter the
contralto part in Mendelssohn's St. Paul at
its first perf. in England; in 1837 she was so-
loist with the Philh. and Sacred Harmonic
Socs.; in 1838 she sang at the Gewandhaus
under Mendelssohn's direction, and in other
German cities. Operatic debut at La Scala,
Milan, on Nov. 17, 1839, in the premiere of
Verdi's Oberto, Conte di San Bonifacio; in
1842 she sang with great succ. at Co vent Gar-
den and the principal festivals. In 1844, at
the height of her success, her career was sud-
denly ended when her husband (the painter
Alfred Shaw, whom she had married in 1835)
became insane; the shock affected her vocai
cords, so that she was unable to sing in tune.
Shaw, Oliver, a blind singer; born Midd\c-
boro', Mass.; d. 1848. He was a singing-
teacher, and a composer of popular psalm-
tunes and ballads, which he sang in public;
some favorites were Mary's Tears , The In-
spiration, Sweet Little Ann, and The Death of
Perry.
Shedlock, John South, b. Reading, Eng-
land, Sept. 29, 1843. Graduate, B. A., of
London Univ., 1864. Pupil of E. Liibeck
(pf.) and Lalo (com p.; at Paris). Teacher
and concert-giver in London till 1879, when he
became critic for the 'Academy,' since then
devoting himself chiefly to writing. Has also
lectured at the R. A. M. From 1901-16 he
was critic of the 'Athenaeum.' Retired in
1916. Has publ. articles on Beethoven's
sketch-books in the 'Mus. Times' (1892); an
account of a copy of Cramer's studies, with
notes by Beethoven, discovered by S. in Ber-
lin, 1893; The Pianoforte Sonata, Its Origin
and Development (London, 1895; Ger. tr. by
O. Stieglitz, 1897); edited Kuhnau's Biblical
Sonatas in 1895 (playing them at the R. A. M.
in 1896 to illustrative lectures by E. F.
Jacques) and harpsichord-pcs. by Frescobaldi,
Froberger and Kerl; transl. the 4th ed. of
Riemann's Musiklexikon into English (1899);
SHELLEY— SHERWOOD
has comp. a string-quartet, a Romance and
Scherzino f. pf., etc.
Shelley, Harry Rowe, born New Haven,
Conn., June 8, 1858. St. at Yale College
under Gustav J. Stoeckel; in New York
with Dudley Buck, Vogrichand Dvorak — 17
years in all. He was organist in the First
Church, New Haven, and Dr. Store's Ch.,
Brooklyn; since 1899 at the Fifth Ave. Bapt.
Ch., and in charge of classes in theory and
comp. at the Metropolitan College, N. Y.
— Publ. works: Songs, ballads, duets, mixed
and male choruses; The Inheritance Divine,
sacred cantata f. soli, ch. and organ; Te
Deums, and much other church-music; an
overture for orch., Santa Clans; orchl. suite,
Souvenir de Baden-Baden (publ. in 4-hand
pf.-arr.); — f. pf. solo, a Dance of Egyptian
Maidens, Evening Prayer, Romance, March of
the Centuries, Melodic Moment (set of 8 pieces) ;
— f. organ, the colls. 'Gems for the Organ/
'The Modern Organist,' '101 Interludes for
Organ/ also organ- pieces and transcriptions.
— Has also written 2 symphonies (the first,
Kb, perf. N. Y., 1897), violin-concerto (perf.
1891); cantatas VexiUa Regis (perf. N. Y.f
1894), Death and Life (Easter cant.), Lochin-
var's Ride (N. Y.f 1915).
Shepard, Frank Hartson, born Bethel,
Conn., Sept. 20, 1863. Pupil of Eugene
Thayer, Boston, in organ, pf. and theory.
1881-6, organist in various towns (1885 of
Trinity Ch., Cleveland, O., where he organized
a boy-choir) ; from 1886-90 at Leipzig, study-
ing under Zwintscher, Schreck, Homeyer, Ja-
dassohn, Reinecke, Paul and Torsleff, also
organist of the English Chapel in 1888.
Establ. the Shepard Sch. of Music at Orange,
N. J., in 1891, of which he has been dir. since;
also organist and mus. dir. at Grace Ch.,
Orange. — Works: Piano Touch and Scales;
Church Music and Choir Training; How to
Modulate; Harmony Simplified; Children's
Harmony; Method f. pf. — S.'s theory of the
'Attendant Chords/ developed in How to
Modulate and Harm. Simpi., is original and
interesting.
Shepard, Thomas Griffin, b. Madison,
Conn., April 23, 1848; d. Brooklyn, N. Y.f
1905. Pupil of G. W. and J. P. Morgan.
Organist, in New Haven, of Christ Ch. (3
years), Centre Congr. Ch. (14 years), Trinity
P. E. Ch. (6 years), and Church of the Re-
deemer (from 1888) ; from 1873, mus. instruc-
tor of the Yale Glee Club; was for some years
cond. of the New Haven Oratorio Soc.,a chorus
of about 600, giving many standard works w.
large orch.; also director of the Apollo Club
(male voices). Teacher of theory, organ, and
vocal style; mus. critic and correspondent. —
Works (all publ.): Pennikeese, or Cuisine
and Cupid, comic opera (pf.-score publ.);
a Christmas cantata, The Word made Flesh;
numerous anthems, offertories, sacred songs.
Shepherd, Arthur, b. Paris, Idaho, Feb.
19, 1880. St. pf. with G. Haessle, 1890-2;
from 1892-7, pupil in the New Engl. Cons,
of C. Dennee ana C. Faelten (pf.); B. Cutter,
(harm.) and P. Gpetschius and G. W. Chad-
wick (cpt. and comp.); from 1897-1908 in
Salt Lake City as teacher and cond. of the
Salt Lake Symph. Orch. ; since 1908 prof, of
harm, and cpt. at the New Engl. Cons. —
Publ. works: Op. 1, Theme and vara, in E m.
for pf.; op. 2, Prelude and Mazurka for pf.;
op. 4, sonata in F m. for pf. (1st prize of Natl.
Fed. of Mus. Clubs, 1909); op. 6, motet,
The Lord hath brought again Zion; op. 7, 5
songs. In MS., Suite for orch. (op. 3); 3
overtures, The Nuptials of Attila, Ouverture
joyeuse (Paderewski Prize, 1902) and The
Festival of Youth (1916); Humoreske for pf.
and orch.; The City in the Sea for bar. solo,
ch. and orch.; Song of the Sea Wind for fem.
ch. and orch.; He came all so still for fem. ch.
a capp.; songs (op. 5).
Sheremetiev [she^-reh-mght'y£hf], Alex-
ander Dmitxievitch, count, b. 1859. Ope
of his ancestors, Peter Borissovitch S., main-
tained in the 18th century a private choir
under the direction of S. Degtarev, and the
choir of his father, Dmitri Nikolaievitch,
attained wide celebrity under its distinguished
conductor G. Lomakin. In 1882 Count
Alexander founded a symph. orch., and in
1884 a church-choir under Archangelsky;
in 1898 he instituted in Petrograd symphony
concerts at popular prices, which he conducts
together with Vladimirov. S. is the comp. of
a Pathetische Fanlasie and a Funeral March
for orch., and some church-musk.
Sherwood, Edgar Harmon, pianist and
comp.; b. Lyons, N. Y., Jan. 29, 1845. In-
tended for a medical career, he served in the
Union Army 1862-5, and then chose music as
his profession. After teaching and writing in
Dansville, N. Y., Chicago and New York, he
settled in Rochester, N. Y., as pianist and
teacher. In 1895, Natl. Mus. Dir. of the
'Union Veterans' Union.' Has publ. over 100
comps. f. pf. and f. voice; best -known are
a descriptive fantasia, The Nun and the Foun-
tain; Grand Minuet in Ab; The Dreamer
(march-elegy on Gottschalk); Souvenir de
Montmorenci; Footsteps in the Snow; Ane-
mone; L'heureux retour (concert-duet) ; songs.
Sherwood, Percy, b. Dresden (of English
parentage), May 23, 1866. Pupil of Hermann
Scholtz (pf.); later, at Dresden Cons., of B.
Roth (pf.) and Draeseke (comp.); won the
Mendelssohn prize in 1889. He is a concert-
pianist and, since 1890, teacher of pf. and
score-reading at the Dresden Cons. Was for
a time cond. of the 'Neustadter Chorgesang-
871
SHERWOOD— SIBELIUS
verein.' In 1911 he was made Kgl. Prof. —
He has publ. 2 vcl. -sonatas (op. 10, D; op.
15, A), a vl.- sonata (op. 12, F), a suite for 2
vis. (op. 23), 2 pf. -sonatas (op. 22) and a
number of minor works for pf.; in MS., a
Requiem, 2 symphonies, several overtures.
Sherwood, William Hall, brother of Ed-
gar H. S.; distinguished pianist and teacher;
b. Lyons, N. Y., Jan. 31, 1854; d. Chicago,
Jan. 7, 1911. Son and pupil of Rev. L. H.
Sherwood, the founder of Lyons Mus. Acad.;
st. further with Heimburger (in Rochester),
Pychowski and Dr. W. Mason (in New York) ;
then 5 years in Europe under Th. Kullak,
Weitzmann, Wflerst and Deppe (Berlin),
Richter (Leipzig), Karl Doppler and Scotsoa
Clark (Stuttgart), and Liszt (Weimar); gave
successful concerts at Berlin, etc.; returned
1876 to the United States, and played in New
York, Boston, Philadelphia, Chicago, and else-
where, settling in Boston as teacher at the
New Engl. Cons. Some years later he went
to New York, and in 1889 to Chicago, where
he was head of the pf. -sect ion of the Cons,
until he founded, in 1897, the independent
'Sherwood Piano School,' which alter his
death was cont. by Georgia Kober. An em-
inent* concert-pianist, he played in all parts of
the United States. Member of the A. C. M.,
and Examiner for pf. — In 1887 he married
his pupil, Miss Estefla F. Abrams, also a fine
r'anist. — Among his publ. comps for pf. are
suites (op. 5, 14) and 2 sets of Gypsy Dances
(op. 10, 40).
Shield, William, b. Whickham, Durham,
Mar. 5, 1748; d. London, Jan. 25, 1829.
Taught by his father, a singing-master, on
whose death he was apprenticed to a ship-
builder, but studied thorough-bass under
Avison, and led the subscription-concerts at
Newcastle. His apprenticeship ended, he
became leader at the theatre and concerts in
Scarl>orouKh. In 1772, violinist in the opera-
orch., London; 1773, principal viola-player,
both in the theatre and chief concerts. After
producing his first comic opera, A Flitch of
Bacon, at the Haymarket in 1778, he was app.
composer to Covent Garden (1778-91, 1792-
7). He visited Italy in 1791. In 1817 he
succeeded Parsons as Master of the Royal
Music. Buried in Westminster Abbey. He
wrote about 40 operas, pantomimes, mus.
farces, and the like; detached numl>ers were
?ubl.; also 6 string-trios, 6 violin-ducts, An
ntrotl. to Harmony (1794); and Rudiments of
Thorough-bass (n. d.). He especially excelled
as a song-composer.— See Q.-Lex.
Shore, John, [son of Matthias S., trum-
pet er-in-ordinary to James II; d. 17«M the
most famous English trumpeter of his time,
and the reputed inventor of the tuning-fork
d. Nov. 20, 1750, aged 80 (90?).
872
Shtcher'batchev, Nikolai de Vladimi-
rovitch, b. Russia, Aug. 24, 1853. Com-
poser of the neo- Russian group; has written
about 60 comps., chiefly f. pf., but also some
orchl. pieces and songs. Among them may
be mentioned a Serenade (op. 33) and Deux
Idylles for orch.; 6 Lieder on poems by Heine;
and, for piano, FSeries et pantomimes, op. 8
(16 numbers); Mosaique; Album pittoresque,
op. 15 (7 numbers); Grande etude, op. 19; 3
Idylles, op. 23; Fantaisies-Htudes, op. 26;
Impromptu- Caprice, op. 29; Au soir tombani,
waltz, op. 39; Nowelles Marionnettes, op. 41;
Mazurka, op. 42; etc.
Shudi. See Broad wood.
Sibelius [d-baTyoosJ, Jean, b. Tavaste-
hus, Finland, Dec. 8, 1865. At 14 he began
to study the violin with Levander, the band-
piaster in his native town, and soon took part
in amateur performances of chamber-music;
he wrote his first compositions before he had
any theoretical instruction. Sent to the
Univ. at Helsingfors in 1885, to study law, he
abandoned it before the end of his first semes-
ter, and ent. the Cons., studying (1886-9)
vl. with Vasiliev and Csillag and comp. with
Wegelius; 1889-90, pupil of W. Bargiel and
A. Becker in Berlin; 1890-1, of R. Fuchs
(comp.) and K. Goldmark (instrumentation)
in Vienna. In 1893 he was app. teacher of
comp. at the Helsingfors Cons., also at the
orchestra-school of the Philh. Soc. When his
first works appeared in print, they attracted
so much attention that in 1897 the Finnish
senate granted him an annual stipend of 3000
marks ($600] for 10 years. In 1900 he accom-
panied the Helsingfors Philh. Orch. on its
tour of Scandinavia, Germany, France and
Belgium, as cond. of his own works; in 1901
he directed his own works at the annual
festival of the 'Allgem. deutscher Tonkfinst-
lerverein' at Heidelberg. By request of
Karl Stoeckel he wrote for the 28th annual
Norfolk (Conn.) Fest. the symphonic poem
Aalottaret [Die Okeaniden; Daughters of the
Ocean], which he cond. there in a program of
his works on June 4, 1914; on that occasion
Yale Univ. conferred upon him the degree of
Mus. Doc. (hon. c). He lives in Jarvenpfta,
devoting himself to composition. — Sibelius
is the greatest of Finnish composers. To
Pacius, Wegelius and Kajanus belongs the
honor of having founded a distinct national
school, but in the works of S. the national
genius finds its most eloquent expression.
S/s works have roused the interest ot Europe
and North America in this new national
school. His art rests upon the folk-music, and
his original themes exhibit all the characteris-
tics of genuine folk-melodies. What gives
the strongly individual note to his musk is
the inherent power of his themes, combined
SIBONI— SIEROV
with marked originality and resourcefulness
in their development. The prevailing mood
is sombre, even tragic. Nature and the na-
tional legends (the Kalevala) are the chief
sources of S.'s inspiration. — Cf. K. Flodin,
Finska musiker (Stockholm, 1900); R. New-
march, /. £., a Finnish Composer (Leipzig,
1906; Ger. tr. by L. Kirschbaum, ib., 1906);
W. Niemann, Die Musik Skandinaviens (Leip-
zig, 1906). ^
Works.
The opera Tornissa dija impi [The Maid in
the Tower] (Helsingfore. 1896): Scaramoucke. 2-act
pantomime (op. 71); incid. music to A. Paul's Konig
Christian II and Die Sprackt der V6gel, Maeterlinck's
Pellias et Mflisande, Procope's Belsazor, StiindberRS
Svanehvit, Jarnefelt's KuoUma [Death]. — For Orch.:
Symphony No. 1 in E m. (op. 39), No. 2 in D (op.
43). No. 3 in C (op. 52). No. 4 in A m. (op. 63).
No. 5 (completed 1916); Op. 9, En Saga [A Legend],
symph. poem; op. 10, Karelia, overture: op. 11,
Karelia, suite; op. 16, Vdrsdng [Spring SongT; op.
22, No. 3. Der Schwan von Tuonda; op. 22, No. 4,
Lemminkdinen zieki heimwdrts; op. 25, Suite in Eb;
op. 26, Finlandia, symph. poem; op. 27, Suite from
music to K6nig Christian II; op. 42, Romans* in C for
str.-orch. ; op. 44, Valse triste from the music to Kuo-
Uma; op. 45, No. 1, Die Dryade; op. 45, No. 2, Tan*-
Intervtetzo; op. 46. Suite for small orch. from the musk
to Pellias et Milisande; op. 47, Vln.-concerto in D m.;
op. 49, Pohjolan tyt&r [P's. Daughter], symph. fantasy;
op. 51, Belsatars Gastmal from the music to Belsasar;
op. 53a, Pan und Echo, intermezzo: op. 54, Suite for
small orch. from the music to Svanehvit; op. 55, Ndcht-
licher Ritl und Sonnenaufgang, symph. poem; op. 59,
In Memoriam, funeral march; op. 62a, CanaoneUa for
str.-otch.; op. 62b, Valse romantique for small orch.;
op. 64, Der Barde, symph. poem: op. 66, Scenes his-
toriques, suite; op. 69, 2 serenades for vl. and orch.;
op. 70, Lnonnotar, symphonic poem (w. soprano
solo); op. 72, Aalottaret [Die Okeaniden; Daughters
of the Ocean], symph. poem. — Vocal w. Orch.: Op. 15,
SkoRsraei [The Wood-nymph], melodrama; op. 19,
Impromptu for fern, ch.; op. 31, Atenarnes Sting [Song
of the Athenians] for male ch.. horn septet, cymbals,
triangle and drum; op. 33, Koskelaskian morsiamet
[The Ferryman's Brides] for bar. solo: op. 48, Die
gefattgenr Konigin, ballad for ch; Ukko [The Old Man]
for bar. solo and male ch. (no op.-number). — A str.-
quartet in D m., Voces intimar (op. 56); male choruses
a capp. (op. 18, 21, 23); about 50 remarkable songs
(op. 13. 17, 35, 36, 37, 38 [No. 1. Herbstabend w. orchil,
.SO. 57. 60, 61); pf.-pes. (op. 5. 12 [sonata in F], 24, 41,
42, 58. 67, 68).— Without op.-number (in MS.): 2
overtures in E and A m.; a str.-quintet in G m.; 2 str.-
quartets in A m. and Bb; a pf. -quartet in C; vara, for
fot s tr. -quartet in Eb m. ; a str.-trio in A.
Sibo'ni, Erik (Anton Waldemar), b. Co-
penhagen, Aug. 26, 1828; d. there Feb. 22,
1 892. Son of the tenor Giuseppe S. [b. Forli,
Jan. 27, 1780; d. Copenhagen, Mar. 29, 1839,
as Dir. of the opera and Cons.]. Fine-pianist,
pupil of J. P. E. Hartmann, and of Moscheles
and Hauptmann at Leipzig, 1847; st. 1851-3
with Sechter at Vienna, returned to Copen-
hagen, and in 1864 became organist and pf.-
prof. at the R. Acad, of Music at Soro; re-
tired in 1883. — Works: Operas Loreley (Co-
penhagen, 1859) and Carl IPs flugt [Flight of
Charles II] (Copenhagen, 1862); Tragic
Overture, op. 14; 2 symphonies; a pf. -quar-
tet; other chamber- music; the grand choral
works Slaget ved Murten [Battle of M.],
Stormen baa Kjobenhavn [Storming of Co-
penhagen], and the 111th Psalm; etc.
Sie'ber [ze'-], Ferdinand, famous singing-
teacher after the traditions of the old Italian
method; b. Vienna, Dec. 5, 1822; d. Berlin,
Feb. 19, 1895. Pupil of J. Mieksch and
Giorgio Ronconi; sang in opera, taught in
Dresden 1848-54, and then settled in Berlin,
receiving the title of Prof, in 1864. Valuable
instructive works: Die Kunst des Gesangs in
2 parts (op. 110, Theoretische Principien; op.
Ill, Praktische Studien), with a supplement,
60 Vocalisen und Solfeggicn (op. 112-117);
Vorschule des Gesangs . . .vor dent Stimmwechsel
(op. 121); Vollstii ndiges Lehrbuch der Gesanps-
kunst fiir Lehrer und Schuler (1858; 3d ed.
1878); Katechismus der Gesangskunst (1862
and many later eds.); Die Ausspradte des
Italienischen im Gesang (1860; 2d ed. 1880);
Aphorismen aus dent Gesangsleben (1865);
Kurze Anleiiung zum griindlichen Studium
des Gesangs (1852; 2d ed. 1865); and a Hand-
buck des deutschen Liederschatzes. Ein Katalog
von 10,000 nach dent Stimmumfang geordneten
Liedern, nebst einer reichen Auswahl von Duet-
ten und TerzeUen (1875); numerous vocalises
and solfeggios for all voices; also publ. many
songs (op. 64, 65, 88, 89, 100, 101, 102).
Siegel, E. F. W„ founder in 1846 of the
Leipzig music-publishing firm; d. March 29,
1869. Ilis successor, Richard Linnemann,
died Dec. 1, 1909; the present (1918) owner
is Karl Linnemann.
Sie'gel, Felix. See Schuberth, Julius.
Sie'gel, Rudolf, b. Munich, 1878. Pupil
of L. Thuille (comp.); since 1914 cond. of the
'Musikal. Akademic' in Konigsberg. Comp.
of the opera Herr Dandolo (Essen, 1914);
Apostatenmarsch for male ch. and orch.;
Heroische Tondichtung for orch.; songs.
Sie'rov [s'yeVr6hv], Alexander Nikolaie-
vitch, b. Petrograd, Jan. 23, 1820; d. there
Feb. 1, 1871. He had lessons in 'cello-playing
from Carl Schuberth, but was a lawyer by
profession, and held a government office in
the Crimea when, in 1850, he turned wholly
to music, beginning as a critic of advanced
views, and an adherent of Wagner; he twice
attempted to establish a paper; and publ.
essays on Russian Folk-song in the 'Moszkva'
and the 'Musical Season.' In 1865 he lec-
tured at the Univ. of Moscow on mus. history;
and in 1859 and 1864 at the Univ. of Petrograd
on mus. theory and dramatic composition.
After his debut as a dramatic composer, at
Petroerad in 1863, with the grand opera
Judith, the Czar granted him a pension; his
grand opera Rognieda (1865) had equal good
fortune, and he commenced the composition
of the opera Vrazhia sila [The Power of the
873
SIEROVA— SILAS
Enemyl in 5 acts; death overtook him while
the fifth act was still incomplete (it was fin-
ished by his wife [see Sierova] and scored by
Soloviev, and prod. April 19, 1871, becoming
extremely popular). Another opera, Notch
pod rozhdfstvo [Christmas Eve] did not pro-
gress beyond a first rough sketch, from
which his wife air. and publ. a Suite (1877).
S. followed Wagner's example in writing his
own libretti; as a national composer he ranks
next to Glinka in Russian estimation. He
also comp. Schiller's Glocke, an Ave Maria
(written 1868 for Adelina Patti), a Stabat
Mater, incid. music to Nero, Danse cosaque
for orch., several Little-Russian dances and an
Ouvtrture d'une comldie for pf. (4 hands).
A selection from his writings was publ. as
Krititcheskiya statyi (Critical Articles; 4
vols., Petrograd, 1892-5).— Cf. N. Findeisen,
A.N.S. His Life and Work ( Russian ; Pet ro-
rd, 1900; 2d ed. 1904); id., Utters of A. N.
to his sister S. N. Du Tour (Russian;
Petrograd, 1896).
Sierova [syeVr&h-vahl, Valentina Seme-
novna [nie Bergman n], wife of preceding;
b. Moscow, 1846. Having studied pf. a short
time with A. Rubinstein at the Petrograd
Cons., she left to take up comp. with A.
Sierov, whom she married in 1867. She
wrote the operas Uriel Akosta (Moscow, 1885)
and Ilya Muromets (ib., 1899); 2 others,
Marya and Chai Dieuka, have not been prod.;
publ. a number of minor pieces for pf.; com-
pleted and publ. her husband's posth. works;
wrote criticisms and essays (some in collab.
with her husband) for various journals.
Sieveking [sS'vS-king), Martinus, b. Am-
sterdam, Mar. 24, 1867. Talented pianist,
pupil of his father (pf.),and at the Amsterdam
Cons, of Franz Cotnen (comp.) and of J.
Rontgcn (pf.). Began his career as accom-
panist in Lamoureux'sorch. in Paris; accomp.
Adelina Patti on her tour of England, 1891-2;
1893-95, prof, in Lincoln Univ., Lincoln,
Neb. During the season of 1896-7 he ap-
peared with great success as soloist (Chicago,
New York, Boston). However, he was not
satisfied with his playing, and went to Le-
schetizky for further study. The next ten
years he spent experimenting with a new
method, which he claims leads to absolute
virtuosity in two years. Resuming his con-
cert-tours in Europe, he met with consider-
able success. In 1915 he est a hi. in New
York a virtuoso-school to introduce his
method. — Publ. Serenata espagnola for vl.
and pf., and pf.-prs. (several concert -etudes,
Gavotte, Menuet, Vam de Concert, etc.).
Siface [$€-fah'ch£] (rtcU Gross!) , Gio-
vanni Francesco, famous musico; b. Pescia,
Feb., 12, 1653; d. May 29, 1697 (murdered by
hired assassins; buried in Ferrara). Member
of the Papal Chapel from 1675-7; in Modena,
1679-87; later singing at Venice and London.
Sighlcelli [se-ge-chehl'le], family of distin-
guished violinists: (1) Flllppo, b. San Cesario,
Modena, 1686; d. Modena, April 14, 1773.
Was 1st violin to Prince Hercules of Este. —
His son, (2) Giuseppe, b. Modena, 1737, d.
there Nov. 8, 1826. Violinist and maestro
to Ercole Rinaldo III d'Este until Napoleon's
advent. — His son, (3) Carlo, b. Modena,
1772, d. there April 7, 1806, was also at-
tached to the court. — Hisson, (4) Antonio, h.
Modena, July 1, 1802, d. there Oct. 20, 188}.
Eminent violinist and cond., pupil of his
grandfather, and of Giovanni Mari; cond.
of orchestras at Cento, Bologna, and Ferrara;
from 1835 leader at the Modena theatre and
cond. of the Ducal orch. — His son, (5) Vin-
cenzo, b. Cento, July 30, 1830; d. Paris, Feb.
15, 1905. Taught by his father; then by
Hellmesbergcr, Mayseder and Sechter at
"Vienna. Returned to Modena in 1849, acting
as solo violinist and asst.-cond. to the court ;
from 1855 in Paris, as a teacher of distinction.
He publ. original pieces, and fantasias on
operatic airs, for violin and pf.
Sigismondi [sg-jis-m&hn'de], Giuseppe,
b. Naples, Nov. 13, 1739; d. there May \0,
1826. Singing-teacher, opera-comp., and
(from 1808) librarian at the Cons., in Naples.
Wrote an opera, 4 oratorios, vocal music, and
pieces f. pf. and organ; few were published.
Sig'wart, Botho [real name Sigwart Bo-
tho, Graf zu Eulenburg], son of Philipp
Graf zu E. (q. v.); b. Jan. 10, 1884; d. in
France, Tune, 1915 (from wounds received
in battle). He lived as pianist and comp.
in Dresden, where in 1909 he married the
concert -singer Helene Staegemann. Besides
songs and pf.-pes. he wrote a str.-quartet in
B m. (op. 13), Hektors Bestattung, melodrama
(op. 15); an opera, Die Lieder des Euripides,
was accepted by the court opera in Dresden.
Silas [se'lahs], Eduard, notable Dutch
pianist and comp.; b. Amsterdam, Aug. 22,
1827; d. London, Feb. 8, 1909. Pianistic
debut Amsterdam, 1837. Pupil in harmony
of Grua, Mannheim; in pf.-playing of Louis
Lacombe (Frankfort, 1839) and Kalkbrenner
(Paris, 1842); studied later at the Paris Cons,
under penoist (org.) and Halevy (fugue and
opera), winning 1st prize for organ-playing in
competition with Saint-Sacns and Cohen
(1849). Settled in England, 1850, as an or-
ganist, and made his way as a com poser despite
much adverse criticism. In 1866 the As-
semblee g6nerale des Catholiques en Belgique
awarded him 1st prize (gold medal and 10OO
francs) for a mass (in C, op. 62) ; there were
76 competitors of 12 nationalities. He was
prof, in harmony at the Guildhall School, and
the London Acad, of Music. — Works: Ora-
874
SILBERMANN— SIMANDL
torio Joash (Norwich Fest., 1863); Kyrie
eleison a 4 w. orch.; Ave verum, Tantum ergo,
Ave Regina, 0 salutaris and Magnificat, w.
organ and orch.; cantatas; English and Ger-
man songs; 3 symphonies; 3 overtures; 3
pf. -concertos; Fantasia f. pf. and orch.; Elegy
f. do.; Nonet f. strings and wind; 2 string-
quintets; pf. -quartets; 4 pf. -trios; a trio f.
pf., clar. and 'cello; much pf. -music (op. 10,
sonata; op. 44, Persian Serenade; Amaranth;
Gavotte, Passepied and Courante; ten Ro-
mances sans paroles, 2 books; op. 23, 6 duets
f. 4 hands; etc.), also organ-pieces (sonatas,
fugues, fantasias). In MS. he left a treatise
on Musical Notation; one on Harmony was
publ. in 1885.
Silbermann [zil'-L Andreas, b. Klein-
Bobritzsch, Saxony, May 16, 1678; d. Strass-
burg, Mar. 16, 1734, where he had been estab-
lished as an organ-builder for about 30 years.
Sil'bermann, Gottfried, brother of pre-
ceding; b. Klein- Bobritzsch, Jan. 14, 1683;
d. Dresden, Aug. 4, 1753. Apprenticed to a
bookbinder, he ran away to his brother at
Strassburg, worked as his apprentice, returned
to Dresden in 1712, and settled in Freiberg as
an organ-builder. He built 47 organs, the
finest of which is that in Freiberg Cathedral
(3 manuals and 45 stops; 1714). He is yet
more famous as the first to manufacture piano-
fortes successfully, his hammer-action being
practically identical with that of Cristofori,
the inventor of the pianoforte. He invented
the 'Cembal d 'amour,' a clavichord with
strings of double length struck in the middle
by the tangents, thus yielding the redupli-
cated octave of the tone of the entire string.
Sirbermann, Johann Andreas, eldest
son of Andreas; b. Strassburg, June 26, 1712;
d. there Feb. 11, 1783. Also a celebrated
organ-builder. Wrote Geschichte der Stadt
Strassburg (1775).— His brother, Johann
Daniel, b. Mar. 31, 1717, d. Leipzig, May 6,
1766, worked with his uncle Gottfried at
Freiberg, and continued the manufacture of
pianofortes after the latter's death. — A third
brother, Johann Heinrich, b. Sept. 24, 1727,
d. Jan. 15, 1799, made pianofortes at Strass-
burg similar to those of his uncle Gottfried,
and introduced them into France. — His son,
Johann Friedrich, b. June21, 1762, d. Mar. 8,
1817, was an excellent organ-builder and or-
ganist, officiating at the Thomaskirche, Strass-
burg. Comp. a Hymne a la Paix, German
songs, etc.
Sil'cher [zil'yher], (Phllipp) Friedrich,
b. Schnaith, Wurttemberg, June 27, 1789;
d. Tubingen, Aug. 26, 1860. Famous song-
composer, pupil of his father and Auberlen
(organist at Fellbach). He lived as a music-
teacher in Stuttgart, and in 1817 was app.
mus. dir. at the Univ. of Tubingen, receiving
the degree of Dr. phil. (hon. c.) in 1852. He
was an influential promoter of German popu-
lar singing; his 'Sammlung deutscher Volks-
lieder' contains many of his own songs, which
are favorites (Annchen von Tharau; Morgen
muss ich fort von kier, Ich weiss nicht, was soil
es bedeuten, Zu Strassburg auf der Schanz),
publ. for one or two voices w. pf.-accomp., or
for 4-part male chorus. Other works: Choral-
buck a 3; three books of hymns a 4; 'Tfibinger
Liedertafel' (male choruses); Geschichte des
evangel. Kirchengesanges (1844); Harmonic-
und Kompositionslehre (1851; 2d ed. 1859).
— Cf. A. Kdstlin, Friedrich Silcher und Weber
(Stuttgart, 1877); A. Pruraers, Ph. F. 5., der
Meister des deutschen Volksliedes (ib., 1910);
G. Brflgel, Kritische Mitteilungen zu S*s. Volks-
liedern, in 'Sbd. I. M.-G.' (xv, 3; 1914).
Silo'ti, Alexander. See Ziloti.
Silva, (David) Poll da, b. St.-Esprit, n.
Bayonne, Man 28, 1834; d. Clermont, Oise,
May 9, 1875. Pupil of his mother and grand-
mother, who had studied under Parisian
masters; later of Funck at Bordeaux. He
went to Paris in 1854, and Halevy advised
him to enter the Cons., which failure of his
eyesight prevented; when he became auite
blind, his mother wrote out his comps. from
dictation. An original and proline composer,
he wrote 3 operas, a ballet, 2 oratorios, can-
tatas and other choral works (a Stabat Mater
won a prize at Bordeaux in 1871); also 2
symphonies, and much chamber-music. He
publ pf.-music, part-songs, songs, etc.
Silver [sTl-var'], Charles, b. Pans, April 16,
1868. Pupil of Dubois and Massenet at
the Cons., winning the Grand prix de Rome
in 1891 with the cantata VInterdit.— Works:
A 1-act operetta, VEscarpolette; 1-act elegiac
poem Rats (Rome, 1894); a fantaisie, Conte
du Bohhnien (1895); the operas La Belle au
bois dormant (Marseilles, 1902), Clos (Op.-
Com., 1906), Neigilde (Monte Carlo, 1908;
ballet-opera), Myriane (Nice, 1913); oratorio
Tobie; 2 orchl. suites, Pohne carnavalesque
and Le Ballet de la Reine: dram, overture
Birtnice; Cydalise, madrigal for orch.; songs.
Silvestre, Armand, poet, dramatist and
librettist; b. Paris, Aug. 8, 1839; d. Toulouse,
Jan. (?), 1901. Among his opera-texts were
Dimitri (Joncieres), Henri VIII (Saint-Saens),
Pedro de Zalamea and Jocelyn (Godard),
Izejl (Pierne), Melusine (Pugno), GrisHidis
(Massenet), and many lesser works.
Simandl [ze'mahndl], Franz, b. Blatna,
Bohemia, Aug, 1, 1840; d. Vienna, Dec. 13,
1912. 1st double-bass in the Vienna court
orch.; from 1869, teacher at the Cons. ; publ.
Neueste Methode des Kontrabass-Spiels (in 3
parts: I. Preparation for orchl. playing, w.
30 studies; II. Prep, for concert-playing, w.
875
SIMXO— SINDING
studies and sonatas by Kreutzer, etc.; III.
Advanced school, in 10 parts), and 30 Etuden
fur Kontrabass; Die hohe Schule des
Kontr abas spiels, a coll. of concertos, studies,
solo- pes., etc. His original comps. include a
Konzertstikk (op. 34), Konzert- Etude (op. 65),
a concerto (op. 75), fantasias and minor pes.
Simao. See Portugal.
Simon [se-mohn'], Anton, b. in France,
1851. Pupil at the Paris Cons, of Marmon-
tel and Mathias (pf.) and Duprato (theory).
Settled in Moscow in 1871; app. prof, of pf.
at the Cons, of the Philh. Soc. in 1891; since
1897 also intendant of the orchestras of the
Imp. theatres and inspector at the Alexander
Inst. — Works: The operas Rolla (op. 40;
Moscow, 1892), Piesn torzhestvuyushtchey
liubi [The Song of Triumphant Love] (op.
46; ib., 1899), Rjbaki [The Fishermen] (op.
51; ib., 1900); Esmeralda, mimodrama (ib.f
1902); 2 ballets, Svozdf [The Stars] (ib., 1898)
and Ozhivlennye tsviet? [Living Flowers] (op.
58); a mass (op. 22). For orch.: Op. 13,
overture; op. 19, pf. -concerto; op. 28, Ber-
ceuse for vl. and str.-orch.; op. 29, suite; op.
31, clar.-concerto in Bb; op. 34, Danse des
Bayaderes; op. 35, Ouverture-Fantaisie (on
Little- Russian themes); op. 36, La Revue de
Nuit, symph. poem; op. 42, Fantaisie de con-
cert for vcl. and orch.; op. 44, Grieshnitsa
[The Sinner], symph. poem; op. 54, Ouver-
ture solenneUe. — Chamber-music: Op. 16,
pf .-trio in Dm.; op. 23, quartet in Bb for 2
cornets, alto-horn and tenor-horn; op. 24, str.-
quartet in A; op. 25, pf.-trio in £; op. 26,
22 pes. for brass instrs. — Numerous pf.-pes.;
about 100 songs.
Simon [ze'mdhn], Christian, eminent
double-bass player; b. Schernberg, April 3,
1809; d. Sondershausen, May 29, 1872; a
life-long member of the court orchestra.
Simon [se-m&hn'], Jean-Henri, b. Ant-
werp, April, 1783; d. there Feb. 10, 1861.
Violinist; pupil of Lahoussaye and Rode,
and in comp. of Gossec and Catel, in Paris.
Lived in Antwerp as teacher and concert-
player ^ (Vieuxtemps, Janssens and Meerts
were his pupils). — Works: 7 violin-concertos;
trio f. 2 violins and bass; an oratorio, can-
tatas, etc.
£i'mon, Dr. Paul. See Kahnt.
Simons-Candeille. See Candehxe,
Amelie.
Simpson, George Elliott, b. Orange,N.J.,
Nov. 1, 1876. From 1886-90 pupil of E.
Mollenhauer (vl.) and W. K. Bassford (pf.
and theory) in New York; 1894-1900, of
Karl Busch (comp.) in Kansas City; 1900-3,
at Leipzig Cons., of Jadassohn, Reinecke,
Schreck, Merkel and Sitt. Settled in Kansas
City in 1903 as teacher; 1905-7, prof, of
theory and score-reading at the Cons, there:
1907-11, vice-dir. of music at Baylu Coll.,
Bel ton, Texas; 1912-14, dean of School of
Fine Arts, Polytechnic Coll., Fort Worth,
Texas; since 1914 dir. of the city Cons, of
Texas Christian Univ., Fort Worth. He has
appeared with orchestras in the Middle West
as cond. of his own works. — Works for orch. :
2 Symphonies {Romantic in F, American in
G m.); 4 overtures, Red Rock, Euphrosyne,
Benvenuto, Scottish Chiefs; 3 suites; Ro-
mance in F; Festival March. Has published
about 30 pf.-pes. and 80 songs.
Sim'rock, Nlkolaus, founder of the well-
known publishing house in Berlin; b. May-
ence, 1752; d. Bonn, 1834. From 1774-90,
horn-player in the electoral orch. at Bonn;
resigned to establish a music-business in 1790;
he publ. a number of Beethoven's works.
His son and succ, Peter Joseph (d. 1868)
greatly increased the prestige of the house
when he secured the works of Brahms and
Bruch. His son and succ., Fritz August (b.
Bonn, Jan. 2, 1838; d. Lausanne, Aug. 20,
1901), moved to Berlin in 1870, and added
the works of Dvorak to the catalogue. His
nephew Hans S. (d. Berlin, June 26, 1910)
organized the firm in 1902 as a stock company,
and establ. branches in London and Paris.
Sinclair, George Robertson, b. Croydon,
Oct. 28, 1863; d. Birmingham, Feb. 7, 1917.
At the age of 8 he ent. the R. Irish Acad, of
Music; 2 years later he won a scholarship at
St. Michael's, Tenbury, where for the next 6
years he st. with Sir F. G. Ouseley and Sir
K. Stewart; in 1879 he st. organ with Dr. C.
H. Lloyd, organist of Gloucester Cath., and
after a few months became his asst. ; in 1880,
org. and choirm. at Truro Cath.; from 1889
till his death, org. at Hereford Cath. In
this capacity he acted as cond. of the Three
Choirs' Festival (annual fest. held in turn at
Gloucester, Worcester and Hereford, and
cond. by the Cathedral organist of each city) ;
was also cond. of the 'Hereford Choral Soc.',
the 'Herefordshire Orchl. Soc.' and the
Herefordshire Choral Union, and from 1900
of the 'Birmingham Festival Choral Soc.'
In 1895, Hon. member of the R. A. M.; in
1899, Mus. Doc. (Canterbury). No. 11 of
Elgar's Enigma vars. is inscribed to 'G. R. S.'
— Cf. 'M. T.' (Oct., 1900; Mar., 1906; Mar.,
1917).
Sin'ding, Christian, b. Kongsbcrg, Nor-
way, Jan. 11, 1856. He st. pf. and harm, with
L. Lindeman in Trondheim; 1874-7, at the
Leipzig Cons., pupil of Reinecke (pf.),
Schradierk (vl.), Jadassohn (cpt. and comp.)
and# Kretzschmar (musicol.). He settled in
Christiania as a teacher and composer, when
he won a government stipend which enabled
him to continue his studies in Berlin, Dresden
876
SINGELfiE— SINGLETON
and Munich (1880-2). In Germany he wrote
several important works, which were per-
formed and attracted attention. Returning
to his native land, his fame grew rapidly, so
that in 1890 the government granted him a
yearly stipend enabling him to devote his
entire time to comp. In 1915 this stipend
was changed to a pension for life of 4,000
crowns (about $1,000) 'for distinguished
service'; on his 60th birthday the govern-
ment presented him with a purse of 30,000
crowns as a mark of appreciation to *the
greatest national composer since Grieg.'
S.'s talent is of the heroic type, and shows to
best advantage in the larger forms; in the
smaller forms he lacks the distinction of
Grieg. Judged by his best works — his opera,
orchl. and chamber-music and some 50 songs
— S. has made a place for himself in Scan-
dinavian music second only to Grieg. — Works:
The opera Der heilige Berg (Dessau, April 19,
1914). For orch.: Op. 6, Pf.-concerto in
Dt>; op. 10, Suite in A m. for vi. and orch.;
op. 21, Symphony in Dm.; op. 35, episodes
chevaleresques, suite; op. 42, Rondo infinito;
op. 45, vln. -concerto in A; op. 46, Legende
for vl. and orqh.; op. 60, vln. -concerto in
D; op. 85, Symphony in D; op. 100, Ro-
mance in D for vl. and orch. — Chamber-music:
Pf. -quintet in E m., op. 5; str. -quartet in
A m., op. 70; 3 pf. -trios (op. 23, D; op.
64, Am.; op. 87, C); 4 vl. -sonatas (op. 12,
C; op. 27, E; op. 73, F; op. 99, D m.); 3
suites for vl. and pf. (op. 14, F; op. 51, G
[Scenes de la vie]; op. 96, G m.); Cantus do-
loris, vars. for vl. and pf., op. 78; 2 serenades
for 2 vis. and pf. (op. 56 and 92) ; minor pes.
for vl. and pf. (op. 9, 30, 43, 61, 79, 81, 89);
do. for vcl. and pf. (op. t>6). For 2 pfs.: Op.
2, vars. in Ebm.; op. 41, 2 duets. For pf.
4 hands: Op. 59, Valses; op. 71, Seeks Stiicke;
op. 98, Nordische Tdnze und Weisen. For
pf. solo: Op. I, A lie Weisen; op. 3, Suite; op.
24, Fiinf Stiicke; op. 25, Sieben Stiicke; op.
31, Seeks Stiicke; op. 32, do. (No. 1 is Marcne
grotesque. No. 3 Friihlingsrauschen); op. 33,
Seeks Ckarakter stiicke; op. 34, do.; op. 44,
15 Capriccn; op. 48, Burlesques; op. 49, 6
pieces; op. 52, Melodies mignonnes; op. 53,
Morceaux caracteristiques; op. 58, Cinq Etudes;
op. 65, 8 Intermezzi; op. 7 2, do.; op. 74, 6
pieces; op. 76, 10 do.; op. 82, Studien und
Skizzen; op. 84, 4 pes. ; op. 86, 7 do. ; op. 88,
3 do.; op. 91, sonata in B m.; op. 93, 4 pes.;
op. 94, Fatum, vars. in C m.; op. 97, 5 pes.
About 200 songs (35 opus-numbers), 5 duets
(op. 63) and 3 3-part choruses for fem. vcs.
(op. 47).
Slngelee [san-zhu-lal, Jean-Baptiste, b.
Brussels, Sept. 25, 1812; d. Ostend, Sept. 29,
1875. Violinist and comp.; publ. 144 works
(2 concertos, many solos i. violin, fantasias on
operatic airs, etc.).
Sing'er, Edmund, celebrated violinist; b.
Totis, Hungary, Oct. 14, 1830; d. Stuttgart,
Jan. 23, 1912. Pupil of Ellinger at Pest, then
of Ridley Kohne; made tours, studied further
for a year with Joseph Bdhm at Vienna, and
finally at Paris Cons. In 1846, solo violinist
at the Pest theatre; 1853-61, leader at Wei-
mar; from then, leader at Stuttgart, also prof,
at the Cons. Brilliant concert-violinist, and
an excellent teacher. Comp. Tarantella (op.
6) and Rapsodie kongroise (op. 24) for vl. and
orch.; Morceaux de salon, Airs varies, Noc-
turnes, Fantasias, etc.; wrote cadenzas to
Beethoven's and Brahms's vln. -concertos;
edited numerous classical pes. and the etudes
of Rode, Kreutzer, Fiorillo, Rovelli and
Gavinies. With M. Seifriz he wrote Grosse
tkeoretiseh-praktische Violinschule.
Sing'er, Otto, noted pianist; b. Sora, Sax-
ony, July 26, 1833; d. New York, Jan. 3, 1894.
He studied at the Kreuzschule, Dresden, and
1851-5 at the Leipzig Cons. (Moscheles,
Hauptmann and Richter), later under Liszt;
taught in Leipzig, Dresden (1860), and in
186/ went to New York, teaching in the
Mason & Thomas Cons, until 1873. In 1873
he was asst.-cond. of the first May Festival
at Cincinnati, and then accepted a position as
teacher (for pf. and theory) in the Cin. Col-
lege of Music. About a year before his death
he returned to New York. — Works: 2 canta-
tas. The Landing of the Pilgrim Fathers (1876)
and Festival Ode (1878); symphonies and a
symphonic fantasia, f. orch.; 2 pf. -concertos; a
violin-sonata, a pf. -sonata, and other pf. -music.
Sing'er, Otto, Jr., son of preceding; b.
Dresden, Sept. 14, 1863. Violinist; studied
in Paris, also in Berlin under Kiel, and in
Munich under Rheinberger. In 1888, cond.
of the Heidelberg 'Liederkranz'; 1890, suc-
ceeded H. Zollner as teacher in Cologne Cons.,
and cond. of the 'Mannergesangverein'; 1892-
1900 in Leipzig; since 1900 in Berlin. — Publ.
a Konzertstuck for violin and orch. (op. 6);
also male choruses. He made vocal scores of
Rienzi, Tannhduser, Lohengrin, Tristan und
Isolde, Parsifal and R. Strauss's operas.
Sing'er, Peter, b. Haselgehr (Lech thai),
July 18, 1810; d. Salzburg, Jan. 26, 1882,
as a Franciscan monk. Invented (1839) the
'Pansymphonikon,' a kind of orchestrion with
reeds; publ. Metapkysische Blicke in die Ton-
welt, nebst einem . . . neuen System der Ton-
wissensckajt (1847). Prolific composer; publ.
'Cantus choralis in provincia Tirolensi con-
suetus' (1862), 2 Manenlieder, 2 Tantum ergo,
etc., and composed 101 masses, 600 offer-
tories, etc. — Cf. Hartmann von a. d. Lan-
Hochbrunn, P. S. (Innsbruck, 1910).
Singleton, Esther, author and editor; b.
Baltimore; living in New York. Has publ.
877
stNic6-sirf
A Guide to the Opera (1899); A Guide to
Modern Opera (1909); The Orchestra and Its
Instruments (1917); a novel. The Daughter of
the Revolution (1915), contains a chapter on
opera in N. Y.; has transl. Lavignacs Le
Voyage artistique a Bayreuth as The Music-
Dramas of R. Wagner (1898) and Musical
Education (1903); contrib. the chapter on
Amer. music to Lavignac's 'Encyclopedic de
la Musique' (1915).
Si'nlco, Francesco, b. Trieste, Dec. 12,
1810; d. there Aug. 18, 1865. Pupil of G.
Farinelli; 1832^3, cond. of the 'Societa
Filarmonico-Drammatica' in Trieste; from
then m. di capp. at S. Maria Mageiore. In
1843 he establ. a singing-school (Wilhem's
method), where he trained children and work-
ingmen so efficiently that he was able to pro-
duce oratorios with a chorus recruited entirely
from his pupils. An opera, / Virtuosi di
Barcellona, was prod, at Trieste in 1841; 2
others, Rosmunda and Zatra, remained un-
finished.
Si'nlco, Giuseppe, son of preceding; born
Trieste, Feb. 10, 1836; d. there Dec. 31, 1907.
Pupil of his father, P. Coronini (vl.) and I.
Bruno (vcl.). He cont. with great success
his father's popular singing-classes, and was
m. di capp. at the Greek and Illyrian churches
in Trieste. — Works: The operas Marinella
(Trieste, 1854), / MoschettteH (ib., 1859),
Aurora di Nevers (ib., 1861), Alessandro
Stradella (Lugo, 1863), Spartaco (Trieste,
1886); Don Carlo fcomp. 1865) was not prod.;
also wrote much church-music and a singing-
method.
Sinigaglia [sg-ne-gahTyah], Leone, born
Turin, Aug. 14, 1868. Pupil at the Cons,
thereof Giov. Bolzoni, in Vienna (1895-1900)
of Mandvczewski, and in Prague of Dvorak;
also profited from advice of Goldmark. He
became favorably known when the Bohe-
mian St r. -quartet introduced his chamber-
music about 1898; the attention of wider
circles was called to him in 1901, when Ar-
rigo Serato played his fine vln. -concerto with
marked success in the principal cities of
Germany. He is one of the very few modern
Italian composers who have resisted the temp-
tation of the stage. — Works: For orch.:
Op. 16, Romanze and Humoreske for vcl. and
orch.; op. 20, vln.-concerto in A; op. 26,
Rapsodia piemontese for vl. and orch.; op.
29, Romanze in A for do.; op. 31, Danze
piemontesi (on folk-melodies); op. 32, over-
ture to Goldoni's Le barufft chiozzotte; op. 35,
Regenlied and Etude for str.-orch.; op. 36,
Piemonte, suite. — Chamber-music : Op. 3,
Romania for horn and str.-quartet ; op. 5,
Konzert-Etude for str.-quartet ; op. 8, Scherzo
for do.; op. 19, vars. on Schuljert's Haiden-
rbslein for ob. and pf . ; op. 22, vars. on a theme
by Brahms, for str.-quartet; op. 27, str.-quar-
tet in D; op. 33t Serenade in D for str.-trio;
op. 35, 2 pes. for str.-quartet; Hora mistica.
for 2 vis., via. and double-bass (no op. -num-
ber).—Pes. for vl. and pf. (op. 12, 13, 19, 25);
2 pes. for horn and pf. (op. 28); mixed cho-
ruses a capp. (op. 9); op. 10, 12 canons for
fern. vcs. a capp.; op. 14, Zwei Gartenliedchen
for fern. vcs. w. pf.; op. 18, 3 fern, choruses
w. sop. solo and pf.; pf.-pes. (op. V, 11); songs
(op. 15, 17 [Lieder eines fahrenden Gesellen\9
23, 34, 37, 40 [Vecchi canzoni popolari del
Piemonte]).
Slnsheimer [sins'hi-mer], Bernard, vio-
linist; b. New York, Oct. 11, 1870. Pupil of
Leonard in Paris and Joachim at the Kg).
Hochschule in Berlin; debut in his own con-
cert at Steinway Hall, N. Y., Jan. 16, 1886;
has toured Germany and France. In 1902
he formed the S.-Quartet, which has been
heard in the principal cities of the U. S., and
has to its credit a large number of Amer.
Cremieres of important works (pf.-qutntets
y Arensky, Davidov, Novak, Wolf-Ferrari;
str.-quartets by Afanassiev, Ippolitov-Ivanov,
F. Bridge, M. Weber; Regers Serenade for
strings, op. 141 [1915]; etc.).
Slrmen, Maddalena. See Syrmen.
Sis'termans, Anton, famous concert-bass;
b. Herzogenbusch, Holland, Aug. 5, 1867.
Destined for a commercial career, for six years
after graduation he was in business in Rot-
terdam. In 1890 he went to J. StocVhausen
in Frankfort-on-Main, and after only six
months' instruction made a successful debut;
but cont. his studies with S. until 1894, ap-
pearing occasionally, in public; since 1895
tie has sung in recitals, oratorio, and at fes-
tivals in the principal cities of Central Eu-
rope; as a Lieder-singer he is unsurpassed;
his only appearance in opera (with great
applause) was as Pogner (Bayreuth, 1899).
Of all Stockhausen's pupils he has probably
most thoroughly assimilated, and^ exemplified
in his own teaching, the principles of his
master. Until 1904 he lived in Frankfort and
Wiesbaden; since then in Berlin as prof, at
the Klindworth-Scharwenka Cons.
Sitt, Hans, b. Prague, Sept. 21, 1850. Vio-
linist; studied at the Prague Cons. (Benne-
witz, Mildner, Kittl and Krejc'i). In 1867,
leader of the theatre-orch., Breslau; 1869,
Kapellm. there, later in Prague; 1873-80,
in Chemnitz; then cond., for 1 year, of
Baron P. von Derwies* private orch. at Nice.
In 1881 he founded a series of popular con-
certs in Leipzig; 1883, teacher of violin at
Leipzig Cons., and viola-player in the Brodsky
Quartet; 1885-1903, cond. of the 'Bach-
verein/ succeeding von Herzogenberg. He
also conducted the Leipzig Lehrergesang-
verein' and 'Singakademie,' and the Subscrip-
878
SITTARD— SJOGREN
tion Concerts at Al ten burg. — Works: For
orch.: Op. 6, Nocturne in E; op. 20, overt, to
A. Leschivo's Don Juan d* Austria; op. 54,
Festmarsch in Eb; op. 95, No. 11, Spinnlied
for str.-orch. For vl. and orch.: 3 con-
certos, op. 11 (D m.), op. 21 (A m.), op. Ill
(D m.); op. 25, Cavatina in D; op. 28, Con-
certino in A m.; op. 29, Polonaise in A; op.
48, Wiegenlied and Gavotte (w. str.-orch.).
For via. and orch.: Op. 46, Konzertstuck in
G ra.; op. 46b, the same arr. for vl. (transp.
to D m.); op. 68, concerto in A m.; op. 72,
Romanze; 2 vcl.-concertos, op. 34 (A m.)
and op. 38 (D m.); 2 pf.-tnos, op. 63 (G
and Bb) ; Festhymne for male ch. and orch.,
op. 55; Hohenzollern und Oranien for bar.
solo, male ch. and orch.; pf.-pcs. (op. 10,
Namenlose Blatter;^ op. 15, Gavotte; op. 19,
Fantasiestucke) ; pieces for via. and pf . ; do.
for vcl. and pf.; among numerous pes. for
vl. and pf. are 4 concertinos (op. 31, 65, 70,
93), 3 'Schuler-Konzertinos' (op. 104, 108,
110), 2 suites (op. 88, 105), etc.; many male
choruses a capp.; valuable studies for vl.
(op. 30, 32, 41, 51, 69, 80, 90, 92, 98). Has
also publ. Praktische Violaschule, Schulaus-
gabe neuerer Violinlitteratur (5 books) and
(with Reinecke) Lyrica, a coll. of 30 classic
and romantic pes. for vl. and pf.
Slttard [zit'tahrt], Alfred, son of Josef S.;
famous organist; b. Stuttgart, Nov. 4, 1878.
Pupil of his father, W. Kohler and K. Arm*
brust in Hamburg; after the latter's death
he filled his place as org. at St. Peter's for
one year (1896-97); st. at the Cologne Cons.
(1897-1901) under Wullner, Franke and
Seiss; 1901-2, asst.-cond. at the Stadtth. in
Hamburg; won Mendelssohn prize in 1902;
a pp. org. at the Kreuzkirche in Dresden in
1903. In 1912 he was called to St. Michael's in
Hamburg; the new organ, built by Walcker,
was at the time the largest in the world
(12,174 pipes, 163 speaking stops; the organ
in Liverpool Cath., built by Willis & Sons in
1914, has 167 stops). In 1912 he founded
the 'Michaelis-Kirchenchor,' which plays an
important part in the city's musical life. He
has publ. 3 Choralstudien for organ; Psalm 1
for 8-part chorus a capp.; sacred and secular
choruses a capp. ; also wrote Das Hauptorgel-
werk und die Hilfsorgel der Michaeliskirche in
Hamburg (1912).
Slttard, Josef, b. Aix-la-Chapelle, June 4,
1846; d. Hamburg, Nov. 24, 1903. Pupil
1868-72, later teacher (for singing and pf.),
at the Stuttgart Cons.; lecturer on music;
from 1885, music critic for the Hamburg
'Korrespondent,' succeeding L. Meinardus.
Title of Prof, in 1891 from the Duke of Ko-
burg. — Publ. Kompendium der Geschichte der
Kirchenmusik (1881); Zur Einfuhrung in die
Geschichte und Asthetik der Musik (1885);
Eirnt hritische Rundschau auf das erste Stutt-
gaJer Musikfest (1885); Jongleurs und Menes-
ttils (1885); Studien und Charakteristiken
(1889, collected essays); Geschichte des
Musik- und Konzertwesens in Hamburg ( 1890) ;
Geschichte der Oper am Hofe zu Stuttgart (2
vols., 1890, '91); and sketches of Mendels-
sohn and Rossini (in Waldersee's 'Vortrage') ;
also some songs and sacred choruses.
Sivo'ri, (Ernesto) Camillo, b. Genoa, Oct.
25, 1815; d. there Feb. 18, 1894. Famous
violinist; taught at 5 by Restano; debut at
6; then a pupil of Costa and Paganini, being
a favorite of the latter, whose style he copied,
and who composed for him a concertino, and
6 sonatas with guitar, viola, and 'cello.
From 1827 his concert-tours continued al--
most uninterruptedly; he visited England
often, and made a tour through the United
States, Mexico and S. America in 1846-8.
He was not only a remarkable interpreter of
Paganini's works, but an excellent quartet-
player. His compositions include 2 violin-
concertos, a Fantaisie-Caprice, a Neapolitan
Tarantella, and the fantasia Fleurs de Naples,
f. violin w. orch.; 2 duos concertants w. pf.;
3 Romances sans paroles w. pf. ; Souvenir de
Norma w. quartet; duet f. violin and double-
bass (with Bottesini); and numerous soli f. vln.
— Cf. L. Escudier, Mes Souvenirs (Paris,
1863); A. Pierrottet, C. S. (Milan, 1896).
Sjdberg [sh3'b£hrg], Svante Leonard, b.
Karlskrona, Sweden, Aug. 28, 1873. St. at
the Stockholm Cons. (1893-7) with Nord-
quist and Dente; from 1900-2 in Berlin with
M. Bruch (comp.), O. Becker (org.), K.
Heymann (pf.), R. Hausmann (cond.), J.
Wolff (score-reading); since 1902 org. at the
Stadskyrka and cond. of the Musikforening
in Karlskrona; gives numerous organ-re-
citals.— Works: Konzertouverture; overture
to Gustaf Vasa; Psalm 23 for bar. solo, ch.
and orch.; violin-sonata in A m.; a capp.
choruses; songs (several w. orch.).
Sjogren [sho'-1, (Johann Gustav) Emit,
b. Stockholm, June 15, 1853; d. there Mar.
3, 1918. Pupil of the Cons, there till 1879;
in 1879-80, at Berlin, of Kiel (cpt.) and
Haupt (organ). From 1890, organist at the
Johankyrka, Stockholm. Among Swedish
composers he occupies a position very much
like that of A. Jensen among the German.
His fame rests chiefly upon his fine songs;
but the purity of style, warmth of feeling
and refinement of his mstrl. works entitle.him
to a place of distinction. — Works: About 80
songs, of which Ibsen's Bergmanden (op. 2,
No. 1) and Der Grdfin Fluch (op. 37) are
also orchestrated; 5 vl.-sonatas (op. 19,
G m. ; op. 24, E m. ; op. 32, G m. ; op. 47, B m.
op. 61, A m.); 2 Fantasiestucke for vl. and
pf., op. 27; Le gender (op. 46) and PrSlude et
879
SKILTON— SKRIABIN
Fugue (op. 49) for org.; Ein neues Trinklied
(op. 42) for male ch. For pf.: Op. 14, 6
Noveletten; op. 15, P& vandring, 6 pes. ; op. 10,
Erotikon, 5 pes.; op. 20, Stemntnger fmood-
pietures]; op. 35, sonata in E m.; op. 36,
Nenia (arr. for org. and orch. by T. Aulin);
op. 39, Prelude et Fugue; op. 48, Theme with
vars. Also a cantata for ch. and orch.,
Heliga ire konungars okenvandring [The
Journey of the Three Magi], written for the
dedication of the Johankyrka in 1890.
Skilton, Charles Sanford, b. Northamp-
ton, Mass., Aug. 16, 1868. Graduate of Yale
Univ. (A. B., 1889); pupil in New York of
H. R. Shelley (org.) and O. B. Boise and
Dudley Buck (comp.); st. comp. with Bar-
giel at the Kgl. Hochschule in Berlin (1891-3),
and org. with Albert Heintz. From 1893-6
dir. of music at Salem Acad, and Coll., N. C,
and cond. of the Salem Philh. Soc.; 1898-
1903, do. at the State Normal School, Tren-
ton, N. J., where he founded in 1900 the
'Monday Musical Club' (women's vcs.).
Since 1903 prof, of org., theory and hist, of
music at Univ. of Kansas, Lawrence; or-
ganized there the Univ. Orch., which he cond.
for 12 years; from 1903-15 also dean of the
School of Fine Arts. F. A. G. O., and first
dean of the Kansas chapter; twice Pres. of
the Kansas State Mus. Teachers' Assoc.;
member of the MacDowell colony at Peter-
borough, N. H. — Works: A Carolina Legend,
symph. poem; Mt. Oread, overture; 2 Indian
Dances, for orch., Deer Dance (G m.) and
War Dance (G) [arr. also for str.-quartet, pf.
and vl., pf. solo, and pf. 4 hands]; vl. -sonata
in G m. (1st prize Mus. Teachers' Natl.
Assoc., 1897); organ-sonata in D m.; vars.
for pf. in E m.; minor jxrs. for pf., org., vl. and
pf. ; choruses and songs.
Skinner, Ernest M., born Clarion, Pa.,
1866; founder (1901) of the Ernest M. Skinner
Co., famous organ-builders of Dorchester,
Mass. Until 19C5 the business was carried
on by Mr. S. himself; it was then incorporated,
with Mr. S. as Pres., M. J. Whittall, Vice-
pres., A.Thomas, Trcas., and G. F. Peabody,
meml>er of the board of directors. — S. has
been especially successful in the construction
of .organ -pipes reproducing the exact tone-
color of the various wood-wind instrs. and the
French horn; among several important inven-
tions may be menSoned the 'duplex wind-
chest,' by means of which the stops of 2
manuals are made interchangeable, and the
arrangement of placing the stops on swing-
ing sides. S. invented in 1901 a device for
accenting certain notes in piano-players, so
as to bring out melodies in the bass or inner
voices; he sold the patent to the jColian
Company, who introduced it into their in-
struments under the name of 'themodist.'
His latest invention is an automatic organ
called the 'Orchestra tor/ on which it is pos-
sible to sound all tones of a chord either in the
same clang-tint, or to sound each tone in a dif-
ferent tint (fl., clar., bassoon, etc.). Famous
organs built by the S. Co. are those in the
Coll. of the City of N. Y., St. Paul's Chapel,
Columbia Univ., Cath. of St. John the Di-
vine, St. Thomas's Ch., Fifth Ave. Presb.
Ch. (New York); Old South Ch. (Boston);
Trinity Cath. (Cleveland, O.); Cath. of
SS. Peter and Paul (Washington); St. Paul's
P. E. Ch. (Baltimore); Fourth Presb. Ch.
(Chicago); Central Meth. Ch., Ch. of Our
Father (Detroit); First Presb. Ch. (Omaha);
Plymouth Cong. Ch. (Seattle); First Uni-
tarian Ch. (San Francisco); Trinity Ch.
(Toledo); Williams Coll. (Williamstown);
Sage Chapel, Cornell Univ. (Ithaca); Ap-
plcton Chapel, Harvard Univ. (Cambridge);
Carnegie Music Hall (Pittsburgh); etc. —
Mr. S. is the author of a valuable book, The
Modern Organ (1917).
Skov'gaard, Axel, violinist; born Copen-
hagen, May 20, 1875. St. from 1881-7 in
Copenhagen with J. Krygel, C. Petersen and
L. Tofte; then in Berlin with K. Halir (1887-
90) and J. Joachim at the Kgl. Hochschule
(1895-8). Concert ized in Scandinavia from
1890-5, and again 1900-3; since then living in
the U. S. as concert-violinist. He has ap-
peared in more than 1,800 concerts in the U.S.
and Canada.
■
Skriabin [skryah'bin], Alexander Niko-
lalevitch, b. Moscow, Jan. 10, 1872; d. there
April 27, 1915. Destined for a military
career, he received his early education in the
Cadet Corps; then pupil of Safonov (pf.)
and Taneiev (comp.) at the Moscow Cons.,
graduating in 1892 as winner of the gold
medal for pf.-playing. The next few years
he lived chiefly in Paris, Brussels and Am-
sterdam, establishing a considerable repu-
tation as a pianist; 1898-1903, prof, of pf.
at the Moscow Cons.; from then until his
death he devoted his entire time to comp.
His earlier works (to about op. 20), all for pf.,
are remarkable for fine workmanship and
poetic conception, and exhibit sufficient origi-
nality to warrant the hopes entertained at the
time for the composer's future development.
Instead of continuing in the paths of romanti-
cism, he espoused impressionism, and soon
Easscd to the very extremes of futurism. No
>nger satisfied with the whole-tone scale and
the extension of harmony by means of a
limited number of the upper partial tones, he
adopted practically the entire series, treating
the most dissonant and discordant combina-
tions as concords. A. E. Hull summarizes
S.'s system as follows: "A certain new chord
880
SKRIABIN— SLATINN
is taken which suits the particular moods that
are crying out for expression, and the whole
composition is evolved from this one extended
harmony, used only on a very few roots,
often two or three, sometimes even on only one.
This new harmonic style involves a complete
revolution in the musical system. The old
major and minor modes disappear, the key-
signature goes; and for variety he depends en-
tirely on the apparently inexhaustible com-
bination of these harmonics, which he uses
in endless arrangement s for figurations, chords,
accompaniments, basses, and, most wonder-
ful of all, from which his melodies are entirely
evolved." S. himself called his new combina-
tions 'mystic chords'; and as he drifted deeper
and deeper into mysticism, music finally
became lor him merely a means for the ex-
pression of his theosophical ideas. A fan-
cied relation between certain colors and cer-
tain tonal combinations grew into a fixed
belief, so that the orchl. score of his Prometheus
(op. 60) calls for a 'color-keyboard* (Far-
benklavier, clavier de lumiere, tastiera per
luce), by means of which the colors corre-
sponding to the chords, minutely indicated in
tne score, are to be actually projected on a
screen. European conductors performed the
work without the color scheme; but Modest
Altschuler, cond. of the Russian Symph.
Orch., had a color-keyboard built, and pro-
duced the work, exactly in accordance with
the composer's directions, in New York on
Mar. 20, 1915; the result was a complete
fiasco. At the time of his death S. was en-
gaged upon a 'Mystery' in which, besides
colors, perfumes were to be introduced. —
Works: For orch.: Op. 20, Pf. -concerto in
F# m. ; op. 24, Rhverie; op. 26, Symphony No. 1 ,
in E (with final ch.) ; op. 29, do. No. 2, in C m. ;
op. 43, do. No. 3, in C, Le divin Pohme; op.
54, Le Pohme de VExtase; op. 60, Promithte,
le Pohme du Feu. For pf.; 10 sonatas (op.
6, F; op. 19, G# m. [Sonate-Fantaisiel; op.
23, F# m.; op. 30, FJf; op. 53, 62, 64, 66, 68,
70 [the last 6 in no key, but in his own
system]. These sonatas alone are sufficient
to give a complete history of the evolution of
S's. stylo). AH other opus-numbers are pf.-
works: Op. 5, Deux Nocturnes; op. 9, Pre-
lude et Nocturne (for left hand alone); op.
28, Fantaisie; op. 36, Pohme satanique; 8
S3ts of Preludes (op. 11, 13, 15, 16, 17, 22, 27,
31); etc. — Cf. I. Lipiaiev, A. N. S. (Saratov,
1913; in Russian); A. E. Hull, 5. (London,
1916); id., A Survey of the Pianoforte Works
of S.t in 'Mus. Quart.' (Oct., 1916); id., The
Pianoforte Sonatas of 5., in 'M. T.' (Nov. and
Dec., 1916); M. Montagu-Nathan, A Hand-
book of the Pianoforte Works of S. (Boston,
1916). For a full exposition of S.'s princi-
ples see Chap, iv (The Duodecuple Scale]
in A. E. Hull's Modern Harmony (London,
1914) and Part I of J. L. Dunk's Hyperacaus-
tics (London, 1916).
Skroup (or Skraup) [shkroh'oftp], Franz
[FrantiSek], b. Vosic, near Pardubitz, Bo-
hemia, June 3, 1801 ; d. Rotterdam, Feb. 7,
1862. While a law-student at Prague, he
successfully prosecuted musical studies; be-
came 2d conductor at the subsidized Bohe-
mian Th., Prague, in 1827, and 1st cond. in
1837; from 1860 he cond. the German Opera
at Rotterdam. He was the first comp. of
Bohemian operas (several prod, in Prague);
also wrote incid. music to dramas, and over-
tures, chamber-music (3 pf. -trios [op. 2, 28,
30], a str.-quartet [op. 24]), and many popular
Bohemian songs, of which Kde domov muj
has become a typical folk-song.
Skroup, Jan Nepomuk, brother of
preceding; b. Vosic, Sept. 15, 1811; d. Prague,
May 5, 1892. Was chorusmaster and then
2d cond. at the theatre in Prague, also, from
1838-45, choirmaster at the Kreuzherren-
kirche, and then Kapellm. at the cathedral of
St. Veit; in 1846, singing-teacher at the
Theological Seminary. — Works: Bohemian
operas; a fest. overture (for the opening of
the Czech theatre in Prague, 1862); church-
music; a Manuale pro sacris functionibus,
Musica sacra pro populo, and a vocal method.
Skuherok? [h£hr'-], Franz [Frantifek]
Zdenko, b. Opofcno, Bohemia, July 31, 1830;
d. Budweis, Aug. 19, 1892. A student of
medicine, he also had lessons from Pietsch
and Kittl at the Prague Organ-School; cond.
the Innsbruck 'Musikverein' 1854-66, then
succeeding Krej£i as Director of the Organ-
School at Prague; in 1868 also choirdirector
at St. Cast ul us, and 'Hofkapelldirektor.'
University lecturer on music from 1879. —
— Works: A German opera, Der Liebesring
(Innsbruck, 1861); the Bohemian operas
[at Prague] Vladimir (1863), Lora (1868)
and Rektor a general (1873); masses (op. 11,
20, 21, 47) ; 30 Orgelvorspiele in den Kirchen-
tonarten (op. 44; without accidentals), do.
(op. 45; with ace); studies for organ (op.
16, 17, 25, 26); pf.-pes. and songs. Publ. the
Bohemian text-books Treatise on Mus. Form
(1879; also in German), Composition (1881),
The Organ and Its Structure (1882), and Har-
mony on a Scientific Basis (1885; also Ger-
man).
Sla'tftnn, Ilya Uyitch, b. Belgorod, Rus-
sia, July 7, 1845. Pupil of Dreyschock and
Zaremba at the Petrograd Cons., and of Th.
Kullak and Wuerst at Berlin. Founder (in
1873) and dir. of the Charkov section of the
Imp. Russian Mus. Soc.; also has charge of
the pf. and ensemble classes; has appeared
as cond. in Petrograd and Moscow. In 1887
made hon. member of the Petrograd section
of the Imp. Russ. Mus. Soc.
881
SLAUGHTER— SMART
Slaughter, A. Walter, b. London, Feb.,
1860; d. there April 2, 1908. Chorister at
St. Andrews, Wells St.; pupil of A. Cellier
and Jacobi. Conductor, successively, of the
Royal Th., the Olympic, Drury Lane, and St.
James's Th. He prod, a number of mus.
stage-works, among them the 3-act comic
opera Marjorie (1889), The Rose and the Ring
[Thackeray] (1890) and a mus. comedy, The
French Maid (1897). His daughter Mar-
jorie (b. 1888) has prod, several light operas.
Slavfk, Joseph, b. Jince, Bohemia, Mar. 26,
1806; d. Pest, May 30, 1833. Violinist;
pupil of Pixis at Prague Cons.; from 1829,
member of the Vienna Court Opera orch. —
Works: 2 violin-concertos; double concerto
f. 2 violins; a string-quartet; etc.
Slezak [sleVzahk], Leo, celebrated dra-
matic tenor; b. Mahrisch-Schonberg, Mora-
via, Aug. 18, 1876. He began his musical
studies at an early age, and at 16 joined the
chorus of the Briton opera ; his voice attracted
the attention of Adolf Robinson, who taught
him for 3 years; debut in 1895 as Lohengrin
at the Brtinn opera; 1898-9, at the R. Opera
in Berlin. His reputation was established at
the Hofoper in Vienna, of which he has been
a regular member since 1900. Liberal leave
of absence enabled him to sing in Pest,
Prague, Milan and several German cities,
notably at the Wagner festivals at the Prinz-
regententh. in Munich. The greater part of
the year 1908 he spent with Jean de Reszkc
in Paris, studying the French and Italian
repertoire and perfecting his vocal method.
In May, 1909, he made his London debut with
marked success as Otello; on Nov. 18, his
Amer. debut in the same role at the M. O. IL,
where he sang till 1912; sang also with the M.
O. IL company in the principal cities of the
U. S. during its spring tour of 1910 and its
visit that summer to Paris (Th. Chatelet).
He has sung in the principal opera houses of
Germany and Austria, also in Petrograd,
Moscow and Warsaw. As a Lieder-singer
his rank is equally high. He has a pure tenor
of unusual power and beautiful quality; of
imposing stage- presence, his gigantic stature
(he stands 6 ft., 3 in.) lends special imprcs-
siveness to his interpretation of heroic parts.
Among his 60 rf>les, Otello is, perhaps, the
finest; his favorites are Otello, Raoul,
Eleazar (La Juwe) and Arnold (Tell).— CI.
L. Khnenl>erger, L. S. Ein Beitrag zur Ge-
schichte der dramatischen Gesangskunst (Vienna,
Slivin'ski, Joseph von, pianist; b. War-
saw, Dec. 15, 1865. Pupil of Strobl at the
Warsaw Cons.; later, for 4 years, of Lesche-
tizky in Vienna; finished under Anton Rubin-
stein in Petrograd. First public performance,
1890; first pronounced success London, May,
1893. First recital in America at New York,
Nov. 30, 1893. Although a player of brilliant
technic and poetic conception, his achieve-
ment* were overshadowed by the phenomenal
successes of Paderewski.
Sloper, (Edward Hugh) Lindsay, b. Lon-
don, June 14, 1826; d. there July 3, 1887.
Pianist; pupil of Moscheles at London, A.
Schmitt at Frankfort, Vollweiler at Heidel-
berg, and Rousselot at Paris. Debut London
at Musical Union, 1846; he became a very
popular concert-pianist and teacher; also
gave lectures. In 1880, prof, of pf. -playing at
the Guildhall School of Music. — Works: Suite
f. orch. (1879); many elegant and well-written
pf.-pieces; studies and text-books f. pf.;
songs; etc.
Small wood, William, b. Kendal, Engl.,
Dec. 31, 1831 ; d. there Aug. 6, 1897. Pupil of
Dr. Camidgc and H. Phillips; organist of
Kendal Parish Ch. from 1847 till death.
Comp. didactic pf.-pieces and salon-music;
also anthems, hymns, songs, etc. His Piano-
forte Tutor had an immense sale.
Smareglia [smah-rShryah], Antonio, b.
Pola, Istria, May 5, 1854. Studied at Vienna
and (1874-7) at the Milan Cons., graduating
with a symphonic work, Eleonora. His
operas, strongly influenced by Wagner, have
met with better success in Germany and
Austria than in his native land. About 1905
he became totally blind; has dictated his
scores since then. Now (1917) living in
Milan. Has prod, the following operas:
Preziosa (Milan, 1879); Biancada Cervia (ib.f
1882); Re Nala (Venice, 1887); II Vassallodi
Szigeth (at Vienna, 1889, as Der Vasall von
Szigeth; in New York, 1890); Cornill Schut
(Vienna, 1892); Nozze istriane (Trieste,
1895); La Falena (Venice, 1897); Oceana
(Milan, 1903); Nolle di S. Silvestro (Pola,
1907); L'Abisso (Milan, 1914).
Smart, Sir George (Thomas), l>. Lon-
don, May 10, 1776; d. there Feb. 23, 1867.
Chorister in the Chapel Royal under Ayrton;
pupil of Dupuis (org.) and Arnold (comp.).
Knighted 1811 at Dublin by the Lord Lieu-
tenant, after conducting a series of concerts.
Original member of the Philharm. Soc., and
cond. of its concerts 1813-44, introducing the
works of Beethoven and Schumann. Also
cond. the Lenten Oratorios, 1813-25, and the
music at the coronations of William IV (1820)
and Victoria (1837). — Publ. a collection of
glees and canons (1863), 2 vols, of sacred
music, 2 pf. -sonatinas, etc.; edited Orlando
Gibbons's madrigals, and Handel's Dettingen
T* Deum.— Cf. H. B. and C. L. Cox, Leaves
from the Journals of Sir G. S. (London, 1907);
C. Maclean, Sir G. S.t Musician- Diarist, in
'Sod. I. M.-G.' (vol. x, 1909).
882
SMART— SMETANA
Smart, Henry, son of Sir George's brother
Henry (1778-1823); b. London, Oct. 26,
1813; d. there Tuly 6, 1879. Organist and
comp.; pupil of his father and W. H. Kearns.
Organist at several London churches, finally
at St. Pancras, Euston Road, in 1864, his
sight failing in that year; he received a govern-
ment pension in 1879. He prod, an opera,
Bertha, or the Gnome of Hartsberg, in 1855;
the cantatas The Bride of Dunherron (1864),
King Rent's Daughter (1871), The Fisher-
maidens (1871), and Jacob (1873) appeared
after he was blind. He wrote many songs,
part-songs, and anthems; a full Morning
and Evening Service; organ-music; etc. He
was an esteemed organ-expert.— Cf. Wm.
Spark, H. £., His Life and Worhs (London,
1881); W. D. Seymour, H. S. (ib., 1881);
'M. TV (May, 1902).
Sme'tana, BedHch [Friedrlch], b. Lcito-
mischl, Bohemia, Mar. 2, 1824; d. insane at
Prague, May 12, 1884. Although the boy's
talent manifested itself very early, his father's
prejudice against music as a profession pre-
cluded systematic instruction; but young
BedHch taught himself the pf. and the rudi-
ments of theory. When the father at last
(1843) withdrew active opposition, he re-
fused further financial support. A friend of
his school-days, Katharina Kola?, who was
studying the pf. with Proksch in Prague,
then introduced S. to her master, who ac-
cepted him as a pupil (pf. and theory).
KittI, the director of the Cons., procured him
a position as music-teacher in the family of
Count Thun. After four years of earnest
work S. gave up his position, and undertook
his first concert-tour, which resulted in a
disastrous financial failure. In despair, he
turned to Liszt, who helped him to open a
pf.-school of his own. This flourished, and
a year later (1849) he married Katharina
Kola?, who had also become a fine pianist.
His reputation as a performer, especially as
an interpreter of Chopin, grew rapidly, but
his first compositions were received coldly.
When, therefore, the Philh. Soc. of Gflteborg
offered him the conductorship in 1856, he im-
mediately accepted. In his first year there
he wrote his first three symphonic poems,
Richard III, WaUensteins Lager and Hakon
Jarl (after Ohlenschlager). As conductor and
pianist he was highly appreciated. But the
cold climate undermined his wife's health;
For her sake he spent his vacations regularly
in Prague; on the trip there in 1859, she
died in Dresden. Meantime, important
events were preparing at home. Skroup had
made a beginning with national opera, whose
chief national element was Bohemian texts,
the music being practically devoid of national
characteristics. The younger musicians and
poets sought the establishment of a national
art. After Austria had granted political
freedom to Bohemia in Oct., 1860, an agitation
was begun for the erection of a national
opera-house in Prague. S. now resigned his
post in Gdteborg, and returned to Prague in
May, 1861, assuming a leading role in the
new movement. He conducted concerts and
wrote articles in the 'Narodni Listy.' On
Nov. 18, 1862, the new opera-house was
opened; but the dozen Bohemian operas by
Skroup, Skuhersky and Sebor could not fur-
nish an important or varied repertoire; con-
sequently, Meyerbeer and the Italians were
sung in Bohemian. S. therefore turned to
opera, and finished his first dramatic work,
Brantbofi v Cechdch [The Brandenburgers in
Bohemia], in 1863. It was not produced
till Jan. 5, 1866; its success, while not over-
whelming, was decided. On May 30 his
second opera, Prodand neve'sta [The Bartered
Bride] was received with immense enthu-
siam. S. was appointed 1st cond. (replacing
the Meyerbeer fanatic, Mayer), and ac-
claimed as Bohemia's greatest composer.
This opera has also found success abroad
(Austria and Germany 1892; Scandinavia,
1894; England, 1895; Italy, 1905; Belgium,
1907; U. S., 1909 [M. O. H., Feb. 19; in
Ger.]). The next opera, Dalibor (May 16.
1868), on account of S.'s employment of
leading-motives and more elaborate treat-
ment of the orchestra, caused several critics
to charge the composer with attempting to
Wagnenze the national opera. A war of
words, lasting ten years, resulted. In 1871,
when there was talk of crowning Emperor
Francis Josef as King of Bohemia, S. wrote
Libussa for the coronation festivities. But
no coronation took place, and S.'s enemies
found means of preventing a production at
the National Opera. Hoping to duplicate
the success of his second work, he selected a
comedy, Dvi vdovy [The Two Widows], prod.
Mar. 28, 1874, with only moderate success.
Continued opposition preyed upon his mind,
producing a serious nervous disorder af-
fecting his hearing. In the spring of 1874
he had to resign his conductorship; in Octo-
ber he was totally deaf. Mayer, his pre-
decessor, succeeded him at the opera, and S.
sought forgetfulness in work. He returned
to the symphonic poem, but now found in-
spiration in national subjects. Thus origi-
nated those six masterpieces bearing the col-
lective title Md Vlast [My Country]: Vyslh-
rod (the ancient castle of the Bohemian kings)
and Vltava [The Moldau] in 1874; Sdrka (a
valley north of Prague, named after a mytho-
logical character) and Z leshjch luhitv a hajuv
[From Bohemia's Meadows and Groves] in
1875; Tabor [The Camp] (introducine
the Hussite war-song) in 1878; and Blanih
883
SMITH— SMITH
(the Bohemian 'Kyffhauser') in 1879. To
this period also belongs his best-known work,
the famous E minor string-quartet Z miho
livota [Aus meinem Leben] (1876). But S.'s
labors on behalf of national art had already
borne fruit; a reaction soon set in, and by the
end of 1875 S.'s friends again controlled the
opera. Early in 1876 the master began a
new opera, Hubilka [The Kiss], produced
with gratifying success on Oct. 27, 1876.
Tajemstvi [The Secret) (Sept. 18, 1878) was
hailed as a second Bartered Bride, and won
even the opposition party. For the open-
ing (June 11, 1881) of the new National
Opera Libussa was unanimously chosen, and
created a profound impression. His last
opera, Certova stina [The Devil's Walll (Oct.
29, 1882), was a comparative failure. His
health had not improved; nevertheless, he
continued to create new works — a string-
quartet in D m. (intended as a sequel to Aus
meinem Leben), an orchl. suite, Prager Kar-
neval, and an opera, Viola. But none were
completed; early in 1884 he had to be trans-
ferred to the insane asylum.
S. is the father of Bohemian music. a His
operas are the first in which the music itself
exhibits national characteristics. Prodand
nevSsta will ever remain a landmark in Bo-
hemian musical history, for it showed the
way along which the national art has actually
developed since. Its influence upon contem-
porary composers (Blodek, Benal, Hrimaly)
was immediate. S. did not become known
abroad until Dvorak had drawn the atten-
tion of the musical world to his land. In the
symphonic poem S. is not a mere imitator of
Liszt; he grasped the very spirit of the
creator of the form, and made it the vehicle
of a new and important message. Although
Dvorak is more widely known, many eminent
musicians in Bohemia assign the first place to
S. — Besides the works mentioned above, S.
wrote a Triumph-Symphonie (1853), a Fest-
marsch in honor of the Shakespeare tercen-
tenary (1864), 2 other str. -quartets (F and C),
a pf.-trio in G m., a Fantasie for vl. and
orch., some part-songs and comps. for pf. (a
set of Bohemian dances, 3 sets of polkas, the
gjpular concert-etude Am Seegestaae, etc.). —
ibliography: B. Wellek, F. S. Mil einem
Anhang von Korrespondenzen S.'s an Liszt
(in Ger.; Prague, 1895; 2d ed. as F. S.'s
Leben und Wirken, 1899); O. Hostinsky, F.
S. (in Bohemian; Prague, 1901); Z. Nejedly,
B. S. (in Ger.; Prague, 1903); R. Batka, Die
Musdk in Bbhmen (Berlin, 1906); F. Kreici,
F. S. (Berlin, 1907); W. Ritter, 5. (in Fr.;
Paris, 1907).
Smith, Alice Mary [Mrs. Meadows
White], b. London, May 19, 1839; d. there
Dec. 4, 1884. Pupil of Sterndale Bennett and
G. A. Macfarren. Married 1867. — Works:
The cantatas Rudesheim (1865), Ode to the
Northeast Wind (1878), Ode to the Passions
(1882), Song of the Little Baltung (1883), ami
The Red King (1884); also a symphony in
Cm.; 4 overtures, Endymion, Lolla Rookk,
Masque of Pandora, and Jason; 2 pf.-quartets;
2 string-quartets; a pf.-trio; a clarinet-con-
certo; In trod, and Allegro f. pf. and orch.;
part-songs; songs, etc.
Smith, Bernard [Bernhard Schmidt],
called 'Father Smith/ a London organ-builder,
b. in Germany c. 1630; d. London, Feb. 20,
1708. He came to London in 1660 with two
nephews, became organ-builder in ordinary
to the King and court organ-builder to Queen
Anne. He built organs for the Banqueting
Hall, Whitehall (1660), St. Giles's-m-the-
Fields (1671), St. Margaret's, Westminster
(1675), Durham Cathedral (1683), the Temple
(1684), and St. Paul's (1697). In 1694 he
enlarged the organ of Westminster Abbey. —
Cf. 'M. TV (Aug., 1905).
Smith, David Stanley, b. Toledo, Ohio,
July 6, 1877. St. composition with Dr.
Horatio Parker at Yale, graduating B. A. in
1900. His Commencement Ode f. baritone solo,
male ch. and orch., was then prod.; in 1901
his Commemoration March f. orch. From
1901-3 he was in Europe, studying com-
position privately^ with Thuille at Munich
and Widor at Paris. Graduated Mus. Bac.f
Yale, 1903; was then app. instructor in the
theory of music at Yale; since 1916 futt prot.
— Other compositions are the Ouverturejoyeuse
op. 11 (Boston Symph. Orch., Feb., 1904);
symphony in F m. (Chicago Symph. Orch.,
1912); the symphonic poem Darkness and
Dawn; an Ouverture sSrieuse; Prelude, Chorale
and Fugue f. orch. and organ; Symphonic
Ballad, op. 24; Allegro giocoso; V Allegro and
II Pensieroso; Prince Hal, op. 31, overture;
The Wind-Swept Wheat, The Dark and A
Group of Lyrics for women's vcs. and orch.;
The Fallen Star for mixed ch. and orch.
(PaderewsJd Prize, 1909); Pan, op. 32, for
women's vcs., oboe obbl. and orch.; Ave Jesu,
op. 38, for soli, ch. and orch. ; pf.-trio in G, op.
16; 2 str.-quartets (op. 19, E m.; op. 37, A;
both by Kneisel Quartet) ; anthems and songs.
Smith, Gerrit, b. Hagerstown, Maryland,
Dec. 11, 1859; d. Darien, Conn., July 21,
1912. Graduate (M. A. and Mus. Doc.) of
Hobart College, Geneva, N. Y., where he was
boy-chorister and (for 2 years) organist. Pu-
pil of Stuttgart Cons.; then of S. P. Warren,
the New York organist. Began professional
career as org. and choirmaster of St. Paul's,
Buffalo, still studying with Eugene Thayer
(org.) and W. H. Sherwood (pf.). St. one
year in Berlin under Haupt and Rohde; then
eng. at S. Peter's, Albany; 1885 in New York
884
SM ITH— SMULDERS
as org. and choirm. of the South Ch.f ap-
pearing frequently as concert-organist (300
recitals). Was prof, in the Union Theol.
Seminary; one of the founders and for 6
years Pres. of the Manuscript Soc. ; Warden
oftheA.G.O.; etc. — Works: Over 75 songs;
Ef. -pieces; a cantata, King David; carols, Te
>eums, a tit hems, male and female choruses,
part-songs, and 25 Song- Vignettes.
Smith, John Christopher [Joh. Chr.
Schmidt], b. Ansbach, 1712; d. Bath, Oct. 3,
1 795. His father, a school-friend of Handel's,
followed the latter to London, where the son
became Handel's pupil. When the com-
poser's eyesight failed, S. took down his
compositions from dictation, and played the
organ and harpsichord in his stead at the
oratorio performances, which he carried on
for a time after the death of Handel, who
bequeathed to him his MS. scores, his harp-
sichord, and other objects. S. wrote ten
English and Italian operas (The Fairies, 1754,
and The Tempest, 1756, were publ.), as many
oratorios (Paradise Lost, 1758), and 2 can-
tatas.— Cf.W. Coxe, Anecdotes of G. F. Handel
and J. C. S. (London, 1799).
Smith, John Stafford, b. Gloucester,
Engl., c. 1750; d. London, Sept. 21, 1836.
In 1802 he succeeded Dr. Arnold as organist
of the Chapel Royal. — Works: A coll. of
glees f . 3-6 voices; A Coll. of Songs of Various
Kinds for Different Voices (1785); chants,
anthems; etc. — Edited 'Musica antiqua'
(1812; comps. from the 12th-18th centuries).
Smith, Robert, b. Cambridge, 1689; d.
there 1768. Prof, of astronomy; from 1742,
Master of Trinity College. — Publ. Harmonics,
or The Philosophy of Musical Sounds (1749,
2ded. 1759; interesting and valuable).
Smith, Sydney, born Dorchester, Engl.,
July 14, 1839; d. London, Mar. 3, 1889.
Pianist; pupil of Leipzig Cons. (Moscheles,
Plaidy, etc.); settled in London, 1859, as a
teacher. Wrote many popular salon-pieces
f. pf. (La harpe eolienne, Le jet d'eau, The
Spinning-wheel, etc.) ; also arrs. from operas.
Smith, Wilson George, b. Elyria, Ohio,
Aug. 19, 1855. Composer-pianist; pupil of
Otto Singer at Cincinnati, 1876-80; at Ber-
lin, 1880-2, of Kiel, the Scharwenkas, Kullak,
Moszkowski and Raif. Settled in Cleveland
in 1882, where he still (1917) resides as a
teacher of pf., voice and comp.; since 1902
critic of the 'Cleveland Press.' — Publ. works:
(a) Salon-pieces f. pf.: Serenade in Bb, op.
15; Hommage a Grieg, 5 pieces, op. 18; Swe-
dish dance, op. 23; Concert Gavotte and
Mazurka-Caprice, op. 25; Pohne d 'amour,
op. 27; Humoresque, Schumannesque, and
Babbling Brook, op. 28; Menuet Moderne, op.
45; Romanza appassionato, op. 95; etc.;
—(b) Studies f. pf.: Op. 55, 57, 60, 63, 67-71,
75, 76;— (c) About 40 songs ;— (d) 200 miscel-
laneous comps. edited or arranged.
Smolensky, Stepan Vaullievitch, born
Kazan, 1848; d. there Aug. 6, 1909. While
teaching at the Clerical Seminary at Kazan
he had unusual opportunities for studying
the old MSS. preserved in the Solovetsky Li-
brary there; in 1889, app. dir. of the Synodal
School and Choir in Moscow, and prof, of
the hist, of Russian church -music at the Cons. ;
1901-3, cond. of the Imp. court chapel in
Petrograd. As dir. of the Synodal School he
made a unique and valuable coll. of MSS. of
Russian church-music from the 15th-19th
centuries, illustrating the various systems of
notation. Besides numerous essays in the
'Russkava Muzykalnaya Gazeta' he publ.
(in Russian) A Course of Church-Chant Sing-
ing (Moscow, 1900, 5th ed.); The Alphabet of
the Sign-Notation of A. Mesenets (Kazan,
1888) ; The Collection of MSS. of Old Ecclesias-
tical Music in the Synodal School at Moscow
(1895); The Old Russian Notations (1901).
— Cf. O. Riesemann, Die Notationen des
altrussischen Kirchengesanges (in Ger.; Mos-
cow, 1908); N. Finaeisen, To the Memory of
S. V. S. (in Russian [with list of works];
Petrograd, 1910).
Smolian, Arthur, b. Riga, Dec. 3, 1856;
d. Leipzig, Nov. 5, 1911. Pupil of Rheinber-
ger, Wtillner and Barmann, at Munich Cons.;
Kapellm. at various theatres; succeeded
Langer in 1884 as cond. of the Leipzig 'Man-
nergesangverein'; taught in Wiesbaden ; from
1890-1901, teacher in the Karlsruhe Cons.,
and mus. criticfor the 'Karlsruher Zeitung';
from 1901 again in Leipzig as critic of the
'Leipziger Zeitung' and editor of Seemann's
(now Schlesinger's, Berlin) 'Musikfuhrer' and
"Opernftihrer, for which he himself wrote
many analyses; also editor of 'Neue musi-
kal. Pressef (1901-3); contrib. to the 'Mus.
Wochenblatt' and Brockhaus's 'Konversa-
tions-Lexikon'; for Eulenburg's (Payne's)
'Kleine Partitur-Ausgabe' he edited the
works of Berlioz, with histor. and crit. notes.
Made Prof, in 1911. Although a strong ad-
vocate of Wagner and Bayreuth, his writings
are free from bias. He publ. some interesting
songs and male choruses; wrote Vom Sehwin-
den der Gesangskunst (1903) and Stella del
Monte (1903; a free reproduction of Berlioz's
last years after the 'Memoires').
Smuldero [smuTdere], Karl Anton, b.
Maestricht, May 8, 1863. Pupil of the Liege
Cons.; winner of the Prix de Rome, 1889;
living in Liege as prof, at the Cons, and mus.
critic. Comp. of the symph. poems Adieu-
Absence- Retour; Chant d* Amour; VAurore;
Le Jour; Le CrSpuscule; Ballade; Marche
solennelle; 2 pf. -concertos; Hebrew Melodies
885
SMYTH— SOFFREDINI
for vcl. and orch.; a vl. -sonata; a pf. -sonata;
male and mixed choruses; motets; songs.
Smyth, Ethel Mary, b. London, April 23,
1858. In 1877 pupil of the Leipzig Cons.,
then st. with H. von Herzogenberg, following
him to Berlin. She attracted attention as
a composer when J. Barnby produced her
Mass in D for soli, ch. and orch. at Albeit
Hall in Jan., 1893; her dramatic works have
won for her a place among the most prom-
inent of contemporary British composers; in
them she shows considerable power in char-
acterization and climax-building, as well as a
fine feeling for orchestral color and stage-
effect. In 1910 Durham Univ. made her
Mus. Doc. (hon. a). She is also one of the
most active leaders for woman-suffrage in
England, for which cause she has written
The March of the Women and BaiUe-Song of the
W. S. P. U. — Other works: The operas
Fantasio (Weimar, 1898; libretto by herself),
Der Wold (Dresden, 1901; Cov. Garden,
1902; M. O. H., 1903; libretto do.), Les
NaufragSs [text by H. B. Lef ores tier) (as
Slrandrecht, Leipzig, 1906; as The Wreckers,
London, 1909), The Boatswain's Male (Lon-
don, 1917; in rehearsal at Frankfort, 1914;
outbreak of war prevented its prod.); 2
symphonies; overture to Antony and Cleo-
patra; Serenade ift D; On the Cliffs of Corn-
wall, prelude to Act II of The Wreckers (publ.
separately); a str. -quintet in E (op. 1); str.-
quartet in E m.; vcl. -sonata in A m. (op. 5);
vl.-sonata in A m. (op. 7); organ-preludes;
songs (several w. orch.). — Cf. R. A. Streat-
feild, Musiciens anglais contemporains (Paris,
1913).
Snel, Joseph-Francois, b. Brussels, July
30, 1793; d. Koekelberg, n. Brussels, Mar. 10,
1861. Violinist; pupil of Baillot at the Paris
Cons., 1811-13; solo violinist at the Grand
Theatre, Brussels, becoming 'chef d 'orchestra*
in 1830. In 1818 he founded the 'Acad em ie
de musique et de chant' (with Mees); did
good work in popular music-teaching by in-
troducing the methods of Galin and Wilhem;
in 1828, Dir. of the training-school for military
bandmasters, and in 1829 Inspector-General
of the schools for army-music; 1831, cond. of
the 'Soc. de la Grande Harmonie'; 1835, m.
de chap, at SS. Michel et Gudule; 1837, 'chef
de musique' of the Civic Guard. — Works;
Operas, cantatas, masses, motets, symphonies,
military marches, concertos f. violin, clar.,
horn, cornet; duos f. violin and pf.; etc. He
was soloist to the King.
Snoer [snoor], Johannes, fine harpist; b.
Amsterdam, June 28, 1868. Pupil of E.
Schuecker; 1894-1910, solo harpist of the
Gewandhaus Orch. in Leipzig; since 1912
do. of the Winderstein Orch. there; 1902^*,
do. at Bayreuth. Made extensive tours of
Europe and America, 1905-6. Among his
numerous comps. for harp are a Praktssche
Harfenschule (op. 9) and many studies (op.
46, Tagliche Vhungen; op. 53, Studien in
KomeHform; op. 62, Or Chester studien; etc.);
has also publ. Die Harfe als Orchesterinstru
ment (1898).
Sobolewskl [-lthf'ske], Eduard, b. K5m>s-
berg, Oct. 1, 1808; d. St. Louis, May 23,
1872. Pupil of Weber in Dresden; Kapellm.
in Konigsberg and Bremen till 1859; then
emigrated to St. Louis, where he founded the
Philh. Orch., which he cond. till his death.
— Works: The operas Imogen (K&nigsberg,
1833), Vellcda (ib., 1836), Sahator Rosa (ib.,
1848), Komala (Weimar, 1858); the oratorios
Johannes der Taufer, Der Er loser, Himm-l
und Erde; 2 symphonies; the syraph. poems
Vineta and Meeresfihantasie; several cantata*
w. orch.; male choruses. Also wrote Opcr
nicht Drama (1858) and Das Geheimnis de*
neuesten SchuU der Musik (1859).
Sochting [z6yh'-]f Emil, b. Groningen,
Saxony, 1858. Pupil of Haupt and Losch-
horn at the 'Kgl. Inst, fiir Kirchenmusik' in
Berlin; then st. pf. with Ludwig Deppe, of
whose method he is an enthusiastic propa-
gandist. Most of his comps. (over 100 op.
numbers) are written for instructive pur-
poses (easy chamber-music for pupils). Has
also publ. Die Lehre des „freien faues"; Sckuie
der Gewichtstechnik fur das KUmrr spiel,
Neue deutsche Klavierschule (after Deppe'*
method); Reform-Klavierschule.
Stt'dermann, August Johan, b. StocV-
holm, July 17, 1832; d. there Feb. 10, 1876.
Theatre-cond. in Stockholm from 1862.
Noted Swedish comp.; pupil of Hauptmann
and Richter at Lei pzig Cons. , 1 85 7 -8. Works :
Swedish operettas (The Wedding of Ulfasa
[Brdllopet pa Ulfasa] contains a well-known
vocal auartet); music to Schiller's Jungfrau
von Orleans; a solemn mass f. soli, ch. and
orch. (his finest work); a concert-overture;
vocal pieces.
Soffredi'ni, Alfredo, b. 1854; 1896-1912
editor-in-chief of the Milan 'Gazxetta Musi-
cale,' and a writer of distinction; since then
mus. critic of 'Natura ed Arti' in Milan. Has
brought out the following dramatic workB: II
Saggw (Leghorn, 1883); the 2-act children's
opera II piccolo Haydn (Ftenza, 1889; Vienna,
1897; S. wrote both text and music); the 3-
act opera Salvatorello (Pavia, 1894); a 'mus.
sketch/ Tarcisio (Milan, 1895); the operas
Aurora (Pavia, 1897); La Coppa oVoro (Mi-
lan, 1900); Grasiella (Pavia, 1902); II Leone
(Cesena, 1914). Wrote Le Opere di Verdi
(1901) and the hist, of music in Italy during
the 18th century for Lavignac's 'Encyclopedic
de la Musique' (1913).
886
SOHN— SOLOVIEV
Sohn, Joseph, b. New York, Mar. 22,
1867. After graduation from the Coll. of the
City of N. Y. he st. music at the 'Neue Akad.
der Tonkunst' in Berlin; now (1917) prof,
of pf. at the Metropolitan Coll. of Music in
New York, and mus. critic of the *N. Y.
American* and 'The Forum.' Has publ.
Robert Schumann, a Lyrical Poet (1896),
Lessons of the Opera (1903), Music in America
and Abroad (1904), Joseph Joachim (1904),
Opera in New York (1907), The Mission of
Richard Wagner (1910); has also contrib.
articles on musical topics to Collier's 'Uni-
versal Encyclopedia,' the 'New Interna-
tional Encyc.' and the 'Jewish Encyc'
Sokal'sky, Peter Petrovitch, b. Charkov,
Sept. 26, 1832; d. Odessa, April 11, 1887.
Having st. natural sciences at the Univ. of
Charkov, he became a teacher in the secon-
dary schools; 1857-60, seer, of the Russian
Consulate in New York; 1860-76, ed. of the
'Odessa Messenger'; founded the Philh.
Soc. in Odessa in 1864. Throughout his life
he collected Russian folk-songs, of which he
made a profound study; his chief work, The
Russian Folk Song in Greater and Little Russia;
Its Melodic Structure and Harmonic Peculiar-
ity\ was publ. in 1888 by his brother Ivan. He
wrote some pf.-music and 3 operas, Osada
Dubno [The Siege of D.], Mazeppa, and Mais-
kaya notch [A Night in May].
Sokal'sky, Vladimir Ivanoyltch, nephew
and pupil of preceding; b. Heidelberg, April
6, 1863. St. jurisprudence in Charkov; a
lawyer by profession. Composed a children's
opera, Riepa [The Turnip] (Charkov, 1900);
symphony in G m.; Dramatische Phantasie
for orch.; Andante elegiaco for vcl. and orch.;
pf.-pes. (op. 1, Impressions musicales; op. 3,
Na lugach [In the Meadows], suite; op. 4,
Polonaise; etc.); songs.
SoTcolov, Nikolai Alexandrevitch, born
Petrograd, Mar. 26, 1859. Pupil of Johan-
sen and Rimsky-Korsakov at the Cons, from
1877-1885; 1886-96, harmony teacher to the
Imperial Chapel; since then prof, at the
Cons. — Works: 2 Serenades for str.-orch.
(op. 3 [on B-la-f] and op. 23); Sltgie for
orch., op. 4; La Caressante, polka for do.,
op. 38; Suite for orch. from the ballet Les
Cygnes sauvages, op. 40a; Divertissement for
do., op. 42; 3 str. -quartets (op. 7, F; op. 14,
A; op. 20, D m.); suite for vcl. and pi., op.
26; Variations f. pf., op. 25; 2 choruses w.
orch. f. female voices, op. 12; 1 do. do. f. male
voices; 10 a cap pel la choruses; over 70 songs.
Soldat, Marie [Frau Soldat-Rdger], b.
Graz, Mar. 25, 1864. Fine violinist, pupil
of Pleiner and Pott at Graz, and from 1879-82
of Joachim at the Kgl. Hochschule in Berlin,
graduating as winner of the Mendelssohn
Prize; then studied privately with Joachim,
making a specialty of the master's repertoire,
particularly the Brahms concerto. In 1887
she formed in Berlin her own str.-quartet
(S., Agnes Tcheshulin, Marie Kay, Lucy
Campbell); after her marriage in 1889 to
Herr Roger, a lawyer, she settled in Vienna,
continuing her concert career; she also formed
a new quartet (present personnel [1917] S.,
Elsa von Plank, Natalie Bauer-Lech ner,
Leontine Gartner), noted for its interpretation
of Brahms's chamber-music. Has made ex-
tended European tours as soloist and with her
quartet.
Solenlere [sohl-nar'], Eugene de, b. Paris,
Dec. 25, 1872; d. there Dec. 4, 1904. After
music-study in Germany he settled in Paris
as a writer and lecturer on mus. esthetics.
Works: La Femme compositeur (1894); Rose
Caron (1895); Notes musicales (1896); Mas-
senet et son autre (1897); Musique et religion
(1897); Camille Saint-Sains (1899); Cent
annees de musique francaise [1800-1900]
(1901); Notules et impressions musicales
(1902); a guide to Erlanger's Le Fits de
V&oUe (1904).
Solerti [-lehr'te], Angelo, eminent literary
historian; d. Rome, Feb. 10, 1907. His
contributions to the early history of opera
are valuable: Le Origini del Melodramma
(Turin, 1903; a coll. of contemporary ac-
counts of and prefaces to the earliest operas);
Gli Albori del Melodramma (3 vols.; 1905;
the texts of the first operas) ; Musica, Balli e
Drammatica alia corte Medicea di 1600-37
(1905).
Soll6 (recte Soulier), Jean-Pierre, born
Nlmes, 1753; d. Paris, Aug. 6, 1812. Tenor
singer at Nimes and Paris (Opera-Comique);
his voice changed to a fine baritone, quite a
novelty at the Op. -Com., and r61es were
written expressly for him by several com-
posers. From 1790-1811 he prod, over 30
comic operas; Le Jockey t Le Chapitre second,
Le Viable a quatre, and Mile, de Guise, were
published.
Sol'le, Friedrlch, born Zeulenroda, Thu-
ringia, 1806; d. there Dec. 5, 1884, as cantor.
Publ. a violin-method which has run through
8 editions.
Solovlev [Vyohf], Nikolai Feopempto-
vitch, b. Petrozavodsk, Govt, of Olonets,
Russia, May 9, 1846. Course of mus. study
at the Imp. Cons, at Petrograd, in the theory-
class of N. J. Zaremba. Since 1874, prof, of
harmony, cpt. and mus. history at a the P.
Cons.; he is a composer and mus. critic, mus.
editor of the Brockhaus-Efron 'Konversations-
Lexikon' (in Russian); also Councillor of
State. — His first venture, the cantata The
Death of Samson (1870), was enthusiastically
received; Sierov, after hearing it, insisted on
887
SOLTYS— SOM MER
his death-bed that Soloviev should finish his
opera, Vrazhia sila [The Power of the Enemy],
which was done most acceptably. — Works:
The comic opera Vakula kuznets [V., the
Smith] (Petrograd, 1875); grand opera Cor-
delta (ib., 1883; in German at Praeue, 1890);
'Symphonic picture' Russia and the Mongols
(Moscow World's Fair, 1882); 12 charming
charac. pes. f. pf.; chorus Prayer for Russia
(won prize of Imp. Russ. Mus. Soc., 1876);
12 songs.
Soltys, Miecyslaw, b. Lembcrg, Feb. 7,
1863. Pupil of Krenn (comp.) in Vienna and
of Gigout (organ) in Paris; since 1901 dir.
of the Cons, and cond. of the Music Soc. in
Lembcrg. — Works: The operas Rseczpospolita
bdbin'ska [The Republic of Babin] (Lemberg,
1905), Maria (ib.f 1910); 2 others not prod..
Panie Kochanku [Mr. Lover] and PowieU
ukraiiiska [A Story of Ukraine]; the oratorio
Sluby J ana Kanmiersa [The Vow of John
Casimir]; a symphony; a symph. poem;
Andante varii tor str.-trio; a pf. -concerto;
choruses; songs and pf.-pes.
Somborn [zdhm'-], (Theodor) Karl, b.
Barmen, Nov. 16, 1851. While studying
philology at Munich Univ. he attended the
classes of Rheinberger and Wullner at the
Kel. Musikschule. In 1878 cond. of the
'Singverein' in Lahr; 1882-1911, prof, of
theory and history of music, and librarian,
at Strassburg Cons.; then lived for 2 years in
Venice; made Kgl. Prof, in 1902. — Works:
The operas [libretti by himself] Philenor
(Strassburg, 1903) and Die Flammen (not
prod.); the song-cycles Ein Madchenlos (op.
2), Botenlieder (op. 3) and Brunnenfahrt (op.
4); other songs (op. 1, 7, 9, 12, 15, 18); male
choruses (op. 14); Elegien for pf. (op. 13);
2 colls, of Ital. folk-songs (op. 20, 22). Has
also publ. Die venezianische Vittota (1901).
Somervell, Arthur, b. Windermere, Engl.,
June 5, 1863. Pupil of Paul David at Up-
ingham (1878-9); ent. King's Coll., Cam-
ridge, in 1880, taking the classical course
(A. B. 1883) and music with Sir C. V. Stan-
ford; st. further with Kiel and Bargicl at the
Hochschule in Berlin, and with Sir II. Parry at
the R. C. M. Prof, of harm, and cpt. at the
R. C. M., 1893-1901; since then inspector of
music to the Board of Education and the
Scotch Education Dept.; visited Australia
and Tasmania (1900) and South Africa (1905);
Mus. Doc., Cambridge, 1903. — Works: Mass
in C for soli, ch. and orch. (Bach Choir, 1891);
A Song of Praise (Kendal Fest., 1891); Helen
of Kirkconnel, ballad for orch. (1892); The
Power of Sound (Kendal Fest., 1895); The
Forsaken Merman (Leeds Fest., 1895); Elegy
for alto solo, ch. and orch. (Hovingham Fest.,
1896) ; The Charge of the Light Brigade for ch.
and orch. (1896) ; Ode to the Sea (Birmingham,
1897) ; In Arcady, suite for small orch. (1897) ;
Ode on the Intimations of Immortality (Leeds
Fest., 1907) ; Normandy, vars. for pf. and orch.
(1912); Symphony in D m.f Thalana (1913):
KonzertstUck for vl. and orch. (1913); The
Passion of Christ, oratorio (1914); The Blue
Cloth, pantomime (intended perf . at Petrograd
prevented by war); 4 children's operettas,
The Enchanted Palace, Golden Straw, King
Thrusbeard, Princess Zara; Vars. in E m. for
2 pfs.; 6 vols, of pf.-pes.; the song-cycles
Maud, Love in Springtime, The Shropshire Lad,
James Lee's Wife [w. orch.], and about 40
separate songs. Has edited 'Songs of the
Four Nations/ a coll. of 50 folk-songs of
England, Scotland, Ireland and Wales.
Somis, Giovanni Battista, famous vio-
linist; b. Piedmont, 1676; d. Turin, Aug. 14,
1763, as court soloist and conductor. Pupil of
Corelli, and the teacher of Giardini and Cha-
bran. Several sonatas for vl. and vcl.; a vl.-
concerto, sonata for viola da gamba, etc., are
in MS.—Of his brother Lorenzo nothing is
known beyond the facts that he was a vlnst.
and publ. some vl. -sonatas and trio-sonatas.
Sommer [zohm'mer], Hans [rede Hans
Friedrich August Zincken], b. Brunswick,
July 20, 1837. Pupil of W. Meves and J. O.
Grimm in Brunswick. St. mathematics and
physics at the Univ. of Gottingen (Dr. phti.,
1858); in 1859 app. instr. of physics there;
later, prof, of math, at the 'Technisc/ie Hoch-
schule in Brunswick, and in 1875 dir.; re-
signed in 1884, and then devoted himself
entirely to music. He took a most active part
in the musical affairs of Brunswick; in 1&63,
founded the 'Verein fur Konzertmusik,'
which he cond. for many years; a 1-act
opera, Der Nachtwdchter, was successfully
prod, in 1865; at the same time he publ. his
first songs, which E. Gura and K. Hill in-
troduced in their recitals. In 1885 he
married Hill's daughter, and settled in Berlin;
from 1888-98 he lived in Weimar; thereafter
in Brunswick. His essay Cber die Wertschdt-
zungder Musik ('Kunstwart,' 1898) gave the
first impulse to the foundation of the 'Genos-
senschaft deutscher Tonsetzer' (for the col-
lection of royalties and protection of rights of
performance), organized at Leipzig (Sept.
30, 1898) by S., R. Strauss, M. Schillings and
F. Rosch. As a song-writer S. is highly es-
teemed in Germany; he generally writes his
songs in cycles with the individual numbers
closely interrelated; his operas also have met
with success. — Works: The operas Der Nacht-
wdchter (Brunswick, \S65), Loreley (ib., 1891),
Saint Foix (Munich, 1894), Der Meermann
(Weimar, 1896), Riibezahl und der Sackpfei-
fer von Nn'sse (Brunswick, 1904), Riquet mit
dem Schopf (ib., 1907), Der Waldschrall (ib.,
1912); 3 operas, Milnchhausen, Augustin. and
88$
SONNECK— SONNLEITNER
Das Schloss der Herzen, have not been prod.,
excepting fragments in concerts; — the song-
cycles Der Rattenf anger von Hameln (op. 2),
Der wilde Jager (op. 3), Hunold Singuf (op. 4),
Tannhduser (op. 5), Sapphos Gesange (op. 6),
A us dem Suden (op. 10), Werners Lieder aus
Welschland (op. 12), Eliland (op. 33); 2 sets
of Balladen und Romanzen (op. 8 and 11); 10
songs from Eichendorff (op. 9); 7 do. from
G. Keller (op. 16); etc. He has ed. K.
Schiirmann's opera Ludovicus Pius (vol. 17
of Eitner's 'Publikationen'). Has contrib.
many essays to the 'Allgem. Musikzeitung,'
'Mus. Wochenblatt,' 'Musik,' 'Bayreuther
Blatter,' 'Monatshefte fur Musikgeschichte,*
etc. — Cf. E. Stier, H. 5., in vol. 1 of 'Mono-
graphien moderner Musiker' (Leipzig, 1906).
Son/neck, Oscar George Theodore,
eminent musicologist; b. Jersey City, N. J.,
Oct. 6, 1873. Attended the Gelehrtenschule
in Kiel (1883-9) and the Kaiser Friedrich
Gymnasium in Frankfort-on-Main (1889-93),
finishing his pianistic studies in the latter
city under James Kwast; from 1893-7 he st.
at Munich Univ., musicology with Sandberger
and philosophy with Stumpff, Riehl and
Lipps; private pupil in comp. of M. E. Sachs;
1897-8, pupil of K. Schroder (cond.) at the
Sondershausen Cons, and Ivan Knorr (instru-
mentation) in Frankfort; spent the greater
part of 1899 in research work in Italy; then
returned to the U. S.f continuing his re-
searches in the principal libraries. On Aug.
1, 1902, he was app. Chief of the Music Di-
vision of the Library of Congress in Wash-
ington, which post he resigned on Sept.^ 5,
1917, to accept a position with the publishing
house of G. Schirmer in New York as director
of the Publication Department, managing
editor of 'The Musical Quarterly* (of which
he had been ed. since its foundation in 1915)
and personal representative of the president,
Rudolph E. Schirmer. In 1911 he repre-
sented the U. S. Govt, at the International
Congresses of Music in London and Rome.
— Under S.'s administration the Music Divi-
sion of the Lib. of Congress became one of
the largest and most important mus. col-
lections in the world. On July 1, 1902,
there were 345,511 volumes and pieces of
music and 2,928 books and pamphlets (total,
348,439 titles); the latest report of July 1,
1917, gives these figures: 741,265 volumes and
pieces of music, 34,994 books and 20,862
instructive works [treatises on theory, tech-
nical works for various instrs., etc.] (total,
797,121 titles). The coll. of full scores of
operas has grown from 60 to 3,000; of sym-
phonic scores, from a few hundred to 4,000;
of books publ. before 1800, from 50 to 1,500;
while the coll. of 20,000 opera-libretti (12,000
of which came from the coll. of A. Schatz)
is unique. The coll. of Americana is un-
rivalled anywhere. During the past 15 years
scarcely one important private library has
been sold, either in America or Europe,
without the Libr. of Congress having acquired
a considerable portion of its treasures. — S.'s
writings, exhibiting profound and accurate
scholarship and embodying the results of
original research, have laid the real foun-
dation for the scientific study of music in the
U. S.; his elaborate catalogues, issued by the
Libr. of Congress, are among the most valu-
able contributions to musical bibliography.
— Works: Protest gegen den Symbolismus \n
der Musik (1897); Francis Hopkinson and
James Lyon, Two Studies in Early American
Music (1905); Early Concert Life in America
[1731-1800] (1907); Report on The Star-Span-
gled Banner, Hail Columbia, Yankee Doodle
(1909); A Survey of Music in America (1913;
privately printed); The Star-Spangled Ban-
ner (1914); Early Opera in America (1915);
Suum Cuique (1916; coll. of essays); nu-
merous essays in the leading German and
American periodicals. Catalogues: Classifi-
cation of Music and Literature of Music (1904;
2d ed., rev. and augm., 1917); Bibliography
of Early Secular American Music (1905);
Dramatic Music (1908); Orchestral Music
(1912); Opera Librettos printed before 1800
(2 vols., 1914); First Editions of Stephen C.
Foster (1915; with W. R. Whittlesey); First
Editions of Edward MacDowell (1917); Dra-
matic Music (2 vols. ; ready for the press 1917;
entirely new, superseding the cat. of 1908).
Has also publ. 2 vols, of lyric poems, Seufzer
(1895) and Eine Totenmesse (1898). Among
his comps. are Symphonischer Satz for small
orch.; a str. -quartet (op. 4); Romanze and
Rhapsodic for vl. and pf. (op. 8); pf.-pcs.
(op. 10, Miniature Lilipuziane; op. 11, Drei
Konzertstilcke) ; songs (op. 9 [cycle from Eine
Totenmesse], 12 [Zwolf vermiscnte Lieder J, 14,
15 [Six Songs], 16 [4 poems by Poe], 17 [Pes-
simistische Lieder]).
Sonnleltner [zdhnltt-ner], Joseph, son
of the amateur comp. Chris toph S. [1734-
1786]; b. Vienna, 1765; d. there Dec. 25,
1835. A government councillor, and a founder
of the 'Gesellschaft der Musikfreunde,' to
which he bequeathed his books and mus.
instrs. Publ. an interesting 'Wiener Thea-
teratmanach' (1794, '95, '96). In 1827 he
discovered the famous Antiphonary of St.
Gallen of the 9th century, in neume-notation ;
probably a copy of the one sent thither by
Charlemagne in 790. — His nephew, Leo-
pold von, b. Vienna, Nov. 15, 1797; died
there Mar. 4, 1873. The staunch friend of
Schubert, he procured the publication of the
Erlkonig (the first publ. work of Schubert's) ;
at his father's house the Prometheus, the
889
SONTAG— SOUBIES
Gesang der Geister uber den Wassern, the 23d
Psalm, and other important works by
Schubert, were performed from the MS.
Sontag [zohn'tahgl, Henriette (Gertrude
Walpurgis), celebrated dramatic soprano
and coloratura singer; b. Koblenz, Jan. 3,
1806; d. Mexico City, June 17, 1854. She
played children's parts on the stage; studied
from 1815 at the Prague Cons, with Trieben-
see, Pixis, Bayer and Frau Czegka; in 1820
she sang in Italian and German opera at
Vienna, and in 1823 created the title-rdle in
Euryanthe; on May 7, 1824, she sang the
soprano soli in the first perf. of Beethoven's
Missa solemnis and Ninth Symph. in Vienna;
later in the year she made a sensation at Leip-
zig, being then eng. for the Konigstadter Th.t
Berlin. Triumphed over the Catalani at
Paris as Rosina in // Barbiere (1826); break-
ing her Berlin contract in 1827, she sang at the
Italian Opera in Paris; went to London in
1828, and secretly married the Sardinian
ambassador to the Dutch court, Count Rossi;
was ennobled by the King of Prussia, (as
'Fraulein Henriette von Lauenstein,') and in
1830 bade farewell to the stage. As a concert-
singer, however, she still continued to arouse
an enthusiasm which was literally unbounded.
Their fortune being impaired by the revolu-
tion of 1848, she resumed her stage-career,
singing with increased success in London and
Paris (1849-51), also in concerts in Germany.
She went to New York in 1852, and to Mexico
City in 1854, where the cholera ended her
most fortunate career. — Cf. W. Berger,
Beruhmte Frauen (Berlin, 1904); H. Stiimcke,
H. S. (Bielefeld, 1913).
Soomer [zoh'ra^rl, Walter, dramatic bass;
b. Liegnitz, Mar. 12, 1878. Having taken
courses in philosophy in Breslau and Berlin,
he st. music with H. Stoeckert, Josef Wolf
and Frau Anna Uhlig; debut Kolmar, 1902;
1903-6, in Halle, where his fine interpretation
of the great Wagner r61es established his
reputation; 1906-11, at the Leipzig opera;
since then member of the Hofoper in Dresden;
sang in Bayreuth for the first time in 1906,
and since 1908 has taken part in every fes-
tival there (Kurwenal, Donner, Wanderer,
Wotan, Sachs); 1909-11, at the M. O. H.
(debut as Landgraf in Tannhduser, Feb. 18,
1909).
Hit {rat* Sore), Fernando, guitar-vir-
tuoso; b. Barcelona, Feb. 14, 1778; d. Paris,
July 8, 1839. He fled to Paris with other
adherents of Joseph Bonaparte; was per-
suaded by Menul and Cherubini to give con-
certs; and after living for a time in London
and Moscow, settled in Paris (1828). — Works:
Opera Telemacco (Barcelona, 1798); La
Foire de Smyrne (London; comic); several
ballets, symphonies, and quartets; diverttsse-
890
ments, fantasies, etc., for guitar; also a
Method f. guitar.
Sorfte [zohr'gfe], Georg Andreas, b. Mcl-
lenbach, Schwarzburg, Mar. 29, 1703; d.
Lobenstein, April 4, 1778. From his 19th
year, court organist at Lobenstein for life.
He publ. pf.- and organ- works of merit; a
large number of cantatas and motets are in
MS. He is more important as a theorist,
being one of the discoverers of the 'combina-
tional' tones. He publ. these discoveries
(before Tartini) in his most important work,
Vorgemach der musicalischen Composition
(3 vols; 1745-7). His many other treatises
are of little value. — See Q.-Lex.
Soria'no, Francesco. See Suriano.
Soria'no-Fuer'tes, Don Mariano, born
Murcia, Mar. 28, 1817; d. Madrid, Mar. 26,
1880. Pupil of his father, the director of the
royal chamber-music; founded the short-
lived paper 'Iberia musical y literaria' (1841);
prod, several zarzuelas in the endeavor to
establ. a national opera; was app. teacher at
the Madrid Cons., 1843; became director of
the Lyceums at Cordova, Sevilla and Cadiz
(1844), also cond. the opera at SeviUa, Cadiz
and (1852) Barcelona, where he founded the
'Gaceta Musical' in 1860. Publ. the im-
portant works Mtisica Arabo-Espaftola (1853);
Historic de la musica EspaHola desde la venida
de los Fenicios hasta el arto de 1850 (4 vols.;
1855-9) ; Memoria sobre las sociedades eorales
en Espatia; and Espatia artistica e industrial
en la esposicion de 1867.
Sor'mann [zohr'-], Alfred (Richard
Gotthilf), b. Danzig, May 16, 1861; died
Berlin, Sept. 17, 1913. Pianist; pupil at the
Hochschule in Berlin of Rudorff, fearth, Spit-
ta and Bargiel; in 1885, of Liszt. Deout
1886, giving successful concerts in chief Ger-
man towns; in 1889, court pianist to the
Grand Duke of Mecklenburg-Strelitz. —
Works: The operas Die Sibvlle von Tiooli
(Berlin, 1902) and Konig Harold- (Stettin,
1909); a pf.-concerto in E m. (op. 7); 2 str.-
quartets; a pf.-trio; concert-etudes and
other pf.-pes.; songs.
Soubies [soo-lrfs'], Albert, mus. histori-
ographer and critic; b. Paris, May 10, 1846.
After admittance to the bar, he studied at the
Cons, under Savard and Bazin (harm, and
comp.). In 1874 he revived the famous old
'Almanach des spectacles' (known as the 'Aim.
Duchesne* [publ. 1752-1815]), and up to
1914 had publ. 43 volumes; for this the
Academic awarded him the 'Prix Voirac' in
1893. Since 1876, mus. critic for 'Le Sotr*
(under the pseudonym B. de Lomagne); also
contributes to *Le MenestreP and other mus.
pipers. Officer of Public Instruction; Offi-
cer of the Legion of Honor, alto of the Russian
SOUBRE— SPAETH
Stanislas order. — Writings: Hisloire de la
tnusique: AUemagne (1896), Russie (1897),
Bohhne (1898), Hongrie (1898), Portugal
( 1898), Suisse ( 1899), Espagne (3 vols. ; 1900),
Belgique (2 vols.; 1901), Hollande (1901),
Danemark et Suede (1901), Norvege (1903),
lies britanniques (2 vols.; 1904, T)6); Xa
ComSdie-Francaise depuis Vipoque romantique
\mS-1894[\67aw&VOfaar-49ansaVOpkar
Comique [3 vols.]; Precis de Vhistoire de la
musiaue russe (1893); Hisloire de VOpSra-
Comtque [la seconde Salle Favart, 1840-1887]
(2 vols; 1892; with Ch. Malherbe): MHanges
sur Richard Wagner; Pricis de Vhistoire de
VOpSra-Comique; L'ceuvre dramatique de Ri-
chard Wagner; Hisloire du ThSdtre-Lyrique
(1899); Documents inidits su> le 'Faust' de
Gounod (1912; with H. de Curzon); Le
ThSdtre Italien de 1801-1913 (1913); Mas-
senet historien (1913), etc.
Soubre [soobr], fitienne-Joaeph, b. Liege,
Dec. 30, 1813; d. there Sept. 8, 1871. Pupil,
and from 1862 till death Director, of the
Liege Cons., succeeding Daussoigne-Mehul.
Works: Opera Isoline (Brussels, 1855) ; sym-
phonie triomphale (1845; prize); 2 cantatas;
a Requiem w. orch.; Stabat Mater and Ave
Verum, w. orch. ; Hymne a Codefroid de Bouil-
lon for male ch. and orch.; church-music,
choruses, overtures, symphonies, etc.
Souhaltty [swa-tc'l, Jean-Jacques, Fran-
ciscan monk at Paris, the first to employ
figure-notation for popular vocal teaching;
puhl. Nouvelle mithoae pour apprendre le
plain-chant et la musiaue (1665; 2d ed. as
Nouveaux ilSments de chant. . ., 1667); and an
Essai du chant de I'iglise par la nouvelle
mithode des chiffres (1679).
Soulier. See Sou£.
Sousa [soo'za], John Philip, bandmaster
and popular composer; b. Washington, D. C,
Nov. 6, 1856; pupil thereof John Esputa and
George Felix Benkert (harm, and comp.).
From the age of 17, orchl. cond. of travelling
theatrical troupes; played the violin in Offen-
bach's orch. (1877) ; was mus. dir. of the Phila-
delphia church-choir 'Pinafore Company';
and in 1880 was app. leader of the band of the
United States Marine Corps, serving until
Aug. 1, 1892, when he resigned, and organized
a band of his own, which has given concerts
throughout the U. S. and Canada; European
tours in 1900, '01, '03, and '05; tour around
the world, 1910-11. He was* decorated by
King Edward with the Victorian Order;
Grand Diploma of Honor from Acad, of
Hainault; Officer of Public Instruction and
of the Academy (France). His publ. com-
positions number several hundred, incl. the
comic operas The Smugglers (1879), Dfsirie
(1884), The Queen of Hearts (1886), El Caps-
tan (1896), The Charlatan (1897), The Bride
Elect (1898), Chris and the Wonderful Lamp
(1900), The Free Lance (1906), The Glass-
Blowers (1911), The American Maid (1913),
Victory (1915). Among his popular mili-
tary marches are The Washington Postt The
High School Cadets, Thunderer, Semper fidelis.
Liberty Bell, Manhattan Beach, King Cotton,
Hands Across the Sea, etc. Other works:
A symphonic poem * on The Chariot-race
(from 'Ben Hur ); 6 suites, The Last Days
of Pompeii, Three Quotations, Sheridan's
Ride, At the King's Court, Looking Upward,
Impressions at the Movies; many waltzes,
songs, etc.; also an instruction-book for
trumpet and drum; ditto f. violin; the li-
bretto of The Bride Elect; and a compilation
of the 'National Patriotic and Typical Airs
of all Countries' (1890).
Sowerby, Leo, b. Grand Rapids, Mich.,
May 1, 1895. St. in Chicago with C. F.
Lampert (pf.), E. Delamarter (org.) and A.
O. Anderson (theory). Teacher in theory at
the Amer. Cons.; organist at the South
Congr. Ch. in Chicago. A composer of radi-
cal tendencies, although he himself claims
affinity with the Franck-d'Indy school,
rather than with 'those extremists who throw
over all rationality as applied to music' —
Works: The Sorrow of Mydath, symph. sketch
for orch.; Suite in the Old Style for do.; Rhap-
sody on British Folk-tunes for do.; vln. -con-
certo in G m. ; vcl. -concerto in A; Sonata a tre
for 2 vis. and vcl.; a sonata for violin solo;
a sonata for vl. and pf.; a pf. -sonata; 3 cho-
rale-preludes for org.; sonata for do.; choruses
a capp.; pf.-pcs.
Sowin'aki, Wojcech [Albert], b. Ladyzyn,
Ukraine, 1803; d. Paris, Mar. 5, 1880.
Pianist; pupil of Czerny, Leidersdorf and
von Seyfried at Vienna; toured Italy, and
settled in Paris in 1830 as a successful concert -
giver and pf.-teacher. Played in London,
1842. — Publ. Les musiciens pdonais et
slaves anciens et modernes, dictionnaire . . .
prlchte d'un risumc de Vhistoire de la musique
(1857); also orchestral and chamber-music,
and pf.-pieces, etc. He comp. 2 operas, and
much church-music.
Spaeth, Sigmund, b. Philadelphia, April
10, 1885. From 1897-9 he st. pf. and v!.
with A. Bachmann; 1899-1901, vl. with H.
Rattay and E. Schmidt at the Phila. Mus.
Acad.; then attended Haverford Coll. (M.
A., 1906); Ph. D., Princeton Univ., 1910,
with the dissertation Milton's Knowledge of
Music (publ. 1913). From 1910-12, teacher
of ensemble music at Asheville School, Ashe-
ville, N. C; since 1914, editorial writer for
the 'Opera Magazine,' and mus. editor of
The New Republic' and the N. Y. 'Even-
ing Mail.' Has also translated songs and
opera-libretti.
891
SPALDI NG— SPEAKS
Spalding, Albert, eminent violinist; born
Chicago, Aug. 15, 1888. St. with Buitra^o
in New York, Chiti in Florence and Lefort in
Paris, where he made a succ. dfebut in 1905;
then toured France, Germany and England;
Amer. ddbut with the N. Y. Symph. Orch.
on Nov. 8, 1908, followed by tour of the U. S.;
visited Scandinavia, Russia, the Netherlands,
Italy and Egypt, returning for a second Amer.
tour in 1912; won fresh laurels in European
capitals from 1912-14; sinccthenhe has made
annual tours of the U. S. with ever increasing
success. — Works: Vl.-concerto in F m.; a
Concerto quasi fantasia; Suite in C; vars. on
My Old Kentucky Home (all for vl. and orch.);
Prelude and Fugue for pf.
Spalding, Walter Raymond, b. North-
ampton, Mass., May 22, 1865. Graduate
of Harvard Univ. (A. B., 1887; A. M., 1888,
with honors in music); taught classics and
music at St. Mark's School, Southborough,
Mass., 1889-92; from 1892-5 st. music in
Paris and Munich; org. and choirm. at St.
Emmanuel Ch., Boston, 1898-1900; app.
instructor of music at Harvard in 1895, asst.-
prof. in 1903 and assoc. prof, in 1912. He
has been instrumental in raising the standard
of musical instruction in the public schools of
New England. Author of Tonal Counterpoint
(1904) and Modern Harmony in Its Theory
and Practice (1905; with Arthur Foot e).
Spangenberg, Helnrich, b. Darmstadt,
May 24, 1861. Pupil of Bohme, Heymann,
Urspruch and Raff at Hoch's Cons, in Frank-
fort-on-Main; in 1881 for a short time pupil
of N. Rubinstein (pf.) in Moscow; then st.
with Leschctizky (pf.) and Gradener (comp.)
in Vienna. In 1884, Kapellm. at the opera and
instructor at the Cons, in Mayence; 1886,
at Freudenberg's Cons, in Wiesbaden, and in
1888 cond. of the 'Lehrerverein'; about 1890
he founded his own Cons, there, of which he
has been dir. since. Made Kgl. Musikdir.
in 1906.— Works: The operas Frau Holle
(Darmstadt, 1896), Korstsche Hochzeit (2
parts; Wiesbaden, 1904 and '05), Der Hexen-
geiger (not prod.); op. 8, suite for vl. and pf.;
op. 28, Drei Fugen for pf . ; op. 29, Prdludium
und Doppelfuge in A m. for organ; minor pes.
for pf.; songs and numerous male choruses.
Several orchl. works (all in MS.) have been
performed.
Spanuth [spah'noot], August, b. Brinkum,
n. Hanover, Mar. 15, 1857. Pupil of Hey-
mann (pf.) and Raff (comp.) at Hoch's Cons,
in Frankfort; debut as pianist in 1874; then
lived as concert -pianist and teacher in Ko-
blenz and Bremen ; toured the U. S. as pianist
in 1886; taught at the Chicago Mus. Coll.,
1887-93; from 1893-1906 in New York as
teacher and mus. critic of the 'Staatszeitung';
settled in Berlin in 1906 as teacher at Stern's
Cons, and (since 1907) editor of 'Signale fur
die musikalische Welt.' Has publ. Pre-
paratory Piano Exercises and Essential Piano
Technics; songs and pf.-pes.; with X. Schar-
wenka he wrote Methodik des Klavierspiels
(1907); also trans!, into German Caruso's
How to Sing (1914); ed. 3 vols, of Liszt's pf.-
comps. (Ditson's 'Musician's Library').
Spark, Dr. William, b. Exeter, Engl..
Oct. 28, 1823; d. Leeds, June 16, 1897.
Chorister in Exeter Cath.; articled 1840 to
Dr. S. S.. Wesley, whom he followed to Leeds
in 1842. Organist at Tiverton; at Daventry;
from 1850-80, at St. George's, Leeds.
Founder, 1851, of the Leeds Madrigal and
Motet Society Borough-organist of Leeds,
1860; Mus. Doc., Dublin, 1861. Editor of
'The Organist's Quarterly Journal/ — Works:
Oratorio Immanuel (Leeds, 1887); cantatas;
anthems and other church-music; glees, part-
songs and songs; excellent organ-pieces;
— also a Memoir of Dr. S. S. Wesley; Henry
Smart. His Life and Works (London, 1881;
an exhaustive, but ill-arranged, biography);
Musical Memories (1888); and Mus. Remi-
niscences (1892).
Spazier [spah-tser'], Johann Gottlieb
Karl, b. Berlin, April 20, 1761; d. Leipzig,
Jan. 19, 1805. Student of philosophy at
Halle and G6ttingen; prof, at Giessen; set-
tled in Leipzig, 1800. Comp. many songs,
numbers of which became great favorites.
Publ. the autobiographical Karl Pilgers Ro-
man seines Lebens (3 vols., 1792-6); Freie
Gedanken uber die Gottesverehrun^ der Pro-
testanten (1788); Etwas tiber Clucktsche Musik
und die Oper „Iphigenia in Tauris" (1795);
Rechtfertigung Mat pur gs . . . (1800, in the
'Allgem. mus. Zeitung'); Vber Votksgesang
(in do.). Ed. Dittersdorfs autobiography;
transl. the first part of Gr£try's memoirs:
Gritryfs Versuche uber die Musik (1800).
Speaight, Joseph, b. London, Oct. 24,
1868. Violin-pupil of his father, a profes-
sional musician; then ent. the G. S. M.,
where his teachers were E. Pauer (pf.) and
R. O. Morgan (comp.); since 1894 prof,
there. Principal works are 2 symphonies, 3
symph. poems, 2 orchl. suites, a Fairy Fantasy,
a pf.-concerto and chamber-music.
Speaks, Oley, concert-baritone and com-
poser; b. Canal Winchester, O., Tune 28,
1876. St. singing in New York with Dr. C.
Dufft, J. A. Galloway and Emma Thursby,
and comp. with M. Spicker and W. Mac-
farlane; soloist of the Ch. of the Divine
Paternity (1898-1901) and St. Thomas's
RE. Ch. (1901-6) in New York; since then
living there as concert-singer and teacher.
Has publ. about 100 songs (On the Road to
Mandalay, Morning, Life's Twilight, My
Homeland, When the Boys Come Home, The
892
SPEER— SPENCER
Lord Is My Light, To You, etc.), and about 20
part-songs and anthems. His songs have
been sung by Nordica, Gad ski, Eames, Rap-
pold, Bispham, de Gogorza, etc.
Speer, Charlton Templeman, b. Chel-
tenham, Nov. 21, 1859. Pupil of Sir R.
Stewart in Dublin and of Dr. Wylde and G.
Cooper at the London Acad, of Music; st.
later also at the R. A. M.t and taught pf. there
from 1882-93; resigned to devote himself
entirely to comp. — Works: The 3-act opera
Helen and Odysseus; the cantatas (w. orch.)
The Arsenal (1877), The Day Dream (1887),
The Battle of Lake RegiUus (1909), The Soul of
Percival (1911), The Burial March of Dundee;
an overture in C; King Arthur, symph. poem;
Cinderella, orchl. suite; church-music; pf.-
pcs.; songs {Tennyson Album, etc.).
Speer, William Henry, cousin of pre-
ceding; b. London, Nov. 9, 1863. Pupil of
C. H. Lloyd (org.) in Gloucester, then at the
R. C. M. of Sir W. Parratt (org.) and Sir C.
V. Stanford (comp.); Mus. Doc., Cambridge,
1906; org. and choirm. at the Parish Ch.,
Bexhill, 1903-10.— Works: The Jackdaw of
Rheims for ch. and orch.; The Lay of St.
Cuthbert for do.; Symphony in Eb; Infancy
and Childhood, symph. poem; Festival Over-
ture; Rhapsody in Eb; Nocturne for str.-orch.;
str.-quartet in Bf>; a vl.-sonata; pes. for vl.
and pf.; pf.-pes. (sonata in D m., etc.);
services; songs.
Speidel [spl'del], Wilhelm, b. Ulm, Sept.
3, 1826; d. Stuttgart, Oct. 13, 1899. Pianist;
pupil at Munich of Wanner and W. Kuhe,
and of Ignaz Lachner (comp.). 1846-8,
teacher at Thann, Alsatia; 1848-54, at
Munich; 1854, mus. director at Ulm; 1857,
cond. of the 'Liederkranz' at Stuttgart; co-
founder of the Cons., and distinguished
teacher of the piano there until he founded
his 'Kunstler- und Dilettantenschule fur
Klavier' in 1874. On Lebert's death (1884)
S. rejoined the Cons., uniting with it his own
school.— Works: Op. 39, 0 Geist der T'dne
for male ch. and orch.; op. 40, Gcisterchor aus
„ Faust" for do.; op. 42, Deutsche Volker atte-
sammt for male ch. and brass instrs.; op. 53,
Volker s Schwanenlied for male ch. and orch.;
op. 57, Kaiser lied for male ch. and brass
instrs.; op. 70, Wikinger Ausfahrt f. tenor
solo, male ch. and orch.; other male choruses;
op. 50, overture and intermezzo to Konig
Ilelge; op. 36, pf. -trios; op. 10, 'cello-sonata
in D; op. 61, vl.-sonata in £ m.; 2 pf. -sonatas;
interesting pf.-pieces, songs.
Speir, Wilhelm. Sec Speyer.
Spelman, Timothy Mather, b. Brooklyn,
N. Y.f Jan. 21, 1891. Pupil of H. R. Shelley
in New York (1908-9); while attending Har-
vard Univ. he cont. his musical studies with
VV. R. Spalding and E. B. Hill (1909-13),
winning the Naumburg scholarship in music;
then st. comp. with W. Courvoisier at the
Munich Cons. (1913-15). Has written a 3-act
opera, The Sunken City (text by himself); a
1-act pantomime. The Romance of the Rose (St.
Paul, 1915); Florentine Sketches, suite for
orch. ; songs.
Spencer, Allen, b. Fair Haven, Vt., Oct.
30, 1870. St. pf. with E. H. Sherwood in
Rochester (1888-9) and W. H. Sherwood in
Chicago (1889-92), cpt, and comp. with P.
C. Lutkin (1891-4); since 1892 teacher of pf.
at the Amer. Cons, in Chicago; has ap-
peared frequently with orch. and in recitals
throughout the Middle West; makes a
specialty of novelties. Has publ. Forty Les-
sons to a Teaclter of Beginners, and some pf .-
pes.; in MS., comps. in various forms.
Spencer, Eleanor, talented pianist; b.
Chicago, Nov. 30, 1890. First taught by
Mrs. V. Cheney, and at 10 was exhibited as a
prodigy in Chicago; after 2 years of study
(1902-4) with W. Mason in New York she
spent the winter of 1904 with H. Bauer in
Paris; 1905-10, with Leschetizky in Vienna.
Debut in recital in London, April 28, 1910;
played there every spring for the next 4
years, also with orch.; soloist with the Lon-
don Symph. Orch. (Nikisch) during Corona-
tion Week (June, 1911); from 1911-13 ap-
peared with succ. in the principal cities of
Germany; has made 2 tours of Holland, in
1911 and 1916. She was received with
marked favor at her Amer. debut (recital,
Carnegie Hall, N. Y.f Nov. 11, 1913), and has
since played every winter in the U. S., both in
recitals and with leading orchestras. Re-
sides in New York.
Spencer, S. Reid, b. Baltimore, July 30,
1872. St. music under P. C. Lutkin at the
Northwestern Univ. School of Music, and
taught there from 1895-1900; since 1901
instr. of pf. and theory at the German Cons,
in New York, and since 1905 also at the N. Y.
School of Music and Arts. A. A. G. O. Has
written a Magnificat and Nunc Dimittis in
C for soli and 8-part ch. ; choruses for mixed
and women's vcs.; pieces f. organ (Fugue in
A m., Offertory in D, Canzonetta in Eb, etc.)
and pf. (Sonate romantique in C, Minuet in E,
etc.); songs; author of a text-book on Har-
mony; contrib. to various mus. journals.
Spencer, Vernon, b. Belmont, Durham,
England, Oct. 10, 1875. Graduated from the
Leipzig Cons, in 1897; lived in Leipzig as
concert-pianist and teacher until 1903; from
1903-8 head of pf.-dept. and dir. of the
Wesleyan Univ. Cons, of Music, Lincoln,
Neb.; 1908-11, in Berlin as teacher; since
1911 in Los Angeles as editor of 'The Music
893
SPENDIAROV— SPIERING
Student,' lecturer and concert-pianist. He
has publ. a number of songs.
Spendiarov, Alexander Afanasovitch,
b. Kachov, Southern Russia, 1871. He re-
ceived his early education in Simferopol,
Crimea, cultivating chiefly the art of paint-
ing, but also developing considerable skill on
the violin; while studying at the Univ. of
Moscow he was a violinist in the Univ. orch.,
and Klenovsky, the cond., advised him to
study comp.; in 1896, private pupil of Rim-
sky- Korsakov in Petrograd. His talent is
chiefly in the direction of expressive melody
and picturesque effect. — Works: Op. s,
Deux Morceaux pour orchestre (Menuet, Ber-
ceuse); op. 4, Kontert-Ouverture in D; op. 7,
Rybak i Feya [The Fisherman and the Naiad],
ballad with orch.; op. 9, Krymskie eskisj [Cri-
mean Sketches] for orch.; op. 10, Die drei
Palmen, symph. picture after Lermontov;
op. 12, Danse anctenne for small orch.; op.
18, Valse de concert for full orch.; op. 19,
BSdas Predict for alto w. orch.; Lied des ar-
menischen Freiwilligen for tenor and orch/*,
choruses a capp. (op. 2, 6, 8); songs (op. 1,
5, 13); Barcarolle for vcl. and pf.; Can-
zonetta for vl. and pf.
Spengel, Julius Heinrich, b. Hamburg,
Tune 12, 1853. Pupil of Cologne Cons.;
later of the Berlin Hochschule (Rudorff,
Joachim, Kiel and Ad. Schulze); settled as
a teacher in Hamburg, still studying with
Gradener (cpt.) and Armbrust (org.). In
1878, cond. of the 4Cacilienverein[; 1884,
singing-teacher at the female seminary for
the convent-school; 1886, organist of the
Gcrtrudenkirchc; made Kgl. Prof, in 1906.
Works: Op. 2, pf.-quintet in B m.; op. 7,
Psalm 39 for 6-part ch. and wind-instrs.; op.
8, Zwiegesang in der Sommernacht for do. and
orch.; op. 11, Konig Alfreds Gesang for bar.
and orch. ; male and fern, choruses, and songs.
Speycr [spl'er], Wilhelm [Speler, on the
title-pages of all his comps.], b. Offenbach,
June 21, 1790; d. there April 5, 1878. St.
in Offenbach with F. Friinzl (vl.) and A.
Andre (comp.); later in Paris with Baillot
(vl.). After extensive travels as a virtuoso
he embraced a business career, but con-
tinued association with eminent musicians
(S|x)hr, Mendelssohn, etc.), and gave all his
free time to comp. He gave the first impulse
to the great festival held at Frankfort in 1838,
from the surplus^ of which was establ. the
Mozart Scholarship (see Mozart). His
songs enjoyed wide popularity in his time; he
also wrote str. -quartets, a str.-quintet and
many fine male choruses {Der Trompeter [op.
31| and Die drei Liebchen [op. .U] with orch.).
Spick er, Max, li. Konigsbcrg, Prussia,
Aug. 16, 1858; <1. New York, Oct. 15, 1912.
Studied with Louis Kdhler for 5 years (pf.);
then, 1877-9, at the Leipzig Cons, under
Wenzel, Reinecke, Richter and Paul. Till
1882, cond. in turn of theatre-orchestras at
Heidelberg, Cologne, Ghent, Aix-la-Chapelle
and Potsdam (Royal Th.); 1882-8, cond. of
the 'Beethoven Mannerchor,' New York;
1888-95, Dir. of the Brooklyn Cons.; from
then, teacher of harm, and counterpoint at the
National Cons., New York, and reader for G.
Schirmer. For 12 years choir-dir. of Temple
Emanuel in Fifth Ave. — Works; Suite f. orch.;
incid. music to Schiller's Demetrius; cantata
Der Pilot for bar. solo, male ch. and orch.;
choral comps.; many songs. He edited 'Aus
aller Herren Lander (a coll. of folk-songs arr.
for male ch.), 'Anthology of Sacred Song' (4
vols. [S.A.T.B.]; arias from early and modern
oratorios), 'Operatic Anthology' (3 vols.),
'Synagogical Services' (2 vols.; with W.
Sparger), etc.
Spielter [speT], Hermann, b. Bremen,
April 26, 1860. From 1881-5 pupil of Rei-
necke and Jadassohn at the Leipzig Cons.,
winning 2 prizes for comp.; won the Men-
delssohn Prize in 1886 with a pf.-trio, vl.-
sonata and vcl. -sonata. 1885-9, Musikdir.
in Schwelm, and 1889-94 do. in Bremerhaven;
came to New York in 1894 as cond. of the
'Beethoven Mannerchor'; 1897-1911, prof,
of theory and comp. at the N. Y. Coll. of
Music; since 1915 do. at the Von Ende
School of Music; has won several prizes for
male choruses (Phila., 1897; Baltimore, 1903;
Phila., 1906). In 1893 he married Josephine
Sonntag, a concert-singer and teacher. —
Works: A 3-act operetta, Die Rajahsbraut
(Irving Place Th., New York, 1910; in collab.
with A. C. Eggers); op. 4, Vineta for bar.
solo, male ch. and orch.; op. 51, Die Watt-
fahrt nach Kevlaar for sop. and tenor soli, male
ch. and orch.; op. 70, Fur Freiheit for male
ch. and orch.; op. 76, Landsknechtslied fordo.;
many choruses for men's and women's vcs.;
op. 14, vcl. -sonata in D; op. 15, pf.-trio in
F.; op. 18, Legende for vcl. and pf.; op. 26,
Serenade for fl. and pf.; op. 32, do. for str.-
trio; pf.-pes. (op. 19, 24, 27, 40, 55, 64, etc.);
songs (op. 1, 3, 11, 21, 25, 28, 53, 68, 82).
Spiering [spe'-], Theodore, distinguished
violinist; b. St. Louis, Sept. 5, 1871. Until
1886 pupil of his father, Ernst S., in St.
Louis; 1886-8, of Henry Schradieck at the
Cincinnati College of Music; 1888-92, of
{oachim at the Kgl. Hochschule in Berlin.
Vom 1892-6, member of the Chicago Symph
Orch. (Th. Thomas); in 1893 he organized
his own quartet (S., O. Roehrborn, A. Wetdig,
H. Diestel), with which he toured the U. >.
and Canada till 1905 (over 400 concerts),
introducing many works of the modem
894
SPIES— SPITTA
French school; the French Academy recog-
nized his services by making him Officer in
1905. From 1898-9, prof, in the Chicago
Cons.; 1899-1902, dir. of his own vl.-school in
Chicago; 1902-5, prof, at the Chicago Mus.
Coll.; 1906-7, prof, at Stern's Cons, in
Berlin; 1907-9, tours of Germany, Holland
and England; 1909-11, leader of the N. Y.
Philh. Soc. (under Mahler); 1911-2, tour of
Germany, Switzerland and Denmark; 1912-4,
cond. and artistic adviser of the 'Neue freie
Volksbuhne' in Berlin; 1914-6, prof, at the
N. Y. Coll. of Music and cond. of the Woman's
Orchl. Club of Brooklyn; 1916-17, Amer.
tour as soloist; during the winter of 1917-18
he arranged his tour of the West so as to
enable him to take charge of a 'Master-class'
at the Bush Cons, in Chicago. His ability
as cond. he demonstrated on a tour with his
own orch. in the spring of 1902, and es-
pecially in 1911, when, during Mahler's
illness, he concluded the season of the N. Y.
Philh. Soc. (17 concerts, Feb.-April). At the
St. Louis Expos. (1904) he was a member of
the Jury of Awards. He has publ. Seeks
Kiinstler-Etuden (op. 4) for yl. solo, and songs;
with R. Gams he has edited a number of
classic and modern comps. for vl. (Bach,
Mozart, Nardini, Bruch, Grieg, Tchaikovsky).
Spies [spes], Hermine, distinguished con-
cert-contralto; b. Lohneberger Hiitte, near
Weilburg, Feb. 25, 1857; d. Wiesbaden,
Feb. 26, 1893. Pupil of Sieber and Stock-
hausen; debut 1882; excelled as a Brahms
singer. Married Dr. W. A. F. Hardtmuth of
Wiesbaden in 1892. — Cf. M. Spies, H. S.
Fin Gedenkbuch fiir ihre Frcunde (Stuttgart,
1894; 3d augm. ed.f with introd. by H. Bult-
haupt, 1904).
Spin'dier, Fritz, b. Wurzbach, n: Loben-
stein, Nov. 24, 1817; d. Lossnitz, n. Dresden,
Dec. 26, 1905. Pianist, giving up theology
for music; studied from 1835 with Fr.
Schneider at Dessau; settled in Dresden, 1841,
where he had great success as a teacher.
His compositions include several serious works
on a large scale, but most of his works (over
400 op. -numbers) are $o/<m-pieces and char-
acteristic pieces in excellent piano-style, well
written, and not very difficult. The instruc-
tive sonatinas op. 157, 290, 294, and the 4-
hand sonatina op. 136, should be mentioned.
— Larger works: Op. 60, Symphony in B m.;
op. 108, pf.-quartet in C; op. 115, Konzert-
stiick for pf. and orch. in Eb; op. 150, Sym-
phony in C m.; op. 154, pf.-trio in G; op.
260, pf. -concerto in D m.; op. 305, Drei
kleine Trios (C, D m., D); op. 347, sonata for
horn and pf. in F; op. 360, quintet in F for pf.,
ob., clar., horn and bassoon.
Spinelli, Nicola, b. Turin, July 29, 1865;
d. Rome, Oct. 17, 1909. Son of a jurist;
studied at Naples Cons., especially under
Serrao. In 1890 his 1-act opera Labilia
took 2d prize in the competition instituted by
Sonzogno (Mascagni's Cavalleria rusticana
won 1st prize). His next opera, the 3-act
lyric drama A basso porto% was first prod., with
considerable succ, in Colojgne (1894; in Ger.);
then in other German cities; first perf. in
Italy at Rome, 1895. In spite of its success
he never wrote another opera. He publ. a
few comps. for pf .
Spiridion. See Xyndas.
Spit'ta, Fried rich, brother of Philipp S.;
b. Wittingen, Hanover, Jan. 10, 1852; prof,
of theology at Strassburg Univ. since 1887;
since 1896 also editor (with J. Smend) of
'Monatschrift fiir Gottesdienst und kirchliche
Kunst,* in which (Jan.- Mar., 1913) he publ.
very important facts concerning Benedict us
Ducis. Has publ. Liturgische Andacht zum
Luther- JubUdum (1883); Handel und Bach
festival orations (1885); H. Schiitz do.,
(1886); Die Passionen von H. Schiitz; Ober
Chorgesang im evangelischen Gottesdienst
(1889); Studien zu Luthers Liedern (1907);
Das deutsche Kirchenlied in seinen charakte-
ristischen Erscheinungen (vol. i: Mittelaiter
und Reformationszeit, 1912).
Spit'ta, (Johann August) Philipp,
learned musicologist; b. Wechold, n. Hoya,
Hanover, Dec. 27, 1841; d. Berlin, April 13,
1894. Student of philology at Gottingen;
teacher at the 'Ritter- und Domschule,' Reval,
1864-6; at Sondershausen Gymnasium till
1874; and one year at the Nikolai-Gym'na-
sium, Leipzig, where he was a co-founder of
the 'Bach-Verein* (1874); in 1875, prof, of
mus. history at Berlin Univ., Life-Secretary
to the R. Acad, of Arts, and teacher at, and
Vice-Director of, the 'Hochschule fiir Musik.'
Title of 'Geheimrat' in 1891. As a teacher
he had extraordinary success; among his
pupils were O. Fleischer, A. Sandberger, M.
Fnedlander, R. Schwartz, M. Seiffert, E.
Vogel, K. Krebs, and J. Combaricu. He was
one of the leading spirits in organizing the
publication of the 'Dkm. deutscherTonkunst.'
— Writings: A comprehensive life of /. 5*.
Bach (2 vols., 1873, *80), carefully and learn-
edly written, with valuable discussions of
principal works; also a short sketch of Bach
in Waldersee's 'Vortrage* (1880); a short
biogr. of Schumann for Grove's Dictionary,
afterwards published separately in German
(1882); 2 colls, of articles, Zur Musik (1892;
16 essays), and Musikgeschichtliche Aufsdtse
(Berlin, 1894); an essay, Die Passionsmusik
von Sebastian Bach und Heinrich Schiitz
(1893); many papers in the 'Allgem. musi-
kalische Zeitung,' the 'Monatshefte fiir
Musikgeschichte, and more particularly in
his own periodical, the 'Vierteljahrsschrift
895
SP1TZER-HEGYESI— SPOH R
far Musikwissenschaft* founded in 1884 with
Chrysander and P. Adler. — S. also edited a
critical ed. of Buxtehude's organ-works (2
folio vols., 1875, 76), with valuable historical
notes; the complete ed. of Schfltz's works
(16 vols.); and Vol. i of the 4Dkm. deutscher
Tonkunst' (1892; contains Scheldt's Tabu-
latum nova of 1624). He left in MS. an al-
most completed Geschichte der rotnantischen
Oper in Dcutschland.
Spitzer-Hegyesi. See Hegyesi.
Spohr, Ludwig [Louis], genial violinist
and composer of the romantic school, and a
renowned teacher; b. Brunswick, April 5,
1784; d. Kassel, Nov. 22, 1859. His father,
a physician, removed to Seesen in 1786; he
was an amateur flute-player, the mother a
singer and pianist. S. early sang duets with
his mother, and at about 5 began on the violin
with Rector Riemenschneider. He also had
lessons from Dufour, a French SmigrS, who
persuaded his parents to send him to Bruns-
wick, where he was taught by Kunisch, Har-
tung, and the leader of the orch., Mau-
court; he also composed diligently, and at
14 played a concerto of his own before the
court. The Duke admitted him into the
orch., and in 1802 requested Franz Eck, then
touring Germany, to take S. as a pupil. The
latter accompanied Eck to Petrograd, re-
maining with him 18 months; practised as-
siduously, and publ. a violin-concerto (op. 1),
etc. In 1803 he reentered the Ducal orch.;
in#1804 he made his first tour (to Berlin, Leip-
zig, Dresden, etc.), and aroused genuine en-,
thusiasm both SB a virtuoso and composer.
At Gotha he was app. in 1805 to succeed
Ernst as leader; here he met and married
Dorette Schcidler, the harp-player, making
further tours with her in 1807 and 1809. In
the latter year he cond. the first musical fes-
tival in Germany, held at Fran ken ha u sen.
After brilliantly successful concerts at Vienna
in 1812, he became leader at the Theater an
der Wien. Resigning in 1815, he cond. a
second Festival at Frankenhausen; made a
grand tour in Italy (playing a concertante of
his own with Paganini at Rome), then in Hol-
land, and in 1817 became opera -cond. at
Frankfort. This position he gave up in 1819;
in 1820 he visited England with his wife,
played in several Philharm. Concerts, and
brought out two symphonies, conducting the
Philharm. Orch. with a baton — an entirely
novel method in England. Concerts given
at Paris, on the home- journey, found less
appreciative audiences. S. now settled in
Dresden; but in 1821 he was offered a life-
appointment as court conductor at Kassel,
and entered upon the duties of the position
on Jan. 1, 1822. Here he won lasting re-
nown as a conductor, and reached his zenith
as a composer in the opera Jessonda (1823),
the oratorio Die letzten Dinge (1826), and his
¥and symphony, Die Weihe der Tdne (1832).
hough his powers were on the wane, it was
chiefly for political reasons (S. was a staunch
radical) that he was retired in 1857 on a pen-
sion considerably less than had been expressly
agreed upon. In the following year he broke
his left arm by falling, and thenceforward
could play no more in public. — S. was a com-
poser of marked individuality, with a ro-
mantic warmth of temperament akin to Schu-
bert, and in fine regard for formal finish re-
sembling Mendelssohn. He ranks just be-
low the greatest representatives of new Ger-
man art; some of whom (e. g.t Weber and
Beethoven) he failed to appreciate; though,
curiously enough, he did recognize Wagner's
supreme dramatic genius, brought out Der
fliegende Hollander [1843] and Tannhduser
[1853] despite strenuous opposition by the
court, and tried hard to produce Lohengrin.
As a virtuoso he was distinctly one of the
greatest, more especially in tne cantabUe.
His success as a teacher was conspicuous; St.
Lubin, Ferd. David, Hauptmann, Kdmpel,
Bott, Bohm, Pott, Henry Btegrove, K. L.
Bargheer and Adolph Bargheer (his last
pupil) were trained by him. He was a\so one
of the best conductors in Germany, and often
officiated at the great Musical Festivals (at
Dusseldorf, 1826; Nordhausen, 1829; Nor-
wich, 1839; Bonn, 1845; etc.). His publ.
compositions number 154. He wrote 11
operas: Die Priifung (1806), Alruna (1808;
MS. score in Boston Public Library), and
Die Eulenkonigin (1808), all 3 not perf.; Der
Zweikampf mil der Geliebten (Hamburg, 1811);
Faust (Prague, 181b; rewritten 1852); Ze-
min und Azore (Frankfort, 1819; for a time
rivalling Jessonda in popularity); then, in
Kassel , Jessonda (1823); Der Berggeist ( 1 825 ) ;
Pietro von Abano (1828); Der AUhvmist
(1830); and Die Kreuzfahrer (1845);—the
oratorios Das Jiingste Gericht (Erfurt, 1812);
Die letzten Dinge (Kassel, 1826; in Eng-
land as The iMst Judgment)', Des HeUands
letzte Stunden (Kassel, 1835; as Calvary at the
Norwich Fest., 1839); and Der Fall Babylon s
(Norwich Fest., 1842); — a dram, cantata. Das
befrcitt Dcutschland; a mass, psalms, hymns,
etc., f. soli, ch. and orch.; also part-songs f.
mixed or male ch.; ducts; many songs.
— Nine symphonies: 1. op. 20, E[>; 2. op.
49, D m.; 3. op. 78, Cm.; 4. op. 86, F
(Weihe der Tone); 5. op. 102, Cm.; 6. op.
116, G (Historical; dedicated to the London
Philharm. Soc.); 7. op. 121, C (Irdisches und
Gotlliches im i\fenscfienlebent f. 2 orchs.); 8.
op. 137, O in. (ded. to the London Philharm.);
9. op. 143; B in. (Die Jahresteiten); — eight
overtures, incl. those to Die Priifung, Alruna,
Das befreite Dcutschland t to the play Der
8%
SPOHR— SPONTINI
Matrose, and the fantasia on Raupach's
Tochter der Luft (played as 1st movem. to
Symphony No. 5), a Macbeth overture, and
an overture Im ernsten Styl; — fifteen violin-
concertos, classics of violin-literature, among
the finest being No. 8 (op. 47 in A m.,'in
modo d'una scena cantante'), and No. 9 (op.
55, in D m.), all edited by Ferd. David; a re-
markable'quart et-cohcerto* for 2 violins, viola
and 'cello, w. orch., op. 131; 2 concertantes f.
2 violins w. orch.; Grande Polonaise f. violin
w. orch.; 2 clar. -concertos; — much fine cham-
ber-music, in which the leading violin is par-
ticularly favored (a nonet f. vln., via., 'cello,
d.-bass, wood-wind and horn; an octet f. vln.,
concerning the composition of other operas
written for Rome, Florence, and Naples. As
cond. to the Neapolitan court, which had fled
to Palermo before the French invasion, S.
brought out 3 operas there in 1800; wrote
others for Rome (1801) and Venice (1802),
and then proceeded via Marseilles to Paris
(1803). Up to this time he had prod. 16
operas in the prevalent light Italian style;
while supporting himself in Paris by lesson-
giving, the ill-success attending the produc-
tion of 3 operas in 1804^— La finta filosofa, an
earlier work, and two imitations of French
opera comique, Julie and La petite maison
(the latter was hissed off the stage) — and his
2 violas, 'cello, d.-bass, clar. and 2 horns; 4 fortunate acquaintance with the poet Etienne
double quartets f. strings; septet f. pf., flute,
clar., horn, bassoon, violin and cello ; string-
sextet; 7 string-quintets; quintet f. pf., flute,
clar., horn and bassoon ; pf .-quintet ; 34 string-
quartets; 5 pf. -trios; 14 duos concertants f.
2 violins; 3 do. f. pf. and violin; 3 sonates
concertantes f. harp and violin; etc., etc. Fi-
nally, his great Violinschule in 3 parts (1831).
Bibliography: # Selbstbiographie (2 vols;
Kassel, 1860-1; incomplete, only as far as
1838; Engl, transl., 1865); W. Neumann,
L. 5. Eine Biographie (Kassel, 1854); A.
Malibran, L. S. Sein Leben und Wirken
(Frankfort, 1860); H. M. Schletterer, L. S.
(Leipzig, 1881; in Waldersee's 'Vortrage');
L. Nohl, 5. (Leipzig, 1882); C. Robert, 5.
(Berlin, 1883); La Mara, Aus S.'s Leben, in
Klassisches und Romantisches aus der Tan-
welt (Leipzig, 1892); R. Wassermann, L.
S. als Opernkomponist (Rostock, 1910); E.
Istel, Ftinf Brief e S.'s an Marschner, in 'Lilien-
cron-Festschrift' (Leipzig, 1910). See also
F. Hiller, M. Hauptmann's Briefe an L. S.
und andere (Leipzig, 1876).
Spontirtii, Gaspare (Luigi Pacifico),
very prominent Italian dramatic composer;
b. Majolati, Ancona, Nov. 14, 1774; d. there
Jan . 24, 1 85 1 . His parents, poor peasants, in-
tended him for the church, and gave him in
charge of an uncle, a priest at Jesi, who at-
tempted to stifle his musical aspirations. The
result was, that the boy ran away to another
uncle, at San Vito, who not only procured
him suitable instruction, but effected a rec-
oncilation, so that in a year he returned to
Jesi, was taught by good masters, and in t791
entered the Cons, della Pieta de' Turchini at
Naples, studying under Sala and Tritto. In
1796 he was invited to write an opera for the
Teatro Argentina at Rome, its director hay-
ing been pleased by some of S.'s music heard in
Naples; though S., to this end, absented him-
self from the Cons, without leave, Piccinni,
after the success of the opera, / puntigli delle
donne, persuaded the management to take
him back, and also gave him valuable advice
Jouy, influenced him to change his style com-
pletely. His great admiration for, and care-
ful study of, Mozart also operated to effect this
change. The 1-act opera Milton (Th. Fey-
deau, Nov. 27, 1804) differed markedly, m .
warmth and depth of sentiment and lofti-
ness of expression, from its immediate pre-
decessors; La Vestale, on which S. labored for
more than three years, retouching and re-
writing passage after passage, page after page,
shows the new Spontini at his best. Mean-
time the Empress Josephine, to whom he had
dedicated the score of Milton, had appointed
him her 'chamber-composer,' and her favor
increased after the production of S.'s cantata,
Veccelsa gara, celebrating the victory of
Austerlitz. Her powerful patronage secured
a hearing for La Vestale, which was brought
out at the Academie Imperiale (Grand Opera),
despite virulent open and secret opposition on
the part of influential musicians, on Dec. 15,
1807, and with triumphant success. Not only
did the public receive it with acclamation; by a
unanimous verdict of the judges, M£hul, Gos-
sec and Gretry, the prize offered by Napoleon
for the best dramatic work was awarded to
Spontini. Shortly after the equal success of
his grand opera Fernand Cortez, in 1809 (re-
vised 1817), S. married the daughter of Jean-
Baptiste Crard, and in 1810 became director
of the Italian Opera, in which capacity he
staged Mozart's Don Giovanni in its original
form for the first time in Paris. He was dis-
missed in 1812, on charges of financial irregu-
larity; but in 1814 Louis XVI 1 1 appointed
him court composer, S. having refused rein-
statement as opera-director in favor of Cata-
lani. He now wrote stage-pieces in glori-
fication of the Restoration (Pelage, ou le roi
et la paix, 1814; Les Dieux rivaux, 1816),
followed in 1819 by the opera Olympie, which
had only a succes d'estime. He had already
accepted the appointment, by King Fried-
rich Wilhelm III., of court composer and
general musical director at Berlin; he made
his d6but there, in the Spring of 1820, with his
opera Fernand Cortez, fairly electrifying his
897
SPORCK— SQUIRE
audiences, although, like Julie, Milton and
La V estate, it had been heard before in Berlin.
Here S.'s wonderful talents as a conductor
had freest scope; besides repeating his earlier
works, he wrote for Berlin the festival play
Lalla Rookh (1821), remodeled as the opera
Nurmahal, oder das Rosenfest von Kaschmir
(1822) ; Alcidor (1825) ; and Agnes von Hohen-
stauffen (1829; rewritten 1837); none of
these, however, found currency in other Ger-
man cities. In spite of his successes, and the
King's continued favor, S.'s position in Berlin
gradually grew untenable; he had been placed
on an equality with the Intendant of the
Royal Theatre, and there were frequent mis-
understandings and sharp clashes of authority,
not tempered by S.'s jealousies and dislikes,
his overweening self-conceit and despotic
temper. Partly through intrigue, partly by
reason of his own lack of self-control, he nar-
rowly escaped imprisonment for lese-majestc;
and was finally fairly driven out of the theatre
by the hostile demonstrations of the audience.
He retired in 1841, retaining his titles and full
pay; the next year he went to Paris, a broken
man, unfitted for composition or any regular
occupation by the stinging memory of his
degradation. He sought to improve his shat-
. tered health by returning to Italy; but died
not long after reaching his native place. In
1844 the Pope had given him the rank and title
of 'Conte de Sant' Andrea'; he was a knight
of the Prussian 'Ordre pour le merite,' mem-
ber of the Berlin Akademie (1833), and the
Paris Academic (1839), and had received
from Halle Univ. the degree of Dr. phil.
—Bibliography: L. de Lomenie, M. Spontini,
par un Homme de rien (Paris, 1841); E. M.
Oettinger, Spontini (Leipzig, 1843); I.
Montanari, Elogio . . . (Ancona, 1851);
Raoul- Rochet te, Notice historique sur la vie
et les ouvrages de M. S. . . . (Paris, 1852);
R. Wagner, Erinnerungen an Spontini (in his
'Ges. Schriften,' vol. v).
Sporck, Georges, b. Paris, April 9, 1870.
Pupil at the Cons. (1877-95) of B. Colomer
and G. Mathias (pf.), E. Pessard (harm.), E.
Guiraud (cpt., fugue, comp.), Th. Dubois
(comp.); also st. further with V. d'Indy
(comp.) from 1901-4; living in Paris as
teacher and comp. Officer of Public Instruc-
tion.-—Works: Symphonie vivaraise; sym-
phonic poems Islande, Boabdil, Kermesse; a
suite, Paysages normandes; Esquisses sym-
pkoniques; Prelude symphonique; Mt dilation;
Orientale [all for orch.]; Marche solennelle for
organ and orch.; Ugende for Engl, horn and
orch.; Lied for vcl. and orch.; a vl.-sonata;
Suite for vl. and pf.; pes. for vcl. and pf.;
pf.-pes. (Etudes symphoniques, sonatina, etc.) ;
2 books of songs. Has also publ. instructive
editions of works by Bach, Beethoven, Mo-
898
zart, Weber, Clementi, Hummel, Chopin,
Mendelssohn, Schumann, etc.
Springer, Max, b. Schwendi, Wurttem-
ber£, Dec. 19, 1877. While attending the
Univ. in Prague he st. music with A. Schach-
leitner and J. Klifka; organist and choirm. at
the monastery of St. Emaus in Prague. Has
written excellent comps. for organ (3 sonatas,
3 Pastorals, Preludes, Postludes, Fugues, Fan-
tasies, etc.); a mass, Lauda Sion; 2 str.-
quintets; minor pes. for orch.; choruses and
songs. Author of Die Kunsl der Choralbeglei-
tung (1907; Engl, tr., 1908); Der liturgische
Choralgesang (1907).
Spross, Charles Gilbert, b. Poughkeepsio.
N. Y., Jan. 6, 1874. St. there with Adolf
Kuehn and Helen Andrus; later in New York
with X. Scharwenka (pf.) and C. Lachmund
(theory). For 7 years org. at St. Paul's,
Poughkeepsie; 4 years at Rutgers Presb. Ch.,
N. Y.; 8 years at 2d Presb. Ch., Paterson, N.
J.; since 1912 at the Presb. Ch. in Pough-
keepsie. Excellent pianist, in great demand
as an accompanist ; has appeared with Frem-
stad, Schumann-Heink, Gluck, Destinn, Gar-
den, Melba, Amato, Gerardy, etc.; also as
soloist with orch. (Kaltenborn, N. Y. Philh.
Soc.). Has publ. about 75 songs; has also
written anthems and 3 cantatas, The Christ-
mas Dawn, The Glory of the Resurrection. The
Word of God.
Spry, Walter, b. Chicago, Feb. 27, 1868.
Pupil of Leschetizky in Vienna (1889-90)
and of the Kgl. Hochschule in Berlin (1890-3).
