FROM THE LIBRARY OF
REV. LOUIS FITZGERALD BENSON, D. D.
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
dccljo;"
DICTIONARY
OF
MUSIC AND MUSICIANS
GROVE'S -^"^^'^^^^^^^
DICTIONARY OF MUSIC
AND MUSICIANS
AMERICAN SUPPLEMENT
BEING THE SIXTH VOLUME
OF THE COMPLETE WORK
WALDO SELDEN PRATT
EDITOR
CHARLES N. BOYD
ASSOCIATE EDITOR
THEODORE PRESSER COMPANY
PHILADELPHIA, PA.
1920
CoPTBiaHT, 1920,
By the MACMILLAN COMPANY.
Set up and electrotyped. Published November, 19a
KotiDOOll ^tt»t
J. S. Gushing Co. — Berwick & Smith Co.
Norwood, Ms88., U.S.A.
PREFACE
The project of this volume, when proposed by The Macmillan Company to the
Editor whom they had selected, was finally taken up by liim only with great hesita-
tion, not because an American Supplement to the existing five volumes of Grove's
famous Dictionary of Music and Musicians was not most desu'able, but because of
the Inherent difficulties in the problem of making it satisfactory. After prolonged
consultation the working-plan adopted was recognized as not so much a 'counsel of
perfection' as a frank adjustment of ideals to what was practical within the Umits
of time, space and scope proposed.
In view of the fact that a work of this sort is essentially historical, an unusual
arrangement of the material was at length devised as useful in this particular case.
The volume is laid out in two distinct divisions, the one interlocking more or less
with the other. The first division consists of a compact Historical Introduction,
surveying the unique environment of music in America and certain peculiarities in
its development, combined period by period with a Chronological Register, indicating
those workers who seem representative of the spirit and effort of the successive stages
of progress. The second division, which is much larger, consists of specific descrip-
tive articles about leading individuals, organizations, institutions and interests,
arranged in the customary alphabetical order. In tliis division, also, a great number
of the names mentioned elsewhere are catalogued for ease of reference.
It is believed that this twofold presentation, though involving some duplication,
has definite advantages. The Introduction is not in any sense a formal history of
American music as such, yet it provides a sketch of the historic framework, of both
external circumstances and of internal tendencies, upon which alone such a history
can properly be modeled. In connection with this the Register affords opportunity
for brief reference to some 1700 persons, representing a variety of interests, some of
whom have not often been remembered or even catalogued. The descriptive articles
in the main body of the Dictionary then take up about 700 of these persons for more
particular treatment, often with extensive lists of their works, and also give a vast
amount of information about numerous enterprises of a general or corporate nature.
The aim throughout the entire volume is to present as many facts as possible in the
clearest manner, so as to make them accessible for reference, but to avoid the expression
of critical opinions except in general terms or in quoted form.
y
vi PREFACE
The Editor and the Associate Editor wish to express their great obligation to the
host of correspondents who have coiu'teously supphed both material and encourage-
ment. They can only regret that certain lines of inquiry, though somewhat earnestly
pursued, proved surprisingly fruitless, so that many topics marked for inclusion, at
last had to be treated superficially or omitted altogether.
Throughout the volume the words 'America' and 'American' are often used of
the United States and Canada taken together. Canadian musicians are here counted
with those of the United States, not only because no other course was seemly in an
American extension of a work originally published in Great Britain, but also because
the cordial fraternity in musical art on this side of the ocean has always disregarded
the political frontier that stretches across the continent. To a very limited extent,
furthermore, it has been possible to include some representative names from Central
and South America. In the Register all who were born outside of the United States
and Canada, whether ih Europe or in other parts of the Americas, are designated
by a special sign.
Inasmuch as the latest edition of Grove's Dictionary was issued ten to fifteen
years ago, the publishers desired that this volume should include continuations of
those articles that relate to the more conspicuous foreign musicians, as well as notices
of some that for any reason were previously omitted. Accordingly, in the Dictionary
proper will be found statements regardi"ng more than a hundred musicians who are
entirely outside the American field. All these articles are indicated by a special sign.
Every work of this class rests largely upon its predecessors in the same field, as
well as upon other literary sources. This particular volume would have been almost
impossible to prepare except for the several historical studies that have appeared
regarding American music and musicians, and especially without the invaluable
material gathered in works like Who's Who in Music (1918) and Baker's Dictionary
of Musicians (3rd edition, 1919). To the authors and editors of all of these the most
hearty acknowledgment of constant indebtedness is due.*
* Books that have been specially utilized include Jones, Handbook of American Music and Musicians
(1886), Mathews, Hundred Years of Music in America (1889), Ritter, Music in America (3rd ed., 1893), Elson,
History of American Music (2nd ed., 1915), The Art of Music, Vol. iv (1916), The American History and Ency-
clopedia of Music, Yo\. on American Music (1910), articles on 'Music' in The International Year-Book (1907-19),
Hughes, American Composers (revised ed., 1915), Sonneck, Early Concert-Life in America (1907) and Early
Opera in America (1915), Krehbiel, Chapters of Opera (1911) and More Chapters of Opera (1917), Upton, Mustca/
Memories (1918), etc.
LIST OF ILLUSTRATIONS
PAGE
Mrs. H. H. A. Beach 126
Dudley Buck 146
Charles Wakefield Cadman .......... 150
Jonas Chickering 160
Leopold Damrosch ............ 180
Arthur Foote 206
Henry Kimball Hadley ........... 230
Rafael Joseffy 258
Edgar Stillman Kelley 260
Henry Edward Krehbiel 264
Charles Martin Loeffler .......... 272
William Mason 286
Lillian Nordica 312
Maud Powell 330
Oscar G. Sonneck ............ 364
Bernhard Ziehn ............ 410
In previous volumes of the Dictionary will be found also portraits of Mme. Albani, George
W. Chadwick, Clara Louise Kellogg, the Kneisel Quartet, Edward A. MacDowell,
Christine Nilsson, John K. Paine, Horatio W. Parker, Anton Seidl, Marcella Sembhich,
Alexander W. Thayer, Theodore Thomas and Carl Zerrahn.
vii
HISTORICAL INTRODUCTION
AND
CHRONOLOGICAL REGISTER
INTRODUCTION AND REGISTER
The Century of Settlement
The Colonial Century
Register, Sec. 1. 1700-1775
Register, Sec. 2. 1775-1800
The Era of National Expansion
Register, Sec. 3. 1800-1840
Register, Sec. 4. 1840-1860
The Period after the Civil War
Register, Sec. 5. 1860-1870
Register, Sec. 6. 1870-1880
The Transition about 1880
Register, Sec. 7. 1880-1890
Register, Sec. 8. 1890-1900
The Opening of the 20th Century
Register, Sec. 9. 1900-1910
Register, Sec. 10. 1910-1920 .
5
7
9
12
16
21
30
37
43
51
63
66
80
88
100
Note. The cross-reference 'See art.' Indicates that a more extended
notice will be found in the body of the Dictionary. The larger cities of the
United States and Canada are regularly entered without naming the states in
which they lie.
Persons born outside of the United States or Canada are indicated by *.
HISTORICAL INTRODUCTION
WITH
CHRONOLOGICAL REGISTER OF NAMES
The history of music in America is decidedly peculiar in many of its aspects,
owing to the unusual way in which civilization and culture have here been estab-
lished. Although permanent settlements in North America multiplied from about
1600 and the independent existence of the United States is counted from 1776,
musical life remained quite immature, or at most provincial, until after 1800.
After the middle of the 19th century, however, when an extensive and vital
connection with the progressive artistic culture of Europe began to be effected, the
rapidity, variety and vigor of the ensuing advance were altogether phenomenal.
Developments that have taken centuries were then crowded into decades and
elaborate enterprises often took shape without the gradual preparation that might
have been expected.
In view of this, a compact statement is here presented of some of the historic
conditions within which American musical progress has come to pass and of its
more salient features from period to period. With this is combined at each suc-
cessive stage a Register of the persons who seem to have been representative and
influential, taking them in groups by the time when they entered upon pro-
fessional activity. It is believed that this method of presentation will illuminate
the whole evolution and be a guide to placing various matters in due sequence
and relation.
THE CENTURY OF SETTLEMENT
After being casually and vaguely known for perhaps five hundred years,
America was formally ' discovered ' in 1492 by Colombo, a Genoese navigator sent
out by the court of Spain. The name 'America' was conferred upon it, as has
been picturesquely remarked, ' by an obscure German professor in a French college
after another Italian [Amerigo Vespucci] in the service of Portugal.'
' The New World,' as it was generally known — which, by the way, did not
originally include North America — was at first simply an object for romantic
and greedy exploitation. The incursions and conquests of Spain produced noth-
ing permanent except a nominal domination over Mexico (from 1520) and the
Pacific Coast, with a precarious foothold upon the peninsula of Florida, where
St. Augustine was founded in 1565. The effective occupation of the coast of
North America was the later task of the 17th century, and was wrought out by
other nations.
3
4 HISTORICAL INTRODUCTION
In 1607 Jamestown (Va.) was settled by about a hundred adventurers from
England, establishing an area of Cavalier sympathies which ultimately acquired
the popular name of 'The Old Dominion' under Charles II. At the same time,
far to the north, French traders and missionaries began at Quebec (1608) and
Montreal (1611) to lay down the long chain of frontier posts that finally stretched
westward to the Great Lakes and thence southward down the Mississippi Valley
to New Orleans (1718). In 1613 the Dutch located themselves at the mouth of the
Hudson River, where New York now is, retaining control of its valley and of some
territory east and west of it until ousted by the English in 1664. In 1620 Plym-
outh (Mass.) was founded by a party of about a hundred English folk (Separat-
ists or Independents), commonly called 'The Pilgrims,' because their migration to
America, like their earlier one to Holland, was to escape from the oppressive
autocracy of the Church of England. In 1628-30 the much stronger settlements
at Salem, Cambridge and Boston (Mass.), not many miles away, were begun by
perhaps a thousand Puritans, members of the English Church who desired reform
in its practice and spirit, though at first without meaning to leave it. These
Massachusetts settlements were consolidated under one government in 1692.
In 1632 English Roman Catholics established themselves at Baltimore (Md.). In
1638 a few Swedes were pioneers in the region that later came to be called Dela-
ware. In 1636-38 groups breaking away from Massachusetts effected the settle-
ment first of Providence (R. I.) and then of Hartford and New Haven (Conn.),
the last two being consolidated in 1662. In 1670-80 similar branch-colonies from
Virginia pushed southward into North and South Carolina. In 1681 came the
unique and influential Quaker settlement of Philadelphia (Pa.). It was not till
1733 that the series of primary establishments was completed by the founding of
Savannah (Ga.), originally intended to be a refuge for English prisoners for debt or
conscience, but early utilized also by refugees from intolerance in southern Ger-
many. To all these centers, with their outlying dependencies, a gradually increas-
ing stream of additional colonists came from year to year.
Out of the several grants, patents or charters from the English Crown with
which most of these settlements began were developed the distinct administrations
of them as colonies. These were the autonomous units known later as 'The
Thirteen Original States' (New Hampshire, Massachusetts, Rhode Island, Con-
necticut, New York, New Jersey, Pennsylvania, Delaware, Maryland, Virginia,
North Carolina, South Carolina, Georgia), the federation of which in 1781-88
constituted the United States.
The pioneer conditions of the whole 17th century were manifestly unconducive
to artistic life. Even at its close the total population may not have exceeded
275,000 (including many negro slaves), sparsely distributed over almost a thou-
sand miles of coastland — a distance about equal to that from London to
Budapest. Large towns were almost wanting. Even Boston in 1700 had less
than 7000 inhabitants. The several colonies were as yet not bound together
by much community of interest or sentiment, and their social habits differed
greatly.
THE COLONIAL CENTURY 5
What records there are of this early period are strikingly deficient in references
to music or instruments. In the North there was a tendency to treat the art as
' worldly ' and hence objectionable, so that even church-singing became curiously
degenerate because unsupported by general knowledge. In the South there was
probably much more freedom of thought and practice, though exact data are
wanting. It seems that at first none of the colonists possessed any special taste
or aptitude in the musical field.
THE COLONIAL CENTURY
During the 18th century the total population grew at the rate of about one-
third in every decade, so that in 1750 it amounted to nearly 1,250,000 and in 1800
to over 5,300,000, of which, however, about one-sixth were slaves. More than
90 per cent were farmers. The occupied territory lay close to the Atlantic
coast, until late in the century nowhere reaching inland more than 150 miles.
Military outposts were planted here and there at more distant points, but, even
allowing for these, the total area effectively taken up by the English colonies can
hardly have exceeded 250,000 square miles. By 1800 a few cities had attained
considerable size, especially Philadelphia (69,400 inhabitants), New York (60,500),
Baltimore (26,500), Boston (25,000) and Charleston (20,500), with Salem, New
Orleans, Providence, Norfolk, Newport, Newbury port, Richmond, Nantucket ( !),
Albany, Hartford and Portsmouth completing the list of large towns down to 5000
inhabitants.
In the middle of the century (1754-63) occurred the struggle with the aggres-
sive French interests in Canada, assisted by a strong Indian alliance. The issue
of this contest settled the critical point that not only Canada, but the entire basin
of the Mississippi, was thenceforth to come under English influence. It also broke
the power of the dangerous Indian confederacies. Close upon this followed the
controversies with England that culminated in the War of Independence (1775-83),
by which for the first time all the colonies were drawn into virtual union as a na-
tion. This war, however, naturally led to a prolonged period of discussion and
internal readjustment. Except in the cities and large towns, conditions were still
not specially favorable for much cultural advance.
On the whole, social thought and customs were strongly dominated by English
influences. The sense of an independent destiny awoke only late in the period,
when also appeared a new sensitiveness to ideas from France, due in part to
sympathy received in the American Revolution and given in the French Revolu-
tion. Although there was as yet no great influx of immigration from Europe and
no habit of foreign travel, commerce with England was steady and enterprising, so
that not only commodities, but social ideas and practices, were rather promptly
communicated, at least to the main ports of entry. In these latter centers wealth
and leisure had increased enough to create a demand for something more than
small diversions.
It is not strange, therefore, that such musical entertainments as were popular
in England — concerts and operas of the ballad or song type — should have
6 HISTORICAL INTRODUCTION
become more and more frequent. The performers were almost wholly visiting
artists from abroad, at first from England, but after 1790 from France as well.
Many of these remained for a series of years and some of them permanently. Not
a few represented a high degree of knowledge and taste, as measured by the
standards of the day. So far as these artists became known they undoubtedly
exerted a positive and stimulating artistic influence. In certain instances we know
that they started definite currents of native effort.
Side by side with this exotic influence, especially in New England, ran a
movement for the improvement of congregational singing in churches which
had some importance and which continued far into the 19th century. The
absolute artistic results were slight, but the awakening of social interest through
'singing-schools' under peripatetic leaders and through the multiplication of
song-manuals foreshadowed more significant undertakings later. (See article
on Tune-Books.)
Musical instruments slowly became noticeable among the articles of importa-
tion and sale, implying an increasing interest in them and some ability to use them.
This developing interest led also to the first steps in commercial manufacture,
giving promise of the remarkable energy that was displayed in the early 19th
century in making pianos, organs and some stringed instruments.
Associations for the promotion and practice of music were formed here and
there, indicating an instinctive desire to make it a substantial factor in social life.
The only native-born musician of distinction was Francis Hopkinson. But the
line of contributors to 'psalmody' was well established before 1800.
In the two sections of the Chronological Register that are here inserted
will be found references to many details, personal and otherwise, which do not
lend themselves readily to summary statement. The chief purpose of these
lists, it should be remembered, is to record a fairly large number of persons
who are known to have had some importance in the total development, to
group them according to the time when their professional work seems to have
begun, and in each case to indicate in a few words the place and character of
their activities. It is fully recognized that such lists must be tentative and
provisional.
Our information regarding the 18th century is fragmentary, in spite of
Sonneck's invaluable researches. His two books, Concert-Life and Early Opera,
refer by name to nearly 500 musicians of greater or less degree, of whom
about one-fourth appeared prior to the Revolution and the remainder in the
two decades after it. The majority of them were only visitors and exercised
their talents only in those few centers where music had acquired a fashion-
able vogue. It is not yet clear how deep and lasting was their artistic impress.
Their total repertory was extensive, including more than 200 operas and other
musical plays, a great variety of popular songs, usually of the EngUsh ballad
type, and a notable array of instrumental works by the composers who were
most admired before the time when Mozart began to be recognized. From
the point of view of permanent culture, it is likely that the standards uncon-
sciously established by the instrumentalists, either by public performance or
through teaching of pupils, were specially important.
1: 1700-1775] CHRONOLOGICAL REGISTER
CHRONOLOGICAL REGISTER
1. Before the Revolution, 1700-1775
Note . Throughout the Register the persons
named are entered under the period when they
apparently began professional activity, even
though this activity continued and increased
later. Those foreign-born are entered accord-
ing to the dates of arrival in America, and are
designated by a * before their names. Such
names are often given in their common angli-
cized form.
All those who are separately treated in the
body of the Dictionary are entered briefly in
the Register in their proper chronological place,
with the cross-reference ' See art.'
For ease of consultation, the dates of birth
and death are uniformly printed together, with
the place of birth preceding and the place of
death following.
*Behrent, John, either a German or a Swede,
in 1775 made in Philadelphia what appears to
have been the first American piano. See Spil-
lane, American Pianoforte, p. 76.
*Beissel, Johann Conrad (Palatinate, 1690-
1768, Ephrata, Pa.), was an odd, but gifted,
mystic who in 1720 came to Germantown, Pa.,
and in 1735 founded a communistic fraternity
at Ephrata (about 50 miles west of Philadel-
phia), which flourished till about 1800. He was
a well-trained violinist. Some of his poems
made up the first German book issued in Amer-
ica (1730, printed by Franklin). This book was
followed by a curious series of reprints of Ger-
man hymn-books and new collections, edited by
various hands and published mainly at German-
town or Ephrata (at least 30 Gesangbiicher
and similar works before 1800) .
*Biferi, Nicholas, a Neapolitan harpsichord-
ist, in 1775 gave concerts in New York, having
opened a school for music and dancing in
1774. Sonneck (Concert- Life, p. 175) queries
whether he may be the same as Francesco
Biferi (b. 1739?), who in 1770 issued an in-
struction-book at Paris.
Billings, William (Boston, 1746-1800, Bos-
ton) , was one of the earliest leaders of singing-
schools and an ambitious, but crude, tune-com-
poser. See Tune-Books and art.
Brattle, Thomas (d. 1713, Boston), a promi-
nent Boston merchant who imported an organ
which he bequeathed to the Brattle Square
Church, but whion, there refused, went to
King's Chapel. In 1756 it was taken to New-
buryport, and in 1836 to St. John's in Ports-
mouth, N. H., where it still is. See Brooks,
Olden-Time Music, p. 49, Sonneck, Concert-Life,
p. 9, and ' New Music Review,' May, 1902.
*Bremner, James (d. 1780, Philadelphia), a
relative of Robert Bremner, the Edinburgh
music-publisher, came to Philadelphia in 1763,
opened a music-school, was Hopkinson's
teacher, played the organ at Christ Church,
and did much to promote good music. See
Sonneck, Concert-Life, pp. 66-70, and Hopkiri'
son and Lyon.
Bromfield, Edward, Jr. (Boston, 1723-1746,
Boston), graduated from Harvard in 1742 and
is said soon after to have partially constructed
an organ. See Brooks, p. 32.
*Dipper, Thomas (d. 1763?, Jamaica), an
Englishman who in 1756-62 was organist at
King's Chapel, Boston.
*Douglass, David (d. 1786?, Jamaica), a
capable English singer, actor and manager,
who came to New York in 1758, succeeded
Hallam as head of the American Company
(marrying his widow), and gave plays and
operas North and South till 1775, when he left
for Jamaica. See Sonneck, Early Opera, pp.
26-52.
*Enstone, Edward, an Englishman, who
from 1714 was organist at King's Chapel,
Boston, taught music and dancing and sold
various instruments.
Flagg, Josiah (Boston, 1738-1794, Boston),
issued a tune-book in 1764 (engraved by Paul
Revere), gave concerts in 1769-71 and organ-
ized a military band. See Sonneck, Concert-
Life, pp. 261-4, and Tune-Books.
Franklin, Benjamin (Boston, 1706-1790,
Philadelphia). See Vol. ii. 103-4, 297-8, and
art.
*Gualdo, Giovanni, an Italian who in 1767
came to Philadelphia as wine-dealer and music-
teacher, and in 1769-71 gave concerts, includ-
ing instrumental works of his own (not extant).
See Sonneck, Concert-Life, pp. 70-4.
*Hallam, a family of English actors and
singers who were active in America from 1753,
when Lewis Hallam (d. 1755, Jamaica) came
as manager of the London Company. His
widow married Douglass, who directed the
troupe in 1758-74 under the names American
Company and Old American Company.
Among the singers after 1759 were Lewis
Hallam, Jr. (1741-1808) and his sister, both
competent artists. The former returned as
manager in 1784, and was more or less asso-
ciated with Henry and Hodgkinson (see sec. 2).
See Sonneck, Early Opera and Concert-Life.
*Harman, Catharine Maria (d. 1773), a
granddaughter of CoUey Gibber, was a light-
opera singer in the American Company from
1759, as was also her husband.
*Harrison, Thomas, an Englishman who
was organist of Trinity Church, New York,
probably in 1753-64, and also gave concerts
in 1769-70.
*Hesselius, Gustavus, a Swedish organ-
maker, who made spinets and virginals in
Philadelphia as early as 1742 — apparently
the first in America.
Hopkinson, Francis (Philadelphia, 1737-
1791, Philadelphia), the distinguished lawyer
and publicist, who was also the first American
composer (from 1759). See art.
8
CHRONOLOGICAL REGISTER
[1: 1700-1775
*Jacobi, John Owen, an organist brought
from England in 1736 by Trinity Church,
Newport, R. I., to play the organ given in 1733
by Bishop Berkeley.
Johnston, Thomas (d. 1768?), in 1752 made
an organ for Christ Church, Boston, and in
1754 one for St. Peter's, Salem. The latter in
1819 went to St. Michael's, Marblehead, and
finally to Hook & Hastings, the organ-builders.
See Brooks, pp. 50, 65-6.
*Juhan [Joan], James, a Frenchman who
was in Boston in 1768-70 and in Charleston
in 1771 as teacher of French, music and dan-
cing, besides tuning, repairing and making in-
struments. In 1783 he exhibited at Phila-
delphia his ' great North American Forte
Piano.' Alexander Juhan (see sec. 2) was
probably his son. See Sonneck, Concert-Life,
pp. 123-4, 264-5.
*Klemm, Johann Gottlob (Saxony, 1690-
1762, Bethlehem, Pa.), an organ-maker who
came to Philadelphia in 1736 and worked in
New York in 1745-57. About 1740 he made
the first American organ for Trinity Church,
New York. See Sonneck, Concert-Life, p. 169,
and references there.
*Knoetchel, John Ernest (d. 1769), was
organist of Trinity Church, Newport, R. I.,
and probably the father of another there in
1774.
Lyon, James (Newark, 1735-1794, Machias,
Me.), a contemporary of Hopkinson, wrote a
graduation-ode at Princeton in 1759, and issued
the tune-book Urania in 1761, containing some
original pieces. See Sonneck, Hopkinson and
Lyon, and Tune-Books.
♦Morris, Owen (1719-1809), an English
actor-singer in Hallam's Company from 1759
and again after the Revolution. In 1792 he
and his wife joined Wignell.
*Pachelbel, Charles Theodore, a German
in Boston who in 1733 helped erect the organ
in Trinity Church, Newport, became organist
there, and in 1736-37 gave concerts in New
York and Charleston. See Sonneck, Concert-
Life, pp. 13, 158, 317.
*Pelham, Peter, Jr. (b. England, 1721), the
son of an engraver and teacher in Boston and
musically trained from boyhood (probably in
England), set out as music-teacher in Boston
in 1743. In 1768 he was harpsichordist for an
operatic troupe in Virginia.
*Propert, David, at first a music-teacher in
New York, moved to Boston in 1770 and from
1771 was organist at Trinity Church. He
organized concerts in 1773-74 and was still
active in 1789.
*Rice, John, an Englishman, from 1744
was organist at Trinity Church, New York,
and from 1753 at Trinity Church, Boston.
See Sonneck, Concert-Life, pp. 159, 169, 254.
*Selby, William (England, 1738-1798, Bos-
ton), from 1771 an influential player and com-
poser in Boston. See art.
■^Storer, Maria (d. 1795, Philadelphia), a
talented English actress and singer, in 1768
came to New York with Hallam and had great
popularity till 1794. In 1787 she married
the singer and manager John Henry (d. 1795).
Her sister Fanny was also a favorite. See
Sonneck, Early Opera and Concert-Life.
*Tuckey, William (England, 1708-1781,
Philadelphia), from 1753 organist of Trinity
Church, New York, and an enterprising pro-
moter of musical interest. See art.
*VaIton, Peter, from 1764 organist at St.
Philip's, Charleston, and for some years a prom-
inent teacher, concert-giver and dealer in in-
struments, besides writing a set of harpsichord-
sonatas. See Sonneck, Concert-Life, pp. 15-6,
21.
*Wainwright, Miss, an excellent English
actress-singer (probably a pupil of Dr. Arne)
who appeared in Charleston and New York
in 1765-69.
*Woolls, Stephen (d. 1799), another fine
English stage-singer (also one of Arne's pupils)
who appeared frequently before and after the
Revolution. See Sonneck, Early Opera and
Concert-Life.
*Yarnold, Benjamin, organist in Charleston,
from 1753 at St. Philip's and from 1764 at St.
Mary's.
*Zimmerman, Matthias, of Philadelphia, in
1737 bequeathed an organ that he himself had
made. This seems to antedate the one made
by Klemm (see above), but the record is not
quite clear. See Spillane, p. 47.
Sonneck has found presumable references
to plays in 1703 at Charleston and New York
(Tony Aston), in 1718 at Williamsburg, Va.,
and in 1749 at Philadelphia, besides a possible
concert in 1733 at New York. The earliest
musical entertainments for which definite data
are now at hand at various places are as fol-
lows:
1731 Boston — at Pelham'a Great Room.
1732 Charleston — by John Salter.
1736 New York — by C. T. Pachelbel.
1744 Bethlehem — by the Collegium Musi-
cum.^
1750 Philadelphia — by the Kean-Murray
Company.
1751 Williamsburg — by the Kean-Murray
Company.
1752 Annapolis — by the Kean-Murray
Company.
1761 Newport — by the Douglass (Hallam)
Company.
1762 Providence — by the Douglass (Hal-
lam) Company.
1766 Savannah — by John Stevens, Jr.
1774 Princeton — by Hoar, of New York.
1 At the famous Moravian settlement at Bethle-
hem, Pa., in 1741, under the lead of Count Zinzendorf
(1700-1760), singing and instruments were early
prominent. In 1744 a society for cultivating music
was formed, led by Rev. J. C. Pyrlaeus and later by
J. E. Westmann, which was the forerunner of the
present Bach Choir. The first spinet was imported
in 1744, a small organ set up by Klemm in 1746 and
a larger one in 1751, and trombones were introduced
in 1754. See Walters, Bethlehem Bach Choir, pp. 9 2.
2: 1775-1800]
CHRONOLOGICAL REGISTER
2. After the Revolution, 1775-1800
Adgate, Andrew (d. 1793, Philadelphia),
from 1784 was a promoter of psalmody in
Philadelphia and in 1787 founded the Uranian
Academy. See art. and Tune-Books.
*Albrecht, Charles, in 1789 a piano-maker
in Philadelphia, succeeded in 1825 by Christian
F. L. Albrecht (son?), who in 1842 sold out to
Blasius & Son.
*Arnold, Mrs., an English singer, prominent
in concerts and plays from 1796. She married
a Mr. Tubbs in that year.
*Bentley, John, an English harpsichordist,
in 1783-85 managed concert-series in Phila-
delphia, and from 1785 led the orchestra of the
Old American Company in New York and else-
where. In 1785 he ' selected and composed '
music for three pantomimes, including ' The
Touchstone.'
*Bergmann, B., a violinist who in 1792 came
from England to New York, appearing as solo-
ist and in quartet, and was later heard at
Boston and Charleston, where in 1795 he
drafted accompaniments for Storace's ' The
Doctor and the Apothecary.'
*Berkenhead, John L., a blind organist and
pianist, in 1795 gave concerts in Boston and in
1796-1804 was organist at Trinity Church,
Newport.
*Boullay, Louis, a French violinist who from
1793 appeared often, especially in New York
and Philadelphia.
*Broadhurst, Miss, a brilliant English so-
prano, from 1794 was a leading artist in the
Wignell-Reinagle Company, though then not
yet twenty.
*Brown, William, from 1783 a prominent
flutist at various places. In Philadelphia he
was associated with Reinagle, and in 1785
organized concerts in New York. In 1787 he
dedicated three rondos to Hopkinson. See
Sonneck, Concert-Life, p. 185, etc.
*Capron, Henri, a French 'cellist (pupil of
Gavinies) who had played in Paris since 1768,
from 1786 was active in Philadelphia, New
York and elsewhere. He figured also as singer,
guitarist, teacher and composer. See Sonneck,
Concert-Life, especially as to his quarrel with
Brown.
*Carr, Benjamin (England, 1769-1831, Phil-
adelphia), from 1793 conspicuous in Philadel-
phia as singer, pianist, organist and composer.
See art.
Crehore, Benjamin (d. 1819, Milton, Mass.),
became widely known from 1785 as maker of
'cellos and basses at Milton. In 1792 he also
made improved harpsichords and towards 1800
pianos as well. He taught Osborn and the
Babcocks (see sec. 3). See Spillane, pp. 50-6.
*Darley, William, an English singer, promi-
nent in the Wignell-Reinagle Company from
1793 and in concerts. His wife and son also
were singers.
*Demarque, a French 'cellist, and his wife,
a singer, were active from 1793. He also
played the violin, compiled pantomimes and
wrote for the 'cello.
*D'Hemard, Mme., a French refugee who,
though an amateur, was from 1795 a popular
harpist.
*Douvillier, M. and Mme., French opera-
singers who from 1793 appeared in leading
roles in Boston and Charleston.
*Dubois, a French clarinettist, active from
1795. He also sang in opera and composed.
*Foucard, another French clarinettist, ap-
peared from 1793.
*Francis, William (England, 1763-1827)
and his wife from 1794 were useful members of
the Wignell-Reinagle Company. They were
specially good as dancers and pantomimists.
*Gehot, Jean (b. Belgium, 1756?), a compe-
tent violinist, known in Europe since 1780,
who in 1792 came to Philadelphia. He was a
fertile composer, among his works being an
overture in twelve movements 'expressive of
a voyage from England to America ' ! See
Sonneck, Concert-Life, pp. 191, 230-1, etc.
*Gilfert, George, from 1786 a music-dealer
in New York and publisher of a ' Musical
Magazine,' besides being in 1789-91 head of the
Musical Society and playing the viola some-
what at concerts.
*Gillingham, George, a superior English
violinist (in the band at the Handel Commemo-
ration of 1784) who from 1794 for over thirty
years was a leading player in Philadelphia and
New York. See Sonneck, Concert-Life, p. 54,
etc., and note concert in Boston in 1836 by
three Misses Gillingham, Brooks, p. 176.
*Graupner, Johann Christian Gottlieb (Han-
over, 1767-1836, Boston), an experienced
oboist, who in 1792 came to America, in 1795
appeared in Charleston and from 1797 was in-
fluential in Boston. See art.
*Hewitt, James (England, 1770-1827, New
York), in 1792 came to New York, where he
was long an important violinist, composer and
publisher. See art.
*Hodgkinson, John (England, 1767-1805,
Washington), and his wife (nee Brett) from
1792 were popular and influential singers in
New York. See art.
Holden, Oliver (Shirley, Mass., 1765-1834?,
Charlestown, Mass.), a carpenter who by 1792
took up music-teaching and compiling tunes
(see Tune-Books) with much success. His
organ is in the Old State House at Boston (see
cut in Fisher, Music in Old Boston, pp. 13-4).
Holyoke, Samuel Adams (Boxford, Mass.,
1762-1820, Concord, N. H.i), studied at Dart-
mouth and became a teacher of psalmody (see
Tune-Books), from about 1800 living in Salem,
where in 1805 he led an Instrumental Club and
in 1808-09 gave choral concerts.
*Jackson, George K. (England, 1745-1823,
Boston) , having been a choir-boy in the Chapel
Royal and also teacher and author of harmony
text-books, in 1796 came to Norfolk and taught
1 Dates from Nason, Gazetteer of Massachusetts,
1876, p. 120.
10
CHRONOLOGICAL REGISTER
[2: 1775-1800
successively there and in Alexandria, Balti-
more, Philadelphia and New York, settling in
1812 in Boston as organist in turn at Brattle
Street, King's, Trinity and St. John's. He
promoted choral concerts and published some
church-music. See Tune-Books.
*Juhan (Joan), Alexander, a French violin-
ist (perhaps sen of James Juhan named in sec.
1) who was an able concert-player in Philadel-
phia from 1783 or '86.
*Kenna, J., and his wife, English actor-
singers who from 1788 gave plays in the South
and at Philadelphia with a troupe for a time
known as the New Americans.
Law, Andrew (Cheshire, Conn., 1748-1821,
Cheshire) , one of the pioneers in psalmody and
from 1778 indefatigable as teacher and com-
piler. See Tune-Books.
*Mallet, Francis, a Frenchman who probably
came to America in 1777. After varied con-
certizing he settled in Boston not later than
1793. He was singer, organist, player on
other instruments, teacher and publisher.
Two daughters became well-known musicians
at Salem. See Sonneck, Concert-Life, p. 291,
etc., and Brooks, pp. 165-7, 226, 248, etc.
*Marshall, Mr. and Mrs., able and poptdar
English singers and actors who appeared
variously from 1793. Marshall returned to
England in 1801, and his wife later became Mrs.
Wilmoth.
*Moller, John Christopher, presumably a
German (works of J. C. MoUer are listed by
Eitner), from 1790 was active at New York
and Philadelphia as pianist, organist, violist
and harmonica-player. His daughter was also
singer and pianist.
*01dmixon, Mrs., n6e George (England,
1768- ?, Philadelphia), a highly gifted soprano
who, after brilliant success in England, some-
what in rivalry with Mrs. Billington, came to
America in 1793 as the leading artist of the
period. She finally settled in Philadelphia,
opening a girls' school. Her husband, whom
she married about 1790, was Sir John Old-
mixon, well known in London smart society.
*Pelissier, Victor, a French hornist who
from 1792 was not only popular as player, but
skillful in composing and arranging accompa-
niments or incidental music for at least 18
plays in New York, mostly in 1794-96. See
Sonneck, ' Early American Operas,' I. M. G.
Sa?nmelbde. 6. 475.
*Petit, a French violinist who from 1793
played much in concert in both the North
and the South.
*Phile, Philip, a violinist who from 1784 was
often heard in New York and Philadelphia.
He may have composed ' The President's
March ' in 1789 to which in 1798 ' Hail, Colum-
bia ' was fitted by Joseph Hopkinson (1770-
1842). See Sonneck, Reports on ' Hail, Colum-
bia,' 'Yankee Doodle,' etc., and Elson, Ameri-
can Music, pp. 147-53.
*Pownall, Mrs. (d. 1796, Charleston), a
superior English actress and singer (earlier
known as Mrs. Wrighten — see Vol. v. 570 —
and a Vauxhall favorite from about 1770), in
1792 came to Boston and at once became popu-
lar there and elsewhere. See Sonneck, Con-
cert-Life, p. 36, etc.
*Priest, William, an English bassoonist and
trumpeter who from 1793 was heard in concert
and opera. He published Travels in the United
States, 1793-97, London, 1802. See Sonneck,
Concert-Life, p. 156, etc., and Early Opera, the
latter showing him still active in 1799.
*Rausch, Frederick, from 1793 a pianist in
New York, and in 1799 vice-president of the
St. Cecilia Society.
Read, Daniel (Rehoboth, Mass., 1757-1836,
New Haven) , by trade a comb-maker or ivory-
worker, was from 1785 an industrious contrib-
utor to psalmody. See Tune-Books.
*Reinagle, Alexander (England, 1756-1809,
Baltimore), from 1786 the leading musician
of Philadelphia, as well as prominent in New
York. See Vol. iv. 57, and art.
*Saliment, George Edward, a flutist much in
evidence in New York concerts in 1791-1800.
*Schaffer [Scheffer], Francis C, from 1796
a clarinettist in Boston. He also claimed to
have invented the ' spiccato,' the nature of
which is not clear.
*Schetky, George (d. 1831, Philadelphia), a
Scot, nephew of Reinagle, who in 1787 came to
Philadelphia and, but for short visits to Eng-
land, remained identified with musical inter-
ests there. He was a good 'cellist, singer and
arranger. He was intimate with Carr and J. C.
Taws, and joined with them in starting the
Musical Fund Society in 1820. See Madeira,
Music in Philadelphia.
*Stone, a flutist, oboist and clarinettist who
flourished in Boston from 1793.
*Sully, Mrs., an English pianist often heard
from 1794. She and her husband and daugh-
ter were also actor-singers.
Swan, Timothy (Worcester, Mass., 1758-
1842,Northfield, Mass.), began teaching psalm-
ody about 1775 and from 1785 published tune-
collections (see Tune-Books). Elson, Amer-
ican Music, p. 22, places his birth in 1757 at
SufSeld, Conn.
*Taws, Charles (d. 1833?, Philadelphia), a
Scottish piano-maker who in 1786 came to
New York and in 1788 went to Philadelphia,
where he began making pianos before 1795,
was associated with Reinagle and, with his
eons, held in much esteem. See Spillane, pp.
78-80.
*Taylor, Raynor (England, 1747-1825, Phila-
delphia), a gifted singer, organist and com-
poser, from 1793 ihfluential in Philadelphia.
See art.
Thomas, Isaiah (Boston, 1749-1831, Worces-
ter), early noted as printer, editor and pub-
lisher, first at Boston and from 1775 at Worces-
ter. In 1785 he advertised music-printing
from type (see Fisher, Music in Old Boston,
p. 14), and in 1786 issued the successful
Worcester Collection (see Tune-Books). From
2: 1775-1800]
CHRONOLOGICAL REGISTER
11
1770 he was proprietor of ' The Massachusetts
Spy ' and other periodicals, a leading publisher
and also author of a History of Printing, 1810.
He founded and endowed the noted American
Antiquarian Society of Worcester.
*TyIer, a good English actor and singer,
popular from 1793.
♦Van Hagen, Peter Albrecht (d. 1800?, New
York), a Dutch violinist, pianist and manager
who in 1774 came to Charleston and was later
in Philadelphia and New York. See art.
*Van Vleck, Jacob, was noted as organist
and composer among the Moravians at Bethle-
hem, Pa., from about 1780. See Walters, p. 12.
*West, J., an actor-singer who, after thirty
years' experience in England, from about 1790
wa« with Bignall in the Virginia Company of
Comedians. In 1792 he built a notable theater
at Charleston. His wife was also a singer.
*Westray, the Misses (three), versatile
English stage-singers who first appeared at the
new Haymarket Theater in Boston in 1796.
♦Wignell, Thomas (d. 1803), a brilliant Eng-
lish actor and singer who from 1785 was with
the Old American Company and from 1792,
after much success in New York, joined Rei-
nagle in Philadelphia in starting the famous
Chestnut Street Theater (opened in 1794) and
in giving plays and concerts there and in New
York, Baltimore and Washington. See Son-
neck, Early Opera.
*WoIff, A., a clarinettist widely known from
1786, especially in concert.
*Young, William, an English flutist who
appeared in Philadelphia in 1787.
Continuing the list given in sec. 1, note that
the earhest concerts or operas thus far identi-
fied in several other places are as follows :
1783 Salem — by the Massachusetts Band.
1783 Portsmouth — by an artillery band.
1785 Albany — by an operatic troupe.
1786 Richmond — by the American Com-
pany.
1791 New Orleans — by French comedians
from San Domingo.
1791 New London — by Mrs. Solomon's
troupe.
1793 Alexandria — by ' an unfortunate emi-
grant.'
1793 Norfolk— by the West-Bignall troupe.
1794 Hartford — by the American Com-
pany.
1795 Petersburg — by Mrs. Sully and Mrs.
Pick.
1796
1797
1798
Portland — by Mrs. Tubbs (Arnold).
Newark — by the] West-Bignall
troupe.
Trenton and New Brunswick — by
D. Salter.
Organizations for promoting or performing
music doubtless became somewhat common
before 1800, though many were short-lived and
of shadowy influence. Below is a list of names
and dates, mostly collated from Sonneck,
Concert-Life :
1744 Collegium Musicum, Bethlehem.
1759 Orpheus Club, Philadelphia.
1762-1- St. Coecilia (sic) Society, Charles-
ton.
1772 Orphaeus Society, Charleston.
1773-4 Harmonic Society, New York.
1782 Aretinian Society, Boston.
1784 -H Uranian Society, Philadelphia.
1785-9? Musical Society, Boston.
1786 -f Musical Society, Stoughton,
Mass.
1786 Society for Promoting Vocal
Music, New York.
1788-94 Musical Society (sacred), New
York.
1789 Independent Musical Society,
Boston.
1791 Amateur Society, Charleston.
1791-9 St. Cecilia Society, New York.
1793 St. Csecilia Society, Newport.
? 1793-8? Uranian Society, New York.
1794 Harmonic Society, Charleston.
1795-1800? Columbian Anacreontic Society,
New York.
1795 Society of the Sons of Apollo,
Boston.
1796-9 Harmonical Society, New York.
1797 Essex Musical Association, New-
buryport.
1797? Musical Society, Concord, N.H.
1798-9 Polyhymnian Society, New York.
1799 + Philharmonic Society, New York.
1799 Musical Society, Baltimore.
1799 Philharmonic Society, Boston.
1800+ Euterpean Society, New York.
No doubt, many of these were merely tran-
sient social clubs, but they are nevertheless signs
of the time. Probably there were many more,
some of them, like the noted Stoughton Society,
growing out of ' singing-schools.'
Ritter (Music in America, oh. vii) empha-
sizes an ' Apollo Society ' as ' foremost ' among
early New York societies, but his data are not
identifiable.
12 HISTORICAL INTRODUCTION
THE ERA OF NATIONAL EXPANSION
The development of the United States during the first two-thirds of the 19th
century is much too compUcated to be summarized in a sketch hke the present.
But among the enormous changes in the body poHtic, social and intellectual,
between 1800 and the Civil War a few major points require mention.
Although the United States assumed the form of a nation at the time of the
Revolution, a truly 'national' feeling and spirit were hardly attained until after
the second war with England in 1812-14. That a knitting together of the elements
of the confederation then took place cannot be denied. And yet the interests of
different sections remained so diverse and their views of internal policy so opposed
that many of their relations continued difficult. Indeed, the period culminated in
the strenuous and exhausting Civil War of 1861-65. Along with these divisive
influences, however, ran movements that were constructive in the highest degree.
Until after 1770 the population had been mainly limited to what is now called
the Atlantic Division of the country — the section east of the long Appalachian
Range. But from thence on settlers began to cross the hills in force into the
East Central Division — the section west of the Appalachians and east of the
Mississippi. The march of this expansion is registered by the dates at which
nine new 'Territories' were successively recognized in this region.^ All these
were admitted to equality with the original thirteen as 'States' before 1848.
Soon after 1800, by the Louisiana Purchase in 1803 and then by cessions from
Spain and Mexico, the door was opened wide into the West Central Division —
the section west of the Mississippi, but east of the Rocky Mountains. Into this
soon poured a veritable flood of migration, which did not pause until presently it
had pressed on through the Mountain Division that lay beyond the Great Plains
and reached the Pacific Division beyond the mountains. Thus within the space
of a few decades the national domain was extended clear across the continent.^
The process thus sketched increased the area of the United States at least
sixfold, so that it included more than 3,000,000 square miles or nearly as much as
the whole of Europe.^ The penetration of this vast domain by settlers proceeded
without much system and very unequally. But the rapidity of occupation and its
total bulk, even before the Civil War, are nevertheless extremely impressive. In
1800 the Atlantic Division held not less than 93 per cent of the whole population.
In 1860 this Division contained only about 51 per cent, while the East Central
had 35 per cent and the West Central over 12 per cent. Yet, since the total had
1 Kentucky, 1792 ; Tennessee, 1796 ; Mississippi, 1798 ; Indiana, 1800 ; Ohio, 1803 ; Michigan, 1806 ;
Illinois, 1809 ; Alabama, 1817 ; Wisconsin, 1836.
2 In the West Central Division governments were organized as follows : Louisiana, 1804 ; Missouri, 1812 ;
Arkansas, 1819; Iowa, 1838; Texas, 1848; Minnesota, 1849; Kansas and Nebraska, 1854; the Dakotas,
1861 ; Oklahoma (consisting largely of the previous unorganized Indian Territory), 1890.
Inlthe Mountain Division the dates were these : New Mexico and Utah, 1850 ; Colorado and Nevada,
1861 ; Arizona and Idaho, 1863 ; Montana, 1864 ; Wyoming, 1868.
Owing to various circumstances the enrollment in the Pacific Division somewhat antedated that further
east : Oregon, 1848 ; California, 1850 ; Washington, 1853.
Meanwhile, the number in the Atlantic Division was increased as follows : Vermont, 1791 ; Maine, 1820 ;
Florida, 1822 ; West Virginia, 1862. None of these except Florida represented new territory.
Thus before 1870 the Union had come to include 48 actual or potential 'States.'
3 Roughly stated, the area-proportions of the five great Divisions are as follows : Atlantic, 14% ; East
Central, 15%; West Central, 32%; Mountain, 28%; Pacific, 11%.
THE ERA OF NATIONAL EXPANSION 13
meantime grown to over 31,000,000, the East in 1860 had 16,000,000 inhabitants,
more than three times its size in 1800. The large absolute increase and the
startling changes in distribution could not fail greatly to affect every aspect of
social culture. The entire country suffered from being in a state of flux, though,
on the other hand, in every section the period was instinct with energy and pro-
phetic aspiration.
A conspicuous feature of the time was the setting in of a great stream of immi-
gration from abroad, in part occasioned by the political unrest in Europe between
1830 and 1850. The incoming tide of people not only helped to swell the total
population, often determining the character of new settlements in the West, but
within it were hundreds of educated and able individuals who were destined to be
dynamic in the formation of the later national culture. For the first time America
began to feel the force of the best qualities of German civilization, not simply as
it was transferred hither by incoming immigrants, but also as more and more it was
apprehended at its source by outgoing students and visitors.^
Another feature of tlie period that was artistically weighty and potential
was the multiplication of cities and their striking advance in relative importance.
In 1800 the Census officially recognized only six 'cities,' which contained but 4
per cent of the whole population. In 1860 there were one hundred and forty,
containing 16 per cent (or over 5,000,000 in all). At the head of the list in 1860
remained New York (with its neighbors Brooklyn and Newark), Philadelphia
(quadrupled in 1854 by taking in many suburbs), Baltimore and Boston. But
the shift in the general center of population is shown b^^ the fact that high on the
list are many new names, such as Pittsburgh and Cincinnati (from 1820), Buffalo
and Louisville (from 1830), St. Louis (from 1840), Chicago and San Francisco
(from 1850), with Cleveland, Detroit and Milwaukee soon following. The de-
velopment of the Mississippi is indicated by the rise of New Orleans (from 1820)
to a place among the leaders. For various reasons the big cities from the first were
strongholds of foreign settlement, so that the leadership in social and intellectual
matters which cities always exercise was in this case particularly affected by the
stimulus to artistic knowledge and achievement that was felt from abroad.
It is needless to dilate upon the fact that the period was remarkable for the
rapid advance in industrial and commercial enterprise, leading to the accumula-
tion of a striking total of wealth. The drift of population to the West was pri-
marily to open up agricultural resources. But equally significant were the quests
for coal and oil in Pennsylvania and for metals and lumber in the Northwest and
on the Pacific Slope. The invention and rapid adoption of labor-saving machin-
ery for farming operations wTought a phenomenal economic revolution, since by the
end of the period two-fifths of the population had become able to provide food for
the remaining three-fifths. This is but a single illustration of a transformation
that was taking place in all directions. Water-transportation for inland commerce
» In the decade 1830-40 the i;otal immigration was about 600,000, in 1840-50 about 1,700,000, in 1850-60
nearly 2,600,000. In 1850 one person in every ten in the United States was foreign-born, and in 1860 one in
every eight. In 1860 there were more than 4,000,000 who were foreign-born, and of these 1,278,000 had come
from Germany.
14 HISTORICAL INTRODUCTION
assumed large proportions upon the Ohio and Mississippi Rivers, through the
Great Lakes and by means of the Erie Canal (opened in 1825). Between 1830
and 1850 some 9000 miles of railroad were opened, and before 1860 not less than
21,600 miles were added. These lines of communication made feasible a wholly
new social interchange, quite aside from their bearing upon economic develop-
ment.
It was in this period that original impetus in the fields of science, letters and
several forms of fine art first became notable. Systematic popular education was
undertaken with extraordinary zest, not only through a system of public schools
supported by local taxation, but more and more through institutions of higher edu-
cation privately endowed or else founded by religious organizations. Newspapers
and magazines multiplied, and both the number and the variety of published books
were rapidly extended. Native fiction and poetry, besides literature of an educa-
tional or technical character, broke forth with energy and originality. Even
painting and sculpture began to be cultivated with strength and independence.
The taste for the drama grew more general and more discriminating. In short, this
stirring period, especially in the quarter-century before 1860, was marked by a dis-
play of manifold mental vigor that was akin to its physical and economic enter-
prise. Whether or not the immediate products had enduring importance, the
field of cultural activity was certainly brought fully into view and its wide appeal
to human interest in some part perceived.
It is not strange, therefore, that in this period musical life should have become
more abundant and significant. The number of professional musicians, both
visiting performers and resident teachers, decidedly increased, the most important
influence naturally still being exerted by those coming from abroad. Church-
music, concert-undertakings, operatic performances of a kind, ensemble instru-
mental music — all these lines of public enterprise, though on a small scale as yet,
gave promise of future attainment. And any thoughtful examination of accessible
lists of musical workers makes plain that the subtle, but powerful, leaven of private
instruction was now beginning to work here and there, not as yet producing re-
sults that can readily be catalogued, but still undoubtedly raising the standards of
popular appreciation, discrimination and aspiration. The time had not come for
widespread skill in performance, for familiar acquaintance with the trend of musi-
cal affairs in any large sense, or for creative freedom in the upper ranges of com-
position, except among some of the incoming foreigners. But the basic importance
of the period as a whole with reference to the future is obvious.
Until about 1850 individual persons are as a rule not so conspicuous in the
history as certain general advances in diffused interest. Two lines of activity
were brought over from the preceding period, namely, (a) the cultivation of
'psalmody,' primarily in New England, but soon extending southward and west-
ward, resulting frequently in the stimulus of more advanced choral music, of a
craving for discipline in solo-singing, and of interest in class-instruction in the
rudiments of composition ; and (b) repeated efforts, mostly without continuity or
wise planning, to provide ambitious operatic and concert-performances, not seldom
THE ERA OF NATIONAL EXPANSION 15
making important impressions through the passing vogue of talented vocalists or
through the drawing of trained instrumentalists into permanent residence.
A third point in the development from soon after 1800 was the founding in
several centers of energetic instrument-manufacture, especially the making of
pianos, with a large consequent effect on popular interest through the extensive
sale and use of the products. Part of this was simply a phase of the general
awakening to mechanical pursuits. But the rapid expansion of trade in pianos —
not to mention other instruments — implies that a considerable demand for them
existed or was impending, and the display of original ingenuity in novel construc-
tion — often preceding similar advances abroad — bespeaks something more
than a mere desire for profits. In the single year 1829 it has been estimated that
2500 pianos were made, valued at $750,000. In 1850 there were over 200 estab-
lishments at work upon musical instruments, the value of the annual product being
nearly $2,600,000.^ Progress was greatly stimulated by competitive exhibitions
held in Philadelphia from 1824 by the Franklin Institute and in New York from
1830 by the Mechanics' Institute.^
It is to be noted that, whereas in the later 18th century foreign influences in
music came almost wholly from England or France, after perhaps 1810 the impress
of Germany began to be notable in certain cities, like Baltimore,' Philadelphia and
New York. It is said that in New York as late as 1835 there still remained a
decided prejudice in piano-making against German workmen, which was overcome
only with some difficulty. But ten years later In such trade-circles the German
element had become highly respected.^ A parallel transition was even more
evident among executive musicians. After 1840 able German players and
leaders began to arrive in increasing numbers, and wherever they settled they
became centers of fruitful influence. And from that date American students
began to go to Germany for training, especially after the Leipzig Conservatory
entered the field. Significant events were the advent of the so-called Germania
Orchestra in 1848 and the formation of the Mendelssohn Quintette Club in 1849.
Even more significant in its way was the arrival in 1845 of the boy Theodore
Thomas.
The most striking organizations of the period were the Handel and Haydn
Society of Boston, founded in 1815, the Musical Fund Society of Philadelphia,
founded in 1820, and the New York Philharmonic Society, founded in 1842,
representing more or less different lines of interest, but all making for substantial
progress. From time to time ambitious opera-houses were erected, of which
probably the most famous was the Academy of Music in New York, opened in
1854. Almost equally notable was the Boston Music Hall, erected in 1852, in
which just at the end of the period (1863) was set up the first elaborate concert-
organ In the country (made by Walcker of Ludwigsburg) . New Orleans had a
series of opera-houses from 1808, the latest and finest being opened in 1859.
1 See Bishop, History of the Arts and Industries of the United States, 1864, pp. 339, 486.
' Regarding piano-making in America important books of reference are Spillane, History of the American
Pianoforte, New York, 1890, and Dolge, Pianos and their Makers, 2 vols., Covina, Cai., 1911-13, together -with
Hipkins, History of the Pianoforte, London, 1896, and his article in Vol. iii. 716-32 of this Dictionary.
» See Spillane, pp. 186-8,
16
CHRONOLOGICAL REGISTER
[3: 1800-1840
There is as yet a marked default in detailed information about the individ-
uals and organizations that probably exerted a formative influence in many
places during the early decades of the 19th century. UntU work like that
done by Sonneck for tlie 18th century has been undertaken the data will re-
main fragmentary and disconnected. But, happily, it is possible to give some
hint of the striking advance of the mechanical and commercial sides of musical
life, especially as evidenced by the founding of businesses that were more than
transiently important. Accordingly to these considerable attention is here
paid, especially in sec. 3. In sec. 4, also, it is possible to emphasize many of the
incoming foreigners who were invaluable in awakening artistic thought and
ambition. Yet, at best, the time before the Civil War remains relatively defec-
tive in presentation, except as imagination and conjecture fill in its manifest
gaps of definite fact.
CHRONOLOGICAL REGISTER
3. The Early 19th Century, 1800-1840
Adams, F. W. (Montpelier, Vt., 1787-1859),
a violin-maker after about 1805 who made
about 140 instruments, marked by much
excellence of tone.
Appleton, Thomas, from about 1810 a noted
organ-maker in Boston who learned his trade
with W. M. Goodrich, from 1813 was partner
of Babcock the piano-maker, and from 1820 was
successively associated with Ebenezer Good-
rich, Corri and the elder Warren (father of
S. P. Warren). Among his many organs was
one for the Handel and Haydn Society.
*Arquier, Joseph (France, 1763-1816,
France), a 'cellist and composer of operas who
conducted a French opera-troupe in New
Orleans in 1800-04.
*Austin, Mrs., an accomplished English
opera-singer who from 1829 did much to make
popular certain works of Rossini, Boieldieu
and Weber.
Babcock, Alpheus, an ingenious and success-
ful piano-maker, trained by Crehore, who in
1810 opened a shop in Boston with his brother
Lewis Babcock (d. 1817), was for a time asso-
ciated with Appleton and the Haji;s (firm dis-
solved in 1815, see Brooks, Olden-Time Music,
p. 270) and from 1822 with Mackay, who
supplied capital. In 1829 he moved to Phila-
delphia and was associated with Klemm
(probably the son of the organ-builder in sec. 2
above). His pianos won prizes repeatedly
from 1824. In 1825 he patented a solid metal
plate which was the first successful application
of the principle later universally adopted. See
Spillane, Hist, of the American Pianoforte, pp.
85-7, 120-3, etc.
Bacon, George (d. 1856, New York), joined
Dubois and Chambers, the Boston piano-
makers, in 1836. About 1841 the firm became
Bacon & Raven, and in 1856 Francis Bacon
took his father's place in Raven & Bacon, con-
tinuing the business now carried on by the
Bacon Piano Company of New York.
Baker, Benjamin Franklin (Wenham, Mass.,
1811-1889, Boston), from 1831 singer, teacher,
editor, author and composer, first at Salem and
from 1837 in Boston. See art. and Tune-
Books.
Beckel, James Cox (b. Philadelphia, 1811),
of German parentage, from 1824 assisted his
father as organist and from 1829 for more than
fifty years held posts in various Philadelphia
churches, composing several cantatas, an
organ-method, etc.
Blake, George E. (Philadelphia, 1775-1871,
Philadelphia), the son of an earlier music-
dealer, began music-publishing in 1802 and
became a leader in musical affairs. He was an
original member of the Musical Fund Society
in 1820, and from 1824 active at exhibitions of
the Franklin Institute. See Tune-Books.
*Boucher, A., a good 'cellist who came to
New York in 1833 with Rivafinoli's opera-
troupe and was long prominent. He collabo-
rated with Schlesinger in 1837 and was con-
cerned in the establishment of the Philharmonic
Society in 1842.
Bourne, William (d. 1885, Boston), began
making pianos in Dayton, O., in 1837, soon
moved to Cincinnati and in 1842 to Boston,
where in 1846, after being foreman at Chicker-
ing's, he established the firm now known as
the Wm. Bourne & Son Piano Co., his son
Charles E. Bourne coming into it in 1863.
Bradbury, William Batchelder (York, Me.,
1816-1868, Montclair, N. J.), from 1834 or-
ganist in Boston and soon a teacher under
Mason, and from 1840 teacher, editor, com-
poser and also piano-maker in New York. See
art. and Tune-Books.
Brainard, SUas (Lempster, N. H., 1814-1871,
Cleveland), set up a music-store in Cleveland
in 1836 and in 1845 began publisliing, thus
establishing the firm later known as S. Brain-
ard's Sons (Charles S. and Henry M.)
*Bristow, William Richard (England, 1803-
1867, New York), came to New York about
1824 and was long a leading teacher and con-
ductor. See Bristow, George F. (sec. 4).
Brown, Bartholomew, from about 1800 a
teacher in Boston, was one of the editors of the
significant Bridgewater Collection in 1802 (see
Tune-Books) and in 1832-38 conductor of
the Handel and Haydn Society.
3: 1800-1840]
CHRONOLOGICAL REGISTER
17
*Caradori-Allan, Maria Caterina (Italy,
1800-1865, England), a gifted and distinguished
concert- and opera-singer in England, who
from 1837 made a marked success in New York,
Philadelphia, etc. See Vol. i. 461-2.
Chickering, Jonas (New Ipswich, N. H.,
1798-1853, Boston), came to Boston in 1818
and in 1823 established the piano-making busi-
ness which speedily became famous. See art.
*Clark, John, came from England about 1830
and joined William Nunns, the piano-maker
of New York. See Nunns below.
Cross, Benjamin (Philadelphia, 1786-1857,
Philadelphia), a graduate of the University
of Pennsylvania and pupil of Carr and Taylor,
was one of the founders and conductors of the
Musical Fund Society from 1820, and as singer
and teacher was highly influential. See Ma-
deira, Music in Philadelphia.
*Da Ponte, Lorenzo (Italy, 1749-1838, New
York), the librettist of two of Mozart's operas,
was from 1805 teacher and promoter of opera
in New York. See Vol. iii. 789-90, and art.
*Davis, John, came to New Orleans from
San Domingo with an operatic troupe in 1811,
and in 1813 built the Theatre d'Orleans, where
opera was regularly given with exceptional
artistic perfection for forty years. Pierre
Davis succeeded his father as manager.
*De Begnis, Giuseppe (Italy, 1793-1849,
New York?), a gifted opera-singer, specially
strong in bufTo parts, who came to New York
in 1838 and appeared with the Seguins. See
Vol. i. 277-8.
Ditson, Oliver (Boston, 1811-1888, Boston),
the famous music-publisher, became a clerk
in a music-store in 1823 and in 1835 began
business for himself. See art.
*Dubois, William, was a good piano-maker
in New York, from 1821 associated with
Stodart and later with Bacon and Warriner.
See Spillane, pp. 108, 150, etc.
Dunham, J. B. (New Hampshire, 1799-1873,
New York), originally a cabinet-maker in the
South, from 1834 worked for Nunns in New
York and from 1836 was partner of Adam
Stodart in piano-making, succeeding to Os-
born's business. From 1849 the firm name was
J. B. Dunham & Co., and from 1867 Dunham
& Sons. Though not an inventor, he was in-
fluential in popularizing the overstrung scale.
*Dyhrenfurth, Julius, a German violinist
who came to America after 1830, gave concerts
with Joseph Hermanns, a pianist, in the upper
Ohio Valley and in New Orleans and the
South, in 1841-47 was in Germany and then set-
tled in Chicago. With other German musi-
cians, he formed an orchestra which in 1850 gave
eight concerts as the Philharmonic Society.
See Upton, Musical Metnories, pp. 253-9, etc.
*Firth, John (England, 1789-1864, New
York), was in 1815 a maker of wood-wind in-
struments in New York, deriving his skill from
Edward Riley (also English, at work in New
York by 1812), whose daughter he married.
In 1821 or '24 the firm of Firth & Hall was
formed, dealing in both small instruments and
music, and from 1830 adding piano-making
and music-publishing. S. B. Pond joined
the firm in 1832 and W. A. Pond in 1847.
Firth parted from them in 1863, and, with
his son Thaddeus established the publishing
business which in 1867 was bought by Ditson
and made the nucleus of his New York branch.
*Garcia, Manuel del Popolo Vicente (Spain,
1775-1832, France), the distinguished singer,
composer and conductor, brought an opera-
troupe to New York in 1825, introducing
Italian opera in a series of 79 performances.
Among the singers were his wife, his son Manuel
(1805-1906), later the great singing-master,
and especially his daughter Maria Felicita
(1808-36), later known as Malibran (from the
French merchant whom she married in New
York in 1826), whose singing made a deep im-
pression. Of his troupe, Crivelli and Angrisani
were otherwise the ablest members. See Vols,
ii. 143-4, iii. 33-5, Ritter, Music in America,
chap. X., and Krehbiel, Chapters of Opera, pp.
25-30.
*Geib, John and Adam, piano-makers who
appeared in New York in 1802, were sons of
John Geib, one of the Germans who from 1760
established piano-making in England and the
inventor of the ' hopper ' (1786). John prob-
ably died before 1809, but Adam and two of
John's sons, John, Jr. (from 1815) and Wil-
liam (from 1821), long continued prominent.
From about 1830 Geib & Walker were piano-
makers, importers and music-publishers of
note. [In Brown, Diet, of Musicians, is also
a reference to a George Geib (New York, 1780-
?) , piano-teacher in New York and author of an
instruction-ljook in 1819.]
GUbert, Timothy, with his brother Lemanuel
Gilbert, was trained in piano-making by Osborn
of Boston before 1820, and began business in
1829, promptly establishing a reputation for
ingenious ability, especially in improving the
action of uprights (1841) and squares (1847).
In 1847 he brought out an ' organ-piano,' based
on a patent of Obed Coleman (1844). His
brother was less gifted and successful. Both
continued active till about 1870.
*Gilles, P., a 'cellist in Philadelphia, promi-
nent in the organization and leadership of the
Musical Fund Society from 1820.
Goodrich, William M. (Templeton, Mass.,
1777-1833?), was the first important American
organ-builder, during almost thirty years from
1805 nearly monopolizing the business in
Boston. From about 1822 he also made pianos.
He trained Elias Hook. His brother Eben-
ezer Goodrich succeeded him, though without
equal distinction.
Gould, Nathaniel Duren (Chelmsford, Mass.,
1781-1864, Boston), from about 1800 an ac-
tive teacher of singing-schools (also penman-
ship), claiming to have had 50,000 pupils
before 1843. From 1819 his headquarters was
Boston. His Church Music in America, 1853,
has curious interest. See Tune-Books.
18
CHRONOLOGICAL REGISTER
[3: 1800-1840
Hastings, Thomas (Litchfield, Conn., 1787-
1872, New York), from 1816 conspicuous as
leader, compiler, composer and author in the
field of psalmody, from 1823 at Utica and from
1832 in New York. See Tune-Books.
*Hawkins, John Isaac, an English civil engi-
neer who, while living in Philadelphia, devised,
made and for a short time put upon the market
a notable cottage-piano, having many features
not practically developed till later. This
piano was patented both in America and in
England in 1800. See Spillane, pp. 80-3, etc.,
Hipkins, Hist, of the Pianoforte, p. Ill, and
cut in Dolge, Pianos and their Makers, p. 53.
*Hayter, A. U. (England, 1799-1873, Boston),
having been cathedral-organist at Salisbury
and Hereford, came to New York in 1835, was
for a short time at Grace Church and from
1838 at Trinity Church, Boston, and in 1838-49
organist of the Handel and Haydn Society.
*Heinrich, Anton Philipp (Bohemia, 1781-
1861, New York), a singular character in Ken-
tucky who began composing by instinct in
1818, from 1827 was in London, studying and
composing, in 1834 visited Germany and
Austria, then came to New York, where he
was much in evidence as an ' American ' com-
poser, but with ephemeral success. See Baker,
Diet, of Musicians, 1918, pp. 1087-8, and note
in ' Musical Quarterly,' April, 1920, p. 249.
Hewitt, Miss S., was organist of the Handel
and Haydn Society, Boston, in 1820-29.
Hews, George (1806-1873), from about 1830
was tenor soloist, teacher, organist and piano-
maker in Boston. He was prominent in the
Handel and Haydn Society.
HUl, Ureli Corelli (New York, 18027-1875,
New York), early active in New York as
violinist, from 1831 was conductor of the Sacred
Music Society (in that year giving ' The Mes-
siah ' with orchestra), from 1836 studied with
Spohr at Cassel, in 1842 organized and was the
first conductor of the Philharmonic Society,
and attempted to start regular chamber-con-
certs. After 1850 he wandered from place to
place, engaging in ill-starred business ventures,
and finally committed suicide. Though not a
strong musician, he was historically important.
See Ritter, Music in America, pp. 266-7, and
Krehbiel, Philharmonic Society of New York.
*Hiskey was a good German piano-maker in
Baltimore from before 1820 till about 1845.
His pianos were widely popular in the South
and to the West.
♦Hodges, Edward (England, 1796-1867,
England), came to Toronto as organist in 1838
and to New York in 1839, from 1846 being at
Trinity Church, and returned to England in
1863. See Vol. ii. 414, and art.
Holt, Benjamin (1774-1861), besides com-
piling church music (see Tune-Books), was
one of the founders and early conductors of
the Handel and Haydn Society from 1815.
Hook, Elias (180.5-1881), with his brother
George G. Hook (1807-1880), the former hav-
ing been trained by Goodrich, began making
organs at Salem in 1827, removed to Boston in
1832 and became recognized as leaders in
the industry. From 1855 Francis H. Hastings
(1836-1916) was associated with them, the
firm name becoming Hook & Hastings in 1865.
*Horn, Charles Edward (England, 1786-
1849, Boston), from 1809 actor-singer and com-
poser of operettas, came to New York in 1832-33
and brought out English operas until diverted
by illness into teaching and music-publishing.
After being in England in 184.3-47, in 1848 he
became conductor of the Handel and Haydn
Society in Boston. See Vol. ii. 433-4.
*Hupfeld, Charles P., a competent German
violinist, who from about 1815 joined Carr
and Taylor in Philadelphia in promoting cham-
ber- and orchestral music. He was one of the
founders and early conductors of the Musical
Fund Society. See Madeira.
*Jackson, Samuel P. (England, 1818-1885,
Brooklyn), son of an organ-maker who came
to New York in 1825, was from 1830 organist at
St. Clement's, from 1842 at St. Bartholomew's
and from 1861 at other leading churches. Be-
sides being an excellent teacher, he published
much organ-music, anthems, etc., and for
nearly thirty years was proof-reader for the
publisher Schirmer.
*Jardine, John, an English piano-maker in
New York from 1832 who made ' overstrung'
pianos as early as 1833. His brother George
Jardine (1801- ? ), a highly trained organ-
maker, came to New York in 1837 and soon
founded the successful firm from 1860 known as
Jardine & Son.
*Jarvis, Charles, am English pianist and
teacher who was prominent in Philadelphia
from about 1835. He published a successful
instruction-book in 1852.
*Knabe, William (Prussia, 1803-1864, Balti-
more), a trained piano-maker, came to Balti-
more in 1833, worked under the talented Henry
Hartye, formed a partnership with Henry
Gaehle in 1839 which continued till 1S54, and
then proceeded alone. Before 1860 he had
become known as one of the best makers in the
country. After the War the business was
finely continued by his two sons, William (d.
1889) and Ernest (d. 1894), and handed on to
grandsons. In 1908 it was merged into the
American Piano Co. See Dolge, pp. 282-6.
♦Lindeman, William (Saxony, 1795-1875,
New York), came to New York in 1834 and
soon developed a notable piano-making busi-
ness which still continues. Lindeman was in-
strumental in overcoming the strong prejudice
in New York against German workmen. The
' cycloid ' piano patented in 1860 by his son
Henry Lindeman (b. 1838) presaged the later
email or ' baby ' grands.
*Loud, Thomas (d. 1834, New York), an
English piano-maker who patented an upright
in 1802, was the head of a notable family of
makers. He came to New York about 1816.
Meanwhile his son Thomas Loud, Jr. had
settled in Philadelphia in 1812 as pianist and
3: 1800-1840]
CHRONOLOGICAL REGISTER
19
piano-maker, soon becoming prominent in all
musical enterprises. With three brothers he
constituted the energetic firm of Loud Brothers
in 1824, which was broken up in 1837. Thomas
C. Loud (b. Philadelphia, 1812), however, up-
held the family reputation till about 1855.
The Louds, besides being strong inventively,
were important promoters of the industry.
Lucas, George W. (b. Glastonbury, Conn.,
1800), from 1816 for over thirty years was ac-
tive as a teacher of singing-schools, in 1820-35
at Northampton, Mass., later at Troy, N. Y.,
and farther west, and in Canada.
Mackay, John (d. 1841, at sea), a Boston
ship-merchant, became in 1822 the financial
supporter of Babcock in piano-making and in
1829 of Chickering.
Mason, Lowell (Medfield, Mass., 1792-1872,
Orange, N. J.), the distinguished teacher, or-
ganizer and tune-composer, was choir-leader
in 1808 at Medfield and 1812-27 at Savannah.
His Boston activity began in 1827. See Vol.
iii. 74, art. and Tune-Books.
*McPhail, A. M. (d. 1902, Omaha), came to
Boston from New Brunswick and began piano-
making in 1837, after training from Gilbert.
He remained in high repute till his retirement
in 1891.
Meneely, Andrew (West Troy, N. Y., 1801-
1851, West Troy), in 1826 founded a famous
bell-founding business in West Troy (now
Watervliet), continued by his sons and now
by his grandson.
*Meyer, Conrad (d. 1881, Philadelphia), a
gifted Hessian piano-maker who came to Balti-
more in 1819 and to Philadelphia in 1829. He
is noted for making in 1833 one of the earliest
pianos with a full iron plate and for general ex-
cellence of work, maintained for a half-century.
Mitchell, Nahum (Bridgewater, Mass., 1769-
1853, Bridgewater), collaborated with Brown
on the Bridge-water Collection in 1802. See
Tune-Books.
*Montressor, a French opera-singer, brought
a good troupe to New York in 1832 and gave
thirty-five performances in Italian. With
him were the soprano Pedrotti and the bass
Fornasari. He was strongly supported by
Da Ponte, but the enterprise was financially
disastrous. It was useful, however, in bringing
several orchestral players to America. See
Krehbiel, Chapters of Opera, pp. 17-19.
*Nunns, Robert and William, English piano-
makers, came to New York in 1821 and worked
together till 1833, when Robert combined with
John Clark as Nunns, Clark & Co., continuing
till 1858, and William proceeded, at first alone
and in 1839-40 with the Fischers. The Nunns
pianos were highly esteemed for about forty
years. The brothers were the first in America
to use the French ' rocker ' action, the excel-
lent scale of Sackmeister (1827) and Kreter's
application of felt to hammers ( 1 85 1 ) . William
Nunns was the teacher of William Steinway.
Oliver, Henry Kemble (Beverly, Mass.,
1800-1885, Boston), sang as a boy in Boston,
graduated from Dartmouth in 1818, was active
as teacher at Salem, starting choral societies
in 1823 and '26, and from 1844 at Lawrence.
He was mayor of Lawrence in 1859 and of
Salem later, and was State Treasurer in 1861-
65. See Tune-Books.
Osborn, John (d. 1835, New York), a pupil
of Crehore, was a piano-maker in Boston from
1815, soon becoming known as ' the best in
the country,' went to Albany in 1829 and
settled in New York in 1830. Erecting a large
factory in 1834 led to derangement and suicide.
He was the teacher of Chickering. See Spill-
ane, 56-7, 156-7, etc.
Perkins, Orson (Hartland, Vt., 1802-1882,
Taftsville, Vt.), from 1822 for about forty
years useful as a leader of choirs and singing-
schools. He was the father of several sons
later active (see sec. 5).
Perry, Emory (b. HoUiston, Mass., 1799),
from 1821 noted as tenor-singer and teacher
at Worcester. He is said to have had 20,000
pupils in his singing-classes.
*PhiIlips, Thomas (Wales, 1774-1841, Eng-
land), a fine tenor, visited New York as an
opera-singer in 1816 with Incledon (see Vol.
ii. 463-4) and again in 1823. He also appeared
in concerts and lectured in Boston.
Pond, Sylvanus Billings (near Worcester,
Mass., 1792-1871, New York), a piano-maker
at Albany before 1820, moved to New York in
1832 and joined the Firth brothers (see above),
beginning the business from 1863 known as
Wm. A. Pond & Co. He wrote and compiled
tune-music, especially for Sunday-schools.
Porter, William S., in 1834 published at
Boston a Musical Cyclopedia of over 400 pages
which was prepared under the supervision of
Lowell Mason.
Prescott, Abraham (b. Deerfield, N. H.,
1789), was probably the best-known of early
makers of 'cellos and basses. He started in
1809 at his birthplace, but in 1833 went to
Concord, N. H., where he worked till 1845,
engaging in organ-making as well from 1836.
Many later workers were trained in his shop.
See Violinist's Guide, 1916, p. 16.
*Prevost, Eugene Prosper (France, 1809-
1872, New Orleans), a popular singing-teacher,
opera-conductor and composer at New Orleans
from 1838 to 1862. See Vol. iii. 812.
*Rivafinoli, an Italian singer and manager
who in 1833-34, with Da Ponte, attempted a
season of Italian opera, including sixty-eight
performances in New York and fifteen in Phil-
adelphia. His singers were fairly good and the
orchestra decidedly so. But the venture was
a failure pecuniarily, the deficit being nearly
$30,000. The New York series was given in
the first opera-house to be erected in the city,
built at the instigation of Da Ponte. See
Ritter, Music in America, chap, x., and Kreh-
biel, Chapters of Opera, pp. 19-22.
♦Russell, Henry (England, 1812-1900, Eng-
land) , famous for his descriptive songs, was in
Canada from 1833 and then (till 1841) or-
20
CHRONOLOGICAL REGISTER
[3 : 1800-1840
ganist at Rochester or traveling. See Vol.
iv. 194-5, and Madeira, pp. 131-7.
*Scharfenberg, William (Hesse, 1819-1895,
Quogue, N. Y.), pianist (pupil of Hummel) and
violinist under Spohr, came to New York in
1838 and was long prominent as teacher and
concertist. He was active in the Philharmonic
Society and for many years was reader and
editor for Schirmer.
*Schlesinger, Daniel (Hamburg, 1799-1838,
New York) , pupil of Ferdinand Ries and Mosch-
eles in England, came to New York in 1836,
taught and gave a few concerts, besides being
chosen to lead the Concordia, giving promise of
fine influence.
*Schmitz, Adolph, a musician from Diissel-
dorf, was brought to Philadelphia in 1826 as
teacher by the Musical Fund Society. He
long continued to be useful artistically.
*Schomacker [Schumacher], JohannHeinrich
(Schleswig-Holstein, 1800-1875, Philadelphia),
after training as piano-maker in Vienna and
activity in Bavaria, in 1837 came to Philadel-
phia and, after a short partnership with Wil-
liam Bossert, in 1842 started the Schomacker
Piano Co., which soon acquired the excellent
reputation still maintained. Its later develop-
ment was largely in the hands of H. W. Gray
(b. Ephrata, Pa., 1830) and the founder's son
Henry C. Schomacker (b. Philadelphia, 1840).
*Seguin, Arthur Edward Sheldon (England,
1809-1852, New York) , and his wife Ann Seguin,
nee Childe (England, 1814-1888, New York),
bass- and soprano-singers of ability, came to
New York in 1838 and were active there and
elsewhere till after 1850, Mrs. Seguin continu-
ing as a teacher. See Vol. iv. 408.
*Stewart, James, a Scottish piano-maker,
came to Baltimore in 1812, moved to Boston
in 1820 and, after a short association with
Osborn, became Chickering's first partner in
1823. In 1826 he returned to London, and from
1827 for more than thirty-five years was con-
nected with the CoUards. Through him many
American ideas were conveyed into English
practice. See Spillane, pp. 30-1 , 42-3, 57-8, etc. ,
and also Vol. iii. 731-2.
*Stodart, Robert, another Scottish piano-
maker, probably the grandnephew of the well-
known English pioneer of the same name,
came to New York in 1819 and in 1820-35?
worked with Dubois, building up a fine reputa-
tion. In 1836 the firm of Stodart, Worcester
& Dunham was formed, in which an Adam
Stodart figures (nephew of Robert). From
about 1850 for twenty years the firm was highly
regarded. On the original Stodart see Vols.
iv. 700 and iii. 722-31.
♦Taylor, Samuel Priestley (England, 1779-
1875?, Brooklyn), from 1806 was organist and
teacher in New York and Brooklyn and, ex-
cept for a sojourn in Boston in 1819-26, con-
tinued active there until after the Civil War.
*Timm, Henry Christian (Hamburg, 1811-
1892, New York), a competent pianist, came to
New York in 1835 and there and elsewhere gave
concerts, served as organist, joined in chamber-
music and taught. He was often drawn into
operatic work as conductor or chorus-master.
In 1847-64 he was president of the Philhar-
monic Society. He wrote a grand mass, tran-
scriptions for two pianos, part-songs, etc.
*Traetta, Filippo (Italy, 1777-1854, Phila-
delphia), came to Boston in 1799, soon removed
to New York, toured with opera-troupes, lived
for a time in Virginia, and settled in Phila-
delphia in 1822. See art.
*Wainwright, Jonathan Mayhew (England,
1792-1854, Now York), coming to America as
a boy, graduated at Harvard in 1812 and was
tutor there in 1815-17, was Episcopal minister
from 1818, chiefly in New York, where from
1837 he was at St. John's and in 1852-54
Bishop of New York. See Tune-Books.
Warren, Samuel Russel (d. 1882, Montreal),
born in Rhode Island, was an organ-maker
with Appleton in Boston about 1830, went to
Montreal in 1837, becoming a leader in the in-
dustry in Canada. (See S. P. Warren, sec. 5.)
*Webb, George James (England, 1803-1887,
Orange, N. J.), came to Boston in 1830 as or-
ganist, singing-teacher and colaborer with
Mason. He removed to Orange in 1870 and
taught in New York. See art. and Tune-Books.
Webb, Thomas Smith (d. 1819), long promi-
nent in Rhode Island as a Freemason and in-
terested in developing lodge-music, was one of
the founders of the Handel and Haydn Society of
Boston in 1815 and for two years its conductor.
White, John (Abington, Mass., 1785-1865,
Barre, Mass.) , was a pioneer American violin-
maker, beginning in 1802. In 1806 he removed
to Barre. His sons, Ira J. White (Barre, 1813-
1895) and Asa Warren White (Barre, 1826-
1893), continued the family tradition with
success. See Violinist's Guide, 1916, p. 18.
Willard, Benjamin W., originally a maker of
clocks, began making 'cellos and basses at Lan-
caster, Mass., about 1805 and by 1810 had
produced about sixty instruments.
Winchester, Amasa, was conductor of the
Handel and Haydn Society in Boston in 1819-26.
*Wise, John J., from 1829 till after 1850 a
leading piano-maker in Baltimore, instituted
several useful features in action, stringing and
sound-boards. From about 1860 the business
was continued by his sons.
*Wood, Mary Anne, nee Paton (Scotland
1802-1864, England), a brilliant and charming
soprano, with her husband Joseph Wood, a
good tenor, appeared from 1833 in New York
and other cities with striking success. See
Vol. iii. 653-4.
*Zeuner, Charles (Saxony, 1795-1857, Phil-
adelphia, suicide), came to Boston in 1824,
where he was organist at Park Street Church
and in 1830-37 for the Handel and Haydn
Society, besides being a leader in other artistic
enterprises. In 1854 he went to Philadelphia
as organist. Besides much church-music, he
composed an oratorio, ' The Feast of Taber-
nacles' (1832). See Tune-Books.
4: 1840-1860]
CHRONOLOGICAL REGISTER
21
In a survey such as this the decades before and after 1850 cannot well be
separated, although combining them makes a period that is somewhat un-
wieldy.
At this time the attention to 'psalmody,' though absolutely greater in
amount, became relatively much less significant. After 1850 it tended to
change in character and to divide into two lines of effort, which diverged more
and more (see Tune-Books).
The salient note of the time was the increased contact in musical matters
between America and Europe. From 1840 American students began to go
abroad for training, especially to Germany. And from even before that date,
as previously stated, the tide of immigration from Europe, especially from
Germany and Austria, began to be impressive.
From about 1850 American audiences had the chance to hear visiting art-
ists of ability and magnetic power, besides several good visiting orchestras.
Their concerts in many cases aroused remarkable enthusiasm, tended to
spread a knowledge of standard musical works and of executive skill, and did
much to stimulate efforts for individual and local improvement.
Although the number of names plainly worthy of mention now becomes
considerable, it is certain that the number should be larger. A list like this
must confine itself to such data as are now accessible. Further investigation
should add to this material.
4. The Middle of the 19th Century —
1840-1860
a Becket, Thomas (Philadelphia, 1843-1918,
Philadelphia) , a pupil of his father and Engelke,
appeared as pianist in 1850 and at intervals
later, but made a specialty of accompanying
leading artists. He became a favorite teacher
and for almost half a century taught at Girard
College. He was also valued as an editorial
adviser.
Adams, Charles R. (Charlestown, Mass.,
1834-1900, West Harwich, Mass.), a concert-
tenor from 1856, from 1861 also an operatic
singer in Europe, and from 1877 conspicuous
in Boston. See art.
Aiken, Charles (Goffstown, N. H., 1818-
1882, Cincinnati), graduated from Dartmouth
in 1838, studied under Lowell Mason and
from 1844 was music-director and teacher-
trainer in the Cincinnati public schools, pro-
ducing extraordinary results (as shown in
festivals from 1873).
Aiken, Henry M. (b. 1824?), a bass in Bos-
ton from about 1842 who continued active in
church-music and oratorio for fifteen years.
*Albrecht, H. F. (d. 1875, at sea), a Meck-
lenburger (with the Germania Orchestra in
1848), noted as collector of a remarkable
musical library finally sold to J. W. Drexel of
Philadelphia. He was greatly interested in
the communistic ideas of Cabet, and about
1850 joined the latter's colony at Nauvoo,
111., moving to Philadelphia about 1856. See
Ritter, Music vi America, chap. xvii.
Allen, Benjamin Dwight (Sturbridge, Mass.,
1831-1914, Wellesley, Mass.), from 1845 was
identified with Worcester, Mass., as teacher
and organist, from 1894 was professor at
Beloit College, in 1902-05 was organist in New
York, and then retired. See art.
Allen, George N. (1812-1877, Cincinnati),
early a pupil of Lowell Mason and a graduate
of Oberlin in 1838, becoming musical instruc-
tor there and in 1841-64 professor of sacred
music. He organized a chorus and orchestra,
and prepared the way for the Oberlin Con-
servatory in 1865. In 1844 he compiled a hymn-
book, including original tunes and even
hymns. In 1848-77 he also taught geology.
*Anschutz, Karl (Rhine Prov., 1815-1870,
New York), son of a well-known musician of
Coblenz, after being head of his father's
school there and conductor and teacher in
London, came to New York in 1857 as director
for Strakosch. In 1862 he made an early
and creditable attempt to establish German
opera, and in 1860-62 led the Arion Society.
*Appy, Henri (b. Holland, 1828), who had
had concert-experience in Holland, came to
America in 1851, toured with Mme. Bis-
caccianti and Jenny Lind, and became a teacher
and conductor in Rochester, N. Y.
*Arbuckle, Matthew (Scotland, 1828-1883,
New York), came to America in 1853, was
long associated with Gilmore and became a
well-known cornettist. He wrote a cornet-
method.
*Arditi, Luigi (Italy, 1822-1903, England),
from before 1840 noted in Italy as violinist,
composer and conductor, from 1846 was opera-
conductor for Marty in Havana and from 1847
in New York, returning often during the next
forty-five years. See Vol. i. 102-3.
*Balatka, Hans (Moravia, 1827-1899, Chi-
cago), well trained in Vienna and choral con-
ductor there, came to Milwaukee in 1849,
founded and conducted the Musikverein in
1851-60, when he moved to Chicago to lead
the Philharmonic Society and the Musical
Union. In subsequent years he directed other
organizations in Chicago and Milwaukee,
22
CHRONOLOGICAL REGISTER
[4: 184D-1860
toured in 1870 with Mme. Pappenheim, and
composed a cantata, many choruses, some
.songs and orchestral fantasias, etc.
Barnabee, Henry Clay (Portsmouth, N. H.,
1833-1917, Boston), about 1854 became popu-
lar as singer and comedian, continuing active
for over fifty years. Before 1870 he organized
companies to give light opera, from 1879 was
with the Boston Ideal Opera Company, and in
1887, with Karl, organized The Bostonians, in
all these enterprises being strikingly successful.
He published My Wanderings, 1913.
Bassford, William Kipp (New York, 1839-
1902, New York), from about 1855 was
prominent in New York as pianist, teacher
and composer. See art.
' Battel!, Robbins (Norfolk, Conn., 1819-
1895, Norfolk), graduated from Yale in 1839
and became prominent in business and civic
life. For years (till 1851) he led an enterpris-
ing choral society and from 1875 instituted vari-
ous musical undertakings in or near Norfolk.
In 1854-90 he and his brother endowed the
professorship of music at Yale — one of many
large benefactions. The Litchfield County
Choral Union was founded in his memory in
1899 by his son-in-law, Carl Stoeckel.
*Berge, William (d. 1883, New York), came
to New York in 1846 and became favorably
known as pianist and writer of arrangements
and transcriptions.
*Bergmann, Karl (Saxony, 1821-1876, New
York), came to America in 1850, joined the
Germania Orchestra, was a leading conductor
in Boston and from 1855 in New York, and was
also a competent 'cellist. See Vol. i. 308-9.
*Bergner, Frederic (Baden, 1827- ? , New
York), came to New York in 1849, and was
leading 'cellist in the Philharmonic Society
for over forty years, besides playing in the
Eisfeld and Mason-Thomas quartets.
Bethune, Thomas G. [' Blind Tom '] (Co-
lumbia, Ga., 1849-1908, Hoboken, N. J.), a
negro, blind and half-witted, who yet evinced
from 1858 singular gifts as player and im-
proviser on the piano in concerts at many
places.
*Biedermann, August Julius (Saxony, 1825-
1907, New York), came to America in 1848,
settled in Milwaukee as piano-teacher and
composer, and from 1859 worked in New York.
Biscaccianti, Eliza, nee Ostinelli (Boston,
1825- ? ), daughter of an Italian violinist of
Boston, after studying in Italy, appeared there
in opera in 1847 and also in America, extend-
ing her tours to California in 1853-4. She
ultimately settled in Rome.
*Bishop, Anna, nee Riviere (England, 1814-
1884, New York), the noted soprano, from
1847 appeared in America for some years and
at intervals later. See Vol. i. 330-1, 345
(under Bochsa).
Blodgett, Benjamin Colman (b. Boston,
1838), from 1850 was organist in or near
Boston, from 1858 studied at Leipzig, and
from 1861 was at Park Street Church, Boston.
From 1865 he taught in Pittsfield, Mass., and
in 1878-1903 was professor at Smith College,
was then organist at Stanford University,
and in 1906 retired to Seattle. See art.
*Boudousquie was the projector of the New
Orleans Opera House in 1859 and its manager
for some years, continuing the high standard
previously established by Davis.
*Brandeis, Frederic (Austria, 1835-1899,
New York), arriving in New York in 1849,
from 1851 became a valued pianist, organist,
conductor and composer. See art.
*Brignoli, Pasqualino (d. 1884, New York),
an Italian tenor who first appeared in New
York in 1855 and was thenceforward extremely
popular in opera. Though rather stiff as an
actor, his voice and method made him famous.
See Upton, Musical Alemories, pp. 121-5, etc.
*Brinkerhoff, Clara M., nee Rolph (England,
before 1830- ? ), came to America as a child,
was carefully trained in singing and first ap-
peared in New York about 1845. For more
than forty years she was prominent in concert
and oratorio and as a teacher. After 1861
she concertized in Europe.
Bristow, George Frederick (Brooklyn, 1825-
1898, New York), even before 1840 known as
violinist, and later conspicuous as organist,
conductor and composer. See art.
*Bull, Die Bornemann (Norway, 1810-1880,
Norway), the celebrated violinist, from 1843
made several visits to America, and in 1852
projected a Norwegian colony in Pennsylvania.
See Vol. i. 418-20, and art.
Campbell, Francis Joseph (Winchester,
Tenn., 1832-1914, England), educated at the
school for the blind in Nashville, became
musical instructor there in 1850 and at Perkins
Institute in Boston, studied in Germany, and
from 1871 developed a notable enterprise in
London that became the Royal Normal Col-
lege for the Blind at Upper Norwood. In
1886 and '88 he made tours with pupils in
America. He was knighted in 1909, and was
an Officier de I'Academie.
*Cappa, Carlo Alberto (b. Sardinia, 1834),
from 1858 was a noted band-master and trom-
bonist in New York.
*Carter, Henry (England, 1837- ? ) from
1854 was organist at Quebec Cathedral, from
1864 in Boston and Providence and from 1873
at Trinity Church, New York, in 1880-83
taught in Cincinnati and was then again in
Brooklyn and New York. See art.
*Castle, William (England, 1836-1909,
Chicago), from 1858 till about 1890 was a well-
known operatic and concert-tenor, and later
teacher in Chicago.
Christy, Edwin T., from about 1844 one of
the best-known promoters of negro ' minstrel '
entertainments.
*Clarke, James Peyton (Scotland, 1808-
1877, Toronto), previously organist in Edin-
burgh, came to Canada in 1835, settling in
1840 at Toronto, where from 1845 he was in-
structor in the University, organist of the
4: 1840-1860]
CHRONOLOGICAL REGISTER
23
Cathedral and leader of choral societies. Mus.
D. of Toronto University in 1856.
Clarke, William Horatio (Newton, Mass.,
1840-1913, Reading, Mass.), organist from
1856, after foreign study, went in 1871 to
Dayton, O., as public-school supervisor and
thence as organist to Indianapolis. In 1878-
87 he was organist in Boston. See art.
Coleman, Obed M. (Barnstable, Mass.,
1817-1845), a pioneer in improving the accor-
dion, in 1844 patented an ' asolian attachment '
(set of reeds) for pianos, which was first popu-
larized by Gilbert in 1847.
Cornell, John Henry (New York, 1828-
1894, New York), from 1848 was an important
organist, teacher, theorist and composer in
New York. See art.
Cross, Michael Hurley (Philadelphia, 1833-
1897, Philadelphia), from 1848 noted as or-
ganist and conductor, mostly in Philadelphia.
See art.
*Crouch, Frederick William Nicholls (Eng-
land, 1808-1896, Portland, Me.), 'cellist and
singer, came to New York in 1849 with Ma-
retzek, and worked in Portland, Philadelphia,
Washington, Richmond and Baltimore as
singer and teacher. He wrote many popular
songs and two operas. See Vol. i. 641-2.
Cutler, Henry Stephen (Boston, 1825-1902,
Boston), after training in Germany in 1844-46,
from 1852 was organist at the Church of the
Advent, Boston, in 1858-65 at Trinity Church,
New York, and then in Brooklyn, Providence,
Philadelphia and Troy. Mus.D. of Columbia
University in 1864.
Banks, Hart Pease (New Haven, 1834-
1903, Philadelphia), a church-singer before
1850, especially in Chicago, where he also
took up writing hymn-tunes and popular
songs. Some of the latter had wide circula-
tion. He also wrote anthems and an operetta.
Davis, George H. (d. 1879, Boston), was
partner of the Hallets in Boston from 1843,
contributing much to the success of the Hallet
& Davis pianos.
Decker, Myron A. (Manchester, N. Y.,
1823-1901, New York), early trained as piano-
maker in Albany, opened a factory there in
1856, achieved decided success and in 1859
removed to New York. After some vicissi-
tudes, in 1875 the firm of Decker & Son was
formed by including Frank C. Decker, who is
head of the present business.
Deems, James Monroe (Baltimore, 1818-
1901, Baltimore), early showed ability in
band-music, from 1839 studied 'cello under
Dotzauer in Dresden, taught and played in
Baltimore, in 1849-58 was music-instructor at
the University of Virginia, went abroad again,
from 1861 was in the Civil War (becoming
Brigadier-General) , and then resumed musical
work in Baltimore. He wrote an opera, a comic
operetta and the oratorio ' Nebuchadnezzar.'
See Mathews, Hundred Years, pp. 298-300.
Doane, William Howard (Preston, Conn.,
1832-1915, Cincinnati), was all his life engaged
in making wood-working machinery, but was
also musically active. He studied under B.
F. Baker in Boston and other teachers, and
from 1862 became one of the best of the many
writers of ' Gospel hymns.' He made a con-
siderable collection of instruments. Mus. D.
of Denison University in 1875.
*Dohn, Adolph W., a Chicago business-man
who in 1858-65 was conductor of the Men-
delssohn Society and in 1872-74 the first
permanent conductor of the Apollo Club. See
Upton, Musical Memories.
*Dresel, Otto (Rhine Prov., 1826-1890,
Beverly, Mass.), came to New York in 1848
as concert-pianist and settled in Boston in
1852. See art.
Dwight, John Sullivan (Boston, 1813-1893,
Boston), founder and editor of a notable
' Journal of Music,' 1852-81. See Vol. i. 759,
and art.
*Eberhard, Ernst (Hanover, 1839-1910?,
New York), came to New York before 1860,
was organist in various churches, conducted
choral societies and orchestral concerts, and
in 1876 established the Grand Conservatory.
He prepared several instruction-books.
*Eichberg, Julius (Rhine Prov., 1824-1893,
Boston), came to New York in 1856 and from
1859 was conductor and eminent educator in
Boston. See Vol. i. 770, and art.
*Eisfeld, Theodor (Brunswick, 1816-1882,
Hesse), violinist and conductor, was influen-
tial in New York in 1848-66, returning then
to Wiesbaden. See art.
Emerick, Albert G. (Philadelphia, 1817-
? , Philadelphia), who had been organist
since 1832, in 1841 compiled a successful col-
lection of people's songs and later was corre-
spondentformusical papers. From 1850heman-
aged high-class concert-series in Philadelphia.
Emerson, Luther Orlando (Parsonsfield,
Me., 1820-1915, Hyde Park, Mass.), one of
the most facile of the later ' psalmody ' com-
posers, active from about 1840 at Salem,
Boston and Greenfield, Mass., with various
tune-books from 1853 (see Tune-books). He
was in request as conductor of ' conventions.'
Mus.D. of Findlay College in 1891. See Hall,
Gospel Song and Hymn Writers, pp. 44-9.
Emmett, Daniel Decatur (Mt. Vernon, O.,
1818-1904, Mt. Vernon), from 1843 was fore-
most in developing ' negro minstrel ' troupes,
with New York as a center. In 1859, while
with Bryant, he wrote the song 'Dixie.' See art.
Everett, L. C. (1818-1867) and Everett,
Asa Brooks (1828-1875), two Virginians who
studied music in Boston (the younger also
four years at Leipzig), organized a system of
normal instruction at Richmond in the '50s
which had results analogous to Mason's in the
North. In 1861 they had fifty teachers of
singing-schools representing them and using
their publications. See Hall, pp. 96-100.
Fairlamb, James Remington (Philadelphia,
1S38-1908, New York), from 1852 organist
in Pliiladelphia, in 1859-61 studied at Paris
24
CHRONOLOGICAL REGISTER
[4: 1840-1860
and Florence, then consul at Zurich, continu-
ing musical culture in many ways, in 1865-72
mostly in Washington as organist, and then
organist and teacher in New York. He wrote
many songs, choral and church works, and the
operas ' Val6rie ' (privately given in Wash-
ington), ' Treasured Tokens ' (Pliila.), ' Love's
Stratagem ' and ' The Interrupted Marriage.'
♦Fischer, John U. (b. Italy, 1816) and
Fischer, Charles S. (b. Italy, 1818), learned
piano-making in Naples from their father and
grandfather (of Austrian descent), came to New
York in 1839 and in 1840 succeeded to part
of the Nunns' business, which they developed
into artistic and commercial success. In 1873
John returned to Italy and Charles was then
joined by his four sons.
Fischer, William Gustavus (Baltimore,
1835-1912, Philadelphia), a book-binder in
Philadelphia, developed capacity as music-
teacher and leader of choruses, in 1858-68
was instructor at Girard College (preceding
a Becket) about 1868 became a prosperous
piano-dealer (retired in 1898), was prominent
as leader of Welsh choral societies (Penn Bi-
centenary, 1881), and as composer of ' Gospel
hymns.' See Hall, pp. 130-2.
*Formes, Karl Johann (Rhine Prov., 1816-
1889, San Francisco), who had been since 1842
a noted operatic bass in Europe, from 1857 at
intervals for twenty years was often heard in
America, finally settling as teacher in San
Francisco. See Vol. ii. 88, and art.
Foster, Stephen Collins (Pittsburgh, 1826-
1864, New York), a spontaneous writer of
popular songs in Pittsburgh till 1860, then
in New York. See Vol. ii. 90-1, and art.
*Fries, Wulf (Holstein, 1825-1902, Rox-
bury, Mass.), who had been 'cellist in Nor-
way, came to Boston with his brother August
Fries (b. 1822) in 1847, long continuing promi-
nent as a player. See art.
Fry, William Henry (Philadelphia, 1813-
1864, W. Indies), a journalist in New York and
from 1845 composer of operas, orchestral
pieces, cantatas and songs. See art.
*Gabler, Ernest (d. 1883, New York), a
Silesian piano-maker, came to New York in
1851 and in 1854 established a firm that still
continues.
*Gemiinder, August Martin Ludwig (Wiir-
temberg, 1814-1895, New York), gifted violin-
maker, trained by Vuillaume, came to Spring-
field, Mass., in 1846, and was joined by his
equally able brother, Georg Gemiinder (1816-
1899). Later they worked in Boston and New
York, establishing a notable business, still
continued by descendants. See art.
*Gilmore, Patrick Sarsfield (Ireland, 1829-
1892, St. Louis), a band-master who came to
Canada about 1845, went to Salem in 1849
and thence to Boston, organizing a famous
band that traveled widely. See Vol. ii. 169,
and Upton, Musical Memories, pp. 194-206.
*Goldbeck, Robert (Prussia, 1839-1908, St.
Louis), early noted as pianist, from 1857 was
in New York, from 1868 in Chicago, from 1873
in St. Louis, from 1880 again in New York,
etc., becoming famous as player, teacher, con-
ductor and composer. See art.
Gottschalk, Louis Moreau (New Orleans,
1829-1869, Brazil), the original and talented
pianist, trained in Paris, where he made his
debut in 1844, who from 1853 gave concerts
throughout the United States. See Vol. ii.
205, and art.
Guiraud, Ernest (New Orleans, 1837-1892,
France), produced his first opera in New
Orleans in 1852, but was later wholly identi-
fied with Paris, from 1876 as professor in the
Conservatoire. See Vol. ii. 259, and art.
*Hagen, Theodor (Hamburg, 1823-1871,
New York), came to New York in 1854,
edited ' The Musical Gazette,' later called
' The Musical Review and Gazette,' and was a
useful journalist and critic. While still in
Germany he wrote articles for the ' Neue
Zeitschrift,' Civilisation mid Musik, 1845, and
Musikalische Novellcn, 1848.
*Haines, Napoleon J. (England, 1824-1900,
New York), and his brother Francis W. Haines
(1822-1887, New York), came to New York as
boys, from 1839 worked at piano-making under
A. H. Gale, in 1851 opened their own factory
and rapidly gained a solid reputation. They
kept abrea.st of all improvements and were
among the first (about 1870) to foresee the
popularity of the upright. N. J. Haines was
a foremost financier during the Civil War and
afterward. The Haines piano-business is now
part of the American Piano Company.
Hamlin, Emmons (d. 1881, Boston), a work-
man in Prince's melodeon-factory in Buffalo,
in 1847 made discoveries in adjusting the reeds
then used which greatly improved their tone.
In 1854 he joined Henry Mason of Boston
in the firm of Mason & Hamlin.
Haynes, John C. (Brighton, Mass., 1830-
1907, Boston), became a clerk for Ditson in
1845, was admitted to the firm in 1857, and
in 1889, after Ditson's death, was made presi-
dent.
Hays, William Shakespeare (Louisville,
1837-1907, Louisville), began to write popular
songs in 1853 and gradually became widely
known. In later life he was on the staff of the
Louisville ' Courier-Journal.'
Hazleton, Henry (b. New York, 1816), was
an apprentice in Dubois & Stodart's piano-
making shop in New York from 1831, began
business at Albany in 1838, moved to New
York in 1841, and in 1849, with his brothers
Frederick Hazleton and later John Hazleton,
established the firm of Hazleton Brothers,
whose excellent reputation has been kept up
by their descendants.
*Healy, Patrick Joseph (Ireland, 1840-1905,
Chicago), brought to Boston as a boy and
employed in music-stores, developed such
ability that in 1864 Ditson sent him, with
George W. Lyon, to Chicago to establish a
branch house. Lyon & Healy soon ranked
4: 1840-1860]
CHRONOLOGICAL REGISTER
25
among the leading music-dealers of the coun-
try, specializing in the production of instru-
ments of many kinds, including harps, violins,
pianos and organs. See Dolge, Pianos and
their Makers, pp. 350-4.
*Heintzmann, Theodore A. (Prussia, 1817-
1899, Toronto), an experienced piano-maker,
came to New York in 1850, went to Buffalo
in 1853 and in 1860 to Toronto, becoming the
pioneer manufacturer in Canada.
*Held, Ernst Carl Eberhardt (Saxony, 1823-
1913?, Syracuse), originally a mining-engineer
in Prussia, joined in the revolution of 1848 and
then migrated to America, and from 1849 was
teacher, composer and writer in Syracuse.
Mus.D. of Syracuse University in 1903.
*Hoffman, Richard (England, 1831-1909,
Mt. Kisco, N. Y.) , came to New York in 1847
and became a leading pianist and composer for
the piano. See Vol. ii. 414-5, and art.
*Hohnstock, Carl (Brunswick, 1828-1889,
Brunswick), from 1848 till 1860 was promi-
nent in Philadelphia as pianist and teacher.
His sister Adelaide Hohnstock (d. 1856) was
associated with him.
*Holmes, Edward (England, 1797-1859,
America), author of works on Mozart and
Purcell, etc., came to America in 1849 and
worked as editor and critic.
Hopkins, Edward Jerome (Burlington, Vt.,
1836-1898, Athenia, N. J.), from 1846 a self-
taught organist, composer, lecturer and organi-
zer, from 1856 with headquarters at New
York. See art.
*Hulskamp, Gustav Heinrich, a German
piano-maker who worked in Troy from 1850
and in New York from 1866, introducing many
improvements in construction, including strik-
ing experiments with ' symmetrical ' grands.
*Huss, George John (Bavaria, 1828-1904,
New York), from 1848 was organist and
piano-teacher in or near New York, with some
compositions.
Jarvis, Charles H. (Philadelphia, 1837-
1895, Philadelphia), began as a child-pianist in
1844 and developed into, a competent and
influential artist. See art.
♦Keller, Matthias (Wurtemberg, 1813-1875,
Boston), a band-master and violinist who
came to Philadelphia in 1846, was later con-
ductor in New York and finally went to Bos-
ton, where his ' American Hymn ' was brought
out in 1869.
Kemp, Robert [' Father Kemp '] (Wellfleet,
Mass., 1820-1897, Boston), a shoe-dealer in
Boston, started in 1854 giving ' old-folks'
concerts ' of early American music. See auto-
biography, 1868.
Kimball, William Wallace (Maine, 1828-
1904, Chicago), after clerical and commercial
experience in the East, began dealing in
pianos and organs at Chicago in 1857, rapidly
becoming prominent, took up reed-organ-
making in 1881, piano-making in 1887 and
organ-making soon after, developing one of the
strongest establishments in the country.
*Klauser, Karl (Russia [Swiss parents], 1823-
1905, Farmington, Conn.), from 1850 piano-
teacher, arranger and editor in New York, and
in 1856-83 teacher in Farmington, Conn. He
edited Fatnous Composers, 1891 (with Thomas
and Paine), and Half -Hours with the Best Com-
posers, 1894.
*Kotzschmar, Hermann (Prussia, 1829-
1909, Portland, Me.), came to America in 1848
and from 1849 was active in Portland as organ-
ist, teacher, conductor and composer. See art.
*Kreissmann, August (Saxony, 1823-1879,
Saxony), active in Boston from 1849 to 1876 as
singer, teacher and leader of the Orpheus Club.
*Krell, Albert (Germany, 1833-1900, Cin-
cinnati), of a family of instrument-makers,
came to America in 1848 and was known at
Cincinnati as an expert violin-maker. In 1889,
with his sons, he started a piano-factory.
Lang, Benjamin Johnson (Salem, 1837-1909,
Boston), from 1852 eminent as organist and
conductor in Boston. See Vol. ii. 631-2, and art.
Ludden, William (b. Williamsburg, Mass.,
1823), a pupil of Mason and Webb, from 1840
taught in Pittsfield, Mass., from 1842 in Wil-
liston Seminary at Easthampton, was organist
and conductor in New Haven while at Yale
College, in 1853-4 studied singing in Paris,
taught at New Haven and from 1862 at
Chicago, removing in 1870 to Savannah as
music-dealer. He compiled a Pronouncing
Musical Dictionary (terms), 1875.
Madeira, Louis Cephas, identified from 1843
with the Musical Fund Society of Philadel-
phia till its dissolution in 1858, first as manager
and then as secretary, supplied data for Annals
of Music in Philadelphia and History of the
Musical Fund Society, 1820-58, 1896 (edited
by P. H. Goepp).
*Maretzek, Max (Moravia, 1821-1897,
Staten Island, N. Y.), an experienced violinist
and opera-conductor, brought to New York
in 1848 by Fry, from 1849 till 1878 was the
indefatigable and usually clever manager of a
variety of operatic ventures in New York,
Havana and Mexico, introducing many noted
singers. He wrote two operas, ' Hamlet '
(1843) and ' Sleepy Hollow ' (1879), orchestral
music, etc., besides the autol^iographic Crochets
and Quavers, 1855, and Sharps and Flats, 1890.
Mason, Daniel Gregory (Savannah, 1820-
1869, Europe), son of Lowell Mason, with his
brother Lowell was engaged in music-pub-
lishing in Boston from 1853.
Mason, Henry (Boston, 1831-1890, Boston),
son of Lowell Mason, in 1854 with Emmons
Hamlin founded the Mason & Hamlin firm of
reed-organ-makers, to which in 1869 was
added his brother Lowell. Before this, in 1861,
they had begun making the improved ' cabinet
organ.' In 1882 the firm began to make
pianos of the highest quality.
Mason, Lowell, Jr. (Westboro, Mass., 1823-
1885, Orange, N. J.), son of Lowell Mason, was
from 1853 associated with his brother Daniel
Gregory in the publishing-firm of Mason
26
CHRONOLOGICAL REGISTER
[4: 1840-1860
Brotherg, but, after the latter's death, joined
his other brother in the Mason & Hamlin firm.
Mason, Luther Whiting (Turner, Me., 1828-
1896, Buckfield, Me.), from 1853 music-super-
visor in Louisville, in 1865 moved to Boston,
in 1879-82 was employed by the Japanese
government, and later went abroad. See art.
Mason, "William (Boston, 1829-1908, New
York), son of Lowell Mason, made his debut as
pianist at Boston in 1846, studied in Germany,
appeared in America in 1854 and settled in
New York as eminent player and teacher.
See Vol. iii. 74, and art.
*Mathushek, Frederick (Baden, 1814-1891,
New York), highly trained as piano-maker at
Worms and with Pape in Paris, came to New
York in 1849, was first associated with Dun-
ham, from 1852 alone, from 1857 with Spencer
B. Driggs, from 1866 at New Haven as head
of the Mathushek Piano Co., and from 1871
in New York again. He is said to have
devised a successful ' overstrung ' scale in 1850,
and soon after invented a machine for hammer-
covering. He had uncommon delicacy of ear
and planned small instruments with remark-
able breadth of tone. See Dolge, pp. 321-5.
*Matzka, George (b. Coburg, 1825), came
to New York in 1852 and was long identified
with the Philharmonic Society, acting as con-
ductor for a time in 1876. He wrote several
overtures, two string-quartets, a violin-sonata,
choruses and songs.
*Merz, Karl (Hesse, 1836-1890, Wooster,
O.), came to Philadelphia in 1854, from 1861
taught at Oxford, O., and in 1882 became
professor in Wooster University. See art.
*Meyer, Julius Eduard (Altenburg, 1822-
1899, Brooklyn), an accomplished singing-
teacher, trained at Leipzig, settled in Brooklyn
in 1852 and was active there for over forty
years, though twice invited back to Leipzig.
Millard, Harrison (Boston, 1830-1895,
Boston), a singer from boyhood, studied in
Italy in 1851-54, taught in Boston and from
1856 in New York, served as lieutenant in the
Civil War, and was employed in the New
York Custom House for many years. He
wrote an opera, ' Deborah,' a grand mass and
other church-music, many adaptations of
foreign songs and about 350 original songs.
Miller, Henry F. (Providence, 1825-1884,
Wakefield, Mass.), had a good musical edu-
cation, early became an organist, besides
showing mechanical genius and learning the
trade of watch-making, in 1850 took up piano-
making with Brown & Allen in Boston, in 1858
with Emerson, and in 1863 in his own Com-
pany, which soon became famous. At his
death the business was continued by five sons.
*Mills, Sebastian Bach (England, 1838-
1898, Germany), came to New York in 1856
as a visiting pianist, and was so warmly re-
ceived that he remained as player, teacher and
composer. See Vol. iii. 210, and art.
*Mollenhauer, Eduard (Saxony, 1827-1914,
Owatonna, Minn.), and his brother Friedrich
MoUenhauer (1818-1885), expert violinists,
came to New York in 1853 with Jullien and
remained as valued soloists, orchestral players
and teachers. Another brother, Heinrich
MoUenhauer (1825-1889), 'cellist, followed in
1856 and established a school in Brooklyn,
still carried on by his sons.
Moore, John Weeks (Andover, N. H., 1807-
1887, Boston), began as printer and editor of
country newspapers in Maine, New Hamp-
shire and Vermont, settling finally in Man-
chester, N. H. From before 1840 he displayed
interest in musical subjects, writing or editing
a variety of manuals and collections, partly in
periodical form. His chief works were The
Musician's Lexicon, 1845-46, and a Complete
Encyclopedia of Music, 1854, and Appendix,
1875, an ambitious production for the time.
*Morgan, George Washbourne (England,
1822-1892, Tacoma, Wash.), came to New
York in 1853 and served as organist in a series
of churches. See art.
*Mosenthal, Joseph (Hesse, 1834-1896, New
York), a gifted violinist, came to New York in
1853 and was long prominent as ensemble-player,
organist, conductor and composer. See art.
*Miiller, Carl Christian (Meiningen, 1831-
1914, New York), came to New York in 1854,
worked in a piano-factory and led Barnum's
orchestra, and from 1879 was harmony-teacher
in the College of Music. See art.
*Neuendor£f, Adolf (Hamburg, 1843-1897,
New York), was brought to New York in 1855
and from 1859 was active as pianist, violinist,
conductor, manager and composer. See art.
*Nuno, James (Spain, 1824-1908, Buffalo),
after study in Italy, in 1851 came to Cuba as
bandmaster, and went thence to Mexico,
touring in the United States from 1856. In
1869 he settled in Buffalo. See art.
Paillard, M. J. (Switzerland, ? -1868,
Switzerland), in 1850 started the New York
branch of the famous Swiss manufacture of
music-boxes, long continued by others of the
family.
Palmer, Horatio Richmond (Sherburne, N.
Y., 1834-1907, Yonkers, N. Y.), from 1852
active in ' conventions,' popular choruses and
school-instruction, from 1881 led the Church
Choral Union in New York and from 1887 was
dean of the Chautauqua Institution. See art.
Parker, James Cutler Dunn (Boston, 1828-
1916, Boston), originally a law-student, stud-
ied at Leipzig and in 1854 settled in Boston
as organist, conductor, teacher, theorist and
composer. See art.
Perkins, Charles Callahan (Boston, 1823-
1886, Windsor, Vt.), graduated from Harvard
in 1843, went to Italy to study painting, later
to Paris, where he became equally interested
in music. In 1849-51 and 1854-57 he was in
Boston, organizing musical activities and com-
posing, in 1850 being at the head of the Handel
and Haydn Society and in 1852 the chief con-
tributor to the erection of the well-known Music
Hall. After prolonged residence in Europe,
4: 1840-1860]
CHRONOLOGICAL REGISTER
27
in 1869 he returned to Boston as critic and
patron of fine art in general.
Phelps, Ellsworth C. (b. Middletown, Conn.,
1827), organist from 1846 at New London,
Syracuse and New York, and from 1857 in
Brooklyn, engaging also in public-school
music and composing two symphonies, four
symphonic poems, concert-overtures, two
comic operas, the cantata ' David,' an ex-
tended choral ' Elegie,' Psalm 145, etc.
♦Phillipps, Adelaide (England, 1833-1882,
Bohemia) , was brought up in Boston, from 1842
appeared there as a dancer, but, after training
in Italy, from 1855 became famous as concert-
and operatic contralto. See Vol. iii. 709-10.
Phillips, Philip (near Chautauqua, N. Y.,
1834-1895, Delaware, O.), from 1853 noted as
a leader of singing-schools, from 1860 was a
music-dealer and pubUsher in Cincinnati,
removing in 1867 to New York, where he pub-
lished many popular song-books, mostly
sacred. His tenor voice made him famous and
from 1868 he conducted ' song-services ' in all
parts of the world. See Hall, pp. 118-23.
Poole, Henry Ward (Salem, Mass., 1825-
? ), brother of William F. Poole, the libra-
rian, while a student at Yale in 1842 became
absorbed in problems of musical acoustics,
especially those of temperament. In 1849 at
Newburyport he made an enharmonic organ,
described in 1850 in the ' American Jour-
nal of Science,' thus coming into touch with
foreign investigators, so that his work is re-
peatedly quoted (as in Ellis' Helmholtz). He
also made studies in the theory of chords.
His business as mining-engineer took him to
Mexico in 1856, where he settled. See
Mathews, Hundred Years, pp. 341-6.
■"Pychowski, Jan Nepomucene (Bohemia,
1818-1900, Hoboken, N. J.), a pianist and
teacher in New York and Hoboken from 1850.
He was a good composer of chamber- and
piano-music.
Richardson, Nathan (Reading, Mass., 1827-
1859, France), pupil of Moscheles, Dreyschock
and others, compiled a piano-method in 1859
which had much vogue for many years.
*Richings, Caroline, nee Bernard (England,
1827-1882, Richmond, Va.), brought to Amer-
ica as a child, appeared as pianist at Phila-
delphia in 1847 and in opera in 1852, remaining
a favorite singer till about 1870, and then
taught at Baltimore and Richmond.
*Ritter, Frederic Louis (Alsace, 1834-1891,
Belgium), came to Cincinnati in 1856 as con-
ductor and to New York in 1861, becoming
from 1867 professor at Vassar College and
well known as composer and author. See
Vol. iv. 109, and art.
*Rive, Caroline, nee Staub (France, 1822-
1882, New York), pupil of Garcia in singing
and a good pianist, came to New Orleans
about 1850 and taught successfully there and
from 1854 at Cincinnati.
Root, George Frederick (Sheffield, Mass.,
1820-1895, Bailey's Island, Me.), from about
1840 with Mason and Webb at Boston, was
organist and teacher in New York from 1844,
studied a year in Paris, became a music-
publisher in Chicago in 1859 (business sold
in 1871 to the John Church Co., Cincinnati),
and wrote many songs and other vocal music.
See Vol. iv. 138-9, art. and Tune-Books.
*Rudolphsen, John Frederick (Hamburg,
1827- ? , Cincinnati), came as violinist with
Gungl in 1849, appeared as opera-singer in
1853, from 1862 taught in Boston and from
1879 in the Cincinnati College of Music.
*Ryan, Thomas (Ireland, 1827-1903, New
Bedford, Mass.), came to Boston in 1844, from
1849 for forty years played viola and clarinet
in the Mendelssohn Quintette Club. Seo his
Recollections of an Old Musician, 1899.
Ryder, Thomas Philander (Cohasset, Mass.,
1836-1887, Somerville, Mass.), from 1856
organist at Hyannis, later at Tremont Temple,
Boston, and a popular teacher, conductor and
composer.
*Schilling, Gustav (Hanover, 1803-1881,
Nebraska), who from 1830 had been head of
the Stopel Music School in Stuttgart and a
prolific writer on theory and aesthetics, came
to New York in 1857, in 1859 went to Canada,
from 1871 was in Burlington, la., and thence
moved to Nebraska. For a list of his publi-
cations (all in Europe) see Baker, Dictionary
of Musicians, p. 826.
*Schirmer, Gustav (Saxony, 1829-1893,
Thuringia), came as a boy to New York in
1837, was clerk in a music-store, from 1854 man-
ager for the publisher Breusing, and from 1861
his successor, building up a business of inter-
national fame. See Vol. iv. 265-6.
*Schuberth, Julius (Saxony, 1804-1875,
Saxony), founder of a publishing-house at
Hamburg in 1826, opened a branch in New
York in 1850, to which later he gave much
personal attention. In 1867 he started the
' New-Yorker Musikzeitung.'
*Schultze, Wilhelm Heinrich (Hanover,
1828-1888, Syracuse), came to America in
1848 with the Germania Orchestra, from 1858
was leader of the Mendelssohn Quintette
Club, and from 1877 professor at Syracuse
University. Mus.D. there in 1877.
Sharland, John B. (Hahfax, 1837-1909, Bos-
ton) , was early in Chickering's piano-factory,
but turned to piano-playing and conducting, led
many choral societies in or near Boston, and
from about 1870 was music-supervisor in the
schools. He compiled song-books from 1865.
Southard, Lucien H. (Sharon, Vt., 1827-
1881, Augusta, Ga.), studied in Boston, from
1851 was music-supervisor there, taught in
Norfolk; Va., in 1860-61 was organist at
Hartford, Conn., served in the Civil War, in
1865-68 and 1871-75 taught in Boston, and
in 1868-71 was head of the Peabody Con-
servatory in Baltimore. See art.
*Steck, George (Hesse, 1829-1897, New
York), an expert piano-maker, trained by
Scheel at Paris, came to New York in 1853
28
CHRONOLOGICAL REGISTER
[4: 1840-1860
and in 1857 established the firm that long
continued in high repute (absorbed in 1904
into the ^Eolian Company). He was espe-
cially gifted in scale-designing.
*Steinbrecher, Frederic W. (b. Prussia,
1818), in 1843-44 a pupil of Chopin, came to
Cincinnati in 1848 as pianist, teacher and
composer.
*Steinert, Morris (Bavaria, 1831-1912, New
Haven, Conn.), came to America about 1854,
played in orchestras, and about 1865 became
a music-dealer in New Haven and a collector
of keyboard-instruments. See art.
*Steinway, Henry Engelhardt (Harz, 1797-
1871, New York), an established maker of
organs and pianos at Seesen since 1820, came
to New York in 1851 with three sons (another
preceded him in 1849), and in 1853 organized
the firm since famous throughout the world.
See Vols. iii. 729-32, iv. 691-2.
*Stieff, Charles M. (Wiirtemberg, 1805-
1862, Baltimore), came to Baltimore in 1831,
at first as teacher of languages, but from 1842
as importer of pianos. In 1852 he went to
Europe to examine methods in piano-making,
and then, with two sons and Jacob Gross
(b. 1819), who had had long experience before
coming to America in 1848, inaugurated the
business that has had an honorable record in
the hands of his descendants.
*Stoeckel, Gustav Jakob (Bavaria, 1819-
1907, Norfolk, Conn.), came to America in
1847 and in 1855-96 was instructor and pro-
fessor of music at Yale College.
*Strakosch, Maurice (GaHcia, 1825-1887,
France), from 1845 worked in New York as
pianist and teacher, and from 1857 as man-
ager, succeeded by his brother Max Strakosch
(1834-1892). See Vol. iv. 713, and art.
Thayer, Alexander Wheelock (Natick,
Mass., 1817-1897, Austria), graduated from
Harvard in 1843 and assistant-librarian there,
from 1849 was almost continuously in Europe,
from 1865 as consul at Trieste, where he pro-
duced a monumental biography of Beethoven.
See Vol. V. 79-80, and art.
*Thomas, John Rogers (Wales, 1829-1896,
New York), in 1849 came to New York, in
1852 sang with the Seguins and other artists,
and wrote many popular songs, an operetta,
church-music, etc.
*Thomas, Theodore (East Friesland, 1835-
1905, Chicago), came to New York as a boy
in 1845, soon found employment as violinist,
touring from 1851, and from 1864 was con-
spicuous as a phenomenal organizer and con-
ductor of orchestras, living in Cincinnati in
1878-80 and moving to Chicago in 1891.
See Vol. V. 88, and art.
*Torrington, Frederick Herbert (England,
1837-1917, Toronto), came to Montreal in
1856 as organist and violinist, from 1869 was
in Boston, and from 1873 was organist, con-
ductor, etc., in Toronto. See art.
Tourjee, Eben (Warwick, R. I., 1834-1891,
Boston), from about 1851 teacher at Fall
River, in 1859 started a music-school at East
Greenwich, R. I., and, after a sojourn in Europe
for study of methods, founded larger schools
at Providence and in 1867 at Boston. See
Vol. V. 1.34, and art.
Tuckerman, Samuel Parkman (Boston,
1819-1890, Newport, R. I.), organist in Boston
in 1840-49 and 1853-56, and from 1864 at
Trinity Church, New York. See Vol. v. 173-4,
and Tune-Books.
Tufts, John Wheeler (Dover, N. H., 1825-
1908, Camden, Me.), from 1846 studied at
Frankfort and Leipzig, from 1848 was organist
and conductor at Bangor, Me., and later at
Portland, and from about 1880 at Boston,
where he was efficient in promoting public-
school music, besides being for fifteen years
organist at King's Chapel.
*Urso, Camilla (France, 1842-1902, New
York), a child-prodigy as violinist, appeared
in America in 1852-55 and again after 1862,
when she acquired world-wide celebrity. She
settled in New York in 1895. See art.
Warner, James F., published translations
of Gottfried Weber's Generalbasslehre and
Theorie der Tonsetzkunst, 1841-42, and a
Dictionary of Musical Terms, 1842.
Warren, George William (Albany, 1828-
1902, Now York), was organist at Albany from
1846, in Brooklyn from 1860, and from 1870
at St. Thomas', New York. See art.
*Watson, Henry C. (England, 1818-1875,
New York), musically well-educated, came to
New York in 1841 and began a notable editorial
career, both as critic for several papers and as
founder in 1843 of the ' Musical Chronicle '
(in 1847 transformed into ' The American
Musical Times'), from 1855 as the first editor
of Leslie's ' Illustrated Newspaper,' and in
1863 as founder of ' The American Art Jour-
nal.' He helped establish the Philharmonic
Society and other organizations, and for thirty
years remained conspicuous in promoting
musical progress. See Mathews, Hundred
Years, pp. 377-80, and Dolge, pp. 415-6.
*Weber, Albert (Bavaria, 1828-1879, New
York), came to New York in 1845, took up
piano-making with Holder and Van Winkle
and about 1852 opened his own shop, gradually
developing from about 1860 the solid repu-
tation of his instruments. He was a specialist
in tone-quality. The Weber business is now
part of the JDolian Company.
*Wels, Charles (Bohemia, 1825-1906, New
York), pupil of Tomaschek and from 1847
Polish court-musician, came to New York as
pianist, organist and teacher in 1849. He
wrote an orchestral suite and overture, five
masses, a piano-concerto, many facile piano-
pieces, part-songs and songs.
White, Edward L., besides other publications
of an educational character, made a translation
of Friedrich Schneider's Harmonie und Tonsetz-
kunst (about 1850). See also Tune-Books.
White, Henry Kirk (d. 1907, Meriden,
Conn.), from 1845 a maker of instruments in
4: 1840-1860]
CHRONOLOGICAL REGISTER
29
Connecticut, from 1853 at Washington, N. J.,
and from about 1860 in Philadelphia, was called
in 1865 to the Estey factory at Brattleboro,
Vt., and in 1877 joined H. C. Wilcox at Meri-
den, Conn., founding the firm of Wilcox
& White, makers of reed-organs. His three
sons all distinguished themselves in develop-
ing the industry. See Dolge, pp. 367-70.
Whiting, George Elbridge (b. Holliston,
Mass., 1842), an organist from 1855, from
1858 was Buck's successor at Hartford, and
since 1862 has been mostly identified with
churches in Boston, and an eminent teacher.
See Vol. V. 517-8, and art.
Whitney, Myron William (Ashby, Mass.,
1836-1910, Sandwich, Mass.), after study in
England and Italy, in 1858 began a notable
career as operatic and concert-bass in Boston.
See art.
Willcox, John Henry (Savannah, 1827-1875,
Boston), graduated from Trinity College
(Hartford) in 1849, settled as organist in
Boston and was noted as a talented player and
as expert in organ-construction, as well as
writer of Catholic church-music.
*Williams, Victor (b. Sweden, 1816), from
about 1840 was a well-known teacher in
Cincinnati, for more than twenty years in
public-school work.
WUlis, Richard Storrs (Boston, 1819-1900,
Detroit), graduated from Yale in 1841, studied
in Germany and settled in New York as a
literary worker, editing ' The Musical Times '
and ' The Musical World,' writing and compil-
ing vocal music, especially Church Chorals,
1850, and writing also the practical hand-
book Our Church Music, 1855.
Wilson, Henry (Greenfield, Mass., 1828-
1878, Hartford, Conn.), studied in Boston
and Leipzig, from about 1850 was organist
at Greenfield, in Springfield in 1854, and from
1855 at Hartford, becoming widely known as
player, choir-master and composer of church-
music. See art.
*Wolfsohn, Carl (Hesse, 1834-1907, New
Jersey), already known in the Rhine Valley
as pianist, came to Philadelphia in 1854, from
1856 was associated with Thomas in chamber-
concerts there and on tour, organized the
Beethoven Society in 1869, removed to
Chicago in 1873 and organized a similar
society there, continued till 1884. See art.
*WoUenhaupt, Hermann Adolf (Saxony,
1827-1863, New York), came to New York in
1845 as concert-pianist and teacher of brilliance
and popular power. In 1855 he made a
European tour. He composed about 100
piano-pieces in a fluent and clever style.
Wood, David Duffield (Pittsburgh, 1838-
1910, Philadelphia), trained in Philadelphia
in the Institute for the Blind, was instructor
there from 1853 and from 1864 also organist
at St. Stephen's, becoming noted as player,
teacher and composer. See art.
Woodman, Jonathan Call (Newburyport,
Mass., 1813-1894, Brooklyn), about 1840
associated with Mason in Boston and an
oratorio-singer, was later in various church
positions in New York and Brooklyn, besides
teaching after 1880 in Rutgers Institute and
Packer Institute.
Work, Henry Clay (Middletown, Conn.,
1832-1884, Hartford), a printer by trade and
a self-taught song-writer, caught the popular
ear before 1855, when he moved to Chicago.
He wrote many stirring war-songs after 1861
and temperance-songs later.
*Zerrahn, Carl (Mecklenburg, 1826-1909,
Milton, Mass.), came to Boston with the
Germania Orchestra in 1848, and from 1854
till 1895 was famous as conductor of the
Handel and Haydn Society, besides other
similar activities. See Vol. v. 595, and art.
*Zundel, John (Wiirtemberg, 1815-1882,
Wiirtemberg), trained as violinist under Mo-
lique and as organist under Rinck, after being
organist at St. Petersburg from 1840, came to
New York in 1847 and for thirty years was a
well-known organist, in 1850-55, 1858-65 and
1867-78 at Plymouth Church, Brooklyn. He
wrote instruction-books, collections of volun-
taries, a Te Deum and a Treatise on Harmony.
For purposes of reference, a few notes may be
added about the establishment of opera-houses
in New Orleans and New York before 1860.
During the whole 19th century New Orleans
maintained a fairly continuous and often bril-
liant operatic activity. The first French troupe
appeared there in 1791. In 1808 the Theatre St.
Philippe was opened (not used for opera after
1820), in 1813 the Theatre d'Orleans (burnt in
1817), in 1818 the same rebuilt (burnt again in
1866), and in 1859 the New Orleans Opera
House (burnt in 1919). The works given were
mostly French, but opera in English occurred
in 1817. After the Civil War New Orleans
troupes occasionally visited the North, going
especially to Cliicago and New York.
The first real opera-house in New York was
opened in 1833 (after 1835 the National
Theater), Palmo's Italian Opera House in 1844
(from 1848 Burton's Theater), the Astor Place
Opera House in 1847 (given up in 1852 and
later the Mercantile Library) , and the Academy
of Music in 1854. From 1849 the New York
operatic world was the scene of managerial
rivalries between Maretzek, the Strakosch
brothers and UUmann.
30 HISTORICAL INTRODUCTION
THE PERIOD AFTER THE CIVIL WAR
The Civil War was a national event of the first magnitude. While it lasted,
and for some years afterward, social life was much disorganized and cultural pur-
suits suffered a check. The struggle accentuated the differences between North
and South that had been previously visible. It was the North that had ex-
perienced the more vigorous development of physical resources, the principal in-
fluence of copious immigration, and, in consequence, the greater broadening of
social and intellectual interests. So, after the War, while for a time the South
was prostrated, the North was soon ready to resume powerful advance. By 1890,
however, the South had so far recovered that it began to take its due place in
progress.
During the half-century between 1860 and 1910 the total population grew
from about 31,500,000 to about 92,000,000 — that is, was practically tripled.
Of the net gain, the North as a whole secured thirty-five millions, the South
eighteen, and the Far West seven and a half. There was a steady shift in balance
to the west, so that the percentage of population east of the Mississippi fell from
86 to 70.
During the fifty years not less than 23,000,000 immigrants arrived, the rate
rising after 1905 to more than a million per year. In the opening decade of the
20th century immigration supplied more than half of the total increase. For
the fifty years it amounted to almost 37 per cent of that increase. Such figures
are eloquent as to the factor of transition and instability in social conditions
so far as affected by changes in population. The derivation of the newcomers
was no longer chiefly English or Teutonic, but for a time Scandinavian, and then
Italian, Hungarian, and Slav.
The drift toward the city became more pronounced than ever. Whereas
in 1800 only one out of twenty-five was a city -dweller, and in 1850 only one in
eight, in 1900 the ratio had become one in three. This increased concentration
tended powerfully to intensify the mental life of the nation. In this particular
case the city-ward drift had a peculiar relation to the total culture — one but
slightly evident earlier, and one not easily matched elsewhere in the world. Be-
cause the total area of the country is so great, the large cities are generally far
apart and consequently tend to have strong individuality, as well as decided in-
fluence over the sections dependent on them. Nothing quite like this is found
in any single European country. And with this dissociation by mere distance
there is a healthy rivalry between them and between the several states or sections
which they represent. Much of the rapidity, variety, and virility of the develop-
ment in recent decades is due to this geographic peculiarity in the American
situation.
No succinct statement of the immense economic activity of the period is here
possible. Every phase of agriculture, mining, manufacture, and internal com-
merce made enormous gains. As to the general economic result it is enough to
recall that in 1850 the total 'wealth' of the country (the fair value of real and
THE PERIOD AFTER THE CIVIL WAR 31
personal property) was estimated at somewhat over seven billions, but that in
1910 this was estimated at about one hundred and thirty billions — or about
$1400 per person. It was during the latter part of the 19th century that the
use of inventions like the telephone and the electric railroad became so general
as really to transform the practical conditions of life and thought. All these
factors of material progress — and many more — had direct bearings upon the
artistic progress of the period.
Here is the place to remark that during this period occurred the expansion of
the great Dominion of Canada, which was formed in 1867 out of the then existent
provinces of Lower Canada or Quebec and Upper Canada or Ontario, with New
Brunswick and Nova Scotia. In the next fifteen years this area was augmented
by the administrative inclusion of the whole vast territory westward to the Pacific
and northward as well. British Columbia, on the west coast, was admitted in
1871, and the great Northwest Territories (Manitoba, Assiniboia, Saskatchewan,
Alberta, Keewatin, Athabasca, Mackenzie and Yukon) were systematically
developed so that since 1905 they have all been counted as constituent provinces.
The total area of the Dominion is larger than that of the United States proper,
so that it is much the largest division of the British Empire. But, owing to the
rigorous climate in many parts of it and to the recency of its decided advance,
its population is on the whole small — between eight and nine millions. On-
tario, however, in the center, has had a commercial, social and artistic unfolding
similar to that of the neighboring United States, though, as is natural, emphati-
cally dependent upon England. Since the setting up of the unified Dominion
its cultural advance has been quite as remarkable as that of the United States,
though the bulk of it is necessarily less.
The population is prevailingly British in origin except in the Province of
Quebec and eastern Ontario, where the French have always been numerous ;
but western Ontario, Manitoba and even the provinces beyond have received
many of other nationalities by immigration from near-by portions of the United
States.
The large cities are Montreal, Toronto, Winnipeg, Vancouver, Ottawa,
Hamilton and Quebec.
Among the forces that explain the extraordinary progress of music after 1865
in both the United States and Canada a large place must be given to the indirect
influence of organized education. In the United States the educational purpose
of the colonial settlers declared itself early in the founding of 'colleges.' At
least thirty of these which still flourish were established before 1800, representing
every State from Maine to South Carolina and Tennessee except one. The process
of college-founding went on with growing momentum throughout the 19th cen-
tury, spreading a network of institutions over nearly the whole country, until
now they number over 600, of which about 140 are for men, 110 for women and
the rest for both sexes. They naturally differ widely in grade and scope. Some
32 HISTORICAL INTRODUCTION
are really 'academies' or detached 'high schools.' Others are members of true
university systems. Most of them represent types that are more or less peculiar
to America.
A closely related movement after 1800 was the development of 'public
schools,' distributed according to need and maintained by taxes laid upon the
communities served. The total system, although analogous to that of some
other countries, has always had strong individuality, especially in its expression
of the spirit of democracy. During the 19th century it had a prodigious expan-
sion and gradually acquired somewhat standardized methods of grading and classi-
fication, with the addition of the kindergarten and other primary forms at the
bottom and of 'high schools' at the top, besides many 'normal schools' and
' teachers' colleges ' for the preparation of the teaching-force. Most of the ' state
universities ' belong technically to this general class, being free civic establishments,
but some of them originated as 'colleges.' They aim to provide specialized
opportunities in many distinct fields of knowledge.
Organized education has also become highly developed in many other direc-
tions, especially in preparation for various occupations, like law, medicine,
theology, engineering, mining, agriculture, etc. Private schools for the youth
of both sexes, too, have become increasingly common. Still other lines of effort
might be specified.
No exact appraisal is possible of the reaction of this manifold activity upon
that form of culture which demands artistic expression. The one normally
stands to the other in some relation of cause and effect. All ' education ' does
not issue in artistic aspiration. But such aspiration does not attain general
popular significance except where there is a wide educational basis. In both
the ' college ' and the ' school ' systems of America artistic topics were long
almost ignored. And yet every step in the development of these systems
helped to prepare the way for the rational pursuit of artistic topics. It was
not until after the Civil War that the study and cultivation of music began
definitely to show the results of the previous activities in general education.
As musical enterprises took shape their educational connections were evident.
It was in this period that instructors and professors of music began to become
common in colleges and universities, that instruction in music in public schools
began to be widely and permanently adopted, that responsible music-schools
began to be founded, that the occupation of music-teaching began to be
recognized as a 'profession,' that regular concert- and opera-series began to be
established, that choral societies and orchestras began to be organized in such a
way as to continue, that influential musical periodicals and books began to multi-
ply, and thus that the whole social and intellectual status of musical art began
to acquire general significance. With this came, of course, a great unfolding of
artistic power in performance, composition and technical appreciation. Cer-
tainly any consideration of the sudden outburst of musical interest which is
implied, for instance, in the appended lists of musical workers appearing between
1860 and 1900 must take into account its relation to the preceding advance in
THE PERIOD AFTER THE CIVIL WAR 33
popular 'education,' even though baffled when it attempts to describe the opera-
tion of all the factors with precision.
The important point to be borne in mind is that there has always been a pe-
culiar zeal in America for the development of education democratically — not
created by the general government, but locally or corporately sustained, and not
for any class, but for the whole people. When at length this zeal began to take
hold of the problem of musical education, it moved with surprising celerity and
enterprise — not always, perhaps, with the utmost wisdom as neasured by the
thought of a half-century later, but at least with striking vigor and practical
result.
In seeking to analyze the forces that came into play after the Civil War the
first place belongs to the private teachers. At the beginning of the period a
majority of the best of these were doubtless of foreign birth. But by 1900, though
foreigners were absolutely more numerous, they were relatively much less in
evidence. No statistics are available, but it is clear that the total number
of American teachers increased prodigiously between 1865 and 1900, and their
geographical distribution became extensive. It goes without saying, also, that
in this period there was great improvement in their average equipment and ar-
tistic outlook. Music-teaching became, as it had not been earlier, a recognized
educational occupation, and began to give tokens of the ideality and aspiration
that mark a true 'profession.' One sign of awakening self-consciousness was the
starting of teachers' associations (from about 1875), both national and local.
More and more it was seen that for good teaching good preparation is requisite.
Every teacher who was finely equipped tended to create a widening circle of
followers. Competition operated to stimulate the able and to eliminate the feeble.
Whatever gains there were in general pedagogical practice gradually made their
way into the field of musical pedagogy as a specialty. Teaching music certainly
became steadily more systematic and rational rather than spasmodic and in-
tuitional. Text-books and 'methods' were published in increasing numbers,
and discussion of teaching-praxis grew animated and thoughtful. Gradually
about the army of teachers grew up a great clientage of pupils, attracted, no
doubt, by a variety of considerations, but more and more subjected to what-
ever of information, sympathy and inspiration there was in the teaching-body.
It is impossible to adduce exact evidence in detail, but no one can compare the
musical situation in 1865 and that in 1900 without realizing in some degree that an
enormous pervasive force of personal influence had been exerted in transforming
the one into the other.
One of the chief means of recruiting the ranks of teachers are music-schools.
At the opening of this period such schools were almost unknown. At its end
they were scattered rather freely throughout the country. The most influential
pioneers were the Oberlin Conservatory and the New England Conservatory in
Boston, founded in 1865 and 1867 respectively. The former soon became the
forerunner of the institutional or collegiate type (though not technically so at
first), as the latter was of the independent or detached type. The former also
34 HISTORICAL INTRODUCTION
represented the class of those in small towns where general education is a con-
trolling interest, while the latter represented the class of those in large cities,
where many collateral advantages are available. It was the second type that was
first strongly developed. As instances it is enough to refer to the Cincinnati
Conservatory (1867), the Chicago Musical College (1867), the Peabody Conser-
vatory in Baltimore (1868), the Philadelphia Musical Academy (1869), the Cleve-
land Conservatory (1871), the Detroit Conservatory (1874), the College of Music
in Cincinnati (1878), the New York College of Music (1878), the Cleveland School
of Music (1884), the National Conservatory in New York (1885), the Chicago
Conservatory (1885), the Northwestern Conservatory in Minneapolis (1885),
the American Conservatory in Chicago (1886) and the Toronto Conservatory
(1886). No extensive musical work was common in colleges or universities till
later. And yet it is to be remembered that there had been musical- instructors
at Oberlin College since 1838, at the University of Toronto since 1845, and at both
Yale College and the University of Virginia since 1849, and that after 1860 such
significant appointments were made as those of J. K. Paine at Harvard College
in 1862, F. L. Ritter at Vassar College in 1867, J. C. Fillmore at Ripon College in
1868, M. W. Chase at Hillsdale College in 1869, Thomas a Becket at Girard
College in 1870, Max Piutti at Wells College in 1874, H. A. Clarke at the Uni-
versity of Pennsylvania, F. A. Parker at the University of Wisconsin and Willard
Kimball at Grinnell College in 1875, G. W. Chadwick at Olivet College in 1876,
W. H. Schultze at Syracuse University and R. A. Heritage at Valparaiso Univer-
sity in 1877, B. C. Blodgett at Smith College in 1878, C. B. Cady at the Uni-
versity of Michigan and Louis Lisser at Mills College in 1880, W. A. Chalfant at
Drury College in 1881, Karl Merz at Wooster University in 1882, J. W. Hill at
Wellesley College and J. H. Howe at DePauw University in 1884, W. F. Bent-
ley at Knox College in 1885 and C. H. Farnsworth at the University of Colorado
in 1888. In the large majority of cases the instruction thus initiated led to the
formation of strong and flourishing departments or schools of music. From the
first the collegiate and the independent types of institution have been distinct,
but each has rendered substantial service to the total progress.
During this period the attitude toward music in the public schools changed
from comparative apathy to decided interest and even considerable sustained
endeavor. By 1900 the children in many places were learning something of song
as they did of other subjects, and the function of music-supervisor was beginning
to assume dignity in pedagogical discussion. Many manuals of instruction had
been published, and there was almost amusing contention over methods.
These powerful influences were greatly stimulated and broadened by those of
another class, equally educational in real value, but operating through the ave-
nue of public performance rather than that of personal instruction.
One of these was the steady formation of choral societies of varying degrees of
importance, working out somewhat freely into clubs for the study of secular as
well as sacred music, of glees and part-songs as well as oratorios. There is no
roster of these associations available. Some lasted but a few years, like many of
THE PERIOD AFTER THE CIVIL WAR 35
their predecessors. Some grew into established institutions, especially in the
large cities and in connection with some colleges, exerting a cumulative cultural
influence upon singers and communities — indirectly, also, providing fields for
the artistic ability of vocal soloists and presently of orchestras. In the one year
1873 the Oratorio Society in New York, the Apollo Club in Chicago and the
Cincinnati Festival Association were founded — three diverse enterprises, each
highly influential in its way. A score of other societies might be named that
were started before 1890 in different places and that have continued effective.
Another potent force was the formation of orchestras and of ensemble-groups.
Here the virile ardor of Theodore Thomas was a leading factor. In 1864 he or-
ganized Symphony Soirees in New York and in 1869 made his first concert-tour
— a practice continued till 1878. As examples of other significant efforts may be
named the Philharmonic Society of Chicago (1860-68), the orchestra of the
Harvard Musical Association (1865-82), which prepared the way for the Boston
Symphony Orchestra (1881), and the Symphony Society of New York (1878).
Although ensemble-groups kept springing up from time to time, none can be said
to have exerted a truly national influence until the formation in 1886 of the
Kneisel Quartet. It is plain that the stimulus supplied by the steadily increas-
ing number of concerts in various places from 1870 onward by bands of highly-
trained artists was of utmost importance in lifting the level of knowledge, appre-
ciation and desire among a multitude of hearers. Such concerts, with those by
competent soloists, whether resident or visiting, effected a vast amount of edu-
cation by demonstration.
The analogous influence of operatic performances is necessarily more fitful
and irregular, except when nucleated by the erection of permanent buildings
intended for them. From 1870 onward, just as at intervals for a century before,
American audiences had varied chances to hear opera of different kinds given by
visiting troupes. But the establishment of opera as a fixed element of popular
culture was specially promoted by the existence of such buildings as the Theatre
d'Or leans in New Orleans (1813-66) and the Academy of Music in New York
(erected in 1854 and used for opera till 1886), which prepared the way for the
Metropolitan Opera House in 1883, and also by the opening in Chicago of the
Crosby Opera House in 1865, which, though destroyed in the great fire of 1871,
in the same way prepared for the Auditorium in 1889. Even where such build-
ings were not at hand various opera-companies appeared as visiting troupes in
theaters with more and more regularity, so that before 1900 a long list of works
had been brought before an extensive clientage of hearers.
The holding of ' festivals ' was also a feature of the period. To a slight degree
these recall the ' conventions ' of an earlier time, but their artistic level was much
higher. The so-called 'Peace Jubilees' at Boston in 1869 and 1872, organized
under Gilmore, were monster affairs, too big to be satisfactory, and yet not with-
out a considerable stimulating value upon popular interest. Much more im-
portant were the choral festivals at intervals arranged by permanent organiza-
tions. The first of these was inaugurated in 1865 by the Handel and Haydn
36 HISTORICAL INTRODUCTION
Society of Boston in celebration of its fiftieth anniversary and continued triennially
thereafter. About the same time began the annual festivals at the neighbor-
ing city of Worcester. In Cincinnati, growing out of interest aroused by gather-
ings held for many years by German singing-clubs, a festival was held in 1873
under Thomas, followed by the formation of a Festival Association to maintain
a biennial series. In 1881 Damrosch organized a festival in New York with the
Oratorio and Symphony Societies as the nucleus of the forces. In 1882 and 1884
Thomas held festivals in Chicago. The musical features of the Columbian Ex-
position at Chicago in 1893, of which Thomas was general director, amounted
to a prolonged festival, lasting over three months. These conspicuous illustra-
tions of the festival idea led to many less ambitious undertakings, so that by 1900
clusters of choral and instrumental concerts, usually held once a year, had be-
come fairly numerous. As a rule, all these enterprises have proved decidedly
effective as educational forces, though there is an obvious difficulty in holding
them to any consistent artistic policy.
Among smaller factors in the development after the Civil War reference should
be made to church-music. This type of musical effort has always presented much
more variety in America than in other countries, since there is no state church
and no one communion holds the primacy. The differences between different
parts of the country also affect usages, as do those between urban and rural
communities. Yet the very number of distinct 'denominations,' many of them
large and finely organized, and even their marked differences of liturgical ten-
dency, have on the whole broadened the field of musical opportunity. It is
striking how many of the musicians just after the Civil War were organists or
church-singers. In this period in the older parts of the country the ideals of
sacred music underwent a marked change from those of the 'psalmody' period.
Choir-music was more emphasized than congregational singing, and organ-play-
ing for accompaniment or alone became more conspicuous. Whatever may have
been the result devotionally, the practical effect on popular interest in music was
useful. In studying the total progress of the time this factor cannot be ignored.
Place must also be made for the rise of musical literature in the hands of
critics, editors and authors, and of collections of musical books. Musical peri-
odicals were by no means new to America in 1865 — Dwight's 'Journal of Music,'
which began in 1852, went on till 1881, not to speak of many less or earlier under-
takings — but they now began to grow more numerous and to exert more in-
fluence. The daily newspapers were quick to magnify the criticism — or, better,
the reporting — of important concerts and operas, at least in the larger centers.
It is significant that Hassard joined the staff of the New York 'Tribune' in 1866,
setting a pattern that several others imitated or bettered soon afterward. By
about 1880 the issue of books upon musical subjects had begun to make some
show in the total annual output. Data concerning private libraries are not ac-
cessible, but it is worth noting that the New York Public Library contains the
Drexel Collection, presented in 1888 to the Lenox Library, but catalogued in
1869-71 ; that the Newberry Library in Chicago began systematic acquisitions
THE PERIOD AFTER THE CIVIL WAR
37
in 1888 ; that in 1894 the Boston Pubhc Library received the Brown Collection ;
and that the Music Division of the Library of Congress in Washington was deJ5-
nitely constituted in 1897. In this connection, also, it should be recalled that
the nucleus of the Brown Collection of Instruments, now in the Metropolitan
Museum of Art in New York, was formed in 1884-89. All these undertakings
imply an advancement of intellectual interest in music of which there were only
rare and small indications prior to the Civil War.
It is instructive to observe how the decades after 1860 gradually bring into
view musicians of American birth who presently gained real and permanent dis-
tinction as either performers, composers or conductors. That these represent
on the whole a much higher standard and spirit than those of earlier periods is
obvious. Most of them secured extended discipline abroad, usually in Germany.
Their number, the variety of their interests and the scope of their professional
influence rapidly increases, so that even before 1900 the phrase 'the American
school' became perhaps prematurely frequent. Of those first appearing after
1860 the most conspicuous were Buck and Paine ; of those after 1870, Chadwick,
Foote, Gilchrist, and Gleason ; of those after 1880, Mrs. Beach, Kelley, MacDowell
and Parker; and of those after 1890, Converse, Gilbert, Hadley and Oldberg.
Six of them have now died, but none of them before 1900. Much of the most
creative work of all these dates from after that time. It is not therefore the
bulk or the absolutely original quality of American composition before 1900
that arrests attention — except the remarkable work of MacDowell — but the
fresh, ambitious, thoughtful and confident spirit that animates it. It all gives
token of that striking animation and expansion in musical art which is the
impressive characteristic of the period as a whole.
With reference to this and other features of the time a sm'vey of the four
chronological groups of names below is full of suggestion.
CHRONOLOGICAL REGISTER
5. The Civil War Decade, 1860-1870
♦Agramonte, Emilio (Cuba, 1844- ? ),
trained in Spain (first as a lawyer) and France
(pupil of Marmontel), came to New York
in 1869, and was a skillful choral conductor
and teacher of singing. He sought to extend
the range of choral repertoire, to promote in-
terest in American composers, and to advance
the giving of opera in English. He composed
somewhat, but without publishing.
Albanl [Marie Emma Lajeunesse] (b. near
Montreal, 1852) began singing in Albany in
1864, studied in Paris and Milan, made her
debut in opera in 1870, and continued active
till 1906. See Vol. i. 59, and art.
Allen, Heman (St. Alban's, Vt., 1836- ? ),
finely educated in Philadelphia (from 1845
his father was professor in the University)
and at Leipzig, was from 1862 a noted violinist,
pianist and teacher in Philadelphia and from
1867 in Chicago, where till 1881 he was organist
at the R. C. Cathedral. He was specially
interested in Gregorian music. See Mathews,
Hundred Years, pp. 300—2.
Allen, William Francis (Northboro, Mass.,
1830-1889), in 1867-89 professor of ancient
languages at the University of Wisconsin, was
the compiler (with Charles P. Ware and Lucy
McK. Garrison) of the first and largest book
upon Negro music, Slave-Songs of the United
States, 1867.
*Andres, Henry George (France, 1838-
? ), after fine training at Paris, came to
Cincinnati in 1860 and became a leader in
developing musical taste by recitals and teach-
ing. After about 1880 he was head of the
piano-department at the College of Music.
♦Arnold, Richard (Prussia, 1845-1918, New
York), lived in New York as a boy, but
studied in Leipzig, returning as superior
violinist in 1867. See art.
38
CHRONOLOGICAL REGISTER
[5: 1860-1870
Arthur, Alfred (Pittsburgh, 1844-1918,
Lakewood, O.). educated at Boston, settled in
1871 at Cleveland as teacher, conductor and
founder in 1885 of the Cleveland School of
Music. See art.
Auerbach, Nannette, n6e Falk, a superior
German pianist, in 1868-81 was teacher and
concert-player in Baltimore, from 1871 at the
Peabody Conservatory. See art.
Baker, Theodore (b. New York, 1851),
about 1865 was organist at Concord, Mass.,
lived in Germany in 1874-90, and has since
worked in New York as editor, translator and
author. See art.
Bartlett. Homer Newton (b. Olive, N. Y.,
1846-1920, Hoboken, N. J.), from about 1860
an important organist and composer in New
York. See art.
Bartlett, Maro Loomis (b. Brownhelm, O.,
1847), trained at Oberlin, conducted choral
societies at Mcadville, Pa., and Newark, N. J.,
engaged in public-school work in Newark and
New York, with some concert-singing, and in
1880 moved to Chicago and thence to Des
Moines, becoming head of the Musical College.
Mus.D. of Drake University in 1889.
*Baur, Clara (Wiirtemberg, ? -1912, Cincin-
nati), founded the Cincinnati Conservatory
in 1867.
Biddle, Horace Peters (Logan, O., 1811-
1900), by profession a lawyer (finally in the
Supreme Court of Indiana), published a book
on The Musical Scale, Cincinnati, 1860, be-
sides other essays on musical topics.
Bliss, Philip Paul (Clearfield Co., Pa.,
1838-1876, Ashtabula, O., killed in accident),
early a ' singing-school ' teacher, from about
1864 was employed by Root in Chicago and
before 1870 became an evangelistic singer, in
1874 joining Maj. D. W. Whittle and travel-
ing widely in the Central States. He was a
pioneer in the ' Gospel hymn ' movement,
a fertile composer of both hymns and tunes,
and (with Sankey) edited Nos. 1-2 of the
Gospel Hymn series, 1875-6. He had a re-
markable voice and great magnetism, and
hearing him led Moody to use solo-singing in
his meetings.
*Boekelman, Bernardus (b. Holland, 1838),
since 1866 has been prominent in New York
as pianist, teacher and editor. See art.
Boise, OtisBardwell (Oberlin, O., 1844-1912,
Baltimore), after study at Leipzig and Berlin,
from 1865 taught in Cleveland, from 1878 in
New York, from 1888 in Berlin and from 1901
at the Peabody Conservatory, Baltimore. See
art.
*Bonawitz, Johann Heinrich (Rhine Prov.,
1839-1917, England), studied at Li^ge and
New York (1852-61), toured as pianist and
taught at Wiesbaden, Paris and London, in
1872-76 gave concerts and operas in New
York and Philadelphia, then going to London.
See art.
Bowman, Edward Morris (Barnard, Vt.,
1848-1913, Brooklyn), from 1867 organist at
St. Louis, with intervals abroad, from 1887
in Newark, from 1891 at Vassar College,
and from 1895 in Brooklyn and New York.
See art.
Buck, Dudley (Hartford, Conn., 1839-1909,
Orange, N. J.), after study in Germany and
France, was from 1862 organist at Hartford,
from 1867 in Chicago, from 1872 in Boston,
and from 1875 in Brooklyn. See Vol. i.
413-4, and art.
Candidus, WUliam (Philadelphia, 1845 - ? ),
originally a piano-maker with the Steinways,
became an opera-tenor in New York, went
abroad for study and became well known in
Germany and England, after 1880 making
several visits to America to sing at festivals.
*Carreno, Maria Teresa (Venezuela, 1853-
1917, New York), began as a child-pianist in
New York in 1862, was mostly abroad until
1875, and was then identified with New York.
See Vol. i. 474, and art.
Gary, Annie Louise (b. Wayne, Me., 1842),
a church-singer in Boston from about 1860,
spent several years in Europe, where she
appeared in opera from 1867, came to New
York in 1870 and for about fifteen years was
a favorite alto, there and abroad, especially
in concert. La 1882 she married Charles
C. M. Raymond, a New York banker, and
lives at Norwalk, Conn. See Vol. i. 476.
Chase, Melville Warren (b. Minot, Me.,
1842), graduated from Bates College and
trained in Boston, since 1869 has been professor
in Hillsdale College, Mich.
*Christiani, Adolf Friedrich (Hesse, 1836-
1885, Elizabeth, N. J.), after a few years in
London, came to America in the Civil War
period and taught in Poughkeepsie, Pittsburgh,
Cincinnati, New York and (from 1880)
Elizabeth, where he conducted a school. He
is known by his Principles of Expression in
Pianoforte- Playing, 1886 (also in German).
Clarke, Hugh Archibald (b. near Toronto,
1839), pupil of his father, James P. Clarke
(see sec. 4), came to Philadelphia about 1860,
became an honored organist and conductor,
and since 1875 has been professor in the
University of Pennsylvania. See art.
Cole, Belle (Chautauqua, N. Y., 1845-1905,
England), from about 1865 active as concert-
contralto, living from 1888 in England, but
making extensive tours throughout the world.
Colson, William Brewster (b. Rochester,
1846), has been organist and teacher for more
than fifty years, since 1878 in Cleveland, giving
many recitals there and elsewhere.
Converse, Charles Crozat (Warren, Mass.,
1832-1918, Highwood, N. J.), after study at
Leipzig and also preparing for the legal pro-
fession, practiced law in Erie, Pa., for some
years, but engaged more and more in musical
work. See art.
*Dolge, Alfred (b. Saxony, 1848), came to
New York in 1866, worked in a piano-factory,
in 1871 started a hammer-felting shop in
Brooklyn, in 1874 removed to Dolgeville,
5: 1860-1870]
CHRONOLOGICAL REGISTER
39
N. Y., adding the making of soundboards,
inventing many new processes and machines
and winning international recognition, and
since 1903 has been located at Covina, Cal.
(near Los Angeles). He has published Piatios
and their Makers, 2 vols., 1911-13, giving
invaluable data about American piano-making.
Emery, Stephen Albert (Paris, Me., 1841-
1891, Boston), after study in Leipzig and
Dresden, from 1864 taught in Portland and
from 1867 in Boston. See art.
♦Errani, Achille (Italy, 1823-1897, New
York), pupil of Vaccai and for fifteen years
a noted operatic tenor in Europe, came to
America in 1860, sang in the United States,
Cuba and Mexico, and settled in 1864 in New
York as a leading teacher of singing.
Estey, Jacob (Hinsdale, N. H., 1814-1890,
Brattleboro, Vt.), by trade a plumber, from
1850 invested his savings in a melodeon-
making shop at Brattleboro, losing all by
fire in 1857. In 1858 he took up the business
himself, in 1860 secured Levi K. Fuller (1841-
1896) as helper, and, with him and his own
son Julius Estey (1845-1902), formed the
Estey Organ Company, which had remarkable
success, becoming the parent of many later con-
cerns. In 1885 the Company added piano-
making and in 1901 the making of pipe-organs.
See Dolge, Pianos and their Makers, pp. 364-6.
*Falk, Louis (b. Germany, 1848), brought up
in Pittsburgh and Rochester, where he was
already organist in 1859, went to Chicago in
1861 as organist. In 1865-69 he studied at
Homburg and Leipzig, returning to be a noted
church- and concert-player and chief organ-
teacher in the Chicago Musical College.
Fillmore, John Comfort (Franklin, Conn.,
1843-1898, Franklin), graduated from Oberlin
College, studied at Leipzig, in 1867-68 was
head of the Oberlin Conservatory, in 1868-78
at Ripon College, from 1878 at Milwaukee, and
from 1895 at Pomona College, becoming sig-
nificant as theorist from 1883. See art.
*Florio, Caryl [William James Robjohn] (b.
England, 1843), came to New York in youth,
from before 1865 became known as singer and
organist, and later as conductor, composer
and critic at many different places. See art.
Franko, Sam (b. New Orleans, 1857), a
precocious violinist, studying at Breslau and
Berlin, and appearing there in 1SG7 and in
New York in 1869. Since then, except for
sojourns abroad, he has been active in concerts
and teaching, mainly in New York. See art.
*Gilbert, Walter Bond (England, 1829-1910,
England), after extensive and distinguished
service in England as organist and composer,
in 1869-99 was organist of Trinity Chapel,
New York. See art.
*Glover, William Henry (England, 1819-
1875, New York), long known in England as
violinist, singer and composer of operas,
orchestral and piano-pieces, songs, etc., and
also as critic, lived from 1863 in New York.
See Vol. i. 183.
*Gomes, Antonio Carlos (Brazil, 1839-1806,
Brazil), after study in Milan, from 1861 be-
came increasingly famous as an opera-writer,
producing ten or more works in Italy and
Brazil. In 1876 he contributed a hymn, ' II
Saluto del Brasile,' for the Centennial Expo-
sition, and in 1892 a cantata, ' Colombo,' for
the Columbus Festival. See Vol. ii. 200.
Gottschalk, L. Gaston (New Orleans, 1847-
? ), brother of the noted pianist (see sec. 4),
after study at Paris, was concert-singer through-
out the United States, studied further in Italy,
and for many years was active in opera in
many European capitals, visiting America
occasionally. From 1886 for a few years he
taught in the Chicago Musical College.
Hahn, Jacob H. (Philadelphia, 1847-1902,
Detroit), was early trained in Chicago, where
he became organist, teacher and concert-
manager from before 1865. After study at
Leipzig, from 1872 he taught in Detroit,
founding the Detroit Conservatory in 1874
and soon bringing it to striking success.
Hassard, John Rose Green (New York, 1836-
1888, New York), graduated from St. John's
College, Fordham, developed into an expert
journalist in New York, and from 1866 was on
the staff of the ' Tribune,' serving as its chief
musical critic and evincing ability and force
as a writer, especially in advocacy of Wagner.
He was Krehbiel's predecessor.
Hauk, Minnie (b. New York, 1852), pupil of
Errani, began her career as operatic soprano
in 1866 in Brooklyn, appearing often in America
for thirty years. See Vol. ii. 341-2, and art.
*Hess, Willy (b. Baden, 1859), the dis-
tinguished violinist, now remembered as
concertmaster of the Boston Symphony Or-
chestra in 1904-10, lived in America as a boy,
appearing with the Thomas Orchestra in
1868-72. See Vol. ii. 390, and art.
Hill, Junius Welch (b. Hingham, Mass.,
1840), after studying at Leipzig, from 1863
was organist in Boston, in 1884-97 at Wellesley
College, then taught in Boston, and has lived
lately in Los Angeles. See art.
*Hodges, Faustina Hasse (d. 1896, New
York), and Hodges, John Sebastian Bach
(England, 1830-1915, Baltimore), children of
Edward Hodges (see sec. 3), both became
active as organists and composers in the Civil
War period. See Vol. ii. 414, and art.
Howard, George Henry (Norton, Mass.,
1843-1917, Boston), .studied in Boston and
began teaching there in 1864, in 1869-70
studied in Leipzig and Berlin, and then taught
again in Boston, London, Olivet, Mich., and
from 1882 Boston again, where in 1891 he
started a school for teachers.
Howe, Elias (Framingham, Mass.. 1820-
1895, Boston), was founder in 1865 of 'a well-
known firm in Boston dealing in fine violins,
etc. He was one of the earliest (from 1871)
to make collections of rare instruments.
Hutchings, George S. (Salem, Mass., 1835-
1913, Boston), trained in Boston as an organ-
40
CHRONOLOGICAL REGISTER
[5: 1860-1870
maker in the Hooks' factory, in 1869 started
a separate business with Willcox and others
(becoming sole owner in 1884) and was in
partnership with Votey in 1901-08. He was
the inventor or first successful user of many
mechanical features, such as improved electric
action, movable console, etc.
*Inten, Ferdinand von (Saxony, 1848-1918,
New York), after study at Leipzig, came to
New York in 1868 as concert-pianist and
ensemble-player. In chamber-concerts he was
associated with Thomas and Damrosch,
exerting a significant influence. He was also
a fine teacher.
*Jehin-Prume, Franfois (Belgium, 1839-
1899, Montreal), highly trained as a violinist
at Li6ge and Brussels, began European tours
in 1855 and from 1803 appeared frequently not
only in the United States and Canada, but in
Cuba and Mexico. In 1887-96 he was teacher
and organizer of chamber-music in Montreal.
He wrote two violin-concertos, violin-pieces and
songs. Ysaye was at one time his pupil.
Kellogg, Clara Louise (Sumterville, S. C,
1842-1916, New Hartford, Conn.), the brilliant
operatic and concert-soprano, was* educated
in New York, made her debut there in 1861
and in London in 1867, continuing active in
England and America for about twenty-five
years. See Vol. ii. 563, and art.
*Kunkel, Charles (Palatinate, 1840- ? ),
and^Kunkel, Jacob (1846-1882, St. Louis),
were brought to America in 1848, studied with
their father, Thalberg and Gottschalk, and
excelled in duet-playing. From 1868 they
were publishers and dealers in St. Louis.
Lavallee, Calixa (Verchferes, Que., 1842-1891,
Boston), a precocious pianist and composer,
was educated in Paris, where he remained
many years, started a conservatory in Quebec,
and about 1880 removed to Boston. See art.
Leavitt, W. J. D. (Boston, 1841- ? ) after
European study, from 1865 taught at Oneida,
N. Y. , and from 1870 taught in Boston, becoming
organist at the Music Hall in 1875 and giving
many recitals. He wrote the opera ' Mer-
cedes,' several operettas, an organ-sonata and
organ-pieces, etc.
*Leckner, Max (b. Prussia, 1842), well
trained as a musician, came to America in
1860 and finally settled in Indianapolis, where
for more than a half-century he has been a
notable artistic force.
*Levy, Jules (b. 1840), appeared in England
in 1860 as solo cornettist, came to New York
in 1864, 1868 and 1875, joining Gilmore.
*Liebling, Emil (Silesia, 1851-1914, Chicago),
educated at Berlin, came to America in 1867,
teaching first in Kentucky, but, after study
abroad in 1871-72, at Chicago, where he was
honored as pianist, composer, and writer.
See art. His brother Max Liebling (b. Silesia,
1845), also a noted concert-pianist, settled in
New York.
*Listemann, Bernhard (Thuringia, 1841-
1917, Chicago), having won distinction as
violinist in Germany, came to America in 1867
as a superior teacher, virtuoso and conductor
at Boston, New York and Chicago. See art.
His brother Fritz Listemann (Thuringia,
1839-1909, Boston), came with him and was
almost equally prominent.
Main, Hubert Piatt (b. Ridgefield, Conn.,
1839), early interested in church-music and
a tune-writer from 1855, after some years of
clerical and editorial work in New York, in
1867 entered the employ of Bradbury, con-
tinued with his successors, Biglow & Main
(his father, Sylvester Main, being the junior
partner), and has since been identified with
that firm. He has written much vocal music,
secular and sacred, has edited many hymn-
books, and is an expert on hymnody. See Hall,
Gospel Song and Hy?nn Writers, pp. 140-6.
Marston, George W. (Sandwich, Mass.,
1840-1901, Sandwich), pupil of Tufts, with
some foreign study, was from 1860 organist
in Portland, Me., becoming noted for his
choir and as composer of sacred music, includ-
ing the cantata ' David,' songs and part-songs.
*Marzo, Eduardo (b. Italy, 1852), came to
New York as accompanist for various artists
in 1867, was pianist in concert-companies,
organist and fertile composer of church-music,
songs, part-songs, operettas, etc., and editor
of many works. See art.
Mathews, William Smith Babcock (New
London, N. H., 1837-1912, Denver), began
teaching in 1860 in the South, but in 1867 re-
moved to Chicago, where he was active as
teacher, editor and author. See art.
*Maylath, Heinrich (Austria, 1827-1883,
New York), concert-pianist, came to New York
in 1867 and made a fine reputation as player,
teacher and composer for the piano.
*Messiter, Arthur Henry (England, 1834-
1916, New York), in 1866-97 was organist of
Trinity Church, New York, and historian in
1907 of its music.
*Mischka, Joseph (b. Bohemia, 1846),
brought up in Buffalo, has long been active
there as organist and choral conductor.
MoUenhauer, Emil (b. Brooklyn, 1855),
now the honored conductor of the Handel and
Haydn Society of Boston, appeared as a boy-
violinist in 1864 and played with Thomas and
Damrosch from 1872. See art.
Morgan, John Paul (Oberlin. O., 1841-1879,
Oakland, Cal.), an organist before 1860 in
Mt. Vernon, O., studied in New York and at
Leipzig, in 1865 established the Oberlin
Conservatory, in 1866-73 was organist and
choral conductor in New York, but was forced
to give up activity by ill-health, which, how-
ever, did not prevent further work in Oakland
and San Francisco. Besides being a fine player
he composed with ability.
*Napoleao, Arthur (b. Portugal, 1843), a
precocious pianist from 1849, appearing at
Lisbon, London, Berlin and Paris, in 1857-61
visited South America, the West Indies and
the 'United States, and, after further con-
5: 1860-1870]
CHRONOLOGICAL REGISTER
41
certizing in Europe, became in 1868 a music-
dealer in Rio de Janeiro, publishing some piano-
pieces and occasionally serving as conductor.
*Orth, John (b. Bavaria, 1850), brought as
a child to America, was organist in early
youth, studied in Boston and abroad, resumed
teaching in Boston in 1875, becoming known as
pianist, lecturer, composer and author. See art.
Paine, John Knowles (Portland, Me., 1839-
1906, Cambridge, Mass.), having studied with
Kotzschmar and at Berlin, from 1862 was
instructor and from 1875 professor at Harvard
and eminent as organist and versatile composer.
See Vol. iii. 596-7, and art.
Parker, Fletcher Andrew (b. Lodi, O., 1842),
trained at Boston and later at Stuttgart, in
1868-73 taught in Bloomington, 111., in 1874
in London, and since 1875 has been identified
with the University of Wisconsin as instructor
and professor (emeritus since 1907), besides
conducting the Madison Choral Union in
1890-1905. He has exercised a wide and
fruitful influence throughout Wisconsin.
k Pattison, John Nelson (Niagara Falls, N. Y.,
1845-1905, New York), having studied at
Berlin in 1859-61 and with Henselt in 1862,
became favorably known as a pianist in Berlin,
Paris, etc., and toured with Thalberg in Italy,
from about 1870 traveled extensively in
America with various artists, gave a striking
series of recitals at the Centennial Exposition
in 1876, and made his home in New York.
He wrote a symphony, ' Niagara', for orchestra
and band, a concert-overture, a piano-concerto
or fantasia, and many piano-pieces.
*Pearce, Stephen Austen (England, 1836-
1900, Jersey City), visited America in 1864
and from 1872 was teacher, organist and critic
in New York. See art.
Pease, Alfred Humphries (Cleveland, 1838-
1882, St. Louis), though without musical
opportunities in youth, after six years' study
in Germany from about 1865 was active
throughout the United States as a popular
pianist. He wrote a piano-concerto (1875)
and some other works for orchestra, many
transcriptions for four hands, and many songs.
Penfield, Smith Newell (Oberlin, O., 1837-
1920, New York), after study at New York,
Leipzig and Paris, from about 1869 taught
in Rochester, then in Savannah, and from 1882
in New York. See art.
*Perabo, Johann Ernst (b. Hesse, 1845),
brought to America in childhood, taught by
his father and at Leipzig later, from 1865,
after a year of concertizing, settled as concert-
pianist and teacher in Boston. See art.
Perkins, Henry Southwick (Stockbridge,
Vt., 1833-1914, Chicago), son of Orson Perkins
(see sec. 3), trained in Boston, from 1861
taught in Chicago, often conducting ' con-
ventions ' in various places, from 1867 was in
Iowa City, in the State University two years,
and director of the Academy of Music five
years, from 1870 at Leavenworth, Kan., for
five years conducting a summer-school, and
after 1872 made his home in Chicago, where in
1891 he established the National College of
Music, continuing at its head till his death.
He was one of the organizers of the Music
Teachers' National Association in 1876, and
energetically active in its affairs. He com-
piled about thirty song-books.
Perkins, Julius Edson (Stockbridge, Vt.,
1845-1875, England), brother of the above,
studied in Boston, Paris and Italy, appeared
as operatic bass in 1868 in Italy and in 1874
in England, and in that year, with his wife,
nee Marie Roze, made a visit to America.
Though but thirty at death, he had already
gained high repute in opera and oratorio.
Perkins, William Oscar (Stockbridge, Vt.,
1831-1902, Boston), elder brother of the two
preceding, after study in London and Milan,
settled in Boston as teacher and leader of
' conventions.' He was editor of some forty
song-books, sacred and secular.
Petersilea, Carlyle (Boston, 1844-1903, near
Los Angeles), was carefully instructed by his
father and at Leipzig. After touring in
Germany as pianist, from 1866 he taught in
Boston, establishing in 1871 his own Academy,
joined the New England Conservatory in 1886
and removed to California in 1892. He was
gifted as performer and teacher.
Presser, Theodore (b. Pittsburgh, 1848),
began teaching in Ohio in 1869, later spending
two years in foreign study. In 1883 he
started publishing ' The Etude ' at Lynch-
burg, Va., which he transferred in 1884 to
Philadelphia, rapidly building up there an
extensive publishing business. See art.
*Remmertz, Franz (Rhine Prov., 1845 - ? )
came to New York in 1869 and for many years
was much in request as a concert-bass of the
' robust ' order.
Rice, Fenelon B. (Greensburg, O., 1841-
1901, Oberlin), studied in Boston and Leipzig,
in 1863-67 was music-director at Hillsdale
College in Michigan, and from 1871 was head
of the Oberlin Conservatory. See art.
*Ronconi, Giorgio (Italy, 1810-1890, Spain),
son of Domenico Ronconi of Milan and Munich,
came to New York in 1867 and for several
years was a respected singing-teacher.
Root, Frederick Woodman (Boston, 1846-
1916, Chicago), was organist in Chicago from
1863, and, after foreign study in 1869-70,
became a leading teacher of singing there.
See Vol. iv. 139, and art.
*Rosewald, Julie, nee Eichberg (b. Hesse,
1850), came to America in 1866, married I. H.
Rosewald, a violinist and conductor, and ap-
peared successfully in concert, then studied at
Frankfort, returning to America with Abt.
In 1875-84 she sang in opera both here and
abroad, and then removed to San Francisco.
*Schmidt, Arthur P. (b. Schleswig, 1846),
came to Boston in 1866 as clerk for Russell &
Co., and since 1876 has been a prominent
music-publisher, issuing a large number of
works by American composers.
42
CHRONOLOGICAL REGISTER
[5: 1860-1870
*Seiler, Emma (Bavaria, 1821- ? ) pupil
of Wieck and Helmholtz and an experienced
investigator of the voice, came to Philadelphia
in 1866 as vocal teacher. She published Altes
und Neues iiher die Ausbildung des Gesangorgans,
1861, The Voice in Singing, 1869, and The
Voice in Speaking, 1875. Her observations
gave her wide reputation among scientists.
Seward, Theodore Frelinghuysen (Florida,
N. Y., 1835-1902, Orange, N. J.), self-educated
except for courses in the Mason-Root Normal
Institute, was an organist and teacher in New
London, Conn., and in Rochester before 1860,
went to New York in 1862, which remained
his headquarters for editorial and literary
work, though from about 1870 he was music-
supervisor at Orange, N. J., and also director
for the ' Jubilee Singers ' of Fisk University
in tours at home and abroad. While visiting
England in 1869 he was impressed with the
Tonic Sol-Fa system of teaching and became
its advocate and representative in America.
He published many song-books for schools
and from 1864 edited ' The Musical Pioneer ',
from 1867 ' The Musical Gazette,' from 1881
* The Tonic Sol-Fa Advocate,' and from 1886
' Musical Reform.'
Shepard, Thomas Griffin (Madison, Conn.,
1848-1905, Brooklyn), pupil of G. W. and
J. P. Morgan, was organist in New Haven
from 1865 and for different periods conductor
of choral societies, besides critical writing. He
published the comic opera ' Pennikeese,' a
Christmas cantata, and much choir-music.
*Singer, Otto (Saxony, 18.33-1894, New
York), after teaching in Leipzig and Dresden,
from 1867 was pianist and teacher in New
York, removing in 1873 to Cincinnati. See art.
Smith, Dexter (Peabody, Mass., 1839-1909,
Boston) , from 1865 was editor in Boston of sev-
eral musical periodicals, chief of which was
Ditson's ' Monthly Musical Record,' started in
1878. He was also a facile writer of verse.
Squier, J. B. (Ohio, 1838-1912, Boston),
after the Civil War noted as one of the best
American violin-makers, with headquarters
at Boston. See Violinist's Guide (1916), p. 39-
Stanley, Albert Augustus (b. Manville,
R. I., 1851), studied at Providence and Leipzig,
from 1876 was organist at Providence, and since
1888 has been professor and conductor at the
University of Michigan. See art.
Sterling, Antoinette (Sterlingville, N. Y.J
1850-1904, England), appeared in concert in
1868, studied in Germany and England, be-
coming an eminent contralto. She lived
mainly in England. See Vol. iv. 693-4.
Thayer, Whitney Eugene (Mendon, Mass.,
1838-1889, Burlington, Vt.), from 1862 was
organist in Boston, studied in Germany in
1865-6, and was then engaged in touring,
conducting and editing. From 1881 he was
organist in New York. See art.
Thoms, William M. (New York, 1852-1913,
New York), was connected with Watson's
' American Art Journal ' from 1867, becoming
editor in 1875. In 1870-71 he edited a
musical daily, ' The Journal of the Day,' and
in 1873-74 ' The Musical Monthly,' and pub-
lished an extensive work. The World of Art,
1877-78, largely concerned with musicians.
He was constantly active as musical critic.
Tracy, James Madison (b. Bath, N. H.,
1839), after study at Leipzig and Weimar,
from 1861 taught in Rochester, from 1866 in
Boston, for many years in the New England
Conservatory, then at Des Moines, and is now
at Denver, where he founded the Liszt School
of Music. He has published a book on Har-
mony, Three Years of Student-Life in Germany,
and two musical novels.
Tremaine, William B. (1868-1907, New
York), took up piano-making in 1868, became
from 1878 one of the leading promoters of auto-
matic organs and pianos, forming companies
that led to the present jEolian Company, of
which H. B. Tremaine (b. Brooklyn, 1866),
is president. See Dolge, pp. 327-33.
Upton, George Putnam (Roxbury, Mass.,
1835-1919, Chicago), graduated from Brown
University in 1854, entered editorial work in
1855, and from 1861 was in Chicago, becoming
a conspicuous critic and author. See art.
Veazie, George Augustus (Boston, 1835-
1915, Chelsea, Mass.), in 1869-1903 was music-
supervisor in the Chelsea schools, promoting
improved methods, besides in 1888-1902
teaching in the New England Conservatory.
Walter, George WUliam (New York, 1851-
1911, Washington), a precocious organist,
studied with Paine and S. P. Warren, and
moved from New York to Washington in
1869, where he established a reputation for
unusual skill in improvisation, registration,
etc., besides gathering an exceptional library.
Mus.D. of Columbian University in 1892.
Warren, Samuel Prowse (Montreal, 1841-
1915, New York), son of S. R. Warren (see
sec. 3), after study in Germany, was from
1866 a distinguished organist in New York,
in 1868-94 at Grace Church, and from 1895
at East Orange, N. J. See art.
Weil, Oscar (b. Columbia Co., N. Y., 1840),
after study at Leipzig and Paris, served gal-
lantly in the Civil War, removed to San Fran-
cisco in 1868 and has been largely occupied
with composition and criticism. Besides piano-
pieces and songs, he wrote the operas ' Suzette '
and ' The War-Time Wedding ' and three
operettas.
*Welte, Emil (b. Baden, 1841), son of
Michael Welte, maker of automatic organs
at Voehrenbach, came to New York in 1865
to set up a branch of the business. He in-
vented improvements in the use of paper-rolls.
Wheeler, Lyman Warren (Swampscott,
Mass., 1837-1900, Columbus) , after experience
as leader of ' conventions,' studied extensively
in England and Italy, appearing as concert
and operatic tenor, and from 1863 was in
Boston as soloist and teacher, from 1870 in
the New England Conservatory.
6: 1870-1880]
CHRONOLOGICAL REGISTER
43
Whitney, Samuel Brenton (Woodstock, Vt.,
1842-1914, Brattleboro, Vt.), began organ-
playing in 1855, studied with Paine, after short
engagements elsewhere, was from 1871 at the
Church of the Advent, Boston, celebrated as
player and choir-trainer. See art.
WUkins, Herve D. (Italy, N. Y., 1848-1913,
Rochester), organist at Auburn, N. Y., from
1866, graduated at the University of Rochester,
studied in Berlin, and was then well known in
Rochester as church- and concert-organist.
*Woolf, Benjamin Edward (England, 1836-
1901, Boston), brought to America as a child,
studied in New York, served as theater-
conductor in Boston, Philadelphia and New
Orleans, and from 1870 was musical critic for
various Boston papers. He wrote several
comic operas, such as ' Westward, Ho ! ' (1894),
an overture to ' A Comedy of Errors,' and
considerable orchestral and chamber-music.
*Zeckwer, Richard (b. Prussia, 1850),
trained as pianist at Leipzig, came to Philadel-
phia in 1869 as organist and teacher in the
Musical Academy, becoming head of the latter
in 1876. See art.
*Ziegfeld, Florenz (b. Oldenburg, 1841),
came first to New York in 1856, moving in
1863 to Chicago, where in 1867 he opened the
first of the series of schools of which the
present Musical College is the successor.
Of this he is now president-emeritus.
*Ziehn, Bernhard (Thuringia, 1845-1912,
Chicago), came to Chicago in 1868 as teacher
in the Lutheran Seminary, and after 1871
turned to general instruction, becoming emi-
nent as a theorist. See art.
*Zielinski, Jaroslaw de (b. Galicia, 1847),
came to America in 1864, served in the Civil
War, from 1805 was concert-pianist and
teacher in New York, later in Grand Rapids,
Mich., and Detroit, from 1888 in Buffalo, and
since 1910 in Los Angeles, where he founded
a Trio Club and is head of a music-school.
Besides being an accomplished player, he has
composed effectively for the piano and written
articles on Russian and Polish music.
6. The Decade after the Civil War —
1870-1880
Abbott, Emma (Chicago, 1850-1891, Salt
Lake City), at first self-trained, but from 1870
studying in New York, Milan and Paris,
became known as an effective soprano in con-
cert and opera. See art.
*Adamowski, Timothee (b. Poland, 1858),
came to America in 1879, at first as traveling
violinist, but from 1884 located at Boston.
See art.
Aiken, Walter H. (b. Cincinnati, 18.56), son
of Charles Aiken (see sec. 4), followed his father
in 1879 in the Cincinnati schools, becoming
superintendent in 1900.
Alden, John Carver (b. Boston, 1852),
studied in Boston and Leipzig, and has taught
in the New England Conservatory, in South
Carolina and lately near Boston. See art.
*Allen, Charles N. (England, 1837-1903,
Boston), in 1871 came to Boston as violinist
in ensemble-groups and teacher. See art.
Allen, Nathan Hale (b. Marion, Mass.,
1848), after study at Berlin, from 1870 organist
at Hartford, Conn., and in 1906-11 at Wor-
cester, is now teaching in Hartford. See art.
Andrews, George Whitfield (b. Wayne, O.,
1861), trained at Oberlin, Leipzig, Munich
and Paris, began as organist in 1877 and since
1882 has been identified with Oberlin as emi-
nent player, conductor and teacher. See art.
Andrews, J. Warren (b. Lynn, Mass., 1860),
an organist since 1872, located from 1879 at
Newport, then at Cambridge and Minne-
apolis, and since 1898 in New York. See art.
Apthorp, William Foster (Boston, 1848-
1913, Switzerland), graduated from Harvard
in 1869, taught for years in Boston, but was
best known as critic and author. See art.
Aronson, Rudolph (New York, 1856-1919,
New York), studied in Berlin and Paris, re-
turning to New York as promoter of popular
concerts after the model of Johann Strauss.
He projected the Metropolitan Concert Hall
and the Casino, and composed considerable
orchestral music. He published Theatrical and
Musical Memoirs, 1913. I
Baldwin, Samuel Atkinson (b. Lake City,
Minn., 1862), organist from 1877, studied
extensively abroad, was in Chicago from 1885,
in St. Paul and Minneapolis from 1889, and
has been an eminent recitalist in New York
since 1895. See art.
Bartlett, James Carroll (b. Harmony, Me.,
1850), trained as tenor in Boston and London,
in 1875-76 toured with Camilla Urso, later
with the actors Booth and Barrett, and has
been organist, teacher and song-composer in
Boston and Worcester.
Batchelder, John C. (b. Topsham, Vt.,
1852), after four years' study at Berlin, has
been an able organist in Detroit, teacher in the
Detroit Conservatory and recitalist elsewhere.
Beel, Sigmund (b. California, 1863), a boy-
violinist at Oakland in 1872, studied in Berlin
and Brussels, toured extensively in England
and on the Continent, and recently has been
concertrnaster of the Los Angeles Orchestra,
but lives now in San Francisco.
Benbow, William (b. Columbus, O., 1865),
graduated from Ohio State University, after
study in Philadelphia and England, has served
as organist at various places, chiefly Colum-
bus, Reading, Pa., and (since 1913) Buffalo.
*Benson, Harry (b. England, 1848), came to
America in youth and was partly trained in
Boston, where he has taught in the New Eng-
land Conservatory and since 1891 in the Train-
ing School for Music. He has also been or-
ganist, choral conductor and a Tonic Sol-Fa
advocate.
*Bidez, L. Aloys (b. Belgium, 1847), taught
in America from 1876 till 1904, when he re-
turned to Belgium. He has composed an
operetta, a piano-concerto, an orchestral
44
CHRONOLOGICAL REGISTER
[6: 1870-1880
monody, etc., and is the author of The Art of
Fingering (1877).
Biedermann, Edward Julius (b. Milwaukee,
1849), son of A. J. Biedermann (see sec. 4),
after study in Germany, since 1864 has been
organist in New York, chiefly at St. Mary's.
He has composed masses and other vocal music.
Mus.D. of Beaver College in 1906.
Bird, Arthur (b. Cambridge, Mass., 1856),
studied in Berlin, from 1877 was organist and
teacher in Nova Scotia and since 1881 has
lived in Berlin as composer. See Vol. i. 328-9,
and art.
Bischoff, John W. (Chicago, 1850-1909,
Washington), trained at the Wisconsin Insti-
tute for the Blind and in London, from 1875
was organist, singing-teacher and song-writer
at Washington.
*Blumenschein, William Leonard (Germany,
1849-1916, Dayton, O.), brought to Pitts-
burgh in childhood, studied at Leipzig, from
1876 was choral conductor in Portsmouth, O.,
from 1881 of the Dayton Philharmonic Society
and organist, and in 1891-96 chorus-master
of the Cincinnati Festivals. He published
over 100 effective works for piano and voice.
Boott, Francis (Boston, 1813-1904, Boston),
graduated from Harvard in 1831, lived in
Italy until about 1875, then returning to Cam-
bridge. Though nominally an amateur, he
composed a Grand Mass, a Te Deum, a
Miserere a cappella, a cantata, ' The Song of
Zechariah,' anthems, sacred and secular songs,
and several string-quartets. He left $10,000
to establish a prize at Harvard for the best
4-part vocal work written by a Harvard man.
*Brandt, Hermann (Hamburg, 1842- ? ),
a pupil of David and from 1868 concert-
master in Prague, came to New York in 1873
as concertmaster in the Thomas Orchestra
and later in the Philharmonic Society.
*Bretherick, Henry (b. England, 1849),
came to America in youth, receiving part of
his training here, and has been organist from
1872 in Jacksonville, 111., from 1885 in Quincy,
111., and since 1895 in San Francisco.
Brewer, John Hyatt (b. Brooklyn, 1856),
since 1871 has been active and successful in
Brooklyn as organist and conductor. See art.
Cady, Calvin Brainerd (b. Barry, 111., 1851),
educated at Oberlin and Leipzig, from 1874
taught at Oberlin, from 1880 at the University
of Michigan, moving thence to Chicago, Boston,
New York and Portland, Ore. See art.
*Campanini, Italo (Italy, 1846-1896, Italy),
operatic tenor, came to America first in 1873
and from about 1880 lived in New York, with
frequent sojourns elsewhere. For a time his
popularity was supreme. See Vol. i. 450, and
Krehbiel, Chapters of Opera, pp. 81-2, etc.
*Capoul, Joseph Amedee Victor (b. France,
1839), already an established opera-tenor,
made the first of several visits to America in
1873. In 1892-97 he taught at the National
Conservatory in New York. See Vol. i. 460-1,
and art.
Chadwick, George Whitefield (b. Lowell,
Mass., 1854), studied at Boston, Leipzig and
Munich, in 1876-77 taught at Olivet College
and since 1880 has been identified with Boston
as organist, teacher and from 1897 director
of the New England Conservatory, and eminent
composer. See Vol. i. 494-5, and art.
Chaffin, Lucien Gates (b. Worcester, 1846),
graduated from Brown University in 1867, for
a time gave himself to educational work in
Southboro, Mass., Buffalo and Hobart College,
but also qualified as a concert-organist and
critic. Since 1884 he has been in New York,
furthering the Manuscript Society, the People's
Symphony Concerts, etc. His compositions
include Psalm 23, a cantata, ' Holy Night,'
anthems, many organ-pieces, songs, etc.
Chapman, William Rogers (b. Hanover,
Mass., 1855), has been choral conductor since
1876, founding the Apollo and Rubinstein
Clubs in New York and since 1903 having
charge of the annual Maine Festivals at Port-
land and Bangor.
Chittenden, Kate Sara (b. Hamilton, Ont.,
1856), began teaching before 1880 at HelK
muth College, London, Ont., coming thence
to New York to be organist and director of
large music-schools. See art.
Clark, Melville (b. Oneida Co., N. Y., ? ),
began as an organ-maker at Oakland, Cal., in
1875, removing in 1880 to Chicago, where
from 1894 he turned to making pianos. He
was one of the first (1901) to develop the
player-piano, the extended paper-roll and de-
vices for recording actual performance, holding
numerous important patents.
Cogswell, Hamlin Elisha (b. Silverlake, Pa.,
1852), began as band-leader and choirmaster
at Scranton in 1876 and later at Elmira.
Since 1890 he has been prominent in public-
school music, especially in Pennsylvania State
Normal Schools and since 1915 at Washington.
Cole, Samuel Winkley (b. Meriden, N. H.,
1848), began teaching at Portsmouth, N. H.,
in 1877, since 1882 has been influential in
public-school music in Boston, teaching in the
New England Conservatory, conducting the
People's Choral Union, and publishing several
text-books on sight-singing.
*Conried, Heinrich (Austria, 1855-1909,
Austria), in 1877-1908 director or manager of
operatic and theatrical enterprises, mostly in
New York, the last five years at the Metro-
politan Opera House. See art.
Corey, Newton John (b. Hillsdale, Mich.,
1861), began organ-playing before 1880,
studied at Boston, and since 1891 has been
organist at Detroit, with much lecturing upon
music with varied illustration and writing for
musical papers. He has been manager of the
Detroit Orchestral Association. Mus.D. of
Hillsdale College in 1910.
Crane, Julia Ettie (b. Potsdam, N. Y., 1855),
since 1877 prominent in public-school music,
first at Shippensburg, Pa., and since 1884 at
Potsdam, N. Y., where her Normal Institute
6: 1870-1880]
CHRONOLOGICAL REGISTER
45
has become notable for training teachers and
supervisors. She is the author of a Manual
for Teachers of School Music.
*Damrosch, Leopold (Prussian Poland,
1832-1885, New York), the distinguished
violinist, conductor and composer, came to
New York in 1871 as leader of the Arion
Society, later of the Oratorio and Symphony
Societies, and finally of German opera. See
Vol. i. 656, and art.
Dana, William Henry (Warren, O., 1846-
1916, Warren), after study at Berlin, estab-
lished a Musical Institute at Warren, O.,
which has remained successful ever since. He
was the author of text-books on Harmony
(1873, '84), Orchestration and Band-Instru-
mentation (1875, '76).
Dannreuther, Gustav (1). Cincinnati, 1853),
was trained in Berlin and worked first at
London, returned to America in 1877 and has
been prominent at Boston, Buffalo and New
York as violinist and teacher. He is the
brother of Edward George Dannreuther (1844—
1905), for whom see Vol. i. 661-2. See art.
Davis, Jessie, nee Bartlett (b. Morris, 111.,
1860-1905, Crown Point, Ind.), after study in
Chicago and New York, from 1879 was con-
tralto in light opera and from 18S8 with the
Bostonians.
Dickinson, Edward (b. West Springfield,
Mass., 1853), graduated from Amherst College
in 1876, studied at Boston and Berlin, from
1872 was organist at Springfield, Mass., from
1879 at Elmira, N. Y., and since 1893 has
been professor at the Oberlin Conservatory
and distinguished as an author. See art.
*Doenho£f, Helena von, nee Spuller (b.
Hungary, 1861), came to America in 1874 and
developed into a favorite operatic contralto,
associated with many strong companies and
in 1893 organizing her own. Recently she
has taught in New York.
Doerner, Armin W. (b. Marietta, O., 1851),
after study at Berlin, Stuttgart and Paris,
appeared as pianist at Cincinnati in 1877, in
1878-97 was teacher in the College of Music
there and later head of his own school, and in
1905 established a school at Denver.
Dressier, Louis Raphael (b. New York,
1861), has been an organist in New York
since 1877, for many years at All Souls', be-
sides being choral conductor, accompanist and
on the editorial staff of C. H. Ditson & Co.
*Dulcken, Ferdinand Quentin (England,
1837-1902, New York), son of Luise Dulcken
(see Vol. i. 740), was developed as a pianist at
Leipzig, then professor at the Warsaw Con-
servatory and for a time at Paris, besides tour-
ing widely. In 1876 he came to America,
touring with eminent artists, and settled in
New York, where he taught in the National
Conservatory. His works included the opera
' Wieslav,' a mass, cantatas, piano-pieces, etc.
Dunham, Henry Morton (b. Brockton,
Mass., 1853), trained in Boston, has been
organist since 1873, first at Brockton and from
1883 in Boston, besides since 1878 teaching
in the New England Conservatory. See art.
Eddy, Hiram Clarence (b. Greenfield, Mass.,
1851), after study at home and in Berlin, from
1874 was church- and concert-organist in
Chicago, with extensive tours in America and
abroad. See Vol. i. 768, and art.
Eddy, Sara, nee Hershey (b. Lancaster
Co., Pa., 1852), after study at Berlin, Milan
and London, was singer and teacher in New
York from 1871, then in Pittsburgh and from
1875 in Chicago, where, with Mathews, she
established a strong school, a leading teacher be-
ing Clarence Eddy, whom she married in 1879.
Elson, Louis Charles (Boston, 1848-1920,
Boston), trained in Boston and Leipzig, was
prominent in Boston from 1876 as critic,
editor, lecturer and author, besides teaching
from 1881 in the New England Conservatory.
See art.
■"Ende, Amelia von, nee Kremper (b. Po-
land, 1856), came in youth to America, studied
in Milwaukee, Chicago and also Warsaw, has
been a pianist and teacher since 1874, first at
Milwaukee, from 1879 in Chicago, and from
1897 in New York. She has been correspond-
ent of musical papers in America and Europe,
has written a monograph on New York (Berlin,
1909), and has composed songs and piano-
pieces. In 1876 she married Heinrich von Ende.
*Fanciulli, Francesco (Italy, 1853-1915,
New York), trained at Florence and opera-
conductor there, came to New York as organist
and teacher in 1876, in 1893 followed Sousa
as leader of the Marine Band in Washington,
and from 1898 was leader of bands in New
York. He wrote the operas ' Gabriele de
Montgomery,' ' Priscilla ' and ' Melinche,'
and two comic operettas.
Farnsworth, Charles Hubert (b. Turkey,
1859, of American parents), studied mostly
at Worcester, from 1876 was organist and
teacher there, from 1888 professor in the
University of Colorado, and since 1901 at
Teachers College in New York. See art.
Fay, Amy (b. Bayou Goula, Miss., 1844),
after extended study in Berlin and Weimar,
appeared as concert-pianist in 1876 in New
York and toured widely for a time, and settled
in New York as lecturer and recitalist, specializ-
ing as teacher of the Deppe method of instruc-
tion. She is best known as the author of
Music-Study in Germany, 1881 (20th ed., 1912,
and also in French and German).
Fisher, Edward (Jamaica, Vt., 1848-1913,
Toronto), trained in Boston, from 1875 taught
in Ottawa and from 1879 in Toronto, where in
1886 he established the Toronto Conservatory,
which he developed as director with remark-
able success. See art.
Flagler, Isaac Van Vleck (Albany, 1848-
1909, Auburn, N. Y.), trained as organist at
Albany and Paris, after brief service at Pough-
keepsie and Albany, was eight years in Chicago,
removing before 1880 to Auburn. In 1879-84
he was instructor at Syracuse University,
46
CHRONOLOGICAL REGISTER
[6: 1870-1880
later at Cornell University and at the Utica
Conservatory. For twenty years he gave
recitals and lectures at Chautauqua. He
edited collections of organ-music, choir-music
and hymns, and wrote some organ-pieces.
*Floersheim, Otto (Rhine Prov., 1853-1917,
Switzerland) , came to New York in 1875 and
in 1880-94 was editor of ' The Musical Courier,'
returning then to Berlin.
Foerster, Adolph Martin (b. Pittsburgh,
1854), after training at Leipzig, since 1876 has
been a teacher of singing and piano at Pitts-
burgh and a fertile composer. See art.
Foote, Arthur William (b. Salem, Mass.,
1853), graduated from Harvard in 1874, was
trained in Boston, and has been an eminent
piano-teacher there since 1876, organist of the
First Unitarian Church in 1878-1910, and a
noted pianist and composer. See Vol. ii. 71,
and art.
Franko, Nahan (b. New Orleans, 1861),
educated in Berlin, as boy-violinist toured
with Patti in 1869, came to New York about
1875 to play in the Metropolitan Orchestra,
becoming concertmaster in 1883 and con-
ductor in 1905-07, and then organized his own
orchestra for private occasions.
*Franosch, Adolph (Rhine Prov., 1830-
1880, New York), an opera-bass of experience,
came to New York in 1870 and sang there and
on tour for ten years.
Furlong, Atherton Bernard (b. Greenwood,
Me., 1849), after study in Boston and abroad,
from 1870 was concert-tenor in Boston, from
1872 in Brooklyn, from 1880 in England,
France and Germany with oratorio societies,
and since 1888 has been head of the College of
Vocal Art, Toronto. He has composed songs,
published a novel and poems, and exhibited
animal and landscape paintings.
*Fursch-Madi, Emmy (France, 1847-1894,
Warrenville, N. J.), well known in Europe as
a notable operatic soprano, first came to New
York in 1874 and for twenty years was fre-
quently heard there as well as abroad. She
was a broad and conscientious artist, exerting
a strong and inspiring influence.
*Gantvoort, Arnold Johann (b. Holland,
1857), came to America in 1876, taught in
various colleges in Kentucky and Ohio, and
from 1894 was head of public-school work in the
Cincinnati College of Music, becoming its
manager in 190 1-19. He has published Familiar
Talks on the History of Music, 1913, and a series
of readers for public-school use.
Gilchrist, William Wallace (Jersey City,
1846-1916, Easton, Pa.), after a year at Cincin-
nati, was from 1873 identified with Philadelphia
as organist, conductor and gifted composer.
See art.
Gleason, Frederick Grant (Middletown,
Conn., 1848-1903, Chicago), trained chiefly
at Leipzig, Berlin and London, was organist
from 1875 at Hartford, Conn., removing in
1877 to Chicago and becoming prominent as
teacher, composer and critic. See Vol. ii. 177,
and art. His wife, Grace Gleason, n6e Hiltz
(b. 1854? ), was a superior soprano.
*Goepfart, Christian Heinrich (Saxony,
1835-1890, Baltimore), previously organist
at Weimar, was from 1873 active in Baltimore
as organist and conductor of choral societies.
Goetschius, Percy (b. Paterson, N. J., 1853),
was trained at Stuttgart, where from 1876 he
was teacher and critic, from 1890 was pro-
fessor at Syracuse University, from 1892
organist and teacher in Boston, and since
1905 has taught at the Institute of Musical
Art, New York. See art.
Goodrich, Alfred John (Chilo, O., 1847-
1920, France), began teaching harmony about
1870 in New York, from 1876 at Fort Wayne,
Ind., Chicago, Abingdon, Va., and St. Louis,
besides living in 1909-15 in Paris. See art.
*Grau, Maurice (Moravia, 1849-1907,
France), brought up as a child in New York,
in 1872-1903 was a foremost manager of con-
certs and opera. See art.
Grout, Charles Henry (b. Worcester, 1854),
trained in Boston and Berlin, has been or-
ganist in Worcester since 1873, both in Cen-
tral Church and for the annual Festivals.
Hale, Philip (b. Norwich, Vt., 1854),
graduated from Yale in 1876 (also qualified as
lawyer), was from 1879 organist in Albany,
Troy and Roxbury, Mass., with study at Ber-
lin, Munich and Paris, and since 1889 has been
a distinguished critic in Boston. See art.
*Hamerik, Asger (b. Denmark, 1843), a
gifted composer, was in 1871-1898 director of
the Peabody Conservatory in Baltimore and
conductor of the Peabody Orchestra, returning
then to Copenhagen. See Vol. ii. 277-8, and art.
Hanchett, Henry Granger (Syracuse, 1853-
1918, Siasconset, Mass.), trained as both
pianist and physician, made his d6but in con-
cert in 1879 in New York, where he was long
active as teacher and lecturer, from 1907 in
Washington and from 1913 at Brenau College
in Georgia. See art.
Hastreiter, Helene (b. Louisville, 1858),
began as choir-singer in 1870 at Chicago, and
after careful study developed into a competent
operatic contralto, reappearing in Chicago in
1883. She was then prominent in Italy and at
Paris. See Vol. ii. 341, and art.
Hattstaedt, John James (b. Monroe, Mich.,
1851), after study in Boston and in Germany,
began teaching in 1872 at Detroit and St.
Louis, was from 1875 in the Chicago Musical
College, and in 1886 founded the American
Conservatory.
Hawley, Charles Beach (Brookfield, Mass.,
1858-1915, Redbank, N. J.), was trained in
New York, where from 1876 he was favorably
known as bass-soloist, organist and song-com-
poser. In 1885 he joined Herbert W. Greene
in establishing the Metropolitan Conservatory.
Heath, Wilbur F. (Corinth, Vt., 1843-1915,
Danville, 111.), a band-master in the Civil War,
studied in Boston, from about 1870 entered
public-school work in Iowa, from 1873 was
6: 1870-1880]
CHRONOLOGICAL REGISTER
47
music-supervisor at Fort Wayne, Ind., Osh-
kosh, Wis., and Ottawa, 111. He was active
in the Music Teachers' National Association.
Heckscher, Celeste DuLongpre, nee Massey
(b. Philadephia, 1860) , began composing when
only a child, studied in Philadelphia and mar-
ried there. See art.
*Heinrich, Max (Saxony, 1853-1916, New
York) , came to Philadelphia in 1873 as singer
and teacher, from 1876 taught in Alabama,
from 1882 in New York, from 1888 in London,
from 1894 in Chicago, from 1903 in Boston, and
from 1910 again in New York, everywhere
noted as a baritone of fine ability. See art.
*Hennig, Rudolph (Germany, 1845- ? ,
a graduate at Leipzig, was in 1872-79 leading
'cellist in the Thomas Orchestra and later in
the Mendelssohn Quintette Club. In 1869 he
was one of the founders of the Philadelphia
Musical Academy.
Henschel, Lillian June, n6e Bailey (Colum-
bus, O., 1860-1901, England), trained in Bos-
ton, made her debut as soprano in 1876,
then studied further in Paris and London,
married Georg Henschel in 1881 and was
much associated with him in concerts.
Hensel, Octavia [Mrs. G. A. Fonda] (1837-
1897), published The Life and Letters of L.
M. Gottschalk, Boston, 1870, and other books.
Heritage, Richard Abraham (b. Mont-
pelier, O., 1853), studied in Chicago, from 1877
was dean of the music-school of Valparaiso
University, from 1895 at Willamette Uni-
versity in Oregon, and since 1905 head of the
Musical College at Spokane, Wash. He is
known as bass-soloist and choral conductor.
*Herman, Reinhold Ludwig (b. Prussia,
1849), singer, pianist and composer, in 1871-78
worked in New York, and, after being head of
the Stern Conservatory in Berlin, from 1881
was again in New York, where from 1884 he
conducted the Liedertafel and from 1887 was
instructor in music at Union Theological
Seminary, removing in 1898 to Boston as
leader of the Handel and Haydn Society, and
in 1900 returning to Berlin. For list of works,
see Baker, Diet, of Musicians, p. 389.
Heyman, Henry (b. Oakland, Cal., 1855),
studied at Leipzig, from 1877 was violinist in
San Francisco, with tours on the Pacific
Coast and to Hawaii, and has been influential
in promoting orchestral and chamber-con-
certs. See art.
*Hille, Gustav (b. Saxony, 1851), a good
violinist, came to America in 1879 to join the
Mendelssohn Quintette Club, from 1880
taught at the Philadelphia Musical Academy,
in 1899, with Leefson, established a separate
school, and in 1910 returned to Germany. For
works, see Baker, Diet, of Musicians, p. 400.
*Hinrichs, Gustav (b. Mecklenburg, 1850),
was from 1870 teacher and conductor in San
Francisco, in 1885-86 assistant of Thomas
in the American Opera Company, for ten years
manager and conductor of his own organiza-
tion, with headquarters at Philadelphia, in
1899-1906 conductor at Colvmabia University,
and in 1903-08 at the Metropolitan Opera
House. He directed the first American per-
formance of ' Cavalleria ' (1891), ' I Pagliacci '
(1893) and ' Manon Lescaut ' (1894). He
composed two operas, ' Die vierjahrige Posten '
(1877) and ' Onti-Ora ' (1891), a symphonic
suite, and some vocal works.
Holden, Albert James (Boston, 1841-1916,
Longmeadow, Mass.), from about 1870 was
organist in prominent New York churches,
composer of much church-music, and compiler
of collections of choral music.
*Holst, Edvard (Denmark, 1843-1899, New
York), came to New York about 1874, chiefly
as dancer and play-writer, but also brought
out much comedy-music, including the operetta
' Our Flats ' (1897), band-music, songs, etc.
*Horsley, Charles Edward (England, 1822-
1876, New York), the competent English
organist, composer and critic, spent his last
years in New York. See Vol. ii. 435-6.
*Jacobsohn, Simon E. (Russia, 1839-1902,
Chicago), having studied at Riga and Leipzig
and served as concertmaster at Bremen from
1860, took the same post under Thomas in
1872, from 1878 was violin-teacher in the
Cincinnati College of Music and later in the
Chicago Musical College.
Jordan, Jules (b. Willimantic, Conn., 1850),
trained as concert-tenor in Boston, London
and Paris, has worked since 1870 in Providence,
where he is eminent as teacher, conductor and
vocal composer. See art.
*Joseffy, Raphael (Hungary, 1852-1915,
New York), already noted as a remarkable
pianist, came to New York in 1879, immedi-
ately becoming a foremost figure. See Vol.
ii. 545-6, and art.
*Jung, J. B. (b. Switzerland, 1848), a Roman
Catholic priest, trained at Coire, came to
America in 1870, settling first in Ohio, and was
active in the American branch of the Cacilien-
verein, started in 1873 by Singenberger.
*Karl, Tom (Ireland, 1846-1916, Roches-
ter), a favorite operatic tenor, came to Amer-
ica in 1871 with Parepa-Rosa, turned soon to
light opera, from 1887 joined Barnabee in the
Bostonians, contributing much to their success,
and retired in 1896, teaching for some years
in New York, later in Rochester.
Kimball, Willard (b. Columbus, O., 1854),
studied at Oberlin and Leipzig, in 1875 estab-
lished what is now the School of Music at
Grinnell College in Iowa, remaining its direc-
tor till 1894, when he founded the University
School of Music at Lincoln, Neb., of which
he is still the head. He has also been organist,
conductor and lecturer, and in 1898 was
Director of Music at the Omaha Exposition.
Klauser, Julius (New York. 1854-1907,
Milwaukee), son of Karl Klauser (see sec. 4)
and trained by him and at Leipzig, from 1874
was a teacher at Milwaukee. He published
an able treatise on Harmony, The Septonate,
1890, and The Nature of Music, 1909.
48
CHRONOLOGICAL REGISTER
[6: 1870-1880
*Klein, Bruno Oscar (Hanover, 1858-1911,
New York), trained by his father and at
Munich, came to America in 1878 as concert-
pianist, and from 1884 was teacher, organist
and composer in New York. See art.
♦Koelling, Adolph (Hamburg, 1840- ? ),
brother and pupil of Karl W. P. Koelling
and otherwise trained at Hamburg, came
to America in 1872, and, after teaching at
Poughkeepsie, became head of the theory-de-
partment of the Chicago Musical College.
*Kofller, Leo (Tyrol, 1837-1908, New Or-
leans), from 1877 was organist of St. Paul's
Chapel in New York and vocal teacher. He
published The Art of Breathing, 1889 (also
in German, 1897) — a thoughtful handbook.
*Korbay, Francis Alexander (Hungary,
1846-1913, England), operatic tenor and con-
cert-pianist, came to America in 1871, touring
as player and then teaching in New York
until 1894, when he removed to London.
See Vol. ii. 595, and art.
Krehbiel, Henry Edward (b. Ann Arbor,
Mich., 1854), after studying law at Cincinnati,
was musical critic there from 1874, removing
in 1880 to New York, where he is distinguished
as critic, lecturer, author and editor. See
Vol. ii. 599, and art.
Lanier, Sidney (Macon, Ga., 1842-1881,
Lynn, N. C), the gifted Southern poet, from
1873 was flutist in the Peabody Orchestra, Bal-
timore, and lecturer at Johns Hopkins Univer-
sity. See art.
Levett, David Maurice (New York, 1844-
1914, New York), trained at Leipzig, from 1876
taught in New Brunswick, N. J., Jacksonville,
111., and Chicago, settling in New York in 1885,
after 1900 teaching in the College of Music.
In 1898-1900 he was in the faculty of the
Stern Conservatory in Berlin. He composed
the symphonic poems ' Harlequinade ' and
' Memories,' a Romance and Serenade for
violin and piano, etc.
Lichtenberg, Leopold (b. San Francisco,
1861), a precocious violinist, touring with
Wieniawski in 1873, then studied at Brussels
with him, toured in America and abroad, was
in the Boston Symphony Orchestra and from
1899 head of the violin-department of the
National Conservatory in New York. Since
1904 he has played in the Margulies Trio.
See art.
*Lisser, Louis (b. Pomerania, 1850), after
study at Berlin and tours in Prussia as pianist,
came to San Francisco in 1879, and since 1880
has been Dean of Music in Mills College, Oak-
land (now emeritus). He has been active in
many musical organizations.
Lorenz, Edmund Simon (b. Stark Co., O.,
1854), graduated from Otterbein University
and Yale Divinity School and continued theo-
logical study at Leipzig, from 1885 was pastor
in Dayton, O., and in 1887-88 president of
Lebanon Valley College in Pennsylvania, but
in 1890 turned to publishing and established
his now extensive business at Dayton. Since
1875 he has edited many books for choirs, con-
gregations and Sunday-schools, and a manual
on Practical Church Music, 1909. See Hall,
Gospel Song and Hymn Writers, pp. 318-22.
Lutkin, Peter Christian (b. Thompsonville,
Wis., 1858), trained in Chicago, Berlin, Paris
and Vienna, organist and teacher in Chicago
from 1872, and since 1891 at Northwestern
University, Evanston (dean from 1897), choral
conductor, composer and author. See art.
Macdougall, Hamilton Crawford (b. War-
wick, R. I., 1858), studied in Boston and Lon-
don, from 1874 was organist in Providence and
later in Boston, and since 1900 has been pro-
fessor at Wellesley College. See art.
*Manoly, Ludwig Emanuel (b. HungarJ^
1855), came to America in 1876 as double-
bassist in the Thomas Orchestra and has since
been a noted player and teacher in New York.
*Mapleson, James Henry (England, 1829-
1901, England), a versatile impresario, con-
ducted opera seasons in New York at the
Academy of Music in 1878-86 and again in
1S96-97, introducing many important singers,
but maintaining no consistent artistic standard.
See Vol. iii. 44.
*MaureI, Victor (b. France, 1848), the dis-
tinguished operatic baritone, visited America
in 1874, and again in 1894-95, and in 1909-10
was a teacher in New York. See Vol. iii. 94,
and Baker, Diet, of Musicians, p. 592.
McCoy, WUliam J. (b. Crestline, O., 1848),
studied in New York and Leipzig, began pro-
ducing orchestral works in 1872 in Germany,
and settled in San Francisco as composer and
author. See art.
Mees, Arthur (b. Columbus, O., 1850),
trained at Berlin, began teaching in the Cin-
cinnati College of Music, and since 1880 has
been a versatile and accomplished conductor
as well as a forceful critic and writer. See art.
Morgan, Maud (b. New York, 1864), daugh-
ter and pupil of George W. Morgan (see sec. 4),
appeared as harpist in 1875, and, after study
in London, became a favorite concert-per-
former in New York.
Morse, Charles Henry (b. Bradford, Mass.,
1853), trained in Boston, from 1873 taught
there and at Wellesley College, in 1885 estab-
lished the Northwestern Conservatory at
Minneapolis, from 1891 was organist in Brook-
lyn, and since 1901 has been professor at
Dartmouth College. See art. His brother,
Frank Eugene Morse (b. 1856), has long been
a prominent teacher of singing in Wellesley
and Boston.
Myer, Edmund John (b. York Springs, Pa.,
1846), eminent as vocal teacher and expert
since 1877, chiefly at New York. See art.
*Nicholl, Horace Wadham (b. England,
1848), came to Pittsburgh in 1871 as organist,
removing in 1878 to New York, where he has
been notable as player, teacher, composer and
writer. See Vol. iii. 372, and art.
*Nilsson, Christine (b. Sweden, 1843), the
great operatic soprano, first appeared in
6: 1870-1880]
CHRONOLOGICAL REGISTER
49
America in 1870 and was heard at intervals
thereafter till her retirement in 1891. See
Vol. Hi. 380-1, and art.
Nordica, Lillian [Lillian Norton] (Farm-
ington, Me., 1859-1914, Java), made her
debut as soprano at Boston in 1876, opening
a career of brilliant success in America and
abroad which continued till her death. See
Vol. iii. 389-90, and art.
Osgood, Emma Aline (Boston, 1849-1911,
Philadelphia), appeared as soprano in Boston
in 1873, studied later in London and became
a favorite in concert and oratorio there and
from 1878 in America. See art.
Osgood, George Laurie (b. Chelsea, Mass.,
1844), graduated from Harvard in 1866,
studied in Germany and Italy, from 1872 was
famous in Boston as singer, teacher, conductor,
composer and author, and since 1903 has lived
abroad. See art.
Otis, Philo Adams (b. Berlin Heights, O.,
1846), graduated from Western Reserve Col-
lege in 1868, though occupied in business, has
long been musically prominent in Chicago,
and has composed considerable church music.
See Baker, Diet, of Musicians, p. 669.
Paine, Richmond Peck (b. New Bedford,
Mass., 1858), organist from 1872 at New Bed-
ford, from 1878 in Hartford, Meriden and New
Britain, Conn., becoming also notable as
choral leader, and in 1905-15 conducted the
Litchfield County Choral Union. See art.
Parsons, Albert Ross (b. Sandusky, C,
1847), studied in New York, Leipzig and Ber-
lin, and since 1872 has been a leading teacher
of piano in New York, with considerable
literary work. See art.
Patton, Willard (b. Milford, Me., 1853),
trained as tenor in Boston, began concert-sing-
ing in 1877, and since 1883 has been identified
with Minneapolis as teacher, conductor, com-
poser and organizer. In 1886-89 he taught
at Hamline University, and in 1890 started
the Philharmonic Club, conducting it till 1894.
His works include the operettas ' The Gallant
Garroter' (1882) and 'La Fianza ' (1889),
the oratorio ' Isaiah,' the opera 'Pocahontas '
(1911), a symphonic fantasy, 'The Spirit of
'61 ' (1915), and other patriotic works, such
as ' The Star of Empire ' (1900), ' Footstones
of a Nation ' (1906), and ' Usona ' (1918).
*Piutti, Max (Saxony, 1852-1885, Jackson,
Mich.), came to America in 1874, and till 1883
was instructor at Wells College. He left
unfinished a work on The Folk-Songs of the
Nations.
Pratt, Silas Gamaliel (Addison, Vt., 1846-
1916, Pittsburgh), trained in Chicago and
Berlin, founded the Apollo Club in Chicago
in 1872 and till 1888 was active as teacher,
pianist and composer there, in 1888-1902 was
in New York, and from 1906 in Pittsburgh.
See art.
Pratt, Waldo Selden (b. Philadelphia, 1857),
organist from about 1875, since 1882 has been
professor in the Hartford Theological Seminary
and in 1905-20 lecturer at the Institute of
Musical Art in New York. See Baker, Diet,
of Musicians, pp. 721-2.
Ritter, Fanny, nee Rajonond (Philadelphia,
1840-1890, Poughkeepsie), wife of Fr6d6ric
L. Ritter (see sec. 4), published Woman as a
Musician, 1877, and Some Famous Songs, 1878,
and translated Ehlert's Briefe iiber Musik,
1877, and Schumann's Gesammelte Schriften,
2 vols., 1878-80.
Rive-King, Julie (b. Cincinnati, 1857),
daughter of Caroline Rive (see sec. 4), after
study in New York and Germany, began her
career as concert-pianist in 1874-75 in Leipzig
and New York, becoming a favorite in the
Middle West and Canada. She is now teaching
at the Bush Conservatory, Chicago. See art.
Robyn, Alfred George (b. St. Louis, 1860),
has been known as organist and pianist since
1876. He has written a symphony, the
symphonic poem ' Pompeii,' a piano-concerto
and other chamber-music, a mass, three sacred
cantatas, and many light operas.
*Rogers, Clara Kathleen, nee Barnett (b.
England, 1844), studied at Leipzig, Berlin and
Milan, made her debut as operatic soprano
at Turin in 1863, came to America in 1871
with Parepa-Rosa, and since 1873 has lived
in Boston (marrying Henry M. Rogers in
1878), since 1902 on the staff of the New
England Conservatorj'-. She has published
many songs, some piano-pieces, a violin-
sonata. The Philosophy of Singing, 1893, My
Voice and I, 1910, English Diction wi Song
and Speech, 1912, The Voice in Speech, 1915,
and Memories of a Musical Career, 1920. Her
stage-name was ' Clara Doria.'
Roosevelt, Hilbourne Lewis (New York,
1848-1885, New York) , from 1872 was a gifted
and original organ-maker in New York, a
pioneer in novel voicing and electric action.
Till 1893 the business was finely maintained
by his brother, Frank H. Roosevelt (1861-93).
See art.
*Rosenbecker, Adolph (Hesse, 1851-1919,
San Francisco), well-trained as a violinist, came
to New York late in 1869, till 1877 played
under Thomas, and then settled in Chicago
as teacher and conductor.
*Rudersdorff, Hermine (Russia, 1822-1882,
Boston), the noted operatic soprano, after a
long career in Europe, in 1870 came to Boston
as concert-singer and effective teacher. See
Vol. iv. 189.
Russell, Louis Arthur (b. Newark, N. J.,
1854) , trained in New York and London, since
1878 has been organist, teacher, conductor and
composer in Newark. He has been active in
promoting popular interest, especially in organ-
izing and conducting the Schubert (Oratorio)
Society since 1878 and the S5anphony Orchestra
since 1894. He has written for piano and voice,
the cantata ' A Pastoral Rhapsody,' and
church-music, besides many pedagogical works,
especially upon singing. See Who's Who in
Music, 1918, p. 545.
50
CHRONOLOGICAL REGISTER
[6: 1870-1880
Salter, Mary Elizabeth, nee Turner (b.
Peoria, 111., 1856), studied in Buriington, la.,
Boston and New York, was from 1874 for
twenty years church- and concert-soprano in
New York and has since been active as song-
composer. See art.
Salter, Sumner (b. Burlington, la., 1856),
graduated from Amherst College in 1877, was
trained in Boston, and since 1878 has been
a teacher and organist in Boston, New York
and elsewhere, since 1905 at Williams College.
He has published songs and church-music,
besides work as editor and writer. See art.
Sanford, Samuel Simons (Bridgeport, Conn.,
1849-1910, New York), trained in New York,
under Rubinstein and in Paris, became a
remarkable pianist and occasionally appeared
in concert, though not widely known until
1894, when he joined the Yale School of
Music.
Sankey, Ira David (Edinburg, Pa., 1840-
1908, Brooklyn), though known as singer
before 1860, did not take up evangelistic sing-
ing till 1871, when he joined D. L. Moody,
until 1899 touring with him throughout the
United States and Great Britain. He wrote
many hymn-tunes and songs of popular
character, published in Sacred Songs and Solos,
1873, Gospel Hymns, Nos. 1-6, 1875-91,
Winnowed Songs, 1890, etc. He wrote My
Life and the Story of the Gospel Hymns, 1906.
*Scharwenka, Franz Xaver (b. Prussian
Poland, 1850), the brilliant pianist and peda-
gogue, toured in America in 1874-80, con-
ducted a conservatory in New York in 1891-
98, and came again in 1910-14. Otherwise
he has been associated with Berlin. See
Vol. iv. 249 and art.
*Schnecker, Peter August (Hesse-Darm-
stadt, 1850-1903, New York), arrived in New
York in 1865, studied there and later at
Leipzig, and from 1872 was organist of the
West Presbyterian Church. He composed
much church-music and edited collections of
organ-pieces.
Schoenefeld, Henry (b. Milwaukee, 1857),
began orchestral playing in 1873, was trained
as concert-pianist at Leipzig and Weimar,
from 1879 was teacher and conductor at
Chicago, and since 1904 has been conductor
and composer at Los Angeles. See art.
Shelley, Harry Rowe (b. New Haven, Conn.,
1858), studied first at New Haven, where he
began as organist in 1872, later removing to
Brooklyn and New York, and becoming noted
as player, composer and editor. See art.
Sherwood, William Hall (Lyons, N. Y.,
1854-1911, Chicago), studied in New York
and Germany, from 1876 appeared as fine
concert-pianist, settling successively in Boston,
New York and (from 1889) Chicago, where in
1897 he founded the Sherwood Piano School.
See art.
*Singenberger, Johannes B. (b. Switzerland,
1848), highly trained in Jesuit colleges and
at Munich, came to America in 1873 to
teach in St. Francis' Academy, Milwaukee, and
to represent the Gregorian revival promoted
since 1865 by F. X. Witt of Landshut (1834-
1888). In 1874 he organized a branch of the
Cacilienverein and started the periodical
' Cecilia.' He has written 20 masses and other
ritual-music.
Smith, Gerrit (Hagerstown, Md., 1859-1912,
Darien, Conn.), a graduate of Hobart College,
studied in New York, Stuttgart and Berlin,
was organist in college, at Buffalo and Albany
and from 1885 in New York, where from 1898
he was professor in Union Theological Semi-
nary. See art.
Sousa, John Philip (b. Washington, 1854),
began leading theater-orchestras about 1870,
was violinist under Offenbach in 1876, in
1880-92 led the U. S. Marine Band, and since
has won international fame with his own band.
See Vol. iv. 628, and art.
Strong, George Templeton (b. New York,
1856), early an oboist, from 1879 studied and
lived in Germany, in 1891-92 taught in Boston,
and has since lived in Switzerland as composer.
See Vol. iv. 728-9, and art.
*Tamaro, Josef (Spain, 1824-1902, New
York), a pupil of Lamperti, from 1876 was
a singing-teacher in Now York.
Thayer, Arthur Wilder (b. Dedham, Mass.,
1857), trained in Boston, was choral conductor
from before 1880 and in 1882-88 music-super-
visor at Dedham and Milton, and since 1888
has been organist at Newton, Mass., compos-
ing church-music, songs and piano-pieces.
Thursby, Emma Cecelia (b. Brooklyn, 1854),
trained as soprano in New York, Boston and
Milan, sang in America in 1875 and frequently
after 1879, besides tours all over the world.
See Vol. v. 99, and art.
Toedt, Theodore J. (b. New York, 185.3),
studied in New York, from about 1873 became
known as an artistic concert-tenor, and since
1895, becoming blind, has been a teacher in
New York. His wife, Ella A. Toedt, nee
Earle, is an accomplished soprano and teacher.
*Tomlins, William Lawrence (b. England,
1844), came to New York in 1870, from 1875
till 1910 was located at Chicago as conductor
and director of public-school music. See art.
Trowbridge, John Eliot (b. Newton, Mass.,
1845-1912, Newton), studied at Northampton
and Wellesley, Mass., and about 1870 became
organist and composer in Boston and from 1881
at Newton. He wrote the oratorio ' Em-
manuel,' a mass and other church-music, the
cantata ' The Heroes of '76,' part-songs and
songs.
Tubbs, Frank Herbert (b. Brighton, Mass.,
1853), trained in Boston, London and Milan,
became choir-master and vocal teacher in New
York, founding the Vocal Institute and writing
upon the voice- For some years he has been
engaged in business.
Tucker, Hiram G. (b. Cambridge, Mass.,
1851), studied at Boston, becoming a concert-
pianist and organist there, later conductor of
6: 1870-1880]
CHRONOLOGICAL REGISTER
51
choral and chamber-concerta. Since 1878 he
has taught at Wheaton College, Norton, Mass.
Ttirner, Alfred Dudley (St. Albans, Vt.,
1854-1888, St. Albans), trained at the New
England Conservatory in Boston, where he
became a valued piano-teacher. His pub-
lished works include chamber-music, piano-
pieces and a Method of Octave-Playing.
Valleria, Alwina [Mrs. R. H. P. Hutchinson]
(b. Baltimore, 1848), studied in England,
becoming a striking operatic soprano from
1871. Though living in England and active
in Europe, in 1879-86 she appeared often in
America. See Vol. v. 211-2.
Van Cleve, John Smith (b. Maysvillc, Ky.,
1851) , studied in Columbus, Boston and Cincin-
nati, from 1872 taught at the Institute for the
Blind in Columbus, from 1875 at Janesville,
Wis., in 1879-97 was teacher, lecturer and critic
at Cincinnati, removed thence to Chicago, later
to Troy, and in 1913 to New York. See art.
Van Zandt, Marie (New York, 1861-1919,
France), trained as opera-soprano in Milan,
made her debut at Turin in 1879, sang in Paris,
London, and throughout Europe, in 1S91-92
was at the MetropoUtan Opera House, in 1896
returned to Paris, and retired in 1898. See
Vol. V. 585-6, and art.
*Vogrich, Max Wilhelm Karl (Transylvania,
1852-1916, New York), already noted as pianist
and composer, came first to New York in 1878,
returned in 1886-1902, and again from 1914.
See art.
Webb, Frank Rush (b. Covington, Ind.,
1851), studied in Boston and Indianapolis,
becoming organist in 1873, from 1876 at Lima,
O., from 1883 at Staunton, Va., where he was
music-director in the school now known as
Stuart Hall, and since 1910 has been critic in
Baltimore. He has written band-music, piano-
pieces, and vocal music.
* Weiss, Carl Thomas (b. Bavaria, 1844),
trained in Munich, since 1870 has been organist
in Roman Catholic churches in New Orleans,
besides conducting singing-societies and teach-
ing in convent-schools. He has written arti-
cles connected with the Cacilia movement.
*Werrenrath, George (Denmark, 1838-1898,
Brooklyn), an experienced operatic tenor,
came to New York in 1876, becoming widely
recognized as an accomplished singer, especially
in concert. He was one of the first to give
series of song-recitals.
Wild, Harrison Major (b. Hoboken, N. J.,
1861), trained at Leipzig and Chicago, since
1876 has been organist in Chicago and since
1895 distinguished choral conductor. See
art.
Woodman, Raymond Huntington (b. Brook-
lyn, 1861), son of J. C. Woodman (see sec.
4), trained in Brooklyn and Paris, has been
organist since 1875, from 1880 at the First
Presbyterian Church, Brooklyn, and since 1894
professor at Packer Institute. See art.
*Zeisler, Fannie, nee Bloomfield (b. Austrian
Silesia, 1863), came to Chicago as a child, was
first trained there, appearing as pianist in
1876, then studied in Vienna, and since 1883
has been famous on both sides of the Atlantic.
See Vol. i. 341, and art.
No one wlio studies tlie details of musical activity in America — as suggested,
for example, in tlie lists of persons liere given, or as otherwise brouglit togetlier —
can miss the fact that from 1880 onward there was a notewortliy awal<;ening of
artistic interest and effort in all directions. The number of significant foreign
musicians who now become residents is at least twice that in any preceding decade,
and the number of those native-born increases in almost the same proportion.
Part of this merely statistical appearance may be due to the lacli before about
1880 of systematic effort to make record of the lives and work of musicians^. But
the fact remains impressive after all allowances.
Certain events, already mentioned, were specially important. One was the
founding in 1881 of the Boston Symphony Orchestra, destined to become an edu-
cational force felt throughout the country. Another was the fruitage of the
many years of faithful planting of taste and aptitude on the part of the veteran
Theodore Thomas. Another was the establishment in New York in 1884-85 of
German opera under Leopold Damrosch on a scale and with a popular appeal that
were unprecedented. Another was the extension of series of classical concerts in
many places, gradually opening the minds of widening circles of hearers to the
wealth of sterling musical literature. Another was the coming to bear of the
influence of the earlier conservatories through their graduates, who now begin to
become centers of stimulus as private teachers. In connection with all these, as in
52 HISTORICAL INTRODUCTION
arousing proper interest in the ability of native composers and performers, the
increase of rational criticism and discussion in periodicals and books played no
small part.
Quite apart from these specific factors in progress, it may be that much of the
sudden access of momentum musically was due to diffused influences permeating
the whole social fabric. The strain of the Civil War time was passing away, and
a new era of consolidated advance in things economic, political and educational
was setting in. The observer of musical progress notes the reaction of all this in
his own field. Doubtless observers in other fields would note it similarly in theirs.
Here is an appropriate point to refer to the influence of national and inter-
national expositions. Those held in Europe prior to 1880 had no relation to the
advance of music in America except as they stimulated makers of instruments —
chiefly pianos — to compete for recognition. But those held in the United States
from 1876 onward not only gave a similar industrial impetus, but usually exalted
elaborate musical features into prominence and thus contributed positively to
popular education.
The first of the larger American expositions was the Centennial, held at Phila-
delphia in 1876. Aside from some general exercises and frequent piano- and
organ-recitals, its main importance to music was in the display and competition
of instruments. The second was the Columbian, held at Chicago in 1893. Here
the musical provisions were extraordinarily profuse and generally superior, largely
due to the imagination, energy and authority of Theodore Thomas, and the
impress upon popular thought was correspondingly significant. The third was
the Louisiana Purchase, held at St. Louis in 1904, at which the effort was made to
emulate the musical elaboration of its Chicago predecessor, though without
achieving quite the same practical success. Meanwhile a host of lesser expositions
were brought to pass — among them the California Mid-Winter at San Francisco
in 1894, the Trans-Mississippi at Omaha in 1898, and the Pan-American at Buffalo
in 1901 — all taking pains to magnify music in a greater or less degree. To these
may be added — though outside the period here under review — those at James-
town in 1907, at Portland and Seattle in 1905 and 1909, and, still more important,
the Panama celebrations at San Diego and San Francisco in 1915-16.
The cultural reaction of these numerous and often immense undertakings is
beyond question. In the domain of the fine arts they tended to arouse interest
and elevate taste in regard to architecture, painting, sculpture and music by means
of manifold demonstrations of a more or less monumental kind.
In analyzing the lists of names that follow, attention should be given not
only to the wider range from which both the foreign-born and the native-born
come, but also to the wider range geographically and occupationally to which
they go. If the facts could be depicted graphically, it would appear that both
derivations and destinations now begin to spread out like the unfolding leaves
of a fan.
7: 1880-1890]
CHRONOLOGICAL REGISTER
58
CHRONOLOGICAL REGISTER
7. The Decade of Artistic Awakening —
1880-1890
Abbey, Henry Eugene (Akron, O., 1846-
1896, New York), who had been a jeweler and
later owner and manager of theaters, in 1883-84
leased the Metropolitan Opera House in New
York at its opening, provided a brilliant troupe
and a fair Italian repertorj^ but with a net loss
of perhaps $500,000. Recouping himself at
Chicago in 1889-91, with Schoefifel and Grau
in 1891-92 and 1894-97 he undertook the
Metropolitan again, this time with more
success, but died in the effort.
*Adamowski, Joseph (b. Poland, 1862), an
expert 'cellist, joined the Boston Symphony
Orchestra in 1889, and since 1903 has taught
at the New England Conservatory. See art.
Adams, Mrs. Crosby, nee Juhette Graves
(b. Niagara Falls, N. Y., 1858), from about
1880 organist and teacher in Leroy, N. Y.,
Buffalo and Kansas City, from 1892 in Chicago,
and since 1913 at Montreat, N. C. She has
specialized in teaching children and training
teachers, has composed and edited pedagogical
music, and has written Chapters from a Musical
Life, 1903, and What the Piano Writings of
MacDowell Mean to the Piano-Student, 1913.
Aldrich, Perley Dunn (b. Blackstone, Mass.,
1863), studied at Boston, London and Paris,
in 1885-87 taught at the University of Kansas,
from 1889 at the Utica Conservatory, from
1891 at Rochester, and since 1903 in Phila-
delphia. See art.
Ambrose, Paul (b. Hamilton, Ont., 186S),
trained mostly in New York, was organist
there in 1886-1917, and since 1904 has been
music-director in the State Normal School
at Trenton, N. J. See art.
♦Archer, Frederick (England, 1838-1901,
Pittsburgh), who had been organist and con-
ductor in London, in 1881 came as organist
to Brooklyn and New York, from 1885 editing
' The Keynote,' from 1887 conducted the
Boston Oratorio Society, and in 1896-98 led
the Pittsburgh Orchestra. See Vol. i. 101-2,
and art.
*Arens, Franz Xavier (b. Rhine Prov., 1856),
brought up in Milwaukee, but trained mostly
in Germany, from 1885 was conductor in
Cleveland, in 1890-92 concertized in Europe,
and since 1900 has given high-class popular
concerts in New York. See art.
*Ashmall, WUliam E. (b. England, 1860), for
many years organist in New York, Brooklyn
and (since 1912) Newark, N. J., and head
of a music-school in Arlington, N. J., has
played much in concert and edited ' The Or-
ganist's Journal ' and many organ-collections.
*Austin, John Turnell (b. England, 1869),
came to Detroit in 1889 as organ-maker, soon
became noted as the inventor of 'the universal
wind-chest,' and in 1899 organized the Austin
Organ Company at Hartford, Conn., of which
he is president, ably assisted by his brother,
Basil George Austin (b. 1874), who joined him
in 1893.
Ayres, Eugene Edmond (Russellville, Ky.,
1859-1920, Philadelphia) , instructor in Greek
from 1879 in various colleges and from 1903 pro-
fessor at Crozer Theological Seminary (Chester,
Pa.), was expert in music from youth. He
pubUshed a brief Haiidhook of Musical History,
1882, and Counterpoint and Canon, 1886, was
on the staff of 'The Etude' in 1888-93, and
was musical editor of the notable Baptist
hymnal Sursum Corda, 1898.
*Baermann, Carl, Jr. (Bavaria, 1839-1913,
Newton, Mass.), pianist and composer, came
to Boston in 1881, becoming at once a lead-
ing artist and teacher. See Vol. i. 162, and
art.
Baier, Victor (b. New York, 1861), has been
organist at Trinity Church, New York, since
1884 (assistant till 1897), and active in the
A. G. O. (warden in 1920).
Bassett, Franklin (Wheeling, W. Va., 1852-
1915, Pasadena, Cal.), finely trained at Leip-
zig, from 1877 was pianist in Cleveland, and
from 1882, with Heydler (see below), directed
the Cleveland Conservatory. See art.
Beach, Amy Marcy, nee Cheney [Mrs. H.
H. A.] (b. Henniker, N. H., 1867), trained in
Boston, from 1883 appeared as concert-
pianist, and soon became eminent in composi-
tion. See Vol. i. 210, and art.
Beck, Johann Heinrich (b. Cleveland, 1856),
trained at Leipzig, settled in 1882 in Cleveland
as violinist, founded the Schubert Quartet,
from 1886 conducted his own works in many
cities, and in 1901-12 led the Cleveland
Symphony Orchestra and other organizations.
See art.
Bendix, Max (b. Detroit, 1866), studied in
New York, Cincinnati and Berlin, was concert-
master at the Metropolitan Opera House in
1886 and 1905, also under Thomas in 1886-96,
and since 1906 has been conductor in New
York, Chicago, London, etc. See art.
*Bendix, Otto (Denmark, 1845-1904, San
Francisco), who had been piano-teacher and
oboist in Copenhagen, came in 1880 to Boston
as teacher in the New England Conservatory,
and from 1895 directed a school in San
Francisco.
Benham, Victor (b. Brooklyn, 1871), a boy-
pianist from 1880, first in New York, in 1882
in London and in 1885 in Paris, and then
toured the Continent. Except in 1890-1900
and 1904-12, he has lived abroad as virtuoso,
teacher and writer. See art.
Bentley, William Frederick (b. Lenox, O.,
1859), graduated from Oberlin College in 1883,
studied at Chicago, Leipzig, Berlin, Paris and
London, taught at New Lyme, O., and since
1885 has been head of the Knox Conservatory,
54
CHRONOLOGICAL REGISTER
[7: 1880-1890
Galesburg, 111., and since 1899 conductor of the
Musical Union. See art.
Berger, Wilhelm (Boston, 1861-1911, Sax-
ony), brought up in Germany, became a strong
piano-teacher, conductor and composer, and
spent his whole life abroad. See Vol. i. 308,
and art.
Binder, Fritz (b. Baltimore, 1873), brought
up in Germany and appearing widely as a
prodigy from 1880, studied at Cologne, de-
veloping as pianist and choral leader, from
1896 was conductor at Solingen (near Cologne),
and since 1901 has been head of the Singaka-
demie at Danzig.
*Blanck, Hubert de (b. Holland, 1856), in
1880 toured South America as pianist, in
1881-82 taught in New York, and in 1883
went to Havana, establishing in 1885 what is
now the Conservatorio Nacional. See art.
*Bonvin, Ludwig (b. Switzerland, 1850),
trained as a Jesuit priest, came to Canisius
College, Buffalo, in 1887 as music-director,
and has been much engaged upon historical
studies and composition. See art.
*Bott, Jean Joseph (Hesse, 1826-1895, New
York), well known as violinist and composer
at Meiningen and Hanover, from 1885 lived
in New York.
Brooks, Henry Mason, of Salem, Mass., from
1886 published a series of studies of old New
England life, chiefly gathered from newspapers,
including Olden-Time Music, 1888.
*Browne, John Lewis (b. England, 1866),
finished training as organist in New York,
from 1888 played in Chicago, from 1892 at
San Francisco, also leading symphony-concerts,
from 1899 at Atlanta, in 1908-10 at Philadel-
phia, and since 1912 at Chicago. See art.
*Bruenner, Leopold (b. Bavaria, 1869),
finished his education in Minneapolis, where
from 1886 he taught, in 1889 became organist
and teacher in St. Paul, and in 1910 organized
the Charal Art Society, largely devoted to
a cappella music. He has composed a grand
mass (1895), songs, etc.
*Brune, Adolf Gerhard (b. Hanover, 1870),
in 1889 came to Peoria, 111., as organist, from
1894 studied at Chicago, in 1898 becoming
a useful teacher at the Musical CoUege, with
much composition. See art.
Bryant, Gilmore Ward (b. Bethel, Vt., 1859),
trained in Boston and New York, has taught
since 1885 in various schools in the South,
especially the Southern Conservatory, Dur-
ham, N. C, which he founded in 1898 and has
since directed.
Burdett, George Albert (b. Boston, 1856),
graduated from Harvard in 1881, studied in
Boston, Hanover and Berlin, settled in Boston
as church-organist, chiefly at the New Old
South Church. Besides being a gifted player
and choir-director, he has composed church-
music, songs and piano-pieces, and written for
periodicals.
Burleigh, Henry Thacker (b. Erie, Pa.,
1866), was a church-singer before 1890, in
1892 won a scholarship and studied in the
National Conservatory, New York, taught
there two years, since 1894 has been baritone
at St. George's and since 1899 also at Temple
Emanu-El, and has sung in concert both in
America and Europe. He has written striking
songs, has arranged Negro religious melodies,
and in 1917 received a prize for conspicuous
achievement as representing the Negro race.
*Burmeister, Richard (b. Hamburg, 1860),
was director of the Peabody Conservatory,
Baltimore, in 1885-97, and of the Scharwenka
Conservatory, New York, in 1897-99. Since
1903 he has worked at Dresden and Berlin.
See art.
Burr, WUlard, Jr. (b. Ravenna, O., 1852),
trained at Oberlin and Berlin, since about
1880 has been an industrious composer in
Boston, his works including string-quartets,
piano-trios, a violin-.sonata, many piano-
pieces, songs and considerable church-music.
Burton, Frederick Russell (Jonesville, Mich.,
1861-1909, Lake Hopatcong, N. J.), graduated
from Harvard in 1882, went into journalism
and also became a leading exponent of the
music of the Indians, making extensive in-
vestigations, publishing articles and books, and
composing upon Indian themes. See art.
Busch, Carl (b. Denmark, 1862), in 1887
came to Kansas City, where he has been
increasingly active as conductor and composer,
since 1912 leading the Symphony Orchestra.
See art.
Camp, John Spencer (b. Middletown, Conn.,
1858), graduated from Wesleyan University in
1878, studied in New York, since 1882 has been
prominent in Hartford, Conn., as organist in
leading churches, in 1902-11 conductor of the
Philharmonic Orchestra, and a composer in
several forms. See art.
*Campanari, Giuseppe (b. Italy, 1858), in
1884 joined the Boston Symphony Orchestra as
'cellist, but since 1893 has been a noted oper-
atic baritone, mostly in New York. See art.
*Campanari, Leandro (b. Italy, 1857),
appeared in Boston as violinist in 1881, becom-
ing teacher in the New England Conservatory
and organizing a Quartet, in 1887-90 was in
Europe, from 1890 taught at the Cincinnati
Conservatory, in 1897-1905 was director at
La Scala, Milan, in 1906-07 was substitute-
conductor at the Metropolitan Opera House
and of the Philadelphia Symphony Orchestra,
and since 1907 has taught in San Francisco.
He has published instruction-books and songs.
*Campanini, Cleofonte (Italy, 1860-1919,
Chicago), appeared in 1883 as assistant-
conductor at the Metropolitan Opera House,
again in 1887, from 1906 at the Manhattan
Opera House, and from 1910 with the Chicago
Opera Company. See art. His wife, Eva
Campanini, nee Tetrazzini (b. Italy, 1864),
noted as stage-soprano since 1883, is a singer
in the Chicago Company.
Carl, William Crane (b. Bloomfield, N. J.,
1865), studied in New York and Paris, from
7: 1880-1890]
CHRONOLOGICAL REGISTER
55
1882 was organist at Newark, and since 1892
at the First Presbyterian Church, New York,
and also since 1899 director of the Guilmant
Organ School, which he founded. See art.
♦Carnegie, Andrew (Scotland, 1837-1919,
Lenox, Mass.), the iron-manufacturer and
philanthropist, began his extensive gifts to
musical enterprises before 1890. See art.
Cawley, Edgar Moore (b. Pyrmont, O.,
1871), trained at Cincinnati and later at
Leipzig, from 1887 taught at the Cincinnati
Conservatory, and in 1897 established the
Indianapolis Conservatory, of which he is now
manager.
Chace, Frank Wilbur (b. Providence, R. I.,
1868) , studied in Boston and New York, began
as organist in 1883, holding positions in
Mobile, Nashville and Seattle, appearing also
as recitalist and conductor, and since about
1910 has been music-director at Willamette
University, Salem, Ore.
Champlin, John Denison (Stonington, Conn.,
1834-1915, New York), was from 1873 to 1912
editor of many books of reference, including a
Cyclopedia of Music and Musicians, 3 vols.,
1888-90 (with W. F. Apthorp), carefully
executed along its chosen lines.
*Chapek, Joseph Horymir (b. Bohemia,
1860), came in 1883 to Milwaukee as violinist,
organized a Quintet Club and a Quartet Club
in 1885, was concertmaster in the Bach
Symphony Orchestra in 1885-88, and since
1888 has worked at Chicago, teaching in
various schools, playing in the Thomas
Orchestra, and since 1910 directing his own
Music School. He represents the method of
his teacher Sevcik.
Chase, Mary Wood (b. Brooklyn, 1868),
trained as pianist at Boston and Berlin, began
public appearances in 1886 in Boston, in
1894-96 assisted Raif at Berlin, concertized
extensively for some years, and since 1906
has been head of her own school for advanced
piano-playing in Chicago. See art.
*Claassen, Arthur (Prussia, 1859-1920, San
Francisco), already known as conductor and
composer, came in 1884 as leader of the Arion
Society in Brooklyn, later of the New York
Liederkranz and of various festivals, and from
1910 was conductor and organizer of many
enterprises at San Antonio, Tex. For list of
works, see Baker, Diet, of Musicians, p. 161.
Clarke, Herbert Lincoln (b. Woburn, Mass.,
1867), son of Wm. H. Clarke (see sec. 4),
developed early as cornettist, first at Toronto,
then under Gilmore, Herbert, and Sousa (till
1918 the latter 's assistant), and has toured the
world.
Clippinger, David A. (b. Ohio, 1860), studied
at Fort Wayne, Ind., Boston, Chicago, Berlin
and London, from 1885 taught at Fort Wayne,
and since 1887 has been a leading teacher of
singing in Chicago. See art.
Clough-Leighter, Henry (b. Washington,
1874), trained at Toronto, in 1888 became
organist at Washington, from 1899 at Provi-
dence, and since 1901 at Boston, with much
editorial work. See art.
Combs, Gilbert Raynolds (b. Philadelphia,
1863), began musical activity in Philadel-
phia before 1880. In 1885 he established the
Broad Street Conservatory, of which he is
director. See art.
Commery, Stephen (b. Cleveland, 1862),
trained at Cincinnati, has been a piano-teacher
in Cleveland since 1885, founding the West Side
Musical College in 1901 and directing it since.
Coppet, Edward J. de (New York, 1855-
1916, New York), a New York banker and
broker who from 1886, besides assisting in-
dividual artists, maintained choice chamber-
music at his residence, and in 1902 established
the famous Flonzaley Quartet. See art.
Cottlow, Augusta (b. Shelbyville, 111., 1878),
gave a piano-recital as early as 1885, studied
in Chicago, and appeared often from 1888, but
since 1896 has mostly lived abroad. See art.
Curtis, Henry Holbrook (New York, 1856-
1920, New York), from 1880 specialist in
laryngology and vocal hygiene, and author of
Voice- Building and Tone-Placing, 1894.
Cutter, Benjamin (Woburn, Mass., 1857-
1910, Boston), trained in Boston and Stuttgart,
was from 1882 teacher at the New England
Conservatory, violinist, composer and author.
See art.
*Damrosch, Frank Heino (b. Silesia, 1859),
son of Leopold Damrosch (see sec. 6), studied
in New York, from 1882 was conductor and
supervisor in Denver, from 1885 chorus-
master at the Metropolitan Opera House, New
York, also head of important choral enter-
prises, and since 1905 director of the Institute
of Musical Art. See Vol. i. 656-7, and art.
*Danirosch, Walter Johannes (b. Silesia,
1862), brother of the foregoing, trained in New
York and Germany, in 1885 succeeded his
father in New York as conductor, in 1894-1900
directed the Damrosch Opera Company, in
1900-02 was conductor at the Metropolitan
Opera House, etc., besides much composition.
See Vol. i. 657, and art.
Dann, HoUis Ellsworth (b. Canton, Pa.,
1861), has taught in Ithaca, N. Y., since 1887,
at first in the public schools and since 1906 as
professor in Cornell University. See art.
*Davis, David (b. Wales, 1855), since 1880
has been prominent at Cincinnati as church-
singer, choral conductor and promoter of
Welsh singing-societies.
Davis, John Herbert (b. Lexington, Mass.,
1860), after extended study in Boston and
London, was organist at PhiUips Academy,
Andover, Mass., in 1884-86 teacher at the
Illinois Woman's 'College in Jacksonville, in
1886-99 director of the Illinois Conservatory
there, and since 1899 music-director at Ran-
dolph-Macon Woman's College, Lynchburg, Va.
Dayas, William Humphries (New York,
1864-1903, England), studied in New York,
was organist there for some years, went to
Germany, becoming concert-pianist, and
56
CHRONOLOGICAL REGISTER
[7: 1880-1890
toured with Senkrah in 1888. After 1890 he
lived mostly abroad, at Helsingfors, Diisseldorf,
Wiesbaden, Cologne, and from 1896 at Man-
chester, England. See art.
De Koven, Henry Louis Reginald (Middle-
town, Conn., 1859-1920, Chicago), brought
up in England, studied there and on the
Continent, from 1887 was highly successful
as composer of light opera, from 1889 also
music-critic, mostly in New York, and a
prolific song-composer. See art.
Dennee, Charles Frederick (b. Oswego,
N. Y., 1863), educated at the New England
Conservatory in Boston, since 1883 has been
a leading piano-teacher in that institution,
and until 1897, when disabled by accident, also
a successful concert-player. See art.
Dickinson, Clarence (b. La Fayette, Ind.,
1873), trained at Chicago, Berlin and Paris,
appeared in concert in 1885 as pianist, and
has been organist and conductor since 1890,
chiefly in Chicago and New York. See art.
Donley, William Henry (b. New Haven,
Conn., 1863), after study at Boston and Lon-
don, began his long career as concert-organist
in 1882, becoming also an expert on organ-
construction. Lately he has been conductor
in Seattle. See art.
Douglas, Charles Winfred (b. Oswego, N.
Y., 1867), trained at Syracuse and Denver,
from 1889 was organist at Syracuse and sing-
ing-teacher in Syracuse University one year,
from 1894 at Denver, from 1907 canon pre-
ceptor at the Fond du Lac Cathedral, and
since 1910 living at Peekskill, N. Y. See art.
*Douillet, Pierre (b. Russia, 1861), came to
America as pianist before 1890, taught in
New York, from 1897 at the College of the
Pacific, San Jose, Cal., and since 1913 in his
own school in San Francisco. He has pub-
lished piano-pieces and a piano-concerto.
Douty, Nicholas (b. Philadelphia, 1870),
trained in Philadelphia, London and Paris,
from 1887 was organist in Philadelphia, and
since about 1895 has been eminent as concert-
tenor throughout the country, specializing
in the music of Bach. See art.
Eames, Emma Hayden (b. China, 1865, of
American parents), studied in Boston and
Paris, made her debut at Paris in 1889 and
at New York in 1891, and continued famous
as an operatic soprano for twenty years. See
Vol. i. 761, and art.
*Edwards, Julian (England, 1855-1910,
Yonkers, N. Y.), from 1888 lived at Yonkers,
mainly occupied with composition. Of his
operas, the more serious are ' Corinne ' (1880),
' Victorian ' (1883), ' Elfinella,' ' King Rene's
Daughter' (1893), 'The Patriot' (1907),
and the lighter, 'Jupiter' (1892), 'Friend
Fritz ' (1893), ' Brian Bom ' (1893), ' Goddess
of Truth' (1896), ' Madeleine ' (1902), ' Dolly
Varden' (1902); also the cantatas 'The
Redeemer,' ' Lazarus,' ' Mary Magdalen,'
' The Lord of Light and Love,' and the song-
collection Sunlight and Shadow.
Egbert, William Grant (b. Danby, N. Y.,
1869), a precocious violinist, appearing first
in 1877, studied at Syracuse and Prague,
where for three years he was concertmaster
of the Sevcik String Orchestra, in 1892 founded
the Ithaca Conservatory, of which he has been
director in 1892-1903 and since 1917.
Epstein, Marcus Isaac (b. Mobile, Ala.,
1855) and Epstein, Abraham Isaac (b. Mobile,
1857), brothers, educated at Leipzig, early
made a reputation for two-piano playing, and
since 1902 have conducted the Beethoven
Conservatory at St. Louis.
*Faelten, Carl (b. Thuringia, 1846), an
experienced piano-teacher, came to the Pea-
body Conservatory, Baltimore, in 1882, re-
moved to the New England Conservatory,
Boston, in 1885, becoming its head in 1890,
and since 1897 has directed his own Pianoforte
School with much success. See art. His
brother, Reinhold Faelten (b. 1856), has been
associated with him in all these undertakings.
Fairclough, George Herbert (b. Hamilton,
Ont., 1869), educated at Toronto and Berlin,
has been organist since 1882, from 1900 at St.
Paul, where he has also been teacher of piano
in Macalester Conservatory since 1904.
Fairclough, William Erving (b. near Barrie,
Ont., 1859), brother of the foregoing, trained
in London, from 1885 was organist in England,
from 1887 in Montreal, and since 1890 in
Toronto, where he also teaches in the College
of Music and is examiner for the University.
*Federlein, Gottlieb Heinrich (b. Bavaria,
1835), from about 1880 organist and vocal
teacher in New York, now living at the Presser
Home in Philadelphia. He has published
a vocal method and essays on Wagner's ' Ring.'
Finck, Henry Theophilus (b. Bethel, Mo.,
1854), graduated from Harvard in 1876,
studied there and in Munich, has been since
1881 musical critic for the ' Evening Post ' in
New York and a voluminous author. See art.
*Fique, Karl (b. near Bremen, 1867), since
1887 has been organist, pianist, conductor and
lecturer in Brooklyn. He has composed the
comic operas ' Papa Priesewitz ' (1898) and
' Der falsche Mufti ' (1901), a string-quartet,
some choral works, etc.
*Fischer, Emil (Brunswick, 1838-1914,
Hamburg), the distinguished operatic bass,
sang at the Metropolitan Opera House in 1885-
91, and in 1895 and '97. He decided to re-
main permanently as singing-teacher. See art.
Fisher, William Arms (b. San Francisco,
1861), studied in Oakland, New York and
London, taught at the National Conservatory,
New York, and since 1897 has been editor for
the Ditson Company in Boston. See art.
*Foley, Allan James [Signor Foli] (Ireland,
1835-1899, England), a notable operatic bass,
was widely known in America from about 1880.
See Vol. ii. 70.
*Fremstad, Olive Nayan (b. Sweden c.
1870), was brought as a child to Minneapolis,
from about 1886 was a church-singer, from
7: 1880-1890]
CHRONOLOGICAL REGISTER
67
1890 taught the piano in New York, studied
in Berlin, from 1896 was a leading stage-
soprano in Germany, and since 1903 has been
even more famous in America. See art.
*Freund, John Christian (b. England, 1848),
since 1871 in editorial work in New York,
about 1885 turned to music-journalism, largely
on the side of the music-trades, and since 1898
has published ' Musical America.' See art.
Gale, Walter C. (b. Cambridge, Mass., 1871),
graduated from the College of the City of New
York in 1891, began as organist in New York
in 1887 and has been continuously in service
since, from 1905 at the Broadway Tabernacle.
See art.
*Gariel, Edoardo (b. Monterey, Mex., 1860),
trained in Paris, since 1887 has been in govern-
ment employ, from 1887 at Saltillo, and since
1900 in Mexico City. See art.
*Geibel, Adam (b. Baden, 1855), brought
to America as a child, studied in Philadelphia,
and since 1885 has been active as organist,
conductor and publisher (from 1897). He
has written sacred cantatas, etc. He is one
of the striking examples of a blind musician.
*Gericke, Wilhelm (b. Styria, 1845), coming
from Vienna, in 1884-89 and 1898-1906 was
conductor of the Boston S>^llphony Orchestra,
since then in retirement at Vienna. See Vol.
ii. 159, and art.
*Godowsky, Leopold (b. Russian Poland,
1870), the distinguished pianist, visited Amer-
ica in 1884-85 and again in 1890-91, from
1892 taught in Philadelphia and from 1894 in
Chicago, leaving for Berlin in 1900, and since
1914 has made his headquarters at New York
or in the West. See Vol. ii. 194, and art.
*Gomes de Aranjo, Joao (b. Brazil, 1849),
trained as dramatic composer at Rio de Ja-
neiro and in Italy, produced the opera ' Car-
mosina ' in 1887 at Milan, followed by several
others, and has also written sjTnphonies and
other orchestral works. Since 1905 he has
taught in the Conservatory at Sao Paulo.
Goodrich, John Wallace (b. Newton, Mass.,
1871), studied in Boston and later in Munich
and Paris, was organist in Newton from 1886,
and since 1897 has been teacher and from 1907
dean at the New England Conservatory in
Boston, as well as organist in prominent
churches and with the Boston Symphony
Orchestra, and choral conductor. See art.
*Gorno, Albino (b. Italy, ? ), after acting
as Patti's accompanist in 1881-82, joined the
faculty of the Cincinnati College of Music,
where he still is. See art.
Gow, George Coleman (1). Ayer, Mass.,
1860), graduated from Brown University in
1884, studied at Pittsfield and Worcester,
Mass., later also at Berlin, from 1889 taught at
Smith College, and since 1895 has been pro-
fessor at Vassar College. See art.
Greene, Herbert Wilber (b. Holyoke, Mass.,
1851), trained in New York, London and
Paris, in 1885, with Charles B. Hawley (see
sec. 6), founded the Metropolitan College of
Music in New York, and in 1900 started the
Summer School of Singing at Brookfield
Center, Conn., which he still directs. Besides
his gifts as a singing-teacher, he has shown
much ability as an organizer, and has been
president of the Clef Club in New York in
1895-6, of the Music Teachers' National Asso-
ciation in 1897-8, and of the National Asso-
ciation of Teachers of Singing in 1909-10. He
has also been on the staff of ' The Etude ' and
' The Musician,' and edited The Standard
Graded Course of Singing, 4 vols. His wife,
*Caia Greene, nee Aarup (b. Denmark, 1864),
a fine pianist, educated at Copenhagen and
Paris, came to America about 1887.
Griswold, Gertrude (New York, 1861-1912,
England), studied in Paris, made a brilliant
debut as operatic soprano there in 1881 and
later was further successful in England, in 1887
singing with Patti in New York.
*Hackh, Otto Christoph (Wiirtemberg, 1852-
1917, Brooklyn), an able concert-pianist, in
1880-89 taught in the Grand Conservatory,
New York, in 1891-95 lived abroad, and from
1895 was again teacher and composer in New
York. His piano-works and songs are nu-
merous, effective and popular.
*Hahn, Reynaldo (b. Venezuela, 1874), was
taken as a chUd to Paris, where he was edu-
cated and has remained as an opera-composer.
For list of works see Baker, Diet, of Musicians,
p. 353; also see Vol. ii. 271.
Hale, Edward Danforth (b. Aquebogue, N.
Y., 1859), graduated from W^illiams College
in 1880, studied at the New England Con-
servatory, taught there from 1885, and since
1905 has been dean of the School of Music in
Colorado College.
Hall, Jay RoUin (b. Brighton, O., 1860),
trained at Oberlin, Leipzig, and later Berlin,
from 1884 was head of the music-school in the
Illinois Wesleyan University, from 1892
teacher in the Oberlin Conservatory, and since
1898 has been organist at Cleveland.
*HaU, Walter Henry (b. England, 1862),
arriving in 1883, from 1884 was organist in
Germantown, Pa., from 1890 in Albany, and
in 1896-1913 at St. James', New York, being
also from 1889 conductor of choral societies
in Brooklyn and New York, and since 1909
professor in Columbia University. See art.
Hamilton, Clarence Grant (b. Providence,
1865), graduated from Brown University in
1888, studied in Boston and London, from 1889
was organist in Providence, and since 1904 has
been professor at Wellesley College, as well as
organist and author. See art.
*Hammerstein, Oscar (Prussia, 1847-1919,
New York), came to New York as a cigar-
maker, from 1888 was noted as a daring pro-
moter of theatrical and operatic enterprises,
among which was the Manhattan Opera House,
opened in 1906, and the Philadelphia Opera
House, opened in 1908. See art.
Hammond, William Churchill (b. RockvUle,
Conn., 1860), studied in Hartford and New
58
CHRONOLOGICAL REGISTER
[7: lSSO-1890
York, was organist in Connecticut, and since
1885 has been at Holyoke, Mass., becoming
widely known as a superior concert-player.
From 1890 he also taught at Smith College,
and since 1900 has been professor at Mount
Holyoke College. See art.
♦Harris, Charles L. M. (b. England, 1863),
educated at Toronto, from about 1886 was
identified with Hamilton, Ont., as organist,
conductor and teacher, and is now organist at
Port Huron, Mich.
Harris, WilUam Victor (b. New York, 1869),
studied in New York and since 1889 has been
organist, conductor and composer there, from
1902 leading the St. Cecilia Club. See art.
*Harriss, Charles Albert Edwin (b. England,
1862), since 1883 has been organist, conductor
and composer at Montreal, recently returning
to England. See art.
*Hartmann, Arthur Martinus (b. Hungary,
1881), was taken as a child to Philadelphia,
studied there and in Boston, appeared as early
as 1887 as child- violinist, developing into a
finished virtuoso. See art.
Hayden, Philip Cady (b. Brantford, Ont.,
1854), educated at Oberlin, has been music-
supervisor at Quincy, 111., in 1888-1900, and
also at Keokuk, la., since 1892. Since 1900 he
has edited ' School Music,' devoted to the in-
terests of public-school workers, and has been
prominent in various teachers' associations.
Hedden, Warren Rosecrans (b. New York,
1861), trained in New York, has been church-
and concert-organist there and elsewhere, be-
sides activity in the A. G. O. See art.
Henderson, William James (b. Newark, N.
J., 1855), in journalistic work since 1883,
since 1887 has been a leading musical critic in
New York, first on ' The Times ' and later on
' The Sun,' and also a brilliant lecturer and
author. See art.
Henry, Hugh Thomas (b. Philadelphia,
1862), a highly trained Roman Catholic priest,
has since 1889 been professor in Overbrook
Seminary in Philadelphia, emphasizing the
subject of church-music. In 1905-09 he edited
' Church-Music,' and has written for other
journals, including ' The Musical Quarterly.'
*Henschel, Isidor Georg (b. Silesia, 1850),
the eminent baritone, was in 1881-84 conductor
of the Boston Symphony Orchestra, having
previously toured as singer. In 1905-08 he
taught in New York. See Vol. ii. 381-2,
and art.
♦Herbert, Victor (b. Ireland, 1859), the well-
known 'cellist, came to New York in 1880 as
leading player in several orchestras, conductor
and composer, remaining there except in 1898-
1904, when he led the Pittsburgh Orchestra.
See Vol. ii. 384, and art. His wife, Therese
Herbert, n6e Forster, earlier an opera-singer
in Vienna, appeared in New York from 1887.
♦Herrmann, Eduard (b. Germany, 1850),
since 1871 concert-violinist, came to New
York in 1881, organized a Quartet and later a
Trio of importance, and has been a useful
teacher. He has written much violin- and
chamber-music, including a concerto, quartet,
quintet and sextet, a violin-method, songs, etc.
Heydler, Charles (b. Cleveland, 1861), has
been known as 'cellist in chamber-ensembles
in Detroit, Buffalo and Cleveland for many
years, and since 1885 has been head of the
Cleveland Conservatory.