From 1897-1900 dir. of the Quincy Cons.,
Quincy, 111.; since 1905 dir. of his own musk-
school in Chicago. — Works: Op. 1, Suite in E
for pf.; op. 2, str.-quartet in G; op. 6, Scherzo
in Db for pf. ; op. 10, Overture in D for orch.;
sacred songs.
Squire, William Barclay, eminent musi-
cologist; b. London, Oct. 16, 1855. He was
educated in Frankfort-on-Main; then ent.
Pembroke Coll., Cambridge, graduating in
1879 (A. B.); st. law, was admitted to the bar
in 1883, and practised 2 years until his ap-
pointment as Keeper of the Printed Music in
the British Museum (1885), which post he
has held with distinction since then; was
music critic for 'The Saturday Review' (1890-
4), 'Westminster Gazette' (1893), 'Globe'
(1894-1901), 'Pilot' (1900-4); Fellow of the
Soc. of Antiquaries and hon. sec. of the Pur-
cell Soc. — Works: Catalogue of Accessions to
the Old Printed Music in the British Museum
since 1886 (1899); Catalogue of Music in the
Chapter Library, Westminster (1903); Cat-
alogue of Old Printed Music in the British
Museum [1487-1800] (2 vols., 1912; very
valuable); numerous articles for Grove's
'Dictionary,' 'Diet, of Natl. Biogr.,' 'En-
cyclopaedia Britannica,' 'Archaeologia,' The
SQUIRE— ST AGEM ANN
Musical Antiauary,' 4Sbd. I. M.-G.,' etc.
Edited Purcell's music for harpsichord,
Byrd's masses, Palestrina's Stabat Mater,
a coll. of madrigals of the 16th and 17th cen-
turies, and (with J. A. Fuller- Maitland)
The Fitzwilliam Virginal Book; wrote the
libretti to Stanford's opera The Veiled Prophet
of Khorassan (1881) and Bridge's cantata
Calirrhoe. Together with Helen, Countess of
Radnor, he prepared the sumptuous Cata-
logue of the Pictures in the Collection of the
Earl of Radnor (2 vols., 1909).
Squire, William Henry, English 'cellist;
b. Ross, Herefordshire, Aug. 8, 1871. Pupil
of his father, an amateur violinist; debut
at 7; won scholarship at the R. C. M., studied
under Edward Powell and Hubert Parry
(1883-9), and came out at the Albeniz Con-
certs, St. James's Hall, Feb. 12, 1891 . Favor-
ite concert- 'cellist in London; solo 'cellist at
Cov. Garden (1895-6), Leeds, Norwich, Here-
ford, Gloucester and Worcester festivals; has
made frequent tours of the provinces with
Clara Butt; prof, at the R. C. M. and G. S.
M.; also examiner at the R. A. M.; Associate
of R. C. M., 1889.— Works: A 'cello-concerto;
a serenade, pastorale, gavotte, taren telle (op.
23), 4 sets of pieces, 12 easy exercises, etc.,
for 'cello; violin-music; pf. -pieces; songs.
Sta'de [stah'de], Friedrich Wilhelm, b.
Halle, Aug. 25, 1817; d. Altenburg, Mar. 24,
1902. Organist; pupil of Fr. Schneider at
Dessau; mus. dir. and Dr. phil. (hon. c.) of
Jena Univ.; from 1860, court organist and
Kapellm. at Altenburg, retiring in 1891. He
cond. the first performances in Germany of
Berlioz's Requiem, Symphonic phantastiaue
and Romko et Juliette. — Works: 2 symphonies*
Festouverture in D; music to Kossmann's
tragedy Orestes; violin-duos; a violin-sonata;
7 books of organ-pieces; 8 Charakterstucke,
a suite, a charming Kinder sonate (4 hands),
etc., f. pf.; Easter and Christmas cantatas f.
soli, ch. and orch.; numerous other choral
works, sacred and secular; songs, among them
the celebrated Vor Jena, which made him
famous, and is a favorite student-song. His
arrangements of Bach's and Handel's sonatas,
and of 'Die Lieder und Spriiche aus der letzten
Zeit des Minnegesangs,' added greatly to his
reputation.
Stade, Dr. Fritz (Ludwig Rudolf), b
Sondershausen, Jan. 8, 1844; student and
teacher in Leipzig, pupil of Riedel and Rich-
ter; writer for the 'Neue Zeitschrift fur
Musik'; 1885-95, org. at the Reformed Ch.;
since then at St. Peter's; since 1886 also sec.
of the 'Gewandhauskonzerte'; made Kgl.
Prof, in 1914. Publ. Vom Musikalisch-Scho-
nen [contra Hanslick] (1870; 2d ed. 1904)
and edited the 6th ed. of Brendel's Geschichte
der Musik (1879).
Sta'de, Heinrich Bernhard, b. Etrisch-
leben, n. Arnstadt, May 2, 1816; d. Arnstadt,
May 29, 1882, as town-cantor and organist.
Restored the organ in the St. Bonifaziuskirche,
on which Bach played 1703-7.— Publ. Der
wohlvorbereitete Organist, ein Praludien-, Cho-
ral- und Postludienbuch in 2 parts; and other
organ-music.
Sta'den, Johann, b. Nuremberg, 1581 ; d.
there of the plague Nov. (buried 15th), 1634,
as organist of the Sebalduskirche. Publ.
many motets, Magnificats, etc., and secular
music (dances), from 1606-34 (cf. 'Monats-
hefte f. Musikgesch.,' vol. xv). — See Q.-Lex.
Sta'den, Sigmund Theophilus, son of
preceding; b. 1607; d. Nuremberg, July 30,
1655; 1635-55, org. at St. Lorenzo's. He
wrote the earliest extant German opera,
SeeUwig (publ. in Harsddrffer's 'Frauenzim-
mergesprachspiele,^ 1644; new score ed. in
'Monatsh. f. Musikgesch.,' vol. xiii); also
publ. sacred songs; edited H. L. Hassler's
Kirchengesange (1637; with 18 additional
songs by the two Stadens and 2 other comps.).
[Cf. H. Schiitz, opera Dafne.] — Cf. E. Schmitz,
Zur Bedeutung aer Harsdorfferschen lFrauen-
zimmer-Gesprdchspiele,' in Liliencron- Fest-
schrift (Leipzig, 1910). See also Q.-Lex.
Sta'dler, Maximilian, b. Mclk, Low r
Austria, Aug. 4, 1748; d. Vienna, Nov. 8,
1833. Priest, from 1786-9 abbot at Lilien-
feld ; held other church-positions, and settled
in Vienna 1815. Publ. an oratorio, Die
Befreiung Jerusalems (perf. Vienna, 1811),
many masses, Requiems, psalms, etc.; also
organ-fugues, pf.-sonatas, songs w. pf., etc.
Noted for his defense of the genuineness of
Mozart's Requiem against Gottfried Weber
and others: Verteidigung der Echtheit des Mo-
zart'schen Requiems (1826; supplem. 1827).
— ~~ occ y.-Lex.
Stadt'feldt, Alexander, b. Wiesbaden.
April 27, 1826; d. Brussels, Nov. 4, 1853.
Pupil of Fetis in Brussels Cons., winning
Grand prix de Rome in 1849. — Works: Operas
Hamlet (Darmstadt, 1857 ; Weimar, 1882) ; A bu
Hassan, V Illusion, and La Pedrina (MS.);
a cantata, vocal scenes w. orch., 4 symphonies,
overtures, 2 concertinos f. pf. and orch., string-
quartet, pf.-trio; a mass, a Te Deum and a
hymn, w. orch. ; etc.
Sta'gemann, Max, b. Freienwalde-on-
Oder, May 10, 1843; d. Leipzig, Jan. 29, 1905.
Pupil of Dresden Cons.; actor at Bremen,
1862; 2d baritone at Hanover, 1865, later
singing leading rdles, and becoming 'chamber-
singer ; dir. of KonigsbergTh., 18/6-9; lived
in Berlin 1879-82 as a concert-singer and
singing- teacher; from then ^ till his death
director (manager) of the Leipzig City Th.;
was 'Geh. Hofrat.' — His wife was the violinist
899
STAGNO— STAIR
Hildegard Klrchner (d. Dresden, June 16,
1913): a son, Waldemar, has been bar. at
the Dresden opera since 1913; a daughter,
Helene, a fine concert-soprano, was married
to the composer Botho Sigwart.
Stagno [stah'floh], Roberto, dramatic
tenor; b. Palermo, 1836; d. Genoa, April 26,
1897. Pupil of Mariot and Gius. Lamperti.
Sang with great applause in Italy, Prague
(1872), London (1876), Russia, Spain, and
in the first season of the M. O. H. (1883-4).
Married his pupil, Gemma Bellincioni, in 1881.
Stahl'berft, Fritz, b. Ketzin, Branden-
burg, June 7, 1877. Pupil in Stuttgart of his
uncle, Adolf Garn (pf.)v O. Schapitz (vl.) and
J. A. Mayer (theory); self-taught in comp.
Came to America in Oct., 1899, joining the
Pittsburgh Symph. Orch. (V. Herbert) as 1st
violin; since 1908 member of the N. Y.
Philh. Soc., and since 1912 also asst.-cond.
— Works: Op. 4, orchl. suite from the ballet
The Bridal Choice; op. 9, In Memoriam
Abraham Lincoln; op. 15, Ubers Weltenmeer,
symph. suite; op. 21, Im Hochland, symph.
sketches; op. 23, Symphony No. 1; op. 28,
Scherzo sinfonico; op. 31, Symphony No. 2;
op. 33t Suite for orcn.; several minor works
for orch.; pieces for vl. and pf. ; pf.-pcs; songs.
A grand opera (op. 25) has not yet been prod.
Stahllcnecht, two brothers: (1) Adolf,
violinist; b. Warsaw, June 18, 1813; d. Ber-
lin, June 24, 1887, as chamber- musician; —
and Julius, b. Posen, Mar. 17, 1817; d.
Berlin, Jan. 16, 1892, as 1st 'cello in the royal
orch. They made concert-tours together, and
establ. trio-soirees in Berlin, 1844. Adolf
comp. an opera, ,2 masses, 7 symphonies, 36
entr actes, and much chamber-music (nearly
all MS.); Julius publ. concert-pieces f. 'cello.
Stainer (or Steiner) fsti'nSr], Jakob, b.
Absam, Tyrol, July 14, 1621; d. there 1683.
The son of poor peasants, as a shepherd-boy
he already attracted attention by his skil-
fully made 'Schwegelpfeifen' and other wood-
wind instrs.; as a youth he began making
violins, and became so famous in 1658 that
Archduke Ferdinand Karl made him 'erzfQrst-
licher Diener,' with the title 'ehrsamer und
furnehmer Herr.' Though his violins found
ready sale at fair prices (for those times), his
income did not keep pace with his expendi-
tures, and he fell into the hands of usurers.
His patron's death left him without resources;
his mind gave way, and he died in an insane
asylum. — Genuine Stainer violins are highly
prized and command good prices; it is sup-
posed that S. served an apprenticeship at
Cremona. — His brother Markus made ex-
cellent violas. — Cf. S. Ruf, Der Geigenmacher
J. S. von Absam in Tirol (Innsbruck, 1872:
2d ed. 1892); F. Leutner, /. S.'j Lebenslauf
im Lichte archivarischer Forschung (Leipzig,
900
1893); Princesse A. de La Tour et Taxis, Le
Violon de J. S. (Paris, 1910). See also Heron-
Allen, A Pilgrimage to the House of /. S.t in
4M. T.' (Aug., 1900).
a Stainer [sta'ner]. Sir John, eminent Eng-
lish composer and organist; b. London, June
6, 1840; d. Verona, Mar. 31, 1901. Chorister
at St. Paul's 1847-56, studying under Bay ley
(harm.) and Steggall (cpt.J, and later under
Cooper (org.). From 1854-9 he held 3 posi-
tions as organist, being then app. University
organist at Oxford, graduating there M us. Bac.
(1859) and Mus. Doc. (1865). App. Ex-
aminer for mus. degrees 1866. From 1872-
88, successor to Sir John Goss as organist
of St. Paul's, resigning on account of tailing
eyesight; he was knighted in 1888, and in
1889 assumed the position of prof, of music
at Oxford Univ. In 1876, prof, of organ and
harmony at the Nat. Training School f. Music,
succeeding Sullivan as Principal in 1881, and
after its reconstruction as the R. C. M. in
1883, again prof. Also succeeded Hullah,
in 1882, as Government Inspector of Music in
the Training-Schools. Among; many high
distinctions, he was made a Chevalier of the
Legion of Honor in 1878. — Works: Oratorio
Gideon; the cantatas The Daughter of J air us
(Wore. Fest., 1878); St. Mary Magdalene
(Gloucester, 1883); and The Crucifixion
(London, 1887); 4 church-services; canticles,
anthems, songs; — Primers on the Organ,
Harmony, Composition, Choral Society Vo-
calisation; a Treatise on Harmony (often
republ.); Dictionary of Mus. Terms with W.
A. Barrett (1876; 4th ed. 1898); Dufay and
His Contemporaries (1898; 50 select comps.
with introd. by Nicholson); Early Bodleian
Music . . .from about A. D. 1185-1505 (2 vols.;
1902 [ed. by his daughter Cede]).— Cf. *M.
T.' (May, 1901).
Stainlein (-Saareinstein) [stlnlln], comte
Louis Charles Georges Corneille de, b.
in Hungary, July 3, 1819; d. Angleur-lez-
Liege, Belgium, Nov. 22, 1867. A talented
amateur violoncellist, he appeared with suc-
cess in Germany and France; with Sivori,
Ney, van Gelder and Lubeck he gave con-
certs of chamber-music in Paris. — Works:
Op. 8, vcl.-sonata in G m.; op. 9, pf.-trio in
C; op. 10, str.-cjuartet in G; op. 11, do. in C;
op. 16, str.-quintet in D m.; op. 20,.»str.-
sextet in G; pes. for vcl. and pf.; male cho-
ruses; songs.
Stair, Patty, b. Cleveland, O., Nov. 12,
1869. From 1882-92 pupil of F. Bassett at
the Cleveland Cons.; has filled several posi-
tions as org. in Cleveland; since 1912 at the
East End Bapt. Ch.; since 1889 she has also
taught at the Cons. Has written a light
opera; minor pes. for orch.; pes. for org., pf.
and vl.; anthems; part-songs and songs.
STAMATY.— STANFORD
Stamaty [stah-mah-te'], Camille-Marie,
b. Rome, Mar. 23, 1811; d. Paris, April 19,
1870. Pianist, pupil of Kalkbrenner; his
first concert, in 1835, was very successful. He
was one of the foremost teachers in Paris;
among his pupils were Saint-Saens and
Gottschalk. — Publ. a pf. -concerto, op. 2;
2 sonatas, op. 8, 14; a pf.-trio, op. 12; Varia-
tions, op. 5, 19; excellent educational pieces:
12 Etudes pittoresques, op. 21; 6 Etudes caract.
sur lOberon,f op. S3; La rythme des doigts d
I' aide du metronome, op. 36; tiudes progres-
sives, op. 37; 25 tiudes pour petites mains ;
op. 3S; 20 etudes, Chant et mScanisme, op. 39;
12 do., same title, f. 4 hands; 24 times de
perfectionnement, op. 46; etc.
Sta'mitz, Johann Anton, son of Job.
Wenzel Anton S.; b. Mannheim (bapt. Nov.
25), 1754; d. Paris c. 1820, whither he went
with his brother in 1770. Violinist. — Wrote
13 symphonies, 54 str. -quartets, trios, and
duets f. strings; a violin-concerto; 6 sonatas
f. violin, flute and bass; Nocturnes f. vln. and
'cello; concertos f. pf., f. 'cello, f. bassoon; etc.
Sta'mitz, Johann Wenzel Anton, fa-
mous violinist and the creator of the modern
style of instrl. music; b. Deutsch-Brod, Bo-
hemia, June 19, 1717; d. Mannheim (buried
Mar. 30), 1757. He probably received his
entire musical education from his father, a
cantor. His playing at the coronation of
Emperor Charles VII at Frankfort (1742)
created a sensation, and Prince Karl Theodor,
who in 1743 became Elector Palatine, eng. S.
as his chamber-musician, making him Kon-
zertmeister (in 1745) of the electoral orch. in
Mannheim and 'Kammermusikdirektor.' As
a virtuoso and teacher he was one of the most
famous of his time, among his distinguished
pupils being his own sons Karl and Anton,
C. Cannabich, W. Cramer, I. Franzel, etc.; as
. conductor he made the Mannheim orch. the
finest in Europe, unrivalled for its perfection
of dynamic shading. But these achievements
arc overshadowed by the importance of his
innovations as a composer; he practically es-
tablished the classical sonata-lorm through
introducing the element of contrast into a
single movement (primary and secondary
subject), replacing the stereotyped basso
continuo by skilful and effective leading of the
basses, and making variety and ingenuity
leading factors in the thematic development.
To the form itself Haydn and Mozart added
practically nothing; they only filled it with
the content of their greater genius. Among
the composers that adopted S.'s new style are
his own pupils, C. Cannabich, C. Toeschi, F.
Beck, A. Filtz, as well as F. X. Richter, F.
Schobert, Joh. Chr. Bach, Boccherini, Dit-
tersdorf, Eichner, Gossec, etc. The great
number of editions of these composers' works
(printed in Paris, London and Amsterdam)
affords testimony for the immense popularity
of the innovation during the 18th century;
the transcendent genius of the classic masters
(Haydn, Mozart, Beethoven) caused the
works of S. and his school to fall into un-
deserved oblivion in the following century,
until H. Riemann (in the early years of the
present cent.) rescued the scores from the
dust of libraries. S. wrote 50 symphonies;
10 trios for orch.; about 12 vl. -concertos;
a number of sonatas for vl. solo, and others
for vl. with basso cont. — A selection from his
symphonies was publ. by Riemann in 'Dkm.
der Tonk. in Bayern' (Hi, 1 ; vii, 2), chamber-
music (ib.; xv and xvi), 9 orchl. trios in
'Collegium Musicum.'; — Cf. H. Riemann's
introduction to vols, iii and vii of 'Dkm. der
Tonk. in Bayern.'
Sta'mitz, Karl, son of preceding; b. Mann-
heim, May 7, 1746; d. Jena (buried Nov. 11),
1801. Renowned player on the violin and
viole d 'amour; pupil of his father and Canna-
bich; 1767, member of the Electoral orch.;
toured Germany, Austria, France and Russia
from 1770-85, when he was for a time leader
of the Ducde Noailles in Paris; lived in Nurem-
burg, Kassel, etc., toured Russia again (1790),
lived for some years in Petrograd; from 1794,
cond. of the academical concerts at Jena.
— Works: 70 symphonies, including 26 sym-
phonies concertantes' (many heavily scored) ;
a symphony for 2 orch.; 7 violin-concertos;
string-quartets (op. 4, 7, 10, 13, 15); 6 trios
f. 2 violins w. bass; duos f. 2 vlns., f. vln and
'cello, and viola and 'cello; a viola-concerto;
a pf. -concerto; etc. — Prod. 2 operas: Der
verliebte Vormund, comic (Frankfort), and the
grand opera Dardanus (Petrograd). H.
Riemann ed. 2 symphonies (Et> and G) in
vol. viii, 2 of 'Dkm. der Tonk. in Bayern';
chamber-music in vols, xv and xvi; 5 vl.-
sonatas (op. 20) in Ed. Peters.— See Q.-Lex.
Stanford, Sir Charles Villiera, distin-
guished composer and conductor; b. Dublin,
Sept. 30, 1852. His family was musical, and
their house a rallying-point for musicians;
at an early age he was a good pianist and an
ambitious composer, one of his teachers being
Sir Robert Stewart. In 1862 he studied
with Arthur O'Leary (comp.) and Ernst
Pauer (pf.) in London; obtained in 1870 an
Organ Scholarship at Queen's College, Cam-
bridge; in 1873 he succeeded Dr. Hopkins
as org. of Trinity Coll. (resigned 1892); also
becoming cond. of the Cambridge Univ. Mus.
Soc. (resigned 1893). For 2 years (1*75-6)
he studied comp. under Reinecke at Leipzig,
going in 1877 to Kiel, Berlin. Took degree
of M. A., Cantab., in 1877; in 1883 Oxford,
and in 1888 Cambridge, bestowed on him the
decree of Mus. Doc.; in 1883 he was app.
901
STANCE— STANLEY
Pro!, of Comp. and cond. of the orch. at the
R. C. M., on the opening of that institution.
He succeeded Goldschmidt as cond. of the
Bach Choir (1885-1902); and G. A. Mac-
farren as Prof, of Music at Cambridge in 1887.
In 1897 he became cond. of the Leeds Phil-
harm. Soc.; also cond. of the Leeds Fest.,
1901-10; has cond. his own works in Berlin,
Paris, Amsterdam and Brussels. He was
knighted in 1902. From the date of appoint-
ment to the present (1917) he has uninterrupt-
edly held tne professorships at Cambridge
Univ. and the R. C. M. He is a member of
the 4Kgl. Akademie der Kttnste/ Berlin (1904;
the first Englishman thus honored), of the
'Maatschappij tot bevordering van Toon-
kunst,' Amsterdam (1906); alsohon. member
of the 'Beethoyen-Haus,' Bonn, and corresp.
member of the 'Societe des Compositeurs de
Musiquc,' Paris.— Cf. 4M. T.' (Dec., 1898);
R. A. Streatfeild, Muskiens anglais content-
porains (Paris, 1913).
Works.
[Lack of op.-number means that none has been
assigned by the comp. J Operas: The Veiled Prophet of
Khorassan (Hanover. Feb. 6, 1881; libretto by W. B.
Squire. Ger. tr. by E. Frank; Cov. Garden, July 26,
1893); Savonarola (Hamburg. April 18.1884; Cov. G.,
July 9, 1884): The Canterbury Pilgrims (Drury Lane.
April 28, 1884) ; Shamus O'Brien, op. 61 (Op.-Comique.
London. Mar. 2. 1896; in Breslau. 1907, with the spoken
dialogue set to recitative) ; Much Ado about Nothing, op.
76a (Cov. G., May 30, 1901); The Critic [niter Sheri-
dan] (Shaftsbury Th.t London. Jan. 14. 1916); The
Travelling Companion (selected for publication by
the 'Carnegie Trust,' 1917; not yet prod.). Lorenta
(op. 55) and The Barber of Bath (op. 69) (both MS]
have not been produced, tncid. music to Tennyson's
Queen Mary, op. 6 (1876); jEschylus's Eumenides,
op. 23 (1885); Sophocles's (Edipus Tyr annus, op. 29
(1887); Tennyson s Thomas a Becket, op. 48 (1893;
MS.); Binyor/ s /W/rta, op. 102 (1907; MS.); Parker's
Drake (1912; MS.). — Choral works w. orch.: The
oratorios The Three Holy Children, op. 22 ( Birmingham,
1885) and Eden, op. 40 (ib.. 1891); Die Auferstehung,
op. 5. resurrection hymn; Psalm 46, op. 8; Psalm 150,
op. 27 (Manchester Expos., 1887); Mass in G. op. 46;
Requiem, op. 63 [in mem. Lord Leighton] (Birmingham,
1897); Te Deum, op. 66 (Leeds, 1898); The Lord of
"Might, op. 8.1, motet (Fest. of The Sons of the Clergy,
1903); Stabat Mater, op. 96 (Leeds. 1907). Secular
cantatas, ballads, etc., w. orch.: Elegiac Ode, op. 21
(Norwich. 1884); The Revenge, op. 24 (LcedB. 1886);
Carmen Saccular e. op. 26 (for Queen Victoria's Jubilee,
1887); The Voyage of Maeldune. op. 34 (Leeds. 1889);
The Battle of the Baltic, op. 41 (Hereford. 1891); The
Bard. op. 50, ode; East to West, op. 52. do.; Phaudrig
Crohoore. op. 62 (Norwich. 1896); The Last Po$t, op.
75 (Hereford. 1900); Songs of the Sea, op. 91 (I^ecds.
1904): Songs of Faith, op. 97; Ode to Wellington, op.
100 (Bristol. 1909); A Welcome Song, op. 107 (Franco-
British Expos.. 1908); Songs of the Fleet, op. 117
(Leeds. 1910); Fairy Day (1913).— Foe o«ch.: 7
symphonies: No. 1 in Bt>; No. 2 in D m.. Elegiac;
No. 3 in F m., Irish, op. 28; No. 4 in F, Thro' youth to
strife, thro' death to life, op. 31 ; No. 5. D. V Allegro ed il
Pensieroso. op. 56 (MS.); No. 6 in E>. op. 94 (in mem.
G. F. Watts, MS.); No. 7 in D m., op. 124. 4 overtures:
Festival i 1887 ; MS.) ; Queen of the Seas, op. 33 (for the
Armada tercentenary (1888); MS.); In the style of a
Tragedy, op. 90 (MS); Are atque Vale, op. 114 (with
choral portions; for the Haydn centenary (1909]).
4 Irish Rhapsodies, op. 78. 84. f, ?. Serenade in G, op.
17; Suite for vl. and onh.. op. 32; Smite of Ancient
Dances, op. 58 (arr. from Ten Dances for pf.); pf.-
concerto in G, op. 59 (MS.); Vars. on an English Theme
('Down among the dead men') for pf. and orch.. op.
71; vln .-concerto in D, op. 74; Four Irish Dances, op.
79; concerto for clar. and orch.. op. 80 (MS.) ; Four
Irish Dances, op. 89; pf. -concerto in C m„ op. 126; a
vcl.-concerto (MS.).— -Chamber-music: A Serenade-
Nonet for str.- and wind-instrs., op. 95 (MS.); pf.-
quintet in D m., op. 25: 2 str.-quintets (F m., op. 85;
C m..op. 86 [both MS.]); 2 pf. -quartets (F. op. 15; ?.
op. 133); 6 8tr. -quartets (G, op. 44; A m., op. 45; D m..
op. 64; G m.. op. 99 [MS.]; Bi». op. 104 [in mem. J.
Joachim]; ?, op. 122); 2 pf. -trios (El». op. 35; G m..
op. 73); 2 vcl.-sonatas (A, op. 9; D m.. op. 39); 2
vln. -sonatas (D, op. 11; G. op. 70 [MS.]); a clar.-
sonata, op. 129; Six Irish Fantasies for violin and
J»f., op. 54; Five Characteristic Pieces for do. (also arr.
or vcl.), op. 93; 3 Intermezzi for clar. and pf.. op. 13.
— Church-music: 6 Services (Bt>. op. 10; A. op. 12
[w. orch.l; F, op. 36; G, op. 81 ; on Gregorian tones,
op. 98; C, op. 115); Awake, my heart, op. 16; 3 an-
thems (op. 37 [2] and 38); 3 motets a capp., op. 51;
Four Bible Songs (w. org.), op. 113. — Choruses: Three
Cavalier Songs (Browning) for bar. solo and male vcs..
op. 18; 4 part-songs for mixed vcs., op. 47; 3 sets
(each 6) of Elizabethan Pastorals (mixed vcs.). op. 49.
53, 67; cycle of quartets from Tennyson's Princess
(soli, mixed vcs. and pf.). op. 68; 4 part-songs for male
vcs., op. 106; 4 do. lor mixed vcs., op. 110; 3 do. for
do., op. 111. — For pp.: Suite, op. 2; Toccata, op. 3;
sonata in Db (MS.); 6 pes., op. 42 (MS.); Ten Dances,
op. 58; Three Rhapsodies from Dante, op. 92; 5 Charac-
teristic Pieces, op. 93. — For org.: Fantasia and Toccata,
op. 57; Six Preludes, op. 88; 2 sets of Six Short Preludes
and Postludes, op. 101 and 105; Fantasia and Fugue.
op. 103; Te Deum laudamus and Canzona, op. 116
—Songs: Op. 1. 4, 7. 14. 19. 30. 43. 65 (The CJown's
songs from Twelfth Night), 72 (Heine's WaUfahrt nack
Kevlaar), 77 (Moira O'Neill. Irish idyl). 82 (S sonnets
from E. Holmes's The Triumph of Love), 112. US
(Cushendall, Irish song-cycle), ? (A Fire of Turf, cycteV,
many without op. -number. — He has edited and ar-
ranged Moore's 'Irish Melodies': 'Songs of Erin' (3
vols.; 130 folk-songs); 'Songs of Old Ireland'; 'Irish
Songs and Ballads'; for the Irish Literary Soc. he has
ed. The Complete Petric Collection' (3 vols.. 1902-5;
1582 Irish airs). — Books: Studies and Memories (1908);
Musical Composition (1911); Pages from an Unwritten
Diary (1914).
Stan'fte, Hermann, b. Kiel, Dec. 19, 1835;
d. there June 22, 1914. St. at Leipzig Cons.;
private tutor to Count Bernstorn and the
Prince of Wicd; organist at Rossal College,
Engl., 1860-4; from 1878 mus. dir., and
from 1887 prof., at Kiel Univ. until his re-
tirement in 191 1. Shortly before his death, in
1914, the Univ. made him Dr. phil. (hon. c).
Stan'gc, Max, nephew of preceding; b.
Ottcnscn, May 10, 1856. Cond. of the
'Erkscher Mannergesangverein,' and prof, of
singing at the Kgl. Ilochschule, in Berlin.
— Works: Op. 8, Jauchzet dent Herrn, alU
Welt for bar. solo, ch. and orch.; op. 36,
Nachtstiick for orch.; op. 40, An die Heimal,
overture; op. 47, Adagio for vcl. and orch.;
op. 48, Serenade and Nachtgebet for str. -orch.;
op. 52. Zwei Romanzcn for str.-orch.; op. 60,
Suite tor vl. and pf . ; many fine male choruses
and songs.
Stanley, Albert Augustus, b. Manville,
Rhode Island, May 25, 1851. St. in Provi-
dence, and in 1871-5 at Leipzig (privately and
in Cons.) under Reineckc, Richter, Wenzd,
Paul and Papperitz. Org. of Grace Ch.,
Providence, 18/6-88; prof, of music at the
902
STANLEY— STASSOV
Univ. of Michigan, Ann Arlx>r, since 1888;
1893-1916 dir. of the May Festivals of the
Univ. Pres. of M. T. N. A., 1883-95; Ex-
aminer for Amer. Coll. of Musicians, 1893;
Pres. of the Amer. Section of the I. M. S.,
1 899-19 1 2 ; one of the founders of the A. G. O.
— Works: The City of Freedom, ode f. soli, ch.
and orch. (Boston, 1883); Psalm 21, f. do.
(Providence, 1892); Commemoration Ode
Chorus triumphalis, f. ch. and orch. (1899);
A Psalm of Victory for soli, ch. and orch.
(1906); Laus Deo for ch. and orch. (1913);
incid. music to Sappho and Phaon (1907) and
Alcestis (1911); symphony, The Awakening
of the Soul (1896); symph. poem Attis (1898)
[all these perf. at Ann Arbor]; part-songs,
songs, etc.
Stanley, (Charles) John, b. London, Jan.
17, 1713; d. there May 19, 1786. Blind from
early youth, he st. under J. Reading and M.
Greene, became organist in several churches,
and in 1779 succeeded Boycc as Master of the
Royal Band. He enjoyed the esteem of
Handel, after whose death he cond. the ora-
torio performances with Smith. — Works:
Oratorios Jephtha (1757), Zimri (1760), The
Fall of Egypt (1774); dram, pastoral Arcadia
(for George Ill's wedding); songs;— ^Op. 1,
8 solos f. German flute, vln., or harpsichord;
op. 4, 6 ditto; op. 2, 6 concertos f. 4 vlns.,
viola, 'cello and thorough-bass f. harpsich.;
op. 5-7, ten voluntaries f. org. or pf.; and 6
concertos f. harpsich. or organ (1760).
Starck, Ingeborg. See Bronsart.
Stark, Ludwig, b. Munich, June 19, 1831;
d. Stuttgart, Mar. 22, 1884* Student of
philos. at Munich Univ., and of music under
Ignaz and Franz Lachner. 1857 co-founder
of Stuttgart Cons., teaching harmony, play-
ing from score, the history of music and
(chiefly) singing, until 1873, when he was
compelled to rest on account of overwork;
returning after a trip to Italy, he confined his
teaching to theory and history. Together
with Lebert, he received the hon. degree of
Dr. phil. from Tubingen Univ. (1873); also the
title of Kgl. Professor (1868). He founded
and cond. the Stuttgart 'Singvcrcin.' Em-
inent pedagogue; joint-editor, with Lebert,
of the Grosse Klavierschule (rev. by M. Pauer,
1904); with Faiszt, of an elementary and
choral singing-method, a Liederschule; Klas-
sischer Hausschatz (24 transcriptions for pf.
of movements of classical cnamber-mus.),
etc. — Comp. sacred and secular choral works
{Volkers Nachtgesang received the golden
prize-medal from the Amsterdam 'Euterpe');
instrl. music, pf. -pieces, songs, etc. Publ.
Kunst und Welt (1884).
Stark, Robert, famous clarinettist; born
Klingenthal, Saxony, Sept. 19, 1847. Pupil
of the Dresden Cons.; began his career in the
orch. at Chemnitz; 1873-81, solo clar. in
Wiesbaden; since then prof, at the Kgl.
Musikschule in Wurzburg; made Kgl. Prof,
in 1903. — Works: 3 concertos for cl. and
orch. (op. 4, Eb; op. 13, F; op. 50, D m.);
op. 1, Romanze fordo.; op. 41, Canzone fordo.;
op. 20, Ballade for trombone and orch.; op. 30,
Historiette for do. ; op. 44, Quintett concertante
for fl., ob., cl., horn and bassoon; op. 23,
Serenade for ob. and pf. Also valuable in-
structive works, Die Kunst der Transposition
auf der Kl. (op. 28, 29); Arpeggien-Studien
(op. 39) ; Tagltche Stakkato- Vbungen (op. 46) ;
Die hohere Arpeggio-Technik (op. 52); and
Grosse theoretisch-praktische Klarinett-Schule
(op. 49; 2 parts), followed by Part III, Die
hohe Schule des Kl.-Spieles (op. 51; 24 vir-
tuoso studies).
Starlce, Frtediich, b. Elsterwerda, 1774;
d. Dobling, n. Vienna, Dec. 18, 1835. Band-
master of an Austrian regiment. Publ.
'Journal fur Militarmusik' (300 parts), 'Jour-
nal fur Trompeterchdre' (50 Nos.), and other
instrl. music; 3 orchl. masses, a Tantum ergo,
etc.; Wiener Pianoforte-Sehule (1819-20).
Staa'ny, Karl Richard, pianist ; b. May-
ence, Mar. 16, 1855. Although he began the
study of the pf. at the age ol 8 and showed
remarkable talent, his father wished him to
become a civil engineer; on the advice of Raff
he was sent in 1872 to Briill in Vienna;
1874-9, pupil of Kriiger in Stuttgart; 1879-
81, with Liszt in Weimar. Until 1885 he
made successful tours of the larger cities of
Europe; 1885-91, teacher at Hoch's Cons, in
Frankfort, where he made a special study of
Schumann's works with Clara Schumann;
since 1891, prof, of pf. at the New Engl.
Cons., Boston. He has publ. Finger Train-
ing, Scales, Chords and Arpeggios.
Stas'ny, Ludwig, b. Prague, Feb. 26, 1823;
d. Frankfort-on-Main, Oct. 30, 1883. Pupil
of the Prague Cons.; 1846-68, bandmaster
in the Austrian Army; from 1871 cond. at the
'Palmcngartcn' in Frankfort. Produced the
operas Liane ( May e nee, 1851) and Die beiden
Grenadiere (ibid., 1879). Noted for his popu-
lar dances (211 opus-numbers) and skilful
orchl. arrangements of Wagner's later music-
dramas.
Stassov, Vladimir Vassllievitch, emi-
nent critic and writer; b. Pctrograd, Jan. 14,
1824; d. there Oct. 23, 1906. In 1845 he
became connected with the Public Library;
1851-4, in Italy as priv. sec. to count Demi-
dov; while in Rome he made copies of rare
scores in the library of abbate Santini (q. v.),
which he later presented to the Publ. Library
in Pctrograd; in 1854 he became asst. to the
librarian of the Publ. Library, Baron Korf,
and in 1872 dir. of the dept. of Fine Arts,
which post he held till his death. As a mus.
903
STATKOWSKI— STECKER
critic he exerted a wide influence as the cham-
pion of nationalism and the Neo-Russian
school (Balakirev, Borodin, Cui, Mussorgsky,
Rimsky-Korsakov). His numerous essays,
including biographies of Glinka, Mussorgsky,
Borodin, Cui, Rjmsky-Korsakov, are of per-
manent value for accurate scholarship, sound
critical judgment and elegant literary style.
Those publ. between 1847-86 were issued in
book-form in honor of his 70th birthday
(Petrograd, 1894; 3 vols.); a fourth vol.,
containing essays written 1886-1904, appeared
in 1905 (those on Russian Music during the
last 25 Years, The Traces of Russian Art, and
Art in the Nineteenth Century, deserve special
mention). He also ed. the autobiographies
and letters of Glinka, Dargom?zhsky, Sierov
and Borodin (of the latter also a coll. of es-
says).— Cf. 'Russkaya Muzykalnaya Gazeta'
(1895, Nos. 9 and 10); To the Memory of V. V.
S. (in Russian; Petrograd, 1910).
Statkow'ski, Roman, born Szczypiorna,
Poland, Jan. 5, 1860. While preparing for a
legal career at the Univ. of Warsaw he st. cpt.
with Zelenski, and in 1890 became a pupil of
Soloviev and A. Rubinstein at the Petrograd
Cons.; later he became prof, of instrumenta-
tion and hist, of music at the Warsaw Cons.
— Works: 2 operas, Filenis (Warsaw, 1904;
won 1st prize at the internatl. operatic contest
in London, 1903) and M aria (ib., 1906); for
orch. a Polonaise (op. 20) and Fantasie (op.
25); a str.-quartet in F (op. 10); pes. for vl.
and pf.; numerous pf.-pes.
Staudigl fstow'-], Josef , Sr., famous dram,
bass; b. W611ersdorft Lower Austria, April 14,
1807; d. insane at Michaelbeuerngrund, n.
Vienna, Mar. 18, 1861. He gave up the
study of medicine to join the court opera-
chorus at Vienna, later becoming leading bass;
from 1831 he was also a member of the Hof-
kapellc; 1845-8, leading bass at the Th. an
der Wien; 1848-54, again at the court opera.
During his life he was regarded as an un-
rivalled interpreter of Schubert; he visited
England rejxratedly, and created the title-
role in Mendelssohn's Elijah (Birmingham,
1846).
Stau'digl, Josef, Jr., fine dramatic bari-
tone, son of preceding; b. Vienna, Mar. 18,
1850. Pupil of Rototansky at the Vienna
Cons.; 1875-83, at the Hofoper in Karlsruhe;
1884-6, princi|ial bar. at the M. O. H.f where
he created the rdle of Pogncr in the American
premiere of MeisUr singer (Jan. 4, 1886); then
sang until his retirement in 1905 at various
German theatres (Berlin,Hamburg,Bayreuth,
etc.), often together with his wife, the con-
tralto Gisela Koppmayer, whom he married
in 1885; in the spring of 1898 they sang with
the Damrosch-Eliis Opera Co. on a tour of the
U.S.
904
Sta'venhagen, Bernhard, distinguished
pianist; b. Greiz, Reuss, Nov. 24, 1862; d.
Geneva, Dec. 26, 1914. Pupil in Berlin of
Kiel, at the 'Meisterschule,' and of RudorfF at
the 'Hochschule,' where he won the Mendels-
sohn prize for pf.-playing in 1880. Studied
with Liszt 1885-6 in Weimar, Pest and Rome.
He made a succession of brilliantly successful
Eianistic tours through Germany, Austria,
lungary, France, Holland, England, and the
United States (1894-5). Court pianist to the
Grand Duke of Saxe-Weimar, 1890; in 1892,
Knight of the White Falcon order. In 1895
he succeeded Lassen and d 'Albert as court
cond. at Weimar; 1898, court cond. at Munich;
1901-4, also dir. of the 'Akademic der Ton-
kunst'; in 1906 he gave a successful series
of 'Volkssymphonie-Konzerte' in Munich.
From 1907 till his death he was cond. of the
munic. orch. and of the 'Societe du Chant
du Cons.' in Geneva. He was specially re-
markable as a Liszt player. He wrote 2 pf.-
concertos (op. 4 and No. 2, in A [1912]), a
Pastorale for org., pf.-pes. (op. 2, 5, 10) and
songs (op. 9); also publ. a cadenza to Beet-
hoven's C m. pf. -concerto.
Stebbins, G. Waring, b. n. Albion, N.Y.,
June 16, 1869. St. in Brooklyn, N. Y., with
R. Thallon (pf.), H. E. Browne (org.), R. H.
Woodman (org. and theory); in N. Y. with
W. C. Carl and H. R. Shelley (organ and
theory); in Paris with Guilmant and Sbri-
glia (voice) and in London with G. Henschel
(voice). Organist of Westminster Presb. Ch.
in Brooklyn, 1893; of Emmanuel Bapt. Ch.,
1894; of Plymouth Ch., 1899; since 1902
again org^ of Emmanuel Ch. ; instr. of singing
at The Teachers' Training Inst.' since 1910;
also cond. of The Singers' Club,1 N. Y.
(since 1913), and The Mus. Art Soc. of Long
Island' (since 1916). He has given numerous
organ-recitals, chiefly in N. Y. and Brooklyn.
He is married to the pianist Caroline T.
Worth, of Brooklyn. Has publ. about 30
works for org. (Wedding Song, A Song of Joy,
Schertando, etc.), 20 anthems, 30 songs and a
number of choruses.
Steck'er, Karl, b. Kosmanos, Bohemia,
Jan. 22, 1861. Pupil of Prague Organ-School ;
1885-9, teacher of organ there, then prof, of
cpt. and hist, of music at the Cons., and from
1888 also lecturer on mus. science at the Univ. ;
since 1907 editor of 4Hudebn6- Revue.' — Publ.
Kritische Beitrdge zu einigen Streitfragen in
der Musikwissenschaft (1890, in the 'Viertel-
jahrsschrift fUr Musikwissenschaft'; orig. in
Bohemian, 1889); General History of Music
(2 vols.; 1892,1903); Treatise on Improvisa-
tion on the Organ (vol. i: Non-thematic Im-
prov.t 1903); Musical Forms (1905) (all in
Bohemian]. Has comp. a Missa sotemnts, an
STEELE— STEFFANI
Ave Maria, motets a 4-5, an organ-sonata,
Andante and Scherzo for str.-orch., etc.
Steele, Porter, b. Natchez, Mississippi,
Dec. 12, 1880. St. pf. with his mother (a
pupil of A. Arnold), and at Yale Univ. (A. B.,
1902) theory with H. Parker (1900-1); from
1901-2 cond. of the Univ. orch. and band;
1898-1902, member of the New Haven
Symph. Orch.; st. comp. with R. H. Wood-
man in New York (1910-14). Having com-
pleted his law studies at Columbia Univ., he
was admitted to the bar in 1905, and has been
practising since then in New York, though
giving frequent pf. -recitals of his own comps.
Has publ. a suite for pf., At Longwood, and
minor pf.-pcs. {Pohne lyrique, Petite Serenade,
September Morn, etc.) ; also songs.
Stcenkiste, van. See Dorus-Gras.
Ste'fan), Jan, b. Prague, 1746; d. Warsaw,
Feb. 24, 1829. He was Kapellm. to count
Kinsky and vlnst. in the orch. at the Hofoper
in Vienna; in 1771 cond. to Stanislaus Ponia-
towski in Warsaw, and finally cond. of the
opera there. He wrote for Warsaw 11
Polish operas, of which the first, Krakawiak&w
i gSrali [The Cracovites and the Mountaineers]
(1794) enjoyed unusual popularity (over 200
performances during his lifetime).
Ste'fano, Salvatore de, harpist; b. Ca-
gliari, Sardinia, June 17, 1887. He began to
study the harp at the age of 9; in 1899 he won
a scholarship at the Naples Cons., where he
studied until 1908 under Caramiello (harp),
Barbieri (pf.) and de Nardis (harm, and cpt.).
graduating with the 1st prize. Debut (June
27, 1912) with the Symph. Orch. at Naples,
and taught harp at the Accad. S. Dorotea
there; since 1913 in the U. S., touring the
Eastern and Middle States. He is preparing
(1917) a method for harp.
Steffan, Joseph Anton, born Kopidlno,
Bohemia, Mar. 14, 1726; d. Vienna, before
1800. A pupil of Wagenseil, he settled in
Vienna, where he was a renowned teacher;
among his pupils were the" princesses Marie
Antoinette (later Queen of France) and
Caroline (later Queen of Naples). He wrote
some church-music and numerous comps. for
}f. (divertimenti, concertos and sonatas);
.ie is historically important for his songs,
Sammlung deutscher Lieder (4 books), which
are among the best of that time. Specimens
were publ. by M. Friedlander in Das deutsche
Lied %m 18. Jahrhundert (1902).— See Q.-Lex.
Stef'fanl, Abbate Agostino, b. Castel-
franco, Venetia, July 25, 1654; d. Frankfort-
on-Main, Feb. 12, 1728. A choir-bdy at San
Marco, Venice, his beautiful soprano voice so
charmed Count Tattenbach that he obtained
permission to take the boy to Munich, where
he was trained from 1667 by Kerl at the
Elector's expense, becoming court and cham-
E
ber-musician in 1670. After study in Rome
under E. Bernabei (1672-4), he became court
organist in 1675; took holy orders in 1680;
prod, his first opera, Marco Aurelio, in 1681,
about this time being made director of the
Elector's chamber-music (with Bernabei).
Other operas, Solone (1685), Audacia e rispetto
(1685), Servio Tullio (1686), Alarico (1687),
and Niobe (1688), followed; in 1688, a year
after Bernabei 's death, he went to Hanover
as court Kapellm. Here he brought out the
opera Enrico detto il Leone in 1689, the orches-
tration of which is noteworthy (besides the
string-quartet, there are flutes, oboes, bas-
soons, 5 trumpets, and drums; all the wind-
instrs. have obbligato passages); further, La
lotta di Alcide (d'Ercole) con Acheloo [Acheloos]
(1689), La superbia d'Alessandro (1691),
Orlando generoso (1691), Le rivali concordi
(1692), La libertd, contenta [Alcibiade] (1693),
/ trionfi del fato (1695; at Hamburg, 1699,
in German, as Das mdchUge Ges chick bei
LaviniaundDido); Briseide (1696); Atalanta;
Arminio (Dusseldorf, 1707); Tassilone (ibid.,
1709), and Enea (Hanover, 1709). Long
before this, however, his services had been
more in requisition as a diplomatist than as a
musician; in 1696 he had brought to a trium-
phant conclusion the delicate negotiations
for the creation of a ninth Elector of Bruns-
wick, being rewarded by the appointment of
Bishop of Spiga Cm partibus') ; from 1698 he
was privy councillor and Papal Protonotary
at Dusseldorf, though still holding his position
as Kapellm. at Hanover till 1711, when he
joyfully relinquished it to Handel. Some
works of the later epoch were prod, under the
name of his copyist, Gregorio Piva. — Publ.
works: Psalmodia vespertina a 8 (1674);
Janus Quadrifrons (1685; motets a 3, w. con-
tin uo; any voice may be omitted at pleasure);
Sonate da camera a 2 violini, alto e continuo
(1679); Duett i da camera a soprano e contralto
con il basso continuo (1683; historically im-
portant and intrinsically valuable); and the
pamphlet Quanta certezza habbia da1 suoi
principj la musica (Amsterdam, 1695; Ger-
man by Werckmeister, 1699, and Albrecht,
1760). — H. Riemann publ. Alarico (complete
score; also full bibliography of all S.'s operas)
in vol. xi, 2r of 'Dkm. der Tonk. in Bayern'
and selections from other operas in vol. xii, 1.
— Bibliography: F. M. Rudhart, Geschichte
der Oper am Hofe zu Munchen (Freising,
1865); G. Fischer, Musik in Hannover (2d
ed.; Hanover, 1902); A. Untersteiner, A. S.t
in Riv. Mus. It. (vol.xiv; 1907); A. Einstein,
A. S. in 'Kchm. jahrb.' (vol. xxiii; 1910);
Ph. Hiltebrandt, Preussen und die romische
Kurie (Berlin, 1910; vol. i contains material
concerning S.); H. Riemann, A. S.als Opern-
komponist, in 'Dkm. der Tonk. in Bayern'
(xii, 2; 1912).
905
STEFFENS— STEHLE
Stef 'fens, Julius, b. Stargard, Pomerania,
July 12, 1831; d. Wiesbaden, Mar. 4, 1882.
Fine 'cellist; pupil of Ganz at Berlin, and
Schuberth at Petrograd, where he joined the
Imp. orch. Tours with Jaell and Vieux-
temps. — Publ. 2 vcl. -concertos; also pes. f . vcl.
Steggall, Charles, b. London, June 3,
1826; d. there June 7, 1905. In 1847, pupil
of Bennett at the R. A. M., becoming prof, of
organ and harmony there in 1851 , in the same
year taking decrees of Mus. Bac. and Mus.
Doc. at Cambridge. From 1864, organist of
Lincoln's Inn Chapel. Hon. Sec. to the Bach
Soc. from 1849 till its dissolution in 1870.
After 52 years of continued service he resigned
his professorship in 1903. He was one of the
original founders of the R. C. O. (1864).
— Works: Psalm 105, f. soli, double chorus,
and orch.; Psalm 33; Magnificat, Nunc di-
mittis, Cantate Domino, and pens misereatur,
w. orch.; Morning and Evening service in F;
anthems; an Instruction- Book f. organ; organ-
music. Edited 'Church Psalmody' (1848);
'Hymns Ancient and Modern* (1889); etc.
Steggall, Reginald, son of preceding; b.
London, April 17, 1867. He entered the R.
A. M. in 1884, studying pf. with H. R. Eyers
and O. Beringer, org. with his father, comp.
with E. Prout and Sir G. A. Macfarren; won
the Balfe scholarship for comp. in 1887.
App. A. R. A. M. in 1894, prof, of org. in 1895,
and Fellow in 1906; since 1905 org. and dir.
of the choir to the Hon. Soc. of Lincoln's Inn;
since 1908 member of the examining staff of
the associated board of the R. A. M. and
R. C. M., also examiner for the L. R. A. M.
diploma; member of Soc. of British Com-
posers (1909) and R. Philh. Soc. of London
(1912).— Works: For orch., Op. 7, Konzert-
stuck in F m. for org. and orch.; op. 8, Suite
in E; op. 13, The Spanish Student, svmph.
poem; op. 14, Oreithyia, dram, prelude; op.
16, Vars. in D m. (on an orig. theme); op.
22, Symphony in Bm.; op. 25, Fantasy-Over-
ture; 2 vocal scenes for contralto and orch.,
Alcestis (op. 2) and Elaine (op. 9); Agnus Dei
for sop., vl., harp and pf. (op. 10); Magnificat
and Nunc Dimittis in D for soli, ch. and orch.
(op. 17); Festival Te Deum in F for ch. and
orch. (op. 19); a quintet for fl., ob., clar., bas-
soon and horn (op. 21); anthems (op. 3, 11,
23); pes. for org. (Fantasy and Fugue in C,
op. 1; do. in F, op. 4; Suite in F, op. 12);
pf.-pes. (op. 18, 20); songs (op. 5, 15 [The
Seven Ages of Man, cycle], 24).
Steg'mann, Karl David, born Dresden,
1751; d. Bonn, May 27, 1826. Pupil of Zil-
lich, Homilius and Weisse (vln.); debut as
tenor at Breslau, 1772; sang at Konigsberg
and became Konzertmeister to the Prince-
Bishop of Ermeland. In 1778 Kapellm.,
in 1798 a Director, of the Hamburg opera.
906
He wrote some ten operas; ballets; twelve
symphonies; etc.; publ. pf. -music and songs.
~— sec y.-Lex.
Steg'mayer, Ferdinand, b. Vienna, Aug.
25, 1803; d. there May 6, 1863. Son and
pupil of the actor-poet S.; also taught try
Tnebensee and Sey fried; was chorusmaster
at Linz and Vienna, then (1825) music-di-
rector at the Konigstadter Th., Berlin; cond.
of the Roeckel German opera-troupe in Paris
(1829-30), theatre-cond. at Leipzig, Bremen
and Prague; from 1848 at the Josephstadter
Th., Vienna, where he was also teacher of
dramatic and choral singing at the Cons.
(1835-7), and co-founder, with Aug. Schmidt
in 1858, of the 'Singakademie.' — Publ. sev-
eral 'quodlibets' (Familie Pumpernickel, Pum-
pernickels Hochteitstag, Rochus P., etc.), 2
graduate and an offertory f. male voices;
pf.-pieces, songs, etc.
Stehle [sta'-], Guatav Eduard, b. Stein-
hausen, Wiirttemberg, Feb. 17, 1839; d.
St. Gallen, Switzerland, June 21, 1915. In
1869 he became org. and cond. of a choral
soc. in Rorschach; from 1874 Kapellm. at St.
Gallen Cath. In 1911 the Univ. of Freiberg
made him Dr, phil. (hon. c); he was deco-
rated with numerous orders. An excellent
organist and cond., his cath.-choir (140 voices)
was famous as one of the finest in Europe.
For 25 years he also was editor of the 'Chor-
wachter.' — Works: About 20 masses (a
capp., w. organ, and w. orch.), numerous
litanies, motets, etc.; an oratorio, Legendtvon
der hi. Cdcilia (op. 43); a fest. cantata (or
soli, ch. and orch., Lumen de Coelo (op. 55;
on text by Pope Leo XIII); the large choral
works w. orch. Vineta (sop. solo and male ch.),
A bendfewr ((em. ch. and ten. solo), Oybin (alto
solo and male ch.), Die Nonnen von Compiegne
(double ch., male and fem.), Frilhjofs Heim-
kehr (solo quartet and mixed ch.); fine male
choruses a capp. (op. 59, 60, 65) ; Die Hein-
zelmdnnchen (op. 62), humorous choral ballad
for double ch. a capp. [3- part fem., 4-part
male]; for org., Saul (symph. TongemalaV),
concert-fantasies on the Austrian (op. 47)
and German (op. 61) natl. hymns, 438 Pre-
ludes in the church-modes, etc. — His son and
pupil, Eduard (b. Rorschach, 1869; d.Winter-
thur, April 12, 1896), org. and cond. at Win-
terthur, publ. some sacred music and songs;
also an arr. for org. of the Funeral Music and
final scene of Gdlterddmmerung.
Stehle, Sophie, dramatic soprano; b. in
Hohenzollern-Sigmaringen, May 15, 1838.
From her debut (Sept., 1860) until her mar-
riage to Wilhelm Freiherr von Knigge (Feb.,
1874) she was a prominent member of the
Hofoper in Munich, where she created the
r61es of Fricka and Brunnhildc, resp., in the
special perfs. of Rheingold (Sept. 22, 1869)
STEIBELT— STEINBACH
and WalkUre (June 26, 1870); appeared also
in numerous 'Gastspiele' in the principal
cities of Germany. Her finest roles were
Senta, Elisabeth, Elsa and Eva.
Stei'belt [sti'belt], Daniel, noted piano-
virtuoso; b. Berlin, 1765; d. Petrograd, Sept.
20, 1823. A pupil of Kirnberger for theory
and pf. -playing, he came out early; publ.
sonatas for pf. and violin as op. 1 and 2 at
Munich, 1788; and in 1789 was giving con-
certs in Saxony, Hanover and Mannheim,
proceeding to Paris in 1790. After vanquish-
ing Johann David Hermann and Ignaz PIcyel,
he became the reigning pianist and favorite
teacher in Paris; his compositions found ready
sale; and the triumph of his first opera,
Romio et Juliette (Th. Feydeau, 1793), would
have rendered his position impregnable, de-
spite his arrogance and bad manners, had he
not sold to his publisher, Boyer, the above-
named sonatas as something new. This was
temporarily smoothed over; but further
Questionable transactions, and increasing
ebts, obliged S. to leave Paris in 1797. He
stayed some time in London, winning plaudits
as player and composer; the finale of his 3d
concerto, VOrage, prtcldt d'un rondeau pasto-
ral, became as fashionably popular as Kocz-
wara's Battle of Prague, for naif a century the
show-piece of drawing-rooms. In 1799 he
began a German tour in Hamburg, going
thence to Dresden, Prague, Berlin and Vienna,
where his challenge to Beethoven ended in
sad discomfiture. In 1800 he brought out
Haydn's Creation at Paris, for the first time,
with great success, he himself acting as cem-
balist; but soon had to take flight, and settled
in London until 1805, when he revisited Paris
for the last time, remained there 3 years, and
in 1808 suddenly started on a concert-tour,
playing in Frankfort, Leipzig, Breslau and
Warsaw, and settling in Petrograd, where he
succeeded Boieldieu, in 1818, as cond. of the
French Opera and Imp. court cond.; here he
prod. 2 new operas, and some earlier ones.
— S.'s music is not played nowadays, and the
greater part probably merits oblivion; but
Fetis bestows warm praise on the sonatas and
concertos (works of his first period, before
pressing need had forced him to write hastily
and carelessly). He publ. 5 pf. -concertos, 3/
sonatas w. violin, 29 solo sonatas and sona-
tinas, 15 rondos, 18 fantasias, etc.; among
the best are 50 fetudes, op. 78; a sonata in E\>,
op. 45; a rondo in Bt>, he Berger et son trou-
peau; the HUegie on the death of Prince
Soltykov, and a duo for 2 pfs. Pieces which
created a sensation in their day are Combat
naval, op. 41, the Sonate tnartiale, op. 82, the
Batatlle de Gemappe et de Neerwinde, Die Zer-
storung von Moskwa, and the Storm rondo
mentioned above — all trashy 'program-music'
His MSthodede Piano had considerable vogue.
His masterpiece is probably the opera Romeo
et Juliette; besides which he prod. 5 other
operas, and 5 ballets. German criticism of S.
is unanimously unfavorable. — See Q.-Lex.
Stein [stin], Eduard, born Kleinschirma,
Saxony, 1818; d. Sondershausen, Mar. 16,
1864, as court cond. (from 1853). His con-
certo f. double-bass, op. 9, is noted.
Stein, Fritz Wilhelm, b. Gerlachsheim,
Baden, Dec. 17, 1879. Having passed his
theological examination in Karlsruhe (1902),
he st. musicology with Ph. Wolfrum in Heidel-
berg; 1904-6, pupil at the Leipzig Cons, of
Teichmiiller (pf.), Krehl (comp.) and Nikisch
(cond.), and private pupil of Straube (org.),
and attended Riemann's lectures at the Univ. ;
Dr. phU. (Heidelberg, 1910) with the thesis
Zur Gesckichte der Musik in Heidelberg (pub!.
1912). In 1906 he succ. E. Naumann as
mus. dir. at the Univ. of Jena and cond.
of the 'Akadem. Chor,' the 'Akadem. Kon-
zerte' and the 'Bflrgerlicher Gesanjrverein';
prof, extraord. in 1907 and full prof, in 1913;
succ. Reger as Hofkapellm. in Meiningen in
1914, but after the dissolution of the orch.
(1915) he returned to Jena. In 1910 he dis-
covered in the library of Jena Univ. the parts
of an early symphony by Beethoven (publ.
by. B. & H. in 1911), which he described in
Eine unbekannte Jugendsymphonie Beetkovens
CSbd. I. M.-G.' xiii, 1; 1912).
Stein, Johann Andreas, inventor of the
'German* (Viennese) pf.-action; b. Heides-
heim, Palatinate, 1728; d. Augsburg, Feb. 29,
1792. Trained in Silbermann's workshops^
at Strassburg, he was a noted organ-builder*
and famous piano-maker (cf.' Mozart's Briefe/
ed. by Nohl ^Leipzig, 1877]). The business was
carried on by his son, M. Andreas, and daugh-
ter, Nanette Streicher [see Streicher], who
removed to Vienna in 1802.
Stein, Richard Heinrich, b. Halle, Feb.
28, 1882. Abandoning the study of juris-
prudence he ent. the Kgl. Hochschule in Ber-
lin; Dr. pkil. (Erlangen, 1911) with the thesis
Die psychologischen Grundlagen der Ethik.
Has publ. pf.-pes. (op. 1, Heroische Fantasie;
op. 11, Scherzo Jantastico; op. 21, Italienische
Suite; etc.); songs (op. 25, Glilck and Um
Mitternacht w. orch.); 2 Konzertstucke for vcl.
and pf . (op. 26) ; 2 FantasiestUcke for via. and
pf. (op. 27). His attempts to introduce
quarter-tones were unsuccessful.
Stein, Theodor, b. Altona, 1819; died
Petrograd, Mar. 9, 1893. Concert-pianist,
appearing at 12; from 1872, prof, of pf.-
playing at the Petrograd Cons. He was
famous as an improviser.
Stelnl>ach, Emit, b. Lengenrieden, Baden,
Nov. 14, 1849. Pupil of Leipzig Cons., 1867-9 ;
907
STEINBACH— STEINWAY
from 1869-71 private pupil of Hermann
Levi in Karlsruhe. He began his career as
2d cond. in Mannheim, was a short time 1st
cond. in Hamburg, and became Hofkapellm.
in Darmstadt; in 1877 he went to Mayence as
munic. cond.; from 1899-1910, when he re-
tired, he was 1st cond. at the opera. In 1893
he cond. the Wagner works at Cov. Garden.
His comps.(sympn. poems, overtures, cham-
ber-music and songs) have remained MS.
Steinbach, Fritz, noteworthy conductor,
brother of preceding; b. Grunsfeld, Baden,
June 17, 1855; d. Munich, Aug. 13, 1916.
Pupil of his brother and the Leipzig Cons.
(1873); winning the Mozart scholarship, he
st. in Vienna under A. Door and G. Notte-
bohm and in Karlsruhe under V. Lachner.
1880-4, 2d Kapellm. in Mayence, where his
interpretations of Beethoven and Brahms
won nigh praise; 1883-6, teacher at the Raff
Cons, in Frankfort. Upon Brahms s recom-
mendation he was app. Billow's succ. as
Hofkapellm. in Meiningen, continuing the
triumphal tours of that famous orch.; in 1902
he was called to succeed Wullner as dir. of the
Cons., munic. Kapellm. and cond. of the
Gtirzenich concerts in Cologne; resigned in
1914 and settled in Munich. He made fre-
quent visits to London, and in 1906 was in-
vited by the N. Y. Philh. Soc. to cond. 2 of its
concerts (Mar. 23, 24). Although an emi-
nent interpreter of the classics, he was prin-
cipally a Brahms specialist. He publ. pf.-
pcs. and songs; also a vcl. -sonata and a septet
for str.- and wind-instrs.
Steinberg [stin'bthrg], Maximilian Os-
oeievitch, b. Vilna, June 22, 1888. Pupil at
the Petroerad Cons. (1906-8) of Glazunov
and Rimsky-Korsakov; now (1917) prof, of
comp. and instrum. there. A master of all
technical resources, he shows a decided lean-
ing toward classical ideals. — Works: A ballet,
Mtdas; op. 2 and 10, vars. for orch.; op. 3,
Symphony in D; op. 4, Russalka, overture;
op. 5, str. -quartet in A; op. 7, Prelude sym-
phonique; op. 8, Symphony in B m. ; op. 9,
Dramatische Fantaste; songs (op. 1, 6). Also
edited Rimsky-Korsakov s Foundations of
Instrumentation (1913).
Srein'del, Bruno, (I.), b. Zwickau, Sax-
ony, Aug. 29, 1866. Excellent 'cellist; pupil
of his father; for 3 years 1st 'cello in the Ber-
lin Philharm. under v. Bulow; since 1892 do.
in the Chicago Orch.
Steindel, Bruno, (II.), nephew of pre-
ceding; pianist; born Munchen-GIadbach,
Germany, 1890. His father, mus.-dir. in that
town, 19 his teacher. S. gave public concerts
as early as 1896; has played since in many
German cities, also in London, etc.
<Stei'ner, Jakob. See Stainer.
908
Stein'graber, Theodor, b. Neustadt-on-
the-Orla, Jan. 25, 1830; d. Leipzig, April 5,
1904. Founder and head of the Hanover
music-publishing firm, since 1890 in Leipzig.
Author (under the pseudonym 'Gustav
Damm') of a pf .-method.
Steinhauer [stinliowrj, Karl, b. DCissel-
dorf, May 29, 1852. From 1873-5 pupil at
the Leipzig Cons, of Wenzel (pf.), Richter
(harm.), Jadassohn (cpt.) and Reineclce
(comp.); was for many years teacher of sing-
ing at the Marienschule and cond. of the
guartettverein in Dusseldorf; establ. popu-
r music festivals in 1895; since 1901 munic.
music-dir. and cond. of the Musikvere in in
Oberhausen, continuing the festivals there;
since 1906 also ed. of 'Der deutschc Choree-
sang.' — Works- Op. 21, Lobgesang for ch.
and orch. ; op. 33, Zwei Rheinlieder for male
ch. and brass instrs.; op. 59, Meine Gat tin
for sop., ch. and orch.; numerous male cho-
ruses a capp. (about 80 op. -numbers); pf.-pes.
and songs.
Stei'nitzer, Max, b. Innsbruck, Jan. 20.
1864. Pupil of A. Kirchner (pf.) and J.
Htittner (theory) in Munich; Dr. phtl.
(Munich, 1885) with the dissertation Obrr
die psychologischen Wirkungen der musikalt-
schen Formen. Th.-cond. in Halle (1888)
and Elberfeld (1889); 1890-4, teacher at
Amalie Joachim's singing-school; conrl. of
various societies in Langenberg (1895-7)
and Mulheim-on-Ruhr (1897-1901); 1903-11,
prof, at the Cons, in Freiburg, Breisgau; since
1911 mus. critic of the 'Leipztger Neueste
Nachrichten.' An intimate friend of R.
Strauss from boyhood, he has written the most
comprehensive and authoritative biography
of that composer. — Works: Die menschlicken
und tierischen Gemutsbewegungen (1889);
Musikalische Strafpredigten (1903; 5th ed.
1914) ; Musikhistorischer Atlas. Eine Beispiel-
sammlung zu jeder Musikgeschichte (1908);
Merkbuchlein fur Mitglieder von Mannerchoren
(1908); Zur Methodik des Anfangsunterriehts
fur die Frauenslimme (in 'Riemann-Festschr./
1909); Richard Strauss (1911; 2d ed., en-
tirely rewritten, 1914; for the historian and
scholar the 1st ed. is more valuable).
Stelnway & Sons, renowned piano-manu-
facturers in New York and Hamburg. The
founder of the firm, Heinrich Engelhard
SteJnweg, b. Wolfshagen, Harz, Feb. 22,
1797; d. New York, Feb. 7, 1871. He learned
cabinet-making and organ-building at Goslar,
and went to Seesen about 1820, beginning as
a journeyman organ-builder, also working as
a joiner. He married in 1825. In his ambi-
tion to establish a business of his own, he
worked through many a night on his first
piano, which combined the merits of old Eng-
lish and the (then) new German instrs. It
STEINWEG— STEPHAN
found ready sale, and S. bent his energies to
pf. -const met ion; in 1839 he exhibited 1
grand, 1 3-stringed square, and 1 2-stringed
square at the Brunswick State Fair. The
Revolution of 1848 caused him to emigrate to
New York in 1850 with four sons [Charles,
b. Seesen, Jan. 4, 1829; d. there Mar. 31,
1865 ;— Henry, b. Seesen, Oct., 1829; d.
New York, Mar. 11, 1865;— William, b.
Seesen, Mar. 5, 1836; d. New York, Nov. 30,
1896;— and Albert, b. Seesen, June 10, 1840;
d. New York, May 14, 1877], leaving the Ger-
man business at Seesen in charge of the eldest
son, Theodor (b. Seesen, Nov. 6, 1825; d.
Brunswick, Mar. 26, 1889). For 3 years,
father and sons worked in different New York
factories; in 1853 they established a factory
of their own under the above firm-name; their
remarkable prosperity dates from 1855, when
they took 1st prize for overstrung pianos
(squares) with cast-iron frame at the N. Y.
Industrial Exhibition. Among the very nu-
merous prizes, medals, etc., since awarded,
may be mentioned 1st prize medal at Lon-
don, 1862; 1st grand gold medal of honor
for all styles at Paris, 1867 (by unanimous
verdict); and diploma for 'highest degree of
excellence in all styles' at Philadelphia, 1876.
—In 1865 Theodore S. gave up the Bruns-
wick business [see Steinweg], and became a.
full partner in the New York firm, which is
now the largest establ. of its kind in the world.
Up to 1917 more than 180,000 instruments
had been sold. At present (1917) the officers
of the corporation are Charles H. Steinway
(pres.), Frederick T. Steinway (vice-pres.),
F. Reidemeister (treas.), Nahum Stetson
(seer.), all of whom, with Henry Zieeler, con-
stitute the board df directors. — Cf. O. Floers-
heim, W. 5. (Breslau, 1894); E. Hubbard,
The Story of the Steinways (East Aurora, 1911).
Steinweg. Original name of the Steinway
family. Theodor S. continued the Seesen
business until 1859, then removing to Bruns-
wick, and carrying it on there till 1865, when
it was taken over by Grotrian, Helferich
& Schulz, Theodor Steinweg Nachfolcer [i. e.,
*G., H. & S., successors to T. S.'], this firm-
name being registered in 1869.
Stel'zner, Dr. Alfred, d. July, 1906 (by
suicide); instrument-maker in Wiesbaden,
later in Dresden; inventor of the Violotta and
Cellone, etc., stringed instrs. constructed on
a new system (by Weidemann at Wiesbaden),
for which he claimed increased sonority.
He introduced these instruments in the
scores of his operas. — Works: RubezaU
(Dresden, 1902), Swatowiis Ende (Kassel,
1903) ; Kinder des Todes and Cacilie were not
produced.
Stendhal, pen-name of Marie-Henri
Beyle, b. Grenoble, Jan. 23, 1783; d. Pans,
Mar. 23, 1842. A military official under
Napoleon. As 'Stendhal* he publ. in 1823 a
Vie de Rossini plagiarized in great part from
Carpani's Le Rossinianc; and Vies de Haydn,
Mozart et MStastase in 1817 (a reprint of a
former plagiarization, under the pseudonym
of 'Bombet,' of Carpani's Le Haydine). The
latter was publ. in English (1817) as Lives of
Haydn and Mozart. Cf . A. Paton, Life of 5.
(London, 1874); A. Chouquet, S.-Bork (Paris,
1902); A. Paupe, Histotre des csuvres de S.
(Paris, 1904).
StenTiammar, Wilhelm, b. Stockholm,
Feb. 7, 1871. His father, Per Ulrik S. (b.
Tornvalla, Feb. 20, 1829; d. Stockholm, Feb.
8, 1875], was a well-known sone-composer.
The son was educated at the Stockholm Cons,
(under R. Andersson, E. Sjogren, J. Dente
and A. Hallen), graduating 1890 with high
honors; 1892-3 he studied pf.-playing under
Barth at Berlin. His first large work, Prin-
sessan och Svennen [Princess and Page], for
solo, chorus and orch., was prod, at Stockholm
in 1892, he until then being known merely as
a gifted pianist and song-composer; his fame
was established by the production of his
Festival Cantata and a pf.-concerto in 1897.
In 1898 he brought out the music-drama
Tiffing at the R. Opera, Stockholm; in 1899
a second, Das Fest auf Solhaug [after IbsenL
at Stuttgart (at Stockholm, in Swedish, in;
1903). Both are music-dramas of a Wagne--
rian cast, but employing many folk-melodies.'
From 1897-1900 he was cond. of the Philh.
Soc. in Stockholm; 1900-1, 2d Hofkapellm.
at the R. Opera; 1906-7, in Italy; since 1907
cond. of the ^6^61^01^ and the 'Orkes-
terfdrening' in Goteborg. As pianist, cond.
and composer he occupies a foremost place
among Scandinavian musicians. — Other
works: Symphony in F; an overture, Ex-
celsior; vl.-concerto in A m.; 2 pf. -concertos
fop. 1, B m; op. 23, D m.); 4 str.-quartets
(op. 2, C; op. 14, C m.; op. 18, F; op. 27,
A m.); a vl .-sonata in C, op. 19; Serenade for
str.-quartet in A m., op. 29; the choral works
w. orch. Snofrid, Midrinter, Folkeii Niflheim
[The People of N.], Vdrnatt [Spring Night];
the ballads for bar. w. orch. Florez och Blan-
zeflor, EU folk, Ithaka; pf.-pes. (sonata, op.
12); fine songs. t
Stephan [steVfahn], Rudolf, b. Worm*
July 29, 1887; d. in France (fallen in battle)
Sept. 29, 1915. Pupil of K. Kiebitz in
Worms, B. Sekles in Frankfort and H.
Schwartz and R. Louis in Munich; talented
composer. Wrote Musik fur 7 Saiteninstru-
mente (str.-quintet, pf . and harp), Musik fur
Orchester, Musik fur Violine und Orchester,
Liebeszauber for bar. and orch., pf.-pes.,
songs, and an opera, Die ersten Menschen
(not yet prod. [1917]).
909
STEPHENS-STERN
Stephens, Catherine, soprano singer in
opera and concert; b. London, Sept. 18, 1794;
d. there Feb. 22, 1882. From 1813-35 she oc-
cupied a leading position in London mus. life;
married the octogenarian Earl of Essex in
1838. On the stage she was known as 'Kitty
Stephens.1 — Her nephew,
Stephens, Charles Edward, b. London,
Mar. 18, 1821; d. there July 13, 1892. Pi-
anist and teacher, also organist at several
London churches till 1875. His chief instruct-
ors were C. Potter (pf.), Blagrove (vln.),
and Hamilton (theory): In 1850, Associate,
in 1857 full member, of the Philharm., later
Director and Treas.; 1865, F. C. O.; 1870,
Hon. member of the R. A. M.; 1874, orie.
member of the Mus. Assoc. — Works: Orchl.
and chamber-music (2 symphonies; 2 string-
quartets; a pf. -quartet; a pf.-trio; etc.);
pf. -pieces (sonata in Ab; Duo brillant in E
f. pf. 4 hands; Duo concertant in G, and
another in C, f. 2 pfs.); organ-music, glees,
songs, church-music.
Stephenson, Morton, b. London, May 7,
1884. Pupil at the R. A. M. of S. Macpher-
son and F. Corder. Has written the symph.
poems Dawn and The Sea; The Jungle Book,
suite for orch.; Miniature Ballet for orch.;
Miniature Suite for str.-quartet; incid. music
to Mrs. A. Lyttleton's St. Ursula's Pilgrimage
and Shakespearean Masoue, and Calthrop
and Barker's The Harlequinade; 3 vl. -sonatas;
songs (6 Fairy Songs for children); pf.-pcs.
Ster'kel [stehr'kel], Abbe Johann Franz
Xaver, b. Wurzburg, Dec. 3, 1750; d. there
Oct. 12, 1817. Distinguished amateur com-
poser; in 1778 court chaplain and organist at
Mayence, from 1793 Kapellm. and canon.
The French occupation caused the court to
flee, and S. returned to his native city. From
1805-14 he was 'Hofmusikdirektor' to the
bishop of Mayence, residing then in Aschaffen-
burg. The warlike events of 1814 again
drove him to Wttrzburg. As a pianist his
reputation was somewhat like that of Liszt
in later years. Beethoven, who heard him in
1791, was greatly impressed by S.'s refine-
ment and delicacy. An opera, Farnace, was
prod, with great success in Naples (1780).
— Publ. 10 symphonies, 2 overtures, 6 pf.-
concertos, a string-quintet, 6 trios f. violins
and 'cello, 6 duos f. vln. and viola, violin-
sonatas, pf.-sonatas f. 2 and 4 hands, rondos
(the Rondo comique was popular), canzo-
nettas, songs, duets, etc. — See Q.-Lex.
Sterling, Antoinette, alto singer in con-
cert and oratorio; b. Sterlingville, N. Y.,
Jan. 23, 1850; d. Hampstead, Jan. 9, 1904.
Pupil of Signor Abella (New York), Mme.
Marchesi (Cologne), Mme. Viardot-Garcia
(Baden-Baden), and Manuel Garcia (Lon-
don). Returning to America, she gave suc-
910
cessful song-recitals, and for a time sane in
Henry Ward Beecher's Ch., at Brooklyn;
then went to London, making a very success-
ful debut at Covent Garden, Nov. 5, 1873, in
one of Riviere's Promenade Concerts. Soon
after singing at the Gloucester Festival in
1874 she gave up oratorio, and devoted her-
self to ballad-singing, in which she made such
striking successes. She introduced such
favorite songs (most of which were especially
composed for her) as Sullivan's Lost Chord
(Jan. 31, 1877), Cowen's The Better Land,
Molloy's Darby and Joan, Barnby's When the
tide comes in, etc In 1875 she made a tour
of the U. S., appearing in 40 concerts under
Th. Thomas. During her Australian tour in
1893 her husband, Mr. John MacKinlay,whonr
she had married in 1875, died at Adelaide.
She held high rank in the mus. world of Lon-
don, her permanent home. Her son, Malcolm
S. MacKinlay [see Appendix], publ. A. S.
and Other Celebrities (London, 1906).
Sterling, Wlnthrop S.f b. Cincinnati,
Nov. 28, 1859; st. there in the College of
Music, and from 1883 at Leipzig Cons, under
Zwintscher, Jadassohn and Reinecke (pri-
vately under R. Hoffmann, comp., and Frau
Unger-Haupt, voice-training); later in Lon-
don under Turpin, Behnke and Shakespeare,
and was organist of the W. London Taber-
nacle. From 1887-1903 head of organ-de-
partment, and teacher of singing and comp.,
at the Cincin. Coll. of Music; founded tne
Metropolitan ^ Coll. of Music in Cincinnati
(1903), of which he has since been dean; has
appeared frequently as concert-organist
(World's* Fair, Chicago; Pan-Amer. Expos.,
Buffalo, etc.).
Stern [stelirn], Adolf, poet and eminent
literary historian;, b. Leipzig, June 14, 1835;
d. Dresden, April 15, 1907; prof, at the Tech-
nische Hochschule' in Dresden. Publ. Wan-
derbuch ( 1877 ; about Bayreuth), Die Musik in
der deutschen Dicktung (1888), Margarete Stern
(1901; biogr. of his wife), Cluck in Versailles
(1904); ed. the poems of P. Cornelius (1890)
and F. Liszts Brief e an K. Gille (1903).
Stern, Julius, b. Breslau, Aug. 8, 1820;
d. Berlin, Feb. 27, 1883. Pupil of P. Liistner
(vln.); from 1832 of Maurer, Ganz, and St.
Lubin, at Berlin; later of Rungenhagen at
the Akademie. St. 1843-6 at Dresden and
Paris, where he began his career as cond. of
the 'Deutscher Gesangverein'; in 1847 he
founded the famous 'Sternscher Gesangverein'
in Berlin, conducting it until 1874. JSucc. J.
Stockhausen till 1878; M. Bruch till 1880;
E. Rudorff till 1890; F. Gernsheim till 1904;
O. Fried till 1911; J. Fr6be till dissolution in
1912]. With Kullak and Marx he founded
the Stern Cons., in 1850; the others withdrew
in 1855 and '57 respectively. He received
STERN— STEWART
the title of 'Kgl. Musikdtr.' in 1849, and that
of 'Professor' in 1860. From 1869-71 he also
cond. the Berlin Symphony Orch.; from
1873-4, the concerts in the 'Reichshalle.'
He publ. Barcarolle (op. 4) for voice, vcl. and
pf.; Les Adieux (op. 25) for vl. and pf.; songs
and male choruses. His opera Ismene (op% 11)
was not prod. — Cf. Richard Stern, Erinne-
rungsbl&tter an Julius Stern (Berlin, 1886).
Stern, Leo, b. Brighton, Engl., April 5,
1862; d. London, Sept. 10, 1904. 'Cellist;
Supil of Piatt i, and at Leipzig of Klengel and
tavidov. First concert-tour 1888, with Adel.
Patti; played with great applause in Germany
and France. American tour, 1897-8. He
publ. solo pieces f. 'cello, and songs.
Stem, Margarete, nie Herr, b. Dresden,
Nov. 25, 1857; d. there Oct. 4, 1899. Pianist;
pupil of Karl Kragen, Liszt and Frau Schu-
mann. In 1881 she married the poet and
literary historian Dr. Adolf Stern. — Cf. A.
Stern, M. S. (Leipzig, 1901).
Sternberg, Constantta (Ivanovitch,
Edler ▼on), b. Petrograd, July 9, 1852. Pi-
anist and composer; pupil 1865-7 of Mo-
scheles, Coccius, Reinecke, Brendel, Richter,
Hauptmann and David, at Leipzig Cons.;
1872-4, at the Berlin Akademie, of Th.
Kullak, Wiierst and H. Dorn, visiting Liszt
in summer. 1867-9, cond. of Bruhl Th.,
Leipzig, and asst.-chorusmaster at City Th.;
1870, cond. at WQrzburg Th., and Kissingen
Summer Th.; 1871, of court opera at Meck-
lenburg-Strelitz; 1875-7, Dir. of Academic
Music-School, and court pianist, at Mecklen-
burg-Schwerin; 1877-9, concert-tours in
Germany; 1879-80, tour through Russia,
Asia Minor, and Central Asia; 1880-5, con-
cert-seasons in the United States; 1885-9,
Dir. of Coll. of Music at Atlanta, Ga.; 1890
till now (1917), Dir. of the 'Sternberg School
of Music,' Philadelphia. Still makes occa-
sional short pianistic tours. — -Publ. works:
6 pf .-trios; Danses cosaques f . violin (op. 13) ;
Fantasia f. 'cello (op. 18); about 200 salon-
pieces f. pf.; 4 concert-etudes; 8 songs (320
pieces with opus-number). Author of The
Ethics and Esthetics of Piano-Playing (1917).
Sternfeld [steTirn'-L Richard, b. Kdnigs-
berp, Oct. 15, 1858. Prof, of history at Berlin
Univ. A thoroughly trained musician, he
has publ. pf.-pes. and songs, and valuable
books concerning music: Beethoven und Wag-
ner (1885), H. von Billow (1898), Beethoven' s
tMissa Solemnis1 (1900), Albert Niemann
(1904), Schiller und Wagner (1905), R. Wagner
und die Bayreuther Festspiele (2 vols.; 1906);
has ed. Wagner's early essays as Aus R.
Wagners Pariser Zeit (1906).
Stevens, Richard John Samuel, b. Lon-
don, Mar. 27, 1757; d. there Sept. 23, 1837.
One of the most popular of English glee-
composers; from 1801, prof, of music at
Gresham College. Publ. over 40 glees, among
them Sigh no more, Ladies; Ye spotted snakes;
The cloud-capt towers; Crabbed Age and Youth.
Stevenson, E. Irenams, b. Madison, N. J.,
1868. An indefatigable musico-literary pil-
grim in Europe, he early began his career as
a writer. Has been mus. editor of the
'Independent' (New York) from 1881, and
of 'Harper's Weekly* from 1895. As such he
was a widely-read and influential musical
journalist, inclining towards conservatism,
although an outspoken admirer of much in
Wagner's works. Since 1900 he has been
living in Europe, frequently changing his
residence (France, Italy, Switzerland). Has
publ. 2 mus. novels, A Matter of Temperament
and Silvester Sard, Teacher of Vocal Music;
and a dozen carefully finished sketches, col-
lected under the title Some Men; and Women;
and Music.
Stewart, Humphrey John, b. London,
May 22, 1856. He received his entire mu-
sical education from private teachers in Lon-
don; lived from 1886-1901 in San Francisco
as organist of various churches; 1901-2, orjj.
at Trinity Ch., Boston; 1903-14, again in
San Francisco as org. at St. Dominic's. In
1915-16 he was official organist of the Panama
Expos, at San Diego, was awarded a diploma
of honor and gold medal 'for distinguished
services'; in 1917 app. permanently ore. of
the magnificent organ at San Diego (built
specially for the Exposition). Mus. Doc.
(Univ. of the Pacific); member and one of
the founders of the A. G. O.; winner of
several prizes (A. G. O. Gold Medal, 1900;
Chicago Madrigal Club, 1907; Pittsburgh
Male Chorus, 1911). — Works: The operas
His Majesty (San Francisco, 1890), The
Conspirators (ib., 1900), Montezuma (lb.,
1903), King Hal (ib., 1911); an oratorio, The
Nativity (1888); an orchl. suite, Scenes in
California; 3 masses (D m., G, C) and other
church-music; organ-music; pf.-pes.; part-
songs and songs.
Stewart, Sir Robert Prescott, b. Dublin,
Dec. 16, 1825; d. there Mar. 24, 1894. Choir-
boy at, and at 18 organist of, Christ Ch.
Cath., Dublin; in 1846, cond. of the Univ.
Choral Soc.; in 1851, Mus. Doc., Dublin; in
1852, Vicar-choral at St. Patrick's; knighted
in 1872, and became prof, of harmony, etc.,
at the R. Irish Acad, of Music; in 1873, cond.
of the Philharm. — Works: Numerous odes
and cantatas; church-services, motets, an-
thems; glees, songs, etc. — Cf. O. Vignoles,
Memoirs of Sir R. P. 5. (London, 1899);
J. C. Culwtck, The Works of Sir R. S. (Dub-
lin, 1902).
911
STHAMER-ANDRIESSEN— STIERLIN
Stha'mer-AndrieMen, Pelagie, dramatic
soprano; b. Vienna, June 20, 1862. Pupil of
Vienna Cons., and of Frau Dreyschock, Ber-
lin; sane with Neumann's travelling opera-
troupe, from 1884-90 at Leipzig City Th.,
later at Cologne and Vienna. Married the
architect Ende of Wannsee in 1890.
Stiastny [Stastntf, Bemhard Wenzel,
b. Prague, 1760; d. there 1835; 'cellist in the
theatre-orch.; from 1810-12, prof, at the Cons.
Wrote sonatas and f ugal pieces f. 2 'celli, and a
•cello-method.— His brother, Fran* Johann
[Jan], b. Prague, 1764, d. c. 1820; 'cello-vir-
tuoso in Prague, Nuremberg and Mannheim;
publ. a concertino f. 'cello, 'cello-duets, a
divertissement f. 'cello, viola and bass,
'cello-sonatas w. bass, etc
Stich [stfyh], Jan Vaclav [Ger. Johann
Wenzel; he Italianized his German name,
Tohann Stich, as 'Giovanni Punto'], famous
horn-player; b. Zchuzicz, n. Czaslau, Bo-
hemia, 1746; d. Prague, Feb. 16, 1803.
After brilliant tours in Germany, Hungary
and Italy, he entered the service of the
Prince-Bishop of Wurzburg in 1781; in 1782
became chamber-musician to the Comte
d'Artois (later Charles X) at Paris; conducted
a small vaudeville-theatre during the Reign
of Terror; and returned to Germany in 1799,
enchanting Beethoven at Vienna, who wrote
a sonata (op. 17) for him, and played it with
him at a concert, April 11, 1800. He went
to Prague in 1801. — Publ. 14 horn-concertos;
Hymne & la liberti, w. orch.; sextet f. horn,
clar., bassoon and strings; quintet f. horn,
flute and strings; 24 quartets f. horn and
strings; 20 trios f. 3 horns; duets f. 2 horns,
and f. horn and d.-bass; studies f. horn; a
Method f. horn (1798; revision of that by
his teacher, Hampel); also string-trios and
violin-duets.
Stieger [ste'ger], Franz, b. Marburg, Sty-
ria, Sept. 3, 1843. He was 'Oberbaurat' in
the dept. of railroads at Vienna; retired
1908. From early youth he was a systematic
collector of data relating to the history of
opera. Although he has not pub!, his very
extensive and valuable material, he_ has al-
lowed scholars to consult it. He "collabo-
rated with H. Riemann on the Opernhandbuch
(1885) and with E. Kastneron Musikalische
Chronik and Neuestes .... Opernlexikon (1889;
only one fascicle [A-Azzoni] printed); also
contributed to every ed. of Riemann 's Musik-
lexikon.
Stiehl [stel], Heinrich (Franz Daniel),
b. Lubeck, Aug. 5, 1829; d. Reval, May 1,
1886. Organist; pupil of Lobe, and of Mo-
scheles, Gade and Hauptmann at Leipzig
Cons. From 1853-66, organist at St. Peter's,
and cond. of the 'Singakademie,' at Petro-
grad. After tours in Germany, Italy and
England, he was cond. of the St. Cecilia
at Belfast 1874-8; taught at Hastings; and
from 1880 was organist at Reval, and cond.
of the 'Singakademie.' — Works: 2 operettas*
Der Sckatzgrdber, and Jery und Bdiely; pan-
tomimic intermezzo SchntewiUchen; (hater-
turejriomphale and Die Vision, f. orch.; the
choral work Elfenkonigin; 2 pf. -quartets (op.
40, F; op. 172, D); 3 pf.-trios (op. 32, Eb;
op. 36, Bi>; op. 50, G m.); a 'cello-sonata
in A m. (op. 37); a violin-sonata in Bb (op.
100); numerous comos. for pf. (sonata in L>,
op. 38; Spasierg&nge itn Schwarswald, op. 86;
Italienische Reiscbtlder, op. 98; Hexenlan*,
op. 124; Musikalische Portraits, op. 166; etc.);
songs.
Stiehl, Karl Johann Chrfotoph, brother
of preceding; b. Lubeck, July 12, 1826; d.
there Dec. 2, 1911. Organist; pupil of his
father, Joh. Dietrich S. lb. Lubeck, July 9,
1800; d. there June 27, 1873; org. at St.
Jacobi]; 1848-58 org. at Jever; 1858-77
org. and music-dir. at Eutin; 1878-97 cond.
of the 'Musikverein' and 'Singakademie' at
LUbeck; was also mus. critic for the 'Liibecker
Zeitune,' and custodian of the mus. section
in the Liibeck Library. — Publ. Zur Geschichte
der Instrumentalmusik in Lubeck (1885);
Liibeckisches Tonkunstler-Lcxikon (1887);
Musikgeschichte der Stadt Lubeck (1891);
Geschichte des Theaters in Lubeck (1902).
Also ed. Buxtehude's sonatas a 3 and 4 (vol.
xi of 'Dkm. deutscher Tonk.').
Stiehle, Ludwift Maximilian Adolf, b.
Frankfort, Aug. 19, 1850; d. Mulhausen,
Alsatia, July 6, 1896. Violinist; pupil of
Vieuxtemps, Heermann and Joachim; in
1872 he joined Alard's Quartet at Paris; in
1873, that of the Baron von Derwies, at Nice;
in 1875, the Hochberg Quartet; then settled
in Mftlhausen and gave regular quartet-even-
ings with Hans Huber in Basel. He left a
valuable coll. of early chamber-music.
Stier [ster], Alfred, b. Greiz, Nov. 27, 1880.
After graduation from the teachers' sem.
there he taught from 1900-3; then st. with
Hohmeyer and H. Zollner at the Leipzig Cons.
(1903-4); app. cantor in Limbach in 1904;
since 1911 cantor and org. at the Versohnungs-
kirche in Dresden. Has written a Rhapsodic
for soli, ch. and orch. (op. 11); pf. -sonata
(op. 1); 2 yl. -sonatas (op. 4, 9); str. -quartet
(op. 8}; trio for clar., horn and pf. (op. 12);
str.-tno (op. 14); songs (op. 2, 6, 10, 13);
motets (op. 3).
Stierlin [ster'len], (Johann Gottfried)
Adolf, b. Adenau, Rhine Prov., Oct. 14, 1859.
St. singing under F. Schmidt at the Kgl.
Hochschule in Berlin; was eng. as bass at
various theatres until 1897, when he settled
in Miinster as dir. of his own Cons. Comp.
of the operas Scapina (Miinster, 1887) and
912
STIGELLI— STOECKEL
Zamora (Halle, 1893): a ballet, Die sieben
Todsunden; Weihnachtsoratorium; male cho-
ruses a capp.
Stigelli, Giorgio, [rede Georg Stie'gele,]
celebrated German tenor; b. about 1820; d.
in his villa Boschetti, n. Monza, Italy, July 3,
1868. Made long concert-tours in Germany,
and 1864-5 in America. Comp. several songs,
among them the popular Die schonsten Augen.
Stillmann-Kelley. See Kelley, Edgar
Stillman.
Stirling, Elizabeth, b. Greenwich, Engl.,
Feb. 26, 1819; d. London, Mar. 25, 1895.
Pupil of W. B. Wilson and E. Holmes (org.
and pf.); J. A. Hamilton and G. A. Macfarren
(comp.). In 1839, organist of All Saints',
Poplar, and 1858-80 of St. Andrew's, Under-
shaft. In 1853 she passed the examination
for the degree of Mus. Bac. at Oxford (her
exercise was Psalm 130 a 5, w. orch.), but did
not receive the degree, there being no prece-
dent for conferring it upon a woman. Mar-
ried F. A. Bridge in 1863.— Publ. 6 Pedal-
Fugues and other excellent organ-pieces;
some part-songs won great popularity (e. g.,
All Among the Barley).
Stock [st6hk], Frederick A., b. Julich,
Rhine Prov., Nov. 11, 1872. Taught by
his father, a bandmaster; from 1886-91 he
attended the Cologne Cons., studying vl.
with G. Japha and comp. with Wullner,
Zdllner and Humperdinck; 1891-5, violinist
in the Cologne munic. orch.; in 1895, leader
of the violas in the Chicago Symph. Orch.
(Th. Thomas); app. asst.-cond. in 1901,
conducting all concerts outside of Chicago
(1903-5), and elected cond. after Thomas's
death in 1905; also cond. of Musical Art
Club (1907-9). In 1910 he was elected a
member of the Amer. Inst, of Arts and
Letters, and in 1915 made Mus. Doc. by
Northwestern Univ. An efficient drill-mas-
ter and inspiring leader, the orch. has main*
tained under him the high degree of ex-
cellence established by his famous prede-
cessor. His works are remarkable for purity
of style and masterly technic rather than for
striking individuality.— Works: Op. 6, str.-
quartet in C m. (1901); op. 7, Symphonic
Variations in B m. (1903); op. 8, Symphonic
Waltz in D (1907); op. 18, Symphony in C m.
(1909); op. 19, Festival March and Hymn to
Liberty (for 20th anniv. Chicago S. O., 1910);
op. 20, Life's Springtide, overture in A (1913);
op. 21, Festival Prologue (for 25th anniv.
Chic. S. O., 1915); op. 22, vln.-concerto in
D m. (Norfolk Fest., 1915); songs.
Stockliausen, Franz, brother of Julius S.,
b. Gebweiler, Alsatia, Jan. 30, 1839. Pupil
of Alkan at Paris, and of Moscheles, Richter
and Hauptmann at Leipzig Cons., 1860-2;
from 1868, cond. of the 'Soc. de Chant Sacr6'
at Strassburg (resigned 1879), and mus. dir.
at the cathedral; 1871-1907 Director of the
Strassburg Cons., which under his administra-
tion rose to considerable importance. Re-
ceived the title of Kgl. Professor in 1892;
living in retirement since 1907.
Stockliausen, Julius, son of the harpist
and comp. Franz S. (1792-1868]; eminent
baritone vocalist and teacher; b. Paris, July
22, 1826; d. Frankfort-on-Main, Sept. 22,
1906. Pupil of Paris Cons., and of Manuel
Garcia in London, soon winning renown as a
concert-singer. From 1862-7, cond. of the
Philharm. Concerts and the 'Singakademie'
at Hamburg; 1869-70, chamber-singer at
Stuttgart; 1874-8, cond. of the 'Sternscher
Gesangverein' at Berlin; 1878-9, teacher of
singing at the Hoch Cons., Frankfort-on-
Main; after Raff's death in 1882 he resumed
the professorship at the Cons., retiring in
1898; after that time he gave private lessons
only. As an oratorio and Lieder singer he
was unsurpassable; a close personal friend of
Brahms, he was among the first and greatest
interpreters of that master. He also was an
excellent conductor. His Gesangsmethode (2
vols., 1886, '87; Engl. tr. by S. Lowe) is a
standard work. Also publ. Gesangstechnik
und Stimmbildung and several songs.
Stocklioff, Walter W., b. St. Louis, Nov.
12, 1879. Entirely self-taught in music;
living as composer and teacher in St. Louis.
His best works show the unmistakable in-
fluence of MacDowell. Has publ. 3 pf. -trios;
a sonata, In the Mountains (suite), Three
Poems, etc., for pf.; also some songs.
Stoeckel, Carl, son of Gustav Jakob S.j
b. New Haven, Conn., Dec. 7, 1858. Through
his personal devotion and generous financial
support he raised the annual festival of the
'Litchfield County Choral Union,' establ. by
Robbins Battell (b. Norfolk, Conn., April 9,
1819; d. there Jan. 26, 1895), from an event of
merely local to one of national importance.
In 1899 the 'Norfolk Glee Club* and 'Win-
chester Choral Union' joined forces, to which
later were added those of the 'Salisbury
Choir' (1905), 'Canaan Choral Soc.' (1906)
and Torrington Musical Assoc.' (1906),
resulting in an aggregation of almost 700
trained voices (1917). The first festivals
were held in the Winchester Armory, but
Mr. S., in 1902, built on his estate in Nor-
folk the 'Music Shed' (capacity 2,000 seats),
where all concerts have .been given since.
The festival itself has come to be known as
'The Norfolk Festival.' Every year in June
3 or 4 concerts are given, under eminent
conductors with the assistance of famous
soloists and an orchestra selected from the
best players of Boston and New York, all
913
STOECKEL— STOLTZ
expenses being met by Mr. S. ; tickets are not
sow, but sent to guests invited by the com-
mittee. What has contributed especially to
the fame of these festivals is the production,
annually, of 2 important new works (choral
or orchestral), generally by American com-
posers, for which Mr. S. has establ. sub-
stantial cash prizes. Among the composers
so far (1917) represented are J. A. Carpenter,
G. W. Chadwick, S. Coleridge-Taylor, H. F.
Gilbert, P. Grainger, H. K. Hadley, E. S.
Kelley, H. Parker, J. Sibelius, C. V. Stanford,
Deems Taylor, etc.
Stoeckel, Guatav Jakob, b. Maikammer,
Bavarian Palatinate, 1819; d. Norfolk, Conn.,
May 14, 1907. He came to America in 1847,
and in 1849 became instructor of music and
chapel-organist at Yale Univ.; app. Battell
Prof, of Music in the newly establ. dept.of
music at Yale; retired in 1896 with the title
'Prof, emeritus.' He comp. some vocal and
instrl. pes., an*, college songs, and assisted in
editing the 'College Hymn-book' for male vcs.
Stdhr, Richard, b. Vienna, June 11, 1874.
Having completed his medical studies in
Vienna (M. D., 1898), he ent. the Cons.,
studying with F. Schenner (pf.), J. Vockner
(org.) and R. Fuchs (comp.); app. asst.-
teacher of theory in 1901, and regular teacher
in 1904. — Works: For orch., op. 8, Suite for
str.-orch.; op. 18, .Symphony No. 1, in A m.;
op. 29, Fantasie in F m. for org. and orch.;
op. 37, Symphony No. 2, in D; op. 40, con-
certo for trumpet and orch., in D m. — Cham-
ber-music, op. 2, octet for str.- and wind-
instrs.; op. 7, pf.-quintet in G m.; op. 16, pf.-
trio in Eb; op. 22, str.-quartet in Dm.; op.
27, vl.-sonata in G; op. 32, Kammersymphonie
(for strs., wood-wind and harp); op. 43, pf.-
quintet in C m. — Fern, choruses w. orch.
(op. 10); mixed do. (op. 12, 36); male do.
(op. 30, 38, 42, 44, 45); pf.-pes.; songs and
duets; also a fairy opera, RumpelsUlzchen
(op. 31). — Theoretical works: jPraktischer
Leitfaden der Harmonielehre (1909), Musika-
lische Formenlehre (1911), Praktischer Leit-
faden des Kontrapunkts (1913), Modula-
tionslehre (1915).
Sto'janovlts, Peter Lazar, b. Pest, Sept.
6, 1877. Violin-pupil of J. Hubay at the Natl.
Cons, there; then at the Vienna Cons, of J.
Grtin (vl.), R. Fuchs and R. Heuberger
(comp.); taught at the 'Neues Konserva-
torium' in Vienna (1909-10); 1911-13, in-
spector of the munic. music-school in Pest;
since 1913 living in Vienna as dir. of his own
• Violinschule fur hdhere Ausbildung. * — Works :
The comic operas Tigris [The Tiger] (Pest,
1905) and Floribella; a ballet, Der neue Romeo.
Op. 1, vl.-concerto in D m.; op. 3, vl.-sonata
in D; op. 9, pf.-quintet in C m.; op. 15,
pf. -quartet; op. 16, pf.-trio; also Sehule drr
SkatenUchnik.
Stojow'skl [-y6hf'ske], Slfcismund, b.
Strelce, Poland, May 14, 1870. Pianist, pu-
pil of L. Zelenski at Cracow, and of Diemer
(pf.) and Delibes (comp.) at the Paris Cons.
1887-9, winning 1st prizes for pf.- playing
and composition. St. later under Paderewski.
At an orchl. concert of his own works, ffiven
in Paris, 1891, he prod, a pf. -concerto in F#m.
Lived in Paris till 1906, when he came to the
U. S. as head of the pf.-dept. at the Inst, of
Musical Art in New York ; also appeared with
success in recitals and with orcn.; 1912—17,
head of the pf.-dept. at the Von Ende School
of Music in New York. In 1913 he made
a successful European tour.— Works: Op. 3,
Pf. -concerto in F; op. 9, Suite in Eb for orch. ;
op. 20, Romanze for vl. and orch.; op. 21,
Symphony in D m.; op. 22, vln. -concerto in
G; op. 23, Rhapsodie symphonique for pf. and
orch.; op. 31, Kontertstuck in D for vcl. and
orch.; op. 13, vl.-sonata in G; op. 18, vcl.-
sonata in A; numerous comps. for pf.
Stokowski [-k6hf'ske], Leopold, distin-
guished orchestral conductor; b. (of Polish
parents) London, April 18, 1882. He began
to play the pf. and vl. in childhood, and while
pursuing his academic studies at Queen's Coll.,
Oxford, he st. comp. with Sir H. Parrv and
C. V. Stanford; later st. instrumentation at
the Paris Cons. For a time he was org.
at St. James's, Piccadilly; 1905-8, org. and
choirm. at St. Bartholomew's, New York,
where his organ-recitals attracted attention;
during the summer of 1908 he cond. a series
of orchl. concerts in London; 1909-12, cond.
of the Cincinnati Symph. Orch.; since 1912
cond. of the Philadelphia Symph. Orch. On
Mar. 2, 1916, he gave in Phila. the first Amer.
performance of Mahler's Symphony No. S
(Et>) with a body of 1 ,000 instrumentalists and
singers (repeated with the same forces at the
M. O. H. on April 9); made Mus. Doc. by
Univ., of Pa. (J"ne» 1916). He married the
pianist Olga Samarov on April 24, 1911.
Stoltz, Rosine, [recte Victorine N6b,]
brilliant dramatic mezzo-soprano; * b. Paris,
Feb. 13, 1815; d. there June 30, 1903. The
daughter of a poor janitor; the Duchess de
Berri first sent her to a convent to be edu-
cated, and in 1826 to Choron's school, where
she entered Ramier's class as 'Rose Niva.'
Debut at Brussels in 1832 under the assumed
name of 'Mme.Terneaux'; then sang as 'Mile.
Heloise' at Spa and Antwerp, and toward
the end of 1833 at Lille as 'Rosine Stoltz/
meeting with fair success; then was eng. in
Amsterdam. Reappearing in Brussels, in
1836, she sang Rachel to Nourrit's feleazar
(La Juive); her acting created a sensation,
and Nourrit recommended her for the Paris
914
1
STOLZ— STORER
Ope*ra. Debut there as Rachel on Aug. 25,
1837, with frenzied applause; for ten years
she reigned without a rival, winning her
greatest successes in rdles specially written for
her: Leonore in Donizetti's La Favorite (1840),
Catarina in Halevy's La Reine de Chypre
(1841), Zayda in Donizetti's Dom SSbastien
(1843), Marie Stuart in Niedermeyer's opera
(1844), Beppo in Halevy's Lazzarone (1844),
Estrelle in Balfe's lttoUe de Seville (1845).
Rossini arranged for her a 'pasticcio' from his
Donna del Lago, which was prod, in 1846 as
Roberto Bruce, S. singing the r6le of Marie;
the work was a dismal failure. By that time
her phenomenal success had caused a great
deal of jealousy; her enemies organized an
active opposition, so that on May 1, 1847,
during a repetition of Bruce, she was hissed.
S. immediately cancelled her contract, and in
1849 left the city. After a short tour in the
provinces she went to Brazil; on her return
in 1856 she appeared once more at the Opera,
but her voice was gone. — A. Royer (librettist
of La Favorite) describes her as "passionate,
violent, dramatic beyond description. She
lived her parts as no one ever did before, or
ever will. Ten of her songs were publ. in
Paris.— Cf. G. Borde, R. S. (Paris, 1909).
Stolz, Teresina, dramatic soprano; born
Trieste, 1840; d. Milan, Aug. (?) 1902.
Pupil of the Milan Cons.; sang 1860-80 in
the chief Italian cities, the Paris Italian opera,
etc., with brilliant success. Principal rdles
Leonore, Princess Eboli, Aida, Amelia (Un
Ballo in Maschera), La Favorita, etc.
St6l'zel [Stdlzl], Gottfried Heinrich, b.
Griinstadtl, Saxony, Jan. 13, 1690; d. Gotha,
Nov. 27, 1749. Pupil of cantor Umlauf at
Schneeberg, and Melchior Hofmann at Leip-
zig; taught at Breslau, and there prod, his
first opera, Narcissus, in 1711, followed by
Valeria, Artemisia and Orion at Naumburg
(all 1712). After a journey to Italy, and a
sojourn in Prague (bringing out Venus und
Adonis, 1714; Acis undGalathea, 1715; and Dos
durch die Liebe besiegte Cluck, 1716), he went
to Bayreuth (Diomedes, 1717), Gera, and in
1719 became court cond. at Gotha (Der Mu-
senberg, 1723). — Works: 22 operas; the
pastoral Rosen und Dornen; 14 oratorios; 8
double sets of cantatas and motets for the
church-year; masses; symphonies, serenades,
and table-music; etc. (all MS.). — See Q.-Lex.
Stol'zenberg, Benno, stage-tenor; b. Kd-
nigsberg, Feb. 25, 1827; d. Berlin, April 22,
1908. Pupil of Mantius and H. Dorn; debut
at Konigsberg, 1852, as Alma viva; sang with
great success on several stages, notably at
Karlsruhe ('chamber-singer'), and Leipzig
(from 1876); Director of Danzig City Th.
1878-82; then taught singing in Berlin, and
in 1885 became teacher of solo singing at
Cologne Cons.; from 1896, Dir. of a vocal
school for opera and concert, at Berlin.
Std'pel, Franz (David Chris toph), b.
Oberheldrungen, Saxony, Nov. 14, 1794; d.
Paris, Dec. 19, 1836. Noteworthy as the
introducer (1822) of Logier's method of pf.-
teachinp in Berlin; later in other cities, finally
in Pans; nowhere with striking success.
—Publ. System der Harmonielehre (after Lo-
gier; 1825); Grundzuge der Geschichte der
modernen Musik (1821); Beitrdge sur W&r-
digung der neuen Methode des gleichzeitigen
Unterrichts einer Mehrzahl Schiller im Piano-
for t€ spiel und der Theorie der Harmonic (1823);
Vber J. B. Logiers System der Musikwissen-
schaft (1827); etc.
Stor, Karl, b. Stolberg, Harz, June 29,
1814; d. Weimar, Jan. 17, 1889. Violinist;
pupil of Gotze and Lobe at Weimar; in 1827,
court musician; in 1857 he was app. court
cond., but in a few years failing eyesight com-
pelled his resignation. — Works: Opera Die
Flucht (Weimar, 1843); Tonbilder zu Schiller s
,Lied von der Glocke,1 f. orch. (op. 20); a vl.-
concerto (op. 30); overtures; ballets; a Stand-
cken f. 'cello w. orch. (op. 22); male choruses;
songs.
Storace, Stephen, b. London, 1763; d.
there Mar. 19, 1796. Pupil of his father,
Stefano S. (recte Sorace), a noted double-
bass player, and of the Cons, di S. Onofrio at
Naples. Brought out a comic Italian opera at
Vienna ; lived in London as composer to the
principal theatres. • He prod. 18 stage-works,
besides adaptations of Dittersdorf 's Doctor und
Apotheker and Salieri's Grotta di Trofonio.
—His sister, Anna Selina (1766-1817), was a
famous stage-soprano (coloratura), a pupil
of Sacchini in Venice. — See Q.-Lex.
Storch [stohryh], M. Anton, b. Vienna,
Dec. 22, 1813; d. there Dec. 31, 1888. Ka-
pellm. at the Carl and Josephstadter theatres.
Wrote many favorite quartets for male voices
(Letzte Treue, Grun); also music to burlesques.
Storck, Karl G. L., b. DUrmenach, Al-
satia, April 23, 1873. St. hist, of literature,
art and music at the universities of Strassburg
and Berlin (Dr. t>hil., 1897); living in Berlin
as mus. critic of the 'Deutsche Zeitung' and ed.
of 'Der Turnier.'— Works: Der Tanz (1903);
Das Opernbuch (1905; 10th ed. 1913); Ge-
schichte der Musik (1905; 3d ed. 1914); Die
kulturelle Bedeutung der Musik (1907); Mo-
zart (1908) ; Musik und Musiker in Karikatur
und Satire (1911); Musik und Politik (1911);
E. Jaques-Dalcroze (1912); he is a frequent
contrio. to various important periodicals. Has
edited selections from the letters of Beethoven
(1905), Mozart (1905) and Schumann (1907).
Storer, John, b. Hulland, n. Derby, May
18, 1858. 1865-9, chorister at Ashbourne
915
STOWE— STRADIVARI
Ch.; at Scarborough he sang in All Saint's
Ch. as soloist, and later was articled to the
organist, Dr. John Nay lor; Mus. Bac, Ox-
ford, 1878. From 1879-81, organist and
choirm. at St. Michael's, Whitby; 1882-5, in
Scarborough as org. at the Parish Ch. and
cond. of the Philh. Soc.; 1885-7, org. at Par-
ish Ch., Folkestone; 1887-91, org. and choirm.
at St. Mary's, Clapham. In 1891 he was app.
mus. dir. of the old Globe Th. in London, and
for several years filled similar positions in
various London theatres. Later org. and
choirm. at St. Patrick's, Soho, Downside
Abbev, Somerset, and St. Mary's, Sheffield; is
now (1917) living inWaterford, Ireland, as org.
at the R. C. Cath. and prof, of Plain-Chant at
St. John's Ecclesiastical College; there he
founded the W. Acad, of Music and a per-
manent opera company, the outcome of a
series of successful performances of Wallace's
Maritana, which he had arr. for the celebra-
tion of the Wallace centenary (1913). In
1886 he was made Mus. Doc. by Trinity
Coll., Toronto. — Works: The operas The
Punchbowl (London, 1887) and Gretna Green
(ib., 1889); an oratorio, Deborah and Barak
(1881); The Tournament , overture for the
Folkestone Expos. (1886); 2 symphonies,
The Holiday (1909) and Vita (1914); astr.-
quartet (1907); several masses (in F m. for
3 choirs, org. and orch.); services; anthems;
songs ; part-songs ; organ- pieces.
St5'we, Gustav, born Potsdam, July 4,
1835; d. there April 30, 1891. Pupil of the
Stern-Marx Cons, at Berlin; also of Marx
(comp.) and Zech (pf.). Founder (1875)
and lifelong director of the Potsdam School
of Music. — Publ. Die Klaviertechnik, darge-
stellt als musikalisch-physiologische Bewegungs-
lehre (1886; thorough analysis of the ele-
ments of piano-touch); also papers in Bres-
laur's 'Klavierlehrer'; pf. -pieces; songs.
Stradal [strah'dahl], August, pianist; b.
Teplitz, Bohemia, 1860. Pupil of Door (pf.)
and Bruckner (comp.) at the Vienna Cons.;
in 1884 of Liszt at Pest, Rome and Weimar.
From 1893-5 he taught in Horak's piano-
school in Vienna; since then has travelled
as a concert-pianist (Austria, Germany,
France and England); especially fine as a
Liszt player. He has publ. numerous pf.-
arrs. of Liszt's orchl. works, also of earlier
masters (Bach, Handel, Frescobaldi, etc.);
his orig. comps. consist of pf.-pcs. (Unga-
rische Rhapsodie) and songs.
StradeTla, Alessandro, famous Italian
composer of the 17th century. His career is
shrouded in mystery, not even place or date
of his birth or death being known. It is
supposed that he was born in Naples or Ven-
ice about 1645, and died in Genoa after July
6, 1681 (the date borne by his cantata //
916
Barcheggio). The only positively established
fact is, that in 1677 an attempt was made on
his life during an operatic performance in
Turin (cf. A. Einstein in 'Das Bayer land.
1910, p. 173). He is the hero of JHotou'b
opera, which is founded on a story narrated
by Bonnet- Bourdelot in Histoire de la, tntesique
et de ses effets (Paris, 1715). — Extant works:
Oratorios San Giovanni Battista, a 5 w
instrs. (publ. 1676), and Susanna (1681); the
operas Corispero (1665?), Orano Code sul
ponU (1666?), Trespulo tutore ( 1667) 9 L*a forxi
del amore paterno (1678); the cantata II Bar-
cheggio (1681);— 148 MSS. in the Modena
Library, incl. 8 oratorios and 11 dramas;
cantatas in the Naples Cons. Library; 21
cantatas in the library of San Marco, Venice
(10 publ. by L. Escudier, w. pf.-accomp. by
Halevy) ;— others in the Paris Nat. Library,
and at the Cons.;— 1 motet and 8 cantatas
at Christchurch Library, Oxford; a number
of cantatas, madrigals, arias, duets, etc.,
in the British Museum; etc. — The church-
aria Pictd, Signer et and the arias O del mio
dalce ardor and Se i miei sospiri. have been
wrongly attributed to S. — Cf. A. Catefe/u,
Delle Ofere di A . S. esistenti neW archivio musi-
cals delta R. Biblioteca Palatina di Modena
(Modena, 1866); P. Richard, A. S. (Paris,
1866) ; H. Hess, Die Opern A . S.'s, in 'Beiheft '
II, 3 of 'I. M.-G.' (1906); F. M. Crawford,
5. (London, 1911).— See Q.-Lex.
Stxadiva'ri [Stradiva'rius], Antonio, b.
Cremona, 1644; d. there Dec. 18, 1737; di-
vides with Guarneri the honor of being the
most skilful of violin-makers. It is probable
that he worked for Niccolo Amati from about
1667-79. He purchased the house in which,
for half a century, his workshop was situated,
in 1680. His finest instruments were made
in the period from 1700-1725; but he still
worked up to 1736. Grove says of him: "S.
marks the culminating point of the art o{
making stringed instruments. It was he who
perfected the model of the violin and its
fittings. No improvement has been made
since his time, and subsequent makers . . .
have mostly copied him." His label reads:
'Antonius Stradivarius Cremonensis. Fecit
Anno . . . (A f S).' His violoncelli command
even higher prices than the violins. Of his
eleven children, two sons, Francesco (born
Feb. 1, 1671; d. May 11, 1741) and Omo-
bono (b. Nov. 14, 1679; d. July 8, 1742),
were his co-workers. S. also made violas
(equally prized with the violins), viols of the
earlier types, guitars, lutes, mandolins, etc. —
Cf. P. Lombardini, Cenni sulla celebre scuola
Cremonense degli instrumenti ad arco . . . e
sulla famiglia del sommo Antonio Stradivari
(Cremona, 1872; with genealogical table
from the 13th century to date of publica-
STRAESSER— STRAUS
tion); H. Petheric, A, S. (London, 1900);
H. W.f A. F.f F. S. and A. E. Hill, A. 5. His
Life and Work (London, 1902; the standard
work); A. Mandelli, Nuove indagini suA. $.
(Milan, 1903).— An exhaustive article, with
full bibliography, is in Grove's Dictionary.
Straesser, Ewald, b. Burscheid, Rhine
Prov., June 27, 1867. Pupil of Wfillner at
the Cologne Cons.; now (1917) prof, of cpt.
there. Talented composer, following in the
footsteps of Brahms.— Works: Op. 4, Eine
Tragodien-OuvertUre; op. 7, Stimmungsbilder
for str.-orch.; op. 28, Fruhling, suite fororch.;
2 symphonies (op. 22, G; op. 27, Dm.);2 str.-
quartets (op. 12, E m. and G); a pf. -quintet
(op. 18); vl.-sonata; pf.-trio; pf.-pes.; songs.
Strae'ten,vander. SeeVANDERsntAETEN*
Stralcosch, Moritz, b. Lemberg, Galicia,
1825; d. Paris, Oct. 9, 1887. Pianist; pupil
in comp. of Sechter at Vienna; after concert-
tours, he lived in New York 1848-60 as a
teacher and concert- pianist, and from 1856 as
an impresario. He was the brother-in-law of
Adelina Patti. His opera Giovanna di Nafioli
was prod, in New York; he also wrote sawn-
pieces and other music for piano, and Ten
Commandments of Music for the Perfection
. . . of the Voice (posth., 1896). — After his
departure from New York, his brother Max
(b. 1834; d. N. Y., 1892) carried on the
management of concert- and opera-troupes.
Stransky, Josef, distinguished orches-
tral conductor; b. Humpoletz, n. Deutsch-
brod, Bohemia, Sept. 9, 1872. Having com-
pleted the course at the German Gymnasium
at Prague, he began the study of medicine at
the Univ. there; also founded and cond. a
students' orch.; while continuing his medical
studies at the Univ. of Leipzig, he was a
pupil in theory of Jadassohn; st. comp. with
R. Fuchs, Bruckner and Dvorak in Vienna,
and, before definitively adopting music as a
profession, passed the state examination in
Prague (M.D., 1896). In 1898 he was eng. by
A. Neumann as 1st Kapellm. at theLandesth.
in Prague (very successful d6but with Die
Walkure); in 1903 he went in a similar ca-
pacity to the Stadtth. in Hamburg; frequent
leave of absence enabled him to fill many
engagements as visiting conductor in Ger-
many, Austria, Holland and England; in
1909 he gave a series of symphony concerts
with the Bliithner Orch. in Berlin, and dur-
ing the summer cond. Gura's season of opera
(10 weeks). In 1910 he resigned from the
Hamburg opera to devote himself to con-
cert-work; from 1910-11 he cond. the 'Verein
der Musikfreunde' in Dresden, and in the
.autumn of 1911 became Mahler's succ. as
cond. of the Philh. Soc. in New York. A
bequest of one million dollars to the society
(by Joseph Pulitzer, 1912) enabled S. to carry
917
out successfully the sweeping reforms insti-
tuted by his illustrious predecessor (chief of
which was a system of daily rehearsals dur-
ing the season of 23 weeks) ; Under his leader-
ship the organization has become an aggrega-
tion of virtuosi rivalling the finest orchestras
in the world. Among his publ. works are an
opera, Beatrice und Benedikt, and Sympho-
nische Lieder; an operetta, Der General, was
prod, at Hamburg; in MS. he has symphonies,
chamber-music and songs.
Stratton, Stephen Samuel, b. London,
Dec. 19, 1840; d. Birmingham, June 25, 1906.
Pupil of C. Gardner (org.) and C. Lucas
(comp.); 1862-4, teacher of music at Tot-
teridge Park School and org. at St. James's,
Herts; settled in 1866 in Birmingham, where
he held various posts as org., the last being
at the Ch. of the Saviour (1878-82); for
several years mus. critic of the Birmingham
'Daily Post* and contrib. to the London
'Monthly Musical Record' and 'Musical
Times/ He was one of the original members
of the College of Organists (1864; resigned
1894); assoc. member of the Philh. Soc.
(1882). He is the author (with J. D. Brown)
of a valuable work, British Musical Biography
(1897); also publ. Mendelssohn (1901; in the
series 'Master Musicians') and Niccolo Paga-
nini. His Life and Work (1907). His
comps. include church-music, pf.-pes., part-
songs and songs.
Straube [strow'-], Karl, eminent organist ;
b. Berlin, Tan. 6, 1873. Pupil of H. Rei-
mann (org.) and Ph. Rflfer and A. Becker
(comp.) in Berlin. 1897-1902, org. at the
Cath. in Wesel; since 1902 at St. Thomas's in
Leipzig, having also been app. cond. of the
'Bachverein' (1903), prof, at the Cons.
(1907) and official org. at the Gewandhaus
(1908); made 'Kgl. Prof.' in 1908. He
cond. the great Bach festivals at Leipzig in
1904, '08, '11 and '14. His first recitals in
1894 attracted unusual attention; since then
he has been heard in the principal cities of
Germany. He was the first to introduce the
organ-works of Max Reger, of which he is
still the unrivalled interpreter. Has publ.
'Alte Orgelmeister' (1904), '45 Choralvor-
spiele alter Meister' (1907), Bach's Mag-
nificat (1909), Handel's DeUingen Te Deum
(1913); his new editions of the organ-works
of Bach and Liszt are now (1917) in course of
publication. — Cf. G. Robert-Tornow, Max
Reger und K. S. (Berlin, 1907).
Straus, Ludwig, fine violinist ; b. Prcsburg,
Mar. 28, 1835; d. Cambridge, Oct. 23, 1899.
Pupil at the Vienna Cons. (1843-8) of Bohm
(vl.) and Preyer and Nottebohm (cpt.).
After his succ. debut in Vienna (June, 1850)
he toured Austria, Germany, Scandinavia and
Italy for the next ten years; 1860-4, Kon-
STRAUS— STRAUSS
zertmeister at the Frankfort opera, and from
1862 also at the 'Museumskonzerte'; came
to England in 1864, and after a short time
settled in Manchester as leader of the Hall6
orch., also appearing in London as soloist; in
1888 he settled in London, as member of the
Bueen's private band and solo violinist to the
ueen; arthritis compelled him to give up
work in 1893, when he retired to Cambridge.
Straus, Oskar, b. Vienna, April 6, 1870.
Private pupil of A. Prosnitz and H. Gradener
in Vienna and of M. Bruch in Berlin. From
1895-1900 he was cond. at varioup theatres
(Brunn, Teplitz, Mayence, etc.); in 1901,
cond. for E. yon Wofeogen's 'Oberbrettr in
Berlin, for which he wrote a number of farces;
since 1904 he has prod, a number of operettas
and comic operas, several of which possess
more than ordinary merit and have won
remarkable success. — Stage-works (prod, in
Vienna, unless mentioned otherwise): Der
schwarzc Mann (Colberg, 1900); Die lustigen
Nibelungen (1904); Colombine (Berlin, 1904);
Zur indischen Witwe (Berlin, 1905); Hug-
dietrichs BratUfahrt (1906); Ein Walzertraum
(1907); Der tapfere Soldal (1908; in N. Y.
as The Chocolate Soldier, 1909); Little May
(Paris, 1909); Der tapfere Cassian (Leipzig,
1909); Didi (1909); Das Talder Liebe (Berlin
and Vienna, simultaneously, Dec. 23, 1909);
Mfiinjunger Herr (1910) ; Die Heine Freundin
(1911); Love and Laughter (London, 1913);
Rund urn die Liebe (1914; in N. Y. as All
around Love, 1917); Die himmelblaue Zeit
(1914); Dieschone Unbekannte (1915; inN. Y.
as My Lady's Glove, 1917).— Other works:
Op. 33, vl.-sonata in A m.; op. 35, Serenade
for str.-orch.; op. 36, Russalka for soli, ch. and
orch.; op. 43, Suite in Tanzform for vl., vcl.
and pf.; op. 45, Alt-Wiener Reigen for str.-
orch.; Der Traum ein Leben, overture; pes. for
vl. andpf.; do. for vcl. and of.; many pf. -pes.
(op. 38, Bilderbuch ohne Bitder, for 4 hands).
Strauss, Eduard, brother of Johann S., Jr. ;
b. Vienna, Feb. 14, 1835; d. there Dec. 29,
1916. Pupil of G. Preyer in cbmp.; succ.
debut with his own orch. at the 'Dianasaal'
in 1862; acted as Johann's substitute during
the latter's tour of Russia (1865); succeeded
him in 1870 as cond. of the court balls. For
many years he gave concerts in the 'Volks-
garten (summer) and in the hall of the
Musikverein' (winter); also ma\te extended
tours, visiting the U. S. in 1892 and 1901-2.
He then dissolved his orch., which (founded
by his father in 1826), after three-quarters of
a century of uninterrupted success, had be-
come almost an historical institution. His
publ. dances comprise 318 opus-numbers, but
could not rival his brother's in popularity.
In 1906 he publ. Erinnerungen.
918
Strauss, Franz, famous horn-virtuoso: h
Parkstein, Upper Palatinate, Feb- 26, 1822
d. Munich, June 2, 1905. Until his retire
ment in 1889 he was solo hornist at the Hofo-
per in Munich; although a violent opponent
of Wagner, the master valued him highly, anc
entrusted to him at the premieres oi Tristan
MeisUr singer and Parsifal the important sok«
passages; until 1896 he was prof, of his instr.
at the Kgl. Akademie der Tonkunst, and
from 1875-96 cond. an excellent amateur
orch., the 'Wilde Gungl,' in Munich. He
wrote a horn-concerto in C m. (op- 8) ; Noc-
turne (op. 7) and Empfindungen am Meere
(op. 12) for horn and pf.; 17 Konserteludcn
and Vbungenfiir Naturhorn (2 books).
Strauss, Johann (Sr.), 'The Father of thv
Waltz'; b. Vienna, Mar. 14, 1804; d- therr
Sept. 25, 1849. His father, who kept a beer-
house and dance-hall, apprenticed him to a
bookbinder; after S. had run away his par-
ents consented to his becoming a musician.
He st. the violin under Polyschansky, and har-
mony under Seyfried; at 15 joined Pamers
orch. in the 'Sped* dance-hall, and the Lan-
ner Quartet in 1823, later acting as deputy
conductor of Lanner's orch.; organized an
independent orch. of 14 in 1826, playing at
various resorts, and producing his first waltzes
(op. 1 is the T&uberl-Wolzer, for the garden-
concerts at the 'Zwei Tauten'). His renown
spread, and his orch. increased rapidly in size
and efficiency; from 1833 he undertook con-
cert-tours in Austria, and in 1834 was app.
bandmaster of the 1st Vienna militia regiment.
His tours extended to Berlin in 1834, and to
Holland and Belgium in 1836; in 1837-8
he invaded Paris with a picked corps of 28,
and had immense success both here and in
London. In 1845 he was made cond. of the
court balls at Vienna. Among 152 published
waltzes, the Lorelei-, Gobrielen-, Taglioni-,
Cacilien-, Victoria-, Kettenbrucken-, and Ba-
jaderen-Walzer, the Elektrische Funken, Me-
phislos Hollenrufe, and the Donau-Lieder, are
prime favorites; he also wrote 24 galops, 13
polkas, 32 quadrilles, 6 cotillons and contre-
danses, 18 marches, and 6 potpourris. Both
as a comp. and cond. he distinctly raised the
level of dance-music. His complete works
(251 op.-n umbers), edited by his son Johann,
were publ, by Breitkopf & Hartel in 1899:
Vols, i-v, Waltzes; vol. vi, Polkas, Galops,
Marches; vol. vii, Quadrilles.— Cf. L. Schey-
rer, /. S.'s musikolische Wanderung durch das
Leben (Vienna, 1851); R. Kleinecke, /. 5.
(Leipzig, 1894); F. Lange, Josef Lanner and
J. 5. (Vienna, 1904).
Strauss, Johann (Jr.), The Waltz-King';
b. Vienna, Oct. 25, 1825; d. there June 3,
1899. His father, though a tender parent,
could not bear the idea of professional rivalry
STRAUSS— STRAUSS
within the family, and intended ail 3 of his
sons for business; but the mother privately
procured instruction on the violin and in
com p. (Drechsler) for Johann, who threw
off paternal control in 1844, appearing on Oct.
15 as cond. of the orch. at Dommayer's res-
taurant at Hietzing. His success was in-
stantaneous, and his new waltzes won wide
popularity. In 1849, after his father's death,
he united the two orchestras; made a tour
through Austria, Poland, and Germany; and
in 1855 was eng. for ten years to conduct the
summer concerts at the Petropaulovski Park
in Petrograd. In 1862 he married the singer
Henriette Treffz; from 1863-70 he was cond.
of the court balls, resigning in favor of his
brother Eduard to obtain more leisure for
composition; now turning from dance-music,
a domain in which he had won supreme ar-
tistic and popular success, to operetta, herein
rivalling Lecocq and Suppe. In 1872 he
accepted an invitation to visit the U. S.,
directing 14 monster-concerts in Boston and
4 in New York. He wrote almost 500 pieces
of dance-music (498 op.-numbers); of the
waltzes The Beautiful Blue Danube, Roses from
the South, Kunstlerleben, Wiener Blut, The
1001 Nights, Wine, Woman and Song, and
GeschichUn aus dem Wiener Wold may be
mentioned. "One of S/s waltzes," said
Wagner, "as far surpasses in charm, finish
and real musical worth hundreds of the ar-
tificial compositions of his contemporaries,
as the tower of St. Stephen's surpasses the
advertising columns on the Paris Boulevards."
On Mme. S.'s fan Brahms wrote the opening
measures of the Blue Danube Waltz, and
underneath: 'Leider nicht von Brahms' [Alas,
not by B.]. — Operettas: Indigo [Die 40 Rqu*
ber] (71; rev. and adapted to a new text by
E. Reiterer as 1001 Nacht, 1906); Der Car-
neval in Rom ('73); Die Fledermaus ('74; in
Paris 1877 as La Tzigane [with entirely new
and different texts; even the music only
partly from the orig. score, numbers from
Cagliostro, and others not by S., being inter-
polated; genuine version as La Chauve-
souris given at Th. des Varices, April 22,
1904J); Cagliostro (75); Prinz Methusalem
(77); Blindekuh (78); Das Spitzentuch der
Konigin ('80); Der lustige Krieg ('81); Eine
Nacht in Venedig ('83); Der Zigeunerbaron
('85); Simplicius (Vienna, 1887, unsucc.; re-
modelled and prod, at Prague, '88, with con-
siderable applause); 3-act comic opera Ritter
Pdstndn ('92; mod. succ); Furstin Ninetta
('93; v. succ.); 3-act operetta Jabuka, oder
das Apfelfest ('94; succ); 3-act do. Wold-
meister ('95; v. succ.); Die Gottin der Ver~
nunft (97; succ); a ballet, Aschenbrodel
(left practically complete; finished by Bayer);
and 'Fantasiestucke' for orch., Traumbtlder.
— Cf. L. Eisenberg, /. S.t ein Lebensbiid (Leip-
zig, 1894); R. von Prochazka, J. 5. (Berlin,
1900); R. Specht, /. S. (Berlin, 1909); F.
Lange, 7. 5. (Leipzig, 1912).
Strauss, Joseph, born BrCinn, 1793; d.
Karlsruhe, Dec. 2, 1866. Violinist; pupil of
his father, Blumenthal, Urbani, and Schup-
Pmzigh, at Vienna, also of Albrechtsberger.
layed in the court opera-orch., Vienna; was
eng. in 1810 as solo violin at the Pest Th.,
1813 as Kapellm. at Temesvar, 1814 to con-
duct the German opera at Hermannstadt.
In 1817 Kapellm. at Brttnn; in 1822, of Ger-
man opera at Strassburg; in 1823, mus. dir.
at the Mannheim court theatre; and 1824-63,
court cond. at Karlsruhe. — 7 operas: Armiodan
(1836), Berthold der Zdhringer (1838), Der
Wahrwolf (1840), Die SMittenfahH nach
Novgorod (1846), etc; incid. music to dramas;
the oratorio Judith; sacred and orchl. music;
publ. a st r. -quartet, vars. f. violin,* and songs.
Strauss, Joseph, brother of Johann S.,
Jr.; b. Vienna, Aug. 25, 1827; d. there July
22, 1870. He made his d£but as cond. with
Johann's orch. in 1853 during the latter's
illness, and later formed an orch. of his own.
Always of delicate health, injuries received m
at the hands of some Russian officers in War-
saw, who maltreated him when he refused
to play for them in the middle of the night,
resulted in his death shortly after his return
to Vienna. He also was a prolific com p. of
dances (283 opus-numbers). E. Reiterer and
F. Sommer prod, in Vienna a number of ope-
rettas, in which they adapted appropriate
dances by S. to a given libretto: Fruhlingsluft
(1903), Das Frauenherz (1905), Schwalberl aus
dem Wienerwald (1906), Das Teufelsmddel
(1908). — Cf. Eduard Strauss, Erinnerungen
(Vienna, 1906).
Strauss* Richard, son of Franz S.; born
Munich, June 1 1, 1864. At the age of 4 he
received regular instruction from A. Tombo,
the harpist of the court orch.; in his eighth
year he began to study the violin with B.
Walter, the leader of the court orch.; from
1875-80 he st. comp. and instrumentation with
Hof kapellm. F. W. Meyer. His first attempt
at comp. (a Polka in C) dates from the year
1870, and thenceforward he continued to write
pf.-pcs., songs, sonatas and overtures for orch.
before the publication of his op. 1 in 1881.
Under his father's influence he turned his
attention exclusively to the works of the
classic masters. From 1874-82 he completed
the course at the Gymnasium, and during
the winter of 1882-3 attended lectures on
philosophy and esthetics at the Univ. His
public career as a composer may be said to
have begun in 1880, when a chorus from
Sophocles's Electra and a Festgesangwere prod,
at a concert of the Gymnasium; in 1881 H.
Levi prod, his Symphony in D m. (op. 4) ; in
919
STRAUSS
1882 Wallner cond. the Serenade for wind-
instrs. (op. 7) ; in 1883 Levi brought out a con-
cert-overture in C m., and his former teacher
Walter played the vln.-concerto (op. 8).
These works, written in the forms and style
of the classic masters and revealing an as-
tonishing degree of technical mastery, won
almost immediate recognition; before the
young composer had reached his twenty-
first birthday he could boast the honor of an
American premiere, for on Dec. 13, 1884, Th.
Thomas, then cond. of the Philh. Soc. of
New York, gave the first perf. of the Sym-
phony in F m. (op. 12). The winter of 1883-
4 S. spent in Berlin, where Billow became
interested in him. On Oct. 1, 1885, he was
engaged as Billow's asst.-cond. in Meiningen,
succeeding him next month as Hofkapellm.
Although he held this position only till April
1, 1886, these few months in Meiningen
proved to be a turning-point in his career as
composer, for in that short time Alexander
Ritter (q. v.) revealed to him the meaning and
full significance of the works of Wagner and
Liszt. This new knowledge before long
caused him to abandon the ideals of the classi-
cists and espouse those of the new school of
program-music. After a journey to Italy in
the spring of 1886 he entered on Aug. 1 upon
the duties of 3d Kapellm. at the Hofoper in
Munich. During the 3 years of his incum-
bency he conducted only minor operas
(Levi and Fischer dividing the Wagner dra-
mas between them), and had ample time for
composition, writing the symphonic fan-
tasy A us Italicn, and his first symphonic
poems (Don Juan and Tod und Verkldrung),
also sketching Macbeth. Of these works he
brought out only the fantasy (1887). Dis-
satisfied with the conservative attitude of the
Munich public, he went to Weimar on Oct. 1,
1889, as 1st Kapellm. There he remained
till June, 1894, laying the foundations of his
fame as a composer by the production of
Don Juan (Nov. 11, 1889), Tod und Verkldrung
(Eisenach fest., June 21, 1890) and Mac-
beth (Oct. 13, 1890). During 1892-3 he spent
the winter and spring in Greece, Egypt and
Sicily, writing the text and a part of the
music of his first music-drama, Guntram.
It was completed in Sept., 1893, and pro-
duced, with moderate success, in Weimar on
May 12, 1894. During that summer he
accepted Frau Wagner's invitation to con-
duct Tannhduser at Bayreuth. He was re-
called to Munich on Oct. 1, 1894, as Hof-
kapellm. (coordinate with Levi). In 1894-5
he cond. the Berlin Philh. concerts, succeeding
Biilow; in 1896 he cond. his own works in
Brussels, Liege and Moscow, besides a num-
ber of large German cities; in 1897 he visited
Amsterdam, Paris, London and Barcelona;
in 1902 he made with the Berlin Tonkiinstler-
920
orchester a tour of Germany, Austria* Swi*2
erland, France and Italy. For his nr>
visit to America (Feb.-April, 1904) H«? re
served a new work, the Sinfonia Dotwt^stic^
which had its initial performance, under hi.-
own direction, in New York on Mar- 21
Until the outbreak of the war he continue-:
his tours of European countries. Since >• ov.
1, 1898. he has been 1st Hofkapellm. stt the
R. Opera in Berlin; was made General
musikdirektor in 1908, and elected membcT
of the Akad. der Kunste in 1910; Dr. phU
(hon. c), Univ. of Heidelberg, 1902; Cfiev.
of the Legion of Honor and recipient of nu-
merous German and foreign decorations.
From 1901-9 he was pres. of the 'AHgemeiner
Deutscher Musikverein.' On Sept. 10, 1894.
he married Pauline de Ahna, who created the
role of Freihild in his Guntram; she is an ex-
cellent interpreter of his songs.
Among living composers S. is unquestion-
ably the dominating figure, although opinion
differ as to the value of his work. For JO
years the performance of a new work by hV*.
has been regarded as an event. His com-
positions so far (1917) may conveniently be
divided into three groups or periods. The
works of the first period (op. 1-19 [1880-7J)
belong mostly to the kind known generally as
'absolute music,' and show the influence of
classic and romantic models. In his second
period (op. 20-9 [1887-95]) S. appears as
a composer of striking individuality, the le-
gitimate successor of Liszt, whose ideal of the
symphonic poem he realized in Dim Juan,
Macbeth, Tod und Verkldrung and Till Eufen-
spiegel. (See Liszt, p. 542.) This elastic
form afforded S. full opportunity for the dis-
play of his brilliant qualities: # emotional
intensity, soaring melodic invention, a mar-
vellous sense of orchestral color, extraordi-
nary power of characterization and supreme
command of technical resources. Certain
bold innovations in harmony and orchestra-
tion created considerable discussion at the
time; to-day they are accepted as a matter
of course. Dating from A Iso sfrach Zarathna-
tra (written in 1895) there is noticeable a
steady decline of the composer's creative
power; Don Quixote (1898) and Ein Helden-
leben (1899) each contains more startling and
bizarre portions than its predecessor. There
still are passages of transcendent beauty, but
these passages become rarer and are sepa-
rated by increasingly long stretches of com-
monplace, even trivial, music; throughout,
a conscious striving for sensational effect
becomes all too patent. After the compara-
tive failure of the Sinfonia Domestica (1904),
with its appalling poverty of thematic in-
vention, S. turned to dramatic music. His
operas Guntram (1894) and Feuersnot (1901)
had attracted less attention than might have
STRAUSS
been expected; but the first performance of
Salome (1905) aroused the musical world
more than any other event since the pre-
miere of Parsifal. In Berlinvand London the
work was not given until certain objection-
able features had been eliminated, and after
the American premiere at th* M. O. H. the
board of directors forbade its repetition. The
opposition of musicians was directed less
against the revolting drama than against the
cacophanous music and brutal instrumen-
tation. The angry discussions had not yet
subsided, when S. startled the world with
Elektra (1909), in which he reaches the lowest
level of decadence. Whether the composer's
choice of a comic subject for his next opera was
prompted by the mere desire for another sen-
sation or by the realization of how far he had
strayed beyond the furthest limits of art,
remains a matter for conjecture. Certain it
is, that in Der Rosenkavalier (1911) he re-
turns to recognized standards; of all his
dramatic works it is the only one that has
met with real success. Ariadne auf Naxos
(1912) proved a disappointment in spite of
some very fine music; even a revised version
(1916) had only a 'sucoes d'estime. ' With his
Josefs- Legende (1914) he tried the field of the
ballet without marked success. Neither does
his Alpensymphonie (1915) Teach the high
plane of the masterpieces of his second period.
The premiere of a new opera, Die Frau ohne
Schatten (completed 1916), was announced
by the Dresden court opera for the season of
1916-17; the performance has not yet taken
place (Apr., 1918). — Throughout his career S.
has cultivated the song, and the lyrics of the
different periods faithfully reflect the general
characteristics of the larger works. Thus the
earlier songs (up to about op. 32) have become
universal favorites with public and singers,
while the later ones are practically neglected.
Such gems as Zueignung, Die Nachl and AU
lerseeUn (from op. 10), St&ndchen and Bar-
carole (from op. 17), Breit uber mein Haupt
(from op. 19), Cdctlie, Heimliche Aufforde-
rung and M or gen (from op. 27), Traum durch
die Ddmmerung (from op. 29) and Ich Wage
meine Afinne (from op. 32) rank with the fine
songs of the great masters as regards the
excellence of the texts, perfect declamation,
depth of feeling and melodic charm. Much
has been written about S.'s marvellous skill of
orchestration, and his panegyrists regard him
as the greatest master of that art, as one who has
advanced even beyond Wagner. It may be
admitted that in the fine works of his second
period, S. actually has possessed himself of
the secret of Wagner's art of scoring. But
it cannot be denied that through his subse-
quent enlargement of the orchestral apparatus
by the introduction of new instruments (oboe
daraore, celesta, heckelphone), inartistic
921
multiplication of the instruments of percussion
and the addition of puerile wind- and thunder-
machines the orchestration is overloaded.
By keeping all instruments almost constantly
employed and heaping one startling effect
upon another S. deprives himself of all op-
portunity for contrast or effective climax.
The general effect produced is that of unrest
and lack of continuity. — While it is too early
to attempt to determine S.'s place in the his-
tory of music, it is quite safe to assert that
his great symphonic poems of the second
period not only represent the highest achieve-
ment so far in the field of program-music,
but have also settled definitely, and in the
affirmative, the so long-agitated question
whether the instrumental forms of 'program-
music' were entitled to equal rank with the
older forms of 'absolute music*
Bibliography. — A. Biography: A. Seidl
and W. Klatte, R. S. Eine Charakterskizze
(Prague, 1896); W. Hutschenruyter, R. 5.
(in Dutch; Haarlem, 1898); G. Brecher,
R. S, Eine monographische Skizse (Leipzig,
1900); E. Urban, R. S. (Berlin, 1901); O.
Bie, Moderne Musiker: R. S. (Berlin, 1906);
E. Newman, R. S. (London, 1908); M.
Steinitzer, /?. S. (Berlin, 1911; 2d ed., largely
rewritten, 1914. The standard work, ex-
haustive and accurate as to facts; the critical
opinions, being those of a panegyrist, are to
be accepted with caution. To the historian
the 1st ed. is the more valuable); H. T.
Finck, R. S. The Man and His Works (Bos-
ton, 1917; valuable for its critical comments).
— B. Criticism, Appreciation: G. Jorisenne,
R. 5. Essai critique et biologique (Brussels,
1898); E. Urban, 5. contra Wagner (Berlin,
1902 [2d ed.]); E. Newman, R. S. and the'
Music of the Future, in Musical Studies (Lon-
don, 1905); O. Bie, Die moderne Musik und
R. S. (Berlin, 1906); E. Schmitz, R. 5. als
Musikdramatiker (Munich, 1907); E. Ziegler,
R. S. in seinen dramatischen Dichtungen
(Munich", 1907); J. C. Manifarges, R. S. als
Dirigent (Amsterdam, 1907) ; F. Santoliquido,
II Dopo-Wagner: C, Debussy e R. S. (Rome,
1909); G. Tebaldini, Telepatia tnusicale a
firoposifo deW Elektra di R. S. (Turin, 1909);
M. Steinitzer, Straussiana undAnderes (Stutt-
gart, 1910); O. HUbner, R. S. und das Musik-
drama (Leipzig, 1910); H. Rutters, R. S. en
de S.-feesten (Amsterdam, 1911); H. Daffner,
Salome: Ihre Gestalt in Geschichte und Kunst
(Munich, 1912); E. C. Farnsworth, Three
Great Epoch-makers in Music [Bach, Chopin,
S.] (Portland, 1912); C. Paglia, S.t Debussy e
compagnia bella (Bologna, 1913); A. Seidl,
Straussiana (Ratisbon, 1913); M. Steinitzer,
R. S. und seine Zeit (Leipzig, 1914); D. G.
Mason, A Study ofS.t in 'Mus. Quart.' (April,
1916). The following books contain im-
portant chapters on various phases of S.'s art:
STRAUSS— STRAVI NSKY
J. Huneker, Mezzotints in Modern Music
(New York, 1899); id., Overtones (ib.f 1904);
L. Gilman, Phases of Modern Music (ib.f
1904); F. Draeseke, Die Konfusion in der
Musik (Stuttgart, 1906); F. Niecks, Program
Music in the Last Four Centuries (London,
1907); L. Gilman, Aspects of Modern Opera
(New York, 1908); L. A. Coerne, The Evolu-
tion of Modern Orchestration (New York,
1908); P. Bekker, Das Musikdrama der
Gegenwart (Stuttgart, 1909); R. Louis, Die
deutsche Musik der Gegenwart (Munich, 1909);
L. Schmidt, Aus dent Musikleben der Gegenwart
(Berlin, 1909; with preface by S.); R.
Mayrhofer, Zur Theorte des Schonen (Leip-
zig, 1911); R. Rolland, Musiciens d'aujour-
d'hui (Paris, 1914). See also vols, vi and vii of
H. von Bttlow's Brief e und Schriften (Leipzig,
1907). — C. Catalogues, Guides: R. Specht,
Vollstandiges Verteichnis der im Druck er-
schienenen Werke von R. S. (Vienna, 1910;
also contains valuable biographical data);
Modern Music and Drama (2 vols.; Boston,
1911, '15; gives list of several hundred titles
of articles publ. about S. in Engl, and Amer.
journals). Analyses of the instrl. works are
found in H. Kretzschmar's FUhrer durch den
Konzertsaal (Leipzig, 1887; 4th ed. 1913)
and in Schlesinger's 'Musikftihrer' and 'Mei-
sterftihrer' (Berlin); guides to the dramatic
works in Schlesinger's 'OpernfUhrer* (Berlin),
Wossidlo's 'Opernbibliotek' (Leipzig), and the
numerous handbooks of Kufferath, Taub-
mann, Chop, Roese, Gilman, Schanzer, etc.
Works.
Op. 1. Festmarsch in E!> for orch.; op. 2, str.-quartet
in A; op. 3. FUnf KlavierstUche; op. 4. Symphony in
D m. (MS.); op. 5. pf. -sonata in B m.; op. 6, vcl.-
aonata in F; op. 7. Serenade in Eb for wind-instrs.; op.
8. vl. -concerto in D m. ; op. 9, Stimmungsbilder for pf. ;
op. 10, Acht Gedichte; op. 11, concerto for horn and
orch.. in Efc; op. 12, Symphony in F m.: op. 13. pf..
quartet in C m.; op. 14, Wanderers Sturmlied for 6-part
mixed ch. and orch.; op. 15, FUnf Lieder; op. 16, Aus
J tali en. symph. fantasy; op. 17. Seeks Lieder; op. 18.
vl. -sonata in Eb; op. 19, Sechs Lieder; op% 20. Don
Juan, symph. poem (Weimar, Nov. 11, 1889); op.
21. SchlicMe Weisen (5 songs); op. 22. M&dchenblumen
(4 songs); op. 23, Macbeth, symph. poem (Weimar,
Oct. 13. 1890); op. 24. Tod und VerkUlrung, symph.
poem (Eisenach, June 21. 1890); op. 25, Guntram,
opera (Weimar, May 12. 1894); op. 26, Zwei Lieder;
op. 27, Vier Lieder; op. 28. Till Eulenspietels lustige
Streiche, symph. poem (Cologne. Nov. 5, 1895; prod,
as a ballet, New York, Oct. 23. 1916); op. 29, Drei
Lieder; op. 30, Also sprach Zarathustra, symph. poem
(Frankfort, Nov. 27. 1896); op. 31, Vier Lieder; op.
32. FUnf Lieder; op. 33. Vier Ges&nge for solo voice and
orch.; op. 34, Zivei Gesdnge for 1 6-part mixed ch. a
capp.; op. 35, Don Quixote, symph. poem (Cologne,
Mar. 8. 1898); op. 36. Vier Lieder; op. 37. Seeks Lieder;
op. 38. Tennvson's Enoch Arden, melodrama w. pf ; op.
39. FUnf Lieder; op. 40. Bin Heldenleben, symph. poem
(Frankfort. Mar. 3, 1899): op. 41. FUnf Lieder; op. 42,
Lieheznd Altdeulsr.hes Srhlachtlied for male ch. a capp.;
op. 43, Drei Gesdnge; op. 44, Notiurno and Ndchtluher
Gang for low voice and orch.; op. 45, 3 male choruses
a capp. from Herder's Stimmen der V&lker; op. 46,
FUnf Gedichte; op. 47. FUnf Lieder; op. 48. FUnf Lie.
der; op. 49, Acht Lieder; op. 50, Feuersnot. opera
(Dresden, Nov. 21, 1901); op. 51. Das Tal and Der
n*
op.
25
Einsam* for bait and orch.; op. 52. TaiUefer. ballad
for soli, mixed ch. and orch.; op. 53. Sinfonui JT
tica (New York. Mar. 21. 1904): op. 54. Salome. _
(Dresden. Dec. 9. 1905; M. O. H.. Jan. 22. 1907);
55. Berdengesangior male ch. and orch.; op. 56. ^>
Lieder; op. 57. Zwei Militarmarsche for orch- (also
for band); op. 58. Elektra, opera (Dresden. Jan.
1909; New York. Manh. O. H.. Feb. 1. 1910); op- 5^
Der Rosenhavalier, musical comedy (Dresden. Jan. 2t*
1911; M. O. H.. Dec. 9. 1913); op. 60. Ariadu* **mj
Naxos, opera (Stuttgart. Oct. 25, 1912; revised version.
Vienna, Nov., 1916); op. 61. Festliches PrOlvdimtm fox
orch. and org. (Vienna. Oct. 19, 1913); op. 62. JEu*«mt
deutsche Motette for soli. 1 6-part ch. and orch.; op- 6^* .
Josefs-Legende, ballet (Paris, May 14. 1914); op. G-*.
Albensymphonie (Berlin, Oct. 28. 1915); op. 65. £***
Frau ohne Schatten, opera (not yet prod.). — Without
opus-number: Suite for 13 wind-instrs.; BurUske for
pf. and orch.: Kdnigsmarsch for orch.; 2 Para*!*-
mdrsche for do.; Feierlicher Eintug der RiiUr «tV«-
Johanniter-Ordens for brass instrs. and drums; ScU-
datenlied for male ch.; Das Schioss am Aietr, melo-
drama w. pf. — For Weimar he arr. Gluck's 1 phi gem t*
en Tauride (this version used for the Amer. premiere at
the M. O. H.. Nov. 25. 1916); transL. rev. and en-
larged Berlioz's TraiU d% Instrumentation (1905); ed.
and publ. his father's posth. works for horn; har-
monized a number of folk-songs for Peters't *Volks-
liederbuch for Mannerchor.'
Streabbog. Sec Gobbaerts.
Street [strati, Georges-Ernest, b. Vienna
1854, of French parents. Pupil of Bizet and
B. Damcke, at Paris; mus. critic of 'Lt
Matin' for 8 years; since 1898, of 'L'£clair/
Has given lectures on Andre Messager.
— Works: The operettas l' Amour en livrSe,
Le Charmeur% La Fillette de P/ouhinec, etc.;
ballet Scaramouche (w. Messager, 1891); Les
deux Reservistes (1891); 1-act mimodrama
Fidks (Opera- Comique, 1894); 3-act opera
Mignonette, parody of Thomas's Mignon
(1896).
Stravinsky, Igor Fedorovltch, b. Ora-
nienbaum, near Petrograd, June 17, 1882.
Although he was a remarkable pianist at the
age of 10, his father destined him for the
legal career. Meeting Rimslcy- Korea kov in
1902, he decided to abandon law for music,
and for the next four years he st. comp. and
instrumentation with that master. As a
composer he first attracted attention in 1908,
when Ziloti prod, his Scherzo fantostique (op.
3), which disclosed decided futuristic sym-
pathies and appealed to the director of the
Ballet Russe, Sergei Diagilev, who com-
missioned him to write the music to a ballet,
VOiseau de Feu. Other ballets and an opera
(all prod, in Paris) followed in rapid succession
and S. was proclaimed a genius and prophet
by the admirers of futurism, for in each work
he had 'advanced.' Unlike Schdnberg or
Skriabin, whose earliest music still rests on
the foundations laid by the masters, S. at
once begins in a style which is a direct negation
of all acknowledged principles or standards.
His combinations of tones defy analysis, for
haphazard combinations of dissonant in-
tervals do not constitute a chord, as that
term is understood in music. The complete
922
STRE ATFEI LD— STRONG
absence of even the most meagre thematic
development may surprise only those who do
not know that the first law of futurism for-
bids all 'repetition/ Even so thorough an
impressionist as E. B. Hill speaks o? S.'s
"violently revolutionary style which is diffi-
cult to reduce to a system." — Works: The
ballets rOiseau de Feu (Paris, 1910), Petrush-
ka (ib., 1911), Le Sacre du Printemps (ib.f
1913), Us AbeiUes (ib.f 1917), Les Noces villa-
geoises (not yet prod.); an opera, Le Ros-
signol (Paris, 1914); op. 1, Symphony in Eb;
op. 2, Le Faune et la Bergtre for voice w. orch.;
op. 3, Scherzo fantastique for orch.; op. 4,
Feu d' artifice [Fire works] for orch.; op. 5,
Chant funlbre (in memory of Rimsky-ICor-
sakov; MS.); op. 6, 4 studies for pf.; op. 7,
2 songs. Without opus-number: Les Rots
des Etoilcs for ch. and orch.; 3 songs (on
Japanese poems) w. orch.; several songs w.
pf.; a pf. -sonata (not publ.); 3 pes. for str.-
quartet. — Cf. C. van Vechten, 7. 5.; A New
Composer, in Music After the Great War (New
York, 1915); C S. Wise, Impressions of L S.t
in 'Mus. Quart.* (April, 1916); M. Mon-
tagu-Nathan, Contemporary Russian Com-
posers (New York, 1917).
Streatfetid, Richard Alexander, b. Car-
shalton, 1866. Since 1889 he has been asst.
in the dept. of Printed Books in the British
Museum; 1898-1912, mus. critic of The
Daily Graphic* — Writings: Masters of
Italian Music (1895); The Opera (1897; 4th
ed. 1917); Modern Music and Musicians
(1906; tr. into Fr. by L. Pennequin, 1910);
Handel (1909) ; Life Stories of Great Composers
(1911); Musiciens anglais contemporains
(Fr. tr. by L. Pennequin, 1913; Engl. orig.
not publ.).
Streicher [stri'yher], Johann Andreas,
piano-maker, b. Stuttgart, Dec. 13, 1761; d.
Vienna, May 25, 1833. At Augsburg, 1793,
he married Joh. Andreas Stein's daughter
Nanette, succeeding Stein in the business
and removing to Vienna. Inv. the of. -action
in which the hammer strikes from above.
Strei'cher, Theodor, great-grandson of
preceding; b. Vienna, Tune 7, 1874. St. sink-
ing with F. Tager in Vienna and J. Kniese in
Bayreuth, pf. with F. Lowe in Vienna and cpt.
with H. Schulz-Beuthen in Dresden; has
never held a position.— Works: Mignons Exe~
quien for ch., children's ch. and orch.; Die
Schlacht bei Murten for bar. solo, male ch.
and orch.; Kleiner Vogel Kolibri for ch. and
orch.; Urn Inez weinten, dram, scene for sop.
and orch.; Die Monologe des Faust for str.-
sextet; songs.
Strelezld, Anton, pen-name of an English
composer, said to be a Mr. Burnand; born
Croydon, Dec. 5, 1859; pupil of Leipzig Cons.
and of Frau Schumann. Much pf. -music
(over 200 op.-n umbers), some very popular:
Tarentelle in D m. ; Polonaise; Valse-Souvenir;
Eight Pieces (op. 47); Three Pieces (op. 146);
3 books of pieces (op. 191, 197, 204); Jagd-
stiick; ValseUe; Serf node espagnole; Menueta
V antique in El?; Barcarolle; Leichte Klavier-
stucke (op. 220); — also songs, and Personal
Recollections of Chats with Liszt (1895).
Streppo'ni, Giuseppina, dram, soprano;
b. Lodi, Sept. 18, 1815; d. Busseto, Nov. 14,
1897. She was the daughter of Felice S. (d.
Trieste, 1832), for many years operatic cond.
at Monza and comp. of several operas. Hav-
ing completed her studies at the Milan Cons.
{1830-5), she made a very successful debut at
Trieste (1835) in Matilde di Shabran, which
led to an immediate eng. at the Ital. opera in
Vienna; her appearances in Rome, Florence,
Bologna, Mantua, Brescia, Venice, etc., es-
tablished her reputation as the foremost in-
terpreter in Italy of tragic rdles; sang for the
first time at La Scala, Milan, in Donizetti's
Belisario (Feb. 22, 1842), and created a furore
by her creation of Abigaile in Verdi's Nabucco
(Mar. 9, 1842). Her brilliant career was sud-
denly ended in 1849, when she married Verdi
and retired from the stage. For unknown
reasons this marriage (performed by Verdi's
friend, the bishop of Angers, at Collanza,
Savoy) was not publicly acknowledged until
1859.
Strickland, Lily Teresa, b. Anderson,
S. C, Jan. 28, 1887. She was educated at
Converse Coll., Spartanburg, S. C, where
she took a special course in music (1902-4);
1904-7, st. in New York with A. Mildenberg
(pf.) and A. J. Goodrich (theory); 1907-9,
in the South as org. and teacher; returned to
New York for further study at the Inst, of
Musical Art (1909-11); st. instrumentation
with W. H. Hu mist on in 1916; married J.
Courtney Anderson of N. Y. in 191 1. She has
publ. about 75 songs; in MS. she has 3 operas
and a symphonic suite on negro themes.
Strig'gio [strSd j6h], Alesaandro, lutenist
and early comp. of Intermezzi; b. Mantua, c.
1535; d. there Sept. 22, 1587. Lived at the
court of Cosimo de* Medici, Florence, and
later at Mantua as court conductor; in 1567
he was in Paris and London. — Intermezzi
Psiche ed Amore (Florence, 1655, for the
wedding of Francesco de' Medici); Vamico
fido (1569, in madrigal-style) ; and other fes-
tival music (particularly^ with Merulo,
Caccini, and Pietro Strozzi, a festival-play
for the wedding of Francesco de' Medici with
Bianca Capello in 1569). — Publ. several books
of madrigals. — See Q.-Lex»
Strong, George Templeton, b. New York,
May, 26, 1856. Played oboe in orchestras
until 1879, when he went to the Leipzig
Cons., studying cpt. with Jadassohn; was a
923
STRONG— STUCK
member of the Liszt circle at Weimar; 1886-9
lived in Wiesbaden, in almost daily inter-
course with MacDowell; 1891-2 he taught
harm, and cpt. at the New Engl. Cons.,
Boston, but was obliged on account of his
health to resign; since then he has been living
in La Roseraie, Switzerland, devoting himself
entirely to comp. — Works: 3 Symphonies:
In den Bergen, Siniram and An der See; Die
Nacht, 4 symph. sketches; symph. poem Un-
dine (op. 14); a 'Marchen' f. orch. w. violin
obbligato, Gestrebt — Gewonnen — Gescheitert
(op. 12); Wie ein fahrender Hornist sick ein
Land erblies, f. soli, male ch. and orch. (op.
26); Die verlassene Muhle, f. solo, male ch.f
and orch. (op. 30); a Tonstuck f. English
horn and organ; str. -quartets with horn;
a str.-trio, Der Dorfmusikdirektor; 2 American
Sketches for vl. and orch; numerous charact.
pf.-pieces; etc
Strong, Susan, operatic soprano; born
Brooklyn, N. Y., c. 1875. St. in New York
and London with Francis Korbay; debut in
a season of opera in Engl, at Coven t Garden
as Sieglinde (Oct. 16, 1895); then sang at the
San Carlo, Naples; Amer. debut with Maple-
son's company as Marguerite (N. Y., Nov. 9,
1896); member of Damrosch's company,
1897-8; sang at the M. O. H. in 1899-1900;
has sung since then in London, in recent
years chiefly in concerts. Finest rdles: Donna
Anna, Aida, Elsa, Sieglinde and Marguerite.
Stroz'zi [stroh'tse], Pietro, Florentine
composer, co-founder of the stile rappresenta-
tivo; Fet to music, in 1595, Caccini s libretto
La Mascarada degli accecati. (Cf. Striggio).
Stru'be, Gustav, b. Ballenstedt, Harz,
Mar. 3, 1867. Violinist; taught by his father,
and at 10 joined the Ballenstedt orch.; en-
tered Leipzig Cons, at 16, studying under
Reckendorf (pf.) and Brodsky (vL), also
Reinecke and Jadassohn (comp.). Played
in the Gewandhaus Orch. ; later became prof,
of violin at Mannheim Cons. ; went to Boston,
Mass., in 1891, and joined the Symphony
Orch., later conducting the popular concerts
during May and June; also asst.-cond.
of the Worcester Music Fest. In 1913 he
left Boston to become head of the theory
dept. at the Peabody Cons, in Baltimore,
succ. O. B. Boise; in 1915 he was app. cond.
of the newly organized 'Baltimore Symph.
Orch.'. — Works: 2 symphonies (C m. and
B m.); 4 symph. poems, Longing (with via.
solo), Fantastic Dance (do.), Narcissus and
Echo, Lorelei; 3 overtures, The Maid of Orleans,
Puck, Fantastic; Rhapsody for orch.; Vars.
on an original theme for do. ; 2 vln. -concertos
(G and F# m.); a vcl.-concerto in E m.;
Poeme antique for vl. and orch.; Hymn to
Eros for tenor solo, male ch. and orch.;
Iphigenia's Prayer for sop. and orch.; a quin-
tet for wind-instrs. ; a str.-quartet in D:
Elegy and Serenade for str.-quartet; a. vl.-
sonata; a suite for vl. and pf.; minor pes.
for vl. and pf.; pf.-pes.; songs. An opera.
Ramona (libretto by A. Kummer), was com-
pleted in 1916; excerpts prod, at a concert ai
the Baltimore Symph. Orch. (Feb., 1917).
Strungk (or Strunck) [stroonk], Nicola us
Adam, b. Celle, Hanover (bapt. Nov. 15),
1640; d. Dresden, Sept. 23, 1700. Violinist:
organ-pupil of his father, whose asst. he be-
came at 12; studied the violin under Schnitt el-
bach at Ltibeck, and at 20 became 1st violin
in the Brunswick orch., later at Celle and
Hanover. In 1678, mus. dir. of a Hamburg
church; then chamber-organist to the Duke
of Hanover, who created him a canon, and
with whom he visited Italy; winning Corelli's
admiration. Returning, he played before
the Emperor at Vienna; in 1688 he became
Vice-Kapellm. at Dresden, succeeding Bern-
hardt as 1st Kapellm. in 1693; but organized
an Italian opera at Leipzig, and settled there
in 1696. Wrote several operas for the first
German Opera at Hamburg 1678-83, and 16
Italian operas for Leipzig (1693-1 700). Publ
Musicaltsche Uebung auf der Violine oder Vi-
ola da Gamba in etlichen Sonaten uber die Fest-
gesdnge, ingleichen etlichen Ciaconen mil Z Vuh
linen bestehend (1691). — Cf. F. Berend, N. A.
5. (Munich, 1915).— See also Q.-Lex.
Struss, Fritz, b. Hamburg, Nov. 28, 1847.
Violinist; pupil of Unruh, Auer and Joachim;
1870, member of the Berlin Court Orch.;
1885, Clamber-virtuoso'; 1887, R. Konzert-
meister; taught in the Klindworth-Schar-
wenka Cons. Published 2 vln.-concertos
(op. 4, A m.; op. 9, D) and pieces for vl. and
pf. (op. 5, 6, 7, 8, 10, 11, 12, 13).
Stuart, Leslie (pseudonym of Thomas
A. Barrett), b. Southport, England, Mar. 15,
1866. a For 7 years he was org. at the R. C.
Cath. in Salford; then org. at Ch. of the Holy
Name in Manchester; settled in London in
1895, where he soon became known as a comp.
of popular songs. His first operetta, Floro-
dora (London, 1899; N. Y. 1900), was an
enormous success, which he has not duplicated
with any of his later works: The Silver Slipper
(1901), The School Girl (1903), The Belle of
Mayfair (1906), Havana (1908), Captain Kidd
and The Slim Princess (1910), Peggy (1911).
Stuck [stuk], Johann Baptist (usually
called Batistin), b. Florence, c. 1680; d. Paris,
Dec. 9, 1755. With Labbe he introduced the
violoncello into the orch. of the Opera at
Paris, where he prod. 3 grand operas: Mitfa-
gre (1709), Manto la fee (1711), and Pdydore
(1720); many ballets for Versailles; publ. 4
books of cantatas (1706, r8, '11, *14), and a
coll. of airs (1709) .—See Q.-Lex.
924
STUMPF— SUDDS
Stumpf, Johann Christian* bassoonist;
in Paris about 1785; then member of the Al-
tona orch.; from 1798, 'Repetitor' at the
Frankfort CityTh. — Works: Orchl. entr'actes;
pieces f. 2 clarinets, 2 horns and 2 bassoons;
4 bassoon-concertos; 1 flute-concerto; a quar-
tet f. bassoon and strings; duos f. bassoons
and f. clarinets; duos f. violin and 'cello;
duos f. 'celli; duos and trios f. violins. — See
Q.-Lex. [under Stump].
Stumpf, Karl, b. Wiesentheid4, Lower*
Franconia, April 21, 1848; Dr. phil. (Gdttin-
gen); ordinary prof, at WUrzburg, 1873;
1889 in Munich; since 1893 in Berlin. Also
a profound student of music. — Publ. Tonpsy-
chologie (2 vols., 1883, '90), extending the
researches of Helmholtz; Die pseudo-artstoU-
lischen Problems (1897); Geschichte des
Konsonanzbegriffs (1897); Die Anfdnge der
Musik (1911). Also valuable essays in vari-
ous journals.
Stuntz, Joseph Hartmann, b. Arlesheim,
n. Basel, July 25, 1793; d. Munich, June 18,
1859. Prod, operas at Milan, Venice, etc.;
became chorusmaster at the- Munich Court
Opera in 1824; and in 1826 succeeded his
teacher, Peter von Winter, as court cond. In
Munich he brought out 3 German operas and
a ballet; wrote much church-music; and publ.
2 overtures, a string-quartet, male choruses,
and vocal Nocturnes a 2.
Suc'co, Reinhold, b. Gdrlitz, May 29,
1837; d. Breslau, Dec. 3, 1897. Pupil of the
Berlin Akademie; 1863, organist of the
Thomaskirche; 1874, teacher of theory at the
Hochschule; 1888, Senator of the R. Acad, of
Arts, Berlin. A writer on church-music;
comp. sacred and secular vocal works, and
organ-pieces.
Such, Henry, violinist; b. London, Mar.
31, 1872. He began to study the yl. at the
age of 6, and 2 years later played in public;
from 1885-92 pupil of Joachim at the Kgl.
Hochschule in Berlin; debut in Berlin, 1892;
after successful tours of Germany st. further
with Wilhelmj (1895-6); then toured Austria,
Holland and Scandinavia; settled in London
in 1898, and soon afterwards was app. prof,
at the G. S. M. He plays a Stradivarius
formerly owned by Paganini.
Such, Percy Frederick, brother of pre-
ceding; b. London, June 27, 1878. He began
the study of the vcl. in 1887 with O. Lude-
mann in Berlin; private pupil of R. Haus-
mann (1889), with whom he continued to
study while attending the Kgl. Hochschule
(1892-8), where he joined Joachim's class in
ensemble- playing; made his d6but in Berlin in
1898; appeared frequently with the Joa-
chim Quartet (as 2d violoncellist) in Germany,
Holland and England; for 2 seasons he was
solo 'cellist of the Popular Concerts. He
is especially noted as a nne ensemble-player.
Sucher [zoo'-heY], Joseph, eminent con-
ductor; b. D6b6r, District of Eisenberg,
Hungary, Nov. 23, 1844; d. Berlin, April 4,
1908. At Vienna he studied singing and the
violin, and became a choir-boy in the court
chapel in 1854; gave up later legal studies for
music, taking lessons in comp. of Sechter;
became vice-cond. of the ' Akad. Gesangverein, *
'coach* for solo singers at the Court Opera, and
afterwards cond. of the Comic Opera; in
1876, cond. of the Leipzig CityTh., marrying
the soprano, Rosa Hassclbeck, in 1877;
they were engaged by Pollini at Hamburg
from 1878-88; S. then became cond. of the
Royal Opera at Berlin, his wife being eng.
there as prima donna. He retired in 1899.
He was especially famous as a Wagner inter-
preter.— Publ. works: Aus alien Mdrchen, '
3-part fern. ch. with orch.; Waldfrdulein for
sop. solo, mixed ch. and orch.; Seeschlacht
bet Lepanto for male ch. and orch.; songs
(Ruheort, a cycle; etc.).
Su'cher, Rosa (n£e Hasselbeck), famous
dramatic soprano; wife of preceding; born
Velburg, Upper Palatinate, Feb. 23, 1849.
She received her first instruction from her
father, Joseph H., regens chori there, and later
was a pupil at the Kgl. Musikschule in
Munich; began her career as church-singer in
Freising; after her operatic debut in Treves
she was eng. in Konigsberg, Berlin, Danzig
and Leipzig, where in 1877 she married the
Kapellm. Joseph Sucher; both were eng. at
the Stadtth. in Hamburg (1878-88) and then
at the R. Opera in Berlin; after her husband's
retirement (1899) she continued to sing for a
few years (farewell appearance in Berlin as
Sieghnde, Nov. 3, 1903). From a charming
interpreter of youthful rdles she developed
into a Wagner singer of the first rank; dur-
ing her engagements at Hamburg and Berlin
she sang frequently in Vienna, Munich, Lon-
don, etc.; from 1886-99, at every festival in
Bayreuth; in 1895 she sang the great Wagner
rdles in Damrosch's season at the M. O. H.
(Amer. debut as Isolde, Feb. 25). She was
the soloist at several Nether-Rhenish mus.
festivals, etc. Since her husband's death
(1908) she has been living in Vienna as
teacher; she is 'Kgl. Kammersangerin' and
'Prof.' Her repertoire included every soprano
r61e (from Senta to Kundry) in Wagner's .
works; her Fidel io has been compared to
that of Klafsky and Lehmann.— Cf. her
memoirs, Aus tneinem Leben (Leipzig, 1914).
Sudds, William F., b. London, Engl.,
Mar. 5, 1843. His parents removed in 1850
to a farm in Gouverneur, N. Y.; S. taught
himself the violin, 'cello, guitar and cornet;
was a bandmaster during the civil war, and
925
SUK— SULLIVAN
Borne years afterward entered the Boston
Cons, of Music, studying under Eugene
Thayer (org.) and J. Eichberg (violin and
comp.). Settled at Gouverneur as a com-
poser, teacher, and music-publisher. — Works:
For orch., 4 overtures, From Ocean to Ocean,
A Night in June, The Merry Chanter, and The
Viking's Daughter-, — f. violin and pf., 5 Tone-
Vignettes, and a score of other pieces; — for
piano, over 100 comps., incl. dances, marches,
salon-music and instructive pieces; — about 75
numbers of church-music (cantata The Star of
Bethlehem); — many songs; etc. — Also publ.
National School for Piano; Nat, Guide for
Reed Organ; Easy Method f. do.; Organ Gems
(original); 50 Organ- Voluntaries (original);
Modern Guide to Vtolin-playing; etc.
Suk, Josef, b. Krecovic, Bohemia, Jan. 4f
1874. Pupil, at Prague Cons., 1885, of Benne-
witz (vln.), Knitti and Stecker (theory), and
Dvorik (comp.); fine violinist; since 1892
2d violin in the 'Bohemian String-Quartet.'