Higginson, Henry Lee (New York, 1834-
1919, Boston), a wealthy Boston banker, in
1881 founded the famous Boston Symphony
Orchestra, which he continued to control
until 1918. See art.
♦Hofmann, Josef Casimir (b. Galicia, 1876),
gave over fifty concerts in America in 1887-88,
and since 1898 has been immensely popular,
spending much time in residence. See Vol.
ii. 417, and art.
Holman-Black, Charles (b. Philadelphia,
? ), trained in New York and Paris, since
about 1880 has been widely known as an oper-
atic singer, appearing in America from 1888
for some years, but mostly in England and
France. He lives in Paris.
Hood, Helen (b. Chelsea, Mass., 1863),
studied in Boston and Berlin, and is notable
in the Boston circle as a gifted composer of
songs. See art.
*Hopekirk, Helen (b. Scotland, 1856),
already a successful pianist, toured in America
in 1883-85 and in 1891-92, and since 1897 has
lived in Boston as player, teacher and com-
poser. See art.
*Houseley, Henry (b. England, 1851), having
been organist in England, came to America in
1888, and settled in Denver as cathedral-organ-
ist, choral conductor and composer. See art.
Howland, William (b. Worcester, Mass.,
1871), studied in New York and London, in
1889 began to be favorably known as a concert-
and operatic bass, from 1895 was active in
New York, Worcester and Boston, from 1900
taught in the University of Michigan, and
since 1914 has taught in Detroit.
Humiston, William Henry (b. Marietta, O.,
1809), studied in Chicago and New York,
from 1889 was organist in or near Chicago,
from 1896 at East Orange, N. J., and in 1900-
09 at Rye, N. Y. In 1909-12 he conducted
operatic troupes, and since 1912 has been
connected with the New York Philharmonic
Society, from 1916 as assistant-conductor.
See art.
Huneker, James Gibbons (b. Philadelphia,
1800), after study in Philadelphia, New York
and Paris, from 1881 taught at the National
Conservatory in New York, and since 1891 has
become conspicuous as a brilliant critic and
author. See art.
Huss, Henry Holden (b. Newark, N. J.,
1862), son of George J. Huss (see sec. 4),
trained in New York and Munich, has been
since 1885 a. leading pianist, teacher and com-
poser in New York. See art.
♦Hyllested, August (b. Sweden, 1858, of
Danish parents), after notable early tours as
7: 1880-1890]
CHRONOLOGICAL REGISTER
59
pianist abroad, in 1885 toured in America, from
1886 was assistant-director of tlie Chicago Mu-
sical College, from 189 1 taught in the Gottschalk
Lyric School, in 1894-97 concertized in Europe,
and then returned to Chicago. See art.
*Januschowsky, Georgine von [Frau Adolf
Neuendorff] (Austria, 1859 ?-1914, New York),
a gifted operatic soprano, sang successfully in
New York in 1880-91 and in 1893-95 in
Vienna.
Johns, Clayton (b. Newcastle, Del., 1857),
at first educated as an architect, studied music
at Boston and Berlin, and since 1884 has made
his headquarters at Boston as concert-pianist,
teacher, composer and author. See art.
*Johnstone, Arthur Edward (b. England,
1860), brought to New York as a boy and
educated there, has devoted himself to sys-
tematizing piano-methods and manuals for
public-school music, especially as editor for
the American Book Company. See art.
Johnstone-Bishop, Mrs. Genevra (b. Van
Wert, O., 1864), trained as a dramatic soprano
at Oberlin, London and Paris, made her debut
in 1889, toured extensively in England and
America, and has lately taught in Chicago.
Jones, F. O., in 1886 published a notable
Handbook of American Music and Musicians,
compiled with care and intelligence.
Juch, Emma Antonia Joanna (b. Austria,
1865, of American parents), trained in New
York, appeared there in concert in 1882 and
in opera in 1883, and until her retirement
about 1895 was a favorite soprano. See art.
*Kaun, Hugo (b. Prussia, 1863), the dis-
tinguished composer, was teacher and con-
ductor at Milwaukee in 1887-1902. See art.
Kelley, Edgar Stillman (b. Sparta, Wis.,
1857), studied at Chicago and Stuttgart, from
1880 was organist in Oakland and San Fran-
cisco, from 1886 lectured in New York, from
1902 taught in Berlin, and since 1910 has been
theory-teacher, composer and author at Cin-
cinnati. See Vol. ii. 562-3, and art.
Kelly, Thomas James (b. Ireland, 1870), in
1889-1916 was organist at Omaha, singing-
teacher, conductor and critic, having charge of
the music at the Exposition there in 1898,
conducting festivals in 1911-15 and leading
the Mendelssohn Choir. Since 1916 he has
taught in Chicago, specializing in recitals of
Irish music and community-singing.
Kelso, Hugh Alexander, Jr. (b. Charleston,
111., 1862), trained at Chicago, from 1885
concert-pianist at New York, has been since
1893 head of the School of Musical and Drama-
; tic Art in Chicago. See art.
*Kneisel, Franz (b. Rumania, 1865, of
German parents), came to the Boston Sym-
P phony Orchestra as concertmaster in 1885,
remaining till 1903, and since 1905 has taught
at the Institute of Musical Art, New York.
In 1886 he founded the famous Kneisel Quartet
(dissolved in 1917). See Vol. ii. 589, and art.
Kobbe, Gustav (New York, 1857-1918, Bay
Shore, N. Y.), trained at Wiesbaden and New
York, a graduate of Columbia (arts, 1877,
law, 1879), was for over thirty years a facile
writer on musical subjects. See art.
*Kreisler, Fritz (b. Austria, 1875) , the gifted
violinist, first toured in America in 1889, came
again in 1900, and often since. See Vol. ii.
599-600, and art.
Kjoeger, Ernest Richard (b. St. Louis,
1862), studied at St. Louis, and since 1883 has
been active there as organist, pianist, teacher,
conductor and composer, also as concert-pianist
and lecturer elsewhere. See art.
*Kronold, Hans (b. Poland, 1872), appeared
in New York as 'cellist in 1886, played with
the Symphony Society in 1893-97, and has
taught many years at the New York College of
Music. See art.
*Kuzd6, Victor (b. Hungary, 1869), visited
America as concert-violinist in 1884, and,
after study in London, returned in 1887,
settling as player and teacher in New York.
He has published several works for violin.
Lachmund, Carl Valentine (b. Booneville,
Mo., 1857), trained at Wiesbaden and Berlin
and under Liszt, appeared as pianist in Amer-
ica in 1880 and '87, from 1891 has taught in
New York, and in 1890-1908 conducted the
Women's String Orchestra, which he organ-
ized. See art.
*Lahee, Henry Charles (b. England, 1856),
came to Boston about 1883, in 1891-99 was
secretary of the New England Conservatory,
and since then has conducted a musicians'
agency. He has published a series of popular
historical handbooks — singers, 1898, violin-
ists, 1899, pianists, 1900, the opera in America,
1901, organists, 1902, opera-singers, 1912.
L'AlIemand, Pauline, nee Ellhasser (b.
Syracuse, 1862?), educated at Dresden and
Paris, appeared with the American Opera
Company in New York in 1886 as a brilliant
operatic soprano.
*Lambert, Alexander (b. Poland, 1862),
came to New York in 1880 as a visiting pianist,
returned in 1884, in 1887-1905 was director
of the College of Music, and has continued
since as teacher. See art.
*Lankow, Anna (Rhine Prov., 1850-1908,
Rhine Prov.), since 1870 a noted singer, came
to New York in 1885, first as concert-singer,
later as teacher. She published Die Wissen-
schaft des Kunstgesangs, 1899, 4th ed., 1905.
*Leefson, Maurits (b. Holland, 1861), came
as concert-pianist in 1887 to Philadelphia,
where he taught for some years in the Musical
Academy, and in 1899 joined Gustav Hille
(see sec. 6) in the Leefson-Hille Conservatory,
which he still conducts.
Lehmann, George (b. New York, 1865),
trained at Leipzig and Berlin, since 1883 has
been violinist, teacher, conductor and writer,
from 1886 at Cleveland, from 1889 abroad,
from 1893 in New York, from 1907 in Berlin,
and since 1916 again in New York. See art.
*Lehmann, Lilli (b. Bavaria, 1848), a famous
stage-soprano since 1865, came to America in
60
CHRONOLOGICAL REGISTER
[7: 1880-1890
1885-89, returning in 1891-92. See Vol. ii.
667.
*Lewing, Adele (b. Hanover, 1866), a
Leipzig graduate in 1885, taught in Chicago
and Boston and became known as concert-
pianist, in 1893-96 studied in Vienna, and
since 1897 has been player and composer in
New York. See art.
Lilienthal, Abraham Wolf (b. New York,
1859), studied in New York, from about 1880
was violinist under Damrosch and Thomas,
in 1891-93 played viola in the New York
String Quartet, and has taught composition
as well as string-instruments. He has written
a violin-sonata (1911), a trio, two quartets, a
quintet, a sextet, dances and transcriptions
for orchestra, and songs.
Listemann, Paul (b. Boston, 1871), son of
Bernhard Listemann (see sec. 5), highly
trained as a violinist, from 1888 toured with
his father and uncle, in 1890-95 studied at
Leipzig and Berlin, in 1895-97 was concertmas-
ter at Pittsburgh and New York, then toured
with the Redpath Concert Company, and since
1903 has taught in New York and played at
the Metropolitan Opera House.
Locke, Flora Elbertine, n6e Huie (b. Wilson,
N. Y., 1866), studied at Boston, New York
and Leipzig, has taught in Buffalo since be-
fore 1890, from 1904 devoting herself to per-
fecting methods for teaching children, and
publishing The Foundation of Music in Rhymes
and Songs, 1908, '16.
*Loeffler, Charles Martin Tornov (b. Alsace,
1861), came as an experienced violinist to the
Boston Symphony Orchestra in 1883, and
after twenty years' service devoted himself to
composition. See Vol. ii. 763, and art.
*Lorenz, Julius (b. Hanover, 1862), came
as a visiting pianist in 1887-88 with Senkrah,
in 1895-1911 was conductor of the Arion
Society, New York, and other societies, and
then returned to Glogau, Silesia. For works,
see Baker, Diet, of Musicians, p. 550.
Lucas, Clarence (b. Niagara, Ont., 1866),
trained at Montreal and Paris, from 1889
taught theory at Toronto and was conductor
also at Hamilton, from 1891 was in the Utica
Conservatory, and since 1893 has lived in
London as composer, editor and critic, also
in New York. See Vol. ii. 776, and art.
Luckstone, Isidore (b. Baltimore, 1861),
early associated as musician with Jefferson the
actor, in 1883-84 was accompanist for Urso,
in 1884-91 for Remenyi on his world-tour, then
with other artists till 1897, when he settled
in New York.
*Lund, John Reinhold (b. Hamburg, 1859),
in 1884 came as assistant-conductor to Dam-
rosch, continuing with the German Opera
Company, from 1887 led the Buffalo Orchestra
and Orpheus Society, from 1903 toured as
conductor of Herbert's operas, and since 1914
has been in Buffalo again. See art.
Lussan, Zelie de [Mme. Fronani] (b. New
York, 1863), trained as an operatic soprano
by her mother, was heard in concert in 1879,
from 1885 was with the Boston Ideal Opera
Company, from 1889 with the Carl Rosa
Company, in 1894^95 at the Metropolitan
Opera House (also in 1900-01), from 1895 was
popular at London, Paris and Madrid, but re-
tired after her marriage in 1907.
Lynes, Frank (Cambridge, Mass., 1858-
1913), trained in Boston and Leipzig, from
1885 was organist in Boston. He composed
chamber-music, piano-pieces, part-songs and
songs.
*Maas, Louis Philipp Otto (Hesse, 1852-
1889, Boston), having taught since 1875 at the
Leipzig Conservatory, from 1880 was pianist,
teacher and composer in Boston. See art.
MacDowell, Edward Alexander (New York,
1861-1908, New York), studied in New York,
Paris, Wiesbaden and Frankfort, from 1882
taught at Wiesbaden, from 1888 lived in
Boston as concert-pianist and gifted composer,
from 1896 was professor at Columbia Univer-
sity, after 1902 suffered from ill-health, retir-
ing in 1904. See Vol. iii. 4-6, and art.
*Macfarlane, William Charles (b. England,
1870), trained in New York, from 1885 was
organist there, in 1912-19 municipal organist
at Portland, and now in New York, See art.
*Mahr, Emil (Hesse, 1851-1914, Boston),
who had been violinist at Bayreuth and under
Richter and Henschel in London, from 1887
was a valued instructor at the New England
Conservatory in Boston.
Manchester, Arthur Livingston (b. Bass
River, N. J., 1862), educated in Philadelphia,
began organ-playing in 1875, from 1882 taught
in schools at Beaver, Pa., Clarion, Pa., and
from 1886 in Abingdon, Va., from 1893 was
editor of ' The Etude ' and from 1896 of
' The Musician,' from 1904 dean of music at
Converse College in South Carolina, from 1913
at Southwestern University in Texas, and since
1918 at Hardin College in Missouri. See art.
*Mannes, David (b. New York, 1866),
trained in New York, Berlin and Brussels,
early played in New York in theater-or-
chestras, from 1891 was in the Symphony So-
ciety, becoming concertmaster in 1898, and
since 1902 has led the Symphony Club and
taught in the Music School Settlement and
other schools. See art. His wife, Clara
Mannes, nee Damrosch (b. Silesia, 1869),
daughter of Leopold Damrosch (see sec. 6), is
an accomplished pianist, has taught since 1889,
and has joined him since 1898 in recitals.
Marcosson, Sol (b. Lotiisville, 1869), trained
mostly in Berlin, appeared as boy-violinist in
1877,|toured extensively abroad and in Amer-
ica, from 1892 was first violin in the Men-
delssohn Quintette Club of Boston, from 1893
in the Philharmonic Club of New York, from
1895 concertmaster in the Cleveland Sym-
phony Orchestra, from 1896 in the Chicago
Orchestra, has taught much at Chautauqua
and Lake Erie College, and now conducts a
music-school in Cleveland,
7: 1880-1890]
CHRONOLOGICAL REGISTER
61
*Margulies, Adele (b. Austria, 1863), made
her d§but as pianist in 1881 at New York,
since 1887 has been teacher at the National
Conservatory, in 1890-92 started a Trio,
which was reorganized in 1904 and has become
famous. See art.
Mason, Henry Lowell (b. Boston, 1864), son
of Henry Mason (see sec. 4), entered the
employ of Mason & Hamlin, Boston, in 1888,
becoming head of the firm in 1906. Since
1915 he has been president of the CeciHa
Society. He has written The Modern Artistic
Pianoforte, 1901, The History and Development
of the American Cabinet Organ, 1901, and Opera-
Stories, 1911, and is preparing an authoritative
biography of his grandfather, Lowell Mason.
*Mattioli, Lino (b. Italy, 1853), came to New
York in 1884 as 'cellist, and since 1885 has
been singing-teacher at the Cincinnati College
of Music. He has written for piano, 'cello
and voice.
Maxson, Frederick (b. Beverly, N. J., 1862),
trained in Philadelphia and Paris, since 1884
has been organist in Philadelphia, teaching since
1906 at the Leefson-Hille Conservatory and
also appearing in recital. See art.
*Meltzer, Charles Henry (b. England, 1852),
since 1888 has been critic, librettist and trans-
lator of opera-texts in New York. See art.
Miller, Dayton Clarence (b. Strongsville,
O., 1866), since 1890 professor of physics at
the Case School of Applied Science, Cleveland,
has published Boehm on the Flute and Flute-
Playing, 1908, and The Science of Musical
Sounds, 1916, besides many articles. He has
much extended the science of musical acoustics.
Miller, Frank E. (b. Hartford, Conn., 1859),
graduated from Trinity College in 1881 and
was trained as a physician, becoming known
as a specialist in laryngology. See art.
*Mohr, Hermann (near Hamburg, 1830-
1896, Philadelphia), who had taught in Berlin
since 1850, from 1886 was in the Philadelphia
Musical Academy. He wrote the cantata
' Bergmannsgruss,' male choruses and songs.
MoUenhauer, Louis (b. Brooklyn, 1863),
son of Heinrich MoUenhauer (see sec. 4), was
trained as violinist by his uncle, toured for
some years in quintet-parties, in 1889 suc-
ceeded his father in his Brooklyn school, and
since 1891 has been head of his own school.
*Monestel, Alexander (b. Costa Rica, 1865),
studied at Brussels, from 1884 was organist
at the Costa Rica Cathedral and professor in
the Seminary, from 1902 organist in Brussels,
and since 1909 organist in Brooklyn. He has
written fourteen masses, an oratorio, ' The
Seven Last Words,' and instrumental music.
Moore, Homer, from 1887 was a singer in
opera and oratorio in New York. In recent
years he has been singer, teacher and critic for
the ' Republic ' in St. Louis, where his opera
' Louis XIV ' was given in 1917. Other operas
are " The Fall of Rome ' and the trilogy (text
and music) ' The New World,' ' The Pilgrims,'
' The Puritans.'
♦Morgan, Tali Esen (b. Wales, 1858), came
to Scranton, Pa., in 1876 and was engaged for
some years in journalism, from 1887 took up
festival-work with Walter Damrosch and
Seidl, first in New York and soon at Ocean
Grove, N. J., where he has conducted summer
gatherings of singers and organists.
Morrison, Charles Walthall (b. Covington,
Ky., 1856), trained at Oberlin, Leipzig and
Berlin, since 1880 has been in the faculty of
the Oberlin Conservatory, in 1902 becoming
its efficient director.
Morse, George Francis (b. Brooklyn, ? ),
educated in Brooklyn and New York, from 1887
was organist at Nyack, N. Y., and in 1890-
1915 in Brooklyn. He has written ensemble-
works for organ and other instruments.
Morsell, Herndon (b. Alexandria, Va.,
1858), trained in Washington, Milan and
Florence, early appeared as concert- and oper-
atic tenor, and for many years has been singer
and choral conductor in Washington.
*Musin, Ovide (b. Belgium, 1854), notable
as violinist since 1870, came to New York in
1883 and toured extensively until 1892, from
1897 was located at Li^ge, but visited New
York steadily until 1908, when he established
a school there. See Vol. iii. 342, and art. His
wife, nee Annie Louise Hodges (b. 1856), a
competent soprano, has joined him in tours.
•^Neupert, Edmund (Norway, 1842-1888,
New York) , well known as pianist and teacher
at Berlin, Copenhagen and Moscow, from 1882
was prominent in New York. See art.
Nevada, Emma [real name Wixom] (b. near
Nevada City, Cal., 1862), studied for the stage
in Vienna, from 1880 won European fame as a
soprano, appeared in New York from 1884,
and after some years settled in Paris. See
Vol. iii. 365, and art.
Nevin, Ethelbert Woodbridge (Edgeworth,
Pa., 1802-1901, New Haven, Conn.), studied
at Pittsburgh, New York, Boston, Dresden
and Berlin, spent a short life at various places,
devoting himself to composing songs of un-
usual poetic quality. See Vol. iii. 366, and art.
His older relative, George Balch Nevin (b.
Shippensburg, Pa., 1859) , is also a song-com-
poser.
*Nikisch, Artur (b. Hungary, 1855), famous
as violinist and conductor, in 1889-93 was
leader of the Boston Symphony Orchestra, and
in 1912 returned with the London Symphony
Orchestra. See Vol. iii. 379-80, and art.
Nikita [Louisa Margaret Nicholson] (b.
Philadelphia, 1872), after early training in
Washington, sang in a traveling opera-troupe,
became a facile coloratura-soprano, studied
in Paris, won renown in Germany, and in 1894
became a leading singer at the Opera at Paris.
Norris, Homer Albert (Wayne, Me., 1860-
1920, New York) , studied at Boston and Paris,
from before 1890 was organist at Lewiston and
Portland, Me., from 1892 at Boston, and in
1904-13 at St. George's, New York, becoming
known as composer and author. See art.
62
CHRONOLOGICAL REGISTER
[7: 1880-1890
Noyes, Edward Hibbard (b. London, Ont.,
1867), studied as pianist in Chicago, Berlin
and Vienna, in 1885-87 was organist in and
near Boston, in 1890-95 toured in Europe, and
since 1895 has been an efficient teacher in
Boston and Hartford, witli some ensemble-
playing. See art.
O'Brion, Mary Eliza (b. Limerick, Me.,
1859), highly trained as a pianist in Portland,
Florence, Frankfort and Vienna, from 1883
for several years appeared in Boston and else-
where with success, but finally devoted her-
self to teaching.
Oesterle, Otto (St. Louis, 1861-1894, Darien,
Conn.), from about 1880 was an accomplished
flutist in leading New York orchestras, also
teaching in the National Conservatory.
Orth, Lizette E., n6e Blood (d. 1913, Boston),
from 1883 wife of John Orth (see art.), wrote
piano-pieces, songs, operettas, etc., for children.
O'Shea, John Augustine (b. Milford, Mass.,
1864), trained in Boston, since about 1887 has
been concert-organist there and lately also
supervisor in the public schools. See art.
Page, Nathaniel Clifford (b. San Francisco,
1866), brought out his first opera in 1889, and,
besides much composition, since 1905 has been
in editorial work in Boston and New York.
See art.
Parker, George Albert (b. Kewanee, 111.,
1856), studied at Chicago, Stuttgart, Berlin
and Paris, since 1882 has taught in the School
of Music at Syracuse University, becoming its
head in 1888 and Dean of Fine Arts in 1906.
He is an accomplished pianist and organist.
Mus.D. of Syracuse University in 1893.
Parker, Horatio William (b. Auburndale,
Mass., 1863-1919, Cedarhurst, N. Y.), trained
in Boston and Munich, from 1885 taught at
Garden City, N. Y., from 1888 was organist
at New York, in 1893-1901 at Trinity Church,
Boston, and from 1894 was head of the Yale
School of Music. See Vol. iii. 622-3, and art.
Parkhurst, Howard Elmore (Ashland, Mass.,
1848-1916, Lavallette, N. J.), for many years
organist in New York, published a System of
Harmony, 1908, an organ-method, 1911, The
Church Organist, 1913, The Beginnings of the
World's Music, 1914, and Rambles in Music-
Land, 1914, besides books on birds and plants.
He also composed somewhat in large forms.
Pasmore, Henry Bickford (b. Jackson, Wis.,
1857), studied in San Francisco, Leipzig and
London, since 1885 has been organist, teacher
and composer in San Francisco. See art.
Perry, Edward Baxter (b. Haverhill, Mass.,
1855), blind from infancy, studied in Boston
and in Germany, in 1881-83 taught in the
Oberlin Conservatory, and since then has
devoted himself mostly to giving piano-recitals
in all parts of the country. See art.
Porter, Frank Addison (b. Dixmont, Me.,
1859), trained at Boston and Leipzig, since
1884 has been piano-teacher at the New Eng-
land Conservatory and since 1892 also director
of normal work in piano. He haa published
instruction-books and composed a sonata and
other piano-music.
Powell, Maud [Mrs. H. Godfrey Turner]
(Peru, 111., 186S-1920, Uniontown, Pa.), having
studied at Chicago, Leipzig, Berlin and Paris,
from 1885 was universally known as a violinist
of the first rank. See Vol. iii. 802, and art.
Pratt, John Harraden (b. Freeport, Me.,
1848), trained in Portland, Oakland and
Leipzig, has been organist, teacher and com-
poser in or about San Francisco since about
1885. See art.
*Preyer, Carl Adolph (b. Baden, 1863),
came to America in 1884, in 1889-91 taught at
Baker University in Kansas, and since 1893 has
been professor at the University of Kansas,
becoming in 1915 associate dean of the School
of Fine Arts. See art.
*Protheroe, Daniel (b. Wales, 1866), from
1886 conducted a Welsh choral society at
Scranton, Pa., from 1894 was in Milwaukee aa
baritone and teacher, and since 1904 has also
been conductor in Chicago. See art.
Randolph, Harold (b. Richmond, Va., 1861),
studied at Baltimore, from 1885 became promi-
nent there as organist and notable concert-
pianist, and since 1898 has been head of the
Peabody Conservatory. See art.
Reuss, Eduard (New York, 1851-1911,
Saxony), studied at Gottingen, Weimar and
Paris, from 1880 taught at Karlsruhe, from
1896 at Wiesbaden (head of the Conservatory
from 1899), and from 1902 was professor at
the Dresden Conservatory. He visited Amer-
ica in 1902-03 with his wife, who is a noted
operatic singer. He published a notable
biography of Liszt in 1898 and a work on
Liszt's songs in 1906, besides many articles.
Rivarde, Serge Achille (b. New York, 1865),
studied at New York and Paris, in 1881-84
appeared as violinist in New York, in 1886-91
was concertmaster under Lamoureux at Paris,
and since 1899 has taught in the London
Royal College. See Vol. iv. 110.
Rogers, James Hotchkiss (b. Fair Haven,
Conn., 1857), studied in Chicago, Berlin and
Paris, began teaching in 1882 at Burlington,
la., and since 1883 has been organist and
composer at Cleveland. See art.
*Rosenfeld, Maurice Bernard (b. Austria,
1867), came to America aa a boy, studied at
Chicago, from 1888 taught piano there, since
1907 has been critic and editor, and since 1916
head of his own school. See art.
*Rotoli, Augusto (Italy, 1847-1904, Boston),
from 1885 taught at the New England Con-
servatory, Boston. While maestro in Italy
he wrote a mass and a psalm for the funeral
of Victor Emmanuel in 1878.
*Ruifrok, Henri WUlem Johan (b. Holland,
1862), from 1889 was music-director at
Valparaiso University in Indiana, from 1892
at the Gottschalk Lyric School, Chicago, from
1895 at the Musical College, Des Moines,
from 1904 head of his own school there, and
since 1915 professor at Drake University.
7: 1880-1890]
CHRONOLOGICAL REGISTER
63
Russell, Ella [Countess di Rhigini] (b.
Cleveland, 1864), studied at Paris and Milan,
and since 1882 has been a celebrated operatic
soprano on the Continent and especially in
England. See art.
Russell, Lillian [Helen Louise Leonard,
now Mrs. Alexander P. Moore] (b. Clinton,
la., 1861), educated in Chicago, from about
1880 was long a favorite stage-soprano in
light opera and vaudeville.
Saenger, Gustav (b. New York, 1865), from
about 1885 violinist and theater-conductor, has
since 1897 been editor for Carl Fischer. See art.
Saenger, Oscar (b. Brooklyn, 1868) trained
in New York, has taught singing there since
1889, and was for a time also an effective
stage-baritone. See art.
Sanderson, Sibyl (Sacramento, Cal., 1S65-
1903, France), trained as an operatic soprano
at San Francisco and Paris, was from 1888
noted at Paris, chiefly in connection with
Massenet's works, appearing in America in
1895 and '98. See art.
*Santelmann, William Henry (b. Hanover,
1863), trained at Leipzig, from 1887 played
in the U. S. Marine Band, from 1895 con-
ducted a theater-orchestra, and since 1898
has led the Marine Band. See art.
*Sapio, Romualdo (b. Sicily, 1858), from
before 1890 was concert-conductor for Patti,
Albani and Nordica, from 1892 taught singing
at the National Conservatory, New York, and
has been otherwise active.
*Scheve, Edward Benjamin (b. Westphalia,
1865), from 1888 organist and teacher at
Rochester, from 1892 was concert-organist
and head of his own school at Chicago, and
since 1906 professor at Grinnell College in
Iowa. See art.
*Schiller, Madeline [Mrs. Marcus E. Ben-
nett] (England, 1850?-1911, New York),
after success as concert-pianist in England
and Australia, lived for some years in Boston,
then toured abroad, and after 1895 was a
prominent teacher in New York.
Schirmer, Gustave (New York, 1864-1907,
Boston), and Schirmer, Rudolph Ernest (New
York, 1859-1919, Santa Barbara, Cal.), sons
of Gustav Schirmer (see sec. 4), became
partners in their father's publishing-business
in New York in 1885, making it one of the
K, great music-houses of the world. See art.
Ikl *Schlesinger, Sebastian Benson (Hamburg,
« 1837-1917, France), studied in Boston, where
later for years he was German Consul, and,
though assuming to be but an amateur, com-
posed many graceful songs and piano-pieces.
*Schneider, Hans (b. Posen, 1863), came to
Providence in 1887 as choral and orchestral
conductor, establishing a piano-school in 1904,
which he still conducts. He has specialized
in the psychology of piano-playing, writing
many articles for periodicals.
Schoen, Isaac Leopold (b. St. Louis, 1858),
trained at St. Louis, New York and Berlin, since
1887 has been prominent as violinist at St.
Louis, in orchestral and chamber-organizations,
and now teaches in the Kroeger School of Music.
*Schradieck, Henry (Hamburg, 1846-1918,
New York), in 1883-89 was violin-teacher at
the Cincinnati College of Music, from 1898
taught in Philadelphia at the Broad Street
Conservatory, and from 1912 was at the Insti-
tute of Applied Music in New York. See Vol.
iv. 274, and art.
*Schuecker, Heinrich (Austria, 1867-1913,
Boston), in 1885 came as harpist in the Boston
Symphony Orchestra and teacher at the New
England Conservatory. In 1893 he formed a
Trio (violin, 'cello and harp) with Jacques
Hoffmann and Karl Barth.
*Schulz, Leo (b. Posen, 1865), a superior
'cellist, from 1889 in the Boston Symphony
Orchestra and the New England Conservatory,
since 1890 has been in the New York Phil-
harmonic Society, and in 1904-15 in the
Margulies Trio. See art.
Sealy, Frank Linwood (b. Madison, N. J.,
1858), organist and conductor for many years
at Newark, N. J., has also been efficient as
organist for the New York Oratorio Society.
*Seeboeck, William Charles Ernest (Austria,
1859-1907, Chicago), trained as pianist at
Vienna and Petrograd, from 1881 was player,
teacher and composer in Chicago. See art.
*Seidl, Anton (Hungary, 1850-1898, New
York), the eminent Wagner interpreter, in
1885-91 and from 1895 was conductor at the
Metropolitan Opera House in New York, from
1891 also conductor of the Philharmonic
Society. See Vol. iv. 408, and art.
*Sembrich, Marcella [Praxede Marcelline
Kochanska] (b. Galicia, 1858), an operatic
and concert-singer of the first rank, appeared
in New York in 1883-84, and in 1898-1909
sang at the Metropolitan Opera House. See
Vol. iv. 409-10, and art.
Senkrah [Arma Leoretta Hoffmann, n6e
Harkness] (New York, 1864-1900, Saxony),
educated at Leipzig, Brussels and Paris, from
1882 became celebrated as a vioHnist on the
Continent.
Shackley, Frederick iTewell (b. Laconia, N.
H., 1868), trained in Boston, from 1885 was
organist at Lewiston, Me., and since 1892 in
Boston. He has written valuable church-
music and organ-pieces and transcriptions.
Shepard, Frank Hartson (Bethel, Conn.,
1863-1913, Orange, N. J.), trained in Boston,
from 1881 was organist at various places, in
1886-90 was in Leipzig studying, and from
1888 organist at the English Chapel, and in
1891, with his wife Annie Agnes Shepard,
nee Boll (b. New York, 1859), established
a piano-school at Orange, N. J., which she
continues. They have published several in-
struction-books, of which the most noted is
Harmony Simplified (many editions) .
Sinsheimer, Bernard (b. New York, 1870),
trained as violinist at Paris and Berlin, from 1886
appeared as soloist in New York, and since 1902
has led his own Quartet with notable enterprise.
64
CHRONOLOGICAL REGISTER
[7: 1880-1890
Smith, Ella May, nee Dunning (b. Uhricha-
ville, O., 1860), since about 1880 has been active
as teacher, organist and critic, chiefly in Col-
umbus, and prominent in music-club enter-
prises.
Smith, Wilson George (b. Elyria, O., 1855),
studied at Cincinnati and Berlin, and since
1882 has been a prominent teacher and com-
poser at Cleveland. See art.
Spalding, "Walter Raymond (b. North-
ampton, Mass., 1865), graduated at Harvard in
1887, in 1887-91 was instructor in languages
at St. Mark's School, Southboro, Mass., from
1891 studied in Paris and Munich, and since
1895 has been in the music-faculty of Harvard
University. See art.
*Spicker, Max (Prussia, 1858-1912, New
York), from 1882 conducted the Beethoven
Mannerchor in New York, from 1888 was head
of the Brooldyn Conservatory, and from 1895
taught at the National Conservatory and was
reader for the Schirmer firm. See art.
Stair, Patty (b. Cleveland, 1869), trained in
Cleveland, since 1889 has taught in the Cleve-
land Conservatory, besides able work as or-
ganist and composer. See art.
Stanton, Edmund C, is notable as the
effective manager of German opera at the
Metropolitan Opera House, New York, in
1885-91, succeeding Leopold Damrosch.
Sterling, Winthrop Smith (b. Cincinnati,
1859), was educated at Cincinnati, Leipzig
and London, began as organist in London,
later in Cincinnati, from 1887 taught in the
College of Music there, and in 1903 founded
the Metropolitan College. See art.
*Sternberg, Constantin Ivanovitch, Edler
von (b. Russia, 1852), an experienced pianist,
conductor and composer, from 1880 concertized
in America, from 1886 taught in Atlanta, and
since 1890 has been head of his own school in
Philadelphia. See art.
Stevenson, Edward Irenaeus Prime (b.
Madison, N. J., 1868), from 1881 a frequent
writer on musical subjects in ' The Inde-
pendent * and from 1895 also in ' Harper's
Weekly.' Among his numerous books on
many subjects are Some Men, and Women, and
Music, and two musical novels.
*Stevenson, Frederick (b. England, 1845),
for many years singing-teacher in London, in
1883 was organist and conductor at Denver,
and since 1894 has been organist, conductor
and composer in California. See art.
*Stewart, Humphrey John (b. England,
1856), from 1886 was organist in San Francisco,
in 1901-02 at Boston, from 1903 again at San
Francisco, and since 1915 at San Diego.
See art.
Stocker, Stella, n6e Prince (b. Jacksonville,
111., 1858), graduated from the University of
Michigan in 1880, was trained at Jacksonville
and abroad, after teaching in the Middle
West, has devoted herself to Indian music,
upon which she has lectured widely, and to
composition. See art.
*Stoeving, Carl Heinrich Paul (b. Saxony,
1861), toured in America as concert-violinist
in 1884 and 1892, from 1898 was professor at
the Guildhall School in London, and since 1914
has taught in New York and New Haven.
See art.
Surette, Thomas Whitney (b. Concord,
Mass., 1862), trained in Boston, from 1883
was organist at Concord, in 189-3-94 taught
at Pottstown, Pa., in 1895-96 was organist
in Baltimore, and since 1895 has been lecturer
on musical subjects, as well as composer and
author. See art.
*Sutro, Florence Edith, nee CHnton [Mrs.
Theodore Sutro] (England, 1865-1906, New
York), from 1888 known as pianist and song-
composer, from 1898 was founder of the
National Federation of Musical Clubs. She
published Women in Music, 1899.
*Svecenski, Louis (b. Croatia, 1862), was
in 1885-1903 violinist in the Boston Symphony
Orchestra, in 1885-1917 violist in the Kneisel
Quartet, and is now teaching in New York.
He has published viola-studies.
Tapper, Thomas (b. Canton, Mass., 1864),
after study at home and abroad, since before
1890 has been a forceful teacher and writer
upon music-pedagogy, from 1905 at the
Institute of Musical Art in New York. See
art. His wife, *Bertha Tapper, n6e Feiring
(Norway, 1859-1915, New York), studied at
Leipzig and Vienna, came to America in 1881,
from 1889 was piano-teacher at the New Eng-
land Conservatory in Boston, and from 1905
at the Institute of Musical Art in New York.
She published piano-pieces and songs and
edited many of Grieg's piano-works.
Thunder, Henry Gordon (b. Philadelphia,
1865), trained in Philadelphia, since 1881 has
been a prominent organist there, also since
1897 conductor of the Choral Society and in
1897-1900 of his own Symphony Orchestra.
He has written several cantatas, a mass, and
is at work upon an opera.
Thurber, Jeannette, nee Meyer, wife of a
prominent New York merchant, in 1885
founded the National Conservatory there,
which has had a notable history under eminent
directors. In 1885 she was also the promoter
of the American Opera Company.
*Tirindelli, Pier Adolf o (b. Italy, 1858),
since about 1885 has been violin-teacher at
the Cincinnati Conservatory and for thirty
years conductor of the Conservatory Orchestra.
He has written a violin-concerto and other
violin-works, the operas ' Ath6naide ' and
' Blanc et Noir,' cantatas, etc.
*Tonning, Gerard (b. Norway, 1860), from
1887 was conductor at Duluth, Minn., and
since 1905 has lived at Seattle as composer.
He has written the opera ' Leif Erikson *
(1910), two operettas and a musical panto-
mime, a piano-trio, chamber-music, piano-
pieces and songs.
Truette, Everett Ellsworth (b. Rockland,
Mass., 1861), graduated from Boston Uni-
7: 1880-1890]
CHRONOLOGICAL REGISTER
65
versity in 1883, studied in Berlin, Paris and
England, since 1885 has been a notable organist
in Boston and vicinity, from 1897 at the Eliot
Church, Newton, besides giving recitals else-
where. See art.
*Van Broekhoven, John A. (b. Holland,
1856), in 1889-99 was teacher at the Cin-
cinnati College of Music and conductor of
symphony-concerts, played viola under
Thomas at various occasions, and since 1905
has lived in New York as teacher. He has
written the short opera ' A Colonial Wedding '
(1905), the opera ' Camaralzaman,' a ' Creole
Suite,' the ' Columbia ' overture, a string-
quartet, etc., besides The Tone-Producing
Functions of the Vocal Organs, 1905, The True
Method of Tone-Production, 1908, a book on
Harmony, etc.
Van der Stucken, Frank Valentin (b. Fred-
ericksburg, Tex., 1858), trained at Antwerp
and Leipzig, after travels, work at Breslau
and further study, fron> 1884 was conductor in
New York, from 1895 at Cincinnati, continuing
at intervals though residing abroad in 1908-17.
See Vol. v. 217, and art.
*Venth, Carl (b. Rhine Prov., 1860), in
1880 came as violinist to New York, from
1884 playing at the Metropolitan Opera House,
from 1888 directed a school in Brooklyn and
from 1889 led the Brooklyn Symphony Or-
chestra, from 1907 was conductor of the St.
Paul Orchestra, going thence in 1908 to
similar positions in Dallas and later Fort
Worth, Tex. See art.
*Vere, Clementine Duchene de [Mme.
Sapio] (b. France, ? ), from about 1880 for
nearly twenty years was a favorite operatic
and concert-soprano in New York. See art.
Vilim, Joseph Alois (b. Chicago, 1861),
studied at Prague, since 1884 has been violinist
and teacher in Chicago, first in the Musical
College, from 1887 in the American Con-
servatory, and since 1899 as head of his own
school. He has also been active in establish-
ing ensemble-groups. See art.
Vogt, Augustus Stephen (b. Washington,
Ont., 1861), trained at Boston and Leipzig,
from 1888 taught at the Toronto College of
Music, and from 1892 at the Toronto Con-
servatory, becoming its head in 1913. From
1888 he was also organist and in 1894 founded
the famous Mendelssohn Choir, which ho
conducted until 1917. See art.
Warren, Richard Henry (b. Albany, 1859),
son of George W. Warren (see sec. 4) and
trained by him, has been an organist in New
York since 1880, and the founder in 1886 of
the Church Choral Society, which he led till
1895 and in 1903-07.
Weld, Arthur Cyril Gordon (b. Jamaica Plain,
Mass., 1862), trained in Dresden, Berlin and
Munich, became known as orchestral composer
from 1885, from 1890 was critic for the Boston
' Post.' See Champlin and Apthorp, Cyclope-
dia of Music, iii. 623, and art.
Whelpley, Benjamin Lincoln (b. Eastport,
Me., 1864), studied in Boston and Paris, since
1886 has been known in Boston as pianist and
organist. He has written an orchestral In-
termezzo, Preludes for violin, 'cello and organ,
songs, piano-pieces, choruses, etc.
White, John (West Springfield, Mass., 1855-
1902, Hesse), studied at Hartford and Berlin,
from 1880 was organist in New York, studied
in Munich, in 1887-96 was again in New York,
and then removed to Munich. See art.
Whiting, Arthur Battelle (b. Cambridge,
Mass., 1861), studied in Boston and Munich,
was concert-pianist in Boston from 1880 and
in New York since 1895, devoting himself
much to lecturing and to bringing out 18th-
century keyboard-music. See art.
*Williams, Alberto (b. Argentina, 1862),
trained at Buenos Aires and Paris, since 1889
has been conductor of symphony-concerts at
Buenos Aires, established and now directs
the Conservatorio there, since 1903 with
numerous branches in all parts of the Republic.
He has composed several symphonies and other
orchestral music, many piano-pieces, etc.,
and has written on theory. See art.
Wilson, George H., of Boston, from 1883 for
ten years issued a useful Musical Year-Book
of the United States, in 1893-94 with C. B.
Cady.
Wiske, C. Mortimer (b. Bennington, Vt.,
1853), after study at Troy and early work as
organist, in 1882 became Thomas' assistant
as chorus-conductor at New York, was later
leader of the Chorus Society there, and since
1902 has had charge of festivals at Paterson
and Newark, N. J.
*Wodell, Frederick William (b. England,
1859), since before 1890 has been prominent,
first at Rochester, of recent years at Boston,
as baritone, choral conductor and composer.
He has written a light opera, the cantata
'The American Flag' (1915), part-songs and
anthems. Choir and Chorus Conducting, 1908,
and How to Sing by Note, 1915. See art.
WoUe, John Frederick (b. Bethlehem, Pa.,
1863), studied at Philadelphia and Munich,
from 1881 was organist in Philadelphia, from
1885 organist at Bethlehem, from 1905 pro-
fessor at the University of California, and since
1911 has been at Bethlehem again, conducting
the festivals of the Bach Choir. See art.
Wood, Mary, nee Knight [now Mrs. Alfred
B. Mason] (Easthampton, Mass., 1859), edu-
cated in Boston and New York, has long been
a song-composer of distinction.
*Wrightson, Sydney Lloyd (b. England,
1869), came to America in 1889, in 1904
founded the College of Music in Washington,
remaining its head till 1914, and has been
choral conductor there. As singer he has
appeared with many orchestras.
*Zach, Max WUhelm (b. Galicia, 1864),
in 1886-1907 was violist in the Boston Sym-
phony Orchestra, in 1887-97 member of the
Adamowski Quartet, and since 1907 has
conducted the St. Louis Symphony Orchestra.
66
CHRONOLOGICAL REGISTER
[8: 1890-1900
Zech, Frederick (b. Philadelphia, 1858),
studied in San Francisco and Berlin, taught
at Berlin from 1880, and since 1882 has been
piano-teacher and conductor at San Francisco,
and a prolific composer.
*ZiegIer, Anna Elizabeth, n6e Koelling
(b. Hamburg, 1867), was educated in New
York, early became known as pianist and
singer, was director of the Berlin Conservatory
there and now is head of the Ziegler Insti-
tute of Normal Singing.
Zoellner, Joseph (b. Brooklyn, 1862),
trained mostly in New York and Dresden,
from 1882 was violinist and teacher in [Brook-
lyn, from 1903 in Stockton, Cal., in 1907-12
played and taught in Brussels, there forming
with two sons and a daughter the Zoellner
Quartet, which since 1912 has toured the
United States. In this he plays viola.
8.
The Closing Decade of the 19th
Century
Abott, Bessie Pickens (Riverdale, N. Y.,
1878-1919, New York), studied in New York
and later in Paris, from 1894 appeared as
soprano in light opera, and from 1901 in grand
opera, until 1906 in Paris and then in the
United States, besides concert-tours in many
countries. In 1912 she married T. W. Story.
Adams, Suzanne (b. Cambridge, Mass.,
1873), was trained as soprano in Paris, from
1894 appearing in opera there, from 1897 at
Nice and since 1898 at London. She sang in
New York in 1899 and was at the Metropolitan
Opera House in 1902. See art.
Aldrich, Richard (b. Providence, 1863),
graduated from Harvard in 1885, entered
journalistic work, first in Providence, from
1889 in Washington, where he began musical
criticism. Since 1891 he has been critic in
New York, till 1902 on the ' Tribune ' and
then on the ' Times.' See art.
Aller, George Henry (b. Shiremanstown, Pa.,
1871), trained as singer at Doane College in
Nebraska, Chicago, Berlin and Paris, since
1893 has taught in Nebraska, from 1914 as
music-director at Doane College, developing
notable interest in vocal music.
*Anger, Joseph Humphrey (England, 1862-
1913, Toronto), after experience in England,
was from 1893 theory-professor at the To-
ronto Conservatory, notable also as organist,
conductor and author. See art.
Armstrong, "William Dawson (b. Alton, 111.,
1868), trained in St. Louis and Chicago, from
1890 was organist at Alton and in 1896-1908
at St. Louis, and since 1908 has been head of
his own school in Alton. He has written the
opera ' The Spectre Bridegroom ' (1899),
an orchestral suite and an overture, vocal
and instrumental pieces, etc. See biography
by W. F. Norton, 1916.
Arnold [-Strothotte], Maurice (b. St. Louis,
1865), studied at Cincinnati, Berlin, Cologne
and Breslau, taught in St. Louis, from 1894
was instructor in composition in the National
Conservatory in New York, where he still
lives. He has twice gone abroad as con-
ductor or performer. For list of works, see
Baker, Diet, of Musicians, p. 28, and Hughes,
Contemporary American Composers, pp. 135-9.
Ashton, Joseph Nickerson (b. Salem, Mass.,
1868), graduated from Brown University in
1891, taught there from 1895 and also in
Boston, in 1898-1904 being associate-professor
in the University. Since 1905 he has been
organist at Brookline. See art.
Atherton, Percy Lee (b. Boston, 1871),
graduated from Harvard in 1893, studied in
Munich, Berlin, Rome and Paris, has been
known as composer since 1890, at first of
comic operas, later of orchestral and vocal
works. See art.
Avery, Stanley R. (b. Yonkers, N. Y., 1879),
trained in New York and Berlin as organist,
from 1896 worked at Yonkers and since 1910
at Minneapolis. See art.
Baldwin, Ralph Lyman (b. Easthampton,
Mass., 1872), musically educated in Boston,
from about 1895 was organist in Easthampton
and Northampton, and since 1904 in Hart-
ford, Conn., where he is also supervisor and
choral conductor. See art.
Baltzell, "Winton James (b. Shiremanstown,
Pa., 1864), graduated from Lebanon Valley
College in 1884, studied in Philadelphia,
Boston and London, taught in Reading, Pa.,
in 1897-99 and 1900-07 edited 'The Etude,'
in 1907-18 ' The Musician,' and has since
been in literary work in New York. See art.
Barbour, Florence, nee Newell (b. Providence,
1867), gained her training in America, and
has won success as concert-pianist and com-
poser, chiefly of piano-works and songs. See art.
*Barford, Vernon West (b. England, 1876),
came as organist in 1895 to Qu'Appelle, Que.,
and since 1900 has been organist and con-
ductor at Edmonton, Alberta.
Bartholomew, Edward Fry (b. Sunbury,
Pa., 1846), trained as a Lutheran minister,
professor at Augustana College since 1888,
has published The Relation of Psychology to
Music, 1899, 1903, Rational Musical Pedagogy,
1905, and many magazine articles, and edited
The Musical Profession, 1905.
Beach, John Parsons (b. Gloversville, N.
Y., 1877), studied in Boston and Minneapolis,
taught in both cities and from 1904 in New
Orleans, went abroad in 1910 and has lived in
Paris and Italy as composer. See art.
Beaton, Isabella (b. Grinnell, la., 1870),
after study at Grinnell, Berlin and Paris,
since 1899 has worked at Cleveland as pianist,
composer and teacher, first at the Cleveland
School of Music and from 1910 in her own
school. See art.
Benson, Louis FitzGerald (b. Philadelphia,
1855), both lawyer and clergyman by pro-
fession, since 1894 has been hymnal-editor
for the Presbyterian Church and has become
a foremost hymnologist. His chief publication
8: 1890-1900]
CHRONOLOGICAL REGISTER
67
as editor is The Hymnal, 1895, 1911, and as
author The English Hymn, 1915. For full
list, seo Who's Who in America.
Bergquist, John Victor (b. St. Peter, Minn.,
1877), studied at St. Peter, Minneapolis,
Berlin and Paris, from 1895 was organist in
Lutheran churches in Minnesota, with recitals
in Minneapolis in 1903-12 and elsewhere, in
1905-08 taught at Gustavus Adolphus College,
and since 1912 has been music-director at
Augustana College, Rock Island, 111. He has
written the oratorio ' Golgotha ' (1906), a
Christmas cantata, a Reformation cantata
(1917), three organ-sonatas, etc.
*Berwald, William Henry (b. Mecklenburg,
1864), since 1892 has boon professor at Syra-
cuse University and active as conductor and
fertile composer. See art.
Bispham, David Scull (b. Philadelphia,
1857), a singer from youth, took up careful
study in Milan and London in 1886, appearing
as operatic baritone from 1891 in London and
from 1896 in America. Latterly he has been
heard chiefly in concert. See Vol. i. 333,
and art.
Blass, Robert (b. New York, 1867), studied
in New York, Leipzig and Frankfort, made
his d6but as operatic bass at Weimar in 1895,
Bang in Germany, and since 1900 mostly at
the Metropolitan Opera House in New York.
Blauvelt, Lillian Evans (b. Brooklyn, 1874) ,
was trained as operatic soprano at New York
and Paris, making her debut at Brussels in
1893. She has appeared widely in both Amer-
ica and Europe. See Vol. i. 33S-9, and art.
*Bochau, Charles Henry (b. Holstein, 1870),
brought to America as a boy, studied in Balti-
more, and since 1897 has taught singing in the
Peabody Conservatory, besides work as con-
ductor and composer. See art.
*Boeppler, William (b. Germany, 1863),
came to Milwaukee in 1894, started the Wis-
consin Conservatory in 1899 and the Symphony
Orchestra in 1902, and since 1904 has also been
active in Chicago. See art.
Bogert, Walter Lawrence (b. Flushing, N.
Y., 1864), graduated from Columbia in 1888
and trained as a lawyer, was also broadly
educated in music in New York, where since
1898 he has been teacher, lecturer, conductor
and writer, especially on vocal art.
Bollinger, Samuel (b. Fort Smith, Ark.,
1871) trained mostly at Leipzig, taught in the
Conservatory there in 1893-95 and was
organist of the American Church, from 1896
was at Fort Smith, from 1898 in San Fran-
cisco, and since 1907 in St. Louis, directing
his own school. See art.
*Borowski, Felix (b. England, 1872), son
of a Polish musician, studied extensively in
London and Cologne, from 1892 taught in
Aberdeen and London, in 1897 came to the
Chicago Musical College as teacher of com-
position, and since 1916 has been president
there. He is distinguished as composer and
critic as well. See art.
Bowen, George Oscar (b. Castle Creek, N.
Y., 1873), from about 1895 was prominent
as music-supervisor at Stamford, Conn.,
Northampton, Mass., Homer and Yonkers,
N. Y., and in 1917-20 was Municipal Director
of Music in Flint, Mich., conducting various
enterprises for popular musical culture, going
thence to the University of Michigan.
Boyd, Charles N. (b. Pleasant Unity, Pa.,
1875), since 1894 has been organist in Pitts-
burgh, from 1903 also instructor at the Western
Theological Seminary, and from 1915 a di-
rector of the Pittsburgh Musical Institute.
See Baker, Diet, of Musicians, p. 1078.
Breil, Joseph Carl (b. Pittsburgh, 1870),
studied in Leipzig and Milan, in 1891-92 was
tenor in the Juch Opera Company, from 1892
singer at St. Paul's, Pittsburgh, from 1897
theater-conductor there and on tour, and since
1909 has written much for plays and especially
photo-plays, besides comic operas. His ' The
Legend ' was produced in 1919 at the Metro-
poUtan Opera House.
Brockway, Howard A. (b. Brooklyn, 1870),
trained at Berlin, from 1895 taught in New
York, from 1903 in Baltimore, and since 1910
again in New York. Besides much com-
position, he has made important studies of
Kentucky folk-tunes. See art.
*Broome, William Edward (b. England,
1868), in 1893 came to America as conductor
of a visiting Welsh chorus, from 1894 was
organist in Montreal, and since 1905 in
Toronto, where he is also conductor of the
Oratorio Society. See art.
*Bruening, Hans (b. Prussia, 1868), after
extended tours in Europe as concert-pianist,
in 1899 founded the Wisconsin College of
Music at Milwaukee, of which he is director.
Buck, Dudley, Jr. (b. Hartford, Conn.,
1869), son of the organist (see sec. 5), studied
singing at Florence, Frankfort, Paris and
London, appearing in opera and concert from
1895 in England and from 1899 in America.
Since 1902 he has taught in New York.
Bullard, Frederick Field (Boston, 1864-
1904, Boston), after study at Munich, from
1892 was teacher and popular vocal composer
in Boston. See art.
Burrowes, Katharine (b. Kingston, Ont.,
? ), trained in Detroit and Berlin, since
1895 has taught in Detroit, at the Conserva-
tory and since 1903 in her own Piano School,
specializing in work for children. See art.
Butler, Harold Lancaster (b. Silver City,
Ida., 1874), studied in Chicago and Paris,
from 1895 taught singing at Valparaiso
University and from 1900 was director of the
music-department there, from 1904 at Syracuse
University, and since 1915 has been dean of
Fine Arts in the University of Kansas.
*Cadek, Joseph Ottokar (b. Bohemia, 1868),
from about 1890 appeared as violinist in the
United States, and since 1895 has taught in
Chattanooga, Tenn., where he established a
school in 1904.
68
CHRONOLOGICAL REGISTER
[8: 1890-1900
Carter, Ernest Trow (b. Orange, N. J., 1866),
trained in New York and Berlin, from 1892
taught in Nordhoff, Cal., in 1897-98 was
organist of the American Church in Berlin,
in 1899-1901 was organist and lecturer at
Princeton University, and has since been
conductor and composer in New York. He
has written the opera comique ' The Blonde
Donna,' a symphonic suite, a string-quartet,
and many songs and anthems.
*Caruso, Enrico (b. Italy, 1873), the great
operatic tenor, appeared in South America in
1899-1903, and in New York since 1903.
See Vol. V. 622, and art.
Clark, Charles William (b. Van Wert, O.,
1865), trained as concert-baritone in Chicago
and London, since 1897 has been widely heard
in America and Europe, besides teaching in
the Bush Conservatoi-y, Chicago.
*Clemens, Charles Edwin (b. England,
1858), came to Cleveland in 1896 as organist,
and since 1899 has been lecturer or professor
at Western Reserve University. See art.
Coerne, Louis Adolphe (b. Newark, 1870),
studied at Harvard and in Boston and Munich,
from 1894 was conductor in Buffalo, from
1897 in Columbus, in 1899-02 and again in
1905-07 lived in Europe, in 1903-04 was
professor at Smith College, in 1907-09 music-
director in Troy, N. Y., from 1900 professor
at Olivet College in Michigan, from 1910 at
the University of Wisconsin, and since 1915
at Connecticut College. See art.
Cole, Rossetter Gleason (b. Clyde, Mich.,
1866), graduated from the University of
Michigan in 1888, studied there and in Berlin,
from 1892 was professor at Ripon College,
from 1894 at Grinnell College, from 1907 at
the University of Wisconsin, and since 1909
is teacher and composer in Chicago. See art.
Converse, Frederick Shepherd (b. Newton,
Mass., 1871), graduated from Harvard in 1893,
was trained in Boston and Munich, from 1899
taught at the New England Conservatory
and at Harvard until 1907, since then being
engaged upon composition. See art.
Cooke, James Francis (b. Bay City, Mich.,
1875), studied in New York and Wiirzburg,
began teaching before 1890 in New York and
was organist and choral conductor in Brooklyn,
engaged in much literary work, and since 1907
has been editor of ' The Etude ' in Philadel-
phia, from 1917 also president of the Presser
Foundation. See art.
Coombs, Charles Whitney (b. Bucksport,
Me., 1859), after study in Stuttgart, Dresden
and England, being in 1887-91 organist of the
American Church at Dresden, since 1892 has
been organist in New York. See art.
Copp, Evelyn Ashton, n6e Fletcher (b.
Woodstock, Ont., 1872), after study in Canada,
England, Berlin and Paris, began teaching in
1894 in Canada, evolved special methods of
kindergarten and primary instruction, and
since 1897 has taught in Boston, at first in the
New England Conservatory.
Dana, Lynn Boardman (b. Middleport, N.
Y., 1875), son of William H. Dana (see sec.
6), since 1916 has been head of Dana's Musical
Institute in Warren, O. Since 1904 he has
also taught at Chautauqua and directed the
annual festivals at Lockport, N. Y. See art.
DeLamarter, Eric (b. Lansing, Mich., 1880),
studied in Chicago and Paris, from about 1898
was organist in Chicago, in 1904-05 taught at
Olivet College, in 1909-10 at the Chicago
Musical College, since 1906 has been organist
in Chicago, since 1908 music-critic, and since
1911 choral and orchestral conductor. See art.
Demarest, Clifford (b. Tenafly, N. J., 1874),
trained in or near New York, from about 1895
was organist at Tenafly, and since 1900 in New
York. See art.
*Dethier, Gaston Marie (b. Belgium, 1875),
in 1894 came to New York as organist at St.
Francis Xavier's, and since 1907 has taught at
the Institute of Musical Art, besides concert-
playing. See art.
*Dippel, Johann Andreas (b. Hesse, 1866),
the operatic tenor and impresario, first ap-
peared in New York in 1890-91, toured in
1892, from 1898 was at the Metropolitan Opera
House, becoming in 1908 its executive head,
from 1910 managed the Chicago-Philadelphia
Opera Company, and since 1913 has directed
his own company in light opera. See art.
Doenhoff, Albert von (b. Louisville, 1880),
son of Helene von Doenhoff (see sec. 6), studied
at Cincinnati and New York, in 1899-1907
taught at the National Conservatory in New
York, and since 1905 has been frequently heard
as concert-pianist there and elsewhere.
Drake, Earl R. (Aurora, 111., 1865-1916,
Chicago), trained aa violinist at Chicago,
Cincinnati and Berlin, in 1893-97 taught in
the Gottschalk Lyric School, Chicago, directed
his own Quartet, making many concert-tours,
and from 1900 conducted his own school.
He wrote the operas ' The Blind Girl of
Castel-Cuille ' (1914) and ' The Mite and the
Mighty ' (1915), several orchestral and many
violin-pieces, etc.
*Dunkley, Ferdinand Luis (b. England,
1869), came to Albany, N. Y., in 1893 as
teacher, from 1899 was in Asheville, N. C,
as teacher and conductor, from 1901 was
organist in New Orleans, from 1909 in Van-
couver, and since 1912 in Seattle. See art.
*Dvorak, Antonin (Bohemia, 1841-1904,
Bohemia), the distinguished composer, spent
the years 1892-95 as artistic director of the
National Conservatory in New York. See
Vol. i. 755-9, and art.
Dykema, Peter William (b. Grand Rapids,
Mich., 1873), graduated (in law) from the
University of Michigan in 1895, combined
musical study with public-school teaching in
Aurora, 111., Indianapolis and New York (from
1901), and since 1913 has been professor at the
University of Wisconsin. See art.
Eames, Henry Purmort (b. Chicago, 1872),
graduated from Cornell College (Iowa),
8: 1890-1900]
CHRONOLOGICAL REGISTER
69
studied in Chicago, from 1894 traveled as
accompanist and pianist in America and
abroad, from 1898 taught in Lincoln, Neb.,
in 1911-12 in Omaha, and since 1912 at the
Cosmopolitan School in Chicago. See art.
Earhart, WUl (b. Franklin, O., 1871), after
working in public-school music at Franklin
and Greenville, O., from 1900 was supervisor
at Richmond, Ind., and since 1912 has been
music-superintendent in Pittsburgh. See art.
*Ebann, William Benedict (b. Bremen,
1873), came to America in youth, studied at
Cincinnati and Berlin, from 1896 appeared as
'cellist and composer, in 1897-98 taught at the
Cincinnati College of Music, and since 1898
in New York, from 1907 at the German Con-
servatory. For list of works, see Who's Who
in Music.
*Elsenheimer, Nicholas J. (b. Hesse, 1866),
in 1890 came to Cincinnati as teacher in the
College of Music, organist and concert-pianist,
and since 1907 has taught in the Cranberry
Piano School. For list of works, see Baker,
Diet, of Musicians, pp. 237-8.
Elson, Arthur B. (b. Boston, 1873), son of
Louis C. Elson (see sec. 6), graduated from
Harvard in 1895, trained there and in Boston,
besides teaching and some composition, since
1901 has written various useful books. See art.
Ende, Herwegh von (Milwaukee, 1877-1919,
New York), son of Amelia von Ende (see sec.
6), studied in Chicago and Berlin, began
teaching in Chicago in 1893, appeared widely
as violinist, from 1903 taught at the American
Institute of Applied Music in New York, and
from 1910 directed his own school there. He
organized the Von Ende Quartet in 1907
(with Modest Altschuler), and was one of
a Trio with Rybner and Altschuler. He
married the daughter of Remenja, the Hun-
garian violinist.
*Enna, Emil (b. Denmark, 1877), nephew
of the composer August Enna, came to
America in 1897, has toured as concert-
pianist, and now lives in Portland, Ore. He
has made a specialty of Scandinavian music.
He has composed the opera ' The Dawn of the
West ' (1915), a piano-sonata, the song-cycle
'Legends of Seaside' (1916), etc.
Erb, John Lawrence (b. near Reading, Pa.,
1877), began as organist in 1892-94 at Potts-
town, Pa., studied in New York, where he was
organist and teacher, in 1905 became director
at Wooster University in Ohio, and since 1914
has been at the University of Illinois. See art.
Farwell, Arthur (b. St. Paul, 1872), gradu-
ated from the Institute of Technology, Boston,
studied music there and in Paris, from 1899
taught at Cornell University, from 1901 carried
on the Wa-Wan Press, made studies of Indian
music in the Far West, and since 1909 has
worked in New York. See art.
Fay, Charles Norman (b. BurUngton, Vt.,
1848), from 1877 banker and capitalist in
Chicago, in 1890 secured the guaranty of
$50,000 by which the Chicago Orchestral
Association attracted Theodore Thomas to
remove from New York to Chicago.
*Ferrata, Giuseppe (b. Italy, 1865), after
experience in Italy as concert-pianist, in 1892
came to America, teaching first at Beaver
College, Beaver, Pa., and since about 1910 at
Newcomb College, New Orleans. See art.
Fischer, Carlo (b. Washington, 1872),
studied in Washington and Frankfort, was
'cellist in European orchestras, appeared from
1899 in America and joined the Pittsburgh
Orchestra, from 1903 was with the Cincinnati
Orchestra, and since 1906 has been with the
Minneapolis Orchestra as player, assistant-
manager and program-editor. In 1906 he
organized the Minneapolis String Quartet.
Fletcher, Alice Cunningham (b. Boston,
1845), whose life has been given to anthropo-
logical study, especially as concerns the North
American Indians, began publishing upon In-
dian music in 1893. See art.
Forsyth, Wesley Octavius (b. near Toronto,
1863), trained in Toronto, Leipzig and Vienna,
since 1892 has been teacher and pianist in
Toronto, part of the time as director of the
Metropolitan School of Music. See art.
Foster, Fay (b. Leavenworth, Kan., ? ),
trained in Chicago and later abroad, besides
early work as teacher, pianist and organist,
since 1911 has been known as composer of
songs and choruses in New York. See art.
*Fox, Felix (b. Silesia, 1876), brought to
America when a child, studied in Boston, New
York, Leipzig and Paris, and since 1897 has
been pianist and teacher in Boston, in 1898
founding the Fox-Buonamici School. See art.
Freer, Eleanor, nee Everest (b. Philadelphia,
1864), trained in Philadelphia and Paris, has
devoted herself chiefly to song-writing, pub-
lishing from 1902, but known earlier. See art.
*Frey, Adolph (b. Bavaria, 1865), has been
piano-teacher at Syracuse University since
1893, in 1905-06 acting-dean of the College
of Fine Arts. He has written vocal and
instrumental pieces, and the music for the
Latin play ' Trinummus,' 1895. Mus.D. of
Syracuse University in 1914.
*Friedheim, Arthur (b. Russia, 1859, of Ger-
man parents) , the eminent pianist and conduc-
tor, toured in America in 1891-95, taught in
Chicago in 1900-01, from 1910 was often heard
in America, and since 1914 has lived in New
York. See Vol. ii. 110, and art.
Fry, Henry S. (b. Pottstown, Pa., 1875),
since before 1900 has been organist in or near
Philadelphia, becoming noted as recitalist and
church-composer. See art.
Fullerton, Charles Alexander (b. Man-
chester, N. H., 1861), trained chiefly in
Chicago, from 1890 was superintendent of
schools in Iowa, and since 1897 has been
teacher and conductor at the Iowa State
Teachers College at Cedar Falls. He is a
prominent authority upon public-school music.
*Gadski, Johanna Emilia Agnes (b. Pome-
rania, 1872), the famous Wagnerian soprano,
70
CHRONOLOGICAL REGISTER
[8: 1890-1900
from 1895 till 1917'was constantly engaged in
America. See art.
*Gale, Clement Rowland (b. England, 1862),
an experienced organist, since 1890 has been
organist in New York, for many years also
teaching in the General Theological Seminary
and the Guilmant Organ School. See art.
Gales, Weston (b. Elizabeth, N. J., 1877),
graduated from Yale in 1898, studied there
and in New York, from 1899 was organist in
or near New York, from 1908 in Boston, in
1913 conducted orchestral concerts in Europe,
and in 1914-18 was the first conductor of the
Detroit Symphony Orchestra. See art.
*Gallico, Paolo (b. Trieste, 1868), since 1892
has been concert-pianist and teacher in New
York. See art.
*Gandell, Shirley Mark Kerr (b. England,
1866), since 1895 has taught in America, from
1897 in Chicago, with the Balatka School
from 1899, the Sherwood School from 1901,
and the Cosmopolitan School since 1908.
Gaul, Harvey Bartlett (b. New York, 1881),
studied first in New York, later in England
and Paris, from 1898 was organist in New
York, in Paris, in Cleveland, and since in
Pittsburgh. See art.
Gaynor, Jessie Level, nee Smith (b. St.
Louis, 1863), after study in Boston and
Chicago, devoted herself to developing methods
of teaching children. She has taught in Chi-
cago, Nashville and St. Joseph, Mo., and for
some years in St. Louis. See art.
*Genss, Hermann (b. East Prussia, 1856),
in 1899 came as teacher to the Irving Institute,
San Francisco, and since 1905 has been di-
rector there. He has written the opera
* Hunold der Spielmann ' (1914), orchestral
and chamber-music, songs, etc.
Gilbert, Henry Franklin Belknap (b. Somer-
ville, Mass., 1868), studied in Boston, from
1893 was variously employed there and in
Paris, in 1901 joined Farwell in founding tho
Wa-Wan Press, and is living at Cambridge
as composer. See art.
Gilman, Benjamin Ives (b. New York, 1852),
who since 1893 has been secretary of the
Boston Museum of Fine Arts, has made
original investigations in the music of the
American Indians, publishing ZuTii Melodies,
1891, and Hopi Melodies, 1908.
*Giorza, Paolo (Italy, 1838-1914, Seattle),
known in Italy since 1853 as composer of
ballets, from about 1890 taught in New York
and lived later in London, San Francisco and
Seattle (from 1906). For list of works, see
Baker, Diet, of Musicians, p. 311.
*Glasson, T. Bath (b. England, ? ), edu-
cated in New York, from- 1892 taught at
Pratt Institute, Brooklyn, from 1895 in
Michigan, and since 1900 has been organist
and conductor in Brooklyn, publishing peda-
gogical works and some vocal music.
Glen, Irving Mackey (b. Brooklyn, 1871),
graduated from the University of Oregon in
1894 and then student of English at Johns
Hopkins, from 1896 was professor of languages
in Oregon, but also kept up musical studies,
in 1901 becoming dean of music in the Uni-
versity of Oregon and since 1911 professor
in the University of Washington (dean of Fine
Arts since 1915). He is a concert-baritone,
and since 1903 has conducted various festivals.
Goepp, Philip Henry (b. New York, 1864),
graduated from Harvard in 1884 (also trained
as a lawyer), studied music in college, New
York and Philadelphia, and since 1891 has
been organist, teacher, composer and author
in Philadelphia. See art.
Gogorza, Emilio Edoardo de (b. Brooklyn,
1874), was educated in Spain, France, England
and finally New York, where since 1897 he has
been a popular concert-baritone. In 1911 he
married the soprano Emma Eames (see sec. 7).
Goldmark, Rubin (b. New York, 1872),
nephew of the composer Karl Goldmark,
studied in New York and Vienna, from 1891
taught at the National Conservatory in New
York, from 1894 was director at Colorado
College, and since 1902 has been teacher,
composer and recitalist in New York. See art.
Grant-Schaefer, George Alfred (b. Wil-
liamstown, Ont., 1872), studied in Montreal,
Chicago and London, from 1896 was organist
in Chicago, and since 1908 has been vocal
teacher at Northwestern University, compos-
ing songs and piano-pieces.
*Gray, Herbert Willard (b. England, 1868),
since 1894 has been American representative of
Novello, and from 1906 head of the II. W.
Gray Co. in New York, publishers of ' The
New Music Review ' and of high-class musical
literature.
Grimm, Carl William (b. Dayton, 1863),
studied in Chicago and Leipzig, and since
1893 has been teacher in Cincinnati and author
of many instruction-books. See art.
*Gruenberg, Eugene (b. Galicia. 1854),
after long experience as violinist at Leipzig,
in 1891 joined the Boston Symphony Or-
chestra, in 1893-96 also taught at the Boston
Conservatory, and since 1899 at the New
England Conservatory. He has composed
a symphony, the ballet ' Tanzbilder ' (both
given at Leipzig), a violin-sonata, a ' Suite
im antiken Stil ' and other violin-works, and
published works on violin-playing (1897, 1901).
Gunn, Glenn Dillard (b. Topeka, Kan.,
1874), studied in Topeka and Leipzig, from
1896 was concert-pianist in Germany, and
since 1900 has been teacher, pianist, critic
and conductor in Chicago. See art.
Hackett, Karleton Spalding (b. Brookline,
Mass., 1867), graduated from Harvard in 1891,
studied in Florence, Munich and London, has
worked in Chicago since 1893 as concert-
singer, teacher at Northwestern University
and the American Conservatory, lecturer and
critic. See art.
Hadley, Henry Kimball (b. Somerville,
Mass., 1871), trained in Boston and Vienna,
appeared as composer in 1895, from that year
8: 1890-1900]
CHRONOLOGICAL REGISTER
71
taught at Garden City, N. Y., in 1904-09
conducted and composed in Germany, led
the Seattle Orchestra from 1909 and the San
Francisco Orchestra from 1911, and since
1915 has lived in New York. See art.
Haesche, William Edwin (b. New Haven,
Conn., 1867), trained in Boston and New
Haven, since 1897 has been violinist and from
1902 conductor in New Haven. See art.
Hahn, Carl (b. Indianapolis, 1874), studied
in Cincinnati, from about 1895 was 'cellist
there, from 1900 orchestral and choral con-
ductor in San Antonio, and since 1913 con-
ductor in New York of the Arion (till 1918)
and Mozart Societies and in Brooklyn.
*Hall, William John (b. England, 1867),
came to America as tenor in the Boston Lyric
Opera Company, taught in Rock Island, 111.,
and Cedar Rapids, la., was conductor at
St. Paul and organist at Davenport, la., and
latterly has been located at St. Louis. See art.
*Ham, Albert (b. England, 1858), since 1897
has been a prominent organist, conductor and
composer in Toronto. See art.
*Hambourg, Mark (b. Russia, 1879), the
noted pianist, has made American tours in
1899-1900, 1902-03, 1907-08 and 1915-16.
Hamlin, George John (b. Elgin, 111., 1868),
a concert-tenor since about 1895, in 1904-06
sang in Europe, and since 1911 has been active
in opera and concert in America. See art.
*Hein, Karl (b. Schleswig, 1864), having
been a 'cellist in Hamburg, from 1891 taught
in the German Conservatory, New York, and
since 1900, with August Fraemcke, has been
its director. Since 1906 they have also con-
ducted the New York College of Music. He
has published vocal text-books.
Heinroth, Charles (b. New York, 1874),
studied in New York and Munich, from 1893
was organist in Brooklyn and New York,
teaching also at the National Conservatory,
and since 1907 has been organist at the
Carnegie Institute, Pittsburgh. See art.
*Herzog, Sigmund (b. Hungary, 1868),
trained as pianist at Vienna, in 1890-94
taught at the German Conservatory in New
York, and has since been teacher and ensemble-
player. He has edited useful instruction-books
and been active in musicians' associations.
*Hesselberg, Edouard Gregory (b. Russia,
1870), came to America in 1892, from 1895
taught at Ithaca, N. Y., from 1896 at Denver,
from 1900 at Macon, Ga., from 1905 at Nash-
ville, Tenn., and since 1912 at Toronto. He
has written two orchestral suites, piano- and
violin-pieces, etc., and was a contributor to
The Art of Music, 1916.
Heyman, Katharine Ruth Willoughby (b.
Sacramento, Cal., ? ), trained as concert-
pianist in both America and Europe, from
1899 toured in the United States, from 1905
was widely heard in Europe, and in 1916
returned to America again. See art.
Hill, Edward Burlingame (b. Cambridge,
Mass., 1872), graduated from Harvard in
1894, studied there and in Boston, and since
1908 has taught at Harvard, with fine critical
work and able composition. See art.
Hinckley, Allen Carter (b. Gloucester,
Mass., 1877), graduate of the University of
Pennsylvania, trained in Philadelphia and
New York, after some teaching and conduct-
ing, sang from 1901 with the Bostonians,
from 1903 in opera in Germany and England,
and since 1908 has been prominent in America
in opera and concert.
Hinshaw, William Wade (b. Union, la.,
1867), graduated from Valparaiso University
in 1888, studied there and in Chicago, began
teaching in 1891, from 1895 was dean at
Valparaiso, and since 1899 has been active
in the operatic field. See art.
Hissem-DeMoss, Mary (b. California, Ky.,
1871), having studied at Cincinnati and New
York, since 1899 has been a favorite church-
and oratorio singer in New York.
*Holmberg, Gustaf Fredrik (b. Sweden,
1872), came to America in 1891, graduated
in 1899 from Bethany College in Kansas,
becoming teacher of violin. Since 1903 he has
taught at the University of Oklahoma, in 1909
becoming dean of Fine Arts. See art.
*Holmes, Henry (England, 1839-1905, San
Francisco), the violinist and composer, from
1894 lived in California. See Vol. ii. 421-2.
Homer, Louise Dilworth, n6e Beatty (b.
Pittsburgh, 1872?), trained as contralto in
Philadelphia, Boston and Paris, in 1894 a
church-singer in Boston, went to Paris in
1896 with her husband (see below), from
1898 appeared in opera in France and England,
from 1900 in New York, and has since been
eminent in opera and concert. See art.
Homer, Sidney (b. Boston, 1864), studied
in Boston, Leipzig and Munich, from 1890
taught in Boston, in 1895 married Louise
Beatty (see above), and since 1900 has lived
in New York, chiefly as song-composer. See art.
Hopkins, Harry Patterson (b. Baltimore,
1873), trained at Baltimore and Prague, since
1899 has been organist in Baltimore and teacher
in Washington. He has written two over-
tures, two suites, the orchestral fantasy ' The
Dreamer,' the chorus ' A Tragedy,' a piano-
quintet, piano-pieces and many songs.
Hughes, Rupert (b. Lancaster, Mo., 1872),
graduated from Adelbert College in 1892, has
published songs since 1892, and has been a
notable author and critic since 1898, including
much outside the field of music. See art.
Hugo, John Adam (b. Bridgeport, Conn.,
1873), trained at Stuttgart, from 1899 taught
in Baltimore, and since 1906 in Bridgeport.
He has written the operas ' The Hero of
Byzanz ' and ' The Temple Dancer,' a sym-
phony, two piano-concertos, a piano-trio, etc.
Hyde, Arthur Bewail (Bath, Me., 1875-1920,
New York) , graduated at Harvard in 1896, was
then organist at Immanuel Church in Boston,
and from 1905 at St. Bartholomew's in New
York, becoming noted as player and choir-
72
CHRONOLOGICAL REGISTER
[8: 1890-1900
trainer. He was captain in the war and died
from after-effects of being gassed at Cantigny.
Jackson, Leonora (b. Boston, 1879), studied
in Berlin, appeared as concert-violinist in
Germany and other European countries,
receiving many distinctions, and from 1900
was for a time active in the United States.
Jepson, Harry Benjamin (b. New Haven,
Conn., 1870), trained at New Haven and
Paris, since 1896 has been instructor in the
Yale School of Music and university-organist,
as well as concert-organist elsewhere. See art.
* Jonas, Alberto (b. Spain, 1868), from 1894
chief piano-teacher at the University of
Michigan, from 1898 was head of a school in
Detroit, besides making tours as player, in
1904-14 worked in Berlin, and since 1914 has
taught in New York. See art.
* Jordan, Mary (b. Wales, 1879), early
brought to America, studied in Seattle, San
Francisco and New York, was a church-
singer from about 1892 in Brooklyn and New
York and soon in concert as well. In 1911-14
she was contralto in the Boston Opera Com-
pany. In 1919 she married C. C. Cresson.
Kaufmann, Maurice (b. New York, 1876),
studied violin in Newark, Frankfort and
Brussels, early became a concert-player, was
concertmaster in the Russian and Volpe
Orchestras in New York, now in the People's
Orchestra, and member of various ensemble-
groups, including since 1907 his own Quartet.
Keller, Walter (b. Chicago, 1873), trained
in Chicago and Leipzig, from 1899 taught at
Northwestern University, from 1906 at the
Sherwood School in Chicago, of which he
became director in 1911, and in 1903-18 was
organist at St. Vincent's. See art.
♦Kinder, Ralph (b. England, 1876), came
to America when a boy, studied in Providence
and England, from 1898 was organist in
Providence, and since 1899 in Philadelphia.
He has played extensively elsewhere, conducts
three choral societies, directs his own organ-
school, and has written many effective organ-
pieces, choruses, anthems, songs, etc.
Kinkeldey, Otto (b. New York, 1878),
graduated from the College of the City of
New York in 1898, studied there and in Berlin,
from 1898 was organist in New York, from
1903 at the American Church in Berlin, in
1909-14 professor at the University of Breslau,
and since 1915 head of the music-division in
the New York Public Library. See art.
*B:iee, Eugen (b. Bavaria, 1869), in 1894
came to Philadelphia as organist and con-
ductor of the Siingerbund and other German
singing-societies, from 1914 was leader of the
Brooklyn Arion, and since 1917 of the New
York Liederkranz.
*Klengel, Paul K. (b. Saxony, 1854),
conductor and since 1908 professor at Leipzig,
in 1898-1902 was leader of the Liederkranz
in New York.
*Koemmenich, Louis (b. Rhine Prov., 1866),
came to Brooklyn in 1890 to lead the Sanger-
bund, and since then has directed important
choral societies in New York and Philadelphia.
See art.
Kohler, Franz (Clinton, la., 1877-1918, Erie,
Pa.), trained as violinist at Weimar and
Berlin, from 1898 was in the Pittsburgh
Orchestra and the Mendelssohn Trio, from
1911 taught at Oberlin Conservatory, and
since 1913 has been conductor of the Sym-
phony Orchestra at Erie, Pa.
*Korn, Clara Anna, nee Gerlach (b. Prussia,
1866), brought to America as a chUd, studied
in New York, in 1893-98 taught in the National
Conservatory there, and since then in other
schools and privately. See art.
Kraft, Edwin Arthur (b. New Haven, Conn.,
1883), trained at New Haven and Paris, from
1898 was organist in New Haven, in 1901-
03 in Brooklyn, from 1905 at Wheeling, W.
Va., from 1907 at Trinity Cathedral, Cleve-
land, from 1914 city-organist at Atlanta, and
since 1916 again at Cleveland. See art.
Kraft, William Jacob (b. New Haven,
Conn., 1872), brother of the above, studied
at New Haven, where from 1891 he was
organist, from 1909 was in public-school work
in New York, and since 1912 has been associate
professor at Teachers College there. See art.
*Bj-auss, Arnold (b. Rumania, 1866), con-
cert-violinist, since 1897 has lived in Los
Angeles as player and teacher, lately being
concertmaster of the Symphony Orchestra.
*Kunits, Luigi von (b. Austria, 1870), from
1893 taught in Chicago, from 1896 was concert-
master of the Pittsburgh Orchestra, in 1910-12
taught in Vienna, and since 1912 has been on
the staff of the Canadian Academy of Music
in Toronto. See art.
Kiksteiner, Jean Paul (b. Catskill, N. Y.,
1864), since 1893 has been instructor at the
Ogontz School in Philadelphia and in 1896—
1906 also at the Baldwin School, Bryn Mawr.
Since 1906 he has also taught in New York,
publishing Essays on Expert Aid to Artistic
Piano-Playing.
LaFlesche, Francis (b. Omaha Reservation,
Neb., I860?), while employed in the Bureau
of Indian Affairs in Washington, collaborated
with Alice C. Fletcher (see above) in A Study
of Omaha Music, 1893, besides writing often
for scientific journals.
Lang, Henry Albert (b. New Orleans, 1854),
after study at Stuttgart and Karlsruhe and
much experience as pianist, returned to America
in 1890, and since 1891 has been a noted
teacher and composer in Philadelphia. See art.
Lang, Margaret Ruthven (b. Boston, 1867),
daughter of B. J. Lang (see sec. 4), was trained
in Boston and Munich, and since about 1890
has been mainly occupied with composition
in Boston. See Vol. ii. 632, and art.
Lehmann, Friedrich J. (b. Cleveland, 1866),
studied at Oberlin and Leipzig, since 1902 has
been professor of theory in the Oberlin Con-
servatory. He has published handbooks on
harmony and counterpoint.
8: 1890-1900]
CHRONOLOGICAL REGISTER
73
*Le Sueur, Peter (b. Isle of Jersey, 1871),
from 1895 organist, teacher and conductor
at St. John's, N. F., since 1905 has held similar
positions at Erie, Pa., from 1913 at the head
of the Erie Conservatory.
Lewis, Leo Rich (b. South Woodstock, Vt.,
1865), graduated from Tufts College in 1887,
studied in Munich, and since 1892 has been
instructor at Tufts, at first in French, since
1895 in music. See art.
Lichtenstein, Victor (b. St. Louis, 1872),
trained as violinist at Leipzig and Brussels,
has played in concert since 1895, long conduct-
ing the Young People's String Orchestra in
St. Louis, leading the Lichtenstein Quartet,
teaching and acting as lecturer and critic.
Liebling, Leonard (b. New York, 1874),
nephew of Emil Liebling (see sec. 5), graduated
from the College of the City of New York,
studied at Berlin, since 1899 has been critic
and librettist in New York, with ' The Musical
Courier ' from 1902 and its editor from 1914.
See art.
Limbert, Frank L. (b. New York, 1866),
has lived in Germany since boyhood, studying
at Frankfort, Munich, Berlin and Strassburg,
and becoming teacher and conductor at Frank-
fort, Diisseldorf and (since 1906) Hanau. For
list of works, see Who's Who in Music.
Listemann, Franz (b. New York, 1873), son
of Bernhard Listemann (see sec. 5), trained
as 'cellist at Boston, Leipzig and Berlin, in
1896-97 played in the Pittsburgh Orchestra,
and then went to New York as teacher, soloist
and member of chamber-music groups.
Lockwood, Albert Lewis (b. Troy, N. Y.,
1871), studied the piano at Albany, Leipzig,
Vienna and Florence, appeared in concert in
1895-96 in Paris and London and in 1896 in
New York, toured extensively at home and
abroad, and since 1900 has been influential as
professor at the University of Michigan.
*Longy, Georges (b. France, 1868), after
many years' experience as oboist at Paris, in
1898 joined the Boston Symphony Orchestra.
In 1900 he founded the Longy Club. See art.
Loomis, Harvey Worthington (b. Brooklyn,
1865), after study in New York, since about
1895 has been engaged upon composition,
largely in the field of light opera. See art.
Loud, John Hermann (b. Weymouth, Mass.,
1873), trained in Boston, Berlin, Paris and Eng-
land, has been concert-organist since 1895, also
at churches in Springfield, Mass., from 1896,
in or near Boston since 1900. He has written
organ-music, piano-pieces, anthems, etc.
Lovewell, Samuel Harrison (b. Wellesley,
Mass., 1865), studied in Boston, from 1891
was organist at Easton, Pa., from 1893 at
Georgetown, Ky., from 1896 at Columbia,
S. C, from 1898 director at Whitman College,
Walla Walla, Wash., from 1906 director of
the Quincy (111.) Conservatory, in 1911-12
organist at Jenkintown, Pa., and since 1917
at Taunton, Mass. He has long been editor
for C. W. Thompson & Co., Boston. See art.
*Malcherek, Karl August (b. Hesse, 1873),
from 1899 violinist in the Thomas Orchestra
in Chicago, since 1902 has been player and
teacher in Pittsburgh, till 1910 in the Pitts-
burgh Orchestra and since 1913 in the faculty
of the Carnegie Institute of Technology.
Manney, Charles Fonteyn (b. Brooklyn,
1872), trained in Boston, since 1898 has been
on the editorial staff of the Ditson Company,
conductor and composer, chiefly of vocal
music. See art.
Manning, Edward Betts (b. St. John, N. B.,
1874), after studying law in St. John, took up
music in New York, later also in Berlin and
Paris, from 1897 taught in New York, from
1905 at Oberlin College, from 1908 was music-
supervisor in New York, and since 1915 has
been instructor in Columbia University. He
has written a piano-trio and some other works.
Marshall, John Patton (b. Rockport, Mass.,
1877), trained in Boston, from 1896 was organ-
ist there, and since 1902 has been professor in
Boston University. See art.
Matlack, Henry William (b. Steubenville,
O., 1875), studied at Oberlin, from 1897 was
instructor there, in 1901-03 and since 1908
has been teacher of organ and theory at Grin-
nell College, besides engagements as organist
in Ohio and Iowa.
*Mattfeld, Marie, a German operatic mezzo-
soprano, since 1896 almost steadily engaged
with American opera-troupes, from 1905 at
the Metropolitan Opera House, New York.
*Matthews, Harry Alexander (b. England,
1879), since 1899 organist and composer in
Philadelphia, is best known for several canta-
tas, sacred and secular. See art.
*Matthews, John Sebastian (b. England,
1870), brother of the preceding, from 1891
organist in Philadelphia, from 1901 at Morris-
town, N. J., and since 1916 at Providence.
He also has written cantatas, etc. See art.
McClellan, John Jasper (b. Payson, Utah,
1874), studied mostly at the University of
Michigan, where from 1893 he was organist
and conductor, from 1896 taught at Salt Lake
City and Provo, Utah, and since 1901 has
been professor at the University of Utah and
organist at the Tabernacle in Salt Lake City.
In 1908 he started the Salt Lake Symphony
Orchestra and in 1911 the Utah Conservatory.
McConathy, Osbourne (b. Pittspoint, Ky.,
1875), trained in Louisville and Boston, since
about 1895 has been successful in public-
school work, first at Louisville, then at Chelsea,
Mass., and latterly on the staff of Northwestern
University, Evanston, 111. He has also served
as choral conductor and edited many text-
books for school-singing.
McCutchan, Robert Guy (b. Mountayr, la.,
1877), graduated from Park College in Mis-
souri in 1898, began teaching in 1899, from
1904 taught at Baker University in Kansas, in
1910-11 studied in Europe, and since 1911
has been dean of music at DePauw University
in Indiana. See art.
74
CHRONOLOGICAL REGISTER
[8: 1890-1900
McWhood, Leonard Beecher (b. Brooklyn,
1870), graduated from Columbia in 1893, took
graduate courses in music and other subjects,
in 1897-1910 taught there, also at Vassar
College in 1902-07, in 1907-1916 at Drew
Theological Seminary, also at Washington in
1910-13 and in the Newark High School in
1913-18, and since 1918 has been music-
director at Dartmouth College. See art.
Mead, Olive (b. Cambridge, Mass., 1874),
trained as violinist in Boston, has appeared in
concert from 1898 and in 1904 formed a well-
known Quartet. See art.
*Middelschulte, Wilhelm (b. Westphalia,
1863), after having been organist in Berlin,
came to Chicago in 1891, where he has been
eminent as player and composer. See art.
*Miersch, Karl Alexander Johannes
(Saxony, 1865-1916, Cincinnati), an expert
violinist, joined the Boston Symphony Or-
chestra in 1892, in 1894-1902 was teaching
in Athens or touring, returned to America and
from 1910 was professor in the Cincinnati
College of Music.
*Miersch, Paul Friedrich Theodor (b. Sax-
ony, 1868), brother of the preceding and a fine
'cellist, came to New York in 1892, from 1893
playing in the Symphony Society and since
1898 at the Metropolitan Opera House. He
has written 'cello-concertos, an ' Indian Rhap-
sody ' for orchestra, chamber-music and songs.
Miller, Russell King (b. Philadelphia, 1871),
trained in Philadelphia and New York, since
about 1895 has been noted as organist,
teacher and composer in Philadelphia. See art.
*Mills, Charles Henry (b. England, 1873),
in 1892-93 toured in America aa pianist, in
1907-08 taught theory at Syracuse University,
from 1908 was professor at the University of
Illinois, and since 1914 has been professor at
the University of Wisconsin. See art.
Mueller, Frederick William (b. Sandusky,
O., 1863), studied at Oberlin and Leipzig,
from 1891 taught at Knox College, from 1902
was director of the Tarkio Conservatory in
Missouri, from 1913 vice-president of Tarkio
College, in 1915-16 head of the Northwestern
Conservatory, Minneapolis, and since 1916 is
director of the Twin City Conservatory there.
Neidlinger, William Harold (b. Brooklyn,
1863), trained in New York and London, from
1890 was organist and conductor in Brooklyn,
from 1896 taught in London and Paris,
from 1898 was an effective singing-teacher in
Chicago, specialized in child-psychology and
songs for children, and established a school
for subnormal children at East Orange, N. J.
Besides the comic operas ' Ulysses ' (1901)
and ' Sweet Anne Page ' (1903) , and the cantata
' Prayer, Promise and Praise,' he has written
many songs, including (from 1900) several
favorite sets for children.
*Nepomuceno, Alberto (b. Ceard, Brazil,
1864), for many years has been head of the
Instituto Nacional de Musica in Rio de
Janeiro. He is a composer of importance
and collector of Brazilian folk-songs. See
Who's Who in Miisic, 1918.
Nevin, Arthur Finley (b. Edgeworth, Pa.,
1871), brother of Ethelbert W. Nevin (see
sec. 7), studied in Boston and Berlin, from
1897 taught in Pittsburgh, in 1903-04 traveled
much in the West to study Indian music and
legends, in 1910-11 went abroad, then lived
at Charlottesville, Va., composing and in 1914-
15 conducted at Peterboro, N. H. Since 1915
he has been professor at the University of
Kansas. See art.
Nielsen, Alice (b. Nashville, Tenn., 1876),
trained as operatic soprano in San Francisco,
from 1893 sang in light opera, in 1896-98 was
with the Bostonians, from 1901 studied in
Rome and from 1903 appeared in grand operd
as well, since 1906 being connected with various
companies in America. In 1892 she married
Benjamin Nentwig, organist in Kansas City.
*Novacek, Ottokar Eugen (Hungary,
1866-1900, New York), an accomplished
violinist and composer, joined the Boston
Symphony Orchestra in 1891 and in 1892-99
played in New York. See Vol. iii. 410, and art.
Noyes, Edith Rowena (b. Cambridge, Mass.,
1875), studied in Boston and since 1895 has
been pianist and teacher there, with European
tours in 1899 and 1909, besides considerable
composition. See art.
*Oberhoffer, Emil (b. Bavaria, 1867), came
to America about 1895, from 1897 was con-
ductor in St. Paul, and since 1901 in Min-
neapolis, where since 1903 he has led the
Minneapolis Symphony Orchestra. See art.
Getting, William H. (b. Pittsburgh, 1875),
trained at Pittsburgh and Berlin, has been
a prominent organist and teacher in Pittsburgh
since 1897. See art.
Oldberg, Arne (b. Youngstown, O., 1874),
studied at Chicago, Vienna and Munich, and
since 1899 has been professor at Northwestern
University and a notable composer. See art.
Orem, Preston Ware (b. Philadelphia, ? ),
trained in Philadelphia, has been teacher and
organist there, and since 1900 editor for the
Presser Company. See art.
O'SuUivan, Denis (San Francisco, 1868-
1908, Columbus, O.), trained in San Francisco,
Florence, London, and Paris, from 1895 was
a popular concert- and opera-bass in England
and from 1897 in America. See Vol. iii. 571-2.
*Otterstrom, Thorvald (b. Denmark, 1868),
since 1892 has worked as a thoughtful com-
poser in Chicago. See art.
*Owst, Wilberfoss George (b. England,
1861), since 1893 has been organist in Balti-
more, and since 1903 also teacher at the College
of Music in Washington, and in 1897-1910 at
the Maryland College of Music. He has
written the cantata ' The Message of the
Winds,' the melodrama ' The White Ship,'
church-music and other vocal music.
*Pache, Joseph (b. Silesia, 1861), came to
America in 1891, for a time was conductor in
or near New York, and since 1894 has con-
8: 1890-1900]
CHRONOLOGICAL REGISTER
75
ducted the Oratorio Society in Baltimore and
other societies. See art.
Padelford, Frederick Morgan (b. Haverhill,
Mass., 1875), since 1901 professor of English
in the University of Washington, while fellow
at Yale University published Old English
Musical Terms, Bonn, 1899, an exhaustive
Btudy from Anglo-Saxon sources, with glossary.
*Paderewski, Ignace Jan (b. Russian Po-
land, 1860), the great pianist, was a frequent
visitor in America from 1891 till 1915, when
he forsook the concert-stage for the leadership
of the new Polish Republic. See Vol. iii.
587-8, and art.
Palliser, Esther (b. Philadelphia, 1872),
trained as operatic soprano in Paris, from
1890 appeared in France and England and from
about 1895 also in America. She lives in
London.
*Panizza, Ettore (b. Argentina, 1875), studied
at Milan, began operatic conducting at Rome
in 1899, in 1907-13 was engaged for Italian
operas in London, and since 1916 has been
conductor at La Scala, Milan. He has
written the operas ' II Fidanzato del Mare '
(1897), ' Medio Evo Latino ' (1900) and
'Aurora' (1908), and edited a translation of
Berlioz' Instrumentation, 3 vols., 1913.
*Pasternack, Josef Alexander (b. Poland,
1881), came to America in 1895, from 1900
played viola at the Metropolitan Opera House,
from 1910 conducted Sunday concerts there,
in 1913-14 was conductor for the Century
Opera Co., and since 1914 has directed summer
opera at Ravinia Park, Chicago.
*Paur, Emil (b. Bukovina, 1855), the dis-
tinguished violinist and conductor, in 1893-98
was conductor of the Boston Symphony
Orchestra, in 1898-1902 of the New York
Philharmonic Society and in 1899-1900 at
the Metropolitan Opera House as well, in
1904-10 led the Pittsburgh Symphony Or-
chestra, and then returned to Berlin. In
1899-1902 he directed the National Conserva-
tory in New York. See Vol. iii. 658, and art.
Penny, George Barlow (b. Haverstraw, N.
Y., 1861), trained in New York and Chicago,
from 1890 was dean of Fine Arts in the
University of Kansas, from 1903 dean at
Washburn College, Topeka, also in 1903-07
city-organist, in 1905-09 director of the Fine
Arts Institute and leader of the Oratorio
Society, and since 1911 has been in Rochester
as"^head of the Rochester Conservatory,
organist and professor at Rochester University
and Theological Seminary.
Perkins, David Walton (b. Rome, N. Y.,
1847), studied in New York and Berlin,
established the Sherwood School in Chicago
in 1897, continuing as its head till 1901, and
since 1907 has been president of the Musical
College there, besides work as critic. He
has published Piano- Technique, piano-pieces
and songs, and edited vocal collections.
*Peters, Richard Harry (b. England, 1867),
was organist and conductor in Canada from
about 1890, for ten years led festivals at Spar-
tanburg, S. C, which he first organized, and
since about 1910 has been organist in Balti-
more, besides conducting a choral society in
York, Pa. He has written pieces for organ,
piano and voice, the cantata ' St. Cecilia's
Day ' and the oratorio ' Elisha.' Mus.D. of
Toronto University in 1892.
Quarles, James Thomas (b. St. Louis, 1877),
studied in St. Louis, becoming organist there
in 1893, soon establishing himself as an
accomplished concert-player and conductor.
Since 1913 he has been organist at Cornell
University. See art.
Rains, Leon (b. New York, 1870), trained
at New York and Paris, has been well known as
operatic bass since 1897, from 1899 chiefly in
connection with the Dresden Court Opera.
Ralston, Fanny Marion (b. St. Louis, 1875),
trained in St. Louis and Boston, has been
teacher and composer since 1896 at St. Louis,
in girls' schools in Virginia and Missouri, from
1908 music-director at Rockford College in
Illinois, and recently at Wellesley College.
She has written for the piano with ability.
Raymond, George Lansing (b. Chicago,
1839), in 1893-1905 professor of aesthetics
at Princeton University, j has published a
striking series of books upon the nature and
relations of the fine arts, including Rhythm
and Harmony in Poetry and Music, 1895,
which, with parts of other writings, displays
an original and profound grasp of musical
philosophy.
Read, Angelo McCallum (b. near St.
Catherine's, Ont., 1854), trained at Leipzig
and Vienna, since 1894 has been teacher, con-
ductor and composer at Buffalo. See art.
Redman, Harry Newton (b. Mt. Carmel,
111., 1869), studied in Boston, and since 1897
has been harmony-teacher at the New England
Conservatory. He has written two string-
quartets, two violin-sonatas, piano-pieces,
songs, etc.
Reed, Frank LeFevre (b. Richmond, Ind.,
1871), trained at Ithaca, Cincinnati and New
York, after teaching at Fremont, Neb., and
at Ithaca, from 1906 was at the Pennsylvania
College of Music, Meadville, Pa., and since
1913 has been professor at the University of
Texas, also conducting the municipal chorus
and orchestra of Austin. He has written
orchestral pieces for pageants held at Austin,
Tex., and Auburn, N. Y., respectively.
*Remy, Alfred (b. Rhine Prov., 1870), came
to New York in youth, graduated from the
College of the City of New York in 1890,
later pursuing musical studies, from 1895 was
teacher and critic, and since 1901 has done much
editorial work of superior quality. See art.
Renwick, Llewellyn Laraway (b. Ann
Arbor, Mich., 1876), studied at Ann Arbor
and Paris, from 1898 was organist and teacher
at Ann Arbor, from 1903 organist of the
American Church in Paris, and since 1906
has taught at the Detroit Conservatory.
76
CHRONOLOGICAL REGISTER
[8: 1890-1900
Reynolds, Walter Guernsey (b. Tioga, Pa.,
1873), studied at Mansfield, Pa., and in Paris,
began teaching in 1890, from 1893 was organist
at St. Paul, in 1897-99 at Chippewa Falls,
Wis., from 1901 director at Doane College in
Nebraska, from 1905 organist at Tacoma, also
from 1906 professor at Whitworth College and
choral conductor, and since 1912 has been
organist in Seattle. He has written vocal and
organ-music.
Riemenschneider, Albert (b. Berea, O.,
1878), trained at Vienna and Paris, since 1898
has been head of the music-department of
Baldwin-Wallace College in Berea and also
organist and conductor in Cleveland, besides
touring as concert-organist.
Robinson, Franklin Whitman (b. New York,
1875) , graduated from the College of the City of
New York, studied music in New York and
became organist there. Since 1908 he has
taught at the Institute of Musical Art, de-
veloping a novel system of ear-training, be-
sides in 1904-17 being organist in Philadelphia.
See art.
*Roeder, Martin (Prussia, 1851-1895, Bos-
ton) , the noted conductor and composer, from
1892 taught singing at the New England Con-
servatory in Boston. See Baker, Diet, of
Musicians, p. 776.
Rogers, Francis (b. Roxbury, Mass., 1870),
graduated from Harvard in 1891, studied in
Boston, New York, Florence and Paris, and
since 1898 has been a popular concert-baritone,
occasionally appearing in opera. He has pub-
lished Some Famous Singers of the 19th Cen-
tury, 1915. He lives in New York.
Royer, Clarence DeVaux (b. Lancaster, Pa.,
1874-1919, Lancaster), trained as violinist in
Philadelphia, Berlin and Brussels, in 1897
made his debut in Paris, toured extensively
on the Continent and then in the United
States, has taught in Canada, at Raleigh,
N. C, Ithaca, N. Y., and since 1910 at the
New York School of Music and Art. See art.
*Saar, Louis Victor Franz (b. Holland, 1868),
from 1894 was accompanist at the Metropoli-
tan Opera House in New York, from 1896
theory-teacher at the National Conservatory,
from 1898 at the College of Music, besides
much work as critic and composer, from 1906
at the Cincinnati College of Music, and since
1917 at the Chicago Musical College. See art.
*Sabin, Wallace Arthur (b. England, 1869),
after much experience as organist in England,
since 1894 has been a prominent player at
San Francisco. See art.
Salmon, Alvah Glover (Southold, N. Y.,
1868-1917, Boston), trained as pianist in
Boston, New York, Germany and Russia,
from about 1895 toured in the United States,
specializing in Russian music.
Sanderson, Lillian (b. Sheboygan, Wis.,
1867), studied mainly at Frankfort, from 1890
appeared as concert-soprano throughout
Europe, in 1899 married the painter Richard
Miiller in Dresden and has since lived there.
*Sansone, Errico (b. Italy, 1859), after
long experience in Italy as violinist, conductor
and composer, about 1890 came to Chicago,
taught at the Chicago Conservatory and the
Balatka Academy, was for a time concert-
master of the St. Paul Orchestra, and has
played much in chamber-ensembles. See art.
*Saslavsky, Alexander (b. Russia, 1876), in
1893 toured in Canada as violinist, joined the
New York Sjnxiphony Orchestra, becoming
concertmaster in 1903, was active in 1904 in
the formation of the Russian Symphony
Orchestra, since 1907 has led his own Quartet,
and has toured extensively. See art.
Savage, Henry Wilson (b. Boston, I860?), a
successful real-estate dealer in Boston, since
about 1895 has been notable as the efficient
promoter of enterprises for giving opera in
English throughout the United States. See art.
*Scharwenka, Ludwig Philipp (Posen, 1847-
1918, Prussia), the distinguished composer, in
1891-92 was associated with his brother (see
sec. 6) in the latter's Conservatory in New
York. See Vol. iv. 248-9, and art.
*Scheel, Fritz (Lubeck, 1852-1907, Phila-
delphia), from 1869 conductor in Germany,
in 1893-94 was orchestral conductor in Chicago,
in 1895-98 in San Francisco, and then in
Philadelphia, after 1900 being leader of the
Philadelphia Orchestra. See art.
Schenuit, Alfons William (b. Pittsburgh,
1864), studied in Baltimore and Philadelphia,
and since 1892 has been organist of the Balti-
more Cathedral and from 1897 founder and
director of the Marjdand College of Music.
*Schoettle, Gustav (b. Wlirtemberg, 1877),
from 1894 taught in Kansas City and directed
choral societies, from 1910 was professor at
the State University of Iowa, in 1914-16
organized and led the Des Moines Orchestra,
in 1916-17 taught at Mitchell, S. D., and since
1917 has been director of the Northwestern
Conservatory at Minneapolis.
Schofield, Robert LeRoy (b. Northfield,
Minn., 1876), trained at Minneapolis, Phila-
delphia, New York and Paris, from 1891
taught in Minnesota, from 1901 at the Stetson
University in Florida, from 1903 in Phila-
delphia, from 1906 at Whitman College, and
since 1911 has been organist and director at
Seattle and Tacoma.
*Schroeder, Alwin (b. Saxony, 1855), the
eminent 'cellist, joined the Boston Symphony
Orchestra and the Kneisel Quartet in 1891,
in 1907-08 was in Frankfort, in 1910-12 in
the Hess-Schroeder Quartet, and since 1915
in the Margulies Trio and the Boston String
Quartet. See art.
*Schuecker, Edmund (Austria, 1860-1911,
Rhine Prov.), the superior harpist, brother of
Heinrich Schuecker (see sec. 7), in 1891-1900
played in the Thomas Orchestra in Chicago,
in 1903-04 in the Pittsburgh Orchestra, in
1904-09 in the Philadelphia Orchestra, and
in 1909-10 at the Metropolitan Opera House.
See Baker, Diet, of Musicians, pp. 846-7.
8: 1890-1900]
CHRONOLOGICAL REGISTER
77
\
*Schumann-Heink, Ernestine, nee Rossler
(b. Bohemia, 1861), the famous operatic
soprano, since 1898 has been almost con-
tinuously active on the stage and in concert
in America. See Vol. iv. 38.3— i, and art.
Schwartz, George Foss (b. Cincinnati, 1872),
graduated from Wooster University in 1895,
studied at Cincinnati, Boston and Leipzig,
from 1895 taught in New York, California
and Ohio, and since 1902 has been at the Uni-
versity of Illinois. He has written church-
music and instruction-books in harmony.
*Scotti, Antonio (b. Italy, 1866), the eminent
opera-baritone, since 1899 has sung regularly
at the Metropolitan Opera House. From
1890 he had previously been heard in South
America. See Vol. v. 666, and art.
*Seashore, Carl Emil (b. Sweden, 1866),
graduated from Gustavus Adolphus College
in 1891, took graduate study at Yale Uni-
versity (from 1895 assistant in the psycholog-
ical laboratory), and since 1897 has been at
the State University of Iowa, becoming dean
of the Graduate College in 1908. See art.
Semmann, Liborius (b. Grafton, Wis., 1873),
studied in Milwaukee, and since 1896 has
taught there, from 1899 in the Wisconsin
Conservatory and since 1911 in Marquette
University, where he is dean of music. He
has been active in music-teachers' associations
and in 1915 founded an association of presidents
of such bodies.
*Severn, Edmund (b. England, 1862),
brought to America as a child, trained in
Boston and Berlin, from 1890 was violinist
in Hartford, Conn., and Springfield, Mass.,
also conductor of choral societies in Westfield
and Warren, Mass., and since 1897 has been
teacher and composer in New York. See art.
Sewall, Maud Gilchrist (b. Urbana, O., 1872),
trained as violinist abroad, self-taught in or-
gan and theory, since 1896 has been organist
in Washington, giving many lecture-recitals.
Shapleigh, Bertram (b. Boston, 1871),
studied in Boston, not confining himself to
music, in 1898-1915 lived in England, engaged
in composition and critical work, and now
lives in New York. See art.
Shepherd, Arthur (b. Paris, Ida., 1880),
studied in Boston, from 1897 was teacher and
conductor in Salt Lake City, and since 1908
has been in the faculty of the New England
Conservatory in Boston. See art.
Singleton, Esther (b. Baltimore, ? ), has
published a variety of popular handbooks in
many fields, including A Guide to the Opera,
1899, 1909, The Orchestra and its Instruments,
1917, translations from Lavignac under the
titles The Music-Dramas of Richard Wagner,
1898, and Musical Education, 1903, and wrote
on American music for Lavignac's Encyclo-
pedie de la Musique, 1915.
Skilton, Charles Sanford (b. Northampton,
Mass., 1868), graduated from Yale in 1889,
studied in New York and Berlin, from 1893
was teacher and conductor at Salem, N. C,
from 1897 at the State Normal School, Tren-
ton, N. J., and since 1903 has been professor
at the University of Kansas, until 1915 being
dean of the School of Fine Arts. See art.
Sleeper, Henry Dike (b. Patten, Me., 1865),
studied mainly in Boston, from 1891 taught at
Beloit College, in 1894-95 at Georgetown, Ky.,
from 1895 at the University of Wisconsin, and
since 1898 has been professor at Smith College
(director from 1904). See art.
Sohn, Joseph (b. New York, 1867), gradu-
ated from the College of the City of New
York, studied at Berlin, has been long a writer
on musical subjects in New York and piano-
teacher at the Metropolitan College of Music.
He has published Robert Schumann, 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, besides many articles.
Sonneck, Oscar George Theodore (b.
Jersey City, 1873), received his whole educa-
tion in Germany, studying music at Munich
and Frankfort, began research-work in Ger-
many and Italy, from 1902 was head of the
Music Division of the Library of Congress,
becoming famous as a musicologist, and since
1917 has been with the Schirmer publishing-
house in New York, editing ' The Musical
Quarterly' from 1915. See art.
Spargur, John Mitchell (b. Cincinnati, 1879),
a violinist from boyhood, from 1894 was con-
ductor for the Ben Greet Players, from 1901
played in the New York Philharmonic and
Russian Orchestras, and in 1911 founded the
Philharmonic Orchestra at Seattle.
Speaks, Oley (b. Canal Winchester, O.,
1876), trained in New York, since 1898 has
been known there as a church- and concert-bar-
itone and composer of effective songs.
Spencer, Allen Hervey (b. Fairhaven, Vt.,
1870), studied in Rochester and Chicago and
since 1892 has taught at the American Con-
servatory in Chicago, appearing extensively as
concert-pianist. See art.
*Spielter, Hermann (b. Bremen, 1860)
from 1894 was conductor of the Beethoven
Mannerchor in New York, in 1897-1911
theory-teacher at the College of Music, and
since 1915 at the Von Ende School. He has
written the operetta Die Rajahsbraut (1910),
many cantatas and choruses, instrumental
works, etc. For list, see Baker, Diet, of
Musicians, p. 894.
Spiering, Theodore (b. St. Louis, 1871),
trained as violinist in St. Louis, Cincinnati
and Berlin, in 1892-96 played in the Thomas
Orchestra in Chicago, in 1893-1905 toured
with his own Quartet, in 1898-1905 taught at
the Chicago Conservatory, his own school and
the Chicago Musical College, in 1906-09 and
1911-14 was teaching and touring in Europe,
in 1909-11 was concertmaster of the New
York Philharmonic Society and its conductor
in 1911 (taking Mahler's place), and since
1914 has taught in New York. See art.
78
CHRONOLOGICAL REGISTER
[8: 1890-1900
Spross, Charles Gilbert (b. Poughkeepsie,
N. Y., 1874), studied at Poughkeepsie and
New York, has been organist since 1891 in
Poughkeepsie, Paterson, N. J., and New York,
and is an eminent accompanist. See art.
Spry, Walter (b. Chicago, 1868), trained at
Chicago, Vienna, Berlin and Paris, from 1897
was director of the Quincy (III.) Conservatory,
from 1900 editor of Summy's ' Music Review,'
in 1905-17 head of his own school in Chicago,
and is now teacher in the Columbia School
there. See art.
*Stahlberg, Frederick (b. Prussia, 1877), the
violinist, in 1899 joined the Pittsburgh Or-
chestra, and since 1908 has been in the New
York Philharmonic Society, from 1912 as-
sistant-conductor. He has written an opera,
two symphonies, several orchestral suites, etc.
*Stasny, Karl Richard (b. Hesse, 1855),
after much experience as pianist and teacher,
since 1891 has been on the staff of the New
England Conservatory in Boston.
Stebbins, George Waring (b. East Carlton,
N. Y., 1869), trained in Brooklyn, New York,
Paris and London, since 1893 has been organist,
conductor and teacher in Brooklyn. See art.
*Steindel, Bruno (b. Saxony, 1866), having
been 'cellist in Berlin, in 1892-1918 was first
'cellist in the Chicago Orchestra.
*Stock, Frederick A. [Friedrich Wilhelm
August] (b. Rhine Prov., 1872), since 1895
has been in the Chicago Orchestra, first as
violinist, from 1901 as assistant to Thomas, and
since 1905 his successor as conductor. See
Vol. iv. 698, and art.
Stoeckel, Carl (b. New Haven, Conn.,
1858), son of G. J. Stoeckel (see sec. 4), since
1899 has been patron of the festivals at Nor-
folk, Conn., of the Litchfield County Choral
Union.
Strong, Susan (b. Brooklyn, 1875?), trained
as opera-soprano in New York and London,
in 1895-96 appeared abroad, from 1896 in
New York, and since 1900 has sung in London.
*Strube, Gustav (b. Anhalt, 1867), in 1890
joined the Boston Symphony Orchestra as
violinist, acting also as conductor there and in
Worcester, and since 1913 has taught com-
position at the Peabody Conservatory in
Baltimore and since 1916 has conducted the
Baltimore Orchestra. See art.
Sutro, Rose Laura (b. Baltimore, 1870) and
Sutro, Ottilie (b. Baltimore 1872), trained
as pianists in Baltimore and Berlin, since 1893
have been noted for two-piano performances,
first in Germany and England, from 1894 in
America, and in 1910-15 in Europe again.
See Baker, Diet, of Musicians, p. 929.
Swift, Samuel (Newark, N. J., 1873-1914,
New York), graduated from the University of
Pennsylvania in 1894, from 1891 was organist
in Wilmington, Del., and from 1894 critic and
editor in New York. See art.
*Szumowska, Antoinette (b. Poland, 1868),
the concert-pianist, first appeared in Boston
and New York in 1895, in 1896 married Josef
Adamowski (see sec. 7) and with him and his
brother (see sec. 6) formed the Adamowski
Trio, with headquarters in Boston. See art.
Talbot, Howard [last name originally Mun-
kittrick] (b. Yonkers, N. Y., 1865), has lived
in England since childhood, developing from
1894 into a successful composer of comic
operettas. For list see Baker, Diet, of Mu-
sicians, p. 931.
*Theodorini, Helena (b. Rumania, 1862),
the operatic soprano, was visiting artist in
Buenos Aires and Rio de Janeiro before 1900,
about 1910 settled in the former as teacher,
and since 1916 has lived in New York.
Thompson, John Winter (b. Leland, Mich.,
1867), trained at Oberlin and Leipzig, since
1890 has been teacher of organ and theory at
Knox College, Galesburg, 111. He has pub-
lished anthems and organ-pieces. Mus. D. of
Knox College in 1909.
*Towers, John (b. England, 1836), from
1890 was organist and teacher in Indianapolis,
from 1892 at the Utica Conservatory, from
about 1895 in New York, from 1904 at the
Forest Park University and the Kroeger
School in St. Louis, and since 1915 has been
in Philadelphia. He has published a cata-
logue of 28,000 operas (1910).
*Troostwyk, Isidore (b. Holland, 1862), an
expert violinist, came to America in 1890, and
since 1895 has taught in the Yale School of
Music, becoming concertmaster of the New
Haven Orchestra and in 1907 founder of the
New Haven String Orchestra. See art.
Turner, Arthur Henry (b. Meriden, Conn.,
1873), trained as baritone and organist in New
York and Paris, has been organist in Meriden
and from 1900 in Springfield, Mass., also con-
ducting choral clubs, giving recitals and com-
posing songs.
Tyler, Abram Ray (b. Brooklyn, 1868),
trained in New York, from about 1895 was
organist there and in Brooklyn, from 1902 was
professor at Beloit College in Wisconsin, and
since 1911 has been organist at Detroit. He
has played often in recital and has written a
piano-trio, a violin-sonata, anthems and other
choral music.
*Valle Riestra, Jose (b. Peru, 1859), trained
mainly in London and Paris, has become
notable as a composer seeking to preserve
themes from Aztec music. Since 1909 he
has been professor in the Academia Nacional
de Musica in Lima. He has written the operas
' Ollanta ' (1901), ' Atahualpa,' 'Las Rosas
de Jamaica,' a requiem, pieces for orchestra,
choruses and songs.
Van Dresser, Marcia (b. Memphis, Tenn.,
1880), studied in Chicago and later in Munich
and Paris, from 1898 sang in light opera and
in minor parts in grand opera, from 1904
studied abroad, from 1907 appeared as soprano
in many German cities, and since 1914 has
been active again in America.
Van Hoose, Ellison (b. Murfreesboro, Tenn.,
1869), trained as operatic tenor at New York,
8: 1800-1900]
CHRONOLOGICAL REGISTER
79
Paris, Rome and London, has appeared widely
in America and Europe since 1897. See art.
Virgil, Almon Elincaid, of New York, in 1892
first patented his Practice Clavier, which was
widely adopted in America and England as a
means of manual training. See Vol. ii. 266.
*Volpe, Arnold (b. Russia, 1869), came to
New York in 1898, where in 1902 he organized
the Young Men's Symphony Orchestra, and
since 1910 has led other valuable organiza-
tions. See art.
Walker, Edyth (b. Hopewell, N. Y., 1870),
studied mostly at Dresden, first appeared as
operatic contralto in 1895 at Vienna, singing
at the Hofoper for several years, from 1903
was at the Metropolitan Opera House in New
York, from 1906 sang chiefly at Berlin and
Hamburg, and since 1912 at Munich.
Ward, Frank Edwin (b. Wysox, Pa., 1872),
studied in Washington and New York, from
1891 was organist at Washington, in 1900-05
at Rye, N. Y., in 1902-13 at Columbia Uni-
versity, and since 1906 at Holy Trinity, New
York. See art.
Watt, Charles E. (b. Lima, O., ? ), studied
in Chicago, in 1894 founded the Chicago Piano
College and in 1908 the periodical ' Music
News,' of which he is proprietor and editor.
■^Weidig, Adolf (b. Hamburg, 1867), in 1892
came as violinist in the Chicago Symphony
Orchestra and viola in the Spiering Quartet.
Since 1898 he has been one of the managers
of the American Conservatory and a fertile
composer. See art.
*Weisbach, Harry (b. Russia, 1886), brought
to New York as a child, played in public in
1896, studied in New York, Brussels and
Berlin, toured in Europe and America, and
since 1912 has been coacertmaster of the
Chicago Symphony Orchestra.
*WetzIer, Hermann Hans (b. Hesse, 1870),
came to New York in 1892, from 1897 was
organist of Trinity Church, from 1902 gave
orchestral concerts, and since 1905 has been
conductor and composer in Germany. See art.
Whitmer, Thomas Carl (b. Altoona, Pa.,
1873), studied in Philadelphia and New York,
in 1898-99 was organist at Harrisburg, from
1899 taught at Stephens College in Missouri,
from 1909 at the College for Women in Pitts-
burgh, from 1916 at the Pittsburgh Musical
Institute, and since 1919 privately. See art.
Whittlesey, Walter R. (b. Hartford, Conn.,
1861), from the opening of the new building
of the Library of Congress in 1897 had charge
of organizing the Music Division, after 1902
was Sonneck's assistant, and since 1917 has
been acting as his successor. They collabo-
rated on The First Editions of Stephen C.
Foster, 1915, and he has also written Music
in the South, 1860-69, and Negro Music, not
yet published.
Williams, Harry Evan (Mineral Ridge, O.,
1867-1918, Akron, O.), studied in Cleveland,
from 1891 appeared as concert-tenor, and
speedily became famous. See art.
Witherspoon, Herbert (b. Buffalo, 1873),
graduated from Yale in 1895, studied there
and later in New York, Paris, London and
Berlin, has been noted since 1897 as a concert-
bass and since 1898 also in opera, in 1908-16
at the Metropolitan Opera House.
*Wrightson, Herbert James (b. England,
1869), came to Chicago in 1897 as teacher and
critic, in 1908-09 taught at the Philadelphia
Musical Academy, and in 1911-14 at the Sher-
wood Music School in Chicago. He has
written four organ-sonatas, an organ-concerto,
a violin-sonata, piano-pieces, songs, etc.
York, Francis Lodowick (b. Ontonagon,
Mich., 1861), graduated from the University
of Michigan] in 1882, studied music there, at
Detroit and in Paris, from 1892 taught at the
University of Michigan, from 1896 at the State
Normal School, Ypsilanti, and since 1902 has
been head of the Detroit Conservatory and
organist. See art.
Zahm, John Augustine (b. New Lexington,
O., 1851), a member of the Order of the Holy
Cross (designated to scientific studies), while
professor of physics at the University of Notre
Dame published Sound and Music, 1892, a
notably clear and comprehensive handbook
of musical acoustics. For other works, see
Who's Who in America.
Zay, William Henri (b. Findlay, 0., 1869),
studied at Cleveland and later at London,
from 1890 taught singing at Cleveland, from
1895 was in London as voice-specialist, and
since 1917 has been in New York. He has
published The Practical Psychology of Voice
and of Life, 1918, and has written many
songs.
Zeckwer, Camille (b. Philadelphia, 1875),
son of Richard Zeckwer (see sec. 6), studied in
Philadelphia, New York and Berlin, and since
before 1900 has been a noted pianist, teacher
and composer in Philadelphia. See art.
80 HISTORICAL INTRODUCTION
THE OPENING OF THE TWENTIETH CENTURY
It may seem that there is no evident reason for breaking into two parts the
half-century between the end of the Civil War in 1865 and the outbreak of the
World War in 1914. During this half-century the United States and Canada
moved forward continuously along lines of development that did not essentially
change except in momentum and acceleration. Because of this apparent con-
tinuity certain statements in earlier paragraphs were allowed to range across the
hypothetical line dividing the 19th from the 20th century.
But, on the other hand, especially as concerns the United States, the two
recent decades are distinct as a historical period. The date 1900 stands out as a
convenient landmark for a significant alteration in the world-relations of both the
United States and Canada — an alteration that brought with it important shifts
of internal life and consciousness. From the Civil War onward was a time of
national consolidation on an unexampled scale in both countries. After 1900 this
became transformed into a time of international outlook and adjustment, also
unexampled and as yet of sohiewhat unpredictable results. Regarding this a few
illustrative points may well be cited.
On the commercial side it is enough to note that in 1900 for the first time the
annual foreign trade of the United States crossed the two-billion mark. In 1910
it was over three billions, in 1913 over four, and in 1919 over ten. The average
volume of exports in the twenty years since 1900 has been more than seven times
what it was in the twenty years before 1900. Not only has the volume thus ex-
panded, but the character of this vast international commerce has become infinitely
diversified and its geographical scope has been extended into all corners of the
earth. Thus America has recently become linked by the cords of trade, as never
before, with all lands and peoples.
On the diplomatic side, also, the years just before and after 1900 set the
United States into relations with other nations that were unprecedented. In
1898 occurred the brief, but momentous, contest with Spain, leading to the acquisi-
tion of the Philippines and Porto Rico and indirectly to that of the Hawaiian
Islands. In 1896 had begun the spectacular exploitation of Alaska, and in 1904
the cutting of the Panama Canal was undertaken in earnest (opened to trade in
1914). In 1900-01 came the Boxer Uprising in China and in 1904-05 the Russo-
Japanese War, in the progress and settlement of both of which the United States
was forced to bear a part. These events, with their political involutions, though
mostly located in the region of the Pacific Ocean, really served to push the United
States into intimate and vital connection with world-politics and world-tend-
encies— a connection that rapidly became closer until crowned in 1917 by its
impassioned union with the Allies in their struggle against German imperialism.
Thus the opening decades of the 20th century widened the horizon and altered
the perspective of America's thought and sentiment beyond anything previously
experienced. That all this is to have profound reactions upon its future culture
cannot be doubted.
THE OPENING OF THE TWENTIETH CENTURY 81
Another aspect of international relationship is suggested by the statistics of
immigration. In 1900 the United States proper had a population of about 79
millions, in 1910 about 92 millions, and in 1920 presumably about 105 millions —
an increase per decade of about 15 per cent. Of this increase immigration supplied
a larger proportion than ever before. In 1903-14 the inflow was at the rate of
almost a million per year. Seven-eighths of the 14^ millions of aliens received
in 1900-19 came from eight countries — Italy and Austria-Hungary, each nearly
22 per cent ; Russia, 18 per cent ; Great Britain, over 9 per cent ; Canada, about
5^ per cent ; Scandinavia, 5 per cent ; Germany, 3^ per cent ; and Greece, about
2| per cent. The balance of derivation is thus in sharp contrast with all earlier
records, the proportion from Italy, Austria and Russia being unexampled. This
fact — with many lesser points that cannot here be enumerated — indicates that
America's internationalization since 1900 was not only in external relations, but
in internal elements. Its foreign-born population was larger than ever, and the
derivation of that population was indefinitely more diversified. It is true that this
portentous fact has seemed to many depressing, especially since they feel that just
when American society was gaining a wider and nobler vision over the world at
large its lower strata were being made heavy and inert, if nothing worse, by the
influx of multitudes who were ignorant and clannish, uninspired by anything
but greed. In the 19th century it is known that the United States was greatly
enriched by the flood of immigration, but this has seemed to some not to be the
case with the new flood with which the 20th century began. Acknowledging all
the difficulties of assimilation that now exist, however, it is a fair question
whether in the long run America is not to be infinitely enriched again by the fresh
racial elements that are being poured into its composite life. Particularly is this
likely on the side of its imaginative and artistic culture, since the new strains of
sentiment and tradition are undoubtedly intensely strong and eager. There are
already signs that this recent impulse is to have musical consequences.
Here is the appropriate place to remark upon an intricate problem in all Ameri-
can history, particularly in its cultural history, namely, the part played by those
who are Americans only by migration and adoption. In the field of music it is
evident that since about 1840 all progress has been affected — often dominated —
by the influence of those who were foreigners by birth and training. This factor
in the historic equation is in America much greater than in any other musical
country. It has always been natural for America to welcome the foreigner,
whether visitor or settler. When native musicians were few and inexperienced,
the coming of seasoned artists from abroad was in every way fruitful. So many of
them proved teachers and leaders of power that a tradition formed itself that the
places of most distinction, the ranks of organizations like orchestras and opera-
companies, and, of course, the items upon standard programs for performance,
should all be given to them. Inspection of the lists given in the middle sections
of the Chronological Register accompanying this Introduction suggests ample
reason why this tradition should have become established. Later sections of the
Register indicate how the proportion and importance of native musicians have
82 HISTORICAL INTRODUCTION
steadily increased. In view of this advance the persistence of the old tradition
in favor of music and musicians from overseas has since 1900 become increasingly
unfortunate.
It needs to be remembered, however, that alien-born musicians are not all of
one class. Some of them, no doubt, are mere visitors — even when they prolong
their stay for several years — transient exploiters of this among many fields of
professional eclat and profit. Again, some settle permanently, and even acquire
technical citizenship, without really losing their exotic quality — especially
in the larger cities — so that, though they are in America, they are not properly
of it. But the larger number in their transplanting become so firmly rooted and
acclimated that they are not essentially diverse from many native-born musicians
who have had training abroad. They must be counted as in a sense true Ameri-
cans, just as the settlers of the 18th century were. Many of them at the time of
their coming are either older than their immediate American associates or have
had experience of more breadth and intensity. Hence, so far as they are artists
of a 'picked' class, it is not strange that they step into prominence. In every
period the inclusion of such forces in the totality of American musical life is all
to the good, even though they add to the complexity of its cosmopolitan character.
Since before 1850 American students have tended to seek much of their pro-
fessional training in Europe. Thus the American response to the opening of the
Leipzig Conservatory was notably hearty, as later to the beckoning of other Ger-
man schools. Still later Paris, London, Vienna and certain Italian cities were
also sought. Thus grew up a tradition of the necessity of foreign study if one were
to be a master. The force of this has now been much diminished, owing to the
obvious excellence of educational advantages at home. At least, it no longer
works hardship. But while it lasted, like the other tradition about the superiority
of foreign-born artists, it played its part in keeping the standards and trend of
music in America singularly cosmopolitan — not strictly indigenous, but com-
piled from many sources.
Here comes in a question that has been more urgent since 1900 than before —
the question as to an American 'type' or 'school' of composition. The question
is by no means new, but its serious discussion is comparatively recent. The
claim has been pressed that here, as in many other countries, a 'national' type
should rest upon something in the nature of folk-music. Among several possible
illustrations of such music two have been specially considered.
On the one hand, the songs of the Negroes of the South have been empha-
sized. Thoughtful attention to these began at the time of the Civil War and es-
pecially about 1870, when the original 'Jubilee Singers' were heard at home and
abroad. Of course, the picturesque sentiment in such melodies had been felt
long before and artistically used, as, for example, by Foster as early as 1845.
But in 1885 Negro themes were put to orchestral use by Chad wick and in 1894
more ostentatiously by Dvorak. Since then the latent richness of this vein of
melodic and rhythmic ore has been diligently searched out by many composers,
with results most interesting and often impressive.
THE OPENING OF THE TWENTIETH CENTURY
^
On the other hand, the songs of the Indians of the West have also been em-
phasized. Attention to these was first called by the original study of Theodore
Baker in 1882 — a study which in part inspired the drafting of MacDo well's
'Indian Suite' some ten years later. Since 1901 the value of this source has been
valiantly upheld by a circle of enthusiasts led by Arthur Farwell. The result is
that this vein, too, has been worked with great ability and increasing tangible re-
sults. It has the obvious advantage of bringing into view not only tonal patterns,
but the literary or dramatic quality inherent in Indian fantasy and legend.
Highly characteristic and fascinating as both of these sources undoubtedly are,
neither of them is fully expressive of America as a whole, of its cosmopolitan deri-
vation, its kaleidoscopic history, or its essentially unique national spirit. Hence
there has been more and more an instinctive search for musical means to embody
impressions from the physical environment of American life, from the reaction
upon the imagination of its historic epochs, from reflections over the motives and
traits of its characteristic spiritual nature. It is not unlikely that this last holds
special promise for the future.
The notes in earlier parts of this Introduction about the growth of cities
should now be extended to the time after 1900. Final data from the census
of 1920 are not yet available, but the salient facts are clear from the pre-
liminary reports that have been made. In 1900 there were in the United
States 36 cities with 100,000 inhabitants or more ; in 1910 there were 50
such; and in 1920 there were about 70, with a total estimated population of
about 30 miUions. It will be useful to name about fifty of them, arranged
by sections and with their estimated size in 1920 stated in round thousands :
Eastern States
Boston, Mass. . .
Providence, R. I. .
Worcester, Mass. .
New Haven, Conn.
Bridgeport, Conn.
Hartford, Conn. .
Springfield, Mass.
Middle States
New York, N. Y,
Philadelphia, Pa.
Baltimore, Md.
Pittsburgh, Pa.
Buffalo, N. Y. .
Washington, D. C
Newark, N. J. .
Jersey City, N. J.
Rochester, N. Y.
Syracuse, N. Y.
Scranton, Pa. .
Paterson, N. J.
SOTTTHERN STATES
New Orleans, La. .
Louisville, Ky.
Atlanta, Ga.
Birmingham, Ala.
Richmond, Va.
Memphis, Tenn. .
748 (000)
238
180
163
143
138
129
5621
1823
734
588
507
438
414
298
296
172
138
136
387
235
201
178
172
162
Central States
Chicago, 111. .
Detroit, Mich.
Cleveland, O..
St. Louis, Mo.
Milwaukee, Wis.
Cincinnati, O.
Minneapolis, Minn.
Kansas City, Mo.
Indianapolis, Ind.
Toledo, O. . .
Columbus, O.
St. Paul, Minn.
Akron, O. . . .
Dayton, O. . .
Grand Rapids, Mich.
Youngstown, O.
Western States
Denver, Colo. .
Omaha, Neb.. .
San Antonio, Tex.
Dallas, Tex. . .
Houston, Tex. .
Salt Lake City, Utah
Pacific States
Los Angeles, Cal. .
San Francisco, Cal.
Seattle, Wash. . .
Portland, Ore. , .
Oakland, Cal. . .
2701 (000)
994
797
773
457
401
380
324
314
243
237
235
208
153
138
132
256
192
161
159
140
130
577
508
316
258
216
84 HISTORICAL INTRODUCTION
It is not practicable to go into detail as to the ways in which most of
these cities are serving as musical centers. Perhaps half of them have more
or less permanent orchestras and at least three-quarters of them somewhat
competent choral societies. Though but a few as yet have operatic perform-
ances, a large majority enjoy regular concert-seasons of some significance.
Nearly all boast one or more strong music-schools, and all doubtless con-
tain some or many superior teachers. Comparatively few of them fail to
provide in their public libraries for the demands of those who would cultivate
themselves in musical knowledge through books.
The opening of the 20th century brought a striking quickening of effort in the
presentation of opera. The MetropoUtan Opera House in New York remained
the conspicuous center, with the Auditorium in Chicago a good second. From
1900 several efforts were made to establish opera in English through traveling
troupes — the chief being those of Savage and of the Aborns — efforts that
have since been continued at intervals and in different forms, though constantly
tending to veer off into the more lucrative field of light opera. Much more im-
portant was the spectacular undertaking of Hammerstein in 1906 at his Man-
hattan Opera House in New York (with branch-efforts in Philadelphia, leading
to his Philadelphia Opera House in 1908) to dispute the leadership of the Metro-
politan. This competition led in 1908 to the transfer of the Metropolitan to the
capable hands of Gatti-Casazza, its present manager, to the erection of the
Boston Opera House in 1909 and a determined effort to link New York and Boston
operatically, ahd in 1910 to the restriction of the Hammerstein interest by the
Metropolitan. This last step was immediately followed by the formation of the
strong and enterprising Chicago Opera Association, which has ever since been
foremost as a friendly competitor with the Metropolitan. In 1913-15 an energetic
effort was made in New York to set up a fresh center at the Century Opera House.
The number of permanent orchestras was rapidly increased. The dates in
some cases are not easy to fix precisely, since tentative experiments often preceded
positive establishment, but it may be noted that Archer and Herbert began as
conductors at Pittsburgh even before 1900, that Scheel was at Philadelphia from
1900, Oberhoffer at Minneapolis from 1903, Altschuler and his Russian Symphony
Orchestra at New York from 1904, Zach at St. Louis from 1907, Rothwell at St,
Paul from 1908, Stokowski at Cincinnati in 1909 (reorganization), Hadley at
Seattle in 1909 and at San Francisco in 1911, Busch at Kansas City from 1910,
Gales at Detroit in 1914, Gunn and the American Orchestra at Chicago from 1915,
Strube at Baltimore from 1916, etc. These are but varied samples of a movement
that now reaches more or less over the whole country. In 1911 the cause of
orchestral music was furthered by a princely bequest to the Philharmonic Society
of New York, in 1914 by an analogous gift to the New York Symphony Society
and in 1915 by another to the Cincinnati Symphony Orchestra — these endow-
ments following the example already set in Boston and Chicago, The larger
orchestras now usually make extended tours each season, so that their influence
is spread over a wide area. Most of them also engage, in whole or in part, in a
multiplicity of 'festival' undertakings.
THE OPENING OF THE TWENTIETH CENTURY 85
The cultivation of chamber-music has grown apace since the Kneisel Quartet
led the way in 1886. Among its early successors was the Spiering Quartet of Chi-
cago (1893-1905). In 1900 was organized the Longy Club of Boston (wind-in-
struments), to which was added in 1910 the parallel Barrere Ensemble of New
York. In 1903 it was an American banker who joined the list of great patrons
by founding the Flonzaley Quartet, which forthwith became internationally signifi-
cant. Among many other organizations of the period may be named the Olive
Mead Quartet and the Margulies Trio, both launched in New York in 1904.
Among recent additions are the Philharmonic Ensemble of New York (1913), the
Kortschak Quartet of Chicago (1915, transformed in 1916 into the Berkshire), the
Letz Quartet of New York (1917), etc.
In the choral field there has been a steady, though not rapid, multiplication of
societies. Perhaps the most striking are those devoted to the production of com-
paratively unusual works. The Musical Art Society of New York, which was
founded as early as 1893, initiated an interest in historical programs, especially
in a cappella form, that has spread to several other cities. Somewhat akin is the
Schola Cantorum of New York, which followed in 1908. Two Canadian societies,
the Mendelssohn Choir of Toronto (from 1894) and the Elgar Choir of Hamilton
(from 1904), have acquired much more than a local reputation through tours in
the United States. German, Scandinavian, Welsh and other national choruses
have aroused enthusiasm in various parts of the country. To the list of annual
festivals there are two striking additions, though very dissimilar in character,
namely, that of the Bach Choir at Bethlehem, Pa. (since 1898) and that of the
Litchfield County Choral Union at Norfolk, Conn, (since 1902). The Worcester
(Mass.) festivals have maintained their position of importance. Among others
those at Ann Arbor, Mich., and Evanston, 111., may be named as representative of
many that are associated with large educational institutions. Those at Peterboro,
N. H., and at Lockport, N. Y., may be cited as specimens of still other classes.
After 1900, even more than during the decade before, the influx of visiting
artists of every kind from abroad was notable for amount and quality. After 1910,
and especially as the cloud of impending war arose, this influx increased, bringing
many who probably will remain permanently. In a single year the number of
immigrants who are classed as 'musicians' has risen as high as 350. Thus the
factor of internationality in American music is at present on the increase.
No proper summary can here be made of the advance of technical music-
education. The recent period has seen the steady strengthening of the older
institutions and the addition of many new ones. Many of those that are com-
paratively unpretentious serve a useful purpose for their own circle and region.
Some command a clientage from the whole country — and even from foreign
countries. The Institute of Musical Art in New York, founded in 1905, is perhaps
unique in the size of its initial endowment and its policy of administration. In
most of the leading conservatories great changes of scope and method have taken
place. Almost all of them now provide extensively for the pursuit of dramatic
music, for experience in ensemble-playing, for discipline in applied pedagogy,
86 HISTORICAL INTRODUCTION
and for other branches not easily accessible in private instruction. All maintain
ample demonstrative courses of concerts and recitals.
To this recent period belongs the advance of the music-departments in colleges
and universities into marked importance. The origin of many of them was far
back in an earlier time, but their development on broad lines has mostly come since
1900. The state universities as a class, with the colleges for women, have be-
come notable for their attention to music as an element in or adjunct to general
education. They, like the music-schools generally, have also magnified the pur-
suit of music as an occupational preparation. In the public schools music-
instruction has not only become much more customary in cities and larger towns,
but has been greatly improved in quality, scope and status. Its administration
by highly trained supervisors has made it more professional in character. In
many cases school-choruses and school-orchestras have reached a remarkable
pitch of artistic excellence. Urgent efforts are being put forth to link up private
musical study by pupils with their school program and standing by means of some
system of credits. The importance of all this is shown by the attention to it given
by bodies like the National Education Association and a governmental depart-
ment like the Bureau of Education,
Musical periodicals have not so much increased in number as gained in dignity,
circulation and influence. A capital event in this field was the founding in 1915
of ' The Musical Quarterly,' which is plainly on a much higher level than anything
previously attempted in America.
In the field of church-music the most influential organization is the American
Guild of Organists, founded in 1896, which works through a system of examina-
tions to measure and attest the ability of players, and by means of local chapters
and frequent services aims to develop and guide enthusiasm. There is also an
energetic National Association of Organists, founded in 1908.
A singular feature of the period is the prodigious expansion of mechanical ap-
pliances for reproducing music. Experiments in this direction were originally
made in Europe and somewhat in America long before 1900, but the exploitation
of such appliances on a large scale is mostly confined to the last twenty-five years.
It is in America that they have been best perfected and most extensively adopted.
Their popularity has aroused much discussion. On one hand it is naturally said
that they do not usually represent musical effects accurately or adequately, es-
pecially in correct intonation, delicacy of nuance and the subtle personal magnetism
of the living performer. Yet, on the other hand, it is evident that for many users,
especially those of limited opportunity or of uncritical habit of listening, they
supply a real means of entrance into the world of musical literature. They have
proved of value as adjuncts to technical music-teaching in some forms and stages.
The balance between their good and bad possibilities must be struck according
to circumstances. It is true that the eagerness for large sales has led many manu-
facturers of records, like some publishers of printed music, to flood the market
with inferior and even obnoxious material and to stimulate its purchase. Yet
remarkably fine records of important works, vocal and instrumental, have been
THE OPENING OF THE TWENTIETH CENTURY 87
prepared and their number increases. For those who are minded to use mechani-
cal means with discretion and educational design an extensive repertory is avail-
able and for its actual presentation all kinds of reproducers are now obtainable in
remarkable perfection. This commercial evolution, then, with its hold upon
popular attention, must be counted as an important factor in the present situation.
Slightly related to this is the extraordinary development of music as an adjunct
to moving-picture theaters. In the larger of these organs of both power and
delicacy are now common, and the use of them is becoming a specialty among or-
gan-players. In a few cases there is also an orchestra of superior quality. It
is not yet clear how great an influence this rather sudden development is to have,
or along what lines.
It is mostly since 1900 that the American-born composer, along with the
American-born concert-performer, may be said to have begun to come into his
heritage. In recent years works by both the older and the younger groups of
composers have begun to be given as never before by orchestras, choral societies,
chamber-ensembles, vocal and instrumental soloists, and even the great opera-
companies. Recitalists and teachers are giving far more attention to American
works, and several publishers are specializing in them. Thus at length the musical
public is becoming aware of much that lies ready at its hand. In all this progress
the adopted American, also, is receiving his share of recognition. Almost the
only direct result of the World War as regards musical matters has been the
access of emphasis upon that which represents America and American sentiment.
At the same time, however, it must be confessed that the social conditions issuing
from the war period are so complicated that it is harder than ever to say precisely
what is distinctively 'American.' With every succeeding decade compact gen-
eralizations as to the national qualities, tendencies and destinies become more
difficult and hazardous.
Among the younger composers a few names begin to stand out in succession to
those named at an earlier point, names like D. G. Mason, Carpenter, Schelling,
Campbell-Tipton, D. S. Smith, Fairchild, Cadman, Powell, Clapp and Sowerby.
But whether or not these are typical is a question for time and critical judgment to
answer. The purpose of this Introduction is not to describe the history of Ameri-
can composition or appraise the works or style of even its chief representatives,
but simply to indicate the conditions surrounding that evolution and some of the
social connections of musical effort. Almost every page of this volume offers data
as to the variety and abundance of production, especially during the last half-
century. The critical sifting of these data it is perhaps not yet time to attempt.
There seems not to be any book that devotes itself to the topics that have
been here emphasized — the material and social setting or environment of
musical and other artistic progress. Yet in the larger histories and in many
similar discussions passages or chapters might perhaps be cited to some ad-
vantage. Instead of attempting this, however, the following brief list of
compact manuals of the history as a whole may be set down : Epochs of
American History, 3 vols. ; Farrand, The Development of the United States,
1918; Elson, Sidelights on American History, 2 vols., 1899-1900; Sparks, The
Men who Made the Nation, 1900; Muzzey, American History, 1911.
88
CHRONOLOGICAL REGISTER
[9: 1900-1910
CHRONOLOGICAL REGISTER
9. The Opening of the 20th Century —
1900-1910
Aborn, Milton (b. Marysville, Cal., 1864) , and
his brother Sargent Aborn (b. Boston, 1866),
active since 1885 as theatrical players or
managers, from 1902 managed the Aborn
Opera Company, giving opera in English at low
prices, and in 1913-15 made a decided success
with the Century Opera House in New York.
*Alda, Frances [Frances Davis] (b. New
Zealand, 1883), having appeared from 1904
as operatic soprano in Europe and South
America, since 1908 has been a favorite at
the Metropolitan Opera House in New York.
In 1910 she married the manager Gatti-
Casazza. See art.
Aldrich, Mariska (b. Boston, 1881), studied
in Paris and London, made her debut as dra-
matic soprano in 1908 in New York, and since
1909 has been (except in 1914 at Berlin) at the
Metropolitan Opera House. Since 1917 she
has been Mrs. W. E. S. Davis.
*Altschuler, Modest (b. Russia, 1873), an
expert 'cellist, in 1903 organized the Russian
Symphony Orchestra, of which he has since
been conductor. See art.
*Amato, Pasquale (b. Italy, 1878), the well-
known operatic baritone, since 1908 has been
at the Metropolitan Opera House. See art.
Anderson, Arthur Olaf (b. Newport, R. I.,
1880), trained in Boston, Paris, Berlin and
Rome, in 1905 began theory-teaching in
Berlin, and since 1908 has taught at the
American Conservatory in Chicago. See art.
*Ara, Ugo (b. Italy, 1876), from 1903 was
violist in the Flonzaley Quartet until recalled
to Italy by the World War in 1917, his place
being taken by Louis Bailly.
*d'Archambeau, Ivan (b. Belgium, 1879),
since 1903 has been 'cellist in the Flonzaley
Quartet.
*Arimondi, Vittorio (b. Italy, ? ), the
operatic bass, from 1906 sang at the Manhattan
Opera House in New York, and since 1910 has
been with the Chicago Opera Company.
*Audsley, George Ashdown (b. Scotland,
1838), since 1892 an architect in New York,
from 1905 has published sumptuous treatises
on organ-building. See art.
Ayres, Frederic (b. Binghamton, N. Y.,
1876), studied in New York and Boston, and
since 1901, with some teaching and lecturing,
has been engaged on composition, living in
Colorado Springs. See art.
Barnes, Edward Shippen (b. Seabright, N.
J., 1887), studied at the Yale School of Music,
from 1909 was assistant University organist,
and, after study in Paris, from 1911 was organ-
ist in New York, joining the Naval Reserve in
1918-19. See art.
Barnhart, Harry Horner (b. 1874), trained
as baritone and choral leader in London and
Florence, has been successful in organizing and
leading large enterprises in community-sing-
ing, notably at Rochester and New York.
*Barrere, Georges (b. France, 1876), from
1895 a well-known flutist in Paris, since 1905
has been in the New York Symphony Society
and teaching at the Institute of Musical Art,
besides founding ensemble-groups. See art.
*Bauer, Harold (b. England, 1873), from
1893 a distinguished concert-pianist in Europe,
since 1900 has been repeatedly and enthusi-
astically heard in America. See art.
*Becker, Rene Louis (b. Alsace, 1882),
from 1904 was teacher and from 1908 organist
in St. Louis, from 1912 in Belleville, 111., and
since 1915 in Alton, 111. See art.
*Beebe, Carolyn (b. Westfield, N. J., ? ),
studied piano and ensemble-playing in New
York and abroad, made her debut in Berlin in
1903, in 1905-19 taught at the Institute of
Musical Art in New York, and since 1914 has
been head of the New York Chamber^^Music
Society.
Bellamann, Heinrich Hauer (b. Fulton,
Mo., 1882), studied in Paris, and since 1907
has taught at Chicora College for Women,
Columbia, S. C, becoming dean of the music-
department. See art.
*Benedicti8, Savino di (b. Brazil, 1883),
theorist and composer, has for several years
been professor in the Conservatory at Sao
Paulo. See art.
*Berger, Rudolf (Moravia, 1874-1915, New
York), having sung for ten years in Germany
as dramatic baritone, in 1907-08 studied in
New York, his voice changing to tenor, and
in 1914-15 sang at the Metropolitan Opera
House. In 1913 he married the soprano
Marie Rappold (see below).
Bergh, Arthur (b. St. Paul, 1882), from 1903
was violinist in the Symphony Society in New
York and at the Metropolitan Opera House,
and in 1911-14 conducted municipal concerts.
See art.
*Betti, Adolf o (b. Italy, 1875), since 1903 has
been first violin in the Flonzaley Quartet.
Biggs, Richard Keys (b. Glendale, O., 1886),
trained in Cincinnati and London, since 1908
has been organist in Cincinnati, Detroit, Cleve-
land and Brooklyn, with much recital-playing.
Bingham, Walter Van Dyke (b. Swan Lake,
la., 1880), graduated from Beloit College in
1901, from 1908 was instructor in psychology in
Columbia University, from 1910 professor at
Dartmouth College, and since 1915 has been
at the Carnegie Institute of Technology,
Pittsburgh. He has written articles (' Psy-
chological Review ') upon physiological psy-
chology in relation to music, and Studies in
Melody, 1910.
Birge, Edward Bailey (b. Florence, Mass.,
1868), graduated from Brown University in
1891, studied music in Providence and New
9: 1900-1910]
CHRONOLOGICAL REGISTER
89
Haven, since 1901 has been director of music
in the Indianapolis public schools, since 1908
also superintendent of the American Institute
of Normal Methods and since 1910 conductor
of the People's Chorus. He has written a
concert-overture (1904), a children's cantata,
and much school-music.
Bliss, Philip Paul (b. Chicago, 1872), son
of P. P. Bliss (see sec. 5), graduated from
Princeton in 1894, was trained as organist in
Philadelphia and Paris, from 1900 taught at
Owego, N. Y., and since 1904 has been in
editorial work in Cincinnati. See art.
*Blum, Elias (b. Hungary, 1881), came to
Boston as a boy, studied there and at Weimar,
from 1905 was organist and tenor in Boston,
from 1909 music-director at Whitman College,
Walla Walla, Wash., and since 1917 has taught
at Grinnell College in Iowa. See art.
Bond, Carrie, n6e Jacobs (b. Janesville,
Wis., 1862), since 1903 has been noted as poet-
composer in Chicago of many very popular
songs, pubUshed at the Bond Shop (Carrie
Jacobs-Bond & Son) .
Bornschein, Franz Carl (b. Baltimore, 1879),
studied in Baltimore, and since 1905 has been
teacher and conductor in the Peabody Con-
servatory there and also leader of choral socie-
ties elsewhere. See art.
Braham, Herbert J. (b. Brooklyn, 1885),
trained in London and Leipzig, from 1905 was
with the Savage Opera Company, and since
1907 has been conductor of the Brooklyn
Symphony Orchestra, the Brooklyn Orchestral
Society and other organizations. He has
written two light operas.
Branscombe, Gena (b. Picton, Ont., 1881),
studied at Chicago and later at Berlin, from
1900 taught at the Chicago Musical College,
in 1907-09 at Whitman College in Walla Walla,
and since 1910 (as Mrs. John F. Tenney) has
lived in New York as composer. See art.
*Bressler-Gianoli, Clotilde (Switzerland,
1875-1912, Switzerland), a brilliant stage-
soprano, sang with the San Carlo Opera
Company in New Orleans and New York from
1906, at the Metropolitan Opera House in
1909-10, and with the Philadelphia-Chicago
Opera Company from 1910.
Brosky, Frank J. (b. Pittsburgh, 1883),
studied at Leipzig and Prague, appeared as
concert-violinist at Prague in 1904, played
in orchestras there, in Leipzig and Pittsburgh,
and since 1910 has had a school in Pittsburgh.
*Brounoff, Platen G. (b. Russia, 1863),
since 1892 has been lecturer (mainly on Rus-
sian music) and conductor in New York. See
art.
*Buchhalter, Simon (b. Russia, 1881), since
1905 has made tours as pianist in America, in
1907 taught at the Wichita College of Music,
and since 1913 has lived at Chicago. He has
written the opera ' A Lovers' Knot ' (1916),
the oratorio ' A Drama of Exile,' a setting of
Psalm 142, a symphonic overture, piano-pieces
and songs.
*Buehrer, Geoffrey Carl (b. Switzerland,
1878) trained at Paris and New York, from
1900 was organist and teacher at San Jose, Cal.,
from 1906 organist at Stanford University,
from 1913 in New York, and since 1916 in
Baltimore, where he is head of the Associa-
tion School of Music. He arranged and con-
ducted a musical Passion-Play at Santa Clara
three seasons, led the first festival at Stanford
University, and has written a string-quartet
on the Flight into Egypt, the cantata ' As it
Began to Dawn,' etc.
Buhlig, Richard (b. Chicago, 1880), studied
in Chicago and Vienna, from 1901 toured in
Europe as concert-pianist, visiting America
in 1907-08, in 1916 came to New York, and
since 1918 has taught at the Institute of
Musical Art.
Buhrman, Thomas Scott Godfrey (b.
Waynesboro, Pa., 1887), studied in New
York, and since 1909 has been known as an
expert concert-organist, specializing in the
works of Bach, and as writer on organ-subjects.
*Buonamici, Carlo (b. Italy, 1875), besides
appearing as concert-pianist, since 1908 has
been associated with Felix Fox in the Fox-
Buonamici School in Boston.
Burleigh, Cecil (b. Wyoming, N. Y., 1885).
studied mainly in Berlin and Chicago, from
1907 toured as violinist, from 1909 taught in
Denver, from 1911 at Morningside College in
Sioux City, and in 1914r-19 at the University
of Montana. See art.
Burlin, Natalie, n6e Curtis (b. New York,
? ), studied in New York and several
European cities, and since 1905 has published
important collections of Indian and Negro
songs. See art.
Burnham, Thuel (b. Vinton, la., 1884),
appeared as a child-pianist from 1890, studied
in New York and Vienna, from 1900 toured in
England and from 1904 on the Continent,
and since 1915 in the United States.
*Butcher, Frank Charles (b. England, 1882),
from 1898 organist in England, from 1908
taught at the Hoosac School, Hoosick, N. Y.,
and since 1916 has been organist at St.
Stephen's, Pittsfield, Mass. He has written
church-music and songs.
Cadman, Charles Wakefield (b. Johnstown,
Pa., 1881), studied in Pittsburgh, where he
was critic, organist and conductor, and since
1906 has specialized in the study of Indian
music and its use in highly original composi-
tion, from 1910 living in Los Angeles. See art.
Calzin, Alfred Lucien (b. Marine City,
Mich., 1885), studied in Brussels and Berlin,
in 1907-08 toured in Europe as pianist, from
1908 in America, from 1912 taught in Chicago,
and since' 1916 has been at the Northwestern
Conservatory, Minneapolis. He has written
and edited music for the piano.
Campbell-Tipton, Louis (b. Chicago, 1877),
studied mainly in Leipzig, in 1900-01 taught
in Chicago, and has since lived in Paris as
teacher and composer. See art.
90
CHRONOLOGICAL REGISTER
[9: 1900-1910
*Cantu, Agostinho (b. Italy, 1879), for
several years has been piano-teacher in the
Conservatory of the Capital at Sao Paulo,
Brazil. He has written for string-ensemble,
besides piano-pieces and songs.
Carey, Bruce Anderson (b. Hamilton, Ont.,
1877), trained at Hamilton, London, Florence
and Munich, since 1904 has been conductor
of the famous Elgar Choir of Hamilton.
Carpenter, John Alden (b. Park Ridge, 111.,
1876), graduated from Harvard in 1897,
studied music there and later in Chicago,
where he has been active in commercial life,
but also fertile in composition. See art.
*Carrillo, Julian (b. Mexico, 1875), trained
in Mexico City, Leipzig and Ghent, in 1906-07
toured in Mexico as pianist, and from 1907
was connected with the Conservatorio Nacional
in Mexico City, becoming its head in 1913,
but removing in 1915 to New York. He has
composed the operas ' Mathilda' and ' Ossian,'
two symphonies, two orchestral suites, a piano-
quintet, a string-quartet and sextet, two
masses and a Requiem, and published Dis-
cursos sobre la Musica, 1913, and Tratado
SintMico de Harmonia, 1913, '15, besides other
theoretical works in manuscript.
*Casals, Piblo (b. Spain, 1876), the eminent
'cellist, since 1901 has made successful tours in
the United States and South America. In 1914
he married the singer Susan Metcalfe. See art.
Case, Anna (b. Clinton, N. J., 1889),
trained in New York, made her debut as
operatic soprano there in 1909, till 1916 sang
at the Metropolitan Opera House, turning
then to concert-work. See art.
■^Cavalieri, Lina (b. Italy, 1874), the
dramatic soprano, in 1906-07 sang at the
Metropolitan Opera House, in 1907-08 at
the Manhattan Opera House, and in 1915-16
with the Chicago Opera Company. In 1913
she married the tenor Lucien Muratore (see
sec. 10). See art.
*Charlier, Marcel (b. Belgium, ? ), hav-
ing been opera-conductor in London, from
1906 was assistant-conductor (for French
operas) at the Manhattan Opera House, and
since 1910 has held a similar position with
the Chicago Opera Company.
Cheatham, Kitty [Katharine Smiley C]
(b. Nashville, Tenn., ? ), a mezzo-soprano,
now living in New York, who has specialized
in Negro folk-songs and songs of childhood,
giving many recitals in America and abroad.
She has published two song-collections.
Cisneros, Eleonora de, n6e Broadfoot
(b. New York, 1880), studied in New York
and later in Paris, first appeared as opera-
soprano in New York in 1900, in 1901-06 sang
in European capitals, and since 1906 has been
mainly engaged in America, from 1910 with
the Chicago Opera Company. See art.
Clapp, Philip Greeley (b. Boston, 1888),
graduated from Harvard in 1908, studied
there and in Stuttgart, from 1911 taught at
Harvard and near Boston, from 1915 was
music-director at Dartmouth College, and
since 1919 has been professor at the State
University of Iowa. See art.
Class, Franklin Morris (b. New York,
1881), graduated from Harvard in 1903 and
from 1907 a practicing physician, since 1903
has been known as composer and writer. See
art.
Clemens, Clara (b. Elmira, N. Y., 1871?),
daughter of ' Mark Twain,' studied in Hart-
ford, Conn., Berlin and Vienna, and since 1906
has appeared in Europe and America as con-
cert-contralto. In 1909 she married the pianist
and conductor Gabrilovitch. See art.
*Clement, Edmond (b. France, 1867), the
noted opera-tenor of the Opera-Comique, in
1909-10 sang at the Metropolitan Opera
House in New York, and in 1911-13 with the
Boston Opera Company.
Colburn, George (b. Colton, N. Y., 1878),
trained in Chicago, from 1902 taught in the
American Conservatory there, besides some
conducting after 1913, and since 1915 has been
municipal music-director at Winona, Minn.
He has composed incidental orchestral music
and ' masques,' the symphonic poem ' Spring's
Conquest ' (1913), a piano-trio (1909), and
a piano-quartet (1915).
*Courboin, Charles Marie (b. Belgium, 1886),
already noted as a gifted organist, since 1904
has been organist at Oswego, N. Y., and at
Syracuse, with stated work also at Springfield,
Mass., and in Philadelphia, and many recitals
elsewhere. See art.
Cowles, Walter Ruel (b. New Haven, Conn.,
1881), graduated from Yale in 1906, was
trained there and later in Paris, from 1907
taught in Newport, R. I., and since 1911 has
been piano-instructor in the Yale School of
Music and church-organist. He has written
a piano-concerto (1907), a piano-trio (1916),
a violin-sonata (1914), music for the Yale
Pageant of 1916, etc.
Craft, Marcella (b. Indianapolis, 1880), stud-
ied in Boston and Milan, from 1902 appeared
as operatic soprano at Morbegno and other
Italian cities, from 1907 sang at Mainz, Kiel and
Munich, and since 1914 in America. See art.
Cunningham, Claude (b. Manchester, Va.,
1880), studied in New York and Paris, made
his debut as concert-baritone in 1903 with
Patti on her last American tour, and has since
sung with success in oratorio and concert
throughout the United States and also in
Germany (1908). He has published The World-
Spirit and Other Essays, 1916.
Curry, Arthur Mansfield (b. Chelsea, Mass.,
1866), a pupil of Kneisel and MacDowell,
became known as composer about 1900, in
1914 taught in Berlin and later at the New
England Conservatory in Boston. See art.
*Dalmores, Charles (b. France, 1871), an
experienced stage-tenor, in 1906-10 sang at
the Manhattan Opera House in New York,
and since 1910 has been with the Chicago
Opera Company. See art.
9: 1900-1910]
CHRONOLOGICAL REGISTER
91
*Destinn, Emmy [original name Kittl]
(b. Bohemia, 1878), the brilliant operatic
soprano, since 1908 has been in the Metro-
politan Opera House forces, though retaining
her home in Prague. Besides being a gifted
actress and singer, she is also novelist and
poet. See Baker, Diet, of Musicians, p. 205.
*D6thier; Edouard (b. Belgium, 1885),
brother of Gaston M. Dethier (see sec. 8),
since 1906 has toured extensively in America
as concert-violinist and has also taught at
the Institute of Musical Art in New York.
Dett, R. Nathaniel (b. Drummondville, Que.,
1882), trained at Oberlin and New York, first
appeared as pianist in 1908, from 1909 was
music-director at Lane College in Tennessee,
from 1912 at Lincoln Institute in Missouri,
and since 1913 at Hampton Institute in
Virginia. See art.
*Diggle, Roland (b. England, 1885), from
1908 was organist in Canada, from 1911 in
Quincy, 111., and since 1914 in Los Angeles,
with concert-tours. He has written string-
quartets,' organ-sonatas, an orchestral ' Fairy
Suite,' church-music, piano-pieces and songs.
*Dolmetsch, Arnold (b. France, 1858), the
expert upon old instruments and their music,
in 1902-09 lived in the United States as
recitalist, lecturer, and maker of spinets, etc.,
at the Chickering factory in Boston.
Donalda, Pauline [original name Lightstone]
(b. Montreal, 1884), trained in Montreal and
Paris, in 1904 made her debut as operatic
soprano at Nice, appeared at Brussels and
London, in 1906-07 sang at the Manhattan
Opera House, and has since been mainly
engaged at the Opera-Comique in Paris. In
1906 she married the French tenor Seveilhac.
Downes, Edwin Clin (b. Evanston, 111.,
1886), studied in Boston, and since 1907 has
been music-critic on the ' Post ' there, with
much lecturing and literary work, and also
teaching at Chautauqua in 1913-14. See art.
*Drangosch, Ernesto (b. Argentina, 1882),
studied at Berlin, toured as pianist, and since
1905 has been head of the Conservatorio in
Buenos Aires.
*Dufranne, Hector (b. France, ? ), well
known in France and England as an opera-
tenor, from 1908 sang at the Manhattan Opera
House in New York, and since 1910 has been
with the Chicago Opera Company, but retains
his residence in France.
Dunn, James Philip (b. New York, 1884),
graduated from the College of the City of
New York in 1903, studied music at Columbia
University, and has been organist in New York
and Jersey City. See art.
Durst, Sidney C. (b. Hamilton, O., 1870),
trained at Cincinnati and Munich, since about
1903 has taught in Cincinnati, at first at the
College of Music, later at the Metropolitan
College, besides serving more or less as ac-
companist and organist at the May Festivals.
He has composed an orchestral suite, cantatas
and other vocal music.
Edvina, Marie Louise Lucienne, nee Martin
(b. Montreal, ? ), studied in Paris, made her
d6but as operatic soprano in 1908 in London,
where she has since sung regularly, and in
1911-13 was with the Boston Opera Company,
and since 1915 with the Chicago Opera Com-
pany, In 1901 she married Hon. Cecil Ed-
wards (whence her stage-name).
Edwards, John Harrington (Acton, Mass.,
1834-1918?, Seattle), a retired Presbyterian
clergyman, then of Brooklyn, published God
and Music, 1903, arguing that the being and
nature of God are especially exhibited in the
facts of tone and the tonal art — a novel
application of the argument from design.
Egg, Arthur Henry (b. Montreal, 1891),
studied in Montreal and later in London, in
1909-10 was organist in Montreal, from 1910
in a suburb of London, and since 1913 at
Christ Church Cathedral, Montreal. See art.
*EIman, Mischa (b. Russia, 1892), the em-
inent violinist, since 1908 has made frequent
tours in the United States with striking success.
See Vol. V. 634, and art.
*Evans, Edwin (b. Wales, 1876), educated
in Philadelphia, since 1907 has been an effective
concert-baritone in oratorio and song-recital,
besides teaching in Philadelphia.
Evans, Frederick Vance (b. Des Moines, la.,
1883), trained in Iowa and Wisconsin, from
about 1905 concert-bass and teacher in Des
Moines music-schools, and since 1913 has been
dean of music at Lawrence College, Appleton,
Wis.
*Ezerman, D. Hendrik (b. Holland, 1880),
since 1901 has been concert-pianist in Phila-
delphia, and for some years head of the
Philadelphia Conservatory.
*Fabri, Ludwig Schmitt (b. Bavaria, 1874),
after experience in Germany as opera-tenor
and conductor, for several years has been
active in Philadelphia, conducting his own
Opera School.
Fairchild, Blair (b. Belmont, Mass., 1877),
studied at Harvard and in Florence, from 1901
was in diplomatic service at Constantinople
and Teheran, and since 1905 has lived in Paris,
occupied with composition. See art.
Farnam, W. Lynnwood (b. Sutton, Que.,
1885), trained mostly in London, from 1904
was organist in Montreal, after 1908 at Christ
Church Cathedral, in 1913-18 at Emmanuel
Church, Boston, and from 1919 in New York.
See art.
Farrar, Geraldine (b. Melrose, Mass., 1882),
studied in Boston, New York, Washington
and Paris, was heard in concert in 1895, but
made her debut as opera-soprano in 1901 at
Berlin, resulting in immediate engagements
there and elsewhere. Since 1906 she has been
at the Metropolitan Opera House. See art.
Fay, Maude (b. San Francisco, 1883),
trained at San Francisco and Dresden, in
1906-15 was soprano at the Hofoper in Munich,
besides appearing often elsewhere. Her home
is in San Francisco,
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CHRONOLOGICAL REGISTER
[9: 1900-1910
Federlein, Gottfried Heinrich (b. New York,
1883), son of Gottlieb H. Federlein (see sec. 7),
studied in New York, and since 1907 has been
organist there, giving recitals elsewhere. He
has written considerable church-music.
*Fiedler, August Max (b. Saxony, 1859),
the distinguished pianist and conductor, in
1908-12 was conductor of the Boston Sym-
phony Orchestra, returning then to Berlin.
*Flodin, Karl (b. Finland, 1858, of German
parents), since 1907 has lived as composer and
author at Buenos Aires, giving special atten-
tion to Finnish music. See art.
*Floridia, Pietro (b. Sicily, 1860), came to
America in 1904, in 1906-08 taught at the
Cincinnati College of Music, and since then
has lived in New York as composer and from
1913 conductor of the Italian Symphony
Orchestra. See art.
Fornia-Labey, Rita, nee Newman (b. San
Francisco, 1878), studied in San Francisco
and Paris, appeared first as opera-soprano in
Germany, from 1906 sang with the Savage
Opera Company, and since 1908 has been at
the Metropolitan Opera House. See art.
Fradkin, Fredric (b. Troy, N. Y., 1892),
studied violin in New York and Paris, from
1909 was concertmaster at Bordeaux and
Monte Carlo, in 1911 appeared in New York,
was then again abroad, from 1914 was con-
certmaster in New York, and in 1918-19 with
the Boston Symphony Orchestra. See art.
*Fraemcke, August (b. Hamburg, 1870),
since 1900 has been associated with Karl Hein
(see sec. 8) in the management of the German
Conservatory in New York and also since
1906 of the New York College of Music.
*Friml, Charles Rudolf (b. Bohemia, 1881),
accompanied the violinist Kubelik on his Ameri-
can tour in 1901 and again in 1906, since then
living in New York as composer. See art.
Frysinger, J. Frank (b. Hanover, Pa., 1878),
studied in Baltimore, New York, Philadelphia
and London, began organ-playing when a
boy, from 1909 was organist at York, Pa.,
and also music-director at Hood College,
Frederick, Md., from 1911 organist in Lincoln,
Neb., and teacher at the University School
of Music, and since 1918 has taught at Augus-
tana College in Illinois. See art.
Fullerton, Robert (b. Dundalk, Ont., 1867),
brother of C. A. Fullerton (see sec. 8), trained
at Cedar Falls, la., Oberlin, New York, Boston
and Florence, in 1901-05 and 1907-11 was
vocal teacher at the State Teachers College,
Cedar Falls, and since 1914 has been in
Minneapolis, from 1916 as head of the Twin
City Conservatory.
*Gabrilovitch, Ossip Salomonovitch (b. Rus-
sia, 1878), an eminent pianist since 1896, from
1900 made repeated tours in the United States,
in 1917-18 conducted orchestral concerts in
New York, and since 1918 has been conductor
of the Detroit Orchestra. See art.
*Ganz, Rudolph (b. Switzerland, 1877), the
noted pianist, from 1900 taught in the Chicago
Musical College, and since 1905 has toured
extensively in America and Europe. See art.
*Garden, Mary (b. Scotland, 1877), spent
her childhood and early youth in the United
States, studied for the opera-stage in Paris,
making her debut in 1900, returned to sing
at the Manhattan Opera House in New York
in 1907, and since 1910 has been with the
Chicago Opera Company. See art.
*Gatti-Casazza, Giulio (b. Italy, 1869), after
much experience as impresario in Italy, since
1908 has been the able manager of the Metro-
politan Opera House in New York. See art.
*Gay, Maria (b. Spain, 1879), the operatic
contralto, came to the Metropolitan Opera
House in New York in 1908, from 1910 was
with the Boston Opera Company, and in
1913-14 was also in the Chicago Opera Com-
pany. See art.
*Gebhard, Heinrich (b. Rhine Prov., 1878),
brought to Boston as a boy, studied there
and in Vienna, appeared as concert-pianist in
1900, and has since lived in Boston as a favorite
player and teacher. See art.
Geer, E. Harold (b. Tabor, la., 1886), grad-
uated from Doane College in 1906, studied
at Tabor, Oberlin and later Paris, from 1907
taught at Lake Erie College in Ohio, and was
also organist in Cleveland, from 1909 was at
Albion College in Michigan, in 1911-13 in
Paris, from 1913 organist at Fall River, Mass.,
and since 1916 has been assistant-professor at
Vassar College. See art.
Gehrkens, Karl Wilson (b. Kelleys Island,
O., 1882), graduated from Oberlin College in
1905, studied music there, from 1905 was
supervisor in the local high school, and since
1907 has been professor in the Conservatory,
specializing in public-school music. See art.
*Gerville-Reache, Jeanne (France, 1882-
1915, New York), from 1907 was contralto at
the Manhattan Opera House, in 1911-12 with
the Chicago Opera Company, and in 1913-14
with the (Canadian) National Grand Opera
Company. She also appeared in song-recitals.
In 1908 she married G. Gibier-Rabeaud.
Gideon, Henry (b. Louisville, Ky., 1877),
studied at Harvard and in Paris, and since
1908 has been organist and conductor at
Boston, with lecturing, writing and composi-
tion. See art.
*GiUbert, Charles (France, 1866-1910, New
York), a noted opera-baritone at Brussels for
many years, won much favor at the Metro-
politan Opera House in 1900-03 and at the
Manhattan Opera House in 1906-10. He was
also gifted as song-interpreter.
Gilman, Lawrence (b. Flushing, N. Y.,
1878), in journalistic work since 1896, from
1901 was music-critic for ' Harper's Weekly,'
and since 1913 has written for ' The North
American Review,' besides publishing many
valuable books. See art.
*Gluck, Alma (b. Rumania, 1886), brought
to New York as a child, studied there and
later in Berlin, in 1909-12 was highly success-
9: 1900-1910]
CHRONOLOGICAL REGISTER
93
ful as soprano at the Metropolitan Opera
House, and since then has been engaged in
concert-work. In 1914 she married the violin-
ist Zimbalist (see sec. 10). See art.
*Goldblatt, Maurice Henry (b. Russia,
1883), came to America when a boy, studied
in St. Loms, Milwaukee and Chicago, since
1909 has taught violin at the Chicago Musical
College, besides being concertmaster of the
Philharmonic Orchestra, etc. He has written
for the violin, 'cello and orchestra.
*Goodrich, Frederick William (b. England,
1867), after much experience in England, since
1904 has been prominent as organist in Port-
land, Ore., from 1907 at St. Mary's Cathe-
dral. He has written church-music, edited
the Oregon Catholic Hymnal, 1912, a List of
Approved Church Music, 1912, and articles
on Catholic music.
*Goritz, Otto (b. Prussia, 1873), the opera-
baritone, from 1903 made a fine impression
in Wagnerian roles at the Metropolitan Opera
House, but in 1917 became involved in hostile
political activity. See Baker, Diet, of Mu-
sicians, pp. 324-5.
Grasse, Edwin (b. New York, 1884), studied
in New York and Brussels, appeared as
violinist in Berlin in 1902 and since 1903 has
been much heard in concert in New York and
elsewhere. See art.
Griffes, Charles Tomlinson (b. Elmira,
N. Y., 1884-1920, New York), studied in El-
mira and Berlin, taught for a time in Berlin,
and from 1907 was teacher and composer in
New York. See art.
Grimm, Carl Hugo (b. Zanesville, O., 1890),
son of Carl W. Grimm (see sec. 8), trained in
Cincinnati, has since 1905 been teacher and
organist there. See art.
Griswold, Putnam (Minneapolis, 1875-1914,
New York), after study at London, Paris,
Frankfort and Berlin, made his d§but as opera-
bass in London in 1901, in 1904-05 was with
the Savage Opera Company, from 1906 sang
in Berlin, and from 1911 was at the Metro-
politan Opera House in New York, especially
excelling in Wagner's works. See art.
*Guttman-Rice, Melanie (b. Austria, 1873),
in 1904-07 taught in the Metropolitan School
of Opera in New York, and since 1905 at the
Master School of Music, Brooklyn, becoming
its head in 1913.
*Hagemann, Richard (b. Holland, 1882),
having been conductor at Amsterdam, in
1906-07 toured in America with Yvette
Guilbert and Macmillen, and since 1907 has
been one of the conductors at the Metro-
politan Opera House, as well as since 1916 in
the summer at Ravinia Park, Chicago, and
in 1918 for the Society of American Singers.
*Haile, Eugen (b. Wiirtemberg, 1873), the
violinist and composer, in 1903-05 conducted
the Scranton Mannerchor, and since 1907 has
lived mostly in New York, much hampered
after 1912 by ill-health. He has written
the opera * Viola d'Amore ' (1912), music for
'The Happy Ending' (1916), and over a
hundred fine songs.
*Hammer, Heinrich Albert Eduard (b.
Thuringia, 1862), for many years conductor in
Europe, since 1908 has been active in Washing-
ton, founding and conducting the Washington
Symphony Orchestra and choral societies. He
has written an opera, the oratorio ' St. George,'
a symphony, three ' Indian Rhapsodies ' for
orchestra, the ode ' Colimabia Triumphant in
Peace ' (1915), etc.
*Harker, F. Flaxington (b. Scotland, 1876),
in 1901-04 and 1907-14 was organist at Bilt-
more, N. C, in 1904-07 in New York, and
since 1914 in Richmond, where he is also choral
conductor. See art.
Harris, George, Jr. (b. Andover, Mass.,
1884), graduated from Amherst College in
1906, studied in Boston and Paris, and since
1909 has been active as concert-tenor, from
1916 also teaching in the Mannes School in
New York.
Henry, Harold (b. Neodesha, Kan., 1884),
trained at Lawrence, Kan., Berlin and Paris,
appeared as pianist in Berlin in 1904, and
since 1906 has toured the United States and
Canada with notable success. His home is in
Chicago.
Hering, John Norris (b. Baltimore, 1886),
studied in Baltimore, and since 1901 has been
organist there, except in 1909-10, when he was
in New Orleans. He has appeared often in
recitals, has taught in several institutions and
is on the staff of the daily ' Star.' See art.
*Hertz, Alfred (b. Hesse, 1872), in 1902-15
was distinguished conductor at the Metro-
politan Opera House in New York, especially
of Wagner's works, and since 1915 has led
the San Francisco Orchestra. See art.
*Hope-Jones, Robert (England, 1859-1914,
Rochester), an expert electrician and organ-
maker, from 1903 worked with the Austins at
Hartford, Conn., from 1905 with Skinner at
Boston, and from 1907 in his own company at
Elmira and later North Tonawanda, N. Y.
See art.
*Horner, Ralph Joseph (b. England, 1848),
after long English experience, from 1906 toured
the United States as conductor of light opera,
and since 1909 has been at Winnipeg as director
of the Academy of Music and (till 1912) con-
ductor of the Oratorio Society. See art.
Howard, Kathleen (b. Clifton, Ont., ? ),
after study in New York and Paris, from 1907
sang as stage-contralto in Metz, Darmstadt
and elsewhere, in 1913-15 was with the Century
Opera Company in New York and since 1916
at the Metropolitan Opera House. See art.
*Huberdeau, Gustave (b. France, 1878?),
from 1908 was a favorite bass at the Man-
hattan Opera House, and since 1910 has been
with the Chicago Opera Company.
Hughes, Edwin (b. Washington, 1884),
trained in New York and Vienna, in 1909 was
Leschetizky's assistant, in 1910-12 appeared
in America as concert-pianist, in 1912-16
94
CHRONOLOGICAL REGISTER
[9: 1900-1910
lived in Munich, with much concert-work,
and since 1916 has been in New York, from
1918 teaching at the Institute of Musical Art.
See art.
*Hutcheson, Ernest (b. Australia, 1871),
well known as concert-pianist since 1890, from
1900 taught at the Peabody Conservatory in
Baltimore, in 1912-14 was teaching and tour-
ing in Europe, and since 1914 has lived in
New York. See art.
Ide, Chester Edward (b. Springfield, 111.,
1878), trained in London, for many years
worked at Springfield, and since 1916 has
taught at the Music School Settlement in
New York. See art.
*Jacchia, Agide (b. Italy, 1875), in 1902
visited the United States as conductor with
Mascagni, and since 1907 has been conductor
of various operatic enterprises in different parts
of America. See art.
James, Philip (b. New York, 1890), studied
in New York, from about 1905 was organist
there and in Jersey City, in 1908 gave re-
citals in London and Paris, and has since
been occupied with conducting and com-
position. See art.
Jordan, Eben Dyer (Boston, 1857-1916,
Boston), from 1880 in the firm of Jordan,
Marsh & Co., in Boston, in 1902 was a large
donor to the New England Conservatory's
new buildings, including the auditorium ' Jor-
dan Hall,' and in 1909 was a leading promoter
of the Boston Opera House.
*Jorn, Karl (b. Russia, 1876), the operatic
tenor, has sung at the Metropolitan Opera
House in New York since 1908 and also at
Buenos Aires since 1913.
*Kahn, Otto Hermann (b. Baden, 1867),
engaged in banking in New York since 1893
(from 1897 in Kuhn, Loeb & Co.), since about
1900 has been eminent as patron and promoter
of important musical interests. See art.
*Kefer, Paul (b. France, 1875), an ex-
cellent 'cellist, in 1908-13 was leading player
in the New York Symphony Society, in 1913,
with Barrfere and Salzedo, formed the Trio
de Lut^ce, and has played much in concert as
well as teaching.
*Kelbe, Theodore (b. Brunswick, 1862),
a violinist of experience in Germany, from
1901 was concertmaster of the Milwaukee
Symphony Orchestra, and since 1904 has
conducted the Sangerbund des Nordwostens,
giving large festivals at various centers, and
since 1910 has taught at the Schenuit Con-
servatory in Milwaukee.
*Klein, Hermann (b. England, 1856), who
had been music-critic in England from 1877,
publishing annual Musical Notes, 1886-89,
was vocal teacher in New York in 1901-09,
then returning to London, publishing Thirty
Years of Musical Life in London, 1903, and
Unmusical New York, 1909.
Klein, Karl (b. New York, 1884), son of
B. O. Klein (see sec. 6), studied in New York,
Leipzig, Brussels and London, from 1905
was concert-violinist in Europe, from 1907
toured in America, and in 1911-12 was concert-
master of the Russian Symphony Orchestra.
*Kolar, Victor (b. Hungary, 1888, of Bo-
hemian parents), came to America in 1904
as concert-violinist, from 1905 played in the
Pittsburgh Orchestra, and since 1907 in the
New York Symphony Society, becoming
assistant-conductor in 1915. See art.
Kraus, Adrienne, nee Osborne [Eisbein]
(b. Buffalo, 1873), trained in Germany as
operatic contralto, in 1899 married the eminent
Wagnerian tenor Felix von Kraus, and, after
wide tours, settled in Munich, singing Wag-
nerian roles exclusively.
*Kriens, Christiaan Pieter Wilhelm (b. Hol-
land, 1881), favorably known as violinist since
1895, in 1906-07 conducted the French Opera
Company in New Orleans, in 1907 came to
New York, where in 1911 he formed a Quartet
and in 1912 a Symphony Club. See art.
LaForge, Frank (b. Rockford, III., 1879),
studied in Chicago and Vienna, and since 1904
has been emizient as accompanist and com-
poser of songs and piano-pieces. See art.
Lambord, Benjamin (Portland, Me., 1879-
1915, Lake Hopatcong, N. Y.), studied in
Boston, New York and abroad, from 1904
was organist at Kingsbridge, N. Y., and in
1912 organized a choral society which in 1914
became the Modern Music Society. See art.
*Langenus, Gustav (b. Belgium, 1883), for
about ten years has been leading clarinettist
in the New York Symphony Society and in-
structor at the Institute of Musical Art. In
1915, with Carolyn Beebe, he organized the
Chamber Music Society and was its conductor
one season, and in 1916 conducted municipal
baud-concerts. He has written instruction-
books for the clarinet.
Lanham, McCall (b. Weatherford, Tex.,
1877), trained in New York and Paris, since
1901 has appeared widely as concert-baritone,
especially as song-interpreter, and since 1902
has taught at the American Institute of Ap-
plied Music in New York.
LaRoss, Earle Douglass (b. Easton, Pa.,
1887), studied in New York, from 1906 ap-
peared as concert-pianist, and since 1914 has
conducted the Easton Symphony Orchestra.
*Laucella, Nicola (b. Italy, 1882), came
to New York in boyhood and studied there,
from 1903 was flutist in the Pittsburgh Or-
chestra, and since 1906 in the New York Phil-
harmonic Society. He has written a string-
quartet, several orchestral poems or sketches,
and the opera ' MochanJl.'
*Lemare, Edwin Henry (b. England, 1865),
the distinguished organist, in 1902-05 was
organist at the Carnegie Institute in Pitts-
burgh, in 1915 gave many recitals at the
Panama Exposition in San Francisco, and
since 1917 has been city organist there. See
Vol. ii. 673, and art.
Lemont, Cedric Wilmot (b. Fredericton, N. B.,
1879) , studied in .Boston, from 1904 was or-
9: 1900-1910]
CHRONOLOGICAL REGISTER
95
ganist and teacher in Fredericton, and since
1906 has been teacher and a director in the
Chicago Institute of Music, composing for
piano and viohn, church-music and songs.
*Lerner, Tina (b. Russia, 1890), a gifted
pianist, toured in the United States in 1908-
10 and repeatedly since 1912. In 1915 she
married the violinist Vladimir Shavitch in
San Francisco. See art.
*Letz, Hans (b. Baden, 1887), from 1908
appeared often as concert-violinist, from 1911
was concertmaster of the Chicago Symphony
Orchestra, from 1914 second violin in the
Kneisel Quartet, and since 1917 has been
head of his own Quartet.
Levy, Heniot (b. Poland, 1879), since 1905
has been concert-pianist in Chicago, teaching
also in the American Conservatory. See art.
Locke, Arthur Ware (b. Cambridge, Mass.,
1883), graduated from Harvard in 1905,
studied in Boston, in 1909-10 was instructor
in Brown University, in 1910-11 piano-teacher
at Washburn College in Kansas, from 1911
assistant-professor at the University of Wis-
consin, and since 1915 at Smith College.
Lockwood, Samuel Pierson (b. Troy, N. Y.,
1879), brother of A. L. Lockwood (see sec. 8),
graduated from Columbia in 1902, and since
1907 has been violin-teacher at the University
of Michigan and conductor of the Symphony
Orchestra there.
Loeb, James (b. New York, 1867), for a time
a member of the New York banking firm of
Kuhn, Loeb & Co., in 1905 gave $500,000 for
the establishment of the Institute of Musical
Art, and later was chief donor of the Musical
Building at Harvard University.
Loring, Harold Amasa (b. Portland, Me.,
1879), trained in Boston and New York, since
about 1905 has been a student of and lecturer
upon Indian music, having spent seven years
on reservations collecting data. He is also
director of music at Olivet College in Michigan.
He has transcribed Indian melodies.
Loth, Louis Leslie (b. Richmond, Va., 1888),
studied in New York and Berlin, since 1908
has appeared as concert-pianist, chiefly in
Germany, where he was assistant-teacher to
Jonds prior to 1914, when he returned to
Richmond. He has written two symphonies,
much chamber-music, piano-pieces and songs.
*Maclennan, Florence Gertrude, nee Easton
(b. England, 1884), came as a child to Toronto,
studied in London, Paris and Berlin, made her
debut as operatic soprano in London in 1903,
married the tenor Francis Maclennan in 1904,
and has since appeared extensively with him
in America and Europe. See art.
Maclennan, Francis (b. Bay City, Mich.,
1879), trained in New York, London and
Berlin, appeared as operatic tenor in London
in 1902, from 1904 was with the Savage Opera
Company, from 1907 sang at the Royal Opera,
Berlin, from 1913 at Hamburg, and in 1915-17
with the Chicago Opera Company. He married
Florence Easton (see above). See art.
Macmillen, Francis (b. Marietta, O., 1885),
trained in Chicago, Brussels and Petrograd,
made a brilliant debut as violinist at Brussels
in 1903, at London the same year and in New
York in 1906, and has since made repeated
tours in America and Europe. See art.
*Mahler, Gustav (Bohemia, 1860-1911,
Austria), the eminent composer and con-
ductor, from 1907 was conductor at the
Metropolitan Opera House, and from 1909
of the Philharmonic Society, resigning for
ill-health in 1911. See Vol. iii. 27-8, and art.
Maitland, Rollo Francis (b. near Liberty, Pa.,
1884), trained in Philadelphia, since 1901 has
been organist there, lately giving much atten-
tion to music for photoplays, with critical work
and composition.
Marcel, Lucille [name originally Wasself]
(b. New York, 1887?), trained as operatic so-
prano in New York, Berlin and Paris, ap-
peared first at Vienna in 1908, married the
conductor and composer Felix Weingartner|in
1913, and has since sung under his direction.
In 1912 she visited America.
*Marks, James Christopher (b. Ireland,
1863), from 1902 was organist in Pittsburgh,
and since 1904 has been at the Church of the
Heavenly Rest in New York. He has written
the cantata ' Victory Divine ' and many
anthems and services. Mus. D. of the Grand
Conseratory, New York, in 1908.
Martens, Frederick Herman (b. New York,
1874), studied in New York, and since 1907 has
been librettist and author there. See art.
Martin, Riccardo [originally Hugh Whitfield
Martin] (b. Hopkinsville, Ky., 1881), trained
at New York and Paris, appeared as operatic
tenor in 1904 at Nantes, in 1905 at Verona
and in 1906 at New Orleans, from 1907 sang
at the Metropolitan Opera House, with en-
gagements also in Europe, and in 1916-17 was
with the Boston Opera Company. See art.
Maryott, Harold Burnham (b. Lonsdale,
R. I., 1878), graduated from Brown University
in 1900, studied in Chicago, and since 1902
has been head of public-school work at the
Chicago Musical College. He has published
the text-book Musical Essentials, 1907.
Mason, Daniel Gregory (b. Brookline,
Mass., 1873), son of Henry Mason (see sec.
4), graduated from Harvard in 1895, studied
in Boston and Paris, and since 1902 has been a
prominent author, lecturer and composer in
New York, latterly also professor at Columbia
University. See art.
*Maubourg[-Gofifaux], Jeanne (b. Belgium,
1875), from 1909 was one of the sopranos at
the Metropolitan Opera House, and since 1914
has taught in New York.
Maxwell, Leon Ryder (b. Medford, Mass.,
1883), graduated from Tufts College in 1904,
studied there and in Boston, from 1905 was
supervisor in schools near Boston, studied
abroad, and since 1909 has been professor and
from 1910 head of the music-department in
Newcomb College in New Orleans. See art.
96
CHRONOLOGICAL REGISTER
[9: 1900-1910
*McCormack, John (b. Ireland, 1884), the
eminent tenor, in 1909-10 sang at the Man-
hattan Opera House, in 1910-11 with the
Boston Opera Company, in 1912-13 with the
Chicago Opera Company, and has since been
heard in concert. See Vol. v. 652, and art.
*Melis, Carmen (b. Sardinia, 1885), was
from 1909 a soprano at the Manhattan Opera
House, from 1911 with the Boston Opera
Company, and since 1913 at the Paris Opera
or the Metropolitan Opera House.
*Meyer, Max Friedrich (b. Prussia, 1873),
since 1900 professor of psychology at the
University of Missouri, has been specially
interested in problems of musical theory, and
has written articles upon musical acoustics,
instruments, etc.
Michalek, Bohumil (b. Chicago, 1885),
studied mainly in Brussels and Prague, from
1906 was concertmaster at the Prague Opera
and also assistant to Sevcik, and since 1908
has been head of his own Master School for
Violinists in Chicago.
Middleton, Arthur D. (b. Logan, la., 1880),
studied at Simpson College in Iowa, beginning
vocal teaching and concert-work as baritone
while still a student, in 1905-06 taught at the
Des Moines Musical College, in 1906-11 at
the Chicago Musical College, and since 1914
has sung at the Metropolitan Opera House.
Miessner, W. Otto (b. Huntingburg, Ind.,
1880), trained in Cincinnati, from 1900 was
music-supervisor at Booneville, Ind., from
1904 at Connersville, Ind., from 1910 at Oak
Park, 111., and since 1914 has been music-
director at the State Normal School in Mil-
waukee. See art.
Miller, Horace Alden (b. Rockford, 111.,
1872), graduated from Cornell College in
Iowa in 1896, studied at Oberlin and later in
Munich and Berlin, since 1905 has been in-
structor at Cornell College, besides making
special studies of Indian music and composing
on Indian themes. See art.
Montani, Nicola Aloysius (b. Utica, N.Y.,
1880), studied in Rome and with Mocquereau
(Isle of Wight) , and since 1907 has been organist
in Philadelphia. In 1914 he organized the
Society of St. Gregory to promote Gregorian
music in the Roman Catholic Church, and
a Catholic Choral Club, besides editing ' The
Catholic Choir-master.' He has written two
masses, a Stabat Mater, motets, etc.
Moog, Wilson Townsend (b. Baltimore,
1881), graduated from St. Lawrence University
in 1902, studied at New Haven and Boston,
from 1904 was organist in Boston, in 1907-08
taught at Westminster College in Pennsyl-
vania, and since 1906 has been professor at
Smith College. He has composed an overture
(1916), and works for organ, piano and voice.
Moore, Mary, nee Carr, in 1912 produced
at Seattle the grand opera ' Narcissa ' with
success. She has also written songs.
Morse, Charles Frederic (b. Mishawaka,
Tnd., 1881), trained at Ann Arbor, Detroit
and Paris, from 1902 was music-director at
the State Normal School, California, Pa.,
from 1907 organist in Pittsburgh, and since
1909 at Detroit, where he teaches in the
Institute of Musical Art and conducts the
Orpheus and Madrigal Clubs.
*Muck, Karl (b. Hesse, 1859), the celebrated
conductor, was conductor of the Boston
Symphony Orchestra in 1906-08 and in
1912-18, when he was interned as an enemy
alien, and in 1919 returned to Germany. See
Vol. iii. 314, and art.
*Mukle, May Henrietta (b. England, 1880),
since 1900 has toured as concert-' cellist in
the United States and Canada, and joined
with Maud Powell and her own sister in the
Maud Powell Trio. See art.
*Narodny, Ivan (b. Russia, 1874), since
about 1905 has written upon Russian music
in New York and also upon dancing. He
published Echoes of Myself, 1909, and con-
tributed to The Art of Music, 1914-17. His
wife, Maria Narodny, n6e Mieler (b. Russia,
1888), is a concert-soprano, specializing in
Russian and Finnish music.
Newcomb, Ethel (b. Whitney Point, N. Y.,
1879), trained at Vienna, making her debut
there as concert-pianist in 1903 and in London
in 1904, from 1904 assisted Leschetizky, and
since 1908 has appeared in America and Ger-
many as an effective soloist and ensemble-
player.
*Noack, Sylvain (b. Holland, 1881), in
1908 joined the Boston Symphony Orchestra
as second concertmaster, in 1915 formed the
Boston Quartet, and since 1919 has been
concertmaster of the Los Angeles Philharmonic
Orchestra. See art.
Norden, N. Lindsay (b. Philadelphia, 1887),
graduated from Columbia in 1909, from 1905
was choirmaster in Brooldyn and from 1909
organist there, and since 1917 has been organist
and conductor in Philadelphia. He is active
in promoting Russian church music. See art.
Osborn-Hannah, Jane (b. Chicago, 1880?),
studied at Cincinnati and Berlin, made her
debut as operatic soprano at Leipzig in 1904,
continued singing in Germany and England,
both in opera and in concert, in 1910 appeared
at the Metropolitan Opera House, and has
since been with the Chicago Opera Company.
Parker, Henry Taylor (b. Boston, 1867),
from 1892 was in active journalistic work, and
since 1905 has been musical and dramatic
critic of the Boston ' Transcript,' besides
writing somewhat for magazines.
Parkinson, Elizabeth [' Parkina '] (b. Mis-
souri, 1882), studied in Kansas City and Paris,
from 1902 was soprano at the Opera-Comique
in Paris, in 1904-07 in London, with a striking
tour in Australia in 1905, and has since been
a favorite concert-singer in England.
Parlow, Kathleen (b. Calgary, Alberta, 1890),
studied violin in San Francisco, London and
Petrograd, and from 1905 appeared in Europa
and since 1910 also in America. See art.
9: 1900-1910]
CHRONOLOGICAL REGISTER
97
*Pedrell, Carlos (b. Uruguay, 1878), studied
in Montevideo, Madrid and Paris, since 1906
has been teacher, composer and organizer at
Buenos Aires. See art.
*Perrin, Harry Crane (b. England, 1865),
after many years' experience as organist in
England, since 1908 has been professor in
McGill University in Montreal. See art.
Persinger, Louis (b. Rochester, III, 1S87),
studied; as violinist at Leipzig, and later at
Brussels and Paris, appeared first in 1904
abroad and in America, in 1908 was concert-
master at La Monnaie, Brussels, in 1914-15 of
the Berlin Philharmonic, and in 1915-17 of the
San Francisco Symphony Orchestra, and has
made many tours throughout the United States
and Europe.
*PhiIlips, Harold Dockray (b. England,
? ), from 1903 was organist in Toronto, and
since 1906 has taught organ and history in
the Peabody Conservatory in Baltimore, be-
sides activity as organist and critic. See art.
Pilzer, Maximilian (b. New York, 1890),
studied violin in Berlin and appeared there in
1904. From 1904 he was concertmaster of the
Russian Symphony and People's Orchestras
in New York, in 1914-17 of the Philharmonic
Society, and has since been in concert-work.
*Pirani, Eugenic di (b. Italy, 1852), known
in Europe from 1870 as pianist, teacher and
critic, in 1904-14 was associated with Mrs.
A. W. Powell (see below) in directing the
Musical Institute in Brooklyn. See art.
*Pochon, Alfred (b. Switzerland, 1878),
since 1903 has been second violin in the Flon-
zaley Quartet.
*Polacco, Giorgio (b. Italy, 1875), an emi-
nent conductor, in 1906 visited Mexico and
San Francisco, in 1911-12 was with the
Savage Opera Company, and since 1912 has
been with the Metropolitan Opera House in
New York and also at Covent Garden in
London. See art.
Powell, Alma Webster, n6e Hall (b. Chicago,
1874), studied in New York and Berlin, ap-
peared as operatic soprano at Berlin in 1901,
in 1904 joined E. di Pirani (see above) in
managing the Musical Institute in Brookljm.
See art.
Powell, John (b. Richmond, Va., 1882),
graduated from the University of Virginia
in 1901, studied in Vienna, appeared there as
concert-pianist in 1907, and since 1912 has
been heard in America. As composer he is
specially interested in Negro and American
themes. See art.
*Rachmaninov, Sergei Vassilievitch (b. Rus-
sia, 1873), the distinguished pianist and com-
poser, came to America in 1909-10, and since
the war has lived much in New York. See art.
Rappold, Marie, nee Winterroth (b. Brook-
lyn, 1880?), studied in New York, and since
1905 has been with the Metropolitan Opera
House as a leading soprano. See art.
Rich, Thaddeus (b. Indianapolis, 1885), grad-
uated at the Leipzig Conservatory in 1900, with
further study at Berlin, was violinist in the
Gewandhaus Orchestra and later concertmaster
at the Opera des Westens, Berlin, and returned
to America in 1905. Since 1906 he has been
concertmaster of the Philadelphia Orchestra.
He is also music-director at Temple University.
See art.
*Richardson, Alfred Madeley (b. England,
1868), who since 1897 had been a prominent
organist in London, from 1909 was organist in
Baltimore, and since 1912 has been theory-
teacher at the Institute of Musical Art, New
York. See art.
Rider-Kelsey, Corinne (b. near Buffalo,
1879), trained at Oberlin, Chicago and New
York, appeared in oratorio in 1904 and (in
London) in opera in 1908, and has since been
a popular concert-soprano. She has given
notable duet-recitals with Cunningham, the
baritone (see above).
Rio, Anita (b. Alameda, Cal., 1880), studied
in San Francisco and New York, made her
debut as soprano in oratorio in 1901 and in
opera in 1909 (in London) , sang and studied
in Italy, and since 1914 has been successful
in America, especially in concert. She mar-
ried J. Armour Galloway of New York.
*Rittmeister, Heinrich (b. Bremen, 1881),
has been successively concertmaster of the
Minneapolis Sj^mphony Orchestra, the Russian
Symphony Orchestra in New York, and now of
the Kansas City Symphony Orchestra.
Robeson, Lila P. (b. Cleveland, 1880),
graduated from Western Reserve University
in 1902, studied in Cleveland and New York,
was at first contralto in church and concert,
and since 1911 also in opera, with the Aborn
Opera Company and from 1912 at the Metro-
politan Opera House.
*Rothwell, Walter Henry (b. England, 1872),
an experienced conductor, from 1904 was with
the Savage Opera Company, from 1908 led the
St. Paul Symphony Orchestra, from 1915 was
teacher and municipal conductor in New
York, and since 1919 has led the Los Angeles
Pliilharmonic Orchestra. See art.
*Rybner, Peter Martin Cornelius (b. Den-
mark, 1855), noted as pianist and conductor,
in 1904-19 was professor at Columbia Uni-
versity. See art.
*Saerchinger, Cesar (b. Rhine Prov., 1884),
studied partly in New York, where since 1906
he has been an industrious editor and valuable
writer on musical subjects. See art.
*Safonov, Vassily Ilyitch (Caucasus, 1852-
1918, Caucasus), well known as pianist, teacher
and conductor since 1880, in 1904-09 con-
ducted the New York Philharmonic Society
and was head of the National Conservatory,
then returning to Petrograd. See Vol. v. 626,
and art.
Saltzman-Stevens, Minnie (b. Bloomington,
111., 1885?), first sang in Chicago churches,
studied in Paris, made her debut as operatic
soprano in 1909 in London, sang in various
European capitals, and in 1911-14 was with the
98
CHRONOLOGICAL REGISTER
[9: 1900-1910
Chicago Opera Company. In 1905 she mar-
ried A. N. Stevens of Bloomington. See art.
Samaroff, Olga, nee Hickenlooper (b. San
Antonio, Tex., 1882), studied at Philadelphia,
Baltimore, Paris and Berlin, from 1905 began
to tour the United States as concert-pianist,
appearing also in Europe in 1908-09, in 1912-
14 was interrupted by ill-health, but then
resumed activity. In 1911 she married the
conductor Stokowski (see below). See art.
*Sampaix, Leon (b. Belgium, 1878), from
1900 was piano-teacher at the Peabody Con-
servatory in Baltimore, from 1904 at the Lifege
Conservatory, from 1910 in his own school in
Indianapolis, then at Ithaca, N. Y., and is
now head of the Toledo Conservatory.
Schelling, Ernest Henry (b. Belvidere, N.
J., 1876), studied extensively in Europe, from
1903 appeared as concert-pianist there, in
South America and from 1905 in the United
States, making his home until 1914 in Switzer-
land. See art.
*Schindler, Kurt (b. Prussia, 1882), from
1905 was assistant-conductor at the Metro-
politan Opera House in New York, and since
1907 has been reader for Schirmer and since
1908 also conductor of the Schola Cantorum
(originally the MacDowell Chorus). See art.
Schnabel-ToUefsen, Augusta (b. Boise,
Ida., 1885), studied in Europe, where she was
known as a child-prodigy, toured in the
United States in 1900-01, studied further in
New York, and since 1906 has been prominent
as pianist, especially in the Tollefsen Trio, led
by her husband, Carl Tollefsen (see below).
Schneider, Edward Faber (b. Omaha, Neb.,
1872), studied at San Jose, San Francisco,
New York and Berlin, and since about 1900 has
been teacher and composer in San Francisco
and dean of music at Mills College. He has
written for the Bohemian Club the dramas
' The Triumph of Bohemia ' (1907) and
' Apollo ' (1915), the symphony ' In Autumn
Time ' (1913), and effective shorter works.
*Schuecker, Joseph E. (b. Saxony, 1886),
son of Edmund Schuecker (see sec. 8), in
1904-05 and 1908-09 harpist in the Pittsburgh
Orchestra, from 1909 was in the Philadelphia
Orchestra, from 1911 with the Savage Opera
Company, and since 1914 has taught at the
Carnegie Institute of Technology, Pittsburgh.
Schwab, Charles M. (b. Williamsburg, Pa.,
1862), the head of the Bethlehem (Pa.) Steel
Works, in 1905 became guarantor of the Lehigh
Valley Symphony Orchestra, and since 1911
has been the munificent supporter of the Beth-
lehem Bach Choir.
Scott, Henri Guest (b. Coatesville, Pa.,
1876), trained in Philadelphia and New York,
from about 1900 appeared as concert-bass, in
1909-10 sang at the Manhattan Opera House,
in 1910-11 in Rome, from 1911 with the
Chicago Opera Company, and since 1915 at
the Metropolitan again. See art.
[. Shattuck, Arthur (b. Neenah, Wis., 1881),
studied at Vienna, from 1902 became known
as a striking pianist, making extended toura
from Paris as center and visited the United
States in 1911-12 and since 1915. See art.
Silber, Sidney (b. Waupun, Wis., 1881),
trained in Berlin and Vienna, since 1905 has
been concert-pianist both in Europe and
America, and latterly has taught in the Uni-
versity School of Music, Lincoln, Neb. He
has lectured and written many articles on
musical subjects.
Simpson, George Elliott (b. Orange, N. J.,
1876), studied in New York, Kansas City and
Leipzig, from 1903 taught in Kansas City, from
1907 at Baylor Female College, Belton, Tex.,
from 1912 at the Polytechnic College in Fort
Worth and later in the Texas Christian
University there. He has written two sym-
phonies, four overtures, three suites, etc.
*Skovgaard, Axel (b. Denmark, 1875), after
tours in Scandinavian countries, since 1903
has been an industrious concert-violinist in the
United States and Canada.
Smith, David Stanley (b. Toledo, O., 1877),
graduated from Yale in 1900, studied music
there and in Munich and Paris, since 1903 has
been at the Yale School of Music, and from
1920 its dean, with work also as organist,
conductor and lecturer elsewhere. See art.
Smith, Thomas Max (b. New York, 1874),
graduated from Yale in 1898 and from Colum-
bia Law School in 1901, studied in New York,
New Haven and Dresden, from 1903 was
music-critic of the New York ' Press,' and
since 1916 of the ' American.' He was on
the advisory board of The Art of Music,
1914-17.
Spalding, Albert (b. Chicago, 1888), trained
as violinist in Florence and Paris, from 1905
was eminent as soloist in Europe and since
1908 has been equally so in America. See art.
*Spencer, Vernon (b. England, 1875), from
1903 taught piano at the Nebraska Wesleyan
University, from 1908 in Berlin, and since
1911 has been teacher, concert-pianist and
lecturer in Los Angeles. Besides other literary
work, he edits ' The Music-Student.'
Stockhofif, Walter William (b. St. Louis,
1887), self-taught, has been teacher and com-
poser in St. Louis since 1904. See art.
*Stojowski, Sigismund Denis Antoine (b.
Poland, 1870), well known in Paris as pianist
and composer since about 1890, from 1905
taught at the Institute of Musical Art in New
York, with concert-work elsewhere and some
trips to Europe, from 1911 at the Von Ende
School, and since 1917 privately. See art.
*Stokowski; Leopold Anton Stanislaw (b.
England, 1882, of Polish parents), from 1905
was organist in New York, in 1908 conducted
orchestral concerts in London, from 1909
was conductor of the Cincinnati Orchestra,
and since 1912 of the Philadelphia Orchestra.
In 1911 he married the pianist Olga Samaroff
(see above). See art.
Strickland, Lily Teresa (b. Anderson, S. C,
1887), studied at Converse College in South
9: 1900-1910]
CHRONOLOGICAL REGISTER
99
Carolina and in New York, in 1907-10 was
organist at Anderson, and since 1911, when
she married Courtney Anderson, has lived
in New York. She has written three operas,
a symphonic suite on Negro themes, and
published about 75 songs.
*Sturani, Giuseppe (b. Italy, ? ), from
about 1905 was operatic conductor in Buenos
Aires and Rio de Janeiro, from 1908 at the
Manhattan Opera House, from 1910 at the
Metropolitan Opera House, and since 1912 with
the Chicago Opera Company.
Swarthout, Max van Lewen (b. Pawpaw,
111., 1880), studied at Chicago and Leipzig,
from 1905 was music-director at the Oxford
College for Women in Ohio, from 1911 taught
at the Illinois Woman's College in Jackson-
ville, and since 1914 has been music-director
at the James Millikin University.
Taylor, David Clark (New York, 1871-
1918, New York), graduated from the College
of the City of New York, studied there, and
from 1908 published several valuable works
on singing. See art.
*Tetrazzini, Luisa (b. Italy, 1874), the
celebrated operatic soprano, having been
heard in South America and Mexico, in 1904
appeared at San Francisco, in 1905-06 was
again in South America, in 1908-10 was at
the Manhattan Opera House, in New York,
then toured extensively, in 1913-14 was with
the Chicago Opera Company. See art.
Thatcher, Howard Rutledge (b. Baltimore,
1878), studied in Baltimore, and since 1902
has been organist there, also teaching at the
Peabody Conservatory and the Maryland
College for Women at Lutherville. He has
written a concert-overture (1906), a string-
quartet, synagogue-music, etc.
*Thibaud, Jacques (b. France, 1880), the
eminent violinist, since 1903 has made several
tours of the United States. See Vol. v. 83,
and art.
*Tollefsen, Carl Henry (b. England, 1882),
came to America in boyhood, studied in New
York, in 1908-10 was violinist in the Symphony
Society, in 1909 organized the Tollefsen Trio,
has taught in the National Conservatory, and
now teaches in Brooklyn. In 1907 he married
Augusta Schnabel (see above). See art.
*Toscaiiini, Arturo (b. Italy, 1867), the
noted operatic conductor, in 1908-15 was
famous as conductor at the Metropolitan
Opera House in New York, then returning to
Italy. See art.
Tramonti, Enrico (b. Sicily, 1876), since
1902 has been leading harpist of the Chicago
Symphony Orchestra.
*Unschuld, Marie von (b. Moravia, 1881),
since 1904 has been head of her own school
in Washington, besides lecturing elsewhere.
See art.
Van Vechten, Carl (b. Cedar Rapids, la.,
1880), graduated from the University of
Chicago in 1903, and has since been critic and
author in New York. See art.
*Vigna, Arturo (b. Italy, ? ), was con-
ductor at the Metropolitan Opera House in
New York in 1903-07.
Waller, Frank Laird (b. St. Paul, ? ), a
graduate of the University of Wisconsin,
began as teacher and opera-singer in 1908, and
in 1909-15 was coach and accompanist with
the Boston Opera Company and in 1917-18
with the Chicago Opera Company.
Ware, Harriet (b. Waupun, Wis., 1877),
having studied in New York, Paris and Berlin,
from 1906 lived in New York as composer,
and lately has made her home at Garden City.
In 1913 she married H. M. Krumbhaar of
New Orleans. See art.
*Warnke, Heinrich (b. Holstein, 1871), an
experienced 'cellist, since 1905 has played in
the Boston Symphony Orchestra, and in
1905-07 was a member of the Boston Sym-
phony Quartet.
Wead, Charles Kasson (b. Malone, N. Y.,
1848), since 1892 an examiner in the Patent
Office in Washington, has been a diligent
student of musical acoustics, publishing Con-
tributions to the History of Musical Scales, 1900
(U. S. Nat. Museum Report), which embodies
original investigations upon instruments, be-
sides many articles in scientific journals.
Wells, Howard (b. Rockford, 111.), studied
in Chicago, from about 1900 appeared there
as concert-pianist, from 1907 studied in
Vienna and from 1908 was one of Leschetizky's
assistants, part of the time living in Berlin
and also touring, and since 1914 has taught in
Chicago. See art.
Werrenrath, Reinald (b. Brooklyn, 1883),
son of George Werrenrath (see sec. 6), grad-
uated from New York University in 1905, from
1907 has been a favorite concert-baritone, and
since 1919 has also sung at the Metropolitan
Opera House. See art.
Weyman, Wesley (b. Boston, 1877), grad-
uated from Harvard in 1898, studied there
and in New York, from 1901 appeared as
concert-pianist, in 1905-08 taught at the In-
stitute of Musical Art, in 1909-14 studied
and toured in Europe, and has since taught
in New York and Boston, with much literary
work. See art.
*Wheeldon, Herbert Arthur (b. England,
1864), from 1882 organist in England, in
1907-13 was organist of the Metropolitan
Church in Toronto, and in 1908-15 examiner
in music at Toronto University. See art.
White, Carolina (b. Boston, 1886), studied in
Boston and Naples, made her debut as operatic
soprano in 1908, sang in Italy, in 1910-14 was
with the Chicago Opera Company, and has since
been heard in concert or light opera. See art.
Whitehill, Clarence Eugene (b. Marengo,
la., 1871), studied mainly at Paris, appeared
as operatic baritone in 1899 in Brussels, and
since 1900 has sung in American and European
opera-houses, in 1911-15 with the Chicago
Opera Company and in 1909-11 and since 1916
at the Metropolitan Opera House. See art.
100
CHRONOLOGICAL REGISTER
[10: 1910-1920
Whithorne [Whittern], Emerson (b. Cleve-
land, 1884), trained in Cleveland, Vienna and
Berlin, from 1907 was teacher and writer in
London, and since 1915 has been executive
editor for the Art Publication Society of St.
Louis. His compositions include a ' Japanese
Suite ' for orchestra, two symphonic poems,
two string-quartets (' Three Greek Im-
pressions,' 1914) and a ' Quartettino Orientale '
(1916), a song-cycle for quartet, ' Songs of
Sappho ' (1913), with piano-works and songs.
Wickham, Florence (b. Beaver, Pa., 1882),
trained in Philadelphia and Berlin, has ap-
peared widely as operatic contralto since 1902,
at first in Europe, in 1904-05 and 1909-12 in
the United States. In 1911 she married
Eberhard L. Lueder of New York. See art.
*Willeke, Willem (b. Holland, 1878), from
1896 solo 'cellist at Riga, Diisseldorf, London
and Vienna, in 1907-17 was Schroeder's suc-
cessor as 'cellist in the Kneisel Quartet, and
has since taught and concertized in New
York.
Wilson, Mortimer (b. Chariton, la., 1876),
studied in Chicago, from 1901 taught at the
University of Nebraska, in 1907-10 studied
and taught in Leipzig, in 1911-15 was con-
ductor of the Atlanta Symphony Orchestra,
and in 1916-18 taught at Brenau College in
Georgia. See art.
Wood, Carl Paige (b. Taunton, Mass., 1885),
graduated from Harvard in 1906, studied there
and in Boston, Berlin and Paris, from 1906 was
music-director at Denison University in Ohio,
in 1915-16 organist at Vassar College, and since
1916 music-director at Carleton College in
Minnesota. He has written choral works and
songs, and won the Boott Prize at Harvard
in 1915.
*Wrangell, Ludvig Heinrich (b. Norway,
1872), after some years as concert-violinist
and teacher in Norway, from 1908 taught in
the Wisconsin Conservatory in Milwaukee, and
since 1913 has had his own school there. He
has written violin-pieces, a violin-method, etc.
*Yon, Pietro Alessandro (b. Italy, 1886),
since 1907 has been organist at St. Francis
Xavier's in New York, and is eminent as
recitalist and composer. See art.
Zeuch, William Edward (b. Chicago, 1878),
a graduate of Northwestern University, stud-
ied musicj there and in Paris, where he was
organist of the English Church. For some
years he has lived in Boston as concert-
organist, member of the Skinner Organ Co.,
and from 1917 organist at the South Church
(Unitarian) .
Zucca [Zukermann], Mana (b. New York,
1891), appeared in 1899 as a precocious pianist,
studied in New York, London, Berlin and Paris,
toured throughout Europe as pianist, and since
1914 has sung much in light opera, in both
America and Europe. She has written the
' fugato humoresque ' ' Nerves,' for orchestra
(Russian Symphony and Philharmonic Or-
chestras) , many songs and instrumental pieces.
10. The Decade of the World War
Althouse, Paul Shearer (b. Reading, Pa.,
1889), studied in New York, and since 1913,
when he appeared as tenor at the Metropolitan
Opera House, has been prominent in both
opera and concert. He assisted at the first
performances of ' Boris Godunov,' ' Made-
leine ' and ' Madame Sans-GSne.'
*Ariani, Adriano (b. Italy, 1877), a pianist,
conductor and composer of Italian reputation,
has lately lived in New York. See Who's
Who in Music, 1918, p. 1.
*Auer, Leopold (b. Hungary, 1845), the
great violinist and teacher, came to America
early in 1918 and settled in New York. See
Vol. i. 130, and art.
*Bachmann, Alberto Abraham (b. Switzer-
land, 1875), an experienced violinist and
writer on violin-topics, made a tour of the
United States in 1916, and has since lived in
New York.
*Baklanov, George (b. Russia, 1882), who
had been baritone at the Imperial Opera in
Petrograd, sang for a time with the Boston
Opera Company, and from 1917 with the
Chicago Opera Company.
Ballantine, Edward (b. Oberlin, O., 1886),
studied in Boston and Berlin, from 1912 was
teacher of theory at Harvard University, and
from 1918 was an enlisted musician in the
Army. See art.
*Barraja, Enrico (b. Italy, 1885), has been
pianist and teacher in Boston since 1911. He
has written an opera, two chamber-suites,
many songs and short instrumental pieces.
*Barrientos, Maria (b. Spain, 1885), from
1899 widely known in Europe and also South
America as a brilliant coloratura-soprano,
since 1916 has sung at the Metropolitan Opera
House, especially in Italian works. See art.
Barstow, Vera (b. Colina, O., 1893), studied
at Pittsburgh and Vienna, and since 1912
has been recognized as a superior concert-
violinist.
*Bimboni, Alberto (b. Italy, 1882), in 1911-
12 was conductor for the Savage Opera Com-
pany, in 1913-14 for the Century Opera
Company, and in 1915 at the Havana Opera
House.
*Bloch, Ernest (b. Switzerland, 1880), the
eminent Jewish composer, came to America
in 1916, at first associated with Maud Allan,
the dancer, taught for two years at the Mannes
School of Music in New York, and has had
marked success as composer. See art.
*Bodanzky, Artur (b. Austria, 1877), the
famous operatic conductor, came to the
Metropolitan Opera House in 1915, and since
1919 has also been leader of the New Sym-
phony Orchestra. See art.
*Bori, Lucrezia (b. Spain, 1888), after visit-
ing Argentina as operatic soprano, since 1913
has sung at the Metropolitan Opera House.
*Bosetti, Joseph (b. Italy, 1886), priest and
doctor in the Roman Catholic Church and
10: 1910-1920]
CHRONOLOGICAL REGISTER
101
a trained organist, since 1913 has been choir-
master in the Denver Cathedral, where he
has not only developed liturgical music, but
organized forces for giving operas and oratorios.
*Botta, Luca (Italy, 1882-1917, New York),
the opera-tenor, from 1912 sang with the
Pacific Coast Opera Company, and from 1914
at the Metropolitan Opera House, as well as
in South America. His repertoire included
most of the later Italian works.
*Boyle, George Frederick (b. Australia,
1886), having toured as concert-pianist since
about 1900 in Australia and Europe, since
1910 has taught at the Peabody Conservatory
in Baltimore. See art.
Braslau, Sophie (b. New York, ? ), stud-
ied in New York, and since 1913 has been
contralto at the Metropolitan Opera House,
besides singing much in concert elsewhere.
Brown, Eddy (b. Chicago, 1895), trained as
violinist in Chicago, Budapest and Petrograd,
from 1910 concertized in Europe, and since
1916 has been heard in America. See art.
Chalmers, Thomas Hardie (b. New York,
1884), studied in New York and Florence,
appeared as operatic baritone in 1911 in Italy,
in 1911-12 sang with the Savage Opera Com-
pany, from 1913 with the Century Opera
Company, from 1915 with the Boston Opera
Company, and since 1917 at the Metropolitan
Opera House.
*Cherniavsky, Jan (b. Russia, 1892), Leo
(b. 1890) and Michael (b. 1893), brothers,
are respectively pianist, violinist and 'cellist
in the Cherniavsky Trio, which from 1916-17
made many successful appearances in the
United States and Canada.
Clark, Melville Antone (b. Syracuse, 1883),
nephew of Melville Clark (see sec. 6), since
1910 has made improvements in harps and
harp-playing, perfecting a small, portable
harp of considerable artistic value.
*Claussen, Julia, n6e Ohlson (b. Sweden,
1879), known in Sweden since 1903 as an able
operatic mezzo-soprano, from 1913 sang with
the Chicago Opera Company, and since 1917
at the Metropolitan Opera House, besides
extensive concert-tours.
Clifton, Chalmers (b. Jackson, Miss., 1889),
graduated from Harvard in 1912, studied there
and in Paris, and since 1914 has been known
as conductor, composer and critic, mostly in
or near Boston. See art.
Crist, Bainbridge (b. Lawrenceburg, Ind.,
1883), brought up in Washington, became a
practicing lawyer, then studied music in
London and Berlin, and since 1914 has been
teacher and composer in Boston. See art.
Curtis, Vera (b. Stratford, Conn., 1880),
studied in Boston and New York, from about
1910 was church-soprano in New York, and
since 1912 has sung at the Metropolitan Opera
House. In 1912 she toured with the Russian
Symphony Orchestra.
'*Dambois, Maurice Felix (b. Belgium, 1889),
noted as a superior 'cellist since 1901, in 1917
came to America with Ysaye, making his head-
quarters in New York.
*Darby, W. Dermot (b. Ireland, 1885),
trained in England and New York, secretary
of the Modern Music Society in 1916, was one
of the editors of The Art of Music, 1914-17.
*DeLuca, Giuseppe (b. Italy, 1876), for
twenty years a leading operatic baritone in
Italy, appeared at the Metropolitan Opera
House from 1915, participating in the initial
performance of ' Goyescas ' in 1916.
Dow, Martha Cora (d. 1915, Cincinnati),
bequeathed $ 700,000 as an endowment for the
Cincinnati Symphony Orchestra.
*Dufau, Jenny (b. Alsace, ? ), since 1911
has been lyric soprano in the Chicago Opera
Company. In that year she sang in the
premiere of ' Cendrillon.'
*Dworzak, Zdenko von (b. Moravia, 1875),
educated as physician, now practicing in
Denver, is also a trained musician. He has
written a symphonic poem, an overture, two
suites, two string-quartets, songs, etc., besides
medical essays upon the voice.
Eastman, George (b. Waterville, N. Y.,
1854), of the Eastman Kodak Co., in 1919 gave
$3,500,000 for the establishment in Roches-
ter of the Eastman Music School, adding
$ 1,000,000 more in 1920. See art.
*Epstein, Richard (Austria, 1869-1919,
New York), after having taught in the Vienna
Conservatory and for ten years in London,
came to New York in 1914, making a fine
impression as pianist, especially as accompanist
and ensemble-player.
*Ferrari-Fontana, Edoardo (b. Italy, 1878),
after a phenomenal leap into prominence as
operatic tenor in 1910, appeared in Buenos
Aires in 1912, joined the Boston Opera Com-
pany in 1913, and since 1914 has sung at the
Metropolitan Opera House. In 1912 he
married the soprano Margarete Matzenauer.
Flagler, Harry Harkness (b. Cleveland,
1870), a wealthy New York capitalist, in 1914
became the liberal patron and guarantor of
the Symphony Society.
*Forsyth, Cecil (b. England, 1870), known in
England as conductor of light opera, composer
and author, since 1914 has lived in New York.
See art.
*Frederiksen, Frederik Christian (b. Nor-
way, 1869), an experienced violinist, con-
ductor and teacher, in 1915 organized the
Scandinavian Orchestra in Chicago. He is
violin-teacher in several conservatories in
Chicago and Milwaukee.
*Fricker, Herbert Austin (b. England, 1868),
from 1884 organist in England and from 1900
conductor at Leeds, since 1917 has been
conductor of the Mendelssohn Choir in
Toronto and organist at the Metropolitan
Church. He has published considerable
church-music.
■"Friedberg, Carl Rudolf Hermann (b. Hesse,
1872), noted as pianist in Germany since 1892,
toured in America in 1914, and in 1916-17
102
CHRONOLOGICAL REGISTER
[10: 1910-1920
taught at the Institute of Musical Art in New
York.
*Galli-Curci, Amelita (b. Italy, 1889), the
coloratura-soprano, since 1916 has been con-
spicuous in the Chicago Opera Company and
also a successful concert-singer. See art.
Garrison, Mabel (b. Baltimore, ? ),
trained in Baltimore and New York, from
1912 was lyric soprano in the Aborn Opera
Company, and since 1914 has sung at the
Metropolitan Opera House.
Gillette, James Robert (b. Roseboom, N.
Y., 1886), studied at Syracuse University, and
since 1914 has been concert-organist and
teacher in Macon, Ga. He has written the
cantata ' The Light Everlasting ' and several
organ-pieces.
*Giorni, Aurelio (b. Italy, 1895), since 1915
has made effective tours in the United States
as concert-pianist.
Gittelson, Frank (b. Philadelphia, 1896),
studied in Philadelphia, New York and Berlin,
made his debut as violinist at Berlin in 1913,
toured in Germany and England, since 1914
has been heard extensively in America, from
1919 teaching at the Peabody Conservatory
in Baltimore. See art.
*Grainger, Percy Aldridge (b. Australia,
1882), the highly original pianist and com-
poser, has been repeatedly heard in America
since 1915. See Vol. v. 643, and art.
*Grassi, Antonio de' (b. Italy, 1880), after
prominent appearances as violinist in Europe
from 1905, since 1915 has taught in Berkeley,
Cal., organizing a Trio with Vladimir Shavitch
and Stanislaus Bern as pianist and 'cellist.
*Grolle, Johan Hendrik (b. Holland, ? ),
a well-trained violinist, since about 1910 has
been active in promoting popular education
through schools like the Philadelphia Settle-
ment Music School, of which he is director.
*Gulli, Luigl (b. Italy, 1859), from 1896
pianist in the famous Society del Quintetto
in Rome, since 1916 has been soloist and
teacher in Chicago.
Hagan, Helen Eugenia (b. New Haven,
Conn., 1893), studied in New Haven and
Paris, and since 1912 has been organist and
concert-pianist in New Haven. She has
written considerable music for piano.
Hall, Leland (b. Maiden, Mass., 1883),
studied at Harvard and in Paris, from 1910
taught music-history at the University of
Wisconsin, in 1913-14 lectured at Columbia
University and wrote program-notes for the
Symphony Society, and was one of the editors
of The Art of Music, 1914-17.
*Hambourg, Boris (b. Russia, 1884), the
distinguished 'cellist, brother of Mark Ham-
bourg (see sec. 8), since 1910 has toured in
America, in 1911-16, with his father and
brother (see below), directed the Hambourg
Conservatory in Toronto, and since 1916 has
lived in New York. See art.
*Hambourg, Jan (b. Russia, 1882), brother
of the foregoing and a striking violinist,
collaborated with him in Toronto, and since
1916 has also lived in New York.
*Hambourg, Michael (Russia, 1856-1916,
Toronto) , father of the above and a good piano-
teacher, from 1911 was associated with his
sons in their Toronto school.
Hanson, Howard Harold (b. Wahoo, Neb.,
1896), trained at Luther College in Nebraska,
New York and Evanston, 111., in 1913 was
critic and coach in Kansas City, in 1915-16
taught at Northwestern University, and since
1916 has been theory-teacher at the College of
the Pacific, San Jos6, becoming dean in 1919.
He has written two symphonic poems, a Sym-
phonic Rhapsody, a piano-concerto, a piano-
quintet, a piano-sonata and pieces, and songs,
besides articles on musical science.
*Harmati, Sandor (b. Hungary, 1892), who
had been violinist and conductor in Budapest,
came to New York in 1914, and since 1917
has been second violin in the Letz Quartet.
*Heifetz, Jascha (b. Russia, 1901), the
precocious violinist, having been heard from
1910 in Europe, since 1917 has toured in the
United States. See art.
*Heinecke, Paul (b. Saxony, 1885), since
1910 has been head of the New York branch
of Breitkopf & Hartel in Leipzig, and of the
independent corporation formed in 1917 to
take over the American business.
*Hempel, Frieda (b. Saxony, 1885), the
distinguished operatic soprano, since 1912
has sung at the Metropolitan Opera House
with brilliant success. In 1918 she married
William B. Kahn. See art.
*Herbst, Gottfried (b. Thuringia, 1887),
from 1902 violinist and conductor in central
Germany, since 1912 has been violin-teacher
and concert-player at the State College,
Pullman, Wash.
*Holy, Alfred (b. Portugal, 1866), the
famous harpist, since 1913 has been a member
of the Boston Symphony Orchestra. See art.
Horvath, Cecile, nee Ayres (b. Boston, 1889),
daughter of Eugene E. Ayres (see sec. 7),
studied in Philadelphia, New York and Berlin,
and since 1910 has been concert-pianist both
abroad and in America. Her husband,
Zoltan de Horvath (b. Chicago, 1886), is
pianist and teacher in Philadelphia.
*Ingram, Frances (b. England, 1888), was
educated in Brooklyn and New York, first
appeared as operatic contralto at Philadelphia
in 1911, and has since sung with the Chicago
Opera Company, except in 1913-14 with the
Montreal Opera Company and in 1914-15 on
concert-tours. In 1913 she married Karl
G. MacVitty of Chicago.
Kernochan, Marshall Rutgers (b. New York,
1880), studied in New York and Frankfort,
since 1910 has worked in or near New York as
composer.
*Kihl, Viggo Richard (b. Denmark, 1882),
concert-pianist since 1901 in Copenhagen and
London, since 1913 has been in the faculty
of the Toronto Conservatory.
10 : 1910-1920]
CHRONOLOGICAL REGISTER
103
♦Kilenyi, Edward (b. Hungary, 1884),
studied at Columbia, and since about 1912 has
been a frequent writer upon musical subjects,
with some composition. See art.
*Kindler, Hans (b. Holland, 1892), since
1914 has been 'cellist in the Philadelphia
Orchestra.
*Knoch, Ernst (b. Baden, 1876) , having had
wide experience since 1898 in operatic con-
ducting, especially of Wagner's works, in 1914
joined the Century Opera Company, and in
1916 was conductor at Ravinia Park, Chicago,
and then of the Interstate Opera Company,
Cleveland.
Kramer, Arthur Walter (b. New York, 1890),
graduated from the College of the City of New
York in 1910, and has since then been on the
staff of ' Musical America ' and a prolific
composer and writer. See art.
*Kreiner, Edward (b. Poland, 1890), after
playing for some time in the New York Sym-
phony Society, since 1917 has been violist in
the Letz Quartet.
*Kunwald, Ernst (b. Austria, 1868), who
had been eminent as conductor in Europe from
1895, in 1912-17 directed the Cincinnati
Symphony Orchestra, resigning for poUtical
reasons.
*Kurt, Melanie (b. Austria, 1880), who had
been concert-pianist from 1897 and eminent
operatic soprano from 1902, in 1915-17 was
a leading artist at the Metropolitan Opera
House. In 1910 she married Prof. Deri in
Berlin.
Lament, Forrest (b. Springfield, Mass.,
1889), after study at home and abroad, made
his debut as operatic tenor in Rome, toured in
Italy, the West Indies and South .America,
and since 1917 has sung with the Chicago
Opera Company.
Langdon, William Chauncy (b. Italy, 1871,
of American parents), a New York lawyer,
since about 1910 has been the arranger and
librettist of many ' pageants ' and similar mu-
sico-dramatic undertakings — Thetford, Vt.,
1911, St. Johnsbury, Vt., 1912, Meriden.N. H.,
1913, Darien, Conn., 1913, Cape Cod, Mass.,
1914, Austin, Tex., 1915, Bloomington, Indian-
apolis and Corydon, Ind., 1916, Amherst,
Mass., 1917, University of Illinois, 1918, etc.
*Lange, Daniel de (Holland, 1841-1918,
Point Loma, Cal.), from 1895 director of the
Amsterdam Conservatory, resigned in 1913
and came to America. See Vol. ii. 633.
*Lester, Thomas William (b. England, 1889),
was brought to America in boyhood, studied
in Chicago, from 1911 was active as critic and
writer, and since 1912 has also been organist
and concert-accompanist. He has written
chamber-, piano- and organ-suites, a string-
quartet, a violin-sonata, several cantatas, etc.
*Levitzki, Mischa (b. Russia, 1898), came
to New York as a boy, continued there and in
Berlin studies begun in Warsaw, made his de-
but as concert-pianist in 1912, toured in Europe
and since 1916 has been active in New York.
Lindquest, Albert Charles (b- Chicago,
1892), studied at Chicago, Ann Arbor and New
York, since 1914 has been a successful concert-
tenor with many orchestras and choral societies,
living in New York.
*Lorenzo, Leonardo de (b. Italy, 1875),
known in Europe since 1897 as a superior
flutist, from 1910 played with the New York
Philharmonic Society, from 1912 with the
Symphony Society, and since 1914 with the
Minneapolis Orchestra. He has written a
flute-method and many studies.
*Maas, Gerald Christopher (b. Baden, 1888),
an expert 'cellist since 1908, first appeared as
soloist in America in 1916, and since 1917 has
been in the Letz Quartet.
Maas, Marguerite Wilson (b. Baltimore,
1888), studied in Baltimore and Berlin,
appeared as concert-pianist in Berlin in 1914,
then in Baltimore and vicinity, in 1915-16
taught at the Skidmore School, Saratoga
Springs, N. Y., and now lives near Baltimore.
She has written a piano-sonata and other
pieces, several songs, etc.
Macbeth, Florence (b. Mankato, Minn.,
1891), trained in St. Paul, Pittsburgh and
abroad, made her debut as operatic soprano
in 1913 at Darmstadt, with other European
appearances, and since 1914 has sung with the
Chicago Opera Company.
*Maguenat, Alfred (b. France, ? , of
Swiss parents), a baritone known in Italy,
France and England from 1907, since 1916
has sung with the Chicago Opera Company.
*Maitland, Robert Gillies (b. England,
1875), from 1896 prominent in England,
Germany and the Low Countries as concert-
baritone and expert in lyric interpretation,
since 1914 has taught in New York and con-
certized more or less.
*Mansfield, Orlando Augustine (b. England,
1863), from 1885 an experienced organist in
England, from 1912 taught at Wilson College
in Pennsylvania, and since 1918 at Brenau
College in Georgia. See art.
*Marcoux, Vanni (b. Italy, 1879), an
operatic baritone favorably known in France
and England since 1899, joined the Chicago
Opera Company in 1912.
*Martinelli, Giovanni (b. Italy, 1885), the
able dramatic tenor, since 1913 has been with
the Metropolitan Opera Company, besides
singing regularly in London and in 1916 in
Buenos Aires.
*Martucci, Paolo (b. Italy, 1885), son of
the notable pianist, conductor and composer
Giuseppe Martucci, from 1911 taught piano
at the Cincinnati Conservatory, and since
1913 has been concert-player and teacher in
New York.
Mason, Edith Barnes (b. St. Louis, 1892),
trained as stage-soprano in New York, Boston,
Philadelphia and Paris, in 1912 sang with the
Boston Opera Company, in 1913-15 at Nice,
Marseilles and Paris, and since 1915 at the
Metropolitan Opera House.
104
CHRONOLOGICAL REGISTER
[10: 1910-1920
*Matzenauer, Margarete (b. Hungary,
1881), the celebrated operatic singer, originally
a contralto, but since 1911, when she came
to the Metropolitan Opera House, turning to
soprano parts. In 1902-11 she was the wife
of Ernst Preuse of Munich and in 1912-17 of
the tenor Ferrari-Fontana (see above). See
Baker, Diet, of Musicians, p. 591.
*MegerUn, Alfred (b. Belgium, 1880),
from 1894 an able violinist in Belgium, came
to America in 1914 and since 1917 has been
concertmaster of the New York Philharmonic
Society.
Milligan, Harold Vincent (b. Astoria, Ore.,
1888), studied in New York, where since about
1910 he has been organist, besides tours aa
concert-player. See art.
Moderwell, Hiram Kelly (b. Fort Wayne,
Ind., 1888), graduated from Harvard in 1912,
and since 1913 has been critic and author in
New York. He contributed to The Art of
Music, 1914-17, and wrote The Theatre of To-
Day, 1914.
*Monteux, Pierre (b. France, 1875), the
distinguished conductor, in 1916 conducted
the Russian Ballet in New York, in 1917 led
municipal concerts there, from 1917 was
engaged at the Metropolitan Opera House,
and since 1919 has led the Boston Symphony
Orchestra. See art.
*Muratore, Lucien (b. France, 1878), the
operatic tenor, since 1913 has been with the
Chicago Opera Company, in 1917 also singing
at Buenos Aires. In 1913 he married the
soprano Lina Cavalieri (see sec. 9). See art.
*Muzio, Claudia (b. Italy, 1892), known in
Italy as dramatic soprano from 1912, and
having also sung in Paris, London, Cuba and
South America, since 1916 has been at the
Metropolitan Opera House.
*Nachez, Tivadar (b. Hungary, 1859), for
thirty years a noted concert-violinist and com-
poser, from 1889 working in London, since
1916 has lived at Santa Barbara, Cal. For
works, see Baker, Diet, of Musicians, p. 639.
*Noble, Thomas Tertius (b. England, 1867),
the celebrated organist, since 1913 has been
at St. Thomas' in New York, besides concert-
tours elsewhere. See Vol. v. 655, and art.
*Novaes, Guiomar (b. Brazil, 1895), studied
at Sao Paulo and Paris, from 1911 became
known in Europe and South America as a
highly gifted pianist, and since 1915 has been
widely heard in the United States. See art.
*Ober, Margarete (b. Prussia, 1885), the
eminent mezzo-soprano, since 1913 has been
a leading singer at the Metropolitan Opera
House, until 1916 also singing at Berlin. In
1910 she married Arthur Arndt. See art.
*Ornstein, Leo (b. Russia, 1895), studied
in Petrograd and New York, made his debut
as pianist in 1911 in the latter city, and has
lived there as player and unusual composer.
See art.
*Perini, Flora (b. Italy, 1887), since 1910
has been a noted operatic mezzo-soprano at
the chief South American capitals, and also
since 1915 at the Metropolitan Opera House.
She is the wife of Amleto Polattri.
*Pfitzner, Walther (b. Saxony, 1882), since
1896 concert-pianist in Germany, from 1915
has been teacher at Bethany College, Linds-
borg., Kan., choral conductor and concert-ac-
companist.
*Pulitzer, Joseph (Hungary, 1847-1911,
Charleston, S. C), the eminent journalist,
from 1883 proprietor of the New York 'World,'
by his will left $500,000 to the New York
Philharmonic Society. See art.
*Rabaud, Henri Benjamin (b. France, 1873),
the distinguished conductor and composer,
in 1918-19 was conductor of the Boston
Symphony Orchestra, returning to become
director of the Paris Conservatory.
*Raisa, Rosa (b. Poland, 1893), since 1914
has been one of the foremost sopranos in the
Chicago Opera Company, besides many appear-
ances in South America.
Rice, William Gorham (b. Albany, N. Y.,
1856), who has held various offices in Albany
in politics and business, has published The
Carillons of Belgium and Holland, 1914, The
Carillon in Literature, 1915, and various articles
upon campanology.
*Riley, Herbejrt (b. Brazil, 1888), educated
in Germany and appearing there as 'cellist
from 1909, in 1911-12 toured in the West of
the United States and settled in San Francisco
as soloist, ensemble-player and teacher. He
has been associated with Saslavsky (see sec.
8) in annual quartet-concerts.
♦Roentgen, Engelbert (b. Holland, 1886),
a skillful 'cellist, son of Julius Roentgen (see
Vol. iv. 119), since 1916 has played in the New
York Symphony Society and also taught at
the Mannes Music School.
*Rosen, Max (b. Rumania, 1900), was
brought to New York in infancy, studied there
and (as protege of Coppet) in Europe, made
his debut as violinist at Dresden in 1915,
with tours in Germany and Scandinavia,
and since 1918 has appeared with success in
America.
*Rothier, Leon (b. France, 1874), whose
record as dramatic bass began in 1899, came
to the Metropolitan Opera House in 1910.
Since 1916 he has also taught at the Volpe
Institute of Music.
*Rybner, Dagmar de Corval (b. Baden,
1890), daughter of Cornelius Rybner (see sec.
9), studied in Baden, Switzerland and New
York, and since 1912 has been concert-pianist
and composer in New York. See art.
♦Sainton, Joseph (b. England, 1878), who
from 1908 had been in charge of municipal
concerts at Brighton, from 1912 was con-
ductor for the Aborn Opera Company, and
since 1915 has led municipal concerts in
Minneapolis.
*Salzedo, Carlos (b. France, 1885), an able
harpist, since 1913 has been with the Trio de
Lutfece, with Barrfere and K6fer (see sec. 9 for
10: 1910-1920]
CHRONOLOGICAL REGISTER
105
both). He has written for the harp and for
other instruments, and a treatise upon the harp.
*Sandby, Herman (b. Denmark, 1881),
from 1900 a notable 'cellist in Europe, from
1912 played in the Philadelphia Orchestra
and taught in the Broad Street Conservatory,
and since 1916 has concertized from New York
as headquarters. See art.
Schminke, Oscar Eberhard (b. New York,
1881), after having been a practicing dentist
in New York for some years, from about 1911
has devoted himself to composition. See art.
Search, Frederick Preston (b. Pueblo, Colo.,
1889), trained in Boston, Cincinnati and
Leipzig, from 1912 has been concert-'cellist, in
1915-16 with the American Symphony Or-
chestra in Chicago, in 1916-17 with the
Chicago Opera Company, and has since
directed summer plays in California. See art.
Seeger, Charles Louis, Jr. (b. Mexico City,
1886), graduated from Harvard in 1908, in
1910-11 was assistant-conductor of opera at
Cologne, and since 1912 has been professor
in the University of California. See art.
Seydel, Irma (b. Boston, 1896), daughter and
pupil of a player in the Boston Symphony Or-
chestra, since 1913 has been concert-violinist
in America and Germany. See art.
*Smith, Leo (b. England, 1881), an ex-
perienced 'cellist, since 1911 has taught at
the Toronto Conservatory, besides writing
articles for periodicals.
*Sorrentino, Umberto (b. Italy, 1889),
since 1910 has toured as concert-tenor or
operatic star in the West Indies, Mexico, the
United States and Canada.
Sowerby, Leo (b. Grand Rapids, Mich.,
1895), studied in Chicago, and since 1913 has
been composer there, besides teaching in the
American Conservatory and some work as
critic. See art.
Spaeth, Sigmund (b. Philadelphia, 1885),
graduated from Haverford College in 1906,
from 1910 taught in Asheville, N. C, and since
1912 has been engaged in editorial or critical
work in New York. See art.
Spelman, Timothy Mather (b. Brooklyn,
1891), graduated from Harvard in 1913,
studied there and in New York and Munich,
and since 1914 has been composer in New York,
his works including an opera, an orchestral
suite, a melodrama and a pantomime, besides
songs, etc.
Spencer, Eleanor (b. Chicago, 1890), studied
in Chicago, New York, Paris and Vienna, from
1910 appeared in England, Germany and Hol-
land as concert-pianist, and since 1913 has
been regularly heard in America. See art.
*Stefano, Salvatore di (b. Sardinia, 1887),
since 1913 has toured in the United States as
concert-harpist.
Stoessel, Albert Frederic (b. St. Louis,
1894), studied in St. Louis and Berlin, where
he made his d^but as violinist and was a
member of the Hess Quartet, and since 1915 has
toured in America. See art.
■^Stransky, Josef (b. Bohemia, 1874), the
distinguished conductor, since 1911 has led
the New York Philharmonic Society. See
art.
*Talbot, Thomas R. (b. Ireland, 1884), since
1913 has been organist in Minneapolis, in-
terested in promoting improvement in Roman
Catholic music along strict lines. He has
organized a Cecilian Society for this purpose.
Taylor, Joseph Deems (b. New York, 1885),
graduated at New York University in 1906,
and has since been in editorial work, from 1910
also composing various choral and orchestral
works, etc. See art.
*Teyte [Tate], Maggie (b. England, 1889),
since 1911 has sung regularly in America as
both concert- and opera-soprano, in 1911-14
with the Chicago Opera Company, in 1914-17
with the Boston Opera Company. See art.
*Thalberg, Marcian (b. Russia, 1877), from
1902 a prominent concert-pianist at Paris and
elsewhere in Europe, since 1913 has been
teacher of advanced pupils at the Cincinnati
Conservatory.
*Tourret, Andri (b. France, 1882), noted as
violinist in Paris from 1896, both in the
Colonne Orchestra and in ensemble-playing,
from 1913 lived in New York, with some tours,
returning lately to Belgium.
*Treharne, Bryceson (b. Wales, 1879), after
ten years of teaching in Australia and further
experience in Europe, since 1916 has been
composer in New York. See art.
*Trunk, Richard (b. Baden, 1879), conductor
and teacher in Germany from 1896, since 1912
has led the Arion Society in New York and
since 1913 also the Arion Society in Newark.
Uhe, Arthur Emil (b. Chicago, 1892),
studied at Chicago and Brussels, first appeared
as violinist at Brussels in 1912, toured in
Norway, Switzerland and England, and since
1914 has been teacher and orchestral con-
ductor at Bethany College in Kansas. He
has written a violin-concerto and other works
for violin and piano.
Van Gordon, Cyrena [name originally Po-
cock] (b. Camden, O., 1893), trained at Cin-
cinnati, where she appeared as contralto in a
pageant in 1912, since 1913 has been prom-
inent in the Chicago Opera Company, besides
some concert-singing. In 1912 she married
Dr. Shirley B. Munns of Chicago.
*Van Vliet, Cornelius (b. Holland, 1886),
noted 'cellist in European orchestras from
about 1900, came to Chicago in 1911, from
1912 played with the Minneapolis Orchestra,
and since 1919 has concertized from New York
as center. See art.
*Vecsei, Desider Josef (b. Hungary, 1882),
concert-pianist in Europe from 1907, since
1915 has toured in the United States.
*Vigneti, Georges (b. France, 1882), who
had appeared widely as violinist in France and
on a world-tour, since 1911 has taught in New
York and played in trio with Arthur Whiting
and Georges Barr&re.
106
CHRONOLOGICAL REGISTER
[10: 1910-1920
*Vix, Genevieve (b. France, 1887), from
1910 lyric soprano at Madrid and Buenos
Aires, in 1917-18 appeared with the Chicago
Opera Conapany. In 1918 she married the
Russian banker Cyril Narishkin in New
York.
*Volavy, Marguerite (b. Moravia, 1886),
from 1902 known as concert-pianist throughout
Europe, since 1914 has played in America.
At her New York d6but in 1915 with the
Russian Symphony Orchestra she introduced
a new concerto by Bortkiewicz.
Ware, Helen (b. Woodbury, N. J., 1887),
studied at Philadelphia, Vienna and Budapest,
and since 1912 has toured Europe and America
as concert-violinist, specializing in Hungarian
and Slav music. See art.
*'Warnery, Edmond (b. France, 1876, of
Swiss parents), originally a baritone, now
a tenor, since 1910 has sung with the Chicago
Opera Company with sustained success.
*Weil, Hermann (b. Germany, 1878), the
Wagnerian baritone, since 1911 has appeared
at the Metropolitan Opera House and in
concert. He has published songs.
*Witek, Anton (b. Bohemia, 1872), long
eminent as concertmaster and ensemble-
player in Berlin, in 1910-18 was concertmaster
of the Boston Symphony Orchestra, besides
continuing, with his wife, *Vita Witek, n6e
Friese (b. Denmark, 1868) , and Joseph Malkin,
the Witek-Malkin Trio (formed in 1902 at
Berlin) and teaching in New York. See art.
*Ysaye, Eugene (b. Belgium, 1858), since
1880 famous as a great violinist and also able
conductor, since 1918 has been conductor of
the Cincinnati Festivals and Symphony Or-
chestra. See Vol. v. 580-2, and art.
*Zbinden, Theodore (b. Alsace, 1877),
graduated from the University of Michigan
in 1899, with degrees later in both music and
medicine, from 1912 taught in Toledo, but
since 1918 has been a practicing physician.
He has written a violin-sonata, the cantata
' The Chambered Nautilus,' etc.
*Zimbalisl, Efrem (b. Russia, 1889), the
distinguished violinist, settled in America in
1911 and has played extensively and with great
success. In 1914 he married the soprano Alma
Gluck (see sec. 9). See Vol. v. 596, and art.
The several sections of the Register refer to about 1700 persons, of whom over 900 are native-
born and nearly 800 are foreign-born. It is interesting to observe how the derivation of these
classes changes from period to period.
For convenience, those native-born may be grouped in six regions, namely, a. New England ;
b. Middle States ; c. Southern States (Va. to Tex.) ; d. Central States (Ohio to Kan.) ; e. West-
ern States ; /. Canada, West Indies, Mexico and South America. Still more roughly, those
foreign-born may be grouped in four classes, namely, a. Great Britain, Holland and Scandinavia ;
b. Germany, Bohemia and Austria ; c. Latin Countries (including Belgium and Switzerland) ;
d. Slavic and Other Countries.
The statistics work out (as far as birthplaces are known or probable) as follows :
Native-Bobn
FOREIGN-BOHN.
Names
a.
6.
c.
d.
e.
/.
Namks
a.
6.
c.
d.
18th cent.
15
80%
20%
100
70%
15%
15%
1800-40 .
50
75
21
2%
—
—
2%
60
54
24
22
—
1840-60 .
80
60
23
12
3%
—
2
95
24
67
9
—
1860-70 .
70
44
30
4
12
—
10
45
22
64
14
—
1870-80 .
120
36
28
4
29
2%
1
60
25
46
15
14%
1880-90 .
175
28
38
5
20
2
7
115
33
48
10
9
1890-1900
195
21
38
4
29
3
5
95
32
49
10
9
1900-10 .
150
15
32
6
34
4
9
115
27
22
37
14
1910-20 .
50
10
38
2
38
6
6
105
27
18
36
19
905
32%
32%
5%
23%
3%
5%
780
35%
37%
20%
8%
If existing dictionaries be collated, it will be found that the trend of percentages does not vary
much from the above, although the total number of names included is much larger — about
2700 native-born and about 1000 foreign-born.
PERSONAL AND DESCRIPTIVE ARTICLES
AND
ALPHABETICAL INDEX
Note. The few abbreviations used are mostly self-explanatory. Marks
like ' [ R.7 ] ' at the end of biographies indicate where the names are entered
in the Chronological Register. Several Associations are often referred to by
initials, as 'M.T.N. A.' for Music Teachers' National Association, ' A. G. O.'
for American Guild of Organists, ' N. A. O.' for National Association of Or-
ganists, ' R. A. M.' for Royal Academy of Music, ' R. C. M.' for Royal College
of Music, 'R. C. O.' for Royal College of Organists, and 'I. M. G.' for Interna-
tionale Musik-Gesellschaft. In some cross-references * C stands for College
and ' U.' for University.
Articles relating to those who are outside the American field are marked
byj.
ABBEY, HENRY EUGENE (1846-1896).
See Register, 7.
ABBOTT, EMMA (Dec. 9, 1850, Chicago :
Jan. 5, 1891, Salt Lake City), attained success
as a stage-soprano by hard work and perti-
nacity. During her youth in Peoria, 111., she
had few advantages, and her voice was neither
large nor sympathetic. In 1870, however,
aided by Miss Kellogg, she became a leading
church-singer in New York and had lessons
from Errani. Her advance was so marked
that in 1872 friends enabled hor to study at
Milan under Sangiovanni and then at Paris
under Mme. Marchesi, Wartel and Delle
Sedie. Her operatic debut at Covent Garden
in 1876 and in New York in 1877 in 'La Fille
du Regiment' was followed by a tour in Great
Britain under Mapleson's direction. From
1878 she pursued an active career in America,
mostly as the head of her own operatic troupe,
which was managed by Eugene Wetherell
of New York, whom she married in 1878. She
appeared in standard Italian works and English
operettas, but in Chicago she is credited with
bringing out such works as Gounod's ' Mireille'
and Masse's ' Paul et Virginie. ' For a time she
almost rivaled Miss Kellogg in popularity, and
she and her husband (who died in 1888) be-
came wealthy. [ R.6 ]
A BECKET, THOMAS (1843-1918). See
Register, 4.
ABORN, MILTON (b. 1864) and SAR-
GENT (b. 1866). See Register, 9.
ABORN OPERA COMPANY, THE, was
an operatic troupe organized in 1902 by the
brothers Aborn for producing lighter operas
in English, which continued for several years
in different parts of the country with consider-
able success.
ABOTT, BESSIE PICKENS (1878-1919).
See Register, 8.
ACADEMY OF MUSIC, THE, of Boston,
was an association, formed in 1833 under the
lead of Lowell Mason, which established a
music-school, promoted the recognition of
music in the public schools and the holding of
'conventions' in many places, organized a
chorus and an orchestra, and arranged public
lectures on musical topics. After 1847 its
functions were taken over by other agencies.
In 1838 the Academy chorus of about 200
gave Romberg's ' Song of the Bell,' Neu-
komm's ' David ' and Zeuner's ' Feast of Taber-
nacles,' the latter perhaps the first American
oratorio. In 1840-41 Beethoven's 1st and 5th
Symphonies were played by the orchestra.
See L. C. Elson, History of American Music,
pp. 52, 78-80, and Ritter, Music in America,
chap. xii.
ACADEMY OF MUSIC, THE, of New
York. See Vol. i. 12, Krehbiel, Chapters of Op-
era, and article by Saerchinger in ' The Musi-
cal Quarterly,' January, 1920, pp. 84-5. As
an operatic headquarters it ceased to be im-
portant in 1897.
ACADEMY OF MUSIC, THE, of Phila-
delphia, was a theater and opera-house, erected
in 1857, which long served as a center for
opera-performances and concerts, like its New
York predecessor.
ADAMOWSKA, Mme. See Szumowska.
ADAMOWSKI. JOSEPH (July 4, 1862,
Warsaw, Poland), in 1871-77 was a 'cello-
student with Kontski and Goebelt at the War-
saw Conservatory. He then went to the
Moscow Conservatory and studied 'cello with
Fitzenhagen, composition with Tchaikovsky
and piano with Pabst. Meanwhile he also
entered the University and graduated. In
1883 he began concert-tours in Poland and
Germany, and in 1885-87 was professor of
'cello and ensemble-playing at the Conserva-
tory of Cracow. Coming to America in 1889,
he played in the Boston Symphony Orchestra
till 1907, and also in the Adamowski Quartet
and Adamowski Trio. He has been pro-
fessor in the New England Conservatory since
1903. He is one of the founders and directors
of the Boston Symphony Orchestra pension-
fund. In 1896 he married the pianist Antoi-
nette Szumowska. [ R.7 ]
ADAMOWSKI, TIMOTH:fiE (Mar. 24,
1858, Warsaw, Poland), having studied at the
Warsaw Conservatory with Kontski and
Roguski and in Paris with Massart, came to
the United States in 1879 as a violin-virtuoso.
He toured with Clara Louise Kellogg, Emma
Thursby and Max Strakosch, and finally with
a company of his own. In 1884-1908 he was
a member of the Boston Symphony Orchestra,
resigning to become teacher of the advanced
violin-classes at the New England Conserva-
tory. In 1890-94 he conducted popular con-
certs in the summer. As soloist he has
appeared in Paris with the Colonne Orchestra,
in London with the Philharmonic Society
under Nikisch, and in Warsaw with the opera
orchestra. He has composed, for violin and
piano, 'Novelette,' 'Air de Ballet,' 'Bar-
carolle,' 'Mouvement de Valse' and 'Ber-
ceuse.' [ R.6 ]
ADAMOWSKI QUARTET, THE, was
formed at Boston in 1888 with TimothSe
Adamowski as leader, E. Fiedler as second,
D. Kuntz as violist and Giuseppe Campanari
as 'cellist. In 1890 it was reconstituted with
A. Moldauer, Max Zach and Joseph Adamow-
ski in the place of the last three.
109
110
ADAMOWSKI TRIO
AIKEN
ADAMOWSKI TRIO, THE, was formed
at Boston in 1896 with Mme. Adamowska as
pianist, Timothee and Joseph Adamowski as
violinist and 'cellist.
ADAMS, CHARLES R. (1834, Charlestown,
Mass. : July 3, 1900, West Harwich, Mass.),
had for early teachers Edwin Bruce and Mme.
Arnault. In 1856 he was the tenor in 'The
Creation ' with the Handel and Haydn Society,
and for the next five years sang in concert and
oratorio. In 1861, with his teacher Mulder
and Mme. Febbri-Mulder, he appeared in
concert and opera in the West Indies and in
Holland. Called to Vienna, he learned his
part in 'La Sonnambula' in three days, with
successful result. After a tour in Russia he
was engaged for three years at Budapest,
but cut this short to accept a similar offer
from the Royal Opera in Berlin. With an
interim of one year, he was principal tenor
at the Imperial Opera at Vienna in 1867-76.
He sang also at Madrid, London, and Milan.
Early in 1877 he returned to America, and
sang in German opera in 1877-78, including
the first American performances of 'Rienzi.'
From 1879 he lived in Boston, where he was
extremely successful as a teacher. His most
effective roles were Lohengrin, Tannhiiuser,
Raoul, Masaniello, Rienzi, Manrico, Vasco da
Gama and Don Jos6. J. S. Dwight in 1877
said that 'his was the robust kind of tenor,
of large compass, evenly developed, under
complete control and intrinsically very sweet
in quality. He sang superbly, in a large,
frank, masterly, dramatic style, each tone
fraught with meaning and intention.' [ R.4 ]
ADAMS, Mrs. CROSBY, n6e Graves (b.
1858). See Register, 7.
ADAMS, F. W, (1787-1859). See Regis-
ter, 3.
ADAMS, SUZANNE (1873, Cambridge,
Mass.), early went abroad for study, becoming
a pupil of Bouhy in Paris. In 1894 her d6but
was made as Juliette at the Paris Op6ra where
she sang for three years, followed by one
season at Nice. In 1898 she was engaged by
Grau at Covent Garden, and appeared there
each year until 1906. In 1898 she made her
American d6but in Chicago, and at the Metro-
politan Opera House in 1899. She married
the English 'cellist Leo Stern in 1898, toured
the United States with him in 1902-03 and
on his death in 1904 retired from the stage for
a year. She has been a favorite singer at
Buckingham Palace and has frequently
appeared in oratorio in England, where she has
made her home since 1903. Her favorite
operatic r61es are Juliette, Marguerite, Euri-
dice, Gilda, Micaela, Zerlina, Cherubino and
Donna Elvira. [ R.8 ]
ADDINGTON, STEPHEN. See Tune-
Books, 1807.
ADES, LUCIUS. See Colleges, 3 (Friends
U.. Kan.).
ADGATE, ANDREW (d. 1793, Phila-
delphia), in 1784 founded in Philadelphia
an Institution for the Encouragement of
Church Music, and the next year established a
Free School for Spreading the Knowledge of
Vocal Music, which developed in 1787 into the
Uranian Academy. Among the managers
of the latter were many prominent citizens,
like Hopkinson and Dr. Rush. From before
1785 Adgate promoted choral concerts at
intervals, with programs including not only
music by Billings, Lyon, Tuckey and others,
but also the 'Hallelujah' from 'The Messiah.'
On May 4, 1786, he gave a concert at the Re-
formed German Church with a chorus of 230
and an orchestra of 50. His programs and
plans (often excellent) are detailed in Sonneck,
Early Concert-Life in America, pp. 103-20.
He died in the epidemic of yellow fever in
1793, but the Uranian Academy seems to have
continued tUl after 1800. For his publica-
tions, see Tune-Books, 1785. [ R.2 ]
^OLI AN CHOIR, THE, of Brooklyn, N. Y. .
is a select chorus of forty-five voices organized
in 1912 by N. Lindsay Norden for the culti-
vation and promotion of Russian a cappella
church-music. He prepared for it English
adaptations of over ninety Russian composi-
tions that were previously inaccessible, includ-
ing many that are extended and elaborate,
sometimes in eight-part and even ten-part
form. The publication of these works, illus-
trated by the recitals which the Choir gave
in or about New York, aroused a widespread
interest in the Russian style. See articles by
Norden in the M. T. N. A. Proceedings, 1915,
and 'The Musical Quarterly,' April, 1918.
^OLIAN COMPANY, THE, of New York,
has long been famous for making automatic
instruments like the JSolian and the Pianola.
It is part of the complex corporation known as
the JEolian, Weber Piano and Pianola Co.
(capital, $10,000,000), which also has absorbed
the Weber Piano Co., Steck & Co., the Wheel-
ock Piano Co., the Stroud Piano Co., the
Vocalion Organ Co., the Votey Organ Co.,
the Orchestrelle Co. of Great Britain, the
Choralion Co. of Germany and Austria, etc.
This combination of interests is one of the
largest instrument-makers in the world. The
central office is at 29-33 West 42nd St., and
in its building is .^Eolian Hall, which is one of
the fine concert-halls in New York. The
president of the Company is H. B. Tremaine.
AGRAMONTE, EMILIO (1844- ? ). See
Register, 5.
AIKEN, CHARLES (1818-1882). See
AIKEN," HENRY M. (1824?- ? ). See
Register, 4.
AIKEN
ALLEN
111
AIKEN, WALTER H. (b. 1856). See Reg-
ister, 6.
AIKIN, J. B. See Tune-Books, 1847.
AITKEN, JOHN. See Tune-Books, 1787.
' AKER, J. HARRY. See Colleges, 3 (Cen-
tral C, Ark.)-
ALBANI, EMMA. See* article in Vol. i. 59.
The correct birth-year is 1852. She retired
from active work in 1906 and in 1911 made her
farewell appearance at a concert in Albert
Hall, London. See her autobiography, Emma
Alhani, Forty Years of Song, 1911, and H. S.
Edwards, The Prima Donna, 1888. [ R.5 ]
ALBEE, AMOS (1772- ? ). See Tune-
Books, 1805.
ALBRECHT, CHARLES. See Register, 2.
ALBRECHT, H. F. (d. 1875). See Reg-
ister, 4.
ALDA, FRANCES [name originally Davis]
(May 31, 1883, Christchurch, New Zealand),
received her general education in Melbourne,
Australia. She studied singing in Paris with
Mme. Marchesi, and in 1904 made her d6but
at the Op6ra-Comique as Manon. She then
sang at Brussels, London, Milan, Warsaw and
Buenos Aires. In 1908 she made her first
appearance at the Metropolitan Opera House
as Gilda in 'Rigoletto,' and has since sung
there regularly. In 1910 she married Giulio
Gatti-Casazza, the manager of the Metro-
politan. She has created soprano roles in
Gilson's ' Princesse Rayon de Soleil,' Messager's
'Madame Chrysanth^me,' Puccini's 'Le Villi,'
Damrosch's 'Cyrano de Bergerac' and Her-
bert's 'Madeleine,' and in American produc-
tions of Borodin's 'Prince Igor,' Zandonai'a
'Francesca da Rimini' and Rabaud's 'Milrouf.'
In addition to these works her repertoire in-
cludes the roles of Mimi, Desdemona, Mar-
guerite (in 'Faust'), Juliette, Traviata, Aida,
Manon Lescaut (Puccini) and Margherita
(in 'Mefistofele'). She ia also an esteemed
concert-singer. [ R.9 ]
ALDEN, JOHN CARVER (Sept. 11, 1852,
Boston), studied piano with Faelten in Boston
and in Leipzig was a pupil of Paul, Plaidy and
Papperitz. In 1880 he began teaching in
Boston as an associate of Faelten in the New
England Conservatory. He taught for a period
in New York, then for some years at Converse
College, Spartanburg, S. C, and more recently
at the Quincy Mansion School, Wollaston,
Mass. Besides being highly esteemed as a
piano-teaoher, he has composed a piano-con-
certo in G minor, piano-pieces and technical
studies, songs like 'Du bist wie eine Blume,'
and anthems. [ R.6 ]
ALDRICH, A. See Tune-Books, 1859.
ALDRICH, M ARISKA (b. 1883) . See Reg-
ister, 9.
ALDRICH, PERLEY DUNN (Nov. 6,
1863, Blackstone, Mass.), was trained at the
New England Conservatory in Boston, study-
ing in 1883-86 with Emery, Maas and Whiting.
In 1892 he went to London for three years of
vocal study with Shakespeare and then pro-
ceeded to Paris for lessons with Trabadello.
He taught at the University of Kansas in
1885-87, at the Tremont School of Music,
Boston, in 1888, at the Utica Conservatory
in 1889-91, privately at Rochester in 1891-
1903, and since 1903 in Philadelphia. During
the summers of 1903, '04 and '08 he was assist-
ant to Sbriglia in Paris. He has given many
song-recitals with unique programs, and has
composed the cantatas 'La Belle Dame sans
Merci,' for male voices (1895) and 'The
Sleeping Wood-Nymph' (1896), and about
25 songs. He is the author of Vocal Economy,
1895, and has been a frequent contributor to
musical magazines. [ R.7 ]
ALDRICH, RICHARD (July 31, 1863,
Providence, R. I.), was educated at the Provi-
dence High School and Harvard College,
where he graduated in 1885. He studied
music with Paine, but upon graduation en-
gaged in newspaper-work on tjie Providence
'Journal.' In 1888-89 he studied in Germany,
giving much attention to music. In 1889-91
he was in Washington as private secretary to
Senator Dixon, with some critical work on the
' Evening Star. ' In 1891-1902 he held various
positions on the New York ' Tribune, ' such as
assistant literary editor and Sunday editor,
besides helping with musical criticism under
Krehbiel. In October, 1902, he became
music-editor of the New York ' Times,' contin-
uing until December, 1917, when he resigned
to enter military work in Washington. He
was commissioned captain in the National
Army (as it was then) and later became cap-
tain in the United States Army, attached to
the Intelligence Division of the General Staff.
In 1919 he returned to his place on the ' Times. '
His writings on musical subjects, in news-
papers and books, are highly valued for their
sanity and clarity. He has published a Guide
to Parsifal, 1904, a Guide to the Ring of the
Nihelung, 1905, and a translation of Lilli
Lehmann's Meine Gesangskunst or How to sing,
1902, '14. He joined with Krehbiel in con-
tributing American articles to the revised
edition of this Dictionary in 1904-10. [ R.8 ]
ALEXANDER, LLOYD L. See Colleges, ,
3 (Hanover C, Ind.). '
ALLEN, BENJAMIN DWIGHT (Feb. 16,
1831, Sturbridge, Mass. : Mar. 4, 1914,
Wellesley, Mass.), was educated in Worcester,
where he lived almost sixty years. From 1845
he was teacher and organist there, from 1857
for thirty-seven years at the Union Congrega-
tional Church. In 1858 he was one of the
founders of the association which later estab-
lished the Worcester Festivals, and was always
112
ALLEN
AMATO
active in it as accompanist, organist, associate-
conductor and on the directorate. In 1871-
76 he also taught at the New England Con-
servatory in Boston, and gave some lectures
at Boston University. After 1876 he often
lectured elsewhere. From 1894 he was head
of the music-department of Beloit College
in Wisconsin, and in 1902-05 was organist
in New York both at the Manhattan Congre-
gational Church and at Teachers College,
retiring in 1905 to Wellesley, Mass., to busy
himself with composition. About a score of
his songs and anthems have been published,
but many others remain in manuscript. He
was a thorough and scrupulous teacher, and
counted among his pupils the heads of music-
departments in at least six colleges. He was
a member of the Harvard Musical Association
and a founder of the A. G. O. [ R.4 ]
ALLEN, CHARLES N. (1837, York, Eng-
land : Apr. 7, 1903, Boston), gained his
mastery of the violin under Saenger at Paris,
and for some years was in the orchestra at
the Op^ra. In 1871 he came to Boston,
where for thirty years he was a foremost
player and teacher. In 1873 he organized
the Beethoven Quintette Club, in 1877 joined
the Mendelssohn Quintette Club, and later was
a member of the Boston Symphony Orchestra.