In recent years he also appeared with success
as cond. of symphony concerts. — Works: For
orch.: Op. 4, Dramatische Ouvertiire; Op. 6,
Serenade for str.-orch.; op. 14, Symphony in
E; op. 16, Ein Marchen, suite arr. from the
incid. music to Zeyer's Raduz und Mdhulena;
op. 24, Fantasie for vl. and orch.; op. 25,
Scherzo fantastique; op. 26, Praga, symphonic
poem; op. 27, Symphony in E m., Asrael;
op. 29, Ein Sommermdrchen, symph. poem.
Op. 20, Pod jabloni [Under the Apple-tree],
dram, legend for alto solo, cji. and orch.
Chamber-music: Op. 1, pf.-quartet in A m.;
op. 2, pf.-trio in C m.; op. 11, str.-quartet in
Bb; op. 23, Elegit for pf.-trio; op. 31, str.-
quartet in Db. Op. 17, 4 pes. for vl. and
pf.; pf.-pes. (op, 5, 7, 10, 12, 21 [Suite in G
m.J, 22a, 22b, 28, 30); op. 15, 10 fern, choruses
w. pf. 4 hands; op. 18, 4 male choruses a
capp.; op. 19, 3 fern. do. do. In MS. he has
a Dramatische Ouvertiire, an overt, to The
Winter's Tale, a pf. -quintet. — He edited the
posth. works of Dvorak (his father-in-law).
Suk, V4Sa, b. Kladno, Bohemia, Nov.,
1861. Pupil of the Prague Cons.; 1879-81,
violinist in the Warsaw symph. orch.; 1881-4,
cond. of the imp. theatres in Kiev and Mos-
cow; then at various provincial theatres;
since 1906 cond. of the Imp. Opera in Mos-
cow.— Works: The opera Liesnoi tsar [The
Lord of the Forest] (Kiev, 1900; in Prague as
Lesur pdn, 1903); a symph. poem, Jan Huss;
a serenade for str.-orch.; pf.-pes. and songs.
Sullivan, Sir Arthur Seymour, b. Lon-
don, May 13, 1842; d. there Nov. 22, 1900.
In 1854 he entered the Chapel Royal as a
chorister, under H el more; publ. a song in
1855; was elected (the first) Mendelssohn
Scholar in 1856, studying at the R. A. M.
from 1857 under Bennett and Goss, and at
926
the Leipzig Cons. 1858-61 under Moecheles,
Hauptmann, Richter, Plaidy, etc., conducting
a performance of his overture to Lalla Rookh
in 1860, and writing string-quartets and
music to The Tempest (Crystal Palace, 1862).
His cantata Kentlworth (Birmingham Fest.,
1864) stamped him a 3 a composer of high rank.
He conducted numerous series of concerts,
more especially those of the London Phi I harm.
(1885-7) and the Leeds Festivals from 1S80-
98. He was Principal of, and prof, of comp.
at, the National Training School for Music
from 1876 to his resignation in 1881. Re-
ceived the degree of Mus. Doc. hon. causa from
Cambridge (1876) and Oxford (1879); Chev-
alier of the Legion of Honor, 1878; grand or-
ganist to the Freemasons, 1887; corr. member
of the R. Mus. Inst., Florence, 1888; etc.
He was knighted by the Queen in 1883. In
Britain and America his operettas enjoyed a
popularity probably unexampled until then
by any stage-works. In the first place this
immense success was due to S.'s exquisite
and refined music; but a large share is un-
?|uestionably due to the excellent libretti
urnished by Sir W. S. Gilbert (b. London,
Nov. 18, 1836; d. Harrow, May 29, 1911),
who was S.'s collaborator from 1871. It
should not be forgotten, however, that his
orchl. and choral works also are among the
best of the period. — Dramatic works: Cox and
Box (1867); The Contrabandists {1*67);
Thespis (1871); Trial by Jury (1875); Tke
Zoo (1875); The Sorcerer (1877); H. M. S.
Pinafore (1878); The Pirates of Pentanu
(1880); Patience (1881); Iolanthe (1882V,
Princess Ida (1884); ' The Mikado (1885);
Ruddigore (1887); The Yeomen of the Guard
(1888) ; The Gondoliers*, or The Kings ofBara-
taria (1889); grand opera Ivanhoe (1891);
Haddon Hall (1892); Utopia (limited), or The
Flowers of Progress (1893); The Chieftain [re-
vision of The Contrabandista] (1894); The
Grand Duke, or The Statutory Duel (1896); The
Martyr of Antioch (Edinburgh, 1898; a stare-
arr. of the cantata); The Beauty-Stone (w.
Pmero; May 28, 1898); the romantic opera
The Rose of Persia (1900); The Emerald Isle
(completed by E. German, 1901);— 2 ballets,
/ lie enchante (1864) and Victoria and Merrie
England (1897).— Incid. music to TheTemptsi,
The Merchant of Venice, Merry Wives of
Windsor, Henry VIII, Macbeth, Tennyson's
Foresters and Carr's King Arthur.— Oratorios
and cantatas Kenilworth (1864), The Prodigal
Son (1869), On Shore and Sea (1871), The
Light of the World (1873), The Martyr of An-
Hoch (1880), The Golden Legend (1886); a
Festival Te Deum (1872) ; the ode, / wish to
%2S„?y Quiv'rinZ hre, f. bar. solo w. orch.
{^)\*f£Mb£i€n 0de (1886>; *■*• Inst.
Ode ' U887);-- For orch., Procession March
(1863); Princess of Wales1 March (1863);
SULZER— SURETTE
aymphony in E (1866); overtures In memo-
riant, Marmion, Overturn di ballo, Sapphire
Necklace; a 'cello-concerto (1866); Imperial
March (1897). Also a Te Deum, Jubilate
and Kyrie, in D; anthems and hymn-tunes;
pf. -pieces; songs. — Bibliography: A. Law-
rence, Sir A. S. Life-Story, Letters and Rem-
iniscences (London, 1900); W. J. Wells, Sou-
venir of Sir A. S. A Brief Sketch of His Life
and Works (New York, 1901); H. S. Wynd-
ham, A. S. (London, 1904); B. W. Findon,
Sir A. S. His Life and Music (ib., 1904); id.,
Sir A.S.and His Operas (ib., 1908); I. Gold-
berg, Sir W. S. Gilbert (Boston, 1913); F.
Collier and C. Bridgeman, Gilbert and 5., and
Their Operas (London, 1914).
Sul'zer [zodl'tser), Johann Georg, b.
Winterthur, 1720; d. Berlin, Feb. 25, 1779,
where he had been prof, at the Joachimsthal
Gymnasium and the Ritterakademie. — Publ.
Pensces sur I'origine . . . des sciences et des
beaux-arts (1757, in Reports of the Akad.;
German ed., 1772, as Die schonen Kunste in
ihrem Ursprung . . . ); Allgemeine Theorie der
' schonen Kunste (1772, 4 vols.; 2d ed. 1792-4;
Hlankenburg added 3 vols, of 'Litterarische
Zusatze,' 1796-8; Dyck and Schatz added 8
supplementary vols., 1792-1806; the musical
articles are mostly by J. A. P. Schulz); and
a report on Hohlf eld's Melograph, for the
Akademie (1771).- Cf. J. Leo, /. G. S. und
die Entstehung seiner Allgem. Theorie der
schonen Kunste (Berlin, 1907).
Sul'zer, Salomon, b. Hohencms, Vorarl-
berg, Mar. 30, 1804; d. Vienna, Jan. 18, 1890.
He studied comp. with Seyfried at Vienna,
where he was cantor at the chief synagogue
from 1825. He is known as the regenerator
of the Jewish service of song, having rhyth-
mically and harmonically ordered the old
religious melodies. Was prof, of singing at the
Cons. 1844-7; received the gold medal for
science and art; also in 1868 the Order of
Pranz Joseph. — Works: 'Schir Zion* (Hebrew
hymns); Dudaim' (songs for school and
home); Psalms; etc. — His son Julius, b.
Vienna, 1834; d. there Feb. 13, 1891, was a
fine violinist; after long travels in the East,
he became Kapellm. at the Hofburgtbeater
at Vienna in 1875. Prod, several operas, a
Symphonisches Tongemdlde, pf.-music, songs.
Sundgren-Schneevoigt, Sigrid Inge-
borg, fine pianist; b. Helsingfors, June 17,
1878. From 1886-92 pupil of H. Dayas at
the Cons, there; completed her studies with
F. Busoni in Berlin (1894-7); successful
dibut there in Jan., 1897. In 1907 she
married Georg Schneevoigt (q. v.), with whom
she has made several tours of Scandinavia
and Germany; is now (1917) principal teacher
of pf. at the Helsingfors Cons.
Suppe [s66'pa1, Franz von, b. Spalato,
Dalmatia, April 18, 1819; d. Vienna, May 21,
1895. [He was of Belgian descent, and his
real name was Francesco Ezechiele Erme-
negildo Cavaliere Suppe-Demelli.] At 11 he
played the flute, and at 15 prod, a mass at
Zara; sent by his father to studv philosophy
at Padua, he pursued a course of music under
Cigala and Ferrari, and on his father's death
went with his mother to Vienna, and studied
at the Cons, under Sechter and Seyfried. His
first position was that of unpaid conductor
at the Josephstadter Th. ; he then obtained
more profitable engagements at Presburg
and Baden, and again at Vienna at the Th.
an der Wien (till 1862), Carl Th. (till 1865),
and thereafter at the Leopoldstadter Th.
Among 31 comic pperas and operettas, and
180 other stage-pieces of all degrees of levity,
the following are most important: Der Apfel
(Zara, 1834; private perf.); Gertrude und
Virginia (comp. 1838); Das Mddchen vom
Lande (Vienna, 1847); Der Bandit (Vienna,
1848; in Florence, 1894, as Cartouche); Para-
graph 3 (1858); Das Pensionat (1860); Die
Kartenschldgerin; Zehn Mddchen und kein
Mann (1862) ; Flotte Bursche (1863) ; Das Corps
der Roche (1863); Pique-Dame (1864); Franz
Schubert (1864); Die schone Galatea (1865);
Leichte Cavallerie (1866); Freigeister (1866);
Banditenstreiche (1867); Die Frau Meisterin
(1868); Tantalusqualen (1868); Isabella
(1869); Cannebas (1870); Die Prinzessin
von Dravant (Prague, 1870); Fatinitza (Vienna,
1876; in London, 1878; in Paris, 1879;
extremely popular); Der Teufel auf Erden
(1878); Boccaccio (Vienna, 1879; London,
(1882); Donna Juanita (1880); DerGascogner
(1881); Hcrzbldttchen (1882); Die Afrikareise
(1883); Des Matrosen Heimkehr (Hamburg,
(1885); BeUmann (Vienna, 1887); Die Jagd
nach dem Gluck (1888); Brautjagd (Berlin,
1894; music that of Die Jagd nach dem Gluck;
text new) ; Das Modell (posth. ; Vienna, 1895) ;
Die Pariserin (posth.; 1898); — overtures (that
to Dichter und Bauer is played everywhere),
a symphony, quartets, songs; also (1867) a
Missa dalmattca and (1860) a Requiem,
Vestremo giudisio. S. was one of the most
popular of German operetta-composers. —
Cf. O. Keller, F. v. S., der Schdpfer der deut-
schen Operette (Leipzig, 1905).
Surette, Thomas Whitney, b. Concord,
Massachusetts, Sept. 7, 1862. Pupil of Ar-
thur Foote (pf.) and J. K. Paine (Harvard
Univ., class of 1891); or$. of First Parish Ch.,
Concord, 1883-93; music-master at the Hill
School, Pottstown, Pa., 1893-4; org. and
choirm. of Christ Ch., Baltimore, 1895-6; 1895,
staff -lecturer on music for the Amer. Soc. for
the Extension of University Teaching (Phila.,
Pa.); 1909 app. staff-lecturer in Extension
927
SURIANO— SWEELINCK
dept. of Oxford Univ., England; member of
the Advisory Bd. of Music for the Boston
Public Schools. He has won wide recognition
for his lucid and interesting presentation of
the subjects treated.— Publ. works: Priscilla,
or the Pilgrim's Proxy, 2-act operetta (given
over 1,000 times up to date, 1917); Cascabel,
romantic opera (Pittsburg, 1899); The Eve of
St. Agnes [Keats], dram, ballade f. soli, ch.
and orch. (1898); Let God arise, thanksgiving
anthem for close of Span.-Amer. war; Por-
traits, 5 pf.-pieces.— Author of The Apprecia-
tion of Music (1907; with D. G. Mason), and
The Development of Symphonic Music (1915);
Music and Life (191 7) ; also numerous essays
in various journals.
Surla'no (or Soriano), Francesco, born
Rome, 1549; d. there in Jan., 1620. Pupil
of Naniniand Palestrina; 1580, maestro at S.
Ludovicode' Francesi; 1587, at S. Maria Mag-
giore; in 1599, at S. Giovanni in Laterano;
next year again at S. Maria Maggiore; finally,
in 1603, at St. Peter's. Publ. several books of
masses, motets, psalms, sacred and secular
madrigals, etc. — 5ee Q.-Lex.
Stiss'mayer, Franz Xaver, born Steyr,
Upper Austria, 1766; d. Vienna, Sept. 17,
1803. Pupil of Salieri and Mozart, becoming
an intimate friend of the latter. Kapellm. at
the National Theater, 1792; 2d Kapellm. at
the Court Opera, 1794. Prod, an opera and
a score of operettas, of which Der Spiegel von
Arkadien (1795), Der Wildfang (1798) and
Soliman II. (1799) were published. He com-
pleted the orchl. score of Mozart's Requiem
from the master's sketches, wrote the secco
recitatives and orchestrated several arias of
Titus.
Sv end 'sen, Johan (Severin), violinist and
composer; b. Christiania, Sept. 30, 1840; d.
Copenhagen, J[une 14, 1911. From 1863-7,
pupil of David, Hauptmann, Richter and
Reinecke at the Leipzig Cons.; toured Den-
mark, Scotland, the Faroe" Islands, Iceland,
Norway, and England; lived in Paris 1868-9,
playing in Musard's orch. and at the Od£on;
went to Leipzig in 1869, married an American
lady in New York, 1871, and was Konzert-
meister of the Leipzig 'Euterpe' concerts the
following winter; cond. the concerts of the
Christiania M us. Assoc. 1872-7, and again
1880-3 after visiting Rome, London, and
Paris; from 1883, court cond. at Copenhagen;
1896 also cond. of the Royal Theatre there.
He retired in 1908.— Works: Op. 1, str.-
quartet in Am.; op. 2, male quartets; op. 3,
str. -octet in A m.; op. 4, symphony in D;
op. 5, str.-quintet in C; op. 6, violin-concerto
in A; op. 7, 'cello-concerto in D m.; op. 8,
overture to Bjornson's drama Sigurd Slemhe;
op. 9, Carnaval a Paris f. orch.; op. 10, Fu-
neral March for Charles XV; op. 11, Zora-
hayde, Legende f. orch.; op. 12, folonal
orch.; op. 13, Coronation March (for O
II); op. 14, Wedding-Cantata f. chorus
orch.; op. 15, symphony No. 2, in B?; op
Carnaval des artistes norvegiens9 humor
march; Norwegian Rhapsodies f. orch- (op.
19, 21, 22); op. 18, overture to Kameo
Juliet; op. 20, Scandinavian airs f- str.-q j
tet; op. 23, 5 songs (French and Oern^
op. 24, 4 songs (French and Norwegian ) ; c
25, Romance by Popper, arr. f. 'cello and r
op. 26, Romance in G, f. violin and orch. l
arranged for orch. works by Bach, SchuU-
Schumann and Wagner {Trdume')4; arram,
for str.-orch. 1 Norwegian, 2 Swedish a-
2 Icelandic folk-melodies.
Swan, Timothy, born Worcester, Ma^
July 23, 1758; d. Northfield, July 23, 1*,'
Teacher of music at Groton and North fie'
publ. 'The New England Harmony' (Iftr
and The Songster's Museum* (1803); *
a cofcditor of 'Federal Harmony* (17S;
Comp. the hymn-tunes Poland, China, Of.
and Pownal.
Sweelinck [svalink], Jan Pietere, V~
Amsterdam, 1562; d. there Oct. 16, '..
This great organist, composer and teachers ->
the pupil of Jacob Buyck, pastor of the Oli
Church at Amsterdam, and probably o( his
father, Pieter S., the organist at that church,
who died in 1573, the son succeeding to the
position between 1577-81. As a player and
teacher he was celebrated far and wide; mot
of the leading organists in Northern German,
of the next generation, were his pupils. Dur-
ing his lifetime, only some of his vocal mu>if
was publ.; but his organ-music is more re-
markable and important: S. was the first to
employ the pedal in a real fugal part, and
originated the organ-fugue built up on one
theme with the gradual addition of counter-
themes leading up to a highly involved and
ingenious finale — a form perfected by Bach.
In rhythmic and melodic freedom, his vocal
compositions show an advance over the earlier
polyphonic style, though replete with intricate
contrapuntal devices. A complete ed. of
S.'s works, in 12 vols., edited by Dr. Max
Seiffert for the 'Vereeniging voor Noord-
Nederlands Muziekgeschiedenis,' was publ.
by Breitkopf & Hartel (1895-1903): Vol. i,
Works for Organ and Clavichord; vol. ii, 1st
half of the First Book of Psalms (1604); vol.
iii, 2d half of do.; vol. iv, 1st half of the Sec-
ond Book of Psalms (1613); vol. v, 2d half of
do.; vol. vi, Third Book of Psalms (1614);
vol. vii, Fourth Bk. do. (1621); vol. viii,
Cantiones sacrae a 5; vol. ix, Chansons a 5;
vol. x, Rimes francoises et italiennes a 2-4;
vol. xi, Processional comps.; vol. xii, Rules
for composition, ed. by H. Gehrmann. Vols,
ii-vii comprise the 150 Psalms of David in the
928
SWERT— SYKORA
rhymed French version by Marot and Beza.
— Cf. F. H. J. Tiedeman: /. P. S.t een bio-
bibliografische Schets (Amsterdam, 1876; 2d
ed. 1892); M. Seiffert, /. P. S. und seine
direkten Schiller, in 'Vschr. f. M.-W.' (1891).
Swert, Jules de. See Deswert.
Szarva'dy, Wilhelmine. See Clausz-
SZARVADY.
Suter [zoo'tSr], Hermann, b. Kaiserstuhl,
Fwitzerland, April 28, 1870. Pupil of his
father, org. and cantor there, and ofG. Weber
in Zurich; then in Basel of J. Burckhardt,
S. Bagge and H. Huber; attended the
Stuttgart and Leipzig Cons., 1888-91. From
1892-1902 in Zurich as org. and teacher, and
cond. of the 'Mannerchor' at Schaffhausen
and the 'Stadtsangerverein' at Winterthur;
since 1902 in Basel as cond. of the 'Gesang-
verein,' 'LiedertafeV and the symphony
concerts of the 4AUgemeine Musikgesell-
schaft'; made Dr. phil. (hon. c.) by the Univ.
of Basel in 1913. — Works: 2 Symphonies (No.
1, op. 17; No. 2, in D); 2 str.-quartets (op.
1, D; op. 10, C#m.); a symphonic poem,
Walpurgisnacht (op. 5; with chorus); incid.
music to Bernoulli's St. Jakob an der Birs;
Die Schtniede im Walde for male ch. and
orch. (op. 4); numerous male and mixed
choruses a capp.
Sutor, Wilhelm, b. Edelstetten, Bavaria,
1774; d. Linden, n. Hanover, Sept. 7, 1828.
Operatic tenor; in 1806, chorusmaster at the
court th. in Stuttgart; Konzertmeister in
1807; from 1818 Hofkapellm. in Hanover.
For Stuttgart he wrote the operas A polios
Wettgesang (1808), Der RiU auf den Blocks-
berg (1809), David (1812), Pauline (1814),
Das Tagebuck [Welcher ist der Vetter?] (1817);
an oratorio, Der Tod Abels; the cantatas Die
Zwillingskrone and Die untergehende Sonne;
a melodrama, Die Waise aus Genf; incid.
music to Macbeth.
Sutro, Florence Edith (nie Clinton), b.
in England, May 1, 1865; d. New York, April
29, 1906. A graduate of the N. Y. Cons, of
Music, and the first woman in the U. S. to
receive the degree of Mus. Doc.; founder
(1898) and first pres. of The National Federa-
tion of Musical Clubs; for her efforts in be-
half of women composers and executants she
was awarded a gold medal- at the Atlanta
Expos, in 1895. On Oct. 1, 1884, she married
Theodore Sutro, a prominent lawyer of New
York. Author of Women in Music (1899).
Sutro, Rose Laura (b. Baltimore, Sept. 15,
1870), and Ottilie (b. ib., Jan. 4, 1872);
notable ensemble pianists; daughters of the
late Otto S.f a patron of art and founder of
the Baltimore Oratorio Soc. Each, at the
age of 8, began piano-lessons with their
mother. Hearing their parents play on 2
pfs., they imitated them, and in 1889 were
sent to the Kgl. Hochschule in Berlin, where
they studied with H. Barth until 1893.
Shortly before graduation, at a private mu-
sicale, they were asked to play a piece by
Duvernoy for 2 pfs. (Feu roulant) which they
had practised as children, and the applause
which greeted their performance led them to
make a specialty of comps. for 2 pfs. Debut
at Steinway Hall, London, on July 13, 1894,
with immense success; American debut in
Brooklyn, 1894, at a concert of the Seidl
Soc. (Nov. 13), followed by a tour of the U. S.
Returning to Europe, they won fresh laurels,
and were invited to play before Queen Vic-
toria. From 1910-14 in Europe; since then
in the U. S., winning for themselves a unique
position. They have developed the art of
ensemble- playing (on 2 pfs.) to such per-
fection that it is impossible to distinguish
the individual artist; the effect produced is
that of a single performer commanding a
tone of extraordinary fullness. Among the
composers who have written works specially
for them are Rudorff, Schiitt, Hollaender,
Floersheim, Ashton, Owst, Maurice, and
particularly Max Bruch (concerto for 2 pfs.
and orch., op. 88), who presented them with
the MS. score and the sole rights for life.
They played this work for the first time in
Berlin, April 24, 1915, under the composer's
personal direction, at a private concert at the
Philharmonie; the first public performance
(according to Bruch *s wish) was given by the
Phila. Symphony Orch., under Leopold Sto-
kowski, in Philadelphia, Dec. 29, 1916.
Svecenski [-chelin'skc], Louis, b. Osijek,
Croatia, Nov. 6, 1862. From 1881-5 pupil
at the Vienna Cons, of J. Grtin (vl.) and. J.
Hellmesberger (vl. and comp.); violinist
in the Boston Symph. Orch., 1885-1903;
throughout the entire career of the Kneisel
Quartet (1885-1917) he played the viola.
Now (1917) living in New York as teacher.
Has publ. 25 Technical Exercises for Viola.
Swobo'da, Adalbert (Viktor), b. Prague,
Jan. 26, 1828; d. Munich, May 19, 1902.
Pupil of August S. (a teacher in Vienna, and
author of several theoretical treatises);
founder (1880) and editor till his death of the
'Neue Musikzeitung' in Stuttgart (present ed.
[1917] O. Kuhn) ; author of IUustrierU Musik-
geschichle (2 vols., 1893).
Syko'ra, Bogumil, violoncellist; b. Glinsk,
Jan. 15, 1890. St. with F. von Mulert at the
Imp. Mus. Acad, in Kiev till 1907; then
with J. Klengel at the Leipzig Cons. (1909),
continuing as a private pupil till 1911; succ.
debut at Leipzig, Jan. 20, 1911; having
played in several of the larger cities of Ger-
many and Austria, he toured Russia (especially
the Central and Southern provinces), the
929
S YRM EN— T AFF AN EL
Caucasus and Siberia (1913-5); Amer. de-
but in New York (Dec. 12, 1916). Has
publ. for vcl. and pf., Vars. (op. 1), char-
acteristic pes. (op. 2, 3, 4, 7); in MS. are
several sonatas, Carnaval, a 'cello-concerto
and minor pes.
Syrmen [sihr'-], Maddalena Laura (nie
Lombardlnl), b. Venice, c. 1735; d. (?). St.
at the Cons, dei Mendicanti and later with
Tartini, who wrote for her VArte del Arco
(in the form of letters); in 1771 she was in
London, singing in oratorio and also appear-
ing as violinist and harpsichordist; the next
year she concertized in Paris. Married the
violinist Ludovico S., with whom she wrote
6 str. -quartets; alone she wrote 6 concertos
for harpsichord, 6 do. for violin, 6 sonatas
for 2 vis., and 6 trios for 2 vis. and vcl.
Szant6 Tsahn'toh], Theodor, b. Vienna,
1877. Pupil of Chovan and Kossler at the
Landesmusikakadcmie in Pest; living in
Paris as concert- pianist. Has publ. a vl.-
sonata in Hungarian style and brilliant pf.-
pieces.
Szekely [seh'kSh-le], Imre [Emerlc], b.
Matyasfalva, Hungary, May 8, 1823; d.
Pest, April 1887. Pianist; st. in Pest; con-
cert-tours in 1846; visited Paris and London,
also lived in Hamburg and other German
towns, and in 1852 settled in Pest, distin-
guishing himself as a teacher. Has publ. 30
Hungarian Fantasias on national airs; salon-
pieces (op. 20-27); concertos and etudes f.
pf.; orchl. works; ensembles for strings; etc.
Szell [se*hl], Georg, b. Pest, June 7, 1897.
Pupil of R. Robert, J. B. Forster and E. Man-
dyczewski. A pianist and composer of ex-
traordinary precocity, he has appeared since
1907 with sensational success in Vienna,
Prague, Munich, Dresden, etc. Has written
a symphony in B, an overture, a rondo for
pf. and orch., a pf.-quintet in E.
Szendy [sehn'di], Arpad, born Szarvas,
Hungary, 1863. Pupil of Gobbi and Kossler
at the Landesmusikakademie in Pest, and
later of Liszt; since 1890 prof, of pf. there.
Comp. of numerous pf.-works of decided
national color (Sonata in D, several rhap-
sodies, caprices, Aphorismes sur des chants
populaires hongrois, etc.).
Szumowska [shoo-mdhf'sk&h], Antoi-
nette, b. Lublin, Poland, Feb. 22, 1868.
Pianist; pupil of Strobel and Michalowski at
Warsaw Cons, in 1889, later of Paderewski at
Paris. Made her debut in recital at the Salle
Erard (Paris, May, 1891); has given success-
ful concerts at London, Paris*, New York,
Boston, etc., appearing in recital and with
orch.; is also a fine ensemble player. In
1896 she married the violinist Joseph Ada-
mowski, and with him and his brother,
Timothee (vcl.), formed the 'Adamo^i
Trio.' She taught for 2 years at the Ne
Engl. Cons. Resides in Boston.
Szymanowska [shu-mah-n6hf'sIciUi], Ma
ria, nSe Wolowaka, b. Poland, 1790;
Petrograd, 1831. Piano- virtuoso, pupil *i
Field at Moscow; lived in Warsaw 1815-^ '.
making highly successful tours in German},
also giving concerts at Petrograd, where sr-
was app. court pianist. — Publ. Studies, 2r
Mazurkas, the Nocturne Le murmttre, et< ,
which received Schumann's approval.
Szymanowski [shu-mah-n5hf'skel, Karel.
b. Timoshevka, Southern Russia, 1883. Pu-
pil of Noskowski in Warsaw. Comp. of 2
symphonies (F m. and B), a concert -over-
ture, a vl. -sonata in D m. (op. 9), Romans
for vl. and pf. (op. 23), 2 pf. -sonatas (op. 8.
C m.; op. 21, A), vars. for pf. (op. 3 and 10;f
songs (op. 7, 11, 17, 22).
Tabourot, Jean. See Arbeau.
Tacchlnardi [tah-ke-nahr'de], Nicofa
famous dramatic tenor; b. Leghorn, Sept.'"
1772; d. Florence, Mar. 14, 1859. Al\».
singing on Italian stages (La Scala, Milan,
1805), he was eng. at the Theatre ItaJien,
Paris, 1811-14, with Crivelli; from IS22-31,
*primo cantante' in the Grand Ducal chapel at
Florence, also appearing repeatedly on the
stage ; then lived in Florence as a teacher, one
of his pupils being his daughter, Fanny
Tacchinardi- Persiani (see Persia m). He
publ. vocalizzi and exercises; also the work
DeW Opera in Musica sul teatro Ualiano e de*
suoi difetti.
Tadoli'nl, Giovanni, b. Bologna, 1793; d.
there Nov. 29, 1872. Pupil of Mattel {comp.)
and Babini (singing); 1811-14, accompanist
and chorusmaster at the Th. des ItaUens,
Paris, under Spontini; then prod, a succes-
sion of operas in Italy (La fata Alcina, Venice,
1815; La Principessa di Navarra, Bologna,
1816; II Credulo deluso, Rome, 1817; Tatner-
lano, Bologna, 1818; // finto Molinaro, Rome,
1820; Moctar, Milan, 1824; Mtiridate, Venice,
1826; Almansor, Trieste, 1827); then (1830-9)
resumed his post in Paris. Also wrote
romances, cantatas, and canzonets; a trio f.
pf., oboe and bassoon; etc.
Taffanel', Claude-Paul, born
Sept. 16, 1844; d. Paris, Nov. 22,
cellent flutist; pupil of Dorus
Reber (comp.). From 1864-90,
the Paris Opera orch.; 1867-90,
Cons, concerts, which he cond.
from 1892 till his death he was
'chefs d'orchestre' at the Opera
succeeded Altes as prof, of nute-playing at
Bordeaux,
1908. Ex-
(flute) and
flutist in
do. of the
1890-1903;
one of the
: in 1893
930
TAG— TALEXY
the Cons. In 1879 he founded the 'Societe
des quintettes pour instruments a vent.'
Tag, Christian Gotthilf, b. Bayerfeld,
Saxony, 1735; d. Niederzwdnitz, July 19,
1811. Cantor at Hohenstein for 53 years. —
Publ. 6 Choral-preludes w.Trio and Allabreve
(1783); 12 Preludes and a Symphony f. org.
(1795); songs (1783, '85, '93, '98); 70 vars. f.
pf., on an Andantino (1785); Der Glaube,
melody w. org. (1793); Urians Reise urn die
Welt and Urians Nachricht von der Aufkl&rung
(1797); Naumann, tin Todtenopfer (1803;
voice w. pf.); Melodic zum Vaterunser und
den Einsetzungsworten (1803; w. ore.); Wor-
litz, an ode (1803; voice w. pf.); many
sacred and instrl. works are in MS. — See
Q.-Lex.
Tagliana [tahl-yah'nahl, Emilia, operatic
soprano (coloratura); born Milan, 1854;
pupil of the Cons, there, also of Lamperti.
Sang in Naples, Rome, Florence, raris,
Odessa, and Vienna (1873-7), studying there
under Hans Richter; at Berlin 1881-2,
where she created Carmen in the local pre-
miere; was app. 'Kammersangerin.' Then
retired from the stage, returning to Italy.
Ta'glichsbeck, Thomas, born Ansbach,
Dec. 31, 1799; d. Baden-Baden, Oct. 5, 1867.
Violinist, pupil of Rovelli at Munich; mem-
ber of the theatre-orch. 1817; later asst.-
conductor. After lonp concert -tours, he was
Kapellm. to the Prince of Hohenzollern-
Hechingen 1827-48; then theatre-cond.^ at
Strassburg; then lived in Lfiwenberg (Silesia),
Dresden, and Baden-Baden. — Works: Opera
Webers Bild (Munich, 1823); a mass w. orch.;
2 symphonies; a concerto militaire f. violin w.
orch.; concertino f. do.; Variations f. do.;
Polonaise f. do.; a pf.-trio; violin-duos;
sonatas, fantasias, vars., etc., f. violin w.
pf.; part-songs f. mixed ch., w. wind-instrs. ;
male quartets; songs; etc.
Taglioni [tahl-yoh'ne], Ferdinando, son
of the famous ballet-master Salvatore T.
[1790-1868); b. Naples, Sept. 14, 1810.
From 1842-9, cond. at Lanziano; then
leader at the San Carlo Th., Naples, until
1852. Later he edited*the Naples 'Gazzetta
Musicale'; in 1856 he began a series of histor-
ico-classical concerts, the first of the kind in
Italy; also founded a school for choral singing.
— Publ. several pamphlets on vocal instruc-
tion in the schools; also sacred vocal comps.
Tagore, Sir Surindro Mohun [Rajah
Saurindramohana Thakura], eminent Hin-
du musicologist; b. Calcutta, 1840; d. there
June 28, 1914. At the age of 17 he began to
study Hindu music under Luchmi Prasad
and Kshetra Mohun Gosvami, and European
music under a German teacher in Calcutta;
founded and endowed from his personal
fortune the 'Bengal Music Soc.' (1871) and
the 'Bengal Academy of Music' (1881), con-
tinuing to preside over both until his death.
Oh the occasion of the first visit to India of the
Prince of Wales (1875) he transl. the Engl,
national hymn into Bengali, and set the
words to 12 varieties of Hindu melodies
(arr. for native instrs.). His coll. of Hindu
and European musical publications, begun
before he was 20, was the most complete and
valuable musical library in India. At an
early age he had perfected a new and simpler
system of musical notation, which gradually
replaced the older system throughout India.
As a connoisseur of instruments he also en-
joyed a high reputation, being at various times
commissioned by the principal museums of
Europe to procure for them instrs. of Asiatic
nations; perhaps the finest coll. is that in
the Metropolitan Museum of Art in New
York. He wrote nearly 6o books on an
amazing variety of subjects; those con-
cerning music (all publ. in Engl, at Calcutta)
are Yantra Kosha, or A Treasury of the Mu-
sical Instruments of Ancient and Modern
India (1875); Hindu Music from Various
Authors (ISIS; 2d ed., in 2 vols., 1882); Short
Notices of Hindu Musical Instruments (1877);
The Five Principal Musicians of the Hindus,
or A Brief Exposition of the Essential Elements
of Hindu Music (1881); The Musical Scales
of the Hindus \ with Remarks on the Applica-
bility of Harmony to Hindu Music ( 1 884) ; The
22 Musical Srutis of the Hindus (1886).—
Cf. Fr. Chrysander, Ober T.*s „Hindu Music"
in 'Allg. Musikal. Ztg.' (1879); p. 540 et sea.);
id., Ober altindische Opfermusik, in 'Vscnr.
f. M.-W.' (1885; p. 21 et seq.).
Talbot, Howard [real name Munkit-
trlckl, b. Yonkers, N. Y., Mar. 9, 1865.
Taken to England at the age of 4, he st. mu-
sic at the R. C. M. under Sir H. H. Parry,
Sir F. Bridge and Dr. F. E. Gladstone; since
1900 cond. at various London theatres. A
prolific composer of operettas (several in
collab. with Paul Rubens, Lionel Monckton,
and Hugo Felix). — Works (all prod, in Lon-
don): Wapping Old Stairs (1894), Monte
Carlo (1896), A Chinese Honeymoon (1899;
his greatest success), Kitty Grey (1901), Three
Little Maids (1902), The Blue Moon (1905),
The White Chrysanthemum (1905), The Girl
Behind the Counter (1906), The Three Kisses
(1907), The Belle of Brittany (1908), The
Arcadians (1909), The Mo us me (1911), The
Pearl Girl (1913), A Narrow Squeak (1913),
Simple-hearted BUI (1913), A Mixed Grill
(1914), A Lucky Miss (1914), The Light Blues
(1915), My Lady Frayle (1916), Mr. Man-
hattan (1916).
Talezy, Adrien, b. Paris, 1820; d. there
Feb., 1881. Teacher and composer for piano.
931
TALLYS— TANIEIEV
Publ. much salon-music, also studies (Mithode
Slementaire et progressive; 20 Studes expressive*,
op. 80; Priere d la Madone; etc.); 6 operettas
prod, in Paris were not successful.
Tallys (or Talya, Tallis), Thomas, fa-
mous English composer and organist; born
before (?) 1520; d. London, Nov. 23, 1585.
Organist of Walt ham Abbey until 1540;
Gentleman of the Chapel Royal during the
reigns of Henry VIII, Edward VI, Mary,
and Elizabeth, and joint-organist with Byrd.
With the latter he obtained in 1575 letters
patent for the exclusive privilege of printing
music and ruled music-paper for 21 years;
the first work issued by them being 34 Can-
Hones quae ab argumenio sacrae vocantur, 5 et
6 partium, in 1575 (16 motets by T. and 18 by
Byrd). About this time he comp. a remark-
able Song of 40 Parts, for 8 5-part choirs, en-
litled Spent in alium non habui (specimen-
page in first ed. of Grove, Vol. iii, p. 274).
In Barnard's 'First Book of Selected Church
Music' (1641) is a First Service, or Short
Service (Venite, TeDeum, Benedictus, Kyrie,
Credo, Sanctus, Gloria, Magnificat, and Nunc
dimittis; all a 4), Preces, Responses, etc.,
often republished (by Rimbault, Novello,
Jebb, etc.); J. Day's 'Morning and Evening
Prayer* (1560), Boyce's 'Cathedral Music/
and the histories by Hawkins and Burney,
contain specimens of his music. Rimbault
republ. the Order of Daily Service, with the
Musical Notation. There are many works in
MS. at Oxford, Cambridge, and London. A
full list of works is in Grove. — See Q.-Lex.
Tamagno [tah-mah'noh], Francesco,
celebrated dramatic tenor; b. Turin, 1851;
d. Varese, Aug. 31, 1905. Debut Palermo,
in Un Bailo in maschera (1873); excited great
enthusiasm at La Scala, Milan, in 1880, as
Ernani, etc. ; continued his triumphs in Monte-
video, Buenos Ayres, Rio de Janeiro, Lisbon
(1880-1), Madrid (1885-6), Paris, London,
New York (1890, '94-5), etc.; he created the
r6ie of Otello, in Verdi's opera, at La Scala in
1887. After 1902 he was heard very rarely.
— Cf. E. de Amicis, F. T. (Palermo, 1902).
Tam'berlik, Enrico, celebrated dramatic
tenor; b. Rome, Mar. 16, 1820; d. Paris, Mar.
13, 1889. Though intended for the law, he
studied singing under Guglielmi and Borgna at
Bologna, and came out at the S. Carlo Th.f
Naples, 1840, in Gius. Nicolini's Theodosia.
After singing at Lisbon, Madrid and Bar-
celona, he was eng. 1850-64 during the sea-
son at the R. Ital. Opera, London, going in
the winters to Petrograd, Paris, Madrid,
North and South America, etc. He re-
appeared in London in 1870 and 1877; settled
in Madrid as a manufacturer of arms. Among
his leading r61es were Arnold (Tell), Man-
nco, Otello, Ottavio, Florestan (Fidelio), etc.
932
Tamburi'nl, Antonio, basso cantant?
(bass-baritone) stage-singer of great celebrity
b. Faenza, Mar. 28, 1800; d. Nice, Nov. c
1876. Pupil of his father, also of Boni an.
Asioli; d6but at Cento in 1818; thereafter sar.
on the chief stages of Italy, being engaged f. >
Barbaja from 1824-32. During 1832-41 h*
sang at the Theatre Italien, Paris, 'a con-
spicuous star in the brilliant constellation
formed by Grisi, Persiani, Viardot, Rubin:,
Lablache, and himself/ appearing in I.otvJ.jr,
in the alternate seasons; after a short stay r.
Italy, he remained for ten years in Russia .
He retired in 1859.
Tanieiev [tah-na'yehv], Alexander Ser-
geievitch, b. Petrograd, Jan. 17, 1850. Pupi'
of F. Reichel in Dresden, and later of A.
Petrov and Rimsky-Korsakov in Petrograd
after graduation from the P. Univ. he entero!
the government service, advancing to the po-r
of dir. -in-chief of the Imp. Chancellery —
Works: The operas Mest Amura [Cupid V
Revenge] and Buran [The Snowstorm]; Uir
orch., op. 9, Suite in A; op. 11, Aliosh
Popovitch, ballad after Tolstoy; op. 12, 7>*
zhestvennj marsh [Festival March); op. V
Suite in F; op. 15, Deux Mazourkas; op. J.
Symphony No. 2, in Bb m. (No. 1 is still MS. ■,
op. 23, Reverie for vl. and orch.; op. 31, Ham-
let, overture; op. 36, Symphony No. 3, in E:
3 str.-quartets (op. 25, G; op. 28, C; op. 30,
A); pes. for vcl. and pf. (op. 10, 33); pf.-pes.
(op. 20, 22, 32); songs (op. 34, 35); Arabesque
for clar. and pf. (op. 24).
Tanieiev, Sergei Ivanovitch, nephew of
preceding; b. Govt. Vladimir, Nov. 25,
1856; d. Diutkov, n. Moscow, June IS, 1915.
From an early age he st. the pf. under a Miss
Miropolsky, who took him, at the age of 10, •
to N. Rubinstein, the dir. of the Moscow
Cons. The latter admitted him to the Cons.,
where for 2 years he st. pf. and theory with
E. L. Langer; after attending school for a
year he reent. the Cons, in 1869, studying
until 1875 with N. Rubinstein (pf.), N. Hubert
(form and fugue) and Tchaikovsky (comp.
and instr.), forming a life-long friendship
with the latter; made a very succ. piamstic
debut in Moscow, Jan. 31, 1875 (Brahms*
D m. concerto) ; after a tour of Russia with
L. Auer he travelled with N. Rubinstein,
visiting Turkey, Greece and Italy; spent the
winter of 1877-8 in Paris, toured the Baltic
provinces, and toward the end of 1878 succ.
Tchaikovsky as prof, of harm, and instr. at
the Moscow Cons.; after N. Rubinstein's
death (1881) he took over the latter's pf.-
classes; from 1885-9 he was dir., also having
charge of the classes in free comp., orch. and
ensemble; from 1889-1906 he was prof, of cpt.
and comp. He bequeathed his large and
very valuable library to the *N. Rubinstein
TANSUR— TARENGHI
Library of Musical Theory, ' founded by
himself in the Moscow Cons. — As a pianist
T. was in the very front rank of Russian
virtuosi, a master of tonal shading; Tchaikov-
sky regarded him as the finest interpreter
of his works for pf., all of -which, excepting the
Bt> m. concerto (first played by Prof. Kross
in Petrograd), were introduced to the public
by Tanieiev. As a composer he also ranks
high, although his works are distinguished
more for scholarly writing and perfection of
form than for compelling utterance. — Works:
A dramatic trilogy, Oresteia [Agamemnon,
Choepkorai, Eumenides], after Mechylus
(Petrograd, 1895); op. 1, Johannes Damas-
cenus, cantata for soli, ch. and orch.; op. 12,
Symphony No. 1, in C m. (3 earlier symphs.
in MS.); op. 28, Suite de Concert for vl. and
orch.; 2 str.-quintets (op. 14, G; op. 16, C);
6 str.-quartets (op. 4, Bb m.; op. 5, C; op. 7,
D m.; op. 11, A m.; op. 13, A; op. 19, Bb);
1 pf. -quartet (op. 20, £); 2 str.-tnos (op. 21,
D [2 vis. and via.]; op. 31, Eb); 1 pi.-trio
(op. 22, D); Prelude and Fugue for 2 pfs.
(op. 29, G# m.); mixed choruses a capp.
(op. 8, 10, 15, 24, 27, 35); vocal terzets
(op. 23, 25 [w. orch.l); about 40 songs (op.
9, 17, 33f 34); in MS., 3 symphonies (No.
2 unfinished; No. 3, in D m., perf. Moscow,
1885), an overture in C on Russian themes,
a str.-trio, 2 str.-quartets (Eb, C) and songs.
He completed and instr. Tchaikovsky's
Andante et Finale for pf. and orch. and RomSo
et Juliette for sop. and ten. w. orch. ; made pf.-
arrs. of Tchaikovsky's 4th and 5th symphs.,
Iolanthe and Shtchelkuntchik, of symphs. by
Glazunov, Arensky, etc. Also wrote a valu-
able treatise, Podvizhnoy kontrapunkt strogavo
pisjma [Imitative Counterpoint in Strict
Style] (2 vols.); transl. Bussler's Formenlehre
and Der strenge Stil. Among his posth.
papers was found an almost completed
Treatise on Canon and Fugue (a sequel to his
Counterpoint). — Cf.M. Montagu-Nathan, Con-
temporary Russian Composers (N. Y., 1917).
Tans'ur, William, English composer; b.
Dunchurch (bapt. Nov. 6), 1706; d. St.
Neots, Oct. 7, 1783. Organist and teacher of
music. — Publ. A Compleat Melody, or the
Harmony of Sion (1724?; later eds. '30, '36,
'38, '64, etc., under varying titles); Heaven on
liarth, or the Beauty of Holiness (1 738) ; Sacred
Mirth, or the Pious Soul's Daily Delight (1 739) ;
The Universal Harmony (1743, etc.); The
Psalm-Singer's Jewel (1760, etc.); Melodia
sacra (1771, 72); A New Musical Grammar
(1746; 7th ed. 1829); an epitome of this last,
The Elements of Musick Displayed (1 772).
Tapper, Bertha (nee Feiring), b. Christi-
ania, Jan. 25, 1859; d. New York, Sept. 2,
1915. Pupil of Johan Svendsen and Agathe
Backer-Gr6ndahf in Christ iania; after gradu-
ation from the Leipzig Cons. (1878) she
cont. her pianistic studies with Leschetizky in
Vienna; came to America in 1881; taught pf.
at N. E. Cons. (1889-97) and at Inst, of Mus.
Art, N. Y. (1905-10). On Sept. 22, 1895, she
married Thomas Tapper. Edited 2 vols, of
Grieg's pf.- works; publ. pf.-pcs. and songs.
Tapper, Thomas, b. Canton, Mass., Jan.
28, 1864. Lecturer on music and educational
subjects; 1903-4, editor of 'The Musical
Record and Review'; 1904-7, do. of 'The
Musician'; since 1905 lecturer and instr. of
pf. at Inst, of Mus. Art, N. Y.; also head of
music-dept. at N. Y. Univ. Has publ. Chats
with Music-Students (1890); The Music Life
(1892); Music Talks with Children (1896);
Child's Music World (1896); Pictures from
the Lives of Great Composers (1899); First
Studies in Music Biography (1900); also
numerous instructive works, A Short Course
in Music (2 vols.), Harmonic Music Course
(7 vols.), The Modern Graded Piano Course
(19 vols.), etc.; contrib. to mus. journals.
Tap'pert, Wilhelm, born Ober-Thomas-
waldau, Silesia, Feb. 19, 1830; d. Berlin,
Oct. 27, 1907. Trained as a schoolmaster at
Bunzlau Seminary, and taught school till
1856, when he entered Kullak's Academy at
Berlin, and studied theory privately with
Dehn. Dwelling in Berlin from 1866 as a
writer, and contributor to various papers;
edited the 'Allgem. deutsche Musikzeitung'
1876-80. His large collection of old tabla-
tures contained unique specimens. After his
death his valuable library was acquired by
the Royal Library at Berlin. — Publ. Musik
und musikalische Ertiehung (1866); Musika-
lische Studien (1868); Das Verbot der Quinten-
parallelen (1869); Wagner-Lexikon: Worter-
buch der Unhbflichkeit. . . . (1877; 2d en-
larged edition 1903); Wandernde Melodien
(1890); 54 Erlkonig Kompositionen (1898;
2d ed. 1906); Sang und Klang aus alter Zeit
(1906) ; also songs, airs, of old German songs,
50 Studies for the left hand f. pf., Album-
bldUer f. pf., etc.
Tarchi [tahr'ke], Angelo, b. Naples, 1760;
d. Paris, Aug. 19, 1814. Pupil of Tarantino
and Sala at the Cons, della Pieta. Up to
1797 he wrote operas for Italy and London;
then went to Paris, and prod, several French
comic operas, one of which, d'Auberge en
auberge, had much success at the Th. Feydeau
in 1800 (publ. at Hamburg as Von Gasthof
tu Gasthof, and at Vienna as Die zwei Posten).
Taren'ghi, Mario, born Bergamo, 1870.
Pupil of the Cons, there and in Milan; now
(1918) dir. of the Scuola Musicale di Milano.
— Works: The operas MarceUa (Bergamo,
1901), Gara antica (Biella, 1907), La Notte di
Quarto (Genoa, 1910); Scena Orienlale for
933
TARISIO— TASKIN
orch.; a suite for fl. and pf.; fine pf.-pcs.
(for 2 and 4 hands).
Tari'sio, Luigi, b. ?; d. Milan, Oct., 1854.
He began life as a carpenter, and in his spare
hours acquired sufficient skill on the violin
to play dance-music at country- fairs, etc.
His trade brought him into many humble
homes, where he found old violins, the value
of which "was not suspected by their owners.
Gifted with extraordinary powers of obser-
vation, he soon recognized the value of those
neglected instruments, and, whenever pos-
sible, acquired them. After some time he
began to imitate the models thus collected;
then, in the capacity of repairer, he obtained
access to Italian chapels and monasteries,
where he discovered many valuable instru-
ments. In 1827 he paid his first visit to
Paris, disposing of a number of Italian violins
to celebrated dealers. Soon he was acknowl-
edged as the foremost connoisseur, so that
his regular visits to Paris were eagerly looked
for. In 1851 he made his first trip to London.
T. was the first to recognize the value of the
now famous Italian violins; it was he who
created a market for them. He left a fortune
of 300,000 francs, besides a collection of over
200 violins, which was acquired by Vuillaurne
of Paris. — Cf. G. Hart, The Violin: Famous
Makers and Their Imitators (London, 1875;
4th ed. 1887); H. R. Haweis, Old Violins
(ib., 1898); Hill, A. E. et al., Antonio Stradi-
vari (ib., 1909).
Tarti'ni, Giuseppe, celebrated violinist;
b. Pirano, Istria, April 8 [not 12], 1692; d.
Padua, Feb. 16, 1770. While studying, at
his parents' desire, for the priesthood, his
first lessons on the violin strengthened his
ardent longings for a secular career; his
father finally allowed him to study law at
Padua (1710), but music, especially the violin,
and fencing, were his passion. A charge of
abduction, following on his secret marriage
to a niece of Cardinal Cornaro's, obliged him
to take refuge in the Franciscan monastery
at Assisi; for two years he studied the violin,
also composition (under the organist Padre
Boemo [Czernohorsky]), and then returned to
Padua, a reconciliation having been effected
with the Cardinal. Shortly afterward he
heard the violinist Veracini at Venice, and
was stimulated to more arduous endeavor;
sending his wife to relations at Pirano, he re-
tired to Ancona for further study of the violin.
About this time (1714) he discovered the com-
bination-tones, and utilized them in perfect-
ing purity of intonation. His fame now in-
creasing, in 1721 he was app. solo violinist
and cond. of the orch. at St. Antonio in Padua.
He spent the years 1723-5 in Prague as cham-
ber-musician to Count Kinsky, having been
invited thither to assist at the coronation of
Karl VI; he then resumed his duties at
Padua, and in 1728 founded a violin-school
there, in which were formed many distin-
Cished violinists (Nardini, Pasqualino,
houssaye). — T. was one of the great
masters of the violin; his style of bowing
still serves as a model, and his compositions
are regarded as classics; he publ. op. 1, Six
Concertos (1734; 3 republ. in Paris; 3 others
republ. there w. 2 viola-parts added by Blain-
ville, as Concetti grossi); also as op. 1, 12
violin-sonatas w. 'cello and cembalo; op. 2,
6 sonatas f. do.; op. 3, 12 sonatas [incl. op. 2 J
f. violin and bass; op. 4, Set concetti a violino
solo, 2 violini, viola e violoncello o cembalo di
concerto; also as op. 4, 6 sonatas f. violin w.
basso con t.; op. 5, 6 do.; op. 6, 6 do.; op. 7, 6
do. ; op. 8, Sex sonate a 3, due violini col basso:
op. 9, 6 do.; and VAtte deW arco (reprinted
in French by Cartier; also by Choron in Prin-
cipes de composition, and separately by Andre) ■
the famous and oft-republished Trillo de.'
diavolo was a posthumous work; the con-
certs have been republ. in various editions,
and in varying combinations; sonatas have
been republ. by Alard, Leonard, David, Jen-
sen, Wasielewski, etc. — Theoretical works:
Ttattato di musica secondo la vera scienza det-
Varmonia (1 754) ; Risposta alia critica del di lui
Ttattato di musica di Msgr. he Setre di Ginevra
(1767); De1 ptincipj dell1 atmonia musicaU
contenuta nel diatonico genere (1767); LeUera
alia signota MaddalenaLombardini, inservienle
ad una importante lezione pet i suonatori di
violino (1770; English by Burney, 1771, and
Bremner, 1779; German in 1786); and an-
other treatise, only in a French transl. by P.
Denis, Ttaite des agrements de la musiqut
(1782). As a theorist he follows Rameau,
and derives the minor chord from an under-
tone-series opposed to the overtone series;
like Zarlino, he regards the minor chore/ as the
opposite of the major. — Bibliography*. Fan-
zagotOrazione. . . . dellelodidiG.T.{?*&x&,
1770); J. A. Hi Her, Lebensbeschtetbungtn
beruhmter Musikgelehrten und TonkunsUer
(Leipzig, 1784); F. Vallotti, Elogi (Padua,
1792); C. Ugoni (1802; in Delia letteratura
italiana . . . , vol. i, pp. 1-28); F. Fayolle,
Notices sur Corelli, Tartini, etc. (Paris, 1810);
G. Benedetti, Brevi cenni su G. T. (Trieste,
1897); M. Tamaro, G. T. (Parenzo, 1897; in
'Atti e memorie della Societa istriana ....,*
' vol. xii). — See Q.-Lex.
, Taskin [tahs-kan'), (femlle-) Alexandre,
• grandson of Henri-Joseph; b. Paris, Mar. 18,
1853; d. there Oct. 5, 1897. Operatic bari-
tone, pupil of Ponchard and Bussine at the
Paris Cons., taking a 1st 'accessit.' Debut at
Amiens, 1875, in Les Mousquetaires de la
Reine. Sang in Lille and Geneva; returned
to Paris in 1878; eng. at the Opera-Comique
934
TASKIN— TAUDOU
in 1880, and created important parts in many
new operas (Jean de Nwellcs, Les Conies
d' Hoffmann, Manon, Egmont, Esclarmonde,
etc.). .He retired in 1894, and from then
until his death he was prof, of lyrical declama-
tion at the Cons. On the night of the terrible
catastrophe of the burning of the Opera-
Comique (May 25, 1887) he was singing in
Mignon; through his calmness and bravery
many lives were saved, and the government
decorated him with a medal.
Taskln, Pascal, the inventor of leathern
tangents for the clavichord; b. Theux (Liege),
1723; d. Paris, Feb. 9, 1795; was a celebrated
instrument-maker in Paris. Also introduced
the piano-pedal worked by the foot instead of
the knee. — His nephew, Joseph-Pascal T.,
b. Theux, Nov. 20, 1750; d. Paris, Feb. 5, 1829,
was Keeper of the King's Instruments, from
1 772 to the Revolution; his second son, Henri
Joseph, b. Versailles, Aug. 24, 1779, d. Paris,
May 4, 1852, page of the Chapel Royal, be-
came a fine organist and composer, publish-
ing a pf. -concerto, pf. -trios, a Caprice f. pf.
and violin, solo pieces f. pf., and songs; 3
operas remained MS.
Tau'bert [tow'tehrt], Ernst Eduard, b.
Regenwalde, Pomerania, Sept. 25, 1838.
Studied theology at Bonn, and music there
under Albert Dietrich, later under Kiel at Ber-
lin, where he became teacher at the Stern
Cons, and mus. critic of the 'Post.' Received
the title of 'Professor' in 1898; elected mem-
ber of the Akademie in 1905, and senator in
1909. He is still (1917) an active contributor
on the staff of 'Die Musik.' — Works: Pf.-
quintet in G, op. 31; quintet for wind-instrs.
in Bb, op. 48; pf. -quartet in Eb, op. 38; 5
str.-quartets (op. 32, No. 1, D; No. 2, Eb;
op. 34, E m.; op. 56, F# m.; op. 63, D m.);
pf.-trio in E, op. 12. Ballade in C m. for
orch., op. 54; Suite in D for str.-orch., op. 67.
Brautgesang for soli, ch. and orch., op. 21;
Fest psalm for ch., org. and orch., op. 72;
Hymnus an Amor for ch. and o/ch.f op. 75.
Pf.-pcs. for 2 and 4 hands; songs.
Tau'bert, Otto, b. Naumburg-on-Saale,
June 26, 1833; d. Torgau, August 1, 1903.
Pupil in Naumburg of O. Claudius; student at
Halle, taking degree of Dr. phil. at Bonn in
1859; taught in various schools; and in 1863
was app. prof, at the Gymnasium at Torgau,
where he was also cantor at the Stadtkirche,
prefect of the cathedral-choir and cond. of
the munic. singing-society. — Works: Salvum
fac regent, f. mixed chorus; Skolion of Kallis-
tratos, f. male ch. ; other male choruses; songs;
— publ. Die Pflege der Musik in Torgau (1868) ;
Der Gymnasialsingchor in T. (1870); .Daphne*
das erste deutsclie Operntextbuch (1878).
Tau'bert, (Karl Gottfried) Wilhelm, b.
Berlin, Mar. 23, 1811; d. there Jan. 7, 1891.
Pianist; pupil of Neithardt, later of L. Berger,
and for comp. of Bernhard Klein. Appeared
early as a concert-player; taught music in
Berlin, became accompanist at the court con-
certs in 1831; in 1842, cond. of the opera and
the symphony-concerts of the royal orch.,
being app. Hofkapellmeister in 1845, and re-
tiring in 1870 with the title of 'OberkaDell-
meister.' President of the mus. section of the
Akademie from 1875. — Operas [all in Berlin)
Die Kirmess (1832); Der Zigeuner (1834);
Marquis und Dieb (1842); Joggeli (1853);
Macbeth (1857); Cesario (1874). Music to
Shakespeare's Tempest (Darmstadt, 1891;
very successful there and elsewhere); to
Euripides' Medea; to Tieck's Der gestiefelte
Kater (1844), and to Blaubart (1845). For
orch.: 3 symphonies (op. 69, F; op. 80, B m.;
op. 113, C m.); 2 overtures (op. Ill, Festou-
verture; op. 139, Aus 1001 Nacht); op. 28,
Bacchanale; op. 146, Geburtstagsmarsch; op.
161, 25 vara, on an orig. theme; op. 166,
Sieges- und Festmarsch; 2 pf.-concertos (op.
18, Eb; op. 189, A); op. 173, vl.-concerto
in D m. Chamber-music: 1 pf. -quartet (op.
19, Eb); 4 str.-quartets (op. 73, E m.; op. 93,
Bb; op. 130, G; op. 183, F); 2 pf.-trios (op.
32, F; op. 96, Eb); 3 vl. -sonatas (op. 1, F
m.; op. 15, Gm.; op. 104, A); 1 vcl.-sonata
(op. 150, G). Op. 87, Vater unset for soli, ch.
and orch.; op. 200, Der Landsknecht for ten.
and bass soli, male ch. and orch. Choruses
a capp.; numerous pes. for pf. (6 sonatas,
etc.). Of his 300 songs his Kinderlieder (op.
145, 160) have become famous.
Taubmann [towb'-], Otto, b. Hamburg,
Mar. 8, 1859. After graduation from school
he followed a commercial career for 3 years;
then st. music under Wiillner, Rischbieter,
Nicodd and Blassmann at the Dresden Cons. ;
travelled for a year for further study, and be-
gan his career as th.-cond.; 1886-9, dir. of the
Wiesbaden Cons.; 1891-2, th.-cond. in Pctro-
grad; 1892-5, cond. of the Cacilienverein in
Ludwigshafen; then settled in Berlin, where
since 1898 he has been mus. critic of the
'Borsen-Courier'; made Kgl. Prof, in 1910,
after the phenomenal success, in Berlin, of
Eine Deutsche Messe for soli, double ch., org.
and orch. (written 1896; first perf., with
mod. succ, at the Tonkunstlerversammlung
in Dortmund, 1898). — Other works: Psalm
13 for soli, ch. and orch.; Tauwetter for male
ch. and orch.; 2 'Chordramen' (for 6-part
ch.), Sangerweihe and Siegmar und Heliea;
Krieg und Friedent cantata (1916); an opera,
Portia (Frankfort, 1916); male choruses a
capp. Has ed. the vocal pf. -scores of Schtitz's
Wexhnachtsoratorium and Wagner's Rienzi.
Taudou [toh-doo'], Antoine (-Antonin-
Barthllemy), b. Perpignan, France, Aug.
24, 1846. Violinist; pupil of Paris Cons.,
935
TAUSCH— TAYLOR
winning the Grand prix de Rome in 1869 with
the cantata Francesco, da Rimini; member of
the Opera-orch.; since 1883, prof, of harmony
at the Cons.— Publ. a Marche-BaUet, a Chant
d'automnc, and a Marche nocturne, f. orch.;
a viol in -concerto; a string-quartet in Bt>m.;
a pf.-trio; a trio f. flute, viola and 'cello; etc.
Tausch [towsh], Franz, celebrated clari-
nettist; b. Heidelberg, Dec. 26, 1762; d. Ber-
lin, Feb. 9, 1817. At 8 he played in the
Electoral orch. at Mannheim; was eng. at
Munich 1777-89, and then in the court orch.
at Berlin, where he founded a school for wind-
instrs. in 1805. Heinrich Barmann was his
pupil. — Publ. 2 clar. -concertos, 3 concertantes
f. 2 clars., Andante and Polonaise f. clar.,
clar.-duos, trios f. 2 clars. w. bassoon, 6
quartets f. 2 basset-horns and 2 bassoons (w.
2 horns ad lib.), 6 military marches a 10, etc.
Tausch, Julius, b. Dessau, April 15, 1827;
d. Bonn, Nov. 11, 1895. Pianist, pupil of Fr.
Schneider, and of the Leipzig Cons. 1844-6,
then settling in Dusseldorf; succeeded Rietz
as cond. of the 'Kunstlerliedertafer; was
Schumann's deputy from 1853, and in 1855
his successor, as cond. of the Mus. Soc. and
Subscription Concerts, retiring in 1890. —
Works: Op. 4, Music to As you like it; op.
10, Der Blumen Klage auf den Tod des Sanger s
f. sopr. solo, female voices and orch.; op. 11,
Ave Maria f. sopr. solo and orch.; op. 12,
Dein Leben schiea, dein Ruhm begann f. male
ch. and orch.; op. 16, Germanenzug for sop.
solo, ch. and orch.; op. 18, Rheinjahrt for bar.
solo, male ch. and orch.; op. 9, Festouver-
ture f. orch. ; duo f. pf. and violin; pf. -pieces;
male choruses; etc.
Tau'sig [tow'ziyh], Karl, b. Warsaw, Nov.
4, 1841; d. Leipzig, July 17, 1871. Re-
"marlcable piano- virtuoso; trained by his
father, Aloys T. [1820-1885], who was a pupil
of Thalberg, and wrote .brilliant pf. -music;
from the age of 14 he studied with Liszt, al-
most vying with him in grandeur of interpre-
tation, and surpassing him in absolute flaw-
lessness of technique^— the latter due, in jjreat
part, to his systematic and zealous practice of
his original transposing finger-exercises. His
public d€but was made in 1858, at an orches-
tral concert conducted by von Bulow at Ber-
lin. During the next two years he gave
concerts in German cities, making Dresden
his headquarters; then went to Vienna in
1862, giving orchl. concerts with 'advanced*
programs similar to Billow's at Berlin. He
settled in Berlin in 1865, and opened a
'Schule des hoheren Klavierspiels.' Now
recognized as a virtuoso of the first rank, he
gave concerts in the principal towns of Ger-
many, and at Petrograd and other Russian
centres. He died of typhoid fever. — Works:
2 etudes de concert, in F# and Ab, op. 1
936
(cancelling an earlier op. 1, a pf. -transcription
of his own symphonic ballade, Das Geislrr-
schijf); Ungarische Zigeunerweisen f. pf. ;
Nouvelles soirSes de Vienne, Valses-Caprices
on themes from Strauss; Tdgliche Studien f.
pf. (transposing chromatic exercises of higrh
value; edited by Ehrlich). — Complete pf.-
score of Wagner's Meister singer; a selection
of studies from dementi's Gradus ad Parruxs-
sum, with variantes and changed fingerings;
a transcr. of Bach's Toccata and Fugue for
Organ, in D m.; of Weber's Aufforderung zum
Tanz: of 6 Beethoven quartets; of the
'WalkQrenritt' and Siegmund's Liebeslied,
from Wagner's WalkUre; etc.— -Cf. K. F.
Weitzmann, Der Letzte der Virtuosen (Leipzig,
1868); W. von Lenz, Die grossen Pianoforte-
Virtuosen unserer Zeit (Berlin, 1872; Engl.
tr. by M. R. Baker, New York, 1900).
Tauwitz [tow'vits], Eduard, b. Glatz, Si-
lesia, Jan. 21, 1812; d. Prague, July 25, 1894.
Kapellm. at theatres in Vilna (1837), Riga
(1840), Breslau (1843) and Prague (1846;
pensioned 1863); at Prague he also directed
the Sophien-Akademie,- and was 'Chormeister'
of the German ' M an nergesangverein . ' Wrote
upwards of 1,000 compositions: 3 operas.
Trilby (Vilna, 1836), Bradamante (Riga,
1844) and Schmolke und Bakel, comic (Bres-
lau, 1846) ; church-music, songs, part-songs,
and considerable 'occasional' music.
Tay'ber. SeeTEYBER.
Taylor, David Clark, b. New York, Nov.
11, 1871. Grad. of the Coll. of the City of
N. Y. (A. B., 1890); st. pf. with O. W. Wilkin-
son (1888-94), theory with A. Remy (1893-
7) and singing (1890-6) with several masters
in N. Y. Has publ. The Psychology of Sing-
ing (N. Y., 1908; Ger. tr. by F. Stubenvoll,
Berlin, 1910; very valuable); Self-Help for
Singers (N. Y., 1914; Ger. tr. by F. Stuben-
voll, Berlin, 1914); New Light on lire (M
Italian Method (N. Y., 1916); The Melodic
Method in School Music (N. Y., 1917);
contrib. the chapters on Voice Culture to
The Art of Music' (14 vols.; N. Y., 1917),
and essays to various journals.
Taylor, Deems, b. New York, Dec. 22,
1885. Grad. of N. Y. Univ. (A. B., 1906);
pupil in theory of O. Coon (1908-9); dir. of
Theory-dept. at the Lichtmann Piano Inst,
in N. Y.; war-correspondent for 'The Tri-
bune' (N. Y.) in 1916; since 1917 assoc.-ed.
of 'Collier's Weekly.'— Works: Op. 2, The
Siren Song, symph. poem in E m. (Nat. Fed.
of Music Clubs prize, 1912); op. 6, The
Chambered Nautilus for ch. and orch. (Schola
Cantorum, N. Y., 1916); op. 8, The High-
wayman, cantata (Peterborough Fest., 1914);
op. 12, Through the Loo king-Glass, suite for
strs., wind-instrs. and pf,; pf.-pes.; songs
(a cycle, The City of Joy, etc.).
TA YLOR— TCH AI KO VSK Y
Taylor, Edward, b. Norwich, Engl., Jan.
22, 1784; d. Brentwood, Mar. 12, 1863. Be-
came bass singer (taught by Chas. Smyth and
Dr. Beckwith) at the Norwich Concerts, and
in 1824 a co-founder of the Norwich Mus.
Fest., which he cond. 1839 and 1842. Settled
in London, 1825, as a singer, teacher, and
mus. critic for the 'Spectator'; succeeded
Stevens as prof, at Gresham College in 1837.
Founder of the 'Purcell Club'; also, with
Rimbault and Chappell, of the Mus. Antiq.
Soc. — Publ. Three Inaugural Lectures (1838);
An Address from the Gresham Prof, of Music
to the Patrons and Lovers of A rt (1838 ; plea for
founding a mus. library at Gresham); The
Engl. Cathedral Service: Its Glory, Its Decline,
and Its Destined Extinction (1845); People's
Music Book (1844) and 'Art of Singing at
Si$h? (1846; 2ded. 1855), both with J. Turle;
edited PurcelFs King Arthur; translated
libretti of Mozart's Requiem, Graun's Death
of Jesus, Haydn's Seasons, Spohr's Last Judg-
ment and Fall of Babylon.
Taylor, Franklin, pianist and teacher; b.
Birmingham, Engl., Feb. 5, 1843. Pupil of
C. Flavell (pf.) and T. Bedsmore (org.); also
1859-61 of Plaidy, Moscheles, Richter,
Hauptmann and Papperitz at Leipzig Cons.
Returning to London via Paris in 1862, he
settled there as a highly successful concert-
pianist and teacher; 1876-82, prof, at the
Nat. Training School, and since 1883 at the
R. C. M., then ceasing to play in public;
1891-3, a director of the Philharm. Soc. He
is on the Assoc. Board of the R. A. M. and
the R. C. M. for local examinations; and is
President of the Acad, for the Higher Develop-
ment of Pf. -playing. — Works: Primer of Pf.-
playing (1877); Pf. Tutor; Technique and Ex-
pression in Pf.- playing (1897); numerous
articles in Grove's Diet.; transl. E. Fr.
Richter's works on Harmony, Counterpoint,
and Canon and Fugue.
Tchaikovsky, Piotr [Peter] Ilyitch, b.
Votkinsk, Government of Viatka, May 7,
1840; d. Petrograd, Nov. 6, 1893 (of cholera).
From the age of 7 he had regular lessons on
the piano. In 1850 he ent. the preparatory
class of the School for Jurisprudence in
Petrograd, and two years later his parents
settled there permanently. From 1855-8
his piano-teacher was Rudolf Kundinger,
under whom he made good, but by no means
phenomenal, progress; at the same time he
sang in the chorus under the renowned
Lomakin. He always loved music; in fact,
it was his greatest pleasure, but he had not
thought seriously of it as a profession. Hav-
ing graduated from the law-school in 1859,
he was app. to a post in the Ministry of
Justice. Before long he began to doubt his
fitness for a legal career; his musical talent
began to manifest itself more and more, and
when even his unmusical father had urged
him to devote himself to the art, he began
in 1861 to study theory privately with
Zaremba. His steady progress strengthened
his faith in his talent, so that in 1861 he re-
signed his government position and entered
the newly establ. Cons, in Petrograd, con-
tinuing his theoretical studies with Zaremba
and attending the classes of Ciardi (fl.), H.
Stiehl (org.) and A. Rubinstein (pf.). There
he formed a lasting friendship with Herman
Laroche, later one of the most influential
of Russian critics, who exerted a strong influ-
ence upon the development of his musical
taste. In 1865 he graduated, winning a
prize for a setting of" Schiller's An die Freude.
When Nikolai Rubinstein founded the Mos-
cow Cons. (1866), he offered T. the position
of prof, of harmony. There he remained till
1877, acting from 1872—6 also as critic of the
'Russky Viedomosty,' and attending the first
Bayreuth festival of 1876 as its special
correspondent. From the beginning N.
Rubinstein took a lively interest in T; as
cond. of the Imp. Russ. Mus. Soc. he pro-
duced many of the young man's works at his
concerts, and recommended him to the in-
fluential publisher Jurgenson. In a com-
paratively short time T. was famous in Mos-
cow; the capital, however, was slow in its
appreciation, while in Vienna, Paris and Ber-
lin the first works roused decided opposition,
which was overcome only gradually. A
love-affair with the famous Desiree Art6t
(q. v.) had progressed as far as an engage-
ment (1868), when the advice of his friends
prevailed, and he declined playing the r61e
of 'husband of his wife.' More serious were
the consequences of his hasty marriage to
Anton ina Ivanovna Milyukova (July 18,
1877), which, after several weeks of misery,
ended in separation (Oct. 6). This brief,
but bitter, experience brought on a complete
nervous collapse. He resigned his post at the
Cons., and went to Clarens, Switzerland, to
recuperate. Early in 1877 a wealthy widow,
Nadezhda Filaretovna von Meek (1831-94),
a passionate lover of music, had become in-
terested in T.'s works, and had given him
several commissions, for which she had sent
him almost extravagant sums. Through
N. Rubinstein she learned the details of the
composer's plight, and while his friends were
trying to raise sufficient funds to enable him
to spend a year in Switzerland and Italy, she
settled upon him an allowance of 6,000 rubles
for life to ensure his financial independence.
In 1888 this income was increased by the
addition of 3,000 rubles from the Czar's
private purse. After his recovery T. never
held any positions, but devoted his entire
time to composition. Although in 1885 he
937
TCHAIKOVSKY
made his permanent home in Maidanovo,
near Klin, he spent much time at the various
Russian estates of Mme. von Meek, with his
favorite sister, Alexandra Davidov, at Ka-
menka, and shorter periods in Switzerland,
Italy, France and Germany. Always of a
shy and retiring disposition, he made no
public appearance until 1887 as cond. of his
own works in Moscow; from then until^ his
death he was overwhelmed with invitations
to conduct in the principal cities of Europe.
In May, 1891, he visited America, conducting
4 concerts in New York (in connection with
the dedication of Carnegie Hall), 1 in Balti-
more and 1 in Philadelphia. In 1893 he
was made Mus. Doc. (hon. c.) by the Univ.
of Cambridge, England. — Tchaikovsky was
a zealous cultivator of national spirit and
color in music. His own is full ot Russian
characteristics, while his broad, passionate
cantilena shows unmistakable traces of his
love for Italian music. He has frequently
used native folk-music as thematic material,
but, more than this, his music shows the
strange and violent contrasts of mood char-
acteristic of the race; now full of a wild and
barbarous energy and fiery intensity; now of
an almost maiden tenderness and ingenuous-
ness; now of a black and hopeless melancholy.
His highest qualities are shown in his orches-
tral works, particularly his symphonies, sym-
phonic poems, suites and overtures, of which
the orchestration is of the richest modern cast.
His numerous operas, mostly on Russian
subjects, are little known outside of his native
land; but a casual inspection of their scores
shows that he was no follower of Wagner, and
constructed them closely after old-time
models. His songs have a characteristic and
poignant melancholy. His first pianoforte-
concerto is one of the best-known and most
effective modern works of its class, and his
solo pianoforte-compositions, though chiefly
written in the vein of salon-music, bear the
hall-mark of his melodic freshness and
originality of harmonic treatment.
Bibliography.— In Russian: V. E. Tche-
shichin, P. T. Attempt at a Characterization
(Riga, 1893); H. Laroche and N. Kashkin,
In Memory of T. (Moscow, 1894); N. Kash-
kin, Reminiscences of T. (ib., 1897); A. I\
Koptiaiev, P. I. 7\, in 'Russkaya Muzykal-
naya Gazeta1 (No. 1, 1897) ; Modest Tchaikov-
sky, The Life of P. I. T. (2 vols. ; Petrograd,
1900, '02; Ger. tr. by P. Juon as Das Leben
P. /. 77*, Leipzig, 1900-4; Engl. tr. [abridged]
by R. Newmarch as The Life and Letters of
P. I.T., London, 1905; the standard work,
containing a wealth of biographical material
and numerous letters); N. Findeisen, Studies
on r., in 'Russk. Muzykal. Gaz.' (Nos. 26-
48, 1902); K. Tchernov, The Symphonies
of P. T. (Petrograd, 1904); I. Lipiaiev, P. I.
938
T. (Moscow, 1905); N. Miaskovsky, 7\ c-
Beethoven (ib.,1912); S. Liapunov, Corre±p< -.
dence between A. Balakirev and P. T- (Pet-
grad, 1912). See also the special T- num! >.
of 'Russk. Muzykal. Gaz/ (No. 42, 1903;
In German: I. Knorr, P. T. (Berlin, 1<*>»
K. Hruby, P. T. Eine monographische Siu^,
(Leipzig, 1902); 0. Keller, P. T. (ib., 1914
— In English: R. Newmarch, T.: His Li
and Works (London, 1900; 2d enlarged « .
1908); E. M. Lee, T. (ib., 1904); E. Evar«,
T. (ib., 1905). — A complete thematic ca'..
logue of TVs works was prepared by H.
Jurgenson (Moscow, 1897; in Russian).—
For analysis of works see T.'s Orcheslenrtrrk*
erlautert, No. 14 of Schlesinger's *Meister-
fuhrer' (Berlin, 1911).
Works.
Dramatic: The operas Voievcda, op. 3 (Mosrnv.
Feb. 13. 1869; destroyed, except the overture an«1 «=
'Dance of the Country-girls'); Undine (written 1*'
not perf.; destroyed, except some fragments Lo-
used in Sniegurotchka and Symph. No. 2); Opritck' -
(The Guardsman] (Petrograd. April 24, 1874); A'ra .-
Vakula [Smith VJ, op. 14 (ib.. Dec. 6, 1876; rewrr -
as Tcherevitchki [The Little Slippers], Moscow. Jan. .
1887; known in Engl, as Oxana's Caprice, in Or s
Oxanas Launen) ; Yetgeny Oniegin [Eugene O.]. or A
(Moscow. Mar. 29. 1879; New York (in concert-forr-
Feb. 1. 1908); Orleanskoyo dieva (The .Maid of Orlea- '
(Petrograd. Feb. 25. 1881); MaseppaXttoteow. FrU
15. 1884); Tchorodeika (The Enchantress] (Fetrograri.
Oct. 2. 1887) ; Pikovaya dama [Pique-Dame; The Quern
of Spades], op. 68 (ib.. Dec. 19. 1890; M. O. H.. Mir.
5. 1910); lolonthe, op. 69 (ib.. Dec. 24. 1892).— Ballets:
Lebedinoie otero [The Swan Lake], op. 20 (Moscow,
1876); Spiashtchaya krasavitsa [The Sleeping Beaut vl,
op. 66 (Petrograd, 1890): ShtchelkunUhik [Nutcracker],
op. 71 (ib.. 1892). — Incid. music to Ostrovsky's Sniegu-
rotchka, op. 12; Shakespeare's Hamlet, op. 67b; Ostrov-
sky's Dmitri samoaanets [The False Demetrius] (MS.).
Vassily Shuisky (MS.) and Voievoda; also recitatives
and choruses to Auber's Domino Noir. and recitatives
to Mozart's Nome di Figaro.
For Orchestra: 6 symphonies (op. 13, in G m..
Zimnia grozi [Winter-storms; but publ. with Fr. rifle
Riverie d'Hiver and Ger. title Wintertr&ume}; op. 17,
C m.; op. 29, D; op. 36. F m.; op. 64, Em.; op. 74.
B m. [PathitiqueJ); 5 symph. poems (op. 1&, U Tcm-
plte [after Shakespeare]; op. 32, Francesco da Rimini;
op. 58. Manfred [after Byronl; op. 77, Faium; op. 78,
Le Voytvode); 7 overtures (op. 3, Voievoda; op. 15,
Ouverture triomphale [on the Danish national hymn);
op. 49, 1812; op. 67, llamlet, overt. -fantasy; op. 76. to
Ostrovsky's Groza The Storm]; Romio et Juliette, no
op. -number; 2 ear y overtures in F and C m. [both
MS.J); 6 suites (op. 43; op. 53, caractiristiaue; op. 55;
op. 61, Mozartiana; op. 66a, La Belle au Boi\ Dormant
[from the ballet}; op. 71, Casse-Noisette [from the
ballet]); 3 pf.-concertos (op. 23, B> m.; op. 44. G; op.
75, E»; 1 vln.-concerto (op. 35, D); op. 26. Serenade
milancolique for vl. and orch.; op. 31, Marcke slare;
op. 33, Variations sur un theme rococo for vcl. and orch.;
op. 34, Valse-Scherzo for vl. and orch. ; op. 45, Capriccio
italien; op. 48, SMnade forstr.-orch.; op. 56, Fantaisie
de Concert for pf. and orch.; o^>. 62, Petto capricciosofoT
vl. and orch.; op. 79. Andante et Finale tor pf. and
orch. (posth.: orchestiated by S. Tanieiev).— Without
op.-number; Eligie for str.-orch.; Koronatsionny marsh
(for the coronation of Alexander III, 1883); Marcke
militaire; Marche solennelle.
Chamber-music: 3 str.-quartets (Op. 11, D (with
the famous Andante cantabile); op. 22, F; op. 30. Eb
m.): op. 42. Souvenir dun lieu cher, 3 pes. forvl. and
pf. [orchestr. by Glaxunov); op. 50, pf.-trio in A m.,
TCHEREPNIN— TELEMANN
A la mimoire d'uu grand artiste [N. Rubinstein]; op.
70. str.-oextet in D m., Souvenir de Florence.
For Pf.: Op. 1, Scherzo and Impromptu; op. 2,
Souvenir de Hapsal, 3 pea. [No. 2 is the famous Chant
sans paroles]; op. 4. Valse; op. 5, Romance; op. 7,
Valte-Scherwo; op. 8. Capriccio; op. 9. Trots morceaux;
op. 10. Deux do.; op. 19, Six do.; op. 21. Six morceaux
sur un seul theme; op. 37, Grande sonate in G; op. 37b,
Vremena goda [Lea quatre Saisonsl. 12 char, pes.; op.
39, Album pour Enfanls; op. 40. Douse morceaux; op.
51, Six piices; op. 59. Dumka: op. 72, Dix-huit mor-
ceaux; op. 80, sonata in C# m. [posth.].
Vocal: Liturgy of St. John Zlatoust for ch. a capp.
(op. 41); 17 sacred choruses a capp. (op. 52): Kradosti
[An die Freude) (Schiller) for ch. and orch.; Cantata for
the Polytechnic Expos. (1872); Moskva, coronation-
cantata for soli. ch. and orch. (1883) ; Chorus of Flowers
for mixed and children's vcs. and orch. from an un-
finished opera, Mandragora; Romio et Juliette for sop.
and ten. soli w. orch. (completed by Tanieiev) ; 6 duets
(op. 46); over 100 songs (op. 6 [No. 6 is Nur wer die
Sehnsucht kennt], 16, 25, 27. 28, 38, 47, 54, 57. 60, 63,
65. 73).
Writings: Utchebnik garmony [Manual of Har-
mony] (1870; 6th ed. 1897; Ger. tr. by P. Juon. 1899;
Engl. tr. by E. Krall and J. Liebling as Guide to the
Practical Study of Harmony. 1900); Kratky utchebnik
garmony [Short Manual of H.] (2d ed. 1895). He
translated Gevaert's Traiti d' Instrumentation (1866;
2d ed. 1903) and Lobe's Katechismus der Musik 0870):
also the libretto of Mozart's Nozse di Figaro. Edited
the works of Bortniansky (1881). His coll. criticisms
and reminiscences were publ., with preface, by H.
Laroche in 1898 (Ger. tr. by H. Stumcke. 1899).
Tche'repnin, Nikolai Nikolaievitch, b.
Petrograd, 1873. While pursuing his law
studies at the Univ. there, he st. comp. under
Rimsky-Korsakov at the Cons. (1895-8);
since 1901 cond. of the Beliaiev Symph. con-
certs; also prof, at the Cons. — Works: The
ballets Armtdas Pavilion, Narcissus and The
Masque of the Red Death (after Poe). Op. 4,
Prelude to Rostand's La Princesse lointaine;
op. 5, Piesnj Safo [Sappho's Song] for sop.,
fem. ch. and orch.; op. 6, Notch [Night] and
Staraya piesnia [The Old Song] for mixed
ch. and orch.; op. 9, Poeme lyrique for vl.
and orch.; op. 11, str.-quartet in A m.; op.
12, Scene dans la Caverne des Soreitres (after
Macbeth) for orch.; op. 17, Fantaisie drama-
tique (after Tiutchev) for do.; op. 29, Suite
(from the ballet Armtdas Pavilion); op. 30,
Ef. -concerto (Beliaiev Prize, 1909); op. 32,
iturgy of St. John Zlatoust for mixed ch. a
capp.; op. 39, Le Jardin enehanU, suite for
orch.; op. 40, Narcisse et iZcho, symph. poem
for do.; Gavotte in D for do.; pf.-pes.,
choruses, duets and songs. — Cf. M. Montagu-
Nathan, Contemporary Russian Composers
(New York, 1917).
Tchemiavsky. Erroneously printed under
Cherniavsky (q. v.).
Tcheshi'chin.Vsievolod Yevftrafovltch,
b. Riga, Feb. 18, 1865. After the completion
of his law studies at Petrograd Univ. (1887)
he settled in Riga, becoming Justice of the
Peace. In music entirely self-taught; 1888-
94, music critic of the Riga 'Viestnik* [Mes-
senger]; since 1896 do. of the 'Pribaltisky
Listok' [Journal] (later changed its name to
Tribalt. Krai1 [Country]). In 1898 he
establ. the Riga branch of the Imp. Russ.
Mus. Soc. — Has publ. (in Russian) P.
Tchaikovsky. Attempt at a Characterization
(1893); Short Libretti (1894; guide to 100
operas) ; Echoes from the Opera and Concert-
hall (1896; coll. of criticisms [1888-95]);
Parsifal, A Critical Study (1899) ; History of
Russian Opera (1902; 2d augm. ed. 1904).
Also transl. Tristan and Parsifal into Russian.
Tebaldi'nl, Giovanni, b. Brescia, Sept. 7,
1864. Pupil of Paolo Chimeri; at 15, or-
ganist of Brescia Cath., and chorusmaster at
the Guillaume Th. ; Entered the Milan Cons,
in 1883; expelled 1886 for criticizing a mass
written by one of the professors. After a
wandering life as organist and journalist, he
entered the school for church- music at Rat is-
bon, and zealously studied theory, comp., and
mus. history (1888-9). From 1889-94 he
was maestro of the 'Schola can tor um' at San
Marco, Venice; 1894-7, maestro at the Padua
Cath.; 1897-1902, Director of Parma Cons.;
since 1902 maestro at the Basilica in Loreto.
He is Chev. of the Order of Isabella (1897),
Commander of the Pontifical Order of St.
Sylvester (1906) and Commander of the
Crown of Italy (1915); corresp. member of
the R. Academies of Florence and Bologna.
Is a zealous reformer of church-music in Italy.
— Works: Fantasia araba for orch.; Messa
funebre (w. Bossi); op. 12, Messa di San
Antonio a 4, w. strings and chorus; op. 35,
Missa solemnis pro defunctis for soli, ch., org.
and orch. (for the obsequies of Humbert I,
1908); other masses, offertories, motets, etc.;
organ-music (e.g., Trots pieces, op. 16); and
a great Organ-method (see Bossi). He has
publ. in modern notation the orchl. scores
of Cavalieri's Anima e Corpo and Peri and
Caccini's Euridice (prod. Milan, 1916).
Writings: La Musica sacra in Italia (1894);
VArchivio musicale delta Cappella Antoniana
in Padova (1895); in the 4Riv. Mus. Ital.'
have appeared Giov. Pierluigi da Palestrina
(1894), Gounod, autore di musica sacra (1895),
Felipe Pedrell ed il Dramma lirico spagnuolo
(1897), UElemento lirico nella musica sacra
(1906), V Anima musicale di Veneeia (1908),
Telepatia musicale (1909; see Gnecchi), etc.
Tedea'co, Ignaz (Amadsus), pianist,
called the 'Hannibal of octaves'; b. Prague,
1817; c\. Odessa, Nov. 13, 1882. Pupil of
Triebcnsee and Toma£ek; successful concert-
tours, especially in Southern Russia; settled
in Odessa. Wrote light and brilliant salon-
music: Pf. -concerto. Caprices de concert,
mazurkas, waltzes, rhapsodies, nocturnes,
transcriptions.
Telemann, Georg Michael, grandson of
Georg Philipp T.; b. Pl6n, Holstein, April
20, 1748; d. Riga, Mar. 4, 1831, as mus. dir.
939
TELEMANN— TERNINA
and cantor. — Publ. Unterrkht im Generalbass-
Spielen auf der Orgd . . . (1773); BeUrdge
zur Kirchenmusih, organ-pieces (1 785) ; Samm-
lung alter und neuer Kirchenmelodien (1812);
and Ober die Wahl der Melodic eines Kirchen-
lieds (1821).
Telemann, Georg Phllipp, influential
contemporary of J. S. Bach; b. Magdeburg,
Mar. 14, 1681; d. Hamburg, July 25, 1767.
He had only an ordinary school-training in
the mus. rudiments, owing his later eminence
to self-instruction. At 12 he wrote an opera &
la Lully; at 14 he cond. the music in the
Catholic ch. at Hildesheim; in 1700 he entered
Leipzig Univ. as a student of law and modern
languages, and in 1704 became organist and
mus. dir. at the Neukirche, enlarging his choir
by a students' singing-society ('Collegium
musicum') organized by himself. From
1704-8 he was Kapellm. to Count Promnitz
at Sorau ; then Konzertmeister at the court of
Eisenach, where he succeeded Hebenstreit in
1709 as court cond., retaining title and emolu-
ments when called (1711) to Frankfort as
Kapellm. at the churches of the 'Barefooted
Friars' and St. Catherine. From 1721 till
death he was town mus. dir. at Hamburg;
declining, on Kuhnau's death in 1722, the
proffered positions of town mus. dir. and
cantor of the Thomasschule at Leipzig. An
astonishingly productive composer, he wrote
with ease and fluency in any desired style; he
was far better known in his time than Bach,
whose superior depth, dignity and thorough
workmanship have won the day with pos-
terity.— Works: 12 series of cantatas and
motets for the church-year (about 3000
numbers with orch. or organ); 44 Passions;
33 installation-numbers for preachers; 33
Hamburger Capitdnsmusiken (each being a
cantata w. instrl. introduction); 20 pieces
for jubilees, consecrations, or coronations; 12
funeral services; 14 numbers of wedding-
music; over 600 overtures; many serenades
and oratorios; some 40 operas (chiefly for
Hamburg). — Most of his publ. works were
engraved by T. himself. The following have
been reprinted: The oratorios Der Tag des
Gerichis and Ino in vol. xxviii of 'Dkm.
deutscher Tonkunst' (M. Schneider); a
Concerto a 7 ib., vol. xxix (A. Schering); a
Trio-sonata in Eb in 'Collegium Musicum'
(Riemann); Sing-, Spiel- und Generalbassu-
bungen by M. Seiffert. — Cf. Autobiography in
J. Mattheson's Grundlagen einer Ehrenpforte
. . . . (Hamburg, 1740; repr. by M.Schneider,
Berlin, 1910); K. Ottzenn, T. als Opern-
komponist (Berlin, 1902).— See Q.-Lex. for
list of works.
Telford. Pen-name of Francis Boott.
Tellefsen, Thomas Dyke Auckland, b.
Trondhjem, Norway, Nov. 26, 1823; d. Paris,
940
Oct. 7, 1874. Pianist; pupil (1842) of Choph
in Paris; lived there as a teacher. — Works: 2
pf.-conoertos, a pf.-trio, a sonata f. pf. and
violin, do. w. 'cello, duos f. pf. and violin
nocturnes, mazurkas, waltzes, etc., f. pf-
Temple, Hope, pseudonym of Dotie
Daviea, b. in Dublin of English parents. Pu-
pil, in London, of J. F. Barnett and E- Silas,
in Paris of A. Messager, whom she married
later. Owing to an injury of her left arm
and hand she was obliged to give up her career
as pianist. — Works: Operetta, The Wooden
Spoon; numerous songs; collaborated with her
husband on Mirette (1894).
Templeton, John, b. Riccarton, n. Kil-
marnock, Scotland, July 30, 1802; d. New
Hampton, n. London, July 2, 1886. Tenor
singer; pupil of Blewitt, Welsh and T.
Cooke. Stage-debut at Worthing, 1828; in
London in 1831, being eng. at Drury Lane.
From 1833-5 he was associated with Mali-
bran. Sang on the stage till 1840. Gave lec-
ture-recitals in the United States 1845-6,
publishing his lecture as A Musical Enter,
tainment (Boston, 1845). Retired 1852.
Ten Brink. See Brink, ten.
Tenduccl [-dod'che], Giusto Ferdinando.
celebrated male soprano; b. Siena, c. 1736;
d. in Italy after 1800. He came to England
in 1758, and was received with such enthusi-
asm that, with the exception of very short
periods, he sang throughout the British Isles
until 1791, being applauded even after his
voice was almost completely gone. He wrote
a treatise on Singing, an overture for orch.
and a comic opera, The Campaign (London,
c. 1784).
Ten Ka'te. See Kate, ten.
Terhune, Anlce (nSe Potter), b. Hamp-
den, Mass. Pupil of F. Bassett at the Cons,
in Cleveland, 0M of L. Coenen in Rotterdam
and of E. M. Bowman in New York; lor
some time org. at the Beckwith Memorial
Ch., Cleveland; later settled in N. V. as
concert-pianist and composer. In 1901 she
married Albert Payson T., the author.—
Works: The comic operas Hero Nero (1904)
and The Woodland. Princess (1911); several
books of songs (Dutch Duties, Chinese Child's
Day, Colonial Carols, etc.) and about 100
separate songs; pf. -music (many excellent
pes. for children).
Terni'na, Milka, famous dramatic soprano;
b. Vezisce,- n. Agram, Croatia, Dec. 19, 1863.
At the age of 12 she began to study singing
with Mme. Ida Winterberg in Agram; from
1879-82 she st.t at first privately, later at the
Vienna Cons., with Gansbacher; debut in
1882 at Agram as Amelia (Ballo in Maschera),
singing there also Aida and Selika; 1883-4, at
the Stadtth. in Leipzig; 1884-6, in Graz.
TERRABUGIO— TERZIANI
On Anton Seidl's recommendation she was
cng. in 1886 to succeed Katharina Klafsky as
principal soprano in Bremen. From 1890-9
she was a member of the Hofoper in Munich,
becoming one of the great interpreters of
Wagner's heroines, and appearing as solo-
ist at the principal German festivals. In
the spring of 1896 she was a member of Dam-
rose h's German Opera Company (alternating
with Klafsky), making her Amer. debut as Elsa
(Mar. 4); in London she was first heard at
Co vent Garden as Isolde on June 3, 1898
(having appeared in concerts in 1895). After
her success as Kundry in Bayreuth (summer
of 1899) she was eng. for the M. O. H., singing
there every season until 1904, and creating
the rdles of Floria Tosca and Kundry at
the Amer. premieres of Tosca (Feb. 4, 1901)
and Parsifal (Dec. 24, 1903). Owing to ill
health she retired in 1906. Her voice,
though not as powerful as that of other
great Wagner singers, was very sympathetic
and of wonderful carrying quality.
Terrabugio [-boo'jfth], Giuseppe, b. Pri-
miera, n. Trent, May 13, 1842. St. in Padua,
and then in Munich at the Kgl. Akademie
under Rheinberger. In 1883 he settled in
Milan, where, as ed. of 'Musica Sacra/ he
exerted a strong influence in reforming Italian
church-music. He is a member of the Ac-
cademia di S. Cecilia of Rome, corresp.
member of the Real Accad. of Florence, and
hon. pres. of the Cacilienverein of Trent.
His publ. works (about 100 opus-numbers)
are almost exclusively for the service of the
church (12 masses, a requiem, litanies, motets,
etc.; also some organ- works (fugue, sonata,
etc.). In MS. he has several overtures and a
str.-quartet.
Terradellas |Terrade'glias] [-dthTy&hs],
Domingo [Domenico], b. Barcelona, Spain
(baptized Feb. 13, 1711); d. Rome, May 20,
1751 (drowned in the Tiber). Pupil of Du-
rante at the Cons. S. Onofrio, Naples. Prod.
operas in Italy and London (1746-7); was
then maestro at S. Giacomo degli Spagnuoli,
Rome. — Works: The operas Astatic (Rome,
1739), Gli intrighi delle cantarine (Naples,
1740), Cerere (Rome, 1740), Artemisia (ib.,
1741), IssipiU (Florence, 1741), Merope
(Rome, 1743), Artaserse (Venice, 1744),
Mitridate (London, 1746), Bellerofonte (ib.,
1747), Imeneo in Atene (Venice, 1750), Didone
(Turin, 1750), Sesoslri (Rome, 1751); an
oratorio, Giuseppe riconosciuio, and a mass. —
Cf. J. R. Carreras y Bulbena, D. T. (Barce-
lona, 1908).
Terrasse [tSh-rahs'], Claude, b. Cdte-St.-
Andre, Southern France, 1870. Pupil of the
ficole Niedermeyer in Paris; began his
career in 1899 with the 1-act operetta Pan-
tUon-Courctlles; since then he has prod.
about 30 operettas and ballets. Among
his succ. comedy-operas are Les Travaux
d'Hercule (Paris, 1901), Le Sire de Vergy (ib.,
1903), Monsieur de la Palisse (ib. 1904), Le
Coq d'Inde (ib., 1909), Le Mariage de Tile-
tnaque (ib., 1910), Pantagruel (Lyons, 1911),
Cartouche (Paris, 1912); also incid. music to
the 5-act drama Ubu-Roi (1902).
Terry, Richard Runciman, b. Ellington,
Northumberland, 1865. In 1890 app. org.
and music- master at Elstow School; 1892-6,
org. and choirm. at St. John's Cath., Anti-
gua, West Indies; 1896-1901, do. at Down-
side Abbey. There he attracted attention by
the revival of the Catholic church-music of
early English masters (Byrd, Tallys, Tye,
Morley, Mundy, White, Fayrfax, etc.);
since 1901 he has been org. and dir. of music
at Westminster Cath., continuing his labors in
behalf of early Engl, music; 1915-16, ex-
aminer for Natl. Univ. of Ireland and Birm-
ingham Univ. He was chairman of the com-
mittee app. to prepare the Engl, supplement
of the Vatican Antiphonary. — Comp. of 5
masses, a requiem, numerous motets, etc.;
has ed. the colls. 'Downside Masses' (by
composers of the 16th century), 'Downside
Motets' (do.), 'Motets Ancient and Modern,'
besides many separate early comps. (most
hitherto unpubl.); musical editor of 'The
Official Catholic Hymnal for England'; also
wrote Catholic Church-Music.
Terschak [t€hr'shak], Adolf, celebrated
flutist; born Hermannstadt, Transylvania,
April 6, 1832; d. Breslau, Oct. 3, 1901. Pupil
of Zierer at the Vienna Cons. (1850-2). Made
long tours; to London in the west, and Siberia
in the east. — Works: For fl. and orch.: Op.
29, Salut a la Hongrie; op. 42, Kontert-Fan-
tasie; op. 132, Columbus, Amer. rhapsody;
op. 133, Carnaval Suisse; op. 138, Murillo,
Allegro de concert; op. 139, Le Papillon en
Voyage, 6tude-caprice; 2 suites for fl. and pf.,
Deutsche Soldatenbilder (op. 156) and Nord-
landsbUder (op. 164); 2 sonatas (op. 168, A;
op. 175, F) ; a melodrama, Die Mutter (op. 92) ;
numerous minor pes. for fl. and pf . ; £cole de
mecanisme (op. 75) and technical studies
(op. 69, 70, 71, 131); pf.-pes., songs and
choruses.
Terzia'ni [t&hr-ts'yah'ne], Eugenio, bora
Rome, July 29, 1824; d. there June 30, 1889.
Pupil of Mercadante at the R. Cons., Naples;
prod, an oratorio, La Caduta di Gerico, in 1844,
followed by the operas Giovanna di Napoli
(1844) at Ferrara and Alfredo (1852) at Rome,
where he became maestro at the Teatro Apollo
about 1850; from 1867-71, maestro at La
Scala, Milan; from 1877, prof, of comp. at the
Liceo musicale of the Accad, di Sta. Cecilia
at Rome. Last opera, Niccold de' Lapi
941
TESCHNER— TEYBER
[Vassedio di Firente] (Rome, 1883); also
prod, a Requiem mass, an Inno sinfonico, etc.
Tesch'ner, Gustav Wilhelm, b. Magde-
burg, Dec. 26, 1800; d. Dresden, May 7, 1883.
Singing-teacher; pupil of Zelter and Klein at
Berlin, and of Ronconi, Bianchi and Cre-
scentini in Italy (1829); later of Mieksch in
Dresden. Settled in Berlin as a vocal teacher
after Italian methods. He publ. elementary
vocal exercises, and solfeggi of his own; also
many by Italian masters (Clari, 8 books;
Crescent mi, 5; Minoja, 6; Zingarelli, 10);
edited much early vocal church-music.
Te'si-Tnunonti'ni, Vittoria, celebrated
dramatic contralto; born Florence, Feb. 13,
1700; d. Vienna, May 9, 1775. Her singing-
masters were Redi at Florence and Campeggi
at Bologna, where she made an early debut.
She sang at Venice in 1719, and in Dresden
the same year, at the wedding of the electoral
prince; up to 1738 she appeared chiefly at
Venice and Naples, then had a long engage-
ment with Farinelli at Madrid, and in 1749
was singing with great success at Vienna,
ending her days in the house of the Prince
of Hildburghausen.
Tessarin, Francesco, born Venice, Dec. 3,
1820. Pianist; pupil of A. Fanno and G. B.
Ferrari. He was intimate with Wagner. De-
voted himself chiefly to lesson-giving and com-
position.— Works: Opera V ultimo Abencer-
ragio (Venice, 1858); a cantata, church-mu-
sic, pf.-fantasias, etc.
Tessari'nl, Carlo, famous violinist of the
Corelli school; born Rimini, 1690; d. (?). At-
tained celebrity as early as 1724; was 1st
violin at the cathedral in Urbino; in 1762 he
still concert ized in Amsterdam. His vl.-
sonatas, which generally have 3 movements,
were largely instrumental in fixing that
number as the normal number of movements.
He publ. several solo sonatas, trio-sonatas,
duets, conccrtini, concerti grossi; also a vl.-
method, Grammatica di musica (1741, in Fr.
and Engl, tr.; orig. in MS.).— Cf. A. Schering,
Geschichte des Instrumentalkonzerts (Leipzig,
1905).— See also Q.-Lex.
Teato're, Carlo Giuseppe; Carlo An-
tonio; and Paolo Antonio; father and two
sons, Milanese violin-makers from about 1687-
1754.
Tetrazzinl I-trah-tse'ne], Luisa, famous
coloratura soprano; born Florence, 1874. At
the age of 12 she had learned perfectly the
words and music of several operas by merely
listening to her elder sister, Eva (Mme. Cleo-
fonte Campanini); after some lessons from
her sister, she st. 3 months at the Liceo
Musicale in Florence with Ceccherini, con-
tinuing the study of repertoire with him
privately. After her debut as Inez (I'Afri-
caine) at the Teatro Pagliano in Florence, in
1895, she sang in Rome and other Italian
cities;, then travelled with various com-
panies in South America and Mexico, and in
1904 created a local sensation at the Ti vol i
Opera House in San Francisco. Although
her name appeared in the prospectus of the
M. O. H. for the season of 1905-6, she was
not heard; instead she went again to South
America. On Nov. 2, 1907, she made her
first London appearance (as Violetta) and
was bo successful during that season that
Hammerstein eng. her for his Manhattan
Opera House in N. Y., where she was first heard
in the same rdle on Jan. 15, 1908. During
her first season there her success was not
extraordinary; but on her return the next
season she was hailed as a star of the first
magnitude, remaining a powerful drawing-
card until the closing of the house (1910);
from 1910-13 she made extended concert -
tours of the U. S.t and sang frequently in
opera in special engagements with the Chicago
and Boston companies; in 1913-14 she was a
regular member of the Chicago Opera Co.
Since the outbreak of the war she has been ir
Florence, devoting her art exclusively to
patriotic and charitable purposes. In private
life she is Signora Bazelli. Although in the
U. S. she has not been heard in more than
about a dozen operas, her repertoire com-
Crises almost 40 r6les, the most brilliant ones
einjj those once specially identified with the
Patti (Rosina, Violetta, Gilda, Lucia, etc.).
Her voice is powerful and of extraordinary
purity and beauty, her vocal technic well-
nigh flawless. Although she is a greater vocal-
ist than actress, her histrionic ability is above
the average expected of coloratura.singers.
•
Teyber (or Tayber) [ttt>er], Anton, born
Vienna, Sept. 8, 1754; d. there Nov. 18, 1822.
Pupil of Padre Martini at Bologna. From
1792, cembalist at the Imp. Opera, .Vienna,
and assistant of Salieri; from 1793, court
composer and music-master to the Imperial
children. — Works: An opera, 2 oratorios, a
Passion, a melodrama, many masses, sym-
phonies, string-quartets, minuets and alle-
mandes, etc. — See Q.-Lex.
Tey'ber (or Tayber), Franz, brother of
preceding; b. Vienna, Nov. 15, 1756; d. there
Oct. 22, 1810. Pianist, pupil of Wagenseil;
after a concert-tour in S. Germany and
Switzerland, he cond. Schikaneder's itinerant
opera-troupe; was then Konzertmeister at
Karlsruhe and Bern, and from 1799-1810
composer to Schikaneder's Theater an der
Wien. Two months before his death he was
app. organist of the Imp. Chapel. Besides
several operas and Singspiele, he wrote an
oratorio, a mass and other church-music,
songs, etc.
942
TEYTE— THALBERG
Teyte, Maggie [changed original spelling,
"Tate, at time of debut to insure correct pro-
nunciation in France], lyric soprano; born
Wolverhampton, April 17, 1889. Began her
mus. studies at the R. C. M. in London;
1903-7, pupil of Jean de Reszk* in Paris;
debut as Zerlina at Monte Carlo (Feb., 1907);
1908-10, at the Op6ra-Comique; 1910-11,
with Beecham Opera Co. in London; 1911-14,
member of Chicago Opera Co., making
her American debut at Philadelphia as
Chembino (Nozse di Figaro; Nov. 4, 1911).
At her second appearance she created the
r61e of Cendrillon at the Amer. premiere of
Massenet's opera (Phi la., Nov. 6, 1911);
1914-5, concert-tour of the U.S.; 1915-17,
member of the Boston Natl. Grand Opera Co.
During the summer of 1914 she sang with
the Boston Opera Co. in Paris, and later
toured England with Kubelik. On Oct. 6,
1909, she married Eugene Plumon, a lawyer in
Paris, from whom she was div. Nov. 12, 1915.
Her voice is warm and sympathetic, and of
surprising volume considering her diminutive
physique; her graceful figure lends additional
charm to her fine impersonations of youthful
characters. Her favorite rdles are Mimi
(La Boheme) and Melisande.
Thadewaldt [tah'de-wahlt], Hermann,
b. Bodenhagen, Pomerania, April 8, 1827; d.
Berlin, Feb. 11, 1909. From 1850-51,
bandmaster at Dusseldorf; 1853-5, cond. at
Dieppe; 1857-69, cond. of his own orch. at
Hcrlin, and in 1871 of the concerts at the
Zoological Gardens. In 1872 he founded the
'Allgemeiner Deutscher Musikerverband,' of
which he was the first Pres., and to whose in-
terests he devoted his entire time until his
death. Publ. a symph. poem, Das Ratsel
der Sphinx; Im Walde for orch.; Meermusik
for str. -orch. ; HerbsUied for str. -quintet; etc.
Thalberg [taWbaryh], Marclan, pianist;
b. Odessa, Nov. 26, 1877. Pupil at Leipzig
Cons. (1894-6, and 1897-9) of Weidenbach
and Reinecke (pf.) and Jadassohn (theory),
graduating with honors. Having taught
for some time in England, he returned to
Leipzig in 1901, studying for one year with
A. Reisenauer; settled in Paris in 1902, where
he made his headquarters till 1913; debut
there (Salle Erard) on Jan. 21, 1903; at first
he confined his appearances (in recitals and
with orch.) to France, but after 1906 he made
extended tours of Germany, Switzerland,
England and Russia; since Sept., 1913, he
has been principal pf. -instructor at the Cin-
cinnati Cons, (master-class), and has been
heard as soloist in the U. S.
Thal'berg, Sigismund, renowned piano-
virtuoso and composer; born Geneva, Jan. 7,
1812; d. Naples, April 27, 1871. The natural
son of Prince Moritz Dietrichstein and the
Baroness von Wetzlar, his father took charge
of his education at Vienna, from 1822. Hum-
mel and Sechter were nominally his teachers;
but he himself gives the credit for his pianistic
training to Mittag, the 1st bassoonist in the
Vienna Court Opera. At 14 he already had
success in private circles; in 1828 his first
three works (Fantaisie and variations on
Euryanthe; do. on a Scotch theme; Im-
promptu on Le Siege de Corinthe) appeared,
followed in 1830 by the pf. -concerto in F
minor, op. 5. In 1830 he also made a con-
cert-tour through Southern Germany, win-
ning great applause. In 1834 he was app.
court pianist at Vienna; in 1835 he excited
intense enthusiasm in Paris, and continued
his triumphs through Belgium, England,
Holland, and Russia. In 1843 he married
Mme. Boucher, the daughter of Luigi La-
blache, in Paris; in 1845 he undertook a
tournee in Spain; in 1851 his first operatic
venture, Florinda, failed completely in Lon-
don, and a second, Crislina di Svezia, met a
similar fate in Vienna, 1855; he then set out
on a tour through Brazil (1855) and the
United States (1856), retiring in 1858 to his
villa at Posilippo, near Naples. In 1862 he re-
visited Paris and London; made a second
Brazilian tour in 1863; and in 1864 withdrew
permanently to Posilippo. — T. was an ex-
ecutant of the highest rank, unexcelled as an
interpreter of salon-music, with a complete
command of tone-effect, and a wonderful
legato, eliciting from Liszt the remark, Thal-
berg is the only artist who can play the violin
on the keyboard.' His technical specialty,
since widely imitated, was to play a central
melody with the thumb of either hand, sur-
rounding it with brilliant arpeggios and ara-
besques [see Pollini, Francesco]. He was
the leader of the Vienna school of brilliant
piano-playing, the glittering superficiality of
which has succumbed to modern Romanti-
cism.— Published works: Op. 5, Gran concerto
f. pf.; op. 7, divertissement; op. 15, 19,
Caprices; op. 16, 21, 28, 6 Nocturnes; op. 31,
Scherzo; op. 32, Andante; op. 35, Grand
nocturne; op. 3Sbis, ixrennes aux jeunes
pianistes; op. 36, 6 pieces (La Cadence, a
study, is No. 1); op. 38, Romance et etude;
op. 41, 2 Romances sans paroles; op. 45,
Thhne orig. et etude; Op. 47, Grandes raises
brillantes; op. 55, Le Depart , varie en forme
d' etude; op. 57, 10 morceaux (ecole prSpara-
toire); op. 56, Grande sonate; op. 59, Marche
funebre variee; op. 60, Barcarolle; op. 62,
Valse mSlodique; op. 64, Les Capricteuses;
op. 65, Tarentelle; op. 69, pf.-trio in A;
Souvenir de Pest; etc. Among many bril-
liant transcriptions and fantasias are op. 20
(Huguenots), op. 33 (Moise), op. 66 (Lelisir
d* amort) % etc.
943
THALLON— THEODORINI
Thallon, Robert, b. Liverpool, Mar. 18,
1852; was taken to New York in 1854;
studied 1864-76 at Stuttgart, Leipzig, Paris
and Florence; since his return to the U. S.
he has been living in Brooklyn, N. Y., as a
well-known organist and music- teacher; has
publ. songs and pf.-pes. (some arr. for orch.).
Thayer, Alexander Wheelock, b. South
Natick, Mass., Oct. 22, 1817; d. Trieste,
July 15, 1897. After graduation at Harvard
Univ. in 1843, he became asst. -librarian there;
during 6 years' work in the library, he matured
a plan for writing a detailed and trustworthy
biography of Beethoven. For preliminary
study, and to collect material, he first spent
2 years (1849-51) in Germany, also writing
letters for newspapers; in 1852 he joined the
staff of the New York 'Tribune/ and returned
to Europe in 1854, where, excepting 2 years
(1856-8) spent in Boston, he remained. Dr.
Lowell Mason and Mrs. Mehetable Adams
(of Cambridge, Mass.) gave generous and
disinterested aid at this juncture. In 1862
T. was attached to the American embassy at
Vienna; in 1865, Abraham Lincoln appointed
him consul at Trieste, a post held during life.
He now publ. a Chronologisches Verzeichniss
der Werke Ludwig van Beethavens (Berlin,
1865); in 1866 Vol. i of his life-work, Ludwig
van Beethavens Leben, appeared in German,
translated from the English MS. by Dr.
Hermann Deiters (see Beethoven, Biblio-
graphy, A [p. 66]). In 1877 he also publ.
Rin kritischer Beitrag zur Beethoven- LUteratur.
Unhappily, his wonderful capacity for work
was overtaxed, and Vol. iv of his nobly con-
ceived work, executed with a painstaking
thoroughness and scrupulous fidelity beyond
praise, was left unfinished. Though he lived
for years in straitened circumstances, he
resolutely refused offers from firms like
Novello & Co. and G. Schirmer, hoping to
recast entirely the English version of his
Beethoven.— Cf. H. E. Krehbiel, A.T.and His
'Life of Beethoven,' in 'Mus. Quart.' (Oct.,
1917).
Thayer, Arthur Wilder, born Dedham,
Mass., Aug. 26, 1857. Composer and cond.;
pupil of Dr. C. A. Guilmette and C. R. Adams
(singing), Chad wick (theory and instru-
mentation) and Zerrahn (conducting). Con-
ducted choral societies in Lowell, Salem,
Worcester, Providence, etc.; 1882-5, supt.
of music in schools at Dedham, 1885-8 at
Milton; then mus. dir. at Eliot Ch., Newton.
Since 1889, member of the Harvard Mus.
Assoc. Has publ. numerous songs and part-
songs; also church-pieces and pf. -music.
Thayer, (Whitney) Eugene, b. Mendon,
Mass., Dec. 11, 1838; d. Burlington, Ver-
mont, Jan. 27, 1889. Distinguished organist;
began study at 14; in 1862 assisted at the
944
opening of the great organ in the Music Hall
Boston, where he became regular organs-
after study (1865-o) under Haupt, \W
precht, etc., in Germany; also editor of t N
Organist's Journal/ and the 'Choir Journal,
cond. of the Boston Choral Union, the N. K
Church- Music Assoc., etc. Gave free or
gan-recitals in Boston from 1869; played u
the chief cities of America and Europe; an.:
lectured. From 1881-8, organist of the
Fifth Av. Presb. Ch., New York. For *
Festival Cantata (f. soli and 8-part ch. \t.
orch.) he received the degree of Mus. Do
from Oxford Univ. Publ. a mass in E.».
organ-pieces (4 sonatas), part-songs, song-
also The Art of Organ Playing (5 parts).
Thayer, William Armour* b. Brook] vt,
N. Y., Oct. 5, 1874. Pupil of J. H. Brewer
(org.), D. Buck (theory) and J. D. Meha-
(voice); 1893-1914, org. of St. James's P. F
Ch., Brooklyn; since 1914 of St. Mark's M. E
Ch.; since 1907 also prof, of music at Adeh
Coll., Brooklyn; 1898-9 he cond. the coneer
of the Brooklyn Choral Soc. Has publ. song
Theile [ti1£], Johann, b. Naumburg, JuK
29, 1646; d. there (buried June 24) 1724.
Pupil of H. SchQtz at Weissenfels; in 1673,
Kapellm. to the Duke of Holstein at Got
torp; during the troublous war-times he went
to Hamburg, and wrote (for the opening of
the Opera there in 1678) the Singspiele Adam
und Eva and Qrontes; he also prod, a Christ-
mas oratorio in 1681. In 1685, Kapellm.
to the Brunswick court at Wolfenbuttel;
then Kapellm. at Merseburg. He was
called by contemporaries 'the father oi
counterpoint.' Among his pupils were N.
Hasse, Buxtehude, and Zackau. — Extant
works: A German Passion (publ. Lubeck,
1675; reprinted by Zelle in vol. xvii of 'Dkm.
deutscher Tonk.'); Noviter inventum opus
musicalis compositionis 4 et 5 vocum, propfatc
choro (20 masses), and Opus secundum, ntmt
sonatae rarissimae artis et suavitatis musuae
(a coll. of instrl. sonatas, preludes, couraates,
airs and sarabands a 2-5, in single, double,
triple and quadruple cpt.). — See Q.-Lex.
Theodorl'ni, Helena, dramatic soprano;
b. Craiova, Rumania, Mar. 25, 1862. At the
age of 6 she began to play the pf., and at 9
appeared in public; 1876-8, pupil of D.
Fumagalli (pf.) and A. Sangiovanm (singing)
at the Cons. Verdi in Milan, graduating as
winner of 1st prize in both classes; debut (as
contralto) at Teatro Municipale in Cuneo
(1879); gradually her voice changed to a
mezzo-sop. of wide range; after a very succ.
appearance as Rosina in Warsaw (1881) she
was at once eng. for La Scala, where she
created Herodiade in the Ital. premiere of
Massenet's opera (1883); 1884-6, at the R.
Opera in Madrid; from then until 1899 she
TH ERN— THI ERFELDER
sang at the chief opera houses of Italy, in
Vienna, London, Lisbon, Buenos Aires, Rio
de Janeiro, etc.; 1899-1902, in Bucharest.
In 1893 she married the Chev. Georges de
Cocquiel; having been divorced, she married
Baron d'Harmezak in 1903, and retired from
the stage. In 1905 she establ. herself as a
vocal teacher in Paris; lived several years
in Buenos Aires; since 1916 in New York.
Them [tehrn], Karl [Karoly], born Igl6,
Upper Hungary, Aug. 18, 1817; d. Vienna,
Apr. 13, 1886. In 1841, Kapellm. of the
National Th.f Pest; 1853-4, prof, of pf. and
com p. at the Cons., resigning to travel with
his sons; in 1868, again in Pest; later in
Vienna. — Works: 3 successful operas (prod,
at Pest); very popular Hungarian songs;
pf. -pieces. — His sons, Willi (b. Ofen, June
22, 1847; d. Vienna, April 7, 1911) and Louis
(b. Pest, Dec. 18, 1848), excellent pianists,
taught by their father and (1864-5) by
Moscheles and Reinecke at Leipzig, won
fame by their remarkable ensemble-playing on
two pianos. Made extended concert-tours
in Germany, to Brussels and Paris (1866), to
Holland, England, etc. Louis is now (1917)
living in Vienna as prof, at the Cons.
Thibaud [te-boh'], Jacques, distinguished
violinist; born Bordeaux, Sept. 27, 1880.
Until the age of 13 taught by his father;
pupil of Marsick at the Paris Cons., winning
the 1st prize in 1896. Forced to earn his
livelihood, he played for some time at the
Cafe Rouge, where Colonne heard him, and
immediately offered him a position in his
orch.; in 1898 he made his debut as soloist
(with Colonne) with such success that in the
same season he was eng. for 54 concerts in
Paris. He played with success in all the
musical centres of Europe, and visited
America several times (first time in 1903).
The death of his father (Dec, 1914) inter-
rupted an Amer. tour; he returned to France
and served a year in the army. On his re-
turn to the U. S., in 1916, he gave evidence
of a sudden artistic development almost
without parallel, revealing a breadth of
conception and an emotional intensity of
which his previous oerformances had given
no intimation. His interpretations of Bach,
Beethoven and Brahms place him in the
front rank of the masters of to-day. He is
also an exceptionally fine ensemble-player.
Thibaud, Joseph, brother of preceding;
b. Bordeaux, Jan. 25, 1875. Pianist, pupil of
L. Diemer at Paris Cons., taking 1st prize for
pf.-playing in 1892. Has played at the Con-
certs Colonne, also in the principal French
towns. Accompanied the violinist Marsick
on his American tour, 1895-6; has appeared
frequently with his brother, Jacques, in
sonata-recitals.
Thlbaut IV, King of Navarre; b. Troyes,
1201; d. Pamplona, July 8, 1253. He was a
Trouvere; 63 of his songs were publ. by
Bishop La Ravalliere in 1742 as PoSsies du roi
de Navarre, in 2 vols.; the melodies are not
adequately reproduced.
Thibaut [te-boh'], Anton Friedrich Jus-
tus, b. Hameln, Jan. 4, 1774; d. Heidelberg,
Mar. 28, 1840, as prof, of jurisprudence.
Publ. Vber ReinheU der Tonkunst (1825;
often republ.; Engl. ed. by W. H. Gladstone
as Purity in Mus. Art [1877]). His valuable
coll. of folk-songs of all nations was acquired
by the Hofbibliothek in Munich (1850).— A
full biogr.jis in R. Heuler's reprint of the
1st ed. of Vber ReinheU der Tonkunst (Pader-
born, 1907).
Thiele [tele], (Johann Friedrich) Lud-
wifc, b. Quedlinburg, Nov. 18, 1816; d. Ber-
lin, Sept. 17, 1848. Pupil of A. W. Bach at
the R. Inst, for Church-music, Berlin; from
1839, organist of the Parochialkirche. An
excellent organ-virtuoso, he publ. concert-
pieces, variations, preludes, etc., for organ.
Thleme [te'm£] (called Thieme), Fried-
rich, German music-teacher at Paris, 1780-
92, then in Bonn, dying there in June, 1802. —
Publ. Elements de musique pratique (2d ed.
1783, w. new method of figuring ace. to Abbe
Roussier); Principes abreges de musique for
beginners on the violin; do. for pf.; Nouvelle
thiorie sur les diffirents mouvements des airs
. . . avec le projet d'un nouveau chronometre
(1801); and several books of violin-duos.
Thierf elder [ter'-L Dr. Albert (Wllhelm),
b. Muhlhausen, Thuringia, April 30, 1846.
Studied at Leipzig Univ. 1865-9, and at the
same time with Hauptmann, Richter and
Paul. 1869-70, director of a singing-society
at Elbing; 1870-87, gymnasial singing-
teacher, and cantor, at Brandenburg; since
1887, Mus. Director and Prof, at Rostock
Univ., succeeding Kretzschmar, receiving title
of 'Professor' in 1898. — Works: 3-act opera
Die Jungfrau vom Konigsee (Brandenburg,
1877); 4-act opera Der Trentajager [after
Baumbach's •Zlatorog ] (Brandenburg, 1883);
3-act opera Almansor [Heine] (Berlin, 1884);
3-act opera Florentine, text by T. himself (Ro-
stock, 1896) ; 2-act opera Der Heiratssehein,
text do. (Rostock, 1898; very succ); — also
op. 1-7, pf. -pieces, songs and duets; op. 8,
Zlatorog, f. soli, ch. and orch.; op. 21, Edel-
weiss, f. male ch. and orch.; op. 30, Frau
Holde, dram, cantata for mixed ch. and orch.;
op. 36, Kaiser Max und seine Jager, 'Kon-
zertdrama'; 2 symphonies (C m., D); the
essays De Christianorum psalmis et kymnis
usque ad Ambrosii tempore (his doctor-dis-
sertation; publ. by Teubner), and System der
griechiscken Instrumentalnoten ( Dietrich 'sche
Buchhandlung) ; and an extremely interesting
945
THlfiRIOT— THOMAS
'Sammlung von Gesangen aus dem klassischen
Alterthume vom 5. bis 1. Jahrhundert v. Chr.
nach den ikberlieferten Melodieen mit grie-
chischem und deutschem Texte nebst einlei-
tenden Vorbemerkungen herausgegeben und
fQr den Konzertgebrauch eingerichtet' (Leip-
zig, 1899).
Thltriot [t'ya-r'yoh'], Ferdinand, born
Hamburg, Apr. 7, 1838. Pupil of E. Marxsen
at Altona, and Rheinberger at Munich; mus.
dir. at Hamburg, Leipzig (1867), and Glogau
(1868-70); dir. of the Styrian Vocal Soc. at
Graz till 1895; since then living in Hamburg.
— Works: For orch., op. 13, Loch Lomond,
orchl. fantasy; op. 43, overture to 6chiller's
Turandot; op. 44, Serenade in F for str.-
orch.; op. 54, Zwei Walter for do.; op. 55,
SinfonieUa in E; op. 68, vl.-concerto in A;
op. 72, Leben una Sterben des vergnUgten
SchulmeisUrlein Wuz, idyl; op. 77, concerto
for 2 pfs. and orch., in F; op. 88, concerto for
3 vis. and orch., in D.— -Choral works with
orch., op. 19, Ant Traunsee, for bar. solo and
ch.; op. 50, Kantate der Klage und des Trostes
for soli, ch. and org.; op. 52, Requiem for alto
solo and ch. ; op. 59, Tanzlied for male ch. ; op.
63, Das Marchen vom Schnee for declamation,
sop. and ten. soli, mixed (or fern.) ch.; op.
70, Christnacht for soli, ch., org., fl. and str.-
orch.; op. 74, La Rcgine Avrillouse for 2 solo
vcs. and ch.; op. 81, Abschied vom Meer for
3-part fern. ch. and bar. solo. — Chamber-
music, op. 62, octet for strs. and wind-instrs.,
in Bb; op. 78, do. for 4 vis., 2 vlas. and 2 vcls.,
in C; op. 20, pf. -quintet in D; op. 80,
quintet for wind-instrs. in A m.; op. 83, str.-
quartet in A; op. 84, quartet for fl., vl., via.
and vcl., in G; 2 pf. -quartets (op. 9, E m.;
op. 30, Eb); 7 pf. -trios (op. 1, D; op. 12, G
and A m.; op. 14, F m.; op. 45, Bb; op. 47,
E; op. 90, E m.); 2 vl.-sonatas (op. 24, E
m.; op. 58, A); 2 vcl.-sonatas (op. 15, Bb;
op. 56, G). Concert-pcs. for org. (op. 85);
pf.-pcs. for 2 and 4 hands and for 2 pfs.;
motets a capp. ; songs and choruses.
Thillon [te-y6hn']f Anna (nie Hunt), Eng-
lish stage-soprano; born London, c. 1816; d.
Torquay, May 5, 1903. Pupil of Bordogni,
Tadolini and Thillon, marrying him when
she was but fifteen; debut Th. de la Renais-
sance, Paris, 1838, in Grisar's Lady Melvil;
sang in Paris, and appeared in London at the
Princess's Th., May 2, 1844, as the Queen in
Auber's Crown Diamonds. In America
1850-4. Last appearance in opera 1855, at
the Lyceum Th., London; last appearance
in concert at the Brighton Fest. of 1867.
She then retired to Torquay.
Thi'mus [te'-], Albert, Freiherr von, born
Aix-Ia-Chapelle, May 21, 1806; d. Cologne,
Nov. 6, 1878, as judge of the Appellate Court,
and 'Hofrat.'— Publ. Die harmonikale Sym-
bolik des Altertums (2 vols., 1868-76), a work
containing much of interest to friends of
harmonic d ualism. As an introduction to t h is
work R. Hasenclever wrote Die Grundz&ge
der esoterischen Harmonik des A liertums ( 1 870 ) .
[RlElfANN.]
Thoinan [twah-nahn'], Eraeste [pen-
name of Antoine-Erneste Roquet], born
Nantes, Jan. 23, 1827; d. Paris, in May, 1894.
A business-man in Paris, and a thoughtful
student of music. He collected a fine mus.
library. — Publ. La musique a Paris en 1862
(1863); Vopkra Les Troyens au Pere Lachaise
(1863; a satire); Les origines de la chapelle-
musique des souverains de France (1864); Les
origines de V Optra franc,ais; La deploration de
Guillaume Crestin sur le tr&pas de Jean Ocke-
ghem (1864); Maugars, celebre joueur de viale
(1865); Antoine de Cousu et les singulieres
destinies de son livre rarissime *la musique
universelle* (1866); Curiosites musicales el
autres trouvSes dans les otuvres de Michel
Coys sard (1866); Un bisaieul de Moliere;
recherches sur les Mozuel, musiciens du XVIm
et XVII* siecles (1878); Louis Constanlin,
roi des violons (1878); Notes Mbliographiques
sur la guerre musicale des Gluckistes et Picci-
nistes (1878); Les HotUUrre et les ChideviUe
(1894).
Thoma [toh'mah], Rudolf, b. Lehsewitr,
n. Steinau-on-Oder, Feb. 22, 1829; d. Breslau,
Oct. 20, 1908. Pupil of the R. Inst, for
Church-music, Berlin; in 1857, cantor of the
Gnadenkirche, Hirschberg; in 1862, of the
Elisabethkirche, Breslau. In 1870, *R. Mus.
Dir.' Founded a singing-society, and was
director of a music-school. — Works: The
romantic opera Helga's Rosen (OlmOtz, 1890);
1-act opera lone (Breslau, 1894); 2 oratorios,
Moses, and Johannes der Taufer; op. 18,
Deutsche s Te Deum for solo, ch. and orch.;
op. 20, Psalm 28 for sop. solo, ch. and orch.;
other church-music; pf.-pcs. and songs.
Thomas [toh-mah'J, (Charles -Louis)
Ambroi8e, distinguished dramatic composer;
b. Metz, Aug. 5, 1811; d. Paris, Feb. 12, 18%.
He entered the Paris Cons, in 1828; his
teachers were Zimmerman and Kalkbrenner
(pf.), Dourlen (harm.), Barbereau (cpt.) and
Le Sueur (comp.); in 1829 he won the 1st
prize for pf. -playing, in 1830 for harmony,
and in 1832 the Grand Prix de Rome with
the dram, cantata Hermann et Ketty. After
3 years in Rome, Naples, Florence, Bologna,
Venice and Trieste, and a visit to Vienna in
1836, he returned to Paris, and up to 1843
prod, nine stage-pieces — La double ttchelle
(1837), U Perruquier de la RSgence (1838),
La Gipsy, ballet (Opera, 1839), Le Panier
fleuri (1839), Carline (1840), U ComU de
Carmagnola (1841), Le Guerillero (1842),
Angelique et MSdor (1843) and Mina, ou le
946
THOMAS— THOMAS
Menage & trots (1843). Discouraged by the
poor success of the last operas, T. prod, only
Betty, a ballet (1846), during 5 years; but
then made a brilliant reentry with Le Caul
(1849), followed by Le Songe d'une Nuit d'iti
(1850), which won him good standing among
French composers of the time. In 1851 he
was elected to Spontini's chair in the Aca-
demic The next 5 operas, Raymond (1851),
La Tonelli (1853), La tour de Cilimene (1855),
PsychS (1857), and Le Carnaval de Venise
(1857), achieved only moderate success, and
Le Roman d'Elvire (1860) had similar fortune;
but with Mignon (Opera-Comique, Nov. 17,
1866), T. took first place among recent com-
posers of French comedy-opera; Hamlet
(Opera, Mar. 9, 1868) was almost equally
successful in Parts; but Mignon has gained
world-wide popularity. GUle et Gillotin
(1874), Francoise de Rimini (1882), and the
ballet La Tempeie (Opera, 1889), complete
the list of T.'s dramatic works. In 1871 he
succeeded Auber (after the Communist
Daniel's brief reign) as Director of the Con-
servatoire. In 1845 he was created a Cheva-
lier, in 1858 Officer, and in 1868 Commander
of the Legion of Honor. Besides operas and
ballets, he wrote a cantata for the unveiling
of Le Sueur's statue at Abbeville, 1852; the
cantata Hommage a Boieldieu, Rouen, 1875;
Messe solenneUe (1857); Requiem, Marcke
religieuse, Notre-Dame, 1865; 3 motets w.
organ; Fantaisie f. pf. and orch.; a string-
quintet in F; a string-quartet in E; a pf.-
trio in D m.; 6 Neapolitan canzonets; and
a series of 'chaeurs orpheoniques' (4-part male
choruses) which rank with the best of their
kind: Le chant des amis, La Vapeur, Le salut
aux chanteurs, France! France!, Le Tyrol,
Le Carnaval de Rome, VAUantique, Les Trat-
neaux, Le Temple de la Paix, Paris, La nuit
du Sabbat, Les Archers de Bouvines, and Le
Forgeron. — Cf. J. Simon, A. T., in 'La Revue
de Paris' (Mar., 1896); C. Bellaigue, Etudes
musicales et nouveUes silhouettes des musiciens
(Paris, 1898).
Thomas Aquinas [Thomas of Aquino],
(Saint), b. Rocca Sicca, n. Aquino, Italy, c.
1225; d. Fossa Nuova, n. Terracina, Mar. 7,
1274. This famed theologian and scholastic
philosopher entered the Dominican order in
1245. In 1263 Pope Urban IV commissioned
him to compose a communion service, which
contains the memorable numbers Lauda Sion
(Corpus Christi sequence), and Pange lingua,
Sacra solemnis, Verbum supemum and Adoro
te (hymns). An extended chapter on music
is contained in his Summa Tneologica. — Cf.
C. F. Bellet, 5. Th. d'Aquin (Paris, 1902).
Thomas, Arthur Goring, English com-
poser; b. Rat ton Park, n. Eastbourne, Sussex,
Nov. 21, 1851; d. London, Mar. 20, 1892.
Pupil of femile Durand at Paris (1874-7), and
of Sullivan and Prout at the R. A. M., London,
winning the Lucas Prize in 1879; later st.
orchestration with Bruch in Berlin. Dwelt
in London as a composer. — Works: The
operas The Light of the Harem (portions prod,
in concert at the R. A. M., 1879); Esmeralda
(Drury Lane, 1883); Nadeshda (ib., 1885);
The Golden Web (unfinished; score com pi.
by Waddington; prod, at Liverpool, 1893);
— a choral ode, The Sun Worshippers (Nor-
wich, 1881); cantata The Swan and the Sky-
lark (Birmingham, 1894; orchestrated by C.
V. Stanford); psalm 130 f. sop. solo, ch. and
orch. (1878); 3 vocal scenes, Hero and Le-
ander (1880); Out of the Deep, anthem for
sop. solo, ch. and orch.. (1878); duets; songs;
Suite de ballet f . orch. (1887) ; a vl. -sonata ; etc.
Thomas [toh'mahs], Christian Gottfried,
b. Wehrsdorf, n. Bautzen, Feb. 2, 1748; d.
Sept. 12, 1806, at Leipzig, where he lived as a
composer and writer. — Publ. Praktische Bei-
trdge zur Geschichte der Musik, musikal. Litte-
ratur, etc. (1778; chiefly for the music-trade);
Unparteiische Kritik der vorzuglichsten sett 3
Jahren in Leipzig aufgefuhrten . . . Kirchen-
musiken, Concerte und Opern (1798, '99); and
'Musikalische kritische Zeitschrift' (1805; 2
vols.). Extant comps.: A Gloria f. 3 choirs,
w. instrs.; a cantata; quartets. — See Q.-Lex.
Thomas [toh'mahs], Eugen, b. Surabaya;
Java, Jan. 30, 1863. In 1878 he came to
Delft, Holland, where he st. engineering, and
at the same time music; 1882-4, cond. of the
orchl. soc. 'Euterpe'; 1884-5, cond. of 'St.
Cacilie' (choral and orehl. soc.) in Semarang,
Java; from 1885-7 he completed his mus.
studies at the Vienna Cons.; 1887, theatre-
cond. in Pilsen; 1888, Kapellm. of the Ger-
man opera, Groningen; settled in Vienna in
1889 as pianist and comp.; since 1905 dir. of
the choral classes at the Cons. ; founder (1902)
and cond. of the 'Wiener a cappella Chor';
made 'k. k. Prof.' in 1907.— Has publ. pf.-
pcs., choruses and songs; Wiener Chorschule
(for the Cons.); in MS., chamber-music and
orchl. works. Wrote Die Instrumentation
der ,Meistersinger* von R, Wagner (2 vols.,
1899; 2d ed. 1907).
Thomas [toh'mahs], Gustay Adolf, fine
organist; born Reichenau, n. Zittau, Oct. 13,
1842; d. Petrograd, May 27, 1870. Pupil
of the Leipzig Cons. ; 1864-6, org. at the Re-
formed Ch. in Leipzig; then succ. H. Stiehl
as org. at St. Peter's in Petrograd. Wrote
excellent works for org.: Op. 6, Konzert-
Fantasie; op. 7, Sechs Trios uber bekannte
Choralmelodten; op. 8, six do.; op. 12, Fuga
eroica; etudes (op. 2 [for pedal], 10, 15); pf.-
pcs. (op. 3, 4, 11, 17, 18); ed. Bach's Kunst
der Fuge and Handel's organ-concertos.
947
THOMAS— THOMAS
Thomas* John, Tcnccrdd Gwalia' ( =
Chief Bard of Wales, a title conferred upon
him in 1861), b. Bridgend, Glamorganshire,
Mar. 1, 1826; d. Mar. 19, 1913. Pupil at the
R. A. M., from 1840, of J. B. Chatterton
(harp), and Lucas and Potter (comp.). In
1851, harpist at the R. Italian Opera; made
Continental tours from 1852-62, playing at
the Leipzig Gewandhaus (1852, 1861), Vienna,
Berlin, Petrograd, Moscow, etc. First con-
cert of Welsh music at St. James's Hall, July
4, 1862, with a chorus of 400 and 20 harps;
similar concerts annually. In 1872 he suc-
ceeded Chatterton as harpist to the Queen.
He was for many years a leader in the Eistedd-
fodau; prof, of the harp at the R. C. M., and
a member of the R. Soc. of Musicians, the
Philharm. Soc., and various foreign societies.
— Works: Llewelyn, dram, cantata (1863);
The Bride of Neath Valley, a Welsh scene
(1866); Welsh patriotic songs, f. chorus and
harp; other songs; 2 harp-concertos (in Eb
and Bb); duos f. 2 harps, and f. harp and pf.;
Romance and Rondo piacevole, f. harp and
violin; pieces f. solo harp; 2 sets of 6 studies
f. harp; transcriptions f. harp of Men-
delssohn's Songs without Words, Schubert's
songs, etc.
Thomas, John Rogers, concert-baritone;
born Newport, Wales, Mar. 26, 1829; d. New
York, April 5, 1896. Began life as a lawyer's
clerk in London; came to America in 1849;
member of the Seguin Opera Co. in 1852;
soloist of the Ch. of the Messiah in N. Y.;
travelled with Parepa Rosa and Camilla Urso
and was a favorite oratorio singer; made a
'Bard' in Wales (1870). A number of his
songs {The Mother's Prayer, The Cottage by
the Sea, Beautiful Isle of the Sea, Must we
then meet as strangers, etc.) enjoyed great
popularity in their day; also publ. an ope-
retta, Diamond Cut Diamond, a children's
cantata, The Picnic, and much sacred music.
Thomas, Lewis William, bass concert-
singer; b. Bath, England, April, 1826; d. Lon-
don, June 13, 1896. Pupil of J. Bianchi
Taylor and Randegger. 1850, lay-clerk at
Worcester Cath.; 1852, master of choristers
there. Sang at provincial festivals; London
debut 1854 in Messiah. In 1855, sang at
Exeter Hall; 1856, in St. Paul's Cath.; 1857,
in Temple Church; also for a short time in
opera. Gentleman of the Chapel Royal,
1857, resigning in 1887. He was critic for the
'Mus. World and 'Daily Telegraph'; and
edited 'The Lute' for some years.— Of his
two sons, W. Henry T. (b. Bath, May 8,
1848) is prof, of singing at the Guildhall School
of Music and the R. A. M., and Frank L. T.
is cond. and organist at Bromley.
Thomas [toh'mahs], Otto, b. Krippen,
Saxony, Oct. 5, 1857. Pupil of G. Merkel
(org.); 1890-1910, org. at St. Pauli in
den; retired in 1910 with the title 'Kirche-n-
musikdir.' — Has publ. organ-works (op- 2,
Weihnachtspastorale; op. 4, Zwei 5st. Fttgen
nebst Einleitungen; op. 5, Zwei Elegien; op.
7, Fantasie; op. 10, Festliches Vorspiel; op.
11, Fugierter Sat* (on a theme of Mozart's J;
op. 12, Fantasie [in form of vara, on a theme
of Bach's]; etc.); sacred songs w. org. (op.
13, 16); many motets (for male and mixed
ch. acapp.).
Thomas, Robert Harold, b. Cheltenham,
July 8, 1834; d. London, July 29, 18S5.
St. at the R. A. M. under Sterndale Bennett
(pf.)f C. Potter (comp.) and H. Blagrove
(vl.); after his debut as pianist (1850) he
appeared frequently in London as soloist
with orch.; was prof, of pf. at the R. A. M.
and G. S. M. — Wrote 2 overtures (As You
Like It and Mountain, Lake and Moorland).
pf.-pcs. and songs.
Thomas, Theodore* eminent conductor;
b. Esens, East Friesland, Oct. 11, 1835; d.
Chicago, Jan. 4, 1905. Taught by his father,
a violinist, he played in public at 6. In 1845
the family went to New York, where T. soon
entered an orchestra; in 1851 he made a con-
cert-tour as a soloist, later touring the country
with Jenny Lind, Grisi, Son tag, Mario, etc.
In 1855 began the Mason and Thomas soirees
[cf. William Mason]. Up to 1861 he played
in various opera-orchestras, sometimes con-
ducting. In 1864 he organized an orch. for
'Symphony Soirees' at Irving Hall, New York,
which were continued until 1878 (after 1872
in Steinway Hall); in 1866 he started summer
concerts in Terrace Garden, removing in 1868
to Central Park Garden. The influence of
these enterprises on musical culture in New
York was simply incalculable; T.'s programs
attained European celebrity. The first con-
cert-tour with the orch. was made in 1869,
with 54 players, and for nine consecutive
years he made annual tours of the East and
Middle West. In 1873 he established the
famous Cincinnati Biennial Fest., which he
conducted till his death. One of the fruits ot
his labors there was the foundation of the
Cincinnati Coll. of Music, of which he was
pres. and dir. from 1878-80, having given up
his own orch. in New York and the conductor-
ship of the N. Y. Philh. Soc. (1877-8) to accept
this post. After his resignation he returned to
New York, where he immediately reorganized
his own orch. and was reelected cond. of the
Philh. Soc. and the Brooklyn Philh. Orch.
(having been cond. of the latter in 1862-3,
'66-8 and 73-8). Besides conducting these
orchl. bodies, he was at different times cond.
of the 'N. Y. Mendelssohn Union,1 'N. Y.
Chorus Soc.,' 'German Liederkranz' and
the 'Brooklyn Philh. Chorus'; from 1885-7
948
THOMAS— THOMPSON
he was cond. and artistic dir. of the American
Opera Co. In 1891 he settled permanently
in Chicago as cond. of the Chicago Symph.
Orch., originally consisting of 60 performers
(increased to 90 in 1901). In recognition of
T.'s distinguished services a permanent home,
Orchestra Hall, was built Dy popular sub-
scription, and formally opened in Dec., 1904,
with a series of festival concerts, which were
the last directed by T.; a cold contracted
during a rehearsal developed into pneumonia,
which after a few days resulted fatally.
After his death the name of the orch. was
changed to 'Theodore Thomas Orch.'; in
1913 the original title was officially resumed.
— The influence of T. upon the musical
development of the U. S. has been strong and
lasting. Having devoted the best years of his
life to raising the musical standard of the East
by cultivating a taste for the highest type of
symphonic music, he applied himself with
undiminished energy and zeal to the
musical upbuilding of the Middle West.
A severe, almost autocratic drillmaster,
his splendid musicianship and lofty idealism
invariably commanded the respect and good
will of those under his direction. As an
arranger of homogeneous, artistic programs
he has never been excelled. The list of novel-
ties produced by him is enormous; an inde-
fatigable apostle of Wagner, Liszt and Brahms,
he also played for the first time in America
many of the larger works of Tchaikovsky,
Dvorak, Rubinstein, Bruckner, Goldmark,
Saint-Saens, Cowen, Stanford, Raff, etc.;
he introduced Richard Strauss to America
(Symph. in F m., Dec. 13, 1884) before that
composer had become known even in his own
country. — Cf. T. T. A Musical Autobiogra-
phy, ed. by G. P. Upton (2 vols.; Chicago,
1905); R. F. Thomas, Memoirs of T. T.
(New York, 1911).
Thomas, Vincent, b. Wrexham, Dec. 4,
1872. While employed in the London
County and Westminster Bank he organized
(1895) among its employees an amateur orch.,
which he has cond. ever since. — Composed
the operas Eos and Gwevril (London, 1902),
Gwenevere (ib., 1905), Enid (ib., 1908) and
Dagonet (not yet prod.); choral and orchl.
works; songs.
Thomas, William Edwin, born Oxford,
1867. At the age of 7 pupil of Dr. Corfe
and chorister at Christ Ch.; having acted as
deputy-org. at St. Paul's, Oxford, he became
org. and choirm. at SS. Mary and John; 1886-
94, org. at All Saints', Bloxham, and cond.
of a choral soc., which he founded; went to
Bournemouth in 1894 as cond. of the Bos-
combe Philh. Soc.; in 1895 was also app.
org. at St. Clement's; since 1900 prof, of
music at Univ. Coll., Auckland, and cond. of
the 'Auckland Choral Soc.' and 'Auckland
Liedertafel'; since 1902 also org. and choirm.
at St. Mary's Cathedral; Mus. Doc., Oxon.
(1894).— Works: Psalm 71 for 8-part ch.
and orch.; The Nativity, cantata for soli, ch.
and orch.; services; anthems; glees and part-
songs; madrigals in Elizabethan style.
Thomas-San Galli, Wolfgang Alexan-
der, b. Badenweiler, Sept. 18, 1874. Studied
phtlos., hist, and law in Freiburg, Bonn,
Munich and Marburg (Dr.iur., 1898); 1899-
1908, via. -player of the 'Suddeutsches Streich-
ouartett' in Freiburg; 1908-11, ed. of the
'Rheinische Musik- und Theaterzeitung' in
Cologne; since then in Berlin as writer. —
Works: Seinqder Nickisein? Aphorismen iiber
Ethisches u. Asthetisches (1905); J oh. Brahms.
Eine musikpsychologische Studie (1905); Mu-
sik und Kultur (1908); Musikalische Essays
(1908); Die funsterbliche Geliebte" Beethovens,
Amalie Sebald (1909; attempt to prove that
the famous letter was not addressed to
Countess Brunswick); Beethoven und die
unslerUiche Geliebte: Amalie Sebald, Goethe,
Therese Brunswick, und Anderes (1910);
Mozart- Schatzkastlein (1911); L. van Beet-
hoven (1912; biogr.); Joh. Brahms (1912;
biogr.). Has edited Beethovens Briefe (1910;
selection with commentary) and Beethovens m
Briefe an geliebte Frauen (1913).
Thome" [toh-ma'J, Francis (recte Francois-
Luc- Joseph), born Port Louis, Mauritius,
Oct. 18, 1850; died Paris, Nov. 16, 1909. Pupil
at Paris Cons., 1866-70, of Marmontel (pf.)
and Duprato (theory); lived in Paris as a
teacher, composer and critic. — Works: The
operas Le Caprice de la Reine (Cannes, 1892),
Le Chdteau de Konigsburg (Paris, 1896), Le
Chaperon rouge (ib., 1900); an operetta,
Barbe-BleueUe (Paris, 1889); numerous pan-
tomimes and ballets; incid. music to RomSo
et Juliette (after Shakespeare, by G. Lefevre;
1890); the mystery I' Enfant Jesus (1891);
2 symphonic odes, Hymne a la nuit and- Venus
et Adonis; an orchl. suite; a vcl. -concerto,
op. 64; a pf.-trio in A, op. 121; songs; nu-
merous elegant pf. -pieces (Simple aveu, op. 25;
Les Lutins, op. 69).
Thompson, John Winter, born Leland,
Mich., Dec. 21, 1867. Grad. of Oberlin Cons.
(1890); 1892-4, at Leipzig Cons, under
Homeyer (or£.) and Schreck (theory); since
1890 (excepting 2 years abroad) dir. of org.
and theory at Knox Cons., Galesburg, III.,
and org. of Central Congr. Ch.; served 3
terms as pres. of III. Mus. Teachers' Assoc.
(1898, 1899, 1908). Made Mus. Doc. by
Knox Coll. in 1910. Has publ. motets and
anthems ; also organ-works {Pontifical March,
Grand Chorus in D, Intermezzo in E, Adagio
Religioso, offertories, etc.).
949
THOMSON— THRANE
Thomson [t6hn-s6hn'], Cesar, fine violin-
ist, born Liege, Mar. 17, 1857. From 7, pupil
of Liege Cons., winning the gold medal at 11,
then studied under Vieuxtemps, Leonard,
Wieniawski and Massart. Tours in Spain
and Italy very successful; from 1873-83 he
was for some time chamber-musician to
Baron von Derwies at Lugano, on tour in
Italy, etc., and a member of Bilse's orch. at
Berlin; from 1883-97, teacher of violin at
Liege Cons., but making frequent tours to
European capitals and (1894-5) in the
United States; in 1898 he succeeded Ysajte
as prof, of violin -playing at the Brussels
Cons, and founded a str. -quartet (T., Laou-
reux, Vanhout, Jacobs). At the beginning
of the war (1914) he left Brussels and settled
in Paris as prof, of vl. at the Cons. His
technique in double-stops is peculiarly re-
markable. He has edited viol in- works of
early Ital. masters (Corelli, Tartini, Vivaldi).
Thomson, George, born Limekilns, Fife,
Mar. 4, 1757; d. Leith, Feb. 18, 1851. From
1780-1830, Seer, to the 'Board of Trustees for
the Encour. of Arts and Manufactures in
Scotland.' An enthusiastic and indefatigable
collector of Scotch, Welsh, and Irish melodies,
to which he had special instrl. accompani-
ments written (besides the pf.-accomp.) by
• the most noted musicians of the time (Beet-
hoven, Haydn, Pleyel, Kozeluch). Each
song had, accordingly, a prelude, coda, and
ad libitum parts throughout (f. violin, or flute,
or 'cello). The collections are: 'A Select
Coll. of Orig. Scottish Airs . . . ' (London,
6 vols.; Vol. i, 1793; Vol. ii, 1798; Vol. iii,
1799; Vol. iv, 1802; Vol. v, 1818-26; Vol.
vi, 1841); 'Coll. of the Songs of R. Burns,
Sir W. Scott, etc' (London, 1822; 6 vols.);
'Select Coll. of Orig. Welsh Airs . . . ' (Lon-
don, 1809; 3 vols.); ditto of 'Irish Airs'
(London, 1814-16; 2 vols.); '20 Scottish
Melodies' (Edinburgh, 1839).— Cf. J. Cuth-
bert Hadden, G. 7\, the Friend of Burns. His
Life and Correspondence (London, 1898; con-
tains full and interesting details, notably
Beethoven's letters).
Thomson, John, born Sprouston, Rox-
burgh, Oct. 28, 1805; d. Edinburgh, May 6,
1841. Pupil of Schnyder v. Wartensee at
Leipzig, and a friend of Mendelssohn, Schu-
mann and Moscheles. In 1839, first Reid
Professor of Music at Edinburgh Univ. At
the third concert given by the 'Edinb. Pro-
fessional Soc.' (Feb., 1837), an analytical
program was issued by T., then conductor;
this is the first recorded instance of the use
of such programs. — Works: The operas Her-
man, or The Broken Spear (London, 1834),
The House of Aspen (ib.f 1834) and The
Shadow on the Wall (ib., 1835); instrl. music
and songs.
Thooft [tohft], Willem Frans, b. Amster-
dam, July 10, 1829; d. Rotterdam, Aug. 27.
1900. Pupil of A. Dupont in Brussels and of
Hauptmann and E. Fr. Richter at Leipzig
Cons.; founder (1860) of the German opera
in Rotterdam. — Works; An opera, Aleida
von Holland (Rotterdam, 1866); Gcvonden
[Found] for bar. solo, male ch. and orch. ; 3
symphonies (Kaiser Karl V w. ch.); In Leid
und Freud, fantasy for orch.; Die Jvngfrau
von Orleans, overture; psalms; pf.-pes.; songs.
Thome, Edward Henry, b. Cranboume.
Dorset, May 9, 1834; d. London, Dec. 30.
1916. Chorister at St. George's Chapel under
Elvey; organist in turn at Henley (1853), Chi-
chester Cath. ('63), St. Patrick's, Brighton
(70), St. Peter's, Cranlev Gardens ('73 i,
St. Michael's, Cornhill (75), and St. Anne's,
Soho (from 1891); cond. of St. Anne's Chora!
and Orchl. Soc., gave concerts and pf. -recitals
in London and elsewhere; especially noted
for his Bach programs. Made Mus. Doc. by
Archbishop of Canterbury in 1913. — Works:
Psalm 57, i. tenor solo, chorus and orch. ( 1 884 i ;
Psalm 125 ; Magnificat and Nunc dimittis, f.
soli, ch., orch. and organ; services; anthems;
an overture, Peveril of the Peak; 2 pf. -trios
sonatas f. pf. and violin, and pf. and 'cello;
Sonata elegia f. pf.; suite f. pf. and clar. ; 7
books of organ pieces; etc.
Thouret [too-ra'], Georg, b. Berlin, Aug.
25, 1855. St. philol. and hist, in Tubingen,
Berlin and Leipzig; since 1902 dir. of the
Helmholtz-Realgymnasium in Berlin. The
discovery of forgotten military music in the
castles of Berlin, Charlottenburg and Potsdam
led him to make a special study of that kind
of music; for the Vienna Expos. (1892) he
arranged an exhibition of German military
music. — Has publ. the colls. 'Altpreussische
Militarmarsche' and 'Musik am preussischen
Hofe.' Writings: Fuhrer durch die Fack-
ausstellung der deutschen Militdrmusik (1892;
official cat. of the Vienna Expos.); Katahg
der Musiksammlung auf der Kgl. Hans-
bibliothek im Schlosse zu Berlin (1895) ; Fried-
rich der Crosse als Musikfreund und Jfusifeer
(1898); Analyse der zwolf Metamorphoxn-
Symphonien von K. von Dittersdorf (1899).
For several years he has been eng. on a history
of military music in Prussia.
Thrane [trah'ne], Waldemar, b. Christi-
ania, Oct. 8, 1790; d. there Dec. 30, 1828.
Pupil of K. Schall (vl.) in Copenhagen, and
in Paris of Baillot (vl.), Reicha and Habeneck
(comp.); from 1817 till his death cond. of the
'Dramatiske Selskab' and the 'Musikaliske
Lyceum' in Christiania; highly esteemed as
violinist and cond. throughout Scandinavia.
His works (overtures, cantatas and dances)
afford the earliest examples of conscious
employment of national color; he is histo-
950
THUILLE— TIEDEBOHL
rically important as the comp. of the first
Norwegian opera, Fjeldeventyrct [A Mountain
Adventure] (Christiania, 1824).— Cf. J. G.
Conradi, Musikkcns Udvikling i Norte
(Christiania, 1878).
Thuille [tiiel'], Ludwig (Wilhelm An-
dreas Maria), b. Bozen* Tyrol, Nov. 30,
1861; d. Munich, Feb. 5, 1907. Pupil of
Jos. Pembaur at Innsbruck (pf., cpt.); 1879-
83 of Carl Baermann (pf.) and Rheinberger
(comp.) at the Munich Music-School. From
1883, teacher of pf. and theory there; also
cond. the male choral union 'Liederhort.'
In 1891, Kgl. Prof.— Works: The operas
Theuerdank (Munich, 1897; v. succ; won the
Luitpold Prize); Lobetanz (Karlsruhe and
Berlin, 1898; M. O. H., 1911); Gugeline
(Bremen, 1901). For orch., Romantische
Ouverture (op. 16) and Symphonischer Fest-
marsck (op. 38); Traumsommernacht for fern,
ch. w. vl. solo, harp and pf. (op. 25); sextet
in Bb for pf. and wind-instre. (op. 6); pf.-
quintet in Eb (op. 20); 2 vcl. -sonatas (op. 1,
D m.; op. 30, E m.); a vcl.-sonata in D m.
(op. 22); an organ-sonata in A m. (op. 2);
many fine male choruses; songs (op. 7, a
cycle, Von Lieb und Leid); pf.-pcs. Made
a vocal score of Cornelius's Cid. With R.
Louis he wrote a valuable Harmonielehre
(1907; 4th ed. 1913).
Thunder, Henry G., pianist; born near
Dublin, Feb. 10, 1832; d. New York, Dec, 14,
1891. Pupil of Thalberg; settled in New
York, where he was in turn organist of St.
Augustine's, St. Clement's and St. Stephen's
R. C. churches. Comp. church-music, songs.
Thunder, Henry Gordon, son of pre-
ceding; born Philadelphia, Dec. IS, 1865.
Pupil of his father and of C. H. Jarvis (pf.).
From 1881 organist and choirm. of various
churches in Phila., since 1912 at St. Stephen's
P. E. Ch.; since 1897 cond. of The Choral
Soc. (300 mixed vcs.), and since 1907 also of
The Fortnightly Club (75 male vcs.); 1907-
12, cond. of the Schubert Choir, York, Pa.
(200 mixed vcs.); 1897-1900, cond. of the
Thunder Symph. Orch. (50 performers). —
Op. 1, Delosain and Erator for sop. and ten.
soli, male ch. and orch.; op. 2, The Simargh
for male ch. and orch.; op. 3, Mass in C m.
for soli, ch. and orch.; op. 4, The Night Has a
Thousand Eyes, male ch. a capp.; op. 5,
New Year's Song, do.; op. 6, a 3-act opera
(not yet finished).
Thur'lings [tttr'-J, Adolf, born Kalden-
kirchen, Rhine Prov., July 1, 1844; d. Bern,
Feb. 15, 1915; from 1887 prof, of Old-Catholic
theology at Bern. Dr. phil., Munich; publ.
dissertation: Die beiden Tongeschlechier und
die neuere musikalische Theorie (1877; favor-
ing harmonic dualism); Die schweiserischen
Tonmeister im ZeitaUer der Reformation (1903) ;
valuable essays in various journals; also ed.
a selection of 5-part motets by Palestrina.
Thur'ner [tddr'ner], Friedrich Eugen,
oboe- virtuoso; born Montbeliard, Dec. 9,
1785; d. Amsterdam, Mar. 21, 1827.— Publ. 3
symphonies, an overture, 4 oboe-concertos,
4 quartets f. oboe and strings, rondos and
divertissements f. oboe w. string-quartet,
trio f. oboe w. 2 horns, duos f. oboe and pf.,
sonata f. horn and pf., pf.-music, etc.
Thursby, Emma, famous concert-soprano
(coloratura); b. Brooklyn, N. Y., Nov. 17,
1857. Pupil of Julius Meyer (Brooklyn),
Achille Errani (New York), and Mme.
Rudersdorff (Boston); then at Milan (1873)
of Lamperti and San Giovanni. Gave her
first concert in America at Plymouth Church,
Brooklyn, in 1875; sang in concert and ora-
torio, and was eng. by Gilmore (1875) for
his summer-night concerts, and then for a
tour of the country. After filling an im-
portant church engagement in New York she
made a European tour with Maurice Stra-
kosch, appearing in London, Paris, Cologne,
etc., everywhere with great applause. Her
second Amer. tour (1879-80) was eminently
successful, and has been followed by numer-
ous others in the United States and Europe.
In 1903 she toured Japan and China. Al-
though her voice was not voluminous it had
an exquisite quality. Critics frequently
compared her to ratti.
Tichatschek [tl'yhah-chShk], Joseph
Aloys, famous dramatic tenor; born Ober-
Weckelsdorf, Bohemia, July 11, 1807; d. Dres-
den, Jan. 18, 1886. Son of a poor weaver;
studied in the Benedictine Gymnasium at
Braunau, and went to Vienna in 1827 as a
medical student, but joined the chorus at
the Karnthnerthor Th., had vocal instruction
from Cicimara, and became chorusmaster.
He then went to Graz, where he sang minor
and second riles; made starring tours to
Vienna and Dresden, his debut in the latter
city as Gustav in Der Maskenball, Robert,
and Tamino, leading to immediate engage-
ment (1837) at the Court Opera, where he
remained until pensioned in 1872. In 1842
he created the role of Rienzi; in 1845, Tann-
hauser.— Cf. R. Wagner, Mein Leben (2 vols.;
Munich, 1911).
Tiedebohl [te'-], Otto von, b. Voronezh,
1863. Travelled as violin-virtuoso from
1893; 1895 app. prof, at the Cons, in Tambov,
and in 1898 leader of the symph. concerts
of the Imp. Russ. Mus. Soc. there; after
further study under G. Hollander at Stern's
Cons, in Berlin he concertized again for some
time, until a serious nervous disorder com-
pelled him to withdraw permanently from
all activity. He publ. an orchl. suite (op. 9),
a vl.-concerto in D m. (op. 10), a polonaise
951
TIEFFENBRUCKER— TILLMETZ
for vl. and orch., and a number of minor pes.
for vl. and pf.; several works in MS. Also
wrote (in Russian) Beethoven's Vl.-Concerto
and its execution according to the Joachim
tradition, in 'Russk. Muz^kal. Gazeta' (1909).
Tieffenbracker. See Duiffopruggar.
Tieh'sen [te'zen], Otto, b. Danzig, Oct. 13,
1817; d. Berlin, May 15, 1849. Pupil of the
Kgl. Akademie at Berlin, where he settled as
a teacher. — Works: The comic opera A nnette
(Berlin, 1847); Christmas cantata; Kyrie
and Gloria a 6; Crucifixus a 6 a cappella;
songs of high merit.
Tiersch, Otto, .b. Kalbsrieth, Thuringia,
Sept. 1, 1838; d. Berlin, Nov. 1, 1892. Pupil
of J. G. Topfer at Weimar, and Bellermann,
A. B. Marx and L. Erk at Berlin. Teacher of
singing at the Stern Cons., Berlin. As a theo-
rist he was a disciple of Hauptmann, but laid
more stress on the relationship by the Third
(of keys and chords) than the latter. —
Writings: System und Methode der Har-
monielehre (1868) ; Elementarbuch der musi-
kalischen Harmonic- und Modulationslehre
(1874); Kurze praktische Generalbass-, Har-
monic- und Modulationslehre (1876); Kurzes
praktisches Lehrbuch fur Kontrapunkt und
Nachahmung (1879); Lehrbuch fur K lamer satz
und Akkompagnement (1881); Notenfibel
(1882); Die Unzuldnglichkeit der heutigen
Musikstudien an den Konservatorien, etc.
(1883); Allgemeine Musiklehre (1885; w. Erk);
Rhythmik, Dynamik und Phrasierungslehre
(1886); articles on harmony, etc., in Men-
del's 'Konversationslexikon.'
Tlersot [t'yar-soh'J, (Jean-Baptiste-
Elisge-) Julien, b. Bourg, Bresse, France,
July 5, 1857. Pupil of Savard, Massenet
and Cesar Franck at the Paris Cons. (1876);
asst. -librarian of the Cons., 1883-1909; since
then chief librarian (succ. Weckerlin); since
1895 he has lectured extensively on French
folk-songs (at the Ecole des Hautes fitudes
Sociales, and in Belgium, Holland, Sweden,
Canada and the U. S.). In 1885 his Histoire
de la Chanson populaire en France (publ.
1889) won the Prix Bordin; the Prix Kastner-
Bourgault was awarded to him in 1894 for
Rouget de Lisle; Son ceuvre, sa vie, and
another prize in 1905 for Berlioz et la Socitte
de son temps (publ. 1904). Other writings:
Musiques pittoresques (1890), Les Types
melodiques dans la Chanson populaire fran-
Qaise (1894), £tude sur les Maitres-Chanteurs
(1899), Ronsard et la Musique de son temps
(1903), Index musical pour U Romancer o
populaire de la France par G. Doncieux (1904),
Notes d' Ethnographic mushale (Part I, 1905;
Part II in 'Sbd. I. M.-G.,' vol. xi, 1910),
Les Fftes et les Chants de la Revolution fran-
caise (1908), Gluck (1910; in 'Maftres dc la
Musique'), /.-/. Rousseau (1912; ib.);
952
numerous valuable essays in 'M£nestrcl,'
'R. I. M.,' 'Revue bleue,' 'Sbd. I- M.-C.
'Mus. Quart.,' etc.; has ed. Les Annres ro-
mantiques [1819-42], being vol. i of Cor-
respondence de H. Berlioz . (1907). — Com-
positions: Incid. music to Cornell le's Andre-
mede; Hellas for ch. and orch.; Chansons
populaires franchises for do.; Rapsodie sur
des Chants populaires de la Bresse for orch ;
Sire Halewyn for do.; Danses populaire*
franchises for do.; choruses a capp. He
has ed. Adam de la Hale's Jeu de Robin et
Marion (Op.-Com. and Arras, 18°o) an/
written the explanatory notes to Gluck -
OrfSe and &cho el Narcisse in Mile. Pelletan >
edition; has also publ. the valuable colU
'Chansons populaires recueillies dans 1c
Vivarais et le Vercors' (with V. d'Ind> •
'Chants populaires pour les ecoles' (3 series;,
'Melodies populaires des provinces de France '
'Noels franca is/ 'Chants de la vieille France,
'Chansons populaires recueillies dans le
Alpes francaises' (commissioned by the govt .
Tiessen [te'-l, Heinz, born Konig^ber?.
April 10, 1887. Abandoning the study oi
law, he st. music under Ph. Rtifer (1906—9) in
Berlin, continuing with A. Kleffel and \V.
Klatte there; now (1918) living in Berlin as
mus. critic of the 'Allgemeine Musikzeitun?.'
— Works: 2 symphonies (op. 15, C; op. 17.
F m.); op. 7, Eine Ibsenfeier for orch. ; op. 12,
pf. -sonata in C; op. 19, Lyrik fur Klaviet;
op. 20, Natur-Trilogie for pf.; songs (op. 8,
9, 10). Also publ. a guide to R. Strauss's
Josef-Legende (1914).
Tietjens (recte Titiens) [tet'yens],
Therese Johanne Alexandra, famous dra-
matic soprano; b. Hamburg, July 17, 1831;
d. London, Oct. 3, 1877. Trained in Ham-
burg; successful debut there in 1849; sang
at Frankfort, and was eng. for the Vienna
Court Opera in 1856; but went to London in
1858, and remained there till death, for
long years the reigning favorite, singing at //.
M.'s Th., Drury Lane, Coven t Garden ami
the Haymarket. Her greatest r61es ircre
Fidelio, Donna Anna, Valentine, Lucrera,
Semiramide, and Countess Almaviva. She
visited Paris in 1863, and America in 1876.
Tilborfchs, Joseph, Flemish theorist; b.
Nieuwmoer, Sept. 28, 1830. Pupil of Lem-
mens (org.) and Fetis (comp.) at the Brussels
Cons.; from 1882, prof, of organ-playing at
the Ghent Cons., and of counterpoint at the
Antwerp M usic-Sc hool . — Works : Organ-
pieces; motets w. organ-accomp.
Tlllmetz, Rudolf, flute- virtuoso; born
Munich, April 1, 1847. Pupil of Theobald
Bohm; app. 1st flutist in the Hoforchester
(1864) and teacher at the cadet -corps (I860);
from 1883 prof, of fl. at the Kgl. Musikschule
in Munich; made 'Kgl. Kammermusiker'
TILLYARD— TINEL
in 1877. Together with Franz Strauss and
others he gave regular series of chamber-
music for wind-instrs. — Works: Op. 22,
K on zert- Etude for flute and orch.; op. 23,
Konzertstuck for do.; op. 24, Der Amsel Lock-
ruf, idyl for do. ; op. 57, Rapsodie bosnienne
for do.; op. 18, Alpenkldnge for fl. -quintet;
studies for fl. (op. 12, 19, 20, 29, 40, 46, 47);
numerous pes. for fl. and pf.; cadenzas to
Mozart's flute-concertos. Also publ. An-
leitung zur Erlernung der Th. Bohmschen
Zylinder- und Ringklappenflote (op. 30) and
Or Chester studien (op. 36; 3 books).
Tillyard, Henry Julius Wetenhall,
musicologist; b. Cambridge, England, Nov.
18, 1881 ; student at the Univ. there (1900-4)
and at the Engl, schools in Rome and Athens
(1904-7), specializing in ancient and medieval
music; st. Greek church-music with J. T.
Sakellarides in Athens; now (1918) teacher at
the Univ. of Edinburgh. — Has publ. Instru-
mental Music in the Roman Age (1907); Greek
Church- Music, in 'Mus. Antiquary' (1911);
A Musical Study of the Hymns of Casta, in
'Byzantine Journal (vol. xx ; 1911); Studies
on Byzantine Music, in 'Mus. Antiqu.' (1913);
The Acclamation of Emperors in Byzantine
Ritual, in 'Year- Book of the Engl. School at
Athens' (1913); Zur Entziferung der byzan-
tinischen Neument in 'Zeitschr. I. M.-G.'
(1913).
Tilman [til-mahnl, Alfred, born Brussels,
Feb. 3, 1848; d. Schaerbeck, n. Brussels, Feb.
20, 1895; pupil of the Cons. 1866-71, winning
1st prize for pf.-playing, counterpoint and
fugue. — Works: Requiem (for Queen Louise
Marie); Te Deum solennel; Cantate patrio-
tism; cantata La Sirene; Chant sacrc; Mar-
nix, scene for bass; 24 vocal fugues a 2 and 3.
Tilmant [tH-mahn'l, Theophile-Alexan-
dre, born Valenciennes, July 8, 1799; died
Asnieres, May 7, 1878. From 1838-49, 2d
m. de chap, at the Th. Italien; then 1st do.
at the Opera-Comique until his retirement in
1868; was also cond. of the Cons. Concerts
from 1860-3.— His brother, Alexandre, b.
Valenciennes, Oct. 2, 1808, d. Paris, June 13,
1880; 'cellist, co-founder of, and player in,
the Cons. Concerts; also in the Th. Italien;
from 1838^19 cellist in his brother's quartet.
Tima'nov, Vera, b. Ufa, Russia, Feb. 18,
1855. Distinguished pianist; pupil of L.
Nowitzky , at Ufa ; played in public in her 9th
year; studied with A. Rubinstein (1866) and
Tausig (for 2V$ years, at Berlin). Lived in
Prague (1871) and Vienna (1872); went to
Liszt at Weimar for several summers; made
several succ. concert-tours, and then settled
permanently in Petrograd as a teacher.
Timm, Henry Christian, b. Hamburg,
Germany, July 11, 1811; d. New York, Sept.
4, 1892. Pianist; pupil of Methfessel and
Jacob Schmitt; debut 1828; went to the
United States in 1835, giving concerts at
Boston, etc., and in the Park Tn., New York.
Was successively organist at Grace Church,
mus. dir. of the Charleston, S. C, Th., chorus-
master at the Church St. Opera House, New
York, and organist at various churches (for 16
years at All Souls', on Fourth Ave.). Early
member of the N. Y. Philharm., and its presi-
dent 1847-64. — Works: Grand mass, f. soli,
ch., orch. and organ; part-songs; pf. -pieces;
transcriptions f. 2 pfs. of numerous classical
works.
Tlncto'ris, Johannes (called John
Tinctor), Belgian writer and composer; b.
Poperinghe, 1446; d. Nivelles, before Oct. 12,
1511. About 1475, maestro to Ferdinand
of Arragon at Naples, who despatched him in
quest of singers for his chapel to France, etc.,
in 1487; but T. never went back, and became
a canon at Nivelles. He was one of the most
eminent theorists of that time, and is the
author of the oldest known dictionary of
music, Terminorum musicae diffinitorium
(Naples, c. 1475; reprint in Coussemaker's
'Scnptores,' iv, and [with Ger. tr. by H. Beller-
mann] in Chrysander's 'Jahrbuch,' i [1863]).
The only other work known to have been
printed during his life is De inventione el usu
musicae (after 1487); a number of treatises
preserved in MS. were publ. for the first
time in Coussemaker's ed. of the complete
works of T. (1875) and repr. in vol. iv ot the
"Scnptores/ Extant comps. are a Missa
Vhomme armk, and some chansons, in MS.;
other chansons are in Petmcci's 'Odhecaton,'
and a Lamentation in his coll. of 1506.
Tinel [te-nelu"], Edgar, b. Sinay, Belgium,
Mar. 27, 1854; d. Brussels, Oct. 28, 1912.
Pianist and composer; taught at first by
his father, a poor schoolteacher and organist ;
entered Brussels Cons, in 1863, studying
under Brassin, Dupont, Gevaert, Kufferath
and Mailly; in 1873 took 1st prize for pf.-
playing, and publ. op. 1, 4 Nocturnes f. solo
voice w. pf . ; won the Grand prix de Rome in
1877 with the cantata Klokke Roeland (op.
17). In 1882, Dir. of the Inst, for Sacred
Music at Malines, succeeding Lemmens; in
1888 he brought out an oratorio, Franciscus
(op. 36), which made him famous; in 1889,
inspector of the State music-schools; in 1896
he succeeded Kufferath as prof, of cpt. and
fugue at Brussels Cons., and in 1909 (after
Gevaert's death) he became the dir. — Works:
Op. 36, Franciscus, oratorio (Malines, 1888;
N. Y., 1893); op. 43, GodoUva, music-drama
(Brussels, 1897); op. 44, Katharina, sacred
opera (ib., 1909); op. 17, De Klokke Roeland,
cantata for ch. and orch.; op. 19, Drie
Ridders [Three Knights] for bar. solo, ch. and
953
TIRINDELLI— TODI
orch.; op. 20, KoUebloemen [Poppies] for ten.
solo, ch. and orch.; op. 21, entr'acte-music
to Corneille's Polyeucte (3 orchl. numbers
publ.); op. 30, Hochzeitsmarsch for orch.;
male choruses; German and Flemish songs;
pf.-pcs. (op. 15, sonata in G m., 4 hands);
organ-sonata in G m. (op. 29). — Church-
music: Op. 26, Te Deum for mixed ch. and
org.; op. 46, do. for 6-part ch., org. and
orch.; op. 41, Missa in honorem beatae
Mariae virginis de Lourdes for 5-part ch. a
capp.; op. 27, Psalm VI for male ch. a capp.;
op. 39, Psalm XXIX for do.; op. 47, Psalm
CL for do.; motets (op. 31); sacred songs
(op. 34, Marienlieder; op. 35, AdvenUieder).