Among his pupils was Henry K. Hadley.
Besides being a superior musician, he was a
man of great culture and charm. [ R.6 ]
ALLEN, EDWIN L. See Colleges, 3
(Mt. Union C, Ohio).
ALLEN, FRANCIS D. See Tune-Books,
1818.
ALLEN, GEORGE N. (1812-1877). See
Register, 4.
ALLEN, HEMAN (1836- ? ). See Regis-
ter, 5.
ALLEN, NATHAN HALE (Apr. 14, 1848,
Marion, Mass.), after schooling in Provi-
dence and at Phillips (Andover) Academy, in
1868 went to Germany. In Berlin he was a
pupil of Grell in singing and of Haupt in
organ-playing, and later studied instrumenta-
tion with Van der Stucken in New York.
From about 1870 he was organist in Hartford,
Conn., in 1883-1906 at the Center Congrega-
tional Church. Five years were then spent
at Piedmont Church in Worcester, and in
1915 he returned to Hartford. He has taught
many prominent organists and has been
active as concert-organist and chorus-con-
ductor. He has composed many songs, part-
songs, organ- and piano-pieces, a collection of
40 liturgical responses and two sacred cantatas.
Many of his fifty published anthems have been
widely used. Among the compositions as yet
unpublished are a number of organ-pieces, in-
cluding a 'Pifece Symphonique' and a 'Sym-
phonic Fantasia ' ; a ' Concertante ' for organ
and piano ; ' In Memoriam ' for organ, piano
and strings ; pieces for piano, violin and 'cello ;
and numerous vocal compositions, including
the cantata 'The Apotheosis of St. Dorothy.'
He has several printed addresses on musical
subjects, and has devoted much time to inves-
tigating the musical history of New England.
He is one of the founders of the A. G. O., an
original member of the New York Manu-
script Society, and has repeatedly served as
associate-conductor of the Litchfield Festival
Chorus. With Leonard W. Bacon he edited
The Hymns of Martin Luther, 1883. [ R.6 ]
ALLEN, WARREN DWIGHT (b. 1885).
See Colleges, 3 (C. of the Pacific, Cal.).
ALLEN, WILLIAM FRANCIS (1830-
1889). See Register, 6.
ALLER, GEORGE HENRY (b. 1871). See
Register, 8.
ALTHOUSE, PAUL SHEARER (b. 1889).
See Register, 10.
ALTSCHULER, MODEST (Feb. 15, 1873,
Mogilev, Russia), was at first a violin-student,
but soon changed to the 'cello, which he
studied in 1884-86 with Gobelt at the Warsaw
Conservatory. His fij-st public appearance,
at thirteen, was with the conservatory orches-
tra under the direction of Zarzycki. Gradu-
ating with honors, he won a scholarship at the
Moscow Conservatory, where he studied 'cello
with Fitzenhagen and Von Glen and com-
position with Arensky, Tanieiev and Safonov.
On graduating in 1890 he was awarded a silver
medal. He toured Europe with the Moscow
Trio, and finally came to New York as 'cellist
and teacher. In 1903 he organized the
Russian Symphony Orchestra, of which he
has since been conductor. Its first concert
was on Jan. 7, 1904, in New York. Since
that time the Orchestra has visited most of
the cities in the United States, making three
trans-continental tours before 1914. He has
orchestrated several modern Russian works,
including the Tchaikovsky piano-trio. [ R.9 ]
AMATO, PASQUALE (Mar. 21, 1878,
Naples, Italy), after graduating from the
Instituto Tecnico Domenico, studied at the
Naples Conservatory in 1896-99 and made
his d6but as Germont in 'La Traviata' at the
Teatro Bellini in 1900. He then made the
round of the leading theaters of Italy, and
sang in Prague, Munich, Dresden, Leipzig,
Berlin, Budapest, Vienna, Brussels and Paris.
In 1908 he came to the Metropolitan Opera
House in New York, continuing to the present.
He has sung two seasons in London and six in
Buenos Aires, and is regarded as one of the
leading operatic baritones of the day. His
favorite roles are in ' I Pagliacci,' ' II Trovatore,'
'Un Ballo in Maschera, ' 'Prince Igor,' Napo-
leon in 'Madame Sans-Gene, ' Amfortas in
'Parsifal' and the Toreador in 'Carmen.'
AMBROSE
AM. GUILD OF ORGANISTS 113
He has created the parts of King Hadraot
(in 'Armida'), Carlo Worms (in 'Germania'),
Jack Ranee (in 'The Girl of the Golden West')
and Golaud (in 'Pelleas et Mclisande')-
Equally popular as a concert-singer, he has
appeared with the Boston, Philadelphia and
Chicago Symphony Orchestras and the New-
York Philharmonic Society. He is a popular
'festival-artist' and has made many concert-
tours. [ R.9 ]
AMBROSE, PAUL (Oct. 11, 1808, HamU-
ton, Ont.), was the son of the composer Robert
S. Ambrose. His general education was in the
public schools of Hamilton and at the Colle-
giate Institute. He studied piano there with
his father, and in New York with Parsons
and Miss Chittenden, composition with Klein
and orchestration with Buck. He was organist
at the Madison Avenue (M. E.) Church in
1886-1890, organist at St. James' (M. E.)
Church in 1890-1917, and since 1917 at the
First Presbyterian Church in Trenton, N. J.
He has taught and lectured on music-history
at several schools, including the Institute of
Applied Music in New York, and since 1904
has been director of music at the State Normal
School at Trenton. He has composed songs,
choruses, piano- and organ-pieces. [ R.7 ]
'AMERICA' is the title usually applied
either to the patriotic hymn beginning 'My
country, 'tis of thee' or to the tune associated
with it. The hymn is by Rev. Samuel Francis
Smith, D. D. (1808-1895), a distinguished
Baptist clergyman, professor, editor and
hymnist. The tune is the same as that of the
English 'God save the King,' which has also
been adopted into German and Danish use.
Dr. Smith wrote the verses early in 1832,
while still a theological student at Andover
Seminary, to fit the music as found in a German
song-book referred to him by Lowell Mason.
They were probably first sung publicly under
Mason's direction at a children's celebration
at Park Street Church in Boston on July 4,
1832, and they soon became popular and were
included in standard hymn-books from Smith
and Stow's Psabnist (1843) onwards. See
Burrage, Baptist Hymn-Writers, pp. 329-34,
Julian, Diet, of Hyrnnology, under 'Smith'
and 'God save the King,' and many other
books on hymnody, and also Vol. ii. 188-91,
of this Dictionary, Sonneck, Report on ' The
Star Spangled Banner,' etc., pp. 73-8, 158-60,
and many books on popular and national
airs.
'AMERICAN ART JOURNAL, THE,'
established in New York in 1863, for many
years gave much attention to musical subjects.
See Watson, H. C, in Register, 4, and Thoms,
W. M., in Register, 5.
AMERICAN COLLEGE OF MUSICIANS,
THE, was organized in 1884 by Edward M.
I
Bowman under the general auspices of the
Music Teachers' National Association. It
was modeled upon the College of Organists in
England, and was intended to be exclusively
an agency for examination and certification
as to professional proficiency. The branches
included were piano, organ, voice, violin,
theory and, later, public-school teaching, and
grades of attainment were marked by grant-
ing the use of the terms 'associate,' 'fellow' or
'master.' About 1895 the Board of Regents
of the State of New York empowered the
College to grant the degrees of Mus.B. and
Mus.D. The organization began with about
140 charter-members, including a fine repre-
sentation of foremost musicians. The presi-
dent from 1884 was Mr. Bowman, who was
succeeded in 1893 by A. R. Parsons. For
ten years or more the system of examinations
was maintained upon a high plane, and the
total number of candidates was about 235, of
whom about half were approved, mostly as
'associates.' But after 1895, apparently for
mechanical and financial reasons, the organ-
ization became inoperative. In 1910 Mr.
Bowman urged the revival of its work, but
without practical result. See Mathews, Hun-
dred Years of Music, pp. 539-41, and a paper
by Bowman in M. T. N. A. Proceedings, 1912,
pp. 145-56.
AMERICAN CONSERVATORY OF MU-
SIC, THE, of Chicago, was organized in
1886 and incorporated in 1887. The founder
was John J. Hattstaedt, who has remained its
director since 1894, assisted by Karleton
Hackett and Adolf Weidig. Its aim is 'to
offer the best instruction in all branches of
music and dramatic art by teachers of broad
education thoroughly in sympathy with Amer-
ican life and its needs.' The number of
teachers is about 100, and the number of
students over 2200 annually. There are over
1400 graduates, of whom about 275 received the
degree of Mus.B. In addition to all the lines of
usual instruction fine opportunities are given for
choral and orchestral experience, for operatic
and dramatic training, for musical pedagogy in
all its applications, etc.
AMERICAN FEDERATION OF MUSI-
CIANS, THE, founded in 1895, aims to pro-
mote the interests of musicians employed in
orchestras, bands and the like. It has about
750 local unions in the United States and
Canada, with a total membership of about
85,000, the president being J. N. Weber, 110-
112 W. 40th St., New York.
AMERICAN GUILD OF ORGANISTS,
THE, See Vol. i. 77, and add that in 1919
the Guild had over 23 chapters in the United
States and Canada, and a total membership
of 1925, of whom 150 now rank as 'fellows.'
The honorary presidents have been from 1896
114 AM. INST. OF APPLIED MUSIC
ANDERSON
Dudley Buck, from 1899 Gerrit Smith, from
1902 S. P. Warren, from 1906 H. W. Parker,
and in 1909-12 Arthur Foote; in 1912 the
office was discontinued. The wardens have
been successively Gerrit Smith, Sumner
Salter, W. H. HaU, R. H. Woodman, S. A.
Baldwin, J. H. Brewer, W. R. Hedden, Frank
Wright, J. W. Andrews, Clifford Demarest
and Victor Baier. The Clemson anthem-prize
has been won by W. C. Macfarlane, S. N. Pen-
field, H. J.iStewart, J. S. Ford, W. Y. Webbe,
Mark Andrews, Herbert Sanders and William
Berwald. The general office is at 29 Vesey
Street, New York.
AMERICAN INSTITUTE OF APPLIED
MUSIC, THE, in New York, was incorpo-
rated in 1900 to continue the work of the
Metropolitan College of Music and other
schools. Kate S. Chittenden, founder of the
Synthetic Piano School in 1887 and on the staff
of the College from 1892, has been the efficient
dean from the first. In its regular curriculum
the Institute aims at systematic thoroughness,
with much emphasis upon pedagogical method,
largely with reference to those expecting to
teach. The enrolment averages about 350 per
year. More than 1000 teachers have received
certificates. The Institute is located at 212
West 59th Street.
AMERICAN OPERA COMPANY, THE,
was an enterprise organized in 1885 under the
lead of Mrs. Jeannette Thurber of New York
for the giving of opera in English with extreme
artistic perfection and, so far as practicable,
with American artists, not only in New York,
but in several other cities. Theodore Thomas
was secured as musical director, and no pains
were spared in recruiting the orchestra, the
staff of soloists and the chorus. The Academy
of Music was tastefully renovated for the
New York season, which opened on Jan. 4,
1886, and ran to sixty-six performances, with
a later tour to Boston, Philadelphia, Baltimore,
Washington, Chicago, etc. The repertoire
included 'Orpheus,' 'The Magic Flute,'
'Martha,' 'The Merry Wives,' 'The Flying
Dutchman,' ' Lohengrin,' Masse's 'The Mar-
riage of Jeannette,' ' The Taming of the Shrew'
and ' Lakme.' The venture proved over-
ambitious and its financial foundation in-
sufficient, and in 1887 it was abandoned and
was succeeded by a new organization, called
the National Opera Company. See Mrs.
Thomas, Memoirs of Theodore Thomas, pp.
279-96, and Krehbiel, Chapters of Opera, pp.
139-44.
AMERICAN ORGAN. The English name
for the type of reed-organ developed in the
United States from about 1850-60. See Vol. i.
77-8, and pamphlet by Henry L. Mason, The
History and Development of the American
Cabinet Organ, n. d.
AMERICAN PIANO COMPANY, THE,
of New York, was formed in 1908, with a
capital of $12,000,000, to unite the interests
of Chickering & Sons, EInabe & Co., Haines
Brothers, Marshall & Wendell and several
other firms. It has not only carried forward
the established business of all of these, but
developed with marked success the player-
pianos and similar devices connected with
them. The name 'Ampico' is applied to the
most perfect of these latter, which has excep-
tional facility in recording and reproducing
tone-colors and nuances. Its inventor was
Charles D. Stoddard, and it was first publicly
shown in 1916.
'AMERICAN SYMPHONY.' A name
often given to Dvoi'dk's Symphony No. 5, in
E minor, 'From the New World,' produced in
New York in 1893.
AMERICAN SYMPHONY ORCHESTRA,
THE, of Chicago, was founded in 1915 by
Glenn Dillard Gunn, who has remained its
conductor. Its object is to present American
compositions exclusively. Among the im-
portant works thus far brought forward are
the following :
H. K. Hadley : Dramatic Overture, ' Herod.'
Eric DeLamarter : ' Alice in Wonderland ' Suite ;
' Overture to a Comedy.'
J. A. Carpenter : ' Gitangili,' songs for soprano and
orchestra (texts by Tagore).
Leo Sowerby : ' Homage to English Country-Folk.'
settings of three folk-songs; Symphonic Poem,
'The Sorrows of Midath'; Concerto for violin
and orchestra ; ' Marching-Song,' for strings and
piano.
Clarence Loomis : Concerto for piano and orchestra ;
Fantasy for piano and orchestra.
R. G. Cole: Symphonic Prelude, 'King Robert of
Sicily.'
Arthur Dunham : Overture, ' In Autumn.'
George Colburn : ' Montezuma ' Suite ; ' The Song
of the Drum,' for chorus and orchestra.
Clarence Burley : Concerto for violin and orchestra.
C. W. Cadman : ' Indian ' Suite.
Roland Leach : Overture, ' Legend.'
Herbert Butler ; Ballade.
ANDERSON, ARTHUR OLAF (Jan, 30,
1880, Newport, R. I.), was a pupil of Norris in
Boston, of Guilmant, Guiraud and d'Indy in
Paris, of Dura in Berlin, and of Sgambati
in Rome. In 1905-08 he taught theory in
Berlin. In 1908 he came to Chicago and
joined the faculty of the American Conserva-
tory, with which he is still connected. He
has composed an orchestral suite, 'The Brook' ;
other music for large and small orchestra ;
suites for piano, organ and violin ; two sonatas
for piano; twelve fugues; an 'Ave Maria,'
for soprano and orchestra ; two song-cycles,
'Pilgrimage to Kevlaar' and 'The Child's
Garden of Verses ' ; fifty songs and various
choruses. [ R.9 ]
ANDERSON
APOLLO CLUB
115
ANDERSON. JOHANNA. See Colleges,
3, (U. of Omaha, Neb.).
ANDERSON, [O. WALDEMAR. See Col-
leges, 3 (Gustavus Adolphus C, Minn.).
ANDERSON, STYLES R. See Colleges,
3 (Simmons C, Tex.).
ANDRES, HENRY GEORGE (1838- ? ).
See Register, 5.
ANDREWS. See Tune-Books, 1800.
ANDREWS, GEORGE WHITFIELD (Jan.
19, 1861, Wayne, O.), has been associated with
Oberlin, O., for almost his entire life. He
began the study of piano there at six, organ at
nine (with F. B. Rice) and at twelve made his
first public appearance, playing a Bach Prel-
ude and Fugue. For a time before 1879 he
was organist of the First Church of Oberlin,
and then played and taught two years at
Meadville, Pa., and one year at Toledo. In
1882 he became organist of the Second Church
in Oberlin, a position he still holds. Since
1882, also, he has been connected with the
Musical Union, first as organist and since 1900
as conductor. In 1880 he began teaching at
the Conservatory, and since 1892 has been
professor of organ, composition and orchestra
tion. He graduated from the Conservatory
in 1879 in organ, piano, violin and theory, and
studied in Leipzig with Papperitz (organ)
and Jadassohn (theory, composition and piano),
in Munich with Rheinberger (organ, composi-
tion and orchestration, 1885-6), and in Paris
with Guilmant (organ and composition) and
d'Indy (composition and orchestration, 1898-
99). He was made Mus.D. by Oberlin College
in 1903. His interest has centered in the
duties connected with his work as teacher and
conductor, and he has been highly successful
in both fields, besides appearing as organ-
recitalist in all parts of the country, including
the great Expositions. He was a founder of
the A. G. O. and is now dean of the Northern
Ohio Chapter. His published organ-composi-
tions are a March in C Minor and 'Poco
Agitato' (Schirmer), Serenade No. 1 and
'Aria' (Ashmall), Serenade No. 2 and 'Con
Grazia' (J. Fischer & Bro.), and Fugue in
A minor (Leduc, Paris). The Church Co.
publishes three sacred songs for baritone.
Still in manuscript are a Suite in C for orches-
tra (played at Oberlin by the Chicago Sym-
phony Orchestra), six organ-sonatas, four
suites for organ, a Theme and Variations,
many separate pieces for organ, a piano-trio,
'Morning' for piano, a Magnificat for soprano
and piano, and a Processional and Recessional
for chorus. [ R.6 ]
ANDREWS, J. WARREN (Apr. 6, 1860,
Lynn, Mass.), was organist at Swampscott,
Mass., when but twelve. At sixteen he went
to the First Baptist Church of Lynn, Mass.,
and also played at the Boston Street Methodist
Church. In 1879 he was engaged by Old
Trinity Church at Newport, R. I., where he
remained nine years. Then followed a three-
year sojourn at the Pilgrim Church in Cam-
bridge and seven years at the Plymouth Church
in Minneapolis. In 1898 he removed to the
Church of the Divine Paternity in New York,
where he still remains. He was a founder of
the A. G. O., its warden in 1913-16 and a
member of the council for many years. He
has also held official positions in the N. A. O.
In 1895 he established a school for organists
and singers in Minneapolis, and has continued
as teacher in New York. Many well-known
church-musicians have been among his pupils.
His published works are few, but he has organ-
pieces, anthems, Te Deums and Canticles that
may sometime be published. [ R.6 ]
ANGER, JOSEPH HUMPHREY (June 3,
1862, Berkshire, England : June 11, 1913,
Toronto), had his first appointment as organist
at Frenchay, near Bristol, and while there
(1888) he won the gold medal offered by the
Bath Philharmonic Society for a setting of
Psahn 96 for voices and orchestra. Later
he matriculated at Oxford, proceeding as
Mus.B. in 1889. He became assistant-master
of Surrey County School, Cranleigh, and
then organist at Ludlow. In 1893 he was
appointed professor of harmony and theory
at the Toronto Conservatory, a position he re-
tained until his death. He was also examiner
in music at the University of Toronto, presi-
dent of the Clef Club, conductor of the Phil-
harmonic Society, dean of the Ontario chapter
of the A. G. O., and organist at St. Andrew's
Presbyterian Church and later at the Central
Methodist Church. He received the degree
of Mus.D. from the University in 1902 in
appreciation of his services toward the advance-
ment of musical education in Canada, particu-
larly in Toronto. He was the author of a
text-book on harmony. Form in Music, and
a pamphlet on The Modern Enharmonic Scale,
' 1907, which have had wide use. His madrigal
' Bonnie Belle ' won the London Madrigal
Society's prize in 1890. [ R.8 ]
ANSCHUTZ, KARL (1815-1870). See Reg-
ister, 4.
'ANTONIO.' A lyric opera by Silas G.
Pratt, written about 1870 while studying at
Munich and Berlin. Selections were per-
formed at Chicago in 1874 under Balatka, and
in March, 1887, a rewritten version under the
title 'Lucille' was given entire at the Colum-
bian Theatre there.
' APOLLO.' No. 13 of the ' Grove-Plays ' of
the San Francisco Bohemian Club, produced
in 1915. The text is by Frank Pixley and the
music by Edward F. Schneider.
APOLLO CLUB, THE, of Boston, was
founded in 1871 and incorporated in 1873, its
116
APOLLO CLUB
APTHORP
nucleus being the earlier Chickering Club. It
has had a singularly unbroken history along
the lines originally planned. It aims to main-
tain a male chorus of superior singers for the
study and performance of part-songs and
concerted works for an audience limited to
singers and subscribers. The active members
now number about 80, and the associate mem-
bers 500. From 1871 till his resignation
in 1901 the conductor was B. J. Lang, who
made the Club famous. He was followed by
Emil Mollenhauer, who has continued the
same brilliant record. The Club Rooms are at
3 Joy Street. Four concerts are given annu-
ally, the total numlDer being about 250, with
eminent soloists, vocal and instrumental, and
often a full orchestra as well. In the list of
works with orchestra given in Boston for the
first time have been Mendelssohn's 'Antigone'
and 'CEdipus in Colonos,' Hiller's 'Easter
Morning,' Brambach's 'Columbus,' Bruch's
'Roman Song of Triumph,' Paine's 'ffidipus
Tyrannus' and 'Summons to Love,' Brahms'
'Rinaldo,' Whiting's 'March of the Monks
of Bangor,' 'Free Lances' and 'Henry of
Navarre,' Foote's 'Farewell of Hiawatha,'
and Nicode's 'The Sea' — several of these
having been written for the Club. Many
part-songs by American composers have been
prominent on the programs. See Vol. i. 369,
and article in 'The New England Magazine,'
AprU, 1910, by Ethel Syford.
APOLLO CLUB, THE, of Brooklyn. See
Vol. iii. 367.
APOLLO CLUB, THE, of Cincinnati, was
organized in 1882 and under the leadership
of B. W. Foley attained a position of marked
importance.
APOLLO CLUB, THE, of St. Louis, was
founded in 1893. Its conductor till 1910
was Alfred G. Robyn and since that time
Charles Galloway. It is a male chorus,
limited to eighty voices. As a rule, three
concerts are given annually to subscribers and
guests.
APOLLO MALE CHORUS, THE, of Pitts-
burgh, was organized in 1904 by Rinehart
Mayer, who has been its conductor since
then.
APOLLO MUSICAL CLUB, THE, of
Chicago, was organized in 1872 — the year
after the Great Fire — through the efforts of
Silas G. Pratt and George P. Upton, and its
first concert was given in January, 1873.
Originally planned as a male chorus after the
model of the Apollo Club of Boston, in 1875 it
was expanded into a mixed chorus, so as to
undertake works of the largest dimensions.
Its early conductors were A. W. Dohn (1872-
74) and Karl Bergstein (1874-75), but the
establishment of the Club as a highly signifi-
cant artistic force was due to the leadership of
William L. Tomlins (1875-98) and since 1898
that of Harrison M. Wild, who has brought the
standard of quality, balance and interpreta-
tion to the highest point. The chorus now
numbers about 250 singers. The usual num-
ber of concerts annually is five, and the total
number since the beginning is over 200.
The Club's repertoire includes all the stand-
ard oratorios and similar large works. 'The
Messiah ' has been given more than fifty times.
In the list are Bach's St. Matthew Passion,
Mass in B minor and Magnificat, Handel's
'Judas Maccabaeus,' Mozart's Requiem Mass,
Schumann's Missa Sacra, Berlioz' Requiem
and Te Deum, Verdi's Requiem, Brahms'
Requiem, Bruch's 'Frithjof,' Dvorak's Stabat
Mater, Massenet's 'Mary Magdalene' and
'Eve,' Grieg's 'Olaf Trygvason,' Elgar'a
'Light of Life,' 'Apostles' and 'Caractacus,'
Pierne's 'Children's Crusade,' Parker's 'St.
Christopher' and 'Hora Novissima,' Georg
Schumann's 'Ruth,' Schmitt's 49th Psalm,
Wolf-Ferrari's 'New Life,' etc. First perform-
ances in America include Elgar's 'Dream of
Gerontius' (1903), Busch's 'King Olaf (1903),
Woyrsch's 'Dance of Death' (1911), and
Cowen's 'The Veil' (1915).
APPLETON, THOMAS. See Register, 3.
APPY, HENRI'(1828- ? ). See Register, 4.
APTHORP, WILLIAM FOSTER (Oct. 24,
1848, Boston : Feb. 19, 1913, Vevey, Switzer-
land), was long the most influential critic in
Boston. In 1856-60 he attended schools in
Dresden, Berlin and Rome. He graduated
from Harvard in 1869. Six years earlier he
had begun piano, harmony and counterpoint
with Paine and piano-study was continued
under Lang. During his last year at Harvard
he was conductor of the Pierian Sodality. He
taught piano and harmony at the National
College of Music in Boston in 1872-73, and
for thirteen years was with the New England
Conservatory, teaching piano and various
branches of theory. In 1872 Howells, then
editor of 'The Atlantic Monthly,' engaged him
as musical editor. In 1876 he undertook
musical criticism for the 'Sunday Courier'
and two years later both musical and dramatic
criticism for the 'Traveller.' In 1881 he be-
came music-critic on the ' Evening Transcript,'
soon assuming also the dramatic work. Both
positions he held until 1903, when he gave up
actual work. His remaining years were spent
chiefly in Switzerland. In addition to his
critical writing, which included many contribu-
tions to magazine and periodical literature,
he taught aesthetics and musical history for
some years in the College of Music of Boston
University, and gave courses of lectures at the
Lowell Institute in Boston and at the Peabody
Institute in Baltimore. From 1892 to 1901 he
edited the program-books for the Boston Sym-
ARA
ARNOLD
117
phony Orchestra concerts. His published vol-
umes are Musicians and Music-Lovers, 1894,
By the Way, 2 vols., 1898, The Opera, Past
and Present, 1901, and these translations:
Hector Berlioz — Selections from his Letters and
Writings, 1879, Jacques Damour, etc., from
Zola, 1895. He was also critical editor (with
Champlin) of Scribner's Cyclopedia of Music
and Musicians, 3 vols., 1888-90. [ R.6 ]
ARA, UGO (b. 1876). See Register, 9.
ARBUCKLE, MATTHEW (1828-1883).
See Register, 4.
ARCHAMBEAU, IVAN D' (b. 1879). See
Register, 9.
ARCHER, FREDERICK (June 16, 1838,
Oxford, England : Oct. 22, 1901, Pittsburgh).
See article in Vol. i. 101. His work in Pitts-
burgh began with the opening of the Carnegie
Library and Music Hall on Nov. 7, 1895, when
the first free organ-recital was given. The
series of Pittsburgh Orchestra concerts began
on Feb. 27, 1896, and his engagement as con-
ductor expired on Jan. 28, 1898. The Satur-
day evening and Sunday afternoon free organ-
recitals were continued till his death. He was
also organist at the Church of the Ascension
in Pittsburgh and musical examiner for the
University of Toronto. [ R.7 ]
'ARCHERS, THE,' An opera by Benja-
min Carr, first given in April, 1796, at the
John Street Theater in New York, there at
least twice repeated, and in Boston in 1797.
The libretto was by William Dunlap (1766-
1839), the painter and play-writer, and is
based on the story of William Tell. Of the
music the only fragments known are a Rondo
from the overture and the song 'Why, hunt-
ress, why ? ' See Sonneck, ' Early American
Operas,' in J. ilf. G. Sammelbde. 6. 465-73, and
Early Opera in America, pp. 98-100.
ARDITI, LUIGI (1822-1903). See Vol. i.
102-3, and Register, 4.
ARENS, FRANZ XAVIER (Oct. 28, 1856,
Neef, Germany), came to America when
a child, and was educated at the Normal
College at St. Francis, Wis. He studied
music with his father, Clemens Arens, with
John Singenberger in Milwaukee, and in
Germany with Rheinberger, Abel, Wiillner,
Janssen and Hey. He has been professor in
Canisius College at Buffalo, conductor of the
Cleveland Philharmonic Society and Gesang-
verein (1885-88), and president of the Metro-
politan School of Music in Indianapolis. In
1890-92 he gave concerts of music by Ameri-
cans in Vienna and the principal cities of Ger-
many. Since 1896 he has been located in New
York as vocal teacher and from 1900 as founder
and musical director of the People's Symphony
Concerts, the object of which is to provide good
music at low prices. He has composed a Sym-
phonic Fantasia for orchestra, a canon and
fugue for organ, choral works with orchestra,
and many songs and choruses. [ R.7 ]
tARENSKY, ANTON STEPANOVITCH
(July 31, 1861, Novgorod, Russia : Feb. 26,
1906, Tarioki, Finland). See article in Vol. i.
103, and add to the list of compositions the
ballades 'The Diver,' op. 61, for solo, chorus
and orchestra, and ' The Wolves,' op. 59, for bass
with orchestra, a vioHn-concerto in A minor,
op. 54, a fourth suite, op. 62, for piano duet,
and numerous smaller instrumental pieces.
ARIANI, ADRIANO (b. 1877). See Regis-
ter, 10.
ARIMONDI, VITTORIO. See Register, 9.
ARION CLUB, THE, of Providence, a
mixed chorus of about 200 voices, has a high
reputation for artistic excellence. Started in
1880, it has given three or four concerts
annually since that time, the conductor from
the first being Jules Jordan. Besides giving
standard'oratorios regularly and modern works
like Elgar's 'Gerontius,' 'Caractacus,' 'King
Olaf,' Pierne's 'Children's Crusade,' Parker's
'Hora Novissima' and Chadwick's 'Phoenix
Expirans,' the club has given a number of
operas in concert-form, such as 'Faust,'
'Romeo et Juliette,' 'Aida,' 'Tannhiiuser' and
'Lohengrin,' all first times thus in America.
ARION MUSICAL CLUB, THE, of Mil-
waukee, has long been foremost in the pro-
duction of choral works of large dimensions.
Its most famous conductors have been William
L. Tomlins in 1879-88 and Daniel Protheroe
since 1899.
ARION SOCIETY, THE, of New York, was
founded in 1854 as a rival male chorus to the
older Liederkranz. Its conductors have been
Bergmann in 1859-60 and 1867-71, Anschiitz in
1860-62, Ritter in 1862-67, Leopold Damrosch
in 1871-84, Van der Stucken in 1884-94 (tour
to Europe with the Society in 1892), Lorenz in
1895-1913, and Carl Hahn in 1913-18. See
Vol. iii. 369-70.
ARMSTRONG, JOHN. See Tune-Books,
1816.
ARMSTRONG, WILLIAM DAWSON (b.
1868). See Register, 8.
ARNOLD, Mb., Mrs. and Miss. See Reg-
ister, 2.
ARNOLD [-STROTHOTTE], MAURICE
(b. 1865). See Register, 8.
ARNOLD, RICHARD (Jan. 10, 1845,
Eilenburg, Prussia : June 21, 1918, New York),
was brought to America in 1853 and attended
schools in Buffalo, Memphis and Columbus.
By his twelfth year he had conducted theater-
orchestras in Memphis and Columbus. From
1864 he was a pupil of Ferdinand David at
Leipzig, where he remained three years.
Returning to New York, he played in the
orchestra at Niblo's Garden for a time, and
then became a first violinist under Thomas in
118
ARONSON
ATWELL
1869-76. In 1878-91 he was solo violinist
in the New York Philharmonic Club. In
1877 he entered the New York Philharmonic
Society, and in 1880-1909 was its concert-
master, playing under a long list of celebrated
conductors. In 1897 he organized the Richard
Arnold String Sextet. The last years of his
life were spent in New York as teacher and
player. [ R.5 ]
ARONSON, RUDOLPH (1856-1919). See
Register, 6.
ARQUIER, JOSEPH (1763-1816). See
Register, 3.
ARTHUR, ALFRED (Oct. 8, 1844, Pitts-
burgh : Nov. 20, 1918, Lakewood, 0.),hadhis
early schooling in Ashland, O., then studied in
Boston with Baker, Howard and Arbuckle,
and graduated at the Boston Music School
in 1869. He also studied harmony and com-
position with Eichberg at the New England
Conservatory. In 1869-71 he was tenor at the
Church of the Advent in Boston, and then
moved to Cleveland, where he remained until
his death. In 1871-78 he was tenor-soloist
at the Second Baptist Church, in 1878-90 con-
ductor of the Sacred Music Society of the Pil-
grim Church, in 1878-90 conductor of the Bach
Society of the Woodland Avenue Church, in
1873-1902 conductor of the Cleveland Vocal
Society. From 1885 he was founder and
director of the Cleveland School of Music,
and his last years were given entirely to it.
He composed three operas (ms.), 'The Water-
Carrier' (1875), 'The Roundheads and Cava-
liers' (1878) and 'AdaHne' (1879); songs and
church-music. He published Progressive Vo-
cal Studies, 1887, Album of Vocal Studies,
1888, Technical Exercises for Soprano or Tenor
(Schmidt), 74 Lessons in Voice-Training (Pres-
ser), 40 Vocal Art-Studies for Soprano and
Elementary Theory of Music (not yet out).
[R.5]
■ ASHM ALL, WILLIAM E. (b. 1860). See
Register, 7.
ASHTON, JOSEPH NICKERSON (Sept.
7, 1868, Salem, Mass.), secured his A.B. from
Brown University in 1891 and his A.M. from
Harvard in 1893. He began to teach in
Boston in 1895 and the same year became
instructor in musical theory and history at
Brown University and in 1898-1904 was
associate-professor there. In 1907-08 he was
acting-professor of music at Wellesley College.
Since 1907 he has been music-director at
Abbot Academy, Andover, Mass., and in
1908-12 was also director and organist at
Phillips Academy there. In 1905 he succeeded
Goetschius as organist of the First Parish
Church in Brookline, Mass. He has devoted
much time and attention to music as a college-
study and to church-music. He edited a
Hymn Book for Schools and Colleges, 1913,
and has published The History of the Salem
Athenaum, Salem, Mass., 1810-1910. He is a
trustee of this latter institution. [ R.8 ]
ASPLUND, JOHN (d. 1807). See Tune-
Books, 1793.
ASSOCIATION OF PRESIDENTS AND
PAST PRESIDENTS OF STATE AND
NATIONAL MUSIC TEACHERS' ASSO-
CIATIONS, THE, was organized in 1916
under the lead of Liborius Semmann of Mil-
waukee. Its object is to promote united
action to standardize instruction, to publish
a joint periodical for the several associations,
to advocate music as a major subject in public
schools, with credit for outside work in praxis,
to work for a National School of Music, etc.
It has published five annual reports, in the
third of which are requirements for certificates
as 'licentiate,' 'associate' and 'fellow.' The
president for 1919-20 is David A. Clippinger
of Chicago, and the secretary Arthur L. Man-
chester of Mexico, Mo.
ASTOR PLACE OPERA HOUSE, THE,
erected in 1847, was the first suitable opera-
house in New York. In 1847-48 it was
managed by Sanquirico and Salvatore Patti
(father of the singer), in 1848-49 by Edward
R. Fry (brother of W. H. Fry, the composer),
and after 1848 by Maretzek. It was sup-
ported by a subscription for five years, but
competition was so strong that in 1852 it was
given up. The building became the Mer-
cantile Library. See Krehbiel, Chapters of
Opera, pp. 14-5, 45ff., and article by Saerch-
inger in ' The Musical Quarterly,' January,
1920, pp. 88-9.
ATHERTON, PERCY LEE (Sept. 25,
1871, Boston), was graduated from Harvard
in 1893 with honors in music, and then pro-
ceeded to the Munich Conservatory, where
he spent two years under Rheinberger and
Thuille. In 1896 he studied with Boise in
Berlin, in 1900 with Sgambati in Rome and
later with Widor in Paris. He has composed
the comic opera 'The Heir Apparent,' text by
Alfred Raymond (1888-90) ; 'The Maharaja,'
an Oriental opera comique, text by Raymond
(1897-1900) ; a comic opera as yet unnrmed
(1918-19); the symphonic poem 'Noon in
the Forest ' and several orchestral sketches ;
two sonatas, a suite, and smaller pieces for
violin and piano ; a suite for flute and piano ;
many piano-pieces ; choruses, part-songs, song-
cycles and about 100 solo songs. [ R.8 ]
' ATONEMENT OF PAN, THE.' No. 10
of [the ' Grove-Plays ' of the San Francisco
Bohemian Club, produced in 1912. The text
is by Joseph D. Redding and the music by
Henry K. Hadley. The title-role was taken
by Bispham.
ATWELL, THOMAS H. See Tune-Books,
1794.
AUDITORIUM
AUTOMATIC APPLIANCES 119
AUDITORIUM, THE, in Chicago, is a
complex building, including an opera-house,
a hotel and numerous ofSces. Its erection was
due to an association formed in 1886, of which
Ferdinand W. Peck, a public-spirited man of
wealth, was president. The building was
dedicated on Dec. 9, 1889, with ceremonies
that included Dubois' Tantaisie Triomphale,'
La Tombelle's 'Fantaisie de Concert,' Glea-
son's 'Festival Ode,' several oratorio choruses
and songs by Patti. The opera-house is
one of the largest (over 4000 seats) and best-
equipped in the world. From the first, espe-
cially under the efficient management of
Milward Adams (till 1910), it has been fa-
mous as the headquarters not only for opera-
seasons, but for every variety of superior
concert.
AUDITORIUM, THE, in Milwaukee, is an
extensive building for exhibition and concert
purposes, erected in 1909. The main hall has
a seating capacity of 10,000, and there are six
other halls. The Auditorium Orchestra of
45-50 players was organized in 1909 to give
popular symphony concerts on Sunday after-
noons. Until 1913 there were various con-
ductors and the enterprise was supported by
popular subscription. Since 1913 the con-
ductor has been Hermann A. Zeitz, and the
city has appropriated about $4000 annually
to cover deficits in receipts. The average
number of concerts is sixteen each season.
AUDSLEY, GEORGE ASHDOWN (Sept.
6, 1838, Elgin, Scotland), was educated as
an architect and followed that profession in
Elgin until 1856. He then moved to Liver-
pool and became noted by designing many
important public and private buildings. Since
1892 he has worked in the United States, add-
ing to his reputation as architect, decorator
and author. As early as 1865 he became
interested in organs and organ-construction,
the first result being the construction, by him-
self, of a house-organ of his own. This in-
strument, unique in specification and arrange-
ment, earned the approval of Saint-Saens,
HoUins and others, and recitals were given
upon it by distinguished players. In 1886-88
he published a series of articles on organ-
making in 'The English Mechanic and World
of Science,' and later gave a course of lectures,
advocating flexibility and expression in aU
the divisions, manual or pedal, of the instru-
ment. His large work is The Art of Organ-
Building, 2 vols., 1905, and he has added
The Organ of the Twentieth Century, 1919, a
manual of ' the science and art of tonal-appoint-
ment and divisional-apportionment with com-
pound expression, and a treatise on Organ
Stops, 1920. The scheme of the large organ
at the Louisiana Purchase Exposition at St.
Louis, 1904, was made by him. He is author
and joint-author of over twenty works on
architecture, art and industry. [ R.9 ]
AUER, LEOPOLD (June 7, 1845, Veszpr6m,
Hungary). See article in Vol. i. 130. In May,
1917, he went to Norway for a vacation, but
could not return to Petrograd because of
chaotic political and social conditions. He
decided to visit America, and reached New
York in February, 1918. After giving recitals
in New York, Boston, Philadelphia and
Chicago, he located in New York, where he has
since taught privately. He has lately revised
and edited many old and new violin-works,
composed new cadenzas to numerous concertos
and made many transcriptions (being pub-
lished by Carl Fischer). Among his many
successful pupils may be named Elman, Zim-
balist, Katlileen Parlow, Eddy Brown, Heifetz,
Seidel and Rosen. [ R.IO ]
AUERBACH, NANNETTE, nee Falk
(about 1838, Danzig, Germany), came with
her husband to Baltimore in 1867 and on Jan.
18, 1868, appeared as pianist at a Peabody
Concert. Her striking ability led to her
engagement as teacher at the Peabody Con-
servatory in 1871, where she continued until
1881, highly regarded by her pupils (among
whom was Harold Randolph, the present
head of the Conservatory) and frequently
heard in public. As indicating the soUdity of
her equipment, it is said that she had at
instant command not only all the Beethoven
Sonatas, but the whole of the ' Well-Tempered
Clavichord,' the latter in any key.' It is said
that she was still living in 1917. [ R.5 ]
'AURORA.' An opera by Ettore Panizza,
produced in 1908 at Buenos Aires.
AUSTIN, Mrs. See Register, 3.
AUSTIN, JOHN TURNELL (b. 1869) and
BASIL GEORGE (b. 1874). See below and
Register, 7.
AUSTIN, T. MERRILL. See Colleges, 3
(Monmouth C, 111.).
AUSTIN ORGAN COMPANY, THE, of
Hartford, Conn., was organized in 1899 to
make instruments under the patents of John
T. Austin and Basil G. Austin. Chief among
these is the 'Universal Wind-Chest,' which is
described in Vol. iii. 553-4 (and see i. 291),
but to this have been added many other novel
and ingenious mechanical devices. The Com-
pany has an extensive factory, equipped with
the most modern appliances. They have made
about 900 organs, including one five-manual
(Medinah Temple, Chicago) and over 60 four-
manual.
AUTOMATIC APPLIANCES. The ref-
erence in Vol. i. 135-6, to the development of
mechanical music-making would need to be
greatly extended if completeness of statement
were here possible. The number of devices
that have been worked out by American
120 AUTOPIANO COMPANY
•AZORA',
inventors is not only large, but constantly
growing. Some general points about the
tendency of invention are set down under
Player-Piano and Phonograph.
AUTOPIANO COMPANY, THE, of New
York, began business in 1904 and was incor-
porated in 1905 (.capital, $1,000,000). It was
one of the first firms to devise and put upon the
market a successful player-piano (as distinct
from a piano-player), and its business has in-
creased so that it now claims to have the
largest factory in the world solely devoted to
making player-pianos. This building is on
the Hudson River between 51st and 52d
Streets. The firm has made over 70,000
instruments and ten million rolls.
AVERY, STANLEY R. (Dec. 14, 1879,
Yonkers, N. Y.), studied organ in New York
with Heinroth and Macfarlane, composition
and orchestration with MacDowell and choir-
training with Stubbs, and in Berlin he con-
tinued organ with Grunicke and composition
with Pfitzner. In 1896-1910 he was organist
at St. Andrew's in Yonkers, and has since been
at St. Mark's in Minneapolis, where the vesper
services are musically important. He has
regularly given cantatas and oratorios, and
plans are being made for annual festivals by
the combined choirs of the city. He is presi-
dent of the Civic Music League, director of
music at the Northrop Collegiate School,
organist for the Sunday evening services at
the Auditorium and conductor of civic pageants.
His published works include a Te Deum in
E-flat (congregational) (Summy), an Evening
Service in D-flat, 'Shout the Glad Tidings'
(Schirmer), 'In Loud, Exalted Strain,' 'How
Sweet the Name' (Presser) and other anthems,
carols and choruses ; many songs, such as
'Song of the Timber-Trail' (Ditson), 'Two
Love-Songs' (Schirmer), 'I love thee still'
(Presser), etc.; the operetta 'The Merry
Mexican' (Schirmer) ; a Scherzo in G for
organ (Summy) ; a Scherzo in G minor for
violin (Ditson) ; and several piano-pieces.
He has also the one-act opera 'The Quartet,'
the comic opera 'Katrina,' incidental music
to Josephine Peabody's 'The Piper,' two
musical comedies, the overture 'The Taming
of the Shrew,' the orchestral scherzo 'A Joyous
Prelude,' and one or two chamber-works.
[R.8]
AYRES, CECILE. See Horvath.
AYRES, EUGENE EDMOND (1859-1920).
See Register, 7.
AYRES, FREDERIC (Mar. 17, 1876,
Binghamton, N. Y.), had his general educa-
tion in Binghamton and at Cornell University.
In 1897-1901 he studied composition with
Kelley, but spent part of 1899 with Foote in
Boston. For some years he has made his
home in Colorado Springs, and has taught
theory and composition, lectured and written
articles on musical subjects. His composi-
tions include the overture 'From the Plains,'
op. 14 ; a string-quartet, op. 16 ; a sonata for
violin and piano, op. 15 ; two trios for piano,
violin and 'cello, opp. 13 (Stahl) and 17 ; two
piano-fugues, op. 9 (Stahl), 'The Open Road,'
op. 11, 'The Voice of the City,' op. 12, and
'Moonlight,' op. 12, all for piano; the song-
cycle 'The Seeonee Wolves,' op. 10 (Schirmer) ;
a 'Book of Mother Goose Melodies,' op. 7 ; and
eongs, opp. 2-6 (Stahl, Schirmer). [ R.9 ]
'AZARA.' An opera in three acts by John
K. Paine, completed about 1900, but not per-
formed except in concert-form (1906). The
libretto, by the composer, is based on the old
French romance of Aucassin and Nicoletto.
It was published in Germany in 1906 with
German translation by Carl Pflueger.
'AZORA, DAUGHTER OF MONTE-
ZUMA.' A three-act opera by Henry K.
Hadley, produced by the Chicago Opera Com-
pany on Dec. 26, 1917, under the direction
of the composer.
B
BABCOCK, ALPHEUS and LEWIS (d.
1817). See Register, 3.
BABCOCK, S. See Tune-Books, 1795.
BACHMANN, ALBERTO ABRAHAM
(b. 1875). See Register, 10.
BACON, GEORGE (d. 1856). See Regis-
ter, 3.
BACON PLiNO COMPANY, THE, of
New York, makers of uprights, grands and
player-pianos, have had a long history. In
1789 John Jacob Astor, dealer in furs, began
importing pianos from England, simply to
make his trading reciprocal. In 1802 this
importing business passed to John and Michael
Paff and then to William Dubois. In 1821
the later was joined by Robert Stodard (see
Register, 3), and they began manufactviring.
In 1836 the firm was reorganized as Dubois,
Bacon & Chambers, George Bacon having
come in. In 1841 it became Bacon & Raven,
and in 1856 Raven & Bacon, including Francis
Bacon, who was George Bacon's son. The
present president is W. P. H. Bacon, who rep-
resents still another generation.
BAERMANN, CARL, Jr. (July 9, 1839,
Munich, Germany : Jan. 17, 1913, Newton,
Mass.). See article in Vol. i. 162. He held the
title of Royal Professor 7rom the king of Bava-
ria. His work in Boston from 1881 earned him
the greatest esteem. Among his best-known
pupils are Mrs. Beach and F. S. Converse.
A series of twelve piano-studies are pub-
lished by Andr6 of Offenbach ; other piano-
pieces, including a suite, are in manuscript.
A festival-march for orchestra has been played
in Munich. See Elson, Hist, of American
Music, pp. 287-9. [ R.7 ]
BAIER, VICTOR (b. 1861). See Register, 7.
BAILEY, ARCHIBOLD A. See St.^te
Universities (Iowa State C).
BAILEY, DANIEL (1725?-1799). See
TuNE-BooKS, 1764.
BAILEY, HERBERT MEAD (b. 1886).
See Colleges, 3 (Huron C, S. D.).
BAIRD, T. D. See Tune-Books, 1816.
BAKER, BENJAMIN FRANKLIN (July
16, 1811, Wenham, Mass. : March 11, 1889,
Boston), succeeded Mason as teacher of
music in the Boston public schools in 1841-
47, having been for ten years a singer or director
in church-choirs in Salem and Boston. He
was also active in 'convention' work. He
was vice-president of the Handel and Haydn
Society in 1841-47, and soloist at numerous
concerts. In 1851 he founded the Boston
Music School, becoming principal and head of
the vocal department. At the dissolution of this
school in 1868 he retired from active musical
work. He wrote three cantatas, 'The Storm
King,' 'The Burning Ship' and ' Camillas, the
Roman Conqueror,' and .other vocal composi-
tions. He compiled several volumes of glees
and anthems, was author of Thorough-Bass]and
Harmony, 1870, and edited the ' Boston Musical
Journal.' See Tune-Books, 1842. [ R.3 ]
BAKER, E. H. See Tune-Books, 1846.
BAKER, THEODORE (June 3, 1851,
New York), was educated in New York and
in or near Boston, early serving as organist in
Concord, Mass. After a short business experi-
ence, in 1871-2 he journeyed across the conti-
nent to Olympia, Wash., looking for a suitable
opening for a career. Not finding this, in
1874 he went to Germany for study, first
under Oscar Paul at Leipzig and from 1878 at
the University there, receiving the degree of
Ph.D. in 1881. His thesis (title below) was
based upon investigations made in 1880
among the Seneca Indians of New York State,
when he v/as initiated into the tribe and given
remarkable facilities for observing tribal songs
and dances, supplemented by further researches
at the Indian Training School at Carlisle, Pa.,
and extended reading in the literature of early
exploration and settlement. This thesis was the
first thoroughgoing study of Indian music and
marked an epoch in both matter and method.
Shown by Gilbert to MacDowell after 1890, it
provided the latter with suggestions for his
'Indian Suite.' Baker lived in Germany
until 1890. Since 1892 he has been with the
firm of G. Schirmer in New York as literary
editor. Besides putting the stamp of his
culture upon thousands of its publications,
he has translated many works of importance
and edited two masterly dictionaries.
His works include Ueber die Musik der nord-
amerikanischen Wilden, 1882, Dictionary of Musical
Terms, 1895 (18th ed., 1918), Pronouncing Pocket-
Manual of Musical Terms, 1905, Biographical Dic-
tionary of Musicians, 1900, supplement, 1905 (3rd
ed. 1919), The Musician's Calendar and Birthday-
Book, 1915-17. Translations: O. Paul, Manual of
Harmony, 1885, L. Bussler, Elements of Notation and
Harmony, 1890, Elementary Harmony, 1891, J. C.
Lobe, Catechism of Composition, 1891, A. Kullak,
The ^Esthetics of Pianoforte-Playing, 1892, S. Jadas-
sohn, Manual of Harmony, 1893, C. F. Weitzmann,
History of Pianoforte-Playing, 1893, F. Kullak,
Beethoven's Piano-Playing, 1901, M. Br6e, The
Groundwork of the Lcschetizky Method, 1902, S.
Jadassohn, Manual of Sitigle, Double and Quadru-
ple Counterpoint, 1902, G. B. Lamperti, The Tech-
nics of Bel Canto, 1905, M. Loewengard, Harmony
Modernized, 1910, F. Busoni, A New Msthetic of
Music, 1911, E. F. Richter, Manual of Harmony,
1912, V. d'Indy, Beethoven, 1913, P. Bona, Com-
plete Method for Rhythmical Articulation, O. Klau-
well. On Musical Execution. With two exceptions
all the above were published by Schirmer. Among
translated articles, mention should be made of many
prepared for 'The Musical Quarterly.' [ R.5 ]
121
122
BAKLANOV
BALTIMORE SYMPHONY
BAKLANOV, GEORGE (b. 1882). See
Register, 10.
JBALAKIREV, MILY ALEXEIEVITCH
(Jan. 2, 1837, Nishni Novgorod, Russia : May
28, 1910, Petrograd). Add to article in Vol. i.
168-9, that his last works include a second
symphony, in D minor (1909), and a piano-
concerto. See Montagu-Nathan, Hist, of Rus-
sian Music, pp. 63-73, and other works on
Russian music.
BALATKA, HANS (1827-1899). See Reg-
ister, 4.
BALDWIN, RALPH LYMAN (Mar. 27,
1872, Easthampton, Mass.), although first
preparing as organist and composer, has
also become a leader in public-school music,
active in promoting higher standards of teach-
ing and musical material and in obtaining
credit for music-work in high schools. He
graduated from Williston Seminary in 1890
and studied in Boston with Chadwick, Emery,
Heindl and Elson. After being organist in
Easthampton and Northampton, Mass., in
1904 he became musical director at the Fourth
Congregational Church in Hartford and in
1917 moved to the Immanuel Congregational
Church there. He was music-supervisor in
Northampton in 1899-1904 and has since held
a similar position in Hartford. He directed
the Vocal Club of Northampton in 1894-1904,
and since 1906 the Choral Club of Hartford.
Since 1900 he has been one of the proprietors
of the Institute of Music Pedagogy at North-
ampton (summer-school), where he has trained
a great number of supervisors. His organ-
sonata, op. 10 (Schirmer) and his 'Burlesca e
Melodia' (Schmidt) are popular on recital-
programs, and he has published anthems and
songs (Schmidt, Boston Music Co.) The light
opera ' Wanita' has had amateur performances.
Choruses for men's voices are still in manu-
script. For school use he has published Pro-
gressive Melodies, Progressive Songs, and a
series of ten pamphlets of Standard Song
Classics (Ginn). [ R.8 ]
BALDWIN, SAMUEL ATKINSON (Jan.
25, 1862, Lake City, Minn.), at fifteen was
organist of the House of Hope Presbyterian
Church in St. Paul. In 1884 he graduated
from the Dresden Conservatory, where his
teachers were Merkel for organ, Wiillner for
composition and directing, Rieschbieter for
harmony and counterpoint and Nicod6 for
piano. In 1886-89 he was organist at Plym-
outh Church in Chicago. He was then in
St. Paul and Minneapolis as organist and con-
ductor, founding choral societies in both cities.
Coming to New York in 1895, he was organist
at the Chapel of the Intercession till 1902 and
then at Holy Trinity in Brooklyn till 1911. In
1907 he was appointed to the new chair of
music at the College of the City of New York.
Here he instituted the Sunday and Wednesday
afternoon organ-recitals which have become
notable. About 700 of these recitals have been
given, including toward 1000 different works
of every school of organ-composition. The
annual attendance has averaged about 70,000.
He is a founder and follow of the A. G. O. and
was one of the ten Americans to play at the
Columbian Exposition in Chicago in 1893.
He also gave recitals at the St. Louis Exposi-
tion in 1904 and at San Francisco in 1915. His
published compositions are songs, anthems
and church-services. His unpublished works
are mostly in larger forms, including a string-
quartet ; a piano-trio ; the 18th Psalm and
'The Triumph of Love' for solo voices,
chorus and orchestra; two concert-overtures,
'A Journey in Norway' and 'Frithjof and
Ingeborg ' ; a symphony in C minor ; and an
orchestral suite, 'A Summer Idyl.' [ R.6 ]
BALDWIN COMPANY, THE, of Cin-
cinnati, organized in 1862, is the corporation
that controls the Baldwin, Ellington, Howard,
Hamilton and Monarch pianos. The Baldwin
piano was awarded the Grand Prix at the Paris
Exposition of 1900 and a similar prize at the
St. Louis Exposition in 1904. The Baldwin
type of player-piano is known as the ' Manualo.'
BALLANTINE, EDWARD (Aug. 8, 1886,
Oberlin, O.), secured his general education
at Springfield, Mass., and at Harvard, where
he was a special student in 1903-07. Mean-
while he studied piano with Mary Regal,
Edward Noyes and Mme. Hopekirk, and com-
position with Spalding and Converse. In
1907-09 he continued piano with Schnabel and
Ganz in Berlin and composition with Riifer.
From 1912 he was instructor in theory at
Harvard. In 1918 he enlisted as musician
and was assigned as saxophone-player to the
1st Regt. Band at Vancouver Barracks, Wash.,
with the rank of sergeant. His song 'Retro-
spect' came out in the 'Harvard Musical
Review,' April, 1913, and his piano-piece
'Morning' in December, 1913. His Prelude to
'The Delectable Forest' (Hagedorn) was first
performed at the MacDowell Festival, Peter-
boro, N. H., in 1914; the Boston Symphony
Orchestra played his symphonic poem 'The
Eve of Saint Agnes' in January, 1917. These
works are still in manuscript, as are more
incidental pieces for Hagedorn's fairy-play
for small orchestra and chorus of women's
voices ; the tone-poem ' The Awakening of
the Woods ' ; an ' Overture to the Piper ' ;
songs ; and pieces for piano, violin and piano,
and 'cello and piano. [ R.IO ]
BALTIMORE SYMPHONY ORCHES-
TRA, THE, was established in 1916 by the
municipality and is carried on by it. Its con-
ductor is Gustav Strube. The number Df
players is 65, and seven concerts are usually
BALTZELL
BARNES
123
given each year. Its repertory includes
all standard symphonies and similar high-
class orchestral works.
BALTZELL, WINTON JAMES (Dec. 18,
1864, Shiremanstown, Pa.), was the son of
Rev. Isaiah Baltzell (1832-93), who from
1859 edited many collections of evangelistic
and Sunday-school hymns and tunes. He
was educated in Harrisburg, Pa., and at Leba-
non Valley College at Annville, Pa., graduat-
ing in 1884. His early training, in music, in-
cluding elementary harmony, was largely
self-directed. In 1886-88 he was proof-
reader in the United Brethren Publishing
House at Dayton, O., and studied with local
teachers. In 1888-89, at the New England Con-
servatory, he came under Emery (harmony),
Elson (theory), Mahr (violin) and Arthur
Thayer (singing). He taught singing and
harmony at Fredericksburg College (Pa.),
harmony at Lebanon Valley College, and in
1889 privately at Lebanon, Pa. In 1890 he
was in London, where Packer and Shakespeare
were his teachers in singing. Bridge in com-
position and Lowden in organ. For three
years he taught privately at Reading, Pa.,
and at Albright College, Myerstown, Pa., and
pursued composition with Clarke at the Uni-
versity of Pennsylvania, where he was made
Mus.B. in 1896. He was assistant-editor of
'The Etude' in 1897-99, teacher of history
and theory at the Ohio Wesleyan University,
Delaware, O., in 1899-1900; editor of 'The
Etude' in 1900-07, editor of 'The Musician' in
1907-18, and since 1919 secretary of the
National Academy of Music in New York,
and associate-editor of the University Course
of Music-Study. He is author of A Complete
History of Music, 1905, and a Biographical
Dictionary of Musicians, 1910, supplement,
. 1914. His published compositions include
songs, part-songs and anthems. In manu-
script are works in large form for orchestra,
for chamber-ensemble and for chorus, [ R.8 ]
BANJO. See Vol. i. 179-180, and add ref-
erences to Stanley, Catalogue of the Stearns
Collection, p. 166-7, and note in The Art of
Music, iv. 296.
t BANTOCK, GRANVILLE (Aug. 7, 1868,
London, England). See article in Vol. i. 181.
To the list of works add the tone-poems ' The
Pierrot of the Minute' (1908), ' Dante and Bea-
trice' (1911) and 'The Hebridean Symphony'
(1916) ; the choral symphony 'Atalanta in
Calydon' (1912) and 'The Vanity of Vanities'
(1914), a choral symphony a cappella ; 'Omar
Khayyam' (1906-07) ; 'Sea-Wanderers' (1907);
'Overture to a Greek Tragedy' (1911); the
ballet 'The Enchanted Garden' (1916); the
choral suite ' A Pageant of Human Life ' ;
'Ferishtah's Fancies,' thirteen lyrics for tenor
and orchestra; music to 'Elektra'; many
choruses for men's, women's and mixed voices ;
three ' Dramatic Dances ' for orchestra ; and
'Scenes from the Scottish Highlands' for
orchestra. He is engaged upon a ' Celtic Folk-
Opera ' (with Mrs. Kennedy Eraser), an opera,
a 'Pagan Symphony' and a Ballet. In an
article in 'The Musical Quarterly,' July, 1918,
Antcliffe calls him 'the arch-experimentalist
among British composers,' and claims that
he 'has introduced the world of art, and par-
ticularly of British art, to new phases and new
inspirations over which he has planted the
British flag of his own music and that of his
disciples.' Since 1908, in addition to his
other duties, he has been professor of music at
the University of Birmingham. See Anderton,
Granville Bantock, London, 1915.
BARBOUR, FLORENCE, n6e Newell
(Aug. 4, 1867, Providence, R. I.), pursued her
study of piano and composition entirely in
America. She has made frequent appearances
as solo-pianist and in ensemble. She has
written the words as well as the music of many
of her songs, and personally draws and designs
the cover-pages. Among her published com-
positions for piano are two suites, 'Venice'
and 'A Day in Arcady,' seven 'Forest-
Sketches,' five 'Nature-Pieces,' six 'Melodic
Etudes,' and numerous detached pieces. Her
songs make a long list. There are also anthems,
choruses for women's voices and a ' Reverie ' for
strings and piano. 'Child- Land in Song and
Rhythm ' is published in two books. Her most
recent works are 'Three Rossetti Lyrics,' a
piano-suite, 'All in a Garden Fair,' a set of
piano-studies, and new groups of songs. [ R.8 ]
BARFORD, VERNON WEST (b. 1876).
See Register, 8.
BARNABEE, HENRY CLAY (1833-1917).
See Register, 4.
BARNES, EDWARD SHIPPEN (Sept.
14, 1887, Seabright, N. J.), began organ-study
with Van Dyck at the Lawrenceville School,
then studied composition at the Yale School
of Music wath Parker and organ with Jepson.
After graduating at Yale in 1910 he continued
his studies under d'Indy, Decaux and Vierne
at the Schola Cantorum in Paris. Since 1911
he has been organist in New York, at first at
the Chapel of the Incarnation and from 1912
at the Rutgers Presbyterian Church. In
1918-19 he was in the Naval Reserve. He has
composed and published much for the organ,
piano, and voice, with two church-cantatas and
many anthems. His chief works include an
organ ' Symphonic,' op. 18 ; two organ-suites,
opp. 23 and 26; a 'Fantasia' for organ and
chorus, op. 27; and the sacred cantatas 'The
Comforter' and 'Remember now thy Creator.'
He is author of Bach for Beginners (Boston
Music Co.) and A Method of Organ-Playing (in
press). [ R.9 ]
124
BARNHART
BASSETT
BARNHART, HARRY HORNER (b.
1874). See Register, 9.
BARRAJA, ENRICO (b. 1886) . See Regis-
ter, 10.
BARRERE, GEORGES (Oct. 31, 1876,
Bordeaux, France), studied flute in 1889-95
at the Paris Conservatory with Alt^s and
Taffanel, harmony with Schwarz, Pugno and
Grandjany, winning a first prize in flute-
playing. From 1897 he was solo flutist at
the Colonne Concerts and the Opera. He
also taught at the Schola Cantorum, and in
1895 founded La Soci6te Moderne d'lnstru-
ments h, Vent, which brought out over 100 new
compositions. Comiing to America in 1905,
he joined the New York Symphony Society
and became teacher at the Institute of Musical
Art. In 1910 he founded the Barrfere Ensemble
(wind-instruments), in 1913 the Trio de Lutfece
(flute, harp and 'cello) and in 1914 the Little
Symphony (ordinarily three violins, viola,
'cello, bass, flute, oboe, clarinet, horn, bassoon
and tympani). As soloist and director
he has become well known throughout the
country and has introduced many interest-
ing works. He is an Oflicer of the French
Academy. He has written a ' Nocturne ' for flute
and piano and the song 'Chanson d'Automne'
(both Schirmer) and has edited an Arioso by
Bach for flute and piano and Altfes' 26 fitudes
for flute. [ R.9 ]
BARRERE ENSEMBLE, THE. See pre-
ceding article.
BARRIENTOS, MARIA (Mar. 10, 1885,
Barcelona, Spain), graduated from the Barce-
lona Conservatory at twelve, having studied
piano, violin and composition. She won
medals for violin-playing when only eleven,
and composed and conducted a symphony at
twelve. At fourteen, after lessons with
Bennet, she made her debut as soprano at the
Teatro de las Novedades in 'L'Africaine. '
Within a year she also appeared in Milan as
Lakm§. She was engaged at La Scala, and
sang at principal theaters in Italy, Russia,
France, England, Germany, Austria and South
America till 1913. She then retired for three
years, but was engaged for the Metropolitan
Opera House in New York, making her first
appearance as Lucia in 1916, and has since
sung there. Her repertoire includes 'I Puri-
tani,' ' La Sonnambula,' ' II Barbiere di Siviglia,'
'Lucia,' 'Don Pasquale,' 'L'Elisir d'Amore,'
'La Traviata,' 'Rigoletto,' 'Les Pecheurs de
Paries,' 'Linda,' 'Dinorah,' 'Lakm6,' 'Mignon,'
'Hamlet' and 'Martha.' [ R.IO ]
BARROWS, FRANK ELIOT. See Col-
leges, 3 (Simpson C, Iowa).
BARSTOW, VERA (b. 1893). See Regis-
ter, 10.
BARTHOLOMEW, EDWARD FRY (b.
1846). See Register, 8.
BARTLETT, HOMER NEWTON (Dec.
28, 1846, Olive, N. Y. : Apr. 3, 1920, Hoboken,
N. J.), was descended from Josiah Bartlett, a
signer of the Declaration of Independence and
the first governor of New Hampshire. After
general training at the EllenviUe Academy
and under tutors in New York, from 1861
he studied piano with S. B. MiUs and Emil
Guyon, organ and composition with Max
Braun and O. F. Jacobsen. As early as 1855
he played in public and in 1856 began to com-
pose. From about 1860 he was organist in
New York, his longest service being in
the Madison Avenue Baptist Church, where
he remained nearly thirty-five years. He was
a founder of the A. G. O. and served terms as
president of the N. A. O. and vice-president
of the New York Manuscript Society, be-
sides other posts of honor. Not long ago the
Fraternity of American Musicians celebrated
the fiftieth anniversary of his wedding with a
banquet, and in 1918, when the Hunt Memorial
Hall was dedicated in EllenviUe, N. Y., a
Bartlett program was given, with his violin-
concerto as the chief item, played by Miss
Gunn and the composer. From the long list
of liis compositions — nearly 250 in number —
may be mentioned the 3-act opera ' La Vallifere'
(1887) and the operetta 'Magic Hours'; the
symphonic poem 'Apollo,' based upon the
Iliad, the Concerto in G and Ballade for violin
and orchestra, the 'Legende' for orchestra;
'Khamsin,' a concert-aria for tenor and
orchestra (rewritten in 1908) ; Toccata in E,
Suite in C, 'Festival Hymn,' 'De Profundis,'
and 'Meditation S^rieuse,' all for organ;
three piano-ballades, 'Gavotte Concertante,'
' Barcarolle ' and some etudes ; besides many
anthems, songs, etc. Several of his piano-pieces
are based on Japanese themes. See Hughes,
Contemporary American Composers, pp. 317-23,
and The Art of Music, 4. 383-4. [ R.5 ]
BARTLETT, JAMES CARROLL (b. 1850).
See Register, 6.
BARTLETT, MARO LOOMIS (1847-
1919). See Register, 5.
BASSETT, FRANKLIN (Apr. 7, 1852,
Wheeling, W. Va. : Mar. 7, 1915, Pasadena,
Cal.) , studied at Leipzig under Reinecke, Plaidy
and Jadassohn. While there an attack of
pianist's neuritis destroyed his hopes of a con-
cert career and set him searching for a technical
system less dangerous to the hand than those
in use. In 1877 he established himself in
Cleveland and from 1882 was one of the direc-
tors of the Cleveland Conservatory and
organist of the First Methodist Church. His
mode of instruction aroused general interest
and he soon had many brilliant piano-pupils
whose devotion to his personality and prin-
ciples was a remarkable tribute. He was con-
sidered the first exponent in Ohio of a modern
BASSFORD
BAY PSALM-BOOK'
125
system of piano-technique. His physical
misfortune restricted his concert-work as
pianist to chamber-music. Here also he
proved a pioneer and, with the aid of local
string-players, gave first performances in
Cleveland of the quartets and quintets of
Schumann, Brahms and others. He was a
founder of the A. G. O., and, besides his first
position, 'was organist at the Plymouth Con-
gregational and St. Paul's Episcopal Churches.
He was the first to give series of organ-recitals
in Cleveland. [ R.7 ]
BASSFORD, WILLIAM KIPP (April 23,
1839, New York : Dec. 22, 1902, New York),
having studied under Samuel Jackson, was a
successful pianist at an early age and for a
time made extensive concert-tours. Dislike
of travel caused him to settle in New York as
organist and teacher of many noted pupils.
His last organ-position was at Calvary Church,
East Orange, N. J. His compositions include
the two-act opera 'CassUda', a mass in E-flat,
church-music, many songs and piano-pieces
of the salon type. He was engaged by Mme.
Wallace to complete Wallace's unfinished
opera 'Estrella' (see Vol. v. 425). [ R.4 ]
BATCHELDER, JOHN C. (b. 1852). See
Register, 6.
JBATH, HUBERT (Nov. 6, 1883, Barn-
staple, England). See article in Vol. v. 611.
He conducted opera for the Thomas Quinlan
Company on its world-tour in 1912-13, and
has since conducted in London, where he has
charge of the opera-class at the Guildhall School
of Music and is musical adviser to the Lon-
don County Council. To the list of works
add 'Two Sea-Sketches' (1909) and an 'African
Suite' for orchestra (1915); the cantatas 'The
Jackdaw of Rheims' (1911), 'Look at the Clock'
(1911) and 'The Wake of O'Connor' (1914);
and numerous songs and instrimiental pieces.
BATTELL, BOBBINS (1819-1895). See
Register, 4, and Litchfield County Choral
Union.
'BATTLE-HYMN OF THE REPUBLIC,
THE.' The title of a poem by Julia Ward
Howe (1819-1910), beginning 'Mine eyes have
seen the glory of the coming of the Lord,' writ-
ten in 1861 in Washington in order to supply
better words for a march-song popular among
the Union troops. The music is supposed to
have originated in South Carolina — possibly
a Negro melody. The original words began
'Say, brothers, will you meet us.' See Elson,
Hist, of American Music, pp. 156-61.
BAUER, A. O. See Colleges, 2 (Win-
throp C, S. C).
BAUER, HAROLD (Apr. 28, 1873, New
Maiden, near London, England), began his
career as a violinist. He studied with Pollitzer,
at nine played in public, and for several years
gave concerts with his two sisters. In 1892
he gave up the violin for the piano. He had
some lessons from Paderewski, but is largely
self-taught. He made his debut as pianist
in Paris in 1893 and a tour of Russia followed.
He has given recitals and played with orches-
tras in the leading cities of Europe, includ-
ing Spain and Sweden, and in South America,
and has made many tours in the United States.
His first appearance in the latter was with the
Boston Symphony Orchestra on Dec. 1, 1900,
playing Brahms' Concerto in D minor. He is
distinguished as an ensemble-player, and has
participated with the leading organizations
and soloists in innumerable performances of
classic and modern music. As soloist his
repertoire is almost unlimited. His unhack-
neyed programs present the entire range of
piano-music, and he plays works for the harp-
sichord with the same enjoyment and success
as works by the most modern composers. He
has been especially active in the presentation
of Brahms, Schumann and Franck. Some of
his views on piano-playing and music are
set forth in the Introduction he contributed
to The Art of Music, Vol. vii. As teacher he
has influenced many players of the younger
generation, and in recent years he has edited
and revised some valuable piano-music. He
was the prime mover in organizing the Bee-
thoven Association, which began its perform-
ances of rarely-given chamber-music by
Beethoven in the fall of 1919 at .^Eolian Hall
in New York. The distinguished artists who
assist in these programs contribute their serv-
ices, and the proceeds are to be devoted at
first to the publishing of Krehbiel's translation
of Thayer's Beethoven and later to the relief
of needy musicians. [ R.9 ]
BAUR, CLARA (d. 1912). See Register, 5.
tBAX, ARNOLD E. TREVOR (Nov. 8,
1883, London, England.) See article in Vol.
V. 612. To the list of works add the sym-
phonic poems 'Into the Twilight' (1908), 'In
the Fairy Hills' (1909) and 'Christmas Eve
on the Mountains' (1911) ; 'Three Pieces' for
orchestra (1912) ; the choruses with orchestra
'Fatherland' (1907) and 'The Enchanted Sum-
mer' (1909) ; the two-act ballet 'King Kojata'
(1911); the 'Festival Overture' (1909); two
string-quartets, a piano-trio and a sonata for
violin and piano ; piano-pieces and songs.
'BAY PSALM-BOOK, THE.' The com-
mon name for the metrical version of the
Psalms prepared by Revs. Mather, Weld and
Eliot for the churches of the colony of Mas-
sachusetts Bay and published in 1640, being
the first book (in the proper sense) printed in
the colonies. It had extensive use not only
in America, but in England, and passed
through numerous editions (27th in 1762).
Of the first edition only eight copies are
known, but it has been reprinted in facsimile
126
BEACH
BEACH
(1862). Not until the 9th edition, 1698. was
music added and then only 12-14 tunes.
See Tune-Books and numerous books upon
the history of hymnody. Elson, Hist, of
American Music, pp. 6-7, gives three pages
in facsimile, and Fisher, Old Music in Boston,
p. 4, reproduces two tunes.
BEACH, AMY MARCY, nee Cheney (Sept.
5, 1867, Henniker, N. H.). See article in Vol.
i. 210. She has been an active concert-pianist
since 1885, appearing with the Boston Sym-
phony Orchestra and other orchestras, as well
as with the Kneisel Quartet and similar or-
ganizations. In 1888, playing with the Boston
Orchestra, she added an original cadenza to
Beethoven's C minor Concerto. Her first
compositions were a group of songs in 1884.
Her first work in large form was the Mass in
E-flat, given by the Handel and Haydn So-
ciety in 1892. Her Scena and Aria from
Schiller's 'Maria Stuart' was first sung by
Mrs. Alv6s with the New York Symphony
Society in 1892. In 1893 she was asked to
provide a Festival Jubilate for the opening
of the Columbian Exposition at Chicago ; in
1898 also a 'Song of Welcome' for the Trans-
Mississippi Exposition at Omaha; and in 1915
a 'Panama Hymn' for the Panama-Pacific
Exposition at San Francisco. Her 'Gaelic'
Symphony was first given from manuscript by
the Boston Orchestra in 1896, and has become
frequent on the programs of other orchestras.
Her Concerto in C-sharp minor she brought
out in 1900 with the Boston Orchestra, and
she has since played it often both in America
and abroad. After the death of her husband
in 1910 she spent foiu: years in Europe, where
she was heard in many cities, notably Rome,
Munich, Dresden, Hamburg, Leipzig and
Berlin. Her 'Gaelic' Symphony was per-
formed in Hamburg and Leipzig, and her
piano-quintet and violin-sonata also won
recognition. In recent years her songs,
church-music and piano-works have received
favorable attention. The full list of her
works is as follows :
Piano —
op. 3
Cadenza for Beethoven's C minor Con-
certo.
4 Valse-Caprice.
6 Ballade in D-flat.
16 Four Sketches — *In Autumn,' 'Phan-
toms,' 'Dreaming,' 'Fireflies.'
22 Bal Masque ; Waltz.
25 Children's Carnival — 'Promenade,'
'Columbine,' 'Pantalon,' 'Pierrot and
Pierrette,' 'Secrets,' 'Harlequin.'
28 'Barcarolle,' 'Menuet Italien,' 'Danse
des Fleura.'
36 Children's Album — Minuet, Gavotte,
Waltz, March, Polka.
— Transcription of Richard Strauss' 'Ser-
enade.'
54 'Scottish Legend,' 'Gavotte Fantastique.'
60 Variations on Balkan Themes.
op. 64 EskimoPiecea—'ArcticNight," Returning
Winter,' 'Exiles,' 'With Dog-Teams.'
65 Suite Frangaise, 'Les Reves de Colum-
bine'— 'La FSe de la Fontaine,' 'Le
Prince Graoieux,' 'Valse Amoureuse,
'Sous les Etoiles,' 'Danse d'Arlequin.' '
81 Prelude and Fugue.
47 Six Duets, 'Summer Dreams.'
45 Concerto in C-sharp minor, with or-
chestra.
67 Quintet in F-sharp minor, with string-
quartet.
Violin —
op. 23 Romance.
34 Sonata in A minor.
40 'La Captive' (G-string), 'Berceuse," Ma-
zurka.'
Invocation.
55
Orchestra —
op. 23 'Gaelic' Symphony in E minor.
Songs —
op. 1
'With Violets,' 'The Four Brothers,'
'Jeune Fille et Jeune Fleur,' 'Ariette.'
2 'Twilight,' 'When Far from Her,' 'Em-
press of Night.'
11 'Dark is the Night,' 'The Western Wind,'
'The Blackbird.'
12 'Wilt thou be my dearie?' 'Ye banks
and braes of bonnie Doon,' 'My luve
is like a red, red rose.'
13 'A Hymn of Trust.'
14 'The Summer Wind,' 'The Secret,'
'Sweetheart, sigh no more,' 'The
Thrush."
18 Scena and Aria, 'Wandering Clouds,'
from Schiller's 'Maria Stuart.'
19 'For me the jasmine-buds unfold,'
'Ecstasy,' 'Golden Gates.'
20 Villanelle, 'Across the World.'
21 'Chanson d'Amour,' 'Exstase,' 'EUe et
Moi.'
26 'My Star,' 'Just for This,' 'Spring,'
'Wouldn't that be queer?'
29 'Within my Heart,' 'The Wandering
Knight,' 'Sleep, Little Darling,'
'Haste, O Beloved.'
35 'Night,' 'Alone,' 'With Thee,' 'Forget-
me-not.'
37 Shakespeare Songs — ' O Mistress Mine,'
'Take, O take those lips away,'
'Fairy Lullaby.'
41 'Anita,' 'Thy Beauty,' 'Forgotten.'
43 Burns Songs — 'Dearie,' 'Scottish Cra-
dle-Song,' 'O were my love yon lilac
fair,' 'Far Awa',' 'My Lassie.'
44 Browning Songs — 'The year's at the
spring,' 'Ah, love, but a day,' 'I
send my heart up to thee.'
48 'Come, ah, come,' 'Good-Morning,'
'Good-Night,' 'Canzonetta.'
51 'Silent Love,' 'We Three,' 'June,' 'For
my Love.'
53 Aria, 'Jephtha's Daughter.'
56 'Autumn-Song,' 'Go not too far,'
'I know not how to find the spring,'
'Shena Van.'
62 'When soul is joined to soul.'
68 'After.'
69 Mother-Songs — 'Baby,' 'Hush, baby
dear.'
71 'A Prelude,' 'O Sweet Content,' 'An
Old Love-Story.'
72 'An Old Prayer,' 'Flowers and Fate.'
73 'With Granny,' 'The Children's Thanks,'
'Separation,' 'The Lotos-Isles.'
MRS. H. H. A. BEACH
BEACH
BECK
127
op. 75 Children's Songs — 'The Candy-Lion,'
'A Thanksgiving Fable,' 'DoUadine,'
'The Prayer of a Tired Child.'
77 'I,' 'Wind o' the Westland.'
79 'Meadow-Larks,' 'A Night-Song at
Amalfi,' 'In Blossom-Time.'
10 Duets — 'A Canadian Boat-Song,' 'The
Night Sea,' 'Sea-Songs.'
61 Duet, 'Give me not love.'
Part-Songs —
Men's voices :
op. 19 'Ecstasy.'
Women's Voices :
op. 9 'Little Brown Bee.'
31 Flower-Songs — 'Over hill, over dale,'
'Come unto these yellow sands,'
'Through the house give glimmering
light.'
57 'Only a Song,' 'One Summer Day.'
— 'An Indian Lullaby.'
82 'Dusk in J\ine.'
Mixed Voices :
op. 42 'A Song of Welcome.'
49 'A Song of Liberty.'
52 'A Hymn of Freedom' ('My country,
'tis of thee').
74 'Panama Hymn.'
Anthems —
op. 7 ' Praise the Lord, all ye nations.'
8 ' Nunc Dimittis,' ' Peace I leave with you,'
'With Prayer and Supplication.'
24 ' Bethlehem ' (Christmas) .
27 'Alleluia! Christ is risen ' (Easter).
33 'Teach me Thy way.'
38 'Peace on Earth' (Christmas).
50 Motet a cappella, ' Help us, O God.'
63 Service in A.
74 ' All hail the power of Jesus' name '
(Panama Hymn arranged).
76 'Thou knowest, Lord.'
78 Four Canticles.
Concerted Works —
op. 5 Mass in E-flat.
16 'The Minstrel and the King' (men's
voices) .
17 Festival Jubilate.
30 'The Rose of Avontown' (women's
voices) .
46 Wedding Cantata, 'Sylvania.'
69 'The Sea-Fairies' (women's voices).
66 'The Chambered Nautilus' (women's
voices) .
In Manuscript —
op. 70 Suite for two pianos, 'Iverniana.'
80 Variations for flute with string-quartet.
— Tyrolean VaLse-Fantaisie.
See Goetschius, Mrs. H.H. A. Beach, 1906,
Hughes, Contemporary American Composers,
pp. 425-32, and Elson, Hist, of American
Music, pp. 294-305. [ R.7 ]
BEACH, JOHN PARSONS (Oct. 11, 1877,
Gloversville, N. Y.), is a graduate of the New
England Conservatory in Boston and a pupil
of Johns, Chadwick, and Loeffler. He went
to the Northwestern Conservatory in Minne-
apolis in 1900 as teacher of piano, and also taught
in the University of Minnesota. In 1904-07
he was teaching in New Orleans, and then
returned to Boston for three years. In 1910
he went to Paris, studying composition with
Gedalge and piano with Bauer. For several
years he has spent the summers at Asolo, Italy,
and diu-ing the war was engaged in activities
on the Italian front. His published works
include, for piano, an Intermezzo, a Rhapsody,
'New Orleans Miniatures,' 'A Garden Fancy'
and 'Monologue' ; and the songs, 'A Woman's
Last Word,' 'Autumn Song,' "Twas in a world
of living leaves,' 'A Song of the Lilac,' 'The
Kings,' 'In a Gondola,' 'Take, O take those
lips away,' etc. Unpublished are 'The
Asolani,' three pieces for string-quartet, wood-
quartet and harp; 'Naive Landscapes,' four
pieces for piano, flute, oboe and clarinet ; and
'Pippa's Holiday,' a theater-scene for soprano
and orchestra, from the Introduction to
Browning's 'Pippa Passes' (1915-16, Theatre
R6jane, Paris) and ' Jornida and Jornidel,' a
short opera in two scenes from Grimm's fairy-
tale. [ R.8 1
BEALE, FREDERIC FLEMING (b. 1876).
See State UNrvERSiTiES (Ida., Wash.).
BEATON, ISABELLA (May 20, 1870,
Grinnell, la.), having graduated from the Iowa
Conservatory at Grinnell in 1890, in 1894-99
was in Berlin, studying piano and composition
with Moszkowski and composition with Boise.
In 1898 she won a teacher's certificate in
singing, declamation and Italian from the
Ziska School of Opera and Oratorio in Paris.
In 1899-1910 she taught piano, history and
composition in the Cleveland School of Music,
meanwhile talcing courses in languages,
history and acoustics at Western Reserve
University, leading to the degrees of Ph.B.
and M.A. In 1910 she established the Beaton
School of Music, and for five seasons played
a recital-course of twenty programs. Her
compositions include a Scherzo for orchestra
(Schneekliid, Paris), played under Paur, Van
der Stucken and others ; a string-quartet in
A minor (Schneekliid) ; a string-quartet in
C ; ten fugues for piano ; a setting of Keats'
' Eve of St. Agnes ' ; an Ave Maria for con-
tralto and orchestra; a piano-sonata in G
minor; piano-pieces and songs. [ R.8 ]
BECK, JOHANN HEINRICH (Sept. 12,
1856, Cleveland, O.), after a general education
in Cleveland, studied in Leipzig in 1879-82
under Schradieck and Hermann (violin), A.
Richter (theory), Paul (history), Reinecke and
Jadassohn (composition). His debut as vio-
linist was at the Gewandhaus in May, 1882.
On his return to Cleveland he organized the
Schubert String Quartet. In 1889-90 he was
conductor of the Detroit Symphony Orchestra,
and in 1901-1912 directed orchestral concerts
in Cleveland. He has also conducted the
Pilgrim Orchestral Club (1904-10), the
Elyria Orchestra (1905-07), and has made
many appearances as guest-conductor of his
own compositions. The latter include the
overtures to 'Romeo and Juliet,' 'Lara'
128
BECKEL
BEHNING PIANO COMPANY
(1886, Boston Symphony Orchestra) and
'Skirnismal' (1887, Thomas Orchestra, Chi-
cago) ; a string-sextet (1888, Indianapolis) ;
a 'Moorish Serenade' for orchestra (1889,
Philadelphia) ; a Scherzo in A (1890, Thomas
Orchestra, Detroit); 'A Kiss of Joy' (1900,
Cleveland Orchestra, and 1904, St. Louis
Exposition) ; 'Aus meinem Leben,' a tone-
poem for orchestra ; ' The Sea at Evening' and
'Wie schon bist du,' for voice and orchestra;
the cantata 'Deukalion'; a Scherzo in F
(1896, Thomas Orchestra, Cleveland) ; a
string-sextet in D minor ; and a string-quartet
in C minor. See Hughes, Contemporary Amer-
ican Composers, pp. 406-11. [ R.7 ]
BECKEL, JAMES COX (1811- ? ). See
Register, 3.
BECKER, REN:^ LOUIS (Nov. 7, 1882,
Bischheim, Alsace), studied organ with Adolph
Gessner, piano with Fritz Blumer and com-
position with Carl Somborn. He came to
America in 1904 and settled in St. Louis,
where he soon won distinction in recital-work
and composition, and as organist. He is now
organist at St. Peter and St. Paul's Cathedral
in Alton, 111. His organ-sonatas, especially
op. 40, and the Cantilfene in E-flat, rank high
and are frequently heard at recitals, while
some of his choral pieces have place on im-
portant church-music programs. His princi-
pal published works include the following :
Piano —
op. 15 Five Miniatures.
19 Valse in A-flat.
22 Gavotte and Toccatella.
10 Melodious Studies and 'Scenes from
Childhood.'
24 'Carnival Sketches.'
'A String of Merry Strains.'
Six Children's Dances.
Organ —
op. 1 'Marche Nuptiale,' 'Marche Pontificale,'
'Marche Triomphale,' 'Chant des
Seraphim.'
'Lullaby,' 'Summer Idyll,' 'R6verie,'
'Meditation,' ' Canzonetta.'
31 Toccata in D.
40, 42, 43 Three Sonatas.
41 Cantilena.
'L6gende,' 'Chanson Matinale,' 'Chanson
du Soir,' 'Cantiltoe' in E-flat.
'Chanson sans Paroles.'
Church-Music —
Mass in honor of St. Barbara.
Mass 'Salvator Noster.'
Mass in honor of St. Catherine (women's voices).
'Terra Tremuit' (Easter offertory).
'Lsetentur Coeli' (Christmas offertory).
'Tui sunt Coeli' (Christmas offertory).
In Manuscript —
Organ-Suite in B-flat.
Organ-Sonatas in E-flat and B minor.
Organ-Variations in C minor.
Several Masses and other church-music. [ R.9 ]
BEEBE, CAROLYN. See Register, 9.
JBEECHAM, THOMAS (April 29. 1879,
Liverpool, England), was educated at Rossall
School, Fleetwood, where he had lessons in
harmony from Sweeting, followed by some
study with Roberts at Oxford. In 1899 he
organized an amateur orchestra at Huyton,
a suburb of Liverpool, and soon displayed
talent as conductor. In 1902 he was con-
ductor with Kelson Truman's traveling opera-
company, and the next year worked upon three
operas (unpublished). His first important
appearance as conductor in London was in
1905. The next year he founded the New
Symphony Orchestra, from which he resigned
in 1908 and organized the Beecham Sym-
phony Orchestra. In 1910 he leased Covent
Garden, and began a series of operatic per-
formances which rapidly gained in popularity.
Delius' 'Romeo and Juliet in the Village,'
Smythe's ' The Wreckers ' and Strauss ' ' Elek-
tra' were early presented. Stanford's ' Shamus
O'Brien' and 'The Critic,' Holbrooke's
'Dylan,' Liza Lehmann'a 'Everyman,' and
many other novelties were produced later. In
1915 he became conductor of the Philharmonio
Society. His success in conducting both opera
and symphony has made him conspicuous in
English music. He was knighted in 1916. See
'Musical Times,' October, 1910.
BEEL, SIGMUND (b.'' 1863). See Reg-
ister, 6.
BEETHOVEN CONSERVATORY, THE,
St. Louis, was founded in 1871 by a group of
public-spirited citizens. In 1872 it passed
into the control of August Waldauer, the
violinist, and Hermann Lavitsky (d. 1874).
The former long remained at its head and
developed it into efficiency. Since 1902 the
directors have been the brothers Epstein.
BEETHOVEN QUARTET (or QUINTET)
CLUB, THE, of Boston, was organized in 1873
by Charles N. Allen, the violinist, and Wulf
Fries, the 'cellist, at first with Gustave Dann-
reuther and H. Heindl. For more than
twenty years it continued under some similar
name and with changing personnel, exemplify-
ing a worthy standard of ensemble-playing.
BEETHOVEN SOCIETY, THE, of Chi-
cago, organized in 1873, was the first im-
portant choral society (mixed voices) in
that city after the Apollo Club (male voices).
Its conductor was Carl Wolfsohn, the pianist,
who was drawn from Philadelphia for the pur-
pose. Among the works introduced were
Beethoven's Mass in C and Choral Fantasia,
Bruch's 'Odysseus,' Hofmann's 'Fair Melu-
sina,' etc. In 1884 it ceased to exist, being
overshadowed by later enterprises.
BEHNING PIANO COMPANY, THE, of
New York, was founded in 1861 by Henry
Behning, a German piano-maker who had
had fine training, and since his death has been
carried on successfully by his two sons. Its
total output has been over 50,000 instruments.
BEHR BROTHERS PIANO CO.
BENHAM
129
BEHR BROTHERS PIANO COMPANY,
THE, of New York, was founded in 1881 by
Henry and Edward Behr. William J. Behr,
the son of the former, is now its president.
Their pianos have won high awards at the
Expositions at New Orleans in 1885, at Mel-
bourne in 1889 and at Chicago in 1893. The
total number made is over 50,000.
BEHRENT, JOHN. See Register, 1.
BEISSEL, JOHANN CONRAD (1690-
1768). See Register, 1.
BELCHER, SUPPLY (1751-1836). See
Tune-Books, 1794.
BELKNAP, DANIEL (1771-1815). See
Tune-Books, 1797.
JBELL, WILLIAM HENRY (Aug. 20,
1873, St. Alban's, England). See article in
Vol. V. 612-63. Since 1912 he has been prin-
cipal of the South African College of Music in
Cape Town. His recent larger works are a set
of Symphonic Variations in G (1917, Cai>e
Town Orchestra), a 2nd Symphony, inA (1918,
ibid.), and a 3rd Symphony, in F, written in
1918-19. See 'Musical Times,' May-July,
1920.
BELLAMANN, HEINRICH HAUER (Apr.
28, 1882, Fulton, Mo.), secured his general
education at Westminster College in Missouri
and the University of Denver. He then went
to Paris, studying piano with Philipp and
organ and composition with Widor. Since
1907 he has been director of the School of Fine
Arts in Chicora College for Women at Colum-
bia, S. C. He has interested himself in the
advancement of modern French music in the
South, and has presented for the first time in
America many of the more important works by
d'Indy, Widor, Debussy, Magnard, Labey,
Roussel, de SevSrac, de Br6ville, Chausson
and others. He is an authorized represen-
tative of Philipp's method. His compositions
include a piano-concerto, a violin-sonata, a
piano-sonata, a piano-quintet and choral
works. He has also written numerous maga-
zine articles. In 1907 he was made Mus. D.
by Grayson College (Tex.). His wife is an
accomplished singer and since 1907 has also
taught at Chicora College. He comes of a dis-
tinguished line of German musicians. [ R.9 ]
BELTZ, OLIVER S. See Colleges, 3 (Un-
ion C, Neb.)
BENBOW, WILLIAM (b. 1865). See Reg-
ister, 6.
BENDIX, MAX (Mar. 28, 1866, Detroit,
Mich.), having appeared in public as violinist
at eight, before he was twenty gained or-
chestral experience under conductors like
Thomas, Van der Stucken and Seidl. His
training as soloist was chiefly with Jacobsohn.
In 1886 he was concertmaster at the Metro-
politan Opera House and also concertmaster
and assistant-conductor of the Thomas Or-
chestra, remaining with the latter ten years,
during which he was assistant and successor
to Thomas at the Columbian Exposition at
Chicago in 1893. Concertizing alone or with
the Bendix Quartet occupied the years 1897-
1903. He conducted the orchestra at the
World's Fair at St. Louis in 1904. The next
season he was concertmaster for the Wagnerian
performances at the Metropolitan Opera
House in New York. He was concertmaster
and conductor at the Manhattan Opera
House there in 1906 ; concertized in this
country and in Europe for two years ; and
conducted again at the Metropolitan in
1909-10. Then came four years as conductor
of light opera. In 1915 he was conductor of
the Exposition Orchestra at the Panama-
Pacific Exposition at San Francisco. Since
then he has devoted himself to teaching in
New York. His compositions include a violin-
concerto; 'Pavlowa,' a valse-caprice for or-
chestra ; a theme and variations for 'cello and
orchestra; 'The Sisters,' a ballad for soprano
and orchestra ; music for the play ' Experi-
ence' ; and a number of songs. [ R.7 ]
BENDIX, OTTO (1845-1904). See Regis-
ter, 7.
BENEDICTIS, SAVINO DI (Jan. 20, 1883,
Sao Paulo, Brazil), having been for some
years a specialist in theory, is now professor
of harmony and composition in the Con-
servatorio Drammatico e Mtisical at Sao
Pavilo. His compositions include a foiu:-
movement suite for orchestra, 'Mariage de
Pierrot et Pierrette'; 'Tramonto,' an 'essai
lyrique' ; and a number of graceful pieces for
piano. He has written a Traite d' Harmonie,
2 vols., and a Theorie Musicale. [ R.9 ]
BENHAM, ASAHEL. See Tune-Bookb,
1790.
BENHAM, VICTOR (Apr. 12, 1871,
Brooklyn, N. Y.), in 1877 appeared in public
as singer and in 1880 as pianist with the
Thomas Orchestra in New York. He tom-ed
as a child-pianist with Patti, Gerster, Wilhelmj
and other artists. In 1882 he was first heard
in London, playing at the Crystal Palace
concerts under Manns and on Monday Popular
Concert programs with Joachim, Piatti and
others. By this time he had composed in
various forms. In 1885 he played a Fantaisie
for piano and orchestra at the Lamoureux
Concerts in Paris. There he studied at the
Conservatory under Marmontel, receiving a
first prize in 1886. After European tours he
returned to America, where he spent the years
1890-1900. During 1900-04 he was again in
London, and then for eight years in Detroit,
teaching, composing and lecturing on various
art-subjects. In 1912 he returned to Europe,
playing in Germany, Austria, Hungary, Italy,
France and England. Since 1914 he has lived
130
BENJAMIN
BERKSHIRE FESTIVALS
in England, active as teacher and critic. His
compositions include two symphonies, two
piano-concertos, a violin-concerto, five string-
quartets, a piano-quintet, many piano-pieces
and songs. [ R.7 ]
BENJAMIN, JONATHAN. See Tune-
Books, 1799.
BENSON, HARRY (b. 1848). See Regis-
ter, 6.
BENSON, LOUIS FITZGERALD (b.
1855). See' Register, 8.
BENTLEY, JOHN. See Register, 2.
BENTLEY, WILLIAM FREDERICK
(Sept. 12, 1859, Lenox, O.), has been largely
identified with Knox College in Illinois.
Graduating from Oberlin Conservatory in
1883, he studied piano with Sherwood and
Perry in America and with Zwintscher and
KuUak in Germany, and voice with Delle
Sedie and Escalais in Paris and Randegger in
London. In 1883-85 he was music-director
in the Institute at South New Lyme, O.
Since 1885 he has been director of the Knox
Conservatory in Galesburg, 111., teacher of
voice there since 1898 and conductor of the
Galesburg Musical Union since 1899. He is
also conductor of the Choral Union at
Kewanee, 111. Two of his songs are published
and about twenty-five others are in manu-
script. [ R.7 ]
BERGE, WILLIAM (d. 1883). See Regis-
ter, 4.
BERGER, RUDOLF (1874-1915). See Reg-
ister, 9.
BERGER, WILHELM (Aug. 9, 1861, Bos-
ton : Jan. 16, 1911, Meiningen, Germany).
Bee article in Vol. i. 308. He taught piano at
the Klindworth-Scharwenka Conservatory in
Berlin in 1888-1903 and then succeeded Fritz
Steinbach as director of the Meiningen Or-
chestra. He was Royal Prussian Professor
and member of the Royal Academy of Arts.
To the list of works add a Symphony in B
minor, op. 80 ; Variations and Fugue for or-
chestra, op. 97 ; three Ballades for baritone
and orchestra; 'Der Totentanz,' op. 86, for
mixed chorus and large orchestra; many
songs, choruses, and piano-pieces. [ R.7 ]
BERGH, ARTHUR (Mar. 24, 1882, St.
Paul), began violin-study at five, and received
his entire training in America. In 1903 he
came to New York, for five years was violinist
in the New York Symphony Society, and then
was in the orchestra of the Metropolitan Opera
House. He taught violin, harmony and com-
position at the New York Institute of Music
and conducted the Municipal Concerts in
1911-14. He has lectured on American mu-
sic and is secretary of the American Music
Society. His melodramatic music to Poe's
'Raven,' op. 20, was first produced in 1909,
with orchestra under his direction and with
Bispham as reader. A second melodrama,
also with orchestra, is on Browning's 'Pied
Piper of Hamelin,' op. 23. He has also a
symphonic choral for orchestra and chorus,
'The Unnamed City'; a romantic opera,
' Niorada ' ; two overtures ; a Festival March
for orchestra; 'The Night Rider,' a song mth
orchestra; piano- and violin-pieces and some
thirty songs. [ R.9 ]
BERGMANN, B. See Register, 2.
BERGMANN, KARL (1821-1876). See
Vol. i. 308-9, and Register, 4.
BERGNER, FREDERIC (1827- ? ). See
Register, 4.
BERGQUIST, JOHN VICTOR (b. 1877).
See Register, 8.
BERKENHEAD, JOHN L. See Register, 2.
BERKSHIRE FESTIVALS OF CHAM-
BER MUSIC, THE, held at Pittsfield, Mass.,
were established in 1918 by Mrs. Frederick
S. Coolidge of New York, whose summer-
home at Pittsfield provides an ideal place for
them. The first Festival occurred on Sept. 16-
18, 1918, the participants being the Berkshire
String Quartet, the Elshuco Trio, the Longy
Club and the Letz Quartet. The five programs
included Loeillet's Sonata for flute, oboe and
piano, Mozart's Quartet in G (Kochel, 387),
Quintet (Kochel, 516) and Quintet for piano
and wood- wind, Beethoven's Quartets in E-flat,
opp. 74 and 127, Schubert's Trio in B-flat, op.
99, no. 1, Brahms' Sextet in B-flat, op. 18, and
Trio in C minor, op. lOL Thuille's Quintet, op.
20, Reiser's Quartet in E minor, Tanieiev's
Quartet in B-flat, op. 19, larecki's Quartet
(prize composition), Ravel's Trio in A minor,
d'Indy's 'Chanson et Danses,' op. 50, Piernfe's
' Pastorale Vari6e,' op. 30, and Caplet's ' Suite
Persane.' The second Festival occurred on
Sept. 25-27, 1919, the participants being the
Berkshire String Quartet, the Flonzaley
Quartet, and many individual artists, includ-
ing Harold Bauer, the pianist, Gustav Lan-
genus and Ugo Savolini from the New York
Chamber Music Society, and several singers.
The five programs included Mozart's Quartet in
B-flat (Kochel, 458), Beethoven's Quartets in
A minor and F, opp. 132 and 135, and Septet
in E-flat, op. 20, Brahms' Trio in D, op. 40,
Saint-Saens' Quartet in G, op. 153 (first time
in America), Dvorak's Quartet in E-flat, op. 51,
Elgar's Quartet in E minor, op. 83 (first time
in America), Mason's Pastorale in D, op.
8, Sowerby's Trio in E minor (first time),
Bloch's Suite for viola and piano (prize com-
position), Rebecca Clarke's Sonata for viola
and piano, and a variety of vocal selections
for soli or quartet with chamber-accompani-
ment. A prize of $ 1000 is offered annually for
the best chamber-work submitted, the winners
being Tadeusz larecki in 1918, Ernest Bloch
in 1919 and Francesco Malipiero in 1920.
BERKSHIRE QUARTET
BETHLEHEM BACH CHOm 131
BERKSHIRE STRING QUARTET, THE,
is the name adopted for the Kortschak Quartet
of Chicago as reorganized in 1917 under the
patronage of Mrs. Frederick ' S. Coolidge of
New York in connection with the Berkshire
Festivals (see above). It consists of Hugo
Kortschak and Sergei Kotlarsky, violins, Clar-
ence Evans, viola (in place of George Dasch),
and Emmeran Stoeber, 'cello. It is understood
that after the Festival of 1920 the Quartet is to
be discontinued.
t BERNERS, Lord [Gerald Hugh Tyrwhitt]
(Sept. 18, 1883, London, England), received
his musical training in Dresden and London,
entered the British diplomatic service in 1909
and since 1912 has been attached to the
British Embassy at Rome. He succeeded as
Baron Berners in 1918. His first published
works were three funeral-marches for piano,
the first for a statesman, the second for a
canary, the third for a rich aunt. Then
followed ' Fragments Psychologiques ' and the
miniature tone-poem 'Le Poisson d'Or' and
'Valses Bourgeoises,' all for piano. For
orchestra are two sets of three pieces each,
the fii'st including 'Chinoiserie,' 'Valse Senti-
mentale' and 'Kasatchok'; the second, a
'Fantaisie Espagnole,' including a Prelude,
Fandango and March. The latter set was
played at the London Promenade Concerts in
1919. Lord Berners' work is said to be in-
fluenced by his association with his friends
Casella and Stravinsky.
BERWALD, WILLIAM HENRY (Dec. 26,
1864, Schwerin, Germany), studied composition
in 1883-87 with Rheinberger in Munich and
in 1887-88 with Faiszt in Stuttgart. In 1889
he became director of the Philharmonic
Society in Libau, Russia, and in 1892 came to
America as professor of composition and piano
in the College of Fine Arts of Syracuse Uni-
versity, succeeding Goetschius. He is director
of the Ladies' Chorus of the College and choir-
director at the Fourth Presbyterian Church.
The degrees of Mus.M. and Mus.D. were con-
ferred upon him by the University in 1903
and 1912. He won the prize offered by the
Philadelphia Manuscript Society for a quintet
for piano and strings, a gold medal in the
Clemson anthem-competition for 1912 and
first prize for a part-song for mixed voices in
the 'Etude' competition. His works for
orchestra have been performed abroad as well
as here. Tertius Noble, at St. Thomas'
Church in New York, gave the initial perform-
ance of his cantata 'The Seven Last Words
of Christ.' His violin-sonata in F received
special recognition from Joachim, and his
piano-compositions were valued by William
Mason. He has been a most industrious
composer, long lists of his works being found
in the catalogues of leading publishers. They
include 73 piano-pieces, 36 songs, 7 vocal
duets, 13 part-songs and 11 anthems for
women's voices, 106 anthems for mixed voices,
19 anthems for men's voices, 10 cantatas, 3
secular part-songs for mixed voices, two
sonatas for violin and piano and two Romances
for 'cello and piano. His unpublished com-
positions are the prize piano-quintet, a piano-
trio, a dramatic overture (played by the Court
Opera Orchestra in Schwerin, and by the New
York Symphony Society in Pittsburgh, Chicago
and Syracuse) and an overture, 'Walthari'
(played at the Syracuse Festival by the New
York Symphony Society and by the American
Symphony Orchestra in Chicago). [ R.8 ]
BETHANY COLLEGE, Lindsborg, Kan.,
has become a notable center for the musical
enthusiasm of Swedish Lutherans. Its first
class was graduated in 1891, and from that
time music has been a conspicuous element in
its entire life. Besides elaborate opportunities
for individual instruction, including many
instruments, there are two large choruses, two
orchestras, two bands and several glee-clubs.
For nearly thirty years a May Festival of sev-
eral days has been held that has become
famous. The director is Hagbard Brase, with
14 other instructors.
BETHLEHEM BACH CHOIR, THE, of
Bethlehem, Pa., was organized in its present
form in 1900 through the efforts of Mrs. Ruth
Porter Doster and under the inspiration of
J. Fred Wolle, at that time organist of the
Moravian Church. After 1905 it was sus-
pended, owing to Dr. Wolfe's removal to Cali-
fornia, but resumed in 1912, this time with
generous assistance from Charles M. Schwab.
Dr. Wolle has been conductor throughout.
Up to 1920 fifteen Bach Festivals have been
held, those before 1905 in the Moravian Church
and those since 1912 at Lehigh University
in South Bethlehem. The Festivals now
regularly occupy two days, but in the past
they have once covered six and once were
distributed in three groups of three each.
The programs have varied much in part, but
the B minor Mass has been sung at every
Festival. The St. Matthew Passion has been
given three times, the St. John Passion twice,
the Christmas Oratorio (complete) four times
and the Magnificat four times. Some forty
cantatas have been produced, about one-
quarter of them more than once, and many
detached chorales. The Second and Third
Brandenburg Concertos and the Suites in B
minor and D have been played. In the early
years the chorus was small, even under 100,
but has lately been increased to about 250.
Originally the orchestra was made up of local
players, many of them amateurs, but since
1912 members of the Philadelphia Orchestra
have been utilized. Altogether about 700
132
BETHUNE
BIRD
of the people of Bethlehem and vicinity have
been members of the chorus. The audiences
have been phenomenal not simply for size,
but for their representative quality, including
professional musicians from all over the
country and many others. In more than one
respect, therefore, these Festivals are unique and
extraordinary. They have been carried on with
infinite industry and devotion, and their artistic
quality has been universally acknowledged.
Back of the present Bach Choir lies much
history. One of the first acts of the founders
of the Moravian settlement at Bethlehem in
1742 was to hold a Singstunde, and from 1744
a Collegium Musicum was steadily maintained,
credited with very early performances of parts
of several oratorios. In 1820 this was re-
placed by the Philharmonic Society, which was
an oratorio society of more constant character.
In 1882 the young Wolle organized the Beth-
lehem Choral Union, which lasted ten years
and gave the St. Matthew Passion in 1892.
See Walters, The Bethlehem Bach Choir, 1918.
BETHUNE, THOMAS G. (1849?-1908).
See Register, 4.
BETTI, ADOLFO (b. 1875). See Register, 9.
BEUTEL, CARL. See Colleges, 3 (Ne-
braska Wesleyan U.).
'BIANCA.' An opera by Henry K. Had-
ley, awarded the SI 000 prize offered by W.
W. Hinshaw in 1917, was first produced on
Oct. 18, 1918, by the Society of American
Singers in New York under the composer's
direction.
BIDDLE, HORACE PETERS (1811-1900).
See Register, 5.
BIDEZ, L. ALOYS (b. 1847). See Regis-
ter, 6.
BIEDERMANN, AUGUST JULIUS (1825-
1907). See Register, 4.
BIEDERMANN, EDWARD JULIUS (b.
1849). See Register, 6.
BIFERI, NICHOLAS. See Register, 1.
BIGELOW, WILLIAM PINGRY (b. 1867).
See Colleges, 1 (Amherst C, Mass.).
BIGGS, RICHARD KEYS (b. 1886). See
Register, 9.
BIGLOW & MAIN, of New York, is the
publishing-firm organized in 1868 by Lucius
H. Biglow (1833-1907) and Sylvester Main
(1817-73), primarily to take over the publi-
cation of W. B. Bradbury's books. Almost im-
mediately they began the issue of the series
known as the 'Gospel Hymns' of Moody and
Sankey. From that time they became the
chief publishers of popular hymns and tunes
of this class by a great variety of editors.
Hubert P. Main (see Register, 5), the well-
known hymnologist, has been connected with
the firm since its foundation and is now its
treasurer. As a hint of the magnitude of the
business it is enough to recall that in 1886 no
less than 18,000,000 copies of popular hymn-
books had been sold. When interest in Tonic
Sol-Fa arose Biglow & Main became its princi-
pal representatives in America. They have
issued some English choir-music of high quality.
BILES, ETHEL. See Colleges, 3 (Cotner
C, Neb.).
BILLINGS, WILLIAM (Oct. 7, 1746,
Boston : Sept. 29, 1800, Boston), often
erroneously called 'the first American com-
poser,' was an uneducated man of humble
origin, by trade a tanner, who had an ir-
repressible enthusiasm for developing popular
singing. He was somewhat grotesque in
personal appearance, unconventional in ex-
pression and far from technically expert in
music. But his zeal was contagious and the
freshness of his tunes caught popular at-
tention. His first efforts came when the
New England churches were beginning to use
hymns by Watts and others in addition to the
traditional versified Psalms, and the rhyth-
mical swing and curious 'fuguing' effects of
his tunes corresponded to the independent
feeling of the time.' His later work, after
the Revolutionary War, often gave voice to
the patriotic fervor of that period. His name
appears in 1764 in connection with the sale of
concert-tickets. His series of six books began
in 1770 (see list under Tune-Books), con-
tinuing till 1794. In 1774 he seems to have
conducted a singing-class at Stoughton, which
became the germ of the Stoughton Musical
Society in 1786. It is probable that he taught
many similar classes. Selections from his
works, mostly 'anthems,' have been noted in
concert-programs in Boston in 1782, '87 and
'96, and in Philadelphia in 1786-88. A few
of his tunes, such as 'Chester' (for which he
provided patriotic words), continued in use
for some time, though steadily replaced by
the better productions of later writers. It is
supposed that he first introduced, or at least
made popular, the use of the pitch-pipe and
also of the 'cello or double-bass for accompani-
ment. See Ritter, Music in America, chap, iii
(needlessly caustic), Mathews, Hundred Years
of Music, pp. 25-9, Elson, Hist, of American
Music, pp. 12-9, etc. [ R.l ]
BIMBONI, ALBERTO (b. 1882). See Reg-
ister, 10.
BINDER, FRITZ (b. 1873) . See Register, 7.
BINGHAM, WALTER VAN DYKE (b-
1880). See Register, 9.
BINTLIFF, ELIZABETH, nge Battle. See
Colleges, 3 (RiponC, Wis., Olivet C, Mich.).
BIRD, ARTHUR (July 23, 1856, Cam-
bridge, Mass.). To the works listed in Vol. i.
328-9 may be added a set of ' Oriental Scenes '
I There are interesting analogies between this
outbreak of popular tunes in America in 1770 and
the rise of Methodist singing in England about 1740.
BIRGE
BLISS
133
for organ. The comic opera 'Daphne' was
given in New York in 1897. [ R.6 ]
BIRGE, EDWARD BAILEY (b. 1868).
See Register, 9.
BIRMINGHAM CONSERVATORY, THE,
Birmingham, Ala., was founded in 1895 by
Benjamin Guckenberger, who remained in
charge till 1902, when he was succeeded by-
Edna Gockel and (from 1903) her husband,
William Gussen. The institution is affiliated
with the chain of schools of the Sherwood
Music School in Chicago.
BISCACCIANTI, ELIZA, nee Ostinelli
(1825- ? ). See Register, 4.
BISCHOFF, JOHN W. (1850-1909). See
Register, 6.
BISHOP, ANNA (1814-1884). See Vol. i.
330-1, and Register, 4.
BISPHAM, DAVID SCULL (Jan. 5, 1857,
Philadelphia). See article in Vol. i. 333. Add
to the list of works which he has introduced
in America and England the following : Liza
Lehmann's 'Persian Garden' and her ro-
mantic opera 'The Vicar of Wakefield' (Lon-
don, Nov. 12, 1906); Schilling's 'Witch's
Song,' Cole's 'King Robert of Sicily,' Bergh's
setting of ' The Raven ' and many other pieces
for recitation. He has constantly championed
the use of English versions wherever prac-
ticable, and has made a specialty of song-
cycles in English, such as Beethoven's 'To
a Distant Beloved,' Schubert's 'Songs of the
Mill' and 'Winter Journey,' and Schumann's
'The Poet's Love.' He has been foremost in
reviving the art of declamation to music, and
is noted for his performance of Sophocles'
'Antigone' with Mendelssohn's music and of
Byron's 'Manfred' with Schumann's music.
His operatic repertory includes over fifty
parts, and he has sung in more than a hundred
oratorios and cantatas — his Elijah being
particularly famous. Of songs of all schools
he has sung at least 1500. His powers as an
actor are universally recognized, but it is as
a singer in opera and concert that he is most
widely known. He has edited two volumes
of songs under the title of Bispham's Albums,
and has published A Quaker Singer's Recollec-
tions, 1920. [ R.8 ]
BISSELL, T. See Tune-Books, 1846.
BLACK, LOUIS. See State Untversities
(W. Va.).
BLAKE, GEORGE E. (1775-1871). See
Register, 3, and Tune-Books, 1810.
BLAKESLEE, SAMUEL H. See Col-
leges, 3 (Ohio Wesleyan U.).
BLANCHARD, AMOS. See Tune-Books,
1807.
BLANCK, HUBERT DE (June 11, 1856,
Utrecht, HoUand), was a pupil of Dupuy in
composition at the Li^ge Conservatory, and
of Ledent in piano, and won a scholarship
from the Belgian government. At seventeen
he toured Russia, Sweden and Germany as
pianist, and then conducted at the El Dorado
Theater in Warsaw. In 1880 he visited
South America with the violinist Dengremont,
in 1881 taught piano at the New York College
of Music and in 1883 settled in Havana. Two
years later he established the first conservatory
there. He was imprisoned for revolutionary
activity in 1896 and banished by order of
General Weyler. On the establishment of
order he returned and reopened the school as
the Conservatorio Nacional. It is now a
large institution, with branches in the leading
cities of Cuba. He has composed piano-
pieces and songs. [ R.7 ]
BLASS, ROBERT (b. 1867). See Register,
8.
BLAUVELT, LILLIAN EVANS (Mar. 16,
1874, Brooklyn, N. Y.). See article in Vol. i.
338-9. Until 1914 she made annual tours in
Europe and America. In 1902 she sang the
Coronation Ode by special command at
Albert Hall in London and received a medal
from Edward VII. In 1905 she sang in Russia
and made a tour of Europe in 1908-09. In
1906-07 she starred in the comic opera 'The
Rose of Alhambra.' She received the Order
of St. Cecilia at Rome in 1901. [ R.8 ]
'BLIND GIRL OF CASTEL-CUILLlfi,
THE.' A three-act opera, with ballet, by
Earl R. Drake, produced in 1914 in Chicago.
' BLIND TOM.' See Bethune, Thomas G.
BLISS, CHARLES MERIT (b. 1866). See
Colleges, 3 (Phillips U., Okla.).
BLISS, PHILIP PAUL (1838-1876). See
Register, 5.
BLISS, PHILIP PAUL, Jr. (Nov. 25, 1872,
Chicago), was the son of the noted writer of
' Gospel hymns ' and was educated for the
ministry. He graduated from Princeton in
1894. His musical education was under
Clarke and Zeckwer in Philadelphia, and in
Paris in 1896-98 he studied organ with Guil-
mant and composition with Massenet. In
1900-04 he was organist, director and teacher
of public-school music at Owego, N. Y. In
1904 he went to Cincinnati, as musical editor
for the John Chm-ch Co., and in 1911 took a
similar position with the Willis Music Co.,
where he is still engaged. He has composed
about 200 instructive piano-pieces, many
operettas (both words and music), sacred and
secular cantatas, choruses, about 100 songs,
duets and five song-cycles (two published),
a piano-suite, a book on pedal-study, a graded
course for piano, 4 vols., solos for organ, violin
and 'cello, a comic opera (unpublished), etc.
He has also increased the repertoire of four-,
six- and eight-hand music for one and two
pianos and for two violins and piano, and of
musical recitations with piano. [ R.9 ]
134
BLOCH
BOCHAU
BLOCH, ERNEST (July 24, 1880, Geneva,
Switzerland) , was a pupil at Geneva of Jaques-
Dalcroze in 1894-96, at Brussels of Ysaye and
Rasse in 1896-99, and at Frankfort of Ivan
Knorr in 1899-1900. He spent time in Paris
and Munich before returning to Geneva in
1904. He conducted concerts in Lausanne
and Neuchatel in 1909-10, and occasionally
acted as guest-conductor of his own works.
In 1911-15 he lectured at the Geneva Conserv-
atory. Since 1916 he has lived in the United
States, for two years teaching composition
at the Mannes School of Music in New York.
His compositions are the symphonic poem
' Vivre et Aimer ' (1900); Symphony in C-sharp
minor (1901-03); 'Hiver-Printemps' (1904-
05, Schirmer) ; 'Po&mes d'Automne' (1906,
Schirmer) ; 'Macbeth,' drame lyrique (1904-
10), given at the Op6ra-Comique in 1910-11
(Astruc-Enoch) , and ' Historiettes au Cre-
puscule' (Demets). Works inspired by Jewish
themes are '3 Poemes Juifs' (1913, Schirmer) ;
Psalms 137, 114 and 22 for voice and orchestra
(1911-14, Schirmer); 'Schelomo,' a rhapsody
for 'cello and orchestra (1916, Schirmer).
'Israel,' a symphony for orchestra and voices,
was begun in 1914 ; the Jewish opera ' J6zabel,'
piano-pieces and other works are still in an
incomplete stage. The string-quartet in B
has been played in America by the Flonzaley
Quartet. A suite for viola and orchestra (or
piano) is in ms. He has conducted perform-
ances of his orchestral works in Boston, New
York, Philadelphia and Chicago, and they have
also been given in Minneapolis, St. Paul, St.
Louis and San Francisco. The symphony in C-
sharp minor has been pronounced by Romain
Rolland ' one of the most important works of
the modern school.' In 1919 he won the prize
in the Coolidge (Berkshire) competition for
his Suite for viola and piano. [ R.IO ]
BLODGETT, BENJAMIN COLMAN
(Boston, Mar. 12, 1838), from 1847 studied
piano with James Hooton of Boston and
organ with W. R. Babcock. He became
organist of the Essex Street Church in 1850
and in 1853 went to the Eliot Church in
Newton, where he remained five years. Then
followed a period of three years at Leipzig.
In 1861 he returned to Boston and was active
as teacher, concert-pianist and organist of
the Park Street Church. He became music-
master at the Maplewood Institute in Pitts-
field, Mass., in 1865, and this led to the estab-
lishment in 1870 of a separate music-school
under his direction. In 1878 he became
professor of music at Smith College in North-
ampton, and there soon established the Smith
College School of Music, of which he was prin-
cipal until 1903. A year later he became or-
ganist and choir-director at Leland Stanford
University in California. Here he gave many
organ-recitals until the destruction of the
chapel by the earthquake of April, 1906. Ill-
ness in his family caused his retirement from
public life in 1914, and he has since lived in
Seattle. He has made numerous trips to
Europe, appearing as pianist several times in
London and Leipzig, and making the acquaint-
ance of many distinguished musicians (Liszt>
at Weimar in 1860, Wagner at Bayreuth in
1876 and 1882). As a musical educator he
exercised influence for almost half a century.
Comparatively little of his attention has been
given to composition, but he has published
a set of Etudes for advanced piano-students,
op. 20, a cantata, 'The Prodigal Son,' op. 31
(1895), piano-pieces and church-music. Un-
published works in larger form are the oratorio
'Job' (Smith College Commencement, 1889,
revised 1890), an overture, concert-pieces for
orchestra and a string-quartet. [ R.4 ]
BLUM, ELIAS (Feb. 22, 1881, Isaacfalln,
Hungary), was brought to Boston in 1891, and
there received his general education, studying
piano with Kelterborn and composition with
Goetschius. After four years' study at the
Grand-Ducal School in Weimar (organ, piano,
voice, composition and conducting) he re-
turned to Boston and was active for a time
as singer and organist. In 1909 he went to
Walla Walla, Wash., as music-director at
Whitman College. In 1917 he removed to
Grinnell College in Iowa. His published
compositions are a Passacaglia and ScherzO'
for organ, a Capriccio for piano, songs,
choruses and anthems. A nmnber of works,
are still in manuscript, among them a piano-
trio in G minor. [ R.9 ]
BLUMENSCHEIN, WILLIAM LEON-
ARD (1849-1916). See Register, 6.
BOCHAU, CHARLES HENRY (July 7,
1870, Holstein, Germany), was brought tO'
America as a boy. He had no opportunity for
serious musical study until 1892, when he
entered the Peabody Conservatory in Balti-
more, studying harmony and composition
with Hamerik, Kahmer and Boise, and piano
with Burmeister. After graduation in 1899
he also studied voice with Heimendahl. In
1897 he was appointed on the staff of the Con-
servatory, where he is now in the vocal depart-
ment. Since 1905 he has also had charge of
music at the Maryland School for the Blind.
The Kimball Prize of the Chicago Madrigal
Club was awarded to him in 1908. In 1910-
14 he was choir-master of the Madison Avenue
Synagogue and devoted much time to the
arrangement and development of Jewish
music. He became director of the Arion
Singing Society in 1913, succeeding David
Melamet, and has recently been appointed
conductor of the new Johns Hopkins Uni-
versity Orchestra (60 players), consisting of
BODANZKY
BOHANAN
135
members of the student-body and facility
and the best amateurs of the community.
The first concert was given in May, 1919, and
inaugurated a new musical activity in the
institution. His published compositions are
the prize-chorus 'I know the way of the wild
blush-rose,' for^ mixed voices; the anthems
'Hark the sound of holy voices' (Summy),
'As it began to dawn' (Novello), 'There were
shepherds' (Schirmer), Easter and Christmas
Carols (Schirmer, Ditson), 'Sing, O daughter
of Zion,' for voice and piano (Summy), and
several violin-pieces (Ditson, and Carl Fischer).
Still in MS. are a Concert-Overture and Fan-
taisie for large orchestra, a String-Quartet in
G, a Serenade for strings and flute, a Nocturne
for 'cello and piano, and a Fugue for two
choirs on 'Ein' feste Burg,' Hebraic music for
chorus and organ, detached choruses, and
further pieces for violin and piano. [ R.8 ]
BODANZKY, ARTUR (Dec. 16, 1877,
Vienna, Austria), was a pupil of Griin,
Gradener and J. N. Fuchs at the Vienna Con-
servatory. He became a violinist in the
orchestra of the Imperial Opera in 1896. His
first engagement as conductor was in 1900 at
Budweis in Bohemia, going thence to the
Carl-Theater in Vienna. He conducted a
season of light opera in Petrograd in 1901.
In 1902 he returned to the Vienna Opera as
assistant to Mahler. Two years later he was
in Paris conducting the first French perform-
ance of 'Fledermaus' ('La Chauve-Souri').
Returning to Vienna, he became conductor at
the Theater an der Wien. For nearly three
seasons from 1906 he was director at the Royal
Opera in Prague and also conductor of the
Philharmonic Concerts there. In 1909 he
became director of the Grand-Ducal Theater at
Mannheim, where he also conducted the Phil-
harmonic and Oratorio Society concerts.
At the same time he made frequent visits as
guest-conductor to London, Milan, Rome,
Petrograd, Moscow, Brussels, Cologne, Vienna,
Munich and other prominent centers. In
1914 he conducted the first performance of
'Parsifal' in England. In 1915 he came to
the Metropolitan Opera House in New York.
His most conspicuous single achievement there
is his new version of Weber's 'Oberon,' the
score and orchestral parts of which he reedited.
In the spring of 1919 he made his debut in
New York as a symphonic conductor, leading
the New Symphony Orchestra. He has con-
tinued in this post through the courtesy of
the management of the Opera. [ R.IO ]
BOEKELMAN, BERNARDUS (June 9,
1838, Utrecht, Holland), had his first musical
studies with his father, Anton J. Boekelman,
who was a chorus-director and organist. He
studied at the Leipzig Conservatory in 1857-
60 under Moscheles, Richter and Hauptmaim,
and in 1862-64 was a private pupil of von
Biilow, Kiel and Weitzmann. He migrated
to Mexico during Maximilian's regime, but in
1866 settled in New York. The same year he
toured with Carl Formes and Jehin-Prunie
under the management of Strakosch. With
R. Richter, violinist, and E. Schenck, 'cellist,
he founded the New York Trio Club, and
played at the first performance in New York
of Tchaikovsky's Trio, op. 60, Scharwenka's
Concerto in B minor and Liszt's 'Danse Ma-
cabre.' In 1883-97 he was music-director
at Miss Porter's School in Farmington, Conn.,
and since 1897 has been in the same position
at Mrs. Dow's School at Briarcliff, N. Y.. as
well as teaching privately in New York. His
published works include a Festival March,
op. 1, for piano, four hands (also for band,
string-orchestra and two pianos) ; a Romance,
op. 2, for violin or 'cello and piano ; a 'Balla-
bile,' op. 3, for piano or string-orchestra; a
Concert Polonaise, op. 4, for piano (also for
two pianos, eight hands, string-orchestra or
military band) ; 'Valse de la Reine,' op. 5, for
piano; 'A Cheval,' op. 6, for piano; 'In der
Einsamkeit,' op. 7, for string-orchestra;
'Sehnsucht,' op. 8, for piano; three songs
for high voice, op. 9; 'Gondoliera,' op. 10,
for violin and piano; 'Romance,' op. 11, for
piano ; six thumb-studies, op. 12, for piano ;
'T6te-^-Tete,' op. 13, a piano-waltz ; and
three octave-studies for piano, op. 14. His
analytical editions of sixteen fugues from
Bach's 'Well-Tempered Clavichord' and 'In-
ventions' have had a wide circulation. In
these the themes are printed in colors and
rhombic notes, to facilitate the study of con-
trapuntal style. The fundamental harmony
is printed separately for a second piano or the
organ. [ R.5 ]
BOEPPLER, WILLIAM (Feb. 21, 1863,
Pferdsfeld, Germany), secured his university
education at Leipzig and Bonn. In music he
was trained by Gisbert Enzian in Kreuznach,
Reinecke, Fiedler and Langer in Leipzig, and
Arnold Mendelssohn in Bonn. Kis first
teaching in America was at Milwaukee in
1894. In 1895 he organized there the A
Cappella Chorus, in 1899 the Wisconsin Con-
servatory, and in 1902 the Milwaukee Sym-
phony Orchestra. In 1895 he was musical
editor of the Milwaukee 'Herald', in 1896-97
of the 'Germania.' Since 1904 he has also
been active in Chicago, conducting the Sing-
verein, the Germania Club, the Turner-Man-
nerchor, and the male chorus of the First
National Bank. Among his pupils are numer-
ous singers of prominence. [ R.8 ]
BOGERT, WALTER LAWRENCE (b.
1864). See Register, 8.
BOHANAN, GEORGE SMILEY (b. 1869).
See CoLLEGEa, 3 (West Virginia Wesleyan C).
136
BOHEMIAN CLUB
BOISE
BOHEMIAN CLUB, THE, of San Francisco,
has become famous for maintaining unique
open-air performances for its members and
their guests in which literary, dramatic and
musical elements are mingled in varying
proportions. The initial experiment was
made in 1878, leading to a series of 'Mid-
summer High Jinks' that continued from
1879 to 1901. The programs for these were at
first miscellaneous, but tended after 1890 to be-
come unified upon some plan proposed by
the leader or 'sire' for the year, resulting
often in a continuous play or drama. From
1880 the exercises regularly culminated in a
symbolic ceremony called 'The Cremation of
Care,' and imtil about 1910 the thought
underlying this dominated other exercises.
Of late years, however, this ceremony has been
transferred to the opening of the celebration.
Since 1902 the principal event has been the
presentation of a 'Grove-Play,' which has
become increasingly significant artistically.
In these 'plays,' as in the earlier 'Jinks,'
music has figiu-ed largely, either in melodrama
or in fairly complete operatic form, enlisting
the genius of many composers and inter-
preters. From almost the first the 'revels'
have been held in the impressive redwood
forests of Sonoma County to the northwest
of San Francisco. They are now domiciled
at 'The Grove,' a tract of over 800 acres on
the Russian River near Guerneville. Here
the Club holds a two weeks' encampment in
August. The theater or arena at its center
now has (1920) a 3-nianual open-air organ re-
sembling that successfully installed at San Diego
in 1915.
Among the earlier productions which
approximated the later musico-dramatic type
were 'The Sermon of the Myriad Leaves'
(1892), 'The Sacrifice in the Forest' (1893)
and 'The Enigma of Life' (1901). The list
of ' Grove-Plays ' is as follows :
1902 'The Man in the Forest,' text by C. K. Field,
music by Joseph D. Redding.
1903 'Montezuma,' text by L. A. Robertson,
music by Humphrey J. Stewart.
1904 'The Hamadryads,' text by Will Irwin,
music by W. J. McCoy.
1905 'The Quest of the Gorgon,' text by N. J.
Tharp, music by Theodor J. Vogt.
1906 'The Owl and Care,' text by C. K. Field,
music by H. J. Stewart. Not strictly a
Grove-Play.
1907 'The Triumph of Bohemia,' text by George
Sterling, music by Edward F. Schneider.
1908 'The Sons of Baldur,' text by Herman
Scheffauer, music by Arthur Weiss.
1909 'St. Patrick of Tara,' text by H. M. Stephens,
music by Wallace A. Sabin.
1910 'The Cave-Man,' text by C. K. Field, music
by W. J. McCoy.
1911 'The Green Knight,' text by Porter Garnett,
music by Edward G. Stricklen.
1912 'The Atonement of Pan,' text by J. D.
Redding, music by Henry K. Hadley.
1913 'The Fall of Ug,' text by Rufus Steele, musio
by Herman Perlet.
1914 'Nec-Natoma,' text by J. W. Shiela, musio
by Uda Waldrop.
1915 'Apollo,' text by Frank Pixley, music by
Edward F. Schneider.
1916 'Gold,' text by F. S. Myrtle, music by
Humphrey J. Stewart.
1917 'The Land of Happiness,' text by C. T.
Crocker, music by Joseph D. Redding.
1918 'The Twilight of the Kings,' text by R. M.
Hotaling, music by Wallace A. Sabin.
1919 'Life,' text by H. L. Wilson, music by
Domenico Brescia.
1920 ' The Ilya of Muron,' text by C. C. Dobie,
music by Ulderico Marcelli.
In 1918 there were published in a limited
edition three volumes of Grove-Plays of the
Bohemian Club, with a thoughtful Introduction
by the editor. Porter Garnett, the well-known
dramatic critic and author. Many of the plays
are preceded by special introductions by the
authors of the words, and in most cases notes are
given of the principal themes employed in the
musical settings. Articles upon the work of
the Club have been written by Jesse L. Williama
in 'Collier's Magazine' (Sept. 7, 1907), by
Arthur Farwell in 'Musical America' (Oct. 16,
1909) and by Percy Mackaye in The Civic
Theatre (1912). See also an appreciative notice
in The Art of Music, iv. 396-9.1
BOHEMIANS, THE, of New York, is a
fraternal union of musicians, started in 1907,
of which Rubin Goldmark was president in
1907-10 and Franz Kneisel since 1910.
BOISE, OTIS BARDWELL (Aug. 13,
1844, Oberlin, O. : Dec. 2, 1912, Baltimore),
while attending school in Cleveland began to
play the organ in church when but fourteen.
In 1861 he went to Leipzig, studying with
Hauptmann, Richter and Moscheles for
three years and then continued at Berlin
with Kullak. In 1865 he returned to Cleve-
land and for five years was teacher and
organist there. Then followed six years in
New York, teaching composition in the New
York Conservatory and serving as organist
at the Fifth Avenue Presbyterian Church. In
1877 he went to Europe again as student and
composer and enjoyed the advice and assist-
ance of Liszt. In 1878-88 he was in New
York, for three years in music and for seven
years in other business. Then for thirteen
years he was in Berlin, gaining a fine reputa-
tion as teacher of theory. He returned to
America in 1901, becoming teacher of theory
and composition at the Peabody Conservatory
in Baltimoi'e and music-critic of the 'News,'
holding both positions until his death. Among
his weU-known pupils are Huss, Brock way,
Hutcheson, Arthur Nevin and Atherton. His
» The data for the above summary were supplied
by the courtesy of Mr. Henry Bretherick of San
Francisco.
BOITO
BONVIN
137
compositions included both orchestral and
other works. His Harmony Made Practical,
1900, has had wide acceptance and he also
wrote Music and its Masters, 1901. [ R.5 ]
t BOITO, ARRIGO (Feb. 24, 1842, Padua,
Italy : June 10, 1918, Milan). See article in
Vol. i. 353-8. To the last he was busy over
his opera 'Nero,' whispering 'Nerone 6 finito'
just before his death. In March, 1912, he
was made Senator of the Kingdom.
BOLLINGER, SAMUEL (Sept. 22, 1871,
Fort Smith, Ark.), was the son of a musician
and early played the piano in his father's trio.
His first piano-lessons were with Emil Winkler ;
later he studied at Leipzig with Reinecke,
Zwintscher, Schreck and Quasdorf. He won
a scholarship at the Conservatory, taught
there, and was organist of the American Church
in 1893-5. In 1896 he founded the Bollinger
Conservatory at Fort Smith, Ark., but two
years later removed to San Francisco. Eight
years were spent there and one in Chicago
before starting the Bollinger Piano School in
St. Louis in 1907. He has performed pro-
grams of his own compositions, besides lectur-
ing on symphonies. His works include
'The Sphinx,' a fantaisie-suite for orchestra in five
scenes — 'Slumber-Song,' 'The Awakening,' 'The
Riddle,' 'Theban Festival,' 'Death-Song of the
Sphinx' (prize from the St. Louis Art League, 1916),
op. 18.
'Pompilia and Caponsacchi,' a dramatic overture,
based on Browning's ' Ring and the Book,' op. 3.
Waltzes for orchestra, op. 9.
Petite Senate, for violin, op. 2.
Sonate quasi une Fantaisie, for violin, op. 9.
Romanza, for violin, op. 6 (Breitkopf).
Caprice, for violin, op. 11.
Songs: 'Fancy' and 'Wilt thou weep?' op. 16
(Schirmer) ; 'Youth and Love' and 'A Confession,'
op. 12.
Piano-pieces : Scherzo, Mazurka and Romanza
Lamentosa, op. 1 (Crude, Leipzig) ; ' Danse M^lan-
colique' (F. A. Mills, New York); ' Chopinesques ' :
op. 4, including Prelude ('At Sea'), Nocturne and
Impromptu (Schirmer) ; op. 5, including Idylle,
Barcarolle and Humoresque (Breitkopf), and op.
7, including 'Danse Caprice' and 'Danse Humor-
istique' (Breitkopf); 'Lament,' op. 8, no. 1 (Breit-
kopf) ; Tone-Poem, op. 8, no. 2 (Schirmer) ;
'E16gie' and 'Impromptu Fantastique,' op. 15
(Shattiger, St. Louis) ; Symphonic Prelude, a concert-
study, op. 10; op. 20, including 'Trudging' and Ro-
mance; op. 21, 'American Dance.'
Fantaisie Romantique, for organ, op. 17. [ R.8 ]
BONAWITZ, JOHANN HEINRICH (Dec.
4, 1839, Diirkheim, Germany : Aug. 15, 1917,
London), was of Polish origin. He studied
at the Li^ge Conservatory, and was brought
to America in 1852. At twenty-two he re-
turned to Europe and made several concert-
tours as pianist with Joachim. He also taught
in Wiesbaden, Paris and London. In 1872-73
he organized popular symphony-concerts in
New York, but these failed from lack of popular
appreciation. His piano-recitals on a tour in
1873 were more successful. In Philadelphia
he produced two operas, 'The Bride of
Messina' (1874) and 'Ostrolenka' (1875). In
1876 he removed to Vienna, and his last thirty
years were spent in London. Here he founded
the Mozart Society, which gave annual series
of concerts largely devoted to Mozart's
music. Excerpts from his opera 'Napoleon'
were given in concert-form in London in 1911.
His works included the above operas and also
'Diogenes' (1870) and 'Irma' (1885, London),
a Requiem, a Stabat Mater, a piano-quintet,
a string-quartet, a trio, many piano-pieces
and songs. [ R.5 ]
BOND, CARRIE, nie Jacobs (b. 1862).
See Register, 9.
BONVIN, LUDWIG (Feb. 17, 1850, Siders,
Switzerland), after completing his college
course in Sion in 1870, studied medicine in
Vienna and law in Sion, but entered the Jesuit
Order in 1874 in Holland. There and in
England for several years he held positions
as organist. He was ordained priest in
Liverpool in 1885. Since 1887 he has been at
Canisius College in Buffalo, as head of the
college music-department till 1907, director
of the choir in 1887-95 and 1897-1905, and
of the orchestra in 1888-1907. As a musician
he is chiefly self-taught. Though once en-
gaged about equally in secular and ecclesi-
astical music, he has lately worked to improve
the music and text of Catholic English hym-
nology and to restore the original rhythmic
values in Gregorian chant. He has published
several hymn-books, among which 'Hosanna'
is most notable. Taking up the work of A.
Dechevreus and Gietmann, he has also pub-
lished many historical, scientific and controver-
sial essays in various languages and issued
several practical rhythmizations of the Vatican
melodies. His compositions are as follows :
'A Christmas-Night Dream,' op. 10, for string-
orchestra (Siegel) — also, as op. 8a, for violin, 'cello
and reed-organ (Coppenroth) .
Three ' Tone-Pictuies,' op. 12, for orchestra (Breit-
kopf).
Ballade, op. 25, for orchestra (Breitkopf) — also
for violin, 'cello and piano.
'Festival Procession,' op. 25, for orchestra (Breit-
kopf) — also in chamber-arrangements.
'Reminiscences,' op. 31, for orchestra (Breitkopf) ,
also for violin, 'cello and piano, or violin and piano.
Symphony in G minor, op. 67 (Breitkopf).
Two Symphonic Movements, op. 71 (Breitkopf).
'Suppressed Sadness at the Joyous Feast,' op. 12a,
for 2 violins, 'cello, reed-organ and piano (Coppen-
roth).
Andante Cantabile, op. 77, for violin, 'cello, reed-
organ and piano (Coppenroth) — also for organ
(Leuckart) .
Romanza, op. 19, for violin with orchestra or piano
(Breitkopf).
Melody, op. 56, for violin and piano (Breitkopf) , or
for string-quartet (Leuckart).
Three 'Tone-Poems,' op. 8, for organ (Leuckart).
Accompaniments for the KjTiale Parvum, the
hymnals 'Hosanna' and 'Cantemus Domino,' and
138
BOOTT
BOROWSKI
three Gregorian Masses (Coppenroth, Herder and
Breitkopf respectively) .
'O World, Full of Sunny Delight,' op. 20, for
chorus, soli and orchestra (Breitkopf).
'Wittekind,' op. 28, ballad for men's chorus, soli
and orchestra (Breitkopf).
'In the Summer Night,' op. 39, for chorus, baritone
and orchestra (Breitkopf).
'Faring Minstrels,' op. 43, for men's chorus (Siegel)
— also in German version.
'Song of the Spinning- Wheel,' op. 48, for women's
chorus and piano (Hug).
'Morn on the Northern Coast,' op. 50, for chorus,
baritone and orchestra (Breitkopf).
'Brittany,' op. 60, for chorus, baritone and or-
chestra (Breitkopf).
'Springtime,' op. 73, for soprano and alto with
orchestra (Breitkopf).
Masses: Cordis Jesu, op. 6, three arrangements
(Capra, J. Fischer).
St. Canisius, op. 26 (Boessnecker).
Mariae Virginis, op. 49 (Schwann).
St. Csecilia, op. 63 (Breitkopf).
'Te Chrlste Supplices,' op. 83 (Capra).
St. Ignatius, op. 84 (Coppenroth).
Gregoriana, op. 88 (Feuchtinger).
Immaculate Conception, op. 114 (in
'Cajcilia,' 1915).
Gregorian (eight), including Requiem
(Breitkopf, Coppenroth).
Psalm 103, op. 68, for chorus, soprano and or-
chestra, German and English text (Breitkopf).
Many other works for the Catholic service, in-
cluding Vespers, Litanies, Offertories, Hymns, etc.
Many songs, sacred and secular.
He has been a frequent contributor to musical
journals in Europe and America, especially
upon liturgical music. [ R.7 ]
BOOTT, FRANCIS (1813-1904). See Reg-
istcr 6
JBORDES, CHARLES (May 12, 1863,
Vouvray-sur-Loire, France : Nov. 8, 1909,
near Toulon). See article in Vol. i. 362. In
1905 he was compelled by a nervous break-
down to leave the Schola Cantorum, but in
the same year founded the Schola de Mont-
pellier. His opera 'Les Trois Vagues' was
not quite complete at his death. For orchestra
he composed the overture 'Errege Juan' and
'Danses Bearnaises,' for piano and orchestra
a 'Rhapsodic Basque,' for trumpet and or-
chestra, a 'Divertissement,' for flute and
string-quartet, and a 'Suite Basque.' To these
should be added pieces for piano and organ
and choruses. He collaborated with Saint-
Saens on the new French edition of Rameau's
works. See article in Musiciens Frangais
d'Aujourd'hui, 2nd ed., 1911.
BORI, LUCREZIA (b. 1888) . See Register,
10.
BORNSCHEIN, FRANZ CARL (Feb. 10,
1879, Baltimore), had his first musical instruc-
tion from his father, Theodore W. Born-
schein, and then entered the Peabody Con-
servatory in 1896 as violin-student under
Van Husteyn and of theory and composition
under Hamerik, Kahmer and Boise. He
gained a prize for his String-Quartet in D in
1900 and received his diploma in 1902, giving
a program of original works which included
the prize string-quartet, groups of songs and a
concerto in G minor for violin, played by him-
self. In 1905 he became violin-instructor and
conductor of student-orchestras at the Con-
servatory. In 1906 his setting of Cunning-
ham's 'A Wet Sheet and a Flowing Sea' was
awarded the prize offered by Kimball through
the Chicago Madrigal Club. In 1912, in the
competition of the Mendelssohn Club of Cleve-
land, he won part of the divided first prize for a
setting of Hugo's 'The Djinns' for orchestra,
mixed chorus and baritone solo. In 1915 his
cantata 'Onowa,' for mixed voices, soprano
and orchestra, was awarded the first prize
($500) by the Tri-City Music Festival Associa-
tion of New Jersey. His published works
include a violin-concerto, groups of violin-
compositions, choruses, cantatas with orchestra,
piano-pieces and songs. His material in
manuscript includes orchestral works in large
forms, like the symphonic suite ' The Phantom
Canoe,' the symphonic ballad 'Louisiana,'
the symphonic poems 'The Rime of the
Ancient Mariner' and 'A Hero's Espousal.*
Other works are a Sextet for flute and strings,
a Quintet in B minor for piano and strings,
pieces for violin, songs and numerous choral
works. He was music-critic on the Baltimore
'Evening Sun' for several years. In 1913 he
became correspondent for 'Musical America.'
He has contributed to leading periodicals,
made editorial revisions and enlargements of
standard violin-works, and supplied pedagogi-
cal material for his instrimient in the Ditson
Edition. In 1915 he became director of the
orchestras at the Baltimore Music School
Settlement and in 1916 organized a choral
society at Smithsburg, Md. In 1918 he took
charge of the Women's Chorus of the Myrtle
Club in Baltimore, and was also appointed choir-
director at the First Unitarian Church. [ R.9 ]
BOROWSKI, FELIX (Mar. 10, 1872, Bur-
ton, England), came of distinguished Pol-
ish stock. His father gave him his [early
instruction on the piano and the violin. His
mother was English, a pupil of Sterndale
Bennett. She too had a large part in his
training. During his school-days at London
and at Tunbridge Wells he studied the violin
with Jacques Rosenthal, a pupil of Leonard.
He gained much from the constant practice
of chamber-music at home. In 1887 he went
to the Cologne Conservatory, taking violin
with Japha, piano with Ernst Heuser and com-
position with Gustav Jensen. In London
from 1889 he had violin-lessons from Pollitzer
and counterpoint with Pearce. In 1892 he
became violin-teacher at a school in Aberdeen,
but the school soon failed and he returned to
BOSETTI
BOSTON SINGERS' SOCIETY 139
London. In 1896 he produced his 'Russian
Sonata,' which won strong commendation from
Grieg, as also from Leschetizky, Sauer, Rosen-
thal and others. Its success led to a call to
join the faculty of the Chicago Musical Col-
lege as teacher of composition, beginning in
August, 1897. Here he also taught the violin
and lectured on music-history. Recently
(April, 1916) he has succeeded to the presidency
of the College. In 1905 he also was Chicago
correspondent of the ' Musical Courier,' from
1906 critic for the Chicago 'Evening Post,'
and in 1909-18 for the ' Record-Herald.' Since
1908 he has been the maker of the program-
books for the Chicago Symphony Orchestra.
His chief compositions are
'Marche Triomphale,' in D minor, for orchestra
(1899, Chicago).
Concerto for piano and orchestra (1914, Chicago).
'Eugene On^gin,' symphonic poem.
'CrSpuscule' and 'S6r6nade,' for string-orchestra
(1914, Ravinia Park).
'Allegro de Concert,' for organ and orchestra
(1915, Chicago).
'Valse PathStique,' for orchestra (1915, Chicago).
'El^gie Symphonique,' for orchestra (1917,
Chicago).
'Trois Peintnres' — 'Portrait d'une Jeime Fille,'
'Le Jardin de Nuit,' 'La Fete' (1918, Chicago).
String-Quartet in A minor, dedicated to Grieg.
'Boudour,' a pantomime-ballet (1920, Chicago).
Two Organ-Sonatas, in A minor and C.
Suite in E minor, for organ.
Many piano-pieces, largely in small forms (over
60 published), but including the 'Russian Sonata'
and a set of Seven Preludes.
Many shorter violin-pieces, of which the best-
known is 'Adoration.'
Motet for 6-part chorus, organ and 'cello.
About 20 songs. [ R.8 ]
BOSETTI, JOSEPH (b. 1886). See Regis-
ter, 10.
JBOSSI, MARCO ENRICO (Apr. 25, 1861,
Salo, Italy). See article in Vol. i. 366-7. In
1912 he resigned from the directorship of the
Liceo Musicale at Bologna and has since lived
at Como. Among his later works are a Suite
for orchestra, op. 126, 'Intermezzi Goldoniani,'
for string-orchestra, op. 127, and 'Giovanna
d'Arco,' for soli, chorus and orchestra. See
list of works in Baker, Diet, of Musicians,
pp. 105-6.
BOSTON ACADEMY OF MUSIC. See
Academy of Music, Boston.
BOSTON CONSERVATORY OF MUSIC,
THE, was founded in 1867 by Julius Eichberg,
the eminent violinist, who continued at its
head till his death in 1893. For many years
it was one of the leading schools of the country,
and before 1886 is said to have educated some
15,000 pupils. In violin-instruction it was
especially eminent. As with its competitor,
the New England Conservatory (also founded
in 1867), much teaching was for a long time
done in small groups instead of individually.
After Eichberg's death the Conservatory was
for a time continued with success by Herman
P. Chelius.
BOSTON IDEAL OPERA COMPANY,
THE, was the name used from 1879 by a
troupe of light-opera singers, the best of whom
later (1887) formed the more famous com-
pany known as 'The Bostonians.' 'The
Ideals' were first assembled by Miss Ober
for the production of ' Pinafore.' Leading
singers were Barnabee and Karl.
BOSTON MUSIC CO., THE, was started
in 1885 by Gustave Schirmer, the son of the
founder of the Schirmer house in New York,
and conducted by him till 1891, when he re-
turned to New York to succeed his father and
the Boston house became a branch of that in
New York. The Company has always main-
tained a considerable amount of independent
pubhshing and has put forth much music by
American composers.
BOSTON MUSIC SCHOOL, THE, was
one of the early attempts to establish an
institution in several departments. Prepara-
tion for it was begun by Benjamin F. Baker
in 1847, when the Academy of Music, started
by Mason in 1833, came to an end. The
School was incorporated in 1851 and opened
with a considerable faculty. Baker remained
at its head until 1868, when the enterprise
was given up.
BOSTON OPERA COMPANY, THE, was
organized in 1908 on lines similar to those of
the Metropolitan in New York and in such
affiliation with it as to admit of more or less
exchange of artists, especially for German
works. A superb new opera-house was built
and in November, 1909, the first season
opened with 'La Gioconda. ' To increase
the supply of singers, the Boston Opera School
was started, with an arrangement for 'debu-
tante-nights' at intervals for the appear-
ance of promising aspirants. In 1910 first
American performances were given of De-
bussy's 'L'Enfant Prodigue,' Laparra's 'Ha-
banera' and Rachmaninov's 'The Miser-
Knight,' in 1911 of Converse's 'The Sacrifice,'
and in 1913 of Bizet's 'Djamileh,' Aubert's
' La Foret Bleue ' and Fevrier's ' Monna Vanna.'
The number of performances each season was
about 90. The outbreak of the war in 1914
led to the canceling of the next season, and in
May, 1915, the enterprise went into bank-
ruptcy. Many of its singers and most of its
property were secured by Max Rabinoff, who
for two years longer made tours with what
was called the Boston National Opera Com-
pany, at first with remarkable success, espe-
cially in the fine presentation of ballets. But
in 1917 this, too, became bankrupt.
BOSTON SINGERS' SOCIETY, THE.
See BoYLSTON Club.
140 BOSTON SINGING CLUB
BOUGHTON
BOSTON SINGING CLUB, THE. See
Vol. i. 369.
BOSTON STRING QUARTET, THE, was
a chamber-group maintained in 1915-19 by
players in the Boston Symphony Orchestra.
It consisted of Sylvain Noack and Otto Rath,
violins, Emil Ferir, viola, and Alwin Schroeder,
'cello.
BOSTON SYMPHONY ORCHESTRA,
THE. See Vol. iv. 800-1. The supreme
excellence of the Orchestra has been steadily
maintained and its commanding influence
widened and intensified. The character of
the programs and of their interpretation has
naturally varied somewhat with changing
conductors, but the liberal and catholic policy
of attention to the whole range of orchestral
literature has been constant. Dr. Muck's
first incumbency as conductor, on leave from
Berlin, covered the seasons of 1906-08. From
1908 to 1912 he was followed by Max Fiedler.
In 1912 Muck returned as permanent con-
ductor, but in March, 1918, he was arrested
as an enemy alien and in 1919 was sent out of
the country. The conductor for 1918-19 was
the French composer Henri Rabaud, and since
1919 Pierre Monteux (who had also led some
performances in 1918 before Rabaud's arrival).
In ' 1918 Witek resigned as concertmaster
and was followed for one season by Fredric
Fradkin, whose appointment was notable
in view of his American birth. The stress
connected with the removal of Muck in 1918
led to a reorganization of the management
of the Orchestra, Major Higginson retiring
from active direction, though without ceasing
his hearty support, and the control passed
into the hands of a strong Board of Directors.
In 1919 Major Higginson died. It is com-
monly understood that his endowment of the
Orchestra amounts to about $1,000,000.
Since 1901 the program-books of the concerts
have been prepared by Philip Hale. They
form an extraordinary library of historical
and critical information, set forth with force
and much literary dexterity. See Howe,
The Boston Symphony Orchestra, 1914.
BOSTONIANS, THE, were a troupe
formed in 1887 for the giving of light opera.
Its leaders were Henry C. Barnabee, Tom
Karl and W. H. Macdonald, and the company
derived many of its members and its initial
prestige from the previous Boston Ideal Opera
Company. The latter troupe had set a fine
standard for artistic finish and the new com-
pany carried it still higher. The organization
continued for about twenty-five years with re-
markable success, bringing out a long list of
graceful or comic works and introducing a not-
able succession of effective singers. See Barna-
bee, My Wanderin{js, and also the resume of
works and singers in The Art of Music, iv. 175-7.
BOTT, JEAN JOSEPH (1826-1895). See
Register, 7.
BOTTA, LUCA (1882-1917). See Register,
10.
BOUCHER, A. See Register, 3.
BOUSDOUSQUIE. See Register, 4.
J BOUGHTON, RUTLAND (1878, Eng-
land), was a pupil of Stanford at the Royal
College of Music, where he studied in 1900-01.
In 1904-11 he taught singing at the Birming-
ham School of Music. When the World War
broke out he tried to enlist, but was declined
at first for physical reasons. In the belief
that artistic effort had value for quickening
national spirit, he started in August, 1914, a
series of musico-dramatic festivals at Glaston-
bury in Somerset, aiming at first only to bring
out a cycle of music-dramas on Arthurian
subjects by the late Reginald R. Buckley and
himself. In spite of some checks and inter-
ruptions, the enterprise has gone on and ex-
panded until now it has enthusiastic support
from a large circle of musical and literary
people and there is prospect of the erection
of a special theater for the plays. Up to 1919
there had been 79 performances, of which
47 were operatic. Five were premieres of
dramas by English composers. Boughton's
compositions include the following :
Stage-works —
'The Immortal Hour,' choral drama, libretto by
Fiona MacLeod.
'The Birth of Arthur,' choral drama, libretto by
Buckley; and 'The Round Table,' choral
drama, libretto by Buckley — these forming
the cycle 'Arthur of Britain.'
'Bethlehem,' based on the Coventry Nativity-
Play.
'The Death of Columbine,' opera-ballet in one
act, text by Bostock.
'Dawn at Agincourt,' dramatic scene, text from
Shakespeare.
'The Moon-Maiden,' choral ballet.
'The Death-Dance of Graine,' ballet.
' Snow-White,' ballet, scenario by Margaret
Morris.
Choral works with orchestra —
'Sir Galahad,' choral march, text from Tenny-
son.
'The Skeleton in Armor,' symphonic poem, text
from Longfellow.
'The Invincible Armada,' symphonic poem, text
from Schiller-Lytton.
'Midnight,' symphonic poem, text by Edward
Carpenter.
'A Song of Liberty,' text by Helen Bantock.
Choral works unaccompanied —
Five sets of Choral Variations on English Folk-
Songs (Reeves).
'The City,' motet, text by Henry Bryan Binns.
Chamber and orchestral works —
'The Chapel of Lyonesse,' for piano, string-
quartet and three solo voices, text by William
Morris.
'A Celtic Prelude,' for piano, violin and 'cello.
'March of the British,' for orchestra (Reeves).
Three Folk-Dances for strings (Curwen).
Also several smaller choral works.
BOULLAY
BOYLSTON CLUB
141
See article by Herbert Antcliffe in 'The
Musical Quarterly,' January, 1918.
BOULLAY, LOUIS. See Register, 2.
BOURNE, WILLIAM (d. 1885). See Reg-
BOWEN, GEORGE OSCAR (b. 1873).
See Register, 8.
JBOWEN, YORK (Feb. 22, 1884, London).
See article in Vol. v. 618-9. Further works
are :
Two Symphonies (the latter produced by the New
Orchestra in London, Feb. 1, 1912).
'Tasso,' symphonic poem.
Concert-Overture.
Suite in D minor, for violin and piano.
Two viola-sonatas, in C minor and F (Cobbett
Prize) .
Phantasy-Trio, for violin, 'cello and piano.
Quartet, for four violas.
Phantasy-Septet, for clarinet, horn, string-quartet
and piano (one movement).
String-Quartet in D minor, op. 41 (two movements).
'Poem,' for solo viola, harp and organ.
Three Suites and 'Suite Mignonne,' for piano.
BOWMAN, EDWARD MORRIS (July
18, 1848, Barnard, Vt. : Aug. 27, 1913,
Brooklyn), was a graduate of St. Lawrence
University, Canton, N. Y. He came to New
York in 1866 for a year's study with William
Mason (piano) and J. P. Morgan (organ and
theory). In 1867 he went to St. Louis, where
for three years he was organist at the Union
Methodist Church and for two at the Second
Presbyterian Church. In 1872-74 he was in
Berlin under Bendel in piano, Haupt and
Rohde in organ and Weitzniann in composi-
tion, twice going to Paris in summer for organ-
lessons with Batiste. Returning to St. Louis,
he resumed his place at the Second Presby-
terian Church, taught piano and organ, and
in 1877 published an English version of Weitz-
mann's Manual of Musical Theory, which was
based on his own notes of Weitzmann's teach-
ing (from this a German version was made).
For a time in 1881 he was with Guilmant in
Paris and also worked in London with Mac-
farren, J. F. Bridge and Turpin. He was
the first American to become an associate of
the Royal College of Organists. Save for
this year abroad he was organist at the Second
Baptist Church in St. Louis from 1877 to 1887.
In 1883 he was president of the M. T. N. A.
(also in '84, '93, '94 and 1905). In 1884 he
was the organizer and till 1893 president of the
American College of Musicians, which did
much to raise standards of teaching. In
1887-94 he was organist at the Peddle
Memorial Baptist Church in Newark, in
1895-1906 at the Baptist Temple in Brooklyn
(with a noted choir of 200) and from 1906 at
Calvary Baptist Church in New York (also
with large choir and orchestra). While at
Newark (1891-95) he also served as music-
professor at Vassar College in Poughkeepsie,
following Ritter. In 1896 he was a founder of
the A. G. O. He was not only a superior
organist, but had marked ability as a teacher.
His forceful personality impressed itself upon
music-education in many ways. [ R.5 ]
BOYD, CHARLES N. (b. 1875). See Reg-
ister, 8.
BOYLE, GEORGE FREDERICK (June
29, 1886, Sydney, Australia), was the son of
music-teachers, began piano-lessons at five
and made his first public appearance in Sydney
at seven. He undertook concert-tours as
pianist at fourteen, continuing thus in Australia,
Tasmania and New Zealand for five years.
He then went to Berlin and studied for a time
with Busoni. His first recital-program in
Berlin (March, 1908) included MacDowell's
'Keltic' Sonata (first time there). He con-
certized in Holland from October, 1906, and in
London from June, 1908, being associated in
Holland with Emma Nevada and in Great
Britain -wdth Pauline Donalda and Maud
Allan. In 1908 he played at the reception to
the King and Queen of Spain, and in 1910
appeared with the Queen's Hall Orchestra
under Wood. In 1910 he came to America as
teacher of piano at the Peabody Conservatory
in Baltimore. While thus busy with teaching
he has found opportunity to give recitals not
only in Baltimore, but in New York, Boston
and other cities. He has made several tours
in the South. His compositions include
Concerto in D minor, for piano and orchestra
(Schirmer), given at the Worcester Festival of
1911, in New York in 1912 and elsewhere, with
Hutcheson as pianist, as well as in England and
Australia.
Symphonic Fantasie, for orchestra, given by St.
Louis Orchestra in 1916 and New York Sym-
phony Society in 1918.
Concerto for 'cello and orchestra, given by Phila-
delphia Orchestra in 1918 with Kindler as 'cellist.
Sonata for 'cello and piano, given in London in
1909 with Jacques Renard as 'cellist.
Sonata in B, for piano, given in Baltimore in 1916
by composer.
'The Pied Piper of Hamelin,' cantata for tenor,
baritone, contralto, chorus and orchestra
(Chappell).
'Don Ramiro,' dramatic cantata (text from Heine)
for soprano, tenor, bass, chorus and orchestra.
'Slumber-Song,' for orchestra, given by American
Orchestra, Chicago, in 1915.
'Aubade,' for orchestra, given by St. Louis Or-
chestra in 1916.
Andante Lamentoso for string-quartet.
Many shorter piano-pieces and songs, some pub-
lished by Schirmer, Novello, Carl Fischer, etc.
[ R.10 ]
BOYLSTON CLUB, THE, of Boston, was
organized in 1873 as a choral society of about
200 voices. In 1875-93 it was led by George
L. Osgood and speedily achieved a fine reputa-
tion for artistic efficiency in interpreting
secular works. After 1890 it was known aa
the Boston Singers' Society.
142
BRADBURY
BRESSLER-GIANOLI
BRADBURY, WILLIAM BATCHELDER
(Oct. 6, 1816, York, Me. : Jan. 7, 1868,
Montclair, N. J.), from 1830 had lessons on
the piano and organ in Boston from Sumner
Hill and Lowell Mason and attended the
latter's singing-classes. From 1834 he served
as church-organist. In 1836 Mason sent
him to Machias, Me., to lead a class and later
to St. John's, N. B. In 1840 he was organist
in Brooklyn, and from 1841 at the Baptist
Tabernacle in New York, where and in other
churches he organized popular singing-classes.
These latter led to annual 'festivals,' held at
the Broadway Tabernacle, and hastened the
recognition of music in the public schools.
In 1841 he published his first book, The Young
Choir, assisted by Hastings, with whom in
1844-51 he collaborated upon four others of
more importance. In 1847-49 he was in Eng-
land and Germany, studying at Leipzig with
Hauptmann, Moscheles, Ernst Wenzel and
Bohme, besides investigating methods of
popular instruction. After his return to New
York he was active in classes and 'conventions'
and in editing song-books, sacred and secular.
In 1854, with his brother E. G. Bradbury,
he went into the business of piano-making
with success. Altogether, he was author or
editor of about sixty collections of popular music.
Among these, The Jubilee (1858) had a sale
of over 200,000 copies, and Fresh Laurels and
the 'Golden' series had even greater popu-
larity. Of his two Sunday-school cantatas,
'Daniel' (1853) and 'Esther' (1856), the lat-
ter for many years had an enormous vogue.
Many of his simple, but melodious tunes are
still in wide use. See Tune-Books, 1841, and
under Hastings ; also Hall, Gospel Song and
Hymn Writers, pp. 23-7. [ R.3 ]
BRADBURY PIANO CO., THE, of New
York, is the present name of the business
established in 1854 by E. G. and W. B. Brad-
bury. Its development on modern lines was
due to the skill and enterprise of F. G. Smith,
who in 1861 helped perfect the 'Bradbiu-y'
piano and in 1867 became W. B. Bradbury's
successor as head of the firm. It has been
continued under F. G. Smith, 2nd, and F. G.
Smith, 3rd. Since 1917 William Knabe, 3rd
(b. 1872), has been general manager.
BRADFORD, SAMUEL F. See Tune-
Books, 1830.
BRAHAM, HERBERT J. (b. 1885). See
Register, 9.
BRAINARD, SILAS (1814-1871). See Reg-
ister, 3.
BRAINARD'S SONS & CO., of Cleveland,
is the publishing-house founded in 1836 by
Silas Brainard and taken over in 1871 by his
sons Charles S. and Henry M. Brainard. In
1876 the firm erected a large building of its
own. They also have a house in Chicago.
BRANDEIS, FREDERIC (July 5, 1835,
Vienna, Austria : May 14, 1899, New York),
was early a pupil of Czerny and Fischhof
(piano) and of Rufinatscha (composition).
He was brought to America at fourteen and
studied with Meyerhofer in New York, making
his debut as pianist in New York in 1851.
He toured with concert-companies, like that
of Wallace, but finally settled in New York
as teacher and composer. He was organist
of the (R. C.) Cathedral in Brooklyn and of
one of the large New York synagogues. His
larger works, though performed, are un-
published (see list in Baker, Diet, of Musicians,
p. 113). [ R.4 ]
BRANDT, HERMANN (b. 1842). See
Register, 6.
BRANSCOMBE, GENA (Nov. 4, 1881,
Picton, Ont.), is descended from a family that
settled in New York in 1640. She was a
pupil at the Chicago Musical College in 1897,
studying piano with Ziegfeld and Friedheim
and composition with Borowski. On graduat-
ing in 1899 she won a medal for composition.
A further year of piano-study with Hans von
Schiller brought another medal and appoint-
ment in the faculty of the College, which she
held for seven years. In 1904 she studied
piano with Ganz, and in 1905 composition,
especially song-writing, with Von Fielitz.
In 1907-09 she was piano-teacher at the
Whitman Conservatory in Walla Walla, Wash.
Going to Berlin in 1909 she resumed work
under Ganz, with composition under Hiun-
perdinck. In 1910 she married John Ferguson
Tenney of New York and has since lived there.
Her songs have been widely sung. About
seventy are published (Schirmer, Ditson,
Schmidt), and the following have won special
favor: 'The Morning Wind,' 'I bring you
heartsease,' 'Krishna,' 'Hail, ye tyme of
holie-dayes,' 'Dear little hut by the rice-
fields,' 'There's a woman like a dewdrop,'
'Three Mystic Ships,' 'Boot and Saddle,'
'Dear is my inlaid sword,' and 'Just in the
hush.' She has also four cycles for solo
voice, many part-songs for women's or mixed
voices and piano- and violin-pieces. A 'Fes-
tival Prelude' for orchestra was composed for
the MacDowell Festival at Peterboro, N. H.,
in 1914. [ R.9 ]
BRASE, HAGBARD (b. 1877). See Col-
leges, 3 (Bethany C, Kan.).
BRASLAU, SOPHIE. See Register, 10.
BRATTLE, THOMAS (d. 1713). SeeReg-
BREIL, JOSEPH CARL (b. 1870). See
Register, 8.
BREMNER, JAMES (d. 1780). See Regis-
ter, 1.
BRESSLER-GIANOLI, CLOTILDE (1875-
1912). See Register, 9.
BRETHERICK
BROCKWAY
143
BRETHERICK, HENRY (b. 1849). See
Register, 6.
BREWER, JOHN HYATT (Jan. 18, 1856,
Brooklyn), for seven years from 1864 was boy-
soprano in various Brooklyn and New York
churches, meanwhile taking lessons on the
piano and the organ. From 1871 he was
organist for two years at the City Park Chapel
in Brooklyn, for four at the Church of the
Messiah (P. E.), for four at the Clinton Avenue
Church (Congregational), and finally, since
1881, at the Lafayette Avenue Church (Presby-
terian). Besides general teaching and some
recital-work, he has been active as conductor,
having been leader of the Cecilia Society,
the Flatbush Glee Club, the Hoadley Amateur
Orchestra, and especially the Apollo Club
(all in Brooklyn). He was one of the original
members of the Apollo Club in 1877 and
during the twenty-five years of Buck's
leadership its only accompanist. When Buck
retired in 1903 he became his successor, con-
tinuing ever since. He was a charter-member
of the music-section of the Brooklyn Institute,
its secretary from the first and since 1906 one
of its fellows. He was a founder of the A. G.
O., fellow since 1902 and in 1905-08 warden.
In 1914 he was made Mus.D. by New York
University. In his youth he was for ten
years (1878-88) a pupil of Buck in composi-
tion. The influence of his teacher may doubt-
less be seen in the following list of works :
String-Quartet in D minor.
Suite in G minor, for orchestra — Prelude, Bar-
carolle, Intermezzo, Peasants' Dance and Finale
(1891).
'April Winds,' a fantasie for orchestra.
'Valse Caprice' and 'Romanza,' for string-quintet
and flute.
'A Springtime Sketch,' a scherzo for string-quartet.
'An April Song,' a cantilena for string-quartet.
' Reverie,' for organ, harp, 'cello and violin (Gray).
'Forest Song' and 'Dance of the Gnomes,' sketches
for 'cello and piano.
'The Lady of the Lake,' for organ, piano and 'cello
(1891, Mason & Hamlin prize).
'Up with the Flag I ' (1894, Brooklyn City prize).
'Lord of the Dunderberg,' cantata for men's
voices and orchestra (1905, Schubert Glee Club
prize).
'Bedouin Love-Song,' a cappella chorus for mixed
voices (Chicago Madrigal Club prize, 1906).
The total number of his compositions is
about 200. [ R.6 ]
'BRIDE OF MESSINA, THE.' An opera
by J. H. Bonawitz, brought out at Philadel-
phia in 1874.
t BRIDGE, FRANK (Feb. 26, 1879,
Brighton, England). See article in Vol. v.
619. In 1910-11 he conducted the Brema
opera-season at the Savoy Theatre and in
1913 the Beecham season at Covent Garden.
Additional works are a 'Dance-Rhapsody'
for orchestra (1909, Liverpool Festival), the
orchestral suite 'The Sea' (1912), a 'Dance
Poem' for orchestra (1914, Philharmonic) and
notable extensions of his chamber-music list.
BRIGNOLI, PASQUALINO (d. 1884).
See Register, 4.
BRINKERHOFF, CLARA M., n6e Rolph.
See Register, 4.
BRISTOW, GEORGE FREDERICK (Dec.
19, 1825, Brooklyn : Dec. 13, 1898, New
York), at eleven was playing the violin at the
Olympic Theatre in New York. From 1842
for over thirty years he was a first violinist in
the New York Philharmonic Society, He
was conductor of the Harmonic Society in
1851-62, a church-organist and from 1854
until his death a visiting-teacher in the New
York public schools. W. J. Henderson has
described him as 'a most earnest man, filled
with a real love for his art, and self-sacrificing
in labor for its benefit' and as 'one of the
earliest of the long-suffering band of American
composers, who will be remembered always as
one who strove to push American music into
artistic prominence.' His chief work was the
opera 'Rip Van Winkle,' performed in New
York on Sept. 27, 1850, and again in 1870. An
overture was played by the Philharmonic
Society on Jan. 9, 1847, his second symphony
on Mar. 1, 1856, his third symphony on Mar.
26, 1859, and his 'Arcadian' symphony on
Feb. 14, 1874. He also wrote two oratorios,
'Praise to God' (1860) and 'Daniel' (1867);
two cantatas, 'The Great RepubUc' (1880)
and ' Niagara ' ; an unfinished opera, ' Colum-
bus ' ; two symphonies besides those noted
above ; two string-quartets ; and many smaller
works. [ R.4 ]
BRISTOW, WILLIAM RICHARD (1803-
1867). See Register, 3.
BROADHURST, Miss (1775?- ? ). See
Register, 2.
BROCKWAY, HOWARD A. (Nov. 22,
1870, Brooklyn), after beginning the piano
with Kortheuer, from 1890 spent five years
at Berlin with Barth (piano) and Boise (com-
position). In February, 1895, he gave a
concert there which included, besides piano-
solos, his Symphony in D and his violin-
sonata, making the impression of unusual
maturity. From 1895 he worked in New York
as pianist and teacher and in 1903-10 was in
the faculty of the Peabody Conser\'^atory in
Baltimore, then returning to New York. In
1910 he was the judge of the Earl Grey Com-
petition at Toronto. Later he joined Lorraine
Wyman in collecting the folk-songs of the
Kentucky highlands, published as Lonesome
Tunes, 1916 (Gray). His works include the
following :
Symphony in D, op. 12 (1895), given by Boston
Symphony Orchestra in 1907.
Ballade in G minor, op. 11, for orchestra (1895).
Scherziao for orchestra.
144
BROMFIELD
BROUNOFF
'Sylvan Suite,' op. 19, for orchestra — 'Mid-
summer Idyl,' ' Will o* the Wisps,' ' Dance of the
Sylphs,' 'Evening Song,' 'Midnight,' 'At Day-
break,' given by Boston Symphony Orchestra
in 1903.
Sonata in G minor, op. 9, for violin and piano
(1895).
Cavatina and Romanza, for violin and orchestra
(1895).
Suite in E minor, for 'cello and orchestra (or piano).
Variations on an original theme, for piano.
' Charakterstiicke,' 'Phantasiostiicke,' 'Moods,'
'Serenade' and many sets of pieces for piano.
'Sir Oluf,' cantata for mixed chorus and orchestra.
'Des Sangera Fluch' and two others, for 8-part
chorus a cappella.
Suite for 'cello and piano, op. 35.
Quintet for strings and piano, op. 36.
Concerto for piano, op. 37.
See appreciations in Hughes, Contemporary
American Composers, pp. 298-304, and The
Art of Music, iv. 382-3. [ R.8 ]
BROMFIELD, EDWARD, Jr. (1723-
1746). See Register, 1.
BROOKFIELD SUMMER SCHOOL OF
SINGING, THE, Brookfield Center, Conn.,
was founded in 1900 by Herbert W. Greene,
who has continued at its head ever since. The
enterprise has developed into a significant
colony of musical workers and students.
BROOKLYN ORATORIO SOCIETY,
THE, was organized in 1893 by Walter Henry
Hall, who has remained its conductor to the
present time. Adopting a high standard
from the first, it speedily secured recognition.
During the first twenty years two concerts
were given annually in the Academy of Music,
the only adequate concert-hall in the city.
When this was burnt, for the season of 1904-
05 the concerts were transferred to Carnegie
Hall in New York, but later resumed in the
superior new Academy of Music in Brooklyn.
The Society in its early days was much aided
by the interest of Howard W. Connelly, who
had been secretary of Thomas' Brooklyn
choral society, and by the adoption of its con-
certs into the system of entertainments under
the Brooklyn Institute of Arts and Sciences.
In 1912 Mr. Hall became professor at
Columbia, and the Society was miade one of
the two sections in the University Chorus,
assisting there on festival occasions, but with
entire freedom for its own local concerts.
Besides the more usual oratorios, the Society
has to its credit Handel's 'Samson' and 'Acis
and Galatea,' Bach's St. Matthew Passion,
Liszt's 'St. Elizabeth,' the second perform-
ance in America of Henschel's Requiem
(Metropolitan Opera House), Elgar's 'Black
Knight' and 'Banner of St. George,' and the
first performances in America of Elgar's
'King Olaf,' 'The Music-Makers,' 'Spirit of
England' and Harty's 'Mystic Trumpeter.'
Two Brooklyn composers have also been repre-
sented, Buck by 'The Light of Asia' and
'The Golden Legend,' and Shelley by his
' Vexilla Regis.'
BROOKLYN PHILHARMONIC SOCI-
ETY, THE. See Vol. iv. 801.
BROOKS, HENRY MASON. See Regis-
ter, 7.
BROOME, WILLIAM EDWARD (1868,
Manchester, England), had his early training
from Roland Rogers of Bangor Cathedral ;
in theory he is largely self-taught. He was
assistant-organist of Bangor Cathedral and
of St. Mary's at Bangor in 1883-90. He
conducted the Penrhyn Male Chorus, which
visited the Chicago Eisteddfod in 1893, and
gave many organ-recitals in the United States
and Canada. He located first in Brockville,
Ont., moved to Montreal in 1894, and in 1905
to Toronto, where in 1907 he succeeded Vogt
at the Jarvis Baptist Church. In 1910 he
organized the Toronto Oratorio Society,
which has given important works with the
assistance of the New York Philharmonic,
Russian Symphony and Toronto Symphony
Orchestras. He holds the degree of Mus.D.
(by examination) from Toronto University.
He has officiated as judge in the choral con-
tests at the Chicago, Buffalo and St. Louis
Expositions and in many other cities. He has
published about 100 works (chiefly Schirmer,
Ditson, Boston Music C^o., Schmidt). These
include the short cantata 'A Hymn of Trust,'
for tenor solo, chorus and orchestra (Schirmer) ;
the dramatic chorus 'Sea-Song,' with orchestra
(Ditson) ; many anthems and a series of
Opening Sentences from the Psalms. He
was the recipient in Wales of eight national
prizes for composition, the most important
being for the opera 'The Siege of Cardiff
Castle,' when Bridge, Parry and Mackenzie
were the judges. [ R.8 ]
BROSKY, FRANK J. (b. 1883). See Reg-
ister, 9.
BROUNOFF, PLATON G, (May, 1863,
Elizabethgrad, Russia), had his musical educa-
tion at the Musical Institute in Warsaw and
the Imperial Conservatory at Petrograd,
Rubinstein and Rimsky-Korsakov being among
his teachers. In 1891 he came to America
and in 1892 settled in New York as teacher,
singer and lecturer. He has lectured on
Russian music and kindred topics for the
Board of Education in New York and many
other cities, taught operatic classes at the
Institute of Musical Art and been lecturer on
art and supervisor at the Modern Arts Forum.
He has written the Indian opera, 'Ramona';
the oratorio ' The Glory of God' ; a music-
drama, 'Xilona' ; four symphonies — ' Russian
Revolution,' 'Return of the Jews to Palestine,'
'Carnival in Rome' and 'Titanic' ; four suites
for piano and two for violin ; the overture
'Russia'; and numerous songs. He is the
BROWN
BROWNE
145
author of The Ten Commandments of Piano-
Practice. [ R.9 ]
BROWN, ALLING. See Tune-Books,
1823.
BROWN, BARTHOLOMEW. See Regis-
ter, 3, and Tune-Books, 1802.
BROWN, EDDY (July 16, 1895, Chicago),
whose father was an Austrian Pole and his
mother a Russian, began violin-study at an
early age and continued with Hubay in Buda-
pest, receiving the artists' diploma from the
Royal Conservatory when only twelve. He
then went to Petrograd and studied with Auer.
In 1910 he made a sensational debut in Berlin,
and appearances with many European orches-
tras followed, under conductors like Nikisch,
Mengelberg, Safonov and Steinbach. Since
1916 he has toured in America, playing with
all the large orchestras and appearing in every
important city. He has composed much for
violin and piano, besides many songs, and
has made numerous arrangements for violin.
A musical comedy, finished in 1919, is prom-
ised an early New York production. [ R.IO ]
BROWN, WILLIAM. See Register, 2.
BROWN COLLECTION OF MUSICAL
INSTRUMENTS, THE, at the Metropolitan
Museum of Art in New York, one of the largest
in the world, was gathered mainly by Mary E.
(Adams) Brown (d. 1917), wife of John Crosby
Brown, who for many years was at the head
of the banking-firm of Brown Brothers. In
1884 Mrs. Brown, having procured a few
Italian instriunents for decorative purposes,
became interested in their historic and scientific
value and became a zealous collector. In
1889 she offered the 275 specimens that she
then had to the Metropolitan Museum, re-
taining the right to increase and supervise the
Collection during her lifetime. This offer was
accepted, and a small but interesting group
of instruments, mostly given by Joseph Drexel,
was combined with her donation. The growth
of the Collection from that time was rapid
and so wisely directed that it soon became
one of the remarkable features in the Museimi.
In 1893 adequate rooms for its display were
assigned in the new north wing, the nimiber
of items then being about 700. In 1899 this
number had increased to over 2000, in 1906 to
over 3500, and is now about 3700.
In its present arrangement, the Collection
offers opportunity for study in three ways :
(a) ethnographically, by countries or races ;
(6) historically, by periods or stages; (c)
eystematically or analytically, by classes and
types. In each series, where actual specimens
of importance are not available, they are
represented by reproductions or photographs.
Great pains is taken to facilitate intelligent
study by explanatory labels, diagrams and
other illustrations, collateral information and
book-references. A notable extension of the
Collection is the series of engraved, etched
or lithographed portraits of composers, per-
formers and writers — numbering nearly 1000
specimens — which has developed from initial
gifts by Thatcher M. Adams in 1899 and Mrs.
Charles B. Foote soon after. The manufacture
of many leading modern instrmnents is illus-
trated by analytic models of parts in process
of formation. Because of its comprehensive-
ness and system the Collection is not only
valuable for musical history, but also signifi-
cant for the ethnologist, the student of social
manners and implements, and inquirers about
matters so diverse as the arts of decoration
and the science of acoustics. Because of its
size, and especially because displayed with
unparalleled clearness and convenience, it
has but one or two rivals anywhere.
Though exceedingly rich in other directions,
the Collection is noted for its rare specimens
of keyboard-instruments. Chief among these
is the Cristofori piano of 1720, the earliest of
the two known examples of his own handiwork.
The elegant double spinet of Grovellus (1600)
is one of but three known instances of this
peculiar type. Of harpsichords there are two
fine specimens with two banks, from the 17th
and the 18th centuries respectively, and one
with tliree banks, made by Sodi in 1779.
Curious and historic is the claviorganum
(harpsichord and organ combined), originally
made in 1712 for the Elector of Hanover,
but its harpsichord division remodeled into a
piano, which was once in Carl Engel's famous
collection. In 1911 the Museum received
from Bernardus Boekelman a Ruckers virginal
of 1622 and a Pasquino Querci spinet.
BROWN MUSICAL LIBRARY, THE
ALLEN A., in the Boston Public Library, was
presented in 1894 by Allen A. Brown, a Boston
business-man. It then contained about 7000
volumes. By further gifts from Mr. Brown
and others and by purchases it was increased
to about 11,000 in 1910, and is now reckoned
at about 15,000. It is rich in many different
directions — in scores of every sort, instru-
mental and vocal, in standard critical editions
of the complete works of great composers, in
historical, theoretical and critical works
about music, in unique collections of pro-
grams, etc. The collection is located in a
separate section of the Library, and is for
reference only. See Vol. ii. 717, and paper by
H. G. Wadlin, the librarian, in M. T. N. A.
Proceedings, 1910, pp. 192-200.
BROWNE, JOHN LEWIS (May IS, 1866,
London), the son of an English organist, was
brought to America in 1873 and studied with
S. P. Warren and Archer. In 1888-92 he was
organist of the Holy Name Cathedral in
Chicago, in 1892-98 at San Francisco, in 1899-
146
BROWNLBE
BUCK
1907 at Atlanta, in 1908-10 at Wanamaker'a
in Philadelphia, and since 1912 at St. Patrick's
Church in Chicago and also theory-teacher
at the Metropolitan Conservatory. In 1901
he was soloist at the Royal Academy of St.
Cecilia in Rome, and appeared at the World's
Fairs at St. Louis in 1904 and at Jamestown
in 1907. In Philadelphia he gave over 500
concerts and has been heard in recital in most
of the larger cities. He designed the great
organ in the Medinah Temple in Chicago,
at its opening playing Borowski's 'Allegro de
Concert' for organ and orchestra for the first
time, the composer conducting. At Atlanta
he conducted the Symphony Orchestra and the
Atlanta Festival for three years. In 1914 he
was elected to the Royal Philharmonic Acad-
emy in Rome, and in 1916-19 was dean of
the Illinois Chapter of the A. G. O. He has
written the opera 'La Corsicana' (New York,
1903), a Missa Solemnis (1913), the motet
'Ecce Sacerdos Magnus' (Paulist Choristers
at the Vatican, 1912), and more than sixty
lesser pieces, vocal and instriunental. In
manuscript are a suite for orchestra, a
'Romanza' for orchestra and an organ-sonata.
He was made Mus.D. by the Grand Conser-
vatory, New York, in 1902. [ R.7 ]
BROWNLEE, CORNELIA. See Colleges,
3(Shurtleff C.,I11.).
BROWNSON, OLIVER. See Tune-Books,
1783.
JBRUCH, MAX (Jan. 6, 1838, Cologne,
Germany). See article in Vol. i. 407-8.' He
retired from active participation in musical
affairs in 1910. His later compositions include
'Szene der Marfa,' op. 80, for mezzo-soprano and
orchestra, text from Schiller.
Osterkantate, op. 81, for soprano, chorus, or-
chestra and organ.
'Das Wessobrunner Gebet,' op. 82 (arranged from
op. 19), for mixed chorus, orchestra and organ.
Eight Trios, op. 83, for piano, violin and 'cello (or
three clarinets).
Konzertstiick, op. 84, for violin and orchestra
(Norfolk Festival, 1911).
Romanza in F, op. 85, for violin and orchestra.
Six songs, op. 86, for mixed chorus.
'Die Macht des Gesanges,' op. 87, for baritone,
chorus, orchestra and organ, text from Schiller.
Concerto, op. 88, for two pianos and orchestra.
'Heldenfeier,' op. 89, for chorus and orchestra.
Also male-chorus arrangements of Welsh and Scotch
folk-songs, and the male choruses ' Dem Kaiser '
and 'Vom Rhein.'
BRUENING, HANS (b. 1868). See Reg-
ister, 8.
BRUENNER, LEOPOLD (b. 1869). See
Register, 7.
BRUNDAGE, RUTH. See Colleges, 3
(Wilmington C, Ohio).
'The statement in Vol. v. 620, that 'he died in
Vienna, Sept. 17, 1907,' should have been entered
under the name of Ignaz BriUl,
BRUNE, ADOLF GERHARD (June 21.
1870, Baccimi, Germany), first studied with
his father. From 1887 he took the regular
course at the Teachers' Seminary in Osna-
briick, and in addition kept up studies in piano,
violin and clarinet. In 1889-94 he was
organist at Peoria, 111. Since 1894 he has been
in Chicago, from 1898 to 1917 as teacher of
piano and theory at the Chicago Musical
College. At the start of his Chicago career he
worked with Liebling and he also had advice
from Ziehn in composition. Concert-playing
was given up in favor of teaching and com-
posing. His list of compositions now extends
to op. 76. The Ballade in E minor for piano,
op. 2, and the Ballade in F, op. 11, are
published by Leuckart, while Schott & Sons
have published the Sonata in D minor for
piano and violin, which has been praised for
harmonic richness and contrapuntal skUl.
The string-quartet, op. 5, has been played
by the Spiering,iPhiladelphia and Flonzaley
Quartets, and movements from the string-
quartets, opp. 26 and 38, by the Chicago and
Kneisel Quartets. The ' Lied des Singschwans,'
a symphonic poem for large orchestra, has
been given by the Chicago Orchestra under
Stock ; ' Ein Dammerungsbild ' was intro-
duced by Kunwald and the Cincinnati Orches-
tra in 1917; and the 'Overture to a Drama*
was brought forward by Stock. Many of
his songs, organ-pieces and choral works
have been heard in public, though not yet
published. A fuller list of works is given in
Baker, Did. of Musicians, p. 124. [ R.7 ]
BRUNER, MINNIE C, nee Brown (b.
1864). See Colleges, 3 (Franklin C, Ind.).
BRYANT, ANNA G. See Colleges, 3
(Lombard C, 111.).
BRYANT, GILMORE WARD (b. 1859).
See Register, 7.
BUCHHALTER, SIMON (b. 1881). See
Register, 9.
BUCK, DUDLEY (Mar. 10, 1839, Hart-
ford, Conn. : Oct. 6, 1909, Orange, N. J.).
See article in Vol. i. 413-4. Buck's career,
becoming established just when and as it did,
exerted an important formative impression
on American development. He had solid mu-
sicianship as organist and composer, com-
bined with the wisdom and tact required
to win and hold popular appreciation.
Much of his early work as organ-recitalist
was educational in much the same way
as that of Thomas when on his early or-
chestral tours. For a long time he exerted a
profound influence upon choir-music, espe-
cially as the American exaltation of the quartet-
choir fell in with his own predilections. In
this field what he set out to do was extraor-
dinarily well done. Regarding his choral
works it is fair to point out his fine sympathy
DUDLEY BUCK
BUCK
BURLEIGH
147
with his texts and the versatility with which
he secured expression. He was the direct in-
spiration of many pupils, but he was also an
indirect educator of the public taste. [ R.5 ]
BUCK, DUDLEY, Jr. (b. 1869). See
Register, 8.
tBUCK, PERCY CARTER (Mar. 25,
1871, West Ham, England). See article in
Vol. V. 620. Besides the positions at Har-
row and Dublin there mentioned, which he
still holds, he has been president of the
Royal College of Organists and of the Union
of Graduates in Music. He has published
Ten Years of University Music at Oxford,
1894 (with Mee and Woods), Unfigured Har-
mony, 1911, The Organ: a Complete Method,
other instruction-books and The Oxford Song
Book.
BUEHRER, GEOFFREY CARL (b. 1878).
See Register, 9.
BUHLIG, RICHARD (b. 1880). See Reg-
ister, 9.
BUHRMANN, THOMAS SCOTT GOD-
FREY (b. 1887). See Register, 9.
BULL, OLE BORNEMANN (Feb. 5, 1810,
Bergen, Norway : Aug. 17, 1880, Lyso6n,
near Bergen). See article in Vol. i. 418-9. His
first concert in America was on Nov. 23, 1843.
The first tour included Havana as well as the
eastern United States. It lasted nearly two
years, the concerts numbered over 200 and the
receipts were about $400,000. His second
trip was in 1852, and it was then that he made
the ill-fated purchase of the tract in Pennsyl-
vania which he named Oleana, hoping 'to
found a New Norway, consecrated to freedom,
baptized in independence, and protected by
the mighty flag of the Union.' On this trip
he went to California, via Panama, and
his fellow-travelers were Adelina Patti and
Maurice Strakosch. For about two months
early in 1855 he was lessee of the Academy of
Music in New York, and offered a prize of
$1000 for ' a grand opera by an American com-
poser on an American subject.' After the
collapse of the colony-scheme and the ensuing
litigation he returned to Bergen in the autumn
of 1857. In 1867 came his third trip, in which
the first concert was in Chicago. In 1868 he
married Sara Chapman Thorp in Wisconsin.
[She wrote his biography, Ole Bull — A
Memoir, 1883, and died on Jan. 18, 1911, at
Cambridge, Mass.] After spending the sum-
mer of 1872 in Norway, in the autimin he re-
turned for the fourth time. This trip was
but one year in duration. His last tour was
in 1879-80, with Emma Thursby. See
biography by Vik, Bergen, 1890. [ R.4 ]
BULL, WILLIAM (1762-1842). See Tune-
Books, 1813.
BULLARD, FREDERICK FIELD (Sept.
21, 1864, Boston : June 24, 1904, Boston),
was first a student of chemistry at the
Massachusetts Institute of Technology, but
left to study music with Rheinberger at
Munich in 1888-92. Returning to Boston)
he lived there as teacher of harmony and
counterpoint and composer. Of his forty
published songs the best-known are 'In the
Greenwood,' 'A June Lullaby,' 'From Dreams
of Thee,' 'At Daybreak,' 'Hymn of Pan,'
'On the Way,' 'The Sword of Ferrara,' 'The
Singer,' 'The Hermit' and 'The Stein Song.'
He also published church-music, choruses
for men's voices and edited song-collections.
See Hughes, Contemporary American Com-
posers, pp. 351-7. [ R.8 ]
BULLOCK, ARTEMAS ERWIN. See
Colleges, 3 (Ellsworth C, Iowa).
BULLOCK, WILLIAM. See Tune-Books,
1854.
BUONAMICI, CARLO (b. 1875). See Reg-
ister, 9.
BURDETT, GEORGE ALBERT (b. 1856).
See^Register, 7.
BUREAU OF EDUCATION, THE, which
is a division of the Interior Department of the
National Government, has shown its interest
in the promotion of music in public institutions
by the issue of Bulletins on 'The Study of
Music in Public Schools,' 1886, 'Music-
Education in the United States,' by Arthur
L. Manchester, 1908, and ' Music in the Public
Schools,' by Will Earhart, 1914. Another,
on the Music-LibrariesJ of the coimtry, is al-
most ready. *
BURLEIGH, CECIL (Apr. 17, 1885, Wyo-
ming, N. Y.), after preliminary violin-
study with L. E. Hersey in Bloomington,
111., in 1903-05 was in Berlin, studying violin
with Witek and composition with Leichtentritt.
Two years were then spent in Chicago, where
his teachers were Sauret and Herrmann for
violin and Borowski for composition. Then
came two years of concert-work and two of
violin-teaching at the Western Institute of
Music and Dramatic Art in Denver. He
taught violin and theory at Morningside
College in Sioux City, la., in 1911-14, and
at the State University at Missoula, Mont., in
1914-19. In the summer of 1919 he was
with Auer and in the autumn located in New
York as player and teacher. His interest in
composition began about 1901, but was not
specially manifest until about 1910. Since then
he has been diligent and his works have met
with unusual success. His violin-concerto
in E minor (prize for a violin-concerto by an
American, Chicago, 1916) he played with
the American Symphony Orchestra in Chicago
on Mar. 2, 1916, and later with the Minneap-
olis, Milwaukee and other Orchestras, besides
being brought forward by Maud Powell. The
'Song of the Brook' has been much used by
148
BURLEIGH
BURROWES
Galli-Curci, and 'What does little Birdie say'
by McCormack. The 'Ascension' sonata has
been played by David and Clara Mannes
and others. His list of works is as follows :
Two Fancies, op. 5, for piano (Summy).
Eight Characteristic Pieces, op. 6, for violin and
piano (Wood).
'The Letter,' a song, op. 8 (Pond).
'Coasting,' op. 9, for piano (Presser).
'Childhood Fancies,' op. 10, for piano (Schirmer).
Four Rocliy Mountain Sketches, op. 11 (Schirmer).
'Scherzando Fantastique', op. 12 (Carl Fischer).
Four Prairie Sketches, op. 13 (Schirmer).
Five Sketches, op. 14 (Schirmer).
'Snow-Bound,' a Winter Idyl, op. 15, after Whittier
(Schirmer).
Six Winter-Evening Tales, op. 16 (Schirmer).
Five Tone-Poems, op. 17 (Schirmer).
Twelve Short Poems, op. 18 (Ditson).
Eight Concert-Studies, op. 19, for violin and piano.
'Skeleton Dance,' op. 20, for violin and piano
(Schirmer).
Four Small Concert-Pieces, op. 21 (Schirmer).
Sonata, 'The Ascension,' op. 22, for violin and
piano (Schirmer).
Six 'Nature Studies,' op. 23, for violin and piano
(Fischer).
Five Characteristic Pieces, op. 24 (Ditson).
Concerto in E minor, op. 25, for violin and or-
chestra (Summy).
Three Pieces, op. 26, for piano (Ditson).
'Sonnets of Autumn,' op. 27, seven piano-pieces
(Ditson).
'Fairyland Cycle,' op. 28, five songs.
Sonata, on the Life of St. Paul, op. 29, for violin
and piano (Schirmer).
Six Pictures, op. 30 (Fischer).
Six Fancies, op. 31, for violin and piano (Boston
Music Co.).
Five Songs, op. 32 (Ditson).
Seven Songs, op. 33 (Fischer).
Fantastic Suite, 'Jack and the Bean-stalk,' op. 35,
for violin and piano.
Plantation Sketches, op. 36, for violin and piano
(Fischer).
'To a River,' op. 37, song (Schirmer).
Foiir Fancies, op. 38 (Schirmer).
'Evangeline,' op. 41, a tone-poem for full or-
chestra, after Longfellow.
Three Mountain Pictures, op. 42, for full orchestra.
Second Concerto, op. 43, for violin and orchestra
or piano (Fischer).
'Nature's Voices,' op. 44, four pieces for violin and
piano.
Two Songs, op. 45, from Lowell (Schirmer).
Two Songs, op. 46 (Church).
Three Songs, op. 47 (Ditson).
'Songs of Nature,' op. 49 (Church).
Seven Idyls in Song, op. 50. [ R.9 ]
BURLEIGH, HENRY THACKER (b.
1866). See Register, 7.
BURLIN, NATALIE, nee Curtis, is a
niece of George William Curtis. She was
born in New York and studied in the Na-
tional Conservatory there with Friedheim,
as well as in Berlin, Paris, Bonn andBayreuth.
She hag made extensive original studies of the
music, lore and pictorial art of the American
Indians, and of music among the Negroes of
America and among the Ndaus and Zulus in
Africa. She has published Songs of Ancient
America, 1905, The Indian's Book (200 songs
from 18 tribes), 1907, Negro Folk-Songs, 4 vols.,
1918, and African Folk-Songs. She has also
lectured often and written many articles for
magazines. In 1917 she married the painter
Paul Burlin. [ R.9 ]
BURMEISTER, RICHARD (Dec. 7, 1860,
Hamburg, Germany), had the privilege of
study and association with Liszt in 1880-83
at Weimar, Rome and Budapest. Till 1885
he traveled in Europe as pianist, and then
came to America as chief piano-instructor
in the Peabody Conservatory in Baltimore.
His twelve years' work there was broken in
1893 by a concert-tour in Europe. In 1897
he became director of the Scharwenka Con-
servatory in New York. Since 1903 he has
taught abroad, till 1906 in the Dresden Con-
servatory and since 1907 in the Klindworth-
Scharwenka Conservatory in Berlin. His
compositions are a piano-cbncerto in D minor,
op. 1 ; a symphonic fantasy, ' Die Jagd nach
dem Gliick, ' op. 2 ; Cadenza to Chopin's F
minor Concerto, op. 3 ; three songs, op. 4 ;
Capriccio for piano, op. 5 ; a setting of Tenny-
son's 'The Sisters,' for alto with orchestra; a
Romanza for violin and orchestra ; and piano-
transcriptions of songs. He has rescored
Chopin's Concerto in F minor and arranged
an orchestral accompaniment for Liszt's
'Pathetic' Concerto. [ R.7 ]
BURNHAM, THUEL (b. 1884). See Reg-
ister, 9.
BURR, WILLARD, Jr. (b. 1852). See
Register, 7.
BURROWES, KATHARINE (Kingston,
Ont.), has devoted herself to improving
teaching-methods for children. In her first
teaching in Detroit she made a specialty of
the primary grades. After six years' study
with Batchelder, in 1895 she entered the
faculty of the Detroit Conservatory. Later
she studied for a time with Klindworth in
Berlin. In 1903 she founded the Burrowes
Piano School. Her copyrighted Course of
Music-Study involves the use of songs, stories,
games, charts and mechanical devices, be-
sides printed music and the piano. It has
been gradually developed to produce an all-
round musical education for children. She
has provided many other aids for teaching
primary music and has composed much music
for children. She has published The Burrowes
Course of Music-Study for Beginners (kinder-
garten and primary), 1895, Manual for Teachers,
1901, The Note-Gatherers, 1903, Musical Puz-
zle-Stories, 1905, New Manual for Teachers
1910, Tales of the Great Composers, 1911, New
Musical Note-Gatherers, 1915, and The New
Success Music-Method, 1917. She has also con-
tributed to musical magazines. [ R.8 ]
BURTON
BUTLER
149
BURTON, FREDERICK RUSSELL (Feb.
23, 1861, Jonesville, Mich. : Sept. 30, 1909,
Lake Hopatcong, N. J.), was graduated from
Harvard in 1882 summa cum laude and with
highest honors in music. While there he
wrote music for 'Hiawatha,' a favorite legend
with him from childhood. This setting, no-
table as one of the first attempts to use In-
dian themes, was sung at a glee-club concert
in 1882, completed as a dramatic cantata and
published in 1898. He undertook an intimate
study of Indian music in Canada and the
United States, spending much of his time and
means, and living among the Indians for long
periods. In 1903 he published (Songs of the
Ojihway hidians, later expanded into the
masterly treatise American Primitive Music
(containing 28 Ojibway songs) and pub-
lished in 1909, just after his death. In 1896
he organized and conducted a choral society
at Yonkers, N. Y. For some years he wrote
musical criticisms for the New York 'Sun.'
Other compositions are 'The Legend of
Sleepy Hollow' (1900), an 'Inauguration Ode'
(1901) for the second inauguration of Presi-
dent McKinley, and various songs and choruses.
He also wrote the novels The Song and the
Singer, Her Wedding Interlude, Shifting Sands,
and Strongheart. [ R.7 ]
BUSCH, CARL (Mar. 29, 1862, Bjerre,
Denmark), first entered the University of
Copenhagen as a law-student, but the appeal
of music soon led to study with Olavesen,
Krugel and Langgaard and then to taking
violin with Tofte at the Conservatory, piano
with Bondesen and theory with Hartmann
and Gade. During a three years' course he
played under Gade in the Musical Society,
Svendsen in the Philharmonic and Dahl in the
Tivoli Orchestra. By way of Brussels, in
1886 he went to Paris, playing and studying
under Godard. In 1887 he came to Kansas
City, where for over thirty years he has con-
ferred prestige upon the city by many useful
undertakings. He formed the Orchestral
Society and conducted it for five years, and
its successor, the Philharmonic, which em-
phasized Scandinavian works in a long series
of Sunday concerts. Several festivals were
under his direction. Since 1912 he has led the
Symphony Orchestra, and is active in choral
and church-music. As guest-conductor he has
given his own works with various American
orchestras, and also in Leipzig, Dresden and
Copenhagen. He is a naturalized citizen here,
but was knighted in 1912 by the Danish gov-
ernment in recognition of his services to Scan-
dinavian music. As composer he has become
widely known. His list of works includes
'The Passing of Arthur,' a symphonic prologue
after Tennyson (Breitkopf).
'Minnehaha's Vision,' a symphonic poem (Ditson).
'Elegy,' for string-orchestra (Breitkopf).
Cantatas :
'The League of the Alps' (Ditson).
'King Olaf (Ditson).
'Paul Revere's Ride' (Ditson).
'A Song of Spring' (Ditson).
' The Four Winds ' (Gray) — prize at Philadelphia.
'The American Flag' (Gray).
'May,' for children's voices and orchestra (Gray)
— prize at Evanston Festival.
'The Brown Heather,' for men's chorus and or-
chestra (Gray).
'The Voice of Spring' (Luckhardt & Belder).
'America' (Boston Music Co.) — prize at New
Jersey Tri-City Festival.
'Quivera' — prize at Topeka Festival.
' The Song of a Star ' — prize from Brooklyn
Arion.
'Alexander's Feast,' for men's chorus — prize at
Pittsbiu-gh.
' Ode to Breckinridge ' — prize at Lexington, Ky.
'Denmark's Day.'
'The Fourth of July.'
'Ode to France.'
About 20 choruses and anthems, and over 40 songs
and many violin-pieces (above publishers).
Symphony in C.
String-Quartet.
Two Suites for orchestra.
'When the Heart is Young' and 'The Day is
Done ' — prizes from the Chicago Madrigal Club.
Busch is a Longfellow enthusiast and has
set many of his poems. He has also delved
much into Negro and Indian music, as shown
by themes in his suites, songs and other works.
[ R.7 1
BUSHNELL, J. See Tune-Books, 1807.
BUTCHER, FRANK CHARLES (b.l882).
See Register, 9.
BUTLER, HAROLD LANCASTER (b.
1874). See Register, 8.
c
CABLE COMPANY, THE, of Chicago,
includes the piano-making enterprises pre-
viously carried on under the names Cable,
Conover, Kingsbury and Wellington. Its
capital is over $6,000,000, and it occupies
its own building on Wabash Avenue and
Jackson Boulevard. Its special automatic
device is known as the ' Carola Inner-Player.'
CADEK, JOSEPH OTTOKAR (b. 1868).
See Register, 8.
CADMAN, CHARLES WAKEFIELD
(Dec. 24, 1881, Johnstown, Pa.), acquired his
musical education entirely in Pittsburgh, with
Edwin Walker, Leo Oehmler, W. K. Steiner
and Luigi von Kunits. In 1904-10 Paur
gave him valuable assistance. Aside from
composition, he was engaged in piano-teaching,
writing criticisms for the 'Dispatch' and as
organist at the East Liberty Presbyterian
Church till 1910, when he removed to Los
Angeles, where he has been busy with com-
posing and lecture-recitals. His well-known
interest in the music of the American Indians
dates from 1906, when he first came to know
the ethnological studies of Miss Fletcher
and La Flesche. The results of his early ex-
periments were embodied in four 'American
Indian Songs,' op. 45 (1908), of which 'The
Land of the Sky-blue Water' was made
popular by Nordica. He spent the summer
of 1909 on the Omaha and Winnebago Reser-
vations with La Flesche, gathering material
by phonograph-records and otherwise. An
immediate result was the 'American Indian
Music-Talk,' which he has given often in
America, as well as in Paris and London in
1910. In recent years the Indian mezzo-
soprano Princess Tsianina Redfeather has
acted as his vocal illustrator. The culmina-
tion of his use of Indian themes is found in
the three-act opera 'The Land of Misty
Water' (or 'Daoma'), begun in Pittsburgh
in 1909 and finished in Colorado in 1912,
libretto by La Flesche and Mrs. Eberhart;
the opera ' Shanewis ' (or ' The Robin-Woman ') ,
libretto by Mrs. Eberhart ; and the ' Thunder-
bird' orchestral suite, based on Blackfeet
Indian melodies. The last has been played
by the Russian, Kansas City and Los Angeles
Orchestras, and is to be published by Boosey.
His first opera has not yet been performed,
but 'Shanewis' was given five times at the
Metropolitan Opera House in 1918 and three
times in 1919. Of it Finck said in the 'Eve-
ning Post,' 'At last the Metropohtan has a
novelty of American origin which is worth
preserving for future seasons' ; Henderson
in the 'Sun,' ' He has shown greater command
in the technic of opera than any of his pre-
decessors at this opera-house ' ; and Chase
in the 'Times,' 'A more concise, telling series
of incidents has not been seen nor heard in
grand opera.' His theories about using
Indian themes are thus stated in an article
in 'The Musical Quarterly,' July, 1915 :
'Only one-fifth of all Indian thematic material is
valuable in the hands of a composer — ia suitable
for harmonic investment. It becomes necessary to
choose an Indian song or chant that is attractive in
its simplicity, one that will stand alone by virtue of
its inherent melodic line, and is fairly good in sym-
metry ; otherwise the idealizer is confronted with
a formidable problem. When found, these themes
are pure gold. And they exist, certain critics to the
contrary notwithstanding.'
The catalogue of his published compositions
and arrangements (1919) forms a 30-page
booklet. It hsts 77 secular and 6 sacred
songs ; the song-cycles ' Four American Indian
Songs,' op. 45, 'From Wigwam and Tepee,'
op. 57, four songs on tribal melodies, and
'Idyls of the South Sea,' op. 55; the Japanese
Romance 'Sayonara,' op. 49; 'Three Songs
to Odysseus,' op. 50; the song-cycle 'The
Morning of the Year,' op. 46, for four solo
voices; the cantata for male voices, 'The
Vision of Sir Launf al ' ; and many part-songs
for men's, women's or mixed voices. There
is a long list of piano-pieces ; several cj'^cles
for piano, including the 'Idealized Indian
Themes,' op. 54; and many original com-
positions and arrangements for organ, violin
and piano, etc. The outstanding instrumental
compositions are the Sonata in A, op. 58, for
piano, and the Trio in D, op. 56, for violin,
'cello and piano (both White-Smith). Of the
latter The Art of Music says : ' The leading
characteristics are melodic spontaneity and
freshness of musical impulse. Everywhere
are buoyancy, directness of expression, motion,
but little of thematic involution or harmonic
or formal sophistication. It is the trio of
a lyrist ; from the standpoint of modern
chamber-music it might be called naive, but
the strength, sincerity and beauty of its
melodies claim, and sometimes compel, one's
attention.' In manuscript (1919) is the one-
act opera 'The Garden of Mystery,' libretto
by Mrs. Eberhart, based on Hawthorne's
story of 'Rappaccini's Daughter.' [ R.9 ]
CADY, CALVIN BRAINERD (June 21,
1851, Barry, 111.), had his first training at
Oberlin, where he also taught in the public
schools in 1871-72. In 1872-74 he was at
the Leipzig Conservatory, where his teachers
were Richter, Papperitz and Paul. Returning
to Oberlin, he taught harmony and piano at
the Conservatory in 1874-79. His ambition
was to see music given recognition in college
150
CHARLES WAKEFIELD CADMAN
CAHOON
CAMPANINI
151
education. So in 1880 he gladly accepted
a call to the University of Michigan, where,
perhaps for the first time, music became
eligible as a major subject for the A.B. and
A.M. degrees. To lead up to such courses,
music was also made a major in the Ann
Arbor high school, then a special preparatory
school for the University, and thus this high
school was about twenty-five years in advance
of the present widespread movement. A
careful study of the work done by his students
convinced him that it raised problems about
the primal education of the child. This led
to his present work, carried on under the name
'Muf?ic-Education,' with the motto from
D'Israeli, 'Music teaches most exquisitely
the art of development.' The Music-Edu-
cation School in Portland, Ore., was founded
in 1913, and has steadily grown in numbers
and influence. In it music is only one of the
subjects, of equal value with, but no more than
any other subject. In 1888-94 he taught in
the Chicago Conservatory, and in 1892-94 was
editor of 'The Music Review.' In 1901-07 he
was in Boston as private teacher ; in 1907-10
he lectured in the music-extension department
of Teachers College (Colimibia University) in
New York; in 1908-13 he was lecturer on
pedagogy in the Institute of Musical Art there.
For many years he has conducted summer nor-
mal courses in the larger cities of the country.
He is author of Music Education, 3 vols.,
1902-07, and articles in the Encyclopedia of
Education and magazines. [ R.6 ]
CAHOON, HELEN FOUTS. See Col-
leges, 3 (Texas Christian U.).
CAIN, LLEWELLYN B. (b. 1867). See
Colleges, 3 (Whitman C, Wash.).
CALZIN, ALFRED LUCIEN (b. 1885).
See Register, 9.
CAMP, JOHN SPENCER (Jan. 30, 1858,
Middletown, Conn.), graduated from Wesleyan
University in 1878 and took a post-graduate
year in Latin, besides some law-study. His
training in piano and harmony was with E. A.
Parsons in New Haven, in organ with Shelley,
Buck and S. P. Warren, and in theory and
composition with Buck and Dvordk. His chief
engagements as organist have been in 1882-
1906 at the Park Congregational Church in
Hartford and at the First (Congregational)
Church there in 1906-18. In 1902-11 he
was conductor of the Hartford Philharmonic
Orchestra (50 players), bringing out both
standard and new works of importance, and
retiring because of ill-health. He was one
of the founders of the A. G. O. in 1896 and
served for several years on its Council. He
has given many organ-recitals and musical
lectures. From 1890 he was active in the
Connecticut Music Teachers' Association
and was its president in 1898. For many
years he has been treasurer of the Austin
Organ Company in Hartford. He has pub-
lished the cantatas 'The Morning Star'
(Christmas), 'The Prince of Peace' (Christ-
mas) and ' The Prince of Life ' (Easter) ;
'The Song of the Winds,' for soli, chorus and
orchestra ; ' God is our Refuge ' (Psalm 46) ,
for soli, chorus and orchestra; anthems,
songs and piano-pieces. He has also an
overture, 'Der Zeitgeist'; a 'Pilgrim' Suite
for orchestra, in three movements, based
on Bunyan's allegory ; a string-quartet in G ;
'Chant d'Amour' and 'Spring-Song' for or-
chestra; a Romanza and Serenade for violin,
'cello and piano ; a Romanza-Fantasia for 'cello
and small orchestra ; and a small suite for
violin and piano. [ R.7 ]
CAMPANARI, GIUSEPPE (Nov. 17, 1858,
Venice, Italy), having been first trained as
a 'cellist, was for some years in the orchestra
at La Scala in Milan. His first engagement
in America in 1884 was as 'cellist in the Boston
Symphony Orchestra. In 1888-90 he also
played in the Adamowski Quartet. He had
been studying singing meanwhile, and in 1893
made his debut as leading baritone of Hinrichs'
Opera Company in New York. He sang Tonio
in the first American performance of 'I Pagli-
acci ' during his first season, and proved equally
successful in both opera and concert. From
1895 for three seasons he was engaged at the
Metropolitan Opera House. Since then he
has devoted himself largely to concert-work
and teaching. [ R.7 ]
CAMPANARI, LEANDRO (b. 1857).
See Register, 7.
CAMPANINI, CLEOFONTE (Sept. 1.
1860, Parma, Italy : Dec. 19, 1919, Chicago),
in 1870-78 studied violin with Ferrarini in
Parma and later with Bazzini in Milan. In
1883 he made his debut at Parma as conductor
in 'Carmen,' and the same year was assistant-
conductor to Vianesi at the Metropolitan
Opera House in New York. In 1887 he
returned to the Metropolitan to conduct the
first American performance of 'Otello.' He
conducted at Covent Garden in London in
1900-12, at La Scala in Milan in 1903-06, and
at San Carlo in Naples for one year. He also
made extensive tours in Spain, Portugal and
South America. In 1906 he was engaged by
Hammerstein as conductor and artistic di-
rector of the Manhattan Opera House in New
York, where he remained until differences of
opinion led to his resignation in 1909. At
that time De Koven, writing in the New
York 'World' of his popularity and influence,
said, 'Campanini is one of the best operatic
conductors that we have ever had in New
York. His authority, his wide artistic sym-
pathies, his untiring energy and faithful care
in the study and rehearsal and rare interpre-
152
CAMPANINI
GARDEN
tative grasp of a composer's meaning, as well
as his absolute control of his orchestra in all
the varying shades of orchestral expression
stamp him as a conductor of the very first
rank.' In 1910, when the Chicago Opera
Company was organized, he became principal
conductor and in 1913 general director, a
position held till his death. He produced the
following works for the first time in America :
Massenet's 'Thais,' 'Le Jongleur de N6tre-
Dame,' 'Griselidis,' 'Sapho,' 'Herodiade,'
'Cendrillon,' 'Cleopatre' and 'Marie Made-
leine'; Debussy's 'Pelleas et Melisande';
Charpentier's 'Louise'; Wolf-Ferrari's 'I
Giojelli della Madonna' and 'II Segreto di
Suzanna'; Parelli's 'I Dispettosi Amanti';
Goldmark's 'The Cricket on the Hearth';
Camille Erlanger's ' Aphrodite ' ; Frederic
d'Erlanger's 'Noel'; Kienzl's 'Ranz des
Vaches'; Franchetti's 'Cristoforo Colombo';
Gnecchi's 'Cassandra'; Nougu^s' 'Quo
Vadis?'; Herbert's 'Natoma'; Blockx'
' Princesse d' Auberge ' ; Saint-Saens ' ' Dej anire ' ;
Buchhalter's 'A Lovers' Knot'; and Guns-
bourg's ' Le Vieil Aigle.' His sudden death was
due to pneumonia. His wife, Eva (b. 1864),
the sister of Louisa Tetrazzini, was a favorite
operatic soprano, but has not been active in
recent years. [ R.7 ]
CAMPANINI, ITALO (1846-1896). See
Vol. i. 450, and Register, 6.
CAMPBELL, CHARLES DIVEN (b.l877).
See State Universities (Ind.).
CAMPBELL, FRANCIS JOSEPH (1834-
1914). See Register, 4.
CAMPBELL, WILLIAM WILSON (b.
1871). See Colleges, 3 (Westminster C, Pa.,
Trinity U., Tex.).
CAMPBELL-TIPTON, LOUIS (Nov. 21,
1877, Chicago), began music spontaneously as
a child, and at fifteen was already publishing
simple songs. In 1S96 he entered the Leipzig
Conservatory, where he studied theory with
Schreck and had help from Reinecke — the
latter finding him rather an intractable and
independent pupil. After three years he re-
turned to America and remained two years.
Since 1901 he has resided in Paris, where his
piano-works and songs have been frequently
heard. Though he has specialized in these
directions, he has in manuscript two operas,
orchestral works, etc., of which the titles are
not yet available. He thinks that 'the pros-
pect is not so hopeless as formerly of getting
a production for American works of this
calibre,' and adds that he has 'never been fond
enough of work to be ready to sacrifice time
and energy for the completion of a large work,
where I have seen no hope of its ever being
made known.' His published works include,
for violin and piano, a 'Suite Pastorale'
(Leuckart) , a ' Romanza Appassionata ' (Con-
solidated Music Co.), and a 'Lament' (Schir-
mer) ; for piano, a 'Sonata Heroic' (Schirmer),
the suite 'The Four Seasons' (Leuckart), two
'Legends' (Schirmer), two Preludes, two
Bagatelles, a 'Nocturnale' and a 'Matinale'
(Leuckart) ; and about thirty songs, including
'Three Shadows,' 'A Spirit-Flower,' 'Four
Sea-Lyrics,' 'A Fool's Soliloquy,' 'Love's Jes-
ter,' 'Rhapsodic,' 'Invocation,' 'AIL the words
that I gather,' 'The Opium-Smoker,' 'Mem-
ory,' 'Love's Logic,' 'Homeward' (Schirmer);
'Elegy,' 'At the Tomb' (Boston Music Co.);
'Hymn to the Night' (Gray); Seven Tone-
Poems, 'Thou art my All,' 'Serenade,' 'If I
were a King' (Consolidated Music Co.).
[ R. 9 ]
CANADIAN ACADEMY OF MUSIC,
THE, of Toronto, was established] in 1911.
With it in 1918 was amalgamated the Toronto
College of Music, which since 1888 had been
under the leadership of the late F. H. Torring-
ton. Thus was formed an institution of excel-
lent quality, which not only serves a large
clientele in Toronto, but has examination-cen-
ters throughout the Dominion.
CANADIAN GUILD OF ORGANISTS,
THE, founded in 1909, is an organization
upon the same lines as the American Guild of
Organists. The president since the beginning
has been Albert Ham of Toronto.
CANDIDUS, WILLIAM (b. 1845). See
Register, 5.
'CANTERBURYTILGRIMS.STHE.' An
opera by Reginald De Koven, first given at the
Metropolitan Opera House on Mar. 8, 1917,
under Bodanzky's direction. The libretto
is by Percy Mackaye. It was five times
repeated in 1917.
CANTU, AGOSTINHO (b. 1879). See
Register, 9.
CAPEN, SAMUEL. See Tune-Books, 1805.
CAPOUL, JOSEPH AM:fiD:fiE VICTOR
(Feb. 27, 1839, Toulouse, France). See arti-
cle in Vol. i. 460. He first came to America
in 1873 as a member of the Strakosch troupe
which included Nilsson, Miss Gary, Cam-
panini and Maurel. In 1879-80 he toured the
country with the French Op6ra Bouffe Com-
pany. In 1892 he was engaged as professor
of operatic singing at the National Con-
servatory in New York. In 1897 he became
stage-manager at the Op6ra in Paris. Since
his retirement from this post he has lived near
Toulouse and is reported to be writing his
memoirs. [ R.6 ]
CAPPA, CARLO ALBERTO (b. 1834).
See Register, 4.
CAPRON, HENRI. See Register, 2.
CARADORI-ALLAN, MARIA CATE-
RINA (1800-1865). See Register, 3.
GARDEN, ALLEN D. See Tune-Books,
1827.
CAREY
CARPENTER
153
CAREY, BRUCE ANDERSON (b. 1877).
See Register, 9.
CARL, WILLIAM CRANE (Mar. 2, 1865,
Bloomfield, N. J.), was first trained on the
piano by his sister and by Madeline Schiller.
His study of organ and theory was under S.
P. Warren in New York and Guilmant in
Paris. In 1882-90 he was organist of the
First Presbyterian Church in Newark, and since
1892 has been" organist at the First Presby-
terian Church in New York. Here he has
produced many important oratorios and has
given over 150 recitals, the programs being
devoted mostly to French, English, Italian
and American works. Many compositions
have been specially written for these recitals
by leading composers. In 1899 he founded the
Guilmant Organ School, where he is stiU
director and chief organ-teacher. This school
has a roll of over 100 full graduates, many
holding prominent positions. He was one of
the founders of the A. G. O. and has always
been prominent in its affairs. New York
University made him Mus.D. in 1911. The
French Government in 1909 had already
given him the title of Officier de 1' Instruction
Publique. He was largely influential in
arranging the American tours of Guilmant and
Bonnet. He himself has toured extensively
and inaugurated many important organs.
The record includes recitals in both Europe
and America and as soloist with the leading
orchestras, solo engagements at the World's
Expositions for several years, and even a
series in the Klondike, Alaska. Among the
works which he has edited are Master-Pieces
for the Organ, Thirty Postludes, Novelties for
the Organ, 2 vols., Ecclesice Organum, Festival
Music, 5 vols., Master-Studies for the Organ, and
a Historical Alburn of Organ Music. [ R.7 ]
CARNAL, JAMES EDWARD (b. 1870).
See Colleges, 3 (Kansas Wesleyan U.).
CARNEGIE, ANDREW (Nov, 25, 1837,
Dunfermline, Scotland : Aug. 11, 1919,
Lenox, Mass.). Among the many interests
of this remarkable man music was not the
least. He had unusually quick and delicate
hearing, as is shown by his being one of the
first to take telegraphic messages by ear.
This led to his promotion while yet a boy to
be assistant to Thomas A. Scott, the head of
the Western Division of the Pennsylvania
Railroad. He always delighted in 'the con-
cord of sweet sounds,' and often quoted the
oriental exclamation, '0 music, sacred tongue
of God, I hear thee calling, and I come.' To
him listening to an organ as played by a master
was a devotional experience, and hence he
found pleasure in helping congregations to
acquire instruments that might enrich their
worship. One of the first gifts he made in
early manhood, when his prosperity began,
was an organ for the little church in Alle-
gheny where his relatives and friends attended.
The total number of churches thus aided was
7689, of which 4092 were in the United States
(1351 in Pennsylvania alone), 2119 in England,
1005 in Scotland, 219 in Ireland, 32 in Wales
and the remainder in the British Colonies all
over the world. The aggregate expended by
him in this way was about $6,250,000. He was
also responsible for the installation of concert-
organs in many places, among the earliest be-
ing those in the assembly-halls of the libraries
which he built in Pittsburgh and adjoining
towns. He provided for the perennial giv-
ing of recitals twice a week in Pittsburgh,
both at the Library on the North Side (for-
merly Allegheny) and at the Carnegie In-
stitute, making them 'free to the people.'
This unique provision took effect in Allegheny
in 1889 and in Pittsburgh in 1895.
He became a member of the Oratorio
Society of New York in 1885 and was its
president for thirty years (1888-1918). He
was also a member and president of the
Philharmonic Society there in 1901-09. His
interest in the Oratorio Society resulted in
1891 in the erection of Carnegie Music Hall
at Seventh Avenue and Fifty-Sixth Street,
which became at once a chief center of musical
art in the metropolis. He was the friend
of many musicians, and in quiet and un-
ostentatious ways aided some of them to
secure recognition and success. His home in
New York and his country-houses in Scotland
and the United States were all provided with
noble organs, and he employed the most
capable organists to play on them.
The Trust which he created for the United
Kingdom, having its seat at Dunfermline,
has displayed sedulous care for musical
education, and in 1916 announced a plan
under which it agrees to publish important
new musical works, at the same time guaran-
teeing the copyright to the composer. This has
already resulted in the publication of a number
of musical compositions of merit.i [ R.7 ]
CARNEGIE INSTITUTE, THE, of Pitts-
burgh, erected by Andrew Carnegie in 1895,
besides being the center for many other edu-
cational facilities and undertakings, includes
a large concert-hall where free organ-recitals
are given twice a week. The official organists
have been Frederick Archer (1895-1901),
Edwin H. Lemare (1902-05) and Charles
Heinroth (since 1907). The orgaln, built by
the Skinner Company in 1918, has four
manuals and 115 stops.
CARPENTER, JOHN ALDEN (Feb. 28,
1876, Park Ridge, 111.), has won a notable
1 For the data for this article special thanks are
due to Dr. William J. Holland, Director of the
Carnegie Institute in Pittsburgh.
154
CARR
CARSE
place among American composers through his
fortunate, straightforward and. untrammeled
faculty of musical expression, prompted by
technical fluency and skill and marked by
unusual charm and refinement. His mother,
a distinguished amateur singer, gave him his
first lessons, and Miss Fay and Seeboeck were
his next teachers. In 1897 he graduated from
Harvard University, having taken all the musi-
cal courses available. For a short time he
studied with Elgar, and in 1908-12 was under
Ziehn in Chicago. Despite all this musical ac-
tivity, since 1897 he has primarily engaged in
the mill, railway and vessel supply-business of
George B. Carpenter & Co., and since 1909 has
been its vice-president. His first published
work in larger form was the sonata for violin
and piano (1913). An orchestral ^uite, 'Ad-
ventures in a Perambulator' (1915), has been
played by the Chicago and New York Sym-
phony Orchestras. The Concertino for piano
and orchestra, written in 1915, was published
in 1919. His Symphony No. 1, written in
1916-17 and played at the Norfolk Festival
of 1917, has not yet been published. Among
his songs, made familiar by leading singers,
are the song-cycles 'Gitanjali' (poems by
Tagore), 'Improving Songs for Anxious
Children ' (poems, music and pictures by
John and Rue Carpenter), 'Water-colors,' four
Chinese tone-poems, as well as twenty-four
detached songs. From the latter may be
singled for special mention 'Go, Lovely Rose,'
'A Cradle-Song,' 'The Green River,' 'Les
Silhouettes' and 'Chanson d'Automne.' Only
four piano-compositions have yet appeared in
print. [ R.9 ]
CARR, BENJAMIN (1769, England : May
24, 1831, Philadelphia), came to America in
1793. He had had excellent advantages, among
thesm experience in the enterprise known as
'The Antient Concerts' under Joah Bates.
He established the first music-store in Phila-
delphia, with a branch in New York from 1794
(later sold to James Hewitt), and from 1794 for
more than thirty years was noted as a ballad-
and opera-singer, pianist, organist, conductor
and composer, chiefly in Philadelphia. In
1820 he was a leader in the organization of
the Musical Fund Society there and was one
of its early conductors. The Society erected
a tablet to his memory in St. Peter's Church
and his portrait, by Darley, was the first of
its collection (reproduced in Sonneck, Early
Opera, p. 102). Besides many other works,
all marked by taste and facility, in 1796 he
brought out in New York the opera 'The
Archers,' libretto by William Dunlap, which
was repeated at least twice there and also in
Boston. Of this work only two fragments
are known (see Sonneck, Early Opera, pp.
98-100). About 1800 he edited a 'Musical
Journal,' and from 1805 published several
collections of sacred music (see Tune-Books),
as well as theoretical text-books. His sound
musicianship and liis practical versatility
made him highly influential. See note in
/. M. S. Sammelbde.^ 6. 466, many references in
Sonneck, Concert-Life and Early Opera, Ma-
deira, Music in Philadelphia, etc. [ R.2 ]
CARRENO, MARIA TERESA (Dec. 22.
1853, Caracas, Venezuela : June 12, 1917,
New York). See article in Vol. i. 474. Her
debut as pianist occurred at the instance of
Gottschalk at Irving Hall in New York on
Nov. 7, 1862, leading to a series of six concerts
from Nov. 25 to Dec. 22, the last in the
Academy of Music before an audience of
4000. A longer series followed in Boston,
where she played with orchestra. She toured
England and the Continent in 1865-74, and
it was at Edinburgh on May 24, 1872, that
she sang the part of the Queen in ' Les Hugue-
nots.' On her return to America in 1875 she
studied singing with Mme. Rudersdorff in
Boston, and began an operatic career which
lasted untiri882. During the winter of 1875-
76 she gave occasional piano-lessons to Mac-
Dowell, prior to his departure for Paris. His
second piano-concerto is dedicated to her,
and she, the first other than himself to play
his works in public, was an ardent propa-
gandist for his music. After 1882 she appeared
widely as concert-pianist, but her greatest
fame dates from her European trip of 1889-90.
She was four times married — in 1872 to the
violinist Sauret, in ^1875(?) to the baritone
Giovanni Tagliapietra, in 1892 to the pianist
dAlbert, and in 1902 to Arturo Tagliapietra.
Two children by the second marriage have
become musically noted. Her last recital was
in Havana on Mar. 21, 1917. Her 'compo-
sitions were written in early life. The best
known is the waltz ' Mi Teresita.' There
are also 6tudes and concert-pieces for the
piano, a string-quartet, and a 'Petite Danse
Tsigane ' for orchestra — about 40 in all. The
Venezuelan Hymn she composed is not the
national anthem, but a festival hymn for the
centenary of Bolivar (1883). [ R.5 ]
CARRILLO, JULIAn (b. 1875). See Reg-
ister, 9.
CARROLL, JAMES P. See Tune-Books,
1820.
t CARSE,. ADAM [formerly A. von Ahn]
(May 19, 1878, Newcastle-on-Tyne, England).
See article in Vol. v. 622. Add to the list of
compositions Symphony No. 2, in G minor
(1909, Newcastle Festival) ; Variations in A,
for orchestra (1911, London, Queen's Hall) ;
'Norwegian Fantasia,' for violin and orchestra
(Williams); 'Fritiof,' grand opera in three
acts (1915) ; Miniature Suite, for string-
orchestra (Augener) ; Miniature Suite for
CARTER
CASAVANT FREIRES 155
orchestra (1917, France) ; Sonata for violin
and piano, in C minor (1919, Augener) ; and
Variations on a theme in A minor for piano-
duet (1919, Williams). He has also written
a Summary of the Elements of Music and
Practical Hints on Orchestration (both Augener) .
The list of his published piano- and violin-
pieces, songs, and educational works makes
a considerable catalogue. He was in active
Bervice in France as a private in the infantry
in 1917-19.
CARTER, ERNEST TROW (b. 1866).
See Register, 8.
CARTER, HENRY (Mar. 6, 1837, London,
England : ? ), of a family of organists,
had early training from his father, Pauer, Goss
and Steggall in England and from Haupt, Kiel
and Hiller in Germany. He began church-
playing at nine and at seventeen went to
Canada, where from 1S54 ho was organist
at the Quebec (English) Cathedral and founded
the first Canadian oratorio society. In 1864
he removed to Boston to become one of the
regular players on the new organ in Music
Hall, as well as organist at the Church of the
Advent and later at St. Stephen's in Provi-
dence. In 1873-80 he was organist at Trinity
Church in New York, where he gave weekly
recitals. In 1880-83 he taught in the College
of Music in Cincinnati, but in 1883 returned to
be organist at Plymouth Church in Brooklyn
and later at the Collegiate Church (48th
Street) in New York. He became widely
known as an effective recitalist. His works
included two string-quartets, an anthem for
soli, chorus and orchestra, other church-
music, partz-songs and songs. His brother,
William Carter (b. 1838), well-known in Eng-
land as player and choral conductor, exchanged
work with him at Quebec in 1859 and then
led the largest Handel festival that had been
held in Canada. Another brother, George
Carter (b. 1835), in 1861-70 was organist at
the Montreal Cathedral and in 1865-67 gave
many organ-recitals in the United States,
returning to London later. [ R.4 ]
CARUSO, ENRICO (Feb. 25, 1873, Naples,
Italy). See article in Vol. V. 622. He first ap-
peared in 1894 at the Teatro Nuovo in Naples in
'L'Amico Francesco.' A year later he sang at
the Fondo there in ' La Traviata,' ' La Favorita '
and 'La Gioconda.' In 1898 he made a sensa-
tion at the Teatro Lirico in Milan as Marcello
in Leoncavallo's ' La Bohfeme,' and engagements
at Genoa, Petrograd and Buenos Aires quickly
followed. His first appearance at La Scala
was in 1901, and his fame as one of the greatest
tenors of this generation was then established.
His New York debut was at the Metropolitan
Opera House on Nov. 23, 1903, in 'Rigoletto,'
as in London the year before. Since then
he has been regularly at the Metropolitan,
and on Mar. 21, 1919, celebrated his twenty-
fifth anniversary as an opera-singer there
with a gala performance, illuminated addresses
and many gifts from associates and admirers.
He had then sung 549 times in New York.
He has created the leading tenor-roles in
'Fedora' (1898), 'Le Maschere' (1901), 'Ad-
riana Lecouvreur,' 'Germania,' 'Madama But-
terfly' (1904) and 'La Fanciulla del West'
(1910). His repertoire of over fifty operas in-
cludes, besides those mentioned, (in Italian)
'Aida,' 'L'Africaine,' 'La Sonnambula,' 'Les
Huguenots,' 'Cavalleria Rusticana,' 'I Pagli-
acci,' 'L'Amore dei Tre R^,' 'Un Ballo in Mas-
chera,' 'Lodoletta,' 'Marta,' 'L'Elisird'Amore,'
'Manon Lescaut,' 'Lucia di Lammermoor,' 'II
Trovatore,' 'Don Giovanni,' 'Iris,' 'Lucrezia
Borgia,' 'Tosca' and 'La Forza del Destino';
(in French) 'Les Pfecheurs de Perles,' 'Armide,'
'Faust,' 'Julien,' 'Le ProphSte,' 'Carmen,'
'Samson et Dalila' and 'Manon.' [ R.8 ]
GARY, ANNIE LOUISE [Mrs. Charles
M. Raymond] (b. 1842). See Vol. i. 476, and
Register, 6.
CASALS, PABLO (Dec. 30, 1876, Vendrell,
Spain), was first taught by his father, an
organist, on the piano, the flute and the violin.
At twelve he took up the 'cello with Jose
Garcia, and after two years won a first prize
at the Barcelona Conservatory. Meanwhile
he had studied composition with Rodereda.
Under the Queen's patronage in 1894-96 he
was a pupil of Tomds Breton in composition
at Madrid, and also assisted in the chamber-
music class of Jesus de Monasterio. He was
solo 'cellist at the Paris Opera in 1895-98 and
made concert-tours of Western Europe. His
professional debut was at the Concerts
Lamoureux in 1898, and he first appeared
in London the same year. Since 1901 he has
made repeated trips to America and his suc-
cess, both as soloist and in ensemble, has been
phenomenal. He married the American
singer Susan Metcalfe in 1914. He is a Cheva-
lier of the Legion d'Honneur, and received
a gold medal from the Roj^al Philharmonic
Society of London in 1912. His compositions
are a symphonic poem, 'La Vision de Fray
Martin,' for orchestra, organ, soli and chorus ;
a symphonic poem for orchestra (1902) ; a
Miserere; pieces for orchestra, 'cello and
piano, violin and piano, etc. [ R.9 ]
CASAVANT FRERES, organ-makers at
St. Hyacinthe, Que., started in business in
1879. The two partners, J. C. Casavant
(b. 1855) and Samuel Casavant (b. 1850),
were sons of Joseph Casavant, who worked
as organ-maker at St. Hyacinthe in 1845-66,
but was forced to stop by ill-health. The
older son had had training under the Abbeys
at Versailles. In 1882 they began using the
adjustable combination-pedal invented by
156
CASE
CECILIA SOCIETY
Duval of Montreal, which was also employed
by Roosevelt in New York after 1889. From
1885 they added a crescendo-pedal moving
the stop-knobs. This novelty Archer called
'a triumph of ingenuity.' From 1891 they
developed the form of electric action which
they still use. They have built about 825
organs, including 175 with three manuals and
about 70 with four — notable examples being
at Notre Dame, Montreal, St. Paul's and the
University, Toronto, Emmanuel, Boston, First
Baptist, Syracuse, and Sinai Temple, Chicago.
CASE, ANNA (Oct. 29, 1889, Clinton,
N. J.), was educated entirely in the United
States, having but one teacher, Mme. Ohr-
strom-Renard of New York. Her debut in
1909 was at the New Theatre in New York
as the Dutch Boy in 'Werther.' In 1909-16
she was a member of the Metropolitan Opera
Company. In first American performances
she created the roles of Sophie in ' Der Rosen-
kavalier' (1913) and Feodor in 'Boris Godu-
nov' (1912), singing also Olympia in 'Tales
of Hoffmann,' Mimi in 'La Bohfeme' and
Micaela in 'Carmen.' Since 1916 she has
devoted her entire time to concerts and
recitals throughout the United States and
Canada, and has gained a reputation as a
foremost recital-singer. She has composed
the songs 'Our America' (Church) and 'The
Robin's Song' (Flammer). [ R.9 ]
CASTLE, WILLIAM (1836-1909). See
Register, 4.
CASTLE SQUARE OPERA COMPANY,
THE, organized in Boston about 1895 by
Henry W. Savage, took its name from the
Castle Square Theatre, which he owned.
The primary object was to give light opera
in English, but it essayed some larger works,
and its success led in 1900 to more ambitious
undertakings under the name of the Henry
W. Savage Opera Company.
CAVALIERI, LINA (Dec. 25, 1874, Rome,
Italy), is said to have risen into fame as an
operatic soprano from singing at cafe-con-
certs. She studied with Mme. Mariani-Masi
in Paris, and made her debut as Nedda in
'I Pagliacci' at Lisbon in December, 1900.
She sang in Naples, Palermo, Florence, Milan,
Paris, Warsaw, Petrograd and Moscow. In
1906-07 she was at the Metropolitan Opera
House in New York, in 1908-09 at the Man-
hattan Opera House, and in 1915-16 with the
Chicago Opera Company. She has appeared
in 'Faust,' 'La Bohfeme,' 'La Traviata,'
'Manon,' 'Fedora,' 'Rigoletto,' 'Manon Les-
caut' and 'Adriana Lecouvreur.' She married
the tenor Lucien Muratore in 1913. [ R.9 ]
'CAVE-MAN, THE.' The eighth of the
' Grove-Plays ' of [the Bohemian Club of San
Francisco, produced in 1910. The text was
written by Charles K. Field, the scenes being
laid in a sequoia forest 'about 50,000 years
ago,' and the music was composed by William
J. McCoy.
CAWLEY, EDGAR MOORE (b. 1871).
See Register, 7.
CECILIA SOCIETY, THE, of Boston.
See note in Vol. i. 369. B. J. Lang resigned
in 1907, having been conductor for thirty
years and given the Society an enviable
reputation for breadth of policy and efficiency
of performance. The succeeding conductors
have been Wallace Goodrich in 1907-10, Max
Fiedler in 1910-11, Arthur Mees and Henry
Gideon in 1911-15, Chalmers Clifton in 1915-
17 and Arthur Shepherd since 1917. As a
rule, the Society gives three concerts annually,
which are now open to the public as well as
to subscribers, and during the period 1891-1910
the series was repeated at low prices for wage-
earners. Its relation to the Boston Symphony
Orchestra has always been close, and in 1910-11
the two arranged a season in conjunction. It
has often had the assistance of other choral
organizations, and has served on numerous
civic and other occasions of importance, as,
for example, at the final concert in the old
Music Hall and the dedication of Symphony
Hall in 1900. Among guest-conductors have
been Bruch in 1882, Parker in 1889, Dvofdk
in 1892, Henschel in 1902 and Colonne in 1904.
The list of distinguished soloists is long and
varied.
Though originally formed to cultivate a cappella
singing, especially of smaller secular works, the
repertory has included many works of the first mag-
nitude, like Beethoven's Missa Solennis (1897),
Bach's Mass in B minor (1901), Tinel's 'St. Francis'
(1893), Elgar's 'The Dream of Gerontius' (1904)
and Wolf-Ferrari's 'La Vita Nuova' (1909). Nearly
150 works, large and small, have been sung for the
first time in Boston. Among the absolute premieres
are Mendelssohn's 'Athalie' with the Racine text
(1887), Chadwick's 'The Pilgrim's Hymn' (1891),
Henschel's Requiem (1902) and Paine's 'Azara' in
concert-form (1907). First times in America include
Foote's 'The Wreck of the Hesperus' (1888), Berlioz'
'The Fifth of May' (1891), Perosi's 'The Trans-
figuration' (1899), Coleridge-Taylor's 'Hiawatha's
Departure' (1900), Massenet's 'The Promised Land'
(1902), Charpentier's 'The Poet's Life' (1905),
d'Indy's 'St. Mary Magdalene' (1906) and 'The
Song of the Bell' (1916) and Florent Schmitt's Psalm
46 (1913). Second times in America include Berlioz'
Requiem (1882), Dvorak's Requiem (1892), Ban-
tock's 'Omar Khayyam' (1910) and Elgar's 'The
Music-Makers' (1913), besides the works of Tinel,
Bach and Wolf-Ferrari named above.
See W. C. Hill, History of the Cecilia Society,
1874-1917.
CECILIA SOCIETY, THE, of Charleston,
S. C, appears to have been the earliest musical
organization in America. It was founded in
1762 as an exclusive social club, and was so
maintained until after 1800. Its 'Rules,' as
adopted in 1773, were published in 1774 (re-
CECILIA SOCIETY
CHADWICK
157
printed in Sonneck, Concert-Life, pp. 16-18).
They provide for four meetings annually, the
chief being on Nov. 22, St. Cecilia's Day.
The programs included vocal and instrumental
numbers either by members of the Society
or by visiting artists — the latter ultimately
sometimes drawn from a distance, as from
Boston. From the first the Society proved
a constant stimulus artistically and was the
principal reason for the notable musical
activity of Charleston before and after 1800.
[Until about 1790 the name was written
'Ccecilia.']
CECILIA SOCIETY, THE, of Cincinnati,
was organized in 1856 by Fr6deric L. Ritter
and conducted by him till 1861. Starting
as a choral society, it soon undertook orchestral
work as well, and thus exercised a valuable
influence in promoting musical interest. See
Ritter, Music in America, chap. xxi.
CECILIENVEREIN, DER ALLGEMIE-
NE DEUTSCHE, founded by Franz X.
Witt of Ratisbon in 1867, is represented in
America by the St. CecUia Society, organized
in 1873 by John B. Singenberger of Mil-
waukee, who since 1874 has conducted its
journal 'Cecilia.'
CENTURY OPERA COMPANY, THE,
was organized in 1913 at the instigation of
the City Club of New York, with a guaranty
from a group of public-spirited men, largely
those also interested in the Metropolitan
Opera House, the leader being Otto H. Kahn.
Its design was to give performances at popular
prices and in English as far as possible. The
managers were the brothers Aborn, and the
Century Theater was secured and enlarged.
The conductors in 1913-14 were Alfred
Szendrei and Carlo Nicosia, in 1914-15 Agide
Jacchia and Ernst Ivnoch. In spite of much
enthusiasm at first and worthy effort through-
out, the enterprise had to be abandoned early
in 1915, after an unsuccessful series of per-
formances in Chicago. See The Art of Music,
4. 155-7.
CHACE, FRANK WILBUR (b. 1868).
See Register, 7.
CHADWICK, GEORGE M. See State
Universities (Colo.).
CHADWICK, GEORGE WHITEFIELD
(Nov. 13, 1854, Lowell, Mass.). See article
in Vol. i. 494-5. His organ-playing began at
fifteen. Attempts at composition followed
soon, while he was still at school. Despite
this attention to music he finished his course
at the Lawrence Academy and seemed likely
to go into business. But in 1872 he took up
theory with Buck and organ with Whiting
at the New England Conservatory. This
preceded his study with Eugene Thayer.
By this time he had written two overtures
for small orchestra and some piano-trios.
While at Leipzig in 1877-79 he had two string-
quartets performed, as well as the 'Rip van
Winkle' overture. The latter was given also
in Dresden and three times in Boston in 1879-
80. After settling in Boston in 1880 he was
often in request as conductor for choral and
orchestral organizations. Notable engage-
ments were for the Springfield Festivals in
1889-99 and the Worcester Festivals in
1897-1901. He has also served as guest-
conductor with all the larger orchestras
throughout the country. At the New Eng-
land Conservatory, where he has been director
since 1897, besides raising the standards in
other departments, he has impressed himself
especially upon the work in composition and
in ensemble-playing. From his orchestra
of 80 many players have gone into orchestras
elsewhere, some of them becoming conductors.
He was made A.M. by Yale in 1897 and LL.D.
by Tufts CoUege in 1905.
In the list of compositions note that the
Symphony in C, No. 1, was first given by the
Harvard Musical Association on Feb. 23,
1882, and that the Symphony in F, No. 3,
was played by the Boston Symphony Or-
chestra on Oct. 20, 1894. The Quartet in C,
No. 2, dates from 1879, not 1897. The
Sinfonietta was first given in Jordan Hall,
Boston, by an orchestra of players from the
Symphony Orchestra, under the composer's
direction, on Nov. 21, 1904, and on the same
program were the 'Symphonic Sketches'
(1896), the 3rd Symphony, the ballad
'Lochinvar,' for baritone and orchestra (1897),
and several songs. 'Judith,' his most ambitious
choral work, was produced at Worcester on
Sept. 28, 1901. The symphonic poem
'Cleopatra' was played by the Chicago
Orchestra in 1905. The symphonic poem
'Aphrodite' was written for the Norfolk
Festival in June, 1912. The symphonic poem
'Angel of Death,' based on the famous group
by the sculptor Daniel C. French, was given
by the Symphony Society of New York at
the memorial concert for Theodore Roosevelt
in 1919. His 'Suite Symphonic' in E-flat
received the first prize from the American
Federation of Musical Clubs and was per-
formed by the Philadelphia Orchestra in
March, 1917. From 1917 dates the symphonic
ballade 'Tam o' Shanter.' 'Noel,' a Christmas
pastoral for chorus, soli and orchestra, was
written for the Norfolk Festival in June, 1908.
Other vocal works are 'Aghadoe,' a ballade
for contralto and orchestra, 'Love's Sacrifice,'
a pastoral opera in one act (1915), 'Land of
our Hearts,' a patriotic hymn for chorus and
orchestra (given by the Boston Symphony
Orchestra in September, 1918), and incidental
music to 'Everywoman,' the play by Walter
Brown, produced in New York on Feb. 21,
158
CHAFFEE
CHASE
1911. In manuscript there ia a tragic opera,
'The Padrone,' in two parts.
Concerning his work Edward Burlingame
Hill has said: "His chief attributes are
fluency and beauty of melodic inventiveness,
mastery of part-writing, a logical and coherent
grasp of form. His harmonic structure is
solid, yet he always manages to obtain effects
that are romantic, poetic or dramatic in color
without resorting to the devices of ultra-
modern eccentricity. His instrumentation is
brilliant and resourceful without employing
either a gigantic orchestra or semi-obsolete
instruments ; he does not disregard the natural
limitations of the orchestral player's technique
in order to invent new combinations. His
contrapuntal dexterity is remarkable in an
age that delights in contrapuntal tours de
force. His command of the sonata and
symphonic forms and his spontaneity of
expression in them is striking, yet he has
shown most convincingly in the overture
' Melpomene ' that he can depart from the
strict letter of the poem and justify the result.
His most salient characteristics as an artist
are the sincerity and depth of his artistic
purposes, an uncompromising honesty which
will permit nothing vague or inconsistent to
stand, and a sense of balance and wholesome
moderation. He invariably lays a firm con-
structive foundation in his composition in
larger forms, in order that he may be free to
elaborate detail as he pleases." [ R. 6 ]
CHAFFEE, EDMUND WALTER (b.
1862). See Colleges, 3 (Valparaiso U., Ind.).
CHAFFIN, LUCIEN GATES (b. 1846).
See Register, 6.
CHALFANT, WILLIAM ADDISON (b.
1854). See Register, 6.
CHALMERS, THOMAS HARDIE (b.
1884). See Register, 10.
CHAMBER MUSIC. Much of the in-
strumental music performed in various places
during the late 18th century and the early
19th was virtually of the 'chamber' class,
though usually with chance combinations of
instruments and players. Doubtless in some
cases this led to rather more definite groups,
such as that of the Hupfelds, Gilles and
Schetky in Philadelphia about 1815. In
New York, when German musicians began
to multiply after 1840, sundry ensemble-
groups were formed, as by Pirsson about
1848, under the lead of Saroni's ' Musical
Times' in 1849, and, more fruitfully, by
Eisfeld from 1851 and by William Mason
and Thomas in 1855-66. In Boston the
famous Mendelssohn Quintette Club was
founded in 1849 by the Fries brothers, and for
many years continued by its extensive travels
and its popularity to foster interest in instru-
mental part-music. Similar pioneer work
was done in Chicago in 1860-61 by the Brigga
House Concerts, followed in 1863-64 by
Balatka's Classical Chamber Concerts.
CHAMPLIN, JOHN DENISON (1834-
1915). See Register, 7.
CHAPEK, JOSEPH HORYMIR (b. 1860).
See Register, 7.
CHAPIN, NATHAN. See Tune-Books,
1810.
CHAPMAN, FRANK THOMAS. See Col-
leges, 3 (Pacific U., Ore.).
CHAPMAN, JAMES W. See State Uni-
versities (Fla.).
CHAPMAN, WILLIAM ROGERS (b.
1855). See Register, 6.
CHAPPELL, W. L. See Tune-Books, 1831.
CHARACTER-NOTES. From the begin-
ning of pedagogical effort in America on behalf
of popular singing, experiments were made in
devising novel ways of printing what was to
be sung. The chief of these were based upon
the principle, now exemplified in the Tonic
Sol-fa system, that what is presented to the eye
shall recall some tone-conception with which
the ear is familiar, and do this by something
more than merely relative position on a staff.
Tufts' experiment in the early 18th century
was short-lived, and that of Law about 1800
was equally transient, though made known
to many more users. But Law's idea of
varying the shape of the note-heads so as to
indicate tone-relations has had considerable
influence. From about 1825-30 collections
of tunes began to be frequent, especially in
Ohio and Virginia, in which the music is
printed on a staff exactly as in ordinary
notation, but with a system of note-heads
that indicates the scale-degree intended —
do, ■^, re, ^, mi, *■, fa, '^, sol, c, la, °, ti, ^.
Many popular teachers and leaders evidently
believed that the use of these 'character-
notes' or 'shaped notes' facilitated practical
singing. Thousands of books in this notation
have been put into circulation, and the tjT^es
required to print them are recognized by first-
class music-typographers. But the system has
never made its way generally, and is now
dying out.
Change of key.
CHARLIER, MARCEL. See Register, 9.
CHASE, MARY WOOD (Jan. 21, 1868,
Brooklyn), was the daughter of a professor in
Cornell University, a mining engineer and
later a banker. From her mother, who had
a fine soprano voice, she had her first in-
CHASE
CHICAGO MUSICAL UNION 159
struction. After a year with George B.
Penny, at sixteen she entered the New Eng-
land Conservatory in Boston, taking piano
and harmony with Sarah E. Newman, voice
with F. E. Morse and O'Neill, and theory with
Apthorp. Her debut in 1886 was at Music
Hall. After four years of study with Raif
in Berlin (becoming his assistant), she re-
turned to America and made several tours
as pianist. She appeared with the Thomas
Orchestra in Chicago in 1902, giving the
Sinding concerto its first performance in
America. In recent years she has devoted
herself mostly to the development of teaching-
methods. To this end she founded at Chicago
in 1906 the Mary Wood Chase School of
Musical Arts (incorporated 1912), with a
faculty especially trained to teach her methods.
In 1912 a summer-school was added at Ep-
worth, Mich. She has the reputation of hav-
ing trained many fine pianists and successful
teachers. In 1910 was published her Natural
Laws in Piano-Technic (Ditson). She has
in preparation works on the philosophy of
interpretation and on modern educational
methods. She has contributed articles to
'Music,' 'The Etude,' and 'The Musician,'
and has written nlany compositions in smaller
forms which remain unpublished. [ R.7 ]
CHASE, MELVILLE WARREN (b. 1842).
See Register, 5.
CHASE COMPANY, THE A. B., of Nor-
walk, O., was incorporated in 1875, originally
for the making of reed-organs of high grade.
In 1885 piano-making was added, and speedily
attained significant success, as attested, for
example, by high awards at the Columbian
Exposition in 1893. The Chase pianos are
distinguished for excellence of tone and for
beauty of external form. The player-device
used in them is known as the 'Artistano.'
CHAUTAUQUA INSTITUTION, THE,
is -the extensive organization that has been
developed from the Sunday School Assembly
first held at Chautauqua Lake in western
New York in 1874. The popularity of the
initial efforts led to rapid extensions, both in
the direction of summer-school courses and
in reading- and correspondence-courses, cover-
ing many kinds of subjects. Among these has
been special provision for musical instruction
and leadership. The musical directors have
been William F. Sherwin in 1874, Charles C.
Case in 1875-86, Horatio R. Palmer in 1887-
1901, Alfred Hallam in 1902-19 and William
C. Bridgman from 1920. The advantages
include many courses of instruction by well-
known teachers, classes in singing and or-
chestral playing, and numerous recitals and
concerts. In 1912 a Music Studio was erected
in memory of the pianist William H. Sher-
wood.
CHEATHAM, KATHARINE SMILEY
[Kitty Cheatham]. See Register, 9.
CHERNIAVSKY, JAN (b. 1892), LEO (b.
1890), and MISCHEL (b. 1893). See Reg-
ister, 10.
CHICAGO CONSERVATORY OF DRA-
MATIC AND MUSICAL ART, THE, was
founded in 1885 by Samuel Kayzer, who had
previously been dramatic instructor in the
Hershey School. Since 1907 the president
has been Walton Perkins.
CHICAGO MADRIGAL CLUB, THE, was
organized in 1900 by D. A. Clippinger, who has
been its only conductor. It is composed of 60
singers, all chosen by examination as soloists.
Two regular concerts are given each season,
with several extras usually, so that the total
number up to the present is about 150. The
Club is supported wholly by its sale of season-
tickets. In 1903 theW. W. Kimball Co. estab-
lished an endowment yielding $100 annually,
to be used as a prize for the best madrigal sub-
mitted for competition. Nearly 900 composi-
tions have been thus submitted, including many
notable works as prize-winners. About 50 com-
positions have also been written for the Club
by various American composers.
CHICAGO MUSICAL COLLEGE, THE,
was founded in 1867 by Florenz Ziegfeld,
becoming incorporated in 1877. He re-
mained its active head for nearly fifty years,
and is now president emeritus. With him
since 1905-06 have been associated Felix
Borowski and Carl D. Kinsey, who are now
president and vice-president respectively.
The teaching-staff numbers over 100 and the
annual enrolment over 4000. During its
history more than 90,000 students have
pursued courses, of whom nearly 3500 were
graduated. The degree of Mus.B. has been
given to about 150, that of Mus.M. to about
100, and that of Mus.D. to 12. The College
occupies its own building at 624 South
Michigan Avenue, where it has extraordinary
conveniences. Its faculty has always been
notable for ability, and from time to time
it has been augmented by a system of guest-
CHICAGO MUSICAL UNION, THE,
though not the first choral society in Chicago,
was one of the first to exercise a positive
influence. It was organized in 1857 and con-
tinued in efficient operation till 1865. Its
first conductor was C. M. Cady, later as-
sociated with George F. Root in the firm
of Root & Cady. He was followed in 1860
by A. L. Coe and in 1863 by Hans Balatka.
The Union undertook both sacred and secular
works. It gave 'The Creation' in 1857 and
'Elijah' in 1860, some of its oratorio concerts
being made memorable by the assistance of
Charles R. Adams and Christine Nilsson.
160 CHICAGO NORTH SHORE
CHICAGO SYMPHONY ORCHESTRA
In 1864 it bought out Lortzing's 'Czar und
Zimmermann' in English, arranged by Balatka,
which had five performances. See Upton,
Musical Memories, pp. 130, 271-4.
CHICAGO NORTH SHORE FESTIVAL
ASSOCIATION. THE, of Evanston, 111., or-
ganized in 1908, consolidates work previously-
undertaken by the Musical Clubs of Evanston
and Ravenswood, 111., and the School of Music
in Northwestern University. Its object is to
present annually a series of superior concerts,
usually five in number, of which three are
given to choral music. At present the Festival
chorus numbers about 600 voices, but at times
is augmented to 1100. There is also a chil-
dren's chorus of 1500, drawn from the public
schools. The concerts are given in the
Gymnasium of Northwestern University,
which seats 5000. Their artistic excellence
has attracted wide attention and brought
fame to the conductor. Dean P. C. Lutkin,
to the University and to Evanston. Among
the novelties brought forward have been
Bantock's 'Omar Khayydm,' Harty's 'The
Mystic Trumpeter,' Piern6's 'St. Francis of
Assisi' and Smith's 'Rhapsody of St. Bernard'
(1918) . In addition, works by Elgar, Coleridge-
Taylor, Bath and Clutsam that are compara-
tively unknown have been brought out. See
notice in 'The New Music Review,' July, 1910.
CHICAGO ORCHESTRAL ASSOCIA-
TION, THE, organized in 1891, is the cor-
porate name of the trustees of the Chicago
(formerly Thomas) Symphony Orchestra and
the owners of Orchestra Hall on Michigan
Avenue, built in 1904. See Vol. iv. 801-3.
CHICAGO- PHILADELPHIA OPERA
COMPANY, THE, or the Chicago Opera
Association, was formed in 1910 chiefly from
the forces previously drawn together by
Hammerstein for his ventures in New York
and Philadelphia. Its manager in 1910-13
was Andreas Dippel, with Cleofonte Cam-
panini as chief conductor. After 1913 the
latter was manager till 1915, when, the original
organization having become bankrupt, a new
one was formed with the same name, Cam-
panini remaining as artistic director, with
Bernhard Ulrich as business manager. Until
his death in 1919 Campanini was the most
influential factor in the enterprise, which he
brought to a high pitch of artistic perfection.
In 1920 he was succeeded as artistic director
by Gino Marinuzzi. Except for a break in
1914-15 due to the World War, regular
seasons have been presented in both Chicago
and Philadelphia, and since 1918 in New York
as well. The Company has also given per-
formances after the regular season in other
places. The list of novelties includes, in 1911,
Herbert's 'Natoma,' Wolf-Ferrari's 'II Segreto
di Susanna,' Nougu5s' 'Quo Vadis?' and
Massenet's ' Cendrillon ' ; in 1912, Wolf-Fer-
rari's 'I Giojelli della Madonna,' Parelli's
'A Lovers' Quarrel' and Goldmark's 'The
Cricket on the Hearth'; in 1913, d'Erlanger's
'Noel,' Zandonai's 'Conchita,' Kienzl's 'Der
Kuhreigen,' Massenet's 'Don Quichotte' and
Franchetti's 'Cristoforo Colombo'; in 1914,
Gnecchi's 'Cassandra'; in 1916, Massenet's
' Cleopatre ' and Buchhalter's 'A Lovers' Knot' ;
in 1917, Mascagni's 'Isabeau' and Hadley's
'Azora'; in 1918, Nevin's 'A Daughter of
the Forest' and Lazzari's 'Le Sauteriot' ; and
in 1919, Fevrier's ' Gismonda,' Catalani's
' Loreley,' Leroux' ' Le Chemineau ' and Monte-
mezzi's ' La Nave,' besides Borowski's ' Bou-
dour ' and Carpenter's ' The Birthday of the
Infanta' (ballets).
CHICAGO SYMPHONY ORCHESTRA,
THE. For the early history, see Vols. iv.
801-3 and v. 88. After the death of Theodore
Thomas in 1905 the conductorship passed to
Frederick A. Stock, who had been his assistant.
Though at that time a young man for so
responsible a position, the new conductor
speedily established himself with both players
and public. The personnel and discipline have
been steadily improved and the repertoire kept
fully abreast of the times. In recent years the
Orchestra has toured extensively. About 75 con-
certs are given annually in Chicago and about 25
elsewhere. The usual number of players is
about 90. Since 1912 the concertmaster has
been Harry Weisbach. In 1915 Mrs. Elizabeth
Sprague Coolidge gave $100,000 as a pension-
fund. In 1916 she gave a like amount (later
increased by other gifts to $237,500) to con-
stitute the Albert and Nancy Sprague Memorial
Fund. In 1918-19, when Mr. Stock's leader-
ship was temporarily intermitted (because
he had not then acquired full American citizen-
ship), the concerts were directed by Eric
DeLamarter and various visiting conductors.
From the excellent program-books prepared by
Felix Borowski it appears that the total repertoire
of the Orchestra since 1891 comprises works by over
300 composers and covering the entire field of sym-
phonic and concerted literature. In this list are the
names of about fifty composers who are Americans
or associated with America, represented by about
150 works, including the following : Paine's 2nd
Symphony and 'The Tempest'; Gleason's 'Edris'
and 'Song of Life'; Vogrich's Violin Concerto;
Foote's Tema con Variazioni, 'Cello-Concerto and
Suites, opp. 36 and 63 ; Chadwick's 3rd Symphony,
Overtures 'Melpomene' and 'Euterpe,' Suite
Symphonique, 'Cleopatra,' 'Aphrodite' and 'Tam
O'Shanter ' ; Foerster's Suite, ' Cyrano de Bergerac ' ;
Schoenfeld's Pastoral Symphony ; Shelley's ' Fran-
cesca da Rimini'; Van der Stucken's 'William
Ratclifl,' 'Pax Triumphans' and Suite, 'The Tem-
pest'; Herbert's 2nd 'Cello-Concerto ; Paderewski's
1st Symphony; Seeboeck's Piano-Concerto; Loef-
fler's 'Mort de Tintagiles,' 'Villanelle du Diable'
and 'A Pagan Poem'; MacDowell's 1st and 2nd
Piano-Concertos, 'Lancelot and Elaine' and 1st
and 2nd Suites; Arthur Whiting's Fantasy, op. IX;
JONAS CHICKERING
CHICKERING
CHITTENDEN
161
Kaun's three Symphonies, 'Minnehaha,' 'Hiawatha';
etc. ; Middelschulte's Organ-Concerto and Pas-
sacaglia ; Parker's Overture, ' Count Robert of
Paris,' ' Northern Ballad ' and Organ-Concerto ;
Cole's Symphonic Prelude ; Lucas' Overture, ' Mac-
beth'; Mrs. Beach's 'Gaelic' Symphony and Piano-
Concerto; Strube's Comedy Overture, 'Puck';
Weidig's 'Semiramis' and Symphonic Suite; Otter-
stroem's 'Negro' Suites; Skilton's 'Two Indian
Dances'; Converse's 'Festival of Pan,' 'Endymion's
Narrative,' 'Mystic Trumpeter' and 'Ormazd';
Hadley's 2nd, 3rd and 4th Symphonies, 'Salome'
and 'Culprit Fay'; Rubin Goldmark's '-Samson';
Borowski's 'El^gie Symphonique' and 'Peintures';
Stock's Symphony in C minor. Symphonic Variations,
'Eines Menschenleben,' Overture, 'Life's Spring-
tide,' etc. ; Oldberg's 2nd Symphony, Festival and
Dramatic Overtures, Symphonic Organ-Variations,
etc.; Carpenter's 1st Symphony and 'Perambulator'
Suite ; Schelling's Symphonic Legend and Fantastic
Suite ; D. S. Smith's Symphony and Overture,
' Prince Hal ' ; DeLamarter's Symphony ; John
Powell's Violin-Concerto; Ballantine's 'Eve of
St. Agnes'; and Boyle's Piano-Concerto.
CHICKERING, JONAS (Apr. 5, 1798, New
Ipswich, N. H. : Dec. 8, 1853, Boston),
was trained as a cabinet-maker. In 1818 he
became an apprentice of John Osborn, the able
Boston piano-maker, who had been a pupil
of Benjamin Crehore of Milton. In 1823
James Stewart, a Scotchman who had come
from Baltimore in 1820 to work with Osborn,
induced Chickering to join him in the new
firm of Stewart & Chickering. Stewart went
back to England in 1826. In 1829 John
Mackay, who had gained wealth as a ship-
captain and who had been the financial backer
of Alpheus Babcock, the inventor, joined
Chickering, the firm name being Chickering
& Mackay. This partnership was highly
successful, since Mackay brought considerable
capital and was a vigorous promoter on the
commercial side, while Chickering devoted
himself to technical improvement. They were
pioneers in developing the upright type of
instrument. In 1837 Chickering applied for
a patent for a full metal plate for squares,
but the application was held up on a techni-
cality tm 1840. In 1843 his full metal plate
for grands was patented, together with a
device for casting the agraffes in the plate.
In 1853, at the time of his death, he was work-
ing upon a metal plate that should provide
for overstringing. After 1841, when Mackay
died, Chickering proceeded alone until he
could take his three sons into the business.
Besides becoming famous for his inventions
and for the notable excellence of his instru-
ments, he was active in various musical
undertakings in Boston. He sang in the choir
of the Park Street Church and in the chorus
of the Handel and Haydn Society, of which
from 1834 he was vice-president.i For
'A humorous compliment to his personal qualities
was embodied on one occasion in the toast, ' Jonas
Chickering — grand, square, and upright ! '
M
various points about his inventive work,
see Vols. i. 514 and iii. 728-32. [ R.3 ]
CHICKERING & SONS, of Boston, is the
name of the piano-making firm founded in
1823 by Jonas Chickering and enlarged by
the admission of his sons Thomas E. Chicker-
ing (1824-1871), Charles Frank Chickering
(1827-1891) and George H. Chickering (1830-
1896) . Of these the second, C. Frank Chicker-
ing, especially inherited his father's genius
as inventor and designer, in token of which
he received the decoration of the L6gion
d'Honneur in 1867, at the same time that the
firm won fir-st prize at the Paris Exposition.
In 1852 the firm's entire stock in trade was
destroyed by fire, the loss being estimated at
a quarter-million. Despite this calamity,
the business quickly recovered its leading
position. Since 1908 it has been absorbed
into the American Piano Company.
CHILD, EBENEZER. See Tune-Books,
1804.
CHITTENDEN, KATE SARA (April 17,
1856, Hamilton, Ont.), is descended from an
old Connecticut family. She early began
piano-study with an aunt, continuing with
Jules Fossier and Lucy H. Clinton. She was
educated at Hellmuth College, London, Ont.,
receiving the Dufferin medal for art in 1873,
and began to teach there at seventeen. In
1876 she came to New York, where she has
since been constantly engaged as a teacher.