— Also wrote Le Chant gregorien, thSorie
sommaire de son execution (1890; Ital. tr.
by M. Henrion, 1901). — Cf. A. van der Elst,
E. T. (Ghent, 1901).
Tirindelli, Pietro Adolfo, b. Conegliano,
Italy, May 5, 1858. Violinist; pupil at
Milan Cons. (1870-76) of Boniforti (comp.)
and Corbel lini (vl.); conducted the band at
Gorizia for 3 years, then studied in Vienna
under Griin, and from 1881-3 under Massart
at Paris. From 1884, prof, of violin at the
Liceo Benedetto Marcello, Venice, being app.
Director in 1892. He also conducted the
'Giuseppe Verdi Orchestra' of Venice.
Knighted (Cavaliere) in 1894. He made his
Amer. debut with the Boston Symph. Orch.
(Dec. 16, 1895); since 1896 living in Cincin-
nati as prof, of vl., cond. of the Cons. Orch.
and dir. of the opera-class at the Cons. —
Works: The operas Atenaide (Venice, 1892)
and Blanc el Noir (Cincinnati, 1897); vl.-
concerto in G m.; many pes. for vl. and pf.,
and songs.
Tiacher, Gerhard, b. Lubnitz, Branden-
burg, Nov. 10, 1877. Studied musicology in
Berlin (1899-1902); Dr. fhil. with the dis-
sertation Die aristoteliscken Musikprobleme
(1903); app. Dozent for hist, of music at the
Handelshochschule in Cologne (1904); since
1906 ed. of 'Rheinische Musik- und Theater-
zeitung'; founded in Cologne (1910) the publ.
house of T. & Jagenberg.
Tisza [ti'ssa], Aladar. See Langer .
Titelouze [tet-looz'], Jean, the founder of
the French school of organ-playing; b. St.-
Omer, 1563; d. Rouen, Oct. 25, 1633. App.
org. in 1585 at St.- Jean in Rouen; from 1588
till his death org. at the Cath. there. His
complete organ-works are publ. in Guilmant's
'Archives des Maitres d'Orgue.' — Cf. A. G.
Ritter, Zur Geschichte des Orgelspiels im
14.-18. Jahrhundert (Leipzig, 1884) ; E. von
Werra, /. 7\, in 'Kchm. Jahrbuch' (1910).
Titl, Anton Emll, b. Pernstein, Moravia,
Oct. 2, 1809; d. Vienna, Jan. 21, 1882, where
he was Kapellm. at the Burgtheater from
c
1850. Operas Die Burgfrau (Brunn„ 1832
Das Wolkenkind (Vienna, 1845), and inci
music to many plays; also a mass a &, over-
tures, etc.
Titov [te'tdhv], Alexley Nikola lev* ten,
b. 1769; d. Petrograd, Nov. 20, 1827. Al-
though he followed a military career (Generai
of Cavalry), he was a thorough musician
who wrote operas in the style of Mozart
(all prod, at Petrograd): Pioovar Hi kroiusk-
tchisya duck [The Brewer, or the Hidden
Ghost] (1796); Sud zarya Salomon* (The
Judgment of Solomon) (1805); Yam (1805«:
NuTzachad (1807); Emmerich Tekkely (1812 .
Legkoviernyie [Credulous Folk] (1812); Die-
vishnik Hi Filatkina svadjba [The Old Bache
lor, or Fi la t kin's Wedding] (1809; seque
to Yam) ; Vol kakovy russkiye [Lof what sor
of people the Russians are!] (1817); Prazdnit
mogola [The Mogul's Feast] (1823). In th*
case of 4 other operas it is difficult to de
termine whether they are the works of X. or o
his brother, Sergei Nlkolaievitch (b. 1770
who wrote Posidielki [The Meeting] (1800
Starinnyia sviatki [Old-fashioned Christ ma-1
(1813), and 2 ballets.
Tltov, Nikolai Alexieierltch, the 'Grand-
father of Russian Song/ son and pupil of
Alexiey Nikolaievitch T. ; b. Petrograd, Mav
10, 1800; d. there Dec. 22, 1875. For many
years his first printed song, Uielinennaya
sosna [The Lonely Pine] (1820) was regarded
as the first Russian art -song (Kunstliedi;
at any rate, he was the first Russian com
poser whose songs (about 60) became ex-
tremely popular throughout Russia; also
wrote dances and marches. — Cf. Reminis-
cences of N. A. T., in 'Russkaya starina'
(vol. i; 1870), and Bulitch's articles in
'Russk. Muz. Gazeta* (Nos. 17-22; 1900).
Toch [t6hh], Ernst, b. Vienna, Dec. 7,
1887. Entirely self-taught in music; won
the Mozart stipend in 1909 and the Men-
delssohn stipend in 1910, and 4 times in
succession the Austrian Staatspreis for comp.;
in 1909 he settled in Frankfort, studying-
with W. Rehberg; since 1913 teacher of pi.
at Zuschncid's *Hochschule fur Musik' in
Mannheim.— Works: An mein Vaterland,
symphony (w. soli, ch. and org.); Scherzo
in B m. for orch.; incid. music to Der Kinder
Neujahrstraum; a Kammersymphonie; a
pf. -concerto; str.-quartet in Db; sonatas for
pf. and various instrs.; pf.-pcs. (op. 9, Melo-
dische Skizzen; op. 10, 3 Praiudien; op. 13,
Stammbuchverse; etc.).
Todi, Lulza Rosa de Aguiar, famous
mezzo-soprano stage-singer; born Setubal,
Portugal, Jan. 9, 1753; d. Lisbon, Oct. 1, 1833.
At 15 she played Dorine in Moliere's Tartufe,
at Lisbon; then studied singing with David
Perez until 1772, when she appeared in Lon-
954
TOEDT— TOLBECQUE
don (and again in 1777) without striking
success. In 1777, however, she won a tri-
umph at Madrid in VOlimpiade (Paisiello);
also in 1778-9 and 1781-2 at the Con-
certs spirituels, Paris, though failing to please
Frederick the Great at Berlin in 1781. After
singing in Southern Germany and Vienna,
she was eng. for a short time (1782) at Berlin;
in 1783 her rivalry with Mara fairly con-
vulsed musical Paris, two bitterly hostile
factions (Todistes and Maratistes) being
formed. Next year she was enthusiastically
received at Petrograd, singing in Sard's
Armida (cf. Sarti); in 1786 Friedrich Wil-
helm II engaged her at a high salary for
Berlin; until 1789 she sang alternately at
Berlin and Petrograd, then paid a brief visit
to Paris, and after a vain attempt to have
her salary increased to 6000 Thaler on the
expiration of her Berlin contract, returned to
Portugal. The last years of her life she was
completely blind.— -Cf. J. de Vasconcellos,
L. T. (Lisbon, 1873).
Toedt, Theodore J., fine concert-tenor;
born New York, Feb. 4, 1853. Choir-boy
of Trinity Parish 1861-71; music-pupil of
Mrs. Charles E. Horn-Zust. He acquired an
excellent reputation as a singer in oratorio,
church, and concert; since 1895, when he
became blind, he has been living in New York
as a successful teacher.
Toeschi [t6h-ehs1cS], Carlo Giuseppe
[Toesca delta Castel la- Monte], b. Roma-
gna, 1724; d. Munich, April 12, 1788. Pupil
of Joh. Stamitz; ent. the Mannheim Orch.
in 1752 as violinist; in 1759 became Kon-
zertmeister; followed the court to Munich
in 1778, and was app. Musikdir. in 1780. A
prolific comp. in Stamitz' s style, his works
cannot compare with those of his teacher.
Wrote 63 symphonies, quartets, trio-sonatas,
vl. -sonatas, etc. Rieraann publ. a symphony
in Bb a 8 in 'Dkm. der Tonk. in Bayern'
(vii, 2) and chamber-music, ib. (xv, xvi;
with thematic cat.). — See Q.-Lex.
Toeschi, Johann Baptist, brother of pre-
ceding; born (?); d. Munich, May 1, 1800.
Pupil of Joh. Stamitz; ent. the Mannheim
Orch. in 1756, removed to Munich in 1778,
becoming Musikdir. after his brother's death
(1788). Publ. 18 symphonies (variously
instr. but without clar., tpt. and double-bass),
10 str.-quartets, 6 trio-sonatas.
Tofa'no, Gustavo, fine pianist; b. Naples,
Dec. 22, 1844; d. there June 30, 1899. St.
with various masters in Naples, Pisa and
Bolopia; app. prof, of of. at the Liceo
Musicale in Bologna (1872). — Works: An
opera, Amore a suo Tempo (Bologna, 1875);
a ballet, Alfa ed Omega (Naples, 1875); a
cantata, MargherUa dette Alpi; pf.-pieces
and songs.
Tofft, Alfred, b. Copenhagen, Jan. 2, 1865.
Abandoning a commercial career, he st.
music under J. Nebelong (org.) and G.
Bohlmann (comp.); won the Ancker stipend
in 1892. Has become known as a fine or-
ganist and a talented composer of songs:
Op. 2, Heine-Album; op. 4, Jacobsen- Album;
op. 6, Erotische Blotter; op. 8, do. (2d series);
op. 15, M&dchenlieder; op. 21, Lenore-Licder;
op. 30, Sonnige Tage; also charming pf.-pcs.
(op. 24, Feldblumen; op. 35, Kdthchens
Erlebnisse; op. 46, Stimmungsbilder, etc.).
An opera, Vtfandaka, was prod, in Copen-
hagen (1898).
Tofte [tohf'tS], Lars Valdemar, distin-
guished violinist and teacher; born Copen-
hagen, Oct. 21, 1832; d. there May 28, 1907.
St. vl. with C. Petersen and J. Selmer, and in
Germany with Spohr and Joachim (1853-6);
debut in Copenhagen (1856); 1863-93, first
vlnst. in the court orch.; 1868-92, 1st vl.
of the Neruda Quartet; 1866-1904, prof, at
the Copenhagen Cons., where he taught A.
Svendsen, F. Hilmer, F. Henriques, L.
Schytte, etc.
Tolbecque [t&hl-bakl, Auguste, son of
Auguste- Joseph; born Paris, Mar. 30, 1830;
eminent cellist; took 1st prize at the Cons,
in 1849; teacher at Marseilles Cons. 1865-71;
later 'cellist at the Paris Cons. Concerts.
Publ. La Gymnastique du Violoncejle (op. 14;
excellent exercises and mechanical studies),
a Konzertstuck for vcl. and orch., and pes. for
vcl. and pf.; prod, a 1-act comic opera, Aprte
la valse (Niort, 1894). Also wrote Souvenirs
oVun Musicien en Provence (1896), Notice
historique sur les instruments d cordes et a
archet (1898) and VArt du Luthier (1903).
His son, Jean, b. Niort, Oct. 7, 1857, took
1st 'cello-prize at the Paris Cons, in 1873;
is a fine player.
Tolbecque, Auguste-Joseph, brother of
the three following; b. Hanzinne, Belgium,
Feb. 28, 1801; d. Paris, May 27, 1869; vio-
linist at the Opera and the Cons. Concerts,
and for some seasons at H. M.'sTh., London.
Tolbecque, Charles-Joseph, brother of
preceding; b. Paris, May 27, 1806; d. there
Dec. 29, 1835; violinist, pupil of Kreutzer;
from 1830, cond. at the Varietes.
Tolbecque, Isidore-Joseph, brother of
preceding; b. Hanzinne, April 17, 1794; d.
Vichy, May 10, 1871; comp. and cond. of
ball-music.
Tolbecque, Jean - Baptiste - Joseph,
brother of preceding; b. Hanzinne, Belgium,
April 17, 1797; d. Paris, Oct. 23, 1869. Violin-
ist, pupil of Kreutzer and Reicha at the Paris
Cons.; 1820-5, orch .-player at the Th. Italien,
and a comp. of charming quadrilles, valses,
galops, etc., which gained great vogue; in
955
TOLLEFSEN— TORCHI
1825 he began conducting dance-music at the
Tivpli, etc., and later the court balls; he was
the favorite ball-cond. till Musard's advent.
In 1851 he prod. (w. Deldevez) the 3-act
ballet Vert- Vert at the Opera.
Toll ef sen, Carl H., violinist; b. Hull,
England, Aug. 15, 1882. Pupil at the Natl.
Cons, in New York (1898-1902) of L. Lichten-
berg (vl.), and at the Inst, of Mus. Art(1906-
8) of F. Kneisel (vl.), P. Goetschius and R.
Goldmark (comp.); was for some years 1st
violin in the N. Y. Symph. Orch.; leader of
the Scandinavian Symph. Concerts in N. Y.,
and head of vl.-dept. at the Berkeley
Inst., Brooklyn; in 1907 married the pianist
Augusta Schnabel, and with her and William
Durieux (vcl.) formed the T.-Trio in 1909;
since than the organization has made annual
tours of the U. S.
To'maschek, Johann Wenzel (recte Jan
Vaclav TomaSek), eminent composer and
teacher; born Skutsch, Bohemia, April 17,
1774; d. Prague, April 3, 1850. He learned
the rudiments of singing and violin-playing
from Wolf, regens chori at Chrudim; studied
as a chorister at the Minorite monastery,
Iglau; took the law-course at Prague Univ.,
1790-3, supporting himself by giving lessons,
and also studying the chief German theoreti-
cal works. Finally he applied himself wholly
to music; found a patron in Count Bucquoy
de Longeval; and became the most noted
teacher in Prague (Dreyschock, Schulhoff, v.
Booklet, Kittl, Kuhe, Dessauer, Tedesco,
Sig. Goidschmidt, Han slick, etc., were his
pupils). He was an admirable pianist and
organist, and a composer of high merit, though
unfortunate in being Beethoven's contem-
Corary. Among 110 works with opus-num-
ers are a Requiem in C m. (op. 70), a Kro-
nungsmesse in El? (op. 81), cantatas, hymns,
Bohemian and German songs, a symphony
in El? (op. 19), a pf. -concerto (op. 18), a pf.-
quartet in Eb (op. 22), a pf.-trio (op. 7), and
several pf.-comps. (sonatas, op. 14, 15, 21,
48, and a fifth in B; 6 sets of Eclogues, each
having 6 numbers, op. 35, 47, 51, 63, 66, 83;
6 Rhapsodies, op. 40; 6 do., op. 41; 3 Diti-
rambi, op. 65; 3 Allegri capricctosi di bravura,
op. 52; and 3 do., op. 84). His opera Sera-
Ahine (Prague, 1811) was well received. — Cf.
his autobiography in vol. iv of 'Libussa'
(Prague, 1845); E. Hanslick, Aus meinem
Leben (Berlin, 1894; vol. i. p. 25 et seq.);
R. v. Prochazka, Arpeggien (Dresden, 1897;
p. 44 et seq.). — See Q.-Lex.
Tomasi'ni, Luifci, b. Pesaro, 1741; d.
Esterhaz, April 25, 1808, where he had lived
since 1757 as violinist and director of the
chamber-music, on intimate terms with
Hadyn. — Publ. 2 violin-concertos; duos con-
certants f. violins; 12 string-quartets.
Tombelle, Feraand de la. See La Tom-
belle.
Tomlins, William Lawrence, b. London,
Feb. 4, 1844. Pupil of G. A. Macfarren and
E. Silas. Settled in America, 1869; from
1875-98 cond. of the Apollo Glee Club,
Chicago; having made a specialty of training
children's choruses and teachers, he establ.
in 1903 the 'National Training School for
Music Teachers' in Chicago; engaged by
Chicago Board of Education in 1904 to train
the teachers in the public schools; returned
to London in 1910. Member of the Amer.
Coll. of Musicians. Has publ. Children's
Songs, and How to Sing Them (1885).
Tommasi'ni, Vincenzo, b. 1880. Comp.
of the operas Medea (Trieste, 1906) and UguaU
Fortuna (Rome, 1913; prize of the City of
Rome) ; also an overture, La Vita e un Sogno
(Calderon) and Chiaro di Luna for orch.
Tonnlng, Gerard, b. Stavanger, Norway
May 25, 1860. Pupil of Bussmeyer (pf...
and Rheinberger (comp.) at the Kgl. Musik-
schule in Munich (1880-3); 1887-1905, in
Duluth, Minn., as cond. of the 'Concordia'
(male ch.) and 'Mozart Soc.' (mixed ch.) and
dir. of the 'Beethoven Trio'; since 1905 living
in Seattle. — Works: A 3-act opera Leif Erik-
son (Seattle, 1910) and 2 operettas. All in a
Garden Fair and In Old New England (both
ib., 1913); a pantomime, Woman s Wiles, or
Love Triumphant; a pf.-trio (op. 24); Suite
moderne for vl. and pf. (op. 13); Rapsodie
norv&gienne for vcl. and pf. (op. 20); pf.-pcs.
(Norwegian Dances, 3 nocturnes, etc.);
songs (op. 18, A rabian Love Songs for 4 solo
voices), etc.
Tdp'fer, Johann Gottlob, famous or-
ganist and writer on organ-building; bom
Niederrossla, Thuringia, Dec. 4, 1791; d.
Weimar, June 8, 1870. Pupil of cantor
Schldmilch; then, at Weimar, of Destouches,
A. Riemann, and A. E. Muller, also studying
at the Gymnasium and Seminary, whence
was app. teacher of music in 1817. From
1830, town organist of Weimar. An expert
on organ-construction, he wrote Die Orgelbau-
kunst (1833); Die ScheibleV sche Stimmeihode
(1842); DieOrgel; Zweck und Beschaffenheit
ihrer Teile (1843); Lehrbuch der Orgelbaukunst
(1856; 4 vols.; 2d ed. by M. Allihn, 1888);—
also a Theoretisch-praktische Organistenschule
(1845); Allgemeines und vollstdndiges Choral-
buch (a 4, w. organ-interludes); a cantata,
Die Orgelweihe; Konzertstiick for organ; sona-
tas, fantasias, preludes, fugues, etc., for org. ;
a pf.-trio in A; a sonata and variations for
flute and pf.; a pf.-sonata in F# m.; etc. — Cf.
A. W. Gottschalg, /. G. T (Berlin, 1870).
Torch! [tdhr'ke], Luigi, born Mordano,
Bologna, Nov. 7, 1858. Graduate of Bologna
956
TORELLI— TORSLEFF
Cons., 1876, and elected member (comp.)
of the Philharm. Soc.; from 1876-7, studied
comp. under Serrao at Naples Cons.; 1878-
83, under Reinecke, Jadassohn and Paul, at
Leipzig Cons, (writing a symphony, an over-
ture to Heine's Almansor, a string-quartet;
also letters to the 'Gazz. Mus.' of Milan).
From 1885-91, prof, of mus. history at the
Liceo Rossini, Pesaro; then at Bologna Cons.,
being also prof, of comp. since 1895. Twice
elected Pres. of the R. Acad, of Music at Bo-
logna. From its foundation (1894) until
1904 he was ed. -in-chief of 'Ri vista Musicale
Italiana' (quarterly), one of the world's
most important musical publications. — TVs
literary career ha6 been one of great and use-
ful activity; in 1890 he publ. R. Wagner:
Studio critico (1890; 2d ed. 1913); in 1893,
a transl. of Wagner's Oper und Drama (Turin) ;
in 1894, a transl. of Hanslick's Vom Musika-
lisch-Schdnen {Del bello nella mus tea; Milan);
later other transls. from Wagner and v.
Wolzogen; has written many essays for the
'Ri vista Musicale Italiana.' Besides a coll.
of 'Eleganti canzoni ed arie italiane' of the
17th cent. (Milan), and 'A Coll. of Pieces for
the Violin Comp. by Italian Masters of the
17th and 18th Centuries' (London) [both with
pf.-accomp. by T.J, in 1897 he began pub-
lishing a work, to comprise 34 vols.: 'L'Arte
Musicale in Italia' [up to 1918 seven vols,
had appeared]: Vol. i, Sacred and secular
polyphonic comps. of the 14th, 15th and 16th
centuries; vol. ri, do. of the 16th cent.; vol.
iii, comps. for org. and cembalo of the 16th,
17th and 18th centuries; vol. iv, Madrigals
of the 17th cent.; vol. v, comps. for 1 or
more voices of the 17th cent.; vol. vi, Peri's
Euridice and Monteverdi's Madrigals; vol.
vii, instrl. music of the 17th century.
Torelll, Giuseppe, renowned violinist,
originator of the solo concerto for violin; born
Verona, c. 1660; d. Bologna, 1708. Studied
in Bologna, where he was 1st violin at the
church of S. Petronio in 1685; made a con-
cert-tour in Germany in 1695, and became
Konzertmeister to the Margrave of Branden-
burg at Ansbach in 1698; returned in 1701 to
Bologna. He had generally been regarded as
the originator of the 'concerto grosso' until
Arnold Scherinp, in 1903, showed that
Stradella, who died in 1681, had written such
works. — Publ . works : Op. 1 , BaUetti da camera
a 3 violini e b. cord.; op. 2, Concerto da camera
a 2 violini e basso (1686) ; op. 3, Sinfonie a 2-4
istromenti (1687); op. 4, Concertino per camera
a violino e violoncello; op. 5, 6 sinfonie a3te6
concerti a 4 (1692) ; op. 6, Concerit musicali a 4
(w. organ) ; op. 7, Capricci musicali per camera
a viohno e viola owero arciliuto; op. 8, Con-
certi f>rossi con un pastorale per il Santissimo
Natale (1709; republ. in Jensen's 'Klassische
Violinmusik'), written for 2 violini concertanti,
2 violini di ripieno, viola and b. cont.
Torrance, Rev. George William, b. Rath-
mines, n. Dublin, 1835; d. Kilkenny, Ireland,
Aug. 20, 1907. Chorister at Christ Ch. Cath.,
Dublin; organist at St. Andrew's and St.
Anne's; st. music at Leipzig, 1856; ordained
as a priest, 1866; emigrated to Melbourne,
Australia, in 1869, where he remained till
1897; app. chaplain to the bishop of Ossory
in 1897; in 1900 made Prebendary of Kil-
larney, canon of St. Canice's Cath. and* li-
brarian of St. Canice's Library, Kilkenny.
Honorary degree of Mus. Doc., Dublin,
1879. Many of his hymn-tunes obtained
wide popularity; his madrigal Dry be that tear
won the Molyneux Prize and the medal of the
Madrigal Soc. in 1903. — Works: Oratorios
Abraham (Dublin, 1855), The Captivity (1864),
and The Revelation (Melbourne, 1882); Te
Deum and Jubilate; services and anthems;
— an opera, William of Normandy (Dublin,
1859); etc.
Tor'ri, Pietro, b. Peschiera, Lago d'Iseo,
c. 1665; d. Munich, July 6, 1737. Pupil of A.
Steffani; 1689, org. in Munich; 1696, Ka-
S»llm. in Hanover, and for some time in
ayreuth; 1703, dir. of chamber- music in
. Munich, and from 1732 Hofkapellm. — Prod.
26 operas at Munich (1690-1737); and an
oratorio, Les Vanites du Monde, at Brussels
(1706).— See Q.-Lex.
Torrington, Frederick Herbert, b. Dud-
ley, Worcestershire, England, Oct. 20, 1837;
d. Toronto, Canada, Nov. 19, 1917. Articled
pupil of James Fitzgerald, Kidderminster;
in 1853, organist and choirmaster at St.
Anne's, Bewdley; from 1856-68, organist of
Great St. James's Church, Montreal, Canada,
giving organ-recitals, and acting as solo vio-
linist, leader, orchl. cond. and bandmaster.
With a picked orch., he represented Canada
at the Boston Peace Jubilee, 1869; was app.
organist and mus. dir. at King's Chapel,
Boston, and held the position until 1873,
teaching at the New Engl. Cons., and playing
1st violin in concerts of the Handel and
Haydn, Harvard Symphony, and other
societies. From 1873, organist and choir-
master at the Metropolitan Ch., Toronto,
Canada, and cond. of the Toronto Philharm.
Soc.; organized the first Toronto mus. festival
(1886), founded the Toronto College of Music
(1888), and was in every way active in the
cause of good music. — Works: Services, hymn-
tunes, choruses, songs, organ- music, etc.
Tonleff, Ludwig Christian, renowned
singing-master; born Assens, Denmark, May
15, 1849; d. Munich, Sept. 21, 1914 (of cancer
of the throat). He gave up a flourishing busi-
ness in Flensburg to cultivate his sympathetic
voice (tenor), and was eng. at the court opera
957
TOSCANINI— TOTTMANN
in Copenhagen ; after a year's leave of absence
for further study in Florence he returned in
1885 with his voice almost ruined, and after
a few unsucc. appearances retired from the
stage. In 1888 he settled in Leipzig, where
he became interested in the method of
Muller-Brunow (q. v.), which he adopted
with good results; 1898-1902, in Copenhagen;
from then in Munich. Among his pupils are
Katharina Fluggen (his daughter), Ejnar
Forchhammer, Emil Holm, Paul Knupfer, etc.
' Toscani'ni, Arturo, distinguished con-
ductor; born Parma, Mar. 25, 1867. St. at
the Parma Cons, with Carini (vcl.)and Dacci
(comp.), graduating as winner of the 1st prize
for 'cello-playing; began his career as 'cellist,
and in 1886 was eng. for the opera in Rio de
Janeiro (Teatro Dom Pedro II). On the
second night of his engagement he made an
unexpected debut as cond. (with Aida); a
new Italian cond. was hissed before the end
of the prelude, and as he left the desk, T.
immediately took up the baton; his magnetic
personality thrilled singers and audience, and
at the conclusion he received a veritable ova-
tion and was eng. as regular cond. From
there he went to the Teatro Cavignano in
Turin, then to Treviso, Bologna and Genoa;
in 1898 Gatti-Casazza (q. v.) assumed the
management of La Scala in Milan, and eng.
T. as principal cond. for the opera and sym-
phony concerts. From 1908, when Gatti-
Casazza became dir.-general of the M. O. H.
in New York, until 1915, T. was principal
conductor there. His debut (Aida, Nov. 16,
1908) aroused enthusiasm; after his first intro-
duction as a cond. of Wagner (Gotterdamme-
rung, Dec. 10) critical opinion found expression
only in superlatives. He prepared the Amer.
premieres of Puccini's Le Villi (1908), Cata-
lan^ La Wally (1909), Franchetti's Germania
(1910), Gluck's/i rmidc (1910), Dukas's-drian*
et Barbe-bleue (1911), Wolf-Ferrari's Le Donne
curiose (1912) and A more Medico (1914), Mus-
sorgsky's Boris Godunov (1913), Montemezzi's
Amore dei tre Re (1914); he also cond. 2
world-premieres at the M. O. H., Puccini's La
FanciuUa del West (Dec. 10, 1910) and Gior-
dano's Madame Sans-Gtne (Jan. 25, 1915); as
a symphonic cond. he was heard only twice
(April 13 and 18, 1913) in a masterly rendition
of the same program (Wagner's Faust-Ouver-
tiire, Strauss's Till Eulenspiegels lustige Streiche
and Beethoven's Ninth Symphony). In the
spring of 1915 he returned to Italy and placed
his art at the service of his country for patri-
otic and charitable purposes. — Among the
world's great orchestral leaders he stands
forth as one of the commanding figures. A
magnetic personality, he communicates his
own enthusiasm to all under his direction.
Although he prefers Wagner's music to all
other, his readings of the works of all schools
958
and nationalities are equally authoritatk
Extreme near-sightedness compelled him ve~
early to commit all scores to memory, so th
to-day he conducts by heart almost 100 opera:
besides an enormous concert- repertoire.
To'si, Pier Francesco, celebrated a\
traltista (musico) and singing- teacher; bor
Bologna, 1647; d. London, 1727. Pupil
his father, the comp. Giuseppe Felice 7
sang successfully in Italy, Dresden, etc., ar.
in 1692 settled irf London, where he gav
regular concerts, and was highly esteem-
as a vocal teacher. He owes his fame chi?:! .
to the work Opinioni de' canlori anlkhi -
moderni o sieno osservazioni sopra U ccs
figurato (Bologna, 1723; in English (Gallia: J,
1742, as Observations on the Florid Song, etr
in German [Agricola] as Anleiiung zur Sie;
kunst, 1757; in French [LemaireJ as VAr\ :k
Chant, Opinions . . . , 1774. The Ital. e: i
was reprinted in 1904; the Eng!., 1906).
To'ati, Sir Francesco Paolo, celebr.
singing-master and vocal composer; b
Ortona, Abruzzi, April 9, 1846; d. Ro&
Dec. 3, 1916. Pupil, from 1858, of the R
Collegio di S. Pietro a Majella, Naples, ao;
was a pp. sub- teacher (maestrino) bv Afera
dante, resigning on account of ill health m
1869. After this he became singing-teacher
to the court at Rome; visited London in 181 \
had great success in concerts, and settled ,
there as a teacher, becoming singing-master
to the Royal Family in 1880, and prof, of
singing at the R. A. M. in 1894; was knight et
in 1908. In 1913 he returned to Italy, tak-
ing up his residence in Rome. Besides many
original songs, both English and Italian, he
published a coll. of 'Canti popolari abruzzes;
(Milan).
Tott'mann, Karl Albert, b. Zittau, July
31, 1837. Studied in Dresden, and at the
Leipzig Cons. (Hauptmann); was a violinist
in the Gewandhaus Orch., and cond. at the
Old Theatre 1868-70. Living in Leipzig J*
a writer, teacher of mus. theory, esthete,
and history; also lecturing. — Publ. K/itischu
Repertorium der gesammten Violin- irnd Bnrf-
schen-Litteratur (1873; 3ded., 1900, as fi&rtr
durch die ViolinliUeratur; a compendious and
valuable work, earning him the title of Pro-
fessor from the King of Bavaria); Abriss
der Musikgeschichte (1883); Der Schulj>e-
sang und seine Bedeutung fur die Verstandes-
und Hertensbildung der Jugend (1887; 2d ed.
1904); Das Biichlein von der Geif>e (1890; 2d,
augm. ed. 1904); Die Hausmusik: Das Kla-
vierspiel ( 1 904) ; Motarfs Zauberflote (1908) ;
many detached essays in journals, etc.; also
a melodrama, Dornroschen, f. soli, ch. and
orch.; Ave Maria f. 4-part female chorus and
solo; Hymn f. 3-part male ch., soli and brass;
sacred and secular choruses, songs, etc.
TOULMOUCHE— TOVEY
Toulmouche [tool-moosh'], Fr&teric
(-Michel), born Nantes, Aug. 3, 1850; d.
Paris, Feb. 20, 1909. Pupil of Victor Masse
at Paris. In 1894, director of the theatre
'Menus-Plaisirs.' — Composer of the operas
comiques Le Mo&tier de St.-Guignolet (Brus-
sels, 1885); La VeiUSe des Nous (Paris, 1888;
in London, 1892, as The Wedding Eve);
I' A me de la Patrie (St. Brieuc, 1892); La
Perle du Cantal (Paris, 1895); La St.- Valentin
(ib., 1895); about a dozen operettas and
some ballets.
Tour16e{toor-zh5'], Dr. Eben, b. Warwick,
Rhode Island, June 1,1834; d. Boston, April
12, 1891. Chiefly self-taught in youth, at 17
he opened a music-store and began class-
teaching at Fall River, Mass.; became or-
ganist and choirmaster at Newport; founded
a Mus. Inst, at E. Greenwich in 1859; visited
Europe to study the Conservatory system
there, improving the opportunity by taking
lessons from August Haupt, at Berlin, and
others; establ. the 'Providence (R. I) Cons,
of Music' on his return, and, in 1867, the
'New England Cons, of Music' at Boston.
He was a most successful organizer, and the
creator .of the class-system of mus. instruction
in the United States.
Tournemire [toorn-mer'], Charles-Ar-
nould, b. Bordeaux, Jan. 22, 1870. Pupil of
C. Franck at the Paris Cons., winning the 1st
prize for org. in 1891; after a short period of
further study under V. d'Indy he succ.
Franck (1892) as organist at Ste.-Clotilde. —
Works: Le Sang de la Sirene, legend for soli,
ch. and orch. (City of Paris Prize, 1904);
a symphony, a pf.-trio, a str. -quartet, pf.-
sonatas, organ-works (4 Pieces symphoniques,
etc.); Psalm 57 for mixed ch. a capp.
Tourret [t6d-ra'], Andre* , violinist; born
Amiens, Feb. 10, 1882. Pupil of D. Mohr
and A. Goudroy at the fecole Nationale de
Musique in Amiens (1891-5); continued his
studies at the Paris Cons, under M. Hayot,
A. Brun, A. Lefort and E. Schwartz, gradu-
ating in 1903 as winner of 1st prize for sol-
fege and harm. Joined the Colonne Orch.
as vlnst. in 1896, becoming leader of 2d vis.
in 1902; 1904-13, do. of the Concerts du
Cons.; 1903-8, 2d vl. of the Quatuor Capet;
in 1904 he was a member of the jury at the
'concours' of the Cons. Living in New York
since 1913. Has won distinction especially as
an ensemble- player (sonatas, trios, quartets),
and as such has toured France, Spain, Italy,
Belgium, Germany, England and the U. S.
(succ. tour with Camille Decreus, 1915-16).
Tours [toor], Berthold, violinist, com-
poser, and musical editor; born Rotterdam,
Dec. 17, 1838; d. London, Mar. 11, 1897.
Pupil of his father, Barthelemy T. (1797-
1864), Verhulst, and of the Conservatories at
Brussels and Leipzig; went to London in
1861 as an orch.-player; in 1878 became mu-
sical adviser to Novello & Co., and editor of
their publications. — Works: Services, an-
thems, hymn-tunes; pf. -pieces; a Primer of
the Violin; also many arrangements f. pf. of
classical orchl. works.
Tours, Frank E., son of preceding; born
London, Sept. 1, 1877. St. with private
teachers, and later at the R. C. M. under Sir
C. V. Stanford, Sir W. A. Parratt and Sir F.
Bridge; since 1897 cond. of various light
opera companies in London. Has written a
comic opera, MelnoUe (London, 1901) and,
in collab. with others, The Dairymaids, The
Hoyden, The Little Cherub , The New Aladdin,
The Dashing Little Duke; of his songs several
have attained considerable popularity {Mother '
o' Mine, Beyond the Sunset, Red Rose, A Year
Ago, etc.).
Tourte [t66rt], Francois, b. Paris, 1747;
d. there April, 1835. This famous maker of
violin-bows was the creator of the modern
bow, the model for all succeeding bow-
makers. The shape and inward curve of the
stick, the selection and preparation of the
wood (Pernambuco), the length of the bow
and all its modern fittings, are the product
of his constructive genius.
Tovey, Donald Francis, b. Eton, July 17,
1875. St. privately with Sophie Weisse (pf.),
Sir W. Parratt (cpt.), James Higgs (comp.)
until 1894, when he won the Nettleship
scholarship at Balliol Coll., Oxford; graduated
with Classical Honors (A. B„ 1898). In
1900-1 he gave a series of chamber-music
concerts in London, at which he prod, several
of his own works; in 1901-2 he gave similar
concerts in Berlin and Vienna; played his
pf. -concerto in 1903 under Henry Wood and
in 1906 under Hans Richter; from 1906-12
he gave in London regular series of chamber-
music concerts, known as "The Chelsea
Concerts.' In 1914 he succeeded Niecks
(q. v.) as Reid Prof, of music at Edinburgh
Univ. (see Reid, John); there he establ.
the 'Reid Symph. Concerts/ for which
he organized in 1917 the 'Reid Symph.
Orch.' of 50 musicians (first concert May 5,
1917). — Works: Op. 1, pf.-trio in B m.; op.
2 and 3, songs; op. 4, vcl. -sonata in F; op. 5,
Rounds for equal vcs.; op. 6, pf. -quintet in C;
op. 8, trio for clar., bassoon and pf. in C m.
(Style tragique; also arr. as pf.-trio); op.
11, str.-quartet in G; op. 12, pf. -quartet
in E m.; op. 14, trio for vl., horn (or via.)
and pf. in D m.; op. 15, pf. -concerto in A;
op. 16, clar .-sonata in Bt> (also arr. for via.);
op. 17, Balliol Dances for pf. 4 hands; op. 23,
str.-quartet in D; op. 25, Elegiac Variations
for vcl. and pf. (in mem. R. Hausmann);
op. 27, pf.-trio; op. 31, The Bride of Dionysus,
959
TOWERS— TRAMONTI
opera (not yet prod. [1918]); op. 32, Sym-
phony in D; Divertimento in Bb for ob. and
pf.; Aria and vara, for str. -quartet in Bt>;
vars. on a theme of Gluck's, C m., for fl., 2
vis., via. and vcl.; suite for wind-instrs. (for
Oxford pageant, 1907); National March for
mil. band (for Sultan of Zanzibar); incid.
music to Maeterlinck's Aglavaine et Stly-
sette: some church -music and pf.-pes. Has
publ. 'Laudate Pueri,' a coll. of sacred music
of the 16th cent., being Part 1 of 'North-
lands Singing Book.' lias contrib. about
40 articles to the 11th ed. of 'Encyl. Brit/
Towers, John, b. Salford, England, Feb.
18, 1836. From 1850-6, choir-boy at Man-
chester Cath.; then st. at the R. A. M. under
C. Pinsuti and H. Regaldi (singing), F. B.
Jewson (pf.) and C. Lucas (harm.); spent 2
years in further study under Th. Kullak (pf.)
and A. B. Marx (com p.) in Berlin; after his
return to England he filled several positions
as org. and choirm. and choral cond. tn Brigh-
ton and Manchester, achieving notable success
with the Rochdale Orpheus Glee Societies;
came to America in 1890 as org. of Plymouth
Ch. and dir. of the vocal dept. of the School of
Music in Indianapolis; 1892, teacher of sink-
ing at Utica Cons.; lived several years in
New York as org. at the Lutheran Ch. and dir.
of his own vocal school; 1904-11, dir. of
vocal dept. of Forest Park Univ. and org. at
St. Stephen's, St. Louis; 1909-15, also dir.
of the vocal dept. at the Kroqjer School of
Music there. Shortly after his arrival in
America he began work on his Dictionary-
Catalogue of Upwards of 28,000 Operas and
Operettas which have been perf. on the Public
Stage from the Earliest Times to the Present
[1905], on which he worked daily for 16
years (publ. Morgantown, 1910). In spite
of an enormous expenditure of labor the work
serves no useful purpose; it is nothing more
than a bare list of titles, each followed by the
name, nationality and dates of the composer
(only year of birth and death); neither place
nor year of perf. of the opera itself is given;
even its usefulness as a mere skeleton index is
seriously impaired by numerous errors in the
spelling of foreign words. Has also publ.
Catechism of Music for Beginners, Woman in
Music, Let Children Sing, Golden Rules for
Singers, etc.; pf.-pes., songs and part-songs.
He has ready for the press (1918) Some 91,000
Birthday Dates of Living and Dead Musicians.
Traet'ta [Trajetta], Fillppo, son of Tom-
maso T.; born Venice, Jan. 8, 1777; d. Phila-
delphia, Jan. 9, 1854. Pupil of Fenaroli and
Perillo at Venice, later of Piccinni at Naples.
Becoming a soldier in the patriot ranks, he was
captured and cast into prison; escaped 6
months afterward, and sailed to Boston, Mass.,
settling there in 1799. Here he wrote his
960
Vocal Exercises, and Washington's Lh
March. Proceeding to New York, fie wr<
the cantatas The Christian's Joy, and Pro t
ecy; also an opera, The Venetian Aia&kt
Was manager of a travelling theatrical trou;
lived in Virginia for some years, and sett I
in Philadelphia in 1822, founding the 'Amt
can Conservatorio' in 1823 with his pupil, 1
C. Hill. He prod. 2 oratorios, JertesaUem .
Affliction (1828) and Daughter of ZUrn (lSJN
later 2 cantatas, The Nativity, and The Day
Rest; also instrl. and vocal quartets, trios «ir.
duets; songs; etc.; and publ. Rudiments
the Art of Singing and An Introduction to 0
Art and Science of Music (1828) for his Co;,~
(T. was active until his death as a singin*
teacher).
Traet'ta, Toramaso (Michele Francesc:
Saverio), famous dramatic composer; b
Bitonto, Naples, Mar. 30, 1727; d. Vem
April 6, 1779. Pupil of Durante at the Ca-
di Loreto, Naples, where he studied 1 738-
after teaching, and writing church-music, '
two years, he prod, an opera, Farnace (Tea:*
San Carlo, 1751), the success of which p">
cured him commissions for others, so that i-
ten years he brought out 19 dramatic work-
in Naples, Rome, Florence, Verona, Venice.
Parma, Vienna (Ifigenia in Aulide, 1759), etc.
In 1758 he was app. maestro to the Duke »i
Parma, and singing-master to the princesses
his festival opera Ippolito edAricia, first gnv.i
in 1759, and repeated at the wedding of ±
princess with the Prince of the Ast urias i n 1 765 ,
procured him a life-pension from the King of
Spain. From 1765-8 he was Director of the
Cons, dell' Ospedaletto at Venice, then re-
signing in favor of Sacchini in order to suc-
ceed Gaiuppi at Petrograd as court composer
to Catherine II. The uncongenial climate
compelled him to leave Russia in 1775; he
repaired to London, and produced the opera
Germondo there in 1776; its cool reception
decided him to return to Italy. Here he
wrote 5 more operas (he composed 42 in dl! ,
but his health was undermined, and he died
3 years after his homecoming. His <framat*tc
sense was keen, his effects natural and sink-
ing, his harmonies bold and vigorous.— Be-
sides operas, he comp. an oratorio (Salomont),
a Passion, a Stabat Mater, masses, motets,
etc.; duets, arias f. soprano w. accomp., and
Le 4 stagoni e i 12 tnesi dell1 anno, a diverti-
mento F. 4 orchestras (Petrograd, 1770). — -
Cf. V. Capruzzi, Traetta e la Musica (Naples,
1878); K. H. Bitter, Die Reform der Oper
durch Gluck und Wagner (Brunswick, 1884).
— See Q.-Lex.
Tramon'ti, Enrico, harpist; b. Palermo,
Oct. 7, 1876. At the age of 13 he began to
st. the pf., and 2 years later the harp with
G. Vitrano in Palermo; although destined
TRAPP— TREU
for the career of a civil engineer, he was
allowed to perfect himself on the harp under
F. Lebano in Naples and F. Godetroid in
Paris; debut at Palermo (1894), in the pres-
ence of Queen Mareherita; In 1898 he made
his first tour of England, and was commanded
to play before Queen Victoria; 1898-1901,
tours of all European countries, except Russia;
1896-1901, taught harp at the Geneva Cons.
Since 1902 he has been solo harpist of the
Chicago Symph. Orch.
Trapp, Max, born Berlin, Nov. 1, 1887.
St. there under E. von Dohnanyi (pf.) and P.
Juon (comp.). Has written a str.-quartet
in D m. (op. 1); 3 pf.-auartets (op. 3; op. 4,
C m.; op. 7, F); a vcl.-sonata (op. 5); pf.-
pcs. (op. 2); songs (op. 6).
Traut'mann, Marie. See Ja&ll-Traut-
MANN.
Trautner [trowt'-J, (FHedrich) Wilhelm
(Lorenz), b. Buch am Forst, Upper Fran-
conia, May 19, 1855. Pupil of J. Zahn and
J. G. Herzog; since 1882 cantor and org. in
Nordlingen, teacher of singing at the Gym-
nasium and cond. of the 'Evangelischer
Chorverein.' — Works: Op. 19, S&nprs Gebet
for soli, ch. and orch.; op. 37, Martin Luther,
reformation cantata for do.; motets; organ-
works (op. 18, Zehn Fugen; op. 49, Achtsehn
OrgelstOcke in den Kirchentonarten; op. 50,
Zwanzig Fughetten und Versetten; op. 54,
Zwei Fugen; op. 55, Vierzehn Choralvor-
spiele). Also wrote Die grosse Or gel in der
St. Georgs-Hauptkirche in Nordlingen (1899);
Zur Geschichle der evangelischen Liturgie und
Kirchenmusik in Nordlingen (1913); Evan-
gelische Kirchenmusik und die evangelische
Kirchenmusik Bayerns im Hauptamt (1913).
Trautwein, Traugott, founder (1820) of
the music-publ. business f Trautwein 'ache
Buch- und Musikalien-Handlung') at Berlin,
transferred in 1840 to J. Guttentag, and by
him -in 1858 to Martin Bahn, under whose
management it became famous for new
editions of early music. After Bahn's death
(May 21, 1902) the firm was consolidated
with A. Heinrichshofen of Magdeburg.
Treberii, Zelia (stage-name of Zelia Gil-
bert), brilliant dramatic mezzo-soprano; born
Paris, 1838; died fitretat, Aug. 18, 1892.
Studied 5 years with Wartel; debut Madrid,
1859, as Rosina in // Barbiere, a complete
success, followed by triumphs in Germany and
(1862) London. Married Sgr. Bettini in 1863;
they were separated a few years later. She
was long a favorite in London; also toured
the United States (1878 and 1884); her last
appearance was at Mapleson's benefit con-
cert in London (June, 1889). Besides pos-
sessing a voice of wonderful purity and
power, she was noted for dramatic intensity
and exceptional histrionic ability.
961
Treharne, Bryceson, b. Merthyr Tydfil,
Wales, May 30, 1879. Winning the Erard
scholarship, he st. at the R. C. M. under Sir
H. Parry, Sir C. Stanford, Dr. W. Davies, F.
Taylor, E. Pauer and E. Dannreuther; 1900-1,
taught at the Univ. of Wales, Aberystwith;
1901-11, prof, at Univ. of Adelaide, South
Australia. As dir. and mgr. of the Adelaide
Repertory Th. (1908-11) he made a specialty
of modern plays, for many of which he wrote
incid. music. From 191 1-14 he lived in Paris,
Milan, Vienna and Berlin. The outbreak of
the war found him in Munich, and being un-
able to leave Germany in time, he was in-
terned in the concent rat ion camp at Ruhleben,
n. Berlin. There he wrote nearly 200 songs,
several orchl. pieces and one act of an opera
(on a Japanese subject). An exchange of
prisoners of war being effected in the spring
of 1916, he returned to England, but soon
went to Boston, where he made arrangements
for the publication of some of his songs.
Since 1917 he has been living in New York.
His songs immediately attracted wide atten-
tion and won many admirers. A prominent
critic characterizes him as 'a song composer
in the modern vein, one who is all for de-
clamatory expression, for a sort of plastic
realism, for delineative or picturesque sug-
gestion and evocation through a highly or-
ganized pianoforte accompaniment, as well
as through the vocal line. His music can
fairly be said to be full of character and of
sincere purpose. ' — Publ. works: About 40
songs (Ozymandias, The Fair Circassian, A
Lover's Prayer, The Night, Renunciation, The
Huguenot, Jeannette, Montserrat, The After-
math, Dreams, Love*s Tribute, etc.) and
several choruses; in MS., an opera, Deirdre
(text by W. B. Yeats) ; 2 cantatas for women's
vcs. and orch., A Song of Spring and England,
My Mother; many songs.
Tren'to, Vittorlo, b. Venice, 1761; d. (?).
Pupil of Bertoni; prod, several ballets at
Venice, Verona, etc., and in 1791 an opera,
Teresa vedova, at Venice. He was cembalist
at the S. Samuele Th., Venice, and then at La
Fenice; mus. dir. of the Italian opera at
Amsterdam (1806), and some years later at
Lisbon till 1818, when he visited Italy, but
returned in 1821 to Lisbon. His best work
(among some 50 ballets and 39 operas) was
the opera buffa Quanti casi in un sol giorno,
ossia Gli assassini (Venice, 1819). — See Q.-
Lex.
Treu [troy] (Italianized Fedele), Daniel
Gottlieb, b. Stuttgart, 1695; d. Breslau,
Aug. 7, 1749. Violinist, pupil of Kusser, and
(with a stipend from the Duke of Wttrttem-
berg) of Vivaldi at Venice. After bringing
out 12 operas at Venice, he took an Italian
opera-troupe to Breslau, where from 1725-7
TRfiVILLE— TRUETTE
he prod, his operas (Astarte, Coriolano, Uhsse
e Telemacco, Don ChiscioUe) with much suc-
cess. In 1727 Kapellm. at Prague; m 1740
to Count SchafFgotsch at Hirschberg.
TreMlle, Yvonne de, coloratura soprano;
born (of French father and Amer. mother)
Galveston, Texas, Aug. 25, 1881. After her
dtbut as Marguerite (in Engl.) at the Amer.
Th. in New York (1898) she sang 2 seasons
with the Castle Square Opera Co.; then st.
in Paris with Mme. Marchesi; European
debut at Opera-Comique as Lakm6 (June 20,
1902); has sung since then at the Opera, in
Madrid, Petrograd, Brussels (3 seasons),
Vienna, Stockholm, Cairo, Pest, etc.; 1911-
12 with the Boston Opera Co.; since 1913 on
extended concert-tours of the U. S. and in
light operas (mostly written specially for her).
Her voice has a compass of 3 full octaves
(g-g»); her favorite rftles are Lakme, Ophelie,
Lucia, Juliette, Rosina.
Trial [trS-fthT], Jean-Claude, b. Avignon,
Dec. 13, 1732; d. Paris, June 23, 1771. From
1767 he was co-director of the Opera at Paris
with Berton, producing the operas Renaud
d'Ast (1765; w. P. Vachon), Sylvie (1765; w.
Berton), £sope a Cythere (1766), Thtonis
(1767; w. Berton and Gamier), and La FHe
de Flore (1771).— His nephew, Armand-
Emmanuel, b. Paris, Mar. 1, 1771; d. there
Sept. 9, 1803. Wrote several successful operas.
. Trit'to, Glacomo, b. Altamura, Naples,
April 2, 1733; d. Naples, Sept. 16, 1824.
Pupil of Cafaro and Sala at the Cons, della
Pieta; became sur>teacher (primo maestrino),
and Cafaro's assistant in teaching harmony,
also succeeding him as leader at the San Carlo
Th. In 1800 he succeeded Sala as prof, of
counterpoint and composition; and followed
Paisiello in 1816 as maestro of the Royal
Chapel. His first opera, La Fedelta in A more,
was perf. at Naples in 1764; some 50 others
came out subsequently in Naples, Rome,
Venice, Milan, etc. He likewise prod. 3
cantatas, a mass for double chorus w. 2 orches-
tras, 3 orchl. masses and 4 others, 2 Passions
w. orch., a Te Deum a 5 w. orch., motets, etc.
(none printed). Excellent teacher; Spontini,
Farinelli, Raimondi and Conti were his
pupils; he publ. Partimenti e resole generali
per conoscere aval numerica dot st deve at vari
movimenti del basso (1821), and Scuola di
contrappunto, ossia Teoria musicale (1823). —
See Q.-Lex.
Trnecek [tr'n£h-ch£hk], Hans, b. Prague,
May 16, 1858; d. there March 28, 1914.
Pupil of the Cons, there; 1882-8, harpist
at the Hoftheater in Schwerin; from 1888 prof,
of harp and pf. at the Prague Cons. — Works:
The operas Der Geiger von Cremona (Schwerin,
1886), Amaranth (Prague, 1890), Andrea Crini
(ib., 1900), Die gesuhnte Schuld (posth.; not
prod.); a symphony; a pf. -concerto; a vi -
concerto; an orchl. suite; pf.-pcs. (3 sonata*.
etc.); with K. Hoffmeister he wrote Orund-
lagen des Klavierspiels,
Tromlltz, Johann Georg, b. Gera, Feb.
9, 1726; d. Leipzig, Feb. 4, 1805. Flutist an-.
flute-maker at Leipzig.— Publ. Kurte Abkand-
lunt vom FlotenspieUn (1786); Ausfuhrltchtr
und grUndlicher Unterricht die Flote su spirit*
(1791); Ober die Fldte mit mehreren Klappen
(1800); and articles in the 'Allgem. mu>.
Zeitung' (1799);— also 3 concertos t. flute and
strings; 2 books of sonatas f. pf. and flute.
6 Partien f. flute; songs.
Troostwyk [trohst'wik], Isidore, b. Zwolle.
Holland, July 3, 1862. Pupil of J. Joachim
at the 'Hochschule ftir ausubende Tonkunst
in Berlin (1878-81); 1881-3, tours of Ger
many and Holland with Anton Schott; ir
1883 app. teacher of the vl. at the 'Muzie*
school van Toonkunst' in Amsterdar
1883-8, leader of 'Amsterdamsche Orke
Vereeniging'; 1888-90, do. of 'Orkest >n
het Concert-Gebouw*; came to America r
1890. Since 1895 head of vl.-dept. of Yak
Univ.; leader of New Haven Symph. Orch.;
founder and cond. of New Haven String-Orcli
Trotere, Henry [real name Trotterl, Eng-
lish song-composer; born London, Dec. 14,
1855; d. there April 10, 1912. Some favorite
numbers are Once for All, Leonore, Boer dear,
Asthore, The Deathless Army, Lave can wait.
Troutbeck, Rev. John, born Blencowe,
Cumberland, Nov. 12, 1832; d. London,
Oct. 11, 1899. Graduate of Oxford (B.A.,
1856; M.A., 1858); from 1865-9, precentor
of Manchester Cath.; in 1869, canon of
Westminster.— Publ. The Manchester Psal-
ter' (1868); 'Manch. Chant Book' (1871);
'Cathedral Paragraph Psalter'; 'Hymn Book
for Use in Westminster Abbey' ; Music Primer
for Schools, w. R. F. Dale (1873; often
republ.); Church Choir Training (1879); ex-
cellent translations of operatic and other
texts, e.g., Wagner's Flying Dutchman, Beet-
hoven's Mount of Olives, Gade's Crusaders,
etc.— Cf. *M. T.' (May and Nov., 1899).
Truette, Everett Ellsworth, distinguished
organist; b. Rockland, Mass., Mar. 14, 1861.
St. pf., org. and comp. at the N. Engl. Cons.
(1878-81); grad. of Boston Univ. (Mus. Bac,
1883); then st. org. for 2 years with Haupt
(Berlin), Guilmant (Paris) and Best (Liver-
pool and London). Returning to Boston,
he filled positions in 3 important churches,
until app. in 1897 to his present (1918) post
as org. and choirm. of the Eliot Congr. Ch.,
Newton; has given numerous recitals
throughout N. Engl, and inaugurated many
organs; played at the Pan-Amer. Expos.
(Buffalo, 1901) and Louisiana Purchase
962
TRUHN— TUCKERMAN
Expos. (St. Louis, 1904) ; one of the founders
of the A. G. 0.; first sec. (1905), and for
several years examiner, of the N. Engl.
Chapter; for 10 years ed. of the org.-dept.
of *The Etude.' More than 50 of his pupils
are organists of churches in and near Boston.
— Has publ. anthems and pes. for org. (op.
15, Canon; op. 16, 5 Interludes; op. 1/,
Finale; op. 29, Suite in G m.; op. 31, Five
Church Pieces; etc.).
Truhn, Frledrlch Hieronymus, b. El-
bing, W. Prussia, Nov. 14, 1811; d. Berlin,
April 30, 1886. Pupil of Dehn, B. Klein and
Mendelssohn; Kapellm. of Danzig theatre
1835—7; writer for the Leipzig 'Neue Zeit-
srhrift fur Musik' during Schumann's editor-
ship; mus. dir. at Elbing, 1848-52; then
lived chiefly at Berlin, where he founded and
cond. the 'Neue Liedertafel'; made a concert-
tour with Biilow in 1854. — Works: Mario-
nette-opera, Der baierische Hiesel (Berlin,
1832); Der vierjahrige Posten (1833); comic
opera Trilby (Berlin, 1835); melodrama Kleo-
patra (Berlin, 1853); choral works, songs,
etc.; also wrote Vber Gesangskunst (1885).
Truinet. See Nuitter.
Trunk [trodnk], Richard, born Tauber-
bischofsheim, Baden, Feb. 10, 1879. Pupil
of I. Knorr at Hoch's Cons, in Frankfort
(1894-5); 1896-9, at the Kgl. Akademie
in Munich (Rheinberger, Erdmannsdorffer,
Bussmeyer). A tour with E. Gura establ.
his reputation as an exceptionally fine accom-
panist; cond. various male choral societies
in Munich; in 1906 app. teacher of singing
at the Theresien-Gymnasium; 1907, cond.
of the 'Burgersingerzunft' and 'Volkschor-
Union'; 1906-9, mus. critic of the 'Miinche-
ncr Post'; 1912-4, cond. of the 'Anon* in
New York and of the 'Arion' in Newark;
since then again in Munich. — Works: WaV-
purgisnacht for orch.; male and mixed
choruses (some with orch.); about 100 songs.
Tschaikowsky. See Tchaikovsky.
Tschirch [chiryh], six brothers: — (1) Ernst
Leberecht, b. Lichtenau, July 3, 1819; d.
Berlin, Dec. 26, 1854; from 1849-51, theatre-
cond. at Stettin. Wrote overtures, etc., and
2 operas, Frithjof and Der fliegende Hollander
(neither prod.). — (2) Heinrich Julius, born
Lichtenau, June 3, 1820; d. Hirschberg,
Silesia, April 10, 1867, as organist and R.
Mus. Dir; publ. pf. -pes. and songs. — (3) Her-
mann, b. Lichtenau, Silesia, Oct. 16, 1808; d.
as organist at Schmiedeberg in 1829. — (4)
Karl Adolf, b. Lichtenau, April 8, 1815; d.
as pastor at Guben, Silesia, Aug. 27, 1875.
From 1845-55, wrote for the 'Neue Zeitschrift
fur Musik.' — (5) Rudolf, b. Lichtenau, April
17, 1825; d. Berlin, Jan. 16, 1872, as R. Mus.
Dir. Founded the 'Markischer Central-
Sangerbund'; comp. works for wind-band
(e.g., Die Huberlusjagd, perf. annually for the
Royal Chase at Grunewald; Das Fest der
Diana); music to Eine Brautschau (Berlin,
1858); cantata Sans souci (1855); etc. — (6)
(Frledrlch) Wilhelm, b. Lichtenau, June 8,
1818; d. Gera, Jan. 6, 1892; pupil of the R.
Inst, for Church-music, Berlin; mus. dir. at
Liegnitz 1843-52; then court cond. at Gera.
By invitation of the German-Amer. choral
societies, he visited the United States in 1869,
and prod, many of his celebrated male
choruses at New York, Philadelphia, Balti-
more, Washington, Chicago, etc. — Other
works: Opera Meister Martin und seine
Gesellen (Leipzig, 1861); grand works for soli,
male chorus and orch.: Der Sdngerkampf;
Das Turnier; Eine Nacht auf dent Meere; Die
Zeit; Bliicher in Giessen; Leben, Liebe, Lust
undLeid; Abschiedsgruss ans Valerland; Eine
S&ngerjahrt ins Riesengebirge; Die Kaiser-
glocke; Arion; others with wind-instrs. ; Am
Niagara, concert-overture; male choruses a
capp.; also salon- pieces f. pf. (pseudonym
'Alexander Czersky').
Tschudi. See Broadwood.
Tu'a [too 'ah], Tereslna [real names Maria
Fellcita], b. Turin, May 22, 1867. Exquisite
violinist; pupil of M assart at the Paris Cons.,
where she took the 1st prize in 1880. Toured
the Continent with brilliant success; Eng-
lish debut at the Crystal Palace, May 5, 1883;
has since then played frequently in Britain;
in America, 1887. In 1889 she married Count
Franchi-Verney della Valetta (q. v.), and
withdrew from the concert-stage till the
autumn of 1895, when she set out on a suc-
cessful European tour; since then concertizing
in all European countries; is living in Rome.
Tu'cher [too'he>], Gottlieb, Freiherr
voii,^ born Nuremberg, May 14, 1798; d.
Munich, Feb. 17, 1877. Judge of the Su-
preme Court at Munich, 1856-68.. His
publications were largely instrumental in
rekindling interest in the a cappella music of
early masters. — Publ. 'KirchengesSnge der
beruhmtesten Sltern italienischen Meister
. . .' (1827; dedicated to Beethoven), and
'Schatz des evangelischen Kirchengesan^s'
(1848; 2 vols.); also wrote Uber den Gemem-
degesang der evangelischen Kirche (1867).
Tuckerman, Samuel Parkman, b. Bos-
ton, Mass., Feb. 11, 1819; d. Newport,
Rhode Island, June 30, 1890. Pupil of Carl
Zeuner in Boston; organist and choirmaster
of St. Paul's Ch., 1840; studied the organ
in various English cathedral towns from 1849,
received the degree of Mus. Doc., Lambeth,
in 1853; returned to his Boston position, and
gave lectures on early cathedral-music and
church-music; resided in England 1856-64,
and for many years in Switzerland. Wrote
963
TUCZEK— TURLE
much church-music (4 services, anthems,
hymns, etc.), and edited collections: 'The
Episcopal Harp'; The National Lyre';
'Cathedral Chants' (1858); Trinity Collec-
tion of Church Music' (New York, 1864).
His musical library was exceptionally fine.
Tuczek [too'chfchk], Franz, b. Prague,
c. 1755; d. Pest, after 1820. Tenor singer
and theatre-accompanist at Prague; in 1797,
Kapellm. to the Duke of Kurland at Sagan;
in 1800, coftd. of the Breslau theatre; in
1802, of the Leopoldstadter Th., Vienna. —
Works: Several operas; music to the tragedy
Lanassa; 2 oratorios; cantatas; dances.
Tudway, Thomas, English comp.; b. c.
1650; d. London, Nov. 23, 1726. From 1660,
chorister in the Chapel Royal, under Dr.
Blow; lay- vicar at St. George's Chapel,
Windsor, 1664; org. of King's Coll., Cam-
bridge, 1670; teacher of choristers there,
1679; Prof, of Music, Cambridge Univ.,
1704; suspended 1706-7; retired 1726.
Mus. Baa, Cantab., 1681; Mus. Doc., 1705.
He comp. services, motets, and anthems; his
'Coll. of . . . Services and Anthems used in
the Church of England from the Reformation
to the Restoration of King Charles II. . . ./
in 6 MS. vols., is in the British Museum.
Tufts* John Wheeler, b. Dover, N. H.,
May 12, 1825; d. Camden, Me., Mar. 18,
1908. Musically precocious; went to Ger-
many in 1846, studying in Frankfort under
Schoch (pf.) and in Leipzig under Moscheles
(pf.) and Hauptmann (theory). Returned
to Bangor in 1848; org. at the Unitarian Ch.
and cond. of the 'Bangor Choral Soc.'; lived
later in Portland as org. of the Union Ch.
and cond. of the 'Haydn Assoc.' Settled in
Boston as teacher (at the Boston Music
School) and org. (at King's Chapel 15 years),
also cond. of the 'Chelsea Choral Soc.' Wrote
many songs and hymn-tunes, church-services,
pf.-pes., and a book on pf. -technics. Made
his mark especially as author of a series of
school music-works, the Normal Music Course
and the Cecilian Series of Study and Song being
particularly prominent and popular.
Tulou [til-lool, Jean-Louis* celebrated
flutist; born Paris, Sept. 12, 1786; d. Nantes,
[uly 23, 1865. From 1796, pupil of Wunder-
ich at Paris Cons., winning 2d prize for flute
playing in 1799, and 1st in 1801 (in 1800 it
was withheld on account of his youth). In
1804, 1st flute at the Italian opera; in 1813
he succeeded Wunderlich at the Opera, re-
signing in 1822, but resuming the position in
1826 (with the title of 'premiere flQtesolo*);
in 1829 he was app. flute-prof, at the Cons.;
retired from both positions in 1856. He won
his brilliant triumphs — particularly the signal
victory over his rival Drouet, when the rdle of
the Nightingale was assigned to T. in Lebrun's
i
opera Le Rossignol — with the old -fash ion
flute; and until his retirement obstinat-
opposed the introduction of Bohm's improve
instrument into the Conservatoire. — Work-
2 symphonies concertantes, No. 1 i- rlu-
oboe and bassoon, No. 2 f. flute, oboe, h:»r
and bassoon; 5 flute-concertos; grand sr»L-
fantaisies, and airs varies, f. flute w. orc't
airs varies w. string-quartet, etc.; a trio •
3 flutes; flute-duos; many solo pieces f. nV^
Tu'ma, Franz, born Kostelecz, Boherr
Oct. 2, 1704; d. Vienna, Feb. 4, 1774. < ,<.r
ba-virtuoso and contrapuntist; pupil <•
ternohorsky at Prague and Fux at Vienr.*
from 1741, chamber-composer to the dowa^r
Empress Elisabeth. — Works: 30 masse* •_
highly praised by Ambros); a Miserere; n
sponses, etc. — See Q.-Lex.
Turk, Daniel Gottlob, eminent orgar
and teacher; b. Claussnitz, Saxony, Aug. '
1750; d. Halle, Aug. 26, 1813. Pupil in h
mony and counterpoint of Homilius w*
studying at the Kreuzschule, Dresden ; he h
learned to play the violin at home, and aff-
ile entered Leipzig University. J. A. I f il»*
continued his instruction, and eng. him j*
violinist at the theatre and the 'Grosses Con-
cert.' In 1776, cantor of the Uirichskir«h»\
Halle, and music-teacher at the Gymnasium
1779, mus. dir. of the Univ.; on beconrrj
organist at the Liebfrauenkioche in 17*'..
he resigned his positions as cantor urv'
teacher. He publ. Von den vrichtigsu*
Pflichten eines Organislen. Ein Beitrag zu
Verbesserung der musikalischen Litury
(1787); an important Clavier schule, wit<>
critical annotations (1789); Kleines Ijeht-
buck fur A nf anger im Claviers pielen (1792.,
Kurze Anweisung zum Generalboss-Spielrn
(1791; rev. ed. 1800); Anleitung zu Tern-
peraturberechnungen (1806); — also an ora-
torio, Die Hirten bei der Krippe in Bethle-
hem; 18 sonatas and 18 sonatinas f. pf.; 60
Handstilcke (exercises) for beginners; 120
easy pf. -pieces for 4 hands in 4 books; swv*.
He left an opera, Pyramus und Thisie (not
perf.), church-music, symphonies, oc^an-
pieces, etc., in MS. — Cf. H. Gleeneninkel,
D. G. T. und das hallische Musikleben seiner
Zeit (Halle, 1909).— See Q.-Lex.
Turle, James, born Somerton, Somerset,
Engl., Mar. 5, 1802; d. London, June 2S,
1882. He was asst. -organist to Greatorex at
Westminster Abbey till 1831, then succeeding
him as organist and master of the choristers,
resigning in 1875. He cond. the 'Antient
Concerts' 1840-3; was music-master at the
School for the Indigent Blind 1829-56. ffc
was a noted teacher. He comp. services,
anthems, chants and hymn-tunes; edited
several colls, of church-music (e.g., The
Westminster Abbey Chant Book/ w. Dr.
964
TURNER— UBERTI
Bridge); and publ. The Art of Singing at
Sight (1846; w. E. Taylor).
Turner, Alfred Dudley, b. St. Albans,
Maine, Aug. 24, 1854; d. there May 7, 1888.
Pupil of, and teacher in, the New Engl. Cons,
of Music and the Boston College of Music.
Concert-pianist. — Works: Op. 11, 3 mor-
ceaux f. pf. and 'cello; op. 17, suite f. do.;
op. 18, Sonate dramatique f. pf.; op. 27, 31,
2 sonatas f. pf. and violin; op. 34, sonata for
pf. and 'cello; pf.-pieces.
Turpin, Edmund Hart, b. Nottingham,
May 4, 1835; d. London, Oct. 25, 1907. Pupil
of Hullah and Pauer at London; organist of
St. Barnabas' Ch., Nottingham, 1850; gave
his first organ-recital at the Hyde Park Ex-
hibition of 1851, and settled in London in
1857. In 1869, organist of St. George's,
Bloomsbury; from 1888, at St. Bride's, Fleet
Street. In 1875 elected Hon. Seer, of the
i College of Organists. In 1889 the Arch-
bishop of Canterbury conferred on him the
degree of Mus. Doc. From 1880, editor of
the 'Mus. Standard' for several years; in 1891,
I joint-editor of the 'Mus. News'; was a writer
and lecturer of distinction, and celebrated as a
concert-organist. — Works: A mass a cappella,
and a mass for soli, ch., brass, drums and or-
gan; a motet f. do. (without drums); Stabat
Mater a capp.; 2 oratorios, St. John the Bap-
tist and Hetekiah; 2 cantatas, A Song of Faith
and Jerusalem; services and anthems; sym-
phony The Monastery; overtures; string-
quartet; pf.-quartet; pf.-trio; pf.-pieces and
organ-music; also a coll. for organ, 'Student's
Edition of Classical Authors' (4 books).
Turtchaninov [t66r-chah-ne'n6hv], Piotr
[Peter] Ivanovitch, b. Govt. Kiev, Nov. 20,
1779; d. Petrograd, Mar. 4, 1856. Pupil of
Sarti in Petrograd; ordained priest in 1803;
became cond. of the Metropolitan Choir, and
in 1827 also taught singing at the Imp.
court chapel; 1831-41, high priest at various
churches. He is chiefly known for his masterly
arrangements and harmonization of the
ancient melodies of the liturgy (publ. posth.
in 4 vols.), which are characterized by in-
dependence oU the voices, the reduction of
unsymmetrical melodies to a symmetrical
rhythm, the preservation of the original in-
tervals and the assignment of the cantus
firm us generally to some other voice than
the soprano. — Cf. his Autobiography (Petro-
grad, 1863); A. Preobrazhensky, The High
Priest P. I. T. (Russian; Petrograd, 1910);
V. Liebediev, P. J. T. (Russ.; Tambov, 1910).
Tye, Christopher, English organist and
composer; b. Westminster, early in the 16th
century; was organist of Ely Cathedral 1541-
61; later rector at several Cambridgeshire
towns. He died in March, 1572. Mus.
Doc., Cantab., 1545.— Publ. The Actes of
the Apostles, translated into Englyshe Meter
. . . . (London, 1553); it includes the first
14 chapters of Acts. Also publ. a service and
several anthems; masses and anthems are in
MS. — See Q.-Lex.
Tyndall, John, the eminent physicist,
was b. at Leighlin Bridge, Ireland, Aug. 21,
1820; d. HasTemere, Surrey, Engl., Dec. 4,
1893. His two works in the domain of
acoustics are Sound (1867, and other eds.; in
German as Der Schall), a lucid and simple
explanation of acoustical phenomena; and
On the Transmission of Sound by the Atmo-
sphere (1874). He was prof, of natural
philosophy at the R. Inst, from 1S53.
U
Ubaldus (or Ughaldus, Uchubaldua).
See Hucbald.
Uber [oo'ber], Alexander, born Breslau,
1783; d. Carolath, Silesia, 1824, as cond. to
Prince von Schonaich-Carolath. Fine 'cellist ;
publ. a 'cello-concerto, variations f. 'cello with
lull orch. or strings; Caprices and other
'cello-pieces; a septet f. clar., horn and
strings; vars. f. wind-instrs. ; songs; etc.
Uber, Christian Benjamin, b. Breslau,
Sept. 20, 1746; d. there 1812 as Public Pros-
ecutor, etc. Excellent amateur musician. —
Publ. works: Operetta Clarisse; music to
the comedy Der Volontar; cantata Diukalion
und Pyrrha; an Ode aus der Geschichte der
Fanny Welkes; several instrl. divertimentos,
concertinos, etc. ; pf .-sonatas, a serenade, and
a quintet.
Uber, (Friedrich Christian) Hermann,
b. Breslau, April 22, 1781; d. Dresden, Mar.
2, 1822. Law-student at Halle, but studied
music under Turk, and became chamber-
musician to Prince Louis Ferdinand of
Prussia, 1st violin at Brunswick (1807), opera-
cond. at Kassel (1808) and Mayence (1814),
and from 1818 cantor and mus. dir. of the
Kreuzkirche, Dresden. — Works: Les Marins,
opera comique (Kassel); Der falsche Werber,
intermezzo (Kassel, 1808); Der frohe Tag,
opera (Mayence, 1815); music to Klinge-
mann's drama Moses, to Der ewige Jude, to the
allegory Saxonia, and to Schiller's Taucher;
oratorio, Die letzten Worte des Erlosers; can-
tatas, a violin-concerto, etc. He publ. the
overtures to Der ewige Jude and Les Marins,
the violin-concerto, and German and French
songs.
Uber'ti [Hubert] [oo-behr'te], Antonio,
brilliant stage-soprano (musico); b. (of Ger-
man parents) Verona, 1697; d. Berlin, Jan.
20, 1783. One of Porpora's best pupils, he
was therefore called il Porporino. From
1741 he was in the service of Frederick the
Great, at Berlin.
965
UDBYE— UMLAUFT
Udbye, Martin Andreas, b. Trondhjem,
Norway, 1820; d. (?). Self-taught until he
went to Leipzig, studying with K. F. Becker
(org.) and M. Hauptmann (comp.); returning
to Trondhjem, he was org. at the Hospitals-
kirke, and later at the Fruekirke.— Works:
An opera, Fredkulla (not prod.); 2 Singspiele,
Iljemve [Longing for Home] and Perrichons
Rejse [P.'s Trip]; an operetta, Junkeren og
Flubergvctsen (prod, in Christiania); cantatas
for soli, ch. and orch.; 2 str.-quartets (op.
1, Ai>; op. 6, G); marches for mil. music;
chorused; org. -pes.; pf.-pes.; songs.
Ugalde [a-gahld'J, Delphlne [nte Beauce],
stage-soprano; born Paris, Dec. 3, 1829; d.
there July 19, 1910. Pupil of her mother,
Moreau-Sainti and Cinti-Damoreau; debut
in July, 1848, as Angele in Auber's Domino
Noir; sang at the Op£ra National, Opera-
Comique and Th.-Lyrique; and in 1866
assumed the management of the Bouffes-
Parisiens, taking leading rflles in Offenbach's
operettas; in 1867 she appeared in her own
operetta, La Halle au Moulin. She retired
in 1871, living thereafter as a very succ.
teacher in Paris; among her distinguished
pupils were Marie Sass and her own daughter,
Marguerite. She was married twice, to a
Spanish musician U. (d. 1858) and to an
impresario, Varcollier.
Uhl [ool], Edmund, b. Prague, Oct. 25,
1853. Pupil of Richter, Reinecke, Jadassohn
and Wenzel at Leipzig Cons., winning the
Helbijg Prize for pf. -playing in 1878; since
then in Wiesbaden as teacher at the Freuden-
berg Cons., organist at the Synagogue, and
mus. critic for the 'Rheinischcr Courier.' —
Works: An opera, Jadwiga; prelude to
Hauptmann 's Die versunkene Glocke; 3
Slavnsche Intermezzi for orch.; Romance for
vl. and orch. (op. 7); pf.-trio in G m. (op. 1);
vcl. -sonata in G (op. 5); Walzer-Suite for pf.
4 hands (op. 3); pf.-pes.; male choruses; songs.
Uhlig [[oo'Hyh], Theodor, b. Wurzen, Sax-
ony, Feb. 15, 1822; d. Dresden, Jan. 3, 1853.
Pupil of Fr. Schneider at Dessau; in 1841,
violinist in the Dresden orch. From an
opponent of Wagner he became one of the
master's greatest admirers and active propa-
gandists; he made the vocal score of Lohengrin.
Of his 84 works (symphonies, chamber-
music and Singspiele) only a vl.-concerto,
a Charakterstuck in form of a fugue for pf.
and songs were publ. He wrote Die Wahl der
Taktarten; Die gesunde Vernunft und das Ver-
bot der Fortschreitung in Quinten; Druckfehler
in den Symphonie-Parttturen Beethovens. —
Cf. the passages in Wagner's Mein Leben
(2 vols.; Munich, 1911) and Briefe an T. U.,
W. Fischer und F. Heine (Leipzig, 1888;
Engl. tr. 1890); M. Ahrend, T. U. der frith
verstorbene Wagnerianer (Bayreuth, 1904).
966
Ulrich [661'riyh], Hugo, born Opp, H
Silesia, Nov. 26, 1827; d. Berlin, May 23
1872. Pupil of Kotzotdt, Mosewius <jn
Brosig at Breslau; from 1846, while study ir^
at the Berlin Univ., of Dehn. From 1859^0 ^
teacher at the Stern Cons.; otherwise earn^;
his living by working for publishers ; poven >
prevented the full development of his gi:Y«
as a composer. — Works: 3 symphonies top
6, B m.; op. 9, C, Symphonie triomph*u<:
[won the prize of 1500 francs offered by th*
Brussels Acad, in 1853]; No. 3, O [MS
Fest-Ouvertiire in C (op. 15); a pf.-trio in \
(op. 1); a vcl.-sonata in Bb (op. 5); a >ir-
quartet in Eb (op. 7); pf.-pes.; songs; an j
an unfinished opera, Bertrand de Born, fit-
made excellent arrs. of Beethoven's syr.
phonies f. pf., 4 hands.
Ulybyshev (French OulibischefF, Grr
Uliblscheff) [oo-lu-bii-shehv'], Alexander
Dimltrievitch d\ Russian diplomat a:
mus. amateur ; b. Dresden, April 2, 1 794 ; d .
his estate at Nizhny Novgorod, Feb. 5, 185
— Publ. NouveUe Biographic de Mozart, sur
d'un apercu sur Vhistoire generate de la music -
(1844; 3 vols.; 2d German ed. 1859) ; to vk
Lenz's scathing attack (in Beethoven, el s-
trois styles) on the opinions therein express-
on Beethoven's last style, he replied mi:!:
Beethoven, ses critiques et ses glossateurs (1857;
Ger. ed. 1859), maintaining his former posi-
tion, and conclusively proving his own ina-
bility to appreciate Beethoven.
Umlauf [66m'lowf], Ignaz, born Vienna
1756; d. Meidling, June 8, 1796. Mu>.
director of the German Opera at Vienna;
from 1789, Salieri's deputy as Kapellm. oJ
the Imp. Chapel. His Singspiele had great
vogue: Die Bergknappen, and Die p&cefar-
benen Schuhef oder die schone Schusterin
(1778); Die Apotheke (1778); Die glucklichtn
Jdger (17 85); Der Ring der Liebe (17 85); Da,
Irrlicht, with the song, 'Zu Steffen sprach im
Traume'; Aeneas in Carthago.
Umlauf, Michael, son of preced/V
born Vienna, Aug. 9, 1781; d. there June
20, 1842; followed Weigl as KapeJ/m. o(
the German Opera. Wrote the opera Drr
Grenadier (Vienna, 1810) and Das Wirls-
haus in Granada (not prod.), 6 ballets, and
sacred music (for the Court Chapel); publ. a
vl.-sonata, a 4-hand pf. -sonata, and pf.-pes.
Umlauf t, Paul, b. Meissen, Oct. 27, 1853.
Pupil of Leipzig Cons., holding the Mozart
Scholarship 1879-83.— Works: The operas
Evanthia (Got ha, 1893; succ; took prize
offered for best 1-act opera by the Duke of
Koburg-Gotha) and Betrogene BetrUger (Kas-
sel, 1899); has publ. the dramatic poem
Agandecca, f. soli, male ch. and orch. (op.
40); Mittelhochdeutsches Liederspid f. solo,
vocal quartet w. pf. (op. 30); other vocal
UNGER— UPTON
works : a Nocturne and TarenteUe f . pf . (op. 4) ;
Fantasiebilder, on mottos from Faust, for
pf. 4 hands (op. 36); etc.
Unger, Georg, b. Leipzig, Mar. 6, 1837;
d. there Feb. 2, 1887. Dramatic tenor;
originally a student of theology at Leipzig;
stage-debut there in 1867; after several en-
gagements, Hans Richter heard him at Mann-
heim, and recommended him to Wagner for
the rOle of Siegfried in Der Ring desNtbelungen
at Bayreuth, 1876. Unger studied the part
-with Hey, and his interpretation of it made
him famous. 1877-81, eng. at Leipzig.
Unger, (Gustav) Hermann, b. Kamenz,
Saxony, Oct. 26, 1886. St. classical philol.
in Freiburg, Leipzig and Munich; Dr. pkil.
(1910) with the dissertation fiber den Gebrauch
des daktylischen Hexameters in der aUgriechi-
schen Lyrik, TragodieundKomodie; in Munich
he also st. music under E. Istel and J. Haas,
continuing under M. Reger in Meiningen
(1911-13); now (1918) living in Cologne as
comp. and mus. critic of .the 'Rheinische
Musik- und Theaterzeitung.' — Has publ.
Versuche zu einer Hausmusik (3 books of mini-
atures for pf.). In MS., incid. music to
Hof mannsthal's Tor und Tod and Schnabel's
Wiederkehr; Nacht, an orchl. suite; Japani-
sches Liederspiel for mixed ch. and orch.;
Der Gott und die Bajadere for declamation,
ch. and orch.; a trio for clar., via. and pf.;
a str.-trio; Divertimento for str.-quartet; a
vl. -sonata; choruses; songs.
Un'ger, Johann Friedrich, b. Brunswick,
1716; d. there Feb. 9, 1781. Noteworthy
as the inventor of the first apparatus
for the mechanical notation of music played
on the oianoforte, described in his Entwurf
einer Maschine, wodurch aUes, was auf dem
Clavier gespielt wird, sick von selber in No ten
setzt (1774). He claimed priority of in-
vention over Hohlfeld (1752).
Un'ger (in Italy, Ungher), Karollne,
celebrated stage-singer; b. Stuhlweissenburg,
Hungary, Oct. 28, 1803; d. at her villa near
Florence, Mar. 23, 1877. She st. in Milan
with D. Ronconi and in Vienna with Aloysia
Langer, Mozart's sister-in-law, and J. M.
Yogi, the friend and first interpreter of Schu-
bert; made her debut in Vienna in Cost fan
Tutte (Feb. 24, 1821); Beethoven chose her to
sing the sop. soli in the first perf. of his Missa
Solemnis and Ninth Symph. (May 7, 1824),
at the conclusion of which she turned the deaf
master around that he might see the applause.
After that she made for several years tri-
umphal tours of Italy; her reception in Paris,
however, was comparatively cool (Oct.,
1833), and she never sang there again. In
1839 she was engaged to be married to the
poet Lenau, but the engagement soon was
broken; in 1841 she married the French
writer Francois Sabatier (1818-91), and re-
tired from the stage. A great actress, her
voice was powerful, but not perfectly equal-
ized, and often shrill in the highest register.
Among the Italian composers that wrote
operas especially for her were Donizetti
(Parisina, Belisario, Maria di Rudenz),
Bellini (La Straniera), Pacini (Niobe), Mer-
cadante (Le due iUustri Rivalt), etc. She
publ. Lieder, Melodies el StorneUi (46 songs).
— Cf. O. Hartwjg, Fr. Sabatier und K. Sa-
batier- Unger, in 'Deutsche Rundschau' (May,
1897).
Unger, Max, b. Taura, Saxony, May 28,
1883. While attending the Gymnasium at
Chemnitz he st. music with F. Mayerhoff and
P. H. Wiedemann; 1904-6, at the Leipzig
Cons., with A. Ruthardt (pf.) and H. Zdllner
(comp.), also attending Kiemann's lectures
at the Univ.; 1906-7, Repetitor at the
Stadtth. in Leipzig; after teaching a year at
the Cons, in Bromberg (1907-8) he returned
to Leipzig for further study, becoming Dr.
pkil. (1911) with the dissertation Muzio
Clementis Leben (publ. 1914); now (1918)
living in Leipzig as cond. of the 'Madrigal-
Chorvereinigung' and mus. critic of the
'Neue Ztschr. fQr Musik/ His study of
Clement Ps correspondence enabled him to
correct the dates of a number of Beethoven's
letters and to supply missing dates of others;
is now eng. in editing B.'s complete letters. —
Has publ. Beethovens Heiratsprojekt im Jahre
1810, in 'Neue Musikztg/ (1911); Auf
Spuren von Beethovens unsterUicher Geliebten
(1°11).
Ungher-Sabatier. See Unger, Karolink.
Upton, George Putnam, mus. writer and
critic; born Roxbury, Mass., Oct. 25, 1835.
Graduate of Brown Univ., 1854; in 1855,
city editor for the Chicago 'Native Citizen,'
1856-ol for the 'Journal1; from 1861 un-
interruptedly on the editorial staff of the
Chicago 'Tribune,' acting also as mus. critic
from 1861^85. His criticisms were the first
that ever appeared in any Chicago paper.
Founder (1872) and first president of the
Apollo Club; member of the Archaeological
Inst, of America; corresp. member of Chicago
Historical Soc. and Wisconsin Hist. Soc. —
Writings: Letters of Peregrine Pickle (1870);
Woman in Music (1880); Standard Operas
(1886; new ed. 1913); Standard Oratorios
(1887; new ed. 1900); Standard Symphonies
(1889); Musical Pastels (1902); Standard
Light Operas (1902); E. Remenyi. Musician,
Litterateur and Man (1906); Standard Con-
cert Guide (1908); Standard Concert Repertory
(1909); In Music's Land (1913); The Song
(1915) ; numerous contributions to magazines;
has translated Nohl's Haydn, Liszt, Beethoven
and Wagner; also Max Mailer's Deutsche
967
URBACH— URLUS
Liebe, with the Engl, title Memories, and
Storm's Immensee; has edited Theodore
Thomas's autobiography (2 vote.; 1905).
Urbach [oor'bah], Otto, b. Eisenach, Feb.
6, 1871. Pupil of Muller-Hartune and B.
Stavenhagen in Weimar, of B. Scholz, I.
Knorr and E. Humperdinck in Frankfort, of
F. Draeseke in Dresden, and of K. KHnd-
worth in Berlin; winner of the Liszt stipend
(1890) and of the Mozart stipend (1893);
since 1898 prof, of pf. at the Dresden Cons.;
made Kgl. Prof, in 1911.— Works: An opera,
Der Mmer von Sans-Souci (Frankfort, 1896);
an overture, Bergfahrt; a str.-quartet, Horsila;
septet for wind-instrs. ; suite for vl. and pf.;
pf.-pcs.; many songs.
Urban Jddr'bahn], Frledrlch Julius,
brother of Heinrich U.; b. Berlin, Dec. 23,
1838; was solo boy-soprano in the Domchor
under Neithardt, and a private pupil of H.
Ries and Hellmann (violin), Grell (theory),
and Elsler and Mantius (singing). He
taught singing in Berlin schools, and was in
freat request as a singing- teacher. Publ.
>ie Kunst des Gesangs; some songs and
choruses.
Urban, Heinrich, b. Berlin, Aug. 27, 1837;
d. there Nov. 24, 1901. Studied under Ries,
Laub, Hellmann, and others; also at Paris.
Gifted violinist and composer; from 1881
teacher at Kullak's Acad.; was a noted theo-
rist.— Works: Op. 6, Overture to Schiller's
Fiesco; op. 10, Dramatische Szene for vl. and
orch.; op. 14, Scheherazade, concert-overt.;
op. 16, Friihling, symphony in G; op. 17,
Romanze for vl. and orch.; op. 18, Barcarole
for vcl. and orch.; op. 20, OuvertUre zu einem
Fastnachtsspiele; op. 22, vln. -concerto; op. 25,
Der RaUenfdnger von Hameln, 'Fantasiesttick'
for orch. (after J. Wolff's Aventiure) ; pes. for
vl. and pf.; songs.
Urba'ni, Valentino. See Valbnttni.
Urfey, Thomas d\ b. Exeter, Engl., c.
1649; d. London, Feb. 26, 1723. A play-
wright, producing about 30 stage-pieces, the
songs in some of which were set to music by
Purcell. He himself wrote and sang many
songs, publ. in his Wit and Mirth; or, Pills to
Purge Melancholy (4 vols., about 1706; aug-
mented to 6 vols., in 1719-20). He also
Cubl. (1683-5) 3 sets of his songs, set to music
y eminent composers. — See Q.-Lex. (under
D'Urfey).
Urhan [u-rahn'], Chretien, b. Montjoie,
n. Aix-la-Chapelle, Feb. 16, 1790; d. Paris,
Nov. 2, 1845. Violinist, pupil of Le Sueur
in composition; revived the viole d 'amour,
playing in Bail lot's Quartet; from 1816 he
was violinist (later soloist) in the Opera
orch. In the Cons. Concerts he employed a
5-stringed violin (violon-alto, with the accorda-
tura f-^-fl1^), producing charming effect
(see Woldemar). He was for years organk
at St.-Vincent-de- Paul.— Works: 2 QuinUU
romantiques f. 2 violins, 2 violas, and ceU..
3uintets f. 3 violas, 'cello and d.-bass, t-
rums ad lib.; 3 Duos rotnantiques f. pf. -
hands; 2 solo pieces f. pf.; songs.
Urlch [Q-resh'J, Jean, b. on island of Trini-
dad, Sept. 9, 1849. St. in Paris with b
Damcke and C.-F. Lenepveu (1868), and n
London with Charles Gounod (1871-4
founder (1890) of the '£dition Paul Dupon:
in Paris, and dir. of 'Le Fijgaro musical
Works: The operas VOrage (Brussels, 187v
Flora Macdonaid (Bologna, 1885) ; Le Pu&
(Monte Carlo, 1889); Le Carillon <Aix-fc>
Bains, 1895); Hermann und Dorothea (Berlin
1899); La dealt tt la Fourmi (as The Citato
London, 1912); Tsing- Tau (ib., 1914; f-act
Ariane (not prod.; overture perf. in Par
1904); also a concerto for 2 pfs. and sor
chamber-music.
Urlus [urlQs], Jacques, famous drama*
tenor; b. Hergenrath, n. Aix -la-Chapel
Jan. 9, 1867. When he was 10 his parent:
moved to Tilburg, Holland, and there he
received his first musical instruction from as
uncle, Kapellm. and choral cond.; in Utrecht.
where his parents settled in 1884, fie attend^
the technical high school to prepare for a
course in engineering; although he sang
there in a church-choir and 2 choral societies,
he had no intention of becoming a singer
While he was serving his year in the Dutch
army, the fine quality of his voice attracted
the attention of his colonel; with some dif-
ficulty the latter persuaded him to study
with Richard Hoi, the munic. music-dir.; he
then continued his studies in Amsterdam
with H. Nolthenius (1893-4), A. Averkamp
(1894-7) and, at the Cons., with Cornelia
van Zanten (1894-6). De Groot, hearing
him in a concert, eng. him for the Dutch
Opera in Amsterdam; succ. d£but as Beppo
in Pagliacci (Sept. 20, 1894); sang there?///
1900; 1900-15, at the Stadtth. in Leipag,
also singing as a star in the principal theatres
of Germany, Austria, France, Belgium and
England; in 1911 he sang for the first time
in Bayreuth (Siegmund); in 1912, '13 and 'U
at the Wagner festivals at La Monnaie,
Brussels. Amer. debut Boston (Feb. 12,
1912) as Tristan; from 1913-17 he sang the
Wagner r61es at the M. O. H. (first appear-
ance as Tristan, Feb. 8, 1913). His favorite
rdles are Tristan, Siegfried, Siegmund and
Lohengrin. As an interpreter of the Wag-
nerian r61es he has no superior; his voice,
ranging from G-c*, is a superb organ under
perfect control ; he is one of the few Wagner
singers who never impair the natural beauty
of their tone by forcing.
968
URSO— VALDRIGHI
Urao [oor'soh], Camilla, born Nantes,
France, June l$t 1842; d. New York, Jan.
20, a 1902. Distinguished violin- virtuoso, a
pupil of Massart in Paris. Accompanied by
her father, she played in New Yorfej Boston,
Philadelphia, etc. (from 1852-5), with great
success, particularly in concerts of Alboni and
Sontag. The next seven years she spent in
retirement, perfecting herself, and on her
reappearance (1862) as a mature artist, she
was accepted in America and Europe as a
violinist of the first rank. From that time
on she vibrated between the continents, her
tours being an uninterrupted succession of
triumphs; in 1879 and '94 she visited
Australia; after a phenomenally successful
tour of South Africa (1895) she settled per-
manently in New York, appearing only on rare
occasions. Shortly before tier reappearance in
1862 she married Frederic Lucres in Paris.
Ur'spruch [oor'sprftdh], Anton, pianist
and comp. of distinction; b. Frankfort -on-
Main, Feb. 17, 1850; d. there Jan. 11, 1907.
Pupil of Ignaz Lachner and M. Wallenstein,
later of Raff and Liszt. Teacher of pf.-play-
ing at the Hoch Cons.; from 1887, at the
Raff Cons., Frankfort. — Works: Opera Der
Sturm [after Shakespeare's Tempest] (Frank-
fort, 1888); a comic opera, in a Prologue and
3 acts, Das Unmoglichste von AUem (Karls-
ruhe, 1897; U. wrote both text and music);
op. 26, Die Friihlingsfeier f. ten. solo, ch. and
orcli.; op. 30, Menschenloos f. male ch. and
orch.; op. 24, A ve Maris Stella f. ch., org. and
orch., op. 9, pf.-concerto; op. 14, symphony
in Eb; op. 21, pf. -quintet in D; op. 12, pf.-
trio in Bb; op. 28, vl. -sonata in Dm.; op.
29, vcl. -sonata in D; op. 11, Notturno and
Romanze for vl. and small orch.; op. 1,
Sonata quasi fantasia for pf. 4 hands; op. 13,
Variationen und Fuge (on a theme of Bach's)
for 2 pfs.; pf.-pcs. (op. 7, Deutsche Tanse, 5
books; books 1 and 2 arr. for orch.); songs.
Also wrote Der gregorianiscke Choral (1901).
Ur'sus. See Bahr.
Utti'ni, Francesco Antonio Barto-
lommeo, b. Bologna, 1723; d. Stockholm,
Oct. 25, 1795. In 1743 he became a member
of the Accademia filarmonica in Bologna, and
in 1751 its pres.; after a short stay at Ham*
bur ^ (Oct., 1754) he went as cond. of an
Italian opera company to Stockholm, where
he remained till his death; 1767-87, Hof-
kapellm. at the opera there, for which he
wrote 7 Italian and 5 French operas. His-
torically he is important as the comp. of the
earliest operas on Swedish texts; the first,
Thetis och Peleust was written for the inaugu-
ration of the new opera house (Jan. 18, 1773);
the other 3 are Aline, drottning af Golconda
[A., Queen of G.] (1776), Athalie (1776) and
Iphigenie (1777). A great admirer of Cluck,
he brought out all of the master's works in
Stockholm, and in his own Swedish operas
attempted, unsuccessfully, to imitate the
new dramatic style. He also wrote 2 ora-
torios, Giuditta and La Passione di Gesu
Cristo; 3 symphonies and about 25 trio-
sonatas.
V
Vaccal, Niccolo, born Tolentino, Papal
States, Mar. 15, 1790; d. Pesaro, Aug. 5,
1848. Pupil of Tannaconi (cpt.) at Rome,
and from 1812 of Paisiello (dramatic comp.)
at Naples, producing his first opera, / Solitari
di Scotia, at the Teatro Nuovo, 1815. Ill
fortune on the stage caused him to adopt the
vocation of a singing-teacher; though up to
1845 he brought out 16 operas, one of which,
Ciulietta e Romeo (Milan, 1825), was much
applauded, and made the rounds of Italian
theatres; its third act was generally sub-
stituted for that of Bellini's Capuleti e Mon-
tecchi.—V. taught at Venice (1818-21),
Trieste (1821-23), Vienna (1823), Paris
(1829-31), and London (1832), with ever-
increasing reputation. .Returning to Italy,
he succeeded Basili in 1838 as prof, of comp.,
and censor, at the Milan Cons., retiring to
Pesaro in 1844. Besides operas, he wrote
4 ballets, cantatas, and church-music; with
Coppola, Donizetti, Mercadante and Pacini
he comp. the funeral cantata for Malibran;
further, vocal duets, arias, and romances; an
excellent and oft-republ. Metodo pratico di
canto italiano per camera; and 12 ariette per
camera, J>er Vinsegnamento del belcanto italiano.
— Cf. G. Vaccal, Vita di N. V. (Bologna,
1882).
Valdrlghl [vahl-drf'ge], Luigi Francesco,
Conte, born Modena, 1837; d. there April
20, 1899. For his valuable researches re-
garding music and musicians in Modena he
was made hon. member of the Acad, of Arts
and Sciences there, and of the Accad. Santa
Cecilia in Rome. His coll. of early musical
instrs., exhibited in Bologna (1889), he be-
queathed to the Museum of his native city.
Under the collective title 'Musurgiana' he
publ. a number of monographs on the music
and musicians of Modena (1879-93); in the
'Memorie delta Accad. modenese' he wrote
/ Bononcini di Modena (1882), Cappelle, con-
cetti e musiche di casa d'Este (1884) and Sin-
crono documento intorno at metodo per suonare
U Phagotus d'Afranio (1895); also publ.
Ricerche sulla liuteria e violineria modenese
antica e moderna (1878) and Nomocheliurgo-
grafia antica e moderna (1884; with 2 suppfs.,
1888 and '94). Together with G. Ferrari-
Moreni he completed A. Candini's Croni-
storia dei teatri di Modena (1883).— Cf. £.
Zoccoli, // Conte L. F. V, . . . nota con
leUere di A. Boito (Modena, 1899).
969
VALENTINI^-VAN DEN BO R REN
Valenti'nl, rede Valentino Urba'nl, a
celebrated contraltista (musico), whose voice
changed later to a high tenor; he came to
London Dec. 6, 1707, and sang there till
1714 in English and Italian opera.
Valentino, Henri - Justin - Armand-
Joeeph, b. Lille, Oct. 14, 1785; d. Versailles,
Jan. 20, 1865. In 1820 2d, in 1824 1st cond.
(w. Habeneck) at the Grand Opera; 1831-7,
at the Opera-Co mique; then founded the
first popular concerts of classical music, as a
rival enterprise to the Conservatory Con-
certs, at the Salle St.-Honore (since called
the 'Salle Valentino'), but discontinued them
in 1841. Retired to Versailles.
Valet'ta, Ippolito. Pen-name of Count
Franchi-Verney.
Valle de Pas. See Del Vallb de Paz.
Valle-Riestra [vahl'ye rMhs'trah], Jose*,
born Lima, Peru, Nov. 9, 1859. Began the
study of pf. at the age of 7 in London; after
his return to Lima he con t. his musical educa-
tion without a teacher; st. comp. and orch.
with A. Gedalge in Paris (1895-7). Since
its foundation (1909) he has been prof, of
solfege and harm, at the Academia Nacional
de Musica in Lima. As a composer it has
been his chief aim to contribute toward the
establishment of a national school by the
employment of old Inca melodies, especially
in his operas written on national subjects. Of
his 3 operas, Ollania (3-act), Atahualpa (do.)
and Las Rosas de Jamaica (1-act), only the
first was prod. (Lima, Dec. 26, 1901). Other
works: Misa de Requiem for ch. and orch.;
En Oriente for orch.; Elegia for str.-orch.;
choruses a capp. and songs.
Vallot'ti, Francesco Antonio, eminent
theorist and composer; b. Vercelli, June 11,
1697; d. Padua^ Jan. 16, 1780. Franciscan
monk; pupil of Calegari at Padua; froml728„
maestro at the church of S. Antonio. He
was one of the foremost organists of his time.
— Publ. works: Responsoria in parasceve, Resp.
in Sabbalo Sancto and Res p. in Coena Domini,
all a 4 (masses, motets, etc., in MS. at Padua);
and Delia scienza teorica e practica delta
moderna musica, Book i (Padua, 1779; the
other 3 books unpubl.), a learned work agree-
ing in the main principles with Rameau and
Tartini, and correcting some of their errors;
V.'s system is explained in La vera idea delle
musicali numericke signature, by L. A. Sab-
batini, who, like Abbe Vogler, was V.'s pupil.
— Cf. L. A. Sabbat ini, Notizie sopra la vita
e le opere di F. A. V. (Padua, 1780).— See also
Q.-Lex.
Van Bree, Joannes. See Brbe.
Van Broekhoven [brook'-), John A., b.
Beek, Holland, Mar. 23, 1856. St. entirely
with private teachers; in 1889 he organized
970
in Cincinnati a symph. orch., which he con -j
for several years; also taught comp. at t&*
Cincinnati Coll. of Music until 1899; pbay*r
viola under Th. Thomas at many festivals in
Cincinnati, Chicago and New York; living
since 1905 in New York as teacher of singing
and comp. — Works: A 1 -act opera, A Colonic-
Wedding (Cincinnati, 1905); 3-act oper^
Camarataaman (not prod.); A Creole Sta:>
for orch.; Columbia, overture for orch. and
ch.; a str.-quartet ; several works for ch. anc
orch. Author of The Tone-producing Fun* -
tions of the Vocal Organs (1905); The True
Method of Tone-production (1908); A Sys&m
of Harmony; The Genesis of Music u-
preparation, 1918).
Van Bruyck, Karl. See Bruyck.
Van Cleve, John Smith, b. Maysvilk
Ky., Oct. 30, 1851. Pianist and teacher
pupil of Nothnagel (Columbus, O.), Las.
and Apthorp (Boston), and W. Stein brec;
(Cincinnati). Taught at the Inst, for -
Blind, Columbus, 1872-5; at Janesvik
Wis., 1879; lived in Cincinnati 1879-97 as,
teacher, critic ('Cine. Commercial/ etc .
writer, and lecturer (at the Cons, and the
Coll. of Music); gave many piano lecture
recitals. Is A.M. of the Ohio Wesleyan Univ.
(1874); Ph.D. of Twin Valley College (1892 1.
Removed to Chicago (1897), then lived for
some time in Troy, N. Y., and since 1913 in
N. Y. City. — Has publ. a Gavotte humoresqw
f. pf.; and, in book-form, Annotations on
Campaign's 22 Quartet Concerts given
in 1892-3.
Van den Boorn-Coclet [kdh-ldal. Hen-
riette, b. Liege, Jan. 15, 1866. Pupil of Th.
Radoux and S. Dupuis at the Liege Cons.;
until the outbreak of the war she taught
harmony there. Her comps. attracted con-
siderable attention in Belgium and France.
— Works: Callirrhoe, cantata; a symphony;
Andante symphoniaue; Le Renouveau, symph.
poem; vl.-sonata in D m.; SSrSnade for vd.
and pf.; Vers Vinfini for do.; pf.-pcx
(Mazourka, Caprice, Tarentelle, etc.); songs.
Van den Borren, Charles (-Jean-Eu-
gene), eminent musicologist; b. Ixelles, n.
Brussels, Nov. 17, 1874. Pupil of E. Clos
sons (theory); after receiving the degree of
Dr. juris (1897) he practised till 1905, oc-
cupying at the same time the position of mus.
critic of 'L'Art Moderne'; since then he has
devoted himself to musical research, retaining
his post as critic and lecturing at the 'Institut
des Hautes Etudes musicales et dramatiques'
and at Brussels Univ.— Writings: VCEuvre
dramatique de Char Franck (1907); Les
Origines de la musique de Clavecin en Angle-
terre (1913); Les Musiciens beiges en Angle-
terre d Vepoque de la Renaissance (1913);
Les Origines de la musique de Clavecin dans
VAN DEN EEDEN— VAN DER STUCKEN
l<?s Pays-Bas [Nord el Sud] j usque vers 1630
(1914); Les Debuts de la musique a Venise
(1914); also valuable essays.
Van den Eeden. See Eeden.
Van der Linden, Cornelius, b. Dordrecht,
A ug. 24, 1839. Pupil of Bohme (harm, and
eiDt.) and Kwast (of.). Cond. of the Dor-
d recht Philharm. Soc.t the National Guard
txand, and choral societies. — Works: 2 operas,
Tenters, and Le Mariage au tambour; over-
tures; choruses w. orch.; songs.
Van der Straeten [strah'-], Edmond, b.
Oudenaarde (Audenarde), Belgium, Dec. 3,
1826; d. there Nov. 26, 1895. Student of
philosophy at Ghent; went to Brussels in
1857, and studied counterpoint under Fetis
(acting as his secretary for 2 or 3 years), and
comp. under Bosselott He held a life-posi-
tion in the Royal Library, interrupted only
by journeys to Italy, and a stay of some years
at Dijon; edited the paper 'Le Nord' for a
short time, also writing (1859-72) mus. criti-
cisms. He comp. a 3-act opera, Le Proscril;
but his fame rests upon his work as a mus.
historian and compiler, embodied in the
following publications: Coup d'ceil sur la
musique actuelle a Audenarde (1851); Notice
sur Charles- Felix de Hollandre (1854); Notice
sur les carillons d' Audenarde (1855); Re-
cherches sur la musique a Audenarde avant le
XIX' siede (1856); Examen des chants
populaires des Flamands de France, publics
par E. de Coussemaker (1858); Jacques de
Gouy, chanoine d'Embrun (1863); J.-F.-J.
Janssens (1866); La musique au Pays-Bas
avant le XIX" siede (1867-88; 8 vols; a
monumental work of reference) ; Le noordsche
Balck du musee communal d'Ypres (1868);
Wagner; Verslag aan den heer minister van
binnenlandsche Zaaken (1871); Le thedtre
villageois en Flandre (2 vols.; 1874, '80);
Les musiciens beiges en Italie (1875); Societes
dramatiques des environs d' Audenarde (n. d.);
Voltaire musicien (1878); La melodic popu-
late dans I'opSra 'Guillautne Tell9 de Ros-
sini (1879); Lohengrin: instrumentation et
philosophic (1879); Turin musical (1880);
Jacques de Saint-Luc (1886); La musique
congrattdatoire en 1454, etc. (1888); Cinque
lettres intimes de Roland de Lassus (1891);
Notes sur quelques instruments de musique
(1891); Les billets des rois en Flandre; xylo-
grapkie, musique, coutHmes, etc. (1892); Nos
plriodiques musicaux (1893); Charles V mu-
sicien (1894); Les Willems, luthiers gantois
du XVII' siede (1896; with C. Snoeck).
Van der Straeten, Edmund Sebastian
Joseph, b. Diisseldorf, April 29, 1855. St.
vcl. at Cologne under J. Hoke (1867-72) and
L. Ebert (1872-8); made his debut as soloist
in 1875, and was 2d 'cellist in R. Heckmann's
concerts of chamber-music; came to London
in 1881; in 1882 he st. at the G. S. M. under
G. Libotton (vcl.) and Louis B. Prout
(comp.); 1886-^8, st. again in Cologne under
L. Hegyesi (vcl.) and E. Humperdinck
(comp.); returned to London in 1888, and
was app. prof, of vcl. at the Hackney Inst., a
post which he still holds (1918). With E.
Proot, A. Ashton, R. Ortmans, A. Kummer,
and others he frequently appeared in cham-
ber-music concerts; founded the 'Society for
the Cultivation of Modern Chamber-music,'
which gave concerts for several seasons. In
1889 he became interested in the viola da
f'amba, which he mastered in a short time;
ater he formed a trio with his son Ludwig
(a professional painter, but excellent ama-
teur musician) and Norman Greiffenhagen
for the performance of Fancies and Consorts
for viols by English, French and German
comps. of the 17th and 18th centuries. In
1911 he organized and cond. a chorus of 600
voices for the performances of Vollmoller's
Mirakel with incid. music by Humperdinck
(at the Olympia; repeated 1912-13 at Cov.
Garden). — Has publ. a Romance in F for
vcl. and orch., and numerous pes. for vcl. and
pf. (Abendempfindung, Chant du Troubadour,
Suite on Engl, airs, etc.); Gavotte et Musette
for via. da gamba; do. for vl.; In MS., a
3-act opera, The Lily of Kashmir (Prelude
perf. at Cov. Garden as overture to Voll-
moller's Mirakel); a pf. -quintet; a Christ-
mas cantata; choruses and songs. — Author
of Technics of Violoncello Playing (1898; 2d
cd. 1905); The Romance of the Fiddle (1911);
History of the Violoncello, the Viol da Gamba,
their Precursors and Collateral Instruments
(1915). He has ready for the printer (1918)
a treatise on Musical Form and one on Ele-
mentary Harmony.
Van der Stucken, Frank (Valentin), b.
Fredericksburg, Gillespie Co., Texas, Oct. 15,
1858. Taken by his parents to Antwerp, in
1866, he studied with Benoit, writing several
successful comps. (a ballet, perf. at the Royal
Th.; a Te Deum, a Gloria, etc.). Spent
1876-8 at Leipzig, aided in study by Reinecke,
Grieg and Langer; publ. op. 2-5; travelled
in southern Europe; 1881-2, Kapellm. of
Breslau City Th. During 1883, in Rudol-
stadt with Grieg, and in Weimar with Liszt;
1884^95, cond. of the 'Arion' in New York
(succ. L. Damrosch), which he took on a very
succ. tour of Germany in 1892; also cond.
of several series of orchl. concerts, notably
those of 1885-8, when he prod, many novel-
ties by Amer. composers; 1895-1903r dir. of
the Cincinnati Coll. of Music; 1895-1907,
cond. of the Cincinnati Symph. Orch. On
the sudden death of A. SeidI (1898) he was
invited by the N. Y. Philh. Soc. to conduct
the remaining concert of the season. In
971
VAN DRESSER— VAN HOOSE
1905 he was chosen to succeed Th. Thomas
as cond. of the biennial Cincinnati Music
Festival, and, although he lived in Europe
(chiefly at Hanover) from 1908-17, he re-
turned every 2 years to cond. the festivals
until his resignation (1912); in 1917 he re-
turned to the U. S. — Works: The opera
Vlasda (Weimar, 1883); incid. music to The
Tempest; male and mixed choruses a capp.;
many songs (op. 21, Zwei Konzertlieder w.
orch.). For orch.: Op. 6, symph. prologue
to Heine's William Ratcliffe; op. 10, Pagina
d' A more; op. 12, Festtug; op. 20, Idylle; op.
25, Rigaudon; op. 26, symph. prologue, Pax
triumpkans; op. 32, Louisiana, fest. march;
Ein kleiner Wooer for string-orch.
Van Dresser, Marcia, dramatic and con-
cert soprano; born Memphis, Tenn., Dec. 4,
1880. When scarcely more than a child she
sang in church and concerts in her native
city; after study with Mrs. Robinson- Duff
in Chicago she sang for one season with the
Bostonians (1898) ; was then en?, by Augustin
Daly for his N. Y. theatre, taking the place
of blanche Bates, later of Ada Rehan, in The
Great Ruby (1900); appeared with Viola
Allen in In the Palace of the King (1900) and
Francesco, da Rimini (1901); after further
vocal study she sang minor rdles at the M. O.
H. (1902-3), where she attracted the atten-
tion of Ternina and Mottl, who advised her
to study in Europe. Having studied for 3
winters with Hermine Bosetti in Munich, she
made her debut in grand opera at the Kgl.
Hofoper in Dresden as Elisabeth in Tann-
hduser (Sept., 1907), and was eng. for the
season; 1908-10, at the Hofth. in Dessau;
spent the summer of 1910 studying with J.
de Reszke in Paris; from 1911 until the out-
break of the war she was a member of the
Frankfort opera; also sang in several Ger-
man cities as 'Gast'; in 1909 she sang Sieg-
linde at Cov. Garden (under Richter). In
Dec., 1914, she returned to the U. S., gave
a successful recital in New York (Mar. 22,
1915), and made her real Amer. operatic
debut as Elisabeth with the Chicago Opera
Co. (Chicago, Nov. 25, 1915); sang there
(chiefly Wagnerian parts) until 1917; since
then on concert-tours of the U. S. Her
repertoire comprises 25 rftles, of which her
favorites are Senta, Elisabeth, Elsa, Sieg-
linde, Venus, Aida, Tosca and the Countess
(Nozze di Figaro).
Van Duyze [doiz], Florlmond, b. Ghent,
Aug. 4, 1843; d. there May 18, 1910. Lawyer
and amateur composer; pupil of Ghent Cons.,
winning Grand prix de Rome in 1873 with
the cantata Torquato Tasso's dood. Has
prod. 7 operas at Antwerp and Ghent; also
an ode-symphonie, De Nacht. He publ. a
valuable coll., 'Het oude nederlandsche Lied'
(1903-8; 4 vols.), and several reprints of o>
Dutch music. Wrote La Chanson profc*
dans Its Provinces Beiges du XI0 siZcle (18^
Van Dyck, Ernest (Marie Hubert
famous dramatic tenor; t>orn Antwvn
April 2, 1861. Having studied law
Lou vain and Brussels, he abandoned th
career and went to Paris, earning: his livelih--*
as a journalist (contrib. to 'La Patrie*) s-
studying singing with Saint Yves-Bax; m.i
his debut as a concert-singer in Vidal's ci-
tato he Gladiateur (Paris, June, 1883): -*n
Bach's Phxbus and Pan and the Sirs'
Symph. at a Lamoureux concert (Dec. .
1883) with such success that L-, who at r.1
time was giving concert performances ..«
Wagner's music-dramas, eng. him to h\
Tristan, Siegfried and Siegmund in exten >
excerpts, lie made his operatic debut
Lohengrin in the memorable French premv
(cond. by Lamoureux) on May 3, 1887.
the Th. feden; having studied ParsiYa/ v
Mottl, his interpretation of that rdle in B
reuth (1888) created a sensation, and nu:
him internationally famous; 1888-98 he « *
a member of the Vienna Hofoper, with ir-
quent leave of absence to fill engagement* m
the principal German cities and Lon&n
1898-1902 he sang the Wagner rdles at th
M. O. H., making his Amer. debut as Tann-
hauser (Nov. 29, 1898). After his return t
Europe he was prominently identified win
the performances of Wagner's music-dra/ntf
in Paris and Brussels. In 1906 he was apt*
prof, of singing at the conservatories in An:
werp and Brussels. In 1886 he marriei
Augusta Servais, a sister of the great cellar
His eminence, especially as a Wagner singer,
is due to his wonderful powers as an actor.
to which he rather unduly subordinate*
beauty of tone and perfection of technical
execution.
Van Hal. See Wanhal.
Van Hooae, Ellison, dramatic and concrrr
tenor; born Murfreesboro, Tenn., Aug. M,
1868. St. with I. Luckstone in New \'«V,
Fidele Koenig and J. de Reszke in Paris,
A. Cotogni in Rome, H. Wood and Franco
Navora in London; made his debut with
the Damrosch Opera Co. in Philadelphia
as Tannhauser (Dec. 11, 1897), and sang with
that organization till 1899; debut in oratorio
with the N. Y. Oratorio Soc. in The Messiah
(Dec. 29, 1897); 1903-5, Amer. concert-
tour with Mme. Melba; 1906-7, do. with
Mme. Sembrich; 1908-10, in concert and
opera in Germany, Italy, England and
Scandinavia; 1911-12, with Chicago Opera
Co.; since then almost exclusively in oratorio
and concert ; sang in Amer. premiere of El-
^ar's Dream of Gerontius (N. Y. Oratorio
Dec. 6, 1903). His favorite operatic
972
VANNUCCINI— VAN ZANTEN
rdles are Radames, Rodolfo (Bohhne), Des
Grieux (Manon), Turriddu, Samson and
Lohengrin.
Vannucclni [-che'nel, Luigi, distinguished
singing-master; born Fojano, Dec. 4, 1828;
d. Montecatini, Aug. 14, 1911. Pupil of his
father and of the Florence Cons.; became
operatic cond. in Florence in 1848, and filled
similar positions in other cities; tiring of the
monotony of the Italian repertoire of the day,
he turned to the piano, and soon was recog-
nized as one of the foremost of Italian pian-
ists; finally settled in Florence as a most suc-
cessful singing-master. His comps. include
masses, songs and pf.-pcs.
Van Rooy [roh'e], Anton [baptismal names
Antonius Maria Josephus], celebrated
dramatic baritone; born Rotterdam, Jan 12,
1870. As a boy he sang in a church-choir,
having a high soprano voice; after mutation
his voice developed so finely that in 1892 he
left a cigar business which he had conducted
for two years, and studied until 1896 with
Stockhausen at Frankfort. Frau Prof. Thode
(Cosima Wagner's daughter) having heard
him sing Wotan's FareweH at a concert, sent
to Bayreuth such a glowing account of the
singer that he was immediately engaged for
the Festival of 1897, where he sang the three
Wotans with success. For the summer of
1898 he was eng.'at Covent Garden; on Dec.
14, 1898, he made his Amer. debut as Wotan
in Die Walkure at the M. O. H., where he
appeared each season until 1908, singing in the
summers at Covent Garden and Bayreuth.
Since 1908 he has been a member of the opera
at Frankfort-on-Main. His rich, sym-
pathetic voice, splendid vocalism, quiet
dignity of gesture and impressive stage-
presence exert a magnetic influence over his
audience. His rdles are Wagner's three
Wotans, Hans Sachs, Dutchman, Wolfram,
Telramund and Kurwenal; further, Esca-
millo and Valentin. Trained by Stock-
hausen chiefly as a Lieder-singer, and for
oratorio, he possesses a vast repertory in these
branches.
Van Vechten, Carl, bdrn Cedar Rapids,
Iowa, June 17, 1880. Graduate of the Univ.
of Chicago, 1903; for 4 years asst. mus.
critic of the 'N. Y. Times/ and during 1908-?
its Paris correspondent; 1913-14, dramatic
critic of the 'N. Y. Press'; married Fania
Marinov, the Russian actress. His writings
show decided sympathy for works of im-
pressionistic and futuristic tendencies. —
Works: Music After the Great War (1915);
Music and Bad Manners (1916); Interpreters
and Interpretations (1917); contrib. the
musical biogrs. to the revised ed. of the
Century Dictionary (1909), and wrote the
program-notes for the concerts of the N. Y.
Symph. Soc. (1901-11). Has also pobl. some
songs.
Van Vliet [vlet], Cornelius, fine 'cellist;
born Rotterdam, Sept. 1, 1886. At the age
of 6 he began to study pf. and vl.; at 9 took
up the 'cello, which soon absorbed his entire
interest; st. with O. Eberle in Rotterdam,
and after the latter's death (1961) cont. with
J. Mossel in Amsterdam; while still study-
ing, he played in the Concertgebouw Orch.
under Mengelberg. In Oct., 1903, he was
eng. as solo 'cellist of the Winderstein Orch.
in Leipzig, but soon accepted a similar posi-
tion with the Prague Philh. Orch. (under
Nedbal),. with which he made a tour of
Bohemia, Poland and Russia; 1904-5, in
Helingsfors as solo 'cellist of the Philh.
Orch. and instructor at the Cons.; 1905-8,
solo 'cellist of the Kaim Orch. in Munich;
1908-11, do. of the Vienna Hofoper. Came
to America in 1911, and after concertizing for
a year in Chicago settled in 1912 in Minne-
apolis as solo 'cellist of the Minn. Symph.
Orch. and member of the Minn. Trio.
Van Wea'terhout, Niceold, b. of Dutch
parentage at Mola di Bari, Italy, in Dec.,
1862; d. Naples, Aug. 21, 1898. A pupil of
Nicola d'Arienzo at the R. Cons., Naples;
from 1897, he was himself a prof, of harmony
there. — Works: The 3-act opera Tilde (not
perf.); 4-act opera seria Cimbelino (Rome,
Teatro Argentina, April 7, 1892); 3-act opera
seria Fortunio (Milan, Teatro Lirico, May 16,
1895); 1-act opera Doha Flor (Mola di Ban",
April 18, 1896, on the opening of the Teatro
Van Westerhout, named after the author);
4-act opera Colomba (not perf.); — 2 sym-
phonies; a violin-concerto, several orchl.
comps., a violin-sonata, etc.; publ. many pf.-
pieces of real merit, and songs.
Van Zandt, Marie, coloratura soprano; b.
New York, Oct. Oct. 8, 1861; pupil of I^m-
perti; debut Turin, 1879, as Zerlina in Don
Giovanni. During a season in London she
was engaged for the Paris Opera-Comique,
where she remained 1880-5. Then began a
long series of tours to the principal European
capitals, also to America, where she sang at
the M. O. H. during the season of 1891-2;
in 1896 she rejoined the OpeYa-Comique.
Shortly afterwards she married Prof. Tchen-
riov of Moscow, and retired from the stage.
She possessed a voice of extraordinary* com-
pass (a — f*)t mobility of expression, and
agility; was also a finished actress. Lakme,
in 1883, is her sole original creation. Favor-
ite rdles were Ophelie, Marguerite, Mignon,
Zerlina, Juliette, Gilda, Rosina, Dinorah,
and Cherubin. — Cf. H. de Curzon, Croquis
oVartisUs (Paris, 1898).
Van Zanten, Cornelia, distinguished
singing-teacher; born Dordrecht, Holland,
973
VARLAMOV— VASSILENKO
Aug. 2, 1855. St. there with Henri Geul,
with Karl Schneider at the Cologne Cons.,
and with Francesco Lamperti in Milan, who
developed her contralto into a coloratura so-
prano voice; her successful debut in La Fa-
vorita in Turin was followed by engagements
at Breslau, Kassel and Hamburg; in 1886-7
she made a tour of America as member of the
National Opera Co. (Th. Thomas, dir. and
cond.), creating the role of Epicharis in the
Amer. premiere of Rubinstein's Nero (New
York, Mar. 14, 1887; the only one of R.'s
operas ever produced in America); she then
returned to Hamburg, appeared in special
performances of tbe Nibelungen • cycle at
Petrograd and Moscow, and finally became
a member of the Dutch Opera at Amster-
dam; from 1895-1903 she also taught at the
Cons, there; since then she has been living
in Berlin, highly esteemed as a teacher (Julia
Culp is her pupil). — Has publ. Dutch and
German songs and, with C. E. Poser, Leit-
faden zum Kunstgesang (1908; also in Dutch).
Varlamov, Alexander Yegorovitch, b.
Moscow, Nov. 27, 1801; d. Petrograd, Oct.
27, 1848 (of heart-failure). At the age of 10
he ent. the Imp. Chapel at Petrograd, where
his beautiful voice and marked talent at-
tracted the attention of Bortniansky, the dir.,
who then became his teacher; 1819-23, dir.
of music at the church of the Russian Em-
bassy at the Hague; 1823-9, in Moscow as
teacher of singing and vl.; 1829-31, instructor
at the Imp. Chapel in Petrograd; again in
Moscow until 1845, and from then until his
death as private teacher in Petrograd. His
songs (numbering 223, publ. in 12 vols, by
Stellovsky) enjoyed immense popularity;
especially one, Krasny sarafan [The Red
Sarafan], has become world -renowned, and has
often been mistaken for a genuine Russian
folk-song. V. is also the author of the first
Russian method for singing, Shkolu pienia
(Moscow, 1840).— Cf. Bulitch in 'Russk.
Mus. Gaz.* (Nos. 45-9; 1901).
Varney, Louis, son and pupil of Pierre-
Jos.-AIph. V.; born Paris, 1844; d. Cauterets,
Aug. 20, 1908. From 1876 he prod, about
40 operettas, comic operas, 'revues,' etc., at
minor Parisian theatres; the 3-act operetta
Les Forains (Paris, 1894), was given at
Vienna, 1895, as Olympia, and at Berlin,
1895, as Die Gaukler. Some of his most succ.
works are Le Pompier de service (1897), Les
Demoiselles des Saint- Cyriens (1898), Mile.
George (1900), Le Chien du Regiment (1902).
Varney, Pierre- Joseph -Alphonse, born
Paris, Dec. 1, 1811; d. there Feb. 7, 1879.
Pupil of Reicha at the Cons.; theatre-cond.
at Ghent, The Hague, Rouen, Paris, and
Bordeaux. He set to music Dumas' Chant
des Girondins, Mourir pour la patrie, the
popular revolutionary lyric of 184S; prod
1-act operettas and an oratorio, A tola,
Vasconcellos [vahs-kong-sehl'dosh], Joa
Suim de, Portuguese historiographer; K<r
porto, Feb. 10, 1849. He received \
earliest education in Hamburg; 18o5
st. at the Univ. of Colmbra ; 1871-5, trave. .
in Germany, France, England and S^;r<
since 1883 prof, of German at the Lyceu
of Oporto, and since 1884 also dir. of r:
Museum for Industries and Commer
Has publ. the biographical dictionary •■
musicos Portugueses . . . (1870), contains.
much new matter, and many emendation?
old; a monograph on Luu&a Todi \\h\-
Ensajo critico sobre o catalogo del rev f
Jodo IV. (1873); publ. a facsimile ed. o/ ■
catalogue of the R. Library of Lisbon^
stroyed by the earthquake of 1755] (187;
with index and commentary, 1905) '**}*? r
tributed to Pougin's supplement to Fetis' '
graphie universelle.'
V&squez y G6mez [vahslc&hth e pr
mfchth], Marino, b. Granada, Feb. 3, \y.
d. Madrid, June, 1894. Pupil of B. Mire r
Granada; began his career in 1856 in Madm
as leader at the Zarzuela th.; later becax-
cond. at the Teatro Real and member of tin
mus. section of the Academy. Among h>
sacred compositions one deserves specul
mention, a Requiem, perf. annually in tl*
Capilla de los Reyes in Granada during th
memorial mass celebrated for the repose of tl
souls of the Kings of Spain. But he is be?
known as a comp. of numerous success^
zarzuelas, among them Los Mosqueteros &
la Reina, El Cervecero de Preston, El Hijo &
Don Juan, La Franquezat Malar o Morir, Les
Comicos de la Legua, etc.
Vasseur [vah-sdr'], Leon ( -Felix- Au|uf-
tin-Joseph), b. Bapaume, Pas-de-Calais,
May 28, 1844. Pupil of the ficole Nieder
meyer; from 1870, organist of Versai/ib'
Cathedral; chef d'orchestre at the Fofe
Bergere and the Concerts de Paris (I881\.
Since 1872 he has prod, over 30 openttas,
comic operas, and the like, on minor Parisian
stages; La limbale d* argent (1872) was very
successful; some of the latest are Le wmt<
de Suzette (1890), La famille Venus (1891)', U
pays de Vor (1892), Le commandant LaripiU
(1892), Le Pretentaine (1893), La pension
Tonchard, Aspasie, La foire aux amours, etc.
Publ. 'L'office divin' (a coll. of masses, offer-
tories, antiphones, etc.); '20 Motets des
Grands Maitres'; a method for organ and
harmonium; transcriptions for harmonium
and pf.
VassilenTco, Sergei Nlkiforovitch, bom
Moscow, 1872. Having completed a course
in law at the Univ. of Moscow, he st. music
under S. I. Tanieiev and Ippolitov-Ivanov
974
VATIELLI— VEIT
at the Cons. (1896-1901), winning the gold
medal with a cantata, Skazanie o nevidimom
gradie Kitezhiei [Legend of the Invisible City
of KitezhJ (rewritten, and prod, as an opera
at Moscow, 1903). Works fororch.: Op. 4,
Pohne t pique; op. 10, Symphony in G m.;
op. 12, Le J at din de la Mori, symph. poem;
op. 15, Hyrcus nocturnus, do.; op. 1/, Au
Soleti, suite; op. 18, Valse fanlastique; incid.
music to Nebukadnezar and Daphnis; choruses
and songs with orch. Among the larger
works recently completed are a symph.
poem, Wyr, and a second symphony.
Vatielll, Francesco, b. Pesaro, Tan. 1,
1877. St. philol. in Bologna and Florence,
and music at the Liceo Musicale Rossini in
Pesaro; app. instructor of hist, of music at
the Liceo Musicale in Bologna in 1905; in
1906 he succ. Torchi as librarian. Has publ.
Un musicista pesarese nel secolo XVI (1904),
I "Canoni musicali„ di L. Zacconi (1905), La
" Lyra Barberina,, di G. B. Doni (1909) ; essays
in 'Nuova Musica' and 'Cronaca Musicale';
has ed. 'Antiche cantate d'amore' (arias 6f
the 17th cent.); comp. intermezzi and vocal
numbers to Poliziano s Favola d'Orfeo.
Vaucorbeil [voh-k6hr-ba'y'l. Auftuste-
Emmanuel, born Rouen, Dec. 15, 1821; d.
Paris, Nov. 2, 1884. Pupil of Marmontel,
Dourlen and Cherubini, at Paris Cons. ; made
himself known by songs and 2 string-quartets;
prod, a comic opera, Balaille d* amour (Paris,
1863), and a very successful lyric scene, La
mort de Diane, at the Concerts spirit uels. In
1872, government commissioner for the sub-
sidized theatres of Paris; in 1880, Director of
the Opera. He also prod, pf.-pieces, sacred
songs, etc.
Vavrinecz [vah'vrl-nehts], Mauritius, b.
Czegled, Hungary, July 18, 1858; pupil of the
Pest Cons., later of R. Volkmann. Cathedral-
conductor at Pest. — Works: The 4-act opera
Ratdiff (Prague, 1895; succes d'estime); 1-
act opera Kosamunde (Frankfort-on-Main,
1895: succ); oratorio Chrislus; Stabat
Mater (1886); 5 masses; a Requiem; a
symphony; overture to Bvron's Bride of
Abydos; a Dithyrambe f. full orch.; etc.
Veazie, George Augustus, born Boston,
Dec. 18, 1835; d. Chelsea, Mass., Nov. 20,
1915. From 1869-1903 he was supervisor
of music of the public schools of Chelsea;
during manv years of cooperation with Luther
W. Mason (q. v.) he brought about important
reforms and improvements in the system of
primary instruction; from 1888-1902 he also
was a member of the faculty of the N. E.
Cons. He comp. several light operas and
numerous part-songs (chiefly For schools), and
ed. some colls, of school-songs.
Vecchl [veh'ke], Orazlo, born Modena, c.
1550; d. there Feb. 19, 1605. Distinguished
composer; maestro at Modena Cath. from
1596. His most interesting work is the
Amfiparnasso, 'comedia harmonica9 (publ.
• Venice, 1597), perf. at Modena in 1594; a
' kind of musical farce written, not in the mo-
nodic style of Peri's Dafne (prod.* in the same
year), but in madrigal-style, with the mono-
logues, duets and turbe (choruses) all sung by
several voices (i.e., a chorus a 4-5). V. was
an exquisite composer of madrigals and can-
zonets (of which he publ. several books) and
of very fine church- music (motets, hymns,
lamentations, etc.). — Cf. A. Catelani, Delia
vita e delk opere di O. V. (Milan, 1858); L.
Frati, Un capilolo aulobiografico a" O. V.t in
•Riv. Mus. Ital.' (vol. xxv, 1; 1915). A
complete analysis of V.'s Amfiparnasso is in
'Monthly Mus. Record' (Mar. and April,
1906).— See also Q.-Lex.
Vec'chi, Orfeo, b. Milan, c. 1540; d. there
before 1604. Noted church-comp. ; maestro
at the church of Santa Maria della Scala,
where most of his MSS. are preserved. — Ex-
tant publ. works: 1 book of motets a 6 (1603);
another a 4 (1603); and psalms a 5, w. 2
Magnificats, etc. (1614).— Cf. F. X. Haberl,
O. 7., in 'Kchm. Jahrb.' (1907).— See also
Q.-Lex.
Vecsei [veh'cha], Deslder Josef, pianist ; b.
Budapest, Sept. 25, 1882. Pupil at the
Landesakademie in Pest of A. Szendy (1900)
and H. Gobbi (1901), and at the Vienna Cons,
of E. Sauer (1905-7); debut in 1907 in
Vienna; 1908, teacher in Bielefeld; 1908-15,
tours of Germany, France, Rumania and
Turkey; since 1915 concertizing in the U. S.
Yecsey [veh'cha], Franz von, violinist;
born Budapest, Mar. 23, 1893. He received
his first instruction from his father Ludwig, a
good violinist; at the age of 8 he became a
pupil of Jend Hubay, under whom his progress
was as rapid as it was phenomenal. After a
sensationally successful appearance in Pest
his parents decided to exhibit him as an
infant prodigy, and took him to Berlin, where
he aroused wild enthusiasm on his first
appearance (Oct. 17, 1903); having played in
the principal cities of Germany, Austria and
Hungary, he visited England (London debut,
May 2, 1904) and the U. S. (N. Y. debut,
Tan. 10, 1905); then toured Italy, the Nether-
lands, Russia and Scandinavia, meeting
everywhere with the same success.
Velt [vit], Wenzel Helnrich [Vaclav
JindHch], b. ftepnic, n. Leitmeritz, Bohemia,
Jan. 19, 1806; d. Leitmeritz, Feb. 16, 1864,
as president of the district court. A self-
taught musician, and excellent composer. —
Works: Op. 17, Konzertouverture in Ef>; op.
44, Festmesse in D, for soli, ch. and orch. ; op.
975
VELLUTI— VERBRUGGHEN
49, Symphony in Em.; 5 str.-quintets (op. 1,
F; op. 2, A; op. 4, G; op. 20, Eb; op. 29,
A); 4 str.-quartets (op. 3, Dm.; op. 5, E;
op. 7, Eb; op. 16, G m.); a pf.-trio in D,
op. 53; male choruses in Bohemian and
German; songs. — -Ci. A. John, W. H. V.
Lebensbild eines deutschen Tondichters (Eeer,
1903); H. Ankert, W. H. V. (Leitmentz,
1904); E. Lachmann, W. H. V. als Musik-
direktor in Aachen (Leitmeritz, 1906).
Vellu'ti, Giovanni Battista, the last cele-
brated sopranista (musico); born Monterone,
Ancona, 1781; d. San Burson, in Feb., 1861.
Pupil of Calpi at Ravenna; sang with great
success in Italy, also in London (1825).
Venatori'ni. See Mysliweczek.
Veno'sa, Prince of. See Gesualdo.
Venth [vShnt], Karl, b. Cologne, Feb. 16,
1860. St. at the Cologne Cons. (1874-7)
under G. Japha (vl.), 0. Klauwell (theory)
and F. Hiller (comp.); continued violinistic
studies for one year in Brussels under Dupont
and Wieniawski. Eng. 1879 as leader of the
Utrecht Symph. Orch., making his debut as
soloist with that organization in Sept., 1879
(with Bruch's G m. concerto); came to the
U. S. in 1880, and in 1884 joined the M.O. H.
orch.; 1888-1906, in Brooklyn, N. Y., as dir.
of his own music-school, cond. of the Brooklyn
Symph. Orch. (1889) and cond. of the 'B.
Male Chorus* and 'Euterpe' (1890); 1907-12,
leader of St. Paul Symph. Orch. After one
season as cond. of the Dallas (Texas) Symph.
Orch. he settled in 1913 in Fort Worth, Texas,
as cond. of the Fort Worth Symph. Orch.
(which he organized) and the 'Harmony Club*
(75 women's vcs.); since 1914 also dean of
the dept. of Fine Arts at Texas Woman's
Coll., and since 1915 choirm. of the First
Meth. Ch. In 1914 he was chosen cond. of
the first large Sangerfest ever held in Texas. —
Works: Das Lied von der Glocke (Schiller) for
ch. and orch.; 2 cantatas for fern. vcs. and
orch., The Quest of Beauty and From Olden
Times; a suite for vl. and pf., and minor pes.
for do.; numerous works for pf. (Sonata
appassionata, 5 sonatinas, 2 Konzertstiicke,
2 rhapsodies, 2 suites, etc.); songs.
Ven'to, Mattia, b. Naples, 1736; d. Lon-
don, Nov. 22, 1776. Pupil of the Cons, di
Loreto, Naples; prod. 2 operas in Naples, and
4 in London; publ. 6 string-trios, 36. pf. -trios,
6 pf. -sonatas, 12 canzonets f. 1-2 voices. —
See Q.-Lex.
Venturelll, Vincenzo, dram. comp. and
song-writer; born Mantua, April 19, 1851; d.
there (by suicide), Aug. 22, 1895. Contrib-
utor to the Milan 'Gazzetta Musicale.' —
Operas, II conte di Lara (Florence, 1876; mod.
succ); Maria di Xeres (not perf.).
Venzano t-tsah'-], Luigl, b. Genoa, a.be_
1814; d. there Jan. 26, 1878. For years :_.
'cello in the Carlo Felice Th.; also teacher :•
'cello-playing at the Cons. — Works: Mar
songs (his V alter cantabile, often sung in tr
lesson-scene of the Barbiere, made him pope
lar); an opera, Benvenuto Cellini (Gen-.*..
1870?); an operetta buffa in 2 acts, La AV -
degli schiaffi (Genoa, 1873); a ballet, LAdiz
12 Solfeggi; pf. -music.
Veracinl [-che'nS], Francesco Maria.
celebrated violinist; born Florence, 1685; •]
near Pisa, 1750. Appearing at Venice aftc
successful tours, he had great influence oc
Tartini's style; was for 3 years (1 714-1"
soloist at the Italian Opera in London; i>ir
5 years chamber- virtuoso at Dresden ; the:
for a long time with Count Kinsky at Pragi*
retired to Pisa in 1745, after unsuccessr.
rivalry (1736) with Geminiani at Londoo.-
Publ. 24 violin-sonatas w. bass, in 2 bor>
(in Jensen's 'Klassische Violin musik' ir
be found his concert-sonata, and 2 other
other works MS., among them three oper*
written for London.
Verbruftghen [-brQg'gen], Henri, b. Bra-
sels, 1874. St. vl. under Hubay and YsaVr
at the Brussels Cons. (1887-92); on tbc
formation of the Scottish Orch. in Glasgow
by G. Henschel, in 1893, he was app. firv
vl.; the winter of 1894-5 he was 1st vlnsi.
in Lamoureux's orch. in Paris; returned to
his place in the Scottish Orch. in 1895; during
the summers of 1895-7 he was leader and asst
cond. of Jules Riviere's orch. at Llandudno.
Wales; 1898-1902, cond. of the summer
concerts in Colwyn, Wales; 1902—5, leader
of the Promenade Concerts of the Queen's
Hall Orch. (Henry Wood) in London, which
post he was obliged to resign owing to in-
creasing duties in Glasgow, where in 1903 be
had been app. leader and asst.-cond. of the
Scottish Orcn. and dir. of the orch!., opera
and chamber-music classes at the Athenaeum;
in 1911 he succ. Dr. Cowen as cond. o&tbe
Glasgow Choral Union. The success or" a
great Beethoven Fest. in Queen's Ha&Va
1914 induced him to give a similar festival
in 1915 devoted to Bach, Beethoven and
Brahms. In 1903 he founded the V. Quar-
tet (V.; J. Cullen,; D. E. Nichols; J. Mes-
seas), which has won an excellent reputation.
In 1915 V. removed to Sydney, where he
establ. the National Cons. (860 pupils in
1918), of which he is dir.; also cond. of the
Cons. orch. and chorus (a capp.). All the
members of his quartet follpwed him,, each
being prof, of his resp. instr. at the Cons.; a
special feature of the quartet is the annual
performance of 24 'Lecture-concerts' and 2
complete cycles of Beethoven's str.-quartets.
During Jan. and Feb., 1918, V. made a tour
976
"1
VERDI— VERDI
f the U. S. to study the methods of musical
ist ruction in the conservatories, universities
nd public schools; also appeared as orchL
onductor.
Ver'di, (Fortunlo) Giuseppe (Fran-
resco), the greatest of Italian opera-com-
>osers; born at the village of Le Roncole, n.
busseto, Duchy of Parma, Oct. 10, 1813; d.
Milan, Jan. 27, 1901. His father was an inn-
keeper and grocer; the son's precocious talent
was trained for a year by the village organist,
Baistrocchi, whom V. succeeded at the age
of ten, and for three more by Ferdinando
Provesi at Busseto; in 1831, with pecuniary
aid from his father's friend Antonio Barezzi of
Busseto, he repaired to Milan, but was re-
fused admission to the Conservatory by Basili,
the Director, on the score of lack of musical
talent. V. took private lessons in com-
position of Lavigna, cembalist at La Scala;
in 1833 he returned to Busseto as conductor
of the Philharm. Soc., and organist; and in
1836 married Barezzi 's daughter Margherita.
In 1838, with his wife and two children, he
returned to Milan with the finished score of
an opera Oberto, conte di San Bonifacio, which
was accepted by Merelli, the impresario for
La Scala, and performed with success on
Nov. 17, 1839. [Before this time he had
written, between 13 and 18, marches for
brass band, short symphonies, six concertos
and variations f„ pf. (which he played him-
self), many serenate, cant ate, arie, duetti,
terzetti, and church-works (e. g., a Stabat
Mater); also, during the first three years at
Milan, 2 symphonies and a cantata; then in
Busseto, a Messa, a Vespro, 3 Tantum ergos,
other church -music, and choruses to A.
Manzoni's tragedies, and // cinque Maggio.]
Merelli immediately commissioned him to
write 3 operas, one every eight months, at
4,000 lire apiece, with half the proceeds of the
copyright. The first was a comic opera, Un
giorno di regno. • In the midst of the work,
his wife and both children died in swift suc-
cession; small wonder that an opera distaste-
ful in subject, and completed under such con-
ditions, should have proved a 'dead failure'
(Milan, Sept. 5, 1840; a few subsequent
perfs., at other theatres, given as II Unto
Stanislao). V. was so discouraged and de-
spondent, that he determined to give up
composition for good. However, some time
after, Merelli persuaded him to set to music
Solera's Nabucco (Nebuchadnezzar), which
was given at La Scala on Mar. 9, 1842 (N. Y.,
April 4, 1848) with tremendous applause,
Signorina Strepponi [q. v.] taking the role of
Abigaile. The success of J Lombardi alia
prima Crociata, also at La Scala, on Feb. 11,
1843, was yet more emphatic, especially^ as
voicing, symbolically, the national aspira-
tions of the patriotic Milanese. This work
has survived the test of time; it is still played
in Italy, and was successful in Brussels and
New York (Mar. 3, 1847) though less so at
Paris (Nov. 26, 1847, with new libretto and
ballet as Jerusalem; under which title it was
revived at Amsterdam in 1895; in 1851 it
was prod, at Constantinople, with alterations
of the text, as Giselda); Ernani, written for
La Fenice Th. at Venice after Victor Hugo's
Hemani, was greeted (Mar. 9, 1844; Phila-
delphia, July 14, 1847) with enthusiasm,
and "prod, on 15 different stages within 9
months. Now followed a series of works
which added nothing to thecomposer's fame —
I due Foscari (Rome, Nov. 3, 1844; N. Y.,
June 9, 1846), Giovanna d*Arco (Milan, Feb.
15, 1845), Alzira (Naples, Aug. 12, 1845),
AUila (Venice, Mar. 17, 1846; N. Y., Mar.
15, 1850); Macbeth (Florence, Mar. 14, 1847;
N. Y., 1848); / Masnadieri [after Schiller's
Rauber] (London, H. M.'s Th., July 22, 1847;
N. Y., June 2, 1860); Jerusalem [I Lombardi
revised and augmented] (Paris, Grand Opera,
Nov. 26, 1847), // Corsaro (Trieste, Oct. 25,
1848), and La battaglia di Legnano [later as
VAssedio d'Arlem] (Rome, Jan. 27, 1849).
Luisa Miller had real success at the Teatro
San Carlo, Naples. Dec. 8, 1849 (Philadel-
phia, Oct. 27, 1852), and still holds the stage
in Italy. Stiffelio (Trieste, Nov. 16, 1850;
prod, later as Guglielmo Welingrode; also,
with another libretto, as Aroldo) was a failure.
Rigoletto, written in 40 days, and brought out
at Venice, La Fenice Th., Mar. 11, 1851 (N.
Y., 1853) [has also been given as Viscardello,
Clara di Pert and Lionello, with alterations
of text], ushered in Verdi's most brilliant
period; it was followed by // Trovatore (Rome,
Apollo Th., Jan. 19, 1853; N. Y., May 2,
1855) and La Traviala (Venice, La Fenice
Th., Mar. 6, 1853; N. Y., Dec. 3, 1856; also
given as Violetta), works which established his
fame as the greatest living Italian composer of
opera. For the ensuing 18 years, no signal
triumph was recorded; Les vipres siciliennes
(Paris, ODera, June 13, 1855; N. Y., Nov. 7,
1859; in Italian / Vespri siciliani; also given
as Giovanna di Guzman), Simon Boccanegra
(Venice, Mar. 12, 1857; revised, and success-
fully revived at Milan, April 12, 1881), Aroldo
[a revision of Stiffelio] (Rimini, Aug. 16, 1857),
Un Ballo in maschera (Rome, Feb. 17, 1859;
N. Y., 1859), LaForza del Destino (Petrograd,
Nov. 10, 1862» N. Y., Feb. 2, 1865), Mac-
beth [revised] (Paris, April 21, 1865), and Don
Carlos (Paris, Opera, Mar. 11, 1867), were re-
ceived either coolly, or with moderate ap-
plause. In La Forza del Destino, however,
began a transition to a richer and more elabo-
rate style of instrumentation and harmony,
which attained very marked development in
Aida, written for the Khedive of Egypt, and
977
VERDI
first perf. at Cairo, Dec. 24, 1871; its over-
whelming success there was intensified at
Milan (La Scala, Feb. 8, 1872), and good
fortune attended its production throughout
Europe (Berlin and Madrid, 1874; Vienna,
Petrograd and Warsaw, 1875; Paris and Lon-
don, 1876; Brussels, 1877; etc.), and America
(N. Y., Nov. 26, 1873). To this day it has
remained not only the most popular of V.'s
operas, but one of the most popular of the
entire repertoire. The next work was not
an opera, but the Manzoni Requiem, written"
as a tribute to the great poet, and performed
for the first time at St. Mark's Cathedral, in
Milan, on the first anniversary of his death
(May 22, 1874; N. Y., Nov. 17, 1874). After
Rossini's death (1868) V. conceived the idea
of honoring the memory of the 'Swan of
Pesaro' by a requiem to which each of the
13 foremost composers of Italy was to con-
tribute one number (V. reserving for himself
the last, the Libera). Although the plan fell
through because of lack of cooperation, V.
wrote his number, which he later incorporated
in the Manzoni Requiem. In Italy the new
work was received with boundless enthusiasm;
but for many years its dramatic intensity
proved an obstacle to its proper appreciation
in Germany and England. The next work,
Otello (Milan, La Scala, Feb. 5, 1887; N.Y.,
April 16, 1888) came as a double surprise.
In the first place, the world, not having heard
from the composer for 13 years, had come to
the conclusion that V. had actually closed his
career; then the new work apparently was so
radically different from all its predecessors,
that the effect, upon musicians and public
alike, was nothing less than startling. But
all agreed that even Aida had been surpassed.
Still greater was the surprise and wonder
caused by the master's last opera, Falstaff
(Milan, La Scala, Feb. 9, 1893; N. Y., Feb.
4, 1895), generally regarded as* V.'s master-
piece, and undoubtedly the greatest musical
comedy with the single exception of the in-
comparable Meistersinger. Five years later
(1898) appeared the master's swan-song under
the collective title Quattro Pezzi sacri (Ave
Maria and Stabat Mater for mixed ch. a capp.;
Laudi alia Vergine Maria for fern. ch. a capp. ;
Te Deum for double ch. w. orch.). Besides
the works enumerated V. wrote Inno delle
Nazioni (for the London Exhib. of 1862);
a str. -quartet in E m. (1873); Pater noster
for 5-part ch. a capp. (1880); Ave Maria for
sop. and strings (1880); Sei Romanze (Non
Vaccostare all' urna; More, Elisa; In solitaria
stanza; NeWorror di notte oscura; Perdula ho
la- pace; Deh pietosa); 2 songs for bass,
UEsule and La Seduzione; Guarda eke bianca
luna, nocturne for sop., ten. and bass w. fl.
obbl.; Album di sei Romanze (II Tramonto;
LaZingara; Ad una Stella; Lo Spazzacamino;
II Mister o; Brindisi); II Pooeretto, romaa:
Tu dici eke non m'ami, stornello.
Verdi's works naturally group themsc
into three periods. The operas of the —
period, ending with Stiffelio (1850), fi
making concessions to the prevailing ta>
give evidence of an inborn dramatic ins? -
superior to that of any of his compatriot -
fact which Italian critics recognized from
beginning. The second period is usherec .
by Rigoleito (1851) and ends with Don C.-
(1867). Whereas during the first dec.
of his career V. wrote at least one op-
every year, new works now appear at incrr.
ingly longer intervals; there is a steady -
provement in the technical workmanship, 2:
a noticeable growth as regards artistic rr.
eration and refinement of taste. His pc*
ful individuality saved V. from ever beco-
an imitator. The masterpieces of the -
period, beginning with Atda (1871), an
natural fruit of his constant strivir.
perfection. While the general public •.
wonder at an apparently complete charts
style, the attentive student of V.'s scores -
trace the logical and unbroken developrr
of a genius who began as a successful c—
poser of operas appealing to the taste of :v
times, and ended as a master whose work b«
beyond the grave. It is known that V. w*> .
great admirer and close student of Wagner*
scores; but in all his music there is not a smc-
reminiscence, nor one measure for which he ?
indebted to the Bayreuth master. T^
Wagnerian influence in Otello and Falstaf
strictly confined to the dramatic constructive
for which Boito, the librettist, is responab*
And this influence is legitimate and gooi
But the musical treatment is Verdi's own,
differing from that of his earlier open.*
in degree and quality, not in kind. The
vocal melody still reigns supreme, while the
orchestra furnishes a wonderfully expressive
accompaniment. Wagner's fundamental
principle of the 'Leitmotif and continuous
thematic development in the orchestra V. did
not adopt; and he makes but sparm% use
of the typical phrase,' a sort of musical
?uotation already employed by Weber —
nnumerable honors were showered upon V.
by royalty, societies and individuals;* after
the premiere of Falstaff the Kinfj of Italy
wished to create him 'Marchese di Busseto,'
but V. declined the honor. In 1849 he
married Giuseppina Strepponi (q. v.), and
bought the magnificent estate Sant' Agata,
near Busseto. After his wife's death (1897)
he founded in Milan, to her memory, the
'Casa di Riposo pei Musicisti' (opened in
1899), a home for aged musicians of either
sex; for its maintenance he set aside im-
mediately 2,500,000 lire ($500,000), and
after his death the royalties of all his works
978
VERE— VERHULST
(payable for 30 years). The full extent of
this last provision may be estimated from
the fact that during his life V. received in
royalties from Aida alone the sum of 4,000.000
lire ($800,000).
BIBLIOGRAPHY.— a. biography: A.
Pougin, V.: Histoire anecdotiaue de savie et de
ses ceuvres (Paris, 1881; Engl. tr. by J.
Matthew, London, 1887); E. Hanslick, G. V.
Zur Geschichte seines Lebens, insbesondere
seiner Jugendzeit, in Suite (Vienna, 1885);
Prince de Valon, V. et son osuvre (Paris,
1894); L. Parodi, G. V. (Genoa, 1895); F. J.
Crowest, V.: Man and Musician (London,
1897); G. Monaldi, V. (Turin, 1899; Ger.
tr. by L. Holthof as G. V. und seine Werke,
Stuttgart, 1897 [publ. before the Ital. ori-
, ginal]); C. de Perinello, G. V. (Berlin, 1899;
j in the series 'Bertihmte Musiker'); G.
Cavarretta, V.: Jl genio, la vita, le opere
t (Palermo, 1899); M. Basso, G. V.: La sua
vita, le sue opere, la sua morte (Milan, 1901);
1 E. Checchi, G. V. (Florence, 1901); O. Boni,
V.: L'uomo, le opere, l' artiste (Parma, 1901;
2d ed. 1913); E. Colonna, G. V. nella
vita e nelle opere (Palermo, 1902); L. Sorge,
G. V.: Uomo, artista, patriota (Lanciano,
1904) ; P. Voes, G. V. Ein Lebensbild (D lessen,
1904) ; F. Garibaldi, G. V. nella vita e mil' arte
Florence (1904); A. Visetti, V. (London,
1905); G. Bragagnolo and E. Bettazzi, La
vita di G. V. narrata at popolo (Milan, 1905);
A. d'Angeli, G. V. (Bologna, 1910; 2d ed.
1912); C: Bellaigue, V. Biographie critique
(Paris, 1911; Ital. tr., Milan, 1913); M.
Lottici, Bio-bibliografia di G. V. (Parma,
1913); A. Righetti, G. V.: Vita aneddotica
(Rome, 1913); Sir A. Mackenzie, K. (Lon-
don, 1913); M. Chop, V. (Leipzig, 1913);
G. Roncaglia, G. V. (Naples, 1914); A.
Neisscr, G. V. (Leipzig, 1914). — b. criticism,
appreciation, etc.: G. Bert rand, Les Natio-
nalises musicales Hudieesdans le Drame lyrique
.... Verdisme et WagnSrisme (Paris, 1872);
E. Hanslick, K., in Die moderne Oper (Berlin,
1875; 8th ed. 1885); B. Roosevelt, V„
Milan and Otello (Milan, 1887); V. Maurel,
A propos de la mise-en-scene du drame lyrique
'Otello1 (Rome, 1888); E. Destranges, V Evo-
lution musicale chez V.: Aida, Otello, Fal-
staff (Paris, 1895); Q. Abate, Wagner e V.
Studio critico-musicale (Mistretta, 1896); I.
Pizzi, Ricordi verdiani inediti (Turin, 1901;
contains 11 letters); A. Soffredini, Le Opere
di G. V.: Studio critico-analitico (Milan,
1901); G. Tebaldini, Da Rossini a V. (Naples,
1901); P. Bellezza, Manzoni e V., i due grand*
(Rome, 1901); F. Flamini, Pagine di critica
e d'arte (Leghorn, 1905; contains a study on
the operas of V.) ; J. C. Hadden, The Operas of
V. (London, 1910); K. Regensburger, Uber
den Jrovador* des Garcia Gutierrez, die Quelle
von Verdis ,// Trovatore1 (Berlin, 1911); C.
Vanbianchi, Saggio di Bibliografia verdiana
(Milan, 1913); H. Kretzschmar, G. V., in
Teters Jahrb.' (1913); F. Niecks, The Cor-
respondence of V., in 'Monthly Mus. Record'
(vol. 45; 1915); A. St. John-Brenon, G. V.,
in 4Mus. Quart.' (Jan., 1916); E. Istel, The
'Othello* of V. and Shakespeare (ib., July,
1916) ; id., A Genetic Study of the Aida Libretto
(ib.f Jan., 1917).— Vol. viii, 2. of 4Riv. Mus.
Ital.' (1901), devoted entirely to V., contains
the following: L. Torchi, U opera di G. V.edi
suoi caratteri principali; G. Bocca, V. e la
caricatura; G. Monaldi, Aneddoti verdiani;
L. Decujos, La Casa di Riposo pet Musicisti;
L. Torri, Saggio di bibliografia verdiana.
Vere, Clementine Duchene de [de Vere-
Sapio], b. in Paris. Her father was a Belgian
nobleman; her mother, an English lady. Her
mus. education was completed under Mme.
Albert ini-Baucarde, at Florence; successful
debut there at 16, as Marguerite de Valois in
, Les Huguenots; then sang with equal fortune
at leading theatres in Italy, France, Spain
and Mexico; was also welcomed in Berlin,
London, Australia and the United States as
a highly accomplished concert- and oratorio-
singer. At New York, in 1896, she assumed
the part of Marguerite in Berlioz's Damnation
de Faust; in 1897, at the M. O. H., she in-
terpreted the rdles of Violetta, Gilda, Micaela,
Marguerite de Valois, the Infanta (Le Cid),
Marguerite (Gounod's Faust), and Ophelia,
with good success. Her voice is a well-
schooled, powerful, and brilliant high so-
prano; she excels in coloratura. Other chief
rdles are Lucia and Dinorah. In 1892 she
married the conductor Romualdo Sapio.
Verhey [var'hr], Theodoor H. H., born
Rotterdam, June 10, 1848. Pupil at the
Hague Cons, of Gtese (vcl.) and Sikemeyer
(pi?), later in Berlin of W. Bargiel (comp.);
living in Rotterdam as teacher and comp. —
Works: The operas Eine Johannisfeier auf
Amrom (Rotterdam, 1880), Imilda (ib.,
1885), Konig Arpad (ib., 1888); Der Ritter
von den Krdnzen, ballade for soli, ch. and
orch. (op. 10); Te Deum for male ch. and
organ (op. 37); Missa de Requiem for do.
(op. 3S); 2 concertos for fl. and orch. (op. 43,
D m.; op. 57, A m.); 1 do. for clar. and orch.
in G m. (op. 47); 1 do. for vl. and orch. in A
m. (op. 54); quintet for pf., ob., clar., horn
and bassoon in Et> (op. 20); vl. -sonata in
D m. (op. 25); pf.-pes. and songs.
Verhulst [var-halstl, Johannes (Jose-
phut Herman), b. The Hague, Mar. 19, 1816;
d. there Jan. 17, 1891. Studied there, at the
Cons., under Volcke; entered the orch. as a
violinist; won several prizes for comp.; was a
pupil of Joseph Klein at Cologne, and Men-
delssohn (1838) at Leipzig, where he con-
ducted the 'Euterpe' Concerts till 1842; then
979
VERNIER— VIARDOT
became Royal Mus. Dir. at The Hague, and
in 1848 cond. of the concerts given by the
'Maatschappij tot bevordering van toonkunst'
at Rotterdam. He organized all the great
Dutch mus. festivals between 1850 and 1883,
and wrote festival cantatas for several. He
cond. the 'Diligentia' Concerts at The Hague
1860-86, then retiring; also the 'Cecilia'
Concerts, etc. He was a leader among
contemporary Dutch composers. — Works:
Instrumental: Op. 7, Grass aus der Feme, in-
termezzo f. orch.; op. 8, Concert -overture
No. 3, in D m. (2 others in MS.) ; op. 46, Sym-
phony; 3 str.-quartets (op. 6, D m. and Ab;
op. 21, Eb).— Vocal: Op. 12, Clemens est
Dominus for double ch. and orch.; op. 20,
mass for soli, ch. and org.; op. 42, Psalm 84
for mixed ch. a capp.; op. 45, Psalm 145 for
soli, ch. and orch. ; op. 50, 2-part mass for male
vcs.; op. 51, Requiem for malech. and wind-
instrs.; op. 55, 2-part mass for male vcs.;
op. 56, Te Deum for male ch. and orch.; op.
58, mass for male ch. a capp.; 7 festival,
cantatas; many fine choruses (male and
mixed).
Vernier [var-na'], Jean -Aim 6, born Paris,
Aug. 16, 1769; d. (?). Harpist at the Opera-
Comique, 1795; at the Ope>a 1813-38; then
rnsioned. — Publ. sonatas f. solo harp, and
violin and harp; a quartet f. harp, pf.,
oboe and horn; trios f. harp, flute and 'cello;
harp-duos; fantasias, vars., etc., f. harp. An
opera, La jolie Gouvernante, was prod, in
Paris (1798).
Verstov'sky, Alexiey Nikolaievitch, b.
on the family estate in the Govt, of Tambov,
Mar. 2, 1799; d. Moscow, Nov. 17, 1862.
While^ pursuing the regular course of en-
gineering in Petrocrad, he also st. privately
with Steibelt and Field (pf.), Bohm and
Maurer (vl.), Brandt and Zeuner (cpt.) and
Tarquini (voice). He began his career with
a vaudeville, Babtishkiny popugai [Grand-
mother's Parrots], prod, in Petrograd in 1819;
in 1824 he was app. inspector of the Imp.
theatres in Moscow, and in 1842 general
manager. He is the most important of the
predecessors of Glinka; facile invention and
a pronounced melodic gift won for his works
immediate and considerable popularity; but
in spite of his excellent teachers, V. technically
never rose above the level of the talented
amateur, for which reason his works did little
for the advancement of national art. —
Works: The operas [all prod, in Moscow]
Pan Tvardcvsky (1828), Vadim Hi Dvienadtsat
spiashtchich diev (V., or Twelve Sleeping
Maids; 1832), Askoldova mogila (Askold's
Grave; 1835; his finest work, still played
to-day), Toska po rodinie (Homesickness;
1835), Tchurova dolina (The Boundary Vale;
1841), Gromoboi (1858); 22 vaudevilles and
980
operettas, 10 dramatic scenes, incid. n>
to many plays, choruses and songs, Cf.
Findeisen, A. N. V.t in 2d suppl. of 'ELzhev
nik Imp. Teat.' [Year-Book of the J
Theatres] (1896-7); also 'Russfc. Muz. I**.
(No. 1, 1899).
Vesque von Puttllngen, Johann .;-
name J. Hoven), b. Opole, Poland, July .
1803; d. Vienna, Oct. 30, 1883. Intenc
for a government career, he took the dcv»
of Dr. juris at Vienna, and became a ex .
cillor of state; but studied music ul :-
Moscheles and Sechter, was an excels
pianist, and made his mark as a cornp
operas [all prod, at Vienna]: Turandot, 1* •
Johanna d'Arc. 1840; Liebeszauber [Kdik:^
von Heitbronn], 1845; Ein AbenUuer K±-
IL, 1850; Der lustige Rath, 1852; and L
TeUian, 1854. Also publ. Das musikai-.
Autorrecht (1865).— Cf. Anon., V. von
(Vienna, 1887); E. Hanslick, V. van P
'Musikalisches Skizzenbuch' (Berlin, 18£
Viada'na, Ludovico (da), recte Ludor.
Gross!, born Viadana, n. Mantua, 1564;
Gualtieri, May 2, 1645. Maestro at Maori
Cathedral, 1594-1609; later at Fano, Pan.
States, at Concordia in Venetia, and final
at Mantua in 1644. This famous chart:
composer was formerly accredited with the in-
vention of the basso continuo (thorough-bass .
but Peri's Euridice (publ. 1600) has a figured
bass in certain numbers, as well as Banchteri '-
Coneerti ecclesiastic* (publ. 1595) ; whereas \!\
Cento concetti . . . con il basso continuo dV
not appear till 1602. Apparently, howew
he was the first to write church-concertos wir
so few parts that the organ-continuo wa.-
employed as a necessary harmonic support
A very prolific composer, he publ. numerous
masses, psalms, magnificats, lamentations,
motets, etc. — Cf. A. Parazzi, Delta Vita dx
L. Grossi da V. (Milan, 1876); F. X. HabeH,
in 'Kchm. Jahrb.' (1881) and 'Musica Sacra'
(1897).— See also Q.-Lex.
Viane'sl, Auguste-C h a r 1 es-L6ons/tf-
Francois, b. Leghorn, Nov. 2, 1837; d. .Vew
York, Nov. 11, 1908. He finished msmv&.
education in Paris, whither he had come in
1857 with a letter of recommendation to
Rossini; in 1859 became cond. at Drury Lane,
London; was then at New York, Moscow
and Petrograd, later conducting Italian opera
for 12 years at Covent Garden; also cond.
Italian opera-troupes in many other cities.
On July 1, 1887, he was chosen to succeed
Altes as 1st 'chef d'orchestre' at the Grand
Ope>a, Paris; he conducted during the open-
ing season of the M. O. H. (1883-4) and again
during the season of 1891-2.
Viardot [v'yahr-doh'J, Paul, son of Mme.
V.-Garcia; born Courtavent, July 20, 1857.
Violin-pupil of Leonard; has appeared with
-1
VIA RDOT-G ARC I A— VI DAL
uccess in Paris and London; on several
xrcasions he appeared as cond. at the Opera,
rlas publ. Histoire de la Musique (1905;
with preface by Saint-Saens), Rapport officiel
fur la Musique en Scandinavia (1908), Sou-
venirs d*un artiste (1910). — His comps. in-
clude 2 vl. -sonatas (G and Bb), a pf. -trio in A
m., 5 Soli de Concert for vl. and pf., Prelude
et Caprice for clar. and pf., LSgende for ob.
and pf ., pes. for vl. and pf., do. for vcl. and pf.
Viardot-Garciafv'yahr-doh'-gahr-thS'ah],
(Michelle-Ferdinande-) Pauline, famous
dramatic singer, daughter of Manuel del
Popolo Garcia; born Paris, July 18, 1821; d.
there May 18, 1910. She was taken by her
parents to England and America; had pf.-
lessons from Ve^a, organist at Mexico Cath.,
also (on returning to Paris in 1828) from
Meysenberg and Liszt. Her father and
mother both gave her vocal instruction;
Reicha was her teacher in harmony. Her
concert debut was at Brussels in 1837; after
singing in Germany and Paris, she came out
in opera at London, 1839, as Desdemona in
Othello ', and was eng. by Viardot, the director
of the Theatre Italien, Paris. She sang there
until her marriage in* 1841 with Louis Viardot
(b. Dijon, July 31, 1800; d. Paris, May 5,
1883); he then accompanied her on long
tours throughout Europe. In 1849 she
created the rdle of Fides in Le Prophete at
the Grand Opera, Paris, and that of Sapho in
Gounod's opera, 1851; after another suc-
cession of tours, she took the r61e of Orphee
in Berlioz's revival of Gluck's opera at the
Th.-Lyrique, 1859, singing the part 150 nights
to crowded houses. In 1861 she took part
in the revival of Gluck's Alceste, most admira-
bly interpreting the excessively difficult title-
role. She retired to Baden-Baden in 1863;
from 1871 she dwelt in Paris and Bougival.
Her voice was a mezzo-soprano of extraordi-
nary compass (from c to /*), and while nei-
ther sweet nor even, it lent itself readily to
every form of dramatic expression. She was
a wonderful actress. For some years she
taught at the Paris Cons. ; among her pupils
were Desiree Art6t, Orgeni, Antoinette Ster-
ling and Marianne Brandt. A thoroughly
trained musician, she also composed operas,
one of which, Le dernier Sorcier, was perf. at
Weimar (1869), Karlsruhe and Riga as Der
letzte Zauberer; this opera, I'Orge, Cendrillon
and Trop de femmes, were given at her private
theatre in Baden-Baden. About 60 vocal
melodies were published, and won wide
popularity; also 6 pieces f. pf. and violin,
and an fccole classique de chant. Her daughter
is Mme. Louise Heritte- Viardot (q. v.);
two other daughters, Mme. Chamerot-VM
and Marianne V., were fine concert -singers. —
Cf. La Mara, P. V.-G. (Leipzig, 1882); L. H.
Torrigi, P. V.-G. Sa biographie, ses composi-
tions, son enseignemenl (Geneva, 1901); C.
H. Kaminski, Lettres d Mile. V. d'lvan Tour-
geneff (Paris, 1907); P. V.-G. to J. Rietz.
Letters of Friendship, in 'Mus. Quart.' (July,
1915-Jan., 1916).
Vicentlno [-ch€hn-te'-], Nicola, b.Vicenza,
1511; d. Rome, 1572. Pupil of Willaert at
Venice; maestro and music- master to the
Prince d'Este at Ferrara; then for several
years in the service of Cardinal Ippolito d'Este
at Rome. Here his book of madrigals a 5,
an attempt to revive the chromatic and en-
harmonic genera of the Greeks, led to an
academic controversy with the learned
Portuguese musician Lusitano; defeated, V.
publ. a theoretical treatise, Uantica musica
ridotta alia moderna prattica (1555), which
likewise contains a description of his in-
vention, an instr. called the archicembalo
(having 6 keyboards, With separate strings
and keys for distinguishing the ancient genera
—^diatonic, chromatic, and enharmonic). He
also invented and described (1561) an 'Archi-
organo.' In chromatic composition he was
followed by Cyprian de Rore and Gesualdo.
His work paved the way for the monodic style,
and the eventual disuse of the church-modes.
— Cf. Riemann, Geschichte der Musiktheorie
votn 9.-19. Jahrhundert (Leipzig, 1898).
Victoria. See Vittoria.
Vidal, Louis- Antoine, b. Rouen, July 10,
1820; d. Paris, Jan. 7, 1891. Writer and
musician; 'cello-pupil of Franchomme. —
Publ. Les instruments & archet, les faiseurs, les
joueurs d'instrs., leur histoire sur le continent
europeen, suivie d'un catalogue general de la
musique de chambre (3 vols.; Paris, 1876-8;
with 120 illustrative plates engraved by
Frederic Hillemacher), an interesting and
important work: — also an extract from the
above, La chapelle St.-Julien-des-Mcnetriers
(1878), and La lutherie et les luthiers (1889).
Vidal, Paul-Antonin, b.Toulouse, June 16,
1863. Pupil of Paris Cons.; first Grand prix
de Rome, 1883. In 1894 he succeeded
Mouzin as teacher of the solfege-class at the
Cons.; became cond. of the Sunday Concerts
at the Grand Opera, and in 1896 succeeded
Madier de Montjau as chef d'orchestre at the
Grand Opera; since 1906 first cond. at the
Opera-Comique. — Works: The pantomimes
Pierrot Assassin (1888), Colombine abandon-
nee (1888), La Reverence (1890); 2-act 'lyric
fantasy' Eros (1892); ballet, La Maladetta
(1893); an operetta, Le Mariage d'Yvetle
(1893); 1-act mystery, La Devotion a St.-
Andre (1894); the operas [all perf. in Paris]
Guernica (1895), La Reine Fiammette (1898),
La Burgonde (1898); Ramses (1908); incid.
music to Haraucourt's Juan de Manara and
Pigeon's Amour dans les Enfers; lyr. scene,
981
VIERLING— VIEUXTEMPS
Le Gladiateur; numerous choral comps.; an
orchl. suite, Les Mysteres oVEleusis; pf.-pcs.
and songs.
Vierling [fer'-], Georg, born Frankenthal,
Palatinate, Sept. 5, 1820; d. Wiesbaden,
May 1, 1901. Pupil of his father, the or-
ganist Jacob V. [1796-18671; then of Neeb at
Frankfort (pf.). Rinck at Darmstadt (org.),
Marx at Berlin (comp.; 1842-5); 1847,
organist of the Oberkirche, Frankfort-on-
Oder; 1852-3, cond. of the 'Liedertafel' at
Mayence; then settled in Berlin, where he
founded and for some years conducted the
'Bach-Verem'; received the title of 'R. Mus.
Dir.' in 1859; became Prof, and member of
the Berlin Academy in 1882, and shortly after
resigned his public positions to devote him-
self to composition. — Works: The secular
cantatas (oratorios) Der Raub der Sabinerin-
nen (op. 50), Alarichs Tod (op. 58), and
Conslantin (op. 64) ; Psalm 137, f . tenor solo,
ch. and orch. (op. 22); Hero und Leander, f.
do. (op. 30); Zur Weinlesc, f. soli, male ch.
and orch. (op. 32); Zeckkantate, f. soli, male
ch., and orch. (op. 32); Zeckkantate, f. soli,
male ch. and pf. (op. 10); Psalm 100, f.
mixed chorus and orch. (op. 57) ; many other
choral works with and without accomp.; — a
symphony in C (op. 33); overtures to Tke
Tempest (op. 6), Maria Stuart (op. 14), Die
Hermannsschlacht [Kleist] (op. 31), Die Hexe
[Fitger] (op. 61), and Im Frukling (op. 24);
Capriccio f. pf. w. orch. (op. 9); Phantasie-
stuck f. violin w. small orch. (op. 59); Pkan-
tasie f. pf. and 'cello (op. 17); 3 Pkantasie-
stiicke f. do. (op. 55); PkantasiestUcke f. pf.
and violin (op. 41); a pf.-trio in D m. (op.
51); 2 str.-quartets (op. 56, G; op. 76, A);
pf. -pieces (sonata, op. 44; Valse-Caprice,
op. 43; 2 Impromptus, op. 53; etc.); organ-
pieces (op. 23); etc.
Vierling, Johann Gottfried, b. Metzels,
n. Meiningen, Jan. 26, 1750; d. as organist at
Schmalkalden, Nov. 22, 1813, having suc-
ceeded his teacher, Tischer. Also studied
with C. Ph. E. Bach and Kirnberger. — Publ.
several colls, of organ-pcs., a pf. -quartet, 2 pf.-
trios, 8 pf. -sonatas; in MS. 2 sets of church-
cantatas for the entire year. Wrote Ver-
such einer Anleitung turn Praludieren (1794)
and Allgemein fasslicker Unterrickt im
Generalbass (1805). — See Q.-Lex.
Vierne [v'yarn'], Louis-Victor-Jules, b.