In 1879 she became organist at Calvary
Baptist Church, where she remained for
twenty-seven years. In 1890 she was elected
head of the piano-department at the Catherine
Aiken School in Stamford, Conn., retaining
the position until the school was given up in
1914. In 1892 she was the first woman to
lecture under the New York Board of Edu-
cation, giving, with the assistance of C. Judson
Bushnell, baritone, the first lectures on music,
and this work has been continued until
recently. Her connection with Vassar College
dates from 1898. In 1899 she became head
of the piano-department, and since practical
music was recognized as an elective in 1918
she has been assistant-professor. In 1890
she became associated with Albert Ross
Parsons in the preparation of The Synthetic
Method. The first part only was issued, as
subsequently it was deemed advisable that
the material belonging to each party be
published separately, in sheet form. She
joined the staff of the (then) Metropolitan
Conservatory in 1892. This was later re-
organized as The American Institute of Ap-
plied Music. In the Institute she is now
vice-president and dean of the faculty as well
as president of the trustees of the Metro-
politan College. She has taught over 3000
piano-pupils, and has specialized in the train-
162
CHOIR magazine:
CILfiA
ing of teachers. Technical works for the piano
and some tunes for children represent her
compositions. She has written for musical
magazines and is active in state and national
music-teachers' organizations. [ R. 6 ]
'CHOIR AND CHORAL MAGAZINE,
THE.' See Vol. iii. 689.
'CHOIR JOURNAL, THE.' See Vol. iii.
689.
CHORAL ART CHOIR, THE, of New
Haven, Conn., was organized in 1918 by
George C. Stock. It is a mixed chorus of
60 selected voices for the performance of the
best part-songs and cantatas. The conductor
is David Stanley Smith. Two concerts are
given annually.
CHORAL ART SOCIETY, THE, of Bos-
ton. See Vol. i. 369. Wallace Goodrich con-
tinued as conductor till 1907, when he be-
came leader of the Cecilia.
CHORAL CLUB, THE, of Hartford, Conn.,
a superior male chorus of 70-80 voices, was
founded in 1907. It gives two concerts each
year, besides occasional performances in near-
by cities. Its conductor from the beginning
has been Ralph L. Baldwin. In addition to
a large number of part-songs, about twenty-
five longer works in cantata-form have been
given. American compositions have always
been numerous and conspicuous, among them
Foote's 'The Farewell of Minnehaha,' Par-
ker's 'The Norseman's Raid' and 'The Leap
of Roushan Beg,' Protheroe's 'The Nun of
Nidaros,' Strube's 'Hymn to Eros,' Baldwin's
'Hymn before Action,' Cadman's 'The Vision
of Sir Launfal' and Harling's 'The Death of
Minnehaha' (first time, conducted by the
composer) .
CHORAL SOCIETIES. The first impetus
in the direction of choral music in America
was given by the 'singing-schools' that
sprang up in New England from the middle
of the 18th century. From one of these
'schools' came in 1786 the Musical Society of
Stoughton, Mass., which though apparently
not the first of its kind, was the only one that
has endured (see list at end of Register, 2).
The organization in 1815 of the Handel and
Haydn Society of Boston marked the solid
beginning of permanent societies. To this
followed in 1820 the 'Musical Fund Society
of Philadelphia and in 1823 the Sacred Music
Society of New York. Various influences
combined to foster numerous experiments of
the same general sort during the next half-
century, especially in the East. After 1850
interest in choral undertakings began to
manifest itself in Cincinnati, Chicago and
Milwaukee, often stimulated by the large
proportion of Germans in the population.
After about 1870 the multiplication of choral
societies of dignified ambition and persistent
energy set in with notable results. They
have now become so numerous that no ade-
quate catalogue of them is practicable. '
'CHOROPHONE' is the trade-name of a
small pipe-organ devised by the Austin Organ
Company of Hartford, Conn., to supply the
needs of churches that cannot afford expensive
instruments. By ingenious extensions and
duplexing of a few stops much variety, flexi-
bility and sonority are obtained. There are
two manuals and pedal, controlled from a
standard console.
CHRISTIANI, ADOLF FRIEDRICH
(1836-1885). See Register, 5.
CHRISTIANSEN, F. MELIUS. See Col-
leges, 3 (St. Olaf C, Minn.).
CHRISTY, EDWIN T. See Register, 4.
CHURCH COMPANY, THE JOHN, of
Cincinnati, was founded in 1854 by John
Church as a music-publishing business, to
which was added dealing in all kinds of
musical merchandise. After the Chicago
fire of 1871 this Company acquired the business
formerly carried on in Chicago by Root &
Cady. From about 1875 it shared with
Biglow & Main of New York the publication
of the 'Gospel Hymns' series. It has also
given much attention to music for both
instrumental and vocal instruction, and of
late years has put forth many works of still
higher class. Since about 1908 piano-making
has been added, and the Company is now the
owner of the Everett and Harvard pianos as
well.
CHURCH CHORAL SOCIETY, THE, of
New York. See Vol. iii. 367-8, and add that
Mr. Warren continued as leader till 1907.
[A society of the same name was formed in
1852 by Edward Hodges, the organist of
Trinity Church, and under its auspices choral
services were first held in that church.]
'CHURCH MUSIC See Vol. iii. 688, and
add that Rev. Hugh T. Henry continued as
editor till 1909.
CHURCH MUSIC ASSOCIATION, THE,
of New York, was formed in 1868 through the
efforts of George T. Strong, with Dr. James
Pech, then organist of St. John's Chapel, as
conductor, succeeded soon by Charles E.
Horsley. Although an exclusive, social enter-
prise and by no means limited to sacred music,
it perhaps prepared for the foundation in 1873
of the Oratorio Society.
tCILEA, FRANCESCO (July 23, 1866,
Palmi, Italy). See article in Vol. v. 624.
His 'Poema Sinfonico,' for solo, chorus and
orchestra, was given at Genoa in 1913. In
1 In Who^s Who in Music, 1918, a list of over 400
is given, which, however, is far from complete. It is
interesting to note that in this imperfect list there
are over 100 societies more or less of the 'oratorio'
class, located in over 30 States, besides perhaps 15
in Canada.
CINCINNATI CONSERVATORY
CLAPP
163
1908 he was made an Officer of the Order of
the Crown of Italy. He was director of the
Conservatory at Palermo in 1913-16, and since
1916 has been director of the Conservatory
at Naples.
CINCINNATI CONSERVATORY OF
MUSIC, THE, was started in 1867 by Clara
Baiu-, who continued in charge till her death
in 1912, being then succeeded by her niece
Bertha Baur. Its original plan was more or
less modeled after that of the Stuttgart Con-
servatory. Emphasis has always been laid
upon general education in connection with
special musical training, both by requiring
at least high-school preparation from all who
seek to graduate, by providing some literary
advantages in the Conservatory, and by urging
all looking forward to a musical career to take
a general college course besides their Con-
servatory course. Since its beginning the
Conservatory has maintained a summer-
school, which has contributed much to its
success. The instruction is arranged in five
grades — Juvenile, Preparatory, Normal,
Artist and Master. The faculty numbers
about 75. The usual enrollment is from 1200
to 1500. A noteworthy feature is the Student
Orchestra, which for more than thirty years
has been led by Pier A. Tirindelli. The
department of opera is also strongly empha-
sized. In 1918 a performance of Laparra's
'La Habanera' was given to the satisfaction
of the composer, who was present. Since
1902 the institution has occupied spacious
grounds on Highland Avenue with four
principal buildings finely adapted to its use.
CINCINNATI FESTIVALS. See Vol. i.
537-8. The long-extended leadership of
Thomas continued till 1904, when he was
followed till 1912 by Frank Van der Stucken,
in 1914 and 1916 by Ernst Kunwald, and in
1918 by Eugene Ysaye. In 1906 Elgar also
conducted four of his own works. The record
of principal choral works is as follows :
1904. Bach, Mass in B minor; Elgar, 'The
Dream of Gerontius ' ; Beethoven, Missa Solemnis.
1906. Elgar, 'The Apostles,' 'The Dream of
Gerontius'; Brahms, Requiem; Bach, 'Actus
Tragicus'; Beethoven's 'Choral' Symphony.
1908. Bach, St. Matthew Passion; Pierng, 'The
Children's Crusade.'
1910. Handel, 'Judas Maccabseus'; Beethoven,
Missa Solemnis; Berlioz, 'Les Troyens.'
1912. Mendelssohn, 'Elijah'; Berlioz, Requiem;
Franck, 'Les Beatitudes'; Wolf-Ferrari, 'La Vita
Nuova.'
1914. Bach, Mass in B minor; Beethoven,
'Choral' Symphony; Berlioz, 'The Damnation of
Faust'; Verdi, Requiem.
1916. Beethoven, Missa Solemnis ; Mendelssohn,
'St. Paul'; Pierne, 'The Children's Crusade.'
1918. Bach, St. Matthew Passion; Haydn, 'The
Creation' ; Kelley, 'Pilgrim's Progress.'
CINCINNATI SYMPHONY ORCHES-
TRA, THE. See Vol. iv. 803. In December,
1909, after a two years' interval, the Orchestra
was reorganized with a competent force of 70
players under Leopold Stokowski, who rapidly
brought it to notable efficiency. On his
resignation in 1912 Ernest Kunwald, formerly
of the Berlin Philharmonic, succeeded as
conductor. In 1913 the players were in-
creased to 85, in 1914 the regular season
lengthened from twenty-four to thirty-two
concerts, and in 1915 the Orchestra became
permanently endowed by the bequest of
$700,000 in the will of Martha Cora Dow. In
1917 Kunwald offered to resign in the fall,
but was persuaded to go on. In December,
however, he was arrested as an enemy alien
and his resignation was then accepted. In
1918 various guest-conductors appeared, in-
cluding Walter Roth well, Victor Herbert,
Henry Hadley, Ossip Gabrilovitch and
Eugene Ysaye. In May of that year the
latter was appointed permanent conductor.
CISNEROS, ELEONORA DE, n6e Broad-
foot (Nov. 1, 1880, New York), made her
debut as Rossweise in 'Die Walkiire' at the
Metropolitan Opera House in 1900. She was
then a pupil of Mme. Murio-Celli, but had not
been abroad. On fidouard de Reszke's
advice she now went to Paris and Italy to
study with his brother Jean, Maurel, Traba-
dello and Lombardi. Her success as stage-
soprano was immediate, so that since 1902
she has sung, often for successive seasons, in
all the leading European opera-houses and in
Cuba, Brazil and Australia besides. In 1906-
08 she was a principal artist at the Manhattan
Opera House in New York, leaving for Milan
to create the role of Clytemnestra in Strauss'
'Elektra.' In 1909 she took the part of
Eboli at the revival of Verdi's 'Don Carlos.'
In 1910 she sang in 'Aida' at the inaugural
performance of the Chicago Opera Company,
with which she has since been identified. Her
last European engagement was at the Champs
Elysees in Paris in 1914, when she sang ' Tristan
und Isolde' in German. In 1915-16 she was
with the Havana Opera Company. She has
also sung in concert in Honolulu and in
Australia and New Zealand. In 1907 she
married Count Francesco de Cisneros. [ R.9 ]
CLAASSEN, ARTHUR (1859-1920). See
Register, 7.
CLAPP, PHILIP GREELEY (Aug. 4,
1888, Boston), began lessons at six with an
aunt, Mrs. Mary C. A. James. Later he
studied piano and theory with J. P. Marshall
and violin with Jacques Hoffman. He pre-
pared for college at the Roxbury Latin School,
and at Harvard completed the course in three
years, receiving his A.B. in 1908 magna cum
laude. A large part of his course consisted
of work in composition, orchestration, etc.,
offered in the musical department, chiefly
164
CLARK
CLARKE
under Spalding. He remained for a fourth
year, receiving the degree of A.M. with
highest final honors in music in 1909. He
also won the Boott Prize in 1907 for a con-
certed vocal composition. For two years he
was conductor of the Pierian Sodality, and was
elected chorister by the class of 1909. In
1909-11 he studied in Europe as Sheldon
Fellow of the University, emphasizing com-
position in Stuttgart with Schillings and the
aesthetics of music at the British Museum. In
1911 he received the degree of Ph.D. from
Harvard, presenting original compositions
and a thesis on ' Modern Tendencies in Musical
Form.' In 1911-12 he was assistant in music
at Harvard ; in 1912-14 instructor in music
at the Middlesex School in Concord, Mass. ;
in 1914-15 acting director of the School of
Music in Gloucester, Mass. In 1915-19 he
was director of music at Dartmouth College,
with leave of absence for service as band-
leader with the 73rd Artillery, A. E. F., in
France. In 1919 he became professor of music
at the State University of Iowa in Iowa City.
Since 1909 he has been a frequent contributor
to the Boston 'Evening Transcript' on various
musical subjects. In 1913 he conducted the
Cincinnati Symphony Orchestra for two weeks
in an emei'gency caused by Kunwald's illness.
His compositions include the tone-poem
'Norge,' for orchestra and piano, written for
the centennial of the Pierian Sodality in 1908
(also Boston Symphony Orchestra, 1909) ;
a string-quartet in C minor (1909, not yet
performed) ; the tone-poem 'A Song of
Youth,' for orchestra (privately given in
Stuttgart in 1910 by the Court Orchestra,
the composer conducting) ; Symphony in
E minor (1911, revised 1913, given in 1914 by
the Boston Symphony Orchestra, the com-
poser conducting); a 'Dramatic Poem,' for
trombone and orchestra (1912, written to
show the capacity of the Sax 7-valve trombone
played by Modest AUoo, given in New York
by M. AUoo and the Pierian Sodality, the
composer conducting) ; the orchestral prel-
ude 'In Summer' (1913, given in 1914 by the
St. Louis Symphony Orchestra) ; Symphony
in E-flat (1916, given in 1917 by the Boston
Symphony Orchestra, the composer con-
ducting) ; stage-music for the Pageant of
the Massachusetts Agricultural College (1917,
given in 1920) ; Symphony in A (1918-19) ;
and several songs and part-songs, a few with
orchestral accompaniment. [ 11.9 ]
CLARK, CHARLES WILLIAM (b. 1865).
See Register, 8.
CLARK, JOHN. See Register, 3.
CLARK, MELVILLE (d. 1918). See Reg-
ister, 6.
CLARK, MELVILLE ANTONE (b. 1883).
See Register, 10.
CLARK COMPANY, THE MELVILLE,
of Chicago, was organized in 1900 to utilize the
various patents of Melville Clark. Besides
making pianos, including a small grand of novel
design, the firm specializes in player-pianos, us-
ing devices under the trade-name of ' Apollo.'
CLARKE, HERBERT LINCOLN (b.
1867). See Register, 7.
CLARKE, HUGH ARCHIBALD (Aug. 15,
1839, near Toronto, Ont.), was the son of the
Canadian organist James P. Clarke, who was
his only teacher. He came to Philadelphia
in 1859, served as organist in several churches
(till 1897), and for some years conducted the
Abt Male Chorus. In 1875 he became
professor in the University of Pennsylvania,
teaching harmony, counterpoint, orchestration
and musical form, and this position he still
holds. In 1886 the University conferred on
him the degree of Mus.D., after the perform-
ance of his overture and choruses for Aris-
tophanes' 'Acharnians.' He has also written
music for Euripides' ' Iphigenia in Tauris,' the
oratorio 'Jerusalem' (Philadelphia, 1891),
a piano-quartet and several sonatas for violin
and piano. Of his many songs a few are pub-
lished. His treatises on Harmony and
Counterpoint have been largely used. He is
also the author of The Scratch Club, 1888, a
Dictionary of Musical Terms, 1896, Music
a?id the Comrade Arts, 1899, and Highways
and Byways of Music, 1901. As an educator
and lecturer he has exerted a wide and salutary
influence. The late Dr. Gilchrist was one of
his pupils. [ R.5 ]
CLARKE, JAMES PEYTON (1808-1877).
See Register, 4.
CLARKE, WILLIAM HORATIO (Mar.
8, 1840, Newton, Mass. : Dec. 11, 1913,
Reading, Mass.), at sixteen became organist
at Dedham, Mass., and three years later at
Berkeley Temple in Boston, teaching also
in the Perkins Institute for the Blind. In
1871 he became music-superintendent in the
schools of Dayton, O., later removing to
Indianapolis as organist and organ-builder.
In 1878-87 he was organist at Tremont
Temple in Boston. After retiring in 1887
he was much sought as consulting-expert
in organ-building. In 1890 he erected on his
estate at Reading a music-chapel, 'Clarigold
Hall,' which contained a four-manual organ
of 100 stops. Illness prevented his plan for
establishing there a school for organ-instruc-
tion. He wrote An Outline of the Structure
of the Pipe-Organ, 1877, The Organist's Ret-
rospect, 1896, and Standard Organ-Building,
1913, and besides several non-musical books,
prepared instruction-books for piano, organ
and voice, and composed organ-pieces and
church-music. Three sons took up musical
careers, Herbert L. Clarke (b. 1867) becoming
CLASS
CLIFTON
165
a widely-known cornet-virtuoso and band-
master. [ R.4 ]
CLASS, FRANKLIN MORRIS (May 2,
1881, New York), graduated from Harvard
in 1903 (cum laude in music) and as M.D.
from Columbia in 1907, then becoming an
attending physician at Bellevue Hospital in
New York. At Harvard he studied under
Paine. He has composed three volumes of
piano-music; five 'Intermezzi,' op. 6; five
'Vignettes,' op. 7 (Ditson) ; five 'Pieces for
Piano' (Church); and some 30 songs (Schir-
mer, Ditson, Breitkopf). His opereitta 'Hasty
Pudding' was performed at Harvard in 1903.
Unpublished are a string-quartet, various
pieces for piano, violin, 'cello and flute, and
some motets. [ R.9 ]
CLAUSSEN, JULIA (b. 1879). See Reg-
ister, 10.
CLEMENS, CHARLES EDWIN (Mar. 12,
1858, Devonport, England), had his first ap-
pointment as organist when only eleven. He
studied under local teachers, with occasional
lessons from cathedral organists, and became
active as pianist, organist and viola-player.
Going to London, he entered the Royal College
of Music, studying piano with Pauer. On
Grove's advice he finally made the organ his
chief study, his teachers being Weekes, Martin
and Bridge. From 1889 he taught organ and
harmony at the Klindworth Conservatory in
Berlin and was organist of the Royal Chapel
(English). From 1896 he was organist at
St. Paul's in Cleveland. In 1899 he began
lecturing on music-history at Western Reserve
University, and soon was appointed organist
and professor. Since 1911 he has been
organist at the Euclid Avenue Presbyterian
Church. The University made him Mus.
D. in 1916. His Modern Progressive Pedal-
Technique, 2 vols., 1894 (Breitkopf), and The
Modern School for the Organ, 1903 (Schirmer),
are both popular works. A treatise on
Harmony is still unpublished, though used
in classes at the University. [ R.8 ]
CLEMENS, CLARA (1871?, Elmira, N.
Y.), the daughter of 'Mark Twain', spent
her childhood in Hartford, Conn. She was
allowed to take lessons on the piano when
she was six years old. Later she studied with
Moszkowski and also Leschetizky. Meantime
her voice was discovered and she began to
prepare herself for concert-singing, abandoning
the piano. In 1904 she made her debut in
Florence, where her voice was likened to
Scalchi's, but her career was then interrupted
by several years of illness. In 1909 she married
the Russian pianist Gabrilovitch, and in 1912
resumed singing in Germany and appeared
often in the principal cities. Since 1914 she
has been in America, touring extensively
and giving recitals both alone and with her
husband. Her voice is a mezzocontralto,
with a range of over two octaves. [ R.9 ]
CLEMENT, EDMOND (b. 1867). See
Register, 9.
'CLEOPATRA'S NIGHT.' A two-act
opera by Henry K. Hadley, the libretto by
Mrs. Alice Leal Pollock (after Gauthier). It
was first given at the Metropolitan Opera
House on Jan. 31, 1920.
CLEVELAND CONSERVATORY OF
MUSIC, THE, was founded in 1881. Its di-
rectors have been Franklin Bassett from 1882
to 1915 and Charles Heydler since 1885. For
a time from 1888 it was affiliated with Western
Reserve University as a music-department.
CLEVELAND SCHOOL OF MUSIC,
THE, was started in 1885 by Alfred Arthur,
who remained at its head till his death in 1918.
CLEVELAND SYMPHONY ORCHES-
TRA, THE, was organized in 1918 under the
auspices of the Musical Arts Association, in
which Mrs. Adella P. Hughes is the moving
spirit. The aim is two-fold, to provide superior
concerts for patrons and to serve the whole
community through so-called ' popular ' per-
formances. Under the skillful leadership of
Nikolai Sokoloff both purposes have been
strikingly achieved. There are about 15 sym-
phony concerts and at least 45 others, besides
many outside of Cleveland. The larger con-
certs are given in the New Masonic Hall,
erected in 1919. The number of players ranges
from 75 to 85. From 1920 Arthur Shepherd
is to be assistant-conductor. The concertmas-
ter is Louis Edlin. The enterprise is in part
supported by a considerable maintenance-fund,
secured by annual subscription. As a part of
its plan of popular education, some fifteen of
the players give instruction'on their instruments
in the public-school system.
Besides gradually pushing its way into the
general symphonic repertory, the Orchestra has
already given special attention to American
composition, including Beck's Overture to
'Lara,' Griffes' ' Shojo,' Herbert's 'American
Fantasy,' Hill's ' Stevensoniana,' Hopekirk's
' Sundown,' two movements from Kelley's
'Aladdin' Suite, Loeffler's 'Pagan Poem,'
MacDowell's 'Indian Suite,' Rogers' 'The
Name of France,' Skilton's 'Two Indian
Dances,' W. G. Smith's 'Autumn Suite' and
two pictures of Whithorne's, ' The Night ' and
' The Rain.' Several choral works have been
given with the Oberlin Musical Union and the
Mendelssohn choir of Pittsburgh.
Earlier orchestras in Cleveland were those
led by George Lehmann in 1886-89 and by
Johann H. Beck from 1899.
CLIFTON, ARTHUR. See Ttjnk-Books,
1819.
CLIFTON, CHALMERS (Apr. 30, 1889,
Jackson, Miss.), studied at the Cincinnati
166
CLIPPINGER
CLOUGH & WARREN
Consen-atory in 1903-08, graduating with
distinction in 1907. He then entered Harvard
and in 1912 graduated summa cum lavde, with
highest honors in music. He conducted the
first MacDowell Festival at Peterboro, N. H.,
in 1910. As Sheldon Fellow of Harvard in
1912-14 he was a pupil in Paris of d'Indy and
Gedalge. A few months spent in Russia in
1913 also made a deep impression upon him.
Returning to America in July, 1914, he con-
ducted the first performance of E. B. Hill's
pantomime, 'Pan and the Star,' at the Mac-
Dowell Festival in Peterboro in August, and
other performances in Boston and Cincinnati
in 1914-15. He composed and conducted
music for the Lexington (Mass.) Pageant in
June, 1915, commemorating one hundred and
forty yeiars of American Independence. In
1915-17 he followed Mees and Gideon as con-
ductor of the Cecilia Society of Boston, during
which time he conducted the first performance
in America of d'Indy's 'Chant de la Cloche.'
At the outbreak of the war, after several
attempts to enter the service, he went to
Paris as one of the Harvard representatives
in the American University Union, was com-
missioned 2nd Lieutenant (Infantry) in March
and was attached to the Intelligence Section
under Col. Cabot Ward. He was promoted
1st Lieutenant in February, 1919, and hon-
orably discharged in May. He conducted
a concert of American music with the Soci6te
des Concerts at the Conservatoire on May
26, 1919, the program including works by
Converse, MacDowell and Gilbert. His com-
positions are two sonatas for piano ; ' The
Poppy,' a poem for tenor and orchestra ;
music for ' A Pageant of Lexington ' ; and
songs. He has written articles for the Bos-
ton 'Transcript' and notes on Massenet,
Saint-Saens and 'Solo' in The Art of Music.
[ R.IO ]
CLIPPINGER, DAVID A. (Sept. 2, 1860,
O.), began to teach singing-schools when only
a lad of sixteen. He attended the North-
western Ohio Normal University and the Fort
Wayne (Ind.) Conservatory. His vocal study
was with Lyman W^heeler in Boston, F. W.
Root in Chicago, Hey in Berlin, and Shake-
speare and Behnke in London. Later he
coached with Randegger, Henschel and Van
Bos. He also studied theory with Eugene
Thayer in New York and Gleason in Chicago.
For two years he taught at Fort Wayne, but
in 1887 removed to Chicago, where he has
since been a leading teacher of singing, con-
ductor and author. He has written The
Development of the Singing-Voice, Systematic
Voice-Training, The Head-Voice and Other
Problems, The Elements of Voice-Culture —
Studio Notes Nos. 1, 2, and 3, besides many
articles on vocal topics. For four years he
was editor of the 'Western Musical Herald,'
and at present he is associate-editor of 'The
Musical Monitor.' In 1900 he organized
the Chicago Madrigal Club, which has not
only won renown by its performances, but
stimulated composition by an annual prize
of $100 for the most acceptable madrigal.
In addition, he conducts the Carson, Pirie,
Scott & Co. chorus (175 voices), the Swift
& Co. Male Chorus (75 voices), the Swift &
Co. Female Chorus (100 voices) and the
Berwyn Choral Society. He is active in both
State and National Music Teachers' Asso-
ciations. [ R.7 ]
CLOUGH-LEIGHTER.i HENRY (May 13,
1874, Washington), began his general educa-
tion at the Columbian University in Wash-
ington, where he held a scholarship at thirteen,
but gave it up for music. He had been
chorister at St. John's, and, after taking up the
organ with G. W. Walter, from 1888 was organ-
ist at various churches in Washington, includ-
ing Epiphany in 1892-99. Meanwhile he was
pursuing theoretical study with Edward
Kimball, Henry Zander and Dr. Anger of
Toronto. In 1899-1900 he was organist at
Grace Church in Providence, in 1900-01 at
Christ Church there and also music-supervisor
in Westerly, R. I., and teacher at the Howe
School in Boston, and since 1901 has been in
editorial work in Boston, in 1901-08 with
the Ditson Company and from 1908 with the
Boston Music Company. Since 1901 he has
also been organist at Milton, Mass. His
published works include five cantatas with
organ or orchestra; a lyric suite, 'The Day
of Beauty,' for solo, piano and string-quartet ;
the symphonic ballad 'Lasca,' for tenor and
orchestra; the Victorian ode 'Recessional,'
for chorus and orchestra ; the symphonic
ode 'The Christ of the Andes,' for chorus
and orchestra, op. 64 ; many song-cycles ;
over 100 songs, and a like number of choral
works. He has made many tra;Dscription3
for organ, particularly of modern works, and
has edited a great number of musical, technical
and pedagogical works. He has newly edited
and revised Anger's Treatise on Harmony.
[ R.7 ]
CLOUGH & WARREN COMPANY, THE,
of Detroit, started in 1850 as Simmons &
Clough and gradually built up a fine repu-
tation as makers of reed-organs, particularly
from 1870, when the firm was reorganized
vmder its present name. They applied
' qualifying tubes ' in connection with the reeds,
securing an unusual fullness of tone. Adding
the making of pipe-organs, from 1889 they
were interested in developing the Austin
'universal wind-chest.' Since 1900 they have
1 Also Clough-Leiter. The ' Clough ' was added at
his birth to perpetuate a family surname.
COERNE
COERNE
167
turned to making pianos, player-pianos and
' Manophone ' phonographs.
COERNE, LOUIS ADOLPHE (Feb. 27,
1870, Newark, N. J.), whose father was of
Dutch and Swedish derivation, was early
educated in Germany and France, graduated
from the Boston Latin School in 1888, and
attended Harvard University in 1888-90,
studying harmony and composition with
Paine and violin with Kneisel. From 1890
he attended the Royal Academy at Munich,
where he took organ and composition with
Rheinberger, violin and conducting with Abel,
and graduated with highest honors in 1S93.
Returning to Boston, he conducted his sym-
phonic poem 'Hiawatha' with the Boston
Symphony Orchestra in 1894, and was called
to Buffalo, where in 1894-97 he was musical
director of the Vocal Society, the Liedertafel
and at the Church of the Messiah. In 1897-
99 he was in Columbus as musical director
at Trinity Church, and of the Arion Club
and the Mannerchor. In 1899-1902 he was
again abroad, composing and publishing;
he also completed and edited Rheinberger's
posthumous Mass in A minor. Returning
in 1902, he had charge of the music-depart-
ment at Harvard in the summer session of
1903, was associate-professor at Smith College
in 1903-04, and in 1904-05 was engaged in
research-work in New York and at Harvard,
writing The Evolution of Modern Orchestration
(1908), and receiving for it a Ph.D. from
Harvard — the first bestowal of that degree
for special work in music. In 1905-07 he again
lived and traveled abroad, and was present
at five renderings of his opera 'Zenobia' at
Bremen under the direction of Pollak, this
being the first performance in Europe of a
grand opera by a native of the United States.
In 1907-09 he was engaged as musical director
at Troy, N. Y., and in 1909-10 was director
of the conservatory at Olivet College, where
he received the degree of Mus.D. He then
became professor and director of the School
of Music at the University of Wisconsin,
being also organist at the Congregational
Church and leader of the Mannerchor. In 1915
he became professor at the Connecticut College
for Women in New London. His compositions
number over 500, of which over 300 have been
published. They include
Fantasy in A, op. 5, for orchestra.
Concerto-Overture in D, op. 7, for orchestra.
Suite in D minor, op. 10, for strings (1892, Stuttgart).
Concerto in E, op. 12, for organ, strings, horns,
and harp (1892, Munich, also Columbian Exposition,
1893, Buffalo, 1895).
Ballet, 'Evadne,' op. 15 (extracts, Boston Sym-
phony Orchestra, 1894).
Symphonic Poem, 'Hiawatha,' op. 18 (1893, Mu-
nich and Chicago, also Cambridge, Mass., Boston
Symphony Orchestra, 1894).
String-Quartet in C minor, op. 19.
Jnbilee March in E-flat, op. 20, for military band
(1893, Columbian Exposition and New York, also
Buffalo, 1895, Columbus, 1898).
Overture, op. 36, for orchestra.
Tone- Picture, op. 39, for orchestra.
'A Woman of Marblehead,' opera in two acts, op.
40 (extracts, Buffalo Symphony Orchestra, 1897).
'Beloved America,' patriotic hymn, op. 41, for
male chorus and orchestra (1896, Buffalo).
Festival Cantata, op. 45, for soli, chorus and or-
chestra.
Festival Morning and Communion Services in A,
opp. 46—47.
Concert-Piece in E, op. 48, for piano (1910, Madi-
son, Wis.).
'Talitha Cumi', sacred cantata, op. 50, or soli,
chorus, organ, strings and harp.
'Romantic' Violin-Concerto in G minor, op. 51,
with orchestra.
Mass in D minor, op. 53, for six voices a cappella,
organ ad libitum (Leuckart).
Tone-Poem, op. 59, for orchestra.
'Swedish' Sonata in A minor, op. 60, for violin
and piano (1904, Colorado Springs, also Stuttgart,
1906, Madison, Wis., 1910, New London, 1916)
(Hofmeister).
Three Trios in Canon, op. 62, for violin, 'cello
and piano (Bosworth).
Concertino in D, op. 63, for violin and piano
(Bosworth).
Three Trios, op. 64, for violin, 'cello and piano
(Andrg).
'Zenobia,' opera in three acts, op. 66 (1905-06,
Bremen, also extracts, Minneapolis Orchestra, 1914,
Chicago and St. Louis Orchestras, 1915) (Seemann).
'Sakuntala,' a melodrama, op. 67 (1904, Smith
College, also Albany, N. Y., 1914).
'The Maiden Queen,' operetta, op. 69.
Dedication Ode, op. 82, for orchestra (opening of
Connecticut College, 1915).
Incidental Music to 'The Trojan Women' of
Euripides, op. 113 (1917, Connecticut College).
'Until the Day Break,' sacred cantata, op. 124, for
soli, chorus and piano or orchestra (Ditson).
'A Song of Victory,' patriotic cantata, op. 125, for
soli, chorus and piano or orchestra (Ditson).
'On Mountain-Crests,' op. 127, for orchestra.
'Skipper Ireson's Ride,' cantata, op. 131, for
baritone, chorus and piano or orchestra (Ditson).
'The Landing of the Pilgrims,' cantata, op. 135,
for baritone, chorus and piano or orchestra (Ditson).
Trio, op. 139, for flute, 'cello and harp.
'The Man of Galilee,' cantata, op. 141, for soli,
chorus and organ (Schirmer).
Many Songs, mostly secular, some in ' cycles,' opp.
1, 4, 13-4, 21, 23, 27-30, 34, 42-3, 49, 55, 57-8, 68,
72-3, 76-81, 84, 91, 94, 96, 98, 104, 106, 108, 110, 112,
116, 119, 123, 128, 130, 140, 148 (Thompson, Ditson,
Bosworth, Breitkopf, Grueninger, Schuberth, Summy,
Presser, Boston Music Co., Flammer, Schirmer).
Anthems, opp. 6, 25, 33, 38 (tunes), 44, 52, 70, 88,
92, 95, 97, 102, 122, 126, 132 (Thompson, Ditson,
Summy, Schirmer, Boston Music Co., Presser).
Choruses and Part-Songs, opp. 9, 11, 22, 31, 35,
56, 71, 83, 100, 118, 133-4, 138 (Breitkopf, Schmidt,
Summy, Ditson, Presser).
Piano-Pieces and Studies, opp. 3, 8, 17, 32, 54, 74,
85-7, 89-90, 93, 99, 101, 103, 105, 107, 111, 114, 117,
120-1, 129, 136-7, 142-5, 147 (Thompson, Ditson,
Siegel, Summy, Flammer, Schirmer, Boston Music
Organ-Pieces, opp. 2, 16, 24, 26, 37, 109 (Thompson,
Ditson, Millet, Schirmer).
Violin-Pieces, opp. 61, 65, 75, 1036, 146 (Siegel,
Summy, Schirmer). [ R.8 ]
168
COGSWELL
COLERIDGE-TAYLOR
COGSWELL, HAMLIN ELISHA (b.
1852). See Register, 6.
COLBURN, GEORGE (b. 1878). See Reg-
ister, 9.
COLE, BELLE (1845-1905). See Register,
5.
COLE, ISAAC P. See Tune-Books, 1815.
COLE, JOHN (1774-1855). See Tune-
Books, 1800.
COLE, ROSSETTER GLEASON (Feb. 5,
1866, Clyde, Mich.), was educated at Ann
Arbor, Mich., graduating from the University
of Michigan in 1888. While in college he took
all the courses in theory under C. B. Cady.
At his graduation the University Musical
Society performed his lyric cantata 'The
Passing of Summer,' composed during his
senior year. For two years he taught English
and Latin in high-schools. While in Berlin
in 1890-92 he won a scholarship in the
Konigliche Meisterschule under Bruch. Here
Van Eycken was also his teacher in counter-
point and composition, Kogel in conducting
and Middelschulte in organ. In 1892-94 he
was professor at Ripon College in Wisconsin.
In 1894-1901 he was at Grinnell College in
Iowa, and in 1907-09 at the University of
Wisconsin. In 1901-07 and since 1909 he
has lived in Chicago as composer, lecturer,
teacher of composition and theory, and musical
writer. Since 1908 he has been in charge
of the music-courses at the summer-session
of Columbia University in New York. In
1902 and 1909-10 he was president of the
M. T. N. A. and in 1912-14 dean of the IIU-
nois Chapter of the A. G. O. He has given
much time to composition. His 'Symphonic
Prelude,' op. 28, was played by the Chicago
Orchestra in 1915 and has since been repeated
several times, and his overture 'Pioneer
(1818-1918),' op. 35, was played by the same
orchestra on Mar. 14-15, 1919, the composer
conducting. 'The Passing of Summer' (1888)
was later revised and published as op. 14. A
cantata, 'The Broken Troth,' for women's
voices, soli and orchestra, was performed by the
Chicago Teachers' Chorus in 1917. Three reci-
tations with musical settings are 'Hiawatha's
Wooing,' op. 20, (published 1904) ,' King Robert
of Sicily' (1906) and 'Pierrot Wounded,' op.
33 (1917). 'King Robert' was first given at
a Cincinnati Orchestra concert in 1911, and
Bispham, to whom it is dedicated, has used it
over 500 times. For the tercentenary anni-
versary in 1920 of the settlement of Plymouth
he wrote the cantata 'The Rock of Liberty'
(Schmidt). For organ are the 'Fantaisie
Symphonique,' op. 28 (1912, arranged from
the 'Symphonic Prelude'), 'Rhapsody,' op.
30, 'Marche Celeste,' op. 6 (1896), 'Andante
Religiose,' op. 10, 'Meditation,' op. 29 (1914),
and the two pieces of op. 34, 'A Song of Con-
solation' and 'A Song of Gratitude' (1919).
The Ballad, op. 25, for 'cello and orchestra,
was performed by Carlo Fischer and the
Minneapolis Orchestra in 1909. For piano
there is an effective 'Legend,' op. 31 (1916),
and for piano and violin a sonata in D, op.
8. His published compositions number about
85, of which 35 are songs, 15 piano-pieces,
8 organ-pieces and the rest for chorus, violin,
'cello and orchestra. Of the songs the best
known are ' If ' and ' What can you do ? ' from
a set of eight children's songs, op. 7 (1897) ;
'Auf Wiedersehen,' 'A Kiss and a Tear' and
'When love is in her eyes,' op. 12 (1898);
'My true love hath my heart' and 'Absence,'
op. 17 (1903); 'Unnumbered,' op. 18 (1904);
'When thou art nigh,' op. 23 (1906); and
'Your lad and my lad' (1918). He prepared
Vol. vi. of The Art of Music, on Church and
Choral Music, 1917. [ R.8 ]
COLE, SAMUEL WINKLEY (b. 1848).
See Register, 6.
COLEMAN, OBED M. (1817-1845). See
Register, 4.
t COLERIDGE-TAYLOR, SAMUEL (Aug.
15, 1875, London : Sept. 1, 1912, Thorton
Heath). See article in Vol. v. 32-3. His
last year was spent as a member of the
faculty of the Guildhall School of Music in
London. In 1904 and 1906 he made visits to
America, and conducted concerts of his music
in many cities. To the list of works should
be added
op. 60 24 Negro Melodies, transcribed for piano.
62 Music to 'Nero.'
63 Symphonic Variations on an African Air
(1906, Philharmonic Society, London).
64 Scenes de Ballet, for piano.
65 'Endymion's Dream,' Rhapsody for so-
prano and tenor, women's chorus and
orchestra.
66 'Forest Scenes,' for piano.
67 Three Part-Songs.
68 'Bon-bon' Suite, for baritone, chorus and
orchestra (1909, Brighton Musical Festi-
val).
69 'Sea-Drift,' Rhapsody for chorua a cap-
pella.
70 Music to 'Faust.'
71 Valse Suite, for piano.
72 'Thelma,' grand opera in three acts.
73 Ballade in C minor, for violin and piano.
73a (?) Four Part-Songs for men's voices.
74 'Scenes from an Imaginary Ballet,' for
piano.
75 'Bamboula,' Rhapsodic Dance for or-
chestra (1910, Norfolk, Conn., Festi-
val).
76 'A Talc of Old Japan,' cantata.
77 'Petite Suite de Concert,' for orchestra.
78 Three Impromptus, for organ.
79 Incidental music to 'Othello.'
80 Concerto in G minor, for violin and
orchestra (1911, Norfolk Festival).
81 'Waiting' and 'Red o' the Dawn,' songs
with orchestra (ms).
82 'Hiawatha,' ballet in five scenes, for or-
chestra (ms).
COLLEGE OF MUSIC
COLLEGES
169
Without opus-number.
Incidental music to 'The Forest of Wild Thyme.'
Eight Part-Songs.
Two Impromptus, for piano.
Slow movement on a Negro Melody, for
violin.
Two accompaniments to the poems 'Clown and
Columbine' and 'St. Agnes' Eve.'
Two Song-Albums.
Some fifteen songs.
Sir Hubert Parry said of him : ' It was
the very simplicity and unconsciousness of
his character which caused the racial motives
and impulses to be revealed so clearly. He
had no occasion to conceal them ; and the
niche which he made for himself in musical
history derives its individuality from the
frankness with which he revealed the qualities
which were the inevitable outcome of an ex-
ceptional and interesting combination of in-
fluences.' ('Musical Times,' October, 1912.)
See M. Byron, A Day with Coleridge-Tay-
lor, 1912 ; Anon., Golden Hours with Coleridge-
Taylor, 1913 ; and W. C. B. Sayers, Coleridge-
Taylor, His Life and Letters, 1915.
COLLEGE OF MUSIC OF CINCINNATI,
THE, was founded in 1878 through the
enthusiasm of George Ward Nichols and
developed through the progressive liberality
of Reuben R. Springer, to whom it owes its
endowment and much of its equipment.
Theodore Thomas was director in 1878-80,
but resigned because of disagreement with
Nichols as to administrative policy. Nichols
was succeeded as president in 1885 by Peter
Rudolph Neff, who continued till 1894. In
1894-99 Frank Van der Stucken was director,
and in 1899-1920 Arnold J. Gantvoort was
general manager. From the first the College
has had close relations with the Festival
Association. The faculty numbers about 25,
including many names of national reputation.
The total number of students since the begin-
ning has been about 30,000, and the annual
enrolment is about 700. There have been
about 500 full graduates, besides perhaps
1400 receiving certificates. The College has
its own buildings, which contain unusually
commodious concert-halls.
COLLEGES, MUSIC IN. The American
'college' was originally an adaptation to
colonial conditions of a type of institution for
higher education that was prevalent in Eng-
land. The pioneer settlers were alive to the
importance of training intellectual and moral
leaders. Of the colleges now existing 2 date
from before 1700, about 25 from before 1800,
and about 35 from before 1835. Though
technically organized in somewhat different
forms, these really exemplified a single type.
They were for men only, especially of the
upper social classes, were designed to prepare
for 'the learned professions,' especially tlie
ministry, and offered a fixed four years' cur-
riculum leading to the degree of A.B.
After about 1835 the number of these in-
stitutions increased rapidly, but the original
type was either much modified or replaced
by new types. Colleges for men gradually
altered the balance of the curriculum, so as
to make a more democratic appeal and prepare
for varied careers, and tended to allow increas-
ing freedom in the choice of studies. The
new types included colleges for women only,
those for both sexes, the composite 'state
universities,' and a variety of special or
occupational schools. A few of the earlier
colleges had had something of a true 'uni-
versity' ideal, and others adopted it, though
without dropping or minimizing their
'academic' or 'collegiate' departments. In
general, except in the case of the 'state uni-
versities' and a few others, all colleges are
private corporations and with few exceptions
are affiliated with some religious denomination,
either by origin or by present administration.
After about 1835, in consequence of the rapid
expansion of the country, great differences
of policy and standard became common in
different sections. Much of this inequality
still persists, though with a tendency toward
a degree of uniformity through competition
or mutual agreement.
The number of institutions counted in this
general class by the United States Bureau of
Education is now over 600. Of these, those
for men number only about 60 (almost wholly
in the East), those for women about 90
(chiefly in the East and South), and those
for both men and women at least 350, includ-
ing the 'state universities' as a class. The
balance are special institutions not important
for consideration here.
Music as a topic for study had no place in
the older curriculum. It did not appear until
differentiation set in, and even then for a long
time only sporadicaUy. It is still unusual
in colleges for men, except where they have
expanded into universities. But in almost
every divergent type it has been emphasized
— in colleges for women, in those for men and
women, in state and most other universities,
and even in some specializing colleges. The
growth of this recognition has become so
extensive that some summary statements about
it are demanded here, although the amount
and intricacy of the data at hand defy satis-
factory presentation in any brief form.i
In the topics that may be offered for entrance
to many colleges, 'music' is often included, but
credit is confined to certain lines of theory or
information rather than expertness in per-
1 In preparing this article far more material was
collected than it has proved possible to use.
170
COLLEGES
COLLEGES
formance. This brings the colleges into rela-
tion with those high schools that offer musical
courses.
Within college systems two distinct policies
are in evidence. The first makes music a
'chair' or 'department' like other subjects,
with a professor who is a member of the general
faculty. The second sets music apart in a
distinct 'school' or 'conservatory,' with its
own faculty and curriculum, either directly
controlled by the college authorities or bound
up with the system by some form of affiliation.
In a few cases under this second class music
is grouped with drawing, painting, sculpture,
architecture or other expressional arts in a
'school of fine art.' Under the first type
access to music-courses is usually limited to
those fully matriculated in the college, and the
courses that are magnified are those that are
readily coordinated with other courses in
science, history and literature, though there
is an increasing tendency to allow credit for
courses in musical praxis as well. Credit in
music counts (within some limitations) toward
the A.B. degree. Under the second type
music-courses are usually open to students
not otherwise matriculated, so that the
institution becomes a public music-school
(though usually with requirements for admis-
sion equivalent to those in the college proper).
To college-students credit is given toward an
A.B., and in some cases this degree may be
taken with music as a 'major.' The topics
most universally credited are harmony,
appreciation and history, though the exact
method of credit varies much. Work in
praxis is also being credited more and more,
though with much natural restriction. For
non-collegiate students full music-courses
usually cover at least four years, with latitude
as to emphasis upon an instrument or the
voice, leading generally to the degree of Mus.
B. Less strenuous courses lead to a diploma
of graduation, a teacher's certificate (usually
for three years' work) or a public-school
certificate (usually for two years' work). In
all such cases the student is required to follow
a somewhat extensive curriculum, including
some subjects not musical. But many
schools also admit special students for limited
courses of their own choosing.
Topics that are taken in class, especially if
for college credit, are generally not subject
to fees, but individual lessons are as a rule
charged for at rates that vary widely in
different institutions. The use of rooms and
instruments for practice also involves extra
expense to the student. This pecuniary factor
places much music-study on a different footing
from other studies. On the other hand, most
institutions that emphasize music take over
into their general budget a large portion of
the 'overhead' charges of the department or
school.
In general, theory-courses include rudi-
mentary training, appreciation (usually with
considerable demonstration), harmony (syn-
thetic and analytic), form, composition
(often extending to fugue and orchestration),
history (usually lectures and demonstration
combined), pedagogical methods (especially
for public-school work, but also for individual
teaching), and sometimes acoustics, aesthetics
and the relation of fine art to culture. The
praxis-courses usually include piano, organ,
violin and voice, and sometimes a variety of
other instruments. In most cases there are
one or more choruses (often large oratorio-
societies), a choir and one or two glee-clubs.
Orchestras and bands are becoming increas-
ingly common. Many institutions have at
least one large organ. Several have musical
libraries of importance. Wherever music
is emphasized a separate building is provided,
including a large recital-hall, often with an
elaborate equipment of practice-rooms, etc.
Extended and varied opportunities are quite
generally offered in the way of frequent recitals
and concerts, either by members of the staff
or by visiting artists and organizations. In
many cases there is an annual 'festival.'
Thus even institutions remote from musical
centers are able to supply a certain amount
of musical demonstration and experience.
The pedagogical consequences of bringing
music-courses into close connection with those
in other subjects are obvious. They are
forced to become definite and systematic,
so as to be stated with precision and be subject
to periodic examination. This is evidently
bringing to pass a notable degree of stand-
ardization. Emphasis is naturally laid upon
securing teachers whose training and quality
are comparable with that in the rest of the
faculty-body. There is a marked tendency
to exalt the relation of music as a discipline
to general culture rather than to treat it aa
merely a means for securing a livelihood.
Whatever pervasive influence for culture
exists in the institution as a whole reacts on
all who pursue music, even as special students.
Even those who rank as only music-studenta
are often required to take some literary or
other studies.
It is impracticable to give details, except
in a few conspicuous cases, about the scope,
organization and facilities of the music-depart-
ments or schools in each institution. But
the following register, with its occasional
notes, will have some utility. In each case
the head of the department is named (the
director, dean, professor or chief instructor),
with the total number in the music-faculty
and the names of previous heads who have
COLLEGES
COLLEGES
171
had long or notable service. The institutions
are given in geographical order by states, but
alphabetically by places within the states.
I. COLLEGKS FOR MEN
Bowdoin College, Brunswick, Me.
Edward H. Wass.
Dartmouth College, Hanover, N. H.
Leonard B. McWhood (from 1918). Charles H.
Morse, 1901-16 and emeritus ; Philip G. Clapp,
1916-18.
Amherst College, Amherst, Mass.
William P. Bigelow (from 1894).
Harvard University, Cambridge, Mass.
Walter R. Spalding (from 1903) +4. John K.
Paine, 1862-1906.
Williams College, Williamstown, Mass.
Sumner Salter (from 1905).
Yale University, New Haven, Conn.
David Stanley Smith (from 1920) +11. Gustav
J. Stoeckel, 1854-96, Horatio Parker, 1894-1919.
Colgate University, Hamilton, N. Y.
William H. Hoerrner (from 1912) +1.
College of the City of New York, New York City.
Samuel A. Baldwin (from 1907).
Princeton University, Princeton, N. J.
George A. Russell (from 1917).
Seton Hall College, South Orange, N. J.
Francis C. Schreiner.
Catholic University of America, Washington, D. C.
Abel L. Gabert.
University of Notre Dame, Notre Dame, Ind.
Charles Marshall +4.
Marquette University, Milwaukee, Wis.
Liborius Semmann (from 1911) +35. See art.
DePaul University, Chicago, 111.
Walter Keller (from 1912).
2. COLLEGES FOR WOMEN
Girls' schools were occasionally undertaken
in New England from about 1810. After 1837
more significant 'seminaries' began to be
established, including Mount Holyoke in
Massachusetts, many in the South, and some
in Ohio and Illinois, but only two or three
offering anything like a 'college' curriculum.
After the Civil War the number increased
and the standard was rapidly raised. There
was no music-instruction till about 1860, but it
has now become almost universal (with Sim-
mons, Bryn Mawr and Goucher as striking ex-
ceptions). As a rule, these music-departments
are well organized and decidedly effective.
RadcHEfe College, Cambridge, Mass.
Walter R. Spalding (from 1903), with some op-
portunities at Harvard University.
Smith College, Northampton, Mass.
Henry Dike Sleeper (from 1903) +23. Benjamin
C. Blodgett, 1878-1903, Louis A. Coerne,
1903-04.
Wheaton College, Wheaton, Mass.
Hiram G. Tucker (from 1878) +1.
Mount Holyoke College, South Hadley, Mass.
William C. Hammond (from 1900) +10.
Wellesley College, Wellesley, Mass.
Hamilton, C. Macdougall (from 1900) +10. Charles
H. Morse, 1875-84, Junius W. Hill, 1884-97.
Connecticut College, New London, Conn.
Louis A. Coerne (from 1915) +3.
Wells College, Aurora, N. Y.
Emit K. Winkler (from 1894) +5.
Elmira College, Elmira, N. Y.
George M. McKnight (from 1894) +7. Max Pi-
utti, 1874-83, Edward Dickinson, 1883-92.
Barnard College, New York City.
Some courses open at both Columbia University
and the Institute of Musical Art.
Hunter College, New York City.
Henry T. Fleck +7.
Vassar College, Poughkeepsie, N. Y.
George C. Gow (from 1895) +8. Fr6d6ric L.
Ritter, 1867-91, Edward M. Bowman, 1891-
95.
Skidmore School of Arts, Saratoga Springs, N. Y.
A. Stanley Osborn (from 1917) +3.
Beaver College, Beaver, Pa.
M. Ellery Reed (from 1918) + 6.
Moravian Seminary, Bethlehem, Pa.
T. Edgar Shields + 3.
Wilson College, Chambersburg, Pa.
Rudolph Wertime (from 1917) +3. Orlando
A. Mansfield, 1912-17.
Irving-College, Mechanicsburg, Pa.
Harry C. Harper, 1903-18.
Pennsylvania College for Women, Pittsburgh, Pa.
Walter Wild (till 1920) +4. T. Carl Whitmer,
1909-16.
Hood College, Frederick, Md.
Henry W. Pearson (from 1916) +5.
Maryland College for Women, Lutherville, Md.
Howard R. Thatcher (from 1906) +5.
SuUins College, Bristol, Va.
Carl Fallberg (from 1917) +8.
Hollins College, Hollins, Va.
Erich Rath (from 1907) +6. J. A. E. Winkler,
1852-62, H. L. Pauli, 1873-92.
Randolph-Macon Woman's College, Lynchburg, Va.
John H. Davis (from 1899) +7.
Sweet Briar College, Sweet Briar, Va.
Helen F. Young +5.
Queen's College, Charlotte, N. C.
J. R. Niniss -i-4.
Greensboro College for Women, Greensboro, N. C.
Conrad Lahser (from 1914) +6.
Meredith College, Raleigh, N. C.
Charlotte Ruegger (from 1915) +9.
Salem College, Winston-Salem, N. C.
H. A. Shirley (from 1896) +13.
Chicora College, Columbia, S. C.
Heinrich H. Bellamann (from 1907) +9.
Coker College, Hartsville, S. C.
Carl J. Tolman (from 1908) +7. Festivals since
1911.
Winthrop College, Rock Hill, S. C.
Henry D. Guelich (from 1914) +12. A. O.
Bauer, 1902-14.
Converse College, Spartanburg, S. C.
Edmon Morris (from 1913) +6. Arthur L. Man-
chester, 1904-13. Festivals since 1895.
Agnes Scott College, Decatur, Ga.
Christian W. Dieckmann (from 1918) +3. Joseph
Maclean, 1893-1918.
Bessie Tifft College, Forsyth, Ga.
William P. Twaddell (from 1920) +10.
Brenau College, Gainesville, Ga.
Otto W. G. Pfefferkorn + 11. August Geiger,
1903-10.
Wesleyan College, Macon, Ga.
Joseph Maerz (from 1914) +11.
Florida State College for Women, Tallahassee, Fla.
Ella S. Opperman (from 1911)+7.
Oxford College for Women, Oxford, O.
Clem A. Towner (from 1914) +4. Karl Merz,
1861-82, Max V, Swarthout, 1905-11.
172
COLLEGES
COLLEGES
Western College for Women, Oxford, O.
Alice A. Porter (from 1901) +6. Edgar S. Kelley,
associated from 1910.
Lake Erie College, Painesville, O.
Henry T. Wade +3.
Milwaukee-Downer College, Milwaukee, Wis.
Claudia W. McPheeters (from 1895) +7. John
C. Fillmore, 1878-84.
Illinois Woman's College, Jacksonville, 111.
Henry V. Stearns +11.
Rockford College, Rockford, III.
Laura G. Short (from 1918). F. Marion Ralston,
1909-18.
Hamilton College, Lexington, Ky.
Isabel Mets (from 1914) + 3.
Tennessee College, Murfreesboro, Tenn.
Stanley Levey (from 1918) +4.
Judson College, Marion, Ala.
Edward L. Powers (from 1900) +7.
Woman's College of Alabama, Montgomery, Ala.
Edward B. Perry (from 1917) +5.
Belhaven College, Jackson, Miss.
Mary Wharton +5.
College of St. Catharine, St. Paul, Minn.
S. Scion ti +11.
College of St. Teresa, Winona, Minn.
Glenn D. Gunn, Horace G. Seaton, William Mc-
Phail, Ancella M. Fox.
Central College, Lexington, Mo.
Delano F. Conrad (from 1897) + 4.
Hardin College, Mexico, Mo.
Arthur L. Manchester (from 1918).
Central College, Conway, Ark.
J. Harry Aker +6.
H. Sophie Newcomb College, New Orleans, La.
Leon R. Maxwell (from 1909) +13.
Baylor Female College, Belton, Tex.
T. S. Lovette +6.
Colorado Woman's College, Denver, Colo.
Josephine S. White (from 1911) +3.
Mills College, Mills College, Cal.
Edward F. Schneider + 10. Louia Lisser, 1880-
1900 and emeritus.
3. COLLEGES FOR MEN AND WOMEN
Coeducation in colleges first appeared in
1833 at Oberlin and from 1850 steadily became
more common, especially in the State Uni-
versities as they were founded and in other
institutions in the Interior and the West.
(For the State Universities, see article.) As
a class, colleges of this order tend to provide
musical instruction, often in an extended and
impressive way. They are often notably
successful in arousing enthusiasm for choral
music of different grades. While the cultural
ideal is usually emphasized, occupational
preparation is also provided for, especially
as regards teaching.
Bates College, Lewiston, Me.
Edwin L. Goss.
Colby College, Waterville, Me.
Alice H. White.
Middlebury College, Middlebury, Vt.
Lewis J. Hathaway.
Boston University, Boston, Mass.
John P. Marshall (from 1903) +8 lecturers. After
the founding of the New England Conservatory
in 1867 Boston University was loosely affiliated
with it, offering advanced work in composition.
Tufts College, Tufts College, Masa.
Leo R. Lewis (from 1895).
Brown University, Providence, R. I.
Edwin E. Wilde (from 1914).
Alfred College, Alfred, N. Y.
Ray W. Wingate (from 1912).
Adelphi College, Brooklyn, N. Y.
William A. Thayer +1.
Hobart College, Geneva, N. Y.
William L. Wood.
Cornell University, Ithaca, N. Y.
Hollis E. Dann (from 1906).
Columbia University, New York City.
Daniel Gregory Mason (from 1910) +3. Edward
A. MacDowell, 1896-1904, Cornelius Rybner,
1904-19. In Teachers College, Charles H. Farns-
worth (from 1900).
New York University, New York.
Thomas Tapper (from 1908) and William L. Wright
(from 1914).
Syracuse University, Syracuse, N. Y.
George A. Parker (from 1882) +20.
Upsala College, Kenilworth, N. J.
Oscar M. Magnusson.
Lebanon Valley College, Annville, Pa,
E. Edwin Sheldon +5.
Geneva College, Beaver Falls, Pa.
Frances E. Waddel +4.
Ursinus College, Collegeville, Pa.
John M. Jolls +2.
Thiel College, Greenville, Pa.
Stanley J. Seiple +4.
Grove City College, Grove City, Pa.
Hermann Poehlmann +3.
Juniata College, Huntingdon, Pa.
Edythe M. Ring +2.
Bucknell University, Lewisburg, Pa.
Paul G. Stolz +7.
Westminster College, New Wilmington, Pa.
Per Nielsen +6. William W. Campbell, 1906-19.
Temple University, Philadelphia, Pa.
Thaddeus Rich +13.
University of Pittsburgh, Pittsburgh, Pa.
Will Earhart (from 1919) +2.
Susquehanna University, Selin.?grove, Pa.
Rudolph J. Meyer +2.
Blue Ridge College, New Windsor, Md.
William Z. Fletcher +4.
Western Maryland College, Westminster, Md.
Maude E. Gesner +3.
Bridgewater College, Bridgewater, Va.
Charles W. Roller (from 1905) +3. George B.
Holsinger, 1882-98.
Bethany College, Bethany, W. Va.
Jean C. Moos (from 1899) +2.
West Virginia Wesleyan College, Buckhannon, W. Va.
George S. Bohanan (from 1916) +3.
Elon College, Elon, N. C.
Ava L. B. Dodge +4.
Atlantic Christian College, Wilson, N. C.
Ivy M. Smith +3.
Piedmont College, Demorest, Ga.
S. P. Spencer +2.
J. B. Stetson University, DeLand, Fla.
Paul R. Geddea +4.
Rollins College, Winter Park, Fla.
Susan H Dyer +7.
Ohio Northern University, Ada, O.
Frederic T. Killeen (from 1916) +2.
Mount Union College, Alliance, O.
Edwin L. Allen (from 1917) +5.
Ohio University, Athens, O.
Alexander S. Thompson (from 1913) +9.
Baldwin-Wallace College, Berea, O.
Albert Riemenachneider (from 1898) +9.
COLLEGES
COLLEGES
173
Bluffton College, Bluffton, O.
Gustav A. Lehmann +8.
Cedarville College, Cedarville, O.
Florence Russell (from 1918) +1.
Western Reserve University, Cleveland, O.
Charles E. Clemens (from 1899) +1.
Defiance College, Defiance, O.
Flossie E. Whitney (from 1916) +3.
Ohio Wesleyan University, Delaware, O.
Horace Whitehouse (from 1918) +8. Samuel H.
Blakeslee, 1884-90, Charles M. Jacobus, 1901-
18. Music-courses since 1S54.
Findlay College, Findlay, O.
Royal D. Hughes (from 1910) +3.
Denison University, Granville, O.
Karl H. Eschman (from 1913) +7. Otto Eng-
werson, 1894-1904, Carl P. Wood, 1900-13.
Musical instruction began about 1840. Festi-
vals since 1905.
Hiram College, Hiram, O.
T. Morgan Phillips +2.
Muskingum College, New Concord, O.
Edward H. Freeman (from 1914) +2.
Oberlin College, Oberlin, O.
Charles W. Morrison (from 1902) +35. George
N. Allen, 1837-64, Fenelon B. Rice, 1869-1901.
Rio Grande College, Rio Grande, O.
Edna V. Starr.
Wittenberg College, Springfield, O.
Miriam H. Weaver +4.
Heidelberg University, Tiffin, O.
Frank W. Gilles +6.
Otterbein College, Westerville, O.
Glenn G. Grabill 4-4.
Wilmington College, Wilmington, O.
Ruth Brundage +1.
College of Wooster, Wooster, O.
Neille O. Rowe (from 1914) +6. Karl Merz,
1882-90, J. Lawrence Erb, 1905-13.
Adrian College, Adrian, Mich.
Harrison D. LeBaron (from 1919) +2.
Albion College, Albion, Mich.
Harlan J. Cozine +4.
Alma College, Alma, Mich.
Clifford F. Royer +3.
Hillsdale College, Hillsdale, Mich.
Melville W. Chase (from 1869) -f3.
Hope College, Holland, Mich.
Oscar Cress +2.
Olivet College, Olivet, Mich.
Elsie Duffield (from 1920) -|- 3. Elizabeth B. Bint-
liff, 1893-1909.
Earlham College, Earlham, Ind.
Samuel B. Garton -\-2.
Franklin College, Franklin, Ind.
Minnie B. Bruner (from 1898) -f-1.
Goshen College, Goshen, Ind.
Amos S. Ebersole (from 1915) +4.
DePauw University, Greencastle, Ind.
Robert G. McCutchan (from 1911) -|-11. James
H. Howe, 1884-94, Belle A. Mansfield, 1894-
1911.
Hanover College, Hanover, Ind.
Lloyd L. Alexander.
Indiana Central University, Indianapolis, Ind.
Marged E. Jones +1.
Taylor University, Upland, Ind.
A. Verne Westlake -|-6.
Valparaiso University, Valparaiso, Ind.
Edmund W. Chaffee (from 1899) +9. Henri W. J.
Ruifrok, 1889-95, WilliamW.Hinshaw, 1895-99.
Vincennes University, Vincennes, Ind.
Joyce H. Hetley +2.
Lawrence College, Appleton, Wis.
Frederick V. Evans +14.
Beloit College, Beloit, Wis.
Max Miranda (from 1919). B. D.Allen, 1894-
1902, Abram R. Tyler, 1902-11.
Ripen College, Ripon, Wis.
Elizabeth B. Bintliff (from 1909) +5. John C.
Fillmore, 1868-77, Rossetter G. Cole, 1892-
94.
Carroll College, Waukesha, Wis.
Clarence E. Shepard +2.
Hedding College, Abingdon, 111.
Mrs. Henry Lee Gash (from 1919) +3.
Shurtleff College, Alton, 111.
Cornelia Brownlee (from 1918).
Illinois Wesleyan University, Bloomington, 111.
Edward Y. Mason (from 1919) +6. Henry P.
Eames, 1913-19.
Carthage College, Carthage, 111.
Ann Dvorsky (from 1914) +4.
University of Chicago, Chicago, 111.
Robert W. Stevens (from 1911).
James Millikin University, Decatur, 111.
Max V. Swarthout (from 1914) +18. Hermann
H. Kaeuper, 1903-14.
Eureka College, Eureka, 111.
F. J. Sucher (from 1918) +4.
Northwestern University, Evanston, 111.
Peter C. Lutkin (from 1S97) +33.
Knox College, Galesburg, 111.
William F. Bentley (from 1885) +9. Festivals
since 1900.
Lombard College, Galesburg, 111.
Anna G. Bryant (from 1912) +4.
Greenville College, Greenville, 111.
Louwillie Kessler +4.
Illinois College, Jacksonville, 111.
William E. Kritch +10. '
Lake Forest College, Lake Forest, 111.
Henry P. Eames +5.
Lincoln College, Lincoln, 111.
Herbert O. Merry +3.
Monmouth College, Monmouth, 111.
T. Merrill Austin +5.
Northwestern College, Naperville, 111.
J. Francis Maguire +3.
Augustana College, Rock Island, 111.
J. Victor Bergquist (from 1912).
Wheaton College, Wheaton, 111.
Mabel A. Rippe +2.
Berea College, Berea, Ky.
Ralph Rigby (from 1905) +3.
Georgetown College, Georgetown, Ky
Bertram C. Henry +3.
Asbury College, Wilmore, Ky.
Edwin A. Gowen (from 1917) +4.
Kentucky Wesleyan College, Winchester, Ky.
Anna C. Goff +1.
Cumberland University, Lebanon, Tenn.
W. H. A. Moore +1.
Fisk University, Nashville, Tenn.
Jennie A. Robinson +6.
Carleton College, Northfield, Minn.
Edward Strong (from 1912) +5.
St. Olaf College, Northfield, Minn.
F. Melius Christiansen +10.
Hamline University, St. Paul, Minn.
John A. Jaeger +3.
Macalester College, St. Paul, Minn.
Harry Phillips (from 1896) +15.
Gustavus Adolphus College, St. Peter, Minn.
O. Waldemar Anderson +3.
Coe College, Cedar Rapids, la.
Earle G. Killeen (from 1910) +7.
Des Moines College, Des Moines, la.
Edith M. Usry (from 1912) +2. Maro L. Bartlett ,
1885-1919.
174
COLLEGES
COLLEGES
Drake University, Dea Moines, la.
Holmes Cowper (from 1909) +16.
Parsons College, Fairfield, la.
Charles W. Mountain +4.
Upper Iowa University, Fayette, la.
Charles D. Nefif (from 1900) +4.
Grinnell College, Grinnell, la.
George L. Pierce (from 1907) +12. Willard Kim-
ball, 1875-94, Rossetter G. Cole, 1894-1901.
Festivals since 1912.
Simpson College, Indianola, la.
Frank E. Barrows (from 1895) +5.
Ellsworth College, Iowa Falls, la.
Artemas E. Bullock (from 1894) +4.
Iowa Wesleyan College, Mt. Pleasant, la.
Elmer K. Gannett (from 1918) +2. A. Rommel,
1878-1918.
Cornell College, Mt. Vernon, la.
Frank H. Shaw (from 1915) +6.
Penn College, Oskaloosa, la.
Charles L. Griffith +4.
Morningside College, Sioux Falls, la.
Paul MacCollin +5.
Buena Vista College, Storm Lake, la.
Fred W. Mimberley (from 1914) +1.
Tabor College, Tabor, la.
Ralph W. Soule +2.
Missouri Wesleyan College, Cameron, Mo.
Joseph E. Layton (from 1907) +3.
Culver-Stockton College, Canton, Mo.
Robert E. Crossland (from 1919) +1.
Missouri Valley College, Marshall, Mo.
Claude L. Fichthorn +2. Edgar S. Place, 1890-
1912.
Dniry College, Springfield, Mo.
T. Stanley Skinner (from 1917) +2. William A.
Chalfant, 1881-1914.
Tarkio College, Tarkio, Mo.
Claude C. Pinney (from 1913) +3.
Henderson-Brown College, Arkadelphia, Ark.
Frederick Harwood +5.
Ouachita College, Arkadelphia, Ark.
Livingston H. Mitchell +4.
Arkansas Cumberland College, Clarksville, Ark.
Virgia Poynor +3.
Fargo College, Fargo, N. D.
Albert J. Stephens (from 1908) +10.
Jamestown College, Jamestown, N. D.
Harry D. Jackson (from 1918) +2.
Huron College, Huron, S. D.
Herbert M. Bailey (from 1916) +6.
Dakota Wesleyan University, Mitchell, S. D.
George H. Miller (from 1915) +3.
Yankton College, Yankton, S. D.
Lee N. Dailey (from 1904) +7.
Cotner College, Bethany, Neb.
Ethel Biles +7.
Union College, College View, Neb.
Oliver S. Beltz (from 1915) +3.
Doane College, Crete, Neb.
George H. Aller (from 1914) +5.
Midland College, Fremont, Neb.
Charles K. Nicholas (from 1919) +3. William
Davies, 1906-19.
Grand Island College, Grand Island, Neb.
Jane L. Pinder +6.
Hastings College, Hastings, Neb.
Hayes M. Fuhr (from 1912) +2.
University of Omaha, Neb.
Johanna Anderson.
Nebraska Wesleyan Univ., University Place, Neb.
Carl Beutel (from 1917) +7.
Baker University, Baldwin City, Kan.
Marvin D. Geere (from 1912) +4. Robert G. Mc-
Cutchan, 1904-10.
College of Emporia, Emporia, Kan.
Daniel A. Hirschler (from 1914) +2.
Kansas City University, Kansas City, Kan.
Ada L. Harrington.
Bethany College, Lindsborg, Kan.
Hagbard Erase +14. Festivals since 1900.
Ottawa University, Ottawa, Kan.
Paul R. Utt (from 1917) +3.
Kansas Wesleyan University, Salina, Kan.
Ernest L. Cox (from 1917) +4. James E. Carnal,
1903-13.
Sterling College, Sterling, Kan.
Clyde E. Matson +2.
Washburn College, Topeka, Kan.
Horace Whitehouse +7.
Fairmount College, Wichita, Kan.
Frank A. Power +5.
Friends University, Wichita, Kan.
Lucius Ades +3.
Southwestern College, Winfield, Kan.
Elvis C. Marshall (from 1911) +3.
Phillips University, East Enid, Okla.
Charles M. Bliss +6.
Kingfisher College, Kingfisher, Okla.
Frederick Drake +3.
Henry Kendall College, Tulsa, Okla.
John K. Weaver (from 1909) +4.
Simmons College, Abilene, Tex.
Styles R. Anderson +6.
Howard Payne College, Brownwood, Tex.
Henry E. Meyer (from 1918) +3.
Southern Methodist University, Dallas, Tex.
Harold von Mickwitz (from 1916) +6.
Texas Christian University, Fort Worth, Tex.
Helen F. Cahoon +3.
Southwestern University, Georgetown, Tex.
Frederick W. Kraft (from 1914) +3.
Baylor University, Waco, Tex.
Rudolf Hoffmann +8.
Colorado College, Colorado Springs, Colo.
Edward D. Hale (from 1905) +6. Rubin Gold-
mark, 1894-1901.
College of Idaho, Caldwell, Ida.
Frederick F. Beale (from 1912) +2.
Whitworth College, Spokane, Wash.
Thomas Moss.
College of Puget Sound, Tacoma, Wash.
Robert L. Schofield (from 1912) +6.
Whitman College, Walla Walla, Wash.
Llewellyn B. Cain +3. Samuel H. Lovewell,
1898-1906.
Pacific University, Forest Grove, Ore.
Frank T. Chapman (from 1914) +5.
McMinnville College, McMinnville, Ore.
Carrie C. Potter (from 1904) +3.
Pacific College, Newberg, Ore.
Alexander Hull (from 1908) +1.
Willamette University, Salem, Ore.
John R. Sites (from 1918) +4.
Pomona College, Claremont, Cal.
Ralph H. Lyman (from 1917) +5.
University of Redlands, Redlands, Cal.
Charles H. Marsh (from 1919) +4.
Pacific Union College, St. Helena, Cal.
Noah E. Paulin +2.
College of the Pacific, San Jos6, Cal.
Howard H. Hanson (from 1919) +12. Pierre
Douillet, 1897-1913.
Leland Stanford University, Stanford University, Cal.
Lewis H. Eaton (from 1913).
Whittier College, University Park, Cal.
Howard L. Hockett +1.
For much further information, see Rose Yont,
Status and Value of Music in Education, 1916.
COLLEGE ENTRANCE BOARD
COMBS CONSERVATORY 175
COLLEGE ENTRANCE EXAMINA-
TION BOARD, THE, is an association of
about 35 colleges in the East for arranging
and holding uniform entrance-examinations
in various subjects. The system has been
so successful that its standards have been
widely adopted throughout the country.
The present requirement in music is confined
to harmony and the test is wholly in writing.
The candidate must show
(1) The ability to harmonize, in four vocal parts,
simple melodies of not fewer than eight measures,
in soprano or in bass — these melodies will require
a knowledge of triads and inversions, in the major
and minor modes ; and of modulation, transient or
complete, to nearly-related keys.
(2) Analytical knowledge of ninth-chords, all
non-harmonic tones, and altered chords (including
augmented chords).
The student is expected to have a full knowledge
of the rudiments of music, scales, intervals, and staff-
notation, including the terms and expression-marks
in common use.
Credit for passing is counted as 'one unit'
towards entrance — a 'unit' representing
'a year's study in a secondary school.' The
total number of 'units' required for entrance
is usually fifteen.
'COLONIAL WEDDING, A.' A one-act
opera by John A. Van Broekhoven, brought
out at Cincinnati in 1905.
COLSON, WILLIAM BREWSTER (b.
1846). See Register, 5.
COLUMBIA UNIVERSITY, New York,
established a Department of Music in 1896,
when a fund for the purpose was given by
Mrs. E. Mary Ludlow in memory of her son
Robert Center. In 1906 this was trans-
formed into a School of Music, including
courses in the University proper and in
Teachers College. The purpose is 'to teach
music historically and aesthetically as an ele-
ment of liberal culture, to teach it scientifically
and practically with a view to training mu-
sicians who shall be competent to teach and
to compose, and to provide practical training
in orchestral and choral music' Most of the
courses in praxis are given in Teachers Col-
lege, while the University proper emphasizes
history, theory and form, but also maintains
a chorus and orchestra. Edward MacDowell
was professor in 1896-1904, and Cornelius
Rybner in 1904-19. Among the associate
professors have been Leonard B. McWhood
in 1897-1910, Charles H. Farnsworth since
1900 (Teachers College), Daniel Gregory
Mason since 1910 and Walter Henry Hall
since 1913. The School has a fine library
of scores and books about music. The
Mosenthal Fellowship, awarded biennially,
and the Cutting Fellowships and the Pulitzer
Scholarship, awarded annually, afford oppor-
tunity for advanced study.
COLUMBIAN ANACREONTIC SOCI-
ETY, THE, of New York, probably formed
in 1795, was modeled after the Anacreontic
Society of London (see Vol. i. 79-80), though
less aristocratic. It fostered attention to
glees and part-songs, and may have been the
first in America to attempt melodrama. The
president till 1799 was John Hodgkinson.
See Sonneck, Concert-Life, pp. 204-7.
COMBS, GILBERT RAYNOLDS (Jan.
5, 1863, Philadelphia), from his fifteenth to
his twenty-second year was actively engaged
in playing the organ, piano and 'cello, teaching
piano and violin, and directing orchestras,
operatic companies and choruses. By these
early activities he was prepared for his later
work as founder, in 1885, of a large con-
servatory (see article below). For twelve
years he was organist at the Immanuel
Presbyterian Church, later musical director
at the South Broad Street Baptist Church
and for six years organist at the Tenth Presby-
terian Church. As composer he is best known
by his piano-pieces, but he has written in all
forms. The 'Erato' for piano, dedicated to
Godowsky, the 'Romance,' op. 17, 'Norwegian
Dance,' 'Autumn' and 'Wind of Memory' are
all well known. His 'Reverie,' op. 7, for vio-
lin and piano, was dedicated to and often
played by Schradieck. His Scotch and Irish
songs, and many instructive pieces for piano
and violin, have been much used. His Science
of Piano-Playing and Introductory Steps to
the Science of Piano-Playing are published
in loose-leaf ledger form. His 'Dramatic
Symphony' was first performed in 1908.
His Ritualistic Music for the 32nd Degree
A. A. S. R., for men's voices and organ, waa
written for the Philadelphia Consistory and
first presented in 1917. The orchestral set-
ting for 'Sheherazade,' an oriental drama, waa
given at the Metropolitan Opera House,
Philadelphia, in May, 1918. He is a member
of local and national musical organizations,
one of the founders and twice president of
the Sinfonia, and a member of all Masonic
organizations. [ R.7 ]
COMBS BROAD STREET CONSER-
VATORY OF MUSIC, THE, was founded in
1885 by Gilbert R. Combs, who has remained
at its head ever since. Its teaching-force
numbers about 80. The number of pupils
is over 2300, and the total since foundation
about 42,000, including about 200 full
graduates. The Conservatory is highly or-
ganized for efficiency and offers a wide range
of opportunity for instruction from elementary
to advanced grades. Its students have certain
privileges at the University of Pennsylvania.
Two orchestras are maintained, one of 85
members, the other of 60. The Conservatory
occupies five buildings on South Broad Street.
176
COMER
CONVERSE
COMER, THOMAS. See Tune-Books,
1841.
COMMERY, STEPHEN (b. 1862). See
Register, 7.
COMMONWEALTH SCHOOL OF MU-
SIC, THE, is the name of a summer-school
at Boothbay Harbor, Me., started in 1913
by Clarence G. Hamilton and directed by him,
with three other teachers. Courses are offered
in piano, violin, harmony, analysis and public-
school supervision, with emphasis on teachers'
needs. The sessions occupy three weeks.
CONRAD, DELANO FRANZ (b. 1861).
See Colleges, 2 (Central C, Mo.).
CONRIED, HEINRICH (Sept. 13, 1855,
Bielitz, Austria : Apr. 26, 1909, Meran,
Tyrol), was first an actor at the Burg-Theater
in Vienna and with traveling troupes. In
1877 he directed the Bremen Stadt-Theater,
and in 1878 became manager of the Germania
Theater in New York. Later he managed
the Thalia, and, with Aronson, produced
light opera at the Casino. In 1892 he took
charge of the Irving Place Theater, making
it the leading German theater in the country.
After Grau's retirement, in 1903, he became
manager of the Metropolitan Opera House
and organizer of the Conricd Opera Company.
Signal events in his r6gime were the first
American production of 'Parsifal' on Dec.
24, 1903, which Frau Wagner tried in vain to
prevent by injunction, and the single render-
ing of Strauss' 'Salome' on Jan. 22, 1907,
which was at once withdrawn by the directors.
In the San Francisco fire of 1906 his com-
pany suffered largo losses. During his last
two years at the Metropolitan he was broken
in health, and in 1908 resigned. [ R.G ]
CONSERVATORIO NACIONAL DE MU-
SICA, EL, of Mexico City, was founded in
1868 and is a constituent part of the Uni-
versidad Nacional. The directors have been
Agustin Caballero in 1868-76, Antonio Bal-
deras in 1877-82, Alfredo Bablot in 1882-88,
Jos6 Rivas in 18S9-1906, Gustavo E. Campa
in 1907-08 and 1909-13, Carlos J. Mencscs in
1908-09, Julidn CarriUo in 1913-14, Rafael J.
Tello in 1914-15, Jos6 R. Muiioz in 1915-17,
and Eduardo Gariel since 1917. The faculty
includes 35 instructors in all theoretical and
practical branches, with considerable emphasis
on dramatic music. The number of pupils
varies from about 400 to over 800, the total
since foundation being about 28,000, of whom
about half graduated. The institution is sup-
ported by a subsidy from Mexico City.
CONVENTIONS, MUSICAL. Gatherings
under this name were a natural development
of the 'singing-school,' but less narrowly local
and capable of more varied expansion. Such
occasional assemblies were held in New Hamp-
shire in 1829-31 under the direction of Henry
E. Moore. In 1834 the Boston Academy
of Music started a normal class for singing-
school teachers which in 1836 became a 'con-
vention' by adding discussions by the mem-
bers and in 1840 adopted the name of 'The
National Musical Convention' (later changed
to 'American'). At one time this enter-
prise was split by the adherents of Mason
and Webb respectively. These two, with
Hastings, Bradbury, Root, Woodbury, Baker
and Emerson, were active promoters of the
'convention' idea, not only in New England,
l3ut in the West and South, and they were
followed by a host of other leaders. The
methods naturally varied greatly, but usually
combined in some way elementary and normal
instruction, with practice in choral singing
of a popular sort. The program occupied
three or four days, with three sessions per
day. Though at first no emphasis was placed
upon concertizing — except a closing ' ex-
hibition ' — more or less demonstration by
teachers in attendance and even recitals by
outside artists were not uncommon later.
In spite of their brief and casual character,
and though often dominated by commercial
interests, the many 'conventions' held from
about 1845 for twenty-five years or more
undoubtedly exerted a beneficial influence.
Their effort to provide some rudimentary
training for adults probably contributed to
the later recognition of such work for public-
school children. Their encouragement of
voluntary combination or affiliation led di-
rectly to the formation (from 1876) of Music
Teachers' Associations in many states and
of the National Association — most of these
bodies still retaining the name 'convention'
for their annual meetings. Their pedagogical
purpose was presently expanded and made
more efficient by what were called 'Normal
Institutes,' which were summer-schools lasting
three weeks or more, such as Root started in
New York in 1852. Thus they promoted
interest in the founding of permanent music-
schools. From them, also, may have come
part of the impulse to the holding of 'festivals'
or groups of concerts, either occasionally (as
the Peace Jubilees of 1869 and 1872) or
regularly (as at Worcester and elsewhere).
That the movement as a whole had value and
significanco is attested both by the number of
earnest men who sought careers as ' conven-
tion-leaders' and by the fact that many later
teachers and performers gained their first
musical inspiration from these leaders.
CONVERSE, CHARLES CROZAT (Oct.
7, 1832, Warren, Mass. : Oct. 18, 1918,
Highwood, N. J.), was musically trained in
Germany, where in 1855-59 he studied theory
and composition with Richter, Hauptmann
and Plaidy at Leipzig. On his return he
CONVERSE
COOKE
177
entered the Albany Law School, graduating
in 1861. From 1875 he was in law practice
at Erie, Pa., and also a partner in the Bur-
dette Organ Company. His last years were
spent at Highwood, N. J. He composed an
'American Concert Overture' (1869), based on
'Hail, Columbia'; a Testouverture' (1870);
six German songs (Leipzig, 1856) ; and an
American national hymn, 'God for us' (1887).
He left in manuscript two symphonies, two
oratorios, several overtures, string-quartets
and quintets. Of his hymn-tunes, 'What a
Friend we have in Jesus ' has had wide use. In
1895 he received the degree of LL.D. from Ruth-
erford College. He was an inventor as well
as lawyer and musician, and endeavored to
establish the use of the pronoun 'thon.' He
used the pen-name 'Karl Redan.' [ R.5 ]
CONVERSE, FREDERICK SHEPHERD
(Jan. 5, 1871, Newton, Mass.), graduated from
Harvard in 1893 with highest honors in music
under Paine, and his Sonata for violin and
piano was then performed. For two years
he studied piano with Baermann and com-
position with Chadwick, and then went to
Munich for work under Rheinberger at the
Royal Academy. On his graduation in 1898
his Symphony in D minor had its first per-
formance. In 1899-1901 he taught harmony
at the New England Conservatory in Boston,
in 1901-04 was teacher of composition at
Harvard, and in 1904-07 was assistant-
professor there. Since 1907 he has devoted
himself to composition. The list of his works
is as follows :
Sonata, op. 1, for violin and piano.
Suite, op. 2, for piano.
Quartet, op. 3, for strings.
Waltzes, op. 4, for piano, 4-hand3.
'Walzer Poetici,' op. 5, for piano, 4-hand.'9.
Concert-Overture, 'Youth,' op. 6 (1897, Munich).
Symphony in D minor, op. 7 (1898, Munich).
Festival March, op. 8, for orchestra.
Romance, 'Festival of Pan,' op. 9, for orchestra
(1900, Boston Symphony Orchestra).
Romance, 'Endymion's Narrative,' op. 10, for
orchestra (1903, Boston Orchestra).
Two Poems, 'Night' and 'Day,' op. 11, for piano
and orchestra.
Ballad, 'La belle dame sans merci,' op. 12, for
baritone and orchestra (1902).
Concerto, op. 13, for violin and piano.
Three Love-Songs, op. 14.
Concert-Overture, 'Euphrosyne,' op. 15.
Two Songs, op. 16, for soprano.
Quartet, op. 17, for strings (1904, I&ieisel Qua^'tet,
Brooklyn).
Orchestral Fantasy, 'The Mystic Trumpeter,' op.
19, after poem by Whitman (1905, Philadel-
phia Orchestra).
Songs, 'Adieu' and 'Silent Noon,' op. 20.
Romantic Opera, 'The Pipe of Desire,' op. 21, in
one act (1906, Boston, also 1910, Metropolitan
Opera House).
'Laudate Dominum,' op. 22, for men's voices,
trombones and organ.
Overture, entr'actes and incidental music for
N
Mackaye's 'Jeanne d'Arc,' op. 23 (1906, Phila-
delphia).
Dramatic Poem, 'Job,' op. 24, for soli, chorus and
orchestra (1907, Worcester Festival, and 1908,
Hamburg).
Serenade, op. 25, for soprano, tenor, men's chorus,
flute, harp and strings.
'Hagar in the Desert,' op. 26, dramatic narrative
for low voice and orchestra (written for
Mme. Schumann-Heink and sung by her at
Hamburg, 1908).
Symphonic Poem, 'Ormazd' (1912, St. Louis and
Boston Orchestras).
'The Sacrifice,' opera in three acts, text by the
composer (1911, Boston Opera Company).
Music for the Masque of St. Louis (1914, St. Louis).
'The Peace-Pipe,' cantata (1916).
Symphonic Poem, 'Ave atque Vale' (1917, Boston
Orchestra).
[Of the above, opp. 3, 6, 7, 8, 13, 18 are still in
manuscript.]
'The Pipe of Desire' has the distinction of
being the first work by an American com-
poser to be performed at the Metropolitan
Opera House. [ R.8 ]
COOKE, JAMES FRANCIS (Nov. 14,
1875, Bay City, Mich.), was educated in the
New York schools and with private teachers.
He studied music there with W. H. Hall,
Woodman, Eberhard and Medorn, and with
Meyer-Olbersleben and Hermann Ritter at
the Royal Conservatory in Wi'irzburg. Be-
ginning at thirteen, he continued teaching
piano in New York for over twenty years,
developing original ideas based upon psycho-
logical experiments, some of which have had
wide acceptance. He was also for some years
organist in Brooklyn churches, conductor of
choral clubs and vocal teacher. With his
wife, nee Betsey Ella Beckwith, as singer, he
has given many recitals and lectures on
musical history and interpretation. He has
written extensively for musical periodicals —
for three years was correspondent for the
'Neue Zeitschrift fiir Musik' and the 'Musik-
alisches Wochonblatt,' and in 1901-05 pub-
lished notes of extensive investigations of the
conservatory-systems of Europe. Since 1907
he has been editor of 'The Etude' in Phila-
delphia. The results of conferences with great
living pianists he collected under the title Great
Pianists upo7i Piano-Playing, 1913. He has also
published The Standard History of Music, 1910,
Mastering the Scales and Arpeggios, 1913, Musi-
cal Playlets, 1917, and Music-Masters Old and
New. Some of his piano-pieces and songs have
had large circulation. He has also composed
works of more serious character as yet unpub-
lished. He was president of the Philadelphia
Music Teachers' Association in 1911-18, of the
Writeabout Club in 1915-16, of the Philadel-
phia Drama League since 1917, and of the
Presser Foundation since 1917. He was made
Mus.D. by the Ohio Northern University
in 1919. He has written -plays (four produced
178
COOMBS
COURBOIN
professionally), stories, a novel, etc. During
the war as a ' Four-Minute Man' he ad-
dressed over 300,000 people. [ R.8 ]
COOMBS, CHARLES WHITNEY (Dec.
25, 1859, Bucksport, Me.), from 1878 lived
in Stultijart, studying piano with Speidel,
theory and composition with Seifritz, and
also modern languages and literature. In
1883 he was in Italy and Switzerland, and in
1884 went to Dresden, where his teachers
were Draeseke for composition, Janssen for
organ, Hermann John for instrumentation
and Lamperti for voice. He made long visits
to Paris and London. In 1887-91 he was
organist at the American Church in Dresden.
In 1892-1908 he was organist at the Church
of the Holy Communion in New York, and
since 1908 at St. Luke's. His compositions
include the following (mostly Schirmer) :
Cantatas — 'The Vision of St. John,' 'The First
Christmas,' 'Ancient of Days,' 'The Sorrows
of Death.'
Canticles and Anthems — Gloria in Excelsis, Bene-
dictus, Deus Misereatur, 'Bethlehem,' 'The
Christ-Child,' ' The Christmas Herald,' ' Under
the Silent Stars,' ' Brightest and Best,' ' Joyously
Peal,' ' Light of Earth,' three Christmas Carols,
' Christ is Risen,' ' Christ is Risen from the Dead,'
'As it Began to Dawn,' 'Where is He?' 'Let
your Light so Shine,' ' The Evening Shadows,'
'A Hymn of Praise,' ' The Heavenly Message,'
' How Lovely upon the Mountains,' ' God shall
Wipe away all Tears,' ' Sing, O Daughter of Zion,'
'At the Rising of the Sun,' 'How Goodly are thy
Tents,' 'O Lord, Thou art Great' (Schmidt).
About 75 songs (Schirmer, Schmidt, Presser,
Church, Boosey). [ R.7 ]
COOPER, WILLIAM. See Tune-Books,
1803.
COPP, EVELYN ASHTON, nee Fletcher
(b. 1872). See Register, 8.
COPPET, EDWARD J. DE (May 28,
1855, New York : Apr. 30, 1916, New York),
was of Swiss descent. He succeeded his father
as a banker and stock-broker in New York.
In 1886 he began a series of chamber-music re-
citals at his residence, and these continued till
the afternoon before his death, the last being
the 1054th. At first different artists were en-
gaged, but in 1902 the Flonzaley Quartet was
organized and became an important factor in
the series. The name Flonzaley was that of his
summer-home near Vevey, on Lake Geneva.
Thanks to his patronage, the Quartet has had
the opportunity to become one of the finest
chamber-music organizations in the world.
Since his death his policies have been continued
by his son Andre. See Mason's article in ' The
Musical Quarterly,' October, 1916. [ R.7 ]
COREY, NEWTON JOHN (b. 1861). See
Register, 6.
CORNELL, JOHN HENRY (May 8, 1828,
New York : Mar. 1, 1894, New York), was
educated in New York and in Germany and
England. In 1848 he was organist at St.
John's Chapel, in 1868-77 at St. Paul's Chapel
(both belonging to Trinity Parish), and in
1877-82 at the Brick (Presbyterian) Church.
Besides being a solidly trained composer of
church-music, part-songs and songs, he was
an erudite and methodical student of theory,
and an able author and translator. His
books include a Primer of Modern Musical
Tonality, 1877, The Practice of Sight-Singing,
The Theory and Practice of Musical Form
(based on Bussler), 1883, an Easy Method of
Modulation, 1884, a Manual of Roman Chant,
The Introit Psalms, set to original chants, 1871,
and a Congregational Tune-Book. Among
his translations were Langhans' Geschichte dor
Musik, 1886, and Ambros' Die Grenzen der
Musik und Poesie, 1893. [ R.4 ]
'CORSICAN BRIDE, THE.' An opera
by Eduard Mollenhauer, produced at the
Winter Palace in New York ^in 18G1.
'CORSICANA, LA.' An opera by John
Lewis Browne, which received honorable men-
tion in the Sonzogno competition at Milan
in 1902, was given in New York in 1903, and
was published by the Church Co.
COTTLOW, AUGUSTA (Apr. 2, 1878,
Shelbyville, 111.), after early lessons from her
mother, gave a piano-recital in Chicago when
only seven. She studied there with Wolfsohn
(piano) and Gleason (harmony), and made
her d6but with orchestra in 1889. In 1891
she first appeared in New York, playing the
Chopin E minor concerto under Seidl. In
1896 at Berlin she studied piano with Busoni
and theory with Boise. Concert-tours through
Germany, Holland, England and Russia
followed, and in 1900 she returned to America,
appearing first at the Worcester Festival.
She has made repeated tours, has played with
the Boston Symphony and other orchestras,
and, after a long sojourn in Berlin, is now
permanently in the United States. She married
Edgar A. Gerst of Berlin in 1912. [ R.7 ]
COURBOIN, CHARLES MARIE (Apr.
2, 1886, Antwerp, Belgium), early evinced
musical talent, playing concertos and sym-
phonies by ear at seven. He was taken as
piano-pupil by Blockx, then director of the
Antwerp Conservatory, continuing five years.
He played the organ at Notre Dame College
at twelve, writing his first composition, 'Vias
Tuas,' for boy-choir, string-quartet and organ.
At the solicitation of Mailly, of the Brussels
Conservatory, he entered on a four-years
course in organ and became his favorite pupil.
He took harmony with Gilson and Huberti,
counterpoint with Tinel, and won prizes in
piano and harmony in 1901, and in counter-
point, fugue, and transpo-ition in 1902,
besides the International Competition (against
eight contestants). From 1902 he was or-
COWEN
CRIST
17d
ganist at Antwerp Cathedral, giving recitals
also in London, Paris, Rheims, Lille, Boulogne,
Liibeck, Hamburg, Louvain, Bruges, Li^ge,
etc. In 1904 he came to Oswego, N. Y., as
organist at St. Paul's, going thence to the
First Baptist Church in Syracuse, where he
has the largest organ in the State outside of
New York City. In 1917-18 he was also
municipal organist at Springfield, Mass. He
has lately undertaken concert-work, playing
with success in the East and the Middle West.
In 1919-20 he was concert-organist at the
Wanamaker Auditoriums in Philadelphia
and New York. At Philadelphia in March,
1919, he brought out Widor's Sixth Symphony
(dedicated to him) with the Philadelphia
Orchestra under Stokowski. He has written
Beveral anthems, masses, other choral works,
and a ' Toccatina,' op. 13 — all still in manu-
script. [ R.9 ]
} COWEN, FREDERIC HYMEN (Jan.
29, 1852, Kingston, Jamaica). See article
in Vol. i. 630-1. He served as conductor
of the Cardiff Festival in 1902, '04, '07, '10,
of the Handel Festival at the Crystal Palace
in 1903, '06, '09, '12, '20, and of the Liverpool
Philharmonic Society till 1914. He received
an honorary Mus.D, from Edinburgh Uni-
versity in 1910, and was knighted in 1911.
Add to the list of works the cantata 'John
Gilpin' (1904), the oratorio 'The Veil' (1910),
the pantomime 'Monica's Blue Boy' (1917)
and the comedy-ballet 'Cupid's Conspiracy'
(1918). He has published My Art and My
Friends, 1913, and a humorous glossary,
Music as She is Wrote, 1915.
COWLES, WALTER RUEL (b. 1881).
See Register, 9.
COWPER, HOLMES [Harry Mattingly]
(b. 1870). See Colleges, 3 (Drake U., la.).
COX, ERNEST L, See Colleges, 3
(Kansas Wesleyan U.).
COZINE, HARLAN J. See Colleges, 3
(Albion C, Mich.).
CRAFT, MARCELLA (1880, Indian-
apolis), had a high-school course at Riverside,
Cal. Thence she went to Boston, from 1897
studied with Charles R. Adams, and sang in
concert and oratorio throughout New England.
In 1901 she went to Europe, studying singing
under Guagni and acting under Mottino in
Milan, She made her debut as Leonora in
'II Trovatore' at Morbegno in March, 1902,
and sang in various Italian theaters for three
years. In 1905 began engagements of two
years at Mayence, two at Kiel and five at the
Royal Opera in Munich, with guest-appear-
ances in many other cities. She had just
finished at Munich when the war began, and
she sailed for America in August, 1914. Here
she has appeared with the Chicago, Cincinnati,
St. Louis, Philadelphia and Minneapolis
Orchestras. During 1917-18 she sang as
guest with the San Carlo Opera Company
and with the Society of American Singers
in New York. She has also been heard at
the Worcester, Maine, Oberlin and other
Festivals, and at four of the remarkable
Easter services on Mt. Rubidoux, Cal. She
has given many song-recitals in the larger
cities. She has taken the leading soprano-
r61es in 'Madama Butterfly,' 'La Boh^me,'
'La Traviata,' 'Faust,' 'Salome,' 'I Pagliacci,'
'II Segreto di Susanna,' 'II Trovatore,' 'Aida,'
' Otello,' 'Martha,' ' Rigoletto,' 'Carmen,'
' Tales of Hoffmann,' ' Tiefland,' ' Lohengrin,'
'Tannhauser,' 'Die Meistersinger,' 'The Magic
Flute,' 'Don Giovanni,' 'Benvenuto Cellini'
and 'Le Donne Curiose.' [ R.9 ]
CRANE, JULIA ETTIE (b. 1865). See
Register, 6.
CREHORE, BENJAMIN (d. 1819). See
Register, 2.
CRESS, OSCAR. See Colleges, 3 (Hope
C, Mich.).
CRIST, BAINBRIDGE (Feb. 13, 1883,
Lawrenceburg, Ind.), spent his youth in
Washington, where he graduated from the
Law School in 1906. He then practiced in
Boston until after six years he abandoned the
law for music, which he had pursued since
childhood. He then studied in London, Paris
and Berlin, taking composition under Juon, and
singing under Emerich and Shakespeare.
For a time he settled in London, but the
outbreak of the war caused him to return to
Boston, where he is engaged in composition,
vocal teaching and coaching. In 1918 he
temporarily abandoned music to put his legal
experience into war-work, but resigned shortly
after the armistice was signed. His com-
positions include the following :
For orchestra — the choreographic drama ' Le Pied
de la Momie ' (1914, England), the symphonic
suite ' Egyptian Impressions' (1915, Boston Sym-
phony Orchestra), the vocal poem 'The Parting,'
and the coloratura aria 'O come hither' (last
three, Carl Fischer).
For string-quartet — ' Japonaise ' and ' Clavecin.'
For piano — 'Egyptian Impressions,' 'Retrospec-
tions ' (both Fischer) and ' Miniatures ' (Augener).
For voice — 'Chinese Mother Goose Rhymes,'
' Drolleries from an Oriental Doll's House,' ' Into a
ship, dreaming,' 'This is the moon of roses,' 'The
Old Soldier,' 'You will not come again,' ' Yester-
year,' 'April Rain,' 'To the Water-Nymphs,'
' Butterflies,' ' C'est mon ami,' ' Tell Me,' ' Girl of
the red mouth,' 'Three Balladettes ' (Fischer);
'Mistletoe,' 'Some One,' 'To Arcady,' 'If there
were dreams to sell,' ' The Little Bird,' ' A
Memory,' 'To Columbine,' 'Like April's kissing
May,' 'No Limit,' 'Shower of Blossoms,' 'Sep-
tember Eve,' ' The Window,' ' I can't abear,' 'The
Little Old Cupid ' (Boston Music Co.) ; ' A Bag of
Whistles,' 'The auld Scotch sangs ' (Ditson) ;
'The Lost Path,' 'Roses' (Augener); 'To Folly
and Whim ' (Schott) ; ' Au Clair de la Lune '
(Homeyer). [ R.IO ]
180 CROSBY OPERA HOUSE
•CYRANO DE BERGERAC
CROSBY OPERA HOUSE, THE, in
Chicago, was built in 1865 by Uranus H.
Crosby on Washington Street, between State
and Dearborn. It contained by far the best
opera-auditorium that Chicago had had, a
music-hall, art-gallery and numerous studios
for artists and others. It was opened with
opera-seasons under Grau and a concert-
season under Max Strakosch, and for a time
was the arena for much good music. But the
investment did not pay, and in January, 1867,
the building was put up at lottery, but in some
way merely transferred to Albert Crosby,
who continued it with curiously diversified
undertakings. In the fall of 1871 it was
renovated at large expense and the work had
just been completed when on Oct. 8, the
day before it was to be reopened with a concert
by the Thomas Orchestra, it was destroyed
in the great fire. See Upton, Musical Mem-
ories, pp. 236-51.
CROSS, BENJAMIN (1786-1857). See
Register, 3.
CROSS, MICHAEL HURLEY (Apr. 13,
1833, Philadelphia : Sept. [26, 1897, Phila-
delphia) , son and pupil of the foregoing, also
studied composition with Meignen, violin with
Charles Hommann and 'cello with Engelke.
From 1848 he was organist, first at St. Patrick's
and other churches, from 1862 at the (R. C.)
Cathedral and from 1880 at Holy Trinity
(P. E.). He directed various local organiza-
tions, besides others in New York and Brook-
lyn, and was a prominent teacher (Huneker
was one of his pupils). Like his father, he
exerted a powerful influence for good in the
musical life of Philadelphia. [ R.4 ]
CROSSLAND, ROBERT EXELBY. See
Colleges, 3 (Culver-Stockton C, Mo.).
CROUCH, FREDERICK WILLIAM
NICHOLLS (1808-1896). See Register, 4.
JCUI, CfiSAR ANTONOVITCH (Jan.
18, 1835, Vilna, Russia : Mar. 14, 1918,
Petrograd). See article in Vol. i. 643-5, add-
ing that 'Mam'zelle Fifi' was produced in
Petrograd in 1903 and that two further operas
were 'Matteo Falcone' (1908, Moscow) and
'The Captain's Daughter' (1911, Petrograd).
Note also critical sketch by the Comtesse
Mercy-Argenteau, Paris, 1888, and Weimarn,
Cui as Song-Writer, Petrograd, 1897, besides
general works on Russian music.
CUNNINGHAM, CLAUDE (b. 1880).
See Register, 9.
CURRIER, AARON HEALY. See State
Universities (Mont. State C).
CURRY, ARTHUR MANSFIELD (Jan.
27, 1866, Chelsea, Mass.), was a pupil of
Kneisel in violin and of MacDowell in com-
position and orchestration. For some years
he was engaged as choral and orchestral
conductor. In 1914 he taught in Berlin,
but then became teacher of harmony at the
New England Conservatory in Boston. His
larger works, still in manuscript, are the
overture 'Blomidon' (1902, Worcester); an
' ;6legie ' in the form of an overture ; the
symphonic poem 'Atala,' after Chateau-
briand (1908, given 1911, Boston Symphony
Orchestra); and 'The Winning of Amarac,'
a Keltic legend for reader, women's chorus
and orchestra. He has published choruses
for men's, women's or mixed voices, 11 songs,
a Barcarolle and other piano-pieces. [ R.9 ]
CURTIS, HENRY HOLBROOK (1856-
1920). See Register, 7.
CURTIS, NATALIE. See Burlin.
CURTIS, VERA (b. 1880). See Register,
10.
CUTLER, HENRY STEPHEN (1825-
1902). See Register, 4.
CUTTER, BENJAMIN (Sept. 6, 1857,
Woburn, Mass. : May 10, 1910, Boston),
was the son of a physician of musical tastes.
He studied violin with Eichberg in Boston and
with Edmund Singer in Stuttgart, harmony
with Emery in Boston and composition with
Goetschius and Seifriz in Stuttgart. On
his return to Boston he first taught violin,
but from 1888 concentrated upon harmony
and analysis, becoming professor at the New
England Conservatory. In 1882-89 he played
in the Boston Symphony Orchestra. He was
held in high regard as a superior teacher by
a large number of pupils. His larger com-
positions were a Mass in D, the cantata 'Sir
Patrick Spens,' considerable chamber-music,
and choral works, sacred and secular. He
also wrote Exercises in Harmony, 1901, Har-
monic Analysis, 1902, and How to Study
Kreutzer, 1903. [ R.7 ]
'CYRANO DE BERGERAC An opera
in four acts by Walter Damrosch on a libretto
made by William J. Henderson after the play
by Rostand. It was first given at the Metro-
politan Opera House in New York on Feb.
27, 1913, under the direction of Hertz, and four
times repeated.
LEOPOLD DAMROSCH
D
DAILEY, LEE N. See Colleges, 3 organized the Denver Chorus Club in 1882,
(Yankton C, S. D.).
JDALE. BENJAMIN JAMES (July 17,
1885, London, England). See note in Vol.
V. 628. The list of his works in 1919 was
Symphony in A, for orchestra.
Overture, 'The Tempest,' for orchestra (1902).
Fantasia for organ and orchestra (1903).
Concert-Overture in G minor, for orchestra (1904).
Suite for viola and piano (1907) (Novello).
Phantasy for viola and piano (1911) (Schott).
Introduction and Andante for six violas (1913).
English Dance, for violin and piano (1916) (Anglo-
French Music Co.).
'Before the paling of the stars,' for chorus and
orchestra (1912) (Novello).
Sonata in D minor, for piano (1905) (Novello).
'Night-Fancies,' for piano (1907) (Ricordi).
The songs 'Carpe Diem' and 'A Dirge of Love'
(1918) (Shakespeare, Novello).
Three Carols, ' In Bethlehem, that noble place,'
'The Holy Birth,' 'The Shepherds and the
Mother' (first two, Novello, third, Stainer & Bell).
His viola-music has received special at-
tention, and, despite its novelty, has been
widely performed. From August, 1914, he
was long interned at Ruhleben, Germany.
DALMORES, CHARLES (Dec. 31, 1871,
Nancy, France), was trained at the Nancy
Conservatory, where he took prizes for French
horn and solfeggio, with 'cello as a secondary
study. The city of Nancy provided means
for his going on with the horn at the Paris
Conservatory. Here he took first prize in
1890 and played two years each in the Colonne
and Lamoureux Orchestras. In 1894 he
became professor at the Lyons Conservatory.
Meanwhile he studied singing with Dauphin,
and in 1899 made his debut as tenor at the
Theatre des Arts in Rouen. Then followed
six years at La Monnaie in Brussels, seven
at Covent Garden and four (1906-10) at the
Manhattan Opera House in New York.
Since 1910 he has been with the Chicago Opera
Company. He took the role of Lohengrin
at Bayreuth in 1908 and in Berlin. He sings
in French, Italian and German, and has
appeared in 'Thais,' 'Louise,' 'Pelleas et
Melisande,' 'Salome,' 'Samson et Dalila,'
■Quo Vadis,' 'Romeo et Juliette,' 'Aida,'
'Siegfried,' 'Die Gotterdammerung,' 'Le Roi
Arthus,' 'Carmen' and 'Faust.' [ R.9 ]
DAMBOIS, MAURICE F^LIX (b. 1889).
See Register, 10.
DAMROSCH, FRANK HEINO (June 22,
1859, Breslau, Germany). See article in Vol.
i. 656-7. He was educated in the public
schools and the College of the City of New
York. Among his piano- teachers was Joseffy.
In 1879 he went to Denver because he wished
to make his own way on his merits. He
and was appointed music-director in the
public schools in 1884. Among his many
engagements as choral conductor in or near
New York after 1885 the most important was
with the Oratorio Society, which continued
till 1912. In 1905 he became director of the
Institute of Musical Art, founded and en-
dowed by James Loeb, and still occupies this
position. The aim of his life has been to spread
the appreciation and culture of good music
among all classes. The People's Singing-
Classes have initiated thousands of wage-
earners into the choral works of the great
masters. The Symphony Concerts for Young
People are training children and adults to
appreciate symphonic music. The Musical Art
Society emphasizes the old Flemish and Italian
masters, such as Palestrina and Orlando di
Lasso, and also the modern schools of a
cappella singing, appealing to a highly cul-
tivated taste. The Institute of Musical Art
provides for serious and talented students
the best obtainable musical education, equal
to that of the foremost European conserva-
tories. He has written Some Essentials in the
Teaching of Music, 1916, and has edited many
choral works, particularly! for the Musical Art
Society. In 1904 he received the degree of
Mus.D. from Yale University. [ R.7 ]
DAMROSCH, LEOPOLD (Oct. 22, 1832,
Posen, Germany : Feb. 15, 1885, New
York). See article in Vol. i. 656. Dr. Dam-
rosch was of commanding presence and strong
character. Although his constitution was
not robust he had an impressive fund of
energy and magnetism. All his life he strove
with every fiber of body and spirit for the
realization of the highest art-ideals and was
able to communicate his zeal to all about
him. On his arrival in America he found the
old Italian operas esteemed the greatest treat
of the musical season. Symphonic music
was presented with mechanical precision in
execution, but failed to render the spirit of
the music. Oratorios were performed in
a tedious and perfunctory manner. Against
opposition from the established forces, he
gradually attracted the cooperation of men
and women of true culture with whose help
he organized the musical societies mentioned
in Vol. i. and gained the opportunity to bring
the true genius of the great masters to the
consciousness of the musical public. It was
often a struggle against ignorance, indifference
and ill-will, but by his energy, perseverance
and knowledge, by his high artistic perception,
and by the charm of his personality, he
succeeded in winning the admiration and
181
182
DAMROSCH
DA PONTE
confidence of the lovers of good music. In-
deed, the great advance in the appreciation
and culture of music in America during the
last forty years dates from the years of his
activity in New York and is largely due to
his labors. [ R.6 ]
DAMROSCH, WALTER JOHANNES
(Jan. 30, 1862, Breslau, Germany). See arti-
cle in Vol. i. 657. He is still conductor
of the New York Symphony Society, which
was endowed in 1914 by Harry Harkness
Flagler, its president, with an annual income
of ,5100,000. In 1917 he also returned to the
conductorship of the New York Oratorio
Society. He directed the first American
productions of Tchaikovsky's Fifth and Sixth
Symphonies, Brahms' Fourth, and Elgar's
First and Second; Saint-Sacns' 'Samson and
Delilah,' Tchaikovsky's 'Eugene Onegin'
and Wagner's 'Parsifal.' His opera 'Cyrano
de Bergerac' was performed at the Metro-
politan Opera House on Fob. 27, 1913; the
comic opera 'The Dove of Peace' (libretto
by Wallace Irwin) at Philadelphia and New
York in 1912 ; his incidental music to
Euripides' 'Iphigenia in AuHs' in California
in 1915; and he has also composed incidental
music to Euripides' 'Medea' and Sophocles'
'Electra.' He received the degree of Mus.
D. from Columbia University in 1914. The
numerous and country-wide tours of the
orchestras under his direction have done
much for the enlargement of popular acquaint-
ance with standard orchestral works, besides
introducing many novelties. In 1920 the
Symphony Society, under his leadership,
made an extended tour in Europe. At Rome
he was made a member of the Order of the
Crown of Italy. [ R.7 ]
DANA, LYNN BOARDMAN (Oct. 15,
1875, Middleport, N. Y.), in 1916 succeeded
his father, William H. Dana, as head of
Dana's Musical Institute at Warren, O.
He studied piano with Jacob Schmitt, di
Kontski, Sherwood and Goldbeck, and theory
with H. Clark Thayer, W. H. Dana and J.
D. Cook. For fifteen years he was con-
nected with the Chautauqua Institution, in
1914-16 was president of the Ohio M. T. A.,
and he was the first secretary of the Association
of Present and Past Presidents of State
Music Teachers' - Associations. He has com-
posed the oratorio 'The Triumph of Faith';
many piano-pieces and songs ; a sonata for
violin and piano ; and a trio for violin, 'cello
and piano. He is director of the American
Musical Festival held annually at Lockport,
N.Y. [ R.8 ]
DANA, WILLIAM HENRY (1849-1916).
See Register, 6.
DANKS, HART PEASE (1834-1903).
See Register, 4.
DANN, HOLLIS ELLSWORTH (May 1,
1861, Canton, Pa.), after graduating from the
Canton High School in 1878, attended the
Elmira Business College and the Rochester
School of Music, and continued his musical
education for several years with private
instructors in Boston. He received the
degree of 'Mus.D. from Alfred University
in 1906. In 1887-1903 he had charge of
public-school music in Ithaca, N. Y. In
1906 he became the head of the department
of music in Cornell University. Under his
direction the Cornell Music Festival and the
Cornell Glee Club have become renowned.
In 1910 he established courses in the Univer-
sity summer-school for training supervisors
and teachers of music, which has become
a foremost agency of its kind. In 1918-19
ho was song-leader at Camp Taylor in Ken-
tucky. In 1919 he was chorus-conductor for
the National Music Supervisors' Conference,
and was made president of the Conference
for 1920. He has contributed much to
public-school music, through text-books,
pamphlets and papers. Since 1910 he has
published Christmas Carols and Hymns, The
School Hymnal, Assembly Songs, 2 vols..
Standard Anthems, vol. 1, and The Hollis
Dann Music Course, in seven grades, with a
Manual for Teachers. [ R.7 ]
DANNREUTHER, GUSTAV (July 21,
1853, Cincinnati), after preliminary lessons
from local teachers, was sent by his brother
Edward to study in Berlin, where at the
Hochschule in 1871-73 his violin-teachers
were Joachim and De Ahna. After six
months in Paris he went to London, where
he taught and played for four years. In
1877 he returned to America and joined the
Mendelssohn Quintette Club, with which
he traveled for three years. He then settled
in Boston as teacher and player. With
C. N. Allen and Wulf Fries he played in
the Beethoven String Quartette, and for
two years was with the then newly-organ-
ized Boston Symphony Orchestra under
Henschel. In 1882-84 he directed the Buffalo
Philharmonic Society and gave about sixty
chamber-concerts. Coming to New York
in 1884, he founded the Beethoven String
Quartette (from 1894 till 1917 known as tho
Dannreuther Quartet) which was a leading
chamber-music organization. Lately he has
devoted himself entirely to teaching. He
has published Elementary Scale- and Chord-
Studies for the Violin (Breitkopf) and has
in manuscript an extensive work on violin-
technique. [ R.6 ]
'DAPHNE.' A comic opera by Arthur
Bird, produced in New York in 1897.
DA PONTE, LORENZO (Mar. 10, 1749,
Ceneda [Vittorio], Italy : Aug. 17, 1838,
DARBY
DEBUSSY
183
New York). See article in Vol. iii. 789-90.
In New York he not only joined himself to
Garcia in 1825-26, but largely through his
efforts the French tenor Montressor under-
took an opera-season late in 1832 at the
Richmond Hill Theater, which failed after
thirty-five performances. He then promoted
the erection of the Italian Opera House at
Church and Leonard Streets, which was opened
on Nov. 18, 1833, with a company led by
Rivafinoli. Six Rossini operas and one each
by Cimarosa, Pacini and Salvioni (conductor
of the company) formed the repertoire, and
the deficit after eight months was $30,000.
His Memorie, 4 vols., were published in New
York in 1823-27. He was buried in the
Catholic Cemetery on East Eleventh Street,
but in a grave unmarked. See Krehbiel,
Chapters of Opera, pp. 30-6. [ R.3 ]
DARBY, W. DERMOT (b. 1885). See
Register, 10.
DARLEY, WILLIAM. See Register, 2.
DARLEY, W. H. W. See Tune-Books,
1844.
'DAUGHTER OF THE FOREST, THE.'
An opera by Arthur F. Nevin, produced on
Jan. 5, 1918, by the Chicago Opera Company
under the composer's direction.
JDAVEY, HENRY (Nov. 29. 1853,
Brighton, England), as he possessed an
exceptional memory, was very successful
in his school-days. In his youth he assisted
in his father's business. At 20 he went to
Leipzig and studied piano, composition and
especially harmony for three years. He
then lived at Brighton as teacher and writer
on musical subjects till he retired in 1903.
Literary work; particularly Shakespearean
research, has since been his principal occu-
pation. Besides many articles in The Dic-
tionary of National Biography, he has written
much in various English, German and
American musical journals. His principal
works are The Student's Musical History, 1891
(7th ed., 1919), History of English Music,
1895 (revised edition preparing), Handel, in
Masterpieces of Music, 1912, and apprecia-
tions in Kirchenmusikalisches Jahrbuch (1896),
Monatshcfte fur AIusik-Geschichte (1896), in
Riemann's Geschichic dor Musik seit Beethoven
(1900) and in Soubies' Histoire de la Musique,
lies Britanniques. His most important lit-
erary work is the Memoir in the Stratford
Town Edition of Shakespeare. An extensive
commentary on Shakespeare's works is well
advanced.
X DA VIES, HENRY WALFORD (Sept.
6, 1869, Oswestry, England). See articles
in Vols. i. 670-1 and v. 628-9. In addition
to his duties at the Temple Church, he was
conductor of the London Church Choir
Association in 1901-13, has been active as
an examiner and lecturer on musical subjects,
and during the war was a leader in the provision
of music for British soldiers. He has recently
become professor at the University of Wales.
His recent compositions aro the cantatas ' Five
Sayings of Jesus' (1911) and 'The Song of St.
Francis' (1912); the choral suite 'Noble
Numbers ' ; the orchestral suites ' Parthenia '
(1911) and 'Wordsworth' (1913); 'Conver-
sations,' a suite for piano and orchestra (1914) ;
and the a cappella 'Short Requiem' (1915).
DA VIES, WILLIAM. See Colleges, 3
(Midland C, Neb.).
DAVIS, DAVID (b. 1855). See Register, 7.
DAVIS, GEORGE H. (d. 1879). See Reg-
ister, 4.
DAVIS, JESSIE, n6e Bartlett (1860-1905).
See Register, 6.
DAVIS, JOHN. See Register, 3.
DAVIS, JOHN HERBERT (b. 1860).
See Register, 7.
DAY, H. W. See Tune-Books, 1842.
'DAWN OF THE WEST, THE.' An
opera in four acts by Emil Enna, on a text
by Freda Gratke, privately performed at
Portland, Ore., on Nov. 7, 1915.
DAYAS, WILLIAM HUMPHRIES (Sept.
12, 1864, New York : May 3, 1903, Man-
chester, England), having been an organist
from an early age, studied piano with S. B.
Mills and Joseffy, and organ and counter-
point with S. P. Warren. In Germany (from
1881) he was the pupil of Kullak, Ehrlich,
Urban and Haupt, and was one of the last
group of those under Liszt. In 1888 he made
a concert-tour with Senkrah. In 1890 he
succeeded Busoni as principal piano-teacher
at the musical college in Helsingfors. Thence
he went to Wiesbaden and Cologne, tarried
a while in New York, and in 1896 became
principal piano-teacher at the Manchester
College of Music, succeeding Hall6 and holding
this position till his death. He comro=;ei 1 two
sonatas for organ, a string-quartet, r. lonata
for violin and piano, a sonata for 'cello and
piano, four-hand waltzes for piano, a suite
for strings (1886, Weimar), songs, and pieces
for piano and organ. His daughter, ICarin
Elin Dayas, appeared as a pianist in Berlin
in 1916. [ R.7 ]
DEARBORN, B. See Tune-Books, 1796.
DEARBORN, E. R. See Tune-Books,
1841.
DE BEGNIS, GIUSEPPE (1793-1849).
See Register, 3.
t DEBUSSY, CLAUDE ACHILLE (Aug.
22, 1862, St. Germain-en-Laye, France :
Mar. 26, 1918, Paris). See article in Vol. i.
676. Madame de Sivry, pupil of Chopin and
mother of Charles de Sivry, was his first
teacher. He entered the Paris Conservatory
in 1873, studying piano with Marmontel,
184
DEBUSSY
DEBUSSY
harmony with Lavignac and composition with
Guiraud. Beginning with 1874, he won the
solffege medal for three successive years, in
1877 the second prize for piano, in 1882 a
prize for counterpoint and fugue, and two
years later the Prix de Rome. In Italy in
1887 he composed his 'Printemps' for orches-
tra and chorus, the cantata 'La Demoiselle
tHue ' and a ' Fantaisie ' for piano and orchestra.
The dates in the appended list indicate the
progress after his return. The 'Prelude a
I'Apr^s-Midi d'un Fauno,' first performed
in 1894, and published eight years later, was
his first work to attract general attention.
Ten years were spent on 'Pelleas et Melisande,'
first performed in 1902. In 'The Musical
Times,' for May, 1918, Jean-Aubry presented
the following complete list of his compositions :
For Orchestra —
Symphonic Poem, 'Almanzor,' after Heine (1886).
Symphonic Suite, 'Printemps,' in two parts, for
chorus and orchestra (1887, revised and enlarged
1913).
Fantaisie for piano and orchestra (1889).
'Marche Ecossaise sur un Thfime Populaire' (1891).
Eglogue, 'Prelude i I'Apres-Midi d'un Faune,'
after Mallarmg (1892, first given in 1894).
Incidental Music to 'King Lear' (1897-99).
'Trors Nocturnes' — 'Nuages,' 'F6tes,' 'SirSnes'
— for chorus and orchestra (1897).
'Danse Profane' and 'Danse Sacr^e,' for harp and
orchestra or piano and strings (1904).
Symphonic Sketches, 'La Mer' — 'De I'aube 5,
midi sur la mer,' ' Jeux de vagues,' 'Dialogue du
vent et de la mer' — (1903-05).
'Images,' Set 3 — 'Gigues,' 'Iberia,' 'Rondes de
Printemps' (1909).
Incidental Music to 'Le Martyre de Saint-Sfibas-
tien' (1911).
Ballet, 'Jeux' (1912).
L6gende Dans6e, 'Khamma' (1912).
Chamher-Music —
String-Quartet, op. 10 (1893).
Rhapsody for clarinet and piano (1910).
Sonata for 'cello and piano (1915).
Sonata for flute, viola and harp (1916).
Sonata for violin and piano (1917).
Piano-Music —
'Arabesque,' nos. 1 and 2 (1888).
'Rfeverie'; Ballade; Danse; 'Danse Roman-
tique'; Nocturne (1890).
'Suite Bergamasque' — Pr61ude, Menuet, 'Clair
de Lune,' Passepied (1890), Mazurka (1891).
'Pour le Piano' — Prelude, Sarabande, Toccata
(1901).
'Estampes' — 'Pagodes,' 'Soiree dans Grenade,'
' Jardins sous la pluie' (1903).
'D'un Cahier d'Esquisses' (1903) (Schott).
'Masques'; 'L'Isle Joyeuse' (1904).
'Images,' Set 1 — 'Reflets dans I'Eau,' 'Hommage
S, Rameau,' 'Mouvement' (1905).
'Images,' Set 2 — 'Cloches k travers les Feuilles,'
'Et la Lune descend sur le Temple qui fut,'
'Poissons d'Or' (1907).
'The Children's Corner,' six pieces (1908).
'Hommage k Haydn' (1909).
Valse, 'La Plus que Lente' (1910).
Twelve Preludes, Sets 1 and 2 (24 in all) (1910).
Children's Ballet, 'La Boite h Joujoux* (1910).
'Berceuse H^roique,' dedicated to King Albert of
Belgium (1914).
Twelve Etudes, dedicated to the memory of
Chopin (1915).
Petite Suite for four hands — 'En Bateau,' Cor-
t6ge, Menuet, Ballet (1904).
Six 'fipigraphes Antiques,' for four hands (1915).
'En Blanc et Noir,' three pieces for two pianos
(1915).
Lyrical Works —
Cantata, 'L'Enfant Prodigue' (1884).
'La Demoiselle Blue,' for women's voices and
orchestra (1887).
'Pellgas et Melisande,' lyric drama in five acts and
twelve scenes, from Maeterlinck (1892-1902).
SoJlgs —
'Nuit d'fitoiles,' from De Banville (1876)
(Coutarel).
'Beau Soir,' from Bourget: 'Fleurs des Blfe,' from
Girod (1878) (Girod).
'Mandoline,' from Verlaine (1880).
Three Melodies — 'Belle au Bois Dormant,'
'Voici que le Printemps,' 'Paysage Sentimental'
(1887) (Soci^t^ Nouvelle).
'Les Cloches' and 'Romance,' from Bourget (1887).
Five Poems from Baudelaire — 'La Balcon,'
'Harmonie du Soir,' 'Le Jet d'Eau,' 'Recueille-
ment,' 'La Mort des Amants' (1890) (Librairie
de I'Art Ind^pendant).
'Dans le Jardin,' from Gravollet : 'Le Ang^lus,'
from Le Roy (1891) (Hamelle).
Three Mfilodies from Verlaine — ' Le Mer est plus
Belle,' 'Le Son du Cor s'Afflige,' 'L'Eschelon-
ment des Haies' (1891) (Hamelle).
'Fetes Galantes,' Set 1, from Verlaine — 'En
Sourdine,' 'Fantoches,' 'Clair de Lune' (1892).
'Proses Lyriques,' text by composer — 'De
Reve,' 'De Greve,' 'De Fleurs,' 'DeSoir' (1894-
95).
'Chansons de Bilitis,' from Louys — 'La Fldte de
Pan,' 'La Clevelure,' 'Le Tombeau des Naiades'
(1898).
' Airettes Oubli^es,' from Verlaine, six pieces (1888-
1903).
'Fetes Galantes,' Set 2, from Verlaine — 'Les In-
gfous,' 'Le Faune,' 'CoUoque Sentimental' (1904).
'Trois Chansons de France' — Rondel, 'La
Grotte,' Rondel (1904).
Three Ballades of Villon (1910).
'Le Promenoir des Deux Amants,' from Tristan
I'Hermite (1910).
'Noel des Enfants qui n'ont plus de Mai.son,'
text by composer (1915).
Three Chansons for quartet, from Charles, Duke
of Orleans (1908).
Transcriptions —
Schumann's 'A la Fontaine,' op. 35, for piano solo.
Gluck's 'Caprice sur les Airs de Ballet de Alceste'
(Saint-Saens) for piano, four hands.
Saint-Saens' 'Introduction et Rondo Capriccioso,'
for two pianos.
Ballet-Music from Saint-Saens' 'Etienne Marcel,'
for two pianos.
Saint-Saens' 2nd Symphony in A minor, for two
pianos.
Overture to Wagner's 'The Flying Dutchman,'
for two pianos.
Schumann's 'Six Studies in Canon,' op. 56, for
two pianos.
Satie's 'Gymnop6dies,' nos. 1 and 3, for orchestra.
In addition, M. Jean-Aubry gives a list of
Debussy's literary works. A bibliography
of works upon Debussy is given in Baker,
Diet, of Musicians, pp. 197, 1082. Oilman's
guide to 'Pelleas et Melisande' (1907) should
also be mentioned.
DECKER
DEGREES IN MUSIC
185
DECKER, MYRON A. (1823-1901). See
Register, 4.
DECKER & SON is a well-known piano-
making business, founded at Albany, N. Y.,
in 1856 by Myron A. Decker. In 1864 it was
removed to New York and took its present
name in 1875, when Frank C. Decker was
admitted. He is now its president.
DEEMS, JAMES MONROE (1818-1901).
See Register, 4.
DEGREES IN MUSIC, ACADEMIC. In
the United States the right to confer academic
degrees is vested in universities and colleges
by the charters which they hold from the
States as such, not from the Federal Govern-
ment. The anomalies and infelicities in
American practice about such degrees which
are often noted arise both from the excessive
freedom with which the right has been granted
and with which it has sometimes been exercised.
In those subjects in which a gradation of de-
grees is observed that of 'Bachelor' is given
on the completion of a stipulated course of
undergraduate study, that of 'Master' either
for the completion of a further or post-graduate
course or for the execution of some meritorious
piece of professional work, but in the United
States that of 'Doctor,' except in medicine
(and allied subjects) and 'philosophy,' has
usually been given honoris causa — a practice
obviously open to abuse.
It is said that the first instance of the degree
of Mus.B. was in 1876 (Boston University).
The use of it as marking the completion of
a four-years' course in music (somewhat
analogous to that leading to A.B.) gradually
became established and since 1900 has been
widespread. The degree of Mus.M., also
resting upon some form of examination, has
not become common. There is no definite
consensus as to the requirements for either
of these degrees, though the standard is
evidently being advanced by most institutions.
Some institutions give an A.B. 'in music' for
college or university work in which music
has been a 'major' subject. As a rule, the
Canadian universities tend to follow the Eng-
lish practice, giving musical degrees only upon
examination or 'exhibition.' Composition
figures more largely with them than with insti-
tutions in the United States.
For obvious reasons there is nothing in
America corresponding to the Union of
Graduates in Music in England. Indeed,
there is little information accessible as to
who have received the degree of Mus.D.
For this reason the following list, compiled
from such sources as are at hand, may be
interesting as a contribution to the curious
history of the subject. It is certainly not
complete and may not be entirely accurate,
but its magnitude is at least surprising.
1849 Henry Dielman (Georgetown >).
1855 Lowell Mason (New York).
1856 James P. Clarke (Toronto).
1858 Thomas Hastings (New York).
1864 Henry S. Cutler (Columbia).
S. Austen Pearce (O.xford, Eng.).
Gustav J. Stoeckel (Yale).
John H. Willcox (Georgetown).
1865 John Caulfield (Georgetown).
William H. Walter (Columbia).
1867 James G. Barnett (Yale).
1869 Eben Tourjee (Wesleyan).
1872 Uzziah C. Burnap (New York).
William Mason (Yale).
George F. Root (Chicago ^).
1874? W. Eugene Thayer (Oxford, Eng.).
1875 William H. Doane (Denison).
1877 Fr^d^ric L. Ritter (New York).
William H. Schultze (SjTacuse).
1879 Joseph P. Holbrook (Western Reserve C).
Fenelon B. Rice (Hillsdale C).
1880 Leopold Damrosch (Columbia).
Horatio R. Palmer (Chicago 2).
Theodore Thomas (Yale).
1881 John M. Loretz, Jr. (New York).
Horatio R. Palmer (Alfred).
1882 J. Max Mueller (Georgetown).
George W. Walter (Columbian).
1883 Smith N. Penfield (New York).
1886 Hugh A. Clarke (Pennsylvania).
Walter B. Gilbert (Toronto).
Frank L. Humphreys (St. Stephen's C).
John R. Sweney (Pa. Milit. Acad.).
1887 Reginald De Koven (Racine C).
J. Albert Jeffrey (St. Stephen's C).
Arthur H. Messiter (St. Stephen's C).
1888 Walter B. Gilbert (Oxford, Eng.).
1889 Maro L. Bartlett (Drake).
Anton Gloetzner (Georgetown).
Henry C. Sherman (Georgetown).
1890 Orlando A. Mansfield (Toronto).
John K. Paine (Yale).
1891 Luther O. Emerson (Findlay C).
Gerrit Smith (Hobart C).
1892 Elys6e Aviragnet (Bucknell).
Percy Goetschius (SjTacuse).
1893 La Frone Merriman (Alfred).
George A. Parker (Syracuse).
1894 Albert Ham (Dublin, Ire.).
Horatio W. Parker (Yale).
1895 Jules Jordan (Brown).
Wilson F. Morse (Syracuse).
1896 William W. Gilchrist (Pennsylvania).
Edward A. MacDowell (Princeton).
Alfred M. Richardson (Oxford, Eng.).
James B. Tipton (St. Stephen's C).
1897 Louis R. Dressier (Hope C).
1898 Edward Fisher (Toronto).
Charles L. M. Harriss (Toronto).
Richard A. Heritage (Willamette).
Ralph J. Horner (Durham, Eng.).
Felix J. Kelly (Scharw. Cons., Berlin).
Waldo S. Pratt (Syracuse).
Humphrey J. Stewart (Pacific).
1900 Peter C. Lutkin (Syracuse).
William Rhys-Herbert (Toronto).
D. Brink Towner (Tennessee).
1901 Charles R. Fisher (Toronto).
Hamilton C. Macdougall (Brown).
Arthur Mees (Alfred).
Harry C. Perrin (Dublin, Ire.).
' With the name of the institution ' University ' is to
be understood, unless ' C for ' College ' is added.
2 Not the present University of Chicago, but the
earlier Chicago University, discontinued in 1886.
186
DEGREES IN MUSIC
DE KOVEN
1902 J. Humfrey Anger (Toronto).
J. Lewis Browne (Grand Cons., N. Y.).
Edward A. MacDowell (Pennsylvania).
Horatio W. Parker (Cambridge, Eng.).
1903 George W. Andrews (Oberlin C).
George C. Gow (Brown).
Ernst C. E. Held (Syracuse).
Eva C. Taylor [Mrs. O. J. Nurse] (Toronto).
1904 Will G. Butler (Grand Cons., N. Y.).
Frank H. Damrosch (Yale).
Hermann Poehlmann (Grove City C).
J. Fred WoUe (Moravian C).
1905 Orlando A. Mansfield (Toronto).
1906 Edward J. Biedermann (Beaver C).
Hollis E. Dann (Alfred).
Henry P. Eames (Cornell C).
Albert Ham (Toronto).
Augustus S. Vogt (Toronto).
1907 Heinrich H. Bellamann (Grayson C).
Hyland E. Slatre-Wilson (Grand Cons.,
N. Y.).
Alle D. Zuidema (Detroit Cons.).
1908 William E. Broome (Toronto).
J. Christopher Marks (Grand Cons., N. Y.).
William H. Santelmann (Geo. Washington).
Alfred Wooler (Grand Cons., N. Y.).
1909 William F. Bentley (Knox C).
John J. Landsbury (Simpson C).
John W. Thompson (Knox C).
1910 Victor Baier (St. Stephen's C).
Louis A. Coerne (Olivet C).
Newton J. Corey (Hillsdale C).
Frank Nagel (Highland Park C).
• James H. Pearce (Toronto).
Frank L. Rogers (St. Stephen's C).
Percy C. Starnes (St. Stephen's C).
1911 George S. Bohanan (Rio Grande C).
William C. Carl (New York).
Adam Geibel (Temple).
Franz Kneisel (Yale).
Henry A. Lang (Philadelphia Cons.).
Edward Y. Mason (Ohio Northern).
Charles H. Mills (McGill).
1912 William H. Berwald (Syracuse).
Adolf Frey (Syracuse).
J. E. Hodgson (McGill).
Tali Esen Morgan (Temple).
Herbert Sanders (McGill).
Edward B. Scheve (Grinnell C).
1913 A. L. Gabert (Pontifical Sch., Rome).
Thaddeus Rich (Temple).
Robert L. Schofield (Puget Sound C).
Alexander S. Thompson (Des Moines C).
1914 Walter J. Damrosch (Columbia).
1915 Franz Kneisel (Princeton).
Henry F. Perrin (Oskaloosa C).
1916 John H. Brewer (New York).
Charles E. Clemens (Western Reserve).
James P. Dodd (St. Stephen's C).
Miles Farrow (Pittsburgh).
Walter Keller (DePaul).
Albert A. Stanley (Northwestern).
1917 Clarence Dickinson (Northwestern).
John McCormack (Holy Cross C).
Ignaz J. Paderewski (Yale).
Leopold Stokow.ski (Pennsylvania).
1918 John W. Holland (Potomac).
William C. Macfarlane (Bates C).
David S. Smith (Northwestern).
1919 James F. Cooke (Ohio Northern).
John T. Erickson (Potomac).
Arthur Foote (Trinity C).
Philip H. Goepp (Temple).
Victor Liska (Potomac).
Donald 0. MacGregor (Potomac).
1919 Jean C. Moos (Bethany C).
Frederick C. Thomas (Potomac).
J. Fred Wolle (Pennsylvania).
1920 Will Earhart (Pittsburgh).
H. Alexander Matthews (Muhlenberg C).
The following are Ph.D. :
1881 Theodore Baker (Leipzig, Ger.).
1892 John S. VanCleve (Twin Valley C).
1894 John C. Griggs (Leipzig, Ger.).
1905 Charles D. Campbell (Strassburg, Alsace).
Louis A. Coerne (Harvard).
1908 Archibald T. Davison (Harvard).
1909 Otto Kinkeldey (Berlin, Ger.).
1910 Sigmund Spaeth (Princeton).
1911 Philip G. Clapp (Harvard).
1914 Alma W. Powell (Columbia).
The following are Litt.D. :
1911 Edward Dickinson (Oberlin C).
1916 Edgar S. Kelley (Miami).
1920 Clarence Dickinson (Miami).
The following are LL.D. :
1895 C. Crozat Converse (Rutherford C).
1905 George W. Chadwick (Tufts C).
1914 David Bispham (Haverford C).
1917 Edgar S. Kelley (Cincinnati).
1920 Ignace J. Paderewski (Oxford, Eng.).
DE KOVEN, HENRY LOUIS REGINALD
(Apr. 3, 1859, Middletown, Conn. : Jan.
16, 1920, Chicago), was the son of a clergy-
man who removed to England in 1872. He
graduated from St. John's College, Oxford,
in 1879. At Stuttgart he studied piano with
Speidel and Lebert and harmony with Pruckner,
at Frankfort composition with Hauff, at
Florence singing with Vannuccini, at Vienna
and Paris composition with Gen6e and Deiibes.
In 1889-90 he was music-critic for the Chicago
'Evening Post,' in 1891-97 for the New York
'World,' in 1898-1900 for the 'Journal,' in
1907-12 for the 'World' again, and in 1895-97
also for 'Harper's Weekly.' In 1902-05 he
conducted the Philharmonic Orchestra in
Washington, which he organized. He became
from 1887 one of the most successful American
composers of light opera, the list of works
including
'The Begum' (1887, Philadelphia, McCauIl Opera
Company).
'Don Quixote' (1889, Boston, The Bostonians).
'Robin Hood' (1890, Chicago, 1891, London,
as 'Maid Marian').
'The Fencing-Ma.ster' (1892, Boston).
'The Knickerbockers' (1893, Boston).
'The Algerian' (1893, Philadelphia).
'Rob Roy' (1894, Detroit).
'The Tzigane' (1895, New York).
'The Mandarin' (1896, Cleveland).
'The Paris Doll' (1897, Hartford).
'The Highwayman' (1897, New Haven).
'The Three Dragoons' (1899, New York).
'Red Feather' (1903, New York).
'Happyland' (1905, New York).
'Student, King' (1906, New York).
'The Golden Butterfly' (1907, New York).
'The Beauty-Spot' (1909, New York).
'The Wedding-Trip' (1911, New York).
'Her Little Highness' (1913, New York).
DE LAMARTER
DENNEE
187
His grand operas were 'The Canterbury
Pilgrims,' produced in New York at the
Metropolitan Opera House in March, 1917,
and 'Rip van Winkle,' produced in Chicago
and New York in January, 1920 — the li-
brettos in both cases being by Percy Mackaye.
In addition, he wrote upwards of 400 songs —
many very popular — piano-pieces, a piano-
sonata (unpublished), an orchestral suite and
several ballets. His melodic fertility and facile
scoring gave him a unique place, somewhat
analogous to that of Arthur Sullivan. [ R. 7 ]
DE LAMARTER, ERIC (Feb. 18, 1880,
Lansing, Mich.), early began organ-study with
G. H. Fairclough and at fifteen was choir-
director in Kalamazoo, Mich. After a year in
Albion College, he began to study piano with
Mary Wood Chase in Chicago and organ with
Middelschulte. While still in his teens he be-
came organist at the New England Congrega-
tional Church there. The year 1901-02 he spent
in Paris with Guilmant and Widor. In 1904-
05 he taught at Olivet College in Michigan.
In 1911 he succeeded Stock as director of the
Musical Art Society of Chicago. The next
year he became organist of the First Church
of Christ, Scientist, and since 1914 has been
organist of the Fourth Presbyterian Church,
where his frequent recitals present notable
programs, especially of modern works. He
was music-critic for the Chicago 'Record-
Herald' in 1908-09, for the 'Tribune' in
1909-10, and for the 'Inter-Ocean' since 1910.
In 1918-19 he acted as director of the Chicago
Symphony Orchestra in Stock's absence.
His overture to a fantastic comedy, 'The
Faun,' was played by the Chicago Orchestra
in 1915. He has also composed chamber-
music, songs, piano- and organ-pieces, and
incidental music for plays. [ R.8 ]
tDELIUS, FREDERICK (Jan. 29, 1863,
Bradford, England). See article in Vol. v.
629-31. A dated list of his compositions is
published in 'The Musical Times,' March,
1915, and includes, in addition to those men-
tioned in the above article :
Five Songs (1888) ; Seven Songs (1889) ; Three
Songs by Shelley (1890).
'Irmelin,' a lyric drama in three acts (1890).
'The Magic Fountain,' a Ijtic drama in three acts
(1894).
Five Songs from the Danish (1897).
Part-Songs — ' Midsummer Songs,' ' On Craig Dhu,'
both for mixed voices, 'Wanderer's Song,' for
men's voices.
'Songs of Sunset,' for baritone, soprano, chorus
and orchestra (1906).
'Dance Rhapsody,' for full orchestra (1909).
Three Songs from Verlaine (1893-1910).
'Fennimore and Gerda,' lyric drama, from Jacob-
sen's 'Niels Lynne' (1910-12).
'The Song of the High Hills,' for orchestra and
chorus (1911-12).
'An Arabesk,' for baritone, chorus and orQhestra
(1912).
Two Tone-Poems for small orchestra — ' On
Hearing the First Cuckoo in Spring,' 'Summer-
night on the River' (1912-12).
' North-Country Sketches' (1913-14).
Songs — 'Chanson d'Automne,' from Verlaine,
'The nightingale has a lyre of gold,' from
Henley, 'Black Roses,' from the Swedish of
Josefson, 'I Brasil,' from Fiona McLeod.
Requiem, for soli, choir and orchestra (1914).
Sonata for violin and pianoforte (1905, revised
1915).
Later compositions mentioned in the musical
press are a violin-concerto, a double concerto
for violin and 'cello, and a ballade for orchestra.
His orchestral works have had numerous
performances in America, and Grainger has
played the piano-concerto in C minor.
DE LUCA, GIUSEPPE (b. 1876). See
Register, 10.
DEMAREST, CLIFFORD (Aug. 12, 1874,
Tenafly, N. J.), had his first organ-lessons
from his mother and became her substitute
and later her successor. For five years he
studied with Woodman in Brooklyn. At
present he is organist of the Church of the
Messiah (Unitarian) in New York. He is
a fellow of the A. G. O., served several years
as secretary, and in 1916-19 was warden.
He has published many anthems, songs and
part-songs, and these organ-compositions :
'A Pastorale Suite,' in four movements,
Andante Religioso, Cantilena, Canzona, Can-
tabile. Festival Postlude, Festival Finale,
Melodic Pastorale, Aria in D, Prelude on
the tune 'Amsterdam,' Evening Meditation,
and a Fantasie for organ and piano. He has
also two published cantatas, 'The Shepherds
of Bethlehem' and 'The Cross Victorious.'
His Hints on Organ-Accompaniment is useful
and popular. [ R.8 ]
DEMARQUE. See Register, 2.
DENNfiE, CHARLES FREDERICK
(Sept. 1, 1863, Oswego, N. Y.), entered the
New England Conservatory in Boston at
sixteen, graduated in 1883, and ever since
has been a teacher of piano there. His
teachers were A. D. Turner and Mme. Schiller
in piano, and Emery in composition; he also
studied with Von Billow. Until disabled by
an accident to his right wrist in 1897, he was
active as a recitaKst, giving over 1100 recitals
in the United States and Canada. He was
one of the pioneers in the lecture-recital field.
As a teacher he has exerted a wide influence.
His lyric and comic operas are 'The Defender,'
'The Belle of Newport,' 'Little Red Riding-
Hood,' 'The Merry-go-round,' 'The Royal
Barber,' 'The Chorus Girl' and 'The Electric
Spark.' An overture for orchestra, a violin-
sonata and a suite for piano and 'cello are
in manuscript. As a composer of teaching-
material for piano he has been especially
successful. His Progressive Technique hag
188
DENNY
DICKINSON
been widely used, as also his other technical
works. There are four sonatinas, a number
of 6tudes and a large group of characteristic
pieces for piano, besides some songs and
choruses. He was editor of the new edition
of the Century Library of Music and of certain
volumes of Music and Musicians. [ R.7 ]
DENNY, MAUDE A. See State Uni-
versities (Nev.).
DESTINN, EMMY [Kittl] (b. 1878). See
R,6£fistGr 9.
DfiTHIER, fiDOUARD (b. 1885). See Reg-
IStrGI* 9
D^THIER, GASTON MARIE (Apr. 19,
1875, Li^ge, Belgium), having been trained
by his father, at twelve won a scholarship in
theLi^ge Conservatory over sixty competitors.
He graduated at seventeen, winning the gold
medal for piano- and organ-playing and the
first prize for fugue. At eleven he had been
organist at St. Jacques' in Lifege, and at four-
teen made his debut as concert-organist at
Malines. He came to New York in 1894 as
organist at St. Francis Xavier's on the recom-
mendation of GuUmant. Since 1907 he has
forsaken church-playing for concert-work
and for duties as organ-teacher at the In-
stitute of Musical Art. He has written many
popular organ-works (J. Fischer & Bro.), of
which the caprice 'The Brook' is an especial
favorite. [ R.8 ]
DETROIT CONSERVATORY OF MU-
SIC, THE, was founded in 1874 by Jacob H.
Hahn, who remained its director till his death
in 1902, when he was succeeded by Francis L.
York, who is now its head. The annual enroll-
ment of students is about 1600 and it has over
400 graduates. The faculty numbers about 70.
Its main building is at 1013 Woodward Avenue.
The Conservatory has always been managed
with notable energy and breadth, and is to
be counted among the constructive forces for
sound musicianship.
DETROIT INSTITUTE OF MUSICAL
ART, THE, was founded in 1914 and has
won a place as an earnest school of high
aspirations. Guy Bevier "Williams is presi-
dent, and the faculty includes about 50
teachers. It is located at 1117-21 Woodward
Avenue.
DETROIT SYMPHONY ORCHESTRA,
THE, was founded in 1914 by Weston Gales
and conducted by him till 1918, when he was
succeeded by Ossip Gabriiovitch. On Oct. 23,
1919, the Orchestra dedicated the new Orches-
tra Hall, buUt for its use.
DETT, ROBERT NATHANIEL (Oct. 11,
1882, Drummondville, Que.), graduated from
the Niagara Falls Collegiate Institute in 1903,
attended the Halsted Conservatory at Lock-
port, N. Y., and thence went to the Oberlin Con-
servatory, where he won a Mus.B. in 1908 —
probably the first Negro to receive this degree
for original composition. Later he also at-
tended Columbia University in New York. His
teachers in composition were G. W. Andrews
and R. G. Cole ; he also has had training in
community-music with P. W. Dykema. He
taught for three years at Lane College in
Jackson, Miss., two years at Lincoln In-
stitute in Jefferson City, Mo., and in 1913
became head of the vocal department at
Hampton Institute in Hampton, Va., and
director of the Hampton Choral Union. As
pianist he has appeared in New York, Chicago,
Boston, Buffalo, Philadelphia and other cities.
As composer he has shown 'how the charac-
teristic accents of Negro music may be devel-
oped into genuine art-forms, without resorting
to imitations of the white man's music' (G. D.
Gunn). His works include
Suite, 'The Magnolia,' for piano — 'Magnolias,'
'The Deserted Cabin,' 'My Lady-Love,'
'Mammy,' 'The Place where the Rainbow
Ends' (Summy).
Suite, 'In the Bottoms,' for piano — 'Night'
(Prelude), 'His Song,' 'Honey,' 'Morning'
(Barcarolle), 'Juba' (characteristic dance)
(Summy).
Cantata, 'The Chariot Jubilee,' for chorus and
orchestra (Church).
Choruses a cappella: 'Listen to the Lambs,'
'O Holy Lord,' 'Music in the Mine' (all Schir-
mer), 'I'll never turn back no more,' 'Weeping
Mary,' 'America the Beautiful' (all J. Fischer
& Bro.). Several arrangements of ' spirituals '
are published by Church and by Birchard.
Sonata in A-flat, for piano.
Concert- Waltz and Ballade, for piano.
'The Album of a Heart,' idyllic pieces for piano.
Andante in F, for string-quartet.
Pieces for violin and piano.
Cantata, 'The Death of Moses,' text by Frederic
H. Martens.
Song-Cycle, 'The Heart of a Poet,' for mezzo voice.
He has also in manuscript a work on Negro
Music and a book of verse. [ R.9 ]
D'HEMARD, Mme. See Register, 2.
'DIAPASON, THE,' of Chicago, a monthly
journal devoted to the interests of organ-
makers and organists, was founded in 1910
by Siegfried E. Gruenstein, who has remained
its editor and publisher. It is the official
organ of the National Association of Organ-
ists and of the Organ-Builders' Association
of America.
DICKERSON, JOSEPH L. See Tune-
BooKS, 1810.
DICKINSON, CLARENCE (May 7, 1873,
La Fayette, Ind.), was educated first at
Miami University and in 1890-94 at North-
western University, by the latter of which he
was made A.M. in 1909 and Mus.D. in 1917.
Miami University also made him Litt.D. in
1920. His musical training came from William
Cutler, Wild and Weidig in Chicago, Reimann
amd Singer in Berlin, and Guilmant, Vierne
and Moszkowski in Paris. In Chicago he
DICKINSON
DITSON
1S9
was for a time at the head of the Cosmopolitan
School of Music, founded the Musical Art
Society and led it for three years, conducted
the Musical Club in Aurora, 111., the Bach
Choir in Dubuque, la., and the Chicago
English Opera Company, and was organist
of St. James' (Episcopal) Church. In 1909
he removed to New York, becoming organist
at the Brick (Presbyterian) Church and the
Temple Beth-El, and since 1912 professor
at the Union Theological Seminary, besides
being for a time conductor of the Mendelssohn
Glee Club and of the Bach Choir of Montclair,
N. J. He was a founder of the A. G. O., and
has given many organ-recitals, not only in
the United States and Canada, but in France,
Germany and Spain. His published com-
positions include many vocal solos and
choruses for men's, women's or mixed voices ;
a symphony for organ, and other organ-
pieces ; and works for organ and stringed
instrmnents. He has edited a series of
Sacred Choruses, Ancient and Modern (80
mnnbers thus far), the texts mostly trans-
lated by Mrs. Dickinson, a Historical Recital
Series for Organ (27 numbers thus far), a
Book of Eighty Aniens and a Book of Forty
Antipho7is (in press). Among his unpublished
compositions are two light operas, 'The
Medicine-Man' (Chicago, 1895) and 'Priscilla.'
With his wife, Helen A. Dickinson, he has
published Excursions in Musical History, 1917.
He also contributed to The American En-
cyclopedia of Music, 1910. [ R.7 ]
DICKINSON, EDWARD (Oct. 10, 1853,
West Springfield, Mass.), graduated from
Amherst College in 1876 and was musically
trained mostly at the New England Con-
servatory and by Eugene Thayer in Boston
and by Klindworth and Langhans at Berlin.
From 1872 he was organist at Springfield,
Mass., and in 1879-85 at Elmira, N. Y.,
where in 1883-92 he was also music-director
at Elmira College. Since 1893 he has been
professor in Oberlin College and Conservatory,
devoting himself to the development of a
system of instruction in the history and
philosophy of music which is singular, if not
unique, for scope, thoroughness and efficiency.
In connection with this work as teacher he
has published Music in the History of the
Western Church, 1902, The Study of the History
of Music, 1905 (3rd ed., 1914), The Education
of the Music-Lover, 1911, and Music and the
Higher Education, 1915 — all works of sterling
thought, presented with much earnestness
and vigor of expression. He has also written
much for magazines and reviews. In 1911
Oberlin College made him Litt.D. [ R.6 ]
DIECKMANN, CHRISTIAN WILLIAM
(b. 1880). See Colleges, 2 (Agnes Scott C,
Ga.).
DIGGLE, ROLAND (b. 1885). See Reg-
ister, 9.
DIPPEL, JOHANN ANDREAS (Nov. 30,
1866, Kassel, Germany), was originally trained
at Kassel in 1882-87 for a banking career, but
also studied singing with Frau Zottmayr. He
made his debut as tenor at the Bremen Stadt-
Theater in 1887 as the Steuermann in 'Der
fliegende Hollander,' and pursued further stud-
ies with Hey in Berlin, Leoni in Milan and
Ress in Vienna. Until 1892 he remained at
Bremen, but in 1890-91 sang at the Metro-
politan Opera House, making his debut in
'Asrael' in 1890 under the direction of Seidl.
He made a concert-tour in America in 1892,
sang at the Breslau Stadt-Theater in 1892-93,
and then spent five seasons at the Vienna
Imperial Opera. In 1898-1908 he was at the
Metropolitan Opera House again, singing also
at Covent Garden, the Munich Royal Opera
and the Bayreuth Festivals. Then came two
years as administrative manager of the Metro-
politan Opera House and three (1910-13) as
general manager of the Chicago-Philadelphia
Opera Company. Since 1913 he has given
light opera with his own company. As a
singer he has an unusual repertory, including
about 150 German, French and Italian operas
and 60 oratorios. He has sung some roles,
such as that of Raoul in 'Les Huguenots,' in
German, French and Italian. He sings all the
Wagnerian works, including 'Parsifal.' [ R.8 ]
DIPPER, THOMAS (d. 1763). See Reg-
ister, 1.
'DISAPPOINTMENT, THE.' A comic
opera of the ballad type by Andrew Barton,
which was rehearsed for performance in
Philadelphia in April, 1767, but withdrawn
because some allusions were considered too
personal. The text was immediately pub-
lished in New York and a second edition in
1796 (with additions). The songs required
numbered eighteen, among them being
'Yankee Doodle' — apparently the first
literary reference to this melody. Unless
Ralph's 'Fashionable Lady' (1730, London)
was by an American, this is the first American
opera. But who Andrew Barton was is not
known. By some the name is conjectured
to be a pseudonym, perhaps used by John
Leacock. See Sonneck, 'Early American Op-
eras,' I. M. G. Sammclbde. 6. 433-50.
DITSON, OLIVER (Oct. 20, 1811, Boston
: Dec. 21, 1888, Boston). See article in
Vol. i. 707. Ditson's personal career is in-
timately interwoven with the famous busi-
ness that he established. His family, of
Scottish derivation, for two generations had
been identified with eastern Massachusetts.
After a common-school education he was from
1823 clerk in the book-store of Samuel H.
Parker, who was one of the original trustees
190
DITSON COMPANY
'DON MUNIO'
of the Handel and Haydn Society. In 1826
he set out to learn the printer's trade, first
under Isaac R. Butts, who printed ' The North
American Review,' and then with Alfred
Mudge, the founder of a house later famous.
He also became organist at the Bulfinch Street
Church. In 1835 he set up for himself as
music-seller and publisher, and in 1836 with
his former employer formed the firm of Parker
& Ditson, dealing in pianos and music, and
soon located in what later was famous as 'The
Old Corner Bookstore' on Washington Street.
In 1842 Ditson became sole proprietor of the
business, which now rapidly expanded, neces-
sitating repeated removals to larger quarters.
In 1845 John C. Haynes was employed as
clerk, soon demonstrating such capacity that
in 1857 he was taken into partnership.
Probably from before 1850 the printing and
engraving was put in charge of John H. H.
Graupner, the son of Gottlieb Graupner (see
Register, 2). In 1860 a branch business was
established in Cincinnati under John Church
(from 1871 known as the John Church Com-
pany). In 1867, through the purchase of the
business of Firth, Son & Co. in New York
(see Register, 3), another branch was there
constituted under the name of Chas. H.
Ditson & Co., its head being Ditson's eldest
son. In 1875 the stock of Lee & Walker in
Philadelphia was purchased and the house
of J. E. Ditson & Co. established, led by
another son (discontinued in 1910). In 1877
Ditson absorbed the business of G. D. Russell
& Co. in Boston. Thus he steadily gained
a commanding position in different parts
of the country — the most conspicuous in-
stance in its class of a house organized by
native American enterprise. Besides pub-
lishing a vast amount of music, popular and
artistic, in sheet-form and book-form, he was
in 1858-78 publisher of 'Dwight's Journal of
Music' in 1878-1903 of 'The Monthly Musical
Record' (name varied later), and in 1903-18
of ' The Musician.' One of the most significant
single undertakings has been the building up
of the series known as ' The Musicians' Library'
(80 vols, thus far). A large number of in-
struction-books and books about music have
also been put forth. In 1917 the business
removed to its latest building at 178-9 Trem-
ont Street. See Fisher, Music in Old Boston,
1918. [ R.3 ]
DITSON COMPANY, THE OLIVER.
From 1857, when Haynes joined Ditson, the
firm-name was Oliver Ditson & Co., which,
after Haynes' death in 1907, was changed to
its present form, Charles H. Ditson becoming
president. See preceding article.
'DIXIE.' A famous song, written by
Daniel D. Emmett in 1859 for Bryant's ' min-
strel ' troupe in New York. In the Civil
War it became the favorite war-song of the
South.
DOANE, WILLIAM HOWARD (1832-
1915). See Register, 4.
'DOCTOR OF ALCANTARA, THE.' A
comic light opera by Julius Eichberg, first
produced in Boston in 1862 and long popular.
The text was by the English critic B. E. Woolf .
DODGE, AVA L. B. See Colleges, 3
(ElonC, N. C).
DOENHOFF, ALBERT VON (b. 1880).
See Register, 8.
DOENHOFF, HELEN VON (b. 1861).
See Register, 6.
DOERNER, ARMIN W. (b. 1851). See
Register, 6.
DOHN, ADOLPH W. See Register, 4.
DOLGE, ALFRED (b. 1848). See Reg-
ister, 5.
DOLL, JACOB, & SONS. A piano-making
firm established in New York in 1871 by
Jacob Doll (d. 1911), which has developed into
a large business, incorporated with a capital
of $1,000,000. All parts of their pianos are
made in their own factories, and they have
distinctive featm^es in their player-pianos.
DOLMETSCH, ARNOLD (b. 1858). See
T? ggrig'f fjT* Q
DONALDA, PAULINE (b. 1884). See Reg-
ister, 9.
DONLEY, WILLIAM HENRY (Apr. 20,
1863, New Haven, Conn.), had his early
education at Waterloo, la. Beginning music
there and in New York, at the New England
Conservatory in Boston he studied piano with
Maas, organ with Whiting, theory with
Emery, and later singing with Tinney of Lon-
don. He made his debut as concert-organist
at nineteen, and has held positions as organist
at Waterloo, la.. Cedar Rapids, la., BellevUlo,
Ont., Owen Sound, Ont., and Indianapolis,
where he gave a series of over 200 recitals.
At present he is organist at the large First
Presbyterian Church in Seattle. He had
official engagements at the Pan-American
Exposition at Buffalo in 1901 and the Louisiana
Purchase Exposition at St. Louis in 1904 and
has given recitals throughout the United
States. He has long specialized on organ-
planning, and has drawn schemes for over
300 organs. He was probably the first in
America to give organ-recitals on Wagner's
'Ring,' illustrated with lantern-slides and
preceded by a lectiu-e on Norse legends and the
Nibelungen Lied. These have been given in
many cities. He is now director of the
People's Chorus in Seattle. [ R.7 ]
'DON MUNIO, THE LEGEND OF.' A
cantata for chorus and orchestra by Dudley
Buck, who also wrote the text. It was first
published in 1874 and has been popular ever
since.
DOOLITTLE
DRESEL
191
DOOLITTLE, AMOS. See Tune-Books,
1782.
DOUGLAS, CHARLES WINFRED (Feb.
15, 1867, Oswego, N. Y.), was educated at the
Oswego High School and Syracuse University,
where he studied music with Goetschius and
G. A. Parker, receiving his Mus.B. in 1891.
He later studied piano with Everett Steele in
Denver and plain-chant under Mocquereau
at Solesnies. He was assistant-organist at
St. Paul's Cathedral in Syracuse in 1889-91 ;
organist at Zion and St. Timothy's Churches
in New York in 1892-3 ; minor canon and
assistant-organist at St. John's Cathedral in
Denver in 1894-97 ; canon preceptor at St.
Paul's Cathedral in Fond du Lac, Wis., in
1907-10 ; and instructor in plain-chant at the
General Theological Seminary in New York
in 1914-16. Since 1907 he has been director
of music for the Sisterhood of St. Mary. He
has composed 'Missa de Angelis,' 'Asperges
me,' ' Cantica Eucharistica,' ' Compline,' ' Missa
Marialis,' 'Missa Penitentialis,' 'Missa Pas-
chalis,' the Canticles at Even-song, the St.
Dunstan Psalter and Kyrial, and a Mass in G
for women's voices and small orchestra. He
has written and lectured on musical topics,
conducted summer-schools of church-music,
and adapted English texts to Russian church-
music. He is author of Plain-song, 1909, Some
Recent Contributions to the Philosophy of Music,
1911, and The History and Work of the Schola
Cantorum, 1913. He assisted in editing the
Hymnal (P. E.), 1919. [ R.7 ]
DOUGLASS, DAVID (d. 1786). See Reg-
ister, 1.
DOUGLASS, IDA. See State Universi-
ties (Ariz.).
DOUILLET, PIERRE (b. 1861). See Reg-
ister, 7.
DOUTY, NICHOLAS (Apr. 14, 1870,
Philadelphia), was taught piano and singing
by his mother, and sang in various choirs
as both soprano and alto. He studied organ
with Pyne, harmony and counterpoint under
Cresson, and was assistant-organist at St.
Mark's and St. James' when only seventeen.
Later he studied singing with Castle, Aline
Osgood Dexter, Randegger and Sbriglia.
He has appeared as tenor with almost every
large choral body in the East and Middle
West. On important occasions his reliable
musicianship has made him indispensable, and
as a Bach interpreter he has won the highest
praise. He has been soloist at all the festivals
of the Bach Choir at Bethlehem, Pa. He has
composed organ-pieces, piano-pieces, part-
songs and songs (Schirmer, Ditson and Pres-
ser). He has contributed articles to 'The
New Musical Review,' 'The Etude' and
'The Musician,' and translated many songs
from French, Italian and German. He is
president of the Manuscript Music Society of
Philadelphia, the Pegasus Club, and a vice-
president of the Musical Art Club. [ R.7 ]
DOUVILLIER, M. and Mme. See Regis-
ter, 2.
DOW, MARTHA CORA. See Register, 10.
DOWNES, EDWIN OLIN (Jan. 27, 1886,
Evanston, III.), was a pupil of Kelterborn in
piano, music-history and analysis, of Baer-
mann in piano, of Norris and HeUman in
harmony, and of Marshall in harmony. He
has been music-critic for the Boston 'Post'
since 1907. He is author of The Lure of
Music, 1918, a crisp and acute summary of
biography, criticism and analysis of well-
known compositions, adapted to illustrations
by graphophone records. He has edited The
Songs of Russia (Carl Fischer), a collection
of sixty songs, with Russian text and trans-
lations by George Harris, Jr., and others. He
has lectured on the opera in courses at Boston
University and the Lowell Institute, and
wrote the program-notes for the premieres
of 'The Pipe of Desire' and 'The Sacrifice'
at Boston and New York. In 1913-14 he
taught theory and appreciation at Chautauqua.
[ R.9 ]
DRAKE, EARL R. (1865-1916). See
Register, 8.
DRAKE. FREDERICK. See Colleges,
3 (Kingfisher C, Okla.).
DRANGOSCH, ERNESTO (b. 1882).
See Register, 9.
DRESEL, OTTO (1826, Andernach, Ger-
many : July 26, 1890, Beverly, Mass.), hav-
ing been a pupil of Hiller at Cologne and of
Mendelssohn at Leipzig, came to New York in
1848, where in 1851 he gave chamber-concerts
with Eisfeld, and from 1852 lived in Boston.
Until 1868, when he withdrew from concert-
work, he was the leading pianist there, and until
his death exercised a strong influence, partly
through articles in 'Dwight's Journal.' He
was a close friend of Franz, and made a piano-
score of the latter's reorchestration of 'The
Messiah.' He also prepared an edition of
'The Well-Tempered Clavichord.' An ex-
ceptionally severe critic of his own work, ho
is represented by only a few piano-pieces and
songs, but these have been highly praised.
Still in manuscript, though sometimes per-
formed, are 'In Memoriam,* a ballad for
soprano and orchestra, the words from Long-
fellow's tribute to Agassiz (1857) ; an 'Army
Hymn' for soli, chorus and orchestra (1863),
the words by Holmes ; a piano-trio, and a
quartet for piano and strings. In his Mu-
sicians and Music-Lovers Apthorp, speaking
of Franz and Dresel, said, 'In both of these
men was found in the highest perfection what
I might call, for lack of a better name, the
sense of musical beauty, the keenest sense for
192
DRESSLER
DUNKLEY
beauty of expression, beauty of form, pro-
portion and color. They were staunch, Hfe-
long friends; their agreement on musical
subjects was as complete as their friendship ;
they both worked together toward the same
end ; though they lived long apart, neither
gave anything to the world without the ordeal
of its passing through the other's criticism ;
they died within two years of each other. It
is well to speak of them together.' [ R.4 ]
DRESSLER, LOUIS RAPHAEL (b. 1861).
See Register, 6.
DREXEL LIBRARY, THE, was a col-
lection of books, manuscripts, etc. (6000
items), formed by Joseph W. Drexel of Phila-
delphia from 1858 and bequeathed by him to
the Lenox Library in New York in 1888. It
now forms part of the music-division of the
New York Public Library. See note in Vol.
ii. 718, and article by Edward Silsky in the
M. T.N. A. Proceedings, 1914, p. 211.
DUBOIS. See Register, 2.
% DUBOIS, FRANCOIS CLEMENT THE-
ODORE (Aug. 24, 1837, Rosnay, France). See
article in Vol. i. 734-5, and add that he retired
from the directorship of the Conservatoire in
1905.
DUBOIS, WILLIAM. See Register, 3.
DUFAU, JENNY. See Register, 10.
DUFFIELD, ELSIE. See Colleges, 3
(Olivet C, Mich.).
DUFRANNE, HECTOR. See Register, 9.
tDUKAS, PAUL (Oct. 1, 1865, Paris).
See article in Vol. i. 738. He was made
Chevalier of the Legion d'Honneur in 1906,
and since 1909 has been professor of the
orchestral class and member of the Conseil
de I'Enseignement Superieur and at the
Conservatory. Additional works are the
three-act opera 'Ariane et Barbe-Bleu,' text
by Maeterlinck (1907, Paris, Opera-Comique,
1911, New York, Metropolitan Opera House) ;
the ballet 'La Peri' (1910); 'Villanelle' for
horn and piano (1906) ; a piano-sonata in
E-flat minor; 'Variations, Interlude and
Finale' on a theme by Rameau, and 'Prelude
Elegiaque,' both for piano.
DULCKEN, FERDINAND QUENTIN
(1837-1902). See Register, 6.
DUNHAM, HENRY MORTON (July 27,
1853, Brockton, Mass.), having studied with
Whiting, Petersilea and Paine, graduated from
the New England Conservatory in 1873, and
from Boston University College of Music in
1876. After some European experiences he
returned to the Conservatory in 1878 as
teacher of organ, a position he still holds. For
a time he also taught in Boston University.
He is also music-director of Lasell Seminary
in Auburndale. He has been organist of the
Porter (Congregational) Church in Brockton
in 1873-83, of the Ruggles Street (Baptist)
Church in Boston in 1883-96, of the Shawmut
(Congregational) Church in 1896-1906, and of
the Harvard (Congregational) Church in
Brookline in 1906-11. As a concert-organist
he has given many recitals, including an
annual series at Music Hall in Boston and
at the St. Louis Exposition in 1904. His
'Cortege' for organ and orchestra, and a
'Meditation' for strings, harp, organ and
orchestra, have been played at Boston Sym-
phony Orchestra popular concerts. He has
also composed a concerto for organ and
orchestra; a 'Phantasy' for harp, two violins,
organ and orchestra ; the symphonic poem
' Aurora ' for full orchestra and organ ; a ' Duo
Concertante' for 'cello and piano; sonatas,
fugues and smaller pieces for organ ; and
choir-music. He has published a book of
piano-studies. Legato Fingering and Phrasing,
and, for organ. Manual and Pedal Technique, an
Organ School (four parts), editions of Bach's
smaller organ-works, modern French organ-
compositions, etc. [ R.6 ]
DUNHAM, J. B. (1799-1873). See Reg-
ister, 3.
% DUNHILL, THOMAS FREDERICK
(Feb. 1, 1877, Hampstead, London). See art-
icle in Vol. V. 634. His professorship at
the Royal College of Music dates from 1905.
He has made a specialty of chamber-music,
both in his own composition, in promoting
series of concerts, and by his Chamber-Music,
a Treatise for Students, 1913. His own works
in this genre now include Variations in F,
for flute and piano ; a quintet in E-flat, for
piano, clarinet, horn, violin and 'cello ; a
quintet for strings and horn ; a piano-quartet
in B minor (Leslie Alexander prize) ; a piano-
quintet in C minor ; a sonata for violin and
piano; two 'Phantasie' trios, one for piano,
violin and 'cello, the other for piano, violin
and viola ; Variations for 'cello and piano ;
pieces for violin and piano ; besides the song-
cycle 'Songs of the River.' He has toured
Australia, New Zealand and Canada as
Examiner for the Associated Board, and has
given many lectures on behalf of chamber-
music.
DUNKLEY, FERDINAND LUIS (July
16, 1869, London), received his musical edu-
cation from G. A. Higgs, the Royal College
of Music and Trinity College of Music in
London. He studied composition with Parry
and organ with Martin. In 1893 he came to
Albany, N. Y., as music-director at St. Agnes'
School. Removing to Asheville, N. C, in
1899, he became director at Asheville College
and conductor of the annual festivals. The
years 1901-09 were spent in New Orleans
as organist of St. Paul's and Touro Synagogue,
and conductor of vocal and orchestral societies.
Then followed three years as organist at
DUNN
DWIGHT
193
Christ Church in Vancouver, B. C. From
1912 he was in Seattle as organist at St.
Mark's, at the First Methodist Church, and
(from 1916) at the First Church of Christ,
Scientist. He was director of the Chehalis
Choral Society, and the St. Cecilia Club of
Tacoma, and leader of community-singing. He
was also vocal instructor at the Annie Wright
Seminary in Tacoma, and on the faculty of the
Stapp School of Music in Seattle. In the fall
of 1920 he removed to Birmingham, Ala., to be
organist at the Church of the Advent. He is a
fellow of the R. C. O. and the A. G. O., and
gave recitals at the Buffalo and St. Louis Ex-
positions in 1901 and 1904. His compositions
include the ballad for chorus and orchestra
'The Wreck of the Hesperus' (1894, Novello) ;
'The Elected Knight,' ballad for men's chorus
and piano (Church Co.) ; a Sabbath Eve Service
for Jewish Worship, including 'Adon Olom'
(Bloch Pub. Co., orchestration in ms.) ; and
songs, piano-pieces and anthems. Among
his works in manuscript are the orchestral
suite 'Among Yon Mountain-Fastnesses'
(prize at the London Promenade Concerts
in 1889), a sonata for 'cello and piano, a
Sabbath Morning Service for Jewish Worship,
and several settings of Fiona Macleod poems
for solo or chorus. [ R.8 ]
DUNN, JAMES PHILIP (Jan. 10, 1884,
New York), graduated from the College of
the City of New York in 1903, not having given
special attention to music. He then studied
with MacDowell, McWhood and Rybner at
Columbia University, specializing in theory
and composition. He has been organist at Holy
Innocents' in New York, and St. Patrick's in
Jersey City. He has composed a piano-quin-
tet in G minor (1910, N. Y. Manuscript So-
ciety) ; a sonata in G minor for violin and
piano (1912) ; a piano-trio inB-flat(1913) ; the
tone-poem 'Annabel Lee,' for voice and or-
chestra (1913, People's Symphony Orchestra,
New York) ; two string-quartets, many songs,
piano- and organ-pieces. Two 'Lyric Scenes'
are based on the stage-episodes ' The Fountain,'
by Charles McMillan, and 'A Kiss in the Dark,'
after Maurice Lavelle. [ R.9 ]
DURST, SIDNEY C. (b. 1870). See Reg-
ister, 9.
DUTTON, DEODATUS, Jk. See Tune-
Books, 1829.
DVOkAk, ANTONIN (Sept. 8, 1841,
Miihlhausen [Nelahozeves], Bohemia : May
1, 1904, Prague). See article in Vol. i. 755-9.
His work as artistic director and teacher of
composition at the National Conservatory in
New York in 1892-95 exercised considerable
influence on certain features of American
music. Among his pupils were Rubin Gold-
mark, W. A. Fisher, H. R. SheUey, H. W.
Loomis and Henry Schoenefeld. His 'New
O
World' Symphony, op. 95, his string-quartet in
F, op. 96, and his string-quintet in E-flat, op.
97, all have to do with his American sojourn.
Regarding the use of native thematic material,
his statement in 'The Century Magazine' for
February, 1895, may be quoted_ :
'A while ago 1 suggested that inspiration for truly
national music might be derived from the Negro
melodies or Indian chants. I was led to take the
view partly by the fact that the so-called plantation-
songs are indeed the most striking and appealing
melodies that have been found on this side of the
water, but largely by observation that this seema
to be recognized, though oft'en unconsciously, by
most Americans. All races have their distinctive
national songs which they at once recognize as their
own, even if they have never heard them before. It
is a proper question to ask, What songs, then, belong
to the American and appeal more strikingly to him
than any others? What melody will stop him on
the street, if he were in a strange land, and make the
home-feeling well up within him, no matter how
hardened he might be, or how wretchedly the tunes
were played? Their number, to be sure, seems to
be limited. The most potent, as well as the most
beautiful among them, according to my estimation,
are certain of the so-called plantation-melodies and
slave-songs, all of which are distinguished by unusual
and subtle harmonies, the thing which I have found
in no other songs but thos« of Scotland and Ireland.'
To the list of compositions may be added op.
112, unpublished; op. 113, a 'Festgesang'
for chorus with piano four-hands ; a ' Waldes-
ruhe' for 'cello and orchestra; two sym-
phonies, in E-flat and D minor; a 'Tragic
Overture'; a 'Rhapsodie' in A minor; and
a Berceuse and Capriccio for piano. [ R.8 ]
DVORSKY, ANN. See Colleges, 3 (Car-
thage C, 111.).
DWIGHT, JOHN SULLIVAN (May 13,
1813, Boston : Sept. 5, 1893, Boston).
See article in Vol. i. 759, and note in iii. 688.
He was the first strong American music-critic
and his 'Jom-nal' was a powerful force, though
decidedly conservative. Among the contrib-
utors were A. W. Thayer, Otto Dresel and
W. S. B. Mathews. As the latter said in his
Famous Composers, New Series,
' ' Dwight's Journal ' was meant as the organ of
the new movements in music, and during its earlier
years was almost exclusively devoted to promoting
the claims of the music of Schubert, Schumann,
Chopin and Mendelssohn, and it looked somewhat
coldly upon the extreme advances of Berlioz, Wagner
and Liszt. . . . The great value of the 'Journal'
lay in its sympathy with the modern romantic
movement in music, and in translating fragments
from the European writings of Wagner and the
other new-comers. ... It was a source of both
light and heat. . . . The Harvard Musical Associa-
tion, which began as a society of amateur lovers of
good music, and later carried on chamber-concerts
and finally symphony-concerts in Boston, and
secured the appointment of a professor of music in
Harvard, was largely Mr. Dwight's work ; and the
existing Boston Symphony Orchestra is a living
monument to the value of the ideals ha helped to
bring into prominence.' [ R.4 1
194
DWIGHT'S JOURNAL'
DYKEMA
'DWIGHT'S JOURNAL OF MUSIC
See note in Vol. iii. 688, and article on
Dwight in Vol. i. 759. Its founding was pro-
moted by the Harvard Musical Association.
In 1858-78 it was published by Oliver Ditson
& Co., and in 1879-81 by Houghton, Mifflin
&Co.
DWORZAK, ZDENKO VON (b. 1875). See
Register, 10.
DYER, SAMUEL (1785-1835). See Tune-
Books, 1817.
DYER, SUSAN H. See Colleges, 3 (Rol-
lins C, Fla.).
DYHRENFURTH, JULIUS. See Register,
3.
DYKEMA, PETER WILLIAM (Nov. 25,
1873, Grand Rapids, Mich.), has been directing
vocal and instrumental music since boyhood.
After gaining his master's degree at the
University of Michigan in 1896 he was urged
a/t once to begin college teaching. Instead,
he chose to become a high-school teacher of
English and German in Aurora, 111. After
two years, for further experience, he moved
down to be principal of a graded school in
Indianapolis. Three years later, in the
Ethical Culture School in New York, he
sought to deal with still younger children, as
well as students beginning college studies.
Thus he prepared for university work by
knowing thoroughly the preparatory stages
below. Meanwhile he had kept up musical
studies, first with Stanley at Ann Arbor, later
with Kelley and Cooper in Berlin and M'ith
Goetschius in New York. That every one
could and should sing — the germ of the
community-singing movement — he had al-
ways believed. This he applied from about
1901 with audiences at lectures under Dr.
Leipziger, of the New York Board of Edu-
cation. In 1913 he went to the University
of Wisconsin, dividing his time between the
School of Music and University Extension.
The latter work was naturally called 'com-
munity-music ' — perhaps the first use of the
term for certain social applications of music.
The primary aim was to get the people of
Wisconsin to sing. But he also tried having
children do song-composition in regular school
work and enlisted them in performing choral
works. He headed the committee that pre-
pared the Fifty-five Songs and Choruses for
Community-Singing (Birchard), and is iden-
tified with other similar publications. As
a specialist on music for home, school and
community he has written much for various
journals. He is now publishing a work on
Community-Music. [ R.8 1
E
EAMES, EMMA HAYDEN (Aug. 13,
1865, Shanghai, China). See article in Vol. i.
761. Her father had been a sea-captain in
the East India trade, but took up law and
practiced in Shanghai. Her first serious
music-study in 1882 was with Miss Munger
of Boston, with encouragement from Paine
and Perabo. She soon became a church- and
concert-singer. Her d6but in 'Rom6o et
Juliette' in 1889 was in immediate succession
to Patti, who opened the season. She at once
became a favorite in Paris and London. Late
in 1891 she made her American d^but at the
Metropolitan Opera House as Juliette, scoring
a brilliant success, particularly as she was
then and later associated with the De Reszk6
brothers. In 1892 she sang for a time at
Madrid, but in later years limited herself
almost exclusively to London and America.
In England she was shown notable favor by
Queen Victoria, at whose Jubilee she sang in
1897. Her repertoire included 25-30 roles
and the impressiveness of her combined
qualities of voice, artistic instinct, beauty and
skill in acting continued till her final year on
the stage in 1908-09. Having been divorced
from her first husband in 1907, in 1911 she was
married a second time to the baritone Gogorza
in Paris. In 1911-12 they made a joint
concert-tour. Since 1914 she has lived in
retirement in Bath, Me., but in 1916 sang in
Portland for charity. [ R.7 ]
EAMES, HENRY PURMORT (Sept. 12,
1872, Chicago, 111.), spent three years at
Cornell College in Iowa, and graduated from
the law-school of Northwestern University.
He studied piano, harmony and theory with
Mathews, piano with Sherwood, Mme. Schu-
mann, Kwast and (1908-09) Paderewski.
He toiu'ed in America with Remdnyi in 1894-
95, has appeared often as pianist in recitals
and with orchestras, and concertized in France
and Great Britain in 1908-11. In 1898-1908
he taught piano and lectured on theory at
the University School in Lincoln, Neb. In
1911 he founded the Omaha School of Music,
and in 1912 moved to Chicago, where he is
head of the piano, orchestral and ensemble
departments in the Cosmopolitan School of
Music. In 1913-19 he was also music-director
at the Illinois Wesleyan University at Bloom-
ington, besides work at Lake Forest College.
In 1906 Cornell College made him Mus.D.
He was president of the Society of American
Musicians in 1916-17. His unpublished works
are 'The Sacred Tree of the Omahas,' a
pageant-play by H. B. Alexander, for orchestra,
soli and chorus, and a suite for orchestra.
Incidental music to several short plays has
been issued by Birchard & Co. ; and also songs
and short piano-works. He has written upon
folk-music and the relations of the arts. [ R.8 ]
EARHART, WILL (Apr. 1, 1871, Franklin,
O.), gained his reputation as director of school-
and community-music largely from work in
Richmond, Ind., in 1900-12, though he had
previously been supervisor in Ohio. In 1912
he came to Pittsburgh as director of music in
the public schools, carrying out his progressive
ideas on a larger scale. Since 1913 he has
been music-director in the School of Edu-
cation of the University of Pittsburgh. He
stresses not only vocal music in school-courses,
but also instrumental music, ensemble-playing,
theory and music-appreciation, often including
extensive studies of many styles and periods.
In theory he emphasizes ear-training, analysis
and proficiency in the use of materials. Hia
development of ensemble-playing has called
forth much popular interest, besides its di-
rect benefit for the pupils. He has strongly
advocated school-credit for music-study done
outside high schools, and his plans have
been widely copied. He has written Music
in the Public Schools, 1914 (Bureau of Educa-
tion, Bulletin No. 33), and (with Osbourne
McConathy) Music in Secondary Schools,
1917 (Bureau of Education, Bulletin No. 49).
He has edited Art-Songs for High Schools,
1910, and (with C. H. Congdon) The Congdon
Music-Primer No. 1, The Congdon Music-Reader
No. 4, and (with others) The School-Credit
Piano-Course, 1918, besides many articles. He
is active in the National Educational As-
sociation, the Music Supervisors' National
Conference (president, 1915-16) and other
societies. In 1920 he was made Mus.D. by the
University of Pittsburgh. [ R.8 ]
EASTERN MUSIC SUPERVISORS' CON-
FERENCE, THE, was started in 1918 as a
branch of the national organization, intended
mainly for New England and the Middle
States. Its first meeting was held in Boston,
the second in Hartford and the third in New
York. The president for 1919-20 was Howard
C. Davis of Yonkers, N. Y.
EASTMAN, GEORGE (July 12, 1854,
Waterville, N. Y.), from about 1880 the
founder and energetic promoter of the ex-
tensive photographic manufacturing business
in Rochester, in 1919 announced the gift of
$3,500,000 for the establishment of the East-
man School of Music in that city, to be
administered under the care of the University
of Rochester. In 1920 he made a further gilt
of $1,000,000. The permanent endowment-
fund will be over $3,000,000. In addition
to ail the usual forms of instruction in a music-
195
196
EATON
EISFELD
school of the highest class, it is proposed to
give special attention to the combination of
music with motion-picture appliances as a
means of popular education. Details of the
organization of the institution have not yet
(1920) been announced.
EATON, LEWIS HORTON (b. 1861).
See Colleges, 3 (Leland Stanford U., Cal.).
EBANN, WILLIAM BENEDICT (b.
1873). See Register, 8.
EBERHARD, ERNST (1839-1910). See
Register, 4.
EBERSOLE, AMOS S. See Colleges, 3
(Goshen C, Ind.).
ECKHARD, J. See Tune-Books, 1816.
EDDY, HIRAM CLARENCE (June 23,
1851, Greenfield, Mass.). See article in Vol.
i. 768. He remained as organist at the First
Presbyterian Church in Chicago untU 1896.
His repertoire as recitalist includes practically
the whole literature for the instrument. He
has given over 400 recitals in Chicago alone,
has played at most of the great Expositions
— Philadelphia in 1876, Paris in 1879, Chicago
in 1893 (21 recitals). Buffalo in 1901, St.
Louis in 1904, Jamestown in 1907 and San
Francisco in 1915 (40 recitals) — and has
probably 'opened' more organs than any
other organist. He has edited The Church and
Concert Organist, 3 vols., 1882- , The Organ
in Church, 1887, Concert-Pieces for the Organ,
Standard Compositions for the Organ, 2 vols.,
and an Organ-Method, 2 vols. He was a
founder of the A. G. O. and is an honorary
member of the Accademia S. Cecilia in Rome.
[ R.6 ]
EDDY, SARA, nSe Hershey (b. 1852). See
Register, 6.
EDSON, LEWIS (1748-1820). See Tune-
BooKs, 1801.
EDVINA, MARIE LOUISE LUCIENNE,
nee Martin. See Register, 9.
EDWARDS, JOHN HARRINGTON
(1834-1918). See Register, 9.
EDWARDS, JULIAN (1855-1910). See
Register, 7.
'EDWIN AND ANGELINA.' A ballad
opera, the text by Elihu H. Smith, M.D.
(1771-1798), compiled from Goldsmith and
developed into a play in 1791-93, and the
music by Victor Pelissier, a horn-player in
the Old American Company. It was produced
in New York on Dec. 19, 1796. In composition
it antedates 'The Archers' of Carr, but the
latter was performed some months earlier.
See Sonneck, 'Early American Operas,'
/. M. G. Sammelbde. 6. 474-7.
EGBERT, WILLIAM GRANT (b. 1869).
See Register, 7.
EGG, ARTHUR HENRY (May 6, 1891,
Montreal), beginning as choir-boy in Montreal,
studied organ, piano and theory for five years I
with Illsley. At eighteen he was organist
for a year at the church of St. John the Evan-
gelist, and then, on the Strathcona scholarship,
went to London for three years at the Royal
College of Music. Here he studied organ with
Parratt and Alcock, harmony and counter-
point with J. F. Bridge and Charles Wood.
He was also organist at Emmanuel Church
in West Hampstead. In 1913 he became a
fellow of the R. C. O., and returned to Mon-
treal to succeed W. Lynnwood Farnam as
organist at Christ Church Cathedral, where
he still is. He has much extended the
repertoire and given special attention to annual
Lenten recitals of choir- and organ-music,
the programs ranging from Bach to modern
compo.sers. He teaches organ and theory
at the McGill University Conservatorium
and is lecturer and administrator of the
Knowlton Church Choir Assembly, which
has held five annual conferences. [ R.9 ]
EICHBERG, JULIUS (June 13, 1824, Diis-
seldorf, Germany : Jan. 18, 1893, Bos-
ton). See article in Vol. i. 770. Among his
teachers were also Eichler at Mayence, Fro-
lich at Wilrzburg, Meerts and de Beriot at
Brussels. Rietz introduced him to Mendels-
sohn, who gave him strong commendation.
At Boston he was for a time music-supervisor
in the public schools. Besides his operettas
he wrote some chamber-music, many studies
and pieces for the violin, songs and the patri-
otic chorus 'To thee, O Country, great and
free.' His four operettas were all produced
in Boston— in 1862, '65, '70, and '74 (?).
' The Doctor of Alcantara ' was long a favor-
ite, t R.4 ]
EISFELD, THEODOR (Apr. 11, 1816,
Wolfenbiittel, Germany : Sept. 2, 1882,
Wiesbaden, Germany), having studied violin
with Karl Miiller at Brunswick and composi-
tion with Reissiger at Dresden, in 1839-43
was director of the court-theater at Wiesbaden
and then of the Concerts Viviennes at Paris.
In 1848 he came to New York, where he exerted
a strong artistic influence. In 1849-64 he
was conductor of the Philharmonic Society
(alternating more or less with Bergmann)
and from 1850 of the new Harmonic Society.
In 1851 he started a notable series of chamber-
concerts, the first program containing Haydn's
Quartet in B-flat, Mendelssohn's Trio in D
minor (Dresel as pianist) and Beethoven's
Quartet in F. In 1857 he was the first con-
ductor of the Brooklyn Philharmonic Society,
and in 1864-66 alternated with Thomas
there. In 1866 he retired to Wiesbaden.
In these later years he suffered much from
the effects of having been one of the few
survivors at the burning of the 'Austria' in
mid-ocean in 1858. As a youth he had
singing-lessons with Rossini, and was later
BLGAR
ELSON
197
an honorary member of the Accademia S.
Cecilia in Rome. [ R.4 ]
tELGAR, EDWARD (June 2 1857,
Broadheath, England). See articles in Vols.
i. 772-4, and v. 635. Yale University gave
him the degree of Mus.D. in 1905. The list of
works should be extended as follows :
op. 52 Part-Songs, 'A Christmas Greeting,' for
mixed voices.
53 Four Part-Songs.
64 Part-Song, 'Reveille,' for men's voices.
65 Symphony No. 1, in A-flat (1908, Man-
chester) .
66-57 Part-Songs, 'Angelas' and 'Go, song of
mine.'
58 'Elegy,' for string-orchestra
59-60 Six Songs and Two Songs.
61 Concerto in B minor, for violin (1910).
62 Romance for bassoon and orchestra.
63 Symphony No. 2, in E-flat (1911).
64-65 Coronation Offertorium and March (1911).
66 Masque, 'The Crown of India' (1912).
67 Psalm 48, 'Great is the Lord.'
68 Symphonic Study, 'Falstaff' (1913).
69 Ode, 'The Music-Makers,' for contralto,
chorus, and orchestra (1912, Birming-
ham).
70 Adagio, 'Sospiri,' for strings, harp and
organ.
71-73 Choral Songs — 'The Shower,' 'The Foun-
tain,' 'Death on the Hills,' 'Love's
Tempest,' 'Serenade.'
74 Anthem, 'Give unto the Lord.'
75 'The Carillon,' recitation with orchestra
(1914).
76 Symphonic Poem, 'Polonia' (1915).
77 'Une Voix dans le Desert,' recitation with
music.
78 Suite, 'The Starlight Express,' for piano
(1915).
79 'The Belgian Flag,' recitation with music.
80 Choruses, 'The Spirit of England' — 'To
Women,' 'For the Fallen' (1916).
82 Sonata for violin and piano (1919).
83 Quartet for strmgs (1919).
84 Quintet in A minor, for piano and strings.
See critical studies by R. J. Buckley, 1904,
Newman, 1906, and Streatfeild, 1912, and
article by D. G. Mason in 'The Musical
Quarterly,' April, 1917.
ELGAR CHOIR, THE, of Hamilton, Ont.,
was organized in 1904 and gave its first concert
in 1905. Its conductor from the first has been
Bruce A. Carey, whose ability has given the
Choir an enviable reputation for perfection
of choral style. The membership is selected
afresh each season with reference to quality
and balance, the numbers varying usually from
100 to 150 or occasionally more. In 1911
and 1918 the work of the Choir was suspended.
As a rule there are two annual concerts, and
performances have been given in Toronto,
Brantford, Detroit and Buffalo, making a
total to 1918 of 25 concerts. When the pro-
jected Memorial Hall is built the Choir will
have a permanent headquarters, and will
then undertake an annual festival on a large
scale. The main purpose is to promote a
cappella singing, but oratorios and other
concerted works are occasionally given. In
larger performances the Choir has had the
assistance of the Toronto and Pittsburgh
Symphony Orchestras and the Buffalo Orches-
tral Club. Besides its fine record in general
interpretation, the Choir has to its credit the
first performance in Canada of Verdi's Requiem
(1909), and the first in Canada of Verdi's
'Laudi alia Vergine Maria' (1913), Lucas'
'Battle Ode' and 'Mariners of England,' and
Dett's 'O Holy Lord' and 'Weeping Mary' —
the last three being dedicated to it.
ELMAN, MISCHA (Jan. 20, 1892, Talnoe,
Russia). See article in Vol. v. 635. His
first appearance in New York was with the
Russian Symphony Orchestra on Dec. 10,
1908, playing the Tchaikovsky concerto,
followed a week later by a recital. Since
then he has made annual tours and has been
beard in all the large cities. He has made
transcriptions for violin and piano of many
classic compositions. [ R.9 ]
ELSENHEIMER, NICHOLAS J. (b. 1866).
See Register, 8.
ELSHUCO TRIO, THE, formed in 1918,
consisted of Samuel Gardner, violin, Willem
Willeke, 'cello, and Richard Epstein, piano.
It was broken up by the death of Epstein
in 1919.
ELSON, ARTHUR B. (Nov. 18, 1873,
Boston), is the son and pupil of Louis C. Elson
(see below). In 1895 he graduated from
Harvard and in 1897 from the Massachusetts
Institute of Technology. He has taught
technical subjects in school and college,
composed a string-quartet and several songs,
and written a notable series of books, including
A Critical History of Opera, 1901, Orchestral
Instruments and their Use, 1902, Woman's
Work in Music, 1903, Modern Composers of
Europe, 1904, Music-Club Programs from all
Nations, 1906, The Musician's Guide (chief
contributor and editor), 1912, The Book of
Musical Knowledge, 1914, A Pioneer School-
Music Course, 1916, and A History of Vocal
Music, 1918. He has also written many
periodical articles and criticisms. [ R.8 ]
ELSON, LOUIS CHARLES (April 17, 1848,
Boston: Feb. 14, 1920, Boston), was long
prominent as lecturer, teacher and writer on
musical subjects. His first studies were with
his mother, Hamann (piano) and Kreissmann
(voice). In Leipzig he studied composition
with Carl Gloggner-Castelli. He composed in
smaller forms, songs, operettas and piano-
works, but his chief interests were literary.
From 1882 he was head of the theory-depart-
ment of the New England Conservatory. He
lectured at many leading universities and
colleges, including Harvard, Yale, Vassar,
Tulane, Cornell, Pennsylvania, Brown (15
198
EMERICK
ERB
lectures), and at the Lowell Institute (18
lectures) and the Drexel Institute. For
seven years he lectured on music for the city
of Boston, giving some 240 lectures with
orchestra and singers to interest the masses.
In 1880 his literary work began with 'Vox
Humana,' a journal devoted to organ-music,
and he became also music-critic for the
'Coiu-ier,' and editor of 'The Musical Herald.'
From 1888 he was critic for the 'Daily
Advertiser.' He was also correspondent and
contributor to the 'Transcript,' 'Music and
Drama,' 'The Musical Courier,' the New York
'Tribune' and 'Evening Post,' 'The Atlantic
Monthly,' 'The Quarterly Review,' 'The
Etude,' 'The Musician,' 'La Revue Musicale,*
'Die Musik' (till 1914), 'Correo Musical'
(Buenos Aires), 'The Musical Quarterly,'
etc. He published Curiosities of Music,
1883, German Songs and Song-Writers, 1884,
History of German Song, 1886, The Theory of
Music, 1890, The Realm of Music, 1892,
National Music of America and its Sources,
1899, European Reminiscences, 1893, Great
Composers, 1897, Shakespeare in Music, 1900
(republished in London), Folk-Songs of Many
Natio7is, 1905, A History of American Music,
1904 (revised edition, 1915), Music Dic-
tionary, 1906, Pocket Music Dictionary, 1907,
Syllabus of Musical History Lectures, 1896,
Mistakes and Disputed Points of Music,
1910, Woman in Music, 1917 and Children in
Music. He was editor-in-chief of the Uni-
versity Encyclopedia of Music, 10 vols., 1912,
and of Modern Music and Musicians, 20 vols.,
and was also connected editorially with
Famous Composers and their Works, besides
contributing to the Standard Encyclopedia and
the Encyclopedia Americana. The range of
his interest, his geniality of spirit and a lucid
and facile style combined to make him widely
effective in upbuilding an intelligent knowledge
of music. [ R.6 ]
EMERICK, ALBERT G. (1817 - ? ). See
Register, 4.
EMERSON, LUTHER ORLANDO (1820-
1915). See Register, 4, and Tune-Books, 1853.
EMERY, STEPHEN ALBERT (Oct. 4,
1841, Paris, Me. : Apr. 15, 1891, Boston),
after early training under H. S. Edwards in
Portland, went to Leipzig in 1862 and studied
with Plaidy, Papperitz, Richter and Haupt-
mann, then at Dresden with Spindler. Re-
turning in 1864, he first located in Portland,
but soon went to Boston, becoming teacher
of piano and harmony at the New England
Conservatory at its opening in 1867. Later
he was also professor of theory and com-
position at Boston University. He was for
a time assistant-editor of 'The Musical
Herald.' At the Conservatory he remained
till his death. Ao excelleot teg.cher, be
numbered among his pupils many who later
became important in various parts of the
country. His published compositions number
about 150 — songs, piano-pieces, part-songs,
etc. His Foundation-Studies in Pianoforte-
Playing (written for his own children) and his
Elements of Harmony, 1880, have been widely
used. [ R.5 ]
EMMETT, DANIEL DECATUR (1818,
Mt. Vernon, O. : June 27, 1904, Mt. Vernon),
after working in a printer's shop and serving
for a time in the army, from 1835 was in a
circus-troupe. In 1843, with Brown, Whit-
lock and Pelham, he formed the first 'negro
minstrel' troupe, the Virginia Minstrels,
which began its highly successful career in
New York and started a series of such com-
panies. In 1858-65 he was associated with
Dan Bryant in New York, writing the famous
song 'Dixie' in 1859. In 1865-78 he con-
tinued with his own company. Others of his
songs were 'Old Dan Tucker,' 'The Road to
Richmond,' 'Walk Along, John,' etc. [ R.4 ]
ENDE, AMELIA VON (b. 1856). See
Register, 6.
ENDE, HERWEGH VON (1877-1919).
See Register, 8.
ENGWERSON, OTTO. See Colleges,
3 (Denison U., Ohio).
tENNA, AUGUST (May 13, 1860,
Nakskov, Denmark). See article in Vol. i.
783. To the list of works add the operas
'Die Feen' (1893, Berlin); 'Das Streich-
holzmadel' and 'Lamia' (1897, Berlin);
'Ung Elskov' (1902, Berlin); ' Nattergalen '
(1912, Berlin) ; 'Gloria Arsena' (1913, Berlin) ;
and ' Komodianten ' (1916); the ballets 'The
Shepherdess and the Chimney-Sweep' (1901,
Copenhagen) and 'St. Cecilia's Golden Shoe'
(1904, Copenhagen) ; two symphonies, in
D minor and C minor; ' Mutterliebe,' for
chorus and orchestra; 'Miirchen,' symphonic
tone-pictures ; a ' Festival Overture ' ; piano-
pieces and songs.
ENNA, EMIL (b. 1877). See Register, 8.
ENSTONE, EDWARD. See Register, 1.
EPSTEIN, ABRAHAM ISAAC (b. 1857)
and MARCUS ISAAC (b. 1855). See Re-h-
ter, 7.
EPSTEIN, RICHARD (1869-1919). See
Register, 10.
ERB, JOHN LAWRENCE (Feb. 5, 1S77,
Berks Co., Pa.), went to school in Pottstown,
Pa., where he was organist in 1892-94. For
five years he studied at the Metropolitan
College of Music and the Virgil Clavier School
in New York. After ten years' teaching in
New York and serving as organist at the
Broome Street Tabernacle and the Second
Unitarian Church in Brooklyn, he went to
Wooster, O., where he was music-director at
Wooster University and organist of the West-
ERBEN
EZERMAN
199
minster Presbyterian Church. In 1913-14
he was organist at the Fourth Presbyterian
Church in Chicago. In 1914 he became
director of the School of Music and organist
at the University of Illinois in Urbana. Since
1915 he has also been state inspector of music-
schools for Illinois. He has written organ-
and piano-music, many songs, choruses and
anthems. He has also published Johannes
Brahms, A Biography, 1904, Hymns and
Chxirch Music, 1910, Elements of Harmony,
1911, and Elementary Theory, 1911, besides
many contributions to magazines. He has
been prominently identified with musical and
educational organizations, and is in demand
as a speaker. For two years he was vice-
president of the Ohio Music Teachers'
Association, and in 1913-15 secretary and in
1915-17 president of the M. T. N. A. He is
a fellow of the A. G. O. and in 1916-17 was
president of the Illinois Council of the N. A. O.
He is now president of the Illinois Federation
of Music Clubs, and a member of many com-
mittees for the promotion of music throughout
the country. His energetic and clear-headed
activities in these directions are prompted by
high ideals regarding music-education for the
masses. [ R.8 ]
ERBEN, PETER (1769-1861). See Tune-
Books, 1806.
t ERLANGER, CAMILLE (May 25, 1863,
Paris : Apr. 24, 1919, Paris). See article
in Vol. i. 789. Recent works are the operas
'Aphrodite' (1906, Paris), 'Bacchus Triom-
phant' (1909, Bordeaux), 'L'Aube Rouge'
(1911, Rouen), 'La Sorci^re' (1912, Paris)
and 'Le Barbier de Deauville' (1917); in-
cidental music to Andre-Legrand's 'La Reine
Wanda' (1918, Paris) ; the symphonic piece
'La Chasse Fantastique ' ; the symphonic
poem 'Maitre et Serviteur' (after Tolstoi);
a Requiem for double chorus and orchestra ;
piano-pieces and songs.
t ERLANGER, FR6d£;RIC D' (May 29,
1868, Paris). See article in Vol. i. 789. To
the list of works add the operas 'Tess' (1906,
Naples) and 'Noel' (1912, Paris, 1913, Chicago).
His pen-name is 'Frederic Regnal.'
ERRANI, ACHILLE (1823-1897). See
Register, 5.
ESCHMANN, KARL HENRY (b. 1891).
See Colleges, 3 (Denison U., Ohio).
ESTEY, JACOB (1814-1890). See Regis-
ter, 5.
ESTEY ORGAN COMPANY, THE, of
Brattleboro, Vt., was started in 1846 by Jacob
Estey. The present heads of the business are
J. Gray Estey and J. Harry Estey of the third
generation. The firm suffered from fire in
1857 and 1864 and from flood in 1869, but its
progress was not checked. In somewhat over
thirty years its sales increased from $2700
annually to over a million.
'ETUDE, THE.' See note in Vol. iii. 688.
The first editor was Theodore Presser, its
founder, assisted after a time by Charles W.
Landon, in 1888-93 Eugene E. Ayres, in
1893-96 Arthur L. Manchester, in 1897-1907
W. J. Baltzell, and since 1907 James Francis
Cooke. It is published monthly and the
average edition is 200,000 copies.
EUTERPEAN SOCIETY, THE, of New
York, was an amateur orchestral club, probably
started in 1800, which continued to give at
least one annual concert until 1847, perhaps
longer. It accumulated a small library and
Bome valuable instruments. See note in
Sonneck, Concert-Life, pp. 203-4.
'EUTERPEIAD, THE,' was a musical
periodical started in Boston in 1820. Another
journal of the same name was published in
New York in 1830-31.
EVANS, EDWIN (b. 1876). See Regis-
ter, 9.
EVANS, FREDERICK VANCE (b. 1883).
See Register, 9, and Colleges, 3 (Lawrence
C, Wis.).
EVANS, J. See Tune-Books, 1S07.
EVERETT, ASA BROOKS (1S28-1875)
and EVERETT, L. C. (1818-1867). See
Register, 4.
t EXPERT, HENRI (May 12, 1863,
Bordeaux, France). See article in Vol. i. 797.
To the list of his books add Les muitres du
clavecin des XVIIe et XVII I^ siecles; Amuse-
ments des musiciens franqais du XVIIIe
sihcle; Repertoire de musique religieuse et
apirituelle. In 1909 he became deputy-libra-
rian of the Paris Conservatory. He wrote
the chapter on 16th-century French music in
Lavignac's Encyclopedic de la Musique (1913-).
EYER, J. F. See Tune-Books, 1818.
EZERMAN, D. HENDRIK (b. 1880).
See Register, 9.
F
FABRI, LUDWIG SCHMITT (b. 1874).
See Register, 9.
FAELTEN, CARL (Dec. 21, 1846, Ilmenau,
Germany), had some early lessons from
Montag, a pupil of Hummel, in Weimar,
and for years supported himself by casual
playing of violin and clarinet in orchestras.
From 1868 he studied piano and theory with
Schoch at Frankfort, but in 1870-71 was
forced to serve in the Franco-Prussian War.
After 1874 he appeared successfully as pianist
in several cities. From 1877 he taught in
the Hoch Conservatory at Frankfort under
Raff, after the latter's death in 1882 migrating
to America. Three years were spent teaching
at the Peabody Conservatory in Baltimore,
followed by twelve at the New England
Conservatory in Boston, where in 1890-97
he was director. He then established his
own Pianoforte School, which he has developed
in conjunction with his brother, Reinhold
Faelten (b. 1856, Germany), with marked
success (see below). Besides often appearing
as recitalist, he has drafted a series of in-
struction-books for piano-students. In the
preparation of this 'Faelten System' the two
brothers have collaborated. [ R.7 ]
FAELTEN PIANOFORTE SCHOOL,
THE, of Boston, was founded in 1897 by Carl
and Reinhold Faelten, the former being
director. Although emphasizing piano-study,
its policy has been to magnify general musician-
ship at all stages of progress. About four-
fifths of the students are in the preparatory
department, and only those of marked ability
are encouraged to take advanced work. A
large part of the instruction is in classes,
conducted along somewhat original lines.
The faculty numbers twelve, and the students
nearly 700. The total enrolment has been
about 6000, with about 200 graduates. The
School is located at 30 Huntington Avenue.
FAIRCHILD, BLAIR (June 23, 1877,
Belmont, Mass.), came of musical stock and
while studying at Harvard took courses with
Paine and Spalding, continuing later with
Buonamici at Florence. For a time he was
pressed to enter business and in 1901-03 was
in diplomatic service, as attach^ first at
Constantinople and then at Teheran. Since
1903 he has lived in Paris as student under
Widor and Ganaye and abundant composer.
Throughout the World War he was active in
relief-work. His works, many of them em-
bodying impressions or material derived
from his sojourn in the Orient, include the
following :
'East and West,' op. 17, a poem in one movement,
for orchestra — also for piano, 4-hands (Durdilly).
Symphonic Poem, 'ZM,' op. 38, after a Persian
legend (1918, Paris).
Symphonic Poem, 'Shah F^ridoun,' op. 39, after
a Persian legend (Augener).
'Legende,' op. 31, for violin and orchestra — also
with piano (Demets).
'Tamineh,' sketch for orchestra, after a Persian
, legend (Augener) .
'Etude Symphonique,' op. 45, for violin and
orchestra.
'Dame Libellule,' op. 44, ballet-pantomime in
one act.
Arrangement of Schumann's Adagio and Allegro
(op. 70), for 'cello and orchestra.
Two Novelettes, op. 10, for string-quartet — also
for piano-trio or 'cello and piano (Durdilly).
Three Pieces, op. 11, for 'cello and piano or or-
chestra (Thompson).
Three Pieces, op. 12, for clarinet and piano or
orchestra (Pitault).
Sonata, op. 16, for violin and piano (Durdilly).
Quintet, op. 20, for piano and strings (Durdilly).
Rhapsody, op. 21, for piano and strings (Durdilly).
Trio, op. 24, for piano, violin and 'cello (Augener).
Concerto, op. 26, for violin, piano and strings —
also for violin and piano (Augener).
Quartet, op. 27, for itrings (Demets).
Two Duos, op. 32, for violin and 'cello (Augener).
Six 'Esquisses,' op. 36, for violin and piano
(Augener).
Sonata, op. 43, for violin and piano (Durand).
'M61odie' for violin and piano (S6nart).
Two 'Garden Sketches,' op. 18, for piano
(Durdilly).
Two Fugues for organ (S6nart).
Six Psalms, op. 33, for soLi and chorus a cappella
(Augener).
Two 'Bible Lyrics,' op. 29, for soprano, chorus
and orchestra (Gray).
'In Memoriam,' for chorus a cappella (Thompson).
Requiem, for tenor and men's chorui, with piano
or organ (Thompson).
Six series of 'Stornelli Toscani,' opp. 5, 14, 23, 28,
30 (the last not yet out), settings of Tuscan
folk-poems (Thompson).
Twelve Persian Folk-Songs (Novello).
'A Baghdad Lover,' op. 25, cycle of nine songs for
baritone (Gray).
Five 'Greek Sea-Prayers,' op. 35 (Augener).
'Les Amours de Hafiz,' op. 38, seven songs
(Augener) .
'Les Quatrains d'Al-Ghazali,' op. 40, eight songs in
French (Augener).
Several separate songs, some with orchestra.
He was made Chevalier of the Legion d'Hon-
neur in 1919. [ R.9 ]
FAIRCLOUGH, GEORGE HERBERT
(b. 1869). See Register, 7.
FAIRCLOUGH, WILLIAM ERVING (b.
1859). See Register, 7.
FAIRLAMB, JAMES REMINGTON (1838-
1908). See Register, 4.
'FAIRYLAND.' An opera, op. 77, by
Horatio Parker, the text by Brian Hooker.
In 1914 it won the prize of SIO.OOO offered by
the National Federation of Women's Clubs,
and was first produced at Los Angeles on
July 1, 1915.
FALK, LOUIS (b. 1848). See Register, 6.
200
FALLBERG
FARWELL
201
FALLBERG, CARL (b. 1886). See Col-
leges, 2 (SuUins C, Va.).
' FALL OF UG, THE.' A 'masque of fear'
by Herman Perlet, to a text by Rufus Steele,
produced as No. 11 of the 'Grove-Plays' of
the Bohemian Club in California in 1913.
The scene is laid 'in a redwood forest in the
days when men fought with spears.'
FANCIULLI, FRANCESCO (1853-1915).
See Register, 6.
t FARJEON, HARRY (May 6, 1878, Ho-
hokus, N. J.). See article in Vol. v. 639.
His father was the English novelist B. L.
Farjeon, so that he has always been a British
subject, but his mother was the daughter of
Joseph Jefferson, the actor. The score of his
'Summer Vision' was lost when sent to
Germany for performance. Recent publi-
cations include Variations in A, for piano
(Augener), 'Peter Pan Sketches,' for piano
(Newman), 'Moorish Idylls,' for piano (Ash-
down), an Air upon a Ground-Bass, and the
singing-game ' Proud Princesses ' ; besides the
following not actually out — Sonata in E, for
piano (Ashdown) and 'The Ballet of the
Trees' (1915) (Rogers). Unpublished are a
String-Quartet in B-flat, a 'Poem' for violins,
violas and orchestra, a Sonata in D, for 'cello,
'The Ballet of the Lake,' the ballet 'Terp-
sichore,' Variations on a Russian Air, for
piano, a Fugue for piano 4-hands, and the song-
cycle 'The Shepherds' Garland.'
FARNAM, W. LYNNWOOD (Jan. 13,
1885, Sutton, Que.), had early piano-lessons
from his mother. Miss M. L. Jackson and
G. W. Cornish, and in 1900-04 held the
Strathcona Scholarship at the Royal College
of Music in London, his teachers there being
Taylor and Sharpe for piano and Higgs,
Sewell and Hoyte for organ. In 1903 he
became A. R. C. M. and in 1904 A. R. C. O.
Returning to Montreal, in 1904-05 he was or-
ganist at St. James' (M. E.), in 1905-08 at St.
James the Apostle's, and in 1908-13 at Christ
Church Cathedral. In 1913-18 he was at
Emmanuel Church in Boston, and, after a
year in the Canadian army, in 1919-20 at the
Fifth Avenue Presbyterian Church in New
York, and is now at the Church of the Holy
Communion. [ R.9 ]
FARNS WORTH. CHARLES HUBERT
(Nov. 29, 1859, Cesarea, Turkey) , was the son
of missionary parents, had a general education
at Robert College in Constantinople, and
studied music in Boston and Worcester.
From 1876 he was organist and teacher at
Worcester. In 1888 he became the first
music-teacher in the University of Colorado
at Boulder, where he also taught in the public
schools and conducted choral and orchestral
societies. In 1900 he came to New York,
becoming in 1901 head of the department of
music and speech in Teachers College at
Columbia University, which he has strongly
developed. Popular education in music has
been his main object, and he has specialized
in the systematic treatment of public-school
music and in musical appreciation. He is
author of Education through Music, 1909, How
to Produce and Listen to Music, The Teaching
of Elementary Music, co-author of Tonal
Phrase-Book, editor of Songs for Schools,
1907, Grammar-School Songs, 1916, and co-
editor of Folk-Songs, 1916, Chanteys and Sing-
ing-Games, and The Children's Hymnal. He
has written articles on music- teaching in several
recent educational works in the M. T. N. A.
Proceedings and in various periodicals. In
1911-12 he was president of the New York
Clef Club and in 1913-14 of the M. T. N. A.
[ R.6 ]
FARRAR, GERALDINE (Feb. 28, 1882,
Melrose, Mass.), began singing-lessons at
twelve with Mrs. J. H. Long of Boston, and
at thirteen sang in concert in Boston. She
studied in New York and Washington, in
Paris with Trabadello and in Berlin with
Graziani and Lilli Lehmann. In 1901 she
made her dSbut as Marguerite in 'Faust'
at the Berlin Royal Opera House. Her suc-
cess led to her being retained for three years,
with repeated renewals, and to engagements
at Stockholm, Warsaw, Munich, the Op6ra-
Comique in Paris, and Monte Carlo. Her
American debut was at the Metropolitan
Opera House in November, 1906, as Juliet in
'Romeo et Juliette.' Her repertory includes
the parts of Marguerite (in 'Faust,' 'Mefisto-
fele,' and 'La Damnation de Faust'), Manon,
Micaela, Carmen, Mignon, Elizabeth, Tosca,
Zerlina and Elvira, Juliet, Gilda, Violetta,
Thais, Angela (in 'Le Domino Noir'), Char-
lotte (in 'Werther'), Susanna and Cheru-
bino (in 'Figaro'), Mimi, Madama Butterfly,
Desdemona, Elsa and Eva. She was the
first to sing the principal roles in Mascagni's
'L'Amico Fritz' (1905), Camondo's 'The
Clown ' (1905) , Saint-Saens ' ' L'Ancetre ' (1906) ,
and Humperdinck's ' Konigskinder ' (1910) . She
married the actor Lou Tellegen [Von Dom-
melen] in 1916. Highly gifted as an actress
as well as singer, she has also been successful
in film-productions, beginning with ' Carmen '
in 1915. Her autobiography was published
in 1916. [ R.9 ]
FARWELL, ARTHUR (Apr. 23, 1872,
St. Paul), began his education at Baldwin
Seminary in St. Paul, and graduated from the
Massachusetts Institute of Technology in
1893, having specialized in electrical engineer-
ing. He turned to music and for six years
was a pupil of Norris in Boston, of Humper-
dinck in Berlin and of Guilmant in Paris.
He lectured on music at Cornell University in
202
FAURE
FESTIVALS
1899-1901. He then established at Newton
Center, Mass., the 'Wa-Wan Press' for the
publication of music by Americans, and
particularly those whose works ' were based on
the melodies and folk-lore of the American
Indians.' In 1903 he made investigations
among the Indians in the Far West, and
prepared a report on Indian Songs and Span-
ish-Californian Folk-songs for the American
Institute of Archaeology. In 1905 he founded
the American Music Society, of which he is
president. In 1909-15 he was on the editorial
staff of ' Musical America,' in 1910-13
supervisor of municipal concerts in New
York, in 1915-18 director of the Music
School Settlement there, and in 1918-19
acting professor of music at the University
of California. He has for years been deeply
interested in community-music.
As composer he ia best known by works
based upon Indian themes, such as the
'Cornell' Overture,' op. 9; American In-
dian Melodies for piano ; the orchestral
pieces 'Dawn,' 'Ichibuzzh' and 'The Do-
main of the Hurakan ' ; the Symbolistic
Studies, for piano, opp. 16, 17, 18 and
24 ; ' Impressions of the Wa-Wan Ceremony,'
op. 21 ; and the 'Navajo War-Dance,' op. 29.
He wrote music for the Meriden, N. H., and
Darien, Conn., pageants of 1913, for
Mackaye's 'Caliban by the Yellow Sands,'
a masque for the Shakespeare Tercentenary
in New York in 1916, and for the community-
masque 'The Evergreen Tree,' as well as
incidental music for Parker's 'Joseph and his
Brethren' and Sheldon's 'Garden of Paradise'
(1913, New York). He has also a tone-poem,
op. 34, for voice and orchestra, with words
from Sterling's 'Duandon'; the song 'A
Ruined Garden,' op. 14, with orchestra or
piano; a setting of Whitman's 'Captain, my
Captain ' for chorus and orchestra ; other cho-
ruses and many songs. He has written and
lectured extensively and earnestly on behalf of
American music. He edited Music in America,
Vol. iv. of The Art of Music, 1915. I P. 8 ]
|FAUR]<;, GABRIEL URBAN (May 13,
1845, Pamiers, France). See article in Vol.
ii. 15. In 1909 he was elected to the Academie
and in 1910 was made commander of the Lfegion
d'Honneur. In 1919 he retired as director
of the Conservatory, Rabaud returning from
America to take his place. Concerts of his
music have been given in recent years at
Paris and elsewhere, with growing apprecia-
tion of the scope and variety of his com-
positions. Among later works are the opera
'P6n61ope' (1913, Paris), incidental music to
Clemenceau's 'Le Voile du Bonheur,' and a
piano-quintet in D minor. See biography by
Vuillemin, 1914.
FAY, AMY (b. 1844). See Register, 6.
FAY, CHARLES NORMAN (b. 1848).
See Register, 8.
FAY, MAUDE (b. 1883). See Register, 9.
'FEAST OF TABERNACLES, THE.'
An oratorio or cantata by Charles Zeuner,
published in 1832 and sung by the chorus of
the Boston Academy in 1838.
FEDERLEIN, GOTTFRIED HEINRICH
(b. 1883). See Register, 9.
FEDERLEIN, GOTTLIEB HEINRICH
(b. 1835). See Register, 7.
FERRARI-FONTANA, EDOARDO (b.
1878). See Register, 10.
FERRATA, GIUSEPPE (Jan. 1, 1865, Gra-
dioli, Italy), at fourteen won a scholarship
at the Accademia S. Cecilia in Rome, studied
under Sgambati, Terziani and Leonardi, and
graduated in 1885, with a prize that secured
him some instruction from Liszt. Until 1890
he gave piano-recitals in Italy. In 1892 he
came to America and has been music-director
in several schools and colleges. He is now
head of the piano-department and professor
of composition and instrumentation at New-
comb College in New Orleans. He was
knighted by the King of Portugal in 1887 and
twice later by the King of Italy, who in 1914
made him Commandatore in the Order of
the Crown. His works include
Concerto, op. 5, for piano and orchestra.
Symphony in three movements, op. 40, for or-
chestra and chorus.
Quartet, op. 28, for strings (J. Fischer).
Two other string-quartets.
12 'Italian Spring Melodies,' op. 7, for violin and
piano (Fischer).
'Meditation Religieuse,' op. 10, no. 1, for violin
and piano (Fischer).
'Cortege Nuptial,' op. 20, no. 1, for violin and
piano (Fischer).
Suite, op. 31, for violin and piano (Fischer).
Modern Suite for organ, and several other organ-
works.
'Valse,' op. 24, for piano (Fischer).
' Romance sans Paroles ' and ' Valse de Concert,'
op. 25 (Schirmer).
'Toccata Chromatique,' op. 28, for piano (prize-
composition, Art Publ. Soc).
Messe Solenelle, op. 15, for soli, chorus and organ
or orchestra (Fischer).
Misaa in G, op. 18, for men's chorus and organ
(Fischer).
Requiem Mass for mixed chorus.
'Tota pulchra est Maria,' op. 16, for mixed or
women's chorus and organ (Fischer).
'Dies Irae,' op. 35, for chorus in eight real parts.
Cycle of 'Folk-Songs from the Spanish,' op. 8, for
mixed quartet (Fischer).
Many piano-pieces (Fischer, Ricordi, Church),
and several songs (Fischer, Schirmer, Ricordi).
Three dramatic operas in manuscript.
In 1908 four of the above works were awarded
first prizes in a competition arranged by the
Art Society of Pittsburgh. [ R.8 ]
FESTIVALS, MUSICAL. Some notes are
given in the Introduction (pp. 35-6) as to
the genesis of the 'festival' idea. The first
FICHTHORN
FINCK
203
experiments came before the Civil War — by
the Handel and Haydn Society of Boston in
1857 and at Worcester in 1858, though neither
of these series became established till the next
decade. Analogous undertakings in New Eng-
land that have persisted are those held in
Maine (at Portland or Bangor) since 1897 and
at Springfield, Mass., since 1903. At numerous
points in other States where there are energetic
choral societies similar enterprises are in
operation. The May Festivals held biennially
at Cincinnati since 1873 long stood in a class
somewhat by themselves, though sporadically
imitated in other places. In Cincinnati and
also in Chicago operatic festivals were for a
time maintained. Since 1902 the Bohemian
Club of California has given a remarkable
series of 'Grove-Plays.' The Bethlehem Bach
Festivals in Pennsylvania were begun in 1900
(intermitted in 1905-11, when similar efforts
were made by Dr. Wolle at Berkeley, Cal.).
The Norfolk Festivals in Connecticut were
established on a broad scale in 1906. The
unique Peterboro Festivals in New Hamp-
shire followed in 1910, the ^Lockport (N. Y.)
Festivals in 1916, and the Berkshire Festivals
in Massachusetts in 1917. Several leading
educational institutions have become noted
for the significance of their annual musical
undertakings, especially the University of
Michigan since 1893, Northwestern University
in Illinois and Cornell University in New
York since 1909, with a host of others of less
importance in the South and West. Several
of the great Expositions have maintained
musical features that assumed a festival
quality, notably the Columbian at Chicago
in 1893 and the Panama-Pacific at San
Francisco in 1915. Various national groups
have held annual gatherings of a festival
character. The German singing-societies
started this custom in some form as early as
1850. Two of the comprehensive Sanger-
bunds have been continuously active since
1881 and 1892 respectively. Competitions
of Welsh societies have long been common.
Norwegian and Swedish festivals have occurred
since before 1910. All these latter tend to move
somewhat from place to place. The National
Federation of Musical Clubs has not only held
a national festival biennially since about 1900,
but is continually promoting smaller enter-
prises. The custom of holding local and
historical 'pageants' has spread widely since
about 1910, often leading to complex under-
takings of decided significance.
FICHTHORN, CLAUDE L. See Col-
leges, 3 (Missouri Valley C).
FIEDLER, AUGUST MAX (b. 1859).
See Register, 9.
FILLMORE, AUGUSTUS D. (1823-?),
See Tune-Books, 1849.
FILLMORE, JOHN COMFORT (Feb. 4,
1843, Franklin, Conn. : Aug. 15, 1898,
Franklin), in 1862-65 studied at Oberlin
College, having some organ-lessons with G.
W. Steele. He then went to Leipzig, coming
under Papperitz, Richter and Hauptmann.
In 1867-68 he was director of the music-
department at Oberlin, in 1868-78 professor
of music at Ripon College in Wisconsin, and
in 1878-84 in a similar position at the Mil-
waukee College for Women. He founded the
Milwaukee School of Music in 1884, and was
its director until 1895, when he became
director at Pomona College in California.
A musical enthusiast, he influenced a wide
circle of pupils. He was one of the earliest
students of Indian music, and, with Miss
Fletcher and La Flesche, published A Study
of Omaha Indian Music, 1893, and many
magazine articles. His other books are His-
tory of Pianoforte-Music, 1883, New Lessons
in Harmony, 1887, Lessons in Musical History,
1888, On the Value of Certain Modern Theories
(von Oettingen's and Riemann's), and trans-
lations of Riemann's Klavierschule and Natur
der Harmonik, besides a long list of articles
and addresses. [ R.5 ]
FINCK, HENRY THEOPHILUS (Sept.
22, 1854, Bethel, Mo.), spent his youth at
Aurora, Ore., whither his parents removed
to escape the turmoil of the Civil War. In
1876 he graduated from Harvard with highest
honors in philosophy and a fellowship. While
in college he took courses under Paine, though
specializing in psychology and aesthetics rather
than music. He attended the first festival
at Bayreuth in 1876 and spent the following
winter in Munich, devoting himself to Wagner-
ism. In 1878-81 he studied psychology at
Berlin, Heidelberg and Vienna, but also
wrote frequently for the New York 'Nation'
and 'World' and for the 'Atlantic Monthly'
on Darwinism, Schopenhauer and other sub-
jects, including music. In 1881, when the
'Nation' and the 'Evening Post' were merged
under Schurz, Godkin and White, he became
a member of the staff (and has so continued
ever since), developing many critical views
about music and musicians that were then
novel. He has especially emphasized the
value of Wagner, Schumann, Chopin, Liszt,
Grieg, Tchaikovsky, Dvordk, MacDowell
and many others with enthusiastic acumen.
His literary skill has enabled him to present
facts and opinions so as to command the
interest of many readers and challenge re-
spectful attention. Since 1890 he has lectured
on music-history at the National Conservatory,
where he was associated with Dvorak and
Joseffy. In 1890 he married Abbie H. Cush-
man, a pupil of Joseffy, who has not only
shared his literary work, but herself written
204
FIQUE
FISK UNIVERSITY
on Paderewski and R6naud in the 'Century
Magazine' and is preparing a volume of musi-
cal and literary reminiscences.
His musical publications include Chopin
and Other Musical Essays, 1889, Wagner and
his Works, 2 vols., 1893 (in German, 1897),
Pictorial Wagner, 1899, Anton Seidl, 1899,
Songs and Song-Writers, 1900, Grieg and his
Music, 1909 (1st ed. revised by Grieg and
2nd with letters from him to the author),
Success in Music, 1909 (largely a record of
personal relations with musicians), Massenet
and his Operas, 1910 (partly based on matter
supplied by the composer), Richard Strauss,
1917, and the following edited collections :
Fifty Master-Songs, 1902, Fifty Schubert Songs,
1903, Fifty Grieg Songs, 1909, One Hundred
Songs by Ten Composers, 1917. In the field
of psychological aesthetics he has written
Romantic Love and Personal Beauty, 1887,
Primitive Love and Love-Stories, 1899, and
Food and Flavor, 1913. Observations as a
traveler are embodied in The Pacific Coast
Scenic Tour, 1890, Spain and Morocco, 1891,
and Lotos-Time in Japan, 1898. Aside from
his championship of musicians and musical
movements not at first appreciated, he con-
siders his studies regarding the primitive
love-impulse and the neglected sense of smell
his most original work. [ R.7 ]
FIQUfi, KARL (b. 1867). See Register, 7.
FIRTH, JOHN (1789-1864). See Regis-
ter, 3.
FISCHER, CARLO (b. 1872). See Regis-
ter, 8.
FISCHER, EMIL (June 13, 1838, Bruns-
wick, Germany : Aug. 11, 1914, Hamburg,
Germany), was the son of parents who were
good singers. He was first trained as player
of the violin and horn. At eighteen he took
up vocal study with his father, and in 1857
made his debut at Graz as the Seneschal in
Boieldieu's 'Jean de Paris.' He then sang
in Pressburg, Stettin and Brunswick, directed
the opera at Danzig in 1863-70, and sang at
the Royal Opera in Rotterdam in 1875-80
and at the Dresden Court Opera in 1880-85.
In 1885 he came to the Metropolitan Opera
House in New York, singing during the first
season directed by Seidl. Till 1891 and more
or less till his retirement in 1898 he remained
associated with the Metropolitan, extremely
popular both as man and as artist. During
his career he sang in 101 operas, and appeared
839 times in America. He continued in New
Yoi'k as teacher to the end of his life, spending
the summers in Germany. His Sachs in 'Die
Meistersinger ' is often quoted as a model of
both singing and acting ; his Wotan, Hagen,
King Mark, King (in 'Lohengrin') and Land-
grave were almost equally distinguished. He
was successful also in French and Italian
operas, though his Wagnerian interpretations
were more famous. [ R.7 ]
FISCHER, JOHN U. (1816- ? ) and
CHARLES S. (1818- ? ). See Register, 4.
FISCHER, WILLIAM GUSTAVUS (1835-
1912). See Register, 4.
FISHER, EDWARD (Jan. 11, 1848, Ja-
maica, Vt. : May 31, 1913, Toronto), had
early training in Worcester, at the New
England Conservatory in Boston and with
Eugene Thayer. In Germany he studied
piano with Loeschhorn and organ with Haupt.
In 1875 he became music-director at the Ladies'
College in Ottawa, and in 1879 organist at
St. Andrew's in Toronto, where he continued
for twenty years. During this time the St.
Andrew's Choral Society expanded into the
Toronto Choral Society. His most eminent
accomplishment, however, was the foundation
in 1887 of the Toronto Conservatory, of which
he remained the head till his death and which
he brought to a high degree of efficiency. He
was also prominent in the establishment of
the Canadian Society of Musicians, the Clef
Club, the Canadian Guild of Organists and
the Toronto Symphony Orchestra. [ R.6 ]
FISHER, WILLIAM ARMS (Apr. 27,
1861, San Francisco), is descended from an
old New England family. He first studied
piano, organ and theory with J. P. Morgan
in Oakland. In 1890 he came to New York,
taking vocal lessons with several teachers
there, and in 1892 went to London to work
with Shakespeare. On his return he studied
counterpoint, canon and fugue with Horatio
Parker, composition and orchestration with
Dvordk. He taught harmony at the National
Conservatory of Music until 1895, when he
removed to Boston. In 1897 he assumed
his present position as editor and publishing-
manager of the Ditson Company. As a song-
composer he has had notable success. Of
some 80 published songs the most popular
are 'Under the Rose,' 'Gae to Sleep,' 'Sweet
is Tipperary,' 'When Allah Spoke,' 'Oh, can
night doubt its star.' He has also published
an 'Elegy' for violin and piano, part-songs,
anthems and carols, and edited a volume of
60 Irish songs, besides writing Notes on Music
in Old Boston, 1918 — a brief, but striking
historical sketch. [ R.7 ]
FISK UNIVERSITY, Nashville, Tenn.
(Congregational), one of the earliest institu-
tions of higher education for negroes, has a
peculiar musical interest. From its foundation
in 1866 singing was taught by George L.
White, the treasurer of the institution, who
in 1871-74 conducted the famous tour of the
'Jubilee Singers' (q.v.). The present depart-
ment of music offers systematic courses in
piano, organ, violin, voice and public-school
music, with credits in theory, history and pub-
FITZ
FLORID lA
205
lie-school methods towards an A.B. The Mo-
zart Society, organized in 1880, serves as both
choir and oratorio-society. The department
has a good equipment, including a three-man-
ual organ. The principal is Jennie A. Robin-
son, with six other instructors.
FITZ, ASA. See Tune-Books, 1841.
FLAGG, JOSIAH (173S?-1794). See Reg-
ister, 1, and Tune-Books, 1764.
FLAGLER, HARRY BARENESS (b.
1870). See Register, 10.
FLAGLER, ISAAC VAN VLECK (1848-
1909). See Register, 6.
FLECK, HENRY THOMAS (b. 1863) .'
See Colleges, 2 (Hunter C, N. Y.).
FLETCHER, ALICE CUNNINGHAM
(1845, Boston), received her early education
in private schools in Boston. She has given!
her life to investigations of the North American
Indians and efforts for their betterment.
Besides original work in the West, she has
repeatedly served as special representative
of the National Government. Since 1882
she has been assistant in ethnology at the
Peabody Museum in Cambridge, Mass., and
is prominent in various archaeological and
folk-lore societies. She is author of A Study
of Omaha Music, 1893 (with La Flesche),
Indian Story and Song, 1900, and many
articles in the publications of the Bureau of
Ethnology and the Peabody Museum, 'The
American Anthropologist,' 'The Folk-Lore
Journal,' etc. [ R.8 ]
FLETCHER, WILLIAM Z. See Col-
leges, 3 (Blue Ridge C, Md.).
FLINT, TIMOTHY (1780-1840). See
TuNE-BoOKS, 1816.
FLINT COMMUNITY MUSIC ASSOCI-
ATION, THE, of Flint, Mich., originated in
1913 in a choral society, which continued till
1915, being then interrupted by the war.
In 1917, however, it was revived in a new form,
'to create a common or general interest in
music' George Oscar Bowen was secured as
director, and funds were appropriated by the
Board of Education, the Board of Commerce
and the Manufacturers' Association, amount-
ing at first to about $8000 per year and now
increased to over $20,000. The foundational
activity is the maintenance of daily 'sings'
for various groups, especially in the large
factories. The public school buildings are used
for frequent neighborhood entertainments. A
chorus of limited size was formed for giving
works of some magnitude-, and an orchestra
of 35. A Municipal Band of first-class order
is now projected, as well as other bands for
amateurs.
FLODIN, KARL (July 10, 1858, Wasa,
Finland, of German parents), though a
resident of Buenos Aires since 1907, is classed
as a strong influence in Finnish music. He
studied with Faltin in Helsingfors and at the
Leipzig Conservatory. For some years he
was music-critic in Helsingfors and in 1902-05
edited the 'Post' there. He has composed
a 'Cortege' for wind-instruments; incidental
music to Hauptmann's 'Hannele'; 'Helena,'
a scene from Goethe's Faust, for soprano and
orchestra; and much chorus-music. He is
the author of Finnish Music, 1900 (in Swed-
ish), J. Sibelius (in ' Finnische Rundschau,'
1901), Die Entwicklung der Musik in Finnland
(in 'Die Musik,' 1903), Die Erweckung des
Nationalen Tones in der finnischen Musik
(in 'Die Musik,' 1904), and a biography of
Sibelius, which was ready for publication in
1916. [ R.9 ]
FLOERSHEIM, OTTO (b. 1853). See Reg-
ister, 6.
FLONZALEY QUARTET, THE, was
founded by Edward J. de Coppet of New
York. In the fall of 1902 he commissioned
Alfred Pochon to select the players, and in the
summer of 1903 rehearsals began at his summer
home, Flonzaley, near Lausanne in Switzer-
land. The original membership, which re-
mained unbroken till 1917, included Adolfo
Betti, first violin, Alfred Pochon, second violin,
Ugo Ara, viola, and Ivan d'Archambeau, 'cello.
All but the last had been pupils of C6sar
Thomson at Li^ge. At first Pochon and Betti
alternated positions. The members agreed to
devote themselves wholly to the Quartet, and
the original intention of the founder was that
it should not appear except more or lesa
privately or for charitable objects. In 1904,
however, a European tour was made, beginning
at Vienna, and at the end of December the
Quartet was heard in New York. The demand
was insistent on both sides of the water that
they should make regular and extensive tours.
Since then their superiority in every artistic
quality of interpretation and performance has
been everywhere acclaimed. In 1917 Ara felt
constrained to join the Italian army, and Louis
Bailly succeeded him. Since de Coppet's death
in 1916 the maintenance of the Quartet has
been assumed by his son Andre.
FLORIDIA, PIETRO, Barone NAPOLINO
(May 5, 1860, Modica, Sicily), at the Naples
Conservatory studied piano with Cesi, counter-
point and composition with Serrao and Rossi.
He began publishing piano-works while still
a student, and the comic opera 'Carlotta
Clepier' (later destroyed by the composer)
was given in Naples in 1882. In 1885-90
he toured as concert-pianist, locating at
Palermo in 1888 as first professor of piano
in the Conservatory. In 1889 he won the
first prize of the Society, del Quartetto in
Naples for a symphony. The years 1892-1904
were devoted to composition in Milan. Com-
ing to America in 1904, he taught at the
206
FLORIO
FOERSTER
Cincinnati College of Music in 1906-08, and
has since lived in New York, where from 1913
he has conducted the Italian Symphony
Orchestra. In addition to the works named
above, he has composed the operas 'Maruzza'
(1894, Venice), 'La Colonia Libera' (1899,
Rome), 'Paoletta' (1910, Cincinnati), and the
grand opera 'The Scarlet Letter' (composed
about 1902). Incidental music to Wilde's
'A Florentine Tragedy' was performed in
New York in 1917. There is also a 'Fest-
Ouvertiire ' for orchestra. Among many songs
may be cited 'Separation,' 'Why?' 'Nymph,'
'Night of Spring,' 'Nocturnal Landscape'
(all Schirmer) ; 'Two Leaves,' 'When I am
Dead,' 'The Apple' (all Carl Fischer); 'The
Nun,' 'Pamphilo's Song,' adapted from
Boccaccio by Bispham (both Ditson) ; and
'A Madrigal of the Italian Renaissance'
(Breitkopf). He has also begun issuing a
series of early Italian songs with revised or
original accompaniments and critical notes
(1st series of 40, Ditson). [ R.9 ]
FLORIO, CARYL [William James Robjohn]
(Nov. 3, 1843, Tavistock, England), was
brought to America in 1857. In 1859-60
he sang at Trinity Church in New York — its
first solo soprano-boy. In 1861-67 he was in
a theatrical troupe, returning to New York
in 1869 as teacher, organist, conductor and
composer. In 1875-82 he conducted operas
in New York, Havana and Philadelphia, and
later concerts of his own -^rks in New York.
For a time he was music-director at the
Baptist Female Institute in Indianapolis
and in 1889-91 at Wells College in Aurora,
N. Y. At different periods he has been or-
ganist at Trinity Church in Newport, R. I.,
Zion Church in New York, Mt. Calvary in
Baltimore, and for many years at All Souls'
in Biltmore, N. C, where in 1896-1901 he
had charge of the music at the Vanderbilt
estate. In 1886 he organized a Palestrina
Choir in New York for the production of
mediffival music, and has led other choral and
orchestral societies. He has written the
operettas 'Inferno' (1871), 'Les Tours de
Mercure' (1872), 'Suzanne' (1876), and the
opera 'Gulda' (1879), all to his own texts;
also the opera 'Uncle Tom' (1882, Philadel-
phia), and the cantatas 'Songs of the Ele-
ments,' 'The Bridal of Triermain' and 'The
Night at Bethlehem,' two symphonies, in G
and C minor (the latter commended by
Thomas), two overtures, a quintet for piano
and saxophones (the first of its kind), two
saxophone-quartets, a piano-concerto in F
minor, four violin-sonatas, two piano-sonatas,
much church-music, madrigals, part-songs
and songs. [ R.5 ]
FOBES, AZARIAH. See Tunb-Books,
1809.
FOERSTER, ADOLPH MARTIN (Feb.
2, 1854, Pittsburgh), was first taught by his
mother. In 1872-75 he studied at the Leipzig
Conservatory, and in 1875-76 taught at the
Fort Wayne (Ind.) Conservatory. Since 1876
he has lived in Pittsburgh, teaching and com-
posing. For some years he conducted the
Symphonic Society and the Musical Union
(choral) . His works include the following :
Orchestral —
' Maroh-Fantasie,' op. 8 (1879, Pittsburgh, also
Chicago under Scheel).
'Thusnelda,' op. 10 (1882, Baltimore, 1884, Pitts-
burgh, 1885, Boston, 1891, Brooklyn).
Suite No. 1, 'The Falconer,' op. 31 (1893, Scranton).
Festival March, op. 32 (1891, Pittsburgh, and
often).
Dedication March, op. 43, for the opening of
Carnegie Music Hall and Institute and founded
on the tones a-c, Mr. Carnegie's initials (1895,
and often) .
Suite No. 2, op. 47 (in part 1898, Omaha Ex-
position, entire 1915, Pittsburgh).
Prelude to Goethe's 'Faust,' op. 48 (prize from
Pittsburgh Art Society, 1898, and given then
and later).
'American Ode,' op. 81 (1913, Pittsburgh Expo-
sition, also New York.
'At Twilight,' op. 59 (Pittsburgh).
Lyric Suite, op. 82, for strings (1916, Pittsburgh).
'Love-Song,' op. 23, from Amelie Rives (1889,
Pittsburgh and Detroit).
'Hero and Leander,' op. 44, from Tennyson (1897,
Pittsburgh).
'Love-Visions' op. 80, words by composer (1913,
Pittsburgh Exposition).
'Spring- Wanderings,' op. 82 (1918, Bangor).
'Verzweiflung,' op. 51, from Carl Hepp.
Festival Music, op. 9.
Symphonic Ode to BjTon, op. 35.
Symphonic Poem, 'Sigrid,' op. 50.
Concerto in D minor, op. 52, for violin and or-
chestra.
Chamber —
Piano-Quartet No. 1, op. 21 (1887, Pittsburgh).
Piano-Trio, op. 29 (1890, Pittsburgh).
Quartet, op. 33, for strings (1891, Pittsburgh,
and later).
Piano-Quartet No. 2, op. 40 (1896, Pittsburgh).
Serenade-Trio, op. 61 (1907, Pittsburgh).
Trio in D, op. 83 (1919, Lockport).
Fantasie, op. 15, for violin and piano.
Romanze and Melodie, op. 17, for violin and piano.
Novelette, op. 26, for violin and piano.
Suite No. 1, op. 36, for violin and piano.
Suite No. 2, op. 79, for violin and piano.
Albumblatt, op. 24, for 'cello and piano.
Cavatina, 'Devotion,' op. 39, for 'cello and piano.
Piano —
'Valse Caprice,' op. 5.
Nocturne, op. 7.
Sonett, op. 13.
'Eros,' op. 27.
'Exultation' and 'Lamentation,' op. 37.
12 Fantasy-Pieces, op. 38.
Suite, op. 40.
Organ —
Preludes in A-flat and D-flat.
Postlude in D minor.
Pastorale, op. 62.
Exaltation, Nocturne and Epigrams, op. 77.
Song-sets —
'Among Flowers,' op. 28.
ARTHUR FOOTE
FOLEY
FOOTE
207
Album of Lyrics, op. 53.
Five Songs, op. 57.
'Tristram and Iseult,' op. 60.
Greek Love-Songs, op. 63.
Garland of Songs, op. 64.
Four Love-Songs, op. 65.
Psalms 13 and 23, op. 66.
Child-Lyrics, op. 67, from Stevenson.
Second Album of Lyrics, op. 69.
Wreath of Songs, op. 70.
14 Selected Songs, op. 78.
[R.6 ]
FOLEY, ALLAN JAMES (1835-1899).
See Vol. ii. 70, and Register, 7.
FOLK-MUSIC. Of indigenous folk-music
the most unmistakable case in America is
that of the Indians. Somewhat less clear is
that of the Negroes, which doubtless embodies
elements derived from contact with white
races. To a different class belong numerous
forms that are in some measure transplantings
from Europe. It has recently been brilliantly-
shown that in the highlands of Kentucky,
Tennessee and the Carolinas is a large amount
of English folk-music that was originally
introduced in the late ISth century or early
19th and has been preserved with modifications
and extensions. Somewhat parallel to this
is the Creole music of the lower Mississippi
region, which is distinctively French in deri-
vation. This, however, has been much in-
fluenced by contact with artistic music in
various forms. Into the Northwest has much
more recently been brought a large amount
of imported folk-music from Scandinavian
sources. In every case where immigrants
of a particular nationality have settled in
considerable numbers it is likely that a certain
amount of folk-music will be found and will
continue in use for a long time. The essen-
tially composite nature of the population of
the United States therefore favors the entry
and perpetuation of varied types of folk-music.
That same compositeness has more and more
rendered impossible any general type that is
distinctively 'American.' The nearest ap-
proach to such a type — and that entirely
one-sided and really untypical — are the
emotional religious songs of the 'Gospel
hymn' variety or the transient crops of war-
songs at one or two periods.
FOOTE, ARTHUR WILLIAM (Mar. 5,
1853, Salem, Mass.). See article in Vol. ii. 71.
He was organist of the First Unitarian Church
in Boston in 1878-1910, and president of the
A. G. O. in 1909-12. As a player he has
given many organ- and piano-recitals, and
appeared frequently in chamber-ensemble.
He is a member of the Institute of Arts and
Letters, and a Fellow of the American Academy
of Arts and Sciences. In 1919 Trinity College
gave him the degree of Mus.D.
Few American composers have won such
high esteem. The uniformly high quality
of his work in diverse forms has been coupled
with a surprising uniformity of success. His
orchestral works are played by leading or-
chestras, his chamber-music has become a
staple in American programs, his organ-music
is everywhere popular, and his songs are
prized alike by singers, accompanists and audi-
ences. The Art of Music (Vol. iv. p. 340) says :
'Of his compositions as a whole it may be said
that they are astonishingly original in an age which
has found it all but impossible to escape imitation.
He is, like most of the great composers, largely self-
taught, and yet there is scarcely a trace of manner-
isms, nor — what is even more remarkable — of
the mannerisms of others. His music is the pure
and perfectly formed expression of a nature at once
refined and imaginative. In these days of startling
innovations, the sincerity of which may not be
unhesitatingly trusted, it sounds none the less
spirited because it is unquestionably genuine and
relatively simple. It stands forth as a substantial
proof that delicate poetry and clear-cut workman-
ship have not yet failed to charm.'
On Thanksgiving Day in 1914, organists
throughout the country, by concerted arrange-
ment, played his Festival March in F as an
expression of gratitude for his recovery from
a serious illness — a tribute seldom paid to
any musician.
The list of his most important works is as
follows :
For Orchestra —
Overture, 'In the Mountains,' op. 14 (1887,
Boston).
Prologue, ' Franceses da Rimini,' op. 24 (1893,
Boston).
Serenade in E, op. 25, for strings (1886, Boston).
Four Character Pieces after Omar Khayydm, op.
48 (1912, Boston).
Suite in D, op. 21, for strings (1886, Boston),
Suite in D minor, op. 36 (1896, Boston).
Suite in E, op. 63, for strings (1910, Boston).
Concerto for 'cello and orchestra (1894, Chicago).
Chamber-Music —
String-Quartet in G minor, op. 4 (1885).
Piano-Trio in C minor, op. 6 (1884).
Three Pieces for violin and piano, op. 9 — 'Mor-
gengesang,' Menuet, Romance.
Sonata in G minor, op. 20, for violin (1890, Kneisel).
Piano-Quartet, op. 23 (1891, Kneisel Quartet).
' Aubade Villageoise,' op. 31, for oboe and piano —
M6lodie, Pastorale.
String-Quartet in E, op. 32 (1894, Kneisel Quartet).
Romanza for 'cello and piano, op. 33.
Piano-Quintet, op. 38 (1898, Kneisel Quartet).
Melody for violin and piano, op. 44.
Piano-Trio in B-flat, op. 65 (1909, Kneisel Quartet).
Ballade for violin and piano, op. 69.
String-Quartet in D, op. 70.
Canzonetta and 'A Song of Sleep,' op. 74, for
violin and piano.
'L6gende,' op. 75, for violin and piano.
Sonata for 'cello and piano, op. 76.
Aubade for 'cello and piano.
Choral Works with Orchestra —
'The Farewell of Hiawatha,' op. 11, for men's
voices (1886, Boston).
'The Wreck of the Hesperus,' op. 17 (1888, Boston).
'The Skeleton in Armor,' op. 28 (1893, Boston).
' Bedouin-Song,' for men's voices.
208
FORBUSH
FORSYTH
'In the Gateway of Ispahan,' tor women's voices
(1914, Boston).
Choral Works a cappella or with Piano —
For men's voices: 'If doughty deeds,' 'Into the
silent land,' 'I love my love,' 'Bedouin-Songs,'
'Recessional,' 'The Munster Fusileers,' 'Bugle-
Song,' 'Crossing the Bar,' 'A Song of April,'
'The Miller's Daughter,' 'Farewell to Summer.'
For women's voices: 'To Daffodils,' 'Lygeia'
(cantata). Six Flower-Songs, op. 49, 'The Sky-
lark' (duet), 'Where shall I find a white rose
blooming?' (duet), 'The Green of Spring,'
'Gray Twilight,' 'Through the Rushes,' 'To-
morrow,' 'The little creek goes winding,' 'Sigh
no more, ladies.'
For mixed voices: 'The Wind and the Day,'
'Scythe-Song,' 'The Jumblies,' 'Vita nostra
plena bellis,' op. 47 (motet.)
Songs —
'Go, lovely rose,' 'Elaine's Song,' 'I'm wearing
awa',' 'Love me, if I live,' 'The Eden Rose,'
'On the Way to Kew,' 'Irish Folk-Song,' 'There
sits a bird,' 'Roses in Winter,' 'I know a little
garden-path,' 'Requiem,' 'A Song of Four
Seasons,' 'Constancy,' 'Once at the Angelus,'
'In Picardie,' 'The roses are dead,' 'Bisesa's
Song,' 'Ashes of Roses,' 'Persian Song,' from the
'Rubaiyat' (also with orchestra), 'Tranquillity,'
' Lilac-Time,' ' O swallow, flying south,' ' Memnon '
— and about 100 others. Duets: 'A Song from
the Persian' and 'The Voice of Spring,' for
soprano and alto : 'Were all the world like you,'
for soprano and tenor.
Church Music —
'Mount Carmel,' for women's voices.
'Hear my Prayer, O God,' for men's voices.
Various Te Deums and other canticles, and about
25 anthems, of which the best known are 'Still,
still with Thee,' 'God is our Refuge,' 'And there
were shepherds,' and 'Awake, thou that sleepest.'
For Organ —
Of about 20 works the best-known are a Festival
March, Allegretto, Pastorale, Nocturne, Toccata
and Suite in D, op. 54. (See article by H. V.
Milligan in 'The Diapason,' April, 1919).
For Piano —
Suite in D minor, op. 15.
Suite in C minor, op. 30.
Three Pieces for left hand alone, op. 37.
Five Poems after Omar Khayydm, op. 41.
About 30 other works.
He has edited numerous educational works
for the piano and published (with W. R. Spald-
ing) Modern Harmony, 1905, and Modtilafion
and Related Harmonic Questions, 1920. [ R.6 ]
FORBUSH, ABIJAH. See Tune-Books,
1806.
FORMES, KARL JOHANN (Aug. 7, 1816,
Miilheim-on-the-Rhine, Germany : Dec. 15,
1889, San Francisco) . See article in Vol. ii. 88.
His first American appearance was on Dec. 2,
1857, at the New York Academy of Music.
He continued widely active for the next
twenty years. In 1882 he married Pauline
Greenwood, who had been his pupil in Phila-
delphia. His memoirs were published in 1888
as Aus meinem Kunst- und Buhnenlebcn, and
he also wrote a Method of Singing, 3 vols.
Shortly before his death he appeared in his
favorite part of Don Basilio (in 'II Barbiere
di Siviglia') at the Bijou Theatre in San
Francisco. His vocal compass was from
low C to F above the staff. See Upton,
Musical Memories, pp. 132-3. [ R.4 ]
FORNIA-LABEY, RITA, nee Newman
(July 17, 1878, San Francisco), began to sing
at fifteen, studied with local teachers, and
prepared for grand opera on the advice of
Scalchi and Emil Fischer. After a year's
study in Berlin with Nicklass-Kempner she
was coloratura-soprano for the Hamburg
Stadt-Theater for two years and then went to
Paris for lessons with Jean de Reszk6. She
came to America in 1906 to join Savage's
English-singing company, and since 1908 has
been with the Metropolitan Opera House.
She has also appeared at Covent Garden.
Her repertory includes Elisabeth, Venus,
Ortrud, Sieglinde, Gutrune, Amneris, Carmen,
Rosina, Nedda, Leonora, Woglinde (in 'Das
Rheingold' and 'Die Gotterdiimmerung'),
and first Flower-Maiden in 'Parsifal.' In
1910 she married James P. Labey, of the Isle
of Jersey. [ R.9 ]
FORSYTH, CECIL (Nov. 30, 1870, Green-
wich, England), was educated at Cranbrook
and Edinburgh University (M. A., biu"sar and
classical prizeman), and studied at the Royal
College of Music in London with Stanford
(composition) and Parry (musical history).
For a time he played viola in the Royal
Philharmonic and Queen's Hall Orchestras,
and was also active as conductor. Since the
end of 1914 he has lived in New York. He
has composed the operas 'Westward Ho'
and 'Cinderella'; two comic operas (with
Alfred Scott-Gatty) , produced at the Savoy
and Aldwych Theatres, London ; a viola-
concerto in G minor and a 'Chant Celtique'
for viola and orchestra, both performed by
E. Ferir under Wood's direction ; four orches-
tral studies from Les Miserahles, played by
the Queen's Hall Orchestra ; a setting of
Keats' 'Ode to a Nightingale' for baritone
and orchestra ; two masses ; chamber-music ;
songs and part-songs. He has also written
Music and Nationalism, 1911, an extensive
treatise on Orchestration, 1914, a readable
History of Music (with Stanford), 1916, and
Choral Orchestration, 1920. He wrote on ' The
English Musical Renaissance' in Vol. iii. of
The Art of Music (1915). [ R.IO ]
FORSYTH, WESLEY OCTAVIUS (Jan.
26, 1803, near Toronto, Ont.), after pre-
liminary training in Toronto, studied with
Zwintscher, Krause and Jadassohn in Leipzig
and with Epstein in Vienna. Since 1892 he
has worked in Toronto as pianist and teacher,
for a time as director of the Metropolitan
School of Music, but recently as private
teacher. His published compositions, about
sixty altogether, are songs and piano-pieces.
FOSTER
FRANKLIN
209
A suite for orchestra, a string-quartet and
many smaller works are still in manuscript.
He has done much, by writing and teaching,
for the development of piano-music in Canada.
[ R.8 ]
FOSTER, FAY, who was born in Leaven-
worth, Kan., began her public musical work
early, being organist at twelve, accompanist for
the Sherwood Concert Company at seventeen
and head of a music-school in Onarga, 111.,
at nineteen. At the Sherwood Music School
in Chicago she studied singing with Mme.
Dove-Boitte, piano with Sherwood and
theory with Gleason. For twelve years she
was in Europe, taking piano under Reisenauer
in Leipzig, Menter and Schwartz in Munich,
and Rosenthal in Vienna, singing at Cologne,
Munich, Leipzig and Berlin, and composition
under Jadassohn. Since 1911 she has lived
in New York. Her waltz 'Die Woche' won
a prize over many competitors in Berlin, and
she holds prizes aLso for songs, women's cho-
ruses and piano-pieces. Of the songs 45 are
published, with 9 part-songs. [ R.8 ]
FOSTER, STEPHEN COLLINS (July 4,
1826, Pittsburgh : Jan. 13, 1864, New York).
See article in Vol. ii. 90-1. Interest in
his music and his unfortunate life does not
diminish. It is possible that investigations
now being made may shed light upon his
story and dissipate some of the shadows
across it. Noteworthy books are Biography,
Songs arid Musical Compositions of Stephen
C. Foster, 1896, by Morrison Foster, his
brother, and Catalogue of First Editions of
Stephen C. Foster, 1915, by Walter R. Whit-
tlesey and O. G. Sonneck, of the Library of
Congress. A fresh biography, by Harold V.
Milligan of New York, appeared in 1920.
The following articles or references have
value — article by Dr. Martin Darkow of
Philadelphia in 'Die Musik,' 4te Jahrg., Heft
16 ; article by T. Carl Whitmer of Pittsburgh
in 'The Musician,' Dec, 1913; article by
Cesar Saerchinger of New York in 'The
International,' Feb., 1914 ; and simamary in
Elson's History of American Music, pp. 134-9.
Foster's father was a prominent business
man who came to what is now Pittsburgh
from Virginia, and his mother was of a well-
known Maryland family. By descent and
temperament he was a Southerner, and this
explains his keen sympathy with the sentiment
and form of the songs and music of the plan-
tations. The entries in the Library of Con-
gress Catalogue number about 200, including
songs, duets, songs with chorus, a collection
of instrumental pieces and arrangements
called The Social Orchestra, 1854, and the many
sacred tunes that Foster contributed to
Horace Waters' Athenceum Collection, 1863.
If the dates of publication be collated, it will
be seen that his early period (1844-55) was
most productive in 1850-51, while the later
period (1857-64) yields most in 1861-63.
It is to the former that belong almost all the
melodies by which he is now best known.
The house in Pittsburgh where Foster was
born was bought by James H. Park and in
1914 presented to the city, which now main-
tains it as a Foster museum. Foster's
daughter, Mrs. Marion Foster Welsh, lives
in Pittsburgh. [ R.4 ]
FOUCARD. See Register, 2.
FOUNDATION FOR NEEDY MU-
SICIANS OF THE UNITED STATES.
See Kneisel, Franz.
FOX, F^LIX (May 25, 1876, Breslau,
Germany), came to Boston when a child.
He was trained there and in New York, from
1892 also at Leipzig, where he studied piano
with Reinecke and composition with Jadas-
sohn. Winning the Helbig prize, he continued
under Philipp at Paris for two years. At
Leipzig he made his debut in 1896, and at
Paris in 1897, bringing out some of Mac-
Dowell's music. Returning to Boston in
1897, he concertized for a year, playing with
leading orchestras and giving many recitals.
In 1898, with Carlo Buonamici, he established
the Fox-Buonamici School in Boston, which
they still conduct. He is an Officier d'Aca-
demie. [ R.8 ]
FRADKIN, FREDRIC (April 2, 1892,
Troy, N. Y., of Russian parents), began
violin-study when only five, and at nine
appeared as soloist with the American
Symphony Orchestra. His teachers in New
York were Jarrow, Schradieck, Bendix, Franko
and Lichtenberg. In 1905 he went to Paris
and studied first with G. Remy and from 1907
in Lefort's class at the Conservatory. Here
he won first prize in 1909. In 1909-10 he
was concertmaster of the Bordeaux Opera
Company, and in 1910-11 of the Louis Ganne
Orchestra at Monte Carlo. After some
study with Ysaye he returned to America,
making his debut in recital in New York on
Jan. 10, 1911. He toured England in 1911-12
and 1913-14, spending the intervening year
as concertmaster of the Vienna Konzertverein,
In 1914-15 he was concertmaster of the
Russian Symphony Orchestra in New York,
in 1915-17 of the Diaghilev Ballet, and in
1918-19 of the Boston Symphony Orchestra —
the first American to hold this post. [ R.9 ]
FRAEMCKE, AUGUST (b. 1870). See
Register, 9.
FRANCIS, W^ILLIAM (1763-1827). See
Register, 2.
FRANKLIN, BENJAMIN (Jan. 17, 1706,
Boston : Apr. 17, 1790, Philadelphia). See
articles in Vol. ii. 103-4, 297-8. As Son-
neck has brought out in his striking essay
210
FRANKO
FREMSTAD
on 'Franklin's Musical Side' in his Suum
Cuique (1916), Franklin had many contacts
with music besides his organization of the
musical glasses into a practical instrument.
As a printer he probably had some connection
with the early engraving of music in America.
He was apprenticed to his brother James in
Boston at the time when Walter's Grounds
and Rules of Musick came out in 1721. At
his own shop in Philadelphia he issued several
reprints of Watts' Psalms (1729, '41), Hymns
(1741, '42) and Divine and Moral Songs for
Children (1737, '47), though none of these
books contained music. Similarly, he printed
Beissel's Gottliche Liebes- und Lobestdne in
1730 — the first German book in America —
and his Vorspiel der Neuen Welt in 1732, both
collections of poetry. But in 1730 he also
published Daniel Warner's The Singing-
Master's Guide to his Scholars, which involved
some music-printing. He was still in Phila-
delphia, though deeply engaged in public
affairs, when the issue of American collections
of tunes began about 1760. There is reason
to suppose, as Sonneck shows, that in 1759,
while on a trip to England, he heard 'The
Messiah' on Apr. 6, 1759, when Handel led
for the last time. He was an expert guitar-
player, fond of vocal and instrumental music
generally, acquainted with considerable musical
literature of the time, and wrote acutely and
sympathetically to Lord Kames (1765) and
others upon musical aesthetics. [ R.l ]
FRANKO, NAHAN (b. 1861). See Regis-
ter, 6.
FRANKO, SAM (Jan. 20, 1857, New Or-
leans), was educated in Germany and
France, studying violin with Joachim in
Berlin, Vieuxtemps and Leonard in Paris, and
composition with Alexis HoUaender in Berlin.
He made his debut at Breslau in 1867 and in
New York in 1869. The years 1871-78 were
spent in study and concertizing in Germany,
and 1878-1880 in Paris, with many concerts
at the Salle Pleyel. From 1880 he made New
York his headquarters. He toured as soloist
and first violin with the Mendelssohn Quintette
Club of Boston ; was member and later
(1884-91) concertmaster of Thomas' Or-
chestra; was solo viola with the New York
Philharmonic Society; and in 1881-1897
gave chamber-music concerts at Steinway
Hall and the Aschenbroedel Club. In 1900-
1909 he gave orchestral concerts of 'Old
Music' in New York, providing the first hear-
ings in America of many works from the 17th
and 18th centuries. These programs he con-
tinued in 1910-14 in Berlin, where he also
taught advanced violin-classes and led the
orchestra-class at the Stern Conservatory.
He returned to New York in 1915, resumed
his concerts of 'Old Music,' and conducted
performances at the Park Theater by the
Society of American Singers. For one season
he was concertmaster at the Manhattan Opera
House, and also for the Russian Ballet under
Diaghilev. Prominent among his pupils are
Emily Gresser, Fredric Fradkin, Jacques
Gordon and Dora Becker. His published
compositions for violin and piano are 'Medi-
tation,' 'Lullaby,' 'Valse Gracieuse' and
'Mazurka de Concert' (Schuberth) ; and
transcriptions for violin and piano, two
violins, 'cello and piano, and string-orchestra,
including many rare 18th-century works
(Schirmer, Carl Fischer, Jungnickel, Ries and
Erler). Unpublished are a Polonaise for
violin alone, a 'Gypsy March' for orchestra,
and piano-pieces. [ R.5 ]
FRANOSCH, ADOLPH (1830-1880). See
Register, 6.
FREDERIKSEN, FREDERIK CHRIS-
TIAN (b. 1869). See Register, 10.
FREEMAN, EDWARD HENDEE (b.
1890). See Colleges, 3 (Muskingum C, Ohio).
p FREER, ELEANOR, n6e Everest (May 14,
1864, Philadelphia), was the daughter of
Cornelius Everest, who was a musical theorist.
She studied singing with Marchesi and dic-
tion with Godard in Paris. After marrying
Archibald E. Freer of Chicago in 1891 she
pursued theory under Ziehn. She did not
begin publishing until 1902, but was then
already well-known as a song-composer. She
has written some 140 songs, of which a large
part are published. Her op. 22, a song-cycle
for medium voice, comprises the entire Sonnets
from the Portuguese of Mrs. Browning. Of
these Ziehn said : ' It is a colossal work. It
is marvelous enough that such sentiments
could be poetically expressed forty-four times
by one person, and more so that another could
place these wonderful sonnets in a musical
setting, and of the highest order.' She has
also published a number of trios and quartets
for men's, women's or mixed voices, and a
group of piano-pieces. During the war she
was a leader in charitable and relief organi-
zations in Chicago, and was founder and
treasurer of the Chicago Hospital Foundation
at Paris. [ R.8 ]
FREMSTAD, OLIVE NAYAN (1870?,
Stockholm, Sweden), was the daughter of
musical parents, living in Christiania, Nor-
way, until she was twelve, when the family
moved to Minnesota. She early began
piano-study, appearing in public at ten,
and at sixteen sang in church-choirs. In
1890 she came to New York, supported
herself by accompanying, giving piano-
lessons and singing in church, meanwhile
studying voice with F. E. Bristol. In 1893
she went to Berlin, where she studied for
a year and a half with Lilli Lehmann. Her
FRENCH
FRIES
211
d6but was made as Azucena in 'II Trovatore'
at Cologne in 1895. In 1896 she sang at
Bayreuth, and engagements in Germany and
Holland followed. In 1897-1900 she sang
regularly at the Cologne opera, and filled
guest-engagements at Covent Garden (first
appearing as Venus in ' Tannhauser' ) , Am-
sterdam, Antwerp and Vienna. She was
at the Royal Opera in Munich in 1900-03,
and made her American debut at the Metro-
politan Opera House in 1903 as Sieglinde in
'Die Walkiire.' She sang for eleven seasons
at the Metropolitan, and since 1914 has made
concert- and opera-tours. Her successes have
been made as Carmen and in all the leading
Wagnerian roles. She created the title-role
in Strauss' 'Salome' at the Paris and New
York performances, and in Gluck's ' Armide' in
New York. She married Edson Sutphen of New
York in 1906, was divorced in 1911, and married
Harry Lewis Brainerd in 1916. [ R.7 ]
FRENCH, JACOB (1754- ? ). See Tune-
Books, 1790.
FRENCH OPERA HOUSE, THE, in New
Orleans, was opened in December, 1859, and
was long famous as the oldest opera-house
in the United States. It was destroyed by
fire on Dec. 4, 1919.
FREUND, JOHN CHRISTIAN (Nov. 22.
1848, London), was educated at the London
City School, Oxford and London Universities.
While at Oxford he edited 'The Dark Blue
Magazine,' and his play 'The Undergraduate'
was produced at the Queen's Theatre, London.
He came to New York in 1871. He became
editor of 'The Musical and Dramatic Times,'
and ' Music and Drama' in 1885, of the Dolge-
ville (N. Y.) 'Herald' in 1891-93, and since
1893 of 'The Music Trades,' 'Musical
America,' and 'The Piano and Organ Pur-
chaser's Guide.' In 1913 he began a propa-
ganda for 'the musical independence of the
United States,' based on the expenditure, at
that time, of over $600,000,000 annually on
music and musical industries, on the superior
qualities of American musical instruments,
and on the unreasonable notion that students
must go to Europe for a complete musical
education. He has made innumerable
speeches on these topics throughout the
country. In 1917 he established the Musical
Alliance of the United States, which aims at
the recognition of music as a vital factor in
national, home and civic life, the extension of
music-study in public schools, the promotion of
American music, and the establishment of a
National Conservatory of Music. [ R.7 ]
FREY, ADOLF (b. 1865). See Register, 8.