Poitiers, Oct. 8, 1870. Pupil at the Paris
Cons, of Cesar Franck (1888-90) and of Ch.-
M. Widor (1890-4), graduating as winner
of the 1st prize for organ; app. organist at
Notre- Dame in Paris in 1900; professor
of organ at the Schola Cantorum; Officer
of Public Instruction. Numerous tours of
France, Switzerland, Spain, Portugal, the
Netherlands and England have established his
982
reputation as one of the foremost organist-
the present day. — Works: Op. 17, Suite b*-^
gignonne for orch. (4 movems. of tfi« suite t
pf); op. 24, Symphony in A m. (MS->; .-
22, Praxinot, Princesse d'&gypte, legend i
soli, fern. ch. and orch.; 3 poems for vo*
and orch. (op. 36, PsyckS; op. 37, Lrs L>Jinr
op. 38, Aros; [all MS.]). — Sacred music; <>
1, Ave Maria for sop. and org.; op. 4, Tanti
ergo for ch. and org.; op. IS, Ave nerum :■
contralto and org.;, op. 16, Messe stdennr.
in C# m. for ch: and orch. — For org. : Op. J
Prelude in F# m.; op. 3, Allegretto et Prrlu:
funebre; op. 7, Communion; op. 14. Sy-^
phony No. 1 inT) m.; op. 20, do. No. 2 in t
m.; op. 28, do. No. 3 in F# m; op. 309 Me
basse; op. 31, 24 Pieces en style libre; op. <i
Symphony No. 4 in G'm. — €hamber-mu>j
Op. 5, Le Soir and Ltgende for via., and -
(also arr. for vcl.); op. 6, Largo and O
tonetta for ob. and pf. (MS.); op. 12, >--
quartet in D m.; op. 23, vl. -sonata in G
op. 25, Rapsodie for harp; op. 27, \
sonata in B m. — For pf . : Op. 4, Romance .« :
paroles and Intermezzo; op. 17, Suite bowc
gnonne (7 movems.); op. 18, Trots Airs .
ballet (MS.); op. 33, 12 PrHudes; op. 35.:
Nocturnes (A m. and E; MS.); op. 41, L
Cloches (MS.); op. 42, t Nocturnes (D? an:!
C# m.; MS.). Songs (op. 8, 10, 11, 13, 26
29 [Stances d1 Amour el de Rfae w. orch.], 40
Vietin&hoff-Scheel [f§'ting-h6hf-shal], Bo-
lis Alexandrovitch, born 1829; d. Petm-
grad, Sept. 25, 1901. Taught pf. by b:
mother (a pupil of Steibelt and Henselt
self-taught in comp. He wrote the oper^
Maseppa (Petrograd, 1859), Tke Demon (ib.
1885), Tamara (ib., 1886), Juan de Tenor*
(ib., 1888), Holoferms (written 1883; not
prod.); 2 ballets, Garlemsky tiuljpan [The
Tulip of Harlem] and Zoduskka; 2 sketches
for orch., Don Quichotte and Les Djinns (a/rer
Hugo); pf.-pcs. and songs. Also two unfin-
ished operas, Maria Stuart and Heliodora.
Vieuztemps [v'yS-tahn'], Henri, b. Ycr-
viers, Belgium, Feb. 20, 1820; d. Mestapha,
Algiers, June 6, 1881. Famous violinist; \us
first teacher was his father, a piano-tuner and
instrument-maker, who soon turned him over
to Lecloux, with whom he made a concert-
tour at 8. From 1829-30 he studied with de
Beriot at^ Brussels; played successfully at
concerts in Paris; studied harmony with
Sechter at Vienna in 1833, while on a German
tour; visited London in 1834, and took a
course in composition with Reicha at Paris in
1835, producing some original works next
year in Holland. In 1837 he revisited Vienna,
and made successful Russian tours in 1838-9;
composed the Concerto No. 1, in E, and the
Fantaisie-Caprice in A, making with the
former, especially, a profound impression at
VIEUXTEMPS— VILLEBOIS
intwerp (1840), and at Paris and London
1841). From 1844-5 he toured America;
rom 1846-52 he was solo violinist to the Czar,
nd prof, at the Petrograd Cons.; then recom-
nenced his wanderings. He twice revisited
imerica; in 1857, with Thalbenr, and in 1870,
rlth Christine Nilsson and Marie Krebs.
*rom 1871-3 he was prof, of violin-playing at
Ine Brussels Cons.; in the latter year a stroke
► f paralysis, affecting his left side, cut short
sis career as a virtuoso; though he still taught
or a time, after partial recovery. In 1844 he
married Josephine Eder (born Vienna, Dec.
15, 1815; d. Celle-St.-Cloud, June 29, 1868),
an excellent pianist. With de Beriot he stood
at the head of the modern French school of
violin- playing; many of his compositions still
grace the repertory of leading violinists. —
Works: For vl. and orch., 6 concertos (op. 10,
E; op. 19, F# m.; op. 25, A; op. 31, D m;.
op. 37, A m.; op. 47, G); op. 11, Fantaisie-
Caprice; op. 21, Souvenirs de Russie, fantasy;
op. 35, Fantasia appassionata; op. 38, Ballade
• et Polonaise; op. 42, Old England, caprice on
1 Engl, airs of the 16th and 17th centuries. —
For vl. and pf., op. 9, Hommage a Paganini;
op. 12, sonata in L>; op. 27, Grosse Fantasie
iiber slavische Volksmelodien; op. 29, Andante
und Rondo; op. 43, Suite in B m.; op. 58,
Marche funebre; etc.; numerous brilliant
transcriptions of operatic airs. Also wrote
3 cadenzas to Beethoven's violin-concerto;
2 'cello-concertos; an Elegy, and a sonata, f.
viola or 'cello; a Grand duo f. violin and 'cello
(w. Servais); an overture (op. 41) on the
Belgian national hymn; etc.-—Cf. M. Kuf-
ferath, H. V. (Brussels, 1882); Th. Radoux,
H. V., sa vie et ses ensures (Paris, 1891).
Vleuxtemps, Jean - Joseph - Luden,
brother of preceding; born Verviers, July 5,
1828; d. Brussels, Jan., 1901. Pianist and
teacher in Brussels; publ. pf.-pcs. and songs.
Vleuxtemps, Jules - Joseph - Ernest,
brother of preceding; born Brussels, Mar. 18,
1832; d. Belfast, Mar. 20, 1896. Was for
years solo 'cellist at the Italian Opera, Lon-
don; also in Halle's orch. at Manchester.
Vllbac [-bahkl, (Alphonse- Charles-)
Renaud de, born Montpellier, June 3, 1829;
d. Paris, Mar. 19, 1884. Pianist and organ-
ist; studied at the Paris Cons, under Lemoine,
Halevy and Benoist, winning the Grand
prix de Rome in 1844; from 1856, organist
at St-Eueene, Paris. — Prod. 2 comic operas,
Au clair de lune (1857), and Almamor (1858);
a method f. pf.; and numerous well-written
pf. -pieces (3 Morceaux de salon, op. 23; 3
Caprices, op. 25; Elisir d'amore, op. 24; Les
Amazones, galop; etc.), besides a vast number
of transcriptions from operas.
Villa'nis, Angelo, b. Turin, 1821; d. Asti,
Sept. 7, 1865. Pupil of Luigi Rossi. Comp.
of the operas / SaUimbanchi in Spagna
(Turin, 1849); La Spia, ossia II Mercaiuolo
americano (ib., 1850); La Figlia del ProscriUo
(ib., 1851); La Regina di Leone, ovvero Una
Legge spagnuola (Venice, 1851); // Matrir
monio di una Cantante (Turin, 1852; later
given as A Una) ; Giuditta di Kent \La Vergine
di Kent] (ib., 1856); Vasconcello (Venice,
1858); Una Notte di Festa (ib., 1859; later as
Emanuele Filiberto); Bianca degli Albizzi
(Milan, 1865).
Vlllanis, Luigi Alberto, distinguished
writer and critic; born San Mauro, n. Turin,
June 20, 1863; d. Pesaro, Sept. 27, 1906.
After taking the degree of LL.D. at Turin
Univ. in 1887, he $ave up the law for music,
studying composition under Thermignon at
Turin, and finishing under Cravero. App.
Erof. of mus. esthetics and history at Turin
fniv., 1890; gave well-attended lectures on
the philosophy of music, 1895-7; in 1905 he
was app. prof, of history of music and esthetics
and librarian at the 'Liceo musicale Rossini*
in Pesaro; from 1890, contributor to various
papers, notably the 'Gazzetta Musicale' of
Milan. — Publ. II contenuto delta musica
(1891); II leit-motiv nella musica modema
(1891); Estetica del libretto nella musica
(1892); V estetica e la psiche modema nella
musica contemporanea (1895); Come si sente e
come si dovrebbe sentire la musica (1896);
L'arte del clavicembalo (1901); Lo spirito
modemo nella musica (1903); Un compositore
ignoto alia corte dei ducki di Savoia (1903);
Saqgio di psicalogia musicale (1904) ; La psico-
X delta campagna (1905); Piccolo guida
bibliografia musicale (1906) ; L'arte del
pianoforte in Italia [da Clementi a Sgambati]
(1907).
Villaro'sa, Garlantonio de Rosa, mar-
chese dl, born Naples, Jan. 1, 1762; died
there Jan. 30, 1847. App. Royal Historio-
grapher in 1823. — Publ. Memorie dei com-
posttori di musica del regno di Napoli (1840),
now superseded by Florimo's Cenni storici;
also Lettera biografica intorno alia patria ed
alia vita di G. B. PergoUsi (1831 ; 2d ed. 1843
as Biografia di G. B. P.).
VUlarsIvS-lahrl, Francois de, b. Tie Bour-
bon, Jan. 26, 1825; d. Paris, April, 1879,
where he was mus. critic of TEurope,' and
writer for TArt musical/ — Publ. lLa Serva
Padrona,1 son apparition a Paris 1752, son
analyse, son influence (1863); Notices sur
Luifi e Federico' Ricci, suivies d'une analyse
critique de 'Crispino e la Comarc' (1866); and
Les deux 4 1 phi genie' de Gluck (1868).
Villebois [vel-bwahl, Konstantin Petro-
vitch, born Petrograd, May 29, 1817; d.
Warsaw, July 12, 1882. Although without
adequate technical training, he was a prolific
comp., especially of songs, some of which
983
VILLOING— VINCENT
enjoyed considerable popularity; also wrote
some pf .-pes. (Elegv on the death of Pushkin,
Russian Fantasy, Nocturne, etc.), and ed.
2 colls, of Russian folk-songs. Of his 3
operas, Natasha, Tarass Bulba and Tsyganka
[The Gypsy], only the first was prod.
(Moscow, 1861; Petrograd, 1863).
Villolng [vel-wan'], Alexander Ivano-
vitch, b. Petrograd, 1808; d. there in Sept.,
1878. Known to fame as the pf. -teacher of
Anton and Nicholas Rubinstein, and other
pupils of note. He assisted at A. Rubin-
stein's debut at Paris in 1841. His &cole
pratique du Piano embodies his system of
instruction; the technical exercises are very
ingenious and practical. Comp. a concerto,
and smaller pieces. For an account of his
tour with Rubinstein (1840-3) and biogr. see
Neustroiev in 'Russkaya Starina' (No. 1;
1890).
VillolmJ, Vassily Yulievitch, nephew
and pupil of preceding; born Moscow, Oct.
28, 1850. St. at the Moscow Cons. (1867-
73), and then settled in Nizhny Novgorod,
where he establ. a branch of the Imp. Russ.
Music Soc., of which he is still (1918) dir.
Comp. of an opera for young people, Prince
Lelio; a Pastorale for ob. and pf. (op. 8);
Chant- Fantaisie for vl. and pf. (op. 9); pf.-
pcs. and songs. Author of Elements of the
Theory of Music (in Russian; 1900).
VUloteau [ve-loh-toh'], Guillaume-An-
dre\ b. Bellemc, Orne, Sept. 6, 1759; d. Tours,
April 23, 1839. Choir-boy, then tenor, at Le
Mans Cath.; later at Notre- Dame, Paris;
chorus-singer at the Opera. Having studied
philosophy at the Sorbonne, he was qualified
for election as a member of the scientific
commission which accompanied Napoleon to
Egypt, and made a special study oi Oriental
music. — Publ. 4 essays (in the great work
issued by the government, 4 Description de
l'Egypte ) entitled Dissertation sur la musique
des anciens igyptiens; Dissertation sur Us
diver ses espbecs ^instruments de musique que
Von remarque parmi les sculptures qui decorent
les antiques monuments de VRgypte . . . (Ger-
man transl., 1821); De Vital actuel de Vart
musical en figypte . . . ; and Description
historique, technique et littiraire des. instru-
ments de musique des Orientaux; — also a Mi-
moire sur la possibilitc et Vulilili d'une thiorie
exacte des principes naturels de la musique
(1807), being an introduction to his Recher-
che s sur Vanalosie de la musique avec les arts
qui ont pour ohjet V imitation du larearc . . .
(1807; 2 vols.).
Vincent [van-sahn'], Alexandre-Joseph*
Hydulphe, b. Hesdin, Pas-de-Calais, Nov.
20, 1797; d. Paris, Nov. 26, 1868. Prof, of
mathematics at the College St. -Louis, Paris;
member of the Academic, and of the Soc. of
Antiquaries; custodian of the library of
learned societies at the Ministry of Ptiblic
Instruction. An investigator of ancient
Greek and Latin music, he championed the
idea that the Greeks used chords (harmony);
he likewise sought to revive the employment
of the quarter-tone. On these subjects he
publ. a great number of essays, some of which
were reprinted in pamphlet-form, and reports
of the Acad6mie, scientific journals, etc. His
musical activity was scathingly criticised by
Fetis.
Vincent, Charles John, born Houghton-
le-Spring, Durham, England, Sept. 19, 1852.
Pupil of his father, Charles John V. [organist
at St. Michael's]; from 1864, chorister at
Durham Cath. under Dr. Armes; in 1869,
organist at Monkwearmouth; from 1876-8,
st. at Leipzig Cons.; then org. at Tavistock
and Kelly College; graduated Mus. Bac.,
Oxon., 1878; Mus. Doc., 1885; org. of Christ
Ch., Hampstead, London, 1883-91. M
Examiner for Trinity College he has visited
South Africa (1893) and Australia (1897).
Joint-editor of the 'Organist and Choir-
master. ' — Works: Oratorio Ruth (Hampstead,
1886); Psalm 68, The Day of Rest and The
Crowning of the Wheat, cantatas f . soli, ch. and
orch.; 6 cantatas f. female voices; Honour
and Praise to Music, choral fugue in 8 parts;
vocal duets; over 100 songs; — orchl. overture
The Storm (1894); pieces f. 'cello and pf.,
violin and pf., and nf. solo; organ-music; — the
text-books A Year's Study at the Piano, Pint
Principles of Music, Choral Instructor Jor
Treble Voices, On Scoring for an Orchestra (in
'The British Musician/ 1897); etc.
Vincent, George Frederick, brother of
preceding; b. Houghton-le-Spring, Mar. 27,
1855. Pupil of Leipzig Cons. 1874-6; 1882-
1900, organist and choirmaster at St.
Thomas's, Sunderland; since then org. at
St. Michael's, Cornhill; was alsocond. of the
Choral Soc., the Ladies' Orchl. Soc. and the
Amateur Opera Soc., at Sunderland. Well-
known concert-organist. — Works: Operettas;
a cantata, Sir Humphrey Gilbert, f. bar. solo,
ch. and orch. (1895); songs, anthems, etc.; —
2 Fantasias and Fugues f. 2 pfft.; pL -pieces;
organ-pieces; etc.
Vincent [recte Wlnzenhdrleln], Heinrich
Joseph, b. Teilheim, n. Wurzburg, Feb. 23,
1819; d. Vienna, May 19, 1901. Renoun-
cing theology and law, he became a tenor
singer in theatres at Vienna (1847), Halle
and Wurzburg; from 1872, singing-teacher,
and cond. of the singing-society, at Czeroo-
witz, Bukowina; later removed to Vienna. —
Works: Operas Die Bettlerin (Halle, 1864)
and Konig Mural (Wurzburg, 1870); also
operettas and popular songs. As a writer
he is a warm defender of the 'Chroma' So-
984
VINCENT— VIOTTI
ciety's 12 -half-tone system; has publ. Kein
Generalbass mehr (I860), Die Einheil in der
Ton-unit (1862), Die Neuklaviatur (1874), Die
Zwolfzahl in der TonweU (1885), 1st unsere
Harmonielehre wirklich eine TheoHe? (1894),
Kine neue Tonschrijl (1900), and articles on
the chromatic keyboard and notation in vari-
ous papers.
Vincent, Henry Bethuel, born Denver,
Col., Dec, 28, 1872. St. with W. H. Sher-
wood and E. Pauer in Oberlin and Philadel-
phia; later with Widor in Paris and West in
London; now (1918) living in Erie, Pa., as org.
and choirm. of the Simpson Ch. and of the
Temple, and cond. of the 'Erie Community
Chorus' and 'Conneaut (O.) Choral Soc. ;
also official org. and dir. of the organ-dept.
of the Chautauqua Inst. — Works: An ora-
torio, The Prodigal Son (Erie, 1901); an
| opera, Esperansa (Washington, 1906); an
operetta, Indian Days, and incid. music to
i Savageland; anthems, organ-pcs. and songs
(a cycle; The Garden of Kama).
Vinci [vfn'che]. Leonardo, b. Strongoli,
Calabria, 1690; d. Naples, May 28, 1730.
Pupil of Greco at the Cons, de' Poveri, Na-
ples; maestro at the Royal Chapel, Naples.
Much admired in Italy as an opera-composer,
producing over 25 operas, of which Ifigenia in
Tauride (Venice, 1725) and AstionaUe (Na-
ples, 1725) were particularly successful. Also
com p. 2 oratorios, cantatas, motets, masses,
songs, etc. — See Q.-Lex.
Vinogradov, Alexander Nikolaievitch,
noted conductor; born Kiev, Russia, Aug. 3,
1854. Having completed the study of law
in 1876, he st. music under Soloviev at the
Petrograd Cons.; from 1884-6, Director of
the school of the Imp. Russ. Mus. Soc. at
Saratov; since 1888, Pres. and Dir. of the
section of the Imp. Russ. Mus. Soc. at Kiev,
and cond. of its symphony-concerts. Has
given concerts, by invitation, in the chief
Russian cities, and also in Paris, where he
cond. Russian programs in the 'Concerts
d'Harcourt,' 1894, and the 'Concerts Co-
lonne,' 1896; since then also in Vienna, Ber-
lin and Antwerp. Comp. of a symph. poem,
La Nonne; vars. for orch.; Airfinnois for vl.
and ore h.; a vl. -sonata; 2 str.-quartets; etc.
Viola, Alfonso della, maestro to Ercole
II d'Este, is noteworthy as an early composer
of pastorals and incidental music for the court
of Ferrara .—UOrbacche (1541), II Sacrifixio
(1554), Lo SJortunato (1557) and Aretusa
(1563), all in madrigal-style, the dialogue
sung by a chorus. Published madrigals a
5 (1559).— He died after 1567.
Vio'le, Rudolf, b. Schochwitz, Mansfeld,
May 10, 1825; d. Berlin, Dec. 7, 1867. Pi-
anist and teacher, pupil of Liszt, who recom-
mended his comps. and edited his 100 £tudes
(op. 50); lived in Berlin as a teacher. —
Works: 11 pf. -sonatas, op. 1 and 21-30; Die
musikalische Gartenlaube, 100 studies f. pf.;
Caprice heroique; Poesies lyriques; a Polo-
naise, a Ballade, etc.; all of distinctly modern
tendency.
Viot'ta, Henri, b. Amsterdam, July 16,
1848. Pupil of his father, Johannes Jose-
phus [1814-1859], W. A. Smit (pf.) and R.
Hoi (comp.) in Amsterdam; later st. at the
Cologne Cons. Law-student at Univ. of
Leyden, winning the degree of Dr. juris in
1877 with the dissertation Het auteursreeht
van den componist. In 1883 he gave up a
successful legal practice; he organized and be-
came cond. of the Amsterdam Wagner Society ;
also conducted the 'Excelsior' (1886) and the
•Caecilia' (1889); 1889-95, editor of the
'Maandblad voor Muziek'; wrote also for
other papers. 1896-1917, Director of the
Cons, at The Hague (succ. of F. W. Nicolai),
cond. of the 'Residentieorkest' (which he
founded) and ed. of 'Caecilia.' Retired from
all activities in 1917. He publ. a valuable
Lexicon der Toonkunst (1889; 3 vols., biogrs.
and terms); also Onze hedendaagsche Toon-
kunstenaars (1896; 2d ed. 1901). Composed
some choral and orchl. works (Konrert-Fan-
tasie for vcl. and orch.).
Vlot'ti, Giovanni Battista, eminent vio-
linist and composer, was born at Fonlaneto
da P6, Vercelli, Italy, May 23, 1753; he died
in London, March 3, 1824. His father, a
blacksmith, gave him a little violin, which
he learned to play without tuition, and at-
tracted the attention of the Bishop of Stram-
bino, who recommended him to Alfonso l3el
Pozzo, Prince della Cisterna; the latter con-
fided him to the teaching of Pugnani at
Turin. V. soon entered the court orchestra;
in 1780 he made a grand tour to Germany,
Poland and Russia with Pugnani, and was
feted at the court of Catherine 1 1 . Repairing
to London in 1782, he won signal triumphs;
later, at Paris, he played repeatedly at the
Concerts Spirituels, where his art was ac-
knowledged as unrivalled. It happened that
one of his concerts in 1783 was poorly at-
tended, while in the next concert a mediocre
violinist won great applause from a large
audience; this so irritated V. that he abruptly
closed his public appearances, and devoted
himself to teaching and composing, at the
same time acting as accompanist to Queen
Marie Antoinette, and 'maitre de chapelle'
to the Prince de Soubise. Failing in his
attempt to obtain the directorship of the
Op£ra in 1787, he joined Leonard, the Queen's
hairdresser, in estiblishing an Italian opera,
opened at the Tuileries in 1789, transferred
to the Theatre de la Foire St.-Cermain in
985
VI RDUNG— VIVALDI
1790, and to the newly erected Theatre Fey-
deau, where the Revolution ruined their
enterprise. V., obliged to recommence his
virtuoso-career, went to London, and gave a
series of most successful concerts at the Han-
over Square Rooms; but a rumor gained
credence that he was an emissary of the
revolutionists, and he thought it advisable to
leave England, retiring to Hamburg until
1794, when he resumed concert-giving in
London; was manager of the Italian Opera
in the ensuing winter, and director of the
Opera Concerts in 1795. Ill success caused
him to embark in the wine-trade. On a
visit to Paris in 1802, he was persuaded to
play before Cherubini and others, and, to
their astonishment, outrivalled his earlier
performances. He finally settled in Paris
as Director of the Opera from 1819-22, when
he resigned with a pension of 6000 francs; he
died while on a pleasure-trip. — On account
of his influence as a player and teacher
(especially through his two pupils Rode and
Baillot), and the breadth and dignity of his
works, V. has been styled 'the father of
modern violin-playing.' His compositions,
more particularly of the maturer period, show
great refinement and skill in workmanship,
and are classics of violin-literature; he was
the first to write violin-concertos in the broad
modern sonata-form, and displaying the full
resources of the orchestra. He publ. 29 violin-
concertos (No. 22, in A m., is still a favorite),
2 Concertantes f. 2 violins, 21 string-quartets,
21 trios f. 2 violins and viola, 51 violin-duos
(many interesting and valuable), 18 sonatas
with bass, 3 Divertissements (Nocturnes) f.
PL and violin, and a pf.-sonata. — Cf. F.
ayolle, Notices sur CoreUi . . . et Viotti
(Paris, 1810); F. Baillot, Notice sur V. (ib.,
1825); E. F. Miel, Notice historioue (1827);
A. Pougin, V. et Vecole moderne du vtoion (Paris,
1888).— See also Q.-Lex.
Vir'dunfc, Sebastian, priest and organist
at Basel, wrote the historically important
illustrated work Musica getuischt und ausz-
gezogen dutch Sebastianum Virdung, Priester
von Amberg, urn alles Gesang aus den Noten in
die Tabulaturen diser benannten dreye Instru-
mente der Orgeln, der LatUen und der Floten
transferiren zu lernen . . . (1511; facsimile re-
print by Breitkopf & Hartel. 1882). Four of
his songs are in Schdffer's Teutsche Lieder
mit 4 Stimmen' (1513).— Cf. B. A. Wallner,
S. V. von Amberg, in 'Kchm. Jahrb.' (1911).
Viset'tl, Alberto Antonio, born Spalato,
Dalmatia, May 13, 1846. Pupil of Mazzu-
cato at Milan Cons., 1855-65. Concert-
pianist at Nice; then proceeded to Paris, be-
came Auber's friend, and was app. conductor
to Empress Eugenie. On the fafi of the em-
pire he hastened to London, where he became
986
director of the vocal department in the X. '
S. M.; 1878-90, cond. of the Bath Ph
Soc.; now (1918) prof, of singing at the '
C. M. and G. S. M. (among his pupils
Louise Kirkby-Lunn and Agnes Nichcui
made Knight of the Crown of Italy in 18>.
The score of an opera, Les trots Mousquetain
was barely completed, when it was bun>
during the siege of Paris (1871). Also wr*.-
a cantata, The Desert and the Praise of Se* •
Rf.-pcs. and songs (La Diva, waltz-song t,
I me. Patti). Publ. a History of the Art
Singing and G. Verdi (1905); also Italu-
translations of Hullah's History of Mode**
Music, and Huefler's Musical Studies.
Vitali, Giovanni Battista, b. Cremo-
c. 1644; d. Modena, Oct. 12, 1692, as :
maestro di capp. to the Duke (from 1674
Important instrl. comp., preceding Cor~_
— See Q.-Lex.
Vitto'ria, Ludovico Tommaso da >*
Luis Tomaa de Victoria], eminent con
gorary and friend of Palest rina; born Aw.
pain, c. 1540; d. Madrid (?), c. 1613. Pm
in youth of Escobedo and Morales, singers -
the Papal Chapel at Rome; in 1573, maestr
at the Collegium Germanicum; in 1575, ±:
San Apollinare; from 1589-1602, vice-maestro
of the Royal Chapel, Madrid. — Publ. works
Liber primus, qui missas, psalmos, Magnifua:
ad Virginem Dei Matrem salutationes aliaqx
complutitur, a 6-8 (1576); Magnificats a i.
w. 4 antiphones to the Virgin a SS (1581
Hymni totius anni a 4, w. 4 psalms a 8 (15>
1600); masses a 4-8 (2 vols.: 1583; 150;
Officium hebdomadae sanctae (1585); Motet:,
festorum totius anni cum communi sancloru-
a 5-8 (1585; often republ.; an ed. of 15^
has motets a 12); and his famous requiem
for the Empress Maria, Officium defunctorum
sex vocibus (1605). — In Proske's 'Musica
diyina' are many numbers by V.; Eslava's
'Lira Sacro-Hispana' contains the Requiem
and several other works. V.'s complete
works in 8 vols., ed.by Felipe Pedretf, wr/r
publ. by Breitkopf & Hartel ( 1 902-7 Jj.—Cf.
H. Collet, Le Mysticisme musical tstagnol au
X VI' siecle (Paris, 1913); id., V. (ib., WU;
in 'Maitres de la Musique').
Vivaldi, Abbate Antonio, celebrated
violinist; born Venice, about 1675; d. there
1743. The son, and probably the pupil, of a
violinist at San Marco, he early entered the
priesthood, and was surnamed *il prete rosso*
on account of his red hair. After a period in
the service of the Electoral court at Darm-
stadt, he returned to Venice in 1713. and be-
came director for life of the Cons, della Pieta.
Some of his sonatas and concertos for violin
are still prized; the form of his concertos
served Bach as a model for his concertos for
clavichord and orch., and exerted a strong in-
VIVELL— VOGEL
fluence upon the later development of the
instrl. concerto. He publ. 12 trios f. 2 violins
and 'cello, op. 1; 18 violin-sonatas w. bass,
op. 2 and 5 (one is in Jensen's 'Klassische
Violinmusik'); Estro poetico, 12 concert! f . 4
violins, 2 violas, 'cello, and organ-bass, op. 3;
23 Concerti per violino principal*, 2 violini di
ripieno, viola e basso per I'organo, op. 4, 6 and
7 ; Le quaUro stagiont, 12 Concerti a 5, op. 8;
La cetra, 6 do., op. 9; 6 Concerti f. flute, violin,
viola, 'cello and organ-bass, op. 10; and
12 Concerti per violino principalc, 2 violini
concertanti, viola, violoncello e basso d'organo,
op. 12 and 22. In MS. there are 79 other
concertos for vl., a number of cantatas and
arias, and 38 operas (written between 1713-
39; 22 prod, in Venice). — Cf. A. Schering,
' Geschichte des InstrumeniaUKonterts (Leip-
1 zig, 1905). — See also Q.-Lex.
Vivell, Rev. Cdlestln, b. Wolfach, Baden,
1 Oct. 21, 1846. Having completed his uni-
1 versity studies, he joined the order of Ben-
' edictines at Beuron; now (1918) living in
* the monastery at Seckau, Styria. Author
of Der gregorianische Gesang. Eine Studie
1 iiber die Echtheit der Tradition (1904); Die
liturgisch gesangliche Reform Gregors des
Grossen (1904); Erkldrung der vatikanischen
Choralschrift (1906); Vom Musiktraktat Gre-
gors des Grossen (1911); Initia Tractatuum
musices ex codicibus . . . . (1911; atphab.
list of beginnings of treatises in Gerbert's
and Coussemaker's 'Scriptores') ; Index re-
rum et verborum tractatuum de musica editorum
(1916).
Vivier [-v'yal, Albert- Joseph, born Huy,
Belgium, Dec. 15, 1816; d. Brussels, Feb.,
1903. Pupil of Fetis at the Brussels Cons.
Wrote an excellent TraiU complet d' Harmonic
(1862, and many later eds.), in which he
draws a sharp distinction between funda-
mental and secondary chords, explaining the
latter as accidental formations through an-
ticipation and 'changing-notes' (Wechsel-
noten) ; also wrote some valuable essays (Des
vrais rapports des sons musicaux, {foments
d'acousttque musicale, etc.). Also wrote an
opera, Padillo le Tavernier (Brussels, 1857).
Vivier, Eugene-Leon, celebrated horn*
virtuoso; born Ajaccio, 1821; d. Nice, Feb.
24, 1900. Even after his appointment as 1st
hornist at the Opera des Italiens in Paris he
st. with J. F. Gallay; made successful tours,
creating a sensation everywhere by his ability
to produce 2 and even 3 tones simultaneously;
in spite of much speculation on the subject no
one has ever presented a satisfactory solution
of this phenomenon. — Cf. Ch. Limouzin, 22.
V. La Vie et les Aventures d'un CornisU
(Paris, 1900).
Vix, Genevieve, lyric soprano; born in
Brittany, 1887. Pupil of the Paris Cons.,
winning 1st prize for opera in 1908; after a
very successful debut (1909) at the Opera in
Paris she was en£. there; sang several seasons
at the R. Opera in Madrid and at the Teatro
Colon in Buenos Aires; Amer. d6but with the
Chicago Opera Co. in Chicago as Manon in
Massenet's opera (Dec. 1, 1917); also sang in
New York during the company's visit in Feb.,
1918. On Feb. 9, 1918, she was married in
N. Y. to Prince Cyril Narishkin, a banker of
Petrograd. Besides possessing a voice of great
volume and line quality, she is an actress of
more than ordinary ability.
Vleeshouwer [vlas'hower], Albert de, born
Antwerp, June 8, 1863. Pupil of Jan Blockx.
Has prod. 2 operas, V&cole des fires (1892),
and Zryni (Antwerp, 1895); a symphonic
poem, De wilde Jager; an orchl. Idylle; etc.
Vock'erodt, Gottfried, born Miihlhausen,
Thuringia, Sept. 24, 1665; d. Gotha, Oct. 10,
1727, as rector of the Gymnasium. It was
his opinion that excessive enjoyment of music
injures the intellect, and that Nero and Cali-
gula became totally depraved through their
passion for music. He advocated these ideas
in Consultatio . . . de cavenda falsa mentium
intemperatarum medicina (1696); Missbrauch
der freien Kunst, insonderheit der Musik
(1697); and Wiederholtes Zeugniss der Wahr-
heit gegen die verderbte Musik und Schauspiele,
Opern, etc. (1698). [Riemann.]
Vock'ner, Josef , b. Ebensee, Austria, Mar.
18, 1842; d. Vienna, Sept. 11, 1906. Pupil
of A. Bruckner; professor of organ at the
Vienna Cons. Composed an oratorio, Das
jUngste Gericht; a vl.-sonata in D m., op. 4;
a pf. -quartet in C, op. 6; masses; fugues and
other pes. for org.; pf.-pes. and songs.
Vo'gel, (Charles-Louis-) Adolphe, a
grandson of Johann Christoph V. ; born Lille,
May 17, 1808; d. Paris, in Sept., 1892.
Violinist; pupil of A. Kreutzer, and of Reicha
(com p.) at Paris Cons. After winning popu-
larity by his song Les trois Couleurs, for the
July Revolution (1830), he prod, a series of
successful operas: Le P odes tat (Op.- Com.,
1833); Le Stege de Leyde (The Hague, 1847);
La Moissonneuse (Th.-Lyrique, 1853); Rom-
pons! (Bouffes-Parisiens, 1857); Le Nid de
Cigognes (Baden-Baden, 1858); Gredin de
Pigoche (Folies-Marigny, 1866); La Filleule
du Roi (Brussels and Paris, 1875). Also
symphonies, chamber-music, church-music,
pf.-pieces, etc.
Vo'gel, (Adolf) Bernhard, b. Plauen, Sax-
ony, Dec. 3, 1847; d. Leipzig, May 12, 1898.
After studying law and philosophy at Leipzig
Univ., and graduating as Dr. phil., he took the
Conservatory course, and embraced a musico-
literary career. He was for 25 years a con-
tributor to the 'Neue Zeitschrift far Musik'
987
VOGEL— VOGL
and the 'Leipziger Nachrichten'; also for
many years to the Leipzig Tageblatt'; and
edited the 'Deutsche Liederhalle' in 1885.
His monographs on R. Volkmann, Wagner,
von Biilow, Brahms, Rubinstein, Liszt, on
Schumann's Klavierlonpoesie, etc., are inter-
esting and valuable. He comp. male and
mixed choruses, sacred songs, and pf.-music.
Vo'ftel, Emil, born Wriezen-on-Oder, Jan.
21, 1859; d. Xikolussec, n. Berlin, June 18,
1908. Studied at (ireifswald and Berlin,
taking the degree of Dr. phiL in 1887. In
1883 he was sent by the Prussian government
to Italy, as Haberl's assistant. In 1893 he
organized the Peters Mus. Library in Leipzig
and was librarian till 1901; at the same time
he also edited the famous 'Peters Jahrbuch.'
Ill health compelled him in 1901 to give up
all work. He was hon. member of the R.
Accademia at Florence. Published a mono-
graph on Monteverde (1887), and on Marco
da Gaglianoand music in Florence from 1570-
1650 (1889), both in the 'Vierteljahrsschrift
fiir Musikwisscnschaft'; also a catalogue of
Die Ilandschriften tiebst den alteren Druckwer-
ken der Musikabteilung der herzoglichen Biblio-
thek zu Wolfenbuttel (1890), and Bibliothek
der gedntckten urltlichen Vokalmusik Italiens
aus den Jahren 1500-1700 (1892).
Vo'gel, Friedrich WUhelm Ferdinand,
born Havelberg, Prussia, Sept. 9, 1807; d.
Bergen, Norway, July 20, 1892. Organ-
pupil of Birnbach at Berlin; made tours as an
organ- virtuoso, taught in Hamburg 1838-41;
lived in Copenhagen (1845-52) as teacher,
cond. and org. at the Reformed Ch.; settled
in Bergen in 1852, where he founded (with
subvention from the state) a school for organ-
playing and comp. — Publ. a concertino f. org.,
with trombones; 60 choral-preludes and 10
postludes; 2 preludes and fugues; symphony,
overture, and suite in canon-form, f. orch.;
chamber-music, choruses, etc. Also prod. 2
oixrettas.
Vo'gel, Johann Christoph, born Nurem-
berg, 1756; d. Paris, June 26, 1788. Pupil
of Rie|>el at Ratist>on; went to Paris in 1776,
and wrote two operas in (iluck's style: La
Toison d'or (Paris, 1786; given later as
Mtdce a Colchis), and Demophoon (1789).—
Publ. 3 symphonies; 2 concertantes f. 2 horns,
and 1 f. ot>oc and bassoon; a bassoon-con-
certo; 3 clarinet -concertos; 6 string-quartets;
6 quartets f. horn and strings; 3 quartets f.
bassoon and strings; 6 trios f. 2 violins and
bass; 6 duos f. 2 clars.; 6 duos f. 2 bassoons.
Vo'gel, (WUhelm) Moritz, b. Sorgau, n.
Freiburg, Silesia, July 9, 1846. Pianist; pu-
pil of lx'ipzig Cons.; settled in Leipzig, be-
coming prominent as a teacher and mus.
critic, conducting several choral societies, and
publishing a aeries of excellent instructive
988
comps. f. pf., including a Method (in. 12
parts), rondos, sonatinas, etudes, etc.; besides
songs (op. 24), duets (op. 15, 21) and organ-
pes. (op. 61, 64, 65, 74, 81). Ed. 'Deutsche*
Schulliederbuch' (a coll. of 200 part-songs):
also wrote Kleine Elementarmusiklehre (1896),
Vber Pflege und Schonung der Kinder stimm
(1896), GeschichU der Musik (1900), etc.
Vogeleis [foh'gei-Is], Martin, b. Erstein.
Alsatia, June 5, 1861. Was ordained priest
in 1885; 1886-91, taught music at the episr.
seminary, Zillesheim; 1891—6, chaplain and
choirm. in Graf enstaden ; 1896—1906, pastor
in Behlenheim; since 1908 do. in Schlett-
stadt. Has made a specialty of musk in
Alsatia. Besides valuable monographs in
various journals, he has publ. Quellen und
Bausteine zu einer Geschichte der Musik
und des Theaters im Elsass 500-1800 (1911;
the result of years of original research). He
discovered the MS. of Konigshofen's Tana-
rius, which he publ. in facsimile in connectior
with F. X. Mathias's Der Strassburger Chro-
nist K. als Choralist. Sein Tonarius ....
(1903). Together with E. Bronner he ed.
a coll. of 50 Latin Hymns (a 2 and 3).
Vog'genhuber, Vilma von (Frau F.
Krolop), noted dramatic soprano; born Pest,
1845; d. Berlin, Jan. 11, 1888. Pupil of
Stoll at Berlin; debut 1862, at the National
Th., Pest, as Romeo in Bellini's opera; sang
there until 1865, then visited Germany and
Holland, and while starring at the Vienna
Court Opera, was eng. for Berlin (1868 1
marrying Franz Krolop (q. v.) in that year,
and remaining a member of the Court Opera
till her death, with the title of 'Kammer-
sangerin* after her interpretation of Isolde. —
Chief roles: Isolde, Elisabeth, Fidelio,
Iphigenia, Armida, Donna Anna, Norma.
Yogi, Heinrich, famous dramatic tenor;
born Au, suburb of Munich, Jan. 15, 1845;
d. Munich, April 21, 1900. While a school-
master at Ebersburg, 1862-5, he pursued
musical and vocal studies, continued at
Munich under Fr. I^achner and Jcnk; from
his successful debut as Max in Der Freischulz%
Nov. 5, 1865, until his death he iras a member
of the Munich Court Opera. He succeeded
Schnorr von Carolsfeld (d. 1865) as the
model Tristan in Wagner's opera, and for
several years was the onlv interpreter of that
rftle. He was one of the greatest Wagner
singers, and frequently sang at Bayrcuth.
In the first performances of KheingM (1869)
and Walkure (1870) in Munich he created
the rAIes of Loge and Stegmund, resp.; sang
Loge in Bayreuth in 1876. In 1899 he prod.
an opera, Der Fremdling, at Munich. — Cj. H.
von der Pfordten, //. V. Zur Erinnerunr und
turn Vermacktnis (Munich, 1900); K. Pott-
giesscr, H. V., in 'Allgem. Mankztg.' (May
VOGL— VOGRICH
I, 1900). His wife, Thereee (nie Thoma),
r>orn Tutzing, on the Lake of Sternberg, Nov.
12, 1845, a distinguished dramatic soprano,
was trained in Munich Cons, by Hauser and
Herger; eng. at Karlsruhe, 1864; at Munich,
1865—92, then retiring. Also a remarkable
Wagner singer; her interpretation of Isolde
was one of her best achievements. She mar-
ried V. in 1868.
Vogl, Johann Michael, tenor singer, and
the introducer of Schubert's songs to the pub-
lic; born Steyr, Aug. 10, 1768; d. Vienna,
Nov. 19, 1840. A law-student in Vienna, he
was persuaded by Siissmayer, then Kapellm.
at the Court Th.f to join the opera-company
(1794-1822).
Vo'gler, Georg Joseph, best known as
Abt>6 Vofcler; b. Wurzburg, June 15, 1749;
d. Darmstadt, May 6, 1814. Famous or-
ganist, theorist and composer; pupil of
Padre Martini at Bologna (for a very short
time), and of Vallotti at Padua, where he also
studied theology. Going to Rome, he took
holy orders, and received numerous high dis-
tinctions; returning to Mannheim, he founded
the 'Mannheimer Tonschule/ and was app.
court chaplain and 2d Kapellm. He prod, the
operas Der Kaufmann von Smyrna at May-
ence, 1780, and Albert III. von Bayern at Mu-
nich, 1781; from 1783-6 he travelled in France
(his opera, La Kermesse, failed totally at Paris
in 1783), Spain, and the East; from 1786-99
he was court cond. at Stockholm, where he
founded a music-school. Having invented
a system for the simplification of the organ,
he travelled as a concert -organist, with a port-
able organ called 'orchestrion,' to Copen-
hagen, Hamburg, Amsterdam, London, Paris,
etc., explaining his system, and obtaining
various orders for remodeling organs accora-
ing to it. By uniting an 8-foot pipe with a
5H-foot ('quint') pipe, he obtained a 16-foot
tone through the tones of combination, an
idea still put in practice by combining a 16-
foot pipe with a 10%-foot pipe to get a 32-
foot tone; most of his other 'simplifications,'
such as discarding mixtures and display-pipes,
have not found favor. In 1807 he became
court Kapellm. at Darmstadt, where he
establ. a third 'Tonschule,' in which Carl
Maria von Weber and Meyerbeer were taught
[at Vienna (1803-4) Weber had also beenliis
pupil]; both were doubtless strongly in-
fluenced by the liberal and aggressive theories
of their teacher. — Vogler's writings are Ton-.
wissenschaft und Tonsetokunst (1776), Stimm-
bildungskunst (1776), and Churpfdlzische
Tonschule (1778), all 3 republ. together as
Mannheimer Tonschule; a monthly paper,
'Betrachtungen der Mannheimer Tonschule
(1778-81); Inledning til harmoniens konne-
dom (Stockholm, 1795); Swedish methods for
pf., organ and thorough-bass (1797); Choral-
system (Copenhagen, 1800); Data zur Akus-
Hk (1800); Hand buck zur Harmonielehre
(1802); Ober die harmonise he Akustik (1807);
Grundliche Anweisung zum Klavierstimmen
(1807); Deutsche Kirchenmusik (1807); Ober
Choral- und Kirchengesdnge (1814); System
fur den Fugenbau. — Compositions: Operas
(besides 3 mentioned above) Erwin und El-
vira (Darmstadt, 1781; Paris, 1782); Castor
und Pollux (in Ital. at Munich, 1784; in Or.
at Mannheim, 1791); Egli (Stockholm, 1778);
Gustavus Adolphus (Swedish opera, Stock-
holm, 1791); Hermann of Unna (also as H.
of Staufen] (drama by Skjoldebrand; Copen-
hagen, 1800); Samori (Vienna, 1804); Der
Admiral (Darmstadt, 1810); Le Patriotisme
(written in 1778 for the Paris Opera; not
prod.);— overtures and entr'actes to Hamlet;
choruses to Athalia; ballets, etc.; — much
church-music (masses, a Requiem, Miserere,
Te Deum, psalms, motets, etc.); — a sym-
phony, overtures, a pf. -concerto, a pf. -quartet
(called Der eheliche Zwist), Polymelos, ou
caracUres de musique des diffSrentes nations (f.
pf. and strings) ; a concerto, preludes, chorales,
etc., f. organ, etc. — Bibliography: J. Fr6h-
lich, Biographic des grossen Tonkunstlers A bt
V. (Wurzburg, 1845); H. Kiinzel, Abt V.
(Darmstadt, 1867); E. Pasque, Abt V. als
TonkunstUr, Lehrer und Priester (Darmstadt,
1884); K. E. von Schafhautl, Abt G. J. V.
Sein Leben, sein Charakter und musikal. Sys-
tem (Augsburg, 1888; with full list of works);
M. Brenet, Vabbt V. a Paris , in 'Archives
histor., art. et litt/ (Feb., 1891); J. Simon,
Abt V.'s kompositorisches Wirken, mil be-
sonderer Beriicksichtigung der romantischen
Elemente (Berlin, 1904).— See also Q.-Lex.
Vo'ftHch [vo'gritch], Max (Wilhelm Karl),
pianist and poet-composer; born Szeben
(Hermannstadt), Transylvania, Jan. 24, 1852;
d. New York, June 10, 1916. Beginning the
study of the pianoforte at 5, he played in
pubheat 7 ; 1866-9, attended Leipzig Cons. as
a pupil of Wenzel, Reinecke and Moschcles
(of.), Hauptmann and Richter (theory), and
Reinecke (comp.). During 1870-8 he made
pianist ic tours through Germany, Austria,
Russia, France, Spain, Italy, Mexico and
South America; visited New York in 1878,
toured the United States with Wilhelmj, and
sojourned from 1882-6 in Australia, where
he married. From 1886-1902 he resided in
New York as a composer, making frequent
trips to Europe to produce his works; then
lived in Weimar till 1908, and in London till
1914; after the outbreak of the war he re-
turned to New York. — Works: The operas
(all on texts by V.) Vanda (Florence, 1875);
King Arthur (Leipzig, 1893); Der Buddha
(Weimar, 1904); incid. music to Wildenbruch's
989
VOGT— VOLBACH
Die Lieder des Euripides (Weimar, 1905) ; The
Highland Widow, dram, scene; an oratorio,
The Captivity (1884; M. O. H., New York,
1891); the cantatas The Diver [Schiller] (De-
troit, 1890) and The Young King and the
Shepherdess; Missa solemnis; 2 symphonies
(E m.f A m.); Andante and Intermezzo for vl.
and orch., (1878; often played by Wilhelmj);
pf.-concerto in E m (1886) Memento Mori
For vl. and orch. (1910); E pur si muove,
vl.-concerto (1913); 12 concert-studies f. pf.;
Romanzero, cycle f. pf.; pf. -fugue; pf. -sona-
tinas; Album of Ancient and Modern Dances
for pf. (20 dances, 2 books); many other pf.-
pieces; — Three Concert- Caprices (after Paga-
nini) for vl. and pf.; 2 sonatinas for do;
numerous anthems, terzets, duets, and songs.
— Editor of Schumann's complete pf. -works,
dementi's Gradus ad Parnassum (in progres-
sive order), 'Modern Russian Composers, etc.
Vogt, Augustus S.f b. Washington, On-
tario, Aug. 14, 1861. Pupil at the N. E.
Cons. (1881-2) of Emery, Buckingham and
Dunham, and at the Leipzig Cons. (1885-8)
of Reinecke, Rehberg, Kuthardt, ' Papperitz
and Jadassohn; 1888-92, teacher of pf. at
the Toronto Coll. of Music; 1892-1913, do.
at the Toronto Cons, of Music; since then its
dir.; 1888-1906, also org. and choirm. at
Jarvis St. Bapt. Ch.; several years mus. critic
of 'Saturday Night.' He founded (1894) and
(until 1917) cond. the Mendelssohn Choir,
which has come to be recognized as one of
the finest choral organizations not only in
America, but also in Europe; it has been heard
on tours of the principal cities of the U. S.
(New York, Cleveland, Boston, Buffalo, etc.);
after a specially successful tour in 1912 V.
was made hon. member of the National Club
of Toronto. Mus. Doc. (hon. c; Univ. of
Toronto, 1907). Has publ. some a capp. cho-
ruses and Modern Pianoforte Technic (1900).
Vogt, Gustave, b. Strassburg, Mar. 18,
1781; d. Paris, May 30, 1879. Oboist, pupil
of Sallantin at Pans Cons.; 1st oboist at the
Opera-Comique; 1814-34 at the Op£ra;
1828-44 in the Cons. Concerts, then retiring.
Prof, at the Cons. — Works: 4 oboe-concertos;
variations f. oboe w. orch.; concert-piece f.
English horn; duos f. 2 oboes; pot-pourris
and marches f. military band; etc.
Vogt, Johann [Jean], b. Gross-Tinz, n.
Liegnitz, Jan. 17, 1823; d. Eberswalde, July
31, 1888. Pupil, at Berlin, of A. W. Bach
and Grell; at Breslau of Hesse and Seidel.
Taught pf. -playing in Petrograd, 1850-55;
made long pianistic tours; lived in Dresden
1861-5, then in Berlin, becoming prof, at the
Stern Cons.; went to New York in 1871, but
returned to Berlin 2 years later. — Works:
Die Auferweckung des Lazarus (Liegnitz,
1858); Andante et Allegro for pf. and orch.
(op. 33); pf.-trio in C m. (op. 25); -?r
quintet in A m. (op. 56); instructive rn
pieces; also Valse brillante (op. 39), 3 I-
promptus (op. 69), 6 Salonstticke (op. 7>
etc., f. pf. (in all, over 150 opue-n umbers:.
Voigt [f5ht], Henrlette (nie Kuntze
born Leipzig, Nov. 24, 1808; d. there Oct. I-
1839. A talented amateur pianist, pupil <
Ludwig Berger, she married the mercta-
Karl Voigt, whose house was the renders
of the most eminent musicians of the tir^
Schumann dedicated to her the pf. -sonata -
G m. (op. 22).— Cf. Acht Briefe [to H. V.J *-
ein Facsimile von F. Mendelssohn- Barlh- .
(Leipzig, 1871; Engl. tr. in 'MacmilL
Magazine' for June, 1871); J. Gensel, St---.
manns Briefwechsel mil H. V. (Leipzig, 1 S'<>.
id., A us RocfUitsens Brief en an H. V.
1906).
Voigt, Johann Georg Hermann, V
Osterwieck, Saxony, Mav 14, 1769; d.
24, 1811, as organist of the Thomaskir
Leipzig. — Publ. 12 minuets f. orch., a P
naise f. 'cello and orch., a viola-concert -•
string-quartets, a string-trio (w. viola..
Scherzi f. 4 hands, and 3 pf.-sonatas.
Vola'vy, Marguerite, pianist; b. Bri:r-,
Moravia, Dec. 28, 1886. Pupil of A. L>.
at the Vienna Cons. (1898-1901), graduatir;
as winner of the 1st prize; later st. furthu
under E. Schutt and Leschetizky ; succesetV.
debut in 1902 with the Prague Philb. Orr1
(Tchaikovsky's concerto in G); tours :
Austria, Germanv, France and Italy; .e>r
daily successful in Russia, touring the prr
cipal cities with Safonov and the orch. <•.
the Imp. Russ. Mus. Soc.; after a brief rot-
in the South of the U. S. with Jaroslav Koci. r
she made her Amer. debut as soloist with tS
Russian Symph. Orch. (New York, Feb. l.\
1915), introducing a new concerto by ^
Bortkiewicz; one week later she played the
pf.-part in Skriabin's Prometheus given by th-
same orch. (only Amer. perf. with the color-
keyboard) ; has since been heard freque* v
with orch. and in recital.
Volbach [fohllfthli], Frits, born Wipper-
furth, near Cologne, Dec. 17, 1861. Pujiioi
Hiller, Jensen and Seiss at Cologne Cons.
(1879-80); then, after study at Heidelberg
and Bonn, he resumed his musical course m
the R. Acad, of Arts at Berlin (1885-6) under
Haupt (org.), Grell and Taubert (com p.) and
Loeschhorn (pf.), and in 1887 succeeded
Commer as teacher of the history of music
and Gregorian Chant at the R. Inst, for
Church- music. Shortly after, he also be-
came conductor of the Klindworth Chorus.
Called to Mayence in 1891 as conductor of
the Oratorio Soc., the 'Liecjertafel,' and
the 'Damengesangverein,' he brought out
the best modern choral compositions, and
990
VOLCKMAR— VOLKMANN
kewise Handel's works in Chrysander's new
rrarigements. In 1898 he was the cond.
t the 'Tonkunstlerversammlung' of the
AUgem. deutscher Musikverein. In 1899
le received from Bonn Univ. the degree of
Or. phil. for the dissertation Die Praxis der
Hdndel-Auffiihrung (publ. 1900). For the
>th centenary of the birth of Gutenberg
(1900) he was commissioned by the city of
Mayence to arrange an elaborate festival,
for which he wrote a fest. cantata; shortly
afterwards he was made Prof. In 1907 he
was called to Tubingen as mus. dir.t and prof.
extraord. at the Univ. A talented composer,
magnetic conductor, excellent pianist and
organist, V. has also an astonishing command
of almost every orchl. instrument. — Works:
lnstrl. : Op. 16, Ostern, symph. poem for orch.
and org.; op. 21, Es waren zwei Kbnigskinder,
do. for orch.; op. 24, quintet in Eb for pf.,
ob., clar., horn and bassoon; op. 29, Alt
i Heidelberg, du feine, 'Friihlingsgedicht' for
orch.; op. S3, Symphony in B m.; op. 36,
i pf. -quintet in D m. Vocal: Op. 14, Reigen
for i-part fern. ch.t ten. solo and pf.; op. 18,
Vom Pagen und der Konigstochter for sop.
solo, ch. and orch.; op. 22, Festkantate for
mixed ch., boys' ch., 2 orchs. and brass band
(for Gutenberg celebration); op. 26, Rafael
for ch.f org. and orch.; op. 30, Der Troubadour
for bar. solo, male ch. and orch.; op. 31,
Awn Siegfriedbrunnen for male ch. and orch.;
op. 34, Die Kunst zu lieben, comedy-opera
(Ousseldorf, 1910); op. 38, Konig Laurins
Rosengarten for bar. solo, male ch. and orch.;
songs (op. 20, 23, 25, 27, 28); incid. music
to the tragedy Konig Tulga. Also numerous
arrs. publ. by Schott. — Writings: Lehrbuch
der Begleitung des gregorianischen Cesangs
(1888); Handel (1898; in Reimann's 'Be-
ru hmte M usiker') ; Die Zeit des Klassizismus:
Beethoven (1905); Die deutsche Musik im 19.
Jahrhundert (1909); Das moderne Orchester in
seiner Enhoickelung (1910); Die JnstrumenU
des Orchester s (1913); also several analyses
for Schlesinger's 'Musikftihrer' and numerous
essays in divers journals. — -Qi. J. Hagemann.
F. V.f in 'Monographien moderner M usiker
(vol. iii, Leipzig, 1909).
Volck'mar, Wilhelm (Valentin), born
Hersfeld, Kassel, Dec. 26, 1812; d. Homberg,
n. Kassel, Aug. 27, 1887. Dr. phil., Mar-
burg; from 1835, music-teacher at the Hom-
berg Seminary. A gifted organ-virtuoso, he
wrote several organ -concertos, 20 organ-
sonatas, an organ-symphony, an Orgelschtue, a
Schule der Gelaufigkeit f. organ; pieces f.
organ, f. pf., and f. violin; hymns, and songs.
Vol'kert, Franz, b. Heimersdorf (Bunz-
lau), Bohemia, Feb, 2, 1767; d. Vienna, Mar.
22, 1845, having been organist at the Schotten-
stift, and Kapellm. at the Leopoldstadter Th.
(from 1821). — Works: Over 100 comic operas,
Singspiele, melodramas, farces, etc., many
very popular; also church-music, pf. -con-
certos, pf.-trios, organ-music, etc.
Volkmann, Hans, great-nephew of Robert
V.; born Bischofswerda, Saxony, April 29,
1875. St. German philol., hist, of art and
hist, of music in Munich and Berlin; living
in Dresden as writer. Besides two books
about his great-uncle (see bibliogr. under
Volkmann, Robert), he has publ. Neues uber
Beethoven (1904) and Emanuel d* A storga (vol. i,
1911; the first authentic biogr. of A.).
Volkmann, (Friedrich) Robert, distin-
guished instrumental composer; born Lom-
matzsch, Saxony, April 6, 1815; d. Pest, Oct.
30, 1883. Pupil of his father, a cantor, on
the organ and piano; of Friebel on the violin
and 'cello; st. composition under Anacker
at Freiberg (whither he had gone to pre-
pare himself for school-teaching), and K. F.
Becker at Leipzig, where Schumann greatly
encouraged him. After teaching music at
Prague 1839-42, he settled in Pest, where he
remained for life, excepting 4 years (1854-8)
in Vienna; from 1875 he was prof, of harmony
and counterpoint at the National Academy of
Music. In 1876 he was elected hon. member
of the 'Ges. der Musikfreunde1 in Vienna,
and in 1883 (shortly before his death) mem-
ber of the Kgl. Akademie in Berlin. — Instru-
mental works: 2 symphonies (op. 44, D m.;
op. 53, Bl>); 3 Serenades f. strings (op. 62, C;
op. 63, F; op. 69, D m. [w. xello obbl.]);
2 overtures, (op. 50, Festouverture; op. 68,
Richard III.); o string-quartets (op. 9, A m.;
op. 14, G m.; op. 34, G; op. 35, E m.; op. 37,
F m.; op. 43. Eb) ; 2 pf. -trios (op. 3, F; op. 5,
Bb m.); 'cello-concerto in A m., op. 33; Ro-
mance (. 'cello, op. 7; Chant du Troubadour
f. violin, op. 10; Allegretto capriccioso f. pf.
and violin, op. 15; Rhapsody f. do., op. 31;
2 sonatinas f. do. (op. 60, 61); Konzertstuch I.
pf. and orch., op. 42; Capriccio for vcl. and
pf., op. 74; Schlummerlied for harp, clar. and
horn (also air. for pf., via. and vcl.)f op. 76
[last completed work]. — For pf. solo: Phan-
tasiebilder, op. 1 ; Dithyrambe und Toccate, op.
4; Souvenir de Mahroth, op. 6; Nocturne, op.
8; pf. -sonata in C m., op. 12; Buch der Lteder,
op, 17; Deutsche Tdnze, op. 18; Cavatine und
Barcarole, op. 19; Visegrdd, op. 21; 4
marches, op. 22; Wanderskizzen, op. 23;
Fantasie and Intermezzo, op. 25; vars. on
a theme of Handel's, op. 26; Lieder der
Crossmutter, op. 27; 3 Improvisations, op.
36; Am Grab des Graf en Szichenyi, op.
41; Ballade und Scherzetto, op. 51; tran-
scriptions of songs by Mozart and Schubert,
etc. — For pf. 4 hands: Musikalisches Lieder-
buch, op. 11; Ungarische Skizzen , op. 24; Die
Tageszeiten, op. 39; 3 marches, op. 40; Ron-
991
VOLKQV— V05S
ditto and Marcia-Capriccio, op. 55; sonatina,
op. 57; also transcriptions of his other works.
— Vocal works: 2 masses f. male chorus
(op. 28, D; op. 29, Ab); 3 sacred songs f.
mixed ch., op. 38; 2 do. for do., op. 70;
offertories f. soli, ch. and orch., op. 47; songs
f. male ch., op. 30, 48, 58; Christmas Carol
of the 12th century, op. 59; old German
hymn f. double male chorus, op. 64; 6 duets
on old German poems, op. 67 ; songs f . mixed
ch. (op. 71, 75); alto solo w. orch., An die
Nacht, op. 45; dram, scene f. soprano w.
orch., Sappho, op. 49; Kirchenarie f. bass, w.
flute and strings, op. 65; 2 songs f. mezzo-
soprano, w. pf. and cello, op. 56; many songs
(op. 2, 13, 16, 46, 52, 54, 66, 72).— Without
op.-number: KonurtouvertUre in C; Ariette
for vl. and pf . ; vars. on the Rheinweinlied for
pf.; Capriccietto for do.; Weihnackt for 3-
part fern, ch.; Im Wiesengrun for mixed ch.;
4 male choruses; 2 songs (Der traumende See,
Der griine Teich).—Cf.B. Vogel, R. V. (Leip-
zig, 1875); H. Volkmann, R. V. Sein Leben
und seine Werke (ib., 1902); id., R. V. (ib.,
1915; a new work giving fuller biogr. data);
C. Preiss, R. V. KHtische Beitrdge tu seinem
Schaffen (Graz, 1912); V. von Herzfeld, R.
V., in 'Mus. Quart.1 (July, 1915).
VoITcov, Fedor Grigorlevitch, b. Kostro-
ma, 1729; d. Petrograd, 1763. He is not only
the 'founder of the Russian theatre,' but
also the author of the libretto of the first
opera in Russian, Titovo miloserdie [Titus the
Merciful], music by Francesco 'Araja (Petro-
grad, 1751); the generally accepted belief
that he is the comp. of the first Russian opera,
Taniusha Hi stchastlivaya vstrietcha [T., or
The Fortunate Meeting] (Petrograd, Dec.
9, 1756) seems to rest on rather slender
foundations.
Voll'hardt, Emll Reinhardt, b. Seifera-
dorf, Saxony, Oct. 16, 1858. Pupil of Leip-
zig Cons.; 1883-6, org. in Hirschberg, Silesia;
since then in Zwickau as cantor at St. Mary's
and cond. of the 'Lehrergesangverein' and
librarian of the 'Ratsschulbibliothek'; 1887-
1907, also cond. of the a cappella section of
the 'Musikverein'; made Kgl. Prof, in 1915.
Has publ. much a capp. music (sacred and
secular) and songs. Author of Bibliographic
der Musikschdtze in der Zwickauer Ratsscktd-
bibliothek (1896), Geschichte der Kantoren und
Organist en in den Stadlen Sachsens (1899).
Voll'weiler, Karl, b. Offenbach, Nov. 27,
1813; d. Heidelberg, Jan. 27, 1848. Pupil of
his father, a Frankfort music-teacher (d.
Nov. 17, 1847); piano-teacher in Petrograd,
then at Heidelberg. — Publ. 2 pf.-trios, op. 2,
15; a pf. -sonata, op. 3; 6 melodic pf.-etudes,
op. 4; lyric etudes, op. 9 and 10; other pf.-
music; Variations on Russian themes, f.
string-quartet, op. 14; etc.
992
Vol'pe, Arnold, b. Kovno, Russia, Juh
1869. St. vl. under I. Lotto at the War^
Inst, of Music (1884-7) and under L. A
at the Petrograd Cons. (1887-91), where -
also st. comp. under N. Soloviev (1893-7
came to New York in 1898. For the purp -
of training orchl. players he organized, :■
1902, the Youn^ Men's Symph. Orch.; a.^
2 years' rehearsing he formed the most ,
vanced performers into the V. Symph. On-:
with which he has since then given retrj.
series of symph. concerts; 1910, cond. of r.
orch. of the Brooklyn Inst, of Arts a-
Sciences; # 1910-14, cond. of the munic. or- -
concerts in N. Y. In the autumn of V*
he opened his own Cons, in N. Y. (V. In*. ,
Music).
Von der Hei'de, John Frederic, b. Cine-
nati, Feb. 28, 1857. Was taught singing fr -
early childhood, and the violin at 7: --.
peared in public as a vocalist and vior
in his tenth year. Choir-boy for 5 \-
before the age of 17 he had practically sti. .
nearly all orchl. instrs. Taught 3 years -
Pittsburgh school; studied voice-culture -j
piano for 2 years in Cincinnati, then :.
several years in Europe. Director of *
Buffalo School of Music 1882-4; then set:!-
in New York, teaching 1885-91 at the V V.
Cons., then privately till 1897. — 1891, sen
and treas. of the N. Y. M. T. A. ; reelected.
1892; president, 1893; reelected, 1894.
Von Ende, Herwegh, b. Milwaukee, \V
Feb. 16, 1877. St. in Chicago, pf. with
Ziehn (1883-6) and vl. with A. Gyger, .
Meyer and J. Vilim (1886-96); 1897-9, :
Berlin with E. E. Taubert (comp.) and K
Halir and A. Witek (vl.). 1st vl. in the Beri.
Philh. Orch. for one season (1898-9); r
1899 in charge of the musicales given by tto.
Amer. Delegation to the Peace Conference
at The Hague; 1899-1900, tour of the U >
(East and Middle West) with Adrian,
Remenyi (sop.), a daughter of Eduard A
settled in New York in 1900; 1903-ld W
of vl.-dept. at the Amer. Inst, of Ap^i
Music; 1904-8 he gave chamber-music a-
certs of new and rarely heard works. In W*
he establ. a school for violin, enlarged m
1911 to comprise a full cons, course (Von K.
School of Music). In 1900 he married
Adrienne Remenyi, who since the foundation
of the school has had charge of the vocal dept.
Voss, Charles, b. Schmarsow, n. Demmin,
Pomerania, Sept. 20, 1815; d. Verona, Aug.
29, 1882. Pianist; studied in Berlin, and
went to Paris in 1846, where he gained a high
reputation as a player and composer, and
found ready sale for a great number of brilliant
and effective pf.-pieces (salon-pieces, fantasias,
transcriptions, paraphrases, etc., for piano,
together with pf.-music of a higher order, such
VRETBLAD— WAACK
as concertos, and etudes). His concerto No.
1 1 op. 52, in F m., was warmly commended by
Mendelssohn.
Vret'blad, Viktor Patrik, b. Svartnas,
Sweden, April 5, 1876. Pupil of Stockholm
Cons. (1895-1900); private pupil of Hilda
Thegerstrom (pf.) and J. Dente (cpt. and
comp.); won a stipend in 1901, and spent
the next year in Berlin. Until 1907 he was
org. at the French Ref. Ch. in Stockholm;
since 1907, do. at St. Oscar's, where since
1909 he has given elaborate motet soirees.
Has publ. Humoreske for vl. and pf., op. 15;
pf.-pcs. (op. 3, Skitzer; op. 8, Stamntngar;
op. -10, Impromptu; etc.); organ-pcs. (op. 9,
Meditation; op. 11, £tegie and Pastorale; op.
16, In Memoriam; etc.); songs. Author of
Johan Helmich Roman, Svenska musikens
fader (2 vols., 1914; very important). — His
wife Katarina (nee Bod man; born Dec. 29,
1883), pupil of Zetterquist in Stockholm and
Marteau in Geneva, is an excellent violinist.
Vreuls [vrdls], Victor, born Verviers, Feb.
4, 1876. St. at the Cons, there and at Liege,
later privately with V. d'Indy in Paris; won
in 1903 the Prix Picard of the Beleian Acad6-
mie libre; for several years prof, of harm,
at the Schola Cantorum. — Works: Jour de
Fitet symph. poem; a symphony with vl.
solo; Adagio for str.-orch.; Poeme for vcl.
and orch.; Triptyque for voice and orch.; a
pf.-trio in D m.; a vl.-sonata in B; pf.-pcs.
and songs.
Vrieslander [fres'-J, Otto, born MQnster,
July 18, 1880. Pupil of J. Buths in Diissel-
dorf and of O. Klauwell and M. van de Sandt
at the Cologne Cons. (1901-2); now (1918)
living as composer in Munich. He attracted
attention with songs set after the manner of
H. Wolf in cycles devoted to one poet. Has
publ. Pierrot lunaire (46 poems by A. Gui-
raud), Lieder und Gesdnge aus ,Des Knaben
Wunderhorn1 (22 poems), Lieder von Goethe
(12); also separate songs by various poets.
Vroye [vrwahl, Theodore-Joseph de,
born Villers-la-Ville, Belgium, Aug. 19, 1804;
d. Liege, July 19, 1873, as canon and 'grand-
chantre' at the Cathedral. Erudite reformer
of plain-song. — Publ. Vesperal (1829); Gra-
duel (183 1 ) ; Traite du plain-chant a V usage des
seminaires (1839); Manuale cantorum (1849);
Processionale (1849); Rituale Romanum
(1862); De la musique religieuse (1866; with
Elewyck).
Vuillaume [vue-yohml, Jean-Baptiste,
famous violin-maker; born Mirecourt, Dent.
of Vosges, France, Oct. 7, 1798; d. Paris,
Feb. 19, 1875. He came of a family of violin-
makers, and learned the trade from his father,
Claude V. [1772-1834]. At 19 he went to
Paris, and worked with Chanot till 1821, and
from 1821-5 for Lete, with whom he then
entered into partnership. After Lett's re-
tirement in 1828, V. worked alone, and put
his own name on several instrs. which he had
constructed with the greatest care; but sales
were slow, as the craze for old Italian violins
had just set in. Unable to make headway
against the prevailing fashion, he deftly
turned it to account; after long and patient
labor he placed a 'Stradivari us1 violin on the
market for 300 francs, bearing the master's
label, and possessing a full, sonorous tone.
Thenceforward he could hardly keep pace
with the orders for similar instrs.; he also
built 'celli for 500 francs. The si^ht of a
Duiffopruggar viola dagamba inspired him
with the idea of further imitations; hence the
hundreds of 'Duiffopruggar' violins and 'celli
with their quaint shape, carved scrolls, inlays,
and the motto 'viva fui in sylvis, etc' ay
dint of indefatigable researches and experi-
ments, V. carried the construction of these
various instrs. to the highest perfection. His
own inventions were numerous: — in 1851 the
huge 'Octobasse,' a double-bass 4 metres in
length, 3-stringed (CC-GG-C), with a special
lever-mechanism to aid the left hand (an
'octobasse* is in the Museum of the Paris
Cons.); in 1855 a viola of broader and higher
model, the 'contre-alto,' with double strength
of tone, but clumsy to play; in 1867 a kind of
mute, the 'pedale sourdine'; also a machine
for manufacturing gut- strings of perfectly
equal thickness. He likewise formulated
the laws governing the tapering of the stick
of the Tourte bow.
W
Waack, Karl, born Lubeck, Mar. 6, 1861.
Pupil of the grand-ducal Musikschule in
Weimar; 1882-3, cond. in Abo, Finland;
settled in 1883 in Riga as teacher and cond. of
the 'Harmonic' (orchl. soc.); 1890-1, studied
further with H. Riemann in Hamburg and
Sondershausen (pf. and theory); on his re-
turn to Riga he was chosen cond. of the
'Wagnerverein' (Pres., K. F. Glasenapp), and
became critic of the 'Diina-Zeitung' (now
'Rigasche Z.'); 1903-14, also cond. of the
'Liedertafel' and 'Bachverein'; 1897-1900
he took part in the Bayreuth Festivals as
violinist in the orch. and assistant on the
stage; after the outbreak of the war he fled to
Lubeck, where he has been cond. (since 1915)
of the 'Verein der Musikfreunde.' Has ed.
Tristan und Isolde (1904) and Lohengrin
(1907) for B. & H.'s 'Textbibliothek' (with
leading-motives in notation and references to
the full and pf .-scores) ; also wrote historical
introductions and prepared the table of
motives for all the Wagner operas in B. &
H.'s new editions (1913).
993
WACHS— WAGENAAR
Wachs, Paul, pianist; born Paris, Sept.
19, 1851. Pupil, at Paris Cons., of Masse,
Marmontel, Cesar Franck and Duprato;
won 1st prize for organ-playing in 1872. Has
written a large number of salon-pieces f. pf.,
many of which enjoy popularity.
Wach'tel, Theodor, famous stage-tenor;
born Hamburg, Mar. 10, 1823; d. Frankfort-
on-Main, Nov. 14, 1893. According to W.'s
own account, his father was a 'Fuhrherr'
(livery-stable keeper), not a 'Droschken-
kutscher' (cabman). He carried on the
business from the age of 17, after his father's
death. His voice was 'dicovered* by some
customers of his, with whom he happened to
join in quartet-singing; it was trained by
Fraulein Grandjean of Hamburg, and his
successful debut followed in about 18 months.
After singing heroic parts in the chief German
cities, he went to Vienna for further study. In
1862, and often thereafter, he appeared in
London. In 1865 he was eng. for the Berlin
Royal Opera. In 1869 he sang in Paris;
went to the United States in 1871, at first as
a concert-singer, later for a season of opera
at the Stadt Theatre, New York; and re-
appeared in America in 1875, singing in
Italian and German opera. After this, hav-
ing accumulated quite a fortune, he accepted
no fixed engagement. His voice was a power-
ful and brilliant lyric tenor of delightful
timbre, brought under good control by long
routine; he was admirable in theatrical rdles
like that of the Postillion in Adam's Postilion
de Longjumeau, which he sang over 1,200
times, George Brown in I*a Dame blanche^
Manrico in Trovatore, Lyonel in Martha,
Arnold in Tell, Raoul in Les Huguenots, Stra-
della and Eleazar; his sole attempt as a Wag-
ner singer, in Lohengrin (Leipzig, 1876), wa9
a dismal failure.
Wachtmeister [vahht'mi-ste>], Axel
Raoul, born London (son of the Swedish
ambassador there). Pupil of d'Indy at the
Schola Cantorum in Paris; has lived in the
U. S. at various periods; since 1916 in New
York. — Publ. works: The Fountain Song for
sop. solo, fern. ch. and orch.; The Frozen
Grail for male ch. and orch.; a vl. -sonata;
a vcl. -sonata; Fantasietta for vl. and pf.;
Redowa for vcl. and pf.; Prelude and Fugue
for pf. ; songs and part-songs. In MS.,
Sappho for ch. and orch. (prod. N. Y., 1917);
Moon Hymn for bar. solo, ch. and orch.;
a ballet, The Soul of the Vine.
Wack'ernagel, Philipp, born- Berlin,
June 28, 1800; d. Dresden, June 20, 1877.
Historian of literature; also publ. Das deutsche
Kirchenlied von Luther bis N. Hermann (1841;
2 vols.); Bibliographie des deulschen Kirchen-
liedes im 16. Jahrhundert (1855); and Das
deutsche Kirchenlied von den aUesten ZeUen bis
zu Anfang des 17. Jahrh. (5 vols., 1863-77).
Waddington, Sidney Peine, born Lin-
coln, England, July 23, 1869. St. at the R
C. M. on a scholarship from 1833—8; was
sent in 1889 for further study to Frankfort
and Vienna, and on his return elected to the
Mendelssohn Scholarship, which he held
from 1890-2; choirm. at St. Mary of the
Angels, Bayswater, 1894-1905; in 1896 app.
cond. of an amateur operatic soc. (initial
perf. St. George's Hall, London, May, 27,
1896), and chorusmaster at Co v. Garden;
since 1905 prof, of harm, and cpt. at R. C. M.;
has also acted as examiner for the Assoc. Bd
of the R. A. M. and R. C. M. — Works:
Whimland, operetta for children; John Gilpin
for ch. and orch.; Ode to Music for soli, ch
and orch.; a concert-overture; a pf. -con-
certo; a quintet for pf. and strings; a str-
quartet; a str.-trio; Suite de Pieces for pf. 4
hands; Fantasy for pf. solo; a vl. -sonata; a
vcl. -sonata; etc. He finished the score of
G. Thomas's posth. opera The Golden W<b
(Liverpool, 1893).
Waelput [vahl'-l, Hendrlk, born Ghent,
Oct. 26, 1845; d. there July 8, 1885. Pupil
of Brussels Cons., winning the Prix de Rome
with the cantata Het Woud. In 1869, Director
of Bruges Cons., also acting as cond. of the
theatre and the Popular Concerts. Lived
1871-5 in Dijon; then became cond. at the
Grand Theatre, Ghent; and, finally, prof,
of harmony at Antwerp Cons. — Works: 4
symphonies; the cantatas De zegen wapens
[The Blessing of the Weapons], La pacification
de Gand, Memling; a festival march; songs;
an opera (not perf.), Berken de diamantslypcr
[B. the Diamond-cutter]; etc.
Waelrant [vahl'-], Hubert, born Ton-
gerloo, Brabant, c. 1517; d. Antwerp, Nov.
19, 1595. Pupil of Willaert at Venice;
founded a music-school at Antwerp in 1547,
and was Jean I^aet's partner in music-publish-
ing. As a teacher he broke with the old
system of solmisation by hexachords, intro-
ducing a new system of the 7 tone-names
bo ce di ga lo ma ni (hence called 'Bocedisj-
tion'; also 'Voces belgae'). — Publ. comps.:
Motets a 5-6 (1557); chansons and madrigals
a 5 (1558); Canzoni alia napoletana a 3-5
(1565); others in colls.— Cf. G. Becker, H. W.
. . . Notice biographique et bibliographiquc
(Paris, 1881).— See also Q.-Lex.
Wagenaar [vah'gS-nahr], Johan, born
Utrecht, Nov. 1, 1862. Pupil of Richard
Hoi at the 'Muziekschool-Maatschappij tot
bevordering van Toonkunst' in Utrecht (1875—
85) and of H. von Herzogenberg in Berlin
(1889); since 1888 org. at the Utrecht Cath.,
and since 1904 also dir. of the Muziekschool,
munic. music-dir. and cond. of the choral soc
994
WAGENMANN— WAGNER
'Toonkunst'; an eminent Bach player. —
Works: 2 operas, De Doge van Venedie (The
E>oge of Venice], op. 20 (Utrecht, 1904) and
De Cid, op. 27 (ib.f 1916); op. 5, concert-
overture; op. 23, Cyrano de Bergerac, over-
ture; op. 24, Saul und David, symph. poem;
op. 25, overture to Der Wtdersp&nstigen
Zahmung; op. 26, Trauermarsch for orch.;
op. 19, Fantasie for male ch. and orch. (on an
old Dutch folk-song); fern, choruses with pf.
(op. 8, 16, 22, 28); pes. for vl. and pf. (op. 1);
pf.-pes. (op. 2, 15); songs (op. 6).
Wa'genmann, Josef Hermann, born
End in gen, Baden, 1876. Having completed
a course in jurisprudence at the umvs. of
Heidelberg and Leipzig, he st. singing with
L. E. Ttirsleff in Leipzig and with several
masters in Italy; settled in Leipzig as sing-
ing-teacher, and later removed to Berlin.
Has publ. Neue Ara der Stimmbildung fur
Singen und Sprechen (1903); Umsturz %n der
Stimmbildung (1904); Lilli Lehmann's Ge-
heimnis der Stimmbander (1905): Ein auto-
malischer Stimmbildnerf die OJfenHichkeit
(1906); Ernst von Possart ein Sttmmbildner?
(1908); Enrico Caruso und das Problem der
Stimmbildung (1911).
Wagenseil [vah'gen-zil], Georg Chris-
toph, born Vienna, Tan. 15, 1715; d. there
Mar. 1, 1777. Pupil of J. J. Fux; music-
teacher to Maria Theresa and her children,
and chamber-comp. to the latter. — Publ.
18 Divertimenti di cembalo, op. 1-3; a Diver-
timento f. 2 harpsichords, and 2 f. harps., 2
violins and 'cello, op. 5; 10 symphonies f.
harps., 2 violins ana 'cello, op. 4, 7, 8; six
violin-sonatas w. harps., op. 6.-— 16 operas, 3
oratorios, 30 grand symphonies, 27 harp-
sichord-concertos, etc., in MS. — See Q.-Lex.
Wagenseil, Johann Christoph, b. Nu-
remberg, Nov. 26, 1633; d. Altdorf, Oct. 9,
1708, as prof, of history and librarian. —
Publ. De sacri Rom. Imp. libera civitaie
Norimbergensi commentatio. Accedit de Ger-
maniae phonascorum origine . . . . (1697;
w. 140-page treatise on the Meistersinger,
and melodies by Frauenlob, M Ogling, Marner
and Regenbogen).
Wag'halter, Ignaz, became Kapellm. at
the 'Komische Oper* in Berlin in 1910; since
1912 1st Kapellm. at the 'Deutsches Opern-
haus' in Chariot ten burg. Has written the
operas Der Teufelsweg (Berlin, 1912), Mandra-
gola (Charlottenburg, 1914); Wem gehort
Helene and Jugend (finished 1916) have not
yet (1918) been prod.; Rhapsodie for vl. and
orch. op. 9; vl.-concerto in A, op. 15; str.-
quartet in D, op. 3; vl.-sonata in F m., op.
5; pf.-pes. and songs.
Wag'ner, Cosima, the wife of Richard
W., daughter of Franz Liszt and the Countess
Marie d'Agoult (pen-name Daniel Stern);
bom Bellaggio, on Lake Como, Dec. 25, 1837.
She received an excellent education in Paris;
married Hans von Billow on Aug. 18, 1857,
and was divorced from him on July 18, 1869;
married W. on Aug. 25, 1870. A woman of
high intelligence, indomitable energy and
marked executive ability, she was admirably
qualified to undertake the general direction
of the Bayreuth festivals, which have become
events of international importance. She has
written Franz Liszt. Ein GedenkblaU von seiner
Tochter (1911).— Cf. Wagner's auto-biogra-
phy, Aus meinem Leben (Munich, 1911); M.
Strauss, Wie ich Frau C. W. sehe (Magdeburg,
1912).
Wag'ner, Ernst David, born Dramburg,
Pomerania, Feb. 18, 1806; d. Berlin, May 4,
1883. Pupil, in Berlin, of A. W. Bach at the
R. Inst, for Church-music, and of Rungen-
hagen at the School of Comp. (R. Acad.); in
1838, cantor of the Matthaikirche; 1848,
organist of the Trinitatiskirche; 1858, R.
Mus. Dir. — Publ. motets, psalms, songs, or-
gan-pieces, pf. -pieces, a 'Choralbuch,' and an
essay, Die musikalische Omamentik (1868);
comp. an oratorio, Johannes der Tdufer.
Wag'ner, Franz, b. Schweidnitz, Saxony,
Dec. 17, 1870. St. at the Akad. Inst, fur
Kirchenmusik in Berlin; org. and choral cond.
in Neumittelwalde (1890), Bunzlau (1895)
and Guben (1899); since 1903, teacher of sing-
ing at the 'Realgymnasium' and the 'Hohere
Madchenschule' in Grunewald (Berlin); for
some years also cond. of the 'Berliner Lieder-
tafel' (male ch.), with which he made succ.
tours of Scandinavia, Russia and the Orient;
made Kgl. Prof, in 1910.— Works: Op. 8,
Das M&rchen vom Gluck for sop. solo, ch. and
orch.; op. 12, Donaulieder for male ch. and
orch. ; op. 7 1 , Gluckliche Zeiten for do. ; organ-
pes. (op. 58, Postludium in E m.; op. 59,
Andante doloroso; op. 60, Fantasia eroica;
etc.); pes. for vl. and pf.; do. for vcl. and
pf.; do. for vl., vcl. ana pf.; many male and
mixed choruses acapp.; alsoa3-act operetta,
Kognak-Konig.
Wag'ner, Gerrit Anthonle Alexander,
born Amsterdam, Mar. 8, 1862; d. Antwerp,
Nov. 24, 1892. Pupil of H. Brandts-Buys
and the Antwerp Cons.; cond. of the 'Man-
nenkoor' and 'Deutsche Liedertafel' in Ant-
werp. ^ Comp. of Babylonische Gefangenschafl
for soli, ch. and orch. ; Lentezang [Spring Song]
for ch. and orch.; songs and part-songs.
Wag'ner, Hans, born Schdnkirchen,
Lower Austria, Dec. 19, 1872. Living in
Vienna as a teacher at the 'Lehrerbildungs-
anstalt' (since 1898) and cond. of the 'Akade-
mischer Gesangsverein' (since 1901); founder
(1912) and cond. of the 'Lehrer-a-cappella-
Chor'; since 1911 also editor of the 'Musik-
995
WAGNER— WAGNER
padagogische Zeitung' and pres. of the 'Musik-
padagogischer Reichs-Verband.'— Works: Op.
16, Ernste Mahnung, cantata for soli, male ch.
and orch.; op. 26, Flallerrose for 3-part fem.
ch. and orch.; op. 32, Gesang des deutschen
Uteres for male ch. and orch.; op. 43,
Spanisches Stdndchen for ten. solo, male ch.
and orch.; op. 63, Soldaten- Serenade for male
ch. and orch. ; Loos des Menschen for alto and
bar. soli, male ch. and strings; many male
choruses a capp. (op. 72, Ddnische Volkslieder;
op. 73, Norwegische do.; op. 74, Finnische do. ;
op. 75, Schwedische do. \ etc.).
Wag'ner [ J achmann- Wagner], Johan-
na, niece of Richard, being the daughter of
his brother Albert [1799-1874]; born near
Hanover, Oct. 13, 1828; d. Wurzburg, Oct.
16, 1894. Dramatic soprano; at first took
children's r61es at Wurzburg and Bernberg,
and was eng. as leading soprano at Dresden
in 1844, creating the rdle of Elisabeth in 1845;
studied under the Viardot-Garcia in Paris,
1846-8; eng. at Hamburg, 1849, and at the
Court Opera, Berlin, 1850-62, with the title of
'Kammersangerin' in 1853. In 1859 she
married the district judge Jachmann. After
1862 she appeared as an actress, chiefly in
tragedy; though at Bayreuth in 1876 she still
assumed the parts of Schwertleite and the
First Norn. Taught dramatic singing at the
Munich School of Music, 1882-4; thereafter
gave private lessons.
Wag'ner, Karl Jakob, born Darmstadt,
Feb. 22, 1772; d. there Nov. 25, 1822. Horn-
virtuoso; pupil of Portmann and Abbe
Vogler; in 1790 1st horn in the Darmstadt
orch., making many tours; in 1808 Konzert-
meister, 1811 court conductor. — Prod, the
operas Pygmalion (1809), Der Zahnarzt (1810),
Herodes von Bethlehem (1810), Nitetis (1811),
and Chimene (1821), all at Darmstadt; the
melodrama Adonis (1811); dram, cantatas,
etc.; — publ. 2 symphonies, 4 overtures, trios
f. violin, flute and 'cello, duos f. flute and
violin, 40 horn-duos, 3 violin-sonatas, varia-
tions f. pf., etc.; also an augm. ed. of Port-
ma nn's Kurzer musikal. Unlerricht as Hand-
buch zum UnUrricht fur die Tonkunst (1802).
— See y.-Lcx.
Wag'ner, Peter Josef, born Kilrenz, n.
Treves, Aug. 19, 1865. From 1876-86 pupil
at the 'Dommusikschule* and chorister at the
Cath. there; st. musicology under G. Jacobs-
thai at Strassburg Univ. (1886-90); Dr. phil.
with the dissertation Paleslrina alsweltlicher
Komponist (1890); st. further in Berlin under
Bellermann and Spit ta; 1893, 'Privatdozent'
for hist, of music and church-music at Frei-
burg (Baden) Univ.; made prof, extraord.
in 1897, and full prof, in 1902. In 1901 he
establ. at the Univ. the 'Gregorianische
Akademie' for theoretical and practical
study of the choral melodies, in which field
he is one of the foremost authorities. — Works:
Das Madrigal und Palestrina, in 'Vschr. f.
M.-W.' (1892); Francesco Petrarcas tVergini
in der Komposition des Cipriano de Rare
(1893); Einfuhrung in die gregorianisckn
Melodien (1895; 2d ed. in 2 parts, I. Urspnmi
und Entwickelung der liturgischen Gesangs-
formen bis zum A usgange des MiUelalteri
(1901; Fr. tr. by Bour, 1904], II. Neumen-
kunde [1905; repr. 1912D; Das Frciburgp
Dreikonigspiel (1903); Ober traditioneUe*
Choral und traditionellen Choralvorirag (1905);
Der Kampf gegen die tEditio Vaticana* (1907;;
Elemente des gregorianischen Gesangs (19091;
Geschichle der Messe (vol. i, 1914); numerous
essays in 'Gregorius-Blatt,' 'Grcgorianische
Rundschau,' 'Rassegna gregoriana, etc. Has
also publ. Kyriale, sive Ordinarium Missae
(w. org.), litanies and motets (a capp. and
w. org.).
Wagner [vahg'ncr], (Wilhelm) Richard,
the grandest and most original dramatic com-
poser <$f all times, was born at Leipzig, (Bruhh
No. 88,) May 22, 1813; died in Venice. Feb.
13, 1883. His father, clerk in the city police-
court, died when W. was but six months old;
his mother, Johanne Rosine, nee Peett, soon
after married the actor and playwright Lud-
wig Geyer of Dresden. In that city W. at-
tended the Kreuzschule until 1827; he was
a good Greek scholar, and showed special
aptitude for German verse, writing a grand
tragedy, Leubald und Adelaide, in Shake-
spearian style at the age of 14; but evinced
no particular talent for music. His step-
father died in 1821; in 1827 W. entered the
Nikolai Gymnasium in Leipzig, whither the
family had returned when his sister Rosalie
obtained a favorable engagement at the City
Theatre there. In Dresden, Weber's music
had already made a strong impression on
Wagner; at Leipzig, as he himself writes, he
was 'overpowered' on hearing a Beethoven
symphony at the Gewandhaus. He studied
Logier's Thoroughbass by himself, and then
had regular lessons in theory from the organist
Gottlieb M tiller, writing a string-.o1uartet, a
sonata, and an aria, but profited \itt\e from
this teacher's pedantic instructions. In 1830,
after matriculation as a student of philology
and esthetics at Leipzig University, he took
a six-months' course in composition under
Theodor Weinli^, then cantor of the Thomas-
schule; two works of this period, a pf. -sonata
in 4 movements (op. 1 ) and a 4-hanri Polonaise
(op. 2), were printed by Brcitkopf & Hart el,
and show, both in melody and harmony,
indications of W.'s later individuality. He
also gave himself up to a thorough and en-
thusiastic study of Beethoven's symphonies;
and in 1832 wrote a symphony in 4 movements
996
WAGNER
1 C major, which he offered for performance
t Vienna and Prague; it was produced at the
iewandhaus, Leipzig, on Jan. 10, 1833. While
n Prague, he wrote his first opera-libretto,
lie Hochzeit, of which he composed an in-
roduction, a septet, and a chorus, afterwards
ibandonin^ the work on account of objections
aised by his sister Rosalie. In 1833 he began
lis career as a professional musician, being
invited by his brother Albert, stage-manager
and singer at the Wiirzburg Theatre, to take
the position of chorusmaster there. He
found leisure to compose a romantic opera
in 3 acts, Die Feen, to a libretto of his own
after La Donna serpenie by Gozzi; it was
accepted, but never performed, by the Leip-
zig theatre-director Ringelhardt (first given at
Munich, June 29, 1888). In 1834 he was
made conductor of the Magdeburg Th.; he
brought out two overtures, to Die Feen and
Columbus [Apel], songs to the farce Der Berg-
geist, etc. ; and finished book and score of a
2 -act opera, Das Liebesverbot [after Shake-
speare's Measure for Measure], the perform-
ance of which, on March 29, 1836, after
hurried rehearsals, ended in chaos. Failing to
bring it out at Leipzig and Berlin, he repaired
to Konigsberg, became conductor of the
theatre, and married (Nov. 24, 1836) the
actress Wilhelmine Planer. His sole new
work here was the overture Rule Britannia.
Next year he was appointed conductor of the
Riga opera, newly opened under Holtei; he
also conducted orchestral concerts, and com-
pleted the libretto of Rienzi, der letzle der
Tribunen, a tragic opera in five acts, of which
he composed the first two in Riga. Inspired
by the hope of equalling Meyerbeer's triumphs
on the stage of the Grand Opera at Paris, W.
set out for that city in July, 1839, his contract
at Riga having expired; the events of the
stormy voyage, heightened by his previous
perusal of the legend of the Flying Dutchman,
made an indelible impression on his mind. He
passed 4 weeks at Boulogne in Meyerbeer's
society, who gave him letters to musicians
and publishers in Paris; he arrived there with
his wife in September, and remained there
until 1842. Unsuccessful in his attempts to get
a hearing for Rienzi, he found himself in dire
straits, and supported himself by song-writing,
arranging dances for piano and cornet, pre-
paring the piano-score of Halevy's Reine de
Chyfre, and other operas, writing articles for
musical papers, etc. In 1840, in the midst of
his troubles, he wrote the grand Faust-Ouver-
ture, intended for the first movement of a
'Faust Symphony'; in November of that
year, the score of Rienzi was finished, and sent
to the Intendant of the Dresden Court
Theatre. Sketches for Derfliegende HoUdnder
had also been submitted to the Director of the
Opera, who viewed them with approval, but
ended by giving the libretto to Foucher for
versification, and forcing W. to accept 400
francs for his share in the work. W. lost no
time in setting his own poem, completing the
score in 7 weeks; on Meyerbeer's recom-
mendation it was accepted at Berlin, but not
performed; applications to other German
theatres were equally unsuccessful. [On Nov.
9, 1842, the French version, Le Vaisseau fan-
time, set to music by Diet sen, chef d'orchestre
at the Opera, was unsuccessfully produced.]
Rienzi, however, had finally been accepted
at Dresden, and in April, 1842, W. left Paris
to superintend the rehearsals; it was produced
on Oct. 20 with great success, which induced
the direction to bring out Der fliegende HoU
Idnder on Jan. 2, 1843. But the step from
the grandiose grand-opera style of Rienzi to
the fervent romanticism of the HoUdnder was
too long for the average critic and musician
to take; the protests raised against the al-
most crudely realistic instrumentation, the
pathetic declamation, the suppression of the
traditional divisions of musical numbers and
scenes, etc., started the opposition to Wagner
which grew in intensity for the next quarter
of a century. Nevertheless, in the same
month W. was appointed conductor of the
Dresden Opera, succeeding the deceased
Morlacchi. In this position he developed
great activity for the following 6 years, bring-
ing out the best operas (Iphigenie in Aults,
Der Freischutz, Eur y ant he, Don Giovanni, Die
Zauberflote, Fidelia, etc.) in masterly fashion;
he also conducted the Dresden Liedertafel, for
which he wrote a 'biblical scene,' Das Liebes-
mahl der Apostel, for 3 choirs of male voices
singing at first a cappella, finally with full
orch. The 3-act opera Tannhduser und der
S&ngerkrieg auf Wartburg, was finished in
1844; the first performance took place at
Dresden, Oct. 19, 1845, arousing more strenu-
ous opposition than the Hollander; now the
critics discovered that W. had neither 'mel-
ody' nor 'form,' a phrase on which the changes
have been rung ad nauseam ever since; still,
the opera made its way slowly to the principal
German stages (Weimar, 1849; Wiesbaden,
1852; Kassel, 1853; Munich, 1855; Berlin,
1856; Vienna, 1857; etc.). It was Wagner's
misfortune to be within the peculiar sphere
of the conservative (not to say narrow-
minded) Dresden critic Schladebach, whose
opinions were echoed by the press of other
German capitals, and created a strong preju-
dice among theatre-managers and influential
musicians. Liszt and Spohr did, however,
recognize W.'s lofty aims; the first-named
later became his foremost champion. After
Tannhduser, W. began work on the 3-act
romantic opera Lohengrin; even the book
for Die Metster singer, and tentative sketches
for Der Ring des Nibelungen, were progressing
997
WAGNER
at the same time. Early in 1848 Lohengrin
was finished;, but the direction of the Opera
did not care to experiment with the work,
and only the Finale to Act 1 was performed
at the 300th anniversary of the court orches-
tra, on Sept. 22, 1848. Studies on the Bar-
barossa legend resulted in the curious essay
Die Wibelungen, Wcltgesckichtc aus der Sage;
W. does not appear to have approached the
subject musically. A prose study on Der
Nibelungen-Mythus als Entwurf zu einem
Drama (1848) was followed by Siegfrieds Tod,
a 3-act drama with Prologue, written in
alliterative verse, and subsequently utilized,
in an altered form, for Gbtterddmmerung;
some of the musical themes were also con-
ceived at this time. Full of these plans, and
penetrated by the conviction of the im-
possibility of carrying them out under the
existing theatrical conditions, Wagner drew
up, and sent in to the Saxon Ministry, a
'Proposition for a National Theatre of the
Kingdom of Saxony'; it remained unnoticed,
and W., already chafing under secret and
open hostility, and the irksome details in-
cident to his position, incautiously expressed
sympathy with the revolutionary tendencies
of the period, and had to leave Dresden after
the suppression of the May Revolution
(1849), in order to escape arrest. For a brief
space he found asylum at Weimar with Liszt,
who was rehearsing Tannhduser; but was
again forced to flee, Liszt providing him with a
passport and accompanying him as far as
Eisenach on the way to Paris. This second
visit to the French capital was quite barren of
results, and in June, 1849, W. proceeded to
Zurich. Here followed a period of literary
activity. The exiled composer, finding his
music slighted, now took up the pen to defend
himself in earnest against the attacks of
f>rejudice, malice, and ignorance, and to en-
ighten the public with regard to his own
aims and motives. Within 3 years a re-
markable series of essays appeared : Die Kunst
und die Revolution (1849); Das Kunstwerk der
Zukunft, Kunst und Klima, Das Judenikum in
der Musik (1850); Oper und Drama, Eine
Mittheilung an meine Freunde, Ober die Goethe-
Stiftung, Ein Theater in Ziirich, Erinnerungen
an Spontini (1851); Ober die Auffuhrung des
Tannhduser, Bemerkungen zur Auffuhrung
der, Oper Der fliegende Hollander (1852). He
also completed the 3-act prose drama Wie-
land der Schmiedt, hoping to bring it out in
Paris as an opera in French verse; in 1852
the poems of the Nibelungen trilogy were
finished, and privately printed in 1853; the
full score of Das Rheingold was finished in
1854, and that of Die WalkUre in 1856. In
the meantime he conducted orchestral con-
certs, lectured on the musical drama, rehearsed
and produced Tannhduser at Zurich, 1855;
in the spring of 1855 he likewise coocU.-
eight concerts of the London Philharrc
Society. In 1857 he laid aside the hah
ished score of Siegfried, and took up Tn.
und Isolde, the poem being completed in r
year, with the full score of Act I ; the sc
of Act II was finished in Venice, March f 1 v
and of Act III in Lucerne, August, 1859. •
now gave concerts of his own works at P_
(1860), making many enthusiastic frier.
but also stirring up active opposition, ana
curring heavy debts. Two concerts in Br-.
sels were even less successful. Howr.
powerful interests in Paris were enlisted
his favor; the Emperor ordered that Jen
hduser should be put in rehearsal at the G~.
Opera; and it was brought out on March :•
1861, though in the face of such tumu :_
opposition by a hostile clique that it «.
withdrawn after the third performance. i
on this disaster followed a gleam of sun>L
W. was amnestied and returned to his rur
country in hopes of soon producing Tn
the work was, indeed, received at the \ V
Court Opera, but given up as 'impractio
after 57 rehearsals. He was partially .
consoled by hearing, for the first time 1
own opera Lohengrin (Vienna, May 31,18;
and he was greeted with effusion by Liszt n:
other leaders of German music at the 7-c
kttnstler-Versammlung at Weimar in Aagu^.
The design of a comic opera, Die Uns:^r-
singer von Nurnberg, sketched as far tx*cW d>
1845, was now taken up with energy. v-
finished the poem at Paris, 1862, though t
score was not completed until 1867. Up
1864 he supported himself chiefly by giu .
concerts of his compositions, meeting « r
greatest success in Petrograd and Moscoi
Despite all efforts, however, his situation k-
came desperate; in 1863 he published the
poems of the Ntbelung cycle, having lost booc
of finishing the musical setting. At thi>
crisis King Ludwig II of Bavaria, who had
just ascended the throne, sent for W. in 1U4,
inviting him to Munich with the prozo or'
the amplest aid in carrying out his pra$cu.
Von Biilow was summoned as court Kapt&-
meister, to produce Tristan und Isolde (June
10, 1865). But court cabals, and persistent
opposition on the part of leading musicians,
rendered W.'s position so unpleasant that he
left Munich in December, and settled in the
village of Triebschen on the Lake of Lucerne,
busying himself with the completion of the
scores of Die Meistersinger (prod. Munich,
June 21, 1868) and Der Ring des Nibelungen,
Siegfried being finished in 1869, and Gotta-
ddmmerung in 1874. King Lud wig's plan for
a special Wagner Theatre in Munich having
fallen through, W. fixed upon Bayreuth, in
1871, as the place for it; the cornerstone was
laid in 1872, on W.'s 59th birthday. The
998
WAGNER
fund required for erecting the new theatre,
which was built according to W.'s original
plans, was raised by private subscription, by
the contributions of 'Wagner Societies'
(Wagner- Vereine) formed all over the world,
and by a series of concerts arranged by W.in
various German cities. At length, in August,
1876, the dream of his life was realized; three
complete performances of the Der Ring des
Nibelungen were given at the Bayreuth
theatre, attended by musical notabilities
from the four quarters of the globe, and hon-
ored by the presence of Emperor William I
and King Ludwig. Hans Richter conducted
the orchestra, in which Wilhelmj led the vio-
lins. Musically a grand success, the under-
taking left W. again heavily involved in debt;
concerts given at the Albert Hall, London, in
1877, gave meagre pecuniary returns; but
he was finally relieved by the setting aside of
the royalties derived from performances of
the cycle at Munich. The next few years
were occupied with literary work, and with
the completion of his last dramatic com*
position, the 'Buhnenweihfestspiel' Parsifal,
finished in 1882, and produced for the first
time on July 26 of that year, other perform-
ances following through July and August, all
under the master's personal supervision. He
also made arrangements for the performances
of 1883; in the autumn of 1882 ill health
compelled him to seek relief in Venice, where
he spent the winter; death overtook him
suddenly on Feb. 13, 1883. His remains were
interred in the garden of his villa 'Wahnfried'
at Bayreuth.
In 1861 Wagner separated fromhis first
wife, who went to Dresden, and died there
Jan. 27, 1866. On Aug. 25, 1870, he married
Cosima, the daughter of Liszt, after her
divorce from her first husband, Hans von
Biilow.
In comprehensiveness and grandeur of con-
ception, originality and boldness of execu-
tion, vividness of characterization, intensity
of expression and sustained power Wagner
towers like a colossus above all other dra-
matic composers. From the outset he penned
his own poems according to his own ideas.
He wasted no time in searching for libretti
from which to borrow ideas, or for a librettist
to cast his ideas in the conventional mould.
When he wrote a work, he was so filled with
his subject that it was a natural necessity for
him to put it into concrete shape, and so dis-
burden his teeming imagination. a His was a
thoroughly poetic nature. And in true dra-
matic instinct he was so far in advance of his
musical contemporaries, that many of them
never could appreciate his preeminence. Of
his first operas, Die Feen, Das Liebesverbot
and Rienzty it may be said briefly that they
represent his immature, formative, imitative
period. With Der fliegende Hollander the in-
dividual Wagner, the genius, is unveiled,
almost abruptly. The plain, straightforward
mythical tale, a conflict of stormy emotions
and the apotheosis of love and self-sacrifice,
appeals to every heart; the music, radiating
from the central ballade sung by Senta, of an
elementary power enhanced t>y the (already)
original employment of leading-motives [Leit-
motive], is as wildly romantic, as tenderly
pathetic, and as sternly tragic, as the suc-
cessive situations — and, above all, a music
not written to exhibit the beauty and agility of
the singers' voices, but to follow the drama
into its least details without the customary
breaks made by set numbers (arias, duets, en-
sembles) ; here the heroine has only one solo,
the Ballade, and the hero none, in the custom-
ary sense. And all these innovations — the
derivation of the dramatic and musical whole
from a central source; the preservation of
dramatico-musical unity by the use of Leit-
motive; the subordination of the singers to
dramatic requirements; and the absolute
melodic and harmonic freshness and vigor,
combined with daring orchestration — all these
at once in one work! No wonder that there
was a rattling of dry bones. — In Tannhdiiser
and Lohengrin (1848) Wagner's second period,
the romantic, closes. In these two operas he
employs like means, in substantially the same
manner, though with growing variety and re-
finement.— The third period opens six years
later, with Das Rheingold (1854). The in-
termediate time has been one of profound
self-searching and reflection. W.'s ideas con-
cerning the union of the arts have been fully
matured and formulated (cf. Das Kunstwerk
der Zukunfl, Oper und Drama and Eine Mittkei-
lung an meine Freunde) ; and in this period they
are carried out to their ultimate logical con-
clusion. He assumes the rdle of a reformer
of the musico-dramatic stage; unsparingly
criticizesand condemns the faulty and illogical
plan of the Italian 'opera' and the French
grand opera/ and naturally discards these
titles, calling his own subsequent works
'music-dramas,1 adding specific titles (' Hand-
lung' [action] for Tristan und Isolde; 'Buhnen-
festspiel' [stage festival-play] for the Nibelun-
gen; 'Buhnenweihfestspiel [stage-consecrat-
ing festival- play] for Parsifal). To quote
his own words, "the mistake in the art- form
of the opera consists in this, that a means
of expression (music) was made the end, and
the end to be expressed (the drama) was made
a means." Only in a coordinated cooperation
of musical and scenic means of expression
with the end to be expressed, the dramatic
action, could a genuine and perfect musical
drama be achieved. The choice of subject
is of the utmost importance, for not all sub-
jects lend themselves to musical characteri-
999
WAGNER
zation. The study of his own sketches,
Friedrich der Rothbart and Siegfrieds Tod
(both written in 1848) convinced him that
the former (historical) was absolutely com-
plete as a spoken drama, whereas the latter
(legendary) imperatively demanded the aid
of music. This conviction he formulated
thus: "The subject to be treated by the
word-tone poet (Worttondichter) is the
purely human, freed from all convention and
from everything historically formal." The
new art-work also begot its own artistic form:
continuous thematic development of leading-
motives. Wagner's orchestra now became
an exponent of the dramatic action; the
highly individualized and pregnant leading-
motives, now singly, in bold relief, now subtly
intertwined and varied, plastically present
the ever-changing soul-states of the characters
of the drama and form the connecting-links
for the dramatic situations; the singing of
the actors is resolved into a lofty declamation
('Sprechsingen,' Wagner calls it) of telling
dramatic force. In richness, variety, and
novelty of effect, W.'s theatre-orchestra
stands unrivalled; in chromatic and en-
harmonic modulation, rhythmic multiformity,
and fertility and originality of contrapuntal
combination and thematic exploitation, he
is wholly sui generis. Tristan und Isolde, Die
M eistet singer ', Der Ring des Nibelungen and
Parsifal differ widely in their subjects, and
consequently in the character of their music,
each presenting a distinctive physiognomy;
but all exhibit those striking characteristics
which are immediately recognized as typically
Wagnerian. Whatever one's personal prefer-
ence for one or the other of these works, one
always has the feeling that the music of each
drama is the perfect and only possible ex-
pression of that particular subject. All
represent an elevation of sustained dramatic
energy undreamed of before the advent of
Wagner, and not attained since.
Wagner's reform was incomparably more
far-reaching in aim, import and effect than
Gluck's. The hitter's chief purpose was to
counteract the arbitrary predominance of
the singers, and this he tried to accomplish
through insistence upon the drama and
dramatic truth. But he failed to recognize
the fact that the very form of the opera
with its set numbers (arias, recitatives, en-
sembles, etc.), each musically complete in it-
self and not connected one with the other,
was directly antagonistic to the very principle
he sought to emphasize. Less than halt a
century after his death the abuses he had
temporarily remedied flourished more than
ever in the operas of Rossini, Bellini, Do-
nizetti and Meyerbeer. Wagner struck at the
root of the evil. When he turned away from
"*, he did so with the conviction that this
artifical form could never serve as a basts for
true dramatic expression. In its* place he
has given the world a new form, the music-
drama, founded on the dramatic side upon
the drama of Shakespeare and Schiller, and
on the musical side upon the art of Bach and
Beethoven. So entirely new was Wagner's
art, that, with a few exceptions, contempo-
raries failed to comprehend it, and W. was
obliged to train singers and conductors in the
new style of interpretation demanded by his
works. Thus he became the founder of
interpretative conducting and of a new
school of dramatic singing. — As time passes,
the figure of Wagner seems to assume more
colossal proportions. He is one of those
master-minds that belong to no time and to
no nation, whose work lives as one of the vital
forces of civilization.
Out of the extensive collection of Nikola us
Oesterlein (q. v.), who devoted his life to the
acquisition of Wagneriana of every descrip-
tion, there has grown the Wagner- Museum,
opened at Vienna in 1887. In 1897 it was
transferred to Eisenach, where, pending the
erection of a building on a magnificent scafe,
the treasures are housed in the villa formerly
occupied by Fritz Reuter. The collections
are being constantly increased, special
attention being given to the enormous W.-
library, which contains practically every-
thing written about W. The directors are N.
Oesterlein (1887-98), Hans Buhmann (1898-
1904), Philipp Kuhnert (since 1904)#_See
Bibliography, under m and n.
Works.
writings. — Wagner spent a large amount
of his enormous productive activity in writ-
ing. Besides the dramatic works he set to
music, he wrote Che texts of a 2-act comic
opera, Mdnnerlist grosser als Frauenlist, oder
Die gluckliche Bdrenfamilie (1837), a 4-act
tragic opera, Die hohe Braut, oder Bianco und
Giuseppe (first sketch, 1836; completed 1842:
comp. by J. F. KittI, and prod. Prague, 184S)
and a 3-act 'grosse Heldenoper' Siegfrieds Tod
(1848; later expanded into Gdtterd&mmerung) ;
a 2-act comedy in ancient style, Eine Kapttu-
lation (1871); dramatic sketches, Die Berw-
werke zu Falun (1841), Die SaroMenin (1841),
Friedrich der Rothbart (1846; enlarged 1848),
Jesus von Nazareth (1848), Wieland der
Schtniedt (1856), Die Sieger (1856). He ex-
pounded his theories on music and the music-
drama in several works, the more important
of which are Die Kunst und die Revolution
(1849), Das Kunstiverk der Zukunfl (1850),
Kunst und Klima (1850), Oper und Drama
(1851), Eine MiUheilung an meine Frtunde
(1851), Vber das Dirigicren (1869), Beethoven
(1870). In his later years he also touched
upon a large number of religious, social and
1000
I
WAGNER
economic subjects in essays of more or less
value. The merits of his dramatic poems
aroused only less dispute than his music; but
to-day his name is found in every history of
German literature as one of the great German
dramatic poets. The first edition of his col-
lected writings, edited by himself, was publ.
at Leipzig in 9 vols. (1871-3) as Gesammelte
Schriften und Dichtungen; it contains the
dramatic works from Rienzi to Der Ring des
Nibelungen, the above-mentioned essays,
besides numerous others written between
1840-;71. The second ed. (1882-3), with an
additional vol. (Parsifal and essays), was also
prepared by W. personally; the 3d (1887) and
4th (1897) editions are only reprints. Not
contained in these editions, and publ. sepa-
rately, are: Entwurfe, Gedanken, Fragment*
(ed. by H. von Wolzogen; Leipzig, 1885);
Jesus von Nazareth (ib., 1887); Nachgelas-
sene Schriften und Dichtungen (ib., 1895;
2d ed. 1902); GedichU (ed. by K. F. Glase-
napp; Berlin, 1905) ; Enhoiirfetu ,Die Meister-
singer,1 ,Tristan und Isolde* und ,Parsifall
(ed. by H. von Wolzogen; Leipzig, 1907); es-
says and criticisms of the first Paris period
ed. by R. Sternfeld as A us R. W.'s Pariser
Zeit (Berlin, 1907); the texts of Die Feen,
Die hohe Braut, Pas Liebesmahl der Apostd,
a fragment of Die Hochzeit, the sketch to Die
Bergwerke zu Falun, and early essays ed. by
J. Kapp as Derjunge W. (Berlin, 1910). All
these works were included in the 5th edition,
ed. by H. von Wolzogen and R. Sternfeld (12
vols.; Leipzig, 1911). Engl, transl. by W. A.
Ellis, The Prose Works of R. W. (8 vols. ; Lon-
don, 1892-1900); French tr. by J.-G. Prod'-
homme, F. Caille and L. van Vassenhove,
(Euvres en Prose de R. W. (9 vols.; Paris,
1907-13). — A detailed autobiography, Mein
Leben (only up to May, 1864) was privately
printed (15 copies, 1870) for distribution
among intimate friends; publ. in 2 vols, at
Munich, 1911 (simultaneously in Engl., Fr.
and Russian). — Very valuable and important
is W.'s voluminous published correspondence.
See bibliography, under B. — Cf. also K. F.
Glascnapp and H. von Stein, W.-Lexikon.
Hauplbegriffe der Kunst- und Weltanschauung
W.'s in wortlichen Ausfuhrungen aus seinen
Schriften zusammengestcUt (Stuttgart, 1883)
and K. F. Glasenapp, W.-Enzyklopadic.
Haupterscheinnngen der Kunst- und Kultur-
geschichte im Lichte der Anschauung W.'s in
wortlichen Ausfuhrungen aus seinen Schriften
dargesURt (2 vols.; Leipzig, 1891).
operas and music-dramas: Die Hochzeit
(fragment; comp. 1833; publ. 1912); Die
Feen, romantic opera in 3 acts (comp. 1833;
overture played Magdeburg, 1834; first prod.
Munich, June 29, 1888. Vocal score publ.
1888; full score 1912); Das Liebesverbot,
rom, op. in 2 acts (comp. 1835-6; prod.
Magdeburg, March 29, 1836, as Die Novize
von Palermo; unpubl.). Rienzi, der letzte der
Tribunen, tragic opera in 5 acts (comp.
1838-10; prod. Dresden, Oct. 20, 1842.
Publ. pf. -score and full do., 1844); Der flie-
gende Hollander, romantic opera in 3 acts
(comp. 1841; prod. Dresden, Jan. 2, 1843.
Publ. pf. -score and full do., 1844); Tann-
hauser und der Sdngerkrieg auf Wartburg,
romantic op. in 3 acts (comp. 1843-5; prod.
Dresden, Oct. 19, 1845. Publ. pf. -score and
full do., 1846); Lohengrin, romantic op. in 3
acts (comp. 1845-8; prod. Weimar, Aug. 28,
1850. Publ. pf. -score, 1851; full do., 1852);
Das Rheingold, Part I of Der Ring des Nibe-
lungen, music-drama in four parts. [Wagner
calls Der R. des N. a 'Biihnenfestspiel,' dra-
matic trilogy in 3 parts and a 'Vorabend'
(introductory evening), Das Rheingold.]
(Comp. 1848-53; prod. Munich, Sept. 22,
1869; first regular perf. in the cycle, Bay-
reuth, Aug. 13, 1876. Publ. pf. -score, 1861;
full do., 1873); Die Walkure, Part II of Der
Ring des Nibelungen. (Comp. 1848-56; prod.
Munich, June 26, 1870; first regular perf.
in the cycle, Bayreuth, Aug. 14, 1876. Publ.
pf. -score, 1865; full do., 1873); Tristan und
Isolde, 'Handlung' in 3 acts. (Comp. 1857-9;
prod. Munich, June 10, 1865. Publ. pf.-score
and full do., 1860); Siegfried, Part III of
Der Ring des Nibelungen. (Comp. 1857-69;
prod. Bayreuth, Aug. 16, 1876. Publ. pf.-
score, 1871; full do., 1876); Die Meister-
singer von Numberg, musical comedy in 3 acts.
(Comp. 1861-67; prod. Munich, June 21,
1868. Publ. pf.-score, 1867; full do., 1868);
Gotterdammerung, Part IV of Der Ring des
Nibelungen. (Comp. 1870-4; prod. Bay-
reuth, Aug. 17, 1876. Publ. pf.-score, 1875,
full do., 1876); Parsifal, 'Buhnenweihfestspiel'
in 3 acts. (Comp. 1876-82; prod, Bayreuth,
July 26, 1882. Publ. pf.-score, 1882; full
do., 1884). — foreign premieres [works indi-
cated by initials], u. s.: R., N. Y., Acad.
Mus., Mar. 4, 1878; H., ib., Jan. 26, 1877;
r., ib., Stadth., Apr. 4, 1859 (Paris version,
M.O. H., Jan. 30, 1889); L., ib., ib., Apr. 15,
1871; T.u. /., M.O. H., Dec. 1, 1886; M.t
ib., Jan. 4, 1886; Rh., ib., Jan. 4, 1889; W.,
N. Y., Acad. Mus., Apr. 2, 1877; S., M. O. H.,
Nov. 9, 1887; G., ib., Jan. 25, 1888 (premiere
of entire Ring, Mar. 4, 5, 8, 11, 1889; without
cuts, Feb. 20, 22, 27, Mar. 1, 1900); P., ib.,
Dec. 24, 1903. England: R., London, H. M.
Th., Jan. 27, 1879; H., ib., Dr. L., July 23,
1870; T.,Cov. G., May 6, 1876; L., ib., ib.,
May 8, 1875; T. u. I., ib., Dr. L., June 20,
1882; M., ib., ib., May 30, 1882; Rh., ib.f ib..
May 5, 1882; W., ib., ib., May 6, 1882; 5.,
ib., ib., May 8, 1882; G., ib., ib., May 9, 1882;
P., ib., Cov. G., Feb. 2, 1914. France: R.,
Paris, Th.-Lyr., Apr. 6, 1869; H., Rouen,
Th. des Arts, Feb. 12, 1896; T.9 Paris, Opera,
1001
WAGNER
Mar. 13, 1861; L., Paris, Th. Eden, May 3,
1887; T. u. /., Aix-les- Bains, Th. du Cercle,
Sept. 10, 1896; M., Lyons, Grand Th.f Dec.
29, 1896; Rh., Paris, Opera, Nov. 17, 1909;
W., ib., ib., May 12, 1893; 5., ib.f Opera,
Jan. 3, 1902; G., ib., Th. Chateau d'Eau,
May 17, 1902; P., ib., Opera, Jan. 2, 1914.
italy: R.f Venice, La Fenice, Mar. 15, 1874;
i/., Bologna, T. Comunale, Sept. 10, 1877;
7\, ib., ib., Nov. 7, 1872; L., ib., ib., Nov. 1,
1871; T. u. /., ib., ib., June 2, 1888; M.,
Milan, La Scala, Dec. 26, 1889; Rh., Venice,
La Fenice, Apr. 14, 1883; W.t ib., ib., Apr.
15, 1883; 5., ib., ib., Apr. 17, 1883; G., ib.,
ib., Apr. 18, 1883; P., Milan, La Scala, Jan.
1, 1914.
orchestral works: Overture in Bb ['mit
dem Paukenschlag'] (comp. 1830; prod. Leip-
zig, Dec. 25, 1830; unpubl.; score lost);
Overture in D m. (comp. 1831; prod. Leipzig,
Feb. 23, 1832; unpubl.); Overture in C
['ziemlich fugiert'] (comp. 1831; prod. Leip-
zig, April 10, 1832); Overture to Raupach's
Konig Enzio (comp. 1832; prod. Leipzig,
Mar. 16, 1832; publ. 1908); Symphony in C
(comp. 1832; prod. Prague, autumn of 1832,
and Leipzig, Jan. 10, 1833; publ. 1911);
Symphony in E (comp. 1834; fragment; un-
publ.); Overture to Apel's Columbus (comp.
1835; prod. Magdeburg, 1835; publ. 1904);
Overture Rule Britannia (comp. 1836; prod.
Konigsberg, Mar., 1837; publ. 1904); Over-
ture Polonia (begun 1832. finished 1836;
prod. (?): publ. 1904); Eine Faustouverture
(comp. 1839-40; prod. Dresden, July 22,
1844; rewritten and publ. 1855); Trauer-
tnusik for wind-instrs., after motives from
Euryanthe (comp. 1844; prod. Dresden, Dec.
14, 1844, on the arrival of Weber's remains
from London; publ. 1906); IIuldigungsmarscht
dedicated to King Ludwig II (comp. 1864;
orig. for mil. band; orchl. score begun by W.,
finished by Raff; publ. 1869); Siegfried-
Idyll (romp. 1870; prod. Triebschen, Dec.
25, 1870; publ. 1877); Kaisermarsch (comp.
1871; prod. Berlin, May 5, 1871; publ.
1871); Grosser Fcstmarsch, for the Philadel-
phia Centennial Expos, (comp. 1876; prod.
Philadelphia, May 10, 1876; publ. 1876).
choral works: Neujahrskantate for mixed
ch. and orch. (comp. 1834; prod. Magde-
burg, Dec. 31, 1834; publ. 1914. Air. with
a new text by Peter Cornelius as K tins tier-
weihe, and prod, at Bayreuth on W.'s 60th
birthday); Volkshymne for mixed ch. and
orch. on the accession of Czar Nicholas I
(comp. 1837; prod. Riga, Nov. 21, 1837;
publ. 1914); Im Dcscente de la Courtille for
mixed ch. and orch. (comp. 1840; publ. 1914);
Weiltegruss for male ch. and orch., for the
unveiling of the statue of King Friedrich
August of Saxony (comp. 1843; prod. Dres-
den, June 7, 1843; vocal parts publ. 1906, full
score 1914); Das Liebesmahl der Apostd,
biblical scene for male ch. and orch. (comp.
1843; prod. Dresden, July 6, 1843; publ. 1844);
Gruss seiner Treuen an Friedrich August den
Geliebten for male ch. a capp., on the King's
return from England (comp. 1843; prod.
Dresden, Aug. 12, 1843; publ. 1914); An
Weber s Grabe for male ch. a capp., for the in-
terment of Weber's remains (comp. 1844;
prod. Dresden, Dec. 15, 1844; publ. 1871).
pf.- works: Sonata in D m. (comp. 1829;
lost); Doppelfuge (comp. probably in 1831
[103 bars, with corrections in Weinhg's hand];
publ. 1912, in 'Die Musik'); sonata in Bb
(comp. 1831; publ. 1832); Polonaise in D
[4 hands] (comp. 1831; publ. 1832); Fantasie
in F# m. (comp. 1831; publ. 1905); sonata in
A (comp. 1831; unpubl.); Album sonata in
Eb [for Mathilde Wesendonk] (comp. 1853;
publ. 1877); Zuricher VieUiebchen, waltz in
E (comp. 1853; publ. 1896, in 'Musikal.
Rundschau'); Albutnblatt in C [for Countess
Metternich] (comp. 1861; publ. 1871); An-
kunft bei den schwarzen Schwdnen [Album-
blatt for Countess Pourtales] (comp. 1861;
publ. 1897); AlbumblaU in Et> [for Frau Betty
Schott] (comp. 1875; publ. 1876).
songs: Glockentone (comp. 1832 ; unpuU.V,
Sieben Kompositionen zu Goethe s Faust: 1,
Lied der Soldaten. 2, Bauern unlet der Linde.
3, Branders Lied. 4, Lied des Mephistophelcs
[Es war einmal ein Konig]. 5, do. [ Was machst
du mir\. 6, Gesang Gretchens [Afeine Ruh ist
kin]. 7, Melodram Gretchens [Ach neige, du
Schmerzensreiche] (comp. 1832; publ. 1914);
Carnevalslied from Das Liebesverbot (comp.
1835; publ. 1885); Der Tannenbaum (comp.
1838; publ. 1871); Les deux Grenadiers [Fr.
tr. by Heine himself] (comp. and publ. 1839);
Trois Romances: 1, Dots, mon enfant. 2,
Attente. 3, Mignonne (comp. 1839-40; publ.
as suppl. to Lewald's 'Europa,' 1841-2); Les
Adieux de Marie Stuart (comp. 1840; publ.
1913); Tout n'est qu' images fugitives (comp.
1840; publ. 1914); Fiinf Gedichte: 1, Der
Engel. 2, Schmerzen. 3, Trdume. 4, Steke
still. 5, Im Treibhaus (Nos. 1-3 comp. Dec.,
1857; No. 4, Feb., 1858; No. 5, June, 1858;
all publ. 1862); Kraftliedchen (comp. 1871;
publ. in 'Wiener Illustrierte Zeitung/ Oct. 14,
1877).
incidental music: Allegro inserted in
Aubry's Aria in Marschner's Der Vampvr
(WUrzburg, 1833; publ. 1914); incid. mus'ic
to Gleich's farce Der Berggeist (Magdeburg,
1835 or '36; unpubl.; authenticity questioned
by Glasenapp); Oper- und Beschworungsszene
for some unknown drama (probably prod, at
Konigsberg, 1837; unpubl.); Romanze in G,
inserted in K. Blum's Singspiel Marie, Max
und Michel (Riga, 1837; publ. 1914); Aria of
Orovisto, for insertion in Bellini's Norma
(Paris, 1841; publ. 1914).
1002
WAGNER
arrangements: Pf.-9core of Beethoven's
Ninth Symphony (1830; unpubl.); do. of
Donizetti's La Favorite and Elisir d'Amore
(both publ. 1840); do. of Halevy's La Reine
de Chypre and Le Guitar rero (both publ. 1841);
Cluck's Iphighnie en Aulide, new translation
and new close to overture (1846; prod. Dres-
den, Feb. 22, 1847; full score of new close, and
complete pf .-score [by von Billow] publ. 1859) ;
Palestrina's Stabat Mater, with indications
for performance (1848; prod. Dresden, Mar.
8, 1848; publ. 1877); Mozart's Don Giovanni,
version of dialogues and recitatives and, in
parts, new translation (1850; not prod.; un-
publ.).
The first complete edition (including all
hitherto unpubl. works), in 18 volumes, ed.
1 by Michael Balling, was begun by Breitkqpf
' & Hartel in 1914. Contents: I, Rienzi. fi,
Der fliegende Hollander . Ill, Tannh&user.
IV, Lohengrin. V, Tristan und Isolde. VI,
Die Meistersinger. VII, Das Rheingold. VIII,
Die Walkure. IX, Siegfried. X, Gblterdam-
merung. XI, Parsifal. XII, Die Hochxeit.
XIII, Die Feen. XIV, Das Liebesverbot.
XV, Part 1, Vocal works for solo voice; Part
2, Pf.-works. XVI, Part I, Orchestral works;
Part 2, Choral works a capp. and with orch.
XVII and XVIII, Posthumous orchestral
works.— Up to June, 1918, vols. IV, XII,
XIII, XV (1) and XVI (2) had appeared.
BIBLIOGRAPHY.
A. — biography: R. Wagner, Afein Leben
(See writings); K. F. Glasenapp, W.'s
Leben und Wirken (2 vols.; Kassel, 1876-7;
3d ed. rewritten and vastly augm., publ. at
Leipzig as Das Leben R. W.'s: Vol. i, 1813-43
[1894; 5th ed. 1912]; vol. ii, 1843-53 (1896;
5th ed. 1910]; vol. iii, 1853-62 [1899; 3d ed.
1903]; vol. iv, 1862-72 [1904; 4th ed. 1908];
vol. v, 1872-77 [1907; 5th ed. 1912]; vol. vi,
1877-83 [1911]. The standard work as to
facts and sources) ; W. Tappert, R. W. Sein
Leben und seine Werke (Elberfeld, 1883); F.
Hueffer, R. W. (London, 1883; new ed.
1912); A. Jullien, R. W. Sa vie et ses wuvres
(Paris, 1886; Engl. tr. by F. P. Hall, Boston,
1892 [repr. Philadelphia, 1910]; important);
H. T. Finck, W. and His Works (2 vols.;
New York, 1893; 5th ed. 1898; Ger. tr. by
G. von Skal, Breslau, 1896); H. S. Cham-
berlain, R. W. (Munich, 1895; 4th ed. [2 vols.]
1912; Engl. tr. by G. A. Hight, London, 1897;
very important, emphasizes the esthetic-
ethical element); C. A. Lidgey, W. (London,
1899; 2d ed. 1904); W. A. Ellis, Life of R. W.
(6 vols.; London, 1900-8; vols, i-iii a transl.
[with copious additions] of the 1st ed. of
Glasenapp, after that entirely original; very
valuable); W. J. Henderson, R. W. His Life
and His Dramas (New York, 1901); W.
Kienzl, R. W. (Munich, 1904; 7th ed. 1908);
E. Newman, W. (London, 1904); Mrs. M.
Burrell. R. W. His Life and Works from 1813-
34 (London, 1905; with portraits, many fac-
similes of original documents, etc.); R. Btirk-
ner, R. W. Sein Leben und seine Werke (Jena,
1906; 6th ed. 1911); M. Koch, R. W. (3 vols.;
Berlin, 1906, '12, '14; with very full bibliogr.);
G. Schjelderup, R. W. Hans Liv of Voerker
(Copenhagen, 1907; Ger. tr. Leipzig, 1913);
H. Lichtenberger, W. (Paris, 1909); E.
Schmitz, R. W. (Leipzig, 1909); J. C. Hadden,
W. (London, 1910); J. Kapp, R. W. Eine
Biographie (Berlin, 1910; 10th ed. 1913);
F. Pfohl, R. W. Sein Leben und Schaffen (Ber-
lin, 1911); R. Batka, R. W. (Berlin, 1912);
J. F. Runciman, R. W. (London, 1913); O.
Huckel, W. The Man and His Work (Lon-
don, 1914); E. Newman, W. as Man and
Artist (London, 1914; very valuable).
B.— correspondence: Briefwechsel zwi-
schen W. und Liszt (2 vols., Leipzig, 1887; 2d
ed. 1900; Engl. tr. by F. Hueffer, London,
1888 [2d ed. 1897, with index by W. A. Ellis];
Ital. tr. by A. Cavalieri-Sanguinetti, Turin,
1896; Fr. tr. by L. Schmitt, Paris, 1900).
These two editions contain only the letters
from 1841-61, and many passages referring
to persons still living at the time of publication
were omitted; in the 3d ed., prepared by E.
Kloss (1 vol., 1910), all letters up to \v7«
death are included, and the omitted portions
restored. — Eliza Wille, Funfzehn Briefe des
Meisters [to her], nebst Erinnerungen und
Erlduterungen (Leipzig, 1887); W.'s Briefe
an Dresdener Freunde [Uhlig, Fischer, Heine]
(Leipzig, 1888; Engl. tr. by J. S. Shedlock,
London, 1890; Fr. tr. by G. Khnopff, Paris,
1903); La Mara, R. W.'s Briefe an Aug.
Rockel (Leipzig, 1894; 2d ed. 1903; Engl.tr.
by E. C. Sellar, London, 1897; Fr. tr. by M.
Kufferath, Brussels, 1894); H. S. Chamber-
lain, R. W.'sechte Briefe an Ferd. Praeger (Bay-
reuth, 1894; 2ded. Berlin, 1908); E. Kastner,
Briefe von R. W. an seine Zeitgenossen [1830-
83] (Berlin, 1897; very incompl.); K. Heckel,
Briefe an Emil Heckel (Berlin, 1898; 3d
ed. 1911; Engl. tr. by W. A. Ellis, London,
1899); Briefe an H.Levi, in 'Bayr. Bl.' (1901);
W. Golther, R. W. an Mathilde Wesendonk.
Tagebuchbldtter und Briefe (Berlin, 1904; 54th
ed. 1915; Engl. tr. by W. A. Ellis, London,
1905; Fr. tr. by G. Khnopff, Paris, 1905) ; W.
Altmann, R. W.'s Briefe nach Zeitfolge und
Inhalt. Ein Beitrag zur Lebensgeschichte des
Meisters (Leipzig, 1905; contains 3143 letters
[not complete]) ; W. Golther, Briefe R. W.'s an
Otto Wesendonk [1852-70] (Berlin, 1905; Engl,
tr. by W. A. Ellis, London, 1911); D. Spitzer,
R. W.'s Briefe an eine Putzmacherin (Vienna,
1906) ; W. Golther, Familienbriefe von R. W.
[1832-74] (Berlin, 1906; Engl. tr. by W. A.
Ellis, London, 1911); K. F. Glasenapp,
Bayreuther Briefe von R. W. [1871-83] (Ber-
1003
WAGNER
lin, 1907); E. Kloss, R. W. an seine KUnstler
(Berlin, 1908); H. von Wolzogen, R. W. an
Minna Wagner (2 vols., Berlin, 1908; Engl,
tr. by W. A. Ellis, London, 1909); E. Kloss,
R. W. an Freunde und ZeUgenossen (Berlin,
1909); Th. Apel, Jr., R. W. an Theodor Apel
(Leipzig, 1910); W. Altmann, R. W.'s Brief-
wechsel mit seinen Verlegern (Leipzig, 1911:
vol. i, with Br. & H.; vol. ii, with Schott;
vol. iii, with various publrs.); J. Kapp, Un-
veroffentlichte Wagnerbriefe, in 'Der Merker'
(Vienna, 1915; vi,4); J.-G. Prod'homme, W.
and the Paris Optra [unpubl. letters from
Feb. and Mar., 1861], in 'Mus. Quart.'
(April, 1915); E. Kloss, Brief e an Hans von
Billow (Jena, 1916). — Almost all the above
colls, were republ. in 1912 by Br. & H. as R.
W.'s Briefe (17 vols.); although the edition
was authorized by W.'s heirs, a number of the
letters appear in mutilated form (portions
expressing political and religious views being
suppressed). The first unmutilated edition
approaching completeness (as far as practic-
able at present; many letters, e.g., those to
King Ludwig, Albert Niemann, Mathilde
Maier, etc., being still inaccessible) was begun
by Hesse & Becker, of Leipzig, as R. W.'s
Gesammelte Briefe (almost 5000 letters in
chronological order), edited by J. Kapp and
E. Kastner; of the 12 volumes contemplated,
2 (letters from 1830-50) had appeared in
1914, when publication was temporarily
suspended by the war.
c. — personal reminiscences: H. von
Wolzogen, Erinnerungen an R. W. (Leipzig,
1883; Engl. tr. by A. and C. Simpson, nay-
retith, 1894); A. Schilling, Aus R. W.'s
Jugendzeit (Berlin, 1898; reminiscences of
W.'s step-sister Cacilic Avenarius); fi.
Schur6, Souvenirs sur R. W. (Paris, 1900;
Ger. tr. by F. Ehrcnberg, Leipzig, 1900);
E. von Possart, Die Separat-Vorstellungen
vor Konig Ludwig II. Erinnerungen (Munich,
1901); L. Schemann, Meine Erinnerungen an
R. W. (Stuttgart, 1902); G. A. Kictz, R. W.
in den Jahren 1842-9 und 1873-5 (Dresden,
1905); A. Kohut, Der Meister von Bayreuth
(Berlin, 1905); £. Michotte, Souvenirs per-
sonnels (Paris, 1906); A. Gobineau, Ein Erin-
nerungsbild aus Wahnfried (Stuttgart, 1907);
A. Neumann, Erinnerungen an R. W. (Leipzig,
1907; Engl. tr. by E. Livermore, New York,
1908; Fr. tr. by Remon and Bauer, Paris,
1909); H. Schmidt and U. Hartmann, R. W.
in Bayreuth. Erinnerungen (Leipzig, 1910).
D. — RELATIONS WITH CONTEMPORARIES: J.
L. Craemer, Konig Ludwig II. und R. W.
(Munich, 1901); F. Gerard, Romance of
King L udwig II of Bava ria . His Relation with
R. W. (London, 1901); S. Rockel, Ludwig II.
und R. W. in den Jahren 1864-5 (Munich,
1903; 2d ed. 1913); J. Kapp, R. W. und
Front Listt. Bine Freundschaft (Berlin,
1908); H. Belart, Friedr. Nietzsches Freund-
schaftstragodie mit R. W. (Dresden, 1912);
E. Forster- Nietzsche, W. und Nietzsche tur
Zeit ihrer Freundschaft (Munich, 1915); C.
Sarti, W. and Nietzsche (New York, 1915).
E.— CRITICISM, APPRECIATION: L. Nohl,
Gluck und W. Ober die Entwickelung des
Musikdramas (Munich, 1870); F. Nietzsche,
Die Geburt der Tragodie aus dent Geiste der
Musik (Leipzig, 1872; 2d ed. 1874; in vol. i
of N.'s Werket 1895; Engl. tr. in O. Levy's ed.
of complete works, Edinburgh, 1910-14);
E. Dannreuther, R. W. His Tendencies and
Theories (London, 1873); F. Hueffer, R. W.
and the Music of the Future (London, 1874);
£. Schure, Le Drame musical: I. La Musique
et la PoSsie dans leur Developpement hislorique.
II. Wagner. Son CEuvre et son Idee (Paris,
1875; 3d ed., augm., 1894; Ger. tr. by H. von
Wolzogen, Leipzig, 1877); B. Fdrster, R. W.
in seiner nattonalen Bedeutung und seiner
Wirkungauf dasdeutscheKulturleben (Leipzig.
1883); E. Kulke, /?. JT. Seine Anhdnger und
seine Gegner (Leipzig, 1884); L. Nohl, Das
moderne Musikdrama (Vienna, 1884); F.
Nietzsche, Der Fall W. and N. contra W. (both
Leipzig, 1888; in vol. viii of N.'s Werke, 1S°S;
Engl. tr. in vol. xi of complete works; bitter
invective in place of former admiration): L.
Torchi R. W. Studio eritico (Bologna, 1890;
new ed. 1913); H. E. Krehbiel, Studies in the
Wagnerian Drama (New York, 1891); L.
Wolff, Das musikalische Motiv, seine Entwick-
lung und Durchfuhrung (Bonn, 1891); M.
Kufferath, Le Thedtre de W. de Tannhduser a
Parsifal. Essais de critique litteraire, csthr-
tique et musicale (6 vols.; Paris, 1891-8); H.
S. Chamberlain, Das Drama R. W.'s. Eine
Anregung (Leipzig 1892; 5th ed. 1913:
Engl. tr. London, 1915); G. Servieres, R. W.
jugt en France (Paris, 1897); A. Lavignac,
Le Voyage artistique a Bayreuth (Paris, 1897;
Engl. tr. by E. Singleton as The Music Dramas
ofR. W., New York, 1898); Th. de Wyzewa,
Beethoven et W. (Paris, 1898); E. Newmann,
A Study of W. (London, 1899); L. Ronco-
roni, La Music a e FEmosume. Saggi di
critica dellc teorie artistiche di R. W. (Florence,
1899); M. Bcrendt, Schiller bis W. (BerUn,
1901); Artur Seidl, Wagneriana. Erlebte
Asthetik (Berlin, 1901-2: vol. i. R. W.-Credo;
ii. Von Palcstrina ?,u W.; iii. Die Wagner-
nachfolge im Musikdrama)', E. Istel, Das
Kunstwerk R. W.'s (Leipzig, 1910); C.
Giuliozzi, R. W. : La sua opera e la sua
Utopia. Saggi o eritico (2 vols.; Milan, 1910);
J. Hev, R. W. als Vortragsmeister (Leipzig,
1911);'M. Soiling, R. W.f der KUnstler und
Mensch, der Denker und Kulturtrdger (Leip-
zig, 1911; 2d ed. 1914); R. Fromme, /?. If".
Betrachtungen iiber sn'tt Drama und uher das
Mythische in seinem Schauen und Sc huff en
(Leipzig, 1912); E. Heinemann, R. W. und
1004
WAGNER
das Ende der Musik (Leipzig, 1913); O.
Walzel, R. W. in seiner Zeit und nach seiner
Zeit (Munich, 1913); G. Pupino-Carbonelli,
W. e la Music a ilaliana (Naples, 1913).
Liszt's fine essays on Tannhauser (1849),
Lohengrin (1850), Hollander (1854) and
tronatvereins zur Pflege und Erhallung der
Buhnenfestspiele in B. (Chemnitz, 1877); K.
Heckel, Die Buhnenfestspiele in B. (Leipzig,
1 89 1 ) ; H . Coutagne, Les Drames musicaux de
W.etleThSdtrede B. (Paris, 1893); H. Porges,
Die Buhnenproben zu den Festspielen des Janres
Rheingold (1855) are in vol. iii, 2 of his 91S76 (Leipzig, 1896); F. Weingartner, B.9
Gesammelte Schriften (Leipzig, 1899). — In-
teresting and historically valuable are the
writings of E. Hanslick: Moderne Oper (Ber-
lin, 1875), Musikalische Stationen (ib., 1880),
A us dent Opernleben der Gegenwart (ib., 1884),
Afusikalisches Skizzenbuch (ib., 1888), Musi-
kalisches und Litter arisches (1889).
F. — W.*S ART IN RELATION TO ESTHETICS,
philosophy and religion: F. von Hau-
segger, R. W. und Schopenhauer (Leipzig,
1878; 2d ed. 1897); J. Freson, Essals de
Philosophie et de VArt : I'Eslhitique de W.
(2 vols.; Paris, 1893); M. H6bert, Le Senti-
ment religieux dans I'CEuvre de R. W. (Paris,
1894; Ger. tr, by A. Brunnemann, Munich,
1895); P. Jay, Le Pessimisme wagnerien
(Paris, 1896); R. Louis, Die Weltanschauung
R. W.'s (Leipzig, 1898); A. Drews, Der Ideen-
gehalt aus R. W.'s ,Ring des Nibelungen1 in
seinen Beziehungen zur modernen Philosophie
(Leipzig, 1898); D. Irvine, Parsifal and W.'s
Christianity (London, 1899); M. Kufferath,
Musiciens et PhUosojphes : Tolstoy, Schopen-
hauer, Nietzsche, W. (Paris, 1899); E. Zoccoli,
L'Estetica di A . Schopenhauer : Propedeutica
aU'Estetica wagneriana (Milan, 1901); V.
Laudien, W. und die Religion des Christentums
(Konigsberg, 1902); W. Giessler, Das Mit-
leid in der neueren Ethik, mil besonderer
Riicksicht auf F. Nietzsche, R. W. und L.
Tolstoy (Halle, 1903); O. Hartwich, R. W.
und das Christentum (Leipzig, 1903); R.
Luck, R. W. und Ludwig Feuerbach (Jena,
1905); R. Teller, W.'s Anschauung vom
Wesen der Musik (Prague, 1905); Th. Lessing,
Schopenhauer, W., Nietzsche (Munich, 1906);
P. Moos, R. W. als Asthetiker (Berlin, 1906);
R. Richter, Kunst und Philosophie bet R. W.
(Leipzig, 1906); H. Belart, F. Nietzsche und
R. W. : Ihre personlichen Beziehungen, Kunst-
und Weltanschauungen (Berlin, 1907); G.
Robert, Philosophie et Drame. Essai d'une
explication des drames wagntriens (Paris,
1907); .0. Schmiedel, R. W.'s religiqse Welt-
anschauung (Tubingen, 1907); W. Vollert,
R. W.'s Stellung zur christlichen Religion
(Wismar, 1907); L. Dauriac, Le Musicien-
poete R. W. Etude de psychologie musicale
(Paris, 1908); G. Braschowanoff, Von
Olympia nach Bayreuth (2 vols.; Leipzig,
1911-12).
g. — w. and bayreuth: F. Nietzsche, W.
in Bayreuth (Chemnitz, 1876; in vol. i of
N.'s Werke, Leipzig, 1895; Engl. tr. in compl.
works, Edinburgh, 1910-14); H. von Wolzo-
gcn, Grundlage und Aufgabe des AUgem. Pa-
1876-96 (Berlin, 1896; 2d ed. 1904); H. S.
Chamberlain, Die ersten 20 Jahre der B.
Buhnenfestspiele (Bayreuth, 1896); E. Kloss,
Zwanzig Jahre B. (Berlin, 1896; Engl. tr.
by W. Faulkland, London, 1896); F. Hof-
mann, B. und seine Kunstdenkmale (Munich,
1902); W. Golther, B. (Berlin, 1904); R.
Sternfeld, R. W. und die B. Buhnenfestspiele
(2 vols.; Berlin, 1906); M. G. Conrad, W.'s
Geist und Kunst in B. (Munich, 1906); A.
Prufer, Das Werk von B. (Leipzig, 1909); id.,
R. W. in B. (Leipzig, 1910); H. von Wol-
zogen, Heinrich von Steins Briefwechsel mil
H. von W oho gen. Ein Beitrag zur GeschichU
des Bayreuther Gedankens (Leipzig, 1910);
L. von Schroeder, Die VoUendungdes arischen
Mysteriums in B. (Munich, 1911); P. Kiir-
steiner, Das tragische Kunstwerk von B. (Basel,
1913).
H. — LEGENDS AND SOURCES: F. SchultZ,
Das neue Deutschland. Seine alien Helden-
sagen und R. W. (Leipzig, 1888); E. Meinck,
Die sagenwissenschaftlichen Grundlagen der
Nibelungendichtung W.'s (Berlin, 1892); J.
L. Weston, The Legends of the Wagnerian
Drama (London, 1896); A. M. Bowen, The
Sources and Text of W.'s 'Die Meister singer
von Number g' (Munich, 1897); J. Nover, Die
Tannhdusersage und ihre poetische Gestaltung
(Hamburg, 1897); E. Wechsler, Die Sage vom
Hi, Gral in ihrer Entwickelung bis auf R. W.'s
farsifal1 (Halle, 1898); J. Nover, DieLohen-
grinsage und ihre poetische Gestaltung (Ham-
burg, 1899); H. von der Pfordten, Handlunt
und Dichlung der Buhnenwerke R. W.'s nach
ihren Grundlagen in Sage und GeschichU (Ber-
lin, 1900; 4th ed. 1908); J. Bedier, Le Roman
de 'Tristan et Iseult' (Paris, 1900; Ger. tr. by
J. Zeitler, Leipzig, 1901); W. Golther, Die
sagengeschichthchen Grundlagen der Ringdich-
tung R. W.'s (Berlin, 1902); S. Valot, Us
HSros de R. W. £tudes sur les Origines indo-
europSennes des Ligendes wagniriennes (Paris,
1903) ; W. C. Sawyer, Teutonic Legends in the
Nibelungenlied and the Nibelungen Ring (Phil-
adelphia, 1904); W. Golther, Tristan und
Isolde in den Dichtungen des Mittelalters und
der neuen Zeit (Leipzig, 1907); R. von Kralik,
DieGralssage (Ravensburg, 1907); E. Elster,
Tannhauser in Geschiehle, Sage und Dichlung
(Bromberg, 1908); J. Kelemina, Untersu-
chungen zur Tristansage (Leipzig, 1910); L.
von Schroeder, Die Wurzeln der Sage vom hi.
Gral (Vienna, 1910) ; F. Strich, Die Mythologie
in der deutschen Lttteratur von Klopstock bis
W. (2 vote.; Halle, 1910); W. Golther, Zur
1005
WAGNER— WAGNER
deutschen Safe und Dichtung (Leipzig, 1911);
O. Rank, Die Lokengrinsage (Vienna, 1911);
W. Golther, Parsifal und der Gral in deutscher
Sage des Mittelalters und der Neuzeit (Leip-
zig, 1913).
I. — W.'S ART IN RELATION TO THEORY AND
technic: C. Kistler, Harmonielehre . . . ."
(Heilbronn, 1879; 2d ed. greatly augm.,
1903; based on W.'s harmonic innovations);
K. Mayrberger, Die Harmonik R. W.'s
(Chemnitz, 1883); S. Jadassohn, Melodik
und Harmonik bei R. W. (Berlin, 1899); E.
Thomas, Die Instrumentation der ,Meister-
singer* von R. W. (2 vols.; Mannheim, 1899;
2d ed. Leipzig, 1907); G. Capellen, 1st das
System Simon Sechters tin geeigneter Ausgangs-
punkt fur die theoretische Wagnerforschung?
(Leipzig, 1902); £. Poiree, he Discours mu-
sical, son principe, ses formes expressives,
spScialement d'apres la partition des tMattres-
Chanteurs* de R. W. (Paris, 1902); K.
Grunsky, Die Technik des Klavierauszuges
entwickett am 3. Akt von W.'s ,Tristan% (Leip-
zig, 1911); H. Jung-Janotta, Sprachgesang
und Belcanto (Berlin, 1913); E. Ergo, Vber
R. W.'s Harmonik und Melodik (Leipzig, 1914).
K. — characters: C. Maude, w.'s Heroes
(London, 1896); id., W.'s Heroines (ib.,
1896); H. von Wolzogen, R. W.'s Helden-
gestalten erldutert (Hanover, 1896); A. Hdfler,
Wotan.Eine Studie turn ,Ring des Nibelungen*
(Vienna, 1897); H. Belart, Taschenbuck der
Wagnerkunstlerin. W.'s Frauengestalten in
gesangdramatischer Benehung (Leipzig, 1898);
E. Destranges, Les Femmes dans letuvre de R.
W. (Paris, 1899); F. Schwabe, Die Frauen-
gestalten W.'s als Typen des tEwig-weiblichen'
(Munich, 1902); H. Materna, R. W.'s Frau-
engestalten (Leipzig, 1904); W. Broesel,
Evchen Pogner (Berlin, 1906).
l. — w. as writer: H. von Wolzogen, Die
Sprache in R. W.'s Dichtungen (Leipzig,
1878); J. Gautier, R. W. et son eeuvre poitique
(Paris, 1882) B. Vogel, W. als Dichter. Ein
Uberblick seines poetischen Schaffens (Leipzig,
1889); A. Ernst, I' Art de W. : VCEuvre poi-
tique (Paris, 1893); H. Lichtenberger, R. W.9
Poete et Penseur (Paris, 1898; 2d ed. 1901;
Ger. tr. by F. von Oppeln-Bronikowski,
Dresden, 1899 [augm. ed. 1913]); O. LUning,
R. W. als Dichter und Denker (Zurich, 1900);
W. Golther, R. W. als Dichter (Berlin, 1904;
Engl. tr. by J. Haynes, London, 1905); R.
Weltrich, R. W.'s .Tristan und Isolde9 als
Dichtung. Nebst einigen aUgemeinen Bemer-
kungen Uber W.'s Kunst (Berlin, 1904); E.
Meinck, Fr. Hebbels und R. W.'s Nibelungen-
Trilogien (Leipzig, 1905); J. Schuler, The
Language of R. W.'s lRing des Nibelungen'
(Lancaster, Pa., 1910); K. Reichelt, R. W.
und die englische Litteratur (Leipzig, 1912);
E. von Schrenck, R. W. als Dichter (Munich,
1913),
TV
r -
If. — CATALOGUES, YEAR-BOOKS,
Kastner, ChronologjUch-systematischer
Katalog (Offenbach, 1878); N.
Katalog einer W.-BiNiothek (4 vols.; Lei
zig, 1882, '86, '91, '95; describes the treasur-
of the W.-Museum and contains full bibii ..
raphy of books and articles publ. about V.
during his life [10,180 titles]); E. Ka&tn-
Vertetchnis der ersten Auffuhrungem von y
W.'s dramatischen Werken (Vienna, 1£>.
2d ed. Leipzig, 1899); H. Silege, Bibiiogmpk.
wainSrienne francaise [185 1-1 902 J (Par:
1902); P. Pabst, Verteichnis von R. W
Werken, Schriften und Dichtungem, dcrrx
haupts&chlichsten Bearbeitungen, some u*x
besonders interessanter Litteratur, Abbildunger
BUsten und Kunstbl&Uem, den Meister **.
seine Schbpfungen betreffend (Leipzig, 190-
L. Frankenstein, Bibliographic der auf R. 7
bezuglichen .... Litteratur fur die Jc
1907-11 (Berlin, 1912); J. Kurschner, R. 7
Jahrbuch (Stuttgart, 1886; only 1 vol. pub.
L. Frankenstein, R. W.- Jahrbuch (Berh
1906, '07, '08, '12, ;i3).— Much valuab
material has appeared in the annual W. nun
ber of 'Die Musik' (since 1901). TV
volumes of 'Bayreuther Blatter' (founde:
by W. in 1878, and ed. since then by H. v«jc
Wolzogen) are indispensable.
N. — w.-museum : N. Oesterlein, Das IT.-
Museum und sein Bestimmungsort (Vienna,
1884); id., Vber Schicksale und Bestimmuni
des W. -Museums (ib., 1892); H. von Wol-
zogen, Das W.-Museum in Wien, in 'New
Ztschr. f. Musik' (vol. Ixxxiv, Nos. 14-20,
April-May, 1888); E. Kloss, Das W.-Mu
scum in Eisenach, in Ein W.-Lesebuch (Leip-
zig, 1904).
o. — miscellaneous: W. Tappert, Wagner-
lexikon. Wdrterbuch der Unhdflichkeit ....
(Leipzig, 1877: new augm. ed. as R. W. im
Spiegel der Kritik, 1903; an interesting coif.
of adverse and abusive comments) ; J. orand-
Carteret, R. W. en Caricatures (Paris, 18VV
E. Fuchs and E. Kreowski, R. W. in #*
Karikatur (Berlin, 1907; 6th ed. 1913!. A.
Vanselow, R. W.'s photographische Bitdnxsit
(Munich, 1908); E. Engel, R. W.'s Leben und
Werke im Bilde (2 vols.; Vienna, 1913).
Wagner, Siegfried, son of Richard \V„
born Triebschen, June 6, 1869, Intended
for an architect, he attended a polytechnic
school, but afterwards took up music, study-
ing under Kniese and Humperdinck. After
1893, as a concert-conductor, he travelled
through Germany, Austria, Italy and Eng-
land, meeting with success; in 1894 asst.-
cond. in Bavreuth; since 1896 one of the
regular conductors. He conducts without
score, and left-handed. On Sept. 21, 1915,
he married Winifred Klindworth, a daughter
of Karl K. — Works: A symphonic poem
1006
WALCKER— WALKER
Sehnsueht, based on Schiller's poem (1895);
Fahnenschwur for male ch. and orch. (1914);
a vl. -concerto (1915). The operas [texts by
himself] Der Barenhduter (Munich, 1899);
Herzog Wildfang (ib., 1901); Der Kobold
(Hamburg, 1904); Bruder Lustig (ib., 1905);
SUrnengebot (ib., 1908); Banadietrich (Karls-
ruhe, 1910); An AUem ist HiUchen Schuld
CStuttgart, 1917) ; — not yet prod, are Sckwarz-
schwanenreich, Sonnenflammen, Der Haide-
konig and Der Friedensengel.---Cf. L. Kar-
path, S. W. als Mensch und als Kunstler
(Leipzig, 1902); K. F. Glasenapp, 5. W.
und seine Kunst (Leipzig, 1911; 2d ed. 1913).
WaTcker [vahl'-], Eberhard Friedrich,
born Kannstadt, July 3, 1794; d. Ludwigs-
burg, Oct. 4, 1872. Trained in the work-
shops of his father, a skilled organ-builder,
he set up for himself in 1820, and won great
renown by his excellent work and numerous
inventions. After his death the business passed
to his five sons, Heinrich [b. Oct. 10, 1828;
d. Kirchheim, Nov. 24, 19031, Friedrich
[b. Sept. 17, 1829; d. Dec. 6, 1895], Karl [b.
Mar. 6, 1845; d. Stuttgart, May 19, 1908],
Paul [b. May 31, 1846], and Eberhard [b.
April 8, 1850], The two surviving sons are
the present (1918) heads of the firm. Of
more than 1500 organs turned out by the
firm, some of the largest are those in Ulm
Cathedral (1856; 95 speaking stops; re-
built and enlarged in 1914 to 171), Music
Hall, Boston [now removed] (1863; 86 stops);
Paulskirche, Frankfort (1833; 74 stops);
St. Peter's, Petrograd (1840; 65 stops); Olai-
kirche, Reval (1842; 65 stops); Votivkirche,
Vienna (1878; 61 stops); Riga Cathedral
1885; 124 stops); St. Stephen's Cath.,
Vienna (1886; 90 stops); St. Michael's,
Hamburg (1912; 163 stops).
Waldersee [vahl'der-za], Paul, Graf von,
born Potsdam, Sept. 3, 1831; d. Konigsberg
in Franken, June 14, 1906. A Prussian officer
from 1848-71, he later turned to music; was
co-editor of Breitkopf & Hartel's complete
eds. of Beethoven and Mozart, and edited a
valuable 'Sammlung musikalischer Vortrage,'
to which he contrib. Die Gesammtausgabe der
Werke Mozart s (No. 7; 1879), Robert Schu-
mann's Manfred (No. 13; 1880), Giov.
Pierluigi da Palestrina und die Gesammtaus-
gabe seiner Werke (No. 52; 1884).
Waldstein [vahlt'stln], Ferdinand Ernst
Gabriel, Graf von, born Dux, Bohemia,
Mar. 24, 1762; d. Vienna, Aug. 29, 1823.
While serving his novitiate in the 'Deutscher
Orden' at Bonn (1787-8) he became ac-
quainted with Beethoven, whose unusual
Rifts he at once recognized; he presented
B. with a piano, and on several occasions
aided him materially, pretending that the
sums were extra allowances from the Elector;
after B.'s removal to Vienna the count in-
troduced him to the circles of the aristocracy;
in later life their intimacy seems to have
cooled. W. was an excellent amateur mu-
sician; B. wrote a set of vars. in C for pf. 4*
hands on a theme of W.'s (publ. 1794), and
later (1805) dedicated to him the great sonata
in C, op. 53. W. also planned the Ritter-
Ballet (1791), to which B. wrote the music
(score publ. 1872).— Cf. A. Thayer, Beet-
hoven's Leben (vol. i; 2d ed. Leipzig, 1901,
p. 213 et seq.).
Waldteufel [vahlt'toi-fel], Emil, born
Strassburg, Dec. 9, 1837; d. Paris, Feb. 16,
1915. Received his first instruction from
his father, Nathan W. (1806-70), prof, at the
Cons.; then sent to the Paris Cons. (Mar-
montel and Laurent), leaving before com-
pleting his studies to accept a position with
the pf.-manufacturer Scholtus. The success
of his first waltzes, Joies et Peines and Manola
(publ. at his own expense) determined him
to devote himself entirely to writing dance-
music; lived all his life in Paris, making
several very succ. concert- tours to London,
Berlin, Vienna, etc., conducting his own
music. In 1865 he was app. chamber-mu-
sician to the Empress Eugenie and dir. of
the court balls. He publ. 268 dances, mostly
for orch.; a selection of the most popular
ones appeared in 5 vols.; several waltzes
(Les Sirenes, Mon Reve, Les Violettes, Eslu-
diantina, Dolores, Toujours ou Jamais, etc.)
for a time almost rivalled in popularity those
of Strauss.
Waley, Simon, born London, Aug. 23,
1827; d. there Dec. 30, 1875. St. pf. with
Moscheles, Bennett and G. A. Osborne, and
comp. with Horsley and Molique; although
an excellent pianist and talented composer,
he devoted himself to a mercantile career
(member of the Stock Exch.). His comps.
show the influence of Mendelssohn. — Works:
Op. 16, pf.-concerto in Ei>; 2 pf. -trios (op. 15,
Bb; op. 20, G m.); pf.-pes. (2 and 4 hands);
songs and part-songs. Settings of Psalms
117 and 118 are in vol. i of 'Musical Services
of the West London Synagogue.' Several
orchl. comps. have remained MS.
Walker, Edyth, dramatic contralto; born
Hopewell, N. Y., Mar. 27, 1870. Pupil of
Orgeni at the Dresden Cons.; debut at a
Gewandhaus concert in 1895; same year
operatic debut as Fides at the Hofopcr in
Vienna, and eng. there until 1903; also sang
'Gastrollen' at many of the larger German
theatres; 1903-6, at the M. O. H. (debut as
Amneris); 1906-12, alternating at the R.
Opera (Berlin) and the Stadtth. in Hamburg;
since then at the Hofoper in Munich; sang
at Cov. Garden in 1900, '08, '10 (creating
Klytemnestra in the London premiere of
1007
WALKER— WALLACE
Strauss's Elektra, Feb. 19) and '12; has sung
in many important concerts and festivals in
Germany. Although a real contralto, she
has sung successfully Elisabeth, Venus,
Isolde, Kundry (at Bayreuth) and the 3
Briinnhildes.
Walker, Ernest, born Bombay, July 15,
1870. Educated at Balliol Coll., Oxford;
entirely self-taught in music; Mus. Doc.,
Oxon., 1898; since 1900 dir. of music at
Balliol Coll., member of the Board of Musical
Studies for Oxford Univ. and inspector of
music for Girls' Public Day School Trust;
1899-1902, editor of 'The Musical Gazette.*
— Works: For soli, ch. and orch., Hymn to
Dionysus, Ode to a Nightingale, Stabat Mater;
concert-overture in F m. ; Intermezzo for str.-
orch.; pf. -quintet in A; quintet for horn and
strs. in Bb; pf.-quartet in D; Fantasia in D
for str.-quartet; pf.-trio in C m.; vi.-sonata
in A; via. -sonata in C; vars. for pf. and via.;
Ballade in D m. for vl. and pf . ; do. in F for
vcl. and pf.; Prelude and Fugue in D for org.;
songs and part-songs. Author of Beethoven
(1905) and A History of Music in England
(1907).
Walker, John, the English lexicographer;
born Colney Hatch, Middlesex, Mar. 18,
1732; d. London, Aug. 1, 1807. Wrote The
Melody of Speaking Delineated (1787; often
republ.), with an original notation for repre-
senting the musical inflexions of the speak-
ing voice.
Walker, Joseph Cooper, born Dublin,
Nov., 1760; d. St.-Valery, France, April 12,
1810. — Publ. Historical Memoirs on the Irish
Bards , with notes on Irish music (1786); An
Historical Account and Critical Essay on the
Opera . . . (1805); etc.
Wallace, William, born Greenock, Scot-
land, July 3, 1860. After finishing his educa-
tion at Fettes Coll., Edinburgh, he st. medi-
cine at Glasgow Univ. (M.D. 1888); in-
tending to specialize in ophthalmology, he
st. some time at Moorfields and Vienna, but
finally abandoned medicine for music; re-
turned to medicine after the declaration of
war (1914), receiving a commission in the R.
Army Medical Corps as specialist in ophthal-
mology. In music he is practically self-
taught, having attended the R. A. M. only a
few months (1889). As Honorary Secretary
of the Society of British Composers and of
the R. Philh. Soc. he has been deeply inter-
ested in the welfare of British music and the
status of the British composer; was instru-
mental in securing for the composer sub-
stantial benefits under the Copyright Act
of 1912; served on the Composers Copy-
right Committee of the Soc. of British
Authors. His wife, Ottilie Helen (daughter
of the late Lord McLaren; pupil of Rodin,
Paris), is a well-known sculptress, having
exhibited in the Paris Salon and at the prin-
cipal English exhibitions. — Works: 6 symph.
poems, The Passing of Beatrice (1892; re-
garded by English critics as the turning-
point of the new British school), Amboss od*r
Hammer [Anvil or Hammer] (after Goethe;
1896), Sister Helen [after Rossetti; 1809.,
Greeting to the New Century (written for the
Philh. Soc.; 1901), William Wallace (for the
6th centenary of his death; 1905), Francois
Villon (1909); 2 symphonies, The CreatUn
(1899) and Koheleth (choral; unfinished); 5
suites for orch., The Lady from the S*-c
(Ibsen; 1892), PellSas and Milisande (Maeter-
linck; 1900), Moidart; prelude to The £a
menides of yEschylus (1893); overture, Ir.
Praise of Scottish Poesie (1894); The Mas
sacre of the Macpherson, burlesque cantata
for male ch. and orch.; The Outlaw, scena f»ir
bar. and orch. ; The Rhapsody of Mary Magda-
lene, vocal scene; My Soul is an Enchanu
Boat, trio for voice, vl. and pf.; a pf.-trx
Spanish Songs, vocal quartets; song-cycles,
Freebooter Songs (w. orch.), Lords of the Sez
and Jacobite Songs; songs (many to his own
words). — Author of The Divine Surrender, a
mystery play (1895); The Threshold of Music:
A n Inquiry into the Development of the Musical
Sense (1908); The Musical Faculty: Its
Origins and Processes (1914). Has transJ.
the texts of Berlioz's Damnation de Faust,
Missa's Muguette, Strauss's Feuersnot and
Leroux's Le Chemineau; also many songs
by Sibelius, Weingartner, and others.
Wallace, William Vincent, born Water-
ford, Ireland, June 1, 1813; d. Chateau de
Bages, Haute Garonne, Oct. 12, 1865. The
family removed to Dublin, where W. played
with the violins in the orch., and later ap-
peared as a soloist. He left Ireland in 1835,
and for some years led an adventurous life id
Australia, the East Indies, South America,
Mexico and the United States, giving con-
certs at intervals with sensational sucrws.
In 1845 he was in London, and prod. tte
opera Maritana (Drury Lane, Nov. 15), which
is still played ; Matilda of Hungary followed
in 1847. He resumed his wanderings, and
revisited N. and S. America. From 1853 he
lived chiefly in London and Paris. The opera
Lurline (Covent Garden, Feb. 23, 1860) had
tremendous success; his others are The
Amber Witch (1861), Love's Triumph (1862),
and The Desert Flower (1863); his last opera,
Estrella, remained unfinished. His pf.-mu-
sic had great vogue; some noted numbers
are La Gondola, op. 18; 2 Nocturnes, op. 20;
Chant d* amour, op. 26; Nocturne melodique,
op. 30; Melodic irlandaise, op. 53; Music
murmuring in the trees; Valse brillante de
salon; TarenteUe; etc.-—Cf. A. Pougin, W,
1008
WALLASCH EK— WALTER
V. W.9 itude biographique et critique (Paris,
1866) ; W. H. G. Flood, W. V, W.,a Memoir
(London, 1912).
Wallaschek, Richard, born Brunn, Nov.
16, 1860. St. law and philosophy in Vienna,
Heidelberg and Tubingen; 1886-90, 'Privat-
dozent' of philos. at Freiburg, Baden; 1890-
5, in London eng. in research work in the
British Museum; 1896, 'Privatdozent' of
musicology at Vienna Univ., later becoming
prof, extraord.; 1896-1909, mus. critic of
•Die Zeit'; 1900-2, prof, of esthetics at the
Cons, of the 'Ges. der Musikfreunde'; since
1908 member of the Bd. of Directors of the
'k. k. Akad. f. Musik u. darst. Kunst.' —
Works: Asthetik der Tonkunst (1886); Primi-
tive Music: An Inquiry into the Origin and
Development of Music, Songs, Instruments,
Dances and Pantomimes of Savage Races (1893;
Ger. ed., enlarged, as Anfdnge der Tonkunst,
1903); Psychologic und Pathologic der Vor-
stellung. Beitrage zur Grundlegung der Asthe-
tik (1905); Geschichte der Wiener Hofoper (4
parts; 1907-9). The valuable essays. Vber
die Bedeutung der Aphasie fUr den musikali-
schen Ausdruck, in 'Vschr. f. M.-W.' (1891);
Das musikalische Ged&chtnis, ib. (1892);
On the Origin of Music, in 'Mind' (1891);
On the Difference of Time and Rhythm in
Music, ib. (1893); Natural Selection and Mu-
sic, in 'Report of Internatl. Congr. of Exper.
Psychol/ (1892); Die Bedeutung der Aphasie
fiir die Musikvorstellung, in 'Ztschr. f. Phys.
u. Psych, der Sinnesorgane' (1893); How We
Think of Tones and Music, in 'Contemp. Rev.'
( 1894) ; Musikalische Ergebnisse des Studiums
der Ethnologic, in 'Globus' (1895); Anfdnge
unseres Musik systems, in 'Mitteilungen 3.
Anthropol. Ges.1 (1897); Urgeschichte der
Saiteninstrumcnle, ib. (1898); Entstehung der
Skala, in 'Sitzungsber. d. k. k. Akad. d. Wiss.'
[Vienna] (1899); Das asthetische Urleil und
die Tageskritik, in 'Jahrb. Peters' (1904);
Der Wert phonographischer Aufnahmen von
Gesdngen der Naturvolker, in Report of the
16th Amer. Congress [Vienna] (1908); Die
physiologischen Grundlagen des musikalischcn
Horens, in 'Schrften d. Vereins zur Verbr.
naturw. Kenntnisse' [Vienna ](\911); Beet-
hoven und Erzherzog Rudolf, in 'Osterr.
Rundschau' (1911).
Wal'lenstein, Martin, born Frankfort-
on-Main, July 22, 1843; d. there Nov. 29,
1896. Pianist, pupil of Dreyschock at
Prague, and Hauptmann and Rietz at Leipzig.
Made many concert-tours; was noted as a,
master of phrasing. — Prod, a 2-act comic
opera, Das Testament, at Frankfort^ (1870),
and an overture; publ. a pf. -concerto in D in.,
pf. -studies, solo pieces, etc.
Wallers tein, Anton, born Dresden, Sept.
28, 1813; d. Geneva, Mar. 26, 1892. Violinist
and popular dance-comp.; made concert-
tours as a child, joined the Dresden court
orch. in 1829, was a member of the Hanover
orch. 1832-41, lived there in retirement till
1858, thereafter in Dresden. — Publ. about
300 pieces of dance-music; variations f. violin
w. orch. (op. 2); songs.
WalTner, Leopold, born Kiev, Russia,
Dec. 9, 1847. Writer and music-teacher in
Brussels. Publ. De la MathSsis dans la
musique (1891).
Wall'ndier, Adolf, b. Vienna, April 26,
1854. Pupil of WaldmUller, Krenn and
DessofT for comp. ; of Rokitansky for singing.
Baritone concert-singer in Vienna; his voice
developing into a tenor in 1880, he sang at the
Olmutz City Th„ then (1882) joined Neu-
mann's Wagner troupe, went later to the
Bremen City Th., and thence to the German
Landestheater at Prague. Sang in opera
in the N. Y. season of 1897-8. Works: The
opera Eddy stone (Prague, 1889; Berlin, 1894;
succ); op. 10, Die Grenzen der Menschheit
for alto (bar.) solo, ch. and orch.; op. 25,
Gersprem for bar. solo, male ch. and orch.;
op. 31, Der Blumen Roche for ch. and orch.;
op. 67, Hymne an die Erde for ten. solo, ch.
and orch.; male choruses (op. 26); fern,
choruses (op. 106, 107); pf.-pes. (op. 34, 37,
38); numerous fine songs and ballads, a
selection of which was publ. in 5 vols. Author
of Resonanztonlehre (1911).
Walmialey, Thomas Attwood, son of
Thomas Forbes W.; born London, Jan. 21,
1814; d. Hastings, Jan. 17, 1856. Pupil of
Attwood. Organist of Croydon Ch., 1830;
of Trinity and St. John's Colleges, Cambridge,
1833. Mus. Bac, Cantab., 1833; Mus. Doc.,
1848; Prof, of Music at Cambridge, 1836.—
Works: 2 Installation-Odes; a 4-part choral
hymn; songs; edited colls., e. g., 'Cathedral
Music, a Coll. of Services and Anthems'
(1857); 'Coll. of Chants with the Responses
in use at the Chapels of King's, Trinity and
St. John's Colleges, Cambridge' (1845).
Walmisley, Thomas Forbes, born Lon-
don, May 22, 1783; d. there July 23, 1866.
Pupil of Thomas Attwood; 1814-54, organist
St. Martin-in-the-Fields. Popular glee-com-
poser; publ. 4 colls, of 6 glees each; also 'A
Coll. ot Glees, Trios, Rounds and Canons'
(1826); many single glees; church-music;
songs.
Wal'ter, August, born Stuttgart, 1821;
d. Basel, Jan. 22, 1896. Pupil of Sechter at
Vienna; mus. dir. at Basel from 1846, where
his labors, especially in the cause of good
church-music, have borne fruit. — Works: Op.
1, 3 str.-quartets (D, C m., F ); op. 7, octet
for strs., ob., clar., horn and bassoon; op. 9,
symphony in E>; op. 13, Fantasie und Ca-
1009
WALTER— WALTHER
priccio for cl. and pf.; op. 16, concert-over-
ture in D; op. 18, LusHge Musikanten, male
ch. with horn-quartet; male choruses, songs.
-Wal'ter, Bruno, born Berlin, Sept. 15,
1876. Pupil at Stern's Cons, of H. Ehrlich,
L. Bussler and R. Radecke; after serving
short terms as Kapellm. at Cologne, Ham-
burg, Breslau, Presourg, Riga and Berlin he
entered on a brilliant career at the Vienna
Hofoper (1901-13); on Jan. 1, 1914, he succ.
MottI as Hofkapellm. and Generalmusik-
direktor in Munich. — Works: Das Sieges-
fest for soli, ch. and orch.; 2 symphonies; a
pf. -quintet; a str. -quartet; a pf.-trio; a
vl. -sonata; songs. — Cf. M. Komorn-Rebhan,
Was wir von B. W. Urnien (Vienna, 1914).
Walter, Frledrlch Wilhelm, bom Mann-
heim, Sept. 3, 1870. Dr. phil., Heidelberg,
1892. Living in Mannheim as a writer; con-
tributes to various periodicals, and is mus.
critic for the 'Mannheimer Generalanzeiger.'
Has publ. a series of monographs on music in
Mannheim: Die Entwiekelung des Mann-
heimer Musik- und Theaterlebens (1897); Ge-
schichle des Theaters und der Musik am Kur-
pfalzischen Hofe (Leipzig, 1898); and Arekiv
und BiUiothek des Grosshertoglichen Hof~ und
National-theaters in Mannheim (2 vols.;
Leipzig, 1899); also the chapters on mus.
history in Hans Kraemer's Das 19. Jahr-
hundert in Wort und Bild (3 vols.; Berlin,
1898).
Wal'ter, George William, born New
York, Dec. 16, 1851; d. Washington, D. C,
Mar. 11, 1911. At the age of 5 he played the
organ at Trinity Chapel; studied further
under J. K. Paine (Boston) and S. P. Warren
(New York); lived in. Washington from 1869.
Was especially noted for his skill as an im-
proviser and in registration. Received the
degree of Mus. Doc. from Columbian College,
Washington, in 1882. His mus. library was
one of the finest in the country.
Wal'ter, Gustav, born Bilin, Bohemia,
Feb. 11, 1836; d. Vienna, Jan. 30, 1910.
Stage-tenor, pupil of Prague Cons.; sang
at first in Briinn, and from 1856-87 at the
Vienna Court Opera as principal lyric tenor.
He was especially famous as a Lieder singer.
Wal'ter, I$naz, born Radowitz, Bohemia,
1759; d. Ratisbon, April, 1822. Comp. and
tenor singer; pupil of Starzer at Vienna; eng.
at the Court Th. in 1779; at Prague, 1783; at
Mayence, 1789, and with the Grossmann com-
pany at Halle and Bremen, undertaking its
management after G.'s death, and travelling
to Frankfort and Ratisbon. For this troupe
he wrote the 'Singspiele' Der ausgeprugelte
Teufel, 25,000 Gulden, Die bfise Frau, Der
Trank der Unsterblichkeit, Doctor Faust, etc.;
^Iso comp. a cantata for the coronation of
1010
Leopold II, a FriedenskantaU, a Weir
kantate, 6 masses, 6 motets, a quartet f. r
flute, violin and 'cello, etc.
Wal'ter, Karl, born Cransberj?, T\:
Oct. 27, 1862. Pupil of Meister and V-,
at the Teachers Seminary, Monti
(1880-2), later of the Ratisbon Schrx
Church-music (1886-8); then became tc?
organist, and choirmaster at Biebri . • -
Rhine; from 1893, music-teacher at .V
baur Seminary; since 1903 also in-tr.
church-music at the Priests' Semin.-.
Limburg. Contributor to Haberl's *.\!
sacra/ and the 'Kirchenmusikalische* ;
buch'; writer for the 'Monatshefte fur :
sikgeschichte'; has comp. motets a
organ-music, and a triple fugue (prize ; .
thor of a valuable Glockenkunde (1913;.
Waltershau8en [vahl'ters-how-zenl, •}'■
mann) Wolfgang, Frciherr von, b. i>
gen, Oct. 12, 1882. Pupil of M. J. F.
Strassburg and L. Thuille (1900) in Mu
where he settled. Has composed the <v
Elsa Klapperzehen (Dresden, 1909). r
Chabert (Frankfort-on-M.f 1911), J?u<. -
(Karlsruhe, 1915); also songs (8 w. orch.
Wal'ther von der Vogelwelde, the f-
most Minnesinger, and the greatest \\-r
poet of mediaeval Germany; born in rh
Tyrol (?), about 1160; d. Wurzbur?. afw
1227. In Wagner's Tannhduser he apv-.rs
as one of the rival singers at the WanV-.ir*
Among editions of his works cf. Lachm?"
(5th ed. Berlin, 1885); High German tr<r
lation by Simrock (7th ed. Leipzig, 18v
also cf. Wilmanns, Leben und Dick
Walthers v. d. V. (Bonn, 1882) and I-
Die gesammte Litteratur Walthers v. d. \
(Vienna, 1880).
Wal'ther, Johann, born Cola (Kahl.f
Thuringia, 1496; d. Torgau, April, 1570. lr
1524, singer in the Electoral chapel at Tonjj!,,
and was summoned to Wittenberg by Luth-T
to assist in the composition and regi'lrA*
of the German Mass. Court Kaprfm it
Torgau 1525-30; from 1548-54, Kaptf-m.
to Moritz of Saxony of the Dresden Cour
Chapel.— Publ. Geystlich Gesangk Buckievn
(Wittenberg, 1524: the first Protestant sink-
ing-book, a 4; often republ.; reprinted in
vol. vii of 'Publ. Ges. Mfschg.'); Cantic sep-
tent vocum in laudem Dei omnipotent ef
Evangelii ejus (ibid., 1544); Magnificat *
tonorum (1557); Ein newes christlickes Lis J
(1561); Ein gar schoner geistlicher und christ-
licher Bergkreyen (1561); Lob und Preis dtr
himmlischen Kunst Muska (1564); Das
christlich Kinderlied Dr. Martin Luthtn
,Erhalt uns Herr bet deinem Wort* (1566).
Various numbers in colls.— Cf. K. Winterfeld.
Der Evangelische Kirchen^sang (vol. i;
Leipzig, 1843).— See also Q.-Lex.
WALTHER— WANSKI
Wal'ther, J oh an n Gottfried, b. Erfurt,
Sept. 18, 1684; d. Weimar, Mar. 23, 1748.
A pupil of Adlung, Kretschmar and J. B.
Bach at Erfurt, where he was app. organist of
the Thomaskirche in 1702; in 1707, town-
organist at Weimar, and music-master to the
children of the Ducal family; from 1720,
court musician. A near relative and close
friend of J. S. Bach's, he nevertheless hardly
more than mentions him in his Lexicon. He
stands next to Bach as a master of chorale-
variations for organ. Mattheson called him
a second Pachelbel. His greatest work is the
Musikalisches Lexikon oder Musikalische
Bibliothek, the first mus. encyclopaedia of
biography, bibliography and terms (1732);
he had' previously publ. the 64-page AUe und
neue musikalische Bibliothek oder musikaHsches
Lexikon (1728). — Also publ. a Clavierconcert
( unaccompanied ; 1 74 1 ) ; Prelude and Fugue
(1741); 4 chorale-variations (Jesu meine
Freude, Meinen Jesum lass* ich nicht, AUein
Gott in der Hoh* sei Ehr\ Wie soil ich dich em-
pfangen); many chorale-variations, preludes,
fugues, and toccatas, in MS.; also 5 colls, of
'Choralbearbeitungen' by other composers.
His organ- works were ed. by M. Seiffert in
vols, xxvi and xxvii of 'Dkm. d. Tonk.'— Cf.
H. Gehrmann, J. G. W. als Theoretiker, in
'Vschr. f. M.-W.' (1891).— See also Q.-Lex.
Walthew, Richard Henry, born London,
Nov. 4, 1872. St. for a short time at the G.
S. M.; winning a scholarship, he studied
under Sir H. Parry at the R. C. M. (1890-
4); 1900-4, mus. dir. of the Passmore Ed-
wards Settlement; in 1905 app. dir.^ of the
operatic class at the G. S. M., and in 1907
prof, of music at Queen's Coll.; since 1909
also cond. of the South Place Orch., Finsbury.
— Works: 2 operettas, The Gardeners and The
Enchanted Island; The Pied Piper of Hamelin
(Browning) and Ode to a Nightingale (Keats)
for soli, ch. and orch.; Three Night Scenes for
orch.; Variations for do.; pf. -concerto in
Eb; Konsertstuck for vl. and orch.; a pf.-
quintet; a pf. -quartet; 3 str. -quartets; 2
pf. -trios; a vl. -sonata; suites for clar. (or
via.) and pf.; vocal quartets w. pf.; songs.
Walzel, Camlllo [pseudonym F. Zell],
born Magdeburg, 1829; d. Vienna, Mar. 17,
1895. At first intended for a military career,
he became a steamboat-captain on the
Danube; at the end of the 50's he began
literary work as a translator of French come-
dies and writer of short stage-pieces (e. g.,
Die Busle); later, usually in collaboration
with Richard Genee, he wrote libretti for
Strauss, Suppe, M Mocker, Genee, Max Wolf,
Czibulka, Dellinger, etc., on which not only
his fame, but, in great measure, the success
of German operetta in the 19th century, rests.
Wambach, fimlle (-Xavier), born Arlon,
Luxemburg, Nov. 26, 1854. Pupil of Benoft,
Mertens and Callaerts at the Antwerp Cons.
In 1902 app. inspector of the music-schools
of Belgium; in 1913 succ. Jan Blockx as dir.
of the R. Flemish Cons, at Antwerp. — Works:
Aan de boorden vande Schelde [On the Banks of
the S.]v symphonic poem; orchl. fantasias,
pf. -pieces; — the Flemish drama NatJmns Pa-
rabel; 2 oratorios, Moses op den Nyl, and Fo-
lande; cantata Vlaanderland [Flanders] f. male
chorus; De Lente (Spring) f. female ch. and
orch.; cantata for the Rubens Festival; a
children's cantata; Memorare, and a Hymn,
f. ch. and orch.; a mass, a Te Deum, and
other, church-music; choruses and songs.
Wang'emann, Otto, born Loitz-on-the-
Peene, Jan. 9, 1848. Pupil of G. Fltigel at
Stettin, and Fr. Kiel at Berlin; 1878, organist
and singing-teacher at the Demmin Gym-
nasium; 1886, org. at the Luisenkirche and
singing-teacher at the Kaiserin Augusta-
Gym, in Charlottenburg; since 1905 do. at
the 1st Realschule in Berlin. — Publ. Grundriss
der Musikgeschichte (1878); Geschichte der
Orgel (1879; 3d ed. 1887); Geschichte des
Oratoriums (1880); Leitfaden fur den Sing-
unterricht an Gymnasien; also a Weihnachts-
musik f. soli, ch. and orch.; school -songs;
pf. -pieces. Edited 'Der Organist' in 1879;
in 1880 succ. Hahn as editor of Tonkunst.'
Wanhal [van Hal], Johann Baptist,
b. Neu-Nechanitz, Bohemia, May 12, 1739;
d. Vienna, Aug. 26, 1813. Son of a peasant,
and self-taught until sent to Vienna by
Countess Schaffgotsch. Studied later in
Italy, and settled in Vienna; he was a favorite
composer, especially for amateur pf.-players,
before the advent of Mozart and Beethoven.
— Publ. 12 symphonies for strings, 2 oboes
and 2 horns; 12 string-quartets; 12 trios f. 2
violins and 'cello; quartets (concerti) f. pf.
and strings; quartets f. pf., flute, violin and
'cello; pf. -trios; 5 pf. -sonatas f. 4 hands, and
6 f. 2 hands; violin-duos; 6 violin-sonatas
w. pf.; characteristic sonatas (militaire, The
Battle of Wurzburg, The Battle of Trafalgar);
many pf. -sonatinas, among them an interest-
ing set of 12; 70 books of variations f. pf.;
fantasias, dances, and other pf. -pieces;
fugues, preludes, etc., for organ; 2 orchl.
masses; 2 offertories f. high soprano w. orch.;
also prod. 2 operas, and left 88 symphonies,
94 string-quartets, etc., in MS. — See Q.-Lex.
Wan 'ski, Johann Nepomuk, Polish
violinist, born c. 1800; son of Jan W., a popu-
lar Polish song-composer; studied in Warsaw,
and later under Baillot at Paris. Made
extended concert -tours in Southern France,
Spain, Italy and Switzerland; then, with
impaired health, settled in Aix in Provence
as a teacher. — Works: A method for violin;
method for viola; Gymnastique des doigts et
1011
WARD— WARNERY
de Varchei; V Harmonic, ou la science des ac-
cords; a concertino, etudes, variations,
fugues, fantasias, romances, etc., f. violin.
Ward, Frank Edwin, born Wysox, Pa.,
Oct. 7, 1872. Pupil at N. Y. Coll. of Music
(1892-6) of A. Spanuth (pf.), J. P. Lawrence
(org. and theory) and S. A. Pearce (theory);
also st. organ with W. C. Macfarlane at the
Scharwenka Cons. (1896-7); 1898-1903,
pupil of MacDowell at Columbia Univ.,
where he held the Mosenthal fellowship in
music (1902-4); was Univ. organist (St.
Paul's Chapel) from 1902-13; since 1909
assoc. prof, of music; since 1915 also teacher
of theory at the Trinity School of Church-
music. Has filled several positions as org.
and choir m.; since 1902 at Temple Israel,
and since 1906 at the Ch. of the Holy Trinity.
A. A. G. O., 1898.— Works: Op. 1, vl.-sonata
in E m. (MS.); op. 9, do. in G; op. 10,
Rhapsody in F m. for vl. (or vcl.) and pf. ; op.
13, Scherzo in Eb for orch. (MS.); op. 15,
organ-sonata in F m.; op. 18, pf. -quartet in
F m. (MS.); op. 20, The Saviour of the World,
Lenten cantata; op. 22, str.-quartet in C m.
(MS.; won prize of Nat. Fed. of Mus. Clubs,
1917); op. 23, The Divine Birth, Christmas
cantata; op. 31, An Ocean Rhapsody in At>,
for orch.; services, anthems; org.-pcs.;
pf.-pcs.; songs and part-songs; without
opus-number, a second organ-sonata and an
orchl. suite (both MS.).
Ward, John Charles, born Upper Clap-
ton, London, Mar. 27, 1835. Began his
public career as a soloist on the concertina,
in 1846; was a chorister in the Temple Ch.
until 1848; since 1852, organist successively
at several London churches, last at St. Mary
the Virgin, Primrose Hill (since 1890).
Member of the Leslie Choir from its founda-
tion in 1855; org. and asst.-cond. 1856-85. —
Works: A motet, and a Sanctus, both f.
double choir; cantata The Wood; A Psalm
of Life f. male ch. and orch.; services, an-
thems, hymn-tunes, etc.; an orchl. fugue on
'The Sailor's Hornpipe'; organ-music; can-
tata The Swedish Stngers, i. female voices;
a Polonaise f. pf. and concertina; Minuet f.
3 concertinas; etc.
Ware, Harriet, born Waupun, Wis.,
Aug. 26, 1877. She received her first mu-
sical instruction at the Pillsbury (Minn.)
Academv; then st. pf. with Dr. W. Mason in
New York (1893-5); went to Paris in 1896
and st. pf. and comp. with Sigismund Stojow-
ski and singing with M. Julia no; for a time
she also st. pf. with Mme. Grunewald (1903)
and comp. with H. Kaun (1905) in Berlin;
in 1906 she settled in New York, devoting
herself to composition; married to Hugh
M. Krumbhaar, Dec. 8, 1913; now (1918)
living in Garden City, N. Y., as dir. of the
'Musical Art Society of Long Island.' '^^
of her songs (Boat Song, Joy of the Afo* »
The Call of Rod ha, A Day in A ready -J
for 2 voices], Mammy' s Lullaby, etc.. t ^
achieved considerable popularity; The ; ■;
(Edwin Markham) was arr. for 2- part » r u
Mary K. Rogers and orchestrated l\ %
Jungnickel. Has also written chorus*.--, %>
pes. and 2 cantatas, Sir Oluf and Vk i
(perf. as a 1-act opera in Philadelphia, i' ■'/:.
Wareing, Herbert Walter, b. Birr-
ham, Eng., April 5, 1857. Pupil of S. Ht»i
and at Leipzig Cons, of Reinecke, Jada^ :
and Papperitz; Mus. Doc., Cantab., i-\
Filled several positions as organist
choirm.; became prof, of pf. at M.»! • ■.
Coll. in 1909, since 1911 also org. and r> .
at Christ Ch., Malvern. — Works: Open
for children, Princess Snowflake [The f.
the Fairy Nicoletta], The Court of Queen
mergold, A Garden of Japan, A Day in :' i
land, etc.; cantatas for soli, ch. and ur
The Wreck of the Hesperus, The A ngel Re.
The Nativity, The Good Shepherd, Net? V
Eve; organ -pes., Allegretto Pastorale, C ,
cert- Fantasia, Marche funebre, Legende. A
stergesang beiSonnenauj gang, etc.; pes. /•..-* I
and pf.; services; anthems; songs ami fen
songs.
Warlich [vahrliyh], Relnhold nm. Au
concert-baritone; b. Petrograd, Mi\ J4,
1879. St. pf., vl. and comp. at tk'. i-
burg Cons.; singing in Florence with < i
and I. Braggiotti, and in Cologne wr
Thiele; debut Florence, 1899; tours oi
land, Germany and France; some yea-
Paris as teacher; several Amer. tours itir^ -
1909) ; has appeared in opera in England *-
Germany.
War'necke, (Johann Heinrich) Fried-
rich, eminent double-bass virtuoso; bcr
Bodenteich, Hanover, Nov. 19, 1856. Pur
of G. Bontemps in Olzen and Walt her
Hanover; 1874-89, member of various m,
tary bands and orchs.; settled in Hambur.
as a teacher; since 1893 member of the Phi.
Orch. and prof, at the Cons, — Publ. /L
Studium des Kontrabass- Spiels (2 parts; wit
Ger. and Engl, text); pf.-pcs. and sons;*
Author of Ad infinitum: Der Kontrahas
seine Geschichte und seine Zukunft. Problem
und deren Losung zur Hebung des Kontrabas
Spiels (1909).
Warnery [vahrn-re'J, Edmond, dramati
tenor; born (of Swiss parentage) Elbeul
France, Aug. 9, 1876. St. at the Paris Con?
under Tasquin, Lherie and Melchiss£dec
winning 1st medal for solfege and 1st prizi
in opera; debut, as baritone, in the premier*
of Lacome's Marechal Chaudron (Th. de h
Gaite, April 11, 1898); 1899-1907, membei
of the Opera-Comique, singing also at
1012
WARNKE— WARTEL
Marseilles, Nantes, Pau, Nice, Monte Carlo;
created the principal bar. roles in Massenet's
CendrHlon (1899) and Jongleur de Notre- Dame
(1902), Erlanger's Juif polonais (1900),
Leroux's La Reine Fiammette (1903), and
several other (less important) works; all
this time he sang under the assumed name of
'Edwy.' In 1908 he retired temporarily to
perfect the natural evolution of his voice;
was then selected by Debussy to create
Pelleas in the London premiere of PelUas et
MHisande (Cov. Garden, May 21, 1909);
since then he has sung under his real name,
and with increasing success, as a genuine
tenor; sang Loge (Vur du Rkin) and Siegfried
(Crepusade des dieux) at Monte Carlo; since
' 1910 regular member of the Chicago Opera
: Co. (Amer. debut as Pelleas, Nov. 5, 1910).
1 His voice ranges from A-b'b; his repertoire
comprises almost 100 WUes (tenor and bar.).
Warlike, Heinrich, distinguished violon-
. cellist; b. Wesselburen, Hoi stein, Aug. 30,
• 1870. Pupil at the Hamburg Cons, of A.
': Gowa, and at the Leipzig Cons, of J. Klengel;
began his career in 1890 as solo 'cellist at
Baden-Baden; after similar engagements at
Hamburg and Frankfort (Museums-Gesell-
schaft), in Munich 1898-1905 as solo 'cellist of
the Kaim Orch. and 'cellist of the Weingart-
ner Trio (Felix Weingartner, pf . ; R. Rettich,
vl.), which made several tours of Germany;
since 1905 solo 'cellist of the Boston Symph.
Orch.; also 'cellist of the Boston Symph.
Quartet (1905-7).
Warnots [vahr-noh'], Henri, born Brus-
sels, July 11, 1832; d. St. Josse ten Noode,
near Brussels, Mar. 3, 1893. Opera-singer
(lvric tenor); pupil of his father [Jean-
Arnold W., 1801-61], and the Brussels Cons.
Debut at Liege, 1856; then eng. at the Opera-
Comique, Paris; at Strassburg (producing
an operetta, Une heure de manage, in 1865);
and at Brussels (1867), there becoming sing-
ing-teacher at the Cons., and cond. of the
'Societe de musique.' In 1870 he founded a
music-school in a suburb of Brussels. — His
daughter and pupil, Elly, born Liege, 1857,
was an excellent stage-soprano; debut at the
Th. de la Monnaie, Brussels, in 1878, as
Anna in La Dame blanche; sang there for two
years; eng. thereafter at the Pergola Th.,
Florence, the Op£ra-Comique, Paris, etc.
On May 17, 1881, she sang the r61e of Mar-
guerite de Valois at the R. Italian Th., Lon-
don; after that time she frequently appeared
at the Promenade Concerts, the Crystal
Palace, etc.
Warot [vah-roh'], Victor-Alexandre-
Joseph, dramatic tenor; b. Verviers, Sept.
18, 1834; d. Paris, April, 1906. Debut 1858
at the Opera- Comique; sang there several
years; then went to the Grand Opera, where
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he created the leading rdle in Masses La
Mule de Pedro (1863) and Boulanger's Le
Docteur Magnus (1864); 1865-74, principal
tenor at La Monnaie, Brussels; retired at the
height of his success, and settled in Paris as a
teacher (1874); from 1886 prof, at the Cons.
Publ. Le Breviaire du Chanleur (1901).
Warren, George William, b. Albany,
N. Y., Aug. 17, 1828; d. New York, Mar. 17,
1902. Was a self-taught organist, holding
positions at St. Peters (1846-58) and St.
Paul's (1858-60), Albany; 1860-70, at Holy
Trinity, Brooklyn; 1870 till his death or-
ganist and mus. dir. of St. Thomas's Ch., New
York. — Works: Church-music (Te Deum,
anthems, hymns, etc.); 'Warren's Hymns and
Tunes, as Sung at St. Thomas's Church*
(1888); pf. -pieces; etc.
Warren, Richard Henry, son of pre-
ceding; b. Albany, N. Y., Sept. 17, 1859.
Pupil of his father; visited Europe in 1880 and
1886; org. and choirm. in New York, All
Souls' Ch. (1880-6), St. Bartholomew's (1886-
1905), Ch. of the Ascension (since 1907).
Founded in 1886 the 'Church Choral Soc.\
which he cond. till 1895, and again from 1903-
7, producing many important works (Amer.
premieres ofworks by Dvorak, Liszt, Gounod,
Saint-Saens, Stanford, etc.; Horatio Parker
wrote his Hora Novissima [1894] for this
boc.). During the summer of 1905 he gave a
series of orch] . concerts at St. Nicholas Garden.
—Works: The operettas Igala (1880), All
on a Summer's Day (1882), Magnolia (1886),
The Rightful Heir (1899); a romantic opera,
Phyllis (N. Y., 1900); Ticonderoga, cantata
for soli, ch. and orch. (1894); minor orchl.
works; a str. -quartet; services; anthems;
songs.
Warren, Samuel Prowse, born Montreal,
Canada, Feb. 18, 1841; d. New York, Oct.
7, 1915. Noted organist; from 1861-4
pupil of Haupt at Berlin, studying the pf.
under Gustav Schumann, and instrumenta-
tion under Wieprecht. Organist of All Souls'
Ch., New York, 1866-8; of Grace Ch., 1868-
74 and 1876-94. While filling the post at
Trinity Ch. (1874-6) he began to give series
of recitals which established his reputation
as one of the foremost concert-organists in
the U. S. From 1895 till his death he was
org. at the First Presb. Ch. in East Orange,
N. J. From 1880-8 he was cond. of the N. Y.
Vocal Union. — Publ. works: Church-music,
organ-pes. (preludes, fugues, etc.), pf.-ocs.,
songs; many excellent concert transcriptions
for organ (Weber, Beethoven, Schumann,
Wagner).
Wartel [vahr-tShl'], Pierre-Francois, born
Versailles, April 3, 1806; d. Paris, Aug., 1882.
Pupil of Choron's Inst, for Church-music,
and of Banderali at the Cons., taking 1st prize
1013
WASIELEWSKI— WEBB
for singing in 1829; studied further under
Nourrit tin 1831; was then eng. as a tenor at
the Opera until 1846, after which he made
tours, and settled in Paris as a singing-teacher
(Trebelli and Nilsson were among his pupils).
Wasielewski [vah-s'y§-ltfif'ske), Joseph
Wilhelm von, born Gross-Leesen, n. Danzig,
June 17, 1822; d. Sondershausen, Dec. 13,
1896. Violinist; private pupil of David at
Leipzig, also studying in the Cons, under
David, Hauptmann and Mendelssohn (1843-
6). He joined the Gewandhaus Orch., was
critic for the 'Signale/ and wrote for the 'Leip-
ziger Zeitung' and the 'Dresdner Journal' ; was
Konzertmeister under Schumann at Dussel-
dorf 1850-52, then conducted the new Choral
Society at Bonn, and other singing-societies,
till 1855; settled in Dresden as a writer, in
which capacity he greatly distinguished
himself. In 1869 he became town mus. dir.
at Bonn, receiving the title of Kgl. Musikdir.
in 1873; he retired to Sondershausen in 1884.
— Writings: Robert Schumann's Biographic
(1858; 4th ed. 1906; Engl. tr. by A. L. Alger,
1878), with important supplementary matter
in Schumanniana (1884); Die Violine und
ihre Meister (1869; 2d augm. ed., 1883; 5th
ed., 1911); Die Violine im 17. Jahrhundert
und die Anfdnge der Instrumentalkomposition
(1874); Geschichte der Instrumentalmusik im
16. Jahrhundert (1878); Beethoven (1888; 2
vols.); Das Violoncell und seine Geschichte
(1889; 2d ed. [by his son Waldemar] 1911);
Carl Reinecke, sein Leben, Wirken und Schaffen
(Leipzig, 1892); and Aus 70 Jahren, memoirs
(Stuttgart, 1896). To Waldersee's 'Samml.
mus. Vortr.' he contrib. Musikalische Fursten
vom Mittelalter bis zum Beginne des 19.
Jahrhunderts (1879) and Goethe's Verhdltniss
zur Musik (1880). Shorter articles in the
'Musikalischcs Centralblatt' and the 'Viertel-
jahrsschrift fur Musikwissenschaft.' — Among
his compositions (over 30 opus-numbers) are
Herbstblumen, a set of 9 violin-pieces (op.
30); a Nocturne f. violin w. p\. (op. 21);
the Kaiserlied im Volkston, and other patriotic
songs.
Was'sermann, Heinrich Joseph, born
Schwarzbach, n. Fulda, April 3, 1791; d.
Richen, n. Basel, in Aug., 1838. Violinist,
pupil of Spohr; cond. of orchestras at Geneva
and Basel. — Works: Op. 4, Theme original
varie in D for str.-quartet; op. 14, str.-
quartet in G; op. 18, quartet for fl., vl., via.
and vcl.; op. 19, Air varie for bassoon and
str.-orch.; op. 21, Divertissement (on the
Tyrol ian 'Alma-Lied') for vl. and orch.; also
dances for orch. and pieces for guitar.
Watson, Henry, b. Burnley, Lancashire,
April 30, 1846; d. Salford, Jan. 8, 1911. St.
with private teachers; was org. at various
churches, finally at the Congr. Ch., Withing-
ton, Manchester; Mus. Doc., Cantab.
In 1867 he founded (with Henry Wilsoi
'Manchester Vocal Union,' becoming its
in 1885 (alter Wilson's death); also
several other choral societies, axid the c
class at the Manchester R. C- M. In
he presented his valuable library (30,000 1
to the Corporation of Manchester. — W
An opera, Fair Rosine (Manchester, V.
incid. music to Antony and Cleopatra.
Shakespearian Cantata; The Deltoeran.
Israel, cantata for soli, ch. and orch. ; P
CHI for soli, ch. and str.-orch.; part-s^
songs; etc.— -Cf. *M. TV (June, 1909).
Watson, William Michael (pen-n
Jules Favre), English composer and ;»
b. Newcastle-on-Tyne, July 31, 1840; h
Dulwich, London, Oct. 3, 1889. He e^
the 'West End School of Music/ Londor
1883.— Works: Cantata Aladdin (l<v
part-songs, songs, and pf.-pieces.
Webb, Daniel, born Taunton, Ensrh.
1735; d. Bath, Aug. 2, 1815.— Publ. Ohst-
tions on the Correspondence between Poetry
Music (London, 1769; repr. in his *Mis*v
nies,' 1803; Ger. ed. by Eschenburg, 17' l
Webb, Frank Rush, born Covinr -
Indiana, Oct. 8, 1851. St. 1871 in the V
Engl. Cons., Boston, later in Indian-
where he was org. at St. Paul's Ch. /*."♦-*.
org. and choirm. of Trinity M. E. Gl.L-tj,
O., 1876-83; and from 1881 head of fc- -
dept. at the N. W. Ohio Normal School
1883-1910, teacher of pf. and dir. of n
of Music in the Virginia Female Inst. :
Stuart Hall), Staunton, Va., and org. ./
mus. dir. at Trinity Episc. Ch.; since 1;
on the staff of the 'Baltimore News'; 1*>;
92, bandmaster of the Stonewall BrigJM
Band. — Publ. works: Nearly 200 pieces i<
military band; also (reaching op. 108) mi*1
salon-music f . pf . ; church-music (Morning an-
Evening Service, anthems, etc.); and songs.
Webb, George James, born Rushmor
Lodge, n. Salisbury, Engl., June 24, 1803; <j
Orange, N. J., Oct. 7, 1887. Organist a
Falmouth; in 1830 he settled in Boston
Mass., becoming organist of the Old Soutl
Church, a co-founder of the Boston Acad, d
Music in 1836, and pres. of the Handel an*
Haydn Society in 1840. In 1870 he went t<
Orange; taught in New York from 1876-85,
and then retired to Orange. He edited 1
periodicals: 'The Mus. Library' (1835-6) with
L. Mason, and 'The Mus. Cabinet' (1837-
40) with W. Hayward; publ. Vocal Technics
(Boston, n. d.), and Voice Culture (w. C. G.
Allen); edited the 'Young Ladies' VocaJ
Class Book' (Boston, 1853) ; The Glee Hive'
and 'The New Odeon' (both w. L. Mason);
and 'Cantica laudis' (New York, 1850; w.
Mason).
1014
WEBBE— WEBER
Webbe, Samuel, Sr., b. London [not
I inorca], 1740; d. there May 25, 1816. He
-Kan life as a copyist for the London publr.
/ticker, who enabled him to st. music with
le organist Barbandt; app. org. and chapel-
taster at the Chapel of the Portuguese Em-
\ssy in 1776, and later obtained a similar
^> point ment at the Sardinian Embassy (hold-
i& both positions); from 1784 until his death
e was sec. of the Catch Club, also librarian
f the Glee Club (from 1787). In 1766 his
xnon O that I had wings won the prize of the
iitch Club, and subsequently he carried off
O other prizes with various catches and glees,
^'ubl. 9 vols, of Catches and Glees (repr. later
*ith 3 additional vols'.), a Cecilian Ode a 6, a
:>ncerto for harpsichord, a Divertissement for
ind-band, and several colls, of masses and
lotets. — See Q.-Lex.
.! Webbe, Samuel, Jr., born London, 1770;
,\. there Nov. 25, 1843. Pupil of his father
; nd Clementi; org. at various churches in
~ Liverpool; later organist at the chapel of
he Spanish Embassy, and teacher at Kalk-
>renner and Logier's School of Music in
■ -ondon; the last years again in Liverpool as
>rg. of St. Nicholas's Ch. and St. Patrick's R.
r. Chapel. Besides glees, duets, hymn-tunes,
>rgan-votuntaries, sonatas for harpsich., etc.,
le wrote VAntico del principiante (28 short
solfeggi), and Harmony Epitomised, or Ele-
nents of the Thorough-bass (London, n. d.);
also ed. 'Convito Armonico' (4 vols.; a coll.
of glees, catches, canons, etc. by prominent
composers).
Webber, Amherst, b. Cannes, Oct. 25,
1867. While pursuing the classical course at
Oxford, he also st. music, taking the degree
of Mus. Bac; cont. his studies under Nicode
at Dresden and Guiraud at the Paris Cons.
(1889-90); was for several seasons Repetitor
at Cov. Garden and the M. O. H. Composed
an opera, Fiorella (London, 1905) ; a symphony
(prod, at Warsaw and Boston); Scherzo sin-
fonico for organ; part-songs; songs and duets.
We'ber, Bernhard Anselm, born Mann-
heim, April 18, 1766; d. Berlin, Mar. 23, 1821.
Pianist, pupil of Abbe Vogler, Einberger and
Holzbauer. Studied law, etc., at Heidelberg,
then travelled as a concert-performer on
Rollig's Xanorphica; became mus. dir. of the
Grossmann opera-troupe at Hanover in 1787,
travelled with Abbe Vogler to Stockholm in
1790, and in 1792 was app. Kapellm. of the
Konigstadter Th., Berlin, remaining as Royal
Kapellm, after its union with trie Italian
Opera. A great admirer of Gluck, he was
the first to introduce the master's works to
Berlin; his own works are but weak imita-
tions of G. He prod, several operas, operettas
and melodramas. — See Q.-Lex.
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We'ber [va'ber], Carl Maria (Friedrich
Ernst), Freiherr von, the founder of the
German Romantic school; born Eutin,
Orenburg, Dec. 18, 1786; d. London, Tune 5,
1826. His father, Franz Anton von Weber
(1734-1812), formerly an army-officer, had
taken up the profession of music when about
40, and at the time of Carl Maria's birth was
cond. of the Eutin town-orch. ; he came of a
musical family, and it was his darling ambition
that one of his children should become a great
musician like Mozart, the husband of his niece
Constanze Weber (Carl Maria was Mozart's
first cousin by marriage). His mother was a
dramatic singer of talent. The year after his
birth, his father left Eutin as the director of
a travelling dramatic troupe; and for years
the family led a wandering life, during which
the boy obtained that insight into the tech-
nicalities of the stage which so conspicuously
aided him in his dramatic career. W.'s first
teacher was his stepbrother Fritz, a pupil of
Jos. Haydn; under his instruction progress
was slow. At Hildburghausen, in 1796, W.
received thorough instruction on the piano
from J. P. Heuschkel, and here laid the
foundation for his future virtuosity. As a
chorister in the cathedral at Salzburg in 1797,
he attracted Michael Haydn's attention, from
whom he had gratuitous lessons in composi-
tion for some months, and to whom he dedi-
cated his first published compositions, six
fughettas (1798). At Munich (1798-1800) he
was taught singing by Valesi, and made excel-
lent progress in composition under Kalcher,
later court organist, writing his first opera, Die
Macht der Liebe und des Weins, in 1799 (never
perf.; the MS., with other early works, was
burned by accident or design). He also ap-
peared as a concert-pianist. Here, too, he fell
in with Aloys Senef elder, the inventor of lithog-
raphy; this invention interested W. deeply,
so that he gave much time and thought to its
improvement, worked at it practically (he
engraved his op. 2, variations f. pf.r himself
in 1800), and (apparently) so improved the
process that his father removed to Freiberg
in Saxony in 1800 for the purpose of exploiting
the new ideas. Here W.'s zeal for dramatic
composition was reawakened by the libretto
of Das Waldmddchen; the opera had fair
success at Freiberg (Nov. 24, 1800), and
much better fortune at Chemnitz, Prague,
Vienna, and Petrograd; meantime the litho-
graphic venture failed, and in 1801 they were
all in Salzburg again, where W. studied further
under M. Haydn, and composed a third opera,
Peter Schmoll und seine Nachbarn (Augsburg,
Mar., 1803). In 1802 they were in Hamburg;
in Nov. goin£ to Augsburg, and thence to
Vienna early in 1803, where W. made a serious
study of the works of the great masters under
the guidance of Abbe Vogler. In 1804 the lat-
1015
WEBER
tcr recommended W. for the post of Kapellm.
of the Breslau City Th. He resigned early in
1806, supported himself for some months by
music-lessons, and was then Music-Intendent
to Duke Eugen of Wurttemberg at Schloss
Karlsruhe, Silesia, till Feb., 1807, when he
became private secretary to Duke Ludwig at
Stuttgart, and music-master to his children.
He remained here until his banishment by
royal edict in 1810, after spending two weeks
in prison on the charge of having practised a
deception of which he was proved innocent.
The preparations for bringing out his grand
opera Stlvana were nearing completion at the
time, and were, of course, abandoned; W.
repaired to Mannheim, meeting Gottfried
Weber, and bringing out his first symphony;
he then rejoined his old teacher, Abb£ Vogler,
at Darmstadt. Stlvana was given at Frank-
fort-on-Main, Sept. 16, 1810, and Abu Hassan,
a comic one-act Singspiel, at Munich, June 4,
1811. In February of that year W. had left
Darmstadt, making a concert-tour through
Frankfort, Wurzburg, Nuremberg, etc., to
Munich, where he stayed 5 months. In 1812
Stlvana was staged at Berlin, with additional
numbers. After short stays here, in Leipzig,
Weimar, and Gotha, he was appointed (1813)
Kapellm. of the National ('Landstandisches')
Theatre at Prague; went to Vienna to en-
ffage a company (among the singers was Caro-
ine Brandt, his future wife), thoroughly
reorganized the opera, and became a con-
ductor of such mark that in 1816 the King of
Saxony called him to Dresden to reorganize
the Royal Opera. His conductor's debut in
this new position was on Jan. 14, 1817. A
few weeks later he suggested to Friedrich
Kind (a lawyer, but then living as a writer in
Dresden) the idea of writing him a libretto;
they fixed on ApeFs novel, Der Freischutz, and
on Mar. 1 Kind handed the finished libretto
to W. The composition of this work occupied
3 years, the overture being finished in May,
1820; directly after, he wrote the music to
Preciosa in 3 weeks, and also began work on
a comic opera, Die drei Pintos. Although
well known as a conductor, a finished pianist,
and a song-composer (his settings of Kdrner's
Leyer una Sckwert had won him the hearts of
the students), he had not yet attained to
national renown. But with the tremendous
success of Der Freischutz at Berlin, June 18,
1821 (New York, Mar. 3, 1825), a triumph
emphasized by the contrast of that opera
with the French and Italian works then
dominating the German stage, he became a
sort of national hero; everywhere in Germany
Der Freischutz won triumph on triumph,
culminating in a grand ovation to the com-
poser at Vienna. It was followed by Eury-
anthe, which, produced at the Karnthnerthor
Theatre, Vienna, on Oct. 25, 1823 (New York,
Dec. 23, 1887; in ItaL c 1863) wzi
means equally successful there, in
with Rossini, though warmly reed
Berlin and elsewhere. For some ye>
health had been gradually declining;
he was obliged to take a vacation at 1
bad, and in January, 1825, had rt.
sufficiently to begin the comport
Oberon, a new opera which KeniN
commissioned him to write for I
Garden, London. But his illness, c: -
tion, interrupted the progress of t ti-
ne was obliged to go to Ems for trt
after which he recommenced his work
ing the score in London, where O1*-
brought out on April 12, 1826 (N\%
Oct. 9, 1829). Worn out by the oven
incident to rehearsals, concert -gj vi r ;
social life, he passed away only eigh*
afterward. His remains were rem* <
Dresden, Dec. 15, 1844. On that ...
Richard Wagner delivered an oratm
conducted a funeral march on motive*
Euryanthe and a funeral ode (ort^ir
double chorus. A statue to his n i
by Rietschel, was unveiled in 1860.
Weber's fame as a dramatic compel
shines undimmed in his two master-,, i
Der Freischutz and Euryanthe. In >
and conception essentially German, rb: ~
melodic originality, sustained drar--v rv,
and tender lyrical charm of WA-~ •/ hi\
invested them with a poetic gJamo*.; . -::\
styled 'romantic.' His piano- war.
been unduly neglected. He was a pb »
composer of fascinating originality. i
executant, his large hands gave him r
usual command of the keyboard (he ;
stretch a twelfth), which he improve
novel and striking effects in chords
passage-work. He wrote for the piano
pianist, thoroughly conversant with
nature and resources of the inst rumen:
these pieces he is not only the first 'rom
cist,' but also distinctly foreshadows the
'orchestral' school. His influence on tin
velopment of German music, through men
Schumann, Marschner and Wagner, ca
be adequately expressed in a few lines.
BI BLIOGRAPH Y.— a. biography:
Barbedette, Ch. M. de W. Savie el ses at
(Paris, 1862); M. M. von Weber [son ol
comp.], C. M. von W. Ein LebensbUd (3 i
Leipzig, 1864-8; Engl. tr. by J. P. Simp
London, 1865-8; new ed. by R. Pec
Berlin, 1912; still the standard biogr.):
W. Jiihn9, C. M. von W.% eine Lebenssk
(Leipzig, 1873); Sir J. Benedict, W. (I
don, 1881; 2d ed. 1913); A. Reissmann,
M. von W. Sein Leben und seine Werke (E
lin, 1883); L. Nohl, W. (Leipzig, 1883);
Skalla, C. M. von W. (Prague, 1895);
Gehrmann, W. (Berlin, 1899; in the ser
1016
WEBER— WEBER
-iihmte Musiker') ; G. Hocker, Drei grosse
idichter [W., Schubert, Mendelssohn] (GIo-
„ 1903); G. Servieres, W. (Paris, 1906;
:he series 'Musiciens celebres'). — b. criti-
m, appreciation, etc.: H. Rau, C. M. von
Kulturgeschichtlich-biographischer Roman
parts; Leipzig, 1865); A. JulHen, W. a
ris en 1826 (Paris, 1877); H. A. Kruger,
zudoromantik. Fr. Kind und der Dresdener
*derkreis (Leipzig, 1904); G. Kaiser,
itrdge zu einer Charakteristik K. M. von
's als MusikschriflsteUer (Berlin, 1910);
Servieres, Le Freischutz de W. (Paris, 1913);
. Georgii, W. als Klavierkomponist (Leip-
, 1914). — c. correspondence: L. Nohl,
iisikerbriefe (Leipzig, 1870; 2d augm. ed.
73) ; K. von Weber [grandson of the comp.],
'. isebriefe W.*s an seine Gattin Karotine (Leip-
u 1886); E. Rudorff, Briefe von C. M. von
an Heinrich Liechtenstein, in 'Illustr.
utsche Monatshefte* (Brunswick; Oct.-
ac., 1899); G. Kaiser, Briefe K. M. von W.'s
den Graf en Karl von Bruhl (Leipzig, 1911).
:- A complete thematic catalogue was publ.
- "' F. W. Jahns, C. M. von W. in seinen
'erken (Berlin, 1871).
Works.
N.B. — In several instances different works bear the
me opus-number. Where no opus-number is given,
. >ne was assigned by W.
' ') Dramatic works: Besides the operas enumerated
• K>ve. Rubezahl, begun in Bresiau, 1804, was not com-
r\'cted; the revised overture was prod, as Der Bekerr-
1 her der Geister. Die dret Pi ntos, the libretto rearranged
r y W.'s last grandson, Karl von Weber Id. Dresden,
.. kx:. 16, 1897], the music completed by G. Mahler after
x V.'s sketches, was prod, at Leipzig, Jan. 20. 1888. The
- lusic to Wolff '8 Prectosa consists of an overture. 4
>■', horuses, 1 song, 3 melodramas, and dances; be also
//rote music to Schiller's Turandot, Milliner's Kdmg
: Yngurd, Gehe's Heinrich IV., Rublack's Lieb' um
: rjebe, Houwald's Der Leuchtturm.
>;. Other vocal works: The cantata Der erst* Ton, f.
r Acclamation, chorus and orch. (1808); op. 36, In seiner
r' Irdnung schafft der Herr, f . soli, ch. and orch. (1812) ; op.
-44, Kampf und Sieg. cantata on the battle. of Water-
,r -.loo for do. (1815) ; V AccogUanza for 6 solo vcs.. ch. and
orch. (1817);op. 58, Jubel-Kanlate for soli. ch. and orch.;
-rop. 61, Natur und Liebe. cantata f. 2 sopranos, 2 tenors
^■; and 2 basses, w. pf . (1818); other occasional cantatas;
,.„ 2 masses (Eb, G), also 2 offertories, f. soli, ch. and orch.;
; " 19 part-songs for male voices (op. 42 [Leyer und Schwert),
'£' 5.1, 68) ; five scenes and arias f. soprano w. orch. (op. 16,
■i » 'II momento s'avvicina'; op. 50, Misera me'. Alalia,
,,,|S 1811; op. 51, 'Non paventar, mia vita.' for Ines de
Castro, 1816: op. 52, 'Ah.se Edmondo fosse J'uccisor,'
^ for Mehul's HHene , 1815; op. 53,. scena f. tenor, double
'.,: ch. and orch.. Signor, se padre sei.' for Ines de Castro;
,. op. 56, 'Was sag' ich? Schaudern macht mich der Ge-
'\ danke,' for Cherubini's Lodoiska); scena and aria f.
r V tenor, male ch. and orch., *Qual altroattendi'; recita-
l tive, 'Doch welche Tone steigen jetst hernieder.' for
::,, Spontini's Olympia; many songs (op. 13, 15, 23, 25, 29,
* 30. 41, 43. 46, 47. 54. 64, 66, 71, 80); 8 part-songs f.
•t mixed voices, w. and without accomp.; 6 canons a 3-4:
,r duets (op. 31); 10 Scotch folk-songs arr. with ace. of
.^ ft., vl., vcl. and pf.
"'* Instrumental works. For orchestra: Op. 27,
Der Beherrscher der Geister, overture (see above, Dra-
,v MATic Works); op. 59. Jubel-Ouverture; 2 symphonies,
both in C; march for wind-instrs. ; waits for do. — Con-
ft
certed pes.: 2 pf.-concertos (op. 11, C; op. 32, Bb) and
1k! a KonxertBtQck in F m. (op. 79); concertino for clar.
and orch. in Eb (op.26) and 2 clar.-concertos (op. 73,
F m.; op. 74, Eb); Andante und Rondo in C m. for
bassoon and orch. (op. 35) ; concerto in F for do. (op. 75) ;
concertino in E m. for horn and orch. (op. 45) ; Romanza
siciliana for fl. and orch. ; 6 vars. on a German folk-
song for vcl. and orch.: Potpourri for vcl. and orch.;
Andante and vars. in D m. for vcl. and orch.; Adagio
and Rondo for 'Harmonichord' and orch.
Chamber-music : Op. 8, pf. -quartet In Bb: op.
13, 6 sonatas for vi. and p(. (F, G, D m., Eb. A, C);
op. 22, vara, on a Norwegian theme for vl. and pf., in
Dm.; op. 33, vars. for clar. and pf., in Bb; op. 34,
quintet in Bb for clar. and str.-quartet; op. 47, Duo
concertant in Eb for clar. and pf.; op. 63, pf.-trio in G m.
— For Pf. solo: 4 sonatas (op. 24, C; op. 39. Ab; op.
49, D m.; op. 70, E m.); op. 1, Seeks Pughetten; op. 2,
vars. on an orig. theme; op. 4, Douse AUemandes; op. 5.
Thime original varii\ op. 5, vars. on an Air de ballet
fiom Vogler's Castor et Pollux; op. 6. vars. on a theme
from Vogler's Samori; op. 7. vars. on Bianchi's Vten qua,
Dorina; op. 9. vars. on an orig. theme; op. 12, Mo-
mento capriccioso: op. 21, Grande Polonaise in Eb; op.
28. vars. on a theme from Mehul's Joseph; op. 37, vars.
on SchOne Minka; op. 40. vars. on a Russian theme; op.
50, Polonaise brtllanu in E (for oich. by Th. Parmentier) ;
op. 53, Caprice and vars. on a theme from Prectosa; op.
55, vars. on a Gypsy theme; op. 62. Rondo brtllant in Eb;
op. 65, Aujforderung turn Tanz (in 2 orchl. versions by
Berlioz and Weingartner, and in innumerable am. for
various instrs.) ; op. 72. Polacca brttlante (for pf . and
orch. by Liszt); op. 81, Les Adieux, fantasy; 6 Ecos-
saises; 18 Valses favoriUs de Vlmpiratrice de France. —
For pf. 4 hands: Op. 3. Sechs leichte StUrJte; op. 10,
Six sonaUs progressives el agriables; op. 60, Acht teicnte
StOcke.
Writings: An unfinished novel, KfinsiUrleben; ex-
cellent criticisms, explanatory remarks on the novelties
prod, by him in Dresden, poems, etc., were publ. by Th.
Hell as Hinterlassene Schriften von C. M. von W. (3 vols.:
Dresden, 1828; 2d ed. 1850). A more complete and
better edited ed. is that of G. Kaiser, Sdtntliche Schriften
von K. M. von W. (Berlin. 1908). R. Klemecke
publ. AusgeuAhUe Schrtften von K. M.vonW. (Leipzig.
1892).
We'ber, (Friedrich) Dionys, b. Welchau,
Bohemia, Oct. 9, 1766; d. Prague, Dec.
25, 1842. Pupil of Abte Vogler; a founder
(1811) and the first Director of the Prague
Cons.; Moscheles, Dessauer and Kalliwoda
were his pupils. — Works: Operas, 18 cantatas,
masses, military marches, a sextet f. 6 trom-
bones, a sextet f. 6 cornets a pistons, quartets
f. 4 cornets, variations f. violin and 'cello,
numerous popular quadrilles, Landler, etc.,
f. pf.; — also Das Kons. der Musik zu Prag
(1817), Attgemeine theoretische Vorschule der
Musik (1828), Theoretisck-praktisches Lehr-
buch der Harmonic und des Generalbasses
(1830-41; four parts). — See Q.-Lex.
We'ber, Edmund von, stepbrother of
Carl Maria; born Hildesheim, 1766; d.
Wurzburg, 1828. Clever composer and ex-
perienced musical director; lived in the
latter capacity at Kassel, Bern, Lttbeck,
Danzig, K6nigsberg, Cologne, etc.
We'ber, Ernst Heinrich, born Witten-
berg, June 24, 1795; d. Jan. 26, 1878, as prof,
of physiology at Leipzig Univ. — Publ. De aure
et auditu hominis et animalium (1820); Die
Wellenlehre (1825; w. his brother Wilhelm
Eduard [1804-1891], prof, at Cattingen);
essays on acoustics in G. Weber's 'Cecilia,'
and Schweizer and PoggendorfFs 'Annalen.'
1017
WEBER— WEBER
We'ber, Franz, born Cologne, Aug. 26,
1805; d. there Sept. 18, 1876. Pupil of B.
Klein at Berlin, and from 1838 organist of the
Cologne Cath.; later also cond. of the
Mannergesangverein. — Works: Psalm 57,
a 4; Kriegsgesang der Rheinpreussen f. male
ch. and orch.; many male choruses. Also
publ. several song-books ('Kommersbuch,'
Tumer-Liederbuch,1 'Des deutschen Sol-
daten Liederbuch,' etc.).
We'ber, Friedrich August, practising
physician and amateur musician at Heilbronn,
where he was born Jan. 24, 1753, and d. Jan.
21, 1806. — Works: 2 operettas, 2 oratorios,
many cantatas f. chorus and orch., sym-
phonies, chamber-music, pf. -sonatas f. 4
hands, etc.; also wrote for mus. journals.
We'bei, Georg Viktor, born Obcr-Erlen-
bach, Upper Hesse, Feb. 25, 1838. Pupil of
Schrems, Katisbon; took holy orders in 1863;
since 1866, Kapellm. of Mayence Cath., giving
fine concerts of a cap pel la music of the 15th-
16th centuries with his excellent choir. Ex-
pert on organ- building. — Works: Manual*
cantus ecclestasttci juxla ritum S. Rom. ecclesiae
(1878; 2d ed. 1897); Orgelbuch turn Maimer
Diocesan- Gesangbuch (1880; 3d ed. 1896);
Vber Sprachgesang (1883); Vber Orgeldis-
positionen (1890); Die Verbesserung der
,Medicaea% (1901); articles in Bockeler's
'Gregorius-Blatt' and Haberl's 'Cacilien-Ka-
lender'; — also masses, motets, psalms, etc.
We'ber, Gottfried, theorist and composer;
born Freinsheim, n. Mannheim, Mar. 1, 1779;
d. Kreuznach, Sept. 21, 1839. He studied
law at Heidelberg and Gftttingen, practised
at Mannheim, Mayence and Darmstadt,
where he was app. Public Prosecutor (State
Attorney) by the Grand Duke in 1832. An
excellent amateur pianist, flutist and 'cellist,
he also conducted a mus. society at Mannheim
and founded the Cons, there, and was opera-
director at Mayence; founded there (1824)
the 'Cacilia,' of which he was editor till his
death; studied the theories of Marpurg,
Kirnberger, Vogler, Knecht, etc., which led
him to write his important and valuable Ver-
such einer geordneten Theorie der Tonsetzkunst
(3 vols.; 1817-21; 3d ed. 1830-2), introduc-
ing the system of indicating chords by capitals
(major) and small letters (minor), seventh-
chords by adding a small 7 (e. g., C7), etc.
It was transl. into English by J. F. Warner
and ed. by T. Bishop (London, 1851). He
also wrote Vber chronometrische Tempobezeich-
nung (1817); Beschreibung und Tonleiter der
G. Weber' schen Doppelposaune (1817); Ver-
such einer praktischen Akustik der Blasinstru-
mente (in Ersch and Gruber's 'Encyclopadie';
also inthe'Allg. mus. ZeitunR,' 1816-17); AU-
gemeine Musiklehre (1822); Vber Saiteninstru-
tnenie tnti BUnden ('Berliner Musikzeitung,'
1825); Die Generalbasslehre zum Sdbstunl".
richt (1833); and many essays for the '.V
gem. mus. Zeitung' and his own paper, K-
MCacilia.' In the latter (vol. iv; 1826 •
first questioned the authenticity of Mo7ur! -
Requiem. He comp. 3 masses, a Requiu .
and a Te Deum (all w. orch.); part-sor..
and songs, variations f. guitar and 'cello, s
trio, a pf. -sonata, etc. — See Q.-Lex-
We'ber, Gustav, born Miinchenbuch^,
Switzerland, Oct. 30, 1845; d. Zurich, JjV
12, 1887. Pupil of Leipzig Cons, from ISm
in 1865, of Vincenz Lachner at Mannht-:-
Cond. at Aarau and Zurich; then stu-h •:
1869-70 with Tausig at Berlin ; his symphon
poem Zur Made was prod, by Liszt at *--_
Beethoven Festival in 1870. From 1^2,
organist at St. Peter's, Zurich, teacher at v
Cons., and cond. of the 'Harmonic* — Pj
op. 1, pf. -sonata in Bb; op. 2, five duet*'
sopr. and alto; op. 3, 4-hand pf.-wa/':»
op. 4, pf. -quartet in C m.; op. 5, pf.-trio i:..-
op. 6, Elegies f. pf.; op. 7, five Idyllen f p
op, 8, violin-sonata in D; op. 9, two ta.t-
of pf. -pieces; Prinz Carnevol, little pf.- pin i>
for small players; many choruses; ch.'- ]
arrangements of old German songs; erthtd.
and contributed to, Vol. ii of Hcim's coll. v(
male choruses. Was editor for several y&r<
of the 'Schweizerische Musikzeitung.MTf.
A. Schneider, G. W. (Zurich, 1888); ASrewer,
G. W.t in 'Neujahrsblatt der Allg. Afus. Ges.'
(No. 98; 1910).
We'ber, Josef Miroelaw, born rmv,
Nov. 9, 1854; d. Munich, Jan. 2, 1W.
Violinist; taught by his father, and at 10
played before the Emperor of Austria, and
made tours. Pupil of Blaze k at the Prague
Organ-School ; also of the Cons, from 1870-.V
Joined the Sondershausen court orch. in
1873; became Konzertmeister at Darmstadt
in 1875, organizing a quartet-party; suc-
ceeded Rebic*ek as 1st Konzertmeister of the
royal orch. at Wiesbaden, and 2d cond.
at the opera (resigned 1893); from then
Konzertmeister at the Hofoper in Munich.
Made Kgl. Musikdir. in 1889.— Works: The
operas Der selige Herr Vetter (Wiesbaden,
1894) and Die neue MamseU ^Munich,
1896); incid. music to Fels's Olaf U&84), and
Schulte's Prim Bibus; a ballet, Die Rheinnixe
(Wiesbaden, 1884); 2 orchl. suites; a vl-
concerto in G m.; septet f. vl., via., vrL
clar., bassoon and 2 horns (won prize of
Vienna TonkQnstlerverein,' 1896); a *tr.-
quintet in D (won prize in Prague, 18()S ;
2 string-quartets (No. 2, in D, won prize a:
Petrograd, 1891); etc.
We'ber, Karl Heinrich. son of Eduanl
W., town-musician at Frankenberg; born
there Aug. 9, 1834. Pupil of Leipzig Con*.
1846-9; asst.-teacher at Moscow Cons. 1866-
1018
WEBER— WEGELIUS
70; 1877-81, director of the Imp. Russian
M us. Soc. at Saratov; 1881-99, teacher at the
Alexander-Inst. in Tambov; since then dir.
of the Imp. Russ. Mus. Soc. there. — Publ.
a method i. pf . (Russian) ; a Short Sketch of
the Present State of Mus. Culture in Russia
(1885; in Russian); etc.
Weber, Wilhelm, b. Bruchsal, Baden,
Nov. 16, 1859. Ent. the Stuttgart Cons,
in 1880; app. teacher at the Augsburg Mu-
sikschule in 1884, becoming dir. in 1905; Kgl.
Prof., 1907. Since 1892, conductor of the
'Oratorienverein,' famous for its numerous
German premieres of works by foreign com*
posers and through active propaganda for
Chrysander's arrs. of Handel's choral works;
in recognition of his services W. was made
Officer of the Acad6mie and Officer of Public
Instruction; has also cond. a number of im-
portant festivals. — Publ. 2 books of Lands-
knechtslieder (Op. 10, 15) and other songs;
choruses; pf.-pcs. Author of Beetkovens
Missa solemnis (1897; 2d ed. 1903) and
Hdndels Oratorient ubersettl und bearbeitet
von F. Chry sander (I. Israel in Agypten [1898];
II. Der Messias [1900]; III. SaJ[1902]).
Webtter, Joseph Philbrick, born Man-
chester, N. H., Mar. 22, 1819; d. Elkhorn,
Wis., Jan. 18, 1875. For years a member of
the Handel and Haydn Soc., and other mus.
associations, at Boston. — Works: Cantata
The Beatitudes; many songs ; also a coll. of Sun-
day-school songs, 'The Signet Ring' (1868).
Weckerlln, Jean-Baptiste-Theodore, b.
Gebwciler, Alsatia, Nov. 9, 1821; d. there
May 10, 1910. He was trained for, and en-
tered on, his father's business of cotton-dyeing;
but went over to music in 1844, studying
under Ponchard (singing) and Halevy (comp.)
at the Paris Cons., producing an heroic sym-
phony, Roland, for soli, ch. and orch., in
1847; on leaving the Cons, in 1849, he gave
music-lessons, took part with Seghers in the
direction of the Soci6t6 Sainte-Cecile, which
brought out some of his works; and achieved
success in 1853 with a 1-act comic opera,
VOrganiste dans Vembarras (100 performances
at the Th.-Lyrique). This was followed by
several privately performed operettas, 2
comic operas in Alsatian dialect, Die dreifach
Hochzitt im Bdsethal (Colmar, 1863), and
D'rverhaxV Herbst (ibid., 1879), and the 1-act
opera Aprhs Fontenoy (Th.-Lyrkjue, 1877).
Meantime he had become asst.-librarian to
the Cons. (1869), in 1876 succeeded Felicien
David as librarian, and in 1885 publ. a biblio-
graphical catalogue; was also chosen librarian
of the 'Societe des compositeurs,' for whose
Bulletins he wrote important articles. He
retired in 1909. He won distinction as a com-
poser of grand choral works, e.g., 2 oratorios,
Lc jugement dernier and Naissance du Christ;
the cantatas VAurore and Paix, charitf,
grandeur (Opera, 1866); the 'ode-symphonie'
Les Poemes de la mer, f. soli, ch. and orch.
(Th. Italien, 1860; conducted by the comp.);
VInde (1873), La file d' Alexandre (1873); also
choruses a cappella (25 chceurs pour voix de
jeunes fiUes; Soirees par isicn ties, f. mixed
chorus; 6 quatuors de salon, f. do.), and songs;
and a grand Symphonic de la forit, f. orch. —
His Histoire de V instrumentation depuis lc sei-
zieme Steele jusqu'd Vepoque actuelle won the
gold medal of the Academie in 1875. His
*£chos du temps passe' (1853-5), and 'Sou-
venirs du temps passe' (1864), are colls, of
chansons, noels, madrigals, etc., from the
12th-18th century, interesting and historically
valuable, with biographical notes; the 'Mu-
siciana' (3 vols.; 1877, '90, '99) is a coil, from
rare and curious works on music, with
anecdotes, etc.; other colls, are 'Les £chos
d'Angleterrc' (1877; folk-songs with pf.);
'Chansons et rondes populaires' (children's
songs w. pf.); 'Les poetes francais mis en
musique' (1868); 'Chansons populaires des
provinces de la France'; 'L'ancienne chan-
son populaire en France' (1887); 'Chansons
populaires du Pays de France' (2 vols.; 1903).
A catalogue of his private library was publ.
in 1910.
Wedekind [va'dfc-kint], Erika, soprano
stage-singer; born Hanover, Nov. 13, 1872.
Pupil at Dresden Cons, of Fraulein Orgeni
(1891^4); debut Dresden Court Opera, Mar.
15, 1894, as Frau Fluth in Nicolai's Lustige
Weiber von Windsor, and was immediately
eng. there for 5 years; her success was such
that she has remained there since, appearing
as a star at many of the larger German opera-
houses. She has also distinguished herself
in oratorio and on the concert stage. Among
her favorite roles are Eva, Nedda, Mimi,
Cio-Cio-San, Elvira, Zerlina, Mignon, Vio-
letta, Gilda, Rosina. On July 10, 1898, she
married Oberfinanzrat Oschwald, of Basel.
Weelkes, Thomas, distinguished English
madrigal-writer; in 1600, organist of Win-
chester College; in 1602, Mus. Baa, Oxon.;
in 1608, org. of Chichester Cath. Dates of
birth and death unknown. — See Q.-Lex.
Wegeler [v&'-]» Franz Gerhard, born
Bonn, Aug. 22, 1765; d. Koblenz, May 7,
1848. Physician in Bonn and Koblenz,
knowing Beethoven as a youth. With Ries
he wrote Biographische Notizen uber L. van
Beethoven (1838; supplem., 1845; repr. by A.
Kalischer in 1908; Fr. tr. by Lepetit, 1862).
Wegelius [va-ga'-], Martin, born Helsing-
fors, Nov. 10, 1846; d. there Mar. 22, 1906.
Student of philosophy and Magister (1869);
1869-70 cond. of the academical choral
•society; pupil of Rudolf Bibl in Vienna
(1870-1), and of Richter and Paul in Leipzig
1019
WEHLE— WEIGL
(1871-3), where he again studied (1877-8),
then becoming Repetitor of the Finnish
Opera at Helsmgfors. In 1882 he was app.
dir. of the newly founded Cons., which post
he held till his death. Under his admin-
istration the institution became one of the
prime factors in advancing the cause of the
young national school of composers; Jarne-
felt, Melartin, Palmgren and Sibelius were
among W.'s personal pupils. Works: Over-
ture Daniel Hjort; a Rondo quasi fantasia f.
pf. and orch.; a Christmas cantata; a festival
cantata, The 6th of May; a ballade f. tenor
solo w. orch.; Mignon, f. sopr. solo w. orch.;
pf.-pcs. and songs. He wrote (in Swedish)
Foundations of General Musical Science
(1887); Treatise on General Musical Science
and Analysis (2 vols.; 1888-9); The Main
Features of Western Music (1891-3); Course
in Keyfindittg (1893-5); Singing Course for
Common Schools (1897); Course in Homo-
phonic Writing (1897).— Cf. K. Flodin, M. W.
(in Swedish; Stockholm, 1916).
Wehle [va'1^1, Karl, born Prague, Mar.
17, 1825; d. Paris, June 3, 1883. Trained
for a mercantile career, he abandoned it for
music; studied pf. -playing with Moscheles at
Leipzig, and Kullak at Berlin, made extended
tours to Asia, Africa, America and Australia,
but resided chiefly in Paris. Among his
brilliant comps. f. pf. are a suite, op. 89; 2
sonatas, op. 38 and 58; a Ballade, op. 11; a
Serenade napolitainc, op. 31 ; an Allegro a la
hongroise, op. 81 ; 3 Tarentelles, op. 56, 76, 98;
Impromptus, op. 10, 73; Ballade and Noc-
turne, op. 79; Berceuse javanaise; Marche
cosaque; Ftte bohemienne; Un songe a Van-
cluse; etc.
Weidlft [vi'dig], Adolf, born Hamburg,
Nov. 28, 1867. Pupil at the Cons, there of
Bargheer (vl.) and Riemann (theory); won
the Mozart stipend in Frankfort (1888; with
a str.-quartet); then studied (until 1891) at
the Kgl. Musikschule in Munich under L.
Abel (vl.) and Rheinberger (comp.); settled
in Chicago in 1892; member of the Chicago
Symph. Orch. 1892-6; 2d vl. of the Spiering
Quartet 1892-1901; since 1898 asst. dir. of
the Amer. Cons, of Music. Has appeared as
cond. of his own works in Chicago, Min-
neapolis, and several German cities (1908-9;
Hamburg, Berlin, Munich, Frankfort, etc.).
— Works: 2 symphonies; Semiramis, sym-
phonic poem; Drei Episoden (Im Freien,
Trauer, Liebesgluck) for orch.; Symphonic
Suite for do. ; Capriccio for do. ; Serenade for
str.-orch.; a str. -quintet; 3 str.-quartets; a
pf.-trio; pes. for vl. and pf.; songs and
choruses.
Weidt [vTt], Heinrich, b. Koburg, 1828;
d. Graz, Sept. 16, 1901. Filled positions as-
th.-cond. at Zurich, Aix-la-Chapelle, Ham-
burg, Kassel, Pest, etc.; comp. numerous
operettas, smaller operas and male choruses
(96 opus-numbers) ; also a 4-act grand opera,
Adelma (Temesvar, 1873).
Weidt, Karl, born Bern, March 7, 1857,
1889-97, conductor of the Klagenfurt Manner
gesan£verein; since then of the Liederkranz
in Heidelberg. Noted comp. of male chorusts
(over 100 op.-numbers) : Op. 1 2, Im Mondrjt-
schein for male ch. and orch.; op. 41 f A us drr
Bergwelt for ten. solo, malech. and orch.; op
60, O Geist der Tone for mixed ch., soli am]
orch. ; op. 68, Die schonste Frauvom Rhein lac
bar. solo, male ch. and orch.; op. 70, Nun
tanzen sie unter der Linde for male ch. and
orch.; also a Festmarsch for orch. (op. 80).
Weidt, Lucy, dramatic soprano; daughter
of Heinrich W.; b. Troppau, Silesia, 18S0.
St. pf. and singing with her father; then for
3 years a pupil of Rosa Papier at the 'Alcade-
miefQr Mustk' in Vienna; d£but as Elisabeth
at the Hofoper there (1904) led to an im-
mediate eng., and 3 years later she was made
'k. k. Kammersangerin'; has appeared at the
principal German opera houses as *Gast\
1908-10, at the Wagner festivals at the Prinz-
regententh. in Munich; 1910-1, at the M. O.
H., making her Amer. debut as Briinnhilde
(WalhUre, Nov. 18); in 1913 at the Teatro
Col6n in Buenos Aires, singing Isolde and
Briinnhilde in Italian; in 1914 she created
Kundry in the Italian premiere of Parsijdzi
La Scala, Milan. In 1909 she married Baron
Joseph von Urmenyi. Her voice, ranpas
from g-e*b, is of great beauty and unusuaV
power. Besides all the Wagner r61es, her
repertoire comprises the works of the classic
and modern German, and those of the modern
Italian and French composers.
Weigl [vigl], Bruno, b. Briinn, June 16,
1881. Pupil there of R. Wickenhausser, O.
Kitzler and R. von Mojsisovics; living in
Briinn as comp. and writer. — Works: 3-act
comedy-opera, Mandragola (Briinn, 1912);
op. 3, Psalm 144 for male ch. and org.; op. 6,
Serenade for orch.; op. 10, Fascking, song-
cycle for bar. and orch.; organ-pes. (op. 9,12
[3 Choral-Stimmungsbilder], 16 [0rgelfantasie\)\
male choruses (op. 11); pf.-pcs. (op. 1). Has
written Geschichte des Walters, nebst einem
Anhang uber die moderne Operette (1910), and
Handbuch der Violoncell-Litteratur (1911).
Weigl, Joseph, born Eisenstadt, Hun-
gary, March 28, 1766; d. Vienna, Feb. 3,
1846. A pupil of Albrechtsberger and Salieri,
he wrote his first opera, Die unnutte Vorsicht,
at the age of 16; the first to be performed, II
Pazzo per forta (1788), was so successful that
up to 1825 he brought out over 30 more,
German and Italian, besides nearly a score
of ballets. Two of his operas were written
for La Scala, Milan. The most popular of
1020
WEIGL— WEINGARTNER
all, Die SchoeizerfamUie (Vienna, 1809),
kept the stage for almost a century. He also
wrote two oratorios, and a great number of
German and Italian cantatas, besides cham-
ber-music and songs. In 1825, on Salieri's
death, he wasapp. 2d court cond., and thence-
forward wrote only church-music (masses,
graduate, offertories). — See Q.-Lex. — Cf. also
A. de Eisner- Eisenhof, /. W., in 'Riv. Mus.
Ital.' (vol. xi, 1904).— His brother Taddaus,
born Vienna, 1776, d. there Feb. 19, 1844,
prod. 4 operettas and 13 ballets from 1799-
1805; was custodian of the mus. section
of the Imperial Library, and carried on a
music-business.
Welftl, Karl, b. Vienna, Feb. 6, 1881.
Pupil of the Vienna Cons, and of Zemlinsky;
st. musicology under Adler at the Univ.
{Dr. phil., 1903); 1904-^, Repetitor at the
Hofoper; since then living in Vienna as
teacher. Talented composer; has written a
symphony in Eb, op. 5; Sinfonische Fanlasie,
op. 16; 2 str.-sextets (MS.); 3 str. -quartets
(No. 1, in A [op. 4], won prize of the 'Ges. der
Musikfreunde'); choruses a capp. (op. 6, 7);
pf.-pcs. and songs.
Weil [vil], Hermann, distinguished dra-
matic baritone; b. Karlsruhe, May 29, 1877.
Pupil at the Cons, there of Smolian (pf.),
Krehl (theory) and Mottl (score-reading,
in str. and cond.); st. singing with Adolf Dip-
pel in Frankfort (1900-1); debut as Wolfram
at Freiburg, Baden (Sept. 6, 1901); sang
there until 1904; since then at the Kgl. Hofth.
in Stuttgart; has also sung at many other
German theatres, at Brussels, Amsterdam,
Rotterdam, Milan, London, etc.; took part
in the Bayreuth festivals of 1909, '10, '11 and
'12; 1911-7, member of the M. O. H., mak-
ing his Amer. debut as Kurwenal (Nov. 17).
He is 'Kgl. Kammersanger' and Knight of
several orders. The unusual compass (3 full
octaves) of his fine, sympathetic voice, per-
fectly equalized throughout its entire range,
enables him to undertake baritone and bass
parts with equal success (more than 80 rdles
sung on the stage) ; his favorites are Wagner's
heroes, especially Hans Sachs. His extensive
concert-repertoire bears further testimony
to his versatility; he has participated in
several Nether- Rhenish festivals (Cologne,
Aix-la-Chapelle), and in others at Munich,
Heidelberg, Zurich, St. Gall, Brussels, etc.
Weinberger [vln'bir-ger], Karl Fried-
rich, born Wallerstein, Bavaria, June 22,
1853; d. Wiirzburg, Dec. 29, 1908. St.
under Buonamici, Rheinberger and Wiillner
at the Kgl. Musikschule in Munich; began
his career as school-teacher in Wallerstein;
was called to the Teachers' Sem. in Wurz-
burg in 1881 ; since 1886 Kapellm. at the Cath.
there. Composer of numerous male choruses
a capp., 2 masses (op. 18 and 70), organ-
works (op. 10, sonata in C; op. 30, fugue in
C), and some pf.-pcs. Author of Handbuch
fUr den Unterrickt tn der Harmonielehre (1895;
3d ed. 1910).
Weinberger, Karl Rudolf, born Vienna,
April 3, 1861. Pupil of H. Kling in Geneva
and of C. Wolf and A. Leitermeier in Vienna;
very successful composer of operettas:
Pagenslreiche (Vienna, 1888), Der Adjutant
(Baden- Wien, 1889), Angelor (Troppau,
1890), Die Ulanen (Vienna, 1891), Lachende
Erben (ib., 1892), Munchener Kindl (Berlin,
1893), Die Karlsschulerin (Vienna, 1895),
Prima Ballerina (ib., 1895), Der SchmeUerling
fib., 1896), Die Blumen-Mary (ib., 1897),
Adam und Eva (ib., 1899),- Der Wundertrank
(ib., 1900), Die Diva (ib., 1900), Das gewisse
Etwas (ib., 1902), Schlaraffenland (Prague,
1904), Die romantische Frau (Vienna, 1911),
Der Freckling (ib., 1913), Die Nachlprinsessin
(Hamburg, 1914).
Weiner [vf'ner], Leo, b. Budapest, April
16, 1885. Pupil of H. Kossler at the Landes-
musikakademie there (1901-6); winning the
'Franz-Josef Jubiftumspreis,' he studied at
Vienna, Berlin, Leipzig and Paris; was Re-
petitor at the Komische Oper in Budapest;
since 1913 teacher of theory at the Landes-
musikakad. — Works: Op. 1, Scherzo for orch.
(MS.); op. 2, Passacaglia for pf. (do.; not
finished); op. 3, Serenade for orch.; op. 4f
str.-quartet in Eb; op. 5, Fasching, Hu-
moreske for orch.; op. 6, str.-trio in G m.;
op. 7, 3 pf.-pcs.; op. 8, Ballade for pf. and
clar.; op. 9, sonata for vl. and pf.; op. 10,
incid. music to Vordsmart^'s Gongor i Tunde
(MS.; prod. Pest, 1915).
Weingartner [vin'-], (Paul) Felix, Edler
▼on Munzberg, b. Zara, Dalmatia, June 2,
1863. After his father's death (1867) his
mother moved to Graz, where the boy at-
tended the Gymnasium, and st. pf. and comp.
under W. A. Remy. As a pupil, he began to
write pf.-pcs., songs, dramatic scenes w.
orch., etc., and publ. his op. 1-3 (pf.-pcs.) in
1879. For these he received (1881, on
Brahms's recommendation) a stipend from
the state, enabling him to continue his studies
at the Leipzig Cons. (1881-3) under Rei-
necke, Jadassohn and Paul. Having graduated
as winner of the Mozart prize, he went to
Liszt, upon whose recommendation his first
opera, Sakuntalat was prod, at Weimar (1884).
Then began his brilliant career as cond. ; 1884
in Konigsberg; 1885-7, in Danzig; 1887-9,
in Hamburg; 1889-91, Hofkapeilm. at
Mannheim; 1891-8, 1st Kapellm. at the R.
Opera and cond. of the symph. concerts of
the R. Orch. in Berlin. From 1898-1903 he
lived in Munich as cond. of the Kaim Orch.,
retaining also the conductorship of the symph.
1021
WEINLIG— WEINMANN
concerts in Berlin; extended tours with the
orch. established his fame as one of the world's
foremost conductors; at the same time he won
a reputation as an unsurpassed ensemble-
player, when he visited the principal German
cities with the W. Trio (W., pf.; R. Rettich,
vl.; H. Warnke, vcl.). In 1908 he succ.
Mahler as dir. of the Vienna Hofoper, and
cond. of the symph. concerts of the opera-
orch.; the former post he resigned in 1910,
but still (1918) holds the latter. From 1912-
14 he was again in Hamburg as 1st Kapellm.
at the Stadtth. Since April 1, 1914 he has
been in Darmstadt as 'Generalmusikdir.,'
Hofkapellm., and dir. of the Grand-ducal
Cons. As cond. he has visited France, Italy,
Spain, Scandinavia, the Netherlands and the
U. S. In 1905 the N. Y. Philh. Soc. invited
him to cond. 2 of its concerts (Feb. 10, 11),
which were followed by 2 extra concerts
(Feb. 14, 16); in 1906 he accepted a similar
invitation from the N. Y. Symph. Soc.t
making a tour of the principal cities (Jan.-
Mar.). On Feb. 12, 1912, he made his Amer.
debut as operatic cond. with the Boston
Opera Co. (Tristan und Isolde), he and his
wife, Lucille Marcel (q. v.), having been eng.
for a series of special perfs. ; both returned
under the same conditions in 1913. In 1891
VV. married Marie Juillerat, in 1903 the Baron-
ess Feodora von Dreifus, and [after divorce
from her] Lucille Marcel in 1911). — W.'s fame
as an interpreter has caused a rather unde-
served neglect of his compositions. They are
lacking, it must be admitted, in real inspira-
tion and compelling utterance; nevertheless,
they represent the finely-wrought expression
of an impressive personality. W.'s orchl.
works, unquestionably, establish W.'s place
among the masters of instrumentation. —
bibliography: E. Krause, F. W. ais
schaffender Kiinstler (Berlin, 1904); P. Riesen-
feld, F. W. Ein kritischer Versuch (Breslau,
1906); W. Hutschenruyter, Lsvensschels en
portret van F. W. (Haarlem, 1906); P. Stefan,
G. Mahlers Erbe. Ein Beitrag zur neuesten
Geschichte der deutschen Biihne und des Herrn
F. W. (Munich, 1908); J. C. Lusztig, F. W.
Personlichkeiten (Berlin, 1908); O. Taub-
mann, F. W.t in vol. iii of 'Monographien
moderner Musiker' (Leipzig, 1909).
Works.
Dramatic (All texts by W.]: Op. 8. Sakuntala
(Weimar, Mar. 23, 1884); op. 10, Malawika (Munich,
June 3. 1886); op. 14, Genesius (Berlin. Nov. 15, 1892);
op. 30, Orestes, trilogy after jCschylus: Agamemnon,
Das Totenopfer, Die Rrinnyen (Leipzig, Feb. 15, 1902);
Kain und Abel (Darmstadt, May 17, 1914); Die Dame
Kobold (ib., Feb. 23, 1916). Incid. music to Sophocles'
Antigone, for wind-instrs. and harp (Riga, Feb. 8,
1895); do. [on themes of Liszt's] to Richard Voss's
I'ruhlingsm&rekenspiel (Weimar. Jan. 11, 1908; for the
opening of the new Hofth.); do. to Kan Weiser's arr.
of Goethe's Faust [Parts I and II] (Weimar, April 19, 20.
1908).— Vocal w. Orch.: Op. 12, Die Wallfahrt nock
Kevlaar for iow voice; op. 35, ZmhH Ges*m£* for Or
(Unruhe der Nacht. Sttile der Nachl); op. 3*. I urC*
s&nge for high voice (Er veiss es btsser, Z**tstrrT*nz
Des Kindts Schetden. Lied der Walkure); op- 3&. Tranm-
nacht and Sturmhymnus for 8-part mixed d»- ; . op. *
Ausfernen Welt en for medium voice {The Spring. T>-
Bird of Melancholy, The Earth Giant, Moonrisey.—-? »
Orch.: Op. 6, Serenade for etr.-orch.: op. 20. 5°*'*
Lear, symph. poem: op. 21, Das Gefilde der Srit&n
symph. poem after Bocklin- op. 23, Symphony No :
in G; op. 29. do. No. 2, in E>; op. 49. do. No. 3. in E
(in 'Einheitspartitur.' i.e., all transposing inmtrm. wntt^:
as non-transposing); op. 52. vin. -concerto in G; or
53, Lustige Ouverlure ; A us schwerer Zeit, overture Cp*—
Vienna, Nov.. 1914). — Chamber-Music: Op. 24. str -
quartet inDtn.; op. 26, do. in F m.; op- 33. pf--«eTt*r
in Em.; op. 34, str.<o,uartet in F; op. 40. BLr.-quin:»:
in C; op. 42, 2 vl.-sonatas in D and F# m.; op «*
8uintet for clar., vl., via., vcl. and pf . in G m. — For Pf
ip. 1. Skiuen; op. 2, TonbUder mm SlifUrs ^Stmdten .
op. 3tAus vergangener Zeit; op. 4, Lose Bl&Uer; op f
Fantasiebilder.—SoHGS: Op. 7. 9. 11, 13. 15. 16. 17. is
(Severa), 19 (Hilaria), 22, 25 (No. 5. Lie* der Gk***x
w. orch.), 27 (No. 1, Plauderwdschew. orch.). 28. 31. >:
WOdchenlieder), 37 (2 ballads), 41 (Fruklemgs- und Li*
beslieder), 45 (Japauische Lieder), 46, 47. 48. 51 - =
male choruses, op. 44. — He has ed. Weber's Otxrm
Wagner's Der fiiegende Hollander and Mebul's Jon:'
(with recitatives); has orchestrated Weber's Imtaw*
a la Valse; co-ed. of the works of Berlioz <B. & H :
course of pubt. since 1899) and Haydn (do.; do. sa-
1907). — Writings: Die Lehre von der Wiedergeburt m;
das musikalische Drama (1895); uber dess Dirigiem
(1895; 4th ed. 1913); Bayreuih 1976-96 (1896. 2i
rev. ed. 1904); Die Symphonie nock Beethaaen i\gr.
3d ed., entirely rewritten. 1909 ;Fr. tr. by C. Cheviifarl
1900; Engl.tr. by M. B.Dutton. 1904); RatscUigefur
AuffUhrungen der Sinfonien Beetkovens (1906; End
tr. by J. Crosland. 1907); Musikalisck* WW/ar/r-
nackt (1907; a satirical comedy); Golgotha t\<**;
drama in 2 parts); Akkorde (1912; coll. essays); Erieh-
uisse eines Kgl. Kapellmeisters in Berlin (1912: aa
attack upon the Berlin intendancy [refuted bj A. Watt.
DerFaUW.. 1912]).
Weinlift [vin'-], Christian ftmfcrtt,
born Dresden, Sept. 30, 1743; d. thereby.
14, 1813. Organist; pupil of Homilius it
the Kreuzschule; in 1767, organist of the
Evangelical Church, Leipzig; in 1773, at
Thorn; in 1780, accompanist at the Italian
Opera, Dresden, and organist of the Frauen-
kirche; in 1785, succeeded Homilius as
cantor of the Kreuzschule. — Pub!, sonatas f.
pf. w. flute and 'cello; he brought out several
oratorios, a Passion, a cantata, an operetta,
etc. — See Q.-Lex.
WeinHji, (Christian) Theodor, nephew
and pupil of preceding; born Dresden,
July 25, 1780; d. Leipzig, Mar. 7, 1842. Mso
studied under Padre Mattei at BolognA\
from 1814-17, cantor at the Dresden Kreuz-
schule; in 1823, succeeded Schicht as cantor
of the Thomaskirche, Leipzig. In hieh re-
pute as a teacher of theory; Richard Wagner
was his pupil. — Publ. a Deutsche* Magnificat
f. soli, ch., and orch. ; vocalises for the several
voices; do. f. 2 sopranos; and a practical
Anleitung zur Fuge fiir den Selbstunttrrichl
(1845: 2d ed. 1852).— Cf. A. Kurz, Geschichte
der Familie W. von 1580-1850 (Bonn, 1912).
— See also Q.-Lex.
Weinmann [vin'-], Karl, b. Vohenstrauss,
Upper Palatinate, Dec. 22, 1873. Pupil of
1022
WEINWURM— WEISS
I abcrl and Haller at the Kirchenmusikschule
1 Ratisbon; after further study under P.
Wagner in Freiburg, Switzerland, he obtained
1905) the degree 01 Dr. phil. with the dis-
ertation Das Hymnarium Parisiense. After
lis ordination to the priesthood he was called
is Kapellm. to the 'Kollegiatkirche,' and prof.
>f esthetics and hist, of music at the Kirchen-
nusikschule in Ratisbon; succeeded Haberl
n 1910 as dir. of the latter; in 1909 he also
became librarian of the Episcopal Library
(formerly Proske's), which he opened to the
public. He is editor of the 'Kirchenmusika-
liches Jahrbuch' (since 1908) and 'Musica
Sacra* (since 1911); has ed. for Pustet (after
the 'Editio vaticana') Romisches Gradual-
bitch (1909), Graduate (1910), Kyriale (1911),
Das Totenoffizium mil Messe (1912), Graduate
parvum (1913), Romisches Vesperbuch mil
Psalmenbuch (1914); ed. of the coll. 'Kirchen-
musik,' for which he wrote Geschichte der
Kirchenmusik (1906; 2d augm. ed. 1913;
Engl. tr. by H. Bewerunge, 1910; also tr.
into Fr., Ital., Polish and Hungarian), Karl
Proske% der Restaurator der klassischen Kirchen-
musik (1908).
Weinwurm [vin'vodrm], Rudolf, born
Schaidldorf-on-the-Thaja, Lower Austria,
April 3, 1835; d. Vienna, May 26, 1911.
Was trained musically as a chorister in the
Imperial Chapel, Vienna; in 1858, as a law-
student in the Univ., he founded the academ-
ical 'Gesangverein,' conducting it until 1866;
in 1864, he became cond. of the Vienna
'Singakademie'; in 1866, of the 'Mannerge-
sa.ngverein,' succeeding Herbeck, and. director
of mus. instruction in the Imp. Teachers'
Seminary. In 1880, mus. dir. of the Univ. —
Pub!. Allgemeine Musiklehre (1870); Mu-
sikalische Ischrmittel (1873); Methodik des
Gesa ngunterrichts (1876) . — Comps. : Deutsches
Requiem for male ch. a capp.; do. for 3-
pnrt fern. ch. w. org.; Messe solennelle;
many male choruses a capp.
Weinzlerl [vln'tserl], Max, Ritter von,
b. Bergstadtl, Bohemia, Sept. 16, 1841; d.*
M foiling, n. Vienna, July 10, 1898. He was
Kapellm. at the Comic Opera and the Ring-
theater, Vienna; from 1882, chorusmaster
of the Vienna 'M.innergesangverein.' — Works:
The operettas Don Quixote (Vienna, 1879;
w. L. Roth); Die weiblichen Jager (1880);
Madlemas (1880); Fioretta (Prague, 1886);
Pa<>e Fritz (Prague, 1889; 3 acts); Der
Schwiezerpapa (Berlin, 1893); the oratorio
Mob (Vienna, 1870); the choral works w.
orch. op. 17, Nachlgruss; op. 31, Liedesweihe;
op. 70, Gesang der Nixen (3-part fern, ch.);
i op. 77, Die Sphinx; op. 88, Der Zigeuner; op.
122, Donausage; op. 130, Hubertus; many
male choruses a capp. and w. orch.
Weis [vis], Karel, b. Prague, Feb. 13,
1862. Comp. of the Czech opera Viola
(Prague, 1892; after Twelfth Night); the
German operas Die ZwilUnge (Frankfort,
1902), Der polnische Jude (Prague, 1901), Die
Dorfmusikanten (ib., 1904), Der Sturm aufdie
Muhle (Vienna, 1914); an operetta, Der
Revisor (Prague, 1907) ; a vaudeville, Der Ex-
trazug nach Nizza (Berlin, 1913); a symphony
in C and Smutelni pochod [Funeral March)
for orch.
Weismann [vis'-], Julius, b. Freiburg,
Baden, Dec. 26, 1879. St. there with E. H.
Seyffardt (1888-91), in Munich with Buss*
meyer and Rheinberger (1891-2), in Freiburg
with H. Dimmler (1893-6), in Berlin with
von Herzogenberg (1898-9), and again in
Munich with Thuille (1899-1902); living in
Freiburg as comp. — Works: Op. 10, Schnitter-
lied and Hymnus an den Mond for ch. and
orch.; op. 11, Ober einem Grabe, symph.
poem for ch. and orch.; op. 12, Fingerhiit-
chen, fairy ballad for bar. solo, fern. ch. and
orch.; op. 34, Machi hoch die Turt sacred
cantata tor sop. solo, ch. and orch.; op. 19,
symphony in B m.; op. 35a, Tanzfantasie for
orch%; op. 36, vln.-concerto in D m.; op. 14,
str.-quartet in F; op. 26, pf.-trio in D m.;
op. 28, vl. -sonata in F; op. 30, sonata in D m.,
for vl. solo; op. 37, vars. and fugue on an old
Ave Maria for vl. and pf.; op. 39, vars. for
ob. and pf.; op. 47, vl. -sonata in F# m.;
pf.-pes. (op. 21, vars. and fugue; op. 25,
Passacaglia; etc.); male choruses (op. 31);
numerous songs.— Cf. W. Thomas-San Galli,
/. W.t in vol. ii of 'Monographien moderner
Musiker' (Leipzig, 1907).
Weiss, Amalie. See Amalik Joachim.
Weiss, Franz, born Silesia, Jan. 18, 1778;
d. Vienna, Jan. 25, 1830. Virtuoso on the
viola; chamber-musician to Prince Razumov-
sky at Vienna, and a member of the Schuppan-
zigh Quartet. — Works: Music to ballets;
symphonies and overtures; symphonies con-
certantes f. flute, bassoon and trombone, w.
orch.; Variations brillantes f. violin w. orch.;
1 quintet and 6 quartets f. strings; duos f.
violins; duos f. flutes; pf. -sonatas.
Weiss, Johann, fine organist and expert
on organ-building; b. Sti Ruprecht-on-Raab,
Styria, Nov. 20, 1850. After completing his
theol. studies he attended the Kircnenmusik-
schule at Ratisbon (1875-6); in 1881 app.
teacher of hymnology at the priests' sem-
inary in Graz; 1884-91, Kapellm. at the Cat h.;
since then prof, at the Univ. and episcopal
'Konsistorialrat'; since 1902 also co-editor of
'Gregorianische Rundschau/ Has publ. Die
musikalischen Instrument in den hi. Schriften
des Allen Testaments (1895).
Weiss, Julius, born Berlin, July 19, 1814;
d. there 1898. Violinist, pupil of Henning;
1023
WEISS— WELDON
teacher, writer and critic; publ. instructive
works f. violin. On his father's death in 1852
he succeeded to the music-business establ. by
the latter.
Weiss, Karl, born Miilhausen, Alsatia, c.
1738; d. London, 1795. Went to Rome with
an English lord, and later entered George
the Third's private orch. as flutist. Works:
6 symphonies; 10 quartets f. flute and strings;
trios f. flutes. — His son and pupil, Karl,
born 1777, travelled as flute- virtuoso on the
Continent, and later settled in England.
Wrote a concerto f. flute, also trios, duos,
and solos, and a New Methodical Instruction
Book for the Flute.
Weissheimer [visTii-mer], WendeHn, b.
Osthofen, Alsatia, Feb. 26, 1838; d. Nurem-
berg, June 16, 1910. Pupil of Leipzig Cons.
1856-7; theatre-cond. at Wiirzburg, 1866,
later at Mayence; then music- teacher at
Strassburg. Composer of strong Wagnerite
leanings. His book, Erlebnisse mil R. Wagner,
F. Liszt und vielen anderen Zeitgenossen nebst
deren Briefen (Stuttgart, 1898), gives full in-
formation about his own works; many of the
letters are valuable. — Works: Theodor'Kdrner,
5-act grand opera with Prologue (Munich,
May 28, 1872); Meister Martin und seine Ge-
sellen, 3-act opera (Karlsruhe, Feb. 22, 1879;
later at Baden-Baden and Leipzig) ; Das Grab
im Busento for bass solo, male en. and orch.;
Konig Sifrid and Deutsche Kaiserhymne for
male ch. and orch.; songs.
Welssmann [vis'-], Adolf, b. Rosenberg,
Silesia, Aug. 15, 1873. Mus. critic of the
'Berliner Tageblatt' (1900-4), 'Der Roland
von Berlin* (1904-10); since then of 'Zeitung
am Montag' and 'Die Musik.' Author of
G. Bizet (1907); Berlin als Musikstadt.
Geschichte der Oper und des Konzerts von 1740-
1911 (1911; valuable); Chopin (1912).
Weitzmann [vits'-], Karl Fried rich, b.
Berlin, Aug. 10, 1808; d. there Nov. 7,
1880. Pupil of Henning (vl.) and Klein
(theory); later, at Kassel, of Spohr and
Hauptmann; in 1832, chorusmaster and
violinist in the Riga theatre, and founded the
'Liedertafel' with Dorn; in 1834, chorus-
master at Reval; in 1836, leader of the Imp.
orch. at Petrograd, and mus. dir of St. Ann s
Church. Studied in the libraries of Paris
and London 1846-8; then settled in Berlin
as a teacher of composition. Intimate
friend of Liszt. Among his posth. papers was
found the orig. MS. of a double fugue for pf.
by R. Wagner (probably comp. 1831), with
corrections in Weinlig's handwriting; publ.
by E. Istel in 'Die Musik* (vol. 44; July,
1912).— Works: The operas Rduberliebe
(1834), Walpurgisnacht (1835) and Lorbeer
und Bettelstab (1836) [all at Reval]; 2 books
of canonic Rdtsel f. pf. 4 hands; 2 books of
1024
Kontrapunkt-Studim f. pf.: 1800 PreV
and Modulations f. pf. (Book i, *CU-
Book ii, 'Romantic'); 3 books of Valses n
f. pf.; sacred songs f. mixed chorus; ^
sets of songs f . solo voice w. pf . ; — -also ;
ubermdssige Dreiklang (1853); Der vfn
derte Septimenakkord (1854); Geschichte
Septitnenakkords (1854) ; Geschichte der \]
monie und ihrer Lehre (in the 'AJlgem. r:
Zeitung,' 1849); Harmoniesystem (1860; %.
a prize; a full exposition of his theories m.
be found in Bowman- Weitzmann's Men
of Musical Theory [cf. Bowman]); Die *
Harmonielehre im Streil mil der alien {\%\
Geschichte des Klavierspiels und der Kla-v-
litteratur (1863, as Part iii of the Lebert-St .:<
pf. -method; 2d ed., 1879, printed separa^
w. added Geschichte des Klaviers [Engl tra>
New York, 1893]; 3d German ed. Leir-.
1899, as Geschichte der KUmermusik, erj-
by M. Seiffert, with a suppl., Geschuhk :
Klaviers, by O. Fleischer; only vol. i [14r
1750] has appeared so far [1°18]); Derkz
der Virtuosen (Tausig] C1868); many essr |
in various mus. periodicals. '
Wel'cker von Gontershausen, Heinriek
born Gontershausen, Hesse, 1811; d. Efcm \
stadt, June 15, 1873. Court pf. -maker to ike
Grand Duke of Hesse. — Publ. Der F/xggf, *& \
die Beschaffenheit des Pianos in aMen Fawn \
(1853; augm. ed. 1856); Neuer off neks Mj&-
tin musikalischer Tonwerkzeuge, darpt&'t*
technischen Zeichnungen . . . (1855); DnRai- |
geber fitr Ankauf, Behandlung und £rkii«f
der Pianoforte (1857); Der Klavierbat ni I
seine Theoric, Technik und Geschichte (4th tA. |
1870); Vber den Bau der Saiteninsintmenit
und deren Akustik, nebst Obersicht der Em-
hung und Verbesserung der Orgel (1876).
Weldon, Georgina (nie Thomas, which
name she later changed to Treherne), b,
Clapham, May 24, 1837. A talented ama-
teur singer, she made her first pub//c appear-
ances for charitable purposes at London in
1870; made a tour of Wales, and sang as
soloist with Leslie's choir and in other im-
portant concerts (Crystal Palace, Phitti. Soc.,
Popular Concerts, etc.); also appeared with
success in opera at Florence, Brussels, etc..
last public appearance in 1884. Special in-
terest attaches to her because of her romanto-
friendship with Gounod, who during his
London stay (1870-5) lived at her house, and
whom she assisted in training the 'Gounod
Choir'; she transl. his autobiography (going
only as far as 1859] into English (1875).
She publ. some songs and wrote Hints jv
Pronunciation in Singing (1872) and Mustek
Reform (1875).
Weldon, John, born Chichester, EngM
Jan. 19, 1676; d. London, May 7, 1736
Pupil of John Wilton, at Eton College; late'
■
J
WELLESZ— WENDT
of Purccll. In 1694, organist of New College,
Oxford; Gentleman Extraordinary of the
Chapel Royal, 1701; succeeded Blow as org.
of the Ch. Royal, 1708; second composer to
do., 1715; organist of St. Bride's, Fleet St.,
and (1726) of St. Martin 's-in-the-Fields. A
few anthems, and 3 books of songs, were
publ.,; his setting of Congreye's masque The
Judgment of Paris won 1st prize in 1700.
Wellesz, E&on, b. Vienna, Oct. 21, 1885.
Pupil there of K. Frtihling (harm.), A. Sch6n-
berg (cpt.) and B. Walter (comp.); st. mu-
sicology at the Univ. under Adler, obtaining
the degree of Dr. pkil. in 1908 with a study
on Giuseppe Bonno (publ. 1910 in 'Sbd. I.
M.-G.\ vol. xi). Since 1911, teacher of hist,
of music at the 'Neues Kons.' in Vienna. As
a composer he is a follower of Schdnberg.
Has publ. a str^-quartet In C (op. 14), pt.-
pcs. and songs; ed. Fux's Constanza e Fortezza,
in vol. xvii of 'Dkm. der Tonk. in Osterreich'
(19 JO). Wrote Renaissance und Barock
('Ztschr. I. M.-G.', 1909); CavaUi und der
SlU der venetianischen Oper, 1640-60 ('St.
zur M.-W.\ 1913); Schdnberg and Beyond
(4M us. Quart.', Jan., 1916); and other essays.
Wefo, Charles, born Prague, Aug. 24,
1825; d.New York, May 12, 1906. Pupil
of Tomacek; in 1847, court pianist in Poland;
in 1849, settled in New York as a concert-
pianist and teacher; 1852-9, org. at St.
Stephen's; then at St. Cecilia's, Ch. of the
Disciples and All Saints'; again at St. Ste-
phen s from 1896^-1901, when he retired. —
Works: Concert-overture and suite f. orch.;
5 masses, op. 47, 111, 127, 134, 167; a pf.-
concerto; fantasias, pieces, transcriptions
and arrangements f. pf., 2 or 4 hands; part-
songs (Stromfahrt, f. male quartet); songs.
Welsh, Thomas, bom Wells, Somerset,
c. 1780; d. Brighton, Jan. 24, 1848. English
bass singer; chorister in Wells Cath., and
pupil of J. B. Cramer and Baumgarten. Lon-
don debut in opera, 1792; eng. for oratorio
at the Hay market, 1796. Gentleman of the
Chapel Royal. Noted teacher of singing;
publ. Vocal Instructor, or the Art of Singing
Exemplified in 15 Lessons leading to 40 Progr.
Exercises (1825); pf.-sonatas (1819); glees,
duets and part-songs; prod, dramatic pieces.
— His wife and pupil Mary Anne, nee Wil-
son [1802-1867], was a noted soprano singer
in opera and concert; debut at Drury Lane,
Jan. 18, 1821, in Arne's Artaxerxes.
Welte, Michael, b. Unterkirnach, Black
Forest, Sept. 29, 1807; d. Freiburg, Baden,
1880. Having served a 5-year apprenticeship
with Josef Blessing, a maker of musical
clocks, he establ. himself at Voehrenbach
(1832); exhibited his first 'orchestrion' at
Karlsruhe in 1849; later took his sons (Emil,
Berthold and Michael, Jr.) into partnership.
First prizes at London (1862), Paris (1867),
Munich (1885), Vienna (1892), Chicago
(1893), St. Louis (1904), Leipzig (1909),
Turin (1911); in 1872 the factory was removed
to Freiburg, Baden.— His oldest son, Emit
(b. Voehrenbach, April 20, 1841), establ. a
branch in New York (1865); he improved the
then newly invented paper roll (taking the
place of the earlier wooden cylinders), and
was the first to use it, in connection with a
pneumatic action, in a large orchestrion built
for Theiss's Alhambra Court (N. Y. City),
an exact duplicate of which he installed a few
years later in Patti's residence, Craig-y-Nos.
A son of Berthold, Edwin (b. Freiburg, 1875),
applied the paper roll to the pf., producing
the 'Welte-Mignon* (first, exhibited in Frei-
burg, 1904), an instrument recording with
great accuracy the performances of eminent
pianists, thus preserving their art for posterity;
the application of the same principle to the
organ resulted in the invention of the 'Phil-
harmonic Organ' (1912); his latest patent
(1916) is the 'Synchronizing Device, con-
necting a phonographic record with either the
4Welte-Mlgnon, or 'Philh. Organ.'
Wendel, Ernst, b. Breslau, 1876. Pupil
in Berlin of Wirth and Joachim (vl.) and
Succo and Bargiel (theory) ; 1896-S, violinist
in the Chicago Symph. Orch. (Thomas);
1898-1909, cond. of the 'Musikverein' in
Kdnigsberg; since then cond. of the 'Philh.
Gesellschaft' in Bremen (succ. Panzner), and
do. of the 'Berliner musikal. Ges.' — Has publ.
Das deutsche Lied for male ch. and orch. ; male
choruses a capp. and songs.
Wendland, Waldemar, b Liegnitz, May
10, 1873. Mainly self-taught, he st. for a
short time with Humperdinck, while acting as
Repetitor and asst.-cond. at the Frankfort
opera; now living in Berlin as composer. —
Works: The operas Das Huge Felleisen
(Magdeburg, 1909), Das vergessene Ich (Ber-
lin, 1911), Der Schneider von Malta (Leipzig,
1912), Peter Sukoff (not yet prod.); 2 pan-
tomimes, Die beiden Pierrots and Die Tanzfee;
songs.
Wen'dling, Karl, born Frankenthal,
Rhine Palatinate, Nov. 14, 1857. Pianist;
pupil of the Leipzig Cons.; has made a
specialty of the Jank6 keyboard, on which
he is a finished performer, and the technique of
which he has taught since 1887 at the Leipzig
Cons., besides being regular prof, of the pf.
Court pianist to the Prince of Waldeck. Has
publ. ^feisterwerke aus der Ettiden-Littera-
tur' (4 books; in progressive order).
Wendt, Eduard, born Berlin, 1807; d.
Magdeburg, Dec. 23, 1890. Violinist, and
an excellent quartet-player (publ. string-
quartets); from 1824-50 in Magdeburg,
1025
WENDT— WERREKOREN
where he was a co-founder of the Tonkttnstler-
Verein'; thereafter in Berlin.
Wendt, Ernst Adolf, born Schwiebus,
Prussia, Jan. 6, 1806; d. Neuwied, Feb. 5,
1850, as teacher at the Teachers' Seminary.
Pupil of Zelter, Klein and A. W. Bach, at
Berlin. — Publ. Vars. f. pf . and orch. ; a pf.-trio;
a 4-hand pf. -sonata; organ-pieces; sym-
phonies and str. -quartets in MS. A W.-
Album (coll. of org.-pcs.) was publ. by Karl
Becker.
Wen'zel, Ernst Ferdinand, born Wald-
dorf, n. Lobau, Jan. 25, 1808; d. Bad Kosen,
Aug. 16, 1880. A student of philosophy at
Leipzig Univ., he also had private piano-
lessons with Fr. Wieck, became the fast friend
of his fellow-pupil Schumann, and adopted
music as his profession, being a frequent con-
tributor to the 4Neue Zcitschrift fttr Musik'
during S.'s editorship (till 1844). Also an
intimate of Mendelssohn's, he was a teacher
of pf.-playing at the Leipzig Cons, from its
foundation in 1843 until his death, and highly
distinguished himself in this capacity; the
majority of English-speaking students there
were in his classes, or had private instruction
from him.
Wen'zel, Leopold, born Naples, Tan. 23,
1847; pupil of the Cons. S. Pietro a Majella,
leaving it at 13, travelling as a violinist to
Athens, Turkey, Egypt and France, and
joining Metra's orch. at Marseilles in 1866;
became cond. of the Alcazar there in 1871,
later of the Alcazar at Paris. In 1889 he
settled in London as cond. of the orch. at the
Empire Th. until 1911; then do. at the
Gaiety Th. until 1914, when he retired. —
Works: 3 -act operetta Le chevalier Mignon
(Paris, 1884); J-act ballet La cour oV Amour
(do.); 4-act ballet Blondes Ivresses (Paris,
1887); 3-act operetta V Eleve du Conservatoire
(Paris, 1894); about 20 ballets (the most
succ. being Dream of Wealth, Katrina and
The Girl Ileft behind me) ; also many songs.
Werck'metoter, Andreas, b. Benecken-
stein, Nov. 30, 1645; d. Halberstadt, Oct. 26,
1706, as organist from 1696 of the Martins-
kirche. He is interesting as the author of
the earliest treatise on equal temperament,
Musikalische Temperatur .... (1691). Also
publ. numerous works on theory, esthetics,
organ, etc. Of his comps. only a coll. of vl.-
pcs. with continuo have been preserved {Mu-
sikalische Privatlust, 1689).— See Q.-Lex.
Werkenthln [var'ken-ten], Albert, born
Berlin, Mar. 6, 1842; d. there June, 1914.
Pianist; pupil of von BQlow, Weitzmann,
Ulrich and Stern; also st. organ with K.
Haupt. Has publ. pf.-pieces, songs, and Die
Lehre vom Klaviersptelt Lehrstoff und Methode
(3 vols.; 1889; 2d ed. 1897).
Wermann [var'-], Friedrlcli OcJcar, born
Neichen, n. Trebsen, Saxony, April 30, 1840;
d. Oberloschwitz, n. Dresden, Nov. 22, 1906.
Pianist and organist; pupil of J. Otto, K.
Kragen, Fr. Wieck, and Merkel ; later of Leip-
zig Cons. (Hauptmann, Richter, Reinecke);
became mus. dir. and organist at Wesserling,
Alsatia, later at Neufchatel, where he was
also prof, at the Music-School; in 1868,
teacher at the R. Seminary in Dresden; in
1876 he succeeded J. Otto as mus. dir. of the
3 principal evang. churches, and cantor of the
Kreuzschule; also cond. for several years of
the 'Lehrergesangverein.' Made Kgl. Mu-
sikdir. in 1873, Prof, in 1883, and Kgl
Hofrat in 1905.— Works: A 'Weihnachts-
marchen,' Die Wunderglocke; Kanig Witichis,
symphonic poem; several overtures; op.
75, Die Mette von Maricnburg, ballade for soli,
male ch. and orch.; op. 35, Reformationskan-
taie for soli, mixed en. and orch.; op. 110,
Weihnachtsoratorium for do.; op. 138, Pas-
sionskantate for sop. solo, ch. and orch.; 2
masses (op. 60, for double ch. and soli a capp.;
op. 116, for male ch. and soli a capp.) ; psalms
for double ch. and soli a capp. (op. 23, 54, 77,
121); op. 22, Psalm 5 for alto solo, ch. and
organ ; op. 56, Psalm 98 for double ch. a capp.;
op. 109, Psalm 51 for mixed ch. a capp.;
op. 24, Largo religioso for vl., vcl., horn and
organ; op. 58, sonata for vcl. and organ;
organ-works (4 sonatas, op. 45, 70, 1 14, 134;
concert-pieces, op. 83, 93, 102, 103, 123; op.«,
Charfreitag und Golgotha; op. 95, Passacafa;
op. 146, Drei Prdludien und Fugen); etude
for pf. (op. 3, 5, 6, 7, 29); numerous motets
(mostly a capp.), sacred and secular songs,
part-songs.
Werner [var'ner], Johann Gottlob, born
Grossenhain, 1777; d. Merseburg, July 19,
1822, as cathedral-organist and mus. dir.
An organ-pupil of Hoffmann and an excellent
teacher.— Publ. an OrgelschuU (1805; Part ii
as Lehrbuch, das Orgelwerk kennen, etc., tu
lernen [1823]; both often republ.); MuM*-
sches ABC for beginners on the piano (1806;
often republ.); Choralbuch sum hottandisckm
Psalm- und Gesangbuch (1814); Chorttowb
zu den neuern sdchsischen Gesangbuckem (Leip-
zig) ; Versuch einer kurzen und deuUichen Dar-
stellung der Harmonielehre (2 parts, 1818, '19);
colls, of chorales; many chorale-preludes; 40
organ-pieces for beginners; etc.
Wer'ner, Josef, born Wflrzburg, June 25,
1837. Violoncellist; studied in the Cons,
there, joined the Munich court orch., and
became a teacher in the Munich School of
Music. Has publ. a method f. 'cello (with
7 suppls.), a quartet f. 4 'celli, Elegie f. 'cello,
duos f. 'celli, and various solo pieces f. 'cello.
Werrekoren, (Hermann) Matthias,
maestro at Milan Cath. 1538-55. The re-
1026
WERREN RATH— WESLEY
searches of Habcrl, Elsa Bienenfeld and Cede
Stainer prove that this composer is not iden-
tical with Matheus Le Maistre, as assumed
by Fetis and Kade. His principal work is a
tone-painting (a capp.), Die Schlachl vor Pavia
(publ. in Scnmeltzers coll. 'Guter seltzamer
. . . teutscher Gesang . . . / Nuremberg,
1544; repr. by Gardane in Venice, 1549, as
La BaUaglia Taliana); also publ. a book of
motets (1555) and various other motets in
colls, of the time. — Cf. 'Monatshefte filr
Musikgeschichte' (1871 and 72); 'Kchm.
Jahrb/ (1871 and 73); 'Sbd. I. M.-G.' (vol.
vi); the article W., in Grove's 'Dictionary.'-
— See also Q.-Lex. (under Matthias).
Wer'renrath [-raht], Reinald, concert-
baritone; b. Brooklyn, N. Y., Aug. 7, 1883.
Pupil of his father, a tenor; then with Carl
Dufft (1905-7), F. K. Clark (1907), Dr. A.
Mees (1907-13) and P. R. Stephens (1913);
debut at the Worcester (Mass.) Fest., Oct.,
1907; since then has made succ. tours of the
entire U. S. (tour with Farrar, Oct. -Dec.,
1915; first tour of Pacific Coast, Jan.-Feb.,
1918); eng. for M. O. H. for season 1918-9.
His fine, sonorous voice ranges from Gb-alb;
favorite parts are Jesus (Bach's St. Matthew
Passion), Elijah (Mendelssohn) and Caracta-
cus (Elgar). Has written some male choruses;
ed. of 'New Arion' (male choruses) and
'Modern Scandinavian Songs.'
Wert, Jacob van, famous Flemish contra
puntist; born 1536; d. Mantua, May 23, 1596.
Went to Italy when a youth; succeeded Con-
tinuo as maestro to the Duke of Mantua
about 1566; was vice-maestro at Novellara,
1568-74; then maestro at the church of Santa
Barbara, Mantua. Very prolific composer. —
Extant works: 11 books of madrigals a 5,
one a 4, and one a 5-6; 1 book of canzonets;
3 of motets a 5-6; publ. from 1558-1633, and
often reprinted. — See Q.-Lex.
Wesembeek. See Burbure de W.
Wesendonk [vS'zen-ddhnk], Mathllde
(nee Luckemeyer), the friend of Wagner; b.
Elberfeld, Dec. 23, 1828; d. at her villa
Traunblick, n. Altmunster on the Traunsee,
Austria, Aug. 31, 1902. [The name is uni-
versally misspelled Wesendonck. W. Golther,
who publ. both Mathilde and Otto W.'s
correspondence with Wagner from the ori-
ginal letters, invariably writes Wesendonk,
which is also the form used by Dr. Karl
Wesendonk, the son, Privatdozent at Berlin
Univ., who is now in possession of the
originals.] The first meeting of Frau W. with
Wagner (at Zurich, Feb., 1852) soon de-
veloped into a deep and noble mutual friend-
ship, which inspired Tristan und Isolde. She
wrote the famous Funf Gedichte (Der Engel,
Stehe still, Tr&ume, Schmerzen, Im Treibhaus),
which Wagner set to music as studies to Tris-
tan. On May 19, 1848, she married Otto W.
(b. Mar. 16, 1815; d. Berlin, Nov. 18, 1896);
he gave Wagner the use of a beautiful house
on his estate on Lake Zurich (which the latter
named 'Das Asyl auf dem grunen Hugel'),
where the first act of Tristan was written, and
the second act sketched; the master lived
there from April, 1857, to Aug., 1858. — Cf. A.
Heintz, Mesne [M. W.'s] Erinnerungen, in
'Allgem. Musikitg.' (Feb. 14, 1896); W.
Golther, Richard Wagner an M. W. Tagebuch-
bldtUr und Briefe (Berlin, 1904; 54th ed.,
1915; Engl. tr. by W. A. Ellis, London, 1905);
id., Briefe R. Wagners an O. W. (Berlin, 1905;
Engl. tr. by W. A. Ellis, London, 1911); H.
Belart, R. Wagners Liebestragodie mil M. W.
(Dresden, 1912).
Wesley, Charles, bom Bristol, England,
Dec. 11, 1757; d. London, May 23, 1834.
Teacher in London; organist of St. George's,
Hanover Square; organist in ordinary to
George IV.— Publ. A Set of Eight Songs
(1784); A Set of Six Concertos for the Organ
or Harpsichord; anthems; hymns. — See Q.-
Lex.
Wesley, Samuel, born Bristol, England,
Feb. 24, 1766; d. London, Oct. 11, 1837.
Pupil of his brother Charles, and became
the foremost English organist of his time.
Deputy org. at the Abbey Church, Bath;
from 1824, org. of Camden Chapel, London.
He is especially noteworthy as a warm admirer
of J. S. Bach, and the first to make his works
known in England. — For pf. (harpsichord)
he publ. 8 Harpsichord Lessons (1777); 11
sonatas; 2 sonatinas; 16 rondos; 4 marches;
a trio f. 3 pfs.; a Polacca; a Grand Fugue;
7 sets of Variations; 4 waltzes, etc.; also
comp. a Church Service in F; numerous
anthems, motets and hymns; fugues and
voluntaries f. organ; many glees, choruses
and songs; 4 symphonies, 3 overtures, 11
organ-concertos; etc.— Cf. W. Winters, Ac-
count . . . of the Wesley Family (London,
1874); E. Wesley, Utters of 5. W. to Mr.
Jacobs, relating to the introduction into this
country of the works of Bach (London, 1875;
2d ed. 1878); W. B. Squire, Some Novello
Correspondence, in 'Mus. Quart.' (April, 1917).
— See also Q.-Lex.
Wesley, Samuel Sebastian, son of pre-
ceding; distinguished organist and composer;
born London, Aug. 14, 1810; d. Gloucester,
April 19, 1876. Held several appointments
as organist, in London churches; then at
Hereford Cath., 1832; Exeter Cath., 1835;
Leeds Parish Ch., 1842; Winchester Caih.,
1849; Gloucester Cath., 1865. Mus. Bac.
and Mus. Doc., Oxon., 1839. — Works: 4
Church Services; many anthems; glees,
songs and part-songs; exercises and pieces
f. organ; also A Few Words on Cathedral Mu-
1027
WESSELACK— WESTPH A L
sic and the Mus. System of the Church, with
a Plan of Reform (1849).
Wes'aelack, Johann Georg, born Sattel-
peilestein, Upper Palatinate, Dec. 12, 1828;
d. Ratisbon, Dec. 12, 1866, as Mettenleiter's
successor as 'regens chori' and Inspector of
Seminaries. Edited Vol. iv of Proske's 4Mu-
sica divina,' with biogr. sketch of Proske.
Wes'sely, (Karl) Bernhardt born Berlin,
Sept. 1, 1768; d. Potsdam, July 11, 1826.
Pupil of J. A. P. Schulz; in 1788, ipus. dir. at
the National-Theater; in 1796, Kapellm. at.
Rheinsbeck to Prince Heinrich of Prussia,
after whose death he entered the government
service at Berlin, then at Potsdam, where he
organized in 1814 a society for classical
music. — Prod. 4 operas; wrote music to
ballets and dramas; numerous 'occasional1
cantatas; 3 string-quartets; songs. Also
contributed to the Archiv der Zcit and the
'Allgem. mus. Zeitung.' — SeeQ.-Lex.
Wessely, Hans, b. Vienna, Dec. 23, 1862.
Pupil of J. Grtin (vl.) at the Cons, there; debut
with the Vienna Philh. Soc., 1883; then toured
Europe, visiting England in 1888; since 1889
prof, at the R. A. M.; founded the excellent
W. Quartet. Has publ. A Practical Guide to
Violin Playing, and Comprehensive Scale Man-
ual; ed. Kreutzer's Studies (with a 2d vl.).
Wea'sety, Johann, born Frauenburg,
Bohemia, June 24, 1762; d. Ballenstedt, 1814,
as violinist in the orch. — Works: 2 comic
operas; 14 string-quartets; 3 string-trios; 3
quartets f. clar. and strings; 10 vars. f. horn
and violin w. orch.; 6 do. T. clar. w. orch.; etc.
West, John Ebenezer, born South Hack-
ney, London, Dec. 7, 1863. Concert-organist
and pianist; pupil of Dr. Bridge (org.) and E.
Prout (comp.) at the R. A. M.; from 1884-
91, org. and choirm. at St. Mary's, Berkeley
Square; since 1891, at S. Hackney Parisn
Ch. — Works: 2 cantatas, The Healing of the
Canaanite's Daughter (1882) and Seed-time and
Hardest (1892); Psalm 130 (1891); Evening
Services in Eb and A; Te Deum in Bb; an-
thems, part-songs, songs; — incid. music and
overture to Longfellow's King Robert of Sicily;
march f. orch., Victoria, Our Queen; organ-
music (sonata; fugue; march; post 1 tide; etc.).
Westbrook, William Joseph, born Lon-
don, Jan. 1, 1831; d. Sydenham, Mar. 24,
1894. Org. of several churches; 1865-78,
cond. of the S. Norwood Mus. Soc. ; Mus. Bac,
Cantab., 1876; Mus. Doc., 1878. In 1862,
with Hammond and Crowdy, he founded the
'Musical Standard.' — Works: Oratorio Jesus
(1877); cantata The Lord is my Shepherd
(1875); services, anthems, part-songs, trios,
songs; sonatas and voluntaries f. organ;
several text-books on the organ, etc.; transl.
the violin-methods of Alard, Dancla, axid de
Beriot.
Westerhout, Nlccold. See Van Wes-
TERHOUT.
Westlake, Frederick, born Romst-y,
Hampshire, Feb. 25, 1840; d. London, Fd>.
12, 1898. St. at the R. A. M. 1855-62 under
W. Macfarren (pf.)» and G. A. Macfarren
(harm.); was app. sub-prof, of pf. in 186 J,
and full prof, in 1863. — Works: Several
masses, a Duo concertante f. fof. and 'cello,
a prelude and fugue f. organ, 9 Episodes f. pf.,
a pf. -fugue, hymns, part-songs, songs, etc.
West'meyer, Wilhelm, born Ibur&, n.
Osnabriick, Feb. 11, 1832; d. Bonn, Sept. 4,
1880. Pupil of Leipzig Cons., and of Lobe (in
dram. comp. and instrumentation). Prod,
the successful operas Amanda, oderGrafin und
Bduerin (Koburg, 1856), and Der Wold bet
Herniannstadt (Leipzig, 1859); a Kaiser-
Ouverture perf. annually on the birthday of
Emperor Franz Josef of Austria (Aug. 18);
an octet for wind and strings; symphonies
quartets; songs.
Westmoreland, John Fane, Earl cA
[previously Lord Burghersh], born London,
Feb. 3, 1784; d. Apthorpe House, Oct. 16.
1859. After passing through the Spanish
campaign, he studied composition at Lisbon
1809-12 under Marcos Portugal, then {ought
in the Prussian army, became British Envoy
at Florence, and from 1841-51 was British
Minister at Berlin. Founded the R. A.M.
in 1822. — Works: 7 Italian operas for Flor-
ence and London: Bajatet, 1821; VEroe di
Lancaslro, 1826; // Torneo, 1826; Fedro, 1828
[publ. Berlin, 1848]; Catorina, 1830 [in Eng-
lish as Catherine, the Austrian Captive]; Lo
scompiglio teat rale, 1836 [publ. 1846]; // ratio
di Proserpina, 1845; — also 3 symphonies;
string-quartets; pf.-pieces; — Cathedral Ser-
vice; solemn mass; Requiem; 6 cantatas
by Metastasio, f. solo voice and pf. (1831);
madrigals, glees, songs, canzonets, etc
Weat'phal, Rudolf (Georft Hermann^
b. Oberkirchen, Lippe-Schaumburg, ]u\v S,
1826; d. Stadthagen, July 11, 1892. Philo-
logian; student at Marburg, qualified as lec-
turer at Tubingen, from 1858-62 was prof,
extraordinary at Breslau, taught in Jena,
Livland and Moscow, and after 1880 lived
in Leipzig, Buckeburg and Stadthagen.
His exposition of Greek rhythms and metres
is clear and systematic; in his treatment of
Greek music he is less happy, concluding
that the Greeks employed polyphony, a
theory which he himself finally abandoned as
untenable. Unfortunately B. von Sokolov-
sky followed W.'s theones in the revision
of vol. i of Ambros's Geschichte der Musik
(1887). — Works: Metrik der griechischen
1028
WESTROP— WEYRAUCH
L>ratnatiker und Lyriker (w. Rossbach; 3
vols., 1854-65; 2d ed. 1868; 3d ed. as
Theorie der musischen Kunste der Hellenen,
1885); Die Fragment* und Lehrsatze der
griechischen Rhythmiker (1861); System der
antiken Rhyihmik (1865); Geschichte der alien
und mittelalterlichen Musik (1865; unfinished;
includes Plutarch fiber die Musik, 1864);
Theorie der neukochdeutschen Metrik (1870;
2d ed. 1877); Die Elemente des musikalischen
Rhythmus mil Rucksicht auf unsre Opern-
musik (1872); AUgemeine Theorie der musi-
kalischen Rhythmik seit J. S. Bach (1880);
Die Musik des griechischen A Iter turns (1883);
AUgemeine Metrik der indo-germanischen und
semitischen Vblker auf Grundlage der vet-
gleichenden Sprachwissenschaft (1892; with
addendum by R. Kruse, Der grieckische
Hexameter in der deutschen Nachdichtung);
and Die Melik und Rhythmik des griechischen
Altertums (1893; 3 vols.).
Westrop, Henry, b. Lavenham, Suffolk,
July 22, 1812; d. London, Sept. 23, 1879.
First public appearance as pianist at Norwich
in 1822; later was heard as a violinist and
singer; held several positions as organist, the
last (1834 till his death) at St. Edmund's,
London; cond. of the 'Choral Harmonists'
Soc.\ and asst.-cond. to Costa of the 'Sacred
Harmonic Soc.' — Works: Op. 1, pf.-trio in
F; op. 2, pf. -quartet in Ab; op. 3, pf. -quintet
in Eb; op. 4, pf. -sonata in nt>; op. 5, pf.-
quintet in C m.; op. 6, sonata in F for fl. and
pf.; op. 7, do. in Eb for via. and pf.; Winter,
scene for bar. and orch.; a symphony (lost);
a waltz for orch.; pf.-pcs. and songs; also 2
operas, The Maid of Bremen (not prod.) and
The Mariners (unfinished).
Wetz, Richard, b. Gleiwitz, Silesia, Feb.
26, 1875. For a short time a pupil of the
Leipzig Cons.; studied privately with A.
Apel and R. Hofmann there, and Thuille in
Munich (1899), also attending courses in phi-
losophy and literature at the Univ. In 1906
he settled in Erfurt as cond. of the 'Musik-
verein* and 'Singakademie,' later also be-
coming cond. of the 'Anon* (male ch.) and
'Lehrergesangverein,' and prof, of comp. and
hist, of music at the Cons, there (1911); for
2 seasons he cond. (by invitation) the con-
certs of the 'Musikverein' at Gotha, and
those of the 'Riedelverein' at Leipzig (1913-4).
—Works: An opera, Das ewige Feuer, op. 19
(Dusseldorf, 1907); op. 16, Kleist-Ouverture
for orch.; op. 14, Traumsommernacht for fern,
ch. and orch.; op. 29, Gesang des Lebens for
male ch. and orch.; op. 31, Nicht geboren ist
das Beste (from (Edipus Coloneus) for mixed
ch. and orch. ; op. 32, Hyperion for bar. solo,
ch. and orch.; op. $3, sonata in G for vl.
solo; op. 34, 3 male choruses a capp.; about
100 songs. — Cf. G. Armin, Die Lieder von R.
W. (Leipzig, 1911).
Wetxlcr, Hermann Hans, b. Frankfort-
on-Main, Sept. 8, 1870; studied from 1885-
92 at the Hoch Cons., Frankfort, under Frau
Schumann (pf.), Heermann (vln.), Scholz
(comp.), Knorr (cpt.) and Humperdinck
(score-reading). In 1892 he came to New
York; was organist at Old Trinity, 1897-
1901; in 1902 cond. his first grand orch!.
concerts at Carnegie Hall; 1903, founded the
Wetzler Symphony Concerts (95 pieces; L.
Lichtenberg, leader), which had some success
and introduced renowned soloists; R. Strauss
conducted a series of four concerts of his own
works in Feb. and March, 1904. From 1905-
8, Kapellm. at theStadtth., Hamburg; cond.
a series of concerts at Petrograd (1908);
1908-9, 1st Kapellm. at the Stadtth. in Elber-
feld; 1909-13 do. at do. in Riga; 1913-5,
do. in Halle, and cond. of the symph. con-
certs; since 1915 1st Kapellm. in Ltibeck.
— Works: Op. 1, ballade, The Faery Queene;
op. 2, 5 deutsche Lieder; op. 3, Scotch Ballads;
op. 4, 12 TonbUder; Variational f. pf.; — in
MS., Variations f. oboe, clar., 2 violas and
'cello; Concert-overture (Thomas Orch.,
Chicago); Christi Tod und Auferstehung,
Easter music for wind-instrs. and organ ; En-
gelskonsert, symph. poem f. orch. (after a
painting by Hans Thoma).
Weweler [va'-]» August, b. Recke, West-
phalia, Oct. 20, 1868. Pupil of Coccius and
Jadassohn at the Leipzig Cons. Settled in
Detmold in 1898 as a teacher; since 1908
cond. of the 'Oratorienverein.' — Works: The
operas Domroschen (Kassel, 1903) and Der
grobe Mdrker (Detmold, 1908); the oratorio
Die Sintflut (ib., 1914); a ballet, Des Malers
Traumbild; Sankt Hubertus, Vom Bauerlein,
das A lies in Gold verwandeUe and Frau Musika
in Freud und Leid for declamation w. ch. and
pf.; male choruses and pf.-pcs. Author of
Ave Musical Das Wesen der Tonkunst und die
modernen Bestrebungen (1913).
Weymarn fvf'-], Pavel [Paul] Platono-
vitch, b. Petrograd, 1857. Pupil of van
Ark (pf.) and Haller (theory). In 1888 he
abandoned the military career; 1888-90, ed.
of the musical journal 'Baian'; since then
mus. critic for several papers; collaborator in
the Russian ed. of Riemann's 'Musiklexikon.'
Has publ. songs, pf.-pcs. and pes. for vcl. and
pf. Author of M. I. Glinka (with Count
Obolensky); Short History of the Opera 'The
Life for the Tsar1 (1886); B. F. Naprawnik
(1889); M. I. Glinka, a Biographical Sketch
(1892); Cesar Cui as a Song-writer (1897) [all
in Russian].
Weyrauch [vT-rowh], August Heinrich
Ton, b. Riga, April 30, 1788; d. (?). In
1824 he publ. (under his own name) a song,
1029
WEYSE— WHITE
Nock Osten (words by Wetzel). About 1840
an anonymous Paris publr. reprinted it, with
Schubert's name on the title-page, as Adieu
(Fr. words by Belanger); a pf. -transcription
of it, also crediting the authorship to Schu-
bert, was publ. by DGhler (op. 45, No. 3) in
Germany, in 1843; Schlesinger of Berlin repr.
the song, with a German transl. of the French
text, as Schubert's, in 1845; since then it has
been repr. many times, but invariably as
Schubert's, by European and American
publrs. It is not found in B. & H.'s complete
ed. of S.'s works, nor in Peters 's ed. of the
songs. — Cf. G. Nottebohm, Thematisches
Verzeichnis der im Druck erschienenen Werke
van Franz Schubert (Vienna, 1874; p. 254).
Weyse [vi'sS], Christoph Ernst Fried-
rich, born Altona, Mar. 5, 1774; d. Copen-
hagen, Oct. 8, 1842. Taught by his grand-
father, a cantor in Altona; after his parents'
removal to Copenhagen in 1789, by J. A. P.
Schub, J. H. Tiemroth and H. O. Zinck.
In 1794, organist at the Reformed Ch.;
1805, at the Ch. of Our Lady (Fruekirke).
Through court cond. Kunzen he became in-
terested in a movement for the establishment
of a national school of opera, for which his
works (together with those of Kuhlau)
effectively prepared the way. — Works: The
operas Sovedrikken [The Sleeping-Potion]
(1809), Faruk (1812), Ludlams Hule [L.'s
Cave] (1816), FloribeUa (1825), Eventyr i
Rosenborgs Have [Adventure in R.'s Garden]
(1827), Balders Dod [B.'s Death] (1832: the
music arr. from W.'s symphonies), Festen
paa KenUworth [Festival in K.) (1836); about
30 cantatas; Miserere for double ch. and
orch.; Te Deum for ch. and orch.; 4 sym-
phonies (1795); preludes and fugues for or-
gan; pf.-pcs. (sonatas, op. 16 and 50; etudes,
op. 51, 60; etc.); songs. He coll. 100
Danish folk-songs, of which he harmonized
59; they were published by his pupil A. P.
Berggren as 4100 pamle Kampevisemelodier'
[Old ballad-melodies].— Cf. A. P. Berggren,
C. E. F. W. (Danish; Copenhagen, 1876);
R. von Liliencron, W. und die ddnische Musik
seit dent vorigen Jahrhundert, in Raumer-
Riehl's 4Historisches Taschenbuch' (Leipzig,
1878); W. Behrend, W. und Kuhlau, in
'Die Musik' (iii, 22; 1904).
Whelpley, Benjamin Lincoln, b. East-
port, Maine, Oct. 23, 1864. Studied in Bos-
ton 1879-80 with B. J. Lang (pf.), Sidney
Homer (comp.), and others; also in Paris in
1890 with E. M. Delaborde. First appear-
ance as pianist at a recital in Chickering Hall,
Boston, Mar. 19, 1886. He was organist of
the South Congr. Ch., Boston, and of the
Cecilia Society; now (1918) org. of the Arling-
ton Street Ch. Has given many recitals and
concerts. His works include an Intermezzo for
1030
orch.; pf.-pcs. (op. 2, 3, 4, 11, 13, 18); 2 pre-
ludes for vl., vcl. and organ (op. 15); songs
(op. 5, 6, 7, 9, 12, 17, 19); 5 anthems for ina^c
ch. (op. 16) ; mixed choruses; etc.
Whistling, Karl Friedrich, bookseller
in Leipzig. In 1817 he publ. Vol. i of the
Handbuch der . musikaliscnen Litter at ur9 con-
tinued later by Fr. Hofmeisterand A. Rothing.
— See Hofmeister.
White, Alice Mary. See Smith, Alice
Mary.
White, Carolina, lyric soprano; b. Bos-
ton, Dec. 2, 1886. Pupil there of Weldon
Hunt (2 years); completed her studies at
Naples under Paolo Longone, whom she
married in Sept., 1910; debut as Aida at the
San Carlo Th., Naples (1908); then sang 2
seasons in various Italian opera nouses (Venice,
Rome, Milan, etc.); 1910-4, member of the
Chicago Opera Co., making her Amer. debut
as Santuzza (Nov. 5, 1910); in the Amer.
premieres of Wolf-Ferrari's // Segreio di Su-
sanna (New York, Mar. 14, 1911) and / Gio-
jelli delta Madonna (Chicago, Jan. 16, 1912}
she created the rdles of the Countess and
Maliella, resp.; 1915-7, concert-tours of the
U. S. from coast to coast. In 1917 she entered
the field of light opera, appearing in Her Regi-
ment (specially written for her) . Chief among
the 26 rdles which she has sung are Salome
(Hhodiade), Manon (Massenet), Manoo
Lescaut (Puccini), Tosca, Mimi, Micacb,
Nedda, Violetta, Louise, Cio-Cio-San, Iris.
White, John, born W. Springfield, Mass.,
Mar. 12, 1855; d. Bad Nauheim, July 18,
1902. Pupil 1861-3 of Dudley Buck; then,
in Berlin, of Aug. Haupt (org. and cpt.).
Organist of St.' Francis Xavier, New York,
1880-3; studied composition with Rhein-
berger at Munich, gave organ-concerts in
various German cities, was organist and
choirm. 1887-96 of the Ch. of the Ascension,
New York, and from that time Jived in
Munich, studying and composing.— Pub/,
works: Missa solemnis; Requiem; Te Deum;
many Latin hymns for mixed ch. a capp.;
and an oratorio, Alpha and Omega.
White, Maude Valerie, born Dieppe, of
English parents, June 23, 1855. Pupil of O.
May and W. S. Rockstro; entered R. A. M.
in 1876, was elected Mendelssohn Scholar in
1879 (the first woman to win this honor),
and cont. her studies under Sir G. Macfarren
and F. Davenport until 1881; after two years
of travel in South America she was a pupil
for 6 months (in 1883) of R. Fuchs in Vienna;
returned to London in 1884, but soon after
began to travel extensively (all European
countries, Asia Minor and South America);
at intervals between trips she lived either in
London or Florence.— Works: Mass (1888);
WHITEHILL— WHITING
Pictures from Abroad, 14 pf. -pieces; Scher-
zetio f. pf.; Naissance d' amour, f. pf. and
'cello; other pf. -music; numerous songs (Engl. ,
Ger., Fr. and Ital.).
Whitebill, Clarence Eugene, distin-
guished dramatic bass; b. Marengo, Iowa,
Nov. 5, 1871. Pupil of H. D. Phelps in
Chicago; held positions as soloist in several
churches until 1896, when, upon the advice
of Melba, he went to Paris, preparing himself
for the stage under Giraudet and Sbriglia;
debut as Friar Lawrence in Gounod's Romeo
et Juliette at La Monnaie, Brussels (Nov.,
1899); was immediately eng. at the Op6ra-
Comique (the first Amer. male singer heard
there); a member of Savage's 'Grand Eng-
lish Opera Co.' at the M. 0. H. (Oct. and
Nov., 1900), appearing in 17 rdles; then went
for further study to Stockhausen in Frank-
fort, and from there to Bayreuth, where he st.
the entire Wagnerian repertoire with Frau
Wagner; after short engagements at Ltibeck
and Elberfeld he*sang principal rdles at
Cologne (1903-8); 1909-11, at the M. 0. H.,
appearing for the first time with the regular
company as Amfortas (Nov. 25, 1909); 1911-
5, with the Chicago Opera Co.; since 1916
again at the M. O. H. He has sung the
Wagner parts at Cov. Garden (1905-9),
Bayreuth (3 seasons) and Munich (2 seasons).
For sheer beauty of voice, perfect enuncia-
tion and splendid acting, especially in Wag-
ner's works, he ranks with the greatest artists
of the present day.
Whitehouee, William Edward, eminent
'cellist; b. London, May 20, 1859. At a
very early age he began the study of the vl.
under A. Griesbach; st. vcl. under Walter
Pettit (1873-7); cont. at the R. A. M. (1877-
81) under Piatti and Pezze, winning the
Bonamy Dobree prize in 1878, the bronze
medal (1879) and the silver medal (1880);
app. sub-prof, there in 1882, and full prof, in
1883, which post he has held ever since; in
1886 also app. prof, at Cambridge Univ. and
at the R. C. M., and in 1892 at King's Coll.;
elected A. R. A. M. (1884) and F. R. A. M.
(1895). His success as a soloist is eclipsed
by his superb ensemble-playing; with Acnille
Simonetti (vl.) and Amina Goodwin (pf.) he
formed in 1889 the 'London Trio,' which made
many succ. tours of England, France and Italy
(dissolved 1904); at different times he also
was 'cellist of the 'Bath Quartet Soc.' (the
oldest in England), the 'String Club' and the
Jacoby and Ludwig Quartets. A remarkable
teacher, he has formed many distinguished
pupils (P. Ludwig, W. Evans, E. Mason, F.
Salmond, T. Weist-Hill, Kate Ould, Beatrice
Harrison, Adelina Leon, etc.). His instr.
is a valuable Francesco Ruggeri. Has publ.
pes. for vcl. and pf. (Allegro perpetuo, Ge-
danken, Remembrance, Serenade, etc.).
Whithome (real name Whit tern), Em-
erson, b. Cleveland, O., Sept. 6, 1884. St.
there with J. Hartmann (pf. and harm., 1896)
and J. H. Rogers (pf. and comp., 1897-1902);
1904-6, in Vienna with Leschetizky (pf.)
and R. Fuchs (cpt. and comp.); 1906-7, in
Berlin with A. Schnabel (pf.); lived in London
from 1907-14 as a teacher and writer for
various periodicals, contributing chiefly essays
on Oriental and Elizabethan music; also
correspondent of 'Musical America' and mus.
critic of the 'Pali Mall Gazette' (1913-4).
Since Aug., 1915. executive editor for the 'Art
Publication Soc. of St. Louis, Mo. In July,
1907, he married the pianist Ethel Legmska
(separated 1909).— Works: Op. 40, Japanese
Suite for orch.; op. 48, Ranga, symph. poem;
op. 51, The City of Ys, do.; several minor
works for orch.; op. 5, str.-quartet in A m.;
op. 20, Three Greek Impressions, str.-quartet
(prod. London, 1914); op. 21, QuarteUino
orientate (prod, by Kneisel Quartet, Jan. 27,
1916); op. 43, Songs of Sappho, song-cycle for
vocal quartet (London, 1913); for vl. and
pf., a sonata, a suite and Three Elizabethan
Melodies; for pf., a sonata, vars. and fugue,
Valse de Concert, and minor pes.; about 40
songs.
Whiting, Arthur, born Cambridge, Mass.,
June 20, 1861. Pf.-pupil of W. H. Sherwood ;
pianistic d6but Mechanics' Hall, Boston, 1880;
studied with Chadwick and J. C. D. Parker;
then in Munich Music-School under Rhein-
berger. Lived in Boston until 1895; since
then in New York. Since 1907 he has been
giving annually a series of 'University Con-
certs' (at Harvard, Yale, Princeton, etc.),
educational in their nature and devoted to
chamber-music. Of the highest artistic value
are his concerts of early music which he
began in 1911 with Constance Edson (vl.),
G. Barrere (fl.), P. Kefer (via. da gamba),
himself at the harpsichord. — Works: Many
pf .-pieces (Bagatelles; Fantasy w. orch. ; Con-
cert-etude; Valse- Caprice; Suite moderne; etc.) ;
church-service in A; anthems; songs; organ-
music; Melodious Technical Exercises and
Pedal Studies (Engl, and Ger.) for pf. — In
MS. Concert-overture f. orch., 2 pf. -concertos
(perf. by comp. with Boston, Chicago and
Pittsburgh Symph. orchs.), suite for str.-orch.
with horn-quartet, pf.-trio, sonata f. pf. and
violin, etc.
Whiting, George Elbridge, born Hollis-
ton, Mass., Sept. 14, 1842. Organist; played
at Worcester when 13; in 1858 succeeded D.
Buck as org. of the North Congr. Ch., Hart-
ford, Conn., where he founded the Beethoven
Soc. Went to Boston in 1862 as org. in
various churches; studied with G. W. Mor-
1031
WHITMER— WICKENHAUSSER
gan, New York, and Best, Liverpool (1863);
was org. in Albany and Boston (Kings
Chapel and Music Hall), studied with Haupt
and Radecke in Berlin (1874); taught at the
New England Cons., Boston, till 1879, then
at the Cincinnati Coll. of Music till 1882,
and at the New Engl. Cons, from 1883-97;
also org. at the Ch. of the Immaculate Con-
ception from 1883-1910 (having served there
also 1876-8).— Works: 2 orchl. masses w.
organ (C m. and F m.); Te Deum; Vesper
services; the cantatas Tale of the Viking,
Dream Pictures, March of the Monks of Bangor,
Midnight, Henry of Navarre; 1-act opera
Lenora (Ital., 1893); Free Lances , f. male ch.
and military band. Symphony in C, Suite
in E, Allegro brillant, overture to Tennyson's
The Princess for orch.; pf. -concerto in D m.;
suite i. 'cello and orch.; suite f. 'cello and pf.;
many pieces f. organ and pf.; songs; — The
Organist (Boston, 1870); and The First Six
Months on the Organ (1871).
Whitmer, T. Carl, b. Altoona, Pa., June
24, 1873. St. pf. with C. Jarvis (1895-5),
organ with S. P. Warren (1894-6) and comp.
with W. W. Gilchrist (1893-6). 1898-9, org.
at Pine Street Presb. Ch., Harrisburg, Pa.;
1899-1909, dir. of School of Music, Stephens
Coll., Columbia, Missouri; 1909-16, do. at
Penna. Coll. for Women, Pittsburgh; since
1916 org. and choirm. at Sixth Presb. Ch.,
Pittsburgh, and on faculty of Pittsburgh Mu-
sical Inst. On May 19, 1898, he married
the painter Helen Crozier of Phila. Has
publ. organ-pcs., songs and anthems; in
MS., Elegiac Rhapsody for alto solo, ch. and
orch.; Stx Mysteries for orch.; Poem of Life
for pf. and orch. (Pittsb., Dec. 30, 1914); a
vl. -sonata in D; pf.-pcs., songs and choruses.
Is a frequent contnb. to musical journals.
Whitney, Myron William, bass vocalist;
b. Ashby, Mass., Sept. 5, 1836; d. Sandwich,
Mass., Sept. 19, 1910. Pupil of E. H. Frost
in Boston, Randegger in London and Vannu-
cini in Florence, Italy. Debut in oratorio in
Boston (Messiah, Dec., 1858), and sane in
concert and oratorio, also in chief Festivals in
America and Great Britain; took leading
bass roles with the Boston Ideal Opera Co.
at Boston Theatre (1879) in Pinafore, Fa-
tinitta, Bohemian Girl, Figaro, Tsar and
Carpenter, Chimes of Normandy; with the
American Opera Co. (1885-6) in Lohengrin,
Flying Dutchman, Huguenots, Magic Flute,
Aula, Merry Wives of Windsor, etc. Retired
in 1900.
Whitney, Samuel Brenton, born Wood-
stock, Vermont, June 4, 1842. Organist;
pupil of Chas. Wefs in New York, and J. K.
Paine at Cambridge, Mass., where he was
organist at Appleton Chapel; 1871-1908,
organist and choirdirector of the Ch. of the
Advent, Boston. Organizer and cond. of
many church-choir festivals; prof, of orean-
playing, and lecturer, at the Boston Univ.
and the New Engl. Cons.; excellent Bach-
player. — Works: Anthems and songs; a
pf.-trio; sonatas and transcrs. f. organ; pf--
music.
Whittlesey, Walter R., b. Hartford, Ct..
{an. 5, 1861. Upon the opening of the new
uilding of the Library of Congress (Sept. 1,
1897) he organised the Music Division, and
subsequently assisted the chief, O. G. Sonneck,
in the work of development; since the latter's
resignation (1917) he has been acting chief.
Has publ. The First Editions of Stephen C.
Foster (1915; with O. G. Son neck) ; in MS.,
Music of the South, 1860-9, and Negro Music.
Wichmann [viyh'-], Hermann, born
Berlin, Oct. 24, 1824; d. Rome, Sept., 1905.
Studied at the R. Akademie; also under
Taubert, Mendelssohn and Spohr; from
1857 for a short time cond. of the Bielefeld
Mus. Soc.; settled latef in Berlin.— Works:
Symphonies; 7 str. -quartets (op. 6, A m.;
op. 12, E m.; op. 17, F m«; op. 19, Eb; op.
33, F; op. 40, C m.; G); str.-quintet in C,
op. 35; pf.-trio in Eb, op. 10; vl. -sonata in
D, op. 16; sonatas f. pf. (op. 1, 55); psalms
and songs; also Gesammelte Aufsatoe (2 vols.;
1884, '87).
Wichtl, Georg, born Trostberg, Bavaria,
Feb. 2, 1805; d. Bunzlau, Silesia, Juoe 3,
1877. Violinist, studied at Munich, and
played in the orch. of the Isartor Th.; in
1826 he joined the orch. of Prince of Hohen-
zollern-Hechingen at LSwenberg, Silesia, as
1st violin; from 1852, R. Mus. Dir. and 2d
Kapellm. there; lived on pension at Breslau,
1870-6, then at Bunzlau.— Works: An opera,
Almaula; a melodrama; an oratorio, Die
Auferstehung und Himmelfahrt Jesu ; a mass;
songs; symphonies and overtures; a string-
quartet; violin-concertos; many instruc-
tive pieces for violin; etc.
Wick'ede, Friedrich von, born Domitz-
on-Elbe, July 28, 1834; d. Schwerin, Sept. 11,
1904. Army-officer, then post-office official;
music-pupil of J. Vieth (a pupil of Fr. Schnei-
der). Living in Leipzig since 1872, later in
Munich, employing his leisure for com-
position.— Works: Opera Ingo; funeral-
march for Emperor Wilhelm I; overture
Per aspera ad astra (1875); pf. -pieces; songs
(highly praised).
Wickenhausser [\rlk'-], Richard, born
Briinn, Feb. 7, 1867. Pupil of O. Kitzler,
and at the Leipzig Cons. (1890-3) of Jadas-
sohn and Paul; won a state stipend in 1894
(awarded by Brahms and Hanslick); became
in 1895 cond. of the 'Deutsch-Akademischer
Gesangverein' in Briinn, and in 1902 do. of the
1032
WICKHAM— WIDOR
'Steierm&rkischer Musikverein' in Graz;
since 1907 do. of the Vienna 'Singakademie.'
Besides numerous male choruses and songs,
he has publ. Sang fahrender Schiller for male
ch. and orch. (op. 67); suite in F for str.-
orch. (op. 24); a vl. -sonata in E m. (op. 13);
a vcl.-sonata in F (op. 18); 10 Choralvorsfnele
for organ (op. 40).
Wickham, Florence (Pauline), dramatic
contralto; b. Beaver, Pa., 1882. Pupil of
Alice Groff at Philadelphia, later studying
3 years at Berlin with Frau Mallingerand
Franz Emerich. Operatic debut as Fides
(Prophet) at Wiesbaden, Spring of 1902;
second appearance as Amneris (Aida) at
Munich. 1904-5 eng. for the Savage troupe
to sing Kundry in the production of Parsifal
in English (over 50 performances) in chief
towns of the U. S.; 1905-6 at the Th. des
Westens, Berlin ; then 3 years at the Schwerin
opera, also singing at Covent Garden (1907,
Waltraute) and the Royal Opera, Berlin
(1909); engaged 1909-12 for the M. O. H.
She has sung 45 r61es on the stage, in 4 lan-
guages, including the German repertory for
contralto (the Erdas, Ortrud, Fncka, Bran-
gane, Magdalene [Meistcr singer and Hol-
lander], down to the Landlord's Daughter in
Konigskinder, which she created in New
York, 1910); further, Laura (Gioconda),
Emilia (Otello), Pauline and the Shepherd-
boy (Pique-Dame), La Nourrice (Anane et
Barbe-BUue; N. Y., 1911), etc. Favorites
are Amneris, Orpheus, Adriano (Rienzi),
Waltraute. Her voice, a fine mezzo-soprano,
has a compass from e to b*. 'Kammersangerin'
to the Duke of Mecklenburg-Schwerin. In
private life she is Mrs. Eberhard Lueder.
Wid'mann, Benedikt, born Braunlingen,
n. Donaueschingen, Mar. 5, 1820; d. Frank-
fort-on-Main, Mar. .4, 1910. Rector at
Frankfort. — Publ. Formenlehre der Instru-
mentalmusik (1 862) ; Katechismus der allge-
meinen Musiklehre (2d ed. 1879); Grundzuge
der musikalischen Klanglehre (1863); Prak-
tischer Lehrgang fur einen rationeUen Gesang-
unterricht; Handbuchlein der Harmonic-,
Melodic- und Formenlehre (5th ed. 1889);
Generalbass-Vbungen (2d ed. 1867); Diekunst-
historische Enhvicklung des Manncrchors
(1884); Alberich Zwyssigals Komponist (1905).
Wid'mann, Joseph Viktor, born Nenno-
witz, Moravia, Feb. 20, 1842; d. Berne, 1912.
Came as a child (1845) to Switzerland; a dis-
tinguished poet and dramatist, from 1880
literary editor of the Bernese 'Bund'; wrote
the libretto of Goetz's opera Der Widerspen-
siigen Zahmung, and others; also Johannes
Brahms in Erinnerungen (Berlin, 1898; 2d ed.
lvOO).
Widor, Charles (-Marie), distinguished
organist and composer; b. Lyons, Feb. 22,
1845. His father, an Alsatian of Hungarian
descent, was organist at the church of St.-
Francpts, Lyons; as a boy, W. was a skilful
improviser on the organ, and studied later at
Brussels under Lemmens (organ) and Fetis
(comp.); became organist at St.-Francpis,
Lyons, in 1860, gained high repute by con-
certs there and mother cities, and since 1869
has been organist at St.-SuJpice, Paris. In
1890 he succeeded Cesar Franc k as prof, of
organ-playing at the Paris Cons.; in 1896 he
replaced Dubois as prof, of cpt., fugue and
comp. For many years mus. critic for the
paper TEstafette (pen-name 'Auletcs'); also
director and cond. of the society 'La Con-
cordia.' In 1910 he was elected member of
the Institute, succeeding Lenepveu; since
1913 secretary; is Chev. of the Legion of
Honor.— Dramatic works: The ballet La
KorHgane (Opera, Dec. 1, 1880); a 3-act
pantomime, Jeanne d'Arc (Hippodrome, June
25, 1890); the operas Mattre Ambros (Op.-
Com., May 6, 1896), Les P&cheurs de St.- Jean
(ib., Dec. 26, 1905), Nerto (not yet prod.);
incid. music to Dorchain's Conte d'Avril
(Odeon, Sept. 22, 1885) and Coppee's Les
Jacobites (ib., Nov. 21, 1885).— For orch.:
Op. 10, Serenade; op. 16, Symphony No. 1, in
F ; op. 54, do. No. 2, in A ; op. 60, Nuit de Sabbat
(Walpurgisnachl), caprice symphonique; op.
69, Symphony No! 3, in F m., w. org.; Sym-
phonic antique (w. final ch.); Sinfonia sacra
(w. org.); Ouverture espagnole; Fragments
symphoniques des 'Picheurs de St.- Jean*; 3
orchl. suites arr. from La Korrigane, Mattre
Ambros and Conte d'Avril; 2 pf. -concertos
(op. 39, F m.; op. 77, C m.); vcl.-concerto
in E m., op. 41; Fantaisie for pf. and orch.,
op. 62 ; Clvoral et variations for harp and orch.
—Chamber-music: 2 pf. -quintets (op. 7, 68;
both in D); a str. -quartet in A m., op. 66;
a pf.-trio in Bb, op. 19; Soirs d' Alsace for
pf.-trio, op. 52; 2 vl. -sonatas (op. 50, C m.;
op. 79); suite for vcl. and pf., op. 34; vcl.-
sonata, op. 80; Trots Valses for vl. and pf.,
op. 18; Cavatina for do., op. 57; Trois Pieces
for vcl. and pf., op. 21; suite after La Sulamitc
for vl. and pf. — For organ: 8 symphonies
[sonatas] (op. 13, C, D, E, F; op. 42, F, G, A,
B); Symphonic romane, op. 70; Symphonic
gotiquc. — For pf.: Op. 4, Airs de ballet; op. 7,
La Prihe; op. 9, Caprice; op. 11, Trois
Valses; op. 12, Impromptu; op. 15, Six
Morceaux; op. 17, PrSlude, Andante et Finale;
op. 20, Scenes de Bal; op. 26, Six Valses
caractfristiques; op. 31, Dome Feuillels
df album; op. 44, Dans les Bois; op. 46, Ro-
mance; op. 51, Suite polonaise; op. 58, Suite
in B m.; op. 78, Suite icossaisc. — Vocal
music : Op. 36, Mass for 2 choirs and 2 organs;
Psalm 83 for ch. and str. -quintet; Psalm 112
for 2 choirs, 2 organs and orch. ; Tu es Petrus
for double ch. and org.; Sacerdos et Pontifex
1033
WIECK— WIEHMAYER
and Surrexii a moriuis for 3-part ch. and org. ;
Tanium ergo and Regina Coeli a 5; 0 Salu-
taris for bar. and org.; do. for ten., vcl. and
org.; etc.; Chant seculaire for sop. solo, ch.
and orch., op. 49. Songs (op. 14, 22, 28, 32,
35, 37, 43, 47, 53, 63 [Soirs d'etS]); duets
(op. 30, 40); 3 choruses a capp. (op. 25). —
Wrote La Musique grecque el les Chants de
I'Sglise latine, in 'Revue des Deux Mondes'
(1895) and Technique de Vorchestte moderne [a
suppl. to Berlioz's treatise] (1904; 2d ed. 1906;
Ger. tr. by H. Riemann, Leipzig, 1904; Engl,
tr. by E. Suddard, London, 1906); is editor
of '1 Orgue moderne' (a coll. of comps. for
organ); editor, with Schweitzer, of the defini-
tive edition of Bach's Organ Works, in 8 vols.
(5 publ. down to 1918; N. Y., G. Schirmer).
— Cf. H. Imbert, Portraits et Etudes (Paris,
1894); H. Reynaud, VCEuvre de C.-M. W.
(Lyons, 1900); J. F. E. Rupp, C.-M. W. und
sein Werk (Bremen, 1912).
Wleck [vek], Alwin, son of Friedrich W.;
b. Leipzig, Aug. 27, 1821; d. there Oct. 21,
1885. Pupil of his father (pf.) and David
(vl.); member of the Italian Opera orch. at
Petrograd; then lived in Dresden as teacher
of pf. Publ. Materialien zu F. Wiecks Piano-
forte-Methodik and Vademecum perpetuum
fUr den ersten Pianoforte- Unterricht nach F.
Wiecks Methode; also some pf.-pcs.
Wieck, Friedrich, born Pretzsch, near
Torgau, Aug. 18, 1785; d. Loschwitz, n. Dres-
den, Oct. 6, 1873. Studied theology at
Wittenberg, but became a private tutor in
order to obtain leisure for musical study;
establ. a pf. -factory and a mus. circulating
library at Leipzig, but gave up both to de-
vote himself to teaching the piano, in which
profession he had extraordinary success
(among his pupils were his daughters Clara
and Marie, also R. Schumann, H. von BQlow,
Anton Krause, Fritz Spindler, I. Seiss, B.
Rollfuss, and G. Merkel).' He removed to
Dresden in 1840, studied Mieksch's singing-
method, and taught singing also. In 1843
Mendelssohn offered him a professorship at
the newly establ. Leipzig Cons., which W.
declined. His first wife (nte Tromlitz) was
the mother of Clara Schumann (q. v.) and
Alwin; after her divorce she married Bargiel,
the father of Woldemar B. (q. v.); Marie W.
(q. v.) was the daughter by W.'s second wife
(Clementine Fechner). Besides 2 books of
pf.-studies, he publ. Klavier und Gesang
(1853; 3d ed. 1878) and Musikalische Bauern-
spruche (2d ed. 1876, by Marie Wieck).—
Cf. A. von Meichsner, Fr. W. und seine Tochter
Clara und Marie (Leipzig, 1875); A. Kohut,
Fr. W. (Dresden, 1887); V. Joss, Fr. W. und
sein Verhdltnis zu Rob. Schumann (Dresden,
1900); id., Der Musikpddagoge F. W. und
seine Familie (Dresden, 1902); M. Wieck,
1034
Aus dent Kreise W. -Schumann
1912; 2d augm. ed. 1914).
Wieck, Marie, daughter and pupil of pre-
ceding; b. Leipzig, Jan. 17, 1832; d. Dresden,
Nov., 1916. At the age of 11 she made her
d£but at a concert of her sister, Clara Schu-
mann; app. court pianist to the Prince of
Hohenzollern in 1858; after succ. tours of
Germany, England and Scandinavia, she
settled in Dresden as a teacher of pf. and
singing; made Kgl. Prof, in 1914. Her last
Public appearance was with the Dresden
nilh. Orch. in Nov., 1915 (playing the Schu-
mann concerto). Publ. pf.-pcs. and songs;
ed. her father's Pianoforte-Studien; and wrote
Aus dent Kreise Wieck-Schumann (1912; 2d
ed. 1914).
Wiedemann [ve'-]9 Ernst Johann., born
Hohengiersdorf, Silesia, Mar. 28, 1797; d.
Potsdam, Dec. 7, 1873, as singing-teacher to
the cadets. Organist 1818-52 of the R. C.
Church; founder and cond. of 2 singing-
societies. Comp. a Te Deum for soli, en.
and orch. (op. 12); masses, motets, hymns.
Wiederkehr [v€'-], Jacob Christian
Michael, born Strassburg, April 28, 1739.
d. Paris, April, 1823. From 1783 in Paris;
'cellist at the Concerts spirituels, bassoonist
at the Th.-Lyrique, trombonist at the Opera;
from 1795-1802, singing-teacher at the Cons.
— Works: 12 concertantes f. wind; 2 quintets
and 10 quartets f. strings; 6 quintets/, pf.
and wind; 6 pf. -trios; 6 violin-sonatas; etc.
— See Q.-Lex.
Wiegand [ve'-), (Joeef Anton) Heinrich,
dramatic bass; b. Frankisch-Crumbach in
the Odenwald, Sept. 9, 1842; d. Frankfort,
May 28, 1899. While engaged in commercial
pursuits in Paris, he had private vocal lessons,
and in 1870 joined the opera at Zurich; then
sang in Cologne, and from 1873-7 was leading
bass at Frankfort, touring America in the
latter year with the Adams-Pappenoeim
troupe. At Leipzig, 1878-32; at the Vienna
Court Opera, 1882-4; then eng. at Hamburg.
At Bayreuth in 1886 he sang the ittes of
Gurnemanz and Kdnig Marke; also appeared
in the Nibelung cycle at Berlin, 1881, and
London, 1882.
Wiehmayer [ve'mi-er], (Johann) Theo-
dor, pianist; born Marienfeld, Westphalia,
Jan. 7, 1870; studied in Leipzig Cons. 1886-9
under Jadassohn (comp.), Reinecke (comp.
and pf.) and Coccius (pf.); then pf. one year
under Martin Krause in Leipzig, where his
first concert took place autumn of 1890,
followed by a winter tour through Sweden
(33 concerts). He now settled in Leipzig as
a teacher, also giving concerts in other towns;
1902-6, teacher of pf. in the Leipzig Cons.
Since 1908 at the Stuttgart Cons.; made Kgl.
WIEL— WIENIAWSKI
Prof, in 1909. — Publ. works: Prelude (canon)
and Fugue f. organ, op. 1; Petite Valse and
A IbumbJatt f. of., op. 2; canon f. 4 solo voices.
Die Baume bluh'n, op. 5; Schule der Finger-
Technik; 5 Spezial-Etuden (of Kalkbrenner,
Cramer and Ries); Tonleiter-Schule; Uni-
versal-Etuden. Also publ. new eds. of Czerny's
Schule des Virtuosen and Taustg's Tagliche
Studien.
WIel [vel], Taddeo, distinguished musicolo-
gist; b. Oderzo, Treviso, Sept. 24, 1849. St.
law and philology, and harm, and cpt. with
P. Tonassi and F. Maggi in Venice; prof,
in secondary schools there, later becoming
asst. -librarian at San Marco, member of the
committee on studies at the Liceo musicale
Benedetto Marcello and pres. of the Venice
section of the 'Associazione dei Musicologi
italiani.' Has publ. / Codici Continiarini
.... neUa R. Biblioteca di San Marco in
Venezia (1888); / Teatri musicali Venetian*
del SeUecenlo (1701-1800] (1897); Francesco
Cavalli, in 'Mus. Antiauary* (Oct., 1912).
Has also written several operas and publ.
pf.-pcs. and songs.
Wielhorskl [v'yShl-hohr'ske], Count Mat-
vei Yurievitch, born Volhynia, Oct. 31, 1787;
d. Petrograd, 1863. Excellent 'cellist, pupil
of B. Romberg; one of the founders and first
Director of the Imp. Russian Mus. Soc.,
Petrograd. To the Cons, he left his fine
library, and to Davidov his Stradivari 'cello.
Of his comps. a Lied mil Variationen for vcl.
and orch. was publ. posth. — His brother,
Count Mlchail Yurievitch, b. Volhynia,
Nov. 12, 1788, d. Moscow, Sept. 9, 1856, was
a liberal patron of the fine arts, whose home
was the gathering-place of the most eminent
musicians of the time. He publ. a str.-
quartet and some songs (some with vcl. obbl.).
— A third brother, Joseph, publ. pf.-pcs. and
songs (48 op. -numbers).
Wienlaw'skl [v'ya-fiahv'ske], Henri, dis-
tinguished violinist; b. Lublin, Poland, July
10, 1835; d. Moscow, Mar. 31, 1880. At the
age of 8 he entered Clavel's class in the Paris
Cons., and the advanced class of Massart in
1845, winning 1st prize for violin-playing in
1846. He gave his first concerts at Petrograd
and Moscow in 1848, and from 1849-50
studied harmony at the Paris Cons, under
Colet. He then began a series of concert-
tours with his brother Joseph, the pianist,
through Poland, Russia, Germany, Scandi-
navia, Belgium, Holland, England, etc.; in
1860 he was named solo violinist to the Czar,
living chiefly in Petrograd until 1872, and
teaching at the Cons, there 1862-7. With
Anton Rubinstein he toured the United
States in 1872, then extending his travels
alone to California; in 1874 he succeeded
Vieuxtemps as prof, of violin-playing at the
Brussels Cons., resigning in 1877, and con-
tinuing his tours, with rapidly failing health,
until death. Among modern violinists W.
is one of the most imposing figures. Tech-
nical difficulties did not exist for him; his
magnificent, large tone, coupled with bold-
ness of execution and a fiery, at times volcanic,
temperament carried away his listeners. He
was equally great as an ensemble-player.
His compositions are well written, brilliant
and very effective, and several (the concertos,
the Legend, the 2d mazourka, etc.) are still
in the repertoire of every violinist. — Works:
For vl. and orch., op. 4, Polonaise in D; op.
6, Souvenir de Moscou; op. 14, Concerto No. 1
in F# m.; op. 16, Scherzo- Tar entelle; op. 17,
Lkgende; op. 19, Deux Mazourkas caractSris-
tiques; op. 20, Fantaisie brUlante (on themes
from Faust); op. 21, Polonaise brUlante;
op. 22, Concerto No. 2 in D m. For vl. and
pf., op. 1, Caprice fantastique; op. 3, Sou-
venir de Posen; op. 5, Adagio Uegiaque; op.
7, Capriccio-Valse; op. 9, Romance sans
paroles el Rondo Sligant; op. 11, Le Carnaval
russe; op. 12, Deux Mazourkas; op. 15, orig.
theme with vars.; op. 23, Gigue; op. 24, Fan-
taisie orientate (posth.). For vl. solo, op.
10, Etude-Caprice; op. 18, Eludes- Caprices
(with a 2d vl.). With his brother Joseph he
wrote Allegro de sonate (op. 2) and Grand Duo
polonais (op. 5).
Wienlaw'skl, Joseph, famous pianist,
brother of preceding; b. Lublin, May 23,
1837; d. Brussels, Nov. 11, 1912. Entered
the Paris Cons, in 1847, studying under
Zimmerman, Marmontel and Alkan (pf.), and
Le Couppey (comp.) ; in 1850 he went on tour
with his brother, Henri; studied with Liszt
at Weimar in 1855-6, then taking a course in
theory under Marx at Berlin, and returning
to Paris in 1857. In 1866 he settled in Mos-
cow as a teacher at the Cons. ; but soon estab-
lished a pf. -school of his own, which flourished.
1875-6 he was dir. of the Warsaw Music Soc.,
and then settled in Brussels, teaching at the
Cons. On very numerous concert-tours
throughout Europe, he won fame rivalling
that of his gifted brother. — Works: Suite ro-
mantique f. orch. op. 41; GuiUaume le Taci-
turne, overture, op. 43; pf. -concerto in G m.,
op. 20; string-quartet in A m., op. 32; pf.-
trio in G, op. 40; Grand Duo polonais f. pf.
and violin, op. 5 (with his brother); sonata in
D m., op. 24; sonata f. pf. and 'cello in E,
op. 26; Fantasia (. 2pfs.,op. 42. For Pf. solo:
Polonaises (op. 13, 21, 27, 48); Waltzes (op.
3, 7, 18, 30, 46); Sonata in B m., op. 22;
Mazurkas, op. 23; Fantaisie et fugue, op. 25;
Sur I'Octan, op. 28; Barcarole, op. 29;
Ballade, op. 31; Notturno, op. 37; etc.; 4
concert-studies (op. 9 [Barcarole- Caprice), 10
[Romanze-Etiide], 33, 36); also 24 Etudes de
1035
WIEPRECHT— WILHELMJ
mScanisme et de style, op. 44.-— Cf. L. Delcroix,
J. W, Notices biographiques et anecdottques
(Brussels, 1908).
Wieprecht [ve'prfchyht], Friedrich Wil-
helm, born Aschersleben, Au§. 8, 1802; d.
Berlin, Aug. 4, 1872. He studied in Dresden
and Leipzig, where he was already famous as
a trombonist; lived in Berlin from 1824, at
first as a violinist in the court orch., finally
as Director-General of all the Prussian mili-
tary bands. He invented the Bass Tuba
(1835, with the instrument-maker Moritz),
the Bathyphon, a sort of bass clarinet (1839,
with Skorra), the 'piangendo' on brass instrs.
with pistons, and an improved contrabass
bassoon; his claim of priority over Sax, in the
invention of the Saxhorns, was not upheld by
the courts.
Wietrowetz [v'ya'-], Gabriele, violinist;
b. Laibach, Carniola, Jan. 13, 1866. Pupil
of Joachim at the Berlin Hochschule for 3
years; the first year (1883) she won the
Mendelssohn prize of 1500 marks. Debut
at Munster 1885, with Brahms's concerto,
followed by concert-tours through Switzer-
land, Norway and Sweden; since then over
all Europe. For several years she was teacher
at the. Berlin Hochschule— -the first woman
to hold such a position there. She is leader
of the W. Quartet (W., Gertrud Schuster-
Woldan, Helene Bornemann-Ferchland,
Eugenie Stoltz).
Wlhan [ve'hahn], Hans [Hanui], born
Politz, n. Braunau, Bohemia, June 5, 1855.
Excellent 'cellist, pupil of Prague Cons.;
1873, prof, of 'cello at the Mozartcum, Salz-
burg; 1877-80, chamber- virtuoso to the
Prince of Schwarzburg-Sondershausen ; 1880,
1st solo 'cellist in Court Orch., Munich, and
member of King Ludwig's private string-
quartet, which frequently played at Wagner's
soirees at Wahnf ried ; since 1888 prof, of
vcl. at the Prague Cons, and dir. of the cham-
ber-music class. In 1891 he formed the 'Bo-
hemian String Quartet,' selecting his four most
talented pupils (Karel Hoffmann, Josef Suk,
Oscar Nedbal and Otto Berger); after
Berger's retirement, owing to ill health, in
1897 W. himself took his place as 'cellist;
for homogeneity and perfection of ensemble
the organization has for years enjoyed the
highest reputation.
Wlhtol [ye'tfthl], Joseph Ivanovltch, born
Volmar, Livonia, July 26, 1863. St. music
1880 at Mitau; from 1881-6 at Petrograd
Cons, under Johansen (harm.), and Rimsky-
Korsakov (comp. and instrumentation); since
1886, prof, of narm. there; since 1897 also
mus. critic of the 'St. Petersburger Zeitung'
(publ. in Ger.). — Works: For orch., op. 4, La
rite Ligho, symph. picture; op. 21, Ouverture
dramatique; op. 37, overture to a Lettish
1036
fairv-tale, Spriditis; op. 42, Phaniasie uh*r
lettische Volkslieder for vl. and orch- Op- 2*.
Beverinas dteedanis (The Bard of Bevenm
for ch. and orch.; op. 35, Das Lied for sop
solo, ch. and orch.; op. 27, str.-quartet in G.
op. 12, Esquisse for vcl. and pf.; op- *"*•
Recitative for via. (vcl.) and pf.; op. 39,
Rhapsodic fiber lettische Volkslieder for vl. and
pf.; pf.-pcs. (op. 1, sonata; op. 2, Hmnares-
que; op. 24, Valse-Caprice; op. 58, Drei
SilhoueUen; etc.); songs (op. 5, 7, 32, 36,
40, 41). Also oubl. 100 Lettish folk-songs
for voice and pt. and for pf . solo.
Wild [vfltl, Franz, born Niederhollabrunn,
Lower Austria, Dec. 31, 1792; d. Oberddbling,
n. Vienna, Jan. 1, 1860. Chorister at Kloa-
terneuburg and later in the court chapel ; sang
as tenor soloist at Eisenstadt, in the Theater
an der Wien (Vienna) and the Court Opera
(1813); then at Berlin, Darmstadt, Kassel,
and finally, from 1830, again in Vienna.
Wild, Harrison Major, b. Hoboken, N. J.,
Mar. 6, 1861. Pupil of A. J. Creswold, and
at the Leipzig Cons. (1878-9) of Maas, Rust
and Richter; studied in Chicago (1879-83)
with E. Liebling (pf.), C. Eddy (org.) and F.
G. Gleason (comp.). He has filled positions
in several Chicago churches; since 1895 orjr-
and choirm. at Grace Episc. Ch.; also cond
of the 'Mendelssohn Mannerchor,' 'ApolJo
Club* and 'Mendelssohn Club' (RockfordL
Wilder [vfl'der], (Jerdme Albert) Victor
▼an, born Wettern, n. Ghent, Aug. 2 1, 1*5$;
d. Paris, Sept. 8, 1892. Known as a wni«
for 'Le Menestrel/ etc.; as a translator, into
French, of German songs and opera-texts;
and as the author of Mowart, Ihomme el
VartisU (1880; 4th ed. 1889; Engl. tr. by L.
Liebich, 1908); Beethoven, savie et ses ensures
(1883).
Wllhelm, Karl Friedrich, composer of
Die Wacht am Rhein [poem by M. Schnecken-
berger]; b. Schmalkalden, Sept. 5, 1815; d.
there Aug. 26, 1873. Pupil at Kassel, 1*34-6,
of Bott, Baldewein and Spohr; later of
Andre and Aloys Schmitt in Frankfort; from
1839-64, director of the Crefeld 'Liedertafel,'
for which he composed many male choruses,
among them Die Wacht am Rhein, now a
national song of the Germans; it was first
perf. by the 'Liedertafel' on June 11, 1854,
and first publ. in the ,Cho^liedersammlung,,
of Erk and Greef (Essen, 1854). In 1860 he
received the title of 'R. Prussian Mus. Dir.*;
in 1870 Queen (later Empress) Augusta pre-
sented him a gold medal, and in the same year
he was granted a pension of 3,000 marks. —
Cf. K. Gollmick, K. F. W. (Frankfort, 1848).
Wilhel'mj [vil-hehl'm*], August (Emil
Daniel Ferdinand), eminent violin-virtuoso;
b. Usingen, Nassau, Sept. 21, 1845; d. Lon-
WILHEM— WILLAERT
don, Jan. 22, 1908. Taught by Konzert-
meister Fischer at Wiesbaden, he played in
concerts at 8; in 1861 he played before Liszt,
who introduced him to David at Leipzig as
a. second Paganini. He studied 1861-4 at the
Leipzig Cons, under David (violin), Haupt-
mann and Richter; in 1862 he played in the
Oewandhaus; in 1864 he went for further
study to Raff at Frankfort, and in 1865 made
his first concert-tour, to Switzerland; he
then visited Holland and England (1866),
France and Italy (1867), Russia, Switzer-
land, France and Belgium (1869), England,
Scotland and Ireland (1869-70); then trav-
elled through Holland, Scandinavia, Ger-
many and Austria (1871-4), to England
(1875-7), and America (1878), making a 4-year
tour of the world to S. America, Australia, and
Asia (1878-82). In 1876 he was leader of the
Bayreuth orch. at the production of Der Ring
des Nibelunfen. For several years he lived
chiefly at Biebrich-on-Rhine, where he estab-
lished, with R. Niemann, a 'Hochsehule' for
violin-playing. In 1886 he removed to Blase-
witz, near Dresden; and in 1894 was app.
head-prof, of violin-playing in the Guildhall
School of Music, London. His first wife,
whom he married in 1866, was baroness
Liphardt, a niece of Ferd. David; in 1895
he married the pianist Mariella Mausch.