FRICKER, HERBERT AUSTIN (b. 1868).
See Register, 10.
FRIEDBERG, CARL RUDOLF HER-
MANN (b. 1872). See Register, 10.
FRIEDHEIM, ARTHUR (Oct. 26, 1859,
Petrograd, Russia). See article in Vol. ii.
110. His first sojourn in America was in
1891-95, when he made tours under Steinway
auspices. In 1900-01 he taught at the
Chicago Musical College. Leaving London
in 1908, he spent two years in Munich. In
1910 he gave recitals in the United States
and Mexico, in 1911 took part in many Liszt
centenary concerts in Germany, Hungary
and America, and in 1912-13 made concert-
tours in Canada. Since 1914 he has lived in
New York. His overture to Lermontoff's
'A Hero of our Times' was performed in
Petrograd in 1877. The opera 'The Last
Days of Pompeii' has not been produced.
In 1880 the piano-concerto in B was first
performed at Weimar, Liszt playing the
orchestral parts. In 1880 he orchestrated
and conducted at a festival in Sondershausen
the 'Vier ungarische Portrait-Skizzen ' by
Liszt, of which the score is lost. In 1890 his
concerto in B-flat was performed under
Mottl in Carlsruhe and hissed, but success-
fully given in New York, Leipzig and Munich.
The American March 'E Pluribus Unum'
was composed in 1894, but is not yet per-
formed. In 1896 his arrangement of Liszt's
2nd Rhapsody for piano and orchestra was
badly and unsuccessfully performed at Leipzig.
In February, 1904, his opera 'Die Tanzerin'
was successfully given at Cologne, Otto Lohse
conducting; in 1906 it was twice badly
performed at Leipzig. Unfinished operas
are 'The Christians' (Nero) and 'Giulia
Gonzaga.' The piano-score of 'Die Tanzerin'
is printed at Leipzig. He has written much
for periodicals, and is engaged on a commen-
tary to the biographies of Liszt. [ R.8 ]
FRIES, AUGUST (1822- ? ). See Regis-
ter, 4.
FRIES, WULF CHRISTIAN JULIUS
(Jan. 10, 1825, Garbeck, Holstein : Apr.
19, 1902, Roxbury, Mass.), was largely self-
taught. In youth he played a number of
orchestral instruments, but finally devoted
himself to the 'cello. From 1842 he played
in the theater-orchestra at Bergen, and at
Ole Bull's concerts. In 1847 he came to
Boston with his brother August. When the
Mendelssohn Quintette Club was organized
in 1849 he was the 'cellist, continuing till
1870 and visiting nearly every considerable
town in the country. He also belonged to
the Musical Fund Society and the Harvard
Musical Association. He played in chamber-
music concerts with Rubinstein and von
Billow, but after 1875 confined himself to
teaching and to concerts in New England.
The impress of his gracious character and his
sterling musicianship was wide and perma-
nent. I R.4 ]
212
FRIML
FURSCH-MADI
FRIML, CHARLES RUDOLF (Dec. 7,
1881, Prague, Bohemia), was educated in the
Prague schools and Conservatory, studying
piano with Jirdnek and composition with
Forster. For five years he was pianist for
Kubelik, and visited the United States with
him in 1901 and 1906. In 1906 he played his
own piano-concerto in B with the New York
Symphony Society. Since 1906 he has lived
in New York, largely engaged on composition.
His 'Christmas Carol' and 'Japanese Ballet'
were produced at the Court Theater in Dres-
den ; the comic operas first produced in this
country are 'The Firefly' (1912, Syracuse),
'High Jinks' (1913, Syracuse), 'Katinka' (1915,
Morristown, N. J.), and the musical comedy
'You're in Love' (1916, New Haven, Conn.).
His compositions for piano, violin or 'cello and
piano, and songs (Schirmer, Schmidt) number
about 100, and find much acceptance. [ R.9 ]
tFRISKIN, JAMES (Mar. 3, 1886, Glas-
gow, Scotland). See article in Vol. v. 640.
On Feb. 15, 1916, he made his New York
d6but as pianist, playing his own sonata and
an unhackneyed program. To the list of
works should be added a Sonata in G for
violin and piano, and a Phantasy in F minor
for piano and string-quartet.
FROST, RUFUS. See Tune-Books, 1805.
FRY, HENRY S. (Apr. 27, 1875, Potts-
town, Pa.), is now organist at St. Clement's
in Philadelphia, his previous positions having
been at St. Paul's (Reformed Episcopal),
the Princeton Presbyterian Church and Holy
Trinity Memorial Chapel. He has given over
600 organ-recitals at conventions of the
N. A. O., for the American Organ-Players'
Club and at the Drexel Institute, etc. (includ-
ing over 125 at the opening of new organs).
He makes a specialty of teaching organ, and
is an associate of the A. G. O. He writes for
many musical publications, and is an officer in
various associations (president of the N. A. O.
in 1920). His compositions are 'Siciliano' and
'Variations on a Evening Hymn,' for organ;
Magnificat and Nunc Dimittis in D; 'Voices
of the Cross' (Lenten) ; two Christmas carols;
'The Souls of the Righteous,' and a song,
'Farewell.' [ R.8 ]
FRY, WILLIAM HENRY (Aug. 10, 1813,
Philadelphia : Sept. 21, 1864, Santa Cruz,
West Indies), was the son of a publisher.
Though largely self-taught in piano-playing,
he had lessons in theory from L. Meignen, a
graduate of the Paris Conservatory. At
fourteen he composed an overture, and at
twenty won a gold medal for another, which
was played by the Philadelphia Philharmonic
Society. In 1845 he composed 'Leonora,'
which is often spoken of as the first American
opera of importance. It was given in Phila-
delphia several times and revived (in Italian)
at the Academy of Music in New York in
March, 1858. In the interim he had joined
the staff of the New York 'Tribune,' and in
1846 had gone abroad as European correspond-
ent. He spent six years in London and Paris,
and earned the friendship of Berlioz and other
French musicians. On his return he became
music-critic and editorial writer on the 'Trib-
une,' and gave lectures on musical history.
The Jullien Orchestra played four of his over-
tures and a symphony. A second opera,
'Notre Dame de Paris,' on a libretto by his
brother J. R. Fry, was brought out in Phila-
delphia in 1864 under the direction of Thomas.
The list of his compositions includes the
symphonies 'Santa Glaus,' 'The Breaking
Heart,' 'Childe Harold,' and 'A Day in the
Country' ; several overtures ; a Stabat Mater,
cantatas and songs. Although his music did
not long survive, his influence as a writer and
educator was marked and beneficial. [ R.4 ]
FRYSINGER, J, FRANK (Apr. 7, 1878,
Hanover, Pa.), from 1890 studied organ and
harmony with F. W. Wolff in Baltimore, from
1898 piano with S. C. Engel and composition
with Kelley, from 1900 piano with Burmeister,
and from 1903 organ and composition with
Kinder in Philadelphia and Wolstenholme in
London. In 1909-11 he was organist at York,
Pa., and music-director at Hood College in
Frederick, Md. In 1911-18 he was chief
organ-teacher at the University School of
Music in Lincoln, Neb., and organist at the
First Presbyterian Church, where he gave
many recitals. Since 1918 he has been head
of the organ and theory work at Augustana
College in Rock Island, 111. He is a fellow
of the Guild of Church Organists in London,
and member of the A. G. O and N. A. O. He
has given many recitals throughout the
country, and at the Jamestown and Panama
Expositions. He has published about 100
works for organ, piano and voice. [ R.9 ]
FUHR, HAYES McGUIRE. See Col-
leges, 3 (Hastings C, Neb.).
FULLERTON, CHARLES ALEXANDER
(b. 1861). See Register, 8.
FULLERTON, ROBERT (b. 1867). See
Register, 9.
FUNK, JOSEPH. See Tune-Books, 1848.
FURLONG, ATHERTON BERNARD (b.
1849). See Register, 6.
FURSCH-MADI, EMMY (1847-1894).
See Register, 6.
G
GABERT, ABEL L. See Colleges, 1
(Catholic U., D.C.).
GABLER, ERNEST (d. 1883). See Reg-
ister, 4.
GABRILOVITCH, OSSIP SALOMONO-
VITCH (Jan. 26, 1878, Petrograd), studied
piano at the Petrograd Conservatory under
Rubinstein and in Vienna with Leschetizky,
and composition with Navrdtil, Liadov and
Glazunov, making his debut as a pianist in
Berlin in 1896. He then toured in Germany,
France, England, Russia, Holland and the
United States, visiting the last in 1900, '01,
'06, '09, '14, '15 and '16. In 1909 he married
Clara Clemens, the daughter of ' Mark Twain.'
In 1904-14 he lived in Munich, conducting
orchestral concerts, and in 1907-18 he con-
ducted series of orchestral concerts in New
York. Since 1918 he has been conductor of
the Detroit Symphony Orchestra. Both aa
player and as conductor he has established
himself as an artist of the first rank.
In 1912-13 he gave a series of six recitals
in Europe to illustrate the historical develop-
ment of the piano-concerto, with these pro-
grams :
I. Bach
Mozart
Beethoven
II. Beethoven
III. Mendelssohn
Chopin
Schumann
Weber
Rubinstein
Tchaikovsky
Liszt
Brahms
IV.
VI. Franck
Saint-Saens
Strauss
Rachmaninov
Concerto in G minor
" in D minor
" in C minor
Concerto in G
in E-flat
Fantasia with Chorus
Capriccio Brillante
Concerto in E minor
" in A minor
Concertstiick
Concerto in D minor
" in B-flat minor
in E-flat
Concerto in D minor
in B-flat
Symphonic Variations
Concerto in C minor
Burlesque
Concerto in C minor
In 1915-16 he gave another series of six his-
torical recitals in New York, Boston and Chi-
cago, with programs from these composers :
Byrde
Purcell
Coupcrin
Rameau
Daquin
Rossi
Scarlatti
J. S. Bach
P. E. Bach
Handel
Haydn
Mozart
II.
III.
IV.
V.
VI.
Beethoven
Weber
Schubert
Mendelssohn
Schumann
Chopin
Brahms
Liszt
Franck
Grieg
MacDowell
Rubinstein
Tchaikovsky
Scriabin
Rachmaninov
Leschetizky
Paderewski
Moszkowski
Debussy
Ravel
Reger
Schonberg
Scott
Grainger
His own published compositions include sets
of two to five piano-pieces, opp. 1-3, 10 and
12, sets of two or three songs, opp. 5, 9 and 11,
a ' Thfeme Varie ' and a ' Melodic ' for piano, opp.
4 and 8, an 'Elegy' for 'cello and piano, op.
7, and an ' Ouverture-Rhapsodie ' for orchestra,
op. 6. [ R.9 ]
GADSKI, JOHANNA EMILIA AGNES
(June 15, 1872, Anclam, Germany), was a
pupil at Stettin of Mme. Schroeder-Chaloupka.
She first appeared in Berlin in 1889 in ' Undine,'
followed by engagements in Germany and
Holland. From 1895 she sang almost con-
tinuously in the United States, at first with the
Damrosch Opera Company and from 1898
at the Metropolitan Opera House, besides
being heard often in England and Germany.
In addition to her distinction as a great
Wagnerian singer she has also been eminently
successful in song-recitals. In 1892 she
married Hans Tauscher. In 1917 she aroused
much resentment by political intrigues and
withdrew to Berlin. [ R.8 ]
GALE, CLEMENT ROWLAND (Mar. 12.
1862, Kew, England), was in 1878-80 an
articled pupil at St. Peter's Church, Eaton
Square, London, and then entered Exeter
College at Oxford, where he graduated in arts
in 1884 and in music in 1889. In 1884-85
he was music-master at Reading School. In
1885-89 he was in Edinburgh as sub-organist
at St. Mary's Cathedral, and music-master
at the Craigmount School and the John
Watson Institute. Coming to New York
in 1890, he was organist at Calvary Church for
ten years, then at All Angels' in 1900-10,
and since 1910 at Christ Church. He has been
organist and instructor at the General Theo-
logical Seminary since 1901, and instructor
in harmony, counterpoint and composition
at the Guilmant Organ School since 1902.
He has published many anthems, services,
part-songs and organ-pieces. His unpub-
lished compositions include Psalm 130 for solo
voices, five-part chorus and orchestra ; a
Mass in G ; a concert-overture; a 'Jubilate
Deo ' in cantata-form ; many songs, part-
songs, organ- and piano-pieces. He was a
founder of the A. G. O., and has long been
prominent in its affairs. [ R.8 ]
GALE, WALTER C. (Sept. 5, 1871,
Cambridge, Mass.), graduated at the College
of the City of New York in 1891. He was
trained by Bassford and Sauret in piano, by
Frank Damrosch in harmony and counter-
point, and by S. P. Warren in organ. After
holding minor positions, in 1890 he became
organist at the Brick (Presbyterian) Church,
New York, going thence in 1893 to Holy
Trinity for five years, part of this time be-
ing also assistant-organist at St. Thomas'.
213
214
GALES
GARDEN
In 1900-05 he was organist at All Souls',
and since 1905 has been at the Broadway
Tabernacle (Congregational). From 1901 he
was private organist to Andrew Carnegie.
He teaches at Miss Spence's School for Girls
and directs the Orpheus Choral Society. His
published works are mainly for church-use —
anthems and solos. An organ-sonata in A
minor is in ms. He was a founder of the A.
G. O. and has been warden. [ R.7 ]
GALES, WESTON (Nov. 5, 1877, Eliza-
beth, N. J.), as a boy was soprano-soloist in
Elizabeth and New York. He early began
piano-study and continued it with Sauford
at Yale, where he graduated in 1898. He
also studied theory with Parker and organ
with Dethier. In 1899-1902 he was organist
at Irvington-on-Hudson, in 1902-08 at Christ
Church in New York, and in 1908-13 at
Emmanuel Church in Boston. He is a
recognized specialist in boy-choir training.
He prepared the boys' choruses for the first
New York performance of Wolf-Ferrari's
'Vita Nuova' and for various Bach works,
and has executed similar tasks in Boston.
During two summers he studied organ with
Widor and Vierne in Paris. In the summer
of 1913 he conducted orchestral concerts in
Munich, Hamburg and Nuremberg. In 1914
he founded the Detroit Symphony Orchestra,
and conducted it till 1918. [ R.8 ]
GALESBURG MUSICAL UNION, THE,
of Galesburg, 111., is a choral society which
about 1900 grew out of a smaller vocal club
in the Conservatory connected with Knox
College. Its conductor from the first has
been William F. Bentley, the director of the
Conservatory, and its membership averages
about 150. Two concerts are given each year,
assisted by the Conservatory orchestra or
one from outside, such as the Chicago or
Minneapolis Symphony Orchestras. Both
oratorios and smaller works are given.
GALLI-CURCI, AMELITA (Nov. 18,
1889, Milan, Italy), had her general education
at the Liceo Alessandro Manzoni and Inter-
national Institute of Languages at Milan.
At the Milan Conservatory she studied piano
under Appiani and graduated with a first
prize in 1903. Self-taught as a singer, she
made her d6but as Gilda in 'Rigoletto' at
the Costanzi in Rome. During the next six
years she sang at the principal theaters in
Italy and Spain, besides touring in South
America with Caruso and Titta RufTo. In the
United States she appeared with the Chicago
Opera Company in Chicago in 1916, and in
New York with the same company in 1918.
Her success, both in opera and in concert,
has been sensational, and she is universally
placed in the first rank of coloratura-sopranos.
Her repertoire includes Gilda, Lucia, Dinorah,
Rosina, Violetta, Amina, Lakme, Leila, Elvira
and Juliette. In 1908 she married the Italian
painter Luis Curci, Marquis de Simeri (di-
vorced in 1920). [ R.IO ]
GALLICO, PAOLO (May 13, 1868, Trieste,
Austria) , appeared in recital as pianist as early
as 1883. In 1886 he graduated from the
Vienna Conservatory (class of Julius Epstein)
with highest honors and two gold medals.
He made concert- tours of Europe, and settled
in New York in 1892, where he is an able
concert-pianist and teacher. His compositions
include the operetta ' Johannistraum,' the
comic opera 'Harlekin' (Cranz), piano-pieces,
songs and arias (Schirmer, Harms, Cranz).
He has also edited some piano-music. [ R.8 ]
GANDELL, SHIRLEY MARK KERR
(b. 1866). See Register, 8.
GANNETT, ELMER K, See Colleges, 3
(Iowa Wesleyan C).
GANTVOORT, ARNOLD JOHANN (b.
1857). See Register, 6.
GANZ, RUDOLPH (Feb. 24, 1877, Zurich,
Switzerland), early began studying both 'cello
and piano under Johannes Hegar for the one
and Robert Freund for the other. In 1893-96
he continued the latter with his uncle, Carl
Eschmann-Dumur, and composition with
Blanchet, both in Lausanne. Then followed
periods with Blumer (piano) in Strassburg
and with Busoni (piano) and Urban (com-
position) in Berlin. At the end of 1899 he
made his formal debut as pianist with the
Philharmonic Orchestra in Berlin, playing the
Beethoven concerto in E-flat and the Chopin
concerto in E minor. In 1900-05 he was head
of the piano-department in the Chicago
Musical College. He has since devoted him-
self to recital-tours in Europe and America
with the greatest success. He is equally
at home in the presentation of classical and
modern music, and has an enormous repertoire.
In Berlin alone he has played sixteen different
concertos. His programs are comprehensive,
including many works by modern composers.
His most important compositions are a
Symphony in E, op. 1, and a Concert-Piece
for piano and orchestra, op. 4, both performed
in Europe and America, but not yet published,
with a set of piano-variations, op. 21, on a
theme by Brahms. Published works include
some 40 piano-pieces, about 200 songs and
many men's choruses. [ R.9 ]
GARCIA, MANUEL DEL POPOLO VI-
CENTE (1775-1832). See Register, 3.
GARDEN, MARY (Feb. 20, 1877, Aber-
deen, Scotland), was brought to America as
a child, living in Chicopee, Mass., in Hartford,
Conn., and from 1888 in Chicago. She began
violin-study at six, piano at twelve and singing
in 1893 with Mrs. S. R. Duff of Bangor, Me.,
who took her to Paris in 1895. Here she
'GARDEN OF ALLAH'
GAY
215
studied with Trabadello and FugSre. Her
debut as Louise was at the Op6ra-Comique on
Apr. 12, 1900, on a day's notice and without
rehearsal, as a substitute for Mile. Rioton.
Even so she won success. She was well-
known in Paris and London as singer and
actress before she appeared in 'Thais' at the
Manhattan Opera House in New York in
1907. She sang at the Manhattan until 1910,
and has since been with the Chicago Opera Com-
pany. She has created the roles of Melisande
in 'Pelleas et M61isande' (1902, by request
of the composer), Marie in 'La Marseillaise'
(1900), Diane in 'La Fille du Tabarin' (1901)
and Fiammette in 'La Reine Fiammette'
(1903). Her roles, many of which she has
introduced in America, also include Salome
(Strauss), Sapho, Griseldis, Marguerite (in
'Faust'), Carmen and Jean (in 'Le Jongleur
de Notre-Dame'). [ R.9 ]
'GARDEN OF ALLAH, THE.' An opera
by Henry K. Hadley, produced by the Chicago
Opera Company in 1918 in New York.
J GARDINER, H. BALFOUR (Nov. 7,
1877, London, England). See article in Vol.
V. 641. In 1912-13 he promoted a series of
important choral and orchestral concerts in
London, devoted largely to the production of
unknown works by contemporary British
composers, and these marked an epoch in
recent musical progress in England. His
own work was interrupted by the war, the only
additions to his compositions being the
'Shepherd Fennel's Dance' for orchestra,
'News from Whydah,' for chorus and or-
chestra, and some unaccompanied choruses.
GARIEL, EDOARDO (Aug. 5, 1800, Mon-
terey, Mexico), having studied with A.
Daunic in Monterey and Marmontel in Paris,
taught music, French and English at the
State School in Saltillo in 1887-98, becoming
director in 1899-1900. In 1900-08 he was
supervisor of school-music in Mexico City, in
1908-15 professor of methodology for school-
music at the Normal School for Girls, and in
1915-17 professor of harmony and music-
pedagogy in the National Conservatory.
In 1915 the government sent him to the United
States to study teaching-methods, and on
this trip he expounded original theories regard-
ing harmony-teaching. He visited Spain,
Italy, France and Switzerland on a similar
mission in 1916. In 1917 he became director
of the Escuela Nacional de Mtisica y Arte
Teatral in Mexico City. He is the author of
Chopin, Consider aciones sobre algunas de sus
obras y la manera de interpretarlas, 1895,
Solfeo Elemental, 1905, 2 parts, Solfco y Canto
Coral en notacion modal cifrada, 1906, Ele-
mentos de Solfeo y Canto Coral, 1908, Nuevo
Sistema de Armonia basado en cuatro acordes
fundamentales, 1916, also in English (Schirmer)
as A New System of Harmony based on four
fundamental chords. [ R.7 ]
GARRISON, MABEL. See Register, 10.
GARTON, SAMUEL B. See Colleges,
3 (EarlhamCInd.).
GASH, Mrs. HENRY LEE. See Colleges,
3 (HeddingC.,111.).
GATTI-CASAZZA, GIULIO (Feb. 3, 1869.
Udine, Italy), was educated as a naval engineer
at the Universities of Ferrara and Bologna,
and graduated from the Naval Engineering
College at Genoa in 1890. He succeeded
his father as president of the theatrical com-
mittee at Ferrara in 1893, and for five years
managed the Teatro Municipale. His marked
success, aided by recommendations from
Puccini, Mascagni and Franchetti, whose
operas he produced at Ferrara, led to his
becoming director of La Scala at Milan in
1898. There he worked for ten years, and,
in conjunction with Toscanini as conductor,
brought the performances to notable per-
fection. 'Rheingold' and 'Siegfried' were
staged for the first time in Italy, 'Parsifal'
was produced at concerts, Strauss' 'Salome,'
Tchaikovsky's 'Eugene Onegin' and 'Pique
Dame,' and many modern French as well as
Italian operas were introduced. Since 1908
he has been General Director of the Metro-
politan Opera House in New York, which
has never been administered with greater
sustained success. His policy in the se-
lection of repertory and artists and the at-
tention given to every detail of performance
have earned him high renown. [ R.9 ]
GAUL, HARVEY BARTLETT (Apr. 11,
1881, New York), at sixteen became a pupil
of LeJeune and deputy-organist at St. John's
Chapel. In 1900 he went to Emmanuel
Church in Cleveland, remaining eight years.
Here he was director of the Hough Choral
Club and critic on the 'News,' besides going
abroad for work with Armes at Durham and
Gaul at Birmingham. After his marriage to
Harriett Avery, the authoress, he removed
to Paris to study under Decaux and d'Indy
at the Schola Cantorum and with Widor and
Guilmant, serving also as organist at St.
Luke's Chapel. In 1910 he came to Calvary
Church in Pittsburgh. He is also critic for
the 'Post' and 'Sun,' and teaches at the
Carnegie Institute of Technology and in
private schools. His chief works are cantatas,
organ-pieces, anthems, choruses and songs
(Schirmer, Ditson, Gray, White-Smith, Birch-
ard, etc.). [ R.8 ]
GAY, MARIA (June 13, 1879, Barcelona,
Spain), first studied sculpture, and her con-
version to music came about cm-iously. At
sixteen she was imprisoned for six months
for singing a revolutionary song. She then
took up the violin, made rapid progress, and
216
GAYNOR
GEHRKENS
also developed her voice, though without a
teacher. Brought to Pugno's notice, she sang
at some of his concerts, and thus was heard
at Brussels by the director of the Theatre de
la Monnaie, where she made her debut as
Carmen in 1902 on five days' notice and with
success. She then studied with Mme. Adiny
in Paris for a year. She toured France,
Belgium, Germany, Russia, Spain and Eng-
land, appearing at Covent Garden in 1906 as
Carmen. In 1908 she came to America, sing-
ing at the Metropolitan Opera House in
1908-09, with the Boston Opera Company
in 1910-12, from 1913 with the Chicago Opera
Company and later in Boston again. Her re-
pertoire includes Carmen, Orfeo, Delilah, Azu-
cena, Maddalena (in 'Rigoletto'), Santuzza,
Suzuki, Charlotte (in 'Werther'), the Mother
(in 'Louise'), Genevieve (in 'Pelleas et Meli-
eande) , Carmela (in ' I Giojelli della Madonna ') ,
Pilar (in 'La Habanera'), Lia (in 'L'Enfaut
Prodigue') and Brangane. [ R.9 ]
GAYNOR, JESSIE LOVEL, noe Smith
(Feb. 17, 1863, St. Louis), had no special musi-
cal training until after her graduation from
Pritchett College in 1881. She then went to
Boston, where she studied piano for two years
with Maas. Later she had theory with
Goodrich and Weidig in Chicago. Songs
written for her own children led to her first
book, Songs of the Child-World. She was
then evolving simple methods for the begin-
nings of music-study and piano-playing. She
has given much time to practical teaching
and the development of teaching-methods.
Her compositions include many for children,
but those for older folk are equally popular.
In her books of songs Mrs. Alice C. D. Riley
has cooperated, writing many of the verses.
The complete list includes about fifty songs
published separately, of which 'The Slumber
Boat ' is perhaps the best-known ; seven
' Songs to Little Folks ' ; an album of six
' Rose-Songs ' ; an album of seven songs ;
three operettas, 'The House that Jack Built,'
' The Toy-Shop ' ; ' Princess Bo-Peep ' ; cho-
ruses for mixed or women's voices ; and sev-
eral piano-pieces. Three volumes of 'Songs
of the Child-World' are now published, and
'Sunday-school Songs for Little Children.'
Educational works for the piano are First
Pedal-Studies, Miniature Melodies (two books),
Melody -Pictures for Little Players, and Minia-
ture Duets. Lilts and Lyrics is a song-book
for children's schools, and Elements of Musical
Expression is for early use in dictation and
ear-training. Several songs are unpublished,
as is also a romantic operetta 'Pierre, the
Dreamer.' She married Thomas W. Gaynor
in 1886, and lives in St. Louis. [ R.8 ]
GERHARD, HEINRICH (July 25, 1878,
Sobernheim, Germany), came to America
when a boy. He attended the High School
at Roxbury, Mass., and studied piano with
Clayton Johns in Boston until 1895. After
four years with Leschetizky in Vienna, he
made his debut with the Boston Symphony
Orchestra in 1900. He has since held an
enviable position in Boston as pianist and
teacher. He is popular both as ensemble-
player and recitalist, and has played in the
first Boston performances of Franck's Quintet
and 'Variations Symphoniques,' Faur6's G
minor Quartet, and d'Indy's ' Mountain
Symphony ' ; and in the first American per-
formances of Strauss' 'Burleske,' Converse's
'Night and Day,' and LoefBer's 'A Pagan
Poem.' He has composed a string-quartet,
a sonata for violin and piano, waltzes for
orchestra, and 12 piano-pieces (Boston Music
Co.). [ R.9 ]
GEDDES, PAUL R. See Colleges, 3
(Stetson U., Fla.).
GEER, E. HAROLD (Mar. 5, 1886, Tabor,
la.), was the son of music- teachers and pioneera
in musical education in Iowa, his father being
for years director of Tabor College Con-
servatory. He began piano, violin and organ
under his parents' direction. In 1906 he
graduated from Doane College in Nebraska,
and the next year at the Oberlin Conser-
vatory. In 1907-09 he taught at Lake Erie
College in Ohio, also pursuing graduate-
studies in organ and composition under
Andrews at Oberlin and playing in the Wood-
land Avenue Presbyterian Church in Cleve-
land. In 1909-11 he taught organ and theory
at Albion College in Michigan, and then went
to Paris for two years with Widor and G6dalge.
In 1913-16 he was organist at the First
Congregational Church in Fall River, Mass.
Since 1916 he has been organist and assistant-
professor at Vassar CoUege. His compositions
(unpublished) include a sonata for violin and
piano, songs, short pieces for piano and organ,
and arrangements for organ. He is a fellow
of the A. G. O. [ R.9 ]
GEERE, MARVIN DARWIN (b. 1883).
See Colleges, 3 (Baker U., Kan.).
GEHOT, JEAN (1756?- ? ). See Regis-
ter, 2.
GEHRKENS, KARL WILSON (Apr. 19,
1882, Kelleys Island, O.), graduated from
both Oberlin College and Oberlin Conserva-
tory in 1905. For two years he taught alge-
bra and German in the Oberlin High
School, but in 1907 returned to the Con-
servatory to take charge of the department of
school-music. His position there involves
the training of teachers of public-school
music and also the supervision of music in
the Oberlin schools. He has been a leader in
all school-music movements and is prominent
in the Supervisors' National Conference. He
GEIB
GIDEON
217
13 also active in the M. T. N. A., and since
1919 has been the efEcient editor of its Pro-
ceedings. He has written Music-Notation and
Termiyiology, 1916, Essentials in Conducting,
1919, an Introduction to School Music-Teaching,
1919, and many articles on various phases
of music-education. [ R.9 ]
GEIB, JOHN and ADAM. See Register, 3.
GEIBEL, ADAM (b. 1855) . See Register, 7.
GEIGER, AUGUST (d. 1910). See Col-
leges, 2 (Brenau C., Ga.).
GEMUNDER, AUGUST MARTIN LUD-
WIG (Mar. 22, 1814, Ingelfingen, Wiirtem-
berg : Sept. 7, 1895, New York), with his
brother, was trained as a violin-maker by his
father. In 1846 he came to Springfield, Mass.,
establishing a business which about 1852
became famous at New York. His instru-
ments won first prizes at London in 1851, at
Paris in 1867 and at Vienna in 1873, and have
been used by the greatest players. The
business was continued by four sons. [ R.4 ]
GEMUNDER, GEORG (1816-1899). See
Register, 4.
GENSS, HERMANN (b. 1856) . See Regis-
ter, 8.
GERHART, I. See Tune-Books, 1818.
GERICKE, WILHELM (Apr. 18, 1845,
Graz, Styria). See article in Vol. ii. 159.
His second engagement as conductor of the
Boston Symphony Orchestra was in 1898-
1906, and he then returned to Vienna, retiring
from musical activity. He showed an in-
creased sjonpathy for modern music in his
later years at Boston, without losing that
'passion for perfection' for which he was noted.
To the list of his compositions are to be added
a septet, a string-quartet, two sonatas for
violin and piano and two for piano, a piano-
quintet and trio, and a suite for orchestra.
He has also orchestrated three sonata-move-
ments of Bach and provided additional
accompaniments for Handel's 'Judas Mac-
caboeus.' [ R.7 ]
GERMAN SINGING-SOCIETIES. Rit-
ter, in his Music in America, lays just em-
phasis upon the zeal with which German
immigrants early organized choral societies,
originally for men's voices only. The New
York Liederkranz was started in 1847, and
from it diverged in 1854 the Arion. About
the same time similar movements took place
in many other cities. The Cincinnati Man-
nerchore united in a festival in 1849. The
Milwaukee Musikverein was organized in
1849. Philadelphia, Baltimore, St. Louis
and Chicago may be cited as other places
where like activity was shown. At first all
these societies were for men and cultivated
only part-songs. All of them, also, were in
a sense private — for members and their
friends. But some of them expanded into
mixed choruses and undertook extensive
performances of large choral works in a public
way. Even in their more limited form they
supplied within their own circle a useful
stimulus, and when they gave concerted works
and operas they became institutions of general
culture. Their most fruitful influence was
just before and just after the Civil War.
Out of them in several cases grew more com-
prehensive enterprises that were permanent
and powerful. In at least half a score of cities
the enthusiasm over them supplied the basis
for both choral and orchestral projects of
much greater scope and public spirit.
GERMANIA ORCHESTRA, THE, was a
co5perative troupe of German players, largely
recruited from Gungl's band in Berlin, who
came to New York in 1848. Originally they
numbered twenty-four, all competent per-
formers, led by Carl Lensehow. The latter
was succeeded in 1850 by Carl Bergmann, and
the number of members was at times increased.
The first concert was on Oct. 5, 1848, in the
Astor Place Opera House, followed by a series
of sixteen, with four in Brooklyn. In De-
cember six concerts were given in Philadelphia,
but with such ill-success that the troupe was
temporarily disbanded. In March, 1849,
they were reassembled at Washington to play
at the inauguration of President Taylor.
Thence they went to Baltimore, giving ten
concerts and for the first time winning
pecuniary success. On their way north they
stopped at New Haven, Hartford, Springfield,
Worcester and Providence. From April 14
they gave twenty concerts in Boston with such
eclat that they were in much request else-
where, not only in New England, but in the
South and West. They played a remarkably
long list of symphonies, overtures and lesser
works, besides joining with choral societies
in concerted works. Among the soloists
assisting were Jenny Lind, Sontag, Camilla
Urso and Ole Bull. In September, 1854,
however, the laboriousness of travel led to the
dissolution of the Orchestra. During six
years they gave nearly nine hundred concerts.
The influence of these was one of the most
potent factors in the growth of American
taste and knowledge. See article in 'Scrib-
ner's Magazine,' Nov., 1875, and the old
print reproduced in Elson, American Music,
p. 82.'
GERVILLE-R:fiACHE, JEANNE (1882-
1915). See Register, 9.
GESNER, MAUDE EMMA. See Col-
leges, 3 (Western Maryland C).
GIDEON, HENRY (Oct. 7, 1877, Louis-
ville, Ky.), graduated from the Louisville
Boys' High School in 1895. He studied
music at Harvard, spent a year in Paris on a
scholarship, and was made A.M. in 1906.
218
GILBERT
GILCHRIST
Since 1908 he haa been organist at Temple
Israel in Boston, and music-director at the
Union Park Forum. With his wife, n6e
Ramsay, he toured at intervals for three years.
For a time he conducted the Cecilia Society.
He edited the Jewish Hymnal for Religious
Schools, 2nd ed., 1917. His compositions are
part-songs for women's voices, 'As sing the
thrushes' and 'A Jewish Lullaby,' four songs
and a piano-arrangement of the Scherzo from
Guilmant's Fifth Sonata (all Witmark).
Unpublished are a Mass in F, a score of songs,
and arrangements of Russian-Jewish folk-
songs with English texts (version by Mrs.
Gideon) . He has led three musical pilgrimages
through Europe, lectured for the Boston Opera
Company, and written many articles for mag-
azines. [ R.9 ]
GILBERT, HENRY FRANKLIN BEL-
KNAP (Sept. 26, 1868, Somerville, Mass.),
had his school-education at Cambridge and
Reading, Mass. He studied violin in Boston
with MoUenhauer, harmony with Howard
and Whiting at the New England Conser-
vatory, and in 1889-93 composition with
MacDowell — his first pupil after returning
from Europe. While studying he played
violin in small orchestras for support. In
1894, with Professor J. D. Whitney of Har-
vard, he gave concerts illustrating the Slavic
tendencies in modern music. After some busi-
ness experiences and varied further studies,
he lived for a time in Paris — intent upon
French literature. In 1901, being once more
in America, he went again to Paris to hear
Charpentier's 'Louise,' and then decided to
devote himself to composition. Being in-
tensely interested in folk-music generally, he
threw in his lot with the circle represented by
the Wa-Wan Press, though with more emphasis
upon Negro than Indian sources. His list
of works is as follows :
Orchestral —
'Americanesque,' based on three minstrel-tunea
(about 1903) (Gray).
'Comedy-Overture on Negro Themes' (1911, New
York, Pittsburgh, Boston and often since) (Gray).
Three 'American Dances' (1911) (4-hand piano-
arrangement, Boston Music Co.).
'Negro Rhapsody' (1913, Norfolk Festival) (Gray).
Two 'Episodes,' 'Legend,' 'Negro Episode' (Gray).
Symphonic Prologue, 'Riders to the Sea,' after the
tragedy of Synge, utilizing studies in Celtic folk-
music (1915, Peterboro Festival) (Schirmer).
'Salammbo's Invocation to Tanith,' after Flaubert,
for soprano and orchestra (piano-score. Gray).
Six 'Indian Sketches,' for chorus and orchestra.
Hymn, 'To America' (piano-score, Birchard).
Symphonic Ballet, 'The Dance in Place Congo,'
based on four Creole themes quoted by Cable
(1918, Metropolitan Opera House, thrice re-
peated and once in Boston).
Piano —
'The Island of the Fay,' after Poe (Gray).
'Indian Scenes,' 'Negro Dances' (Gray).
Songs —
'Pirate Song,' text from Stevenson (often sung by
Bispham).
About 15 published by Gray, with others by Presser,
Birchard, Ditson and Boston Music Co.
(Edited) 'One Hundred Folk-Songa' (Birchard).
Of these the most ambitious is the ' Dance in
Place Congo,' which called out both high praise
and question for its depiction of rude vigor.
To The Art of Music he contributed a chapter
on 'Primitive Music,' and to E. S. Curtis*
North American Indian one on ' Indian Music'
He has written thoughtful articles for 'Music,'
'The New Music Review' and 'The Musical
Quarterly.' He has lectured on 'Humor
in Music' at Harvard and Columbia in 1917-
18, with piano-illustration by George Cope-
land. See article by Olin Downes in 'The
Musical Quarterly,' January, 1918. [ R.8 ]
GILBERT, TIMOTHY and LEMANUEL.
See Register, 3.
GILBERT, WALTER BOND (Apr. 21,
1829, Exeter, England : Mar. 2, 1910,
Oxford, England), after study with Alfred
Angel, Wesley and Bishop, from about 1845
was organist at various places in England and
took his first degree at Oxford in 1854. He
was a founder of the R. C. O. and in later years
one of its vice-presidents. From 1869 for
thirty years he was organist at Trinity Chapel
in New York, highly respected as player,
composer and editor of church-music. In
1899 he retired on a pension and later went
back to England. He was made Mus.D. by
Toronto University in 1886 and by Oxford
University in 1888. He composed the ora-
torios 'St. John' (1857) and 'The Resto-
ration of Israel' (1859), services in C, E and
A-flat (one written when only 17, but in
standard use), anthems, hymn-tunes and
organ-pieces. He wrote or edited The Parish
Church Manual, 1854, The Canticles, 1856,
The Church Chorister, 1872, The Hymnal (with
A. B. Goodrich), 1872, Organ-Preludes and
Fugues, 1880, The Psalter, 1882, and also
Memorials of All Saints' Church, Maidstone,
1864, and The Antiquities of Maidstone, 1865.
[ R.5 ]
GILCHRIST, WILLIAM WALLACE (Jan.
8, 1846, Jersey City, N. J. : Dec. 20, 1916,
Easton, Pa.), was for his whole life identified
with Philadelphia (except for teaching at
Cincinnati in 1872-73). His only teacher
(from 1865) in organ, voice and theory was
Dr. Clarke at the University of Pennsylvania.
In 1874 he organized and for forty years
conducted the Mendelssohn Club. He was
conductor of the Philadelphia Symphony
Orchestra, from which the present Philadelphia
Orchestra developed, from 1892 the moving
spirit in the Manuscript Music Society and
president of the Musical Art Club. He was
GILES
GLAZUNOV
219
a leading vocal teacher, choirmaster at the
Church of the New Jerusalem (Sweden-
borgian) and from 1882 voice-teacher at the
Philadelphia Musical Academy. He was
made Mus.D. by the University of Pennsyl-
vania in 1896. In 1882 he won the Cincinnati
Festival prize of $1000 for his setting of
Psalm 46, Reinecke, Saint-Saens and Thomas
being the judges; he also won two prizes
offered by the Abt Singing Society of
Philadelphia and three offered by the Mendels-
sohn Glee Club of New York. He conducted
his Symphony in C at the Philadelphia Or-
chestra concerts in 1910. He also composed
a Christmas oratorio; Psalm 90; 'Song of
Thanksgiving,' for chorus and orchestra ;
'Easter Idyl' ; the cantata 'The Rose' (1887) ;
a 2nd Symphony, in D ; a nonet for piano,
strings, flute, clarinet and horn ; a quintet for
piano and strings; a string-quartet; a piano-
trio ; many songs ; and a long list of anthems
and church-music. His writing combined great
technical dexterity with much imaginative
power. [ R.6 ]
GILES, THOMAS (b. 1883). See State
Universities (Utah).
GILFERT, GEORGE. See Register, 2.
GILIBERT, CHARLES (1866-1910). See
Register, 9.
GILLES, FRANK WOOD. See Colleges,
3 (Heidelberg U., Ohio).
GILLES, P. See Register, 3.
GILLETTE, JAMES ROBERT (b. 1886).
See Register, 10.
GILLINGHAM, GEORGE (d. 1823?).
See Register, 2.
OILMAN, BENJAMIN IVES (b. 1852).
See Register, 8.
GILMAN, LAWRENCE (July 6, 1878,
Flushing, N. Y.), one of the most active writers
on the music of to-day, was educated at the
Collins Street Classical School in Hartford,
Conn., but was self-trained in music. In
1901-13 he was music-critic for 'Harper's
Weekly,' and in 1911-13 also managing-
editor. Since 1913 he has been musical and
dramatic critic of ' The North American Re-
view,' and recently also literary critic and
member of the editorial staff. He is author
of Phases of Modern Music, 1904, Edward
MacDowell, 1904, The Music of To-morrow,
1906, Guide to Strauss' Salome, 1907, Stories
of Symphonic Music, 1907, Guide to Debussy's
' PMeas et Melisande,' 1907, Aspects of Modern
MuAsic, 1908, Life of Edward MacDowell, 1909,
and Nature in Music, 1914. He has composed
'A Dream of Death' and 'The Curlew,' reci-
tations with music after Yeats (Schirmer).
[ R.9 ]
GILMORE, PATRICK SARSFIELD
(1829-1892). See Vol. ii. 169, and Register, 4.
X GILSON, PAUL (June 15, 1865, Brussels,
Belgium). See article in Vol. ii. 169-70. To
the list of works add the opera ' Gens de Mer'
(1902), later known as 'Zeevolk' (1904); in-
cidental music to ' Liefdebloem ' and ' Roovers-
lief de ' ; two cantatas for soli, chorus and
orchestra, ' David ' and ' Les Suppliantes ' ;
the symphonic poems 'Halia' and 'La Des-
tin6e' ; 'Scotch Dances' and 'Suite Pastorale'
for orchestra; and a 'Norwegian Suite' for
wind-instruments. He has also written Le
Tutti Orchestral, 1913, a treatise on dynamics.
GILSON COMPANY, THE F. H., of
Boston, was founded in 1878 as a music-
printing establishment. Besides attaining a
position of leadership in this business, for
many years it also did general book-publishing.
Since 1889 it has been located at 54-60 Stan-
hope St.
GIORNI, AURELIO (b. 1895). See Reg-
ister, 10.
GIORZA, PAOLO (1838-1914). See Reg-
ister, 8.
' GIOVANNA DI NAPOLI.' An opera by
Maurice Strakosch, produced in New York in
1860 (?).
GITTELSON, FRANK (June 12, 1896,
Philadelphia), came of musical parents and
early showed talent. He began violin with
Paul Meyer in Philadelphia and Daniel
Visanska in New York, and then studied
with Auer and Flesch in Berlin. His debut
was in Berlin in 1913, Gabrilovitch conducting.
A tour in Germany, Austria and Holland
followed, and at this time Nikisch prophesied
for him a brilliant career. In London he
gave a joint-recital with Melba at Albert
Hall. In America he appeared first in 1914,
with the Philadelphia Orchestra. He has
since played with leading orchestras and
given many recitals. During the war he was
assigned to the Radio Service. In 1919 he
became professor of violin at the Peabody
Conservatory of Music in Baltimore. He
has practically introduced and repeatedly
played the first violin-concerto of Alfredo
d'Ambrosio, and expects soon to introduce
a second concerto. [ R.IO J
GLASSON, T. BATH. See Register, 8.
X GLAZUNOV, ALEXANDER CONSTAN-
TINOVITCH (Aug. 10, 1865, Petrograd,
Russia). See article in Vol. ii. 175-177. In
1909-12 he was director of the Petrograd
Conservatory, and then returned to his class
in instrumentation and score-reading. To
the list of works add
op. 73 'Ouverture Solennelle.'
76 'Marche sur un thdme russe,' for orches-
tra.
78 Ballade, for orchestra.
81 'Scfine dansante,' for orchestra.
82 Concerto in A minor, for violin (1904).
83 Symphony No. 8, in E-flat.
84 Dramatic Overture, 'Le Chant du Destin.'
220
GLEASON
GODOWSKY
op. 85 Two Pr6Iude3.
87 'Prologue Symphonique, k Gogol' (1909).
88 'Fantaisie Finnoise' (1910, Helsingfors) .
89 'Esquisses Finnoises' or 'Kalevala Suite'
(1909).
90 'Introduction et la Danse de Salom6.'
91 'Cortege Solennel.'
92 Concerto in F minor, for piano.
93 Prelude and Fugue, for organ.-
Without opus-number : Incidental music to
Wilde's 'Salome' and to Grand Duke Conatan-
tine Alexander's passion-play, 'The King of
the Jews.'
See biography by Ossowsky, 1907, and also
Montagu-Nathan, Contemporary Russian Com-
posers, 1917.
GLEASON, FREDERIC GRANT (Dec.
17, 1848, Middletown, Conn. : Dec. 6, 1903,
Chicago). See article in Vol. ii. 177. Add
to list of works the piano-concerto in G
minor, op. 18. 'Edris' was played by the
Chicago Orchestra under Thomas on April
17-18, 1896, and also the 'Song of Life' on
Nov. 30, 1900, besides at other times the
prelude to 'Otho Visconti' and 'The Pro-
cession of the Holy Grail.' The opera 'Otho
Visconti' was given at the College Theatre,
Chicago, on June 4, 1907, under the direction
of Walter Keller. He was a member of the
New York Manuscript Society, the first
president of the Manuscript Society of Chicago
(1896-98), in 1884-89 music-critic of the
Chicago 'Tribune'; and in 1900-03 director
of the Auditorium Conservatory. [ R.6 ]
GLEN, IRVING MACKEY (b. 1871).
See Register, 8, and State IlNiVERSiTiEa
(Wash., Ore.).
t GLIERE, REINHOLD M ORITZOVITCH
(Dec. 30, 1874, O.S. or Jan. 11, 1875, N.S.,
Kiev, Russia). See note in Vol. ii. 179. In
1914 he became director of the conservatory
at Kiev. His larger works are the Symphonies
in E-flat, op. 8, and C minor, op. 25; the
symphonic poem ' Les Sirfenes ' ; ' Ilia Muro-
metz,' op. 42, entitled a symphony, but really
a symphonic poem ; the opera ' Awakened ' ;
two string-quartets, op. 2 in A and op. 20 in
G ; three string-sextets and a string-octet ;
pieces for two pianos, opp. 41 and 61, and many
songs and smaller instrumental pieces.
GLOVER, WILLIAM HOWARD (1819-
1875). See Register, 5.
GLUCK, ALMA (May 11, 1886, Bucharest,
Rvunania), was brought to New York as a
child (Reba Fierson) and was educated in
the public schools and the Normal College.
She began a business career as confidential
secretary before discovering that her voice
was worth cultivation. After studying in
1906-09 with Buzzi-Peccia, she sang for
Toscanini and Gatti-Casazza and was at once
engaged for the Metropolitan Opera House.
She made hor d6but as Sophie in Massenet's
'Werther' in 1909, and later appeared in
'Orfeo,' 'I Pagliacci,' 'Armide,' 'Stradella'
and 'La Bohfeme.' In her first year at the
Metropolitan she sang eleven roles and twenty
in all. In 1912 she gave up the stage for
concert-work, in which she had been and is
notably successful. The winter of 1912-13
was spent in study with Sembrich in Berlin.
She married the violinist Efrem Zimbalist in
1914. [ R.9 ]
GODOWSKY, LEOPOLD (Feb. 13, 1870,
Wilna, Russian Poland), first appeared as
pianist at nine, and began American tours in
1884 with Clara Louise Kellogg and Emma
Thursby and later with the violinist Musin.
His studies prior to this date had been in
Wilna, with a few months at the Hochschule
in Berlin under Rudorff. In 1886 he returned
to Europe, expecting to study with Liszt, but
the latter's death prevented. In 1887-90 he
was a pupil of Saint-Saens in Paris. His
second American tour began in 1890, and led
to a long sojourn, at first as instructor of
piano-teachers at the Broad Street Con-
servatory in Philadelphia, and in 1894 as
director of the piano-department of the
Chicago Conservatory. In 1900 he went to
Germany, and made his Berlin d6but in
December. For nine seasons his home was
there, the routine of teaching being varied by
many concert-trips. In 1909 he was made
director of the Master-School of Piano-Playing
at Vienna, with the title of Imperial Royal
Professor. In 1912 and 1913 he made tours
in America, and in 1914 again located in the
United States. Since 1918 he has held mas-
ter-classes for piano-playing on the Pacific
Coast and in the West. His concert-tours
have been almost continual, but he has found
time also to prepare and edit many edu-
cational works. He is editor-in-chief of The
Progressive Series of Piano-Lessons, 1912
(Art Publication Society, St. Louis). Huneker
calls his playing 'transcendental . . it is
the fine equilibrium of intellect and emotion
that compels admiration.' His compositions
for piano are as follows :
Sonata in E minor.
24 'Walzermasken.'
24 'Renaissance Pieces.'
53 Studies on Chopin's jfitudes.
Concert-Paraphrases on Weber's 'Moment© Ca-
priccioso,' 'Perpetuum Mobile' and 'Invita-
tion to the Dance.'
Cadenza to Beethoven's 4th Concerto in G.
(The above published by Schlesinger.)
Symphonic Metamorphoses on Joh. Strauss'
waltzes 'Kunstlerleben,' 'Fledermaus' and ' Wein,
Weib und Gesang' (Cranz).
Concert-arrangement of Henselt's 'Si oiseau
j'^tais,' op. 2, no. 6 (Hofmeister).
Concert-Studies in C and E-flat.
Sarabande in C-sharp minor.
Menuet in A-flat.
Courante in E minor.
'Ein Dammerimgsbild' in E-flat.
GOEPFART
'GOLD'
221
' Valse-Idylle ' in E.
Scherzino in C-sharp minor.
(The above published by Schirmer.)
Toccata ('Perpetuum Mobile') in G-flat.
'M^lodie Meditative' in E-flat.
Capriccio in C minor.
' Arabesque ' in F.
' Barcarolle- Valse ' in F-A.
Concert-Paraphrase of Chopin's Waltz, op. 18.
Concert-Arrangement of Chopin's Rondo in E-flat,
op. 16.
(The above published by Schmidt.)
Nocturne, 'A Night in Spring' (Art Publ. Soc).
12 'Impressions,' for violin and piano.
4 'Impressions,' for 'cello and piano.
34 'Miniatures,' for piano, 4-hand3 — developed
from five-tone combinations.
(The above published by Carl Fischer.) [ R.7 ]
GOEPFART, CHRISTIAN HEINRICH
(1835-1890). See Register, 6.
GOEPP, PHILIP HENRY (June 23, 1864,
New York), in 1872-77 attended school in
southern Germany and began to study the
piano, followed by further training in organ
and theory under P. B. Sparks in New York.
In 1884 he graduated from Harvard and took
the full course in composition under Paine.
He then became a law-student, was admitted
to the bar in Philadelphia and wrote articles
on legal subjects. Since 1891, however, music
has been his profession, starting with supple-
mental studies with W. M. Warner (piano),
Wood (organ) and Clarke (orchestration).
In 1892 he was a founder of the Manuscript
Music Society and long an officer in it. Since
1900 he has prepared the program-notes for
the Philadelphia Orchestra. He is organist
at the First Unitarian Church and theory-
professor at the Temple University, besides
much general teaching. He has published
a fairy-opera, 'The Lost Prince,' part-songs,
madrigals, anthems, children's songs and a
'Lullaby' for violin. He has besides several
orchestral marches (such as the 'Heroic'
and the 'Wedding'), a sonata for violin and
piano, variations for organ, many pieces for
piano or violin, a Christmas cantata and
many songs. He is most widely known for
his Symphonies and their Memiing, 3 vols.,
1898, 1902, 1913. He edited Madeira's Annals
of Music in Philadelphia, 1896, and has written
numerous magazine articles. [ R.8 ]
GOETSCHIUS, PERCY (Aug. 30, 1853,
Paterson, N. J.), until twenty assisted his
father as civil engineer, though eagerly using
means for self-discipline in music. In 1873
he entered the Stuttgart Conservatory,
studying piano with Lebert and Pruckner,
composition with Faiszt and instrumentation
with Doppler. In 1876 he began to teach
the theory-classes and in 1885 was made
Royal Professor in theory and history and
became critic for two journals. In 1890-92
he taught at Syracuse University, receiving a
Mus.D. in 1892. In 1892-96 he was at the
New England Conservatory, and in 1896-1905
taught privately in Boston. Since 1905 he
has been head of the work in theory and
composition at the Institute of Musical Art
in New York. In 1897-1905 he was organist
at the First Parish Church in Brookline.
His development of a rational and com-
prehensive system of theory-teaching was
partially suggested by the work of Faiszt,
but is chiefly due to his own persistent efforts
to organize tone-materials and show reasons
for the instinctive impulses of genius in using
and applying them, to lead students forward
by careful stages of information and experi-
ment, and to keep their work vital by constant
analysis of good music. In pursuance of his
ambition he has produced a monumental
series of text-books, admirably arranged and
abounding in original definitions and directions.
These include The Material Used in Musical
Composition, Stuttgart, 1882 (2nd ed., rewritten,
New York, 1889, 14th ed., rewritten. 1913),
The Theory and Practice of Tone-Relations,
1892 (11th ed., revised, 1900, 15th ed., re-
written, 1916), Models of the Principal Music-
Forms, 1894, Historxj-Syllabus, 1894, The Homo-
phonic Forms of Musical Composition, 1898,
Exercises in Melody-Writing, 1900 (rewritten,
1918), Applied Counterpoint — Invention, Cho-
rale-Elaboration, Fugue, Canon, 1902, Lessons
in Music-Form, analysis only, 1904, Elementary
Counterpoint, 1910, The Larger Forms of Musi-
cal Composition, 1915, and (with Thomas Tap-
per) Essentials in Music-History, 1914.
Unpublished compositions include a sym-
phony, the overtures 'Samson' and Christmas,'
an orchestral suite, three concert-fugues for
piano, and many smaller pieces, instrumental
and vocal. Pie has published a piano-sonata
in B, two concert-fugues, seven Characteristic
Pieces in waltz-rhythm, a Minuet, a Wedding-
March (also organ), two Mazurkas, a Revery,
six anthems and the song 'The Lord is my
Shepherd.' He has edited the complete
piano-works of Mendelssohn (Cotta Edition),
Thirty Compositions of Mendelssohn (Ditson),
an analytic edition of 'The Songs without
Words' (Ditson), etc. He is one of the editors
of The School-Credit Piano-Course (Ditson).
He has also written many essays and articles
for musical journals. [ R.6 ]
GOFF, ANNA CHANDLER. See Col-
leges, 3 (Kentucky Wesleyan C).
GOGORZA, EMILIO EDOARDO DE (b.
1874). See Register, 8.
'GOLD,' a 'forest-play,' was No. 14 of the
'Grove-Plays' of the Bohemian Club of
California. The music is by Humphrey J.
Stewart and the text by Frederick S. Myrtle.
It was given in August, 1916. The scene
is laid in a California forest, at first in pre-
historic time and then in 1776.
222
GOLDBECK
GOODRICH
GOLDBECK, ROBERT (Apr. 19, 1839,
Potsdam, Germany : May 16, 1908, St.
Louis) , was first trained in piano and harmony
by his uncle, Louis Kohler, and later studied
with Litolff. After sojourns in Paris and
London, he came to New York in 1857 as
teacher and composer. In 1867 he assisted
Tourjee in establishing the New England
Conservatory in Boston, but in 1868 moved
to Chicago and started another there. In
1873-78 he was in St. Louis as conductor of
the Harmonic Society and one of the directors
of the Beethoven Conservatory. He then
moved from place to place — New York in
1880-85, Germany in 1886-91, St. Louis in
1891-94, Chicago in 1894-99, London in
1899-1903, St. Louis in 1903-08. He com-
posed two operas, 'Saratoga' and 'Newport'
(1888); the operetta 'The Soldier's Return';
the cantata 'The Song of the Brave Man'; a
symphony, 'Victoria' ; other works for orches-
tra ; two piano-concertos ; a string-sextet ; a
piano-quintet; songs, choruses, and many
piano-pieces. He compiled Three Graduating
Courses, 6 vols, (piano, voice and 'cello), a
Harmony, 1890, and an Encyclopwdia of Musi-
cal Education, 3 vols., 1903. [ R.4 ]
GOLDBLATT, MAURICE HENRY (b.
1883). See Register, 9.
'GOLDEN LEGEND, THE.' A cantata
by Dudley Buck on a text taken from Long-
fellow. It won the $1000 prize of the Cin-
cinnati Festival Association and was first
given there in 1880.
GOLDMARK, RUBIN (Aug. 15, 1872,
New York), is a nephew of Karl Goldmark,
the Austrian composer. His general education
was at the College of the City of New York
and the University of Vienna. He studied
piano as a boy with Alfred von Livonius in
New York, and in 1889-91 attended the
Vienna Conservatory, under Door (piano)
and the Fuchs brothers (theory). Returning
to New York, he studied with Joseffy and
Dvordk at the National Conservatory, becom-
ing teacher of piano and theory there. In
1894 he went to Colorado Springs for his
health, and was director of the Colorado College
Conservatory. Since 1902 he has been in-
structor in theory and lecturer in New York,
with about 500 lecture-recitals in the United
States and Canada. He was one of the
founders of 'The Bohemians' and its presi-
dent in 1907-10. His compositions for or-
chestra are the overture 'Hiawatha' (1900,
Boston Symphony Orchestra), the tone-
poem 'Samson' (1914, Boston), and the tone-
poem 'Requiem for Orchestra,' suggested
by Lincoln's Gettysburg address (1919, New
York Philharmonic Society). He has also a
piano-trio in D minor, a violin-sonata in B
minor, and a string-quartet in A, besides
piano-pieces ('Twilight Fantasies,' 'In the
Forest,' 'Prairie Idylls'), four pieces for
violin and piano, a Romanza for 'cello, songs
and choruses. [ R.8 ]
GOMES, ANTONIO CARLOS (1839-
1896). See Vol. ii. 200, and Register, 5.
GOMES DE ARAN JO, JOAO (b. 1849).
See Register, 7.
GOODALE, EZEKIEL (1780- ? ). See
Tune-Books, 1817.
GOODRICH, ALFRED JOHN (May 8,
1847, Chilo, O, : April 25, 1920, Paris), was
self-taught in music. His general education
was in the public schools of Sacramento and
San Francisco. For a time he taught theory
at the Grand Conservatory in New York, but
in 1876 went to the Fort Wayne (Ind.) Con-
servatory. For two years he was music-
director at Martha Washington College,
Abingdon, Va. He also taught in Chicago,
was director of the vocal department of the
Beethoven Conservatory in St. Louis, and
lived in Paris in 1909-15. His books are
Music as a Language, 1880, The Art of Song,
1888, Complete Musical Analysis, 1889, Ana-
lytical Harmony, 1894, The Theory of In-
terpretation, 1898, and A Guide to Memorizing
Music, 1904 (revised, 1906). A treatise on
Synthetic Cou7iter point is still unpublished.
On hearing Tchaikovsky's 5th Symphony he
destroyed his early compositions, with the
exception of a suite for piano. The list as
it now stands includes a cantata, an over-
ture, several orchestral works, chamber-music'
piano-pieces and songs. [ R.6 ]
GOODRICH, FREDERICK WILLIAM
(b. 1867). See Register, 9.
GOODRICH, JOHN WALLACE (May 27,
1871, Newton, Mass.), began piano-study
while in school, continuing later with Peter-
silea. He was already an organist at fifteen
and had three years' training with Dunham
in organ and with Chadwick in composition.
He became organist at the Eliot Church in
Newton and gave frequent recitals. In 1894
he went to Munich for work under Rhein-
berger and Abel, and in 1895 won a medal and
gave a choral work with orchestra. In 1895-
96 he was in Paris with Widor, and in 1896-97
was coach and ballet-conductor at the Leipzig
Stadt-Theater. Since 1897 he has taught
organ at the New England Conservatory in
Boston, where in 1905-06 he was acting-
director and since 1907 dean. In 1900-02
he was organist at the Church of the Messiah,
and in 1902-09 at Trinity Church. In
1897-1909 he was organist for the Boston
Symphony Orchestra, several times appearing
as soloist. He still gives occasional recitals.
He has been equally active as conductor,
organizing the Choral Art Society in 1902 and
leading it till 1908, directing the choral work
GOODRICH
GORNO
223
of the Worcester Festivals in 1902-07, having
charge of the Cecilia Society in 1907-10, and
in 1907 conducting the orchestral concerts
at Jordan Hall. From the inception of the
Boston Opera Company in 1909 he was one
of the regular conductors, continuing till the
Company disbanded in 1912. He has pub-
lished an 'Ave Maria,' after Scheflel, for
chorus and orchestra, and 'Choral Music
for a Requiem Celebration of the Holy Eucha-
rist' (1918). He has translated Pirro's
J. S. Bach and his Works for the Organ, 1902,
and Niedermeyer and d'Ortigue's Gregorian
Accompaniment, 1905, and has written The
Organ in France, 1917, and some essays on
organ-building, Gregorian music, etc.
Besides his sympathy with the French school
of organ-playing he is interested in all prob-
lems of church-music. In 1918-19 he was on
the commission for revising the Episcopal
Hymnal. He is chairman of the Music Com-
mittee of the City of Boston. During the war
he was greatly interested in everything relating
to band-music and held more than one super-
visory office. In 1918 he had just outlined an
extensive plan to train band-players throughout
the country when the signing of the armistice
cut short all vocational training. [ R.7 ]
GOODRICH, WILLIAM M. (1777-1833?).
See Register, 3.
JGOOSSENS, EUGENE (May 26, 1893,
London), the son of a former opera-conductor
of the same name, first studied at the Bruges
Conservatory and the Liverpool College of
Music. In 1907-11 he held a scholarship at
the Royal CoUege of Music in London, taking
composition with Wood and Stanford and
violin with Rivarde, and winning the Worship-
ful Company of Musicians' silver medal.
In 1911-15 he played violin in the Queen's
Hall Orchestra, resigning to become one of
Beecham's assistant-conductors. His orches-
tral works began to be heard in 1912-13, when
his op. 1 was given. The list of his works is
as f oUows :
op. 1 'Variations on a Chinese Theme,' for or-
chestra (1911).
2 'Miniature Phantasy,' for string-orches-
tra (1911) (Goodwin & Tabb).
3 Octet for flute, clarinet, horn, harp and
strings (1911).
4a 'Chinese Folk-Song,' for violin and piano
(1912) (Goodwin & Tabb).
4& Serenade for flute.
5 ' Five Sketches ' for flute, violin and piano
(1912).
6 Suite — Impromptu, Serenade, Diver-
tissement — for flute, violin and harp
(1913, Chester).
7 ' Five Impressions of a Holiday' — ■ ' In the
Hills,' 'By the Rivers,' 'The Water-
Wheel,' 'The Village Church,' 'At the
Fair' (1914, Chester).
8 Symphonic Poem, 'Perseus,' for orches-
tra (1914).
op. 9 Songs, 'Chanson de Fortunio,' 'Chanson
de Barberine,' from Alfred de Musset
(1914, Chester).
10 Concert-Study for piano (1915, Chester).
11 Symphonic Prelude to a poem of Ossian,
for orchestra (1915).
12 Fantasy for string-quartet (1916, Ches-
ter).
13 Rhapsody for 'cello and piano (1916,
Chester).
14 String-Quartet in C (1916, Chester).
15 ' Two Sketches ' — 'By the Tarn,' 'Jack
o' Lantern' — for string-quartet (1916,
Chester).
16 'Deux Proses Lyriques' — 'Hier dans le
jardin ensoleill^-,' 'Mon chemin s'^tait
assombri' — from Edwin Evans (1916,
Chester).
17a Scherzo, 'Tarn o' Shanter,' for orchestra
(1916).
176 ' Persian Idylls ' — ' Breath of Ney,'
' Heart of Kalyan ' — from Evans
(1916, Chester).
18 'Kaleidoscope,' 12 short piano-pieces
(1917-18, Chester).
19 Songs: 'Afternoon' by Jean-Aubry,
'Epigram' by Evans, 'Tea-Time' by
Jean-Aubry (1917, Chester).
20 ' Four Conceits ' for piano — ' The Gar-
goyle,' 'Dance-Memories,' 'A Walk-
ing-Tune , ' 'The Marionette-Show '
(1918, Chester).
21 Sonata for violin and piano (1918,
Chester) .
23 Overture and Incidental Music for
Verhaeren's 'Philip 11' (1918).
24 Quintet in one movement for piano and
strings (1919).
See sketch by Edwin Evana in ' The Musical
Tin:ies,' July, 1919.
GORDON, HAMILTON S., of New York,
is the name of ^ music-publishing business
founded in 1846 by Stephen T. Gordon, pre-
viously an organist and teacher in Hartford,
Conn. In 1854-55 the firm-name was Berry
& Gordon (S. T. Gordon, T. S. Berry, Oliver
Ditson and J. E. Gould), and they sold pianos
and organs as well as music. This business
was conducted under Gordon's name again
in 1855-73, in 1873, Hamilton S. Gordon
coming in, as S. T. Gordon & Son, and since
1891 as at present. S. T. Gordon died in
1891 and H. S. Gordon in 1914. The present
partners are the latter's four sons. From
1894 the scope of the business was enlarged
to include musical instruments generally and
Edison phonographs. In 1905 the piano-
making was transferred to the Gordon Piano
Co., and soon the firm concentrated its at-
tention upon publishing alone. In 1913 it
moved to its present location at 141-145
West 36th St. At various times they have
issued a large amount of useful literature,
especially for the organ and for piano-teaching.
GORITZ, OTTO (b. 1873) . See Register, 9.
GORNO, ALBINO (Casalmorano, Italy),
was taught piano, organ and harmony by his
father, entered the Milan Conservatory and
224
'GOSPEL HYMNS'
GOTTSCHALK
at graduation received three gold medals.
He came to America in 1881 as pianist and
accompanist for Patti, and remained as
teacher at the Cincinnati College of Music,
where for years he has been head of the piano-
department. His compositions include a
'Cantata to Garibaldi' (1882, New York);
'La Festa dei Montanari,' cantata for voices,
piano and orchestra ; an operetta, ' Cuore e
Patria' (1881?, Milan); a 'Marinaresca' for
piano and orchestra ; many piano-pieces,
songs and choruses. His Material for the
Study of the Pianoforte-Pedals, 3 parts, 1894-
1900, is an exhaustive treatise, with numerous
classical and original examples. [ R.7 ]
'GOSPEL HYMNS.' The title of a series
of evangelistic hymn-books with tunes pub-
lished in 1875-91.1 Their remarkable vogue
caused the name to be popularly applied to
all hymns and tunes of a similar type. Neither
title nor type was new.^ Both words and
music of this order had been in use in America
— as also in England — from early in the
19th century, especially on occasions that
were then novel, such as prayer-meetings,
Sunday-schools and revivals. The issue of
books with such music gradually increased till
about 1860 and then, under several magnetic
leaders, rapidly came to astonishing propor-
tions.' The movement constituted a historic
phenomenon that justifies remark.
The type of tune was essentially that of
the folk-song, though not based upon actual
songs of that kind. Salient features are an
obvious melody upon a simple harmonic
basis (usually without modulation), with the
metric pattern often varied by divided pulses
and other devices, a tendency to unify couplets
more than lines, and a decided rhythmic swing
and flow. In these regards the type was in
grateful contrast with the traditional
'psalmody.' There was nothing to compete
with it in arresting popular attention. Even
down to the end of the century it circulated
widely among thousands to whom more so-
phisticated music was wholly unknown.
Such tunes, with their lilting, ballad-like
verses, were seized upon because in a way
they met the craving for folk-music. Here
and there in the vast literature are songs of
homely naivete and even beauty. But as
early as 1850 and much more after the success
of Phillips, Bliss and Sankey about 1870,
> No. 1, by Bliss and Sankey; No. 2, 1876; No. 3,
by Sankey, McGranahan and Stebbins, 1878; No. 4,
1881 ; No. 5, 1887 ; No. 6, 1891 ; with several issues in
combination.
2 For example, ' Gospel Melodies ' (hymns) was
issued in 1821, ' Gospel Hymns' in 1864 and 'Gospel
Songs,' by Bliss, in 1874.
' The total number of distinct books of this class
published during the century was probably not far
from 1500. Of those by a single compiler (Sankey)
more than 50,000,000 copies were sold !
the commercial element tended to vitiate the
type. Both hymns and tunes were mechan-
ically produced in large quantities, and
promoters arranged ' conventions ' and the like
to sell their books. So 'catchy' was the
style — like that of the war-songs in the
'60s and recently — that it tended to prevent
attention to better styles. Hence the fre-
quent view that the whole movement is to
be condemned. Yet it presents some analogies
to much more dignified movements in England,
where, however, conditions favored the
development of the highly lyrical hymn and
the artistic part-song tune. Nothing similar
was possible in America till long after the
modern forms were well established in Eng-
land. Instead of the part-songs, the har-
monized rhythmic air was inevitably pushed
to the front, and the desire for immediate
success with the thoughtless multitude kept
down efforts to give the style distinction.
Regarding the 'Gospel Hymns' proper
Sankey wrote in My Life and the Story of the
Gospel Hymns, 1906. Of much broader scope
and higher value is J. H. Hall, Biography of
Gospel Song and Hymn Writers, 1914. The
list of tune-writers and compilers in this
latter includes about 65 persons at work
before 1890, of whom the most notable are
William B. Bradbury
George F. Root
Luther O. Emerson
TuUius C. O'Kane
Theodore E. Perkins
William H. Doane
Horatio R. Palmer
Philip Phillips
Robert Lowry
Henry S. Perkins
Rigdon M. Mcintosh
Hubert P. Main
William J. Kirkpatrick
T. Martin Towhe
Elisha A. Hoffmann
William G. Fischer
Theodore F. Seward
John R. Sweney
Philip P. Bliss
Ira D. Sankey
Isaiah Baltzell
William A. Ogden
George C. Hugg
James McGranahan
Charles C. Case
James R. Murray
John H. Tenney
Benjamin C. Unseld
Daniel B. Towner
George C. Stebbins
(1816-1868)
(1820-1895)
(1820-1915)
(1830-1912)
(1831- )
(1832-1915)
(18.34-1907)
(1834-1895)
(1826-1899)
(18.38-1914)
(1836-1899)
(1839- )
(1838- )
(1835- )
(1839- )
(1835-1912)
(1835-1902)
(1837-1899)
(1838-1876)
(1840-1908)
(1832-1893)
(1842-1897)
(1848-1907)
(1840-1897)
(1843- )
(1841-1905)
(1840- )
(1843- )
(1850-1919)
(1846- )
GOSS, EDWIN L. See Colleges, 3
(Bates C, Me.).
GOTTSCHALK, L. GASTON (1847- ? ).
See Register, 6.
GOTTSCHALK, LOUIS MOREAU (May
8, 1829, New Orleans : Dec. 18, 1869, Rio
de Janeiro, Brazil). See article in Vol. ii.
205. His first studies were on the violin when
GOULD
GRAINGER
225
only six; piano-study came later. Zimmer-
man, then head of the piano-department of
the Paris Conservatory, refused even to hear
the boy as a candidate ; ten years later
Gottschalk was himself judge at a Conser-
vatory concours. His first appearance in
Paris was at the Salle Ployel in April, 1844,
and Chopin then said to him, 'I predict you
will become a king of pianists.' A few years
later Berlioz wrote that 'he possessed all the
different elements of a consummate pianist.'
His first New York concert was at Niblo's
on Feb. 10, 1853. He refused Barnum's
offer of $20,000 and all expenses for a year's
engagement. In the winter of 1855-56 he
gave eighty concerts in New York. The years
1856-62 were 'squandered,' to use his own
words, in the West Indies. He reappeared
in New York at Irving Hall in 1862, and in the
next three years gave concerts constantly in
the North and Canada. In 1865 he visited
California, going thence to Panama, Peru,
Chili and finally Rio de Janeiro, where he
arrived in May, 1869. His last concert was
Nov. 24, 1869. His body was brought to
New York, where services were held at St.
Stephen's Church on Oct. 30, 1870. See
Hensel, Life and Letters of Louis Moreau
Gottschalk, 1870, Fors, Gottschalk, 1880, and
Petersen, Notes of a Pianist, 1881. [ R.4 ]
GOULD, JOHN EDGAR (1822- ? ). See
Tune-Books, 1846.
GOULD, NATHANIEL DUREN (1781-
1864) . See Register, 3, and Tune-Books, 1822.
GOW, GEORGE COLEMAN (Nov. 27,
1860, Ayer Junction, Mass.), graduated from
Brown University in 1884 and from Newton
Theological Seminary in 1889. His chief
musical training was under B. C. Blodgett
in Pittsfield and E. B. Story in Worcester,
and from 1889 he was associated with them
as teacher of piano and harmony at Smith
College. In 1892-93 he studied with Bussler
in Berlin. Since 1895 he has been professor
at Vassar College, where he has developed a
highly-organized department of music. His
first book of songs appeared in 1884, with
several others later, besides duets and part-
songs. He is the author of a striking treatise
on harmony. The Structure of Music, 1895,
and wrote the articles on Harmony and
Theory in the American History and Encyclo-
pedia of Music, 1910, besides many essays
in periodicals. Brown University made him
Mus.D. in 1903. [ R.7 ]
GOWEN, EDWm A. See Colleges, 3
(AsburyCKy.).
GRABILL, E. W. See State TJNivEBSiTiEa
(S.D.).
GRABILL, GLENN G. See Colleges, 3
(Otterbein C, Ohio).
GRAINGER, PERCY ALDRIDGE (July
8, 1882, Melbourne, Australia). See article
in Vol. V. 643. Though a composer from
childhood, his first appearance as such was at
a Balfour Gardiner concert in London in
1912, when he conducted his 'Mock Morris.'
His American debut in recital was at New
York on Feb. 11, 1915; on Mar. 13 he played
the Grieg concerto with the New York Phil-
harmonic Society. In June, 1917, he enlisted
as a bandsman in the Army, playing oboe and
saxophone ; a year later he became instructor
at the Army Music-School and became a nat-
uralized citizen. His extraordinary success as
virtuoso is equaled by that of his compositions.
Of him Cyril Scott has written (' Musical Quar-
terly' July, 1916) :
'Contemplating Grainger's entire musical per-
sonality (for, I would repeat, this is essential) I see
in him all those elements which make the 'immortal
artist.' For he exists as something quite new in
musical expressibility ; he has mvented new forms
or considerably enlarged and transformed old ones ;
he is a great harmonic inventor, yet, unlike Schonberg,
he does not lead us into the excruciating. Further-
more, although at times he is a little too unafraid
of the obvious, he is entirely consistent therein and
one sees at once how little such a thing is the out-
come of weakness. In addition to all these char-
acteristics, he can equally show forth a poetry
and pathos which speak in sublime dulcitude to the
soul, and a rollicking liveliness which awakens
energy almost in the limbs of the decrepit. Can
one demand a more all-encompassing plane of
emotions in one individuality than this? Truly
it were difficult to find.'
Of his extensive total composition only
about one-third is as yet published. The
present list is as follows :
Suite, 'In a Nutshell' — 'Arrival, Platform Hum-
let,' 'Gay, but Wistful,' 'Pastoral,' 'The Gum-
suckers' March' — for orchestra, piano and
Deagan percussion-instruments, also for piano
solo, two pianos and (in part) theater-orches-
tra (Schirmer).
'Molly on the Shore,' for orchestra, also for theater-
orchestra, various smaller combinations and
piano solo (Schott).
'Shepherd's Hey,' morris-dance for orchestra
(Schott), also for 12 instruments (Schott),
military band (Carl Fischer), piano solo
(Schirmer).
'Colonial Song,' for violin, viola, 'cello, harp and
orchestra, also for various other combinations
(Schott).
'Mock Morris,' for 7-part string-orchestra, also
for other combinations (Schott) and string-
sextet (Schirmer).
'Irish Tune from County Derry,' for string-
orchestra or a cappella chorus (Schott), also
for military band (Fischer) and piano solo
(Schirmer).
Clog-Dance, 'Handel in the Strand,' for one or
more pianos and string-orchestra, also for other
combinations (Schott).
Octet, 'My Robin is to the Greenwood Gone,' for
flute, English horn and strings, also as piano-
trio and for piano solo (Schott).
Wind-Quintet, 'Walking-Tune,' for flute, oboe,
clarinet, horn and bassoon, also for piano solo
(Schott).
226
GRAM
GRASSE
'La Scandinavie,' a group of melodies freely-
arranged for 'cello and piano, also (in part) for
violin and piano (Schott).
'The Sussex Mummers' Christmas Carol,' for
piano (Schott), also for violin or 'cello and piano
(Schirmer).
Paraphrase of the 'Flower-Waltz' from Tchai-
kovsky's 'Nutcracker' Suite, for piano (Schott).
Arrangement of Stanford's 'Four Irish Dances,'
for piano (Stainer & Bell).
'Knight and Shepherd's Daughter,' for piano
(Schott).
'Children's March,' for piano (Schott).
'One more day, my John,' sea-eh;inty in the form
of a 'preliminary canter,' for piano (Schirmer).
Lullaby from "Tribute to Foster,' for piano
(Schirmer).
'The Bride's Tragedy,' for double chorus and
orchestra (Schott).
'Father and Daughter,' dance-song from the
Faroe Islands, for five male soli, double chorus
and orchestra (Schott).
'Sir Eglamore,' for double chorus, and orchestra
(Schott).
'The Camp' and 'March of the Men of Harlech,'
two Welsh fighting-songs, for double chorus and
orchestra (Schott).
' The Hunter in his Career,' for double men's chorus
and orchestra (Schott).
'Marching-Song of Democracy,' for chorus, or-
chestra and organ (Schirmer).
'The Merry Wedding,' bridal dance for soli, chorus
and orchestra, organ ad lib. (Ditson).
'We have fed our seas for a thousand years,' from
Kipling, for chorus and orchestra or brass
(Schott).
'Marching-Tune,' Lincolnshire folk-song, for chorus
and brass (Schott).
'I'm seventeen come Sunday,' for chorus and brass
(Schirmer).
'Brigg Fair,' Lincolnshire folk-song, for tenor and
a cappella chorus (Schott).
'At Twilight,' for tenor and a cappella chorus
(Schott).
'Morning-Song in the Jungle' and 'The Innuit,'
from Kipling, for a cappella chorus (Schott).
'A Song of Vermland,' for a cappella chorus
(Schott).
'Tiger, Tiger,' from Kipling, for a cappella men's
chorus, tenor ad lib. (Schott).
'There was a pig went out to dig,' for a cappella
women's chorus.
'Willow, Willow,' old English song, with guitar
or harp and strings (Schott) or piano (Schirmer).
'Died for Love,' Lincolnshire folk-song, with three
strings or wood-winds or piano (Schott).
'Dedication,' from Kipling, song with piano
(Schott).
'A Reiver's Neck-Verse,' from Swinburne, song
with piano (Schott).
'Six dukes went a-fishin',' Lincolnshire folk-song,
with piano (Schott).
See Parker, Percy Aldridge Grainger, a Study,
1918, and the article in 'The Musical Quar-
terly' quoted above. [ R.IO ]
GRAM, HANS. See Tune-Books, 1793.
t GRANADOS Y CAMPINA, ENRIQUE
(July 27, 1867, L6rida, Spain : Mar. 24,
1916, at sea'), in 1884-87 studied under
Pujol at Barcelona and PedrcU at Madrid
• While escaping from the ' Sussex,' torpedoed by a
German submarine,
and then went to Paris, where he attended
de B6riot's class at the Conservatory inter-
mittently because of ill-health. His zarzuela
'Maria del Carmen' was performed at the
Royal Theater in Madrid in 1898. Part of
'FoUeto' was given at Barcelona in 1903.
'Goyoscas' dates from 1899. Not satisfied
with its original form, he made from it a piano-
suite (played in America by Schelling), and
later rewrote the opera to a new libretto by
Fernando Periquet. This was accepted at
the Paris Grand-Opera for 1914-15, but given
up because of the war. Its premiere was
at the Metropolitan Opera House in New
York on Jan. 28, 1916 — the first Spanish
opera, sung in Spanish, given in the United
States. Both composer and librettist were
present. It had five performances, with fair
success. On Feb. 22 the composer and Miss
Fitziu, the soprano, gave a recital of his music
at iEolian Hall. His other works are the
opera 'Miel de la Alcarria' (1893); two
symphonic poems, 'La Nit del Mort' and
'Dante' (the latter played by the Chicago
Symphony Orchestra in 1915, with Miss
Braslau as contralto); 'Elisenda,' a poem
for voice and small orchestra; a quartet for
strings and piano ; a trio ; songs ; and a
number of piano-pieces, of which the two
books of 'Goyescas' are most significant.
See articles by Jean-Aubry in 'The Musical
Times,' December, 1916, and by Newman,
ibid., August, 1917.
GRAND CONSERVATORY, THE, of
New York, was founded in 1874 by Ernst
Eberhard, who directed it for about forty
years. Its plan was ambitious and for many
years it had much success.
GRANT-SCHAEFER, GEORGE AL-
FRED (b. 1872). See Register, 8.
GRASSE, EDWIN (Aug. 13, 1884, New
York), despite the handicap of blindness from
infancy, has made an enviable record as
violinist, pianist and composer. As a child
he studied violin and harmony with Carl
Hauser. In 1898 he went to study with
Thomson in Brussels, and became a pupil
of the Royal Conservatory, where in 1900 he
won a first prize and in 1901 was awarded
the 'Prix de Capacite,' 'with the very highest
distinction.' On Joachim's advice he made
his Berlin debut in 1902 with the Philharmonic
Orchestra, playing the Sinding concerto. His
d6but in New York was with the Brahma
concerto in 1903. He has toured with success
in both Europe and America. His published
compositions for violin and piano are a Sonata
in C (Schirmer) ; a Scherzo Capriccioso and
' Waves at Play ' (Schirmer) ; a Song without
Words, no. 2, in G, 'In a Rowboat' and
Polonaise, no. 1, in C (Carl Fischer) ; and an
Arioso and Scherzo in A minor (Boston Music
GRASSI
GRECHANINOV
227
Co.). In manuscript are a Symphony in G
minor ; an orchestral Suite in C ; two trios
(C and A) for piano, violin and 'cello ; a
Concerto in G for violin and orchestra; a
String-Quartet in D minor ; sonatas for piano
and violin (A, E and A minor) and a sonata
for organ and violin in D ; a duet for two
unaccompanied violins; many other pieces
for violin and piano and piano solo ; a ' Sonata-
Fan tasie ' in G-sharp minor for organ ; and
a number of transcriptions for organ (including
symphonic movements by Beethoven, Brahms
and Tchaikovsky). [ R.9 ]
GRASSI, ANTONIO DE' (b. 1880). See
Register, 10.
GRAU, MAURICE (1849, Briinn, Austria
: Mar. 14, 1907, Paris), was brought to
America in 1854 and graduated from the
College of the City of New York in 1867 and
from the Coliunbia Law School. His connec-
tion with music dates from 1872, when with
C. A. Chizzola he managed the tours of
Rubinstein and Wieniawski. In 1874 they
managed a season of op6ra bouffe (in English)
by Emma Soldene and company, and in 1875
Mme. Aimee and her French company. Later
he promoted the Kellogg Opera Company
and managed tours for Sarah Bernhardt,
Salvini, Offenbach and others. In 1883-84
the firm of Abbey, Schoeffel and Grau leased
the Metropolitan Opera House, and gave
performances there and in other cities from
Oct. 22 to Apr. 12, with such disastrous
financial results that they did not make
another attempt until 1891-92. They con-
tinued until 1897, when the whole burden was
assumed by Grau. In 1903 ill-health led to
his retirement. [ R.6 ]
GRAUPNER, JOHANN CHRISTIAN
GOTTLIEB (Oct. 6, 1767, Verden, Germany
: Apr. 16, 1836, Boston), who had been an
oboe-player in a Hanoverian regiment and
honorably discharged, in 1788 went to London
and in 1791-92 played there under Haydn.
He came to Prince Edward's Island, and by
1795 was in Charleston, where he played in
the City Theatre orchestra. Early in 1797
he settled in Boston, and besides playing oboe
in and leading the Federal Street Theatre
orchestra, played the double-bass and an-
nounced himself as teacher of oboe, German
flute and violin (see Sonneck, Early Concert-
Life, p. 306). He is credited with being 'the
father of Negro song,' from the fact that on
Dec. 30, 1799, at the end of the second act
of 'Oroonoko' (Federal Street Theatre, Boston)
he sang in character 'The Gay Negro Boy,'
accompanying himself with the banjo. About
1800 he opened a music-store ; he also engraved
and published music. Soon after coming to
Boston he began to assemble players for an
orchestra, and this group may have been the
nucleus of the Philharmonic Orchestra, which
gave its last concert in 1824 after a known
existence of some fifteen years. He was an
enthusiast for Haydn's music, was active and
influential in musical affairs, and undoubtedly
deserves Elson's title, 'the father of American
orchestral music' At Charleston in 1796 he
married Mrs. Catherine Hillier, who had made
her dSbut at Boston as a singer in 1794 (as
'Mrs. Heelyer'). She was one of the most
prominent and successful singers of the day.
She died at Boston on May 28, 1821. For
these dates and the Graupner family-record,
see the Boston Symphony Orchestra Program-
Book, 1909-10, pp. 920-23. [ R.2 ]
GRAY, HERBERT WILLARD (b. 1868).
See Register, 8.
GRAY COMPANY, THE H. W., of New
York, was organized in 1906 by H. Willard
Gray to take over the business of the American
branch of Novello & Co., the great London
publishers. This branch had been established
in 1883, eight years before the change of laws
which for the first time gave foreigners copy-
right-protection in America. At first only a
few American works were taken into the
catalogue, such as Parker's 'Hora Novissima'
and Shelley's 'Vexilla Regis' (both 1893),
but in 1894-1906 about 100 choral works were
published, together with books like the No-
vello Music-Course for Public Schools, Parker's
(P. E.) Hymnal, the Hymnal for Schools and
The Institute Hymnal by Ives and Woodman,
Stubbs' Manual of Intoning and The Choir-
Service, Hulbert's Voice-Production, J. W.
Goodrich's Gregorian Accompaniment and
Hall's Choir-Boy Training. Since 1906 at
least 3000 American compositions have been
issued, including works by all the foremost
composers. Converse's 'The Pipe of Desire,'
the first American opera to be given at the
Metropolitan Opera House, came out in 1907.
Gilbert's works were taken over in 1912. Among
important orchestral works are Converse's
'Endymion's Narrative' and 'Ormazd,' Gil-
bert's 'Comedy Overture' and 'Negro Rhap-
sody,' etc. The Company was the first to reduce
the size of folio sheet-music to 9x12 in., an inno-
vation now adopted by most music-publishers.
In 1901 the issue began of ' The Church Music
Review,' which, altered and enlarged, became
'The New Music Review' in 1904. This
monthly, edited by H. W. Gray, has always
maintained a high rank for keen editorials, able
articles and trustworthy reports of musical
happenings.
GREATOREX, HENRY WELLINGTON
(1811-1858). See Tune-Books, 1851.
J GRECHANINOV, ALEXANDER TIKH-
ONOVITCH (Oct. 26, 1864, Moscow, Rus-
sia). See article in Vol. ii. 222. To the list
of works add the 2nd symphony, op. 27 ;
228
GREEN knight:
GRINNELL FESTIVAL
the opera 'Sceur Beatrice' (withdrawn after
fourth performance because representing
the Virgin on the stage) ; a third string-
quartet, op. 70 ; two complete Liturgies, opp.
13 and 29; a 'Laudate Dominum,' op. 65,
a cantata for chorus and orchestra; a piano-
trio, op. 38 ; much church-music and many
songs. See chapter in Montagu-Nathan,
Contemporary Russian Composers, 1917.
'GREEN KNIGHT, THE,' was No. 9
of the plays of the Bohemian Club of Cali-
fornia, produced in 1911. The music is by
Edward G. Stridden and the text by Porter
Garnett. The scene is laid 'in a forest in
the other-world of dreams on a mid-summer-
night in the present.'
J GREENE, HARRY PLUNKET (June
24, 1865, near Dublin). See article in Vol.
ii. 232. He is professor of singing at the Royal
Academy and Royal College of Music in Lon-
don. He has published Interpretation in Song.
GREENE, HERBERT WILBER (b. 1851).
See Register, 7.
t GRIEG, EDVARD HAGERUP (June 15,
1843, Bergen, Norway : Sept. 4, 1907, Ber-
gen). See article in Vol. ii. 241-2. Complete
the list of works by adding
op. 68 Six ' Lyrische Stiicke ' for piano.
69-70 Ten 'Lieder.'
71 Seven 'Lyrische Stiicke' for piano.
72 'Norwegische Bauerntanze,' for piano.
73 'Stimmungen,' seven piano-pieces.
74 'Vier Psalmon,' a oappella.
(without opus-no.) Three piano-pieces and eleven
songs.
GRIFFES, CHARLES TOMLINSON
(Sept. 17, 1884, Elmira, N. Y. : Apr. 8,
1920, New York), graduated at Elmira
Academy and began piano with Mary S.
Broughton. In Berlin he studied piano for
four years with Jedliczka and Galston, theory
with Klatte and Loewengard, and com-
position with Riifer and Humperdinck. For
a time he taught in Berlin, but in 1907 re-
turned to America and till 1920 taught at
the Hackley School for Boys in Tarrytown,
N. Y., and in New York. His first appearance
in Berlin was in June, 1904, at the Beethoven-
Saal, playing an unpublished piano-sonata
in F minor. His compositions (Schirmer)
include six German songs (1909-10), without
opus-niunber ; three ' Tone-Images ' for voice
and piano, op. 3 (1912) ; two Rondels for
voice and piano, op. 4 (1913); three 'Tone-
Pictures' for piano, op. 5 (1910-12) — 'The
Lake at Evening,' 'The Vale of Dreams,'
' The Night Winds ' ; three ' Fantasy-Pieces '
for piano, op. 6 (1912-14) — Barcarolle,
Notturno and Scherzo ; four ' Roman Sketches '
for piano, after poems by William Sharp, op.
7 (1915-16) — 'The White Peacock,' 'Night-
fall,' 'The Fountain of the Acqua Paola,'
' Clouds ' — first given by the composer at
the MacDoweli Club in New York, 1918;
five poems of ancient China and Japan,
written for voice and piano on five-tone and
six-tone scales, op. 9 (1916-17) ; three songs,
op. 10 (1916) ; three poems of Fiona MacLeod
for soprano and orchestra or piano, op. 11
(piano-version, 1918) — first given by the
Philadelphia Orchestra with Marcia van
Dresser, 1918-19; 'These Things shall Be,'
for unison chorus (1916). His unpublished
works are 'The Pleasure-Dome of Kubla
Khan,' after Coleridge, a symphonic poem
for full orchestra; 'The Kairn of Koridwen,'
a dance-drama in two scenes, for flute, clarinets,
horns, harp, celesta and piano (1916) — given
at the Neighborhood Playhouse in New York,
1916-17; 'Schojo,' a Japanese mime-play for
four wind-instruments, four muted strings,
harp, tam-tam, Chinese drum and tympani —
first given by Michio Itow at Bchn's 'Ballet
Intime' in 1917; two pieces for string-quartet
— given by the Flonzaley Quartet, 1918-19;
a sonata for piano — first given by 'the com-
poser at the MacDoweli Club, 1918; an
arrangement of two 'Tone-Pictures' from op.
5 for wind-instruments and harp — first
given by the Barr^re Ensemble in New York,
1916; and a 'Poem' for flute and orchestra
(1918). [ R.9 ]
GRIFFITH, CHARLES LEONARD (b.
1887). See Colleges, 3 (Penn. C, Iowa).
GRIMM, CARL HUGO (Oct. 31, 1890,
Zanesville, O.), studied with his father (see
below). Since 1905 he has taught piano,
organ and theory in Cincinnati. Since 1911
he has also been organist at the Reading Road
Temple, and since 1912 also at the Mt. Auburn
Baptist Church. His compositions include
'The Coming of the Anointed,' a cantata for
Christmas; 'The Great Miracle,' an Easter
cantata; a Sabbath Morning Service for the
Synagogue ; many vocal solos, choruses and
anthems ; an 'Invocation' for violin and piano
(or other coml)inations) ; and organ-music,
including a tone-painting, 'The Spirit of God
moved upon the face of the waters,' a 'Delphic
Song,' and a 'Festival Postlude.' [ R.9 ]
GRIMM, CARL WILLIAM (June 8, 1863,
Dayton, O.), studied with Julius Fuchs in
Chicago and Homeyer at the Leipzig Con-
servatory. Since 1893 he has been con-
tinuously active in Cincinnati as teacher of
piano, organ and theory and as lecturer. He
has published a long list of instruction-books,
especially for piano and in harmony. His
piano-method is in its 17th edition and his
Modern Harmony in its 4th. [ R.8 ]
GRINNELL MUSIC FESTIVAL AS-
SOCIATION, THE, of Grinnell, la., was
started in 1901 by Rossetter G. Cole, then
professor in GrinneU College. Its present
GRISWOLD
GUTTMAN-RICE
229
name and scope date from 1912. The con-
ductors, after Mr. Cole, have been H. W.
Matlack, W. B. Olds, D. L. Smith, E. B.
Scheve and George L. Pierce (since 1907).
The chorus numbers about 150, besides a local
orchestra of 35. Two to six concerts are
given annually, usually including one by a
visiting orchestra. The enterprise is main-
tained by a body of guarantors. First per-
formances are noted of Scheve's 'Requiem'
(1909) and piano-concerto (1913).
GRISWOLD, ELIJAH. See Tune-Books,
1800.
GRISWOLD, GERTRUDE (1861-1912).
See Register, 7.
GRISWOLD, PUTNAM (Dec. 23, 1875,
Minneapolis : Feb. 26, 1914, New York),
though his career was sadly brief, had re-
markable success as a dramatic basso. He
began study in 1897 at Oakland, Cal. In
1900 he went to Randegger in London, and in
1902 to Bouhy in Paris, Stockhausen in
Frankfort and Emerich in Berlin successively.
His d6but at Covent Garden was in 1901 and
at Berlin and with the H. W. Savage 'Parsifal'
company in America in 1904. In 1906-11
he sang at the Royal Opera in Berlin, where
he was highly esteemed, and from 1911 he
was with the Metropolitan Opera House in
New York, specializing in Wagnerian roles.
[ R.9 ]
GROLLE, JOHAN HENDRIK. See Reg-
ister, 7.
GROSS, JACOB (1819- ? ). See Register,
4, under StiefJ.
GROUT, CHARLES HENRY (b. 1854).
See Register, 6.
GRUENBERG, EUGENE (b. 1854). See
Register, 8.
GUALDO, GIOVANNI (d. 1771?). See
Register, 1.
GUELICH, HENRY D. See Colleges,
2 (Winthrop C, S. C).
GUILBEAU, F. T. See State Univer-
sities (La.).
t GUILMANT, FfiLIX ALEXANDRE
(Mar. 12, 1837, Boulogne, France : Mar.
30, 1911, Meudon, near Paris). See article
in Vol. ii. 345. In 1894 he was one of the
founders of the Schola Cantorum, where he
became teacher of organ, as also in 1896 at
the Paris Conservatory. He resigned his
position at Ste.-Trinite in 1901. In 1893
and 1897-8 he made concert-tours in America.
For list of works, see Baker, Diet, of Musicians,
pp. 345-6.
GUILMANT ORGAN SCHOOL, THE, of
New York, was founded in 1899 by William
C. Carl, who has remained its head from the
first. It aims to give a thorough training for
both church and concert work. Besides in-
struction in organ-playing, there are courses
in harmony, counterpoint and composition,
in hymnology, in organ-construction and in
tuning. The faculty numbers seven. The
total number of graduates is about 115. The
School began under the honorary presidency
of Guilmant. At present Dubois and Bonnet
are honorary president and vice-president,
and there is an advisory board that includes
four French and four English organists.
' GUIRAUD, ERNEST (June 23, 1837, New
Orleans : May 6, 1892, Paris). See article
in Vol. ii. 259. His father, Jean Baptiste
Guiraud, won the Prix de Rome at the Paris
Conservatory in 1827. The son's teachers
there were Marmontel (piano), Barbereau
(harmony) and Halevy (composition). Philip
Hale (in the Boston S5rmphony Orchestra
Program-Book, 1910-11, p. 485) tells of his
advising Debussy, if he wanted to take the
PrLx de Rome, to 'reserve for a later day'
his score of 'Diane au Bois.' [ R.4 ]
GULBRANSEN-DICKINSON COM-
PANY, THE, of Chicago, established in 1906,
has become one of the leading makers of
player-pianos and player-actions. It controls
special devices and patterns that insure easy
running and perfect adaptability to both
upright and grand pianos.
GULLI, LUIGI (b. 1859). See Register, 10.
GUNN, GLENN DILLARD (Oct. 2, 1874,
Topeka, Kan.) , had his first piano-lessons in To-
peka. In 1893-96 he was in Leipzig, studying
piano with Zwintscher, Reinecke and Teich-
miiller and theory with Schreck, and mak-
ing his debut as pianist in 1896. In 1896-99 he
assisted Teichmiiller and toured in Germany.
In 1900-01 he taught at the American Con-
servatory in Chicago and in 1901-06 at the
Chicago Musical College. Since 1905 he has
been extension-lecturer on music for the
University of Chicago. In 1901-14 he was
musical editor for the 'Journal,' the 'Inter-
Ocean' and the 'Tribune' in succession. He
has appeared as soloist with many leading
orchestras and given recitals throughout the
country. In 1915 he established the American
Symphony Orchestra, for the performance of
American works exclusively, with American
soloists. He has published History] and
Sketches of Mxisic, 1913, and is one of the
editors of The Progressive Series (Art Pub-
lication Society, St. Louis). [ R.8 ]
GUTTMAN-RICE, MELANIE (b. 1873).
See Register, 9.
H
tHABERL, FRANZ XAVER (Apr. 12,
1840, Oberellenbach, Bavaria : Sept. 5, 1910,
Ratisbon, Bavaria). See article in Vol. ii.
269. In 1907 he resigned as editor of the
' Kirchenmusikalisches Jahrbuch' and was
succeeded by Karl Weinmann. A large part
of his work in the field of Gregorian music has
been invalidated by later research, so that his
service-books no longer have papal sanction.
HACKETT, KARLETON SPALDING
(Oct. 8, 1867, Brookline, Mass.), after grad-
uating from the Roxbury (Mass.) Latin School
and spending two years at Harvard, in 1889
went to Italy for four years of vocal study.
Since 1893 he has lived in Chicago, at first
singing much in concert and oratorio, but since
1898 mainly as teacher. In 1896-1911 he was
head of the vocal department at Northwestern
University in Evanston and also since 1896
at the American Conservatory. He has since
been lecturer at the former and in 1906 became
vice-president of the latter. In 1906 he began
writing for the 'Evening Post' and since 1909
has been its musical critic. He has contrib-
uted articles to many periodicals and other
publications, and has written a History of
Opera in Chicago in 'the Fifties.' [ R.8 ]
HACKH, OTTO CHRISTOPH (1852-
1917). See Register, 7.
HADLEY, HENRY KIMBALL (Dec. 20,
1871, Somerville, Mass.), had lessons in piano
and violin as a boy from his father and showed
facility in composing before he was twelve. At
the New England Conservatory he studied
with Emery and Chadwick. In 1893-94 he
toured with the Schirmer-Mapleson Opera
Company as conductor. In 1894-95 he took
counterpoint with Mandyczewski at Vienna.
In 1895-1902 he was music-director at St.
Paul's School in Garden City, N. Y. In 1904-
09 he was conducting and composing in Europe,
the last year at the Stadt-Theater in Mayence.
In 1909 he became conductor of the Seattle
Symphony Orchestra and in 1911-15 of the San
Francisco Symphony Orchestra. Since 1915 he
has been mostly occupied with composition,
often serving as guest-conductor. In 1920 he
was made associate-conductor of the New York
Philharmonic Society. His works include
Symphony No. 1, 'Youth and Life' (1897, New
York).
Symphony No. 2, 'The Four Seasons' (1901, taking
the Paderewski prize and one from the New
England Conservatory, given in 1901 by the New
York Philharmonic Society and in 1902 by the
Chicago Orchestra).
Symphony No. 3, in B minor (1906, given in 1907
by the Berlin Philharmonic Orchestra, the com-
poser conducting, and in 1908 by the Boston
Symphony Orchestra).
Symphony No. 4, 'North, East, South, West,' in
D minor (1911, Norfolk Festival, Boston Sym-
phony Orchestra and at Queen's Hall, London).
Overture, 'Hector and Andromache' (1894, given
in 1895 by New York Symphony Society).
Overture, 'In Bohemia' (1902, Pittsburgh Or-
chestra).
Overture, 'Herod,' for tragedy by Stephen Phillips.
'Symphonic Fantasia,' op. 46 (1905).
'Oriental Suite' (1903, New York).
Tone- Poem, 'Salome' (1907, Boston Symphony
Orchestra).
Tone-Poem, 'Lucifer' (1915, Norfolk Festival).
Rhapsody, 'The Culprit Fay' (1909, taking prize
of National Federation of Musical Clubs, given
by the Chicago Orchestra).
Three Ballet-Suites for orchestra.
Concert-Piece for 'cello and orchestra (1907).
Quintet for piano and strings.
Quartet for strings.
Sonata for violin.
Comic Opera, 'Nancy Brown' (1904).
Opera, 'Safie,' in one act (1909, Mayence).
Grove-Play, 'The Atonement of Pan' (1912,
Bohemian Club, Cal.).
Opera, 'Azora, Daughter of Montezuma,' in three
acts (1917, Chicago).
Opera, 'Bianca,' in one act (1918, taking the Hin-
shaw prize, given by the Society of American
Singers, New York).
Opera, 'The Garden of Allah' (1918, New York).
Opera, 'Cleopatra's Night,' in two acts (1920,
New York).
Incidental Music to 'The Daughter of Hamilcar'
and 'Audrey.'
Lyric Drama, ' Merlin and Vivien,' op. 52, for voices
and orchestra.
Cantata, 'In Music's Praise' (1899, taking the
Ditson prize, given New York at People's Choral
Union concert).
Cantatas, 'A Legend of Granada,' op. 45, 'The
Nightingale and the Rose,' op. 54, 'The Fate
of Princess Kiyo,' op. 58, and 'The Golden
Prince,' op. 69, for women's voices and or-
chestra.
Lyric Drama, 'Ode to Music,' op. 75, from Henry
van Dyke, for soli, chorus and orchestra (1917,
Worcester Festival).
Seven Ballads for chorus and orchestra.
A Church Service.
About 150 Songs.
Regarding his music The Art of Music (1915)
happily said, ' Everywhere in it is energy, fancy,
the spirit of youth. It bubbles and glints,
running an inexhaustible gamut of varying
tints and ingenious and poetic tonal designs.
It is the music of immense enjoyment of objec-
tive life, of actions, sights, emotions — too
eager and full of action to be deeply reflective,
too happy to be philosophic' His ' Cleopatra's
Night' is thought by many to be on the whole
the most brilliant opera yet produced by an
American composer. ( R.8 ]
HAESCHE, WILLIAM EDWIN (Apr. 11,
1867, New Haven, Conn.), studied violin with
Bernhard Listemann, piano with Perabo and
composition with Horatio Parker, graduating
230
HENRY HADLEY
HAGAN
HALL
231
from the Yale Music School in 1897. Since
1902 he has conducted the New Haven Choral
Union and other choral organizations. Since
1903 he has taught instrumentation in the Yale
Music School. In 1907 he was one of the found-
ers of the New Haven Symphony Orchestra,
in which he has since been first violinist. His
works include a Symphony in A-flat; a Sin-
fonietta in four movements ; a tone-poem, ' The
South'; the two overtures 'Fridjof and Inge-
borg ' and ' Spring-Time ' ; a ' Forest-Idylle'
for orchestra (Schirmer) ; the suite ' Eyes of the
Night,' for violin and piano (Witmark) ; a
'Characteristic Suite' for violin and piano
(Harms); a 'Legend' for violin, 'cello and
piano (Witmark) ; trios for violins and piano
(Ditson) ;. 'The Haunted Oak,' for soli, chorus
and orchestra (Schirmer) ; 'Young Lovel's
Bride', for women's voices and orchestra
(Schirmer) ; two piano-suites (Presser) ; besides
songs and pieces for violin and piano. [ R.8 ]
HAGAN, HELEN EUGENIA (b. 1893).
See Register, 10.
HAGEMANN, RICHARD (b. 1882). See
Register, 9.
HAGEN, THEODORE (1823-1871). See
Register, 4.
HAHN, CARL (b. 1874). See Register, 8.
HAHN, JACOB H. (1847-1902). See Regis-
ter, 5.
HAHN, REYNALDO (b. 1874). See Vol.
ii. 271, and Register, 7.
'HAIL, COLUMBIA.' See Vol. ii. 271-2,
and articles by O. G. Sonneck in I. M. G.
Sammelbde. 3. 139, and Report on ' The Siar-
Spangled Banner' 'Hail, Columbia', etc., 1909.
HAILE, EUGEN (b. 1873). See Regis-
ter, 9.
HAINES, FRANCIS W. (1822-1887) and
NAPOLEON J. (1824-1900). See Register, 4.
HAINES BROTHERS. A weU-known and
successful firm of piano-makers, founded in
1851 by Napoleon J. Haines, with his brother
Francis W. Haines, at first under the name
of N. J. Haines & Co. They derived their
skill in the line of tradition beginning with
Nunns and traced through the New York
Pianoforte Manufactining Co. and (from 1840)
A. H. Fale & Co. The Haines brothers were
among the earliest makers of the modern ' over-
strung' scales. They were the first to give up
making 'square' pianos. The firm is now a
part of the American Piano Co. Their factory
is at East Rochester, N. Y.
HALE, EDWARD DANFORTH (b. 1859).
See Register, 7.
HALE, PHILIP (Mar.;5, 1854, Norwich, Vt.) ,
began piano-lessons while a boy at North-
ampton, Mass., where he was early also an
organist. His general education was at
Phillips (Exeter) Academy and Yale College,
graduating in 1876. In 1880 he became a law-
yer at Albanj', where he also studied piano and
theory with John Kautz and in 1879-82 was
organist at St. Peter's. Giving up the law, in
1882 he went abroad for work with Haupt,
Raif , Urban and Bargiel at Berlin, with Rhein-
berger at Munich and Faiszt at Stuttgart, and
with Guilmant at Paris. In 1887-89 he was
organist at St. John's in Troy and conducted
the Schubert Club in Albany. Since 1889 he
has worked in Boston, speedUy becoming recog-
nized as a critic of the first rank. In 1890-91
he was with the 'Post,' in 1891-1903 with the
'Joiu-nal,' and since 1903 with the 'Herald.'
In 1898-1901 he also edited the 'Musical
Record' for the Ditson Company, and in 1901-
03 the ' Musical World. ' Previously he had
been correspondent for the 'Musical Courier,'
New York, and lately has written editorials
for the ' New Music Review ' there. In 1889-
1905 he was organist at the First (Unitarian)
Church in Roxbury. His most continuous and
substantial work has gone into the program-
books of the Boston Symphony Orchestra,
which he has prepared since 1901. His writing
is always marked by accurate learning, bril-
liancy of expression and not a little satire and
humor. He has also lectured in the Lowell
Lectures in Boston and at many other places.
He has edited Modern French Songs, 2 vols.,
and collaborated with L. C. Elson on Great
Composers and their Works, 1900. His wife,
n^e Irene Bamngras (b. Syracuse), whom he
married in 1884 in Berlin, is an accomplished
pianist and composer. [ R.6 ]
HALL, JAY ROLLIN (b. 1860). See Reg-
ister, 7.
HALL, LELAND (b. 1883). See Register,
10.
HALL, WALTER HENRY (Apr. 25, 1862,
London, England), was prepared by Robert
Thurnam, organist at Reigate, for the Royal
Academy of Music, where for four years he
studied piano under Harold Thomas, organ
under Steggall and theory under Banister. He
then became organist of Holy Trinity Church
in Twickenham, and decided to specialize in
choir-boy training and choral conducting.
In 1883 he came to New York, and spent one
year as assistant to Le Jeune at St. John'3
Chapel. From 1884 he was organist at St.
Luke's in Germantown, Pa., from 1890 at St.
Peter's in Albany, and in 1896-1913 at St.
James' in New York. In 1893 he founded the
Brooklyn Oratorio Society, of which he has
been the only conductor. With it he has given
a long list of oratorios and cantatas, with first
performances in America of several important
works. He has conducted various smaller
societies, including the Musurgia Society (men's
voices), the Mozart Society (women's voices)
and the Yonkers Choral Society. In 1913 he
was appointed to the new chair of Choral and
232
HALL
HAMBOURG
Church Music at Columbia University. A
large chorus, not limited to students, was or-
ganized and regular concerts given in Carnegie
Hall — recently transferred to the Gymnasium
of the University and combined in a festival of
three or more concerts, choral and orchestral.
His duties include, besides lectures on choral
music, afternoon services at the University
Chapel, where a selected choir of forty sings
representative church-music. He was one of
the Committee on the Episcopal Hymnal in
1919. He has composed a Communion Serv-
ice in G, a Magnificat and Nunc Dimittis in
B-flat ; a Festal Te Deum and other anthems,
canticles and hymn-tunes. He is the author
of Essentials of Choir-Boy Training, 1907, and
many articles and reviews. [ R.7 ]
HALL, WILLIAM JOHN (Feb. 2, 1867,
London, England), was a solo choir-boy at
eight, and later assistant-organist and treble
soloist at Christ and Trinity Churches in Lon-
don. He studied with Scotson Clark, Trego,
Tuddenham and C. Thomas in London, Haupt-
mann in Berlin and Boncetti in Milan. Com-
ing to Boston, he was a tenor in the Lyric Opera
Company, then in succession music-director at
Augustana College in Rock Island, 111., at the
College of Music in Cedar Rapids, la., con-
ductor of the Mendelssohn Chorus in St. Paul,
and organist at the cathedral in Davenport,
la. For some years he has been located in St.
Louis, where he is organist of the First Church
of Christ, Scientist, and teaches theory at the
Soldau High School. He is an associate of the
A. G. O. and dean of the Missouri Chapter,
and active in the Missouri Music Teachers'
Association. He holds the degree of Mus.D.
from Griswold College (England) and the Royal
Academy of Arts and Sciences. He has com-
posed the opera ' Tactics' (1890, Hinshaw Opera
Co.) and the extravaganza 'Louisiana' (1904,
St. Louis Exposition), the tone-poems 'Ecstasy'
and 'Victory,' four light operas, many songs
and instrumental pieces, many of which are
published. [ R.8 ]
HALLAM, LEWIS (d. 1755) and LEWIS,
Jr. (1741-1808). See Register, 1.
HALLET & DAVIS PIANO COMPANY,
THE, of Boston, is derived from the firm of
Brown & Hallet, founded in 1835, in which
Edwin Brown was the expert inventor and
mechanician and Russell Hallet the supplier of
capital. In 1840 they won a first prize from
the Franklin Institute for refinement of tone.
In 1843 Brown became one of the Chickering
foremen, and George H. Davis took his place.
The firm then underwent several readjustments.
About 1850, as Hallet & Davis, it became one
of the best in the country, as attested, for ex-
ample, by a gold medal from the Mechanics
Institute in 1853. Mechanically and tonally
tJteir pianos have received numerous simil.nr
awards in recent years. Their type of player-
piano is called the ' Virtuolo."
HAM, ALBERT (1858, Bath, England),
after being a choir-boy in 18G7-73, studied
piano and organ with J. Hewitt and organ with
Pyne. From 1880 he was organist at Uminster
and in 1893-97 organist at Taunton and con-
ductor of two choral societies. He became
F. R. C. O. in 1883 and was made Mus.D. by
Dublin University in 1894. Since 1897 he has
been organist at St. James' Cathedral in To-
ronto, where he also conducts the National
Chorus and is examiner for Toronto University
and several conservatories. He was one of
the founders of the Canadian Guild of Organists
and has been its only president. In 1906
Toronto University made him Mus.D. once
more. His compositions include an Advent
Cantata for solo, 8-part chorus and orchestra,
the cantata 'The Solitudes of the Passion,'
about a dozen strong anthems (Novello
or Gray), services, offertory-sentences, etc.
(Frowde), part-songs, a military march for
piano and many marches played by bands in
the British army. He has also written several
hand-books for Novello — on the boy's voice,
ornaments and graces, etc. [ R.8 ]
'HAMADRYADS, THE,' was No. 3 of the
'Grove-Plays' of the Bohemian Club of Cali-
fornia, described as 'a masque of Apollo.'
The music is by William J. McCoy and the
text by Will Irwin. It was produced in 1904.
HAMBOURG, BORIS (Dec. 27, 1884, Vo-
ronezh, Russia), the youngest of the three
brilliant sons of Michael Hambourg, who was
an able piano-teacher in Moscow, London and
(from 1911) in Toronto. Brought up in Lon-
don, he was first taught piano by his father,
but soon turned to the 'cello and, on advice of
Hugo Becker, studied under Walenn. In
1898-1903 he was at the Hoch Conservatory
in Frankfort under Becker and Knorr (compo-
sition). In 1903 he made his debut at the
Tchaikovsky festival at Pyrmont, and then
went with his brother Mark on a tour in
Australia and New Zealand. He was first
heard in London in 1904 and in Berlin in 1900,
in the latter city giving a series of historical
recitals that has been often repeated since.
During the next four years he toured in Ger-
many, France and the Low Countries, and also
in South Africa. In 1910 he came to America,
appearing first in Pittsburgh, and in 1911, with
his father and his brother Jan, opened the
Hambourg Conservatory in Toronto. Since
1916 he has lived in New York. He has com-
posed and edited pieces for the 'cello, and writ-
ten some songs. [ R.IO ]
HAMBOURG, JAN ( b. 1882). See above
and Register, 10.
HAMBOURG, MARK (b. 1879). See
above and Register, 8.
HAMBOURG
HANCHETT
233
HAMBOURG, MICHAEL (185G-1916).
See above and Register, 10.
HAMERIK, ASGER (Apr. 8, 1843, Copen-
hagen, Denmark). See article in Vol. ii. 277-8.
In 1890 he was knighted by the King of Den-
mark. Since 1898 he has lived in Copenhagen.
His 7th symphony, 'Chorale,' op. 40, utilizes
a mezzo-soprano and chorus. Among his
chamber-works are a concert-romance for
'cello and orchestra, a fantasia for 'cello and
piano, and a piano-quartet, op. 61. [ R.6 ]
HAMILTON, CLARENCE GRANT (June
9, 1865, Providence), had his general education
in the Providence schools and Brown Uni-
versity, graduating in 1888. His piano-study
was with Edward Hoffman, Foote, Dannreu-
ther and Matthay, organ and theory with
Macdougall and Chadwick. In 1889-1904
he was teacher and organist in Providence,
and since 1904 has been professor at Wellesley
College and organist in the Congregational
Church. Since 1913 he has directed a summer
music-school at Boothbay Harbor, Me., and in
1918 lectured at Boston University. He has
composed choruses for Sophocles' 'Electra'
(1912, Wellesley College) and for Euripides'
'Medea' (1914, ib.), both for women's voices,
several songs and part-songs (Ditson, Hatch).
He wrote nine chapters of Baltzell's History of
Music, 1905, Outlines of Music-History , 1908 (re-
vised, 1913), Piano-Teaching, its Principles and
Practice, 1910, Soxmd and its Relation to Music,
1912, and is editor of Ditson's School-Credit
Piano-Course, 1918. He has also written often
for 'The Musician' and 'The Etude.' [ R.7 ]
HAMILTON, EDWARD. See Tune-
Books, 1845.
HAMLIN, EMMONS (d. 1881). See Reg-
ister, 4.
HAMLIN, GEORGE JOHN (Sept. 20,
1868, Elgin, 111.), after attending the Chicago
schools and Phillips (Andover) Academy,
studied singing with various American and
European teachers. He was first heard as
concert-tenor with the St. Louis Choral Society,
and in 1898 won notice in Chicago for the first
entire program of Strauss songs given in Amer-
ica. In 1904-06 he sang in England, France
and Germany, and in 1911 made his operatic
debut in 'Natoma' with the Chicago Opera
Company, in which he was a leading tenor till
1915. He has been successful in 'Carmen,'
'I Giojelli della Madonna,' 'Tosca,' 'Madama
Butterfly,' 'The Cricket on the Hearth' and
'Madeleine.' His repertoire of oratorio roles
and songs is notably large. [ R.8 ]
HAMMER, HEINRICH ALBERT ED-
UARD (b. 1SG2). See Register, 9.
HAMMERSTEIN, OSCAR (1847, Berlin,
Germany : Aug. 1, 1919, New York), came
to New York in 1863 a penniless and tradeless
youth and found employment as cigar-maker.
Five years later he invented a cigar-making
machine, for which he received $6000. All to-
gether he took out over a hundred patents in
this business, in which he never lost interest
and which brought him large wealth. In
1868 he wrote and produced three one-act
comedies, one of them set to music by himself.
His activity as theatrical manager began in
1870, with the leasing of the Stadt Theatre.
In 1888 he built the Harlem Opera House, and
followed it with the Columbus Theatre, the
Harlem Music Hall, the Murray Hill Theatre,
the (first) Manhattan Opera House (1892),
the Olympia, the Victoria, the Republic, and
the Harris, most of which he managed for a
longer or shorter period. In 1906 he built
the second and better-known Manhattan Opera
House, which was opened with 'I Puritani' on
Dec. 3. With such artists as Melba, Nordica,
Tetrazzini, Garden, Bonci, DalmorSs, Bress-
ler-Gianoli, Renaud, and Cleofonte Campanini
as conductor, the Manhattan at once became
a serious rival of the Metropolitan. In 1908
he built the Philadelphia Opera House, running
it in conjunction with his New York venture.
In April, 1910, the Metropolitan management
bought the Hammerstein interests, with the
stipulation that he should not produce opera
in the United States for ten years. In 1910
he transferred his activities to England, build-
ing the London Opera House, opened on Nov.
13, 1911. After an unsuccessful season he
sold this and in 1913 built the American Opera
House in New York. His plans for opera
here were blocked by injunction and the house
(now known as the Lexington Opera House)
has been used for grand opera only during
visits by the Chicago Opera Company. In
1919 he announced his intention of resuming
grand opera in New York in 1920. Despite
a series of failures, he is to be remembered for
the introduction of many great artists, of nu-
merous modern French operas (especially
'Pelleas et Melisande' and 'Louise') Strauss'
'Elektra,' etc., and for a thorough awakening
of his competitors. See Krehbiel, Chapters
of Opera and More Chapters of Opera. [ R.7 ]
HAMMOND, WILLIAM CHURCHILL
(Nov. 25, 1860, RockvUle, Conn.), was a pupil
in organ of Allen in Hartford and S. P. Warren
in New York. Since 1885 he has been organist
at the Second Congregational Church in Hol-
yoke, Mass., where he has given a remarkable
series of over a thousand recitals. In 1919,
however, fire, destroyed the church and with
it his fine library. From 1890 he was instructor
in organ at Smith College, and since 1900 has
been head of the music-department at Mount
Holyoke College, which he has brought to much
efficiency. [ R.7 ]
HANCHETT, HENRY GRANGER (Aug.
29, 1853, Syracuse, N. Y. : Aug. 19, 1918,
234 HANDEL AND HAYDN SOC.
HARRIS
Siasconset, Mass.), studied medicine at Syra-
cuse University and in 1884 graduated from
the New York Homceopathic College, but
soon devoted himself to music. His music-
studies were begun with Ernest Held in Syra-
cuse and continued with Sherwood, Kullak,
A. K. Virgil, William Mason, and A. J. Good-
rich. He taught at the Metropolitan College
of Music in New York and many other schools,
and for many years toured extensively in
lecture-recitals. He lectured at the Brooklyn
Institute in 1893-1903 and gave over 300 lec-
tures and recitals in New York, about half of
them in popular courses under the Board of
Education. He was organist in New York
churches in 1884-98, and was one of the
founders of the A. G. O. in 1897. He was the
inventor of the 'sostenuto' pedal for grand
pianos in 1873. From 1907 he taught in Wash-
ington and in 1913-18 at Brenau College in
Georgia. In addition to several books on med-
ical topics, he wrote Teaching as a Science,
1882, The Art of the Musician, 1905, and An
Introduction to the Theory of Music, 1916. His
compositions, a^Te Deum, a Benedictus, and
an Easter anthem, are published by Schmidt.
[ R.6 ]
HANDEL AND HAYDN SOCIETY, THE,
of Boston. See Vol. i. 367-8. In 1915 the
Society celebrated its centenary by a four days'
festival.
HANSON, HOWARD HAROLD (b. 1896).
See Register, 10.
X HARCOURT, EUGENE D' (1855, Paris,
France : Mar. 8, 1918, Paris), in 1882-86
studied at the Paris Conservatory with Masse-
net, Savard and Durand, and then spent
four years in Berlin with Schulze and Bargiel.
In 1892 he organized the Concerts ficlectiques
Populaires in Paris (for which he built the
Salle d'Harcourt), which were discontinued in
1895, but resumed in 1900 as Grands Oratorios
^ rfiglise St.-Eustache. As commissioner of
the French Government he studied music and
music-educational conditions in Italy, Ger-
many, Austria and the United States (1915,
Panama-Pacific Exposition) . He revisited Am-
erica in 1917 and conducted works by French
composers. His compositions are a Mass
(1876, Brussels), the opera 'Tasso' (1903,
Monte Carlo) ; three symphonies, two string-
quartets, two ballets, cantatas and motets.
He published Quelques remarques sur I'execu-
iion de Tannhduser h VOpera, 1895, Aperguana-
lytique de la 1^'h la 9™" symphonic de Beethoven,
1898, La musique actuelle en Italic, 1907, La
musique actuelle en Allemagne et en Autriche-
Hongrie, 1908, La musique actuelle aux Etats
Scandinaves, 1910. He also made French
translations of Schumann's 'Genoveva' and
Weber's 'Der Freischiitz.'
HARDMAN, PECK & COMPANY, of
New York, piano-makers, were incorporated
in 1905 with a capital of $800,000. They have
gained a high standing for excellence of tone
and construction. Their tjrpe of player-piano
is known as the ' Autotone. '
HARKER, F. FLAXINGTON (Sept. 4,
1876, Aberdeen, Scotland), was first taught by
G. C. Dawson and A. W. Marchant and, after
becoming sub-organist at York Minster, by
Noble. Since 1900 he has been A. R. C. O.
In 1901 he came to America to be organist at
All Souls' in Biltmore, N. C, returning there in
1907-14 after three years at St. Martin le
Grand's in New York. Since 1914 he has been
organist at St. Paul's in Richmond, where he
also conducts two choral societies. His com-
positions include the cantatas 'The Star of
Bethlehem,' op. 42, and 'The Cross,' op. 50,
with many services, anthems, choruses, sacred
and secular songs and organ-pieces (all Schir-
mer). He has also edited Stainer's The Organ
and several collections for Schirmer. [ R.9 ]
HARMAN. CATHARINE MARIA (d.
1773). See Register, 1.
HARMATI, SANDOR (b. 1892). See Reg-
ister, 10.
HARMON, JOEL (1773-1833). See Tunb-
BooKs, 1809.
HARMONIC SOCIETY, THE, of New
York. An instrumental group by this name
existed in 1773-74 (see Sonneck, Concert-Life,
pp. 170-1, 174, 201), supplying players for sev-
eral concerts. In 1849 a choral society thus
entitled was formed in the hope of consoli-
dating the interests of the Sacred Music So-
ciety and other organizations, and continued
amid some ups and downs till 1869. In 1863
the Mendelssohn Society was set up by certain
seceding members. During'most of its history
the conductor was Theodor Eisfeld.
HARMONICA. See article in Vol. ii. 297-8,
and also under Franklin.
HARMONICAL SOCIETY, THE, of New
York, was established in 1797 to promote both
vocal and instrumental music. Nothing is
known of its activities in detail. At the end of
1799 it was merged with the St. Cecilia Society
into the (fii'st) Philliarmonic.
HARMONIUM. See article in Vol. ii.
302-5, with refel-ence to its relation to the
American reed-organ.
HARPER, HARRY CLYDE (b. 1867).
See Register, 7, Colleges, 2 (Irving C, Pa.),
and State Universities (S. D.).
HARRINGTON, ADA. See Colleges, 3
(Kansas City U., Kan.).
HARRIS, CHARLES L. M. (b. 1863). See
Register, 7.
HARRIS, GEORGE, Jb. (b. 1884). See
Register, 9.
HARRIS, WILLIAM VICTOR (Apr. 27,
1869, New York), studied singing with Court-
HARRISON
HARVARD UNIVERSITY 235
ney, composition with Schilling and conduct-
ing with Seidl. In 1889-95 he was organist
in or near New York, in 1892-95 coached at
the Metropolitan Opera House and in 1893-94
conducted the Utica Choral Union. In 1895-98
he was Seidl's assistant-conductor in summer-
concerts. Since 1902 he has directed the St.
Cecilia Club, a high-class women's chorus,
for which special music has been written by
Liza Lehmann, Stanford, Elgar, Henschel and
others. Besides being a popular teacher, he
has published over 100 choruses and songs,
and has orchestral works in manuscript. [ R.7 ]
HARRISON, THOMAS. See Register, 1.
HARRISS, CHARLES ALBERT EDWIN
(Dec. 15, 1862, London, England), at eight
was a choir-boy at St. Mark's in Wrexham,
where his father, the organist, gave him his
first organ-lessons. From 1875 he became
Ouseley scholar at St. Michael's College at
Tenbury, from 1880 assistant-organist at St.
Giles' in Reading, and in 1881 organist at
Welshpool and to the Earl of Powis. In 1882
he came to St. Alban's in Ottawa, and in 1883
moved to Montreal, where he was first at
Christ Church Cathedral and later at St. James' .
He founded a glee and madrigal society, and
conducted the Montreal Philharmonic Society.
In 1905 he promoted a series of choral festivals
throughout the principal cities of Canada, with
Sir Alexander Mackenzie as conductor. The
next year he organized a concert of British
music, conducted by the composers, at Queen's
Hall in London, and in 1919 arranged an enor-
mous choral 'Victory Celebration.' He has
composed the cantata 'David before the King'
(1890, Montreal), the opera 'Torquil' (1896,
Montreal), the choral idyl 'Pan' (1906, Lon-
don), songs, anthems, part-songs and organ-
pieces. [ R.7 ]
HARTFORD PHILHARMONIC OR-
CHESTRA, THE, of Hartford, Conn., was
founded in 1900, largely through the efforts of
Mrs. Charles Dudley Warner, and incorporated
in 1914. Its conductors have been Richmond
P. Paine in 1900-02, John S. Camp in 1902-11
and Robert H. Prutting since 1911. It num-
bers about 65 players and usually gives three
or four concerts annually — about 75 to 1920.
Its programs include most of the standard
symphonies and overtures, with a large number
of modern works.
HARTMANN, ARTHUR MARTINUS
(July 23, 1881, Mat6 Szalka, Hungary), was
brought to Philadelphia in early childhood and
had violin-lessons from" his father and later
from Van Gelder and Loefflef . In composition
he is mostly self-taught. He was but six when
fir^t heard in Philadelphia. Since 1893 he has
played with almost all the great orchestras —
in America 250 appearances before 1916. In
Paris he gave recitals with Debussy. He holds
decorations from Rumania and Servia. Among
his pupils are Visanski, Marcosson, Garagusi
and Colton. He has published about 25 tran-
scriptions for violin from Paganini, Kjerulf,
Nordraak, Debussy and MacDowell, four
'Pieces' (Church), 'Bogdan' (Schirmer), a
'Suite in the Ancient Style,' 'Souvenir,'
'Cradle-Song,' 'Seven o'clock,' 'Autumn in
Hungary ' (all Carl Fischer) — all for violin ;
three 'Moods' (Church), six Preludes (Ditson),
four 'Miniatures' (Carl Fischer), 51 old Hun-
garian Melodies (Presser) — all for piano ; a
'Pri^re h Notre Dame,' for organ (Breitkopf) ;
and several songs and part-songs (Gamble,
Boston Music Co., Ditson). Unpublished are
eome orchestral works, 'At the Mid-Hour of
Night,' for chorus and orchestra, part of a
string-quartet, pieces for violin, viola d'amour
and czimbalom, about 20 songs and two melo-
dramas. [ R.7 ]
HARTWELL, EDWARD. See Tunb-
BooKS, 1815.
tHARTY, HAMILTON (Dec. 4, 1879,
Hillsborough, Ireland). See article in Vol. v.
644. Recent works are the symphonic poems
' With the Wild Geese ' (1910, Cardiff Festival)
and ' A Tinker's Wedding,' ' Variations on an
Irish Theme,' for violin and orchestra (1913,
London), and the cantata ' The Mystic Trum-
peter,' for baritone, chorus and orchestra (1913,
Leeds Festival, 1914, Columbia University
Chorus, New York). During the war he was
Lieutenant R. N. V. R., and his musical ac-
tivity ceased. Now he is conductor of leading
orchestras in London, Manchester and Leeds.
HARVARD MUSICAL ASSOCIATION,
THE, of Cambridge, Mass. See article in
Vol. i. 368-9.
HARVARD UNIVERSITY, Cambridge,
Mass., through its Division of Music offers
courses in harmony, counterpoint, canon and
fugue, vocal composition, instrumentation, his-
tory, appreciation, the evolution of orches-
tral style, Beethoven, Brahms and certain
French composers, and advanced composition.
There are no praxis-courses. One or more
courses may be taken with credit toward an
A.B.; but an A.B. 'with distinction' or 'with
honors' in music requires either five or a ma-
jority of them, ability to use French, German,
and Italian, and original composition. An
A.M. or a Ph.D. in music is granted under
appropriate conditions. Special students of
maturity and ability may be enrolled. The
Boott prize of $100 and the Knight prize of
$30 are given annually for excellence in com-
position. The Naumburg fellowship for grad-
uate-study is awarded biennially and a fellow-
ship for work in Boston Music School Settle-
ment annually. The Division — with the
Pierian Sodality and several student-clubs in
music — occupies a special building, largely
236
HARWOOD
HECKSCHER
the gift of James Loeb of New York. The first
instructor in music was John K. Paine, ap-
pointed in 1862 and made professor in 1875.
Among his assistants from 1895 was Walter
R. Spalding, who as assistant- or associate-
professor has been head of the Division since
Paine's death in 1906. There are also three
assistant-professors and one instructor. Be-
sides the powerful stimulus to scholarship and
creative activity exerted by the music-division
since its establishment, the much earlier influ-
ence of the Pierian Sodality (from 1808) and its
more serious descendant, the Harvard Musical
Association (from 1837), is to be noted.
t HARWOOD, BASIL (Apr. 11, 1859, Olves-
ton, England). See article in Vol. ii. 3.37. He
was examiner for degrees at Oxford in 1900-01,
'04-05, '08-09 and '14-15. In 1909 he retired
from his posts there as organist and choragus.
He was the musical editor of The Oxford Hyjnn-
Book, 1908. To his compositions add
Capriccio, op. 16, for organ.
Psalm 137, 'As by the streams of Babylon,' op.
20, for soprano, chorus and organ (1907, Oxford).
Motet, 'Jesus, Thy boundless love to me,' op. 22,
for soli, or semi-chorus, chorus, orchestra and
organ (1909, London Festival of the Sons of the
Clergy).
Three Cathedral Preludes, op. 25, for organ.
Sonata No. 2, in F-sharp minor, op. 26, for organ.
Concerto in D, op. 26, organ and orchestra (1910,
Gloucester Festival).
Cantata, 'Song on May Morning,' op. 27, for soli
or Bemi-chorus, chorus and orchestra (1913,
Leeds Festival).
Morning, Evening and Communion Services in
E minor, op. 28.
HARWOOD, FREDERICK. See Col-
leges, 3 (Henderson-Brown C, Ark.).
HASSARD, JOHN ROSE GREEN (1836-
1888). See Register, 5.
HASTINGS, THOMAS (1787-1872). See
Register, 3, and Tune-Books, 1816.
HASTINGS, THOMAS SAMUEL (1827-
1911). See Tune-Books, with preceding.
HASTREITER, H^ILENE (Nov. 14, 1858,
Louisville, Ky.). See article in Vol. ii. 341,
with correction in v. 644. Her first appearance
was in 1867 at a concert of the Milwaukee
Musikverein. At twelve she sang in a Chicago
choir. At sixteen she really made her debut
in 'Masaniello,' given by the Chicago Lieder-
kranz. In Italy she studied from about 1880
under both the Lampertis, father and son, ap-
pearing on Italian stages from about 1883.
She then returned to Chicago. Early in 1886
she was the leading contralto in the first sea-
son of the American Opera Company under
Thomas, being specially successful in 'Orfeo.'
She then returned to Europe, singing in ora-
torio and concert in England, and in opera in
Italy. [ R.6 ]
HATHAWAY, LEWIS J. See Colleges,
3 (Middlebury C, Vt.).
HATTSTAEDT, JOHN JAMES (b. 1851).
See Register, 6.
HAUK, MINNIE (b. Nov. 16, 1852, New
York). See article in Vol. ii. 341-2. From
time to time curious reports have been given
of her death, but in 1919-20 a fund was sought
in New York by various friends to deliver her
from financial troubles. [ R.5 ]
HAVANA ITALIAN OPERA COMPANY,
THE, was a troupe organized by Francesco
Marty, primarily for performances in Havana,
but in 1847-50 coming also to New York in the
summer. The conductor was Arditi, and the
singers were as a rule decidedly good. Besides
standard Italian works, in 1850, 'Les Hugue-
nots' was given for the first time in America.
HAWKINS, JOHN ISAAC." See Register, 3.
HAWLEY, CHARLES BEACH (1858-
1915). See Register, 6.
HAYDEN, PHILIP CADY (b. 1854). See
Register, 7.
HAYNES, JOHN C. (1830-1907). See Reg-
ister, 4.
HAYS, WILLIAM SHAKESPEARE (1837-
1907). See Register, 4.
HAYTER, A. U. (1799-1873). See Regis-
ter, 3.
HAZELTON, HENRY (1816- ? ). See
Register, 4.
HAZELTON BROTHERS, of New York,
is a firm of piano-makers that has been prom-
inent since 1850, when Frederick and Henry
Hazelton became partners, later joined by
John Hazelton, a third brother. They derived
traditions of first-class work from Dubois &
Stodart, and immediately gained recognition
and success, as attested by a high award at
the London Exposition of 1853 and often since.
They were among the first to adopt the full
iron frames and have introduced many refine-
ments in scale. They have a comprehensive
type of player-piano.
HEALY, PATRICK JOSEPH (1840-1905).
See Register, 4.
HEATH, WILBUR F. (1843-1914). See
Register, 6.
HECKSCHER, C:&LESTE DE LONGPRfi,
n6e Massey (1860, Philadelphia), studied piano
with Zerdahal, composition with H. A. Lang
and orchestration with Vassily Leps. She
began to publish when but ten — songs like
'Serenade,' 'Gypsy Lullaby,' 'Pourquoi je
t'aime,' 'L'Ange Gardien' and 'Music of Hun-
gary.' Later came the Suite 'To the Forest,'
for violin and piano, a Romance for 'cello and
the piano-pieces 'Impromptu' and 'Valse
Boh^me.' 'Dances of the Pyrenees,' a panto-
mime or ballet d'action for orchestra, was first
given in 1911 by the Philadelphia Orchestra
and has since been played often elsewhere.
Other works are a Pastorale for 'cello and piano,
'Passecaille' and other piano-works, and the
HEDDEN
HEMPEL
237
anthem ' Out of the Deep.' An opera, ' The
Rose of Destiny' is in manuscript. [ R.6 ]
HEDDEN, WARREN ROSECRANS (Dec.
25, 1861, New York), studied with Messiter,
Archer, Buck, Richard Hoffman and C. C.
Miiller, took his Mus.B. at Toronto University
in 1896 and became F. A. G. O. in 1902. He
is known as pianist, concert-organist, teacher,
conductor and composer. In 1908-09 he was
warden of the A. G. O., and during his term
organized chapters in Cleveland, Rochester,
Los Angeles, Toronto and Montreal. Since
1913 he has been director of the examinations
that the Guild holds in some twenty cities.
His best-known compositions are a Te Deum
in D (Schirmer) and several Benedicites (Gray,
Luckhardt). [ R.7 ]
HEIFETZ, JASCHA (Feb. 2, 1901, Vilna,
Lithuania) , was extremely precocious musicaOy,
taking short violin-lessons from his father at
three and playing by ear various studies and
pieces with notable ease and purity of intona-
tion. At four he entered the Vilna music-
school and soon played in public with success.
On Auer's advice he went to the Conservatory
in Petrograd, where his entrance-test (Glazunov
being one of the judges) won the highest mark
yet given. At nine he played in the largest
concert-hall in Petrograd, at ten with sym-
phony orchestras at Odessa and Kiev, and at
eleven in Pavlovsk and later in Berlin, where
he made a sensation. Within a year he was
heard with the Berlin Philharmonic under
Nikisch, the Gewandhaus Orchestra at Leipzig
and in Vienna under Safonov. His studies
^Yith Auer were carefully continued, and his
general education under tutors. His last Eu-
ropean tour was in Sweden, Norway and Den-
mark. When the Russian revolution broke
out the Heifetz family came to the United
States. His American debut was in New York
in 1917. Since then he has been extensively
heard, always with the highest admiration.
[ R.IO ]
HEIN, CARL (b. 1864). See Register, 8.
HEINECKE, PAUL (b. 1885). See Regis-
ter, 10.
HEINRICH, ANTON PHILIPP (1781-
1861). See Register, 3.
HEINRICH, MAX (June 14, 1853, Chem-
nitz, Germany : Aug. 9, 1916, New York),
having studied with Klitzsch in Zwickau and
at the Dresden Conservatory, in 1873 came to
Philadelphia as teacher, removing in 1876-82
to Judson College in Alabama. In 1882 he
began his notable career as concert- and ora-
torio-baritone by singing in 'Elijah' under
Leopold Damrosch in New York. He was
remarkably successful in song-recitals (playing
his own accompaniments) and specialized in
works by Schubert, Schumann and Brahms.
He sang also with leading orchestras and for a
time in opera. He taught singing at the Royal
Academy of Music in London in 1888-93,
lived in Chicago in 1894-1903, in Boston in
1903-10 and then in New York. His ' farewell '
recital was given in Chicago in 1903, but his
final public appearance was in New York in
1915. He wrote songs and melodramatic
settings of Poe's 'Raven' and Waller's 'Magda-
lena,' edited classical German songs, trans-
lated song-texts, and wrote Correct Prmciples
of Classical Singing. His daughter, Julia
Heinrich (d. 1919), from 1915 sang at the Met-
ropolitan Opera House. [ R.6 ]
HEINROTH, CHARLES (Jan. 2, 1874,
New York), studied piano with Friedheim and
Spicker, organ with John White and composi-
tion with Herbert. In Munich he was a pupil
of Hieber and Rheinberger. In 1893 he be-
came organist at St. Paul's in Brooklyn, and
in 1897-1907 was at the Church of the Ascen-
sion and Temple Beth-El in New York. He
taught organ, harmony and counterpoint at
the National Conservatory for some years.
Since 1907 he has been organist and director
of music at the Carnegie Institute in Pittsburgh
— the first American to be thus chosen, his
predecessors being Archer and Lemare. Each
season he gives over seventy free organ-recitals
(Saturday evenings and Sunday afternoons).
These recitals cover the entire range of organ-
music, so that the annual volumes of annotated
programs constitute a handbook of organ-liter-
ature. During Lent the Saturday evenings
are taken for lectures on pertinent musical
topics, and in these he has been eminently
effective. He is also organist at the Third Pres-
byterian Church and patron of the music-de-
partment of the Carnegie Institute of Tech-
nology. The total number of his recitals
throughout the country now approximates
2000, including five at the Panama-Pacific Ex-
position in 1915, a series at the opening of the
municipal organ in Springfield, Mass., and
special programs before the A. G. O. and the
N. A. O., besides many on important occasions.
A recent critic says that 'the term virtuoso,
which can be applied to comparatively few
of our organists, belongs rightfully to him.'
[ R.8 ]
HEINTZMANN, THEODORE A. (1817-
1899). See Register, 4.
HELD, ERNST CARL EBERHARDT
(1823-1913?). See Register, 4.
HEMPEL, FRIEDA (June 26, 1885, Leip-
zig, Germany), having been trained at the
Leipzig Conservatory, the Stern Conservatory
in Berlin (with Selma Nicklass-Kempner),
made her debut at the Royal Opera House in
Berlin in 'The Merry Wives of Windsor' in
1905. In 1905-07 she sang at the Court Opera
in Schwerin, and in 1907-12 at the Royal Opera
in Berlin. Her debut at the Metropolitan
238
HENDERSON
HERBERT
Opera House in New York was late in 1912.
She has taken principal soprano-roles in ' Die
Entfiihrung aus dem Serail,' 'Cosi fan tutti,'
'Le Nozze di Figaro,' 'Rigoletto,' 'II Barbiere
di Siviglia,' 'La Traviata,' 'Marta,' 'Lucia,'
'Un Ballo in Maschera,' 'Les Huguenots,'
'Die Zauberflote,' 'Die Meistersinger,' 'Eury-
anthe,' ' La Boh^me,'«etc. In 1911 she created
the role of the Marschallin in Strauss' 'Der
Rosenkavalier ' at the Royal Opera in Berlin.
In 1918 she married William B. Kahn, a New
York banker of American birth. [ R.IO ]
HENDERSON, WILLIAM JAMES (Dec.
4, 1855, Newark, N. J.), has been in various
phases of newspaper-work since he was fifteen.
He graduated from Princeton in 1886. He
studied singing under Angelo Torriano and
piano under Carl Langlotz (composer of the
college-song 'Old Nassau'). In theory he is
mostly self-taught. In 1883-1902 he was on
the staff of the New York 'Times,' first as re-
porter, then as music-critic. Since 1902 he
has been critic for the 'Sun.' In 1889-95 he
lectured on music-history at the New York
College of Music, and since 1904 has lectured
on the development of vocal art at the Institute
of Musical Art. His books are thoroughly in-
teresting and valuable. They include The
Story of Music, 1889 (12th ed., 1912), Preludes
and Studies, 1891, What is Good Music f, 1898,
How Music Developed, 1898, The Orchestra and
Orchestral Music, 1899, Richard Wagner, his
Life and his Dramas, 1901, Modern Musical
Drift, 1904, The Art of the Singer, 1906, and
Some Forerunners of Italian Opera, 1911 — the
latter embodying much original research, be-
sides The Soul of a Tenor, 1912, a psychological
study more than a novel. Ho has written the
libretti of several light operas and also of Dam-
rosch's opera 'Cyrano de Bergerac' (1913), and
published a volume of poems. Pipes and Tim-
brels (1905). In 1892-94 he was one of the
associate-editors of The Standard Dictionary.
He has always been an expert yachtsman and
student of naval subjects, as witnessed by his
Sea-Yarns for Boys, 1894, Afloat with the Flag,
1895, The Last Cruise of the Mohawk, 1897, and
— his most widely-circulated book — The
Elements of Navigation, 1895 (many editions,
rewritten in 1918). For twelve years he was an
oflBcer in the Naval Militia, was commissioned
lieutenant in the Spanish War, and in 1917-
18 was instructor in navigation for the Naval
Militia of New York. He has written stories,
poems and essays for a large number of Ameri-
can and English magazines. He is a member
of the Institutes of Arts and Letters and of
Social Sciences. [ R.7 ]
HENNIG, RUDOLPH (1845-1904). See
Register, 6.
HENRY, BERTRAM CURTIS. See Col-
LBQBS, 3 (Georgetown C, Ky.).
HENRY, HAROLD (b. 1884). See Reg-
ister, 9.
HENRY, HUGH THOMAS (b. 1862). See
Register, 7.
HENRY, JOHN (d. 1795). See Register,
1, under Storer.
HENSCHEL, ISIDOR GEORG (Feb. 18,
1850, Breslau, Germany). See article in Vol.
ii. 381-2. In 1905-08 he taught at the Insti-
tute of Musical Art in New York. In 1914 he
retired from public activity with a farewell re-
cital in London, opening the program with the
same aria from 'Rinaldo' that he sang at his
first recital in 1877. In 1914 he was knighted
by King George. A mass for eight voices a
cappella was first given in 1916. He has pub-
lished Personal Recollections of Brahms, 1907,
and Musings and Memories of a Musician, 1919.
[ R.7 ]
HENSCHEL, LILLIAN JUNE, n§e Bailey
(1860-1901). See Vol. ii. 382, and Regis-
ter, 6.
HENSEL, OCTAVIA (1837-1897). See
Register, 6.
HERBERT, THERESE, n6e Forster. See
Register, 7.
HERBERT, VICTOR (Feb. 1, 1859, Dublin,
Ireland). See article in Vol. ii. 384. Since
1904 he has devoted himself almost entirely
to composition, conducting only upon occasion.
His grand operas are 'Natoma' (1911, Phila-
delphia) and 'Madeleine' (1914, Metropolitan
Opera House, New York). His comic operas
are
' Prince Ananias,' 1894.
'The Wizard of the Mill,' 1895.
•The Gold Bug,' 1896.
'The Serenade," 1897.
'The Idol's Eye,' 1897.
'The Fortune-Teller,' 1898.
'Cyrano de Bergerac,' 1899.
'The Singing-Girl.' 1899.
'The Ameer,' 1899.
'The Viceroy,' 1900.
'Babes in Toyland,' 1903.
'Babette,' 1903.
'It Happened in Nordland,' 1904.
'Miss Dolly Dollars,' 1905.
'Wonderland,' or 'Alice and the Eight Prin-
cesses,' 1905.
'Mile. Modiste,' 1905.
'The Red Mill,' 1906.
'Dream-City,' 1906.
'The Magic Knight," 1906.
'The Tatooed Man," 1907.
'The Rose of Algeria," 1908.
'Little Nemo,' 1908.
'The Prima Donna,' 1908.
'Old Dutch," 1909.
'Naughty Marietta,' 1910.
'When Sweet Sixteen,' 1910.
'Mile. Rosita,' 1911.
'The Lady of the Slippers,' 1912.
'The Madcap Duchess,' 1913.
'Sweethearts,' 1913.
'The Debutante,' 1914.
'The Only Girl,' 1914.
'Princess Pat,' 1915.
HERBST
HEYDLER
239
'Eileen,' 1917.
'Her Regiment,' 1917.
Also music for the ' The Fall of a Nation ' (photo-
play), 1916.
HERBST, GOTTFRIED (b. 1887). See
Register, 10.
HERING, JOHN NORRIS (June 3, 1886,
Baltimore) , was trained first as a choir-boy at St.
Peter's and later at the Peabody Conservatory,
where he graduated in 1906, his teachers being
Randolph in piano, Barkworth in organ and
Boise in composition. While studying he be-
gan memory-playing on the organ. For a year
he taught at Hood College in Frederick, Md.,
substituted for Boise and Brockway at the
Conservatory, and from 1913 taught in its
preparatory department. As an organist he
has been constantly employed since 1901, alto-
gether in Baltimore except in 1909-10, when
he was in New Orleans. Since 1911 he has
been at Christ Chiu-ch in Baltimore. Since
1903 he has given many recitals in Baltimore
and elsewhere (as at the Jamestown Exposi-
tion in 1907), invariably from memory. He
became F. A. G. O. in 1914, and has been prom-
inent in the Maryland Chapter, becoming dean
in 1919. Since 1910 he has been also engaged
in newspaper-work with the Baltimore 'Star,'
beginning as a reporter, but soon becoming
music-critic and editorial writer. In 1919 he
was authorized by the Maryland Academy of
Sciences to organize a section for the study of
music in its relations to science, and was made
chairman thereof. He has composed two move-
ments of a piano-trio in G, an organ-sonata in
E minor, a concert-piece for organ, a rhapsody
on a chromatic theme in B-flat for organ and
other organ-pieces, service-music for both the
Episcopal and Jewish services, and some other
vocal music. [ R.9 ]
HERITAGE, RICHARD ABRAHAM (b.
1853). See Register, 6, and Colleges, 3 (Val-
paraiso U., Ind.).
HERMAN, REINHOLD LUDWIG (b.
1849). See Register, 6.
HERRMANN, EDUARD (b. 1850). See
Register, 7.
HERSHEY SCHOOL OF MUSICAL ART,
THE, in Chicago, was established in 1875 by
Sara Hershey and W. S. B. Mathews, attain-
ing special success in its departments of organ,
voice and composition. Clarence Eddy was
general director almost from the first, and it
was here that in 1877-79 he gave a series of
100 organ-recitals without repeating any work.
In 1879 Miss Hershey became Mrs. Eddy,
and in 1885 they discontinued the School.
HERTZ, ALFRED (July 15, 1872, Frank-
fort-am-Main, Germany), while a student at
the Hoch Conservatory attracted the interest
of Von Billow. His teachers were Schwarz
for piano, Urspruch for composition and Fleisch
for conducting. In 1891-92 he was conductor
at the Stadt-Theater in Halle, followed by three
seasons as HofkapeUmeister at Altenburg
(Saxony), and four at the Stadt-Theater in
Elberfeld-Barmen. After conducting concerts
in London in 1899, in 1899-1902 he was Kapell-
meister of the Breslau Stadt-Theater. In 1902
he came to New York as conductor of German
opera at the Metropolitan Opera House, re-
maining until 1915. He conducted the first
performances of Converse's 'Pipe of Desire,'
Parker's 'Mona' and 'Fairyland,' and Dam-
rosch's 'Cyrano'; also the first American per-
formances of 'Parsifal' (1913), Strauss' 'Sa-
lome' and ' Rosenkavalier,' Thuille's ' Lobetanz'
and Humperdinck's ' Konigskinder. ' Since
1915 he has been conductor of the San Fran-
cisco Symphony Orchestra. [ R.9 ]
HERZOG, SIGMUND (b. 1868). See Reg-
ister, 8.
HESS, WILLY (July 14, 1859, Mannheim,
Germany). See article in Vol. ii. 390. It was
in 1904 that he succeeded Kneisel as concert-
master of the Boston Symphony Orchestra,
and, except for leave of absence in 1907-08, he
continued till 1910, when he followed Halir at
the Hochschule in Berlin. In 1904-07 he led
the Boston Symphony Quartet and in 1908-10
the Hess-Schroeder Quartet, including Theo-
dorowicz as second and Ferir as viola. [ R.5 ]
HESSELBERG, :fiDOUARD GREGORY
(b. 1870). See Register, 8.
HESSELIUS, GUSTAVUS. See Register, 1.
HETLEY, JOYCE HAZEL (b. 1889). See
Colleges, 3 (Vincennes U., Ind.).
HEWITT, JAMES (1770, England : 1827,
New York), who had been violinist at the 'Pro-
fessional Concerts' at Hanover Square in Lon-
don, came to New York in 1792 with other
musicians. He was at once recognized as both
player and composer, had charge of many good
concerts and became orchestra-leader for the
Old American Company. In 1796 or '97 he
bought out the New York branch of Carr's
Musical Repository, and was in the publishing
business even earlier. The music attributed
to him includes a 'Battle' Overture in nine
movements (1792), a 'Storm' Overture (1795),
a setting of Collins' ode on ' The Passions ' ( 1795,
apparently the first melodrama written in
America), the opera 'Tammany' (1794) and va-
rious music for 'The Patriot' (1794), 'Colum-
bus' (1797), 'The Mysterious Marriage' (1799)
and 'Pizarro' (1800). See Sonneck, Concert-
Life, Early Opera and 'Early American Operas'
in /. M. G. Sammelbde. 6. 459-64, 488-9. [ R.2 ]
HEWITT, JAMES. See Tune-Books, 1812.
HEWITT, Miss S. See Register, 3.
HEWS, GEORGE (1806-1873). See Regis-
ter, 3.
HEYDLER, CHARLES (b. 1861). See
Register, 7.
240
HEYMAN
HILL
HEYMAN, HENRY (Jan. 13, 1855, Oak-
land, Cal.), was educated at Oakland College
(now the University of California). In 1870 he
went to Leipzig, studying with David, Roent-
gen, Hermann, Reinecke and Jadassohn, and for
five years was a violinist in the Gewandhaus Or-
chestra. Returning to San Francisco in 1877,
he at once began a series of orchestral and cham-
ber-music concerts, at which many important
works were performed for the first time in San
Francisco. In 1880 he made a concert-tour
of Pacific Coast cities, visiting also Victoria
and Vancouver. The next year he became
concertmaster of the Philharmonic Orchestra,
directed by Hinrichs, and also brought out a
atring-quartet by Kelley. In 1884 he made a
concert-trip to Honolulu, and was appointed
violinist to King Kalakaua and was knighted.
By means of his many concerts, including those
of the Heyman String-Quartet, he has con-
tinually introduced classic and modern com-
positions to California audiences. He has also
worked to raise the social standing of local
musicians. For over forty years he has been a
member of the famous Bohemian Club and was
made an honorary life-member in 1918. The
dean of violinists and teachers on the Pacific
Coast, he has an international reputation for
hospitality extended to musicians and artists
who visit San Francisco, and numbers among
his friends an extraordinary number of celebri-
ties. In the great fire of 1906 he lost not only
his library and collection of instruments, with
many valuable souvenirs, but all his manuscript
works, including many revised violin-Studes.
Compositions that have been dedicated to
him are Saint-Saens' 'filegie' for violin and
piano, Jadassohn's Romanza, op. 87, and
Musin's Berceuse and Waltz. [ R.6 ]
HEYMAN, KATHERINE RUTH WIL-
LOUGHBY, born in Sacramento, had a variety
of teachers in America and abroad. In 1899
she made her debut as pianist with the Boston
Symphony Orchestra and then toured exten-
sively, in 1905-15 in Europe. Since 1916 she
has traveled again in the United States. She
has been active in presenting unfamiliar works
— introducing American composers in Ger-
many and Russia, and Russian composers in
America. Thus in 1899 she gave the first
American rendering of Arensky's concerto and
in 1919 the first American recital of Scriabin
alone (4th and 8th Sonatas, etc.). She has
also lectured on the contrast between Oriental
and Occidental music. Various songs have been
published (Schirmer, Schmidt, etc.). [ R.8 ]
HICKOK, J. H. See Tune-Books, 1840.
HIGGINSON, HENRY LEE (Nov. 18,
1834, New York : Nov. 15, 1919, Boston),
after a partial course at Harvard was trained
as a banker, but also in 1856-60 studied sing-
ing, piano and composition at Vienna. In the
Civil War he became major and lieutenant-
colonel by brevet in the 1st Mass. Cavalry,
and in 1863 was badly wounded. From 1868
he was a member of the banking firm of Lee,
Higginson & Co. He was always active in
educational undertakings — on the corporation
of Harvard from 1893, trustee of the Carnegie
Institution, of the New England Conservatory,
etc. In 1881 he established the Boston Sym-
phony Orchestra, provided an endowment of
about $1,000,000 for its maintenance, and for
over thirty-five years directed its policy with
conspicuous wisdom. In 1918 he relinquished
control to a Board of Directors. [ R.7 ]
HILL, EDWARD BURLINGAME (Sept.
9, 1872, Cambridge, Mass.), was born into
Harvard traditions, being the son of a pro-
fessor and grandson of a president. In 1894
he graduated there with highest honors in
music, having taken all of the courses under
Paine. He continued study with Lang, Bul-
lard, Arthur Whiting, and Howard Parkhurst
in Boston and New York, and with Breitner
and Widor in Paris. Later he also took or-
chestration under Chadwick. For some years
he taught piano and harmony in Boston, was
critic for the 'Transcript' and wrote on music
for magazines. Since 1908 he has been con-
nected with the Division of Music at Harvard,
at first as instructor and from 1918 as assistant-
professor. Until the war he was head of the
Boston group of the I. M. S., and is now presi-
dent of the Composers' Club of Boston and
secretary of the American Friends of Musicians
in France. Besides developing'unusual courses
in the critical analysis of musical style for his
Harvard classes, he has done fine original work.
His compositions include
Six Songs, op. 6 (Breitkopf).
Four 'Sketches,' op. 7, for piano (Breitkopf).
Three 'Poetical Sketches,' op. 8, for piano (Breit-
kopf).
'Country Idyls,' op. 10, for piano (Schirmer).
Six Songs, op. 13, 14 (Boston Music Co.).
'Nuns of the Perpetual Adoration,' on text by
Dowson, op. 1.5, for women's voices and or-
chestra (1909, Boston, and often since).
Symphonic Pantomime, 'Jack Frost in Mid-
summer,' on text by J. L. Smith, op. 10, for
orchestra (1908, Chicago Orchestra, also in
Boston and New York).
Symphonic Pantomime, 'Pan and the Star,' op.
19 (1914, MacDowell Festival and at Boston
and Cincinnati).
Symphonic Poem, 'The Parting of Lancelot and
Guinevere,' on text by Phillips, op. 22 (1915,
St. Louis Orchestra, 1916, Boston Orchestra).
'Poem,' op. 23, violin and orchestra.
'Stevensoniana,' op. 24, four orchestral pieces
after poems from Stevenson's 'Garden of Verses'
(1918, New York Symphony Society and New
England Conservatory Orchestra, 1919, Boston
and Cincinnati Orchestras).
Anthem for chorus and band (1915, Centenary of
Allegheny College, Meadville, Pa.).
'Autumn Twilight,' song for soprano and or-
chestra. [ R.8 ]
HILL
HODGES
241
HILL, JUNIUS WELCH (Nov. 18, 1840
Hingham, Mass.), after studying with J. C. D.
Parker in Boston, in 1860-63 was in Leipzig
under Moscheles, Hauptmann, Reinecke, Plaidy
and Richter. He was then organist at Tremont
Temple, Shawmut Church, Tremont Street
(M. E.) Church in Boston and at Harvard
Church in Brookline. In 1884-97 he was pro-
fessor at Wellesley College and then taught in
Boston until, retiring from active musical life,
he removed to Los Angeles. An excellent
musician and teacher, he was particularly suc-
cessful in establishing high standards for the
music-department at Wellesley. Mrs. Beach
was his pupil in 1881-82. He has composed
many choruses for women's voices and edited
collections of piano-music. [ R.5 ]
HILL, URELI CORELLI (1802?-1875).
See Register, 3, and Tune-Books, 1831.
HILL, URI K. See Tune-Books, 1806.
HILLE, GUSTAV (b. 1851). See Register,
6.
HINCKLEY, ALLEN CARTER (b. 1877).
See Register, 8.
HINRICHS, GUSTAV (b. 1850). See Reg-
ister, 6.
HINSHAW, WILLIAM WADE (Nov. 3,
1867, Union, la.), played the cornet at nine
and led the village-band at thirteen. He
graduated from Valparaiso (Ind.) University
in 1888, studying voice and harmony there
with R. A. Heritage, and later continued vocal
study with L. G. Gottschalk and L. A. Phelps
in Chicago, where he began to teach singing
in 1891. In 1895-99 he was dean of the music-
department at Valparaiso University, mean-
while being also choir-director in Chicago
churches. In 1899 he made his debut in opera
at St. Louis, singing Mephisto in 'Faust' with
the Savage Grand Opera Company, with which
he sang for four years. In 1903 he opened the
Hinshaw School of Opera in Chicago (later
merged with the Chicago Conservatory), of
which he was president till 1907. Since 1909
he has engaged in operatic work, first as founder
and director of the International Grand Opera
Company in Chicago, in 1910-13 as baritone
at the Metropolitan Opera House in New York,
and since 1917 as business-manager and presi-
dent of the Society of American Singers in
New York. His offer of a $1000 prize for a
one-act opera by an American composer was
awarded in 1917 to H. K. Hadley for 'Bianca.'
His repertory includes over fifty roles, from
Wagner operas (he sang at the Wagner festival
in Graz, 1912, and the 'Ring' festival in Berlin,
1914) to comic opera and baritone-parts in
many oratorios. He has also given many
song-recitals. [ R.8 ]
JHINTON, ARTHUR (Nov. 20, 1869,
Beckenham, England). See article in Vol. ii.
407. For some years he has been on the ex-
amining-staff of the Associated Board of the
R. A. M. and R. C. M., and in consequence
has made several visits to Australia, New Zea-
land, Canada, Ceylon and Jamaica. The list
of his works may be revised as follows :
For orchestra —
Suite, 'Endymion,' three scenes after Keats
(Fischer)
Fantasia, 'The Triumph of Ccesar.'
Symphony No. 1, in B-flat.
Symphony No. 2, in C minor.
For piano and orchestra —
Concerto in D minor (London Philharmonic
Society, Boston Symphony Orchestra, Worces-
ter Festival, etc.).
For voice and orchestra —
Scena, 'Semele,' text by Litchfield, for mezzo-
soprano.
Opera, 'Tamara,' in two acts.
Chamber-music —
Quintet in G minor (Kneisel and Olive Mead
Quartets).
Bolero, 'Ave Maria,' 'Valse do Joie,' Berceuse and
Meditation, for violin and piano.
For piano —
'A Summer Pilgrimage,' six pieces (Fischer).
Four Bagatelles.
Valse Caprice, 'Carnival.'
'Serenatella.'
Three Characteristic Pieces.
Rhapsody in B-flat minor.
' Chant des Vagues.'
' Etude Arabesque.'
' Oriental Serenade.'
Romance in A-flat.
Songs —
'Butterflies,' two books, each of ten.
'White Roses,' cycle of six.
Eight Songs from Wm. Blake, two books.
Three Lyrics from Browning's 'In a Gondola.'
Five Songs from Litchfield.
HIRSCHLER, DANIEL A. (b. 1883). See
Colleges, 3 (C. of Emporia, Kan.).
HISKEY. See Register, 3.
HISSEM-DE MOSS, MARY (b. 1871).
See Register, 8.
HOCKETT, HOWARD L. See Colleges,
3 (Whittier C, Cal.).
HODGES, EDWARD (July 20, 1796, Bris-
tol, England : Sept. 1, 1867, Clifton, Eng-
land). See article in Vol. ii. 414. When he
began at Trinity Church in 1846 there was
much objection to the severity of English
cathedral music. His Service in D, written to
overcome this, he called his ' New York Service.'
His total work included 25 anthems, 7 services.
Psalms 91 and 122, etc. See Messiter, History
of the Choir and Music of Trinity Church, 1906.
[ R.3 ]
HODGES, FAUSTINA HASSE ( ? , Bris-
tol, England : Feb. 4, 1896, Philadelphia).
See Vol. ii. 414, and Register, 5.
HODGES, JOHN SEBASTIAN BACH
(1830, Bristol, England : May 1, 1915, Bal-
timore) . See Vol. ii. 414. With his sister Faus-
tina he was brought to New York in 1845.
He graduated from Columbia in 1850 and from
242
HODGKINSON
HOLLINS
the General Theological Seminary in 1854. In
1854-56 he was assistant at Trinity Church in
Pittsburgh, in 1866-59 taught at Nashotah
Theological Seminary in Wisconsin, in 1860
was rector at Grace Church in Newark, and
from 1870 at St. Paul's in Baltimore, becoming
emeritus in 1906. He was an excellent organist
and composed many services, anthems, tunes
and chants. He compiled The Book of Com-
mon Praise, 1868, and had much to do with
the successive revisions of the Episcopal Hym-
nal. He founded in Baltimore the earliest
choir-school in the United States. [ R.5 ]
HODGKINSON, JOHN [real name Mead-
owcraft] (1767, England : 1805, Washing-
ton), and his wife, nee Arabella Brett, were
popular stage-singers who in 1792 were brought
to New York by John Henry as leading mem-
bers of the Old American Company, appearing
chiefly in New York, Philadelphia and Boston,
but also in Hartford and Providence, for about
ten years. In 1794-96 Hallam and Hodgkin-
son replaced Henry in the direction of the Com-
pany and in 1796-98 Hodgkinson and Dunlap
were similarly associated. From 1797 Hodg-
kinson managed the Haymarket Theatre in
Boston at intervals. Both he and his wife
often sang in concerts, but his ambition was
for dramatic parts and the managing of com-
panies. He had unusual memory, readiness
and effectiveness as an actor. In 1796 he took
the leading role in the production of Carr's
'The Archers.' In 1795-99 he was president
of the Columbian Anacreontic Society in New
York, which he probably founded. He died
of yellow fever and his wife of consumption.
See Sonneck, Concert-Life and Early Opera.
I R.2 ]
HOERRNER, WILLIAM HENRY (b.
1865). See Colleges, 1 (Colgate U., N. Y.).
HOFFMAN, RICHARD (May 24, 1831,
Manchester, England : Aug. 17, 1909,
Mount Kisco, N. Y.). See article in "Vol. ii.
414. On Dec. 1, 1897, he was given a testi-
monial concert to celebrate the fiftieth anni-
versary of his first appearance in New York.
On this occasion, besides a Chopin Nocturne
and Ballade, he played in Hummel's Septet
(on the program in 1847), Mozart's Piano-
Quartet in G minor and a Bach concerto.
After this he gradually gave up playing in
public, though teaching till his last days. Ho
joined Gottschalk in two-piano pieces in the
'603 at his New York concerts and played with
Von Bvilow in 1875 (Bach's Triple concerto in
D minor). See his Musical Recollections of
Fifty Years, with biographical sketch by his
wife, 1910. [ R.4 ]
HOFFMAN, RUDOLF. See Colleges, 3
(Baylor U., Tex.).
HOFMANN, JOSEF CASIMIR (Jan. 20,
1876, Podgorze, near Cracow, Galicia). See ar-
ticle in Vol. ii. 417. In 1888-94 he studied com-
position and orchestration with Urban at Berlin.
In 1896 he made the first of many tours in
Russia. Since 1898 he has spent most of his
time in America, where he has played with all
the leading orchestras and given innumerable
recitals. In 1905 he married the daughter of
J. B. Eustis, former ambassador to France.
His compositions include five concertos (from
1898), two sonatas, a symphony in E and
many shorter pieces. Some early works were
put forth under the name ' Dvorsky.' He has
published books on piano-playing (1898, 1900,
1914). [ R.7 ]
HOHNSTOCK, ADELAIDE ( ? -1856)
and KARL (1828-1889). See Register, 4.
HOLBROOK, JOSIAH. See Tune-Books,
1813.
t HOLBROOKE, JOSEF CHARLES (July
5, 1878, Croydon, England). See articles in
Vol. ii. 418, and v. 645. In 1914-18 he was
active in giving concerts in provincial cities
for soldiers' charities. In the fall of 1919 he
produced his chamber-works in recital in Lon-
don. In 1920 he projects a world-tour. To
the list of works the following may be added :
Soena, 'Marino Faliero' (1905, Bristol Festival).
Symphony, 'Les Hommages' (1906).
Dramatic Choral Symphony, in memory of Poe
(1908).
Fantasie-Concerto, 'Gwyn-ap-Nudd,' for piano
(1911).
Quartet, 'Impressions,' op. 51, for strings (Novello).
Quartet, 'Belgium-Russia, 1915,' for strings
(Novello).
Quartet in two parts, 'Pickwick Club,' op. 68, for
strings (Novello).
Three Suites, opp. 71, 73, 74 (Novello).
Four Ballets, 'The Moth and the Flame,' 'The
Red Masque,' 'Coromanthe' and 'The Wizard.'
Operatic Trilogy, 'The Children of Don' (1912),
'Dylan' and 'Bronwen, Daughter of Llyr,' op.
79 (Novello).
Comic Opera, 'The Snob,' op. 82 (Novello).
Sextet, four dances for piano and strings (arr. as
piano-duet, Ricordi).
Concerto for violin (Ricordi, also in piano-score).
Eight 'Mezzotints,' op. 56, for clarinet and piano
(Ricordi).
Three Dramatic Songs, op. 69, with piano and
strings (Enoch).
Six Piano Fantasies, ' The Orient' : 'Java,' 'Burma,'
'Sumatra,' 'Siam,' 'Annam,' 'China' (Enoch).
Ten Etudes for piano, op. 53 (Ricordi).
'Taliessen'a Song,' for tenor or baritone (Novello).
HOLDEN, ALBERT JAMES (1841-1916).
See Register, 6.
HOLDEN. OLIVER (1765-1834?). See
Register, 2, and Tune-Books, 1792.
t HOLLINS, ALFRED (Sept. 11, 1865,
Hull, England). See article in Vol. ii. 420-1.
On his second visit to America (1888) he came
alone, and played concertos with the New York
Philharmonic Society, the Boston Symphony
Orchestra and other leading organizations.
In 1907, '09 and '16 he made recital-tours in
HOLMAN-BLACK
HOLST
243
South Africa — on the last opening the organ
in the Town Hall at Johannesburg, for which he
drew the specification. His great hobby is or-
gan-mechanism. Among his numerous organ-
works are Concert-Overtures in C and C minor,
a Concert-Rondo, Grands Choeurs in G minor
and C, Triumphal and Coronation Marches,
several pieces of bridal-music, many preludes,
etc.
HOLMAN-BLACK, CHARLES. See Reg-
ister, 7.
HOLMBERG, GUSTAF FREDRIK (Aug.
17, 1872, Fridened Parish, Sweden), came to
America in 1891, having had a good general
education, including some violin-lessons. At
Bethany College in Kansas, where he graduated
from the music-school in 1899 , he was concert-
master and assistant-conductor in the orchestra
at the annual festivals, and continued as teacher
of violin and harmony. Since 1903 he has been
music-director at the University of Oklahoma
at Norman, where from small beginnings a
notable department was rapidly developed,
now forming part of the School of Fine Arts, of
which he has been dean since 1909. Not only
are choral and orchestral concerts prominent,
but interscholastic contests in music, art and
expression have since 1912 become keen and
absorbing. He has also lectured widely on
musical and artistic subjects. [ R.8 ]
HOLMES, EDWARD (1797-1859). See
Register, 4.
HOLMES, HENRY (1839-1905). See Vol.
ii. 421, and v. 645, and Register, 8.
HOLSINGER, GEORGE B. See Col-
leges, 3 (Bridgewater C, Va.).
HOLST, EDVARD (1843-1899). See Reg-
ister, 6.
t HOLST, GUSTAV VON (Sept. 21, 1874,
Cheltenham, England). See article in Vol.
V. 645. For a time, after leaving the Royal
College, he was rep6titeur and trombone-player
with the Carl Rosa Opera Company, and later
was connected with the Scottish Orchestra.
He is still musical director at Morley College,
and also principal music-teacher at St. Paul's
Girls' School. In 1918, under the educational
scheme of the Y. M. C. A., he went to Saloniki,
Constantinople and Asia Minor as musical
organizer in army-camps. The complete list
of his works is as follows :
Opera, 'The Revoke,' op. 1, in one act (1895).
'Fantasiestiicke,' op. 2, for oboe and strings (1896).
Quintet, op. 3, for piano and wind (1896).
Four Songs, op. 4 (1896) (Laudy).
'Clear and Cool,' op. 5, for five-part chorus and
orchestra (1897).
Scena, 'Ornult's Drapa,' op. 6, for baritone and
orchestra (1898).
Overture, 'Walt Whitman,' op. 7 (1899).
Symphony, 'Cotswolds,' op. 8 (1900, given at
Bournemouth, 1902).
'Ave Maria,' for women's voices in eight parts
(1900) (Laudy).
'Ballet-Suite' in E-flat, op. 10 (1900) (Novello).
Opera, 'The Youth's Choice,' op. 11 (1902).
Part-Songs, op. 12 (1902).
Symphonic Poem, 'Indra,' op. 13 (1903).
Quintet for wind, op. 14.
Six Songs for baritone, op. 15 (1902).
Six Songs for soprano, op. 16.
Ballad, 'King Estmere,' op. 17, for chorus and
orchestra (1903) (Novello).
'The Mystic Trumpeter,' op. 18, for soprano and
orchestra (1904).
'Song of the Night,' op. 19, no. 1, for violin and
orchestra (1905).
'Invocation,' op. 19, no. 2, for 'cello and orchestra
(1911, Queen's Hall).
Songs from 'The Princess,' op. 20, for women's
voices (Novello).
Four Carols (Bayley & Ferguson).
Songs without Words, 'Marching-Song,' 'Country-
Song,' op. 22, for small orchestra (1906)
(Novello).
Opera, 'Sita,' op. 23, in three acts.
'Hymns from the Rig- Veda,' op. 24, for solo voice
— 'Dawn,' 'Varuna,' 'Creation,' 'Indra,'
'Maruts,' 'Frogs,' 'Faith,' 'Vac' (Chester).
Song, 'The Heart Worships,' for soprano (Stainer
& Bell).
'Songs of the West,' op. 21a, a selection from the
West Country, for orchestra.
'A Somerset Rhapsodj',' op. 216, for orchestra
(given by Edward Mason).
Opera di camera, 'Savitri,' op. 25 (1908, produced
1916).
'Choral Hymns from the Rig- Veda,' op. 26, four
groups, for chorus or semichorus with orchestra
or harp (1908-12, given by Mason) (Stainer).
Incidental Music to 'A Vision of Dame Christian,'
op. 27a, a masque at St. Paul's School (1909).
Incidental Music to the Stepney Pageant, op. 276,
for children.
Two Suites for military band, op. 28 (1911).
Oriental Suite in E minor, 'Beni Mora,' op. 29,
no. 1, for orchestra (1910, given at Gardiner
concerts).
Fantastic Suite, 'Phantastes,' op. 29, no. 2, for
orchestra (1911, given at Paton's Fund concerts).
Ode, 'The Cloud-Messenger,' op. 30, for chorua
and orchestra (1910, given at Gardiner concerts)
(Stainer).
' Christmas-Day,' for chorus and orchestra
(Novello).
Four ' Part-Songs for Children,' from Whittier
(Novello).
Two 'Eastern Pictures,' for women's voices and
harp (1911) (Stainer).
'Hecuba's Lament,' from 'The Trojan Women,'
op. 31, no. 1, for alto, women's voices and or-
chestra.
'Hymn to Dionysus,' op. 31, no. 2, for chorus and
orchestra (given at Gardiner concerts) (Stainer).
Two Psalms for chorus, strings and organ (1912)
( Augener) .
Suite in C, for string-orchestra (1913).
Part-Songs, 'A Dirge for Two Veterans,' for men's
voices and brass (1914) (Curwen).
Suite, 'The Planets' — 'Mars,' 'Venus,' 'Mer-
cury,' 'Jupiter,' 'Saturn,' 'Uranus,' 'Neptune,'
op. 32, for orchestra (1915, given in part by
Philharmonic Orchestra, 1919).
Japanese Suite, op. 33, for orchestra (1916, given
then and 1919).
Part-Songs, op. 34 (1916) (Augener).
Four Songs with violin, op. 35 (Chester).
Choruses from 'Alcestis,' for women's voices, harp
and flutes.
244
HOLT
HOPE-JONES
Three Hymns for chorus and orchestra, op. 36
(Stainer).
Six Choral Folk-Songa, op. 36 (Curwen).
'The Hymn of Jesus,' op. 37, for two choruses
and semichorus, orchestra, piano and organ
(1917) (Stainer).
Part-Songs for Children, op. 38.
Ballet to the opera 'The Perfect Fool,' for or-
chestra (1918).
'Ode to Death,' words by Whitman, for chorus
and orchestra (1919).
See articles by Edwin Evans in ' The Musical
Times,' Oct., Nov., Dec, 1919.
HOLT, BENJAMIN (1774-1861). See
Register, 3, and Tune-Books, 1S03.
HOLY, ALFRED (Aug. 5, 1866, Oporto,
Portugal), although the son of the director of
the Oporto Conservatory, had most of his train-
ing in violin and harp at the Prague Conserv-
atory, where ho graduated in 1885 and till
1896 played at the opera-house. In 1896-1903
he was harpist at the Berlin Royal Opera and
in 1903-13 at the Vienna Imperial Opera and
Philharmonic, besides playing at the Bayreuth
festivals. Since 1913 he has been solo harpist
in the Boston Symphony Orchestra. His
published works include some 35 solos, pieces
for harp and other instruments, transcriptions
and studies. A comedy-opera, 'Das Marchen
vom Gliick,' was given in Hamburg in 1909.
[ R.IO ]
HOLYOKE, SAMUEL ADAMS (1702-
1820). See Register, 2, and Tune-Books,
1791.
HOMER, LOUISE DILWORTH, nee Beatty
(1872?, Pittsburgh), the daughter of William
P. Beatty, who in 1869 founded the Pennsyl-
vania CoUege for "Women, was educated in
Minneapolis and at West Chester, Pa. She
had some singing-lessons in Philadelphia and
then studied in Boston with W. L. Whitney and
Sidney Homer, marrying the latter in 1895 and
going with him to Paris, where she had further
instruction from Fid tile Koenig and Lherie.
She first appeared as concert-contralto in Paris
under d'Indy and in 1898 made her stage-debut
in 'La Favorita' at Vichy. In 1899-1900 she
was at Covent Garden in London, singing both
Italian and Wagnerian roles, besides appearing
eighty times at La Monnaie in Brussels. From
1900 to 1919 she was continuously engaged at
the Metropolitan Opera House in New York.
She has also sung with all the leading orchestras,
at the Worcester, Springfield and Cincinnati
festivals and in recital. Her favorite roles are
Amneris, Orfeo, Dalila and Fides (in 'Le Pro-
phfete'), but she has won success in many oth-
ers, such as Madame de la lialti^re (in ' Cendril-
lon'), Ortrud, Erda, Fricka (in 'Die WalkiJre '),
Waltraute, Brangane, Magdalena (in ' Die Meis-
tersinger'), the Witch (in 'Hansel und Ore tel'
and 'Die Konigskinder'), Azucena, Laura (in
'La Gioconda'), Dame Quickly (in 'Falstaff'),
Hedwig (in 'Manru'), etc. [ R.8. ]
HOMER, SIDNEY (Dec. 9, 1864, Boston),
after training at the Boston Latin School and
Phillips (Andover) Academy, studied with
Chadwick in Boston, with two years at Leipzig
and three under Rheinberger, Abel and Hieber
at Munich. In 1888-95 he taught harmony
and counterpoint in Boston, lecturing also on
symphonies and the Wagnerian dramas. In
1895 he married Louise D. Beatty, who had
boen his pupil in harmony. Since 1900 he has
lived in New York, almost wholly engaged with
song-composition. About 80 of his songs are
published by Schirmer, including 'Sweet and
Low,' 'Thy Voice is Heard,' 'A Woman's Last
Word,' 'Prospice,' 'The Poor Man's Song,'
' The Last Leaf,' ' Sing me a song of a lad that
is gone,' 'Requiem,' 'The Stormy Evening,'
songs from Stevenson's A Child's Garden of
Verses, 'The Pauper's Drive,' 'The Bandanna
Ballads' (including the popular 'Banjo Song'),
'Dearest,' 'The Song of the Shirt,' 'How's my
Boy,' 'Boats Sail on the Rivers,' 'Ferry me
across the water,' 'Six Songs of the Old
South,' 'Three Scotch Poems' and 'Home
they brought her warrior dead.' In addition
there are ' Mother Goose,' 35 songs (Macmillan)
and 'Homeland' (Flammer). See pamphlet
in Schirmer's Course in Contemporary Musical
Biography, 1919. [ R.8 ]
HOOD, HELEN (June 28, 1863, Chelsea,
Mass.), was a pupil in Boston of Lang in piano
and of Chadwick in composition, and for a year
was under Moszkowski in piano in Berlin.
Most of her published works are songs, opp.
1, 2, 7 (sLx 'Song-Etchings'), 9, 13, 14, 18 (sa-
cred), with three part-songs (including 'The
Robin,' op. 3), a Te Deum in E-flat, op. 15,
three piano-pieces, op. 8, eight for violin, and
piano, opp. 6, 10, two for two violins and piano,
op. 12, a piano-trio, op. 11, and a string-quar-
tet in D, op. 16. [ R.7 ]
HOOK, ELIAS (1805-1881) and GEORGE
G. (1807-1880). See Register, 3.
HOOK, E. & G. G., was an organ-making
business started in 1827 at Salem, Mass., by
Elias and George G. Hook, the former having
been an apprentice of William M. Goodrich.
In 1832 they moved to Boston, where they be-
came for many years leading manufacturers.
Up to 1855 they built 170 organs. At that
time Frank H. Hastings (1836-1916) joined
them, becoming a partner in 1865, when the
firm became Hook & Hastings. In 1887 a fine
new factory was built at Kendal Green, Mass.,
and in 1893 the business was incorporated as
the Hook & Hastings Co. The total output
of the firm since the beginning is about 2500
instruments, including many that have been
famous. See Jones, Handbook of American
Music and Musicians, p. 76.
HOPE-JONES, ROBERT (Feb. 9, 1859,
Hooton Grange, England : Sept. 13, 1914,
HOPEKIRK
HOPKINSON
245
by suicide, Rochester, N. Y.), at fifteen was
organist of the Birkenhead School Chapel, at
seventeen was apprenticed to Laird Bros., an
electrical and shipbuilding firm at Birkenhead,
and later became chief engineer of the National
Telephone Co. His interest in the organ per-
sisted, and despite his progress as an electrical
inventor, he turned to organ-building in 1S89.
He came to the United States in 1903, and for
two years was with the Austin Organ Co. and
for two more with the Skinner Co. In 1907
the Hope-Jones Organ Co. was formed and
located at Elmira, N. Y. ; but in 1910 this was
taken over by the Wurlitzer Co., and the plant
moved to North Tonawanda, N. Y. He held
decidedly radical views about organ-making,
introducing a long series of ingenious inventions
and advocating them with zeal, but many of
them have not been widely approved, despite
their cleverness. See Vol. iii. 551-2, and Miller,
The Recent Revolution in Organ-Building . [ R.9 ]
HOPEKIRK, HELEN (May 20, 1856,
Edinburgh, Scotland), had her early training
in Edinburgh under Lichtenstein and Macken-
zie, and continued at the Leipzig Conservatory,
in Vienna under Leschetizky and Navrdtil,
and in Paris under Mandl (orchestration).
Her debut as pianist was at the Gewandhaus
in Leipzig in 1879. She also played at the
Crystal Palace in London, introducing the
Grieg and Saint-Saens (G minor) concertos,
with the Scottish Orchestra under Manns and
Henschel, with the Vienna Philharmonic under
Richter, at the Richter concerts, in London,
with Halle's Manchester Orchestra, with the
Boston Symphony under Henschel, Nikisch and
Gericke, with orchestras directed by Thomas
and Van der Stucken, and with the Kneisel
Quartet and other chamber-music organiza-
tions, besides giving many recitals. Since 1883
she has lived in America, from 1897 becoming
a favorite teacher in Boston. From 1919 she
returned to Edinburgh for part of each year.
She introduced in America many works by
modern French composers, including pieces by
Debussy, the d'Indy quartet (Boston, 1901),
and the Faure quintet in D minor (New York,
1907). Her compositions include about 100
songs (about half of them published), such as
'Under the Still, White Stars' (vioHn-obbli-
gato), 'My Heart's in the Highlands' (for
chorus), eleven on poems of Fiona Macleod,
'Voice of the Mountains,' 'A Song of Glen
Dun,' 'Blows the Wind To-day,' 'Reconcilia-
tion' (from Whitman), and three to Biblical
words; a piano-concerto and a 'Concertstiick'
(both played with the Boston Symphony Or-
chestra), two piano-suites and several piano-
pieces ; sonatas for violin and piano, in E minor
and D, and other violin-pieces ; and some works
for orchestra. [ R.7 ]
HOPKINS, EDWARD JEROME (Apr. 4,
1836, Burlington, Vt. : Nov. 4, 1898, Athe-
nia, N. J.), began organ-playing at ten, at-
tended the University of Vermont and the
New York Medical College, but from 1856,
though self-taught in music, undertook teach-
ing, lecturing and composing. In 1856 he
founded the American Music Association to
promote works by American composers, in
1865 the Orpheon Free Schools in New York,
which in twenty years enrolled over 30,000
pupils, and in 1868 'The New York Philhar-
monic Journal,' which he conducted till 1885.
He gave 'lecture-concerts' throughout the
country, and for some years was church-organ-
ist. He composed over 700 works — the operas
'Samuel' (1877, New York) and 'Dumb Love' ;
a symphony; 'Easter Festival Vespers' for
three choirs, two organs, orchestra, harp and
cantor ; a fantasia for five pianos ; etc. Two
collections of church-music, an Orpheon Class-
Book and other works were published. [ R.4 ]
HOPKINS, HARRY PATTERSON (b.
1873). See Register, 8.
HOPKINSON, FRANCIS (Sept. 21, 1737,
Philadelphia : May 9, 1791, Philadelphia),
seems likely to stand, as Sonneck calls him,
'the first native poet-composer of the United
States. ' He was the first student matriculated
at what is now the University of Pennsylvania,
where he graduated in 1757 and was made A.M.
in 1760 and LL. D. in 1790. In 1761 he was
admitted to the bar, in 1766-67 was in England,
and became active in politics from 1768. In
1774 he became a member of the Provincial
Council of New Jersey and in 1776, represent-
ing that state, was a signer of the Declaration
of Independence. In 1787 he participated in
the convention that framed the Constitution
of the new United States. In 1779 he was
made Admiralty Judge for Pennsylvania and
in 1790 Judge of the United States District
Court. Besides more serious writing, he
exerted much influence through poems and
satires. His essays and miscellaneous writings
were published in three volumes in 1792 (see
Allibone, Dictionary of Authors).
He evidently took up the harpsichord when
about seventeen and attained considerable
proficiency. At the College Commencement
of 1760 he was represented as composer and
he may have then played on the new organ.
In 1764 the vestry of Christ and St. Peter's
United Churches thanked him for teaching the
children to sing, and in the same year the con-
sistory of the Reformed Dutch Church in New
York employed him to make an English version
of their Psalter. He invented an improved
method of quilling harpsichords, which at-
tracted attention in Europe, and he followed
Franklin in experimenting with the harmonica.
A collection of songs composed by Hopkinson
was begun in 1759, and his ' My days have been
246
'HORA NOVISSIMA'
HUBAY
80 wondrous free,' from that year, is doubtless
the earliest extant secular piece of American
origin. In 1788 a set of Seven Songs for the
Harpsichord or Forte-Piano — ' the Words and
Music by Francis Hopkinson' was published
in Philadelphia. It is dedicated to Washington,
and in so doing Hopkinson claims the credit 'of
being the first Native of the United States who
has produced a Musical Composition.' See
O. G. Sonneck, article in I. M. G. Sammelbde.
5. 119-54, and Francis Hopkinson and James
Lyon, 1905. Six of Hopkinson's songs, edited
by H. V. Milligan, are published by Schmidt
(1919). I R.l ]
'HORA NOVISSIMA.' An oratorio by
Horatio Parker, op. 30, finished in 1893 and
first given by the New York Church Choral
Society at Holy Trinity Church. The text,
effectively translated by the composer's mother,
is taken from the famous poem of Bernard of
Cluny. It immediately took rank as the
strongest oratorio by an American composer,
and has been extensively performed both in
America and in England.
HORN, CHARLES EDWARD (1786-1849).
See Register, 3.
HORNER, RALPH JOSEPH (Apr. 28,
1848, Newport, England), after study at Leip-
zig under Moscheles, Reinecke, Richter and
Papperitz, in 1868 settled in London as
teacher of piano, singing and harmony. He
conducted the Peckham Choral Society and
in 1873-75 was choirmaster at St. Mary's,
Peckham, In 1879-90 he conducted Sullivan's
operas on tour, and also led operas at the Strand
Theatre and the Alexandra Palace in London.
In 1888 he moved to Nottingham, conducting
musical societies and in 1895-1905 lecturing at
University College. Durham University made
him Mus.B. in 1893 and Mus.D. in 1898.
Coming to New York, in 1906-09 he toured
as operatic conductor, and then located in
Winnipeg, Manitoba, as director of the Imperial
Academy of Music and Arts. He has con-
ducted musical societies, from 1916 was band-
master in the Canadian Army, and is on the
Council of the Canadian Guild of Organists.
He has published the dramatic cantata ' Con-
fucius,' many songs, choruses and piano-pieces.
Unpublished are the grand opera 'Amy Robsart,'
the comic operas 'The Belles of Barcelona'
(1911, Winnipeg) and 'Mesmerania' ; two ora-
torios, 'St. Peter' and 'David's First Vic-
tory ' ; four sacred cantatas ; a symphony and
other orchestral works ; six operettas, of which
'Four by Honors' was played for over a year
by D'Oyly Carte's Opera Company ; a string-
quartet ; etc. [ R.9 ]
HORSLEY, CHARLES EDWARD (1822-
76). See Register, 6.
HORVATH, CECILE, n6e Ayres (b. 1889)
and ZOLTAN DE (b. 1886). See Register, 10.
HOUGH. GEORGE. See Tune-Books.
1808.
HOUSELEY, HENRY (Sept. 20, 1851,
Sutton-in-Ashfield, England), had his first en-
gagements as organist at St. Luke's in Derby
and St. James' in Nottingham. In 1888 he
came to Denver, succeeding Dr. Gower as
organist at St. John's Cathedral, where he has
been held in honor ever since. He has also
achieved success in promoting both choral and
orchestral work in Denver. He is F. R. C. O.
and a founder of the A. G. O. His composi-
tions include a string-quartet ; six orchestral
pieces (Minneapolis, St. Louis and Denver
Symphony Orchestras) ; three one-act operas,
'Pygmalion,' 'Narcissus and Echo,' and 'The
Philippino' (all given in Denver) ; two comic
operas, 'Native Silver' and 'The Juggler'
(also in Denver) ; 12 organ-pieces (being pub-
lished) ; the dramatic cantata, 'Omar Khay-
ydm ' (Gray) ; 12 anthems (Schmidt) ; and
many songs. Five cantatas for chorus and
orchestra, composed for the Cathedral and
often performed, are 'The Nativity,' 'Calvary,'
'Easter-Morn,' 'The Resurrection-Morn 'j and
'Awake and Sing.' [ R.7 ]
HOWARD, GEORGE HENRY (1843-
1917). See Register, 5.
HOWARD, KATHLEEN, born at Clifton.
Ont., studied with Saenger in New York and
Bouhy and Jean de Reszk6 in Paris. In 1907
she made her debut as contralto in 'II Trova-
tore* at Metz, continuing there for two seasons.
In 1909-12 she sang at the Grand-Ducal Opera
at Darmstadt, and then toured extensively on
the Continent and in England, singing with
leading orchestras and as 'guest' at opera-
houses. In 1913 she took a prominent part
at the Wagner Festival under Nikisch, and
was the first to sing in England the Witch in
'Die Konigskinder. ' In 1913-15 she was with
the Century Opera Company in New York and
appeared also in concert. Since 1916 she has
been at the Metropolitan Opera House. Her
repertoire includes about eighty operas in four
languages. In 1915 she sang in the premiere
of Parker's 'Fairyland' and in 1917 at the first
American performance of Rabaud's ' M^rouf.'
She has published Confessions of an Opera-
Singer, 1918. In 1916 she married Edward
K. Baird, a New York lawyer who was presi-
dent of the Century Opera Company. [ R.9 ]
HOWE, ELIAS (1820-95). See Regis-
ter, 5.
HOWE, JAMES HAMILTON (b. 1856).
See Colleges, 3 (DePauw U., Ind.).
HOWE, SOLOMON. See Tune-Books,
1799.
HOWLAND, WILLIAM (b. 1871). See
Register, 7.
t HUBAY, JENO (Sept. 14, 1858, Budapest,
Hungary). See article in Vol. ii. 437. Add to
HUBBARD
HUMISTON
247
list of works the operas 'Moosroschen' (1903,
Pest), 'Lavothas Liebe' (1906, Pest) and 'Anna
Karenina' (1915, Pest), two symphonies and
four violin-concertos.
HUBBARD, JOHN (1750-1810). See Tune-
Books, 1789.
HUBBARD, JOHN. See Tune-Books, 1814.
HUBBARD, W. S. See Tune-Books, 1842.
X HUBER, HANS (June 28, 1852, Schone-
werd, Switzerland). See article in Vol. ii. 437-
8. Recent works in large form are the operas
'DerSimplicius' (1912, Basle), 'FruttadiMare'
(1914, Basle) and 'Die schone Belinde' (1916,
Berne), six symphonies (making seven) and
the oratorio 'Weissagung und Erfiillung,' be-
sidep a long list of lesser works, including much
chamber-music. For complete list, see Baker,
Diet, of Musicians, p. 418.
HUBERDEAU, GUSTAVE (b. 1878?).
See Register, 9.
HUGHES, EDWIN (Aug. 15, 1884. Wash-
ington), after study with local teachers, inl905-
06 was under Joseffy in New York and in 1907-
10 with Leschetizky in Vienna, becoming the
latter's assistant in 1909. In 1910-12 he con-
certized in America, and then for four years re-
sided in Munich, appearing with much success
with leading orchestras and in recital in the
music-centers of Germany. Returning to
America in 1916, he settled in New York, and
has given many concerts there and elsewhere.
In 1918 he succeeded Friedberg in the piano-
faculty of the Institute of Musical Art. He is
also on the editorial staff of Schirmer, the pub-
lisher. He has composed songs and a concert-
paraphrase for piano of the 'Wiener Blut'
Waltz of Johann Strauss. He has written
many articles on musical subjects for American,
English and German publications. [ R.9 ]
HUGHES, ROYAL D. See Colleges, 3
(Findlay C., Ohio).
HUGHES, RUPERT (Jan. 31, 1872, Lan-
caster, Mo.), graduated from Adelbert College
in Cleveland in 1892, and had some lessons in
theory from W. G. Smith and from Kelley, as
well as later from C. W. Pearce in London, but
is largely self-educated in music. His first
published songs date from 1892 — 'Tears, Idle
Tears' and 'In a Gondola.' In 1900 appeared
'Midnight in Venice' and a group of ten on
words by Riley. One of the most ambitious is
' Cain,' a dramatic monologue with original
words, presenting some fruits of investigation
in the realm of dissonances. Many songs and
piano-pieces are as yet unpublished. His lat-
est composition is a 'Funeral March for the
American Dead in France.' Writing about
music has occupied a large amount of his time
and energy, and he has become known both
for his acute discrimination and his picturesque
style. He was music-critic for the New York
'Criterion' in 1898-90, and since then has been
a frequent contributor to various papers and
periodicals. His Contemporary American Com-
posers, 1900 (enlarged by Arthur Elson, 1915),
was a pioneer work, based on the study of large
quantities of manuscripts and printed music.
His Love-Affairs of Great Musicians, 2 vols.,
1903, was also a work of painstaking research.
The more prosaic, but comprehensive Musical
Guide, 2 vols., 1903, was later recast in one
volume as The Music-Lover's Cyclopedia, 1912.
He also compiled Songs by Thirty Americans,
1904, made up of original contributions. His
novel ' Zal,' 1905, is a study of the psychology
of the concert-pianist. He has been also an
industrious writer of stories (from 1899) and
plays (from 1902), of which a list is given in
Who's Who in America, besides contributing
to magazines and cyclopedias. He began
military service as a private in the N. Y. N. G.
in 1897, becoming captain in 1908, and in 1916
was on active duty on the Mexican border. In
1917 he was assistant to the Adjutant-General
in New York, and in 1918 was commissioned
major in the United States Army. ( R.8 ]
HUGO, JOHN ADAM (b. 1873). See
Register, 8.
HULL, ALEXANDER. See Colleqes, 3
(Pacific C, Ore.).
t HULL, ARTHUR EAGLEFIELD (1876,
Market Harborough, England), was a pupil
of J. H. Wood, Matthay and C. W. Peayce in
London and holds the degree of Mus.D. from
Oxford University. He is organist at Hudders-
field Parish Church, principal of the Hudders-
field College of Music and editor of 'The
Monthly Musical Record.' He has composed
the oratorio ' The Resurrection-Morning ' ;
the cantata ' Hail, Festal Day, ' op. 1 ; a para-
phrase for organ on melodies by Grieg, op. 2 ;
'Variations Poetiques' for organ, op. 3; a
toccatina on 'Corde Natus' for organ, op. 5; a
fantasia on an old English carol and 'Prelude,
Berceuse and Reverie,' for organ, op. 6 ; and
'Russian Country-Scenes' for piano, op. 7.
He is author of Organ-Playing, its Technique
and Expression, 1911, Modern Harmony, 1914,
Harmony for Students, 1918, volumes on Scri-
abin. Bach, Cyril Scott, and others, a Short
History of Music, and Modern Music-Styles,
all for ' The Music-Lover's Library,' of which
he is general editor, and The Sonata in Music.
He has also edited and annotated the complete
organ-works of Bach and Mendelssohn (Au-
gener). He is honorary director and acting-
secretary of the British Music Society.
HULSKAMP, HENRY [Gustav Heinrich].
See Register, 4.
HUMISTON, WILLIAM HENRY [family-
name originally Humberstone] (Apr. 27, 1869,
Marietta, O.), graduated from the Chicago
High School in 1886 and from Lake Forest
College in 1891. Meanwhile he studied piano
248
HUNEKER
HUSS
with Mathews and organ with Eddy. In 1889-
91 and 1893-94 he was organist at Lake Forest
and in 1891-93 in Chicago. From 1894 he
continued study of the piano with W. B. Keeler
in New York, of organ with Woodman and in
1897-1900 of composition with MacDowell,
meanwhile holding positions as organist, teach-
ing composition and lecturing on Wagner and
MacDowell. In 1902-12 he was conductor
for various traveling opera-companies. Since
1912 he has been connected with the New York
Philharmonic Society as editor of the program-
notes and since 1916 as assistant-conductor.
In 1914 he directed at the MacDowell Club
probably the first performance in America of
Mozart's 'Bastien und Bastienne' ; in 1916 a
program on 'the lighter side of Bach,' which
included the 'Peasant Cantata' with scenery
and costume; and in 1918 a Bach program
with orchestra which included the triple con-
certo in D minor and many solos from can-
tatas. He has specialized in the music of Bach,
Wagner and MacDowell and has a notable
library of their works. Of his own works he
has conducted the Suite in F-sharp minor (1911),
the 'Southern Fantasie' (1913), and 'Iphigenia'
(1913, People's Choral Union, Boston Sym-
phony Orchestra). The Suite is published in
an arrangement for violin and piano, and some
of his songs are in print. [ R.7 ]
HUNEKER, JAMES GIBBONS (Jan. 31,
1860, Philadelphia), had his training as pianist
under Cross in Philadelphia, Mathias in Paris
and Joseffy in New York, becoming in 1881-91
the latter's assistant at the National Conserva-
tory. In 1891-95 he was critic for the New
York 'Recorder,' in 1895-97 for the 'Adver-
tiser,' in 1900-12 for the 'Sun,' in 1917 con-
tributor to the Philadelphia 'Press' and since
1918 to the New York 'Times.' He has been
a prolific author, the list including Mezzotints
in Modern Music, 1899, Chopin, the Alan and his
Music, 1900, Melomaniacs, 1902, Overtones —
Music and Literature, 1904, Iconoclasts, a Booh
of Dramatists, 1905, Visionaries, 1905, Egoists,
a Book of Supermen, 1909, Promenades of an Im-
pressionist, 1910, Franz Liszt, 1911, The Pathos
of Distance, 1912, Old Fogij, 1913, New Cos-
mopolis, 1915, Ivory Apes and Peacocks, 1915,
Unicorns, 1917, and Bedouins, 1920. These
have given him a high place among American
essayists, arid several of them have been trans-
lated into other languages. His extraordinary
range of knowledge in music, literature and art,
combined with his brilliant and witty style,
holds the interest, however one may feel about
his judgments. [ R.7 ]
'HUNOLD DER SPIELMANN.' An op-
era by Hermann Genss, produced in San Fran-
cisco in 1914.
HUNTINGTON, JONATHAN (1771-1838) .
See Tune-Books, 1807.
HUPFELD , CHARLES P. See Register, 3.
% HURLSTONE .WILLIAM YEATES (Jan.
7, 1876, London : May 30, 1906, London).
See article in "Vol. ii. 447. Publication of his
music has continued, and the following com-
positions may be added : Quartet in E minor,
for piano and strings ; piano-trio in G ; sonata
in F, for violin and piano; four 'English
Sketches,' for violin and piano ; sonatas in F
and D, for 'cello and piano; four 'Character-
istic Pieces,' for viola or clarinet and piano ;
Capriccio in B minor, for piano ; five ' Minia-
tures,' for piano ; the ballad 'Alfred the Great,'
for chorus and orchestra ; and many songs.
HUTCHINGS, GEORGE S. (1835-1913).
See Register, 5.
HUSBAND, JOHN (17537-1809?). See
Tune-Books, 1807.
HUSS, GEORGE JOHN (1828-1904). See
Register, 4.
HUSS, HENRY HOLDEN (June 21, 1862,
Newark, N. J.), through his father is descended
from the brother of the Bohemian patriot and
martyr, John Huss. His first study was under
his father, later continued with Boise and for
three years with Rheinberger and Giehrl at the
Munich Conservatory, where he graduated in
1885. At his graduation he played his Rhap-
sody for piano and orchestra — later also played
with the Boston Symphony Orchestra in 1887
and in New York with Van der Stucken. His
piano-concerto in B he has played with the
Boston Sjonphony, New York Philharmonic,
Pittsburgh, Cincinnati and St. Paul Orchestras-
He has also given his violin-sonata with Hart-
mann, Kneisel, Spiering, Lichtenberg and
others, and his 'cello-sonata with Schroeder,
Hambourg, May Mukle and others. The Kneisel
Quartet introduced his string-quartet, and an
early piano-trio was given by the composer,
Kneisel and Hekking in Boston. In 1904 he
married Hildegard Hoffmann, the concert-so-
prano, and they have given many joint recitals
in the United States and in Europe. His
compositions include the following
' Wald-Idylle,' op. 2, for small orchestra (1884,
Munich) .
'Rhapsodie,' op. 3, for piano and orchestra (1886,
Boston, 1887, New York).
Concerto in B, op. 10, for piano and orchestra
(Schirmer).
Concerto in C minor, op. 12, for violin and or-
chestra, dedicated to Maud Powell.
Trio in D minor, op. 8, for piano, violin and 'cello
(Larghetto published for piano and reed-organ).
Romanza and Polonaise, op. 11, for violin and
orchestra.
Sonata in G minor, op. 19, for violin and piano,
dedicated to Kneisel (Schirmer, 2d movement
also as 'A Northern Melody').
Sonata, op. 24, for 'cello and piano, dedicated to
Schroeder.
Quartet in G minor, op. 26, for strings.
Quartet in E minor, for strings, written at Ysaye'a
request and dedicated to him.
HUTCHESON
HYMN-BOOKS
249
'B»rceu8e Slave,' for violin and piano, dedicated
to Zimbalist (Ditson).
Romanza in E, for violin (or 'cello), dedicated to
Maud Powell (Schirmer).
Ballade in F, op. 1, for piano (Schirmer).
Three Pieces, op. 5, for piano (Schmidt).
'Prelude Appassionata,' and 'The Rivulet' (6tude),
op. 7, for piano (Schmidt).
'Summer Sketch-Book,' op. 13, six pieces for piano
(Schirmer).
•Quatre Preludes en forme d'^tudes,' op. 17, for
piano (Schirmer).
'Menuet et Gavotte Capricieuse,' op. 13, for piano
(Schirmer).
Valse, Nocturne and Gavotte, op. 20, for piano
(Schirmer).
'La Nuit,' op. 21, for piano (Schirmer).
Six Pieces, op. 23, for piano (Schirmer).
'Pastorale,' 'Album-Leaf and 'Etude M61odique,'
for piano (Schmidt).
'Menuet Mignonne,' op. 27, for piano.
'Valse Intime,' for piano, dedicated to Bauer
(Ditson).
Three Bagatelles, op. 30, and Three Pieces for
Children, for piano (Art Publication Soc.y.
'Ave Maria,' op. 4, for soli, women's chorus,
strings, organ and harp (1888, New York)
(Novello).
Festival Sanctus, op. 9, for chorus, orchestra and
organ (Schuberth).
'Adeste Fideles,' op. 14, and 'Pater Noster,' op.
15, for six-part chorus a cappclla (Schirmer).
Nocturne, 'How sweet the moonlight sleeps,' op.
27, for soprano, women's chorus and orchestra.
'The Recessional,' for chorus and piano (Silver,
Burdett & Co.).
'O Captain, my Captain,' for men's chorus, piano
and organ (Schirmer).
'The Fool's Prayer,' for men's chorus and piano
(Schirmer).
'The Flag,' for men's chorus and piano (Schirmer).
'Mankind's Own Song,' for three-part women's
chorus and piano (Schirmer).
'The Seven Ages of Man,' op. 16, for baritone and
orchestra.
About 30 songs (many published by Schirmer or
Schmidt). [ R.7 ]
HUTCHESON, ERNEST (July 20, 1871,
Melbourne, Australia), when between five and
seven, trained by Vogrich and Torrance, toured
Australia as a child-pianist. At fourteen he
went to Leipzig to study piano under Reinecke
and Zwintscher and composition under Jadas-
sohn. At nineteen he made a second tour in
Australia. He then continued study under
Stavcnhagen at Weimar, where he was keeping
alive the Liszt traditions. From 1898 he was
highly successful in Berlin as pianist, conductor
and composer. In 1900 he became chief piano-
teacher at the Peabody Conservatory in Balti-
more, but resigned in 1912 to have time for
more concert-work. After two years in Europe,
principally Germany, in 1914 he settled in New
York. In 1911 he succeeded Sherwood as head
of the piano-department of the Chautauqua
Institution. The best-known of his many
prominent piano-pupils is Olga Samaroff (Mrs.
Stokowski). He has composed a symphonic
poem, an orchestral suite, a piano-concerto, a
concerto for two pianos and a violin-concerto.
Some piano-pieces have been published. He
has also written the excellent text-book. The
Elements of Piano-Technique, a guide to Strauss'
'Elektra,' and many musical articles. [ R.9 ]
HYDE, ARTHUR SEWALL (1875-1920).
See Register, 8.
HYLLESTED, AUGUST (June 17, 1858,
Stockliolm, Sweden), played in public when but
eight, for three years was trained by Holger
Dahl and then went to the Copenhagen Con-
servatory to study piano with Neupert, com-
position and orchestration with Gade, counter-
point with Hartmann, violin with Tofte and
organ with Attrup. He made his second tour
of Scandinavia in 1875, and became conductor
and organist at the Cathedral in Copenhagen.
In 1879 he worked with Kullak and Kiel at
Berlin and in 1880 won approval from Liszt.
In 1883-84 he toured in Great Britain and in
1885 made his debut in New York, followed by
concerts in the United States and Canada.
In 1886-91 he was assistant-director of the
Chicago Musical College and in 1891-94 head
of the piano-department in the Gottschalk
Lyric School. After three years of concertizing
in England, France, Germany and Scandinavia
he returned to Chicago as player and teacher.
He has received distinguished honors from
more than one European court. His published
works include 'Elizabeth,' a symphonic poem
with double chorus (produced under his direc-
tion in 1897, London) ; incidental music to ' Die
Rheinnixe'; a 'Marche Triomphale' for or-
chestra; 'Scandinavian Dances,' fantasias,
two suites and smaller pieces for piano. In
manuscript are two piano-trios, a piano-sonata,
'Variations Serieuses,' a suite for piano and
songs. [ R.7 ]
HYMN-BOOKS WITH TUNES. Except
for a limited number of Psalters in the 17th
century, American churches did not have ser-
vice-books for congregational song that con-
tained both words and music in conjunction
until about 1850. During what may be called
the first period of development of hymn-singing
(1720-1820) such tunes as were imported,
adapted or composed were accumulated in
separate Tune-Books (see article), which, be-
sides supplying material for the 'singing-
schools,' tended more and more to build up
choir-singing rather than to be used by con-
gregations as such. In the early decades of
the 19th century, however, when two or three
types of religious assembly that were novel be-
came common, a demand arose for books with
words and music printed together. At first
books of this kind were not meant for the more
formal services, but for Sunday-schools, in-
formal 'social' meetings and evangelistic gather-
ings. Thus was started a movement of publi-
cation that soon attained large dimensions.
During the century since 1820 hundreds of
250
HYMN-BOOKS
HYMN-BOOKS
small books have been put forth, representing
various grades of ability, taste and sincerity.
Taken together, these lesser books have con-
tained a huge amount of original music, but
usually of so trivial and ephemeral a character
that no summary of them is here attempted.
But meanwhile, from the appearance in 1831
of Leavitt's 'Christian Lyre' and Hastings
and Mason's 'Spiritual Songs' (its immediate
rival), the new movement pointed toward a
type of service-book for dignified church use,
and such books began to be made after about
1850. The music was taken from existing
tune-books or followed in their style. The
bulk of it was American in origin. After 1860,
however, the usage of Episcopal churches began
to be affected by the transition in England that
was embodied in 'Hymns Ancient and Modern'
(1861 and later). This epoch-making book
was at once imported, reprinted (from 1866),
adopted by many Episcopal churches, and
increasingly considered by editors of other de-
nominations. The influence of the several
types of tune in Anglican usage, combined
probably with other tendencies in American
music, produced a progressive alteration of
standard in the demands of congregations and
the practice of editors. Especially after 1880,
the larger church hymnals, whether issued by
denominational authority or by independent
editors and publishers, have generally sought
to combine tunes of many styles — the old
American type, the juvenile or evangelistic
type, the chorale-types of England and Ger-
many, the English part-song type, etc. — and
often also to stimulate fresh composition. The
proportion of these elements varies greatly,
and the scholarship and judgment of individual
editors also vary. But, on the whole, there
has been notable advance.'
On the whole, then, the series of books that
has been compiled from various sources offejs
curious and interesting evidence of the growth
of one side of popular musical culture — a side
which undoubtedly affects the appreciation of
a vast number of users and which has attracted
effort in original composition that is by no
means insignificant. The list is doubtless far
from complete, but it is sufficient to indicate
the extent of the literature. The editor's
name is added in most cases, and an abbrevia-
tion that indicates the denomination for which
the book is intended.
1831 Christian Lyre, Leavitt Pres. Cong.
Spiritual Songs, Hastings, Mason Pres. Cong.
1839 Hymns of Zion, Thomas Univ.
1850 Christian Psalmist
1 Copyright considerations have played no small
part in the process. In many books commercial
reasons have kept down the number of tunes protected
by American copyright and increased that of tunes
taken from English sources. Often what was artisti-
cally better was at the same time cheaper.
1851
1854
1855
1857
1858
1859
1861
1862
1863
1864
1865
1866
1868
1869
1870
1871
1872
1873
1874
1874
1875
Christian Melodies, Cheever, Sweetzer
(numeral notation) Cong.
Temple Melodies, Jones Cong.
Congregational Church Music, Bacon .... Cong.
Plymouth Collection, Beecher Cong.
Hymns for the Use of the M. E. Church . . Meth.
Church Melodies, Hastings Pres.
Songs of the Church, Davies Epis.
Baptist Chorals, Manly, Everett Bapt.
Choralist, Day, Tappan, Curtis, Cheney
Free-W. Bapt.
Collection of Sacred Song, Hopkins Epis.
Evangelical Psalmist, Seiss, McCron,
Passavant Luth.
New Congregational Hymn <fc Tune Book,
Nason Cong.
Pastor's Selection, Burt Pres.
Puritan Hymn & Tune Book Cong.
Sabbath Hymn & Tune Book, Park,
Phelps, Mason Cong.
American Hymn & Tune Book,
Stevens, McDonald
Book of Hymns & Tunes, Longfellow. . . .Unit.
Church Choral-Book, Baker, Tufts Cong.
Psalmist, Edmands Bapt.
Psalms of David, Jones (tunes apart)
Wesleyan Hymn <& Tune Book, Everett
Meth. So.
Gospel Psalmist, Adams Univ.
So?igs for Social & Public Worship, Mason
Cong.
Songs of the Church, Robinson Pres.
Psalms of David, Keys Pres.
Church Pastorals, Adams Cong.
Devotional Hymn & Tune Book,
Rowland, Bradbury Bapt.
Songs for the Sanctuary, Robinson, Pres. Cong.
Book of Worship, Bacon Pres.
Collection of Hymns Meth. So.
Common Praise, Waterbury Epis.
New Hymn & Tune Book, Phillips Meth.
Presbyterian Hymnal O. S. Pres.
Christian Hymnal, Sewall Swedbg.
Church Hymn Book, Salter (tunes apart) Cong.
Jubilee Harp Advt.
Book of Praise Cong.
Hymn & Tune Book, Livermore Unit.
Book of Common Praise, Hodges Epis.
Spiritual Harp Spirit.
Vestry Harmonies, Adams Univ.
Hymns of the Church, Thompson,
Vermilye, Thompson Ref . Dutch
Hymns of the New Life Pres. Cong.
Christian Hymn & Tune Book, Hayden
Christian Praise Ref. Dutch
Hymnal, Hutchins Epis.
Parish Hymnal, Tucker Epis.
Baptist Praise Book, Holbrook Bapt.
Christian Hymnal Disciples
Collection of Hymns, Shuey, etc.. .Unit. Breth.
Tribute of Praise, Tourj^e Cong.
Brethren's Hymn & Tune Book Dunkers
Church Hymn Book, Hatfield Prea.
Hymnal, Goodrich, Gilbert Epis.
Hymjial, Tucker Epis.
Hymns of the Morning, Barker Advt.
Sacrifice of Praise, Murray, Gilman Pres.
Church Book, Schmucker, Bird Luth.
Baptist Hymn & Tune Book, Evans Bapt.
Church Harmonies, Bolles, Washburn. . . .Univ.
Hymns d: Songs of Praise, Hitchcock,
Eddy, Schaff Pres.
Hymns for the Sanctuary Unit. Breth.
Presbyterian Hymnal, Duryea Pres.
Hymns for Christian Devotion Univ^
HYMN-BOOKS
HYMN-BOOKS
251
1875 Psalms & Hymns tfc Spiritual Songs,
Robinson Pres.
Service of Praise Cong.
1876 Bible Songs Cumb. Pres.
Book of Worship (chants, not tunes) . .Swedbg.
Christian Hymn Book Christ.
Hymns A Tunes 7th-D. Advt.
1877 Christian Hymnal, Burton, Parker,
Twichell Cong.
Hymn & Tune Book Unit.
1878 Methodist Hymnal Meth.
Reform.ed Church Hymnal Ger. Ref.
Selection of Spiritual Songs, Robinson
Pres. Cong.
1880 Book of Worship Luth.
Christian Praise, Thompson Ref. Dutch.
Evangelical Hymnal, Hall, Lasar Pres.
Manual of Praise, Mead, Rice Cong.
Songs for the Lord's House, Bridgman . . Bapt.
Songs of Christian Praise, Richards. . . .Cong.
Worship in Song, Holbrook
1881 Choice Collection of Spiritual Hymns,
Mennonite
Church Praise Book, Stryker, Main Pres.
Hymns of the Advent Adv.
1882 Evangelical Hymn & Tune Book. . .Ev. Assoc.
New Christian Hymn <jt Tune Book,
Fillmore Disciples
New Hymn Book Meth. So.
1883 Baptist Hymnal, Johnson, Doane Bapt.
Church Book, Bacon Cong.
Sacred Songs for Public Worship,
Savage, Dow Unit.
Duplex Hymn & Tune Book, Shotwell . . . .Pres.
Wesleyan Hymnal Wesl. Meth.
1884 Baptist Hymn Book, Thompson . . . .Prim. Bapt.
Brethren Hymnody Dunkers
English dk Latin Hymns (later. Catholic
Hymnal) R. C.
Laudes Domini, Robinson Pres. Cong.
1885 Carmina Sanctorum, Hitchcock, Eddy,
Mudge Pres.
1886 Book of Common Praise, Moore,
Gilchrist Ref. Epis.
Hymn & Tune Book, Durand, Lester
Prim. Bapt.
Hymnal Companion Ref. Epis.
Songs of Pilgrimage, Hastings
1887 Christian Hymnal, Wilson 7th-D. Advt.
Church of God Selection
Hymns of the Faith, Harris, Tucker,
Glezen Cong.
New Hymn & Tune Book . . . .Ah. Meth. Zion
Psalter, with Music Unit. Pres.
Seventh-Day Adventist Hymn tfc
Tune Book 7th-D. Advt.
1888 Hymns for the Sanctuary Unit. Breth.
1889 Church Song, Stryker Pres.
1889
1890
1891
1892
1893
1894
1895
1897
1898
1899
1901
1903
1904
1905
1906
1912
1913
1914
1915
1918
Evangelical Lutheran Hymn Book Luth.
Hymn & Tune Book Meth. So.
Church Hymnary, Bedell Ref. Dutch.
Hymnal — Amore Dei, Williams Unit.
Hymnal Ger. Ref.
Hymns & Tunes Mennonite
Hymns of the Church Universal, Foote . . . Unit.
Otterbein Hymnal, Lorenz Unit. Breth.
Primitive Hymns, Spiritual Songs
& Sacred Poems, Lloyd Prim. Bapt.
Hymns of the Ages, Kerr So. Pres.
Christian Science Hymnal Chr. Sci.
New Laudes Domini, Robinson .... Pres. Cong.
Church Book, Krauth Luth.
Hymnal, Messiter Epia.
Hymnal Afr. Meth.
Magnificat Swedbg.
Plymouth Hymnal, Abbott Cong.
Hymnal, Hutchins Epia.
Hymnal, Tucker, Rousseau Epis.
Church Harmonies, Tenney, Lewis Univ.
Hymnal, Benson Prea.
Sacred Hymns A Tunes Wesl. Meth.
Hymnal, Darlington Epis.
In Excelsis Pres. Cong.
African M. E. Hymnal Afr. Meth.
Sursum Corda, Johnson, Ayres Bapt.
(contains nearly 1350 tunes)
Hymnal Luth.
Brethren Hymnal Dunkera
Gloria Deo
Methodist Prot. Church Hymnal . . Meth. Prot.
New Manual of Praise, Rice, Wright,
Dickinson Cong.
New Psalms & Hyjnns So. Pres.
Hymnal, Parker Epia.
Pilgrim Hymnal, Noyes, Ziegler Cong.
Hymns of Worship & Service Pres. Cong.
Methodist Hymnal Meth.
Church Hymns dt Tunes, Turner, Biddle
Pres. Cong.
Friends' Hymnal Quaker
Free Methodist (Wesleyan Methodist)
Hymnal Free Meth., Wesl. Meth.
Hymns of the Kingdom of God, Coffin,
Vernon Pres. Cong.
Hymns of the Living Church, Ives, Wood-
man Pres. Cong.
Hymns of the Centuries, Shepard
Hymnal, Benson Pres.
Hymns of the Church, Davis, Calkins. . . .Cong.
Riverdale Hymn Book, Dood, Longacre
Songs of the Christian Life, Richards . . . .Cong.
American Hymnal, Dawson Prea. Cong.
Hymnal of Praise, Eaton, Sallmon Cong.
New Hymn & Tune Book Unit.
Church Hymnal Prea. Cong.
Hymnal , Epis.
IDE, CHESTER EDWARD (June 13, 1878,
Springfield, 111.)- after having been a pupil of
Prout, Corder and Davenport at the Royal
Academy of Music in London, taught piano
and harmony in Springfield till 1916. He
has since taught harmony at the Music School
Settlement in New York and piano privately.
He has composed the orchestral suite 'Idyllic
Dances'; the symphonic poem 'Pan's Dream
of Syrinx ' ; an orchestral suite in f oiu- move-
ments — 'Thoughts of Winter,' 'Frolic,' 'Fire-
side-Dreams,' 'J^^olus'; songs with orchestra,
' Queen of Bubbles ' and ' Autumn Songs ' (texts
by the composer) ; incidental music for Mac-
kaye's masque 'Caliban'; songs and piano-
pieces. He has also edited a collection of 50
folk-songs for primary study (1917, Schirmer).
I R.9 ]
INDIAN MUSIC. Within the past half-
century there has been a significant and grow-
ing interest in the music of the North American
Indians. The motive behind this developing
attention has been partly ethnological and
partly artistic, and in the case of many inves-
tiga;tors the two purposes have been happily
blended. The one aim is to collect, analyze
and codify the facts as part of the total body
of knowledge regarding a vanishing race, so as
to facilitate the comparison of them with similar
facts in other fields. The other aim is to pene-
trate into sympathy with the instinct and im-
pulse behind the facts, to interpret the artistic
spirit which they embody, to set forth actual
songs, themes or figiures for general apprecia-
tion or for use in new production, or so to ab-
sorb the essence of the style as to incorporate
its st)irit in characteristic composition without
direct imitation. What has been accomplished
by critical research would have been of slight
general value if it had not been for the zeal
and sympathy of the searchers after meaning
and beauty. These latter have lifted the whole
subject into distinction.
Though it is popularly customary to class
all the aborigines of North America under one
name, they were far from being a unified race.
Not less than sixty distinct tribes are counted,
or even more, differing in language and customs
and so widely separated that between them was
no interchange. There is therefore no such
thing as a general type or system of Indian
music, except as all examples are alike primi-
tive or unsophisticated, with an essential amal-
gamation of verse and song and a minimum
use of instruments save in conjunction with
vocal delivery. It is all folk-music of the most
typical kind, shaped by a diffused tribal use
and preserved by oral tradition as a precious
tribal possession. As in many other casea,
song is intimately interwoven with dancing,
pantomime and other dramatic expression and
all these artistic efforts often have a profound
religious aspect.
There is dispute as to the scale-forms used,
especially as there is so much variety in the
phenomena. It is likely that the subconscious
basis is usually pentatonic or hexatonic — as
among other primitive peoples — but the prac-
tical treatment of melody is sometimes so
overladen with cm-ious intonations or shadings
as to suggest to some a complicated scheme of
quarter-tones, quite alien to traditional Eu-
ropean music. Occasionally, however, melo-
dies conform closely to lines that seem to us
normal. Tonality seems to exist, though not
that belonging ^ath a developed harmonic sys-
tem, but rather such as underlies ancient and
mediaeval schemes. Scales are probably con-
ceived downward rather than upward.
There is an abundance of downright rhythm,
but it often shifts from one type to another
with amazing readiness, and, especially when
drumming and singing are combined, often
presents startling contradictions between voice
and instrument. While the result seems
chaotic to the cultivated hearer, it is usually
held to with great persistence and repeated
with fidelity, implying much positiveness of
rhythmic conviction.
There is little trace of harmony. As a rule,
songs are strictly in unison. The only instru-
ment of importance is the drum — variously
made — which is used without regard to its
pitch-relation with the voices.
Although some scattered notes had been
made previously, the first serious researches
were in 1880 by Theodore Baker of New York,
then studying at Leipzig University, in his
thesis for a Ph.D.' These were made on the
Seneca Reservation in western New York, with
added points derived from western students
at the Indian School at Carlisle, Pa. Next
came Alice C. Fletcher's studies, first among
the Omahas, and later among the Pawnees and
other tribes of the plains west of the Mississippi.^
To these followed investigations by Frederick
R. Burton among the Ojibways in Ontario near
Lake Huron, ^ and the extensive collection of
material under the Hemenway Southwestern
1 Ueher die Musik der nordamerikaniachen Wilden,
1882.
'A Study of Omaha Indian Music, 1893, and In-
dian Story and Song from North America, 1900, with
many articles besides.
' Songs of the Ojibway Indians, 1903, later embodied
in the posthumous volume American Primitive Music,
1909.
252
INDIAN MUSIC
INDY
253
Expedition, which was worked up particularly
by Natalie Curtis, ^ and by Benjamin Ives Oil-
man, the latter of whom had first entered the
field earlier.2 These deal with the pueblo
tribes of the southern Rocky Mountains.
From time to time the literature has been aug-
mented by monographs published by the Bu-
reau of Ethnology, the United States Museum,
the Carnegie Institution, etc., and by articles
in magazines by detached observers. It is to
be hoped that undeveloped sides of the subject
will be further investigated and that the total
data may be better correlated than has thus
far been possible. It is unfortunate that scien-
tific study did not begin earlier, when more
tribes than now were still in existence and when
their life was even more free and untouched.
In its artistic aspect what has been collected
of Indian music is sufficient to arouse no little
wonder and often positive admiration. It is
true that the average listener finds its effects
abnormal, so that he is often baffled in noting
them down or reducing them to habitual forms
of analysis. They are to him decidedly alien
or 'barbarous.' Yet the best observers agree
that the Indian himself finds in his singing a
very real self-expression, affording outlet for im-
agination and emotion otherwise unembodied,
60 that song is his one particular fine art, ab-
sorbing the deepest interest of both performer
and listener and often standing out as the cli-
macteric embodiment of his social and tribal
life. To one who appreciates this and becomes
wonted to the unfamiliar idioms, many Indian
melodies come to have a beauty of a singularly
affecting kind. This beauty is of course en-
hanced by associations of thought arising from
the topics of the songs, their actual texts and
their habitual usage, and from whatever ro-
mance has collected about the history of this
dignified and freedom-loving race. The imagi-
nation is also stirred by whatever can be under-
stood of the dramatic, ceremonial and religious
implications connected with verse and melody.
Without attempting an exhaustive catalogue,
it may be well to make reference to some com-
posers and works that illustrate how the im-
press of Indian themes, topics and sentiments
has affected musical creation. Among these
are Henry Schoenefeld's ' Suite Caract6ristique,'
op. 15, 'Indian Legends,' pantomime-ballet
'Machicanta' and an opera; Edward Mac-
Dowell's 'Indian' Suite, op. 48 (1896); Fred-
erick R. Burton's cantata 'Hiawatha' (1898) ;
Carl Busch's symphonic poem 'Minnehaha's
Vision,' cantata 'The Four Winds,' 'Indian
Legend' for violin, many songs, etc.; Ernest
R. Kroeger's overtures 'Hiawatha' and ' Atala,'
besides several piano-pieces ; Henry F. Gilbert's
^ Songs of Ancient America, 1905, and The Indian's
Book, 1907.
2 Zuni Melodies, 1891, and Hopi Melodies, 1908.
'Indian Sketches' for piano (1914) ; Charles 3.
Skil ton's ' Indian Dances ' for orchestra ; Arthur
F. Nevin's opera ' Poia ' (1910); Arthur Far-
well's piano-works 'American Indian-Melo-
dies,' 'Impressions of the Wa-Wan Ceremony,'
op. 21, 'Navajo War-Dance,' op. 29, 'Dawn,'
' Ichibuzzh ' and ' The Domain of the Hurakan ' ;
Horace A. Miller's Theme and Variations, other
piano-pieces and songs ; Frederic Ayres' over-
ture 'From the Plains'; Harold A. Loring's
piano-pieces and songs (based on several years
spent on reservations) ; Charles W. Cadman's
opera 'The Land of Misty Water' and several
striking songs ; Victor Herbert's opera ' Na-
toma' (1911) ; varied works by Carlos Troyer
(d. 1920), Thorvaid Otterstrom and Mrs. Stella
Prince Stocker ; and large numbers of detached
pieces by other hands. The foregoing examples
illustrate varied treatments, from faithful
transcriptions harmonized to purely fanciful
imitations or suggestions. But together they
testify to the strong impression that the study
of Indian sources has made upon American
composition. See article by Cadman in 'The
Musical Quarterly,' July, 1915.
One of the objects of the Wa-Wan Press,
founded in 1901 by Arthur Farwell, was to pro-
mote this movement by publishing both musical
and literary material regarding it. Specially
useful summaries are given in The Art of Music,
Vol. i., and at various points in Vol. iv.
INDIANAPOLIS CONSERVATORY OP
MUSIC, THE, was founded in 1897 by Edgar
M. Cawley, who has since been at its head.
J INDY, PAUL MARIE THlilODORE
VINCENT D' (Mar. 27, 1851, Paris). Seearti-
cle inVol. ii. 4G5-6. Since 1911 he has been sole
director of the Schola Cantorum, and since 1912
professor of the orchestra-class in the Conserva-
tory. In 1912 he was made an officer of the
Legion d'Honneur. In 1905 he visited the
United States, conducting several performances
of his works in New York and Boston. Addi-
tional works to be noted are 'Petite Chanson
Gregorienne,' op. 60, for piano, four hands;
'Jour d'filte h. la Montague,' op. 61, for or-
chestra— 'Aurore,' 'Jour,' 'Soir'; 'Souvenirs,'
op. 62, poem for orchestra ; ' Menuet sur le
nom de Haydn,' op. 65, for piano; 'Pifece' in
B-flat, op. 66, for organ ; oratorio, 'Le MystSre
de St.-Christophe' (1916, given in Paris, 1917) ;
and 3rd Symphony, 'Sinfonia Brevis de Bello
Gallico ' (given by Boston Symphony Orchestra,
1919). Vol. ii. of his Composition Musicale
came out in 1909, and he has also written
C6sar Franck, 1906, and Beethoven, Biographie
Critique, 1911 (translated by Baker, 1913).
See biographies by Deniau, 1903, Borgex, 1913,
S^rieux, 1914, and in works on French Music
generally, with Starczewski, La Schola Can-
torum, 1905; also article by Hillin' The Musi-
cal Quarterly,' April, 1915.
254
INGALLS
INTERNATIONAL MUSICAL
INGALLS, JEREMIAH (1764-1828). See
Tune-Books, 1805.
INGRAM, FRANCES (b. 1888). See Reg-
ister, 10.
INSTITUTE OF MUSIC PEDAGOGY,
THE, of Northampton, Mass., is a summer-
school for training public-school supervisors.
It originated in an enterprise started in 1900
by Sterrie A. Weaver at Westfield, Mass. At
his death in 1904 this was continued by Ralph
L. Baldwin until 1907, when the School, now
fully organized, was moved to Northampton
and George O. Bowen and Lyman L. Wellman
(d. 1908) became partners. Since then it has
been conducted by Messrs. Baldwin and Bowen,
with several other instructors. The number of
students is 125-150 each year, and about 250
have graduated. The sessions continue three
weeks, and are held in the Northampton High
School, with exceptional advantages for demon-
stration and practice.
INSTITUTE OF MUSICAL ART, THE,
of New York, came into being in 1904 under
the hand of Frank Damrosch upon the basis
of an initial endowment of $500,000 given by
James Loeb, Esq., in memory of his mother,
Betty Loeb. To this original endowment con-
siderable additions were later made by gifts or
subscription. Receiving its charter from the
Board of Regents of the University of the State
of New York, the Institute was opened in 1905,
at first occupying a building remodeled from
the fine old Lenox residences at Fifth Avenue
and 12th Street. In 1910 it removed to a new
and perfectly appointed building of its own at
120 Claremont Avenue, near Columbia Uni-
versity. Dr. Damrosch has continued as
director from the beginning, and has consist-
ently applied the progressive policy originally
outlined.
With its liberal resources, the Institute has
been able from the first to command the services
of exceptional teachers in every branch, to sift
its students rigorously with reference to ability
and promise, to insist that every student, ex-
cept the more advanced, shall pursue such
studies as are prescribed for his special needs,
to provide without extra charge many striking
general recitals and lectures, and thus to main-
tain an educational standard that is at least
unusual. In addition to the branches uni-
versally taught, attention is given to dramatic
singing, choral work, chamber, orchestral and
band music, general and special pedagogy, the
training of supervisors for public schools, and
lectures on historical and critical subjects.
The faculty numbers over 70, about half of
whom have served since the first years. The
number of students was originally fixed at about
600, and this figure has been regularly main-
tained or exceeded. The total number en-
rolled up to 1920 has been about 8500, and the
graduates number about 600. The average
size of the school chorus is 60, and of the or-
chestra 75. The equipment includes a reference
library of over 2500 volumes, and a large cir-
culating library of music.
The eminence of the Institute is attested by
the large proportion of its graduates or recipi-
ents of artist-diplomas who now occupy posi-
tions of leadership throughout the country.
INTEN, FERDINAND VON (1848-1918).
See Register, 5.
INTERNATIONAL MUSICAL SOCIETY,
THE, founded at Leipzig in 1899 to promote
advanced musical scholarship by maintaining
a monthly Zeitschrift and quarterly Sammel-
hunde and by fostering local and national associ-
ations of its members, with general Congresses
at intervals, promptly secured 30-40 members
in the United States. A National Section was
organized in 1907, which held annual meetings
until the outbreak of the European War in
1914 led to the dissolution of the central So-
ciety. The presidents of the Section were Albert
A. Stanley (1907-1911) and Waldo S. Pratt.
The total number of members rose to about
120, besides many libraries. The Section was
officially represented at the Congresses of
Vienna (1909), London (1911) and Paris (1914).
Local groups of its members occasionally held
special meetings. Although the apparent re-
sults of the Section in actual research _^and
publication were slight, it drew attention to
scholarly effort in a way that may lead to some-
thing more substantial in the future.
The meetings of the Section were regularly
held in connection with those of the Music
Teachers' National Association, and the fol-
lowing papers of the International Society
were printed in the Proceedings of the M. T.
N. A.:
Philip G. Clapp, 'The Symphonies of Gustav
Mahler' (1914), C. Winfred Douglas, 'History and
Work of the Schola Cantorum' (1913), George C.
Gow, '16th-century and IQth-Century Tendencies'
(1908), Edward B. Hill, 'The Modern Interpretive
Ballet' (1913), Bruno Hirzel, 'Operatic Italy in 1770,
by an Eye-Witness' (1910), Otto Kinkeldey, 'In-
fluence of the Folk-Song upon Artistic Progress'
(1915), Fritz Krull, 'On the Causes for Fixing the
Intervals of the Major Scale' (1912), Leo R. Lewis,
'Possibilities of Thematic Indexing' (1912), Charles
H. Mills, 'History of Musical Degrees' (1912),
' Relation of the Drama of Adam de la Hale and
Hans Sachs' (1915), Waldo S. Pratt, 'Need of a
Progressive Policy' (1911), Edward Silsky, 'Music
Division of the New York Public Library' (1914),
O. G. Sonneck, ' Was Richard Wagner a Jew ? ' (1911),
Theodore Zbinden, 'Value of Music to the Physician'
(1915), Jaroslaw de Zielinski, 'North American
Folk-Songs' (1908). In addition, more or less
elaborate reports were made by Albert A. Stanley
on the Vienna and London Congresses (1909, 19111,
and by J. Lawrence Erb on the Paris Congress (1914^ ,
Articles by members of the Section are as follows :
Richard Aldrich, Z. xv. 78 ; Franz X. Arens, Z. iii.
321; Bruno Hirzel, S. x. 151, xiii. 348, Z. xii. 154;
IPPOLITOV-IVANOV
IVES
255
Otto Kinkeldey, S. ix. 538; O. G. Sonneck, S. i.
630, iii. 139, v. 119, 329, vi. 428, viii. 112, xi. 312, xii.
297, 525, xiii. 392, xiv. 226, xv. 102, Z. i. 121, 388, ii.
158, 264, vii. 273, ix. 1, xiv. 170; Albert A. Stanley.
Z. ii. 394.
Records of the Section meetings are printed in the
Proceedings of the M. T. N. A., 1907-1916 inclusive.
The Constitution is given in the report for 1907, and
a list of members in that for 1910.
JIPPOLITOV-IVANOV, MICHAEL
MICHAILOVITCH (Nov. 19, 1859, Gatchina,
Russia). See article in Vol. ii. 507, and note
in V. 647. He succeeded Safonov as director
of the Moscow Conservatory in 1906. To
the list of works add an orchestral suite, op.
20 ; ' The Legend of the White Swan at Nov-
gorod,' op. 24; the symphonic poem 'Iveria,'
op. 42; an 'Armenian Rhapsody,' op. 48, for
orchestra; and the operas 'Treachery' (1911)
and 'Ole from Nordland' (1917).
t IRELAND, JOHN (Aug. 13, 1879, Bow-
don, England), the son of the editor of the
Manchester 'Examiner,' studied under Stan-
ford at the Royal College of Music until 1901
and graduated as Mus.B. at Durham Univer-
sity. He has since devoted himself to com-
position. The list of his works is as follows :
Overture, 'Midsummer.'
Symphonic Prelude, 'Tritons.'
Prelude, 'The Forgotten Rite' (Augener).
Orchestral Poem in A minor.
Overture, 'Pell6as et M^lisande.'
Sextet for strings, clarinet and horn.
Quartets in D minor and C minor, for strings.
Trio in E minor, for piano, violin and 'cello.
Trio, No. 2, in one movement, for piano, violin
and 'cello (Augener).
Phantasie in A minor, for violin, 'cello and piano
(Augener).
Trio in D minor, for piano, 'cello and clarinet.
Sonatas for violin and piano — No. 1, in D minor
; (Augener), No. 2, in A minor (Rogers), in C
minor, and in G minor, in one movement.
Sonata in C minor, for piano.
'A Sea-Idyir in three movements, for piano.
Two Rhapsodies, one in C-sharp minor, for piano
(Rogers, one).
'Decorations' — 'The Island-Spell,' 'Moonglade,'
'The Scarlet Ceremonies' — for piano (Augener).
Preludes — 'The Undertone,' 'Obsession,' 'The
Holy Boy,' 'The Fire of Spring' — for piano
(Rogers).
'London Pieces' — 'Chelsea Reach,' 'Ragamuffin'
— for piano (Augener).
'The Towing-Path,' for piano (Augener).
'Leaves from a Child's Sketch-Book,' for piano
(Rogers) .
About 20 songs (Augener, Boosey, Rogers, ||Cur-
wen).
6 two-part songs (Novello, Curwen, Arnold).
Morning, Evening and Communion Services
(Novello).
Anthem, ' Greater love hath no man than this'
(Stainer).
'Elegiac Romance,' 'Sursum Corda' and 'Alia
Marcia,' for organ (Novello).
See articles by Hull in 'Musical Opinion,'
Feb., Mar., 1919, by Evans in 'The Musical
Quarterly,' Apr. 1919, and in 'The Musical
Times,' Aug., Sept., 1919.
ITALIAN SYMPHONY ORCHESTRA,
THE, of New York, was founded in 1913 by
Pietro Floridia and has been conducted by him
since that time.
ITHACA CONSERVATORY OF MUSIC,
THE, of Ithaca, N. Y., was founded in 1892
by W. Grant Egbert, who remained at its head
till 1903 and returned in 1917, the director in
1903-05 being George C. Williams and in
1905-17 Eric Dudley. It now maintains a
faculty of about thirty instructors, with courses
in public-school music, dramatic art, physical
training, etc., besides all the regular topics.
The enrolment of students is about 600, the
total since the beginning being about 11,000,
with about 400 graduates. The Conservatory
has four buildings at Dewitt Park.
IVES, ELAM, Jr. (1802-1864). See Tune-
Books, 1829.
JACCHIA, AGIDE (Jan. 5, 1875, Lugo,' It-
aly), attended the conservatory at Pessaro
(a favorite pupil of Mascagni) , graduating with
honors in 1898. He began conducting at the
Brescia Opera at twenty-three and continued
for some years in Milan and Rome. He visited
the United States in 1902 as assistant-conductor
in Mascagni's company. In Italy he covered
a large repertoire, including the newer works
of Mascagni, Leoncavallo, Giordano, Catalani,
Orefice, Filiasi, Fiocca and Romani. In 1907-
09 he came with the Milano Opera Company to
tour the Pacific Coast, Central America and
Canada. In 1909 he^conducted a brilliant sea-
son at the Academy of Music in New York, and
in 1910-14 was general music-director of the
Montreal Opera Company and of the National
Opera Company of Canada successively. In
1914-15 he was chief conductor at the Century
Theater in New York. The next season he
conducted for the Boston National Opera Com-
pany, and since 1916 has led the Boston Sym-
phony 'Pop' concerts in Symphony Hall. He
has composed a 'Inno a Rossini,' a cantata for
soprano, baritone, chorus and orchestra (1898,
first prize in Bodiora contest at Pesaro), the
National Hymn of Central America (1908,
dedicated to the President of Guatemala), a
Tarantelle, Gavotte, many songs and arrange-
ments. [ R.9 ]
JACKSON, GEORGE K. (1745-1823). See
Register, 2, and Tune-Books, 1816.
JACKSON, HARRY DYER. See Col-
leges, 3 (Jamestown C, N. D.).
JACKSON, LEONORA (b. 1879) . See Reg-
ister, 8.
JACKSON, SAMUEL P. (1818-1885). See
Register, 3.
JACOBI, JOHN OWEN. See Register, 1.
JACOBSOHN, SIMON E. (1839-1902).
See Register, 6.
JACOBUS, CHARLES M. (1867-1918).
See Colleges, 3 (Ohio Wesleyan U.).
JAEGER, JOHN AUGUST (b. 1879). See
Colleges, 3 (Hamline U., Minn.).
JAMES, PHILIP (May 17, 1890, New York),
had his general education in New York, where
from 1904 he studied organ with J. W. Andrews
and held several positions as organist. In 1908
he gave recitals at Albert Hall in London and for
the Bach and Handel Society in Paris, followed
by further study of composition with Norris
and of orchestration with Elliott Schenck.
In 1910 he became a fellow of the A. G. O.
He has conducted various choral societies in
and about New York. In 1917 he entered the
Army, became lieutenant, was in active service
in many of the severest battles, after the armis-
tice was in ' Pershing's own band ' at Chaumont,
in 1919 toured with this for the Victory Loan,
and became its band-master. He has now re-
sumed composition. His works include
Concert-overture for orchestra.
Symphonic Poem, 'Aucassin and Nicolette.'
Sonatas in A minor and D minor, for violin and
piano.
Incidental Music to 'The House of Rimmon.'
Concert-Variations in A-flat, for piano.
Passacaglia in F, for piano.
'Meditation k Ste.-Clothilde,' for organ.
Cantatas, 'The Triumph of Israel,' 'The Night-
ingale of Bethlehem' and 'Spring in Men tons'
(women's voices).
Te Deum in C, op. 3 ; Jubilate in C, op. 15 ; Mag-
nificat and Nunc Dimittis in D.
Anthems: 'Child Jesus came to earth' and 'Christ
is born,' op. 1; 'As now the sun's declining
rays,' op. 2; 'The day is gently sinking,' op.
6; 'We pray Thee, gracious Lord' and 'Hail,
dear Conqueror,' op. 10; 'I am the Vine,' op.
17; 'I have considered the days of old,' op. 14;
Ps. 17, op. 20.
Choruses: (mixed voices) 'The Pride of May,' op.
5; 'I know a maiden,' op. 7; (men's voices) 'The
Victors,' op. 12; (women's voices) 'Lullaby' and
'Phyllis,' op. 4; 'A Spring Song,' op. 18, 'My
little pretty one,' op. 19. •
Songs: 'Transit,' 'A Hush Song,' 'Dearie,' op. 8;
'The Secret,' op. 9, for baritone ; and others.
(Works with opus-number are published.) [ R.9 ]
JANES, WALTER (1779-1827). See Tune-
Books, 1807.
JANUSCHOWSKY, GEORGINE VON
(1859 ?- 19 14) . See Register, 7.
JARDINE, GEORGE (1801- ? ) and
JOHN. See Register, 3.
JARDINE & SON, of New York, an organ-
making firm organized in 1860 to carry on the
business established by George Jardine in 1834,
which till 1899 was one of the most able and
prominent in the country.
JARVIS, CHARLES. See Register, 3.
JARVIS, CHARLES H. (Dec. 20, 1837,
Philadelphia : Feb. 25, 1895, Philadelphia),
son of the foregoing, began study when only
four and at seven made his first appearance as
pianist. While in the public schools he studied
theory with Leopold Meignen. As soloist he
appeared with the New York Philharmonic So-
ciety, the Thomas Orchestra and other leading
organizations. In 1862 he instituted in Phila-
delphia chamber-music and historical piano-
recitals, in which during 30 years were pre-
sented over 800 compositions. He was an ex-
cellent teacher, maintaining always a high
artistic standard. His few compositions are
unpublished, except a Nocturne in D-flat
issued by the Philadelphia Manuscript Music
Society after his death. His fine library of
music is in the Drexel Institute in Philadelphia.
See article by T. Carl Whitmer in 'Music,'
May, 1900. [ R.4 ]
256
JEHIN-PRUME
jonAs
257
JEHIN-PRUME, FRANgOIS (1839-1899) .
See Register, 5.
JENKS, STEPHEN (1772-1856). See
Tune-Books, 1800.
JEPSON, HARRY BENJAMIN (Aug. 16,
1870, New Haven, Conn.), the son of Benjamin
Jepson, long prominent in public-school music,
graduated as A.B. from Yale in 1893 and be-
came Mus.B. in 1894. He studied piano,
organ and composition with Stoeckel, and con-
tinued the latter with Parker and organ and
composition with Widor in Paris. From 1895
he was director of the University Choir and in-
structor in organ, in 1899 becoming assistant-
professor in theory, and in 1906 professor and
University organist. His recitals on the great
organ in Woolsey Hall have won him much
renown. In 1918-19 he had charge of the Yale
Bureau at the University Union in Paris. His
compositions include a 'Rhapsodie' for or-
chestra, a 'Fantasie' for organ and orchestra,
two organ-sonatas (No. 1, in G minor, Novello),
' Veni, Creator Spiritus, ' for men's voices
(Novello), and these organ-works (all Schirmer)
— 'Wedding-Song,' 'Rhapsodie,' Processional,
'Tempo di Minuetto,' Ballade, Caprice, 'Le-
gende,' 'Sortie Nuptiale,' 'Pantomime,' 'Pastel,'
'L'Heure Exquise' and Toccata. He edited
University Hymns, for men's voices, and has
written'on topics relating to the organ. [ R.8 ]
t JOACHIM, JOSEPH (June 28, 1831, near
Pressburg, Germany : Aug. 15, 1907, Ber-
lin). See article in "Vol. ii. 533-4, and list of
biographies given in Baker, Did. of Musicians,
p. 441.
'JOB.' A dramatic poem, op. 24, by Fred-
erick S. Converse, for soli, chorus and orchestra,
first produced at the Worcester Festival of 1907
and at Hamburg in 1908. An oratorio of the
same name was written by Benjamin C. Blod-
gett in 1889 and produced at Smith College.
JOCELYN, SIMEON (1746-1823). See
Tune-Books, 1780.
'JOHN BROWN'S BODY.' See article in
Vol. ii. 536-7. The reference in Elson, History
of American Music, revised edition, 1915, is
pp. 156-61.
JOHNS, CLAYTON (Nov. 24, 1857, New-
castle, Del.), after over three years spent in
studying architecture in Philadelphia, in 1879
went to Boston to pursue music with Paine and
Sherwood. In 1882-84 he was in Berlin, taking
piano with Grabow, Raif and Rummel and
composition with Kiel. Since 1884 he has
been teaching, giving recitals and composing
in Boston, from 1912 on the staff of the New
England Conservatory. He has published a
Melody, Berceuse, Intermezzo, Romance and
Scherzino for violin and piano, an Introduction
and Fugue for piano (played by Hofmann)
and over 100 songs, many of which are widely
used. Music for a 14th-century Mystery-Play
S
was written for a private performance. He ia
now publishing recent pieces for the piano.
He has also written The Essentials of Piano-
forte-Playing, 1909, and From Bach to Chopin,
1911. [ R.7 ]
JOHNSON, ARTEMAS N. (1825?- ? ).
See TuNE-BooKS, 1849.
JOHNSON & SON, of Westfield, Mass.,
was a firm of organ-makers that for many years
exerted a useful influence by thorough and re-
fined work. The business was established by
William A. Johnson about 1860, and the firm
constituted later by the admission of his son,
William H. Johnson (b. 1837). In 1883 the
business was taken over by Emmons Howard.
The firm built over 700 instruments.
JOHNSTON, THOMAS (d. 1768?). See
Register, 1.
JOHNSTONE, ARTHUR EDWARD (May
13, 1860, London, England), was educated in
the public schools and the College of the City
of New York, and studied piano with William
Mason and Scharfenberg, organ and harmony
with S. P. Warren and composition with Leo-
pold Damrosch. For some years he taught
privately, and was harmony-teacher at the
summer-school of Cornell University. He was
also musical editor for the American Book
Company, resigning in 1919 to become execu-
tive editor of the Art Publication Society in
St. Louis. He has composed a concert-over-
ture for orchestra and organ (1915, Chicago
Symphony Orchestra), about 1000 school -songs
and piano-pieces. With H. W. Loomis he is
author of The Lyric Music Series, 4 vols., for
public schools. He has edited lessons for use
with the player-piano and a system for teaching
music by the phonograph. He is author of
Instruments of the Modern Symphony Orchestra,
a hand-book for students. [ R.7 ]
JOHNSTONE-BISHOP, GENEVRA (b.
1864). See Register, 7.
JOLLS, JOHN M. See Colleges, 3 (Ur-
sinus C, Pa.).
JONAS, ALBERTO (June 8, 1868, Madrid,
Spain), was trained in Madrid by Mendizabal,
in Brussels by De Greef (winning all the first
prizes at the Conservatory) and in Petrograd
by Rubinstein. After his debut as pianist in
1880 at Brussels he made extensive tours
throughout Europe and America, giving over
two thousand concerts. In 1894-98 he was
chief piano-teacher at the School of Music in
Michigan University, and in 1898-1904 direc-
tor of the Michigan Conservatory in Detroit.
In 1905-14 he taught in Berlin, attracting
pupils from all over the world, including many
now known as virtuosi. Since 1914 he has
taught in New York. He has composed many
piano-pieces that have won popularity (Schott,
Lemoine, Schirmer, Carl Fischer, Ditson). He
translated Gevaert's treatise on instrumenta-
25S
JONES
tion into Spanish in 1903. His Pianoscript
Book is highly regarded by master-teachers,
and he is now publishing The Master-School of
Modern Piano-Virtuosity, the latter being a
monumental work in English, German, French
and Spanish, prepared with the collaboration
of Busoni, Sauer, Lamond, Rosenthal, Go-
dowsky, Gabrilovitch, Ganz and others. He
has also written for musical journals. [ R.8 ]
JONES, ABNER. See Tune-Books, 1832.
JONES, F. O. See Register, 7.
JONES, MARGED EDITH. See Colleges
3 (Indiana Central U.).
JORDAN, EBEN DYER (1857-1916).
See Register, 9.
JORDAN, JULES (Nov. 10, 1850, Willi-
mantic, Conn.), since 1870 has been identified
with Providence, where he began as tenor at
Grace Church. After study with Osgood in
Boston and Sbriglia in Paris, he was for thir-
teen years choir-master at Grace Church
and became one of the best-known concert-
tenors in New England. He sang in 'La Dam-
nation de Faust' at its first American produc-
tion in New York in 1880 under Leopold Dam-
rosch. He has been the only conductor of the
famous Arion Club of Providence since its
organization in 1881, and has not missed one
of its performances. In 1895 Brown Univer-
sity made him Mus.D. He has published the
romantic opera 'Rip van Winkle,' in three acts
(1898), the operettas 'The Buccaneers' and
'As Once of Old' (both to original texts), the
cantatas 'The Wind-Swept Wheat,' for tenor,
chorus and orchestra, and 'The Night-Serv-
ice,' for soli, chorus and orchestra, the ballad
' Barbara Frietchie,' for soprano, chorus and
orchestra, about 300 songs, anthems, etc.,
many of which have become noted. He has
also written the opera 'Nisida,' in three acts
(original text), the operettas 'Thistle-Down,'
'A Leap-Year Furlough' and 'The Rivals,'
and some short works. [ R.6 ]
JORDAN, MARY (b. 1879). See Regis-
ter, 8.
JORN, KARL (b. 1876). See Register, 9.
JOSEFFY, RAFAEL (July 3, 1852, Hunfalu,
Hungary : June 25, 1915, New York). See
article in Vol. ii. 545-6. He was professor of
piano at the National Conservatory in New
York in 1888-1906. His School of Advanced
Piano-Playing, 1902, was translated into Ger-
man. He also published First Studies for the
Piano, 1913, edited a monumental edition of
Chopin's complete works (15 vols.) and studies
by Czerny, Henselt, Moscheles, Schumann and
Schlozer. See article by Edwin Hughes on his
'Contribution to Piano-Technic ' in 'The Mu-
sical Quarterly,' July, 1916. [ R.6 ]
JOURNALISM, MUSICAL. This term cov-
ers two forms of effort — the editing of musical
periodicals and the provision of musical reports
JOURNALISM
and criticisms in non-musical periodicals, es-
pecially newspapers. An adequate account
of these in America is not here attempted.
But certain salient points may be stated.
Periodicals devoted to music began before
there was a public to sustain them, so that
many were short-lived. Apparently the first
was the 'American Musical Magazine' of New
York, begun in 1786 and succeeded in 1790 by
'Gilfert's Musical Magazine,' issued by George
Gilfert, dealer in instruments.! These, like
many later, were little more than serial issues
of music-pieces. Ritter refers to a 'Euter-
peiad' in 1821 as 'the first established musical
journal in Boston,' - and another of the same
name appeared in New York in 1830-31.
H. T. Hach edited the 'Musical Magazine' in
Boston in 1839-42. J. W. Moore twice started
(1840, '43) 'The World of Music' at Bellows
Falls, Vt., and as late as 1863 issued 'Moore's
Musical Record' at Manchester, N. H.' One
of L. A. Godey's early enterprises in Philadel-
phia from 1842 was 'The Lady's Musical Li-
brary,' edited by Charles Jarvis. In 1846
A. N. and J. Johnston set up in Boston ' The
Musical Gazette ' (fortnightly) . In New York
from 1850 I. B. Woodbury put forth an
'American Monthly Musical Review,' which
in 1852 under Mason's more powerful lead be-
came the ' Musical Review' and then the 'New
York Musical Review,' Woodbury turning to
the 'Musical Pioneer,' which he managed in
1855-68. These latter were connected with
the promotion of 'psalmody' and its sequels.
Another line in New York started with H. C.
Watson's 'Musical Chronicle' of 1843, changed
presently into the 'American Musical Times'
and the 'Philharmonic Journal' and leading
on to the 'American Art Journal,' begun by
Watson in 1863, but developed from 1875 by
W. M. Thoms till beyond 1900.'' These mag-
nified the relation between professional prog-
ress and trades like instrument-making and
music-publishing, as have done the many
journals fathered by J. C. Freund, from his
'Music-Trade Review' of 1875 to the present
' Music-Trades,' and others.
Meanwhile in Boston in 1852 began ' Dwight's
Journal of Music,' which till 1881 continued to
be the only really dignified and influential
organ of musical report and criticism. From
this branched off in 1878 Ditson's 'Musical
Record,' edited at first by Dexter Smith, in
1897-1900 by Philip Hale and then by Thomas
Tapper, and in 1903 succeeded by ' The Musi-
cian.' In New York the 'Dramatic and Musi-
cal Courier' began in 1880, being later trans-
'Spillane, American Pianoforte, pp. 99-101.
' Music in America, chap. vi.
« Jones, American Music and Musicians, p. 103.
* In 1870-71 Thoms issued a musical daily, 'The
Journal of the Day.'
RAFAEL JOSEFFY
JOURNALISM
JUON
259
formed under Otto Floersheim and M. A.
Blumenberg into the large and powerful ' Musi-
cal Courier.' In 1883 Theodore Presser founded
'The Etude,' which since 1884 in Philadelphia
has been a prominent organ of private music-
teaching. In 1880 O. L. Fox started 'The In-
dicator ' in Chicago — the first of a long line
of similar journals in the Middle West. After
1880 the number of enterprises becomes too
large to be followed in detail. It is enough to
identify as leaders in the field, of those that
have been mentioned , ' The Musician' , now pub-
lished in New York, the ' Musical Courier' and
'The Etude,' besides 'The Musical Leader,'
founded in 1896 at Chicago by CharlesF. French,
' Musical America,' begun by Freund in 1898,
the 'New Music Review,' issued by H. W. Gray
since 1901, ' The Pacific Coast Musical Review '
(weekly), begun in 1901 and now edited by
Alfred Metzger, ' Music News,' started by C. E.
Watt in Chicago in 1908, 'The Musical Ob-
server,' issued since 1910 and now edited by
Gustav Saenger, and several of later date.
Genuine 'magazines' have been few.
'Dwight's Journal' belonged partly to this
class, especially in its earlier days. But the
first serious enterprise of this kind was W. S. B.
Mathews' ' Music,' issued in Chicago from 1891
till 1902, a monthly of real distinction, though
carried forwai'd very unequally. With this
may be mentioned the ' Music Review,' also
of Chicago, edited in 1892-94 by C. B. Cady.
In 1915 came the 'Musical Quarterly', pro-
jected on the broadest lines and brilliantly
edited by O. G. Sonneck. This not only has
overtopped anything attempted in America,
but takes rank as one of the great musical
periodicals of the world.
Details regarding the rise of musical journal-
ism in connection with newspapers and maga-
zines of a general character are difficult to
secure and classify. The New York 'Tribune'
employed W. H. Fry as critic in 1852-63, fol-
lowed in 1863-66 by H. C. Watson, in 1866-84
by J. R. G. Hassard and since then by H. E.
Krehbiel. This pattern was presently imitated
by other New York papers, so that now every
leading paper has its musical editor, the sig-
nificant circle including H. E. Krehbiel, H. T.
Finck, W. J. Henderson, Richard Aldrich, J. G.
Huneker, Lawrence Gilman and many others.
Similarly in Boston prominent names stand
out, like W. F. Apthorp, L. C. Elson, Philip
Hale, H. T. Parker, and Olin Downes ; while in
Chicago are Felix Borowski, Maurice Rosenfeld
and G. D. Gunn. These are but distinguished
examples of a large and influential fraternity the
country over. Under their hands what had been
simply a gathering of musical items and the pub-
lication of matter more or less of the advertising
variety has become dignified by a large amount
of eane, illuminating and stimulating criticism.
JUBILEE SINGERS, THE, were a group
of ten or twelve students in Fisk University
(Tenn.), trained in singing Negro songs and
organized to tour in the interest of the Uni-
versity. The first expedition in 1871 was so
successful, both in raising money and in arous-
ing interest in Negro music, that it was extended
and repeated till 1874, covering not only many
parts of the United States, but England as
well. On the second trip to England Theodore
F. Seward was musical director. The proceeds
of the tours (about $150,000) were used in
erecting Jubilee Hall, the first of the University
buildings. Seward edited over 100 songs under
the title Jubilee Songs. See J. B. T. Marsh,
The Story of the Jubilee Singers, 1895.
JUCH, EMMA ANTONIA JOANNA (July
4, 1865, Vienna, Austria), was the daughter of
American parents. She was educated in New
York and studied singing there with Mme.
Murio-Celli. Her concert-d6but as soprano
was in 1882, and in 1883 she appeared in opera
in 'Mignon' at Her Majesty's Theatre in Lon-
don. For three seasons, under Mapleson, she
sang Violetta, Queen of Night (in 'The Magic
Flute'), Martha, Marguerite (in 'Faust'), The
Queen (in 'Les Huguenots') and Isabella (in
'Robert le Diable'). In 1886-87 she was one
of the principal sopranos in the American
Opera Company under Thomas. In 1889 she
organized the Emma Juch Grand Opera Com-
pany, which gave performances in the United
States and Mexico for two seasons. She has
since sung in concerts and festivals, including
appearances with the leading orchestras and
choral societies. In addition to the roles named
she has appeared as Aida, Valentine, Elsa,
Elizabeth, Sieglinde and Senta, and created
the part of Chrysa at the first American per-
formance of Rubinstein's ' Nero. ' [ R.7 ]
'JUDITH'. An opera by George W.
Chadwick, produced at the Worcester Festival
in 1901 in concert-form. Though called a
'lyric opera,' it is virtually an oratorio.
JUHAN[ JOAN], ALEXANDER. See Reg-
ister, 2.
JUHAN [JOAN], JAMES. See Register, 1.
JUNG, J. B. (b. 1848?). See Register, 6.
JJUON, PAUL (Mar. 9, 1872, Moscow,
Russia). See article in Vol. ii. 553-4. Ho
settled in Berlin in 1897, and since 1906 has
been professor of composition at the Hoch-
schule. Among his later works are 'Wach-
terweise,' op. 31, for orchestra, two string-
quintets, opp. 33, 44, the orchestral suite 'Aua
einem Tagebuche,' op. 35, a 'Rhapsodie,' op.
37, for string-trio and piano, an orchestral
Serenade, op. 40, two concertos for violin and
orchestra, opp. 42, 49, and a piano-quartet,
op. 50. He has published Praktische Harmo-
nielehre, 1901, and a translation of M. Tchai-
kovsky's biography of his brother, 1900-04.
K
KAEUPER, HERMANN H. See Col-
leges, 3 (Millikin U., 111.)-
KAHN, OTTO HERMANN (Feb. 21, 1867,
Mannheim, Germany), came to London in
1888 as employe of the Deutsche Bank and
in 1893 a visit to New York led to permanent
residence and citizenship. From 1897, as a
member of Kuhn, Loeb & Co., he has partici-
pated in many financial operations of magni-
tude and has become trustee and director in
numerous great corporations. Being himself
a musician of talent and training, he has been
increasingly identified with musical under-
takings. He has been head of the Metropoli-
tan Opera Company, of the Theatre du Vieux
Columbier, of the French-American Associa-
tion for Musical Art and (till 1915) of the Cen-
tury Opera Company, and in the directorate
of the Boston Opera Company (1908-15), the
Chicago Opera Association and the Royal
Opera, Covent Garden, London. He has
also been active in countless other enterprises.
His services to the cause of the Allies in the
World War were recognized by high honors from
France, Italy and Spain. He is also LL.D. of
the University of Michigan. [ R.9 ]
KANSAS CITY SYMPHONY ORCHES-
TRA, THE, was founded in 1910 and from
1911 supported by an Orchestra Association,
formed through the efforts of the Musical Club.
Since 1912 a high standard has been maintained
under the leadership of Carl Busch. Seven
regular and six popular concerts are given annu-
ally. The usual force is 65 players, with Hein-
rich Rittmeister as concertmaster. The scope
and quality of the programs is indicated by
the list of larger works, which includes
Symphonies — three of Mozart, the first five of
Beethoven, two each of Mendelssohn and
Schumann, Raff's 'Lenore,' Franck's D minor,
Goldmark's ' Country Wedding,' Brahms' 3rd,
' Saint-Saena' 3rd, three of Tchaikovsky, two of
Svendsen, Dvof dk's ' New World,' Stanford's
'Irish,' Sibelius' 1st, two of Glazunov, Mrs.
Beach's 'Gaelic' and Hadley's 4th.
Symphonic Poems — Liszt's 'Les Preludes' and
'Tasso,' Smetana's 'Moldau,' Saint-Saens'
'Danse Macabre,' Olsen's 'Asgaardsreien,'
Foote's 'Francesca da Rimini,' Bruneau's 'La
Belle au Bois Dormant,' Busch's 'Minnehaha's
Vision' and Sibelius' 'Finlandia.'
Concertos — Liszt's 2nd, Rubinstein's 4th, Saint-
Saens' 3rd for violin and 1st for 'cello, Bruch's
1st for violin, Tchaikovsky's 1st, Grieg's in A
minor, and MacDowell's 2nd.
JKARG-ELERT, SIGFRID (Nov. 21,
1878, Oberndorf, Wiirtemberg) , when a choir-
boy studied clarinet, viola and oboe without
a teacher. Through Reznicek he obtained a
three-year scholarship at the Leipzig Conser-
vatory, where his teachers were Jadassohn,
Wendling and Homeyer, and later he entered
Reisenauer's 'master-class' for pianists. He
also devoted much time to the organ and the
'Kunstharmonium,' for which he has written
extensively. His larger compositions are a
Passacaglia in E-flat minor, op. 25, for organ ;
a Sonata in F-sharp minor, op. 50, for piano ;
66 Choral-Improvisationen, op. 65, for organ;
three organ-pieces, op. 72 — ' Harmonies du
Soir,' 'Clair de Lune' and 'La Nuit' ; a Cha-
conne and Fugue Trilogy with choral, op. 73,
for organ ; a Sonatina, op. 74, for organ ; 'Ben-
edictus' and 'Vom Himmel hoch,' op. 82, for
soli, choir, violin, harp and organ ; three Sjrm-
phonic Chorales, op. 87, for organ ; and three
' Pastelle,' op. 92, for organ. There are be-
sides numerous songs, piano- and organ-pieces,
much chamber-music and many educational
works. See Baker, Diet, of Musicians, p. 451.
KARL, TOM (1846-1916). See Register, 6.
t KASTALSKY, ALEXANDER DIMI-
TRIEVITCH (Nov. 28, 1856, Moscow, Russia),
graduated at the Moscow Conservatory in 1882,
having studied with Tchaikov.sky, Hubert and
Tanieiev. In 1887 he began to teach in the
new Moscow Synodal School, and in 1901 be-
came conductor of the Synodal Choir, which
he gave an international reputation. He has
worked vigorously to revitalize Russian church-
music and has written much for service-use.
He has also composed the a cappella oratorio
'The Furnace of Nabucho,' for soli and chorus
(1909) ; the opera 'Clara Militche' (1916,
Moscow) ; a Requiem for the soldiers of the
Allies (1916) ; the cantata 'Le Chant d'figlise' ;
the piano-suite ' En Georgie ' ; a manual for self-
instruction in church-music; and 'De Temps
Passes,' 4 vols, of restorations of ancient music.
KAUFMANN, MAURICE (b. 1876). See
Register, 8.
KAUN, HUGO (Mar. 21, 1863, Berlin, Ger-
many), was a precocious composer, having
written 160 pieces before he was sixteen. After
a year at the Hochschule, he studied piano with
the Raifs and composition with Kiel. His con-
nection with American music arises from his
having lived as teacher in Milwaukee in 1887-
1902. During this time he left an impress on
many talented pupils and his works were often
given by Thomas. He has since worked in
Berlin, where in 1912 he became member of
the Royal Academy of Arts. For list of works,
many of large dimensions, see Baker, Did.
of Musicians, p. 455. ( R.7 ]
KEATING, HENRY S. See Tune-Books,
1808.
KfiFER, PAUL (b. 1875). See Register, 9.
KELBE, THEODORE (b. 1862). See Reg-
ister, 9.
260
EDGAR STILLMAN KELLEY
KELLER
' KENILWORTH '
261
KELLER, MATTHIAS (1813-1875). See
Register, 4.
KELLER, WALTER (Feb. 23, 1873, Chi-
cago), attended Baldwin-Wallace College in
Ohio and in 1894 graduated from the American
Conservatory in Chicago, also studying with
Gleason in 1892-93 and '96-99. In 1894-96
he was at Leipzig, studying at the Conserva-
tory and with Piutti. In 1899-1904 he taught
at Northwestern University, and in 1906 joined
the staff of the Sherwood Music School in
Chicago, of which since 1911 he has been direc-
tor. In 1903-18 he was organist at St. Vincent
de Paul's, and since 1912 has also been dean of
music at De Paul University, where he was
made Mus.D. in 1916. He became a fellow
of the A. G. O. in 1916, having been dean of
the Illinois Chapter in 1914-15. In 1907 he
conducted the premiere of Gleason's 'Otho
Visconti,' and he now directs a choral club at
Danville, 111. He has written a comic opera,
the melodrama ' Alaric's Death,' much Catholic
and Anglican church-music, including organ-
pieces, two canons for piano, and a synchronous
Prelude and Fugue, op. 10, for two pianos
(Gilbert), which is notable for ingenuity of
structure. [ R.8 ]
KELLEY, EDGAR STILLMAN (Apr. 14,
1857, Sparta, Wis.). See article in Vol. ii.
562-3. His San Francisco residences were in
1880-86 and 1892-96, and in 1886-92 and 1896-
1900 he was in New York. In 1901-02 he was
acting-professor at the Yale School of Music
and conductor of its orchestral concerts. In
1902-10 he lived in Berlin and was active as
a teacher of composition. Since 1910 he has
been head of the composition-department in
the Cincinnati Conservatory, and has also
held a fellowship from the Western College
for Women in Oxford, O. Besides his work as
teacher and composer he has written many
critical articles and published Chopin the Com-
poser, 1913, an extremely able analysis of
structure and method. In 1916 Miami Uni-
versity gave him the degree of Litt.D. and in
1917 the University of Cincinnati that of LL.D.
His music for ' Ben Hur ' was first performed
in 1899 and has since been given about 5000
times in English-speaking coimtries. Orches-
tral suites have been made fi-om both this and
his 'Macbeth' music. His piano-quintet, op.
20, and a string-quartet, op. 25, have been
much played in America and Europe (both
published 1907, Berlin). His larger works in-
clude incidental music for Lathrop's version
of 'Prometheus Bound'; Symphony No. 1,
'Gulliver — his Voyage to Lilliput,' op. 15,
with much fantastic humor. Symphony No. 2,
'New England,' op. 33, the movements of
which bear mottoes from Bradford's diary on
the ' Mayflower ' (the third is based on the old
tune ' China ') , which was first given at the Nor-
folk Festival of 1913, the composer conducting,
in Altenburg, Germany, at the Liszt Festival in
1914, and over twenty times since; the pan-
tomimic suite for orchestra 'Alice in Wonder-
land,' first given at the Norfolk Festival of
1919; and a setting of 'Pilgrim's Progress'
in the form of a miracle-play, which was first
produced at the Cincinnati Festival of 1918
and recently repeated in New York. Among
his smaller works are the songs 'Eldorado'
and 'Israfel,' op. 8 (1901), choral settings of
Whitman's 'My Captain,' op. 19, and Poe's
'The Sleeper,' op. 21, no. 7 ; and various piano-
pieces. He has shown a marked tendency
to emphasize the spirit and sentiment of Amer-
ican life, not only in his characteristic 'New
England ' symphony, but in many lesser works.
Regarding such composition he has said : ' The
American composer should apply the universal
principles of his art to the local and special
elements of the subject-matter as they appeal
to him, and then, consciously or unconsciously,
manifest his individuality, which will involve
the expression of mental traits and moral tend-
encies peculiar to his European ancestry, as
we find them modified by the new American
environment.' See note upon his work in The
Art of Music, iy. 368-73. [ R.7 ]
KELLOGG, CLARA LOUISE (July, 1842,
Sumterville, S. C. : May 13, 1916, New
Hartford, Conn.). See article in Vol. ii. 563,
and her autobiography, Memoirs of an Ameri-
can Prima Donna, 1913.
KELLY, THOMAS JAMES (b. 1870).
See Register, 7.
KELSO, HUGH ALEXANDER, Jr. (Aug.
26, 1862, Charleston, 111.), before graduating
from the Rice Collegiate Institute in ISSl
studied under Albert Beuter of Bloomington,
111., and spent three seasons with Mathews in
Chicago. In 1883 he went to Sherwood in
Boston, and remained his pupil or assistant-
teacher for eleven years in Boston, New York
and Chicago. In 1889-93 he taught at Chau-
tauqua. In 1893, with his wife, nee May
Donally, a dramatic coach, he established the
Kelso School of Musical and Dramatic Art in
Chicago, of which he is still director. He has
given piano-recitals in many cities and has
lectured on piano-playing. He is the author of
The Psychology of Movements as Applied to
Artistic Piano-Playing, 1892, Interpretative
Technic, Books 1, 2, 3, 4 and 9, 1898 and later,
fifteen pamphlets on The Analysis of Musical
Form, and has in manuscript a work on Em-
bellishments. He has edited some works for
the piano and written piano-pieces and songs,
as yet unpublished. [ R.7 J
KEMP, ROBERT (1820-1897). See Reg-
ister, 4.
'KENILWORTH.' An opera by Bruno
Oscar Klein, produced in 1895 at Hamburg.
262
KENNA
KLEIN
t KENNA, J. See Register. 2.
KENT, EMANUEL. See Tune-Books,
1812.
KERNOCHAN, MARSHALL RUTGERS
(b. 1880). See Register, 10.
KESSLER, LOUWILLIE. See Colleges,
3 (GreenvUle C, 111.).
KIHL, VIGGO RICHARD (b. 1882). See
Register, 10.
KILENYI, EDWARD (Jan. 25, 1884, B6-
kesszentr^ndrds, Hungary), had his general
education mainly at Budapest and Szarvas.
Musically he was trained at the Scuola Musi-
cale Nationale in Rome, at the Cologne Con-
servatory, where he had theory with Klauwell,
and at Columbia University, where in 1913 he
was Mosenthal Fellow and in 1914 took his
A.M. with a thesis on 'Violin-Music before
Corelli.' At Columbia he was a pupil of
Rybner and Mason. He has composed a
string-quartet (1912), an overture to a play
by Kleist (1913), a one-act American opera,
'The Cry of the Wolf '(1916, with C.E.Parker),
'Modern Variations on an Old English Tune,'
for violin and piano (1915), other violin-pieces
and some humorous songs. He has written
upon modern music for leading periodicals,
with Eleanor Hague edited Spanish- American
Folk-Songs, 1914, and contributed to The Art
of Music, vols. iii. and vii. 1915-16. [ R.IO ]
KILGEN, GEORGE, & SON, of St. Louis,
is an organ-making business founded in 1851
by George Kilgen, and till 1873 located in New
York. In 1885he was joined by his son, Charles
C. Kilgen, the management in recent years
passing to the latter's sons. The firm has built
about 1350 organs, of which about 135 have
three manuals or more.
KILLEEN, EARLE G. See Colleges, 3
(Coe C, Iowa).
KILLEEN, FREDERIC THOMAS (b.
1880). See Colleges, 3 (Ohio Northern U.).
KIMBALL, JACOB (1761-1826). See
Tune-Books, 1793.
KIMBALL, WILLARD (b. 1854). See Reg-
ister, 6, and Colleges 3 (Grinnell C, Iowa).
KIMBALL, WILLIAM WALLACE (1828-
1904). See Register, 4.
KIMBALL COMPANY, THE W. W., of
Chicago, was founded in 1857 and has devel-
oped into one of the largest makers of pianos,
reed-organs, pipe-organs and accessories in the
country. Its output is over 30,000 instru-
ments per year. It holds high awards from
numerous expositions. It owns an extensive
building, 300-310 South Wabash Avenue.
KIMBROUGH, HERBERT (b. 1876). See
State Universities (Washington State C).
KINDER, RALPH (b. 1876). See Regis-
ter, 8.
KINDLER, HANS (b. 1892). See Regis-
ter, 10.
KINGSLEY, GEORGE (1811-1884). See
Tune-Books, 1839.
KINKELDEY, OTTO (Nov. 27, 1878, New
York) , graduated at the College of the City of
New York in 1898 and took his A.M. in 1900
at New York University, in 1909 also winning
a Ph.D. from the University of Berlin. His
first music-study in New York was with Gus-
tav Viehl and in 1900-02 with MacDowell.
In 1902-07 he was in Berlin under Radecke,
Egidi and Thiel at the Institute for Church
Music and Kretzschmar, Wolf, Friedlander
and Fleischer at the University. In 1898-1902
he was organist at the Chapel of the Ascension
in New York and in 1903-05 at the American
Church in Berlin. In 1909-14 he was con-
nected with the University of Breslau, at first
as instructor in organ and theory, lecturer on
musicology and music-director and from 1910
full professor. During this 'time he published
Orgel und Klavier in der Musik des 16. Jahr-
hunderts, 1910, and edited Erlebach's Harmo-
nische Freude musikalischer Freunde for vols.
46-47 of the Denkmdler deutscher Tonkunst,
1914. Since 1915 he has been head of the
music-division of the New York Public Library.
In 1917-19 he served as captain of infantry
at Camp Meade, Madison, Wis., and Grove
City, Pa., assigned to training-dutJ^ [ R.8 ]
KLAUSER, JULIUS ( 1854-1907) . See Reg-
ister, 6.
KLAUSER, KARL (1823-1906). See Reg-
ister, 4.
KLEE, EUGEN (b. 1869). See Register, 8.
KLEIN, BRUNO OSCAR (June 6, 1858,
Osnabriick, Germany : June 22, 1911, New
York), the son of the organist of the Cathedral
at Osnabriick, was first trained by his father,
and then spent two years at the Munich Con-
servatory, studying counterpoint with Rhein-
berger, piano with Baermann and score-reading
with Wiillner. In 1878 he came to America
and for five years traveled as concert-pianist.
In 1884-94 he was organist at St. Francis Xa-
vier's in New York and in 1884-1911 head of
the piano-department at the Convent of the
Sacred Heart. On the recommendation of
Joseffy and William Mason, in 1887-92 he also
taught counterpoint and composition at the
National Conservatory. In 1904-11 he was
organist at St. Ignatius'. His grand opera ' Ken-
ilworth' was produced at Hamburg on Feb. 13,
1896, with Klafsky as Amy Robsart. An over-
ture and detached pieces for orchestra; con-
cert-pieces for violin, piano or voice, with or-
chestra ; six masses ; many piano-pieces ; three
volumes of songs, besides about 80 published
separately — these make up the bulk of the
list. The Sonata in G, op. 10, for violin and
piano, and the quintet for soprano, violin,
'cello, horn and piano are regarded as represen-
tative works. [ R.6 ]
KLEIN
KOLAR
263
KLEIN, HERMANN (b. 1856). See Reg-
ister, 9.
KLEIN, KARL (b. 1884). See Register, 9.
KLEMM, JOHANN GOTTLOB (1690-
1762). See Register, 1.
KLENGEL, PAUL K. (b. 1854). See Reg-
ister, 8.
t KLINDWORTH, KARL (Sept. 25, 1830,
Hanover, Germany : July or Aug., 1916,
Stolpe, Germany). See article in Vol. ii. 587<
KNABE, WILHELM (1803-1864). See
Register, 3.
KNABE & CO. See article in Vol. ii. 588.
In 1908 the business was merged in the Ameri-
can Piano Company of New York. Charles
Keidel, Jr., was president from 1912, succeeded
in 1915 by William B. Armstrong. The factory
remains in Baltimore. The form of player-
piano used is known as the ' Knabe-Ampico.'
KNEISEL, FRANZ (Jan. 26, 1865, Bu-
charest, Rumania) . See article in Vol. ii. 589.
While in the Boston Symphony Orchestra
(1891) he introduced in America the concertos
of Brahms and Goldmark. In 1907 he was
asked to serve on the jury at the violin-con-
cours of the Paris Conservatory. The Kneisel
Quartet was disbanded in 1917 to enable him
to devote himself to teaching. He is still head
of the violin-department of the Institute of
Musical Art in New York. In 1912, while
president of the Bohemians, he effected the
organization of the Foundation for Needy Mu-
sicians, a chartered society which has accumu-
lated a fund amounting to over $55,000 from
gifts and concerts. In 1911 he was made Mus.
D. by Yale University and in 1915 also by
Princeton University. In 1918 he became an
honorary member of the Harvard Musical
Association in Boston. He has published the
Kneisel Collection of Violin-Pieces (Church),
■ Advanced Exercises for the Violin (Schirmer)
and a Concert-£tude (Schirmer), and, with
Bauer, is editing the Brahms sonatas. [ R.7 ]
KNEISEL QUARTET, THE. See articles
in Vol. i. 369 and iii. 369. In 1917, owing to
Kneisel's obligations as teacher, it was dis-
banded, the farewell concerts being on March
13 in Boston and April 3 in New York. It had
played for thirty-two seasons in the former city
and for twenty-five in the latter, besides tour-
ing regularly in all parts of the country. Dur-
ing the last five years its members had been
Franz Kneisel, Hans Letz, Louis Svecenski and
Willem Willeke. The last three gave concerts
in New York in 1917-18 with Kreisler as leader.
KNOCK, ERNST (b. 1876). See Regis-
ter, 10.
KNOETSCHEL (two names]. See Regis-
ter, 1.
K0BB£;, GUSTAV (Mar. 4, 1857, New
York : July 27, 1918, Bay Shore, N. Y.),
was educated in Wiesbaden and at Columbia
University, graduating in 1877 and from the
Law School in 1879. His study of piano and
composition was with Hagen at Wiesbaden and
Mosenthal in New York. Devoting himself
to literary work, he was in 1879-80 editor of
'The Musical Review' and from 1880 music-
critic in succession for the 'Sun,' 'World,'
'Mail and Express' and 'Herald.' In 1883
the 'World' sent him as correspondent to
Bayreuth for the first performance of 'Parsi-
fal.' He published Wagner's Life and Works,
2 vols., 1890 (2nd ed., 1896 and Ring of
the Nibelung separately, 1889), Opera-Singers,
1901 (6th ed., 1913), Loves of the Great Com-
posers, 1905, How to Appreciate Music, 1906,
Wagner and his Isolde, 1906, Famous American
Songs, 1906, and the novels Signora, a Child
of the Opera-House, 1902, etc. ( R.7 ]
KOELLING, ADOLPH (b. 1840) . See Reg-
ister, 6.
KOEMMENICH, LOUIS (Oct. 4, 1866,
Elberfeld, Germany), had Krause and other
musicians in Barmen for his first teachers of
violin, piano, singing and theory. Later he
studied with Kullak, Pfeiffer, Hollander and
Tappert at Kullak's Academy in Berlin. In
1890 he came to Brooklyn to conduct the Sang-
erbund and other singing-societies, including
in time the Junger Mannerchor of Philadelphia
in 1902-10, the New York Oratorio Society in
1912-17, the Mendelssohn Glee Club in 1913-19,
the Beethoven Society in 1916, and since 1917
the New Choral Society. In 1910 he also con-
ducted at the German Theater. He directed
the first New York performances of Hegar's
' Manasse,' Taubmann's ' Eine deutsche Messe,'
Georg Schumann's 'Ruth,' Bossi's 'Jeanne d'
Arc,' and the first New York open-air perform-
ances of 'Caliban' and Verdi's Requiem.
His compositions include music to ' New Yorker
Kinder' (1894) ; 'Franz Schubert' (1918, MS.),
and the men's choruses with orchestra, 'Der
Schmied und das Grafenkind' (1892), 'The
Magic Minstrel' (1897), 'Morning-Hymn'
(1908) and 'To Madelon' (1918). Of his nu-
merous a cappella men's choruses, ' Wer weiss
wo' took first prize at the Brooklyn Sanger-
fest of 1900 and 'Lockung' the second prize at
the New York Sangerfest of 1894. He has
also written a number of songs (Schirmer,
Leuckardt, Hug, Huntzinger). [ R.8 ]
KOFLER, LEO (1837-1908). See Regis-
ter, 6.
KOHLER, FRANZ (1877-1918). See Reg-
ister, 8.
KOLAR, VICTOR (Feb. 12, 1888, Buda-
pest, Hungary), was Bohemian by descent.
He was a protege of Kubelik at Prague for six
years, during two of which he had lessons from
Dvofdk in composition, and graduated at the
Conservatory in 1904. Coming to America,
he was at first soloist with the Chicago Or-
264
KONIUS
KRAMER
chestra on a western tour under Rosenbecker.
From 1905 he played in the Pittsburgh Orches-
tra under Paur, in 1907-19 in the New York
Symphony Society, becoming assistant-con-
ductor in 1915, and then became assistant-
conductor of the Detroit Symphony Orches-
tra. In 1916 he conducted Casals' first New
York concert, and in 1917 directed the Red
Cross Pageant at Huntington, L. I., and its
New York repetitions. He has published
songs, violin-pieces and the symphonic suite
'Americana,' which won the prize offered by
the Illinois Music Teachers' Association (1914,
New York Symphony Society). He has also
written two symphonic poems, ' Hiawatha '
(1908, Pittsburgh Orchestra) and 'A Fairy-
Tale' (1913, N. Y. Symphony Society) ; a
'Lyric' Suite ('Pastorale,' 'Cortege,' 'Divertis-
sement') ; a Symphony No. l,inD (1916, N.Y.
Symphony Society) ; and a string-quartet in
E minor (1917, Flonzaley Quartet). [ R.9 ]
t KONIUS, GEORGE EDWARDOVITCH
(Sept. 30, 1862, Moscow, Russia). See article
in Vol. ii. 595. He was one of Scriabin's earlier
teachers. Add to list of works the symphonic
poem ' La For^t Bruisse,' op. 30 (1896, Moscow) .
KORBAY, FRANCIS ALEXANDER
(May 8, 1846, Budapest, Hungary : Mar.
9, 1913, London). See article in Vol. ii. 595.
His song-recitals in America in 1871-94 did
much to stimulate interest. Among his pupils
were Susan Strong and Lillian Bailey (Mrs.
Henschel). His 'Hungarian' Overture was
played in 1912 at a Queen's Hall concert in
London. [ R.6 ]
KORN, CLARA ANNA, n6e Gerlach (Jan.
30, 1866, Berlin, Germany), German-American
in parentage, was brought to America in in-
fancy, graduated at the Jersey City High
School in 1881 and was at first a school-teacher.
In 1891, gaining a scholarship at the National
Conservatory at Tchaikovsky's recommenda-
tion, she studied with Dvofdk, Parker and
Klein, and in 1893-98 taught theory there.
She has published a piano-sonata, an arrange-
ment for two pianos of Tchaikovsky's 'Over-
ture Solennelle, 1812' (Jurgenson), piano- and
violin-pieces and songs, and has in manuscript
an opera, 'Our Last War,' a symphony in C
minor, a piano-concerto, some chamber-music
and songs with orchestra. She has written
articles for musical periodicals. [ R.8 ]
KORTSCHAK QUARTET, THE. See
Berkshire Quartet.
KOTZSCHMAR, HERMANN (July 4,
1829, Finsterwalde, Germany : Apr. 12,
1909, Portland, Me.), having been taught piano
and other instruments by his father and by
Hayne and Otto (composition) at Dresden,
became a member of a band and the opera-or-
chestra there. In 1848 he came to America
with the Saxonia Band and from 1849 was
organist at the First Church in Portland for
forty-seven years and then at the State Street
Church, beside conducting choral societies.
He wrote some church-music and piano-pieces.
At the dedication of the municipal organ in
Portland, which is his memorial. Mr. C. H. K.
Curtis of Philadelphia, the donor, spoke of him
as 'preeminent as organist, composer and
teacher, loved by all classes for his kindly spirit,
high ideals and devotion to music' [ R.4 ]
KRAFT, EDWIN ARTHUR (Jan. 8, 1883,
New Haven, Conn.) , had early lessons from his
brother, W. J. Kraft (see below), became or-
ganist at fifteen and studied at the Yale School
of Music under Parker and Jepson. In 1901-04
he was organist at St. Thomas' in Brooklyn, and
then studied further in Berlin with Grunicke
and Kelley and at Paris with Guilmant and
Widor. In 1905-07 he was organist at St.
Matthew's in Wheeling, W. Va., and founder
of an oratorio-society, in 1907-14 organist at
Trinity Cathedral in Cleveland, in 1914-16
city-organist at Atlanta, and since 1916 at the
Cathedral in Cleveland again. In 1909 he
became fellow of the A. G. O., and has been
in request as recitalist throughout the United
States and Canada. Many organ-works have
been dedicated to him. [ R.8 ]
KRAFT, FREDERICK WILLIAM. See
Colleges, 3 (Southwestern U., Tex.).
KRAFT, WILLIAM JACOB (Sept. 29,
1872, New Haven, Conn.), graduated in 1902
at the Yale School of Music and was Mosen-
thal Fellow at Columbia University in 1904,
besides becoming a fellow of the A. G. O. in
1903. He has been continuously organist at
various churches, in 1905-15 was organist at
the summer-school of Columbia University,
for a time taught in the New York public schools
and since 1912 has been associate-professor at
Teachers College. In 1919 he composed and
arranged the music for the pageant ' The Way-
farer,' given at the Methodist Centenary at
Columbus and repeated in New York. He has
published songs and anthems and has an orches-
tral scherzo, songs and other pieces in manu-
script. With C. H. Farnsworth he has published
The Tonal Phrasc-Book, 1915. [ R.8 ]
KRAMER, ARTHUR WALTER (Sept. 23,
1890, New York), was educated in the New
York public schools and at the College of the
City of New York, graduating in 1910. Music
he began under his father, Maximilian Kramer,
studying first the violin, which he continued
under Hauser and Arnold. In composition he
is largely self-taught. Since 1910 he has been
on the staf? of ' Musical America.' He wrote
on 'The Modern Italians' for The Art of Music,
1916. His compositions have found favor with
soloists, choral societies and orchestras.
Among those not yet published are two ' Sym-
phonic Sketches,' op. 16, a 'Symphonic Rhap-
HENRY E. KREHBIEL
KRAUS
KRIENS
265
sody' in F minor, op. 35, for violin and orches-
tra, two 'Sketches' for orchestra, op. 37a, a
string-suite, op. 12, a string-quartet, op. 23,
and the choral scene 'The Hour of Prayer,'
op. 36, no. 4, for baritone, chorus and orchestra.
His published works include the following:
Songs — 'Allah,' 'I dreamed and wept a-dream-
ing,' 'A Sigh,' 'Come to Me,' 'Two Sappho
Fragments,' 'Dark and Wondrous Night,'
'Tears,' 'O Perfect Love' (Ditson).
'For a Dream's Sake,' 'There is a garden in her
face,' 'A Christmas-Carol,' 'Of the Robin and
the Master,' 'Joy,' 'Eternal May ' (J. Fischer).
'That Perfect Hour,' 'The Indian Serenade,'
'The Stirrup-Cup' (Huntzinger).
'A Nocturne,' 'The Return of Spring,' 'The Last
Hour' (Church).
'The Relief,' 'Bes' ob AH' (Schurmer).
'Swans' (Ricordi).
'Mother o' Mine,' 'We Two,' 'I shall Awake'
(Carl Fischer).
'Green' (Boston Music Co.).
'A Lover's Litany' (White-Smith).
'At Sunset,' 'A Death-Song' (Thompson).
'The shadows gain upon the light' (Presser).
'A Phantasy,' 'In Explanation' (Bryant).
'A Christmas-Carol,' for chorus (J. Fischer).
'The Holy City of my Saviour's Grace,' for chorus
(Church).
'The Passing Hours,' for chorus a cappella (Ditson).
'Mirage' (Ditson), 'When I Dwelt in Arcady' and
'At Morning' (Church), 'There is a garden in
her face' (J. Fischer), all for women's chorus.
'Old English Song' (White-Smith), 'Of all the
dreams men dream' (Boston Music Co.), for
men's chorus.
'Pastorale Rfiligieuse' in D-flat, for organ (White-»
Smith).
'Night-Song '(Gray) and 'Morning-Song' (Ditson),
for organ.
Concert-Prelude in D minor, for organ (Church).
'In Elizabethan Days,' for violin (Carl Fischer).
'Chant NSgre,' for violin (Schirmer).
'Intermdde Arabe,' for violin (Ditson).
Elegy in G minor, for violin (Boston Music Co.).
'Danse Espagnole,' for violin (Hauser).
'Eklog,' for violin (Schmidt).
Two Gavottes for violin (Carl Fischer, Witmark).
Elegy for string-quartet (Boston Music Co.).
Intermezzo for piano (J. Fischer).
Three Preludes for piano (Ditson).
'Rhapsody' and ' Valse Triste,' for piano (Church).
Romance in A-fiat for piano (Carl Fischer).
(Several of the above are also adapted to other
instruments.) [ R.IO ]
KRAUS, ADRIENNE, n6e Osborne [Eis-
bein] (b. 1873). See Register, 9.
KRAUSS, ARNOLD (b. 1866). See Regis-
ter, 8.
KREHBIEL, HENRY EDWARD (Mar.
10, 1854, Ann Arbor, Mich.). See article in
Vol. ii. 599. He was associate-editor, for
American topics, of the second edition of this
Dictionary. He is still musical editor of the
New York 'Tribune,' and has added the fol-
lowing books to his list : Chapters of Opera,
1908 (2nd ed., 1911), A Book of Operas, 1911,
The Pianoforte and its Music, 1911, A Second
Book of Operas, 1917, Afro-American Folk-
Songs, 1914, More Chapters of Opera, 1919,
and an English version of 'Parsifal,' 1920.
His position as Nestor among music-critics, his
wide culture and experience, and his geniality
of spirit and literary style, have given him more
or less unique authority and influence. His
long-awaited edition of Thayer's Life of Bee-
thoven was finished in 1914, but publication has
been delayed by war-conditions. This is based
on the German editions and Thayer's original
text, revised, annotated and with added con-
cluding chapters. See his article on Thayer
and his work in 'The Musical Quarterly,'
October, 1917. [ R.6 ]
KREINER, EDWARD (b. 1890). See Reg-
ister, 10.
KREISLER, FRITZ (Feb. 2, 1875, Vienna,
Austria). See article in Vol. ii. 599-600. At
the outbreak of the war he reentered the
Austrian army and was wounded in the
Galician campaign of 1914. In 1915 he came
again to America and has since been active in
concert. His compositions for violin and piano
are 'Romance,' 'Caprice Viennois,' 'Tam-
bourin Chinois,' 'Recitativo and Scherzo
Caprice' (violin alone), 'Berceuse Roman-
tique,' 'Rondino' (on a theme by Beethoven),
'Polichinelle,' 'La Gitana' (18th-century
Arab-Spanish Gipsy-Song), 'Aucassin and
Nicolette,' and 'Toy Soldier's March' (all
Carl Fischer). A string-quartet (1919, Letz
Quartet, in New York) is announced for
publication, and a comic opera ' The Marriage-
Knot' was brought out in 1919. Many of hia
transcriptions of classic and modern works are
published by Carl Fischer. [ R.7 ]
KREISSMANN, AUGUST (1823-1879).
See Register, 4.
KRELL, ALBERT (1833-1900). See Reg-
ister, 4.
KRIENS, CHRISTIAAN PIETER WIL-
LEM (Apr. 29, 1881, Amsterdam, Holland),
was the son of an orchestral conductor and
early took up violin, piano and theory. He
studied at the Hague Conservatory and won
a gold medal there in 1895. The same year
he made his debut with his father's orchestra
in Amsterdam, conducting his own 2nd
symphony and playing the Beethoven violin-
concerto and piano-concerto in E-flat. He
then toured France, Holland and Belgium aa
violinist, and came to America in 1906 as
conductor of the French Opera Company in
New Orleans. Since 1907 he has been teacher
and conductor in New York. In 1911 he started
a Quartet and in 1912 a Symphony Club, mainly
to afford training for young players, which has
become large and effective. About eighty of
his works are published here (Schirmer, Carl
Fischer, Presser) and abroad. The list includes
two symphonies, in C and F; the orchestral
suite 'In Holland' (Concertgebouw, Lamoureux
and Metropolitan Opera House Orchestras) ; a
266
KRITCH
KUZDO
string-quartet in B-flat minor ; two sonatas for
violin and piano ; the symphonic poem ' Les
Rois en Exile ' ; many pieces for piano and
violin and piano ; and songs. [ R.9 ]
KRITCH, WILLIAM E. See Colleges,
3 (Illinois C).
KROEGER, ERNEST RICHARD (Aug.
10, 1862, St. Louis), began music with his
father, Adolph E. Kroeger, and later studied
piano with Egmont Froelich, Waldemar
Malmene and Charles Kunkel, theory with
W. Colder and P. G. Anton, violin with
Spiering and instrumentation with L. Mayer
— all of St. Louis. He has been organist at
various churches, at present at the Church of
the Messiah (Unitarian), and was a founder
of the A. G. O. Since 1887 he has been music-
director at Forest Park University, and since
1904 also head of the Kroeger School of Music.
In 1893-1903 he conducted the Morning
Choral Club and in 1910-12 the Amphion
Club. In 1904 he had charge of the music-
programs at the Louisiana Purchase Ex-
position. In 1896 he was president of the
M. T. N. A. and in 1897-99 of the Missouri
Association. In 1915 he played organ-recitals
at the Panama-Pacific Exposition and gave
instrumental courses at the University of
California. He has also had similar courses
at Cornell University. Since 1904 he has
been a member of the French Academy and
since 1915 of the National Institute of Arts
and Letters. For many years he has given
series of piano-recitals in St. Louis, as well as
many in all parts of the United States. He has
been peculiarly successful with lecture-recitals.
His repertoire includes over 700 works. Among
his compositions are the following :
Overtures — 'Endymion' (Ithaca), 'Thanatopsis'
(St. Louis), 'Hiawatha' (Omaha), 'Sardanapalus'
(New York), 'Atala' and 'Pittoresque.'
Scherzo in D minor and 'March of the Pioneers'
(both St. Louis Symphony Orchestra).
'March of the Indian Phantoms' and the Suite
'Lalla Rookh' (both Louisiana Exposition).
Quartet in D minor, for piano and strings (1889,
Philadelphia).
Quintet in F minor, for piano and strings (1890,
Detroit).
Trio in E minor, for piano, violin and 'cello (1891,
Cleveland).
Quartet in D minor, for strings (1914, St. Louis).
Sonata in F-sharp minor, for violin and piano
(1908, St. Louis).
Romanza in B-flat, for 'cello and piano.
Reverie in D minor, for violin and piano.
'A Masque of Dead Florentines,' for recitation
or action (1911, St. Louis).
About 175 works for piano, including 'Fantasie-
Polonaise' in E-flat, op. 26, 12 Concert-Etudes,
op. 30, Suite, op. 33, Sonata in D-flat, op. 40,
Scherzo in E-flat minor, op. 45, '16 Variations
on an Elegiac Theme' in B minor, op. 54, etc.
For the organ — '3 Introduction and Fugues, opp.
27, 56, 77, 'Oriental Scenes,' op. 37, 'Marche
Pittoresque' in D-flat, and 'ScSne Persane'
(with piano).
Over 80 separate songs and the cycle ' Memory,'
op. 66, besides many other vocal works, secular
and sacred.
KRONOLD, HANS (July 3, 1872, Cracow,
Poland), had his general education in Leipzig,
where he took up 'cello with Kiesling. During
three years in Berlin he studied 'cello with
Vollrath, piano and harmony with Hans
Rasch. In 1886 he came to New York and
continued 'cello-study with Hekking. For
five seasons he played in the New York
Symphony Society, but since 1900 has devoted
himself to solo-playing and teaching. He
has toured with leading singers, and with
Maud Powell and other instrumentalists.
For many years he has played at Sunday
evening services at All Angels' Church. He
has published pieces for 'cello and piano and
for violin and piano, and songs (Ditson, Carl
Fischer, Witmark). [ R.7 ]
KUNITS, LUIGI VON (July 30, 1870,
Vienna, Austria), graduated from the Uni-
versity of Vienna in law and classical philology.
He studied violin with Krai, Gruen and
Sevcik, music-history with Hanslick and
composition with Jacksch and Bruckner.
For a time he led the string-quartet of the
Tonkilnstlerverein. In 1893 he came to
America as assistant-conductor and concert-
master of the Austrian Orchestra at the
Columbian Exposition in Chicago, where later
he taught violin and composition and organized
a string-quartet. In 1896-1910 he was
concertmaster of the Pittsburgh Orchestra.
Many solo appearances added to his reputation
as a player, and he also conducted series of
string-quartet concerts and taught at the
Pittsburgh Conservatory and later in his own
school. In 1910-12 he was again in Vienna
as professor in the Patonay Conservatory and
as soloist and conductor. Since 1912 he has
been professor in the Canadian Academy of
Music at Toronto and leader of the Academy
String-Quartet. In 1915 he founded 'The
Canadian Journal of Music' and became
conductor of the Toronto Symphony Band.
His compositions include two violin-concertos,
a string-quartet in D minor, violin-pieces and
6tudes (Schirmer, Carl Fischer), songs and
choruses. He has written The Hero as Mu-
sician — Beethoven, 1913, and many articles
in musical journals. [ R.8 ]
KUNKEL, CHARLES (b. 1840) and
JACOB (1846-1882). See Register, 5.
KUNWALD, ERNST (b. 1868). See Reg-
ister, 10.
KURSTEINER, JEAN PAUL (b. 1864).
See Register, 8.
KURT, MELANIE (b. 1880). See Regis-
ter, 10.
KUZDO, VICTOR (b. 1869). See Regis-
ter, 7.
LACHMUND, CARL VALENTINE (Mar.
27, 1857, Booneville, Mo.), studied with Hiller,
Jensen, Seiss and Gernsheim at the Cologne
Conservatory, then with Moszkowski, Kiel
and the brothers Scharwenka at Berlin, and
in 1881-84 with Liszt at Weimar. He taught
for a time in the Scharwenka Conservatory,
Berlin, in Minneapolis, and since 1891 in New
York. He made tours in 1880 with Wilhelmj
and in 1887 with Marianne Brandt. In 1896
he founded the Women's String Orchestra
Society of New York and conducted it for
twelve consecutive seasons. He has composed
two overtures for orchestra (the 'Japanese'
played by Thomas, Seidl and Neuendorff),
an 'Italian Suite' for orchestra, a trio for
harp, violin and 'cello, and other instrmnental
works. Recent pieces for piano are a 'Valse-
Impromptu' (Schuberth) and a 'Woodland
Lullaby' (Church), and two airs de ballet
for orchestra, 'La Capricieuse' and 'Coquet-
terie.' A comic operetta, 'Narrowly Averted,'
is nearing completion. [ R.7 ]
LA FLESCHE, FRANCIS (b. I860?).
See Register, 8.
LA FORGE, FRANK (Oct. 22, 1879,
Rockford, 111.), early evinced talent for
composition. His first studies were with
his sister Ruth LaForge Hall, a gifted pianist,
who guided him until he was seventeen.
Following this came four years of study with
Wild in Chicago and four with Leschetizky
in Vienna and with Labor and Navrdtil (com-
position). He gained prominence at first by
accompanying singers without notes, which
has been his constant practice. After several
seasons with Mme. Gadski he became pianist
for Mme. Sembrich, and for six years they
toured the musical world, giving concerts in
all the great cities. Further tours were made
with Mmes. Alda, Matzenauer and Schumann-
Heink. His principal songs are 'Retreat,'
'To a Messenger,' 'I came with a Song,'
'When your dear hands,' 'Before the Crucifix,'
'Expectancy,' 'By the Lake,' 'Supplication,'
'A Song of the Open' and 'Longing.' His
piano-compositions include a Valse de Concert,
Gavotte, Gavotte and Musette, and Im-
provisation. He lives in New York, devoting
himself to teaching when not on tour. [ R.9 ]
LAHEE, HENRY CHARLES (b. 1856).
See Register, 7.
LAHSER, CONRAD (b. 1872). See Col-
leges, 2 (Greensboro C, N. C).
L'ALLEMAND, PAULINE (1862?- ? ).
See Register, 7.
LAMBERT, ALEXANDER (Nov. 1, 1862,
Warsaw, Poland), having begun piano-study
with his father at nine, was sent at twelve to
the Vienna Conservatory, with letters from
Rubinstein and Leschetizky. He graduated
there in 1879 with high honors, having pur-
sued piano with Epstein and composition
with Bruckner. He continued alone for three
years and then went to Liszt at Weimar.
From 1883, besides teaching at the Berlin
Neue Akademie, he concertized in Germany
with Joachim, appeared in Berlin with the
Philharmonic and Symphony Orchestras,
gave many recitals and made a tour of Russia
with Sarasate. He had visited America in
1880 ; in 1884 he returned, and appeared with
much success with orchestras in Boston,
New York and other cities, and gave recitals
extensively. In 1887 he became director of
the New York College of Music, which position
he held till 1905, resigning to teach privately.
Among his published compositions for piano
are an Etude-Bourr6e, Tarantelle, Valse
Impromptu and Mazurka. His educational
works, which are much used, are a Piano-
Method for Beginners (Schirmer) and A
Systematic Course of Studies, 3 vols., 1907.
[ R.7 ]
LAMBORD, BENJAMIN (June 10, 1879,
Portland, Me. : June 6, 1915, Lake Hopat-
cong, N. J.), studied first with Arthur Whiting
in Boston, from 1897 with MacDowell at
Columbia University and from 1902 took up
composition and orchestration with Rybner.
In 1904-14 he was organist at Kingsbridge,
but in 1905-06 went abroad on a Mosenthal
scholarship and in 1910 had work in or-
chestration under Vidal at Paris. At his
death he was just entering upon work at the
West End Presbyterian Church. In 1912 he
founded the Lambord Choral Society, to give
new works, especially by Americans, which
in 1914 became the Modem Music Society and
undertook orchestral works as well. Hia
works include 15 songs, opp. 1, 3, 4, 7, 10 (the
last with orchestra) ; part-songs, op. 2 ; a
piano-trio, op. 5; 'Valse Fantastique,' op. 6,
for piano ; Introduction and Variations on
an English dance-theme, op. 8, for orchestra;
and 'Verses from Omar,' op. 11, for chorus
and orchestra. The song 'Clytie,' op. 10, no.
2, is an example of his best work. He had
completed two acts of the opera 'Woodstock,'
published 'Ten Lyric Studies' for piano, and
edited 'The Orchestra and Orchestral Music'
in The Art of Music, Vol. viii. [ R.9 ]
LAMONT, FORREST (b. 1889). See Reg-
ister, 10.
LAMPERT, CARL ALBERT. See State
Universities (Ky.).
' LAND OF HAPPINESS, THE.' A music-
drama, No. 15 of the 'Grove-Plays' of the San
267
268
LANDSBURY
LAVALLfiE
Francisco Bohemian Club, produced in 1917.
The text is by Charles Templeton Crocker and
the music by Joseph D. Redding. The action
is laid in China in legendary times.
LANDSBURY, JOHN J. See State Uni-
VEnsiTiEs (Ore.).
LANG, BENJAMIN JOHNSON (Dec. 28,
1837, Salem, Mass. : Apr. 3, 1909, Boston).
See article in Vol. ii. 631-2. The last concert
of the Cecilia Society which he conducted
was on Apr. 16, 1907, when Piern§'s 'The
Children's Crusade' was given. He was
organist of King's Chapel from 1885 until
his death. His last appearance as conductor
was on Feb. 12, 1909, when he led the Boston
Symphony Orchestra and a chorus at a Lincoln
Memorial service in Symphony Hall. At
the Boston Symphony Orchestra concerts
of Apr. 8 and 10, 1909, Mozart's Masonic
funeral-music was played in his memory.
Among his pupils were his daughter (see
below), Arthur Foote, W. F. Ap thorp and
Ethelbert Nevin. [ R.4 ]
LANG, HENRY ALBERT (Oct. 9, 1854,
New Orleans), graduated from the Stuttgart
Conservatory in 1875, having studied piano
with Lebert and Pruckner and composition
with Faiszt. He then continued composition
with Lachner in Karlsruhe, taught there and
at Riga and Konigsberg, and till 1890 gave
Bome concerts. For a year he lived in Gal-
veston, Tex., but since 1891 has made his
home in Philadelphia. Since 1913 he has been
head of the theory-department of the Phila-
delphia Conservatory, which gave him the
degree of Mus.D. in 1911. His compositions
include Symphony No. 1, 'Fantasies of a
Poet' (1914, Philadelphia Orchestra), Sym-
phony No. 2, in C minor (1915 first prize,
Illinois Music Teachers' Association), the
orchestral suite 'Fantastic Dances,' a piano-
trio in E major (1911, first prize for chamber-
music. National Federation of Music Clubs),
a piano-trio in C minor, a concerto for violin
and orchestra, a sonata for 'cello, a piano-
quintet in B-flat (1894, first prize, Utopian
Club, Philadelphia), two string-quartets (1898,
prizes. New York Music Teachers' Associa-
tion, and 1913, Sinfonia), songs and piano-
pieces. [ R.8 ]
LANG, MARGARET RUTHVEN (Nov.
27, 1867, Boston). See article in Vol. ii. 632.
Among recent compositions are a Te Deum
in E-flat, a 'Christmas Cycle' for quartet,
and the double a cappella chorus 'Wind.' The
carol 'In Prajsepio,' for mixed chorus, has been
much sung, and 'The Heavenly Noel,' op.
67 (Schmidt), for mezzo-soprano, women's
chorus, strings, harp, piano and organ, is one
of the most valuable recent works for women's
voices. She has been fortunate in her choice
cf texts for songs and choral works, and her
settings show strong individuality, with a wel-
come absence of haste. [ R.8 ]
LANGDON, CHAUNCEY (1764r-1830).
See Tune-Books, 1786.
LANGDON, WILLIAM GHAUNCY (b.
1871). See Register, 10.
LANGE, DANIEL DE (1841-1918). See
Vol. ii. 633, and Register, 10.
LANGENUS, GUSTAVE (b. 1883). See
Register, 9.
LANHAM, McCALL (b. 1877). See Regis-
ter, 9.
LANIER, SIDNEY (Feb. 3, 1842, Macon,
Ga. : Sept. 7, 1881, Lynn, N. C), famous
as one of the most spontaneous and mystically
gifted of American poets, touched music in
three ways. From childhood he showed a
phenomenal instinct in appreciation and
expression, developing such technical skill
as to serve with distinction as first flutist
(from 1873) in the Peabody Symphony Or-
chestra of Baltimore, and becoming recognized
there for his sympathetic critical acumen.
For years, also, at length as lecturer at Johns
Hopkins University, he made careful studies
in the musical aspects of poetic technique,
publishing a lucid and able Science of Eng-
lish Verse, 1881, which remains a stimulating
contribution to a neglected subject. And,
finally, his poems contain numerous passages
about music or couched in musical imagery
— among whole poems being 'To Wagner',
(1877) and" To Beethoven' (1876-77), and the
most sustained and characteristic use of
musical analogies occurring in 'Life and Song'
(1868) and especially 'The Symphony' (1875).
He was invited to write the text for the opening
cantata at the Centennial Exposition (Phila-
delphia, 1876), the music being composed by
Dudley Buck. All his permanent work was
done while in a losing fight with consumption.
See his Letters, 1881, the Memorial prefixed
to his Poems, 1884, and the biography by
Mims, 1905, especially the remarkable chapter
'A Musician in Baltimore.' [ R.6 ]
LANKOW, ANNA (1850-1908). See Reg-
ister, 7.
LA ROSS, EARLE DOUGLASS (b. 1887).
See Register, 9.
LAUCELLA, NICOLA (b.:i882) . See Reg-
ister, 9.
LAVALL£;E, CALIXA (Dec. 28, 1842,
Verch^res, Que. : Jan. 21, 1891, Boston),
had piano-lessons from his father and appeared
in public at ten. At fifteen he entered the
Paris Conservatory, studying piano with
Marmontel and instrumentation with Bazin
and Boieldieu. In 1881 he made a concert-
tour of the United States with Mme. Gerster.
He attempted to start a conservatory in
Quebec, and then located in Boston, where
at the time of his death he was teaching in
LAVIGNAC
'LEONORA!
269
the Petersilea Academy. He was active in
the promotion of music by Americans and
was president of the M.T.N.A. in 1887.
Of his compositions two are still popular,
the piano-§tude 'The Butterfly,' op. 10, and
the Canadian national song 'O Canada.'
He also composed two operas, an oratorio,
a cantata, a symphony, two suites for or-
chestra, two string-quartets, a piano-trio,
a suite for 'cello and piano, a sonata for violin
and piano, many piano-pieces and some church-
music. [ R.5 ]
t LAVIGNAC, ALEXANDRE JEAN AL-
BERT (Jan. 22, 184G, Paris : April, 1916,
Paris). See article in Vol. ii. 654. To the list
of works add Les Gattis du Conservatoire, 1900,
L'Education Musicale, 1902 (English trans, by
Esther Singleton, 1903) and Notions Scolaires
de Musique, 1905. He was editor-in-chief of
the great Encyclop&die de la Musique et Dic-
Honnaire du Conservatoire.
LAW, ANDREW (1748-1821). See Regis-
ter, 2, and Tune-Books, 1778.
LAWRENCE, FREDERICK. See State
Universities (111.)
LAWRENCE, ROBERT. See State Uni-
versities (Ala.).
LAYTON, JOSEPH E. See Colleges, 3
(Missouri Wesley an C).
LEAVITT, JOSHUA (1794-1873). See
Tune-Books, 1831.
LEAVITT, W. J. D. (1841- ? ). See Reg-
ister, 5.
LE BARON, HARRISON D. See Col-
leges, 3 (Adrian C, Mich.).
LECKNER, MAX (b. 1842). See Regis-
ter, 5.
LEE, THOMAS, Jr. See Tune-Books,
1790.
LEE & WALKER, Philadelphia, was a
publishing-firm established in 1848 by Julius
Lee (d. 1875) and William Walker (d. 1857),
both of whom had been in the employ of George
Willig, whose business began as far back as
1794. For many years they issued much pop-
ular music and some books of importance. In
1876 the stock and good-will were purchased
by Oliver Ditson and became the nucleus for
J. E. Ditson & Co. Meanwhile the firm-name
was continued by Julius Lee, Jr., and J. F.
Morrison.
LEEFSON, MAURITZ;(b. 1861). See Reg-
ister, 7.
LEHMANN, FRIEDRICH J. (b. 1866).
Bee Register, 8.
LEHMANN, GEORGE (July 31, 1865,
New York), in 1880-83 was at the Leipzig
Conservatory, taking violin with Schradieck
and Hermann, harmony with Lammers and
counterpoint and fugue with Jadassohn. He
also studied one season with Joachim in
Berlin. In 1883 at Leipzig he won the Helbig
prize for violin-playing by a performance of
Joachim's Hungarian concerto at the Gewand-
haus. He toured as soloist and leader of the
Lehmann Quartet, in 1886-89 conducted the
Cleveland Symphony Orchestra and in 1889-
92 lived in Europe. In 1893 he settled in
New York as teacher and writer, but removed
to Berlin in 1907. Since 1916 he has been
director of the Lehmann Violin-School in
New York. He has written True Principles
of the Art of Violin-Playing, 1899, translated
De Beriot's Violin-Method (Schirmer) and
edited The Violinist's Lexicon, 1917, and 25
Pieces in the First Position. [ R.7 ]
LEHMANN, GUSTAV ADOLF. See
Colleges, 3 (Bluffton C, Ohio).
LEHMANN, LILLI (Nov. 24, 1848, Wiirz-
burg, Germany). See article in Vol. ii. 667.
[ R-7 ]
'LEIF ERIKSON.' A three-act opera by
Gerard Tonning, produced in 1910 at Seattle.
LEMARE, EDWIN HENRY (Sept. 9, 1865,
Ventnor, Isle of Wight). See article in Vol.
ii. 673. He was organist at the Carnegie
Institute in Pittsburgh in 1902-05, during
which time he gave 170 recitals. For some
years he held no official position, but toured
the world as concert-organist, making two
trips to Australia and New Zealand, besides
many in Europe and America. In 1915 he
gave over 100 recitals at the Panama Ex-
position. In 1917 he became city-organist at
San Francisco. His works (largely Novello)
include a long list of organ-pieces (two sym-
phonies, overtures and smaller works), an
Easter cantata, church-music and many fine
organ-transcriptions. [ R.9 ]
LEMONT, CEDRIC WILMOT (b. 1879).
See Register, 9.
t LENEPVEU, CHARLES FERDINAND
(Oct. 4, 1840, Rouen, France : Aug. 16,
1910, Paris). See article in Vol. ii. 674-5.
To list of works add 'Iphigenie,' scene for soli,
chorus and orchestra, a ' Messe de Mariage,'
a string-quartet, motets and piano-pieces.
t LEONCAVALLO, RUGGIERO (Mar.
8, 1858, Naples, Italy : Aug. 9, 1919, Na-
ples). See article in Vol. ii. 678-80. He
toured the United States and Canada in 1906,
conducting 'I Pagliacci' and 'La Jeunesse
de Figaro.' In 1910 'Maia' and 'Malbruk'
were produced within four days (Rome), in
1912 'Reginetta delle Rose' (Rome and
Naples) and 'Gli Zingari' (London), and in
1916 'Ave Maria' and 'Gioflredo Mameli'
(Genoa). The operetta 'Are you there?'
was produced at London in 1913. He also
wrote the symphonic poem 'Serafita' and a
'Hymne France-Italie' (1916, Paris).
'LEONORA.' An opera by William H.
Fry, originally produced in Philadelphia by
the Seguin troupe in 1845 and repeated in
270
LERNER
LEWIS
Italian in New York in 1858 at the Academy
of Music under the direction of Anschiltz. See
Elson, Hist, of American Music, pp. 109-10.
LERNER, TINA (June 5, 1890, Odessa,
Russia), studied piano with Rudolph Helm
in Odessa when but six to nine, and then
entered the Moscow Conservatory, where she
was a pupil of Pabst until 1904. She made
her d6but in Moscow in 1905, when she played
Beethoven's 'Emperor' concerto with the
Philharmonic Society. She made successful
tours of Europe, and came to America in 1908,
making her first appearance in New York
in Rachmaninov's second concerto with the
Russian Symphony Orchestra. She con-
certized in 1909-10, then spent two years
in Europe and since 1912 has made her home
in America. She married the pianist Louis
Bachner in 1909, but was divorced in 1915
and married the violinist Vladimir Shavitch
the same year. [ R.9 ]
JLEROUX, XAVIER HENRI NAPO-
LlfeON (Oct. 11, 1863. Velletri, Italy : Feb.
20, 1919, Paris). See article in Vol. ii. 681.
To the list of operas add 'William Ratcliff'
(1906, Nice), 'Theodora' (1906, Monte Carlo),
'Le Chemineau' (1907, Paris, also 1911, New
Orleans), 'Le Carillonneur' (1912, Paris), 'La
Fille de Figaro' (1914, Paris), 'Les Cadeaux de
Noel' (1916, Paris) and '1814' (1918, Monte
Carlo).
t LESCHETIZKY, THEODOR (June 22,
1830, Lancut, Austrian Poland : Nov. 17,
1915, Dresden, Germany). See article in
Vol. ii. 681. From about 1890 till the end
of his life he was exceedingly active as a
teacher and was sought by pupils from all
parts of the world. Among those were Fannie
Bloomfield Zeisler, Mark Hambourg, Ossip
Gabrilovitch, Artur Schnabel, Ethel New-
comb, Katherine Goodson, Frank LaForge
and Ethel Leginska. He was four times
married — to the concert-singer Anna Fried-
bourg in Petrograd, in 1880-91 to Annette
Essipov, in 1894-1908 to Dominirska Beni-
slavska, and in 1908 to Marie Pozborska (all
pupils except the first) — being separated
from the first three by divorce. See biogra-
phies by Countess Potocka, 1903, and A.
HuUah, 1906, besides on his method, Marie
Prentner, The Modern Pianist, 1903, and Mal-
wine Bree, The Leschetizsky Method (Eng. trans,
by Arthur Elson, 1913.)
LESLIE, BENJAMIN. See Tune-Books,
1811.
LESTER, THOMAS WILLIAM (b. 1889).
See Register, 10.
LE SUEUR, PETER (b. 1871). See Reg-
ister, 8.
LETZ, HANS (b. 1887). See Register, 9.
LETZ QUARTET, THE, was formed in
1917 after the dissolution of the Kneisel
Quartet. It consists of Hans Letz, Sander
Harmati, Edward Kreiner and Gerald Maas,
and at once stepped into high estimation for
superior musicianship.
LEVETT, DAVID MAURICE (1844-
1914). See Register, 6.
LEVEY, STANLEY. See Colleges, 2
(Tennessee C.)
LEVITZKI, MISCHA (b. 1898). See Reg-
ister, 10.
L£;VY, HENIOT (July 19, 1879, Warsaw,
Poland), graduated from the Hochschule
in Berlin in 1897, his teachers being Raif and
Barth, and he also studied composition with
Bruch. His debut in 1898 was with the
Berlin Philharmonic Orchestra and he then
toured in Germany and Scandinavia. Since
1905 he has been active as teacher and pianist
in Chicago, being in the faculty of the American
Conservatory. He has given recitals and
appeared with the Chicago and other or-
chestras. Among his publications are a piano-
concerto, op. 1, a sonata for piano and violin,
op. 6, a piano-trio, op. 10, variations and
smaller pieces for piano. Unpublished are
an overture, a piano-concerto, a string-quartet,
a Passacaglia for violin and piano, a musical
setting of Tennyson's 'Guinevere,' 16 songs (by
Dunbar), other songs and piano-pieces. [ R.9 ]
LEVY, JULES ( 1840 ?- ? ) . See Register, 5.
LEWING, ADELE (Aug. 6, 1866, Hanover,
Germany), appeared as pianist at fourteen
and had then already essayed composition.
She graduated with honors at the Leipzig
Conservatory in 1885, having studied under
Reinecke and Jadassohn. She then became
known as recitalist and concert-player in
Europe and in America, where she also taught
in Chicago and Boston, appearing with leading
orchestras and quartets. In 1893-96 she
studied piano with Leschetizky in Vienna
and composition with Fuchs. Since 1897
she has worked in New York as teacher,
player and composer. In 1899 she married
Dr. B. W. Stiefel of New York. She has won
many prizes for songs and piano-pieces
(Columbian Exposition, 1893, Baltimore, 1910,
etc.). [ R.7 ]
LEWIS, FREEMAN (1780-1859). See
TuNE-BoOKS, 1813.
LEWIS, LEO RICH (Feb. 11, 1865, South
Woodstock, Vt.) , had his general training in the
Boston schools, graduated at Tufts College
in 1887 and took post-graduate work at Har-
vard, with highest honors in music. In
1889-92 he was in Munich as pupil of Rhein-
berger in composition and as student of
languages, and won a diploma in composition
from the Akademie der Tonkunst. Since 1892
he has been in the faculty of Tufts College,
at first as instructor in French and from 1895
as professor of music. Besides marked sue-
LIADOV
LICHTENBERG
271
cess in arousing enthusiasm among his stud-
ents, he has been active in promoting at-
tention to music in high schools and colleges
generally. For many years he has been on
the staff of the College Entrance Examination
Board and since 1910 chief examiner in music.
Early works were the cantata 'The Conso-
lation of Music' (1895) and a sonata for violin
and piano (1895). For the revivals at Tufts
of Milton's 'Comus' and Dekker's 'For-
tunatus' (1901, '06) he arranged the music
from old scores. His music for 'Comus' has
been repeated at other institutions. With
S. W. Cole he has published Harmonia and
Melodia (both 1905) and several other col-
lections of school-music. Of his war-songs
'We Stand — a Song of Devotion to the United
States' was specially popular. He has in
manuscript a symphonic prelude for Brown-
ing's 'A Blot on the 'Scutcheon.' He is the
originator of a system of card-indexing for
music. He has written considerably in fields
outside of music. [ R.8 ]
t LIADOV, ANATOL CONST ANTINO-
VITCH (May 11, 1855, Petrograd, Russia :
August, 1914, Petrograd). See article in Vol.
ii. 689. As professor in the Petrograd Con-
servatory from 1878 he was the teacher of
many prominent Russian composers of the
present generation. From 1894 he conducted
the concerts of the Imperial Musical Society.
Among later works were the symphonic poems
'Baba Yaga,' op. 56, 'Le Lac Enchants, ' op.
62, and 'Kikimora,' op. 63, choruses with
orchestra to Maeterlinck's 'Sceur Beatrice,'
op. 60, and the ballet 'Leila andAdelai' (un-
finished).
X LIAPUNOV, SERGIUS MICHAILO-
VITCH (Nov. 30, 1859, Yaroslav, Russia).
See article in Vol. ii. 690. In 1902-10 he was
music-inspector at St. Helen's Institute, and
since 1910 has been professor at the Petrograd
Conservatory. In recent years he has also
appeared in European capitals as conductor
or pianist. To the list of works add the 2nd
piano-concerto, op. 38, a 'Rapsodie' on Ukrai-
nian themes, op. 28, for piano and orchestra,
and the symphonic poem 'Yelasova Vola,'
op. 37. He edited letters between Tchai-
kovsky and Balakirev, 1912.
LIBRARIES, MUSICAL. See notes in
Vol. ii. 717-20. The leadership of the Library
of Congress, the Boston Public Library, the
New York Public Library and the Newberry
Library in Chicago, as there stated, has been
maintained. But the public library of almost
every large city, and even of many cities of
moderate size, is now giving careful attention
to the accumulation of books about music,
collections and often well-selected sets of piano-
scores, vocal music and even orchestral music.
The purpose is naturally to encourage popular
intelligence and appreciation rather than to
collect material for scholarly research. Be-
sides Harvard and Yale Universities, many
others are now important, especially several
of the great State Universities, like Michigan,
California and Wisconsin. A few of the
State Libraries, also, like those of New York,
Kansas and California, are building up musi-
cal collections of importance. Some of the
leading conservatories, like the New England
Conservatory in Boston, the Institute of
Musical Art in New York, the Oberlin Con-
servatory and the School of Music in North-
western University, have valuable libraries,
either of their own or in the institutions of
which they are a part. Regarding the four
leading libraries mentioned in Vol. ii. see
articles in the M.T.N. A. Proceedings, 1908,
pp.269, 289; 1910, p. 188; 1914, p. 211; and
1909, p. 198, as well as papers relating to the
subject in general in 1916, p. 47; 1917, p. 52;
and 1918, p. 190. In the volume for 1917 is
given the questionnaire issued by a committee
working in conjunction with the Bureau of
Education and a tentative summary of some
of the statistics secured. The report of this
committee has been drafted in detail, but has
not yet been published. It is soon to appear
as a Bulletin of the Bureau of Education.
The total number of books, pamphlets and pieces
in the Library of Congress (Music-Division) is about
825,000. Of this number about 35,000 are books
upon music, old and new. There are over 5000 scores
of instrumental works, like symphonies, concertos,
suites, etc., over 7000 vocal scores of operas, over 3000
orchestral operatic scores, and over 20,000 opera-
librettos. There are also more than 5000 player-
piano rolls.
The New York Public Library has over 125,000
books upon music, 7200 bound volumes of music and
more than 1000 orchestral scores. It has an exten-
sive collection of opera-librettos. In 1914 it received
by gift the opera-collection of the late Julian Edwards,
containing about 250 full scores of operas, oratorios,
etc., 300 operatic vocal scores and 325 books on music.
The Boston Public Library contains more than
15,000 books on music, over 26,000 bound volumes of
music, over 4000 orchestral scores and about 1000
scores of chamber-music works. It has a remarkable
collection of programs of musical events in Boston
for the past fifty years. It also has many autograph
scores of important works by American composers.
The Newberry Library in Chicago has more than
13,000 books upon music or bound volumes of music.
LICHTENBERG, LEOPOLD (Nov. 22,
1861, San Francisco), began violin-study with
Beaujardin and at eight appeared in concert.
In 1873 Wieniawski, visiting San Francisco,
heard him play and became his teacher at
Brussels for three years, where he won first
prize at the Conservatory in 1876. After a
tour in Holland, made in Wieniawski's place,
he retm-ned to America and for a year traveled
as soloist with the Thomas Orchestra. For
a time he played in the Boston Symphony
272
LICHTENSTETN
LITCHFIELD CHORAL UNION
Orchestra and then moved to New York, where
in 1890 he became violinist in the first Margu-
lies Trio, continuing in 1904 in the later Trio,
and from 1899 became chief violin-teacher at
the National Conservatory. [ R.6 ]
LICHTENSTETN, VICTOR (b. 1872).
See Register, 8.
LIEBLING, EMIL (Apr. 12, 1851, Pless,
Germany : Jan. 20, 1914, Chicago), first
came to America when a youth, but had his
musical training abroad. At Berlin he studied
piano with Ehrlich and Ivullak, at Vienna
with Dachs and at Weimar with Liszt, while
Dorn taught him composition. In 1874-76
he was teacher in the Kullak Conservatory.
Meanwhile, in 1872, he had located in Chicago,
where he became eminent as player, teacher and
writer. His works for piano include a ' Gavotte
Moderne,' op. 11; a 'Florence Valse,' op. 12;
'Feu FoUet,' op. 17; Albumblatt, op. 18;
Cradle-Song, op. 23 ; and ' Minuetto Scher-
zoso,' op. 28. He contributed brilliant articles
to several periodicals and was one of the editors
of The American History and Encyclopedia of
Music, 1908. [ R.5 ]
LIEBLING, LEONARD (Feb. 7, 1874,
New York), is a nephew of the foregoing.
He graduated from the College of the City
of New York in 1897 and then went abroad
to study piano at Berlin under Godowsky,
Kullak and Barth and composition under
Urban. After teaching and appearing as
pianist there and in America, since 1899 he
has been mostly engaged in literary work.
He has written a number of comic opera-
librettos, including 'Vera Violetta,' 'The
Girl and the Kaiser,' 'The American Maid'
(music by Sousa), etc. In 1902 he joined the
staff of 'The Musical Courier' and since 1911
has been editor-in-chief. [ R.8 ]
LIEBLING, MAX (b. 1845). See Regis-
LIEDERKRANZ, DER DEUTSCHE, of
New York. See Vol. iii. 368-9, and Ritter,
Music in America, chap. xix. Similar societies
were early established in many cities where
German singers were nmnerous, such as Cin-
cinnati, Milwaukee, Chicago and St. Louis,
and often aspired to elaborate choral concerts
and even operatic performances in addition
to the part-song singing of a social kind that
was their original purpose.
'LIFE.' No. 17 of the 'Grove-Plays' of
the San Francisco Bohemian Club, produced
in 1919. The text is by Harry Leon Wilson
and the music by Domenico Brescia.
'LIGHT OF ASIA, THE.' An oratorio
by Dudley Buck, published in 1885 (Novello)
and first performed in London in 1889. The
text is taken from Edwin Arnold's well-known
poem. It is the most elaborate of Buck's
choral works.
LILIENTHAL, ABRAHAM WOLF (b.
1859). See Register, 7.
LIMBERT, FRANK L. (b. 1866). See
Register, 8.
LINDEMAN, WILLIAM (1795-1875). See
Register, 3.
LINDQUEST, ALBERT CHARLES (b.
1892). See Register, 10.
LISSER, LOUIS (b. 1850). See Register,
6, and Colleges, 2 (Mills C, Cal.).
LISTEMANN, BERNHARD (Aug. 28,
1841, Schlotheim, Germany : Feb. 11, 1917,
Chicago), was trained as violinist at Sonders-
hausen by Ullrich and at Leipzig by David
(1856-57) and also, while in 1859-67 concert-
master of the court-orchestra at Rudolstadt,
by Vieuxtemps (1861) and Joachim (1862).
With Ills brother Fritz he came to America
in 1867, tom-ed with Leopold de Meyer and
spent two years in Boston. In 1871-74 he
was concertmaster of the Thomas Orchestra
and in 1881-85 of the Boston Symphony
Orchestra. In 1875-79 he was leader of the
Philharmonic Club of Boston, in 1879-81
of the Philharmonic Orchestra which suc-
ceeded it, and in 1881-85 of the Listemann
String Quartet, of all of which he was founder
and moving spirit. In 1885-93 he taught in
Boston, but also kept up tours with the
Listemann Concert Company. From 1893
he worked in Chicago, at first as head of the
violin-department of the Chicago College
of Music. Before his retirement in 1911 he
lived once more for two years in Boston.
He published a Violin-Method, and composed
violin-pieces and also a symphony. [ R.5 ]
LISTEMANN, FRANZ (b. 1873). See Reg-
ister, 8.
LISTEMANN, FRITZ [Ferdinand] (1839-
1909). See Register, 5.
LISTEMANN, PAUL (b. 1871). See Reg-
LITCHFIELD COUNTY CHORAL UN-
ION, THE. This enterprise, founded in 1899,
is a memorialr of Robbins Battell (1819-95),
planned and munificently supported by his
daughter and her husband, Carl Stoeckel, of
Norfolk, Conn. Almost a century ago there
was a Litchfield County Musical Associa-
tion of which Battell was promoter and con-
ductor. Its last concert in 1851 at Litch-
field he directed. In 1875 he led a glee-club
at Winsted, where in 1878 a choral society
was formed, with R. S. Frary as conductor.
From 1882 he arranged superior open-air
concerts at Norfolk, which were repeated at
Lakeville. In 1885 the Winsted chorus waa
reorganized, Richmond P. Paine, then of New
Britain, being conductor. In 1897 Mrs.
Stoeckel started the Norfolk Glee Club, led
in 1899 by N. H. Allen. Its success led to the
formation in that year of the present County
CHARLES M. LOEFFLER
LITCHFIELD CHORAL UNION
LONGY
273
Union, which links together the musical
interests of a chain of five or six towns and
villages in the northwestern corner of Con-
necticut. Of this organization five local
choruses (Norfolk, Winsted, Salisbury, Canaan
and Torrington) have been members since 1906.
The chief conductors have been R. P. Paine
(1899-1915) and Arthur Mees of New York.
The total forces in recent years have included
about 700 singers (not over 425 at any one
concert) and a picked orchestra of 75-100
from New York, with a variety of distinguished
soloists, vocal and instrumental. At present
three concerts are given each year at Norfolk
in the first week of June, and from time to
time local concerts in other places. The
June Festivals have acquired an extraordinary
prestige for dignity and perfection, attracting
visitors from all over the country. For these
Festivals in 1904 Mr. Stoeckol erected an
experimental building and this was later
replaced by a more permanent structure,
known as the 'Music Shed,' seating about
1450 auditors amid ideal acoustical conditions.
Since the fifth year there has been no ad-
mission-fee charged, and no advertising of any
sort is permitted. The heavy expenses for
conductors, orchestras, soloists and invited
composers are defrayed by Mr. and Mrs.
Stoeckel as patrons. They have been strik-
ingly successful not only in setting up a unique
artistic center, but in making it a nucleus for
community-enthusiasm.
The programs of the concerts include such
standard choral works as 'Elijah,' 'Hymn of
Praise,' 'Messiah,' 'The Redemption,' the
Requiems of Verdi and of Brahms, the Stabat
Maters of Rossini and of Dvofdk, 'The
Damnation of Faust,' 'Samson and Delilah,'
'Scenes from Hiawatha,' and a long list of
great orchestral works and famous vocal
solos. The following works have also been
specially written for Norfolk and first per-
formed there :
Parker — 'King Gorm the Grim* (1908), 'Col-
legiate' Overture (1911), 'The Dream of Mary'
(1918).
Chadwick — 'Noel' (1909), 'Aphrodite' (1912),
'Tarn O'Shanter' (1915), 'Land of our Hearts'
(1918).
Coleridge-Taylor — ' Bamboula Rhapsodic Dance '
(1910), 'Tale of Old Japan' (1912), Violin
Concerto (1912), 'Negro Air' for violin and
orchestra (1912), 'From the Prairie' (1914).
Hadley — Symphony No. 4, 'North, East, South,
West' (1911), 'Lucifer' (1914).
Bruch — Konzertstiick, op. 85, for violin and or-
chestra (1911).
Kelley — Symphony No. 2, 'New England' (1913),
Alice in Wonderland ' (1919).
Gilbert — 'Negro Rhapsody' (1913).
Sibelius — 'Aalottaret' (1914).
Stanford — Piano Concerto (1915), 'Irish Rhap-
sody,' No. 5 (1917), 'Verdun' (1918).
Stock — Violin Concerto (1915).
Loeffler — Symphony, 'Hora Mystica' (1916).
Grainger — Suite, 'In a Nutshell' (1916), 'The
Warriors' (1917).
Carpenter — Symphony (1917).
Laucella — Symphonic Impressions, 'Whitehouse'
(1917).
Smith, David Stanley — Symphony No. 2 (1918).
(In most ca-ses these works were conducted by the
composers in person.)
Considering aU that this List implies as to
the encouragement of original composition,
with the employment of distinguished singers
and players and the development through
Mr. Paine's genius of a permanent chorus of
extraordinary competence and sympathy, it
is not strange that these Festivals stand out
as peculiarly significant. See Litchfield County
Choral Union, 1900-1912, 2 vols.. 1912, edited
by J. H. Vaill (privately printed).
LITTLE, HENRY. See Tune-Books,
1820.
LITTLE, WILLIAM. See Tune-Books,
1798.
LOCKE, ARTHUR WARE (b. 1883). See
Register, 9.
LOCKE, FLORA ELBERTINE, n6e Huie
(b. 1866). See Register, 7.
LOCKPORT FESTIVALS. See Nobth
American Music Festival.
LOCKWOOD, ALBERT LEWIS (b. 1871).
See Register, 8.
LOCKWOOD, SAMUEL PIERSON (b.
1879). See Register, 9.
LOEB, JAMES (b. 1867). See Register, 9.
LOEFFLER, CHARLES MARTIN TOR-
NOV (Jan. 30, 1861, Mulhouse, Alsace).
See article in Vol. ii. 763. To the list of
works add a 'Divertimento Espagnole' for
saxophone and orchestra (1901) ; Psalm 137,
for women's chorus (1902); 'For One who
Fell in Battle,' for double chorus (1906) ; the
symphonic 'Pagan Poem,' after Virgil, for
orchestra, piano and trumpets (Schirmer) ;
the symphony in one movement 'Hora Mys-
tica,' for orchestra and men's chorus (1916,
Norfolk Festival) ; and ' Music to the Memory
of Victor Chapman,' three movements for
string-quartet (1917). He is working upon
a one-act opera. [ R.7 ]
LOMBARDI OPERA COMPANY, THE,
was a South American troupe under the lead
of Mario Lombardi which came to San Fran-
cisco in 1908 with success. In 1912 this was
transformed into the Pacific Coast Grand
Opera Company and produced, among other
works, Strauss' 'Salome' and Zandonai's
'Conchita' (first time in America).
LONGY, GUSTAVE GEORGES LEO-
POLD (Aug. 29, 1868, Abbeville, France),
was trained at the Paris Conservatory, study-
ing oboe with Gillet and taking a second prize
in 1885 and a first in 1886. He played in the
Lamoureux, Ch^telet, Folies-Berg^re and
274
LONGY CLUB
LOVEWELL
Opfera-Comique Orchestras. In 1898 he came
to America as first oboist in the Boston
Symphony Orchestra, a position still held
with distinction. In 1900 he foimded the
Longy Club, made up of wind-instruments
and piano (Heinrich Gebhard), which has
given many notable chamber-music per-
formances. The Boston Orchestral Club,
which he conducted in 1899-1913, introduced
many novelties, chiefly by French composers.
In 1915 he was appointed conductor of the
MacDowell Orchestra in Boston and in 1916
founded the Longy School of Music. He has
been an Ofiicier d'Acadfemie since 1895 and
Oflicier de I'lnstruction Publique since 1911.
[ R.8 ]
LONGY CLUB, THE, of Boston. See
preceding article.
LOOMIS, HARVEY WORTHINGTON
(Feb. 6, 1865, Brooklyn), after a general
education at the Brooklyn Polytechnic In-
stitute, studied composition with Dvordk at
the National Conservatory and piano with
Mme. Schiller in New York. He has de-
voted himself mainly to composition, with
success along several lines. Among his works
is the opera 'The Traitor Mandolin' (1900) ;
four comic operas — 'The Maid of Athens,'
'The Burglar's Bride,' 'Going LTp?' and 'The
Bey of Baba ' ; and many musical panto-
mimes— 'Put to the Test,' 'Her Revenge,'
'In Old New Amsterdam,' 'The Enchanted
Fountain,' 'Love and Witchcraft' and 'Blanc
et Noir.' His music for children is much
appreciated — the cantata 'Fairy Hill,' 24
miniature piano-duets, 'Toy-Tunes' (text and
music), 'Song-Flowers,' 2 vols., and many
school-choruses. He also has written a sonata
for piano, a sonata for violin and piano, and
many pieces for piano, including 'Lyrics of
the Red Man,' 2 books. He has added
incidental music to the plays 'The Tragedy
of Death' (Ren6 Peter) and 'The Coming
of the Prince' (William Sharp), and prepared
the musical recitations 'Sandalphon' and
'The Story of the Faithful Soul.' Besides
writing for periodicals he has lectured on
Indian music. [ R.8 ]
LORENZ, EDMUND SIMON (b. 1854).
See Register, 6.
LORENZ, JULIUS (b. 1862). See Register,
7.
LORENZ PUBLISHING COMPANY,
THE, of Dayton, O., was founded in 1890
by Edmund S. Lorenz and incorporated in
1901. It has devoted itself to publishing
church-music, especially for the use of the
United Brethren and related denominations.
Its publications number over 2500, including
about 450 collections of hymns, anthems, and
Bome organ-music, aggregating over 11,000,000
copies. It has also made a specialty of popular
monthly periodicals relating to church-music,
including 'The Choir-Leader' (from 1894),
'The Choir Herald' (from 1898), 'The Volun-
teer Choir' (from 1913), 'Der Kirchenchor'
(from 1898) and 'The Organist' (from 1898),
all except the last edited by E. S. Lorenz-
It has also published the comprehensive
manual by the latter on Practical Church
Music, 1909. In 1901 Karl K. Lorenz, the
founder's son, a graduate of Columbia Uni-
versity and a pupil of MacDowell, entered
the business, and in 1905 Ira B. Wilson was
added to the editorial force. In 1902 a branch
was opened in New York and in 1914 one in
Chicago.
LORENZO, LEONARDO DE (b. 1875).
See Register, 10.
LORING, HAROLD AMASA (b. 1879).
See Register, 9.
LORING CLUB, THE, of San Francisco,
is a men's chorus, organized in 1876, which
has maintained a high standard of excellence.
Its present director is Wallace A. Sabin.
LOS ANGELES SYMPHONY ORCHES-
TRA, THE, was organized in 1897. Its con-
ductor for many years has been Adolf Tandler.
In 1915 it gave the first performance west of the
Mississippi of Beethoven's 9th Symphony and
in 1917 brought out Cadman's ' Thunderbird '
Suite. The players number about 75.
LOTH, LOUIS LESLIE (b. 1888) . See Reg-
ister, 9.
LOUD, JOHN HERMANN (b. 1873). See
Register, 8.
LOUD, THOMAS (d. 1834). See Register,
3, and Tune-Books, 1824.
LOUD, THOMAS C. (1812- ? ). See Reg-
ister, 3.
'LOUIS XIV.' An opera by Homer Moore,
produced in 1917 at St. Louis.
'LOVE'S SACRIFICE.' A pastoral opera
in one act by George W. Chadwick, first pro-
duced in 1915.
LOVETTE, T. S. See Colleges, 2 (Baylor
C, Tex.).
LOVEWELL, SAMUEL HARRISON
(Mar. 9, 1865, Wellesley, Mass.), graduated
from the Boston schools and in 1891 from the
New England Conservatory. From that time
he has been organist at a succession of churches
in Easton, Pa., Georgetown, Ky., Columbia,
S. C, Walla Walla, Wash., Quincy, 111., Jen-
kintown, Pa., and (from 1917) Taunton, Mass.
In all these positions he has given frequent
recitals on piano or organ, often with lectures.
In 1893-96 he was music-director at the
College for Women in Columbia, S. C, in
1898-1906 at Whitman College in Walla
Walla, in 1906-11 of the Quincy (111.) Conser-
vatory, and from 1919 at the Tome School,
Port Deposit, Md., besides for some years being
editor for C. W. Thompson & Co., Boston. He
LUCAS
LUTKIN
^6
has specialized in theory, music-history and the
training of boy-choirs. His compositions in-
clude a sonata in F minor, a Credo for soprano
and chorus, a]Ilomanza, etc. He has translated
Riemann's Single and Double Counterpoint,
History of Notation and History of Music, 5
vols, (only the first published). [ R.8 ]
LUCAS, CLARENCE (Oct. 19, 1S6G, Niag-
ara, Ont.). See article in Vol. ii. 776. By
invitation of Richard Mansfield he came to
America to conduct Grieg's music for the pro-
ductions of 'Peer Gynt.' In 1903 he became
London correspondent of the New York ' Mus-
ical Coiu-ier' and later associate-editor, with
headquarters in New York. In 1919 he re-
turned to London again as special correspond-
ent. To the list of works add six operas (not
given), and many songs, and pieces for piano
or violin and piano. The Fantasy and Fugue,
op. 22, is often played by Hambourg and other
artists. [ R.7 ]
LUCAS, GEORGE W. (1800- ? ). See
Register, 3.
'LUCILLE.' See 'Antonio.'
LUCKSTONE, ISIDORE (b. 1861). See
Register, 7.
LUDDEN, : WILLIAM (1823- ? ). See
Register, 4.
LUKKEN, ALBERT. See State Univer-
sities (Wyo.).
LUND, JOHN REINHOLD (Oct. 20, 1859,
Hamburg, Germany), after general education
at the Johanneum in Hamburg, studied piano
with Conrad Dinkier there and in 1880
graduated at the Leipzig Conservatory,
where his teachers were Reinecke, Paul,
Richter and Wenzel. In 1880-83 he was
chorus-master at the Bremen Opera House
and for a year assistant-conductor at the
Stettin Stadt-Theater. In 1884 he came to
the Metropolitan Opera House in New York
as assistant to Leopold Damrosch. In 1887
he went to Buffalo as conductor of the Buffalo
Symphony Orchestra and the Orpheus Society.
In 1903 he directed Victor Herbert operas and
toured with various companies until 1914,
when he returned to the Buffalo Orpheus and
the municipal orchestra-concerts. He has
composed 'Der Germanenzug,' 'Ein Griech-
isches Kriegslied,' 'Kaiser Karl' and 'Spring-
Morning,' all for soli, chorus and orchestra;
an Intermezzo, 'Liebeslied' and 'Im Garten'
for string-orchestra ; a suite, sonata and
many pieces for piano ; songs and choruses.
[ R.7 ]
LUSSAN, ZlfiLIE DE (b. 1863). See Reg-
ister, 7.
LUTKIN, PETER CHRISTIAN (Mar.
27, 1858, Thompsonville, Wis.), of Danish
stock, was brought up in Chicago, where
from 1868 he was solo alto in the pioneer
boy-choir of the Interior at the (P. E.) Cathe-
dral, went to the choir-school and at fourteen
became organist, though still not technically
trained. Then he studied with Mrs. Watson,
Gleason and Eddy, and in 1879-81 taught
piano at Northwestern University in Evanston.
In 1881-84 he was in Berlin, taking piano with
Raif , theory with Bargiel and organ with Haupt
(mostly at the Hochschule) and winning a
scholarship at the Royal Academy, in 1883
studying piano with Stepanov at Vienna and in
1884 piano and composition with Moszkowski
at Paris. In 1884-91 he was organist at St.
Clement's in Chicago and in 1891-97 at St.
James'. In 1888-92 he also taught theory at the
American Conservatory, and in 1891 entered
upon what has been his life-work — the
development of the School of Music in North-
western University, of which he has been dean
since 1895. Besides bringing this School to
great efficiency, he has steadily built up public
interests, since 1893 conducting the Evanston
Musical Club and in 1894-1901 another in
Ravenswood. These choral societies, with
the noted A Cappella Choir of the School and
its orchestral forces, supplied the means for
the establishment in 1908 of the Chicago North
Shore Festivals, which are recognized as
among the best of their kind. He was a
founder of the A. G. O. in 1896, received a
Mus.D. from Syracuse University in 1900,
has been always active in the M. T. N. A.
(president in 1911 and 1920) and vice-presi-
dent of the American branch of the I. M. S.
Besides papers and articles on various subjects,
in 1908 he lectured at the Western Theological
Seminary in Chicago, his lectures coming out
as Music in the Church, 1910. He has been
one of the editors of both the Methodist
and the Episcopal Hymnals (1905, '18). His
compositions include
Comrtmnion Service in C (Gray).
Festival Te Deum in A (Gray).
Te Deum in C (Novello).
Te Deum in B-flat (Summy).
Te Deum, 'Peace' (1919), first given at the North
Shore Festival (Gray).
Magnificat and Nunc Dimittis in G, eight parts
a cappella (Gray).
Magnificat and Nunc Dimittis in C (Gray).
Festival Magnificat and Nunc Dimittis in B-fiat
(Summy).
Magnificat in E minor, a cappella.
Jubilate in C (Novello).
Psalm 51, for soli, chorus and organ.
Psalm 137, a cappella (Gray).
Many anthems — 'Kingdom of Light,' 'What
Jesus Said,' a cappella, ' I will sing of Thy
power,' a cappella (all Gray) ; 'The day is past
and over' (Novello) ; 'The Lord shall comfort
Zion,' 'Like as a father,' a cappella, 'O Paradise,'
a cappella, 'O little town of Bethlehem' (all
Summy) ; besides carols, etc.
Two sacred trios for children (Silver, Burdett & Co.).
Many part-songs and songs (part Summy).
'Romance,' for 'cello (Summy), or string-quartet
for violin and orchestra.
276
LYMAN
LYON & HEALY
Nine Organ-Preludes based on hymn-tunes (Gray),
ftocessional March, for organ. [ R.6 ]
LYMAN, RALPH HAINE (b. 1883). See
State Universities (Ore.) and Colleges, 3
(Pomona C, Cal.).
LYNES, FRANK (1858-1913). See Regis-
ter, 7.
LYON, JAMES (1735-1794). See Regis-
ter, 1, and Tune-Books, 1759.
LYON & HEALY, of Chicago, was estab-
lished in 1864 by Oliver Ditson, the Boston
music-publisher, as a western branch, the two
partners being George W. Lyon and Patrick
J. Healy (d. 1905), both previously in the
Boston store. They soon began to deal ex-
tensively in instruments, including those for
bands, and entered the field of piano-making
with the Lyon & Healy and Washburn pianos,
building up a varied business of immense propor-
tions. They also became a headquarters for rare
and remarkable instruments, and one of the
finest makers of harps in the world. The cap-
ital is now $3,000,000 and the president Robert
B. Gregory. The offices and salesrooms are at
Wabash Avenue and Jackson Boulevard and
the piano-works on Fullerton Avenue.
M
MAAS, GERALD CHRISTOPHER (b.
1888). See Register, 10.
MAAS, LOUIS PHILIPP OTTO (June
21, 1852, Wiesbaden, Germany : Sept. 18,
1889, Boston), the son of a music- teacher, be-
gan piano-playing early. The family moved
to England and he graduated at King's College
in London. In 1867 he entered the Leipzig
Conservatory, where he had four years with
Reinecke and Papperitz. An overture was
performed at the Gewandhaus in 1868 and
a symphony in 1872. He taught in the
Kullak Academy in 1873-74, studying with
Liszt in the summer, and in 1875-80 was
piano-teacher at the Leipzig Conservatory.
After 1880 he lived in Boston, teaching at
the New England Conservatory and in
1881-82 conducting the Philharmonic Or-
chestra. He was an excellent pianist, often
heard in recitals, and a teacher of exceptional
ability. He composed 'On the Prairies,' an
American Symiphony (1883), overtures and
other orchestral music, a string-quartet, a
piano-concerto, three sonatas and other piano-
pieces and songs. [ R.7 ]
MAAS, MARGUERITE WILSON (b.
1888). See Register, 10.
MACBETH, FLORENCE (b. 1891). See
Register, 10.
MacCOLLIN, PAUL. See Colleges, 3
(Morningside C, Iowa).
tMAcCUNN, HAMISH (Mar. 22, 1868,
Greenock, Scotland : Aug. 2, 1916, London).
See article in Vol. iii. 3. He was Beecham's
assistant from 1910 at Covent Garden and His
Majesty's and from 1915 at the Shaftesbtiry.
In 1912 he succeeded Coleridge-Taylor as pro-
fessor of composition and director of the opera-
class at the Guildhall School of Music. In his
later years he was not much engaged upon
composition.
MACDOUGALL, HAMILTON CRAW-
FORD (Oct. 15, 1858, Warwick, R. I.), was
trained by Bonner, Sherwood, S. B. Whitney
and Lang. From 1874 he was organist in
Providence and in 1895-1900 at Harvard
Church in Brookline, Mass. He was the
second American to become an associate of
the R. C. O. (1883) and in 1896 was a founder
of the A. G. O. — in 1908-11 dean of the New
England Chapter. He has been active, also,
in the M. T. N. A. and other educational
bodies, has repeatedly given series of lectures
at Brown University, at the Brooklyn In-
stitute of Arts and Sciences, and at the Sum-
mer School of Church Music at Cambridge.
Brown University made him Mus.D. in 1901.
Since 1900 he has been professor at Wellesley
College, where he has brought the music-
department to a high pitch of organization
and efficiency, besides exercising his notable
ability as organist and choirmaster. His
compositions include publications like a festival
setting of 'Onward, Christian soldiers' for
bass, chorus and orchestra (Presser), many
anthems for mixed or men's chorus, several
songs and part-songs, and 'The Red Cross
Knight,' for men's chorus. He has also writ-
ten a piano-trio in F minor, a Scherzo in
A, Psalm 95 for tenor, bass, chorus and organ,
much music for the Masonic ritual, etc. He
has published Stvdies in Melody-Playing, 2
vols. (Presser) , The National Graded Course for
Pianists, 7 vols. (Hatch) and Studies for the
Left Hand (Ditson) . He has also contributed
often to musical periodicals, especially upon
organ- and piano-playing and church-music.
[R.6 ]
MacDOWELL, EDWARD ALEXANDER
(Dec. 18, 1861, New York : Jan. 23, 1908,
New York). See article in Vol. iii. 4r-6. He
first appeared in America as pianist with the
Kneisel Quartet in Boston on Nov. 19, 1888,
playing three movements of his 1st Suite and
Goldmark's Quintet in B-flat. On Mar.
5, 1889, he played his 2nd Concerto with the
Thomas Orchestra in New York, and also
in April with Gericke and the Boston Sym-
phony Orchestra and in July with Van der
Stucken at an American concert in Paris.
His 'Indian' Suite was first given on Jan.
23, 1896, by the Boston Symphony Orchestra
at the Metropolitan Opera House in New York.
To the list of works add the 'Prologue' and
'Epilogue' to op. 38 (as in revised edition),
'In October' as the third movement of op.
42, and the following early works, published
under the pen-name 'Edgar Thorn':
op. 1 'Amourette,' for piano.
2 'In Lilting Rhythm,' for piano.
3 'Love and Time' and 'The Rose and the
Gardener,' for men's chorus a cappella.
4 'Forgotten Fairy-Tales,' for piano — 'Sung
outside the Prince's Door,' 'Of a Tailor
and a Bear,' 'Beauty in the Rose-Garden,'
'From Dwarfland.'
5 'The Witch,' for men's chorus a cappella.
6 'War-Song,' for men's chorus a cappella.
7 Six Fancies for piano — 'A Tin Soldier's
Love,' 'To a Humming-Bird,' 'Summer-
Song,' 'Across Fields,' 'Bluette,' 'An
Elfin Round.'
8 Waltz for piano (announced in 1895 by
Breitkopf, but did not appear).
His lectures at Colimabia have been edited by
W. J. Baltzell as Critical and Historical Essays,
1911. Additional biographies and mono-
graphs are E. F. Page, Edward MacDowell,
His Works and Ideals, 1910, T. P. Currier,
'MacDowell as I Knew Him' in 'The Musical
277
278 MacDOWELL ASSOCIATION
MACKENZIE
Quarterly,' January, 1915, O. G. Sonneck,
'MacDowell versus MacDowell' in M.T.N. A.
Proceedings, 1911, and also in Suum Cuique,
1916, and Sonneck, Catalogue of First Editions
of Edward MacDowell, 1917, besides numerous
chapters and passages in historical and criti-
cal books. Regarding his 'Indian' Suite Cad-
man has the following passage in an article
on Indian music in 'The Musical Quarterly,'
July, 1915:
' I regard the ' Indian' Suite an ideal guide for those
who would build upon Indian themes. MacDowell
has first of all given us charming music, fascinating
and well-conceived music, aside from any color or
atmosphere one may discover in its measures. It is
not a mere ethnological report set to music. It is
a distinct art-work and every movement conveys
a definite picture of Indian life. The method of
idealization is not abstruse. One can quickly discern
the source of the themes — they are borrowed deftly
from an ethnological paper by Dr. Theodore Baker,
together with some other material. In the next
place, MacDowell did not over-idealize or under-
idealize (if these terms may be permitted) since there
is a happy balance of musical values — of atmosphere
obtained, of triumph, of dignity, even of melancholy,
wedded to finely conceived contrasts and dynamics.
Whether Mr. MacDowell ever seriously studied the
subject of Indian folk-lore or folk-music I do not
know. But I do know that he has had the genius
to produce a work based on good thematic material,
soundly worked out and withal pleasing to every
musician and music-lover. And it rings true I It
is the best orchestral illustration extant, I think, of
what may and what may not be done with Indian
folk-tunes. It serves to show, too, that it is possible
to write music which reflects the oddities, the char-
acteristics of Indian rhythm and melody, and at the
same time to create something that may be analyzed
freely as music'
Enthusiasm for MacDowell's music and
reverence for his memory have expressed
themselves in various ways, as in the formation
of MacDowell Clubs in several places, in the
MacDowell Chorus in New York (1909) and
especially in the MacDowell Memorial Associa-
tion, with its artistic headquarters at the
MacDowell summer-home at Peterboro, N. H.,
and the annual festivals held there since 1910.
[ R.7 ]
MacDOWELL MEMORIAL ASSOCIA-
TION, THE, was formed soon after Mac-
Dowell's death, largely to carry out his own
idea concerning his summer-home at Peter-
boro, N. H. To the Association Mrs. Mac-
Dowell transferred the property that it should
be 'a center of interest to artists working in
varied fields, who, being there brought into
contact, may learn to appreciate fully the
fundamental unity of the separate arts.' Be-
sides becoming a summer-colony of distinctive
character, this headquarters has since 1910
been the scene of an annual festival, chiefly
musical, at which a variety of works, vocal and
instrumental, by different composers have been
given in a forest-setting. In 1910 and '19 there
was an elaborate pageant, the music by
Chalmers Clifton.
MACFARLANE, WILLIAM CHARLES
(Oct. 2, 1870, London, England), was the son
of Duncan Macfarlane (1836-1916), who
became a naturalized American citizen in
1858. He had his whole education in New
York. Besides early lessons from his father,
he studied organ and theory with S. P. Warren
in 1886-90. He was a choir-boy at Christ
Church and in 1886 appeared as concert-
organist at Chickering Hall. From 1885 he
held various positions as organist, notably
in 1889-1900 at All Souls', in 1898-1912 at
Temple Emanu-El and in 1900-12 at St.
Thomas'. In 1912-19 he was municipal or-
ganist at Portland, Me., where he annually
gave about 40 recitals of high quality and
conducted various other musical under-
takings. In 1896 he was one of the founders
of the A. G. O. and in 1897 won its Clemson
medal for an anthem. In 1911, '14 and '17
he also took the Kimball prize of the Chicago
Madrigal Club for a cappella works. In
1918 Bates College made him Mus.D. His
organ-works include a Meditation, Reverie,
Spring-Song, Cradle-Song, Scotch Fantasia
and Scherzo, and he has written the cantata
'The Message of the Cross' (1907), the
operettas 'Little Almond-Eyes' and 'Swords
and Scissors,' anthems, songs and part-songs.
[ R.7 ]
MACKAY, JOHN (d. 1841). See Register,
3.
{MACKENZIE, ALEXANDER CAMP-
BELL (Aug. 22, 1847, Edinburgh, Scotland).
See article in Vol. iii. 9-11. His work for
the Royal Academy of Music, of which he
has been principal since 1888, was crowned
in 1912 by the erection of a magnificent build-
ing at York Gate, Marylebone Road. He
was president of the International Musical
Society in 1908-12, including the congresses
at Vienna (1909) and London (1911), and
president of the R. C. O. in 1914-16. He is
an honorary member of the Accademia di
S. Cecilia in Rome. To the list of works
should be added
op. 68 Suite for violin and orchestra (also piano).
69 Cantata, 'The Sun-God's Return' (1910,
Cardiff, 1911, Sing-Akademie, Vienna).
70 Fantasie for pianoforte.
71 Four Part-Songs.
72 Air de Ballet, 'La Savannah,' for orches-
tra (also piano).
73 Three Trios for women's voices.
74 Scottish Rhapsody No. 3, 'Tarn o' Shan-
ter ' for orchestra.
75 'An English Joy-Peal' for orchestra.
76 'Invocation' for orchestra.
77 'Perfection,' part-song.
78 'The Walker of the Snow,' song for
baritone.
79 Four Songa from Tennyson.
MACLEAN
MAGNUSSON
279
op. 80 Four Dance-Measures for violin and piano.
81 An English Air with variations, for piano.
82 Ancient Scots Tunes, for strings.
83 ' Odds and Ends,' for piano.
84 ' Jottings,' 2 books, for piano.
85 Three School Part-Songs.
86 Six Easy Impromptus for violin.
87 Opera, ' St. John's Eve,' in one act (1919).
— Oratorio, ' The Temptation ' (1915).
MACLEAN, JOSEPH. See Colleges, 2
(Agnes Scott C, Ga.).
MACLENNAN, FLORENCE GER-
TRUDE, nee Easton (Oct. 25, 1884, Middles-
brough, England), was brought to Toronto in
childhood, had her general education there
and at ten appeared as child-pianist. She
was trained as stage-soprano at the Royal
Academy in London and by Haslam in Paris,
made her d6but in 'Madama Butterfly' in
1903 in London, in 1904-07 was touring in
America with the Savage Opera Company,
in 1907-15 was a leading singer at the Berlin
and Hambiu-g Opera Houses, as well as in
London, in 1915-17 was with the Chicago
Opera Company and since then at the Metro-
politan Opera House in New York. Roles
that she 'created' include Beatrice in Naylor's
'The Angelus' (1909), Natoya in Nevin's
'Poia' (1910), Elektra in Strauss' 'Elektra'
(English premiere, 1910), Elisabeth in Liszt's
oratorio (American premiere as opera, 1918),
etc. Her favorite roles are Aida, Carmen,
Elsa, Sieglinde, Cio-Cio-San, Elektra and Sa-
lome. In 1904 she married the tenor Fran-
cis Maclennan, and they have regularly sung
together. [ R.9 ]
MACLENNAN, FRANCIS (Jan. 7, 1879,
Bay City, Mich.), was developed into an em-
inent operatic tenor by Dufft and Tamaro
in New York, Henschel in London and Eme-
rich in Berlin. In 1902 he made his debut
in London as Faust, in 1904-07 sang in 'Par-
sifal ' and ' Madama Butterfly ' in the United
States with the Savage Opera Company, in
1907-15 was at the Royal Opera in Berlin
(the first American to sing Tristan in Germany)
and the Stadt-Theater in Hamburg, in 1915-17
with the Chicago Opera Company (mostly
Wagnerian roles) and from 1917 at the Metro-
politan Opera House in New York. He has
a large repertory and excels in Wagner and
Verdi works. In 1904 he married the soprano
Florence Easton, and since then they have
been constantly associated in both opera and
song-recitals. [ R.9 ]
MACMILLEN, FRANCIS (Oct. 14, 1885,
Marietta, O.), was trained as violinist from
childhood, having lessons from Bernhard
Listemannin Chicago, in 1895-99 from Markees
and Joachim in Berlin, in 1900-02 from
Thomson in Brussels, where he took two
prizes, and then from Flesch and Auer in
Petrograd. In 1903 he made appearances
in Brussels and London and in 1906 with the
New York Symphony Society. Since then
he has made five notable tours in the United
States, but in 1911-14 was in Europe. Every-
where he has played with the leading orches-
tras and has given many recitals. For the
violin he has written a Barcarolle, a ' Serenade
N5gre,' 'Causerie,' 'Liebeslied,' 'Nijinsky'
and other pieces, besides arrangements (all
Carl Fischer). [ R.9 ]
JMACPHERSON, CHARLES (May 10,
1870, Edinburgh, Scotland). See article in
Vol. iii. 11-2. In 1916, after Martin's death,
he was advanced to be organist at St. Paul's.
In 1914 he was conductor of the London
Chm-ch Choir Association. He is a fellow of
the R. A. M. and the R. C. O. Among recent
works are an 'Overture on Jacobite Airs,' a
'Fantasy on Scotch Tunes,' some organ-
pieces, much church-music and part-songs.
MADEIRA, LOUIS CEPHAS. See Regis-
ter, 4.
'MADELEINE.' An opera in one act by
Victor Herbert on a text adapted from the
French by Grant Stewart. It was first pro-
duced at the Metropolitan Opera House in
New York on Jan. 24, 1914, and three times
repeated.
MADISON CHORAL UNION, THE, of
Madison, Wis., was founded in 1893, largely
through the efforts of President Charles K.
Adams of the University of Wisconsin, with a
desire to unite musical interests in the Univer-
sity and the city. The conductors have been
Fletcher A. Parker in 1893-1907, Rossetter G.
Cole in 1907-09, Elias A. Bredin in 1909-10,
Louis A. Coerne in 1910-15, Peter W. Dykema
in 1915-18, and Irving W. Jones since 1918.
The membership has ranged from 75 to 300,
with an average of perhaps 150. Two concerts
are usually given each year, with additional
ones in years when a festival has been held.
The University provides the conductor and
place of rehearsal. The Union has lately
made a feature of Yule-tide Festivals with
emphasis upon the 'community' spirit.
MAERZ, JOSEPH (b. 1883). See Col-
leges, 2 (Wesleyan Female C, Ga.).
t MAGNARD, LUCIEN DENIS GABRI-
EL ALBfiRIC (June 9, 1865, Paris, France :
Sept. 3, 1914, Baron, France). See article in
Vol. iii. 23. To the list of works add the opera
'Berenice' (1911, Opera-Comique, libretto by
the composer) and a sonata for 'cello and piano
(1910). According to Ernest Daudet (Chron-
icles of 1915 and 1916), he was killed while de-
fending his home from the depredations of a
troop of German soldiers. A number of manu-
scripts including the opera 'Guercoeiu-,' are
said to have been carried away by the latter.
MAGNUSSON, OSCAR MAGNUS. See
Colleges, 3 (Upsala C, N. J.).
280
MAGUENAT
MANCHESTER
MAGUENAT, ALFRED. See Register, 10.
MAGUIRE, J. FRANCIS. See Colleges,
3 (Northwestern C, 111.).
MAHLER, GUSTAV (July 7, 1860, Ka-
lischt, Bohemia : May 11, 1911, Vienna).
See articles in Vols. iii. 27-8, and v. 652. In
New York he first conducted at the Metro-
politan Opera House on Jan. 1, 1908, the opera
being 'Tristan,' and in November and De-
cember he led the Symphony Society three
times, producing at the second his 2nd Sym-
phony. The operas given under him were
various Wagnerian works, 'Don Giovanni,'
'Le Nozze di Figaro,' 'Fidelio,' 'The Bartered
Bride' and 'Pique Dame' (the last two being
American premieres). His reorganization of
the Philharmonic Society in 1909-11 was
thorough and effective, but interrupted at
the end by ill-health. His sudden death was
from heart-trouble, complicated by pneumonia.
His 8th Symphony (first given in 1910 at
the Munich Exposition under the composer)
was produced in 1916 in Philadelphia under
Stokowski, who conducted from memory,
with an orchestra of 110, eight soloists, a
divided chorus of 800 and a children's chorus
of 150. It was thrice repeated there and
also at the Metropolitan Opera House in New
York. In 1917 it was given in Chicago under
Stock with still larger forces. The 9th
Symphony was first performed in 1912 at
the Vienna Festival imder Bruno Walter, and
also given in 1913 by the Berlin Philharmonic
under Oskar Fried. It was not fully com-
pleted or at least revised by the composer.
In his will he is said to have directed that all
material for the 10th Symphony should bo
destroyed. The list of his works is as follows :
For orchestra and chorus —
'Das klagende Lied,' for soprano, alto and tenor,
chorus and orchestra.
Symphony No. 1, in D (1891).
Symphony No. 2, in C minor — with alto and
chorus (1895).
Symphony No. 3, in D minor — with alto, women's
and boys' choruses (1896).
Symphony No. 4, in G — with soprano (1901).
Symphony No. 5, in C-sharp minor (1904).
Symphony No. 6, in A minor (1906).
Symphony No. 7, in E minor (1908).
Symphony No. 8, in E-flat — with seven soloists,
two choruses and boys' chorus (1910).
'Das Lied von der Erde,' for tenor and alto (or
baritone) and orchestra.
Symphony No. 9, in D (1912).
For voice and orchestra —
' Des Knaben Wunderhorn ' — ' Der Schildwache
Nachtlied,' ' Verlorne Miih',' 'Trost im Ungluck,'
'War hat dies Liedlein erdacht,' 'Das irdische
Leben,' 'Des Antonius von Padua Fischpredigt,'
'Rheinlegendchen,' 'Lied des Verfolgten im
Turme,' 'Wo die schonen Trompeten blasen,'
'Lob des hohen Verstandes,' 'Es sungen drei
Engel einen siissen Gesang,' 'Urlicht' (alto solo
from 2nd Symphony) ; also ' Revelge,' ' Der
Tambourg'seU.'
'Lieder eines fahrenden Gesellen' (words by
composer) — ' Wenn mein Schatz Hochzeit
macht,' 'Ging heut' Morgan iiber's Feld,' 'Ich
hab' ein gliihend Massar,' ' Die zwei blauen Augen
von meinem Schatz.'
'Kindertotenlieder' (Riickert) — 'Nun will die
Sonn' so hell aufgeh'n,' ' Nun seh' ich wohl,
warumso dunkle Flammen,' 'Wenndein Miitter-
lein,' 'Oft dank' ich, sia sind nur ausgegangen,'
'In diesem Wetter.'
'Five Lyrics' (Riickert) — 'Blicke mir nicht in
die Lieder,' 'Ich atmet' einen linden Duft.'
'Ich bin der Welt abhanden gekommen,' 'Liebst
du um Schonheit,' 'Um Mitternacht.'
For voice and piano — (all Schott)
'Friihlingsmorgan' and 'Erinnerung,' from R.
Leander.
'Hans und Grete,' folk-song.
Serenade and Phantasie from Tirso de Molina's
'Don Juan.'
' Des linaben Wunderhorn ' — ' Um schlimma
Kinder artig zu machen,' 'Ich ging mit Lust
durch einen griinen Wald,' 'Aus! Aus!,' 'Starke
Einbildungskraft,' 'Zu Strassburg auf der
Schanz,' 'Ablosung im Sommer,' 'Scheidenund
Meiden,' 'Nicht wiedersehen ! ' 'Selbstgefiihl.'
Arrangements —
Weber's 'Die drai Pintos' (Kahnt).
Mozart's 'Die Hochzeit des Figaro' (Paters).
Suite from Bach's orchestral works, with continuo
filled out (Schirmer).
Biographies have appeared by Schiedermair,
1900, Specht, 1905 (small), Stefan, 1908 and
1910-12 (in English, 1913), and Specht, 1913,
besides numerous articles, etc. [ R.9 ]
MAHR,EMIL (1851-1914). See Register, 7.
MAIN, HUBERT PLATT (b. 1839). See
Register, 5.
MAITLAND, ROBERT GILLIES (b.
1875). See Register, 10.
MAITLAND, ROLLO FRANCIS (b. 1884).
See Register, 9.
MALCHEREK, KARL AUGUST (b. 1873).
See Register, 8.
MALLET, FRANCIS. See Register, 2.
'MAN IN THE FOREST, THE.' The
first of the ' Grove-Plays ' of the San Francisco
Bohemian Club, produced in 1902. The
text is by Charles K. Field and the music by
Joseph D. Redding.
MANCHESTER, ARTHUR LH^ING-
STON (Feb. 9, 1862, Bass River, N. J.), had
his training in piano, organ and theory with
Zeckwer and in voice with Gilchrist, Buss-
mann and Tubbs. Beginning as organist at
thirteen, after 1882 he has held a series of
positions as head of music-schools — in 1882-
86 at the Beaver (Pa.) Musical Institute, in
1886-93 first at the State Normal School at
Clarion, Pa., and then at Martha Washington
College in Virginia, in 1904-13 at Converse
College in Spartanburg, S. C, in 1913-18 at
Southwestern University in Georgetown, Tex.,
and since 1918 at Hardin College in Mexico,
Mo. In 1893-96 he was associate-editor of
'The Etude' in Philadelphia and in 1896-1902
editor of 'The Musician' in Boston. In
MANHATTAN OPERA HOUSE
MANNES
281
1900-02 he was president of the M. T. N. A.
and active in extending its range and influence,
in 1900-04 also editing 'The Messenger' as
its official organ. While at Spartanburg he
was conductor of the choral society and of
the annual festivals. At intervals he has
appeared in song- and lecture-recitals, often
with emphasis upon the work of Franz. He
has always been interested in whatever per-
tains to community-music, and prominent in
discussions of music-education in schools and
colleges. He published Twelve Lessons on the
Fundamentals of Voice-Production (Ditson),
and edited for the Bureau of Education a
bulletin on Music-Education in the United
States, 1908. [ R.7 ]
MANHATTAN OPERA HOUSE, THE,
was built by Oscar Hammerstein in 1906 on
West 34th Street, New York, as a rival of the
Metropolitan Opera House, and was managed
by him for four seasons, 1906-10.1
The ventm-e was audacious and picturesque,
differing from its competitor in that it lacked
the organized support of society leaders, that
it eschewed German and that it devoted itself
either to well-known popular favorites or to
novelties of the French school. Musically,
the marked feature for the first three seasons
was the enthusiasm and genius of Cleofonte
Campanini, who was both musical manager
and conductor, being followed in 1909 by
Enriquez de la Fuente. From the start
Hammerstein was fortunate in securing many
important artists, like the tenor Bonci, the
bass Renaud, the soprano Bressler-Gianoli,
and for a time both Melba and Calve. In
the second season he introduced Mary Garden
and Tetrazzini, besides a long list of others.
The smaller size of the auditorium as compared
with the Metropolitan, and the exceptional
perfection of the ensemble, made many of the
performances extremely effective.
The novelties introduced were 'Thais'
(Nov. 24, 1907), 'Louise' (Jan. 3, 1908),
'Siberia' (Feb. 6, 1908) 'Pelleas et Melisande'
(Feb. 19, 1908), 'Le Jongleur de Notre-Dame'
(Nov. 27, 1908), 'La Princesse d'Auberge'
(Mar. 10, 1909), 'Herodiade' (Nov. 8, 1909),
'Sapho' (Nov. 17, 1909), 'Gris61idis' (Jan.
19, 1910) and 'Elektra' (Feb. 1, 1910), be-
sides several interesting revivals of works not
recently given.
In 1908 Hammerstein broadened his field
by erecting the fine Philadelphia Opera
House, but in 1910 he sold out to a syndicate
friendly to the Metropolitan interest, agreeing
not to undertake grand opera in New York
for ten years.
1 In 1893 Hammerstein used the same name for an-
other house, also on 34th Street and built for the same
purpose, which he sold precipitately after but a fort-
night's experiment.
The record of the Manhattan, as given by
Krehbiel {Chapters of Opera, pp. 426-7), is
as follows :
2 2
O '-t
Auber — ■ Fra Diavolo .... 4
Audran — ■ Mascotte 1
Bellini — Sonnambula .... 3 .3
Puritani 2 . 2
Berlioz — Damnation of Faust . . 3 . .
Bizet — Carmen 19 11 2 6
Blocks — ■ Princesse d'Auberge . . . 3 .
Charpentier — Louise 11 5 2
Debussy — Pelleas et M61isande ..743
Delibes — Lakm6 1
Donizetti — Elisir d'Amore . . 3 . . .
Lucia 6 8 7 7
Fille du Regiment .... 2
Flotow — Martha 4
Giordano — -Andrea Ch^nier ... 1 . .
Siberia 3
Gounod — Faust 7 4 .3
Lecocq — Fille de Mme. Angot .... 2
Leoncavallo — Pagliacoi ... 10 9 5 8
Maillart — Dragons des Villars . . . . 2
Mascagni — • Cavalleria .... 8 4 3 4
Massenet — H6rodiade 6
Thais 7 7 6
Navarraise .... 2 5 1 2
Sapho 3
Griselidis 4
Jongleur de Notre-Dame ..75
Meyerbeer — Huguenots ... 5 .2
Dinorah .... 1 1
Mozart — Don Giovanni ... 4 3
Offenbach — Contes d'Hoffmann . .11 7 8
Planquette — Cloches de Corneville ... 3
Ponchielli — Gioconda 4 .
Puccini — BohSme 4 .55
Tosca 5 3
Ricci brothers — Crispino e la
Comare 3 3
Rossini — Barbiere 2 .3
Saint-Saens — Samson et Dalila ... 6 2
Strauss — Salome 10 4
Elektra 7
Thomas — Mignon 3
Verdi — -Ernani 1 .4
Rigoletto 11 5 5
Trovatore 6 5 1 4
Traviata 3 5 5 2
Ballo in Maschera ... 2 4
Aida 12 9 2 3
Otello 6
Wagner — -Tannhiiuser 3
MANN, ELIAS (1750-1825). See Tune-
Books, 1778. I
MANNES, CLARA, nee Damrosch (b. 1869).
See Register, 7, and following article.
MANNES, DAVID (Feb. 16, 1866, New
York), after early education in the public
schools, studied violin with Carl Richter, John
Douglas and others, with summers in Europe,
in 1891 with De Ahna in Berlin, in 1892-3 with
Halir in Berlin and in 1903 with Ysaye in
Brussels. From 1891 he was a first violinist in
the Symphony Society and in 1898-1912 its
concertmaster. In 1904 he founded the Sym-
phony Club of New York, which he still con-
282
MANNEY
MARGULIES
ducts. From 1902 he was head of the violin-
department in the Music Settlement School and
its director in 1910-15. In 1912 he founded, on
similar lines, the Music School Settlement for
Colored People. Since 1916 he and his wife,
nee Clara Damrosch, have conducted the David
Mannes Music School. With her he has since
1900 given many striking sonata-recitals, not
only in New York, but in other large cities and
(in 1913) in London. In recent years he has
been director of the concerts at the Metropoli-
tan Museum of Art. [ R.7 ]
MANNEY, CHARLES FONTEYN (Feb. 8,
1872, Brooklyn), had his general education at
the Brooklyn Polytechnic Institute and studied
music in New York and Boston with W. A.
Fisher, Wallace Goodrich and Goetschius.
Since 1898 he has been associate-editor for the
Ditson Company in Boston and conductor of
the Footlight Orchestra. He has made a name
as composer of over 50 graceful and individual
songs (Ditson, Schirmer, Schmidt), the song-
cycle 'A Shropshire Lad' (Ditson), the cantatas
'The Manger-Throne' and 'The Resurrection'
(both Ditson), about 15 anthems, several carols,
secular chorus (Ditson), piano-pieces (Ditson),
etc. He has also edited Folk-Songs and Other
Songs for Children, and made translations from
French and German. [ R.8 ]
MANNING, EDWARD BETTS (b. 1874).
See Register, 8.
MANOLY, LUDWIG EMANUEL (b. 1855).
See Register, 6.
'MANRU'. An opera by Ignace Jan Pade-
rewski on a libretto made by Dr. Nossig from a
Polish romance. It was first produced at
Dresden in 1901 and repeated in other Euro-
pean cities. Its American premiere was on
Feb. 14, 1902, at the Metropolitan Opera House,
under the direction of Walter Damrosch, and
it was twice repeated.
MANSFIELD, BELLE A. See Colleges,
3 (DePauw U., Ind.).
MANSFIELD, DANIEL H. (1810- ? ).
See Tune-Books, 1849.
MANSFIELD, ORLANDO AUGUSTINE
(Nov. 28, 1863, Horningsham, England),
graduated from Trinity College in London in
1885 and from the London College of Music
in 1890. He was organist in Torquay at Holy
Trinity in 1885-95 and at Belgrave Church in
1900-12. In 1892-1912 he was examiner at
the London College of Music. Since 1912 he
has been in America, till 1918 at Wilson College,
Chambersburg, Pa., and in 1918-20 at Brenau
College, Gainesville, Ga. He is a fellow of the
R. C. O. and the A. G. O. and has given many
organ-recitals in England and America. He
has been twice made Mus.D. in Toronto, in
1890 by Trinity University, and in 1905 by
Toronto University. He has published about
400 compositions and arrangements (including
30 prize-works) for piano, organ, choir or chorua.
Among the latest are a set of Concert- Varia-
tions for organ and a part-song and anthems
for women's voices. Unpublished are two
cantatas, many organ-arrangements and a
text-book on the rudiments. He has edited
over 50 collections of piano- and church-music,
and compiled The Student's Harmony, 4 vols.,
1896 (10th edition, 1912). He has long been
an effective writer of magazine-articles — over
500 — for musical periodicals on both sides
of the ocean. [ R.IO ]
MANUSCRIPT MUSIC SOCIETY, THE,
of Philadelphia, was founded in 1892, W. W.
Gilchrist being president and P. H. Goepp
secretary. It has gathered into close fellow-
ship the composers of the city, has maintained
monthly meetings with performances of original
works, has arranged public concerts in conjunc-
tion with the Philadelphia Orchestra and the
principal choral societies, and from time to
time has stimulated composition by offering
prizes for choral and chamber-works. Nicholas
Douty is now president.
MANUSCRIPT SOCIETY, THE, of New
York. See Vol. iii. 372. This and the fore-
going are examples of a class of associations
existing in one form or another in several cities,
often effective in many ways. That in Chicago
was founded in 1896, F. G. Gleason being its
first president.
MAPLESON, JAMES HENRY (1829?-
1901). See Vol. iii. 44, and Register, 6.
MARCEL, LUCILLE (b. 1887 ?) . See Reg-
ister, 9.
MARCOSSON, SOL (b. 1869). See Regis-
ter, 7.
MARCOUX, VANNI (b. 1879). See Reg-
ister, 10.
MARETZEK, MAX (1821-1897). See Reg-
ister, 4.
MARGULIES, ADELE (Mar. 7, 1863,
Vienna, Austria), began piano-study at ten,
continued under Door and Gradener at the
Vienna Conservatory, taking first prize three
years in succession, and made her dfebut in
1879. In 1881 she came to New York, appear-
ing at once in recital and early in 1883 with
the Thomas Orchestra. Since then she has
played with the Boston Symphony Orchestra
and other orchestras and often in recital. In
1885 at a 'Novelty Concert' under Van der
Stucken she introduced the second and third
movements of MacDowell's 1st Concerto. In
1890-92 she formed the Margulies Trio with
Lichtenberg and Herbert, and in 1904 this
was revived in more permanent form with
Lichtenberg and Schulz (Schroeder after 1915).
This organization has introduced in America
many chamber-works by Korngold, Juon,
Reger, Georg Schumann and others, and is
counted one of the best. Since 1887 she has
MARINE BAND
MARTENS
283
also been chief piano-teacher at the National
Conservatory. [ R.7 ]
MARINE BAND, THE. The military
band belonging to the U. S. Marine Corps,
with headquarters at Washington and for
that reason more or less associated with the
National Government and traditionally re-
garded as its oflBcial musical organization.
The Marine Corps was established in 1798
and from the start had a fife-and-drum corps
of 32 players. In 1802 this was transformed
into a brass-band, which is known to have
ofl&ciated on occasion outside the regular mili-
tary routine, though the records were destroyed
in the War of 1812. Beginning with 1854 the
giving of open-air concerts at the Capitol or the
White House became an established custom,
and congressional action followed, increasing the
Band's compensation and finally, in 1861, desig-
nating it as the chief band in the service. Up
to this time the number of players had been 30.
In 1898 it was ofRcially increased to 60 (now
65) . The leader was then given the pay of first
lieutenant in the Corps, which in 1916 was
changed to that of captain. A full list of the
leaders is not available, especially as in earlier
years different members alternated in the duty.
In 1824-30 the leader was John Lewis Clubb,
in 1830 Entius Friquet, in 1830-41 Francis
Schenig, in 1841-42 Joseph Curveltier, in 1842-
43 and again in 1848-54 Antonio Pons, in 1843-
48 and again in 1854-71 Francis Scala, in 1871-
73 Henry Fries, in 1873-80 Louis Schneider,
in 1880-92 John Philip Sousa, in 1892-97 Fran-
cesco Fanciulli, and since 1898 William H.
Santelmann. For at least fifty years, probably
more, the Band has ranked as one of the best,
if not the best, in the country. It has regularly
officiated at functions of national importance
at Washington and occasionally has appeared
elsewhere, especially at the great Expositions,
and has made concert-tours.
MARKS, JAMES CHRISTOPHER, Jr.
(b. 1863). See Register, 9.
MARQUETTE UNIVERSITY, Milwaukee,
Wis. (Roman Catholic), since 1911 has main-
tained a Conservatory of Music as one of its
constituent schools. Its work is arranged under
four heads : Preparatory Department (for
children), Grade-school Course, in eight grades
(as in a public school), Academic Course,
usually requiring two years after completing
the Grade-School Course, leading either to a
Teacher's Certificate or to a Diploma, and
Collegiate Course of two years, leading to a
Mus.B. or to an Artist's Diploma. Unusually
full opportunities are provided for mastery
of band and orchestral instruments and for
operatic experience (two works given annually
in complete detail). The faculty numbers
about 35. Liborius Semmann has been its
only director.
MARSH, CHARLES HOWARD. SeeCoi/-
LEGES, 3 (U. of Redlands, Cal.).
MARSHALL, Mr. and Mrs. See Register,
2.
MARSHALL, CHARLES. See Colleges,
1 (U. of Notre Dame, Ind.).
MARSHALL, ELVIS COLLETT (b. 1865).
See Colleges, 3 (Southwestern C, Kan.).
MARSHALL, JOHN PATTON (Jan. 9,
1877, Rockport, Mass.), from 1895 studied
in Boston with Lang, Chadwick, MacDowell,
Norris and Goodrich. In 1896-1905 he was
organist at St. John's and since 1909 has been
at the First (Unitarian) Church. In 1902-12
he taught at the Middlesex School in Concord,
Mass., and since 1902 has been head of the
music-department in Boston University. Since
1909 he has also been organist of the Boston
Symphony Orchestra. In 1908-11 he lectiu-ed
at the Harvard Summer School and since 1911
has been on the staff of the Massachusetts
University Extension. He is also on the ad-
visory board of the Boston public schools.
He has published a Syllabus of the History of
Music, 1906, and a Syllabus of Music- Apprecia-
tion, 1911, and has written piano-pieces and
songs. During the war he was much engaged
in promoting music in training-camps. [ R.8 ]
MARSHALL, LEONARD. See Tune-
Books, 1849.
MARSTON, GEORGE W. (1840-1901).
See Register, 5.
X MARTEAU, HENRI (Mar. 31, 1874,
Rheims, France). See article in Vol. iii. 65.
His American tours were in 1892, '93, '94, '98
and 1906. In 1908 he resigned at the Geneva
Conservatory to succeed Joachim at the Berlin
Hochschule. As reserve-oSicer of the French
army he was interned at the outbreak of the
war. After his connection with the Hoch-
schule was terminated on Oct. 1, 1915, he was
allowed to leave the detention-camp, but com-
pelled to remain in Germany. After the war
he returned to Geneva. To the list of works
add a concerto for violin (in suite-form), op.
15 ; a concerto for 'cello, op. 7 ; string-quartets
in D-flat, op. 5, and D, op. 9 ; a string-trio in
F, op. 12 ; a quintet for clarinet and strings,
op. 13 ; 8 songs with string-quartet, op. 10 ;
and smaller instrumental pieces.
MARTENS, FREDERICK HERMAN
(July 6, 1874, New York), is a grandnephew
of Karl P. Gradener, the Hamburg composer.
He was trained under private tutors, especially
in history and languages, and studied theory
with Spicker, piano with H. C. Timm and Wil-
liam Barber in New York. Since 1907 he h^as
been constantly active in literary work, con-
tributing articles to leading musical journals,
including the London 'Musical Record,' writ-
ing texts for operettas and cantatas and verses
for songs, and translating texts in various Ian-
284
MARTIN
MASCAGNI
guages. He is librettist of Page's 'The Con-
test of the Nations' and 'Old Plantation-Days,'
Macfarlane's 'Little Almond- Eyes,' 'Swords
and Scissors' and 'America First,' Lester's
'The Frog- Prince,' 'Ballad of the Golden Sun,'
'Thyre the Fair,' etc., Dunn's 'The Phantom-
Drum,' Bornschein's 'Zorah,' 'Onowa' and
'The Maypole of Merrymount,' James' 'Spring
in Vienna,' etc. His verses have been set as
songs by Cadman, Spross, Kramer, Speaks,
Ornstein, Yamada and others. In 1914-17
he was one of the contributing editors of The
Art of Music. He has also published Leo Orn-
stein: the Man, his Ideas, his Work, 1917, and
Violin-Mastery, 1918. [ R.9 ]
MARTIN, AUBREY WILLIS (b. 1879).
See State Universities (Miami U., Ohio).
t MARTIN, GEORGE CLEMENT (Sept.
11, 1844, Lambourn, England : Feb. 2.3,
1916, London.) See article in Vol. iii. 65. He
remained organist at St. Paul's till his death.
A tablet commemorating his forty-two years'
distinguished service was unveiled in the crypt
on Oct. 31, 1917. In 1912 Oxford University
conferred an honorary Mus.D. upon him. A
full list of his works is given in ' The Musical
Times,' April, 1916. It includes 20 services
(complete or partial), 22 anthems (both services
and anthems often with orchestra), 21 hymn-
tunes, 5 carols, a collection of 84 tunes and
carols, some secular songs and part-songs,
editions of church-music by other composers,
and the manual The Art of Training Choir-
MARTIN, RICCARDO [Christian name
originally Hugh Whitfield] (Nov. 18, 1881,
HopkinsvUle, Ky.), encountered strong family
opposition to musical aspirations, but began
violin in Nashville, harmony with Irrgang in
Berlin and singing with Carelli in Naples, and
in 1896-1900 was under MacDowell in com-
position in New York. From this period date
several songs (Ditson, Schirmer, Hamelle),
men's choruses (Schirmer) and some choral and
orchestral works. In 1901 he was enabled by
H. H. Flagler to study for the opera-stage in
Paris under Sbriglia, M. and Mme. Escalais
and Jean de Reszke, developing into an effec-
tive tenor. His d6but as Faust was in 1904 at
Nantes (the manager then affixing a stage-name
that he has felt obliged to retain). He also
sang in Verona and Milan in 1905-06, and in
1906 appeared in New Orleans and toured with
the Henry Russell company. In 1907-15 he
was regularly engaged at the Metropolitan
Opera House, appearing first in 'Mefistofele'
and later creating (for that stage) the tenor roles
in 'La Wally,' 'The Pipe of Desire,' 'Mona'
and 'Cyrano de Bergerac,' and in Philadelphia
with the Chicago Opera Company in 'The
Cricket on the Hearth.' In 1910-11 he also
sang at Covent Garden in London, appearing
first in 'Madama Butterfly,' and in 1910 was
at the Teatro Arbeu in Mexico City. In 1916-
17 he toured with the Boston Grand Opera
Company. His favorite roles are Enzo (in
'La Gioconda'), Manrico, Rodolfo, Avito (in
' L'Amore dei Tre R6'), Cavaradossi and Pink-
erton. He was the first American to sing the
latter at the Metropolitan and at Covent Gar-
den. [ R.9 1
MARTINELLI, GIOVANNI (b. 1885).
See Register, 10.
MARTUCCI, PAOLO (b. 1885). See Reg-
ister, 10.
MARYOTT, HAROLD BURNHAM (b.
1878). See Register, 9.
MARZO, EDUARDO (Nov. 29, 1852, Na-
ples, Italy), came to America in 1867 as a
boy-pianist, having then studied with Nacci-
arone and Miceli, but went back for composi-
tion-lessons under Pappalardo. From 1869
he traveled widely as musical director for
troupes and accompanist for soloists, being
associated with Carlotta Patti, Mario, Miss
Cary, lima de Murska, Sauret, Tietjens, Sa-
rasate and many others. Since 1878 he has
worked in New York as vocal teacher, or-
ganist and composer. At present he is or-
ganist at the Church of the Holy Name and
teaches in colleges at Mount St. Vincent and
in New Rochelle. Since 1884 he has received
distinguished decorations, royal and ecclesias-
tical, from Italy. In 1896 he was a founder
of the A. G. O. His published works include
9 masses, 4 vespers, 40 songs and anthems
for the Roman Catholic service ; 3 Te Deums,
40 anthems and 35 solos for the Protestant
service ; a sacred cantata for chorus and or-
chestra ; 6 operettas and cantatas for women's
voices ; about 40 part-songs for women's voices
and about 40 secular songs. He has also edited
many masses and motets (Schirmer, Ditson),
several collections of Italian folk-songs, and
The Art of Vocalization, 24 vols. In manu-
script he has a setting of the Penitential Psalms,
an orchestral prelude, preludes and fugues for
string-quartet, etc. On Nov. 17, 1917, his
friends gave him a banquet at the Waldorf-
Astoria in celebration of his fiftieth year of
activity in America. [ R.5 ]
J MASCAGNI, PIETRO (Dec. 7, 1863,
Leghorn, Italy). See article in Vol. iii. 71-2.
In 1902 he made a brief and singularly ill-
advised visit to the United States, conducting
two or three of his works (including 'Iris') in
New York, Boston, etc. In 1911 he made a
trip to South America, which was more fortu-
nate. To the list of operas add ' Isabeau ' (1911,
Buenos Aires, 1917, Chicago), 'Parisina' (1913,
Milan), 'Lodoletta' (1917, Rome, 1918, New
York), and one or two lesser works. He has
written a ' Rapsodia Satanica '|to accompany a
cinema-film (1917, the Augusteo, Rome). See
MASON
MASON
285
biographies by Monaldi, 1899, Marvin, 1904,
Bastianelli, 1910, andPompei, 1912.
MASON, DANIEL GREGORY (1820-
1869). See Register, 4.
MASON, DANIEL GREGORY (Nov. 20,
1873, Brookline, Mass.), is a son of Henry
Mason (see below) and grandson of Lowell
Mason. He graduated from Harvard in 1895.
His teachers in music at various times were
Johns, Ethelbert Neviu, Paine, Arthur Whiting,
Chadwiek and Goetschius in Boston or New
York and d'Indy in Paris. Since about 1900
he has been increasingly prominent in New York
as a skillful teacher, lecturer, critic and author,
besides much notable composition. After lec-
turing at the Normal College in New York,
for the American University Extension Society
and at Teachers College, since 1910 he has been
on the staff of Columbia University as assistant-
or associate-professor. His activity as lecturer
has extended to many other institutions, like
the Brooklyn Academy of Arts and Sciences,
the Institute of Musical Art, the American
Institute of Applied Music, Smith College in
Massachusetts, etc. For the Board of Educa-
tion he has given over 250 popular lectures.
His compositions are as follows :
'Birthday Waltzes,' op. 1, for piano.
'Elegy,' op. 2, for piano (Metzler).
Romance and Impromptu, op. 3, for piano
(Church).
Four Songs, op. 4, for soprano, texts by Mary L.
Mason (Church).
Sonata in G minor, op. 5, for violin and piano
(Schirmer).
Variations on 'Yankee Doodle,' in the styles of
various composers (Breitkopf).
Quartet in A, op. 7, for piano and strings (Schirmer).
Pastorale, op. 8, for piano, violin and clarinet
(Mathot).
'Country-Pictures,' op. 9, for piano (Breitkopf).
Passacaglia and Fugue, op. 10, for organ (Gray).
Symphony in C minor, op. 11 (1916, Philadelphia
Orchestra).
Music for 'The Pageant of Cape Cod,' op. 12 (1914,
Bourne, Mass.).
Two Pieces for violin and piano, op. 13.
Sonata, op. 14, for clarinet and piano.
'Love-Songs,' op. 15, a cycle for soprano, texts
by Mary L. Mason (Schirmer).
Impromptu and Ballade, op. 16, for piano (Im-
promptu, Ditson).
Intermezzo, op. 17, for string-quartet (1918,
Flonzaley Quartet).
'Russians,' op. 18, song-cycle for baritone and
orchestra, texts by Witter Bynner.
Quartet on Negro themes, op. 19, for strings.
He has also been a prolific and forceful author,
his books including From Grieg to Brahms, 1902,
Beethoven and his Forerunners, 1904, The Ro-
mantic Composers, 1906, The Appreciation of
Music (with T. W. Surette) 1907, The Orches-
tral Instruments and What They Do, 1908, A
Guide to Music, 1909 (two editions), A Neg-
lected Sense in Piano-Playing, 1912, Great Mod-
ern Composers (with Mary L. Mason), 1916,
Short Studies of Great Masterpieces, 1918, and
Contemporary Composers, 1918. His most con-
spicuous editorial work was The Art of Music,
14 vols. 1914-17, of which he was editor-in-
chief. [ R.9 ]
MASON, EDITH BARNES (b. 1892). See
Register, 10.
MASON, EDWARD YOUNG (b. 1871).
See Colleges, 3 (Illinois Wesleyan U. and
Ohio Wesleyan U.).
MASON, HENRY (1831-1890). See Reg-
ister, 4.
MASON, HENRY LOWELL (b. 1864).
See Register, 7.
MASON, LOWELL (Jan. 8, 1792, Medfield,
Mass. : Aug. 11, 1872, Orange, N. J.). See
article in Vol. iii. 74. During his life in Sa-
vannah he was active first in the Independent
Presbyterian Church and in 1827 a founder of
the First Presbyterian Church.' In 1818 he
and F. L. Abel, who taught him harmony, be-
gan making a collection of choral music, which
he took to Boston in search of a publisher.
It was partly due to the interest of G. K. Jack-
son that the work was finally taken up by the
Handel and Haydn Society. Their failure to
give Mason credit as compiler is surprising.
The net proceeds of the venture were about
$12,000 for the Society and the same for Mason
— a fortunate wind-fall for both parties. The
book's prestige and the fame of his choir in
Savannah led to his being called in 1827 to be
choir-master for three Boston churches. Of
these the chief was that in Bowdoin Street,
where Dr. Lyman Beecher was pastor, and here
Mason soon concentrated his efforts as organist.
In 1827-32 he was president and conductor
of the Handel and Haydn Society, which he
brought to a new standard of efficiency, though
without undertaking any new work of signal
importance.
His interest in Pestalozzi was aroused by
books brought in 1829 from Europe by W. C.
Woodbridge, who joined him in the effort to
prove by classes the value of the system for the
public schools. The Academy of Music, or-
ganized in 1833 (under the chairmanship of
Samuel Eliot, mayor of the city, father of
President Eliot of Harvard) , was an immediate
success (1500 pupils the first year), so that G.
J. Webb was soon called in as assistant. The
issue of Mason's Manual for Instruction, 1834,
with its emphasis upon 'the thing before the
sign,' led at once to the formation of normal
classes and these, under the leadership of Ma-
son and Webb, in turn started the movement
for musical 'conventions' which soon spread
beyond New England into New York, Ohio
1 At that time the distinction between ' Congrega-
tional ' and ' Presbyterian ' in the naming of churches
was only just estabhshing itself. The Independent
Church was originally the former rather than the
latter.
286
MASON
MASON
and further west. It was not till 1837 that
the authorities yielded to the pressure to in-
troduce music into. the public schools, and even
then made no appropriation for it, so that the
first year Mason not only served without salary,
but supplied all books and materials. He
remained in charge till 1841, being succeeded
by B. F. Baker. During his trip abroad in
1837 he heard the first English performance
of Mendelssohn's 'St. Paul' at Birmingham,
a rendering of ' Fidelio ' in English (with Schroe-
der-Devrient) and innumerable concerts. At
Zurich he visited Pestaiozzi, Nageli and others.
On his second European trip, in 1853-54, he
remained about eighteen months. He was
now recognized as an authority and lectured
frequently on congregational singing and music-
education. His Letters, 1853, belong to this
trip. See also Academy of Music (Boston),
Conventions, and Public Schools.
After 1854 he lived at Orange, N. J., where
his third son, William Mason, was then teach-
ing. He had accumulated a considerable li-
brary, increased in 1852 by the purchase of the
collection of the famous organist Rinck. After
his death the library was given by the family
to Yale University. His degree of Mus.D.
was not absolutely the first in America (see
Degrees), but certainly the first of distinction.
His remarkable power as leader and organizer
was due to a variety of characteristics. He
had keenness of intellect, patience of investi-
gation and ability to marshal and impart in-
formation. His enthusiasm was ardent in
everything pertaining to the application of
music as an art to popular education and to the
exercises of social religion. He was eminently
magnetic as a leader or teacher of classes and
choirs, but strict in discipline and always serious
in purpose. His instinct was that of a true
educator, whose object lies outside himself,
rather than of the self-conscious artist. He
deliberately confined himself to those forms
of effort that he believed most important and
promising for the conditions of the period.
Even so, he was somewhat ahead of the age.
Yet so pervasive was his influence that he lived
to the verge of a new period, when much that
he did was lightly esteemed because rudimen-
tary. See the more or less senseless treatment
of the subject in Ritter, Music in America.
There is no adequate biography as yet, but
one is being completed by his grandson, Henry
L. Mason, of Boston, who has kindly supplied
many details for this notice.
He was a fertile composer of hymn-tunes
and arranged many from various sources.
Those that continued popular longest are
usually known by the following names :
Anvern'
'Boylston'
'Dorf
Azmon'
'Cowper'
' Downs
Bethany'
'Dan vers'
'Ernan'
Fountain '
' Malvern '
'Sabbath*
Haddam '
'Meribah'
'To-Day'
Hamburg '
'Migdol'
'Uxbridge'
Harwell '
' Missionary
'Ward'
Hebron'
Hymn'
'Watchman
Henley '
'Naomi'
'Wesley'
Hermon '
'Olivet'
'Work-Song
Inverness'
'Olmutz'
' Zebulon '
Laban '
'Olney'
'Zerah'
Litchfield'
' Rockingham '
It is not always realized that the technical
form of these, especially in their original rhyth-
mic disposition, presents some historic in-
terest apart from their deliberate simplicity.
For titles of his books in this field see Tune-
Books and Hymn-Books.
He was the pioneer in song-books for juvenile
use, both sacred and secular, including many
devised specially for public schools. The full
list of these should be on record :
The Juvenile Psalmist, 1829 — believed by him
the first book with music for Sunday-Schools, The
Juvenile Lyre, 1830 — the first American school
song-book. The Juvenile Singing-School, 1835, Sabbath-
School Songs, 1836, The Sabbath-School Harp, 1837, The
Juvenile Songster, 1837 (London), Juvenile Music
for Su7ulat/-Schools, 1839, The Boston School Song-
Book, 1840, Little So7igs for Little Singers, 1840, The
American Sabbath-School Singing-Book, 1843, Song-
Book of the School-Room, 1845, The Primary School
Song-Book, 1846, The Normal Singer, 1856, The
Song-Garden, 3 parts, 1864-65 — with the Manual
for Instruction of the Boston Academy in the Elements
of Vocal Music, 1834.
To these may be added the part-song collections,
The Odeon, 1837, The Boston Glee-Book, 1838, The
Lyrist, 1838, The Gentlemen's Glee-Book, 1841, 21
Madrigals, Glees and Parl-Songs, 1843, The Vocalist,
1844, The Glee-Hive, 1851. At one point material
was incorporated in the periodical ' The Musical
Library,' 1834-35 (with Webb). [ R.3 ]
MASON, LOWELL, Jr. (1823-1885). See
Register, 4.
MASON, LUTHER WHITING (Apr. 3,
1828, Turner, Me. : July 14, 1896, Buck-
field, Me.) , was not related to the Lowell Mason
family. Though mainly self-taught in music,
he got his school-education by teaching it. He
was all his life engaged in public-school music,
from 1853 in Louisville, then in Cincinnati,
where he first perfected his system, from 1864
in Boston, at first devoting himself to supplying
the lack of instruction in the primary grades,
in 1879-82 in Japan as governmental super-
visor,i and then in Boston again. With Oeorge
A. Veazie, Jr., he published a series of manuals
as The National Music-Course, making a trip
to Germany in connection with it and securing
such approval from the Leipzig Conservatory
that a German translation was issued. [ R.4 ]
MASON, TIMOTHY B. See Tune-Books,
1834.
' It is said that his system was speedily introduced
into 30,000 Japanese schools. This unfamiliar style
ot music led to the term ' Mason-song ' for Western
music generally.
DR. WILLL^M MASON
MASON
MATHEWS
287
MASON, WILLIAM (Jan. 24, 1829, Bos-
ton : July 14, 1908, New York). See article
in VoL iii. 74. His early studies were with
Henry Schmidt in Boston. By 1846 he played
at Harvard Musical Association concerts in
piano-trios by Beethoven, Reissiger and May-
seder. After being at Leipzig he spent a year
with Dreyschock at Prague. In 1853 he played
Weber's ' Concertstiick ' in London with the
Harmonic Union under Benedict. In 1854-55
he toured the United States as pianist and then
settled in New York. His desire to introduce
Brahms' Trio, op. 8, led to the Mason-Thomas
Soir6es. His piano-works numbered about 40,
including 'Amitie poiu: Moi,' op. 4, 'Silver
Spring,' op. 6, Ballade in B, op. 12, 'Monody,'
op. 13, the mazurka-caprice 'Spring-Dawn,'
op. 20, 'Reverie PoStique,' op. 24, Berceuse,
op. 34, Serenata, op. 39, Scherzo, op. 41, and
'Capriccio Fantastico,' op. 50. He published
(with E. S. Hadley) a Method for the Piano,
1867, a System for Beginners, 1871, Pianoforte-
Technics, 1878, and, most important of all.
Touch and Technic, op. 44. For many years
he was coimted the foremost teacher in the
country. [ R.4 ]
MASON & HAMLIN COMPANY, THE,
of Boston, was founded in 1854 by Henry
Mason (son of Lowell Mason) and Emmons
Hamlin, the latter having been in the employ of
Prince & Co. of Buffalo. The business at first
was the making of the form of reed-organ
known as the melodeon, and the output began
with about 450 instruments a year. But
Hamlin brought with him his method of im-
proving tone by twisting the reeds, and other
improvements were rapidly made, so that the
capacity of the factory was greatly increased
and the quality improved. In 1861 what was
called the 'cabinet organ' was first put on the
market, often with several sets of reeds or
'stops.' This has been developed to a high
pitch of perfection and has received niunerous
awards for excellence. In 1882 the Company
began also to make pianos and since 1900 have
introduced notable features, especially in the
method of stringing and tuning. In 1869
Lowell Mason, Jr., became president, con-
tinuing till his death in 1885. The present
president is Henry Lowell Mason, son of the
founder.
MASON BROTHERS", of Boston, was a
publishing firm formed in 1855 by Daniel Greg-
ory Mason and Lowell Mason, Jr. (sons of
LoweU Mason), largely to take over the issue
of their father's books. They continued until
1869, when D. G. Mason died and Lowell
Mason joined his brother Henry in the Mason
& Hamlin Co.
MASON-THOMAS SOIREES, THE, in
New York, were chamber-music recitals begun
in 1855 and continued till 1868. The original
players were William Mason, piano, Theodore
Thomas, first violin, Joseph Mosenthal, second
violin, George Matzka, viola, and Carl Berg-
mann, 'cello. The latter was succeeded after
a year by Brannes and he in turn by Frederic
Bergner. Otherwise the quintet remained in-
tact. These recitals were notable for the num-
ber of chamber-works introduced to America,
as well as for the high standard of interpreta-
tion and performance.
tMASSENET, JULES £;MILE FR]6D:fiRIC
(May 12, 1842, Montaud, France : Aug.
13, 1912, Paris). See article in Vol. iii. 87-8.
' Ariane ' was produced in 1906 (Paris) , ' Ther^se
in 1907 (Monte Carlo), 'Bacchus' in 1909
(Paris), 'DonQuichotte' in 1910 (Monte Carlo),
'Roma' in 1912 (Monte Carlo), ' Panurge' in
1913 (Paris) and 'ClSopatre' in 1914 (Monte
Carlo), the last two posthumously. Still an-
other work, 'Amadis,' remains unperformed.
His Souvenirs d'un Musicien, 1912, were com-
pleted by Leroux. For bibliography see Baker,
Diet, of Musicians, p. 588.
MATHEWS, WILLIAM SMITH BAB-
COCK (May 8, 1837, New London, N. H. :
Apr. 1, 1912, Denver, Colo.), began music-
study at ten, was organist at thirteen and
teacher at Appleton Academy, Mt. Vernon,
N. H., at fifteen. After study at Lowell and
Boston, in 1860-63 he taught at the Wesleyan
Female College in Macon, Ga., and then at
Greensboro, S. C, Marion, Ala., Aurora, 111.,
finally locating in Chicago in 1867. Here until
1893 he was organist at the Centenary (M. E.)
Church, then and later a very active teacher
and writer, and was influential in advancing
musical standards in the Middle West. In 1910
he moved to Denver, hoping to profit by the
change of climate, and spent his last years in
literary and editorial work. He contributed to
'Dwight's Journal of Music' in 1866-72, edited
'The Musical Independent' in 1868-72 and in
1878-86 was music-critic for the Chicago
'Herald.' 'Record' and 'Tribune' successively.
He established the monthly magazine ' Music '
in 1891 and continued editor until 1902, when
it was merged with 'The Philharmonic' and
passed out of his hands. His books were Out-
lines of Music-Form, 1867, The Emerson Organ-
Method, 1870 (with L. O. Emerson), How to
Understand Music, 2 vols., 1880, 1888, One
Hundred Years of Music in America, 1889,
Primer of Musical Forms, 1890, Popular
History of Music, 1891, Dictionary of Musical
Terms, 1896 (with Emil Liebling), Music, its
Ideals and Methods, 1897, The Masters and their
Music, 1898, and The Great in Music, 3 vols.,
1900-03. He collaborated with William
Mason in his Touch and Technic and Funda-
mental Piano-Technics. He edited collections
of Schumann, Chopin, etc., and was concerned
with many pedagogical publications, the last
288
MATHUSHEK
McCORMACK
of which was The Progressive Scries. His mind
was ready and fertile, acute and often fresh in
point of view, but much of his literary work
was over-hasty. [ R.5 ]
MATHUSHEK, FREDERICK (1814-
1891). See Register, 4.
MATLACK, HENRY WILLIAM (b. 1875).
See Register, 8.
MATSON, CLYDE E. See Colleges, 3
(Sterling C, Kan.).
MATTFELD, MARIE. See Register, 8.
MATTHEWS, HARRY ALEXANDER
(Mar. 26, 1879, Cheltenham, England), was
trained by his father (see next article) and
came to Philadelphia in 1899. He has been
organist at the Second Presbyterian, St. Luke's
and Epiphany Churches. His works number
about 200, including the cantatas 'Life Ever-
lasting,' ' The Conversion,' ' The Story of Christ-
mas,' 'The Triumph of the Cross,' 'The City
of God' (1917, Luther Quadricentennial), 'The
Slave's Dream,' 'The Lake of the Dismal
Swamp' and 'The Song of the Silent Land,'
and many popular anthems, songs, duets,
piano- and organ-pieces. [ R.8 ]
MATTHEWS, JOHN SEBASTIAN (Dec.
11, 1870, Cheltenham, England), was the son
of John Alexander Matthews, for over 45
years conductor of the Cheltenham Festivals.
Like his brother (see above), he was first
trained by his father and also by G. B. Arnold
at Winchester, assisting the latter as organist
at the Cathedral for three years. He has been
organist in America since 1891 — at St. Mar-
tin's in the Fields in Philadelphia, at St.
Mary's in Burlington, N. J., at St. Stephen's
in Boston, from 1901 at St. Peter's in Morris-
town, N. J., and since 1916 at Grace Church
in Providence. He has written the cantatas
'The Paschal Victor' (1913), 'The Eve of
Grace' (1914) and 'The Way of Life' (1919),
many effective anthems, like 'There's a Wide-
ness in God's Mercy,' 'Shepherd, with Thy
Tenderest Love,' 'I Sought the Lord,' 'When
wilt Thou save the people' and 'The Twilight-
Carol,' about 20 Christmas-carols, songs, part-
songs and organ-pieces. He has also in manu-
script the comic opera ' Narragansett Pier.'
[ R.8 ]
MATTIOLI, LINO (b. 1853). See Regis-
ter, 7.
MATZENAUER, MARG ARETE (b. 1881).
See Register, 10.
MATZKA, GEORGE (1825- ? ). See
Register, 4.
MAUBOURG [-GOFFAUX] JEANNE
(b. 1875). See Register, 9.
MAUREL, VICTOR (b. 1848). See Regis-
ter, 6.
MAXIM, ABRAHAM (1773-1829). See
Tune-Books, 1808.
MAXSON, FREDERICK (June 13, 1862,
Beverly, N. J.), was first a pupil of D. D.
Wood, the blind organist in Philadelphia, and
later of Guilmant. From 1884 he was organist
at the Central Congregational Church in
Philadelphia and since 1902 at the First Bap-
tist Church. Besides being a successful organ-
teacher, privately and at the Leefson-Hille
Conservatory, he has been much in request as
recitalist in Philadelphia and throughout the
East. He is an associate of the R. C. O., fel-
low of the A. G. O., and head of the examiners
of the American Organ-Players' Club. His
works include organ-pieces like the Romance
in C (Gray), Festive March in E-flat (Gray),
Madrigal in G and 'A Spring-Time Fantasy'
(White-Smith), Grand Chorus in D (Weekes)
and Finale in B-flat (Church), various piano-
pieces (Presser, Schirmer, North, White-Smith) ,
a choral service, anthems and sacred solos
(Boner, Ditson, Gray, White-Smith). He has
also unpublished a 'Liberty Fantasia' and a
Festive March for organ. [ R.7 ]
MAXWELL, LEON RYDER (Sept. 15,
1883, Medford, Mass.), graduated at Tufts
College in 1904, studying music there and in
Boston. In 1905-08 he was music-supervisor
in various towns near Boston, and then went
to study composition with Beer-Walbrunn
and voice with Hess in Munich, continuing
the latter with Braggiotti in Florence and
Dubulle in Paris. Since 1909 he has taught in
Newcomb College in New Orleans, becoming
head of its music-school in 1910. He has given
many song-recitals as baritone, lectured more
or less, written magazine-articles and prepared
the program-notes for the New Orleans Phil-
harmonic Society and Symphony Orchestra.
Since 1912 he has conducted the University
Chorus, in 1913-15 was president of the Louisi-
ana Music Teachers' Association, in 1917-19
was vice-president of the M. T. N. A., etc. His
compositions for voice, piano and organ, and for
string-quartet and orchestra, are as yet unpub-
lished. He was co-editor with Leo R. Lewis
of The Assembly Praise Book, 1910. [ R.9 ]
MAY, HIRAM. See Tune-Books, 1840.
MAYLATH, HEINRICH (1827-1883).
See Register, 5.
McCLELLAN, JOHN JASPER (b. 1874).
See Register, 8.
McCONATHY, OSBOURNE (b. 1875).
See Register, 8.
McCORMACK, JOHN (June 14, 1884,
Athlone, Ireland). See article in Vol. v. 652.
His American debut was at the Manhattan
Opera House in New York, on Nov. 10, 1909,
in 'La Traviata. ' In 1910-11 he sang with
the Boston Opera Company and in 1912-13
with the Chicago Opera Company. Since
then he has devoted himself mainly to concert-
work, in which he has had phenomenal success.
His operatic repertoire includes the tenor roles
McCOY
McWHOOD
289
in 'Madama Butterfly,' 'La Boh^me,' 'Faust,'
'Cavalleria Rusticana,' 'Don Giovanni,' 'La
Traviata,' 'Rigoletto,' 'Lakm6,' 'La Fille du
R6giment ' and ' Tosca. ' He became an Amer-
ican citizen in 1917. Holy Cross College
made him Litt.D. in 1917. [ R.9 ]
McCOY, WILLIAM J. (Mar. 15, 1S48,
Crestline, O.), was a pupil of William Mason,
Reinecke and Hauptmann. For years he has
been identified with the musical life of San
Francisco. For the Bohemian Club there he
has written the music for the ' Grove- Plays '
'The Hamadryads' (1904) and 'The Cave-
Man' (1910), besides the unpublished opera
'Egypt' (1914). From the first of these the
Prelude, Dance and 'The Naiads' Idyl' have
often been given separately by various orches-
tras, and from the second 'The Song of the
Flint' and 'The Dance of the Fireflies' are
issued in piano-arrangement (Sherman, Clay
& Co.). He has published many orchestral
pieces and the overture 'Yosemite' (Bellman
& Thiimer), and has also a Symphony in F
(1872, Leipzig). Among his chamber-works
are an uncompleted violin-concerto, an Intro-
duction and Valse Concertante for flute and
orchestra, a sonata for violin and piano, and a
Romance for saxophone and piano (Carl
Fischer) . He has a Mass in D minor for chorus
and orchestra, an Ave Verum for men's chorus,
Bolo and organ, 'Kol Nidrei' for cantor, con-
tralto, chorus, orchestra and organ, and con-
siderable other church-music. His published
songs are also numerous (Ditson, Schirmer,
Schuberth, Church, etc.). He is the author of
Cumulative Harmony. [ R.6 ]
McCUTCHAN, ROBERT GUY (Sept. 13,
1877, Mountayr, la.), graduated from Park
College in 1898 and took a Mus.B. at Simpson
College in 1904. In 1899-1901 he was teach-
ing and concertizing, and in 1904 organized
the music-department of Baker University in
Kansas, remaining till 1910. After a year of
study in France and Germany (while in Berlin
directing the choir of the American Church),
in 1911 he became dean of the School of Mu-
sic at DePauw University in Greencastle, Ind.
Since 1916 he has been president of the Indiana
Music Teachers' Association and in 1920 be-
came secretary of the M. T. N. A. Since 1917,
under the State Council for Defense, he has
been active in promoting community-singing
(in the simamer of 1918 he made about 165
speeches), with encouraging results. In view
of this work and his interest in music in col-
leges he is preparing a work on Music as a
Social Force. [ R.8 ]
t M'EWEN, JOHN BLACKWOOD (Apr. 13,
1868, Hawick, Scotland). See article in Vol. iii.
6-7. His works to 1919 include the following :
Symphony in F minor.
Symphony in A minor,
'Solway' Symphony in C-sharp minor.
'Three Border-Ballada' — 'Coronach,' 'The De-
mon Lover,' 'Grey Galloway' — for orchestra
(Anglo-French Music Co.).
Two Overturea — 'Comedy,' 'Tragedy.'
Suite in E for orchestra.
Ballet-Suite for orchestra.
Highland Dances for string-orchestra.
Concerto for viola and orchestra.
String-quartets — No. 1, in G, No. 2, in C minor.
No. 3, in G minor, No. 4, in A, No. 5, in F minor,
No. 6, in F, No. 7, in E-flat, No. 8, in A minor
(Novello), No. 11, in C minor (Ricordi), No.
13, 'Biscay,' in A (Anglo-French Co.), No. 14
'Threnody,' in E-flat (Anglo-French Co.).
Two Studies for string-quartet.
'Nugse,' seven Bagatelles for string-quartet
(Hawkes).
Phantasie-Quintet in E minor, for two violins,
viola and two 'cellos.
Sonatas for violin and piano — No. 1, in E-flat,
No. 2, in F minor (Anglo-French Co.), No. 3,
in G, No. 4, in A (Anglo-French Co.).
Six Highland Dances for violin and piano (Novello) .
Sonata in E minor, for piano (Novello).
Four Sketches for piano (Ricordi).
Suite, 'Vignettes from La Cote d'Argent,' for
piano (Anglo-French Co.).
Sonatina in G, for piano (Anglo-French Co.).
' A Scene from Hellas,' for soprano and women's
chorus.
' The Last Chantey,' for chorus.
' Hymn on the Nativity,' for soprano and chorus.
Opera Comique, 'The Royal Rebel.'
Recitation-music for the melodrama ' The Game-
keeper.'
Accompaniment for ' Graih my Mree', for string-
quartet, piano and drums.
Music for ' Romney's Remorse.'
Various songs and part-songs (Novello, Augener,
Stainer, Anglo-French Co.).
His published books are A Text-Book of Har-
mony and Counterpoint, The Elements of Music,
A Primer of Harmony, Exercises on Phrasing
in Pianoforte-Playing, The Thought in Music
(an enquiry into the principles of musical
rhythm, phrasing and expression). The Prin-
ciples of Phrasing and Articulation in Music
and The Foundations of Musical Esthetics.
McGILL UNIVERSITY, Montreal, has
maintained since 1904 a Conservatorium of
Music which in 1908 was fully incorporated
into the University system under Harry C.
Perrin as director and first University professor.
The teaching-staff numbers about 25. Local
examinations for certificates are held in about
fifty places in the Dominion.
Mcknight, george morgan (b.
1866). See Colleges, 2 (Elmira C, N. Y.).
McPHAIL, A. M. (d. 1902). See Register, 3.
McPHEETERS, CLAUDIA. See Col-
leges, 2 (Milwaukee-Downer C, Wis.).
McWHOOD, LEONARD BEECHER (Dec.
5, 1870, Brooklyn), had his early education
in Newark, graduated from Columbia Uni-
versity in 1893 and continued till 1898 as
graduate-student and fellow in psychology,
studying under MacDowell. From 1897 he
assisted the latter and in 1904-10 was adjunct-
290
MEAD
MENDELSSOHN CHOIR
professor. He also taught in 1902-07 at
Vassar College, in 1907-16 at Drew Theological
Seminary in Madison, N. J., in 1910-13 at the
National Park Seminary in Washington, in
1913-18 at the Newark High School, and since
1918 has been professor at Dartmouth College.
He has been active in furthering music as a
collegiate study, and has lectured and written
often on the subject. He has conducted
choruses, orchestras and operatic performances.
His works include three cantatas (one with
orchestra), a light opera, many songs and in-
strumental pieces. [ R.8 ]
MEAD, OLIVE (Nov. 22, 1874, Cambridge,
Mass.), began violin-study at seven, her teach-
ers being Eichberg and Kneisel. She ap-
peared as soloist in 1898 with the Boston Sym-
phony Orchestra, and has since played with
all the leading orchestras. In 1904 she organ-
ized the Olive Mead Quartet, including Eliza-
beth Houghton, Gladys North and Lillian Lit-
tlehales — this personnel continuing except that
Vera Fonaroff has taken Miss Houghton's place.
The Quartet has had great success throughout
the East, and Miss Mead is also popular as
a soloist. [ R.8 ]
MEES, ARTHUR (Feb. 13, 1850, Colum-
bus) , when but a lad was organist in his father's
church and, after taking up instrumental study,
began anthem-writing. In 1870 he graduated
from Concordia College in Indiana and went to
Cincinnati as teacher of piano and theory in
the Wesleyan Female College, organist in a
succession of churches and conductor of singing-
societies. In 1873 Thomas was impressed with
his work as accompanist at choral rehearsals,
so that he was made organist at the first May
Festival. In 1873-76 he was in Berlin, on
Rubinstein's advice taking piano with Kullak,
theory with Weitzmann and score-reading and
conducting with Dorn. On his return to Cin-
cinnati in 1880 he was trainer of the Festival
Chorus, teacher of harmony at the new Col-
lege of Music and organist for the Festivals.
In 1886 he went to New York as assistant-con-
ductor under Thomas of the National Opera
Company. When this disbanded he directed
the Orpheus Club in New York, the Albany
Festivals and other choral organizations. In
1896-98 he moved to Chicago to assist in the
direction of the Thomas Orchestra there and
the chorus associated with it. Returning to
New York, he then added the conducting of
the Mendelssohn Glee Club (1898-1904), the
Worcester Festivals, the Cecilia Society of
Boston, the Bridgeport Oratorio Society
and (from 1900) was associated with Paine
in the Norfolk Festivals, in 1916 becoming his
successor. During this extremely varied and
significant career he has directed many first
performances for America, as of Bantock's
'Omar Khayydm,' Piern6's 'St. Francis,'
Grainger's 'Marching-Song of Democracy,'
Parker's 'The Dream of Mary,' Chadwick's
'Land of our Hearts,' Coleridge-Taylor's post-
humous 'Orchestral Rhapsody,' Reger's 'The
Nuns' (Worcester), Stanford's Piano-Concerto
and Grainger's Suite 'In a Nutshell' (Nor-
folk) . He has published Daily Studies for the
Piano, Choirs and Choral Music, 1901, and
edited important program-books for the New
York Philharmonic Society (1887-96), the
Chicago Symphony Orchestra (1896-98) and
the Worcester Festivals. In 1901 Alfred Uni-
versity made him Mus.D. [ R.6 ]
MEGERLIN, ALFRED (b. 1880). See
Register, 10.
\ MELBA, Mme. (May 19, 1861, near Mel-
bourne, Australia). See article in Vol. iii.
104-5. In 1897-98 she was with the Dam-
rosch Opera Company, in 1907 sang a few times
at the Manhattan Opera House, in 1910 at the
Metropolitan Opera House and in 1917 with
the Chicago Opera Company. Since 1918 she
has taught in Melbourne. See biography by
Murphy, 1909.
MELIS, CARMEN (b. 1885). See Regis-
ter, 9.
'MELODEON.' The name usually used
at first for the American form of reed-
organ.
MELTZER, CHARLES HENRY (1852,
London, England), was musically trained in
London and Paris, and became foreign corre-
spondent for the Chicago 'Tribune' and the
New York 'Herald.' He came to New York
in 1888 and was dramatic critic for the ' Herald,'
'World,' 'American,' and 'Cosmopolitan Maga-
zine.' In 1903-07 he was assistant to Grau
and Conried at the Metropolitan Opera House.
Besides many plays which have been successful
on the stage, he has written several opera-
librettos, such as 'The Garden of Allah,' 'The
Sunken Bell' and 'Cophetua,' and prepared
many singing-versions from the French, Ger-
man and Italian, as of Monteverde's 'Orfeo,'
' Les Contes d'Hoffmann,' ' Les Dragons de Vil-
lars,' 'Die Walkure,' 'Das Rheingold' and 'Die
Konigskinder.' He has been a strong advo-
cate of opera in English, of a National Con-
servatory and of a National Opera House.
I R.7 1
MENDELSSOHN CHOIR, THE, of To-
ronto, was founded in 1894 by Augustus S.
Vogt, who developed it to an extraordinary
pitch of proficiency and remained conductor
till 1917. He was succeeded by Herbert A.
Fricker. Its singers are chosen by rigid tests
year after year and its rehearsals carried out
with the precision of an orchestra, and the re-
sult is a perfection of tone-quality, of accuracy,
of elasticity, shading and artistic expressive-
ness unsurpassed in America — perhaps any-
where. In Toronto the Choir gives usually an
MENDELSSOHN CLUB
MERZ
291
annual festival of five performances, and it has
repeatedly made tours in the United States,
notably in 1912. Its repertoire includes al-
most everything of importance in choral music
— a cappella or with orchestra.
MENDELSSOHN CLUB, THE CHICAGO,
was organized in 1894 with Frederick W. Root
as first conductor. Since 1895 its director has
been Harrison M. Wild. The usual number
of singers is about 70. Three regular concerts
are given annually and three for charitable
objects, making a total since organization of
over 150. The repertory includes more than
500 works, with emphasis upon the finest part-
songs, but including some works with orchestra,
like Mendelssohn's music for 'Antigone,' Da-
vid's 'Le D6sert,' Reinecke's Festival Over-
ture, op. 218, Wagner's 'Das Liebesmahl,'
Brahms' Rhapsodic, Bruch's 'Frithjof,' Buck's
'Voyage of Columbus,' Zollner's 'Young Sieg-
fried ' and Harling's ' Before the Dawn.' Many
shorter works have been written especially
for the Club. Some of the larger American
compositions are Buck's 'Paul Revere's Ride'
and 'Chorus of Spirits and Hours,' Foote's
'Farewell of Hiawatha,' Parker's Ode for
Commencement-Day, 'The Leap of Roushan
Beg' and 'Spirit of Beauty,' Cadman's 'The
Vision of Sir Launfal,' and Harling's 'The Two
Angels' and 'Death of Minnehaha.'
MENDELSSOHN CLUB, THE, of Phila-
delphia, was formed in 1874 by William W.
Gilchrist out of his choir at St. Clement's and
properly organized in 1876 as a glee-club of 16
voices. In 1879 the chorus was made mixed
and the size increased to 30 singers. At times
the membership has been as high as 150, and
at present is about 100. Gilchrist continued
as conductor till 1915, when ill-health forced
a leave of absence. After his death at the
end of 1916 N. Lindsay Norden became con-
ductor. For a few years from 1889 the Club
maintained its own orchestra, and it has re-
peatedly sung with the Philadelphia Symphony
Orchestra. Thus in 1904, '07 and '14 it assisted
in giving Beethoven's 9th Symphony and in
1916 in several performances of Mahler's 8th
Symphony. In 1909, with other clubs, it
celebrated the Mendelssohn Centenary. One
of its most striking concerts was the giving
of Henschel's Requiem in 1906. Mr. Norden
has introduced many a cappella Russian works,
hitherto unknown outside of Russia.
MENDELSSOHN GLEE CLUB, THE, of
New York. See article in Vol. iii. 370. Frank
Damrosch continued as conductor till 1909,
being succeeded in 1909-13 by Clarence Dick-
inson, in 1913-19 by Louis Koemmenich and
since 1919 by Nelson P. Coffin.
MENDELSSOHN QUINTETTE CLUB,
THE, of Boston, was the first artistic chamber-
music group in America. It was organized in
1849, with August Fries as leader, Gerloff
(second violin), Thomas Ryan (viola or clari-
net), Edward Lehmann (flute or viola) and
Wulf Fries ('cello). Francis Riha soon re-
placed Gerloff. In 1858-77 William Schultze
was leader, with Carl Meisel as second and
Edward M. Heindl as flute. Ryan and Wulf
Fries continued in the Club till its dissolution
about 1895. The organization became well
known throughout the country and for nearly
fifty years exerted an invaluable influence, pre-
paring the way for several later groups.
MENDELSSOHN SOCIETY, THE, of
Chicago, was an early choral society, main-
tained in 1858-65 under the leadership of
Adolph W. Dohn.
MENEELY, ANDREW (1801-1851). See
Register, 3.
MENEELY & CO., of West Troy (now
Watervliet), N. Y., for nearly a century have
conducted a bell-founding business of national
importance. The business was started in 1826
by Andrew Meneely, who in 1851 was suc-
ceeded by his sons Edwin A. Meneely (1829-
1887) and George R. Meneely (1831-1915).
In 1874 the present firm-name was adopted
and in 1880 the present president, Andrew H.
Meneely (b. 1853), came in. This famous
factory has supplied a large number of the
finest chimes in the country, as well as sets
of bells for organs. They, with other manu-
facturers who have followed them, have in-
troduced refinements and additions to Euro-
pean practice that have made American bells
artistically notable.
MERRILL, ABRAHAM DOW (1796-
1878). See Tune-Books, 1834.
MERRILL, WINFRED B. See State
Universities (Ind.).
MERRY, HERBERT ORAL. See Col-
leges, 3 (Lincoln C, 111.).
MERZ, KA.RL (Sept. 19, 1836, Bensheim,
Germany : Jan. 30, 1890, Wooster, O.),
early learned the violin and organ from his
father, becoming organist at eleven. In 1854
he came to Philadelphia, through Bonawitz
got employment in theater-orchestras, for a
year was organist in the Sixth Presbyterian
Church and tried critical writing. In 1856-59
he taught at a school near Lancaster, was then
two years in the South, and on the outbreak
of the Civil War in 1861 became music-director
at Oxford Female College in Ohio, where he
remained till 1882. From 1868 he contributed
to 'Brainard's Musical World' and from 1873
was its editor, making a decided impression
by his thoughtful articles. From 1882 he was
head of the music-department of Wooster
University at Wooster, O. He wrote a piano-
trio, a piano-sonata in C minor, many piano-
pieces and songs, the operettas ' The Last Will
and Testament' (1877, Oxford), 'Katie Dean'
292
MESSAGER
METROPOLITAN OPERA HOUSE
(1882, Oxford) and ' The Runaway Flirt ' (pub-
lished in 1868), and various choruses, quartets
and organ-pieces. He published Methods for
the reed-organ and piano, and Elemeiits of
Harmony and Composition, 1881. His collected
essays appeared as Music and Culture, 1890.
His fine library became the basis of the musical
collection in the Carnegie Institute of Pitts-
burgh. [ R.4 ]
t MESSAGER, ANDR6 CHARLES PROS-
PER (Dec. 30, 1853, Montlugon, France). See
article in Vol. iii. 183. He left Covent Garden
in 1907. In 1908-14 he was director and chef
d'orchestre at the Grand-Opera in Paris, in
1908 succeeded Marty as conductor of the Con-
certs du Conservatoire and in 1918 brought
this orchestra for 50 concerts in the United
States and Canada under the auspices of the
French government. On his return he retired
from active conducting. To the list of works
add the operas 'Fortunio' (1907, Paris, Opera-
Comique), and 'Beatrice' (1914, Monte Carlo).
MESSITER, ARTHUR HENRY (1834-
1916). See Register, 5.
METCALFE, SAMUEL L. (1798-1856).
See Tune-Books, 1817.
METROPOLITAN CONSERVATORY OF
MUSIC, THE, of New York, was established
in 1886 by Charles B. Hawley and Herbert W.
Greene, at first chiefly as a school of singing.
Its scope was soon broadened, and in 1891 it
was incorporated under the Board of Regents
as the Metropolitan College of Music. Its
faculty included S. P. V/arren, H. R. Shelley,
A. R. Parsons and others of high standing. In
1900 it was reorganized as the American Insti-
tute of Applied Music.
METROPOLITAN OPERA HOUSE, THE,
in New York. See Vol. iii. 4G9-71. Conried's
administration continued till February, 1908,
when, after months of ill-health, he resigned.
He was succeeded by Giulio Gatti-Casazza,
who for ten years had been manager of La
Scala in Milan, and his efficient, intelligent and
on the whole sufficiently enterprising adminis-
tration has continued ever since — the longest
and most successful in the history of the institu-
tion. With him for two years was associated
Andreas Dippel, who in 1910 joined the Phila-
delphia-Chicago Company.
In 1906-10 occurred the exciting competition
between the Metropolitan and the Manhattan
Opera Houses, which served to arouse much
public attention and to stimulate managerial
ambition on both sides. The directors of the
Metropolitan finally bought off Hammerstein's
interest and bound him not to produce grand
opera in New York for ten years. In 1910
they fostered the formation of the Boston
Opera Company and from that time extended
their activities to Philadelphia and Baltimore.
But in 1910 was also formed the Philadelphia-
Chicago Grand Opera Company, which in the
end came to be a strong rival, though not at
once active in the New York field. Mean-
while in New York the Metropolitan promoted
a new enterprise in 1909-11 at the New Theater
for the production of works better suited to a
smaller house. A similar secondary effort was
made in 1913-15 in the Century Opera Com-
pany.
The outbreak of the World War in 1914
affected the Metropolitan in two ways. Large
numbers of artists became available through
temporary or permanent migration from Eu-
rope. And ultimately the entry of the United
States into the contest led to the ejection of
many German singers from the personnel and
the removal of German works from the reper-
tory. The general consequence was to alter
the balance of performances in favor of
French, Italian and other works. But the
war did not interfere seriously with the
continuity or significance of the successive
seasons. (3
The catalogue of new works in the repertory
is as follows :
1908-09 —D'Albert, 'Tiefland' (Nov. 23), Puccini.
'Le Villi' (Dec. 17), Catalani, 'La Wally' (Jan.
6), Smetana, 'The Bartered Bride' (Feb. 19).
1909-10 — Franchetti, 'Germania' (Jan. 22), Bru-
neau, 'L'Attaque du Moulin' (Feb. 8), Tchai-
kovsky, 'Pique Dame' (Mar. 5), Converse, 'The
Pipe of Desire' (Mar. 18).
1910-11 — Gluck, 'Armide' (Nov. 14), Puccini,
'La FanciuUa del West' (Dec. 10), Humper-
dinck, 'Die Konigskinder' (Dec. 28), Dukas,
'Ariane et Barbe-Bieue' (Mar. 29).
1911-12 — Thuille, 'Lobetanz' (Nov. 17), Wolf-
Ferrari, 'Le Donne Curiose' (Jan. 3), Blech,
'Versiegelt' (Jan. 20), Parker, 'Mona' (Mar. 4).
1912-13 — Damrosch, 'Cyrano de Bergerac' (Feb.
27), Mussorgsky, 'Boris Godunov' (Mar. 19).
1913-14 — Strauss, 'Der Rosenkavalier' (Dec. 9),
Montemezzi, 'L'Amore dei Tre Re' (Jan. 14),
Herbert, 'Madeleine' (Jan. 24), Charpentier, 'Jul-
ian' (Jan. 27), Wolf-Ferrari, 'L'Amore Medico'
(Mar. 25).
914-15 — Giordano, 'Madame Sans-Gtoe' (Jan.
25), Leoni, 'L'Oracolo' (Feb. 4), Mascagni,
'Iris' (Apr. 1).
1915-16 — Borodin, 'Prince Igor' (Dec. 30), Gra-
nados, 'Goyescas' (Jan. 28), Goetz, 'The Tam-
ing of the Shrew' (Mar. 15).
1916-17 — Bizet, 'Les Pficheurs de Perles' (Nov.
13), Gluck, 'IphigSnie en Tauride" (Nov. 25),
Polacco, 'Francesca da Rimini' (Dec. 22), De
Koven, 'The Canterbury Pilgrims' (Mar. 8).
1917-18 — Rabaud, 'Mfirouf (Dec. 19), Liszt,
'St. Elizabeth' (Jan. 3), Mascagni, 'Lodoletta'
(Jan. 12), Rimsky-Korsakov, 'Le Coq d'Or'
(Mar. 6), Cadman, 'Shanewis' (Mar. 23),
Gilbert, 'Dance in Place Congo' (Mar. 23).
1918-19 — Verdi, 'La Forza del Destine' (Nov.
15), Puccini, 'II Tabarro,' 'Suor Angelica,'
'Gianni Schicchi' (Dec. 14), Weber, 'Oberon'
in English (Dec. 28), Ricci, 'Crispino e la Co-
mare' (Jan. 18), Leroux, 'La Reine Fiammette'
(Jan. 24), Gounod, 'Mireille' (Feb. 28), Breil,
'The Legend,' Hugo, 'The Temple Dancer'
(Mar. 12).
METROPOLITAN OPERA HOUSE
293
1919-20 — Rossini, 'L'ltaliana in Algeri' (Dec.
5), Wolff, 'L'Oiscau Bleu' (Dec. 27), Leoncavallo,
'Zaza' (Jan. 16), Hadley, 'Cleopatra's Night'
(Jan. 31), Tchaikovsky, 'Eugene Onegin' (Mar.
24).
The conspicuous conductors have been Al-
fred Hertz in 1902-15, Arturo Toscanini in
1908-15, Giorgio Polacco since 1912 and Artur
Bodansky since 1915. For details about the
many singers see Krehbiel, More Chapters of
Opera, 1919, and the excellent articles on
'Music' in The New International Y ear-Book,
1907 ff . Krehbiel's book also supplies a wealth
of historical and critical comment. Upon this
and its predecessor. Chapters of Opera, 1908,
this article is largely based.
Below is a tabular resume of the perform-
ances (in the regular seasons) at the Metropoli-
tan since its foundation :
»
n
n
<
Stanton
^0
Grau
I
00
U3 CO (-. 00 05 O --1
Op 00 00 Op 00 o> o
•* lo CD r- 00 (i o
00 00 00 00 CO 00 Ol
05
t)i in CO t^
Cs 03 0> Oi
CO T}< lO CO
^ Oi '^ ^
98-99
99-00
00-01
01-02
02-03
3.342.3
. 2 .... 3
2
1
. . 1 .
12 7 11 7
. . 1
11..
Bizet — Carmen
5
2 11 . 7 2
2
3
. . 2 4
. . 2 . .
2 3 3 2
12 2..
. ..36
. . 2 2
.3.11
3
1
4
8
. . . 2
1.1.
8 7 8 10
4.21
1 . . . .
Gluck — Orfeo
6
.5344. .
7 9 5 5 7
3
5 4 4 5
6 5 4 3 2
3
Huguenot3
Prophete
2
1
5 ... 5 . 3
9 3 5 2 3.1
. . . . 5 . 3
4
2
4
1
2 6 5 2
! i ! 1
4 2 3 3 3
2 2 . . 1
111..
3 . . .
13.3
3 4.21
Don Giovanni
5
2 .... 2 .
3
4 11.1
.5.32
3
4 4 . . 3
3 1..
Guillaume Tell
Thomas — Mignon
Hamlet
4
1
3 . . .32.
2
2
. 2 . .
. 1 . .
1.21
. 1 . . .
. . . . 3
Rigoletto
Trovatore
2
3
4
1
....53.
2
2
2 4 11
.322
112 3
111.1
. 3 . . 1
2 2.14
4
. . . . 1
Aida
. . 4.33.
2
1
.343
. 4 . .
.33.
3 5 3 5 7
Otello
... 3 3
Falstaff
. 7 5 . . 1 ■
Hollander
5 4
3
3
2
2
2.33
5 5 6 6
. . 2 .
... 6
. ! 6 2
3.13
.31..
9 4 6 4 5 5 7
9 4 4 6 2 5 7
. . . .93.
6 5 4 2 4
Lohengrin
6
7 7 6 4 7
12 112
7 4 3 4 4 3 4
. . . 11 6 2 4
4 6 3 3 3
12 113
. . . 7 4 5 4
12 2 2 2
Tristan
. .83.53
5 3 4 3 4
8 5 15 3 6
.4212
Auber — Masaniello
2
3.2....
. 4 .
5 4
2
2
Franchetti — Asrael
6
294
METROPOLITAN OPERA HOUSE
Goldmark — Queen of Sheba .
Merlin . . . .
Hal6vy — Juive
Nessler — Trompeter . . . .
Ponchielli — Gioconda . . .
Smareglia — Vasall von Szigeth
Spontini — Cortez
Weber — Freischlitz . . . .
Euryanthe . . . .
00 00 00
00 05 O "-I
00 00 05 en
A ol d. i
00 00 00 o>
15 4
. 5
Bemberg — Elaine ....
Lara — Messalina
Leoncavallo — Pagliacci . .
Mancinelli — Ero e Leandro .
Mascagni — Cavalleria .
L'Amico Fritz
Massenet — Le Cid ....
Werther . . .
Manon ....
Navarraise . .
Nicolai — Merry Wives . . .
Paderewski — Manru . . .
Puccini — Boh^me ....
Tosca
Reyer — Salammbo ....
Saint-Saena — Samson et Dalila
Smyth — Der Wald ....
3 3 2.
.7.4
Ghau
Ui Oi Oi Oi
CO -^ o to
05 05 Ol C3
3 2 2
7 3
2 .
7 4
P P Pi
. 3 .
. 1 6
. . 2
3 4 1
3 2
CONRIED
Gatti-Casazza
s
1
CO
p
to
o
1
P
O
o
00
o
p
o
p
o
1
p
I
(M
CO
7
IM
7
CO
ta
1
o
^
1
00
OS
1
o
IN
dj
1
4
4
1
4
1
1
3
2
2
2
2
5
4
2
4
i
3
4
i
3
4
4
5
8
4
i
3
6
5
4
5
1
6
2
7
4
7
2
6
7
7
4
3
6
11
8
7
3
7
7
9
6
2
4
4
6
9
5
2
i
6
6
9
3
5
9
6
4
7
3
4
3
5
4
4
2
4
4
4
3
3
3
3
5
2
3
3
5
3
4
7
5
5
5
3
6
5
6
5
5
5
1
4
5
6
4
6
6
3
Bellini — Sonnambula
Puritani
7
Prehears
Delibes — Lakmd
Donizetti — Elisir d'Amore
Lucrezia Borgia
5
4
Fille du Regiment
Favorita
4
Stradella
Mme. Sans-Gene
4
2
4
4
5
11
3
6
Rom6o et Juliette
Mireille
Konigskinder
5
8
3
3
6
Zaza
7
5
Lodoletta
•
•
METROPOLITAN OPERA HOUSE
295
Meyerbeer — Huguenots . . , .
Prophfite . . . .
L'Africaine . .
Mozart — Figaro
Don Giovanni . . .
Magic Flute . . . .
Ponchielli — Gioconda . . . .
Puccini — Villi
Man on Lescaut . . .
Bohdme
Tosca
Puccini — Butterfly
Fanciulla del West . .
II Tabarro, etc. . . .
Rossini — Barbiere
Italiana in Algeri . .
Strauss, Richard — Salome .
Rosenkavalier
Verdi — Rigoletto
Trovatore
Traviata
Ballo in Maschera . . .
Aida
Otello
Falstafif
Forza del Destino . . .
Wagner — Hollander
Tannhauser ....
Lohengrin
Rheingold
Walkilre
Siegfried
Gotterdammerung .
Tristan
Meistersinger ....
Parsifal
Berlioz — Damnation of Faust
Boieldieu — Dame Blanche . . .
Boito — Mefistofele
Cilte — Adriana Lecouvreur . .
Goldmark — Queen of Sheba .
Strauss, Johann — Fledermaus
Zigeunerbaron
Thomas — Mignon
1 2
4 4..
. . . 3 5
3 3 5 7 7
4 4 3 6 7
. . . 5 6
4 2 2
5 2 5 2 4
. .4.6
3 4 2 3 6
. 2 . . .
6 5 4 6 5
5 6 5
3 2
. .9664
6 6 5 5 2 .
7 7
6 6
8 6
. 5
8 6
. 5
7 8
3 3
7 5
6 3
8 4
2 3
9
6
2
4
2
2
2
7
11 8
4 1
1
d'Albert — Tiefland
Auber — Fra Diavolo ....
Blech — Versiegelt
Borodin — Prince Igor ....
Breil — The Legend
Cadman — Shanewis ....
Catalan! — Wally
Charpentier — Julieti ....
Converse — Pipe of Desire . .
Damrosch — Cyrano de Bergerac
De Koven — Canterbury Pilgrims
Dukas — Ariane
Franchetti — Germania . . .
Gluck — Orfeo
Armide
Iphig6nie en Tauride .
Goetz — Taming of the Shrew .
Francesca da Rimin
Granados — Goyescas ....
Hadley — Cleopatra's Night . .
Hal6vy — Juive
Herbert — Madeleine ....
Hugo — Temple Dancer . . .
Leoni — Oracolo
Leroux — Reine Fiamette .
Liszt — St. Elizabeth ....
Massenet — Werther ....
Manon
Thais
Montemezzi — Amore dei Tre RS
4 2 4 5 1
5 6 6 4 4
5 3 3 2 3
7 8 7 5
6 5 4 3
2 . . .
7 4 6
1 1
5 6
534333433
5 2 2.
... 3
..53
2 3
. ..64
4 3 4 5 4
.... 3
9 5 5 3. . .
. . 5 5 5 3 5
. 6 4 5 3 2 2
5 5 2 2 3 3 .
5 2 3....
7 8 7 7 8 8 5
2 6 3 5
. . 4 .
. 5 . .
. 2
6 4
3 5 4 3
1 ... 4
. . .565.
5 5. .533
296
METS
MIESSNER
Gatti-Casazza
TO
o
T-i
(N
CO
•*
ifl
CO
t^
00 eSi
o
(N
Jo
^
A
1
rJ,
1
CO
4.
J,
,h
rl ^
J,
p
p
r'
Mussorgsky — Boris Godunov . .
Offenbach — Contes d'Hoffmann .
Parker — Mona
Rabaud — Marouf
Ricci — Crispino
Rimsky-Korsakov — Coq d'Or . .
Saint-Saens — Samson et Dalila
Smetana — Bartered Bride . . .
Tchaikovsky — Pique-Dame . . .
Eugene Onegin .
Thuille — Lobetanz
Weber — ■ Freischiitz
Euryanthe
Oberon
Wolf-Ferrari — Donne Curiose . .
Amore Medico .
Segreto di Susanna
Wolff — Oiseau Bleu
4 6
7 2
4 6 4 3
..632
. . . 3 .
..657
5 5 4 5 5
6 14 2
5 3 .
. . 4
. 4 3
6 5
METS, ISABEL. See Colleges, 2 (Ham-
ilton C, Ky.)-
MEYER, CONRAD (d. 1881). See Regis-
ter, 3.
MEYER, HENRY EDWIN. See Col-
leges, 3 (Howard Payne C, Tex.).
MEYER, JULIUS EDUARD (1822-1899).
See Register, 4.
MEYER, MAX FRIEDRICH (b. 1873).
See Register, 9.
MEYER, RUDOLPH J. See Colleges, 3
(Susquehanna U., Pa.)-
MICHALEK, BOHUMIL (b. 1885). See
Register, 9.
MICKWITZ, PAUL HAROLD VON (b.
1859). See Colleges, 3 (Southern Method-
ist U., Tex.).
MIDDELSCHULTE, WILHELM (Apr. 3,
1863, Werne, Germany), was trained at the
Institute for Church Music in Berlin under
Haupt, Loeschhorn, Alsleben, Commer and
Schroder, and in 1888-91 was organist at the
Lukas-Kirche. In 1891 he came to Chicago
as organist at the Cathedral of the Holy Name,
remaining four years. At this time he studied
theory with Ziehn. In 1894-1918 he was or-
ganist of the Thomas (Chicago) Orchestra.
In 1899-1919 he was organist at St. James'
(R. C), and also teacher of organ and theory
in the Wisconsin Conservatory in Milwaukee.
With the Chicago Orchestra under Thomas or
Stock he has played works like the Handel
Concertos in G and F, the Rheinberger Con-
certos in F and G minor, the Guilmant Con-
certo in D minor, Klose's Fantasia and Double
Fugue, and Borowski's 'Allegro de Concert,'
besides, for the first time in America, the Liszt-
Kaun Fantasia and Fugue on ' Ad nos ad salu-
tarem undam,' Oldberg's Concerto in F, Widor's
Symphonia Sacra and 'Salvam fac populum
tuum,' the Bach-Busoni ' Fantasia Contrappun-
tistica' (dedicated to him and arranged by
him and Stock), his own Concerto in A minor
and arrangement of Bach's Chaconne. These
performances, with numerous recitals in
America and Europe, give him high rank
among living organists. He has published a
Passacaglia in D minor. Canons and Fugue
on 'Vater unser,' Toccata on 'Ein feste Burg,'
Concerto in A minor. Meditation on 'Alls
Menschen miissen sterben,' Canonical Fantasia
on B-A-C-H and a cadenza to Handel's 4th
Concerto, besides transcriptions of the Bach
Chaconne, the Bach-Busoni Fantasia and
parts of Wolf-Ferrari's 'I Giojelli della Ma-
donna.' Unpublished are a Chaconne in E
minor, arrangements of Bach's Chromatic
Fantasia and Fugue and of the ' Musikalisches
Opfer,' etc. [ R.8 ]
MIDDLETON, ARTHUR D. (b. 1880).
See Register, 9.
MIERSCH, KARL ALEXANDER JO-
HANNES (1865-1916). See Register, 8.
MIERSCH, PAUL FRIEDRICH THEO-
DOR (b. 1868). See Register, 8.
MIESSNER, W. OTTO (May 26, 1880,
Huntingburg, Ind.), after a high-school edu-
cation, in 1900 gained a certificate from the
College of Music in Cincinnati. In 1900-04
he was music-supervisor at Booneville, Ind.,
in 1904-09 at Connersville, Ind., and in 1910-
14 at Oak Park, 111. In 1909-10 he studied
with Kelley. Since 1914 he has been music-
director at the State Normal School in Mil-
waukee. He has written the cantatas 'The
Queen of May,' op. 1 (Willis), and 'Christus,'
op. 3 ; a Festival Overture, op. 5, for orchestra ;
a 'Liberty March,' op. 6, for orchestra; inci-
MILLARD
MILLS
297
dental orchestral music for 'As You Like It'
and ' The Tempest,' opp. 7,8;' Miniature Op-
erettas,' op. 9 (Am. Music Co.) ; Sonata in
E minor, op. 10, for piano (Am. Music Co.) ;
besides songs and piano-pieces. He has also
published The Motif-Method of Music-Read-
ing and The Place of Music in Education,
and collaborated in The Progressive Music
Series. [ R.9 ]
MILLARD, CLEMENT. See Tune-Books,
1810.
MILLARD, HARRISON (1830-1895). See
Register, 4.
MILLER, DAYTON CLARENCE (b.
1866). See Register, 7.
MILLER, FRANK E. (Apr. 12, 1859,
Hartford, Conn.), graduated from Trinity Col-
lege in 1881 and from the College of Physicians
and Surgeons in New York, settling there as
laryngologist. He has been a diligent in-
vestigator, practitioner and writer in this field,
not only inventing many novel instruments
pertaining to the throat and the ear and treat-
ing numerous famous singers, but evolving an
original general theory of vocal art-science
under the term ' kinsesthesia ' (rhythmic vibra-
tion and its perception and coordination) . He
has published The Voice, 1910, Vocal Art-
Science, 1917, and a great number of articles
in scientific periodicals. [ R.7 ]
MILLER, GEORGE HAROLD. See Col-
leges, 3 (Dakota Wesleyan U., S. D.).
MILLER, HENRY F. (1825-1884). See
Register, 4.
MILLER & SONS PIANO COMPANY,
THE HENRY F., of Boston, was founded in
1863 by Henry F. Miller and since 1884 has
been conducted by his five sons, Edwin C.
Miller being now president. Their pianos
have always maintained a high technical ex-
cellence. They have recently introduced a
remarkably small grand. Their type of player-
piano is known as the ' Playerforte. '
MILLER, HORACE ALDEN (July 4, 1872,
Rockford, 111.), after studying in Cornell Col-
lege in Iowa, went to the Oberlin Conservatory,
gaining a Mus.B. in 1904. He then returned
to Cornell College to teach organ and theory,
continuing till now save for a year of study in
Munich and Berlin. His interest in Indian
music is shown by the works, ' Melodic Views
of Indian Life' (Simamy), 'From the Forest'
(Ojibway songs) ; 'Arapaho Ghost-Dance,' a
Romance in A-flat (Musicians' Pub. Co., Los
Angeles) ; 'In the Linden Cradle' and 'For
the Golden Harvest' (Willis) ; 'Indian Legend'
and 'Indian Idyl,' for organ (Novello) ; and
four Indian Themes, for piano, and 'The Moon
Cycle,' six songs for high voice (Breitkopf) . Un-
published are several songs, piano- and organ-
pieces and the orchestral 'From the Wickiup'
and 'The Indian Flute.' The latter have been
played by the Chicago Symphony Orchestra and
the Russian Symphony Orchestra. [ R.9 ]
MILLER, RUSSELL KING (May 10, 1871,
Philadelphia), studied piano with Von Stern-
berg in Philadelphia, organ with S. P. Warren
and composition with Klein in New York.
After short engagements in different churches,
since 1901 he has been organist at Temple
Keneseth Israel, and since 1909 also music-
director at the Pennsylvania School for the
Blind. He appeared in recital at the Buffalo
and St. Louis Expositions. His organ-works
(all J. Fischer) include a 'Scherzo Sympho-
nique' (1895), Nocturne and Epilogue (1897),
Festival March (1903, A. G. O. prize), Con-
cert-Overture (1909), Festival Postlude, Im-
promptu and Cortege (1904), Elegy (1905),
'Chanson Pastorale' (1907) and Berceuse and
Serenade (1908), besides anthems, songs and
piano-pieces. [ R.8 ]
MILLIGAN, HAROLD VINCENT (Oct.
31, 1888, Astoria, Ore.), from 1908 was in New
York studying organ with Carl, theory and
composition with C. R. Gale, Johnstone and
Noble. He was then organist for five years at
the Rutgers Presbyterian Church, two years
at Plymouth Church in Brooklyn, and now at
both the Fifth Avenue Baptist Church and the
West End Synagogue. He is a fellow of the
A. G. O. and in 1914-16 was its general secre-
tary. He has thrice been across the continent
on recital-tours. He has written many songs,
organ-pieces, choral works, sacred and secular,
and two operettas (Schirmer, Schmidt), be-
sides incidental music to plays. He is editor
of The First American Composer and Colonial
Love-Lyrics (both Schmidt) , author of a biog-
raphy of Stephen C. Foster, 1920, staff-writer
for 'The Diapason,' 'The New Music Review'
and 'The Woman's Home Companion,' and
otherwise active as a writer. [ R.IO ]
MILLS, CHARLES HENRY (Jan. 29,
1873, Nottingham, England), was trained at
the Guildhall School of Music in London, took
lessons from Prout, Niecks and Peace and in
1904 won a Mus.B. from the University of
Edinburgh. In 1892-93 he visited America
as a pianist. From 1894 he was organist at
various places in Great Britain — in 1898-1900
conducting the Aberdeen Operatic Society,
in 1900 becoming city-organist at Aberdeen
and in 1906-07 being borough-organist at Sal-
ford. In 1907-08 he taught theory at Syra-
cuse University, in 1908-14 was head of the
music-department at the University of Illinois,
and since 1914 has held a similar position at
the LTniversity of Wisconsin. He is a fellow
of the R. C. O. and the A. G. O., an associate
of the R. C. M. and in 1911 was made Mus.D.
by McGill University. He has written a Con-
cert-Overture (Minneapolis Orchestra), inci-
dental music to a Shakespearean masque and
298
MILLS
MOLLENHAUER
to Aristophanes' 'Clouds' (both given at Madi-
son, Wis.), the cantatas with orchestra 'Ode
to St. Cecilia' (Schirmer) and 'The Wreck of
the Hesperus' (Birchard), and various other
vocal works, sacred and secular. [ R.8 ]
MILLS, SEBASTIAN BACH (Mar. 13,
1838, Cirencester, England : Dec. 21, 1898,
Wiesbaden, Germany). See article in Vol. iii.
210. For many years he was foremost in in-
troducing works not previously heard in New
York — Moscheles' G minor Concerto and
Chopin's Fantasia in 1860, Chopin's F minor
Concerto in 1861, Hiller's F-sharp minor Con-
certo in 1863, the Weber-Liszt Polonaise in
1864, Mozart's posthumous Concerto in C in
1865, Liszt's E-flat Concerto in 1867, Reinecke's
F-sharp minor Concerto in 1872 (first time in
America), von Bronsart's Concerto and Raff's
Suite, op. 200, for piano and orchestra, in 1877.
His own most popular works were 'Recollec-
tions of Home,' 1st Tarantelle, 'Fairy Fingers,'
2nd Barcarolle and ' The Murmuring Fountain.'
[ R.4 1
MIMBERLEY, FRED W. See Colleges,
3 (Buena Vista C, Iowa).
MINNEAPOLIS SYMPHONY ORCHES-
TRA, THE, dates from 1903, when the Phil-
harmonic Club (choral) felt the need of a per-
manent orchestra. Emil Obcrhoffer, the leader
of the Club, became the conductor of the new
organization and has remained its efficient
head ever since. The financial affairs have
been ably managed, stability being secured
by a guarantee-fund, now of $75,000 annually,
pledged in five-year periods. In 1904 a beau-
tiful Auditorium was provided by the North-
western National Life Insurance Co. At first
the number of players was about 50, but is
now usually 80. The concertmasters have
been Franz Danz (1903-08), F. A. Korb (1908-
09), Richard Czerwonky (1909-18) and Guy H.
Woodard (from 1918). Carlo Fischer, lead-
ing 'cellist in 1906-11, since 1911 has been pro-
gram-editor. For three years 20 concerts
were given annually, for the next eight 150 and
since then about 175, making a total of over
2300. In Minneapolis the regular series in-
cludes 40, with 12 in St. Paul ; the remainder
are extras or on tour. In its home-concerts
the Orchestra has built up a fine repertoire.
Out of perhaps 300 important works by 75
composers from Haydn to Stravinsky the fol-
lowing may be mentioned :
Beethoven, Triple Concerto for piano, violin and
'cello ; Brahms, Double Concerto for violin and
'cello; Borodin, 2nd Symphony; Guilmant, Sym-
phony for organ and orchestra; Chausson, Sym-
phony and Symphonic Poem, 'Viviane'; Ropartz,
4th Symphony ; Glazunov, 6th Symphony ; Aulin,
3rd Violin Concerto ; Kalinnikov, 1st Symphony ;
Georg Schumann, Overture, 'Liebesfriihling' ; Mac-
Cunn, Overture, 'Land of Mountain and Flood';
Hinton, Piano Concerto ; Rabaud, 2nd Symphony ;
Rachmaninov, 'Die Toteninsel'; Ravel, Suite,
' La M^re I'Oye ' ; Scheinpflug, Overture to a Shake-
speare Comedy; Enesco, Rumanian Rhapsodies,
Nos. 1 and 2. In addition, about 35 American com-
posers have been represented, including the following
works : Avery, Scherzo, ' A Joyous Prelude ' ; Mrs.
Beach, 'Gaelic' Symphony, Piano Concerto ; Bonvin,
'Festival Procession'; Busch, 'The Passing of King
Arthur,' 'Minnehaha's Vision,' 'A Chippewa Vision,'
'Sequentahre,' etc.; Carpenter, Suite, 'Adventures
in a Perambulator ' ; Chadwick, Suite Symphonique,
'Tarn O'Shanter,' Symphonic Sketches, 'Lochinvar,'
etc. ; Cole, Symphonic Prelude, 'Cello Ballade ;
Converse, ' Endymion's Narrative ' ; Damrosch, Prel-
ude to Act II of 'Cyrano'; Foote, String Suite
in E, Character Pieces after the 'Rubdiydt' ; Hadley,
'The Culprit Fay,' 3rd and 4th Symphonies, Over-
ture, 'In Bohemia'; Herbert, Suite Romantique,
'Woodland Fancies,' Prelude to Act III of 'Natoma,'
etc.; Kelley, 2nd Symphony, 'Aladdin'; Kolar,
Suite, 'Americana'; Kroeger, 'Lalla Rookh'; Mac-
Dowell, 'Lancelot and Elaine,' 1st and 'Indian'
Suites, etc. ; Oldberg, Overture, ' Paolo and Fran-
cesoa'; Saar, 'Gondoliere,' 'Chanson d' Amour';
Smith, Overture, 'Prince Hal'; Stock, Symphonic
Waltz; Strube, Comedy Overture, 'Puck'; Weidig,
Symphonic Suite, Three Episodes, etc.
First performances in America or absolutely (marked
*) include these: Alfven, 3rd Symphony, 'Drapa,'
Polonaise, 'Festspiel'; Aulin, Swedish Dances;
Bleyle, 'Flagellantenzug' ; Delius, 'Dance Rhap-
sody'; Dohnanyi, Suite, op. 19; Hinton, 2nd
Symphony; Oberhoffer, *Overture Romantique,
♦March, 'Americana'; Pauly, Piano Concerto; Pitt,
Serenade for small orchestra; Sibelius, Suite, 'Scenes
Historiques,' 1st Violin Serenade ; Skilton, *Two In-
dian Dances; Stenhammar, 'Midvinter'; Strauss,
Festival Prelude; Smith, Suite, 'Impressions.'
MIRANDA, MAX. See Colleges, 3 (Be-
loitC, Wis.).
MISCHKA, JOSEPH (b. 1846). See Regis-
ter, 5.
MITCHELL, LIVINGSTON HARVEY.
See Colleges, 3 (Ouachita C, Ark.).
MITCHELL, NAHUM (1769-1853). See
Register, 3, and Tune-Books, 1810.
MODERWELL, HIRAM KELLY (b. 1888).
See Register, 10.
MODERN MUSIC SOCIETY, THE, of
New York, was formed in 1913-14 to give both
choral and orchestral works by recent com-
posers, especially Americans. Its nucleus was
the Lambord Choral Society, founded in 1912
by Benjamin Lambord.
MOHR, HERMANN (1830-1896). See
Register, 7.
MOLLENHAUER, EDUARD (1827-1914).
See Register, 4.
MOLLENHAUER, EMIL (Aug. 4, 1855,
Brooklyn), the son of Friedrich Mollenhauer,
the violinist, early evinced ability on his father's
instrument. At nine he made his debut at
Niblo's Garden, at fourteen played in the or-
chestra at Booth's Theatre and at seventeen
joined the Thomas Orchestra. Until 1884 he
was also a member of the New York and Brook-
lyn Philharmonic Societies and for a time of
the Symphony Society. He then removed to
MOLLENHAUER
MORRIS
299
Boston and in 1885-88 was in the Boston Sym-
pliony Orchestra, which he left to conduct the
Germania (later the Boston Festival) Orches-
tra and also (till 1903) the Municipal Concerts.
With the Festival Orchestra he not only toured
extensively with a long list of soloists, vocal and
instrumental, of the first order, but also par-
ticipated in numerous choral festivals in differ-
ent places. In 1899 he succeeded Lang as
conductor of the Handel and Haydn Society,
which ho thoroughly reorganized. Since 1900
he has also led the Apollo Club and a nimiber
of choral societies besides, as in Brookline,
Lynn, Salem and Newburyport. He con-
ducted the Boston Symphony Orchestra at the
St. Louis and San Francisco Expositions in
1904 and '15. His varied experience, technical
skill and fine musicianship have given him
great influence. [ R.5 ]
MOLLENHAUER, FRIEDRICH (1818-
1885). See Register, 4.
MOLLENHAUER, HEINRICH (1825-
18S9). See Register, 4.
MOLLENHAUER, LOUIS (b. 1863). See
Register, 7.
MOLLER, JOHN CHRISTOPHER. See
Register, 2.
' MONA.' An opera in three acts by Hora-
tio Parker, awarded the prize of $10,000 offered
in 1909 by the Metropolitan Opera Company,
produced on Mar. 4, 1912, and thrice repeated.
The text is by Brian Hooker and develops a
story in the time of the conquest of Britain by
the Romans. See lirehbiel. More Chapters of
Opera, pp. 255-65.
MONESTEL, ALEXANDER (b. 1865).
See Register, 7.
MONTANI, NICOLA ALOYSIUS (b. 1880).
See Register, 9.
MONTEUX, PIERRE (Apr. 4, 1875, Paris,
France), was trained at the Paris Conserva-
tory, studying solfeggio and harmony with
Lavignac, counterpoint and fugue with Len-
epveu and violin with Berthelier. From 1894
he conducted concerts in Paris, founding a
series at the Casino de Paris to bring out ex-
amples of ultra-modern French music. He
has conducted at the Theatre des Champs-
filysees, the Chatalet and the Odcon in Paris,
at Covent Garden and Drury Lane in London,
and in Berlin, Vienna and Budapest. In 1916
he came to New York as conductor of the Rus-
sian Ballet and also led the concerts of the
Civic Orchestral Society during the summer
of 1917. In 1917-19 he conducted at the Met-
ropolitan Opera House. In the fall of 1918
he took charge of the first concerts of the Bos-
ton Symphony Orchestra, pending the arrival
of Rabaud, and in 1919 was elected to follow
him as permanent conductor. He has directed
first performances of Stravinsky's ' Le Rossig-
nol' (opera), 'Petrouchka' and ' Le Sacre du
Printemps' (ballets), Debussy's ' Jeux' (ballet),
Ravel's 'Daphnis et Chloe' (ballet) and Roger-
Ducasse' 'Le Joli Jeu du Furet' (orchestral
scherzo). [ R.IO ]
'MONTEZUMA.' An opera in three acta
by Frederick G. Gleason (text and music), of
which only extracts have been performed.
'MONTEZUMA.' No. 2 of the 'Grove-
Plays' of the San Francisco Bohemian Club,
produced in 1903. The music is by Humphrey
J. Stewart and the text by Louis A. Robertson.
The scene is laid in Mexico in 1520.
MONTRESSOR. See Register, 3.
MOOG, WILSON TOWNSEND (b. 1881).
See Register, 9.
MOORE, HENRY EATON (1803-1841).
See Tune-Books, 1832.
MOORE, HOMER. See Register, 7.
MOORE, JOHN WEEKS (1807-1887).
See Register, 4, and Tune-Books, 1849.
MOORE, MARY, nee Carr. See Register, 9.
MOORE, W. H. A. See, Colleges 3 (Cum-
berland U., Term.).
MOORS, HEZEKIAH. See Tune-Books,
1809.
MOOS, JEAN CARRODI. See Colleges,
3 (Bethany C, W. Va.).
MORGAN, GEORGE WASHBOURNE
(Apr. 9, 1822, Gloucester, England : July,
1892, Tacoma, Wash.), was an articled pupil
of Amott (organist of Gloucester Cathedral)
and began playing regularly at twelve, first in
Gloucester and then in London, where he also
appeared in concert. About 1845 he became
leader of the Philharmonic Society in Glouces-
ter, in which he had sung as a boy, and was
a competitor for the post of organist at Worces-
ter Cathedral. Coming to New York in 1853,
he was organist at St. Thomas' in 1854-55,
Grace Church in 1855-08, St. Ann's (R. C.)
in 1808-69, St. Stephen's (R. C.) in 1869-70,
Broolclyn Tabernacle (Talmadge's) in 1870-82
and the Madison Avenue Collegiate (Ref.
Dutch) Church in 1886-88. He gave a recital
in Boston in 1859 and was the first player on
the organ in Music Hall in 1863. He also
played at the Centennial Exposition in Phila-
delphia in 1876. His brilliance as a performer
made him popular, so that he did much to
arouse enthusiasm for organ-music. He wrote
a Morning Service, anthems (some with or-
chestra), organ-pieces, songs, etc. [ R.4 ]
MORGAN, JOHN PAUL (1841-1879).
See Register, 5.
MORGAN, MAUD (b. 1864). See Regis-
ter, 6.
MORGAN, TALI ESEN (b. 1858). See
Register, 7.
MORRIS, EDMON. See Colleges, 2
(Converse C, S. C).
MORRIS, OWEN (1719-1809). See Regis-
ter, 1.
300
MORRISON
MUCK
MORRISON, CHARLES WALTHALL
(b. 1856). See Register, 7.
MORSE, CHARLES FREDERIC (b. 1881).
See Register, 9.
MORSE, CHARLES HENRY (Jan. 5,
1853, Bradford Mass.), graduated in 1870
from the Haverhill (Mass.) High School and
in 1873 from the New England Conservatory
in Boston, studying piano with J. C. D. Parker,
Perabo and Baermann, organ with Whiting
and Paine, theory with Emery and conducting
with Zerrahn. He at once began teaching
piano and organ in the Conservatory, but con-
tinued study at Boston University, where in
1876 he won probably the first Mus.B. given
in the United States. Meanwhile he was
organist at Tremont Temple, the Union and
the Central Congregational Chm^ches. In
1875-84 he was the first music-director at
Wellesley College. In 1885-91 he was founder
and director of the Northwestern Conservatory
at Minneapolis, following the lines of the New
England Conservatory and gaining immediate
success, and was also organist in St. Paul and
Minneapolis. In 1891-99 he was organist at
Plymouth Church in Brooklyn and active in
the Brooklyn Institute of Arts and Sciences.
From 1901 he was the first professor of music
at Dartmouth College, becoming emeritus in
1918. He has been a trustee of the New Eng-
land Conservatory, in 1894-96 was president
of the New York Music Teachers' Association,
in 1896 a founder of the A. G. O. and member of
its council, etc. He was one of the first to
play Guilmant's works and to produce choral
works of Gounod in the United States. He
has edited The Contemporary Organist (Schir-
mer), two volumes of The Church-Organist and
The Junior Church-Organist (White-Smith),
March- Album for Organ (Schirmer), Short a'nd
Easy Anthems (Ditson), The Plymouth Hymnal,
1893 (with Lyman Abbott), Songs for the Chapel
(men's voices). The Wellesley Collection
(women's voices) and many separate vocal and
organ-arrangements, besides publishing an-
thems and organ-pieces of his own (Schirmer,
Schmidt). ( R.6 ]
MORSE, FRANK EUGENE (b. 1856).
See Register, 6.
MORSE, GEORGE FRANCIS. See Reg-
ister, 7.
MORSELL, HERNDON (b. 1858). See
Register, 7.
MOSENTHAL, JOSEPH (Nov. 30, 1834,
Kassel, Germany : Jan. 6, 1896, New York),
was trained by his father, Spohr, Bott, Kraus-
haar and others, and for four years played
second violin under Spohr. In 1853 he mi-
grated to New York, where in 1855-68 he was
a member of the Mason-Thomas Quintet and
in 1860-87 organist of Calvary Church, besides
being forty years among the first violins of the
Philharmonic Society. From 1867 he was also
leader of the Mendelssohn Glee Club, his life
closing nearly thirty years later at a rehearsal.
He wrote anthems, sacred songs, many fine
part-songs for men's voices, such as 'Thana-
topsis,' 'Blest Pair of Sirens,' 'The Music
of the Sea,' and numerous secular songs.
[ R.4 ]
MOSS, THOMAS. See Colleges, 3 (Whit-
worth C, Wash.).
t MOTTL, FELIX (Aug. 24, 1856, Vienna,
Austria : July 2, 1911, Munich, Germany).
See article in Vol. iii. 277-8. While at Karls-
ruhe he gave the first complete rendering of
Berlioz' 'LesTroyens' (1890), and the dates
of the production of 'Fiirst und Sanger,' the
string-quartet in F-sharp minor and 'Pan im
Busch' are 1893, '98 and 1900 respectively.
While in New York in 1903-04 he conducted
various Wagnerian operas and an orchestral
concert, but did not actually conduct 'Parsi-
fal' (though he directed rehearsals) because
of the opposition of the Wagner family. Be-
sides his extraordinary power as conductor he
was extremely able as editor. His second
revised version of Cornelius' 'Der Barbier von
Bagdad' has become standard. He edited
all the early overtures of Wagner and published
a complete edition of his stage-works (1914).
He was twice married, both times to opera-
singers.
MOUNTAIN, CHARLES WESLEY. See
Colleges, 3 (Parsons C, Iowa).
MOZART CLUB, THE, of Pittsburgh, was
organized in 1878 and incorporated in 1886.
Its only conductor for forty years was James
P. McColIum. Gradually expanding from
a small circle of singers to a large chorus, and
from 1886 giving programs only with orchestra
or a cappella, the Club covered a large reper-
toire, including the larger sacred and secular
works and a variety of lesser cantatas, etc.,
the orchestras assisting including those of
Pittsburgh, Boston, Chicago and St. Paul.
Almost all the leading soloists of the country
appeared with it. The Club also pursued
the policy of developing soloists within its
own ranks or from Pittsburgh. Its work was
greatly aided by the financial support of many
public-spirited citizens.
MUCK, KARL (Oct. 22, 1859, Darmstadt,
Germany). See article in Vol. iii. 314-5. His
first term as conductor of the Boston Sym-
phony Orchestra in 1906-08 was on leave of
absence from Berlin, and on his return thither
he was made General-Musikdirector. In 1912
he resigned to conduct the Boston Orchestra
permanently, made a profound impression for
several years, but in March, 1918, was arrested
as an enemy alien, interned for more than a
year and excluded from the country in August,
1919. [ R.9 ]
MUENSCHER
MUSIC SCHOOL SETTLEMENTS 301
MUENSCHER, JOSEPH. See Tune-
Books, 1839.
MUKLE, MAY HENRIETTA (May 14,
1880, London, England), made her first appear-
ance as 'cellist at nine and at seventeen gave a
recital in London. She studied there with
Hambleton and later with Pezze at the Royal
Academy of Music. As soloist or in chamber-
music groups she has toured Europe, America
(several times), Australia (1903), South Africa
(1905), Canada (twice), and in 1918 played
in the first chamber-music recitals in Honolulu.
In 1908 she traveled with the Maud Powell Trio,
in which her sister, Anne Mukle, was pianist.
She has also appeared often with symphony
orchestras in Europe and America. 'The
Hamadryad' and 'The Light Wind,' two fan-
cies for 'cello and piano, are her only published
works, but she has songs and small pieces for
different instruments in manuscript. [ R.9 ]
MULLER, CARL CHRISTIAN (July 3,
1831, Saxe-Meiningen, Germany : June 4,
1914, New York), having been taught piano
by F. W. and Heinrich Pfeifer, harmony by
ZoUner and organ by Butzert, came to New
York in 1854. For a time he worked in a piano-
factory, then entered the orchestra at Barnum's
Museum and presently became its leader. In
1879-95 he taught harmony at the New York
College of Music, and later was associated
with the Grand Conservatory, the New York
Conservatory and other schools. He published
three organ-sonatas, a string-quartet, a sonata
for violin and piano, choruses, and many pieces
for piano and organ, and left also a symphony,
an orchestral suite, an overture, an ' Idyl ' for
orchestra, a setting of Schiller's ' Die ICraniche
des Ibicus' for soli, chorus and orchestra, and
a 'Romanza' for horn, harp and orchestra-
He translated Sechter's Grundsatze der musik-
alischen Composition as Fundamental Harmony,
1871 (9 later eds.), and added tables for pri-
mary instruction, modulation, chord-succession
and harmonization. [ R.4 ]
MULLER, FREDERICK WILLIAM (b.
1863). See Register, 8.
MURATORE, LUCIEN (1878, Marseilles,
France), graduated in 1897 with a first prize
from the Marseilles Conservatory, having
studied bassoon as well as singing. He first
appeared as an actor with Rejane and also
Bernhardt. After three years in the army he
prepared for lyric opera at the Paris Conserva-
tory and made his debut at the Opera-Comique
in 1902, creating the tenor-role in Hahn's 'La
Carmelite' and also in 1903 that in Missa's
'La Muguette.' In 1905 he appeared at the
Grand-0p6ra as Rinaldo in 'Armide.' At the
Op^ra he created roles in Massenet's 'Ariane'
(1906), 'Bacchus' (1909) and 'Roma' (1912),
Fevrier's ' Monna Vanna ' (1909) and Hiie's ' Le
Miracle' (1910) ; also at the first giving in
that place of Strauss' 'Salome' (1910), Gior-
dano's 'Siberia' (1911) and Saint-Saens' 'D6-
janire' (1911). In 1913 he came to America
to join the Chicago Opera Company, with
which he is still connected, though he returned
to France for military duty in 1915. He mar-
ried the soprano Lina Cavalieri in 1913. Dur-
ing the summer of 1917 he was engaged at the
Teatro Colon in Buenos Aires. [ R.IO ]
'MUSIC A monthly magazine founded
by W. S. B. Mathews in 1891 at Chicago. He
continued editor till December, 1902, after
which the magazine was merged in 'The Phil-
harmonic' Although put together somewhat
hastily and varying considerably in quality,
this was the only journal devoted wholly or
mainly to contributed articles untU the appear-
ance of 'The Musical Quarterly' in 1915.
Many of its essays and studies were decidedly
able. And it served to call attention to the
dignity of the literary and scholarly treatment
of musical subjects. See note in Vol. iii. 688.
MUSIC HALL. A building erected in Bos-
ton in 1852 to provide a suitable place for large
choral and orchestral concerts. With a seat-
ing capacity of about 3000 and its central loca-
tion (off Tremont and Winter Streets), it im-
mediately became a notable headquarters for
good music. In 1863, after vexatious delays
and unexpected expenses, a concert-organ,
made by Walcker of Ludwigsburg, Wiirtem-
berg, was introduced, being the first really
large instriunent in the United States. The
organ was dedicated on Nov. 2, 1863, the per-
formers being Lang, G. W. Morgan, Paine,
Thayer, Tuckerman and Willcox — an extra-
ordinary list for the time. For twenty years
recitals were steadily given both by permanent
organists and by visitors. In 1884 the organ
was bought for the New England Conservatory,
but proved unwieldy there and was finally
broken up in 1897. Its advent was of great
importance for American organ-building,
since its tone-qualities were excellent and varied,
though its action was sluggish and its construc-
tion in many respects clumsy. For a cut of
the organ, see Elson, History of American
Music, p. 262.
'MUSIC NEWS.' A weekly periodical
founded in 1908 by Charles E. Watt in Chicago
and since edited and published by him.
MUSIC SCHOOL SETTLEMENTS are
music-schools planted in the poorer neighbor-
hoods of many cities for the purpose of pro-
viding opportunity for artistic culture, es-
pecially among the foreign population. They
have been notably successful in New York,
Boston, Philadelphia and several cities in the
West, becoming centers of culture and often
developing singers and players of ability. The
New York School was started in 1894 and owes
its conspicuous expansion mainly to its latot
302 MUSIC SUPERVISORS' CONF.
M. T. N. A.
directors — Thomas Tapper in 1907-09, David
Marines in 1910-15 and Arthur Farwell since
1915. The number of pupils is about 1000
annually, and there are about 80 instructors.
A notable feature ia the maintenance of four
orchestras, aggregating about 200 players.
Besides owning many instruments, this school
has an extensive library.
MUSIC SUPERVISORS' NATIONAL
CONFERENCE, THE, was organized in 1907
to promote discussion and cooperation among
those engaged in progressive musical work in
public schools, especially supervisors. Its
growth was rapid and it has become one of the
notable influences in raising the standard of
equipment among public-school teachers of
music, in securing proper recognition for their
work in general, in defining methods of credit
for music-study both within and without the
school-curriculum, in improving the connection
between school and college work in music, in
advancing the study of instruments and the
formation of orchestras as well as singing and
in promoting interest in community-music.
The present number of members is about 1500.
The annual meeting is held in the spring, and
the proceedings are published. The president
for 1920 is HoUis E. Dann, of Cornell Univer-
sity, and the secretary, Elizabeth Pratt, St.
Louis, Mo.
MUSIC TEACHERS' NATIONAL ASSO-
CIATION, THE, was organized in 1876 at
Delaware, O., by Theodore Presser and a small
circle of earnest teachers in Ohio and neighbor-
ing states. With rare exceptions it has held an-
nual meetings, with three days' sessions, that
of 1919 being counted the forty-first.' Its origi-
nal purpose was ' mutual improvement by inter-
change of ideas, to broaden the culture of music,
and to cultivate fraternal feeling.' At present
this is defined as ' the advancement of musical
knowledge and education.' The founders,
most of whom were connected with 'Normal
Institutes' (teachers' summer-schools), had
specially in mind the needs of scattered private
teachers, and emphasized social contact, discus-
sion of practical problems and the elevation of
popular conceptions regarding musical worlc
The size of the Association and its geographical
range have varied greatly. Altogether, its mem-
bership has probably included over 10,000 per-
» Delaware, O., 1876; Chautauqua, N. Y., 1878;
Cincinnati, O., 1879, 1899, 1913; Buffalo, N. Y,
1880, 1915; Albany, N. Y., 1881; Chicago, 111.,
1882, '1888 (1893), 1920; Providence, R. I., 1883;
Cleveland, O., 1884, 1892; New York City, 1885,
1897, 1898, 1905, 1907, 1916; Boston, Mass., 1886,
1910; Indianapolis, Ind., 1887; Philadelphia, Pa.,
1889,1919; Detroit, Mich., 1890 ; Saratoga Springs,
N. Y., 1894; St. Louis, Mo., 1895, 1904, 1918; Den-
ver, Colo., 1896; Des Moines, la., 1900; Put-in-Bay,
O., 1901, 1902; Asheville, N. C, 1903 ; Oberlin, O.,
1906; Washington, D. C, 1908; Evanston, 111.,
1909 ; Ann Arbor, Mich., 1911 ; Poughkeepsie, N. Y.,
1912; Pittsburgh, Pa., 1914; New Orleans, La., 1917.
song, the average per year being now about 400.
It has regularly aimed to publish each year an
Annual Report in some form. These volumes,
though .varying much in character, are invalu-
able records of the progress of ideas, i The presi-
dents have been Eben Tourjee (1876), James A.
Butterfield (1878), Rudolf de Roode (1879),
FenelonB. Rice (1880-81), Arthur Mees (1882),
Edward M. Bowman (1883-84, 1893-94, 1905),
Smith N. Penfield (1885), Albert A. Stanley
(1880), CalLKa Lavallee (1887), Max Leckner
(1888), Wilbur F. Heath (1889), Albert R.
Parsons (1890), Jacob H. Hahn (1891), N. Coe
Stewart (1895), Ernest R. Kroeger (1896),
Herbert W. Greene (1897-98), Arnold J. Gant-
voort (1899-1900), Arthur L. Manchester
(1901-02), Rossetter G. Cole (1903, 1909-10),
Waldo S. Pratt (1906-08), Peter C. Lutkin
(1911, 1920), George C. Gow (1912), Charles
H. Farnsworth (1913-14), J. Lawrence Erb
(1915-17), Charles N. Boyd (1918-19). Of
the many secretaries, H. S. Perkins was longest
in office (1888-98), and notably efficient. Be-
sides other general officers, for long periods
there have been extensive lists of State vice-
presidents. The Association was incorporated
in 1887 under the laws of Indiana. Its con-
stitution has been remodeled at intervals, the
present form being that adopted in 1906.
The emphasis of the Association's discussions
and effort has always been upon the problems
and details of practical music-teaching, in-
cluding raising the level of teachers and sug-
gesting improved methods of teaching. Much
attention has been given to questions about
music in the public schools, in colleges and
universities, and in community welfare. Every
aspect of genuine musicianship in its practical
applications has been somewhat considered.
For many years, also, special effort was made to
improve the recognition of American com-
position, including many recitals of American
works and even the offering of prizes for such
works. Through permanent committees on
various subjects considerable general influence
has been exerted.
The Association early advocated interna-
tional copyright for music, and also the adop-
tion of 'international' pitch. It fostered the
formation of a large number of State Associa-
tions, and has been cordial in relation to many
other associations, even when they tended to
deplete its own ranks. In 1883 it was directly
1 No Reports apparently in 1877, 1879, 1891, 1893
(see 1894), 1898, 1905 (see 1906). From 1900 to 1905
the Association issued a periodical. The Messenger
(quarterly, then bimonthly), ably edited by Arthur
L. Manchester, which contained much more than
the records of meetings. Since 1906 the Proceedings,
under the title of Studies in Musical Education,
History and ^Esthetics, have been issued in handsome
bound form (index to first ten volumes in 1915).
It is unfortunate that complete files of the publica-
tions before 1900 are extremely rare.
MUSICAL ALLIANCE OF AMERICA
'MUSICAL QUARTERLY' 303
concerned in the setting up of the American
College of Musicians — the]f orerunner of several
later efforts at 'standardization' — which, in
spite of an excellent purpose and plan, did not
have permanence. Various other enterprises
might be named which expressed the practical
energy that has usually characterized the Asso-
ciation's policy.!
MUSICAL ALLIANCE OF AMERICA,
THE, was started in 1917 by John C. Freund
of New York. Its special purposes are to
advance the recognition of music as vital to
national, civic and domestic life, to extend the
study of music in the public schools, to magnify
the importance of music by American com-
posers and especially to urge the establishment
of a National Conservatory. The movement
has secured the interest of a large number of
musicians of every class.
' MUSICAL AMERICA, ' of New York. A
weekly periodical established by John C.
Freund in 1898 and since edited by him. After
a break in publication, since 1905 it has been
conducted on an enlarged scale as a record of
manifold professional activities.
MUSICAL ART SOCIETY, THE, of New
York. See article in Vol. iii. 335. The strik-
ing record of achievement of this society con-
tinues without break under the enterprising
leadership of Frank Damrosch.
MUSICAL ASSOCIATION OF SAN
FRANCISCO, THE. See San Francisco
Symphony Orchestra.
'MUSICAL COURIER, THE,' of New
York. See note in Vol. iii. 689.
MUSICAL FUND HALL. A music-haU
erected in 1824 for the Musical Fund Society
of Philadelphia (see below) and used for its
concerts and many others for more than thirty
years. Its original plan was made by William
Strickland and acoustically it was very suc-
cessful. It was also so arranged as to be self-
supporting from the rental of offices and
studios. In 1847 it was elongated and re-
arranged, so as to accommodate 1500. See cut
and notes in Madeira, Annals of Music in
Philadelphia.
MUSICAL FUND SOCIETY, THE, of
Boston, was formed in 1847 by Thomas Comer
on the lines of the Philadelphia Society, but
only for orchestral concerts. It never reached
a high plane of excellence in programs or per-
formance, though improved in later years
under G. J. Webb as conductor, and was dis-
continued in 1855.
MUSICAL FUND SOCIETY, THE, of
New York, was, like the Boston Society, in-
' The detailed history of the Association is to be
followed in its annual Reports or Proceedings. In
1893 H. S. Perkins issued a Historical Handbook,
which is at least singular in style, and similar retro-
epects are found in the Reports for 1888 and 1893
and in the Proceedings for 1908, 1909, 1911 ^nd 1914.
tended to provide orchestral concerts. It was
formed about 1828 and continued till after
1840, forming a bridge between the old and
the new Philharmonic Societies.
MUSICAL FUND SOCIETY, THE, of
Philadelphia, was founded in 1820 by a group
of professional and amateur musicians who
had met informally for several years to prac-
tice chamber-music. Leading spirits in the
enterprise were Taylor, Carr, Hupfeld, Gilles,
Cross and Schetky. The name arose from the
fact that one of the objects was to establish
a fund for the relief of needy musicians. The
other was to give concerts of a high class, choral
and orchestral. The first concert was given
on Apr. 24, 1821. In 1824 Musical Fund Hall
was built (see above). In 1825 an Academy of
Fine Arts was projected, somewhat in connec-
tion with the University of Pennsylvania, but
this educational effort ceased in 1832. The
Society continued for almost forty years, serv-
ing as a center for the best musical interests of
the city. In 1858 it was given up. Besides
a goodly list of oratorios, symphonies and over-
tures, it introduced many eminent soloists,
either in its regular concerts or under its patron-
age, such as Malibran, Ole Bull, Vieuxtemps,
Herz, Jermy Lind and Sontag. See Madeira,
Annals of Music in Philadelphia and History
of the Musical Fund Society, 1896 (edited by
P. H. Goepp). On May 4, 1920, a musical
masque representing a 'Jenny Lind Concert
in 1850' was given to commemorate the cen-
tenary of the Society.
MUSICAL GLASSES. See Harmonica.
MUSICAL INSTRUMENTS, COLLEC-
TIONS OF. See article in Vol. iii. 336-8,
and articles in this volume on the Brown Col-
lection in New York and the Stearns Col-
lection in Ann Arbor.
'MUSICAL LEADER, THE.' See note
in Vol. iii. 689.
' MUSICAL MONITOR, THE.' A monthly
periodical issued since 1912 as the official organ
of the National Federation of Musical Clubs.
The editor is Mrs. David Allen Campbell.
'MUSICAL OBSERVER, THE.' A
monthly periodical published since 1904 by
Carl Fischer, New York. Its editor from the
beginning has been Gustav Saenger.
'MUSICAL QUARTERLY, THE,' issued
since 1915 by G. Schirmer, New York City,
was the fruit of a long-standing desire on the
part of Rudolph E. Schirmer to establish a
musical periodical in English of the highest
quality and of cosmopolitan scope. Its notable
success from the start was insured by securing
O. G. Sonneck (then of the Library of Con-
gress) as editor. His energy, knowledge, tact
and skiU, with the disinterested liberality of
the publishers, have combined to make the
magazine uniquely significant. The dominant
304 'MUSICAL QUARTERLY'
MUSICAL SOCIETY
purpose has been to stimulate the literary treat-
ment of musical topics, historical, critical and
practical. The original plan was to draw from
foreign writers as freely as from American.
The outbreak of the World War just before
issues began naturally interfered with this
somewhat, although the 150 articles in the
first four volxmies were about equally divided
between Europe and America. All articles
are in English, and some are accompanied by
excellent illustrations.
The English contributors have been (to 1919)
Herbert Antcliffe (3), Rutland Bough ton (2), Ananda
Coomaraswamy, Frederick Corder (4), A. Redgrave
Cripps, Edward J. Dent (3), Edward R. Dibdin,
Edwin Evans, W. H. Grattan Flood (2), J. A. Fuller-
Maitland (4), Reginald Gatty (2), Percy Grainger,
W. H. Hadow, Clement A. Harris (2), Ernest Hart,
Arthur Hinton, A. Eagleficld Hull, Frank Kidson
(3), W. J. Lawrence (4), M. Montagu-Nathan, John
Palmer, D. C. Parker (4), C. Hubert H. Parry, John
F. Runciman (2), Percy A. Scholes, Cyril Scott (3),
Edward Speyer (2), W. Barclay Squire (4), C. Villiers
Stanford (2), R. A. Streatfeild, Francis Toye (2),
C. Stanley Wise. The French and Italians include
Michel Brenet, R. D. Chennevi^re, Henri de Curzon
(2), Guido A. Fano, Am6d6e GastouS, Gabriel
Grovlez, Jean Hurfi, G. Jean-Aubry (2), L. de La
Laurencie, J. G. Prod'homme (7), Charles Quef,
Camille Saint-Saens, Julien Tiersot (3), Fausto
Torrefranca. The Germans, Austnans and others
are Oscar Bie, Elizabeth Foerster-Nietzsche, Viktor
von Herzfeld, Edgar Istel (3), Hans Kleemann,
Hugo Leichtentritt (2), Wilhelm Peterson-Berger,
Egon Wellesz.
The articles by Americans are as follows : George
W. Andrews, 'Music as an Expression of Religious
Feeling' ; Winton J. Baltzell, 'The American College
Man in Music'; Phillips Barry, 'Greek Music';
Ludwig Bonvin, 'On Syrian Liturgical Chant';
Ernest Bruncken, ' The Philosophy of Copyright ' ;
Charles L. Buchanan, 'Ornstein and Modern Music,'
'The Unvanquishable Tchaikovsky'; J. N. Burk,
'The Fetish of Virtuosity,' 'The Democratic Ideal
in Music'; Natalie C. Burlin, 'The Classic Dance of
Japan,' 'Black Singers and Players,' 'Negro Music
at Birth'; Charles W. Cadman, 'The Idealization
of Indian Music'; Sheldon Cheney, 'The Book-
plates of Musicians and Music-Lovers'; Philip G.
Clapp, 'Sebastian Bach, Modernist'; D. A. Clip-
pinger, 'Scientific Voice-Training'; T. P. Currier,
'Edward MacDowell as I Knew Him' ; J. C. Deagan,
' A-440 Pitch Adopted'; Frances Densmore, 'The
Study of Indian Music' ; Olin Downes, 'An American
Composer' (Henry F. Gilbert) ; Arthur Elson,
'Literary Errors about Music,' 'Sound and its Uses' ;
Louis C. Elson, 'Acoustics'; Carl Engel, 'De Gusti-
bus,' 'Music we shall Never Hear,' 'The Miraculous
Appeal of Mediocrity'; J. Lawrence Erb, 'Music
in the American University,' 'Music in the Education
of the Common Man'; Charles H. Farnsworth,
'The Judgment of Paris'; Harold Flammer, 'Ad-
vertising as a Fine Art'; Harvey B. Gaul, 'Bonnet-
Bossi-Karg-Elert'; Sophie P. Gibling, 'Problems of
Musical Criticism'; 'Types of Musical Listening';
Henry F. Gilbert, 'The American Composer,' 'The
Survival of Music,' 'Folk-Music in Art Music,'
' Originality' ; Lawrence Gilman, 'Taste in Music' ;
Philip Gordon, 'Franz Grillparzer' ; George C. Gow,
'Rhythm, the Life of Music' ; John C. Griggs, 'The
Influence of Comedy upon Operatic Forms ' ; Eugene
Gruenberg, 'Stage-Fright'; Henry J. Harris, 'The
Occupation of Musician in the United States' ; Arthur
Hartmann, 'The Czimbalom'; W. J. Henderson,
'The Function of Musical Criticism,' 'A Note on
Floridity ' ; H. T. Henry, ' Music Reform in the
Catholic Church,' 'Choir-Boys in Catholic Churches,'
' Wanted, a Historico-Musical Clearing-House' ;
Edward B. Hill, 'Vincent d'Indy'; Edwin Hughes,
'Musical Memory in Piano Playing,' 'Joseffy's
Contribution to Piano Technic,' 'Liszt as a Lieder
Composer'; James Huneker, 'The Classic Chopin';
Lewis M. Isaacs, 'A Friend of Dr. Johnson' ; Edward
Kilenyi, 'The Theory of Hungarian Music'; Henry
E. Krehbiel, 'Alexander Thayer and his Life of Bee-
thoven'; Ernst C. Krohn, 'The Bibliography of
Music'; Frank Lester, 'Kluckhorn's Chord';
Arthur W. Locke, ' Note on Hoffmann's Kreisleriana ' ;
Orlando A. Mansfield, 'Anomalies in Orchestral
Accompaniments to Church Music,' ' Characteristics
and Peculiarities of Mendelssohn's Organ Sonatas,'
'W. T. Best,' 'The Minuet in Handel's Messiah,'
'Musical Discrepancies'; Frederick H. Martens,
'The Attitude of the Dancer toward Music,' 'The
Modern Russian Pianoforte Sonata'; Daniel G.
Mason, 'A Study of Strauss,' 'Edward J. de Coppet,'
'A Study of Elgar,' 'Folk-Song and American-Music' ;
W. S. B. Mathews, 'Strength, Beauty and Satis-
faction in Music'; Brander Matthews, 'The Con-
vention of the Music-Drama'; Josephine McGill,
'Following Music in a Mountain Land,' 'Old Ballad
Burthens'; E. W. Morphy, 'Violin Teaching and
the Organization of Civic Orchestras'; Arthur
Nevin, 'Two Summers with the Blackfeet Indians';
N. Lindsay Norden, 'The Boy-Choir Fad,' 'A Plea
for Pure Church Music,' 'The Russian Liturgy and
its Music'; Clara T. Nichols, 'Music in our Public
Schools'; Katherine S. Oliver, 'On Friendship';
Waldo S. Pratt, 'On Behalf of Musicology'; William
G. Rice, 'Tower Music of Belgium and Holland';
Francis Rogers, 'America's First Grand Opera
Season,' 'Memories of Ethelbert Nevin,' 'The Male
Soprano'; James F. Rogers, 'A Song of Rags,'
'Music as Medicine'; Frederick W. Root, 'Imagina-
tion and Fact in Voice Culture'; Cornelius Riibner,
'Niels W. Gade'; Algernon St. John-Brenon, 'Giu-
seppe Verdi'; Herbert Sanders, 'Counterpoint Rev-
olutionized'; E. Sapir, 'Representative Music';
Carl E. Seashore, 'The Measurement of Musical
Talent,' 'The Sense of Rhythm as a Musical Talent' ;
Herbert F. Small, 'On Opera'; C. Alphonso Smith,
'Ballads Surviving in the United States'; O. G.
Sonneck, 'Liszt's Huldigungs Marsch and Weimar's
Volkslied,' 'Guillaume Lekeu,' 'Rudolph E.
Schirmer'; Sigmund Spaeth, 'Translating to Music';
Walter R. Spalding, 'The War in its Relation to Amer-
ican Music'; Constantin von Sternberg, 'Singing or
Music,' 'On Plagiarism'; G.Edward Stubbs, 'Secula-
rization of Sacred Music,' 'Why we have IMale Choirs
in Churches'; David C. Taylor, 'Voice Culture, Past
and Present'; Carl Van Vechten, 'Shall we Realize
Wagner's Ideals?' 'Notes on Gluck's Armide,'
'De Senectute Cantorum,' 'The Relative Difficulties
of Depicting Heaven and Hell in Music ' ; Eva A.
Vescelius, 'Music and Health'; Helen Ware, 'The
American-Hungarian Folk-,Song ' ; Wesley Weyman,
'The Science of Pianoforte Techniiiue'; T. Carl
Whitmer, 'A Post-Impressionistic View of Beetho-
ven,' 'The Energy of American Crowd Music' ; Her-
bert J. Wrightson, 'The Secret of Technique';
Jaroslaw de Zielinski, 'Russian Hunting Music'
MUSICAL SOCIETY, THE, of Boston,
apparently founded in 1785 and continuing till
1789, is important because probably directed
by William Selby and because it carried through
'MUSICIAN, THE'
MYER
305
a performance of extracts from Handel's works
in January, 1786, which seems to have stimu-
lated similar efforts elsewhere. See Sonneck,
Concert-Life, pp. 275-82.
•MUSICIAN, THE.' See article in Vol.
iii. 688-9. Mr. Tapper ceased to be editor
in 1907 and was succeeded by W. J. Baltzell,
who continued till 1918, when the magazine
passed from the Ditson Company to the
Henderson Publications, Inc., New York.
MUSIKVEREIN, DER, of Milwaukee,
was founded in 1847, giving its first concert
in May, 1850. Its conductor till 1860 was
Hans Balatka. Combining choral and orches-
tral efforts and being supported by a large Ger-
man constituency, it stands out as one of the
leading early factors in the development of
musical interest in the Interior. For list of
works performed up to 1880, see Ritter, Music
in America, chap. xxi. The present conductor
is Hermann A. Zeitz.
MUSIN, OVIDE (Sept. 22, 1854, Nandrin,
Belgium). See article in Vol. iii. 342. His
first American appearance was in 1883 with
the New York Symphony Society under Leo-
pold Damrosch. With the Philharmonic So-
ciety under Thomas he played the Godard con-
certo for the first time in America. Form-
ing his own concerts troupe, he made many
tours in the United States, in 1892 journeyed
to Australia, New Zealand and Mexico, and in
1896 visited Japan, China and Manila. In
1908 he established a violin-school in New York.
His decorations are many — Officier de I'Ordre
de Leopold in Belgium, Commandeur de I'Ordre
du Nisham Iftikar and Officier de I'Academie
in France, member of the Ordre du Merite in
Holland, Officier de I'Ordre de Bolivar in
Venezuela, etc. His violin-works (with or-
chestra or piano) include two Caprices, Valse
de Concert, Mazurka de Concert, 'Extase,'
Valse Lente, Berceuse, 'Mazurka Elegante'
and 'Lullaby and Prayer.' He has made nu-
merous transcriptions, as of Bach's Chaconne,
Viotti's 22nd Concerto, Handel's Sonata in A,
Tartini's 'Trillo del Diavolo' and Variations
on a Corelli Gavotte (all Carl Fischer) ; a
Prelude by Campagnoli, Pergolese's 'Canzonet
Napolitaine,' Paganini's Romance in B minor,
Radoux' 'Words from the Heart,' and many
others in his own Repertoire du Virtuose. He
has combined his own studies with those of
Leonard in The Belgian School of the Violin,
4 vols., 1916, besides issuing many separate
exercises and studies. His wife, n6e Annie
Lotiise Hodges (b. 1856, Oshkosh, Wis.), is
an accomplished soprano and has joined him
in his many concert-tours. [ R.7 ]
MUZIO, CLAUDIA (b. 1892). See Regis-
ter, 10.
MYER, EDMUND JOHN (Jan. 21, 1846,
York Springs, Pa.), after general education
in Wyoming Seminary and Dickinson College
in Pennsylvania, studied music in Philadelphia
and New York. In 1878 he settled in the
latter city, where he has since been active as
a singer and teacher of singing. He founded
the National Sxmamer School of Music at Lake
Chautauqua and Round Lake, N. Y., and has
also taught summer-classes in Seattle, Wash.
He is author of Truths of Importance to Vo-
calists, 1883, The Voice from a Practical Stand-
point, 1886, Voice-Training Exercises, 1888,
Vocal Reinforcement, 1891, Position and Action
in Singing, 1897, The Renaissance of the
Vocal Art, 1902, The Vocal Instructor, 1913,
and A Revelation to the Vocal World, 1917.
[ R.6 1
N
NACHEZ, TIVADAR (b. 1859). See Reg-
ister, 10.
NAGEL. FRANK (b. 1870). See Col-
leges, 3 (Highland Park C, Iowa).
NAPOLEAO, ARTHUR (b. 1843). See
Register, 5.
t NAPRAVNIK, EDUARD FRANTS-
OVITCH (Aug. 24, 1839, near Koniggratz,
Bohemia : Nov. 10, 1916, Petrograd, Rus-
sia). See article in Vol. iii. 352-3. There are
Russian biographies by Weymarn, 1888, and
Findeisen, 1898.
NARODNY, IVAN (b. 1874) and MARIA,
n6e Mieler (b. 1888). See Register, 9.
NASH, W. See Tune-Books, 1836.
NATIONAL CONSERVATORY OF MU-
SIC OF AMERICA, THE, of New York and
Washington, was founded in 1885 by Mrs.
Jeannette M. Thurber and holds charters
both from New York State (1885) and from
Congress (1891), as to this latter being unique.
Until about 1915 tuition was free, being pro-
vided by funds supplied by Mrs. Thurber
and other supporters. The average number
of pupils per year has been about 600. It
has been specially successful in helping students
of foreign birth and certain special classes,
like the blind and those of Negro blood. At
first vocal music was emphasized, with much
attention to solfeggio, after the model of the
Paris Conservatory, but all instrumental
and theoretical branches were soon added.
The list of distinguished teachers who have
served for a longer or shorter time is long and
imposing. Among the general directors have
been Jacques Bouhy in 1885-89, Antonin
Dvofdk in 1892-95, Emil Paur in 1899-1902
and Wassily Safonov in 1906-09, and on the
staff have been names like Mme. Fursch-Madi
(1885-94), B. O. Klein (1887-92), Adele
MarguHes (since 1887), Joseffy (1888-96),
Huneker (1888-98), Finck (since 1888),
S. P. Warren, Victor Herbert, Anton Seidl,
Frank Van der Stucken, Leo Schulz (since
1890), Leopold Lichtenberg (since 1899),
Max Spicker (1895-1912) and many others.
Humperdinck was invited to become director
in 1913 and accepted, but was not released
at Berlin. From time to time the Con-
servatory has offered prizes for composition
— among the winners being Henry Schoene-
feld with his 'Rural Symphony' (1892),
Joshua Phippen of Boston with a piano-
concerto, F. F. BuUard with a suite for strings,
Horatio Parker with his cantata ' The Dream-
King and his Love,' and G. W. Chadwick with
a symphony. Marguerite Merington also
took a prize for the opera-libretto 'Daphne.'
Special attention has been given to the de-
velopment of the Conservatory orchestra and
its operatic classes. It was while director that
Dvorak wrote his 'New World' Symphony,
the title being suggested by Mrs. Thurber.
NATIONAL ASSOCIATION OF OR-
GANISTS, THE, was organized in 1908 by
Tali Esen Morgan as an outgrowth of gather-
ings promoted by him at Ocean Grove, N. J.
Its first seven conventions (till 1914) were
held at Ocean Grove. In 1915-17 they were
at Springfield, Mass., in 1918 at Portland,
Me., in 1919 at Pittsburgh and in 1920 at
New York. The presidents have been Will
C. Macfarlane in 1908-09, Mark Andrews
in 1909-10, Homer N. Bartlett in 1910-11,
Clarence Eddy in 1911-12, J. Christopher
Marks in 1912-14, Arthur S. Brook in 1914-
17, Frederick Sclilieder in 1917-20 and now
Henry S. Fry. The object of the Association
is fraternal rather than academic. In a
variety of ways it has served to arouse en-
thusiasm among its members and to advance
the interests of organ-music as a specialty.
The present membership is over 1000. Its
official organ was at first 'The Musical World,'
in 1915-19 'The Console,' which was wholly
devoted to its affairs and well edited by
M. M. Hansford, and now 'The Diapason.*
Since 1912 the secretary has been Walter
N. Waters, 24 W. 60th St., New York.
NATIONAL EDUCATIONAL ASSOCIA-
TION, THE, since about 1880 has regularly
given attention to questions relating to music,
especially in the public schools, and has long
maintained a Music Section for this purpose.
Its Annual Proceedings have therefore included
a large number of important papers on the sub-
ject. The president of the Section for 1920 is
W. Otto Miessner of the Milwaukee State
Normal School and the secretary Sarah B.
Callinan, William Penn High School, Philadel-
phia.
NATIONAL FEDERATION OF MUSI-
CAL CLUBS, THE, was founded in 1898 by
Mrs. Theodore Sutro of New York. It has now
grown to vast proportions, knitting together
musicians and music-lovers throughout the
country, and instigating activity of various
sorts, from the development of the small
local circle to the holding of great biennial
assemblages in different places. Eleven such
conventions have been held, the latest in
1919 at Peterboro, N. H., in connection with
the MacDowell Memorial Colony there.
The Federation publishes 'The Musical
Monitor' as its official organ, the editor being
Mrs. David A. Campbell, The president
306
NATIONAL OPERA COMPANY
NEUENDORFF
307
is Mrs. F. A. Seiberling, of Akron, O., and the
secretary Mrs. John F. Lyons, Fort Worth,
Tex. The entire country is divided into dis-
tricts, each with its own officers, so that a
large amount of local enthusiasm is stimulated.
In connection with its biennial gatherings,
as well as on a smaller scale in other ways,
the Association aims to foster musical pro-
duction by offering various prizes, often of
large amount.
NATIONAL OPERA COMPANY, THE,
was the name adopted by the American Opera
Company for the season of 1886-87. Theodore
Thomas continued as conductor, assisted by
Gustav Hinrichs and Arthur Mees. The
most notable event was the first American
rendering of Rubinstein's ' Nero ' (in English)
on Mar. 14, 1887, at the Metropolitan Opera
House. Masse's 'Galatea' was also given in
Brooklyn on Dec. 30, 1886, and Delibes' ballet
'Coppelia' at the Metropolitan in March.
The company spent most of its time on tour,
winding up disastrously at San Francisco,
though with two or three performances on
the way back to New York.
'NATOMA.' A three-act opera by Victor
Herbert on a text by Joseph D. Redding.
It was foreshadowed in an announcement
by Hammerstein as early as 1907, was sub-
mitted to Gatti-Casazza at the Metropolitan
Opera House and partially tested in rehearsal,
and was finally produced by the Chicago-
Philadelphia Company at Philadelphia on
Feb. 25, 1911, and repeated by the same
Company at the Metropolitan on Feb. 28.
The story is laid in Southern California during
the Spanish domination and involves some
Indian elements.
'NEC-NATOMA.' No. 12 of the 'Grove-
Plays' of the San Francisco Bohemian Club,
produced in 1914. The music is by Uda
Waldrop and the text by J. Wilson Shields,
the scene being long ago in the redwood forest.
NEFF, CHARLES DANIEL (b. 1867).
See Colleges, 3 (Upper Iowa U.).
NEGRO MUSIC. See article in Vol. iii.
359-62. The bibliography is open to con-
siderable extension, certainly so as to include
Krehbiel, A fro- American Folk-Songs, 1914,
Mrs. Curtis-Burlin, Negro Songs, 2 vols.,
1918, with her articles in 'The Musical
Quarterly,' January and October, 1919, and
the summaries in The Art of Music, iv. pp.
284-311, and in The American History and
Encyclopedia of Music, volume on 'American
Music,' pp. 47-70. A striking article on
'Musical Culture in Negro Schools and
Colleges,' by Mrs. Lydia H. Hamlin, is in
the M. T.N. A. Proceedings, 1916, pp. 144-55.
This latter calls attention to the way in which
the Negro's innate capacity for song is being
turned to practical account in present-day
education. Interesting instances of strong
artistic development among colored students
in music-schools in many parts of the country
might be cited. R. Nathaniel Dett, music-
director at Hampton Institute, has notable
distinction as composer and Harry T. Bur-
leigh has made a mark as singer and song-
writer. These are but conspicuous examples.
In 1912 David Mannes started in New York
a Music School Settlement for Colored People.
In 1919 began the issue of a monthly periodical
in Philadelphia, 'The Master-Musician,' de-
voted to the interests of Negro musicians.
Analogous to what was noted under Indian
Music is the increasing tendency among
American composers to utilize Negro themes
or at least the spirit and topics of Negro
music. Chadwick in his 2nd Symphony
(1885) was perhaps the first significant ex-
ample. Dvorak's 'New World' Symphony
(1893) doubtless exerted more influence,
especially because expressing a strong con-
viction on the composer's part as to the value
of this neglected source. Gilbert early began
the series of works that includes the 'Negro
Episode,' the ' Americanesque' (1903), the
'Comedy-Overture' (1911), the 'Negro Rhap-
sody' (1913) and 'The Dance in Place Congo'
(1918). Humiston's 'Southern Fantasie'
came out in 1906, and Powell's 'Sonata
Virginianesque,' his suite 'In the South'
and various lesser works were not much later.
Innumerable cases might be cited of the use
of Negro material in songs, as by Farwell,
Ayres, Burleigh, Cook and others, besides
the composers already named.
With reference to the extension of music-
education it is not impossible that in the future
the various colleges for Negroes will become
able to magnify technical training so as to
produce decided results. At present only
two or three of these colleges emphasize music,
notably Fisk University at Nashville, Hampton
Institute in Virginia and Tuskegee Institute
in Alabama.
NEIDLINGER, WILLIAM HAROLD
(b. 1863). See Register, 8.
NEPOMUCENO, ALBERTO (b. 1864).
See Register, 8.
NEUENDORFF, ADOLF (June 13, 1843,
Hamburg, Germany : Dec. 4, 1897, New
York), came to New York when a boy of
twelve, studied violin with Weinlich and
Matzka and piano with Schilling, at sixteen
began playing the violin at the Stadt Theatre
and at seventeen appeared as pianist. In
1861 he toured Brazil as violinist, on his
return took up theory with Anschiitz and in
1864 succeeded him as conductor of German
opera in Milwaukee. In 1867-71 he was
music-director of the new Stadt Theatre in
New York, where he gave 40 Ught operas,
308
NEUPERT
NEVIN
and in the last season, with a troupe specially
brought from Europe, a long list of German
works, including the first American produc-
tion of 'Lohengrin' (Apr. 15, 1S71). In 1872
he joined Carl Rosa and Wachtel in giving
a notable season of Italian opera at the
Academy of Music, and for two years managed
the Germania Theatre. In 1875 he gave
German opera at the Academy, with Wachtel
again and Mme. Pappenheim. At this time
he was also leading a choral society and serv-
ing as church-organist. In 1876 he con-
ducted Beethoven concerts and attended the
opening of Wagner's opera-house at BajTeuth
as correspondent of the ' Staats-Zeitung.'
In 1877 he led the Wagner Festival at the
Academy, including the first American pre-
sentation of 'Die Walkiire' (Apr. 3). In
1878 he was conductor of the Philharmonic
Society. The failure of the Germania Theatre
in 1883 ruined him financially and he moved
to Boston, but served as conductor in various
connections, such as in 1887-88 with Josef
Hofmann, in 1889-91 with the Emma Juch
Company and in 1892 giving English opera
in New York. In 1893-95 he was in Vienna,
where his wife, Mme. Januschowsky, was
prima donna at the Opera. From 1896 he
was music-director at Temple Emanu-El in
New York and in 1897 followed Seidl as con-
ductor of the Metropolitan Orchestra. He
composed two symphonies (1878, 'SO), the
comic operas 'The Rat-Charmer of Hame-
lin' (1880), 'Don Quixote' (1882), 'Prince
Woodrufe* (1887) and 'The Minstrel' (1892),
several overtures, cantatas, choruses and songs.
[ R.4 ]
NEUPERT, EDMUND (Apr. 1, 1842,
Christiania, Norway : June 22, 1888, New
York), had his first training from his father.
From 1858 he studied in Berlin with Kullak
and Kiel, becoming teacher in the former's
Academy and associate of the latter in the
Stern Conservatory. From 1868 he was
leading piano-teacher at the Copenhagen
Conservatory and in 1880-81 was assistant
and for a short time successor of Nicholas
Rubinstein At the Moscow Conservatory.
After 1882 he was ip New York, where hia
concert-playing made a deep impression — ' a
sweep, power and breadth truly gorgeous and
overwhelming,' said one critic. His com-
positions were almost wholly salon-pieces,
6tudes and exercises, including a Piano-School
(1880), Concert-fitudes, op. 17, Octave-Stud-
ies, op. 18, Studies in Style, opp. 19-20, Poeti-
cal £;tudes, opp. 25, 51, etc. [ R.7 ]
NEVADA, EMMA [name originally Wixom]
(1862, Alpha, Cal.). See article in Vol. iii.
365-6. In 1884-85 she was a member of
Mapleson's troupe and as such sang not only
in New York and San Francisco, but at the
Grand Opera Festival in Chicago in May,
1885, and again in 1889. Since then she has
been heard only in Europe. [ R.7 ]
NEVIN, ARTHUR FINLEY (Apr. 27.
1871, Edgeworth, Pa.), after a partial course
at the University of Pittsburgh, in 1891-93
studied in Boston at the New England Con-
servatory, taking piano with Otto Bendix,
voice with Nobbs and theory with Goetschius,
followed by four years in Berlin, studying piano
with Klindworth and Jedliczka and com-
position with Boise and Humperdinck. In
1897-1910 he lived at Edgeworth engaged
with teaching and composition, except that
in 1903-04, having become deeply interested
in Indian music, he lived among the Blackfeet
Indians of Montana, noting their music and
legends. This gave the basis for his opera
'Poia,' later composed at Edgeworth, and for
many lectures, beginning with one in 1907 in
the White House in Washington at President
Roosevelt's invitation. On Apr. 23, 1910,
'Poia' was given at the Royal Opera in Berlin
under Muck — the first American opera to
be accepted by such a house — after prepara-
tion under the composer's direction. In
1911-14 he lived at Charlottesville, Va., busy
with composition, and in 1914-15 was engaged
in conducting in connection with the Mac-
Dowell Association's work at Peterboro, N.
H. Since 1915 he has been head of the choral
and extension-work of the University of
Kansas, involving the oversight of 35 com-
munity-choruses. In 1917-18 he had leave
of absence to direct music at Camp Grant in
Illinois, where he drilled 41,000 soldiers in
singing, led a massed band of 240 and oc-
casionally had a chorus of 35,000 at one time.
His works include, besides 'Poia' (published
by Filrstner), the one-act opera 'A Daughter
of the Forest' (1918, Chicago, published by
Church), the masque 'A Night in Yaddo-
Land,' the cantatas 'The Djinns,' with ac-
companiment for two pianos (divided prize
from the Mendelssohn Club of Cleveland),
and 'Roland,' a 'Miniature Suite' in five
movements for orchestra, two other orchestral
suites — 'Lorna Doone' and 'Love-Dreams,'
a string-quartet in D minor, 'At the Spring'
for string-orchestra, a piano-trio in C, 'Baka-
wali Dances' for orchestra (written for Ruth
St. Denis) , three piano-suites and other piano-
pieces, about 25 songs and several choral works.
See his article on his Indian experiences in
'The Musical Quarterly,' April, 1916. [ R.8 ]
NEVIN, ETHELBERT WOODBRIDGE
(Nov. 25, 1862, Edgeworth, Pa. : Feb. 17,
1901, New Haven, Conn.). See article in
Vol. iii. 366. Interest in his music does not
diminish, and Elson's calling 'The Rosary'
'the most famous American song' appears
justified. It was first sung by Francis Rogers,
NEVIN
NEW ENGLAND CONS.
309
accompanied by the composer, at a concert
in Madison Square Garden Concert Hall in
New York on Feb. 15, 1898. The panto-
mime 'Lady Floriane's Dream' was produced
in New York the same year. To the list of
works add the song-cycle 'Captive Memories,'
(1900, New York) and his only choral work,
' The Quest.' After his death the orchestration
of the latter was completed by Horatio Parker.
See Thompson, The Life of Ethelbert Nevin,
1913, and article by Francis Rogers in 'The
Musical Quarterly,' July, 1917. [ R.7 ]
NEVIN, GEORGE BALCH (b. 1859).
See Register, 7.
NEVIUS, J. W. See Tune-Books, 1817.
NEW ENGLAND CONSERVATORY OF
MUSIC, THE, of Boston, was" established
in 1867 by Eben Tourj^e, then in charge of
a successful school in Providence. With
him for a time was associated Robert Gold-
beck, and the original faculty included Lang,
Perabo, Emery, Zerrahn, Tuckerman and
George E. Whiting. The conservatory was
first located in rooms in the Music Hall Build-
ing, with easy access to the best concerts and
to the great organ. In 1870 the first class
of thirteen was graduated, and the Con-
servatory was incorporated with the provision
that all profits from operation should be
devoted exclusively to the interests of the
institution. The director's activity in the
Peace Jubilees of 1868 and 1872 undoubtedly
helped progress. The faculty was steadily
enlarged and strengthened, by 1875 including
every important Boston musician, and the
student-body increased rapidly, up to 1878
totaling over 14,000, coming from all parts
of the United States and Canada. An early
emphasis was given to public-school music,
for which in 1874 a summer-school was opened
at East Greenwich, R. I. When Luther W.
Mason went to Japan in 1879-82 to introduce
American methods, it was as a member of
the Conservatory staff.
In 1882 the large St. James Hotel on Frank-
lin Square was bought to provide better teach-
ing facilities and a suitable dormitory for
women-students. Here the Tourjees, husband
and wife, created a genuine home for the pupils.
In May of that year the thousandth Conser-
vatory concert was given. But the financing
of the big enterprise was difficult. Devices
like providing some non-musical instruction
were tried, and aid was sought, unsuccessfully,
from the State. This burden hastened the
director's death in 1891. He was follov/ed
in 1891 by Carl Faelten, who was in turn
succeeded in 1897 by George W. Chadwick,
the present director. The latter at once
proceeded to organize the institution upon
strictly musical lines, to strengthen the
faculty by adding yoimger teachers who
had had modern intensive training, and to lift
the standard generally to that of the best
European schools. Among the strong ac-
cessions were Helen Hopekirk, Carl Baermann,
and Wallace Goodrich, who in 1907 became
dean of the faculty. Plans were also de-
veloped for a new building, largely on the
initiative and with the help of Eben D. Jordan,
later president and munificent benefactor.
In 1902 the Conservatory removed to its
present building on Huntington Avenue,
close to the new Symphony Hall and various
literary and educational centers. This build-
ing, designed by Wheelwright and Haven,
is a model of convenience and taste — with
ample offices and public rooms, a large audi-
torium (called Jordan Hall after the donor),
a second auditorium, seating about 400, over
fifty class-rooms, a library and museum, a
music-store and printing-offices, etc. The
business-manager is Ralph L. Flanders, whose
efficient policy for over fifteen years has led
to the practical extinction of the debt of over
half a million inherited from earlier years.
The average number of students annually
is above 3000 and the total registration since
foundation over 100,000. The faculty of
over seventy-five members includes teachers
and soloists of national reputation. The
regular courses, leading to a diploma in any
one of the principal branches, are designed
to prepare for a professional career as artist
or teacher. Special students are also ad-
mitted, with full privileges as to lectures and
recitals. Emphasis is placed upon the organ-
department, the dramatic department, public-
school music, the orchestra and the various
ensemble-classes. The orchestra, numbering
about seventy-five, is a complete symphonic
organization, has rehearsals twice a week
under the director or dean, gives several
concerts with classical and modern programs,
and assists in sundry Conservatory functions,
including accompaniment of advanced stu-
dents. It has supplied players for many of the
leading orchestras of the country. Since 1905
the Conservatory has had relations with Har-
vard University whereby students of either can
pursue certain studies with credit in the other.
The library of almost 5000 volumes is strong
in complete editions, cathedral music, choral,
orchestral and chamber-works, and in books of
general reference. The museum of instruments
contains interesting specimens from Oriental
and Asiatic countries. Women-students are
provided for in a series of residences near by,
under Conservatory management, with ac-
commodation for about 200.
The Conservatory is supported by receipts
from tuition and from invested funds, the
latter largely coming by bequest from Eben
D. Jordan and Mrs. Robert Dawson Evans.
310 NEW HAVEN ORCHESTRA
NEWMAN
Reference is made on pp. 33-4 to the unique
eminence of the Conservatory in the history
of American musical education. It was the
first large music-school, and has always
occupied a position of noble leadership and
beneficent influence.
NEW HAVEN SYMPHONY ORCHES-
TRA, THE, was organized in 1896 more or
less as an adjunct to the Yale School of
Music. Until 1919 the conductor was Horatio
Parker. In 1907 Isidore Troostwyk, the con-
certmaster, started the New Haven String
Orchestra, which he has since conducted.
Among first performances by this latter are
Kriens' 'In Holland' Suite (1912) and a suite
by Troostwyk (1914).
'NEW MUSIC REVIEW, THE.' See
note in Vol. iii. 689. The first number of
' The Church Music Review' appeared in
December, 1901. The 'Review' has occupied
a place by itself for acute editorials, able
contributed articles, useful summaries of
leading events, the management of church
music and for many years official records of
the A. G. O.
NEW ORLEANS FRENCH OPERA
TROUPE, THE, is the name most often used
for various companies playing in New Orleans
at intervals from about 1800 and often making
considerable tours in the North. Most of
these were troupes brought from Paris.
NEW ORLEANS OPERA HOUSE, THE,
or The New French Opera House, was built
by Boudousquie in 1859 and remained the
home of brilliant productions until 1919, when
it was destroyed by fire. Among works
given here for the first time in America are
Gounod's 'La Reine de Saba' and 'Le Tribut
de Zamora,' Bizet's 'L'Arlesienne,' Massenet's
'Herodiade,' 'Esclarmonde,' 'Werther,' 'Cen-
drillon' and 'Don Quichotte,' Salvayre's 'Rich-
ard III,' Saint-Saens' ' Samson et Dalila,' Lalo's
'Le Roi d'Ys,' Reyer's 'Salammbo,' Cilia's
'Adrienne Lecouvreur,' Giordano's 'Siberia'
and Leroux' 'Le Chemineau.' The influence
of the traditions of this House has been espe-
cially felt in Chicago and New York. See The
Art of Music, iv. pp. 162-5.
NEW THEATRE, THE, in New York, was
erected in 1909 primarily to provide a place
for spoken drama. In 1909-10, however, it
was the scene of a supplementary season of
40 performances by the forces of the Metro-
politan Opera House, the works being lighter
than those there given. In 1913-15 it was
again used for opera under the name of The
Century Theater (see Century Opera Com-
pany).
NEW YORK CHAMBER MUSIC SO-
CIETY, THE, was formed in 1914 by Carolyn
Beebe and Gustave Langenus. At first they
shared the direction, but soon Miss Beebe
became sole conductor. The aim has been to
assemble a strong body of expert players of
both string- and wood-instruments, to develop
an ensemble like that of a string-quartet,
and to build up a large and significant reper-
toire. The Society has had much success.
In 1919 it was incorporated, and now controls
the exclusive services of its players. The
members are Miss Beebe, pianist and di-
rector, Pierre Henrotte and Scipione Guidi,
violins, Samuel Lifschey, viola, Paul K6fer,
'cello, Emil Mix, double-bass, Gustave Lan-
genus, clarinet, William Kincaid, flute, Henri
de Busscher, oboe, Ugo Savolini, bassoon,
and Joseph Franzl, horn. All the members
are American-born or naturalized citizens.
The Society has introduced the following
works :
(1917) Dubois' 'Deux Pieces en forme canonique' ;
d'Indy'a Trio in B-flat, op. 29; Goepfart's Quartet
in F, op. 98; Huas' Four Intermezzi ; Sekles' Serenade
in B-flat, op. 6 ; Mason's Scherzo-Caprice, op. 14a ;
Tovey's Variations on a theme of Glucli, op. 28 ; Hol-
brooke's Nocturne, 'Fairyland,' op. 57, no. 1 ; Hurt's
Quintet in D ; (1918) Dubois' Quintet in F and
Dixtuor in D ; Juon's Divertimento in F, op. 51 ;
Taylor's Suite, 'Through the Looking-Glass,' op.
12; Goossens' Suite in C, op. 6; (1919) Ries' Octet
in A-flat, op. 128; Firani'a 'Gavotte Rococo' and
'Whirlwind' Scherzo; Tovey's Trio in D minor,
op. 14; Goossens' Suite, ' Impressions of a Holiday,'
op. 7; (1920) Lefebvre's Quintet in A; Griffes'
Suite, op. 5 ; Sowerby's Quintet in D minor ; Jun-
gen's Trio in F-sharp, op. 30.
Several of these were written for the Society,
and other special works are in prospect.
NEW YORK COLLEGE OF MUSIC, THE,
was founded in 1878. In 1887-1905 the di-
rector was Alexander Lambert, who was
succeeded by Carl Hein and August Fraemcke.
NEW YORK SACRED MUSIC SOCIETY,
THE, was a choral society formed in 1823
on the basis of the choir of Zion Church. In
1831 it gave 'The Messiah' — the first com-
plete performance in New York — and in
1838 the first American rendering of 'St.
Paul,' both conducted by U. C. Hill. In
1849 it was replaced by the Harmonic Society.
NEW YORK TRIO CLUB, THE, was
founded about 1867 by Bernard*us Boekelman
and directed by him as pianist till 1888. The
other members were R. Richter, violinist, and
Emil Schenck, 'cellist. In 1919 a New York
Trio was formed with Clarence Adler, pianist,
Scipione Guidi, violinist, and Cornelius Van
Vliet, 'cellist.