He was one of the greatest among the world's
violinist. — Works: Hochzeils-Kantate f. soli,
ch. and orch.; 2 Konzertstiicke (No. 2, In
Memoriam) for vl. and orch.; Alia Polacca
for do.; Theme and vara, for do. (after 2
caprices of Paganini); a cadenza to Beet-
hoven's vl.-concerto; solo pieces and tran-
scriptions (Bach, Chopin, Wagner) f. violin;
Romanze f. pf.; songs. With J. Brown he
wrote A Modern School for the Violin (6
parts). — Cf. E. Frassinesi, A. W. Violinista.
Memorie (Mirandola, 1913). — His son, Adojf,
(b. Mar. 31, 1872), an excellent violinist, w$s
app. in 1898 violin-prof, at Belfast Cons. —
His sister-in-law, Maria W., nke Gastell, b.
Mayence, July 27, 1856, is a noted concert-
soprano, a pupil of Mme. Viardot-Garcia.
Wilhem [recte Bocquillon], Guillaume-
Louis, born Paris, Dec. 18, 1781; d. there
April 26, 1842. The son of an army-officer,
he himself entered active service at the age
of 12; but from 1795-1801 studied at the
school of Liancourt (founded by the Duke
de Larochefoucauld), and then for 2 years in
the Paris Cons. He taught music in the
military school of Saint-Cyr; and in 1810
was app. teacher of music at the Lycce Na-
poleon (later College de Henri IV), occupying
this position until death. The system of
enseignement mutuel (mutual instruction)
which had been introduced into the popular
schools of France, attracted W.'s attention,
and in 1815 he began to apply it in mus.
teaching, with such marked success, that in
1819 he was chosen to organize a system of
mus. instruction for the primary schools in
Paris, was app. singing-teacher to the Poly-
technique in 1820} and likewise Director of a
Normal School of Music. In 1830 ten ele-
mentary schools were under his supervision;
in 1833 he conceived the happy idea of in-
stituting regular reunions of the pupils in one
grand chorus, to which he gave the name of
'Orpheon,' the performances of which were
marked by wonderful confidence, precision
and animation. In 1835 he was made
Director-General of mus. instruction in all
primary schools of Paris, and was created a
Chevalier of the Legion of Honor. Besides
his school-classes, he formed classes of adults,
chiefly world ngmen, in which the success of
his system was equally conspicuous, and
which now, under the name of 'Orpheons,'
include scores of popular singing-societies.
He publ. numerous songs and choruses; also
a great coll. of a cappella choruses, 'Orpheon/
in 5 (later 10) vols. His first expose of his
method, Guide de la methode ilementaire et
analytique de musique et de chant (1821-4),
was followed by Tableaux de lecture musicale
et d 'execution vocale (1827-32), Nouveaux
tableaux de lecture musicale et de chant 616-
mentaire (1835), Manuel musical a V usage des
colleges, etc., comprenant, hour tous les modes
d? enseignement, le texte et la musique en parti-
tion des tableaux de la mSthode de lecture musi-
cale et de chant 6lementaire (2 vols., 1836). —
Cf. E. Niboyet, Notice historique sur la vie et
les ceuvres de G. L. B. W. (Paris, 1843); J.
A. Lafage, Notice sur B. W. (ib., 1844).
Wil'ke, Christian Friedrich Gottlieb,
b. Spandau, Mar. 13, 1769; d. Treuen-
brietzen, July 31, 1848. In 1791, organist
at Spandau; 1809, at Neu-Ruppin; in 1820,
4R. Mus. Dir.'; in 1821, government expert
on organ-building. — Publ. Beitrdge zur Ge-
schichte der neuern Orgelbaukunst (1846);
fiber Wichtigkeit und Unentbehrlichkeit der
Orgelmixturen (1839); articles in the 'Allgem.
mus. Zeitung' and the 'Cacilia'; etc.
Willaert [vfl'lahrt], [Wifcliardus, Vifcliar,
Vuigliart], Adrian, called Adriano; born
Flanders (Bruges or [according to Van der
Straeten] Roulers) between 1480-90; d.
Venice, Dec. 7, 1562. A pupil of Jean Mouton
and Josquin Depres, he went to Rome in
1516, thence to Ferrara, later entered the
service of Ludovic II, King of Bohemia and
Hungary, and was app. maestro at San
Marco, Venice, on Dec. 12, 1527. Here he
founded a music-school, among whose dis-
tinguished alumni were Zarlino, Ciprianode
Rore, and Andrea Gabrieli; W., as the teacher
of these famous pupils, is considered the
1037
WILLE— WILLIAMS
founder of the great Venetian school of com-
position. He is also regarded as the creator
of the style of writing tor 2 choirs, prompted
thereto by the 2 opposed organs at San Marco,
E receding Agostini by over half a century. —
[e publ. masses, motets, vesper-psalms,
madrigals, canzone, etc. Detached pieces
are in Scotto's, Petrucci's, Montan-Neuber's,
and other contemporary colls.— Cf. E. Gregoir,
A. W. (Brussels, 1869); Eitner's monograph
on W. in the 'Monatshefte fCir Musikge-
schichte' (1887).— See Q.-Lex.
Wille, Georg, fine 'cellist; b. Greiz, Reusa,
Sept. 20, 1869. 1885-9, pupil at the Leipzig
Cons, of Klengel (vcl.) and Rust (comp.);
joined the Gewandhaus orch. in 1889, succ.
Schroder as solo 'cellist in 1891; since 1899
do. at the Dresden Opera and prof, at the
Cons. ; also 'cellist of the Petri Quartet; made
'Hofkonzertmeister' in 1902, and Kgl. Prof, in
1909; has made succ. tours of Germany and
England. Publ. Tonleiterstudien for vcl.
Willent-Bordoftni [vUahn'b6hr-d6h'n§),
Jean-Baptiste- Joseph, born Douai, Dec.
8, 1809; d. Paris, May 11, 1852. Bassoon-
virtuoso; pupil of Delcambre at Paris Cons.;
played at the Italian Opera, London, and the
Theatre Italien, Paris; in 1834 he married
Bordogni's daughter at New York, travelled
with her, was app. bassoon-teacher at the
Brussels Cons., and in 1848 at the Paris Cons.
— Works: Method f. bassoon; 4 Fantasias f.
bassoon w. orch. (or pf.); a Concertante f.
bassoon and clarinet; a Duo f. bassoon and
oboe; he prod, the operas Le Maine (Brus-
sels, 1844) and Van Dyck (ibid., 1845).
Williams, (Charles Francis) Abdy, b.
Dawlish, S. Devon, July 16, 1855. While
pursuing his studies at Trinity Coll., Cam-
bridge (1875-8; A. B.) he played vl. and via.
in the orch. of the 'Cambridge Univ. Musical
Soc.'; after graduation went for his health to
Auckland, New Zealand, where he was org. at
a church, violinist in the orch. of the Auck-
land Choral Soc., and cond. of a Glee Club;
returned to England in 1881, and became org.
and music-master at Dover Coll.; having
taken the degree of A. M. at Cambridge
(1882), he went for further study to the Leip-
zig Cons.; 1885-91, org. at St. Mary's, Bol-
tons, S. W.; took degree of Mus. Bac. at Ox-
ford (1889) and Cambridge (1891); 1895-
1901, dir. of music at the Greek Th. at Brad-
field Coll., making a specialty of Greek music;
wrote choruses for the productions of A ntigone,
Agamemnon and Alcestis, and had reproduc-
tions made of ancient instrs. (aulos, lyra),
which he taught the students to play. Owing
to ill health he retired in 1901, and devoted
himself to literary work and scholarly re-
search; in 1904 he introduced the system of
Plain-Chant of the Benedictines of Solesmes
1038
at the priests* seminary in Capri, which
him recognition from the Pope. Besides the
Greek choruses mentioned, he publ. some
services. In MS., a str.-quartet in D m ..
a vcl. -sonata in F, 4 canons for clar., vl. ani
pf. (all prod, at the 'Musical Artists' Soc:-/
1887-8).— Literary works: An Historical
Account of Musical Degrees at Oxford and
Cambridge (1893); Bach (1900) and Handel
(1901), in the series 'The Master Musicians*:
The Story of the Organ (1903); The Story of
Notation (1903); The Story of Organ- Musis
(1905); The Rhythm of Modem Music (1909 : :
valuable essays on Greek music and Plain-
Chant in various journals (The Music of tJkr
Greek Drama, as in trod, to his music for
Antigone; The Aristoxenian Theory of the
Rhythmical Foot, in 'Mus. Antiquary' [July,
1911J; etc.).
Williams, Charles Lee, b. Winchester,
May 1, 1853. Chorister at New Coll. (1862-
5), and pupil (later asst.-org.) of Dr. Arnold
at Winchester Cath.; 1872-5, org. at St.
Colomba's Coll., Ireland; Mus. Bac.f Oxon..
1876; 1876-82, org. and choirm. at Llandaflf
Cath.; 1882-98, do. at Gloucester Cath.
During that time he cond. 5 of the 'Three
Choirs Festivals' held at Gloucester, and
participated in all the others (at Worcester
and Hereford); resigned in 1898 because of
ill health; is a member of the Assoc. Board
of the R. A. M. and R. C. M.— Comp. the
cantatas Gethsemane, Bethany, A Harvest Stmg,
A Dedication; King shall rejoice, coronation
anthem for ch. and orch.; much churck-
music; wrote (with H. G. Chance) a con-
tinuation [1864-94] of D. Lysons's History of
the Origin and Progress of the Meeting of the
Three Choirs of Gloucester, Worcester and
Hereford [1724-1819] (2d ed., cont. by J.
Amott [to 1864], as The Annals of the Three
Choirs ....).
Williams, David Christmas, b. Uan-
wrtyd, Wales, Sept. 12, 1871. Pupil of Dr.
J. Parry at the South Wales School of Music;
cond. of the 'Merthyr Musical Soc.' and the
'North Glamorgan Orchl. Soc.'— Works;
The Sands of Lavan (prize cantata, Cardiff,
1893); The BatOe of the Severn, ballad for ch.
and orch. ; Psalms of Praise; an overture and
a suite for orch.; male choruses, songs and
pf.-pcs.
Williams, Frederic Arthur, b. Oberlin,
O., Mar. 3, 1869. Pupil in Cleveland of J.
H. Rogers (pf. and org.), W. G. Smith (pf.
and comp.), C. E. Clemens (org.) and W. H.
Sherwood (pf., 1899); living in Cleveland as a
teacher. Has publ. many pf.-pcs. (chiefly in-
structive); also Wrist and Forearm Studies,
and Octave and Chord Studies.
Williams, H. Evan, distinguished con-
cert-tenor; b. Mineral Ridge, O., Sept. 7,
WILLIAMS—WILLIS
1867; d. Akron, O., May 24, 1918. Pupil of
Louise von Freilitsch (4 years), J. Sauvage
(3 years) and J. D. Mehan (do.); debut at the
'Worcester (Mass.) Fest. of 1896; sang: from
then, with ever-growing succ., at the principal
festivals; gave nearly 1000 recitals; for 5
years he was soloist at the Marble Collegiate
Ch. in N. Y. City. His repertoire included
almost all the oratorios perf. to-day, and
many operas (in concert-form). One of the
first American vocalists to introduce English
translations, he used the vernacular ex-
clusively in all his recitals after 1900.
Williams, Ralph Vaughan, born Down
Ampney, Wiltshire, Oct. 12, 1872. From
1890-2 pupil at the R. C. M. of H. Sharpe
and G. P. Moore (pf.), Parratt (org.), Parry
and Stanford (comp.); then attended Trinity
Coll., Cambridge (A.B., 1895) and returned
for another year to R. C. M.; 1897-8, pupil
of Bruch in Berlin; Mus. Doc., Cantab., 1901.
In order to familiarize himself with the
methods of impressionism he worked for some
time with M. Ravel in Paris. Excepting
the position as org. at South Lambeth Ch.
(1896-9) and that of extension lecturer at
Oxford Univ., he has held no posts ; is devoting
his entire time to comp. — Works: For orch. :
Serenade for small orch.; The Solent, orchl.
impression; Bucolic Suite; Heroic Elegy;
3 Iforfolk Rhapsodies (E m., D m., G m.);
Harnham Down and Boldrewood, 2 orchl.
impressions; In the Fen Country, symph.
impression; A London Symphony (selected
for publication by the 'Carnegte Trust,' 1917) ;
Fantasia on a theme of Talhs's for str.-orch.;
The Wasps, suite; Fantasia for pf. and orch.
— Chamber-music: 2 pf. -quintets (G m., w.
vl., clar., vcl. and horn; C m., w. vl., via.,
vcl. and double-bass); 2 str.-quartets (C m.,
G m.); 2 small pes. for str.-quintet; Three
Studies in Engl. Folk- song for vl. and pf. —
Vocal w. orch. : Toward the Unknown Region
(Whitman) for mixed ch.; Willow-Wood
(Rossetti), cantata for bar. solo, fern, ch.;
A Sea Symphony (Whitman) for soli and
ch.; The Garden of Proserpine (Swinburne)
for mixed ch.; Five Mystical Songs for bar.
solo and mixed ch.; 3 Nocturnes for bar.
solo; choruses and incid. music to Aristo-
phanes's The Wasps and Ben Jonson's
masque Pan's Anniversary, Numerous part-
songs and songs (several cycles, The House of
Life [Rossetti], Songs of Travel (Stevenson],
On Wenlock Edge [from Housman's A Shrop-
shire Lad, for ten., str .-quartet and pf.J). —
Has ed. 'Fifteen Folk-Songs from the Eastern
Counties' for voice and pf ., in 'The Journal of
the Folk-Song Soc.' (vol. i, No. 8) and H.
Purcell's 'Welcome Songs' (vols, xv and
xviii of the ed. of the P. Soc.).
Willing, Johann Ludwig, born Ktihn-
dorf, n. Meiningen, May 2, 1755; d. Nord-
hausen, Sept., 1805, as organist of the Haupt-
kirche. — Publ. sonatas f. pf., f. violin, and f.
'cello; a 'cello-concerto, a violin-concerto,
duos f. violins, 24 English Dances f. pf.; etc.
— See Q.-Lex.
Willis, Henry, famous organ-builder; b
London, April 27, 1821; d. there Feb. 11,
1901. From 1835-42 he -was articled to
John Gray (later Gray & Davidson), and even
during his apprenticeship he invented the
special manual and pedal couplers which he
later used in his own instruments; worked
from 1842-5 for Evans at Cheltenham, and
in 1845 establ. his own business in London.
His rebuilding of the organ in Gloucester
Cath. proved the stepping-stone to his sub-
sequent fame; the instrument exhibited at the
Crystal Palace during the Exhib. of 1851
attracted wide attention, won the Council
Medal, and was installed in Winchester Cath.
in 1853; it also brought him the commission
for the great organ in St. George's Hall,
Liverpool (1855). In 1878 he took his sons
Vincent and Henry into partnership, and
adopted the firm name of 'Henry Willis &
Sons'; he became generally known as 'Father
W.' Vincent left the firm in 1894, but
Henry became the head of the business after
the founder's death, and later took his own
son, Henry Jr., into partnership. W. won
prizes at all the great expositions in England
and France, and the organs of almost half
the cathedrals in England were built or re-
built by him; he himself regarded the mag-
nificent organ in St. Paul's, London (1891),
as his masterpiece (77 speaking stops, 19
couplers) ; his successors built the organ in
Liverpool Cath. (167 speaking stops, 48
couplers) in 1912-4 (at the time the largest in
the world). — Although W. was entirely self-
taught in music, he became a remarkably
fine organist; before his 20th year played
at Christ Ch., Hoxton; then went to Hamp-
stead Parish Ch., and for nearly 30 years was
org. at the Chapel of Ease, Islington. At the
Gloucester Fest. of 1847, and on several other
occasions, he played double-bass in the orch.
— Cf. 'M. T.' (May, 1898).
Willis, Richard Storrs, born Boston,
Mass., Feb. 10, 1819; d. Detroit, May 7, 1900.
A student (1837) at Yale, he was elected pres.
of the 'Beethoven Soc.,' for which he wrote
orchl. pieces and choruses. Studied (1841)
at Frankfort -on- Main under Schnyder von
Wartensee (harm, and form), and at Leipzig
under Hauptmann (cpt. and instrumenta-
tion). Returning to New York, W. con-
tributed to the press, and later edited 'The
Musical Times,' The Mus. World,' and 'Once
a Month'; publ. Our Church Music; and
comp. much vocal music {Church Chorals,
1039
WILLMERS-WILSON
Student Songs, Miscellaneous Lyrics, besides
many patriotic songs afterwards collected as
Waif of Song, and publ. by Galignani, Paris,
1876). Also a vol. of lyrics, Pen and Lute.
Will'mers, Heinrich Rudolf, born Ber-
lin, Oct. 31, 1821; d. Vienna, Aug. 24, 1878.
Fine pianist, pupil of Hummel at Weimar
and Fr. Schneider at Dessau. After concert-
tours (1838-53), he lived in Vienna until
called to Berlin in 1864 as prof, at the Stern
Cons. ; resigned 1866, and returned to Vienna.
His technical specialty was the trill; in the
performance of 'chains of trills' he was un-
rivalled.— Works: Op. 85, pf.-quartet in
G m.; 2 vl. -sonatas (op. 11, C# m.; op. 94,
Bb); brilliant pf. -solos: Op. 1, Six etudes;
op. 5, Sirenade Srotique (for the left hand);
op. 8, Sehnsucht am Meere; op. 27, Un jour
d eti en Norvhge, op. 28, two Etudes de con-
cert {La pompa di festa and La danza deUe
Baccanti); op. 29, Northern National Airs;
op. 33, Sonate htroique; op. 35, Tarantella
gtocosa; op. 49, La Sylphide; op. 69, Triller-
ketten; op. 78, A us der Geisterwelt, tremolo-
caprice; op. 127, Allegro symphonique; also
fantasias, etc.
Willy. See Gauthibrs-Villars.
Wilm, Nicola! von, born Riga, Mar. 4,
1834; d. Wiesbaden, Feb. 20, 1911. Pianist
and composer; pupil 1851-^6 of the Leipzig
Cons. (Hauptmann, Richter, Rietz, Plaidy,
etc.); from 1857-8, 2d Kapellm. at the Riga
City Th. ; then went to Petrograd, becoming,
in 1860, on Henselt's recommendation{
teacher of pf. and theory at the Imp. 'Nicolai
Inst./ retiring 1875 to Dresden, and living
from 1878 in Wiesbaden. A very prolific
composer (243 opus-numbers), he is best
known through his chamber-music. — Works:
Chamber-music: Op. 27, str.-sextet in B m.;
op. 4, str.-quartet in C m.; op. 165, pf.-trio
in E in.; op. Ill, vcl.-sonata in Am.; 2 vl.-
sonatas (op. 83, D; op. 92, G m.); 2 suites
for vl. and pf. (op. 88, D m.; op. 95, C); op.
156, sonata for vl. and harp in D m. For
Pf. 4 hands: 8 suites (op. 25, Bb; op. 30, C
m.; op. 44, D lBall~Suite]; op. 53, Eine Nord-
landfahrt; op. 100, G m.; op. 130, Schweizer-
Suite; op. 180, E m.; op. 199, A); 4 'Walzer-
Suiten' (op. 86, C; op. 90, E; op. 93, Eb;
op. 126, F); op. 18, Reisebilder aus Schlesien;
op. 28, Musikalische Federseichnungen; op.
32, Das Mdrchen von der schonen Magelone;
op. 39, Kalendarium; op. 118, Musikalische
Dichter-Silkouetten.— For 2 Pfs.: Op. 62,
Prdludium und Sarabande; op. 64, Variationen.
For Pf. solo: 5 suites (op. 155, G; op. 160,
D m.; op. 166, C; op. 192, C; op. 207, G
[Kleine Suite]); op. 1, Seeks Prdludien; op.
16, Herbstfruchte; op. 20, 3 instructive sona-
tinas; op. 31, V biker und ZeiUn im Spiegel
ihrer T&nze; op. 37, Im russischen Dorf; op.
50, Deutsche Poesie in musikalischem Geaa^td
op. 74, Stimmungen; op. 109, Auf der CHcljs
burg; op. 116, Trifolium; op. 179, Dorf- «»-i
WaldidyUen; op. 225, Musikalisckes Dch^
meron; etc. — Komertstuck for harp and orcrli..
op. 122; motets, op. 40; male choruses;
songs.
Wilms, Jan Wlllem, born Witzhelderfu
Schwarzburg-Sondershausen, Mar. 30, 1772.
d. Amsterdam, July 19, 1847. Teacher and
organist in Amsterdam. — Publ. 2 pf. -con-
certos, 2 flute-concertos, 2 string-quartets, 2
pf. -trios, 3 violin-sonatas, 2 flute-sonatas, a
clarinet-concerto, 3 symphonies, etc.
Wilsina [vil'zing], Daniel Friedricrb
Eduard* born Horde, n. Dortmund, Oct. 2 1 .
1809; d. Berlin, May, 2, 1893. Organist in
Wesel 1829-34; then removed to Berlin. —
Works: Oratorio Jesus Christ us, in 2 parts
(prod. Bonn, 1889, by W.'s pupil, Arnold
Mendelssohn); a De profundis a 16 (won the
gold medal for Art at Berlin); sonatas f. pf.;
songs.
Wilson, Grenvllle Dean, b. Plymouth.
Conn., Jan. 26, 1833; d. Nyack, N. Y., Sept.
20, 189/. His teachers were his mother, and
a German tutor named Donheim, for piano,
and A. W. Johnson at Boston for harmony
and comp. ; some pieces were publ. before be
was ten. From 18 he taught in Lenox, Mass.,
New York, Saratoga and Lasell Seminary;
in 1871 he took charge of the musical de-
partment of Rockland Inst., Nyack; in 18""
ne organized the Nyack Symphony Society,
with annual concerts; and in 1880 founded
the Nyack Choral Society. — Publ. works
number 178, chiefly popular piano-pieces {The
Shepherd-boy, Wayside Chapel, Chapel in the
Mountains, Moonlight on the Hudson, Voix
du matin, etc.).
Wilson, John, famous English lutenist;
b. Faversham, Kent, April 5, 1594; d. Lon-
don, Feb. 22, 1673. Mus. Doc., Oxon., 1644;
prof, of music at Oxford Univ., 1656-62;
then Gentleman of the Chapel Royal, and
chamber-musician to Charles II. — Publ.
Psalterium Carolinum (1657); Cheerful Ayres
or Ballads a 1 or 3 (1660); also glees and
catches in Play ford's 'Musical Companion'
(1667), and songs in 'Select Musical Ayres
and Dialogues' (1652, '53, '69).— Cf. E. F.
Rimbault, Who Was Jack W., the Singer of
Shakespeare's Stage? (London, 1846).
Wilson, Mortimer, b. Chariton, Iowa,
Aug. 6, 1876. St. in Chicago with S. E.
Jacobsohn (1894-1900), F. G. Gleason (comp. ;
1894-1901) and W. Middleschulte (org.;
1900); 1901-7, dir. of theory-dept., Univ. of
Nebraska; then st. a year at the Leipzig
Cons. (1907) with Reger and Sitt; 1908-10,
in Leipzig as private teacher; 1911-5, cond.
1040
WILSON— WINGHAM
of the Atlanta Symph. Orch.; in 1916 succ.
Dr. Hanchett as head of theory-dept. at the
Brenau Cons., Gainesville, Ga. Has publ.
a. pf.-trio (op. 5); 2 vl.-sonatas (op. 14, D;
op. 16, E); Echoes from Childhood and
Romance for vl. and pf.; In Plantation Style,
suite for pf.; 2 books of organ-comps. In
MS., Symphonic Suite in Am.; an orchl.
version of op. 5; 5 symphonies; 2 pf .-trios;
3 vl.-sonatas; etc. Author of The Rhetoric of
Music (1907) and Harmonic and Melodic
Technical Studies.
Wilson, Mrs. William. See Hopekirk,
Helen.
Wilt, Marie [nie Lieb en thaler], dramatic
soprano; b. Vienna, Jan. 30, 1833; d. there
(by suicide) Sept. 24, 1891. After her
marriage with the civil engineer Fran* Wilt,
she studied singing under Gansbacher and
Wolf; d6but Graz, 1865, as Donna Anna; in
1866 she sang in Vienna and Berlin; and
was eng. for the seasons of 1866 and '67 at
Co vent Garden, London, first appearing as
Norma on May 1, 1866. She then sang in
opera and concert at Vienna for ten years;
also at London (1874, 75); on account of a
family agreement which prevented her from
singing on the stage at Vienna, she went to
Leipzig in 1877, and later to Brfinn, Pest, etc.,
but afterwards appeared again at Vienna.
Her voice was rich, voluminous, and of great
compass; in bravura singing she had few
rivals.
Wiltberger, August, born Sobernheim,
Rhine Prov., April 17, 1850. St. at the
Teachers' Seminary in Boppard (1868-71)
under P. Piel; since 1873 teacher in various
cities of Alsatia. A prolific com p., chiefly of
church-music. — Works: Op. 53, Die heilige
Cdcilia, sacred cantata for soli, ch. and orch.;
op. 58, Barbarossas Erwachen, secular do.
for male ch., boys' ch. and orch.; op. 66, Der
heilige Bonifazius, oratorio (1896); op. 129,
Festgesang sum Priester-Jubilaum; organ-
works (op. 61, 65, 87); a vl.-sonata (op. 92,
G); more than 30 masses, many vespers,
litanies, motets, sacred songs, etc. Author
of Harmonielehre turn Gebrauch in Lehrerbil-
dungsanstalten (1906; 3d ed. 1912).
Wiltberger, Heinrich, brother of pre-
ceding; b. Sobernheim, Rhine Prov., Aug. 17,
1841. Pupil of his father, an organist;
taught in various seminaries in Alsatia;
co-founder of the Alsatian branch of the
'Cacilienverein'; his settings of Alsatian folk-
songs for male ch. are very popular. — Other
works: For str.-orch., op. 58, Mdrchen; op.
63, IdyUe; op. 79, Festmarsch; op. 101, Re-
quiem for 3-part male ch. and org.; motets
(op. 1 and 5); about 12 masses; colls, of
Latin and German hymns; wrote Der
Gesangsunterricht in der Volksschule (1907).
Winderstein [vin'der-stfn], Hans (Wil-
helm Gustav), born Liincburg, Hanover,
Oct. 29, 1856. St. 1877-80 at Leipzig Cons,
under Henry Schradieck and Fr. Hermann
(vln.), E. Fr. Richter and W. Rust (theory);
also playing in the Gewandhaus Orch. From
1880-4, leader in Baron von Derwies' private
orch. at Nice; then till 1887 violin-teacher
at the Winterthur (Switzerland) Cons., after
which he cond. a cpncert-orch. at Nuremberg
for 3 years, and 1890-3 the concerts of the
Philharm. Societies of Nuremberg and Furth.
1893-6, director of the newly establ. Phil-
harm. Orch. at Munich, and of the Kaim Con-
certs. In 1896 he organized, at Leipzig, the
'Winderstein Orch.' of 60 pieces which he has
cond. without suspension until now (1918);
founded the Philharm. concerts at Leipzig
and Halle, and made successful concert-tours
to other cities. 1898-9, cond. of the Leipzig
'Simrakademie'; made Kgl. Prof, in 1910.
— Works: Trauermarsch, Valse- Caprice and
Stdndchen, f . orch. ; pieces f . violin and pf . ; —
has an orchl. suite, etc., in MS.
Winding, August (Henrik), born Taaro
(Laaland), Denmark, Mar. 24, 1835; d. Co-
penhagen, June 16, 1899. Pianist; pupil of
Keinecke and Ree at Copenhagen, Dreyschock
at Prague, and of Gade. Was app. prof, in
the Copenhagen Cons, in 1867; from 1891
till death he was dir. — Works: Pingsthymn
[Hymn for Pentecost] for soli, ch. and orch.
For orch. : op. 7, Nordische Ouvert&re; op. 14,
KonzertouvertUre in D m.; op. 16, pf. -con-
certo in A m.; op. 29, Konzerl- Allegro for pf.
and orch.; op. 39, Symphony in C m.; caden-
zas to Beethoven's pf. -concertos in C m.
and G; do. to all pf. -concertos of Mozart.
Chamber-music: Str .-sextet in D, op. 23; pf.-
quartet in D, op. 17; Fantasiestiicke for clar.
and pf., op. 19; 2 vl.-sonatas (op. 5, G m.;
op. 35, F m.). For pf.: Op. 1, Dreijfiantasie-
stucke; op. 3, Rrisebilder; op. 9,'~Tdndliche
Szenen; op. 10, Studien und Stimmungen; op.
15, Genrebilder; op. 25, TonbUder; op. 26,
Pr&ludien in alien Tonarten; op. 37, Idyllen
und Legenden; op. 45, Aus Nah und Fern; op.
46, AlbumUatter; etc. Songs, op. 30 and 50.
Wingham, Thomas, born London, Jan.
5, 1846; d. there Mar. 24, 1893. At ten,
organist of St. Michael's Mission Ch., South-
wark; pupil of Dr. Wylde's London Acad,
of Music; entered the R. A. M. in 1867,
studying under Bennett and Harold Thomas,
and becoming prof, of pf. -playing in 1871.
From 1864, organist at All Saints , Padding-
ton. Successful teacher and composer. —
Works: 2 masses (1876, 1887); Te Deum
for soli, ch., orch. and organ (1884); motets,
offertories, etc.; 4 symphonies (D m., 1869;
Bb, 1872; E m. (w. final ch.), 1873; D, 1883);
6 overtures (C; E [Eros], D, F [Fair laughs
1041
I
WINKELM ANN— WINTER
the mom], A, D [Mars Janua Vitae]); Sere-
nade in Eb; an Elegy (on Sterndale Bennett),
f. orch.; ConcerUCapriccic f. pf. and orch.;
2 string-quartets (Bb, G m.); septet for pf.,
strs. and wind; Barcarolle for pf.; songs.
An opera, Nala and Damayantt, remained
unfinished. .
Winkelmann, Hermann, eminent dra-
matic tenor; b. Brunswick, Mar. 8, 1849; d.
Vienna, Jan. 18, 1912. He began life as a
pianoforte-maker; to perfect himself, he went
to Paris, but became interested in singing;
completed his vocal studies with Koch at
Hanover, and made a succ. debut at Sonders-
hausen (1875) ; then was eng. at Altenburg,
Darmstadt and Hamburg, where his fine
voice and splendid acting attracted special
attention in the premiere of Rubinstein's
Nero (Nov. 1, 1879). His interpretation of
Tannhauser and Lohengrin (in special engs.
at Vienna) induced Richter to recommend him
to Wagner, who chose him to create Parsifal
at Bayreuth (July 26, 1882); from 1883-
1906, when he retired on a pension, he was
one of the brightest stars of the Vienna
Hofoper, where one of his first and most
brilliant achievements was the creation of
Tristan (with Materna as Isolde) in the
Vienna premiere of Wagner's drama (Oct.
4, 1883). London debut as Lohengrin at
Drury Lane (May 18, 1882), and in that sea-
son created Walther von Stolzing (May 30)
and Tristan (June 20) in the Engl, premieres.
In 1884 he sang in the U. S. (with Materna
and Scaria) at the Wagner festivals given by
Th. Thomas in New York, Boston, Philadel-
phia, Cincinnati and Chicago. Although he
excelled as an interpreter of Wagner, he had
a remarkably wide repertoire, and was
scarcely less famous as a concert-singer.
Winkler, Alexander Adolfovitch, born
Charkov, Mar. 3, 1865. St. law at the Univ.
there until 1887, at the same time attending
the music-school of the Imp. Russ. Mus. Soc.;
cont. his studies in Paris with Duvernoy, and
in Vienna with Leschetizky (pf.)and Navratil
(comp.); 1890-96, teacher of pf. at the Char-
kov music-school; since then do. at the Pe-
trograd Cons. Talented composer. — Works:
For orch., op. 13, En Bretagne, overture; op.
16, vars. on a Russian folk-song; op. 18, do.
on a Finnish do. (with vl. solo); a str.-quintet
in E (op. 11); 3 str.-quartets (op. 7, C; op. 9,
D m.; op. 14, B!>); a pf.-quartet in G m.
(op. 8); a pf .-trio in F# m. (op. 17); a vla.-
sonata in C m. (op. 10; also arr. for vl.);
vars. and fugue on a theme of Bach's (op. 12)
for 2 pfs. ; for pf . solo, op. 1 , vara, and fugue on
an orig. theme; op. 3, Deux More faux; op.
4, Drei KlavierstOcke im alien Stil; op. 6, Trots
liorceaux; songs (op. 2, 5; on French texts).
Has also publ. pf.-arrs. for 4 hands of works
by Glinka and Glazunov.
Wln'ter, Peter von, dramatic composq :
b. Mannheim, 1754; d. Munich, Oct. 17, 1825.
Violinist in the Electoral orch., and a popfl
of Abbe Vogler; in 1776, mus. dir. at the
court theatre; went with the court to Munich
in 1778, and from 1788 till death was court
Kapellm., with frequent leave of absence,
which he improved to bring out operas in
Naples, Venice, Prague, Paris, London.
Milan and Genoa. — Operas: Armida (Mu-
nich, 1778); Cora ed Alonzo and Leonardo e
Blandine (ib., 1779); Helena umd Paris {nx,
1780); Der Reisende, oder der Betteistudent
(ib., 1781); BeUerophon (Munich. 1782);
Das Hirtenntddchen (ib., 1784); Schers, List
und Roche and J try und Bdtety (ib., 1790);
Colon* in Utica (Venice, 1791); Aniifom
(Naples, 1791); / frateUi rhali and // jocri-
fmo di Creta (Venice, 1792); Psyche and
Der Sturm (Munich, 1793); Armida und Rh
naldo (Vienna, 1793); Das Labyrinth (ib.,
1794; sequel to Mozart's Zauberflote); Ariam-
na (ib., 1795); Ogus, ossia il trionfo dd
bel sesso (Prague, 1795); Die Sommerbe-
lustigungen (Berlin, 1795); Die Thomasnacht
(Bayreuth, 1795); / due vedovi, and his most
celebrated opera, Das unterbrochene Opferfest
(Vienna, 1796, given in Ital. as // sacriimo
interrotto); Elisa and Babylon's Pyramidm
(ib., 1797); Marie von Montalban (Munich,
1800); Tamerlan (Paris, 1802); Calypse
(London, 1803); // ratio di Proserpina (ib,
18(H); Zaira (ib., 1805); Der Frauenbmnd
(Munich, 1805); Castor et PoUux (Paris,
(1806); Colmal (Munich, 1809); Die beiden
Blinden (ib., 1810); Bclisa, Grdfin von Huld-
burg (ib., 1812); Die Pantoffeln (Hamburg,
1816); Maometto II and I due Valdomiri
(Milan, 1817); Etelinda (ib., 1818); Der
Sanger und der Schneider (Munich, 1820).
Of these, Tamerlan, and parts of Das unter-
brochene Opferfest, were publ. in full score;
I fralelli rivali, Der Sturm, Das unterbrockene
Opferfest, Das Labyrinth, Ogust Calypso and
Marie von Montalban, in pf. -score. He also
wrote 3 oratorios and 1 7 sacred cantatas for
the court chapel; 26 masses, and a vast
amount of other church-music; several secu-
lar cantatas with orch. or pf.; 9 symphonies
(incl. the grand choral symphony Die
Schlacht), overtures 2 septets, 6 string-quar-
tets, 2 string-quintets, an octet f. strings and
wind, a sextet f. strings and 2 horns, concertos
f. clar., bassoon, etc.; and a celebrated Voll-
standi ge Singschule in 3 parts. Some of his
chamber-music was republ. by H. Riemann
in 4Dkm. der Tonic, in BayenT (vols, xv and
xvi; with thematic cat.).-— Cf. V. Frensdorf,
P. W. als Opernkomponist (Munich, 1908). —
See Q.-Lex.
1042
WINTERBERGER— WISKE
Win'terbefger, Alexander, born Weimar,
Aug. 14, 1834; d. Leipzig, Sept. 23, 1914.
Pianist, pupil of Leipzig Cons. 1848-9, later
of Liszt. In 1861 he went to Vienna; in
1869 he followed A. Dreyschock as pf.-prof.
at the Petrograd Cons. ; in 1872 he settled in
Leipzig; 1903-7, music critic of 'Leipziger
Neueste Nachrichten.' Has publ. interest-
ing and original pf. -pieces (Alinen-T&nze
[waltzes, mazurkas, minuets, etc.], op. 20; 3
Pieces, op. 25; Concert-etude, and Valse-Ca-
price, op. 27; Concert-Adagio, op. 63; 23 in-
structive and characteristic pieces, op. 72; 2
sonatinas, op. 93) and songs (BrUannias
Harfe, op. 33; German and Slavonic duets,
op. 59, 62, 66, 67, 68, 71, 76).— Cf. 0. Foerster,
A. W. Seine Werket sein Leben (Hanover,
1905; with complete list of works).
Wln'terfeld, Karl Georg August Vlvi-
gens von, born Berlin, Jan. 28, 1784; d.
there Feb. 19, 1852. Law-student at Halle;
in 1811, 'Assessor' in Berlin; in 1816, judge at
Breslau, and keeper of the mus. section in the
Univ. library; in 1832, 'Geheimer Ober-
tribunalrat' at Berlin; pensioned 1847. He
left his valuable coll. of old music to the Ber-
lin Library. Learned and original writer
on musical history. — Works: Johannes Pier*
luifi von Paiestrina (1832, w. critical notes on
Baint's Paiestrina); Johannes Gabrieli und
sein Zeitalter (1834; 2 vols, letterpress, 1 vol.
mus. illustrations; of high interest and im-
portance); Der evangelische Kirchengesang
und sein Verh&Uniss zur Kunst des Tonsalzes
(1843-7; three large quarto vols.; indis-
pensable source for the study of evangelical
church-music of the 16th-17th centuries);
fiber K. Fr. Chr. Fasch's geistliche Gesangs-
werke (1839); Dr. Martin Luther s deutsche
geistliche Lieder (1840); Vber HersteUung des
Gemeinde- und Chorgesangs in der evange-
lischen Kirche (1848); Zur Geschichte keiliger
Tonkunst (2 parts; 1850, '52); Musikleben
und Musikempfinden im 16. und 17. Jahr-
hundert (1851); Allegorisch-poetische Festopern
am Kaiserl. Hofe zu Wien in der leizten Hdlfte
des 17. Jahrhunderts (1852).— Cf. A. Prufer,
Briefwechsel zwischen K. v. W. und Eduard
Kruger (Leipzig, 1898).
Wintzer, Richard, b. Nauendorf, n. Halle,
Mar. 9, 1866. Having studied painting in
Leipzig and Berlin, he became a pupil of
Bargiel at the Kgl. Hochschule far Musik
(1888-90) ; living in Berlin as a painter and
composer.— Works: The operas Die Willis
(1895; not prod.) and Marienkind (text
by W.; Halle, 1905); Auf hohen Bergen for
bar. solo, ch. and orch.; pf.-pcs. (op. 22, 24);
fine songs (op. 14, Ernste Gesdnge; op. 15,
Kinderlieder; op. 20, Sturmlieder; op. 23,
Heitere Kinderlieder; etc.). Has also publ.
essays on music and the plastic arts.
Winzenhorletn. See Vincent, Hbinrich
Joseph.
Wlrth [vfrt], Emanuel, born Luditz, Bo-
hemia, Oct. 18, 1842. Violinist, pupil of
Kittl and Mildner at Prague Cons., 1854-61.
Teacher at Rotterdam Cons., and orchestra-
leader, 1864-77; then succeeded Rappoldi as
viola-player in the Joachim Quartet, Berlin,
and violin-prof, at the Hochschule: with R.
Hausmann (vcl.) and H. Barth (pf.) he formed
a trio which became famous. Retired 1910.
Wlrth, Hermann Felix, b. Utrecht, May
6, 1885. St. at the Univ. there, and under Rie-
mann in Leipzig (1906-7); Dr. phil., Basel,
1910; since 1909 lecturer on the Dutch lang.
and lit. at Berlin Univ. In 1909 he establ.
there the 'Niederlandisch-Historische Kon-
zerte.' Has publ. Der Untergang des nieder-
Idndischen VMsliedes (1911) and NatwnaaL
nederlandsche Muziekpolitiek (1912); has ed.
for the 'Vereeniging voor nederlandsche Mu«
ziekgeschiedenis orchl. comps. by Dutch
masters of the early 17th century (Borch-
grevina, Grep, Gistow); also a coll. of early
Dutch military marches; is preparing an
important collection, 'Corpus musicorum
ecclesiasticorum Batavorum et Belgicorum
XVII saccule
Wirtz, Conrad, b. Rotterdam, Nov. 27,
1858. Educated in New York; pupil of A.
Franken in Brooklyn (1874); after that en-
tirely self-taught. Began to teach in
Brooklyn in 1876; 1882-90, dir. of music
at Stamford (N. Y.) Sem.; 1890-2, do. at
Seaside Coll., Brunswick, Ga.; 1892-5,
taught pf. and theory at the Grand Cons.,
N. Y. City; 1898-1917, dir. of his own pf.-
school in N. Y. ; has filled several positions as
org., now (1918) at Grace Emmanuel Ch.,
N. Y. Has publ. Song of the Winds (op. 9)
for soli, ch. and orch.; The Way to the Cross
(op. 29), cantata; pf.-pcs. (op. 5, Valse-Im-
promptu; op. 7, Mazurka-Caprice; op. 17,
fugue in F; etc.); songs and church-music
(services, anthems).
Wlske [wis'kS], C. Mortimer, born Ben-
nington, Vt., Jan. 12, 1853. St. pf. at Troy,
N. Y., with F. Davis and F. J. Guy; at 12,
organist, later becoming an excellent choral
cond. Th. Thomas selected him to drill the
monster chorus (3000 voices) for the great
May Fest. held at New York in 1882; also
was chorusmaster and asst.-cond. to Thomas
during the latter's series of Waener festivals
given in the chief cities of the U. S. in 1884;
then he cond. for several years the 'N. Y.
Chorus Soc.\ producing such works as
Parsifal (in concert-form), Schumann's Faust,
Bachrs B minor mass, Brahms's Deutsches
Requiem, Massenet's &ve, etc.; since 1902 he
has been cond. of the annual Paterson (N. J.)
Fest. In 1915 he arr. a similar festival at
1043
WIT— WITKOWSKI
Newark, N. J., the success of which led to
his being chosen cond. of a four-day fest.
(1916) to commemorate the 250th anniversary
of the founding of the city (3000 singers and
250 instrumentalists) ; since then the Newark
Fest. has become an annual event, with W.
as conductor.
•
Wit, Paul de, born Maestricht, Jan. 4,
1852. Violoncellist; in 1880 jhe founded, w.
O. Laffert, the 'Zeitschrift fiir Instrumen-
tenbau' (Leipzig). Opened a Museum of
mus. instrs. in 1886, selling the collection to the
Berlin Hochschule in 1890; he then made a
second coll., which he sold in 1906 to W.
Heyer (q. v.). He is also a virtuoso on the
viola da gamba. Has written Geigenzettel
alter Meister vom 16, bis Mitte des 19. Jahr-
hunderts (1902; 2d augm. ed. 1910); WeU-
adressbuch der gesammten Musikinstrumenten-
Industrie (1903; 8th ed. 1912); Katalog des
musikhistorischen Museums von P. de Wit
(1904).
Wita'sek, Johann Nepomuk August,
b. Horzin, Bohemia, Feb. 20, 1771; d. Prague,
Dec. 7, 1839. In 1814 he succeeded his
teacher, Koleluch, as Kapellm. at the Prague
Domkirche; in 1826, director of the Organ-
School. His interpretation of Mozart's con-
certos was warmly praised by the composer
himself. W.'s own pf. -works had consider-
able vogue in Prague, but are now forgotten.
— See Q.-Lex.
Wltek [ve'-], Anton, b. Saaz, Bohemia,
Jan. 7, 1872. From 1877-82, violin-pupil
of his father, Joseph W. (vlnst. and cond.);
then of A. Bennewitz at the Prague Cons.
(1883-9); at 8 he played de Beriot's 9th con-
certo in public; 1894-1910, Konzertmeister
of the Berlin Philh. Orch.; since then do.
of the Boston Symph. Orch. In 1895 he
formed a sonata-ensemble with Vita Ger-
hardt (now Mrs. W.), and in 1902, with her
and Joseph Malkin (vcl.), the 'Berliner
Philharmonisches Trio' (since W.'s residence
in Boston cont. as the 'Witek-Malkin Trio');
1894-1910, tours of Germany, Austria, Hol-
land, England, Scandinavia and Russia, as
soloist and with his ensemble; as soloist with
the Philh. Orch. (Berlin, 1907) he attracted
wide attention by his performance in one
evening of 3 concertos (Beethoven, Brahms,
Paganini) ; also introduced in Berlin a newly
discovered concerto in A by Mozart (1907),
and one in C by Haydn (1909). Taught at
the Von Ende School of Music, N. Y. (1910-
6); since then at the Manfred Malkin Music
School, N. Y.
Wltek, Vita (nSe Friese), pianist, wife of
preceding; b. Copenhagen, Sept. 27, 1868.
Began to study the pf. there under Annie
Beckwith- Nielsen; 1880-3, pupil of Grabow
at the Kgl. Hochschule fur Musik (Berlin), a.U*~
studying vl. and playing in the student orch
under Joachim; 1883-4, pupil of LeschetLzkv
in Vienna; debut Berlin, 1884; 1892-4, s*.
further under von Biilow and Carrefio; 1S°5-
1910, tours as soloist and in ensemble wirh
Anton W. (q. v.), whom she married in Ber-
lin, May 31, 1910 (her first husband w\*3
Oscar Gerhardt); her career as teacher coin-
cides with that of her husband.
Witherapoon, Herbert, eminent drama r lc
and concert-bass; b. Buffalo, N. Y., July 21,
1873. While pursuing the classical course «*.t
Yale Univ. (A. B., 1895), he attended the
harm, and theory classes of Profs. Stoecke!
and Parker, and st. pf. with private teachers;
after graduation cont. study under Mac-
Dowell ; his vocal teachers were M. Treumann
and W. J. Hall (New York), Dubutle, Faurt
and Bouhy (Paris, 1897-8), Henry Wool
(London) and G. B. Lamperti (Berlin). Ht
made his concert debut in a recital at New
Haven, Oct. 21, 1895, and the next year
appeared with the N. Y. Symph. Soc. in a
concert-perf. of Parsifal; operatic debut as
Ramfis (Aida) with the Castle Square Opera
Co. in N. Y. (1898); for the next few years
sang chiefly in concert with leading orchestras
and choral societies (14 times with the Men-
delssohn Choir of Toronto), and at festivals
(Worcester [6 times], Cincinnati [4 timev;,
etc.); 5 tours of England, appearing with the
Liverpool Philh. Soc., at the Norfolk, Nor-
wich and Sheffield festivals, etc.; 19Q&-16.
sang leading rdles at the M. O. H. (dr*dy
Wagner), choosing Titurel for his initbl
appearance (Nov. 26, 1908); created the
rfile of Arth in the premiere of Parker's Mona
(Mar. 14, 1912). On June 22, 1916, he
married the soprano Florence H inkle (2d
wife). His fine, sonorous voice has a range
from E-f1^; favorite rdles are Friar Lawrence
(Romeo et Juliette), Landgraf Hermann,
Konig Marke, Pogner and Gurnemanz.
Wltkowskl [-kohf'skgj, Georges-Martin,
b. Mostagneux, Algiers, Jan. 6, 1867 (of a
French father and Polish mother). Educated
at St.-Cyr, he ent. the army in 1887; had
written a symph. poem and a 1-act opera
before taking up music seriously under d'lndy
at the 'Schola Cantorum* (1894^7); then
left the army, and settled in Lyons, where he
founded the 'Schola Cantorum (1902; mixed
chorus) and the 'Societe des Grands Concerts'
(1905) for the production of oratorios and
other large choral works. — Works: The 1-act
opera Le Maitre a chanter (Nantes, 1891);
Sarabande, Menuett Ronde de Nuit and Ca-
rillon for orch.; 2 symph. poems, Harold and
Marche d' Arthur; prelude to Myrdhinn (an
unfinished opera); symphony in D m. (1898);
do. in A (1911); pf.-quintet (1898); str.-
1044
WITT— WOHLFAHRT
quartet (1903); vl.-sonata (1907); Pohne de
la Maison for ch. and orch. (1917).
Witt* Franz Xaver, born Walderbach,
Bavaria, Feb. 9, 1834; d. Schatzhofen, n.
Landshut, Dec. 2, 1888. A pupil of Proske
and Schrems at Ratisbon, he took holy orders
in 1856; was parish priest at Schatzhofen
from 1873-5. In 1866 he established and
edited the 'Fliegende Blatter fiir katholische
Kirchenmusik,' and 'Musica sacra'; in 1867
he founded the 'Allgemeiner deutscher
Cacilienverein' for the improvement of Cath.
church-music, which, while opposing "the in-
troduction of orchl. instrs. into the church,
became very influential in reawakening in-
terest in the works of the earlier masters;
nevertheless, in his earlier masses (up to op.
14) W. himself employs the orch. He publ.
numerous masses, 2 requiems, many litanies,
offertories, motets and hymns (55 opus-
numbers); also some secular male choruses.
Author of Der Zustand der katholischen Kir-
clienmusik (1865); Vber das Dirigiren der
' katholischen Kirchenmusik; and Das baye-
rische Kultusministerium (1886). — Cf. Karl
Walter, Dr. F. W. Ein Lebensbild (Ratisbon,
1889; 2d ed. 1906 [with full list of works]).
Witt, Friedrich, born Halen-Bergstetten,
1771; d. Wurzburg, 1837. Violinist, pupil
of Rosetti at Wallerstein; at 19, 1st violin in
Prince von Oettingen's orch.; from 1802 he
was Kapellm. at Wurzburg, at first to the
Prince- Bishop, then to the Grand Duke,
finally to the city. — Works: The historical
opera Palma (Frankfort, 1804); the comic
opera Das Fischerweib (Wtirzbure, 1806);
the oratorios Der leidende HeUand (Wurzburg,
1802) and Die Auferstehung Jesuj masses
and cantatas; he publ. 9 symphonies, music
for wind-band, a septet f. clar., horn, bassoon
and strings, a quintet f. pf. and wind, a flute-
concerto, etc.
Witt, Joseph von, dramatic tenor; born
Prague, Sept. 7, 1843; d. Berlin, Sept. 17,
1887. An Austrian officer, he retired from
the army, studied singing under UfFmann at
Vienna, sang at Craz, was then eng. at Dres-
den, and from 1877 at Schwerin as leading
tenor.
Witt, Julius, born Konigsberg, Jan. 14,
1819; d. there Nov. 8, 1890. Teacher of
singing there, and composer of favorite male
choruses.
Witt, Theodor de, born Wese!, Nov. 9,
1823; d. Rome, Dec. 1, 1855. Pupil of his
father, an organist, until Liszt visited Wesel
in 1839, became warmly interested in the
talented boy, and, by giving a concert for his
benefit, enabled him to study in Berlin under
Dehn. A serious disorder of the lungs de-
clared itself in 1846, and he was sent to Italy,
with a government stipend, to study old
church-music; he laid the foundations, and
edited the first 3 vols., of Breitkopf & Hartel's
complete edition of Palestrina's works. His
own comps. comprise a pf. -sonata and a few
vocal numbers.
WIt'te, Georg Helnrich, son of the or-
gan-builder C. G. F. Witte; b. Utrecht, Nov.
16, 1843; pupil of the R. Music-School at
The Hague 1859-62, studying under Van der
Does (pf.), Lttbeck (vln.), and Nicolai (theory
and organ); from 1862-5 of Leipzig Cons,
under Moscheles and Plaidy (pf.), Haupt-
mann (cpt.) and Reinecke (comp.). He
taught in Leipzig till 1867, then till 1870 in
Alsatia, and in 1871 was app. conductor of the
Mus. Soc. at Essen, with the title (since 1882)
of *R. Mus. Dir.*; made Prof, in 1905; re-
tired in 1911. — Works: Op. 1, waltz f. pf.;
op. 2, Drei Tonstucke for pf. 4 hands; op. 3,
concert-waltz f. pf.; op. 4, 4 Impromptus f.
pf.; op. 5, pf. -quartet in A (took prize at
Florence); op. 6, 5 songs; op. 7, waltzes
(particularly fine) f. pf. 4 hands; op. 8,
sonatina in C f. pf. 4 nands; op. 11, inter-
mezzo and Impromptu f. pf.; op. 12, 'cello-
concerto; op. 13, two CharakterstUcke f. pf.;
op. 14, 3 pieces f. pf. and 'cello (prize); op. 15,
sonata in D m. f. pf. and 'cello; . op. 16, Elegie
for vl. and orch.; op. 17, a grand choral work,
An die Sonne, f. mixed ch. and orch.; songs.
Also wrote Der Essener Musikoerein 1838-
1913 (1913).
Wittgenstein, Friedrich Ernst (full
name Graf zu Sayn- Wittgenstein- Berle-
burg), b. at Castle Sannerz, Hesse, June 5,
1837. Pupil of Julius Rietz at Leipzig; em-
braced the military career, but was a talented
amateur comp.; publ. Szenen aus der Frith-
jofsage for solo voice and orch., songs, a ro-
mantic opera, Die Welfenbraut (Graz, 1879);
and the opera Antonius und Kleopatra (ib.,
1883).
Witting, Karl, b. Julich, Sept. 8, 1823;
d. Dresden, June 28, 1907. From 1847 he
studied in Paris under A. Reichel, gaining
vogue as a teacher after winning a prize for
a pf. -quartet; returned to Germany in 1855,
living in Berlin, Hamburg and Glogau, finally
settling in Dresden ( 1 86 1 ) as a teacher. Publ .
a vcl.-sonata in D, instructive pes. for vl. and
pf., a Violinschule; ed. a coll., Die Kunst des
Violinspiels' (8 books) and a coll. of duets for
2 vis. (4 books) ; wrote Musikalisches Worter-
buch (1887), Geschichte des Violinspiels (1900)
and analyses for B. & H.'s 'Konzertfuhrer.'
In MS., some operas and choral works.
WohTfahrt, Helnrich, noted pedagogue;
b. Kossnitz, n. Apolda, Dec. 16, 1797; d.
Connewitz, n. Leipzig, May 9, 1883. Pupil
of Haser at Weimar; cantor and tutor in
Thuringian towns; teacher at Jena and
1045
WOHLGEMUTH— WOLF
(from 1867) Leipzig.— Publ. Kinder-Klavier-
schtde (24 editions), Der erste Klavierunterricht,
Der Klavierfreund (36 children's studies);
KlavierHbungen, Grossere und rein praktische
Elementar-KlaviersehuU, Schtde der Finger-
mechanik, Anthologische Klavierschule, Theo-
retisch-praktische Modulationsschule, VorschtUe
der Harmonielehre, Weqveiser zum Kotnponi-
ren; also instructive pieces f. pf., op. 74; 3
children's sonatas; Kieine Leute, op. 86; etc.
— His sons, Franz (b. Frauenpriesnitz, Mac
7, 1833; d. Gohljs, Feb. 14, 1884) and Robert
(b. Weimar, Dec. 31, 1826), also teachers of
repute in Leipzig, publ. other educational
works.
Wohlgemuth [-moot], Gustav, b. Leip-
zig, Dec. 2, 1863. Pupil at the Cons, there
(1884-7) of Piutti, Homeyer and von Bose;
founder (1891) and cond. of the 'Leipzirer
Mannerchor'; later also cond. the 'Singaka-
demie,' 'Gausangerbund' and ' Teuton ia';
since 1907 editor of the 'Deutsche Sanger-
bundeszeitung'; he cond. the festivals of the
•Deutscher Sangerbund' at Graz (1902), Bres-
lau (1907) and Nuremberg (1912). Has publ.
over 100 male choruses (some with orchj.
Woikowaki-Biedau [voi-k6hf'ske bg'dow),
Viktor Hugo von, b. Nieder-Arnsdorf, n.
Schweidnitz, Silesia, Sept. 2, 1866. Began
the study of music at an early age, and while
studying hist, and economics at the univs. of
Leipzig, Freiburg (Baden), Berlin and Bres-
lau (Dr. i>hil.)t cont. his music; in Berlin pupil
of B. Wolff and Wilh. Berger; worked one
year at the 'HistorischesArchiv' in Cologne;
then settled in Berlin as member of the 4Kgl.
Statistisches Landesamt'; is Kgl. Prof. —
Works: The operas (texts by W.-B.) Helga
(Wiesbaden, 1904), Der lange Kerl (Berlin,
1906), Das Nothemd (Dessau, 1913); orchl.
prelude, Die Berufung, to Jeanne d'Arc
(1907); 3 melodramas, Jung Olaf, Der Tod-
spieler (op. 29), Die Mette von Marienburg
(op. 33; w. orch.); 4 ballads for bar. and orch.,
Die Judin von Worms, Der Triumph des Lebens
(op. 24), Rahab, die Jerichoniiin (op. 35),
Jan van Jiihren (op. 36); Aus einem Men-
schenleben for vl. and pf.; songs, Fruhlings-
lieder (op. 13), Lebenstrdume (op. 14), Schiffs-
lieder (op. 15), Konigslieder (op. 30), Pagen-
Balladen (op. 31), OsUrtauber (op. 32), Des
Sultans Gesetz (op. 34), etc.
Wol'demar, Michel, born Orleans, Sept.
15, 1750; d. Clermont-Ferrand, Jan., 1816.
A talented and eccentric violinist, pupil of
Lolli. For some years he was conductor for
a travelling theatrical troupe. By adding a
fifth string (bass c) to the violin, he obtained
an instr. which he called 'violon-alto,' as it
included the viola-compass, and for which he
wrote a concerto (this instr. was adopted by
Urhan). He also publ. 3 violin-concertos,
a string-quartet, duos f. 2 violins ax.<f
violin and viola; Senates janUrntOrgupv i
violin (I1 Ombre de Lolli, de Mestriwto. de P\
gnani, de Tartini); 12 grand solos; <* Re\*
on Caprices; Caprices ou Hudes; JLe tu>wr-\
Labyrinth pour vtolon, followed by studies ■
double-stops; Le nouvel Art de rarckr
6tude SUmentaire de Varchet modeme; 6 fu? J
themes; variations on Les Folies d*E£spag&
etc.; methods for violin, viola and clarine:
also a svstem of mus. stenography (TabUi.
mtlotachigraphique), and a method of ihl
correspondence (Notographie).
Wolf, Ernst Wilhelm, b. Grossheringec.
1735; d. as court Kapellm. at Weimar
Dec. 7, 1792. Prod, about 20 operas, dra-
matic cantatas, etc., in Weimar; also RassKK
oratorios, Easter cantatas, etc.; publ. 6 pf-
concertos, 4 quintets f. pf., flute, violin, vk *\
and 'cello; 6 string-quartets; 7 books of pf.
sonatas, each containing 6 numbers;— 15
symphonies, 17 partitas, 12 pf. -concert as a nH
much chamber-music are MS. — Also wrote
Kieine musikalische Reise (1782), and Ma-
sikolischer UnUrricht (1788).— See Q -Lex
Wolf, Ferdinand, writer on early Ro-
manic literature; b. Vienna, Dec. 8, 1796; d
there Feb. 18, 1866, as librarian of the Imp.
Library. His work Vber die Lais, Sequence
und Leiche. Ein Beitrag tur Gesckichte der
rhythmischen Formen und Singweisen der
Volkslieder und der volksmdssigen Kircka
und KiinstlerHeder im MiUelalter (Heidelberr,
1841) is the most valuable compendius x
these subjects.
Wolf, Georg Friedrich, born Hainrodc
1762; d. Wernigerode, in Jan., 1814, a*
Kapellm. — Works: Kurter Unterrickt im
Klavierspielen (1783; often republ.); Un-
terricht in der Singekunst (1784; do.); Kurz-
gefasstes musikalisches Lexicon (1787; do.)
— See Q.-Lex.
Wolf, Hugo, one of the immortal masters
of song; b. Windischgraz, Styria, Mar. 13,
I860; d. Vienna, Feb. 22, 1903. Herecerm/
his first instruction on the piano and violin
from his father and a local teacher, Weixler,
and soon was able to play 2d vl. in his father's
amateur string-quartet. Having overcome pa-
rental opposition, he ent. the Vienna Cons, in
1875, studying pf. with W. Schenner and harm,
with F. Krenn ; a breach of discipline led to his
expulsion in 1877. W. was now thrown upon
his own resources, and eked out a scanty
Hying as teacher of pf. and vl., but continued
his musical education by earnest study of the
scores of Bach, Beethoven and Wagner. In
the autumn of 1881 he secured an appointment
as 2d cond. and Repetitor at the opera in
Salzburg (Muck was 1st cond.), but found the
work so uncongenial that he returned to
Vienna in Jan., 1882. From 1884-7 he was
1046
WOLF
music critic of the 'Salonblatt/ a position for
which he was temperamentally unfitted. Of
the honesty of his convictions there can be no
doubt ; but his powerful artistic individuality
prevented his viewing the work of contem-
poraries from a dispassionate, objective stand-
point ; through his violent attacks on Brahms,
in particular, he made influential enemies
(Hans Richter, Hanslick, Kalbeck, etc.),
who effectively retarded the appreciation of
his genius. His compositions, however, won
him a few devoted friends, whose material
assistance enabled him to resign his post as
critic and to devote himself thenceforward
entirely to creative work. They also assumed
the expense of the publication (by E. Wetzler,
Vienna, 1888) of the first two books of his
songs (I. Morgentau, Die Spinnerin, Das
Voglein, Mausfallensprucklein, Wiegenlied im
Somrner, Wiegenlied xm Winter; II. Zur Ruht
Der Konig bet der Kronunt, Bilerolf, Wackier-
lied auf der Wartburg, Wanderers Nachtlied,
Behermgung). Through the brothers Joseph
and Franz Schalk the Vienna Wagner- Verein
took up W. s cause, and created considerable
excitement by devoting an entire concert to
Beethoven and Wolf (Dec. 11, 1888); despite
adverse criticism it persisted in its propaganda
for the new composer, whose fame, after the
appearance of the Mdrike (1889) and Goethe
(1890) cycles, spread slowly, but steadily.
During his brief conductorship at Salzburg
W. became fired with the ambition of writing
an opera, but rejected libretto after libretto,
until in 1895 he found what he required in
Rosa Mayreder's Der Corregidor (after Alar-
f c6n's El Sombrero de Tres Picos); with
feverish enthusiasm he threw himself into his
work, completing the score in December,
firmly convinced that he had surpassed his
great song-cycles (all finished at the time,
except vol. it of the Italienisches Liederbuch).
At its premiere in Mannheim (June 7, 1896)
the opera won but moderate success, and the
original verdict has not been modified by
later performances elsewhere. Yet the score
is not only a masterpiece of contrapuntal
skill, but full of exquisite, inspired music; it
lacks dramatic effectiveness because its author
was not gifted with that specific quality
termed 'stage-craft.' As a dramatic com-
poser W. shares the fate of his great prede-
cessors Schubert and Schumann. Neverthe-
less, Mahler, then the all-powerful director
of the Vienna court opera, had become in-
terested in W. and was contemplating the
production of the opera. Full of high hopes
the composer began work on a second opera,
Manuel Venegas, and had proceeded as far as
scene 5 of the first act, when ruthless fate cut
short his career at the height of his powers.
For some time his friends had noticed his
nervous and eccentric state, but attributed it
to overwork. On Sept. 19, 1897, the long
slumbering demon of insanity broke loose.
At Dr. Svetlin's private asylum the disease
seemed to yield to treatment, so that after a
few weeks W. was able to occupy himself with
the instrumentation of some of his songs, and
on Jan. 24, 1898, he was discharged. After
a short trip through Italy with his sister he
returned in March to Vienna; in May he re-
moved to Traunkirchen. On a chilly October
day he suddenly threw himself into the lake,
but was rescued and transferred to the Vienna
asylum for the insane. There he lingered
until Feb. 22, 1903. He was laid to rest in
the Zentralfriedhof at Vienna, near the graves
of Schubert, Beethoven and Brahms; there a
magnificent monument, by Edmund Hellmer,
was unveiled on Oct. 20, 1904.— In 1896 Paul
Mailer established the first 'Hugo Wolf-
Verein' in* Berlin, which did excellent work in
spreading a knowledge of the master's works.
More important is the Vienna 'H. W.- Verein/
founded April 22, 1897, by Michael Haber-
landt, primarily for the same object; during
the composer's last illness it paid part of his
expenses (the Emperor contributing annually
1200 Kronen [$300]) and publ. his criticisms,
correspondence and postn. comps. deemed
worthy of publication. Having accomplished
its purpose, and seeing W.'s fame securely
established, it was dissolved in 1906. Its in-
ventory was distributed as follows: 41 original
MSS. to the R. Library; 144 pictures and
photographs, the death-mask, the piano and
73 articles of personal use to the Munic. Mu-
seum; all unpubl. MSS. (mostly fragments),
its archives and library to the Vienna Wagner-
Verein.
W. began to compose even before he ent.
the Cons., but did not immediately discover
his special field. In 1888 his genius suddenly
burst forth with volcanic force; from Feb. to
May he wrote 43 of the Mdrike songs (some-
times 3 in one day) ; then came a period of
stagnation; in Sept. a renewed outburst
produced the greater number of the Eichen-
dorff songs, the other 10 Mdrike songs and the
entire Goethe cycle. Such periods of highest
inspiration and feverish activity, followed by
others of absolute sterility and deep despair,
were characteristic of his entire career; more
than once he expressed the fear that his genius
had left him forever. Upon his songs (260
publ.) rests his title to immortality. More
completely than any one of his predecessors
has W. identified himself with the poet; so
close is the relation between words and music
that both seem the product of a single mind.
This penetration to the very heart of the poem
invests his music with the character of in-*
evitable necessity, transforms the hidden
meaning of the poet into living tone, almost
visualizes the mood or situation. He com-
1047
WOLF
\
bines all the chief excellences of his prede-
cessors: the universality and spontaneity of
Schubert, the symphonic richness and roman-
tic tenderness of Schumann, the polyphonic
depth of Franz, the architectonic Tbreadth of
Brahms. "The range of his expression is no
less remarkable than the intensity of it. To
think of his songs one by one is to see defiling
before the eye a veritable pageant of humanity
in epitome, a long procession of forms of the
utmost variety, all drawn to the very life —
lovers and maidens in every phase of passion
and despair, poets, rogues, humorists, philos-
ophers, hunters, sailors, kings, lovable good-
for-nothings, Hedonists, Stoics, religious be-
lievers of every shade of confident ecstatic
faith or torturing doubt. They are set in
every conceivable form of environment; the
whole panorama of nature is unrolled before
us — flowers, mountains, clouds, the sunset,
the dawn, the dead of night, the salt open sea
and the haunted inland waters, — together with
everything in nature that has voice or move-
ment— the elves, the birds, the wind, the fire."
[Newman.] In vividness of characterization
and power of expression Wolf approaches
Wagner more nearly than perhaps any other
composer. His originality is so pronounced
that he could safely indulge his intensive stud y
of Wagner's scores; in fact, his thorough
assimilation of the older master's art seems
to have stimulated and strengthened this
originality. His style is individual and un-
mistakable. All his song-cycles present his
general characteristics; but a closer study
brings out the fact that each cycle has a
Physiognomy distinct from every other,
lis complete identification with the poet
naturally produces such modifications as
correspond to the individuality of the different
poets. In the Goethe cycle it seems to be
Goethe, turned musician, who writes his own
music; similarly with M6rike, Eichendorff.
etc. A comparison with the still more in-
cisive differentiation of style in the works of
Wagner almost obtrudes itself. Such obvious
parallels (and they are numerous) have led to
a suj>erficial and entirely misleading estimate
of Wolf as the 'Wagner of Song.' Such par-
allelism, which touches only the surface of
things, is bound to result when two masters
proceed from the identical principle: to make
their music the perfect expression of the
poetical idea. Furthermore, no such gulf as
separates Wagner from all other dramatic
comj>osersf separates Wolf from the other
masters of song, nor did he create a new art.
Schubert, Schumann, Franz, Brahms and
Wolf, considered specifically as song-writers,
stand practicnllv on the same level. Schubert
is the creator of the art-song; each of his suc-
cessors has added something of his own. Wolf,
coming last, availed himself of all previous
achievement, and brought to glorious coo-
summation a natural process of gradual evolu-
tion.
Bibliography. — A. Biography: E. Decsey,
H. W. (4 vols.; Berlin, 1903-6; the standard
work for facts and sources) ; P. M Oiler, H. W.
(Berlin, 1904); E. Schmitz, H. W. (Leipzig.
1906); E. Newman, H W. (London, 1907;
Ger. tr. by H. von Hase, Leipzig, 1910); M.
Morold, H. W. (Leipzig, 1912).— B. Criticim,
Appreciation : Gesammelte A ufsatze uber H. W.
(2 vols.; Vienna, 1898, '99); E. Hellmer, Der
Corregidor. Kritische und biographische Bei-
tr&ge zu seiner Wurdigung (Vienna, 1900); P.
M Ciller, Erinnerungen an H. W.t in 'Die Mo-
sik' (Mar.-April, 1903); M. Haberiandt, H.
W. Erinnerungen und Gedanfcen (Leipzig.
1903; 2ded. Darmstadt, 1911); K. Heckri,
H. W. in seinem Verhdltnis zu R. Warner
(Munich, 1905); K. Grunsky, H. W.-Fest*
Stuttgart (Stuttgart, 1906); H. Werner, H. W.
in Maierling (Leipzig, 1912); E. Newman.
Brahms and Wolf as Lyrists An *M. TV (Sept
Oct., 1915}. — C. Correspondence: E. HeU-
mer, H. Wi's Briefe an Emil Kauffmann (Ber-
lin, 1902); M. Haberiandt, H. W.'s Briefe am
Hugo Faisst (Stuttgart, 1903); P. Mfiller,
Ungedruchte Briefe von H. W. an Paul Mutter,
in 4Jahrb. Peters' (1904); H. Werner. H.
W.'s Briefe an Oskar Grohe (Berlin, 1905);
E. Hellmer, H. W. Eine Persdnlichkeil
in Brief en (Leipzig, 1912; family letters).—
Cf. also P. M Oiler, H. W. Verzeichnis seiner
Werke (Leipzig, 1908).
Works.
Songs: Zwolf Lieder aus der Jugemdseil
(1877-8; ed. by F. Foil); Lieder nock wr-
schiedenen Dichtern (31 poems; 1877-97);
Gedichte von Morike (53 poems; 1888); Ge-
dichte von Eichendorff (20 poems; 1886-4);
Gedichte von Goethe (51 poems; 1888-9);
Spanisches Liederbuch (44 poems, transJ. by
Geibel and Heyse; 1889-90); Italienisckes
Liederbuch (46 poems, imitated by Heyse; in
2 parts: I [22], 1890-1; II [24J, 1896). 20 of the
songs were orchestrated by W.; others by
Max Reger. — Dramatic Works: IncAd. music
to Ibsen s Das Fest auf Solhaug (Vienna, Nov.
21, 1891); Der Corregidor, 4-act comedy-
opera, text [after Alarcon's El Sombrero de
Tres Picos) by Rosa Mayreder (Mannheim,
June 7, 1896); Manuel Venegas, 3-act tragic
opera, text [after Alarcon's El NiHo de la
Bola) by Moritz Hoernes (only 4 scenes of act
i finished ) . — Choral Works : Seeks geistlicke
a cappella Chore (1881; ed. by E. Thomas;
arr. for male voices by M. Reger); Christ-
nacht for sop. and ten. soli, en. and orch.
(1886-9); Elfenlied for sop. solo, ch. and
orch. (1881-91); Dem VaUrland for male ch.
and orch. (1890); FrUhli ng schor from Manuel
Venegas (1897); Der Feuerrmter, arr. from the
I
I
1048
WOLF— WOLFF
song for ch.andorch. (1892). — Instrl. Works:
St r. -quartet in D m. (1879-80); Penthesilea,
symph. poem after Kleist (1883); Italienische
Serenade for small orch. (1893-4; only 1
movem. finished; also arr. for str.-quartet).
— Unpubl.: Trauertnusik to Kleist 's Der
Prinz von Hamburg, 3 male and 3 mixed
choruses, about 20 songs; fragments of Die
Sttenden verrauscken for soli, ch. and orch., a
symphony in Bb (3 movents.), vl.-concerto in
O m., str.-quartet in D (1 movem.), 2 pf.-
sonatas (G, G m.); sketches for a symphony
in G m. and other orchl. sketches.
W.'s coll. writings were publ. by R. Batka
and H. Werner as H. W.*s musikalisehe Krili-
ken (Leipzig, 1911).
Wolf, Johannes, eminent musicologist;
b. Berlin, April 17, 1869. Studied Germanic
Bhilology and musicology (Spitta) at Berlin
Tniv. from 1888-^2; ent. the Kgl. Hoch-
schule fiir Musik in 1889; taught music and
cond. a choral soc. until 1896; then devoted
several years to research work, establ. himself
as Privatdozent for musicology at Berlin Univ.,
becoming prof, in 1908; since 1907 also prof,
of hist, of music at the Kgl. Inst. fflr Kirchen-
musik; app. chief of the division of early
music at the R. Library in 1915. Has publ.
Geschichte der Mensuralnotation von 1250-
1460 nach den theoretischen und praktischen
Quellen (3 parts, 1905; very important);
Deutsche Lieder des 15. Jahrhunderts ('Lilien-
cron-Festschr.', 1910); Handbuch der Nota-
tionskunde (1913); numerous important ar-
ticles in various journals; for the 'Dkm.
deutscher Tonk.' he ed. 'Joh- Rud. Ahles
ausgewahlte Gesangswerke' (vol. v) and
Rhaw's Newe deutsche Geistliche Gesenge (vol.
xxxiv); for the 'Dkm. der Tonk. in Oster-
reich,' Isaak's secular works (vols, xiv, 1 and
xv, 1); for the 'Vereeniging voor Noordneder-
lands Muziekgeschiedenis,' the complete
works of Obrecht (begun 1908; 20 vols. publ.
to 1918) and a coll. of Dutch songs of the 16th
century. With O. Fleischer he was co-editor
of *Sbd. I. M.-G.' (1899-1904).
Wolf [Wolff], Ludwig, born Frankfort-
on-Main, 1804; d. Vienna, Aug. 6, 1859.
Pupil of Seyfried in composition, and a skil-
ful pianist and violinist. — Works: 3 string-
quartets, op. 12; a pf. -quartet, op. 15; 4
string-trios, op. 6, 13, 16 (prize at Mannheim),
18; many other works MS.
Wolf, Max, born Moravia, Feb., 1840; d.
Vienna, Mar. 23, 1886. Operetta-composer,
pupil of Marx and Dessoff.— Operettas (suc-
cessful in Vienna and elsewhere) : Die Schule
der Liebe, Im Namen des Kbnigs, Die blaue
Dame, Rosa und Reseda, Der Pilger, Die
Portrdtdame, Cdsarine, RafaeUa (1884).
Wolf, William, born Breslau, April 22,
1838; d. Berlin, Jan. 8, 1913. Pianist, pupil
of Th. Kullak; from 1881 teacher of mus.
history at the Humboldt Academy and Bres-
laur's Cons., Berlin. Writer for mus. periodi-
cals. Wrote Musik-AstheUk in kurter und
gemeinverstdndlicher Darstellung (2 vols.,
1896, 1906); a coll. of essays appeared as
GesammeUe musikdsthetische Aufsatze (1894).
Wolf-Ferrari, Ermanno, b. Venice, Jan.
12, 1876. [His father is the famous German
painter August W. (b. 1842); his mother's
name was Ferrari.] Until 1893 self-taught;
then st. under Rheinberger in Munich (1893-
5); 1902-9, dir. of the Liceo Benedetto Mar-
cello in Venice; since then living in Munich as
composer. In his Donne curio se, Segreto di
Susanna and Amore Medico he has enriched
the stage with veritable masterpieces of 'opera
buffa'; these scores show not only admirable
workmanship, but fine melodic invention and
delicate characterization; his economy of
means is surprising, for he employs only the
small orchestra of Mozart, and the same sense
of artistic moderation is exhibited in his
chamber-music. / Giojelli delta Madonna, in
which he rivals in brutality and inartistic
excesses the Italian veristic school, stands as
an anomaly among his other works. The
Amer. premiere of this opera was prepared
under his personal supervision. — Works [all
Amer. premieres in Italian]: The operas Ce-
nerentola (Venice, Feb. 22,1900; asAschen-
brbdel, Bremen, Jan. 31, 1902); Le Donne
curiose {Die neugierigen Frauen, Munich,
Nov. 27, 1903; M. O. H., Jan. 3, 1912); /
quattro Rusteghi (Die vier Grobiane, Munich,
Mar. 19, 1906); II Sepeto di Susanna (Susan-
nens Geheimnis, Munich, Dec. 4, 1909; M. O.
H. [by Chicaeo Opera Co.], Mar. 14, 1911);
/ Giojelli delta Madonna (Der Schmuck der
Madonna, Berlin, Dec. 23, 1911; Chicago,
Jan. 16, 1912); V Amore Medico (Der Lieb>
haber als Arrt, Dresden, Dec. 5, 1913; M. O.
H., Mar. 25, 1914). Op. 2, La Sulamite,
bibl. cantata for soli, ch. and orch. (Venice,
Feb. 26, 1899); op. 3, TaliUa Kutni. Die
Tochter des Jairus, mystery for soli, ch. and
orch.; op. 1, vl.-sonata in G m.; op. 5, pf.-
trio in D; op. 6, pf. -quintet in Db; op. 7,
pf.-trio in F# major; op 8, Kammersym-
phonie in Bb; op. 9, La Vita nuova, oratorio
(Das neue Leben, Munich, Feb. 21, 1903; N.
Y. [Oratorio Soc.], Dec. 4, 1907); op. 10, vl.-
sonata in A m.; op. 11 and 12, Rispetti; op.
13, Impromptus for pf. (Db, Bb, F# m.); op.
14, pf.-pcs. (Melodie, Capriccio, Romante). —
Cf. H. Teibler, E. W.F., in vol. i of 'Mono-
graphien moderner Musiker' (Leipzig, 1906).
Wolff, Auguste- Desire" -Bernard, born
Paris, May 3> 1821; d. there Feb. 3, 1887.
Pianist, pupil of Zimmerman and Halevy at
Paris Cons., and later pf.-teacher there;
entered PleyeTs pf.-factory in 1850, became
1049
WOLFF— WOLFL
a partner in 1852, and head of the firmCPleyel,
Wolff & Cie.') in 1855. Was hon. ores, of the
4Soc. des compositeurs de musique ; founded
the 'Pleyel-Wolff Prize' (annual) for the best
pf.-composition with or without orch.
Wolff, ftdouard, born Warsaw, Sept. 15,
1816; d. Paris, Oct. 16, 1880. Pupil of
Zawadski (pf.) and Eisner (comp.) at War-
saw, and of.WUrfel (pf.) at Vienna; lived in
Paris from 1835 as an esteemed concert-
pianist, composer and teacher. His style
resembles that of Chopin, with whom he was
intimate. — Works (350 opus-numbers) : Valu-
able etudes, op. 20 (24 numbers), op. 50 (24),
op. 90 (24 Studes faciles), op. 100 (24 im-
provisations in etude- form), op. 189 (L'art de
chanter sur le piano, 48 etudes), L'art de Text-
cution, and L'art de Vexpression; — op. 63,
Value La favorite; op. 139, Chansons polonaises
originates; op. 148, TarenteUe; op. 164, 186,
Chansons bacckiques; a pf. -concerto, op. 39;
also 30 celebrated duos f. pf. and violin (w.
de Beriot), and 8 more (w. Vieuxtemps).
Wolff, Erich, b. Vienna, Dec. 3, 1874; d.
New York, Mar. 20, 1913 (while on a con-
cert-tour with Julia Culp). Pupil at the
Cons, of the 'Ges. der Musikfreunde' of Door
(pf.) and R. and J. N. Fuchs (comp.); lived
in Vienna and (from 1906) in Berlin; he won
a considerable reputation as an accompanist
of singers. He wrote a vl. -concerto in Eb
and a str.-quartet in E m. ; a ballet, Zlatorog,
was prod, at Prague (1913); a vol. of 60 songs
appeared in 1914 (posth.).
Wolff, Hermann, born Cologne, Sept. 4,
1845; d. Berlin, Feb. 3, 1902. Pupil of Franz
Kroll and WQerst; editor of the 'Neue Ber-
liner Musikzeitung' 1878-9; co-editor of the
4Musikwelt'; from 1881 famous concert-
agent and concert-manager at Berlin. Publ.
pf.-pcs. and songs.
Wolffheim, Werner Joachim, musicolo-
gist; b. Berlin, Aug. 1, 1877. _ While studying
jurisprudence at the univs. of Munich and
Berlin (1895-8) he attended the courses in
musicology of Sandberger and Fleischer;
from 1898-1906 he practised law in Berlin,
acting for a time also as mus. critic; then
resumed musicology with Fleischer, Kretzsch-
mar and Wolf, and theory with Klatte. With
H. Springer and M. Schneider he is co-editor
of 'Miscellanea bio-bibliographica' (suppl. to
Eitner's QueUenlexikon); is revising the
pf. -concertos for B. & H.'s complete ed.
of Haydn's works, and preparing (with
Kretzschmar) a new ed. of Spitta's 'Bach';
has publ. valuable articles in the 'Bach-
Jahrbuch,' 'Liliencron-Festschrift', etc.
Wolfl [Wolffl, Woelfl], Joseph, famous
pianist; b. Salzburg, 1772; d. London, May
21, 1812. A pupil in pf. -playing and com-
position of L. Mozart and M. m Haydn,
appeared as a concert-player in Wars*:
1792-4, but left Poland in the throes of re.
lution, and settled in Vienna- He h
moderate success as a stage-composer, brh,
ing out 3 light pieces, Der HolleftBerg (179=
Das schdne Mtichmadchen (1797) and L
Kopfohne Mann (1798); as a pianist, on cb
other hand, he held his own in rivalry w:r
Beethoven, aided by his enormous hands an
great contrapuntal skill; the relations be-
tween the two rivals were friendly-^ In 1 7<*»
he set out on a long tour, playing: in Bruor
Prague, Leipzig, Dresden, Berlin and Ham-
burg (1799); he was again in Leipzig (On.,
1800), and Berlin (Dec.); in 1801 he jour-
neyed to Paris, where his success as a pianist
was immense. He made that city his home
until 1805; prod, an opera, V Amour rom&-
nesquetat the Theatre Feydeau (1804) wit?
applause, but failed next year with the 3-act
heroic opera Fernando, ou Us Maures, and soon
after repaired to London. At his first con-
cert, on May 27, 1805, he produced a pf. -con-
certo and a symphony of his own composition,
and played other concertos on June 1 and
June 5. He was received with the greatest ap-
plause; and everything shows that he retained
his popularity throughout his 7 years' resi-
dence in London. Two ballets by him werr
prod, at the King's Th., La Surprise de Diane
(Dec. 21, 1805), and Alzire (Jan. 27, ISO;,
both with considerable success. His con-
positions were regularly advertised on ooa-
cert -programs as special attractions; as L*?e
as May 16, 1812, a new concerto was pirc&
at a Salomon Concert by Richard Cudmore,
one of W.'s pupils. His most eminent Eng-
lish pupil was Cipriani Potter. Of his stage-
pieces, the comic opera Liebe mocht kursen
Process, oder Die Heiroth auf gewisse Art
(Vienna, 1801?; W. wrote 7 of the 15 mus.
numbers) still remains to be mentioned. An
extremely prolific composer, he publ. 69 works
with opus-numbers, and many others (chiefly
f. pf.) without. Though very fasJiionab/e
at the time in Vienna, Paris and London,
few of his pf.-pieces are now known. The
best of the / concertos are the Concerto mili-
tatre, op. 43, and Le Calme, which created a
sensation at London in 1806. The grand
sonatas Non plus ultra, op. 41, and Lt diablt
d quatre, op. 50, likewise deserve mention.
Other published comps. are 2 symphonies, 9
string-quartets, a dozen pf. -trios, 2 trios t.
2 clars. and bassoon, many violin-sonatas, a
flute-sonata, a 'cello-sonata, about 40 pf.-
sonatas, duos with violin, a duo f. 2 pfs,, a
Mfthode de piano (with 100 studies, op. 56),
24 preludes f. pf., sonatas f. 4 hands, waltzes,
Polaccas, Polonaises, rondos, fantasias, varia-
tions, etc., f. pf.; other instrl. pieces, songs,
etc. — See Q.-Lex.
1050
WOLFRAM— WOLLE
Wol'fram, Joseph Maria, born Dobrzan,
Bohemia, July 21, 1789; d. Teplitz, Sept. 30,
1839. Pupil of Kozeluch (harm.) at Prague,
and Drechsler (pf.) at Vienna, where he gave
music- lessons from 1811—13; obtained a
government position at Theusing, and became
mayor of Teplitz in 1824. An amateur com-
poser, he prod, an opera at Teplitz in 1820 (?),
and several others in Dresden from 1826-38,
one of them (Alfred, 1826) being so successful
that W. was nearly called to succeed Weber as
Kapellm. A Missa nuptialis, and some pf.-
pieces and songs, were published.
Wol'fram, Karl, brother of Philipp W.;
b. Schwarzenbach, Upper Franconia, Aug.
14, 1857. Pupil of the Kgl. Musikschule in
Munich; since 1895 teacher at Altdorf sem-
inary, n. Nuremberg. Has publ. 3 fine organ-
sonatas (op. 4, F m.; op. 12, C m.; op. 15, F),
organ- preludes (op. 1 and 5) ; sacred and secu-
lar choruses.
Wol'frum, Philipp, brother of preceding;
b. Schwarzenbach am Wald, Bavaria, Dec.
17, 1854; pupil of Rheinberger, Wttllner and
Barmann at the Munich School of Music;
1878-84, teacher at the Sem. in Bamberg;
since 1884 mus. dir. at Heidelberg Univ., cond.
of the 'Bachverein' and 'Evangelischer
Kirchenchor fur Baden'; made full prof, of
musicology in 1898 and 'Generalmusikdir.'
in 1907. In 1891 he obtained the degree of
Dr. phil. (Leipzig Univ.) with the disserta-
tion Die Entstehung und erste Entwickelung
des deulschen evangelischen Kirchenliedes in
musikalischer Betiehung. — Dr. theol. (hon. c,
Heidelberg Univ.) in 1910.— Works: Op.
22, Das grosse Hallelujah for male ch. and
orch.; op. 31, Ein Weihnachtsmysterium for
ch. and orch.; op. 32, Festmusik for orch. with
final male ch. and bar. solo; op. 39, An den
Kaiser for male ch. and orch.; op. 21, pf.-
auintet in Bt> m.; op. 13, str.-quartet in A,
tm Fruhlin^; op. 24, pf.-trio in B m.; op. 7,
vcl.-sonata in £ m.; 3 organ-sonatas (op. 1,
Bb m.; op. 10, £; op. 14, F m.); op. 30,
Drei Tondichtungen for organ; op. 8, Ballade
for pf.; mixed choruses, op. 2; male' do. (op.
11, 12); songs (op. 5, 9, 15, 16, 18, 26). Also
ed. 'Der evangelische Kirchenchor' (coll. of
44 hymns) and 'Pfalzisches Melodienbuch.'
Author of Rhythmischl Eine hymnohgische
Streitschrift (1894; polemical against C. H.
Cornill); Schluss-Erwiderung auf die ,nicht-
rhythmischen1 Auslassungen des Prof. C. H.
Cornill in Heidelberg (1895) ; Joh. Seb. Bach
(2 vols., 1906; 2d ed. of vol. i, 1910); Die
evangelische Kirchenmusik. Ihr Stand und ihre
Weiterentwicklung (1914).
Wollanck, Friedrich, born Berlin, Nov.
3, 1782; d. there Sept. 6, 1831, as counsellor
at the city court. Amateur composer. —
Works: Opera Der Alpenhirt (Berlin, 1811);
'Liederspiel' Thibaut von Lowis; music to
Gubitz's drama Liebe und Frieden; mono-
logues from Maria Stuart and Die Braut von
Messina; 2 masses, a Requiem, and other
church- music; over 100 songs, 33 part-songs;
the cantata Hedwig von Rungenhagen; 2 over-
tures; 3 string-quartets; 2 sextets; quintets;
a pf.-trio; pf. -sonatas; clarinet-concertos;
etc.
Wolle, John Frederick, eminent choral
conductor; b. Bethlehem, Pa., April 4, 1863.
First lessons on the pf. from his sister; self-
taught at the organ. 1881-4, organist at
Trinity P. E. Ch., also st. organ with Dr.
David Wood at Philadelphia (1883-4); 1884-
5, pupil of Rheinberger in Munich; 1885-
1905, organist at the Moravian Ch., and also
at Packer Memorial Ch., Lehigh Univ. (1887-
1905); 1883-7 he cond. the EaBton Choral
Soc. In 1905 he was called to fill the newly
created chair of music in the Univ. of Cali-
fornia, also cond. the symphony concerts in
the Greek Th. at Berkeley, and was organist
of the First Congr. Ch. (1907-9); resigned in
1911, returning to Bethlehem as org. of the
Salem Lutheran Ch.; since 1914 also cond.
of the Harrisburg Choral Soc. and the York
Oratorio Soc.; founded, besides, the Lan-
caster Oratorio Soc. in 1916. He gave re-
citals at the World's Fair (Chicago, 1893) and
the St. Louis Expos. (1904). In 1904 he was
made Mus. Doc. by the Moravian Coll. and
Theol. Sem. An excellent organist, it is as
a choral cond., especially of Bach's works,
that he has won international reputation.
In 1882 he organized the Choral Union, which
from 1885 devoted itself exclusively to Bach ;
it attracted wide attention by a masterly
production of the St. John Passion, given for
the first time in America in itsentirety on June
5, 1888; the society's first performance of the
St. Matthew Passion in 1892 was not, as
frequently stated, the premierecomplete perf.
in America. [That honor belongs to the
Boston Handel and Haydn Soc., April 11,
1879.] The difficulties of the Mass in B
minor and W.'s inflexible determination to
produce that work, and no other, led to the
dissolution of the Choral Union in 1892. He
then be^an to train his Moravian church-
choir, with which as a nucleus he organized
on Dec. 5, 1898, the now famous 'Bach Choir'
(then 80 voices; now [1918] 254). After 14
months of constant rehearsing he gave at the
opening concert, on Mar. 27, 1900, a model
performance of the great Mass (first complete
Amer. perf.). The next year a 3-day festival
was given, when at the first concert (May 23)
the Christmas Oratorio had its first complete
perf. in America. The fest. of 1903 lasted
an entire week; in 1904-5 three 3-day cycles
(Christmas, Lenten, Easter) were given in
1051
WOLLENHAUPT— WOLZOGEN
Dec., April and June. With W.'s departure
for California these festivals came to an end,
but were resumed immediately after his re-
turn. Since 1912 the festivals have been held
in Packer Memorial Ch., Lehigh Univ., have
been limited to 2 days (the second invariably
devoted to the B m. Mass), and the orchestra,
which before then consisted mainly of amateur
C layers, has been recruited from the mem-
ers of the Philadelphia Symph. Orch. The
choir was heard for the first time in New
York in a special Bach- Beethoven concert of
the N. Y. Philh. Soc. (Jan. 20, 1917); its
emphatic success led to a refcngagement for a
special Bach- Wagner concert (Jan. 26, 1918).
At the various festivals W. cave the Amer.
premieres of some 20 of Bach's church-can-
* tatas. — While in Berkeley, he organized a
Bach Choir of 125 voices, with which he prod,
the Mass in B m. (1909) and the St. Matthew
Passion (1910).— Cf. R. Walters, The Beth-
lehem Bach Choir (Boston, 1918).
Wol'lenhaupt, Hermann Adolf, born
Schkeuditz, n. Leipzig, Sept. 27, 1827; d.
New York, Sept. 18, 1863. Pianist; pupil, at
Leipzig, of J. Knorr (pf.) and M. Hauptmann
(comp.). He went to New York in 1845;
played at a concert of the Philharm. Soc.,
and made an enviable reputation as a concert-
pianist and teacher; in 1855 he undertook a
successful concert-tour in Europe. Among
nearly 100 brilliant pf.-pieces may be men-
tioned op. 19 and 31, military marches; op.
24, Galop di bravura; op. 27 and 47, Valses
styriennes; op. 30, Improvisation; op. 32,
Nocturne; op. 72, Scherzo brillante; besides
many transcriptions and arrangements.
Wolstenholme, William, distinguished
organist; b. Blackburn, Lancashire, Feb. 24,
1865. He ent. the Coll. for Blind Sons of
Gentlemen at Worcester in 1874 (he was
blind from birth); st. music with Dr. Done,
the Cath. organist; Mus. Bac, Oxon., 1887;
org. and choirm. at St. Paul's, Blackburn
(1888), at King's Weigh-House Chapel, Lon-
don (1902), and since 1904 at All Saints';
began to play in recitals in 1885, and has
undertaken several succ. tours, visiting the
U. S. in 1908.— Works: Lord UUin's Daughter,
cantata for soli, ch. and str.-orch.; Sir Hum-
phrey Gilbert, ballad for fern. vcs. ; To Take the
Air, 5-part madrigal; Suite in F for str.-
orch.; minor pes. for orch.; about 60 comps.
for organ: Sonata in D (in Handel's style);
do. in F; Grand Chomr (on the 4th Gregorian
tone); Fantasia in E; Irish Phantasy; Noc-
turne in D m.; Preludes (F, G, Ab); Prelude
and Fugue in A m.; Festival Toccata; etc.; a
quintet for wind-instrs. in F; pf. -quartet in
D; 2 str.-quartets (C, Bb); pf.-trio in C;
vl. -sonata in G; pf.-pes. (sonata in Ef>, Im-
promptu-Polonaise, Marche hwnutr^s^uc . r
tasy- Inter mezzo, etc.); songs and fxarx-s-. ,
Wol'zo&en [und Neuhaus], (Karl At
gust) Alfred, Freiherr von, born Frank/ -
May 27, 1823; d. San Remo, Jan. 14, I*--
From 1868 Intendant of the court thcatrf
Schwerin. Author of Ober Theater ztnd M±
(1860); Ober die szenische DarsUllzinz z
Motarts ,Don Giovanni* (1860); IVt/hrJm.
Schroder^Devrient (1863); new German vi-
sions of Mozart's Don Giovanni^ and Srk*
spieldirektor; also articles in periodicals.
Wol'zogen [und Neuhaus], Ernst L
Freiherr von, brother of Hans von W.: t
Breslau, April 23, 1855. St. at the univ*. .-
Strassburg and Leipzig. In 1901 he est«.h;
at Berlin, with O. J. Bierbaum and F. UV»i?
kind, the •Oberbrettl,* a kind of arti>L
cabaret or variety-show for the production v
minor dramatic pieces, pantomimes, potx*
with recitation and music, etc.; the subjer*
were practically limited to modern Germ±r
life; Oskar Straus provided the greater par
of the musical program, to which Arnoi-:
Schdnberg, Bogumil Zepler, and others con-
tributed also; the first year was sensationa/l\
successful, so that even 2 journals, *D*> \
moderne Brett 1' and 'Buhne und Brett!/ were
founded; at the end of the year, however.
public interest declined as suddenly as it had
sprung up, both journals ceased publication
(Sept., 1902), and shortly after the win**
movement died . Among his numerous h**#
two deal with music, Der Kraftmayr 1"*':
humorous novel with Liszt as the cec?<!
figure; Engl. tr. as Florian Mayr, 1914) aari
Ansichten und Aussichten (1908; essays). — Cf.
A. Hertwig, E. von W.'s fOberbreUT in Wot:
und Biid (Berlin, 1901).— His wife, £lsa
Laura (n£e Seemann von Maagern), a
talented singer, makes a specialty of songs
with lute-accompaniment ; with her husband
she made a tour of the U. S. (1910-1); has
publ. 5 vols, of songs with lute.
Wol'zogen [und Neuhaus], Hans (Paul),
Freiherr von, son of Alfred v. W.; Richard
Wagner's ardent admirer; b. Potsdam, Nov.
13, 1848. Studied mythology and compara-
tive philology at Berlin 1868-71; then devoted
himself to literature in Potsdam till called to
Bayreuth in 1878 by Wagner as editor of the
4Bayreuther Blatter,' which post he has held
uninterruptedly since then. Has publ. Dtr
Nibelungenmythus in Sage und Litteratw
(1876); Thematischer Leitfaden durck die
Musik von R. Wagners Festspiel ,Der Ring des
Nibelungen1 (1876; 4th ed. as Erlauterungen
zu R. W.'s Nibelungendrama, 1878); Die Trar
godiein Bayreuth und ihr SatyrsM(W6; 5th
ed. 1881); Poetise he LautsymboUh. Psychische
Wirkungen der Sprachlaute aus R. Wagners
,Ring des Nibelungen1 (1876; 3d ed. 1897);
1052
WOOD— WOOD
Grundlage und Aufgabe des allgemeinen Patro-
natvereins zur Pfiege und Erhaltung der Buh-
nenfeslspiele in Bayreuth (1877); Die Sprache
in Wagners Dichtungen (1877; 2d ed. 1881);
R. Wagners Tristan und Isolde (1880); Unsre
Zeit und unsre Kunst (1881); WasistStil? was
will Wagner? (1881); Die Religion des Mit-
leidens (1882); Parsifal. Ein themalischer
Leitfaden (1882; 21st ed. 1914); R. Wagners
Heldengestalten erldutert (2d ed. 1886); Wag.
neriana (1888); R. Wagner und die Tierwelt;
auch eine Biographic (1890, 3d ed. 1910);
R. Wagners Lebensbericht (1884; the original
of The Work and Mission of My Life, publ.
1879 in the 'North Amer. Review,' under
Wagner's name); Erinnerungen an R. Wag-
ner (1883); Die Idealisierung des Theaters
(1885); Grossmeister deutscher Musik (1897);
Wagner- Brevier (1904; in Strauss'a series 'Die
Musik'); R. Wagner (1905; in Remer's series
'Die Dichtung'); Musikalisch-dramatische
ParaUelen (1906); E. T. A. Hoffmann und /?.
Wagner (1906); A us R. Wagners Geisteswelt
(1908); Kunst und Kirche (1913). Edited
Wagner's 'Ausgewahlte Schriften ilber Staat
und Kunst und Religion' (1902) and 'Ent-
wurfe zu Die Meister singer, Tristan und Isolde
und Parsifal1 (1907). Wrote the libretti to
Hans Sommer's Das Schloss der Herten (1899)
and d'Albert's Flauto solo (1905). Also a
transl. of SchureVs Drame musicale as Das
tnusikalisehe Drama (1877; 2d ed. 1879).
Many articles in 'Bayreuther Blatter' and
other periodicals.
Wood, Charles, b. Armagh, Ireland,
June 15, 1866. Pupil of T. O. Marks, the
Cath. organist (1880-1); winning the Morely
Scholarship for com p., he ent. the R. C. M.
in 1883, studying with Franklin Taylor (pf.),
Bridge (cpt.) and Stanford (comp.); app.
teacher of harm, there in 1888; 1889-94,
organist-scholar of Gonville and Caius Coll.;
cond. of Cambridge Univ. Musical Soc. (1888-
94) and bandmaster of the Univ. Volunteers
(1889-97). Mus. Doc., Cantab., 1894. Has
been examiner for the univs. of Cambridge,
Oxford and London. — Works: Ode to the West
Wind (Shelley) for tenor solo, ch. and orch.
(1889); Ode on Music (Swinburne) for sop.
solo, ch. and orch. (1894; for the opening of
the new building of the R. C. M.); Ode on
Time (Milton) for ch. and orch. (1898);
Dirge for Two Veterans for bar. solo, ch. and
orch. (Leeds Fest., 1901) ; Song of the Tempest
for do. (Hovingham Fest., 1902); Ballad of
Dundee (Leeds Fest., 1904); music to Euri-
pides' Ion (Cambridge, 1890) and Iphigenia
in Tauris (ib., 1894); orchl. vara, on 'Patrick
Sarsfield' (1907); vars. on 'Winchester Old'
for organ; church-music; songs and many
part-songs. Ed. a coll. of Insh folk-songs
(1897). In MS., a pf. -concerto; str.-quartet;
quintet for wind-instrs. (won prize in 1889).
Wood, David Duffie, b. Pittsburgh, Mar.
2, 1838; d. Philadelphia, Mar. 27, 1910.
Having lost his eyesight by an accident at the
age of 3, he was educated at the Penn. Inst,
for the Blind, studying org. with W. Schnabel
(1851-2) and pf.f org. and theory with Ernst
Pfeiffer (1852-6); from 1858 till his death he
was instructor in music at the Inst.; made
Mus. Doc. by Temple Coll., Phila.; in 1865
app. org. at St. Stephen's P. E. Ch., Phila.
He was a fine organist and succ. teacher.
Wrote anthems and songs; few were publ.
Wood, Sir Henry J.f b. London, Mar. 3,
1870. Of musical parentage, at the age of
six he played the piano-part, in family mu-
sicales, in works by Bach and Haydn; equally
precocious on the organ, at ten he often acted
as deputy organist, and his organ-recitals were
a feature of the Fisheries' Exhib. (1883) and
the Inventions' Exhib. (1885). He studied
6 terms in the R. A. M. (from 1886) under
Prout, Steggall, Macfarren and Garcia,
winning four medals. About 1888 programs
began to bear his name as a song-composer;
he next tried his hand at light operas, can-
tatas and oratorio, and several works came
out. But his darling ambition was to become
a professional conductor; his first practical
experience was a 4-months' trip with the
Rousbey company, beginning Sept., 1889;
next autumn he superintended the rehearsals
of Ivanhoe (Sullivan), and then became Cel-
lier's assistant at the Savoy Th., likewise con-
ducting: Mignon and Le MSdecin malgre lui
at the Crystal Palace. In August, 1891, he
conducted Carmen during Mme. Rdze's tour;
in 1892, at the Olympic, Eugene Oniegin, etc.
He now devoted much time to opera-classes
and singing-lessons. On Oct. 6, 1895, he be-
gan the first series of Promenade concerts in
Queen's Hall with an orchestra of nearly 100
Sicked men. Their success encouraged Mr.
lewman, the manager, to undertake a series
of Saturday afternoon Symphony concerts
(the first on Jan. 30, 1897), which also flour-
ished from the beginning. The same year
W. became cond. of the Nottingham Sacred
Harmonic Soc., in 1900 of the Wolverhamp-
ton Festival Choral Soc., in 1902 of the Shef-
field Fest., and in 1908 of the Norwich Fest.
He now competed with Lamoureux, Chevil-
lard, Colonne, Ysaye, Weingartner and
Nikisch as visiting conductors. W. himself
has visited Paris, Berlin, and (1904) New
York. After Muck's resignation the con-
ductorship of the Boston Symph. Orch. was
offered him (1918), but he declined. At the
beginning of his career as a cond. of sym-
phonic music his predilections were distinctly
modern, but gradually his sympathies broad-
ened and his programs snowed more
1053
WOOD— WOOLER
catholicity of taste, so that to-day he is one
of the world's great conductors. In 1898
he married his pupil Olga Narishkin, who
as Mrs. W. became a distinguished concert-
singer. She died in London, Dec. 20, 1909.
In 1911 W. was knighted.— Cf. R. New-
march, H /. W, (London, 1904; in the
series 'Living Masters of Music').
Wood, Mrs. Mary Ann. See Paton.
Wood, Mary Knight, born Easthampton,
Mass., Apr. 7, 1857. Pianist, pupil of B. J.
Lang at Boston, and A. R. Parsons, J. H.
Cornell and H. H. Huss at New York. Has
publ. about 30 songs, several of which have
been brought into vogue by Bispham, Julie
Wyman and other noted singers. She is
living in New York.
Wood, William G.v brother of Charles W.;
b. Armagh, Ireland, Jan. 16, 1859; d. London,
Sept. 25, 1895. Pupil of T. O. Marks, the
Cat h. -organist, whose asst. he was from 1873-
7; then ent. the R. A. M., winning the Lucas
scholarship in 1882, and while still a student
was app. (1880) org. at Christ Ch., Woburn
Square; from 1886 till his death, org. and
music-master at the Highgate Grammar
School. — Works: An operetta, The Bride of
Cambus (1883);^ concert-overture in G for
orch.; church-music; and fine organ-music
(3 canons, sonata in D m., Fantasia and Fugue
in C m., Introduction and Allegro, Menuet and
Trio, etc.).
Woodman, Raymond Huntington, born
Brooklyn, N. Y., Jan. 18, 1861. Pf. -pupil of
his father; studied harm., cpt. and orchestra-
tion with Dudley Buck, 1881-5, and with
Cesar Franck at Paris, 1888. From 1875-9,
asst. -organist to his father at St. George's
Ch., Flushing, L. L; org. of Christ Ch., Nor-
wich, Conn., 1879-80; mus. editor of the 'New
York Evangelist,' 1894-7; head of organ-
dept., Metr. Coll. of Music, N. Y., 1889-98;
at present (1918) org. and choirm. First Presb.
Ch., Brooklyn (since 1880), prof, of music at
Packer Collegiate Inst, (since 1894) and head
of theory-dept. at the Amer. Inst, of Applied
Music, N. Y. (since 1909). In 1894 he was
elected charter-member of the Brooklyn
Inst, of Arts and Sciences, later becoming
president. His church-choir of mixed voices
is noted for excellent performances. — Publ.
works: Romance, The Brook, Spring Song,
and Three Album- Leaves, f. pf.; cantatas;
Prayer and Cradle-Song, and Cantilene, f.
organ; numerous popular part-songs, an-
thems, and songs.
Woodruff, Arthur D., singing-master and
choral cond.; b. Washington, Conn., Aug. 22,
1853. St. in New York, singing with G. J.
Webb and R. Herman (1876-81), theory with
S. P. Warren and J. H. Cornell (1885-7); also
in London with Shakespeare (1889) ; sane
some years in concert (N. Y. Oratrocio ^v
Worcester Fest., Phila. May Fest., et.
then settled as a teacher in New York; sinrj
1894 cond. of the Univ. Glee Club ; also erf t^
Orpheus Club (Phila.).
Woods, Francis Cunningham, t>. Lor
don, Aug. 29, 1862. Pupil at the N. T. S. M
of Sullivan, Prout, Stainer and Cowen ; 1 8*o
6, org. at Brasenose Coll.; 1886-95, do. .-
Exeter Coll., and private org. to the Duke r,
Marlborough (1891-4); 1890-5, prof, of orga-_
and lecturer at Oxford Univ.; since 1896 ore
and music-master at the Highgate Gramme
School, London; 1897-1901, cond. of the Fm*-
bury Choral Assoc. — Mus. Bac, Oxford, 189 i .
F. R. C. O.— Works: King Harold, historic
cantata1 for sop. and tenor soli, ch. and orch
Grey port Legend, ballad for bar. solo, male ch
and orch.; Old May-Day, cantata for fern,
vcs. and pf.; The Lords of Labor, ode; incid,
music to the Tempest; Minuet and Trio for
orch.; Suite in F tor small orch.; songs and
part-songs.
Wooldrtdge, H. Ellis, b. Winchester, Mar
28, 1845; d. London, Feb. 13, 1917. While
studying at Trinity Coll., Oxford (1860-4), be
became deeply interested in painting; and mu-
sic; ent. the K. Acad, of Fine Arts in 1865, at
the same time beginning his researches regard-
ing early music in the libraries of Oxford and
London; from 1895 till his death he was Slack
Prof, of Fine Arts at Oxford Univ. — Pa&
The English Metrical Psalter (1890; rep: s
the 2d ed. of Grove's 'Dictionary' [voir'
Old English Popular Music (2 vols., 1893. *
new and largely rewritten ed. of Chapped
Popular Music of the Olden Time) ; The Pdy
phonic Period, being vols, iand ii of the Oxford
History of Music (1901, *05); The Treatment
of Words in Polyphonic Music, in 'Mus. Ant.'
(1910); Studies in the Technique of the 16th
Century, ib. (1912). Edited 'Early English
Harmony' (1896; specimens from the 10th-
15th centuries); The Yattendon Hymna/'
(1899; with R. Bridges); Purcell's sacred
comps. (vols, xiii, xiv and xviii of NoveWos
ed. of P.'s complete works).
Wooler, Alfred, b. Shipley, Yorkshire,
May 11, 1867. St. there with R. Bradley
(singing and theory, 1877-87), and at Univ.
of Penn. with Dr. H. A. Clarke (cpt. and
comp., 1896-9); 1898-1902, teacher of bar-
mony at Scranton (Pa.) Cons, of Musk;
1900-4, do. at the Hardenbergh Sch. of Music
and Art; since then living in Buffalo, N. Y.f
as teacher of singing and comp., and cond.
of the Welland (Ont.) Choral Soc. (150 mixed
vcs.). Mus. Doc., N. Y. Univ. (1908). Has
won several prizes for anthems and songs.—
Works: Hail the Victor, cantata; pf.-pes.;
about 250 anthems, songs and part-songs.
1054
WOOLF— WOTQUENNE
Voolf , Benjamin Edward, born London,
o. 16, 1836; d. Boston, Feb. 7, 1901.
Wen to America in 1839 by his father,
0 taught him the mus. elements, and
rious instrs. ; studied under W. R. Bristow
rgan) at New York; cond. theatre-orches-
is in Boston, Philadelphia and New Orleans,
riting overtures, incidental music, etc.; in
&70, mus. and dram, critic for the Boston
ilobe/ later for the 'Sat. Evening Gazette,'
nd from 1895 for the Boston 'Herald.' Be-
des string-quartets, pf.-trios, etc., he has'
rod. the 'operatic comedietta' Lawn Tennis,
r DJakh and Djill (Boston, 1880); the 2-act
omic opera Pounce & Co. (ib., 1883); over-
ure to Shakespeare's Comedy of Errors (1887);
he 3-act comic opera Westward hoi (Boston,
1894; succ.); etc.
Woolhouse, Wesley S. B.9 mathematician
and writer on music; b. North Shields, May
6, 1809; d. London, Aug. 12, 1893. Was
head asst. at the Nautical Almanach Estab-
lishment. Publ. Essay on Musical Intervals,
Harmonics and the Temperament of the Mu-
sical Scale (1835; newed. 1888); A Catechism
of Music (1843); Treatise on Singing (n. d.).
He owned a fine coll. of violins.
Woollett, Henri fidouard, b. (of English
: parentage) Havre, Aug. 13, 1864. Having
received his first instruction from local
i teachers, he st. in Paris with Pugno (pf . and
i harm.) and Massenet (comp.); returned to
1 Havre, establishing himself as a teacher
(among his pupils are H. Fevrier and A. Ca-
plet); founded the 'Societe d'Enseignement
[ Musical,' a free elementary music-school (200
pupils); is also pres. of the 'Societe.de Ste.-
Cecile' and 'Cercle de TArt Moderne.* — Has
publ. a pantomime, Pierrot amour tux; La
Rose de Sharon, 'poeme lyrique' for orch.;
Petite Suite for do.; 2 vl.- sonatas (Eb, D); a
vcl. -sonata in C# m. ; sonata for fl. and pf . in
B!? m. (also arr. for vl.); De VAube a la Nuit
for vocal Quartet and pf . ; pf .-pes. {Nocturnes
el Pastorales, Pieces intimes [2 series], A trovers
la vie (10 pes.], etc.); songs; in MS., some
choral works w. orch. and chamber-music in
the larger forms (a quintet for wood-wind and
horn, etc.). Author of Petit Traite de Pro-
sodie (1903); Histoire de la Musique depuis
rantiqutUjusqu'tl nos tours (2 vols., 1909, '12;
won prize of the Acad.).
Work, Henry day, the composer of
Marching through Georgia; b. Middletown,
Conn., Oct. 1, 1832; d. Hartford, June 8,
1884. A self-taught composer of popular
songs. His first success was We are coming,
Sister Mary; other well-known ditties are
Grandfather's Clock, Father, come home, Shad-
ows on the floor; among the war-songs (1861-
5), are Drafted into the army, God save the
Nation, Song of a thousand years. Wake, Nico-
demus, Kingdom coming, etc.
Wormser, Andre (Alphonse-Tous-
saint), born Paris, Nov. 1, 1851. Studied
at Paris Cons, under Marmontel (pf.)and
Bazin (harm, and cot.); 1st prize for pf.-
playing, 1872; Grand prix de Rome in 1875.
Resides in Paris. — Works: The 3-act opera-
comique Adele de Ponthieu (Aix-les-Batns,
1877); 3-act pantomime l* Enfant prodigue
(Paris, 1890; London, 1891); 'exotic fantasy'
in 3 acts Le Dragon vert (Paris, 1895); 3-act
op.-com. Rwoli (Paris, 1896); pantomime
V Ideal (London, 1896); ballet VSloiU (Paris,
1897). For orch., Lupercale, syraph. poem;
Diane el Endymion, 'scenes symphoniques';
Suite tsigane; Gavotte; suite from V Enfant
prodigue; Intermezzo; Gigue, for vl. and
orch. Pf.-pcs., male choruses and songs.
Wom, Josef Venantius von, b. Cattaro,
Dalmatia, June 13, 1863. Received his first
musical instruction from his mother and an
uncle; 1880-2, pupil at the Vienna Cons, of
Krenn (comp.); 1886-9, pf. -teacher at the
military school in Weisskirchen, Moravia;
1892-3, prof, of harmony at the 'Kirchen-
musik-Vereinsschule' of the Votivkirche in'
Vienna; since then living there as cond. of the
4 Hiet ringer Musikverein' and mus. critic of
'Musica Divina.' — Works: The operas Lent-
luge (Elberfeld, 1905) and Flaviennes Aben-
teuer (Breslau, 1910); male choruses w. orch.,
op. 12, Heiliges Lied; op. 19, Der du uns ein-
stens hast berufen; op. 34, 5 choruses; op. 48,
An den Mond; op. 2, Serenade in D for orch.;
op. 33, Sakuntala, overture; op. 54, sym-
phony in Eb; op. 46, pf. -sextet in E m.;
sacred music (op. 3, Te Deum; op. 32a and
b, 2 masses; op. 55, motets w. orch., etc.);
songs (op. 35, Sulamith; op. 36, Zehn Gesanqe;
op. 37, Vier slawische Luder; op. 38, Vttr
orientalische Gesdnge, etc ) . Has made the pf .-
scores of Mahler s Das klagende Lied, Lied
von der Erde, and symphonies No. 3, 4, 8, 9.
Wotquenne (voht-kehnl, Alfred, emi-
nent musicologist; b. Lobbies, n. Charleroi,
Belgium, Jan. 25, 1867. Pupil at the Brus-
sels Cons, of Mailly (org.) and Dupont and
Gevaert (theory); since 1894 librarian, sec.
and inspector of studies at the Cons. — Works:
Catalogue de la biMiotkeque du Cons. Royal de
Musique de BruxeUes (vol. i, 1894 [with a
suppl., Libretti df operas et d1 oratorios italiens
du XVII- siecle, 1901]; ii, 1902; iii, 1908;
iv, 1912; v, 1914; 4 more vols, to follow);
Baldassare Galuppi (1899; 2d augm. ed. 1902,
as B. G. Htude bibliographique sur ses eeuvres
dramatiques) ; Catalogue thernatique des osuvres
de C. W. Gluck (1904; Ger. tr. l>y J. Liebes-
kind, 1904); do. deseeuvresdeC.Ph. E. Back
(1905; Ger. tr. do., 1905); Liste alphabitique
des pieces en vers des outrages dramatiques de
1055
WOUTERS-WRIGHTSON
Zeno% Metastasio el Goldoni (1905; Ger. tr.,
1905); iiude bibliographique sur le composi-
teur napolitain Luigi Rossi (1909; with the-
matic cat.). Has prepared a card-catalogue of
18,000 Italian 'cantate da camera' of the 18th
century. Edited 'Chansons italiennes de la
fin du XVIme siecle' (canzonette a 4); con-
tinued the colls, begun by Gevaert, 'Reper-
toire classique du chant francais* and 'Reper-
toire francais de l'ancien chant classique,' and
began a new coll., 'Repertoire W.' (20 vols.;
4 publ. up to 1918).
Woutera [voo-tar'], (FrancoKv) Adolphe,
b. Brussels, May 28, 1841; studied in the
Cons, there. In 1868, organist of Notre-
Dame-de-Fintstere, and m. de chap, at Saint-
Nicolas; since 1871, pf.-prof. at the Cons. —
Works: 3 messes solennelles; 3 short masses;
a grand Te Deum, an Ave Maria, a Jesu
refugium nostrum f. bar. solo, etc.; a vl.-
sonata in E m.; male choruses; a symphonic
overture; technical studies and transcrip-
tions f. pf.; etc.
Woy'cke, Eugen (Adalbert), born Dan-
zig, June 19, 1843. Pianist; pupil at Leip-
zig Cons., 1864-7, of Moscheles, Plaidy,
Hauptmann, Reinecke and Richter. Settled
in Edinburgh as a teacher. Has publ. a
number of interesting pf.- pieces: 5 Sonatas
(Dramatique, Romaniique, Poitique, Capri-
excuse, Heroique); Andante, op. 19; A u rouet,
op. 23 ; fOistllon, op. 35 ; 8 NovelleUes, op. 41 ;
6 characteristic pieces, op. 42. A vl. -con-
certo, op. 55; 2 vl. -sonatas (Fantastique and
Sentimeniale) \ Deux Moments musicaux for
vl. and pf., op. 47; etc. — His wife, Emily
Drechaler W., nee Hamilton, was a concert-
violinist, playing in public since her 11th year;
at the Gewandhaus, Leipzig, Oct. 21, 1869.
Married in 1871.
Wovrsch, Felix von, born Troppau,
Austrian Silesia, Oct. 8, 1860. A pupil of
A. Chevallier at Hamburg, but chiefly self-
taugiit; since 1894 cond. of the Altona 'Kir-
ch enchor,' and since 1895 cond. of the
'Singakademie'; 1895-1903, organist of the
Friedenskirche; since then at the Johannis-
kirche; since 1903 he has also been cond. of
the munic. symph. concerts and 'Volkskon-
zerte.' Made Kgl. Prof, in 1901. Composer
of marked ability. — Works: Comic opera Der
P farter von Meudon (Hamburg, 1886); 3-act
comic opera Der Weiberkrieg (Hamburg, 1890;
Berlin, 1892); 3-act opera Wikingerfahrt (Nu-
remberg, 1896; succ.); incid. music to Sa-
kuntala (Breslau, 1885). For orch.: Op. 40,
Symph. prologue to Divina Commedia; op. 50,
Skaldiscne Rhapsodic, vl.-concerto in Dm.; op.
52, Symphony in C m.; op. 53, Drei Bocklin-
Phanlasien (1. Die Toteninsel; 2. Der Eremit;
3. Im Spiel der Wellen); op. 56, Hamlet,
overture; op. 60, Symphony in C. .Choral
works: Op. 18, Die Geburi Jest*. Chrv-tnn
cantata for soli, ch. and orch. ; &f>- 32. Dr\
scher Heerbann for soli, ch. and orch. ; op. ^
Der Vandalen Auszug for male ch. and on u
op. 45, Passions-Oratorium for soli, ch. ai
orch.; op. 49, Sappkiscke Ode at* Aphro^*
for sop. solo, fern. ch. and orch. ; op- 5 1 , Tot> 1
tans, mystery for soli, ch. and orch. ; op- 54. H
lachte sckdn Sigrid, ballade for ch. and orr!
op. 9, WollV er nur fragen for sop- and orr •_.
op. 12, Edward, ballade for bar. and ore
op. 55, str.-quartet in A m. — For pf . : Op. 1
Drei Nottumos; op. 8, Zwei Walser; op. 1 :
Walter [4 hands]; op. 17, theme and vars. -
C; op. 23, Vier Impromptus; op. 44, /*•
provisationen; op. 48, Metamorphose* ■.—
Songs: (Op. 5, 6 [Persische LJeder], 1-
[Spanisches Liederbuch], 15, 16 [Zehn Rots**
fangerlieder], 26, 35, 47). Male chom-
(op. 4, 11, 19, 24, 28, 30, 36, 37, 41); miv
choruses (op. 7, 10, 33, 42, 46) ; fern, chort^-
op. 34; Deutsche Vcikslieder (14th-lf>
centuries) a 4-7, op. 33,
Wranitzky [vrah-mYskS], Anton* hcr-
Neureisch, 1761, d. Vienna, 1819; violins
pupil of Paul W., Albrechtsberger, Mote
and Haydn. Kapellm. to Prince Lobkowi
esteemed as a teacher. — Works: 2 ma£~~
(MS.), a violin-concerto, 6 string-quintets, tf
string-quartets, duos and vars. (. 2 vidian
violin-sonatas, and a method f . violin.
Wranlt'zky, Paul, brother of precediffc
b. Neureisch, Moravia, Dec. 30, 1756; ■!
Vienna, Sept. 28, 1808. Pupil of J. Krau-
at Vienna; violinist in the Ksterhizy ore
under Haydn; in 1785, Kapellm. of the Imp
Opera, Vienna. He prod, numerous op^rj*.
operettas", and ballets; wrote music to sewn/
dramas; composed 27 symphonies tsoc<-
equally popular with Haydn's); 12 quintet
45 quartets, and 9 trios for strings; 3 trios i. 2
flutes and 'cello; divertissements f. pf. and
strings (op. 34); pf. -trios (op. 21); and 3
pf. -sonatas. — See Q.-Lex.
Wrede [vra'del, Ferdinand, born Broke?,
Hanover, July 28, 1827; d. Frankfort-on-the
Oder, Jan. 20, 1899. Pianist, pupil of Marsch-
ner, Methfessel and Litolff; at Frankfort
he was cantor of the Marienkirche, cond. of
the 'Singakademie/ and singing-teacher in the
public schools. — Works: Male choruses,
songs and pf. -pieces.
Wrighton, W. T.t popular English sons-
composer; b. 1816; d. Tunbridge Wells, July
13, 1880. Some well-known numbers arc
Ever with Thee, My Mother's Name, Faded Rose,
Postman's Knock, April Showers. With H,
W. A. Beale he edited 'Congregational
Psalmody' (London, 1858).
Wrightson, Herbert James, b. Sunder-
land, England, Dec. 20, 1869. Pupil at
1056
wOerst— WOLLNER
Leipzig Cons, of Jadassohn, Reinecke and
Homeyer; settled in Chicago (1897) as a
teacher and mus. critic ('Western Musical
Herald/ 'Musical Monitor'); taught at the
Phila. Musical Acad. (1908-9) and at the
Sherwood Music School, Chicago (1911-4).
Has publ. a Festival Chorus, an organ -sonata
in Ff anthems, songp and part-songs; in MS.,
an organ-concerto in G, 3 organ-sonatas (F#
m., B m., C m.), a vl. -sonata, pf.-pcs., etc.
Wtt'erst, Richard (Ferdinand), born
Berlin, Feb. 22, 1824; d. there Oct. 9, 1881.
Besides instruction from Rungenhagen at the
Alcademie, he was taught violin-playing by
H ubert Ries, and later by David at Leipzig,
and composition by Mendelssohn. In 1845-6
h« studied in Leipzig, Frankfort, Brussels
and Paris. He then settled in Berlin, teaching
composition for many years at Kullak's Acad-
emy; titles of R. Mus. Dir. (1856) and Pro-
fessor (1874); elected a member of the Acad.
, of Arts in 1877. Editor of the 'Neue Ber-
liner Musikzeitung' (1874-5). (Esteemed critic
for the 'Berliner Fremdenblatt' and for mus.
periodicals. — Works: Operas Der Rotmantel
(Berlin, 1848); Der Stern von Turan (ib.,
1864); Vineta (Mannheim, 1864); Eine
KiinsUerreise (operetta, with Winterfeld;
I Berlin, 1868); Faublas (Berlin, 1873); A-
ing-fo-hi (Mannheim and Berlin, 1875); Die
Offiziere der Kaiserin (Berlin, 1878). Op. 24,
Psalm 28 for 3-part fern. ch. and solo; op.
27, Geistliches Lied for 4-part fern. ch. and
solo; op. 28, Miser a I Dove sono?t concert-
aria w. orch.; op. 30, Der Wasserneck, lyric
cantata for soli, ch. and orch. For orch.:
Op. 21, Symphony in F (won prize at Cologne,
1849); op. 38, do. in C m.; op. 44, Ein Mar-
chen, fantasy; op. 50, Variationen ilber ein
OriginaUhema; op. 53, Intermezzo for str.-
orch.; op. 54, Symphony in D m.; op. 55,
Serenade; op. 56, Variations sur une Chanson
negre de Kentucky; op. 78, Sous le Balcon,
serenade for str.-orch. with vcl. obbl.; op. 81,
Russische Suite for do. with vl. obbl. ; op. 87,
Tanz der Miicken, Fliegen und Kafer, orchl.
scherzo. — Chamber-music: Op. 5, pf.-trio in
G m.; op. 19, vcl. -sonata in D; op. 33t 3 str.-
quartets (A m., D, G). — Pieces for vl. and pf.
(op. 4, 12, 13, 25); pf.-pcs.; songs (op. 51, 3
with vcl.); duets (op. 2, 15, 22, 23, 32, 58,
74); terzets (op. 7, 62). Also wrote Leitfaden
der Ekmentartheorie der Musik (1867).
WttH'ner, Franz, born Munster, West-
phalia, Jan. 28, 1832; d. Braunfels-on-the-
Lahn, Sept. 7, 1902. Pupil at Munster of C.
Arnold and A. Schindler, following the latter
to Frankfort in 1848, and studying there under
him and F. Kessler till 1852. The winter of
1850-1 was spent at Berlin with Grell, Dehn
and Rungenhagen. After further study at
Brussels, Cologne, Bremen, Hanover and
Leipzig, also giving piano-concerts in which
Beethoven's last sonatas were prominent, he
went to Munich, 1854, and was app. pf.-
teacher at the Cons, in 1856. In 1858 be be-
came town mus. dir. at Aix-la-Chapelle, with
the title (1861 ) of 'R. Mus. Dir.' With Rietz
he conducted the 4 1st Lower Rhine Mus. Fest.
of 1864; then returned to Munich to conduct
the court chapel, and in 1867 became director
of the choral classes in the reorganized School
of Music, writing for them excellent 'Choru-
bungen der Munchener Mus'kschule.' He
succeeded von Billow in 1869 as cond. of the
Court Opera and the Academy Concerts, be-
coming 1st court conductor in 1870. Under
most unfavorable conditions (against Wag-
ner's wishes) he prepared and cond. the first
performances of Rheingold (Sept. 22, 1869)
and Walkure (June 26, 1870). He was made
*R. Professor' in 1875. In 1877 he succeeded
Rietz as court Kapellm. at Dresden, and
artistic director of the Cons.; in 1882 Schuch
was promoted to take W.'s place as court
cond.; the latter conducted the Lower Rhine
Festival at Aix-la-Chapelle that year, and the
Berlin Philharm. Concerts in the winter of
1883-^; and on Oct. 1, 1884, succeeded Hiller
as Director of the Cologne Cons., and cond.
of the Gilrzenich Concerts, later becoming
munic. music dir.; all these posts he held until
his death. A distinguished conductor, he
directed two other Lower Rhine Festivals
(1886, 1890); was a most successful teacher;
and made a good name as a composer. —
Works: Vocal with orch.: Op. 13, Die Flucht
der heiligen FamUie for 3 solo vcs. (sop., ten.,
bar.); op. 14, Salve Regina for ch. and soli;
op. 15, Heinrich der Finkler, cantata for bar.
solo and male ch.; op. 16, Drei Chorlieder for
fern, ch.; op. 17, Psalm 98 for soli and ch.;
op. 32, Deutscher Siegesgesang for male ch.;
op. 37, Lied und Leben for do.; op. 40, Psalm
127 for soli, ch. and org. (ad lib.); op. 43,
Salvum fac Regent for ch.; op. 49, Tranen,
elegy for ch.; op. 50, Te Deum for ch.; op. 53,
Kaiser Wilhelm der Crosse for male ch. —
Church-music a capp. : 2 masses (op. 20,
29); motets (op. 25, 42, 47, 51); op. 22,
Trauungsgesang; op. 26, Miserere for double
ch.; op. 27, Psalm 1; op. 45, Stabat Mater
for double ch. Secular choruses a capp.
(op. 24, 31, 41, 46); op. 9, pf.-trio in D; op.
30, vl.-sonata in E m.; op. 39, vars. on a
theme of Schubert's for vcl. and pf.; 2 pf.-
sonatas (op. 6, D m.; op. 10, E); 2 sets of
vars. for pf. (op. 19, on an original theme;
op. 23, on a theme of Bach's); op. 11, vars.
on a German folk-song for pf. 4 hands; songs.
His additional recitatives to Weber's Oberon
have been adopted by the majority of the
German theatres. — Cf. O. Klauwell, Studien
und Erinnerungen (Langensalza, 1906).
1057
wOllner— wylde
Wull'ner, Dr. Ludwig, son of preceding;
eminent Lieder-singer; b. MQnster, West-
phalia, Aug. 19, 1858. St. Germanic lan-
guages and lore at the univs. of Munich,
Berlin and Strassburg and took the degree of
Dr. phil.; from 1884-7 he was Privatdozent
of Germanic philology at the Akademie in
Munster, and sang much in private and also
in concert, though strict musical training
began only with nis course of study at the
Cologne Cons. (1887-9); for a short time
he also taught there and cond. a church-
choir. A second change of vocation brought
him to the Meinigen Hoftheater, where he
appeared with much success as an actor of
heroic parts in the spoken drama (1889-95).
Here Brahms was a frequent visitor at the
court; at such times W. was invited to sing
there, and received great encouragement
from the master, who took special defiant in
hearing his own German folk-songs inter-
preted by the actor-singer. In Oct., 1895,
he gave his first song-recitals in Berlin with
such overwhelming success that in the follow-
ing year he definitely embraced the career
of Lieder-singer. He then made tours of
all Europe, arousing enthusiasm everywhere;
his first recital in New York (Nov. 15, 1908)
created a sensation, and was followed by
numerous concerts in the principal cities of the
U. S.; a second tour (1909-10) was equally
successful. Although there are singers whom
nature has gifted with a finer natural voice,
there is none whose art exerts a more com-
plete fascination. His irresistible power is
due chiefly to his marvellous 'impersonation'
of each song. So completely is ne absorbed
in, and so unfailingly does he reflect, the
mood of poet and composer, that his delivery
grips the hearer, and often thrills him more
than many a dramatic representation with all
the accessories of the operatic stage. No incon-
siderable share of W.'s unusual success is due
to the sympathy and rare art of Coenraad
Bos (q. v.), his assisting artist at the piano.
Wun'derlich, Johann Georg, born Bay-
reuth, 1755; d. Paris, 1819. Flute-virtuoso,
pupil of his father, and of Rault at Paris,
appearing at a Concert spiritucl in 1779; in
1782 2d, in 1787 1st flute in the royal orch.
and at the Opera; in 1794, flute-prof, at the
Cons., where he taught till his death; his
most famous pupil was Tulou. — Publ. 6 duos
f. flutes; sonatas f. flute and bass; 3 do. w.
bassoon (or 'cello); 6 solos f. flute; 9 grand
do.; 6 divertissements; caprices, ttudes, and
a Method f. flute.
Wur'fel, Wilhelm, born Planian, Bo-
hemia, 1791; d. Vienna, April 22, 1852; ex-
cellent pianist and teacher; after tours he
became prof, at the Warsaw Cons. (1815) ; from
1826, asst. -conductor at the Karnthnertor
Th., Vienna. — Works: 3-act opera R&beza*:
(Prague, 1824); comic opera Der Rotrruinu:
(Vienna, 1832); of. -concerto, op. 28; Welling-
ton's Victory f. pf. 4 hands, op. 13; Fan t a i&ie.
op. 45; rondos, polonaises, vars., etc., f. pf
Wurm, Marie, born Southampton, Eng!.,
May 18, 1860. Pianist, pupil of Pruckner
and Stark at the Stuttgart Cons. ; from 1878-
80, of Anna Mehlig, Mary Krebs, Jos. Wieni-
awski; in 1880, of Raff and Frau Schumann:
won the Mendelssohn Scholarship in ISM
and has studied since with Stanford, Sullivan,
Bridge and Reinecke. As a concert-pianist
she met with success at# the Crystal JPalace
(1882) and numerous recitals in London, and
at the Monday Popular Concerts (1884 ;
also at Leipzig, Meiningen, Berlin, etc. Lived
for some years as teacher in Hanover; since
1911 in Berlin. Her sisters Adela anrj
Mathilda (who both changed their name •«■>
Verne) are living as pianists in London
— Works: An overture; a pf. -concerto in B
m. (op. 21); a string-quartet in Bb (op. 40.
1894); Prelude and Fugue f. 2 pfs.; sonata
f. pf. and violin; sonata f. pf. and 'cello;
pf. -sonata; Tansweisen, 4 hands; Valse de
concert. Barcarolle, Sylph Dance, Suite, ga-
vottes, mazurkas, etc., for pf. solo; Mat
auch heiss das Scheiden brennen for soli, fern.
ch. and str.-orch. (op. 39). Author of Dur
ABC der Musik and Praktische VorschuU va
Caland-Lehre (1914). .
Wurm, Wilhelm, born Brunswick, 1826
d. Petrograd, June 20, 1904. Virtuoso on
the cornet a pistons; from 1847 in Petrograd;
1862, teacher of cornet at the Cons., and
from 1869 bandmaster-in-chief of the Russia?
Guards. — Publ. marches for military bani
duets, etudes and numerous transcriptions
for cornet.
Wylde, Henry, born Bushey, Hertford-
shire, May 22, 1822; d. London, Mar. 13,
1890. Pianist; a pupil of Moscheles, and
(1843) of Cipriani Potter at the R. A. M.; in
1844, organist of St. Ann's, Aldersgate St.;
became prof, in the R. A. M.; founded the
New Philharm. Soc. in 1852, and conducted
its concerts 1858-79; took degree of Mus.
Doc., Cambridge, in 1851, and succeeded E.
Taylor as Gresham Prof, of Music in 1863.
He built St. George's Hall, and in 1871 estab-
lished the 'London Academy of Music,' re-
maining its principal until death. — Publ
Harmony and the Science of Music (1865 and
1872); Music in Its Art Mysteries (1867;
Modern Counterpoint in Manor Keys (1873);
Occult Principles of Music (1881); Music as
an Educator (1882) ; Evolution of the Beautiful
in Sound (1887); cantata Praise and Prayer,
op. 14; a pf. -concerto in F m.; pf. -sonatas,
op. 1, 7; Rhapsody f. pf., op. 2; etc.
1058
WYMAN— YOUNG
Wyman, Addison P., born Cornish, N. H.,
Tune 23, 1832; d. Washington, Penn., April
15, 1872. Teacher of violin, etc., at Wheel-
ing:, W. Va., in 1859; founded a successful
music-school at Claremont, N. H., in 1869. —
Publ. popular pf. -pieces (166 op.-numbers):
Silvery Waves, Woodland Echoes, Moonlight
Musings, Music among the Pines, etc.
Wyzewa [ve-zfl-vah'], Theodore de (real
name Wyzewski), b. Kaluszin, Russian Po-
land, Sept. 12, 1862. In 1869 his parents
settled in Ch&telleraut, France, where he re-
ceived his education; in 1884 he founded in
Paris, with fidouard Dujardin, the *Reyue
wagnerienne,' which, until it ceased publica-
tion in 1888, did much to advance the cause
of Wagner in France. His importance as a
musicologist rests upon his researches concern-
ing the life and works of Mozart, about whom
he publ. new facts in La Jeunesse de Motart
('Revue des Deux Mondes,' 1903-4), and
especially in W. A. Mozart. Sa Vie et son
(Euvre de VEnfance a la pleine MaturiU (with
G. de Saint-Foix; 2 vols., 1911); it is the
most valuable contribution to the Mozart
literature since Jahn's biogr. (See Mozart,
p. 631.) He also wrote Litterature wagne-
rienne en France (in 'Revue Politique et Lit-
t era ire/ Sept. 15, 1894) and Beethoven et
Wagner (1898). Besides, he has written
several books dealing with religion, art and
philosophy.
Xanrof [zahn-rdhf] (anagram of the Latin
equivalent [fornax] of his real name, Leon
Fourneau), born Paris, Dec. 9, 1867. Ama-
teur composer; lawyer by profession. His
first essays were songs for Yvette Guilbert;
since 1890 he has prod, light stage-pieces in
minor Parisian theatres; writes for several
papers.
Xyndas [ksiin'dahs], Spiridion, Greek
composer; b. Corfu, 1812; d. in poverty at
Athens, Nov. 25, 1896. Wrote many charm-
ing and popular melodies to new-Greek songs;
also successful ballad-operas {Count Julian;
The Two Rivals; The Parliamentary Candidate).
Yon, Pietro A., distinguished organist;
b. Settimo Vittone, Piedmont, Aug. 8, 1886.
At the age of 6 he began his musical education
with Angelo Burbatti, org. at the Cath. of
Ivrea; 1900-1, pupil of Polibio Fumagalli at
the R. Cons, in Milan; winning a scholarship
for pf., he cont. his studies at the Turin Cons.,
1901-4, under da Venezia (pf.), Redmondi
(org.) and Bolzoni (com p.); st. further at the
Accad. Sta. Cecilia in Rome under Renzi (org.),
Bustini and Sgambati (pf.) and de Sanctis
(comp.), graduating in 1905 as winner of the
1st prize medal of the Accad. and a special
prize medal from the Minister of Public In-
struction. From 1905-7 he was asst. to R.
Renzi (his teacher), org. at St. Peter's, the
Vatican, where his recitals attracted con-
siderable attention; since 1907, org. and
choirm. at St. Francis-Xavier's, New York;
also instructor of pf. and org. at Mount St.
Vincent Acad., on the Hudson (since 1915).
His numerous recitals there and in Eastern
cities have establ. his reputation as one of the
foremost concert-organists. — Works: Mass in
G for soli, ch. and orch.; Messa Melodica for
3-part ch., str.-orch., horns and org.; 14 other
masses; Jerusalem Surge, motet for male ch.
and orch. ; other motets a capp. and w. ore. ;
for org., Natale in Sicilia, Pretudio Pastorale,
Toccata, 2 concert-studies, 2 sonatas (No. 2,
Cromatica), Echo (double canon); concerto
for oboe and orch. ; pf .-pes. ; songs.
York, Francis Lodowick, b. Ontonagon,
Mich., Mar. 9, 1861. St. pf. and comp. with
C. B. Cady in Boston (1880-3) and J. C.
Batchelder in Detroit (1888-90); pupil of
Guilmant in Paris (org. and comp.) in 1892
and 1898; 1892-6, teacher of pf., org. and
comp. at the Univ. School of Music, Ann
Arbor, Mich.; 1896-1902, dir. of the pf.- and
org.-depts. at the State Normal Cons, of Mu-
sic, Ypsilanti, Mich.; since then dir. of the
Detroit Cons, of Music, and org. and choirm.
at the Central M. E. Ch. Has given numer-
ous organ-recitals (Buffalo Expos., 1901 ; St.
Louis Expos., 1904; etc.); in 1905 he was
commissioned by the French government to
write a report on Amer. music-schools with
special reference to organ-playing. Has publ.
a Te Deum in E, choruses, songs and organ-
pca.; in MS., among other works, a comic
opera, The Inca. Author of Harmony Sim-
plified (5th ed. 1900) and Counterpoint Sim-
plified (1907).
Yost, Michel, celebrated clarinettist;
b. Paris, 1754; d. there July 5, 1786. Pupil
of Beer. — Publ. 14 clar. -concertos; 30 quar-
tets f. clar. and strings; 8 books of duos f.
clarinets; Airs varies f. clar. w. viola and bass.
Young, John Matthew Wilson, born
Durham, Eng., Dec. 17, 1822; d. W. Nor-
wood, Mar. 4, 1897. 1st boy-solo at Durham
Cath.; pupil and assistant of Dr. Henshaw;
in 1850, organist of Lincoln Cath., retiring in
1895. — Works: Sacred cantata The Return
of Israel to Palestine (Lincoln Festival, 1892);
Festival Service; Morning Service; Te
Deums, anthems, etc.
Young, Rev. Matthew, born Roscom-
mon, 1750; d. Nov. 28, 1800. Prof, at Dub-
lin Univ.; Bishop of Clonfert and Kilmac-
duagh. — Publ. An Inquiry into the Principal
Phenomena of Sounds and Mus. Strings (1784).
1059
YRADIER— ZABALZA
Yradier [e-rah-d'yShr'l.. Sebastian, Span-
ish song-composer; d. Vittoria, 1865. His
most popular song is Ay Chiquita. 2 colls,
of typical Spanish songs were publ. in Paris
as 'ficho d'Espagne' (8 songs) and 'Fleurs
d'Espagne' (25 songs).
Ysajte [e-zah'e], Eugene, famous violinist;
b. Liege, July 16, 1858. At the age of 5 he
began to study the violin with his father;
then at the Cons, under M. Dupuis (harm.)
and Rodolphe M assart (vl.), winning the
second prize in 1867; 1873-5, pupil of Wieni-
awski at the Brussels Cons. ; through the in-
fluence of Vieuxtemps, who heard him at Ant-
werp in 1876, he obtained a state stipend for
further study under L. Massart at the Paris
Cons, (until 1879); 1880-1, Konzertmeister
of Bilse's orch. in Berlin, gaining his first ex-
perience as conductor. 1886-98, prof, of vio-
lin at the Brussels Cons.; 1894 he organized
the 'Societe des Concerts Y.\ giving regular
symphony concerts and establishing a con-
siderable reputation, so that in 1898 (after
Seidl's death) he was offered the conductor-
ship of the N. Y. Philh. Soc., which he de-
clined. He began his tours as a violinist in
1879, appearing in several cities of Germany
without attracting unusual attention; a tour
of Scandinavia in 1881 was more successful,
while his reception in Paris (1883) was such as
to induce him to take up his residence there
(until 1886). His great fame dates from his
first tour of England (1889), while on his first
visit to the U. S. (Amer. debut with N. Y.
Philh. Soc., Nov. 16, 1894 [Beethoven con-
certo)) he created a sensation. At all times
Y. cultivated ensemble-playing; his sonata-
recitals with Pugno rivalled in popularity his
appearances as soloist; years of constant
practice with his own quartet in Qrussels (Y.,
Marchot, Van Hout, J. Jacob) had developed
a splendid ensemble, but when he played 1st
vl. with other quartets his dominating person-
ality invariably produced a lack of balance.
Although he has visited America many times,
he was not heard as a conductor until 1918,
when he directed, with immense success, 2
concerts of the Cincinnati Symph. Orch.
(April 5, 6) and the annual Cincinnati Fest.
(May 7-10); thereupon he was eng. as per-
manent cond. (succ. Dr. Ernst Kunwald).
—With a brilliant, flawless technic and a
large, sympathetic tone Y. combines grandeur
of conception and depth of penetration.
His fiery temperament is at all times
under perfect control, so that his frequent
employment of 'tempo rubato' (really
a subtle modification of tempo), instead
of distorting the rhythm, produces a
certain elastic freedom which renders his
playing irresistible. His general style is best
described as heroic; but his art is equally
convincing in the expression of moods of e~
quisite delicacy and tenderness. He hi-
puBl. for vl. and pf. 3 mazourkas, Pw?.:
clegiaque, Chant d'Hiver, Rive <T Enfant; .-
MS., 6 vl.-concertos, vars. on a theme
Paganini's, 2 trios for 2 vis. and via.
Ysajte, Theophile, pianist and composr
brother of preceding; b. Verviers, 1S65: c
Nice, Mar. 29, 1918. Pupil of the Lie*.-
Cons., of Kullak in Berlin, and of Ce^
Franck in Paris; lived in Brussels as dir. of t.i-
'Academie de Musique'; was noted as a hnr
ensemble-player (sonata-recitals with h:-
brother in London); during the latter 's ab-
sence on tours he cond. the 'Concerts Y.'—
Works: Op. 9, pf. -concerto in El>; op. 1 >.
Fantaisie sur un thbne populaire joailon for
orch.; op. 14, Symphony in F; op. 15, U
Cygne, symphonic sketch for orch.; op. 17
Les Abeiiles, do.; op. 18, La ForU el P<)i±eau.
do.; a requiem; a pf. -quintet, and pf. -pes.
Yu'ferov, Sergei Vladimlrovitch, bore
Odessa, 1865. Comp. of the operas Mine
(publ. 1892; not prod.), Iolanda (Petrograr,
1893), Antony i Kleopatra (not prod.); j
cantata, Ilya Muromets; Suite algSrienne (or
orch.; Fantaisie in Bt> m. and 3 Romances for
pf. and strings; a pf.-trio in Cm.; pf.-pes.
(2 suites, Theatre de Marionnettes and Moussia
$' amuse; Arabesques; Trais NovelletUs; Ltz
Soupirs; etc.).
Yuon, Paul. See Juon.
Yurgenson, Piotr Ivanovitch. See Jo
GENSON.
Yua'supov, Prince Nikolai, born Prtr>
grad, 1827; d. Baden-Baden, Aug. 3, 18U
Excellent violinist, pupil of Vieuxtemps; b»*
did not follow music professional! v, k:
maintained his private orchestra. — Works-.
A program-symphony Gonzalvo de Cordova,
with vl. obbl.; Concerto symphonique f. W.
and orch.; several pes. for vl. and pf. {Fenies
de la scene, Hallucination, Chant d'Amou*,
Plainte, Saltimbanquest etc). Wrote (in
French) Luthomono^raphie historique et raison-
nSe (1856; on violin-making); and Histoire
de la musique en Russie: . . . Musique sacr'tt
suivie d*un choix de tnorceaux de chants d'eglisc
(1862).
Yzac. See Isaac.
Zabalza y Ola'so [thah-bahl'thah], Don
Damaao, born Irurita, Navarra, Dec. 11,
1833; d. Madrid, Feb. 25, 1894. Pupil of
Sagabeta, Vidaola and Mariano Garcia; in
1858 he settled in Madrid as a concert-pianist
and teacher, was later app. prof, of theory
and declamation at the National Cons.
Wrote an immense number of pf. -pieces,
many very popular; also sonatinas, and
1060
ZABEL— ZAMARA
itudies used in the Conservatories of Madrid,
Barcelona, Paris and Milan.
Z,at>el [tsah'-], Albert Heinrich, eminent
Vtarp- virtuoso; b. Berlin, 1835; d. Petrograd,
Mar., 1910. Pupil of the K$I. Inst, fur Kir-
chenmusik; 1845-8, tours with Gungl's orch.
of Germany, Russia, England and America;
1848-51, solo harpist at the R. Opera in Ber-
lin ; from 1854 do. of the Imp. Ballet in Petro-
grad, and from 1862 also prof, at the Cons. —
Works: Harp-concerto in C m., op. 35;
&egie fantastique, op. 11; Legend*, op. 18;
Marguerite au Rouet, op. 19; Am Springbrun-
nen, op. 23; Chanson du PScheur, op. 24;
Warum?, op. 28; Murmure de Cascade, op.
29; etc. Also Grosse Methode (in Ger., Fr.
and Engl.), and a pamphlet, A Word to Com-
posers about the Practical Employment of the
Harp in the Orchestra (1899; in Russian and
German).
Zabel [tsah'-], Karl, b. Berlin, Aug. 19,
1822; d. Brunswick, Aug. 19, 1883, as 2d
Kapellm. at the court theatre. — Comp. ballets,
military music, dances; Walkurensang for
male ch. and orch. (op. 44).
Zacconl [tsah-koh'ne], Ludovico, born
1 Pesaro (bapt. June 6), 1555; d. Fiorenzuola,
n. Pesaro, Mar. 23, 1627. Pupil of Baccusi
and A. Gabrieli in Venice; st. theology in
Pavia, ent. the Order of St. Augustine, and
became m. di capp. at the monastery of his
order in Venice; in 1585 he was tenor-singer
in the court chapel at Graz, and from 1591-5
do. at Munich; then returned to Venice.
His chief work, Prattica di Musica, in 2 parts
' (Venice, 1592, 1622), contains full treatises on
mensural theory and counterpoint, detailed
descriptions of the musical instrs. of the time,
and explanations for executing the orna-
ments in vocal polyphonic music. He also
wrote 4 books of Canoni musicali, with
comments and solutions (publ. by F. Vatiellf,
Pesaro, 1905); Ricercari for organ, and 2
colls, of examples of counterpoint, are still in
MS. His MS. autobiography (written 1626)
is in the library of the Liceo Musicale, Bo-
logna.— Cf. F. Chrysander, L. Z. als Lehrer
des Kunstgesangs, in 'Vschr. f. M.-W.' (x,
1891; with an epitome of the autobiogr.); F.
Vatielli, Un Musicista pesarese net secolo
X VI (Pesaro, 1904) ; id., / "Canoni musicali1t
di L. Z. (ib., 1905); H. Kretzschmar, L. Z.'s
Leben auf Grund seiner Autobiogr aphie, in
Jahrb. Peters' (1910); F. Vatielli, Di L. Z.
Notim su la vita e le opere (Pesaro, 1912).
Zach [tsahh], Max (Wllhelm), b. Lem-
berg, Aug. 31, 1864. Pupil at the Vienna
Cons. (1880-6) of Edler (pf.)f Grun (vl.), R.
Fuchs (harm.) and Krenn (cpt. and comp.);
1886-1907, viola-player in the Boston Symph.
Orch., and 1887-97 cond. of the popular
summer concerts; also viola in the Adamow-
ski Quartet; since 1907 cond. of the St.
Louis Symphony Orch.
Zacharl'a, Eduard, born Holzappeler-
Hiltte, Nassau, June 2, 1828; d. 1904 as
pastor at Maxsayn, Unter-Westerwald. In-
ventor of the 'Kunstpedal' for pianofortes, a
set of 4 pedals lifting the dampers from 8
divisions of the strings: A*-E, F-B, c-e, f-a,
b\rd\ e^g1, a»b-c*, c*$-e*. Wrote VoUstdndige
Kunstpedalschute (1869) and Das Luftre-
sonanzwerk an Tasteninstrumenten (1877).
Zach'au, Frledrich Wilhelm, born Leip-
zig, Nov. 19, 1663; d. Halle, Aug. 14, 1712,
as organist (since 1684) of the Liebfrauen-
kirche. He was Handel's teacher. Organ -
gieces, fieurate chorales, etc., were publ. in
reitkopf & Hartel's 'Sammlung von Pralu-
dien, Fugen, etc' M. Seiffert publ. selected
works of Z. in vols. 31 and 32 of 'Dkm. deut-
scher Tonk.' — See Q.-Lex.
Zahn [tsahn], Johannes, b. Espenbach,
Franconia, Aug. 1, 1817; d. Neudettelsau,
Feb. 17, 1895. Student of theology at Mu-
nich and Berlin; 1847 Prefect, 1854-88 Direc-
tor, of the R. Teachers' Seminary at Altdorf.
Founded in 1875 the periodical 'Siona' for
liturgy and church-music. — Chief work, Die
Melodien der deutschen evangelischen Kirchen-
lieder, aus den Quellen geschdpft und mitgelheilt
(6 vols., 1854-93); numerous other works,
mostly for church-music, among them a Sonn-
tagsschulbuch fur die lutherischen Gemeinden
NordameHkas (1894).
Zajic [zah'yits], Florian, excellent violin-
ist; b. Unhoscht, Bohemia, May 4, 1853.
Studied for 8 years at the Prague Cons, under
M. Mildner, Bennewitz, etc.; joined the
theatre-orch. at Augsburg, became leader at
Mannheim and (1881) Strassburg, succeed-
ing Lotto, and (1889) at Hamburg; in 1891
he succeeded Sauret as violin-teacher at the
Stern Cons., Berlin; with H. Griinfeld he
gives regular series of sonata-recitals. — Has
publ. 30 etudes for vl. (preparatory to those of
Fiorillo and Kreutzer) and a cadenza to
Brahms's vl.-concerto.
Zamara [tsah-mah'rah], Alfred (Maria
Viktor), b. Vienna, April 28, 1863; popular
composer of operettas: Die Konigin von
Aragon (Modiing, 1833), Der Doppelganger
(Munich, 1886), Der Sanger von Palermo
(Vienna, 1888), Der Herr Abbe (ib., 1889),
Der bleiche Gast (Hamburg, 1890; with J.
Hellmesberger), Die Welfenbraut (ib., 1894),
Die Debutantin (Munich, 1901), Der Frauen-
jdger (Vienna, 1908).
Zama'ra, Antonio, distinguished harpist;
b. Milan, June 13, 1829; d. Hietzing, n. Vien-
na, Nov. 11, 1901. Pupil of Sechter in
Vienna; 1842-92, solo harpist at the Karnt-
1061
ZAMMINER— ZAREMBA
nertor Th.; for many years also prof, at the
Cons.; among his famous pupils are E. and
H. Schuecker and A. Kastner. — Publ. a
Harfenschule (4 books) ; comps. for harp solo
(Barcarolle, La Reveuse, Chant du Bcrceau,
V Absence, Marc he des Croates, Reveries, etc.),
for harp and vcl. (6ligie, VAddio, etc.), and
transcriptions of operatic airs for 2 harps.
Zamminer [tsah-me'ner], Friedrlch, born
Darmstadt, 1818 (?);d. Giessen, Aug. 16,
1856, as prof, of physics; publ. Die Musik
und die musikaliscnen Instrument* in ihrer
Beziehung zu den Gesetzen der A kustik (2 vols. ;
Giessen, 1855), an important contribution to
acoustic science.
Zanardi'ni [tsah-1, Angelo, born Venice,
April 9, 1820; d. Milan, Mar. 7, 1893. In
1854 he produced at Venice the opera Amlelo,
of which he wrote the libretto; he also
wrote the texts for Ponchielli's II figliuol
prodigo, Massenet's Herodiade, Mancinelli's
Isora di Provenza, Catalan i's De Janice, Do*
meniceti's II lago delle fate, etc.; translated
many foreign libretti (e. g.f Wagner's) into
Italian.
Zandonai [tsahn-dfth-nah'S], Riccardo,
b. Sacco, Trentino, May 28, 1883. Pupil of
Gianferrari at Rovereto (1893-3); then, until
1901, of Mascagni at the Liceo Rossini,
Pesaro. In 1917 he married the soprano Tar-
quinia Tarquini, who was a member of the
Chicago Opera Co., and created the role of
Conchita in the local premiere (Jan. 30, 1913).
— Works: The operas II Grillo del Focolare
(Turin, Nov. 28, 1908); Conchita (Milan,
Oct. 14, 1911; San Francisco, Sept. 28, 1912);
Melenis (Milan, Nov. 13, 1912); Francescada
Rimini (Turin, Feb. 19, 1914; M. O. H., Dec.
22, 1916); Verso la Finestra (finished 1916;
not yet prod.); a Messa da Requiem (Pan-
theon, Rome, Mar. 14, 1916); a symphonic
poem, // Ritorno di Ulisse; symphonic
sketches, Primavera in Vol di Sole; Serenata
medioevale for strs., 2 horns, harp and vcl. solo;
Ave Maria for fern. vcs.f strs. and harp; O
Padre Nostro for ch., orch. and org.; Alia
Patria for ch. and orch.; Inno dei giovani
esploratori italiani for ch. and mil. band;
numerous songs.
Zanella [tsah-], Amilcare, b. Monticelli
d'Ongina, Piacenza, Sept. 26, 1873. St. with
Andreotti in Cremona, then with Ficcarelli,
Dacca and Bottesini at the Parma Cons.,
graduating in 1891. In 1892 he went as asst.-
cond. with MarinelH's opera company to
South America, where he remained several
years, touring as pianist; in 1901 he organized
his own orchestra, giving symphony concerts
in the principal Italian cities and introducing
his works; 1903-5, dir. of the Parma Cons.;
since then do. of the Liceo Rossini in Pesaro
(succ. Mascagni). There he formed a student
1062
orch., giving regular aeries of popular on:
certs (the first succ. attempt of its kind r-.
Italy) ; has also filled many engagement- -j.
visiting conductor of symphony comrr -
(Trieste and the larger Ital. cities). Active "
several important centenary celebrations
Italy (centenary of Merulo, Parma, \9*_. 4
Monteverdi's Orfeo, Milan, 1907; Ver* *
Bologna, 1913; Verdi and Wagner, Pesar^
1913; Corelli, Fusignano, 1913; Paisie! *
Taranto, 1916; Rossi n i 's Barbiere di Sivi^i e .
Pesaro, 1916). — Works: The operas A u. - .
(Pesaro, 1910) and AeternUas (not yet proi
symphony in E m. (MS.); 2 symphor i.
poems (MS.), Fede and Vita; Festa cam fie it - •
and Danza paesana for orch.; Suite for do
Fantasia e Fugato (on 4 subjects) for pf. an • *
orch.; a nonet for strings and wood- wind 9
pf. (MS.); a pf.-trio in £ m.; Inno-Mam*^
for ch. and orch.; pf.-pcs. (Tempo di Mix*
eito, Due Leggende, Passero solUario, Can'^
d'anima, Ansia, mazurkas, etc.).
Zanettl'ni. See Gianettini.
Zang [tsahngk], Johann Heinrich, br*-
Zella St. Blasii, n. Gotha, April 13, 17.?>
d. as cantor at Majnstockheim, Aug. 2>.
1811. Excellent pianist and organist; pup*.
for 2 -years of J. S. Bach at Leipzig. hV-
comp. and engraved Die singende Muse j*»
Main (1776); wrote a Kunst- und UandwerL
buch% Part ii of which is Der vollkomnm
Oreelmacher, oder Lehre von der OrgH v*i
Wtndprobe (1804). In MS. are churd
cantatas, organ-trios, pf.-sonatas.
ZanideFerra'nti [tsah'ng], Marco Aurefe.
b. Bologna, July 6, 1800; d. Pisa, Nov. 28, 1S7\
Eminent guitar-virtuoso; gave concerts at
Paris (1820): was in Petrograd 1821-4 as
private secretary; then made highly suc-
cessful concert-tours to Hamburg:, Paris,
London and Brussels, where he settled in
1*827 as a guitar-teacher, becoming prof, of
Italian at the Cons, in 1846. Returned to
Italy in 1855.
Zano'bi. See Gagliano.
Zarate [thah-rah'teh], Eleodoro Ortiz de.
b. Valparaiso, Dec. 29, 1865. St. there in the
Colegio di San Luis; in 1885 won 1st prize
offered by the Chilian government, ami
studied in Milan Cons, under Saladino; won
prize in 1886 for his opera Giovanna la pazza;
graduated 1888; travelled and studied in
Italy. In 1895 he brought out the first
Chilian opera, La fioraia de Lugano, at San-
tiago, Chili, Nov. 10, with success.
Zarem'ba, Nikolai Ivanovitch, born
in the Govt, of Vitebsk, June 15, 1821; d.
Petrograd, April 8, 1879. Pupil of Marx
in Berlin. In 1859 he was app. instructor
of theory in the classes of the Imp. Russ.
Music Soc. in Petrograd, and when these
ZAREMBSKI— ZECH
were organized as the Cons, in 1862 he became
prof.; in 1867 he succ. A. Rubinstein as dir.,
out continued to teach com p.; resigned in
1872, and spent several years abroad, return-
ing in 18/8. He was a most successful
teacher; among his pupils were Tchaikovsky,
Laroche and Soloviev. Comp. an oratorio,
Joann Krestitelj [St. John the Baptist].
Zaremb'ski, Jules de, born Shitomir,
Russian Poland, Feb. 28, 1854; d. there Sept.
15, 1885. Brilliant pianist; pupil of Dachs
at Vienna and Liszt at Weimar. Succeeded
L. Brassin in 1879 as pf.-prof. at Brussels
Cons. — Works: Op. 7, 3 concert -studies;
op. 16, Suite polonaise; op. 18, Ballade; op.
20, Serenade burlesque; op. 22, Berceuse; op.
23, A trovers Pologne (6 pieces); op. 26,
SfrSnade espagnole; op. 27, ilrennes (6
Kieces); 2 sets of Polish Dances for pf. 4
ands (op. 2 and 4).
Zarlino [tsahr-le'ndh], Gioseffo, impor-
tant theorist; b. Chioggia, Mar. 22, 1517; d.
Venice, Feb. 14, 1590. He entered the
Franciscan order in 1537, and in 1541 went
to Venice, completing his musical studies
there under Willaert. In 1565 he succeeded
his fellow-pupil Cipriano de Rore as maestro
di cappella at San Marco, holding this posi-
tion until his death. He likewise held the
office of chaplain at San Severo. To obtain
the former post, Z. must have been a com-
poser of eminence; Foscarini, indeed, terms
him 'the famous regenerator of music in all
Italy'; but most of his MSS. have been either
lost or stolen, as his only extant compositions
are 21 Modulations a 6 (Venice, 1566; edited
by Z.'s pupil, Usberti) ; 3 Lectiones pro mortuis
(part of a coll. of motets a 4 by de Rore et al.;
publ. by Scott o, 1563), and a mass (MS. in
library of the Liceo Filarmonico, Bologna).
2 Motets a 5 were publ. by L. Torchi in vol. i
of 'L'Arte musicale in Italia.' — His theoretical
works are Istituzioniharmoniche (Venice, 1558;
republ. 1562, 1573; in it Z. recognizes the
natural opposition of the major and minor
triads, taken up later by Tartini, and with
more success by Hauptmann; he also gives
lucid and practical demonstrations of double
counterpoint and canon, illustrated by nu-
merous examples in notes); Dimostrasioni
harmoniche (1571; 1573); and SoppUmenti
muskali, containing explanations of the two
foregoing works (1588). The above, to-
gether with several non-musical treatises, are
in his collected works (1589; 4 vols.). His
most important work, Istitusioni, wastransl.
into French by J. Lefort, into Dutch by J.
P. Sweelinck (Z.'s pupil) and into German
by J. K. Trost (all in MS.). H. Expert is
preparing a new ed. of the original, with
translation and commentary. — Bibliography:
G. Ravagnan, Elogio di G. Z. . . . (Venice,
1063
1819); G. Caffi, Narration* delta vita e deUe
opere del prete G. Z. (ib., 1836); id., Storia
delta mustca sacra neUa gid cappella di San
Marco in Venexia (ib., 1854; vol. i, pp. 129-
54); H. Riemann, Geschichte der Musih-
theorie .... (Leipzig, 1898; p. 369 et seq.).
Zarzyckl [zahr-zlts'ke], Alexander, dis-
tinguished pianist; b. Lemberg, Austrian
Poland, Feb. 21, 1834; d. Warsaw, Nov. 1,
1895. Studied in Lemberg, and later (1856-
61) at Paris (Reber, theory); gave brilliant
concerts in France, Germany, Austria and
Poland; cond. of the Warsaw Mus. Soc. in
1870; Director (1879) of the Cons, there,
succeeding de Kontski.— Works: Effective
pf. -pieces (op. 7, Grande Polonaise w. orch.;
op. 10, two Nocturnes; op. 17, pf. -concerto;
op. 18, Grande Valse; op. 19, 20, Mazurkas;
op. 24, Serenade and Valse- Impromptu; op.
34, 3 pieces; etc.); op. 16, Romance for vl.
and small orch.; op. 26, Mawurha for vl. and
orch. ; op. 35, Introduction et Cracovienne for
do.; op. 37, Suite polonaise for orch.
Zay, W(illiam) Henri, b. Findlay, O., Mar.
20, 1869. St. several instruments and singing
at the Cleveland Cons, until 1890, then be-
came teacher of singing there; st. further at
the R. A. M., London (1895), comp. with
Battison Haynes, and singing with various
masters; establ. himself there as a voice
specialist, gradually evolving and perfecting
his own method, publ. as The Practical Psy-
chology of Voice and of Life (New York, 1918).
In 1917 he settled in New York. Has publ.
songs; in MS., Love (Ingenuous, Romantic,
Tragic) for 3 solo vcs. and orch., Cosmic Con-
ception for orch., and several song-cycles.
Zaytz [zfts], Giovanni von, born Fiume,
Jan. 21 1832; d. Agram, Dec. 17, 1914.
Pupil of Lauro Rossi at Milan Cons. 1850-
6; from 1870 at Agram as cond. at the
theatre and singing-teacher at the Cons.
He is important as the comp. of the first
Croatian operas. — Works: The Ital. operas
Maria Teresia (Fiume, 1849; private perf.),
La Tirolese (1855; at the Milan Cons.),
Amelia [II Bandito] (Fiume, 1860); the
Croatian operas Zarucnica mesinske (Fiume,
1861), Adetia (ib., 1861), Mislawa (Agram,
1870), Ban Legal (ib., 1872), Nicola Subic
Zrinjski (ib., 1876), Lisinka (ib., 1878), Pan
Twardawski (ib., 1880), Zlatka (ib., 1885),
Kraljew Kir (ib., 1889), Armida (ib., 1897),
Primorka (ib., 1901), Voter Unser (ib., 1911),
the Croatian operetta Aphrodite (1888) and
18 German operettas (Mannschaft an Bord,
FitsKputzli, Vie Hexe von Boissy, Nacht-
schw&rmer, Nach Mebka, etc.); an oratorio,
The First Sin (Agram, 1907); many masses
and choruses; pf.-pcs. and songs.
Zech [tseliyh], Frederick, b. Philadelphia,
May 10, 1858. St. pf. in San Francisco with
ZECKWER— ZELENKA
L. Heckmanns and R. Schumacher; in Berlin
(1877-82) with Kullak (pf.), E. Breslaur
(theory) and F. Neumann (comp.); 1880-2,
taught pf. at Kullak's 'Neue Akademie';
since then he has been living in San Francisco
as teacher of advanced pf.-playing; in 1882-
3 and 1902 he organized and cond. symphony
concerts there. — Works: Two 3-act operas
(not prod.), La Paloma and Wakinyon; 4
symphonies (B m., C m., F m., C); 4 sym-
Ehonic poems, The Eve of St. Agnes (after
leats; 1898), Lamia (Keats; 1902), The
Raven (Poe; 1902), The Wreck of the Hesperus
(Longfellow; 1909); 4 pf.-concertos (D m., C
m., A m., Bb m.); a vl.-concerto in G m.; a
vcl.-concerto in A m.; a pf.-quintet in C m.;
2 str. -quartets (Bb and G m.); a pf.-trio in
G m.; 3 vl. -sonatas (C m., Am., F); a vcl.-
sonata in C m.; a fl. -sonata in Bb; 2 clar.-
sonatas (Bb and A). All the orchl. works
have been prod, in San Francisco; the first 2
of the symphonic poems also in Germany.
Zeckwer [tseV-], Camille, son of Rich-
ard Z.; born Philadelphia, June 26, 1875.
Educated at the Phila. Mus. Acad, under
his father and other teachers, graduating in
1893; st. comp. in New York with Dvorak
(1893-5), later under Ph. Scharwenka (comp.)
and Florian Zajic (vl.) in Berlin. Now (1918)
dir. of the Germantown branch of the Phila.
Mus. Acad. — Works: Op. 1, Suite in E m. for
vl. and pf.; op. 2, vl. -sonata; op. 3, pf.-trio;
op. 4, str.-quartet ; op. 5, pf.-quintet in £ m.;
op. 6, Swedish Fantasy for vl. and orch.; op.
7, vl.-sonata in D; op. 8, pf. -concerto in E m.
(played by Z. with Phila. Symph. Orch. in
1899, 1904 and 1914); op. 9, pf.-quartet;
op. 24, The New Day, cantata for soli, ch. and
orch. (won prize of Mendelssohn Club of
Cleveland, O., 1914); op. 27, Serenade melan-
colique for vl.f vcl. and pf.; op. 30, Sohrab and
Rust urn, symph. poem (Phila. Symph. Orch.,
Feb. 4, 1916); pf.-pcs. (Prelude and Fugue,
a sonata, Rapsodia fantastica, etc.); choruses
and songs. A 3-act opera, Jane and Janetta
(op. 20), not prod.
Zeck'wer, Richard, born Stendal, Prussia,
April 30, 1850. Pianist; pupil of Moscheles
and Papperitz, at Leipzig; Cons., for pf. and
organ; of Hauptmann, Richter and Reinecke,
for comp. From 1870-7, organist of St. Vin-
cent de Paul, Philadelphia; of Philadelphia
Cath., 1878-80. From 1870-6, teacher at
-ihe Phila. Mus. Acad.; Director of same since
1876; lecturer on acoustics at the Franklin
Inst, and the Phila. Acad, of Natural Sciences.
Has prod, several compositions for orch.
(2 overtures, Festival and Bride of Messina),
f. pf.f and f. voice; publ. A Scientific Investi-
gation of Piano-Touch (1902).
Zeisler [tsis-], Fannie Bloomfleld, emi-
nent pianist; b. Biclitz, Austrian Silesia, July
16, 1863; in 1868 her parents went to Amer-
ica and settled in Chicago, which has been her
home ever since. Her first teachers were
Bernhard Ziehn and Carl Wolfsohn; in 1876
she already played in public; in 1878 (on
Mme. Essipov's recommendation) she went
to Leschetizky, at Vienna, with whom the
studied 5 years; several concerts given there
in 1883 were highly successful. From 1883-
93 she appeared on the American concert-
stage every season, playing with all the prom-
inent orchestras in the U. S. ; in 1893 she made
a pianistic tour to Berlin, Vienna, Leipzig,
Dresden, etc., her success being so great that
she was eng. for a longer tour of Germany,
Switzerland and Scandinavia in 1894-5,
winning triumphs upon triumphs. In 1895-
6 she gave 50 concerts in the U. S., and in the
autumn of 1897 made her first tour of the
Pacific coast with brilliant success. In the
spring of 1898, a tour of Great Britain and
France served to confirm the unanimous
verdict of the American and European press,
that she was one of the greatest among con-
temporary pianists; she then accepted a
special invitation to appear at the Nether-
Rhenish Music Fest. of that year (Cologne,
May 29-31). In 1902-3 she revisited Ger-
many, Austria and France. In Paris, at a
Lamoureux concert (Nov. 23, 1902) a clique
had been organized to prevent her appearance;
preserving her self-command, and ignoring
the hostile demonstrations, Mme. Z. gave
such an impassioned interpretation of Saint-
Saens's C minor concerto (op. 44) that at the
end the opposition joined in the genenl
frantic applause. Her next European tour
was in 1911—2; the last (spring, 1914) was
cut short by the war. In the U. S. her an-
nual visits to the larger cities of the East and
Middle West are regarded as events of prime
importance; her first Pacific tour was followed
by 2 others in 1902 and 1913. On Oct. 18,
1885, she married Sigmund Zeisler, a prom-
inent lawyer of Chicago. She is honorary
member of numerous clubs. — Her prominent
place among the pianists of the first order
was won in a comparatively short tune.
After the European triumphs of 1894-5 she
was unanimously acclaimed the equal of
Essipov, Menter and Carrefto; and since then
her art has maintained itself at that exalted
level. With characteristic modesty she her-
self once remarked that her specialty is 'being
no specialist.' Works by classicists, roman-
ticists and modernists are interpreted by her
with whole-hearted appreciation ana en-
thusiasm.
Zelen'ka, Jan Dismas, born Lannowicz,
Bohemia, Oct. 16, 1679; d. Dresden, Dec. 23,
1745. He was asst.-cond. to Heinichen at
Dresden, and after the tatter's death sole
1064
ZELENSKI— ZELTER
cond., though without the title of 'Hof kapell-
meister.' In 1735 he was app. court church-
composer. — Works: 20 masses, 3 Requiems,
2 Te Deums, and other sacred music; also
3 oratorios, Die eherne Schlange, Jesus auf
Golgotha, and I penitenii al sepokro; cantatas
and arias; a Latin melodrama. — See Q.-Lex.
£elen'ski [zha-], Ladislas, born Galicia
(on the family estate Qrotkowice), July 6,
1837; pupil of Mirecki at Cracow, Krejci at
Prague, and Damcke at Paris. Prof, of
composition at Warsaw Cons. — Works: The
operas Konrad Wallenrod (Lemberg, 1885),
Gopiana (Cracow, 1896), Janeh (Lemberg,
1900), Stara bast [The Old Storyl (ib., 1907),
Balandina (ib., 1910); an operetta, Ptasznik
z Tyrola [The Fowler of Tyrol]; for orch.,
op. 3, Dva polske tance (2 Polish Dances]; op.
27, Im Tatragebirgef overture; op. 36, Trauer-
kldnge; op. 40, Romanze for vcl. and orch.;
op. 47, Suite de Danses polonaises; op.' 60,
pf. -concerto; a symphony; a second overture,
Echo lesne [Echoes from the Forest]. — Cham-
ber-music: Op. 21, vars. on an original theme
for str. -quartet; op. 22, pf. -trio in E; op. 28,
str.-quartet in F; op. 30, vl.-sonata in F ; op.