NEWCOMB, ETHEL (b. 1879). See Reg-
ister, 9.
NEWHALL, JAMES. See Tune-Books,
1802.
t NEWMAN, ERNEST (Nov. 30, 1868,
Liverpool, England), was originally meant
to enter Civil Service work in India, but was
diverted by ill-health into business in Liver-
NICHOLAS
NORDEN
311
pool, taking up writing as an avocation. In
1903-05, however, he taught music in the
Midland Institute at Birmingham, and since
1905 has been music-critic, in 1905-06 for the
Manchester 'Guardian,' in 1906-19 for the
Birmingham 'Post' and since 1919 for the
London 'Observer.' His extensive knowledge
and incisive style have made him eminent as
a writer. He has published Gluck and the
Opera, 1895, A Study of Wagner, 1899, Wagner,
1904, Musical Studies, 1905, Elgar, 1906, Hugo
Wolf, 1907, Richard Strauss, 1908, Wagner as
Man and, Artist, 1914, and A Musical Motley,
1919, besides translating Weingartner's Ueber
das Dirigieren, Schweitzer's /. S. Bach, and
most of the Wagner opera-texts in the Breit-
kopf & Hartel edition. He has also edited
The New Library of Music and Fifty Songs of
Hugo Wolf, and was a contributor to The Art
of Music, 1914-17.
NICHOLAS, CHARLES K. See Col-
leges, 3 (Midland C, Neb.).
NICHOLL, HORACE WADHAM (Mar.
17, 1848, Tipton, England). See article in
Vol. iii. 372. From 1883 he was long a reader
for Schirmer. In 1888-95 he taught harmony
and ensemble-playing with Boekelman at
Farmington, Conn. He has published 12
Grand Preludes and Fugues for piano (ex-
traordinary for contrapuntal dexterity), an
organ-sonata in A minor, op. 42, a piano-
concerto in D minor, op. 10, a 'cello-sonata,
op. 13, a violin-sonata, op. 21, etc. He has
also issued a Text-Book on Harmony. [ R.6 ]
NIELSEN, ALICE (b. 1876), See Regis-
ter, 8.
NIELSEN, PER. See Colleges, 3 (West-
minster C, Pa.).
NIKISCH, ARTUR (Oct. 12, 1855, Szent-
Mikl6s, Hungary). See article in Vol. iii.
379-80. In 1912 he made a tour of the
United States with the London Symphony
Orchestra (85 players), giving 27 concerts
during April, beginning in New York and in-
cluding Chicago, Kansas City, St. Louis,
Buffalo, Toronto, Ottawa, Montreal and
New York again, all with notable success.
See biographies by Pfohl, 1900, and Lipaiev,
1904. [ R.7 ]
NIKITA [Louise Margaret Nicholson] (b.
1872). See Register, 7.
NILSSON, CHRISTINE (Aug. 20, 1843,
near Wexio, Sweden). See article in Vol.
iii. 380-1. In August, 1916, a national tribute
was given her by testimonial performances
in the opera-houses and theaters, a public
reception and the presentation of a medal on
her birthday. [ R.6 ]
NINISS, J. R. See Colleges, 2 (Queen's
C, N. C).
NOACK, SYLVAIN (Aug. 21, 1881, Rot-
terdam, Holland), at first aimed to be a
pianist, but took up the violin with Spoor
and continued with Elderling at the Amster-
dam Conservatory in 1898-1900, winning'
first prize at graduation. In 1900-03 he played
in the Concertgebouw Orchestra and in 1903-
05 taught in the Conservatory and was second
in the Conservatory Quartet. In 1905-06
he was in Rotterdam and in 1906-08 concert-
master of the City Orchestra in Aix-la-Chapelle
and leader of a quartet. From 1908 he was
second concertmaster of the Boston Symphony
Orchestra, appearing in 1909 as soloist in
Saint-Saens' B minor Concerto and repeatedly
later. In 1915, with Roth, Ferir and
Schroeder, he formed the Boston String
Quartet. In 1919 he removed to Los Angeles
to become concertmaster of the Philharmonic
Orchestra. [ R.9 ]
NOBLE, THOMAS TERTIUS (May 5,
1867, Bath, England). See article in Vol.
V. 655. After fifteen years at York Minster,
in 1913 he resigned to become organist at St.
Thomas' in New York. Besides his duties
there he has been often heard in recital else-
where, making an extended tour in 1913 and
playing at the Panama-Pacific Exposition in
1915. Columbia University made him an
honorary A.M. in 1918. His list of works
includes, besides those mentioned :
Anthems a cappella —
'But now thua saith the Lord,' 'Go to dark
Gethsemane,' 'A Christmas Pastorale,' 'Come,
0 Creator Spirit blest,' 'Come, O Thou Traveler
unknown,' 'Fierce was the wild billow,' 'Grieve
not the Holy Spirit of God,' 'Hail, gladdening
light,' 'I will lay me down in peace,' 'Jesu, the
very thought of Thee,' 'Let all the world,' 'O
hearken thou unto the voice,' 'O Thou to whom
all creatures bow' (8-part), 'O Wisdom, Spirit
of the living God,' 'Rejoice to-day with one ac-
cord,' 'The Saints of God,' 'The Soul Trium-
phant,' 'The souls of the righteous.'
Anthems with accompaniment —
'Glory to God in the highest,' 'Go not far from
me' (from Zingarelli), 'Lord, we pray Thee'
(from Haydn), 'A Prayer of Thanksgiving'
(from Kremser), 'The Risen Christ,' 'When
1 consider Thy heavens,' 'Zadok the Priest'
(from Handel).
3 Processionals, 12 Christmas Carols, 2 Vesper
Hymns.
Organ-Works —
'An Elizabethan Idyll,' 'Intermezzo in A-flat,'
' M61ancolique,' 'Nachspiel,' 3 Short Pieces
(Reverie, Elegy, Finale), Toccata and Fugue
in F minor, Triumphal March, Solemn March
in E minor. Theme and Variations in D-flat, and
arrangements of Pleyel's Adagio in B-fiat,
Camidge's Concerto in G minor, Corelli's Suite
in F, and of two Hebrew melodies.
Orchestral and Chamber-Works —
Morris-Dance for orchestra.
Suite for violin and orchestra.
Several pieces for violin and piano.
Several sacred and secular songs and part-songs.
[ R.IO ]
NORDEN, N. LINDSAY (Apr. 24, 1887,
Philadelphia), studied in New York with
312
NORDICA
NOVAOEK
Spicker, Weld and F. W. Robinson, graduated
from Columbia University in 1909 and studied
further with Rybner, gaining a Mus.B. in 1911.
In 1904-05 he was organist at St. Bartholo-
mew's Chapel and while in the University was
assistant at the Chapel there. In 1906-15 he
served at St. Mary's and in 1915-17 at All
Saints', both in Brooklyn, and developed from
1912 the iEoHan Choir there for the study and
presentation of Russian music, giving about
thirty recitals and bringing out over 80 works,
some of them unperformed outside of Russia.
Since 1916 he has been conductor of the
Mendelssohn Club in Philadelphia, succeeding
Gilchrist, and since 1917 organist at the
Second Presbyterian Church there and at
St. Paul's in Ogontz, besides teaching at the
Episcopal Academy. In addition to his exten-
sive editing of Russian works, he has published
anthems and other service-music , and has writ-
ten the overture 'King Melville,' a setting of
'Thanatopsis' for soli, chorus and orchestra,
etc. He has contributed many articles on
church-music to periodicals. [ R.9 ]
NORDICA [Norton], LILLIAN (May 12,
1859, Farmington, Me. : May 10, 1914,
Batavia, Java). See article in Vol. iii. 389-90,
and note in Vol. v. 655. She first appeared
in opera in America in 1883 at New York
under Mapleson as Marguerite. She was at
the Metropolitan Opera House in 1888-90
and 1891-92, and first appeared there as
Isolde in 1895. She took the same role at
the Grand-Opera in Paris in 1910. In 1910-1 1
she sang with the Boston Opera Company
and In 1911 made a concert-tour as well.
Her last concert-trip was to Australia, begin-
ning a world-tour, and her last concert was
at Melbourne in December, 1913. [ R.6 ]
NORFOLK (CONN.) FESTIVALS. See
Litchfield County Choral Union.
NORMAL INSTITUTES. The name ap-
plied to summer-schools for teachers, such as
began to be common just before the Civil War.
The first example is said to have been that held
by Root, Hastings and Bradbury in 1852 in
New York. Emphasis was usually laid on
vocal music and on elementary theory, with
more or less instrumental demonstration
through recitals. Though loosely conceived
and dependent on the ability of particular
leaders, these Institutes doubtless served a
useful purpose. They foreshadowed such
well-organized and established enterprises
as the Chautauqua Institution, the summer-
schools of various universities and certain
detached schools for teachers that are now
in operation. See Conventions.
NORMAL SCHOOLS. See State Nor-
mal Schools.
NORRIS, HOMER ALBERT (Oct. 4,
1860, Wayne, Me. : Aug. 14, 1920, New
York) , was first taught by Marston in Portland,
studied with Turner, Emery and Chadwick at
the New England Conservatory in Boston, and
then spent four years in Paris with Guilmant,
Dubois, Godard and Gigout. His early posi-
tions as organist were in Lewiston and Port-
land, Me., and in 1892-1904 he was at the Rug-
gles Street Church in Boston and in 1904-13 at
St. George's in New York. He devoted himself
largely to promulgating French ideas in compo-
sition and was one of the first to emphasize
these in America, publishing Practical Harmony
on a French Basis, 1896, and The Art of Counter-
point, 1899, besides numerous articles in lead-
ing periodicals. His compositions include
the oratorio 'St. John the Baptist,' the cantata
'Nain,' a setting of Whitman's 'The Flight
of the Eagle,' for soprano, tenor and baritone
(1905), about 60 songs, including 'Twilight,'
'Peace' and the popular 'Rock-a-bye, Baby,'
and pieces for organ and piano. [ R.7 ]
NORTH AMERICAN MUSIC FESTI-
VALS, THE, are gatherings organized in 1916
by A. A. Van de Mark and held annually in
Lockport, N. Y. The programs include papers
and discussions upon varied topics of practical
interest, with extended performances of music,
vocal and instrumental, by American compos-
ers and interpreters. Several prizes are offered
for works specially written in competition.
NORTHWESTERN CONSERVATORY
OF MUSIC, THE, of Minneapolis, was
founded in 1885 by Charles H. Morse and
diirected by him till 1891 after the model of
the New England Conservatory.
NORTHWESTERN UNIVERSITY, Ev-
anston, 111. (Methodist), has had a School of
Music since 1873, though at first not organically
related to its total system. Since 1891, how-
ever, under the care of Peter C. Lutkin (dean
from 1897) it has been not only in full stand-
ing among the constituent schools of the Uni-
versity, but more and more notable for the
breadth of its instruction and the influence of
its work. The faculty numbers about 35, and
the students about 900 (including preparatory
courses and summer-school). Special atten-
tion is given to ensemble-work, vocal and
instrumental, and to public-school methods.
The A Cappella Choir is a noted institution,
as also the Musical Club and the Symphony
Orchestra. See under Chicago North Shore
Festivals.
NORTON, SETH (d. 1818). See Tune-
BooKS, 1816.
NORTON, WILLIAM WELLINGTON
(b. 1881). See State Universities (N.D.).
'NOTRE DAME DE PARIS.' An opera
by William H. Fry, produced in April, 1864,
at Philadelphia.
NOVACEK, OTTOKAR EUGEN (May
13, 1866, Feh6rtemplom, Hungary : Feb.
MME. LILLIAN NORDICA
Copyright by Aime Dupont
NOVAES
NUNO
313
3, 1900, New York). See article in Vol. iii.
410. After 1893 he lived for a time in Berlin,
but returned to New York to play in the
Metropolitan Opera House orchestra. Brod-
sky played his violin-suite in Leipzig as early
as 1894. Busoni's performance of the piano-
concerto was with the Berlin Philharmonic
Orchestra in 1896. [ R.8 ]
NOVAES, GUIOMAR (Feb. 28, 1895,
Sao Joao da BoS Vista, Brazil), began study
at seven in Sao Paulo and appeared there as
pianist at nine. Her promise was such that
the Brazilian government assigned her a
subsidy and in 1909 she entered the Paris
Conservatory as first among nearly 400
applicants. After two years with Philipp in
1911 she graduated with a first prize, made
her formal d6but and entered upon a long
tour on the Continent, in England, and in
South America. In November, 1915, she
first played in New York and has since been
repeatedly heard there and elsewhere with
enthusiasm. Finck said of her in the 'Even-
ing Post' at one time, 'More inspired playing
has never been heard in iEolian Hall, and
iEolian Hall audiences have heard all the fore-
most pianists of the time.' [ R.IO ]
NOYES, EDITH ROWENA (Mar. 26,
1875, Cambridge, Mass.), in 1891-96 was a
pupil of MacDowell in Boston and of Chad-
wick, and has since worked there as pianist,
teacher, and composer. Her more important
works are the operetta 'Last Summer' (1898,
Lowell), a violin-sonata in F-sharp minor,
op. 70, on Indian themes, a piano-trio, op. 73,
and the pageant-opera 'Waushakum' (1917,
Framingham, Mass.), besides many piano-
pieces, songs, and anthems. In 1909 she
married Roy G. Greene. [ R.8 ]
NOYES, EDWARD HIBBARD (Mar. 23,
1867, London, Ont.), first studied with Mr.
and Mrs. W. H. Sherwood in Boston and in
1885-87 was organist there. Between 1887
and 1895 he studied with Barth in Berlin, was
for a year court-pianist to Prince de Levin in
Russia, studied further with Mme. Essipov-
Leschetizky in Vienna and made a tour in
Norway and Sweden with the violinist Fred-
eriksen. Since 1895 he has taught in Boston
and also at the Hartford (Conn.) School of
Music, becoming noted through many able
pupils. In 1899-1901 he played in several
series of trio-recitals with Troostwyk, with
Leo Schulz, the 'cellist, with the Kneisel
Quartet, etc. He has published a few songs
(Thompson). [ R.7 ]
NUNNS, ROBERT and WILLIAM. See
Register, 3.
NUNO, JAMES (Sept. 8, 1824, San Juan
de las Abadesas, Spain : July 17, 1908, Buf-
falo), was a choir-boy at the Barcelona Ca-
thedral, studied composition with Merca-
dante in Italy and led small orchestras in
Barcelona for some years. In 1851 he became
band-master in the army and was sent to Cuba
to establish band-music there. About 1853
Santa Anna made him general band-inspector
in Mexico and he soon became one of the two
directors of the new National Conservatory
in Mexico City, besides composing the present
Mexican national hymn. In 1856 he managed
tours in the United States for singers from the
Italian opera, served as conductor with Thal-
berg and presently led both Italian and French
opera at Havana, being also associated with
Gottschalk. In 1863-69 he led opera-troupes
not only in Cuba, but in the United States,
Mexico and Central America, with singers
like Sontag, Grisi, Mario, Malibran, Kellogg
and Patti, and in 1864 assisted as conductor
at the welcome to Maximilian. After 1870
he lived at Buffalo, teaching singing and
conducting various societies, serving as
organist at different churches there and in
Rochester, and composing about 50 church-
works. In 1904, on invitation from President
Diaz, he was the guest of honor at the fiftieth
anniversary of the writing of his National
Hymn (first given on Sept. 15-16, 1854) and
received a remarkable ovation. [ R.4 ]
o
OBER, MARGARETE (Apr. 15, 1885,
Berlin, Germany), studied singing with Stolz-
enberg in Berlin in 1903-05 and later with
Arthur Arndt, whom she married in 1910.
Her debut as stage-soprano Was in 1906 at
Frankfort in the role of Azucena. In 1906-07
her success at the Stettin Stadt-Theater was so
pronounced that she was called to the Ber-
lin Royal Opera. She created the title-role
there in Massenet's 'Th6r^se' in 1908 and
that of Nenahu in Nevin's 'Poia' in 1910. In
1913 she was engaged for the Metropolitan
Opera House, appearing on Nov. 21 as Ortrud.
She has since remained there, until 1916
returning to Germany for the summers.
Her repertoire includes the roles of Brangane,
Ortrud, Fricka, Waltraute, Erda, Klytem-
nestra (in 'Iphigenia en Aulide'), Eglantine
(in 'Euryanthe'), Fides, Dalila, Azucena,
Amneris, Laura (in 'La Gioconda')i Marina
(in 'Boris Godunov'), the Witch (in 'Hansel
und Gretel'), Octavian (in 'Der Rosen-
kavalier') and Katharina (in 'Der Wider-
spenstigenZahmung'). [ R.IO ]
OBERHOFFER, EMIL (Aug. 10, 1867, Mu-"
nich, Germany), as a boy took up violin
and organ with his father, in youth had ad-
vice from Kistler in piano and composition,
and later studied piano with Plailipp in Paris.
Coming to America, after a brief stay in New
York, in 1897 he located in St. Paul as con-
ductor of the Apollo Club and from 1901 of
the Minneapolis Philharmonic Club. This
latter work led in 1903 to the organization
of the Minneapolis Symphony Orchestra,
which he has since directed with such ability
that it has become one of the leading orchestras
of the country. He has also been for a time
organist at the Church of the Redeemer in
Minneapolis and is on the music-staff of the
University of Minnesota. [ R.8 ]
OBERLIN COLLEGE, Oberliu, O. (Con-
gregational), began to provide music-teaching
as early as 1837, when George N. Allen, then
a student, was designated as instructor in
sacred music. He continued as such after
graduating in 1839 and in 1841 was made
professor, remaining in service till 1864. Two
of his pupils, John P. Morgan and George W.
Steele, in 1865 organized a Conservatory,
which at first was only affiliated with the
College in a general way. In 1867 Morgan
withdrew and from 1869 the administration
was taken up by Fenelon B. Rice, who re-
mained in charge till his death in 1901, steadily
building up the efficiency of the department
in every direction. In 1884, by the gift of
Lucien C. Warner and wife of New York,
the superior Warner Hall was built, which was
later much extended by the addition of a
fine concert-hall and further facilities. This
hall seats about 1000, and there are two large
lecture-rooms, 25 studios, an ample library
and about 120 practice-rooms. The organ-
equipment is unusually elaborate, including
a large concert-organ, 2 for teaching and 21
for practice. In 1910 the Rice Memorial
Hall was added to the plant, with almost as
much opportunity for practice as in Warner
Hall. Since 1901 the director has been
Charles W. Morrison, who has effectively
continued the energetic policy of earlier years.
The faculty now numbers about 35 and the
work of the Conservatory is so interlocked
with that of the College that practically the
whole student-body of 1500 comes under its
influence. Muaic counts as a regular elective
in the course for A. B. and post-graduate
work may be taken leading to a Mus.B.
(over 300 su.ch degrees conferred). The usual
number of pupils annually enrolled is over
600. Among the notable features of the cur-
riculum are the emphasis upon organ, theory
and history and the stimulus to choral music
through the Oberlin Musical Union.
OBERLIN MUSICAL UNION, THE, is
a choral society antedating the Oberlin Con-
servatory, though vitally related to it. Started
in 1860, its first ten years were largely given
to the performance of miscellaneous programs
under vai'ious leaders, including C. H. Church-
ill, G. W. Steele, J. P. Morgan and J. C.
Fillmore of Oberlin and some visiting con-
ductors on certain occasions, such as E. M.
Foote, B. F. Baker, and J. G. Barnett. In
1871-1900 Fenelon B. Rice was permanent
conductor and since 1900 George W. Andrews.
Since 1871 not much besides complete works
has been given. The chorus usually numbers .
about 200 and three concerts are now given
annually (nearly 200 since organization).
A few performances have also been given in
Cleveland with the Pittsburgh or Chicago
Orchestras. 'The Messiah' was early taken
up and in 1880-1903 was sung twice each year.
'Elijah' has been given about 15 times, 'St.
Paul,' 5 ; Bach's Christmas Oratorio, 1 ;
Beethoven's 9th Symphony, 2 ; his Missa
Solemnis, 1 ; Brahms' Requiem, 2 ; Verdi's
Requiem, 4 ; Bruch's 'Odysseus,' 4 ; Franck's
'Les Beatitudes,' 5; G. Schumann's 'Ruth,'
2; Saint-Saens' 'Samson et Dalila,' 8; Elgar's
'Dream of Gerontius,' 3; Wolf-Ferrari's
'La Vita Nuova,' 2; Piern6's 'The Children's
Crusade,' 2 ; concert performances of Wagner's
'Tannhauser,' 'Lohengrin,' and 'Parsifal,'
314
O'BRION
O'NEILL
315
etc. Several of these were the first renderings
in the Middle West.
O'BRION, MARY ELIZA (b. 1859). See
Register, 7.
ODELL & CO., J. H. & C. S., a well-known
firm of organ-builders in New York, was
founded in 1859 by John H. Odell (1830-99)
and Caleb S. Odell (1827-93), two brothers who
had been in the employ of Ferris & Stewart.
Their first modest factory was at 165 Seventh
Ave., and the first organ of importance made
was in 1863 for the South Baptist Church
(opening recital by G. W. Morgan and Mme.
Parepa-Rosa) . In 1866 they patented a
system of pneumatic piston-knobs for control-
ling combinations which proved so succcessful
that increased business compelled them to
seek larger facilities at 407-9 West 42nd St.
The plant here was more than doubled in
1873, and is now finely equipped. In 1898
the firm patented its ' Vacuo-Exhaust ' system,
a simple and efficient type of tubular action.
In 1914 was introduced a valuable electro-
magnetic action that was a decided improve-
ment over the electro-pneumatic system
preAdously used. Altogether the firm has
built about 620 instruments, of which 6 are
4-manual and 60 3-manual. Among the
former are those in Temple Emanu-El, New
York City (1903) and St. Joseph's, Albany,
N. Y. (1913). The direction of the business
has remained with the Odell family, sons of
both founders succeeding in 1893, and two
grandsons of C. S. Odell following in 1911.
'CEDIPUS TYRANNUS.' A setting of
Sophocles' play by John K. Paine, written
for performance at Harvard University in
1881. This was the first of its kind in America
and is counted one of Paine's strongest works.
! OESTERLE, OTTO (1861-1894). See Reg-
ister, 7.
OETTING, WILLIAM H. (Oct. 14, 1875,
Pittsburgh), studied with his father, who for
25 years was organist at the First German
Evangelical Church in Pittsburgh, and other
local teachers, followed by two years in Berlin,
continuing organ under Reimann and Egidi,
piano under Hutcheson and composition
under Boise. At the same time he taught the
English class in harmony at the Klindworth-
Scharwenka Conservatory. Since 1901 he
has been organist and teacher in Pittsburgh,
accompanist of the Apollo Club, in 1905-07
organ-recitalist at the Carnegie Institute, and
since 1915 one of the directors of the Pittsburgh
Musical Institute. At present he is organist at
the Sixth United Presbyterian Church. He has
written an overture, an orchestral Romanza
(Pittsburgh Festival Orchestra), an organ-
sonata, a Prelude and Fugue in E minor for
organ (Gray), piano-pieces, several anthems
(Church, Kranz), songs, etc. [ R.8 ]
'OLD FOLKS' CONCERTS' was the name
given in 1854 to entertainments conducted
in Boston by Robert Kemp (1820-97), a
dealer in shoes, who sought to keep alive the
old-fashioned 'psalmody' for its homely
quaintness. Since then the term has been
indiscriminately applied to any rendering of
similar music, often presented grotesquely
and even in caricature. 'Father' Kemp
published an Autobiography in 1868.
OLDBERG, ARNE (July 12, 1874, Youngs-
town, O.), was the son of a noted authority
on pharmacy and from 1884 was educated
in Chicago, where he had his early training
in music, supplemented by study of the piano
with Leschetizky in Vienna and of composition
with Rheinberger in Munich. Since 1899 he
has been head of the piano-department at
Northwestern University in Evanston, 111.
He has won distinction especially as com-
poser of orchestral works, which have been
brought out not only at the North Shore
Festivals, but by the Chicago, Philadelphia,
Minneapolis and other orchestras. His
chamber-works, also, have secured a wide
hearing. His compositions include Sym-
phonies in F minor, op. 23, and C minor, op.
34 (both taking prizes in national com-
petitions), the overtures 'Paolo and Fran-
cesca,' op. 21 (1908, Chicago Orchestra), and
'Festival' (1909, North Shore Festival, 1910,
Chicago Orchestra), the orchestral fantasy
'At Night,' op. 38 (1916, Chicago Orchestra),
12 Variations, op. 19, for orchestra and organ
(1912, Chicago Orchestra, 1913, North Shore
Festival), a Rhapsody, op. 36 (.1915, Chicago
Orchestra, etc.), a concerto for horn, op. 20,
an organ-concerto, op. 35 (1914, Chicago
Orchestra), a piano-concerto, op. 17, a string-
quartet in C minor, op. 15, two quintets, opp.
16, 24, for piano and strings and one in E-flat,
op. 18, for piano and wood-wind, a piano-
suite, op. 8, a piano-sonata, op. 28, Thematic
Variations for piano, op. 25, a 'Legend,' op. 26,
three 'Miniatures,' an 'Arabesque,' op. 31, an
'Improvisation,' op, 32, a 'Russian Prelude,'
op. 33, and many smaller works. [ R.8 ]
OLDMIXON, Mrs., n6e George (1768- ? ).
See Register, 2.
OLIVER, HENRY KEMBLE (1800-1885).
See Register, 3, and Tune-Books, 1848.
OLMSTED, TIMOTHY. See Tune-
Books, 1805.
'OMANO.' An opera by L. H. Southard,
based on Beckwith's 'Vathek,' twice given in
concert-form in Boston in 1858.
t O'NEILL, NORMAN (Mar. 14, 1875,
London, England). See article in Vol. v.
656. Recent works include the following :
'Overture Humoresque,' for orchestra.
' Hornpipe' for orchestra.
String-Quartet (Schott).
316
' ONTI-ORA '
ORCHESTRAS
Incidental music for 'Freedom' (1918, New York),
Dunsany's 'The Gods of the Mountain' (2
dances also for piano separately) and 'The
Golden Doom,' Malleson's 'Paddy Pools,'
'Maurice's Own Idea' and 'Michael' (these
three for string-quartet), the school-play 'Hia-
watha' (Routledge), and Russian Songs for
Tolstoi's 'Reparation' (piano, Ascherberg).
'The Swinburne Ballet,' for chorus and orchestra.
The choruses 'Noel' (Stainer) and 'Lullaby' (Ar-
nold).
Songs — 'The Eagles of England' (Elkin), 'The
Warrior-Lover' (Schott), 'AH for Me' and 'I
Love you Dearly' (Boosey).
'Carillon,' for piano (Ascherberg).
Three Old English Pieces, for piano (Schott).
Four Songs without Words, for piano (Anglo-
French Co.).
' In the Branches,' for piano (Anglo-French Co.)
'ONTI-ORA.' An opera in three acts by
Gustav Hinrichs, produced in June, 1891, in
Philadelphia.
OPERA IN THE UNITED STATES. See
article in Vol. iii. 466-72. Many additional
details are given under Metropolitan Opera
House, Manhattan Opera House, Chicago-
Philadelphia Opera Company, Boston Op-
era Company, etc. See Krehbiel, Chapters
of Opera, 3rd ed., 1911, and More Chapters of
Opera, 1919, The Art of Music, iv. chap. vii.
and The International Year-Book, 1907- .
OPPERMAN, ELLA SCOBLE. See Col-
leges, 2 (Florida State C. for Women).
ORATORIO SOCIETY OF BALTIMORE,
THE, was founded in 1882 by Otto Sutro.
Its first conductor was Fritz Finke (1882-94),
followed by Joseph Pache, who is still in office.
The chorus numbers 300-350 singers, and
two or three concerts are given each year,
partly supported by a body of patrons. The
Society devotes itself to oratorio music of
the highest class, including at least thirty
works of large dimensions and representing
aU periods from Bach and Handel down to the
present. Notable initial performances have
been those of Hamerik's 'Symphonie Chorale'
and 'Christian Trilogy,' Bruch's 'Moses' and
Nowowiej ski's ' Quo Vadis.'
ORATORIO SOCIETY, THE, of Newark,
N. J. (formerly called the Schubert Vocal
Society), was organized in 1878 by Louis
Arthur Russell, who has been its conductor
ever since. Originally formed to cultivate
part-songs and cantatas, after a few years it
added the larger field of oratorio left vacant
by the disbanding of the Harmonic Society.
Membership is limited to 125 singers. The
regular series includes three performances,
often with 'popular' concerts besides, and the
Society has repeatedly cooperated efficiently
in charitable undertakings, so that the total
number of concerts has been towards 150.
In 1894 Mr. Russell organized the Newark
Symphony Orchestra, primarily to assist
at the concerts of the Oratorio Society, but
also to give occasional instrumental perform-
ances. Besides a large variety of cantatas
and lighter works, the Society has given the
standard oratorios, sacred and secular, and
many operas or parts of operas in concert-form.
American works include Buck's 'Hymn to
Music' and 'Light of Asia,' Chadwick's
'Lovely Rosabel,' Russell's 'Pastoral Rhap-
sody,' Parker's 'King Trojan,' 'Harold Har-
fagar' and 'A Star-Song,' and Hadley's 'In
Music's Praise.'
ORATORIO SOCIETY, THE, of New
York. See article in Vol. iii. 370-1. Frank
Damrosch continued as conductor till 1912
and in 1912-17 was succeeded by Louia
Koemmenich and in 1917 by Walter Damrosch.
Among the more striking accomplishmenta
of the Society in recent years were perform-
ances in 1907 of Wolf-Ferrari's 'La Vita
Nuova,' in 1911 of Franck's 'Les Beatitudes,'
Saint-Saens' 150th Psalm and Grell's Missa
Solemnis, in 1913 of Taubmann's 'Eine
deutsche Messe' and Georg Schumann's
'Ruth,' in 1914 of Beethoven's Missa Solem-
nis, in 1915 of Bossi's 'Giovanna d'Arco,' etc.
In April, 1920, the Society united in a festival
with the Symphony Society (as previously
in 1881) at which, among other works, Kelley's
' Pilgrim's Progress' was sung.
ORATORIO SOCIETY, THE, of Toronto,
was founded in 1912. Its conductor is
Edward Broome. The chorus numbers 200
or more. There are at least two concerts
annually, often with the assistance of visiting
orchestras, such as the Russian Symphony,
the New York Philharmonic or the Cincinnati
Symphony. The Society has given the only
performance in Canada of Gardiner's 'News
from Whydah' and Broome's 'Hymn of Trust.'
ORCHESTRAS. Aggregations of instru-
ments were common in the various musical
undertakings of the 18th century, as Sonneck's
records abundantly show (see especially his
Concert-Life), supplying overtures, symphonies
and the accompaniments for operas and
choral works of some magnitude. But these
were not permanent in membership or under
any steady rehearsal. The first important
steps toward permanent orchestras were taken
by the Musical Fund Society of Philadelphia
from 1820 and the Philharmonic Society of
New York from 1842. Stimulus to orchestral
interest came notably from the tours of the
Germania Orchestra in 1848-54, as from the
visits of Gungl in 1849 and Jullien in 1853.
During the whole decade before the Civil
War the popular taste for instrumental en-
sembles was also much advanced in certain
places by chamber-concerts. Every attempt
to give opera on a large scale served to indicate
orchestral possibilities. The establishing of
'symphony soirees' in New York by Theodore
OREM
ORGAN
317
Thomas in 1864 led soon to his epoch-making
concert-tours (1869-78). After 1870 genuine
symphony orchestras began gradually to mul-
tiply. Specially significant was the starting
of the Cincinnati Festivals in 1873, of the
New York Symphony Society in 1878, and of
the Boston Symphony Orchestra in 1881. In
almost all the larger cities — and in not a few
smaller ones as well — 'there are now orchestral
societies of importance. It has recently been
said that twelve or fifteen of these are so far
highly organized as to hold daily rehearsals.
Besides giving series of concerts annually in
their home-cities, most of the larger orchestras
extend their influence by prolonged tours.
OREM, PRESTON WARE, born in Phil-
adelphia, was educated at the Eastburn
Academy and the University of Pennsylvania,
and studied organ and theory with Clarke
and piano with Jarvis and others. In 1889-
95 he was organist at St. Paul's Pro-Cathedral
in Los Angeles. He then returned to Phila-
delphia, taught one year at the Philadelphia
Conservatory, and in 1896-1905 was on the
staff of the Combs Conservatory. Since 1900
he has been editor and critic for the Presser
Company and also conductor of the Presser
Choral Society. In 1901-10 he was organist
at the Walnut Street Presbyterian Church.
His published works include a Romance for
violin and orchestra, an 'American Indian
Rhapsody' for piano (also for orchestra),
many songs, piano-pieces, etc., besides ar-
rangements and transcriptions. Unpublished
works are a piano-quartet and quintet and a
Ballet Suite for orchestra. He is author of
a Harmony-Book for Beginners, which has had
an enormous circulation. [ R.8 ]
ORGAN. See general article in Vol. iii.
513-62, with some references to American
facts. During the past thirty or forty years
there has been an extraordinary growth in
the United States and Canada in everything
pertaining to organ-making, organ-playing
and the popularization of organ-music. No
adequate summary of all this can here be made.
But certain remarks may be set down.
The same mechanical ingenuity and business
enterprise that have made American piano-
making eminent have been applied in the
making of pipe-organs, though the two indus-
tries are so different that the facts in the
latter field are not as obvious. Probably the
improvements in organ-making are actually
more varied and at least equally striking.
The installation of the German organ in the
Boston Music Hall in 1863 stimulated advance
in a general way. About 1870 the experi-
ments of Hilbourne L. Roosevelt in both
voicing and mechanism were speedily followed
by others. Competition soon became keen
to offer effective solutions of problems in
pneumatic and electric action, in augmented,
stabilized and graded wind-supply, in pro-
gressive and refined stop-specification, voicing
and pipe-disposition, in the planning and in-
ternal adjustments of consoles, leading to
unprecedented facilities for registration, etc.
Along with these essential improvements,
which have come into general use since about
1900, have gone others less tangible, especially
in shop-efficiency, expertness in erecting and
enterprise in developing a market. The
extraordinary extension of the industry in the
United States is also partly due to circum-
stances that are peculiar, such as the rapid
building up of new communities, their geo-
graphical dispersion (encouraging the found-
ing of organ-factories at many separate
points), and the multiplicity of religious
denominations and the number of churches
relative to the population. There are per-
haps 100 establishments, employing 2500-3000
workers. The annual output is probably
over 2000 instruments, among which the
proportion of those with three or four manuals
has lately increased decidedly.
Within the last three decades organ-playing
as a specialty has made remarkable advances.
Every large conservatory and music-school
provides elaborately for its study. The
American and Canadian Guilds of Organists
have done much to foster a high grade of
technical skill and a serious professional
purpose, while the National Association of
Organists has stimulated zeal and ambition.
Many periodicals devote much space to organ-
interests, and several organ-journals have been
started. Series of free organ-recitals are now
extremely common, and many large cities
provide municipal concerts. Recitalists make
tours like pianists and violinists. Special re-
cent developments are the frequent installa-
tion of large instruments in hotels, in fraternal
lodges, and in theaters and places where photo-
plays are given. Organ-music, then, has be-
come in many places one of the commonest and
most popular forms off concert-music. The re-
action of this upon organ-composition has al-
ready become noticeable. Leading journals are
' The Diapason,' published in Chicago, and ' The
American Organist,' published in New York.
In the 'New Music Review,' February, 1910, is a
valuable summary by Charles A. Radzinsky of the
history of organ-making in New York City during
the 19th century. Special tribute is paid to the genius
of Henry Erben (d. 1884), who started in 1820 with
Thomas Hall (d. 1877), but from 1824 proceeded
alone, becoming one of the best-known makers
in the country. He made nearly 150 organs for New
York alone, the most famous being that in Trinity
Church (1846). His business passed to his leading
workman, Louis C. Harrison, later of Bloomfield,
N. J. Meanwhile Hall in 1824 formed the firm of
Hall & Lebagh, which about 1865 became Hall,
Lebagh & Kemp. In their shop H. L. Roosevelt
318
ORNSTEIN
OSGOOD
had his first training. Another series was founded
about 1840 by Richard M. Ferris and the brothers
Levi U. and William Stewart, in whose employ were
the Odells and Midmer. Morgan Davis, who had
been a piano-maker from about 1800, and his son,
William H. Davis (d. 1888), also began in 1840,
followed by two later generations. Thomas and
Wiliam Robjohn became notable after 1S50. Among
their organs was that in the South (Reformed)
Church, said to have been the first in America with
an independent pedal-division (7 stops), the first
pneumatic action and the first Vox Humana (im-
ported from France by U. C. Burnap). The Rob-
johns became voicers for the Odells. In 1853-75
many instruments were naade upon German lines by
Francis Xavier Engelfried, whose two sons became
voicers for Roosevelt. Reuben Midmer (d. 1895),
who was trained both under Hall & Lebagh and under
the Stewarts, set up for himself in 1860 and in 1888
was succeeded by his son. This firm now has its
factory at Merrick, L. I., and its office in Brooklyn.
It is noteworthy that many of the above pioneers in
the industry were English by birth (except Engel-
fried).
The work of the Jardines, the Odells and the Roose-
velts is referred to in separate articles.
ORNSTEIN, LEO (Dec. 11, 1895, Kremen-
chug, Russia), began studies at the Petrograd
Conservatory which from 1906 were con-
tinued at the Institute of Musical Art in New
York, Mrs. Thomas Tapper being his piano-
teacher. His debut as pianist was made in
New York early in 1911, and he has since
toured the country as soloist and recitalist.
He has also played with distinction in London,
Paris and Christiania. His compositions have
aroused much discussion. He has been re-
ported as saying :
'What are discords? I cannot tell. Somewhere
there is a law of harmony. Where it is, what it is,
I cannot tell, only I know that under certain con-
ditions and at certain times I hear it, I get color-
impressions, if you wish. If some of the tones are
gray, somber, violent, is that my fault? Does this
prove that because the human ear has been trained
to certain combinations of sound only those sounds
are true harmony? It is not so to me nor do I care
whether the usage of musical form so considers it
or not. In a word, I am not concerned with form
or with standards of any nature.'
His publications to date include piano-pieces,
songs and a sonata for violin and piano (Carl
Fischer, Schott). See biography by F. H.
Martens, 1917, and article by Charles L.
Buchanan in 'The Musical Quarterly,' April,
1918. [ R.IO ]
ORPHEUS CLUB, THE, of Springfield,
Mass., was founded by Amos Whiting in
1873 for the cultivation of music for men's
voices. Its conductors have been Louis
Coenen (1874-79), George W. Sumner (1879-
90), E. Cutter, Jr. (1890-94), Horatio W.
Parker (1894-95) and John J. Bishop (since
1895). Until 1908 the average number of
singers was about 40, but since then has risen
to about 150. Till 1890 there were four
concerts annually, till 1900 three, till 1905
two, and lately but one. The total number
has been about 135. Among the longer works
given are Grieg's 'Landerkennung,' Buck's
'King Olaf's Christmas' and 'Paul Revere's
Ride,' Paine's 'Phoebus, arise!' Whiting's
' March of the Monks of Bangor,' Foote's
'Farewell of Hiawatha' and Baldwin's 'Hymn
before Action.'
ORTH, JOHN (Dec. 2, 1850, near Ann-
weiler, Bavaria), was brought to Taunton,
Mass., when an infant and there gained a
public-school education. He became a church-
organist at twelve and in 1866-70 studied
and taught in Boston. Five years in Germany
followed, under Kullak, Lebert, Pruckner,
Deppe and Liszt for piano, and Faiszt, Weitz-
mann, Kiel and Ph. Scharwenka for theory
and composition. Since 1875 he has been
located in Boston as pianist and teacher.
His lecture-recitals on 'With Liszt in Weimar'
have made him well known as a Liszt au-
thority. He has published a number of
piano-pieces and done much editorial work.
He has also devoted time and attention to
humanitarian and reform projects. In 1883
he married his pupil Lizette E. Blood (d.
Sept. 14, 1913, Boston), who composed many
teaching-pieces for piano, songs and operettas
u.nder the name L. E. Orth. [ R.5 ]
OSBORN, A. STANLEY, See Colleges,
2 (Skidmore Sch., N. Y.).
OSBORN, JOHN (d. 1835). See Register, 3.
OSBORN-HANNAH, JANE (b. 1880?).
See Register, 9.
OSGOOD, EMMA ALINE (1849, Boston
: Nov. 8, 1911, Philadelphia), came of old
New England stock. In her youth she sang
at the Old South Church in Boston and
was early successful in oratorio with sing-
ers like Miss Gary, Whitney, Fessenden and
Babcock and under conductors like Zerrahn
and Thomas. In 1873 she toured with the
Mendelssohn Quintette Club. In 1875, after
study with Randegger in London, she appeared
at the Crystal Palace under Manns, so bril-
liantly that she at once entered on an English
popularity that lasted for fifteen years, in-
cluding engagements under all the leading
conductors and at first performances of works
like Liszt's 'St. Elizabeth' and Sullivan's
'The Light of the World,' besides being twice
called to sing before Queen Victoria. Her
early visits to America were in 1878, '80 and
from '81, singing repeatedly at the Cincinnati
and other Festivals, and establishing herself
as a favorite. Her voice was high, but rich
in quality, her enunciation finished, and her
interpretation peculiarly sympathetic and
effective. After giving up stage-work she
married E. Milton Dexter of Philadelphia
and became a noted teacher there. Nicholas
Douty is one of her pupils. [ R.6 ]
OSGOOD
OWST
319
OSGOOD, GEORGE LAURIE (Apr. 4,
1844, Chelsea, Mass.), as a child was gifted
with an acute sense of pitch and had musical
advantages from the start. In 1866 he
graduated with honors from Harvard Uni-
versity, having taken organ and composition
under Paine and had three years' service as
leader of the college orchestra and glee-club.
Going then to Berlin, he spent three years
studying composition under Haupt and singing
under Sieber, besides forming an intimacy
with Franz at Halle. Then followed two
more years developing his tenor voice under
Francesco Lamperti in Milan. In 1871,
beginning at Vienna, he made a concert-tour
of Germany, interpreting German lieder and
old Italian songs, and in 1872 Thomas engaged
him for a season's tour in America with his
orchestra. In 1872 he settled in Boston and
for thirty years took a leading part in all its
musical affairs. He taught many successful
singers, gave annual series of chamber-concerts
and directed many choral societies. When
made director of the Boylston Club in 1875
he reorganized the society completely and
changed it from a men's to a mixed chorus.
Later it was known as the Boston Singers'
Society and was famous for excellent programs
and brilliant performances. For it he edited
The Boylston Collection (Ditson), which is
still widely used, and also translated the
texts of many choral works and songs. Since
1903 he has lived abroad, lately at Godalming,
England. His compositions are songs, anthems
and unaccompanied choral pieces. His Guide
in the Art of Singing has had several editions,
and a new work. Mind and Melody, is nearly
ready for the press. [ R.6 ]
O'SHEA, JOHN AUGUSTINE (Oct. 15,
1864, Milford, Mass.), after public-school
training in 1885 graduated from the New
England Conservatory in Boston and in 1887
from the music-department of Boston Uni-
versity. He is now music-director in the
Boston public schools and organist at St.
Cecilia's. He is a member of the A. G. O.
and the N. A. O., and has given many in-
augural organ-recitals throughout the country.
He played at the Buffalo Exposition in 1901
and the St. Louis Exposition in 1904, at the
latter being on the international jury of
awards in the music-section. His com-
positions include a string-quartet (medal at
Boston University), trios for piano, violin
and 'cello ; a Mass in F and a Mass in honor
of St. Cecilia ; a Barcarolle, ' Venetian Nights,'
for piano; the operetta 'Mother Goose';
the comic opera ' The Mirrors of Thule ' ; and
many songs. [ R.7 ]
'OSTROLENKA.' An opera by Johann
H. Bonawitz, produced in 1875 in Philadelphia.
O'SULLIVAN, DENIS (1868-1908). See
Vol. iii. 571-2, and Register, 8.
' OTHO VISCONTL' A romantic opera in
three acts by Frederick G. Gleason, who also
wrote the libretto. The overture was played
at the Gewandhaus in Leipzig in 1892 and by
Thomas in Chicago. The work as a whole was
given in the College Theatre in Chicago on
June 4, 1907.
OTIS, PHILO ADAMS (b. 1846). See Reg-
ister, 6.
OTTAWA CHORAL SOCIETY, THE, of
Ottawa, Ont., was founded in 1897 by J.
Edgar Birch, who has been its only conductor.
Besides several of the standard oratorios,
it has given many shorter works, including
the first performance in America of Coleridge-
Taylor's 'Hiawatha's Wedding-Feast,' Mac-
kenzie's 'The Dream of Jubal' (conducted by
the composer), etc.
OTTERSTROM, THORVALD (July 17,
1868, Copenhagen, Denmark), studied first
in Copenhagen and then with Sophie Menter
at Petrograd. In 1892 he came to Chicago,
where he has since been diligent as teacher
and composer. His piano-works have had
frequent performances in America and abroad,
many of them introduced by Mrs. Zeisler
and by Ganz, and the Chicago Orchestra has
given several of his orchestral works. He
has published a quintet for piano and strings,
24 preludes and fugues for piano, 7 concert-
studies for piano, 'The Spinning- Wheel' for
piano, and about 30 songs. He has also
written an orchestral ' Canon, Choral and
Fugue,' an 'American Negro' Suite, a violin-
sonata in G minor, a 'cello-sonata in C minor,
11 canons and a fugue on a theme by Grieg
for piano, 11 symmetric double crab-canons
for piano, the collection of piano-pieces
'Shifting Moods,' 43 Negro slave-songs
harmonized for chorus, 'Musical Pictures
of Chippewa Indian Life,' and a series of 27
tribal songs arranged for piano with scenario
by Alice Gerstenberg. [ R.8 ]
OWST, WILBERFOSS GEORGE (b. 1861).
See Register, 8.
PACHE, JOSEPH (June 1, 1861, Friedland-
bei-Waldenburg, Germany), studied at the
Munich Conservatory in 1879-83, pursued
piano with Klindworth in Berlin in 1883-85
and composition with Bruch in Breslau in
1885-86, besides having lessons from Barth
(piano) and Hey (singing). Coming to New
York in 1891, he taught for a year at the New
York College of Music, and conducted choruses
in New York, Newark and Trenton, N. J. In
1894 he went to Baltimoi-e as conductor of the
Baltimore Oratorio Society, a post which he
still holds. He founded the Women's Philhar-
monic chorus in Baltimore, and for seven years
conducted the York (Pa.) Oratorio Society.
He has composed songs and choruses. [ R.8 ]
PACHELBEL, CHARLES THEODORE.
See Register, 1.
PACKARD, J. B. See Tune-Books, 1842.
PADELFORD, FREDERICK MORGAN
(b. 1875). See Register, 8.
PADEREWSKI, IGNACE JAN (Nov.
6, 1860, Kurilovka, Russian Poland). See
article in Vol. iii. 587-8. His first appearance
in America was at Carnegie Hall in New York
on Nov. 17, 1891, and during the six months
following he played in 117 concerts. On
his second American tour (1892-93) he gave
67 concerts in 26 cities. These visits were
followed by others in 1895-96, 1900-01,
1901-02, 1907-08, 1913-14, and a final series
of 30 recitals beginning in 1915-16. In
August, 1915, he played at the San Francisco
Exposition for the Polish Victims' Relief
Fund, his first professional appearance as
pianist after the war began. He presently
gave up music for notable efforts in behalf of
Poland. In addition to raising large sums
of money, in 1917 he offered the United States
an army of 100,000 Poles and 50 trained
oflBcers. As soon as conditions permitted
he went to Poland, accompanied by his
friend Ernest Schelling, the pianist. He
was there elected premier on Jan. 26, 1919,
and a month later the Allied Council at Paris
recognized the Polish Republic under his
leadership. He relinquished his ofHce in 1920,
but has continued politically influential.
His opera 'Manru,' produced at Dresden
in 1901, was given at the Metropolitan Opera
House in New York on Feb. 14, 1902. His
symphony in B minor, op. 24, composed in
1904-08, was brought out by the Boston
Symphony Orchestra on Feb. 13, 1909, Max
Fiedler conducting. The three movements
are in commemoration of Poland, and the
third movement refers to the Polish uprising
of 1863-64. It is said that he has deferred
completing a fourth movement until his
country is free. Other works are a Sonata
in E-flat minor, op. 21, and Variations and
Fugue, op. 23, both for piano. His second
opera, 'Sakuntala,' text by CatuUe Mendes,
has not yet been produced. See biographies
by Finck, 1895, Mossig (Leipzig) and Bau-
ghan, 1907, besides numerous accounts in
magazines and general treatises. In addition
to his estate at Morges, Switzerland, he owns
two others near Paso Robles, Cal. [ R.8 ]
PAGE, NATHANIEL CLIFFORD (Oct.
26, 1866, San Francisco), inherited musical
aptitude from his mother, a poetess of some
note and an amateur musician. At fourteen
the cornet attracted his attention, later giving
way to the French horn. But even earlier
he had essayed composition and the writing
of libretti. The study of harmony was taken
up under local teachers, but in orchestration
he has been entirely self-taught, gaining
experience by playing in and directing or-
chestras. His light opera, 'The First Lieu-
tenant,' was successfully produced at the
old Tivoli Opera House in San Francisco
in May, 1889. Seeking a wider field, he came
to New York in 1895, and in 1896 directed
his Petite Suite, 'Village Scenes,' for the
Manuscript Society in Chickering Hall. In
1899 he was called to London to conduct his
incidental music to 'The Moonlight Blossom'
at the Prince of Wales Theatre. This and
incidental music to 'A Japanese Nightin-
gale' (produced in 1903 at Daly's Theatre,
New York) were based on real Japanese
themes. He has studied and worked in various
branches of Oriental music — Japanese, Chi-
nese, Arabian, etc. After composing and di-
recting musical comedies, in 1905 he joined
the editorial staff of the Ditson Company in
Boston, but in 1910 returned to New York
to devote his time to composition. His
later works include the operas and cantatas
'The Contest of the Nations' (1913), 'Alice
in Wonderland,' 'Old Plantation-Days' and
'Lord Howe's Masquerade,' 'A Mood of
Spring' for piano, and numerous songs. He
has revised and edited Home-Songs, Irish
Songs, Stephen C. Foster Songs, Panseron's
A B C of Music, and several hundred pieces
in sheet-form. Unpublished are 'The First
Lieutenant,' 'Carlotta,' 'Villiers,' 'Zorahda,'
'The President' and several musical comedies;
incidental music to 'The Cat and the Cherub,'
'The Ghetto,' 'The Moonlight Blossom,'
'A Japanese Nightingale,' 'Joan of the Sword-
Hand' ; the orchestral 'Dream Suite,' 'Village
Scenes,' 'Fantasie Symphonique on a Short
Theme,' 'Romance' and 'Chop Suey' (Chi-
nese Humoresque) ; and many songs. [ R.7 ]
320
PAGEANTS
PARKER
321
PAGEANTS. HISTORICAL. The de-
velopment of symbolic celebrations in England
from 1905 under the lead of Gilbert Parker
inspired numerous efforts of a somewhat
similar kind in America. The most active
worker has been William Langdon, seconded
by Arthur Farwell. Since 1908 hardly a year
has been without some significant undertaking
in which local history is commemorated
through a dramatic spectacle with the aid of
poetry and music. (For a list of Langdon's
productions, see Register, 10.) All the great
Expositions have included features of this
general sort, and many civic functions have
been elaborate. There has been a tendency,
especially in Langdon's work, to emphasize
the merely spectacular elements less and to
mold the poetic and musical into better
unity. This has been specially notable in
some celebrations held at large educational
institutions. See The Art of Music, iv. pp.
226-9.
PAILLARD, M. J. (d. 1868). See Register,
4.
PAILLARD COMPANY, THE M. J., of
New York, was the American representative of
the noted makers of music-boxes in Ste.-Croix,
Switzerland (founded in 1814). The New
York house was established in 1850 by M. J.
Paillard, a grandson of the original founder,
at first as Paillard & Martin. Its business
was greatly developed by his nephew and son.
See Jones, Handbook of American Music, p.
126.
PAINE, DAVID. See Tune-Books, 1839.
PAINE, JOHN KNOWLES (Jan. 9, 1839,
Portland, Me. : Apr. 25, 1906, Cambridge,
Mass.). See Vol. iii. 596-7. Add to hst of
works the string-quartet, op. 5 ; the piano-
trio, op. 22 ; the sonata for violin and piano,
op. 24 ; the Larghetto and Scherzo, op. 32,
for 'cello and piano ; and the ' Duo Con-
certante' in A, op. 33, for violin, 'cello and
orchestra ; besides many piano-pieces, varia-
tions and fantasias for organ, and vocal works.
His lectures were posthumously edited by
Albert A. Howard as The History of Music to
the Death of Schubert, 1907. [ R.5 ]
PAINE, RICHMOND PECK (Mar. 24,
1858, New Bedford, Mass.), began as a choir-
boy and by 1872 was a regular organist. He
had thorough training in technique and com-
position from N. H. Allen, then organist in
New Bedford, and began recital-playing about
1876. In 1878 he succeeded Henry Wilson
as organist at Christ Church in Hartford,
Conn., from 1880 occupied the leading position
at Meriden, and from 1885 a similar post at
New Britain, where he remained twenty
years. Thus was satisfied his original ambition
of winning eminence as a church- and concert-
organist. From 1883 he was associated with
T
W. S. Pratt at Hartford in developing an
oratorio society, succeeding to the leadership
there in 1892 and continuing ten years with
great success. As early as 1885, however,
he had begun similar work elsewhere, which
gradually extended until he had led superior
choral performances in many places in Con-
necticut, such as Winsted, Middletown, New
Britain, Southington, Wallingford and Wil-
limantic, and in Pittsfield, Mass., often
managing festivals with combined choirs.
In 1905 he was called to conduct the exten-
sive choral enterprise of Carl Stoeckel at Nor-
folk, Conn, (see Litchfield County Choral
Union), where he continued with increasing
renown until 1915. Since his retirement he
has lived at Norfolk. He is highly gifted as an
executive musician, with a notable genius for
choral leadership. His long experience, infalli-
ble taste and high ideals have given him
an enviable influence and reputation. It is
unfortunate that he has not chosen to express
himself in composition. [ R.6 ]
PALFREY, WARWICK. See Tune-Books,
1802.
PALLISER, ESTHER (b. 1872). See Reg-
ister, 8.
PALMER, HORATIO RICHMOND (Apr.
26, 1834, Sherburne, N. Y. : Nov. 15, 1907,
Yonkers, N. Y.), was brought up in a musical
family and became organist at seventeen.
He studied at the Rushford Academy of Music
in New York, becoming director in 1857, and
also in Berlin and Florence. In 1861 he settled
in Chicago, where he established the magazine
'Concordia' in 1866, and published The Song-
Queen, 1867 (over 200,000 sold) and The Song-
King, 1871 (also an enormous sale) . In 1874 he
removed to New York, and in 1881 took charge
of the Church Choral Union. This organi-
zation, for the improvement of church-music,
grew to over 4000 singers in its third season.
In 1887 he became Dean of the School of
Music at Chautauqua, N. Y., continuing
until 1891. He was made Mus.D. by the
(old) University of Chicago in 1880 and by
Alfred University in 1881. Of his many
choral collections, besides those named above.
The Song-Herald and Concert-Choruses were
specially successful. He wrote a Theory of
Music, 1876, a Manual for Teachers (public-
school music), etc. [ R.4 ]
PALMER, JAMES W. See Tune-Books,
1832.
PANIZZA, ETTORE (b. 1875). See Regis-
ter, 8.
PARKER, FLETCHER ANDREW (b.
1842). See Register, 5, and State Universi-
ties (Wis.).
PARKER, GEORGE ALBERT (b. 1856).
See Register, 7, and Colleges, 3 (Syracuse U.,
N. Y.).
322
PARKER
PARSONS
PARKER, HENRY TAYLOR (b. 1867).
Sgg RiGffistGr Q
PARKER, HORATIO WILLIAM (Sept.
15, 1863, Auburndale, Mass. : Dec. 18, 1919,
Cedarhurst, N. Y.). See article in VoL iii.
622-3. He remained at the head of the Yale
School of Music till his death, but gave up
conducting the New Haven Symphony Or-
chestra in 1919. In both positions he was
succeeded by David Stanley Smith. For
some time his health had not been good, but
his death was due to a sudden illness while
on the way to the South. The list of works
should be extended to include
op. 62 'Crfipuscule,' for mezjiO-Boprano and or-
chestra.
63 'The Shepherd's Vision.'
64 Ballad, 'King Gorm the Grim,' for chorus
and orchestra.
65 Sonata in E-flat, for organ.
66 Songs for high schools.
67-8 Nine Organ-Pieces.
69 'The Norsemen's Raid,' for men's chorus
and orchestra.
70 Seven Songs.
71 Opera, 'Mona,' libretto by Brian Hooker
(prize of $10,000 from the Metropolitan
Opera House, given there Mar. 14, 1912).
72 'Collegiate' Overture.
73 Cantata, 'A Song of the Times.'
74 Seven 'Greek Pastoral Scenes,' for so-
prano, alto, women's chorus, oboe,
harp and strings.
75 Ballad, 'The Leap of Roushan Beg,' for
tenor, men's chorus and orchestra.
76 Songs (not published).
77 Opera, 'Fairyland,' libretto by Brian
Hooker (prize of $10,000 from the Na-
tional Federation of Women's Clubs,
given at Los Angeles, July 1, 1915).
78 Books of public-school music.
79 Oratorio, 'Morven and the Grail.'
80 Masque, 'Cupid and Psyche,' for 50th
anniversary of the Yale Art School,
June, 1916.
81 Music for the Yale Pageant, October, 1916.
82 Cantata, 'The Dream of Mary,' for soli,
chorus and orchestra (1918, Norfolk
Festival).
83 'Red Cross Hymn,' for contralto and
orchestra.
84 ' A. D. 1919,' for soprano and chorus.
He also published Music and Public Enter-
tainment, 1911. [ R.7 ]
PARKER, JAMES CUTLER DUNN
(June 2, 1828, Boston : Nov. 27, 1916,
Brookline, Mass.), studied law in Boston for
three years after graduating from Harvard
in 1848. Then his preference for music led
him to go in 1851 to Leipzig, where he spent
three years, studying piano with Moscheles
and Plaidy, harmony with Richter and Rietz.
Returning in 1854, he was active in Boston
for over half a century, retiring in 1912. In
1864-91 he was organist at Trinity Church,
organist of the Handel and Haydn Society,
in 1871-97 teacher of piano, organ and har-
mony at the New England Conservatory, and
for a time at Boston University. As Elson
remarks, ' the pupils graduated during his long
era of activity would form a good-sized regi-
ment.' Among them are Arthur Whiting,
A. D. Turner, H. M. Dunham, C. H. Morse and
H. C. Macdougall. His works included the
'Redemption Hymn' (1877), for soli, chorus
and orchestra ; a secular cantata, ' The Blind
King'; the cantata 'St. John'; the oratorio
'The Life of Man' ; church-music; and piano-
pieces. [ R.4 ]
PARKHURST, HOWARD ELMORE
(1848-1916). See Register, 7.
PARKINSON, ELIZABETH ['Parkina']
(b. 1882). See Register, 9.
PARLOW, IvATHLEEN (Sept. 20, 1890,
Calgary, Alberta), was taken as a child to San
Francisco, where she had violin-lessons with
her cousin, Mr. Conrad, and later with Henry
Holmes. Her first public performance there
was at the age of six. On March 23, 1905,
she gave her first recital at Bechstein Hall
in London, later appeared with the London
Symphony Orchestra, and was also bidden
to play before the Queen. She studied with
Auer in Petrograd in 1906-07, and subse-
quently played in Russia, Scandinavia, Ger-
many, Holland and Belgium. Her first ap-
pearance on her return to America was late in
1910, when she played the Tchaikovsky con-
certo with the Russian Symphony Orchestra.
She has since made several tours, appearing
with the principal orchestras. [ R.IO ]
t PARRY, CHARLES HUBERT HAST-
INGS (Feb. 27, 1848, Bournemouth, England
: Oct. 7, 1918, Rustington, near Little-
hampton, England). See articles in Vol. iii.
624-7 and v. 657. Mention should be made
of his late works, 'A Hymn to the Nativity'
(1912, Hereford), the English 'Te Deum'
(1913, Gloucester), and a 5th Symphony,
in B minor. He published Style in Musical
Art, 1911, and wrote the introduction to The
Art of Music, 1914. During the war much
of his time and energy was devoted to the
Council for the Relief of the Professional
Classes, and other charities. His funeral
was at St. Paul's on Oct. 16, 1918. In the
language of Hadow, 'There was no side of
musical life in England which was not the
better and nobler because he had lived.'
PARSONS, ALBERT ROSS (Sept. 16,
1847, Sandusky, O.), was musically pre-
cocious, playing the organ in public at nine
and about 1860 being a regular organist in
Indianapolis. From 1863 he began serious
study with Ritter in New York, and in 1867-69
was under Moscheles, Wenzel, Reinecke,
Papperitz and Richter at Leipzig, and in
1870-72 with Tausig, Kullak and Weitzmann
at Berlin. Since 1872 he has been one of the
best-known piano-teachers in New York.
PASMORE
PEABODY CONSERVATORY 323
For four years he was organist at Holy Trinity
and for nine at the Fifth Avenue Presbyterian
Church. In 1890 he was president of the
M. T. N. A. and in 1893-1903 of the American
College of Musicians. From 1885 he was head
of the piano-department in the Metropolitan
College of Music, continuing later with the
American Institute of Applied Music. He
was an early advocate of Wagner in America,
translating his Beethoven (1870) and writing
Parsifal, or the Finding of Christ through Art,
1893. He has also translated Lessmann's
Liszt, published The Science of Piano-Practice,
1893, edited in English the KuUak edition of
Chopin and the Hollander edition of Schu-
mann, and written much on archaeology and
genealogy as well as music. He has com-
posed songs and piano-pieces. [ R.6 ]
PASMORE, HENRY BICKFORD (June
27, 1857, Jackson, Wis.), after studying organ
and theory in San Francisco with J. P. Morgan
and singing with S. J. Morgan, went abroad
in 1882. In Leipzig he took composition with
Jadassohn and Reinecke, singing with Frau
Unger-Haupt, and in London singing with
Shakespeare and Cummings. Returning to
San Francisco, he became organist at St. John's
and teacher of voice and composition at the
University of the Pacific in San Jose. He
has composed an overture, 'Miles Standish,'
a 'Conclave March,' and the tone-poem
'Gloria California,' two operas, a Mass in
B-flat, smaller choral works with orchestra,
numerous songs and part-songs. He assisted
in translating Jadassohn's Harmonielehre.
His three daughters, Mary, Suzanne and
Dorothy, constitute the Pasmore Trio, which
has given many recitals in the West. [ R.7 ]
PASTERNACK, JOSEF ALEXANDER
(b. 1881). See Register, 8.
X PATTI, ADELINA (Feb. 10, 1843, Ma-
drid, Spain : Sept. 27, 1919, Craig-y-Nos,
Wales). See article in Vol. iii. 654-5.
PATTISON, JOHN NELSON (1845-1905).
See Register, 5.
PATTON, WILLARD (May 26, 1853,
Milford, Me.), early studied with his father
and other local teachers, and with Buck,
Bassini, Errani and Kohlmann, appearing
as tenor from 1871 and leading a choral
society in Bangor from 1875. His first
operetta, 'The Gallant Garroter,' was pro-
duced in 1882. Since 1883 he has taught in
Minneapolis, where for some years he had
charge of the music-department of Hamline
University, founded and led the Philharmonic
Club for four years, and was president of the
local teachers' association and its examiner.
His oratorio, 'Isaiah' (Ditson), was brought
out in 1895 and often given since. He has
also published the cantatas 'The Call of
Spring' (Lloyd), 'Summer' (Fischer), both
for women's voices, and the festival 'Usona'
(Lloyd), anthems and sacred quartets (Moli-
neaux, Dyer), male quartets (Gordon), and
several series of songs (Lloyd, Nonpareil Ed.).
He has also produced the light opera 'La
Fianza' (1888), the opera 'Pocahontas,' the
musical epic 'The Star of Empire,' the concert-
ode 'Foot-stones of a Nation,' the symphonic
fantasia 'The Spirit of '61,' the cantata 'The
Atonement,' a Festival Te Deum in D-flat,
a 'Tennyson Cycle' (eight songs from 'The
Princess'), etc. [ R.6 ]
PAULI, H. L. See Colleges, 2 (Hollins
C, Va.).
PAULIN, NOAH E. See Colleges, 3
(Pacific Union C, Cal.).
PAUR, EMIL (Aug. 29, 1855, Czernowitz,
Bukovina). See article in Vol. iii. 658. In
1899 and 1900 he conducted Wagner operas at
the Metropolitan Opera House. His con-
nection with the National Conservatory ran
till 1902. In 1904-10 he was conductor of
the Pittsburgh Symphony Orchestra, then
returning again to Europe. In 1912-13 he
was head of the Opera at Berlin, where he has
since lived. His symphony 'In der Natur'
(Leuckart) was first given by the Pittsburgh
Orchestra in 1909, and at the same concert
he played Brahms' piano-concerto in B-flat.
He has also composed a string-quartet, a
violin-concerto, a sonata for violin and piano,
and piano-pieces. [ R.8 ]
PEABODY CONCERTS. See Vol. iii.
660, and next article.
PEABODY CONSERVATORY, THE, of
Baltimore, is a constituent part of the Peabody
Institute, founded by George Peabody in 1857,
which also includes a great Library and a
fine Art Museum. The enterprise did not
become actual till after the Civil War, and the
Conservatory was not opened till 1868. Its
directors have been Lucien H. Southard in
1868-71, Asger Hamerik in 1871-98, and
Harold Randolph since 1898. Part of the
Conservatory system is the maintenance of
the Peabody Orchestra, of which its director
is conductor. Hamerik raised these concerts
into artistic importance, and Randolph has
been signally successful in developing the
efficiency of the Conservatory proper. The
faculty numbers over 75. The number of
pupils is more than 1700 annually, and about
11,500 since the beginning. Instruction is
given in every branch of musical art, with some
language-courses besides. Since about 1900
a distinct preparatory department has been
in operation, of which May G. Evans has been
superintendent. There are three student-
orchestras, with over 100 members, and
choruses with over 200 members. The opera-
class presents several operas each year. The
Conservatory has an arrangement with the
324
PEACE JUBILEES
PENFIELD
Johns Hopkins University whereby candidates
for the B.S. degree in the latter may pursue
certain courses in the former. It also offers
courses which are counted for credit in the
Baltimore public schools. Students in the
Conservatory have the chance of attending
over 250 recitals and concerts each year,
including 20 artist-recitals and about 15
organ-recitals. The library contains nearly
2500 volumes, and the institution owns many
instruments, including 5 organs and a full
set of orchestral instruments. It occupies
a large part of the Institute Building on Monu-
ment Square and also three annex-houses.
PEACE JUBILEES, THE, were large
popular festivals planned and directed by
the band-master P. S. Gilmore and held in
Boston. The first, in 1869, was meant to
celebrate the return of peace after the Civil
War. There was an orchestra of 1000 and
a chorus of 10,000, with many other sensational
features. The second, in 1872, based on the
idea of 'world peace,' was still more unwieldy
and spectacular in design. The first was
effective in arousing genuine popular en-
thusiasm, but the second was much less
Bignificant, though more pretentious. In
1873 Gilmore held another Jubilee at Chicago
in celebration of its rebuilding after the fire
of 1871. See Gilmore, History of the National
Peace Jubilee and Great Musical Festival, 1877,
Upton, Musical Memories, pp. 194-205, etc.
PEARCE, STEPHEN AUSTEN (Nov. 7,
1836, London, England : Apr. 9, 1900, Jer-
sey City, N. J.), after study with J. L. Hop-
kins, graduated Mus.B. at Oxford in 1859
and Mus.D. in 1864. He held organ-ap-
pointments at London churches, visited the
United States and Canada in 1864, and
returned to London to give recitals at the
Hanover Square Rooms and elsewhere. In
1872 he came to New York, where he was
long active as organist, lecturer and writer.
His organ-positions were at St. Andrews',
St. George's, St. Stephen's (R.C.), Zion,
Ascension, Fifth Avenue Collegiate (Ref.
Dutch), and at the First Presbyterian Church
in Jersey City. He taught vocal music at
Columbia College, harmony and composition
at the New York College of Music, lectured
at the General Theological Seminary in New
York, at the Peabody Institute and Johns
Hopkins University in Baltimore, and gave
lectures and recitals in many other cities.
From 1874 he was musical editor of the New
York 'Evening Post,' and contributed to 'The
Musical Courier,' the Encyclopcedia Americana
and various periodioals. He edited a Dic-
tionary of Musical Terms in 21 Languages,
piano-music, and much church-music. He
composed the three-act children's opera 'La
Belle Am6ricaine, ' the oratorio 'Celestial
Visions,' the cantata 'The Psalm of Praise,'
an overture, an 'Allegro Agitato' (Thomas
Orchestra), songs and pieces for piano and
organ. [ R.5 ]
PEARSON, HENRY WARD (b. 1878).
See Colleges, 2 (Hood C, Md.).
PEASE, ALFRED HUMPHRIES (1838-
1882). See Register, 5.
PECK, DANIEL L. See Tune-Books,
1810.
PEDRELL, CARLOS (Oct. 16, 1878, Mi-
nas, Uruguay), a nephew of the Spanish com-
poser and musicologist Fehpe Pedrell, be-
gan studies in Montevideo, continuing with
his uncle in 1898-1900, and then entering the
Schola Cantorum in Paris, where his masters
were Pierre de Breville and d'Indy. Since
1906 he has been located in Buenos Aires,
where he is inspector of music in the schools,
lecturer at the University of Tucuman, and
advisor for the Consejo Nacional de Edu-
cacion on the national hymn, folk-songs,
and musical policies generally. In 1915 he
founded the Sociedad Nacional de Miisica,
including a group of composers. His opera
' Ardid de Amor' was given six times in Buenos
Aires in 1917. A second opera is 'Cuento de
Abril.' Symphonic works are 'Une Nuit de
Scheherazade' (1908), 'Danza y Cancion
de Aixa' (1910), 'En el Estrado de Beatriz'
(1910), 'Fantasia Argentina' (1910) and
'Ouverture Catalane' (1912). These have
been repeatedly performed, especially in the
series at the Colon under Andr6 Messager
in 1916. He has also composed about 60
songs (26 published), many with orchestral
accompaniment, four choruses with orchestra,
and three a cappella, besides publishing over
50 transcriptions and adaptations for school-
use. His wife, Suzanne S. de Pedrell (b.
Sept. 15, 1892, Meing-sur-Loire, France), a
pupil of Madame Giraudin in Paris, has won
distinction in song-recitals. [ R.9 ]
t PEDRELL, FELIPE (Feb. 19, 1841,
Tortosa, Spain). See article in Vol. iii. 668-9.
In 1911 his seventieth birthday was cele-
brated by the publication of a series of
'Escritos heortdsticos' by musical scholars
of different countries. For many details
about his compositions and his remarkable
historical studies, see Baker, Diet, of Mu-
sicians, p. 690.
PELHAM, PETER, Jh. (1721- ? ). See
Register, 1.
PELISSIER, VICTOR. See Register, 2.
PENFIELD, SMITH NEWELL (Apr. 4,
1837, Oberhn, O. : Jan. 7, 1920, New York),
after graduating from Oberlin College in
1858, studied in New York with James Flint,
in Leipzig with Moscheles, Papperitz, Rei-
necke, Plaidy, Richter and Hauptmann,
graduating from the Conservatory in 1869,
PENNY
PERRY
325
and in Paris with Delioux. He first taught in
Rochester, and then went to Savannah,
where he established the Conservatory and
the Mozart Club. From 1882 he was in New
York, where for many years he was organist
at the Broadway Tabernacle, gave many
organ-recitals, conducted choral societies and
started the Arion Conservatory in Brooklyn.
In 1885 he was president of the M. T. N. A.
and in 1888-90 of the New York State Associa-
tion. In 1885 New York University made him
Mus.D. His works included Psalm 18, for
soli, chorus and orchestra, an overture, a
string-quintet, pieces for piano and organ,
choruses and songs. [ R.5 ]
PENNY, GEORGE BARLOW (b. 1861).
See Register, 8, and State Univeesities
(Kan.).
PEOPLE'S CHORAL UNION, THE, of
New York. See Vol. iii. 371.
PEOPLE'S SYMPHONY ORCHESTRA,
THE, of New York. See Vol. iv. 805.
PERABO, JOHANN ERNST (Nov. 14,
1845, Wiesbaden, Germany), began music
with his father at five. In 1852 the family
came to America and he had violin- and piano-
lessons from several teachers. He entered
the Leipzig Conservatory in 1862, studying
piano with Moscheles and Richter, theory and
composition with Hauptmann, Papperitz and
Reinecke, and took the Helbig prize in 1865.
After a year of teaching in New York and
some recital-giving, since 1866 he has lived
in Boston, becoming noted for his excellent
playing of Beethoven. He has made a
specialty of concert-transcriptions, including
the first movement of Rubinstein's ' Ocean ' and
Schubert's ' Unfinished ' Symphonies, of parts
of ' Fidelio ' and of some Loewe ballads. Mrs.
Beach is one of his many pupils. Among his
compositions for piano are ' Moment Musical,'
op. 1 ; Scherzo, op. 2 ; Prelude, op. 3 ; Waltz,
op. 4; Three Studies, op. 9; 'Pensees,' op.
11; and Prelude, Romance and Toccatina,
op. 19. [ R.5 ]
PERINI, FLORA (b. 1887). See Register,
10.
PERIODICALS, MUSICAL. See Vol. iii.
687-9, and Journalism.
PERKINS, CHARLES CALLAHAN (1823-
1886). See Register, 4.
PERKINS, DAVID WALTON (b. 1847).
See Register, 8.
PERKINS, HENRY SOUTHWICK (1833-
1914). See Register, 5.
PERKINS. JULIUS EDSON (1845-1875).
See Register, 5.
PERKINS, ORSON (1802-1882). See Reg-
ister, 3.
PERKINS, WILLIAM OSCAR (1831-
1902). See Register, 5, and Tune-Books,
1859.
tPEROSI, LORENZO (Dec. 23, 1872,
Tortona, Italy). See article in Vol. v. 658.
His recent oratorios are 'Transitus Animse'
(1907), 'In Patris Memoriam' (1910) and
'Giorni di Tribulazione ' (1916). He has also
composed two symphonic poems, 'Dovrei
non Piangere ' and ' La Festa del Villaggio ; '
concertos for piano and violin ; a sonata for
violin ; a suite for piano-trio ; and many smaller
vocal and instrumental works.
PERRIN, HARRY CRANE (Aug. 19, 1865,
Wellingborough, England), was educated at
Trinity College in Dublin, receiving Mus.B.
in 1890, F.R.C.O. in 1892, Mus.D. in 1901,
his teachers having been Stewart, Pearce and
Bates. From 1886 he was in succession or-
ganist at St. Columba's College, at St. John's
Church in Lowestoft, and at St. Michael's
in Coventry, where he also conducted the
Musical Society. In 1898 he became organist
at Canterbury Cathedral and conductor of
the Canterbury Musical Society. Since 1908
he has been professor and director at the
McGill University Conservatorium in Mon-
treal, which owes its fine organization and
influence to his leadership. He has com-
posed orchestral music, cantatas, songs and
church-music. [ R.9 ]
PERRIN, HENRY FOOTE. See State
Universities (N. M.).
PERRY, EDWARD BAXTER (Feb. 14,
1855, Haverhill, Mass.), has been sightless
since infancy, but has nevertheless achieved re-
markable success as student, artist and teacher.
After having graduated from the public
schools of Medford in 1871, he studied piano
with J. W. Hill in Boston, besides specializing
in English literature. In 1875 he went abroad
for further general and musical education at
Berlin and Stuttgart. His piano-study was with
Kullak, Pruckner and Clara Schumann, and
in 1878 he was with Liszt at Weimar in the
summer. Besides playing somewhat in public,
he kept up diligent literary, historical and
philosophical studies. In 1881-83 he taught
at Oberlin College, and in 1883-85 he was
again in Europe. Since 1885 he has been
chiefly occupied with numerous and varied
lecture-recitals in all parts of the country.
Up to 1917 he had thus appeared more than
3300 times. In 1897-98 he engaged in concer-
tizing in Europe. Since 1917 he has been di-
rector of music and dean of fine arts at the
Woman's College in Montgomery, Ala. He has
written Descriptive Analysis of Piano-Works
and Stories of Standard Teaching-Pieces, with
perhaps 300 articles for magazines. Best
known among his piano-pieces are a Reverie,
a Nocturne, an Impromptu, a ' Mazurka
Caprice' and 'Why?' (Schmidt), 'Autumn
Reverie,' 'The Portent,' '^olienne' and 'The
Ballade of Last Island' (Presser), with several
326
PERRY
PHILHARMONIC SOCIETY
studies. His most important unpublished
work is the 'Melusine' Suite, founded on a
legend in the family of Prince Lusignan.
This led the latter to confer on him the title
of 'Chevalier de Melusine' (1898). In his
works, as in his explanatory lectures, he exalts
poetic significance more than technical
structure. [ R.7 ]
PERRY, EMORY (1799 - ? ). See Reg-
ister, 3.
PERSINGER, LOUIS (Feb. 11, 1887,
Rochester, 111.), spent his early years in
Oklahoma and Colorado, where he had some
lessons on violin and piano. In 1900, aided
by the late W. S. Stratton, he began serious
study in Leipzig, having violin under Becker,
and piano, theory and conducting under
Nikisch, and graduated from the Conservatory
with the highest honors in 1904. Nikisch
called him 'one of the most talented pupils'
they had ever had. After a year of concert-
work in America, he had two years at Brussels
under Ysaye. In 1907 he was concertmaster
of the Opera Orchestra there at its Vauxhall
concerts, and in 1908 of the Bliithner Or-
chestra in Berlin. Returning then to America,
he taught for a few months in Winnipeg, but
in 1909-11 concertized in Germany, Austria
and Denmark with such success that in 1912-13
he made a brilliant tour in the United States,
appearing with all the leading orchestras from
New York to San Francisco. Another season
of concerts in Europe was followed in 1914-15
by service as concertmaster for the Philhar-
monic Orchestra in Berlin. Since 1915 he
has been concertmaster and assistant-con-
ductor of the San Francisco Orchestra,
director of the Chamber Music Society and
leader of the Community Music School
Orchestra. In 1913 he married the pianist
Angela Gianelli. [ R.9 ]
PETERBORO (N.H.) FESTIVALS. See
MacDowell Memorial Association.
PETERS, ABSALOM (1793-1869). See
Tune-Books, 1823.
PETERS, RICHARD HARRY (b. 1867).
See Register, 8.
PETERSILEA, CARLYLE (1844-1903).
See Register, 5.
PETIT. See Register, 2.
PFEFFERKORN, OTTO W. G. See Col-
leges, 2 (Brenau C, Ga.).
tPFITZNER, HANS ERICH (May 5,
1869, Moscow, Russia). See article in Vol.
iii. 696-7. He taught at the Stern Conserva-
tory until 1907, and was conductor at the
Theater des Westens in 1903-07. In 1907-08
he was conductor of the Kaim Orchestra in
Munich, and then went to Strassburg as
director of the conservatory and of municipal
music, becoming in 1910 also conductor at
the Opera. His latest opera is 'Palestrina'
(1919, Berhn). Other works are incidental
music to Kleist's 'Kathchen von Heilbronn,'
op. 17, and to Von Stach's 'Christelflein,
op. 20 ; the eight-part a cappella chorus
'Columbus,' op. 16; a piano-trio in F, op. 8;
a string-quartet in D, op. 13 ; and a piano-
quintet in C, op. 23. His essays Vom musika-
lischcn Drama were published in 1915.
PFITZNER, WALTHER (b. 1882). See
Register, 10.
PHELPS, ELLSWORTH C. (1827- ? ).
See Register, 4.
PHILADELPHIA MUSICAL ACADEMY,
THE, was founded in 1870 by John F. Himmel-
bach, who remained its director till 1876,
when he was succeeded by Richard Zeckwer.
In 1915 the latter was joined in the manage-
ment by his son, Camille Zeckwer, and since
1917 the latter has been director with Fred-
erick E. Hahn and Charlton L. Murphy. The
Academy has had notable success. The
faculty includes over 50 teachers, and the
student-enrolment is about 800 in the main
school, besides three branches in different
parts of the city. The total number enrolled
since the beginning is over 26,000. In 1917
the Academy was combined with the Hahn
Conservatory. It has arrangements with
other schools for special advantages in
language-study and in dramatic art.
PHILADELPHIA SYMPHONY OR-
CHESTRA, THE. See article in Vol. iv.
805-6. Karl Pohlig continued as conductor
until 1912, when he was succeeded by Leopold
Stokowski, previously of Cincinnati. Under
the latter the Orchestra has added laurels to
its fine reputation. Since 1908 the num-
ber of players has been 80 or more. Popular
concerts were added to the regular series in
1915, and in 1916 a movement started for a
large permanent fund. Since 1914 the Or-
chestra has regularly played in New York,
now giving five concerts there each year.
Among the new works brought out have been
Pohlig's Symphonic Poem, 'Per Aspera ad
Astra' (1908), Volbach's Symphony in B
minor (1910), Rabaud's 2nd Symphony
(1913), Schonberg's 'Kammersymphonie'
(1915), Sandby's Concerto in D, for 'cello
(1916), Zeckwer's Symphonic Poem, 'Sohrab
and Rustum' (1916), Mahler's 8th Symphony,
with large choral forces (1916, three times and
in New York), Elgar's music to Cammaerts'
'Le Drapeau Beige' (1918), Gardner's Sym-
phonic Poem, 'New Russia' (1919), and
Hadley's Concert-Overture, 'Othello' (1919).
PHILHARMONIC SOCIETY, THE, of
Boston, is the name of more than one organi-
zation. One is mentioned as early as 1799.
Another is said to have been started by
Graupner in 1910, continuing till 1824. This
may have been in some way connected with
PHILHARMONIC SOCIETY
PHONOGRAPH
327
the first. In 1879 an orchestra was established
by Bernhard Listemann, which in 1881 was
continued under a society of guarantors.
Listemann was succeeded by Maas and in
1881 by Zerrahn.
PHILHARMONIC' SOCIETY, THE. of
Brooklyn. See article in Vol. iv. 801.
PHILHARMONIC SOCIETY, THE, of
Chicago, was formed in 1860 and did useful
pioneer work under Hans Balatka until 1867,
introducing eight of the Beethoven sym-
phonies, two each of Mozart's and Cade's,
one of Mendelssohn's, etc.
PHILHARMONIC SOCIETY, THE, of
New York. See article in Vol. iv. 803-5.
Safonov continued as conductor till 1909,
succeeded by Gustav Mahler in 1909-11, who
wrought a thorough change in discipline,
bringing the orchestra to the highest state of
finish. His illness and death led to the
employment of Theodore Spiering as sub-
stitute in 1911. Since 1911 the regular leader
has been Josef Stransky, who has greatly
commended himself. The size of the band
under Safonov was 125, but was reduced to
100 under Mahler. In 1912 the Society
received a bequest of §1,000,000 from the late
Joseph Pulitzer. In 1917 it celebrated its
75th anniversary with extended festival
performances, and $110,000 was contributed
toward a building-fund. Leopold Kramer
was concertmaster in 1913-17 and Alfred
Megerlin since 1917. Out of many new works
produced may be mentioned Mahler's 1st and
5th Symphonies (1909, '11), Bizet's 'Roma'
Suite (1911), Weingartner's 3rd Symphony
and 'Merry Overture' (1911, '12), Korngold's
'Overture to a Play' (1912), Ritter'a 'Olaf's
Wedding-Dance' (1912), Reger's 'Romantic'
and 'Ballet' Suites (1913), Ropartz' 4th
Symphony and 'La Chasse du Prince Arthur'
(1914), Bloch's 1st Symphony (1918), Wilson's
Suite 'From my Youth' (1918), Rogers' 'To
the Fallen,' Dvorak's 3rd Symphony, and
Schmitt's 'Rhapsodie Viennoise' (all 1919).
An early society of this name was formed
in 1800 by the union of the St. Cecilia and
Harmonical Societies. How long it continued
is not clear.
PHILE, PHILIP. See Register, 2.
t PHILIPP, ISIDOR (Sept. 2, 1863, Buda-
pest, Hungary). See article in Vol. iii. 705.
His educational works for piano are highly es-
teemed and widely used. They include Exer-
cises Journaliers, Problemes Techniques, Ecole
d' Octaves, La Gamme Chromatique, Etudes
Techniques, etc. He has also composed many
piano-pieces and some orchestral music, and
has continued his valued arrangements and
editions of the classics. He is Chevalier of the
Legion d'Honneur and Oflicier d'Instruction
Publique.
PHILLIPPS. ADELAIDE (1833-1882).
See Vol. iii. 709-10, and Register, 4.
PHILLIPS, HAROLD DOCKRAY, born
at Oxford, England, had early training at
Peterborough Cathedral, and at sixteen was
organist at St. Andrew's (Kensington) in
London. Later he was musical scholar and
organist at Caius College in Cambridge, where
he became Mus.B. and A.M. He then
played at the Duchess of Albany's church at
Esher in Surrey and at St. Andrews (Holborn)
in London, becoming also fellow of the R. C. O.
In 1903 he came to Toronto as organist at St.
Paul's, and thence went in 1906 to Baltimore
to be head of the organ-department and
lecturer on music-history at the Peabody
Conservatory, where he gave annual series
of recitals. From 1914 he was organist at
the First Church (Scientist) and critic on
the 'News.' In 1914 he was chosen to repre-
sent the German school of organ-music at a
recital in New York arranged by the A. G. O.
In 1920 he removed to New York. He has
written an organ-sonata in D minor (Stainer &
Bell), a symphony in C minor, two cantatas,
a string-quartet in A-flat, and two piano-trios,
in E and D-flat. [ R.9 ]
PHILLIPS, HARRY (b. 1864). See Col-
leges, 3 (Macalester C, Minn.).
PHILLIPS, PHILIP (1834-1895). See
Register, 4.
PHILLIPS, THOMAS (1774-1841). See
Register, 3.
PHILLIPS, T. MORGAN. See Colleges,
3 (Hiram C, Ohio).
PHONOGRAPH. Edison's invention by
this name (1876) was the first to both record
and reproduce complex sounds mechanically.
Its primary purpose was to transmit speech-
sounds. But it was speedily extended by
Edison and others to every sort of musical
effect. Especially since 1900 and through the
persistent ingenuity of American inventors,
this general type of mechanical reproducer
has become artistically significant. The
process differs from that of the player-piano
in that no actual musical instrument is em-
ployed in reproduction and that the user has
little expressional control.
The 'records' employed are ordinarily disks
of hard rubber, on the face of which inden-
tations corresponding to the vibrations of the
original effect are made by a stylus connected
with a sensitive receiver. These records,
mounted on a revolving spindle propelled by
a motor, are traversed by a 'needle' of soma
special material (wood, fibre or a jewel) that is
connected with a delicate ' diaphragm ' like that
of the telephone, which is thus thrown into
vibrations like those of the original receiver.
These \'ibrations, conducted through a 'tone-
arm,' are made sonorous by passing out through
328
'PHYLLIS'
PILZER
a resonant projector of some form. Intensity
is controlled by shutters or doors, and some
modification of tone-quality is usually possible.
But changes of speed affect the total pitch.
Although much employed for coarse effects,
instruments of this class have also been applied
with extraordinary success to recording su-
perior vocal and instrumental performances,
both solo and in ensemble. The best of these
achievements are invaluable as historic records
and for demonstrative purposes.
Some of the trade-names used are these :
'^olian-Vocalion,' jEolian Co., New York.
'Bush & Lane,' Bush & Lane Piano Co., Holland,
Mich.
'Cremona,' Cremona Phonograph Co., New York,
'Dulcitone,' Dulcitone Phonograph Co., South
Haven, Mich.
'Edison,' Thoa. A. Edison, Inc., Orange, N. J.
'Grafonola,' Columbia Graphophone Mfg. Co.,
New York.
'Kreiterphone,' Kreiter Mfg. Co., Milwaukee.
'Lauzon,' Michigan Phonograph Co., Grand
Rapids, Mich.
'Magnola,' Magnola Talking Machine Co.,
Chicago.
'Mandel,' Mandel Mfg. Co., Chicago.
'Manophone,' Manophone Corp., Adrian, Mich.
'Natural Voice,' Natural Voice Phonograph Co.,
Oneida, N. Y.
'Paramount,' Paramount Talking Machine Co.,
Port Washington, Wis.
'Path6,' Paths Freres Phonograph Co., Brooklyn.
'Starr,' Starr Piano Co., Richmond, Ind.
'True-Tone,' Cameron Phonograph Co., New York.
'Victrola,' Victor Talking Machine Co., Camden,
N. J.
' Violaphone,' Gretsch Mfg. Co., Brooklyn.
' PHYLLIS.' A romantic opera by Richard
Henry Warren, produced in New York in 1900.
PIANOFORTE. See article in Vol. iii.
716-32, especially notes regarding American
contributions to the instrument on pp. 726-30.
Spillane {History of the American Pianoforte,
1890) seems to have shown that in many
small details American makers were even
earlier or more ingenious than is there in-
dicated. The intimate relation between Eng-
land and America led to a prompt interchange
of mechanical ideas as well as of actual work-
men, so that the two countries cannot be
regarded apart. In the earlier sections of
the Register notes are given as to Behrenti
Hesselius, Albrecht, Crehore, Taws, Van Hagen,
the Babcocks, Bacon, Bourne, Chickering,
Clark, Dubois, Dunham, Firth, the Geibs, the
Gilberts, Hawkins, Hiskey, Knabe, Lindeman,
the Louds, Mackay, Meyer, the Nunnses, Os-
born, Schomacker, Stewart, Stodart, Wise, etc.
— all of whom worked at least as early as
1840. The attention given to piano-making in
America before 1850 is both a symptom and
a cause of musical interest. After 1850 Amer-
ican pianos began to acquire something of the
international prominence that they now have.
one of the striking factors being the enter-
prise of Steinway after 1853.
The enormous expansion of the industry
of piano-making is shown by the fact that over
300 establishments are now in operation (not
counting those merely occupied in making
parts and fittings), employing towards 30,000
workmen. The census of 1910 placed the
annual output at that time at about 375,000
instruments, of which nearly 9000 were grands.
The value of this annual output was put at
about $60,000,000. It is not likely that the
number of separate concerns has much in-
creased, but the amount of production is cer-
tainly greater. See Am. History and Encyclo-
pedia of Music, ' American Music,' pp. 314-26.
Since 1900 the whole field of piano-making
has been greatly modified by the multipHcation
of automatic devices for playing, chiefly those
contained within the instrument (see Player-
Piano). These have now been adopted by
practically all makers, with numerous special
points of interest in each case. This in-
novation has greatly extended the range of
the market for pianos. Whether or not it
has affected the character of their artistic
use remains an open question. The me-
chanical difficulties of introducing 'playing'
attachments have been so well overcome that
they no longer need take away from an in-
strument's essentially artistic quality.
Details regarding many leading piano-makers
are given in separate articles.
PIERCE, GEORGE LEAVITT (b. 1874).
See Colleges, 3 (Grinnell C, Iowa).
PILCHER'S SONS, HENRY, of Louisville,
Ky., is an organ-making business that has had
a long history. Henry Pilcher, Sr. (d. 1880),
began making organs in London in 1820. In
1832 he came to New York and for many years
was associated with Henry Erben. His son,
Henry Pilcher, Jr. (1828-91), after training in
New York, about 1850 established himself in
St. Louis, in 1861 moved to Chicago, and, after
the great fire of 1871, went to Louisville,
making a fine record for conscientious work in
each city. Since 1884 the firm, now carried on
by Robert E. and William E. Pilcher, haa
developed a large, fully-equipped factory.
One of its largest four-manual organs is in the
First Presbyterian Church of Atlanta.
'PILGRIM'S PROGRESS." A 'musical
mystery' for soli, chorus, organ and orchestra,
by Edgar Stillman Kelley, on a text by Mrs.
Elizabeth Hodgkinson. It was first produced
at the Cincinnati May Festival in 1918, and
repeated in New York in 1920 at the festival
of the Oratorio and Symphony Societies.
PILLSBURY, AMOS. See Tune-Books,
1799.
PILZER, MAXIMILIAN (b. 1890). See
Register, 9.
PINNEY
PLAYER-PIANO
329
PINNEY, CLAUDE CHARLES. See
CoLLEGEa, 3 (Tarkio C, Mo.).
'PIPE OF DESIRE, THE.' An opera
in one act by Frederick S. Converse, first
produced in Boston in 1906 and at the Metro-
politan Opera House in New York in 1910.
PIRANI, EUGENIC DI (Sept. 8, 1852,
Ferrara, Italy), was the son of a teacher of
languages in Berlin. His general education
was in Venice and much of his musical training
at the Rossini Conservatory in Bologna.
He also studied piano with Kullak at Berlin
and composition with Kiel. In 1873-83 he
taught in the Kullak Academy and toured
as pianist on the Continent and in England.
He had an important part in the Cristofori
Commemoration in Florence, became a
member of several Academies and received
numerous decorations. In 1888 he was head
of the German committee for the International
Music Exhibition at Bologna. In 1898-1901
he was critic for the 'Kleines Journal' in
Berlin. In 1901-06 he toured in both Europe
and America with the soprano Alma Webster
Powell, with whom in 1904 he founded a
Musical Institute in Brooklyn which they
still direct. He became an American citizen
in 1916. He has written the operas 'Das
Hexenlied' (1902, Prague) and 'Black Blood'
(1904) ; a 'Sc^ne Veneziane,' op. 44, for piano
and orchestra (1892) ; the symphonic poems
'Fete au Chateau,' op. 43 (1901), 'Woodland'
and 'Belshazzar' ; 'Airs Boh6miens,' op. 35,
for orchestra ; and many lesser instrumental
and vocal works. His High-School of Piano-
Playing, 1908 (4th ed., 1918), includes Etudes
that have been highly praised. [ R.9 ]
tPITT, PERCY (Jan. 4, 1870, London,
England). See article in Vol. iii. 759. In
1906 he became an assistant-conductor at
Covent Garden, and in 1907 principal con-
ductor and general artistic adviser, following
Messager. His symphony in G minor was
played at the Birmingham Festival of 1906.
Other recent compositions are an 'English
Rhapsody' for orchestra, based on folk-songs,
the ballet-pantomime 'Sakura,' a Serenade for
orchestra, and 'Anactoria,' a symphonic poem
for viola and orchestra.
PITTS, F. E. See Tune-Books, 1859.
PITTSBURGH MUSICAL INSTITUTE,
THE, was organized in 1915 under the joint
direction of Frank Milton Hunter, William
H. Getting, Dallmeyer Russell and Charles
N. Boyd, Mr. Hunter retiring in 1919. Start-
ing with an enrolment of about 400, it has
now nearly trebled that number. There
are about 25 teachers. The Institute has
an arrangement for exchanging credits with
the University of Pittsburgh.
PITTSBURGH SYMPHONY ORCHES-
TRA, THE. See article in Vol. iv. 806-7.
Emil Paur continued as conductor until 1910.
In 1907 the Orchestra made an extensive tour
in conjunction with the Mendelssohn Choir of
Toronto. In 1908 the number of players was
increased to 80, and Edward Tak secured as
concertmaster. In 1910 difficulties arose about
the guarantee-fund, resulting in the disbanding
of the organization. In 1909 Paur brought out
his 'In der Natur' Symphony.
PIUTTI, MAX (1852-1885). See Register,
6.
PLAYER-PIANO. See article on Auto-
matic Appliances in Vol. i. 133-8. American
inventors have been remarkably energetic
and successful in perfecting devices to operate
pianos mechanically, so that these are now in
use throughout the world. The earUer effort
was to make 'piano-players' — instruments
apart from the piano itself. These were soon
steadily replaced by mechanisms enclosed
within the piano-case — whence the name
'player-piano.' The essential principles of
the two types are similar. The motive power
is pneumatic, secured through an exhaust-
bellows operated either by the feet or by an
electric motor. This propels the 'music-roll'
(a paper-strip perforated with slots for the
notes of a particular piece and often for
variations in tempo or force) and actuates
the mechanical units affecting the action of
the hammers. The number of units was at
first 44, then 6'5 or 72, and is now usually 88,
corresponding to the full compass of the key-
board. Each unit connects by a tube with an
opening in the 'tracker-bar,' over which the
music-roll passes, and is put in action only
when a slot in the roll matches with the open-
ing. The tempo is set or varied by controlling
the movement of the roll, but the force of the
hammer-blow is governed by special arrange-
ments associated with the operative units.
These 'expression-devices' are directed either
by levers controlled by the player's hands or
automatically through the roll.
The tendency is for each piano-maker to
develop his own type of 'player,' all aiming
to secure extreme rapidity, certainty, delicacy
and noiselessness of action. The eager com-
petition between inventors has lifted the
whole enterprise into artistic importance.
Many companies have been organized to make
'player-actions' that can be installed in various
makes of pianos. Such actions are also being
widely applied to pipe-organs, even of the
largest class, as well as to orchestrions. Below
is a list of some of the trade-names by which
'player-mechanisms' are known, with the
firms using them :
' Air-o-Player,' National Piano Co., Boston.
'Amphion,' Amphion Piano- Player Co., Syracuse.
'Ampico,' American Piano Co., New York.
'Angelus,' Wilcox & White Co., Meriden, Conn.
330
POCHON
POWELL
'Apollo,' Melville Clark Piano Co., Chicago.
'Artistano,' A. B. Chase Co., Norwalk, O.
'Artone,' Ahlstrom Piano Co., Jamestown, N. Y.
'Autola,' Horace Waters & Co., New York.
'Autopiano,' Autopiano Co., New York.
'Autopneumatic,' Autopneumatic Action Co.,
New York.
'Autotone,' Hardman, Peck & Co., New York.
'Carola Inner-Player," Cable Co., Chicago.
'Cecilian,' Farrand Co., Detroit.
'Claviola,' Claviola Co., New York.
'Combinola,' Geo. P. Bent Co., Chicago.
'Concertone,' Mansfield Piano Co., New York.
'Electrelle,' American Piano Co., New York.
'Euphona,' Cable Co., Chicago.
'Exceltone,' Chase-Hackley Piano Co., Muskegon,
Mich.
'Harmonola,' Price & Teeple, Chicago.
'Humana,' Lauter Co., Newark, N. J.
'Manualo,' Baldwin Co., Cincinnati.
'Master,' Winter & Co., New York.
'Melodigrand,' Melodigrand Co., New York.
'Modello,' Baldwin Co., Cincinnati.
'Musicale,' Mansfield Piano Co., New York.
'Oktavec,' Laffargue Co., New York.
'Pianino,' Wurlitzer Co., New York.
'Pianista,' Autopiano Co., New York.
'Pianola,' .<Eolian Co., New York.
'Playotone,' Autopiano Co., New York.
'Primatone,' Foster-Armstrong Co., East Roches-
ter, N. Y.
'Simplex,' Simplex Player-Action Co., Worcester,
Mass.
'Sterlitone,' Sterling Co., Derby, Conn.
'Symphonola,' Price & Teeple, Chicago.
'Tel-Electric,' 'Telektra,' Tel-Electric Co., Pitts-
field, Mass.
'Troubadour,' Haddorff Piano Co., Rockford, 111.
'Virtuolo,' Hallet & Davis Co., Boston.
'Wondertone,' Lindenberg & Co., Columbus, O.
In addition, there are numerous types that are
known simply by the name of the firms using
them.
For details of construction, see William
Braid White, The Player-Piano Up to Date,
1914, and Harrison Louis Van Atta, The Piano
and Player-Piano, 1914.
POCHON, ALFRED (b. 1878). See Regis-
ter, 9.
POEHLMANN, HERMANN. See Col-
leges, 3 (Grove City C, Pa.).
POLACCO, GIORGIO (Apr. 12, 1875,
Venice, Italy), as a boy studied in Petrograd,
continuing under Coccon at the Liceo Marcello
in Milan, where he later graduated from the
Verdi Conservatory. He at once began a
career as operatic conductor, first in London,
for a few years in Milan and Rome and for
several more at Buenos Aires and Rio de
Janeiro. He also was guest-conductor at
Lisbon, Warsaw, Petrograd and Mexico City.
In 1906 he appeared at San Francisco, and in
1911-12, at Puccini's request, he had charge
of Savage's productions of his 'Girl of the
Golden West.' From 1912 he was one of the
valued leaders at the Metropolitan Opera
House in New York. In 1915 he replaced
Toscanini at the latter's breakdown in health,
and then succeeded as chief conductor. Since
1918 he has been with the Chicago Opera
Company. His repertoire includes more than
150 operas — Italian, French, Russian and
Wagnerian. He has often been chosen to
bring out new Italian works, as, for example,
Mascagni's 'L'Amico Fritz' in 1891. [ R.9 ]
POMMER, WILLIAM HENRY (b. 1851).
See State Universities (Mo.).
POND, SYLVANUS BILLINGS (1792-
1871). See Register, 3, and Tune-Books, 1841.
POND, WILLIAM A., & COMPANY, is the
fijm-name assumed in 1867 for the business of
piano-making and dealing in music and
instruments originally established in 1821 by
John Firth and WiUiam Hall. In 1832 they
were joined by S. B. Pond, previously of
Albany, who continued till 1850, when his
son, William A. Pond (d. 1885), came in,
ultimately succeeded by William A. Pond,
Jr. The making of pianos early ceased to
be a feature of the business, but publishing
and dealing in musical merchandise of all
sorts have been conspicuous.
POOL, DAVID. See Tune-Books, 1813.
POOLE, HENRY WARD (1825- ? ).
See Register, 4.
PORTER, ALICE A. See Colleges, 2
(Western College, Ohio).
PORTER, FRANK ADDISON (b. 1859).
See Register, 7.
PORTER, WILLIAM S. See Register, 3.
POTTER, CARRIE CASLER. See Col-
leges, 3 (McMinnville C, Ore.).
POWELL, ALMA WEBSTER, nee Hall
(Nov. 20, 1874, Chicago), after early experience
as soprano, from 1901 studied with Pirani in
Berlin, making her debut there in ' II Barbiere
di Siviglia' and taking the part of Renata at
the first performance of Pirani's 'Hexenlied'
in 1902 at Prague. She toured with him in
Europe and America till 1906, but also in 1904
joined him in establishing a Musical Institute
in Brooklyn which they still continue. Mean-
while she took courses with Rybner at Colum-
bia University, where she gained a Mus.
B. in 1910, M.A. in 1911, and Ph.D. in
1914 (the last in pohtical science). Since
1914 she has given her chief attention to
lecture-recitals, especially in colleges and
universities. She is author of an Advanced
School of Vocal Art, 1911. [ R.9 ]
POWELL, JOHN (Sept. 6, 1882, Rich-
mond, Va.), having graduated from the
University of Virginia in 1901, first studied
the piano with his sister, Mrs. Brockenbrough,
and F. C. Hahr. In 1902-07 he continued
with Leschetizky in Vienna and in 1904-07
took composition under Navrdtil. He first
appeared as pianist with the Tonkiinstler
Orchestra in November, 1907, and then for
several years toured widely in Germany,
France and England. In 1912 he appeared
MAUD POWELL
POWELL
PRATT
331
at Richmond and in 1913 in New York.
Since then he has been heard throughout the
country, often with the principal orchestras,
always with notable success. His com-
positions bid fair to attract as much attention
as his playing, especially as he has made
striking and effective use of Negro themes
and other folk-song material. The list in-
cludes
'Sonata Virginesque,' op. 7, for violin and piano —
'In the Quarters,' 'In the Woods,' 'At the Big
House' (1908, Vienna).
Concerto in B minor, op. 13, for piano and orchestra.
'Sonate Psychologique,' op. 15, for piano (1912,
London).
Suite, 'In ttie South,' op. 16, for piano — 'Hum-
ming-Birds,' 'Negro Elegy,' 'Pioneer Dance.'
Three Songs, op. 18.
String-Quartet, op. 19 (1910, SevSik Quartet,
London).
Variations and Double Fugue, op. 20, for piano
(on a theme by Hahr).
'Sonate Noble,' op. 21, for piano.
Suite, 'At the Fair,' op. 22, for piano.
Concerto in E, op. 23, for violin and orchestra
(1912, Zimbaliat, New York).
'Sonata Teutonica,' op. 24, for piano (1914,
Moiseivitch, London).
Sonata for violin and piano (1919, Zimbalist and
the composer. New York). [ R.9]
POWELL, MAUD (Aug. 22, 1868, Peru,
111. : Jan. 8, 1920, Uniontown, Pa.). See
article in Vol. iii. 802. The works with or-
chestral accompaniment which she introduced
in America include Saint-Saens' Concerto
No. 2, in C, Tchaikovsky's Concerto, Dvofdk's
Concerto, Huss' Concerto, Shelley's Concerto,
Arensky's Concerto, Rimsky-Korsakov's ' Fan-
tasie de Concert,' Lalo's Concerto in F minor
and 'Concerto Russe,' Sibelius' Concerto in
D minor, Coleridge-Taylor's Concerto and
Bruch's Concert-Stiick. She has also brought
forward many works by Foote, Mrs. Beach,
Herbert, Saar, Kramer, Bergh, Tirindelli, Bur-
leigh, Grace White, Hartmann and Cadman.
Violin-arrangements or transcriptions by her
are published by Ditson, Schirmer, Breitkopf,
Carl Fischer and Schuberth.
From 1905 she made annual concert-tours in
America. A recent phase of her work was giving
recitals in soldiers' camps throughout the coun-
try. This disclosed a gratifying preference on
the part of the men for a better class of music
than had at first been prescribed. Her death
was extremely sudden, due to illness while
on tour. [ R.7 ]
POWER, FRANK A, See Colleges, 3
(Fairmount C, Kan.).
POWERS, EDWARD LEESON (b. 1872).
See Colleges, 2 (Judson C, Ala.).
POWNALL, Mrs. (d. 1796). See Register, 2.
POYNER, VIRGIA. See Colleges, 3
(Arkansas Cumberland C).
PRATT, JOHN HARRADEN (Nov. 20,
1848, Freeport, Me.), was first trained in
Portland, Me., by G. W. Marston in piano,
organ and harmony. In 1873 he went to
California, continuing in counterpoint and
composition with J. P. Morgan. Still later,
at Leipzig, after taking piano with Wenzel,
Coccius and Zwintscher, and theory with Ja-
dassohn, Alfred Richter and Paul, he graduated
from the Conservatory in 1881. Returning
then to the Pacific Coast, he taught theory
at Mills College for a time and at the King
Conservatory in San Jos6, and has been
organist at the Church of St. Mary the Virgin
(P. E.) and the First Jewish Synagogue in
San Francisco, besides serving many years
at the Old People's Home and for Masonic
bodies. He became a fellow of the A. G. O.
in 1888, and in 1915 dean of the Northern
California Chapter, as well as president of
the Musicians' Club in San Francisco in
1902-03 and 1910-13. He has written a piano-
trio in G, church-music and songs. [ R.7 ]
PRATT, SILAS GAMALIEL (Aug. 4,
1846, Addison, Vt. : Oct. 30, 1916, Pitts-
burgh), was brought up in Chicago, where he
was early a clerk in music-stores and began
training himself in music. In 1868, going to
Berlin, he took piano under Bendel and Kullak,
and theory and composition under Wiierst
and Kiel. Injury to his wrists checked his
ambitions for a pianistic career and led him
to emphasize composition. His orchestral
'Magdalene's Lament' (in one movement)
and the lyric opera 'Antonio' date from this
early time. In 1871 he became organist at
the Church of the Messiah in Chicago, and in
1872 he was active in organizing the Apollo
Club. In 1875-77 he was again in Germany,
studying piano with Liszt and score-reading
with Dorn. His 'Centennial' Overture was
given on July 4, 1876, in Berlin under his
direction and later at the Crystal Palace in
London. In 1878 he gave symphony-concerts
in Chicago, and in 1882 his opera 'Zenobia'
was there brought out. In 1885 he produced
his 'Prodigal Son' symphony and selections
from 'Zenobia' at the Crystal Palace. In
1887 the opera 'Antonio' (revised as 'Lucille')
was given in Chicago. In 1888-1902 he
taught in New York, and in 1906 established
an Institute in Pittsburgh. His other operas
were 'The Triumph of Columbus,' in five acts
(1892, New York) and 'OUanta, ' in six acts,
the Ubretto by himself. He also wrote a
'Lincoln' Symphony, the symphonic poems
'Sandalphon' and 'A Tragedy of the Deep' (on
the 'Titanic' disaster), two suites, a 'Reverie'
and other orchestral works, the cantata ' The
Last Inca,' many choruses, songs, etc. He
was author of Lincoln in Story, 1901, and
The Pianist's Mental Velocity, 1903. [ R.6 ]
PRATT, WALDO SELDEN (b. 1857).
See Register, 6.
332
PRESCOTT
PROTHEROE
PRESCOTT, ABRAHAM (1789- ? ). See
Register, 3.
PRESSER, THEODORE (July 3, 1848,
Pittsburgh), was an early student at the New
England Conservatory in Boston, studying
there with Emery, Whiting, Parker, Hill and
Lang, and later at the Leipzig Conservatory.
He first taught at the Ohio Wesleyan Uni-
versity, at Xenia College in Ohio and at
Hollins Institute in Virginia. In 1876 he
was the leader in the group that founded the
M.T.N.A. at Delaware, O. While in Vir-
ginia he started 'The Etude,' which in 1884
he moved to Philadelphia and which there
speedily grew to an immense circulation.
He also rapidly built up an extensive music-
business, which is now one of the largest in
the country. In 1906 he established the
Presser Home for Retired Music-Teachers,
which is now part of the extensive Presser
Foundation (see following articles). He has
written some piano-studies and other teaching-
material, and has translated musical text-
books. [ R.5 ]
PRESSER FOUNDATION, THE, of Phil-
adelphia, was created in 1916 by Theodore
Presser to care for various philanthropic en-
terprises in which he had long been inter-
ested. Its field comprises at present the man-
agement of the Presser Home (see below),
the giving of scholarships to needy musical
students and the help of deserving musicians
in special emergencies. Scholarships are now
offered in over 75 institutions, scattered
through 27 States, about one-eighth being
in the Middle States, one-quarter in the South
and the remainder in the Interior or the West.
Most of the institutions are colleges, but a
few are of university grade. Candidates are
selected by the officers of the college in each
case. The relief work is designed to aid those
whose need and worthiness are fully established.
The whole purpose of the Foundation, then, is
to minister to the welfare of music-teachers
as a class, both beginners and veterans. The
present funds of the Foundation amount to
more than $1,000,000. The president is
James Francis Cooke.
PRESSER HOME FOR RETIRED MU-
SIC-TEACHERS, THE, of Philadelphia, is
a unique enterprise in America, founded in
1906 by Theodore Presser. Its only parallel
is the Verdi Casa di Riposa in Milan. Under
certain conditions, including the payment of
$200, musicians without regard to creed or
nationality, men or women, who are sixty-five
years old and have taught music in the United
States for not less than twenty-five years, can
be admitted. Up to 1919 there had been 53
admissions, 11 men and 42 women, represent-
ing 21 States and also Canada. Several have
here come to the end of their days in peace.
The'Home is now established in a superbly ap-
pointed building in Germantown. Its capacity
is about 65.
PRfiVOST, EUGENE PROSPER (1809-
1872). See Register, 3.
PREYER, CARL ADOLPH (July 28,
1863, Pforzheim, Germany), gave his first
piano-recital at thirteen. He studied at the
Stuttgart Conservatory, then with Navrdtil
in Vienna and with Urban and Barth in Berlin.
In 1884 he came to America. In 1889-91 he
was music-director at Baker University in
Kansas, and since 1893 has been professor
of piano and composition in the University
of Kansas, becoming in 1915 associate-dean
of Fine Arts. As pianist he has appeared with
leading orchestras. His piano-works include
a Theme with Variations, op. 32, a 'Nor-
wegian Dance,' Canzonetta and 'Serenade
Espagnole,' op. 40, a Toccata and 'Dialogue
without Words,' op. 36, a Sonata, op. 33, a
Scherzo in B-flat minor, 'Brook-Nymphs,'
the fantasie-pieces 'Consolation,' 'The Ballet-
Dancer' and 'Combat,' and numerous and
varied Etudes, opp. 30, 35, 43-45, besides a
number of songs. Unpublished are two so-
natas for piano and violin (A minor and F)^
a sonata in F minor for piano, a piano-quintet
in A minor, and lesser works for piano. [ R.7 ]
PRIEST, WILLIAM. See Register, 2.
PRINCE, GEORGE A., & COMPANY, of
Buffalo, was formed about 1840 to make
melodeons, soon becoming leaders in the trade.
Prince made decided improvements, and in
1847 Hamlin, then one of his workmen, made
the discovery that led to the later reed-organ.
After having made about 75,000 instruments
of both the old and new types, in 1875 the
fiirm got into financial difficulties and was dis-
solved.
PROPERT, DAVID. See Register, 1.
PROTHEROE, DANIEL (Nov. 24, 1866,
Ystradgyniais, Wales), attended the Normal
College in Swansea, early became a com-
petitor in eisteddfods, and organized his first
choral society at sixteen. Coming to Scranton,
Pa., in 1886, he there started the Cymrodorion
Musical Society (250 voices). In 1894 he
moved to Milwaukee, where in 1899 he be-
came conductor of the Arion Male Chorus.
Since 1904 he has been increasingly active also
in Chicago, where he makes his home. He
is music-director at the Central Church, at
the Loring Institute and at the Chicago
Training College, besides teaching at the
Sherwood Music School and leading more
than one choral society. His talent as chorus-
conductor has led to his being several times
one of the chief judges at the National Eis-
teddfod in Wales, as well as in competitions
in America. In 1890 he became Mus.B. of
Toronto University and in 1905 Mus.D, of
PSALMODY
PUBLIC SCHOOLS
333
the Grand Conservatory in New York. He
has written the symphonic poem 'In the
Cambrian Hills,' two string-quartets, the
cantatas 'St. Peter,' 'A Song of Hope,'
'The Story of Bethlehem,' 'Lady Fair'
(these for chorus and orchestra), 'Eastertide,'
'At the Cross,' and 'Children in Heaven'
(allegorical, for children), a Mass in F, nu-
merous choruses, such as 'The Nun of Nidaros'
and 'Britons' (both for men's voices with
orchestra), anthems and songs. He compiled
the Hymnal for the Welsh Presbyterian Church
and four books of ritual-music for the Scottish
Rite, and has prepared courses on harmony
and chorus-conducting. [ R.7 ]
PSALMODY. See Tune-Books.
PUBLIC SCHOOLS, MUSIC IN THE.
What is now known as 'the public school
system' of the United States is only about a
century old. Its establishment and the
working out of its details were processes that
occupied much time and engaged the efforts
of many workers during the last decades of
the 18th and the early part of the 19th cen-
turies. From the earliest days, however, the
colonists had been alive to the importance
of general education, as is shown by the found-
ing of 'colleges' and some 'academies,' as
well as by less permanent undertakings on
the part of single communities and of certain
churches. As a rule, the instruction of young
children was almost wholly left to parents
and homes, just as it was in England at the
same period. But somewhat before 1800,
and much more just after it, a movement set
in to arouse local communities to the need
of elementary and secondary education of
a more uniform and general character. This
was analogous to movements in Europe,
though perhaps not directly connected with
them. A difficulty in American conditions
was the strong instinct for local autonomy,
which long prevented a desirable consoli-
dation of effort over large areas, such as whole
States. New England was on the whole
ahead of other sections, but the Middle States
soon joined in the movement. ^
At intervals in the ISth century the im-
portance of musical training for the young was
recognized. Thomas Symmes urged it as
early as 1720 in connection with his plea for
singing by note. As fast as 'singing-schools'
sprang up they appealed to boys and girls
quite as much as to their elders — though
they did not often include little children.
In 1753 William Tuckey began classes for
1 New York had a State Superintendent of Schools
in 1812-21, and again after 1854. Massachusetts
had a State Board of Education from 1837. These
were the pioneers in consolidated administration.
The Federal Government was favorable to system-
atic public education from soon after the Revolution,
but its influence was confined to grants of public
lands for school-use.
'singing-scholars' in the rooms of Trinity
Church in New York. Adgate's enterprises
in Philadelphia from 1784 were in part di-
rected toward the culture of children. These
are samples of efforts put forth here and there
by individuals. It was not until the idea of
a general plan of popular education under
civic control began to shape itself that the
training of children in song was extensively
undertaken.
It was William C. Woodbridge (1795-1845),
from 1831 editor of a series of Annals of Edu-
cation, who supplied the impetus for positive
advance. He had personally investigated
music-teaching in schools as it was developing
in Europe, especially in Switzerland and
Germany. He became convinced of the
superiority of the Pestalozzian method, and
brought back text-books and other material,
some of which he translated. As Wood-
bridge was a teacher in Hartford, the first
trials took place there as early as 1830 under
Elam Ives, but of these no record is accessible.
In that year Woodbridge lectured in Boston
on 'Vocal Music as a Branch of Common
Education,' illustrations being given by
children trained by Lowell Mason. The latter
was but slowly won to accept the principles
enunciated by Pestalozzi, but finally adopted
them in full. These principles were thus
stated :
1. To teach sounds before signs — to make the child
sing before he learns the written notes or their
names.
2. To lead him to observe, by hearing and imitating
sounds, their resemblances and differences, their
agreeable and disagreeable effect, instead of explaining
these things to him — in short, to make him active
instead of passive in learning.
3. In teaching but one thing at a time — rhythm,
melody, expression are taught and practiced sepa-
rately before the child is called to the difficult task
of attending to all at once.
4. In making them practice each step of each of
these divisions, until they are master of it, before passing
to the next.
5. The giving the principles and theory after
practice, and as an induction from it.
6. The analyzing and practicing the elements of
articulate sound in order to apply them to music.
7. Another peculiarity, which is not, however,
essential to the system, is that the names of the notes
correspond to those employed in instrumental music,
and are derived from the letters, with variations
for flats and sharps — a method whose utility is
questioned by some, but which is deemed very
important by others.'
In January, 1833, the Boston Academy
of Music was started by Mason at Wood-
bridge's suggestion and with the help of George
J. Webb. In 1834 Mason issued his famous
Manual, explaining the principles and methods
' In later years these principles were largely
disregarded or forgotten, but it is interesting to note
that the so-called modern 'observation' method
rests upon the first, second and fifth of them.
334
PUBLIC SCHOOLS
PUBLIC SCHOOLS
to be used in the Academy's singing-classes
for children and youth. Samuel A. Eliot,
the president of the Academy, was then on
the city School-Committee (mayor in 1837-39)
and was heartily sympathetic with the move-
ment to introduce music into the public
schools. In 1836, thanks to the efforts of
these advocates, a memorial to this effect
was laid before the committee, but without
result. ^A second attempt in 1837 secured
the committee's approval, but without their
providing funds for the arrangement. Mason
agreed to teach for a year without salary,
and in October, 1837, began work in the Hawes
School in South Boston. His success was so
obvious that in August, 1838, the committee
gave its official endorsement, putting Mason
in charge of music in all the schools, with
A. N. Johnson, G. F. Root, A. J. Drake and
J. A. Johnson as assistants. In 1841 Mason
resigned to devote himself to 'conventions'
and B. F. Baker succeeded him. A general
committee on music was first appointed in
1857. Music was not taught in the primary
grades at first, but was added in 1864 by
L. W. Mason. In 1868 H. E. Holt took charge
of the lower grammar grades, in 1869 Eichberg
became the first supervisor, and in 1872 music
was carried into all the high schools — thus
making the system complete.
In February, 1836, the trustees of the schools
in New York took up the question of music,
but decided to leave it to the boards of the
several schools, stipulating that it must not
involve expense or interfere with other studies.
In 1840, '43 and '47 motions to bring music
in were disapproved. In 1853 it was intro-
duced, but without system. No definite
plan for it was issued till 1879, and, according
to Frank Damrosch, it was not really estab-
lished till 1898.
In 1858 the Boston School Committee made
an inquiry as to the introduction of music
in other cities, the dates secured being these —
Boston, 1838; Buffalo, 1843; Pittsburgh,
1844; Cincinnati, 1846 (1844?); Chicago,
1848 ; Cleveland, 1851 ; San Francisco, 1851 ;
St. Louis, 1852. The first teacher in Buffalo
was Mr. Hazeltine ; in Pittsburgh, L. P.
Lincoln ; and in Cincinnati, Charles Aiken
(succeeded in 1879 by his son, W. H, Aiken,
who is still in service). * Among later examples
mention may be made of New Haven, Conn.,
where Benjamin Jepson began teaching in
seven schools in January, 1865, at first only
in the upper grades. Jepson published, at
his own expense, what appears to have been
1 See paper by Frances M. Dickey on 'The Early
History of Public School Music in the United States,'
M.T.N. A. Proceedings, 1913, where numerous de-
tails are given. The singing in Cincinnati early be-
came famous, and since 1873 school-choruses have
often taken part in the biennial Festivals.
the first Music-Reader.^ He remained in
charge over forty-five years.
In 1884-85 the Bureau of Education re-
ported that music was taught in the public
schools of 247 towns and cities, with some
90 special teachers. Twenty years later,
in a Bulletin of the Bureau (Music- Education
in the United States, 1908), the compiler,
Arthur L. Manchester, said :
'Teachers in public schools are steadily seeking to
improve both the matter and the method of their
phase of music-education, rectifying inaccuracies
of grading and bridging over the chasm between
elementary and advanced grades. The cultivation
of music in its foundational aspects and as part of
the life of the people is being given intelligent con-
sideration. Pedagogic principles as a basis for
further development are being given attention, and
the trend is strongly toward efficiency, coordination
and cooperation'; adding, however, that 'among
the defects in our present scheme of music-education
there exists one of very serious character, namely,
a lack of systematic, wisely-planned, and thoroughly
carried-out foundational training.'
In 1914, in introducing another Bulletin
of the Bureau (Music in the Public Schools,
compiled by Will Earhart), Commissioner
Claxton said :
'That music plays an important part in the life of
a people and should therefore have an important place
in the system of education in any State or nation has
been understood by the foremost educators for three
thousand years. Among a practical, industrial
and commercial people, like ourselves, good music
is necessary not only for enjoyment and recreation,
but also for inspiration and for salvation from death
in the din and dust of trade ; and this music should
be democratic in the truest and best sense. Thia
it can never be until it becomes an integral part of
the education given in the schools of all grades, aa
it is in the schools of some other countries. It ia
through an increasingly clear understanding of thia
fact that music, not recognized in the course of study
of our earliest public schools, has, within the last
twenty-five or thirty years, been introduced to some
extent into the schools of most progressive citiea
and of many towns, villages, and country com-
munities, though by many it is still considered un-
essential and a fad. Sooner or later we shall not
only recognize the culture value of music, we shall
also begin to understand that, after the beginnings
of reading, writing, arithmetic and geometry, music
has greater practical value than any other subject
taught in the schools.'
From this report, presenting a detailed
account of conditions throughout the country,
some salient facts may be noted. In grades
below the high school 622 towns and cities
require music, and 59 do not — all but four
of the 622 having graded courses. St. Louis
has 700 pianos to 2194 school-rooms ; Cincin-
nati, 250 pianos to 1000 rooms. In the vast
majority of schools the music-teaching is done
by grade-teachers under the guidance of a
supervisor, but, unfortunately, few schools
1 In 1875 a choral society composed of 333 graduates
from these schools gave ' The C reation, ' ' The Messiah'
and 'Elijah' under Jepson's direction.
PUBLIC SCHOOLS
PUBLIC SCHOOLS
335
require thorough preparation for this work.
In 631 high schools 189 (30%) have no music
except assembly-singing; 442 (70%) have
some music other than assembly-singing.
238 high schools reported orchestras, with
a total membership of 4181 players ; in about
one-third of the schools credit is given for
orchestra-playing. Musical history or ap-
preciation, or both, find place in 73 high
schools, with a student-enrolment of 7587.
Harmony is taught to 705 students in 39
systems ; sight-singing and elementary theory
in 68 schools, with 14,434 students. In 10
States music is required in the grades ; in 37
States music is not required, but more or less
adequate provision is made for music-teaching
below high school grades. Five States require
music in high schools (Arizona, Indiana,
Iowa, Louisiana and Washington) ; 42 do
not require it, but in these the development
of high-school music is frequently equal to
that in the others. 17 States require ex-
aminations for special teachers or super-
visors ; only 34 State institutions out of 87
make provision for training supervisors.
The result is that supervisors are trained
elsewhere privately as musicians, or if in
normal schools, as teachers rather than
musicians. While this report suffers from the
usual failure of many persons to respond,
fully or in part, to even an important ques-
tionnaire, it is of great valu'e as showing
average conditions, and the details of the
report have been most carefully worked out.
In 1916 an elaborate and exhaustive thesis
was prepared by Rose Yont of the University
of Nebraska, and published as Status and
Value of Music in Education.^ This thesis
deals with music in the public schools, normal
schools, state universities and colleges, edu-
cational extension, and general education ;
it also contains a valuable bibliographical list.
The author finds the number of music-super-
visors to be 1343 (in 1913), of whom about
20% are men. The investigation, covering
the entire country, 'showed great interest
[among school authorities], emphatic approval
of the subject as a school study, and a strong
desire to learn the results of this investigation.'
The Pacific States all present the feverish
activity which characterizes most of the
North Central States. Progressive school
officers and educational leaders who favor
broad culture have pushed the subject to the
front very rapidly. California probably leads
the States of the Union, in her uniform, de-
liberately planned and systematic presentation
of the subject. The conditions in 1913
presented a remarkable and gratifying growth,
except in the Southern States, as compared
with similar data secured by Miss Yont in
1 The Woodruff Press, Liacoln, Neb., 353 pp.
1907. There is a chapter on credit for private
music-lessons outside of school, with interest-
ing statistics and the conclusion that the
people 'are more ready for the innovation
than school authorities, who fear to take so
radical a step.' A careful estimate places
the sum paid in Nebraska for private music-
lessons annually at about $1,000,000, while
the State paid out only $36,182 for musical
instruction. 'This would indicate that the
schools are not supplying public demands in
the teaching of this subject, while further-
more it shows enormous financial waste. The
same amount judiciously spent in the schools
would be more than adequate to supply all the
children with proper musical training.'
Realizing the need of more uniformity of
sj'stem and requirements, in music as in other
subjects, the National Education Association
in 1912 appointed a Commission on the Re-
organization of Secondary Education. The
committee on music under this included
thirteen workers of national reputation, with
Will Earhart as chairman and Osbourne
McConathy as head of a subcommittee on
course of study. In the preliminary state-
ments issued in 1913 occur sentences like
these :
'In common with the other arts and literature,
and perhaps in a higher decree, music tends to
develop finer subjective life in the individual.'
'A course in music that does not promise to adjust
the learner in sympathetic response to the best musio
is lacking in its proper quality, whatever marks of
efficiency it may show.'
'Failure to bring the graduates of public schools
into sympathetic relation with the mature musical
intelligence and interests of their various com-
munities is due not so much to shortcomings in the
work of the grades as to neglect or sad misdirection
of the work in high schools.'
'If we would have an adult public interested in and
appreciative of the great music of the masters, we
must have general instruction in advanced phases
of musical study.' 'To the high schools properly
belongs the task of articulating the music in the
grades with the enlightened musical understanding
and interest of the community.'
The report of this committee, as published
in a further Bulletin of the Bureau of Edu-
cation in 1917, deals in detail with methods
and results in ensemble-singing, chorus-
practice, musical appreciation, harmony,
counterpoint, orchestra-ensemble, credit for
study under outside teachers, etc., with
suggestions as to administration. To those
not familiar with what is now being actually
done in not a few high schools, or who suppose
that all public school work in music has
remained as it was fifty years ago, this report
will be exceedingly interesting.
Until recently high-school graduates were
not able to use music as a credit for college-
entrance. In the Proceedings of the Music
Supervisors' National Conference for 1919
336
PUCCINI
PYCHOWSKI
is a report on this subject by Osbourne Mc-
Conathy, Edward B. Birge and Karl W.
Gehrkens, representing respectively the Super-
visors' Conference, the N. E. A., and the M.
T. N. A. Through a questionnaire sent out
by the Bureau of Education they ascertained
that, out of 412 colleges replying, 191 allowed
some entrance-credit for music — 80 giving
one unit out of 15 or 16, and 111 two or more
units. Furthermore, out of the 412 colleges,
238 give credit toward the A.B. degree for
courses in music. The committee concludes
that entrance-credit will be granted more and
more. The rapidity and permanence of the
movement will depend upon the quality of
the work done in the secondary schools.
The marked improvement in public school
music since about 1900 has been due to the
combination of many causes, especially the
advance of public opinion as reflected by
school authorities and the zeal and wisdom
of many teachers in the school systems. As
a single index of the growth in interest it may
be noted that at the first meeting of the
Supervisors' Conference in 1911 the member-
ship was 84, whereas in 1919 it was 700.
The number of institutions — normal schools,
colleges, universities and conservatories —
now offering more or less elaborate courses
of training for public-school teaching is impres-
sively large, implying both a demand and a
purpose. Hence large expectations for future
development seem to be justified.
Besides the literature referred to, especially
the Bulletins of the Bureau of Education and
Miss Yont's elaborate study, reference should
be made to the various volumes of the Pro-
ceedings of the M. T. N. A., the N. E. A., the
Supervisors' Conference (National and
Eastern), the successive volumes of 'School
Music,' 'The Journal of Education,' and
several musical periodicals, etc.
t PUCCINI, GIACOMO (Dec. 28, 1858.
Lucca, Italy). See article in Vol. iii. 847-8,
and note in v. 660. Additional operas are
'La Fanciulla del West' (Dec. 10, 1910, New
York), 'La Rondine' (1917, Monte Carlo),
and the short 'II Tabarro,' 'Suor Angelica'
and 'Gianni Schicchi' (Dec. 14, 1918, New
York). 'Madama Butterfly' was first sung
in New York on Nov. 12, 1906, by the Savage
Opera Company (in English) and at tha
MetropoHtan Opera House on Feb. 11, 1907.
On the latter occasion and at the premiere
of 'La Fanciulla del West' the composer was
present. All of his operas except 'Edgar'
and ' La Rondine ' have been repeatedly given
in America with eminent success. For bibh-
ography on Puccini, see Baker, Diet, of Mu-
sicians, p. 728.
PULITZER, JOSEPH (Apr. 10, 1847,
Budapest, Hungary : Oct. 29, 1911, on
board his yacht at Charleston, S. C), arrived
in America in 1864, penniless and unable to
speak English. He served for a year in the
Civil War as a cavalry private. From 1865 he
was variously employed at St. Louis, where
from 1867 he was a reporter for the ' Westliche
Post,' becoming in 1871 managing-editor and
part-owner. In 1879 he combined two St.
Louis papers into the 'Post-Dispatch,' and in
1883 became owner of the New York 'World.'
In 1887, in the full tide of journalistic success,
his health failed and total blindness began to
come on. In 1903 he founded the School of
Journalism at Columbia University with an
initial gift of $1,000,000. At his death he
signalized his lifelong enthusiasm for music
by bequeathing $500,000 to the Philharmonic
Society of New York, with the stipulation
that his favorite composers, Beethoven,
Wagner and Liszt, should be frequently repre-
sented on its programs. [ R.IO ]
PULLER, S. D. See Tune-Books, 1825.
'PURITANIA.' An opera by Edgar Still-
man Kelley, to a text by C. M. S. McLellan,
written in New York and produced in Boston
on June 9, 1892.
PUTNAM, CLARENCE SIMEON. See
State Universities (N.D. Agric. C).
PYCHOWSKI, JAN NEPOMUCENE
(1818-1900). See Register, 4.
Q
QUARLES, JAMES THOMAS (Nov. 7,
1877, St. Louis), was trained by Galloway (pi-
ano and organ), Vieh and Ehling (piano) and
Kroeger (theory), and entered upon a career
of great activity as organist. At sixteen he
served the Cook Avenue Presbyterian Church,
and in 1897, on graduating from the high
school, went to the Central Congregational,
in 1898 to the West Presbyterian, giving his
first recitals, and in 1900 to the Lindell Avenue
Methodist, where for thirteen years he gave
monthly recitals. In 1903 he appeared at
the Louisiana Purchase Exposition, and also
became teacher at Lindenwood College,
where he was later dean of Fine Arts. In
1905 he was made music-director at the
Cathedral of the Scottish Rite, and in 1907
at Moolah Temple, organizing a band of
singers which traveled widely to participate
in conclaves. In 1906 he was studying in
Paris under Widor. In 1907 he became
organist of the St. Louis Symphony Or-
chestra, and also founded the Choral Art
Society, which took up works like Brahms'
Requiem, Dvorak's Stabat Mater, Schu-
mann's 'Paradise and the Peri,' etc. In
1912 he made an extensive recital-tour in the
East, and in 1913 became university-organist
at Cornell University, being made assistant-
professor in 1916. He has given there about
200 educational recitals, presenting almost
all the masterpieces of organ-literature. He
has played at the Panama-Pacific Exposition,
at the first convention of the A. G. O., with
the Boston and Chicago Orchestras, and in
many other notable relations. He has WTitten
a considerable number of songs, anthems and
short organ-works, most of which are unpub-
lished. [ R.8 ]
'QUEST OF THE GORGON, THE.'
No. 4 of the 'Grove-Plays' of the California
Bohemian Club, the text by Newton J. Tharp
and the music by Theodore J. Vogt. It was
produced in 1905.
337
R
t RABAUD, HENRI BENJAMIN (Oct. 10,
1873, Paris, France). He was a pupil of Mas-
senet at the Paris Conservatory, where he won
the Prix de Rome in 1894. He made his debut
as conductor at the Opera in 1908, in 1914 was
made principal conductor and in 1915 be-
came leader of the Conservatory Orchestra.
In 1918-19 he followed Muck as conductor of
the Boston Symphony Orchestra, resigning to
return to Paris as successor to Faur6 in the
directorship of the Conservatory. His operas
include 'La Fille de Roland' (1904, Opera-
Comique), 'Marouf, Savetier du Caire' (1914,
Opera-Comique) , and music for French versions
of ' The Merchant of Venice ' and ' Antony and
Cleopatra' (1916-17, Theatre Antoine) ; two
symphonies, in D minor and E minor (1895,
'99) ; the symphonic poem ' La Procession Noc-
turne' (1899) ; ' Divertissement sur les Chansons
Russes' (1901) ; 'figlogue' (1902) ; the prize-
cantata 'Daphne' (1894); the oratorio 'Job'
(1900), with a lyric poem on the same subject
for baritone and orchestra (1905) ; Psalm
4 for soli, chorus and orchestra (1901) ;
'Hymne k la France ilternelle,' from Hugo
(1916) ; a string-quartet, and an andante and
scherzo for flute, violin and piano. His
'M&rouf was introduced at the Metropolitan
Opera House on Dec. 19, 1917.
RACHMANINOV, SERGEI VASSILIE-
VITCH (Apr. 2, 1873, Onega, Russia). See
article in Vol. iv. 11-2. His grandfather,
an excellent pianist, was one of John Field's
pupils. He had his first lessons from Anna
Ornadtskaia, and at Petrograd studied under
Demiansky and Cross, going thence to Moscow
at the suggestion of Siloti, his cousin. His
opera 'Aleko' was his final exercise there,
winning a medal, 1893. For four years he
was mainly busy with composition, as well as
in 1899-1904. In 1897-98 he was private
opera-conductor for Mamontov in Moscow.
In 1904-00 he directed the Moscow Opera.
In 190(5-08 he lived in Dresden, composing
and touring as pianist. In 1908-11 he was
vice-president of the Russian Music Society,
and in 1909-10 made his first American tour
as pianist. In 1912-13 he led symphony
concerts at Moscow. In 1917 he left Russia,
and late in 1918 settled in New York. To
the list of works should be added the one-act
operas 'The Miser Knight' (1900, Moscow,
1910, Boston) and 'Francesca da Rimini'
(1906, Moscow) ; Symphony No. 2, op. 27
(1906, '07); Symphony No. 3, 'The Bells,'
op. 35 (1912); the symphonic poem 'The
Island of Death,' after Bocklin, op. 29 (1907-
08) ; the 3rd and 4th Piano-Concertos, opp.
30 and 40 (1909, '17); a piano-sonata in D
minor, op. 28 ; two sets of Preludes for piano,
opp. 23 and 32; eight 'Etudes-Tableaux'
(concert-studies) for piano, op. 39 ; three sets
of songs, opp. 21, 26, 34; 12 anthems on
early church themes ; a setting of the Liturgy
of St. Chrysostom (1910, Moscow Synodal
Choir). See Montagu-Nathan, Contemporary
Riissian Composers, 1917, and 'The Etude,'
October, 1919. [ R.9 ]
'RAG-TIME.' See note in Vol. iv. 16.
The term is now not at all confined to music
of Negro origin or suggestion.
RAINS, LEON (b. 1870). See Register, 8.
RAISA, ROSA (b. 1893). See Register, 10.
RALSTON, FANNY MARION (b. 1875).
See Register, 3, and Colleges, 2 (Rockford
C, 111.).
RANDOLPH, HAROLD (Oct. 31, 1861,
Richmond, Va.), studied at the Peabody
Conservatory in Baltimore, chiefly under
Mme. Falk-Auerbach and Faelten for piano
and Hamerik for composition. He first
appeared as pianist with the Peabody Sym-
phony Orchestra in 1885, being perhaps the
first player both American-born and American-
trained to receive general recognition. He
has been soloist with all the leading orchestras
and chamber-ensembles, and with Ernest
Hutcheson has given many recitals for two
pianos. In 1885-90 he was organist at the
Baltimore (R.C.) Cathedral, and in 1890-
96 at Emmanuel (P.E.) Church. He early
began to teach at the Peabody Conservatory,
and in 1898 succeeded Hamerik as director.
His administration has been marked by
remarkable energy and success. Among other
undertakings, he has organized a Bach Choir,
which has given Bach's St. Matthew Passion,
Beethoven's Missa Solemnis and much a
cappella music. [ R.7 ]
RAPPOLD, MARIE (1880?, Brooklyn),
was trained by Saenger and early sang in
church and concert. A chance hearing by
Conried led to her appearing at the Metro-
politan Opera House as Sulamith in 'Die
Konigin von Saba' in 1905. Her success
was immediate, and she has since sung at
the Metropolitan almost every season, taking
r61es like Aida, Desdemona, Marguerite (in
'Faust'), Eurydice, Venus, Elizabeth, Micaela,
Inez, Elsa and the Princess (in 'Lobetanz').
In 1906 she separated from her husband so as
to continue her stage-work, and in 1913 married
the tenor Rudolf Berger. [ R.9 ]
RATH, ERICH. See Colleges, 2 (Hol-
lins C, Va.),
RAUSCH, FREDERICK. See Register, 2.
t RAVEL, MAURICE (Mar. 7, 1875, Ci-
boure, France). See article in Vol. v. 660-1
338
RAYMOND
REINAGLE
339
During the war he spent two years at the
front. To the list of works add the ballets
'Daphnis et Chloe,' 'La Mere I'Oye' (after a
piano-suite of five 'pieces enfantines') and
'Adelaide' (after his 'Valses Nobles'); a
'Serenade Grotesque,' a Menuet on the name
of Haydn, 'Valses Nobles et Sentimentales,'
a Prelude, and the Suite, 'Le Tombeau de
Couperin ' — all for piano ; the songs ' Ballade
de la Reine Morte d' Aimer,' 'Un Grand
Sommeil Noir,' 'Si Morne,' 'Manteau de
Fleurs,' 'Trois Po^mes' from Mallarme, for
voice, piano, flutes, clarinets and strings, and
'Vocalise en forme d'Habanera' ; and piano-
transcriptions of Debussy's Nocturnes and
' L'Apr^s-midi d'un Faune.' See Jean-Aubry,
French Music of To-day, 1919.
RAYMOND, GEORGE LANSING (b.
1839). See Register, 8.
READ, ANGELO McCALLUM (May 22,
1854, near St. Catherines, Ont.), had his
general education at the Collegiate Institute
in St. Catherines and early musical training
in the United States. He spent five years
at Leipzig under Reinecke, Richter, Jadas-
sohn, Maaa and Papperitz, with one year in
Vienna for Leschetizky methods. He ap-
peared as organist, composer and conductor at
Leipzig in 1883. Making his home at Buffalo
since 1894, he has conducted choral societies
there, at St. Catherines and at Hornell, N. Y.,
besides acting as guest-conductor elsewhere.
He is music-director at Ridley College in St.
Catherines and at d'Youville College in
Buffalo. He has written the dramatic cantata
'David's Lament,' op. 15, for soli, chorus,
orchestra and organ (1903, St. Catherines
Festival) (Schirmer) ; 'A Song of the Nativity,'
op. 12, for tenor, women's quartet, chorus and
organ (Schirmer) ; the Lenten cantata 'It is
Finished,' op. 17 (Gray) ; 'O Salutaris Hostia,'
for voice, violin and organ (1893, St. Ann's,
Vienna) ; 'Ave Verum Corpus,' in canon-form
a cappella (twice given at Leipzig) ; the
'Oriska Waltz,' op. 4, originally for piano, but
also for orchestra ; many piano-pieces, songs,
choruses and anthems. He has unpublished
an oratorio, a Mass in B-flat, several over-
tures, etc. He is an expert botanist, and has
written articles on both musical and botanical
subjects. [ R.8 ]
READ, DANIEL (1757-1836). See Reg-
ister, 2, and Tune-Books, 1785.
READ, JOEL (1753- ? ). See Tune-Books,
1808.
REDMAN, HARRY NEWTON (b. 1869).
See Register, 8.
REED, EPHRAIM. See Tune-Books,
1820.
REED, FRANK LeFEVRE (b. 1871).
See Register, 8, and State Universities
(Tex.).
REED, M, ELLERY. See Colleges, 3
(Beaver C, Pa.).
REED-ORGAN. American ingenuity has
been peculiarly productive in developing the
possibilities of the 'harmonium' or that form
of organ which employs only small free reeds
as tone-producers. The first experiments
were made before 1820. At least as early
as 1845 the French system of forcing the air
out through the reeds was replaced by the
distinctively American system of drawing
it in by suction. The bellows, however, at
first was single and the air-pressure fluctuating.
The name 'melodeon' was early adopted
(popularly corrupted into 'melodium'), and
the form used resembled a small square piano.
There were usually only one or two sets of
reeds, and the tone-quality was monotonous.
About 1850 Emmons Hamlin, then working
for George A. Prince & Co., of Buffalo, dis-
covered that twisting and bending the tongues
of the reeds produced decided improvement
in their tone, not only in power, but in variety
of quality. In 1854 he joined Henry Mason
in forming the Mason & Hamlin Co., of
Boston, who speedily became the pioneers
in developing instruments of unexampled
breadth of effect. They put forth the 'organ-
harmonium' in 1855 and the 'cabinet organ'
in 1861 — the latter deriving its name from
the fact that the case extended to the floor.
The use of a double bellows greatly improved
the air-supply, and variations in loudness
were secured either by an 'automatic bellows'
or a 'knee-swell' that controlled a lid on the
box inclosing the reeds. From that time
improvements were rapid, so that cabinet
organs became artistically and commercially
important. They were often made with
many sets of reeds, differently voiced, with
two keyboards, with a pedal-keyboard, etc.
Other manufacturers took up the business on a
large scale, and the use of reed-organs in homes,
churches, lodges and similar assembly-places
became widespread. See H. L. Mason, History
and Development of theAmerican Cabinet Organ,
A peculiar early variety was the 'lap-organ'
or 'rocking-melodeon,' developed before 1850.
especially in New Hampshire, in which the
bellows rested on the player's knees and was
worked by pressing with one or both arms,
while the reeds were controlled by a keyboard
more or less like that of an accordion. The
' vocalion,' introduced about 1890, uses pressure
instead of suction and has large reeds with
special air-chambers attached.
See articles in Vols. i. 77-8, ii. 302-5, and v.
360-1.
REINAGLE. ALEXANDER (1756, Ports-
mouth, England : Sept. 21, 1809, Balti-
more). See note in Vol. iv. 57. He was a
pupil of Raynor Taylor. He came to New
340
REMMERTZ
RICHARDSON
York in 1786, soon moved to Philadelphia,
where he remained except for the year 1788-89
spent in New York. He promptly became
a leader in all musical affairs, being an ex-
cellent pianist, singer, conductor, composer
and operatic manager. With Thomas Wig-
nell, in 1793 he formed a stock-company in
Philadelphia, erected the New Theatre on
Chestnut Street, which was opened early in
1794, and was pianist in the orchestra. Both
plays and operas were given here for many
years. Of the quality of his musicianship
there is evidence in a few sonatas that are in
the Library of Congress. He wrote new
accompaniments and sometimes an overture
for the musical plays that were brought from
England. In 1795 for some reason he pro-
vided new music for 'The Sicilian Romance,'
whifh had previously been given in England
with music by William Reeves. In 1796 he
furnished an overture, songs, choruses and
recitatives for the pantomime 'The Witches
of the Rock.' See Sonneck, Early Concert-
Life, Early Opera (portrait on p. 118 and
interior of the Chestnut Street Theatre at
p. 113), and 'Early American Operas' in
I. M. G. Sammelbde, 6. 465, 486-9. [ R.2 ]
REMMERTZ, FRANZ (1845?- ? ). See
Register, 5.
REMY, ALFRED (Mar. 16, 1870, Elber-
feld, Germany), was brought to New York
in 1882, attended the public schools and
graduated from the College of the City of
New York in 1890. He pursued post-graduate
studies in Germanic philology and literature
at Columbia University, where he was made
A.M. in 1905. In 1890-96 he studied piano
and theory with Klein and part of this time
violin with Charles Palm. In 1895-97 he
was music-critic for ' Vogue ' and ' The Looker-
On,' and taught harmony at the International
Conservatory, and in 1896-98 lectured on
music-history at the College of Music. Since
1901 he has been on the staff of the Inter-
national Encyclopaedia, writing many articles
on musical subjects and since 1907 preparing
extremely valuable summaries of musical
events for the International Year-Book. In
1906-15 he was extension-lecturer at Columbia,
and since 1897 has also been instructor in
languages in several institutions. In 1915
he undertook the editing of the 3rd edition
of Baker's Dictio7iary of Musicians, 1919. In
1902 he married Egbertina Wilterdink, a fine
pianist, with whom he has given lecture-recitals,
chiefly on Wagner. His compositions, all writ-
ten before 1896, include an opera, 'Hjordis,'
based on Ibsen's 'Vikings of Helgoland,' an In-
termezzo for orchestra, ' Elfenreigen ' for strings,
several vocal and some piano-pieces. [ R.8 ]
RENWICK, LLEWELLYN LARAWAY
(b. 1876). See Register, 8.
REUSS, EDUARD (1851-1911). See Reg-
ister, 7.
REYNOLDS, WALTER GUERNSEY (b.
1873). See Register, 8.
RICE, FENELON B. (Jan. 2, 1841, Greens-
burg, O. : Oct. 6, 1901, Oberlin, O.), from
about 1861 studied in Boston under Tufts, B.
F. Baker and Edwin Bruce. In 1863-67 he
was in charge of the music-department of
Hillsdale College in Michigan, and then went
to Leipzig for two years with Papperitz,
Moscheles, Richter and Plaidy. From 1871
till his death he was director of the Oberlin
Conservatory, creating the faculty and the
ideals that raised it into national importance.
He was gifted in organization and in peda-
gogical foresight, as well as in a fine idealism
of mind and spirit. In 1880-81 he was presi-
dent of the M.T.N. A. Hillsdale College made
him Mus.D. in 1882. [ R.6 ]
RICE, JOHN. See Register, 1.
RICE, WILLIAM GORHAM (b. 1856).
See Register, 10.
RICH, THADDEUS (Mar. 21, 1885, Indian-
apolis), after training from his father and other
local teachers in 1897-1900 studied at the Leip-
zig Conservatory under Hilf. In 1901-02 he
played in the Gewandhaus Orchestra under
Nikisch, and then worked under Joachim in Ber-
lin ior two years. In 1903-05 he was concert-
master at the Opera des Westens there, with
some concertizing, and then returned to Amer-
ica. Since 1906 he has been concertmaster of
the Philadelphia Orchestra. In addition to
some appearances in concert, he has been ac-
tive in presenting chamber-works, and is dean
of the music-department of Temple University,
which made him Mus.D. in 1913. [ R.9 ]
RICHARDSON, ALFRED MADELEY
(June 1, 1868, Southend-on-Sea, England),
though the son of a Congregational minister,
was educated at Keble College, Oxford, where
he gained a scholarship in 1885 and became
B.A. in 1889, M.A. in 1890, Mus.B. in 1888
and Mus.D. in 1897. He was also president
of the University Musical Club and of Keble
College Musical Society, and in 1889 took the
Phillpotts Theological Prize. From 1889 he
was organist in Worcester, in 1891-92 in Lon-
don, in 1892-97 in Scarborough, and from
1897 at St. Saviour's in Southwark (London),
which in 1905 became the cathedral of a new
diocese. Here he developed choir-services of
great beauty and dignity, including a unique
treatment of the Psalms and a cappella Pal-
estrina music. From 1905 he was in much
request as lecturer before Church Congresses
and elsewhere, and as judge at Eisteddfodau
and other contests. He also gave organ-
recitals and led various choral societies. In
1909 he was induced to come to America,
first as organist at St. Paul's in Baltimore
RICHARDSON
ROBBINS
341
and since 1912 as instructor in theory at the
Institute of Musical Art in New York. He has
WTitten many organ-pieces, anthems and
part-songs, edited Communion Services by
Tallis and Merbecke, and published Choir-
Training, 1897, Church Music for the Clergy,
1902, The Psalms, their Structure and Musical
Rendering, 1903, The Southwark Psalter, 1904,
Modern Organ- Accompaniment, 1907, Extem-
pore-Playing, The Choir-Trainer's Art, 1914
and The Southwark Canticles, 1918. [ R.9 ]
RICHARDSON, NATHAN (1827-1859).
See Register, 4.
RICHINGS, CAROLINE [Mrs. Bernard]
(1827-1882). See Register, 4.
RIDER-KELSEY, CORINNE (b. 1879).
See Register, 9.
t RIEMANN, Ej^RL WILHELM JULIUS
HUGO (July 18, 1849, Grossmehlra, Ger-
many : July 11, 1919, Leipzig). See article
in Vol. iv. 95-6. His original publications
from 1900 include Vademecum der Phrasierung,
1900 (2nd ed., 1911), Die Elemente der musikal-
ischen Aesthetik, 1900, Epochen und Heroen der
Musikgeschichte, 1900, Geschichte der Musik
seit Beethoven, 1901, Handbuch der Musik-
geschichte, 5 parts, 1901, '05, '07, '11, '13
(musical examples, 1912), Grosse Komposi-
tionslehre, 3 vols., 1902, '03, '13, System der
Musikalischen Rhythmik und Meirik, 1903,
Grujidriss der MusikxvissenscJmft, 1908 (2nd ed.,
1915), Kleines Handbuch der Musikgeschichte,
1908 (2nd ed., 1915), Die byzantinische Noten-
schrifl im 10.-15. Jahrhundert, 2 vols., 1909,
'15, and Kompendium der Notenschriftkunde,
1910, besides many introductions, analyses
and detached articles. The 8th edition of his
Musiklexikon was issued in 1916. Altogether,
he stands out as the most commanding figure
in the fields of research to which he devoted
himself.
RIEMENSCHNEIDER, ALBERT (b.
1878). See Register, 8, and Colleges, 3
(Baldwin-Wallace C, Ohio).
RIGBY, RALPH. See Colleges, 3 (Berea
C, Ky.).
RILEY, E. See Tune-Books, 1817.
RILEY, HERBERT (b. 1888). See Reg-
ister, 10.
t RIMSKY-KORSAKOV, NICHOLAI AN-
DREIEVITCH (Mar. 18, 1844, Tikhvin,
Russia : June 21, 1908, Liubensk, near
Petrograd). See article in Vol. iv. 102-5,
and note in Vol. v. 661. In 1907 he con-
ducted the Russian music-festival in Paris,
and was made a corresponding member of
the Academic. To the list of works add the
opera 'Le Coq d'Or' (1910, Moscow, 1918,
New York), a string-sextet and a quintet
for piano, flute, clarinet, horn and bassoon.
He published The History of my Musical Life,
1909, Collected Musical Essays and Sketches,
1911, and The Foundations of Instrumentation,
2 vols., 1913 (French translation by Calvo-
coressi, 1914). See biography by Montagu-
Nathan, 1917, and his History of Russian Music
and Newmarch's The Russian Opera, both 1915.
RING, EDYTHE M. See Colleges, 3
(Juniata C, Pa.).
RIO, ANITA (b. 1880). See Register, 9.
RIPPE, MABEL A. See Colleges, 3
(Wheaton C, lU.).
'RIP VAN WINKLE.' Operas on this
theme have been produced by George F.
Bristow in 1855, by Jules Jordan in 1898
(published), and by Reginald De Koven in
1920. The last was his final work, produced
in Chicago just before his death and in New
York just afterward.
RITTER, FANNY, n6e Raymond (1840-
1890). See Register, 6.
RITTER, FRfiD^RIC LOUIS (June 22,
1834, Strassburg, Alsace : July 22, 1891,
Antwerp, Belgium). See article in Vol. iv,
109. Although his Music in America (1883)
was in many ways useful, especially in calling
attention to a neglected subject, yet he was
quite unfitted by sympathy to treat it ade-
quately, so that many of his statements are
open to dispute. To his publications should
be added his appendix to The Realm of Tones,
1883, with biographies of American mu-
sicians. Music in Relation to Intellectual Life,
1891, and Musical Dictation. [ R.4 ]
RITTMEISTER, HEINRICH (b. 1881).
See Register, 9.
RIVAFINOLI. See Register, 3.
RIVARDE, SERGE ACHILLE (b. 1865)-
See Vol. iv. 110, and Register, 7.
RTVA CAROLINE, n6e Staub (1822-1882).
See Register, 4.
RIVfi-KING, JULIE (Oct. 31, 1857,
Cincinnati), began piano-lessons with her
mother and played in public at eight. In
1866-72 she studied in New York with Mason
and Mills, and in 1872 went to Reinecke in
Leipzig. There she made her debut in 1874,
playing Beethoven's 3rd Concerto. After
some study with Liszt, she appeared in 1875
with the New York Philharmonic Society.
She has since given over 4000 concerts ana
recitals, more than 500 of them with orchestra.
She traveled as soloist with both Thomas
and Seidl. Her repertoire is very largo
and comprehensive, and she has introduced
many works in America. Some of her piano-
pieces have won much acceptance, such as
'Bubbling Spring,' 'Polonaise Heroique' and
the Impromptu in A-flat. In 1876 she married
Frank H. King of Milwaukee. For some
years she has taught in the Bush Conservatory
in Chicago. [ R.6 ]
ROBBINS, CHARLES. See Tune-Books,
1805.
342
ROBERTS
ROGERS
ROBERTS, ELI. See Tune-Books, 1812.
ROBESON, LILA P. (b. 1880). See Reg-
ister, 9.
ROBINSON, CLARENCE CRAMER (b.
1879) . See State Universities (Pa. State C.) .
ROBINSON, FRANKLIN WHITMAN
(June 27, 1875, New York), studied first at
the National Conservatory under Joseffy
(piano), Johnstone and Wetzler (organ), and
Dvorak and Spicker (theory). In 1895 he
graduated at the College of the City of New-
York, and in 1907 took an A.M. in music at
Columbia under MacDowell and Rybner, In
1897-1908 he taught in the High School of Com-
merce, from 1897 was assistant-organist at St.
Bartholomew's and in 1904-17 organist at St.
Luke's in Philadelphia, and since 1908 has been
instructor at the Institute of Musical Art in New
York. Here he has developed an original course
in teaching harmony through the ear, publishing
Aural Harmony, 2 vols., 1918. [ R.8 ]
ROBINSON, JENNIE ASENATH. See
Colleges, 3 (Fisk U., Tenn.).
ROBYN, ALFRED GEORGE (b. 1860).
See Register, 6.
ROCHESTER ORCHESTRA, THE, whose
present name dates from 1912, was founded
in 1900 by Hermann Dossenbach and at first
called by his name. He has been its only
conductor. The force consists of 60-65
players, a few of whom are regularly supplied
from outside of Rochester. The concert-
master is Arthur Hartmann. Behind the
enterprise stands a group of guarantors, who
meet a deficit of from $6000 to $10,000 per
year. Six concerts are regularly given in
each season, making about 100 since organi-
zation. A strong selection of standard works
have been performed, including the follow-
ing:
Three Symphonies by Mozart, eight by Beethoven,
three by Schubert, four by Schumann, Raff's ' Im
Walde,' Franck's D minor, Goldmark's 'Rustic
Wedding,' three by Tchaikovsky, Stanford's 'Irish,'
Borodin's 'Prince Igor,' four of Saint-Saens' Sym-
phonic Poems, Tchaikovsky's 3rd Suite, Massenet's
music for 'Les Erinnyes,' Grieg's 'Sigurd Jorsalfar,'
'Peer Gynt' and 'Holberg' Suites, Rimsky-Korsa-
kov's 'Scheherazade,' Charpentier's 'Impressions
of Italy,' MaoDowell's two Suites, Sibelius' 'Swan
of Tuonela' and 'Finlandia'; besides most of the
favorite overtures and numerous extracts from
Wagner.
ROCHESTER SYMPHONY ORCHES-
TRA, THE, began in 1901 through the efforts
of Dr. Justin H. Schopp and some members
of the earlier Philharmonic Orchestra, an ama-
teur organization led by Henri Appy. Like its
predecessor, it is composed of amateurs. At
its concerts a few professionals are added, bring-
ing the number to about 70. Ludwig Schenck
has been conductor from the first. Three con-
certs are given annually. In earlier years the
Orchestra appealed to the public in the usual
way. But in 1907, by the aid of public-spirited
friends and the cooperation first of the Board of
Education and later of the city, it was enabled
to make its concerts entirely free. For a
time they were given in the East and West
High Schools, but were soon transferred to
the city Convention Hall. The success of
this venture resulted in sundry other musical
enterprises on the part of the city authorities
for popular inspiration. Among the larger
works undertaken are the following :
Four symphonies by Haydn, two by Mozart,
Beethoven's 1st, 2nd, 5th and 8th, two by Schubert,
Mendelssohn's 'Scotch,' Raff's 'Lenore,' Svendsen's
4th and Cowen's 'Welsh'; suites by Purcell, Bach,
Saint-Saens, Philipp Scharwenka, Grieg, Massenet,
Tchaikovsky, Bizet and German ; concertos by
Bach, Handel, Mozart, Schumann, Chopin, Grieg
and Lalo. In one of the early years there was a
first performance of Hans Ebell's Concerto in F
minor, the composer at the piano.
ROEDER, MARTIN (1851-1895). See
Register, 8.
ROGERS, CLARA KATHLEEN, nee Bar-
nett (b. 1844). See Register, 6.
ROGERS, FRANCIS (b. 1870). See Reg-
ister, 8.
ROGERS, JAMES HOTCHKISS (Feb. 7,
1857, Fair Haven, Conn.), began his edu-
cation at Lake Forest Academy in Illinois.
He took up music in Chicago with Towne
and Eddy, and in 1875 went abroad for five
years, studying in Berlin with Loeschhorn,
Ehrlich, Rohde and Haupt, and in Paris with
Fissot, Guilmant and Widor. After a year
in Burlington, la., in 1883 he settled in Cleve-
land, where he is organist of the Euclid Avenue
Temple and the First Unitarian Church,
conductor of the Rubinstein Club and critic
for the 'Plain-Dealer.' He has been notably
successful in composition. Among his works
are the following :
Songs: 'At Parting,' 'The Star,' 'Wind-Song,'
'Love's on the Highroad,' 'Autumn,' 'Wind and
Lyre,' 'A Love-Note,' 'Invocation,' 'Sea-Fever,'
'Absence,' 'Wild Geese,' 'War,' 'Jewels,' 'Love has
Wings,' 'Five Quatrains from the Ruhdiydt,'' 'Winter-
Song,' 'Great Peace have They,' 'Ecstasy,' 'Rend
your Hearts' and 'Julia's Garden.'
Part-Songs: (men's voices) 'The Name of France,'
'A Chant of Love for England,' 'Bedouin Love-
Song,' 'It is She,' 'Red Rose, Red Rose'; (women's
voices) 'The Snow-Storm, ' 'The night has a thousand
eyes,' 'A Song of the Gloaming,' 'My luve is like
the red, red rose,' 'Three Fishers' and 'The Two
Clocks.'
Anthems: 'The Earth is the Lord's,' 'Doth
not Wisdom cry,' 'Show me Thy ways,' 'Seek Him
that maketh the seven stars,' 'Awake up, my glory,'
'The Lord is my Strength,' 'Sing, O sing this blessed
morn,' 'Beloved, if God so loved us,' 'Search me,
O God' and 'The Lord is my Light.'
Cantatas: 'The Man of Nazareth' and 'The
New Life.' Also Morning and Evening Services,
and for New Year's Eve for the Synagogue.
ROLLER
ROSEN
343
For organ : Sonata in E minor, Suites in G minor
and F minor, Concert-Overture in B minor. Grand
Choeur, Christmas Pastorale, Arioso, Processional
March, etc.
Many pieces and studies for piano. [ R.7 ]
ROLLER, CHARLES WILLIAM (b. 1877).
See Colleges, 3 (Bridgewater C, Va.).
RONCONI, GIORGIO (1810-1890). See
Register, 5.
RONTGEN, ENGELBERT (b. 1886). See
Register, 10.
ROOSEVELT, HILBOURNE LEWIS
(1848, New York : Dec. 29, 1885), very
early developed an interest in acoustics,
especially as related to organ-making. As
a youth, against the wishes of his family, he
became an apprentice in the shop of Hall,
Labagh & Kemp, and made more than one
trip to Europe to study organ-construction.
In 1872 he opened his own factory on 18th
Street, which in 1881 was moved to larger
quarters on the same street. As early as 1868
he took out his first patent for an electric
action, and about 1870 exhibited an organ
equipped with it at an American Institute
Fair in New York. In 1876 he built one of the
great organs for the Centennial Exposition
in Philadelpliia (later sold to Mechanics
Institute in Boston), and about 1878 installed
the famous instrument at the Cathedral in
Garden City, Long Island. After his untimely
death the business was continued and ex-
tended by his brother, Frank H. Roosevelt.
The firm had many specialties besides electric
actions. They perfected a notable early
form of tubular pneumatic action, paid great
attention to orchestral voicing, strove to
unite strildng tonal features from different
schools of organ-malung, and were always
eminent for painstaldng and elaborate interior
construction. In 1893, however, the business
was given up and the stock and patents sold
to the Farrand & Votey Co. of Detroit. Soon
after the younger Roosevelt died, aged only
thirty-two. [ R.G ]
ROOT, FREDERICK WOODMAN (June
13, 1846, Boston : Nov. 8, 1916, Chicago),
was son and pupil of George F. Root. He
studied piano with Blodgett, Mason and
Goldbeck, organ with James Flint and voice
with Bassini. He became organist of the
Third Presbyterian Church in Chicago in
1863, and of the Swedenborgian Church there
in 1865. In 1869-70 he studied with Vannuc-
cini in Florence, and on his return to Chicago
became distinguished as a voice-teacher.
Among his pupils were Hope Glenn, Jessie
Bartlett Davis, W. H. Clark, Charles W.
Clark, Mackenzie Gordon, D. A. Clippinger
and F. W. Wodell. He conducted the Men-
delssohn Choral Club in 1879-85 ; wrote for
or edited the ' Song Messenger ' for many years,
and wrote much on topics connected with
singing. He published The Technic and Art
of Singing, Methodical Sight-Singing, Intro-
ductory Lessons in Voice-Culture, The Poly-
chrome Lessons in Voice-Culture, and several
collections of exercises and studies. He
composed the cantata 'The Landing of the
Pilgrims' (1875, Chicago), a burlesque oper-
etta, songs, choruses and church-music. He
was an examiner (1889) of the American Col-
lege of Musicians, once president of the Chicago
Literary Club, and a favorite lecturer. [ R.5 ]
ROOT, GEORGE FREDERICK (Aug. 30,
1820, Sheffield, Mass. : Aug. 6, 1895,
Bailey's Island, Me.). See article in Vol.
iv. 138. In 1839 he became associated a3
teacher with A. N. Johnson in Boston, and
was his assistant-organist at the Winter
Street and Park Street Churches. He also
began at this time to conduct choral classes.
Two years later he joined Mason in teaching
in the public schools. In 1844 he removed
to New York, becoming teacher of voice at
Abbott's School for Young Ladies, Rutgers
Female Institute and Union Theological
Seminary, and organist at the Mercer Street
Presbyterian Church. He went to Paris in
1850, and studied voice for a year with Giulio
Alary and Jacques Potharst. On his return
he composed the cantata ' The Flower-Queen,'
to a text by Fanny Crosby, and wrote some
songs, under the name 'G. Friedrich Wurzel,'
for the Clu-isty Minstrels. Of these songs
'Hazel Dell' and 'Rosalie, the Prairie Flower'
were most popular. The success of these led
him to devote more time to composition,
though he continued to hold 'conventions'
in various cities. About 1858 he became
a partner in the firm of Root & Cady (his
brother, E. T. Root and C. M. Cady), music-
dealers in Chicago, and in 1S59 moved thither.
When the Civil War opened he began com-
posing songs which became extremely popular.
The ' Battle-Cry of Freedom ' (words and music)
dates from 1861, and was followed by 'Just
before the battle, mother,' 'Tramp, tramp,
tramp, the boys are marching,' 'The Vacant
Chair,' and many others. A full list is given
in his autobiography. The Story of a Musical
Life, 1891. The losses incident to the Claicago
fire of 1871 led to the dissolution of the firm
of Root & Cady, but Chicago remained his
headquarters till the end of his life. The
University of Chicago made him Mus.D. in
1881. His popular cantatas included 'Daniel'
(1853), 'The Pilgrim Fathers' (1854), 'Bel-
shazzar's Feast' (1860), and 'The Haymakers'
(1857). He also wrote or edited some 70
collections, mainly for church, school or con-
vention. See Tune-Books, 1849. [ R.4 ]
ROSEN, MAX (b. 1900). See Register,
10.
344
ROSENBECKER
RUSSELL
ROSENBECKER, ADOLPH (1851-1919).
See Register, 6.
ROSENFELD, MAURICE BERNARD
(Dec. 31, 1867, Vienna, Austria), coming to
America when a child, had his general edu-
cation at the College of the City of New York
and at Columbia University, studying piano
with HyUested and Spanuth. In 1888 he
graduated from the Chicago Musical College,
and began teaching there at once, becoming
one of its directors in 1912. In 1911-12 he
directed the Sherwood Music School, in 1916
established his own school, and since 1917
has taught piano at the Hinshaw Conservatory.
He has often appeared as pianist in the West,
both in recital and with orchestra. In 1907-
1915 he was critic for the 'Examiner' and
since 1917 for the 'News,' besides acting in
1913-16 as correspondent for 'Musical
America.' He has given many lectures on
music-history and aesthetics before clubs
and is now lecturer at the Musical Association
Music School. He has written somewhat
for orchestra and chamber-ensemble. [ R.7 ]
ROSEWALD, JULIE, n§e Eichberg (b.
1850). See Register, 5.
ROTHIER, L:fiON (b. 1874). See Register,
10.
ROTHWELL, WALTER HENRY (Sept.
22, 1872, London, England), was brought up
in Vienna, entering the Imperial Academy
of Music at nine and graduating with high
honors in piano, composition and history.
His teachers there were Epstein, Bruckner
and Robert Fuchs, and at Munich ThuUle
and Schillings. From 1888 he concertized
in Austria, Germany and Switzerland, and
in 1895 became Mahler's assistant at the
Hamburg Opera. After serving as opera-
conductor also at Mecklenburg, Breslau and
Vienna, in 1903 he was made director of the
Royal Opera at Amsterdam. In 1904-05,
at the invitation of H. W. Savage, he came
to direct the first English performances of
'Parsifal' in America, touring from coast to
coast. In 1905-07 he continued with Savage,
conducting 'Madama Butterfly' (first Ameri-
can performance in Wasliington) . In 1908-15
he led the St. Paul Symphony Orchestra, and
in 1916 directed the Civic Orchestra in New
York in summer-concerts. In 1917-18 he
served as guest-conductor at Cincinnati and
Detroit, and in 1919 took charge of the Loa
Angeles Philharmonic Orchestra, besides re-
turning in 1920 to lead summer-concerts in
New York. He has written a piano-concerto,
two piano-sonatas, incidental music to Maeter-
linck's 'Mort de Tintagiles,' a 'Bacchanale,'
to a poem by Untermeyer, for voice and
orchestra, and many songs. In 1908 he
married the singer Elizabeth Wolff, who came
to America to sing the title-role in 'Madama
Butterfly,' and has since appeared in recital
or with the St. Paul Orchestra. [ R.9 ]
ROTOLI, AUGUSTO (1847-1904). See
Register, 7.
ROWE, NEILLE ODELL (b. 1886). See
Colleges, 3 (U. of Wooster, Ohio).
ROYER, CLARENCE DE VAUX (May
10, 1874, Lancaster, Pa. : Oct. 28, 1919,
Lancaster), was educated at the Franklin
and Marshall School in Lancaster and at the
New York College of Metaphysics, studying
also at the Philadelphia Musical Academy.
Here his teachers were Hill and Van Gelder
for violin, Mohr for piano and Zeckwer for
theory. Abroad he studied with Halir and
Moser in Berlin, Marsick in Paris and Ysaye
in Brussels. He made his debut as violinist
at the Salle des Agricultures in Paris in May,
1897. He toured France, Germany, Switzer-
land, Belgium, Holland, Canada and the
United States, making in all over 1500 appear-
ances. He also gave many lecture-recitals —
305 for the New York Board of Education
in fifteen years. In recent years he was
director of the violin-department in the New
York School of Music and Art. He con-
tributed many articles to magazines, and
composed violin-studies and pieces, and songs.
He was a charter-member of the Musicians'
Club of New York and of the Chicago Guild
of Violinists. [ R.8 ]
ROYER, CLIFFORD F. See Colleges,
3 (Alma C, Mich.).
RUDERSDORFF, HERMINE (1822-
1882). See Vol. iv. 189, and Register, 6.
RUDOLPHSEN, JOHN FREDERICK
(1827- ? ). See Register, 4.
RUEGGER, CHARLOTTE (b. 1876). See
Colleges, 2 (Meredith C, N. C.).
RUIFROK, HENRI WILLEM JOHAN
(b. 1862). See Register, 7, and Colleges, 3
(Drake U., Iowa, Valparaiso U., Ind.).
RUSS, D. See Tune-Books, 1791.
RUSSELL, ELLA (Mar. 30, 1864, Cleve-
land), when about nine became a pupil at the
Cleveland Conservatory and a year later sang
in public. On the advice of Max Strakosch
she went to Paris and studied singing with
Mme. De la Grange and acting with Edouard
Pluque. Two years later she went to Italy
to be under Giovanni in Milan. Her d6but
was as Leonora in 'II Trovatore' at Prato
in 1882, and her success led to engagements
at Florence, Turin and Milan. In 1883 she
made a tour of Spain with the tenor Tamberlik.
She then visited Vienna, Budapest, Berlin,
Warsaw, Petrograd and Moscow. Her first
appearance in England was at Covent Garden
in May, 1885, when she sang Gilda in 'Rigo-
letto,' and during four seasons there sang in 30
operas. Tours in the United Kingdom and Rus-
sia were followed by an engagement with the
RUSSELL
RYDER
345
Carl Rosa Opera Company. She has appeared
at many important London concerts, and has
sung, by command, at state and other concerts
at Buckingham Palace. In private life she
is the Countess di Rhigini. [ R.7 ]
RUSSELL, FLORENCE. See Colleges, 3
(Cedarville C, Ohio).
RUSSELL, GEORGE ALEXANDER (b.
1880). See Colleges, 1 (Princeton U., N. J.).
RUSSELL, HENRY (1812-1900) . See Vol.
iv. 194-5, and Register, 3.
RUSSELL, LILLIAN (b. 1861). See Reg-
RUSSELL, LOUIS ARTHUR (b. 1854).
See Register, 6.
RUSSIAN SYMPHONY ORCHESTRA,
THE, of New York, was organized in 1904
to further the interests of Russian music.
Modest Altschuler has been conductor from
the beginning. Among the works introduced
have l^en Rachmaninov's 2nd Symphony in
1909, Kajanus' 'Finnish Rhapsody' in 1911,
Rimsky-Korsakov's Concerto in C-sharp minor
and Ippolitov-Ivanov's 1st Symphony in 1914,
Scriabin's 'Prometheus' in 1915, Liadov's 'The
Enchanted Lake' in 1916 (the last two with
the use of the ' color-keyboard ' with the music) ,
ard Stravinsky's Symphony in E-flat in 1916;
Several artists have made their American debut
with the Orchestra, such as Rachmaninov,
Scriabin, Lhfevinne and Elman. In 1918 Henri
Verbrugghen, director of the Sydney Conserva-
tory in Australia, appeared as guest-conductor
in a program of Beethoven works. The
Orchestra has often assisted in festivals in
many places in the United States and Canada.
In 1914 it gave a 'Wage-Earners' Carnival'
of six days, presenting music of many countries.
RYAN, THOMAS (1827-1903). See Reg-
ister, 4.
RYBNER, PETER MARTIN CORNE-
LIUS (Oct. 26, 1855, Copenhagen, Den-
mark), studied violin and piano at the
Copenhagen Conservatory under Gade and
Hartmann, and at the Leipzig Conservatory
(from 1873) under Reinecke and David, later
going further with Von Biilow and Rubinstein.
He made concert-tours as pianist through
Germany, France, Italy, Norway and Sweden,
and was for a time court-pianist to the Grand
Duke of Baden. Located for some years in
Karlsruhe, he directed the Conservatory there,
was associate-conductor with Mottl at the
Opera, and conducted the Philharmonic
Society in 1892-1900. In 1904 he was called
to Columbia University in New York to
succeed MacDowell. This position he re-
signed in 1919 to devote himself to com-
position and private teaching. He has
composed a Festival Cantata for soli, chorus
and orchestra, op. 32 ; the symphonic poem
'Peace, War, and Victory,' op. 20; a Festival
Overture, op. 27 ; a violin-concerto in G
minor, op. 30; the three-act ballet 'Prince
Ador,' op 35 (1903, Karlsruhe) ; a piano-trio,
op. 9 ; pieces for piano, violin and piano,
'cello and piano, songs and choruses. He
has also made concert-transcriptions of Wagner
excerpts for piano, and written Phases of
Pianoforte-Study. [ R.9 ]
His daughter, Dagmar de Corval Rybner
(Sept. 9, 1890, Baden), had her general edu-
cation in Karlsruhe and Geneva, studying
music at Karlsruhe, Neuch§,tel and New York.
She first appeared as pianist at the Metro-
politan Opera House in New York in 1912,
and has often been soloist with orchestras
and in recital. She is now largely engaged
upon composition. Several songs and a num-
ber of works for violin and piano have been
published (Schirmer, Ditson, Breitkopf).
[ R.IO ]
RYDER, THOMAS PHILANDER (1836-
1887). See Register, 4.
s
SAAR, LOUIS VICTOR FRANZ (Dec. 10,
1868, Rotterdam, Holland), came of a musical
family, being connected with Moscheles and
distantly with Schubert. His father was an
opera-conductor at Covent Garden and the
Metropolitan Opera House, and his mother
was for a time a dramatic soprano. He him-
self graduated from the Strassburg Gymna-
sium in 1884 and pursued literature and history
at the University there. In 1886-89 he was
at the Munich Conservatory, studying with
Rheinberger, Bussmeyer and Abel, and
graduated with highest honors, taking also
the Mendelssohn prize for composition in 1891
and the Wiener Tonkiinstler prize in 1892.
In 1894 he came to New York as accompanist
at the Metropolitan Opera House. Later
he taught theory at the National Conservatory,
the College of Music and the Institute of Mu-
sical Art. In 1906-17 he was head of the
theory and composition work at the College
of Music in Cincinnati, and has since been in
a similar position at the Chicago Musical
College. His works have won many prizes —
in Boston in 1899 for piano-music, in Balti-
more in 1902 for a choral composition (Kaiser
Prize, with 400 competitors), in 1911 and '12
from the Chicago Madrigal Club, and in 1912
(two) from the Art Publication Society for
piano-pieces. His compositions number about
100, in many forms, the songs, violin-pieces
and choral works being the best-known.
They may be summarized as follows :
Chamber-music : String-Quartet in G, Piano-Quar-
tet, op. 39 (Siegel), Quartet for clarinet, horn, 'cello and
piano, Sonatas for violin and piano, op. 44 (Siegel),
for 'cello and piano, and for horn and piano.
For violin: Canzonetta, op. 17 (Schuberth), 2
Pieces, op. 26 (Schuberth), 'Romance M61odique,' op.
78 (Carl Fischer), 'En Berceau,' op. 86o, for violin
and orchestra or two violins and piano (Church).
For piano: Suite, op. 6 (Ries & Erler), Suite, 4
hands, op. 27 (Schirmer, also as 'Rococo' Suite, for
orchestra), many sets of pieces, some for 4 hands
(Schmidt, Schirmer, Schulaerth, Ditson, Leuckart,
Church, Carl Fischer, Willis), 'The Proficient Pian-
ist,' 2 Books (Willis).
For organ : 3 Recital-Pieces, op. 85 (Church).
For solo voice or duet : Many sets of songs, a few
with violin or orchestra (Lewy, Breitkopf, Ries, Schu-
berth, Schirmer, Leuckart, Rieter-Biederman, Boston
Music Co., Church, Ditson, Carl Fischer, Simrock).
For mixed chorus: 3 Quartets, op. 8 (Robitschek),
'Ritornelle,' op. 41, for G parts and orchestra (Rieter-
Biederman), 2 for 6 parts a cappella, op. 57 (Schir-
mer), 'A Song of Consolation,' op. 71, with orchestra
(Boston Music Co.), 2 4-part Hymns a cappella, op.
76 (Carl Fischer), Morning, Evening and Communion
Services, 'The Lord's Prayer' in anthem-form (all
Church).
For men's chorus: 'Battle Prayer,' op. 35, with
orchestra (Hug), 'Forefathers' Tomb,' op. 36, with
orchestra (Hug), 'Festival Hymn,' op. 48 (Forberg),
'Algerian Lullaby,' op. 63, with piano and bells (Bos-
ton Music Co.), 'Venetian Love-Song,' op. 68, with
violin (Boston Music Co.), several sets, opp. 30, 42,
43 (Hug), 38 (Luckhardt & Belder), 46 (Forberg), 51
(Kahnt), 56 (Siegel).
For women's chorus : ' Nocturne,' op. 45, with
tenor and violin (Siegel), 'Hallowing Night,' op. 55,
with alto and orchestra (Schirmer), 3 Trios, op. 62
(Boston Music Co.), 2 Madrigals a cappella, op. 78
(Schirmer), 2 Madrigals with piano, op. 80 (Ditson).
Eight seta of Folk-Songs (English, Irish, Scotch,
Negro, Swedish or Italian) for men's, women's or
mixed chorus (Boston Music Co., Church).
He has also published a large number of
orchestral and piano-arrangements. [ R.8 ]
SABIN, WALLACE ARTHUR (Dec. 15,
1869, Culworth, England), began at thirteen
to act as organist at various schools and
churches in Oxford. His general education
was at Charstock College and Magdalen
College School, and his musical training under
M. J. Monk at Banbury and T. W. Dodds at
Oxford. In 1890 he became fellow of the
R. C. O. Migrating to San Francisco in
1894-1906 he was organist at St. Luke's, and
since 1906 has been at the First Church,
Scientist. Since 1895 he has also been organist
at Temple Emanu-El. He is a fellow of the
A. G. O., and was recitalist at both the St.
Louis and the San Francisco Expositions in
1904 and 1915. He has written two of the
'Grove-Plays' for the Bohemian Club — 'St.
Patrick at Tara' in 1909 and 'The Twilight
of the Kings' in 1918 — both for tenor, bari-
tone, men's chorus and orchestra, besides
much incidental music for the Club. He has
made various settings for parts of the Jewish
liturgy, published in Stark's Service-Book.
He has published several part-songs for men's
voices (Schirmer, Gray, Church), and has oth-
ers in manuscript, together with much other
music. He is director of the Loring Club, the
Twentieth Century Musical Club and the Sat-
urday Morning (Ladies') Orchestra. [ R.8 ]
'SACRIFICE, THE.' An opera by Fred-
erick S. Converse, produced by the Boston
Opera Company on Mar. 3, 1911.
SAENGER, GUSTAV (May 31, 1865,
New York), studied violin with C. Richter,
Leopold Meyer and Leopold Damrosch and
composition with C. C. MuUer. For many
years he was an active violinist and teacher,
playing at the Metropolitan Opera House and
with the Philharmonic and Symphony So-
cieties. In 1893 he became assistant-con-
ductor to Furst at the Empire Theater and
later succeeded him. Thus he had charge
of the music for all the productions of the
Frohman companies, besides writing much
original music for them. In 1897 Carl Fischer
secured him as arranger, reviser and trans-
lator. This work increased so much that
346
SABNGER
ST. PAUL ORCHESTRA 347
in 1909 he withdrew from his theatrical
position to become editor of the Fischer
publications. He thus took up the care of
'The Metronome,' devoted to band and
orchestra music, and in 1904 that of 'The
Musical Observer,' a more general periodical.
He has been specially successful in arranging
music for the violin, and has also written
a Concertino in G minor, op. 83, five 'Silhou-
ettes,' op. 106, two Concert-Solos, op. 129,
three ' Miniatures, 'j op. 130, a New School of
Melody, op. 96, besides other instrumental
pieces and songs. [ R.7 ]
SAENGER, OSCAR (Jan. 5, 1868, Brook-
lyn), sang in concert as a child and early
studied the violin. In 1886 he secured a
scholarship at the National Conservatory,
where he took singing with Bouhy and dra-
matic art with Frederick Robinson, later
being also under Klein. In 1889-97 he taught
in the Conservatory. In 1891 he appeared
as baritone with the Hinrichs American Opera
Company, and in 1892 went with the Arion
Society on its European tour. He has trained
a long list of distinguished singers, like Leon
Rains, Ellison Van Hoose, Sara Anderson,
Allan Hinckley, Henri Scott, Marie Rappold,
Paul Althouse, Lila Robeson, Mabel Garrison
and Florence Hinkle. Rudolf Berger, pre-
viously baritone at the Berlin Opera, he
pronounced a tenor, and in 1909 he made a
success as Lohengrin. [R.7 ]
SAERCHINGER, ClilSAR (Oct. 23, 1884,
Aix-la-Chapelle, Germany), was educated in
Halle, New York and Paris, giving special
attention to linguistic studies. His mother
taught him singing, and he took piano and
theory with Lambord. With the latter in
1912 he founded the Modern Music Society
in New York to give recent music, especially
by American composers, and has been its
secretary since 1912. He has become con-
spicuous for fine editorial work. He has
contributed to the National Cyclopedia of
American Biography and to Appleton's Cyclo-
pedia of American Biography, 1906-12, was
managing-editor of The Art of Music, 14
vols., 1914-17, musical editor of 'The Inter-
national' in 1913-14 and of 'Current Opinion'
since 1914, and brought out the very useful
International Who's Who in Music, 1918. He
has also contributed to Elson's ' Modern Music
and Musicians,' 1918 (new ed.) and to journals
like 'Musical America' and 'The Musical
Quarterly.' [ R.9 ]
SAFONOV, VASSILY ILYITCH (Feb. 6,
1852, Itsyoursky, Caucasus : Mar. 13,
1918, Kislovodsk, Caucasus). See article
in Vol. V. 662-3. His first appearance as
conductor of the New York Philharmonic
Society was on Mar. 5, 1904. He served as
conductor of this Society in 1905-09, and was
also director of the National Conservatory.
On his return to Russia he became conductor
of the Imperial Musical Society at Petro-
grad. To the list of his piano pupils should be
added Rachmaninov, Medtner and Grech-
aninov. He published A New Forynula for the
Piano-Teacher and the Piano-Student, 1916.
[ R.9 ]
ST. CECILIA SOCIETY, THE. Several
societies of this name came into existence in
the 18th century, the most important of them
being that of Charleston, S. C, founded in
1762 (at first called 'St. Coecilia'!), and long
continuing as a center of interesting concert-
activity (see Sonneck, Concert-Life, pp. 16-9,
22-4, 27-8, 40, with a rescript of the Society's
rules). Another was at New York in 1791-99,
then merged into the Philharmonic Society.
There was a third at Newport, R. I., in 1793.
Probably there were others.
ST. CECILIA SOCIETY OF AMERICA,
THE, was organized in 1873 by John Singen-
berger as a branch of the Cacilienverein of
Franz Witt (1867) for the promotion of the
Palestrina style in the Roman Catholic
Church. The Society began holding annual
meetings in 1874 and the issue of the periodical
'Cecilia.' See Mathews, Hundred Years of
Music in America, pp. 277-82.
ST. LOUIS PAGEANT CHORAL SO-
CIETY, THE, was originally formed in
1914 under civic auspices to supply the choral
parts of Converse's 'Masque of St. Louis,'
given at the 150th anniversary of the founding
of the city. Its success led to its continuance
as a permanent choral society, the conductor
being Frederick Fischer. Three or four con-
certs are given annually, besides more or
less extension-work in furtherance of com-
munity-singing. Besides oratorios and similar
works, the Society has presented several
American cantatas, such as Converse's 'The
Peace-Pipe' (1917), Farwell's 'The Ever-
green-Tree' (1918), Paine's 'A Hymn of the
West,' Skilton's 'The Witch's Daughter' and
Busch's 'The American Flag' (all 1919).
ST. LOUIS SYMPHONY ORCHESTRA,
THE, was founded in 1907, and has been led
since then by Max Zach. Its present size is
80 players.
'ST. PATRICK AT TARA.' No, 7 of the
'Grove-Plays' of the San Francisco Bohemian
Club, produced in 1909. The text is by H.
Morse Stephens and the music by Wallace
A. Sabin. The scene is laid 'on the Hill of
Tara in Meath, Ireland, on Easter, 432.'
ST. PAUL SYMPHONY ORCHESTRA,
THE, was formed in 1908 under the leader-
ship of Walter H. Rothwell, who remained at
its head till 1915, when conditions due to the
war led to its discontinuance. Its place was
taken by the St. Paul Philharmonic Orchestra,
348
♦ST. PETER'
SALTER
led by Josef Sainton, which gives 12 popular
concerts annually.
'ST. PETER.' An oratorio by John K.
Paine, first given at Portland, Me., in June,
1873, and by the Handel and Haydn Society
in Boston on May 9, 1874.
I SAINT-SAENS, CHARLES CAMILLE
(Oct. 9, 1835, Paris, France). See article in
Vol. iv. 207-9. In 1900 he was made Grand-
Officer in the Legion d'Honneur and in 1913
received the Grand-Croix. He first visited
the United States in October-December, 1906,
and in 1915 returned as French representative
at the Panama-Pacific Exposition. He there
conducted some of his own works, including
'Hail, California.' In 1916 he visited South
America. His list of works now includes the
following :
op. 106 'Caprice H^roique,' for two pianos.
107 ' Marche R^ligieuse,' for organ.
108 'Barcarolle,' for violin, 'cello, piano and
organ.
109 'Trois Preludes et Fugues,' for organ.
110 ' Valse Nonchalante,' for piano.
1' 1 Six Etudes for piano.
112 String-Quartet in E minor.
113 'Chants d'Automne,' for men's chorus
a cappella.
114 'La Nuit,' for soprano, women's chorus
and orchestra.
115 Cantata, 'Le Feu C6Ieste,' for soprano,
recitation, chorus, orchestra and organ.
116 Dramatic Scene, 'Lola,' for two 'cellos
and orchestra.
117 'Marche de Couronnement,' for orchestra.
118 'Romance du Soir,' for chorus a cappella.
119 Concerto No. 2, in D minor, for 'cello.
120 'Valse Langoureuse,' for piano.
121 ' A la France,' for men's chorus a cappella.
122 'Caprice Andalouse,' for violin and or-
chestra.
123 Sonata No. 2, in F, for 'cello.
124 Fantaisie for violin and harp.
125 March, 'Sur les Bords du Nil,' for military-
band.
126 Cantata, 'La Gloire de Corneille,' for
soli, chorus and orchestra.
127 Psalm 1.50, for double chorus, organ and
orchestra.
128 Incidental Music to ' L'Assassinat du
Due de Guise.'
129 "Le Matin,' for men's chorus a cappella.
130 'Trois Tableaux Symphoniques ' from
music to 'La Foi.'
131 'La Gloire,' for men's chorus a cappella.
132 'La Muse et le Poete,' for violin, 'cello
and orchestra.
133 'Ouverture de F6te.'
135 Six Etudes for piano (left hand).
136 Suite, 'Triptique,' for violin and piano.
139 'Valse Gaie,' for piano.
147 Motet, 'Tu es Petrus,' a cappella.
148 Motet, 'Quam Dilecta,' a cappella.
150 Seven Improvisations for organ.
Without opus-number :
' Romance sans Paroles,' for piano.
'Le Cygne,' for 'cello and piano.
'Hynine Franco-Espagnole,' for band.
'Lever de Soleil sur le Nil,' for alto and orches-
tra.
'S€r6nade d'Hiver,' for men's chorus a cappella.
Madrigal for tenor and men's chorus.
'Ode d'Horace,' for men's chorus a cappella.
A 'Deux,' two-part canon for children.
'Panis Angelicus,' for tenor, string-quintet and
organ.
'Hail, California' (1915, Panama-Pacific Ex-
position).
'Honneur k rAmSrique,' for orchestra (1916).
Unpublished :
'Le Carnaval des Animaux,' for orchestra.
Overture, 'Spartacus.'
Symphonies in F and D.
Cantata, 'Ode ^ Ste.-C6cile,' for chorus and
orchestra.
Cantata for the centenary of the birth of
Hoche (1868), for chorus and orchestra.
He has also published about 75 songs, many
motets and numerous arrangements from
composers old and new, and edited Charpen-
tier's 'Le Malade Imaginaire' (1894), Gluck's
'Armide,' 'Orphee,' and 'ilcho et Narcisse'
for the Pelletan Edition (1875-1902), Rameau's
works (1895- ) and Mozart's piano-sonatas.
He is author of Notice sur H. Rcber, 1881,
Materialisme et Musique, 1882, Notes sur les
Decors de Thedtre dans VAntiquite Romaine,
1886, Gounod et le 'Don Juan' de Mozart, 1893,
Prohlbnes et Mystbres, 1894, Ecole Buisson-
nihre, 1913, Au courant de la Vie, 1914, and
Germanophile, 1916, besides a volume of poems
and three comedies. For further bibliography,
see Baker, Diet, of Musiciayis, p. 804.
SAINTON, JOSEPH (b. 1878). See Reg-
ister, 10.
SALEM ORATORIO SOCIETY, THE,
of Salem, Mass., was founded in 1868. Its
conductors have been Carl Zerrahn in 1868-98,
W. S. Fenollosa in 1898-1900, Emil Mollen-
hauer in 1900-09, Alfred S. Denghausen in
1909-13 and Frederick Gate since 1913. The
membership of the chorus is usually about 100.
Two or three concerts are given annually.
The Society has a small fund, received by
legacy. Besides the more common oratorios,
it has given Costa's 'Eli,' Handel's 'Joshua,'
'Judas Maccabajus' (5 times) and 'Samson'
(3 times), and many modern works, like
Bruch's 'The Cross of Fire,' Coleridge-Taylor's
'Hiawatha's Wedding-Feast,' Novdcek's 'My
Goddess,' Franck's Psalm 150, Verdi's Re-
quiem, Dvorak's Stabat Mater, Dubois' ' Seven
Last Words,' etc., besides a number of operas
in concert-form.
SALIMENT, GEORGE EDWARD. See
Register, 2.
SALMON, ALVAH GLOVER (1868-1917).
See Register, 8.
SALTER, MARY ELIZABETH, n6e Tur-
ner (Mar. 15, 1856, Peoria, 111.), had her early
education in Burlington, la., where she
studied singing under Alfred Arthur and
Max Schilling, continuing later in Boston
under O'Neill and Mme. Rudersdorff. For
twenty years from about 1875 she was solo-
SALTER
SAMAROFF
349
soprano in chiirches in Boston, New York,
New Haven, Syracuse, Buffalo, and Atlanta.
She sang in concert with many noted artists
and choral societies. In 1879-81 she taught
at Wellesley College. Her song-writing de-
veloped unconsciously, without much in-
fluence from technical study. 'The Cry of
Rachel' has become noted through its pre-
sentation by Mme. Schumann-Heink. In
many cases she has written words as well as
music. Out of a total list of nearly 150 the
following sets may be named as in some way
representative :
'Three Spring-Songs,' op. 4 (1904) (Schirmer).
'Five Songs,' op. 6 (1905) (Schirmer).
'Love's Epitome,' cycle of 5 (1905) (Schirmer).
'A Night in Naishapur,' cycle of 6 (1906) (Schir-
mer).
'Songs of the Four Winds,' op. 12 (1907) (Schir-
mer).
'Outdoor Sketches,' set of 6 (1908) (Schirmer).
'Lyrics from Sappho,' op. 18, set of 7 (1909)
(Schirmer).
'From Old Japan,' op. 23, cycle of 6 (1911)
(Summy).
'Eight Songs,' op. 24 (1912) (Schirmer).
'Four Songs,' op. 26 (1913) (Schmidt).
'Four Songs,' op. 33 (1916) (Ditson).
'Five Songs,' op. 34 (1916) (Schirmer).
She has also written a number of sacred
songs and some hymn-anthems. In 1881 she
married Sumner Salter (see below). [ R.6 ]
SALTER, SUMNER (June 24, 1856,
Burlington, la.), began as organist in 1875,
while in Amherst College, where he graduated
in 1877. He studied^ organ with B. D. Allen
and Eugene Thayer, piano with J. C. D-
Parker, singing with Osgood and theory with
Paine. During his student-days in Boston
he played in Lynn and Roxbury, taught in the
Petersilea Academy, sang in the Boylston
Club and led the Arion Club of Chelsea. In
the summers of 1878 and '79 he taught with
Sherwood at Lyons and Canandaigua, N. Y.
In 1879-81 he was organist in Cleveland
and taught at the Oberlin Conservatory. In
1881-86 he was organist at St. Paul's in Syra-
cuse and conductor of the Cecilia Society.
In 1886-89 he was at the First Methodist
Church in Atlanta and director of the Musical
Association (chorus and orchestra) . In 1889-
1900 he was in New York, first at the First
Presbyterian and then at the West End
Avenue Collegiate Church. In 1900-02 he was
organist at Cornell University and teacher of
voice in the Ithaca Conservatory. In 1902-05
he was organist of Broadway Tabernacle in
New York, and since 1905 he has been organist
at Williams College. While in New York
he was a founder of the Manuscript Society in
1892, and of the A. G. O. in 1896, editor of
'The Pianist and Organist,' its first official
organ, in 1895-98, and warden in 1899-1900.
In 1897-98 he was president of the New York
Music Teachers' Association. He has given
a large number of recitals, including two at
the Buffalo Exposition in 1901, three at St.
Louis in 1904, five at San Francisco in 1915
and about 175 at Williams College. He has
written mostly for the voice, with special
attention to part-songs and anthems for
men's voices. The list of works includes about
25 songs (Phillips & Crew, Ditson, Church,
Schirmer, etc.), and the following choral
music :
For men's voices: 'Holy stars above me,' 'Twi-
light Revery,' 'Answered,' 'Daffodils,' 'The night-
wind sleeps,' 'Tarry with me,' 'I will lift up mine
eyes' (all Ditson) ; 'Let my voice ring out,' 'O
mellow moonlight' (Rohlfing) ; 'The Sword' (Presser,
prize-work) ; Benedictus in D, Jubilate in E-flat,
Te Deum in C, 'The Lord is my Light,' 'Saviour,
Source of every blessing ' (all Schirmer) ; Deus
Misereatur (Boosey).
For mixed voices: 'Homeward,' 'The day is
gently sinking,' 'In the days of Herod the king,'
' Suffer little children,' ' Sun of my soul ' (all Schirmer) ;
'Abide with me,' 'Alleluia' (Easter), 'O let your
mingling voices rise,' 'Rock of Ages,' 'Harvest-
Home' (all Ditson).
Also many responses and other service-music, and
many arrangements. [ R.6 J
SALTZMAN-STEVENS, MINNIE (1885?,
Bloomington, HI.), after studying with
Chicago teachers went to Paris in 1905
for four years with Jean de Reszk6. Her
first appearance in opera was in 1909, when
she sang Briinnhilde in 'Die Walkiire' at
Covent Garden in London, under Richter.
Her success was such that she was invited
to Bayreuth, where she sang Kundry in
1911. She sang Briinnhilde in the 'Ring'
cycle at the Royal Opera in Lisbon in 1909,
and many Wagnerian roles at Covent Garden
(four seasons), Berlin, Frankfort and Brussels.
Engaged by the Philadelphia-Chicago Opera
Company, she made her American debut at
Chicago in December, 1911, as Briinnhilde,
and the next month sang Isolde in Philadelphia.
Her engagement with the Chicago Company
continued till 1914. In 1905 she married
A. Newman Stevens of Bloomington. [ R.9 ]
SALZfiDO, CARLOS (b. 1885). See Regis-
ter, 10.
SAMAROFF, OLGA, nee Hickenlooper
(Aug. 8, 1882, San Antonio, Tex.), gained
her musical education at the Paris Conserva-
tory, being the first American woman admitted
to piano-classes there, and with Jedliczka
in Berlin. Her first appearance as pianist
was with the New York Symphony Society
under Walter Damrosch in 1905. Since then
she has made extensive tours in the United
States, Canada and Europe, both ' as soloist
with leading orchestras and in recital. She
has appeared jointly with Kreisler and Zim-
balist and played often in ensemble, as with
the Kneisel Quartet. In 1911 she married
350
SAMPAIX
SANSONE
Leopold Stokowski, the conductor of the
Philadelphia Orchestra. In 1912-14 she was
in retirement, owing to ill health. [ R.9 ]
SAMPAIX, LtON (b. 1878). See Register,
9.
SANDBY, HERMAN (Mar. 21, 1881, near
Copenhagen, Denmark), began 'cello-study
at seven with local teachers. In 1895 he went
to the Frankfort Conservatory, spending five
years under Hugo Becker. In 1896 he played
before the Queen at Buckingham Palace in
London. His formal d^but was made with
the Copenhagen Orchestral Society in Jan-
uary, 1900. He toured in Scandinavia, Ger-
many and Great Britain as soloist, playing
in London with Carreiio and Grainger. In
1914^16 he was first 'cellist of the Philadelphia
Orchestra, his only orchestral engagement.
Since 1916 he has devoted himself to solo-
playing and composition. He has written
a 'cello-concerto in D (1916, Philadel-
phia Orchestra) ; two string-quartets ; in-
cidental music to Mrs. Sandby's drama 'The
Woman and the Fiddler' (1912, Philadel-
phia) ; and many transcriptions of Norwegian
melodies for piano, violin and piano, 'cello
and piano, and other combinations. His
grand opera 'The Vikings of Helgeland'
(Ibsen) is as yet unfinished, but the prelude
to Act iv. was played by the Philadelphia
Orchestra on Dec. 6, 1912. [ R.IO ]
SANDERSON, LILLIAN (b. 1867). See
Register, 8.
SANDERSON, SIBYL (Dec. 7, 1865,
Sacramento, Cal. : May 16, 1903, Paris),
was the daughter of a judge in the California
Supreme Court. At nineteen she went to
Paris for Btudy at the Conservatory under
Sbriglia and Mme. Marchesi. Her operatic
debut was in 1888 at the Hague. Making the
acquaintance of Massenet, he became im-
pressed with her compass of tliree octaves
and wrote ' Esclarmonde ' with her voice in
mind. In this work she appeared at the Opera-
Comique in 1889. For two seasons she then
sang at La Monnaie in Brussels. In 1894
she appeared at the Paris Grand-0p6ra in
'Thais,' which Massenet wrote for her. In
1893, also, she sang in Saint-Saens' 'Phryne,'
which, too, was written for her. In 1897 she
married the Cliilean merchant Antonio Terry
(d. 1900). She visited Petrograd, Moscow,
London and New York (1895 and '98, Metro-
politan Opera House), but her popularity
was greatest in Paris. Massenet, in his
Souvenirs, called her an 'ideal' Manon and an
'unforgettable' Thais. [ R.7 ]
SANFORD, SAMUEL SIMONS (1849-
1910). See Register, 6.
SAN FRANCISCO SYMPHONY OR-
CHESTRA, THE, is technically known as the
Musical Association of San Francisco, which
was formed in 1909 and supported by a circle
of members who subscribe from $100 to $5000
annually. The first conductor was Henry
K. Hadley, who in 1915 was succeeded by
Alfred Hertz, formerly of the Metropolitan
Opera House in New York. The average
number of players is over 80. The number
of concerts per year is now about 50. The
repertoire includes almost all the standard
symphonies, overtures and concertos, with a
wide range of modern works of every kind.
Premieres are recorded for Frederic Jacobi's
symphonic poem 'The Pied Piper' (1916)
and 'A California Suite' (1917), first per-
formances in America for Beethoven's newly-
discovered Symphony (1912), and Dukas'
danced-poem 'The Peri' (1916), and first in
San Francisco for Moszkowski's Suite No. 1
(1912), Rachmaninov's 'Die Toteninsel'
(1913), Reger's 'Romantique' Suite (1913),
Pfitzner's Overture, 'Das Christ-Elf lein'
(1916), Grainger's British Folk-Song Settings
and 'In a Nutshell' Suite (1916), Debussy's
tone-picture 'Iberia' (1916), Schubert's Sym-
phony No. 5 (1916), Georg Schumann's
'Variations and Double Fugue on a Merry
Theme' (1917), Kelley's 'New England'
Symphony (1917), and Schmitt's 'Rhapsodie
Viennoise' (1918).
SANGER, ZEDEKIAH (1748-1820) See
Tune-Books, 1808.
SANGERBUND, DER AMERIKANI-
SCHE. German singing-societies early became
notable in the Middle West, especially at Cin-
cinnati, Chicago, Milwaukee and St. Louis.
From about 1850 the custom of holding an
annual Siingerfest became more or less estab-
lished. In 1868 the scope of these festivals was
enlarged so as to include mixed choral singing
with orchestra. Thus, like the Liederkranz,
the Sangerbund contributed to the advance of
popular interest in choral and orchestral music
on a large scale.
SANKEY, IRA DAVID (1840-1908). See
Register, 6.
SANSONE, ERRICO (Aug. 13, 1859,
Naples, Italy), studied violin with Pinto
and composition with Serrao, making his
debut as violinist at Naples in 1877. He
then taught at the Conservatory, led the
Quartet Society, was concertmaster in the
Symphony Orchestra and at the Teatro S.
Carlo, and toured much as violinist and
conductor. Coming to Chicago about 1895,
he taught at the Chicago Conservatory and
the Balatka Academy, played much in en-
semble with Martucci, Godowsky, Ysaye and
others, and became concertmaster of the St. Paul
Symphony Orchestra. He has composed the
five-act opera 'Abel,' the cantata 'The Legend
of Wenonah,' a violin-concerto, two suites for
string-quartet, violin-studies and songs. [ R.8 ]
SANTELMANN
SCHARWENKA
351
SANTELMANN, WILLIAM HENRY
(Sept. 24, 1863, Offensen, Germany), took up
violin-playing very young and at eighteen
began five years' study at Leipzig. In 1887
he came to Philadelphia with a visiting or-
chestra, and soon enlisted in the United States
Marine Band as violinist and baritone-player.
In 1895 he formed an orchestra of his own and
in 1896-98 was leader at the Columbia Theater,
but in 1898 returned to the Marine Band as
its director. This position he still holds,
having developed the Band into a significant
organization, not only in size, but in artistic
quality. In 1908 the George Washington
University made him Mus.D. His band-works
include the overture and suite 'Pocohontas,'
the concert-galop 'The Ride of the Hussars,'
several marches for band and orchestra, and
many arrangements and transcriptions. [ R.7 ]
JSANTLEY, CHARLES (Feb. 28, 1834,
Liverpool, England). See article in Vol. iv.
222-3, and note in v. 664. He has published
The Singing -Master, 1900, The Art of Singing,
1908, and Reminiscences of My Life, 1909.
t SAPELNIKOV, VASSILY (Nov. 2, 1868,
Odessa, Russia). See article in Vol. v. 664.
His first teacher was Franz Kessler. In
1888 he made his debut as pianist at Ham-
burg, playing Tchaikovsky's B-flat Concerto
under the composer's direction. He resigned
at Moscow in 1899, and has since lived not
only in Germany, but in Italy and England.
He is an honorary member of the London
Philharmonic Society. He has written some
fine short pieces for the piano.
SAPIO, ROMUALDO.(b. 1858). See Reg-
ister, 7.
SASLAVSKY, ALEXANDER (Feb. 9,
1876, Kharkov, Russia), studied violin with
Gorsky at Kharkov and with Gruen in Vienna.
In 1893 he toured in Canada and became one
of the first violins in the New York Symphony
Society. From 1903 he was concertmaster
and assistant-conductor under Walter Dam-
rosch. In 1904 he was one of the founders of
the Russian Symphony Orchestra, its concert-
master till 1908 and one of its first soloists.
With these organizations he has toured
throughout the country. In 1907 he formed
a Quartet with Finkelstein, W^eissmann and
Renard, since 1915 giving chamber-recitals
at Denver in the summers. In 1919 he became
concertmaster of the new Philharmonic Orches-
tra in Los Angeles, and is otherwise active as
soloist and teacher. [ R.B ]
t SAURET, tUlLE (May 22, 1852, Dun-
le-Roi, France : Feb. 12, 1920, London). See
article in Vol. iv. 227-8. From 1908 he was
professor at Trinity College in London.
SAVAGE, HENRY WILSON, born in
Boston, graduated from Harvard in 1880
and went into real estate business in Boston.
One of his properties was the Castle Square
Theater. As it was a failure in other hands,
about 1895 he took hold of it himself, giving
both grand and light opera in English at
popular prices. Presently he sent out the
excellent Castle Square Company to other
cities. In 1900 he organized the English
Grand Opera Company, in the fall giving a
series of performances at the Metropolitan
Opera House in New York and then touring
the country. Among its achievements were
'Parsifal' in 1904-05 with Rothwell and
Moritz Grimm as conductors, 'Madama
Butterfly' in 1906-07 for the first time in
America, and 'The Girl of the Golden West,'
in 1911-12. Meanwhile other troupes under
his management were presenting light opera
and musical comedy in many places. As
president and director of Henry W. Savage,
Inc., and similar organizations, he has steadily
continued to purvey drama, musical comedy
and more or less opera to a large and diversified
public. [ R.8 ]
'SCARLET LETTER, THE.' An opera,
based upon Hawthorne's romance, by Walter
Damrosch, produced in Boston on Feb. 10,
1896, and at the Metropolitan Opera House
in New York on Mar. 6. The libretto was
prepared by George Parsons Lathrop, Haw-
thorne's son-in-law. In 1855 L. H. Southard
completed an opera of the same name, and
parts of it were sung in Boston.
SCHAFFER [Scheffer], FRANCIS C. See
Register, 2, and TuNE-BooKa, 1796.
SCHARFENBERG, WILLIAM (1819-
1895). See Register, 3.
^ SCHARWENKA, FRANZ XAVER (Jan.
6, 1850, Samter, Germany). See article in
Vol. iv. 249. He made concert-tours in Amer-
ica in 1910-11 and 1913-14. In 1914 he with-
drew from the Klindworth-Scharwenka Conserv-
atory, and established a school of his own
in Berlin. To the list of his compositions
add the 4th piano-concerto, in F minor, op.
82 (1908), two Ballades for piano, op. 85,
Variations for piano, op. 83, and also the
Methodik des Klavier spiels, 1908. [ R.6 ]
SCHARWENKA, LUDWIG PHILIPP
(Feb. 16, 1847, Samter, Germany : 1918,
Charlottenburg, Germany). See article in
Vol. iv. 248-9. To the list of works add the
Symphony in D minor, op. 96 ; a ' Symphonia
Brevis,' in E-flat, op. 115 ; the symphonic poem
'Traum und Wirklichkeit,' op. 92; a violin-
concerto in G, op. 95 ; a piano-quintet in B
minor, op. 118 ; two string-quartets, in D minor
and D, opp. 117, 120; three piano-trios, in
C-sharp minor, G and E minor, opp. 100, 112,
121 ; a trio in A, op. 105, for violin, viola and
piano ; two violin-sonatas in B minor and E
minor, opp. 110, 114; a viola-sonata, op. 106;
and a 'cello sonata, op. 116. [ R.8 ]
352
SCHEEL
SCHINDLER
SCHEEL, FRITZ (Nov. 7, 1852, Liibeck,
Germany : Mar. 13, 1907, Philadelphia),
came of a line of orchestral conductors and
began playing under his father at ten, in
1864-67 also studying under David at Leipzig.
In 1869 he became concertmaster and con-
ductor at Bremerhaven, in 1873 leader of
summer-concerts in Schwerin, in 1884 followed
Sitt as municipal conductor in Chemnitz, and
in 1890 was orchestral conductor at Ham-
burg. In 1893 he came to New York, lead-
ing some orchestral concerts, in 1894 led the
Trocadero concerts at the Columbian Ex-
position at Chicago, and in 1895-99 organized
and conducted the San Francisco Symphony
Orchestra. In the summer of 1899 his success
at concerts at Woodside Park in Philadelphia
led to the establishment in 1900 of the Phila-
delphia Symphony Orchestra, which under
his leadership stepped into prominence. In
1905 he also undertook the direction of the
Orpheus and the Euridice Clubs, but suc-
cumbed under the triple burden. [ R.8 ]
SCHELLING, ERNEST HENRY (July
26, 1876, Belvidere, N.J.), was a pianistic
prodigy in Philadelphia at four and a half.
In 1882-85 he was under Mathias at the Paris
Conservatory, and then with Moszkowski,
Pruckner, Leschetizky, Huber, Earth and Pad-
erewski (1898-1902, at Morges, Switzerland).
He has given recitals in France, England,
Germany, Spain, Russia and South America,
besides many appearances in the United
States. He has toured with the Boston
Symphony, Chicago, Philadelphia and New
York Philharmonic Orchestras, and played
with leading orchestras in London, Parisi
Petrograd and Amsterdam. He has composed
a 'Fantastic Suite' for piano and orchestra
(Rahter, Leipzig) ; a Symphony in C minor ;
a ' Symphonic Legend ' ; an orchestral suite ;
a violin-concerto (1916, Boston, played by
Kreisler) ; a sonata for violin and piano ;
variations for piano on an original theme ;
and other chamber-music and piano-pieces.
The 'Fantastic Suite,' perhaps his best-known
work, was written in 1905-06, orchestrated
the next year, and first played by the composer
with the Concertgebouw Orchestra in Amster-
dam on Oct. 10, 1907, Mengelberg conducting.
He played it with the Boston Symphony
Orchestra and the New York Symphony
Society in 1908, and in 1909 with the Thomas
Orchestra in Chicago. It is in four movements,
and the themes of the last are built on 'Dixie,'
'Old Folks at Home' and 'Yankee Doodle' (see
thematic analysis by the composer in 'Die
Musik,' vii. 17) . He enlisted in the war and was
made captain. He went to Poland with his inti-
mate friend Paderewski in the fall of 1918. In
the summer of 191 9 he suffered severe injuries in
an automobile accident in Switzerland. [ R.9 ]
SCHENUIT, ALFONS WILLIAM (b.
1864). See Register, 8.
SCHETKY, J. GEORGE (d. £1831). See
Register, 2.
SCHEVE, EDWARD BENJAMIN (Feb.
13, 1865, Herford, Germany), after attending
the Cologne Gymnasium and the Geisenheim
Institute, in 1885-88 studied at Kullak's
Academy in Berlin under Konig (piano),
Grunicke (organ) and Becker (composition).
In 1886-88 he also taught in the Academy.
In 1888 he came to Rochester as teacher and
organist at the First Baptist Church, and in
1902 went to Chicago as director of the
German-American Conservatory and or-
ganist at the First German Baptist Church.
Since 1906 he has taught composition at
Grinnell College in Iowa. In 1912 the College
made him Mus.D. He has written a sym-
phony in D minor, op. 38 (1917, Minneapolis
Orchestra at Grinnell and Dubuque, la.) ;
Festival March for orchestra, op. 12, with
chorus and organ ad lib. (1909, Grinnell, 1911,
Chicago Orchestra at Ravinia Park) ; a piano-
concerto, op. 20 (1913, Chicago Orchestra) ;
a violin-concerto, in E-fiat, op. 35 ; a violin-
sonata in C minor; 'Four Sketches' for violin,
'cello and piano; the oratorio 'The Death
and Resurrection of Christ,' op. 11 (1906,
Chicago, with the Chicago Orchestra) ; 'A
Song of Penitence,' op. 17, for soli, chorus,
orchestra and organ (1916, Grinnell) ; the
piano-suite ' Twilight-Pictures,' op. 29 ; ' Medi-
tations on Psalms,' op. 31, for piano with
violin ad lib.; an organ-sonata in E-flat;
a 'Suite Religioso' for organ, op. 18; 24 Pre-
ludes and Postludes for organ, op. 9 ; and
many songs, anthems and piano-pieces. [ R.7 ]
SCHILLER, MADELINE (18507-1911).
See Register, 7.
SCHILLING, GUSTAV (1803-1881). See
Register, 4.
t SCHILLINGS, MAX VON (Apr. 19.
1868, Diiren,[Germany). See]article in Vol. iv.
263. Since 1908 he has been general music-
director at Stuttgart, and received the title' von '
in 1912. To the list of works add the music-
drama 'Mona Lisa,' op. 31 (1915), 'Dem Ver-
klarten,' op. 21, for baritone, chorus and orches-
tra, 'Glockenlieder,' op. 22, for solo voice and
orchestra, 'Hochzeitsglocken,' op. 26, for bari-
tone, chorus and orchestra, the melodrama
'Jung Olaf,' op. 28, a violin-concerto in A
minor, op. 25, and a string-quartet.
SCHINDLER, KURT (Feb. 17, 1882,
Berlin, Germany), studied piano with Zieler,
Gernsheim, L. C. Wolf and Ansorge, and com-
position with Bussler and Thuille. He
also took courses in philosophy, psychology
and literary and artistic history at the Uni-
versities of Berlin and Munich, especially
with Friedlander, Woelfflin, Stumpff and
SCHINDLER
SCHIRMER
353
Erich Schmidt, meanwhile continuing with
music. In 1902 he became conductor of the
Stuttgart Opera, and in 1903 at the Municipal
Theater in Wiirzburg, besides assisting Mottl
and Zumpe at the Munich summer-festivals
and Strauss in the winter at Berlin. In 1905
Conried brought him to the Metropolitan
Opera House as assistant-conductor to Hertz
and (1907-08) to Mahler. In 1907 he became
reader and critic for G. Schirmer, except an
interval in 1919-20. In 1909 he founded the
MacDowell Chorus, which, with the House
Music Society, in 1910 began concert-giving.
In 1912 this became the Schola Cantorum,
which he has made one of the significant insti-
tutions of New York. Since 1912 he has also
been choir-director at Temple Emanu-El. In
1913 he was in charge of a gala-concert arranged
by the Institute Frangais des 6tats-Unis for the
French ambassador, illustrative of the music
of the various French provinces. He began
publishing songs about 1900, about 25 before
coming to America and the same number
since. In recent years he has been much
engaged with choral works, mostly based on
the extensive folk-song material that he has
collected. In his research-work he has the
advantage of knowing many languages, in-
cluding Russian and Spanish. He has edited
five collections of Russian music, two of
Spanish, one of Finnish student-songs, etc.,
besides reproducing many single illustrations
from other national treasuries. He has made
most of the translations, with Deems Taylor
as collaborator. Among his many works are
the following :
'Dance and Devotion,' op. 4, four songs from
Gustav Falke.
Five Songs, op. 5, from Hartleben, Busse, Holty
and Brentano.
'Trois Melodies de Paul Verlaine,' op. 7.
'Old Swiss Lays,' op. 9, from Gottfried Keller.
Three Songs from Keats, op. 11.
'Three Sonnets of Mediaeval Italy,' op. 14, trans-
lated by Rossetti.
Three English Songa, op. 15, from Wilde, Swin-
burne and Meredith.
' Vasilissa the Fair' or 'The Prince and the Maiden,'
for chorus.
'A Miracle of St. Raymond,' op. 18, after Movera,
for 12-part chorus a cappella.
'A Miracle of the Virgin Mary,' op. 19, after a
Spanish canticle, for 8-part chorus a cappella
or 4-part with organ.
'The Virgin's Plaint,' op. 20, from the Mystery
of Elx, after Pedrell, for solo, chorus and harp.
These, with many others from different
sources, some of them variously arranged
either for chorus or for solo, are mostly pub-
lished by Schirmer (some Ditson or Gray).
His collections include A Century of Russian
Song from Glinka to Rachmaninoff, 1911,
Masters of Russian Song, 2 vols., 1917, A
Cappella Choruses from the Russian Liturgy,
1913-17, Sixty Russian Folk-Songs, 3 vols.,
1918-19, /Songs of the Russian People, 1915,
Ten Student-Songs of Finland, 1915, Six Old
French Christmas Carols, 1908, The Development
of Opera (illustrative selections from various
periods), 1912, Old Spanish Sacred Motets,
1918, Modern Spanish Choral Works, 1918.
He has also written articles on Mussorgsky
and Schonberg, and numerous valuable intro-
ductions to his collections. [ R.9 ]
SCHIRMER, GUSTAV (1829-1893). See
Vol. iv. 265, and Register, 4 (also following
articles).
SCHIRMER, GUSTAVE (1864^1907). See
Register, 7 (also below).
SCHIRMER, RUDOLPH ERNEST (July
22, 1859, New York: Aug. 20, 1919, Santa
Barbara, Cal.), the eldest son of Gustav
Schirmer, was early educated in New York
and Weimar, and graduated from Princeton
University in 1880 and from Columbia Law
School in 1884. At his father's death in 1893
he became president of the firm of G. Schirmer.
Besides being more and more intimately
concerned in the large business of this house,
he was active in many other ways. He was
a director in both the Oratorio and the Sym-
phony Societies, a trustee of the Institute of
Musical Art, and a donor of libraries to the
latter, to Princeton University and to the
city of Santa Barbara. With his younger
brother, Gustave, he was not only instru-
mental in vastly extending the publishing-
business in which they were both engaged,
but in fostering whatever made for the ex-
tension of musical culture of the highest kind.
[ R.7 ]
SCHIRMER, G., INC., is the corporate
name of the great publishing-firm in New
York established, as told in Vol. iv. 265-6,
by Gustav Schirmer and developed by his
two sons. The total number of its publi-
cations is now about 30,000, of which perhaps
22,000 are piano-pieces, songs or." part-songs.
The Library of Musical Classics is approaching
a total of 1500. A Scholastic Series (all
originally published by the firm) was started
in 1918. Two series of orchestral publications
are also issued. The number of large piano-
scores of operas and oratorios, and of full
scores of chamber- and orchestral works, is
constantly growing. In the Golden Treasury
of Music are numerous collections, instru-
mental and vocal, many of which are unique
in their way. American composers exten-
sively represented include Mrs. Beach, Hadley,
Goldmark, Campbell-Tipton, Burleigh, Her-
bert, De Koven, Coerne, Mason, John Powell,
D. S. Smith, Rogers, Woodman, Schindler,
Marzo, Sousa, Coombs, Vogrich, Friml, H. A.
and J. S. Matthews, Strube, Speaks, and a host
of others. Works by foreign composers are
also numerous. Theoretical and historical
354
SCHLESINGER
SCHOLA CANTORUM
treatises of importance have often been put
forth, such as Goetschius' several text-books,
Baker's Dictionary of Musicians, Sonneck's
Early Opera in America, etc. Since 1915
'The Musical Quarterly,' a monthly of the
highest class, has been added. The present
headquarters is at 3 East 43rd Street, in a
building specially erected in 1909. The
engraving, printing and binding department
is located in Long Island City — one of the
finest music-making plants in the world, with
a staff of 275 workers. Since 1891 the Boston
Music Co. has been a branch of the business.
A London branch was maintained in 1913-17,
then becoming Winthrop Rogers, Ltd.
SCHLESINGER, DANIEL (1799-1838).
See Register, 3.
SCHLESINGER, SEBASTIAN BENSON
(1837-1917). See Register, 7.
SCHMIDT, ARTHUR P. (b. 1846). See
Register, 5.
SCHMIDT, ARTHUR P., of Boston, is a
music-publishing business established in 1876.
It now has branches in New York and Leipzig.
Besides an extensive general catalogue, the
firm has made a specialty of the work of
American composers, in both small and large
forms. Among its notable publications for
orchestra are Mrs. Beach's 'Gaelic' Sym-
phony, Chadwick's 2nd and 3rd Symphonies,
Foote's 'Francesca da Rimini' and Suites in
D minor and E, Hadley's 'Four Seasons'
Symphony, MacDowell's 'Lamia' and Suite
in A, Paine's 2nd Symphony and 'GEdipus
Tyrannus,' and Stojowski's Violin-Concerto ;
much chamber-music by these composers
and others ; and a notable list of cantatas
and similar choral works of considerable
dimensions. The catalogue of songs and
piano-pieces is extensive and representative.
In attention to this field Schmidt was one of
the first and has always maintained promi-
nence and importance. The Boston head-
quarters is at 120 Boylston St.
SCHMINKE, OSCAR EBERHARD (Dec.
12, 1881, New York), took a partial course
at the College of the City of New York and
graduated from the College of Dentistry
in 1903. In 1910 he gave up his practice as
dentist for composition. He had had training
in piano and organ from Spielter and Dethier,
with some lessons in theory from Spicker, but
is largely self-taught. For the organ he has
published an effective 'Marche Russe,' a
'March of the Toys,' an 'Elegy in the form of
a March,' a Pastorale, Festal Postlude, etc.,
and several songs, among them 'A million
little diamonds.' He also has settings of
Tagore poems (one with orchestra), a Scherzo
for piano, a 'Poeme Exotique,' a 'Fantasy on
Oriental Themes' and other works for organ,
and various choruses and songs. [ R.IO ]
SCHMITZ, ADOLPH. See Register, 3.
SCHNABEL-TOLLEFSEN, AUGUSTA
(b. 1885). See Register, 9.
SCHNECKER, PETERj AUGUST (1850-
1903). See Register, 6.
SCHNEIDER, EDWARD FABER (b.
1872). See Register, 9.
SCHNEIDER, HANS (b. 1863). See Reg-
ister, 7.
SCHOEBEL, OSCAR MELCHIOR (b.
1850). See Colleges, 3 (Campbell C, Kan.).
SCHOEN, ISAAC LEOPOLD (b. 1858).
See Register, 7.
SCHOENEFELD, HENRY (Oct. 4, 1857,
Milwaukee), first studied with his father,
a 'cellist, and his brother, one of Joachim's
pupils. From 1875 he had three years at
Leipzig, with one at Weimar under Lassen.
In 1879 he settled in Chicago as teacher and
conductor, being connected with the Chicago
Mui-ical College and the Columbia School of
Music, and leading the Germania Mjlnnerchor
and other societies. Since 1904 he has been
at Los Angeles, where he conducts the Ger-
mania Turnverein and the Woman's Sym-
phony Orchestra. His compositions include
an opera on an Indian subject; a dramatic
scene, 'The Three Indians,' for bass, men's
chorus and orchestra ; the ' Rural ' Symphony
in G minor (National Conservatory prize,
1892); the 'Springtime' Symphony (Seidl
Orchestra) ; the ' Festival ' and ' In the Sunny
South' Overtures; two 'American Rhap-
sodies' for orchestra; many works for small
orchestra, such as two 'Indian Legends,'
a 'Menuet Caracteristique,' the nocturne
'California,' a 'Suite Characteristic' (Summy),
and many pieces for strings ; a violin-concerto,
a Sonata in G minor for violin and piano
(Simrock), which won the Marteau prize in
1899 ; a 'cello-sonata, op. 70 ; a piano-con-
certo; an 'Air' for the G-string, with or-
chestra ; several pieces for violin and for
'cello ; and many piano-pieces, songs, choruses
and various transcriptions. Many of these
shorter works are published by Heffelfinger,
Summy, Presser, Schmidt, Church, Luck-
hardt, etc. [ R.6 ]
SCHOETTLE, GUSTAV (b. 1877). See
Register, 8.
SCHOFIELD, ROBERT LE ROY (b. 1876).
See Register, 8.
SCHOLA CANTORUM, THE, of New
York, which began in 1909 as the MacDowell
Chorus (fostered by the MacDowell Club)
and had notable success as such, especially
in conjunction with the Philharmonic Society
under Mahler, in 1912 adopted its present
name and has since steadily maintained its
position as a foremost exponent of a cappella
singing. Its only conductor has been Kurt
Schindler, to whose indefatigable enthusiasm.
SCHOLES
SCHROEDER
355
with his striking ability in bringing to light
works quite out of the line of ordinary render-
ing, its success has been mainly due. The
chorus in recent years has averaged 150-200
singers, selected carefully for vocal skill and
willingness to give time for thorough practice.
Besides giving many more extended works
that are rarely heard, the chorus has made
a specialty of the folk-songs of many nations.
Its concerts have always had high individu-
ality, supplying an element in the season of
the metropolis that is unique as well as charm-
ing. Among the works in its repertoire the
following may be noted, most of them not
before given in New York or America :
With orchestra —
Chabrier's 'Bris6is' (1911), 'Ode to Music' (1911)
and 'Epithalame de Gwendoline'; Liszt's 'St.
Elizabeth' (1911) and Finale to the 'Dante' Sym-
phony ; Debussy's ' Le Martyre de St.-S6bastien '
(1912) and 'Les Sirtoes' (1910); a chorus from
Busoni's 'Turandot'; Brahms' 'Gesang aus Fingal' ;
Rimsky-Korsakov's ' Christmas Eve ' ; Mussorgsky's
'Joshua' (1911); choruses from Borodin's 'Prince
Igor'; Saint-Saens' 'La Nuit'; Beethoven's 9th
Symphony (1913) ; Verdi's Stabat Mater (1914) ;
choruses from Purcell's 'King Arthur' and 'Dido
and jEneas ' ; Zandonai's ' Padre Nostro ' ; Cole-
ridge-Taylor's 'The Slave Singing at Midnight';
Gardiner's ' News from Whydah ' ; and Grainger's
'Father and Daughter.'
With piano —
Tiersot's ' Two Canadian Folk-Songs ' ; Mus-
sorgsky's ' Cradle-Song ' ; Franck's ' La Vierge & la
Crfiche'; Wolf's 'Der Feuerreiter ' ; d'Indy's 'Sur
la Mer'; Charpentier's 'Chant du Muletier' and
'S6r4nade k Watteau'; Stojowski'a 'Springtime'
Cantata; Fairchild's 'A Bible Lyric'; and Suk's
'Seven Slavonic Folk-Songs.'
A cappella —
A great variety of old English Madrigals and Carols,
Welsh Fighting-Songs, Russian Anthems and Folk-
Songs, Finnish Student-Songs, French Folk-Songs
and Madrigals of the Renaissance, Catalonian Folk-
Songs and Christmas Songs, Negro Songs, etc. ;
also Strauss' 'Der Abend' (16-part) ; Bantock's
Choral Ode from 'Atalanta in Calydon' (20-part) ;
Bourgeault-Ducoudray's 'Ronde Bretonne'; etc.
i SCHOLES, PERCY A. (1877, Leeds, Eng-
land), has given himself almost wholly
to educational interests. In 1900-01 and
'03 he was music-master at Kent College in
Canterbury, in 1901-03 at Kingswood College
in South Africa and from 1904 for a time
teacher in the Leeds Municipal School of
Music, and inspector for the Board of Edu-
cation in London. He has long served as
extension-lecturer for Oxford, London and
Manchester Universities. He founded the
Home Music-Study Union and since 1908 has
been the energetic editor of its organ, 'The
Music-Student,' which has included many
articles of general importance, and also
'Youth and Music,' for children. He has
published Everyman and his Music, 1917,
An Introduction to British Music, 1918, and
A Listener's Guide to Music, 1919, and has a
work on Purcell that is almost ready. He
has also written extensively for periodicals.
Besides holding a degree from Oxford, he is
an associate of the R. C. M., on innumerable
committees connected with musical enter-
prises, and president of the Union that regards
music in the large 'public schools' like Eton,
Harrow and the like. During the Great War
he was extremely active as lecturer under the
War Office and Y. M. C. A. and as organizer
of musical activities in camps both in England
and on the Continent. In 1915 he visited
America at the invitation of the M. T. N. A.
and inspected manifold musical enterprises,
besides lecturing at many colleges.
SCHOMACKER [Schumacher], JOHANN
HEINRICH (1800-1875). See Register, 3.
'SCHOOL MUSIC MONTHLY, THE.'
See note in Vol. iii. 689. It is now known as
'School Music' It has made its place not
only by supplying general news and other
material regarding public-school music, but
by its faithful reports of the music-section of
the National Education Association, the
Supervisors' National Conference, the M. T.
N. A., and other bodies dealing with this
branch of musical education. There are now
but five issues per year.
SCHOOL-MUSIC. See Public Schools.
SCHRADIECK, HENRY (Apr. 29, 1846,
Hamburg, Germany : Mar. 25, 1918,
Brooklyn). See article in Vol. iv. 274. He
was head of the violin-department of the
College of Music in Cincinnati in 1883-89.
In 1894-98 he held a similar position in the
National Conservatory in New York, going
thence to the Broad Street Conservatory in
Philadelphia. After 1912 he was also con-
nected with the American Institute of Applied
Music in New York. [ R.7 ]
SCHREINER, FRANCIS C. See Col-
leges, 1 (Seton Hall C, N. J.).
SCHROEDER, ALWIN (June 15, 1855,
Neuhaldensleben, Germany), was early a
piano-pupil of his father and J. B. Andr6, but
later studied violin with De Ahna in Berlin
and theory with Tappert. With his three
brothers the Schroeder Quartet was formed
in 1871-72, he taking the viola. Self-taught
on the 'cello, he became first 'cellist in Liebig's
Orchestra in 1875, and five years later joined
the Gewandhaus Orchestra in Leipzig. Here
he taught in the Conservatory and played
in the Petri Quartet. In 1891 he came to
Boston, becoming solo 'cellist in the Boston
Symphony Orchestra and a member of the
Kneisel Quartet. With the rest of the
Quartet he resigned from the Orchestra in
1903 and removed to New York. He con-
tinued with the Quartet until the spring of
1907, when he returned to Germany. In
Frankfort-am-Main he was for one year solo
356
SCHUBERTH
SCHWEITZER
'cellist of the Museum Orchestra and teacher
in the Hoch Conservatory, but in 1908 he
returned to Boston and joined the Hess-
Schroeder Quartet. After two years this
organization was disbanded, and he resumed
(till 1912) his former place in the Symphony
Orchestra. In 1915 he joined the Margulies
Trio (New York) and the Boston String
Quartet. As both soloist and ensemble-player
he is held in the highest estimation. He
has published Eludes de Violoncelle, Technische
Studien, and Ne^le Tonleiter-Studien, and has
edited Kammermusikstudien, 3 vols., and
Klassiches Album, 2 vols. [ R.8 ]
SCHUBERTH, JULIUS FERDINAND
GEORG (1804-1875). See Register, 4.
SCHUBERTH, J., & CO. See article in
Vol. iv. 335.
SCHUECKER, EDMUND (1860-1911).
See Register, 8.
SCHUECKER, HEINRICH (1867-1913).
Bee Register, 7.
SCHUECKER, JOSEPH E. (b. 1886).
See Register, 9.
SCHULTZE, WILHELM HEINRICH
(1828-1888). See Register, 4.
SCHULZ, LEO (Mar. 28, 1865, Posen,
Germany), played in public on the 'cello when
only five. He studied at the Berlin Hoch-
Bchule and made his mature debut in 1876.
In 1885 he became principal 'cellist in the
Philharmonic Orchestra, and in 1886-89 held
the same position at^the Gewandhaus in Leipzig.
Coming then to America, he was for one year
in the Boston Symphony Orchestra, but in
1890 began his long connection with the New
York Philharmonic Society, unbroken save
for the years 1906-08, when he played with
the Symphony Society. For many years he
taught at the National Conservatory and
conducted its orchestra, and in 1904-15 he
was a member of the Margulies Trio. For
thirty years he has been much in request as
soloist. He has written three string-quartets,
a string-quintet, a piano-trio, a 'cello-concerto
and other 'cello-pieces, a cantata and some
songs. He has also edited several collections
for his instrument. [ R.7 ]
SCHUMANN-HEINK, ERNESTINE, n6e
Rossler (June 15, 1861, Lieben, near Prague,
Bohemia). See article in Vol. iv. 383-4. Her
father was an army officer. From her Italian
mother she learned many operatic airs as a
child, and at eleven sang in the choir of the
Ursuline convent at Prague. Her first real
lessons were in 1874, from Marietta von
Leclair of Graz, where in 1876 she was alto-
soloist in Beethoven's 9th Symphony with
the Academischer Gesangverein. At Dresden
she studied with Aloysia Krebs-Michalesi
and Franz Wiillner, and made her operatic
d6but in 1878. Her first appearance at Berlin
was at Kroll's in 1887. In 1896-1906 (except
1904) she sang at all the performances of the
'Ring' at Bayreuth as Erda, First Norn or
Waltraute. In 1898 she was engaged at the
Berlin Opera, with leave to sing in the winters
in New York. In America she was first
heard as Ortrud on Nov. 7, 1898, in Chicago,
and on Jan. 9, 1899, at the Metropolitan
in New York. Her signal success led her to
purchase release from her Berlin contract.
In 1903-04 she made her first extended
concert-tour in America, and the next year
was everywhere heard in Edwards' 'Love's
Lottery.' In 1908-09 she sang in opera and
concert in the chief cities of Europe, in 1909
creating the role of Clytemnestra in Strauss'
'Elektra' at Dresden. She retired from the
Metropolitan in 1904, but has occasionally
sung there, at the Manhattan or with the
Chicago Opera Company. Her activity has
been mainly transferred to the concert-stage,
with a hundred or more song-recitals annually
and frequent engagements with leading
orchestras. Her operatic repertoire includes
about 150 roles, from Wagnerian drama to
light opera. She was the wife of Ernst
Heink in 1882-92, of the actor Paul Schumann
in 1893-1904, and of William Rapp, Jr., of
Chicago in 1905-14. In 1905 she became an
American citizen. [ R.8 ]
SCHWAB, CHARLES M. (b. 1862). See
Register, 9.
SCHWARTZ, GEORGE FOSS (b. 1872).
See Register, 8.
X SCHWEITZER, ALBERT (Jan. 4, 1875,
Kaysersberg, Alsace), is distinguished in
theology, medicine and music. His university
studies were at Strassburg, Paris and Berlin.
In 1902 he began teaching at Strassburg,
but turned aside to prepare for work as medi-
cal missionary in Equatorial Africa. There,
nominally under the Mission fivangelique of
France, he was stationed at Lambaren6 on the
Ogowe River. During the war he was interned
as a German subject, but has lately returned
to France. His chief theological books are
Die Religionsphilosophie Immanuel Kants,
1899, and Das Messianitdts- und Leidens-
geheimniss — eine Skizze des Lebens Jesu, 1901
(in English as The Quest of the Historical
Jesus) — a specially significant work.
Throughout his life he has been a musical
student, beginning with organ-lessons in
Miilhausen and Strassburg, and from 1893
with Widor in Paris. From 1896 he was
organist for Bach concerts at Strassburg,
from 1906 was organist for the Bach Society
in Paris, and in 1909 was chairman of the
organ-making conference at the I. M. G.
Congress in Vienna. He has published Jean-
Sebastien Bach, le Musicien-Poete, 1905
(English translation, enlarged, by Ernest
SCIONTI
SEARCH
357
Newman, 2 vols., 1911), which is an extraor-
dinarily valuable work, Deutsche und fran-
zosische Orgelbaukunst und Orgelkunst, 1906,
and, as editor with Widor, of the complete
organ-works of Bach (Schirmer). See article
on 'Schweitzer as Missionary' in 'The Hibbert
Journal,' July, 1914.
SCIONTI, S. See Colleges, 2 (C. of St.
Catharine, Minn.).
SCOTT, CARLYLE (b. 1873). See State
Universities (Minn.).
t SCOTT, CYRIL MEIR (Sept. 27, 1879,
Oxton, England). See article in Vol. iv. 390.
After three years at Frankfort, he located
himself at Liverpool, chiefly occupied with
composition. He has also done much literary
work, and has lectured on occult philosophy.
His larger works are as follows :
Symphony No. 1 (given at Darmstadt, now
destroyed) .
Symphony No 2 (given by Wood), later rewritten
as 'Three Orchestral Dances' (Birmingham,
conducted by composer).
'Heroic' Suite, for orchestra (given by Richter at
Manchester, later withdrawn).
Overture to 'Pell6as et M61isande' (Frankfort).
Overture to 'Princess Maleine,' with chorus
(Vienna), later revised.
'Christmas' Overture, with 'Nativity Hymn' for
chorus (performance at Vienna stopped by the
war).
'Ballad of Fair Helen of Kirkconnel,' for baritone
and orchestra.
Two Passacaglias on Irish Themes, for orchestra
(given by Beecham).
Piano-Concerto (given by Beecham at English
Festival) (Augener).
Aubade for orchestra (Darmstadt, Dresden,
Berlin), later revised.
Rhapsody for orchestra.
Opera, 'The Alchemist.'
'La Belle Dame sans Merci,' for soprano, baritone
and orchestra.
Piano-Quartet, op. 16 (Boosey).
String-Quartets, opp. 28 and 31.
Piano-Quintet, op. 57.
Piano-Sextet, op. 26.
Piano-Trio — early work, now withdrawn.
'Tallahassee' Suite, for violin and piano (Schott).
'Handelian Rhapsody,' for piano (Elkin, edited
by Grainger).
Piano-Sonata, op. 66 (Elkin).
' Pastoral Suite ' for piano (Elkin) .
He has also written a large number of piano-
pieces and songs, illustrating the versatility
of his mind and his peculiar power of imagi-
native expression. He has published seven
volumes of poems and The Philosophy of
Modernism (in connection with music), 1917.
See biography by Hull, 1918, besides many
articles in musical periodicals.
SCOTT, HENRI GUEST (Apr. 8, 1876,
Coatesville, Pa.), studied in Philadelphia and
under Saenger in New York. His first work
as bass was in church, concert and oratorio.
In 1909-10 he appeared at the Manhattan
Opera House, his first performance being as
Ramphis in 'Aida.' The next season he was
at the Teatro Adriano in Rome. In 1912-14
he was a leading artist for the Chicago Opera
Company, and since 1915 has been with the
Metropolitan Opera House in New York.
He is recognized as a basso of exceptional
gift. His favorite roles are Mephisto,
Escamillo, Leporello, Basilio, the King (in
'Lohengrin' and 'Tristan'), Plunkett, Dr.
Miracle and Lothario. He is also noted as
an oarsman. [ R.9 ]
SCOTTI, ANTONIO (Jan. 25, 1866, Na-
ples, Italy). See article in Vol. v. 666.
His first American appearance was as Don
Giovanni on Dec. 27, 1899, at the Metro-
politan Opera House in New York. He has
remained there ever since, but has also sung
often at Covent Garden in London. In 1919-
20 he toured extensively with his own com-
pany. To the list of roles add Belcore, Fal-
staff, Germont, Ashton, Marcel, Escamillo,
Comte de Nevers and Valentin. [ R.8 ]
tSCRIABIN, ALEXANDER NIKOLAI-
EVITCH (Jan. 10, 1872, Moscow, Russia
: Apr. 14, 1915, Moscow). See article in
Vol. iv. 402-3. He began extemporizing on
the piano at five, and early showed a remark-
able musical memory. After leaving Moscow
he Hved for a time in Switzerland and two years
in Brussels. He visited America in 1907, and
first went to London in 1914. His works
since 1903 are as follows :
Sonatas: No. 4, op. 30, in F-sharp ; No. 5, op.
53 ; No. 6, op. 62 ; No. 7, op. 64 ; No. 8, op. 66 ;
No. 9, op. 68; No. 10, op. 70.
Preludes: opp. 31, 33, 35, 37, 39, 48, 67, 74.
'Poems': opp. 32, 34 ('Tragique'), 36 ('Satan-
ique'), 41, 44, 54 ('de ,rExta3e'), 61 ('Noc-
turne'), 63 ('Masque,' 'Etranget6'), 69, 71, 72
('Vers la Flamme').
Waltzes : opp. 38, 47.
Mazurkas : op. 40.
fetudes : opp. 42, 65, and also in Pieces.
Symphony No. 3, 'The Divine Poem,' in C, op. 43.
'Prom6th6e' ('Poeme de feu'), op. 60, first given,
with color-keyboard, by Altschuler and the
Russian Symphony Orchestra, Mar. 20, 1915,
New York) .
Pieces, etc. ; opp. 45, 46, 49, 51, 52, 56, 57, 58, 59, 73.
See biography by Hull, 1916, and r6sum6
and bibliography in Baker, Diet, of Musicians,
p. 881.
SEALY, FRANK LINWOOD (b. 1858).
See Register, 7.
SEARCH, FREDERICK PRESTON (July
22, 1889, Pueblo, Colo.), from 1901 was trained
as a 'cellist in Jena, by Joseph Adamowski in
Boston, Mattioli and Rugovoy in Cincinnati
and Klengel in Leipzig, also taking theory
with Schreck and Reger and orchestration
with Hofmann and Sitt. In 1910-12 he was
in the Gewandhaus Orchestra under Nikisch.
In 1908-11 he was Leipzig correspondent for
'Music News' in Chicago. In 1912-15 he
358
SEASHORE
SEIDL
gave concerts in America, appearing in New
York in 1914. For a time he conducted
summer-plays in California. In 1915-16 he
led the 'cellos in the American Symphony
Orchestra in Chicago, and in 1916-17 was in
the orchestra of the Chicago Opera Company.
In 1915-16 he was assistant-editor of 'The
Violinist,' and in 1917 conducted at the per-
formance of 'The Crisis.' Early in 1918 he
enlisted as musician in the Navy and was
appointed band-master. His works include
four string-quartets, a string-sextet, two so-
natas for 'cello and piano, a Festival Over-
ture (1915, San Francisco Exposition, under
Bendix), a 'Romantic Symphony' in D, and
several shorter works, including 20 songs,
besides incidental music for Heron's 'Monte-
zuma,' Rice's 'Yolanda of Cyprus' and
Hilliard and Heron's 'Tusitala,' and an
'Aztec Dance,' for string-quartet or orchestra.
[ R.IO ]
SEASHORE, CARL EMIL (Jan. 28, 1866,
Morlunda, Sweden), brought up in America,
graduated at Gustavus Adolphus College in
1891 and took a Ph.D. at Yale in 1895, where
he continued as teacher of psychology and
philosophy till 1902. Since 1902 he has been
at the State University of Iowa, becoming
dean of the Graduate College in 1908. Early
trained in music, he has given increasing at-
tention to problems of musical psychology,
conducting extensive experiments of various
kinds, especially for ascertaining degrees of
musical talent. He classifies the latter under
these heads : Sensitivity, Action, Memory
and Imagination, Intellect and Feeling. For
each of these both quantitative and quali-
tative tests have been devised, leading to the
making for a given case of a 'talent-chart.'
Special apparatus employed includes in-
ventions like the audiometer, the tonoscope,
the spark-chronoscope, a serial-action ap-
paratus and a chronograph. Some tests
have been made into phonograph-form for
school-use. The purpose throughout has
been not only scientific, but also to give help
in choosing a musical vocation and in over-
coming technical difficulties. He has pub-
lished The Psychology of Musical Talent, 1917,
and a long series of articles in various peri-
odicals, like 'The Musical Quarterly,' 'The
Etude,' and the Proceedings of the M. T. N. A.,
1913, '15, and as monographs in the University
of Iowa Studies in Psychology. [ R.8 ]
SEATTLE SYMPHONY ORCHESTRA,
THE, was founded in 1907. Its conductor
till 1909 was Michael Kegrize, followed by
Henry K. Hadley in 1909-11. In 1911 its
place was taken by the new Philharmonic
Orchestra, led by John Spargur, which in 1919
secured a guaranty for three years that will
enable it to resume concerts of the first order.
SEEBOECK, WILLIAM CHARLES
ERNEST (Aug. 21, 1859, Vienna, Austria
: 1907, Chicago), after early instruction
from his mother, a pupil of Marchesi, began
piano-study at ten with Graedener, going
on later with Epstein and Grill, and taking
theory with Nottebohm. Meanwhile he had
collegiate education at the Theresianum. In
1875 he studied with Brahms, and in 1877-79
was in Petrograd, with Rubinstein for adviser.
In 1881 he settled in Chicago as pianist,
teacher and composer. For a time he taught
harmony at the Chicago Musical College and
was organist at the Jefferson Park Presby-
terian Church. His published compositions
are mostly songs and piano-pieces, but he left
also two operas, 'The Gladiators' and 'The
Missing Link,' a piano-quintet, two concertos
and two sonatas for piano, variations for two
pianos, 27 concert-etudea for piano, and over
200 songs. [ R.7 ]
SEEGER, CHARLES LOUIS, Jb. (Dec.
14, 1886, Mexico City), graduated from
Harvard in 1908, having specialized in music.
In 1910-11 he volunteered as conductor at
the Cologne Opera. Since 1912 he has been
professor of music at the University of Cali-
fornia. Recently he has made special studies
in musicology and musicological methods.
He has composed two masques for orchestra.
'Dedra' (1914) and 'The Queen's Masque'
(1915), and an overture for full orchestra
after Yeats' 'Shadowy Waters.' He has also
composed chamber-music, a violin-sonata
and about 25 songs (some Schirmer). With
E. G. Stricklen he has published Outline of
a Course in Harmonic Structure and Musical
Invention, 1913, and Harmonic Structure and
Elementary Composition, 1916. [ R.IO ]
SEGUIN, ARTHUR EDWARD SHEL-
DON (1809-1852) and ANN, nee Childe
(1814-1888). See Vol. iv. 408, and Register, 3.
SEIDL, ANTON (May 7, 1850, Pest,
Hungary : Mar. 28, 1898, New York).
See article in Vol. iv. 408. He was brought
to America, after the death of Leopold Dam-
rosch, to conduct German opera at the Metro-
politan Opera House, and made his debut with
'Lohengrin' on Nov. 23, 1885. During his
career at the Metropolitan he conducted the
first performance in America of ' Die Meister-
singer' (Jan. 4, 1886), 'Tristan und Isolde'
(Dec. 1, 1886), 'Siegfried' (Nov. 9, 1887),
'Die Gotterdammerung' (Jan. 25, 1888),
'Das Rheingold' (Jan. 4, 1889), and the 'Ring,'
complete (Mar. 4-11, 1889). Except in 1892-
95, when German opera was temporarily
eclipsed, he conducted at the Metropolitan
tUl his death. In 1891, also, he succeeded
Thomas as conductor of the New York Phil-
harmonic Society, a position also retained to
the end. He introduced many works by
SEILER
SEWALL
359
modern composers, and conducted the pre-
miere of Dvorak's 'New World' Symphony in
1893. See Krehbiel, Anton Seidl, 1898, and An-
ton Seidl, Memorial by His Friends, 1899. [R.7 ]
SEILER, EMMA (1821- ? ). See Regis-
ter, 5.
SEIPLE, STANLEY J. See Colleges, 3
(ThielC.Pa.).
SELBY, WILLL4M (1738, England :
1798, Boston), came to Boston about 1771.
He had been an organist in England since
1767 and was also an excellent harpsichordist.
In 1774 he became organist at Trinity Church
in Newport, R. I., but by Easter, 1777, was
established at King's Chapel in Boston,
where he apparently remained till his death.
Besides conducting a shop for the sale of
groceries and liquor, he was much in evidence
as player, teacher and concert-manager, from
about 1782 also as composer. At some of
his concerts extracts from Handel's oratorios
were sung by the Musical Society, of which
he was promoter, if not conductor. His
programs show remarkable knowledge and
enterprise. His own works included songs,
anthems and instrumental pieces, among them
Voluntaries or Fugues for organ or harpsi-
chord, a Concerto for organ or harpsichord
'with instrumental parts,' a Sonata for two
violins and 'cellos, etc. See Sonneck, Concert-
Life in America, with his remark that 'Boston's
musical history during the last thirty years of
the 18th century may be said to have centered
in the personality of this interesting and am-
bitious musician.' [ R.l ]
SEMBRICH, MARCELLA (Feb. 15, 1858,
Wisniewczyk, Galicia). See article in Vol.
iv. 409-10. Her first American appearance
was as Lucia at the Metropolitan Opera House
on Oct. 24, 1883. At Abbey's benefit at the
end of the season she played a violin-concerto
of De B6riot, with a Chopin nocturne and then
an aria from 'La Sonnambula' for encores,
besides taking the violin-obbligato in the
Bach-Gounod 'Ave Maria,' sung by Nilsson.
In 1897 she came again for a concert- tour,
and sang at the Metropolitan for the next
two seasons and, after another season of
concerts, from 1901 till her retirement in 1909.
At her farewell (Feb. 6, 1909) she appeared
in three of her famous roles, Norina in 'Don
Pasquale,' Rosina in the 'Barbiere' and
Susanna in 'Figaro's Hochzeit' — the last
in German, Mahler conducting. Among the
many tributes were a string of pearls bought
by popular subscription and presented by
Mayor Low, and a punch-bowl from the
directors (who made her the first honorary
member of the Opera House Company), and
there was a ball at the Savoy and a dinner
from the musicians of the city. A day or
two later she left for London and a concert-
trip in Russia, returning from which in 1910
she bade farewell to the stage in Berlin, Frank-
fort and other German cities. In 1910-11
she was still active in concert and song-recitals
on both sides of the ocean, settling in Lausanne
and Nice. When the war broke out she was
in Switzerland. In October, 1914, she re-
sumed song-recitals in New York, but her work
as head of the American Polish Relief so
exhausted her that at the opening of 1917
she permanently retired. She had just begun
a series of historical recitals that had been
planned to be her closing public act. Her
husband died in May, 1917. She makes her
home at present in New York. Of her emi-
nence as a song-singer Henderson has said :
'The depth of expression attained by her in
her wonderful song-recitals is due to a com-
bination of perfect tone with musical in-
telligence. Bigger tone, more brilliancy of
style, are demanded in opera, but in the
interpretation of the song complete revelation
of the poetic and musical content of the work
is the absolute requirement. This Mme.
Sembrich has been able to supply.' [ R.7 ]
SEMMANN, LIBORIUS (b. 1873). See
Register, 8.
SENKRAH [Arma Leoretta Hoffmann,
n6e Harkness] (1864r-1900). See Register, 7.
SEVERN, EDMUND (Dec. 10, 1862, Not-
tingham, England), had his training as vio-
linist in America, studying with his father,
Franz Milcke and Bernhard Listemann, and
taking singing with George Sweet, piano with
T. Oelschleger and composition with Chad-
wick. In 1888-90 he was in Berlin under
Wirth for violin and Ph. Scharwenka for
composition. He began teaching at Hart-
ford, Conn., and Springfield, Mass., and for
some years led chamber-groups and conducted
choral societies. He moved to New York in
1897, where in 1907-14 he gave lectures for
the Board of Education, but has lately con-
fined himself to teaching and composition.
His published works include a concerto, four
suites and about 25 pieces for violin and piano,
a suite for two violins and piano, the concert-
waltz ' La Brunette ' and a ' Gavotte Moderne '
for orchestra, about 20 songs, pieces for 'cello
and for piano, 36 teaching-pieces for violin
and The Griln Modern Method for Violin.
He has also two string-quartets, a violin-sonata,
a piano-trio, an 'Oriental' Suite for violin
and piano, the cantata ' Jephtha's Daughter,'
and, for orchestra, a Festival Overture, a
Polonaise in D, the symphonic poems 'Lance-
lot and Elaine' and 'Life, Death, Reunion'
and a fantasy on 'The Tempest.' Most of
these last have been publicly performed.
[R.8 1
SEWALL, MAUD GILCHRIST (b. 1872).
See Register, 8.
3G0
SEWARD
SHATTUCK
SEWARD, THEODORE FRELING-
HUYSEN (1835-1902). See Register, 5.
SEYDEL, IRMA (Sept. 27, 1S9G, Boston),
the daughter of a violinist in the Boston
Symphony Orchestra, was trained by him,
Strube, Loeffler and Maquarre in Boston.
When but nine she twice appeared with a
group of players from the Orchestra, and at
thirteen played as solo-violinist with the
Giirzenich Orchestra in Cologne, once under
Steinbach. Between 1912 and 1918 she ap-
peared seven times with the Boston Sym-
phony Orchestra, and also had engagements
with many other leading symphony orches-
tras and in various German cities. [ R.IO ]
SEYMOUR, LEWIS and THADDEUS.
See Tune-Books, 1804.
tSGAMBATI, GIOVANNI (May 18, 1843,
Rome, Italy : Dec. 14, 1914, Rome). See
article in Vol. iv. 431-3. For a bibUography,
see Baker, Diet, of Musicians, p. 869.
SHACKLEY, FREDERICK NEWELL
(b. 1868). See Register, 7.
'SHANEWIS.' An opera by Charles W.
Cadman, produced at the Metropolitan Opera
House on Mar. 23, 1918. The text is by Mrs.
Nellie R. Eberhard.
SHAPLEIGH, BERTRAM (Jan. 15, 1871,
Boston), early took up piano and 'cello
along with other studies, and had lessons in
composition from Whiting, Chadwick and
MacDowell. At first he wag engaged upon
literature, but also took a medical degree and
lectured on art-topics. His interest in the
music of the Orient led to his concentrating
upon musical work. In 1898 he built a
house in Kent, England, and cultivated a
considerable estate. In 1915, however, the
house was burnt, including his large library
and valuable scores, etc., and he returned to
America. His published works include the
orchestral suite 'Rdmdyana,' op. 45, based
upon five episodes in the Hindu epic (over
60 performances in the first two years) ; the
orchestral suite 'Gur Amir,' op. 51, being
four visions from the tomb of Tamerlane ;
the tone-poem ' Mirage,' op. 57, for chorus
and orchestra ; a setting of Foe's 'The Raven,'
op. 50, for chorus and orchestra (1908, Middles-
brough Festival) ; ' The Dance of the Der-
vishes,' op. 53 (Wolverhampton Festival) ;
the 8-part choral works 'The Fir-Tree and
the Brook' (a cappella), op. 54, 'The Tale of
the Dismal Swamp,' op. 55, and ' Vedic Hymn,'
op. 56 (all London Choral Society) ; the cycle
for solo and small chorus, 'Romance of the
Year,' op. 53 ; more than 100 songs, many of
which are on Oriental themes ; and many
pieces for violin or 'cello and piano, or for
piano alone. Unpublished are two sym-
phonies, in B minor and A, opp. 62, 68; a
Symphonic Prelude, op. 61; three 'Con-
solations,' op. 64, for orchestra; a 'Poem,'
op. 65, for 'cello and orchestra; a string-
quartet in G, op. 70 ; a piano-trio in E minor,
op. 70 ; a Grand Mass in D, and various
other settings for the Catholic service; a
cantata based on the Song of Solomon ;
and five one-act operas and two grand operas.
His wife, nee Mabelle Carpenter, has supplied
texts for many of his works. For some years
he was musical adviser for Breitkopf & Hiirtel,
and also edited 'The Concert-Program Ex-
change.' He has published two volumes of
poetry and many articles on art-topics. [ R.8 ]
SHARLAND, JOHN B. (1837-1909). See
Register, 4.
t SHARP, CECIL JAMES (Nov. 22, 1859,
London, England), after graduating from
Cambridge in 1882, spent nine years in Ade-
laide, till 1889 as associate to the Chief Justice
of South Australia, then as conductor of the
Philharmonic Society and organist at the
Cathedral. Since returning to England in
1892 he has been mainly occupied with music.
In 1896-1905 he was principal of the Hamp-
stead Conservatory in London, and since
1911 has been director of the English Folk-
Dance Society and The Stratford-on-Avon
School of Folk-Song and Dance. He has
devoted himself to collecting and investigating
folk-music, and in the pursuit of the subject
has visited America. His English Folk-Songs
from the Southern Appalachians (collected
in part by Olive Dame Campbell), 1917,
contains nearly 500 songs, ballads and tunes
from this region. He is also author of English
Folk-Song — Some Conclusions, 1907, Folk-
Dancing in Schools, 1913, and Folk-Singing
in Schools, 1914. He has edited a Book of
British Song, 1902, Folk-Songs from Somerset
(with C. L. Marson), 5 series, 1904-09, English
Folk-Songs for Schools (with S. Baring-Gould,
1906, Country-Dance Tunes (with G. Butter-
worth), 8 parts, 1906-16 (including The
Country-Dance Book, separately in 1906), The
Morris Book (with George Butterworth and
Herbert Macllwaine), 5 parts, 1907-13 (in-
cluding A History of Morris Dancing, 1907,
rewritten, 1912), English Folk-Carols, 1911,
The Sword-Dances of Northern England, 3
parts, 1911, English Chanteys, 1914, A Mid-
summer-Night's Dream (songs, dances and
incidental music), 1914, 100 English Folk-
Songs, 1916, Folk-Songs, Chanteys and Singing-
Games (with C. H. Farnsworth), A Collection of
Selected Folk-Songs (with R. V. Williams), 1918.
SHATTUCK, ARTHUR (Apr. 19, 1881,
Neenah, Wis.), began piano-study with his
mother and had seven years with Leschetizky
before 1902. In 1901 he appeared as pianist
with the Philharmonic Orchestra at Copen-
hagen. Until 1911 he lived in Paris, but
made many concert-tours throughout Europe
SHAW
SHORT
361
and even to Egypt in the East and to Iceland
in the West. In 1911-12 he toured in America,
appearing in New York with the Symphony
Society. In 1912-15 he was again in Europe.
Since then he has concertized in the United
States, often with leading orchestras. In
March, 1917, he was soloist with the San
Francisco Orchestra under Hertz. [ R.9 ]
SHAW, FRANK HOLCOMB. See Col-
leges, 3 (Cornell C, Iowa).
SHAW, OLIVER (1779-1848). See Tune-
Books, 1808.
SHELDON, E. EDWIN. See Colleges,
3-(Lebanon Valley C, Pa.).
SHELLEY, HARRY ROWE (June 2,
1858, New Haven, Conn.), began organ-
playing at the Center Church in New Haven
when but fourteen, and studied with Stoeckel
at Yale College and later with'^Buck, Vogrich
and Dvordk in New York. In 1878-81 and
1887-99 he was organist at the Church of
the Pilgrims in Brooklyn, and in 1881-87 at
Plymouth Church there. Since 1899 he has
been at the Fifth Avenue Baptist Church in
New York, and also on the teaching-staff
of the Metropolitan College of Music and the
American Institute of Applied Music. He
has written two symphonies (No. 1, in E-flat,
1897, New York) ; a violin-concerto (1891) ; a
'Santa Claus' Overture; the orchestral suite
'Souvenir de Baden-Baden' (published for
piano, 4 hands) ; the cantatas ' The Inher-
itance Divine,' 'Vexilla Regis' (1894, New
York), 'Death and Life' and 'Lochinvar's
Ride' (1915, New York) ; a Fantasia for piano
and orchestra ; many pieces for piano and
for organ ; and numerous songs and anthems,
many of the latter extremely effective. He
has made many organ-transcriptions, and
issued the collections The Modern Organist
and Gems for the Organ. [ R.6 ]
SHEPARD, ANNIE AGNES, n6e Boll
(b. 1859). See Register, 7.
SHEPARD, CLARENCE E. See Col-
LEGES,^3 (Carroll C, Wis.).
SHEPARD, FRANK HARTSON (1863-
1913). See Register, 7.
SHEPARD, THOMAS GRIFFIN (1848-
1905). See Register, 5.
SHEPHERD, ARTHUR (Feb. 19, 1880,
Paris, Ida.), in 1892-94 studied at the New
England Conservatory in Boston with Dennee
and Faelten (piano) and Goetschius and Chad-
wick (composition). From 1897 he taught
in Salt Lake City, led a theater-orchestra
and also the Symphony Orchestra. Since
1908 he has taught harmony and counter-
point at the New England Conservatory.
For three seasons he conducted the Musical
Art Society, and in 1917 became conductor
of the Cecilia Society, succeeding Clifton.
His compositions include an 'Ouverture Joy-
euse,' op. 3 (Paderewski prize, 1902, given
by the New York Symphony Society, 1905) ;
two other overtures, 'The Festival of Youth'
(1915, St. Louis Orchestra) and 'The Nup-
tials of Attila'; an orchestral suite, op. 5;
a Humoreske for piano and orchestra; a
Sonata in F minor, op. 4, for piano (Nat.
Federation of Musical Clubs prize, 1909)
(Boston Music Co.) ; 'Song of the Sea- Wind,'
for women's voices and orchestra; 'The
City of the Sea,' for baritone, chorus and
orchestra, poem by Carman (1913, Chicago)
(Schirmer) ; the motet 'The Lord has brought
again Zion' (Ditson) ; the part-song for
women's voices 'He came all so still'
(Schmidt) ; and some piano-pieces and songs
(Wa-Wan Press). [ R.8 ]
SHERWOOD, WILLIAM HALL (Jan. 31,
1854, Lyons, N. Y. : Jan. 7, 1911, Chicago),
was the son of Rev. L. H. Sherwood, the
founder of the Lyons Musical Academy. He
played frequently in public from his ninth
year. In 1866-71 he taught in his father's
school and secured a general education. After
some lessons from William Mason in 1871
he went to Berlin, where he studied piano with
Kullak and theory with Weitzmann. He
later took composition with Doppler, piano
with Deppe, counterpoint and composition
with Richter, and finally piano with Liszt
at Weimar. He gave successful concerts in
Berlin and Hamburg, and returned to America
in 1876. Concerts in New York, Boston,
Philadelphia (including the Centennial Ex-
hibition, with the Thomas Orchestra), Cincin-
nati and Chicago soon established his repu-
tation as a virtuoso. He settled in Boston
as a member of the New England Conservatory
faculty, and numbered Arthur Whiting and
Clayton Johns among his pupils. After a
few years he forsook Boston for New York,
and from 1889 made his home in Chicago.
For eight years he was head of the piano-
department of the Chicago Conservatory,
but in 1897 withdrew to establish the Sher-
wood Piano School. A brilliant and popular
pianist, he played with all the leading or-
chestras and gave recitals in every part of
the United States and Canada. His services
as a teacher were in great demand. Not
strongly tempted by composition, he is
represented only by a group of piano-pieces,
a 'Scherzo Caprice,' op. 9, two suites, opp.
5 and 14, two sets of 'Gypsy Dances,' opp. 10
and 40, a 'Scherzo Symphonique,' an 'Allegro
Patetico' and 'Medea.' [ R.6 ]
SHIELDS, T. EDGAR. See Colleges,
2 (Moravian C, Pa.).
SHIRLEY, H. A. (b. 1865). See Colleges,
2 (Salem C, N. C).
SHORT, LAURA GRANT. See Colleges,
2 (Rockford C, 111.).
362
SHUMWAY
SKILTON
SHUMWAY, NEHEMIAH. See Tune-
Books, 1793.
i SIBELIUS, JEAN (Dec. 8, 1865, Tavas-
tehus, Finland). See article in Vol. iv. 447-8.
His annual grant of 3000 marks from the
Finnish Government ran from 1897 to 1907.
In 1900 he toured in Scandinavia, Germany,
France and Belgium with the Helsingfors
Philharmonic Orchestra, conducting his own
works. In 1914 he came to America to pro-
duce his symphonic poem 'Daughters of the
Ocean' at the Norfolk Festival, and was then
made Mus.D. by Yale University. To the
list of works add the following :
op. 19 Melodrama, 'The Wood-Nymph.'
25 Suite in E-flat, for orchestra.
35, 50, 57, 60, 61 Songs.
42 Romanze in C, for strings.
58, 67, 68 Piano-Pieces.
48 Choral Ballad, 'Die gefangene Konigin.'
52 Symphony No. 3, in C.
54 Suite for small orchestra, from music to
'Svanehvit.'
55 Symphonic Poem, 'Nachtlicher Ritt und
Sonnenaufgang.'
56 String-Quartet in D minor, 'Voces In-
timse.'
59 Funeral March, 'In Memoriam,' for or-
chestra.
62 Canzonetta for strings, and ' Valse Roman-
tique,' for small orchestra.
63 Symphony No. 4, in A minor.
64 Symphonic Poem, ' Der Barde.'
69 Two Serenades for violin and orchestra.
70 Symphonic Poem, 'Luonnotar,' with so-
prano solo.
71 Pantomime, ' Scaramouche,' in two acts.
72 Symphonic Poem, 'Daughters of the
Ocean' (1914, Norfolk Festival).
Also, the first Finnish opera, 'The Maid in the
Tower' (1896, Helsingfors) ; Symphony No. 5 (1916) ;
'The Old Man,' for baritone and men's chorus;
Overtures in E and A minor; a string-quintet in
G minor; two string-quartets, in A minor and
B-flat ; variations in E-flat minor for string-quartet ;
and a string-trio in A.
SILBER, SIDNEY (b. 1881). See Register,
9.
SILBY, REGINALD MILLS (b. 1884).
See Colleges, 1 (Catholic U., D. C).
SIMPSON, GEORGE ELLIOTT (b. 1876).
SINFONIA FRATERNITY OF AMER-
ICA, THE, was founded in 1898 by Ossian
E. Mills to unite music-students in conserva-
tories in a society of mutual benefit. It now
has twelve chapters in various parts of the
country, including several hundred members.
The president since 1915 is F. Otis Drayton
and the national headquarters is at the New
England Conservatory in Boston.
SINGENBERGER, JOHN B. (b. 1848). See
Register, 6.
SINGER, JACOB. See State Univer-
sities (Neb.).
SINGER, OTTO (July 26, 1833, Sora,
Germany : Jan. 3, 1894, New York), after
general education at the Kreuzschule in
Dresden, in 1851-55 was at the Leipzig
Conservatory with Richter, Moscheles and
Hauptmann. He then taught in Leipzig
for four years, and during this period a sym-
phony and other of his works were played at
the Gewandhaus. Next he went to Weimar
(studying with Liszt), to Dresden, and in
1867 to New York. Here he taught in the
Mason and Thomas Conservatory until its
dissolution in 1873. At one of the Thomas
concerts in 1869 he played his piano-concerto.
In 1873 he went to Cincinnati as assistant-
director to Thomas and continued there till
1893, teaching piano and theory from 1880
in the College of Music. For the Festival of
1876 he wrote the cantata ' The Landing of the
Pilgrim Fathers,' and for the'opening of Music
Hall in 1878 the 'Festival Ode.' A successful
chorus-leader, he trained the Festival chorus
for some years, and directed several festivals
of the North American Siangerbund. His
'Symphonic Fantasia' was performed by the
Boston Symphony Orchestra under Gericke.
Other works were an Andante and Variations
for two pianos, a piano-sonata, a violin-sonata
and piano-pieces. [ R.5 ]
'SINGING-SCHOOLS.' Popular classes
for teaching the rudiments of music and
practicing hymn-tunes arose in New England
before 1750 in consequence of the movement
to introduce singing by note in the churches.
They soon became common, not simply for
the sake of the musical instruction, but as
a form of social gathering. During the last
half of the century they were much promoted
by itinerant singing-masters who gradually
produced a long list of tune-books for them
(see Tune-Books). This general movement
continued far into the 19th century and spread
to the South and the West. In many cases
it led to the holding of musical 'conventions,'
and to a small degree influenced the establish-
ment of music in the public schools and even
of permanent music-schools. See Ritter,
Music in America, chaps, ii-iv., Elson, Hist,
of American Music, chaps, i-ii., Gould, Church
Music in America, etc. The Musical Society
of Stoughton, Mass., founded in 1786 and
still existing, grew out of a local 'singing-
school,' conducted from 1774 by Billings.
SINGLETON, ESTHER. See Register, 8.
SINSHEIMER, BERNARD (b. 1870).
See Register, 7.
SITES, JOHN R. See Colleges, 3 (Wil-
lamette U., Ore.).
SKILTON, CHARLES SANFORD (Aug.
16, 1868, Northampton, Mass.), was educated
at the Northampton High School and Yale,
graduating in 1889. In that year he wrote
music for the choral odes of 'Electra' for
performance in Greek at Smith College.
SKINNER
SMITH
363
After teaching languages in Newburgh, N. Y.,
in 1891 he went to Berlin for study with
Bargiel, Boise and Heintz. In 1893-96 he
was music-master at Salem Academy in North
Carolina. He then studied further in New
York with Buck and Shelley. In 1897 his
violin-sonata in G minor was given a prize
by the M. T. N. A. and performed by Dora
Becker. In 1897-1903 he taught piano and
theory at the State Normal School in Trenton,
N. J., and then went to the University of
Kansas at Lawrence, where he has been
professor ever since. For twelve years he
was also dean of Fine Arts, and he has been
active as organizer and conductor. He is
a fellow of the A. G. O. and has been dean of
the Kansas Chapter, and is prominent in several
teachers' associations, besides giving lectures
and recitals. The fact that Haskell Institute,
a government school for Indians, is near
Lawrence led to his studying and collecting
Indian music. In 1916 his 'Two Indian
Dances,' originally written for a student-
opera, were arranged for string-quartet and
widely introduced by the Zoellner Quartet.
As scored for orchestra they were also taken
up by various orchestras, including the
Queen's Hall Orchestra of London. In an
organ-fantasy and sonata (1916) he has made
some use of the whole-tone scale, and in his
cantata 'The Witch's Daughter' (1917) he
has given a serious musical treatment of the
Salem Witchcraft, employing various modern
devices. Besides the works named above
he has a 'cello-sonata (1893), the cantata
'The Ballad of Carmilhan,' a Theme and
Variations in E minor, for piano (1904),
a Melody in B-flat, for organ (1913), besides
other organ-pieces, 'Three Indian Scenes,'
for string-quartet (1918), and 'Three Indian
Sketches,' for piano (1919, Carl Fischer).
He has also written a number of songs and
choruses. His 'Witch's Daughter' was given
in 1919 by the Pageant Choral Society and
the Symphony Orchestra of St. Louis. [ 11.8 ]
SKINNER, ERNEST M., & COMPANY,
of Boston, was organized in 1901 to employ
the skill and genius of Ernest M. Skinner
in organ-making. Under this or similar
names it has continued to produce a highly
significant series of instruments, many of
the largest size, for important churches and
institutions throughout the country, making
a fine reputation for original and distinctive
voicing, as well as for first-class construction.
They have recently put forth an 'Orchestrator'
which is adapted to the use of music-rolls
with special success.
SKINNER. THOMAS. See Tune-Bookb,
1800.
SKINNER, T. STANLEY, See Col-
leges, 3 (Drury C, Mo.).
SKOVGAARD, AXEL (b. 1875). See
Register, 9.
SLAVE-SONGS. See Negro Music.
SLEEPER, HENRY DIKE (Oct. 9, 1865,
Patten, Me.), had his general education at
the Worcester Academy and Harvard College,
and graduated from the Hartford Theological
Seminary in 1891, with some post-graduate
study. He took harmony and composition
with B. D. Allen and Paine, organ with Ham-
mond and Eddy, and singing with E. N.
Anderson, F. W. Root and George Thorpe
(London). After teaching at Beloit College
in 1892-94, at Georgetown College in Ken-
tucky in 1894-95, and at the University of
Wisconsin in 1895-98, he went to Smith
College in Massachusetts, where in 1904 he
became head of the music-department, which
under his hand has attained large proportions.
He has also been church-organist in Worcester,
Mass., Madison, Wis., and Hartford, Conn.,
and is a fellow of the A. G. 0. He has always
been eSicient in promoting church-music,
speaking and writing much on its behalf.
In advancing the cause of academic credit
for music-study he has also been increasingly
active. He has written an orchestral Lar-
ghetto (given in popular concerts of the Boston
Symphony Orchestra), an organ-suite in F
minor, a choral 'Carmen Sseculare' (1904,
Smith College), part-songs and songs, and has
edited (in part) The Common Order Choir-
Book, 1903, and the College Edition of Hymns
of Worship and Service, 1909. While in college
he edited Songs of Harvard, 1886, which was
the first distinctively Harvard collection.
[R.8]
'SLEEPY HOLLOW.' A three-act opera
by Max Maretzek, produced in 1879 at the
Academy of Music in New York.
SMITH, DAVID STANLEY (July 6, 1877,
Toledo, O.), had academic training at the
Toledo High School and Yale University,
where he graduated in 1900, having had courses
in composition with Parker. His first work
in large form was an Overture in E-flat, op.
1, which was played at a students' concert
in 1898. On graduating, his 'Ode for Com-
mencement-Day,' op. 4, was given with
baritone, men's chorus and orchestra. After
a year at Yale as a post-graduate, he spent
a year or more in London, Munich and Paris.
In 1903 he received a Mus.B. from Yale,
submitting as thesis a Prelude, Choral and
Fugue for organ and orchestra, op. 10. In
1903 he began as instructor in the Yale School
of Music, becoming assistant-professor in
1909, full professor in 1916, and in 1920
succeeding Parker as head of the School.
In 1912 he had taken Parker's place as teacher
and conductor of both the Symphony Or-
chestra and the Oratorio Society. In 1914
364
SMITH
SMITH COLLEGE
he gave lectures on music-history at the
summer-session of the University of Cali-
fornia. For many years he was also organist
in New Haven churches, retiring in 191G,
and since 1918 he has led the Choral Art Club.
He is a fellow of the A. G. O., a member of the
National Institute of Arts and Letters, and in
1918 Northwestern University made him
Mus.D. The list of his more important com-
positions is as follows :
'Ouverture Joyeuse,' op. 11 (1904, Boston and
New Haven).
Trio in G, op. 16 (Adamowski Trio, Boston and
New Haven, and 1914, Berkeley, Cal.).
'Allegro Giocoso,' op. 17 (New Haven).
Quartet No. 1, in E minor, op. 19 (1912, Kneisel
Quartet, Boston and elsewhere) (parts, Schirmer).
Symphonic Ballad, op. 24, for orchestra (St.
Louis Orchestra and New Haven).
'The Fallen Star,' op. 26, for chorus and orchestra
(Paderewski prize, 1909).
Symphony No. 1, in F minor, op. 28 (1912, Chicago
Orchestra) .
'The Djinns,' op. 30, for baritone, chorus and
orchestra.
Overture, 'Prince Hal,' op. 31 (1912, New Haven,
1914, New York Symphony Society, and else-
where) .
An American opera in two acts, op. 36, text by Lee
Wilson Dodd.
Quartet No. 2, in A, op. 37 (1915, Kneisel Quartet,
1918, Flonzaley Quartet), lately revised as op.
376.
'Rhapsody of St. Bernard' f Jesu, dulcis memoria'],
op. 38, for soli, chorus, semichorus and orchestra
(1918, Chicago North Shore Festival).
'Impressions,' op. 40, four pieces for orchestra.
Symphony No. 2, in D, op. 42 (1918, Norfolk
Festival, and New York Philharmonic Society).
Other works are several groups of songs, such as
opp. 15, 18 and 39; many anthems and part-
songs, such as ' Pan,' op. 32, with oboe obbligato ;
a 'Tragic Prelude,' op. 41, for violin and piano;
a Fantasy for piano and orchestra, op. 43; and
a 'Sonata Pastorale,' op. 44, for oboe and piano.
[ R.9 ]
SMITH, DE LOSS. See State Univer-
sities (Mont.).
SMITH, DEXTER (1839-1909). See
Register, 5.
SMITH, ELLA MAY, nee Dunning (b.
1860). See Register, 7.
SMITH, GERRIT (Dec. 11, 1859, Hagcrs-
town, Md. : July 21, 1912, Darien, Conn.),
studied at Hobart College, where he was for
two years organist, going thence to Stuttgart
to pursue music and architecture. From
1877 he studied organ with S. P. Warren and
Eugene Thayer in New York, and piano with
Sherwood, and, after a short term as organist
in Buffalo, in 1880 was in Berlin under Haupt
and Rohde. From 1885 till his death he was
organist of the South (Reformed Dutch)
Church in New York, where his choir and
organ-recitals became noted. He also taught
theory at the Master School in Brooklyn
and for many years was music-director at
Union Theological Seminary. He was a
founder of both the Manuscript Society and
the A. G. O., first president of the one and
first warden of the other, and active in music-
teachers' associations.. His chief work was
the cantata 'King David,' but he also wrote
various anthems, songs, piano-pieces, etc.,
and edited 25 Song-Vignettes for children.
[ R.6 ]
SMITH, IVY MAY. See Colleges, 3
(Atlantic Christian C, N. C).
SMITH, LEO (b. 1881). See Register, 10.
SMITH, THOMAS MAX (b. 1874). See
Register, 9.
SMITH, WILLIAM. See Tune-Books,
1798 and 1809.
SMITH, WILSON GEORGE (Aug. 19,
1855, Elyria, O.), from 1876 studied with
Singer in Cincinnati and from 1880 with
Moszkowski, Raif, the Scharwenkas, Kullak
and Kiel in Berlin. Since 1882 he has been
teacher and composer in Cleveland, from
1902 acting also as critic for the 'Press.'
His compositions extend to op. 115, including
some hundreds of pieces. He has been
specially successful with technical works like
'Five-Minute Studies,' op. 53, 'Chromatic
Studies,' op. 69, 'Thematic Octave-Studies,'
op. 68, 'Transposition-Studies,' op. 70 (all
Church), and 'Eight-Measure Studies,' 'Scale-
Studies,' 'Preparatory Studies' (all Presser).
Many of his songs have place in concert-
programs, and he has been active in arranging
and editing. Recent piano-works are ' Autumn
Sketches,' op. 103, 'At the Bal Masque'
(Fox), and 'Pictures of Child-Life' (Schirmer).
[ R.7 ]
SMITH COLLEGE, Northampton, Mass.,
though not belonging to the older group of
women's colleges, has for some years been the
largest of them. For that reason, and because
emphasis upon music as an essential in general
education was given from its foundation in
1875, it may be taken as an advanced type of
its class. The development of its musical
department has been almost wholly under the
lead of two instructors, Benjamin C. Blodgett
(1878-1903) and Henry Dike Sleeper (instruc-
tor from 1898, professor since 1904). The
faculty numbers about 25. About 450
students take music-courses, those in praxis
including piano, voice, organ, violin, harp,
'cello and one or two wind-instruments, while
those in theory include all grades of com-
position, a variety of courses in appreciation
and analysis, and extensive work in music-
history. The students in theory-courses
largely predominate. Since the College offers
so large a public within itself, demonstrative
music in the form of recitals and concerts
has been developed to an extraordinary
degree, including many symphonic and
chamber-concerts, besides numerous solo reel-
O. G. SONNECK
SMYTH
SOUSA
365
tals. Work in music is credited for admission
to the College, and towards graduation, just
as other subjects. In praxis-courses two
lessons per week with five hours of practice
is counted for two hours' credit. In choosing
her subjects of study a student may make
music her 'major' or one of her 'minors.'
Graduate-study in music is also encouraged.
The choir of about 125 and the orchestra of
40 are important forms of ensemble-work.
There is a considerable music-library, both of
books about music and of musical literature,
and the department owns many orchestral
instruments, besides a harpsichord, a cla-\n-
chord, a pianola, \'ictrolas, etc. There are two
buildings devoted to music-instruction. Be-
sides 55 pianos, there are 4 organs, two of them
of large size.
t SMYTH, ETHEL MAY (Apr. 23, 1858,
London, England). See article in Vol. iv.
490-1. The four songs with orchestra were
brought out at Queen's Hall in 1907 and often
repeated in England, Paris and Germany,
as also the chorus 'The Spirits of the Wood.'
'The Wreckers' was given in English in 1909,
at the Afternoon Theater, in 1910 at Covent
Garden, and in 1911 under Beecham. The
two overtures to it are often given. In 1910
she was made Mus.D. by Durham University.
Her latest opera, 'The Boatswain's Mate,'
in two acts, on her own text (from Jacobs'
story), and 'The Wreckers' were to have been
given in Frankfort and Munich respectively
in 1915, but were postponed by the war till
1920. She was a prominent suffrage agitator
in 1911 and was imprisoned for two months
in consequence. 'The March of the Women'
and other suffrage-music date from this time.
During the war she was in radio-work in
France.
SNYDER, WILLIAM B, See Tune-
Books, 1831.
SOCIETY FOR THE PUBLICATION OF
AMERICAN MUSIC, THE, was organized
in New York in 1919 for the issue of meritori-
ous works and their distribution among its
members and others. Its publishing-fund is
derived from annual and life members. The
selection of works is by a committee of eminent
experts. At first attention will be given to
chamber-music. The president is John Alden
Carpenter and the secretary William B.
Tuthill, 185 Madison Avenue.
SOHN, JOSEPH (b. 1867) . See Register, 8.
SONNECK, OSCAR GEORGE THEO-
DORE (Oct. 6, 1873, Jersey City, N. J.), was
educated in Germany at the Frankfort Gym-
nasium and Heidelberg and Munich Uni-
versities (1893-97). He studied music-history
with Sandberger, composition with M. E.
Sachs, conducting at the Sondershausen
Conservatory (1898), piano with Kwast and
instrumentation with Knorr. In 1899 he
was in Italy, then returning to America. In
1902-17 he was in charge of the Music-
Division of the Library of Congress in Wash-
ington, where he transformed what had been
a mere accumulation of copyright-material
into one of the great music-libraries of the
world, extending it in several special directions
to extraordinary proportions. Since 1917
he has been with the house of G. Schirmer
in New York, for whom since 1915 he has
edited 'The Musical Quarterly.' His pub-
lished compositions are several sets of highly
original songs. But he is best known for his
many and valuable books upon topics in
musical history and criticism. These began
as far back as 1897, when he issued a Protest
gegen den Symbolismus in der Musik, but the
main series is as follows : Classification of
Music and Literature of Music, 1904 (revised,
1917), Francis Hopkinson and James Lyon,
1905, Bibliography of Early Secular American
Music, 1905, Early Concert-Life in America,
1907, Historical Report on ' The Star-Spangled
Banner,' 'America,' 'Hail Columbia' and
' Yankee Doodle,' 1909, Critical History of ' The
Star-Spangled Banner,' 1914, Catalogue of
Opera-Librettos Printed before 1800, 2 vols.,
1914, Early Opera in America, 1915, Catalogue
of First Editions of Edward MacDowell, 1917,
Catalogue of First Editions of Stephen C. Foster,
1917, and Suum Cuique (essays), 1916. To
the I. M. G. Sammelbdnde he contributed
important studies, among them 'Francis
Hopkinson, the First American Composer'
(5. 119) and 'Early American Operas' (6. 428).
He has also published two volumes of poetry,
Seufzer, 1895, and Eine Todtenmesse, 1898.
Besides his remarkable skill in investigation
and the marshaling and presentation of his-
torical data, he has shown notable enterprise
and practical wisdom in promoting musical
progress in numerous ways — as, for example,
in the recent formation of the Society for the
Publication of American Music and in further-
ing the issue of Krehbiel's long-delayed
translation of Thayer's Beethoven. [ R.8 ]
'SONS OF BALDUR, THE.' No. 6 of
the 'Grove-Plays' of the San Francisco Bo-
hemian Club, produced in 1908. The text
is by Herman Scheffauer and the music by
Arthur Weiss.
SORRENTINO, UMBERTO (b. 1889).
See Register, 10.
SOULE, RALPH W. See Colleges, 3
(Tabor C, Iowa).
SOUSA, JOHN PHILIP (Nov. 6, 1854,
Washington). See article in Vol. iv. 628.
His father was Portuguese and his mother
Bavarian, and both came to America in the
early '40s, the former as a refugee because of
revolutionary activity, the latter as a visitor.
366
SOUTHARD
SPAETH
They were married in Brooklyn, but soon
moved to Washington. The son studied in
1864-67 with John Esputa, taking mostly
violin, but also band-instruments, and from
1,867, while playing in the Marine Band and
in civilian orchestras, took up theory and
composition with G. F. Benkert. From
1B72 he led the orchestra at the Theatre
Comique and played violin at Ford's Opera
House. From 1^74 he was leader or player
in the Milton-Noble Comedy Company and
in Morgan's Living Pictures Company. In
1876 he was under Offenbach in Philadelphia,
writing for him the 'International Congress'
fantasy (July 4, 1S76). In 1876-79 he played
at the Chestnut Street Theatre under Hassler
and at the Arch Street Theatre under Zimmer-
man. He then became conductor of the
Church Choir Company, writing for it his
first comic opera, 'The Smugglers,' and of
Mackey's Comedy Company, for which he
wrote 'Our Flirtations.' After being in the
Marine Band in 1880-92, he formed the
Sousa Band, giving the first concert at Plain-
field, N. J., on Sept. 26, 1892. With this he
has made annual tours through the United
States and Canada, besides four tours in
Europe and one round the world. The Band
has played at almost all the great Expositions,
besides long engagements at various places. Its
leader acquired the soubriquet of ' March King'
in 1885 from a foreign journal. He has also
been decorated by numerous crowned heads,
academies and societies. In 1917 he became
lieutenant in the Naval Reserve. His com-
positions make a long list, including 10 comic
operas, 8 'suites,' the scenic 'Sheridan's Ride'
and the symphonic 'Chariot-Race,' almost 100
marches, about 20 dances, about 50 songs,
and several arrangements. [ R.6 ]
SOUTHARD, LUCIEN H. (Feb. 4, 1827.
Sharon, Vt. : Jan. 10, 1881, Augusta, Ga.),
studied for a time at Trinity College in Hart-
ford, whence, though expected to follow his
father as physician, in 1846 he went to Boston
in quest of music. In 1851-58 he was general
supervisor there in the public schools. In
1858-60 he was in Norfolk, Va., leaving be-
cause of Northern sympathies. For a year
he played an organ in Hartford, but enlisted
in the Civil War and served in the Army of
the Potomac as cavalry captain. He took
part in many battles, was wounded early in
1865 and was then honorably discharged and
returned to Boston. In 1868, when the
Peabody Institute in Baltimore established
its Conservatory, he was made its first director
and the organizer of its orchestra, laying
foundations on which from 1871 Hamerik
built with more experience and brilliance.
From 1871 he lived once more in Boston,
moving in 1875 to Augusta. Between 1850
and 1870 he was steadily active in composition.
He was notably successful with glees, church-
music and organ-pieces. About 1855 he
completed the opera 'The Scarlet Letter,'
parts of which were sung at a 'convention'
in that year. The score of this, loaned by
his wife in New York, was lost. In January,
1858, another opera, 'Omano' (based on
Beckford's 'Vathek,' Italian text by Manetta),
was twice given in Boston in concert-form,
with Lang as pianist and Adams as tenor.
The score of this remained in his wife's hands.
His publications included
Collection of Organ Voluntaries, 1849.
School Chimes, 1851; Union Glee Book, 1852;
Haydn Collection of Church Music, 1851 ; Clas-
sical Chorus Book, 1853 — all edited with B.
F. Baker — The Boquet, 1855, edited with G. W.
Pratt ; Vol. iii. of The Boston Melodeon, with
E. H. Baker (first vols, by E. L. White, 1850) ;
Lyra Catholica (masses, hymns and motets),
1866, with J. H. Willcox; The Offering, 1866.
A Course in Harmony, 320 pp., 1855.
Morning and Evening, 1865, for quartet-choirs.
Two masses (1867).
The Standard Singing School, 1868, a vocal method
based on Garcia.
'Ave Maria' (1867?), Te Deum and Jubilate
(1868), and the motets 'As the hart pants,'
'My heart doth find' and 'Praise waiteth for
Thee' (1872).i [ R.4 ]
SOUTHGATE, CHARLES. See Tune-
Books, 1800.
SOWERBY, LEO (May 1, 1895, Grand
Rapids, Mich.), had all his formal training
in Chicago under A. O. Anderson. He has
taught theory at the American Conservatory,
been organist at the South Congregational
Church and served as critic for the 'Inter-
Ocean.' In 1917 he enlisted in the Army and
was made band-master of the Field Artillery,
with rank of 2nd lieutenant. He first came
into notice as composer through his violin-
concerto in 1913 (all-American concert,
Chicago Symphony Orchestra under Gunn).
His works include the overture 'Comes
Autumn-Time' (1918, New York Symphony
Society) (Boston Music Co.) ; the orchestral
suite 'Set of Four' (1918, Chicago Symphony
Orchestra) ; the orchestral sketch ' The Sor-
row of Mydath'; the orchestral 'Rhapsody
on British Folk-Tunes' ; a Serenade for strings
(Berkshire Quartet) ; a piano-concerto and
a 'cello concerto ; sonatas for two violins and
'cello, for violin alone, for violin and piano,
for piano and for organ ; two suites for violin
and piano ; three chorale-preludes for organ ;
choruses a cappella; etc. [ R.IO ]
SPAETH, SIGMUND (Apr. 10, 1885,
Philadelphia) , the son of parents both of whom
had written or edited Lutheran church music,
graduated from Haverford College in 1905
1 Data for this notice were supplied by Mr. N. H.
Allen, of Hartford.
SPALDING
SPICKER
367
and in 1910 took a Ph. D. at Princeton Uni-
versity, his thesis being on Milton's Knowledge
of Music (published 1914). In Philadelphia
he studied piano and violin, and at Princeton
led the university choir, glee-club and
orchestra. In 1910-12 he taught in Asheville,
N. C, and has since lived in New York. In
1913 he was music-critic for 'Life,' in 1914-18
for the 'Mail,' and since 1919 for the 'Times,'
besides writing for the Boston 'Transcript.'
He has contributed many articles to maga-
zines, prepared program-notes and made a
specialty of translations of song-texts and
opera-librettos. [ R.IO ]
SPALDING, ALBERT (Aug. 15, 1888,
Chicago), had early training on the violin in
Italy, graduating from the Bologna Conser-
vatory in 1902, besides later study of com-
position. In 1905, having continued violin
imder Lefort in Paris, he made his concert-
debut there, followed by many tours through-
out Europe. He first appeared in America
in 1908, with the New York Symphony
Society. In 1917-19 he served in the Army
as artillery observation-officer in France and
Italy. Besides his eminence as a player, he has
written two violin-concertos ; a sonata for
violin and piano ; a suite for violin and piano
(Carl Fischer) ; 'Etchings' (theme, variations
and improvisation), for violin and piano;
Theme and "Variations for orchestra; four
' Serious Pieces ' for piano ; many violin-pieces
(Schirmer, Hansen), including the popular
'Alabama'; and songs (Ditson). [ R.9 ]
SPALDING, WALTER RAYMOND (May
22, 1865, Northampton, Mass.), the son of
a clergyman, early became a choir-boy. At
eleven he served more or less as organist, and
soon took up study with S. B. Whitney and
W. A. Locke (piano). From 1879 he was
organist in his father's church. He graduated
at Harvard in 1887, with honors in music,
having taken various courses with Paine.
A year of post-graduate study brought him
an A.M. in music. As yet, however, he was
equally interested in the classics and modern
languages. In 1888-92 he taught languages
at St. Mark's School in Southboro, Mass.,
but also had charge of the music there and in
the village church. In 1892-95 he was in
Paris with Guilmant and Widor and in Munich
under Rheinbergor and Thuille. In 1895 he
became instructor in music at Harvard till
1900, also serving as organist at Christ Church
in Cambridge and at Emmanuel Church in
Boston. In 1903 he became assistant-pro-
fessor at the University and in 1906 succeeded
Paine as head of the music-division. Since
1895 he has also been music-instructor at
Radcliffe College. He has been active in
various committees for the promotion of
music, including that on Army and Navy
Camp-Music during the war. He has pub-
lished Tonal Counterpoint, 1904, and (with
Arthur Foote) Modern Harmony, 1905, both
widely used as text-books. To these is now
added Music, an Art and a Language, 1920,
a striking study in the field of appreciation.
[ R.7 ]
SPARGUR, JOHN MITCHELL (b. 1879).
See Register, 8.
SPEAKS, OLEY (b. 1876) . See Register, 8.
'SPECTRE BRIDEGROOM. THE.' An
opera by William D. Armstrong, produced
in St. Louis in 1899.
SPELMAN, TIMOTHY MATHER (b.
1891). See Register, 10.
SPENCER, ALLEN HERVEY (Oct. 30,
1870, Fairhaven, Vt.), studied piano in New
York and Chicago with Sherwood and theory
with Lutkin. Since 1892 he has been in the
faculty of the American Conservatory in
Chicago, and has given hundreds of piano-
recitals in Chicago and elsewhere. His
repertoire is comprehensive and his ability
as interpreter unquestioned. He has pub-
lished Forty Lessons to a Teacher and con-
tributed many articles on piano-study to
periodicals. [ R.8 ]
SPENCER, ELEANOR (Nov. 30, 1890,
Chicago), began public appearances as pianist
at ten and then studied with Mason in New
York, Bauer in Paris and Leschetizky in
Vienna. In 1910 she gave her first recital in
London. She has appeared with such or-
chestras as the Berlin Philharmonic, the
Dresden Gewerbehaus, the Amsterdam Con-
certgebouw, the London Symphony, the
Queen's Hall, the Brighton and the New York
Philharmonic. Her first recital in America
was in New York in 1913. Her tours have
traversed Germany, Holland, England and
the United States. [ R.IO ]
SPENCER, S. P. See Colleges, 3 (Pied-
mont C, Ga.).
SPENCER, VERNON (b. 1875). See Reg-
ister, 9.
SPICKER, MAX (Aug. 16, 1858, Konigs-
berg, Germany : Oct. 15, 1912, New
York), after training from Louis Kohler and
Robert Schwalm, in 1877-79 studied at the
Leipzig Conservatory with Reinecke, Wenzel,
Paul and Richter, and then for three years
conducted theater-orchestras in various Ger-
man cities. In 1882 he came to New York
as conductor of the Beethoven Mannerchor.
In 1888-95 he was director of the Brooklyn
Conservatory, and in 1895 became teacher of
harmony and counterpoint at the National
Conservatory. In 1898-1910 he was also
choir-master at Temple Emanu-El. For many
years he was connected with the firm of G.
Schirmer as reader, editing numerous works
(among them 'The Messiah'). He composed
368
SPIELTER
SPRY
a suite for orchestra ;] incidental music to
Schiller's 'Demetrius'; the cantata 'Der
Pilot,' for baritone, men's chorus and or-
chestra ; choruses, church-music and songs.
He edited an Anthology of Sacred Song, 4
vols., an Operatic Anthology, 3 vols., Aus alter
Herren Lander (folk-songs arranged for men's
chorus) ; and Synagogical Service, 2 vols.
[ R.7 ]
SPIELTER, HERMANN (b. 1860). See
Register, 8.
SPIERING, THEODORE (Sept. 5, 1871,
St. Louis), began violin-study with his father,
Ernst Spiering. In 1886-88 he was with
Schradieck in Cincinnati, followed by four
years with Joachim at the Berlin Hochschule.
On his return he became a member of the
Thomas Orchestra in Chicago, making his
debut as soloist in February, 1893, with the
Schumann 'Phantasie.' He left the Or-
chestra in 1896, having three years previously
organized the Spiering Quartet. In twelve
seasons (1893-1905) this Quartet gave 400
concerts in the United States and Canada,
introducing many new works. His pedagogic
work in Chicago included association with
Godowsky at the Chicago Conservatory in
1898-99, the direction of the Spiering Violin
School in 1899-1902, and associate director-
ship of the Chicago Musical College in 1902-0.5.
Meanwhile he had been active as conductor,
with appearances in Chicago, the Spiering
Orchestra, and a May Festival tour in 1902.
In 1905 he removed to Berlin, making his
debut in 1906 with the Philharmonic Or-
chestra and spending three years largely as
soloist, with tours in Germany, England
and Holland. For one season he was chief
violin-instructor at the Stern Conservatory.
In 1909 he returned to New York as concert-
master of the Philharmonic Society under
Mahler. In the spring of 1911 he substituted
during Mahler's illness, conducting 17 concerts.
In 1911-14 he again resided in Berlin, con-
certizing in Germany, Denmark and Swit-
zerland, and conducting a series of sym-
phony concerts (1912-14) with the Ber-
lin Philharmonic and Bliithner Orchestras.
Novelties produced at these concerts were
symphonies by Dukas and Paul Graner,
suites by Dohnanyi, Casella and Reger,
Kaun's overture 'Am Rhein,' Hadley's 'Cul-
prit Fay,' and important works by Hausegger,
von Reznicek, Delius and others. He was
also musical adviser for the 'Neue Freie
Volksbiihne.' Since 1914 he has lived in
New York, giving concerts, teaching, and
editing violin-works for Carl Fischer. His
published works are Five Songs, op. 1 ; six
Artist Studies for violin, op. 4, and five 'Im-
pressions' for piano, op. 5. Violin-caprices,
a scherzo for string-quartet and songs are
still unpublished, as is also a treatise on
violin-study. [ R.8 ]
SPRAGUE, ADELBERT WELLS (b.
1881). See State Universities (Me.).
SPRINGFIELD MUSIC FESTIVAL AS-
SOCIATION, THE, of Springfield, Mass.,
was started in 1889 as the Hampden County
Musical Association, the conductor till 1899
being George W. Chadwick. Another effort
under C. S. Cornell led to festival under-
takings in 1901 and '02. In 1903 the present
Association was organized with John J.
Bishop as conductor, with increasingly success-
ful festivals ever since. The chorus averages
about 350. Besides the standard oratorios,
there have been given works like Bruch's
'Arminius,' Chadwick's 'Phoenix Expirans,'
Franck's 'The Beatitudes,' Parker's 'Hora
Novissima,' Verdi's 'Aida' and Requiem,
and Wolf-Ferrari's ' La Vita Nuova.'
SPROSS, CHARLES GILBERT (Jan. 65
1874, Poughkeepsie, N. Y.), as a youth
studied piano in Poughkeepsie with Adolph
Kuehn and composition with Helen J. Andrus,
continuing with Xaver Scharwenka and
Emil Gramm, and adding composition with
Lachmund. At seventeen he was organist
at St. Paul's in Poughkeepsie. Later he
played for eight years at the Second Presby-
terian Church in Paterson, N. J., and five
years at the Rutgers Presbyterian Church
in New York. Since 1913 he has been or-
ganist of the First Presbyterian Church in
Poughkeepsie. As pianist and organist he
has appeared in concert throughout the
country. His services as accompanist have
been much in demand, and he has toured
with Mmes. Hempel, Garden, Destinn, Gadski,
Gluck, Case, Jomelli, Homer, Fremstad,
Melba, Schumann-Heink and Nielsen, also with
Ysaye, Gerardy and Amato. His published
works include three cantatas, 'The Word of
God,' 'The Glory of the Resurrection' and
' Christmas Dawn ' ; many anthems and
part-songs ; a few piano- and violin-pieces ;
and over 100 songs, many of them extensively
sung. [ R.8 ]
SPRY, WALTER (Feb. 27, 1868, Chicago),
had early training in Chicago with Regina
Watson (piano) and Eddy (organ), and later
in Vienna with Leschetizky, in Berlin with
Rudorff and in Paris with Rousseau. In
1897-1900 he was director of the Quincy
(111.) Conservatory, in 1903-05 was Sherwood's
assistant, in 1900-03 also edited 'The Music
Review' for Summy, and in 1905-17 conducted
his own Piano School in Chicago. He is now
one of the leading piano-teachers at the
Columbia School of Music there. In 1918
he celebrated the twenty-fifth anniversary
of his first appearance in Chicago as pianist.
He has been soloist with the Chicago and
SQUIER
STATE ASSOCIATIONS 369
St. Louis Orchestras. He has written an over-
ture, a string-quartet, piano-pieces, choruses
and songs. [ R.8 ]
SQUIER, J. B, (1838-1912). See Register,
5.
t SQUIRE, WILLIAM BARCLAY (Oct.
16, 1855, London). See article in Vol. v. 667.
His Catalogue of Old Printed Music [1487-1800]
in the British Miiseum, 2 vols., 1912, is perhaps
his chief work, though his other books and
articles are all significant. He has repeatedly
contributed to 'The Musical Quarterly.'
STAHLBERG, FREDERICK (b. 1877).
See Register, 8.
STAIR, PATTY (Nov. 12, 1869, Cleveland),
was a pupil of Franklin Bassett. Since 18S9
she has taught in the Cleveland Conservatory
and from 1892 also in the University School,
where and in various churches she has been
organist. In 1914 she was the first woman in
Ohio to become a fellow of the A. G. O. For
some years she has been active as conductor
of Women's Club choruses. She has become
known as the composer of many effective
songs, part-songs and choruses, and has also
written a three-act light opera, an operetta,
an Intermezzo for orchestra, some organ-
and piano-pieces, etc. [ R.7 ]
STANBRIDGE, J. H. C. See Tune-
Books, 1844.
t STANFORD, CHARLES VILLIERS
(Sept. 30, 1852, Dublin, Ireland). See articles
in Vols. iv. 671-4, and v. 667. To the lists of
works may be added the 7th Symphony, op.
124 ; a piano-concerto in C minor, op. 126 ;
a string-quartet, op. 122 ; a piano-quartet,
op. 132 ; a clarinet-sonata, op. 129 ; an organ-
sonata ; the operas ' The Critic ' (from Sheri-
dan) (1916) and 'The Traveling Companion';
incidental music to Parker's 'Drake' (1912);
and the cantatas 'Fairy Day' (1913) and
'Merlin and the Gleam' (1920). He has also
published Stttdies and Manners, 1908, Musical
Composition, 1911, Pages from an Unwritten
Diary, 1914, and (with Cecil Forsyth) a
History of Music, 1916.
STANLEY, ALBERT AUGUSTUS (May
25, 1851, Manville, R. I.), at sixteen was
already holding a responsible post as organist
in Providence. In 1871-75 he studied in
Leipzig under Papperitz, Reinecke, Richter
and Wenzel. During the last year he was
Richter's assistant and also occasional organist
at the Nikolai-Kirche. After a year of teach-
ing at the Ohio Wesleyan College, in 1876-88
he was organist at Grace Church in Providence.
Since 1888 he has been professor at the Uni-
versity of Michigan and from 1893 conductor
of the May Festivals. In 1891-92 he was
secretary of the M. T. N. A. and in 1893
president ; was a founder of the College of
Musicians, of the A. G. O. and of the Manu- I
2b
script Society ; in]1899 was appointed American
representative of the I. M. G. and in 1906-12
president of its American Section, and is an
active member of the Musical Association of
Great Britain. In 1889 the University of
Michigan made him A. M. and in 1916 North-
western University made him Mus.D. Be-
sides his energetic development of the Uni-
versity School of Music, he has had charge of
the Stearns Collection of Musical Instruments,
given to the University in 1898, and of this he
has published an exhaustive and scholarly
Catalogue, 1918 (2nd edition in preparation).
His compositions include a Symphony in F,
an orchestral Scherzo in D, the symphonic
poem 'Attis,' a Suite in E for violin and piano,
a Canon and Fugue in E minor for piano,
the choral and orchestral works 'City of
Freedom,' 'A Psalm of Victory,' 'Chorus
Triumphalis,' 'Laus Deo' and 'Consecration
Hymn,' and incidental music to Mackaye's
'Sapho and Phaon,' to Euripides' ' Alcestis' and
' Mensechmi ' — the last three employing Greek
motives and modes, and all with special
accompaniment simulating ancient instru-
mentation. All these have been given on
various civic or academic]occasions. They are
now published as Greek Themes in Modern
Musical Settings, 1920, being Vols. xv. and xvi.
of the Humanistic Series of University of Mich-
igan Studies. [ R.5 ]
STANTON, EDMOND C. See Register, 7.
STARR, EDNA V. See Colleges, 3
(Rio Grande C, Ohio).
'STAR-SPANGLED BANNER, THE.'
See article in Vol. iv. 674-5, and also Sonneck,
Report on 'The Star-Spangled Banner,' etc.,
1909, and its enlarged reissue separately, 1914.
STASNY, KARL RICHARD (b. 1855).
See Register, 8.
STATE MUSIC TEACHERS' ASSO-
CIATIONS began to be formed in 1876, many
of them (after 1886) through the efforts of
the Music Teachers' National Association.
Some of them have been short-lived, but the
majority continue and are extremely serviceable
in bringing teachers into fellowship, in up-
holding professional standards and in advanc-
ing interest in American music and musicians.
At times the National and the State organi-
zations have been knit together in some formal
way, but practical considerations prevent
close official union. In recent years the
State Associations have given increasing at-
tention to problems of 'standardization' or
the fixing of rules and tests for professional
recognition. In several cases systems of
examination and certification have been set
up. The heads of all Teachers' Associations
are banded together in an Association of
Presidents and Past-Presidents.
In 1893 H. S. Perkins stated that the
370 STATE NORMAL SCHOOLS
STATE UNIVERSITIES
earliest State Associations were those in Ohio
(1876), Texas (1885), Illinois, Michigan, Kan-
sas, Kentucky, Rhode Island, Alabama (1886),
Indiana, Colorado (1887), New York (1889),
Connecticut and New Hampshire (1890).i
The latest list of these Associations, with
their presidents, is as follows : ^
Arkansas, H. D. Tovey, Fayetteville ; California,
Mrs. Sofia N. Newstadt, 52 Hamilton Place, Oakland ;
Connecticut, Mariette N. Fitch, 48 Union St., Rock-
ville ; Illinois, C. E. Sindlingcr, Streator ; Indiana,
Ralph Sloane, Richmond ; Iowa, Henry Matlack,
Grinnell ; Kansas, Frank A. Beach, Normal School,
Emporia; Kentucky, Anna C. Goff, Lexington;
Louisiana, Florence Huberwald, 2024 Coliseum St.,
New Orleans; Michigan, Francis L. York, 1013
Woodward Ave., Detroit; Minnesota, George H.
Fairclough, Pittsburgh Bldg., St. Paul; Mississippi,
Mrs. E. H. Hart, Meridian; Missouri, Herbert
Krumme, Moss Bldg., St. Joseph; New York,
Frederick H. Haywood, Carnegie Hall, New York
City; Nebraska, Henry C. Cox, 3320 Dewey Ave.,
Omaha ; North Carolina, Mrs. Crosby Adams,
Montreat ; North Dakota, Mrs. Amy Simpson, Minot ;
Ohio, Katherine Bruot, 70 N. Prospect St., Akron;
Oklahoma, Mrs. Mary E. Wharton-Hunt, Still-
water; Oregon, John C. Monteith, 525 Patten Rd.,
Portland; Texas, E. Clyde Whitlock, 1100 Hurley
Ave., Fort Worth; Vermorit, Lewis J. Hathaway,
Middleburj'; Washington, Herbert Kimbrough;
Pullman ; Wisconsin, Charles H. Mills, Madison.
STATE NORMAL SCHOOLS, MUSIC IN.
In every State but one there are Normal
Schools to train teachers for public-school
work. The number in each State depends
upon various considerations besides its size.'
The total number in the whole country is
about 180. In all these, with but trifling
exceptions, some musical instruction is pro-
vided, but the amount and scope of it varies
greatly. Many Schools are large (600-1000
students), while others are too small to have
diversified curricula. On the whole, there
is a difference between the East and the West.
In New England, New York and the Southern
States the number of music-instructors is
rarely more than two or three, but in Indiana,
Pa., there are 9, in Milwaukee 10, in
Emporia, Kan., 13, in Mansfield, Pa., Valley
City, N. D., and Greeley, Colo., 7, etc. Simi-
larly, in the East and South the instruction
is planned chiefly with reference to the training
of the ordinary grade-teacher who teaches
many other subjects than music, while in the
West generally it provides also for the much
more intensive training of supervisors. In
many cases the western Schools are really
music-schools, some of them open to other
students besides those preparing for public-
» Hist, of the M.T.N. A., pp. 87-8.
« M.T.N. A. Proceedings, 1919, p. 237.
' For example, Pennsylvania has 13, New York 10,
Massachusetts, Wisconsin and Alabama 9 each, West
Virginia and North Carolina 8 each, Virginia 7,
Maine, Oklahoma and California 6 each, Illinois
and Missouri 5 each, etc.
school teaching. Instruction in piano and
violin (sometimes also organ) is rather common.
Harmony is sometimes taught, and occasionally
counterpoint and even orchestration. The
number of pianos is sometimes notably large
— Indiana, Pa., 38, Kutztown, Pa., 23,
Mansfield, Pa., 20, Valley City, N. D., 20,
Emporia, Kan., 19, Milwaukee, Bowling
Green, Ky., Aberdeen, S. D., and Greeley,
Colo., each 16, etc. Phonographs are nearly
universal, some institutions having as many
as ten. In a fair proportion of cases there
is something of a musical library.
Besides the State Normal Schools there are
other agencies for the special education of
teachers. New York, Iowa and Colorado have
State Teachers' Colleges, and many State Uni-
versities and other such complex institutions
have Schools or Colleges of Education that aim
at similar results. As a rule, however, music is
not magnified in any of these, though students
often have access to musical opportunities in-
directly. Exceptional emphasis upon music is
found in Teachers College in Columbia Univer-
sity, New York.
STATE UNIVERSITIES, MUSIC IN.
The growth of the demand for 'public schools'
in the early 19th century led naturally toward
the development of 'state universities' as
the culminating element in a system of free
civic education. It is true that many 'col-
leges' founded before 1800 rested upon grants
of public money and had been more or less
governed by public authority. Some of them
bore names as 'universities' of the States in
which they were located. But the tendency
of the 'college' system was to depend upon
private or denominational endowment and
to accent a single course of study, subject to
fees for tuition. Beginning with the Uni-
versity of Michigan, founded in 1837, a new
type rapidly became common, providing free
tuition in many different lines and managed
by boards of trustees responsible to the States
as such. This new type naturally became
characteristic of those sections of the country
that were developed in the period of national
expansion preceding the Civil War. Mean-
while, in the older sections, some of the
' colleges ' were much enlarged in scope, so
that several of them fulfilled for their re-
spective States much of the function of a
' state university.' '
As public interest in music advanced, and
the vocational opportunities connected with
it became important, it was natural that
gradually around or within the 'state uni-
versities' music-schools should spring up.
1 Notable instances are Harvard (1636) in Mas-
sachusetts, Yale (1701) in Connecticut, Princeton
(1746) in New Jersey, Columbia (1745) in New York,
Brown (1764) in Rhode Island, Dartmouth (1769)
in New Hampshire, Bowdoin (1794) in Maine, etc.
STATE UNIVERSITIES
STATE UNIVERSITIES 371
In many cases these were at first independent
enterprises that were ultimately adopted
into the university. In others they were
started as departments like those in medicine,
law, engineering, agriculture and the like.
Recently such schools have often been com-
bined with other departments into Schools
or Colleges of Fine Arts. Although now
generally reckoned as full members of the
circle of departments, such Schools, owing
to their use of individual rather than class
methods in praxis-topics, have stood by
themselves in requiring considerable tuition-
fees, and there has been much hesitation
about granting credit for work in praxis.
Work in theory and history, however, has
generally been credited, and often work of an
ensemble-character, as in choruses or orchestras.
There are now nearly 100 institutions of
higher education under State control. But
about half of these are special in character,
devoted to technology, industrial arts, mining,
agriculture, etc. Some of the Agricultural
Colleges have taken on a general and complex
character, and a few of them have given special
attention to music. These are therefore
included in the present summary. But the
State Teachers' Colleges are more naturally
grouped with the State Normal Schools, as
the State Women's Colleges are with Colleges
for Women in general. In order to give some
hint of the historical sequence, the institutions
in the following condensed resume are ar-
ranged more or less chronologically.
All the statements made in the article upon
Colleges as to the general scope of in-
struction apply here, but with a few slight
differences of emphasis. There is a somewhat
greater prominence given to theoretical studies
in several institutions, and some give no credit
for praxis. In many of the institutions the
aggregation of students is so large that choral
and orchestral concerts command special
attention, stimulating interest in organizations
within the institution and making it possible
to support visiting organizations. In many
cases there is great attention given to military
bands, notably at the University of Illinois.
In most of the larger institutions the School
of Music has separate buildings, often of
importance, with large auditorium, organ,
etc. Several of them have significant music-
libraries.
The Universities of Michigan, Wisconsin,
Illinois, Kansas, and Oklahoma stand out as
those which have pushed music-departments
into decided eminence. Several others, like
Pennsylvania, Indiana, California and Colo-
rado, have given prominence to thorough
work in theory.
The total number of students in the State
institutions where music is recognized is
considerably over 100,000 each year, counting
all departments. No doubt a fair proportion
of this large number is affected in some way
by the general activities of the School of
Music, especially as these extend to public
concerts. But in most cases the number of
those actually taking serious courses in music
is still extremely small. Two reasons for this
are, first, that in the institutional system
music is counted as belonging to the 'col-
legiate' or undergraduate division (hence
not appealing to those in professional, tech-
nological or graduate divisions), and, second,
that there are special fees required. ^ It is
likely, however, that gradually the practical
influence of music in university-life will
decidedly increase. Thus far music has been
emphasized chiefly for its use as an element
of general culture or as a vocation. In a few
cases steps have been taken to disclose its
possibilities as a distinct object of scientific,
historical and philosophical investigation.
In the following summary the same plan
of statement is used as that in the article upon
Colleges.
Founded before 1837
University of Pennsylvania, Philadelphia.
Hugh A. Clarke (from 1875). No praxis.
Ohio University, Athens. See Colleges.
Miami University, Oxford, O.
Aubrey W. Martin (from 1914) +2.
University of Alabama, University.
Robert Lawrence (from 1917).
[No music-courses at the Universities of Vermont,
Maryland, Virginia, North Carolina, South
Carolina and Georgia.]
Founded before 1861
University of Michigan, Ann Arbor.
Albert A. Stanley (from 1888) -|-25. Calvin B.
Cady, 1880-88.
Indiana University, Bloomington.
Winfred B. Merrill (from 1919) +3. No credit for
praxis. Charles D. Campbell, 1906-19.
University of Missouri, Columbia.
William H. Pommer (from 1907) +1. No praxis.
State University of Iowa, Iowa City.
Philip G. Clapp (from 1919) +8.
University of Wisconsin, Madison.
Charles H. Mills (from 1914) +10. Fletcher A.
Parker, 1880-1907, Rossetter G. Cole, 1907-09,
Louis A. Coerne, 1910-14.
University of Minnesota, Minneapolis.
Carlyle Scott (from 1904) +7. Emil Oberhoffer.
1902-04.
Louisiana State University, Baton Rouge.
F. T. Guilbeau (from 1918).
University of California, Berkeley.
Charles L. Seeger (from 1912) +4. No credit for
praxis. J. Frederick Wolle, 1905-11.
University of Washington, Pullman.
Irving M. Glen (from 1914) +7.
[No music-courses at the University of Mississippi].
Founded before ISSO
University of Nevada, Reno.
Maude A. Denny (from 1913). No praxis.
1 It is to be noted that recently the University of
Illinois has inaugurated a plan whereby tuition in
music shall be as free as that in any other subject.
372
STEARNS
STEBBINS
University of Kentucky, Lexington.
Carl A. Lampert. No praxis.
University of Wyoming, Laramie.
Albert Lukken (from 1915) +6.
University of Illinois, Urbana.
J. Lawrence Erb (from 1914) +10. Frederick
Lawrence, 1901-08, Charles H. Mills, 1908-14.
West Virginia University, Morgantown.
Louis Black +8. No credit for praxis.
University of Utah, Salt Lake City.
Thomas Giles +6. No praxis.
University of Maine, Orono.
Adelbert W. Sprague (from 1916).
University of Nebraska, Lincoln.
Jacob Singer +1. No praxis, but courses credited
under outside teachers.
Ohio State University, Columbus.
No music-courses except in summer-school —
William W. Campbell (from 1912).
University of Arkansas, Fayetteville.
Henry D. Tovey (from 1908) -|-4.
University of Kansas, Lawrence.
Harold L. Butler (from 1915) +4. George B.
Penny, 1890-1903, Charles S. Skilton, 1903-15.
University of Oregon, Eugene.
John J. Landsbury (from 1917) -f 11. Irving M.
Glen, 1901-11, Ralph H. Lyman, 1913-17.
University of Colorado, Boulder.
George M. Chadwick. No praxis. Charles H.
Farnsworth, 1888-1900.
Founded before 1905
University of Texas, Austin.
Frank L. Reed (from 1913) -|-4. No credit for praxis.
University of North Dakota, University.
William W. Norton (from 1910) -|-3. No praxis,
but courses credited under outside teachers.
University of South Dakota, Vermilion.
Harry C. Harper (from 1918) +G. E. W. Gra-
bill, 1900-17.
University of Arizona, Tucson.
Ida W. Douglass. No credit for praxis.
University of Idaho, Moscow.
Eugene E. Storer (from 1911) +Z.
University of New Mexico, Albuquerque.
Henry F. Perrin (from 1918).
University of Oklahoma, Norman.
Fredrik Holmberg (from 1908) -|-12. Henry Gue-
lich, 1903-08.
State University of Montana, Missoula.
DeLoss Smith 4-5.
University of Florida, Gainesville.
James W. Chapman.
State Colleges
Iowa State College, Ames.
Archibold A. Bailey (from 1916) -f-2.
Pennsylvania State College, State College.
Clarence C. Robinson -\-l.
Kansas State Agricultural College, Manhattan.
Arthur E. Westbrook (from 1913) +8. Olof
Valley, 1904-13.
North Dakota Agricultural College, Fargo.
Clarence S. Putnam -|-1. No theory.
Montana State College, Bozeman.
Aaron H. Currier (from 1915) -|-4.
Oklahoma Agricultural College, Stillwater.
Bohumil Makovsky (from 1915) -|-6.
See various references in articles on Colleges
and Public Schools.
STEARNS, HENRY V. See Colleges, 2
(Illinois Woman's C).
STEARNS COLLECTION OF MUSICAL
INSTRUMENTS, THE, at the University
of Michigan, Ann Arbor, was gathered by
Frederick Stearns (1831-1907), a chemist of
Detroit and the founder and for many years
head of an extensive pharmaceutical busi-
ness there. The making of this collection
was a special enthusia-sm with him from 1881
to 1897, though it was not the only line of
research to which he devoted effort and
generous expenditure. As with his other
collections, Mr. Stearns sought to make this
permanently useful by giving it to a public
institution. In 1898 it was offered to the
University and at once accepted. The donor
continued to add to it and provided funds
for its study and proper presentation.
The Collection contains over 1400 speci-
mens, so selected as to give a fairly com-
prehensive view of the whole subject of
instrument-making, both in its intricate
ethnological variety and in its historical evo-
lution as regards the implements of civilized
music. It has been minutely sifted, classified
and described by Albert A. Stanley, Director
of the University School of Music, and in 1918
he published under the University imprint
a monumental Catalogue of it, which not only
brings its contents within the easy ken of
intelligent students, but at the same time
sets up a standard of scientific classification
and nomenclature for the subject in general.
This volume of 260 pages has elaborate
indexes and frequent critical and historical
notes of unusual interest.
The arrangement adopted is analytic or
systematic rather than geographic or his-
torical. Five classes are distinguished, ac-
cording as sound-production arises (a) from
a solid body, like plates, bells, gongs, bars,
rods or tongues, (6) from a stretched mem-
brane,"as in the various drums and tambour-
ines, (c) from a confined air-column, as in the
flutes, oboes, trumpets, etc., {d) from a
stretched string, as in harps, dulcimers, zithers,
lutes and viols, or (e) from either strings,
air-columns or reeds controlled or actuated
from a keyboard.
STEBBINS, GEORGE WARING (June
16, 1869, near Albion, N. Y.), was the son of
the singing evangelist, George C. Stebbins.
He studied in Brooklyn with H. E. Browne
and Woodman (organ), F. F. Powers (voice)
and Shelley (composition), with further work
in Paris under Sbriglia and Guilmant, and in
London under Henschel. Since 1893 he has
been organist in Brooklyn — at the Emmanuel
Baptist Church in 1894-99 and since 1902,
and at Plymouth Church in 1899-1902. He
was a founder of the A. G. O. and has appeared
often as recitalist. Since 1910 he has also
taught singing at the New York Teachers'
Training Institute, and from 1913 has con-
STECK
STERNBERG
373
ducted the Singers' Club in New York and from
1916 the Long Island Musical Art Society.
He has published many organ-pieces, anthems,
choruses and songs. [ R.8 ]
STECK, GEORGE (1829-1897). See Reg-
ister, 4.
STECK, GEORGE, & CO., New York,
is a piano-making business established in 1857
by George Steck. They secured high awards
at the Vienna and Philadelphia Expositions
of 1873 and 1876. The business is now a
branch of the ^olian Company. Besides the
New York factory there is another at Gotha,
Germany.
STEERE, J. W., & SON ORGAN CO.,
THE, Springfield, Mass., was established in
1867, originally as Steere & Turner. In
recent years, especially since Henry F. Van
Wart came in 1911 as superintendent, they
have produced many instruments of large
size and notable excellence, among them those
in Woolsey Hall at Yale University, in the
Municipal Auditorium in Springfield, in the
Piedmont Church in Worcester, and in
the First Church, Scientist, in Kansas City.
STEFANO, SALVATORE DE (b. 1887).
See Register, 10.
STEINBRECHER, FREDERIC W. (1818-
7 ). See Register, 4.
STEINDEL, BRUNO (b. 1866). See Reg-
ister, 8.
STEINER, LEWIS HENRY (1827- ? ).
See TuNE-BooKs, 1859.
STEINERT, MORRIS (Mar. 9, -1831,
Scheinfeld, Germany : Jan. 21, 1912, New
Haven, Conn.), as a boy, while apprenticed
to an optician, had lessons on the harpsichord
from the village cantor and on the guitar from
a chimney-sweep. Soon he began composing
for orchestra, incidentally learning to play
the 'cello. As vender of optical goods he
traveled in Switzerland, Germany and Russia,
and as dealer in hops visited France. About
1854 he came to America. In New York he
joined Maretzek's opera-orchestra as 'cellist
(Thomas being then one of the first violins),
then traveled with a minstrel-troupe, and for
a time worked in Savannah as clerk in a
music-store and organist. The outbreak of
the Civil War in 1861 led him to return to the
North, where he finally settled in New Haven,
at first on a salary of $100 per year. He
taught, organized an orchestra, opened a
music-store, and built up a prosperous business
as dealer in pianos. He invented a form
known as the 'Steinertone,' and more and more
became interested in collecting rare and historic
instruments. His collection of about 500
pieces he presented to Yale University in 1900,
and endowed a prize in the School of Music
in 1906, besides three scholarships. He
was one of the founders in 1892 of the New
Haven Symphony Orchestra. In 1892 his
collection was exhibited at the Vienna Ex-
position and in 1S93 at the Columbian Ex-
position in Chicago. A handbook of it was
published as The M. Steinert Collection of
Keyed and Stringed Instruments, 1893. His
name is also perpetuated in the piano-making
firm M. Steinert's Sons & Co., of Boston.
[ R.4]
STEINWAY. HENRY ENGELHARDT
(1797-1871). See Vol. iv. 691, and Register, 4.
STEINWAY & SONS, New York. See
article in Vol. iv. 691-2, and references in
Vol. iii. 729-32. Charles H. Steinway died
in New York on Oct. 30, 1919.
STEPHENS, ALBERT JAMES (b. 1878).
See Colleges, 3 (Fargo C, N. D.).
STERLING, ANTOINETTE (Jan. 23,
1850, Sterlingsville, N. Y. : Jan. 9, 1904,
Hampstead, England). See article in Vol.
iv. 693-4. During her residence in America
in 1871-73 she was for a time soloist in Henry
Ward Beecher's church in Brooklyn. Some
songs written for and first sung by her became
very popular, among them Sullivan's 'Lost
Chord' (first sung at a Boosey Ballad concert,
London, Jan. 31, 1877), Cowen's 'The Better
Land,' Molloy's 'Darby and Joan' and Barn-
by's 'When the tide comes in.' [ R.5 ]
STERLING, WINTHROP SMITH (Nov.
28, 1859, Cincinnati), graduated from the
Cincinnati College of Music as gold medalist
in 1883, and spent the next four years at the
Leipzig Conservatory under Reinecke, Jadas-
sohn and Zwintscher. He also studied there
with R. Hoffman (composition) and Frau
Unger-Haupt (voice), and in London with
Turpin (organ), Shakespeare and Behnke
(voice). In 1887-1903 he taught singing and
composition at the Cincinnati College of
Music, and was head of the organ-department.
In 1903 he founded the Metropolitan College
of Music, of which he is now dean. He has
been organist in London and Cincinnati, gave
organ-recitals at the Chicago, Buffalo and
St. Louis World's Fairs and elsewhere, and has
lectured on problems of singing and musical
education. He has written a suite and an
overture for orchestra, church-music, organ-
and piano-pieces and songs. [ R.7 ]
STERNBERG, CONSTANTIN FVANO-
VITCH, Edler von (July 9, 1852, Petrograd,
Russia), when a boy, on Liszt's recommen-
dation, became a pupil of Moscheles, Cocciua
and Richter at the Leipzig Conservatory.
Later he studied with Kullak in Berlin, and
made his debut as pianist there in 1875, with
encouragement from Rubinstein. He also
served as chorus-master at the Stadt-Theater
and as conductor at Briihl's, at Wiirzburg and
Kissingen in the summers, and at the court-
opera in Neu-Strelitz. In 1875-77 he waa
374
STEVENS
STOCK
court-pianist at Schwerin and head of the
Academy Music School. In 1875 and '77
he had lessons from Liszt. In 1877-78 he
toured with the singer Mme. Desiree Artot
through Europe, Russia, Siberia, Asia Minor
and Egypt. In 1880 he came to America on
a concert-tour, and for six years after, at first
alone, then with Wilhelmj and Minnie Hauk.
In 1886 he became a citizen and settled first
in Atlanta, removing in 1890 to Philadelphia,
where he established the Sternberg School
of Music, which he still directs. Most of hia
more than 100 works are for the piano. Many
of them have been often played by Hofmann,
Godowsky, Mme. Bloomfield-Zeisler and
others. The 'Humoresque,' op. 26, the
five Concert-fitudes, the 'Impromptu' and
'Caprice Hyppique' (Peters), the 'Nuit
Arabe,' 'En BohSme' and the three ' Preludes,'
op. 106, he regards as most characteristic.
He has also written six piano-trios, and many
choral works and songs. Besides frequent
articles in magazines, he has published The
Ethics and Esthetics of Piano-Playing, 1917.
[ R.7 ]
STEVENS, ROBERT W. See Colleges,
3 (U. of Chicago, 111.).
STEVENSON, EDWARD IRENiEUS (b.
1868). See Register, 7.
STEVENSON, FREDERICK (Sept. 16,
1845, Newark, England), graduated at St.
John's College in Sussex in 1806. In 1867-74
he was organist in Forest Hill and in 1874-82
in Blackheath, pursuing composition with
Macfarren and J. F. Bridge and composing
many works, including 'Cyrus,' besides con-
ducting choral societies and teaching at the
Blackheath Conservatory. In 1883 he became
precentor at St. John's Cathedral in Denver,
where, with Walter E. Hall, he developed
choir-services of special excellence. Later
he was at St. Mark's and the Synagogue,
directed the Denver Conservatory and led
the Concert Choir. From 1894 he was in Los
Angeles as organist, conductor and composer.
In 1905-18 he was specially engaged there and
in Santa Barbara in developing his conception
of modern harmony, and since 1918 has
resumed teaching at Los Angeles. He has
composed a large number of sacred solos with
organ accompaniment (or other instruments),
various anthems and part-songs, and the
choral works 'Easter Eve and Morn,' 'Om-
nipotence,' 'Christmas Bells,' 'The Angel
Gabriel,' etc. (Ditson, Church). He has also
written somewhat for orchestra and chamber-
instruments. [ R.7 ]
STEWART, HUMPHREY JOHN (May
22, 1856, London, England), began at eleven
as chorister and organist. He played in
various London churches until 1886, when he
came to San Francisco as organist of the
Church of the Advent, going later to Trinity
Church and the First Unitarian Church. In
1901, after giving recitals at the Buffalo
Exposition, he went to Trinity Church in
Boston, but after two years returned to San
Francisco, this time at St. Dominic's. In
1915 he became official organist of the Ex-
position at San Diego, and still continues
playing daily on the open-air organ at Balboa
Park. It is interesting that the annual series
of 250 to 300 recitals on this instrument, the
first outdoor organ in the world, have been
interrupted less than thirty times in five years
by unfavorable weather. In 1919 the programs
included 2270 selections from 385 composers.
These recitals have established his reputation
as a player of great ability and wide sympathy.
As conductor he has been identified with vari-
ous choral and orchestral organizations, notably
the Handel and Haydn Choral Society of
San Francisco. His oratorio 'The Nativity'
(1888, Church) has had performances through-
out the country. A romantic opera, 'Bluff
King Hal' (1889), and two comic operas,
'His Majesty' (1890) and 'The Conspirators'
(1900), have been performed, and he has also
written the music for three of the 'Grove-
Plays' of San Francisco Bohemian Club,
'Montezuma' (1903), 'The Cremation of
Care' (1906), and 'Gold' (1916). He has
composed the orchestral suites 'Montezuma'
(1903) and 'Scenes in California' (1906),
three masses, incidental music to several plays,
songs, choruses, piano-, organ- and violin-
music. The gold medal of the A. G. O. was
awarded in 1899 for his anthem 'I beheld,
and lo !' ; and in 1907 he won prizes from the
Chicago Madrigal Club and the Pittsburgh
Male Chorus for other choral works. He is
a founder of the A. G. O., an honorary life-
member of the Bohemian Club, and has been
or is president of several musical organizations.
In 1898 the University of the Pacific made him
Mus.D. [ R.7 ]
STEWART, JAMES. See Register, 3.
STICKNEY, JOHN (1744^1827). See
TuNE-BooKs, 1774.
STIEFF, CHARLES M. (1805-1862). See
Register, 4.
STIEFF, CHARLES M., is the firm-name
of the piano-making business established in
Baltimore by Charles M. Stieff in 1842 and
steadily developed by his son, Frederick P.
Stieff and two grandsons. Since before 1890
Herman Keuchen has been their chief designer,
and his skill has done much to forward their
reputation as leading makers.
STOCK, FREDERICK AUGUST [Fried-
rich Wilhelm August] (Nov. 11, 1872, Jiihch,
Germany), had early training from his father,
a well-known band-master and composer of
military music. In 1880-90 he studied at the
STOCKER
STOEVING
375
Cologne Conservatory under Wiillner, Japha,
Humperdinck, Gustav Jensen and Gustav
Hollander, becoming proficient in violin and
composition. On his graduation with highest
honors he was chosen from over fifty com-
petitors as a first violinist in the famous
Municipal Orchestra. In 1895, having met
Thomas in Cologne, he came to the Chicago
Orchestra. In 1901-05 he was assistant-
conductor and in 1905 Thomas' successor.
In 1918-19 he was temporarily withdrawn,
awaiting completion of his American citizen-
ship. In 1920 he added to his duties the care
of the Civic Music Student Orchestra. Hia
compositions include :
Symphony No. 1, in C minor (1910).
Symphony No. 2, in E-flat (1915, not yet given).
Symphonic Variations, in B minor (1904).
Symphonic Poem, 'Life,' in E-flat, in memory
of Theodore Thomas (1905).
Overture, 'Life's Springtide,' in A (1912, given in
1913).
Overture, 'To a Romantic Comedy,' in D (1917,
given in 1918).
Overture, 'Nature,' in D (not yet given).
Four Symphonic Sketches, 'The Seasons' (1911,
given in 1912, Berlin).
Symphonic Waltz in D (1907, given at Winona
Lake).
Improvisation and Wedding Music (1907, Pitts-
burgh).
Concerto in D minor, for violin (1915, Norfolk
Festival, Zimbalist).
Festival March and 'Hymn to Liberty,' for 20th
anniversary of the Chicago Orchestra (1910).
March and 'Hymn to Democracy,' in E-flat (1919).
Quartet in C minor, op. 6, for strings.
Quintet in B-flat minor, op. 8, for strings.
Sextet in F, op. 3, for strings.
Also songs, violin- and piano-pieces, and many
orchestral arrangements. [ R.8 ]
STOCKER, STELLA, nee Prince (Apr. 3,
1858, Jacksonville, 111.), graduated at the
University of Michigan, spent a year at
Wellesley College and was later at the Sor-
bonne in Paris. She began music at the
Jacksonville Conservatory, studied piano
with Frau, Gliemann in Dresden and Xaver
Scharwenka in Berlin, singing with Sbriglia
in Paris (1910-13), and counterpoint and
composition with Klein in New York. Being
much attracted by the music of the Indians,
she has lived among them, becoming a member
of one of the Ojibway tribes, with the name
' O - mes - qua - wi - gi - shi - go - que ' (' Red - Sky-
Lady'). In her compositions Indian melodies
appear without change, especially in the
choruses of her plays. She has lectured on
Indian music and legends in America and
abroad. 'Sieur du Lhut,' a play in four acts,
and 'The Marvels of Manabush,' an Indian
pantomime in three acts, make liberal use of
Indian themes. Earlier and more conventional
works are the operettas 'Beulah, Queen of
Hearts,' 'Ganymede' and 'Raoul,' besides
pieces for piano. She is an active member of
the New York and Chicago Manuscript
Societies. [ R.7 ]
STOCKHOFF, WALTER WILLIAM
(Nov. 12, 1887, St. Louis), who is entirely self-
taught in music, has been teaching in St.
Louis since 1904. His published works in-
clude, for the piano, a Sonata, 'in contem-
plation of the Nations at War ' ; 'In the
Mountains,' a set of seven impressions ; a
Lullaby; and twelve 'Quodlibets' (all Breit-
kopf) ; and also three piano-trios. He has
in manuscript works for orchestra, piano and
voice, and further chamber-music. His writ-
ing has been thus highly praised by Busoni :
'In the hands of an intelligent virtuoso, a
sympathetic interpreter, the seven 'Im-
pressions' will create a rich, brilliant and most
fascinating effect.' [ R.9 ]
STODART, ROBERT. See Register, 3.
STOECKEL, CARL (b. 1858). See Reg-
ister, 8.
STOECKEL, GUSTAV JACOB (1819-
1907). See Register, 4.
STOESSEL, ALBERT FREDERIC (Oct.
11, 1894, St. Louis), after preliminary edu-
cation in St. Louis, became a pupil of Hess
and Wirth at the Berlin Hochschule. His
d6but as violinist was made there with the
Bliithner Orchestra, and in America with the
St. Louis Orchestra in 1915. In Berlin he
was a member of the Willy Hess String-
Quartet and was associated with leading
artists in concert-work. After service in
the U. S. Army he resumed concert-work in
1919. He has composed a string-quartet
in D (1914, Berlin), a string-quintet in C
minor (1915, Amsterdam), violin-pieces, and
songs. [ R.IO ]
STOEVING, CARL HEINRICH PAUL
(May 7, 1861, Leipzig, Germany), after
general training at the Gymnasium, had three
years at the Leipzig Conservatory, with
Schradieck as his chief teacher, followed by
work with Leonard in Paris. In 1881-82
he taught violin at the Konigsberg Con-
servatory, and in 1882-83 was concertmaster
of a symphony-orchestra in Hamburg. After
a concert-tour in Russia and Scandinavia,
in 1884 he came to the United States and
toured extensively, part of the time with the
Mendelssohn Quintette Club. From 1896
he was in London, at first largely in concert-
work, but from 1898 as teacher at the Guild-
hall School of Music and from 1907 at the
Trinity School of Music. His The Art of
Violin-Bowing, 1902, went to many editions
in both English and German and made him
known as an authority. He then added
The Story of the Violin, 1905, an ingenious
blending of history and romance that has
become a classic, and, more recently, Elements
of Violin-Playing and a Key to Sevcik's Works,
376
STOJOWSKI
STOKOWSKI
1914. He has also written stories and novel-
ettes, with the violin as center of interest,
for English and American magazines (also
in book-form in German). In 1914 he re-
turned to America, dividing his time as teacher
between New York and the New Haven School
of Music, of which he was director in 1914- 18.
He has published ' Lyric Pieces,' op. 1, ' Summer
Idyls,' op. 2, 'At the Fountain,' op. 4, an
Album-Leaf and Concert-fitude, op. 6, and a
'Danish Dance,' op. 8, all for violin and piano.
He has also written a string-quartet, four
pieces for string-orchestra, a violin-concerto in
one movement, a Capriccio for four violins, a
prize Romance for violin and orchestra, two
song-cycles,^ etc. In manuscript he also has
further literary works. [ R.7 ]
STOJOWSKI, SIGISMOND DENIS AN-
TOINE (Apr. 8, 1870, Strzelce, Poland), the
son of a Polish noble, had his early education
in the Cracow Lyceum and ] under Zelenski
at the Conservatory, graduating in 1887.
As a child he played in the salon of Princess
Czatoryska, once a pupil of Chopin, and in
1883 appeared with orchestra, playing Beet-
hoven's C minor concerto with an original
cadenza. In 1887-89 he studied at the
Sorbonne in Paris and at the Conservatory
under Diemer, Dubois and Delibes, graduating
in 1889 with honors in piano and counterpoint,
and then continuing under the guidance of
Gorski and Paderewski. In 1891 he gave
a concert in the Salle iSrard with the Colonne
Orchestra with an original program, in-
cluding his piano-concerto in F-sharp minor
and an orchestral Ballade. An orchestral
suite from this period which attracted Tchai-
kovsky's interest was later given by Von
Biilow in Hamburg and by Halle in Man-
chester. After some years of life in Paris,
with many concert-tours, in 1905-11 he was
head of the piano-department of the In-
stitute of Musical Art in New York and in
1911-17 at the Von Ende School, often return-
ing to Europe for concerts — notably in 1913,
when he gave his 2nd Concerto in London
with Nikisch. He has played often with
leading orchestras in America, and in 1912
gave a notable series of historical concerts
in New York. During the war and since he
has been specially active on behalf of Poland.
As a teacher he is the authorized exponent
of Paderewski's methods, and counts among
his pupils players like Novaes, Levitzky,
Arthur Loesser and Elenore Altman. In
1918 he married his former pupil, Luisa
Morales-Machedo of Lima. His compositions
include (all for piano except as noted)
Two 'PensSes Musicales,' op. 1 (Schott).
Deux Caprices, op. 2 (Augener).
Concerto in F-sharp minor, op. 3, for piano and
orchestra (Augener).
Troi3 InterraMes, op. 4 (Schott).
Quatre Morceaux, op. 5 (Schott).
Variations and Fugue, op. 6, for string-quartet.
Cantata, 'Le Printemps,' after Horace, op. 7,
for chorus and orchestra (Novello, given at
Buckingham Palace).
Three Piano-Pieces, op. 8 (Schott).
Suite in E-flat, op. 9, for orchestra (Schott).
'Deux Orientales,' op. 10 (Schott).
Five Songs, poems by Asnyk, op. H (Schott). ]
'Danses Humoresques,' op. 12 (Augener).
Sonata in G, op. 13, for violin and piano (Schott).
Three Piano-Pieces, op. 15 (Schott).
Deux Caprices, op. 16 (Schott).
Sonata in A, op. 18, for 'cello and piano (Schott).
'Cinq Miniatures,' op. 19 (Heugel).
Romanza, op. 20, for violin and orchestra (Peters).
Symphony in D minor, op. 21 (Peters, also for
piano, four hands).
Concerto in G minor, op. 22, for violin and or-
chestra (Schmidt).
Symphonic Rhapsody, op. 23, for piano and or-
chestra (Peters).
Five 'Polish Idyls,' op. 24 (Peters).
Five 'Romantic Pieces,' op. 25 (Peters).
Four Piano-Pieces, op. 26 (Peters).
Fantaisie, op. 27, for trombone and piano (1905,
for Paris Conservatory competition) (Evette).
Deux Mazurkas, op. 28 (Schmidt).
' Aus Sturm und Stille,' op. 29, six pieces (Peters).
'Trois Esquisses,' op. 30 (Schmidt).
Concerto in D, op. 31, for 'cello and orchestra
(Heugel).
Concerto — Prologue, Scherzo, Variations, op. 32,
for piano and orchestra (Heugel).
Six Songs, poems by Tetmajer, op. 33 (Heugel).
Trois Etudes de Concert, op. 35 (Heugel).
Four 'Poemes d'6t4,' op. 36 (Schirmer).
Sonata in E, op. 37, for violin and piano (Heugel).
Fantaisie, op. 38 (Heugel).
Five 'Aspirations,' op. 39 (Heugel).
'A Prayer for Poland,' op. 40, for chorus, organ
and orchestra (Schirmer).
Other piano-pieces and songs, without opus-no.
(Schott, Heugel).
Among unpublished works are an unfinished
2nd Symphony, a Ballade and Scherzo for
orchestra, a Concerto in F minor for piano,
a piano-quintet (unfinished), etc. [ R.9 ]
STOKOWSKI, LEOPOLD ANTON STAN-
ISLAW (Apr. 18, 1882, London, Eng-
land), was of Polish parentage. His early
education was in England, France and Ger-
many, and included violin, piano and organ.
In 1905-08 he was organist at St. Bartholo-
mew's in New York. After a year in Europe
as guest-conductor, in 1909-12 he was con-
ductor of the Cincinnati Orchestra, going
thence in 1912 to be leader of the Philadelphia
Orchestra. He holds a Mus.B. from Oxford
and a Mus.D. from the University of Penn-
sylvania (1917). In 1911 he married the
pianist Olga Samaroff. Among large works
introduced by him in America are Mahler's
8th Symphony and his cycle 'Das Lied von
der Erde,' Rabaud's 2nd Symphony and
Schonberg's 'Chamber Symphony.' He has
also been active in bringing out works by
American composers (see Philadelphia Or-
STOLZ
STRUBE
377
chestra). His rise into prominence as an or-
chestral conductor of the first class has been
extremely striking. [ R.9 ]
STOLZ, PAUL G. See Colleges, 3 (Buck-
nell U., Pa.).
STONE, JOSEPH. See Register, 2, and
Tune-Books, 1793.
STOKER, EUGENE HAMILTON. See
State Universities (Ida.).
STORER,; MARIA :(d. 1795). See Regis-
ter, 1.
STOUGHTON MUSICAL SOCIETY,
THE, of Stoughton, Mass., was organized in
1786 as a men's chorus. It grew out of a
singing-school conducted by Billings. Though
not the first musical organization in the United
States, it occupies a unique place because of
its unbroken history to the present as an
active choral society. It is now a large mixed
chorus. It issued the Stoughton Collection,
1828, and another compilation under similar
name in 1878, the latter valuable because
preserving old pieces of 'psalmody.'
STRAKOSCH, MAURICE (1825, Lem-
berg, Galicia : Oct. 9, 1887, Paris). See
article in Vol. iv. 713. In January, 1857, he
managed his first season of Italian opera in
New York. In 1859 he took his company to
Chicago for a series of performances. He wrote
the operas ' Sardanapalus ' and 'Giovanna di
Napoli ' (given in New York) , some piano-pieces
and the books Souvenirs d'un Impresario, 1887,
and Ten Commandments of Music for the Per-
fection of the Voice, 1896. [ R.4 ]
STRAKOSCH, MAX (1834-1892). See
note in Vol. iv. 713, and Register, 4.
STRANSKY, JOSEF (Sept. 9, 1874, Hupo-
lec, Bohemia), was originally trained in
medicine at the universities of Prague,
Vienna and Leipzig, but also studied music
under Lostak, Fibich and Dvorak in Prague
and with Fuchs and Bruckner in Vienna.
After his graduation in 1896 he turned to a
musical career. In 1898-1900 he was con-
ductor at the German National-Theater in
Prague and in 1900-09 at the Hamburg Opera,
with many engagements elsewhere in opera
and concert. In 1909-10 he led the Bliithner
Orchestra in Berlin and was chief conductor
of the Wagner Concerts at the New Opera.
In 1910-11 he was in charge of symphony-
concerts in Dresden, besides further activity
as guest-conductor. In 1911 he became
Mahler's successor as conductor of the New
York Philharmonic Society, where he intro-
duced important reforms in the orchestra.
He has written two operas ('Der General'
often given in Hamburg), a Symphonic Suite
(given in Dresden and Berlin), various songs
(Schuberth, Simrock), and arrangements of
Berlioz' 'Beatrice et B6n6dict' and of Gluck's
'Paride ed Elena.' [ R.IO ]
{STRAUSS, RICHARD (June 11, 1864,
Munich, Germany). See article in Vol. iv.
717-20, and note in v. 668. His further operas
are 'Der Rosenkavalier ' (1911, Dresden, 1913,
New York), 'Ariadne auf Naxos' (1912,
Stuttgart, and, revised, 1916, Berlin) and
'Die Frau ohne Schatten' (1919, Vienna),
besides the ballet ' Josef s-Legende ' (1914,
Paris). He has also produced the elaborate
' Alpensymphonie ' (1915, Berlin, 1916, Phila-
delphia, Cincinnati, New York). The latter is
a fresh illustration of his technical mastery.
See bibliography in Baker, Diet, of Musicians,
pp. 921-2.
STRICKLAND, LILY TERESA (b. 1887).
See Register, 9.
STRONG, EDWARD (b. 1870). See Col-
leges, 3 (Carleton C, Minn.).
STRONG, GEORGE TEMPLETON (May
26, 1856, New York). See article in Vol.
iv. 728-9. His Symphony 'In the Mountains*
was given in New York on Nov. 24, 1887,
and the 'Sintram' Symphony on Apr. 12,
1892. The following works should be added:
'Marchen' — 'Gestrebt,' 'Gewonnen,' 'Geschei-
tert,' op. 12, for violin and orchestra.
Tonstiick for English horn and organ.
'Knights and Naiads,' for soli, chorus and or-
chestra.
Symphonic Idyl, 'An der Nixenquelle,' for two
pianos.
Symphony No. 3, 'An der See.'
Four Pieces — 'At Sunset,' 'Peasants' Battle-
March, 'In the Old Forest,' 'The Awakening
of the Forest-Spirits,' for orchestra.
His humorous trio for violins and viola,
'A Village Music-Director,' was first given
in America by the Flonzaley Quartet in 1917.
[ R.6 ]
STRONG, SUSAN (b. 1875?). See. Reg-
ister, 8.
STRUBE, GUSTAV (Mar. 3, 1867, Bal-
lenstedt, Germany), had his first lessons from
his father, and entered the Leipzig Con-
servatory in 1884, studying violin with Brod-
sky and Herrmann, piano with Reckendorf,
ar^d harmony and composition with Jadassohn
and Reinecke. In 1S90 he came as a first
violinist to the Boston Symphony Orchestra,
continuing till 1913. During this period he
wrote three overtures, two symphonies, two
violin-concertos, a string-quartet, two sym-
phonic poems with viola obbligato, a 'cello-
concerto, a Rhapsody for orchestra, a cantata
for men's chorus and orchestra, a Rhapsody
for chorus and orchestra, and many violin-
pieces. For twelve years he was one of the
conductors of the Popular Concerts, and for
six years led the orchestral numbers at the
Worcester Festivals. Since 1913 he has
taught harmony, counterpoint and com-
position at the Peabody Conservatory in
Baltimore, and since 1916 he has been con-
378
STUDEBAKER HALL
SZUMOWSKA
ductor of the Baltimore Symphony Or-
chestra. Important pieces since 1913 are
Variations for orchestra, the three-act Ameri-
can opera 'Ramona,' a sonata for violin and
piano, a violin-concerto, a sonata for viola
and piano, and two symphonic poems for
orchestra. [ R.8 ]
STUDEBAKER HALL, in Chicago, in the
Fine Arts Building, was opened in 1895.
It has always been a headquarters for concerts
and from 1899 was long used for opera in
English and other opera-performances. See
Upton, Musical Memories, pp. 312-6.
STURANI, GIUSEPPE. See Register, 9.
SUCHER, F. J. See Colleges, 3( Eureka
C, 111.).
SULLY, Mrs. See Register, 2.
SURETTE, THOMAS WHITNEY (Sept.
7, 1862, Concord, Mass.), graduated from
Harvard in 1891, studying piano with Foote
and theory with Paine. In 1883-93 he was
organist at Concord, in 1893-94 music-master
at the Hill School in Pottstown, Pa., and in
1895-96 organist at Christ Church in Balti-
more. From 1895 he took up lecturing on
music both under the American Society for
the Extension of University Teaching and
(since 1909) also on the extension-staff of
Oxford University. His activity in this
field has been extensive in America and
England, and he has prepared useful syllabi
of music-history. He has also published The
Appreciation of Music, 1907, with D. G. Ma-
son, The Development of Symphonic Music,
1915, Music and Life, 1917, and many articles.
His compositions include the operetta 'Pris-
cilla, or the Pilgrim's Proxy,' the dramatic
ballad 'The Eve of St. Agnes,' for soli, chorus
and orchestra (1898), the romantic opera
'Cascabel' (1899), anthems and instrumental
pieces. [ R.7 ]
SUTRO, FLORENCE EDITH, nee Clinton
(1865-1906). See Register, 7.
SUTRO, ROSE LAURA J(b. 1870) and OT-
TILIE (b. 1872). See Register, 8.
SVECENSKI, LOUIS (b. 1862). See Reg-
t SVENDSEN, JOHAN SEVERIN (Sept.
30, 1840, Christiania, Sweden : June 14,
1911, Copenhagen, Denmark). See article in
Vol. iv. 758-9. From 1896 he also conducted
at the Royal Theater in Copenhagen. In 1908
he retired from active service.
SWAN, TIMOTHY (1758-1842). See Reg-
ister, 2, and Tune-Books, 1785.
SWARTHOUT, MAX VAN LEWEN (b.
1880). See Register, 9.
SWEENEY, GEORGE C. See Tune-
Books, 1810.
SWEETSER, JOSEPH EMERSON (1825-
1873). See Tune-Books, 1849.
SWEETZER, BENJAMIN, Jr. See Tune-
BooKs, 1839.
SWIFT, SAMUEL (Jan. 19, 1873, Newark,
N. J. : July 21, 1914, New York), gradu-
ated from the University of Pennsylvania in
1894, having also studied at the Philadelphia
Musical Academy and been organist in 1891-93
at churches in Wilmington, Del. In 1894-1907
he was critic for the New York 'Evening
Mail,' in 1900 going abroad as correspondent.
In 1907-09 he was on the staff of the 'Tribune'
and from 1909 on that of the 'Sun.' He was
one of the founders of the New Music Society
and a member of the MacDowell Club and
other organizations. [ R.8 ]
SYMPHONY HALL, in Boston, was built
in 1899, especially to provide a headquarters
for the Boston Symphony Orchestra. One
of its leading founders was Maj. Henry L.
Higginson, the patron of the orchestra. See
cut in Vol. i. 368.
SYMPHONY SOCIETY OF NEW YORK,
THE. See article in Vol. iv. 805. In 1914
Henry H. Flagler assumed responsibility for
the financial support of the orchestra. In
1920 Mr. Damrosch took the orchestra to
Europe for a tour of several weeks in France,
Italy, the Low Countries and England.
Among the novelties introduced have been
Elgar's 2nd Symphony (1911), Sibelius' 4th
Symphony, Fanelli's 'Tableaux Symphoniques'
and Elgar's 'Falstaff' (1913), Kolar's Sym-
phonic Suite and Ravel's 'Daphnis et Chloe'
(1914), Delius' 'Summer Night on the River'
and 'On Hearing the First Cuckoo,' and
Damrosch's music for 'Iphigenia in Aulis,'
'Medea' and 'Electra' (1915, the last three
repeated in 1918), and Griffes' 'Poem' for
flute and orchestra (1919). In several seasons
about 1910 series of Beethoven concerts were
a feature. In 1908 a new-found Trio of his for
harpsichord, flute and bassoon was brought out.
SZUMOWSKA, ANTOINETTE (Feb. 22,
1868, Lublin, Poland), had her general edu-
cation in Warsaw and studied piano with
Strobl and Michalowski there. In 1890-95
she was with Paderewski in Paris. In 1891
she appeared at the Salle £]rard, in 1892 many
times in England, and in 1893 toured again
there and in Russia and Poland. In 1895
she came to America, playing with the Boston
Symphony, New York Symphony and Thomas
Orchestras. In 1896 she married the 'cellist
Joseph Adamowski, and, with him and his
brother, formed the Adamowski Trio. During
the war she devoted herself largely to work
as president of the Friends of Poland. [ R.8 ]
TALBOT, HOWARD (b. 1865). See Reg-
ister, 8.
TALBOT, THOMAS R. (b. 1884). See Reg-
ister, 10.
TAMARO, JOSEF (1824-1902). See Reg-
ister, 6.
t TANIEIEV, SERGEI IVANOVITCH
(Nov. 25, 1856, Govt, of Vladimir, Russia :
June 18, 1915, Moscow). See article in Vol.
V. 17. In 1889-1906 he was professor of
counterpoint and composition at the Moscow
Conservatory, and his fine library was be-
queathed to that institution. Among his
famous pupils are Scriabin and Rachmaninov.
To the list of works should be added a 'Suite
de Concert,' op. 28, for violin and orches-
tra ; two string-quintets, op. 14 in G and
op. 16 in C ; a string-quartet in B-flat, op.
19 ; a piano-quartet in E, op. 20 ; two string-
trios, op. 21 in D and op. 31 in E-fiat ; a piano-
trio in D, op. 22 ; a prelude and fugue in
G-sharp minor, op. 29, for two pianos ; about
40 songs and a number of choruses. See
Montagu-Nathan, Contemporary Russian Com-
posers, 1917.
TAPPER, BERTHA, n6e Feiring (1859-
1915). See Register, 7.
TAPPER, THOMAS (Jan. 28, 1864, Can-
ton, Mass.), gained his general education in
history, literature and languages through pri-
vate tutors. He studied music at the Peter-
eilea Academy in Boston, continuing it
with art-subjects in Europe. For some
years he taught theory and composition in
Boston. He edited 'The Musical Record and
Review' in 1903-04 and 'The Musician' in
1904-07. Since 1905 he has been lecturer at
the Institute of Musical Art in New York,
in 1907-09 was director of the Music School
Settlement, and since 1908 has been music-
director at New York University. In 1911
he was made Litt.D. by Bates College. In
1895 he "married the able Norwegian pianist
Bertha Feiring. He has been a frequent
contributor to musical and literary magazines,
and has published many books. Those
directly relating to music include Chats with
Music-Students, 1890, The Music-Life, 1892,
Music-Talks with Children, 1896, Pictures
from the Lives of the Great Composers, 1899,
The Child's Music-World, 1896, First Studies
in Music-Biography, 1900, Education of the
Music-Teacher, Essentials in Music-History,
1914 (with Percy Goetschius), and many text-
books for elementary and advanced music-
study, such as The Melodic Music-Course, 28
vols., with charts (with F. H. Ripley), a series
on Music-Theory, 6 vols., and The Modern
Graded Piano-Course, 19 vols., besides a few
translations. He also has in preparation a
number of further manuals on music-history,
appreciation and theory. Besides specializing
in musical education, he has recently given
great attention to the subject of community-
music, on which he has a book in view. Out-
side of music, he has published much in general
literature and in the field of commercial
efficiency. [ R.7 ]
TAWS, CHARLES (d. 1833). See Register,
2.
TAYLOR, DAVID CLARK (Nov. 11, 1871,
New York : Dec. 7, 1918, New York),
graduated from the College of the City of
New York in 1890, and studied music with
O. W. Wilkinson, Alfred Remy and others.
He was long connected with The Macmillan
Company. He published The Psychology of
Singing, 1908 (in German, 1910), New Light
upon the Old Italian Method, 1916, Self-Help
for Singers, 1914 (in German, 1914) and The
Melodic Method in School Music, 1917. He
had charge of the department of Vocal Music
in The Art of Music, 1914-17, and wrote many
articles upon topics related to singing. [ R.9 ]
TAYLOR, JOSEPH DEEMS (Dec. 22, 1885,
New York), was educated at the Ethical Cul-
ture School and graduated from New York Uni-
versity in 1906. He studied composition
with Oscar Coon. Besides his work as
composer, in 1916-17 he was war-correspond-
ent for the (Sunday) 'Tribune' and since
1917 has been associate-editor of 'Collier's
Weekly.' In 1919 he lectured in Denver
on music-history and appreciation. His works
include a symphonic poem, 'The Siren Song,'
op. 2 (Nat. Federation of Musical Clubs prize,
1913), 'The Chambered Nautilus,' op. 7, for
chorus and orchestra (1915, Schola Cantorum)
(Ditson), the cantata 'The Highwayman,'
op. 8, for chorus and orchestra (1914, Peter-
boro Festival) (Ditson), the song-cycle
'The City of Joy,' op. 9 (Ditson), the suite
'Through the Looking-Glass,' op. 12, for
strings, wind and piano, 'Six Lyrics of James
Stephens,' op. 13 (J. Fischer), Seven Tran-
scriptions of Armenian Folk-Songs, op. 14 (J.
Fischer). He has also edited the Schumann
Club Series, arrangements for women's voices,
60 nos., 1919 (J. Fischer) and joined Schindler
in translating many Russian and Alsatian
folk-songs, beside other translations of Russian,
French, German and Italian songs. [ R.IO ]
TAYLOR, RAYNOR (1747, England :
1825, Philadelphia), like G. K. Jackson, who
was nearly of the same age, had his first school-
ing as a boy in the Chapel Royal. In this ca-
pacity he is said to have assisted at Handel's
funeral in 1759 — and to have lost his hat in the
379
380
TAYLOR
THAYER
great man's grave. From about 1765 for some
years he was organist at Chelmsford, not far
from London. His success as a ballad-writer
and his natural bent for the stage then led to
his becoming music-director for one of the
London theaters. Somewhere before 1785
he was the teacherjof Reinagle, who was eleven
years younger. In 1792 he came to Baltimore,
gave some concerts there and at Annapolis,
where for a time he was organist at St. Anne's,
but in 1793 betook himself to Philadelphia.
Here for thirty years he was the Nestor of the
fine circle to which Reinagle, Carr and Schetky
belonged. For most of this period he was
organist at St. Peter's. In 1820 he was one
of the founders of the Musical Fund Society
and honored in its councils. As a player
he was famous for improvisation. He was
also a clever stage-singer, with a gift for the
comic and burlesque. He composed both
vocal and instrumental works, but nothing
remains except some unimportant songs.
In 1796 he gave a program, half of which was
made up of his own compositions. In 1799
he and Reinagle prepared a 'Monody' over
the death of Washington which made a deep
impression. The titles of several plays by
him or for which he wrote accompaniments
are given by Sonneck {Concert-Life, pp. 42,
47, 140, 144-5, and in ' Early American Op-
eras,' I. M. O. Sammelbde. 6. 458, 486, 488).
See also Madeira, passim. [ R.2 ]
TAYLOR, SAMUEL PRIESTLEY (1779-
1875?). See Register, 3.
TAYLOR, VIRGIL CORYDON (1817- ? ).
See Tune-Books, 1846.
TECHNICON, THE. See note in Vol. ii.
266. The inventor, J. Brotherhood, was a
Canadian. For some time he was in New
York, seeking to promote the use of his ap-
paratus, which he patented in many countries
in 1885. His ideas as to the importance of
training the extensor muscles as well as the
flexors were sound, and the apparatus was
well designed. For a time it was manufac-
tured at Brattleboro, Vt.
'TEMPLE OF MINERVA, THE.' An
'oratorio' or, rather, an allegorical operetta
in two scenes by Francis Hopkinson, given
in Philadelphia in 1781 at an entertainment
tendered by the French Minister to Gen.
Washington. Only the libretto is extant.
See Sonneck, Francis Hopkinson, and I.M.
G. Sammelbde. 5. 148-51.
'TEMPLE-DANCER, THE.' A one-act
opera by John Adam Hugo, produced at the
Metropolitan Opera House on Mar. 12, 1919.
TERRIL, ISRAEL. See Tune-Books,
1806.
t TERRY, RICHARD RUNCTMAN (1865,
Ellington, England). See article in Vol. v.
668. Besides going forward with his work
in recovering early Catholic music ia England,
in 1911 he was extension-lecturer for Oxford
University, in 1911-12 head of the Union of
Music-Directors of Secondary Schools, in 1913
lecturer at Birmingham University and in 1915-
17 examiner for Dublin and Birmingham Uni-
versities. He has written five masses, a
Requiem and many motets, and has edited sev-
eral collections of old English motets and The
Official Catholic Hymnal for England, with a
book on Catholic Church-Music. See article in
' Musical Opinion,' January, 1920.
JTETRAZZINL LUISA (1874, Florence,
Italy). See article in Vol. v. 668. In 1904
she sang as Gilda in 'Rigoletto' in San Fran-
cisco, and then went to Mexico and South
America. Though announced at the Metro-
politan Opera House for 1905-06 and at the
Manhattan for 1906-07, she failed to appear
in either case. But after her London debut
in 1907 she came to New York, appearing at
the Manhattan as Violetta in 'La Traviata' on
Jan. 15, 1908, continuing there till its closing
in 1910. She then made concert-tours, sang
at times with the Chicago and Boston Opera
Companies and revisited England. In 1913-
14 she was with the Chicago Opera Company,
and made a tour in 1919-20.
TEYTE, MAGGIE (Apr. 17, 1889, Wolver-
hampton, England), after general education
at St. Joseph's Convent in Wolverhampton,
studied at the Royal College of Music in
London, and in 1903-07 with Jean de ReszkS
in Paris. Her debut was at Monte Carlo in
1907, as Zerlina. During the next two seasons
she sang at the Opera-Comique in Paris,
appearing first as Melisande in 'Pel leas et
Melisande.' In 1910-11 she sang in London,
and from 1911-14 was with the Chicago
Opera Company, making her American debut
as Cherubino in ' Le Nozze di Figaro ' on Nov.
4, 1911, in Philadelphia. Her first appear-
ance in New York was in a song-recital on
Nov. 16, when she was praised for her rendering
of French songs. In 1915-17 she was with
the Boston National Grand Opera Company.
She has made concert-tours in America and
England, singing with leading orchestras and
in recital. Her favorite roles are Melisande
and Mimi. [ R.IO ]
THALBERG, MARCIAN (b. 1877). See
Register, 10.
THATCHER, HOWARD RUTLEDGE
(b. 1878). See Register, 9.
THAYER, ALEXANDER WHEELOCK
(Oct. 23, 1817, South Natick, Mass. : July
15, 1897, Trieste, Austria). See article in
Vol. V. 79-80. The story of Thayer and hia
Life of Beethoven is told by H. E. Krehbiel in
'The Musical Quarterly' for October, 1917.
The manuscript for the English edition by
Krehbiel has been ready since 1914, but
THAYER
TIMM
381
publication has been deferred because of war
conditions. Volumes ii. and iii. of the orig-
inal, as revised by Riemann, were pub-
lished in 1910-11. With the German edition
complete, Krehbiel began the English version,
and by the omission of unnecessary material
expects to bring it within three volumes of
about 500 pages each. Several plans are being
made] (1920) to facilitate the issue of the long-
awaited book. [ R.4 ]
THAYER, ARTHUR WILDER (b. 1857).
See Register, 6.
THAYER, WHITNEY EUGENE (Dec.
11, 1838, Mendon, Mass. : June 27, 1889,
Burlington, Vt.), although beginning music-
study rather early, did not pursue it seriously
till he came under John K. Paine's influence
and with him was chosen to play at the opening
of the organ in Boston Music Hall on Nov. 2,
1863. Two years later he went to Berlin,
taking organ and counterpoint with Haupt
and composition with Wieprecht. On his
return to Boston he was organist successively
at the Arlington Street, HoUis Street, Old
First Unitarian and New England Churches,
and at Harvard Church in Brookline. In
1881-86 he was organist at the Fifth Avenue
Presbyterian Church, in New York. After
a year at Holy Trinity in Harlem, he gave up
church-playing and devoted himself to teach-
ing and composition. He gave many organ-
recitals in America and abroad, beginning a
long series in Boston in 1868. An enthusiast
for the improvement of church-music, he gave
many lectures, edited 'The Organist's Journal
and Review' and 'The Choir Journal and
Review,' and conducted the Boston Choral
Union and the New England Church-Music
Association. Among his pupils were Edward
Fisher, Chadwick, J. W. Andrews, Sumner
Salter, Gerrit Smith and W. C. Gale. He
received the degree of Mus.D. from Oxford
University. Among his compositions are a
Festival Cantata for soli, eight-part chorus
and orchestra, a Mass in E-flat, a fugue for
organ, five organ-sonatas, organ-variations
(two performers) 'on the Russian National
Hymn ; many detached organ-pieces ; songs
and part-songs ; and a School of Organ-Playing,
5 parts. His private organ-studio in Boston,
opened in 1875, was one of the first of its kind
in the country. [ R.5 ]
THAYER, WILLIAM ARMOUR (b. 1874).
See Colleges, 3 (Adelphi C, N. Y.).
THEODORINI, HELENA (b. 1862). See
Register, 8.
THIBAUD, JACQUES (Sept. 27, 1880,
Bordeaux, France). See article in Vol. v. 83.
His first visit to America was in 1903, and he
has repeatedly come again, appearing with
leading orchestras and in ensemble, especially
in conjunction with Harold Bauer. [ R.9 ]
THOMAS, ISAIAH (1749-1831), See Reg-
ister, 2, and Tune-Books, 1786.
THOMAS, JOHN ROGERS (1829-1896).
See Register, 4.
THOMAS, THEODORE (Oct. 11, 1835,
Esens, Germany : Jan. 4, 1905, Chicago).
See article in Vol. v. 88, with many additional
data in iv. 801-3. Upton, Theodore Thomas,
a Musical Autobiography, 2 vols., 1905, is a
notable memorial. The second volume gives
concert-programs from 1855 (the Mason-
Thomas Soirees) to 1905 (the Chicago Or-
chestra series) . There is also a long list of the
works which he introduced in America. Rose
Fay Thomas, Metnories of Theodore Thomas,
1911, also sheds much light upon his character
and career. The original title of the Chicago
Orchestra was resumed in 1913. [ R.4 ]
THOMAS ORCHESTRA, THE. See Vol.
iv. 801-3, and references in preceding article.
THOMPSON, ALEXANDER STEWART
(b. 1859). See Colleges, 3 (Ohio U.).
THOMPSON, JOHN WINTER (b. 1867).
See Register, 8.
THOMS, WILLIAM M. (1852-1913). See
Register, 5.
t THOMSON, CfiSAR (Mar. 18, 1857,
Li^ge, Belgium). See article in Vol. v. 89.
He visited America in 1894-95. Since 1914
he has been teacher of violin at the Paris
Conservatory. He has edited collections of
early Italian violin-music, has composed a
Fantaisie on Hungarian themes for violin and
is author of a violin-method (1913).
THOMSON, SAMUEL. See Tune-Books,
1810.
THUNDER, HENRY GORDON b. (1865).
See Register, 7.
THURBER, JEANNETTE, n6e Meyer.
See Register, 7.
THURSBY, EMMA CECELIA (Feb. 21,
1854, Brooklyn, N. Y.). See article in Vol.
V. 99. Her first public appearance was at
Bedford Church in Brooklyn, with Gilmore's
Band. After a successful tour she then became
soloist at the Broadway Tabernacle in New
York at a salary of $3000. Later tours and
her trip to Europe in 1878 were under the
management of Maurice Strakosch. In 1896
she began her career in New York as teacher
of singing. She is at work upon an auto-
biography, which is to include a study of her
method of voice-development. [ R.6 ]
JTIERSOT, JEAN BAPTISTE fiLIS^E
JULIEN (July 5, 1857, Bourg-en-Bresse,
France). See article in Vol. v. 103-4. Since
1909 he has been chief librarian of the Paris
Conservatory, succeeding Weckerlin. " To the
list of works add /. /. Rousseau, 1912 (in
Maitres de la Musique).
TIMM, HENRY CHRISTIAN (1811-
1892). See Register, 3.
382
TINEL
TORRINGTON
t TINEL, EDGAR (Mar. 27. 1854, Sinay,
Belgium : Oct. 28, 1912, Brussels). See
article in Vol. v. 112. From 1909 he was
director of the Brussels Conservatory. His
sacred opera 'Katharina' was produced in
1909 at Brussels.
TIRINDELLI, PIER ADOLFO (b. 1858).
See Register, 7.
TOEDT, THEODORE J. (b. 1853). See
Register, 6.
TOLLEFSEN, CARL HENRY (Aug. 15,
1882, Hull, England), after early education
in the Brooklyn public schools, studied violin
in New York with Lichtenberg, Kneisel and
Schradieck and theory and composition with
Goetschius and Goldmark, graduating from
the Institute of Musical Art in 1908. For
two years he was a first violin in the Sym-
phony Society. He has taught in the National
Conservatory, and is now head of the violin-
department of both the Berkeley Institute
and St. Francis Xavier Academy in Brooklyn.
His wife, nee Augusta Schnabel, was trained
as pianist by Katha Widmann in Frankfort,
and by Gallico and Godowsky in New York,
making her debut in 1906 with the Symphony
Society, and later appearing with the Phil-
harmonic Society, the Scandinavian Symphony
Orchestra (of which her husband is leader) and
the Kneisel Quartet. In 1909 the Tollefsen Trio
was formed, in which Michael Penha is 'cellist,
with Mr. and Mrs. Tollefsen as violinist and
pianist respectively. The Trio has toured in
almost all parts of the United States. [ R.9 ]
TOLMAN, CARL JEAN (b. 1875). See
Colleges, 2 (Coker C, S. C).
TOMLINS, J. See Tune-Books, 1810.
TOMLINS, WILLIAM LAWRENCE (Feb.
4, 1844, London, England), as a choir-boy was
a pupil of Macfarren and Silas. He became
one of the managers of the London Tonic
Sol-fa College in 1864. In 1870 he came to
America, in 1875 located in Chicago and
became director of the Apollo Club, then a
men's chorus of sixty voices. He was in-
strumental in the change of the Club into a
mixed chorus of ultimately 400 voices, and
under his direction many excellent per-
formances were given. His connection with
the Club ceased in 1898. In 18S3 he began
organizing classes of school-children for chorus
singing, and made a specialty of this work
and of training teachers of school-music.
In 1903 he established at Chicago the National
Training School for School Music Teachers,
and was engaged by the Chicago Board of
Education as musical instructor for teachers
in the grade schools. He returned to London
in 1910. He is author of Children's Songs
and How to Sing Them, 1885. [ R.6 ]
TONNING, GERARD (b. 1860). See Reg-
ister, 7. .
TORONTO CONSERVATORY OF MU-
SIC, THE, was founded by Edward Fisher
in 1886 and opened in 1887, being the
first of its class in Canada. Dr. Fisher re-
mained its efficient head until his death in
1913, and was then succeeded by Augustus
S. Vogt. The institution was successful from
the start, and has gone on expanding till it
now is the largest music-school in the British
Empire. Including its preparatory depart-
ment, its faculty numbers 150 members.
Since 1916 its enrollment has run considerably
over 3000, not counting a still larger number
who take examinations under its auspices
elsewhere in Canada. In 1897 it bought a
large tract of land near Queen's Park, where
a series of buildings have been erected, in-
cluding a recital-hall and a dormitory for
women. From 1896 till 1918 it was so related
to the University of Toronto that the degrees
of Mus. B. and Mus. D. were accessible under
the latter's strict system. The departments
of instruction comprise the voice and all
standard instruments, elocution, artistic danc-
ing, kindergarten methods, tuning, and four
foreign languages. The work in piano, organ
and theory has always been notably strong.
Special attention is given to the teaching of
young children, and to training teachers for
them. But facilities are ample for attaining
advanced musicianship and virtuoso expe-
rience. Various forms of certificate and
diploma, in both teachers' and artists' courses,
with many scholarships and prizes, are pro-
vided. The equipment includes 110 pianos,
3 organs (that in the hall having three manuals
and 41 stops), some orchestral instruments
and a library of 650 volumes. The student
orchestra numbers 50. The Conservatory
maintains twelve branches in Toronto. Since
1898 it has also provided standardized local
examinations in several subjects at an in-
creasing number of other places outside. This
system has lately been extended so as to apply
to students in schools and colleges who cannot
work so intensively as others. In 1919 over
100 centers for such examinations were listed,
besides 25 schools, mostly in Ontario, but as
far as Quebec on the east and Vancouver on
the west. Nearly 4000 pupils apply for these
examinations annually.
'TORQUIL.' An opera by Charles A. E.
Harriss, produced in Montreal in 1896.
TORRINGTON, FREDERICK HER-
BERT (Oct. 20, 1837, Dudley, England :
Nov. 20, 1917, Toronto, Ont.), was an articled
pupil of James Fitzgerald at Kidderminster,
studying piano, organ and theory. His first
appointment as organist was at St. Anne's
in Bewdley. In 1856 he came to Canada,
and in 1857-69 was organist of St. James
Street (M. E.) Church in Montreal, where he
TOSCANINI
TOVEY
383
built up a reputation as organ-recitalist,
violinist and conductor. At the Boston
Peace Jubilee in 1869 he was leader of the
Canadian Orchestra. For four years he
remained in Boston as organist at King's
Chapel, teacher in the New England Con-
servatory, violinist and conductor of choral
societies. In 1873 he went to Toronto as
organist at the Metropolitan Methodist
Church (a position he held for 34 years) and
conductor of the Toronto Philharmonic
Society. In 1886 he arranged the first local
festival, presenting 'Israel in Egypt,' 'Mors
et Vita' and other large works. In 1888 he
founded the Toronto College of Music, now
af&liated with the University of Toronto.
As principal of this school, and in many other
ways, he aided in the introduction and
popularization of good music in Canada. In
1892 he became president of the Canadian
Society of Musicians. In 1903 he was as-
sociated with A. C. Mackenzie as conductor
of a notable festival. The University of
Toronto conferred upon him the honorary
degree of Mus.D. His compositions included
organ-pieces, services, songs and choruses.
[ R.4 ]
TOSCANINI, ARTURO (Mar. 25, 1867.
Parma, Italy), was educated in the Musical
Academy of Parma (now Conservatory),
studying 'cello with Carini and theory with
Ferrari and Dacci. Obtaining the first prize
for 'cello at graduation, he played in orchestras,
and in 1886 finally drifted to Rio de Janeiro.
The incompetence of a conductor led to his
unexpected debut in this capacity on the
second night of his engagement. On his
return to Italy he again played in orchestras,
but was soon engaged as conductor at the
Teatro Regio in Turin. He then conducted
successively at Treviso, Bologna, Genoa
and La Scala in Milan in 1898. In 1898 he
came to the Metropolitan Opera House in
New York, as chief conductor. Resigning in
April, 1915, he returned to Italy, and during
the war lent his energies to the musical en-
couragement of patriotism and the relief of
distressed musicians. In 1916-18 he gave
series of operatic and open-air performances
at the Dal Verne Theater, the Arena and the
Verdi Conservatory in Milan, which yielded
large sums for worthy causes. For his leader-
ship of an army-band at Monte Santo he was
awarded a silver medal. In the summer of
1919 he conducted festival performances,
including several of Beethoven's 9th Sym-
phony, at Turin and Milan. During his
years at the Metropolitan he conducted
Italian, German, French and Russian operas,
all with impressive success. He introduced
in America Puccini's 'Le Villi' (1908), Cata-
lani's 'La Wally' (1909), Franchetti's 'Ger-
mania' (1910), Gluck's 'Armide' (1910),
Dukas' 'Ariane et Barbe-bleu' (1911), Wolf-
Ferrari's 'Le'Donne Curiose' (1912), Mussorg-
sky's 'Boris Godunov' (1913), Wolf-Ferrari's
'L'Amore Medico' (1914) and Montemezzi's
'L'Amore dei Tre Rh' (1914). He also
conducted there the premieres of Puccini's
'La Fanciulla del West' (Dec. 10, 1910) and
Giordano's 'Madame Sans-G6ne' (Jan. 25,
1915). He conducted nothing but opera in
New York with the exception of two notable
concerts in April, 1913, when he twice gave
Wagner's 'Faust' Overture, Strauss' 'Till
Eulenspiegel' and the 9th Symphony, In
Italy he has been equally prominent as sym-
phonic and operatic conductor. His near-
sightedness has led to reliance upon a mar-
velous musical memory, and he conducts
the most complicated scores without book.
[ R.9 ]
t TOSTI, FRANCESCO PAOLO (Apr. 9,
1846, Ortona, Italy : Dec. 3, 1916, Rome).
See article in Vol. v. 131-2. After 1913 he
lived in Rome.
TOURJ^E, EBEN (June 1, 1834, War-
wick, R. I. : Apr. 12, 1891, Boston). See
article in Vol. v. 134. Without being highly
trained as a musician, his ability and en-
thusiasm as organizer made him influential
and valuable, especially in establishing the
New England Conservatory. In 1879 he
recommended L. W. Mason as head of music-
work in the schools of Japan and helped form
the plans. In 1876 he was the first president
of the M. T. N. A. He was one of the musical
editors of the Methodist Hymnal of 1878. For
a time he was managing-editor of ' The Musical
Herald.' His degree of Mus.D. was from
Wesleyan University. [ R.4 ]
TOURRET, ANDRfi (b. 1882). See Reg-
ister, 10.
t TOVEY, DONALD FRANCIS (July 17,
1875, Eton, England). See article in Vol. v.
137. He studied for several years with Parry,
and gratefully acknowledges his indebtedness
for his advice and assistance. In 1914 he
succeeded Niecks at the University of Edin-
burgh, and in 1916 organized the Reid Or-
chestra, giving university-students the chance
to play with professionals. The result is
the now well-established series of orchestral
concerts. To the Ust of works add the follow-
ing:
Symphony in D, op. 32 (1913, Aix-la-Chapelle,
1915, London).
'Sonata Eroica,' in C, for violin alone (Schott).
Sonata in D, for 'cello alone (Schott).
Sonata in G, for two 'cellos. '•
Trio in D, for piano, violin and 'cello (Schott).
Variations on a theme from Gluck, for flute and
string-quartet (Schott).
Opera, 'The Bride of Dionysus,' in three acts,
text by R. C. Trevelyan (Longmans, 1913).
384
TOVEY
TRUNK
He contributed over forty articles on musical
subjects to the 11th edition of the Encyclo-
pcBdia Britannica.
TOVEY, HENRY D. See State Uni-
versities (Ark.).
TOWERS, JOHN (b. 1836) . See Register, 8.
TOWNER, CLEM A. (b. 1883). See Col-
leges, 2 (Oxford C, Ohio).
TRACY, JAMES MADISON (b. 1839).
See Register, 5.
TRAETTA, FILIPPO (Jan. 8, 1777, Ven-
ice, Italy : Jan. 9, 1854, Philadelphia),
was the son of the composer Tommaso Traetta
(see Vol. V. 139-40). He studied with Fenaroli
and Perillo at Venice and with Piccinni at
Naples. Imprisoned for politicaj reasons, he
escaped from Italy and settled in Boston in
1799. After sojourns in New York and Vir-
ginia, in 1822 he located at Philadelphia as
singing-teacher, and a year later established
the American Conservatorio. He composed
the oratorios 'Jerusalem in Aflfliction' (1828)
and 'Daughter of Zion' (1829); the opera
' The Venetian Maskers ' ; the cantatas ' The
Christian's Joy,' ' Prophecy,' ' The Nativity ' and
'The Day of Rest'; a 'Washington's Dead-
March'; and published Vocal Exercises, Rudi-
ments of the Art of Singing and An Introduction
to the Art and Science of Music. [ R.3 ]
TRAMONTI, ENRICO (b. 1876). See Reg-
ister, 9.
'TREASURED TOKENS.' An opera in
two acts by J. Remington Fairlamb, given at
the Chestnut Street Theatre in Philadelphia
before 1870.
TREHARNE, BRYCESON (May 30, 1879,
Merthyr Tydvil, Wales), held the firard
scholarship at the Royal College of Music in
London, where he was a pupil of Stanford,
Parry, Walford Davies, Dannreuther, Pauer
and FrankHn Taylor. In 1900-01 he taught
at the University of Wales in Aberystwyth,
and then spent ten years at the University
of Adelaide, South Australia. In 1908-11
he was director of the Repertory Theatre
at Adelaide, where he not only managed many
modern plays but also composed much in-
cidental music. In 1911 he came to Paris,
and later lived in Milan, Berlin and Munich.
Interned at Ruhleben when the war broke out,
he found opportunity to write many songs,
some orchestral music and part of an opera.
When released in 1916 he came from England
to America, since 1917 making his home in
New York. Of his 200 songs or more some
40 are now published, including 'The Night,'
'The Huguenot,' 'Jeannette,' 'The Fair Cir-
cassian,' 'Invocation,' 'A Farewell,' 'The
Aftermath,' 'Dreams,' 'Love's Tribute,' 'The
Song of France,' 'Renunciation' and 'A
Lover's Prayer.' He has besides the two
cantatas for women's voices 'A Song of
Spring' and 'England, my Mother,' orchestral
music and two operas. [ R.IO ]
TREMAINE, WILLIAM B. (1840-1907).
See Register, 5.
TRIO DE LUTECE, THE, of New York, was
formed in 1913, consisting of Georges BarrSre,
flute, Paul K6fer, 'cello, Carlos Salzedo, harp.
' TRIUMPH OF BOHEMIA, THE.' No. 5
of the 'Grove-Plays' of the San Francisco
Bohemian Club, produced in 1907. The
text is by George Sterling and the music by
Edward F. Schneider. The scene is laid in
"" the redwood forest on a midsummer-night.
'TRIUMPH OF COLUMBUS, THE.' An
opera in five acts by Silas G. Pratt, produced
in concert-form at the Quadricentennial
Columbus Celebration in New York in 1892.
TROOSTWYK, ISIDORE (July 3, 1862,
Zwolle, Holland), was a pupil of Joachim at
the Berlin Hochschule, where he graduated in
1881. After tours in Holland in 1881 and in
Germany with Anton Schott the next year,
from 1883 he taught violin at the Musiek-
School van Toonkunst in Amsterdam and
was concertmaster of the Orkest-Vereeniging,
changing in 1888 to a similar post in the
Concertgebouw. In 1890 he came to
America, in 1895 becoming head of the violin-
department of the Yale Music School and in
1902 assistant-professor there. He is concert-
master of the New Haven Symphony Or-
chestra and the founder and conductor of the
New Haven String Orchestra. [ R.8 ]
TROWBRIDGE, JOHN ELIOT (1845-
1912). See Register, 6.
TRUETTE, EVERETT ELLSWORTH
(Mar. 14, 1861, Rockland, Mass.), had his
general education at Phillips (Andover)
Academy and the Massachusetts Institute
of Technology. In 1881 he graduated from
the New England Conservatory and was
given a Mus.B. by Boston University in
1883. He then had two years of organ-study
with Haupt in Berlin, Guilmant in Paris and
Best in London and Liverpool. Since 1885
he has been organist and teacher in Boston,
from 1897 at the Eliot Church in Newton,
where he has given more than 110 cantatas
with soloists and chorus. He was a founder of
the A. G. O. and is now dean of the New
England Chapter. He has given over 400
recitals throughout the country and has
trained many players of prominence. He
has edited several collections, including
SchmidCs Standard Organ Collection, 2 vols.,
and Bach Pedal-Etudes, and has composed
an organ-suite, op. 29, 'Five Organ-Pieces
for the Church Service,' op. 31, and many
anthems and organ-pieces. He is also author
of Organ Registration, 1919. [ R.7 ]
TRUNK, RICHARD (b. 1879). See Reg-
ister, 10.
TUBES
TUNE-BOOKS
385
TUBES, FRANK HERBERT (b. 1853).
See Register, 6.
TUCKER, HIRAM G. (b. 1851). See Reg-
ister, 6.
TUCKERMAN, SAMUEL PARKMAN
(1819-1890). See Register, 4, and Tune-
Books, 1840.
TUCKEY, WILLIAM (1708, Somerset-
shire, England : Sept. 14, 1781, Philadel-
phia), apparently came to New York before
1753. In March, 1754, he announced himself
as a 'singing-master,' claiming to have been
a vicar-choral at Bristol Cathedral and parish-
clerk there, and offering to 'amend the singing
in publick congregations' and to 'set to
musick any piece on any subject.' He taught
charity-scholars at Trinity Church and in the
'60s arranged special church-music with or-
chestra. Probably he has the credit of the
first performance in America of the overture
and sixteen numbers from 'The Messiah,'
which took place on Jan. 16, 1770 at Mr.
Burns' New Room. In 1771 he solicited
subscriptions for the publication of various
works. It is not clear how he was later
occupied. He was buried in the grounds of
Christ Church in Philadelphia. See Sotmeck,
Concert-Life, pp. 176-81. [ R.l ]
TUFTS, JOHN (1689-1750). See Tune-
Books, 1721?.
TUFTS, JOHN WHEELER (1825-1908).
See Register, 4.
TUNE-BOOKS. Throughout the 17th cen-
tury, and in many places till long after 1800,
the words of congregational song in the
churches of the Colonies were exclusively
metrical versions of the Psalms. What we
now call ' hymns ' — verses not aiming to
metricize the prose of the Scripture, but
freely and originally composed — were first
made popular in England from 1706 by Isaac
Watts and still more abundantly from 1740
by the Wesleys. Watts' hymns began to be
reprinted in America about 1740, though
doubtless imported earlier. After 1750 hymns
were gradually adopted by many churches,
though without displacing the Psalms.
The music required for both Psalms and
hymns was in general form the same —
melodies in distinct phrases adapted to the
rhythm and meter of the few customary
verse-types. Until nearly the end of the 18th
century the only rhythm used in the American
churches was iambic, except for a slight
infusion of anapaests in a few cases. Trochaic
rhythm seems to have been unrealized, as it
was in England until Charles Wesley revealed
its stirring possibilities. The prevailing stanza
was of four lines, though sometimes six or eight.'
' By far the most frequent formula of syllables for
the lines was 8-6-8-6 — the old ' ballad-meter ' —
which hence came to be called 'Common Meter.'
2c
Melodies thus formed were known as
'Psalm-Tunes,' because originally used for
the Psalms. Out of this came the general
term 'Psalmody' for the total body of tunes,
for the practice or custom of singing and also
in time for the books that served as manuals. >
Until after 1750 the tunes used were entirely
derived from English sources, and most of
them were of English origin. Yet it is to be
noted that the music brought to Plymouth
and Salem was that contained in Ainsworth's
Psalter (1612), which was compiled in Am-
sterdam and included much that differed from
the less varied and vigorous forms later
brought to Boston and presumably to all
other places outside of New England, which
was derived from the musical editions of Stern-
hold and Hopkins' Psalter of 1562 or later.^
Though these books provided a considerable
body of good melodies, the actual practice
of singing everywhere degenerated or became
almost obsolete during the 17th century,
owing to the scarcity of books with music
and the growing inability to use musical
notation. When the so-called 'Bay Psalm
Book,' originally compiled in 1640, came
to have tunes added in 1690, their number was
small and their variety slight.
About 1720, perhaps earlier, a few ministers
began to agitate for the restoration of singing
on a systematic basis. The ensuing con-
troversy between 'singing by rote' and 'sing-
ing by note' lasted more than a decade, but
was finally settled in favor of the latter. This
led soon to the setting up of 'singing-schools,'
the appearance of itinerant 'singing-teachers,'
and finally to a demand for tune-books
(manuals of instruction, combined with a
selection of actual tunes) .'
The extensive movement thus inaugurated
centered first in New England, especially
Massachusetts and Connecticut, but spread
to New York and Pennsylvania, and ulti-
mately to the West and South. The churches
most affected were those called Congregational
or Presbyterian, but in most cases the move-
ment had a general community influence.
At the time of the Revolution and the rise of
national feeling it was linked up with secular
Variants were 8-8-8-8 or 'Long Meter,' 6-6-8-6 or
'Short Meter,' and, rarely, 6-6-6-6-4-4-4-4 or 'Hal-
lelujah Meter.' In certain usages, too, 10-10-10-10
or 'Tens' was not infrequent.
1 This term has persisted long after Psalmody
proper was in some degree displaced by Hymnody.
With reference to the music that accompanied both
one might wish that there were warrant for some
fresh term like 'Tunody.'
' It is unfortunate that the musical richness of
Ainsworth has not been more generally recognized.
It contained 39 tunes, many of which have decided
value, as they certainly have surprising vivacity.
' An excellent summary of this period is given in
Curwen, Worship-Music, 1st series, under 'New
England Psalmody.'
386
TUNE-BOOKS
TUNE-BOOKS
singing of the patriotic type. It did not
confine itself to 'tunes,' but expanded to
'anthems' and 'odes.' Though the technical
art displayed by editors and presently com-
posers was often crude and faulty, the move-
ment did much to spread skill in singing, to
awaken popular interest in music and to pre-
pare the way for more artistic enterprises.
In many communities the old 'Psalmody'
occupied somewhat the place of folk-song.
Tunes were at first printed from engraved
plates. The first use of music-type was in
1767, and soon became common, though not
very satisfactory till after 1800.
The subjoined bibliography indicates some-
thing of the enormous extent of the early tune-
book literature. It is largely condensed and
rearranged from Metcalf, A7nerican Psalmody,
1917, which in turn was an extension of James
Warrington, Short Titles of Books . . of Psalmody,
1898, but includes matter from other sources.
Some lesser titles and many details about edi-
tions, etc., are omitted. The chronological se-
quence is suggested by arranging the compilers
according to the date when they entered the
field.i
The reform in singing was Bet on foot by two
books :
John Tufts (1689-1750), minister at Newburj-
port. Introduction to the Art of Singing, 1721
(also '26-'44), with a peculiar letter-notation,
M, F, S, L (for mi, fa, sol, la), on the staff in-
stead of notes.
Thomas Walter (1696-1725), minister at Rox-
bury. Grounds and Rules of Music, 1721 (also
•23-'64).
Both of these derived their tunes from Playford.
From 1760 —
James Lyon (1735-94), Presbyterian minister in
Philadelphia in 1764 and then in Nova Scotia
and Maine : Urania, Phila. 1762 (also '67, '73).
See Sonneck, Hopkinson and Lyon, 1905.
Tunes in Three Parts, Phila. 1763, printed by An-
thony Armbruster (d. 1796).
Psalm Tunes for Christ and St. Peter's Churches,
Phila. 1763.
Josiah Flagg (?1738-94), pioneer in Boston in sa-
cred and secular music : Collection of Best Psalm
Tunes, 1764 (engraved by Paul Revere) ; Col-
lection of Tansur's and Other Anthems, 1766 —
both Boston. See Sonneck, Concert-Life, p.
261.
Psalms of David for the Dutch Reformed Church,
New York, 1767.
William Billings (1746-1800), an eccentric and illit-
erate tanner, with a contagious zeal for pro-
moting social song through popular instruction
and his own energetic, but unschooled, efforts
at composition : New England Psalm Singer,
1770 ; Singing Master's Assistant, 1778 (also '79,
'81) ; Music in Miniature, 1779 ; Psalm Singer's
Amusement, 1781 ; Suffolk Harmony, 1786 ;
Continental Harmony, 1794 — all Boston. All
but 11 tunes were original.
Andrew Law (1748-1821), self-taught singing-
teacher of Cheshire, Conn., who traveled widely
1 No attempt is made to include the German
hymnody of Pennsylvania, which was _ wholly un-
connected with that of the English Colooies.
(as far as Baltimore) : Select Number of Plain
Tunes, Boston, 1767 (and to 75) ; Select Har-
mony, 1778 (also to '92) ; Collection of Best Tunes
and Anthems, 1779 (and to '82) ; Musical Primer,
New Haven, 1780 (and to 1812), and Supple-
ment, 1811; Collection of Hymn Tunes, 1782
(and to '92); Rudiments of Music, 1783 (and to
'93); Christian Harmony, 2 vols., 1794 (and to
1805) ; Musical Magazine, 6 nos. 1792-1801
(combined, 1805) ; Art of Singing, 2 vols. 1794-
96 (and to 1810) ; Harmonic Companion, Phila.
1807 (and to '19) ; Art of Playing the Organ, 1809
(also '19) — all first at Cheshire except as noted.
Besides his great activity as author and compiler.
Law was noted for advocating setting the melody
in the soprano instead of tenor, and for experi-
ments with 'character-notes' (notes with heads
varying according to their scale-relation), at first
(about 1800) with but four varieties, later with
seven, and at first posited as if upon a staff, but
without staff-lines — a curious device to empha-
size scale-relations while avoiding typographical
difficulties.
Essex Harmony, Newburyport, 1770, printed or
compiled by Bailey, Part II, Salem, 1802.
John Stickney (1744-1827) : Gentleman's and Lady's
Musical Companion, Newburyport, 1774 (and to
'83).
Elias Mann (1750-1825), singing-teacher at North-
ampton, Mass. : Northampton Collection, 1778
(and to 1802) ; Massachusetts Collection, Boston,
1807. See also Albee below.
Froml7S0 —
Simeon Jocelyn (1746-1823) : Collection of Favorite
Psalm Tunes, 1780 (also '87) ; Chorister's Com-
panion, New Haven, 1782, with Amos Doolittle
(and to '92), and Parts II-III, 1790-}-; Federal
Harmony, Boston, 1793.
Oliver Brownson : Select Harmony, New Haven,
1783 (also '91) ; New Collection of Sacred Har-
mony, Simsbury, 1797.
Daniel Read (1757-1836), comb-maker and singing-
teacher at New Haven : American Singing Book,
New Haven, 1785 (and to '93) and Supplement,
1787; Musical Magazine, Vol. I, New Haven,
1786-7 ; Introduction to Psalmody, New Haven,
1790 ; Columbian Harmonist, Nos. 1-^, New
Haven, 1793-1810 (No. 1 also to 1810) and Sup-
plement ; American Musical Miscellany, North-
ampton, 1798 ; New Haven Collection, Dedham,
1818.
Timothy Swan (1758-1842), singing-teacher in
Massachusetts and Vermont : Federal Harmony,
1785 (and to '92) ; Songster's Assistant, Suffield,
1800 ; New , England Harmony, Northampton,
1801 ; Songster's Museum, Northampton, 1803.
Worcester Collection, Worcester, 1786, printed by
Isaiah Thomas (1749-1831), the author of a
notable History of Printing, 1810 (reprinted
1874).
Tunes Suited to Psalms and Hymns of the Booh of
Common Prayer, Phila. 1786.
Andrew Adgate (d. 1793), an enterprising promoter
of popular music in Philadelphia through classes
and concerts under the name of ' The Uranian So-
ciety' or 'Academy' (from 1784) ; Lessons for the
Uranian Society and Uranian Instructions, 1785-
7; Select Psalms and Hymns, 1787; Rudiments
of Music, 1788 (and to 1803) ; Selection of Sacred
Harmony, 1788 (and to 1803 or later, edited by
Husband). See Sonneck, Concert-Life, p. 103 ff.
Chauncey Langdon (1764-1830) : Beauties of
Psalmody, New Haven, 1786.
John Aitken : Litanies and Vesper Hymns and An-
thems, Phila. 1787 (also '91).
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387
Gamut or Scale of Music, Hartford, 1788 (and to
1818).
John Hubbard (1750-1810) : Harmonia Selecta,
Worcester, 1789.
Jacob French (b. 1754) : New American Melody,
1789; Psalmodisfs Companion, 1793; Harmony
o/i7armo«2/, Northampton, 1802.
From 1790^
Asahel Benham : Federal Harmony, New Haven,
1790 (and to '95) ; Social Harmony, Walling-
ford, 1798 (also '99).
Thomas Lee, Jr. : Sacred Harmony, Boston, 1790.
William Young : Selection of Sacred Harmony,
Phila. 1790 (also '94).
D. Russ : Uranian Harmony, Phila. 1791.
Samuel A. Holyoke (17C2-1820), singing-teacher in
eastern Massachusetts and New Hampshire :
Harmonia Americana, Boston, 1791 ; Massachu-
setts Compiler, Boston, 1795, with Holden below
and Hans Gram ; Columbian Repository, Exeter,
1800 or '02; Occasional Music, Exeter, 1802;
Christian Harmonist, Salem, 1804 ; Instrumental
Assistant, 2 vols. 71800-7; Vocal Companion,
Exeter, 1807 ; etc. See also Kimball below.
Oliver Holden (1765-1834?), carpenter, bookseller
and singing-teacher at Charlestown, Mass. :
American Harmony, 1792 ; Union Harmony, 2
vols. 1793 ; Charlestown Collection, 1803 ; Plain
Psalmody, 1800 — all Boston. See also Holyoke
above.
Baltimore Collection of Sacred Music, Balto. 1792.
Nehemiah Shumway : American Harmony, Phila.
1793 (also 1801).
Jacob Kimball (1761-1826), lawyer and then sing-
ing-teacher in Massachusetts : Rural Harmony,
Exeter, 1793 ; Essex Harmony, Exeter, 1800,
with Holyoke.
Joseph Stone and Abraham Wood (1752-1804) :
Columbian Harmony, 1793.
John Asplund (d. 1807) : New Collection, Balto.
1793.
Supply Belcher (1751-1836) : Harmony of Maine,
Boston, 1794.
Thomas H. Atwell : New York {and Vermont) Col-
lection of Sacred Harmony, 1794 (and to 1805).
S. Babcock : Middlesex Harmony, Watertown, 1795
(also 1803).
B. Dearborn : Vocal Instructor, 1796.
Daniel Belknap (1771-1815) : Harmonist's Com-
panion, Boston, 1797; Evangelical Harmony,
1800; Middlesex Collection, \S,Q2{a.\so 'OS); Vil-
lage Compilation, Boston, 1806; Middlesex Song-
ster, 1809?.
D. Wright : American Musical Miscellany, 1798.
Truman S. Wetmore (1774-1861) of Winchester,
Conn. : Republican Harmony, 1798 (ms).
Village Harmony, Exeter, 1798 (and often to 1821).
William Little and William Smith : Easy Instructor,
Albany, 1798 (and often to 1831).
Amos Pillsbury : United Slates Sacred Harmony,
Boston, 1799.
Jonathan Benjamin : Harmonia Ccelesiis, North-
ampton, 1799.
Solomon Howe : Worshipper's Assistant, North-
ampton, 1799 ; Farmer's Evening Entertainment,
Northampton, 1804 ; Divine Hymns, Greenwich,
1805.
From 1800 —
Andrews : Plain Psalmody, 1800.
Charles Southgate : Harmonia Sacra, 1800 (also
'18?).
Merit N. Woodruff : Devotional Harmony, 1800 (en-
graved).
Modern Collection of Sacred Music, Boston, 1800.
Elijah Griswold : Connecticut Harmony, 1800, with
Thomas Skinner ; Hartford Collection, Hartiord,
1807, with Stephen Jenka below.
Stephen Jenks (1772-1856), of Connecticut and
Ohio : New England Harmonist, New Haven, 1800
(also '03) ; American Compiler, No. 1, North-
ampton, 1803, with Griswold above ; Delights of
Harmony, New Haven, 1804 = Norfolk Compiler,
Dedham, 1805 ; Royal Harmony of Zion, Ded-
ham, 1810 = Union Compiler, 1818 ; Zion's
Harp, New York, 1824.
John Cole (1774-1855) : Episcopalian Harmony,
1800 (also '11) ; Collection of Anthems, n. d.; Col-
lection of Psalm Tunes, Boston, 1803 ; Beauties of
Psalmody, 1805 (also '27) ; Divine Harmonist,
1808 ; Ecclesiastical Harmony, 1810 ; Ministrel
Songs, 1812; Devotional Harmony, 1814; Songs
of Zion, 1818 ; Seraph, 1821 (and to '27) ; Sacred
Melodies, Nos. 1-3, 1828 ; Union Harmony, 1829
(character-notes) ; Laudate Dominum, 1842 (also
'47) — all but one at Baltimore.
Uri K. Hill : Vermont Harmony, Northampton,
1801 ; Sacred Minstrel, Boston, 1806 ; Handelian
Repository, New York, 1814 ; Solfeggio Americano,
New York, 1820.
Warwick Palfrey (1787-1838) ; Evangelical Psalm-
odist, Salem, 1802.
Elisha West : Musical Concert, Northampton, 1802.
Bartholomew Brown, teacher in Boston, in 1832-
38 conductor of the Handel and Haydn Society :
Bridgewater Collection, Boston, 1802 (and often to
1839, after 1810 = 7'empH Carminat), with Holt
and Mitchell below ; Columbian and European
Harmony, 1802-4.
Abraham Maxim (1773-1829) : Oriental Harmony,
Exeter, 1802; Northern Harmony, Hallowell?,
1804? (and to '16).
Abijah Forbush : Psalmodist's Assistant, Boston,
1803 (also '06).
James Newhall : Vocal Harmony, Northampton,
1803.
Benjamin Holt (1774-1861) : New England Sacred
Harmony, Boston, 1803. See also Brown above.
Walter Janes (1779-1827) : Massachusetts Har-
mony, Boston, 1803 ; Harmonic Minstrelsy, Ded-
ham, 1807.
Lewis and Thaddeus Seymour : Musical Instructor,
1803? ; New York Selection of Sacred Music, New
York, 1809 (and to '16), with Lewis Edaon
(1748-1820).
William Cooper : Original Sacred Music, Boston,
1803? ; Beauties of Church Music, Boston, 1804.
See also Sweeney below.
Ebenezer Child : Sacred Musician, Boston, 1804.
Jeremiah Ingalls (1764-1828) : Christian Harmony,
Exeter, 1805.
Charles Robbins : Columbian Harmony or Maine
Collection, Exeter, 1805.
Rufus Frost : Medford Harmony, Boston, 1805.
Samuel Capen : Norfolk Harmony, Boston, 1805.
Salem ColUction of Classical Sacred Music, Salem,
1805.
Timothy Olmsted : Musical Olio, Northampton,
1805 (also '11).
Israel Terril : Vocal Harmony, No. 1, New Haven,
1805?.
Amoa Albee (b. 1772) : Norfolk Collection, Ded-
ham, 1805 ; Columbian Sacred Harmonist, Ded-
ham, 1808, with Mann above and Shaw below.
Benjamin Carr (1769-1831), a versatile singer and
organist in Philadelphia : Masses, Vespers and
Litanies, 1805; Lessons in Vocal Music, Balto.
1811?; Collection of Chants, Phila. 1816; Choris-
ter, Phila. 1820.
First Church Collection of Sacred Music, Boston,
1806 (also '15).
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Peter Erban (1769-1861): Selection of Psalm and
Hymn Tunes, New York, 1806.
Suffolk Collection of Church Music, Boston, 1807.
J. Bushnell : Musical Synopsis, Northampton,
1807.
Middlesex Collection, Boston, 1807 (also to '11).
John Husband (?1753-1809?) : Collection of Hymns
and Psalms, Lancaster, Pa. 1807. See also
Adgate above.
J. Evans : David's Companion, New York, 1807
(and to '10).
Amos Blanchard : Newburyport Collection, Exeter,
1807 ; American Musical Primer, Exeter, 1808.
Jonathan Huntington (1771-1838) : Apollo Har-
m,ony, Northampton, 1807 ; Classical Music,
Boston, 1812.
Charles Woodward : Ecclesice Harmonia, Phila.
1807? (also '09); Sacred Music in Miniature,
Phila. 1812.
Stephen Addington : Sacred Music, Phila. 1807 ? ;
Valuable Selection of Psalm and Hymn Tunes,
Phila. 1808.
Zedckiah Sanger (1748-1820), minister from 1776
at Duxbury, Mass., from 1788 at South Bridge-
water : Meridian Harmony, Dedham, 1808.
George Hough : Modern Harmony, 1808.
Trinity Church Hymns, Boston, 1808.
Joel Read (b. 1753) : New England Selection, Bos-
ton, 1808 (also '12).
Henry S. Keating : Key to Harmony, Balto. 1808.
Samuel Willard (1776-1859), minister at Deerfield,
Mass., from 1807, and author of several hymn-
books: Deerfield CoHcc/to?i, Northampton, 1808?
(also '18) ; Regular Hymns with Musical Direc-
tions, 1823?.
Daniel L. Peck : Musical Medley, Dedham, 1808 :
Selection of Sacred Music, Phila. 1810.
Oliver Shaw (1779-1848), a blind singer and sing-
ing-teacher : Columbian Sabred Harmonist, Ded-
ham, 1808, with Albee and Mann ; Providence
Selection, Dedham, 1815 = Melodia Sacra, Provi-
dence, 1819; Social and Sacred Melodist, Provi-
dence, 1845.
Hezekiah Moors: Province Harmony, Boston, 1809.
Azariah Fobes: Delaware Harmony, Phila. 1809.
Maryland Selection, Balto. 1809, published by
Gillet, Wheeler & Co.
Joel Harmon (1773-1833) : Columbian Sacred Min-
strel, Northampton, 1809 ; Musical Primer, Har-
risburg, 1814 ?.
William Smith : Churchman's Choral Companion,
New York, 1809; Chants for Public Worship,
1814. Perhaps also see Little above.
From 1810 —
Collection of Sacred Music for West Church, Boston,
1810.
J. Tomlins: Sacred Music, No. 1, Boston, 1810.
George C. Sweeney : Sacred Music, Boston, 1810,
with Cooper above.
Samuel Thomson : Columbian Harmony, Dedham,
1810.
Nathan Chapin and Joseph L. Dickerson : Musical
Instructor, Phila. 1810.
George E. Blake (1775-1871) : Vocal Harmony,
Phila. 1810.
John Wyeth (1770-1858) : Repository of Sacred
Music, Harrisburg, 1810 (and to '34) and Part
II, 1813 (also '20).
Clement Millard: United States Harmony, 1810?.
Nahum Mitchell (1769-1853), at one time member
of Congress and also Circuit Judge in Massa-
chusetts : LXXX Psalm and Hymn Tunes or
Brattle Street Collection, Boston, 1810. See also
Brown and Holt above.
Benjamin Leslie: Concert Harmony, Salem, 1811.
Hollis Street Collection of Psalm and Hymn Tunes,
Boston, 1811.
Francis C. Schaffer: Hymns Set to Music, Boston,
1811.
James Hewitt : Harmonia Sacra, Boston, 1812.
'An American': Columbian Harp, Northampton,
1812.
Eli Roberts: Hartford Collection, New London,
1812.
Evangelical Songster, Newburyport, 1812.
Selection of Psalm Tunes for . . . the Protestant
Episcopal Church in the State of New York, 1812?.
Emanuel Kent : David's Harp, Balto. 1812 (and
later).
Josiah Holbrook : American and European Har-
mony, 1813, with David Pool.
Solomon Warriner (1778-1860): Springfield Collec-
tion, Springfield, 1813. See also Hastings below.
Japhet C. Washburn : Parish Harmony or Fairfax
Collection, 1813?; Temple Harmony, 1818? (also
'21?).
Freeman Lewis (1780-1859) : Beauties of Harmony,
1813? (also '16).
William Bull (1762-1842) : Music Adapted to Lan-
guage, 1813?.
Portsmouth Collection of Sacred Music, Exeter, 1814.
John Hubbard : Volume of Sacred Music, Newbury-
port, 1814.
Select Harmony, Boston, 1815 (also '17), being Part
IV of Samuel Worcester's Christian Psalmody
(collection of psalms and hymns).
Edward Hartwell : Chorister's Companion, Exeter,
1815.
Isaac P. Cole : Third Presbyterian Church Collec-
tion, Phila. 1815; Pocket Edition of Psalm and
Hymn Tunes, New York, 1834 (and to '39).
John Armstrong : Pittsburg Selection of Psalm
Tunes, Pittsburg, 1816.
Timothy Flint (1780-1840), minister at Lunenburg,
Mass., till 1815 and then missionary^in the West:
Columbian Harmonist, Cincinnati, 1816 (charac-
ter-notes).
T. D. Baird: Science of Praise, Zanesville, O.,
1816.
George K. Jackson (1745-1823), an organist from
England who was active in several Boston
churches : Choice Collection of Chants, Boston,
1816; C/ioroZ Compa?iion, Boston, 1817. Earlier
works in England. It was Jackson's approval
that secured the publication of Lowell Mason's
first collection under the auspices of the Handel
and Haydn Society.
J. Eckhard: Choral Book, Boston, 1816.
Thomas Hastings (1787-1872), the chief pioneer in
developing choral singing and instruction in New
York State, first at Utica and from 1832 in New
York City : Musica Sacra or Springfield and Utica
Collections Combined, Utica, 1816 (and often to
'38), with Warriner above and Seth Norton (d.
1818) ; Musical Reader, Utica, 1817 (also '19) ;
Spiritual Songs for Social Worship, Utica, 1831,
with Mason below ; Union Minstrel, Phila. 1834 ;
Musical Miscellany, 2 vols, (from his 'Musical
Magazine'), New York, 1830; Manhattan Col-
lection, New York, 1836 ; Sacred Lyre, New York,
1840 ; Psalmodist, New York, 1844, with Brad-
bury below (also the next three) ; Choralist, New
York, 1847 ; Mendelssohn Collection, New York,
1849; Psalmista, New York, 1851; Selah, New
York, 1856, with his son Thomas S. Hastings
(1827-1911) ; Church Melodies, New York, 1859,
with the same. Hastings was besides an indus-
trious and fairly able writer of hymns (see Julian,
Diet, of Hymnology and Benson, The English
Hymn), which appeared first in Spiritual Songs,
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589
1831, in The Mother's Hymn Book, 1834, in The
Christian Psalmist, 1836, in Devotional Hymns
and Religious Poems, 1850, etc. He also pub-
lished a Dissertation on Musical Taste, 1822 (also
'53) ; History of Forty Choirs, 1854 ; Sacred
Praise, New York, 1856. He was Mason's spe-
cial coadjutor in the movement for improving
church music, sharing in the latter's high ideals,
though with less technical equipment.
Ezekiel Goodale (b. 1780) : Hallowell Collection,
Hallowell, Me. 1817 (also '19).
Collection of Sacred Music for Churches which Sing
without a Choir, New York, 1817?.
J. W. Nevius: New Brunswick Collection, New
Brunswick, N. J., 1817 (and to '40), with Corne-
lius Vanderventer and John Frazee.
Samuel L. Metcalfe (1798-1856), professor^ of
Chemistry in Transylvania University, Lexing-
ton, Ky. : Kentucky Harmonist, 18177 (and to
'26).
E. Riley: Sacred Melodies, 1817?.
Samuel Dyer (1785-1835) : New Selection of Sacred
Music, Balto. 1817 (and to '28 or later) ; Selec-
tion of Anthems, Balto. 1817 (and to '51, then
edited by his son, Samuel O. Dyer) ; Philadel-
phia Selection of Sacred Music, New York, 1828.
I. Gerhart and J, F. Eyer : Choral Harmonic, 1818
(also '22).
New Haven Collection, Dedham, 1818.
Francis D. Allen : New York Selection of Sacred
Music, 1818 (and to '33) : Selection of Sacred
Music for the Dutch Reformed Church, New York,
1818?.
Old Colony Collection, 2 vols., Boston, 1818-19?
(also '23).
Valuable Collection of Sacred Music, Exeter, 1818.
Jonathan Mayhew Wainwright (1792-1854), Epis-
copal minister of English birth, but graduated at
Harvard, from 1819 settled in New York : Set of
Chants, Boston, 1819; Music of the Church, New
York, 1828 (also '50) ; Psalmodia Evangelica,
1838.
Arthur Clifton : Original Psalm Tunes, Balto.
1819.
James M. Winchell (1791-1820), Baptist minister
in Boston from 1814, and compiler of an edition
of Watts' hymns : Sacred Harmony, Boston, 1819.
From 1820 —
James P. Carroll: Songs of Zion, 1820?.
Henry Little : Wesleyan Harmony, Hallowell, Me.
1820 (also '21).
Ephraim Reed : Musical Monitor, Ithaca, N. Y.
1820 (and to '27).
Wesleyan Selection of the John Street Church, New
York, 1820.
Methodist Harmonist, New York, 1821 (also '28).
C. C. Abbott : Young Convert's Pocket Companion,
Boston, 1822.
Lowell Mason (1792-1872) : Boston Handel and
Haydn Society Collection of Church Music, 2
vols., Boston, 1822 (and often later) ; Lyra Sacra,
1832 ; Choir or Union Collection, 1833 ; Boston
Academy's Collection, 3rd ed., 1835; Occasional
Psalmody , 1837 ; Songs of Asaph, 1838; Seraph,
1838 ; Boston Anthem Book, 1839 ; Modern Psalm-
ist, 1839 ; Carmina Sacra, 1841 ; Boston Academy
Collection of Choruses, 1844 ; Psaltery, 1845 ;
National Psalmist, 1848 ; Cantica Laudis, 1850 ;
Boston Chorus Book, 1851 ; New Carmina Sacra,
1852 — his most successful book ; Home Book of
Psalmody, 1852 ; Hallelujah, 1854 ; besides about
15 books for children and perhaps half as many
collections of secular glees and part-songs. Sev-
eral of the above were edited jointly with George
J. Webb below ; see also Hastings above. As to
the significance of Mason and his colleagues, see
statement at the close of this article, Htmn-
BooKS, and individual article.
Nathaniel D. Gould (1781-1864), singing-teacher
in Massachusetts and New Hampshire, teacher
of penmanship, and author of an interesting,
but slender History of Church Music in America,
Boston, 1853: Social Harmony, Boston, 1822;
National Church Harmony, Boston, 1832 ; Sacred
Minstrel, 1840.
Absalom Peters (1793-1869) : Sacred Music,
1823.
Ailing Brown : Gamut, New Haven, 1823 ; Musical
Cabinet or New Haven Collection, New Haven,
1824 (also '30).
Massachusetts Collection, Greenfield, 1823.
Thomas Loud [Jr.] : Psalmist, Phila. 1824.
S. D. Puller: Small Collection of Sacred Music,
Harrisburg, 1825.
Allen D. Garden : Missouri Harmony, 1827 (char-
acter-notes).
Stoughton Collection, 1828, issued by the Musical
Society of Stoughton, Mass.
Elam Ives, Jr. (1802-64) : American Psalmody,
Hartford, 1829 (also '30), with Deodatus Dutton.
From 1830 —
Samuel F. Bradford : Music of the Church, Phila.
3rd ed. 1830.
Psalmist or Chorister's Companion, Boston, 1831.
Joshua Leavitt (1794-1873), lawyer in New York
and later editor of ' The Evangelist ' and ' The In-
dependent' : Christian Lyre, New York, 1831,
and Supplement, which introduced the practice
of printing the hymns in full in conjimction with
the tunes. See Htmn-Books.
William B. Snyder and W. L. Chappell : Western
Lyre, 1831 (character-notes).
Henry E. Moore (1803-41) : New Hampshire Col-
lection, Concord, 1832 (andi later) and Supple-
ment, 1834 ; Choir ; Collection of Anthems,
Choruses and Set Pieces ; Northern Harp.
Christian Psalmody, printed by Barrett & Coleman,
N. H. 1832.
Abner Jones: Melodies of the Church, New York,
1832 ; Temple Melodies, New York, 1840.
Charles Zeuner (1795-1857), a Saxon who came to
Boston in 1824, was organist of the Handel and
Haydn Society in 1830-37 and of Park Street
Church, and from 1854 organist in Philadelphia :
American Harp, Boston, 1832 ; Ancient Lyre,
Boston, 1842?.
James W. Palmer : Western Harmonia Companion,
1832 (character-notes).
Abraham Dow Merrill (1796-1878) : Wesleyan
Harp, Boston, 1834, with W. C. Brown ; Vestry
Harp, 1845.
Robert Willis : Lexington Cabinet, Lexington, Ky.
1834 (character-notes).
Timothy B. Mason : Ohio Sacred Harp, 1834 (at
first in character-notes) ; Sacred Harp or Eclectic
Harmony, Vol. i, 18th ed. Boston, 1836.
Thomas Whittemore (1800-61), from 1820 Uni-
versalist minister at Milford, Mass., and Cam-
bridge, later prominent in business and political
life and author of many religious books : Songs
of Zion, 1836 ; Gospel Harmonist, 1841 ; as well
as juvenile collections.
W. Nash : Sacred Harmony, 1836.
Occasional Psalm and Hymn Tunes, Boston, 1838.
Joseph Muenscher: Church Choir, Columbus O.
1839.
Benjamin Sweetzer, Jr.: Cumberland Collection of
Church Music, 1839.
David Paine : Portland Sacred Music Society's Col-
lection of Church Music, Portland, Me. 1839.
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George Kingsley (1811-84) : Harp of David, New
York, 183-?; Sacred Choir, 1839; Sacred Har-
monist; Templi Carmina, Northampton, 1853;
besides several juvenile books.
From 1840 —
George J. Webb (1803-87), an Englishman who
became organist of the Old South Church in
Boston in 1830 and coworker with Mason in
various enterprises, including the foundation of
the Boston Academy in 1833 and the editing of
'The Musical Library' in 1835-36, was con-
ductor of the Handel and Haydn Society in
1840-43 and an influential teacher till 1870, when
he removed to Orange, N. J. and taught in New
York for some years : Massachusetts Collection
of Psalmody, Boston, 1840 ; Cantica Ecclesiastica,
Boston, 1859 ; besides several juvenile text-books
and collections. See also Lowell Mason above.
Ancient Harmony Revived, Boston, 1840 (and to '66).
Hiram May: Harp, Perry, Me., 1840?.
J. H. Hickok : Social Lyrist, Harrisburg, 1840.
Thomas Comer, who founded the Musical Fund
Society in Boston in 1847 : Boston Musical In-
stitute's Collection of Church Music, 1841.
Sylvanus Billings Pond (1792-1871), at first an in-
strument-maker at Albany, from 1832 in New
York, entering the business later known as Wm.
A. Pond & Co. : United States Psalmody, New
York, 1841.
Asa Fitz and E. R. Dearborn : Vestry Singing
Book, Boston and New York, 1841. Fitz issued
many other books for school-use.
J. B. Packard and W. S. Hubbard: Songs of
Canaan, Boston, 1842.
Benjamin F. Baker (1811-89), early prominent as a
church .singer and leader in Salem, Portland and
Boston, in 1841 Mason's successor in the Boston
public schools : Boston Musical Education Society's
Collection, Boston, 1842, with Woodbury below ;
Choral, Boston, 1845, also with Woodbury ;
Haydn Collection of Church Music, 1850, with
L. H. Southard ; Melodia Sacra, 1852, with
Johnson and Osgood below.
Isaac B. Woodbury (1819-58), from 1839 member
of a traveling glee-club in New England and
later, after some study abroad in 1851, teacher
and editor in New York of ' The Musical Review '
(from 1850) and 'The Musical Pioneer' (see
Baker above) : Anthem Dulcimer, New York,
1850 : Liber Musicus, 1851 ; Cythera : iVeto Lute
of Zion ; besides many secular collections.
H. W. Day: David's Harp, 1842; Numeral Har-
mony, 1846 ; One-Line Psalmist, 1849 — these
two in a numeral notation.
Chants and Anthems for the Church of the Messiah,
New York, 1843.
Ureli C. Hill (? 1802-75), a New York violinist
(pupil of Spohr) and founder of the Philharmonic
Society in 1842 : New York Sacred Music Society's
Collection of Church Music, 1843.
William B. Bradbury (1816-68), an organist in
Boston from 1834 and from 1840 teaching, com-
posing and editing in New York (see Hastings
above and Hamilton below) : Shawm, 1853, with
Root below ; Jubilee, 1858; etc.
Edward Hamilton : Songs of Sacred Praise or
American Collection, Boston, 1845, with Bradbury
above.
J. H. C. Stanbridge and W. H. W. Darley : Cantus
EcclesicB, Phila. 1844.
Edward L. White : Modern Harp, Boston, 1846,
with .John E. Gould (1822-75) ; Harmonia Sacra,
Boston, 1851, also with Gould. He also edited
two vols, of 'The Boston Melodeon,' 1850, a third
being added by L. H. Southard and E. H. Baker.
T. Bissell : Boston Sacred Harmony, 1846.
Virgil C. Taylor (b. 1817) : Sacred Minstrel or
American Church Music Book, New York, 1846;
Choral Anthems, Boston, 1850.
J. B. Aikin : Church Minstrel, Phila. 1847 (char-
acter-notes).
Henry K. Oliver (1800-85), a writer upon the
making and use of mathematical instruments
and a musical amateur in Boston and Salem :
National Lyre, with Tuckerman below and S. A.
Bancroft; Collection of Church Music, 1860;
Original Hymn Tunes, 1875.
Samuel P. Tuckerman (1819-90), organist in Bos-
ton from 1840 (studying in England in 1849-53)
to 1856, after which he lived abroad for many
years : Episcopal Harp, 184- ? ; Cathedral Chants,
1858 ; Trinity Collection of Church Music, New
York, 1864. See also Oliver above.
George F. Root (1820-95), in 1839-44 A. N. John-
son's partner in Boston and closely associated
with Mason and Webb, removing in 1845 to New
York and to Chicago in 1860 : Collection of Church
Music, New York, 1849, with Joseph E. Sweetser
(1825-73); Diapason, 1860; besides a large
number of secular cantatas, instruction-books,
songs and cantatas. See also Bradbury above.
Daniel H. Mansfield (b. 1810) : American Vocalist,
Boston, 1849.
Artemas N. Johnson (b. 1817), a music-dealer in
Boston, choir-leader and organist, editor of 'The
Musical Gazette ' and ' The Musical Journal ' :
Bay State Collection, Boston, 1849, with Josiah
Osgood and S. Hill; Handel Collection of Church
Music, 1854 ; besides books on Harmony (1844,
'54) and juvenile collections.
Leonard Marshall : Antiquarian, 1849 ; Harpsi-
chord or Union Collection, 1852, with E. N.
Stone.
Augustus D. Fillmore (b. 1823), Christian minister
in Ohio : Universal Musician ; Christian Psalm-
ist — both probably before 1850.
John W. Moore (1807-87), editor in Vermont and
New Hampshire, and author of an Encyclopaedia
of Music (1854) : Sacred Minstrel, before 1850.
From 1850 —
Richard S. Willis (1819-1900), brother of the poet
N. P. Willis, editor and author in New York :
Church Chorals, New York, 1850. In 1855 he
published Our Church Music, a discussion for
pastors and people.
Joseph Funk, a music-publisher at Dayton, Va. :
Genuine Church Music, 1848? (as Harmonia
Sacra, '50).
Henry W. Greatorex (1811-58), an English organist
at Hartford, later in New York : Collection of
Psalm and Hymn Tunes, Chants, Anthems and
Sentences, Boston, 1851.
William Bullock : Songs of the Church, Halifax,
N. S., 1854.
John Zundel (1815-82), a German organist, at
Plymouth Church in Brooklyn in 1850-78:
Psalmody, New York, 1855.
William H. Walter (b. 1825), organist at Newark,
New York and Washington : Selection of Psalms,
1857 ; Manual of Church Music, 1860.
F. E. Pitts, minister at Na.shville, Tenn. : Zion's
Harp, Louisville, before 1859.
Lewis H. Steiner (b. 1827), physician in Baltimore:
Cantate Domino, Boston, 1859, with Henry
Schiving.
C. Warren : Missouri Harmony, Cincinnati, prob-
ably before 1860.
A. Aldrich : Sacred Lyre, Boston, 1859.
Among those whose works began before 1860, but
continued much later, are especially :
TUNE-BOOKS
TUNE-BOOKS
391
Luther O. Emerson (1820-1915) : Romberg Collec-
ticm, Boston, 1853 ; etc.
William O. Perkins (1831-1902) : Choral Harmony,
1859; etc.
The total amount of original music in these
books is considerable and includes 'anthems'
as well as 'tunes' in many cases. Most of it
has the interest of being indigenous, since
practically all the compilers and contributors
were native Americans and had no ambition
except to serve an actual musical situation
as they knew it.
Detailed discussion of the styles exemplified
cannot be attempted here. They are perhaps
more varied than is usually realized, with some
interesting analogies to similar work elsewhere.
As to harmony, they keep mainly to a small
selection of chords, without much inversion
or modification. Modulation is wanting or
extremely hmited. A curious impulse toward
'fuguing' or a kind of counterpoint, which
Billings and a few others indulged, did not
long continue. As to melody, some good
specimens of diatonic procedure occur, the
interest lying in the solidity of the chord-
succession. But the prevailing tendency
is toward the free skips and arpeggiations of
secular song. The rather numerous rhythmic
and metric patterns imply the same relationship.
As compared with the complexity and studied
art of the English part-song or glee tunes that
were plentifully introduced after the Civil
War, these old tunes certainly lack richness.
But they are almost always singable, and some
of them have no small individuality.
As illustrating the persistence of the tj^pe, and also
suggesting an easy means of reference to it, it may be
noted that in Hatfield's Church Hymn Book (1872) —
a large and carefully edited book — out of about
450 tunes at least 175 are taken from this older
Psalmody. Among the specimens thus preserved
are Billings' 'Jordan' (1781) — though not his
better-known 'Chester' — Edson's ' Bridgewater '
and 'Lenox' (1782), Holyoke's 'Arnheim' (1785),
Daniel Read's 'Lisbon' and 'Windham' (1785),
Holden's 'Coronation' (1793), Swan's 'China'
(1800), Ingalls' 'Northfield' (1805), John Cole's
'Geneva' (1805), Mitchell's 'Pilesgrove' (1812),
Norton's 'Devonshire' (1818), more than 20 by
Hastings, including 'Retreat' (1822), 'Rock of
Ages' and 'Zion' (1830), 'New Haven' (1833),
'Rhine' (1836), 'Arcadia' (1839), and 'Peniel' (1850),
nearly 45 of Lowell Mason's original tunes, including
'Missionary Hymn' (1824), 'Hebron,' 'Laban,'
'Litchfield,' 'Rockingham,' 'Uxbridge' and 'Wesley'
(1830), 'Olivet' (1831), 'Boylston' (1832), 'Sabbath'
(1834), 'Admah' (1835), 'Ariel' and 'Naomi' (1836).
'Zerah' (1837), 'Gerar' and 'Meribah' (1839), 'Har-
well' and 'Migdol' (1840), 'Ernan' (1850), 'Henley'
(1854) and 'Bethany' (1859), besides many of his
arrangements, Gardiner's 'Dedham' (1830), N. D.
Gould's 'Woodland' (1832), Oliver's 'Federal Street'
(1832) and 'Merton' (1843), Zeuner's 'Missionary
Chant' and 'Telemann' (1832) and 'Oaksville'
(1839), Pond's 'Armenia' (1835), Webb's 'Webb'
(1837), Kingsley's 'Heber,' 'Tappan' and 'Ware'
(1838) and 'Southport' (1863), nearly 20 by Brad-
buryi including 'Brown' (1840), 'Braden,' 'Rest'
and 'Zephyr' (1844), 'Woodworth' (1849), 'Aletta'
(1856) and 'Even Me' (1862), Ives' 'Beulah' (1846),
Woodbury's 'Edmeston' (1848) and 'Siloam' (1850),
Taylor's 'Louvan' and 'Solitude' (1849), J. E.
Gould's 'Bera' (1849), Greatorex's 'Bemerton' and
'Leighton' (1849), Sweetser's 'Octavius' and 'Rose
Hill' (1849), Zundel's 'Lebanon' (1855), Root's
'Shining Shore' (1859), etc. In addition, there are
many tunes by composers who did not edit books,
such as 'Kentucky' and 'Rockbridge' (1822) by
Aaron Chapin, 'Expostulation' (1830) by Josiah
Hopkins (1786-1862), 'Holley' (1835) by George
Hews (1806-73), 'Martyn' by Simeon B. Marsh
(1836), 'State Street' (1844) by Jonathan C. Wood-
man (1813-94), 'Wimborne' by Whittaker (1849),
'Maitland' (1850) by George N. Allen (1812-77).
'Rathbun' (1851) by Ithamar Conkey (1815-67).
'Solitude' by L. T. Downes (1851), 'Stockwell'
(1851) by Darius E. Jones (1815-81), etc.
The list of books might be much prolonged,
since the issue of tune-books continued
plentifully beyond the time of the Ci\'il War.
The latter part of it, as here extended to about
1860, is doubtless incomplete, especially after
about 1825, and perhaps somewhat inaccurate,
since the data are not as well brought together
as for the earlier time. What is here set
down, however, makes an impressive showing
of a persistent line of musical effort for more
than a century. The total number of books
included is nearly 375, 'by about 200 compilers
whose names are known. The editions of the
earlier books were relatively small, so that as
business ventures they could hardly have
been remunerative, while their influence was
local and temporary. But of Mason's various
works it is said that over a million copies were
sold, which implies wide distribution and a
settled demand. 1
With the advent of Mason and Hastings, or
at least from about 1830, the old Psalmody
plainly entered upon a second stage. The
original instinctive efforts toward popular
training in the rudiments of singing, toward
what is now called 'community music,' and
toward the discipline and enrichment of church-
services — these all remained in force. But
now the leading spirits were men of better
technical training, of more independent station
and of broader outlook. From Mason on-
ward many of them had considerable study
in Europe. Many of them, too, secured
honorable place as private teachers and
certainly were in contact with other phases
of musical progress besides that represented
in their tune-books.
Mason came just when the public school was
first establishing itself as an institution. He
was so much interested that in 1832 he gave
up the leadership of the Handel and Haydn
Society to become what would now be called
'music-supervisor' for the public schools of
1 See ' Jour, of Education,' Sept. 1857, and Allibone.
Diet, of Authors,
392
TUNE-BOOKS
TYRWHITT
Boston. Before 1840, besides attracting in-
quirers and students to Boston, he began to
exert influence elsewhere, either by conducting
classes himself or by encouraging the holding
of 'musical conventions' to stir up popular
interest and help in training teachers — thus
starting a movement that continued for many
decades and is to-day represented by the
Chautauqua Institution and numerous
'summer schools.' His own direct impress
was felt as far west as Cincinnati and as far
south as Philadelphia and Baltimore. That
Mason was the pioneer in the present immense
expansion of public-school music throughout
the country is obvious. In some sense he
was also an instigator for the growth of
systematic musical instruction in other ways.
From the itinerant 'singing-teacher' of the
time of Billings to the modern 'music-school'
seems like passing between things essentially
discrete. Yet in the work of Mason and his
colleagues they were historically connected.
Mason's great enthusiasm was for choral
singing. He himself organized and led large
choirs in Boston and elsewhere. It is clear
that he proposed thus to lift and direct popular
standards. But it proved that this emphasis
actually led very soon to a separation of
interest between choir and congregation,
especially as about 1850 musical leaders began
to be more and more those of foreign birth,
with no sympathy with the traditions of the
old Psalmody. In time the distinction thus
fostered between the 'artistic' and the
'popular' was greatly accentuated by the
replacement of the chorus-choir by the quartet
or similar small force of trained singers. In
time, also, the distinction worked itself out
in the development of a new type of church-
hymnal, with words and music combined.
The movement in this direction, which began
soon after 1830 (see Hymn-Books), came to
have two diverse branches. One of these
grew into the dignified and artistic hymnals
of the present day — in which surely Mason
would have rejoiced. The other veered off
into the music of the choirless assembly — the
Sunday-school, the camp-meeting and the
revivalist's campaign — whence arose the
so-called 'Gospel hymns,' in countless myriads
and of uncertain essential quality. It is
curious that two branches from the same
original stalk of primitive Psalmody should
bear such dissimilar fruits in the half-century
since the Civil War and be arrayed in so much
hostility to each other as they are. And it
is unfortunate that after 1860 the types of
'popular' sacred song which most obviously
were derived from the traditional Psalmody
should not have been more affected by the
general advance in musical culture and taste
in other fields. The consequence has been
that musicians who have reacted against the
vapid and merely noisy forms of this later type
have been led to underestimate the historic
significance of the earlier Psalmody, much of
which was at least sincere and dignified.
TURNER, ALFRED DUDLEY (1854-
1888). See Register, 6.
TURNER, ARTHUR HENRY (b. 1873).
See Register, 8.
TWADDELL, WILLIAM POWELL (b.
1879). See Colleges, 2 (Tifft C, Ga.).
'TWILIGHT OF THE KINGS, THE.'
A 'masque of democracy,' No. 16 of the
'Grove-Plays' of the San Francisco Bohemian
Club, produced in 1918. The text is by
Richard M. Hotaling and the music by
Wallace A. Sabin.
TYLER. See Register, 2.
TYLER, ABRAM RAY (Dec. 24, 1868,
Brooklyn), was trained as pianist and organist
in Brooklyn and New York by Buck, Mason,
Bowman and Rybner, and for several years
was organist in New York. In 1902-11 he
was music-director at Beloit College in Wis-
consin, continuing afterward as lecturer, and
since 1916 has been organist at Temple
Beth-El in Detroit. He has given many
organ-recitals in different places, as at the
Pan-American Exposition in Buffalo in 1901.
For a time he was secretary of the A. G. 0.,
and has been dean of the Michigan Chapter.
He has published a violin-sonata, a piano-
trio, music for Protestant and Jewish services,
and settings of Greek plays. [ R.8 ]
TYRWHITT, GERALD HUGH. See
Bernebs.
u
UHE. ARTHUR EMIL (b. 1892). See
Register, 10.
'UNCLE TOM.' An opera by Caryl
Florio, produced in Philadelphia in 1882.
UNIVERSITIES, MUSIC IN. See Col-
leges and State Universities,
UNIVERSITY MUSICAL SOCIETY,
THE, of the University of Michigan, at Ann
Arbor, was first organized in 1879 under the
lead of Calvin B. Cady, then acting-professor.
Membership was limited to the trustees,
faculty and graduates of the University, and
the general purpose was to promote music
as a part of its educational system. In 1888
it was incorporated, with power to establish
and maintain a School of Music, an orchestra,
a chorus and an annual series of high-class
concerts. All these purposes have been
brilliantly realized.
The University School of Music was founded
in 1889, when Albert A. Stanley became pro-
fessor. Reorganized in 1891 on its present
basis, its relation to the whole life of the
institution has been remarkably intimate.
There are now about 30 in the faculty, and the
annual enrolment runs over 500, coming from
the whole United States and several foreign
countries. The number of pupils since the
first is nearly 8000. The School has a com-
modious building, erected in 1892 and much
enlarged and completely modernized in 1917.
The equipment is ample and excellent.
The University Symphony Orchestra, with
an average membership of 50 or more, gives
several concerts each season before large
audiences. The programs include a wide
range of standard instrumental literature.
The University Choral Union began in 1879
and since 1893 has had an average membership
of about 300. Its repertoire includes all the
leading sacred and secular works, some not
previously given in America. Since 1893
a May Festival has been held, consisting
usually of six concerts, with the most eminent
soloists and a large orchestra, such as the
Chicago Orchestra. Five ' pre-festival ' con-
certs are also given with visiting artists. In
the Festival series about 2000 works have been
given, including about 75 important choral
works. Ten of the best orchestras and over
300 famous soloists have assisted. In ad-
dition, about 1200 concerts or recitals of sig-
nificance have been given under the auspices
of the School of Music, covering most of the
range of ensemble and solo music. All con-
certs, except those of the Choral Union and
at the Festival, are free. It is estimated that
about 40,000 persons have sung in the chorus
for periods of a year to three years.
UNSCHULD, MARIE VON (May 17, 1881,
Olmiitz, Austria), studied piano at the Vienna
Conservatory and later with Leschetizky and
Stavenhagen, violin with Dont, and counter-
point and composition with Gradener. After
appearing in Vienna as pianist and in various
cities in Europe and America, in 1904 she
established the Von Unschuld University of
Music in Washington. She has lectured at
several institutions, and is author of The
Hand of the Pianist, 1901, and Supplement,
1906, The Scale-Practice, 3 vols., 1910, The
Von Unschuld Method of Pianoforte-Playing
and Teaching, 1911, The Graded Course, 1912,
Art of and Means for Pianoforte-Instruction,
1915, and Handbook of General Musical
Knowledge, 1915. In 1907 she married Henry
Lazard of Newport, R. I. [ R.9 ]
UPTON, GEORGE PUTNAM (Oct. 25,
1835, Roxbury, Mass. : May 20, 1919,
Chicago), was educated at the Roxbury Latin
School and Brown University, graduating
in 1854. From 1855 for more than sixty
years he lived in Chicago as an active journal-
ist. At first he was on the staff of the ' Native
Citizen,' then of the 'Evening Journal,' and
from 1860 of the 'Tribune.' During the Civil
War he was an active war-correspondent. He
early established himself as musical critic.
He heard the earliest important operatic and
orchestral performances in Chicago, and wrote
the first newspaper criticisms that appeared
there. In 1872 he was one of the founders of
the Apollo Club and its first president. He
was a zealous supporter of Theodore Thomas
in all his enterprises, both before and after
his going to Chicago. He was a member of
numerous writers' associations. His numerous
books were marked by great pains as to
accuracy, a genial and broad-minded spirit
and much felicity of expression. They
include Letters of Peregrine Pickle (musical
and literary), 1869, Woman in Music, 1880,
Standard Operas, 1886 (many editions, en-
larged). Standard Oratorios, 1887, Standard
Cantatas, 1888, Standard Symphonies, 1889,
Musical Pastels, 1902, Standard Light Operas,
1902, Theodore Thomas, an Autobiography,
2 vols., 1905, Life of Remhiyi, 1906, Standard
Concert-Guide, 1908 (revised, 1918), Standard
Concert-Repertory, 1909, Standard Musical
Biographies, 1910, In Music-Land, 1913, The
Song, 1914. He also translated Nohl's bi-
ographies of Haydn, Beethoven, Wagner
and Liszt, Max Miiller's Memories and Theodor
Storm's Immensee. His autobiographic Musi-
cal Memories, 1908, contains much valu-
able information, presented with much charm.
[ R.5 1
393
394
URANIAN SOCIETY
UTT
URANIAN SOCIETY, THE, of Phila-
delphia, was the formal outgrowth of an effort
in 1784 by Andrew Adgate to establish classes
for instruction in psalmody. The Society
took shape in 1785 as a body of subscribers
' to establish a Free School for the spreading of
the knowledge of vocal music' From the
outset occasional concerts were given in the
hall of the University of Pennsylvania. In
1787 the name Uranian Academy was adopted
and Adgate was called president. At that
time the number of pupils to be received was
set at 300, with three places of instruction.
Among the trustees and patrons were Dr.
Benjamin Rush and Francis Hopkinson.
Data about the Academy after 1790 are want-
ing. Adgate died in 1793, but traces of the
name 'Uranian' are found until after 1800.
In 1793-97, perhaps longer, a Uranian Musical
Society existed in New York. See Sonneck,
Concert-Life, pp. 103-18, 203.
URSO, CAMILLA (June 13, 1842, Nantes,
France : Jan. 20, 1902, New York), was
the daughter of an orchestral player. She
began to study the violin in her sixth year, and
at nine became a pupil of Massart at the Paris
Conservatory. In 1852 she came to America
as a child-performer, playing in concerts
with Sontag and Alboni. After three years
her parents settled in Nashville, Tenn., and
for seven years she devoted herself to violin-
practice. In 1862 she took up concert-work
again, appearing first in New York at a Phil-
harmonic concert. Thereafter for thirty years
she made constant tours in America and
Europe with great success. She visited Aus-
tralia in 1879 and 1894, and South Africa in
1895. The last years of her life were spent in
New York. See an interesting reference to her
in Upton, Musical Memories, pp. 70-1. [ R.4 ]
UTT. PAUL RALPH (b. 1882). See
Colleges, 3 (Ottawa U., Kan.).
V
'VALERIE.' A four-act opera by J.
Remington Fairlamb, produced by an amateur
troupe in Washington about 1870.
VALLERIA, ALWINA (b. 1848). See
Register, 6.
VALLE-RIESTRA, JOSfi (b. 1859). See
Register, 8.
VALLEY, OLOF. See State Univer-
sities (Kansas State C).
VALTON, PETER. See Register, 1.
VAN BROEKHOVEN, JOHN A. (b. 1856).
See Register, 7.
VAN CLEVE. JOHN SMITH (Oct. 30,
1851, Maysville, Ky.), lost his sight in early
childhood and had his schooling at the Ohio
Institute for the Blind, where he had piano-
lessons from H. J. Nothnagel. He went to
the Woodward High School in Cincinnati,
Ohio Wesleyan University and Boston Uni-
versity. In Cincinnati he studied with W.
Steinbrecher, and in Boston with Lang and
Apthorp. He taught at the Ohio Institute
for the Blind in 1872-75, at Janesville, Wis.,
in 1875-79, and then moved to Cincinnati,
where he taught piano and theory, lectured
on?|music and literature at the College of
Music and Conservatory of Music, and was
music-critic, first for the 'Commercial' and
after 1883 for the 'News- Journal.' He gave
many lecture-recitals, and was much in de-
mand as teacher. In 1897 he removed to
Chicago, later to Troy, N. Y., and in 1913
to New York. He received the degree and
Ph.D. from Twin Valley College in 1892. He
has published a 'Gavotte Humoresque' for
piano, lectures, poems and many miscellaneous
articles. As a writer, he has decided gifts of
presentation and diction. [ R.6 ]
VAN DER STUCKEN, FRANK VALEN-
TIN (Oct. 15, 1858, Fredericksburg, Tex.). See
article in Vol. v. 217. He studied theory and
composition with Benolt and violin with
^fimile Wambach in Brussels in 1866-76.
From this period date a Gloria for chorus and
orchestra, a Te Deum for soli, chorus and
orchestra, and a 'Festmarsch' for orchestra.
He spent the years 1876-78 at Leipzig, re-
ceiving aid from Reinecke, Grieg and Langer,
His first concert in America was on Apr. 4,
1884, at Steinway Hall in New York. Besides
his work with the Arion Society he became
active as an orchestral conductor, and was
the first to present orchestral programs entirely
by American composers. On July 12, 1SS9,
he gave such a program at the Paris Ex-
position. In 1892 he conducted the concerts
on thb European tour of the Arion Society.
He was in demand as festival-conductor, and
officiated thus at Indianapolis in 1887, New-
ark in 1891 and New York in 1894. In
1895-1907 he was conductor of the Cincinnati
Symphony Orchestra, and till 1903 also di-
rector of the College of Music. He conducted
the Cincinnati May Festivals in 1906-12, the
Wagner Festival at Antwerp in 1913, the
Festival of Dramatic Music there in 1914,
and has given many orchestral programs of
his own music in America and abroad. For
the last ten years he has made his home in
Europe, coming to America only upon occasion.
In 1919 he conducted orchestral works in
Copenhagen. Additional orchestral works are
a suite, 'Festzug,' 'Pagina d'Amore,' 'Idylle,'
'Rigaudon,' the festival-march 'Louisiana,'
a waltz for strings, a ' Festival Hymn' for men's
chorus and orchestra, etc. His 'Tempest'
music was first given at Breslau in 1862, the
' William Ratcliff ' prologue at Weimar in 1883,
and the 'Pax Triumphans' at the Brooklyn
Festival of 1900. [ R.7 ]
VAN DRESSER, MARCIA (b. 1880). See
Register, 8.
tVAN DYCK, ERNEST MARIE HU-
BERT (Apr. 2, 1861, Antwerp, Belgium).
See article in Vol. v. 217. Since 1906 he has
been professor of singing at the Antwerp and
Brussels Conservatories. His American debut
was as Tannhiiuser in 1898 at the Metropolitan
Opera House, where he continued to sing
regularly till 1902.
VAN GORDON, CYRENA [name originally
Pocock] (b. 1893). See Register, 10.
VAN HAGEN, PETER ALBRECHT (d.
1800?, New York), in 1774 appeared in
Charleston as teacher of organ, piano, stringed
instruments and composition. In 1789 he
was located as teacher and player in New York,
assisted in concerts by his wife and son. In
1796 the family moved to Boston, where
father and son played in theater-orchestras,
were church-organists and managed a music-
store. The father is probably the son of Peter
Albrecht Van Hagen, who was a pupil of
Geminiani, violinist and organist at Rotterdam.
If so, he was himself a pupil of Honauer in
Paris. See Sonneck, Concert-Life, especially
p. 23, and I. M. G. Sammelbde. 6. 478.
VAN HOOSE, ELLISON (Aug. 18, 1869,
Murfreesboro, Tenn.), after first lessons from
his mother, studied in New York for five
years with Perry Averill and Isadore Luck-
stone, then with Fidfele Koenig and Jean de
Reszk6 in Paris, Sir Henry Wood and Franco
Navora in London and Antonio Cotogni in
Rome. He sang tenor in New York church-
choirs until 1897, when he was engaged by the
Damrosch-Ellis Opera Co., and made his
d^but in Philadelphia as Tannhauser. During
395
396
VAN VECHTEN
VERE
the two following season8 he continued with
the same company, and appeared in orchestral
concerts in London and elsewhere in England-
In 1899-1900 he was at the Mayence Opera,
and for the next ten years sang variously in
concert, opera and oratorio. In 1903-05
he made two American tours with Mme.
Melba, and in 1906-07 with Mme. Sembrich.
In 1911-12 he sang with the Chicago Opera
Company, and has since specialized in oratorio
and concert-work. With the New York
Oratorio Society he participated in the Ameri-
can premiere of Elgar's 'Dream of Gerontius'
on Dec. 6, 1903. [ R.8 ]
VAN VECHTEN, CARL (June 17, 1880,
Cedar Rapids, la.), graduating from the
University of Chicago in 1903, and has de-
voted himself to writing on musical and
allied subjects. His books are Miisic after
the Great War, 1915, Music and Bad Manners,
1916, Interpreters and Interpretations, 1917,
The Merry-Go-Round, 1918 and The Music
of Spain, 1919. He has championed the cause
of the moderns in music. He was one of the
first in America to write of Stravinsky, Orn-
stein and Satie. He has devoted several
essays to modern stage-decoration, with
particular emphasis on the work of Adolphe
Appia. His Music of Spain is the only book
on the subject in English. He was assistant
musical editor of the New York 'Times' for
four years, edited the program-notes for the
Symphony Society in 1910-11, contributed
the musical biographical notes to the revised
edition of the Century Dictionary, and was
Paris correspondent for the 'Times' in 1908-09
and dramatic critic for the 'Press' in 1913-14.
[ R.9 ]
VAN VLECK, JACOB. See Register, 2.
VAN VLIET, CORNELIUS (Sept. 1, 1886,
Rotterdam, Holland), began violin and piano
at six, but at nine changed to the 'cello and
at twelve was heard in concert. He studied
with Eberle in Rotterdam and Mossel in
Amsterdam, and joined the Concertgebouw
Orchestra under Mengelberg. Thence in
1903 he went as leading 'cellist to the Leipzig
Philharmonic and the Prague Philharmonic,
followed by solo-engagements in Helsingfors,
Munich (1905) and Vienna (1908) under
Weingartner. In Helsingfors he also taught
chamber-music in the Conservatory. In
1911-12 he concertized in America and then
joined the Minneapolis Symphony Orchestra
and the Minneapolis Trio. Since 1919 he
has been located in New York, chiefly occupied
with concert-work. He is 'cellist in the New
York Trio. [ R.IO ]
VAN ZANDT, MARIE (Oct. 8, 1861,i
New York : Dec. 31, 1919, Cannes, France).
i'1858' in Who's Who in America, 1901-12, but
' I860' in International Year-Book, 1919.
See article in Vol. v. 585-6. In 1898 she
married Professor Tcherinov of the Moscow
Imperial Academy and retired from the stage.
Delibes wrote ' Lakme ' for her, but her greatest
success was as Mignon. [ R.6 ]
VEAZIE, GEORGE AUGUSTUS (1835-
1915). See Register, 5.
VECSEI, DESIDER JOSEF (b. 1882).
See Register, 10.
VENTH, CARL (Feb. 16, 1860, Cologne,
Germany), was a pupil of Hiller, Japha,
Jensen and Klauwell at the Cologne Conserv-
atory, and of Wieniawski and Dupont at the
Brussels Conservatory, graduating from the
latter in 1877 and making his debut as violinist
with the Utrecht Symphony Orchestra in
1878. He then became concertmaster of the
Flemish Opera in Brussels, and the next year
held a similar position at the Opera-Comique
in Paris. He came to America in 1880 and
from 1884 was concertmaster at the Metro-
politan Opera House. In 1888 he established
the Venth College of Music in Brooklyn,
where he also conducted the Brooklyn Sym-
phony Orchestra and choral societies. Moving
to Texas in 1908, he became head of the violin-
department in the Kidd-Key College and
conducted the Dallas Symphony Orchestra.
At present he is dean of fine arts in the Texas
Woman's College at Fort Worth, conductor
of the Fort Worth Symphony Orchestra and
divisional band-superintendent at Camp
Bowie. He has published the comic opera
' Fair Betty ' ; the cantatas ' The Resur-
rection,' 'Myth-Voices,' 'From Olden Times'
and ' The Quest of Beauty ' ; the piano-suite
'Frithjof and Ingeborg,' and many piano-
pieces ; about twenty-five pieces for violin ;
and a considerable group of songs. Two
operas and a cantata are in manuscript, as
also several orchestral works, two string-
quartets, a piano-trio and sonata, two violin-
concertos and three sonatas for piano and
violin. [ R.7 ]
VERE, CLEMENTINE DUCHENE DE,
was born at Paris. She studied there and with
Mme. Albertini-Baucard6 at Florence, where
at sixteen she made her debut as Marguerite
de Valois in 'Les Huguenots.' She then sang
in Italy, France, Spain, Mexico, Germany,
England and Australia, meeting with equal
success in opera and concert. She sang
Marguerite in Berlioz' 'Damnation de Faust'
in New York in 1896, and in 1897 joined the
Metropolitan Opera House Company. Later
she made several tours of England with the
Moody-Manners Opera Company. Since 1914
she has lived in New York as singer and
teacher. In 1892 she married Romualdo
Sapio, the conductor. Her repertoire in-
cludes Violetta, Gilda, Micaela, Marguerite
de Valois, the Infanta (in 'Le Cid'), Mar-
VIARDOT-GARCIA
VOGRICH
397
guerite (in 'Faust') Ophelia, Alda, Rachel,
Elsa, Lucia and Dinorah. [ R.7 ]
t VIARDOT-GARCIA, MICHELLE FER-
DINANDE PAULINE (July 18, 1821,
Paris, France : May 18, 1910, Paris). See
article in Vol. v. 267-8. There are biographies
by La Mara, 1882, and Torrigi, 1901, and
collections of letters by Kaminski, 1907, and
in 'The Musical Quarterly,' July, 1915, Jan-
uary, 1916.
tVIDAL, PAUL ANTONIN (June 16,
1863, Toulouse, France). See article in Vol.
V. 271. Since 1906 he has been chief conductor
at the Op6ra-Comique. To the list of works
add the operas 'La Reine Fiammette' (1898)
and 'Ramses' (1908), the operetta 'Le Mariage
d'Yvette' (1893), the pantomimes 'Columbine
Abandonn6e ' ( 1 888) , and ' La R6verance ' ( 1 890) ,
the lyric fantasy ' Eros ' (1892) , incidental music
to Haraucourt's 'Juan de Manara' and to
Pigeon's 'Amour dans les Enfers,' and the
orchestral suite 'Les Myst^res d'fileusis.'
'VIERJAHRIGE POSTEN, DER.' An
opera by Gustav Hinrichs, produced in San
Francisco in 1877.
t VIERNE, LOUIS VICTOR JULES (Oct.
8, 1870, Poitiers, France), in 1888-94 was a
pupil at the Paris Conservatory of Franck and
Widor. At graduation he won the first organ-
prize and became Widor's assistant at St.-
Sulpice. Since 1900 he has been organist
at Notre-Dame. He is professor at the
Schola Cantorum and OfRcier de I'lnstruction
Publique. He has given recitals with great
success in France, Holland, England, Switzer-
land and Spain, and a visit to America is in
prospect. His works include the following :
'Ave Maria,' op. 1, for soprano and organ.
Prelude in F-sharp minor, op. 2, for organ.
Allegretto and 'Prelude FunSbre,' op. 3, for organ.
'Tantum ergo,' op. 4, for chorus and orchestra.
'Le Soir' and 'Lggende,' op. 5, for viola or 'cello
and piano.
Largo and Canzonetta, op. 6, for oboe and piano.
Communion, op. 7, for organ.
String-Quartet in D minor, op. 12.
Symphony No. 1, in D minor, op. 14, for organ
(1899, PSregally & Parvy).
'Ave verum,' op. 15, for contralto and organ.
Messe Solennelle in C-sharp minor, op. 16, for
chorus and orchestra.
'Suite Bourgignonne,' op. 17, for piano (seven
movements also for orchestra).
Trois Airs de Ballet, op. 18, for piano.
Symphony No. 2, in E minor, op. 20, for organ
(PSregally).
Legend, 'Praxinoe, Princesse d'Egypte,' op. 22,
for soli, women's voices and orchestra.
Sonata in G minor, op. 23, for violin and piano.
Symphony in A minor, op. 24.
Rapsodie, op. 25, for harp.
Sonata in B minor, op. 27, for 'cello and piano.
Symphony No. 3, in F-sharp minor, op. 28, for
organ (1912, Durand).
Messe Basse (1913, Library of Catholic Art).
'24 Pieces en style libre,' op. 31, for organ (1915,
Durand).
Symphony No. 4, in G minor, op. 32, for organ
(1918, Schirmer).
12 Preludes, op. 33, for piano.
2 Nocturnes, in A minor and E, op. 35, for piano.
Poem, 'Psych6,' op. 36, for voice and orchestra.
Poem, 'I-iCs Djinns,' op. 37, for voice and orchestra.
Poem, 'Eros,' op. 38, for voice and orchestra.
'Les Cloches,' op. 41, for piano.
2 Nocturnes, in D-flat and C-sharp minor, op. 42,
for piano.
Songs, opp. 8, 10, 11, 13, 26, 29 and 40.
VIGNA, ARTURO. See Register, 9.
VIGNETI, GEORGES (b. 1882). See Reg-
ister, 10.
VILIM, JOSEPH ALOIS (Jan. 18, 1861,
Chicago), studied violin in Chicago and in
Prague, graduating at the Prague Conserva-
tory in 1883. In 1884-87 he was teacher of
violin at the Chicago Musical College, in
1887-99 director of the violin-department
at the American Conservatory and in 1894-96
a first violin in the Thomas Orchestra.
In 1899 he founded the Vilim American
Violin School (which he directed till 1918), and
organized the DvoMk Quintet, the Beethoven
String Quartet and the Vilim Home Trio (with
his sons Richard and Mark). He now has
a violin-studio at Coronado, Cal. He is
author of Violin-Technique Guide and Seven
Days' Exercises for the Advanced Violinist.
A book on How to Practice Paganini and
Difficult Compositions is nearing completion.
[ R.7 ]
'VINTAGE, THE,' or 'Sterne's Maria.'
An opera in two acts by Victor Pelissier, the
text by William Dunlap, produced in New
York, on Jan. 14, 1799. See Sonneck, article
in I. M. G. Sammelbde. 6. 482.
'VIOLINIST, THE,' of Chicago, is a
monthly periodical established in 1900. Its
editor till 1906 was Ray G. Edwards and since
1908 has been Ada E. Taylor. A Violinist's
Guide was first issued in 1916, giving useful in-
formation about violin-makers.
VIRGIL PRACTICE CLAVIER. See ar-
ticle in Vol. ii. 266.
VIX, GENEVIEVE (b. 1887). See Reg-
ister, 10.
VOC ALIGN. See article in Vol. v. 360-1.
VOGRICH, MAX WILHELM KARL
(Jan. 24, 1852, Szeben, Austria : June
10, 1916, New York), began piano-study
at five and played in public at seven. In
1866-69 he was at the Leipzig Conservatory,
taking piano with Moscheles, Wenzel and
Reinecke, and theory and composition with
Hauptmann, Richter and Reinecke. In 1870-
78 he traveled as pianist throughout Europe
and also in Mexico and South America. In
1878 he came to New York, gave recitals
there and toured the country with Wilhelmj.
In 1882-86 he lived in Australia, then in New
York till 1902, in Weimar till 1908, in London
398
VOGT
VOLPE
till 1914 and again in New York. The latter
part of his life was given to composition
and to work as adviser to G. Schirmer. The
list of his works includes the operas 'Vanda'
(1875, Florence), 'King Arthur' (1893, Leip-
zig) and 'Der Buddha' (1904, Weimar), all
to his own librettos; incidental music to
Wildenbruch's 'Die Lieder des Euripides'
(Weimar) ; the dramatic scene ' The Highland
Widow'; the oratorio 'The Captivity' (1891,
Metropolitan Opera House) ; the cantatas
'The Diver' and 'The Young King and the
Shepherdess ' ; a Missa Solemnis ; two sym-
phonies, in E minor and A minor ; an Andante
and Intermezzo for violin and orchestra ; a
concerto in E minor for piano ; ' Memento
Mori' for violin and orchestra (1912, Berlin) ;
a violin-concerto, 'E pur si muove' (dedicated
to Elman and played by him, 1913, Berlin,
and 1917, New York) ; many pieces for
piano, violin and piano ; songs and choruses.
[11.6 ]
VOGT, AUGUSTUS STEPHEN (Aug. 14,
1861, Washington, Ont.). in 1881-82 studied
at the New England Conservatory in Boston
with Emery, Buckingham and Dunham, and
in 1885-88 at the Leipzig Conservatory under
Reinecke, Rehberg, Ruthardt, Papperitz and
Jadassohn. In 1888-92 he was teacher of
piano at the Toronto College of Music, going
in 1892 to the Toronto Conservatory, where
since 1913 he has been director. Under his
administration this has become the largest
and best-equipped school of music in the
Dominion and one of the foremost in America.
In 1894 he founded the Mendelssohn Choir,
continuing as conductor till 1917 and making
it one of the finest choral bodies in the world.
In 1907 the University of Toronto gave him
the honorary degree of Mus.D. In 1888-
1906 he was organist at the Jarvis Street
Baptist Church. He has written several
a cappella choruses and a book on Modern
Pianoforte-Technic, 1900. [ R.7 ]
VOLAVY, MARGUERITE (b. 1886). See
Register, 10.
t VOLBACH, FRITZ (Dec. 17, 1861, Wip-
perfiirth, near Cologne, Germany). See article
in Vol. V. 376. He continued at Mayence
until 1907, when he became music-director
and professor at Tubingen. In 1899 he
secured a Ph.D. with a thesis upon Die Praxis
der Handel- Auffilhrung. In 1900 he was in
charge of a musical celebration at Mayence
of the quinquecentenary of Gutenberg's birth.
He is equally celebrated as instrumentalist,
conductor and composer. Additional works
are a Symphony in B minor, op. 33, the
comedy-opera 'Die Kunst zu lieben,' op. 34
(1910, Diisseldorf ) , 'Konig Laurins Rosen-
garten,' op. 38, for baritone, men's chorus
and orchestra, and incidental music to the
tragedy 'Konig Tulga.' For list of books,
see Baker, Diet, of Musicians, p. 991.
VOLPE, ARNOLD (July 9, 1869, Kovno,
Russia), in 1884-87 studied violin at the
Warsaw Musical Institute with Isidor Lotto
and in 1887-91 at the Petrograd Conservatory
with Auer, followed by work in theory and
composition in 1893-97 with Soloviev. In
1898 he came to New York, where in 1902 he
founded the Young Men's Symphony Orchestra
and in 1904 the Volpe Symphony Orchestra.
In 1910 he also undertook the direction of the
orchestra of the Brooklyn Institute, and in
1910-14 and 1919 conducted series of municipal
concerts in New York. In 1916 he established
his own music-school. [ R.8 ]
w
WADDEL, FRANCES E. See Colleges,
3 (Geneva C, Pa.).
WADE, HENRY T. See Colleges, 2
(Lake Erie C, Ohio).
WAIN WRIGHT, Miss. See Register. 1.
WAINWRIGHT, JONATHAN MAYHEW
(1792-1854). See Register, 3, and Tune-
Books, 1819.
WALKER, EDYTH (b. 1870). See Reg-
ister, 8.
t WALLACE, WILLIAM (July 3, 1860,
Greenock, Scotland). See article in Vol. v.
424-5. His 'The Passing of Beatrice' was the
first symphonic poem by a British composer.
In 1899 he became Bantock's assistant in
conducting daily concerts at Brighton, and
later, in the latter's absence, edited 'The
New Quarterly Musical Review' for about
half its existence. He prepared the analytical
program for the concert in London on Dec.
15, 1896, which called attention to many
new British composers. He has been active
as secretary of the Society of British Com-
posers and honorary secretary of the Phil-
harmonic Society. In 1911 he was one of
the composers chosen for orchestral repre-
sentation at the Congress of the I. M. G.,
and also at the Festival of British Music in
1915. During the war he was in service as
ophthalmologist. In the list of compositions
note that the date of the cantata 'The Massacre
of the Macpherson' is 1899 and that of the
song-cycle 'Lords of the Sea' is 1901, and that
a large number of works are published by
Schott, Bayley & Ferguson, Stainer & Bell,
Cramer, Ricordi, Boosey, etc. 'The Outlaw'
was performed in 1913. He has made many
translations of texts, as of Berlioz' 'The
Damnation of Faust,' Missa's 'Muguette,'
Strauss' 'Feuersnot,' Leroux' 'Le Chemineau'
(Richepin's text), Delius' 'A Mass of Life,'
cantatas by Weingartner and Krug-Waldsee,
and many songs by Sibelius and Weingartner.
He is author of a mystery-play. The Divine
Surrender, 1895, The Musical Faculty, 1914,
besides numerous articles.
WALLER, FRANK LAIRD. See Register,
9.
WALTER, GEORGE WILLIAM (1851-
1911). See Register, 5.
WALTER, THOMAS (1696-1725). See
Tune-Books, 1721.
WALTER, WILLIAM HENRY (1825- ? ).
See Tune-Books, 1848.
WARD, FRANK EDWIN (Oct. 7, 1872,
Wysox, Pa.), in 1892-97 studied in New
York with Spanuth (piano), J. P. Lawrence
(organ and theory), Pearce (theory) and
Macfarlane (organ), and in 1898-1903 was
under MacDowell at Columbia University,
winning the Mosenthal fellowship. In 1902-13
he was organist at the University, and also in
1900-05 at Rye, N. Y., since 1902 at Temple
Israel and since 1906 at Holy Trinity. Since
1909 he has had charge of theory-classes at
Columbia. His works include
Sonata No. 1, in E minor, op. 1, for violin and
piano.
Magnificat and Nunc Dimittis in E-flat, op. 2.
Sonata No. 2, in Q, op. 9, for violin and piano.
Rhapsodie in F minor, op. 10, for violin (or 'cello)
and piano.
'Rhapsodic Bohdme,' op. 12, for two pianos.
Scherzo, 'Peter Pan,' op. 13, for orchestra.
Magnificat and Nunc Dimittis in F, op. 14.
Sonata No. 1, in F minor, op. 15, for organ.
Quartet in F minor, op. 18, for piano and strings.
Lenten Cantata, 'The Saviour of the World,' op.
20, for soli, chorus and orchestra.
Quartet in C minor, op. 22, for strings (Nat.
Federation of Musical Clubs prize, 1917).
Christmas Cantata, 'The Divine Birth,' op. 23,
for soli, chorus and organ.
Communion Service in A-flat, op. 24.
Symphony No. 1, 'Shakespearean Moods,' op. 25.
Solemn Mass in G minor, op. 29.
'An Ocean Rhapsody,' op. 31, for orchestra (also
for violin, 'cello, harp and organ).
Quartet in G minor, for strings.
Trio for piano, violin and 'cello.
Sonata No. 2, in D minor, for organ.
Also about 30 anthems ; many songs, opp. 4, 6, 7,
27, 30; part-songs, opp. 8, 11, 21 ; organ-pieces,
opp. 16, 17, 19, 26, 33, 35; piano-pieces, opp.
3, 5, 28, 34 ; etc. [ R.8 ]
WARE, HARRIET (Aug. 26, 1877, Wau-
pun. Wis.), after graduating from Pillsbury
Academy in Minnesota, studied piano with
William Mason in New York. Vocal work with
Mme. La Grange in Paris followed, and com-
position with Sigismond Stojowski there, and
with Kaun in Berlin. Her published compo-
sitions are the cantata 'Sir Oluf,' for women's
voices, soprano and baritone solos and or-
chestra; 'Undine,' a lyric tone-poem (words
by Edwin Markham) ; 'The Cross,' for
voice and piano or orchestra (words by Mark-
ham) ; 'A Day in Arcady,' song-cycle for
two voices ; many songs and piano-pieces.
The most important work in manuscript is
a piano-concerto. She has made many
appearances as composer-pianist. [ R.9 ]
WARE, HELEN (Sept. 9, 1887, Woodbury,
N. J.), began the violin with Frederic Hahn
in Philadelphia, and at the University there
studied harmony and counterpoint with
Clarke. She then spent two years under
Sevcik at Pisek and Vienna, and two with
Hubay at Budapest. Making her debut in
recital at Budapest in 1912, she was the first
American violinist to tour in Hungary. The
bent of her interest is shown by the booklet
399
400
WARNER
WEBB
Poetry and Power of Hungarian and Slav
Music, and by many articles on this subject
in musical journals. Besides much European
experience, she has twice toured throughout
America. Lately she has given more time to
composition than to concerts. Her works
for violin and piano include 'Hungarian
Camp-Songs' (Presser), a 'Hungarian Love-
Song' (Presser), the Hungarian phantasy
'Cinka Panna' (Carl Fischer), the cradle-
song 'Gentle Shadows' (Witmark), a 'Caprice
Genett' and other transcriptions (C. Fischer,
Schirmer), besides many songs. [ R.IO ]
WARNER, JAMES F. See Register, 4.
WARNERY, EDMOND (b. 1876). See
Register, 10.
WARNKE, HEINRICH (b. 1871). See
Register, 9.
WARREN, C. See Tune-Books, 1855.
WARREN, GEORGE WILLIAM (Aug.
17, 1828. Albany, N. Y. : Mar. 17, 1902,
New York), had his general education at
Racine University, but was self-taught in
music. In 1846-58 he was organist at St.
Peter's in Albany, and for two years at St.
Paul's. In 1860 he came to Brooklyn and for
ten years was at Holy Trinity. From 1870
until his death he was organist at St. Thomas's
in New York. He composed much church-
music and some piano-pieces, and edited
Warren's Hymns and Tunes, as sung at St.
Thomas's Church, 1888. [ R.4 ]
WARREN, RICHARD HENRY (Sept.
17, 1859, Albany, N. Y.), the son and pupil
of the preceding, in 1880-86 was organist at
All Souls' in New York, in 1886-1905 at St.
Bartholomew's and since 1907 at the Church
of the Ascension. In 1886-95 he was con-
ductor of the Church Choral Society, which he
founded, and brought out with it many impor-
tant choral works, including some not before
heard in America (Parker's 'Hora Novissima'
was written for it). In 1905 he gave summer-
concerts of orchestral music at St. Nicholas
Garden. His works include several operettas
(1880-1899), the romantic opera 'Phyllis'
(1900, New York), some works for orchestra,
a string-quartet, much church-music and
songs. [ R.7 ]
WARREN, SAMUEL PROWSE (Feb.
18, 1841, Montreal, Que. : Oct. 7, 1915,
New York), the son of the organ-maker S.
R. Warren (see below), began organ-study at
eleven, and early played at St. Stephen's
Chapel in Montreal and at the American
Church. In 1861-64 he was in Berlin, taking
piano with Gustav Schumann, organ and
theory with Haupt and instrumentation with
Wieprecht. After two years again in Mon-
treal, in 1866-68 he was organist at All Souls'
in New York, whence in 1868 he moved to
Grace Church, continuing, save for two years
at Trinity (1874-76), till 1894 and becoming
one of the foremost church-musicians in the
country. In 1880-88 he also conducted the
New York Vocal Union. As a concert-
player he was held in universal esteem, giving
hundreds of recitals in New York alone. He
was a founder of the A. G. O., and the teacher
of many notable organists. His standards
were of the highest and he was able to transmit
them to his pupils. He composed much
church-music, vocal and instrumental, part-
songs and piano-pieces, and made a long
series of fine organ-transcriptions of orchestral
works. He had a remarkable musical library.
[ R.5 ]
WARREN, SAMUEL RUSSEL (d. 1882).
See Register, 3.
WARRINER, SOLOMON (1778-1860).
See TuNE-BooKS, 1813.
T' WASHBURN, JAPHET COOMBS. See
TUNE-BoOKS, 1813.
WASS, EDWARD HAMES (b. 1874). See
Colleges, 1 (Bowdoin C, Me.).
WATSON, HENRY C. (1818-1875), See
Register, 4.
WATT, CHARLES E. See Register, 8.
WA-WAN PRESS, THE, was a publishing
enterprise set on foot by Arthur Farwell in 1901
at Newton Center, Mass. Its stated object was
' primarily to publish the most progressive and
significant compositions by American com-
posers, wholly upon considerations of artistic
merit ; and secondarily to give due attention
to the development of the various forms of
primitive folk-songs in America.' For a series
of years it energetically fulfilled both of these
objects, issuing a variety of works, some of
them of large dimensions, by about forty Amer-
ican composers, including a striking number
of settings or idealizations of Indian and Negro
materials. It was one of the most influential
factors in stimulating interest in types of work
that had previously not received proper atten-
tion. The good-will of the enterprise has re-
cently been transferred to G. Schirmer, Inc., in
New York.
WEAD, CHARLES KASSON (b. 1848).
See Register, 9.
WEAVER, JOHN KNOWLES (b. 1868).
See Colleges, 3 (Kendall C, Okla.).
WEAVER, MIRIAM H. See Colleges,
3 (Wittenberg C, Ohio).
WEBB, FRANK RUSH (b. 1851). See
Register, 6.
WEBB, GEORGE JAMES (June 24, 1803,
near Salisbury, England : Oct. 7, 1887,
Orange, N. J.), after study with Alexander
Lucas in Salisbury, became organist at Fal-
mouth, but in 1830 resigned to come to Boston.
There he was organist at the Old South Church
and soon became an intimate associate of
Lowell Mason in various musical projects.
WEBB
WELD
401
He was his assistant in teaching children's
classes and they together founded the Boston
Academy of Music in 1833. He was not only
an excellent singing-teacher, but a good
conductor. He was influential in furthering
choral music of a high class and before 1855
was efficient in directing the Musical Fund
Society's orchestra. In 1870 he removed to
Orange, N. J., but continued to teach in New
York till his retirement in 1885. For his
publications, see Tune-Books (partly under
Mason). He composed some anthems, part-
songs and songs.*
WEBB, THOMAS SMITH (d. 1819). See
Register, 3.
WEBER, ALBERT (1828-1879). See
Register, 4.
WEBER PIANO COMPANY, THE, of
New York, is the present name of the business
established in 1852 by Albert Weber and
from 1879 carried forward by Albert Weber,
Jr. From about 1870 its instruments became
generally recognized as having a special
beauty of tone, as well as mechanical finish,
so that they received many awards in com-
petitions. Since 1903 the Company has
formed part of the jEolian, Weber Piano &
Pianola Co. The annual output of this
division is about 5000 instruments.
WEIDIG, ADOLF (Nov. 28, 1867, Ham-
burg, Germany), was the son of an orchestral
player and was educated in the Hamburg
schools, studying music also in the Con-
servatory under Riemann, Von Bernuth and
Bargheer. Later he graduated at the Munich
Conservatory in 1891, having worked with
Rheinberger and Abel. In 1888 he won the
Mozart prize at Frankfort with a string-
quartet. In 1892 he came to Chicago, becom-
ing one of the first violins in the Thomas
Orchestra and playing viola in the Spiering
Quartet. Since 1893 he has been connected
with the American Conservatory, teaching
violin and theory, and from 1898 one of its
directors. He has exerted a wide and whole-
some influence as teacher, and has often
appeared as orchestral conductor both in
America and in Europe, often of his own
compositions. He has written a symphony
in C minor, a symphonic suite in three move-
ments, the tone-poem 'Semiramis,' three
overtures, a suite for string-orchestra, three
string-quartets (D minor, A and C minor),
a string-quintet, and published a Capriccio
and 'Three Episodes' for orchestra (Schott),
a string-quartet in C (Schott), a piano-trio
(Augener) , a suite for violin'and piano (Schott) ,
threej' Morceaux de Salon' for violin and piano
(Schott), a Serenade for strings (Summy), an
* The well-known tune bearing his name, however,
is adapted from the secular song ' 'Tis dawn, the lark
is singing.'
2d
'Italian' suite for violin and piano, the song-
cycle 'The Buccaneer,' 10 a cappella choruses,
and a large number of lesser pieces for violin
and piano or for piano, besides about 25 songs.
(Ditson, Carl Fischer, Silver, Burdett & Co.,
etc.). [ R.8 ]
WEIL, HERMANN (b. 1878). See Reg-
ister, 10.
WEIL, OSCAR (b. 1839). See Register, 5.
t WEINGARTNER, PAUL FELIX, Edler
von Mlinzberg (June 2, 1863, Zara, Dalmatia).
See article in Vol. v. 488. He resigned as
conductor at the Vienna Opera in 1910, but
continued as symphony-conductor. In 1912-
14 he was capellmeister at the Hamburg
Stadt-Theater, and from 1914 was court-
director at Darmstadt. Besides extensive
tours as conductor in the whole of Europe
except Russia, he has visited the United States
several times, in 1905 leading four concerts
for the New York Philharmonic Society, in
1906 making a tour with the Symphony
Society, and in 1912 and '13 appearing as
conductor of opera with the Boston Opera
Company. His first wife was Marie Juillerat,
the second the Baroness Feodora von Dreifus,
and the third, from 1913, the operatic soprano
Lucille Marcel. To the list of works add the
operas 'Kain und Abel' (1914, Darmstadt)
and 'Die Dame Kobold' (1916, Darmstadt),
incidental music to Voss' ' Friihlingsmarchen-
spiel' and Weiser's version of 'Faust' (both
1908, Weimar), Symphony No. 3, in E, op.
49, a quintet for clarinet, strings and piano,
op. 50, and various songs and men's choruses.
For a full list of his books and of critical writing
about him, see Baker, Diet, of Musicians, p.
1022.
WEISBACH, HARRY (b. 1886). See Reg-
ister, 8.
WEISS, CARL THOMAS (b. 1844). See
Register, 6.
WELD, ARTHUR CYRIL GORDON
(Mar. 4, 1862, Jamaica Plain, Mass. :
Oct. 11, 1914, near West Point, N. Y.), after
early piano-lessons, in 1879-87 studied com-
position and orchestration at Dresden with
Becker, Foerster and Von Comiar-Fiedlitz,
at Berlin with Neumann and at Munich with
Rheinberger, Abel and Levi, graduating from
the Munich Conservatory with honors. While
at Munich he wrote several large works that
were there performed, including a string-
quartet in C (1885, one movement given by
the Kneisel Quartet, 1890), a Romanza for
small orchestra (1886, also Boston, 1887),
an Andante and Scherzo for septet (1886)
and the orchestral suite 'Italia' (1887, also
at Worcester Festival, 1888, and by the
Boston Symphony Orchestra, 1890). Other
works of this period are a ' Benedictus Dominus
Israel' for soli, double quartet, chorus and
402
WELLS
WHEELDON
orchestra, an 'Ode in Time of Peace' for
double quartet and organ (1890, Boston), four
Madrigals (1890) and many songs of which
several are published (Schmidt). After a time
he went to Milwaukee, where he was dramatic
critic and conductor of an orchestra. Later he
came to New York, where he conducted the
first productions of the comedy ' Florodora '
and became general director for the H. W.
Savage Company. In 1913 he went to London
to conduct performances of ' Adele.' He was
intimate with the actor James K. Hackett, and
in 1914 took charge of the musical features in
his plays. He wrote several light operas, inci-
dental music for various plays and many songs.
He died suddenly while driving his automobile.
[ R.7 ]
WELLS, HOWARD, who was born at
Rockford, 111., after four years of piano-study
in Chicago with Godowsky and two with
Mrs. Zeisler, appeared si.x times as soloist
with the Thomas Orchestra, besides being
heard frequently in recitals. In 1907 he
went to Vienna for study with Leschetizky,
with whom he was associated seven years.
In 1908 he became one of his assistants and
after moving to Berlin continued to take
pupils from Berlin to Vienna. He lived in
Berlin five years, concertizing in various
musical centers and appearing with promi-
nent orchestras. At the outbreak of the war
he returned to Chicago and established
himself as teacher. He has published Ears,
Brain and Fingers, a text-book for pianists
and teachers, 1914. [ R.9 ]
WELS, CHARLES (1825-1906). See Reg-
ister, 4.
WELTE, EMIL (b. 1841). See Register, 5.
WERRENRATH, GEORGE (1838-1898).
See Register, 6.
WERRENRATH, REINALD (Aug. 7,
1883, Brooklyn), the son of the tenor George
Werrenrath (see above), besides early violin-
training, had vocal lessons from his father.
His general education was in the Brooklyn
public schools and at New York University,
where he graduated in 1905. His later
studies were with Dufft, Mees, Stephens
and Maurel, the last preparing him for operatic
work. His first important engagement was
at the Worcester Festival of 1907. He has
since sung throughout the country, appearing
with all the leading orchestras and at various
festivals. His operatic d6but as baritone
was at the Metropolitan Opera House in 1919
in 'I Pagliacci' and as Valentine in 'Faust.'
In 1912-16 he organized and conducted the
University Heights Choral Society. He has
written the men's choruses 'The Cavalier's
Song' and 'Siesta' (Schirmer) and edited The
New Arion, for men's voices, and two volumes
of Scandinavian songs (both Ditson). [ R.9 ]
WERTIME, RUDOLPH. See Colleges,
2 (Wilson C, Pa.).
WEST, ELISHA. See Tune-Books, 1802.
WEST, J. See Register, 2.
WESTBROOK, ARTHUR E. See State
Universities (Kansas State C).
WESTLAKE, A. VERNE. See Colleges,
3 (Taylor U., Ind.).
WESTRAY, the Misses. See Register, 2.
WETMORE, TRUMAN S. (1774-1861).
See Tune-Books, 1798.
WETZLER, HERMANN HANS (Sept.
8, 1870, Frankfort-am-Main, Germany), in
1885-92 studied at the Hoch Conservatory in
Frankfort, his teachers being Frau Schumann
(piano), Heermann (violin), Scholz (com-
position), Knorr (counterpoint) and Humpsr-
dinck (score-reading). He then came to Now
York and in 1897-1901 was organist at Trinity
Church. In 1902 he gave orchestral concerts
at Carnegie Hall, leading to the Wetzler
Symphony series in 1903 (Richard Strauss
directed four programs of his own works
in February and March, 1904). Returning
to Germany, he has since been conductor at
the city-theaters of Hamburg in 1905-08,
Elberfeld in 1905-09, Riga in 1909-13, Hall*
in 1913-15, Llibeck in 1915-19, and Cologne
since 1919. He has also led symphony-
concerts in Petrograd, Berlin and other cities.
He has written the symphonic poem ' Engels-
konzert,' a concert-overture, Easter music for
wind-instruments and organ, etc. [ R.8 ]
WEYMAN, WESLEY (July 6, 1877,
Boston), is of old Colonial ancestry. His
early education was directed toward languages
and literature, and he graduated from Harvard
in 1898, having taken theory-courses under
Paine. In 1898-1901 he was one of the latest
pupils of William Mason in New York, where
he began giving recitals in 1901. In 1905-08
he taught at the Institute of Musical Art,
and in 1909-13 he had further studies with
Leschetizky and Godowsky in Vienna, with
Moszkowski in Paris, with Mathay and
Bowen in London, and with Safonov at
various places. From 1912 he appeared as
recitalist in London and made tours in Ger-
many and Scandinavia. In 1914 he returned
to New York and Boston, occupied largely
with teaching and literary work. He is an
expert in New England genealogy, and has
published histories of the Standish and
Ramsdell families. [ R.9 ]
WHARTON, MARY. See Colleges, 2
(Belhaven C, Miss.).
WHEELDON, HERBERT ARTHUR
(June 6, 1864, Derby, England), was trained
as organist by Crow in Ripon, Turpin and
Pearce in London. He became a fellow of
the R. C. O. in 1889 and took his Mus.B. at
Canterbury in 1890. In 1882-85 he played
WHEELER
WHITING
403
at Ripon, in 1889-90 at Eastbourne, in 1891-93
at Ipswich and in 1897-1907 in London, from
1896 at St. Saviour's in Upper Chelsea. In
1907-13 he was organist at the Metropolitan
Church in Toronto and in 1908-15 examiner
in music for Toronto University. In 1911-13
he gave over 500 daily recitals, covering a
large repertoire of classic and modern organ-
music. Through his efforts, after his resigna-
tion the position of organist in this church
was endowed and the organist must hold
a degree from one of the leading English
universities and engage to give 25 recitals
annually. He has published Evening Services
in A and B-flat (Novello) and many organ-
pieces (.Novello, Rogers, Gray, White-Smith).
[ R.9 ]
WHEELER, LYMAN WARREN (1837-
1900). See Register, 5.
WHELPLEY, BENJAMIN LINCOLN (b.
1864). See Register, 7.
WHITE, ALICE H. See Colleges, 3
(Colby C, Me.).
WHITE, CAROLINA [Carolyn] (Dec. 23,
1883, Dorchester, Mass.), was trained as
concert-soprano by Weldon Hunt in Boston,
where she began appearances in 1905. In
1907 she studied in Naples with Sebastian
and Paolo Longone, assistant-director at
San Carlo (whom she married in 1910). Her
d6but in opera was at San Carlo as Gutrune
in 'Die Gotterdammerung' in 1908. During
the next two years she sang in 'Aida,' 'Mefis-
tofele,' 'Tosca,' 'Manon Lescaut,' 'Madama
Butterfly,' 'La Gioconda' and 'Iris' at Venice,
Rome, Milan and Lucerne. In 1910-14 she
was with the Chicago Opera Company, appear-
ing first as Santuzza. In 1911 she sang the
role of Countess in the first American per-
formance of 'II Segreto di Susanna' and that
of MalieUa in that of ' I Giojelli della Madonna'
in 1912. In 1915-17 she was heard in concert
and has since sung in light opera. [ R.9 ]
WHITE, EDWARD L. See Register, 4,
and Tune-Books, 1846.
WHITE, HENRY KIRK (d. 1907). See
Register, 4.
WHITE, JOHN (1785-1865). See Regis-
ter, 3.
WHITE, JOHN (Mar. 12, 1855, West
Springfield, Mass. : July 18, 1902, Bad-
Nauheim, Germany), in 1861-63 studied
organ with Buck and then went to Berlin
for organ and counterpoint with Haupt. In
1880-83 he was organist at St. Francis Xavier's
in New York, and again went to Germany,
this time to study composition with Rhein-
berger in Munich. In 1887-96 he was organist
at the Church of the Ascension in New York.
The rest of his life was spent in Munich.
He was an accomplished player, gave many
recitals both in America and in Germany,
and some of the best American organists
were among his pupils. He composed the ora-
torio 'Alpha and Omega,' a Missa Solemnis,
a Requiem, a Te Deum, and other church-
music. He also edited many organ-pieces.
[ R.7 ]
WHITE, JOSEPHINE, nee Sumption (b.
1879). See Colleges, 2 (Colorado Woman's
C).
WHITEHILL, CLARENCE EUGENE
(Nov. 5, 1871, Marengo, la.), originally was
in business in Chicago, but incidentally
studied voice with L. A. Phelps and sang
in church-choirs. Mme. Melba and Campanari
induced him to prepare for the stage. He
went to Paris, studied with Sbriglia and
Giraudet, and made his debut as Friar
Lawrence in ' Rom6o et Juliette ' at La Monnaie
in Brussels in 1899. In 1900 he sang at
the Opera-Comique in Paris, and also appeared
as leading baritone with the H. W. Savage
English Opera Company at the Metropolitan
Opera House in New York, singing seventeen
roles in a short season. Returning to Ger-
many, he studied with Stockhausen at Frank-
fort and had the ad\'ice of Frau Wagner at
Bayreuth for Wagnerian parts. He filled
engagements at Liibeck, Elberfeld and Cologne
(1903-08). In 1909-11 he was at the Metro-
politan Opera House in New York, first
appearing as Amfortas. In 1911-15 he was
with the Chicago Opera Company and in
1916 returned to the Metropolitan. He has
sung at Bayreuth three seasons, at Covent
Garden five and at Munich two. His greatest
success has been made in Wagnerian roles.
[ R.9 ]
WHITEHOUSE, HORACE. See Col-
leges, 3 (Ohio Wesleyan U.).
WHITHORNE [Whittern], EMERSON (b.
1884). See Register, 9.
WHITING, ARTHUR BATTELLE (June
20, 1861, Cambridge, Mass.), is a nephew
of George E. Whiting, the Boston organist.
He studied piano with Sherwood at the New
England Conservatory, and harmony, counter-
point and composition with Maas and Chad-
wick. At the Munich Conservatory in
1883-85 he was in the classes of Rheinberger,
Bussmayer and Abel. During 1885-95 he
lived in Boston, where he composed a concert-
overture (1885, Boston Symphony Orchestra),
a suite for strings and horns, a" Concerto in D
minor and a Fantasy in B-flat minor for piano
and orchestra. These latter he has played
with various large orchestras. Since 1895
he has lived in New York, composing many
anthems, other vocal works and piano-pieces
(Schirmer), making transcriptions of the
toccatas and suites of Bach and Handel for
piano, and preparing Damper-Pedal Studies,
2 vols. Since 1907 he has been largely oc-
404
WHITING
WHITNEY
cupied with giving concerts of chamber-
music at Harvard, Yale and Princeton
Universities, designed with a definite edu-
cational purpose. He has also become an
authoritative exponent of music for obsolete
instruments, and from 1911 has given il-
lustrative programs upon the harpsichord,
often with other artists in ensemble. [ R.7 ]
WHITING, GEORGE ELBRIDGE (Sept.
14, 1842, Holliston, Mass.). See article in
Vol. v. 517-8. He gave up his work at the
New England Conservatory in 1897 and at
the Church of the Immaculate Conception
in 1910, having been organist at the latter
for about thirty years. To the list of works
should be added the choral march 'Our
Country,' for chorus and orchestra (1909,
inauguration of President Taft), four concert-
6tudes for organ (Presser), many other organ-
pieces (Novello, Ditson), various collections
of organ-studies, etc., a Grand Sonata in A
minor for organ, 20 Preludes and Postludes
for advanced performers, 2 vols., the can-
tata 'The Tale of the Viking,' from Long-
fellow (Schirmer), three masses on plain-chant
melodies, in B-flat and F, two sets of vespers
and offertories for the Catholic service, and
many other ritual settings, services for the
Episcopal Church, anthems, part-songs and
songs, besides new organ-accompaniments
for several works, including Rossini's Stabat
Mater. [ R.4 ]
WHITMER, THOMAS CARL (June 24,
1873, Altoona, Pa.), after graduating from
Franklin and Marshall College, studied in
Philadelphia and New York with Gilchrist,
Jarvis and S. P. Warren. In 1899-1909 he
was music-director at Stephens College in
Missouri, in 1909-16 at the Pennsylvania
College for Women in Pittsburgh, and in
1916-19 taught at the Pittsburgh Musical
Institute. Since 1916 he has been organist
at the Sixth Presbyterian Church in Pitts-
burgh. His work as composer has but
gradually come to be known (see appreciation
in The Art of Music, iv. 428-30). It includes
six music-dramas or ' Mysteries ' — ' The
Creation,' 'The Covenant,' 'The Nativitjs'
'The Temptation,' 'Mary Magdalene,' 'The
Passion ' — for full orchestra (text by com-
poser), with an explanatory essay 'Concerning
a National Spiritual Drama'; a 'Syrian
Ballet' in four movements, for orchestra,
(1918, Pittsburgh and Philadelphia) ; an
'Elegiac Rhapsody' for low voice, chorus and
orchestra ; Psalm 84, for alto, chorus, violin,
harp and organ (Pittsburgh) ; an ' Athenian '
sonata in D minor, for violin and piano (given
many times); three 'Character-Moods' and
a 'Meditation' for piano and strings; music
for the Pittsburgh Centennial Pageant in
1916, including a notable 'Hymn to America' ;
the men's choruses ' The Keepers ' (a cappella)
and 'The Song of a City' (Willis, given in
Pittsburgh and New York) ; a setting of
Tennyson's 'Strong Son of God,' for baritone,
unison chorus and organ, and other anthems ;
a long list of songs, many with orchestral
accompaniment; a 'Poem of Youth' in two
movements, for piano and orchestra (1914,
M. T. N. A. meeting) ; and a number of
organ-pieces. He has written Considerations
on Music, The Way of My Mind, 1918, and the
texts for his 'Mysteries' and for 'Symbolisms,'
the latter a series of six dramas that he has
set for reader and piano, besides words for
other works. He has also contributed note-
worthy articles to various journals. [ R.8 ]
WHITNEY, FLOSSIE EMELINE. See
Colleges, 3 (Defiance C, Ohio).
WHITNEY, MYRON WILLIAM (Sept.
5, 1836, Ashby, Mass. : Sept. 19, 1910,
Sandwich, Mass.), came to Boston in 1852,
and soon began to study singing with E. H.
Frost. His first appearance as an oratorio-
bass was in a Christmas performance of
'The Messiah' at Tremont Temple in 1858.
He sang in concerts and oratorios for the next
ten years, and then studied in Florence under
Vannucini and in London under Randegger.
After his return to Boston he was recalled to
England for a season of concerts and festivals,
but from 1876 his activities were confined to
America. He was the only soloist at the open-
ing of the Centennial Exposition in Philadel-
phia in 1876. He made two tours with the
Thomas Orchestra, and he was one of the
bassos in the American Opera Company in
1886-87. He sang with the Handel and Haydn
Society of Boston, the New York Oratorio
Society, at the Cincinnati Festivals of 1873,
'75, '78 and '80, and at a long list of other
festivals and oratorio-performances through-
out the country. With the Boston Ideal
Opera Company from 1879 he was the leading
basso, and for many years was successfully
identified with light opera. In 1890 he
retired from the concert-stage. [ R.4 ]
WHITNEY, SAMUEL BRENTON (June
4, 1842, Woodstock, Vt. : Aug. 3, 1914,
Brattleboro, Vt.), was trained as organist
by local teachers, by Charles Wels in New
York, and chiefly by Paine in Boston. In
1871 he became organist at the Church of
the Advent in Boston, where he established
a choral service of rare excellence and wide
renown. He was a leader in the establish-
ment of the Massachusetts Diocesan Choir
Guild in 1876, and was its choir-master for
many years. His Communion Ser^dce in
G was composed for his 25th anniversary
at the Church of the Advent (1896) and the
Magnificat and Nunc Dimittis in E-flat for
the 35th (1906). In 1908 he resigned, but
WHITTEMORE
WILLIAMS
405
continued as director emeritus. An excellent
organist, he gave many recitals in his earlier
years, and was noted for his Bach plajdng
and for improvisations. He was professor of
organ-playing and lecturer at the Boston
University and the New England Con-
servatory, and at the latter taught classes
in church-music. He directed many choir and
choral festivals throughout New England.
His compositions included a piano-trio, music
for piano and organ, church-services, anthems
and hymn-tunes. He was a founder of the
A. G. O., and an examiner in the American
College of Musicians. [ R.5 ]
WHITTEMORE, THOMAS (1800-1861).
See Tune-Books, 1836.
WHITTLESEY, WALTER R. (b. 1861).
See Register, 8.
WICKHAM, FLORENCE PAULINE
(1882, Beaver, Pa.), was trained as an operatic
contralto by Alice Groff in Philadelphia and
then in Berlin by Emmerich and Frau
Mallinger. In 1902 she made her debut at
Wiesbaden in 'Le Prophfete.' In 1904-05
she toured in America with the H. W. Savage
Company, singing Kundry in 'Parsifal.'
After a year, when she was guest at the Theater
des Westens in Berlin, in 1906-09 she was
engaged at the Opera at Schwerin, also singing
in 1907 at Covent Garden and in 1908 in
Berlin. In 1909-12 she was with the Metro-
politan Opera House in New York. Her
repertoire of 45 operas includes the roles of
Amneris, Kundry, Ortrud, Fricke, Wal-
traute, Brangiine, Magdalena, Laura (in 'La
Gioconda'), Emilia (in 'Otello'), Orfeo and
Adriano (in 'Rienzi'). In 1911 she married
Eberhard L. Lueder of New York. [ R.9 ]
tWIDOR, CHARLES MARIE (Feb. 22,
1845, Lyons, France). See article in Vol.
V. 518-9. In 1910 he succeeded Lenepveu
as member of the Institut and in 1913 became
secretary. He is also Chevalier in the Legion
d'Honneur. Add to the list of works, besides
the eight organ-' symphonies' in opp. 13 and
42, the 'Symphonic Romane' and the 'Sym-
phonic Gothique,' a string-quartet in A minor,
op. 66, a 2nd violin-sonata, op. 79, a Choral
and Variations for harp and orchestra, and
a 3rd orchestral Symphony, in F minor,
with organ. He is author of Technique de
rOrchestre Moderne, 1904 (2nd ed., 1906,
and in German and English), and of an essay
on Greek Music in relation to Gregorian (1895),
and has edited L'Orgue Moderne and (with
Schweitzer) a monumental edition of Bach's
works (Schirmer) . Biographies have appeared
by Reynaud, 1900, and Rupp, 1912.
WIGNELL, THOMAS (d. 1803). See Reg-
ister, 2.
WILCOX & WHITE COMPANY, THE,
of Meriden, Conn., is the successor of the
Wilcox & White Organ Co., which was formed
in 1876 to compete with the Estey Organ Co.
in making reed-organs, the original founders
being H. C. Wilcox and J. H. and H. K.
White. Prior to 1908 they made about 50,000
organs. The present company was formed in
1897. They have made a specialty of the
'Angelus,' a player-attachment brought out
in 1895, and have developed a large business
in player-pianos and in music-rolls. Their
'orchestral' piano has a set of reeds included.
WILD, HARRISON MAJOR (Mar. 6,
1861, Hoboken, N. J.), had most of his musical
education in Chicago under Liebling, Cres-
wold and Eddy, but in 1878-79 also studied
in Leipzig with Zwintscher, Rust and Richter.
Since 1876 he has been almost continuously
an organist in Chicago, playing at the Church
of the Ascension five years, at Unity Church
thirteen and since 1895 at Grace Church,
where he has made the services specially
notable. He has also won a fine reputation
as choral conductor, since 1898 leading the
Apollo Musical Club, since 1902 the Mendels-
sohn Club (men's voices), and since 1905 the
Mendelssohn Club of Rockford. With the
first two of these he has introduced a long
list of important works, performed with great
perfection. He is also active as an organ-
recitalist, and has been dean of the Western
Chapter of the A. G. O. [ R.6 ]
WILD, WALTER. See Colleges, 2 (Penn-
sylvania C. for Women).
WILDE, EDWIN ERNEST (b. 1887).
See Colleges, 3 (Brown U., R. I.).
WILKINS, HERVE D. (1848-1913). See
Register, 5.
WILLARD, BENJAMIN W. See Regis-
ter, 3.
WILLARD, SAMUEL (1776-1859). See
TuNE-BooKs, 1813.
WILLCOX, JOHN HENRY (1827-1875).
See Register, 4.
WILLEKE, WILLEM (b. 1878). See Reg-
ister, 9.
WILLIAMS, ALBERTO (Nov. 23, 1862,
Buenos Aires, Argentina), while at the Buenos
Aires Conservatory secured governmental as-
sistance for study in Paris, where his teachers
were Mathias and De Beriot in piano, Durand
in harmony, and Guiraud, Godard and Franck
in composition. After his return in 1899 he
conducted symphony-concerts, and in 1903
founded the Conservatorio de Musica de
Buenos Aires, which has grown to a school
of over 1200 pupils, with branches in the
principal cities of the Argentine Republic.
In 1900 he gave a concert of his works with
the Philharmonic Orchestra in Berlin. He
has composed three symphonies, three suites,
two overtures and a march for orchestra ;
three sonatas for violin and piano ; a sonata
406
WILLIAMS
WITEK
for 'cello and piano ; a piano-trio ; many
songs and piano-pieces. He has published
works on theory and also five volumes of
poems. [ R.7 ]
WILLIAMS, HARRY EVAN (Sept. 7,
1867, Mineral Ridge, O. : May 24, 1918,
Akron, O.), was a mine- and steel-mill worker
in his early years, and he sang in an octet-
club which attained considerable local repu-
tation.- For four years he studied with Mme.
Louise von Feilitsch in Cleveland, and made
his first appearance as tenor in 1891 at Gallon,
O., though his real d6but was at the Worcester
Festival of 1896. In New York he then
became a pupil of Ffran^on Davies, Ben Da-
vies, Mrs. Topping-Brown, John Dennis Me-
han and James Sauvage. Dissatisfied with
his work, he retired for a period in 1904, but
reappeared with great success in the later
years of his life. He was soloist at nearly
all the principal festivals of the country,
including about 15 appearances at Worcester.
He gave perhaps 1000 song-recitals, after 1900
exclusively in English ; and was equally
successful in song and oratorio. [ R.8 ]
WILLIAMS, VICTOR (1816- ? ). See
Register, 4.
WILLIS, RICHARD STORRS (1819-
1900). See Register, 4, and Tune-Books,
1850.
WILLIS, ROBERT. See Tune-Books,
1834.
WILSON, GEORGE H. See Register, 7.
WILSON, HENRY (Dec. 2, 1828, Green-
field, Mass. : Jan. 8, 1878, Hartford, Conn.),
was musically inclined from childhood, but
was forced to learn the printer's trade for
support. Diligence in this latter enabled
him to study music in Boston from about
1848, though double labor undermined his
health. About 1850 he became teacher and
organist at St. James' in Greenfield, removing
in 1854 for a few months to Springfield. A
chance meeting with Alexander W. Thayer
led to their going to Europe together and
a lifelong friendship. A year's study in
Leipzig followed, during which he wrote
entertaining letters for the Springfield 'Re-
publican.' From 1855 for twenty-two years
he was organist at Christ Church in Hartford,
going for a short time afterward to Park
Church. The peculiar impress of his per-
sonality and gifts was showii by the tributes
after his death, including addresses by Charles
Dudley Warner, Bishop Williams and Rev.
N. J. Burton, and many letters, among them
those of J. G. Holland and Dudley Buck.
These appreciations were gathered into a small
memorial in 1878. He was preeminently a
church-musician, throwing a notable emotion
into whatever he wrote or rendered. His
compositions were almost wholly for church
use. They lacked solidity and balance, but
for a time were extremely popular and effective.
[ R.4 ]
WILSON, MORTIMER (Aug. 6, 1876,
Chariton, la.), in 1894-1900 studied in Chicago
with Jacobsohn, Gleason and Middelschulte.
In 1901-07 he taught theory in the University
School of Music at Lincoln, Neb., and theif
had three years in Leipzig, at first studying
with Sitt and Reger and then teaching. From
1911 he was at the Atlanta Conservatory and
conductor of the Symphony Orchestra, and
in 1916-18 taught at Brenau College in
Gainesville, Ga. He is now consulting-editor
for the National Academy of Music in New
York. He has written The Rhetoric of Music,
1907. His published works include 'From
My Youth,' op. 5, 8 miniatures for violin,
'cello and piano ; sonatas in D and E, opp.
14, 16, for violin and piano ; 7 organ-preludes,
op. 7; the piano-suites 'In Georgia,' op. 25,
'Suite Rustica,' op. 44a and 'By the Wayside,'
op. 446; 'Suwannee Sketches,' op. 39, for
violin and piano ; nursery-songs and piano-
pieces. Unpublished are five symphonies,
a 'Country-Wedding' orchestral suite, violin-
quartets, a suite, trio and sonata for violin and
piano, an organ-sonata, the piano-suite 'In
Imagery,' and a book of songs. Some of
his works have been given by symphony-
orchestras in Chicago, Atlanta, Leipzig and
Prague, by the Sittig Trio in New York,
etc. [ R.9 ]
WINCHELL, JAMES MANNING (1791-
1820). See Tune-Books, 1819.
WINCHESTER, AMASA. See Register, 3.
WINGATE, RAY W. See Colleges, 3
(Alfred U., N.Y.).
WINKLER, EMIL KARL (b. 1860). See
Colleges, 2 (Wells C, N. Y.).
WINKLER, J. A. E. See Colleges, 2
(Hollins C, Va.).
WISE, JOHN J. See Register, 3.
WISKE, C. MORTIMER (b. 1853). See
Register, 7.
WITEK, ANTON (Jan. 7, 1872, Saaz,
Austria), in 1883-89 was a pupil of Bennewitz
at the Prague Conservatory. In 1894 he
became concertmaster of the Philharmonic
Orchestra in Berlin, and also began tours
with the Danish pianist Vita Gerhardt (whom
he later married). In 1903, with her and
Joseph Malkin, he formed the Philharmonic
Trio. In 1905 he made a sensation by playing
in one evening concertos by Beethoven, Pa-
ganini and Brahms, in 1907 brought out
in Berlin the newly-discovered concerto in
A by Mozart, and in 1909 also the long-lost
concerto in C by Haydn. In 1910 he became
concertmaster of the Boston Symphony
Orchestra, making his first appearance as
soloist on Oct. 29 with the Beethoven concerto.
witherspoon
WOLLE
407
In 1914, when Malkin also joined the or-
chestra, the former trio-group was revived
as the Witek-Malkin Trio. In 1918 he re-
signed from the Orchestra. [ R.IO ]
WITHERSPOON, HERBERT (b. 1873).
See Register, 8.
WODELL, FREDERICK WILLIAM (Dec.
17, 1859, London, England), gained his gen-
eral education in public schools in England
and the United States, studying piano with
E. T. Manning, Ferdinand Dewey and Ada
P. Emery, voice chiefly with F. W. Root and
Shakespeare, and composition with Manning
and Norris. He has had wide experience as
singer, and for many years conducted the
People's Choral Union in Boston (400 voices),
giving two oratorio-concerts annually. He
has made a specialty of teaching singing to
classes of both adults and children, and has
often lectured upon the methods used. He
has published Choir and Chorus Conducting,
1908 (new ed., 1919), and How to Sing by Note,
1915. He has also written a two-act light
opera, 'The Court of Love' (1912, Boston) ;
the cantata 'The Gift of Love,' from 'Endym-
ion,' for soprano and women's chorus (1919,
Brookline) ; the cantata 'The American
Flag,' for tenor, baritone, men's chorus and
piano or orchestra (1915, Boston) (Thompson) ;
and many anthems, part-songs and songs
(various publishers). [ R.7 ]
t WOLF-FERRARI, ERMANNO (Jan. 12,
1876, Venice, Italy). See article in Vol. v.
558. The list of works should be extended
as follows :
Operas: '1 Quattro Rusteghi' (1906, Munich, in
German).
'I Giojelli della Madonna' (1911, Berlin, in
Germein, 1912, Chicago, in Italian).
'L'Amore Medico' (1913, Dresden, in German,
1914, New York, in Italian).
Mystery, 'Talitta Cumi,' or 'Die Tochter des
Jairus,' op. 3, for soli, chorus and orchestra.
Sonata in G minor, op. 1, for violin.
Piano-Trio in D, op. 5.
Piano-Quintet in D-flat, op. 6.
Piano-Trio in F-sharp, op. 7.
'Kammersymphonie' in B-flat, op. 8.
Sonata in A minor, op. 10, for violin.
'Rispetti,' opp. 11-12.
Impromptus for piano, op. 13.
Three Piano-Pieces, op. 14.
His dramatic works have been brought out
in Germany because of his inability to agree
with the Italian house that controls publication
in Italy. When he came to America in 1912
to superintend the production of 'I Giojelli
della Madonna' he had never heard any of his
works given in Italian. His name unites those
of his German father, the distinguished painter
August Wolf, and of his Itahan mother.
WOLFF, A. See Register, 2.
WOLFSOHN, CARL (Dec. 14, 1834, Alzey.
Germany : 1907, N. J.), was 'a pupil of
Aloys Schmitt at Frankfort, where he made
his d6but as pianist in 1848. He then studied
with Lachner, made concert-tours and lived
for two years in London before coming to
America in 1854. He located in Philadelphia
as pianist, orchestral conductor and teacher,
and for about twenty years gave series of
chamber-music concerts. In 1863 he under-
took recitals embodying the entire series of
Beethoven sonatas, which were given twice
in Philadelphia and twice in New York with
notable success. Later he presented the
complete piano-works of Schumann and of
Chopin in similar series of recitals. In 1873
he moved to Chicago, and to his other activities
added the direction of the Beethoven Society,
a choral organization. He was widely known
as a teacher of piano, was one of the early
champions of Wagner in America, and did
much to raise the standards of chamber-
music both in Philadelphia and in Chicago.
Among his many pupils Mme. Bloomfield-
Zeisler is perhaps the most widely known.
[ R.4 ]
WOLLE. JOHN FREDERICK (Apr. 4,
1863, Bethlehem, Pa.), comes of a long line
of musical ancestors and had his first lessons
from a sister and a cousin. In 1879 he gradu-
ated at the Moravian Parochial School, having
specialized in music, and began teaching in
Bethlehem. In 1881-84 he was organist at
Trinity Church there and had organ-lessons
from Wood in Philadelphia. In 1884-85
he studied with Rheinberger in Munich,
returning to be organist for twenty years at
the Moravian Church. Before going to
Germany he had organized choral societies
in Bethlehem and Easton, and the former,
after giving standard oratorios, he led to
concentrate upon Bach's music. With it
in 1888 he gave the first complete rendering
in America of the St. John Passion, and in
1892 he gave also the St. Matthew Passion.
After a period of inactivity, in 1898 work was
resumed, and in 1900 the B minor Mass was
given. In 1887-1905 ho was organist at the
Packer Memorial Church at Lehigh University.
In 1904 the Moravian College made him Mus.
D. (also the University of Pennsylvania in
1919). In 1905-11 he was professor at the
University of California, where he organized
a chorus of 300, conducted symphony-concerts
and directed performances of Greek dramas.
Besides being in 1907-09 organist at the First
Congregational Church in Berkeley, he
assembled a Bach Choir of 125, which gave
the St. Matthew Passion and the Mass in
1909-10. Returning to Bethlehem in 1911,
he resumed the notable administration of the
Bach Choir (see article), was organist at the
Salem Lutheran Church and conducted
choral societies in Harrisburg, York and
408
WOLLENHAUPT
WYETH
Lancaster. He was a founder of the A. G. O.,
and has appeared as soloist not only at the
Chicago and the St. Louis Expositions, but
often elsewhere. He has made organ-tran-
scriptions from Bach and Wagner and com-
posed for chorus and orchestra, but of his
original works none are published. See
Walters, Bethlehem Bach Choir, 1918. [ R.7 ]
WOLLENHAUPT, HERMANN ADOLF
(1827-1863). See Register, 4.
WOOD, ABRAHAM (1752-1804). See
Tune-Books, 1793.
WOOD, CARL PAIGE (b. 1885). See
Register, 9.
WOOD, DAVID DUFFIELD (Mar. 2,
1838, near Pittsburgh : Mar. 27, 1910,
Philadelphia), lost his sight by accident in
childhood and at five went to the Philadelphia
School for the Blind, where he was an apt
pupil in music and mathematics. In 1853
he became assistant-teacher in music and in
1887 director. He there conducted remark-
ably successful performances of standard ora-
torios and of Bach cantatas. In 1864 he
became organist at St. Stephen's, remaining
exactly 46 years (last service two days before
his death). For about 25 years he also
played at the evening services at the Baptist
Temple, where he often brought out oratorios.
He was a superior player and one of the first
to specialize in Bach in America. Many of
his pupils became prominent. His com-
positions were mostly for the church and were
sung at St. Stephen's from manuscript. In
1911 the H. W. Gray Co. began publishing
a series of his anthems. [ R.4 ]
JWOOD, HENRY JOSEPH (Mar. 3,
1870, London, England). See article in Vol.
V. 560-1. He visited America in 1904. In
1911 he was knighted. In 1918 the conductor-
ship of the Boston Symphony Orchestra, in
succession to Muck, was offered him, but was
declined.
WOOD, MARY, n6e Knight (b. 1859). See
Register, 7.
WOOD, MARY ANNE, nee Paton (1802-
1864). See Vol. iii. 653-4, and Register, 3.
WOOD, WILLIAM L. See Colleges, 3
(Hobart C, N. Y.).
WOODBURY, ISAAC BAKER (1819-
1858). See Tune-Books, 1839.
WOODMAN, JONATHAN CALL (1813-
1894). See Register, 4.
WOODMAN, RAYMOND HUNTING-
TON (Jan. 18, 1861, Brooklyn), was the son
and pupil of J. C. Woodman. In 1881-85
he also studied composition and orchestration
under Buck and later organ under Franck
in Paris. In 1880, after a year with a church
in Norwich, Conn., he became organist at the
First Presbyterian Church in BrookljTi,
where he has recently celebrated his fortieth
anniversary. He has also taught at Packer
Institute and the Master School of Music.
In 1894-97 he edited a church-music depart-
ment for the New York 'Evangelist.' He
is a founder and fellow of the A. G. O., and
has done much brilliant recital-work. He is
also fellow of the Brooklyn Institute of Arts
and Sciences, and head of its music-section.
His published songs, anthems, cantatas and
pieces for organ or piano number about 125.
Of unpublished works the more important
are an 'Ode to Music,' for baritone, chorus and
orchestra, a 'Reverie' for string-orchestra,
harp and organ, and a four-movement organ-
suite. [ R.6 ]
WOODRUFF, MERIT N. See Tune-
Books, 1800.
WOODWARD, CHARLES. See Tune-
Books, 1800.
WOOLF, BENJAMIN EDWARD (1836-
1901). See Register, 5.
WOOLLS, STEPHEN (d. 1799). See Reg-
ister, 1.
WORCESTER, SAMUEL (1770-1821). See
Tune-Books, 1815.
WORCESTER MUSICAL FESTIVALS.
See article in Vol. v. 562-3. The series has
continued without break except in 1918, when
the festival was canceled on account of the
influenza epidemic. The chief conductor
until 1919 was Mees, assisted in 1909-1915
by Gustav Strube. The new conductor is
Nelson P. Coffin. The major works to be
added to the list are Liszt's Missa Solemnis
(1909), Bantock's 'Omar Khayyam' (1910),
Reger's 'The Nuns' (1911), Georg Schumann's
'Ruth' (1912), Pierne's 'St. Francis of Assisi'
(1913), Wolf-Ferrari's 'La Vita Nuova' (1914),
Beethoven's Choral Fantasia (1915), Parker's
' Red Cross Hymn,' Grainger's ' Marching-Song
of Democracy' and Hadley's 'Ode to Music'
(all 1917). In 1919 a program of works by a
variety of American composers was presented.
WORK, HENRY CLAY (1832-1884). See
Register, 4.
WORLEY, CHANDLER. See State Uni-
versities (Miss.).
WRANGELL. LUDWIG HEINRICH (b.
1872). See Register, 9.
WRIGHT, D. See Tune-Books, 1798.
WRIGHT, WILLIAM LYNDON. See
Colleges, 3 (New York U.)
WRIGHTSON, HERBERT JAMES (b.
1869). See Register, 8.
WRIGHTSON, SYDNEY LLOYD (b.
1869). See Register, 7.
WYETH, JOHN (1770-1858). See Tune-
BooKS, 1810.
• YANKEE DOODLE.' See article in Vol.
V. 574-7, and the exhaustive study in Son-
neck, Report on ' The Star-Spangled Banner,'
'Hail, Columbia,' 'America' and 'Yankee
Doodle,' 1909.
YARNOLD, BENJAMIN. See Regis-
ter, 1.
YON, PIETRO ALESSANDRO (Aug. 8,
1886, Settimo Vittone, Italy), after study as a
child with Burbatti, the cathedral-organist at
Ivrea, entered the Milan Conservatory as pupil
of Fumagalli. He won a scholarship for pianists
at the Turin Conservatory in 1901, and spent
three years there under Venezia (piano),
Remondi (organ) and Bolzoni (composition).
In 1904 he went to the Academy of St.
Cecilia in Rome, where his teachers were
Renzi (organ), Bustini and Sgambati (piano),
and De Sanctis (theory). He graduated in
1905 with honors in each department, the
first prize-medal of the Academy and a
special medal from the Italian Minister of
Public Instruction. For two years he was
substitute-organist at the Vatican and the
Royal Church of Rome. In 1907 he became
organist at St. Francis Xavier's in New York.
There and through extensive tours as virtuoso
he has earned a great and well-deserved
reputation. Among his many works (Ricordi,
J. Fischer, Schirmer) are the following :
Sonata No. 1, for organ.
'Sonata Cromatica,' for organ.
Toccata for organ.
Two Concert-Studies for organ.
'Christmas in Sicily,' 'Pastorale Sorrentina,'
'Elegia,' 'Gesd Bambino,' all for organ.
Ten Divertimenti for organ.
Six Masses and about ten Motets.
Several piano-pieces and songs. [ R.9 ]
YORK, FRANCIS LODOWICK (Mar. 9,
1861, Ontonagon, Mich.), had his general
education in the Ann Arbor High School and
the University of Michigan, graduating in
1882. While there he studied with Cady,
and later continued in Detroit with Batchelder
and in Paris with Guilmant (1892, '98). From
1888 he has been advocate of school-credits
for music, first at Ann Arbor and lately in
Detroit. In 1892-96 he taught at the Uni-
versity School of Music in Ann Arbor, and in
1896-1902 at the State Normal School in
Ypsilanti. Since 1902 he has been the ex-
ceedingly efficient head of the Detroit Con-
servatory and organist at the Central
Methodist Church. He has always been a
strong supporter of American music, especially
interested in the works of MacDowell. He
was organ-recitalist at the Buffalo and St.
Louis Expositions of 1901 and 1904, and has
played often elsewhere. His 'Spring-Song'
for organ, several transcriptions and some
church-music have been published (Schirmer).
A comic opera, 'The Inca' and further organ-
pieces are in manuscript. He has also written
Harmony Simplified, 5th ed., 1900, and
Counterpoint Simplified, 1907. In 1905 he
prepared for the French government a report
upon American music-schools. He is one of
the editors of the Schirmer Library, and has
written many articles for periodicals. He
has always been prominent in the M. T. N. A.
and in the Michigan Association. [ R.8 ]
YOUNG, HELEN F. See Colleges, 2
(Sweet Briar C, Va.).
YOUNG, WILLIAM. See Register, 2, and
TuNE-BooKS, 1790.
YOUNG PEOPLE'S SYMPHONY CON-
CERTS. See Vol. iv, 805.
YSAYE, EUGENE (July 16, 1858, Lifege,
Belgium). See article in Vol. v. 580-2. In
1898 he declined an invitation to succeed
Seidl as conductor of the New York Phil-
harmonic Society. In 1918, as guest-con-
ductor, he directed the Cincinnati Festival
and other concerts, and was later appointed
permanent conductor of the Symphony Orches-
tra. [ R.IO ]
409
z
ZACH, MAX WILHELM (b. 1864). See
Register, 7.
ZAHM, JOHN AUGUSTINE (b. 1851).
See Register, 8.
ZAY, WILLIAM HENRI (b. 1869). See
Register, 8.
ZBINDEN, THEODORE (b. 1877). See
Register, 10.
ZECH, FREDERICK (May 10, 1858,
Philadelphia), began piano-study in San
Francisco with Heckmanns and Schumacher,
continuing in 1877-82 in Leipzig with KuUak,
Breslaur and Neumann (composition). He
also taught for two years in Kullak's Academy.
Since 1882 he has Ijeen teacher of advanced
piano-pupUs in San Francisco, at intervals
also conducting symphony-concerts. He has
written the operas ' La Paloma ' and ' Wakin-
yon'; symphonies in B minor, C minor,
F minor and C ; the symphonic poems ' The
Eve of St. Agnes' (1898), 'Lamia' (1902),
'The Raven' (1902) and 'The Wreck of the
Hesperus ' (1909) ; four piano-concertos ; a
violin-concerto ; a 'cello-concerto ; a piano-
quintet ; two string-quartets ; a piano-trio ;
three violin-sonatas ; a flute-sonata ; and two
clarinet-sonatas. All those for orchestra have
been given in San Francisco, and the first two
symphonic poems also in Germany. [ R.7 ]
ZECKWER, CAMILLE (June 26, 1875,
Philadelphia), the son of Richard Zeckwer (see
below), was trained in the Philadelphia Musical
Academy, graduating in 189.3. He further
studied composition with Dvordk in New York
in 1893-95 and with Ph. Scharwenka in
Berlin, where he also took violin with Zajic.
He soon engaged in teaching in the Philadelphia
Academy, of which he is now director with
Frederick E. Hahn. Besides being a pianist
of fine ability, he has given much attention
to composition. His works include the
symphonic poem 'Sohrab and Rustum,' op.
30 (1915, Philadelphia Orchestra); a piano-
concerto in E minor, op. 8 (1899, Philadelphia
Orchestra, also 1904, '14) ; the cantata 'The
New Day,' op. 24 (Cleveland Mendelssohn
Club prize, 1914); the three-act opera 'Jane
and Janetta,' op. 20 ; a suite for violin and
piano, op. 1 ; a ' Swedish Fantasy,' op. 6,
for violin and orchestra ; a piano-trio, op. 3 ;
a string-quartet, op. 4 ; a piano-quartet, op.
9 ; a piano-quintet in E minor, op. 5 ; two
violin-sonatas, opp. 2, 7 ; a ' Serenade Melan-
colique,' op. 27, for violin, 'cello and piano ;
and various piano-pieces, songs and choruses
[ R.8 ]
ZECKWER, RICHARD (Apr. 30, 1850,
Stendal, Germany), was educated at the
Stendal Gymnasium, Leipzig University and
Leipzig Conservatory, his music-masters being
Papperitz, Richter, Reinecke, Paul and
Hauptmann. In 1869 he came to Philadel-
phia, making his first appearance as pianist
at the Academy of Music on Dec. 1. A few
months later he began to teach at the Phila-
delphia Musical Academy, recently opened.
In 1876 he became its director and continued
over forty years in fruitful service, resigning
in 1917, when the Academy was merged with
the Hahn Conservatory. In 1870-77 he was
organist at St. Vincent de Paul (R. C.) Church
in Germantown, and of the Philadelphia
Cathedral in 1877-80. He has lectured on
acoustics at the Franklin Institute and the
Academy of Natural Science, and has pub-
lished the pamphlet A Scientific Investigation
of Legato-Touch, 1902, the result of original
investigations. He has written two over-
tures, 'The Bride of Messina' and 'Festival,'
a string-quartet, a violin-sonata, four piano-
sonatas, many songs and piano-pieces (Ditson,
Pressor). [ R.6 ]
ZEISLER, FANNIE, nee Bloomfield (July
16, 1863, Bielitz, Austria). See article in
Vol. i. 341. The birth -year is correct as here
given. She is a cousin of the pianist Moritz
Rosenthal and a sister of Maurice Bloomfield,
professor of Sanscrit at Johns Hopkins Uni-
versity. In recent years she has been kept
back from great activity by ill-health, but is
now resuming concert-work as of old. [ R.6 ]
'ZENOBIA.' An opera in four acts by
Silas G. Pratt, produced in concert-form in
Chicago in 1882 and on the stage in March,
1883. The libretto, by the composer, is based
upon a romance of William Ware.
Another opera on the same subject, in three
acts, is by Louis T^.dolphe Coerne. It was
several times given in Bremen in 1905-06, and
instrumental numbers have been played in
America.
ZERRAHN, CARL (July 28, 1826, Mal-
chow, Germany : Dec. 29, 1909, Milton,
Mass.). See article in Vol. v. 595. His
first lessons, at twelve, were with Friedrich
Weber in Rostock, and later he studied in
Hanover and Berlin. In the Germania
Orchestra he played first flute, thus having
part in the important influence of that organ-
ization. In 1855-63 he conducted one of the
several orchestras in Boston known by the
name Philharmonic, and was practically the
only leader of the concerts of the Harvard
Musical Association in 1865-82. Besides
his work as conductor of the Handel and Haydn
Society and of the Worcester Festivals, he
was for many years in charge of the Salem
Oratorio Society and other smaller organiza-
LIO
BERNHARD ZIEHN
ZEUCH
ZUNDEL
411
tions. At the second Peace Jubilee (1872)
he led the chorus of 20,000. He was also a
teacher of singing, harmony and composition
at the New England Conservatory. In all
these ways he left a significant impress upon
the development of American choral music.
[ R.4 ]
ZEUCH, WILLIAM EDWARD (b. 1878).
See Register, 9.
ZEUNER, CHARLES [Heinrich Christoph]
(1795-1857). See Register, 3, and Tune-
Books, 1832.
ZIEGFELD, FLORENZ (b. 1841). See
Register, 5.
ZIEGLER, ANNA ELIZABETH, nee
Koelling (b. 1867). See Register, 7.
ZIEHN, BERNHARD (Jan. 20, 1845, Erfurt,
Germany : Sept. 8, 1912, Chicago), was
not at first specially trained in music. He
studied at the teachers' seminary in Erfurt
and taught three years at Mi'ihlhausen. In
1868-70 he taught higher mathematics,
German and music-theory at the German
Lutheran School in Chicago. After 1871
he concentrated wholly upon the investigation
of the theory of music and the teaching of it.
This led to a series of monumental books,
including System der Uehungen fiir Klavier-
spieler, 1881, Lehrgang fiir den ersten Kla-
vierunterricht, 1881, developing the idea of
'symmetrical inversion' of material, Harmo-
nie- und Modulationslehre, 1888 (2nd ed.,
1909, in Enghsh, 1907), which was his chief
work, Five- and Six-Part Harmonies, How to
Use Them, 1911, and Canonical Studies, a New
Technic of Composition, 1912 (English and
German). He also wrote a treatise on the
execution of ornaments in classical works
(Hamburg, 1883), contributed an elaborate
discussion of the ecclesiastical modes to 'Die
Musik,' and wrote many other articles for
German periodicals. An article on poison-
ivy in the vicinity of Chicago was commended
by the U. S. Department of Agriculture. Two
comments on his Harmonielehre may be
quoted ;
(Hugo Kaun) In this book ' one finds thousands of
illustrations embracing the entire literature of
music. His knowledge in this respect was unique.
But aside from these it is above all his own harmonic
combinations that make this work so valuable. He
did not write his book by utilizing existing material ;
he himself was a pathfinder. In all the modern
works there is scarcely a harmonic combination that
he did not point out as early as 1888.'
(Busoni) 'Over the beautiful lines of the Gothic
fugue Ziehn paints in the colors of a great and new
harmony, the harmony that arises from the appli-
cation of a relentless logic to the problems of voice-
leading, that achieves absolute independence for
each voice, yet at their meeting-points permits most
original harmonies to develop. He is a theoretician
who points to the possibilities of undiscovered
lands — a prophet through logic. As a master of
harmony he stands alone.'
He solved the uncompleted last work of
Bach, a fugue of which Bach gave the first,
second and part of the third out of four themes
(see Schweitzer, Bach, i. 424). On Ziehn's
basis Busoni wrote out the ' Fantasia Contrap-
puntistica' as a series of seven fugues, of
which three are variations of others. This
was for piano, and Middelschulte has arranged
it for organ, and he and Stock also made an
orchestral transcription.
Among his famous pupils may be named
Mrs. Zeisler, Mrs. Middelschulte, Regina Wat-
son, Grace Chadbourne and Eleanor Freer,
with Kaun, Carpenter, Bradley, Deis, Arthur
Dunham, Gunn, Otto Wulf and Middel-
schulte. [ R.5 ]
ZIELINSKI, JAROSLAW DE (b. 1847),
See Register, 5.
ZIMBALIST, EFREM (Apr. 9, 1889,
Rostov-on-the-Don, Russia). See article in
Vol. V. 596. His Berlin debut was in 1907,
when he played the Brahms concerto with
extraordinary impression. His first English
appearance the same year was followed by
immediate engagements under Nikisch and
Richter. Within a year he was equally
recognized in France and Russia. He was
the first after Joachim to appear at the Ge-
wandhaus on New Year's Day, as the latter
had done for fifty years. He first came to
America in 1911, playing the Glazunov A
minor concerto with the Boston Symphony
Orchestra on Oct. 27. This visit led to
permanent settlement and to numerous later
appearances with orchestra and in recital.
He has composed a set of 'Slavonic Dances'
for violin and orchestra, a 'Suite in the Old
Style' for violin and piano, and songs. In
1914 he married the soprano Alma Gluck.
[ R.IO ]
ZIMMERMANN, MATTHIAS. See Reg-
ister, 1.
ZOELLNER, JOSEPH (b. 1862). See Reg-
ister, 7.
ZUCCA, MANA (b. 1891). See Register, 9.
ZUNDEL, JOHN (1815-1882). See Reg-
ister, 4, and Tune-Books, 1855.
The names in the foregoing pages that fail outside the American field are as follows : —
Arensky
Balakirev
Bantock
Bath
Bax
Beecham
Bell
Bbrners
BOITO
B0RDE8
B088I
BODQHTON
BOWEN
Bridge, J. F.
Bruch
Buck, P. C.
Carse
CiLEA
Coleridge-Taylor
COWEN
Cm
Dale
Davet
Davies
Debusst
Delius
Ddbois
DUKAS
DuNHILIi
Eloar
Enna
Erlanger, C
Erlangeb, F. d'
Expert
Farjeon
Faure
Friskin
Gardiner
GiLSON
Glazunov
Gliere
G008SEN8
Granados
Grechaninov
Greene
Grieg
GuiLMANT
Haberl
Hahcourt, d
Harty
Harwood
HiNTON
Holbrooke
HOLLINS
holst, von
Hubay
Huber
Hull
hurlstonb
Indy, d'
Ippolitov-Ivanov
Ireland
Joachim
JUON
Karg-Elert
KasTAL8KY
Klindworth
K0NIU8
Lavignac
Lenepveu
Leoncavallo
Leroux
LlADOV
Liapunov
MacCunn
Mackenzie
MacPherson
Magnard
Marteau
Martin, G. C.
Mascagni
Massenet
M'Ewen
Melba
Messager
MoTTL
Napravnik
Newman
O'Neill
Parry
Patti
Pedrell
Perosi
Pfitzner
Philipp
Pitt
Puccini
Rabaud
Ravel
RiEMANN
RiMSKY-KoRSAKOV
Saint-Saens
Santley
Sapelnikov
Sauret
Schillings;
SCHOLES
Schweitzer
Scott, Cyril
scriabin
Sgambati
Sharp
S1BELIU8
Smyth
Squire
Strauss
Svendsen
Tanieiev
Terry
Tetrazzini
Thomson
Tiersot
TiNEL
TOSTI
TOVEY
Van Dyck
Viardot-Garcia
ViDAL
Viekne
Volbach
Wallace
Weingartnbr
WiDOR
Wolf-Ferrari
Wood, H. J.
Printed in the United States of America.
412