42, str.-quartet in A; op. 61, pf. -quartet in
C m.; 2 cantatas w. orch.; masses w. org.;
motets; choruses; pf.-pcs. (op. 9, Valse- Ca-
price; op. 18, Humor eske und Gavotte; op. 20,
sonata in E; op. 35, Grand Scherzo de Concert;
op. 45, Grosse Polonaise; op. 52, Moments
d un Carnaval; etc.); 25 preludes for organ,
op. 38. — Wrote (in Polish) Treatise on Har~
tnony (with G. Roguski), Treatise on the
Elementary Principles of Music, and Treatise
on Counterpoint.
Zell, F. See Walzel.
Zeller [tseT-], Dr. Karl, b. St. Peter-in-
der-Au, Lower Austria, July 19, 1842; d.
Baden, n. Vienna, Aug. 17, 1898. Was 'Hof-
rat' in the Ministry of Education at Vienna;
although following music only as an avocation,
he became one of the most popular operetta
composers of the day, winning extraordinary
success with Der Vogelhandler (Vienna, 1891)
and Der Obersteifer (ib., 1894); other succ.
works [also at Vienna] were Joconda (1876),
Die Carbonari (1880), Der Vagabund (1886).
Zellner [tseT-], Julius, born Vienna,
May 18, 1832; d. Murzzuschlag, Styria,
July 28, 1900. He took up serious music-
study in 185 1, abandoning a mercantile career;
had much success in Vienna as a teacher and
composer. — Works: 2 symphonies (op. 7, F;
op. 44, Bb); Melusine,S symphonic pieces for
orch., op. 10; pf. -concerto in Eb, op. 12;
SinfonieUa in A, op. 26; Hochzeitsmarsch for
orch., op. 31 ; pf.-quartet in C m., op. 23;
str.-quartet in G m., op. 14; vara, on a
theme of Bach's for str.-quartet, op. 33; 3
pf.-trios (op. 5, B m.; op. 25, F; op. 46, C#
m.); 2 vd.-sonatas (op. 11, [?]; op. 22, G);
2 vl.-sonatas (op. 20, D; op. 30, F); Im
Hochgebirge for soli, ch. and orch.; Die Was*
serfee for mixed ch., organ and harp, op. 24;
pf.-pcs. (op. 4, Suite; op. 8, Adagio und
Allegro appassionato; op. 19, Zwet Heine
Suiten; op. 37, Zwei SonaUnen; etc.); pf.-
pcs. 4 hands (op. 9, 15, 39 [Drei deutsche
Tanze], 45 [sonatina]); also a 'Puppenspiel,'
Wasserkaspar.
Zellner [tseT-], Leopold Alexander, b.
Agram, Sept. 23, 1823; d. Vienna, Nov.
24, 1894. His father, the cathedral-organist,
was his teacher; as a child he played the
organ, 'cello and oboe; at 15 he became or-
ganist of the Katharinenkirche, and played
the kettledrums in the theatre-orch. ; served
in the army until 1849; then taught music
in Vienna, founding and editing the 'Blatter
ftir Theater, Musik und bildende Kunst'
(1855-68), and giving a series of well-attended
historical concerts (1859-66); and succeeded
Sechter in 1868 as prof, of harmony in the
Cons, and Secr.-General to the 4Gesellschaft
der Musikfreunde.1 He excelled as an harmo-
nium-player; wrote a method and transcrip-
tions for the instr., and made improvements
in its mechanism; he also publ. instructive
4-hand pf. -pieces, 'cello-pieces and choruses;
ed. vl.-sonatas by Nardmi and Vivaldi with
additional pf.-part. His valuable lectures
he publ. as Vortrage uber Akustik (2 vols.;
1892) and Vortrage uber Orgelbau (1893).
Zelter [tseT-], Karl Friedrich, born
Petzow-Werder, n. Berlin, Dec. 11, 1758; d.
Berlin, May 15, 1832. The son of a master-
mason, and brought up to the same trade, his
passion for music was irrepressible; he studied
under Kirnberger and Fasch, became leader
in Rellstab's Tiebhaber-Konzerte,' brought
out a funeral-cantata at the death of Frederick
the Great in 1786, and in 1791 joined the
'Singverein' (later 'Singakademie') conducted
by Fasch, often acting as the latter's deputy,
and succeeding him in 1800. He was elected
associate ('Assessor') of the 'Akademie' in
1806; professor, in 1809. In 1807 he or-
ganized a 'Ripienschule' for orchestral prac-
tice; and in 1809, the Berlin 'Liedertafel,' the
pioneer male choral society so entitled [the
Deutscher Sangerbund' now numbers several
hundred such associations, with over 50,000
members], for which Z. composed nearly 100
male choruses. He also founded in 1819 the
R. Inst, for church-music, of which he was the
Director till death. The friendship between
Z. and Goethe, inspired by the poet s predilec-
tion for Z.'s songs, and the latter's admiration
for Goethe's poetry, found expression in
voluminous correspondence, Briefwechsel zwi-
schen Goethe und Zelter (ed. in 6 vols, by F. W.
Riemer, Berlin, 1833-4; ed. in 3 vols, by L.
1065
ZEMLINSKY— ZENTAY
Geiger, Leipzig, 1906; ed. in 4 vols, by M.
Hecker, ib. 1913; Engl. tr. by A. D. Coleridge,
London, 1887). In his songs and male
choruses, Z. is a composer of national im-
portance; he also comp. an oratorio, a Te
Deum, a Requiem, and many pf. -pieces.
Wrote Biographic von Karl Fr. dhr. Fasck
(Berlin, 1801). — Cf. his autobiogr. ed. by
Dr. W. Rintel, K. F. Z., cine Lebensbeschrev-
bung (Berlin, 1861); W. Bomemann, Die
Zeltersche Liedertafel in Berlin (Berlin, 1851);
L. Sieber, K. F. Z. und der deulsche M&nner-
gcsang (Basel, 1862); H. Kuhlo, GesckichU
der Zellerschen Liedertafcl von 1809-1909
(Berlin, 1909).— See also Q.-Lex.
Zemlln'aky, Alexander von, born Vien-
na, Oct. 4, 1872, of Polish parentage. Until
1889 pupil at the Vienna Cons, of A. Door
(pf.), F. Krenn and R. Fuchs (cpt.) and J. N.
Fuchs (comp.). Began his career in 1900 as
1st Kapellm. at the Karl theater, Vienna;
1906, 1st Kapellm. at the Vienna Volksoper;
1908, Kapellm. at the Hofoper; 1909, 1st do.
at the Hofoper in Mannheim; since 1912 do.
at the German I *andest heater in Prague. —
Works: The operas Sarctna (Munich, 1897;
won the Luitpold prize), Es war einmal (Vien-
na, Hofoper, 1900), Kidder machen Leute
(ib., Volksoper, 1910); 2 symphonies (the 1st,
in Bb, won the Beethoven prize of the 'Ges.
der Musikfreunde,' Vienna, 1897); pf.-trio
in D m., op. 3; str;-quartet in A, op. 4; an
orchl. suite; a suite lor vl. and pf.; pf.-pes.
(op. 1, L&ndliche T&nzc); songs (op. 2, 5-10).
Zenatello [tsa-], Giovanni, fine dra-
matic tenor; b. Verona, Feb. 22, 1879. St.
there at the Scuola di Canto, and sang for 2
years as a baritone in minor companies; then
st. with Moretti in Milan, making his real
debut as tenor at the San Carlo Th., Naples,
in May, 1901 (as Canio in Pagliacci); 1903-7
at La Scab, Milan, creating the rdles of
Vassili in Giordano's Siberia (Dec 19, 1903)
and Pinkerton in Puccini's Madama Butterfly
(Feb. 17, 1904); from 1905 he sang at Covent
Garden in several successive seasons; 1907-9,
at Hammerstein's Manh. O. H. (Amer. debut
as Enzo Grimaldo in Ponchielli's La Gioconda,
Nov. 4, 1907); 1909-14, leading tenor of the
Boston Opera Co.; since then with the Bos-
ton Grand Opera Co. Also sang with the
Chicago Opera Co. during 1912-3, in South
America, Spain and Russia. Among his
favorite rdles are Canio, Jose, Faust, Samson
and Otello (perhaps his . finest impersona-
tion). In 1913 he married the cpntralto
Maria Gay (q. v.).
Zen'ger [tsShng'-], Max, born Munich,
Feb. 2, 1837; d. there Nov. 18, 1911. Pupil
of Stark at Munich, and of the Leipzig Cons.;
Kapellm. at Ratisbon, 1860; mus. dir. of the
Munich Court Opera, 1869; court cond. at
Karlsruhe, 1872; resigned on account of ill
health, and became cond. of the Munich Ora-
torio Soc. (1878-85), the Acad. 'Gesang
verein,' and the choral society in the FL
School of Music. Degree of Dr. phil. (hon.
c.) in 1897 from the Univ. of Munich. —
Works: The operas Die Foscari (Munich.
1863), Ruy Bias (Mannheim, 1868), WieUsrui
der Sckmied (Munich, 1880; revised, 1894),
Eros und Psyche (ib!, 1901); oratorio FCain
[after Bvron] (Munich, 1867; often perf. else-
where in Germany); secular cantata Die
Hcinselmdnnchen, f. mixed ch. and orch. (op.
79); 2 ballets [for King Ludwie II], Venus
und Adonis, and Les plaisirs de VUe enchantre
(both 1881, in private); 2 Gretchen scenes
from Faust for sop. and small orch. (op. 31):
Zwei Konwertstucke for mixed ch. and str.-
orch. (op. 70); Altgriechisches Lieder spiel for
sop. solo, ch. and orch. (op. 75); Die Kraniche
des Ibykus, melodrama w. orch. (op. 80);
Die deulsche Flolte for male ch. and orch.
(op. 88); symphony in D; Tragische Ouver-
turc (op. 42); Adagio concertante for vcJ.
and orch. (op. 65); of. -trio in D m. (op. 17);
vcl. -sonata in F (op. 90); choruses; pf.- music;
songs.
Zeno [tsa'-], Apostolo, the most famous
opera librettist before Metastasio; b. Venice,
Dec. 11, 1668; d. there Nov. 11, 1750. In
1710 he founded the 'Giornale dei Letterati
d' Italia'; 1718-29, in Vienna as court poet;
from then again in Venice. The total num-
ber of libretti written by him (some in col lab
with Pietro Pariati) is 71; they were collectej
and ed. by Gasparo Gozzi as Poesie dramma-
tichediA. Z. (10 vols., Venice, 1744; reprinted
at Orleans, 1785-6 [11 vols.]).— Cf. A. Wot-
3uenne, Libretti d* operas et d% oratorios italieni
uXVII- siecle (Brussels, 1901); id., Liste
alphoMtique des pieces en vers des outrages
dramatiques de Z., Metastasio e Goldoni (Leip-
zig, 1905; also in German, ib., 1905); M.
Fehr, A. Z. und seine Reform des Operntextes
(Zurich, 1912); O. G. Sonneck, Catalogue of
Opera Librettos Printed before 1800 (2 vols.;
Washington, 1914).
Zen'ta, Hermann. Pen-name of Augus-
ta HOLM&S.
Zentay [zghn'tah-3], Mary (rede Marie
Zimmer), violinist; b. Budapest, July 30,
1897. Began study at 5; 1904-10, pupil of
R. Sabathiel, 2d concert-master at the R.
Opera; succ. d6but at Budapest, Mar. 18,
1910; then st. 3 years with Jend Hubay;
played the Beethoven concerto with the Ber-
lin Philh. Orch. on Dec. 19, 1913; 2 tours of
Hungary (1913 and *14); a tour of England
was interrupted by the war (she had played
in London, June 10, 1914), and she came to
the U. S., making her Amer. debut at New
1066
ZEPLER— ZIEHN
Vork (Dec. 18, 1915). She is best in works
requiring brilliancy of execution.
Z,epler [tsftp'-l, Bogumil, born Brcslau,
May 6, 1858. St. architecture at the Bau-
akademie in Berlin, then medicine at Breslau
Univ. (M. D., 1884); instead of following
this profession (into which he had been forced
by his father), he began the study of music
with H. Urban in Berlin; attracted attention
in 1891 with a farce, CavaUeria Berolina (a
parody on Masca^ni's opera); wasted much
time on similar trivial stuff (pieces for Wol-
zogen's 'Oberbrettl,' a parody on Strauss's
Salome, etc.). His better works, which show
real talent, are the comedy-operas Der Braut-
tnarkt zu Hira (Berlin, 1892), Der Vicomte von
Letorieres (Hamburg, 1899), Die Bdder von
Lucca (Berlin, 1905), Monsieur Bonaparte
(Leipzig, 1911); a serious 1-act opera, Nacht
(Bern, 1901); several operettas (Diogenes,
Pick und Pocket, Die Lieoesfestung, etc.); 2
pantomimes, Die Galgenfrtst, Die Getster-
braut; songs (Rokokolieder). — Living since
1904 in Berlin as editor of 'Musik fur Alle.'
Zeretelev. See Lavrovskaya.
Zerrahn', Karl, distinguished conductor;
b. Malchow, Mecklenburg, July 28, 1826; d.
Milton, Mass., Dec. 29, 1909. He was a
pupil of Fr. Weber at Rostock; studied further
in Hanover and Berlin; went to America in
1848 as a member of the Germania Orch.,
and established himself in Boston, becoming
a prominent figure in musical circles. From
1854-95 he was conductor of the Handel and
Haydn Society, being succeeded by B. J.
Lang; 1865-^82, cond. of the Harvard Sym-
phony Concerts; 1866-97, cond. of the
Worcester (Mass.) Music Festivals, and was
professor of harmony, instrumentation and
singing at the New England Cons., Boston.
His influence on the development of choral
singing in America may well be compared
with that exerted by Th. Thomas in the field
of orchestral music.
Zeu&heer [tsoigTiar], Jacob, born Zurich,
1805; d. Liverpool, June 15, 1865. Violinist;
pupil of Wassermann (Zurich) and Franzl
(Munich). In 1824 he organized the Quartet
called 'Gebriider Herrmann' ('Herrmann
Bros/: Z.; J. Wex; K. Baader; J. Lidel),
making successful concert-tours for 6 years.
In 1831 he became cond. of the 'Gentlemen's
Concerts,' Manchester; in 1838, of the Liver-
pool Philharm. Soc. — Works: A cantata, 2
symphonies, 2 overtures, 2 sets of entr'actes,
potpourri for vl. and orch. (op. 6), vl.-con-
certo (op. 28), a str.-quartet, etc. An opera,
Angela of Venice (text by Chorley), was not
produced.
Zeuner [tsoi'ner], Karl Traugott, born
Dresden, April 28, 1775; d. Paris, Jan. 24,
1841. Pianist, pupil of Turk at Halle and
Clementi at Petrograd; lived as a concert-
giver and teacher in Paris, Vienna, Petrograd
and Dresden. — Works: 2 pf. -concertos; 3
string-quartets; vara, on a Russian theme,
f. pf., vl. and vcl.; Polonaises, vars., fanta-
sias, etc., f. pf., much in vogue at the time.
Zianl [ts'yah'ne], Marco Antonio, nephew
of Pietro Andrea Z.; b. Venice, 1653; d. Vien-
na, Jan. 22, 1715. About 1700, Vice-Ka-
pellm. at the Vienna court; in 1712, court
Kapellm. — Comp. 45 operas and serenades,
also 17 oratorios, for Venice and Vienna. — See
Q.-Lex.
Zianl, Pietro Andrea, born Venice, about
1630; d. Vienna, 1711. In 1666 he suc-
ceeded Cavalli as 2d organist at San Marco;
in 1677 he entered the service of Empress
Eleonora at Vienna. A noted composer in
his day, he wrote 21 operas for Venice, Bo-
logna and Vienna; an oratorio, Le lagrime
delta Vergine (Venice, 1662); Sacrae laudes
a 5 (op. 6, 1659; with 2 instrs. obbl. or ad
lib.); sonatas for 3, 4, 5 or 6 instrs. (op. 7;
1691).— Cf. H. Kretzschmar, Weitere Beitrage
sur Geschichte der venezianischen Oper, in
'Jahrb. Peters' (1910).— See also Q.-Lex.
Zlchy [zit'che], Geza, Count Vasony-
Keo\ born Sztara, Hungary, July 22, 1849.
Son of an Hungarian noble, and passionately
fond of music; he unfortunately lost his right
arm at the age of 14 on a hunting expedition
(Sept. 24, 1863), but by dint of unconquerable
energy became a left-handed piano-virtuoso
of astonishing and brilliant attainments,
under the guidance of Mayrberger, Volk-
mann and Liszt (Pest). A member of the
legal profession, and an incumbent of high
positions, he has found time to give many
concerts, and even to undertake extended
pianistic tours, for charitable ends. On
several occasions he played in public with
Liszt an arrangement of the Rakoczy march
for three hands. Until 1892 he was president
of the Hungarian National Acad, of Music;
Intendant of the National Theatre and Opera
at Pest from 1890-4; now (1918) pres. of the
National Cons, at Pest. — Works: A melo-
drama, Die Geschichte einer Burg (Vienna,
1889?); cantata Dolores, f. soli, ch. and orch.
(1889); 4-act romantic opera Aldr (Pest,
1896; succ); 3-act opera Meister Roland
(Pest, 1899 ; v. succ. ) ; a ballet Gemma (Prague,
1903); a collection of studies and pf. -pieces
for the left hand alone (publ. Pans), songs
and part-songs. A great trilogy is completed,
but has not yet been prod. (1. Kdkoczy [1905];
2. Nemo (1909); 3. Rodosto [1912]).
Ziehn [fsen], Bernhard, b. Erfurt, Jan.
20, 1845; d. Chicago, Sept. 8, 1912. St. at
the teachers' seminary in Erfurt; taught 3
years at Muhlhausen; 1868-71, teacher of
1067
ZIEHRER— ZIMBALIST
higher mathematics and mus. theory at the
German Lutheran School in Chicago; after
that private teacher of theory. Publ. Sys-
tem der Vbungen fur Klavierspieler (1881);
Ein Lehrgang fur den ersten Klavierunterricht
(1881); Harmonie- und Modulationslehre
(1888; 2d ed. 1909; in Engl, as Manual of
Harmony: Theoretical and Practical, 1907;
valuable for the choice and range of the ex-
amples); Kanonische Studien: Eine neue
Kompositionstechnik (1912; also in Engl.);
contrib. articles on questions of theory to
Ger. and Amer. mus. journals.
Ziehrer [tse'-]f Karl Michael, b. Vienna,
May 2, 1843. Entirely self-taught in music;
organized in 1863 a small orch., with which
he made tours of Austria and Germany, in-
troducing his own dances; with an increased
orch. (50 players) he establ. regular series of
popular concerts in Vienna, which have met
with great success; in 1907 he was app. mus.
dir. of the court balls; from the King of Ru-
mania he received the title of R. Court Con-
ductor. Has publ. nearly 600 marches and
dances for orch. (some very popular: Meeres-
leuchten, Evatochter, Donauwalur, Alt-Wien,
Ziehrereien, etc.) and prod, more than 20
operettas (Die drei WUnsche, Ein tolles Model,
Fesche Geister, Fremdenfuhrer, etc.).
Zielln'skl, Jaroelaw de, born Lubycza
Krolewska, Galicia, Mar. 31, 1847. Pupil of
Guniewicz and Mikuli (pf.) at Lemberg,
Schulhoff (pf.) at Vienna, and Cerutti (voice)
at Milan. In 1863, taking active part in the
Polish revolution against Russia, he was
severely wounded; came to America in 1864,
enlisted in a Mass. regiment, and served to
the end of the Civil War; in 1865 he establ.
himself as teacher and concert-pianist in New
York; lived in Grand Rapids (8 years) and
Detroit; 1888-1910, in Buffalo, N. Y.; since
then in Los Angeles, Cal., where he founded
the Z. Trio Club. On his concert-programs
American composers have always occupied a
prominent place. Has publ. some graceful
pf. -music (Prelude in D m., At the Spring,
Gavotte, Minuet, Bourree, Dreams, mazurkas,
etc.); contrib. a series of articles on Russian
Music and Musicians and The Development of
Music in Poland to 'The Etude' ; The Poles in
Music (in vol. 18 of 'The Century Library of
Music'); etc.
Zilcher [tsll'yher], Hermann, b. Frank-
fort-on-Main, Aug. 18, 1881. Had piano-
lessons from his father, Paul Z.t a music-
teacher; later pupil of J. Kwast (pf.), I.
Knorr and B. Scholz (comp.) at the Hoch
Cons.; 1901-5, in Berlin as concert-pianist
and teacher; 1905-8, teacher of 'pf. at the
Hoch Cons., Frankfort; since then prof, of
pf. at the Kgl. Akademie der Tonkunst in
Munich; has made tours of Germany, Den-
mark, Holland, Spain and the U. S. i\€>*
with Franz von Vecsey). — Works: Op- *
Suite in G for orch.; op. 9, concerto for 2 \ --
and orch., in D m.; op. 11, vl.-concerto ;r
B m.; op. 3, Sicilienne and Suppent**** tcr
vl. and pf.; op. 7, Melancholic and Tarn
Caprice for 2 vis. ; op. 8, 6 pes. for pf. 4 hami?
pf.-pes. (op. 5 [Humoresken], 6, 26); sonri
(op. 10, 12, 13, 14, 25 [Dehmel cycle o/ U
poems]); an opera, FUzebutte, is publ., btr
has not been prod. In MS., 2 symphonies
Nacht und Morgen, for 2 pfs. and str.-ocrrh_
a pf .-concerto ; Reinhart, for soli, ch. and oncfi. —
Cf. W. Altmann, H. Z., in vol. ii of 'Monr-
graphien moderner Musiker' (Leipzig, 1907*.
Zilo'ti, Alexander, eminent pianist an-i
conductor; born Charkov, Oct. 10, 1863
Pupil of Zvierev (1873), N. Rubinstein and
Tchaikovsky (1876-81) at the Moscow Cons..
winning the gold medal. Pianist ic debu:
at Moscow, 1880; great success at the Leip-
zig TonkUnstlerversammlung* of 1883; st.
for 3 years with Liszt at Weimar, and from
1887-90 was prof, at the Moscow Coos.
For the next ten years he led a roving: lif*-
on concert-tours, settling for short periods
at Paris, Frankfort, Antwerp, Leipzig an-i
Berlin; returned to Russia in 1901, con-
ducting the concerts of the Moscow Philh.
Soc. for the season of 1901-2; later cond
several of their concerts by invitation, la
1903 he organized in Petrograd his ova
orch., with which he gives annually 6-*'
symph. concerts devoted chiefly to the wori..
of Liszt and novelties by the younger Rus*~x
composers. Liszt regarded him as one &
his most talented pupils. His pianistic toon
of Russia, Germany, Belgium1, France, Eng-
land and America (1898-9) have been an un-
interrupted succession of triumphs. He ha*
publ. a coll. of pf.-pes. from his concert-
programs (with Angering and indications
for pedalling); has arr. Bach's concerto in
D for pf., vl., fl. and orch., and Vivaldi's
Concerto in D m. for small orch.; also publ.
Meine Erinnerungen an Frans Liszt, in
4Ztschr. I. M.-G. ' (vol. xiv; July-Aug., 191 3;
tr. from the Russian by S. KorsunskaJ.
Zimbalist [zlm'-], Efrem, eminent vio-
linist; b. Rostov, on the Don, Russia, April
9, 1889 [correct date; in letter to Ed.]. Be-
gan to study the violin with his father, Aaron
2., an orchl. cond.; 1901-7, at the Petrograd
Cons, under Leopold Auer, graduating as
winner of the gold medal and a scholarship
of 1200 roubles. At his debut in Berlin, Nov.
7, 1907 (Brahms concerto with the Philh.
Orch.), he leaped into fame, the critics unan-
imously declaring him a star of the first
magnitude; a month later he created a similar
sensation in London, and within a year most
of the musical centres of Europe had heard
1068
ZIMMERMAN— ZINGARELLI
m, and endorsed the estimate of the Berlin
it:ics. For his Amer. debut with the Boston
Tnph. Orch. (Oct. 27, 1911) he was un-
rtunate in his choice of Glazunov's A minor
►ncerto, op. 82, a dull and lengthy work
vhich, incidentally, on that occasion had its
rst perf . in America) ; in spite of this handi-
ip hia superior qualities as an executant and
tterpreter were recognized, and before the
ompletion of his first season he had become
n established favorite. The greater part of
He next 3 years he spent in the U. S., appear-
ng with all the important orchestras, at
ostivals and in numerous recitals; since the
outbreak of the war he has not left this coun-
try. On June 15, 1914, he married the so-
prano Alma Gluck (q. v.) in London. A fine
pianist, he has frequently been heard as
accompanist at his wife's recitals. — Z.'s most
striking quality is his extraordinary maturity;
this explains his phenomenal success. A boy
of 18 not merely overcoming the technical
difficulties, but mastering the contents of the
immense Brahms concerto, was something so
novel that the critics were swept off their feet.
In Z.'s case no allowance was ever made for
his youth; from the beginning he was meas-
ured by the highest artistic standard. — He
has comp. Slavic Dances for vl. and orch.,
Suite in the Old Style for vl. and pf., and songs.
Zim'merman, Pierre- Joseph- Guil-
laume, famous pf. -teacher; born Paris,
Mar. 19, 1785; d. there Oct. 29, 1853. The
son of a Paris pf. -maker, he entered the Cons,
in 1798, studying under Boieldieu, Rey, Catel
and Cherubini; won 1st prize for pf. -playing
in 1800, and for harmony in 1802; became
pf.-prof. at the Cons, in 1816, and retired on
Smsion in 1848. Chevalier of the Legion of
onor, 1848. Among his many pupils were
Alkan, Marmontel, Prudent, Ravina, La-
combe, Dejazet, Lefebvre, Ambroise Thomas,
etc. — Works: 3-act comic opera l' Enlevement
(Opera-Comique, 1830); 2 pf. -concertos; a
pf. -sonata, op. 5; 24 £tudes, op. 21; Les
delicts de Paris, a book of contredanses w.
variations; rondos, fantasias, etc., f. pf.; 6
colls, of vocal romances, w. pf.-accomp.; and
his chief work, the great Encyclopidie du
Pianiste, a complete method for piano, Part
iii of which is a treatise on harmony and
counterpoint.— Cf. J. B. La bat, Z. et V&cole
Jran$aisc de piano (Paris, 1865).
Zim'mermann, Agnes, fine pianist;
b. Cologne, July 5, 1847. Pupil at the Lon-
don R. A. M. of Potter and Pauer (pf.) and
Steggall and G. Macfarren (comp.); twice
won the King's Scholarship (1860, '62), and
also the silver medal. Pianist ic d£but at the
Crystal Palace, 1863; at the Gewandhaus,
Leipzig, 1864; also toured England and
Germany, and won high repute as an inter-
preter of classic compositions. — Works: A
pf.-trio in D m., op. 19; 3 vl.-sonatas (op. 16,
D m.; op. 21, A m.; op. 23, G m.); vcl.-
sonata in G m., op. 17; a pf. -suite, op. 22;
2 pieces, op. 18; other pf. -pieces; and has
edited the sonatas of Mozart and Beethoven,
and the complete pf.-works of Schumann
(for Novello).
Zim'mermann, Anton, born Presburg,
1741; d. there Oct. 8, 1781. Kapellm. to
Prince Batttiyany, and organist at Presburg
Cath. — Publ. 9 sonatas f. pf. and violin (op.
1, 2); pf. -concerto (op. 3); Die Belagerung
von Valenciennes f. pf. and violin; 6 string-
quartets; 6 violin-duos; and the Singspiel
Andromeda und Perseus (Vienna, 1781); other
works MS. — See Q.-Lex.
Zin&arelli [tsln-], Nicola Antonio, cele-
brated composer of dramatic and sacred
music; b. Naples, April 4, 1752; d. Torre del
Greco, n. Naples, May 5, 1837. A student
at the Cons, di Loreto, where Fenaroli was
his teacher in composition, from 1759-69,
he completed his studies under Speranza.
His first opera, / quattro pant, prod, at the
Cons, in 1768, was followed by Montezuma
(Teatro San Carlo, 1781); neither had much
success, and he was obliged to support him-
self by lesson-giving until Alsinda, prod, at
La Scala, Milan, in 1785, brought him fame
and commissions; altogether he produced 34
operas, among which Giulietta e Romeo (Milan,
La Scala, Jan. 30, 1796) is considered his
masterpiece. He spent much of his time in
journeying from place to place for the re-
hearsal and production of his operas. In
1792 he was app. maestro di cappella at Milan
Cathedral; in 1794, at the 4SanU Casa' in
Loreto; and in 1804, at St. Peter's, Rome. In
all these positions he wrote a great deal of
church-music. In 1811, for refusing to con-
duct a Te Deum to celebrate the birthday
of Napoleon's son, the 'King of Rome,' he was
imprisoned at Civitavecchia, and later trans-
ported to Paris by order of Napoleon, who set
him at liberty and liberally paid him for a
mass written in Paris. As Fioravanti had
meanwhile become maestro at St. Peter's, Z.
repaired to Naples, and in 1813 became Direc-
tor of the royal 'Collegio di Musica'; in 1816
he succeeded Paisiello as maestro at the
Cathedral. As Director he was very con-
servative in his views, and displayed little
energy; but as a teacher he had excellent
success, among his pupils being Bellini, Mer-
cadante, Carlo Conti, Lauro Rossi and
Morlacchi. His operas, interpreted by the
finest singers of the time (Catalani, Crescen-
tini, Grassini, Marchesi and Rubinelli), had
immense vogue. He wrote a vast amount of
church-music, much appreciated in Italy,
more particularly the collection 'Annuale di
1069
ZINGEL— ZOLLNER
Zingarelli' (or 'Annuale di Loreto'), a series
of masses for every day in the year (there are
38 f. male ch. and orch., about 20 solemn
masses, 7 f. double choir, 66 with. organ, 25 a
2-3 w. orch., etc.); also a 4-part Miserere
'alia Palestrina' (1827); furthermore, 73
Magnificats, 28 Stabat Maters, 21 Credos,
many Te Deums, motets, hymns, etc.; 3
oratorios; also solfeggi, arias, organ -sonatas,
a string-quartet, etc. — Cf. R. Liberatore,
Necrologia di N. Z., in 'Annali civili del
Regno delle due Sicilia* (1837); F. Florimo in
vol. ii of La scuola musicale di Napoli (Naples,
1880).— See also Q.-Lex.
Zingel [tslng'-l, Rudolf Ewald, b. Liegnitz,
Sept. 5, 1876. Began to study the pf. at the
age of 5; 1896-7, st. at the Kgl. Hochschule
in Berlin, acting at the same time as organist
at the Garnisonkirche in Spandau; 1899-
1907, cond. of the 'Singakademie' and the
Thilh. Gesellschaft,' and org. at the principal
church in Frankfort-on-Oder; since then
Musikdir. at Greifswald Univ., cond. of the
academic mixed chorus 'Guilelmia,' and org.
at St. Nikolai. — Works: The operas Margot
(Frankfort-on-Oder, 1902) and Persepolis
(Rostock, 1909); an operetta, Liebestauber
(Stralsund, 1908); Freudvoll und leidvoll,
symphonic poem, op. 72; overture to Kleist's
Der zerbrochene Krug; Der wilde Jager, secu-
lar oratorio (after J. Wolff) ; 6 sacred cantatas
for male ch. and str.-orch., Weihnachten,
OsUrn, Pfingsten, Reformationsfcst, Busstag,
Totenfest; Pedalstudien and pes. for organ;
male choruses; numerous pf.-pes. and songs.
Zlnkeisen [tsinkl-zen], Ronrad Ludwlg
Dietrich, born Hanover, June 3, 1779; d.
Brunswick, Nov. 28, 1838. Trained by his
father, and by Rode at Wolfenbuttcl; 1801-3,
in a regimental band at Luneburg; then
leader, under Forkel, of the Academical Con-
certs at Gottingen; 1819, chamber-musician in
the Brunswick court orch. — Works: 4 over-
tures; 6 violin-concertos; a Duo concertante
f. violin and viola; vara. f. violin w. string-
trio; 2 duets f. violin and viola; 3 string-
quartets; vars. f. flute w. string-quartet; a
concerto f. oboe; do. f. clar.; do. f. basset-
horn; do. f. bassoon; pieces f. clar. w. orch.;
do. f. oboe w. string-quartet; vars. f. 2 horns
w. orch.; military music; part-songs f. mixed
and male chorus.
Zirges [tser'-], Hortensia. See Schlet-
terer, Hans Michel.
Zoeller [tsol'lerl, Carii, born Berlin, Mar.
28, 1840; d. London, July 13, 1889. Pupil
of H. Ries (vln.), W. Garich (harm.), and
Grell (cot.), at the R. Academy, Berlin.
Travelled with German opera-troupes; settled
in London 1873; in 1879, bandmaster of the
7th (Queen's Own) Hussars. Distinguished
composer; member of the R. Accad. di S.
Cecilia, Rome, 1884; hon. mem. R. I^ci?
Mus., Florence, 1885; Fellow of the Ijct*
Soc. of Sciences, Arts, etc., 1886. — Wt
Comic operetta The Missing Heir; ly-
monodrama Mary Stuart at Fotkerrin.
scene f. sopr. w. orch., The Rhine K:'
Daughter; 4 overtures; other orchl. pit-
Concerto dramatique f. violin; quintet f. :'•
oboe, clar., horn and pf.; string-Qtia^
other instrl. music; church-music; son.
Wrote The Violc d' amour, Its Origin, Ht<>-
etc.; edited 'The United Service Mi".; j
Band Journal.'
Zoellner [tsdl'-], Joseph, Sr., violinist :
Brooklyn, N. Y., Feb. 2, 1862. During
parents' residence at AschafFenburg h<- :
gan to study pf. and vl. at the Musik^ri^
there under Ostermeyer and Heener (1>V
then st. vl. with Lorenzen and Tn. Jacob-.
New York, and later (1890) with H -:
Petri in Dresden; 1882-1903, dir. of his n*
music-school in Brooklyn; 1903—6, in St^i
ton, Cal.; lived in Brussels from 1907-12
head of the vl.-dept. at the fecole Commt/r.
(Etterbeek, n. Brussels, 1909-10) and rrv-
ber of the 'Orchestre Durand' (191(v l
During his stay there he organized with ?
sons and a daughter the Z. Quartet, «hi
was first heard at Cesar Thomson's pnVa-
soirecs; public appearances in Brussels w>r-
followed by visits to other cities of Beler.n.
and to Paris and Berlin. Since l°f 2 rr,
family has lived in New York, making anm/
tours from coast to coast and through Can. ''-■-
— The members of the Quartet arc
Joseph Z.t Sr., via. (2) Joseph ZMV.
vel.; b. Brooklyn, Oct. 26, 1886; pupil i?
Brussels of de Greef and J. Wieniawsij \pi. ,
Gaillard and Gerardy (vcl.), Du Soiefl awl
P. Gilson (harm.). (3) Antoinette Z., 1<
vl.; b. Brooklyn, Dec. 1, 1891; pupil of h*-:
father, and in Brussels of H. van Heckc and
Cesar Thomson (vl.) and von zur Muhlin
(voice). (4) Amandus Z., 2d vl.; b. Brook-
lyn, Nov. 7, 1892; same teachers for vi. is
his sister.
Zois [tsois], Hans, Freiherr von Z.-EdeJ-
stein, b. Graz, Nov. 14, 1861; comp. of
the opera Der Venezianer (Graz, 1892); the
operettas Colombine (ib., 1887), Der Jokobiner
(ib., 1890), Klotildens Hochzeit (Ratisbon,
1898); a fantastic ballet, Erlkonig; pf.-pc>.
(op. 125, Dorfstenen; op. 126, BoUszenen),
songs.
ZdU'ner [tsdl'ner], Andreas, horn Am-
stadt, Dec. 8, 1804; d. Meiningen, Mar. 2,
1862, as musical director. Publ. popular
part-songs for male voices (over 100 op.-
numbers).
ZdU'ner, Heinrich, son of Karl Friedrich
Z.; b. Leipzig, July 4, 1854. Was intended
for the law, but studied 1875-7 at the Leip-
1070
ZOLLNER— ZOPFF
zig Cons, under Reinecke, Jadassohn, Richter
and Wenzel; in 1878, Mus. Dir. at Dorpat
Univ.; in 1885, cond. of the Cologne 'Manner-
gesangverein,' also teaching at the Cons.,
and conducting the Cologne 'Gesangverejn'
(mixed chorus), the ' Wagner- Verein,' and the
Musical Society. In 1889, with a picked
male chorus, he undertook a most successful
tour to the chief cities of Italy. In 1890 he
became the conductor of the New York 'Deut-
acher Liederkranz' ; in 1898 he was called to
Leipzig as Kretzschmar's successor as Univer-
sity Mus. Dir. and cond. of the 'Paulinerchor'
(Univ. male choral union); in 1902 he succ.
Reinecke as prof, of comp. at the Cons.;
1903, mus. critic of the 'Leipziger Tageblatt';
made Kgl. Prof, in 1905; since Jan. 1907 in
Antwerp as 1st Kapellm. at the Flemish
Opera. — Works: The operas Friihjof (Co-
logne, 1884); Die lustigen Chinesinnen (ib.,
1886); Faust [after Goethe] (ib., 1887);
MaUeo Falcone (New York, 1894) ; the 'Kriegs-
duologie' Im Jahre 1870, consisting of two
2-act operas, (1) Bet Sedan (Leipzig, 1895)
and Der Oberfall (Dresden, 1895); the mu-
sical comedy Das hblzerne Schwert (Kassel,
1897); Die versunkene Glocke (Berlin, 1899);
Der Schiitzenkonig (Leipzig, 1903); Zigeuner
(Stuttgart, 1912). Z. has written his own
libretti, excepting Der Schiitzenkonig.— Choral
works w. orch.: Op. 12, Die Hunnenschlacht,
soli and male ch.; op. 13, Morgengesang im
Kriege, male ch.; op. 14, Das Fest der Reben-
bltite, soli and male ch.; op. 23, Wanderers
Sturmlied, do.; op. 24, Zum Luther jeste,
double ch.; op. 30, Kolumbus, male ch. and
soli; op. 39, Lied fahrender Schiller, male ch.;
op. 50, Hytnnus der Liebe, bar. solo and mixed
:n.;
ch.; op. 53, Konig Sigurd Ring's Brautfahrt,
male ch.; op. 55, Indianiseher Liebesgesang
from 'Hiawatha,' do.; op. 61, Die Meerjahrer,
sop. solo and male ch. ; op. 62, Heldenrequiem,
do.; op. 70, Konigsode, male ch.; op. 75,
Zwei Spriiche, do.; op. 77, Heerschau, do.;
op. 90, Bonif actus, sop. and bar. soli and
male ch.; op. 97, Der deutsche Michel, male
ch.; op. 101, Aventiure, do.; op. 107, Robes-
pierre, do.; op. Ill, Fahnenschwur, do.; op.
113, Totentanz, do.; op. 114, Talismane,
double male ch.; op. 115, Angelus, male ch.;
op. 125, Die Leipziger Schlacht, do.; op. 131,
A us den Freiheilskriegen 1813-4, do.; op. 133,
Deutschland und seine Kinder, do.; Die neue
Welt, cantata for sop. and bar. soli and
male ch. (won prize at the Cleveland, 0.,
Sangerfest, 1892). Choral works with military
band (op. 34, 38, 52, 84, 86). Many fine
male choruses a capp., and songs. — Instrl.
works: Op. 15, Sommerfahrt, episode for
str.-orch.; op. 20, Symphony No. 1, in Eb;
op. 46, Elegit for vL and orch.; op. S3,
Waldfantasie for orch.; op. 88, Unter dem
Sternenbanner, overture; op. 95, Serenade for
flute and str.-orch.; op. 91, str.-quartet in
C m.; op. 100, Symphony No. 2, in F; op.
130, do. No. 3, in D m. Also publ. a poem,
Beethoven in Bonn. Ein Sang vom Rhein
0898).— Cf. E. Segnitz, H. Z.f in vol. ii of
'Monojpraphien moderner Musiker' (Leipzig,
Zoll'ner, Karl Friedrich, born Mittel-
hausen, Thuringia, Mar. 17, 1800; d. Leipzig,
Sept. 25, 1860. He studied at the Thomas-
schule, Leipzig, under Cantor Schicht, from
1814; renouncing theology for music, he
became a vocal instructor at the 'Ratsfrei-
schule' in 1820, and in 1822 organized a mu-
sical institute with his friend Hemleben, with
choral practice every Sunday. In 1830
he began writing male choruses; in 1833 he
founded a 'Liedertafel' known as the 'Zollner-
Verein' [see Zeltbr], a male choral society
whose organization was soon imitated else-
where. In 1859, 20 of these societies held a
grand mus. festival at Leipzig; after his
death they united to form the 'Zdllner-Bund/
In 1868 a monument to his memory was
erected in the Rosenthal, Leipzig. Z. was
one of the most famous among German com-
posers of part-songs for male chorus; be-
sides these, he wrote motets, songs for mixed
chorus and songs w. pf.-accompaniment.
Zoirner, Karl Heinrich, born Ols,
Silesia, May 5, 1792; d. Wandsbeck, n. Ham-
burg, July 2, 1836. He toured Germany as
an organ-virtuoso, etc., until 1833, then
settling in Hamburg. — Works: Kunz von
Kaufungen, opera (Vienna, 1825?); a melo-
drama, Ein Uhr; publ. masses, motets, psalms,
part-songs, organ-pieces, a pf.-sonata, a 4-
hand do., other pf.-music, a method f. pf., a
violin-sonata, etc.
Zolotaiiev [-y6hf], Vassily Andreie-
vitch, b. Taganrog, Feb. 23, 1879. Pupil
of Krasnokutsky (vl.) and Liadov, Balakirev
and Rimsky-Korsakov (comp.) in Petrograd;
since 1900 teacher of comp. at the Moscow
Cons. — Works: For orch., op. 4, File villa-
geoise, overture; op. 7, R&psodie hebraique; op.
8, Symphony in F# m.; op. 22, Fantaste-
Ouverture; Chamber-music, op. 2, Suite in
A m. (in form of vars.) for vl. and pf.; op. 5,
st r. -quartet in D; op. 6, do. in A m.; op. 13,
pf. -quartet in D; op. 19, str.-quintet in F;
op. 25, str. -quartet in D; op. 28, pf.-trio in E
m.; op. 33, str. -quartet in Bb; a pf.-sonata,
op. 10; Russian and German songs.
Zopff, Hermann, born Glogau, June 1,
1826; d. Leipzig, July 12, 1883. After taking
the degree of Dr. phil., and studying agri-
culture, he entered the Stern Cons., Berlin, in
1850; later founded an 'Opernakademie,' an
'Orchesterverein,' etc., in Berlin; went to
Leipzig in 1864, became co-editor of the 'Neue
Zeitschrift fur Musik,' and editor-in-chief
1071
ZSCHOCHER— ZUR MOHLEN
after Brendel's death in 1868. For his
activity on the committee of the 'Allgemeiner
deutscher Musikverein' he received the title
of Professor. — Works: Op. 22, Brauthymne
for ten. solo, ch. and small orch.; op. 23,
Deutscher Triumphgesang for male ch. and
brass instrs.; op. 25, Anbetung GotUs for soli,
ch., org. and orch.; Astraa, oder Das Evange-
lium der Tat for soli, ch. and orch.; op. 31,
overture to Schiller's Wilhelm TeUt 'in Form
einer srosseren symph. Dichtung'; op. 33,
Deutsche Fes touver Hire; op. 35, Drei Idyllen
for small orch.; op. 39, Gesangsstuck for vcl.
and orch.; op. 47, Funf Choralvorspiele for
org.; pf.ipcs., male choruses ana songs.
Two operas, Makkab&us and Mohammed, were
publ., but not prod. — Wrote Ratschldge fUr
angehende Dirigenten (1861); Grundzuge einer
Theorie der Oper (vol. i, 1868).
Zschocher [tchdh'her], Johann, born
Leipzig, May 16, 1821; d. there Jan. 6, 1897
Excellent pianist, pupil of J. Knorr, Th
Kullak, Henselt and Liszt; noted teacher
founder (1846) of the 'Zschocher'sches Mu
sik-Institut' at Leipzig, which is still flourish
ing (1918); present dir., Th. Raillard.
Zucca [tsdd'kah], Mana (real name
Zuckermann), pianist and composer; b.
New York, Dec. 25, 1891. St. in New York
with Alexander Lambert (pf.) and Hermann
Spiel ter (comp. and orch.), in London with
Vogrich (do.), in Berlin with Godowsky and
Busoni (pf.), and singing with von zur Mtth-
len in London and Paris; was exhibited in the
U. S. as a pianistic prodigy, playing a Beet-
hoven concerto with the N. Y. Symph. Orch.
in 1899; made her stage debut (sop.) at Lon-
don in the leading part of Lehar's Count of
Luxembourg (1914); also sang in N. Y. in light
opera; recently she has come forward as a
succ. composer, and has shown herself an
admirable interpreter (as pianist and singer)
of her own works; in the latter capacity she
has also appeared in Europe. Has comp. a
musical comedy, Nerves; Fugato humoresque
for orch. (prod, by Russian Symph. Orch. and
N. Y. Philh. Soc.), Novelette for do.; over 100
songs and pes. for pf., vl. and pf., vcl. and pf.
Zuelll [ts66-£hn?1, Guglielmo, b. Reggio
Emilia, 1859. From 1894-1911, dir. of the
R. Cons, at Palermo, since then do. of the R.
Cons, at Parma. Comp. of the opera La
Fata del Nord (Milan, 1884; Sonzogno prize);
II Prof eta di Korassan, opera-ballet in 4 acts;
Inno alia Notte lor soli, ch. and orch.; 2 sym-
phonies; Un Saluto al Mare, symphonic poem;
// Canto del Coaro Romagnuolo, symphony-
overture; a str.-quartet and minor pes. for
st rs.; fugues for org. ; songs.
Zumpe [ts66m'p£), Hermann, born
Taubenheim, Upper Lusatia, April 9, 1850;
d. Munich, Sept. 4, 1903. After graduating
from the Seminary at Bautzen, he taught
for a year at Weigsdorf, and from 1871 at the
Third Burgerschule, Leipzig, also playing the
triangle in the City Theatre, and studying
music under Tbttmenn. From 1873HS he
was with Wagner at Bayreuth, aiding in the
preparation of the Nibelung scores; was there-
after Kapellm. in theatres at Salzburg, Wiirz-
burg, Magdeburg, Frankfort and (1884—6)
Hamburg. After some years spent in teach-
ing, coaching opera-singers, and composing;
he was app. court Kapellm. at Stuttgart in
1891; in 1893 he succeeded Faiszt as cond. of
the 'Verein fur klassische Kirchenmusik';
and in 1895 was called to Munich as
court Kapellm.; 1897-1900, Hofkapellm. in
Schwerin; returned to Munich in 1900 as
'Generalmusikdir. ' — Works : Opera A nahra
(Berlin, 1881); romantic comic opera Die
verwunschene Prinzessin (not perf.); 3-act
operetta FarineUi (Hamburg, 1886); 3-act
operetta Karin (ib., 1888); operetta Polnische
Wirtschaft (ib., 1889); 3-act opera Sawiiri
(posth.; Schwerin, 1907); 3-act opera Das
Gespenst von Horodin (posth.; Hamburg,
1910); also an overture to WaUensteins Tod;
songs.
Zumsteeg [ts66m-stag'], Johann Rudolf,
b. Sachsenflur, Odenwald, Jan. 10, 1760; d.
Stuttgart, Jan. 27, 1802. As a pupil of the
'Karlsschufe,' he was intimate with Schiller.
He intended to become a sculptor, but de-
veloped under the teachings of Kapellm. Poli
and others into an excellent 'cellist and com-
poser; in 1792 he succeeded Poli as court
Kapellm. He prod. 8 operas at Stuttgart,
4 of which are publ. in pf.-score (Elbondokam,
Die Geisterinsel, Zalaor and Das Pfauenfest)\
choruses to Sdiiller's Rduber; 21 church-
cantatas; a 'cello-concerto, duos f. 'celli and
'cello-sonatas. But it is chiefly as a ballade-
composer, the precursor of Loewe and Schu-
bert, that he will be remembered; he wrote
20 ballades for solo voice with pf.-accomp.,
including Schiller's Maria Stuart, Ritter Tog-
genburg, Burger's Lenore, Goethe's Colma,
Des Pfarrers Tochter von Taubenhayn* etc.
— Cf. L. Landshoff, /. R. Z. Ein Beitrag zur
Geschichte des Liedes und der Ballade (Ber-
lin, 1902); A. Sandberger, Z. und Schubert,
in 'Munchener Allgem. Ztg.' (July 15, 1906).
Zur Miihlen, Ralmund von, distin-
guished tenor concert-singer; b. Livonia, on
his father's estate, Nov. 10, 1854; d. London,
June 1, 1918. Pupil of the Hochschule in
Berlin, of Stockhausen at Frankfort and of
Bussine at Paris. He excelled as a singer of
German Lieder, especially Schubert's and
Schumann's (which he st. with Mme. Schu-
mann). It was he who introduced into London
the 'song-recital' (Liederabend; programs de-
voted exclusively to songs). Visited I*ondon
1072
ZUR NIEDEN— ZWYSSIG
for the first time in 1882, and several times
since ; lived there many years, highly esteemed
as a singing-master.
Zur Nie/den, Albrecht, composer; born
Emmerich-on- Rhine, Mac 6, 1819; d. Dyj*-
burg, April 14, 1873. A theological student
at Bonn, his love of music prevailed; he
studied under Fr. Schneider at Dessau, then
taught at Bonn (where Joseph Brambach was
his pupil), and in 1850 settled in Duisburg as
musical director, conducting many grand
choral works with great success. — He publ.
the iyrisch-dram. Gesane' Die Sage von der
Martinswand; Der blinde Konig [Uhland];
and Das Grab im Busento; all for soli, chorus,
and orch.; (in MS. are Konigin Esther, Die
schone Magelone, etc., f. do.); also a Deutscher
Marsch f. pf. 4 hands; songs; etc.
Zuschneid [tsoo'shnlt], Karl, born Ober-
glogau, Silesia, May 29, 1854. Pupil of
Lebert and Stark (pf.) and Faiszt (comp.) at
the Stuttgart Cons.; lived as teacher and
cond. of choral societies in Gttttingen (1879-
89), Minden (1889-97) and Erfurt (1897-
1907); since then dir. of the Hochschule fOr
Musik in Mannheim; made Kgl. Prof, in
1914. — Works: For male ch. and orch.. op.
20, Hermann der Befreier; op. 22, Lentfahrt;
op. 71, Sanger gebet; for mixed ch. and orch.,
op. 41, Deutschlands Erwachen; op. 50, Die
Zottern und das Reich, festival cantata; op.
53, Unterden Sternen; Psalm 49 for male ch. a
capp., op. 40; motets for do., op. 39; Konsert-
stuck for vl. and orch., op. 46; pes. for str.-
orch.; choruses a capp. ; pf.-pes.; songs; also
ft Theoretisch-praktische Klavierschule, and a
Methodischer Wegiveiser fur den Klavierunter-
richt.
Zvonaf [zv6h'nahrsh], Joseph Leopold,
b. Kublov, n. Prague, Jan. 22, 1824; d.
Prague, Nov. 23, 1865. Pupil of, teacher in,
and finally Director of, the Prague Organ-
School. In 1859, Director of the Sophien-
Akademie; in 1863, choirmaster of the
Trinitatiskirche, and music-teacher in the
'hohere Tochterschule' [school for young
ladies]. He publ. the first treatise on har-
mony in the Bohemian language (1861); wrote
an opera, Zaboj (not pen.); Der Ritt zum
EXjenstein for soli, ch. and orch. (op. 26); a
Requiem for ch. and organ (op. 36) ; pf .-pes.
(op. 2^Jmprtmtpiu; op. 3, Loreley; op. 10,
sonata; etc.); male choruses; songs.
Zweers [zwars], Bernard, born Amsterdam,
May 18, 1854. Pupil of the Cons, there,
later of Jadassohn in Leipzig (1881); prof, of
theory at the Amsterdam. Cons, since 1895. —
Works: 3 symphonies (No. 3, An mein Voter-
land); incid. music to Gijsbrecht van Amstel;
Kroningscantate for sop. and tenor soli,, ch.
and orch.; St. Nicolasfeest, children's cantata;
Kosmos (Psalm 104) for ch. and orch.; Ons
Hollandsch for male ch. and orch.; masses,
choruses and songs.
Zwin'tscher [tsvin'chet], Bruno, born
Ziegenham, Saxony, May 15, 1838; d. Ober-
lossnitz, n. Dresden, Mar. 4, 1905. Pianist;
pupil of Julius Otto at* Dresden for two
years; then 1856-9, at the Leipzig Cons., of
Plaidy and Moscheles (pf.), Richter, Haupt-
mann and Rietz (harm, aad comp.); in 1875
he was app. teacher of pf.-playing there
(resigned 1896); from then in Dresden in
great demand as a private teacher. — Publ.
Technische Studien (a continuation of Plaidy;
Engl. tr. by C. H. Porter) and Schule der
Ornamentik (also in Engl.).
Zwyssig [tsvfs'-], Alberich, born Bauen,
Switzerland, Nov. 17, 1808; d. in the Cister-
cian monastery at Mehrerau, Nov. 18, 1854.
Entered the Order of the Cistercians in 1826
(giving up his real name, Joseph, for the
monastic name A.); was Kapellm. in the
monasteries of Wettingen, Zug, Wurmbach
and (shortly before his death) Mehrerau.
His Schtveizer Psalm for male ch. a capp.
(1841) attained the popularity of a national
hymn; wrote sacred and secular choruses a
capp. and some church-music with organ. — Cf.
B. Widmann, A. Z. als Komponist (Zurich,
1905).
i -. .<
-•» i
1073
APPENDIX
ADDITIONS AND CORRECTIONS
Abendroth, Hermann, succeeded Stein-
bach as cond. of the Gtirzenich concerts in
Cologne (1914).
Abert, Johann Joseph. Cf. H. Abert,
J. J. A. Sein Leben und seine Werke (Leipzig,
1916).
Acuto. Pen-name of Fbderico Polidorc
Adlam, Sofie N. See Mansfield, Or-
lando.
d'Albano, Ippolito. Pen-name of Giro
LAMO ALBSSANDRO BlAGGI.
Albeniz, Isaac. Of his trilogy King Arthur
only the first drama, Merlin, was completed.
— Cf.G. Jean-Aubry, /. A., in *M. T.' (Dec.,
1917); H. Klein, A.'s Opera tPepUa Jimenez*
(ib., March, 1918).
d' Albert, Eugen. His opera, Die ver-
schenkte Frau, was prod, in 1913; instead of
Tote Augen, read Die toten Augen. At the R.
Opera in Berlin Tiefland was given more than
400 times up to 1917 (Amer. premiere at M.
O. H., Nov. 23, 1908). His latest opera,
Der Stier von Oliveira, is to be prod, at the
R. Opera, Berlin, in Oct., 1918. He is Kgl.
Prof., Hofrat, and member of the Kgl. Akade-
mie der Ktinste; decorated with 16 orders.
Married Fritzi Jauner in Vienna in Dec.,
1913; since 1912 living in Zurich.
Algarotti, Francesco. Cf. R. Northcott,
F. A. A Reprint of His* Saggio . . . .' and a
Sketch of His Life (London, 1918).
Alien, Hugh Percy, b. Reading, Engl.,
Dec. 23, 1869. Pupil there of Dr. F. Read;
at 1 1 he acted as org. at the Ch. of the Saviour;
then org. successively at Tilehurst Ch. (1884),
Eversley Parish Ch. (1886), asst.-org. at
Chichester Cath. (1887), org. at Christ's Coll.,
Cambridge (1892), St. Asaph Cath. (1897)
and Ely Cath. (1898); since 1901 org. at
New Coll., Oxford; for many years he was
cond. of the Oxford Bach Choir, now do. of
the London Bach Choir; 1908-18, also dir.
of music at University Coll., Reading; Mus.
Doc., Oxon., 1898. In 1918 he succ. Sir
Walter Parratt as prof, of music at Oxford.
Allen, Nathan H., b. April 14, 1848; re-
signed as org. of the Centre Ch. in 1906; 1906-
11, or£. of Piedmont Ch., Worcester; since
then living again in Hartford as teacher of
singing and choral cond.; 1916, asst.-con<L
of the Norfolk Festival chorus.
Alt'schuler, Modest, b. Mogilev, Russia,
Feb. 15, 1873. Had his first instruction on
the vl., but later took up the 'cello; 1884—6,
pupil of Gobelt (vcl.) at the Warsaw Cons.;
winning a scholarship at the Moscow Cons., he
studied there under Fitzenhagen (vcl.), Aren-
sky, Safonov and Tanieiev (comp.), graduat-
ing in 1890 as winner of the silver medal.
it
After touring Russia for some years with his
own trio, he settled in New York as an
orchestral player and teacher; in 1903 he
organized the Russian Symph. Orch. (first
concert, Jan. 7, 1904), of which he has been
cond. since. From the beginning the con-
certs met with marked success, so that soon
extended tours, covering the entire U. S. and
Canada, were undertaken. The orch. was
founded for the express purpose of introducing
the works of modern Russian composers, and
in this it has been conspicuously successful;
among the composers whose orchl. works had
their first Amer. performance under A. are
Ippolitov-Ivanov, Liadov, Rachmaninoy,
Vassilenko, Konius, Spendiarov, Skriabin,
etc. ; among the artists who made their Amer.
debut with this orch. are El man, Lhevinne,
Rachmaninov, Skriabin, Alshevsky, Volavy,
etc. Worthy of special mention is the first
complete pert, anywhere of Skriabin 's Promi-
thte, le Poeme du Feu, op. 60, with a specially
built 'color-keyboard' (N. Y., Mar. 20, 1915).
Apthorp, William Foster. Add to list
of works The Opera, Past and Present (1901).
Armbruster, Karl, d. London, Tune 10,
1917.
Arnold, Richard, d. New York, June 21.
1918.
Asantchevsky, Michail Pavlovitch. The
correct transliteration is Azantchevsky.
Aubert, Louis-Francois-Marie, b. Para-
me, Ille-et-Vilaine, Feb. 15, 1877. St. at the
Paris Cons, with Diemer and Faur6 (pf.) and
Lavignac (comp.) ; living in Paris as a teacher.
Has written an opera, La ForH bleue (Paris,
1906; Boston, Mar. 8, 1913); Fantaisie for
pf. and orch.; Suite breve for orch.; several
books of songs.
1074
AUER— BARRIENTOS
Auer, Leopold, made his first tour of
merica in 1918; d6but in recital at New
ork, Mar. 23; eng. for a special course at the
hicago Mus. Coll. (Sept.-Oct.).
Austin, John Turnell, famous organ-
guilder; b. Poddington, Bedfordshire, Engl.,
4ay 16, 1869; came to the U. S. in 1889, and
vorked for 3 years in the organ-factory of
"arrand & Votey, Detroit; having secured
i patent upon the principle of the Universal
Wind Chest, he became connected with
Clough & Warren as dir. of the pipe-organ
dept. After the factory had been destroyed
by nre he organized in Hartford, Conn. (Mar.
3, 1899), the 'Austin Organ Co/, which in a
short time won a place among the foremost
firms in America. Prominent among its 40
patents are those covering the A. Console and
Adjustable Combination Action (first issued
Oct. 13, 1914), which have been important
factors in the recent revolution in organ-build-
ing. The firm was awarded the gold medal
at the Jamestown (1907) and Panama (1915)
Expositions. Among the more than 700
instruments erected in all parts of the U. S.
some of the finest are those at the City Hall,
Portland, Me. (91 stops); Medinah Temple,
Chicago (94); Hotel Astor, New York (91);
Auditorium, Los Angeles (78); Auditorium-
Armory, Atlanta (72); Panama- Pacific Ex-
pos., San Francisco (114); Mormon Taber-
nacle, Salt Lake City (124). The present
(1918) officers of the company are: Pres.,
John T. Austin; Vice- Pres., Basil G. Austin;
Treas., John S. Camp; Sec., Waldo S. Pratt.
Baldwin, Samuel Atkinson, b. Lake
City, Minn., Jan. 25, 1862. He received his
first mus. education from local teachers in
St. Paul; from 1880-4 pupil at Dresden Cons,
of J. L. Nicode (pf.), G. Merkel (org.), W.
Rischbieter (cot.) and F. Wullner (comp.);
returning to the U. S. in 1885, he was app.
org. of Plymouth Ch., Chicago, where he
remained till 1899, when he went to St. Paul
as org. of the People's Ch. ; in 1895 he settled
in New York; org. Ch. of the Intercession,
1895-1902, and Holy Trinity Ch. (Brooklyn),
1902-11. Since 1907 he has been prof, of
mus. and org. at the College of the City of
N. Y. His public recitals on the magnificent
instrument in the Great Hall soon spread his
fame over the country, so that to-day he is
recognized as one of the foremost concert-
organists; on May 28, 1916, he gave his 500th
recital at the College; has also conducted
choral societies in St. Paul, Minneapolis and
New York; F. A. G. O.— Works: A pf.-trio;
str.-quartet in B m. (1883); Psalm XVIII f.
soli, ch. and orch. (1884); A Journey in Nor-
way, conc.-overt. (1887); The Triumph of
Love, cantata (1892); A Summer Idyl, suite
f. orch. (1895); Symphony in C m. (1895);
songs; sacred music (of which an anthem,
Tarry with me, has attained wide popularity).
Balling [bahl'-J. Michael, b. Heidingsfeld,
n. Wiirzburg, Aug. 29, 1866. As a boy he
sang in church, where his fine voice attracted
attention and wop him a scholarship at the
Kgl. Musikschule in Wiirzburg; there he st.
via. for 4 years under H. Ritter, and won as a
frize a fine instrument given by King Ludwig
I; began his career as via. -player in the
Mayence munic. orch.; then in the court
orch. at Schwerin; in 1886 app. first via. in
Bayreuth; on various occasions he played
chamber-music with Rubinstein and Brahms.
About 1890 he went to Nelson, New Zealand,
where he establ. a music-school (still flourish-
ing, 1918) and organized an orch. and a choral
soc.; in 1895, he toured England as mus. dir.
for F. R. Benson's prod, of Midsummer Night's
Dream; 1896, asst.-cond. in Bayreuth. Hav-
ing served a year as chorusmaster at the
Stadtth. in Hamburg, he was called as 1st
Kapellm. to Liibeck, where he distinguished
himself by giving the entire Nibelungen with-
out cuts; then in similar capacity in Breslau;
in 1903, he succ. Mottl as 1st Kapellm. at the
opera in Karlsruhe, arid cond. of the symph.
concerts; visited Spain in 1906, and cond.
in Barcelona the local premiere of Die Meister-
singer with such success that he was invited to
direct Tristan and the Ring at Bayreuth; in
1910, he toured England as principal cond. of
Denhof's Opera Co. (the Ring in English);
since 1911, in Manchester as cond. of the
Halle Orch. (succ. Richter). He is ed. of the
monumental edition of Wagner's complete
works (begun by Breitkopf & Hartel in 1914;
see Wagner, p. 1003).
Bantock, Granville. Cf. H. Antcliffe,
A Brief Survey of the Works of G. B., in 'Mus.
Quart/ (July, 1°18).
Barnes, Edward Shippen, b, Seabright,
N. J., Sept. 14, 1887. Organ-pupil at the
Lawrenceville School of Prof. Van Dyck;
then at Yale Univ. of profs. Jepson (org.) and
Parker (comp.), acting at the same time as
asst.-org. (1909-10); 1910-1, in Paris, at the
Schola Cantorum, with d'Indy, Vierne and
Decaux; 1911-2, org. at the Ch. of the In-
carnation, then do. at Rutgers Presb. Ch.
in New York. Joined the U. S. Naval
Reserve in July, 1918.— F. A. G. O.—
Works: For organ: Op. 5, Deux Morceaux;
op. 18, Symphon\e; op. 23, Suite; op. 26,
Deuxieme Suite. Op. 15, The Comforter,
cantata; op. 27, Fantasia for ch. and org.;
anthems, sacred songs and pf.-pcs.
Barnett, John Francis, d. London, Nov.
24, 1916.
Barrientos, Maria, coloratura soprano;
b. Barcelona, Mar. 10, 1885. Remarkably
1075
BATKA— BLOCH
precocious, she graduated from the Cons,
there at the age of 12, having completed
courses in pf., vl. and comp.; after a serious
illness, due to overwork, her voice was dis-
covered, and after only 6 months' study under
Rennet she made her operatic deout as
Selika in Barcelona (T. de las Novedades,
Mar. 4, 1899 [at 14!]); until 1913 she sang
with preat succ., chiefly in Italy and South
America, appearing also in France, England,
Russia, Germany and Austria; after 3 years'
retirement she reappeared on the stage at the
M. O. H. as Lucia (Jan. 31, 1916), and has
sung there every season since. Her voice,
ranging from c-f*t is rather weak, but very
sympathetic; she has won success through
her perfect vocal technic, thorough musician-
ship and fascinating personality. Her re-
pertoire of 20 rdles is drawn from works of
Rossini, Donizetti, Verdi, Meyerbeer, A.
Thomas, Delibes, Flotow and Mozart, the
latter being her favorite composer.
Batka, Richard. Vol. iii of his Allge-
meine Geschichie der Musik [Gesch. der Musik
des 19. Jahrhunderts, cont. by W. Nagel]
appeared ill 1915.
Bausznern, Waldefnar yon. Add to
works Symphony No. 4, in C (prod. Wies-
baden, Nov., 1916).
Beecham, Sir Thomas. In 1917 app.
pres. of the R. C. M. of Manchester.
Beer-Walbrunn, Anton. The opera
Das Ungeheuer was prod, in Karlsruhe (Apr.
25, 1914).
Beliaier, Mitrofan Petrovitch. Cf. M.
Montagu-Nathan, B. — Macenas of Russian
Music, in 'Mus. Quart.' (July, 1918).
BellincionJ, Gemma. In 1917 she was
made hon. member of the Accademia Luigi ,
Cherubini, Florence.
Benelll, Alemanno. Pseudonym of
Ercole Bottrigari.
Bennett, Sir William Sterndale. Add to
bibliogr. C. V. Stanford, W. 5. B., in 'Mus.
Quart.' (Oct., 1916).
Berliner, Dorothy, b. New York, June 27,
1893. St. pf. with Karl Hauser in N. Y.; in
1913 pianist for Amy Grant's lecture- recitals
(on opera); further study with Georg Ber-
tram in Berlin (1914) was interrupted by the
war; succ. debut as concert-pianist in recital
at New York (Jan. 29, 1916).
Besekirsky. Correct transliteration is
Bezekirsky.
Beat, William Thomas. Cf . O. A. Mans-
field, W. T. B. His Life, Character and
Works, in 'Mus. Quart.' (Apr., 1918).
Bimbo'ni, Alberto, b. Florence, Aug.,
1882. Pupil there, at the R. Cons. Cheru-
lini, of Buonamici (pf.), Landini (org.) and
Scontrino (comp.); cond. of the Sav_.
Opera Co. on tour of the U. S. (191 1-2 ; c-
ofthe Golden West); 1913-4, do. of C«rnt
Opera Co.; 1915 in Havana; has appea
as pianist in concerts with Ysaye, SpaJdi-
Thomas, McCormack, Boittri, etc. Has p-
Tuscan folk-songs and pes. for org.; «*•
(1918) writing a grand opera employi-
Indian melodies furnished by the SmitHsom
Inst. (Washington).
Bishop, Sir Henry Rowley. Cf . F. Coreif
The Works of Sir H. B.t in 'Mus. Qu^n
(Jan., 1918).
Bittner, Julius. His opera Das hoi I xs
Gold was prod, at Darmstadt (1916).
Blanchet [blahn-sha'], ftmile R., b. L •.
sanne, July 17, 1877. Pupil of his la.th<
Charles [1833-1900; org. at St. Franco.-
and of Seiss, Franke and Strasser at the C ,■
logne Cons. (1894-8); st. further with Busnr
in Weimar and Berlin; since 1904 prof,
pf. at the Lausanne Cons. Has written .
Konsertstuck for pf. and orch., a vl.-sona:_
songs, and pf.-pes. (vars., preludes, etude-
etc.).
Blanck, Hubert de, b. Utrecht, Tune !1
1856. Pupil at the Liege Cons, of Ledenr
(pf.) and Dupuy (comp.); 1875, th.-cood. is
Warsaw; then toured Europe as pianist; with
the violinist E. Dengremont he visited South
America in 1880; 1881-2, taught at the X. V.
Coll. of Music; in 1883 settled in Havana,
where he founded the first cons. (1885). For
participation in the revolution he was edrj
in 1896; after the reestablishment of pe^r
he reopened his school, which flourished, so
that to-day (1918) he has 7 branches in the
chief cities of Cuba. Has publ. pf.-pes. and
songs.
Blech, Leo. He rewrote Alpenktmig
und Menschenfeind; prod, as Rappelkopf at
the R. Opera, Berlin (1917).
Bloch, Ernest. In 1909-10 he was cond.
of the subscription concerts at Lausanne and
Neuchatel, and from 1911-5 prof, of comp.
and esthetics at the Geneva Cons. In 1916
he came to America as cond. of Maud Allen's
tour; in 1917 he settled in New York as
teacher of comp. at the David Mannes' Sch.
of Music. Shortly after his arrival the per-
formance of his str. -quartet by the flonzaleys
(N. Y., Dec. 29, 1916) attracted more than
usual attention, and Dr. Muck invited the
composer to conduct his Poetnes juifs at 2
concerts of the Boston S. O. (Mar. 23-4,
1917); the Soc. of Friends of Music arranged
a special concert of B.'s works, cond. bv
Bodanzky (N. Y.f May 3, 1917). Musicians
were struck by the pronounced individuality
of the new composer. After hearing the
first Symphony in C# ra. in Geneva (1910),
1076
BODANZKY— BONNET
R. Rolland called it 'one of the most import-
ant works of the modern school/ music in
which 4a rich, vigorous, passionate tempera-
ment makes itself felt. This same vigor
characterizes all B.'s music, although the
passion -ia not on the surface. The works in-
spired by Jewish subjects possess a distinct
racial flavor, even when the composer does not
employ specific Hebrew themes; in them he
strives to give expression to the ideals and
aspirations of the race. In his thematic de-
velopment and the employment of all the
resources of the modern orchestra he shows
consummate mastery. — Publ. works: Hiver-
Printemps, symph. poem; Trois Pobnes juifs
(Danse, Rite, Cortege funebre) for orch.;
Schelomo [Solomon], rhapsody for vcl. and
Guilmant at the Paris Cons., graduating with
the 1st prize; having also won the 'Grand
Prix Alexandre Guilmant/ he entered, in
1906, the competition for the coveted post of
org. at St.-Eustache (all competitors being
'premiers prix' of the Cons.), and received
the appointment, which he still (1918) holds.
Succ. tours of France, Belgium England,
Switzerland, Germany, Austria and Hungary
rapidly won him international reputation; in
1911 he also became Guilmant 's successor as
org. of the Concerts du Cons. His Amer.
debut, on the grand organ of the College of
the City of N. Y. (Jan. 30, 1917), was an
emphatic success, and was followed by ex-
tended tours of the U. S. during that year and
the next; special interest was aroused by his
orch.; str. -quartet in B; Poemes (TAulomne 'series of 5 historical recitals (Hotel Astor,N.
{La Vagabonde, VAbri, Le DSctin, Invocation)
for m.-sop. and orch.; Psalm 22 for bar. and
orch.; Psalm 114 for sop. and orch.; Psalm
137 for do. — In MS.: An opera, Macbeth
(Paris, Op.-Com., Nov. 30, 1910); Symphony
in C# m. ; do. in F, Israel; Symphonie orien-
tate (on Hebrew themes); Vivre et Aimer,
symph. poem. Orientate for orch. He is now
(1918) writing a second opera, Jezabel, on a
text by £douard Fleg.
Bodanzky, Artur. In 1917 he publ. a
new ed. of Weber's Oberon; he reduced the
number of stage-pictures to 7, eliminated
some minor characters, comp. the recitatives
and added 15 new recitatives [En^l. tr. by
Dr. Th. Baker] connecting the original set
numbers. This version is to be prod; at the
M. O. H. in 1918-9.
Bolto, Arrifto, d. Milan, June 10, 1918.
In 1912 he was made Senator. — Cf. R. Giani,
// "Nerone,, diA. B., in 'Riv. M. 1/ (vol. viii;
1901). On his death-bed B. declared that
Nerone was finished.
Bonawitz, Johann Heinrich, d. London,
Aug. IS, 1917. — Add to works an opera,
Napoleon; a Requiem; a Stabat Mater a
capp.; op. 11, Fantasie for orch.; op. 29,
overture to Milano's tragedy 1793; op. 36,
pf. -concerto; op. 37, pf.-trio in E; op. 40,
vl. -sonata in A m.; op. 42, pf. -quintet in G
m.; also 'Historische Klaviermusik' (se-
lections from Frescobaldi, Froberger, Cou-
perin, Rameau, Marcello, etc.).
Bond, Alessandro. In 1917 he was made
hon. member of the Accademia Luigi Cheru-
bini, Florence.
Bonnet [b6h-n&'], Joseph, distinguished
organist; b. Bordeaux, Mar. 17, 1884. Pupil
of his father, organist at Ste.-Eulalie; his
progress was so rapid that at 14 he was app.
regular org. at St .-Nicolas, and soon after at
St.- Michel, where his recitals attracted con-
siderable attention; he then ent. the class of
Y., Dec., 1917; repeated by request in other
cities), illustrating the development of organ-
music from the precursors of Bach to the
present. Among the world's great organists
of to-day B. has no superior, and but few
equals. His memory is prodigious; in 1910-1
he gave at St.-Eustache more than 40 recitals
without repeating a single number. He is
F. R. C. O., hon. mem. A. G. O., do. Amer.
Organ Players* Club (PJiila.), etc. He has
also made for himself a prominent place
among modern composers for the organ. —
Works: Op. 1, Variations de Concert for org.;
op. 2, Ave Maria for ch. and org.; op. 3,
Poemes d'Automne for org. (1. Chant des
Chrysanthemes, 2. Matin provencfll, 3. Pohme
du Soir); op. 4, songs (MS.); op. 5, Douze
Pieces pour Grand Orgue (1. Prelude, 2. Lamen-
to, 3. Toccata, 4. Nocturne, 5. Ave Maris Stella,
6. Reverie, 7. Intermezzo, 8 Fantaisie sur 2
Noels, 9. £pithalame, 10. LSgende symphonique,
11. Canzona, 12. Rapsodie catalane); op. 6,
motets (1. Ave Maria for sop. solo and org.;
2. Agnus Dei for bar. solo, 3-part ch. and
org.; 3. O Salutaris for solo-quartet and org.) ;
op. 7, Douze Pieces pour Grand Orgue [orig.
publ. as Douze Pieces nouvelles] (1. DSdicace,
2. txude de Concert, 3. Clair de Lune, 4. Stella
matutina, 5. Songe a" Enfant, 6. Chant de Prin-
temps, 7. PrSlude au "Salve Regina," 8. Ro-
mance sans Paroles, 9. Pastorale, 10. Deuxieme
LSgende, 11. Elfes, 12. Caprice hSroique); op. 8,
Pater Noster for ten. solo and org.; op. 9,
Concerto for org. and orch. [unfinished]; op.
10, Douze Pieces pour Grand Orgue (1. In
Memoriam [on loss of the 'Titanic }, 2. Ariel,
3. Meditation, 4. Moment musical, 5. Consola-
tion, 6. Berceuse, 7. Magnificat, 8. Chaconne,
9. Pay sage, 10. Angelus du Soir, 11. Versets,
12. Poeme tcheque). — Has edited all the works
played in his series of 5 historical recitals as
Historical Organ Recitals' (5 vols.; G.
Schirmer). — Cf. H. B. Gaul, Bonnet, Bossi,
Karg-Elert. Three Apercus, in 'Mus. Quart.'
(July, 1918).
1077
BORCH— BURLEIGH
Borch, Gaston. Has publ. Manual of
Instrumentation (1918).
Borowski, Felix. In 1916 app. dir. of the
Chicago Mus. Coll.
Bossi, (Marco) Enrico. Was organist at
Como Cath. from 1881-9; prof, at-the Naples
Cons.. 1890-6. On Feb. 15, 1916, app. dir. of
the Liceo Mus. dell' Accad. Sta. Cecilia in
Rome. Has made several tours of Germany,
Switzerland, Holland, England, Russia, Fin-
land and Hungary; member of many acade-
mies (Berlin, Stockholm, Amsterdam, Venice,
Bologna, etc.). His opera II Veggente was
rewritten and prod, as // Viandante (Mann-
heim, 1906).— Cf. H. B. Gaul, Bonnet, Bossi.
Karg-Elert, Three Apercus, in 'Mus. Quart.
(July, 1918).
Botta, Luca. Correct date of birth is
April 16, 1882; d. New York, Sept, 29, 1917
(of cancer). Amer. debut in 1912 with the
Pacific Coast Opera Co. in San Francisco;
debut at M. O. H. as Rodolfo (La Boheme;
Nov. 21, 1914).
Boyd, Charles NM b. Pleasant Unity, Pa.,
Dec. 2, 1875. While attending the Western
Univ. [now Univ. of Pittsburgh], he st. music
privately with local teachers (1890-4); living
in Pittsburgh as orjj. at the North Ave. M. E.
Ch. (since 1894), tnstr. of church-music at
the Western Theol. Sem. (since 1903) and a
dir. of the Pittsburgh Mus. Inst, (since 1915);
1915 sec., and 1918 pres., of the M. T. N. A.;
in 1918 assoc. ed. of the Amer. suppl. to
Grove's 'Dictionary*; wrote the analytical
notes for the Pittsburgh Symph. Orch.(1910-
2); mus. ed. of The United Presbyterian
Psalter (1912); writer for various papers.
Has publ. Lectures on Church-Music (1912).
Brahms, Johannes. His letters to Peter
and Fritz Simrock were publ. by M. Kalbeck
(2 vols.; Berlin, 1916).— Add to bibliogr.
W. Nagel, Die Klavietsonaten von J. B. (Stutt-
gart, 1915).
Braun [brown], Karl, distinguished dra-
matic bass; b. Meisenheim, Prussia, June 2,
1885. Pupil of H. Cause he at Bad Kreuz-
nach (1904); then, while filling engagements,
continued study with E. Robert- Weiss in Ber-
lin and Wiesbaden. His concert-debut in
Bach's St. Matthew Passion (Treves, April 1,
1904) was followed in Aug. of the same year
by his stage-d6but as the Eremit in Freischutz
(bad Kreuznach); 1905-6, sang minor parts
at the Berlin R. Opera; 1906-11, in leading
parts at the Hofoper in Wiesbaden; Sept.-
Dec., 1911, at the Vienna Hofoper; then
toured Germany, Austria, Hungary and the
Netherlands, singing in concert and as star in
opera (Wagner Festival, Brussels, May-June);
1912-3, at the Deutsches Opernhaus in
C harlot tenburg; 1913-7, leading bass rdles
at the M. O. H., where at his debut as Konig
Marke (Feb. 8, 1913) he was well received.
In 1906 he sang minor parts at Bayreuth,
gradually appearing in all the principal rdles.
winning special success as Hagen; in 1911 he
was made Kammersanger by the Duke of An-
halt- Dessau; he is married to the former
actress Gertrud Botz. He possesses a per-
fectly trained voice of extraordinary power
and unusual compass CBt^-y1). enabling him
to sing basso prof undo and baritone with the
same ease. Equally convincing as a singer
and actor, his splendid physique (he is over
6 feet) makes him an ideal interpreter of
Wagner's heroes. He created Kdnig Neiding
in Hosel's Widand der Schmied (Charlotten-
burg, Dec., 1912) and Thoas in the Amer.
premiere of duck's Ithigenie auf Tauris (M.
O. H., Nov. 25, 1916); his favorite rdles are
Hollander, Wotan, Hagen and Gurnemanz;
also sings Pizarroand Rocco (Fidelio), Figaro,
Sarastro, the Cardinal (La Juwe; in Fr. and
Ger.) Mephistopheles (in Fr., Ger. and Ital.),
Marcel (do.), etc.
Brayton, Coulthart. The pen-name of
Charles Henry Moody.
Breitkopf & Hartel. Add to list of pub-
lications the following important periodicals:
'Allgemeine musikalische Zeitung' (weekly;
1798-1848 and 1863-5); 'Monatshefte fur
Musikgeschichte' (1869-1905); 'Vierteljahrs-
schrift fUr Musikwissenschaft' (1885-94);
'Zeitschrift der International Musikgesell-
schaft' (monthly; since Oct., 1899); 'Sam-
melbande der Internationalen Musikgesell-
schaft' (quarterly; do.); 'Korrespondenzblatt
des Evangelischen Kirchengesangvereins fur
Deutschland' (monthly; since 1887).
Broadwood & Sons. Cf. W. Dale,
Tschudi, the Harpsichord-maker (London,
1913).
Brune, Adolf Gerhard. His first sym-
phony is in Eb.
Bruneau, Alfred. Add to works the
opera Les quatre Journtes, text by himself
(Op.-Com., Dec. 24, 1916).
Buhlig, Richard, pianist; b. Chicago,
Dec. 21, 1880. St. pf. there with M. Cameron
and A. Hyllested; 1897-1900, with Lesche-
tizky in Vienna; debut in recital at Berlin
(Oct., 1901); from then until the beginning:
of the war touring all Europe, with head-
quarters in Berlin; visited the U. S. for a
short tour in 1907-8 (Amer. debut with Phila.
S. O. in N. Y., Nov. 5, 1907); returned to the
U. S. in 1916; in 1918 app. teacher of pf. at
the Inst, of Mus. Art, New York.
Burleigh, Henry Thacker, b. Erie, Pa.,
Dec. 2, 1866. St. singing there and sang in
local churches until 1892, when he won a
scholarship at the Natl. Cons., New York;
1078
BURNEY— CARRESfO
len st. with Ch. Fritsch (voice), R. Gold-
lark (harm.), J- White and M. Spicker (cpt.)t
lso playing d.-bass and timpani in the Cons,
rch. ; for 2 years also taught there singing
nd solfdge; baritone soloist at St. George's
since 1894) and Temple Emanu-El (since
899) ; on May 16, 1917, the Natl. Assoc, for
he Advancement of Colored People awarded
lim the Spingarn Medal for highest achieve-
rient during the year 1916 by an Amer. citizen
}f African descent. He has gained wide
popularity as a songwriter (Love's Garden,
Jean, Memory, A Prayer, Passionate, The Grey
Wolf, Deep River, Saracen Songs, One Year,
Ethiopia Saluting the Colors, etc.; also arrs.
of Negro spirituals).
Burney, Charles. Cf. L. M. Isaacs, A
Friend of Dr. Johnson, in 'Mus. Quart.' (Oct.,
1915).
Busonl, Ferruccio (Benvenuto). 2 1-act
operas, Turandot and Harlequin, were prod,
in Zurich (1917).— Cf. H. Leichtentritt, F. B.
as a Composer, in 'Mus. Quart.' (Jan., 1917).
Caccini, Glulio, did not collaborate with
Peri in the comp. of Rinuccini's Dafne.
Cadman, Charles Wakefield. Add to
works The Vanishing Race for str.-orch.
(1916); incid. music to Norman Geddes's
The Thunderbird (Oct., 1916), of which 4
numbers were publ. separately as Thunder-
bird Suite; Shanewis [The Robin Woman],
1-act opera (M. 0. H., Mar. 23, 1918).
Calzin, Alfred, pianist; b. Marine City,
Mich., June 29, 1885. Pupil in cpt. and
comp. of Van der Velpen (Brussels, 1900-4)
and pf. of Alberto Jonas (Berlin, 1904-7);
debut in Berlin with Philh. Orch. (Feb. 27,
1907) followed by tour of Europe; 1908-12,
four tours of the U. S. and Canada; since 1912
teacher of p(. at the Walter Spry Mus. Sch.
in Chicago.
Cametti, Alberto. For his recent dis-
covery of important MSS. see Michi, Orazio.
Camp, John Spencer, b. Middletown,
Conn., Jan. 30, 1858. Graduate of Wesleyan
Univ. (A. B., 1878; M. A., 1881); pupil in
New York of Dudley Buck (org. and theory),
S. P. Warren (org.) and Dvorak (comp. and
orch.); 1882-1906, org. and choirm. at the
Park Congr. Ch., Hartford; since then do. at
the Centre Congr. Ch.; is also Treas. of the
Austin Organ Co.; 1902-11, cond. of Hart-
ford Philh. Orch. (55 performers) ; has given
numerous recitals in Hartford; -one of the
founders of the A. G. O., and for several years
member of the Council. — Works: Op. 5, The
Song of the Winds, ballad for solo, ch. and
orch.; op. 6, Psalm 46 for soli, ch. and orch.;
op. 13, The Prince of Peace, Christmas cantata
for do.; The Morning Star, do. for soli, ch.
and org.; The Prince of Life, Easter cantata
for do.; Chant d* Amour and Spring Song for
full orch. (MS.; prod, in Hartford); str.-
quartet in G (MS.); anthems, org.-pcs. and
songs.
Qainpanini, Cleofonte, is a brother of the
famous tenor Italo C; on May 15, 1887, he
married, in Florence, Eva Tetrazzini (sister
of Luisa T.). In Jan., 1918, he brought the
entire Chicago Opera Co. to New York (4
weeks), introducing Galli-Curci with sensa-
tional success.
Cariuimi, Giacomo. Add to bibliogr.
A. Cametti, Primo contributo per una biografia
di G. C, in 'Riv. Mus. Ital.' (vol. xxiv, 3;
1917; very important).
Carr, Frank Osmond, d. Uxbridge,
Middlesex, Aug. 29, 1916.
Carreflo, (Maria) Teresa, one of the
world's great pianists; b. Caracas, Venezuela,
Dec. 22, 1853; d. New York, June 12, 1917.
Her talent showed itself at the age of 4, but
her father, an excellent pianist, did not begin
systematic instruction until she was 6; at
8 she played Thalberg's difficult fantasy on
Norma and similar brilliant concert-pieces in
vogue at the time. Her father, Manuel
Antonio C, was minister of Finance, and
his house the gathering-place of all local and
visiting musical celebnties. At the frequent
soirees Teresa's finished execution and un-
usual power of improvisation aroused general
admiration. Driven from home by a revo-
lution, the family settled in New York in
August, 1862. Gottschalk had heard of the
wonder-child, called, and persuaded the
father to exhibit the new prodigy. On Nov.
7, 1862, the first semi-public concert took
place at Irving Hall before an invited audience
of musicians and representatives of the press;
the result was the arrangement of 6 concerts,
at one of which Theo. Thomas was the assist-
ing artist. The first of these — her real debut
— was given at the same hall on Nov. 25, with
overwhelming success; the steady increase
in attendance at each succeeding appearance
necessitated the engagement of the large
Acad, of Music for the final concert (Dec. 22),
which was attended by 4000 persons. Im-
mediately she was eng. for 2 concerts in Bos-
ton, where she was first heard at Music Hall
on Jan. 1, 1863; instead of the 2 concerts, she
was obliged to give 12, and by March had also
been heard in 12 more concerts in the chief
Eastern cities. At the invitation of Karl
Zerrahn, the cond. of the Boston Philh. Soc.,
she made her debut with orch. there in Jan.,
1863, arousing a furore with Mendelssohn's
Capriccio briUante (which she had prepared in
3 days). In April and May she played with
similar success in Havana. After these
early triumphs she resumed serious study
with Gottschalk, continuing occasional pub-
1079
CARRERO— CARRILLO
He appearances. From 1865-74 she toured
Germany, France, Spain and England; in
Paris she studied for a time with Georges
Mathias and, at a later period, with Rubin-
stein. In Edinburgh she made an unexpected
operatic debut as the Queen in L& Huguenots
(May 24, 1872), in a cast that included Tiet-
jens, Brignoli and Mario. Col. Mapleson
had planned a gala performance in honor of
the Queen's birthday; a few days before the
event the artist cast for the Queen became
sick; M.f unable to secure a substitute,
and firmly convinced that C.'s musicianship,
fine natural voice and great personal beauty
would save the day, overcame her objections;
in 4 days she learned the part, and sang
(under an assumed name) with brilliant
success. After her return to the U. S. in
1875 she St. singing with H ermine Ruders-
dorff in Boston, made her Amer. debut as a
singer in Don Giovanni (Zerlina), and con-
tinued on the operatic stage for some years.
On the Bolivar centenary celebration (1883)
she appeared in Caracas as singer, pianist and
composer of the festival hymn, written at the
request of the govt. [Hence the oft-repeated
statement that C. wrote the national hymn
of Venezuela. Gloria al bravo pueblo (words
by V. Salfas, music by J. Landaeta) was
comp. in 1811, and officially adopted as the
national anthem on May 25, 1881]. Next year
she appeared there again in a company of
which tier husband (the baritone Giov. Ta-
gliapietra) was manager; after the sudden de-
parture of both conductors she wielded the
baton for the remaining 3 weeks of the
season. Thenceforth her entire time was de-
voted to the piano. Upon her reappearance
in Germany (tour of 1889-90) she was unani-
mously recognized as one of the master-
pianists, and her numerous tours of Europe
and America were a succession of uninter-
rupted triumphs; her last appearance with
orch. was with the N. Y. Philh. Soc. (Dec. 8,
1916), her test recital, in Havana (Mar. 21,
1917). Her publ. comps. .(all written in
early life) consist of a str.-quartet in B,
Petite Danse tsigane for orch., and a number
of brilliant concert-pes. for pf. (39 op.-num-
bers); a waltz, Mi Teresita, has won great
popularity, and was publ. in numerous airs. —
r. was married 4 times. In 1872 she married
Emile Sauret, the violinist; about 1875, the
baritone Giovanni Tagliapietra; from 1892-5
she was the wife of Eugen d 'Albert; her last
husband, Arturo Tagliapietra, a younger
brother of Giov., she married on June 30,
1902. Of her 5 children two (both by Giov.
T.) have made a reputation as musicians:
(1) Teres! ta, b. New Rochelle, N. Y., Dec.
24, 1883; pupil of her mother, of Josef Hof-
man (Berlin) and Moezkowski (Pans); debut
Stockholm, 1901; since then tours of Scan-
in..
a
dinavia, Germany, Russia and Engla.***^-
Gioyanni, b. New Rochelle, Jan. 7, X&&5
singing with Villa in Rome; debut as t>an
later developing into a tenor ; has been
chiefly in Italy. — C.'s career, extendi**^
more than half a century, appears li"
reflex, in a single individual, of the er%~<>! *-?
of piano-playing during that period. Ar
beginning she was entirely the child of
time; her instantaneous early success?
won though her dazzling technical fea.
time when mere virtuosity was the hi&h*
aim of the pianist. As the interpne-f.«iti
school of Chopin-Schumann-Liszt gradual
supplanted the older virtuoso-school of jf-lu-
mel-Moscheles-Thalberg, C.'s art devie?ior»
along the same lines, at first instincriv e
later consciously; in fact, from »me»-fjf
about 1895 she was one of the most influ^x: r .
factors contributing toward the recent: in-
fection of touch and tonal shading. A r>£a> »-
in the 'grand style,' she was especially famo;
for her masculine vigor in the interpretat*
of the heroic or the colossal, which earned hr~
the appellation of 'the Valkyrie' or 'the Brum
hilde of the piano. But if in her loft --
moments she swept her hearers off their feet.
she enchanted them in her moments of grace
and tenderness. For penetrating iosiphr
reverence for the composer, sheer beauty or
tone and infinite variety of tone-color -he
has never been excelled. — For her s&are to
securing early appreciation of MacDovelJ
(her pupil) see the article M., p. 562.
Carrillo [kjUir-riTyd], Julian, b. An*
lulco, San Luis Potosi, Mexico, Jan., 1ST 5.
From 1885-95 he st. with F. Carlos; then .*:
the Cons. Nacional, Mexico City (1895-9 ,
pupil of P. Manzano (vl.) and M. Morales
(comp.); grad. as winner of a special priz?
offered by President Diaz, whicflf enabled
him to spend 5 years in Europe: 1899—1902,
at the Leipzig Cons, under Hans Becker (vl. ,
Jadassohn (comp.) and Hans Sitt (orch.),
playing at the same time in the Gewandhaus
orch. under Nikisch; 1902-4, at the Ghent
Cons., winning the 1st prize for vl. After a
concert-tour through Mexico (1906-7) be
settled in Mexico City; taught comp. at the
Cons. (1907-^8); insp.-general of music (1908-
12); since 1912 dir. of the Cons.; in 1909 ht
organized the Beethoven Symph. Orch. and
the B. Quartet; in 1914 he gave a number*
of orchl. concerts in New York, introducing
some of his comps. — Works: A 4-act opera
Mathilda, and a 1-act do., Ossian (not prod.);
2 symphonies (D and C); 2 suites for orch.
(F and E m.); pf. -quintet in Eb; str.-sextet
in G; str.-quartet in Eb; 2 masses for soli, ,
ch. and orch. (F and C); a Requiem for do. '
Has publ. Discursos sobre la musica (1913);
Tratado sintitico de Harmonic, (1913; 2d ed.
1080
CARUSO— COLERI DGE-TAYLOR
15); in MS., a treatise on Counterpoint
d one on Instrumentation.
Caruso, Enrico. Made hon. member of
« Accademia Luigi Cherubini in Florence
*>1 7) ; created Flatnmen in the Amer. pre-
iere of Mascagni's Lodoletta (M. 0. H.f
in. 12, 1918). Married Dorothy Park Ben-
.min in New York, Aug. 20, 1918. Has
ubl. Haw to Sing (London, 1913; Ger. tr. by
.. Spanuth as Wie man singen soil, Berlin,
914).— Cf. M. H. Flint, C. and His Art
New York, 1917).
Casals, Pablo. Decorated in July, 1918,
vith 'La Gran Cruz de Alfonso XI 11/ the
lighest honor in Spain.
Cavalli, Francesco. Add to bibliogr.
T. Wiel, F. C, in 'Mus. Antiqu.' (Oct., 1912;
mportant).
Ghadwick, George Whitfield. Add to
works Tarn O'Shanter, symphonic ballad for
orch. (1917).
Chaffin, Lucien Gates, b. Worcester,
Mass., Mar. 23, 1846. Graduate of Brown
Univ. (A. B., 1867); taught languages for 7
years; st. music in Boston with £. Thayer
and others; until 1914 org. in various churches
in Boston, Buffalo and New York; also ap-
peared in recitals (Phila. Centennial Expos.);
mus. editor of the Buffalo 'Express' (1879-
83) arid of the N. Y. 'Commercial Adver-
tiser' (1884-90); sec. of N. Y. MS. Soc. (1895-
1903); now sec. of 'People's Symph. Con-
certs'; has lectured and contrib. to various
journals; member A. G. O. and Natl. Assoc,
of Organists. — Works: Psalm 23; Holy
Night, cantata; pes. for org. (Chromatic In-
trod. and Fantasy, Serenade, Eur y dice, etc.);
songs and anthems and many pf.-pes.;
numerous arrs. for ch. of works by Grieg,
Cornelius, Pbldini, etc.
Chilesottl, Oscar [not Oscare], d. Milan,
June 24, 1916.— Cf. V. Fedeli, // Dr. O. Ch.,
in 'Riv. Mus. Ital.' (vol. xxiii, 3-4; 1916).
Clark, Melvifle, one of the pioneers of the
flayer-piano industry; b. Oneida Co., N. Y.
n 1875 he established himself as an organ-
builder in Oakland, Cal.; removed to Chicago
in 1880; in 1894 he also opened a piano-
factory, after he had become interested in
pneumatic actions; his experiments leading
to practical results which convinced him of
the possibilities of the player-piano, he sold
his organ factory, and, in 1900, organized the
Melville Clark Piano Co., of which he has
been Pres. since. In 1901 he patented and
placed on the market the 88-note roll, utilizing
the full compass of the piano, and thus gave
the impetus to the phenomenal piano-player
industry of to-day. In 1911 he patented a
recording-mechanism, which aims to re-
produce the actual performance of great
pianists. So far (1918) he has taken out
nearly 200 patents, and his catalogue of mu-
sic-rolls comprises almost 25,000 different
titles.
Clark, Melville Antone, nephew of the
preceding, harpist and harp-mfr.; b. Syra-
cuse, N. Y., Sept. 12, 1883. He received his
first instruction on the harp from his father;
pupil of Van Veachton Rogers (1896-9) and
of John Aptommas in London (1908). While
on a tour of Great Britain in 1908 he acquired
a small Irish harp, formerly the property of
the poet Thomas Moore; by the application
of acoustic principles he improved the model
and succeeded in producing a small, portable
harp (39 inches high) of considerable tone-
volume; founded the 'Clark Harp Mfg. Co.*
at Syracuse, which turned out the first small
Irish harps in 1913; on a tour of the U. S.
with John McCormack (1913-4) the in-
ventor demonstrated the possibilities of the
new instrument.
Glass, Dr. Franklin Morris, b. New York,
May 2, 1881. Graduate of Harvard Univ.
(1903), where he st. music under J. K. Paine,
receiving his degree of A. B. 'cum laude' in
music; then st. medicine at Columbia Univ.
(M. D., 1907), and became attending physi-
cian at Bellevue Hospital, New York; for 7
years a member of the mus. com. of the Mac-
Dowell Club. Comp. of an operetta, Hasty
Pudding (Harvard, 1903); pf.-pes. (op. 6,
Five Intermezzi; op. 7, Five Vignettes; etc.);
songs; in MS., a str.-quartet; motets; pes.
for vl., vcl., fl., etc.; an essay, Brahms1 s
Family Doctor [Th. Billroth], in 'Harvard
Mus. Rev/ (1915).
Glaussen, Julia. Eng. in 1917 for the
M. O. H.; succ. debut there as Dalila (Nov.
23).
Glutsam, George H., b. Sydney, Aus-
tralia, 1867. Was exhibited in Australia as a
prodigy (pianist); later toured the Far East;
settled in London in 1889, and for the next
10 years toured with leading artists as accom-
panist (Melba, 1893); since 1908 mus. critic
of 'The Observer.' — Works: The operas A
Summer Night (London, 1910), After a Thou-
sand Years, Konig Harlekin (Berlin, 1912),
Young England (London, 1916; with H.
Bath); a melodrama. The Pool; a symphony;
pf.-pes. and about 150 songs.
Coenen, Willem, d. Lugano, Mar. 18
1918.
Coleridge-Taylor, SamueL Add to
works: Endymion's Dream, cantata for soli,
ch. and orch. (Brighton Fest., 1910); 4
Characteristic Walttts for orch. (Valse bote-
mienne, V. rustique, V.dela Reine, V. maures-
que).
1081
CONRIED— DE RESZKfc
Conried, Heimich. Cf. M. J. Moses, H.
C. (New York, 1916).
Converse, Frederick Shepherd. Add
to works Ave aique Vale, symph. poem (Bos-
ton S. O., April 27, 1917).
Goppet, Edward J. de. ..Cf. G. D. Mason,
E. 7. de C, in 'Mus. Quart.1 (Oct., 1916).
Coronaro, Gellio Benvenuto, d. Milan,
1916.
Cottlow, Augusta. Returned to New
York in 1917.
Cowen, Sir Frederick Hymen. Add to
works Monica's Blue Boy, pantomime (Lon-
don, 1917); Cupid's Conspiracy, comedy-
ballet (ib„ 1918).
Graft, Marcella, lyric soprano; b. Indian-
apolis, Ind. Pupil of C. R. Adams in Boston
(1897-1901) and of A. Guagni and F. Mottino
in Milan (1901-5); debut as Leonora in
Trovatore (Morbegno; Mar., 1902); sang for
3 years at various Ital. theatres; 1905-7, at
the Stadtth. in Mayence; 1907-9, at do. in
Kiel; 1909-14, with great succ. at the Kgl.
Hofth. in Munich; while there st. further
with Jacques Sttickgoid. Before going to
Europe she had held several church -positions
and sung in concert; after the outbreak of
the war she returned to the U. S., appearing
in concerts and at festivals; since 1917 with
the San Carlo Opera Co. on tour of the States
.(debut as Violetta; N. Y., Sept. 8); on July
1, 1915, she created Rosamund in Parkers
Fairyland (Los Angeles). Her voice has a
range from b MP; her favorite rdles are
Salome, Elsa, Marguerite, Violetta, Mimi,
Cio-Cio-San; she sings in Engl., Ger., Fr. and
Ital., and has appeared in over 40 operas
(Tannhduser, Meister singer. Ring, Rosen-
kavalier, Freischiitz, Don Giovanni, Zauber-
flote, Prophete, Carmen, Benvenuto Cellini,
Aida, etc.).
Cut, Cesar Antonovitch, d. Petrograd,
Mar. 14, 1918.
Curtis, Natalie. Married Paul Burlin of
New York, July 25, 1917.— Add to works
'Negro Folk-Songs' (4 vols.; 1918), collected
in the South and recorded for the Hampton
Inst. (Va.).
Czapek. Pen-name of John Liptrot
Hatton.
Dambois [dahn-bw&h'], Maurice, fine
'cellist; b. Liege, Mar. 30, 1889. Pupil of the
Cons, there (1899-1905) and winner of many
prizes (solfege, pf., harm., chamber- music,
fugue, vcl.); debut at 12 with Saint-Saens's A
m. concerto (Spa; Concerts symphoniques);
tours of Germany (1905), England (1906-8),
France, Portugal and Netherlands; 1910
app. dir. of the Academie de Musique at
Liege, and 1912 prof, of vcl. at the R. Cons.
After the outbreak of the war he ^~
England (until 1916); came to the L:- -
1917 with Ysa^e; Amer. debut (Mew N
April 21) followed by succ. tour. V^
QprUge for arch.; pes. for str.-orch. :
trio; trio for pf., vl. and via.; pes- Cor
pf.-pes.; about 75 songs.
Damroach, Walter. Pending the c\
of a permanent cond., he dir. the N. V*. C»r.
rio Soc. during the season of 191 7-S; sur
of 1918 in France, conducting orchl- con<
for the soldiers, and training young r .;
masters.
Davldov, Karl. Correct pronunciaf/ r
Davi'dov.
Dariea, (David Thomas) FTrangcon.
London, April 5, 1918. — He was born L-
11, 1856.
Debussy, Claude (-AchOle), d. P -
Mar. 26, 1918. Add to works: Khar-
'Legende dansee' for orch. (1912); ir
music to King Lear (1897-9; MS.); do
Mourey's PsychS (private perf., Paris, l°l-
do. to Bernac'8 Le Poison noir (Th. Gr*-
Guignol, May, 1917); sonata for fl., vU. £.-
harp (1916); vl.-sonata (1917); En BI**
Noir, 3 pes. for 2 pfs. (1915); Six £pigrap-
antiques for pf. 4 hands (1915); NoUdes *-
fants qui Wont plus de maison, song (1915'
Coll. essays and criticisms publ. in vap«»-j?
journals were issued as Monsieur Gv*-.
anti-dilettante (Paris, 1918). — Add toVwbli .<?
E. Newman, The Development of D., h »'.
TV (May and Aug., 1918); G. Jean-A>
Some Recollections of D., in do. (May, l'; *
full list of comps. and writings); JL. S I.
bich, An Englishwoman's Memories of D . •
do. (June, 1918); G. Jean-Aubry, C. /).. •»
'Mus. Quart.' (Oct., 1918); J. G. Prod'homrr
C. A. £>., in do. (do.); A. Lualdi, C. D. U
sua Arte e la sua Parabola, in 'Jlxv. Mi>.
Ital.' (vol. xxv, 2; 1918).
Dels [dis], Carl, b. New York, Mar. T.
1883. St. pf. with A. Lambert and R. Bur
meister and cpt. with A. Lilienthal; living
in N. Y. as vocal teacher, org. at Temp.c
Emanu-El, and mus. ed. for G. Sch inner
Has publ. songs (Nocturne, Were I a Star,
The Drums, The Flight of the Moon, IVaitiw,
Come Down to Kew, etc.); in MS., comps. for
str.-orch. and pf.-pes.
Delamarter, Eric, is wrongly placed after
De Lara.
De Lattre, Roland, is wrongly placed
after De l'Aulnaye.
Delius, Frederick. Add to works
Ballade for orch., a vl. -concerto, a double
concerto for vl. and vcl., and a Requiem.
De Reszkl, fidouard, d. on his estate
near Garnek, Piotrkov, Poland, May 25, 19] 7.
1082
DONALDA— FAULKES
His Amer. d6but took place in Chicago (Nov.,
1891) during a visit of the M. O. H. Co.; N. Y.
debut at M. O. H. as Frere Laurent (Rotnio
el Juliette), Dec. 14, 1891; the same night his
brother Jean made his N. Y. debut as Romeo.
— Cf. H. Klein, E. de R.: The Career of a Fa-
mous Basso, in 'M. TV (July, 1917).
Donalda, Pauline. Divorced from Paul
Seveilhac in 1917.
Drdla, Franz, b. Saar, Moravia, Nov. 28,
1868. After 2 years at the Prague Cons, he
cont. his studies at the Vienna Cons, under
Hellmesberger (vl.) and Krenn (comp.), win-
ning 1st prize for vl. and the medal of the
'Ges. der Musikfreunde'; for several years
violinist in the orch. of the Hofoper; then
made succ. tours of Europe. As a composer
he did not appear until 1904; since then his
comps. for vl. and pf. have won enormous
popularity, especially the first Serenade in A
(dedicated to, and played by, Kubelik; up
to 1917 a million copies had been sold); has
also publ. pf.-pcs. and songs; 2 recently com-
pleted operettas, Das goldene Netz and Die
Ladenkomtesse, have not yet been produced.
Dubois, (Clement-Francois-) Theo-
dore. Add to works Fantasietta for orch.
(1917).
Dufay, Guillaume. Add to bibliogr.
Sir J. Stainer, D. and His Contemporaries
(London, 1898; biography and 50 selected
compositions).
Dukas, Paul. In 1918 he was elected
Debussy's succ. as member of the 'Conseil
superieur' at the Paris Cons.
Dupont, Gabriel, d. Aug. 1, 1914.
Easton-Maclennan, Florence (Ger-
trude), distinguished dramatic soprano; b.
Middlesbrough-on-Tees, Yorkshire, Oct. 25,
1884. Educated in Toronto, where her
parents settled when she was 5; appeared at
8 as pianist there; st. singing at the R. A. M.
(London) and 1 year with Elliott Haslam in
Paris; debut as Cio-Cio-San with the Moody-
Manners Co. at Cov. Garden (1903) ; in 1904
she married the tenor Francis Maclennan,
and since then both artists have always sung
together; eng. by Savage for his prod, in
English of Parsifal (1904-5) and Madama
Butterfly (1906-7), touring the U. S. ; 1907-13,
at the Berlin R. Opera in leading rdles; 1915—
5, at Hamburg Stadtth.; frequent leave
of absence enabled her to take part in the
Wagner and Strauss performances at Cov.
Garden; 1915-7, with the Chicago Opera
Co.; since 1917 member of the M. O. H. She
created Beatrice in Naylor's The Angelus
(Cov. G., Jan. 27, 1909), Natoya in Nevins's
Poia (R. Opera, Berlin, April 23,1910), Elek-
tra in the Engl, premiere of Strauss's opera
(Cov. G., Dec. 19, 1910), Serpina in the Amer.
prem. of Pergolesi's La Serva Padrona (Ly-
ceum Th., N.Y., May 8, 1917), Elisabeth in
the Amer. premiere [operatic version in
Engl.) of Liszt's Legende von der heiligen Elisa-
beth (M. O. H., Jan. 4, 1918). Her favorite
rdles are Elisabeth, Sieglinde, Carmen, Cio-
Cio-San, Elektra and Salome; also has sung
BrQnnhilde (Siegfried), Isolde, Eva, Pamina,
Countess (None di Figaro), Aida, Valentine,
Nedda, Santuzza, etc.
Ebell, Hans, b. Petrograd, Apr. 21, 1$38.
Pupil of the Cons, there (1900-5), then cont.
his pianistic studies with Rachmaninov, Hof-
mann and Godowsky (until 191 1}; debut
with the Vienna TonkCinstler Orch. (Jan.,
1912); 1912-4, tours of Germany, Austria,
Russia, France and England; 1915-6, in
the U. S.
Eddy, Clarence. Made Officer of the
Academie in April, 1917. Add to works A
Method for the Organ (2 vols., 1918).
Edvina, Marie Louise. Her husband,
Hon. Cecil Edwardes, a captain in the British
army, was killed at Cambrai in Dec., 1917.
Elgar, Sir Edward. Cf. D. G. Mason, A
Study of £., in 'Mus. Quart.' (April, 1917).
Erdmannsddrffer, Pauline, d. Munich,
Sept. 24, 1916.
Erlanger, Gamille. Add to works an
opera, Le Barbier de DeauviUe (fin. 1917); in-
cid. music to H. Andre- Legrand's La Reine
Wanda (Paris, 1918).
Falla, Manuel de, b. Cadiz, Nov. 23, 1877.
PuDil of J. Trigo (pf.) and F. Pedrell (comp.)
in Madrid; living since 1907 as composer in
Paris. He has adopted the principles of
impressionism. — Works: The operas La Vida
breve (Op.-Com., 1914; won prize of the Acad,
de Musica, 1905) and El Amor brujo (Madrid,
1915); Nocturnes (1. Noches en los jardines de
EspaHa, 2. En el Generalife, 3. Danta lejana),
symph. impressions for orch.; pf.-pcs. and
songs. In MS., chamber-music and some
early operas (not prod.).— -Ci. G. Jean-
Aubry, M. de F.t in *M. T.' (April, 1917).
Faminzin, Alexander Sergievitch. Cor-
rect transliteration, Famintsyn, Alexander
Sergeievitch.
Fanelli, Ernest, d. Paris, Nov. 24, 1917.
Farwell, Arthur. Add to works music to
Mackay's community mask The Evergreen
Tree (N. Y., Dec. 27, 1917).
Faulkes, William, b. Liverpool, Nov. 4,
1863. Pupil of W. Dawson and H. Dillon-
Newman; since 1886 in Liverpool as org. and
teacher. — Works: Suite in C m. for fl., ob.,
tpt. and strs.; pf. -concerto in C m.; vl.-
concerto in A m.; 3 pf.-trios (D m., G m.f
C m.); Album for Organ (47 orig. pes.); Series
of Organ Pieces in Various Styles (16 orig.
1083
FAURE— FUCHS
pes.); numerous other works for org. (Prelude
and Fugue in D m.; Prelude and Fughetta in
C; Allegro symphonique; Toccata in F; Fan-
tasy in E m.; Concert-Overture; etc.).
Faure, Jean-Baptiste. Cf. H. de Curzon,
J.-B. F., in *Mus. Quart/ (April, 1918).
Faur6, Gabriel. Add to works Re-
quiem for soli, ch., org. and orch. 'A la
memoire des compositeurs de musique morts
pour la France* (Paris, 1917). The Requiem
mentioned in the body of the book was comp.
in 1887.
Fay,. Maude, dramatic soprano; b. San
Francisco, Cal., April 18, 1883. St. there
with Mme. A. von Meyerinck, then in Dres-
den with Aglaia Orgeni; debut at the Kgl.
Hofoper, Munich, as Marguerite (May, 1906);
eng. there till 1915; made 'Kgl. Kammer-
sangerin'; has also appeared at Cov. Garden,
Budapest, Brussels, Amsterdam and Berlin.
Her favorite rdles are Sieglinde, Donna Anna
and Aida; other roles, Elisabeth, Elsa, Valen-
tine, Tosca, Ariadne, Chrysothemis (Elektra).
Fels, Joachim. Pseudonym of Theodor
Hagen.
Fevrier, Henri. The premiere of Ghis-
monda is announced by tne Chicago Opera
Co. for the season of 1918-9.
Flemming, F. F., is wrongly placed after
Floersheim.
Floershelm, Otto, d. Geneva, Switzer-
land, Nov. 30, 1917.
Florid la, Pietro. Add to works incid.
music to Oscar Wilde's A Florentine Tragedy
(N. Y. Nov. 27, 1917).
Fdroter, Alban, d. Neustrelitz, 1916.
Forsyth, Cecil* b. Greenwich, Engl., Nov.
30, 1870. Pupil at R. C. M. of Sir C. V.
Stanford (comp.) and Sir C. H. H. Parry
(hist, mus.); lived in London until Dec., 1914,
as cond. of comic operas; since then in New
York. — Works: The operas Westward Ho!
and Cinderella; 4 orchl. studies after Les
Mishables; vla.-concerto in G m.; Chant
Celtique for via. and orch.; Ode to a Nightin-
gale (Keats) for bar. and orch.; 2 masses;
chamber-music; part-songs and songs. Au-
thor of Music and Nationalism (1911); Or-
chestration (1914; elaborate treatise); A
History of Music (1916; with Sir C. V. Stan-
ford); also wrote The English Musical Renais-
sance in vol. iii of 'The Art of Music* (1917).
Fradkln, Frederick, fine violinist; b. (of
Russian parents) Troy, N. Y., Apr. 2, 1892.
At 5 pupil of H. Schradieck, and later of Max
Bendix in N. Y.; went to Paris in 1905,
studying with private teachers (R6my and
White) until 1907, when he ent. Lefort's class
at the Cons.; graduated in 1909 as winner of
the 1st prize, and was immediately engaged
as leader by Pennequin; in 1910 do. under
Ganne at Monte Carlo; then st. further with
YsaVe at Brussels; debut in recital at New
York (Jan. 10, 1911); played the Mendelssohn
concerto with the N. V. Philh. Soc. on Feb.
19, and concert used in London; 1912, leader
of the Konzertverein in Vienna; returned to
the U. S. in 1915 as leader of Diagilev's
Ballet Russe; succ. A. Wit ek in 1918 as leader
of the Boston S. O.
Franchetti, Alberto.. Add to works
NeUa Foresta Nera, symph. impressions for
orch.; Jnno for soli, ch. and orch., for 8th
centenary of Univ. of Bologna. In 1916 he
began a new opera, Glauco e Scilla.
Pranck, Cesar. His oratorio Rebecca
was prod, as a 1-act sacred opera at the
Opera (May 25, 1918; v. succ.).
Fremstad, Olive. Divorced from E.
Sutphen July 11, 1911; married Harry L-
Bramard at Bridgton, Me., Nov. 4, 1916.
Pricker, Herbert Austin, b. Canterbury,
Feb. 12, 1868. Pupil of Dr. W. H. Long-
hurst, org. of Canterbury Cath., and Sir F.
Bridge; 1884-90 deputy of Dr. Longhurst;
1890-7 org. and choirm. at Holy Trinity,
Folkestone; 1898-1917 org. to the Corpora-
tion of the City of Leeds; chorusmaster of
the Leeds Fest. (1904-13) and cond. of the
Leeds Philh. Soc. (1900-17); since 1917 in
Toronto as cond. of the Mendelssohn Choir
(succ. A. S. Vogt) and org. and choirm. at
the Metropolitan Ch.— F. R. C. O., 1888; M.
A. (hon. c.) Leeds Univ., 1917. Has ptibl.
a cantata, anthems, songs, choruses, pes. for
organ (Concert-Overture in C m., Grand
Chaw in G m., etc.) and many arrs. for org.
Fried, Oscar, is wrongly placed after
Fribdberg.
Fryer, Herbert. App. prof, of pf. at the
R. C. M. in 1916.
Fuchs, Robert. The following list of
works supersedes the one in the body of the
book: Tne operas Die Konigsbraut (Vienna,
1889) and Dte Teufelsglocke (Leipzig, 1893).
— For orch.: 3 Symphonies (op. 37, C; op.
45, Eb; op. 79, E); 3 Serenades for str.-orcn.
(op. 9, D; op. 14, C; op. 21, E m.), 2 do. for
small orch. (op. 51, G m.; op. 53, D); pf.-
concerto in Bb m., op. 27; overture Des
Metres und der Liebe Wellen, op. 59; Andante
grasioso und Capriccio for strs., op. 63. —
Chamber-music: 2 pf. -quartets (op. 15, G m.;*
op. 75, B m.); 3 str. -quartets (op. 58, E; op.
62, A m.; op. 71, C); 2 pf.-trios (op. 22, C;
op. 72, Bb); str.-trio in A, op. 94; 5 vl.-
sonatas (op. 20, F# m; op. 33, D; op. 68, D
m.; op. 77, E; op. 95, A); 2 vcl.-sonatas
(op. 29, D m.; op. 83, Eb m.); vla.-sonata in
D m., op. 86; d.-bass sonata in Bb, op. 97.
Numerous pes. for pf., 2 and 4 hands; chorus-
1084
GABRILOVITCH— GOLLERICH
songs and duets; Mariae Himmelfakrt,
legend for bar. solo, male ch. and oroh., op.
100.
Gabriloritch, Ossip Salomonovitch. In
1918 he was app. cond. of the Detroit Symph.
Orch.
Gade, Niels Wilhelm. Cf. C. Rubner,
N. W. G. In Remembrance of the Centenary
of His Birth, in 'Mus. Quart.' (Jan., 1917).
Galli-Curci, Amelita, brilliant colora-
tura-soprano; b. Milan, Nov. 18, 1889. With
the ambition of becoming a pianist she ent.
the Milan Cons., st. pf. under Appiani and
won the 1st prize and diploma in 1903. She
never st. singing with any teacher; neverthe-
less she acquired a marvelous vocal technic
through a unique method of self-instruction.
She had records made of her own voice; these
she studied carefully, and thus remedied the
faults which her fine ear discovered readily;
she acknowledges her indebtedness to Masca-
eni and William Thorner (who first brought
her to Campanini's attention) for valuable
advice and suggestions. Debut as Gilda at
the T. Costanzi in Rome (1909); the same
year she sang in several important theatres
of Italy; 1910, tour of South America; 1911,
at T. Dal Verme (Milan), T. San Carlo
(Naples) and T. Regio (Parma); 1912, second
tour of South America; 1913, T. Costanzi
(Rome), T. Bellini (Catania), T. Comunale
(Trieste), and concerts at Ostende; 1914, T.
Real (Madrid), Liceo (Barcelona), T. Carcano
(Milan), T. Comunale (Bologna) and Petro-
grad; 1915, T. Real (Madrid), T. Col6n
(Buenos Aires), T. Nacional (Havana), and
tour of Brazil. Then came her sensationally
successful debut with the Chicago Opera Co.
as Gilda (Chicago, Nov. 18, 1916), which was
even eclipsed by her New York triumphs
with the same company during a 4-weeks'
season at the Lexington Opera House (debut
as Dinorah, Jan. 28, 1918). A prime favorite
of the public, she is regarded unanimously
by musicians as the equal of the greatest
mistresses of coloratura singing. Her voice
has a compass from o-/*#; her repertoire in-
cludes Rosina, Violetta, Lucia, Amina, El-
vira (Puritani), Lakme. In 1908 she married
in Rome the painter Luis Curci, Marquis de
fcimeri.
GandinJ, Alessandro. His Cronistoria dei
leatri di Modena was completed by Ferrari-
Moreni and Valdrighi (not Tardini).
Ganne, Louis- Gaston. Add to works
Kermesse flamande, ballet (Monte Carlo,
1917).
. Gariel, Eduardo. On April 1, 1917, he
became dir. of the 'Escuela nacional de Mu-
sica y Arte teatral' in Mexico City.
Gerasheim, Friedrich, died Berlin, Sept.
17, 1916.
Gilbert, Henry Franklin Belknap. His
Dance in Place Congo was prod, as a ballet-
pantomime at the M. O. H. (Mar. 23, 1918).
— Cf. O. Downs, An American Composer, in
'Mus. Quart.' (Jan., 1918).
Gilchrist, William Wallace, d. East on,
Pa., Dec. 20, 1916.
Giordano, Umberto. In 1917 he was
made hon. member of the Accademia Luigi
Cherubini, Florence.
Giorni, Aurelio, fine pianist; b. Perugia,
Sept. 15, 1895. St. pf. with Sgambati at
the Cons, of the Accad. S. Cecilia, Rome
(1909-11), winning 1st prize; pupil in comp.
of Humperdinck at the 'Meisterschule fur
Komposition,' Berlin (1911-3); debut in
Rome (Feb., 1912), followed by tour of Italy;
1913-5, tours of Germany, Switzerland,
Netherlands and Scandinavia; since 1915
making succ. tours of the U. S. He is a son
of the painter Carlo G. and a grandson of the
sculptor Thorwaldsen; member (with title
of Prof.) of the Accad. S. Cecilia.
Glazunov, Alexander Konstantinovitch.
Inadvertently omitted from list of works:
Op. 44, 6legie for via. and pf. — Cf. M. Mon-
tagu-Nathan, Contemporary Russian Com-
posers (New York, 1917).
Glinka, Michail Ivanovitch. Cf. M.
Montagu- Nathan, G. (London, 1916; in
series 'Masters of Russian Music'); id., G.
Revalued, in 4M. T.' (May, 1917).
Gluck, Christoph Willi bald. Add to
bibliogr. : S. Wortsmann, Die deutsche Gluck-
Litteralur (Nuremberg, 1915); W. B. Squire,
G.'s London Operas, in 'Mus. Quart.' (JuIVf
1915); J. G. Prod'homme, G.'s French Col-
laborators, ib. (April, 1917); id., Les Portraits
francais de G., in 'Riv. Mus. Ital.' (vol. xxv,
1; 1918).
Godowsky, Leopold. Publ. a remark-
able set of Miniatures [3 suites and 34 pes.]
for pf. 4 hands, for instructive purposes, all
primo parts within the compass of 5 notes
(1918).
Goethe, Johann Wolfgang von. Add
to bibliogr.: A. Jullien, G. et la Musique: Ses
Jugements, son Influence, les CEuvres qu'il a
inspires (Paris, 1880); J. W.von Wasielewski,
G.'s Verhdltnis zur Musik (Leipzig, 1880; in
Waldersee's 'Sammlung mus. Vortrage');
H. Blaze de Bury, G. et Beethoven (Paris,
1882); W. Nagel, G. tend Mozart (Langen-
salza, 1904); J. Simon, Faust in der Musik
(Berlin, 1906).
Gdllerich, August. The first ed. of his
Wagners ,Ring des Nibelungen1 was publ. in
1890.
1085
G6LLERICH— HAGEMANN
Gdllerich, Gltela (nSe Voigt von Leiters-
berg), excellent pianist and teacher; b.
Vienna, June 16, 1858. Pupil at the R.
Hungarian Acad, of Music in Pest of F. Erkel
(pf.) and R. Volkmann (theory); from i 1876-
85 with Liszt; debut Pest, 1877 (Chopms
F m. concerto); an early marriage (to a Mr.
Paszthory) interrupted her succ. career;
after divorce she settled in 1886 in Vienna as
teacher, and resumed tours (Germany and
Austria); in 1893 she married August G.,
supervised his branch-schools in Erlangen,
Ansbach and Furth, and in 1896 settled with
him in Linz, where she has taught since then.
[Notice the correct spellings 'Voigt and
•Paszthory'].
Goodrich, Wallace. Add to works
The Organ in France (Boston, 1917).
Goodson, Katherine. Concertized in
Australasia (1916-7), while accompanying
her husband, Arthur Hinton, on a tour of
inspection.
Goossens, Eugene, b. London, May 26,
1893. Pupil of the Bruges Cons. (1903) and
the Liverpool Coll. of Music (1906); winning
a scholarship, he ent. the R. C. M. in 1907 and
st. 4 years under Rivarde (vl.), Wood and
Stanford (comp.); won silver medal of
Worshipful Company of Musicians and was
made A. R. C. M.; 1911-5, played 1st vl. in
Queen's Hall Orch.; since then cond. of
Beecham's operatic enterprises. A com-
poser of ultra-modern tendencies.— Works:
Chinese Variations and 2 symphonic poems
(Perseus and Ossian) for orch.; op. 6, Suite
for fl., vl. and harp; op. 7, Five Impressions
of a Holiday for vl., vcl. and pf.; op. 10, Con-
cert-Study for pf.; op. 12, Phantasy Quartet
for strs.; op. 13, Rhapsody for vcl. and pf.;
op. 14, str.-quartet in C; op. 15, By the Tarn
and Jack o' Lantern [Ignis fatuus], sketches for
str.-quartet; op. 16, Deux Prose-lyriques for
voice and pf. (Hier dans leiardin au soleil and
Mon chemin s'Stait assombri); op. 18, Kalei-
doscope, char.-sketches for pf.; op. 20, Con-
ceits, do.
Gounod, Charles-Francois. Add to
bibliogr. J. Tiersot, C. G. A Centennial Tri-
bute, in 'Mus. Quart/ (July, 1918); id.,
Letters of G., ib. (Jan., 1919); J.-G. Prod'-
homme, Miscellaneous Letters by C. G.t ib.
(Oct., 1918).
Graff, Otto Albert, b. Philadelphia, Sept.
10, 1870; d. Brooklyn, N. Y., May 9, 1917.
St. in New York with H. Carre (vl.), A.
Friedheim (pf.) and H. E. Parkhurst (org.);
1904 till his death org. and choirm. at St.
Peter's Ev. Luth. Ch., Brooklyn; from 1914
also cond. of the 'Deutscher Liederkranz,'
N. Y.
Grainfcer, Percy Aldridge. Add to bib-
liogr. D. C. Parker, P. A.G. A Study (New
York, 1918).
Granados y Gampina, Enrique. Posth.
works: 2 suites for small orch., Elisenda and
Noel; Condones amatorias (songs).— C(.
G. Jean-Aubry, E. <7., in 'M. TV (Dec., 1916);
E. Newman, The G. of the Goyescas, ib.,
(Aug., 1917).
Grctchanlnov/Alexander Tlchonovitcfa.
In 1917 he wrote the new Russian national
hymn, Gimn svobodni Rossi [Hymn of Free
Russia]; first played in the U. S. at a concert
for the benefit of Siberian exiles, cond. by
Ossip Gabrilovitch (New York, May 22,
1917). — Cf. M. Montagu-Nathan, Contem-
porary Russian Composers (New York, 1917).
Grovlez, Gabriel. Add to works an
opera, Maimouna (finished 1917).
Guaikov, (Michael) Joseph. Comet
transliteration, Guzikov.
Hackh, Otto (Chriatoph), d. Brooklyn,
N. Y.f Sept. 21, 1917.
Hadden, James Guthbert, writer on
music; b. Banchory-Ternan, n. Aberdeen,
Sept. 9, 1861; d. Edinburgh, May 1, 1914.
St. under private teachers, and held various
positions as org.; from 1889 in Edinburgh as
ed. of 'The Scottish Musical Monthly' awl
contrib. to various journals. Author of
George Frederick Handel (1888; new ed.
1905); Mendelssohn (1888; new ed. 1W;
George Thomson, the Friend of Burns. Hts
Life and Correspondence ( 1898) ; The Tinkmw
of Hymns (1900); Haydn (1902); Chofr
(1903); The Operas of Wagner: Their Plots,
Music and History (1908); Master Musicians
(1909); Modern Musicians (1913). Ed. 'Lays
of Caledonia1 (1883; coll. of Scottish airsarr.
for harm.).
Hadley, Henry (Kimball). Add to
works: Ode to Music for soli, ch. and orch.,
for the 60th anniversary of the Worcester
Festivals (Oct., 1917); Asora, grand open
(Chicago, Dec. 26, 1917); Bianco, 1-act opera
(won the Hinshaw $1000 prize, 1917; produc-
tion announced by Soc. of Amer. Singers lot
autumn of 1918).
Hadow, William Henry. He was knighted
on Jan. 1, 1918.
Hagemann, Richard, pianist and con-
ductor; b. Leeuwarden, Holland, I uly 9, 18M-
Until his 10th year pupil of his father; then
5 years at Brussels Cons, and 1 at Amster-
dam Cons.; Repetitor (1898), 2d cond. (W
and 1st cond. (1901-3) at the R. Opera, Am-
sterdam; 1904-5, accompanist for Matniwe
Marchesi in Paris; came to the U. S. as accom-
panist for Yvette Guilbert in 1906; W*-h
tour of U. S. with Macmillen; in 1907 app.
asst.-cond. at the M. O. H.; since 1912 one of
1086
HAHN— HEINRICH
the regular conductors; since 1916 also cond.
of the summer opera at Ravin ia Park,
Chicago; in the autumn of 1918 cond. of the
season of opera comique given by the 'Soc.
of Amer. Singers' in N. Y.
Hahn, Carl, b. Indianapolis, Ind.t Oct. 23,
1874. Pupil at the Cincinnati Coll. of Music
of Otto Singer and A. Gorno (pf.)t Lino Mat-
tioli (vcl.), Van Broekhoven (theory) and
Van der Stucken (comp. and orch.), winning
the Springer Medal for vcl. in 1895; for some
years 'cellist under Van der Stucken, Seidl and
Thomas; 1900-11, at San Antonio, Texas,
as cond. of the annual festival and Beethoven
Mannerchor; organized and cond. for 8
seasons the San Antonio Symph. Orch.; also
cond. the large Sangerfest at San Antonio
(1906) and Galveston (1909); settled in New
York in 1913 as cond. of the 'Arion' (re-
signed April, 1918), Mozart Soc. and the
Brooklyn 'Arion' (won Kaiser Prize in 1915).
Has publ. choruses, pf.-pcs. and songs.
Hanchett, Dr. Henry Granger, d. Sias-
conset, Mass., Aug. 19, 1918.
d'Harcourt, Eugene, d. Locarno, Switzer-
land, Mar. 8, 1918. Sent by the French govt,
in 1917 to advance the cause of French music
in the U. S., he conducted a special perf:
of Gounod's Mors et Vita at the M. O. H.
(April 8).
Heifetz, Jaacha, remarkable violinist; b.
Vilna, 1899. At the age of 3 he had his first
lessons from his father, Ruben H., a good
violinist; his progress was so extraordinary
that after little more than a year he was
admitted to the Imp. Music School at Vilna,
where he played in recitals before he was 5;
at 6 he made his debut at Kovno, playing
Mendelssohn's Concerto before an audience
of more than 1000 and arousing frantic dem-
onstrations; cont. his studies in Vilna till
1907, when he ent. the Petrograd Cons.,
studying repertoire and interpretation under
Auer; even before he left the Cons, he fre-
quently appeared in public, drawing crowded
nouses. His phenomenal successes in Berlin,
(1912; with the Philh. Soc. under Nikisch,
etc.) were duplicated in Vienna (1913) and
the musical centres of Germany (1914); alter
the declaration of war he toured Russia and
Scandinavia; his Amer. debut (N. Y., Oct.
27, 1917), was followed by a triumphant tour
of the States. Not yet 20, he is unanimously
ranked with the greatest living masters of the
violin; Auer regards his precocity as re-
marbble as that of Mozart or Mendelssohn.
Heinrich, Anthony Philip [Anton Phi-
lipp], b. Sch6nbilchel, Bohemia, Mar. 11,
1781; d. in extreme poverty in New York,
May 3, 1861. As a boy he acquired pro-
ficiency on the pf. and vl., but began life as a
wholesale merchant and banker; having
failed in business, he went toBardstown, Ky.,
where, without any knowledge of harm., he be-
gan to compose in 1818; these first songs and
instrl. pes. he publ. later as Op. 1, The Dawn-
ing of Music %n Kentucky i or The Pleasures of
Harmony in the Solitudes of Nature. From
1827-34 he was in London, playing vl. in a
small orch.; there he also st. theory, and
about 1830 began to write for orch.; in 1834
he visited Germany and Austria, and had
some of his works prod, at Dresden, Prague
and Graz; in Vienna he ent. a competition
with a symphony, but the prize was awarded
to Franz Lachner; disappointed, he returned
to America and settled in New York, where
he soon gained immense popularity, so that
he was generally known as 'Father H.'; dur-
ing the 40*s and SO's he was a commanding
figure in the musical affairs of the U. S.,
publishing hundreds of pf.-pcs. and songs,
grand festivals of his works being arranged
in N. Y., Philadelphia and Boston, and the
critics speaking of him as the 'Beethoven of
America'; a tour of Germany in 1857-8 was
a dismal failure. The quality of his works
easily accounts for the speedy and complete
oblivion of even his name; he wrote only for
an enormous orch., a la Berlioz, and his mu-
sical ideas, out of all proportion to the means
employed, recall the style of Haydn's imita-
tors; nevertheless, he is historically impor-
tant, being the first to employ Indian themes
in works of lar^e dimensions and to show
decided nationalist aspirations. In 1917 O.
G. Sonneck acquired for the Libr. of Congress
H.'s 'Memoranda' (letters, programs, news-
paper-clippings, etc.), many publ. works and
almost all the orchl. scores (in MS.; many
autograph) enumerated in a list made by H.
himself in 1857. A perusal of the titles is
amusing and instructive: The Columbiad,
Grand Amer. Chivalrous Symphony; The Co-
lumbiad, or Migration of Amer. Wild Passenger
Pigeons ; a Characteristic Symph.; Hommage
& la Boheme, grande symph. bohemienne; The
Hunters of Kentucky, sinfonia di caccia; The
Indian Carnival, or The Indian's Festival of
Dreams. Sinfonia eratico-fantaschia (sic!);
The Indian War Council. Gran concerto bel-
lico for 41 instrl. parts; The Jdgers Adieu.
Scored for 32 inslrs.; Concerto qrosso Johan-
nisberg,' or The Festival of the Vintagers on the
Rhine; Manitou Mysteries, or The Voice of the
Great Spirit. Gran sinfonia misteriosa in-
diana; The Mastodon, a Grand Symph. in 3
Parts; The Ornithological Combat of Kings,
or The Condor of the Andes and the Eagle of the
Cordilleras. A Grand Symph.; Pocahontas,
the Royal Indian Maid and the Heroine of
Virginia, the Pride of the Wilderness. Fan-
tasia romansa; To the Spirit of Beethoven, the
Monumental Symph.; A Grand Oratorical
1087
HEITER— HUGHES
Divertissement: The Tower of Babel, or The
Languages Confounded; The Wild Wood-
Spirits' Chant, or Scintillations of l Yankee
Doodle,' forming a Grand National Heroic
Fantasia scored for a Powerful Orch. in 44
Parts; etc.
Helter, Amalle. Pen-name of Marie
Amalia Friederike, Princess of Saxony. (See
Amalia [3].)
Helter, Ernst. Pseudonym of Simon
Sechter.
Hempel, Frieda. On June 8, 1918, she
married William B. Kahn, a merchant of
N. Y.
Henschel, Sir George. Was prof, of
singing at the Inst, of Mus. Art, N. Y., 1905-
8; since then living in London.
Herbert, Victor. Add to works the
operettas Eileen (N. Y., Mar. 19, 1917);
Her Regiment (Springfield, Mass., Oct. 20,
1917).
Herman, Reinhold Ludwlg. In 1887
he was prof, of sacred music at the Theol.
Sem.; from 1900-17 he lived in Rapallo, Italy;
since then again in New York. He has toured
Europe and America with Lilli Lehmann in
song- and lecture-recitals (on Wagner).
Vineta had its premiere at Kassel (June 20,
1891), Lantelot at Brunswick (Oct. 15, 1891).
Add to works: Suite SppUenne (1901);
Liguria, suite (1911); Dido, concert-scene
for sop. and orch. ; Lilith, do.
Hesselberg, fidouard Gregory. Settled
in Chicago in 1918.
Hlgglnson, Henry Lee, the founder of the
Boston Symph. Orch.; b. New York, Nov. 18,
1834; st. singing, pf. and comp. in Vienna
(1856-60); in 1868 he establ. himself as a
banker in Boston (Lee, H. & Co.). In 1881,
with an endowment of $1,000,000, he founded
the Boston Symph. Orch. (67 performers;
100 in 1918), which gave its first concert at
the old Music Hall on Oct. 22, 1881; in the
summer of 1885 the series of concerts of lighter
music, famous as the 'Pops,' were instituted;
during the spring of 1886 the orch. made its
first tour of Eastern cities; the first concerts
given in New York (spring, 1887), were so
successful that a regular series of 5 was given
until 1900, since when the number has been
doubled; on Oct. 15, 1900, the organization
inaugurated its own permanent home, Sym-
phony Hall; in 1903 the Pension Fund was
establ., for the benefit of which a special con-
cert is given annually in March (always with
a Wagner program). The conductors have
been Georg Henschel (1881-4), Wilhelm
Gericke (1884-9), Artur Nikisch (1889-93),
Emil Paur (1893-8), Wilhelm Gericke (1898-
1906), Karl Muck (1906-8), Max Fiedler
(1908-12), Karl Muck (1912-8).— Through-
out its career H. has been the sole financijJ
supporter of an orch. which for the past 2j
years has been generally recognized as un-
surpassed, perhaps unrivaled, anywhere. In
1918 he gave up control, which was assumed
by a Board of Directors selected by him. —
Cf. M. A. de Wolfe Howe, The Boston Sym-
phony Orchestra (Boston, 1914).
Hinrichs, Gustav, b. Ludwigslust, Meek-
lenburg, Dec. 10, 1850. St. vl. and of. with
his father and comp. with A.Reisland and £.
Marxsen in Hamburg; joined the opera orch.
at the Stadtth., also playing at the Philh.
concerts; 1870-85, cond. and teacher in Sail
Francisco; 1885-6, asst.-cond. to Th. Thomas
with the Amer. Opera Co.; then organized in
Philadelphia his own company (both cond.
and mgr.), touring the Eastern States for 10
years; he gave the Amer. premieres of
CavaUeria Rusticana (Phila., Sept. 9, 1891),
Pagliacci (N. Y., June 15, 1893) and Manon
Lescaut (Phila., July, 1894); 1899-1906, mus.
dir. at Columbia Univ.; 1903-8, cond. at the
M. O. H. — Works: The operas Der vierjdhrige
Posten (San Francisco, 1877) and Onti-Ora
(Phila., June, 1891); a symphonic suite for
orch.; choruses (some w. orch.); songs.
Hinshaw, William Wade. In 1916 he
offered a prize of $1000 for the best 1-act
opera by an Amer. composer (awarded to
Hadley's Bianca, Dec., 1917). In March,
1918, he succeeded Albert Reiss as pres. of the
Soc. of Amer. Singers.
Holbrooke, Josef, is wrongly placed after
H OLDEN.
Hood, Euseblus, b. Nashua, N. H., Jan.
21, 1866. St. at the New Engl. Cons.; living
in Nashua as supervisor of music in the publ.
schools, choirm. at the First Congr. Ch.,
and cond. of the Nashua Oratorio Soc. and
Lowell Choral Soc.; was cond. of the Mac-
Dowell Festivals at Peterborough, N. H.
(1910-5).
Hopkins, Harry Patterson. Moved to
New York (Sept., 1916); org. and choirm. at
Temple Beth Israel, and org. at Park Row Th.
Howard, George Henry, d. Boston, Feb.
27, 1917. In 1913 he was made Mus. Doc.
by the Univ. of Washington.
Hughes, Edwin, pianist; b. Washington,
D. C, Au£. 15, 1884. St. pf. with local
teachers; with JosefFy in New York (1905-6)
and Leschetizky in Vienna (1907-10), part
of the time as the latter's asst.; 1910-2, head
of pf.-dept. at Ganapol Sch. of Mus. Art,
Detroit; 1912-6, in Munich as concert-
pianist; since then in New York as teacher
of the master-class in pf. at the Volpe Inst,
of Music; contrib. to German, Engl, and
Amer. periodicals. Comp. of songs and a
1088
HUGO— KORN
concert-paraphrase on Joh. Strauss's Wiener
BltU.
Hugo, John Adam, b. Bridgeport, Conn.,
Jan. 5, 1873. St. at the Stuttgart Cons,
under W. Speidel (pf.)f Faiszt (com p.) and
Zumpe (orch.); has concert ized in Germany
and England; 1899-1900, teacher of pf. at the
Peabody Cons., Baltimore; 1901-6, dir. of
the European Cons, and of the Woman's Coll.;
since then as private teacher in Bridgeport.
— Works: The operas The Hero of Byzant (3-
act) and The Temple Dancer (1-act); Sym-
phony in C; 2 pf. -concertos (op. 7, F m.; op.
11, C); pf.-trio in Eb (op. 4); pes. for vl.
and pf . ; do. for vcl. and pf . ; pf .-pes. ; songs.
Hull, Arthur Eaglefield. Add to works
A Short History of Music (1916); Modern
Musical Styles (1916); Design or Construc-
tion in Music (1917); Engl, translations of
R. Rol land's Handel (1916) and Vie de Beet-
hoven (1917).
Humiston [hdhm'-l, William Henry.
Was app. asst.-cond. of the N. Y. Philh. Soc.
in 1916.
Humperdinck, Engelbert. Cf. O. Besch,
E. ff. (Leipzig, 1915).
Huneker, James Gibbons. In the au-
tumn of 1917 he settled in Philadelphia as
critic for 'The Press.' Add to works Uni-
corns (1917).
d'Indy, Vincent. Le Mystere de Saint-
Christophe was prod, by the Assoc. Colonne-
Lamoureux at the Salle Gaveau (April, 1917).
Inten, Ferdinand von, d. New York,
Jan. 16, 1918.
Ippolitov-Ivanov, Michail Michailo-
vltch. Add to works an opera, Ole from
Nor Hand (Moscow, 1917).
Jaques-Dalcroze, £mile. After the clos-
ing of his institution at Hellerau wealthy
patrons enabled him to establish a new school
. at Geneva (1917).
Joachim, Amalie. Cf. O. Plaschke, A.
J. (Berlin, 1899).
Karg-Elert, Siegfried. Add to bibliogr.
H. B. Gaul, Bonnet, Bossi, K.-E.t in 'Mus.
Quart.' (July, 1918).
Kastner, Alfred. Since autumn of 1917
solo harpist of the N. Y. Philh. Soc.
Kastner, Emmerich, d. Vienna, Dec.,
1916 or Jan., 1917.
Kazatchenko, Nikolai Ivanovitch. Cor-
rect name is Kazatchenko, Grigory Alexeie-
vitch.
Keller, Otto. Add to works P. Tchaikovsky
(1914).
Kelley, Edgar Stillman. Degree of LL.
D. conferred by Univ. of Cincinnati, June 16,
1917.— Add to works The Pilgrim's Progress, a
'musical miracle-play' for soli, ch., children's
ch., org. and orch.; text [after Bunyan] by
Elizabeth Hodgkinson; prod, at Cincinnati
May Fest. (May 10, 1918; Ysa?e cond.).
Kern, Jerome David, b. New York, Jan.
27, 1885. Pupil at N. Y. Coll. of Music of P.
Gallico and A. Lambert (pf.) and Dr. A.
Pearce (theory). Comp. of a comic opera,
Miss Springtime (N. Y., 1916; with E. Kal-
man) and numerous succ. light stage-pieces.
Kern, Karl Wilhelm, b. Schlitz, Hesse-
Darmstadt, June 4, 1874. Pupil of his father,
Karl August K. (1836-1902), and at the
Mayence Cons, of P. Schumacher (pf.), F.
Lux (org.) and A. Coy (comp.);. came to
America in 1893, and, while continuing his
studies at Elmhurst Coll., n. Chicago, taught
there pf., org. and harm.; taught further at
Springfield (O.) Sch. of Music and Dennison
Sen. of Music (Baptist Univ.), Dallas, Texas;
since 1904 in St. Louis as teacher (now also
vice-pres.) at the Strassberrer Cons, and
editor for the Shattinger Music Co. Has
publ. choral works, anthems, songs, organ-
pcs. (sonata, op. 90), pf.-pes. (Mississippi
River Scenes), pes. for vl. and pf., etc.
Klenzl, Wilhelm. A new opera, Das
Testament (text by K.), was prod, at Char-
lottenburg in 1917 (Jan. or Feb.; mod.
succ).
Klee, Eugen. In May, 1917, he was
elected cond. of the 'Deutscher Liederkranz'
in N. Y.
Kling, Henri, d. Geneva, Switzerland,
May 2, 1918.— He was born Feb. 14 (not 17).
Kneisel, Franz. He dissolved his famous
quartet in 1917; final concerts in Boston
(Mar. 13) and New York (Apr. 3).
Kobb£, Gustav, d. Babylon, L. I., July
27, 1918 (accidentally killed while sailing).
Koch, Friedrich E. A new opera,
Die Hugtimuhle, was prod, at the Deutsches
Opernhaus, Charlottenburg (1918).
Kosmmenlch, Louis. Resigned as cond.
of the N. Y. Oratorio Soc. in 1917; founded
The New Choral Soc. of N. Y., which gave
its first concert on April 4, 1918 (Verdi's Re-
quiem).
K&uinft, Karl W. P., d. Chicago, May 3,
1914.
Korn, Clara Anna, b. Berlin, Jan. 30,
1866. Brought early to America; won a
scholarship at the Natl. Cons., N. Y.; later
st. comp. with Horatio Parker and B. O.
Klein; taught at the Natl. Cons. (1893-8);
since then as private teacher in N. Y.—
Works: An opera, Our Last War; Symphony
in C m.; a pf. -concerto; a sonata for vl. and
pf.; a suite for do; pf. -pes. and songs.
1089
KOSLECK— MACKINLAY
Koaleck, Julius. Cf. B. Garlepp, Die
Geschichte der Trompete, nebst einer Biogra-
phic /. K.'s (Hanover, 1914).
Kraus, Felix yon. His wife st. with
Auguste Gdtze (not Marie).
Krehbiel, Henry Edward. Add to works
A Second Book of Operas (1917).
Kremaer, Eduard. Cf. H. von Paum-
garten, E. K. Ein Nachruf (Vienna, 1915).
Krygell, Johan Adam, d. Copenhagen*
July 27, 1915.
Kubellk, Jan. He wrote a concerto for vl.
and orch. (1916).
Kunwald, Dr. Ernst. He resigned as
cond. of the Cincinnati Symph. Orch. after
his arrest (Dec. 8, 1917) and subsequent
internment as an enemy alien.
Lagoanere, Oscar de,d. Paris, May, 1918.
At the time of his death he was cond. at the
Gait6-Lyrique.
Lange, Daniel de, d. Point Loma, Cal.,
Jan. 31, 1918. After his retirement (Sept. 1,
1913) he lived at the headquarters of the
Universal Brotherhood ana Theosophical
Soc. at Point Loma.
Laparra, Raoul, b. Bordeaux, May 13,
1876. Pupil at the Paris Cons, of Faur6 and
Massenet; Prix de Rome with the cantata
Ulyssc (1903). — Works: The operas Peau
d'dne (Bordeaux, 1899); La Habanera (Op.-
Com., 1908; Boston, Dec. 14, 1910); La Jota
(Op.-Com., 1911); Amphitryon and l' A venture
pittoresque (not prod.); incid. music to a 5-
act drama, EX Conquistador; a vl. -sonata;
pf.-pcs. (Souvenirs de Jeunesse, Scenes ibSrien-
nest Rythmesespagnols [on Span, folk-themes],
The Book of the Dawn [children's pes.], etc.);
songs (a cycle, Viaje musical por EspaHa [on
Span, folk-themes]).
Lazzari, Silvio. Correct pronunciation
is lahd'zah-r?.— He visited the u. S. to cond.
the world-premiere of his new opera Le Sau-
teriot (Chicago, Jan. 19, 1918). Add to works
Melaenis, opera (publ., not prod.); a sym-
phony. Strike from list of works Ophelia,
Rapsodie espagnole, VEnsorceU.
Lee, Ernest Markham. Add to works
On Listening to Music (1918).
Lefebvre, Charles- £douard, d. Aix-les-
Bains, 1917 (before Nov.).
Lemaire, (Jean -Eugene-) Gaston. Add
to works Pierrot venge son Rival, ballet (1917).
Lemare, Edwin Henry. App. munic.
organist at San Francisco in 1917, giving his
official opening recital on Mar. 25.
Lendval, Erwin. It seems that Elga was
prod, at Mannheim some time after the out-
break of the war (before 1917).
Leroux, Xavier (Henri -Napoleon). A
new opera, 1814, was prod, at Monte C
(early in 1918).
Lets, Hans, b. Ittenheim, Alsatia, M*r
1887. Pupil at Straasbure Cons. (19ii
of H. Schuster (vl.) and K. Sombora (oonr
then at the Berlin Kgl. Hochschule (19cu
of Joachim (vl.) and Van Ewevk (com;
d6but Strassburg, June, 1903 (Brahms .
certo); 1907-8, concertizing in princjpaJ ci-
of Germany; Amer. dei>ut (N. Y.t Nov
1908), followed by tour of the U. S. as so>
with leading orchestras; 1909—12, cone?:
master of Chicago Symph. Orch.; 1912
til dissolution (1917), 2d vl. of the Kn-
Quartet; in 1917 he settled in N. Y. as tea ^
at the Inst, of Mus. Art; also formed hi* o»
auartet (L., S. Harmati, E. Kreiner, O. Mj_ •
hrst concert N. Y., Oct. 30, 1917).
Liszt, Franz. Add to bibliogr- O. '
Sonneck, L.'s lHuldigungsmarsck* and H.
mar's Volkslied, in 'Mus. Quart/ (Jan., 191>
Lomagne, B. de. Pseudonym of Albej:
SOUBIBS.
Lyon & Healy. The firm was establ.
Chicago, and has been there ever since.
Maas, Gerald. Became 'cellist of rr-
Elki Trio (1916) and Letz Quartet (1917..
MacDowell, Edward Alexander. Or
1-7 were publ. under the pseudonym of Edc-
Thorn: Op. 1, Amourette for pf. ; op. 2. '-
Lilting Rhythm, do.; op. 3, Lowe and T*
and The Rose and the Gardener, male chorus
a capp.; op. 4, Forgotten Fairy Tales (Su*-
Outside the Prince's Door, Of a TaUor a& ;
Bear, Beauty in the Rose-Garden, From Dwcr1-
land) for pf.; op. 5, The Witch, male ch .
capp.; op. 6, War Song, do.; op. 7, Six Fanti
(A Tin Soldier's Love, To a Humming Bvi.
Summer Song, Across Fields, Bluette, An Ely,
Round) for pf. — Op. 8, Waltt for pf. was an-
nounced by Br. & H. in 1895, but nevtrr
appeared. — Add to bibliogr. O. G. Sonneck,
Catalogue of First Editions of E. MacD.
(Washington, 1917).
MacKinlav, Malcolm Sterling, concert-
bass and teacher; son of the famous contra: >
Antoinette Sterling; b. London, Aug. 7, 1876.
Graduate of Trinity Coll., Oxford (M. A.,
1901); st. singing under Manuel Garcia (18°7-
1900); d£but on tour with his mother (1900;;
sang with much succ. in recitals and a few
times in comic opera; in 1904 he gave up all
Eublic appearances and establ. himself in
ondon as teacher; founded the 'Ladies'
Choir' (1911), and the 'Sterling MacKinlay
Operatic Soc.' (1912; object, to prod. light
French opera, and give his pupils stage-ex-
perience).— Has publ. Antoinette Sterling, and
Other Celebrities (1906); Manuel Garcia, the
Centenarian (1908); The Singing Voice and
Its Training (1910).
1090
MACLEAN— MILANOLLO
Maclean, Charles Donald, d. London,
June 23, 1916.
Maclennan, Francis, distinguished dra-
matic tenor; b. Bay City, Mich., Jan. 7,
1879. St. voice with J. F. Mount (Bay City),
Carl Dufft and Joseph Tamara (N. Y.), G.
Henschel (London) and Franz Emerich (Ber-
lin); debut as Faust with Moody- Manners
Co. at Cov. Garden (1902); in 1904-5 he
sang Parsifal in Savage's company on a tour
of the U. S.; returned with the same com-
pany in Madama Butterfly (1906-7); 1907-
13, at the R. Opera, Berlin, where he had the
distinction of being the first foreigner to sing
Tristan in Germany; 1913-5 at the Stadtth.,
Hamburg; accepted frequent invitations to
sine Wagner r61es in England, Scotland and
Ireland; 1915-7, with the Chicago Opera Co.,
making a very succ. debut there as Tristan
(Nov. 17), and later appearing chief! v in
Wagner roles. He created Francis in Nay-
lor's The Angelus (Cov. G., Jan. 27, 1909);
favorite rdles are Rienzi, Tristan, Siegfried
(Siegfried and Gdtterddmmerung), Radames,
Otello, Turiddu, Canio; has sung Tannhauser,
Ixmengrin, Parsifal, Loge, Siegmund, Raoul,
Romeo, Pinkerton, Rodolphe, etc. In 1904
he married Florence Easton [see Easton-
Maclennan], with whom he has sung in the
same companies and in succ. recitals (duets).
Mancinelli, Luigl. In 1918 he was app.
Boito's succ. as member of the Permanent
Musical Commission.
Mansfield, Orlando A., resigned from
Wilson College in 1917 to become prof, of
theory and organ at Brenan College, Gaines-
ville, Ga.
Mapleson, James Henry, was born
London, May 4, 1830.
Matechal, Henri-Charles. In 1918 he
was awarded the Prix Monbinne (3000 frcs.)
for his opera comique Ping Sin, recently
revived with enormous success.
Marinuzzi, Gino. Add to works the
opera Jacquerie (Buenos Aires, 1918).
Martens, Frederick Herman, b. New
York, July 6, 1874. St. in N. Y. with H. C.
Timm and W. Barber (pf.) and Max Spicker
(theory); since 1907 contrib. to various
journals; N. Y. correspondent of the Lon-
don 'Musical Record'; has written the libretti
of several operettas (Macfarlane's Little Al-
mond-Eyes, Swords and Scissors; Page's
Contest of the Nations; etc.) and numerous
cantatas; translator of many songs. Author
of Leo Ornstein: The Man, His Ideas, His
Work (1917); several chapters in 'The Art
of Music' (14 vols.; 1917).
Martinelli, Giovanni. In line 7 from
end, the opera of Zandonai (Dec. 22, 1916)
referred to is Francesca da Rimini.
Mascagni, Pietro. Add to works
Rapsodia Satanica for orch. (prod, to a cine-
matograph film, Rome, July 2, 1917).— The
following of his works have been prod, in the
U. S.: CavaUeria Rusticana (Philadelphia,
Sept. 9, 1891); VAmico Fritz (ib.f June 8,
1892); Iris (ib., Oct.14, 1902); Zanetto (M.
O. H., Oct. 9, 1902); Isabeau (Chicago, Nov.
12, 1917); Lodoletta (M. O. H., Jan. 4, 1918).
— Ratcliff was never prod, in the U. S.; it was
rehearsed during M.'s Amer. tour, which
ended prematurely.
Mason, Daniel Gregory. Add to works
Short Studies of Great Masterpieces (1917).
Materna, Amalie, d. Vienna, Jan., 1918.
Mazzinghi and Mazzocchi are wrongly
placed after Mazzolani.
Me&erlin, Alfred, fine violinist; b. Ant-
werp, June 30, 1880. Began to study the vl.
at 7; pupil of Jan Bacot at the Ecole de
Musique in Antwerp, later of J. B. Colyns at
the Brussels Cons., graduating in 1900 with
the 1st prize; in 1894, he joined the orch. at
the Th. Royal, Antwerp; during the summers
of 1901-5 solo violinist at the Casino of
Mont-Dore, Puy-de-Dome. In 1906 he st.
further under Vsaye, and then undertook
succ. tours of Germany, Austria, Italy and
France, meeting with special favor in Nice
(1908) and Vienna (1910); 1912-4, concert-
master of the Flemish Opera at Antwerp. He
had just been app. prof, at the Wurzburg
Cons., when the war broke out and he had to
resign; came to the U. S. in Nov., 1914; since
1917 leader of the N. Y. Philh. Soc.
Menter, Sophie, d. Petrograd, 1918 (in
July or Aug.).
Messager, Andre*. Under the auspices of
the French government he visited the U. S.
with the entire orch. of the 4Soc. des Concerts
du Cons.', giving patriotic symphony concerts
in 50 large cities (Oct.-Dec., 1918).
Miedtner, Raro. Pen-name of Martin
R6der.
Miersch, (Karl Alexander) Johannes,
excellent violinist; b. Dresden, 1865; d.
Cincinnati, Sept. 8, 1916. Pupil at the Dres-
den Cons, of Rappoldi, of Abel in Munich,
and Massart in Paris; began his career as
Konzertm. in Graz (1887) ; 1888-90, as teacher
in Aberdeen; 1892-3, member of the Boston
S. O.; 1894-8, artistic dir. of the Cons, in
Athens and 'Court violinist to the King';
1898-1902, tours of Europe; returned to the
U. S. in 1902, and was prof, at the Cincinnati
Coll. of Music (from 1910). Comp. of a
Polonaise for vl. and orch. (op. 4) and pes.
for vl. and pf.
Milanollo, Teresa and Maria. Add to
1091
M ILDEN BERG— POLACCO
bibliogr. A. Pougin, Les Sceurs M., in 'Riv.
Mus. Ital.' (vol. xxiii, 3-4; 1916).
Mildenberg, Albert, d. New York, July
3, 1918.
Monta'nl, Nicola Aloyslus, b. Utica, N.
Y., Nov. 6, 1880. St. under Amer. teachers
till 1900; then under Perosi and Capocci in
Rome, and Gregorian music under Dom
Mocquereau on trie Isle of Wight (1905-6);
since 1907 org. and choirm. at Ch. of St.
John the Evangelist, Philadelphia. In 1914
he founded The Society of St. Gregory of
America* (officially recognized by Pope Bene-
dict XV) for the restoration of the Gregorian
Chant and the early polyphonic style recom-
mended in the 'Moturroprio'of PiusX; also
establ. the 'Catholic Choral Club' for the perf.
of early a capp. music; editor of 'The Catho-
lic Choirmaster.1 He is a member of the
Pontifical Inst, of Sacred Music (Rome) and
sec. of the Soc. of St. Gregory (since founda-
tion).— Works: Op. 8, Missa Solemnis in Eb
for 5-part ch., org. and orch.; op. 16, Stabat
Mater for soli, boy-choir, org. and orch.; op.
18, Missa Orbis Factor for double ch.; op. 20,
The Bells [Poe], cantata for fern, vcs., soli
and orch.; op. 21, Invitation, aria for sop. and
orch.; op. 25, Scenes de Ballet, suite for orch.;
motets and songs.
Montemezzi, Italo. Add to works the
opera, La Nave (Milan, 1918).
Moore, Graham Ponsonby, d. in Aus-
tralia, May 5, 1916.
Muck, Karl. He resigned as cond. of the
Boston S. O. after his arrest (Mar. 25, 1918)
as an enemy alien; interned Apr. 8.
Mussorgsky, Modest Petrovitch. Cf.
M. Montagu-Nathan, M. (London, 1916; in
the series 'Masters of Russian Music').
Nevin, Arthur. Add to works The Daugh-
ter of the Forest, 1-act opera (Chicago, Jan. 5,
1918).
Newcomb, Ethel. On April 7, 1917, she
married Eric Schuler in N. Y.
Nielsen, Alice. On Dec. 21, 1917, she
married Dr. LeRoy R. Stoddard of Glens
Falls, N. Y.
Nietzsche, Friedrich. Add to bibliogr.
Th. Lessing, Schopenhauer, Wagner, N. (Mu-
nich, 1906); H. Belart, F. N. und Rich. Wag-
ner. Ihre personlichen Beziehungen, Kunst-
und Weltanschauung (Berlin, 1907); E.
Forster- Nietzsche, Wagner und N. zur Zeit
ihrer Freundschaft (Munich, 1915); Wagner
and N. The Beginning and End of Their
Friendship, in 'Mus. Quart.' (July, 1918;
selection from E. Forster- Nietzsche's book,
transl. by C. V. Kerr).
Norden, N. Lindsay. Living in Philadel-
phia since Sept., 1918, as org. at the Second
Presb. Ch., choirm. at St. Paul's (Ogontz)
and teacher at the Episc. Acad. (Delanccy
School).
Offenbach, Jacques. The correct title
of the opera brought out by L. Schmidt is
Die Heimkehr des Odysseus (not Der Bogen).
Ornstein, Leo. Cf. F. H. Martens,
L. 0.: The Man, His Ideas, His Works (New
York, 1917); Ch. L. Buchanan, O. and Mod-
ern Music, in 'Mus. Quart.' (April, 1918).
Paderewskl, Ignace Jan. In June, 1917,
he was made Mus. Doc. (hon. c.) by Yale
Univ.
Parker, Horatio William. Add to works
Red Cross Hymn for contralto and orch.
(Worcester Fest., 1917); The Dream of Mary,
cantata for soli, ch. and orch. (Norfolk Fes-
tival, 1918).
Parratt, Sir Walter. On Jan. 1, 1918, he
resigned as prof, of music at Oxford; succ. by-
Hugh P. Allen.
Perkins, Henry Southwick, d. Chicago,
Jan. 20, 1914.
Perosi, Lorenzo. In 1917 he was elected
hon. member of the Accademia Luigi Cheru-
bim', Florence.
Persinger, Louis. In the autumn of
1917 he returned to his post as leader of the
San Francisco Symph. Orch. (having- re-
signed in the spring); also became dir. and
1st vl. of 'The Chamber-Music Soc. of San
Francisco' [2d vl., Louis Ford; via., Nathan
Firestone; vcl., Horace Britt; flute, Elias
Hecht; pf., Gyula Ormay].
Pfitzner, Hans. In 1915 he publ. Vom
musikolischen Drama (a coll. of essays).
Phemius. Pen-name signed by Saint -
Saens to articles contrib. to 'La Renaissance
litteraire et artistique.'
Pizzetti, Ildebrando, b. Parma, Sept. 20,
1880. St. pf. with his father till 1895, when he
ent. the Parma Cons.; grad. with honors in
1901; since 1909 prof, of comp. at the Isti-
tuto Musicale in Florence. — Works: The
operas Giulietta e Romeo and Le Cid (not
prod.); 2 symph. poems; 2 cantatas; mass
for ch., org. and orch. (for the Cath. of Cre-
mona) ; incid. music to Sophocles's Edipo Re
(1902); do. to d'Annunzio's La Nave (1907),
Fedra (not prod.) and La Pisanella (1913);
a pf.-trio and a vl. -sonata.
Playford, John. Cf. F. Kidson, /. P.
and 17th Century Music Publishing, in 'Mus.
Quart.' (Oct., 1918).
Polacco, Giorgio. He left the M. O. H.
in 1917; then cond. in Mexico City and.
Havana; in autumn of 1918 eng. for the
Chicago Opera Co.
1092
PRATT— ROZE
Pratt, Waldo Selden. In 1918 he be-
came editor of the new Amer. supplement to
Grove's 'Dictionary of Music and Musicians.1
Prosnlz, Adolf. Vol. iii [1750-1830] of
his Kompendium der Musikgeschichie was
publ. in 1915 (Vienna).
Puccini, Giacomo. In Sept., 1918, the
M. O. H. announced its acquisition of the
rights for the world-premieres of his new 1-act
operas // Tabarro, Gianni Schicchi and Suor
Angelica (to be prod, in one evening in Dec.,
1918). The projected premiere of // Tabarro
at Monte Carlo was cancelled; rehearsals
of the 3 works at the T. Costanzi (Rome)
and the T. Col6n (Buenos Aires) were tem-
porarily suspended. — Add to bibliogr. D. C.
Parker, A View of G. P., in 'Mus. Quart.'
(Oct., 1917).
Purcell, Henry. In Jan., 1918, 2 more
vols, of the edition of the P. Soc. were publ.:
xx, The Fatal Marriage, The Female Virtuosos,
A Fool's Preferment, The Gordian Knot Untied,
Henry II, The Indian Emperor, King Richard
II, The Knight of Malta, The Libertine, Love
Triumphant, The Maid's Last Prayer, The
Marriage-Hater Matched, The Married Beau,
The Massacre of Paris, The Mock Marriage;
xxi, (Edipus, The Old Bachelor, Oroonoko,
Pausanias, Regulus, The Richmond Heiress,
The Rival Sisters, Rule a Wife and Have a
Wife, Sir Anthony Love, Sir Barnaby Whigg,
Sophonisbe, The Spanish Friar, Theodosius,
Tyrannic Love, The Virtuous Wife, The Wives1
Excuse, music to an unidentified play. — Add
to bibliogr. W. B. Squire, P.'s 'Dido and
JEneas; in 'M. T.' (June, 1918).
Rabaud, Henri. His opera Mdrouf was
prod, at the M. O. H. (Dec. 19, 1917).
Raff, Joseph Joachim. In 1916 his
daughter Helen presented to the R. Library
in Berlin the following MSS. (still un publ.):
The operas Konig Alfred, Die Parole, Die
Eifersuchtigen, Samson, Benedetto Mar cello;
incid. music to Genast's Bernhard von Weimar;
the choral works Domroschen and Die Sterne;
Te Deum for ch. and orch.; Kyrie and Gloria
for 6-part ch. a capp.; Pater Nosier and Ave
Maria for 8-part do.; 4 hymns to the Virgin;
vcl. -concerto No. 2, in G; a duet for vl. and
pf.; songs; also sketches for the 4 Shakespeare
overtures.
Ravel, Maurice. Add to works a pf.-trio
in A m. (1916).
Reiss, Albert. In March, 1918, he re-
signed as pres. of the Soc. of Amer. Singers;
succ. by William W. Hinshaw.
Rennes, Catharina van, b. Utrecht, Aug.
2, 1858. Pupil at the Cons, there of Richard
Hoi, receiving a diploma for pf. (1883) and
singing (1884); won succ. as a Lieder-singer
and in oratorio; her fine interpretation of
her own songs made them popular through-
out Holland. She lives in Utrecht as dir. of
her own singing-school (Kinderzangschool). —
Works: The cantatas Oranje- Nassau (for the
coronation of Queen Wilhelmina, Sept. 6,
1898), Van de seven Zonnestraaltjes [About the
7 Sunbeams], Avondcantate [Evening cant.];
pf.-pcs. (Kloviersprookjes, De Muisenwereld,
Heide Koninginnetje, etc.); songs (Zonnelied,
Kleengedichtjes, Miniatuurtjes, Instanteneet-
jes, etc.). — Many of her songs are in the
repertoire of Julia Culp.
Rhene-Baton. In 1914 he was app. cond.
of the Kursaal at Schevcningen ; spring of
1914, cond. of the season of Russian opera at
Drury Lane; 1915, visiting cond. at the
Augusteo in Rome.
Rimsky-Rorsakov, Nikolai Andreie-
vitch. His Coq d'Or was prod, at the M.
O. H. (Mar. 6, 1918).
Robinson, Franklin Whitman, b. New
York, June 27, 1875. St. org. with W. R.
Johnston and H. H. Wetzler, theory with W.
K. Bassford and Max Spicker; later with
MacDowell and Rubner at Columbia Univ.
(M. A., 1907); 1904-17, org. at the Ch. of
the Epiphany, Phila.; since 1908 instr. of
theory at the Inst, of Mus. Art, N. Y., where
he has been very successful with an original
method stressing ear-training. Author of
Aural Harmony (N. Y., 1918).
Rosen, Max, remarkably precocious vio-
linist; b. Dorohoi, Rumania, April 11, 1900.
Before he was a year old his parents settled in
New York. His father, an amateur violinist
of some ability, was his first teacher (1907-9);
he then st. with David Mannes at the Music
School Settlement (July, 1909-April, 19J1),
with Alois Trnka until Jan., 1912, and with
Bernard Sinsheimer until the following April.
Mr. de Coppet, the founder of the Flonzaley
Quartet, heard him, and offered to bear the
entire expense of a European education. In
{une, 1912, the boy took his first lesson from
eopold Auer (then in Loschwitz, n. Dres-
en), and st. with him every summer till 1917;
for the winter semesters of 1912, '13 and '14
he was a pupil of Willy Hess at the Kgl.
Hochschule in Berlin. His succ. debut in
Dresden with the R. Orch., Nov. 16, 1915
(Bruch's G m. concerto), was followed by
appearances in Nuremberg and Berlin and by
a most succ. tour of Scandinavia (1916-7);
equally emphatic succ. he won at his Amer.
debut with the N. Y. Philh. Soc., Jan. 12,
1918 (Gold mark's concerto); since then he
has played in several musical centres of the
U.S.
R6ze, Marie-Hippolyte. In 1877 she
married Col. Henry Mapleson (b. London,
1093
\
SAMMARCO— YSAVE
Feb. 17, 1851), a son of the famous impresario,
Col. James Henry M.
Sammarco, Mario. In 1918 he was app.
one of the new board of 4 directors of La
Scala in Milan (S., Angelo Scandiani, Tullio
Serafin, Italo Vicentini).
Scheider, May. In August, 1918, the
court granted her application for change of
name to Stone (her mother's maiden name).
Schdn, Dr. Eduard. The real name of
E. S. Engelsberg.
Schroder, Alwin. In 1918 he returned to
his position as solo 'cellist of the Boston S. 0.
Scott, Cyril. Cf. A. E. Hull, C. 5.
Composer, Poet and Philosopher (London,
1918).
Serrano y Ruiz is wrongly placed after
Serrao.
Sharp, Cecil James, b. London, Nov.
22, 1859. After graduation from Cam-
bridge he went in 1882 to Adelaide, South
Australia, where he became org. at the Cath.
and cond. of the Philh. Soc.; was also asso-
ciate to the Chief Justice (1883-9); returned
to England in 1892; 1893-6, cond. of the
Finsbury Choral Assoc.; 1896-1905, prin-
cipal of the Hampstead Cons.; since 1911,
dir. of The English Folk-Dance Soc.' and
'The Summer School of Folk-Song and
Dance/ Stratford-on-Avon. While engaged
on his 'Book of British Song* he became in-
terested in folk-music, of which he has been
an indefatigable collector: he is a foremost
authority on the subject. — Author of English
Folk-Song: Some Conclusions (1907), Folk-
Dancing in Schools (1913), Folk-Singing in
Schools (1914); he has ed. the following
coirections [the greater part with valuable
histor. introductions and notes]: Book of
British Song (1902); Folk- Songs from Somerset
(5 parts, 1904-9; with C. L. Marson) ; English
Folk-Songs for Schools (1906; with S. Baring-
Gould); Country-Dance Tunes (8 parts,
1906-16; with G. Butterworth. The histor.
Sort ion publ. separately as The Country-Dance
ook, 1906) ; The Morris Book (5 parts, 1907-
13; with G. Butterworth and H. Macilwaine.
The histor. portion separately as A History of
Morris Dancing, 1907; 2d ed., entirely re-
written, 1912); English Folk-Carols (1911);
The Sword-Dances of Northern England, to-
together with the Horn-Dance of A bbots Bromley
(3 parts, 1911); English Chanteys (1914); A
Mtdsummemighi 's Dream (ong. numbers
and arrs. for G. Barker's prod, at the Savoy
Th., Jan., 1914; with histor. introd.); *&>
English Folk-Songs (1916); American-Eng-
lish Folk-Songs from the Southern Appalach-
ians (part I, 1917; with O. D. Campbell J;
Folk- Songs, Chanteys and Singing-Games
(with C. H. Farnsworth); A Collection of
Selected Folk-Songs (1918; with R. V. WU-
liams).
Smith, David Stanley. Add to works
Rhapsody of St. Bernard, cantata for soli, cfa.
and orch.; Symphony in D m. (Norfolk Fest.,
1918).
Sonnleitner, Josef. Correct spelling is
SONNLEITHNER.
Stasny, Karl Richard. In 1918 he re-
signed from the New Engl. Cons.
Stone, May. Name adopted by May
Scheider in Aug., 1918.
Stravinsky, I. F., is wrongly placed after
Street; and
Street, Georges-Ernest, is wrongly placed
after Streabbog.
Svendsen, Swan and Sweelinck are
wrongly placed after SOssmayer.
Szanrady, Wilhelmine, is wrongly placed
after Swert.
Thorn, Edgar. See MacDowell (in
Appendix).
Valdrighl, line 4 fr. bel., Candini should
read Gandini.
Van Zanten, Cornelie. Add to works
Belcanto des Wortes. Lehre der Stimmbeherr-
schung durch das Wort (1911).
Vogt, Augustus Stephen. In 1918 he
was app. Dean of the Faculty of Music at the
Univ. of Toronto.
Waghalter, Ignaz. His opera Jugend
was prod, at the Deutsches Opernhaus,
Charlottenburg (1918).
Witek, Anton. Resigned as leader of the
Boston S. O. in 1918; succ. by Frederick
Fradkin.
Ysa?e, Eugene. In the autumn of 1918
he took charge of a master-class at the Cin-
cinnati Cons, of Music.
1094
STANFORD UNIVERSITY LIBRARY
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